This article examines race, racism, and anti-racism in an historical example of British radical theatre-in-education in the 1980s: Pit Prop Theatre's "Brand of Freedom" (1984). We argue that while the programme's aims prefigured contemporary moves toward decolonising drama and theatre education, its theatrical representation of Black experience also reproduced a 'racial calculus' [Hartman, 6] that limited Black personhood, centred whiteness, and enacted white saviour tropes. Throughout, we emphasise the importance of critical historiographical work at the intersections of drama and theatre pedagogy, race, and class, to identify and dismantle practices of white-centricity in histories of drama and theatre education.