American Negro Theatre

Last updated
American Negro Theatre
Formation1940
Dissolved1951
TypeTheatre group
PurposeA people's theatre for Black drama
Location
  • New York City
Membership
Sidney Poitier, Harry Belafonte, Ruby Dee and Ossie Davis
Artistic director(s)
Abram Hill, Frederick O'Neal and John O’Shaughnessy

The American Negro Theatre (ANT) was co-founded on June 5, 1940 by playwright Abram Hill and actor Frederick O'Neal. [1] Determined to build a "people's theatre", they were inspired by the Federal Theatre Project's Negro Unit in Harlem and by W. E. B. Du Bois' "four fundamental principles" of Black drama: that it should be by, about, for, and near African Americans. [2] [3] [4]

Contents

The ANT produced 12 original Black plays and seven adaptations of non-Black work for tens of thousands of primarily Black audiences in its first nine years. [4] [5] The Black playwrights whose work the company produced included Countee Cullen (One Way To Heaven), Theodore Browne (Go Down Moses and Natural Man), Owen Dodson (Garden of Time), Alvin Hill (Walk Hard) and Curtis Cooksey (Starlight). [5]

In addition to their theatre productions, the ANT also produced a weekly radio program in 1945, with a repertoire that spanned Shakespeare, Dickens and opera. [2] It also ran the Studio Theatre school of drama under the leadership of Osceola Archer, one of the first Black actresses on Broadway. Many of her students later had careers in the performing arts, including television comediennes Helen Martin ( Good Times and 227), Emmy-winning Isabel Sanford ( All in the Family and The Jeffersons ), and Clarice Taylor ( Sanford and Son and The Cosby Show ); [1] [6] stage and screen couple Ossie Davis and Ruby Dee, [7] movie actor Sidney Poitier, and singer-actor Harry Belafonte. [8] In a 1996 interview with Cornel West, Belafonte described how the American Negro Theatre opened his eyes to how "magical" theatre was. Belafonte said that he saw his first show in the ANT when he was given two tickets as a gratuity when working as a janitor's assistant for Clarice Taylor, who was in the play that night. [9]

Aside from teaching, Archer also directed plays for the ANT, most notably a 1948 command performance for First Lady Eleanor Roosevelt of an integrated production of Katherine Garrison Chapin's play Sojourner Truth, featuring Belafonte and actress Jill Miller. [10] Within the next few years, however, the ANT folded, a victim of repeated financial shortfalls and in-fighting over its mission in the wake of its Anna Lucasta success, for which its lead actress Alice Childress gained a Tony nomination for playing the title character. [11] [12]

Theatre arts scholar Jonathan Shandell counts ANT's expansion of the "repertoire to include canonical black playwrights, use of a predominantly black cast and crew in all productions, and ... community outreach efforts, such as the free Uptown Shakespeare performances at Marcus Garvey Park" among its most important legacies. [1] The assessment of the curators of the Schomburg Center for Research in Black Culture at New York Public Library, which hosted ANT's 75th Anniversary in 2016 explained the ANT's importance by pointing out that ANT "sought to push the boundaries of black theatre ... experimenting with modernist theatrical tropes, and producing ambitious, original works by Black playwrights. Ultimately, the American Negro Theatre became one of the most influential black theater organizations of the 1940s," [13] while also cultivating a generation of professional Black actors, directors and other artists in the performing arts who continue to influence the culture today.

History

A 1926 photo of a performance of the Little Library Theatre at the 135th Street Branch of the New York Public Library. 135th Street Branch, All Negro Drama (NYPL b11524053-1252991).tiff
A 1926 photo of a performance of the Little Library Theatre at the 135th Street Branch of the New York Public Library.

Hill and O'Neal quickly garnered support for the American Negro Theatre, which they dubbed the ANT to reinforce the idea of a hard-working interdependent community, by assembling several of their theatre friends, including: Howard Augusta, James Jackson, Virgil Richardson, Claire Leyba, Jefferson D. Davis, Vivian Hall, Austin Briggs-Hall, Stanley Green, Fanny McConnell, and Kenneth Manigault. [11] Together, they organized ANT "as a cooperative, and all members shared in the expenses and profits. The theatre's business model was parallel to its artistic policy of ensemble acting in lieu of individual leading roles." [13]  

Hill approached librarians at the public library on 135th Street in Harlem, the Harlem Branch of the New York Public Library, to start producing his plays. [2] The librarians granted Hill and the ANT permission to use their 150-seat Little Library Theatre basement stage. [2] The first show they produced Hits, Bits, and Skits opened on July 17, 1940.

The first major play that the ANT put into rehearsal was On Strivers' Row, which Hill put into rehearsal after it had done so well with the Rose McClendon Players, who also held performances in Harlem. [12] On Strivers' Row ran for five months and, in March 1941, Hill moved it to the Apollo Theater, where it ran for a week, as a musical with the lyrics of Don Burley, the music of J. P. Johnson, and the choreography of Leonard Harper.[ citation needed ]

In 1944, the ANT submitted a proposal to the General Education Board of Rockefeller Center, explaining that their objectives were to develop (1) an Art, (2) a Vital Theatre and (3) Pride and Honor, and requesting funding for the salaries of the company's officers. The proposal resulted in a $22,000 grant-in-aid. These objectives were also printed on programs for ANT productions.[ citation needed ]

Although the 1949 film Anna Lucasta was inspired by ANT's Broadway hit, it relied on the original 1936 Polish-American play to justify its all-white cast. Another film was released under the same title in 1958, with an all-Black cast. Anna Lucasta, starring Paulette Goddard, 1949.jpg
Although the 1949 film Anna Lucasta was inspired by ANT's Broadway hit, it relied on the original 1936 Polish-American play to justify its all-white cast. Another film was released under the same title in 1958, with an all-Black cast.

The company's most successful production Anna Lucasta ultimately led to its demise. [12] Anna Lucasta, which was inspired by Eugene O'Neil's Anna Christie, was "originally conceived as the story of a sordid, impoverished Polish family in a small Pennsylvania town," [6] but Yordan could not find a company to perform it, so he rewrote it to feature a Black family, and it was performed by the ANT in 1944. [6]

According to a notice in the Brooklyn Eagle on March 30, 1944, the sets for that initial production were designed by the American realist painter Michael Lenson, but that has not been verified.[ citation needed ] Five weeks later, the play opened on Broadway where it launched the career of Ruby Dee and scored star Alice Childress the first Tony nomination for a Black actress. [6]

Nine New York newspaper dailies reviewed the show.[ citation needed ] They all raved and producers instantly started fighting over who would get the rights to the play. [12] Yordan agreed to sign a Dramatists Guild contract that would make Hill the co-author of Anna Lucasta. This gave Hill a five percent author's royalty.[ citation needed ]

The ANT itself received few royalties for Anna Lucasta , and the next three ANT plays to appear on Broadway were not successful.[ citation needed ] As a result, divisions developed within the company, with many determined to repeat the success of Anna Lucasta, at the cost of their earlier emphasis on a "people's theatre", and Hill's own break with the company. [11] From then on, the ANT only featured plays from established white playwrights, and young actors viewed the ANT as a means to break into Broadway productions.[ citation needed ]

Mission

The ANT had a four-part mission: [14]

  1. To develop a permanent acting company trained in the arts and crafts of the theatre that also reflected the special gifts, talents, and attributes of African Americans.
  2. To produce plays that honestly, and with integrity, interpreted, illuminated, and criticized contemporary Black life and the concerns of the Black people.
  3. To maintain an affiliation with, and provide leadership for, other Black theatre groups throughout the nation.
  4. To utilize its resources to develop racial pride in the theatre, rather than racial apathy.

Constitution

When the ANT was first founded in 1940, the group created a 30-page constitution for themselves that reflected the ideals of the Federal Theatre Project. [5] The constitution also drew upon W. E. B. Du Bois's belief that African-American theatre should be by, about, for, and near African Americans. [3]

According to the constitution:

A People's theatre is a very valuable institution. it provides the finest outlet for class emotions that can be organized. It serves as a spur to citizen ambition provides a partly self-supporting source of work and income, and a healthy kind of occupational therapy on a national scale for thousands. Unhappily, we have been trained to think of the theatre mostly in terms of commercial enterprise that is too expensive when it is worthy, and too cheap and boring when it is not. We know it too frequently as an investment for gambling show men, or as a playground for dilettantes and escapists who are unable to withstand the hard realities of life. We need a people's theatre which shall in effect be a national theatre. The people who want a theatre will have to organize it and pay a part of the expense for both its creation and support. Realizing the reluctance of the people to assume this responsibility, the essential burden of stimulating the development of such a project rests upon the shoulders of those individuals who are willing to assume this obligation, those who feel sincerely the call in a genuine quest for the content of theatre art, and by their talent, industry, and profound respect for a theatre they shall create.[ citation needed ]

Stage productions

Notable graduates

(Selection was limited by availability.)

Archives

See also

Related Research Articles

<span class="mw-page-title-main">Ossie Davis</span> American actor, director, writer, and activist (1917–2005)

Raiford Chatman "Ossie" Davis was an American actor, director, writer, and activist. He was married to Ruby Dee, with whom he frequently performed, until his death. He received numerous accolades including a Grammy Award and a Writers Guild of America Award as well as nominations for five Emmy Awards, a Golden Globe Award, and Tony Award. Davis was inducted into the American Theater Hall of Fame in 1994 and received the National Medal of Arts in 1995, Kennedy Center Honors in 2004

<span class="mw-page-title-main">Ruby Dee</span> American actress (1922–2014)

Ruby Dee was an American actress, poet, playwright, screenwriter, journalist, and civil rights activist. Dee was married to Ossie Davis, with whom she frequently performed until his death in 2005. She received numerous accolades including two Emmy Awards, a Grammy Award, a Obie Award and a Drama Desk Award as well as nominations for an Academy Award. She was honored with the National Medal of Arts in 1995, the Screen Actors Guild Life Achievement Award in 2000, and the Kennedy Center Honors in 2004.

<span class="mw-page-title-main">Theater in the United States</span> Theatrical performance and history in the United States

Theater in the United States is part of the old European theatrical tradition and has been heavily influenced by the British theater. The central hub of the American theater scene is Manhattan, with its divisions of Broadway, Off-Broadway, and Off-Off-Broadway. Many movie and television stars have gotten their big break working in New York productions. Outside New York, many cities have professional regional or resident theater companies that produce their own seasons, with some works being produced regionally with hopes of eventually moving to New York. U.S. theater also has an active community theater culture, which relies mainly on local volunteers who may not be actively pursuing a theatrical career.

Alice Childress was an American novelist, playwright, and actress, acknowledged as "the only African-American woman to have written, produced, and published plays for four decades." Childress described her work as trying to portray the have-nots in a have society, saying: "My writing attempts to interpret the 'ordinary' because they are not ordinary. Each human is uniquely different. Like snowflakes, the human pattern is never cast twice. We are uncommonly and marvellously intricate in thought and action, our problems are most complex and, too often, silently borne." Childress became involved in social causes, and formed an off-Broadway union for actors.

<span class="mw-page-title-main">Frederick O'Neal</span>

Frederick O'Neal was an American actor, theater producer and television director. He founded the American Negro Theater, the British Negro Theatre, and was the first African-American president of the Actors' Equity Association. He was also known for his work behind the scenes as a revolutionary trade unionist.

<span class="mw-page-title-main">Gertrude Jeannette</span> American playwright and actress (1914–2018)

Gertrude Hadley Jeannette was an American playwright and film and stage actress. She is also known for being the first woman to work as a licensed taxi driver in New York City, which she began doing in 1942. Despite being blacklisted during the Red Scare in the 1950s, she wrote five plays and founded the H.A.D.L.E.Y. Players in Harlem, New York, remaining active in mentoring African-American actors in New York City. In the 1960s and 1970s she appeared in Broadway productions such as The Long Dream, Nobody Loves an Albatross, The Amen Corner, The Skin of Our Teeth and Vieux Carré. She also appeared in films such as Cotton Comes to Harlem in 1969, Shaft in 1971, and Black Girl in 1972. She acted into her 80s and retired from directing theater at the age of 98.

<span class="mw-page-title-main">Eulalie Spence</span> American dramatist

Eulalie Spence was a writer, teacher, director, actress and playwright from the British West Indies. She was an influential member of the Harlem Renaissance, writing fourteen plays, at least five of which were published. Spence, who described herself as a "folk dramatist" who made plays for fun and entertainment, was considered one of the most experienced female playwrights before the 1950s, and received more recognition than other black playwrights of the Harlem Renaissance period, winning several competitions. She presented several plays with W.E.B. Du Bois' Krigwa Players, of which she was a member from 1926 to 1928. Spence was also a mentor to theatrical producer Joseph Papp, founder of The Public Theater and the accompanying festival currently known as Shakespeare in the Park.

<span class="mw-page-title-main">Osceola Archer</span> American actress and fashion designer

Osceola Marie Adams, known professionally by the stage name Osceola Archer, was one of the first Black actresses to appear on Broadway in Between Two Worlds in 1934. Speaking of Adams' decade-long role as director of some three dozen productions at the Putnam County Playhouse, actor Carl Harms noted she was likely also the first African-American director of summer stock.

<span class="mw-page-title-main">Alvin Childress</span> American actor (1907–1986)

Alvin Childress was an American actor, who is best known for playing the cabdriver Amos Jones in the 1950s television comedy series Amos 'n' Andy.

<span class="mw-page-title-main">Hilda Simms</span> American actress (1918–1994)

Hilda Simms was an American stage actress, best known for her starring role on Broadway in Anna Lucasta.

<span class="mw-page-title-main">J. E. Franklin</span> American dramatist (born 1937)

J. E. Franklin is an American playwright, best known for her play Black Girl, which was broadcast on public television in 1969, staged Off-Broadway in 1971, and made into a feature film in 1972. She has written and adapted plays for television, theater, and film.

Dick Campbell, born Cornelius Coleridge Campbell, was a key figure in black theater during the Harlem Renaissance. While a successful performer in his own right, Campbell is best known as a tireless advocate for black actors in general. As a theater producer and director, he helped launch the careers of several black theater artists, including Ossie Davis, Frederick O'Neal, Loften Mitchell, Helen Martin, and Abram Hill.

A number of theatre companies are associated with the Harlem Renaissance.

<i>Anna Lucasta</i> (play) 1944 play written by Philip Yordan

Anna Lucasta is a 1944 American play by Philip Yordan. Inspired by Eugene O'Neill's Anna Christie, the play was originally written about a Polish American family. The American Negro Theatre director Abram Hill and director Harry Wagstaff Gribble adapted the script for an all African American cast, and presented the first performance on June 16, 1944. The play moved from Harlem to Broadway's Mansfield Theatre, running August 30, 1944 – November 30, 1946. The Broadway cast included Hilda Simms, Canada Lee, and Alice Childress.

New Heritage Theatre Group (NHTG) is the oldest Black nonprofit theater company in New York City, established in 1964. Through its multiple divisions: IMPACT Repertory Theatre, The Roger Furman Reading Series, and New Heritage Films, New Heritage gives training, exposure, and experience to new and emerging artists, playwrights, directors and technicians of color. New Heritage was founded by the late Roger Furman and is currently headed by Executive Producer Voza Rivers and Executive Artistic Director Jamal Joseph. NHTG presentations capture the historical, social, and political experiences of Black and Latino descendants in America and abroad.

Abram Hill, also known as Ab Hill, was an American playwright, author of On Strivers Row, Walk Hard, Talk Loud and several other plays; and a principal figure in the development of black theatre from Atlanta, Georgia.

<span class="mw-page-title-main">Billie Allen</span> American actress (1925–2015)

Billie Allen was an American actress, theater director, dancer and entertainer. Allen was one of the first black actors and performers to appear on television and stage in the United States, at a time when those venues were largely closed to African Americans. During the 1950s, Allen became one of the first black entertainers to have a recurring role on network television when she was cast as a WAC on staff on the CBS army base comedy The Phil Silvers Show, from 1955 to 1959. She was one of the first African Americans to appear on television commercials in the U.S. She was also one of the earliest African-American actors on daytime soap operas as she appeared in the mid-1950s as the character Ada Chandler on the popular daytime soap opera The Edge of Night. Allen was also known for her work on Broadway and off-Broadway.

Stella Holt was an American theater producer. She served as managing director of the off-Broadway Greenwich Mews Theater in New York City for 15 years.

Georgia Burke was an American actress who had performed on television, radio, and Broadway theatre between the 1930s and the 1960s. In 1934 Burke made her debut in Broadway in They Shall Not Die, and in 1944 she won a Donaldson Award as the third choice for Best Supporting Actress in Edward Chodorov's play, Decision. Burke had performed in the 1952 U.S. State Department-sponsored international production of Porgy and Bess and had taken a role as a nurse in the radio program When a Girl Marries, which had been broadcast for 18 years. She had also performed in the 1944 Broadway production of Anna Lucasta and its second film counterpart in 1958.

<i>Freedom</i> (American newspaper) 1950–1955 monthly newspaper on African-American issues

Freedom was a monthly newspaper focused on African-American issues published from 1950 to 1955. The publication was associated primarily with the internationally renowned singer, actor and then officially disfavored activist Paul Robeson, whose column, with his photograph, ran on most of its front pages. Freedom's motto was: "Where one is enslaved, all are in chains!" The newspaper has been described as "the most visible African American Left cultural institution during the early 1950s." In another characterization, "Freedom paper was basically an attempt by a small group of black activists, most of them Communists, to provide Robeson with a base in Harlem and a means of reaching his public... The paper offered more coverage of the labor movement than nearly any other publication, particularly of the left-led unions that were expelled from the CIO in the late 1940s... [It] encouraged its African American readership to identify its struggles with anti-colonial movements in Africa, Asia, and the Caribbean. Freedom gave extensive publicity to... the struggle against apartheid."

References

  1. 1 2 3 "The American Negro Theatre and the Long Civil Rights Era". jadtjournal.org. Retrieved 2022-01-10.
  2. 1 2 3 4 Hill, Anthony Duane (2008-02-06). "American Negro Theatre (1940-ca. 1955) •" . Retrieved 2022-01-09.
  3. 1 2 Hutchinson, George; Hutchinson, George Evelyn (2007-06-14). The Cambridge Companion to the Harlem Renaissance. Cambridge University Press. ISBN   978-0-521-67368-6.
  4. 1 2 "The American Negro Theater is Formed". African American Registry. Retrieved 2022-01-09.
  5. 1 2 3 "archives.nypl.org -- American Negro Theatre records". archives.nypl.org. Retrieved 2022-01-09.
  6. 1 2 3 4 "Alice Childress, the Last Woman Standing". The New Yorker. 2011-10-03. Retrieved 2022-01-10.
  7. "Remembering Ruby Dee, Celebrating the American Negro Theatre". The New York Public Library. Retrieved 2022-01-16.
  8. "Remembering Osceola Archer—Thespian, Activist". TAPinto. Retrieved 2022-01-12.
  9. Frederick, Candice. "How the American Negro Theatre Shaped the Career of the Iconic Harry Belafonte". www.nypl.org. Archived from the original on 2015-07-09. Retrieved 2022-01-16.
  10. "Remembering Osceola Archer: Summer Stock Director and Equity Advocate". www.putnamcountyny.com. Archived from the original on 2020-09-28. Retrieved 2022-01-12.
  11. 1 2 3 "American Negro Theatre - Social Networks and Archival Context". snaccooperative.org. Retrieved 2022-01-09.
  12. 1 2 3 4 Marshall University et al. "American Negro Theater, 1930-1955." Clio: Your Guide to History. July 14, 2021. Accessed January 10, 2022. https://theclio.com/entry/1392
  13. 1 2 Schomburg Center for Research in Black Culture, New York Public Library. "The 75th Anniversary of the American Negro Theatre". www.nypl.org. Archived from the original on 2015-07-07. Retrieved 2022-01-16.
  14. "The 75th Anniversary of the American Negro Theatre". The New York Public Library. Retrieved 2022-01-09.

Bibliography