Cry for Black Theater

The Cry for Black Theater: It's No Laughing Matter
By Angela Ray

    What do Barbara Montgomery, John Amos, and Hal Williams all have in common? By chance, it's the way they have made us laugh in various TV sit coms, such as Amen, Good Times, and 227.
    Indeed, they have etched a place in our hearts through the memorable images they have brought into our living rooms. But more recently, they all traveled to Winston-Salem, North Carolina this year for one special reason: the National Black Theater Festival.
    Although August of 1999 was the 10th Anniversary of the National Black Theater Festival, which is held biennially, many still do not know of its existence. By far, even less know of its significance.
    Larry Leon Hamlin, founder and producer of the festival, commenced the celebration in 1989 to secure the survival of the genre into the next millennium as Black theaters began to decline. Hamlin has surpassed that goal as each year the festival attracts more than 40,000 people. Currently, it consists of six days of dynamic performances, informative workshops, a reader's theater series, an international vendor's market, the youth/celebrity project, and nightly celebrity receptions. No doubt, the National Black Theater Festival lives up to its theme as An International Celebration and Reunion of Spirit.
    This year's chairperson was the world-renowned actress and recording artist, Leslie Uggams who gracefully and elegantly presided as the festival began with an opening night gala. The star-studded awards banquet was followed by an exuberant performance by the legendary Ruby Dee who presented her one-woman show, My One Good Nerve: A Visit with Ruby Dee.
    This somewhat autobiographical, yet humorous collection of prose and poetry was a witty act, to say the least, from the already accomplished actress. The show, produced by her superstar husband, Ossie Davis, touched on many topics. One such topic was love as she proclaimed, "When you sink in a man's arms, you find your arms in his sink."
    Like Ruby Dee, many actresses and actors adorned the stages all over the city. I was fortunate to see seven outstanding productions. One of the most profound productions of the festival, however, was The Trial of One Short-Sighted Black Woman vs. Mammy Louis and Safreeta Mae.
     Promoted as a mock trial sparked by the mass media images of Black women, this heart-wrenching drama was much more. Presented in a courtroom, the production took a candid and realistic examination of how Black women today feel about the traditional "mammy" and "tragic mulatto" characters that opened the door for many black actresses. Yet, it discerned the difference between those images and the actresses, or real people, who portrayed those characters.
    Further, it made an extremely strong commentary on the importance of Black women looking within themselves and to their ancestors to find their identity rather than the predominately white controlled media images of them that frequent television and films. As the Defense Attorney, portrayed by actress Deborah Edwards stated, "Don't look in somebody else's sewing box for your own thread."
    Throughout the week, the city was filled with television and film stars, most of whom were very approachable, contrary to popular belief. As Suzzanne Douglas, who enjoyed her vegetarian meal as we talked, stated, "We are here to serve." Douglas, who is known for her recent portrayal of Jeri Peterson on the now canceled Parent 'Hood, was a first time attendee to the festival, but she is no stranger to the stage. She has appeared in Broadway and off Broadway shows like The Threepenny Opera, The Tap Dance Kid, and Little Shop of Horrors.
    Like most expos of its kind, the National Black Theater Festival also attracted the rising stars of tomorrow who were blessed with a rare opportunity to get up close and personal with the professionals who have paved the way.
    One such venue was the readers theater series of new plays. All of the readings were free and there were at least two per day. I was privileged to be a part of one of those readings, performing on stage with Ja'Net DuBois, (Wilona, Good Times), Virginia Capers, (Granny, The Fresh Prince of Bel-Aire), Joan Pringle (Generations), in a work entitled, Caribbean City Chatters and the Southern Jezebel."
    Indeed the National Black Theater Festival is a class act. So, why aren't all the plays sold out? Do we not care about its preservation? Recently , we have watched some disturbing events in this country. Proposition 209 was passed in California. We mourned the death of a Black man in Jasper, Texas.
    Not unlike the rest of society, Black stars are touched by injustices as we continue to see few positive portrayals of African Americans on television. While many stars emphasized the power of the pen and paper in keeping quality shows on the air, an endeavor in which we all need to proactively participate, we still do not control the networks. Black theater is a venue we can control and keep alive if we support it. Hamlin has answered the cry for Black theater. If celebrities speak about its necessity, surely there is urgency. We can not forget how the Harlem Renaissance, strongly engrossed in theater, changed Black America forever. In short, Black theater is a forum to enlighten, inform, entertain, and address issues pertinent to the Black experience. While we have attained some freedom, we are far from equal in this society; consequently, we must continue with this cultural fundamental.
    Ossie Davis summed it up quite eloquently as he spoke at a press conference during the festival. He stated, "Freedom is the power to sit in this hall in this hotel. Equality is the power to go across the street and build one."

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