A Bold Vision for the future of Black Theatre: Reflections from a Landmark Gathering
A recent event at the Park Avenue Armory in New York City sparked a powerful conversation about the past, present, and – crucially – the future of black theatre. The gathering, brimming with artistry and intellectual energy, featured a captivating performance by Jeymes Samuel, utilizing stunning live looping of his voice. This set the stage for a keynote address delivered by acclaimed playwright Jordan E. Cooper,author of Ain’t No Mo’ and the upcoming Oh Happy Day! at the Public Theater.
Confronting History, Embracing “Intentional Foolishness”
Cooper’s address didn’t shy away from tough truths. He began by highlighting the summer of 1822, a period marked by both resistance and nascent artistic expression within the Black community.
He recounted two pivotal events:
* Denmark Vesey’s Rebellion: Vesey, a free black man, led a planned uprising against slavery in Charleston, South Carolina. Despite the high risk of exposure, he persevered, ultimately facing execution alongside his co-conspirators.
* The African Grove Theatre: Founded the previous year by William Alexander Brown,this theatre company boldly staged Shakespeare’s Richard III with Black performers. They faced intense opposition – including police intervention – for daring to challenge racial norms, yet continued performing, leading to their arrest.
Cooper framed both Vesey and Brown as exemplars of “intentional foolishness.” He argued they proceeded despite the clear and present danger, defying systems designed to suppress Black agency and creativity. This defiance, he urged, is a model for today: a call to “act a fool” when institutions attempt to undermine progress.
love, Grief, and Artistic Lineage: A conversation with McCrory
Following his address, cooper engaged in a fireside chat with actor and director Phylicia Rashad McCrory. Their discussion delved into the complex interplay of love and grief within artistic expression. They also explored the vital importance of access to theatre, emphasizing its power to cultivate new talent and broaden audiences.
A particularly resonant point emerged when Cooper quoted a former professor: “You are a descendant of who you read.” McCrory thoughtfully considered this idea, acknowledging both its liberating potential and the potential for overwhelm in the age of constant information and social media. It’s a powerful reminder of the weight of artistic influence and the responsibility that comes with it.
A Radical Vision: “Everything Shoudl Be Free”
Synthesizing the day’s insights, McCrory posed a final, expansive question to Cooper: What kind of future, society, and world would you like to build? After considering various possibilities, Cooper arrived at a deceptively simple yet profoundly radical answer: “I just think everything should be free.”
This sentiment resonated deeply with attendees, encapsulating a shared desire for a Black theatre landscape – and a broader society – that is truly accessible to all. The post-event reception, held immediately outside the Veterans Room, continued this spirit of dreaming and collaboration.
Looking Ahead
This event wasn’t just a moment of reflection; it was a catalyst for action. It underscored the need to dismantle barriers to participation in the arts and to champion a future where Black theatre thrives, free from systemic constraints. As arts writer Adam Wassilchalk, who covered the event, noted, the goal is a future that is “free and accessible to all-and permanently so.”
Adam Wassilchalk (he/him) is a harlem-based arts writer, stage manager, and production manager from Austin, Texas. Connect with him here.
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