Evolution of Black Theatre

History is made in four ways. First, by the people involved. Second, by the people who observe the event and pass on their version by word of mouth. Third, by the observer who writes and document their findings on paper. And fourth, by those who do not write. This is true about African American theatre. There are many stories about when and how African American theater came about but no one is certain. But, there is something that is certain. Interest in African American theater came from two causes: the increased concentration of African Americans in urban areas and the Black arts movement with emphasis on African American cultural centers in which revolutionary political action and community organization are paired with poetry, drama in the arts (Peterson).

The roots of African American Theatre can be traced back to the 1800's. In 1816, an ex-seaman by the name of William Brown formed the first African American Theatre toupe. Brown offered a variety of instrumental and vocal entertainments on Sunday afternoons, attracting people from the five boroughs of New York City. It was not until 1821 that Brown converted the second floor of a two story house into a 300-seat theatre called African Grove Theatre. (A. Hill) Opening on September 21st with a performance of Richard III, the company performed a variety of plays ranging from Shakespeare, to pantomime, to farce. Brown was also the first African American to write and stage a play. The Drama of King Shotaway depicted the Black Carib War in 1796 between English and French Settlers.

Two actors who helped the Grove Theatre reach success were James Hewlett, the first African American Shakespearean actor (Hill), and Ira Aldridge, the first African American to receive international success (A. Hill). As the theater continued to reach success, their competitor, Park Theatre, sent hooligans to cause disruptions within the theatre. They destroyed furniture, scenery, and props. (White). Striving through all the hard times, the African Grove Theatre continued for three years until it was burned down in 1823 by unknown circumstances. (A. Hill) After the fire, James continued to perform in one-man shows. He entertained large audience on the United States, England, and France. Realizing that he could not be successful in the United States, Ira left for Europe where he received success as a touring actor. (Thompson Jr.)

You also took my spirituals and gone.

You put me in Macbeth and Carmen Jones

And all kinds of Swing Mikados

And in everything but what's about me—

But someday somebody'll

Stand up and talk about me,

And write about me—

Black and beautiful—

And sing about me,

And put on plays about me!

I reckon it'll be

Me myself!

Yes, it'll be me.

Moving forward to the 1830's, Minstrel shows began to gain popularity in the United States. Mentioned in Langston Hughes poem above, Minstrel shows portrayed African American in a negative light and helped shaped many assumptions about African Americans. They ridiculed African Americans as ignorant, lazy, buffoonish, superstitious, joyous, and musical. (Minstrel Show - Wikipedia) For many years, the show consisted of White men dressing up as plantation slaves with black face imitating black musical and dance forms, combining savage parody of black Americans with genuine fondness for African American cultural forms. (A. Hill) Three characters who primarily appeared in the shows are Jim Crow, the stereotypical carefree slave, Mr. Tambo, a joyous musician, and Zip Coon, a free African American trying to rise above his station.

It was not until after the civil war that African Americans joined the movement, putting on minstrel makeup and acting out routines. One of the first African American to perform in a minstrel show for a white audience was William Henry Lane. Lane, the inventor of tap dancing, was known to audiences as Master Juba. He received his name from a word that signified a rhythmic dance that came over to America with Africans on slave ships. (Hannah) The most influential African American during this period was Dewey "Pigmeat" Markham. Performing for African Americans exclusively, Markham received his nickname "Pigmeat" while performing a routine when he declared himself to be "Sweet Poppa Pigmeat". (Blackface! - Dewey Pigmeat Markham) Known for his "Here come da Judge", Markham would sit in an elevated judge's