June 11, 2009

BY DARLENE DONLOE

CONTRIBUTING WRITER

Black theater is alive and as well as can be expected in Los Angeles.

It’s no secret that the City of Angels is not regarded as a theater town. Its identity, and rightly so, is that of a mecca for both the television and film industries.

But, with a number of “black” plays consistently up and running every weekend at local theaters, to the casual observer it could look like there is a resurgence of “black” theatrical productions in Tinseltown.

A sampling of more high-profile “black” shows mounted this year include: “Stormy Weather” which broke records at the Pasadena Playhouse; “Crowns,” an Ebony Repertory Theatre production currently playing at the Nate Holden Performing Arts Center; “Stick Fly,” still running at the Matrix Theater; “Bronzeville,” a Robey Theatre Co. production which had a successful stint at The New LATC; “Ceremonies in Dark Old Men,” at the Skirball Cultural Center; “Ain’t Misbehavin,’ ” at the Ahmanson Theatre and “Gospel, Gospel, Gospel” at the Wilshire Ebell Theatre. 

For every high-profile black play mounted in Los Angeles, there are numerous smaller shows in production throughout the city.

But looks can be deceiving.

According to several L.A. theater veterans, it may appear like there’s a resurgence of black shows, but after all — this is Hollywood — it could all be just smoke and mirrors.

All agreed there is no resurgence, but there is hope. 

“When you talk about a resurgence, there has to be something new coming forth,” said “Stick Fly” director Shirley Jo Finney, who also helmed the 2005 drama “Yellowman.”

“I don’t see new stories and new writers being introduced — so it’s not resurgence,” she said. “I’m going to say there is an interest and a portal being opened. If you do revivals of work, that is one thing. Resurgence means new stories.”

Theater veteran Israel Hicks, who has been doing productions since 1969 and is currently directing “Crowns” for the Ebony Repertory Theatre (ERT), agreed.

“I don’t see resurgence,” he said. “I hear there is one, but I don’t see it. Looking around the country, it’s not happening like that. If it was, we’d see more actors, directors and playwrights. We can’t survive simply by using the old material. We have to write about today from a different perspective. It’s going to change during the writing.”

ERT founder and producer Wren T. Brown said he was “hopeful” there was resurgence because resurgence speaks to volume.

“I’m not seeing the volume in Los Angeles or around the country,” Brown said. “However, I know there are countless voices. I think there is a tremendous opportunity for a rebirth. We are achieving in so many ways that we have even more stories to tell. We as a people have broadened our discussion.” 

“As someone who has worked in theater, black theater has always been incredibly strong,” said Sheldon Epps, artistic director of the Pasadena Playhouse. “The audience has always been there. When something is offered that is of quality and appeal, that audience will come out and see the plays and musicals. There may be more of a focus on it because of people like Tyler Perry and some others and big musicals like ‘The Color Purple.’ I think that’s only shining the light on something that has been going on for many years.”

Black productions have historically done well in Los Angeles, often powered by the proficiency and volume of networking in the black community. Some of those shows go back as far as “Your Arms Too Short To Box With God,” “Beauty Shop,” and “The Gospel Truth,” to plays by August Wilson, shows by Tyler Perry (“Madea Goes To Jail” and “Marriage Counselor”), musicals like “Sister Act,” and Oprah Winfrey’s presentation of “The Color Purple.”

Black theater has a rich and lush history dating back to slavery, minstrel shows and vaudeville. After the Civil War, blacks started forming their own theater companies and eventually gained entry to the mainstream stage. Once the door was opened, black theater companies began to flourish.

Ben Guillory, founder of the 15-year-old Robey Theatre Co., said at one time there were a number of black theater companies in Los Angeles and across the country. However, he added many were dismantled due to either mismanagement or no support.

“In 1973 there were over 400 black theaters in this country,” said Guillory, whose company will mount “River Niger” in November. Then it went to about 120. Why? There were a lot of reasons, but the outcome was fewer black companies.”

A vocal administrator, actor and director, Guillory has a lot to say about the notion of a rebirth and points to what he calls “a lack of support.”

“The only way there can be resurgence is if we get support,” Guillory said. “And I mean support in different ways, including financially. …

“There needs to be artistic support for artists and technicians who want to be part of a creative team. It comes in the support of the community that is interested and will come purchase a ticket and be part of the audience. I don’t think there is (a) resurgence. There has always been theater in Los Angeles. There have always been theaters of color.”

The Towne Street Theatre, helmed by Nancy Cheryll Davis, touts itself on its Web site as “L.A.’s Premiere African-American Theatre Company.”

Now in its 16th year, the company was started after the 1992 L.A. Rebellion by Davis, Nathaniel Bellamy and Nancy Rene in response to the question, “Can the arts heal L.A.?” Since that time, it has consistently showcased the works of black playwrights, actors, directors and other creative technicians.

“No, there is no resurgence,” said Davis, whose company will mount “Purlie Victorious” later this year. “Maybe it just looks like folks are doing more because plays are being done, but it’s not (a) resurgence necessarily.”

While all agreed there is no black theater renaissance happening in Los Angeles, there was a slight difference of opinion when it came to defining black theater. 

The answer isn’t exactly black and white.

The question becomes: Is it the cast, director, lead actor/actress, venue, playwright or material that constitutes a black production?

“It’s all of the above and then some,” Guillory said. “More than anything else, it’s about the black experience. It’s a good idea if the director is black. However, I think it’s dangerous to generalize. How we do it at Robey is to talk about the black experience globally. Here we look at the black experience as opposed to the African American experience because it limits it to the United States.”

Michole Briana White, a 20-year acting veteran who has won an OBIE, Drama Desk and AUDELCO for her performance in the original Off Broadway production of August Wilson’s “Jitney,” said black theater is about “black people and black life.”

“It’s something I can relate to,” said White, who is currently starring in “Stick Fly.” “I can see myself on stage. Everyone likes to see themselves on stage. That’s for any culture. It’s more interesting when you see yourself and it’s good work. Good work is universal.”

The debate on black theater may rage on for generations, but there’s no dispute about it being a survivor. It has seen highs and lows.

And just what does the future hold?

Says Hicks: “I wish I knew.”