American Negro Theater, 1930-1955

Time Capsule-Historic Images and Recollections (Images and Recollections)
The American Negro Theater was the first all African-American resident theater company in the U.S. During the years active it's resident acting ensemble members included Ruby Dee, Sidney Portier, and Harry Belefonte. The American Negro Theater utilized a variety of venues and utilized the basement of the New York Public Library.

Photo ANT's production of Macbeth
Photo ANT's production of Macbeth
Photo ANT's production of Macbeth
Photo ANT's production of Macbeth
Photo ANT's production of Macbeth
Photo ANT's production of Macbeth
     In 1940, the American Negro Theater was formed by founding members Abram Hill and Fredrick O’Neal in Harlem, New York. It was a product of the Negro unit of the federal Theater project. There was desire to establish a permanent acting company specializing theater that also catered to the special skills of African-American performers and culture. At this time there was a lack of representation in this art form. The continuation of their goal was to produce plays that reflected accurately and truthfully contemporary black life. The company prided themselves on being trailblazers and delighted in guiding other companies that followed in their footsteps. The earliest officers elected to hold positions in the company were Hill (artistic director/playwright), O’Neal (company manager), and John O’Shaughnessy. Theatrical technicians were Perry Watkins, Charles Sebree, and Roger Furman.
     ANT’s program was divided into three categories: stage production and a training and radio program. Stage productions included On Striver’s Row by Abram Hill (September 1940), Natural Man by Theodore Browne (May 1941), On Striver’s Row, the musical version by Hill (March 1941), Three is a Family by Phoebe and Henry Ephron (November 1943), which transferred to Broadway (April 1944), Anna Lucasta by Philip Yourdan, adapted by Abram Hill (June 194), Garden of Time by Owen Dodson (March 1945), Henri Christophe by Dan Hammersmith (June 1945), Home is the Hunter by Samuel Kootz (January 1946), On Striver’s Row by Abram Hill, (revived in February 1946), Angel Street by Patrick Hamilton (July 1946), Juno and the Paycock by Sean O’Casey (July 1946), You Can’t Take It with You by Moss Hart and George Kaufman (August 1946), The Peacemaker by Kurt Unkelbach (November 1946), Tin Top Valley by Walter Carroll (March 1947), The Later Christopher Bean by Sidney Howard (July 1947), Rope by Eugene O’Neill (July 1947), The Show Off  by George Kelly (August 1947), Rain by John Colton and Clemence Randolph (December 1947), The Washington Years by Nat Sherman (March 1948); Sojourner Truth by Katherine G. Chaplin (April 1949), Almost Faithful by Harry Wagstaff Gribble (June 1948), Riders to the Sea by John Millington Synge, and Freight by Kenneth White (February 1949). The play that brought ANT the most recognition, however, was Anna Lucasta. It opened at The Harlem Library Theatre, but Broadway producers were anxious to move it downtown because of its commercial appeal. The show ran on Broadway for 957 performances before it toured throughout the country and later abroad in London, England. The success of Anna on Broadway had a two-fold effect on the company. It caused the demise of ANT because it departed from the company’s community roots and resulted in the loss of its founder Hill, who resigned due to the shift in goals and ideology.
     Many company members left the ensemble an had immediate success. Ruby Dee after leaving was in the hit Broadway production of A Raisin in The Sun by Lorraine Hansberry. Sidney Portier, also had a turbulent stint with the company, being rejected by ANT twice he finally manged to prove himself and gain roles with company after fellow member, Belefonte, left a show for another job. Sidney was seen in a touring production and began his film career shortly after. Harry Belefante, in his time was one of the most revered members of the acting ensemble. He also left for stardom shortly after his arrival.
    The educational portion of the company was very extensive and rigid. It allowed many young talented African-American stage actors to be trained in all elements of theater, film, and radio. In 1945, the theater was the first to have its own radio show featuring performances of it operas and a variety show. The theater began to loose its relevancy around this time but managed to continue producing work well into the min-1950's. The American Negro Theater brought awareness to black artists of the time and exposed many people to the culture of African-American theater. 

Sources

“blackpast.org,”last modified 2015
http://www.blackpast.org/aah/american-negro-theatre

"aaregistry.org,"last modified 2013
http://www.aaregistry.org/historic_events/view/american-negro-theater-formed

"Nypl.org,"last modified 2014
http://www.nypl.org/locations/harlem

Address
9 West 124th Street New York, NY
New York, New York 0
Tags
  • African American History
  • Cultural History
  • Urban History
This location was created on 2015-04-28 by Khiry Starghill, Marshall University; Instructed by David Trowbridge.   It was last updated on 2015-05-01 by David Trowbridge .

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