The Colonization of Black Theatre

Abstract

August Wilson's keynote address to the 1996 biennial conference of the Theatre Communications Group spawned a significant body of critical discourse and contention within the theatrical community and beyond. Among other sharp criticisms, he admonished the funding community concerning the continual lack of support for black theatres and cited the principle of colorblind casting as a denial of both black identity and historical and cultural truths. Mr. Wilson is a company member here at Penumbra Theatre Company and this long-standing relationship has many ways shaped the aesthetic that Penumbra has developed. I have consistently been philosophical agreement with him and have, public arenas, already stated my feelings (albeit not so eloquently as has Mr. Wilson). In this essay, I will indicate my thoughts regard to many of the issues raised by Mr. Wilson and how Penumbra seeks to theatrically address them. I am often, as Mr. Wilson is now, cast as the spoiler, for the efforts of major regional theatrical endeavors the multi-cultural arena. I have been quite critical of many of those efforts. Perhaps this is an opportunity to make a clear statement without argument. Since the Guthrie is our regional, here the Midwest, many of my comments refer to its efforts. In my view, the attempts by the Guthrie are indicative of a national milieu (or malaise) and not particular to the artistic directorship at that particular institution. The greatest travesty American theatre today is that, spite of the voluminous amounts of talent and craft evident at every level the black theatrical, musical, and artistic communities, we--as a nation--have not found it necessary to institute and support a major regional black theatre. Furthermore, I view the efforts of the major regional theatres (translation: white, since those are the only ones existence) to be antithetical to that end. Perhaps the following will help you to understand my position. By examining these specifics, I should be able to shed light upon a national condition which, as August Wilson is advocating, must be rectified. Both Mr. Wilson and Penumbra have, because of the tremendous resources the major regional theatres possess, allowed our craft to be exhibited those venues. Some of those closest to me, and whose opinions I hold high regard, counsel me to find ways to work with these major institutions. They argue quite persuasively that by sharing precious resources we could mount projects that could be to our mutual benefit. After all, these organizations have taken up the multi-cultural mandate and, like it or not, they are now in the business. I am advised to assume a position which would lessen many of my negative comments concerning the recent efforts of these organizations and the effects of these efforts upon my organization. I should, I am told, offer constructive criticism and partnership rather than polemical arguments which only serve to widen the chasm between our organizations. Penumbra, a recent collaboration, performed our production of Fences at the Guthrie Theatre Minneapolis. This collaborative venture was regarded by all as an example of two organizations coming together a respectful manner to produce great art. The result was a production that played to large numbers of people and retained the cultural truth for which Penumbra has been known. What will be the fruits of this endeavor? Will major regional theatres across the U.S. respect the expertise of black organizations that understand and maintain art and culture their communities, or will they understand an endeavor like the Penumbra /Guthrie collaboration to be a license to produce and do what they will regardless of the effects upon organizations like Penumbra and the communities they represent? What strikes me as very interesting is why Mr. Wilson's voice is audible now? Both he and I are saying essentially what we have said all along. …