A History of African American Theatre Errol G

Cambridge University Press 978-0-521-62472-5 - A History of African American Theatre Errol G. Hill and James V. Hatch Frontmatter More information AHistory of African American Theatre This is the first definitive history of African American theatre. The text embraces awidegeographyinvestigating companies from coast to coast as well as the anglo- phoneCaribbean and African American companies touring Europe, Australia, and Africa. This history represents a catholicity of styles – from African ritual born out of slavery to European forms, from amateur to professional. It covers nearly two and ahalf centuries of black performance and production with issues of gender, class, and race ever in attendance. The volume encompasses aspects of performance such as minstrel, vaudeville, cabaret acts, musicals, and opera. Shows by white playwrights that used black casts, particularly in music and dance, are included, as are productions of western classics and a host of Shakespeare plays. The breadth and vitality of black theatre history, from the individual performance to large-scale company productions, from political nationalism to integration, are conveyed in this volume. errol g. hill was Professor Emeritus at Dartmouth College, Hanover, New Hampshire before his death in September 2003.Hetaughtat the University of the West Indies and Ibadan University, Nigeria, before taking up a post at Dartmouth in 1968.His publications include The Trinidad Carnival (1972), The Theatre of Black Americans (1980), Shakespeare in Sable (1984), The Jamaican Stage, 1655–1900 (1992), and The Cambridge Guide to African and Caribbean Theatre (with Martin Banham and George Woodyard, 1994); and he was contributing editor of several collections of Caribbean plays. He was awarded the Gold Medal for Drama from the Government of Trininad and Tobago, the Barnard Hewitt Award for Outstanding Research in Theatre History, the Robert Lewis Medal for Lifetime Achievement in Theatre Research, the Presidential Medal for Outstanding Leadership and Achievement from Dartmouth College, and an Honorary Doctor of Letters from the University of the West Indies. james v. hatch is Professor Emeritus in the Graduate Theatre Program at the City University of New York. He is author of several books on African American theatre, including Black Theater USA (coedited with Ted Shine, 1996) and the prize-winning biography Sorrow is the Only Faithful One: The Life of Owen Dodson (1993). With his wife, Camille Billops, he founded the Hatch-Billops Collection, an archive of black cultural materials that has published twenty-one annual vol- umes of Artist and Influence.His recognitions include the Skowhegan Award (with Camille Billops) for contributors to the arts, the Winona Fletcher Award for Out- standing Achievement in Black Theatre, the Life Achievement Award from the American Theatre in Higher Education, and two Obie Awards for contributors to off-Broadway Theatre. © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-62472-5 - A History of African American Theatre Errol G. Hill and James V. Hatch Frontmatter More information © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-62472-5 - A History of African American Theatre Errol G. Hill and James V. Hatch Frontmatter More information CAMBRIDGE STUDIES IN AMERICAN THEATRE AND DRAMA General editor Don B. Wilmeth, Brown University Advisory board C. W. E. Bigsby, University of East Anglia C. Lee Jenner, Independent critic and dramaturge Bruce A. McConachie, University of Pittsburgh Brenda Murphy, University of Connecticut Laurence Senelick, Tufts University The American theatre and its literature are attracting, after long neglect, the crucial attention of historians, theoreticians, and critics of the arts. Long a field for isolated research yet too frequently marginalized in the academy, the American theatre has always been a sensitive gauge of social pressures and public issues. Investigations into its myriad shapes and manifestations are relevant to students of drama, theatre, literature, cultural experience, and political development. The primary intent of this series is to set up a forum of important and original scholarship in and criticism of American theatre and drama in a cultural and social context. Inclusive by design, the series accommodates leading work in areas ranging from the study of drama as literature to theatre histories, theoretical explorations, production histories, and readings of more popular or para-theatrical forms. While maintaining a specific emphasis on theatre in the United States, the series welcomes work grounded broadly in cultural studies and narratives with interdisciplinary reach. Cambridge Studies in American Theatre and Drama thus provides a crossroads where historical, theoretical, literary, and biographical approaches meet and combine, promoting imaginative research in theatre and drama from a variety of new perspectives. Books in the Series 1.SamuelHay,African American Theatre 2. Marc Robinson, The Other American Drama 3.AmyGreen, The Revisionist Stage: American Directors Re-Invent the Classics 4. Jared Brown, The Theatre in America During the Revolution 5.Susan Harris Smith, American Drama: The Bastard Art 6. Mark Fearnow, The American Stage and the Great Depression 7. Rosemarie K. Bank, Theatre Culture in America, 1825–1860 8. Dale Cockrell, Demons of Disorder: Early Blackface Minstrels and Their World 9.Stephen J. Bottoms, The Theatre of Sam Shepard 10. Michael A. Morrison, John Barrymore, Shakespearean Actor 11.Brenda Murphy, Congressional Theatre: Dramatizing McCarthyism on Stage, Film, and Television 12. Jorge Huerta, Chicano Drama: Performance, Society and Myth 13. Roger A. Hall, Performing the American Frontier, 1870–1906 14.Brooks McNamara, The New York Concert Saloon: The Devil’s Own Nights © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-62472-5 - A History of African American Theatre Errol G. Hill and James V. Hatch Frontmatter More information 15.S.E.Wilmer, Theatre, Society and the Nation: Staging American Identities 16.John H. Houchin, Censorship of the American Theatre in the Twentieth Century 17.JohnW.Frick, Theatre Culture and Temperance Reform in Nineteenth-Century America 18. Errol G. Hill, James V. Hatch, AHistory of African American Theatre 19. Heather S. Nathans, Early American Theatre from the Revolution to Thomas Jefferson 20. Barry B. Witham, The Federal Theatre Project 21. Julia A. Walker, Expressionism and Modernism in the American Theatre: Bodies, Voices, Words 22. Jeffrey H. Richards, Drama, Theatre, and Identity in the American New Republic 23.Brenda Murphy, American Modernity and American Drama: The Cultural Significance of the Provincetown Players © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-62472-5 - A History of African American Theatre Errol G. Hill and James V. Hatch Frontmatter More information AHistory of African American Theatre ERROL G. HILL Dartmouth College and JAMES V. HATCH City University of New York © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-62472-5 - A History of African American Theatre Errol G. Hill and James V. Hatch Frontmatter More information University Printing House, Cambridge cb2 8bs, United Kingdom Published in the United States of America by Cambridge University Press, New York Cambridge University Press is part of the University of Cambridge. It furthers the University’s mission by disseminating knowledge in the pursuit of education, learning and research at the highest international levels of excellence. www.cambridge.org Information on this title: www.cambridge.org/9780521624725 © Errol G. Hill and James V. Hatch 2003 Th is publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2003, 2011 First paperback edition 2005 Th ird printing 2010 Second Edition 2012 Reprinted 2004 (twice), 2013 A catalogue record for this publication is available from the British Library isbn 978-0-521-62443-5 Hardback isbn 978-0-521-62472-5 Paperback Cambridge University Press has no responsibility for the persistence or accuracy of URLs for external or third-party internet websites referred to in this publication, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate. © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-62472-5 - A History of African American Theatre Errol G. Hill and James V. Hatch Frontmatter More information Contents List of illustrations page ix Foreword xii by Lloyd G. Richards Preface xiv Acknowledgments xviii List of abbreviations xxii Introduction 1 Slavery and conquest: background to black theatre 11 The African theatre to Uncle Tom’s Cabin 24 The Civil War to The Creole Show 61 American minstrelsy in black and white 93 New vistas: plays, spectacles, musicals, and opera 135 The struggle continues 186 The Harlem Renaissance 214 Educational theatre 255 The Caribbean connection 273 The Great Depression and federal theatre 307 Creeping toward integration 335 vii © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-62472-5

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