The guardian. [volume] (Boston, Mass.) 1901-1960, 1940-04-27
HA r lie IA
"Race Capitol of the Nation"
XIX xxxxxxxxxx#xxx#x#x**xxxx
By FLOYD G. SNELSON

| A vital theatre, then, in any epoch,
calls for plays which furnish commen-
tary, Interpretation, illumination and
criticism of that epoch. Though it ex-
hibit all the bearded Shakespeare, pink
pants Greek chorouses and honky-
tonk escape entertainment it chooses,
unless our little theatres allow us to
identify ourselves with the struggles,
and problems, individuals and social,
as well as with the hopes and ideals of
the age in which wei i've, they are lost
ere they begin.
We may fondly think we understand
other ages, but we can never be inside
the skin of an ancient Greek, an Eliza
bethian, a beau or a lady Of the Restor-
alton, a Girondist, or a German of
Goethe's Weimar. Hank! This is what
the little theatres produce, Colored
Little Theatres too! We today can get
inside the pants of a Bigger Thomas,
of Doctor Beck, of a Father Divine,
with his inner psychological conflicts,
and we can understand a lynch-mad
cracker or a German Nazi, because they
are segments of our own age. For bet
ter or worse, we are inextricably bound
up with them.
What does the theatre mean to one
or two countries? In 1865 Robertson's
Society" pulled British drama out of
its romantic rut onto the road of social
reform and realism. In China, "to
know their theatre is to know, in no
small degree, the Chinese people," Hin
/ du drama selects its subjects from the
rich mythology and legend of the coun-
try. Hungarian drama demonstrates a
spiritual theology. All vital, all en-
tightening, all an intricate part of the
people. Yet our theatre sticks to the
shrouds, proudly offering the "colored
version" of imitation.
Why pick on the little theatres? Be
cause they are the only ones we have.
We moan that the Federal theatre is
gone with the wind. 1t was our big
chance. Yes, but none of the above for
eign theatres were built on a subsidy.
Suppose we take short trip over
the U. S. highways of Colored Little
Theatres. See if you won't find detour
signs in all directions. Scan the New
Jersey scene. Nothing here. Every
body here goes to the movies. We cross
the Delaware River into Pennsylvania.
What happened to the Pace AIexan-
der's and The Philadelphia Group? No
body knows. We look out into Chester
County. The Lincoln University Play
ers, expertly trained group, but alas,
they are biting into an anti-war fan
tasy. Theatre, but not black theatre.
We start up to Pittsburgh and learn
that Pittsburgh, asleep in its smoke,
is not interested.
Between here and Washington, moth
ing going on. James Butcher and the
Howard Players, still cute, still play
ing theatre with light make-believe
from Broadway Tommy Richardson
and his Richmond Community Theatre
was asked for SILENCE! So on to
Felicia D. Anderson and the Virginia
State Players. Again, "The Flight of
The Heron along with Lady Winder-
mere's Fan" Let's go! What happen
ed to Jack Bond and the johnson
Smith Players? S-s-s-sh? Little Thea
tire, you looking for Master? Well, go
to Bennett, Miss Coles is over there.
All yes, she did some good work in
Harlem once. Yes sir, that was once.
So we flew over South Carolina. All
quiet on the Carolina Front. Atlanta,
proud and naughty on a big red hill.
Owen Dodeon, the Brooklyn play
wright, pinch hitting for Ann Cooke.
"The Divine Comedy, poetic play on
Divine. Now we are getting some
where. What else, please? "The Mi
dea". But wait, it's original and with
colored Interpretation. Thanks, you
get A in that. Keep up the good work,
Peeped down in Florida and what
do we see, NOTHING! Surely Tuske-
gee is developing black theatre. SO we
go again, theatre, but not black thea
that was all! The Fisk Stagecrafters in
tire. So Mississippi comes next. And
Tennessee, under John M. Ross, yes
we have a theatre and good man, but
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