February is shaping up to be a month for reflection on the legacies of groundbreaking artists and the ongoing evolution of theatrical spaces. From the centennial of Langston Hughes’ birth to the founding of Canada’s oldest Black theatre company, and even a glimpse into the early process of Tennessee Williams, the theatrical landscape continues to be shaped by those who came before.
A Century of Hughes’ Influence
This month marks 125 years since the birth of Langston Hughes, a pivotal figure of the Harlem Renaissance. Born on , in Joplin, Missouri, Hughes wasn’t simply a writer. he was a cultural architect. He, alongside other Black writers, published The New Negro, an anthology that became a defining statement of the era. His work, deeply informed by the jazz and blues rhythms of New York City, and the power of gospel music, continues to resonate today.
Hughes’ impact extended beyond poetry. His 1935 Broadway debut, Mulatto: A Tragedy of the Deep South, tackled difficult themes with a directness that was both groundbreaking, and controversial. Later works like Black Nativity (), The Gospel Glory (), Tambourines to Glory (), Jericho-Jim Crow (), and The Prodigal Son () further cemented his ability to weave the spiritual and secular into compelling theatrical experiences. His commitment to his art even took him to Dakar, Senegal, in , to participate in the first World Festival of Negro Arts, demonstrating a global perspective on Black artistic expression.
The Genesis of a Masterpiece: Tennessee Williams’ Early Work
While Hughes was establishing himself as a leading voice, another American playwright was quietly laying the groundwork for his own enduring legacy. In , Tennessee Williams began work on a short story titled “Portrait of a Girl in Glass” while residing in Key West, Florida. This seemingly modest beginning would ultimately blossom into his breakthrough play, The Glass Menagerie. The story initially took the form of a screenplay, The Gentlemen Caller, but was rejected by a film studio. However, Williams recognized the potential within the 16-page story, refining it into the play that launched his career in .
Williams’ creative process often involved this kind of iterative development. He wasn’t afraid to experiment with ideas in shorter forms before expanding them into full-length plays. Cat on a Hot Tin Roof, for example, originated as a short story, “Three Players of a Summer Game,” published in The New Yorker in . This willingness to explore and revise speaks to his dedication to crafting nuanced and emotionally resonant narratives.
A Space for Black Voices: The Black Theatre Workshop
The theatrical landscape wasn’t always welcoming to diverse voices. In , recognizing this gap, the Black Theatre Workshop was founded in Montreal, Quebec. As the oldest Black theatre company in Canada, it provided a crucial platform for Black artists at a time when opportunities were scarce. The company’s inaugural production, How Now Black Man, an experimental play by founding member Lorris Elliot, directly addressed the experience of Blackness in Canada during the 1960s.
Dr. Clarence Bayne, the company’s first artistic director, articulated the need for such a space, emphasizing the lack of existing venues for Black artists. He described the early members as individuals possessing “a certain sensitivity and a search for something that expresses them and that makes them feel comfortable.” This sentiment continues to drive the company’s mission under the current artistic director, Dian Marie Bridge, who in stated her commitment to serving the Montreal Black community.
Community Theatre’s Enduring Strength
Looking back , the American Association of Community Theatre (AACT) underwent a significant transition, becoming an independently incorporated organization. This move allowed AACT to more effectively support community theatres across the country through initiatives like AACTFest, YouthFest, and NewPlayFest, as well as the publication of Spotlight magazine. The organization’s ongoing commitment to providing resources and support underscores the vital role community theatre plays in fostering artistic expression at the grassroots level.
Lucas Hnath’s Provocative Voice
More recently, in , Lucas Hnath’s Red Speedo premiered Off-Broadway, showcasing a playwright unafraid to tackle complex moral questions. Directed by Lileana Blain-Cruz, the play, set on the eve of the Olympic trials, explored themes of ambition, doping, and masculinity. The production’s innovative set design, featuring an actual pool with underwater visibility, added another layer of intrigue. Critics, including Charles Isherwood of The New York Times, praised Hnath’s “wonderfully inventive theatrical mind.” Hnath has continued to push boundaries with subsequent works like The Christians, A Doll’s House, Part 2, and Dana H., solidifying his position as a significant voice in contemporary American theatre.
These milestones, spanning decades and diverse artistic visions, remind us that theatre is not merely a form of entertainment, but a reflection of our society, a catalyst for dialogue, and a testament to the enduring power of storytelling.
