The rich tradition and current state of Black Theatre is explored in this content, including discussions analyzing contemporary work and pieces honoring trailblazers. Consider starting with the Daughters of Lorraine podcast, the Journal series on the state of Black theatre, or the Journal series on Black women in the performing arts.
The Latest
Essay
Black Survival and Cyclical Fate in Hang Time
by Ciaran Short
4 June 2026
Video
Healing and Health: One Love Method Grounding Practices
A Racial-Justice Theatre Healing Session
Tuesday 9 June 2026
Boston, Massachusetts, United States
Podcast
LOUD Queer Youth Theatre: Sustaining Youth-Led, Adult-Supported Arts Community
by Nicolas Shannon Savard, Keyshia Pearl, Roney Jones
In this episode, Renee Harrison, founder of Black Girls Do Theater, discusses evolving the theatre industry, envisioning a post-liberation future, and embracing radical transformation. Renee shares how she fosters community and collaboration in theatre. This conversation inspires you to envision and create a more inclusive, innovative theatre landscape. Tune in for visionary insights and empowerment to quantum leap into new possibilities.
In this episode, Carla Stillwell and Yura Sapi challenge the "starving artist" trope, offering tips to overcome scarcity mindsets in theatre. Carla, founder of the Stillwell Institute for Contemporary Black Art, shares personal experiences advocating for breaking traditional theatre boundaries and fostering holistic, inclusive environments emphasizing the importance of community and collaboration, and highlighting storytelling's power, especially for people of color.
A festival curated by Keith Josef Adkins on Unapologetic Humanity and Unapologetic Accountability at the Segal Center
Monday 22 April 2024
New York
The New Black Fest, which is in its fourteenth year, comes to the Segal Center on Monday, 22nd April 2024, and we hope you will join us for a heart, soul, and mind provoking evening centered around the theme of Unapologetic Humanity and Unapologetic Accountability—as curated by The New Black Fest's artistic director Keith Josef Adkins.
Hosts Leticia Ridley and Jordan Ealey interview Oscar winner and MacArthur genius Tarell Alvin McCraney about his work as a playwright, how Black people tell stories, and what it means to be an artistic leader.
Masi Asare is an assistant professor of theater and performance studies at Northwestern University. She is a songwriter and dramatist and also works as a performance scholar specializing in the study of race and vocal sound and musicals. On this episode, hosts Jordan Ealey and Leticia Ridley interview Masi on her experiences as a Black woman working in musical theatre and why Black women’s vocal training is so important.
LaJuné shares about the inception of Black Movement Library: a database of motion capture data from Black folks they created, while seeking to avoid the paradigms of erasure, extraction, and exploitation of Black bodies. In their work, they encourage freedom and personal expression over correct data capture. They believe none of us are just numbers, and to treat our movements in our bodies as just data sets is very harmful.
Some stories transcend time and continue to resonate across generations. Undoubtedly, one might consider The Color Purple as one of those stories. Hosts Jordan Ealey and Leticia Ridley discuss this new movie musical adaptation of The Color Purple and delve into questions around the genre of the movie musical and the challenge and necessity of representing Black women stories on screen.
Jonathan McCrory is a Tony Award and Emmy Award nominated producer and a two-time Obie Award-winning artist who has served as executive artistic director at the National Black Theatre since 2012. In this episode, hosts Jordan Ealey and Leticia Ridley talk with McCrory about his work with the National Black Theatre and his ongoing commitment to nourishing and cultivating Black creativity and Black life.
Dan Kpodoh’s The Struggle dramatizes governmental and corporate exploitation in the oil-rich Niger Delta by telling the story of a group of militants who sought liberation but became corrupted by financial interests. Eseovwe Emakunu, a Nigerian theatre professional, interviews Kpodoh about the play’s function as protest theatre against political oppression.
Hosts Leticia Ridley and Jordan Ealey discuss Woodie King, Jr.’s 1978 documentary, Black Theatre: The Making of a Movement. They explore the documentary’s different themes, its impact on Black theatre history, and what it means for our present and future.
Hosts Jordan Ealey and Leticia Ridley discuss the contributions made by Alice Childress and the historical and contemporary significance of her play, Trouble in Mind, including the filmed 2021 production at the National Theatre in London.
Hosts Leticia Ridley and Jordan Ealey dig into the dramaturgies and theories of Suzan-Lori Parks and discuss Canadian Stage’s production of Parks’s Topdog/Underdog.
Hosts Leticia Ridley and Jordan Ealey interview scholar Professor Julius Fleming, Jr. about his book Black Patience: Performance, Civil Rights, and the Unfinished Project of Emancipation (NYU Press, 2022). They discuss the importance of theatre to the Civil Rights Movement and the relationship between Black theatre and performance and Black studies.
This episode focuses on the iconic Negro Ensemble Company (NEC). Hosts Leticia Ridley and Jordan Ealey delve into the NEC’s founding and history, its track record of producing successful Black plays, and its legacy within Black theatre and performance.
A Conversation About Afro-Atlantic Culture with Playwright Zainabu Jallo and Africana Scholar Maboula Soumahoro
Sunday 15 October 2023
Minneapolis, MN
Moderated by director and festival curator Carlyle Brown, this conversation was a post-show discussion after a performance of Zainabu Jallo's play We Take Care of Our Own, a tale of migration and aging in the diaspora.
Kristin Idaszak reflects on experiencing Nina Vogel’s lambe-lambe piece ConCordis at the Prague Quadrennial. This deceptively simple puppet performance aided Kristin in processing her feelings about her work in theatre while navigating chronic illness, and also reminded her of the deep connection to the universe that we all share.
Giulianna Marchese discusses productions from the Ubumuntu Art Festival, which is held annually at the Kigali Genocide Memorial in Rwanda. Throughout this year’s festival, performances explored what it means to be a human post-tragedy—the highs and the lows.
Hosts Jordan Ealey and Leticia Ridley interview Kaja Dunn, who is an intimacy professional, director, actor, and scholar. They discuss her journey as a theatre artist, the importance of intimacy coordinator for theatre and television, and Kaja’s own artistry and creativity.
This episode will discuss the age old questions of what is Black theatre? What is a Black play? How do you know one when you see it? Leticia Ridley and Jordan Ealey provide an overview of the some of the most popular commentary on this question from Black theatre theorists of the past such as W.E.B Dubois, Alain Locke, and Alice Childress.
David Howse and Ronee Penoi, co-leaders of ArtsEmerson, introduce the Black and Indigenous Futures Series with an essay that discusses their commitment to a shared leadership approach that foregrounds solidarity between Black and Indigenous communities.
With Guests David Silvernail, Janet Werther, Victoria Lafave, Jordan Ealey, and Kelli Crump
6 September 2023
What role does white supremacy play in the creation of the queer theatre canon? What power and what responsibility do we—as queer theatremakers, historians, and educators—have to challenge canons and archives that define “queer” almost exclusively as white and cisgender? Artist-scholars Janet Werther, Victoria LaFave, Jordan Ealey, David Silvernail, and Kelli Crump join host Nicolas Shannon Savard to tackle these questions and to queer the archive.
Karen Ann Daniels, Malik Work, and John “Ray” Proctor sit down with Melissa Lin Sturges to discuss their work on Our Verse in Time to Come, a Folger Theatre production that used Shakespeare as a jumping off point to become a testament to “the other bards”—the ones still living and the ones still to come.
