1990 - 1980 Theatrical Production History

Department of Drama Faculty circa 1980's 

In the 1980's the department was known as the Department of Drama in the College of Fine Arts. It would be renamed the Department of Theatre with usage of that name starting in 1992. 

To the right is a photo of a group of Drama Department faculty taken in the vestibule of the College of Fine Arts. 

Front row: Geoffrey Newman, Carole W. Singleton, Vera Katz, LaVerne Reed

Middle row: Joseph A. Walker, Joe Selmon, Theodore G. Cooper, Kelsey Collie, George H. Epting, Henri G. Edmonds, Sandra Bowie, 

The man behind and to the right of Henri Edmonds, I have yet to discover his name. 

Faculty members Department of Drama, mid 1980's. Photo credit Ralph Remington

 Scroll down to review the 1990 - 1980 repository of the Howard Players theatrical production 

Cynthia Smith - Oral History Interview by Denise J. Hart (May 28, 2022) class of 90 alum, Theatre Arts Administration 

The beautiful thing I remember about being at Howard was the family. We were such a great family. We worked hard and played hard, but we loved each other and we still... the people that were there in the 80's we are still connected in a very intimate way and I am very very grateful. I can go pretty much anywhere in the world and be connected and talk to each other like we just saw each other yesterday. I have to give credit to Miss Henri, Kelsey Collie and Joe Selmon. They instilled that in us and that's why we are the way we are to this day. If you ever see any of us from the 80's we may not have seen each other in 20 years and you would not know it. Out of all the experiences at Howard, the good, the bad, the ugly the sideways, the upside down all of that... that's what I keep close to my heart. 

1989/1990 - Henriette G. Edmonds, Chair, Department of Drama

Dean: Dr. Vada E. Butcher, College of Fine Arts

Assistant Dean: Dr. J. Weldon Norris

Major: B. F. A. in Drama

Areas of Concentration  & Coordinators: Acting (Henriette G. Edmonds), Directing (Vera Katz), Musical Theatre (Mike Malone), Theatre Arts Administration (Theodore G. Cooper), Children’s Theatre (Kelsey Collie), Theatre Education (Dr. Carole W. Singleton)

Staff: Janet L. Johnson, Claudia F. Neal

Faculty: 

Howard Players President: ??

Excerpt from 1989/90 College of Fine Arts Annual Report, Dr. Vada E. Butcher, Dean

Introduction Pg. iii ...Somewhere, amid this arid expanse of things and objects, there must be oases which shelter the best of man's thought, creativity and imagination. One of these should be a Center for the Visual and Performing Arts which is dedicated to the creation, study, preservation and investigation of products which stem from African American intellect and vision. Where else in this nation can this kind of Center be established other than at Howard University? Fine Arts students, staff, and faculty are committed to the establishment of a Center as described above by the year 2000. 

Fall Semester 1989 (no season theme)

Directed by Dr. Carole W. Singleton

Date: Nov 9,10,11,16.17,18th 1989

Produced in  Ira Aldridge Theatre



Director's Notes - The Adding Machine

When written in 1923, Rice's anti-mechanistic drama was prophetic. Mr. Zero, The Adding Machine's depersonalized anti-hero, is consumed by his hum-drum world of automation. Like the white-collar slave of today's computer automation, Mr. Zero represents man as a programmed victim in a technological world. Many of us today must secretly share at least some of Zero's inner frustrations and repressions, only the technology is different. T

The audience accustomed to theatrical realism, that is, the creation of the illusion of reality, will find another kind of reality in this expressionistic play. It is a subjective reality which lies within the character. The mind, therefore, does a lot of talking to express that reality. We are looking, as one critic notes, through the windows of the minds and souls of the characters, at an "inner state" of mind. Often, what we see in this inner state is the character's attempt to cope in a chaotic, irrational and impersonal world. In Zero's case, that wold is also materialistic and mechanistic, against which he rebels and loses. 

Just as the audience must adjust its mindset to a theatre piece which is non-realistic, so must the actors adjust to the conventions of this often bizarre style of theatre. Expressionism is a different experience for performer and audience alike as both grapple wit the idea that truth and reality often appear in distorted form. 

Performing in this style has been a challenge for our student actors, as expressionism calls for a significant departure from realistic techniques. We hope that you will be as stimulated as the company has been and will continue to be through the run of the Adding Machine. 

From program cover: Elmer Rice's timeless, expressionistic Drama set in the 1920's, treats automation and the dehumanization of the "white-collar" slave. The subjective realities of Mr. Zero's dubious morality and his bitter sentence to exist throughout eternity in one form or another sends many messages to today's society. 

Excerpt from 1989/90 College of Fine Arts Annual Report, Department of Drama section 

Pg. 137... In March, 1990 the Department hosted the Annual Conference of the National Association of Dramatic and Speech Arts (NADSA) with planned activities on both Howard's campus and at the Kennedy Center for the Performing Arts. 

This competitive event which commemorated the 54th Anniversary of this historically Black organization was attended by faculty and students of well over twenty-tow (22) Departments of Theatre throughout the United States. The official hostess of the conference was Marla Gibbs, star of television and film. 

Pg. 135... After an approximately eighteen month hiatus, the Department of Drama returned to its primary teaching/performance facility (the Ira Aldridge Theatre). 

Although problems still exist (see section III. Problems and Needs), the Theatre has been almost completely refurbished and can be currently regarded as a near state-of-the-art teaching facility.

Pg. 142...The Department is delighted to be back into the Theatre, but the problems of renovation of existing spaces (the Scene Shop, the Dressing Rooms, the Costume Shop, the Dance Studio, the Environmental Theatre Space and Faculty offices) still exist. 

The toilets and showers in the dressing rooms (although they have been inspected many times) still remain unfit for human use. Requests for renovation/refurbishment of the spaces listed above have been submitted under separate cover on more than one occasion. The only item currently under consideration is the Scene Shop. 

Pg. 143...The Department of Drama has one legitimate classroom, one make-shift rehearsal space and one unventilated space utilized for dance classes. The Ira Aldridge Theatre must also serve as a classroom, which, of course, increases wear and tear on the facility. The one rehearsal space (Environmental Theatre Space) is located directly above the Band room and overlooking parking lot "A" behind the college of Fine Arts. 

Theatre students attending classes and rehearsal s in this space literally cannot "hear themselves think," what with the sounds of band rehearsals blasting through the vent in the floor and the riveting vibrations of the Marching Band rehearsing on the parking lot directly beneath our windows. 

The windows must be left open in warm weather because the room is not air conditioned. Incidentally, windows must also be opened in winter because there is no heart control (oftentimes, there is no heat at all.) 

These abysmal conditions have been described in Annual Reports and Work Requests for at least ten (10) years and the university's progress in alleviating the overall situation has been painfully dilatory. 

2. A SOLDIER’S PLAY written by Charles Fuller

Guest Director Al Freeman Jr. 

Date: Oct. 4,5,7,12,13,14th 1989

Produced in  Ira Aldridge Theatre


Director's Notes - A Soldiers Play

For me, this production of A Soldier's Play is the realization of something that seems almost inevitable. I was enthralled when I saw the play in it first New York NEC Production: first by the force, beauty and incisiveness of Charles Fuller's writing; how his words, with the adroit precision of a surgeon's scalpel, dissected and laid bare the diseased tissue of racism and its effects on us all. Mr. Fuller constructed a multi-layered drama intertwining scenes in a real time and memory so skillfully that the forward progress of story and plot are never impeded. 

Then, the superb performances of the cast - note-ably Adolph Caesar as Sgt. Waters. Sometimes in an actor's career, a role comes along that perfectly matches that actors strongest skills; as if the part was tailored for him and him alone. This unique and rare occurrence in an actor's life is so profoundly obvious and indisputable that it knows no professional rivalries. Some weeks later, I was asked by NEC to join the company to give Adolph a much deserved two-week vacation. I declined, owing to other commitments I said, which was true, but, if I were to be honest, I could see no other actor in that part but Adolph. Later, Adolph declined the role in the movie version of the play and I was summoned to read for Norman Jewison, the producer/director. After pronouncing to Mr. Jewison that this was Adolph's part, I proceeded to give what I thought was a pretty good reading. But, Adolph, no doubt realizing the inevitable, came to terms, and the rest is history. 

And so in my mind, was A Soldier's Play until I was asked by Dr. Singleton to direct this production. Given my past connections to the play, I asked for time to consider. Re-reading the play, there is a dedication to the late poet Larry Neal by Mr. Fuller. This mention of Mr. Neal triggered a memory of the tow of us strolling across the campus at Yale University discussion an offer i had to teach at that institution, which I was considering but leaning towards declining on the grounds that I had more to learn than to teach among other things.


Larry in his soft but gently forceful manner, argued that my experience thus far was of value, especially to those who had little or no experience and that the problems a Black actor encounters in pursuit of a career are so unique to the species that anyone who somehow manages to surmount some of the obstacles are duty-bound, yes, obligated to serve. Idid decline Yale's.s offer, but Larry's words haunted me for many years. Although I still feel I have more to learn than to teach, i shall be forever grateful for what Adolph and Larry Neal taught me. This experience at Howard University is most rewarding.

Spring Semester 1990 (no season theme)

3. STEAL AWAY written by Ramona King

Directed by Ted G. Cooper. (replaced One Monkey Don’t Stop No show in the original season line up)

Date: Nov 9,10,11,16.17,18th 1989

Produced in Ira Aldridge Theatre


4. BREAKFAST IN HARLEM (Musical) compiled by Mike Malone

Directed and Choreographed by Mike Malone

Date: Mar. 8,9,10,13,14,15th 1990

Produced in  Ira Aldridge Theatre


Director's Notes - Breakfast in Harlem

A musical, recreating the times and character of the Harlem Renaissance. 

Breakfast in Harlem is being called a docu-musical because it uses authentic material - poetry, music, and dance - from the period to impact information about the Harlem Renaissance. We have all learned from this experience and we hope you will enjoy the benefits of our labor. Special thanks to Raymond Reeder, whose great work gave the production its character. Thanks also to the Department for its support. Most of all, thanks to the students - cast and crew - for their hard work, faithful attendance, and trust. - Mike Malone

5. 3rd ANNUAL YOUNG ALUMNI AWARDS 

Date: April 5, 1990

Produced in Andrew Rankin Memorial Chapel


6. STORIES ABOUT THE OLD DAYS written by Bill Harris (Staged Reading)

Directed and performed by Al Freeman Jr. (replaced A Splendid Summer in the original season lineup)

Date: April 3,4,5th 1990

Produced in  Ira Aldridge Theatre



Student Productions: Rivers of Consciousness & Konvergence


One Monkey Don’t Stop No show was replaced by "Steal Away" in the original season line up and "Stories About the Old Days" replaced "A Splendid Summer" in the original season lineup

1988/1989 - Dr. Carole W. Singleton , Interim Chair, Department of Drama

Dean: Dr. Jeff Donaldson, Acting Dean College of Fine Arts

Associate Deans: J. Weldon Norris, Jeff R. Donaldson

Assistant Dean: Dr. Tritobia Benjamin

Major:  B. F. A. in Drama

Areas of Concentration & Coordinators: Acting (Henriette G. Edmonds), Directing (Vera Katz), Musical Theatre (Dr. Carole W. Singleton), Theatre Arts Administration (Theodore G. Cooper), Children’s Theatre (Kelsey Collie), Theatre Education (Dr. Carole W. Singleton)

Staff: Janet L. Johnson, Claudia F. Neal

Faculty: 

Howard Players President: ?

Excerpt from the 1988/89 College of Fine Arts Annual Report, Dr. Vada E. Butcher Dean

Pg. 5...As stated above, the College has initiated its own building fund. In 1988-1989, it received financial assistance from Phillip Morris, Inc. , Schwartz and Associates, Chubb Associates, and the Alliance of Independent Colleges of Art. Gifts from alumni have increased appreciably, and the Department of Art has inherited the Smith-Mason Gallery, a major visual arts center in the District of Columbia which reached its peak of activity during the middle decades of the twentieth century. Fund raising for arts education is particularly difficult in the current "age of technology" and we regret to report that the College of Fine Arts Office of Research and Development had to be closed as of June 30, 1989 because of the inability of the office to raise funds equal to its own operating expenses--this despite the most conscientious and strenuous efforts of the staff. Faculty members must now assume total responsibility for institutional development, and it is indeed encouraging to note that they are responding to this challenge with enthusiasm and ingenuity. 

Fall Semester 1988 (no season theme)

Directed by Henri Edmonds

Date: Oct. 17,18,19,24,25,26,31. Nov 1,2nd 1988

Produced in Ira Aldridge Theatre


  2. VOODOO written by Ted G. Cooper 

Directed by Carole W. Singleton

Date:  Nov. 10,11,12,15,16,17,18,19th 1988

Produced in Environmental Theatre Space


Directors Note - African Then and Now

Other than Ododo which was originally produced by the Negro Ensemble Company in New York, all the plays presented here were written by African playwrights. Therese plays were selected because of their pertinence to the African condition as well as their relevance to the African Diaspora in general. the nuances and overt problems of neo-colonialism, racism, exploitation, and the indigenous power abuses are easily recognized by the open-eyed and open-minded individual in the U.S. woh is not hoodwinked by false-integration, tokenism, and the general thrust in our country today - a thrust which seems to imply that the problems of minorities in American have been resolved. 

Many solutions have been put forward to stop the psychological as well as the economic underdevelopment of Africa: Capitolism, Fascism, Marxism, being the prime approaches. the most recent notion seems t be that Africa must solve its multiple problems by and appeal to the very roots of its own culture as the foundation for any successful amelioration of the present dilemmas. Mazrui - noted African scholar- has noted that some believe that its own Gods and ancestors are punishing Africa for abandoning or ignoring the traditional way in favor of the western perspective. It has also been noted that colonialism and neo-colonialism are only skin deep - so to speak - that conquerors have come and gone, but Africa remains and will remain essentially undaunted.

African Theatre appears to be experiencing an explosion similar to the AFro-American explosion of the sixties and seventies. There seems to be an urgency to excavate and to reveal what is happening, and this urgency is full of critical indignation which is bifocal in that the scrutiny cuts two ways - namely (1) at the negative effects of Euro-American-ism and (2) at the indulgences and abuses by both Africans and Africa's own leadership alike. The universality of these plays is entailed in this double edged swords. The plays speak for themselves. ~ Directed by Joseph Walker

Spring Semester 1989 (no season theme)


Overall Direction and Choreography by Joseph Walker

Date: Feb. 9, 10, 11, 1989

Produced in Environmental Theatre Space


Plays: Three original works by African and Black American playwrights




Directed and Choreographed by Mike Malone

Date: March 9, 10, 11, 1989

Produced in Cramton Auditorium



Date: Spring 1989

Produced in Ira Aldridge Theatre




Excerpt from the 1988/89 College of Fine Arts Annual Report, Department of Drama section 

pg. 135...MUSICAL THEATRE Coordinator: Dr. Carole W. Singleton

Although some logistical problems remain to be resolved, the Musical Theatre program of study was more successful than not for academic year 1988-89. The Department hired one professional in the discipline (Mr. Mike Malone) and was able to utilize the services of two Music Department faculty to provide specific Musical Theatre instruction (Ms. Valerie Eichelberger-Voice and Dr. Dorothea Nahm-Piano). Mr. Malone and Mis. Eichelberger team-taught the course in Musical Theatre Techniques I and II and also collaborated on the Department of Drama's spring, musical production of Wait 'Til the Fat Lady Sings. Musical Theatre, which is one of our most popular areas of concentration, has an enrollment of approximately twelve (12) students. 

The Department of Drama and those Music faculty who are sympathetic to the requirements of NAST for this program of study expended a great deal of energy during 1988-89, addressing the students' academic needs, re-assessing the curriculum and planning strategies for improved scheduling of required courses offered by the Department of Music...It should be noted however, that we cannot proceed to achieve such without full cooperation from the Department of Music. The ultimate success of the program lies with continued cooperation between the two academic units involved. 

Pg. 139...In 1989-90, the Department of Drama plans to refine the curriculum for its Musical Theatre program, submit a proposal for a graduate program of study and offer two courses in the School of Continuing Education.

Pg. 141...The Department of Drama has one legitimate classroom, one make-shift rehearsal space and one unventilated space utilized for dance classes. The Ira Aldridge Theatre must also serve as a classroom, which, of course, increases wear and tear on the facility. The one rehearsal space (Environmental Theatre Space) is located directly above the Band room and overlooking parking lot "A" behind the college of Fine Arts. 

Theatre students attending classes and rehearsals in this space literally cannot "hear themselves think," what with the sounds of band rehearsals blasting through the vent in the floor and the riveting vibrations of the Marching Band rehearsing on the parking lot directly beneath our windows. 

The windows must be left open in warm weather because the room is not air conditioned. Incidentally, windows must also be opened in winter because there is no heart control (oftentimes, there is no heat at all.) These abysmal conditions have been described in Annual Reports and Work Requests for at least ten (10) years and the university's progress in alleviating the overall situation has been painfully dilatory. 

1987/1988 - Dr. Carole W. Singleton, Chair, Department of Drama

Dean: Dr. Vada E. Butcher, College of Fine Arts

Major: B. F. A. in Drama

Areas of Concentration & Coordinators: Acting (Henriette G. Edmonds & Kelsey Collie), Directing (Vera J. Katz), Musical Theatre (Dr. Carole W. Singleton), Arts Management (Theodore G. Cooper), Children’s Theatre (Kelsey Collie), Theatre/Speech Education (Dr. Carole W. Singleton)

Staff: Janet L. Johnson, Claudia F. Neal 

Faculty:

Howard Players President: ?

Excerpt from 1987/88 College of Fine Arts Annual Report, Dr. Vada E. Butcher, Dean

Pg. 4...The Department of Drama, which was accredited for the first time by the National Association of Schools of Theatre in June 1987, is ready to begin planning for the initiation of graduate programs within the next three years. No difficulty in building an appropriate graduate library is anticipated. At present however, the Faculty is heavily performance oriented, and the initiation of graduate instruction would require the addition of at least one senior faculty position in the field of History and Criticism...Nevertheless, it appears that the Department should be ready to offer graduate instruction in Playwriting and Directing by the fall semester of 1991.  

Fall Semester 1987 (no season theme)


Directed by Kelsey E. Collie

Date: Oct. 1,2,3,8,9,10th 1987

Produced in Ira Aldridge Theatre


Director's Notes - Livin' Fat, Directed by Kelsey E. Collie

Judi Ann Mason's hilarious play was written while still a student at Grambling State University. That Ms. Mason was a student at the time of the writing is laudable. that she is Black and continues to make her presence known is significant. Her example should help to challenge and motivate students to use this literary art from. We need good Black writers and there is no better place to begin than while a student. Ms. Mason takes her place among the fine Black writers, including Lorraine Hansberry, Adrienne Kennedy, August Wilson, Richard Wesley, Ed Bullins, and Langston Hughes. 

This Norman Lear award-winning piece provides our students with an opportunity to explore comedic techniques. The training is valuable , in that it provides a viable genre for theatrical performers. We certainly hope you will enjoy this family romp and that you will continue to support theatre at Howard University. 


Directed by Melissa Taylor, Courtney Long, Vincent Siders

Date: Dec. 2-4, 1987

Produced in Environmental Theatre Space


Directed by Carole W. Singleton

Date: Nov 12,13,14,19,20,21st 1987. 

Produced in Ira Aldridge Theatre


Excerpt from 1987/88 College of Fine Arts Annual Report, Department of Drama section


Pg. 93...This was our second consecutive distinguished participation in the Inter-Collegiate Competition among historically Black colleges via NADSA. 


This year (1988) the competition was held at Southwest College in Los Angeles, California. 


We are still receiving "rave" reviews for our entry production of The Colored Museum (voted the best one-act play) under the direction of Professor Henriette Edmonds. 


In addition, the participating students distinguished themselves, the Department and the University by winning countless awards, offers from Graduate Schools and firm promises from Casting Agents for Summer Employment. 


The NADSA endeavor also brought the Department attention and financial support from corporations such as Chubb, Inc. (which donated over five thousand dollars to underwrite future NADSA activities) and USAir which donated the students' round trip airfare to Los Angeles. 


The newly established alliance with Chubb, Inc. appears to be the beginning of a meaningful corporate relationship. 

Spring Semester 1988 (no season theme)


Coordinated by John Perpener

Date: Feb. 10-11th 1988

Produced in Cramton Auditorium


Choreographers: Lloyd Whitmore & John Perpener


Directed by Vera J. Katz.

Date: March 10,11,12,16,17,18,19th 1988

Produced in Environmental Theatre Space

Dramaturgy Notes: Reness Simmons "Notes on Creole & Gullah"



Director's Notes - Streetcar Named Desire

We are attempting to bring you a new message in this production of A Streetcar Named Desire. As a  masterpiece of writing, this play originally concentrated on the dying traditions of the South versus the birth of the Industrial North. Our production focuses on the clash of class (education and background; French Creole versus Gullah) and the clash of color (light skinned versus dark). "People have to learn to tolerate each other's differences" says Stella, and we have an urgent call i n today's world that is being ripped apart by an over emphasis on our differences. Traditions of Black people may vary; gradation of color may bring forth different hues, but the commonality of race is an ever binding factor that cannot be destroyed. 

Blanche and Stella have allowed this to happen through their mistrust, fear, need for power and ignorance of each other's heritage and ways. We must not follow their paths. Let us lovingly thank Danielle (Charm) Peake and Courtney Long, the student directors who gave continually of their intelligence, creativity, time and heart and each of them also directed a scene in this production; oru guest set-designer, Prince NO-RA who has done the impossible by transforming our classroom space into the ambiance of a New Orlenas apartment; Professor Renee Simons, whose creative energy has been invaluable t this production; and many other students and faculty who have made this evening possible. Together, we have all come for this limited moment in time, in search of craft, knowledge, beauty, truth and unity. This production is dedicated to the memories of: my dad, Philip Weintraub, Hyman Korth, Ron Truitt St. Clair Christmas, Bernie Gibson, Sam Wright and - Owen Dodson. ~ Directed by Vera J. Katz

Dramaturgy Notes - A Streetcar Named Desire

Colorism can be defined as discrimination or polarization within a race of people based on color differences. Within the Black community, colorism takes its shape in the struggles between light-skinned and dark-skinned Blacks. 

For this particular production of Streetcar, Blanche his not only a Southern belle but also a descendant of the "colored" French Creoles. The colored Creoles, especially in Louisiana, were the leading citizens in the Black communities Many had large plantations, like Belle Reve, and some even owned slaves. They took prode in their ability to emulate the habits and social graces of their white counterparts. Many considered themselves "superior" to other Blacks because of their French heritage. 

Stanley, on the other hand, is no longer a Polish American, but is from the Sea Islands off the coast of South Carolina where they speak Gullah. Gullah is a creolized form of English revealing survivals from many African languages spoken by the slaves who were brought to South Carolina and Georgia during the 18th century. These islands and their distinctive dialect are significant to Black history because the early inhabitants of these islands were runaway slaves who refused to succumb to the white slave owners. These proud and independent slaves isolated themselves and were able to maintain much of their African heritage. 

Thus we add yet another dimension to the conflict between Blance and Stanley - colorism. For as novelist, Alice Walker, has put it, "For colorism, like colonialism, sexism and racism, impedes us." ~ by Renee Simmons

1986/1987 - Dr. Carole W. Singleton, Chair, Department of Drama

Dean: Dr. Vada E. Butcher, College of Fine Arts

Associate Dean: Jeff R. Donaldson

Assistant Dean: J. Weldon Norris

Major: B. F. A. in Drama

Areas of Concentration & Coordinators: Acting (Sandra Bowie), Musical Theatre (Dr. Geoffrey Newman), Theatre Arts Management (Theodore G. Cooper), Children’s Theatre (Kelsey Collie), Theatre/Speech Education (Dr. Carole W. Singleton) 

Staff: Paul Falcon, Janet L. Johnson, Claudia Neal, Reggie Ray

Faculty: 

Howard Players President: ?

Excerpts from 1986/87 College of Fine Arts Annual Report, Department of Drama section 

Pg. 77...For Academic Year 1986-87, the Department of Dram implemented curricular changes which were designed during the preceding academic year. As explained in the President's Annual report of 1985-86, these changes were structured to render Departmental offerings and requirements in closer alignment with the guidelines of NAST. Also in connection with NAST (National Association of Schools of Theatre), the Department underwent a valuable consultative process, completed a rigorous self-study document and subsequent intensive evaluation in 1986-87. The Report (Nov. 1986) of the NAST consultant was submitted to the Office of the Dean of the College of Fine Arts and the Vice President for Academic Affairs. The results of the final evaluation and recommendations by the National team were received in early June and are inclued here. Major concerns of the NAST consultant and evaluators parallel those of the previous Drama Commission (1986), as well as those expressed on numerous occasions by the faculty of the Department of Drama. 

Pg. 77... For academic year 1986-87, the Department of Drama reduced its areas of concentration to Performance: Acting; Musical Theatre; Children's Theatre; B.F.A. in Drama with Elective Courses in Business (Arts Management) and Theatre/Speech Education. Effective Fall, 1987 Directing will be reinstated as an area of concentration. In conjunction with the implementation of its revised and new programs, the Department of Drama re-instated the Area Coordinator System of advisement and adopted standardized procedures for smooth operation of such (approved by NAST evaluators).

Pg. 82...Fall, 1986 was the first year of implementation of an area of Concentration in musical theatre. As a result, numerous needs, problems and subsequent recommendations surfaced which would aid in the smoother operation of this most popular and nationally viable program...Inadequate practice room space and rehearsal space existed throughout both semesters. 

1986 Production Poster from The Katz Collection, Howard University, Department of Art. Accessed 2020.

Fall Semester 1986 (no season theme)


A RAISIN IN THE SUN written by Lorraine Hansberry

Directed by Carole Singleton

Date:  Oct 30, 31. Nov 1, 6, 7, 8th 1986

Produced in Ira Aldridge Theatre


Excerpts from 1986/87 College of Fine Arts Annual Report, Department of Drama section 


pg. 85... Senior student, Melissa Taylors play Symposium was staged successfully in in the Environmental Theatre Space in Feb. 1987. 


In March 1987 six students under the direction of Vera Katz travel to Arizona State University's College of Fine Arts to stage Symposium and attend classes. The same play won the second prize for student original plays at NADSA held at Hampton University in April 1987. 


Pg. 85...The final projected production slots for 1987-89 are as follows: comedy, classical, children's theatre piece, musical, contemporary, a new play and an absurd or expressionistic piece...


We shall also stage a dance concert and two (2) student productions.


Pg. 87...visiting artists for the year included Matsemela Manaka (South African Playwright); Rosalind Cash (Black American Actress); David Rothman (Stage Combat); Paul Harmon (Audition Techniques); and David Downing (Actor - I'm Not Rappaport company). 


Other workshops, including auditioning, resumes, cold readings and Shakespearean acting, .several faculty members, including Edmonds, Katz and Singleton, were instrumental in implementing such.


Pg. 90...The faculty of the Department now feels very strongly that the Chairman should remain the Artistic leader of the Department and that the other solutions besides a separate "Artistic Director" (as espoused in 1985-1986) should be sought to alleviate the pressing situation created by seasonal production duties combined with the routine duties of the Office of the Chair. The Departmental Executive Committee continues to deliberate on this issue. One possible partial solution may be found in creation of a coordinated production team and reorganization of the Theatre Practicum classes (as previously described). 

Spring Semester 1987 (no season theme)


College of Fine Arts Festival held March 1987 


Date: Unknown

Produced in Ira Aldridge Theatre


Directed by Ted G. Cooper

Date: March 5,6,7,12,13,14th 1987

Produced in Ira Aldridge Theatre


Featured Guest Actress: Lynda Gravatte


1985/1986 - Dr. Carole W. Singleton, Chair, Department of Drama

Dean: Dr. Vada Butcher, College of Fine Arts

Major: Drama

Areas of Concentration & Coordinators: Acting (Sandra Bowie), Musical Theatre (Dr. Geoffrey Newman), Arts Management (Theodore G. Cooper), Theatre/Speech Education (Dr. Carole W. Singleton) 

Staff: Paul Falcon, Janet L. Johnson, Claudia Neal, Reggie Ray (info from production programs)

Faculty: 

Howard Players President: Cynthia Smith

Excerpts from 1985/86 College of Fine Arts Annual Report, Department of Drama section 

pg. 52-53... In addition to restructuring the above mentioned programs, the Curriculum Committee, after intensive study of NAST guidelines for B.F.A. programs in Theatre, recommended the temporary suspension of the areas of concentration in Design/Technical Theatre, Dramatic Literature, Playwriting and Directing. With the exception of Directing, the enrollment in these areas of concentration was extremely low or non-existent. Moreover, extensive research has revealed that most institutions with which we are compared do not even offer undergraduate programs in these areas of concentration. 

The Department also refined its proposal for a B.A. degree in Theatre Studies. Our research for this program included NAST guidelines for such, as well as examination of the theatre curricula of a comparable institutions. Although the B.A. proposal is a good one, it has not yet been submitted for Trustee approval because this Faculty has not completed its deliberations on the most appropriate implementation of such. 


Further curricular accomplishments were realized in the final (on paper) development of the Musical Theatre area of concentration (although at this point, the Department is uncertain just how to proceed, in view of the very specific physical, financial and personnel requirements of this program). 

At this writing, the Department is prepared to implement the first year of this program by sharing resources with the Department of Music. 

The Children's Theatre which will be ready for implementation in Fall, 1986. 

This area of concentration requires no new courses to be added to the Drama Curriculum, nor does it necessitate any modification of faculty teaching assignments. Children''s Theatre is in accordance with NAST specifications and is an area of concentration available in the curricula of most comparable institutions. 

Fall Semester 1985 (no season theme)

American College Theatre Festival XVIII Associate entry


Directed and Choreographed by Mike Malone

Date: Nov. 1986

Produced in Ira Aldridge Theatre



Director's Notes - A Winter's Tale

Shakespeare's The Winter's Tale is, to me, a story of the power of time- its power to change, heal, divide, unite, and resolve. Often used phrases which give substance to the power of time such as "time will tell" ..., "all things will change in time" ... "this too will pass," are countless in our language. In The Winter's Tale, Shakespeare creates a fantasy of intrigue in the court of some far off land where the jealousy of an insecure king wreaks havoc with the lives of all who surround him. It is ony the "wide gap of time" which brings a happy ending to this near tragedy. 

I would never have thought a year ago that I would be directing a script of William Shakespeare, but the passing of time has shown me that all things are possible, especially with the support of the students appointed as stage managers and director's assistants. Their commitment and individual talents have proven to be invaluable in this project. As well, the time and energy of the English Department's Dr. Doris Adler who has been a source of enlightment and encouragement to us all. It is, however, Professor Vera J. Katz to whom I ower a great amount of thanks. Her constant, yet supportive and creative nudging, boosting and pushing of both the cast and me are responsible for stretching all of our skills to the demands of this project. Lastly, I thank Dr. Geoffrey Newman and Dr. Carole Singleton for making a long time wish-coming home to Howard to share with the students of the Drama Department a reality. ~ Directed by Mike Malone 

Spring Semester 1986 (no season theme)


Directed by Carole W. Singleton & Ted G. Cooper

Cast: two different casts were selected for two separate performances 

Date: Unknown

Produced in Environmental Theatre Space

From 1985/86 College of Fine Arts Annual Report, Department of Drama section 


Pg. 54...The Spring main stage production was pearl Cleage's Hospice. Pearl Cleage, a former student of the Drama Department, spent a week with us as playwright-in-residence. Several activities were planned around her presence. Hospice was presented by two different faculty directors snd two different casts. 


A segment of one performance of Hospice was filmed by German TV for inclusion in a special on Theatre in Washington DC. 


The program aired on German National Television in April, 1986

Pg. 58...For academic/fiscal year 1985-86, some advisement practices were discontinued for a variety of reasons. For example, the across-the-board area coordinator system was indefinitely suspended. The advisory system implemented 1985-86 was based on alphabetical assignment, with a few faculty being assigned to specific areas (i.e. Freshmen, Seniors, Arts Management and Theatre Education). The Department will continue this practice for 1986-87 until a more efficient system can be designed. 

Pg. 60...As specified in previous requests for budget increases, this Department sorely needs supplementation in personnel, i.e., a shop foreman, additional clerical assistance and faculty to administer a Musical Theatre Program, as well as a Graduate Program. (An MFA degree in Theatre has long been designed and, at this writing, simply collects dust.) 

1984/1985 - Geoffrey W. Newman, Chair, Department of Drama

Dean: Dr. Vada Butcher, College of Fine Arts

Major: B. F. A. in Drama

Areas of Concentration & Coordinators: Acting (Sandra Bowie), Directing (Vera J. Katz), Design/Technical Theatre (George Epting), Arts Administration (Ted G. Cooper), Theatre Speech Education (Carole W. Singleton), Dramatic Literature (Carole W. Singleton), Playwriting (Joseph A. Walker)

Staff: none listed in annual report

Faculty

Howard Players President: Cynthia Smith

Geoffrey Newman - Oral History Interview by Denise J. Hart (May 17, 2022) former faculty & Chair


Geoffrey Newman was born in Oberlin Ohio in 1946. He graduated high school in 1964. His dad was hired to computerize Howard (from paper systems to computer). Geoffrey was attending a white college and he wasn’t happy. He was complaining to his day and his dad told him to come to Howard. In 1966 Geoffrey transferred to Howard University. He graduated in 1968.

 

What was Howard like when you first arrived?

In 1967 or '68 the homecoming queen wore an afro and that was forbidden. It created a huge civil unrest amongst the students who saw that as their blackness was being censored.

The theatre department was performing Blues for Mr. Charlie and that production brought the theatre department into the student protest. A group of students closed down the production by walking on to the stage and telling the audience that if there were any white people there, If you value your life you should leave the theatre now.

 

There were constant bomb threats during this time. Plays weren’t being produced because the Howard campus was up in arms. The student movement became turbulent. The students occupied the administration building and shut down the administration. That was the beginning of the unrest.

 

Post Graduation Life 

Several years after Newman graduated in 1968 each year he was getting a call from Howard asking if he’d come back to be on faculty. He would say no because he was creating the theatre program at Wabash. However, after 4 years the folks at Wabash told him that they never thought he’d stay and that he’d go on to do better things so they didn’t expect him to apply for promotion. He was insulted. 

Around that time Dean Veda Butcher called him and she said they needed someone like him who had been through the rigor of the program in the 1960’s. Veda said she needed faculty who could bring back that kind of structure to the drama department. His dad said your alma mater needs you, you should go. So, he came to Howard in 1974.


Back to the Mecca

The students had not really recovered from the turbulence of the late 1960’s. They were angry. Technique was viewed as being white oriented. It was difficult to show that historical Eurocentric teachings were important. In the 70’s students thought Black theatre and black theatre technique was more important. If it wasn’t Black they thought they were wasting their time.

 

His biggest goal was to bring them back to the high rigor of the 1960’s. In the 60’s the training was so rigorous that you barely had any time to do anything else besides your classes, work on shows and be on stage in shows.

The department focus became performance based. However, students felt that the professionals were taking roles from them. Until 1979 the students saw this as a battle for them to get roles.

 

His next objective was to show the students the best way to train students was to bring in professionals to get them to work side by side to get a sense of the high professionalism required.

 

The Second European Tour for the Department of Drama 

Once the European tour of Raisin and Sound of Soul for the 1978/79 Department season were set up, the students no longer felt this way. 55 persons (approximately 32 students) were in Europe the entire spring semester of 1979 to perform those two plays. 


During these productions professionals had main roles and students had background and supporting roles. The rigor was so high that the students grew quickly and saw professionals in action and this made them recognize that technique mattered.


Geoffrey and Sandra Bowie put together an educational program to hold classes in the AM, then rehearse and build the show in the afternoon and perform in the evening. It was a whirlwind!

 

This trip transformed the theatre department. From that time forward they never had another problem with students understanding the high level of professionalism required for performance.


Any regrets?

When he came back from Europe he was on a high! 


However, he wasn’t able to do what he really wanted to do, which was to make the off-campus performance experience part of the academic experience in the department of theatre arts. He believed that the students would benefit from an off-campus touring program. But he was not able to achieve it. 


The upper administration didn’t see the value of investing in a program like that. They thought the classroom was the place for training. 


He regrets he was unable to convince the Howard administration of the value of off campus training.

The faculty were extremely close. Perhaps too close. They’d play and work together. They’d discuss the issues with student, administration and facilities at house parties and once the day had ended.

 

How Were Faculty Relations?

They lovingly battled each other daily about where they needed to go and what was needed to get there. It was a 24/7 job. They sort of lived and breathed the job like it was their full life mission.

 

Students were really hunger and eager for training. They’d eat up as much as you could give.

 

It was a highly creative environment!

Fall Semester 1984 Season Theme: A Tribute to Great American Theatre


Directed by Ted G. Cooper 

Date: Nov. 15-17, 1984 Dec. 29-1, 1985

Produced in Ira Aldridge Theatre


2. THE FANTASTICKS Book and Lyrics written by Tom Jones (Musical)

Directed by Kelsey Collie 

Date: Oct. 11-14, 18-21,1984

Produced in Ira Aldridge Theatre



Excerpts from 1984/85 College of Fine Arts Annual Report, Department of Drama section 


pg. 105...Curricular - The faculty, through the primary efforts of the Curriculum Committee, developed programs of study in performing arts, directing and dance. 


In addition the faculty designed and submitted, for Board of Trustee action, a new Bachelor of Arts program in Drama. 


This new degree area will help prepare graduate school bound students with a stronger liberal arts emphasis. 


The curriculum committee further re-examined the play production/practicum oriented courses and made necessary recommendations to closely tie these courses to lecture/laboratory experiences. 


Pg. 108-109... Recommendations: The future projections of the Performing Arts area are numerous. 


The goal is to provide a four year undergraduate training for students dedicated to professional careers in acting, musical theatre and hope fully in the near future dance. Performing arts students will concentration intensively on their specific disciplines. 


Students will, however, study areas that bear a close relation to their own work. News classes in the acting curriculum: Audition Techniques, Acting Seminar, Movement fo the Stage I, Film/T.V. Performance, Acting Workshop (freeing the body), Forms of Entertainment and Musical Theatre Techniques, Comprehensive Examination.

Pg. 106... ACTING AREA of CONCENTRATION


Juries: The Jury system has now become the permanent evaluation method in the Acting Program 








 Competencies must be submitted and dispersed to jurors prior to the actual examination 


Pg. 116... DESIGN/TECHNICAL THEATRE


The first and foremost need of the Design/technical Theatre program is better equipment and facilities, even if the equipment can be rented for the season... 


The department had to stop technical rehearsal for one hour during the technical rehearsal for The Fantasticks because the control room had filled with smoke from the dimmer board. 


During the last two productions the faculty had to stop the rehearsals while they went into the dimmer board and attempted to patch things together to get through the show. 


The problems that the department is having with equipment, especially electrical equipment and wiring, are not obvious to the layman because the faculty attempts to hide them for the sake of the production. 


It is no longer worth the time to continue fighting or even trying to fix the antiquated dimmer board in Ira Aldridge Theatre.... 


The dimmer board is more of a museum piece. The sound system is in the same situation. 

Pg. 122-123... PLAYWRITING

This coordinator (Joseph Walker) believes the writing area could be augmented by a creative writers's workshops - open to the general campus for intermediate and advanced writers. 


Also that the development of a journal (which the coordinator would like to manage and edit), that publishes interesting theatre-worthy pieces as well as articles on theory, criticism and aesthetics would greatly enhance the department and the writing program. 


Overall, it is the contention, that since writers are a relatively small minority and since our department is necessarily slanted towards students desires, that is, performance - the best way to build an effective, well populated writers' program (playwrights program) is to extend our reach beyond the students in the drama department. 


Pg. 131... NEEDS

Spring Semester 1985 Season Theme: A Tribute to Great American Theatre

1984/85 Department of Theatre Arts Season Poster from The Katz Collection, Howard University, Department of Art. Accessed 2020.

Directed by Carole W. Singleton

Date: April 11-13, 18-21st 1985

Produced in Ira Aldridge Theatre




Guest Director Kenneth Daughtery

Date: Feb. 15-16 & 21-23, 1985

Produced in Ira Aldridge Theatre 



1983/1984 - Geoffrey Newman, Chair, Department of Drama

Dean: Thomas J. Flagg, College of Fine Arts

Assistant Dean: Richard White

Major: B. F. A. in Drama

Areas of Concentration  & Coordinators: Acting (Sandra Bowie), Theatre Education (Dr. Carole W. Singleton), Directing (Vera J. Katz), Design/Technical Theatre (George Epting) 

Staff: Claudia F. Neal, Nanci L. Wilkins

Faculty: 

Howard Players President: Keith Cross

Fall Semester 1983 Season Theme: In Memory of Owen Dodson

 

Directed by Vera J. Katz

Date: Oct. 20 – 22nd

Produced in Ira Cramton Auditorium


Guest Director Vantile E. Whitfield

Date: Nov. 17-20, 29-30 Dec. 1-2nd 1983. 

Produced in Ira Aldridge Theatre


Howard University Office of Theatrical Productions (no collaboration with Department of Drama)

 

Directed and choreographed by Mike Malone

Date:  Sept. 9-11, 1983

Produced in Cramton Auditorium


1983/84 Department of Theatre Arts Season Poster from The Katz Collection, Howard University, Department of Art. Accessed 2020.

Further Research Question: Why was there a Howard University OFFICE OF THEATRICAL PRODUCTIONS at Howard University when the Department of Drama already existed and remained in dire need of facilities and equipment upgrades, additional space and much needed additional faculty? Why did the University put funding into that office and not into building the Department of Drama?

From the "Mahalia's Song" Program September 1983: 

The Office of Theatrical Productions at Howard University dedicates its first production of 1983-1984, Mahalia's Song, to the community of black musicians in metropolitan Washington, D.C. a special fraternity which has contributed substantively to the cultural development and vitality of the city throughout its history. Over the years, these gifted performers have used their talents to celebrate our joys and lighten our burdens asking little or no compensation in return. Washington's black musicians have been particularly supportive of the Office of Theatrical Productions since its establishment and we take this opportunity to express our sincere gratitude to those organizations who are represented in the cast of this show: The Bible Way Radio Choir, The Howard Gospel Choir, The Howard University Jazz Ensemble, Norvus Miller and Company, The Richard Smallwood Singers, The Wesley Boyd Workshop. 

The Office of Theatrical Productions is a part of the Division of Organized Activities which is supervised by Dr. Owen D. Nichols, Vice President for Administration and Secretary of Howard University. 

Spring Semester 1984 Season Theme: In Memory of Owen Dodson


Directed by Geoffrey W. Newman

Date: March 14-17, 1984

Produced in Cramton Auditorium

Producers listed as: HOWARD UNIVERSITY OFFICE OF THEATRICAL PRODUCTIONS, Howard University, College of Fine Arts, Department of Drama, University-Wide Cultural Committee



1984 Department of Theatre Arts BlackBirds Production Poster, from The Katz Collection, Howard University, Department of Art. Accessed 2020.

Excerpt from 1983/84 College of Fine Arts, Department of Drama section 


Pg. 56... in terms of the production program, three highly successful plays were presented: Draculaba d'Haiti, a new version of the classic Dracula, written by Professor Joseph A. Walker; Home, the new black play by Samm-Art Williams; and Black Birds, a new musical premiere by Howard Roberts. All three shows featured a combination of professionals, students, faculty, and community participants. The above plays were presented in collaboration with the Howard Players, the University-Wide Cultural Committee, the Office of the Dean, College of Fine Arts, and with the support of the Department of Art and Music. 


Pg. 62... This season put an enormous amount of pressure on the entire production staff, particularly the design staff and students. This has been the second year the Department has scheduled productions outside of our facility so that it could be renovated, only to find that nothing was to be done. This has been very demoralizing and a real stumbling block to the intended recruitment strategy for Design/Technical Theatre. 


Pg. 64...The 1983 Summer Theatre Workshop marked the beginning of the Howard University Children's Theatre's (HUCT) tenth year. 

1982/1983 - Geoffrey Newman, Chair, Department of Drama

Dean: Thomas J. Flagg, College of Fine Arts

Major: B. F. A. in Drama

Areas of Concentration & Coordinators: Acting (Sandra Bowie), Theatre/Speech Education (Dr. Carole W. Singleton), Directing (Vera J. Katz), Design/Technical Theatre  (George Epting) 

Staff:  Claudia F. Neal, Nanci L. Wilkins

Howard Players President: ?

Faculty: 

From 1982/83 College of Fine Arts Annual Report, Department of Drama Section 

pg. 27... Again the faculty and students of the Department of Drama examined several important issues during te 1982-83 academic year. Among these concerns were: (1) establishment of the Musical Theatre and Arts Management Programs of study; (2) a guest artist series in the play production program; (3)j finalization of plans for the renovation of Ira Aldridge Theatre and the other Drama facilities; (4) the continuation and development of the professional outreach program - "Contact"; (5) the establishment of a senior performance program - "Director Actor Project;" and (6) the establishment of a student review process - "Juries."

Because of the tremendous national and international popularity and the attested need for employment in the area of Musical Theatre, the Department of Drama designed and received approval of an interdisciplinary plan of instruction in voice, dance, and drama, which will make it's students more employable in today's theatre market. in addition, an Arts Management Program with elective courses ion the School of Business was also developed and approved by the Board of trustees this academic year. This program of study was established to meet the growing need of arts students who have an interest in management and/or business. 

Richard Wesley was presented with a special citation from the D.C. Mayor and the City Council proclaiming Richard Wesley Day at the opening of "Strike Heaven." Likewise, Louis Johnson was honored on the opening night of "The Wiz" for his contributions to the world of dance in general and for choreographing the Department's production. Again, the Mayor and City Council of the District of Columbia proclaimed it Louis Johnson Day. The organization of One Hundred Black Women also honored the Department and Louis Johnson during the opening of "The Wiz." Finally, "Black Orpheus" brought the Spanish community into the Howard family, as guest artists and audience participants. This past production season was co-sponsored by the Armour J. Blackburn Center, The Howard Players, and the University-Wide Cultural Committee. 

Fall Semester 1982 (no season theme)


Musical Theatre and Arts Management approved by Board of Trustees to become new areas of concentration.


Date: Oct. 8,9,10,15,16,17th 1992

Produced in Ira Aldridge Theatre


Directed by Kelsey Collie.

Date: O

Produced in Ira Aldridge Theatre

From the 1983 Howard University yearbook. Strike Heaven on the Face written by alum, Richard Wesley
Playwright Richard Wesley and Director Kelsey Collie share a warm memory exchange in the Department of Theatre Arts facebook group June 20, 2018. Permission to share granted from both parties 6/20/2018

Spring Semester 1983 (no season theme)


BLACK ORPHEUS Adapted, Choreographed and Directed by LaVerne H. Reed

Date: April 9-10, 1983

Produced in Cramton Auditorium

Producers listed as: HOWARD UNIVERSITY OFFICE OF THEATRICAL PRODUCTIONS, Howard University, College of Fine Arts, Department of Drama, The Howard Players, University-Wide Cultural Committee



THE WIZ (Musical) Book by William Brown. Lyrics by Charlie Smalls

Directed by Geoffrey Newman. Choreographed by Louis Johnson

Date: March 11-12,1983

Produced in Ira Aldridge Theatre

HOWARD UNIVERSITY OFFICE OF THEATRICAL PRODUCTIONS 

Directed and Choreographed by Mike Malone 

Date: 1982


Producers listed as: HOWARD UNIVERSITY OFFICE OF THEATRICAL PRODUCTIONS, Howard University, College of Fine Arts, Department of Drama, The Howard Players, University-Wide Cultural Committee

1981/1982 - Henriette Edmonds, Chair, Department of Drama

Dean: Thomas J. Flagg, College of Fine Arts

Major: B. F. A. in Drama

Areas of Concentration & Coordinators: Acting (Sandra Bowie), Theatre Education and Dramatic Literature/Criticism (Dr. Carole W. Singleton), Directing (Vera J. Katz), Design/Technical Theatre (George Epting), Playwriting (Joseph A. Walker), Drama Minor (Joe Selmon) 

Staff: Claudia F. Neal, Nanci L. Wilkins

Faculty: 

Howard Players President: ?

Ralph Remington - Oral History Interview by Denise J. Hart (July 15, 2018) class of 1984, Directing

When Ralph Remington arrived at Howard University Black activism was increasing. He came to Howard to delve into African classics and social change theatre. He was interested in the kinds of things he wouldn’t get at NYU but unfortunately from 1980-1984 Howard didn’t do much activism theatre. He wanted to do River Niger and Baraka. Ralph would spend hours in Joe Walker’s office. They would discuss Black arts movement and Black arts.

Musical Selection Fall Out...Students Protest

In 1980, when they did Babes in Toyland the students felt like "Why are we doing this?" They had heard the legendary stories of Sound of Soul and Raisin traveling overseas and they wanted to do more socially engaged theatre.

 

There was a big protest around the musical, Babes in Toyland. The protest wasn’t formal. The faculty were aware but didn’t care about the student response. There was no explanation for why they were doing Babes in Toyland. The faculty had their agenda and wasn’t willing to respond. The students didn’t understand why do this musical at Howard University. The selection of that play politicized and radicalized some of the students

 

The students wanted to do something edgier. The students started to do more of their own productions. Hot L. Baltimore was a Howard Players student production. 


The student protest of the Working in 1981 was a formal protest. He was company manager. At the time out of all the shows they could have done, the students didn’t want to do that show. The students continued to ask, why are we choosing to do these shows built for white folks at the Mecca? I didn’t have to go to Howard to do this. I could have done this show at any school in the world.  Why at this time are we doing this show (in the Reagan era).



Students felt that certain people didn’t want them to do black productions and the Howard Players were being tamped down.


The Stand Off and the Retaliation

What blew things up was when a professor mistreated one of the women students when he tried to snatch her prompt book. Ralph and the student walked out of the show rehearsal along with several of the production team and cast members. In subsequent days a number of cast and production crew walked out of the show. They had to cancel one or two shows which resulted in the students engaging in negotiations with the faculty. The students on one side and faculty on the other side. The students  negotiated a list of demands. Part of the negotiations was to do more Black plays and that there be recognition of the Howard Players and doing more student productions.

 

Unfortunately there was retaliation from the faculty towards the students who walked out and negotiated for more student input. Grades were also affected by faculty down grading students based on your level of participation in the movement.


Final comments 

A valuable experience all in all. He was able to know that he had the power to do whatever he wanted to do. Act, produce, direct. One of the most valuable classes was Production Seminar – Ted cooper taught that class. It was a senior level class. The first semester you learned all the parts of the business. How to budget, put on a show. How to create an actual theatre. Research Marketing, fundraising… EVERYTHING!! Second part of the class you spent that time putting the actual theatre together on paper. You would have your fictional theatre the logos for all productions, press releases, rationale for the shows, the demographics.

Fall Semester 1981 Season Theme: A Quest for Identity

First year Design/Technical Theatre offered as an area of concentration


Directed by Geoffrey Newman

Date: Sept. 24-7; Oct. 1-4; 8-11, 1981

Produced in Ira Aldridge Theatre


Guest Director Fred Lee

Date: Nov. 12-15; 19-22, 1981

Produced in Ira Aldridge Theatre

Spring Semester 1982 Season Theme: A Quest for Identity


Guest Director Donal Leace

Date: March 4-7; 11-14, 1982

Produced in Environmental Theatre Space


Directed by LaVerne H. Reed

Date: April 4, 1982

Produced in Ira Aldridge Theatre


Howard University Office of Theatrical Productions (no collaboration with Department of Drama)


Adapted & Directed by James W. Butcher

Date: Jan. 28 - 30, 1982

Produced in Cramton Auditorium

Produced through the Office of Theatrical Productions under the direction of James Butcher


Playbill cover, Macbeth, Moorland Spingarn Howard Players Collection

1980/1981 - Henriette Edmonds, Chair, Department of Drama

Dean: Thomas J. Flagg,  College of Fine Arts

Major: B. F. A. in Drama

Areas of Concentration & Coordinators: Acting (Sandra Bowie), Theatre Education and Dramatic Literature (Dr. Carole W. Singleton), Directing (Vera J. Katz), Technical Theatre (George Epting), Playwriting (Joseph A. Walker) 

Staff: none listed in annual report

Howard Players President: ?

Faculty:

Excerpt from 1980/1981 College of Fine Arts Annual Report, Department of Drama section


Pg. 47...The area of arts management is not included in the new curriculum. This is a very viable field and a program needs to be designed in this area. However, lack of funds preclude the hiring of additional faculty and materials to accomplish this goal. 


Pg. 48...The plans for renovation of Ira Aldridge Theatre have received considerable attention this year. 
The proposed improvements will elevate the theatre into a quality technical facility.

Pg. 51...The year ended with our annual "Weenie Awards." It was a memorable evening. 
Miss Debbie Allen, a former student and now a Broadway star, received the Distinguished Howard Player Award. 

Fall Semester 1980 (no season theme)


Directed by Joseph A. Walker

Produced in Armour J. Blackburn Center


Scenes from Babes in Toyland presented at the Irene Ryan Acting Finals a the Kennedy Center American College Theatre Festival 


Directed by Kelsey Collie

Choreographed by Linda Wharton

Musical Director Napoleon Reed

Date: Nov. 6-23, 1980

Produced in Cramton Auditorium


Directed by Timothy Bond



Spring Semester 1981 (no season theme)

 

Directed by  LaVerne H. Reed


Directed by senior students Ray Michael Bridgewater & Anthony Perkins


Click HERE to review 1980 - 1970 (coming soon) Theatrical Production History

Please note, this research site is not a comprehensive report on all Department of Theatre Arts performance/workshop/symposia/masterclass presentations. Nor is it comprehensive for all Howard Players performance presentations. Nor is this a comprehensive report on the Dance area performance/workshop/masterclass presentations. The research continues.