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NEW YORK'S AFRICAN THEATRE: THE VICISSITUDES OF THE BLACK ACTOR
Details of the events leading to the short-lived triumph and sudden demise of the African Theatre (1820-1823) appeared sporadically and were often supplied by dubious witnesses; nevertheless, a consistent picture may be presented of the general character and aspirations of the first black acting company in America during the years 1821 through 1823.
The New York newspapers of the period, always eager to relate novel discoveries to their readers, were not hesitant to acknowledge the existence of a group of black men and women involved in the production and management of their own theatre concern. The tone of the newspaper articles varied from naive sympathy to outright hostility. The fact that such an acting company had chosen to perform classical pieces on the stage became an additional item of curiosity - and of amusement - for the newspaper public. Artistically demanding productions of Richard III and Othello were attempted with an all-black cast at a period in American drama when black characters of any kind rarely appeared on the stages of the white theatres.
Henry Brown, a former ship's steward, was the apparent producer of the African Theatre venture. His company probably evolved from the evening entertainment furnished for the African Grove. The latter functioned as a tea and ice cream garden for New York free blacks. The New York National Advocate first mentioned the Grove in its August 3, 1821 issue, where it was described as a garden for evening refreshment and relaxation. Seven weeks later, the same paper mentioned what may have been the first production of the African Theatre: a performance of Richard III. Throughout September and October of 1821, the National Advocate and other New York papers looked upon the black performances with interest, but little sympathy. Their descriptions of the individual acting performances - there were no comprehensive reviews of any of the productions - were indicative of the stereotyped prejudgments of the white reporters: "...the agony of the appalled Richard, the rolling eyes, white gnashing teeth, clenched fists and frenzied looks were all that the author could wish."
There is some indication in these early reviews that Brown's theatre company was under constant harassment from the local police...