By Megan Sayles
AFRO Staff Writer
msayles@afro.com
Founded in 1953, Baltimore’s Arena Players is the oldest continuously-operating Black community theater in the country. It was established at a time when African Americans were often unable to attend local White-owned theaters— let alone act in or direct productions.
D.C. native Donald Owens has been the artistic director for Arena Players for nearly two decades. He first discovered the theater in the 1970s when a college instructor introduced him to Sam Wilson, the founder of Arena Players. Wilson asked Owens to audition for his production of “Dark of the Moon,” and Owens landed the lead role. He’s been involved with the theater ever since.
The AFRO recently connected with Owens to discuss the legacy of Arena Players, the upcoming season, ongoing renovations at the theater and his vision for the future.
AFRO: What role has Arena Players historically played in creating opportunities for Black artists on stage and behind the scenes?
Donald Owens: When Arena Players came around in 1953, you have to realize that there weren’t many theaters doing African-American playwrights, including people like James Baldwin. Arena Players also gave an advantage and opportunity to many actors, writers and directors who could not perform in other theaters unless they were playing servants. The people who founded Arena Players were artistic. They believed in the arts, and they believed that we should be exposed to our many creative contributions.
We just finished our 71st season uninterrupted. We do Shakespeare and other playwrights who are not African American, but we mainly highlight African-American playwrights. We’ve done August Wilson, Lynne Nottage, Alice Childress and even Julian Mayfield.
We also have one of the biggest youth theaters, and it’s almost in its 50th year. They learn discipline and how to think through everything. People have come out of it and gone into major opera companies and major theaters on Broadway, including Damon Evans and Tracie Thoms.
AFRO: Arena Players is undergoing a significant revamp— can you discuss the renovations and how it may impact the season?
DO: The theater’s renovation is massive, which means that we will be performing at other sites for almost a whole season. We will have a brand new theater on the first floor with new floors, a new stage, new sound system and new lighting. Everything will be modernized. It’s a large undertaking but long overdue. On the second floor, we have rehearsal halls, classrooms and dance studios, and they will all be updated.
Because we are in the midst of renovations, we will hopefully be starting our 72 season near the end of September. We’re looking at doing “Gospel with Audacity The Revival.” It’s a three-part piece, and we’ve already done the first part. We’re also looking to do one of Robert Russell’s plays. He has passed, but he was an Arena Player for ages, and he’s a fantastic playwright.
Later in the season, I want to do “The Trip to Bountiful” and “The Gospel at Colonus.” Everything this year will have a tinge of gospel and faith in it.
AFRO: What do you wish the city of Baltimore or broader arts community understood about the support Arena Players needs?
DO: I’ll have a lot of people come in and say, “You need to have more of this,” or, “You need to have more of that.” But, when I ask, “Can you please help us get that?” we never hear from them again. Our prices are like $35, and people will complain, but they will go to the Hippodrome and pay $100 to see something. We are a community theater. The theater is part yours, but you must take and own a part of that relationship. If there’s something you want to see that we haven’t been doing, send us a suggestion.
When we go to the city or the state for grants, we’re not only coming for them to be generous to us— we’re coming because we need them. People come and see our plays, and they love them, but they have no idea how much they cost. Say we did “Sophisticated Ladies.” It costs thousands just to get the rights. Then, you have to pay your artists and band. Most of us who work here do it for free.
It’s a fun business, but it’s a serious business, and it takes a lot to make it work.
AFRO: What is your long-term vision for Arena Players?
DO: I hope to see this theater really blossom with the generation that’s coming through now. Once they try their wings, you still want to have a place where they can keep doing that.
Nowadays, you can perform at any theater around here, but how many of them can be personal enough to understand your ethnic group’s reactions? I’ve had students come from universities to study with us because they don’t get the Black experience. It’s important because it keeps you clear and grounded.
Great Job Megan Sayles AFRO Staff Writer & the Team @ AFRO American Newspapers Source link for sharing this story.
