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From its first year, this festival has been 'marvtastic'
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Published: August 8, 2009
On May 1, 1979, Larry Leon Hamlin officially founded the North Carolina Black Repertory Company; on June 30, its first production, Siswe Bansi Is Dead by Athol Fugard, John Kani and Winston Ntshona, was presented at Winston-Salem State University's Kenneth R. Williams Auditorium.
It focused on the daily struggles with which black South Africans had to contend because of the dehumanizing apartheid system.
As the artistic and executive director, Hamlin worked diligently to foster new relationships with individuals and organizations, sharing his vision and soliciting their support. As the general manager of radio station WAAA, I was one of those people. I pledged my support and agreed to loan him music and to announce and help promote his productions.
News Director State Alexander interviewed him and served as one of the early directors of the North Carolina Black Repertory Company. Ru Rose, a "980 Triple A" announcer, had a role in Douglas Turner Ward's Day of Absence in December of 1979, performing in residential living rooms to build audience and loyalty.
Hamlin's breadth of experiences in California and Rhode Island, before returning to North Carolina because of family illness, had prepared him for these challenges. He continued his quest to enlighten, educate and entertain by selecting outstanding black plays by black playwrights.
He attracted, trained and worked with some of the area's most gifted actors, vocalists and musicians, while inviting professionals like Lawrence Evans, Antonio Fargas and Ricardo Pitts-Wiley for guest roles. Hamlin sought collaborations in and out of state and traveled with successful productions to expose them and raise funds.
In 1981, while attending a "Unity in the Community" event at the fairgrounds sponsored by WAAA, Hamlin recruited the first 20 members of the NCBRC Theatre Guild. It would grow to 1,500 diverse volunteers and supporters, and proved to be a key element in the successful hosting of the National Black Theatre Festival, starting in 1989.
I still remember the great anticipation of the very first festival. It far exceeded everyone's expectations and made Winston-Salem the place to be. The months of tedious work had paid off. Twenty thousand people came, saw plays, attended workshops, stargazed, networked and joined in a wonderful reunion of spirit and culture.
"Black Broadway" was alive in Winston-Salem without incident. It was as though we had been transported to New York City and took the southern hospitality with us.
Maya Angelou, actress, poet, dancer, director, and writer extraordinaire, was an adviser to Hamlin and, as national chairperson of the 1989 black theatre festival, used her influence and connections to invite an A-list of celebrities to attend. Wow, did they come! Oprah Winfrey, Lou Gossett, Jr., Cicely Tyson, August Wilson, Ruby Dee, Ossie Davis, James Earl Jones, Roscoe Lee Browne and Esther Rolle were among the dozens who set the bar for future attendees.
In April of 1986, I met Micki Grant, who wrote the music and lyrics of the Broadway musical Don't Bother Me, I Can't Cope (1972). We would renew that acquaintance in 1989 at the festival's gala opening. How fitting that it headlined the 20th anniversary this week, again directed and choreographed by Mabel Robinson.
The first festival remains most memorable because it was the genesis of two very special friendships, one with an attendee and one with Yolanda King.
She presented Stepping Into Tomorrow, the first of several festival productions. We looked forward to our reunion every other year. Our paths crossed at other times too; here, in New York City and in Washington. She introduced me to her mother, Mrs. Coretta Scott King, a very gracious woman. Because of Yolanda, I met Pam Fuller Greene and Ron Stacker Thompson.
Others started this journey with Hamlin, like Arte Reese and Lawrence Evans. Many benefited from the exposure and experience and got wonderful acting opportunities like Roslyn Fox and Horace Rogers.
The 10 festivals have all been "Marvtastic!" Larry Leon Hamlin exceeded his dream of uniting black theatrical groups and breathed new life into them. Winston-Salem has benefited immeasurably and so have we who have volunteered, attended and supported in other ways. Some from 1989 returned this week; many have passed on; however, thanks to Hamlin's vision, they had their additional shining moments right here in our city.
Salute to all who have played a part in these 20 years!
■ Mutter D. Evans is the former owner and CEO of WAAA radio and an annual sponsor of the National Black Theatre Festival.
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