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Negro in Literature and Art in the United States

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<h2>IX</h2> <h3>THE STAGE</h3> IN no other field has the Negro with artistic aspirations found the road so hard as in that of the classic drama. In spite of the far-reaching influence of the Negro on American life, it is only within the last two years that this distinct racial element has begun to receive serious attention. If we pass over Othello as professedly a Moor rather than a Negro, we find that the Negro, as he has been presented on the English or American stage, is best represented by such a character as Mungo in the comic opera, "The Padlock," on the boards at Drury Lane in 1768. Mungo is the slave of a West Indian planter; he becomes profane in the second act and sings a burlesque song. Here, as elsewhere, there was no dramatic or sympathetic study of the race. Even Uncle Tom was a conventional embodi[98]ment of patience and meekness rather than a highly individualized character. On the legitimate stage the Negro was not wanted. That he could succeed, however, was shown by such a career as that of Ira Aldridge. This distinguished actor, making his way from America to the freer life of Europe, entered upon the period of his greatest artistic success when, in 1833, at Covent Garden, he played Othello to the Iago of Edmund Kean, the foremost actor of the time. He was universally ranked as a great tragedian. In the years 1852-5 he played in Germany. In 1857 the King of Sweden invited him to visit Stockholm. The King of Prussia bestowed upon him a first-class medal of the arts and sciences. The Emperor of Austria complimented him with an autograph letter; the Czar of Russia gave him a decoration, and various other honors were showered upon him. Such is the noblest tradition of the Negro on the stage. In course of time, however, because of the new blackface minstrelsy that became popular soon after the Civil War, all association of the Negro with the classic drama was effectively erased from the public mind.[99] Near the turn of the century some outlet was found in light musical comedy. Prominent in the transition from minstrelsy to the new form were Bob Cole and Ernest Hogan; and the representative musical comedy companies have been those of Cole and Johnson, and Williams and Walker. Bert Williams is to-day generally remarked as one of the two or three foremost comedians on the American stage. Even musical comedy, however, is not so prominent as it was ten years ago, by reason of the competition of vaudeville and moving-pictures; and any representation of the Negro on the stage at the present time is likely to be either a burlesque, or, as in such pictures as those of "The Birth of a Nation," a deliberate and malicious libel on the race. In different ones of the Negro colleges, however, and elsewhere, are there those who have dreamed of a true Negro drama—a drama that should get away from the minstrelsy and the burlesque and honestly present Negro characters face to face with all the problems that test the race in the crucible of American civilization. The representative institutions give frequent amateur productions, not only of[100] classical plays, but also of sincere attempts at the faithful portrayal of Negro character. In even wider fields, however, is the possibility of the material for serious dramatic treatment being tested. In the spring of 1914 "Granny Maumee," by Ridgely Torrence, a New York dramatist, was produced by the Stage Society of New York. The part of Granny Maumee was taken by Dorothy Donnelly, one of the most emotional and sincere of American actresses; two performances were given, and Carl Van Vechten, writing of the occasion in the New York Press, said: "It is as important an event in our theater as the first play by Synge was to the Irish movement." Another experiment was "Children," by Guy Bolton and Tom Carlton, presented by the Washington Square Players in March, 1916, a little play in which a mother shoots her son rather than give him up to a lynching party. In April, 1917, "Granny Maumee," with two other short plays by Mr. Torrence, "The Rider of Dreams," and "Simon the Cyrenian," was again put on the stage in New York, this time with a company of colored actors, prominent among whom were Opal Cooper and Inez[101] Clough. This whole production, advertised as "the first colored dramatic company to appear on Broadway," was under the patronage of Mrs. Norman Hapgood and the direction of Robert Edmond Jones, and its success was such as to give hopes of much greater things in the future. Three or four other representative efforts within the race itself in the great field of the drama must be remarked. One of the most sincere was "The Exile," written by E. C. Williams, and presented at the Howard Theater in Washington, May 29, 1915, a play dealing with an episode in the life of Lorenzo de Medici. The story used is thoroughly dramatic, and that part of the composition that is in blank verse is of a notable degree of smoothness. "The Star of Ethiopia," by Dr. DuBois, was a pageant, elaborately presented. Originally produced in New York in 1913, it also saw performances in Washington and Philadelphia. The spring of 1916 witnessed the beginning of the work of the Edward Sterling Wright Players, of New York. This company used the legitimate drama and made a favorable impression, especially by its production of[102] "Othello." At present special interest attaches to the work of the Lafayette Players in New York, who have already made commendable progress in the production of popular plays. The field is comparatively new. It is, however, one peculiarly adapted to the ability of the Negro race, and at least enough has been done so far to show that both Negro effort in the classic drama and the serious portrayal of Negro life on the stage are worthy of respectful consideration. <hr style="width: 65%;" /> [103] <div style="break-after:column;"></div>

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