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From plantation performances to minstrel shows of the late nineteenth century, the roots of black theatre in Texas reflect the history of a state where black Texans have continually created powerful cultural emblems that defy the clichés of horses, cattle, and bravado. Drawing on troves of archival materials from numerous statewide sources, Stages of Struggle and Celebration captures the important legacies of the dramatic arts in a historical field that has paid most of its attention to black musicians. Setting the stage, the authors retrace the path of the cakewalk and African-inspired dance as forerunners to formalized productions at theaters in the major metropolitan areas. From Houston’s Ensemble and Encore Theaters to the Jubilee in Fort Worth, gospel stage plays of the Black Academy of Arts and Letters in Dallas, as well as San Antonio’s Hornsby Entertainment Theater Company and Renaissance Guild, concluding with ProArts Collective in Austin, Stages of Struggle and Celebration features founding narratives, descriptions of key players and memorable productions, and enlightening discussions of community reception and the business challenges faced by each theatre. The role of drama departments in historically black colleges in training the companies’ founding members is also explored, as is the role the support of national figures such as Tyler Perry plays in ensuring viability. A canon of Texas playwrights completes the tour. The result is a diverse tribute to the artistic legacies that continue to inspire new generations of producers and audiences.

One of the few books of its kind, Acting Up and Getting Down brings together seven African American literary voices that all have a connection to the Lone Star state. Covering Texas themes and universal ones, this collection showcases often-overlooked literary talents to bring to life inspiring facets of black theatre history. Capturing the intensity of racial violence in Texas, from the Battle of San Jacinto to a World War I–era riot at a Houston training ground, Celeste Bedford Walker’s Camp Logan and Ted Shine’s Ancestors provide fascinating narratives through the lens of history. Thomas Meloncon’s Johnny B. Goode and George Hawkins’s Br’er Rabbit explore the cultural legacies of blues music and folktales. Three unflinching dramas (Sterling Houston’s Driving Wheel, Eugene Lee’s Killingsworth, and Elizabeth Brown-Guillory’s When the Ancestors Call) examine homosexuality, a death in the family, and child abuse, bringing to light the private tensions of intersections between the individual and the community. Supplemented by a chronology of black literary milestones as well as a playwrights’ canon, Acting Up and Getting Down puts the spotlight on creative achievements that have for too long been excluded from Texas letters. The resulting anthology not only provides new insight into a regional experience but also completes the American story as told onstage.

Sterling Houston is an innovative African American writer whose plays are known for biting social commentary combined with eye-popping theatricality. Despite many successful productions, his work has never before been widely available in print. The four plays in this collection represent Houston’s full range of themes and styles. High Yello Rose deflates the Alamo myth by casting the heroes’ parts entirely with women. Isis in Nubia is a love story that sets the Isis/Osiris myth in West Africa. Black Lily and White Lily is a realistic domestic drama exploring racial tensions. Miranda Rites returns to Houston’s broadly farcical style, enacting Martha Mitchell’s last days in a hospital, where she hallucinates about Marilyn Monroe and Dorothy Dandridge, and is escorted to the underworld by Carmen Miranda. “It is up to the artists to be the healers, the visionaries, to retell our stories so that they resurrect us. This is what Sterling does when he collects the lives fallen and forgotten between the cracks. What a marvelous gift Sterling has given to American culture by remembering, and not remembering as some do with retribution, but with wisdom, humor, generosity, and heart. For his labor and research, for his lifework and lovework, I am not only deeply grateful, but inspired.”--Sandra Cisneros, author of The House on Mango Street and Caramelo