From the group’s first public performance in June 1940 until its collapse in late 1949 or early 1950, the American Negro Theatre (ANT) stood as Harlem’s preeminent theatrical organization. From modest beginnings (including an initial treasury of less than twenty cents), this company grew in visibility and prestige, achieving prominence both in Harlem and on Broadway, and influencing the evolution of American culture with respect to inclusion of black artists and representations of race. The ensemble achieved new heights for African American artistic autonomy and self-expression within the theater. At the same time, the ANT undertook groundbreaking interracial collaborations and advanced the cause of integration in the theater, through its frequent partnerships with white artists. The ANT’s ongoing fame derives in large part from the accomplishments and visibility achieved by many of its alumni as professional artists, following the company’s demise. Ruby Dee, Sidney Poitier, Harry Belafonte, Earle Hyman, Alice Childress, Clarice Taylor, Frederick O’Neal, William Greaves, and many others worked with ANT early in their careers—gaining experience and training that helped propel them into greater public visibility later in life. Another source of renown for the ANT was the creation of the wildly popular Anna Lucasta—which began in Harlem before transferring to a historic two-year run on Broadway, an engagement in London’s West End, and two Hollywood film adaptations. Anna Lucasta still stands as the longest-running play in Broadway history with an entirely African American cast. Despite its collapse amid financial hardships after ten years of activity, the ANT’s influence—both on African American cultural expression as well as on commercial entertainment in the United States—has been transformative and far-reaching.
