Celebrating Community and Culture at the International Black Theatre Festival

Two years back, actress and producer LaChanze shared a video on Instagram showcasing a vibrant scene as she, stage manager Lisa Dawn Cave, and performer Alton Fitzgerald White made their way to the opening gala of the North Carolina Black Repertory Company’s International Black Theatre Festival in Winston-Salem. Clad in purple and gold, the trio entered through a lively welcome characterized by a spirited marching band. LaChanze's infectious smile and heartfelt declaration—“I love my people”—perfectly encapsulated the festival's essence.

Before that moment, I wasn't attuned to the significance of the IBTF, but it became clear to me that attending the festival, held from July 27 to August 1 this year, was essential for anyone involved in theatre. The IBTF has a 37-year history, serving not only as a platform for performances and workshops but also as a profound gathering for families and friends united by theatre’s storytelling power.

A Gala Like No Other

The kickoff this year was nothing short of regal, with attendees dressed elegantly in purple, reflecting the festival's rich heritage. I was fortunate to dine at the Visit Winston-Salem table alongside creatives drawn to this momentous event. For many of us, it was our inaugural experience at the IBTF, amplifying the excitement.

Amidst the festivities, we were reminded to secure our spots for the festival’s opening, a moment I didn’t fully appreciate until the thrilling sound of drums resonated through the venue. This welcoming tradition—rooted in West African customs—invites ancestral spirits, intertwining history with celebration. As performers clad in Falui masks paraded the space, the beat pulsed through the audience, creating an atmosphere that transcended mere performance. It felt like a collective homage to the festival's founders, Larry Leon Hamlin and Sylvia Sprinkle-Hamlin.

As the drum introduction concluded, a procession of luminaries commenced, featuring personalities such as Sade Lythcott, CEO of National Black Theatre, and the illustrious Phylicia Rashad. The awards ceremony honored notable figures from the theatrical community: Angelica Cheri received the August Wilson Playwright Award, while Patricia McGregor took home the Lloyd Richards Director Award and Rashad was celebrated with the Sidney Poitier Lifetime Achievement Award. Rashad's poignant words, “This festival is an affirmation of humanity,” resonated profoundly with the audience.

Remembering the Legacy

Given its biennial nature, the festival poignantly acknowledged those lost since the last gathering, including producer Woodie King Jr. and actor Malcolm-Jamal Warner. Chester Gregory enthralled the audience with a preview of his upcoming show, Being Black on Broadway, while Jimmie “J.J.” Jeter, currently in the national tour of Hamilton, brought the audience to their feet with "The Room Where It Happens." The evening culminated in a mesmerizing performance by jazz singer Matelyn Alicia. Leaving the gala, I felt an overwhelming sense of anticipation for the week ahead, filled with theatre and creativity.

Documentary Insights and Cultural Impact

Among the festival highlights was the world premiere of the documentary Holy Ground, co-directed by Jackie Alexander and Ka’ramuu Kush. This film serves as a valuable introduction to the festival's history, featuring interviews and rare archival footage that celebrate its founders. Larry Leon Hamlin's vision, which birthed the festival in 1989, aimed to spotlight Black theatre companies and promote awareness of their contributions. Over the decades, the IBTF has generated more than $230 million for the Winston-Salem economy and continues to attract participants from around the world.

Chester Gregory’s Being Black on Broadway also stood out as a compelling experience, blending personal narratives with performance. He captivated the audience, ensuring to include a segment for dancing that brought attendees to their feet. This dedication reflects a long-standing tradition among IBTF attendees, many of whom make the festival a biannual return, evolving it into a familial gathering. This sense of community was palpable during my interactions on the shuttle bus—conversations with veteran attendees highlighted their commitment to share the experience with loved ones.

A Future for All Generations

As I waited on my final day for a shuttle to a performance, I was struck by the sight of drivers cheerfully announcing the plays lined up for guests. Signs displaying titles like Purlie Victorious and The Bluest Eye illustrated the anticipation surrounding the event. For me, the IBTF parallels the cultural vibrancy of ESSENCE Fest—a gathering that champions not just entertainment but also education and connection.

However, I noticed a gap in younger generations' presence. While Gen X and Baby Boomers are foundational to the festival’s framework, engaging millennials and Gen Z is vital for ensuring the festival's continuity and relevance. Their participation would enrich the festival and help preserve the traditions that have defined its journey so far.

The connections made and knowledge shared during the IBTF are invaluable, and as I anticipate returning in 2028, I’m eager to bring my family and continue building my own IBTF family. The festival is indeed a family affair, embodying the spirit of community through the power of theatre.

Nikki Carpenter is a writer and theatremaker hailing from Chicago's South Side. Founder of Good Content Media, she holds a BFA in Media Studies from North Park University with a minor in Africana Studies.