Karamu House - History

History

In 1915, Russell and Rowena Woodham Jelliffe, graduates of Oberlin College in nearby Oberlin, Ohio, founded what was then called The Neighborhood Assn. at 2239 E. 38th St. establishing it as a place where people of different races, creeds and religions could find a common ground. The Jelliffes discovered in their early years, that the arts provided the perfect common ground, and in 1917 plays at the "Playhouse Settlement" began.

The early twenties saw a large number of African Americans move into an area in Cleveland,from the Southern U.S.. Resisting some pressure to exclude their new neighbors, the Jelliffes insisted that all races were welcome. They used the United States Constitution; “all men are created equal” and pursued their dream. What was then called the Playhouse Settlement quickly became a magnet for some of the best African American artists of the day. Actors, dancers, print makers and writers all found a place where they could practice their crafts. Karamu was also a contributor to the Harlem Renaissance, and Langston Hughes roamed the halls constantly.

Reflecting the strength of the Black influence on its development, the Playhouse Settlement was officially renamed Karamu House in 1941. Karamu is a word in the Swahili language meaning "a place of joyful gathering" or "a pencil". It is a place where families could gather, share stories, feast, and enjoy. Karamu's long standing tradition of allowing the audience to meet, and greet actors in a reception line is Karamu's very own; the "gathering place" extends itself into the community through this face to face encounter.

Throughout the years Karamu has gone through many changes, some profound. With the retirement of the Jelliffes in 1965, and the social shifts of the 1960s and 1970s, Karamu was affected in a number of ways: diminished funds, increasing political and social urgency, and uncertainty of purpose. But audiences still poured into Karamu House. The community was drawn by the energy of a new political and cultural presence for African Americans. White patrons that had served on the board were purged. But a great measure of community support remained. The fervor, the making of history has never waned with this historical, cultural, and fine arts institution, not even in hard times.

The original Drama/Theatre for Youth (DT/Y), now called "TOPS" was modeled after a Colorado program, under the direction of Jeff Gruszewski. DT/Y was formed in 1987, and toured to hundreds of schools in Cuyahoga, Summit, Elyria, Erie, and Lorain counties. The original company consisted of Abdullah Bey, Susan Benson, Renee Matthews-Jackson, David Reichhold, and Jerry Urick. From 1987 to present day, there have been 23 different ensemble tour companies. TOPS is an intricate branch of Karamu's Educational Outreach programming.

Karamu House had developed a reputation for nurturing black actors having carried on the mission of the Gilpin Players, a black acting troupe whose heyday predated Karamu. Directors such as John Kenley, of the Kenley Players, and John Price, of Musicarnival — a music "tent"]] theater located in Warrensville Heights, Ohio, a Cleveland suburb — regularly recruited black actors for their professional productions.,

Those in the Karamu ranks include some of Cleveland's native-born; Norma Powell, Charles Brown, Darnell Suttles, Lucia & Licia Colombi, Brenda Butler, Willie Goodson, Larry Bey, Mary Dorsey, Kevin Willingham, Jean "Granny" Hawkins, Mary Connley-Dismuke, Al Kirk, Cornell Calhoune, Sue H. Johnson, Hank Marone, Steve Larry, Calvin Thomas, Al Fann, Conni Blair, Dale R. Shields, Debra Byrd, Sarah May, Gina Taylor, Wayne Elbert, Joe Lynn, Tony Sanders, Valerie Robinson, Tyrone Jenkins, Jackie Thompson, Willie Boyd, Evelyn Irby, Robert Williams, Jeff & Denise Doggett, "Mississippi" Charles Bevel, Prestor Pickett, Yvetta, Rezina,Vaness Bell- Calloway, Reuben & Dorothy Silvers, Rick Williams, Greg Deltorto, Asante Jones, Brandi Amin, Dianne Weaver, Felton Richards, Buddy Butler, Matthew Dickens, Angela Winborn, Richard Morris, Willie Gipson, Ossie Davis, Ruby Dee, Mike Malone, Joyce Meadows, Gwen Frost, Tracie Rose, Reggie Kelly, Gwen Wright, Adora & Eric Schmiedl, Trish Johnson, Anthony Talley, Jack Robinson, Kathy Bibbs, Allen Johnson, Parks Taylor, JoAnn Hawkins, Tora Bey, Dorae Vactor, Tshombe, Eddie Baccus Sr. & jr., Kalief Haynes, Morgan Lund, Michael Bell, Sr., Desmond Storm E Jones, Kenny Johnson, John Lynch, Kenneth Parker, William & Sandra True, Sandy Bass, Lawerence Maurice, Calvin Knight, Marcus Dana, Kyle Primous, Don Evans, Vickie Buster, Butch Terry, Charles Robinson, Leroy Jones, Brenda Butler, Kenny Bell, Kathy Walker, Chico, Michael Metcalf, Anthony E. Nickerson-El, James Spriggs, Reggie Kelly, Trish Johnson, Sheraine Newman, Linda Thomas Jones, Eva Withers-Evans, Hassan Rogers, Michael May, Shelia Ramsey, Caroline Jackson-Smith, Ron Hester, Reyno Crayton, Doug Jewell, Bill Cobbs,Lillie Brown-Oden, Daniel Kontar-Gray, and countless others, far too many to mention...

In 1931, Langston Hughes, and Zora Neale Hurston were negotiating with the Jelliffes to produce 'Mule Bone', their two act collaboration, when the two writers "fell out". A series of conversations between the Hughes and Hurston estates, the Ethel Barrymore Theatre presented the world premiere of Mule Bone on Broadway in 1991. Finally, sixty-five years after the production was originally proposed, Karamu House presented MULE BONE (THE BONE OF CONTENTION) as the '96-'97 season Finale. Karamu's production, directed by Sarah May, played to standing room only audiences in the Proscenium (Jelliffe) Theatre. The by-line in The Plain Dealer, as the Cleveland theatre season came to its end read:"Karamu returns to Harlem Renaissance status". Critic Marianne Evett shared Karamu's success story as the Theatre began to recover from past hardships. The revival Karamu House needed so desperately had arrived. During this time, Margaret Ford-Taylor held the position of Executive Director and Sarah May, Artistic Director.

Since October 2003, Terrence Spivey has served as Karamu's artistic director. Since his arrival, Karamu has again risen to an unexpected pace artistically with the constant challenge of daring and provocative works for artist and audience alike. Karamu House Performing Arts Theatre continues to be one of American History's greatest treasures.