Karamu House
First Black Owned Company
A Beacon of Cultural Harmony
Karamu House, nestled in the heart of the Fairfax neighborhood on Cleveland’s east side, stands as a hallowed institution and a testament to unity, creativity, and cultural expression. As the oldest African-American theater in the United States, it has played a pivotal role in shaping the theatrical landscape and nurturing the arts since its inception in 1915.
A Shared Vision of Inclusivity: Karamu House owes its birth to the visionary founders, Russell and Rowena Woodham Jelliffe. Both graduates of Oberlin College, they embarked on a noble mission to establish a space where individuals of all races, creeds, and religions could come together. This vision was manifested in 1917 when the first plays at the “Playhouse Settlement” were presented, setting the stage for the institution’s remarkable journey.
During the early twenties, a significant migration of African Americans to the Cleveland area from the Southern United States took place. Despite external pressures to exclude their newfound neighbors, the Jelliffes remained resolute in their commitment to welcoming all races, drawing inspiration from the principles enshrined in the United States Constitution: “all men are created equal.” This dedication transformed the Playhouse Settlement into a magnet for some of the finest African American artists of the time. Actors, dancers, printmakers, and writers found solace and a canvas to hone their crafts, making Karamu House a vital contributor to the Harlem Renaissance. Langston Hughes, one of the literary giants of the era, walked its hallowed halls during this transformative period.
The Birth of Karamu House: Reflecting the growing influence of African American culture on its development, the Playhouse Settlement was officially renamed “Karamu House” in 1941. “Karamu” is a word drawn from the Kiswahili language, symbolizing “a place of joyful gathering.” This renaming not only signified the rich cultural tapestry within Karamu House but also its role as a vibrant hub for artistic expression.
Fostering Black Talent: Karamu House cultivated a reputation for nurturing black actors, inheriting the legacy of the Gilpin Players, an illustrious black acting troupe that had thrived prior to Karamu’s emergence. Directors like John Kenley and John Price recognized Karamu House as a source of exceptional black talent and recruited actors for their professional productions.
In 1931, Langston Hughes and Zora Neale Hurston engaged in negotiations with the Jelliffes to produce “Mule Bone,” their collaborative two-act play. However, their collaboration encountered obstacles, leading to a prolonged delay. Ultimately, the world premiere of “Mule Bone” took place on Broadway in 1991, thanks to the Ethel Barrymore Theatre. Karamu House also presented “Mule Bone” as part of its 1996-1997 season finale, marking a significant return to its Harlem Renaissance glory. During this period, playwright and two-time Emmy nominee Margaret Ford-Taylor served as the Executive Director, and Sarah May as the Director in Residence.
Artistic Evolution and Expansion: From October 2003 to March 2016, Terrence Spivey served as Karamu’s Artistic Director, steering the institution through a period of artistic growth and evolution.
In 2017, a momentous transformation began with a significant renovation of Karamu House, led by Robert P. Madison International, Ohio’s first African American-owned architectural firm, founded by Cleveland architect Robert P. Madison. This $14.5 million renovation encompassed various aspects of the institution, including the creation of a new streetscape, bistro, patio, enclosed outdoor stage, updates to the Arena Theater, lobby, and dressing rooms, among other improvements. The renovation was executed in three phases, each contributing to the modernization and revitalization of Karamu House.
Cultural Significance and Ongoing Legacy: Karamu House’s significance extends beyond African American theater. Former Artistic Director Terrence Spivey aptly described it as “a multicultural company that produces African-American theatre.” This mission reflects Karamu House’s current vision, which aims to “produce professional theatre, provide arts education, and present community programs for all people while honoring the African-American experience.”
Langston Hughes shared a special connection with Karamu Theatre during the years 1936-1939, aptly termed the “Hughes Era.” Hughes, originally from St. Louis, spent his early years in Cleveland, attending Karamu programs and classes. He remained in contact with Rowena Jelliffe, the director, and the Gilpin Players, who produced many of his plays. Hughes passionately believed in the importance of a Negro theater that told the stories of the African American community and its unique experiences.
In the contemporary era, Karamu House continues to offer art experiences for people of all ages through its diverse programs. The institution is divided into three primary program areas: the Early Childhood Development Center, the Center of Arts and Education, and the Karamu Performing Arts Theatre.
Notably, in 2020, Karamu House presented “Freedom on Juneteenth,” a powerful event commemorating the end of slavery in the United States on June 19, 1865. Originally conceived to celebrate the music of Bill Withers, it was adapted in response to the passing of George Floyd, underscoring Karamu House’s commitment to reflecting and responding to contemporary social and cultural issues.
Honors and Notable Alumni: Karamu House’s cultural and historical significance was underscored when it was listed in the U.S. National Register of Historic Places on December 17, 1982. The institution also received an Ohio Historical Marker on June 16, 2003, acknowledging its role in preserving and promoting cultural heritage.
Karamu House boasts a roster of notable alumni who have made significant contributions to the worlds of acting, visual arts, and entertainment. Icons like Bill Cobb