Spelman College Theatre & Performance Department
The Theater & Performance Department serves as a guide for artistic and academic excellence, offering a rigorous curriculum that inspires discovery, nurtures creativity, and promotes scholarship. Designed to prepare students for professional careers, the program provides comprehensive exposure to the multifaceted world of theater and performance. Beyond serving its majors, the department plays a vital role in enriching the cultural fabric of the Atlanta University Center (AUC), and the surrounding community, embodying the empowering spirit of Black theater.
In 2016, Spelman College separated its Department of Drama and Dance into two distinct entities. By the fall of the same year, these departments were redefined as the Department of Theater & Performance and the Department of Dance Performance & Choreography, each with a specialized focus on fostering creative expression.
Theater & Performance Associate Professor Keith Arthur Bolden has been shaping the next generation of performers at Spelman for over a decade. A Los Angeles native, Bolden discovered his passion for the stage at Fresno State University before earning a Master of Fine Arts degree from the University of Illinois.
After years of teaching and performing across the country, Bolden set his sights on New York City—the heart of American theater. Determined to showcase his talent, he personally delivered headshots and résumés to agents’ offices, leading him to sign with an agent, secure his Actors’ Equity union card and land two independent film roles within his first month.
His career has spanned numerous platforms, including performances in A Raisin in the Sun, Fences and Gem of the Ocean, as well as roles in The Haunting of Hill House, Cobra Kai, and Mile 22. Beyond acting, Bolden’s work as a director and educator continues to leave a lasting impact on the world of performance.
“In its truest form, theater is the most collaborative art form there is because all the other disciplines can fit inside of it. Sometimes that alienates us (performers) in a way because we’re so versatile,” Bolden said. “ Theater has the power to create seismic shifts in opinion. It builds empathy in a way that propels physiological breakthroughs, something that simply talking doesn’t always achieve. Theater is a gateway. It saved my life.”
The rich history of Black theater at Spelman is rooted in visionary leadership and groundbreaking initiatives that have left an indelible mark on the cultural and artistic landscape. Notably, the contributions of individuals such as Anne M. Cooke, who founded the Atlanta University Summer Theatre in 1934 on Spelman’s campus, has set a powerful precedent. This effort birthed the nation’s first African American summer stock theater and school, serving as a platform to uncover and celebrate a distinctly African aesthetic within the arts. Cooke’s work highlights the enduring mission of Spelman’s Theater & Performance Department: to empower students and the wider community by committing to creativity, critical thinking, and cultural authenticity.
Building on this foundation, exploring the historical and contemporary significance of Black theater at Spelman is crucial. The challenges, successes and future aspirations of Spelman’s theater program illuminate the profound impact and ongoing evolution of Black theater in academic and cultural contexts.
“When it comes to how Black theater has influenced political and historical atmospheres, my experience with Hands Up at the school stands out. Devising that piece from a published play and performing it for four or five years in various iterations, as students graduated and moved on, was transformative,” Bolden said. “I still receive comments about how people—especially white people—were able to empathize with the human experience. They knew Black people get pulled over all the time, but hearing the fear, suffocation and trauma in storytelling resonated deeply.”
Black theater has long served as a mirror reflecting the adversities and cultural richness of the Black community. From its roots in resistance and resilience to its role in amplifying marginalized voices, its history is deeply intertwined with the fight for social justice and identity.
Engaging with Black theater challenges students to grapple with complex narratives that speak to selfhood, history and cultural expression. These experiences refine their abilities and expand their innovative boundaries, equipping them to approach the stage and the world with a dynamic perception of the human condition.
Senior theater performance major SaRee Grimes emphasizes the significance of theatre in the Black community, highlighting its role in amplifying untold stories and shedding light on Black experiences that are overlooked..
“At its core, Black theater is about storytelling. It’s an early tradition, especially for Black people—we’ve been doing it since the beginning of time, even during slavery. That’s how we communicated and tried to escape those times,” Grimes said. “I’m passionate about creating a space where these stories aren’t just told but celebrated. It challenges narratives and gives a voice to experiences that have historically been erased or overlooked.”
Teaching Black theater requires a balance of honoring its profound legacy while making it relevant to contemporary students. Programs centered on Black theater often contend with systemic barriers, limited resources and the challenge of sustaining community interest. These obstacles underscore the importance of advocacy, innovation and resilience in preserving these vital spaces.
According to Bolden, there was once a significant amount of federal funding available to support theaters, primarily serving minority communities. However, in recent years, PWIs began applying for the same grants, leveraging their resources,to secure the funds. As a result, these larger institutions now receive the funding to produce a single Black-themed show each year, while marginalized theaters have seen their funding dry up. This shift has made it increasingly difficult for smaller theater programs to thrive and continue their culturally diverse work.
“I told my students, ‘They’re trying to shut down the Kennedy Center (for Performing Arts) . They’re attacking educational institutions.’Then I challenged them: ‘Are you waiting for someone else to act? Revolution is a young person’s game. I can support it financially and emotionally. I can guide you. But I can’t be on the streets—I have kids, responsibilities. If I quit my job, I can’t support your movement. So you all have to stop being complacent,’” Bolden said.
Grimes is deeply committed to the intersection of education and artistic empowerment, recognizing the transformative impact of the arts on children of color. She understands that early exposure to theater fosters empathy, equipping future generations with the tools to create meaningful change. By advocating for representation on stage and behind the scenes, she envisions a future where Black artists have the resources and platforms to tell their own stories. Her dedication to this mission is especially crucial in the face of financial and institutional barriers, reinforcing the need for leadership, innovation, and sustained support within arts education.
“I’m working on exposing youth to the arts, especially since I was introduced to them at a young age. Representation on stage and behind the scenes is crucial. Advocating for the arts is important because, even at our HBCU, our department struggles with support. We don’t receive the financial resources we need, which makes it harder to succeed. We want to equip the next generation with the tools to navigate these challenges when they reach our age,” Grimes said.
Pursuing a career in Black theater demands passion, resilience and a commitment to storytelling. For students, understanding the unique opportunities and challenges within the field is critical to their success. Offering guidance rooted in experience can inspire and prepare them to make their mark in the arts.
“Don’t wait for permission to tell your story—just tell it. Lean on your network for help. Consistency is key. Believe in yourself, trust in God’s timing, and never compare your journey to others. Stay true to yourself, rely on your community and create your story the way you want. That’s my advice to students pursuing performance at any HBCU,” Grimes said.
The success of Black theater productions extends beyond applause, residing in the conversations and reflections they inspire. Their impact can be seen in the personal growth of students, the engagement of audiences and the contributions they make to the cultural dialogue.
“Decisions are being made by people who had access to a full education yet now decide others don’t need the same. They don’t want people to think or communicate—they want them to live in bubbles. The assault on education and the arts is deliberate. That’s why I challenge my students: to think, to fight back, to engage,” Bolden said.
The future of Spelman’s theater program is brimming with possibilities to explore untold stories and expand its reach. New initiatives promise to push creative boundaries while honoring the program’s legacy.