BY LUCIA MAURO
In 1976, when Jackie Taylor set out to establish Black Ensemble Theater (BET) to provide an accurate portrayal of African-Americans and help eradicate racism, she encountered an unusual challenge while trying to secure a loan. Whenever she told bankers that she was opening a theatre, they felt the prospect too risky for any start-up funds. Those who know the zealously determined Taylor will not be surprised to learn that she wouldn’t take no for an answer. When she asked another banker for a loan to put toward new furniture, no questions were asked. She immediately received $1,200 to begin what would become a diverse Chicago arts institution–not a home furnishings emporium.
It’s a sad state of affairs when furniture is more highly prized than theatre. But, at that time, Taylor was battling a larger issue: In the 1970s, "blacksploitation" films were at their peak and overt racism clouded just about every aspect of society.
"We needed a change," says Taylor from her office in the Uptown Hull House Center (where BET has been based since 1986). "I’ve always regarded theatre as a strong educational force and tool and motivator. I feel theatre can help remove the blinders of racism."
Taylor, who grew up in Cabrini Green, was inspired by one of her teachers to express herself through theatre. Her involvement with Free Street further convinced her of the arts’ ability to foster change. She went on to perform on stages–including Goodman and Victory Gardens–across the city and landed a major role in the famed Chicago-based film, Cooley High. Taylor soon found herself being called to audition for stereotypical African-American film roles.
"I felt there had to be a new way of portraying women in general and African-Americans in particular," stresses the actor-director-playwright. "I figured that the only way I could make a difference was to be in control. The film industry was not the answer. At the time, I wasn’t gonna knock my head against that wall. So I decided I wanted to produce plays."
BET opened with Taylor’s original musical, The Other Cinderella–which remains the company’s most successful production–in their first space at 1429 N. Wells. The troupe remained there for two years and presented works that spoke to the African-American experience, like 1919 (about the Chicago race riots of that year). BET then rented space from Victory Gardens and Organic Theater. But BET attracted a predominantly black audience. Taylor’s goal was to bring people of all races together in a communal setting.
"From 1976 to 1980," she says, "our audience was 100 percent black. Our productions received rave reviews, but they were of no interest to non-Black audiences. We were not accomplishing our mission.
"In 1981 we came to the conclusion that, in order to bring an interracial audience into the theatre, we would have to produce plays with a concept that crossed cultural barriers–and that is exactly what we did."
Today, BET’s audience demographic is 55 percent African-American, 40 percent Caucasian and five percent "other." Taylor also points out that, five years ago, close to 20,000 people attended their shows annually. Last season, audiences numbered 62,000.
Early on, BET produced traditional plays–Raisin in the Sun, Julius Caesar, The Glass Menagerie and A Streetcar Named Desire. While successful, they did not attract the crowds who would later be drawn to BET’s signature genre: musical biographies of African-American musicians and vocal artists.
In 1984, BET’s musical director Jimmy Tilman proposed a musical on the life of blues musician Muddy Waters. At first, Taylor thought a musical of this scope would be too expensive to produce. Then she decided on a more streamlined biographical format, which incorporated information on the artist’s life and songs from his repertoire. Tilman handled the music side, while Taylor wrote the script and directed. When BET mounted Muddy Waters: The Hoochie-Coochie Man at the Jane Addams Hull House on Broadway, it consistently sold-out.
This musical shaped the future direction of BET. According to Taylor, "the musical biographies did everything I wanted to do: present a positive portrayal of African-Americans, educate audiences, and encourage people of all races and backgrounds to come together in the theatre."
Since 1984, BET has tackled many forms of music–from jazz to rock to gospel–and has highlighted some of the greatest musical voices of the 20th century. Another smash hit, The Jackie Wilson Story, opened in 1999 and is currently on tour. Other musical-biography successes include: The Story of Otis Redding, Great Women in Gospel, Chicago’s Golden Soul, Dynamite Divas, and Unforgettable: The Nat King Cole Story.
BET moved to the Uptown Hull House Center in 1986. "The Uptown Hull House staff," says Taylor, "is highly supportive and understanding. Hull House is more than just a landlord. We have like minds. We’re here to serve humanity and give back to the community. Through Hull House, BET was given room to develop, incubate and grow."
In fact, BET has grown so much over the past few years, that its current 150-seat theatre is too small for its capacity crowds. Taylor reports that BET is in the process of looking for a new space–preferably a 300- to 350-seat theatre–but does not envision a move until 2005.
Taylor, firm believer of nurturing the organization from within, calls BET "a spiritual family." And, by that, she clarifies she is "looking for people who have a spiritual sensitivity or have an innate ability and capacity to trust in such a way where you can overcome your fears."
BET’s 25th anniversary season concludes with a remount of Doo Wop Shoo Bop. For its benefit on Oct. 26, BET will premiere Taylor’s Ella (The Ella Fitzgerald Story) at the DuSable Museum. BET’s 26th season consists of Nothin’ But the Blues; The Way We Were; The WVON Story; Whatever Happened To…; and The House That Rocked.
For more information, visit www.blackensembletheater.org.