The Classical Theatre of Harlem

i am cth

Alfred Preisser

In 1995 I came uptown to teach acting at The Harlem School of the Arts, a community-based arts school on St. Nicholas Avenue and 141st Street.  There I was introduced to an extraordinary community of artists on both the professional and student level, as well as a community of supporters of the arts unique in my experience for their generosity, spirit and open-mindedness.  I immediately liked everything about teaching and making theatre in Harlem. It felt like the right home for the kind of theatre I have always imagined to be possible, a people’s theatre based in world classics, a theatre full of music, physicality, passion and great ideas.  So I stayed, and co-founded The Classical Theatre of Harlem along with Chris McElroen in 1999.  We’ve always been about doing plays we love with artists we respect and love to work with.  The company we’ve all built here together, the world class artists I’ve had the opportunity to work with, and above all the incredible support of the Harlem community continues to add up to the best experience in the theatre I’ve ever had

AndrÉ De Shields    

Imagine performing vivisection on a play, violating its form in order to investigate the very essence of its being, tearing the skin from the body of its text, and allowing it to bleed.  That’s what the Classical Theatre of Harlem does best.  To participate in the arduous journey to the seat of a play’s soul, and to aid in the transformation of an audience’s consciousness by piercing their hearts with a volley of arrows burning with pathos—that’s why I work at the Classical Theatre of Harlem.  At CTH, I may descend to the depths of dementia and ascend to the heights of enlightenment.  I am the Messiah Makak, not bearing a cross, but the weight of dreams deferred; I am Caligula, the platinum blond epicenter of my own universe; I am King Lear, the archetype of benevolent autocracy.  I am the burning of all illusions, the end of the world, as we know it.  I am unconquerable, invincible, vulnerable and meek.  I am the music of the spheres, the essential ether of the cosmos.  I am eyes wide open and dreams come true.  I am surrender and understanding.  I am tragic loss and infinite abundance.  I am heaven, and I am hell.  I am Being.  I am the Classical Theatre of Harlem.

Katori Hall

Simply put, the Classical Theatre of Harlem is my home. I came to New York from Memphis with a familiar dream in my pocket—to become an actor.  Alfred Preisser was the first teacher who saw my promise as an actor. I remember getting up from my warm bed at Columbia on Saturday mornings and schlepping to the basement of a small church next to the Harlem School of the Arts where classes were held. There I bloomed and prospered, growing as a human being, growing as an artist. It was there in that basement where my love of theatre was solidified. Seven years later, I am a young playwright who has found a place of support for my work and am now being developed further as a writer through the Classical Theatre of Harlem’s Future Classics Reading series and workshops. CTH is known for supporting and creating daring work,  known for its keen theatricality and political awareness. It has been the perfect place for me because CTH creates theatre that matters.

Ty Jones

From a fledgling workshop in 1999 at Harlem School of the Arts, to being named ‘One of 8 theatres to watch in America’ by The Drama League, the Classical Theatre of Harlem is unmatched in production achievement.

August Wilson, Euripides, Shakespeare, Van Peebles, Adrienne Kennedy, Chekhov, Genet, Richard Wright, and Langston Hughes are just some of the names whose works have been staged by the Classical Theatre of Harlem.  The Drama Desk Awards, the Edwin Booth Awards, the Lucille Lortel Awards, 13 AUDELCO Awards and OBIE Awards are just a fraction of the acknowledgements of artistic excellence CTH has received.  We’ve created over 2,000 jobs in theatre arts, employed over 150 NYC Elementary and High School students in various positions of theater production, and since 2004 aided almost 60 actors in earning their Equity card.

This and much more has happened in less than 10 years with committed, dedicated artists and professionals who shared the vision of Founders Christopher McElroen and Alfred Preisser of taking new approaches to great plays -- approaches that enthusiastically satisfies a rapidly growing diverse audience seeking fresh, direct, entertaining plays with a compelling social center.

Classical Theatre of Harlem is alive.  It’s an example of where great art and meaning come together - and that meaning does not exist without our audience.  Audiences at CTH are our partners and they participate in the Art that is CTH.  Because the work we do is them.  Shakespeare speaks to them and is them.  Langston connects with them and is them.  Van Peebles moves them in profound and pleasurable ways. 

I love the Classical Theatre of Harlem.  Our work is essential.  As a partner with CTH, as an actor with CTH, I see myself in the art, I see myself in the action and I see myself in the audience.  CTH is me, and at its essence, CTH is all of us.

Jaime ROBERT CarRillo

It had only been six months since I had moved to New York to pursue an acting career, when I came across one of the most exciting theater reviews I had ever read.  It was in the The New York Times and it opened with, “If there is a more dauntless ensemble in New York than the Classical Theater of Harlem, I don't know what it is.”  I was hooked, and as I kept reading, what was at first a general curiosity about the theater section of the paper fast became a gripping, unspoken connection to a theater company.  I was inspired.  “That’s the kind of work I want to be doing,” I thought. “That’s the kind of group I want to be a part of.”  The next day I picked up the phone and called the company, thinking it was a complete shot in the dark.  Perhaps someone would pick up the phone, and I could introduce myself.  To my surprise, the artistic director of CTH, Alfred Preisser, answered the phone.  We spoke about the company and about my theater experience in D.C.  “I’m a Latino actor.  I’m not African-American.  Is there any chance for me to work with you?” I asked.  “We work with everyone,” he said and invited me to see the CTH production of Jean Genet’s The Blacks.  I went and was blown away!  The following week I went to see another CTH show, The Crazy Locomotive.  Another hit!  I stayed after the show and met Christopher McElroen, the executive director.  This was an extremely talented and approachable company.  Eventually, I was asked to audition for a summer production of Macbeth.  I was at my day job when I got an email from Alfred to report to rehearsal in two hours time.  I immediately told my boss I had to leave.  The evening of our first rehearsal felt like a transition in my early career.  It was pure happiness, excitement and memorable.  An actor I was sitting next to kept receiving congratulations from fellow cast members.  “What are the congratulations for?” I asked him.  He said, “I won an OBIE last night.”  It was Ty Jones.  I felt so fortunate and proud to be with artists of this caliber. After Macbeth closed, Alfred asked me to be a part of the next show with André Deshields.  Then, I was asked to be a part of Mother Courage.  For a transplanted actor from D.C., being involved with the CTH season and the CTH family felt like a blessing.  Later that season, I was invited to join the company.  I felt honored because I had fallen in love with CTH.  I had fallen in love when I read that review.  And my love for the company is just as strong today, six years later. 

Zainab Jah

Classical Theatre of Harlem has provided me with a home, a training ground, a place where I am constantly challenged, a place that will dare me to take on roles like Lady Macbeth just a few short months after playing the largely silent role of Death in Medea (with spectacular body paint and three inches of fabric, Alfred [director] called it my 'costume'!).  I especially love the age range of the company, for instance,  Rain Jack, who I had the stupendous opportunity of sharing the stage with when she was 6 months old (Trojan Women).The best part of CTH for me is that, love them or loathe them, indifference is never an option.

Ron Simons

For me, the Classical Theatre of Harlem is about the work and the artists. The talent, trust and daring invested by the actors, directors, designers, staff and volunteers to bring extraordinary work to the stage has challenged me, moved me and contributed in my personal and creative growth. I have been introduced to a body of friends that will last a lifetime.

 

Tracy Jack

When CTH began producing in 1999, I was 18 years old finishing my last year as a student at the Harlem School of the Arts. Macbeth was not only their first production as a company but my first time working on a professional level. I loved it, and the Classical Theatre of Harlem has been a major part of my life ever since. I started dating Aman-Re Jack who was also working on this production, married him 2 years later and we now have two beautiful daughters who are both destined for the stage. In addition to Macbeth, we both performed in Native Son and together with our youngest daughter performed in Trojan Woman. It didn't take long for Chris and Alfred (CTH’s Co-Founders) to discover my love for dance and make me the resident choreographer. Since then I have proudly worked on many productions including Medea, Ain't Supposed to Die a Natural Death, Dream on Monkey Mountain, Day of Absence, and all incarnations of Macbeth. With the Classical Theatre of Harlem I've learned to work as an actor, grow as a choreographer and become a professional. The relationships I have formed with company members over the years continue to grow beyond measure and it is a blessing to be in an environment where you can freely create with family. I AM THE CLASSICAL THEATRE OF HARLEM.

Ruth and howard Sovronsky

We are not actors.  We are not critics.  My husband and I are just fortunate members of the audience at CTH who believe that the commitment and dedication of this company has produced a level of theater unmatched in New York.  CTH cares for its audience and artists; there is a sense that the audience and artists work to actively support one another. The warmth is genuine, generous and palpable; it translates into theater that is honest, innovative and so vibrant that it will keep us coming back for more, time and time again.

Mo Brown

In 2005, I saw my first Classical Theatre of Harlem production, Caligula, and thought it was the most shocking play I had ever seen in my life! But as I watched the dancers, heard the live band, and totally LOVED Andre De Shields acting- I thought to myself…. I am going to do this. I am going to be on the stage of the Classical Theatre of Harlem and totally WOW my audience. I didn’t know when, but I was determined. I was graduating from college and had the passion to perform but just needed someone to give me a chance. Many students would go crazy to have the chance to perform in a theatre company two months after they have graduated. I was given the chance by CTH and I am so thankful. It feels great knowing that someone believes in you and allows you to pursue your dreams through performing. With the Classical Theatre of Harlem I have performed in Medea, Macbeth, Ain’t Supposed To Die A Natural Death and Romeo and Juliet, and loved them all!

Tyshawn Major

When I think of the Classical Theatre of Harlem the first word that comes to mind is "Opportunity" and the second is "Family".  I've gotten the opportunity to meet and work with great actors, veterans of the field including Melvin Van Peebles, Andre’ De Shields, Ted Lange, Wendell Pierce and Earle Hyman to name a few.  I've also come to admire and become fans of the CTH actors, Tracy Jack, Robin Landiss, Ty Jones, Zanaib Jah and Ron Simons among others. The energy and vibe that you get while working with theses artists at CTH can only be described as "Family."

Shayshahn MacPherson

People around me have always called me “phear-none” because when I am on the stage I fear nothing but God. The same can be said about the direction of productions I have witnessed or been involved with at the Classical Theatre of Harlem. I am an actor and a classically trained violist and a West African percussionist. CTH has been the only place where I have been blessed to display all three disciplines in the same production.  When performing with CTH I truly feel alive because they take classical disciplines and display them in a modern and innovative way, whether the instrument is the body, the voice or in my case the viola. I am a educator, I am dynamic, I am a trailblazer, I am seemingly ubiquitous, I am thought provoking, I am a work in progress, I am Shayshahn “phear-none” MacPherson, I am CTH.

Kelvyn Bell

CTH is an environment that reflects life variously just for the art of all. Alfred and Chris have allowed me to develop a voice that was once an imagination. Environmental Dream Reality Ma Rainey rocks her Black Bottom while Medea and Caligula ride the Crazy Locomotive. This is the place . . .

 

Return to About

That giant-killer of a company, the Classical Theater of Harlem is a troupe that makes a habit of locating the most challenging works in the canon and knocking them off as if with a slingshot. - The New York Times