The Classical Theatre of Harlem

CTH Board Chair Ty Jones

A long-time CTH artist, Mr. Jones has performed in many productions at the Classical Theatre of Harlem, including the title role in Macbeth and “Menelaus” in The Trojan Women, both of which earned him AUDELCO nominations, as well as in Aint Supposed to Die a Natural Death, and The Blacks: a Clown Show, for which he won an OBIE. Last season CTH premiered Emancipation, his first play, one developed through CTH’s Future Classics program. Jones has an extensive career, and is a regular at major regional theatres. Other career highlights include appearing with Denzel Washington on Broadway in Julius Caesar and in Brian de Palma’s feature film Redacted. Jones has been a board member since 2006.

 

CTH Board Chair Ty Jones in Conversation with Producing Director Susan Jonas:

What and when was your first experience with CTH?

I was cast in 2003 as part of the ensemble of THE BLACKS: A CLOWN SHOW , which went on to win 4 OBIE Awards.  

What makes working with CTH unique and rewarding?

CTH takes new approaches to great plays -- approaches that enthusiastically satisfy a rapidly-growing diverse audience seeking fresh, direct, entertaining plays with a compelling social center.  We are in the business of keeping people awake during our shows!

 How is CTH different from regional and other classical theatres?

Although regional theatres are spread across the U.S., their templates are fundamentally the same.  Same plays, same concepts, same casting, same audience.  CTH draws from a different well – one that embraces the fast-changing composition of theater while simultaneously providing the traditional audience an experience that is unlikely to be matched by the conventional model.  We are blazing a trail - and everyone is invited.  

Why did you decide to join the CTH board?

I was asked to join in 2006.  I did so because I believe that CTH can be for uptown what Lincoln Center is to midtown or what The Public is for downtown. As a cultural center, CTH is stimulating a whole new audience – including many people who were previously not theatre-goers, as well as attracting “downtown” and “mainstream” audiences. No theater in recent history has come close to achieving so much in its first ten years.  None.  I can't articulate what an honor it is to be on the ground level of creating a sustainable, successful and one-of-kind arts institution in Harlem.  

Now as Chairman you have new leadership responsibilities. What are your plans?

There are many.  I want to reach out to the more than 400 artists with whom CTH has worked, to create a grassroots corps of collaborators and advisors. I want to develop mutually-beneficial partnerships with the corporate, political and local communities.  I see my role as a recruiter who can help to extend the reputation and access of the theatre to a wider audience, and also invite greater financial resources, so our funding can support our ambitions. I know this will be a challenge in this economy, but CTH has a lot going for it. The work is extraordinary and tickets are accessibly priced. I am determined that CTH maintain and even grow its programming, and develop staff to support stability and growth. 

What do you envision for the Tenth Anniversary Season?

Establishing and reaching wide recognition for CTH brand, which is in a class by itself. 

What challenges do you think CTH faces as it enters its second decade?

Funding.  As with many not-for-profits it's always the elephant in the room.

Where do you see CTH in 5 or 10 years?

New York's Steppenwolf.

 

The Classical Theatre of Harlem, a company that has the youngest, most diverse audiences in town, takes nontraditional casting to a new level, and is putting on rarely performed but remarkably powerful work. - New York Magazine