Dr. Barbara Ann Teer's

National Black Theatre
Institute of Action Arts

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WHO'S WHO

Sharif Atkins (Clay) stars as Clinton Jones in the USA Network original series “White Collar,” which just completed filming its fifth season. He is best known for his successful five-year stint playing the role of Michael Gallant on “ER.” Atkins next starred in the NBC series “Hawaii” also created by Jeff Eastin, then spent two seasons playing Gary Navarro, the hearer of thoughts on USA’s “The 4400” while recurring in a romantic arc with music, film and television star Eve on her series by the same name. He also starred in the Warner Brothers feature film “Preacher’s Kid” and in independent films including “All Nighter,” “Paved with Good Intentions” and “Out of Exile.” His most recent roles include numerous guest starring appearances on a variety of well-known television series including “The Good Wife,” “House,” “CSI: Miami,” “Criminal Minds,” “Cold Case,” “Raising the Bar,” a recurring role on “Num3ers,” and earlier appearances on “In Justice,” “Arli$$” and “The District,” among others.

 

Ambien Mitchell (Lula) is an accomplished actress and Actor’s Equity Association member, who has appeared in numerous New York City productions, including “Spoon River Anthology” (Columbia Stages), “Clothes for a Summer Hotel” (White Horse Theatre Co.), and “Chains of Dew” (Zephyer Rep). She has also appeared in many regional theater productions, including Sierra Repertory Theatre’s “Harvey”; The Theater at Monmouth’s “The Taming of the Shrew,” “Our Town,” “The Knight of the Burning Pestle,” “The Glass Menagerie,” “Henry IV Part One,” “The Two Gentlemen of Verona,” “Blithe Spirit,” and “Much Ado About Nothing”; Northern’s Stage’s “Amadeus”; Triad Stage’s “The Diary of Anne Frank”; and North Carolina Shakespeare Festival’s “The Crucible.”

 

Lorenzo Scott (Conductor) is a versatile and talented actor who has appeared in the feature films “100 Years of Evil,” “Sneakers & Soul” and “A Perfect Fit.” He was Papa Shakespeare in The Theatre Project's production of “The African Company Presents Richard III,” and Felix in the Off-Broadway production of “The Odd Couple.” He also played Jim in “Huck Finn,” and Delbert Tibbs in “The Exonerated.” Scott portrayed Leonato in Oberon Theatre Ensemble's production of “Much Ado About Nothing” at the Beckett Theatre in New York, played Jim Hungerford in The Schoolhouse Theatre's production of “Days of Wine and Roses” and portrayed Gabriel in New Harmony Theatre's production of “Fences.” He has appeared in numerous commercials and ads from the very popular Chase Freedom campaign to those for Verizon Network, Optimum Online, Absolut Vodka, American Express, Viagra, Nationwide Insurance and Obamacare and Beth Israel. When not working on stage, doing a voice-over or shooting a television commercial, industrial or feature film, Scott is a familiar face in print ads as a model.

 

Carl Cofield (Director) Is a New York based director and actor. He directed the award winning world premiere of One Night In Miami (Huffingtion Post best of L.A. 2013, N.A.A.C.P., L.A. Drama Critics Circle and others) for Rogue Machine Theater. NYC directing credits include: The Seven by Will Power at the Connelly Theatre. The Tuskegee Airman Project for CUNY York College. Hello, I’m Eve by Rebecca Nichloson, The Bear, and others. He assisted Molly Smith in the world premiere of Camp David by Laurence Wright at Arena Stage. He also assisted Kent Gash on Langston In Harlem at Urban Stages. www.carlcofield.com

 

National Black Theatre: Founded by visionary Dr. Barbara Ann Teer in 1968, National Black Theatre is a cultural and educational Institution. Dr. Teer pioneered “the healing art of black theatre as an instrument for wholeness in urban communities where entrepreneurial artists of African descent live and work." In 1983, Dr. Teer expanded the vision of NBT by purchasing a 64,000 square foot building on 125th and Fifth Avenue (renamed “National Black Theatre Way” by local law in 1994). This was the first revenue-generating black arts complex in the country, a visionary arrangement through which for-profit businesses who shared NBT’s spiritual and aesthetic values rented retail space to subsidize the arts. She worked tirelessly to shift the cultural identity of people of African descent born in America in every area of human concern. Out of her vision, NBT houses the largest collection of Nigerian new sacred art in the Western hemisphere and is considered the authentic representation of a model whose time has come. Where else but in community based cultural institutions can artists and writers replace what has been wiped clean in the American history books? NBT is a place where we can still weave our own stories and determine our own destiny. It is a place where we can create our own legends and move forward back into self-love and love of others based on respect and shared visions. As a cultural and educational anchor institution, NBT’s contribution is not only recognized in Harlem, but also citywide and nationally. NBT is partially supported by grants from the City Council of New York, City of New York Department of Cultural Affairs; New York State Council on the Arts , Columbia Service Society, Theatre Communications Group and Met-Life and your individual contributions. Visit www.nationalblacktheatre.org or follow NBT on Facebook (www.facebook.com/NationalBlackTheatre) and Twitter/Instagram (@NatBlackTheatre).

 

The Classical Theatre of Harlem (Ty Jones, Producing Artistic Director; David Roberts, Managing Director), combines original adaptations, music, and dance to present great classics of world literature as well as contemporary works that will stand the test of time. It is CTH’s vision to create the 21st century theatre company whose value to its community is inherent and essential, a company that is engaged in producing theatre that has the capacity to change lives, and truly reflects the diversity of ideas and racial tapestry that is America. CTH is purposeful in seeking to create comprehensive access for theatre artists of diverse backgrounds. This includes actors, directors, designers, and playwrights. Since its founding in 1999, CTH has presented a world repertory of works ranging from traditional classical playwrights (Anton Chekhov, Euripides, and William Shakespeare), to established 20th century playwrights (August Wilson, Langston Hughes, and Jean Genet), to new plays by emerging playwrights. In addition to its productions, CTH proudly provides theatre-based training and live theatre experiences to Harlem youth and their families through its arts education program: Project Classics. It also engages in robust, theatre-related programming, which include Future Classics, Playwrights’ Playground, and Revisited Classics. These free reading series act as a way to engage new audiences, provide artistic development of new work, and give exposure for emerging professional playwrights. CTH is supported in part by Columbus Foundation, Ford Foundation, NYC Department of Cultural Affairs, National Endowment for the Arts, NYC Department of Cultural Affairs, L & N Andreas Foundation, and Upper Manhattan Empowerment Zone. Visit www.cthnyc.org or follow CTH on Twitter/Instagram (@classicalharlem) and Facebook (https://www.facebook.com/theclassicaltheatreofharlem).