The original concept for the theatre grew out of political struggles, especially the land rights demonstrations, which at the time were being organised by the Black Moratorium Committee.
It also ran drama classes under Brian Syron, whose students included Jack Davis, Freddie Reynolds, Maureen Watson, Lillian Crombie, and Hyllus Maris.
[7][8] An art workshop was involved in the printing of posters (including those for the N'ingla a-na rallies) and in ceramics, sculpture, carving, etc.
[9][10] Carole Johnson, an African-American dancer, toured Australia with the Eleo Pomare Dance Company in February and March.
[11] Johnson stayed in Sydney and, with an Australia Council for the Arts grant, started a dance workshop in May, using St Luke's Church hall by the end of the year.
[27][28] Basically black When Maza came to Sydney, he undertook an apprenticeship program for directors and actors with the Nimrod Theatre Company.
The cast included Aileen Corpus, Gary Foley, Zac Martin, Bob Maza and Bindi Williams.
[citation needed] The final performance coincided with a federal election and the famous ALP / Gough Whitlam victory after two decades of conservative rule.
This interest led to the formation of Ebony Profile, a part of NBT established as a black casting agency that provided people with a grounding in advertising, television and films.
[citation needed] The Metropolitan Local Aboriginal Land Council was established at the Black Theatre in 1973, illustrating its value as a community hub.
Trusting the assurances of funding, the Black Theatre troupe set off on tour – visits to missions and reserves considered important as there was a range of human rights issues in that state.
[citation needed] Coe, Syron, Foley, Oodgeroo Noonuccal, her grandson Denis Walker, and other delegates discussed possibilities.
She brought attention to the theatre by inviting visiting black artists Roberta Flack and Russand Roland Kirk to the opening.
Casey tells the story of a Koori parent leaving his child, overheard outside the centre You go in there and get what I can't give you.
While on the executive committee of the Foundation for Aboriginal Affairs, Bettie Fisher initiated its use as the subject of workshops conducted for inmates of Sydney prisons.
[citation needed] Gerry Bostock tells how, during the performance of one scene in which a group is set upon by two white thugs, visitors from Elcho Island became incensed and tried to climb on to the stage to offer their assistance, yelling "I'll help ya, brother!".
Students included Maureen Watson, Jack Davis, Lillian Crombie, Andrew Jackamos, Hylus Maris, Wayne Nicol, Christine Donnelly, Aileen Corpus, Zac Martin, John Bayles, Lorraine Mafi.
Reese, like Johnson, was an African American residing in Sydney, with experience in film and television production in the United States.
[62] Jack Davis developed as a playwright, Cheryl Stone became a booking agent, Maureen Watson became a well-known storyteller and started Radio Redfern.
The Board (under the new Liberal government) didn't support the organisation, and was critical of Lester Bostock's appointment as Fisher's replacement.
Marcia Langton believed that the difficulties faced by the black theatre in this period occurred because their work challenged the "accepted" expectations of Aboriginal people.
The cast included Athol Compton, Kevin Stuart (Smith), Julie McGregor, Marcia Langton, Bryan Brown, Robert Hensley, John Bayles, Ron Murray, Lorraine Mafi Williams and Venieca Doolan.
[69] Langton, for example, was running the box office as a volunteer for NAISDA student performances at the centre, in between working for the Aboriginal Medical Service around the corner.
ABC TV made a television production of the play The Cake Man in 1977, making it the first telemovie to be written by an Aboriginal playwright (Bob Merritt – see above).
[76] In 1979 Christine Donnelly, a participant in the six-week program, founded the Aboriginal Dance Theatre to serve the Redfern community.
[79] In 1984 Merritt set up the Eora Centre for the visual and performing arts in Redfern, offering young Aboriginal people a comprehensive education.
[81][82][83] In 1987 the First National Black Playwrights' Conference was held under the artistic directorship of Brian Syron, thanks to a push from people like Chicka Dixon, Gary Foley and Rhoda Roberts.
The ABC Radio National program Hindsight summarised:Black Theatre had a profound impact on the Australian arts scene of today.
It was also true that The centre also functioned as an informal meeting-place for Redfern Blacks who previously had few places in which to gather, save for the local pubs where they encountered prejudice from the Whites and aggression from the police.
[90] When ATSIC was abolished in 2005, the Indigenous Land Corporation (ILC) took over the overseeing of the site, redeveloping it in 2008, liaising with Sol Bellear, Redfern Aboriginal Authority's CEO.