The theater provided resources for new playwrights, designers, directors, actors, dancers, and other artists seeking experimental avenues for self-expression and social and political commentary.
Irons then assembled a group of artists who shared his interest in the creation of a new, radical performing arts center, including: Cliff Pottberg, Mac Lang, Marie Stewart, Daniel Inglett, and Joe Harris.
Within months, a newly remodeled Corner Theatre announced Porterfield's new full-length play Universal Nigger, a multi-media presentation depicting an African-American Christ's movements through the stations of the cross.
Later that year, Brooklyn's Chelsea Theater Center acquired the rights to Universal Nigger and produced it in their space for New York audiences, under the direction of Robert Kalfin.
In June 1970, Lewman resigned as managing director and the company moved its operations to 891 North Howard Street, with the premiere of Wallace Hamilton's Tegaroon.
[17] Hugh M. Jones' Inconnue was a didactic theatrical adaptation of Artaud's The Theatre and its Double, featuring a performance by Judy Rowe and an original musical score by Baltimore composer Chuck Wagner.
The physical facility had many improvements in sound and lighting, and a loose relationship was formed with the theatre department of Towson University, which lasted for several years and created an influx of new talent.
Playwrights such as Thomas Thorton, Stanley Keyes, James Secor, and Martha Keltz came to the theatre with works including Gangsters, Oil Rich in Mosby, Psychopathology in Everyday Life – A Family Play, The Exorcism, and Cagliostro.
Production design at Corner Theatre was best showcased in 1976 with Yeager's staging of C. Richard Gillespie's Marguerite, starring Linda Chambers, James Hild, and Bruce Johnson, and featuring an electronic score by recording artist Vangelis.
In 1987, director Mays and playwright Stanley Keyes, both living in New York, collaborated to create a feature film comedy based on their experiences at Corner Theatre.