The Westcoast Black Theatre Troupe is kicking off its 2024-25 season with a vibrant celebration of ‘Black Heritage,’ showcasing an incredible range of performances and artistic expression.
During a lively announcement on February 12, Lamont Brown captivated the audience with his dance as he revealed his starring role in the upcoming tap revue titled “Syncopated Avenue.” This engaging production promises to bring the rhythmic art of tap to life.
Reflecting on the early days of the Westcoast Black Theatre Troupe, founder and Artistic Director Nate Jacobs recalls facing uncertainty about future productions and venues as the organization embarked on its ambitious journey. Initially, he battled with self-doubt, believing that the fledgling theater wouldn’t survive beyond its first few years.
By the time the troupe reached its seventh or eighth season, Jacobs was on the brink of giving up, contemplating a move to New York to pursue a solo acting career due to frustrations over the lack of stability and consistency in venues for his company.
However, Jacobs chose perseverance, transforming the theater company into a remarkable success that has garnered national acclaim. Against the odds, WBTT has thrived within a predominantly white community, fueled by the enthusiastic support of patrons and donors. This backing has enabled the company to establish its own theater and educational facilities while proudly celebrating a milestone of 25 years.
“I’m pinching myself,” Jacobs expressed, sharing his astonishment as he walks through the now-incredible facilities. “Sometimes, I take a moment to reflect on how far we’ve come,” he added, marveling at the growth of WBTT.
Jacobs views his role as more than just a job; it’s a profound calling that he feels deeply. “It’s my life’s calling,” he affirmed, highlighting the significance of the theater within the broader cultural landscape. “I recognize that this theater exists for a reason and purpose, and as its founder, I am fully aware of that mission and vision.”
In celebration of its 25 years of artistic contributions, the company is hosting a spectacular gala on November 14 at The Ora, the newly opened event venue at the Jewish Federation of Sarasota-Manatee campus. Originally slated to take place at the Van Wezel Performing Arts Hall, the event was relocated due to flooding damage caused by Hurricane Milton.
This special evening will be filled with cocktails, dinner, entertainment, and dancing, showcasing performances from WBTT’s founding artists such as Jacobs, alongside talented individuals who have evolved on its stages and received accolades across the nation. Notably, students hailing from the Stage of Discovery educational program will also take part in the festivities.
Alex Reeds can look forward to dazzling numbers from productions like “Soul Crooners” and “Sistas in the Name of Soul,” as well as special performances by Jacobs’ daughter, Naärai, a rising professional singer based in Los Angeles, and Chris Eisenberg, who made his debut with the troupe at the tender age of eight.
Mentoring and stability
Jacobs has built the company by crafting musical revues centered around the soulful essence of Motown hits, beloved soul songs, and the enchanting history of Harlem nightclubs. He has actively sought talent among his students at the Westcoast School for Human Development, as well as individuals within the community who have faced barriers to stepping onto the stage or never considered such aspirations possible.
Initially, the troupe faced challenges as it moved from venue to venue each year, struggling to establish a strong connection with audiences despite eventually finding a home at Art Center Sarasota. Planning successive productions was a significant challenge for Jacobs until he garnered additional outside assistance.
A pivotal figure in stabilizing WBTT’s finances was former bank executive and congressional candidate Christine Jennings, who took on a temporary role that ultimately extended for five years. Her leadership was instrumental in acquiring the former Binz building, which has now become the operational base for the company. Additionally, Jacobs credits Howard Millman, the former Producing Artistic Director at Asolo Repertory Theatre, for the mentorship that galvanized his vision for stability and growth in the company’s creative endeavors.
While the musical revues ensure continued popularity, they are now complemented by a diverse lineup of dramas exploring Black history, as well as renowned traditional book musicals. Recent productions have included celebrated shows such as “The Wiz,” “The Color Purple,” and “Once on This Island.” Last season, Jacobs collaborated with his brother Michael to create the original musical “Ruby,” inspired by the true story of a wealthy Black woman involved in a high-profile case in 1952 Florida that caught the attention of the acclaimed writer Zora Neale Hurston.
The company has become a prominent presence at the International Black Theatre Festival in Winston-Salem, North Carolina, where Jacobs first received encouragement for both his acting aspirations and the troupe’s growth from the late founder Larry Leon Hamlin. WBTT has established a reputation for selling out performances at the biennial event.
Jacobs formed a close relationship with Chuck Smith, a long-time associate artistic director at Chicago’s Goodman Theatre. Smith has become a regular collaborator, highlighting WBTT’s potential as a leading cultural beacon for the Black community in the United States. “He told me, ‘You are going to be one of the most premiere theaters in our Black community. Everything is in place for you to soar. Every year, he returns and tells me, ‘See, I told you,’” Jacobs shared.
Developing homegrown talent
Jacobs takes immense pride in nurturing talent through his mainstage productions and the Stage of Discovery youth initiatives, which open doors for aspiring artists.
“We’ve provided individuals with the chance to uncover their potential,” he stated, celebrating successes like Apphia Campbell, who has been mesmerizing audiences with her acclaimed show about Nina Simone across Europe for the past decade. Jacobs also acknowledged Christopher Eisenberg, who is currently making waves in the Los Angeles music scene, as well as his daughter, who has collaborated with iconic artists like Stevie Wonder and Beyonce. Teresa Stanley, recognized for her performances in several Broadway productions, also exemplifies the talent nurtured through WBTT.
The compelling original revues created by Jacobs have gained traction nationwide, with six theaters producing his popular “Motown Christmas.” This production is set to return to WBTT in December as part of its seasonal offerings, a “holiday gift to the community.” The Ensemble Theater in Houston has successfully presented it for the last four years, while the Hattieloo and Jubilee theaters staged it two years ago. North Carolina Black Rep is also set to feature it next Christmas.
25 years of growth
The evolution of the theater is remarkable, progressing from an almost nonexistent budget—moments arose when Jacobs had to cancel performances due to insufficient ticket sales—to achieving an operating budget nearing $5 million.
Julie Leach, who joined the board in 2010 and ascended to the role of executive director in 2015, emphasized that WBTT has emerged as one of the largest Black theaters in the country, distinguished by its long production seasons.
“We are among only about 10 theaters nationwide that own their facility, which significantly supports our ability to sustain extended seasons. Many other theaters share space or are relegated to government event centers,” she noted.
While the company’s contract with Actors’ Equity Association contributes to higher production costs, it has expanded WBTT’s artistic reach. “Now, we’re able to attract a broader pool of talent than we once had access to,” Leach elaborated. “Our actors are increasingly full-time professionals whose careers extend across the nation, with many traveling from California and New York.”
Notably, actress Tarra Conner Jones, who has participated in several Sarasota productions, including taking on the title role in August Wilson’s “Ma Rainey’s Black Bottom” and an original one-woman show celebrating Nell Carter, has expressed her enhanced confidence in pursuing a full-time career, thanks to her experiences at WBTT. Recently, she received a prestigious Drama Desk nomination for her role in the off-Broadway musical “White Girl in Danger” and is currently touring as a band leader in the Tony-nominated musical “Some Like it Hot,” which will grace Tampa’s Straz Center from December 10-15.
‘A Miracle in Sarasota’
Jacobs has consistently encountered individuals at the Black Theater Festival who refer to WBTT as a “miracle theater” due to its stunning success within a community with a limited Black population.
“The success of the theater can be attributed to the fact that this is a vibrant arts community, which represents one of the largest industries here,” Leach explained. “Moreover, it is a generous philanthropic community; people recognize the profound value that the arts bring and understand the associated costs.”
Donors also value WBTT for its dual role as both a theatrical production house and an education platform dedicated to developing emerging artists—a commitment that many professional theaters neglect. “Our supporters are passionate about our mission to provide training that creates opportunities for young artists of color, enabling them to pursue meaningful careers and showcase their talents on stages worldwide,” Leach added.
They appreciate the caliber of work produced. “As Nate would say, this is a sophisticated theater community, and audiences do not attend productions they do not find appealing. If the quality is subpar, they simply will not come,” she concluded.
Original revues, acclaimed dramas
Initially, audiences were drawn to the original revues crafted by Jacobs, which had the advantage of being less costly to produce and avoided the royalties associated with established plays and musicals. As time progressed, the company began to incorporate celebrated works into its offerings, including favorites like “The Wiz” and “Once on This Island,” in addition to powerful dramas such as August Wilson’s “Fences,” set to make its debut later this season.
The past few years have presented undeniable challenges for WBTT and other arts organizations alike. The company proudly inaugurated its upgraded and expanded Donnelly Theatre building in 2020, just one month before COVID prompted widespread closures. Although audiences have gradually returned, with increased seating upstairs, reaching full capacity has become a more significant challenge than it once was. Additionally, the back-to-back hurricanes this season have delayed the start of the season and brought about necessary repairs.
Despite these obstacles, the theater continues its upward trajectory. WBTT has recently acquired property across the street, which includes the Pines thrift shop and a production team parking lot. Leach envisions utilizing the entire complex in the coming decade. “The board is also prioritizing regional outreach initiatives and consolidating entertaining spaces across the street,” she outlined. “Since my arrival on the board, we have ramped up our programming; we’ve evolved from staging three shows lasting three weeks each to five or six productions running six or seven weeks at a time.”
Now in her 10th year, Leach remains intensely committed to the mission of nurturing talent and providing valuable opportunities for artists and playwrights. “It’s a necessity,” she affirmed, citing the transformative responses from both artists and the local African-American community to the plays we bring to life.
Jacobs envisions himself continuing as the artistic director for at least another decade while seeking a successor who embraces his mission and understands the theater’s unique vision. “I am keen on Westcoast evolving into a training and developmental institution, potentially through a dedicated school or program focused on artist development. I’m eager to establish studios and mentor opportunities by bringing in masters from New York and across the nation to help guide talent, staying true to the foundational spirit of WBTT,” he explained.
Westcoast Black Theatre Troupe 25th Anniversary Celebration
6-10 p.m. Nov. 14, The Ora, 578 McIntosh Rd., Sarasota. Tickets are $300. Contact Debra Flynt-Garrett at 941-404-7755 or via email at [email protected]. For more details, visit westcoastblacktheatre.org.
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Ssary pursuit to ensure that young artists of color have platforms to showcase their work and progress in their careers,” she expressed. The theater’s ongoing commitment to mentorship and community engagement reflects this mission, as they strive to empower new generations of performers and storytellers.
Jacobs has also been pivotal in establishing partnerships with local schools and organizations, creating pathways for students to explore their artistic passions. Through workshops, mentorship programs, and internships, WBTT cultivates a supportive environment that encourages youth to pursue careers in the arts.
As WBTT celebrates 25 years, Jacobs and Leach emphasize the importance of maintaining their artistic integrity while exploring new avenues for growth and innovation. The theater continues to foster a diverse array of productions, ensuring that the voices and experiences of the Black community are represented on stage. With a strong foundation in place and a vision for the future, WBTT is poised to continue its legacy as a vibrant hub of creativity and talent in the theatrical landscape.
In the coming years, WBTT plans to expand its outreach efforts, introducing new educational initiatives and potentially developing new narratives that resonate with contemporary audiences. By staying committed to their mission and adapting to the evolving cultural landscape, they aim to elevate the theater experience for both performers and audiences alike.
Reflecting on their journey, Jacobs notes the resilience and dedication of the WBTT community. “We have created something truly special here, and I believe that the best is yet to come,” he said with optimism. As WBTT looks ahead, the theater is not only a testament to the power of art but also a celebration of the rich legacy of Black culture, ensuring that it continues to thrive for future generations.