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Also this issue: Strange New World Roughing It Rock Out Philling the Gaps A View to a Quilt |
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July 18-24, 2002
art
 taking charge: Al Simpkins has led Bushfire Theatre for 25 years. Photo By: Michael T. Regan |
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Freedom Theatre is Philadelphia’s most publicized African-American theater company, with an internationally acclaimed artistic director, a big mansion on North Broad Street and monumental financial problems that have kept it in the news in recent months. But our town has another, sometimes overlooked African-American company -- the Bushfire Theatre in West Philadelphia, now in the midst of 25th anniversary celebrations. And some observers are concerned about Bushfire’s fiscal health, too.
Bushfire's anniversary production, scheduled for April, was postponed indefinitely, and so was a planned dedication of footprints in its Walk of Fame on the street outside of the theater. Coming on the heels of the publicity about Freedom's finances, and in such a tough year for theater companies all over the country, these cancellations made some wonder if Bushfire has the same problems. But Al Simpkins, the company's artistic director, denies any financial problems entirely. "We postponed our musical production because it wasn't ready. We workshopped it, but the book was never completed and we chose to cancel it. We'll have our anniversary celebration in September when we open our next show."
That show will be the world premiere of a double bill of comedies, Waiting for Hezekiah and Dinner at Aunt Lucy's, by Pennsylvania-born P.J. Gibson. Later in the season, Simpkins will do a premiere by Ron Milner, and he says he's also talked to August Wilson about producing his most recent play, King Hedley II.
The 50-ish Simpkins is a 1969 graduate of Temple who went on for a master's in economic development, and he's been a teacher, stage director and even a construction worker for Bushfire. Simpkins says that the folks at Freedom Theatre are his friends and colleagues -- "they do their thing and we do ours" -- and he says that Freedom deserves more financial support.
But he also gets in what could be seen as a dig at Freedom. "We have stayed in the black. We don't spend money that we don't have, and our future is secure," he says.
Simpkins admits that he stretches the truth a bit to make 2002 an anniversary year. What actually happened 25 years ago is that Simpkins came in and transformed an existing organization: "Bushfire Theatre Company was founded in 1974 by a group of Temple actors, but they all left," he explains. Simpkins built something grander that he called Bushfire Theatre of Performing Arts. He bought an old movie theater at 52nd and Locust streets, a faded palace that was built in 1901 for stage plays and vaudeville, and made it Bushfire's home. "With the help of the community, we have transformed this place and three adjoining buildings into a viable theater complex," Simpkins says. The theater has a main stage that seats 442, two workshop spaces, a puppet theater for children, a children's bookstore, rehearsal and classroom space for the community, and Simpkins' company of professional actors. Bushfire also created the Langston Hughes Writers' Workshop at Lincoln University.
"Our focus is to give more opportunities for African-Americans to work in theater and for our community to attend affordable, live theater," says Simpkins. He estimates that about 15 percent of his subscribers are white people from University City who appreciate seeing new stage works. Bushfire's annual budget is around $150,000, which puts it in the minimum category in the Theatre Alliance of Greater Philadelphia.
Bushfire has become a West Philadelphia institution, and its block on 52nd Street is a thriving performing arts hub. Next door to Bushfire is Sassy’s Salt Peanuts Café Theatre and, next to that, the 52nd Street Writers’ Workshop. All were city-owned abandoned buildings that are now owned by Simpkins’ company. To dramatize this stretch of properties, Simpkins put plaques in the sidewalk, honoring important names in the history of African-American theater. “We’ve recognized such people as [actors] John Amos, Esther Rolle, Nick Stewart, [director] Lloyd Richards and [playwright] Charles Fuller.” Simpkins’ “Walk of Fame” resembles Hollywood more than it does South Broad Street, with hand imprints in the cement. Playwright Ron Milner and screenwriter Samm-Art Williams will put their marks in the sidewalk this fall.
Brian Anthony Wilson, a 42-year-old actor with featured roles in the films Keeping the Faith and The Postman, credits Bushfire for shaping his career: "I got a lot of on-the-job training. I enjoy performing there, especially the talk-back sessions we have with kids at the matinees." Wilson also acted at Freedom and says the main difference is that "Al is quick to give full stage productions to homegrown, local playwrights. Bushfire takes more risks, maybe because Al has less people to answer to. And Al gets down and dirty, does everything from laying flooring to putting up lights." While it's true that Simpkins calls all the shots at Bushfire -- "That's just Al's way," says a close observer who declined to be named -- Simpkins says that he owes a lot of credit to his colleague, Mustapher Bradphur, who is Bushfire's technical director.
As for Freedom Theatre, managing director Jamie Brunson is encouraged by Bushfire's success. "Al's got West Philly, and Freedom says that's cool," Brunson says. "We're glad he's doing well. It says good things about Philly if it can have two viable black theater companies."
