The Ethiopian Art Theatre

The Ethiopian Art Theatre — originally called the Chicago Folk Theatre, later the Colored Folk Theatre, also referred to as The Ethiopian Art Players — was an African American theatre company based out of Chicago, Illinois. The company was an influential albeit short-lived (1922/1923–1925) group founded during the Harlem Renaissance. There are differing views over the precise year that the company was founded, 1922 or 1923. The founder was Raymond O'Neil, a white theatre director, and its principal sponsor was Mrs. Sherwood Anderson, also white; though all its performers were African American. The organization was unique and controversial during its era, primarily for being one of the few African American Theatre Companies to perform European theatrical works, but also, among other things, for producing theatrical works of African American playwrights for both African American and Non-African American audiences.

Aim of The Ethiopian Art Theater

According to '' The Crisis'' magazine in 1923, the aims of The Ethiopian Art Theater were to create "dramatic pieces" that have "universal appeal" for both African Americans as for other races including Caucasians and Asians. Secondly, the organization sought to encourage African Americans and Whites in the construction of dramatic literature and theater. Last, the Ethiopian Art Theater sought to extend this experience to other organizations and cities where there was a large African American community in the hopes of establishing similar theaters.

As a response to numerous social, legal, and artistic restrictions on African Americans in the early 20th century, the Ethiopian Art Theater became a significant means of African American self-actualization. Raymond O'Neil's talents and use of African American culture became one of the greatest successes in the African American cultural production. It was one of the first African American dramatic theater companies to make its way to the Broadway stage. Some even say it paved the way for other great African Americans to showcase their talents. In addition, the theater found a way to create a middle ground between white and black cultural drama. For approximately three years after its opening, Fredi Washington became the first Negro actress to play a mulatto in the play ''The Great White Way''. Such roles were normally played by white actors but Washington fought to play this role. In addition, O'Neil revised Salome for one week in May 1923 to include African American features, and created a jazzy version of Shakespeare's ''Comedy of Errors''. He also recreated the Medieval drama, ''Everyman'', to include a cabaret scene. Supporters of the theater group saw the organization as a way to promote cultural and economic development in the community.

The theater hit some financial struggles due to the lack of donors in the Ethiopian Art Theater organization. Still, W.E.B. Du Bois made a statement proclaiming it a success by saying how "Financially the experiment was a failure; but dramatically and spiritually it was one of the greatest successes that this country has seen."

''The Chip Woman's Fortune'' (play)

Along with The Ethiopian Art Theatre's European theatrical repertoire the group was also committed to performing works by African American playwrights. The company, "requested help from '' The Crisis'', the official publication for the National Association for the advancement of Colored People (N.A.A.C.P). W.E.B. Du Bois, its editor, recommended Willis Richardson, who had won two of its annual literary contests, and the company chose Richardson's one-act play ''The Chip Woman's Fortune''. "''The Chip Woman's Fortune'' opened on '' [sic">[sic.html" ;"title="[sic">[sic' 7 May 1923 at the Wallack's Theatre">Frazee Theatre