Your initial reaction re: my experiences at ICCC may be—"yikes, she was all over the place!” I was. More importantly, I want you to realize Jack’s brilliant and insightful leadership, his ability to recognize and nurture talent, his determination to fulfill his mission, and the extent to which he accomplished it.
Mako, co-founder and artistic director of East West Players introduced me to C. Bernard (Jack) Jackson, composer-playwright-director, an artist in his own right in 1966 after the Watts riots. Jack asked me, “Would you like to help me develop a center for the performing and visual arts called the Inner City Cultural Center? It will foster positive relationships between ethnic groups; specifically, Blacks, Asians, Hispanics, and Native Americans, while showcasing their talents. Whites would be included but won’t be the focus.” I accepted and became the Assistant to the Executive Director.
Jack and neurosurgeon J. Alfred Cannon assembled a board of directors of prominent community leaders. Josie Dotson, a grant-writing genius, was in charge of finances and the staff. Projects rolled out in this order, often overlapping even simultaneously in time.
ICCC was one of 3 theatres in the Education Laboratory Project. For 3 school years, beginning the1967-68 season, LAUSD students were bussed to the Inner City Theatre on Washington Boulevard to experience the classics, followed by Q & A with the actors and directors. The Inner City Repertory Theatre Company was a professional company composed of experienced actors and musicians, members of Actors Equity and the Musicians Union respectively. ICRC performed matinees for students and evenings for general audiences. When school was on hiatus, Jack produced plays by and about the target groups. I joined the ICRC as an actress in its second season when Jack introduced color-blind casting.
His favorite project was the formation of the Langston Hughes Memorial Library to house works by and about multi-cultural groups. I organized small events to promote it.
Guest theatre and dance performers from the ethnic groups were invited to perform, demonstrating their proficiencies to enlighten and delight all audiences.
At East West Players I found the capable Elaine Kashiki to replace me as Jack’s full-time assistant. This enabled me to experience various aspects of theatre--House Manager, Box Office Manager, Stage Manager, and actress.
To prepare young people for the admission tests into the industry union training programs, Jack created the Pre-Apprentice Training Program. I taught classes in this effort as well as a part of our relationship with Trade Tech.
Meanwhile, the Inner City Repertory Dance Company was created. I contacted universities and colleges to book a nation-wide tour for the highly professional group. A practical addition was the Inner City Travel Service, which served our artists and the community.
The popular Talent Night, a competition which gave new talent a chance to perform, became a launching pad for many.
When the lease for the building expired, Jack decided to purchase a 3-story property, a former Masonic Temple on S. New Hampshire Boulevard. The new building had more than one stage, so ICCC was able to accommodate several productions simultaneously.
The Inner City Institute for the Performing Arts offered a variety of classes taught by professionals--tap, modern dance, judo, voice, music, and more to introduce skills to young people and to hone those already in the business. I managed the Student Store which offered supplies and my freshly-made sandwiches.
I was part of the Inner City Touring Ensemble, a small group of actors who performed at schools and organizations. During this time, I directed and booked a guerrilla theatre called the New World Theatre.
Neworld Magazine, under the leadership of editor-in-chief Fred Beauford, made its debut. From 1977-1979 I was associate editor/contributing editor and wrote 9 articles. I edited the 3 books Inner City Press published: A Black Woman Speaks by Beah Richards in 1974, Bitter Sweet Chocolate Meat by Faustino Caigoy in 1975, and A Basic Handbook of Stage Lighting by William Grant III in 1981. Inner City Press also published Gold Watch the play by Momoko Iko--it did not require editing.
I acted in the shows presented in the café-theatre Stormy Weather Café. A record album of one its productions Earthquake! The Musical was released.
Before my departure, the writers of winning scripts in the Playwriting Competition saw their works produced.
After Jack’s passing, the Alumni of ICCC have observed his birthday (November 4), including a 3-year celebration of the 50th year of ICCC. The Alumni set up the Cultural Legacy Project to establish a permanent tribute, the LAICCC C. Bernard Jackson Memorial Library.
For the sake of space, I’ve omitted the names of productions, groups, and the many stellar names of actors. For more details on the ICCC and a video on LAICCC C. Bernard Jackson Memorial Library, please click on the link:
www.innercityculturalcenter.com
P.S. Did you see me in the photo of “Our Town”, an example of color-blind casting?
Maybe someday I’ll write a book about my ICCC adventures.
Thanks for reading,
Jeanne
Mako, co-founder and artistic director of East West Players introduced me to C. Bernard (Jack) Jackson, composer-playwright-director, an artist in his own right in 1966 after the Watts riots. Jack asked me, “Would you like to help me develop a center for the performing and visual arts called the Inner City Cultural Center? It will foster positive relationships between ethnic groups; specifically, Blacks, Asians, Hispanics, and Native Americans, while showcasing their talents. Whites would be included but won’t be the focus.” I accepted and became the Assistant to the Executive Director.
Jack and neurosurgeon J. Alfred Cannon assembled a board of directors of prominent community leaders. Josie Dotson, a grant-writing genius, was in charge of finances and the staff. Projects rolled out in this order, often overlapping even simultaneously in time.
ICCC was one of 3 theatres in the Education Laboratory Project. For 3 school years, beginning the1967-68 season, LAUSD students were bussed to the Inner City Theatre on Washington Boulevard to experience the classics, followed by Q & A with the actors and directors. The Inner City Repertory Theatre Company was a professional company composed of experienced actors and musicians, members of Actors Equity and the Musicians Union respectively. ICRC performed matinees for students and evenings for general audiences. When school was on hiatus, Jack produced plays by and about the target groups. I joined the ICRC as an actress in its second season when Jack introduced color-blind casting.
His favorite project was the formation of the Langston Hughes Memorial Library to house works by and about multi-cultural groups. I organized small events to promote it.
Guest theatre and dance performers from the ethnic groups were invited to perform, demonstrating their proficiencies to enlighten and delight all audiences.
At East West Players I found the capable Elaine Kashiki to replace me as Jack’s full-time assistant. This enabled me to experience various aspects of theatre--House Manager, Box Office Manager, Stage Manager, and actress.
To prepare young people for the admission tests into the industry union training programs, Jack created the Pre-Apprentice Training Program. I taught classes in this effort as well as a part of our relationship with Trade Tech.
Meanwhile, the Inner City Repertory Dance Company was created. I contacted universities and colleges to book a nation-wide tour for the highly professional group. A practical addition was the Inner City Travel Service, which served our artists and the community.
The popular Talent Night, a competition which gave new talent a chance to perform, became a launching pad for many.
When the lease for the building expired, Jack decided to purchase a 3-story property, a former Masonic Temple on S. New Hampshire Boulevard. The new building had more than one stage, so ICCC was able to accommodate several productions simultaneously.
The Inner City Institute for the Performing Arts offered a variety of classes taught by professionals--tap, modern dance, judo, voice, music, and more to introduce skills to young people and to hone those already in the business. I managed the Student Store which offered supplies and my freshly-made sandwiches.
I was part of the Inner City Touring Ensemble, a small group of actors who performed at schools and organizations. During this time, I directed and booked a guerrilla theatre called the New World Theatre.
Neworld Magazine, under the leadership of editor-in-chief Fred Beauford, made its debut. From 1977-1979 I was associate editor/contributing editor and wrote 9 articles. I edited the 3 books Inner City Press published: A Black Woman Speaks by Beah Richards in 1974, Bitter Sweet Chocolate Meat by Faustino Caigoy in 1975, and A Basic Handbook of Stage Lighting by William Grant III in 1981. Inner City Press also published Gold Watch the play by Momoko Iko--it did not require editing.
I acted in the shows presented in the café-theatre Stormy Weather Café. A record album of one its productions Earthquake! The Musical was released.
Before my departure, the writers of winning scripts in the Playwriting Competition saw their works produced.
After Jack’s passing, the Alumni of ICCC have observed his birthday (November 4), including a 3-year celebration of the 50th year of ICCC. The Alumni set up the Cultural Legacy Project to establish a permanent tribute, the LAICCC C. Bernard Jackson Memorial Library.
For the sake of space, I’ve omitted the names of productions, groups, and the many stellar names of actors. For more details on the ICCC and a video on LAICCC C. Bernard Jackson Memorial Library, please click on the link:
www.innercityculturalcenter.com
P.S. Did you see me in the photo of “Our Town”, an example of color-blind casting?
Maybe someday I’ll write a book about my ICCC adventures.
Thanks for reading,
Jeanne