Bibliography
Alfred A. Knopf, Sr., Papers, Harry Ransom Humanities
Research Center, University of Texas at Austin.
Knopf, Alfred A. Portrait of a Publisher, 1915–1965.Vol.
1: Reminiscences and Reflections.New York: The Ty-
pophiles, 1965.
———. Portrait of a Publisher, 1915–1965.Vol. 2: Alfred
A. Knopf and the Borzoi Imprint: Recollections and
Appreciations.New York: Typophiles, 1965.
Madison, Charles Allan. Jewish Publishing in America:
The Impact of Jewish Writing on American Culture.
New York: Sanhedrin Press, 1976.
Krigwa Little Theatre Movement
W. E. B. DUBOIS, editor of THECRISIS,established
the Krigwa Little Theatre Movement in NEW
YORKCITYin 1926. The group’s name was an
acronym for the “CRISISGUILD OFWRITERS AND
ARTISTS,” a society established under the rubric of
THECRISIS, the official publication of the NA-
TIONALASSOCIATION FOR THEADVANCEMENT
OFCOLOREDPEOPLEand the monthly magazine
where DuBois served as editor. The Little Theatre
Movement grew out of the successful pioneering
productions of the Krigwa Players, a troupe estab-
lished in 1924.
The Krigwa Little Theatre Movement, how-
ever, is most significant for its successful endorse-
ment of African-American community theater and
the preservation of folk theater traditions. It was
one of nearly 500 little theater groups established
between 1910 and 1930.
The movement was spurred on by DuBois’s
insistent call for theater by, about, and for
African Americans. It was part of the significant
dramatic tradition sustained during the Harlem
Renaissance years. The counterparts of the
Krigwa Little Theatre Movement included the
HOWARDUNIVERSITYPLAYERS, established by T.
MONTGOMERYGREGORYin 1919, the Cleveland,
Ohio–based Charles Gilpin Players who were af-
filiated with the KARAMU HOUSE, and the
HARLEM SUITCASE THEATRE established by
Langston Hughes (1938).
The movement was realized through the cre-
ation of Krigwa theatres and troupes throughout
the country. DuBois envisioned that these satellite
troupes would provide much needed meaningful
collective opportunities for communities of color.
Companies performed in Cleveland, Ohio, in con-
junction with KARAMUHOUSEand its founders
RUSSELLJELLIFFEand ROWENAJELLIFFE, as well as
at schools such as the celebrated DUNBARHIGH
SCHOOLin WASHINGTON, D.C.
The accomplished playwright WILLISRICHARD-
SON, the first African American to see his work
performed on BROADWAY, was one of those who
contributed to DuBois’s vision. The Richardson
family hosted several meetings of the Krigwa Play-
ers in their home, and Mary Ellen Jones Richard-
son, the playwright’s wife, served as secretary of
the group for several years.
The history of the Krigwa Little Theatre
Movement reflects the deliberate effort to secure
forums that both enhanced and showcased African-
American talent, history, and culture.Bibliography
Gray, Christine Rauchfuss. Willis Richardson, Forgotten Pi-
oneer of African-American Drama.Westport, Conn.:
Greenwood Press, 1999.
Krasner, David. A Beautiful Pageant: African American
Theatre, Drama, and Performance in the Harlem Re-
naissance, 1910–1927.New York: Palgrave Macmil-
lan, 2002.Krigwa Players
An innovative theater troupe established by W. E.
B. DUBOISand REGINAANDREWS. The Krigwa
Players were centrally located in Harlem. Based in
the 135THStreet branch of the NEWYORKPUBLIC
LIBRARY, their performances were accessible to res-
idents and the aspiring writers and artists who fre-
quented the library. The troupe performed
groundbreaking pieces by contemporary African-
American playwrights, and they enjoyed enthusias-
tic receptions in a number of American cities.
The repertoire of the Krigwa Players reflected
the rich, politically conscious, and visionary tradi-
tion of African-American playwrights. The
troupe’s inaugural production featured EULALIE
SPENCE’s FOOL’SERRANDand WILLISRICHARD-
SON’s COMPROMISE.Artist AARONDOUGLASpro-
vided the set designs. The troupe also delivered a
powerful 1926 production of GEORGIADOUGLAS
JOHNSON’s antilynching play BLUEBLOOD(1927).Krigwa Players 299