"'Zooman" is black teen in Philadelphia who senselessly terrorizes his community wit hour regard to race. His most recent crime is killing a 12 year-old girl on a street filled with witnesses, all of who are afraid to talk.The dead girl's father posts a sign accusing the entire community of cowardice in the face of the ever escalating violence." -- Cover [p. 4].

"This collection features 45 monologues excerpted from contemporary plays and specially geared for actors of color. Robert Uno has carefully selected the monologues so that there is a wide-range of ethnicities included: African American, Native American, Latino and Asian American. Each monologue comes with an introduction with notes on the characters and stage directions to set the scene for the actor."--Publisher.

In a Louisiana army camp in 1944 Capt. Taylor, the white C.O., has a problem. He commands a Black company whose sergeant has been murdered. He is worried the murderer may be a white officer or the local Klan. A Black captain, Richard Davenport, is assigned to investigate. Taylor tries to discourage him because he feels the assignment of a Black investigator means the case is to be swept under the rug. Capt. Davenport perseveres and, as he probes deeper, he finds the Black soldiers are as corrupted with hatred as the whites. Each one had a motive for the killing. Davenport solves the case and the truth is even more shocking than the murder itself.

It's Future Job Day at Sam's nursery school, and Sam decides to dress up as a Zookeeper. But he wants to be more than that... he wants to be important, interesting, and more than ordinary: the Chief of Wonderfulness. Will he find a way to be the Chief of Wonderfulness as he teaches his classmates about all the different animals? Hilarious and charming, Zooman Sam is perfect for readers new and old, and for anyone who still asks themselves the question: "What do I want to be when I grow up?"

Describes more than 80 full-length plays produced in the last quarter of the 20th century, with an emphasis on New York and London performances.

The Black Arts Movement was sparked by the Civil Rights movement and the urge to produce and revitalize functional, realistic, and holistic symbols to express African American creativity. When Larry Neal began his quest for a new dramatic form to epitomize African American self-determination he laid the foundation upon which his friends and compatriots-Amiri Baraka and Charles Fuller-would build. Expressing their individual protests through their writings, these artists soon united in their attack against Eurocentrism, which traditionally minimized or neglected the roles played by Africans and African Americans on the world stage. Their writings signaled a radical change in the form and content of African American writing, particularly drama. In this insightful examination of African American cultural history, the author explores the heart of the dramatic imagination of African Americans during the turbulent years of the Civil Rights and Black Power movements. The analysis of the works of these three important dramatists reveals the roots of an Afrocentric approach to the theater, and introduces a new methodology for exploring Afrocentrism that is particularly suited to classes in African American drama and literature.ࠁ