In November 2023, a cast of students from the USC School of Dramatic Arts’ MFA Acting program performed a production of August Wilson’s King Hedley II at the lauded Los Angeles Theatre Center. That production has been invited to perform at the International Black Theatre Festival (IBTF) in Winston-Salem, marking the first time a USC production has been featured in the festival’s history.
Performing at the International Black Theatre Festival represents an incredible opportunity for these students to not only perform in front of a large, international audience, but also to connect and network with Black artists from around the world. “They call the International Black Theatre Festival the Black Theatre Holy Ground, because it’s a gathering of people from across the nation, and really internationally, of Black artists,” said Professor Michele Shay, Chair of Performance for SDA, who directed the original production and is also taking the helm for the IBTF production. “It’s a cauldron of possibility. The students have never had that kind of experience before. They’ll have mentorship, and there’s just all kinds of possibilities out there.”
The impact that this kind of experience can have on students cannot be overstated. “The chance for these MFA Acting students to showcase their abilities and learn from their peers can be game changing for any artist,” says Actor, Producer and SDA Board of Councilors Member Nnamdi Asomugha. “Not only is this a unique learning opportunity, but an opportunity to connect with other artists—while performing one of the most seminal works of modern theatre. I am so proud of the USC School of Dramatic Arts for their support of what will surely be a powerful experience for these students.”
In addition to the historic opportunity to perform at the festival, three of the show’s cast members—Quaz Degraft (MFA ’25), Briana James (MFA ’25) and Vincent Williams (MFA ’25)—were each awarded the Mabel P. Robinson Emerging Artist Award for their work in this production.
“I’ve never had an opportunity to be a part of a festival where Black works, Black playwrights and Black artists are being celebrated in this way. For me, it’s such a special moment,” said James, who plays the role of Tonya. “It’s something, in my experience, that’s rare. To be a part of it definitely feels like an honor and a privilege.”
Wilson’s Timelessness
For the students performing the work, August Wilson’s play is both universal and timely.
“I think, whether it be good or bad, that a lot of the thematic topics of the play are still relevant today,” said Degraft, who plays King Hedley. “[King] wants to leave a legacy—to uphold his father’s legacy, but also to build his own. People try to get in the way, the world gets in the way, and it’s like walking upstream. And within that, he’s trying to find his place in this world.”
“The stories that August Wilson writes are very unique and true to the culture, to Black folks in America, but beyond that there’s a universal quality to the language, to these stories,” Williams, who plays the role of Mister, said. “Anyone, from any walk of life, will be able to grasp it. That’s why his stories are timeless.”
The cast members felt that coming back to the play months after its original performance allowed them to see how much progress they had made in their training—both in learning skills as actors and through growth as humans and artists.
“We’ve had a whole semester of training since then,” James said. “So as an actor, I think I have some different tools in my toolkit. I find myself investigating more of what Tonya wants, what Tonya needs, and her struggle in the play.”
They also expressed gratitude for the opportunity to be directed again by Professor Shay, who was a collaborator with August Wilson and originated the role of Louise in King Hedley II’s companion play, Seven Guitars.
“Michele understands the stories. She understands the language. She understands the intent,” said James. “She knows what August Wilson was trying to say and achieve with everything that he wrote. And so that level of connection to these plays is kind of invaluable.”
Supporters of the USC School of Dramatic Arts came together with generous donations to make the festival performances possible, helping to pay for production costs, travel, lodging and other expenses associated with the historic opportunity.
“I want to say thank you to all of our department, our Dean, costumes and production—everybody who’s supported doing this,” said Professor Shay. “It’s never been done before here. And it stretched all of us to figure out how to make it happen. I’m overcome with gratitude. It took a village to do this, and I think it’s going to be really amazing.”
Earlier this year, it was announced that the MFA degrees at the USC School of Dramatic Arts would transition to be tuition-free. USC is committed to ensuring that talented individuals from all backgrounds have access to a world-class education without financial constraints. Generous donors who support the USC School of Dramatic Arts have fueled this mission to provide an accessible cutting-edge dramatic arts training experience and their ongoing support will be essential to securing this mission in perpetuity. Please consider a donation to allow the School of Dramatic Arts to grow vital student scholarships across all degree programs and secure access to an SDA education in perpetuity. Donate today.