The Black Lady Theatre is more than a performance venue; it’s a living monument to Black history, nestled in the Crown Heights neighborhood of Brooklyn, New York. It was established as a cultural hub for civil rights gatherings, and for decades, this theater stood as a beacon of African American culture and activism that not only showcased art but also amplified the voices that long went unheard by man. However, to understand how Black Lady Theatre became a sanctuary of creative freedom and expression, we must first look at its origins.
More important, however, is to examine the connection to the late Judge John L. Phillips, Jr., and another historic venue known as the Slave II Theater. Born in Ohio, Judge Phillips was an eccentric but deeply respected figure who sought to uplift Black communities through empowerment and education. Known as the “Kung-Fu Judge” (he earned a 10th degree Black Belt in Kung Fu), Judge Phillips began buying a bunch of property in Brooklyn, which later became known as Slave I and Slave II theaters.
The first of the two properties was the old Regal Theater on Fulton Street, which Judge Phillips named Slave I Theater, while the other was a property located on Nostrand Avenue. The Slave I Theater quickly became a hub for civil rights gatherings and a rather broad range of Afro-centric programming in the form of film screenings, theatrical productions, or town hall-type meetings. The aim was to foster political awareness and cultural pride of African Americans at a time when many spaces often marginalized Black people and their voices.
The second property was bought from the family of a beloved community businessman, Arthur Miller (who was choked to death by NYPD officers in June 1978), which he later called the Slave II Theater. Though it was founded later than the first Slave I Theater, Slave II emerged as a natural extension of the first one, sharing its core objectives centered on creating a place where Black art and artistry, as well as history and culture, were not just acknowledged but also celebrated.
The Slave II Theater, soon renamed Black Lady Theatre, offered a ready stage to those who had something to say or show. This soon attracted local musicians, spoken-word poets, and aspiring actors. But the theater wasn’t only about art; it was also a place of dialogue, with many community elders and civic leaders often discussing broader issues, such as civil rights, police brutality, economic disparity, and many other social problems. However, one of the main reasons why Black Lady Theater became an iconic cultural venue was its accessibility and inclusivity.
These two qualities applied to all artists, not just those who managed to make a name for themselves. While segregation had officially ended during the 1960s, many performance venues in the 1980s — even those that advocated multiculturalism — were exorbitantly expensive with their rental fees or often adhered to gatekeeping practices that were too daunting for aspiring artists. This kept many Black artists who were just starting out from performing and sharing their art in such venues.
Black Lady Theatre, on the other hand, purposefully had lower barriers to entry, operating on either incredibly affordable fees or donation-based events. This encouraged broader participation, allowing younger artists to present their work without having to worry about exorbitant costs. It also attracted broader audiences, including those individuals who might’ve felt unwelcome in more formal or expensive venues. As a result, the theater developed a rather diverse offering, ranging from small, intimate poetry circles to rousing musical performances and community-led discussions.
But that’s not all. This emphasis on openness soon created an environment where people felt free to speak their minds and be heard, which was really important, especially considering how mainstream media often overlooked the nuances of African-American life and culture. This gave the theater the role of a corrective lens, bringing the art and community closer together, with artists inspiring the community and vice versa.
This evolved, rather organically, into relationships and alliances that extended beyond the theater itself, with many community leaders mentoring younger people and many established performers guiding emerging talents on how to best approach their craft. This cross-generational exchange of ideas soon in a place dedicated to Black expression became the act of resistance against a society that often marginalized said expression.
Sadly, in 2001, a judge ruled that Judge Phillips, who had retired in 1994, was mentally incapacitated, placing him under guardianship. Some believe that this decision had political connotations, as it was meant to stop Phillips from running for district attorney. This resulted in a series of unsavory decisions made on Judge Phillips’ behalf regarding his property and finances, and by the time he died in 2008, Phillips had lost all but three properties, and he owed millions in taxes.
The iconic Slave I Theater was torn down in 2016, leading to a massive investigation that ended up with lawyers behind bars for stealing nearly $600,000 from Judge Phillips and another lawyer ordered to pay back more than $400,000 to Judge Phillips’ estate. However, the Black Lady Theater isn’t in the clear; there are legal issues tied to the property and the notorious Mendel Gold appears to have bought the tax lien and the eventual referee’s deed of the Black Lady Theater, which could give him ownership of the venue.
The Black Lady Theatre still stands, but the property is under attack by big real-estate developers backed by legal loops and politicians, all working together to shut down another cultural institution. Those interested in helping preserve this cultural venue can make a small donation on the Black Lady Theatre website and help cover the immediate costs of legal representation, storing and preserving previous artwork, and printing and filing documents.