Urban theater — or what has been called over the years Black Broadway, inspirational theater, gospel theater and the chitlin’ circuit — has been thriving for decades, selling out some of the biggest theaters across the country and grossing millions of dollars a year. And just who’s responsible for this incredible growth in this particular industry? Black females ranging from 21-50 and the men who sometimes accompany them.

The usual ticket for such a play can average about $30 less than those of touring Broadway shows. It has even become standard practice to sell DVDs and CD soundtracks of the plays after the tour. These plays, which typically take place in familiar, urban settings, are often drowned with R&B solos and duets. They tend to be a mix between melodrama and farce, with clownish characters almost too “coonish” to be taken seriously. Many of the characters are one-dimensional, yet relatable. The woman is always single, hurt, and praying to God for love. The man is always evil, disrespectful and often abusive.

The plots are generally the same, usually about having the main female character struggling with self-esteem issues, familial issues, relationship issues, etc…she is considered weak throughout the story, even though she sings the audience into thunderous applause after overcoming these issues. And a smart producer is going to fill the stage with eye-candy. The more muscular actors, usually models without any respected acting ability, always seem to find themselves shirtless for no apparent reason relevant to the story. While this may be entertaining and even titillating, are we wasting our money on foolishness, or actually supporting respectable performing arts productions?

Despite hundreds of Black women coming out in droves to fill the seats in these often too large theaters, there are many of them who have admitted to wanting more diversity in their theatrical viewership. They can appreciate a play that has a strong message and doesn’t necessarily have a musical aspect. The target audiences generally do not have much disposable income, so some have become a bit more discriminating. As a result, to keep them in the seats, producers are now flooding their shows with recognizable film and television actors and singers. The show may be horrible. The music may be mediocre. The story may be boring. The costumes may be over the top. But if Mr. Morris Chestnut or Leon or even Allen Payne is walking across the stage in a towel, women will flock and come back and come back and come again until the show has closed and their pockets are empty.

Ironically these same film and television stars would not have thought to consider taking a part in one of these projects at the beginning of their careers. But with roles being unavailable for Black actors in Hollywood, the only thing to do to keep a fan base and food on the table is agree to step onto the stage and milk the urban theater circuit for all its worth. But what exactly is it worth? And are Black women being used?

Many scholars and theater professionals have criticized “gospel plays” for evoking so many stereotypes; others see it as another kind of drama. No matter what side of the argument you stand on, one thing is definite. This is indeed one industry where the young, Black dollar is crucial. We are in a recession, and if we can stretch a dollar and be selective on what we spend our money on as far as clothes and social activities, then we should be selective about our arts and entertainment as well. We shouldn’t consider stopping our support of Black entertainment, but we need to be more open-minded about supporting artistry that doesn’t offend, disrespect or make a mockery of our people.