“This is one of those plays that stays with you…exactly the kind of theater that sparks conversation and understanding,” said one reviewer of Blood at the Root. The gripping drama about the school-to-prison pipeline opened Indianapolis Black Theater Company’s sophomore season at The District Theatre, located in the heart of downtown Indianapolis’ Mass Ave Cultural Arts District. “I truly believe this season will be a transcendent moment,” said IBTC Artistic Director Tijideen “T.J.” Rowley, “not just for our company, but for the entire community.”

Launched in 2023 with a $1.9 million investment from the Central Indiana Community Foundation and the Lilly Endowment, IBTC’s founders set out to create higher-paying opportunities to retain Black theater artists in Indianapolis — not just actors, but directors, stage managers, designers, and crew members as well. In addition to its performance season, IBTC runs the Blacklight Training and Development hub to cultivate new talent and give emerging artists a launching pad. “Playwriting students, for example, not only write their own work, but also see it produced and get paid for it,” Rowley said. “That kind of hands-on, full-circle experience is rare and incredibly valuable.”

In 2025, IBTC hosted the Indianapolis Black Theater Showcase, bringing together multiple Black theater companies for a community monologue competition, featured performances, and a tribute to individuals and organizations who have contributed to the growth of the local arts ecosystem. IBTC also hired a playwriting instructor for the Indy Black Solo Fest to help six artists develop original solo shows. Participants performed their pieces with live music and full production support — and walked away owning their scripts. “We’ve already seen some of those works go on to other festivals, which is exactly the kind of long-term artist growth we aim for,” Rowley said.

This summer, IBTC will host a free, one-week camp where children will take acting classes, tour the city’s major theaters, and stage a final production. Beyond special events, Rowley said every production is designed to help artists gain experience, build their resumes, take creative risks, and — most importantly — be compensated fairly.

One of Indianapolis’ most recognized and accomplished theater artists, Daniel Martin, called working with IBTC “a breath of fresh air.” Having both acted in and directed productions for the company, Martin said the organization fills a long-standing void. “So many theaters only give the African American experience a voice in February. Now the focus is on us. Our story can be shared all year round,” he said. “It’s important for our younger Black generation to see themselves in the stories they watch. We don’t have to play the slaves, maids, and thugs. We’re telling our own stories now.”

One challenge IBTC faces is the misguided assumption that Black stories are only for Black audiences. “Historically, Black stories haven’t always been treated as universal, even though they absolutely are,” Rowley said. “When we center those stories, we’re not excluding anyone — we’re inviting everyone into a deeper understanding of the human experience.” Themes of struggle, resilience, love, injustice, and hope are quintessentially human truths. “When audiences of all backgrounds come to our productions, they don’t just watch a ‘Black story’ — they experience something that connects to their own lives,” he said. “That’s the power of theater. It transcends race and becomes something bigger — something shared.”

Looking ahead, IBTC is focused on strengthening its infrastructure by developing the systems and standard operating procedures needed for long-term sustainability — a goal Rowley calls “critical” for a growing organization. “Sustaining that level of opportunity requires ongoing community support and a shared understanding of just how vital Black storytelling is,” Rowley said, “not just culturally, but for the growth and health of our entire society.”

The unflinching Blood at the Root, written by Dominique Morisseau and directed by Daniel Martin, ran in April and set the tone for the season. Inspired by the real-life events of the Jena Six, the play follows a group of students fighting injustice on every front. The production’s stark visual design featured a lone, imposing tree set against a plain black backdrop, with three hangman’s nooses hanging from its branches. Conceived with the help of IBTC General Manager Kimberly Martin, Rowley designed and built the massive set piece himself, calling it a “living symbol of change.”

In July, IBTC will present what it describes as a “vibrant and imaginative staging” of The Colored Museum by George C. Wolfe, directed by Indianapolis arts trailblazer Deborah Asante. In September, director D.P. DeMarco will stage his original work Kila’Delphia: The Stage Play to close out a bold and dynamic season. “Audiences can expect high-level performances, risk-taking, moments of laughter, deep reflection, and ultimately, stories that elevate Black voices while bringing people together,” Rowley said.