What exactly is art; who defines it; who makes it, and where in Atlanta do poets, thespians, and artists congregate and create? We’ll use this space to catch up with a few for a few…some you may know; others we hope you’ll be pleased to meet their acquaintance.
In the 6th grade, my English teacher at Terrace Manor Elementary School in Augusta, Mrs. Hettie Copeland introduced our entire class to Langston Hughes — putting us in a choir and directing us as we recited “The Negro Speaks of Rivers.” Every time I hear the first stanza, I think about that time in my life: “I’ve known rivers / I’ve known rivers as the world and older than the flow of human blood in human veins. / My soul has grown deep like the rivers.” That same year, Mrs. Lula Francis took me to see Nikki Giovanni read at Augusta University. Those two instances locked in a love for poetry that only grew.
I was reminded of both of those teachers after speaking with the playwright, director, producer, actor, and educator Nikki Toombs. Like Mrs. Copeland and Mrs Francis, Toombs has planted seeds in Gwinnett County Schools, Emory University, and theatres across the metro like True Colors. It’s hard to conceive just how many people Toombs has inspired and what they have gone on to achieve.
When Toombs, who lives in Northeast Georgia, is not busy writing, creating, directing, or teaching others, you might find her hanging at Bahama Breeze or Chateau Elan.
Comedian Roy Wood, Jr. will be hosting the one-night-only performance of Toomb’s play “Courageous Steps: Bridging the Divide for Equality” on April 17 beginning at 6 p.m. at The Eastern. It’s a benefit for the National Center for Civil and Human Rights.
Toombs shared some thoughts about her journey as an artist and her inspirational Spotify playlist.
In one interview, you mentioned witnessing growth and change working with students in the August Wilson Monologue Competition at True Colors Theatre. Given the significance of art, this is not unusual. What would you like your legacy to be considering your impact on young people?
I have witnessed firsthand the transformative power of the arts to change lives. I hope that God will continue to allow me to be a conduit connecting others to their greater opportunities artistically. Truthfully, I have never asked myself what I’d want my artistic legacy to be. I hope that the light that shines in me shines brighter than the light that shines on me, inspiring others to find their own artistic path.
In addition to being a multi-talented artist and educator, you also are a dancer. One summer, I workshopped with the Urban Bush Women, and, not being a dancer, I had to get miles out of my comfort zone. I knew the poetry world, but I was a fish out of water here (and danced like one). It was a profoundly transformative experience for me, partly because I had to find creativity in physical movement for myself. Can you share why you add movement to your work? Of your talents—playwriting, educating, producing, directing—which would you consider your heart, soul, and breath?
Oooh, I love that question. Acting is a whole-body experience. Our gestures, facial expressions, and body language all assist in telling the story. Truthfully, our bodies tell the stories before our mouths do. So, my heart is acting, my soul directing and producing, my breath is playwriting, and my ministry is educating.
Coming from the “Magic City” Birmingham and being a graduate of Alabama A&M, we have some intersecting experiences because I graduated from Tuskegee, and we used to play A&M—one of my favorite matchups. How do Birmingham and Atlanta serve as characters, backdrops, or communities for you as you create and conceive your plays focused on civil rights?
First, my response is, “GO BULLDOGS!” There’s nothing better than some good old HBCU rivalry fun. Secondly, there is a significant intersection between these two cities; I have used each place in ALL of my stories. Drawing inspiration from my hometown of Birmingham honors the place that has shaped me, paying homage to the people and stories that have influenced my journey. In doing so, I not only share my own experiences but also celebrate the collective narrative of my community. Character names, street names, and stories of historical struggle and triumph are all stories pulled from this place I call home.
Your play “Courageous Steps: Bridging the Divide for Equality,” highlighting Brown v. Board of Education, is significant today with the concerns about Diversity, Equity, and Inclusion programs, banned books, and freedoms being at risk. My mother began her teaching career near Columbus, Georgia, and wanted to pursue her Master of Education at UGA. Because it was still segregated, the state of Georgia actually paid for her to attend New York University, where she got her Master’s in 1956. Brown v. Board of Education catalyzed change beyond primary schools regarding desegregation. You’ve focused on other hallmarks of the Civil Rights Movement, e.g., your play Let Us March On about the March On Washington. Can you tell us what we can expect from your play “Courageous Steps: Bridging the Divide for Equality” and what statement you’d like it to make in today’s world?
In “Courageous Steps,” the audience will be taken on a powerful journey through time, exploring the profound impact of the Brown vs Board of Education decision and its implications for education today. The hope is that the audience leaves with a heightened awareness of the harmful systemic practices that still exist in education. Achieving true equality requires acknowledging and dismantling these barriers. While the show is about reflecting, it is also about rejoicing. We’ll rejoice in knowing that though we seem to be losing ground, we have still made significant strides. We’ll rejoice in knowing that though there is a mandate to silence voices that advocate for equity, diversity, and inclusion, those voices can still be heard in other ways around the world. We’ll rejoice in knowing that though the laborious journey for justice was and is unfair and unkind, on that night, we will get to honor a few who took those courageous steps on that journey to bridge the divide for equality.
If you left three things in a time capsule to be opened in 50 years by a young artist, what would you go for them and why?
While two of the three aren’t tangible, I would leave…
Faith: I would leave a mustard seed of faith. In our industry, artists are often met with rejection, which can cause one to doubt his/her/ their ability. I frequently tell my young creatives, “You will have to stand on the mounds of no’s until you are eye-level with the right yes.” You must have faith in your talent and faith in your God (if that is your belief system). I am of the belief that whatever is divinely ordered will be.
Fear: I would leave fear. While fear has often kept me artistically bound, the idea of conquering it has placed me in many rooms as a creative, channeling energy into something that produces beautiful art.
Fortune: I would leave seed money to start your artistic journey. They don’t call it a “starving artist” for nothing. The lifestyle of a creative, particularly in the beginning, requires financial literacy and strategy. Don’t sacrifice your talent for a dime, but don’t forget to find moments to save one.
What is a quote that you live by?
It is one of my own sayings: “Walk with a spirit of boldness while maintaining humility in your greatness.”
Editor’s Note: This story has been updated to reflect the correct location of the April 17 performance. It’s at The Eastern.