‘The House of the Negro Insane’ places needed spotlight on mistreatment of Black people in this country

Something that I can always appreciate about our Black theater companies is how they strive and succeed in putting a spotlight on the horrible mistreatment that Black people have endured in this country — a spotlight on issues that you don’t hear talked about in our society.

The Negro Ensemble Company has been known for doing this important work for decades and is continuing to do so with its latest production, “The House of the Negro Insane,” which puts a blaring light on psychiatric institutions at the turn of the century, like Crownsville; places where African American were sent after society declared them lunatics. Being labeled a lunatic was a subjective determination made by the courts, and it could result from a person feeling they did not have any rights and displaying their frustration with that fact. One could also end up there if one had medical conditions that people could not understand, like seizures.

Playwright Terence Anthony decided to write a play about such places and create a story about the people who could have been prisoners there and been medically experimented on without their consent, after he read “The Immortal Life of Henrietta Lacks,” a woman whose cells were harvested for cancer research without her consent. She died in Crownsville Hospital for the Negro Insane. Imagine being sent to a hospital for the “Negro Insane” and knowing that you would spend the rest of your life there and be abused both physically and mentally until you died.

“The House of the Negro Insane” tells the story of Attius, an inmate who works in the workshop on the grounds where they make the coffins for the inmates. He is the assistant to Henry, a racist, demeaning white worker. Henry often insults Attius and questions his abilities to comprehend what Henry talks about. Henry also is under the delusion that he is a needed person at the facility. When he is hired to work on a farm, he is nervous that the doctor in charge might feel he is not as important as he thinks himself to be. He is also under the misconception that he and Attius are somehow friends.

As Attius works on an order of 10 coffins, Effie, a woman whose crime was that she feels that she is considered less than human because she doesn’t have the right to vote, sneaks to the part of the grounds where the workshop is located. She develops an unusual relationship with Attius, but going to him is the only time she feels safe. When a child, Madeleine, is the newest to come to the hospital, Effie brings her to the workshop, to let her feel safe and for them to figure out a way to escape.

It is clear that the Black inmates are subjected to medical experiments, viruses, and all types of inhumane actions. Horrific things are happening. Attius ends up building an odd relationship with Madeleine as well, and decides that he wants to try to protect her.

The playwright brings out the dreams and aspirations that people can have in these situations and shares the unfair societal judgment, prejudices, and practices that allowed these individuals to be stripped of all their rights and humanity.

The story is engaging and disturbing, but shines a needed light on a terrible situation. It can also be related to the way that African Americans are being unfairly treated at times in this country today. This country has a history of deciding that we are beneath other races and don’t deserve respect, understanding, common consideration, or fairness.

“The House of the Negro Insane” is an eye-opening and thought-provoking production. Benjamin C. Rowe is mesmerizing as Attius. His character is underestimated, quite intelligent, and has common sense and compassion, despite what he has endured. Rowe embodies this character with great intensity and brings the multiple layers of this man to light. Wadiah Waliah is quite engaging as Effie. At times, her character can be funny, but she is also feisty, determined and protective. Rob Penty does a wonderful job as Henry, a racist, cruel man, but who also has a reason to be pitied. Sidney Hatcher plays Madeleine, a little girl who has a lot going on and dares to dream despite her circumstances.

The production has scenic and set design by Chris Cumberbatch, costume design by Katherine Roberson, sound design by Linwood Booker, and lighting design by Antoinette Tynes, with skillful direction by Daniel Carlton.

The production is playing at 59E59 Theatres through September 6, 2026. For tickets, visit 59e59.org.

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