“And the children shall lead them!”…And they did! On this special night at the Cherry Lane Theatre in 1965 when I directed them in Douglas Turner Ward’s “Happy Ending.” In the very first public showcase performance of my very first arts group – The Group Theatre Workshop (GTW) named an homage to Harold Clurman’s Group Theatre. Here is the review from one of New York’s top drama critics Jerry Talmer. Reading that gorgeous little review of GTW’s teenage thespians began brainstorms raging in my mind. I immediately decided to buy the option from Doug and personally produce his brilliant one-acts “Happy Ending” and “Day of Absence” professionally! Ten months later, raising all Black financing, I did just that. The plays were a smash hit and Doug became the anointed premier Black playwright, stealing that thunder from LeRoi Jones (aka Amiri Baraka) and his current hit “Dutchman”! (Since only ONE black playwright could be allowed through at a time.) And all because 30 young, aspiring theatre artists (straight out of my converted apartment living room) showed out in performance! The birth of our Negro Ensemble Company came soon after! And the youngster’s GTW was folded into the NEC as the nucleus of its tuition-free training program!“
It’s nurturing of Black playwrights over the course of three decades created a body of performance literature that comprises the backbone of the African-American theatrical canon and provided nuanced vehicles for Black performers until August Wilson picked up the baton.
As a young actor in Philadelphia, it was seeing A Raisin in the Sun in tryouts both stunned and awakened him to what was possible.
Almost immediately, he packed his bags and moved to Manhattan where, in a scene reminiscent of a 1930s Stage Door musical, he was soon hired for that same original Broadway production A Raisin in the Sun!
It was 1960, I had moved up to New York after seeing this incredible play “A Raisin in the Sun” while studying theatre in Philadelphia. Sitting in the audience getting my mind blown away, I remember thinking “I sure wish I was up on that stage with these brilliant Black performers”. Sidney Poitier, Claudia McNeil, Ruby Dee, Diana Sands, Louis Gossett, Ivan Dixon, Lonne Elder III, and a very young Glynn Turman. Well, guess what! That play convinced me to pack up and move to Gotham to become a professional actor. By then Raisin was a big smash Broadway hit. As fate would have it, my very first professional acting job was replacing Louis Gossett on Broadway in the play which prompted me to move to New York in the first place!… Seen here is Diana Sands as Beneatha and me as George Murchison! This is the play that started it ALL, for me, and the 1960’s Black theatre movement!
He then segued into the lead role in Jean Genet’s long-running, politically incendiary play The Blacks (alongside Maya Angelou, Roscoe Lee Browne, Cicely Tyson, James Earl Jones, Louis Gossett, Adolph Caesar, Raymond St. Jacques, Charles Gordone, and Godfrey Cambridge), followed shortly afterward by inaugurating the male lead in Leroi Jones’ provocative two-character piece, Dutchman produced by Edward Albee.
The next decade brought a series of Broadway shows, among them Arturo Ui, The Milk Train Doesn’t Stop Here Any More, A Taste of Honey, and Hallelujah Baby, for which he garnered a Tony nomination for Lead Actor in a Musical.
“1967! co-starring with the lovely, ultra-talented Leslie Uggams in the Broadway musical hit ‘Hallelujah Baby’ the New York Times presented this ‘Hirschfeld’ caricature in the Sunday Drama section saluting the cast. (left to right) Barbara Sharma and Allen Case, dancers Allan Weeks and Winston Dewitt Hemsley, Leslie Uggams, Lillian Hayman, and Robert Hooks, with the very long chin!“
“This is ‘A Hirschfeld’ caricature, and it’s kind of an honored Broadway tradition for an actor (usually in a Broadway musical) to be the subject of a Hirschfeld. The artist Hirschfeld would choose a play and it’s performers that’s up for the annual prestigious Tony Award and feature the artwork in the Sunday New York Times drama section. I know my dear friend the talented Broadway star Melba Moore has hers, and she knows what an honor it is to have a Hirschfeld. And of course, there are other recipients.
(But be aware!) The artwork ALWAYS has Hirschfeld’s signature in the lower right corner and also has the number of times his daughter NINA’s name appears in each caricature offering (in this one there are three NINA’s). If those things aren’t on the artwork, it is not an authentic Hirschfeld.
…and by the way, I was never that impressed with my caricature in this Hirschfeld… but I’ve accepted it with good humor!“
Off-Broadway he broke theatrical color barriers when Joseph Papp cast him in the title role of Henry V, a first in theatre history.
– The Public Theatre – New York Shakespeare Festival
In television, the groundbreaking David Susskind-produced N.Y.P.D. was the first prime-time network drama to feature a Black male lead. In addition to two highly acclaimed mini-series, Backstairs at the White House and Sophisticated Gents, Robert has appeared in over 150 productions for the small screen. And when television producers realized that John F. Kennedy’s book Profiles in Courage had no Black heroes it was Robert they invited to star in the hastily added episode Young Frederick Douglas.
Films have included Otto Preminger’s Hurry Sundown, Tennessee Williams’ Last of the Mobile Hotshots, Passenger 57 (directed by his son Kevin Hooks), Star Trek III, and the title role in the uncomfortably political cult hit Trouble Man, making him the original “Mr. T.”
Star Trek III
Robert Hooks – Flottenadmiral Harry Morrow
Canadian actor William Shatner, American George Takei, Nichelle Nichols, and Robert Hooks on the set of Star Trek III: The Search for Spock, directed by Leonard Nimoy. (Photo by Paramount Pictures/Sunset Boulevard/Corbis via Getty Images)
“It was 1984 and I was offered the racially groundbreaking and wonderful role of Fleet Admiral Morrow in the popular feature movie series “Star Trek.” I wasn’t a big fan of the series, but when I got the script “Star Trek: The Search for Spock” and knew I’d be working with one of my dear friends Nichelle Nichols and buddy William Shatner, I looked forward to the Paramount Studio shoot. Unfortunately, while in contract negotiations, boy! did my agents and I hit a serious snag! Paramount wanted me to share my up-front billing screen credit. That was something I wasn’t able to agree on. I always got a “single card” and in The Industry future salaries were predicated on your last credit, so negotiations were seriously stalled. Paramount was playing “hardball”, and so was I. They wouldn’t budge in their position, so we ended up taking ONLY end-crawl credits to ensure that my residuals were safe and assured. It was more than professional principles.
My future salaries and billing were dependent on it. When they wanted me for “Star Trek IV” it got uglier. They WOULD give me my up-front credit. BUT I would have to agree to a salary cut. So now it was not only a matter of my future asking price going down, but they were essentially telling me I WOULD HAVE TO PAY FOR MY BILLING. But I did suggest my dear, brilliant friend Brock Peters to reprise the role and of course he was wonderful AND I got to do him a good turn. So, if you ever see the film and wonder why my name isn’t on screen at the top? Short story long! ”
“Star Trek III, Search for Spock“, was a ton of fun to work on! I had no idea I’d enjoy it as much as I did!… Here, in a rehearsal confab is Leonard Nimoy (who directed the movie) and star William Shatner! Of course, the most fun of all was working with my longtime friend and brilliant artist Nichelle Nichols!
His active stance in politics cost him some jobs but engendered continuing requests for him to speak publicly. He’s been invited to speak in front of the House-Senate Committee both on his own and, in 1973, in the company of Sidney Poitier, Maya Angelou, Brock Peters, Bernie Casey, and Terry Carter regarding the National Foundation on the Arts and the Humanities Act.
He served as the opening speaker for then-President Bill Clinton and was feted by future AMPAS President Jack Valenti at the Nixon White House.
“Centered in Los Angeles (circa 1979) “The Media Forum” group focused on such issues as employment, media ownership, and elimination of stereotypes in America’s entertainment industry. The Media Forum’s primary strategy was to hold a series of public meetings with leaders from the government and media pursuing and advocating a leveling of the media playing field for artists of color. A performing arm of the company was formed to create a touring theatre of classic Black poetry, performances for college and high school students around the state-sponsored by the California Department of Education. We entitled the show “Voices of Our People” and we were in demand across California’s education system. PBS produced a TV special on Voices of Our People and the show won a series of Emmys. Here, celebrating winning their statues are six Media Forum founders who were the performers of Voices: (standing L to R) Charles Floyd Johnson, producer Jim Washburn, Brock Peters and Me, (in front) Tracee Lyles, Denise Nicholas, and Janet MacLaughlan. The Media Forum’s advocacy had serious beginning effects on important changes in hiring practices for people of color at the networks and the Hollywood studios.”
BLACK THEATRE PIONEERS
“1978 Strategy session with three Founders of The Media Forum,(a professional artists media advocacy group hosting honored guest and Media Forum supporter and adviser the Honorable Minister Louis Farrakhan at the home of writer Lonne Elder III. …From left to right: Robert Guilliame, Minister Farrakhan, Robert Hooks, and Bernie Casey. The Media Forum was responsible for effectively pressuring the studios and the networks to begin leveling the playing field for Black artists in front of and especially behind the cameras in the entertainment industry front offices in decision-making capacities.”
Widely recognized for his contributions to theatre, film, and television, Mr. Hooks has won a Producing Emmy Award for his PBS special Voices of Our People; a New York Drama Critics Award for A Raisin in the Sun, and the World Annual Award for Where’s Daddy?
He has been nominated for a Tony for his lead role in the musical Hallelujah, Baby, and has also been presented with both the Pioneer Award and the NAACP Image Award for Lifetime Achievement and has been inducted into the Black Filmmakers Hall of Fame.
“Here’s a classic throwback image of the founders of ‘The Media Forum’, from the Emmy Award-winning PBS/KCET television presentation “Voices Of Our People, In Celebration Of Black Poetry” (circa 1981.) Ladies in front: (left to right) Janet MacLaughlan, Denise Nicholas, and Tracy Lyles- Men in back: Charles Floyd Johnson, Me, and Brock Peters. The Media Forum organization advocated for more and better opportunities for Black artists and other professionals of color, in front of and behind Hollywood’s film and TV cameras!”
“There once was a Black Hollywood Advocacy Coalition “The Media Forum” . A group of Black artists, concerned about the lack of opportunities for Black writers, actors, directors, and on all other hiring levels at the Studios and TV Networks.. Our efforts were getting very positive results in both Hollywood, TV and Film production hiring. The Media Forum, already made up of performing artists, assembled a (A Hand is on the Gate style poetry evening) called “Voices of Our People” It was a big hit across the State in schools, then PBS taped and presented it. It won ‘crazy Emmys”… You have to know them all by now… IT WAS GREAT FUN!“
To cite Herbert Allen, a Chicago-based television producer, in his paper, Robert Hooks: Intergenerational Visionary & Institution Builder, written in 2007 on the occasion of yet another Lifetime Achievement Award:
“It is time to acknowledge Robert Hooks as a resource of guiding vision for the African American presence in theater, now and in the future. Contemplating the philosophical and sociopolitical underpinnings of Hooks’ gift and commitment to institution building, and revisiting Hooks’ accomplishments, it becomes clear that he should be actively treasured as a resource today. His is the kind of historic vision that informs the present and gives direction for the future.“
“I’ve done eight Broadway shows. You will never meet an actor who has done eight Broadway plays. I was doing play after play; Tennessee Williams… I was being directed by the greats. When a role came up, producers would say, “Can we get Robert Hooks for this?” I was very fortunate. I was the busiest actor in New York City; this is just how it went down for me.”
Lorrie Marlow (m. 2008)
Born: April 18, 1937 – Foggy Bottom, Washington, D.C.
Robert Hooks and Lorrie Marlow
Lorrie Marlow-Surprises ROBERT HOOKS @ DC Black Repertory Company’s 50th (2021)
As a surprise for her husband Robert Hooks who – after founding The Group Repertory Company and NY’s Negro Ensemble Company – created the DC Black Repertory Company to help heal his hometown after the insurrection following the assassination of Martin Luther King, Jr. — Lorrie was asked to record a surprise message for him before he was honored on the 50th anniversary of the founding of the DCBRC.
“He grows oranges, cooks the most amazing 4th of July hotdogs-with-everything, and LOOKS GORGEOUS AS HE DOES IT ALL!” – Lorrie Marlow
The Children:
Kevin Hooks, Eric Hooks, Christopher Michael Carter, Cecilia Ann Hooks Onibudo, Kiyo Dean Tarpley Hooks, Robert (Rob) Hooks, Jr.
AMERICA!
“One of my favorite (rare, and one of a kind) assemblages of “All My Sons”. It was taken in the very early 80s, and the only time I could have all my amazing sons together in a single photo setting. I had just moved into my new Hollywood Hills homes, and was excitedly able to corral ‘the guys’ to help celebrate my permanent move to LA. And we had a joyful ball, way up at the top of the Hollywood Hills. What a great time, and it truly warmed my heart to have them ALL!. They are all older now. The boys are much older now, but let me introduce you to my ‘full court first team”…From left-to-right, (and in no order of age) Kevin, Christopher, Kiyo, Dad, Eric, and at lower center, young Robert Jr. They are all now off on their own, creating wonderful creative/professional lives for themselves (and their beautiful families.).”
“Throwback photo of me and three of “the boys” (Hollywood circa 1978) top to bottom: Dad, Eric, Christopher, and little Robbie! Oh! the fun we shared, I am one lucky Dad. They’re all grown up now and doing wonderful stuff. This is one of my favorite shots!”
Kevin and I, in separate prime-time TV films in the same week
Kevin, Christopher, and Dad.
“As an actor, there is no better feeling or experience than being directed in a major movie by your son! And as a father, there are no words to express the pride I feel watching him on set applying his art as a filmmaker. Here in this photo are three generations of Hooks relaxing on the film set of “Passenger 57″ (circa 1992.) On the left is Eric Hooks, on the right is (Director) Kevin Hooks, and Dad in the middle holding (Eric’s ‘little man’) Jordan Hooks!… What a fabulous time that was for me and my guys!.. Plus the movie was a big hit and a great beginning of Kevin’s career as a director!”
“Well, I don’t remember the setting for this one- but I sure like it!. And I’m so proud of the guy sitting next to me, who has gone on to do incredibly wonderful work as an artist in American film and television. My “number one” son Kevin Peale Hooks…yes! that’s right Peale!” – Robert Hooks
University System of the state of Maryland, made the first in its history, granting two simultaneous degrees of “Doctor of Humane Letters (Honoris Causa) to a father and son team of America’s Black theatre movement, – Robert and Kevin Hooks. With Robert Hooks – Degree Ceremony at Maryland’s Bowie State University in May of 2000, where I was the ‘Class of 2000’ keynote speaker. On that occasion, my son Kevin Hooks and I received our Doctor of Humane Letters Degrees (Honoris Causa).
KEVIN HOOKS
KEVIN HOOKS
American actor, director, and producer who transitioned from a successful career as a child and teen actor to becoming a prolific director in Hollywood. He is widely recognized for his breakout acting role as Morris Thorpe in the TV series The White Shadow and for directing the action film Passenger 57.
Early Life and Family
Born in Philadelphia, Pennsylvania, Hooks is the son of Robert Hooks, a renowned actor and director, and Yvonne Hickman. His upbringing in a creative family exposed him to the industry early on.
He has several siblings, including actor Eric Hooks.
Acting Career
Hooks began acting as a child, first gaining national attention in the 1969 TV special J.T.. His major roles include:
Sounder (1972): Played David Lee Morgan, the son of sharecroppers, a role for which he received critical acclaim.
Aaron Loves Angela (1975): Starred as Aaron in this modern-day Harlem reimagining of Romeo and Juliet.
The White Shadow (1978–1981): Portrayed the conflicted high school basketball player Morris Thorpe.
He’s the Mayor (1986): Starred as Mayor Carl Burke.
Directing and Producing Career
In the mid-1980s, Hooks shifted his focus to directing, starting with episodes of St. Elsewhere and ABC Afterschool Specials, for which he earned several Emmy nominations.
Notable Film Direction: Strictly Business (1991), Passenger 57 (1992), Fled (1996), and Black Dog (1998).
Prolific TV Direction: He has directed numerous episodes of hit series including Lost, 24, NYPD Blue,
The Good Wife, and Prison Break, where he also served as an executive producer. Award-Winning Work: He won a Primetime Emmy Award in 2000 as a producer and director for the Disney Channel original movie The Color of Friendship.
Recent Years
Hooks recently directed episodes of The Good Lord Bird (2020) and Elsbeth. Currently living in Atlanta, he has expanded his creative pursuits into professional photography, launching a new chapter in his artistic career.
He passed down his passion for acting to his sons,
Kevin Hooks, Christopher Hooks and Eric Hooks.
Kevin Hooks is also a film director and cast his father in two of his films: Passenger 57 (1992) and Fled (1996).
Eric Hooks, actor, known for Sounder (1972) and Just an Old Sweet Song (1976).
Christopher Hooks, actor, known for The Cosby Show (1989), Hangin’ with Mr. Cooper (1992–1994) and Sister Sister.
There is no more prestigious honor for an American film than being selected by the National Film Registry (NFR) as a classic film event to be preserved forever in American Film Heritage and Archives. I congratulate all those films with the good fortune of being recently selected by the NFR, including my colleague and NEC inaugural director Michael Schultz, and his amazing classic film “Cooley High” starring Glynn Turman and his deeply talented acting ensemble in the film. But, what takes my personal enthusiasm to a whole ‘nova-leva’ was the long-awaited selection of Lonne Elder III’s breathtakingly superb film classic “Sounder”. So, I acknowledge and congratulate Cicely Tyson, Paul Winfield, Kevin Hooks, Eric Hooks, Yvonne Jarrel, Taj Mahal, Janet Maclaughlan, George Kennedy, Martin Ritt, and Robert Radnitz… for making the NFR ‘cut’!
ERIC HOOKS
American actor best known for his roles in the 1970s, particularly in the critically acclaimed film Sounder (1972), where he played the character Earl.
Notable Career Highlights
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Sounder (1972): Played Earl Morgan in the Oscar-nominated drama about a family of Black sharecroppers during the Great Depression.
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Just an Old Sweet Song (1976): Portrayed the character “Highpockets” in this television movie written by Melvin Van Peebles.
Family of Actors
Eric Hooks comes from a prominent entertainment family:
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Siblings: He has several other siblings, including Cecila Ann Hooks Onibudo, Christopher Carter, Michelle Thomas Hooks, Robert Hooks Jr., and Kiyo Dean Tarpley Hooks.
Following his early roles in Sounder (1972) and Just an Old Sweet Song (1976), Eric Hooks largely stepped away from the spotlight. Unlike his father and brother, he did not pursue a lifelong career in the entertainment industry, and his public credits remain centered on his youth performances.
While his acting career was most active during the 1970s, he remains a recognized member of a family that has significantly impacted Black cinema and theater.
Christopher Carter Hooks
Christopher Hooks
(Christopher Carter Hooks)
former child actor known for his roles in popular 1980s and 1990s television series.
Career Highlights
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Early Work: Started acting at age five and studied at Jane Fonda’s performing arts camp.
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Television Credits:
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The Cosby Show: Guest-starred as Jeremy in 1989.
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Hangin’ with Mr. Cooper: Played the recurring role of Andre (1992–1994).
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Sister, Sister: Appeared as Henry.
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Boy Meets World: Played the character Kenny.
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Good Morning, Miss Bliss: Appeared as Trevor.
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Voice Acting: Served as the lead announcer for the Disney Channel from 1991 to 1994 and voiced characters in animated series like Kid ‘n’ Play and Mighty Max.
Personal Life
Carter left the acting industry in the mid-1990s He later pursued higher education, graduating from UCLA.
“One of the proudest moments of my life and career was this amazing and honored experience I shared with my #1 son (and great creative artist) Kevin Hooks. And we both made ‘Father/Son history at the graduation event at Morehouse College, one of the most important Black Colleges in America!”
