When Ron Himes walked into the 53rd annual AUDELCO Awards—the nation’s premiere celebration of Black theater—he felt something he didn’t expect. A jolt hit him when his name was called as a Lifetime Achievement Award recipient. The founder and producing director of The St. Louis Black Repertory Company says the moment was “humbling, exhilarating, and monumental”—not just for him, but for the St. Louis institution he has spent nearly five decades building.
“The room was electric,” Himes recalled. “To be recognized in that space, with people who have shaped Black theater for generations—and to be in the presence of Woody King Jr. again—was overwhelming. It was an honor to join that choir.”
That “choir,” as Himes describes it, is the collective of Black theatermakers who created AUDELCO more than 50 years ago to honor Black artistry at a time when mainstream institutions refused to do so. To now stand among that lineage on the eve of The Black Rep’s 50th anniversary made the recognition even more meaningful.
Elizabeth Van Dyke, producing artistic director of the New Federal Theatre, introduced Himes at the ceremony.
“A director, leader, organizer, visionary, producer, builder, administrator, impresario,” Van Dyke said. “An actor, performer, thespian, accomplished master. An esteemed artistic comrade to many across the United States and around the world. Ron Himes possesses a knowledge and love of Black history, Black people, our ancestors, our contributions, our legacy, and for those who paved the way.”
For Himes, the award validates the work of a company founded not in New York or D.C., but in St. Louis—with a mission rooted in local talent and audiences.
“We are a company based in St. Louis, founded in St. Louis, producing work for St. Louis,” Himes said. “We’re committed to using and developing local artists. To have that mission recognized on a national stage—it’s a wonderful affirmation of what we’ve built.”
Since its founding in 1976, The Black Rep has grown into one of the country’s premier Black theater companies. Its alumni stretch across film, television, regional theaters, Broadway, and arts institutions nationwide. And its fingerprint is everywhere in the St. Louis arts ecosystem.
“You can’t go into almost any theater in St. Louis and not see someone who came through The Black Rep,” Himes said. “We cultivated the talent that fills stages across this city. For so many, our stage was their launching pad.”
The Black Rep wasn’t founded to be groundbreaking—it became that because the void it filled was deep and unaddressed.
“When we started 49 years ago, it often felt like I was in a wilderness by myself crying out,” Himes said during his acceptance speech. “But over time, going to New York, connecting with other Black artists, working with Woody King—I realized I wasn’t in the wilderness alone. I was just part of a choir I hadn’t met yet.”
The Black Rep’s reach extends far beyond St. Louis. Himes delights in seeing alumni thriving—from actors taking roles in major regional productions, to former students directing nationally, to talent returning home to give back.
“That’s legacy,” he said. “People are excited to be part of what The Black Rep represents—some because it shaped their artistic lives, others because they understand its history and want to contribute to it.”
He shared examples with the warmth of someone talking about family: alumni directing acclaimed productions such as “Covenant” at Atlanta’s Alliance Theatre—and St. Louis talent making waves in major musicals like Robert Crenshaw in the Broadway national tour of “The Wiz” (which will be at The Fabulous Fox through December 7) and Rheaume Crenshaw (no relation to Robert) in Lincoln Center’s production of Ragtime.
“These artists go out into the world and make their mark,” he said, “but you can still see The Black Rep in their work.”
After 49 years, the mission hasn’t changed: tell Black stories, build Black talent, and serve Black audiences—with excellence. And now, thanks to the AUDELCO Awards, the nation is applauding the work St. Louis has celebrated for nearly half a century.
Awards aren’t the goal for Himes—but he admits they matter, especially when the work gets tough.
“There are peaks and valleys in this work,” he said. “Sometimes it feels like more valleys than peaks. When you’re in one of those valleys, you ask yourself, ‘Why do I keep doing this?’”
Then a recognition like this comes—national, historic, rooted in Black artistic lineage.
“And suddenly you get the fuel you need to keep going,” Himes said. “This honor will absolutely be a catalyst as we move into our 50th anniversary. It’s a badge of honor we’ll carry into the next chapter. We always want people to come out, support, and be part of what we’re building.”
The Black Rep’s 49th season continues with The Dance on Widow’s Row, which runs January 7-25 at Washington University’s Edison Theatre, 6465 Forsyth Blvd. For tickets and additional information, visit www.theblackrep.org.
Living It content is produced with funding by the ARPA for the Arts grants program in partnership with the Regional Arts Commission of St. Louis and the Community Development Administration.
