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Alric Davis

Alric Davis

Alric Davis is driven by the age-old tradition of preserving history through storytelling. Since 2013, he has served as the Founding Artistic Director of The Sankofa Collective. He holds a B.F.A. from Howard University with a concentration in Musical Theatre and Playwriting. He is also a freelance performer, director, theatre critic, acting coach and adjunct instructor. Some of his favorite acting credits are A Midsummer Night's DreamThe Color PurpleAnything GoesPhotograph 51Phenomenal Woman: Maya AngelouTrouble in MindThe Last Days of Judas Iscariot and Not About Nightingales. Directing credits include Next to NormalMiss Evers Boys, Burden of Proof and The Wiz (2019 –  Best Direction of a Musical winner). His original play Different, Damaged, Damned won the  Alley Theatre’s Houston Young Playwrights Exchange scholarship in 2013. The work also received Best of Fest at the 2016 D.C. Capitol Fringe Festival and his play about the Black Panther Party, Queen Peaches, won the Inagural Black Box Theatre Festival at The Tank in New York. His original work Reap The Reparations was a commissioned work in 2020 for Theatre Alliance in D.C.His original play Bashful and the Noize won the 2021 Page to Stage Festival for the Kennedy Center in D.C. 

 

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First Show

Wicked

Favorite Show

The First production I ever saw onstage was The Lion King the musical! The soaring performances from strong, lithe and spellbinding Black performers, the amazing puppetry, costumes, lighting and thrilling design elements made this an unforgettable experience!



Most Popular Articles

Review: RUNAWAYS at On The Verge Theatre

Review: RUNAWAYS at On The Verge Theatre

August 8, 2022

Housing instability can have devastating effects on the lives of the youth affected and severely compromises their ability to evolve naturally into adulthood.

BWW Review: FOR COLORED BOYZ in Houston

BWW Review: FOR COLORED BOYZ in Houston

May 22, 2019

By drawing a comparison of the sacrifice of fame within Black experience to the pondering of death within the most famous speech in literary history, Wilson's work boldly carves its own space within the theatrical canon just as its female-focused predecessor.




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