COLLABORATION IS SHAY WAFER'S SUPERPOWER
- Angela Poe Russell
- Sep 17
- 6 min read
by Angela Poe Russell
At the helm of Los Angeles’ WACO Theater, Shay Wafer nurtures partnerships that uplift Black artists of African descent and expand their reach. On September 20, 2025, she brings that spirit to ARTE NOIR's Fade to Black Gala as its special guest, where she will be in conversation with Valerie Curtis-Newton.
A Rare Space
Not every city can claim to have a WACO Theater. WACO, short for Where Art Can Occur, is one of the few spaces in Los Angeles dedicated solely to Black artists of African descent. It’s a vibrant hub for music, dance, theater, film, conversations, and visual art. The artists themselves find mentorship and a sense of community. Whether an artist is emerging or established, WACO provides resources and a space to help bring their visions to life.
From Preschool Teacher to Arts Leader
Shay Wafer, WACO’s Executive Director, brings nearly 50 years of arts leadership to the table, a career she never envisioned. After majoring in early childhood education at Howard University, she taught preschool and kindergarten. Then a call from her college roommate, Angela Gibbs, changed everything.“You have a background in curriculum. Come help me,” Gibbs urged. With support from Angela’s mother, actress Marla Gibbs, they launched the Crossroads Arts Academy in South Central Los Angeles, offering classes in dance, music, and theater. That experience revealed Wafer’s gift: managing the business behind the art.
A personal connection to August Wilson
Wafer’s time at the Yale School of Drama (YSD) coincided with August Wilson’s residency there, as he developed his American Century Cycle, a ten-part series of plays showcasing the African-American experience spanning each decade of the 20th century. “I had the privilege of working with August and forming a friendship with him. Experiencing Fences on Broadway was life-affirming: for the first time, I saw my father and the men in my family reflected in a character on stage,” shared Wafer.
Twenty years later, shortly after August’s passing, Wafer was offered the position of Vice President of Programs at an African American cultural center in Pittsburgh. Not long after, the center was renamed the August Wilson Center for African American Culture. “It felt like a kiss from the universe,” said Wafer. “A divine affirmation that this was exactly where I was meant to be.”
August’s work had a profound impact on Wafer, and so she was honored to contribute to a new institution that celebrated one of its legendary artists.
The play that launched the hit NBC TV Series 227
Most people are unaware that the hit TV show 227 was first a play that Wafer and her team produced. The show became a surprise hit, featuring a 12-year-old Regina King and Marla Gibbs herself. “The Jeffersons had ended, and she was looking for a new vehicle. So she was like ‘I’ll be in the play,’” said Wafer. Networks noticed, and soon the play was adapted into the iconic TV series. The play earned them a prestigious NAACP Image Award. “I recognized that I added value by providing the management and the support that the art needed to thrive,” shared Wafer.
But the 227 experience also taught a hard lesson: without knowledge of subsidiary rights, the producers missed out financially. Determined to learn, she applied to graduate programs in theater management. A chance encounter with an ad for Yale’s School of Drama in Black Enterprise magazine felt like fate. She applied, was accepted, and launched what would be a phenomenal next chapter.
HOLDING HISTORY, SHARING WISDOM
A Modern-Day Griot
Wafer has since worked in arts spaces across the country, from St. Louis and Pittsburgh to New York, D.C., and Los Angeles. She calls herself a griot, a keeper of history and stories. “Mentoring has been very important to me,” she says. “I always say I wish I had had me in my life.” Over time, she has mentored so many young administrators that they proudly call themselves “Shay Babies,” many of whom now lead arts organizations across the nation.
Of her time spent at the helm of Brooklyn's 651 Arts, Wafer recalls, "651 has always valued providing resources for emerging artists, offering research and development support that nurtured their growth. One of the most meaningful experiences for me was presenting contemporary Black artists from across the African diaspora. 651 played a vital role in introducing many of these artists to U.S. audiences, while also creating opportunities for U.S. artists to connect with and share their work alongside their African contemporaries."
At WACO, that commitment to mentorship extends to youth. Their signature programs focus on middle schoolers, an often-overlooked age group, and continue through high school graduation and beyond. Students receive tutoring, college prep, and life-changing experiences, from trips to Ghana to seeing Bruno Mars in Las Vegas. Realizing some had never flown or owned a suitcase, WACO now gifts each graduate luggage, symbolic of the journeys ahead. Through it all, art remains the tool for connection, growth, and possibility.
Defining True Collaboration
Asked about collaboration, Wafer lights up. “The magic happens in collaboration. Theater, by design, is collaboration: artists, designers, community voices all coming together to create something beautiful.”
But she sees untapped potential: Black presenting organizations like the Apollo, the August Wilson Center, and WACO could create a black presenting co-hort, where they all invest in one project and tour it to their theaters. “It would be like creating our own modern Chitlin’ Circuit,” she suggests. She pointed out that sometimes theaters are all doing the same play, but with different actors and directors, but she believes there is more opportunity if they work together.
Advice for True Partnership
Her philosophy is clear: “You can’t come in as a colonizer. Collaboration requires respect, patience, flexibility, and openness.” She warns against the dynamic where large organizations overpower smaller partners. “Small organizations need to understand their value and fight for equity in the partnership. When collaborating, you can’t come in as a colonizer—you have to be open, patient, and flexible."
A Bigger Stage Ahead
What the Apollo is to Harlem. The Vision Theater is going to be in L.A.
Wafer is experiencing a true full-circle moment. Back in 1990, actress Marla Gibbs purchased a theater in Leimert Park, Los Angeles’ Black cultural district—renaming it the Vision Theatre with hopes of fueling community and economic growth. After years of sitting dormant, the city poured millions into its renovation and began searching for an organization to operate it. The choice? Wafer and WACO Theater. “At WACO, we only had 99 seats. This theater has 750. What the Apollo is to Harlem, the Vision will be to L.A. You couldn’t have told me this would be part of my story, that I’d be back at the Vision. Spirit, faith, the universe…something bigger has been guiding my steps,” Wafer reflects.
Challenges in the Arts Today
The biggest struggle, she says, isn’t new: Black arts organizations remain underfunded and undervalued. After the surge of support following George Floyd’s murder, many of those resources have since been withdrawn. “We have to become self-reliant again,” she explains. “We knew how to do this in the ’50s and ’60s. We can do it again.”
Yet she remains hopeful: today’s younger generation is more aware, more committed, and more entrepreneurial. “There’s more opportunity than ever, but we have to tell our stories louder and better.”
Sage Advice
Her advice to young people? Keep moving. “Motion may not be linear,” she says. “I had detours. I worked as a secretary, I waited tables. But you can’t stop. If you stay in motion, you’ll be surprised where the path takes you. You can’t wait for the perfect opportunity. You just have to stay in motion.”
The Power of ARTE NOIR
There are only a few organizations in the country dedicated to Black art and artists, with the space and vision to truly fulfill this commitment. Wafer points to the hybrid nature of ARTE NOIR and its dedication to providing artists with opportunities to earn income from their work.
“I love Vivian and hold the highest regard for her leadership as an arts advocate. I know firsthand the sacrifices and commitment it takes to sustain a Black arts space. You must be a warrior woman. I also admire her for creating space for her daughter, Jazmyn, to take on leadership at ARTE NOIR, demonstrating the power and importance of succession planning.”
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