Wanda Simmons, my sister, had also recently suffered a set-back She'd been laid-off from her state government job. I'd then propose that she move in so we could pool our family resources, and help build this vision. It was the perfect storm. 

Wanda had experience as a festival organizer during the 1990s with the National Council of Negro Women's Black Family Reunions under the director of the legendary Dr. Dorothy Height. I was a serial entrepreneur with years of marketing and business expertise.

We both pooled our talents and skills. In October 2012, the inaugural Atlanta Black Theatre Festival (ABTF) was launched. This inaugural year set the bar high with attendance. Over 2,500 theatre lovers from all over the country descended on Atlanta. Over 300 artists presented 40 plays in four days and took over all three stages at the 14th Street Playhouse. Additionally, 240 rooms were booked at the nearby Loews Hotel in midtown Atlanta. 

But unfortunately, all was not a success. When the ticket proceeds were tallied, expenses exceeded revenues by thousands of dollars. We were then faced with a dilemma. We didn't have enough to pay the performers. This was not a part of the vision, but we were determined to do anything to make things right. After witnessing how hard we worked, our Mother Marian Simmons, with faith in our vision, stepped up to the plate to loan us the money to cover the outstanding balances. I then resorted to driving Uber early mornings to repay the debt to my mother and help with family expenses.

Although times were tough, we couldn't let this vision dissipate. Wanda and I hit reset, took a deep dive analysis, and geared up for year two. We worked for 12-14 hours a day planning the next festival. In the meantime, Anja Williams, a marketing administrator at the Porter Sanford III Performing Arts Center (PSPAC) encouraged us to bring the festival to historic Decatur. Again, the timing was perfectly divine. The 14th Street Playhouse would soon thereafter be purchased by a private college a few months later. 

The PSPAC turned out to be a true GOD send with 42,000 square feet of state-of-art performance space, free parking, free of midtown traffic, classrooms, a gallery, and a catering kitchen. The venue made way for expanding the festival programming to include hosting international and local vendors, an art exhibit, classes, a cafe-restaurant, and a bar. This created the opportunity for additional streams of revenue separate from the ticket fees paid directly to the artists. In addition to a steady stream of donations from art enthusiasts, this business model has sustained the festival to this day.

UPDATE:
In eight short years, the Atlanta Black Theatre Festival has provided a platform for over 150 playwrights to self-produce their original works in Atlanta. Some playwrights are local and many playwrights have traveled from afar representing 25 states and five countries. The ABTF has also provided performance opportunities for over 3,000 artists entertaining thousands of theatre enthusiasts. 

Wanda decided to go back to school and earn her Bachelor's degree. She currently works with children in the human services industry and lives in south Atlanta. She still serves as Chief Adjudicator for the Atlanta Black Theatre Festival. 

Our two oldest children graduated with full-scholarships from the US Naval Academy and Spelman College and one is currently a senior at Hampton University on a partial scholarship. My husband and I just celebrated 30 years of marriage. Antonio currently serves on the Advisory Board.
To date, the festival operates 100% debt-free. More importantly, we're telling our stories. 

TO GOD WE GIVE THE GLORY!