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Avery Brooks

actor

Personal Information

Born in 1949, in Evansville, IN; son of Samuel Leon (a tool and die maker and singer) and Eva Lydia Crawford (a pianist, organist, and choir director) Brooks; married Vicki Lenora (an assistant dean); children: Ayana, Cabral, Asante.
Education: Attended Indiana University and Oberlin College; Rutgers University, B.A. and M.F.A.

Career

Educator, actor, singer, and director. Associate professor of theater, Rutgers University; sang with several jazz musicians including Jon Hendricks, Butch Morris, and Lester Brown. Television series include Spenser for Hire, 1985-89; A Man Called Hawk, 1989; and Star Trek: Deep Space Nine, 1993--; television movies include Uncle Tom's Cabin, 1987; Roots: The Gift, 1988; and Spencer: Ceremony, 1993. Other television appearances include American Playhouse: Half Slave, Half Free: Solomon Northrup's Odyssey, 1984; A Passion for Faith, 1987; The Musical Legacy of Roland Hayes, 1990; and Eyes on the Prize: Marian Anderson, 1991. Also appeared in theatrical productions The Offering, A PHOTOGRAPH: A Study of Cruelty, 1977; Are You Now or Have You Ever Been, 1978; Spell #7, 1979; Othello at the Folger Shakespeare Festival, 1985; Fences, at the Repertory Theater of St. Louis, MO, 1990; and Paul Robeson at the John Golden Theater, New York, NY, 1988 and on tour. Also performed in the title role of the opera X: The Life and Times of Malcolm X, 1985, and in a staged reading of Lord Byron's Manfred at New England Conservatory's Music With Words festival, 1986. Artistic director for the National Black Arts Festival, Atlanta, GA, 1992--.

Life's Work

When Avery Brooks took the role of Commander Benjamin Sisko on the television series Star Trek: Deep Space Nine, he reluctantly stepped into a position that he has tried to avoid throughout his acting career. Knowing that the two shows that preceded his, the original Star Trek and Star Trek: The Next Generation, thrust their stars into the glare of the international spotlight, Brooks vowed to continue keeping a low profile. "I've not lived long enough yet to have anything profound to say," he reasoned to TV Guide' s Michael Logan on his reluctance to give interviews. "Perhaps I will if I live to be a septuagenarian. But for now, I'm still accumulating."

For more than two decades, Brooks has been accumulating a diverse list of accomplishments. He is a tenured professor of theater at Rutgers University, an accomplished stage and screen actor, as well as a jazz and opera singer. He has also found time to serve as artistic director for the National Black Arts Festival. Yet it is his devotion to family and the values of his heritage that give him the most pride.

It is not necessarily a history of black and white that Brooks is interested in, however, but that of brown instead. In one of his rare interviews, he explained to Logan that he likes to refer to himself as brown "because I am brown in the color spectrum. I have studied the history and the journey of my people and the various labels that we have had to distinguish us from other peoples. I particularly like 'brown' because it is so very rich." Brooks is quick to point out that he does not correct people who refer to him as being black.

Brooks's unconventional view can be traced back to his childhood. He grew up in Gary, Indiana, in a household filled with music. His father sang in the Wings Over Jordan Choir on CBS radio, and his mother, one of the first women of color to graduate from Northwestern University with a master's degree in music, taught music and directed church choirs. Brooks's uncle was also musically inclined; he was one of the original members of the Delta Rhythm Boys singing group. It was a surprise to no one when Brooks set off for college to pursue a career in the performing arts.

After stints at Indiana University and Oberlin College, Brooks settled in at Rutgers University. He earned a bachelor of arts degree and then continued on at Rutgers to become the first black person to receive a master of fine arts in acting and directing at the school. It wasn't long before he was using his credentials to teach theater at his alma mater, a profession that he loves. "It feeds me," he confessed to Martha Southgate of Essence. "I'm stimulated by being in the presence of children, because therein lies the fire. I would loathe to lose that relationship."

While teaching at Rutgers, Brooks stepped into the spotlight to explore his musical roots. His deep baritone voice enhanced the rhythms of jazz artists like Butch Morris and Lester Bowie when he joined them on stage. He sought out opportunities to pay tribute to the people that brought him pleasure through their music. He performed at the Montreal International Jazz Festival with Jon Hendricks and recorded an album with saxophone player James Spaulding as a tribute to Duke Ellington.

Brooks spent many years pursuing his two passions, music and academia. For him, music--especially jazz--is a spiritual gift from God. "Everybody is playing or listening to this black classical music," he told Ebony' s Frank White III, "this music that [late jazz drummer] Art Blakey [said], and I agree, is the highest form of performance on the earth--from God, to you, through you, to your ear." Nevertheless, Brooks would never limit himself to one aspect of performing.

During the late 1970s, Brooks appeared in numerous theatrical productions on the East Coast. He first appeared in shows such as The Offering, A PHOTOGRAPH: A Study of Cruelty, and Are You Now or Have You Ever Been. It was not until 1979, when he appeared in Spell #7 at the Public/Anspache Theater in New York City, that he started to gain recognition. His abilities also landed him roles at the Arena Stage in Washington, DC.

It wasn't long before Brooks started branching into other arenas. In 1984 he took a role in the Public Broadcasting System (PBS)'s American Playhouse production of Half Slave, Half Free: Solomon Northrup's Odyssey. The story chronicled the life of a free man, played by Brooks, kidnaped into slavery during the 1840s. The critics raved over the production and called Brooks's performance "excellent." The Library Journal highly recommended it to their readers. "A film of subtlety and nuance ... [it] tells a compelling tale that is heartbreaking, uplifting, and always thought provoking."

For Brooks, Half Slave, Half Free was another expression of his heritage. "I'm a fan of African American culture," he told Southgate, "and I believe that part of the obligation of being an artist is to tell the story as it was." This dedication to portraying the history and culture of blacks led him to take the lead role in the opera X: The Life and Times of Malcolm X in 1985. Though the opera was criticized by some for its poor musical and dramatic content, Andrew Porter of the New Yorker praised Brooks as "powerful in the title role. He sings the lines without sacrificing a sense of their meaning."

The role of Uncle Tom in the 1986 Showtime production of Uncle Tom's Cabin was another project that allowed Brooks to highlight the history of his people, as did his appearance in the 1988 television movie Roots: The Gift. Neither film generated much interest from reviewers, though Brooks was credited with giving "fine performances." Brooks, however, didn't limit himself to portraying men of color whose struggles brought about change. He also lent his voice to the words of Shakespeare, appearing in Othello at the Folger Shakespeare Festival and as Lord Byron when he appeared in a staged reading of Manfred at the 1986 New England Conservatory's Music With Words Festival.

In 1988 Brooks brought all of his talents to New York City to star in an Off-Broadway production of Paul Robeson. Once again, Brooks was able to pay tribute to his culture by portraying the life of the famous singer, actor, and civil rights activist in this one-man biographical drama. Through song and soliloquy, Brooks seemed to capture the heart of the audience and the critics. "Mr. Brooks's performance goes beyond limitation--he seems possessed by Robeson, but always in control," Edith Oliver penned in the New Yorker. "When he sings, which he does well, he captures Robeson's tone, but never interfering with it or blurring it. In the few snatches of 'Othello' scattered here and there, Mr. Brooks is better than Mr. Robeson was." The production was so successful that it played in several cities over the next few years.

By the time the play opened, however, Brooks had already ventured into the realm of series television. It was 1985 when Brooks landed a role on a new American Broadcasting Company (ABC) detective series, Spenser for Hire. Though no one suspected it when the show premiered, his character, Hawk--described as everything from a "mercenary" to a "brooding gunman"--would go on to become a hero to millions of viewers.

The hour-long drama, based on a series of mystery novels written by Robert Parker, primarily centered on the adventures of private detective Spenser, played by Robert Urich. However, it was Hawk who provided the dramatic action to the show when he would arrive at the last minute to save the day--usually without breaking into a sweat and only speaking a sentence or two. At 6 feet 2 inches and 190 pounds, Hawk was a menacing character indeed. His trademark--a cleanly shaven head, dark sunglasses, and a big gun--only enhanced his threatening presence. Yet it was Brooks's talents as an actor that enabled him to incorporate Hawk's honesty and integrity and mold him into a believable and likable character.

The show became highly popular and catapulted Brooks into the limelight. Though many critics praised Spenser for Hire, just as many detractors existed who felt the show was too violent. Brooks honestly admitted that the show was graphic, especially for children--including his own--but he insisted that the show was not simply about man's propensity toward savagery. "When you look at the dynamics between men, especially where life and death are issues," he told White, "then things like who's going to be there are critical. That's what it's all about."

After nearly four seasons, Brooks's character became so popular that the network decided to give him his own series. So, in the spring of 1989 A Man Called Hawk began airing on Saturdays at 9 p.m. on ABC. Almost immediately, questions about Brooks's ability to leap from being a "sidekick" to having his own show began to arise, but he remained undaunted. "I never thought of myself as the sidekick," he told Southgate. "I've never been the side of anything. I just assumed that I was equal." In fact, the power that was now being bestowed upon him was allowing him to insist that the show's creative and development staff have a strong African American influence.

The premise of the show, compared to that of its predecessor, seemed plausible to critics--Hawk moves back to his hometown of Washington, DC, to practice his brand of justice. Unfortunately, the flashy clothes, BMW, and .357 Magnum that once added spice to his character now seemed to be part of an unbelievable world. While Jeff Jarvis of People called the show an "exercise in racial insult and stereotypes" and voted it "a leading candidate for worst show of 1989," Merrill Panitt of TV Guide was more disappointed with the plots. "While we may enjoy the way Brooks portrays Hawk, and watching the character swagger, search, and shoot" he wrote, "if you've seen one episode, you've seem 'em all." The show ended after one season.

During the next few years, Brooks worked on a variety of television and video projects. In 1990 he served as narrator for a documentary on the history of black Catholics in America called A Passion for Faith. His voice was also used to narrate other documentaries including PBS's Eyes on the Prize episode dedicated to legendary singer Marian Anderson and a set of three videos entitled Ebony/Jet Guide to Black Excellence that highlights the careers of famous African American leaders, entertainers, and entrepreneurs. And in 1993, Brooks reprised the role of Hawk for four made-for-cable movies based on the Spenser for Hire series.

By the time the movies aired on the Lifetime cable channel, however, Brooks had already established himself on the new series Star Trek: Deep Space Nine. He won the right to play Commander Benjamin Sisko by beating 100 other actors from all racial backgrounds. The fact that the role made him one of the few male actors of color to star in a dramatic series at the time impressed many people. Harry F. Waters of Newsweek was one of those who was enthusiastic about the casting. "In television, where no viewers must be alienated, handing over such a venerable franchise's leading role to a black actor seems revolutionary," Waters wrote.

Unlike the previous Star Trek programs, where the characters go in search of adventure, this series follows the lives of characters living on a space station. Brooks's Benjamin Sisko, a widower with a young son, is commander of the rundown outpost and almost always in the middle of the action. It is not the action or adventure that appeal to Brooks, however. "Today, many of our children, especially males, do not project that they will live past the age of 19 or 20," he told Logan. " Star Trek allows our children the chance to see something they might never otherwise imagine. My life's work has always been about making a way for succeeding generations."

From the beginning, Star Trek: Deep Space Nine was a hit with both critics and viewers, not only because of the path laid forth by the previous Star Trek vehicles, but because it moved forward to create its own brand of entertainment. Janice C. Simpson of Time wrote that "the real stars of the new series are the sets and special effects." But many, like Jeff Jarvis and Scott Williams of Associated Press (AP) believed that the interesting characters and plot lines that explore the philosophical questions and social problems will make it "the best Star Trek yet."

As Brooks's character tries to solve the social and political problems of the 24th century, Avery Brooks will try to educate the people in the 20th century about his heritage. "I grew up in the context of a black community where ideas such as dignity and integrity and proper behavior still existed," he told Southgate. "I thought that was the way the whole world was, and I will insist that, ultimately, that's the way it still is."

Awards

Cable ACE Award for portrayal of Uncle Tom in Uncle Tom's Cabin, 1987.

Avery Brooks

Birth name	Avery Franklin Brooks
Born	October 2 1948 (1948--) (age 59) Evansville, Indiana, United States
Spouse(s)	Vicki Bowen (1976-present)

Early life

Brooks was born in Evansville, Indiana to Samuel Leon (a tool and die maker and singer) and Eva Lydia Crawford (a pianist, organist, and choir director). At age eight, his family later moved to Gary, Indiana when Samuel Brooks was laid off from International Harvester. Of Gary, Brooks has said "I was born in Evansville ... but it was Gary, Indiana, that made me" (Gary Civic Celebration; Nov. 2006).

The Brooks household was filled with music. His mother, who was among the first African-American women to earn a master's degree in music at Northwestern University, taught music wherever the family lived.^[1] His father was in the choir Wings Over Jordan on CBS radio from 1937 to 1947 and his maternal uncle Samuel Travis Crawford, was a member of the Delta Rhythm Boys. "Music is all around me and in me, as I am in it", Brooks has said.^[2]

Brooks attended Indiana University and Oberlin College and later received a B.A. and M.F.A. from Rutgers University in 1976, becoming the first African-American to receive an MFA in acting and directing from Rutgers.^[3]

Non-television career

Teaching and cultural work

Brooks has been a tenured professor of theatre at the Mason Gross School of the Arts of Rutgers University for more than three decades. He has also taught at Oberlin College and Case Western Reserve University.

From 1993 to 1996, Brooks was Artistic Director for the National Black Arts Festival in association with Rutgers University. Held biannually since 1988 in Atlanta, Georgia, the internationally renowned festival celebrates African-American culture and people of African descent. He was also inducted into the Rutgers University Hall of Distinguished Alumni in 1993. In addition, Brooks has done extensive work with the Smithsonian Institute's Program in Black American Culture.

Music

A deep baritone singer, Brooks has performed on stage with Butch Morris, Lester Bowie, and Jon Hendricks. He also recorded an album with saxophone player James Spaulding as a tribute to Duke Ellington. Brooks had the lead role in the 1985 Anthony Davis opera X: The Life and Times of Malcolm X. More recently, he performed at the Paris Banlieues Bleues Festival in 2005.

Theater

Brooks received critical acclaim in Phillip Hayes Dean's play Paul Robeson. Brooks paid tribute to his culture by portraying the life of the famous singer, actor, and civil rights activist in a one-man, critically-acclaimed biographical drama. He has performed the role since 1982 at the Westwood Playhouse in Los Angeles, and also at the Kennedy Center in Washington, D.C. and the Longacre Theater on Broadway. He also portrayed Robeson in "Are You Now Or Have You Ever Been?," both on and off-Broadway.

Brooks' early theater credits include The Offering, A PHOTOGRAPH: A Study of Cruelty, and Are You Now or Have You Ever Been in the 1970s. He first started to gain recognition after his appearance in Spell #7 at the Public/Anspache Theater in New York City in 1979. He subsequently starred in Othello at the Folger Shakespeare Festival (1985) and Fences at the Repertory Theater of St. Louis, Missouri (1990). He reprized the role of Othello at the Washington Shakespeare Theater in 1990-1991, where he set the town on its ear by appearing fully nude for the first scene. It was not done for a man to be nude on stage even though he never once stood up.

More recently, Brooks appeared in the title role of The Oedipus Plays, a production that traveled to the 2003 Athens Festival in Greece. He also appeared in the title role of King Lear at Yale's Repertory Theatre. In 2005, Brooks again starred as Othello, this time at the Shakespeare Theatre Company in a production directed by the renowned Michael Kahn. Brooks was one of 15 Shakespeare Theatre Company company actors in Washington to be honored with the William Shakespeare Award for Classical Theatre in 2007.^[4] He returned to the Shakespeare Theatre Company in Fall 2007 to play the title role in Christopher Marlowe's Tamburlaine.

Television career

Spenser For Hire: Hawk

In 1985, Brooks landed the role of Hawk on the ABC television detective series Spenser: For Hire. Hawk became a popular character and, after four seasons, Brooks in 1989 received his own, short-lived spinoff series, A Man Called Hawk .

Brooks said of his role as Hawk: "I never thought of myself as the sidekick... I've never been the side of anything. I just assumed that I was equal".[1]

Brooks returned to play Hawk in four Spenser television movies: Spenser: Ceremony, Spenser: Pale Kings and Princes, Spenser: The Judas Goat and Spenser: A Savage Place.

Star Trek: Benjamin Sisko

Brooks is best known in popular culture for his role as Captain Benjamin Sisko on the science fiction television series Star Trek: Deep Space Nine, which ran for seven seasons from 1993 to 1999.

Brooks won the right to play Commander Benjamin Sisko by beating 100 other actors from all racial backgrounds to become the first African-American captain to lead a Star Trek series. What appealed to Brooks about the role was the opportunity to give hope to young people. "Today, many of our children, especially males, do not project that they will live past the age of 19 or 20," he told Michael Logan of TV Guide. "Star Trek allows our children the chance to see something they might never otherwise imagine.

He directed nine episodes of the series, including "Far Beyond the Stars", an episode focusing on racial injustice that is held by many fans to be one of Star Trek's best episodes.

Series producer Ronald D. Moore said of Brooks: "Avery, like his character (Sisko), is a very complex man. He is not a demanding or ego-driven actor, rather he is a thoughtful and intelligent man who sometimes has insights into the character that no one else has thought about. He has also been unfailingly polite and a classy guy in all my dealings with him."[2]

Other roles

Brooks was able to use his work as an actor to highlight and honor his African-American heritage. In 1984, he received critical praise for his role in PBS's American Playhouse production of Half Slave, Half Free: Solomon Northrup's Odyssey. The story chronicled the life of a free man, played by Brooks, kidnaped into slavery during the 1840s.

He has also appeared in the 1985 television movie adaptation of Finnegan Begin Again and the 1998 motion picture American History X.

In 2001, he was the voice-over spokesman for a series of IBM commercials comparing the depicted and/or predicted technology of 2001 with actual current technology.

Documentary work

Brooks has also hosted several documentaries and served as narrator in such features as the IMAX film Africa's Elephant Kingdom. His other documentary credits include narrating A Passion for Faith (the history of black Catholics in America), Eyes on the Prize (dedicated to legendary singer Marian Anderson), Walking with Dinosaurs, Jesus: The Complete Story, Land of the Mammoth and Ancient Evidence, The Ballad of Big Al, The Science of Big Al, Engineering the Impossible (The Colosseum), Greatest Places and Echoes from the White House.

In May 2007, Brooks recorded the narration for the documentary The Better Hour, which is about the life of William Wilberforce, the man who led the campaign for the end of slavery in the United Kingdom in the late 18th century and early 19th centuries.[3]

Latest projects

Brooks was part of a directors panel at a festival celebrating the work of Ntozake Shange at the New Federal Theatre on February 11 2007. Brooks has directed Shange's Boogie Woogie Landscapes at the John F. Kennedy Center for the Performing Arts and in London's West End.[4]

In 2006, Trekweb and TrekToday announced that Avery Brooks would take a role in the upcoming film John Rambo. Brooks himself later said this was not the case. He said "I've met Mr. Stallone, many years ago — I have great respect for Mr. Stallone, always did. However, Rambo is not in my future". [5]

In March 2007, it was confirmed that Brooks would appear in a new production of Christopher Marlowe's play Tamburlaine. [6]

As part of BBC Audiobooks America's entry into the US market, Brooks narrated an audiobook of Alex Haley's novel Roots: The Saga of an American Family. It is the first time the novel has received an audio adaptation. Brooks himself had starred in the 1988 television film based on the book, .[7]

Brooks has also completed work on his long-awaited CD. It contains "a selection of ballads and love songs... I speak of my respect for my father, and for artists that I have listened to all my life."[8]

Brooks also periodically attends Star Trek conventions around the world.

Personal life

Since 1976 Brooks has been married to Vicki Lenora, an assistant dean at Rutgers University where she has worked for more than 30 years. The couple have three children: Ayana, Cabral, and Asante.

Trivia

Trivia sections are discouraged under Wikipedia guidelines.
The article could be improved by integrating relevant items and removing inappropriate ones.

Taught courses for Rutgers University while working on Star Trek: Deep Space Nine (1993). He videotaped his lessons for his students at the studio, occasionally while still in his character's uniform.^{[citation needed]}

Brooks and his eldest son maintain a very close relationship with Brooks' Deep Space Nine co-star Cirroc Lofton. On the series, Lofton played the son of Brooks' character.^{[citation needed]}

Throughout his career, he has shunned publicity and given few interviews, preferring to avoid celebrity status and considering himself an artist rather than an actor or celebrity.^{[citation needed]}

He was the only actor to appear in every episode of Star Trek: Deep Space Nine (1993).

Brooks shaved his head and grew a goatee for the fourth season of DS9 but avoided doing so earlier so as to have a different look from his Hawk character from Spenser.^{[citation needed]}

References

External links

Avery Brooks at the Internet Movie Database

Avery Brooks article at Memory Alpha, a Star Trek wiki

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