The Freshman English Composition (FEC) Program is guided by a commitment to assisting learners of all levels and backgrounds advance their core competencies in three primary areas: Composition and Organizational Skills, Rhetorical Modes of Discourse, and foundations of Standard English Grammar.

Our program is dedicated to helping students understand writing as a process and focuses on the continual revision of written work. Students produce multiple drafts for each project and develop the ability to critique their own writing as they learn to critique the work of others.

We encourage students to explore various topics and perspectives to develop their writing skills and to communicate effectively in a wide variety of modes and environments. Students read and evaluate texts that are culturally diverse and relevant to contemporary problems facing urban and global populations in order to gain insights into the complex nature of ideas and issues. Our students learn to evaluate arguments and narratives, analyze claims and methods, scrutinize reasoning, and draw their own well-informed conclusions.

The Freshman English Composition Program requires a two-semester sequence for first-year students. The first semester (ENGL 101: Freshman Composition I) focuses on the principles and practices of effective reading and writing, with individualized attention to the fundamentals of Standard English Grammar, compositional and organizational skills, and the creation of a portfolio illustrating mastery of several rhetorical modes of discourse. The second semester (ENGL 102: Freshman Composition II) continues to build on these skills and emphasizes the use of research for effective arguments.

Coppin State University Writing Center

Welcome to your Coppin State University Writing Center, where you can bring in readings and writing of any kind to collaborate with a tutor and receive guidance and feedback that addresses your questions and helps you learn how to communicate effectively, in the classroom and beyond.

Frequently Asked Questions

What kinds of Writing Center tutoring are available?

We have three tutoring services at the Writing Center:

• In-person tutoring: Our most popular service, students can work one-on-one with a tutor at the Writing Center and receive up to ten (10) pages of free printing.
• Microsoft Teams tutoring: Students can work one-on-one with a tutor online.
• Coppin Correspondence: Students can upload a draft, answer some questions about themselves and their work, and receive a personalized written response from a tutor in 1-2 business days.
• Accountability appointments: Students can schedule an appointment to connect with a tutor of their choice and just work on writing that needs to get done, even if there are no specific feedback questions.

Access Tutoring Services on WCOnline

 Watch this video to learn how to log in to WCOnline for the first time and register.
Watch this video to learn more about how to schedule an appointment, or follow this link to learn how to upload a draft for written feedback with Coppin Correspondence.

How can the Writing Center help me?

From starting a new document to submitting a final draft, the Writing Center offers free services and resources to help Coppin students throughout the writing process. That includes: 

• Prewriting: Understand what a prompt wants you to do, create a plan to write a first draft, brainstorm ideas, and dig into research to start a writing assignment.
• Revision: Review your writing and get feedback with our “lenses”, strategies that answer questions about clarity, organization, expanding on ideas, and more.
• Polishing: Learn to identify inconsistencies in sentence-level grammar, as well as in formatting and citations (MLA, APA, Chicago Manual of Style).
• Platform literacy: Get familiar with Blackboard, generative AI (ChatGPT, Copilot, Gemini), Microsoft/Google applications, Coppin State’s research databases, and other key products for writing.

Just as importantly, we engage with any kind of reading or writing. That means students can bring in texts from any course on campus, whether the work is complete or not, or from outside of the classroom, such as:

• Academic writing: Argument essays, expository essays, literature reviews, research projects, and many other genres
• Business and professional writing: Abstracts, cover letters, resumes, personal statements, etc.
• Creative writing: Narrative essays, short stories, poems, etc.
• Multimodal writing: PowerPoint presentations, prepared speeches, videos, podcasts, and group projects
• Readings: Essays or textbook chapters
• Writing outside of class: Scholarship/employment applications, SAP appeal letters, personal projects, and much more

In other words, our student service isn’t only for English classes!

Does the Writing Center have other resources?

Yes! Every writer needs guidance sometimes, so the Writing Center hosts its resources on Blackboard, and all Coppin State students have access. It includes:

• A link to the WCOnline scheduling system, for creating new appointments or requesting written feedback.
• Over 100 handouts, samples, templates, PowerPoints, infographics, and “how-to” videos on topics related to writing (and counting)
• A Turnitin link for student self-assessment and Writing Center analysis of Similarity Score and AI Detection reports
• A discussion board for quick questions that may not need an appointment
• Reliable outside sources on writing-related topics, verified and utilized by the Writing Center Coordinators

If you are a Coppin State student who cannot access our Blackboard page, “Writing Center Services & Resources”, contact the Writing Center during our regular hours to be added. 

We also host workshops throughout each semester in partnership with others on campus. If you’re a member of the Coppin State community and would like to suggest or schedule a future workshop, please contact us.

Do I need an appointment to get help from the Writing Center?

The short answer? It depends. For in-person tutoring, students can walk in whenever we’re open and see if someone is available right away, but the only way to guarantee time with a Writing Center tutor is to make an appointment on WCOnline. They are 60 minutes long and available at every half-hour interval, beginning at 8:30 AM and continuing until 4:00 PM.

There are a couple of advantages to scheduling an appointment:

• Students can make a tutoring appointment up to 30 days in advance.
• Students can make as many tutoring appointments as needed. 

In other words, the Writing Center can help create a schedule to get writing done from start to finish. We can accommodate other requests, too, like scheduling for more than 60 minutes or setting up a small writing group for a shared assignment.

Coppin Correspondence can be used as often as needed for asynchronous written feedback, but students must upload drafts one at a time on WCOnline. Microsoft Teams tutoring is currently available by appointment only.

Have other questions about our tutoring services? Please contact us to discuss your needs.

What should I bring to a Writing Center tutoring session? What can I expect from it?

Fanny Jackson Coppin understood the influence that words and writing have on our lives, so one of our overall goals is to help students become more confident about writing on the way to success, both in class and outside of it. Another is to help them hone their individual voices and discover new ways to make their own use of our know-how. To do these things, we prioritize a few key ideas:

• We write collaboratively. Whether students use pen and paper, a laptop, or a mobile device, tutors identify opportunities to write together.
• We treat writing like it’s a conversation. Writing has a lot in common with speaking, and every student has a unique voice that deserves space on the page. “Conversation” is our way to slow things down, consider our thoughts, and write things down without worrying too much about what it looks like right away.
• We don’t make judgments. Writing often feels uncomfortable, especially if one believes they are a “bad writer”, but every writer has goals beyond “good” and “bad”. For instance, is a draft persuasive, informative, or comprehensive enough? We start with questions like that instead, and we always take students’ ideas seriously, even if they don’t yet know how to fully express them.

That said, the best way to prepare for Writing Center tutoring is to bring an open mind to the process! We also encourage students to have their documents ready at the beginning of a tutoring session. For example, if you like to work with paper copies, bring one to share with us; if you make an appointment on WCOnline, you can also upload a file there for a tutor to review beforehand. By contrast, if you usually work from a laptop or tablet, prepare your browser with tabs for your digital texts (cloud-based drafts, sources, etc.).

In many cases, our first task is to get familiar with writers and their work, so tutors start by learning about the assignment and skimming the text while students write a list of their questions and concerns. After that, students can determine the session’s focus by deciding which question they believe is most important.

Numerous things can happen from there! For example, with an assignment prompt, you and the tutor will break it down together, negotiate when you might do each task, and brainstorm potential ideas. If you have a draft and would like some feedback, you’ll first read through it together and then respond to it. If you have multiple questions about how to revise that draft, a tutor may suggest a follow-up appointment to address the rest.

Who has access to my Writing Center work?

Unless specifically requested by a student, we do not release any working documents to instructors.

How does the Writing Center handle plagiarism?

We will not make edits or do the work for students because that is a type of plagiarism, which is when you use someone else’s words or ideas but frame them as your own. Potential evidence of intentional plagiarism is sometimes reviewed by the Writing Center Coordinators, and our response is first to define its problems, like potential violations of Coppin’s Student Code of Conduct, and remind writers about the processes to properly cite and format those ideas.

What is the Writing Center’s stance on generative AI?

There’s no doubt that the widespread use of generative AI (GenAI, for short) products like ChatGPT, Microsoft Copilot, and Google Gemini – as well as AI-aided platforms like Grammarly, Quillbot, and Turnitin – have had a significant impact on how students engage with writing. However, these inventions are powerful but flawed in ways that we think are critical for our HBCU learning community to consider:

• Large language models can “embody covert racism in the form of dialect prejudice”, which reflects negative stereotypes about African American English speakers (Hofmann et al., 2024).
• Black students may have their academic integrity questioned at a higher rate than other populations because of AI detection software, which could exacerbate historic disparities in disciplining (Madden et al., 2024).
• Overreliance on GenAI products may negatively impact critical thinking skills (Kosmyna et al., 2025; Lee et al., 2025).

That’s why our current stance is defined by refusal, which means that we don’t use GenAI at the Coppin State Writing Center, and we don’t actively advocate for students to use it, but we also do not discourage or judge them for doing so because we believe the choice is an individual one.

Instead, GenAI presents an opportunity to demonstrate how, with appropriate context, critique, and care, such products may supplement the writing process. We aim to help Coppin students learn about the role it may or may not play in different writing situations across campus, the flexibility to adapt and use it judiciously, efficiently, and responsibly when needed, and the numerous real-world costs associated with its use.

Are you a Coppin State student, staff member, or instructor with questions, comments, or concerns about generative AI and large language models? Stop by during our regular hours or contact us anytime to continue the conversation and learn more about our perspective.

Now Hiring

Are you interested in joining us?

The Writing Center is looking to hire one or two new peer tutors for the Fall 2026 semester! Here’s what you need to know:

• You don’t have to be an English major to become a peer tutor at the Writing Center!
• Tutors can work up to 20 hours per week and make $17.00 an hour.
• You’ll receive training and professional development opportunities to learn more about collaborative writing processes and the conversations that drive writing centers and writers forward, ranging from multilingualism to generative AI and wellness.

What requirements are there to be considered as a peer tutor?

We have only a few requirements. First, peer tutor applicants must have passed English 101 and 102 with an “A” or “B” grade. Next, applicants must be enrolled for at least six (6) units of coursework in the Fall 2026 semester. Lastly, we always encourage applicants to come to the process with an open mind about learning new ways to think about writing!

How do you apply to be a peer tutor?

Before you start the online application form, we suggest having the following documents ready because you’ll need to upload them as part of the process:

• Resume or curriculum vitae (CV)
• Cover letter that explains your interest in becoming a writing tutor
• Faculty recommendation document
• Writing sample of at least four (4) pages
• Copy of your projected class schedule for the upcoming semester
• Copy of your unofficial transcript

When you’re ready, just click the button below to begin! If you have any questions about the role that aren’t answered here or run into any trouble with the application, contact the Writing Center whenever we’re open.

Apply to Be a Writing Center Tutor

2023/2024 Theatre Season

Ghosts

April 25-28, 2024

Written by Henrik Ibsen, Adapted by Richard Eyre

Directed by Willie O. Jordan

Though written in 1881, Henrik Ibsen’s domestic tragedy is still urgent, timely and relevant today. The play asks each of us to confront some very poignant questions: How does the past influence the present? How does society invade our personal lives? What do we do with the lies, deceit, and hypocrisy? Can we free ourselves from dead ideas, dead customs, and dead morals as we face our Ghosts?

Chicken & Biscuits

February 29 - March 10, 2024

Written by Douglas Lyons

Directed by Daniel Carter

Chicken & Biscuits is a raucous family comedy so full of laughter and love, it’ll leave you begging for seconds. The Jenkins family is coming together to celebrate the life of the family patriarch—hopefully without killing each other! But any hopes for a peaceful reunion unravel when a shocking family secret shows up at the funeral. A feel-good comedy that will feed your soul.

Pipeline

November 10-12, 2023

Written by Dominique Morisseau

Directed by Willie O. Jordan

A mother’s choices. A son’s rage. A rigged education system. In PIPELINE’s opening scene we meet Nya, a dedicated teacher in an inner-city public high school, who has just discovered that her son’s in trouble. After one impulsive act, Omari is in danger of being expelled from his upstate private school, and Nya’s hopes for his bright future are threatened. With language lyrical and potent, Morisseau’s deeply compassionate and dynamic award-winning play dives into the painful truth of “the school-to-prison pipeline.”

Shakin' The Mess Outta Misery

September 28 - October 1, 2023

Written by Shay Youngblood

Directed by Rashida Forman-Bey

Adapted from the Shay Youngblood's book, THE BIG MAMA STORIES, SHAKIN' THE MESS OUTTA MISERY is the inspirational, semi-autobiographical story of a young black girl's coming of age in the 1960s South. "Daughter," the main character and 25-year-old narrator, lost her mother when she was very young and a community of women raised her, some blood related, some not. As she remembers how her 'Big Mamas' prepared her for womanhood, the women enter to tell their stories and "Daughter" becomes a child again, reliving her vivid memories of growing up--recalling the rituals, the faith healings, and the stories she was told and the lessons she learned about survival, healing, sisterhood, family, and faith. Youngblood's play confirms the African proverb—"It takes a village to raise a child."

2022-2023 Theatre Season

Pipeline

March 2-5, 2023

Written by Dominique Morisseau

Directed by Willie O. Jordan

A mother’s choices. A son’s rage. A rigged education system. In PIPELINE’s opening scene we meet Nya, a dedicated teacher in an inner-city public high school, who has just discovered that her son’s in trouble. After one impulsive act, Omari is in danger of being expelled from his upstate private school, and Nya’s hopes for his bright future are threatened. With language lyrical and potent, Morisseau’s deeply compassionate and dynamic award-winning play dives into the painful truth of “the school-to-prison pipeline.”

Shakin' The Mess Outta Misery

April 27 - May 7, 2023

Written by Shay Youngblood

Directed by Rashida Forman-Bey

Adapted from the Shay Youngblood's book, THE BIG MAMA STORIES, SHAKIN' THE MESS OUTTA MISERY is the inspirational, semi-autobiographical story of a young black girl's coming of age in the 1960s South. "Daughter," the main character and 25-year-old narrator, lost her mother when she was very young and a community of women raised her, some blood related, some not. As she remembers how her 'Big Mamas' prepared her for womanhood, the women enter to tell their stories and "Daughter" becomes a child again, reliving her vivid memories of growing up--recalling the rituals, the faith healings, and the stories she was told and the lessons she learned about survival, healing, sisterhood, family, and faith. Youngblood's play confirms the African proverb—"It takes a village to raise a child."

Broke-ology

November 10-13, 2022

Written by Nathan Louis Jackson

In Broke-ology, despite economic and emotional hardships, the King family has survived thanks to their love for and dedication to one another. William, the father afflicted with MS, still lives in the house in which his sons grew up, continuously grasping at the memories of his late wife, Sonia, and the dreams they shared of a better future for their children. Ennis, his elder son, takes care of William despite the pressure that comes with having a baby of his own on the way. Malcolm, the younger son, is a college graduate recently returned home after a taste of life outside the asphyxiating cycle of poverty and struggle in which he was raised. When the offer of a job in Connecticut tempts Malcolm into leaving for good, he is forced to decide between his duty to his family and his refusal to further defer the dreams of his father.

The Overcomers Theatre Season 2021-2022

Colorblind: The Katrina Monologues

May 1-31, 2021

By Tom Flannery

Directed by Azya Maxton

On the morning of August 29, 2005, Hurricane Katrina hit southeast Louisiana. Today, it is still remembered as the most apocalyptic storm to hit the US, causing severe damage along the Gulf Coast. In the aftermath of the storm, the federal flood protection system in New Orleans failed in more than fifty places, causing nearly every levee to break. Thousands of families were uprooted. More than 1800 persons lost their lives. Flannery's Katrina Monologues tells the stories of nine people affected by Hurricane Katrina and its aftermath.

Blues For an Alabama Sky

October 29-31, 2021

By Pearl Cleage

It's the summer of 1930 and the promises of the Harlem Renaissance are giving way to the dashed dreams of the Great Depression. Playwright Pearl Cleage tells a strikingly modern story about four friends whose lives and passions collide when an innocent newcomer from Alabama arrives in New York.

Private Wars

November 4-5, 2021
The Theatre Lab, Grace Jacobs Building, Lower Level

• Thursday November 4th at 10:30 a.m.
• Friday, November 5th at 10:30 a.m.
• Friday, November 5th at 7:30 p.m.

By James McClure

Popular anti-war comedy about the humorous and intense recovery of three Viet Nam Vets from physical wounds and PTSD.

Admission: $10 General, $5 Coppin Student with ID

Fully masked audience, proof of vaccination or negative test result within 72 hours

The Colored Museum

April 21-24, 2022

• April 21 & 22 at 7:30 p.m.
• April 23 & 24 at 3:00 p.m.

By George C. Wolfe

A poignant, socially-conscious, satirical comedy, The Colored Museum is a depiction of black culture in America, especially relevant in today’s world of “Black Lives Matter”. Tony Award-winning playwright, George C. Wolfe, takes us on a journey of Black culture with an “in-your-face,” non-apologetic, “take no prisoners” satire that electrifies, unsettles, and delights audiences of all colors.

84th Annual Conference of the National Association of Dramatic and Speech Arts (NADSA)

April 6-9, 2022

Coppin State University
2500 W. North Avenue
Baltimore, MD 21216

The Glass Menagerie

May 6-8, 2022

By Tennessee Williams

An American classic of great tenderness, charm, and beauty, The Glass Menagerie is an icon of the American theater. Known as Tennessee Williams's autobiographical “memory play,” we meet the Wingfield family—frustrated writer Tom, his nagging mother, Amanda, who is often lost in memories of her Southern-belle past, and his painfully shy sister, Laura—and the effect a visit from a “gentleman caller” for Laura has on all their lives.

2019-2020 The Season of Change

2018-2019 The Commemorative Theatre Season

Theatre Trip to New York City to see The Lion King on Broadway

For Colored Girls… by Ntozake Shange (October 2018)

Harlem Renaissance Program (original world premiere of student-written production, Harlem Song) (November 2018)

A Soldier’s Play by Charles Fuller (December 2018)

KCACTF Region II Festival 2019 at Montclair State University in Montclair, New Jersey (January 2019)

A Raisin in the Sun by Lorraine Hansberry (March 2019)

NADSA Conference 2019—Coppin State University is host (April 2019)

2017-2018 The Social Justice Theatre Season

Suspects in America by Willie Holmes

Tell Pharaoh by Loften Mitchell

KCACTF Region II Festival 2018 at Indiana University, Pennsylvania

For Colored Girls… by Ntozake Shange

2016-2017 The Awakening Theatre Season

You’re A Good Man Charlie Brown

Homeplace by Claudette Alexander-Thomason

Suspects in America (A Staged Reading) by Willie Holmes

2015-2016 The Community Theatre Season

Zooman and the Sign by Charles Fuller

Under the Skin by Michael Hollinger

Homeplace (A Staged Reading) by Claudette Alexander-Thomason

2014-2015 The Nobility Theatre Season

A Lesson Before Dying by Romulus Linney

Jar the Floor by Cheryl L. West

2013-2014 The Revelation Season

Truth Stands, a world premiere by Cynthia Hardeman (October 2013)

To Be Young, Gifted and Black by Lorraine Hansberry (November 2013) Adapted by Robert Nemiroff

The Waiting Room By Samm-Art Williams (March 2014)

2012-2013 Season

From the Mississippi Delta by Endesha Ida Mae Holland (October 2012)

Harriet Jacobs by Lydia Diamond (November 2012 & February 2013)

One Night Only- A Christmas Show by James Macon Grant (December 2012)

2011-2012 Season

Every Tongue Confess by Marcus Gardley (October 2011)

From the Mississippi Delta by Endesha Ida Mae Holland (December 2011)

God’s Trombones: From Test to Testimony by James Weldon Johnson; Adapted by D. Wambui Richardson (April 2012)

2010-2011 Season

In the Blood by Suzan-Lori Parks (October 2010)

Antigone by Sophocles (November 2010)

God’s Trombones by James Weldon Johnson (April 2011)

2009-2010 Season

The Colored Museum by George C. Wolfe (November 2009)

Constant Star by Tazewell Thompson (March 2010)

Pill Hill by Samuel Kelley (April 2010)

Guest Artists Series

Students engage and interact with several prominent and emerging artists in our Theatre Arts Program. These artists visit the campus to act, direct, design, speak, and teach master workshops. Some of our past guests included: 

• Ruben Arana-Downs
• Nicoye Banks
• David Barr III
• Christopher Benson
• Trezana Beverley
• Maria Broom
• Phillip Burgess
• Kevin Carroll
• Rosiland Cauthen
• Anthony Chisholm
• Sharlene Clinton
• Kurt Columbus
• Aunjanue Ellis
• Cynthia Hardeman
• Charlene Harris
• Gregory J. Horton
• Sallah Jenkins
• Timothy Jones
• Lillie Kahkonen
• Woodie King, Jr.
• Kwame  Kwei-Armah
• Antoinette McDonald
• David Mitchell
• Prince No Ra
• Howard Overshown
• Donald Owens
• Marc Payne
• Rain Pryor
• D. Wambui Richardson
• Jefferson Russell
• Sadiqa  
• Mark St. Germain
• Daniel Sunjata   
• Alvin Sykes
• L. Steven Taylor
• Claudette Alexander Thomason
• R. Paul Thomason
• Douglas Turner Ward
• Allan Weeks
• Linda West
• Robert White
• Samm-Art Williams
• Ian Wooldridge

National Organizations and Festivals

Coppin students attend, participate, and compete in several national organizations and festivals.

The National Association of Dramatic and Speech Arts (NADSA)

NADSA is an association of students, faculty, staff, alumni and other arts/entertainment professionals from historically black colleges and universities across the country. Founded in 1936, NADSA is today the nation’s oldest surviving educational theatre association. The four-day annual conference, held in March or April, features a series of workshops, competitions, performances, panels and plenaries. Theatre and speech communication enthusiasts use NADSA as an opportunity to network, build skillsets, and share best practices of the field.

Kennedy Center American College Theater Festival

The Kennedy Center American College Theater Festival (KCACTF) is a national theater program involving 18,000 students annually from colleges and universities across the country. KCACTF aims to:

• Encourage, recognize, and celebrate the finest and most diverse work produced in university and college theatre programs;
• Provide opportunities for participants to develop their theater skills, insight, and achieve professionalism;
• Improve the quality of college and university theatre in the United States; and
• Encourage colleges and universities to give distinguished productions of new plays, especially those written by students; the classics, revitalized or newly conceived, and experimental works.

Since its inception, KCACTF has given more than 400,000 college theater students the opportunity to have their work critiqued, improve their dramatic skills, and receive national recognition for excellence. More than 16 million theatergoers have attended approximately 10,000 festival productions nationwide. Since its inception, KCACTF has given more than 400,000 college theater students the opportunity to have their work critiqued, improve their dramatic skills, and receive national recognition for excellence. More than 16 million theatergoers have attended approximately 10,000 festival productions nationwide.

University Resident Theatre Association

Founded in 1969, the University Resident Theatre Association works to ensure the continued renewal of the American theatre by supporting excellence in the professional training of new artists. URTA continues to develop programs and services that answer the needs of university theatres, training programs, and individual artists. Whether it’s articulating the highest standards for professional training, helping to match potential students with the MFA program best suited to their needs, facilitating engagement of professional artists at universities, or expanding the scope of our education and career outreach programs, URTA is setting the stage for emerging theatre artists, and professional advancement.

Coppin State University is a member of Alpha Psi Omega (ΑΨΩ), a National Theatre Honor Society for participants in collegiate theatre. It began in the early 20th century as result of the growing interest in dramatic arts among colleges and universities throughout America, with the aim of encouraging dramatic production at every step in a person’s academic career. Alpha Psi Omega is the largest national honor society in America. Membership is open to students who are active in collegiate/university theatre at four-year institutions. Students strive to earn membership into this prestigious organization.

Apply for the Scholarship

Theatre is a part of the Urban Arts major at Coppin. We are searching for talented individuals who are interested in majoring in theatre (Urban Arts) and whose gifts and passions are found in areas that feature on stage performances, and backstage work. Theatre is a gateway major that accommodates skills and competencies that will prepare students to work in environments that require integration and cross-pollination of thought, philosophy, and skills as 21st century learners.

Apply Now

Preparing for the Scholarship Audition

(IN-PERSON AUDITION)

WHEN: May 16th, 2026 from 9am-12noon
WHERE: Coppin State University
2500 w. North Ave, Baltimore, MD 21216
Grace Jacobs Building, Theatre Lab (Lower Level) 

• Please prepare one contemporary monologue. 
• Please bring two copies of your headshot and resume 

• Please be dressed to move.

   

(ONLINE SUBMISSIONS ONLY)

• Please prepare two monologues (one classical + one contemporary) 
• Record your audition on YouTube and submit the link to ghyatt@coppin.edu . Please attached one copy of your headshot and resume to the email. 

• Submissions close May 16th @ 12:00 NOON EST 

  FURTHER QUESTIONS?

  Please email Professor Josh Wilder at jwilder@coppin.edu or call 410-951-4199

   

Students participate in a myriad of co-curricular activities, including plays, concerts, art exhibits, workshops, presentations, competitions, tournaments, field trips, and conferences.

Student Collaborations

Our theatre students participate in a range of collaborative and community service projects with other student organizations and with other colleges and universities.

Recent collaborations include participation in Bowie State University’s annual Ten Minute Play Festival and a co-production on the show, Best of Enemies with McDaniel College.

Students also work with professional theatre practitioners as guest directors, actors, designers and playwrights (One Night Only, Harlem Song, Brother’s Keeper).

Internships

Our students have participated in various internship opportunities, such as:

• Daniel Carter, Ensemble Theatre of Houston, TX
• Louis Williams, III, Baltimore Shakespeare Factory
• Dorrian Wilson, Chesapeake Shakespeare Theatre
• Anthony Murcia-Santos, The Juilliard School
• Juan Ogando, Upright Citizens Brigade in NYC
• Kai Crosby-Singleton, Baltimore Center Stage
• Anthony Murcia-Santos, Baltimore Center Stage

Advanced Study Opportunities

Coppin State theatre students go on to advanced study, such as:

• Dorrian Wilson, MFA Acting Program, University of North Carolina at Chapel Hill
• Mama Rashida Foreman-Bey, MFA Community Arts Program, Mrayland Institute College of Art (MICA)
• Dorrian Wilson and Ryan Pratcher-Bey, the Kennedy Center

Broadway Field Trips

Students are encouraged to participate in our trips to professional productions. Past activities have included:

• The Color Purple. Students interviewed Natasha Williams, who played Sofia.
• Cat on A Hot Tin Roof. Students participated in a talk-back with cast member Anika Noni Rose, who played Maggie the Cat.
• Porgy and Bess. Students participated in a talk-back with cast members Natasha Williams (Mariah) and Norm Lewis (Porgy).
• Chicago. Students participated in a talk-back with cast members Brandy Norwood (Roxie), Natasha Williams and full cast.
• The Lion King. Students interviewed L. Steven Taylor who plays Mufasa.
• A Soldier’s Play

Engaging the Community

Our theatre students participate in a range of community activities, including:

• Summer theatre program
• Performances at Churches
• Audience talk-backs after all theatre performances

Regional and National Competitions

Coppin State theatre students participate in regional and national competitions, such as:

• NADSA
• KCACTF, one of the few HBCUs participating
• Forensics Tournaments

School Matinee Performances

• Middle and high school students

Participating in Public Showcases

• Acting I
• Acting II
• Acting III
• Unscripted: Improvisation for the Actor
• Oral Interpretation
• Directing
• We Heart Art Festival

We Nurture. We Engage. We Transform.

The arts are essential to our lives!  Theatre art is an avenue to intellectual, social, personal, professional development, and enrichment. The theatre concentration in the Urban Arts major prepares students for careers in theatre and related disciplines through character, leadership, and service for building relationships and community. The program supports the following fundamental beliefs and values:

Excellence, the highest artistic quality

Integrity, the highest standards of honesty and fairness in the pursuit of equitable, ethical, and professional practice. 

Lifelong Learning the best continuous training for artistry, knowledge, and skills

Service is our noble and worthy responsibility to our community

Diversity of opinion, freedom of expression and each person’s individuality. 

Creativity in all endeavors. 

Commitment to the arts and to the mission of the University its role in supporting the highest quality of life 

Intellectual Freedom for the ethical and scholarly inquiry in an environment that fully respects the rights of all in their pursuit of knowledge

Stewardship of Resources dedicated to the efficient and effective use as we accept the responsibility of public trust and accountability for our actions 

The Theatre concentration focuses on the student as the center of the educational enterprise. We place a high premium on nurturing, engaging, and transforming the individual so that creativity is expressed with honor and value. Learn about theater-related jobs.

Our academic program is ably supported by Coppin Repertory Theatre, the producing arm and Coppin Players, a student run organization where our students collaborate, invest, and own the work they do.

Apply Now

Learn about the Theatre Scholarship

Coppin State University Hosts the 84th Annual Conference National Association of Dramatic and Speech Arts (NADSA) - April 6-9, 2022

Coppin Repertory Theatre will host the 84th Annual Conference of NADSA, an association of students, faculty, staff, alumni, and other arts/entertainment professionals from historically black colleges and universities across the country. Founded in 1936, NADSA is the nation’s oldest surviving educational theatre association. The annual conference features workshops, competitions, performances, and plenaries. Attendees use NADSA as an opportunity to network, build skillsets, and share best practices in the field.