In 1946, thirteen years after The Green Pastures played to a whites-only audience at the National Theatre, segregation was still the norm. But when a New York play starring Ingrid Bergman was booked at the Lisner Auditorium and Bergman and the company discovered that the venue barred black audiences, they organized protests and boycotts by both the Dramatists Guild and the Actors Equity Association. The protestors targeted the National Theater, and Congressmen, civil rights groups, religious leaders, and many others weighed in on the situation.
In 1948, activist and educator Edward B. Henderson sued the National Theatre for refusing to sell him tickets because of his race. His attorneys, James A. Cobb, E.C. Hayes, and Leon Ransom argued that a 19th century anti-discrimination law applied to the National and that the Supreme Court ruling that found racially restrictive housing covenants unconstitutional logically meant that segregation was “contrary to the public policy of the United States.”
In June 1948, despite this legal argument, the judge upheld the discriminatory policy of the Lincoln Theater. Meanwhile, the standoff with Actors Equity hadn’t gone away. In August 1948, Actors Equity announced that its members were no longer required to perform before segregated audiences in Washington. As whites-only theaters such as the National lost bookings, people flocked to plays at the city’s non-segregated venues such as the Howard Theatre, the Gayety Burlesque house, and Arena Stage, brand-new in 1950. In 1952, under new management, and in an effort to remain competitive, National Theatre dropped its racial ban.