Here\u2019s a free digital exhibit that theater people everywhere will thoroughly enjoy. In keeping with the times, American theatre begins to unravel racism in theater. \u201cLost in the Stars: Black Theatre Makers\u201d consists of 26 images over the course of 72 years created by the theater caricature artist Al Hirshfeld. The Al Hirschfeld Foundation (AHF) press release stated, \u201cWe believe that Black Lives Matter, Black Art Matters and Black Theatre Matters.\u201d It also went on to state that this is the first of multiple exhibitions that will explore Black theater, film, dance and music over the next year. The title of this very impressive exhibition is the name of a musical that examined racial injustices during the South Africa apartheid system during the 20th century. Playwright Athol Fugard wrote extensively about apartheid and his works appeared locally at many of our Connecticut theaters. He also spoke at Lucille Lortell\u2019s White Barn Theatre in Westport. According to the AHF press release, the title is also looked upon as a \u201cmetaphor of the Black creative in a predominately white theater world.\u201d This reminds theater people of playwright August Wilson, the quiet but ever so passionate playwright who insisted on an all-Black theater. He even took on Robert Brustein, critic and founder of Yale Repertory theater and Harvard\u2019s American Repertory Theatre. While Brustein wanted color blind productions featuring diverse casts, Wilson objected and stood firm on his all-Black theater productions. Al Hirschfeld\u2019s drawings of famous theater people and events are well known. Looking at his famous caricature drawings in this exhibit reveals far more than first meets the eye. Whether the drawings are of actors, playwrights, directors, composers or casts, Hirschfeld always managed to capture the essence of the moment as well as the show and\/or its personalities. Take for instance, his amazing drawing of \u201cVoodoo Macbeth.\u201d This all-Black production moved the action from Shakespeare\u2019s Scotland to 19th-century Haiti, the setting in which 20-year old Orson Welles directed the production. What a show it must have been because it received rave reviews from Black and white audiences. The drawing presented in the exhibition is a newspaper reproduction of an ink and lithograph pencil from 1936. Hirschfeld captured Canada Lee, a Black actor, who was not only in \u201cVoodoo Macbeth\u201d but who starred in Broadway\u2019s \u201cNative Son.\u201d Brooks Atkinson, a well-known theater critic described Lee as \u201cone of the best actors in this country.\u201d There\u2019s no doubt that Hirschfeld got right to the heart of the matter in his drawing of \u201cOthello\u201d with Paul Robeson, Uta Hagen, Jose Ferrer and Margaret Webster. It was the first American production of the play featuring a Black actor in the title role and the first interracial kiss seen on a Broadway stage. This exhibition tells quite a story about racism. In Hirschfeld\u2019s drawing of the play \u201cLost in the Stars\u201d one sees that the horror of South Africa apartheid may have been state policy, but segregation in the United States during 1948 was rampant. Hirschfeld\u2019s drawing is a towering illustration of white power. His drawing of the cast is ink on board in 1949. \u201cGolden Boy\u201d with Sammy Davis Jr. is a grand drawing as are so many others, but I must say that Hirschfeld\u2019s drawing of \u201cGreat White Hope\u201d with James Earl Jones and Jane Alexander is nothing short of a knockout. From the first Black comedy to \u201cAin\u2019t Misbehavin\u2019\u201d to August Wilson\u2019s Pulitzer Prize-winning \u201cThe Piano Lesson,\u201d this virtual exhibition is not only a testament to the Black theater scene and actors, but a piece of Black history captured in art. Creative Director David Leopold stated: \u201cWe recognize that some drawings could be found offensive. Hirschfeld\u2019s work is generally described as caricature, but the label is limiting. His art is not pejorative. His intent was not to poke fun at his subjects or perpetuate stereotypes, but rather it was a distillation and celebration of the performance. Exaggeration is used for emphasis so that the drawings, as one fellow artist said of Hirschfeld\u2019s work, look more like the person than the person does.\u201d The exhibition is free to the public and runs through Sept. 15 at alhirschfeldfoundation.org. Joanne Greco Rochman is a founder and former member of the Connecticut Critics Circle and a current and active member in the American Theatre Critics Association. She welcomes comments. Contact: email@example.com.