Regina M. Anderson, also known by her married name Regina M. Andrews and the pseudonym Ursala (Ursula) Trelling, was a significant figure in American literary and cultural history. Born on May 21, 1901, in Chicago, Illinois, she made a lasting impact as a librarian, playwright, and patron of the arts. Anderson’s New York City home played a pivotal role as a salon for writers and artists of the Harlem Renaissance, cementing her legacy as a central figure in the cultural and intellectual milieu of the time.
Anderson pursued her education at several institutions, including Wilberforce University in Ohio and the University of Chicago. Her academic journey culminated in the attainment of a Master of Library Science degree from Columbia University. Subsequently, she embarked on a distinguished career as a librarian within the New York Public Library System, where she curated lecture and drama series as well as art exhibitions. Her tenure in this role spanned from the early 1920s to 1967, during which she made significant contributions to the promotion of literature and the arts.
The apartment that Anderson shared with two other women in Harlem became a vibrant hub for African American artists and intellectuals in the early 1920s. This space served as an important meeting ground, fostering dialogue, collaboration, and creativity among prominent figures of the Harlem Renaissance. In 1924, Anderson played a pivotal role in organizing a dinner at the Civic Club, which was attended by esteemed authors such as W.E.B. Du Bois, Jean Toomer, Countee Cullen, and Langston Hughes. This gathering is recognized as a catalyst that contributed to the emergence of the Harlem Renaissance, a cultural movement that left an indelible mark on American art and literature.
Anderson’s influence extended beyond her role as a librarian and host of literary gatherings. In collaboration with W.E.B. Du Bois, she co-founded the Krigwa Players in 1924, a pioneering company of black actors dedicated to performing works by black authors. This initiative was based at the 135th Street Public Library, where Anderson was actively engaged in her professional capacity. The Krigwa Players later evolved into the Negro Experimental Theatre, also known as the Harlem Experimental Theatre. Under this banner, Anderson’s one-act play “Climbing Jacob’s Ladder” was produced in 1931, addressing the harrowing subject of a lynching that occurred during a church service. The following year saw the production of her one-act play “Underground,” which delved into the theme of the Underground Railroad. Both plays were crafted under her pseudonym, Ursala (Ursula) Trelling. Through her theatrical endeavors, Anderson made significant contributions to the development of black theater and the amplification of black voices within the dramatic arts.
In addition to her theatrical pursuits, Anderson co-edited the “Chronology of African-Americans in New York, 1621–1966” alongside Ethel Ray Nance. This scholarly work, published in 1971, stands as a testament to her commitment to documenting and preserving African American history and culture. Anderson’s multifaceted contributions as a librarian, playwright, and advocate for black artistic expression have left an enduring legacy that continues to inspire and resonate within literary and cultural spheres.
Regina M. Anderson’s life and work exemplify a steadfast dedication to fostering artistic expression, amplifying marginalized voices, and creating spaces for intellectual exchange and collaboration. Her pivotal role in nurturing the talents of the Harlem Renaissance and her enduring impact on American theater and literature solidify her position as a trailblazing figure in cultural history. As we reflect on her contributions, we honor Regina M. Anderson’s indelible imprint on the rich tapestry of American arts and letters.