Poitier joined the American Negro Theater, but was rejected by audiences.
Contrary to what was expected of black actors at the time, Poitier's tone deafness made him unable to sing.
Determined to refine his acting skills and rid himself of his noticeable Bahamian accent, he spent the next six months dedicating himself to achieving theatrical success.
On his second attempt at the theater, he was noticed and given a leading role in the Broadway production Lysistrata, for which, though it ran a failing four days, he received an invitation to understudy for Anna Lucasta.
 
By late 1949, he had to choose between leading roles on stage and an offer to work for Darryl F. Zanuck in the film No Way Out (1950).
His performance in No Way Out, as a doctor treating a Caucasian bigot (played by Richard Widmark), was noticed and led to more roles, each considerably more interesting and more prominent than those most African-American actors of the time were offered.
In 1951, he traveled to South Africa with the African-American actor Canada Lee to star in the film version of Cry, the Beloved Country.
Poitier's breakout role was as Gregory W. Miller, a member of an incorrigible high-school class in Blackboard Jungle (1955).

In 1958 he starred alongside Tony Curtis in director Stanley Kramer's The Defiant Ones.
Poitier and Curtis play prisoners chained-together who escape custody when the truck transporting them crashes and to avoid re-capture they must work cooperatively despite their mutual dislike.
The film was a critical and commercial success with the performances of both Poitier and Curtis being praised.
The film landed eight Academy Award nominations including Best Picture and Best Actor nominations for both stars, making Poitier the first black male actor to be nominated for a competitive Academy Award as best actor.
Both actors received the same nomination at the Golden Globes, but probably due to vote splitting between the two of them, neither won either award.
Poitier did win the British Academy of Film and Television Arts Award for Best Foreign Actor and the Berlin Film Festival's Silver Bear Award.

He was also the first black actor to win the Academy Award for Best Actor (for Lilies of the Field in 1963). (
James Baskett was the first African-American male to receive an Oscar, an Honorary Academy Award for his performance as Uncle Remus in the Walt Disney production of Song of the South in 1948, while Hattie McDaniel predated them both, winning as Best Supporting Actress for her role in 1939's Gone with the Wind, making her the first black person to be nominated for and receive an Oscar).
His satisfaction at this honor was undermined by his concerns that this award was more of the industry congratulating itself for having him as a token and it would inhibit him from asking for more substantive considerations afterward.
Poitier worked relatively little over the following year; he remained the only major actor of African descent and the roles offered were predominantly typecast as a soft-spoken appeaser.

He acted in the first production of A Raisin in the Sun on Broadway in 1959, and later starred in the film version released in 1961.
He also gave memorable performances in The Bedford Incident (1965), and A Patch of Blue (1965) co-starring Elizabeth Hartman and Shelley Winters.
In 1967, he was the most successful draw at the box office, the commercial peak of his career, with three popular films, Guess Who's Coming to Dinner; To Sir, with Love and In the Heat of the Night.
The last film featured his most successful character, Virgil Tibbs, a Philadelphia, Pennsylvania, detective whose subsequent career was the subject of two sequels: They Call Me MISTER Tibbs! (
1970) and The Organization (1971).
Many of the films in which Poitier starred during the 1960s would later be cited as social thrillers by both filmmakers and critics.

Poitier began to be criticized for being typecast as over-idealized African-American characters who were not permitted to have any sexuality or personality faults, such as his character in Guess Who's Comin
Poitier joined the American Negro Theater, but was rejected by audiences. Contrary to what was expected of black actors at the time, Poitier's tone deafness made him unable to sing. Determined to refine his acting skills and rid himself of his noticeable Bahamian accent, he spent the next six months dedicating himself to achieving theatrical success. On his second attempt at the theater, he was noticed and given a leading role in the Broadway production Lysistrata, for which, though it ran a failing four days, he received an invitation to understudy for Anna Lucasta.  
By late 1949, he had to choose between leading roles on stage and an offer to work for Darryl F. Zanuck in the film No Way Out (1950). His performance in No Way Out, as a doctor treating a Caucasian bigot (played by Richard Widmark), was noticed and led to more roles, each considerably more interesting and more prominent than those most African-American actors of the time were offered. In 1951, he traveled to South Africa with the African-American actor Canada Lee to star in the film version of Cry, the Beloved Country. Poitier's breakout role was as Gregory W. Miller, a member of an incorrigible high-school class in Blackboard Jungle (1955).
In 1958 he starred alongside Tony Curtis in director Stanley Kramer's The Defiant Ones. Poitier and Curtis play prisoners chained-together who escape custody when the truck transporting them crashes and to avoid re-capture they must work cooperatively despite their mutual dislike. The film was a critical and commercial success with the performances of both Poitier and Curtis being praised. The film landed eight Academy Award nominations including Best Picture and Best Actor nominations for both stars, making Poitier the first black male actor to be nominated for a competitive Academy Award as best actor. Both actors received the same nomination at the Golden Globes, but probably due to vote splitting between the two of them, neither won either award. Poitier did win the British Academy of Film and Television Arts Award for Best Foreign Actor and the Berlin Film Festival's Silver Bear Award.
He was also the first black actor to win the Academy Award for Best Actor (for Lilies of the Field in 1963). (James Baskett was the first African-American male to receive an Oscar, an Honorary Academy Award for his performance as Uncle Remus in the Walt Disney production of Song of the South in 1948, while Hattie McDaniel predated them both, winning as Best Supporting Actress for her role in 1939's Gone with the Wind, making her the first black person to be nominated for and receive an Oscar). His satisfaction at this honor was undermined by his concerns that this award was more of the industry congratulating itself for having him as a token and it would inhibit him from asking for more substantive considerations afterward. Poitier worked relatively little over the following year; he remained the only major actor of African descent and the roles offered were predominantly typecast as a soft-spoken appeaser.
He acted in the first production of A Raisin in the Sun on Broadway in 1959, and later starred in the film version released in 1961. He also gave memorable performances in The Bedford Incident (1965), and A Patch of Blue (1965) co-starring Elizabeth Hartman and Shelley Winters. In 1967, he was the most successful draw at the box office, the commercial peak of his career, with three popular films, Guess Who's Coming to Dinner; To Sir, with Love and In the Heat of the Night. The last film featured his most successful character, Virgil Tibbs, a Philadelphia, Pennsylvania, detective whose subsequent career was the subject of two sequels: They Call Me MISTER Tibbs! (1970) and The Organization (1971). Many of the films in which Poitier starred during the 1960s would later be cited as social thrillers by both filmmakers and critics.
Poitier began to be criticized for being typecast as over-idealized African-American characters who were not permitted to have any sexuality or personality faults, such as his character in Guess Who's Comin
Sidney Poitier