“Wow!” He always said, “Wow!”
And now I do too.
I can still hear his voice, see that sparkle in his eyes, “Hey, man. How you doin’?” I would tell him, and he would say, “Wow, let’s talk.” And we did, countless times. Woodie was my colleague, my advocate, my employer, my mentor, and my dear friend. He fostered safe spaces for all of us to create, to experiment, to stumble, to rise again, and ultimately to become the artists we only dreamed of being. Wow!
A Theatre Family’s Founding Father
Table of Contents
Woodie King’s legacy extends far beyond the stage, shaping generations of Black artists and redefining American theatre.
- In 1971, Clinton Turner Davis first encountered Woodie King at the Theatre de Lys while visiting a cousin.
- King provided early career stability for Davis through stage management roles at New Federal Theatre.
- King championed inclusivity in American theatre, integrating artists of color and women into mainstream productions.
- Davis credits King with facilitating collaborations with Derek Walcott and Michael Dinwiddie.
It was 1971, and I was navigating the audition circuit, juggling acting, dancing, and singing gigs. I stopped by the Theatre de Lys to see my cousin, Horacena J. Taylor, who was stage managing Black Girl by J.e. Franklin. Shauneille Perry directed, and Woodie King was the producer. The company had just stepped out for lunch. Woodie returned to the New Federal Theatre offices just minutes after I arrived. Fortunately, the close-knit theatre community surrounding me offered a second chance.
Our paths officially crossed at the Negro Ensemble Company’s opening night of The Sty of the Blind Pig. Shauneille Perry directed, Horacena was the stage manager, and I was the production assistant—my very first job with the NEC. Woodie greeted me with a warm smile and a firm handshake. I was immediately struck by how well-known he was; everyone in the company, from the crew to the administrative staff, knew him, and he knew them. That was the beginning.
Early Support and Artistic Growth
Woodie provided crucial financial stability early in my career by hiring me to stage manage productions at New Federal Theatre over several seasons. These included Ladies in Waiting by Peter De Anda, directed by Shauneille Perry; A Recent Killing by Amiri Baraka, directed by Irving Vincent; African Interlude by Martie Evans Charles, directed by Shauneille Perry; and What the Winesellers Buy, by Ron Milner, which Woodie himself directed. I stage managed Winesellers from the initial rehearsals through its 18-week run on the road. Observing Woodie navigate the dual roles of director and producer was an invaluable education. New Federal Theatre quickly became my second artistic home. Wow!
When I shared my aspiration to direct, Woodie’s response was immediate: “What play?” I told him Divine Comedy, by Owen Dodson, my mentor at Howard University. Without hesitation, he said, “Wow! Great! We will produce it next season.” And he did. That production marked my professional directorial debut. I went on to direct for New Federal Theatre: The Conjure-Man Dies, Joe Turner’s Come and Gone (the first Off-Broadway production of a Wilson work), Harriet’s Return: Based on the Legendary Life of Harriet Tubman, Two Can Play, and Widows (a Zoom presentation during the Covid-19 pandemic). Wow!
A Champion of Collaboration and Inclusion
I was deeply honored when Woodie asked me to direct productions for his newly created National Black Touring Circuit, as well as two New Federal Theatre anniversary galas. He also served as the artistic agent and liaison for fellowships I received during a time when opportunities for artists like me were scarce. Woodie had a remarkable ability to bring artists together, initiating collaborations that continue to shape the landscape of theatre and the arts. Conversations surrounding African, African American, and Caribbean theatre and arts are richer and more nuanced because of him. His name must be spoken and revered.
Without Woodie, I wouldn’t have had the chance to collaborate with Derek Walcott on his musical Marie Laveau (music by Galt MacDermot), and Derek became a close friend as a result. Nor would I have been able to dramaturg early and later works of the late playwright/educator Michael Dinwiddie, who also served as the musical director for the first play I directed at New Federal. Woodie possessed a Midas touch, bringing artists together in extraordinary ways. Over 95 percent of my theatre family have direct connections to him. He was a true American impresario. Wow!
Working with and for Woodie wasn’t always seamless. There were occasional challenges, as is inevitable when exceptionally talented artists collaborate. However, as artistic director and producer, Woodie always understood and respected the authority of the director and the production stage manager, ensuring a harmonious creative process. I will always appreciate his clarity in identifying “what needs to be done.” Even when New Federal Theatre faced inequitable funding—sometimes none at all—Woodie persevered, remaining steadfastly committed to the theatre’s mission: “to integrate artists of color and women into the mainstream of American theatre by training artists for the profession and by presenting plays by writers of color and women to integrated, multicultural audiences.” Wow!
Woodie proved to be a masterful helmsman, steering the course of African American theatre. It was a mission and vision I embraced wholeheartedly, and one I continue to champion. We are all better for it. He was resilient. Wow!
And Woodie was always in my corner, helping me become the artist I am today. For that, and for so many other reasons, I am humbled and grateful to have known his love and earned his respect.
Wow!
Clinton Turner Davis is a director, educator, dramaturg, playwright, production supervisor, and arts consultant. He has directed productions Off-Broadway and at numerous regional theatres, colleges and universities in the United States and Taiwan.
