Film and Stage Direction
King has a long list of credits in film and stage direction and production, including the following:
| Stage | Play | Year |
|---|---|---|
| Alliance Theater (Atlanta, Georgia) | A Raisin in the Sun by Lorraine Hansberry | 1994 |
| American Cabaret Theater (Indianapolis,Indiana) | Eyes (based on Zora Neale Hurston's Their Eyes were Watching God) by Mari Evans | 1995–1996 |
| American Place Theatre | Splendid Mummer | 1987 |
| Arena Stage | ||
| Bermuda International Theatre Festival | Checkmates by Ron Milner | 1995–1996 |
| Billie Holiday Theatre (Brooklyn) | Good Black Don't Crack | 1993 |
| Broadway (New York) | Checkmates | 1988 |
| Brooklyn College | Joe Turner's Come and Gone by August Wilson | 1996–1997 |
| Home by Samm-Art Williams | 1996–1997 | |
| Center Stage of Baltimore | ||
| Cincinnati Playhouse | ||
| Cleveland Play House | ||
| Crossroads Theatre Company (New Brunswick, New Jersey) | And The World Laughs With You | 1994 |
| Ali | 1998–1999 | |
| Detroit Repertory Theater | Joe Turner's Come and Gone by August Wilson | 1990 |
| The Ensemble Studio Theater | Mudtracks by Regina Taylor | 1994 |
| Ford's Theater | God's Trombone | 1990 |
| GeVa Theatre | A Raisin in the Sun | 1991 |
| The Member of the Wedding | 1992 | |
| Indiana Repertory Company | ||
| Inner City Cultural Center (Los Angeles) | Checkmates | 1987–1988 |
| Jomandi Theatre | ||
| New Federal Theatre | Checkmates | 1995–1996 |
| James Baldwin: A Soul on Fire by Howard Simon | 2000 | |
| New York Shakespeare Festival | ||
| Northlight Theatre | ||
| Ohio State University | Angels in America | 1998–1999 |
| Pittsburgh Public Theater | ||
| SUNY Purchase | ||
| St Louis Black Repertory Theatre | Checkmates | 1993 |
| Stage West | ||
| Studio Arena In Buffalo | ||
| Virginia Museum Theatre | ||
| Seminole State College of Florida | The Piano Lesson by August Wilson | 2012 |
Read more about this topic: Woodie King, Jr.
Famous quotes containing the words film, stage and/or direction:
“The obvious parallels between Star Wars and The Wizard of Oz have frequently been noted: in both there is the orphan hero who is raised on a farm by an aunt and uncle and yearns to escape to adventure. Obi-wan Kenobi resembles the Wizard; the loyal, plucky little robot R2D2 is Toto; C3PO is the Tin Man; and Chewbacca is the Cowardly Lion. Darth Vader replaces the Wicked Witch: this is a patriarchy rather than a matriarchy.”
—Andrew Gordon, U.S. educator, critic. “The Inescapable Family in American Science Fiction and Fantasy Films,” Journal of Popular Film and Television (Summer 1992)
“Their rebukes have never made me angry, because I have always wondered why they did not rebuke me more. They should have. Their friendly praise has been one of the sweetest, most warming things in my life in the theater. I do go on the stage unafraid of them and with love in my heart for them.”
—Minnie Maddern Fiske (1865–1932)
“Not I, not I, but the wind that blows through me!
A fine wind is blowing the new direction of Time.”
—D.H. (David Herbert)