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    Charles Fuller, Pulitzer Winner for ‘A Soldier’s Play,’ Dies at 83

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    He was the second Black playwright to win the award and later adapted the play into an Oscar-nominated film, “A Soldier’s Story.”Charles Fuller, who won the Pulitzer Prize for drama in 1982 for “A Soldier’s Play,” which finally made it to Broadway 38 years later, in a production that earned two Tony Awards, died on Monday in Toronto. He was 83.His wife, Claire Prieto-Fuller, confirmed the death.Mr. Fuller was only the second Black playwright to win the Pulitzer for drama. (Charles Edward Gordone won in 1970 for “No Place to Be Somebody.”) His plays often examined racism and sometimes drew on his background as an Army veteran. Both of those elements were evident in “A Soldier’s Play,” which was Mr. Fuller’s reimagining of Herman Melville’s “Billy Budd” and centered on the murder of a Black Army sergeant and the search for the culprit.The play was first staged in 1981 by the Negro Ensemble Company with a cast that included Denzel Washington. Frank Rich, in his review in The New York Times, called it “a relentless investigation into the complex, sometimes cryptic pathology of hate” and praised Mr. Fuller’s delineation of both the Black and the white characters.“Mr. Fuller demands that his Black characters find the courage to break out of their suicidal, fratricidal cycle,” Mr. Rich wrote, “just as he demands that whites end the injustices that have locked his Black characters into the nightmare.”Hollywood came calling. A 1984 film version, retitled “A Soldier’s Story” and directed by Norman Jewison, had a cast that included Mr. Washington, Howard E. Rollins Jr., David Alan Grier, Wings Hauser, Adolph Caesar and Patti LaBelle. It received three Oscar nominations, including one for Mr. Fuller’s screenplay.Denzel Washington, left, and Charles Brown in 1981 in Mr. Fuller’s acclaimed play “A Soldier’s Play,” staged by the Negro Ensemble Company in New York.Bert AndrewsIn “A Soldier’s Play” and his other works, Mr. Fuller strove to serve up not idealized Black characters but ones who reflected reality.“In the ’60s and early ’70s, Black plays were directed at whites,” Mr. Fuller told The San Diego Union-Tribune in 1984, when the Negro Ensemble Company’s production of “A Soldier’s Play” was staged in San Diego. “They were primarily confrontational pieces, whose major concern was to address racism and white-Black relationships in this country. Now we are much more concerned with examining ourselves, with looking at our own situations — historically in many instances. We are seeing characters who are more complex, ones who have bad qualities as well as good ones.”“A Soldier’s Play,” he told The Times in 2020, drew in part on his upbringing in a tough neighborhood of North Philadelphia.“I grew up in a project in a neighborhood where people shot each other, where gangs fought each other,” he said. “Not white people — Black people, where the idea of who was the best, toughest, was part of life. We have a history that’s different than a lot of people, but it doesn’t mean that we don’t cheat on each other, kill each other, love each other, marry each other, do all that, things that, really, people anywhere in the world do.”Kenny Leon (with microphone), who directed a 2020 revival of “A Soldier’s Play” on Broadway, addressed Mr. Fuller, third from left, onstage after a performance.Sara Krulwich/The New York TimesCharles H. Fuller Jr. was born on March 5, 1939, in Philadelphia. His father was a printer, and his mother, Lillian Teresa Fuller, was a homemaker and foster mother. He was a student at Roman Catholic High School in Philadelphia when he attended his first play, a production performed in Yiddish at the Walnut Theater.“I didn’t understand a word,” he told The Philadelphia Inquirer in 1977, but somehow it sparked his interest in becoming a playwright.He studied for two years at Villanova University and then joined the Army, where his postings included Japan and South Korea. After four years, he returned to Philadelphia, taking night classes at LaSalle College (now University) while working as a city housing inspector.In 1968, he and some friends founded the Afro-American Arts Theater in Philadelphia, but they had no playwrights, so Mr. Fuller gave it a try.One result was his first staged play, “The Village: A Party,” about a racially mixed utopia, which was produced in 1968 at the McCarter Theater in Princeton, N.J.“What the evening proves,” Ernest Albrecht wrote in a review in The Home News of New Brunswick, N.J., “is that the theater is not Fuller’s bag.”But Mr. Fuller kept at it. In the 1970s he relocated to New York, where the Negro Ensemble Company in 1974 staged his drama “In the Deepest Part of Sleep” and opened its 10th-anniversary season in 1976 with another of his plays, “The Brownsville Raid,” based on a 1906 incident in Texas in which Black soldiers were accused of a shooting. Walter Kerr, writing in The Times, praised Mr. Fuller for not making the play a simple story of racial injustice.“Mr. Fuller is interested in human slipperiness, and his skill with self‐serving, only slightly shady evasions of duty helps turn the play into the interesting conundrum it is,” Mr. Kerr wrote.Although he set out as a playwright to examine difficult questions, Mr. Fuller did so with a certain degree of optimism about the future of the United States.“America has an opportunity, with all its technology, to develop the first sensible society in history,” he said in the 1977 interview with The Inquirer. “It could provide all its people with some rational way to live together while still glorying in their cultural diversity.”By the late 1980s, though, he had tired of New York and moved to Toronto, where he was living at his death. In addition to his wife, he is survived by a son, David; four grandchildren; and three great-grandchildren.“A Soldier’s Play” was finally produced on Broadway in 2020 by the Roundabout Theater with a cast that included Mr. Grier and Blair Underwood. It was eligible to win the best-revival Tony even though it had never been produced on Broadway previously — the more familiar prerequisite for the category — because, under Tony rules, it was by 2020 considered “a classic.” Mr. Grier himself won a Tony for best actor in a featured role in a play.“It has been my greatest honor to perform his words on both stage and screen,” Mr. Grier said of Mr. Fuller on Twitter, adding that “his genius will be missed.” More

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      Shauneille Perry Ryder, Pioneering Theater Director, Dies at 92

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      As a Black woman, she blazed a path Off Broadway with an intuitive grasp of “how a story should be told, particularly a Black story,” Giancarlo Esposito said.Shauneille Perry Ryder, an actress, playwright and educator who was one of the first Black women to direct plays Off Broadway, most notably for the New Federal Theater, died on June 9 at her home in New Rochelle, N.Y. She was 92.Her daughter Lorraine Ryder confirmed the death.Ms. Perry Ryder, who was known professionally as Shauneille (pronounced shaw-NELL) Perry, directed 17 plays at the New Federal Theater from 1971 to 2006, each a part of the company’s mission to integrate artists of color and women into mainstream American theater. The theater, founded in 1970 by Woodie King Jr. in Lower Manhattan and now housed on West 42nd Street, has been a mecca for Black actors and directors.“She was personable with actors, but she put her foot down,” Mr. King said in a phone interview, referring to her attention to detail. “I’m so glad she worked with New Federal. She gave us a great reputation. In our first 10 years, we had a hit each year, and at least three or four were directed by Shauneille Perry.”In 1982, she directed Rob Penny’s “Who Loves the Dancer,” about a young Black man (played by Giancarlo Esposito) growing up in 1950s Philadelphia who dreams of becoming a dancer but who is trapped by his mother’s expectations, his environment and racism.In The New York Times, the critic Mel Gussow wrote that the play “has an inherent honesty, and in Shauneille Perry’s production, the evening is filled with conviction.”Mr. Esposito, who had been directed earlier that year by Ms. Perry Ryder in another play, “Keyboard,” at the New Federal, recalled her “very intuitive expression of how a story should be told, particularly a Black story.”“I was a young, green actor who had chops,” he added, in a phone interview, “but she taught me that acting is physical. The explosion that comes out of me in the second act came together under her direction.”Ms. Perry Ryder also directed Phillip Hayes Dean’s “Paul Robeson,” which traces the life of the titular singer and social crusader; “Jamimma,” by Martie Evans-Charles, about a young woman who changes her name because of its connection to servility and who is devoted to a man who she is told will never do much more than “wear rags or play instruments”; and “Black Girl,” by J.E. Franklin, about three generations of Black women, including a teenager who yearns to dance.“If you’re Black, you know about these people in any city,” Ms. Perry Ryder told The Times in 1971, referring to the characters in “Black Girl.” “We are all a part of each other.”She won at least two Audelco Awards from the Audience Development Committee, which honors Black theater and artists, and in 2019 received the Lloyd Richards Director’s Award from the National Black Theater Festival, in Winston-Salem, N.C., named after the Tony-winning director of many of August Wilson’s plays.Shauneille Gantt Perry was born on July 26, 1929, in Chicago. Her father, Graham, was one of the first Black assistant attorneys general in Illinois; her mother, Pearl (Gantt) Perry, was a pioneering Black court reporter in Chicago. Lorraine Hansberry, who wrote “A Raisin the Sun,” was one of Shauneille’s cousins.While attending Howard University — where she received a bachelor’s degree in drama in 1950 — Ms. Ryder Perry belonged to a student theater group, the Howard Players, which performed Ibsen’s “The Wild Duck” and Strindberg’s “Miss Julie” on a tour of Scandinavia at the invitation of the Norwegian government. “We were the only Black company to tour those marvelous countries,” she told The Record of Hackensack, N.J., in 1971.She earned a Master of Fine Arts degree in 1952 at the Goodman School of Drama at the Art Institute of Chicago (now a part of DePaul University). As a Fulbright scholar in 1954, she studied at the Royal Academy of Dramatic Art in London. Dissatisfied with the curriculum, however (“they were always doing ‘Cleopatra,’” she said), she transferred to the London Academy of Music & Dramatic Art.Back in Chicago she began acting — she was in a summer stock play, “Mamba’s Daughters,” with Ethel Waters — while also writing for the Black newspaper The Chicago Defender. In 1959, while on a trip to Paris that she had won through an Ebony magazine essay contest, she met the author Richard Wright, who, she recalled, asked her, “They still lynching people back in the States?”“I remember telling him, ‘They do it a little differently there today,’” she told The Times in 1971. But the next day she read about a Black man who had been accused of rape and taken forcibly to a jail cell; his body was later found floating in a river. “I kept wondering to myself,” she said, “‘What is that man saying about my analysis of things?’”And she wondered what she would do when she got home.At first she continued acting. She appeared in various Off Broadway plays, including Josh Greenfeld’s “Clandestine on the Morning Line” (1961), with James Earl Jones, in which a pregnant young woman (Ms. Perry Ryder) from Alabama strolls into a restaurant looking for the father of her child.Edith Oliver, reviewing the play in The New Yorker, praised Ms. Perry Ryder’s “lovely performance,” writing that she gave her role “such quiet, innocent strength and apparent unawareness of the character’s pathos that we almost forget it, too.”Frustrated with the roles she was offered, Ms. Perry Ryder turned to directing, first at the Negro Ensemble Company in New York, with a workshop production of Ms. Franklin’s “Mau Mau Room.”“I got the feeling that maybe there’s a place for me,” she told The Times.Two years later, she directed “The Sty of the Blind Pig” for the Negro Ensemble Company. In the drama, a blind street singer in 1950s Chicago goes to a house on the South Side looking for a woman he once knew.Emory Lewis wrote in his review in The Record that Ms. Perry Ryder “had marshaled her actors with loving attention to period detail and nuance.”Ms. Perry Ryder, left, in 1971 while directing “Black Girl,” a play by J. E. Franklin, right, about three generations of Black women. Produced by the New Federal Theater, it was staged at the Theater de Lys on Christopher Street in Lower Manhattan. Bert Andrews Her theater work continued for more than 40 years, including writing and directing “Things of the Heart: Marian Anderson’s Story,” about the brilliant Black contralto; directing and rewriting the book for a 1999 revival of “In Dahomey,” the first Broadway musical, originally staged in 1903, written by African Americans; and writing a soap opera for a Black radio station in New York City.In 1986, Ms. Perry Ryder joined the faculty of Lehman College in the Bronx, where she taught theater and ran the drama program. At Lehman, she staged “Looking Back: The Music of Micki Grant,” a revue based on Ms. Grant’s theatrical works, which include “Don’t Bother Me, I Can’t Cope.” She retired in 2001.In addition to Lorraine Ryder, Ms. Perry Ryder is survived by two other daughters, Gail Perry-Ryder Tigere and Natalie Ryder Redcross, and four grandchildren. Her husband, Donald Ryder, an architect, died in 2021. More

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      Arthur French, Negro Ensemble Company Pioneer, Dies at 89

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      He more or less stumbled into a career as an actor, but it proved to be a long and prolific one, on film, on television and especially on the stage.Arthur French, a prolific and acclaimed (if relatively unsung) actor who was a founding member of the Negro Ensemble Company, died on July 24 in Manhattan. He was 89.His death, in a hospital, was announced by his son, the playwright Arthur W. French III, in a post on Facebook.Mr. French more or less stumbled into his theatrical career. After abandoning early plans to become a preacher, he aspired to be a disc jockey, but when he showed up at the D.J. school he had hoped to attend, he found that it had closed after bribery investigations began into the radio payola scandal of the late 1950s.Fortunately, the Dramatic Workshop, where Lee Strasberg and Stella Adler taught, was located in the same building, and Mr. French signed up for classes. He was coached by the actress Peggy Feury; he caught the attention of Maxwell Glanville’s American Negro Theater; and his career as a supporting actor was born.Mr. French made his professional debut Off Broadway in “Raisin’ Hell in the Son,” a spoof of Lorraine Hansberry’s “A Raisin in the Sun,” at the Provincetown Playhouse in 1962. Three years later he appeared in Douglas Turner Ward’s “Day of Absence,” which spawned the Negro Ensemble Company. He first appeared on Broadway in Melvin Van Peebles’s musical “Ain’t Supposed to Die a Natural Death” in 1971.“That’s when I decided to quit my Social Service job,” he said in a recent interview with the arts journal Gallery & Studio. He had been working days as a clerk with New York City’s welfare department.Mr. French appeared in Broadway revivals of “The Iceman Cometh” (1973), “Death of a Salesman” (1975) and “You Can’t Take It With You” (1983). His films included Spike Lee’s “Malcolm X” (1992) and “Crooklyn” (1994). Among his many television appearances were three episodes of “Law & Order,” two of “Law & Order: Special Victims Unit” and one of “Law & Order: Criminal Intent.”Reviewers often called attention to his sonorous voice and the civility of his performances; his notices in The New York Times were consistently positive. Reviewing his portrayal of Bynum, a “conjure man,” in a 1996 revival of August Wilson’s “Joe Turner’s Come and Gone” at the Henry Street Settlement, Vincent Canby called it “a variation on the seer, sometimes the idiot savant, who turns up with regularity in Mr. Wilson’s work but never as fully realized as the character is here.”When Mr. French was seen in “Checkmates” at the same theater that year, Lawrence Van Gelder wrote in The Times, “The real treats are Ruby Dee and Arthur French as the Coopers, gifted old pros who tickle the funny bone and touch the heart.”He occasionally directed, most recently a 2010 production of Steve Carter’s 1990 play “Pecong,” a retelling of the Medea story set in the Caribbean, at the Off Off Broadway National Black Theater.Mr. French taught at the HB Studio in New York. He received an Obie Award for sustained excellence of performance in 1997 and a Lucille Lortel Award for his supporting role in August Wilson’s “Two Trains Running” in 2007. In 2015, he was awarded a Paul Robeson Citation from the Actors’ Equity Association and the Actor’s Equity Foundation for his “dedication to freedom of expression and respect for human dignity.”Mr. French, right, with Frankie Faison in the Signature Theater Company’s 2006 production of August Wilson’s “Two Trains Running.” Mr. French won a Lucille Lortel Award for his performance.Sara Krulwich/The New York TimesArthur Wellesley French Jr. was born on Nov. 6, 1931, in Harlem to immigrants from Saint Vincent and the Grenadines in the Caribbean. His father, a former seaman, died young; Arthur himself survived a bout with asthma. His mother, Ursilla Idonia (Ollivierre) French, was a garment workers’ union organizer, and Arthur helped her earn extra money by embroidering material she took home.His mother encouraged him to take music lessons, which led to a piano recital at Carnegie Hall. He attended Morris High School in the Bronx before transferring to the Bronx High School of Science; after graduating, he attended Brooklyn College.In 1961, he married the singer Antoinette Williams. She died before him. In addition to their son, he is survived by a daughter, Antonia Willow French, and two grandchildren.In the Gallery & Studio interview, Mr. French was asked what he had learned about himself during his 50-year career.“I like the world of fantasy,” he replied. “And my father told me, ‘Learn something so well that you won’t have to lift up anything heavier than a pencil.’” More

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      Douglas Turner Ward: A Lens on ‘Questions That the Country Wasn’t Asking’

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      AdvertisementContinue reading the main storySupported byContinue reading the main storyDouglas Turner Ward: A Lens on ‘Questions That the Country Wasn’t Asking’Samuel L. Jackson, David Alan Grier, Phylicia Rashad and others remember the Negro Ensemble Company founder.Douglas Turner Ward waiting to go onstage after the opening night performance of “A Soldier’s Play” in January 2020. Kenny Leon, who led the production, called Ward’s presence and smile up there that night “the greatest experience for me as an American director.” Credit…Sara Krulwich/The New York TimesFeb. 23, 2021Updated 5:20 p.m. ETDouglas Turner Ward, who died at 90 on Saturday, left a legacy of extraordinary reach.By the time he founded the Negro Ensemble Company in 1967 with Robert Hooks and Gerald Krone, he had already been on Broadway in the original 1959 cast of “A Raisin in the Sun,” playing a tiny role while understudying Sidney Poitier.In the mid-’60s, Ward made a splash with his short satire “Day of Absence” — in which Black actors in whiteface makeup played white characters — and with an essay in The New York Times titled “American Theater: For Whites Only?” He dedicated his career to making sure that the answer was no.Nurturing the talents of Black artists through his company, he watched a remarkable number go on to fame — not least those from his acclaimed 1981 original production of Charles Fuller’s Pulitzer Prize-winning “A Soldier’s Play,” whose cast included Denzel Washington, Samuel L. Jackson and David Alan Grier.This week, company alumni and other colleagues reminisced about Ward and how he shaped the field. These are edited excerpts from the conversations.Samuel L. Jackson and LaTanya Richardson JacksonNegro Ensemble Company alums; in a joint interviewLATANYA RICHARDSON JACKSON He wanted the work of great African-American and Black artists to be as important to the world and to the artists themselves as the dominant culture. And his love of that original Negro Ensemble Company was always first in his conversation about art, because he so respected all of those actors and felt that they represented the best of the best inside the business, period.SAMUEL L. JACKSON He carried, like, four newspapers around with him. Every day. And when we were in rehearsal, he would sit in the back of the theater reading the paper. He would be in the back left corner reading the paper, and then, you know, you’d look up, and by the time you’d finished the first act, he’d be in the middle of the theater reading the paper, and then he’d be in another corner reading the paper, or in the balcony reading the paper. And at the end of rehearsal, he’d come down and give you notes! And we’d be like, “You’ve been reading the paper!” And then we started to find out that he only looked up from reading the paper when there was a bad line reading, or something sounded off.From left, Sophie Okonedo, Denzel Washington, LaTanya Richardson Jackson, Bryce Clyde Jenkins and Anika Noni Rose in a 2014 performance of “A Raisin in the Sun” at the Ethel Barrymore Theater.Credit…Sara Krulwich/The New York TimesLATANYA RICHARDSON JACKSON We stayed in touch with Doug. When I was doing “Raisin,” he was one of the first persons I saw when we came off the stage.SAMUEL L. JACKSON I remember when I was doing “Shaft,” he just walked into my trailer one night.LATANYA RICHARDSON JACKSON Yeah, he kept up with his people now. He would find you.SAMUEL L. JACKSON Sometimes when people pass, you can actually feel the hole in the universe. This is one of those.Robert HooksA founder of the Negro Ensemble CompanyWe bonded on the road with “A Raisin in the Sun.” Douglas got to play the Sidney Poitier role, Walter Lee [Younger], which was a role he had understudied from the very beginning.He was a highly intellectual man. Read all the time about everything. I was not into politics at all. But by the time we closed “Raisin in the Sun,” I was a politico. We talked politics all the time. We talked about Black art.His whole sense of humor as it relates to his writing was classic. He proves it, of course, in “Day of Absence,” when all the Black people disappear from this Southern town. It’s just hilarious. But the white folks that were laughing, their heads would roll down the aisle because that’s the kind of humor Douglas wrote: scathing, scathing stuff.Of all the men that I’ve ever met in my life, he was the greatest influence. My father died when I was 2. But when I met Douglas Turner Ward, I had a father and a brother.Phylicia RashadNegro Ensemble Company alum; in a written statementDouglas Turner Ward was a “salt of the Earth” person who brought those sensibilities to the art of theater. He was daring. He was bold. He was honest. He was kind. He made room for many theater artists. He even created space.Phylicia Rashad in the play “Cat on a Hot Tin Roof” at the Broadhurst Theater in 2008. She said of Ward: “He was daring. He was bold. He was honest. He was kind.”Credit…Sara Krulwich/The New York TimesWoodie King Jr.Producing director and founder of New Federal TheaterHe was touring in “A Raisin in the Sun,” and they came to the Cass Theater in Detroit, and I went down to see the play and waited around. Then I walked them back to the hotel, and we talked. I showed up the next night and the next night. Finally they said, “When you get to New York, man, we can talk all the time.” I said, “Well, while you’re in Detroit for these two weeks, can I come back tomorrow?” So that was my first encounter with Douglas Turner Ward.Two weeks later, I saw Sidney Poitier in “The Defiant Ones.” These two dark-skinned actors sort of like put a stamp on the acting profession. That’s what I wanted to be. It seemed possible. Absolutely possible.Sade LythcottChief executive of National Black Theater, founded by her mother, Barbara Ann TeerDouglas and my mom grew up together, artistically. It was such a seminal moment in our country, the mid-1960s. It was the birth of Black consciousness. And “Day of Absence” was such a seminal work. My mom was in it. And that was such a metaphor for so much of their relationship: the support onstage and behind the stage to do something that felt revolutionary and felt accurate in the telling of our stories, and that that could be the revolution — Black stories in the way that Douglas wrote that. From our lens, the questions that the country wasn’t asking.David Alan Grier, second from left, facing Nnamdi Asomugha in “A Soldier’s Play,” in 2020. Grier was also in the original 1981 production of the Charles Fuller play, with Denzel Washington and Samuel L. Jackson.Credit…Sara Krulwich/The New York TimesDavid Alan GrierNegro Ensemble Company alum Growing up in Detroit, I read about the Negro Ensemble. My parents took me to see a road company of “The River Niger.” These were artistic heroes to me, and specifically Douglas Turner Ward. When I went into the company of “A Soldier’s Play” [in the original production], I auditioned for him. I was really nervous, and he directed and put me in.I was in town to do “Race” back in 2009, and I ran into Doug in a restaurant we used to hang out in. He came over and he said, “I really want to congratulate you on all of your success on television and in film. But please, you guys” — meaning me, Denzel, Sam Jackson, not to put myself on their level, but we were all in the play together, that was our connection — he said, “Don’t forget the theater, man. Always come back. We need you here, and the theater needs you here.”Sometimes those words, those moments of mentorship, mean and resonate so much and so deeply.Kenny Leon, with the microphone, thanked Douglas Turner Ward, second from left, and Charles Fuller, third from the left, on opening night of “A Soldier’s Play” last year.Credit…Sara Krulwich/The New York TimesKenny LeonDirector of the Broadway production of “A Soldier’s Play,” in 2020The greatest experience for me as an American director was when the curtain went down that opening night, for me to call Douglas Turner Ward and Charles Fuller on that stage. To have Doug come up there and have him smile like that.Hattie WinstonA founding member of the Negro Ensemble CompanyDouglas Turner Ward is responsible for — and I say this without hesitation — the careers of not only Sam and LaTanya and Denzel and myself, but Phylicia Rashad, Debbie Allen, Charles Weldon, Adolph Caesar came through there. Not just actors, but costume designers, set designers, directors.Michael Schultz directed our very first production at the company, a play called “The Song of the Lusitanian Bogey” that was written by Peter Weiss, who was a German playwright who was a friend of Doug’s. It was all about colonialism in Africa. With that play, N.E.C. was chosen to represent the United States of America in the international theater festival in London. That was monumental.So Douglas Turner Ward, he’s in my heart, and he will always be in my heart. He’s responsible for me being who I am. It all came from Doug. We’re his children.AdvertisementContinue reading the main story More

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      Douglas Turner Ward, Pioneer in Black Theater, Dies at 90

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      AdvertisementContinue reading the main storySupported byContinue reading the main storyDouglas Turner Ward, Pioneer in Black Theater, Dies at 90A founder of the Negro Ensemble Company in New York in the 1960s, he was outspoken about limited opportunities for fellow Black actors and directors.Douglas Turner Ward, right, in 1971 with the director and producer Michael Schultz on the set of the play “The Sty of the Blind Pig.”Credit…Edward Hausner/The New York TimesFeb. 22, 2021Douglas Turner Ward, an actor, playwright and director who co-founded the celebrated Negro Ensemble Company, a New York theater group that supported Black writers and actors at a time when there were few opportunities for them, died on Saturday at his home in Manhattan. He was 90.The death was confirmed by his wife, Diana Ward.Mr. Ward was establishing his own career as an actor in 1966 when he wrote an opinion article in The New York Times with the headline “American Theater: For Whites Only?”“If any hope, outside of chance individual fortune, exists for Negro playwrights as a group — or, for that matter, Negro actors and other theater craftsman — the most immediate, pressing, practical, absolutely minimally essential active first step is the development of a permanent Negro repertory company of at least Off-Broadway size and dimension,” he wrote. “Not in the future … but now!”The article got the attention of W. McNeil Lowry, the Ford Foundation’s vice president of humanities and the arts, who arranged a $434,000 grant to create precisely the kind of company that Mr. Ward was proposing. Thus the Negro Ensemble Company was born, in 1967, with Mr. Ward as artistic director, Robert Hooks as executive director and Gerald S. Krone as administrative director.The company went on to produce critically acclaimed productions, among them Joseph A. Walker’s “The River Niger” (1972), which won the Tony Award for best play in 1974 and was adapted for film in 1976. Mr. Ward not only directed the play but also acted in it, earning a Tony nomination for best featured actor in a play.Other notable productions by the company included Samm-Art Williams’s “Home” (1979) and Charles Fuller’s Pulitzer Prize-winning drama “A Soldier’s Play” (1981), about a Black officer investigating the murder of a Black sergeant at a Louisiana Army base during World War II, when the armed forces were segregated. The cast included Denzel Washington and Samuel L. Jackson. (It, too, was adapted for film, as “A Soldier’s Story,” in 1984.)Frank Rich of The Times called the production, directed by Mr. Ward, “superlative.” (The play was revived last January on Broadway, starring Blair Underwood, before being forced to close because of the pandemic.)The Negro Ensemble Company became — and continues to be — a training ground for Black actors, playwrights, directors, designers and technicians. Many of the troupe’s actors over the years went on to become stars, among them, in addition to Mr. Washington and Mr. Jackson, Angela Bassett, Louis Gossett Jr. and Phylicia Rashad.Mr. Ward, right, in 1967 with the ensemble company co-founder Robert Hooks. They started the troupe that year with a grant from the Ford Foundation, setting up headquarters at St. Mark’s Playhouse in the East Village.Credit…Don Hogan Charles/The New York TimesThe company, and Ford’s contribution, won immediate praise after its founding. The Rev. Dr. Martin Luther King Jr. said the grant represented “a magnificent step toward the creation of new and greater artists in the community,” and Roy Wilkins, the executive director of the N.A.A.C.P. at the time, said the foundation had “recognized the potential in the Negro theater” and the talent of “hundreds of actors and entertainers who have struggled individually.”The company began racking up Obie, Tony and Drama Desk awards and recording firsts. In 1975, the Times critic John J. O’Connor acknowledged the historical significance of a “superb” television production of Lonne Elder III’s play “Ceremonies in Dark Old Men,” set in 1950s Harlem. “The event marks the debut of a major Black theater organization, the Negro Ensemble Company, on American network television,” he wrote.Mr. Ward starred with Rosalind Cash in 1975 in the well-received ABC television movie adaptation of the play “Ceremonies in Dark Old Men.” Credit…Bert Andrews/ABC, via Getty ImagesThe company enabled Mr. Ward to solidify his own career as an actor and director.“I love acting for the communal thing — you know, working with people,” he said in an interview with The Times in 1975. But directing, he added, “sort of happened to me.”“I never had any intention of functioning as a director,” he continued, “but as the artistic director of the company, I choose the plays, and if I can’t find someone to direct them for us, I do it myself.”One of the first plays he directed was Richard Wright and Louis Sapin’s “Daddy Goodness” (1968), about a town drunk in the rural South who falls into such a stupor that his friends think he is dead.In an interview, Mr. Fuller said, “Doug is the only director I have worked with that could read any play and know whether its story line and characters would ‘work’ onstage.”The Negro Ensemble Company was not immune to criticism, however. The founders were criticized early on for setting up their headquarters at the St. Mark’s Playhouse in Manhattan’s East Village rather than at a theater in Harlem, and for appointing a white administrator, Mr. Krone. (He died last year at 86.)Mr. Ward, front left, on opening night of a revival of “A Soldier’s Play” in New York last January. He shook hands with the play’s author, Charles Fuller. Credit…Sara Krulwich/The New York TimesRoosevelt Ward Jr. was born on May 5, 1930, in Burnside, La., to Roosevelt and Dorothy (Short) Ward, impoverished farmers who owned their own tailoring business. His family moved to New Orleans when he was 8, and he attended Xavier University Preparatory School, a historically Black Roman Catholic institution.Mr. Ward was admitted to Wilberforce University in Ohio in 1946, then transferred to the University of Michigan at Ann Arbor, where he studied politics and theater. He quit college at 19 and moved to New York City, where he met and befriended the playwrights Lorraine Hansberry and Mr. Elder.In the late 1940s, Mr. Ward joined the Progressive Party and took to left-wing politics. He was arrested and convicted on charges of draft evasion and spent time in prison in New Orleans while his case was under appeal. After his conviction was overturned, he moved back to New York and became a journalist for the Communist Party newspaper The Daily Worker.He also began studying theater, joining the Paul Mann Actors Workshop and choosing the stage name Douglas Turner Ward, in homage to two men he admired: the abolitionist Frederick Douglass and Nat Turner, who led a revolt against slavery.One of Mr. Ward’s first acting roles was in Eugene O’Neill’s “The Iceman Cometh” in 1956 at Circle in the Square in Manhattan; another was as an understudy in Ms. Hansberry’s “A Raisin in the Sun” on Broadway in 1959, with Sidney Poitier and Claudia McNeil in the lead roles.He also began developing as a playwright. In 1965, an Off-Broadway double-bill production of his satirical one-act comedies “Happy Ending” and “Day of Absence” became a hit, bringing him a Drama Desk Award for outstanding new playwright. Surviving a transit strike, the production ran for 15 months.Mr. Ward had lead roles in many plays, including “Ceremonies in Dark Old Men,” for which he won the Drama Desk Award, and “The Brownsville Raid,” about an incident of military racial injustice in a Texas town. Clive Barnes, reviewing “Brownsville” for The Times, wrote “Ward, who, to be frank, I usually admire more as a director than an actor, has never been better.”Among his many awards and honors, Mr. Ward received the Dr. Martin Luther King Jr. Humanitarian Award. In 1996, he was inducted into the Theater Hall of Fame.He continued to write into his later years. Last March, he published “The Haitian Chronicles,” a series of three plays that he had been working on since the 1970s, all centered on the Haitian Revolution, which threw off colonial rule in the early 1800s. His wife said that he had considered the project his magnum opus and that she and others were hoping to have the plays staged in New York with alumni from the Negro Ensemble Company.In addition to Ms. Ward, whom he married in 1966, he is survived by their two children, Elizabeth Ward-Cuprill and Douglas Powell Ward, and three grandchildren.At the Negro Ensemble Company, Mr. Ward often played matchmaker in connecting actors to roles, seeking out opportunities for people whom he knew had not been getting much work.“Doug never saw N.E.C. as a place to feature himself,” the playwright Steve Carter, who was a production coordinator for the company, said in a phone interview for this obituary in 2017. “He was always looking for new people.”Mr. Carter, who died last year, said Mr. Ward had been known for his willingness to step into any role in which he was needed. He recalled in particular a 1972 production of “A Ballet Behind the Bridge,” by the Trinidadian playwright Lennox Brown. With the actor Gilbert Lewis unable to appear one evening, Mr. Ward was hastily summoned to fill in.“Doug went on with script in hand,” Mr. Carter said. Then Mr. Ward actually injured his hand on the set and began bleeding profusely, but he refused to go to the hospital until he had finished the show.“He would always do what was necessary for N.E.C.,” Mr. Carter said.Alex Traub contributed reporting.AdvertisementContinue reading the main story More