On Thursday, Jan. 29, Woodie King Jr., film actor and founder of the New Federal Theatre, died at the age of 88. On hearing the sad news, the theater community poured out their hearts as they shared their fondest memories of this great, humble man. I feel fortunate to say that Woodie got his flowers while he was here: He received a Special Tony Award and a Special AUDELCO Award; was the subject of the documentary “King of Stage: The Woodie King Jr. Story”; and was also the subject of a bronze bust. This man gave so many people love and started them off on their acting, playwrighting, and directing careers. This gentle giant had a heart of gold and a hearty laugh that filled the room. I wanted to share my fondest remembrance of Woodie and thoughts of those who knew and loved this man all these decades. I wrote this the same day I found out the news.
I feel numb. I just received the news that Woodie King Jr., a man I affectionately referred to as “Mr. Black Theatre,” has passed away. I have known, been friends with, and had a great respect and love for Woodie King Jr. In addition to founding the New Federal Theatre, Woodie possessed a knowledge of theater that was astounding. The productions that he helmed at New Federal Theatre always focused on important issues in the Black community. His passion and love for theater, and telling our stories in the way only we can do it, is something that will always live on.
Since I’ve known Woodie, in the 40 years I’ve been a theater critic, I have had many beautiful experiences with this man. Whether speaking with him over the phone about productions or things going on in my life, or going to him for his vast theater knowledge, which was like a friendly encyclopedia of dates, people, and events, I’ve been blessed to have him in my life.
In October, the Lincoln Center Performing Arts Library held a panel in honor of my 40 years as a theater critic and Woodie was one of the panelists, despite the fact that he was feeling under the weather. When I saw Woodie in the green room with Elizabeth Van Dyke, I asked him how he was feeling. He looked into my eyes and said, “Linda, I’m only here because it’s you.” I said, “I could not have imagined this panel without you — we have been together since I began.”
During the panel, the moderator asked the panelists questions about my impact on Black theater. Woodie’s reply was so detailed and beautiful. Then he proceeded to ask me questions about my reviews over the years. I loved how he participated, and felt honored and privileged to answer his questions. Woodie King Jr. was one of the kindest souls I’ve come across in my life. I will miss him more than words can express. I love you, Woodie!
Jackie Jeffries, president of AUDELCO, beautifully addressed the late Woodie King Jr.: “There truly was a King who lived among us. Whether he was holding court telling stories at B Smith’s, West Bank Cafe, or the Marriott in North Carolina, to name a few, I could sit for hours listening to his insightful stories of his personal life, theatre stories, historical commentaries, and travels around the world. Talking about his experiences with veteran playwrights, directors, actors, and fellow producers or sharing nuggets about some new and upcoming star. He had a memory that was infallible. I loved to hear him call people’s names as they passed by and stopped in their tracks to hear what the King had to say.
“For over 35 years, I have had the distinct honor to work with this legendary man. That smile, your laughter, and your wisdom are priceless jewels I will cherish forever. He has become one of the greatest influences in my life. An awesome mentor, friend, and theater father! Thank you for being an awesome living example of how to motivate, educate, and inspire people to fulfill their purpose in life. You have opened so many doors for me and countless others. We will always be in your debt. You will live on forever through the seeds you planted in us all. Peace and Love Always!”
Dr. George Faison, director/choreographer/producer/writer and founder of the Faison Firehouse Theatre, had this to say regarding his fondest memory of Woodie King Jr. “I came to New York in 1965 and I had my heart set on being a dancer. It was a time when we were changing and moving. People were thinking of a myriad of things to go and be. A lot of us were crawling in the beginning. All these people from places like Detroit came here, like Woodie. We were a group of dreamers.
“Woodie is one of the architects of what Black Theatre is now. He is a giant like me. Woodie wanted people to know the good news about what theater could do. It could help them see the possibility of their lives. You could always depend on Woodie to lead that, to bring us home, to be inspired. Mine and Woodie were kindred spirits that gave us lessons in building and making community and making theater, and he created artists along the way.”
Kenny Leon, Broadway director and founder of the True Colors Theatre company, humbly said, “Woodie is responsible for probably everything that I am as an artist. When I had to go and seek out people from the previous generation, I sought out Lloyd Richards and Woodie King. He directed me in ‘A Raisin in the Sun.’
“I was just listening to Woodie when he accepted the Tony honors award and what it meant to him on a video. That was one of the proudest moments of my life — being on the Tony honors committee and calling to tell him that he was going to be honored. He made me feel like I was getting the award.
“Everything that I stand on is because of Woodie King. I didn’t know it was possible for a black man to run a theater company. When I first met Woodie, I was an actor. He knew me from the beginning. The freshest memory is he called me one night because he was thinking about me. I’ll miss his laughter, but he lived a great life, a long life. I don’t see how any of us could be where we are today without him. He was proud of me running the Alliance Theatre and then I started the True Colors Theatre Company. The great thing is remembering that laugh and the gift that he was to all of us. Not just to Black America, but American theater.”
Juney Smith, documentary filmmaker creator and director, said, “Glynn Turman and I were sitting with Woodie King in a restaurant after a performance of a one-man show with Timothy Simonson playing Adam Clayton Powell. It was amazing listening to Woodie talk about writers and authors in a way that was so introspective. I realized that I was sitting among an erudite and a theatre legend that a movie should be done about, and that was the moment that I knew that Glynn and I were going to do the documentary film, ‘King of Stage, the Woodie King Jr. Story.’”
Juney Smith, documentary filmmaker, creator, and director.
Herman LeVern Jones, MFA, co-creator and special assistant to the producer (Larry Leon Hamlin) of the National Black Theatre Festival, National Black Touring Circuit, associate producer, executive producer, and artistic director of TheatreSouth Inc., had this to say: “Woodie King Jr. was more than my colleague at New Federal Theatre and the National Black Touring Circuit, Inc. — he was my mentor, my artistic compass, and my brother in the struggle to elevate Black voices on the American stage. His belief in our stories shaped the course of my life and the lives of countless artists who found a home under his vision. We built work together that mattered, work rooted in truth and dignity, and his passing leaves a space in our community that cannot be filled. Yet his legacy lives in every stage he opened, every artist he nurtured, and every story he insisted was worthy of being told.”
Actor Ralph Carter had this message for Woodie: “I sincerely appreciated that you’ve always given me a job and an opportunity to work. It was always my honor to call you my big brother. Thank you for respecting me as a man and the work that I delivered. My fondest remembrance of him was his laughter, and I always wondered, when does this guy get any sleep? They say James Brown was the hardest-working man in show business, but Woodie King was the hardest-working man in show business. He taught me a lot. Woodie King, mission accomplished.”
Veteran actor of film and theater Keith David said, “Woodie King Jr. was a giant — a great man and a great human being! I last saw him a few years ago and it felt like a family reunion. He always made me feel welcomed and respected. I will deeply miss this true ‘King’ in every sense of the word.”
Stephen McKinley Henderson, Broadway and film actor, especially with the work of August Wilson, had these thoughts about the King: “Ron Himes, founder of the St. Louis Black Repertory Theater, hosted Woodie, Amiri Baraka, and me for a celebration of August Wilson. The legacy, laughter, and wisdom shared at that time is a cherished memory, but now, every moment with Woodie, especially the music and the meals, [is] precious. Gonna miss hearing that laugh, but I will always see that smile.”
Playwright Richard Wesley said, “Woodie King Jr. had been in my life for 55 years. That’s longer than I had both my parents. The playwright Ed Bullins introduced us backstage at a theater in Greenwich Village. Ed and Woodie had been scheduled to have a conversation. I was just tagging along. I had no idea the role that Woodie would continue to play in both my career and in my life and formation as a person.
“Woodie nominated me for, and I received, a Rockefeller Grant that helped sustain my wife Valerie and myself when we were beginning our lives together as a married couple, and my career as a dramatist. When I was beginning to establish myself as a playwright, Woodie was the first to read my play, ‘The Talented Tenth,’ which he brought to the New Federal Theatre in a revival production. Years later, he produced my play ‘Autumn’ at the Crossroads Theater.
Frankie Faison, Richard Wesley and Woodie King Jr. (Richard Wesley photo) 
Woodie King Jr. and Linda Armstrong at AUDELCO Awards. (Linda Armstrong photo) 
Jackie Jeffries and Woodie King Jr. at AUDELCO Awards. (Linda Armstrong photo) 
Juney Smith and Woodie King Jr. (Juney Smith photo) 
Woodie King Jr., Glynn Turman, Rome Neal. and Voza Rivers at New Federal Theatre celebration 2023. (Rome Neal photo) 
Woodie King Jr., Brian Stokes Mitchell, Rome Neal, Jackie Jeffries, Linda Armstrong, Kara Young, Brittani Samuel, and Keenan Scott II at Lincoln Center Performing Arts panel, “Linda Armstrong: Celebrating 40 years of New York Theater Criticism.” (Linda Armstrong photo) 
Woodie King Jr. and Bianca LaVerne Jone.s (Bianca LaVerne Jones photo)
“He was an advisor, a producer, a friend, a beacon, and as constant as the North Star, which is why his sudden passing last week cut so deeply and hurts so much. I know the pain of this loss will go away, but what will linger — what will remain — are the memories of his indomitable energy and spirit. That infectious laugh of his. That big, wide smile. That intellect. That fierce all-embracing championing of Black Theater and everything it represents. Thank you, Woodie King Jr. We are all the better because we had you in our lives.”
Producer/writer/actress Nambi E. Kelley recalled, “My fondest remembrance of Woodie King Jr. starts with my daddy. Woodie lived in my daddy’s building in New York. When I first met him, he told me he’d known who I was for years because every time my dad ran into him in the elevator, he’d tell him, ‘You need to know my daughter! She’s an actress and writer!’
“Years later, I got to read for Jeffrey Sweets’s off-Broadway production of ‘Court Martial at Fort Devens,’ directed by Mary Beth Easley, produced by Woodie’s New Federal Theatre. I got the part, the lead — my New York debut. Woodie came to the theatre every day. Watching rehearsals, in the audience, laughing that big, loving laugh he had. Hearing his laugh from the stage, he was full of love for you, the artist, the creator, the human being. During that show, he always made me feel cared for, loved, like I was family.”
Kelundra Smith, playwright of “The Wash,” said, “In every movement for social progress and social justice, there are roles for each of us to play. Woodie King Jr. was a visionary and a way-maker who lived up to his last name. There are very few people in the American theater who can say that they made a way for new artists to explore, build, expand, and develop their crafts over the course of five decades, touching people in every single one of those up in those decades. He never missed a decade; he maximized his time. In the art that we love so much, I am one of those artists.
“I formally met Mr. King at the 2024 International Black Theatre Festival in Winston-Salem, N.C. It was there that he gave his blessing for this company, the New Federal Theatre, to produce my play, ‘The Wash.’ In 2025, he and Elizabeth Van Dyke gave me my first off-Broadway production and the show went on to win four AUDELCO Awards.
“Mr. King was born in Mobile, Alabama, and my father was raised in Selma, and Mr. King passed on my father’s birthday. I’m not sure that he’ll ever know what that meant to my family, but I hope that each of us will learn from his legacy of never leaving behind a single generation. The American theater is better because Woodie King Jr. helped shape it.”
Actress/director Bianca LaVerne Jones said, “Woodie shaped my life in ways that remain immeasurable. At 13, I stood in my parents’ living room performing Shakespearean [Juliet] and contemporary monologues [Lady in Red] for him, and he treated my young artistry with seriousness and care. Two years later, he wrote my recommendation letter for high school, the North Carolina School of the Arts, and then college — SUNY Purchase, and the Yale School of Drama. After I graduated from Purchase, the New Federal Theatre honored me with the Sidney Poitier Award, a moment that affirmed the path I was walking.
“Woodie came to my first Broadway show and took my father and me to dinner afterward. It was Woodie [who] gave me one of my first directing opportunities. In 2025, I appeared in New Federal’s final production, ‘The Wash.’ Woodie had been present for the very first monologues of my career, and he was a witness again — nearly a lifetime later — to the last monologue I performed under the New Federal banner.”
Ty Jones, producing artistic director, Classical Theatre of Harlem, had this to say: “When Mr. King passed, I found interviews where he had shared his trials, triumphs, and lessons on the state of theater. Theater-makers can honor him by mining the jewels of the mind of an artist who has seen and experienced the peaks and valleys of running an institution for over half a century. Heaven has gained an angel.”
Playwright/actor/director/jazz vocalist Rome Neal said, “Going back to that moment when he acknowledged and recognized me for my fortitude and self-determination to pursue jazz with my Banana Pudding Jazz at the 53rd anniversary of New Federal Theatre (NFT) at the Empire Room, he acknowledged all these great theater artists like Denzel and then he acknowledged Rome Neal. Then he went on talking about me. He said, ‘Rome, you did what you wanted to do and what you liked to do.’ He really gave me my props.
“He invested money in ‘Monk’ and we lost money and he told me don’t worry about it. I was hurting — it was my first time producing my own off-Broadway show. He showed me love.”
Quoting King’s exact words, Neal said, “‘NFT has led me to so many pioneers in theatre and literature — Jon Oliver Killens, Julian Mayfield, Theodore Ward, Sidney Poitier, Denzel Washington, Robert Penn Warren, Fred O’Neal, Rome Neal … In the 25 years I’ve known Rome, he’s gone from acting in a stunning production of Monk to creating his own style in Banana Puddin’ Jazz.’
“At this time, to show Woodie love, people should contribute and support New Federal Theatre to keep Woodie’s legacy alive.”