Charlayne woodard

Charlayne Woodard's first play, Pretty Fire, which she wrote and performed, enjoyed successful engagements at the Manhattan Theatre Club and at the Seattle Repertory Company. It was published by Penguin Press. Her second play, Neat, also enjoyed sold-out runs at the Manhattan Theatre Club, Seattle Repertory Theater, and the Mark Taper Forum in Los Angeles.

As an actress, Ms. Woodard performed in the original cast of Ain't Misbehavin' on Broadway. Off-Broadway, she performed in such shows as Hang On to the Good Times at the Manhattan Theatre Club, George C. Wolfe's production of The Caucasian Chalk Circle, and opposite Michelle Pfeiffer in Twelfth Night at the New York Shakespeare Festival. Regionally she has worked at the La Jolla Playhouse in Tony Kushner's adaptation of The Good Person of Setzuan (with Lou Diamond Phillips). Film credits include: The Crucible with Winona Ryder, John Schlesinger's Eye for an Eye, with Sally Field, and One Good Cop with Michael Keaton. Television credits include: Run for the Dream: The Gail Devers Story (playing Gail Devers), Oprah Winfrey's The Wedding, and Buffalo Girls with Melanie Griffith and Angelica Huston. Pretty Fire won a Los Angeles Drama Critics Circle Award and the NAACP Theater Award for Best Play and Best Playwright. Neat was nominated for an Outer Critics Circle Award and an Ovation Award (Los Angeles) for Best Play and Best Actress. It won the prestigious Blanche and Irving Laurie Foundation Theater Visions Fund Award. Acting awards include: Tony and Drama Desk nominations for Ain't Misbehavin' and a second Drama Desk nomination for Hang On to the Good Times. Ms. Woodard received an AUDELCO nomination for her performance in George C. Wolfe's production of The Caucasian Chalk Circle.

Charlayne Woodard's latest theater piece, Flight, recently opened at the new Kirk Douglas Theatre in Los Angeles. It was commissioned and developed as part of the Center Theatre Group's P.L.A.Y. (Performing for Los Angeles Youth) program, which targets young people and their families.

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David Richard, in the New York Times, called Pretty Fire "one of the most positive pictures of the Black-American experience I've seen on stage."

Howard Waxman in Variety said of her second play, Neat, "... a frequently funny, often frightening and ultimately very moving series of vignettes. . . . With just a few carefully nuanced gestures and vocal changes, Ms. Woodard offers a

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