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Charles H. Fuller Jr. (March 5, 1939 – October 3, 2022) was an American playwright, best known for his play A Soldier's Play, for which he received the 1982 Pulitzer Prize for Drama and the 2020 Tony Award for Best Revival of a Play.

Key Information

Early life

[edit]

Fuller was born in Philadelphia, Pennsylvania, on March 5, 1939, the son of Charles H. Fuller, Sr. and Lillian Anderson. Raised Roman Catholic, he attended Roman Catholic High School and then Villanova University (1956–1958), then joined the U.S. Army in 1959, serving in Japan and South Korea.[2][3] He left the military in 1962, and later studied at La Salle University (1965–1967), earning a DFA. Furthermore, he co-founded the Afro-American Arts Theatre in Philadelphia.[citation needed]

Career

[edit]

Fuller vowed to become a writer after noticing that his high school's library had no books by African-American authors. He achieved critical notice in 1969 with The Village: A Party, a drama about racial tensions between a group of mixed-race couples.[4] He later wrote plays for the Henry Street Settlement theatre and the Negro Ensemble Company in New York City, which have performed several of his plays. His 1975 play, The Brownsville Raid, is based on the Brownsville affair, an altercation between black soldiers and white civilians in Brownsville, Texas, in 1906, which led to an entire black regiment being dishonorably discharged, though later pardoned in 1976.[citation needed]

Fuller won an Obie Award for Zooman and the Sign in 1980, about a black Philadelphia teen who kills a young girl on her own front porch, and whose neighbors eventually rise up against him after being goaded out of their apathy by the girl's father with a sign. Zooman presents himself as a helpless product of his society, but his victim's father convinces their neighbors that they need to stand together and achieve justice.[citation needed]

Fuller's next work, A Soldier's Play, told the story of the racially charged search by a black captain for the murderer of a black sergeant on a Louisiana army base in 1944, as a means to discuss the position of blacks in white society. Although the play enjoyed a long run, Fuller said it never played on Broadway because he refused to drop the last line, "You'll have to get used to black people being in charge." It was nevertheless a critical success, winning Fuller a Pulitzer Prize in 1982, and being produced as the 1984 film A Soldier's Story, for which Fuller himself wrote the screen adaptation. His screenplay was nominated for an Academy Award, a Golden Globe Award, and a Writers Guild Award of America, and it won an Edgar Award.[citation needed]

After this play, Fuller switched his focus to movies for several years, saying "I always wanted to reach the most people with my work. Not enough people go to the theater."[4] He subsequently penned other works for the stage, but they were not critically acclaimed.

In January 2020, A Soldier's Play finally debuted on Broadway in a production by the Roundabout Theatre Company, starring David Alan Grier and Blair Underwood and directed by Kenny Leon.[5] It ran for 58 performances, closing on March 11, 2020, when Broadway theaters were closed due to the COVID-19 pandemic. The production was declared eligible for a Tony Award for Best Revival of a Play at the 74th Tony Awards despite never having been performed on Broadway before. The Tony nominating committee had deemed A Soldier's Play a classic, but in their ruling, the committee also decided that due to this being the play's first Broadway production, Fuller would be included in the production's nomination as if the play were nominated for a Tony Award for Best Play.[6] As such, Fuller won a Tony Award for A Soldier's Play nearly 40 years after its first production.[7]

Of his methods for advancing the African-American cause, Fuller said in a 1982 interview, "My argument is on the stage. I don't have to be angry. O.K.? I get it all out right up there. There's no reason to carry this down from the stage and into the seats. And it does not mean that I am not enraged at injustice or prejudice or bigotry. It simply means that I cannot be enraged all the time. To spend one's life being angry, and in the process doing nothing to change it, is to me ridiculous. I could be mad all day long, but if I'm not doing a damn thing, what difference does it make?"[8]

Fuller received grants from the Rockefeller Foundation, Guggenheim Foundation, the State of New York, and the National Endowment for the Arts. He also wrote short fiction and screenplays and worked as a movie producer. In 2010, he published his first novel, Snatch: The Adventures of David and Me, a work of children's fiction written for his two sons. He was a member of the Writers Guild of America, East.[citation needed]

Personal life

[edit]

He died of natural causes in Toronto at the age of 83. He left behind his wife, Claire Prieto, his son, David Ira Fuller, his step-son, Ian Kamau, his daughter-in-law, four grandchildren and three great grandchildren.[9][1]

Bibliography

[edit]

References

[edit]
[edit]
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Charles Fuller

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Charles H. Fuller Jr. (March 5, 1939 – October 3, 2022) was an American playwright and screenwriter renowned for his exploration of racial dynamics and moral complexities within Black military experiences during World War II. Born in Philadelphia to a printer father and homemaker mother, Fuller served as a combat engineer in the U.S. Army in South Korea from 1959 to 1962 before working as a social caseworker and co-founding the Afro-American Arts Theatre in 1967. His breakthrough play, A Soldier's Play (1981), a murder mystery set on a segregated Louisiana Army base in 1944, won the 1982 Pulitzer Prize for Drama and was later adapted by Fuller into the 1984 film A Soldier's Story, earning him an Academy Award nomination for Best Adapted Screenplay. Fuller's oeuvre, including earlier works like The Village: A Party (1969), consistently examined intra-racial tensions and institutional racism through structured narratives that challenged simplistic victimhood tropes, influencing subsequent theater on African American identity. He died of natural causes in Toronto at age 83.

Early Life and Education

Childhood in Philadelphia

Charles Henry Fuller Jr. was born on March 5, 1939, in , , to Charles H. Fuller Sr., an industrial printer, and Lillian Theresa Fuller, a homemaker. He grew up with siblings including Charlotte and Walter in a Roman Catholic household. Fuller was raised in a housing project amid challenging urban conditions, where he learned skills early on, stating later that "I grew up in a project in a neighborhood where I had to learn to fight." These experiences shaped his resilience during childhood in a segregated city environment marked by economic pressures on working-class Black families. Attending parochial schools as part of his Roman Catholic upbringing, Fuller developed an early interest in reading and intellectual pursuits, which intensified upon entering around age 14, though his formative years emphasized survival and community ties over formal literary exposure.

Military Service

Fuller enlisted in the in 1959, following two years of study at . His service lasted until 1962, during which he was stationed in and . These postings occurred prior to the major U.S. escalation in , and Fuller did not serve in that conflict. His military experience exposed him to themes of discipline, racial dynamics within the armed forces, and the mechanics of combat training, which later informed his dramatic works exploring Black soldiers' lives.

Post-Service Education and Initial Influences

After his discharge from the U.S. Army in 1962, following service in and , Charles Fuller returned to and took various jobs, including as a housing aide, while pursuing writing in his spare time. In 1965, he enrolled at (now ), where he studied until 1967 and earned a B.A. Fuller's initial forays into writing predated his , beginning with composed in high school to attract female classmates, but his post-service period marked a shift toward more sustained output in short stories, essays, and early dramatic sketches amid the civil rights era's ferment. His experiences, including exposure to racial dynamics within segregated units and overseas postings, profoundly shaped his thematic interests in institutional and Black identity under authority, themes that would recur in his mature works. Early literary aspirations drew from Ralph Ellison's , prompting Fuller to attempt novels before pivoting to theater as a more immediate medium for exploring psychological and social complexities. These influences coalesced during his La Salle studies, where he honed playwriting skills informally, laying groundwork for collaborative ventures like the 1968 founding of the Afro-American Arts Theater in .

Writing Career

Formation of Afro-American Arts Theater

In 1967, Charles Fuller co-founded the Afro-American Arts Theater in with a group of friends, creating an early venue dedicated to African American theater in amid the burgeoning of the late 1960s. The initiative stemmed from a desire to produce works by and about Black experiences, filling a gap in local theater opportunities for African American artists and audiences. Fuller served as co-director alongside collaborators, guiding the theater's operations until around 1970. With no established playwrights in the initial roster, Fuller began composing original scripts to sustain productions, an effort that ignited his professional writing career and led to early works like The Perfect Party in 1969. The theater operated modestly, focusing on community-driven performances that emphasized cultural authenticity over commercial viability.

Breakthrough with "A Soldier's Play"

"A Soldier's Play" premiered on November 20, 1981, at the Negro Ensemble Company's Theatre 85 in New York City, directed by Douglas Turner Ward. The production ran for 468 performances, establishing the play as a critical and commercial success off-Broadway. Set on a segregated U.S. Army base in Louisiana in 1944, the drama centers on the investigation into the murder of Sergeant Vernon Waters, a black non-commissioned officer, revealing tensions of racism, class divisions, and self-hatred among black soldiers. The play's innovative structure, employing flashbacks and multiple perspectives from the suspects, challenged conventional formats while delving into the psychological impacts of segregation on military life. Critics praised Fuller's nuanced portrayal of black characters, avoiding simplistic victimhood narratives and instead highlighting internal conflicts and moral ambiguities within the . This approach marked a departure from earlier works that often emphasized external white , focusing instead on intra-community dynamics as a response to systemic barriers. In 1982, "" received the , with the committee citing its "powerful exploration of racial tensions in the U.S. military." This award made Fuller the second African-American playwright to win the Pulitzer, following , and elevated his profile nationally, leading to broader recognition of his contributions to American theater. The play also garnered the Award for Best American Play, underscoring its impact on contemporary drama. The success prompted a 1984 film adaptation, "," directed by and starring in his feature debut, which earned three Academy Award nominations, including for Best Picture and Best Supporting Actor for Adolph Caesar's portrayal of Sergeant Waters. This transition to cinema further amplified the play's reach, introducing its themes to a wider audience while preserving Fuller's original script as the foundation.

Subsequent Plays and Screen Adaptations

Following the Pulitzer Prize-winning premiere of in 1981, Fuller developed the "We" cycle of plays, a series examining urban African American life and social dynamics. This included Sally and Prince, both premiered in New York in 1988, followed by Jonquil and Burner's Frolic in 1990. These works built on Fuller's interest in racial tensions and community resilience but received less critical attention than his earlier breakthrough. In 2013, Fuller returned to the stage with One Night..., which premiered on November 6 at the Cherry Lane Theatre in New York. The play addresses trauma and injustice experienced by women in the U.S. Armed Forces, drawing from Fuller's military background to explore institutional failures and personal reckoning. Fuller adapted A Soldier's Play into the 1984 feature film A Soldier's Story, directed by Norman Jewison and starring Denzel Washington and Howard Rollins. His screenplay earned nominations for an Academy Award, a Golden Globe, and a Writers Guild of America Award. In 1987, he scripted the CBS television adaptation of Ernest J. Gaines's novel A Gathering of Old Men, directed by Volker Schlöndorff, depicting elderly Black sharecroppers uniting against racial violence in rural Louisiana during the civil rights era. Additionally, his 1980 play Zooman and the Sign was adapted into a 1995 Showtime television film starring Louis Gossett Jr., focusing on urban crime and community silence.

Later Works and Contributions

Following the Pulitzer Prize-winning success of A Soldier's Play in 1982, Fuller created the "We" cycle, a of plays examining amid the Civil War and Reconstruction. The series comprised Sally and Prince (both premiered in 1988), Jonquil (1990), and Burner's Frolic (1990), with initial productions mounted by the . In his later stage work, Fuller addressed contemporary military issues in One Night... (2013), which depicts a Iraq War veteran's aftermath of reporting rape by comrades, highlighting institutional failures in handling such assaults. The play debuted at on November 21, 2013, and later appeared at the Contemporary American Theater Festival in 2014. Fuller's screen and television adaptations extended his reach beyond theater. He penned the screenplay for (1984), the film version of his breakthrough play, earning an Academy Award nomination for Best Adapted Screenplay alongside three other Oscar nods for the production. Additional credits included the telefilm A Gathering of Old Men (1987), adapted from Ernest J. Gaines's novel, and a 1995 TV movie version of Zooman and the Sign. He also scripted The Sky Is Gray, a adaptation of Ernest J. Gaines's focusing on racial resilience. Fuller's enduring contributions reinforced his commitment to portraying multifaceted experiences, particularly in contexts, through collaborations with ensembles like the and a focus on underrepresented narratives. A 2020 Broadway revival of , directed by and starring , secured the Tony Award for Best Revival of a Play, affirming the play's lasting impact nearly four decades post-premiere.

Themes, Style, and Reception

Core Themes in Fuller's Works

Fuller's dramatic oeuvre consistently interrogates the mechanisms of institutional , particularly within the U.S. military, where hierarchical structures exacerbate racial hierarchies and expose the contradictions of a segregated armed forces during . In (1981), the investigation into a black sergeant's murder reveals not only white prejudice but also the among black soldiers, who adopt self-loathing behaviors to assimilate into a system that devalues them. This theme recurs across his works, portraying as a psychological force that fragments black identity and fosters intra-community conflict, as seen in the sergeant's disdain for "lazy" black enlistees whom he views as perpetuating stereotypes. Fuller's military focus stems from his own service in the 1950s Army, which informed his depiction of the institution as a microcosm of American racial dynamics, where black advancement is illusory and justice is subordinated to prejudice. Beyond overt , Fuller examines the pursuit of as a flawed endeavor tainted by , often through frameworks that underscore systemic failures rather than individual culpability. His plays critique how tribunals and social norms prioritize order over equity, unveiling layers of injustice that mirror broader civil rights struggles. In A Soldier's Story (the 1984 film adaptation of his Pulitzer-winning play), the narrative arc highlights moral ambiguities in racial solidarity, where victims and perpetrators alike embody the scars of . This extends to themes of self-determination, urging characters—and by extension, audiences—to confront personal agency amid external constraints, rejecting passive victimhood for rigorous self-scrutiny. Fuller's insistence on writing for audiences amplifies these motifs, aiming to illuminate uncomfortable truths about intra-racial tensions and the perpetuation of stereotypes without resorting to didacticism. Later works like We (2013) broaden this lens to contemporary military issues, such as , while maintaining a core emphasis on identity's erosion under institutional pressure. Throughout, Fuller privileges causal realism in depicting how racism's effects cascade from historical inequities into personal pathologies, challenging audiences to dismantle misconceptions through exposure rather than confrontation. His themes thus prioritize empirical observation of in constrained environments, informed by firsthand insight into the military's dual role as equalizer and oppressor.

Stylistic Approaches and Innovations

Fuller's stylistic approach emphasized multidimensional portrayals of characters, diverging from earlier theater of the and that often confronted white audiences with overt depictions of . Instead, he focused on self-examination within Black communities, integrating historical research to blend factual incidents with fictional narratives for authenticity and depth, as seen in works like The Brownsville Raid and Snatch. This method allowed for complex protagonists exhibiting both admirable and flawed traits, challenging simplistic stereotypes and exploring internal moral ambiguities without reductive moralizing. In (1981), Fuller innovated by structuring the drama as a mystery procedural, using flashbacks to progressively reveal the circumstances of Sergeant Waters' death and the ensuing investigation. This non-linear form, reminiscent of layered revelations in classic whodunits yet adapted to expose intra-racial tensions among Black soldiers, heightened dramatic tension while underscoring psychological impacts of . Monologues, such as Davenport's reflective speeches, further served as techniques to convey internal conflicts and offstage events, fostering immersion without overt exposition. Fuller's broader innovations included ensemble-driven realism that prioritized believable and subtle condemnations of over caricatured or , as in Zooman and the Sign (), where exposure of societal flaws drives narrative resolution. His We series employed episodic formats to trace historical experiences across generations, expanding beyond single-domestic settings to probe enduring racial dynamics through interconnected plays like Sally and Jonquil. These approaches collectively advanced African American drama by privileging causal examinations of prejudice's perpetuation, rooted in empirical military and historical insights from his own service.

Critical Acclaim and Criticisms

Charles Fuller's play (1981) achieved widespread critical acclaim, earning the in 1982 and marking him as only the second Black playwright to receive the award. Critics praised its tightly structured format that unpacked the complexities of intra-racial tensions and within a segregated U.S. Army unit during . The work's 2020 Broadway revival further solidified its reputation, securing a Tony Award for Best Revival of a Play. Reviewers lauded the ensemble's nuanced portrayals and the play's enduring relevance in examining systemic prejudice. Fuller's adaptation of into the 1984 film extended its reach, with the screenplay earning an Academy Award nomination and contributing to the film's Best Picture nod. His oeuvre was recognized for confronting uncomfortable truths about American racism, often crafted with Black audiences in mind and emphasizing the multifaceted nature of Black experiences rather than idealized portrayals. While A Soldier's Play dominated Fuller's reception, his earlier efforts faced harsher scrutiny; The Village: A Party (1969) disappointed audiences and drew at least one review deeming him talent-deficient. Subsequent plays garnered comparatively less attention, with Fuller's output sometimes critiqued for occupying a stylistic middle ground—neither fully conventional nor —potentially limiting broader commercial success beyond his breakthrough work. Despite this, admirers valued his commitment to unflinching realism over audience-pleasing narratives.

Personal Life and Legacy

Family and Relationships

Charles Fuller was born on March 5, 1939, in to Charles Fuller Sr., a printer, and Lillian Anderson Fuller, a homemaker. He was the eldest of four children, with one sister surviving him at the time of his death. Fuller married Miriam A. Nesbitt on August 4, 1962; the couple remained married for 44 years until her death in 2006. They raised two sons in , first in the Yorktown section of and later in : Charles Fuller III, who died in 2013, and David I. Fuller. Following Miriam's death, Fuller married Claire Prieto-Fuller, with whom he resided in , , for the final four years of his life. Claire brought a stepson into the family. At the time of Fuller's death in 2022, David I. Fuller survived him, along with a daughter-in-law, four grandchildren, and three great-grandchildren.

Health, Death, and Posthumous Recognition

In the final years of his life, Fuller experienced declining health, including that developed in the preceding one to two years. Fuller died on October 3, 2022, at age 83 in , , , where he had resided with his wife, documentary filmmaker Claire Prieto-Fuller. His death was attributed to natural causes by his wife, though no further medical details were publicly specified. Following his death, Fuller's legacy as a pioneering Black playwright persisted through tributes highlighting the enduring influence of works like , which continued to be cited for its incisive examination of and identity within the U.S. military. No major new awards or honors were conferred posthumously in the immediate years after 2022, though his contributions remained a reference point in discussions of American theater's portrayal of complex Black experiences.

Bibliography

Major Plays

Charles Fuller's breakthrough as a came with The Brownsville Raid (1975), a drama based on the 1906 incident in which 167 Black soldiers stationed in , were dishonorably discharged without following a shooting involving white civilians, highlighting racial injustice and military scapegoating of African American troops. The play received critical acclaim for its historical rigor and examination of institutional racism within the U.S. Army. Zooman and the Sign (1980) earned Fuller an for its portrayal of urban violence in , centering on a family's response to their daughter's by a street thug known as Zooman, whose fleeting witness prompts community confrontation with fear and complicity in neighborhood decay. The work critiques internal divisions in communities amid crime and moral ambiguity, staging the tension through the family's public sign demanding justice. Fuller's most renowned work, (1981), depicts the 1944 murder of Vernon Waters, a disciplinarian non-commissioned officer at a segregated Army base during , investigated by a captain amid revelations of intra-racial resentment, class friction among enlisted men, and the corrosive effects of Jim Crow on military service. Premiering November 20, 1981, at the , it ran for 468 performances and won the 1982 , praised for subverting expectations in a format to expose self-destructive behaviors within oppressed groups rather than solely external white antagonism. In the 1980s, Fuller developed the "We" cycle of four interconnected plays set during the Civil War era—Sally (1988), Prince (1988), Jonquil (1990), and Burner's Frolic (1990)—exploring enslaved and free experiences through fragmented narratives of resistance, betrayal, and survival amid emancipation's upheavals. These works, produced in settings, emphasized collective agency over individual heroism, though they garnered less commercial success than his earlier hits.

Screenplays and Adaptations

Fuller adapted his 1981 Pulitzer Prize-winning play into the screenplay for the 1984 film , directed by and produced by . The adaptation, starring as Captain Davenport and as Private Peterson, retained the core narrative of racial tensions and murder investigation within a segregated U.S. Army unit during , earning Fuller an Academy Award nomination for Best Screenplay Based on Material from Another Medium and the Award for Best Motion Picture Screenplay in 1985. In 1980, Fuller wrote the teleplay for The Sky Is Gray, an adaptation of Ernest J. Gaines's short story of the same name, directed by and aired on as part of the American Short Story series. The production, featuring and James Bond III, depicted a young African American boy's resilience amid poverty and racial prejudice in rural during the . Fuller penned the screenplay for the 1995 Showtime television film Zooman, an adaptation of his own 1979 play, directed by Prentice Redman and starring Khalil Kain as the titular character alongside Louis Gossett Jr. and Lynn Whitfield. The story explores urban violence and community response to a child's murder by a street hoodlum in Philadelphia. For the 1997 CBS television movie A Gathering of Old Men, adapted from Gaines's 1983 novel, Fuller contributed to the screenplay alongside Ernest J. Gaines and others, under director Volker Schlöndorff's helm, with a cast including Louis Gossett Jr. and James Earl Jones addressing racial injustice in 1970s Louisiana. Fuller also wrote segments for the 1999 HBO anthology film Love Songs, directed by Louis Gossett Jr., which comprised multiple short stories centered on African American experiences in love and relationships. Throughout his career, he developed additional screenplays for networks including , Showtime, , and , though specific titles beyond those listed remain undocumented in primary production records.

Novels and Other Prose

Fuller composed , short stories, and essays during the 1960s in , primarily as a sideline to daytime employment in various jobs, before shifting focus to playwriting. These early efforts reflected his initial literary explorations but remained unpublished in collected form during his lifetime. In 2010, Fuller published his sole extended prose work, the novella Snatch: The Adventures of David and Me in Old New York, issued by David and Me Publishing and illustrated by the author himself. Aimed at young readers, the story depicts youthful adventures set in historical New York while addressing civil rights themes through a lens of post-racial American society, marking Fuller's first foray into children's literature. No additional novels or major prose collections followed.

References

  1. https://www.nytimes.com/2022/10/04/theater/charles-fuller-dead.html
  2. https://www.npr.org/2022/10/04/1126807545/playwright-charles-fuller-dies-83
  3. https://www.roundabouttheatre.org/get-tickets/upstage-guides-current/upstage-guide-a-soldiers-play/the-life-and-achievements-of-playwright-charles-fuller
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  22. https://www.broadway.com/buzz/198138/get-used-to-black-people-being-in-charge-inside-the-revolutionary-38-year-history-of-a-soldiers-play/
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