Ranney Lawrence

Have been screenwriting since 1991, but - thanks to several nudges from colleagues and friends in the business - only recently begin to share my written work for television and cinema. As a fan of both Sorkin and Jarmusch, I tend to oscillate from "show over tell" to cerebral onslaught.

Some acting credits include: Benny in the 2022 Shakespeare & Company production of Hymn; Polonius & Gravedigger in the 2022 Cincinnati Shakespeare Company’s production of HAMLET; Toledo in CSC’s MA RAINEY’S BLACK BOTTOM; Mark in the Shakespeare & Company’s production of ART; Troy Maxson in CSC’s FENCES; Doub in American Stage Theatre’s 2016 production of August Wilson’s JITNEY; Sterling in American Stage Theatre’s RADIO GOLF (2015 Outstanding Feature Role in a Play - Theatre Tampa Bay); Hambone in American Stage Theatre's TWO TRAINS RUNNING (2014 Outstanding Feature Role in a Play - Theatre Tampa Bay); Boy Willie in Center Theatre Company’s THE PIANO LESSON (Critic’s Choice for Best Actor - Creative Loafing); Adriana/Antipholis/others in Ambassadors Theatre’s THE BOMB-ITTY OF ERRORS (The Stage Award - Best Ensemble) at American Stage, Chicago Shakespeare Theatre, The Helix in Dublin, Ireland, and Ambassadors Theatre on London’s West End; Hedley in Nevada Conservatory Theatre’s SEVEN GUITARS; Link in Jobsite Theater’s TOPDOG/UNDERDOG; Henry in Jobsite Theatre's RACE; and SUN GOD RA in Jobsite Theater’s THE RUINS.

Credited as R. M. Lawrence when director-choreographer, have eveloped social awareness shows (THE LEGACY OF THE THREE M’S: MARCUS, MALCOLM, AND MARTIN) as a founding member of Da-Brothers and also oversaw four original one acts as a part of the Polk County Bill of Rights Debates in central Florida; has successfully mounted challenging original work including Joe Popp’s MAXWELL: THE ROCK MUSICAL (Jobsite Theatre, Tampa; Galapagos Art Space, New York); AVANT-BARD (Acrosstown Repertory Theatre - Gainesville, Florida); THE BIRDS (a musical adaptation of Aristophanes’ comedy - Polk State); JACK IN THE BEANSTALK (own musical adaptation of the Charles Ludlam script- Polk State); BOMB-ITTY OF ERRORS for Webster University’s College of Performing Arts; and original one acts at Pittsburgh Playwrights Company’s Ray Werner Festival in 2018; has served as assistant director, choreographer, musical director, and composer to the Patel Youth Theater Company. Was overall festival director for the Pittsburgh Playwrights Theatre's Festival in Black and White in 2022.

Nominated best international slam poet by London’s Farrago Poetry Group. Mind bending diatribes including original solo surreal odyssey THE BREAK OF DAWN: TRACING THE ORIGINS OF SPEECH (Tampa Bay Performing Arts Center). A poetry book chronicling poetic work under the title, “Rubbing Two Sticks Together” is being compiled.

Known in comedy as The Illuminatus of Comedy, Mr. FunnyBlackMan, and Chocolate Gandalf; was the premier comedian at Laff Tuesdays – which was the professional comedy club at the Apollo Theater in Harlem. Has featured and headlined on the East Coast and internationally, including Tampa’s The Improv and Side Splitters, Total Entertainment’s South East Tour in Georgia and Alabama, Greenbelt Maryland’s The Comedy Connection, Dublin Ireland’s The Comedy Cellar, London’s The Comedy Store, and the Edinburgh Festival Fringe. Has opened for REO Speedwagon, Thelma Houston, The Sugar Hill Gang, Kathleen Madigan and Eddie Griffin. Has shared billing with Martin Lawrence, Chris Rock, and Paul Mooney; have mounted nine one man shows including “ranney” in SURROUND ZOUND (Shimberg Playhouse, Tampa); AND THE HORSE YOU RODE IN ON (Projects Arts Centre, Dublin), WHATEVER (People’s Improv Theater, New York), INCENDIARY (The Straz Center, Tampa), CUFFLINKS AND JOLLY RANCHERS FOR DUMMIES (Edinburgh Fringe Festival, Scotland), and THE CHICKEN OR THE EGG (American Stage, St. Pete; Sleuths, Orlando). Currently working on A LAUGH SUPREME – latest and long awaited night of rollercoaster hilarity.

“Impeccable; he’s a master of rhythms, of energy, of vocal dexterity, all artfully employed to compelling effect,” says Steve Bennett of The United Kingdom’s Comedy Chortle. “The way he uses language is unmatched.”