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In Memoriam

Lou Kempton March 1, 1933 - Jan 18, 2015 Longtime subscriber and supporter of Syracuse Stage. Member of the Stage Board of Trustees – 1974 - 2000 Treasurer of the Board – 1974 - 1988 President of the Board – 1988 - 2000

letter from the managing director Dear Friends, Welcome to Sizwe Banzi is Dead. You may be wondering how a production from South Africa’s acclaimed Market Theatre came to Syracuse. Here’s a quick story. In 1998, I was working for the McCarter Theatre in Princeton when we toured a production of Emily Mann’s Having Our Say to the Market Theatre in Johannesburg. American theatre companies rarely toured to South Africa so it was a big event and was extremely well received. The artistic director of the Market was John Kani, one of South Africa’s leading theatre artists who came into national and international prominence as a co-author and actor in the original production of Sizwe Banzi is Dead. John and his fellow actor

and co-author Winston Ntshona performed the play in London and then New York where they both won a Tony Award for Best Actor. Unfortunately, the Tony was not well received by everyone in their country, and upon their return to South Africa they were arrested. John spent 23 days in solitary confinement. The arrests sparked outrage around the world and eventually both were freed. John continued to be persecuted for his art and was later attacked by the police, stabbed 11 times, and would have died except for the quick thinking of a white doctor who hid him in the infectious disease ward of a hospital where the police either didn’t think, or were afraid, to look. Having Our Say sparked a subsequent exchange, as two South African actors performed in the world premiere of Athol

Fugard’s The Captain’s Tiger at the McCarter in 1998. I should add that Athol is the third co-author of Sizwe. He is one of the most acclaimed playwrights of my generation, and McCarter was fortunate to produce a number of his plays in the 1990’s including the American premiere of Valley Song. A key figure in these exchanges was Mannie Manim, a co-founder of the Market Theatre, perhaps South Africa’s leading theatre administrator, and an extremely talented lighting designer. Mannie and I have maintained a great correspondence over the years and when I arrived in Syracuse I began writing to him about Tim Bond and this play that Tim was passionate about called The Brothers Size. Tim felt the play, while very much an American story, would resonate to an African audience,

 Tim Bond, John Kani, Atandwa Kani, Mncedisi Shabangu, Mannie Manim, and Jeff Woodward.

and Mannie and Lara Foote, the artistic director of the Baxter Theatre Center in Cape Town, agreed. So, in 2012, thanks to funding from the Robert Sterling Clark Foundation, we brought Tim’s production to both the Baxter and to the Market. Tim asked Mannie to design the lights for our production and met John Kani at the opening of the play in Johannesburg. Now Syracuse Stage had two people with strong South African connections. In December 2013, Nelson Mandela passed and Tim and our dramaturg Kyle Bass decided that Stage should produce a revival of Sizwe

to commemorate Mr. Mandela. Tim and I decided to ask Mannie if there might be interest in a South African revival of the play that could come to the United States. Mannie quickly responded that John had just directed an acclaimed production of the companion piece to Sizwe, The Island, featuring his son Atandwa Kani. Would we be interested in talking to John about Sizwe? The answer as you now know was yes.

in the same style as it was originally produced. John is the director, Mannie is the lighting designer, Atandwa plays the roles his father created, and has been joined by the wonderful Mncedisi Shabangu. The production was supported by the Clark Foundation, opened at the Market Theatre in December, transferred to the McCarter Theatre in January/February, and is now before you. I hope you enjoy it.

You are about to see a brilliant revival of this extraordinary play that introduced to many Americans the inhumanity of apartheid. The production is performed

best,

Jeff Woodward Managing Director

save the date Syracuse Stage Gala 2015 Featuring Keb’ Mo’ June 19, 2015 Three-time Grammy award-winning singer, songwriter, guitarist and contemporary blues artist, Keb’ Mo’ will perform at Syracuse Stage’s Annual Gala. Over the past two decades Keb has cultivated a reputation as a modern master of American roots music through the understated excellence of his live and studio performances. His songs have been recorded by B.B. King, Buddy Guy, the Dixie Chicks, Joe Cocker and Robert Palmer, and his playing inspired leading instrument maker Gibson Brands to issue the Keb’ Mo’ Signature Bluesmaster acoustic guitar. He’s collaborated with a host of other artists including Bonnie Raitt, Jackson Browne, jazz diva Cassandra Wilson, Buddy Guy, Amy Grant, Solomon Burke and Little Milton. Keb also performs the theme song for the smash sit-com Mike & Molly and was music director for TV’s Memphis Beat.

Gala Evening including cocktails, silent auction, dinner and concert $200/$300 per person, $125 under 40. Concert tickets only on sale March 1 syracusestage.org or call SYRACUSE Stage Box Office 315.443.3275. 12

p r e s e n t s a n i n t e r n at i o n a l t o u r o f t h e m a r k e t t h e at r e p r o d u c t i o n o f

written by

Athol Fugard, John Kani and Winston Ntshona directed by

John Kani f e at u r i n g

Atandwa Kani and Mncedisi Shabangu a s s o c i at e p r o d u c e r & lighting designer

scenic & costume Designer

production s ta g e m a n a g e r

Mannie Manim

John Kani

Stuart Plymesser*

Timothy Bond

Jeffrey Woodward

Producing Artistic Director

Managing Director

A c o - p r o d u c t i o n w i t h M c C a r t e r T h e at r e presenting sponsor

sponsors

Elinor Spring-Mills & Darvin Varon media sponsors

season sponsor

Sizwe Banzi is Dead is presented by special arrangement with Samuel French, Inc. The video and/or audio recording of this performance by any means whatsoever are strictly prohibited. The videotaping or making of electronic or other audio and/or visual recordings of this production is a violation of United States copywright law and an actionable federal offense. February 25 - March 15, 2015

cast

(in order of appearance)

Atandwa Kani...........................................Styles, Buntu Mncedisi Shabangu...............................................Sizwe setting

New Brighton, a black township outside Port Elizabeth, South Africa.

Sizwe Banzi is Dead will be performed without an intermission.

performance Sponsorship

Suzanne & Kevin McAuliffe, February 25 Mary & Larry Leatherman, Opening Night, February 27 Ellen & James Eagan, February 28, 8 pm Bill & Nancy Byrne, Friday, March 6 Drs. Elinor Spring-Mills & Darvin Varon, March 14, 8 pm Sally Lou & Fran Nichols, March 14, 8 pm

a dd i t i o n a l c r e d i t s

Assistant Director: Adam Immerwahr Assistant Lighting Designer: Paul Kilsdonk Stage Management Journeyman: Erin C Brett Stage Management Apprentice: Marisa Andrews Stage Management Intern: Leola Powell† Sound Apprentice: Jade Taggart Electrics Apprentice: Ann Archer Wardrobe Supervisor: Sarah Stark Official Hotels for Guest Artists: The Genesee Grande Hotel, Parkview Hotel

Sizwe Banzi is Dead is made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature. * Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. † Student, Syracuse University Department of Drama

A note from Director john kani In 1965, Norman, one of the members of the Serpent Players drama group, was arrested by the South African Police’s Special Branch for his involvement in the underground liberation movement. He was sentenced to five years on Robben Island, where Nelson Mandela spent most of his years as a political prisoner. At the same trial, another elderly gentleman was sentenced to 15 years in jail. As they were leading him out of the court, he handed his old overcoat to Norman’s wife, saying: “Take this coat to my wife. Tell her I got 15 years. Tell her to use it and tell her to wait for me.” He was 68 years old.

We created a story examining the life of this coat. It was the beginning of what later became known as protest theatre in South Africa. We called this process “an experiment in play making”. With the story of The Coat, we, for the first time, hit a raw nerve with our audiences – and attracted the attention of the Secret Police to our work. Sizwe Banzi is Dead, written in 1972, was the sixth of these experiments in play making; The Island followed in 1973. In 1976, after jointly winning the Tony Award for best actor on Broadway for both plays the previous year, Winston Ntshona and I were ar-

 Dr. John Kani

married and so on. Winston, Athol Fugard and I were like Dr. Frankenstein, creating a monster that went on to occupy our lives for more than four decades.

rested by the Secret Police and were detained in solitary confinement for 23 days. We were only released because of massive demonstrations by the arts fraternity all over the world. Sizwe Banzi is Dead: it all began with a photograph of a man with a pipe and a cigarette in his mouth. The question was asked: why would a respectable man walk into a photo-

graphic studio to take a picture like that? The answer was very simple to Winston and me: he has got his passbook in order. The passbook was the tool the apartheid regime used to control the movements of black people in South Africa. It was almost like a slave ring around black people’s necks, identifying an individual by where he or she was born, where they could work, who they

When the Syracuse and Princeton theatres asked me to revive this production of Sizwe Banzi, I was very excited. It gave me the opportunity to work with younger South African actors who were not even born when this play was first staged. Also, I relished the opportunity to work with my son Atandwa Kani and Mncedisi Shabangu, who are among the most important actors working in my country today. I also directed Atandwa in the recent production of The Island for The Market Theatre. We sincerely hope you enjoy this newgeneration incarnation of Sizwe Banzi is Dead. Dr. John Kani Director

The Joureny of Sizwe Banzi: A Conversation with John Kani John Kani is a revered figure in South African theatre. With Athol Fugard, Winston Ntshona, and others, Kani used theatre to protest the oppressive policies of apartheid. While theatrical success brought Kani international fame, it made him a target in his homeland where he was often detained and once arrested. In 1985 he survived an assassination attempt. That same year Kani’s younger brother was killed by police while he was reciting a poem at the funeral of a young girl killed during riots. At 71, Kani remains an active force in South African theatre as a prominent writer, director, and actor. Interviewed by Joseph Whelan JW: Clearly much has changed in South Africa since you and Athol Fugard and Winston Ntshona originally worked on Sizwe Banzi is Dead. JK: When we first created this play in 1972, Athol Fugard was not allowed in the township. We used to smuggle him in, even to see a performance. We were not allowed in the white areas of Port Elizabeth. So we tried the

play at Leo Beth Jewish Hall. We tried the play at Athol’s garage for a few people to see. So then we found out that maybe it’s something. Then we got this invitation to take it to the Space Theatre in Cape Town. JW: What prompted you to do it? JK: The reason for creating the play: there comes a time when everybody

 Kani sits with Athol Fugard (middle) and Winston Ntshona (right) at the Royal Court Theatre, where they staged Sizwe Bansi Is Dead in September 1973.

A passbook was like a slave ring, an identity document that tells you where you live, where you must not live, where you can work, where you can’t work. has to stand up and be counted in the struggle for liberation. We could no longer hide under the wonderful cliché—art for art, art and politics don’t mix. Where there’s oppression, where there’s apartheid, it mixes. So we decided we could tell the story, emanating from a photograph. JW: A photograph? JK: When you see the play you’ll see the pho-

tograph of a man with a pipe and a cigarette lit. That just fascinated the three of us: why would someone take a picture of himself like that if he wasn’t being a clown or a fool? And in questioning ourselves I just simply said, “He’s got his passbook in order.” A passbook was like a slave ring, an identity document that tells you where you live, where you must not live, where you can work, where you can’t work. It

was 92 pages of a nightmare you could never get in order. So I said, “He’s got his book in order and he takes a picture to celebrate.” JW: It created a stir when you first performed it. JK: We opened the play and it was a revolution in the art. The police were chasing us. We were running all the time. So we knew we had fulfilled our mandate of art re-

 [right] John Kani and Winston Ntshona in Sizwe Bansi Is Dead.  [opposite] John Cullum, Ellen Burstyn, John Kani, Angela Lansbury, and Winston Ntshona at the Tony Awards Ceremony, 1975.

flecting life, art being the conscience of the society, art being part of a larger movement of human dignity and liberation. So we were immediately classified as terrorists, and guerilla actors in guerilla theatre. We liked the terminology. JW: How could you perform if the police were after you? JK: The play could not be banned. It did not have a script. We were improvising every evening. So for the police to ban a play, they need the text: they say this text is banned. Now, they can’t ban a performance unless they know where it is going

to be. So we never told them. We only played in towns for one night at a time. Before you ban a play, the superintendent of the township must be informed that we have booked a particular church hall. But how is he going to know about that? So we kept moving like that. Some performances were stopped. We’d go to the hall and the cops would park their cars in front and frighten the audience. JW: You then went to London where the play was a success and then to Broadway where you and Winston jointly received the Tony in 1975 for Best Actor. 20

JK: It’s the kind of thing—we didn’t even know what you’re talking about: what’s a Tony Award? So when everybody was excited at the Edison Theatre on Broadway—“you’ve been nominated!”—we thought a local award, that’s fine. Then we—I remember in 1975 we went to the Winter Garden, and Walter Matthau and some other actress said, “The winner is, oh, my God, the winners are John Kan-eye and Winston Chon-eye.” And we sat and talked to Athol, and Athol said, “You won, your name.” We didn’t hear. I’m not John Kan-eye. We went up, received the Tony, and I

said, “Thank you.” Winston said, “Thanks.” We walked off.

JK: The next day, The New York Times called that the most powerful political statement made by two actors from the Republic of South Africa, where they are not even recognized as actors. That statement got us arrested, because it meant that they declared the play a political statement.

in a town hall, with people coming from all over, driving cars, black and white, which was the first time in that town hall with black and white people watching the same play. After the play began, I noticed— oh, my Lord—the exits are blocked by the secret police. We were arrested after we took the curtain call. We were only released after 23 days. I was in solitary confinement, and Winston was in another town about 120 miles away.

JW: You were arrested when you returned to South Africa.

JW: The Tony Award helped secure your release.

JK: One performance,

JK: While I was sitting

JW: And the trouble began.

in my cell on the 12th day, a piece of paper was slid under the cell door, and I thought, oh, my Lord, I’ve see Papillion, I’ve seen those big movies with this nonsense about the soap and what, these are just stories of being in prison or in solitary confinement. It took me an hour to just undo the paper. It was an article and it showed artists on Broadway demonstrating: “Free John Kani, Free Winston Ntshona.” The second half were artists in front of South Africa House in London, Trafalgar Square: Janet Suzman, Albert Finney, Robert Morley, Vanessa Redgrave holding placards, “Free John Kani.

Free Winston Ntshoa.” The first time that night I fell asleep ‘cause I knew, they can’t keep me in here. The world now knows. It was our only fear. Just disappearing for good, like many, many others who were just picked up and nobody knows and they just disappeared. And when we were released we knew that Tony Award created some kind of immunity. JW: Did that embolden you? JK: When we did a play, or anything in the township, and the police didn’t stop it, we went back to the drawing board to find out how we can push it more. What is it we’re not saying? Why are they liking it? Why are they ignoring us? JW: But you were in danger. JK: In 1985, I survived an assassination attempt. I sit here with eleven stab wounds, left for dead. My wife was in the car. She went to find some friends for help. She decided we’re not taking him to the hospital in the township, we're taking him to the hospital in the colored area. Apparently, the police came back and didn’t find my body lying there and went

straight to the black hospital in the township to finish the job. They couldn’t find me there. When I arrived at this hospital for the colored community, the nurses got excited: “It’s John Kani, the actor. He’s famous overseas.” That’s the Tony Award. Then the doctor in charge that night decided—because he didn’t want press in the hospital, he tried to avoid media commotion—I was taken into a ward. I was unconscious. My wife is trying to find me. She cannot find me. I’m not there. Apparently the police came and they walked every floor of the five floors looking for me. They couldn’t find me and they left. When they left, the sister in charge, the nursing sister, said to my wife, “Go to the fifth floor and turn left for the isolation ward for infectious diseases. That’s where we hid him.” The secret police wouldn’t dare go into the ward for infectious diseases. That’s where I was lying. JW: Now you’re working on the play with a new generation. JK: One of them happens to be my son (Atandwa Kani). JW: What challenges did you encounter? 22

JK: The difficulty for me is to make them understand about the struggle of the seventies. Why we wrote the play. If you say to the children, “I never used to be allowed to eat in this restaurant,” they would say, “It sells bad food. Why would you want to eat there anyway?” That’s not the point. I wanted to be able to be allowed to do that. And my daughter would say, “There were 38 million of you. Why couldn’t you just wipe them off—all of them?” And I would say, “It’s more complicated than that.” So what I thought in my mind, if I take these two young men in 2014, put them in a time capsule, and drop them in 1972. And they suddenly are in New Brighton, and they have passbooks, and they are struggling to understand why they find themselves with this kind of draconian segregation, apartheid law. How would they react? I give them that as an exercise. That’s when the lightbulb went off in their minds—an experience that they had to go through in order to understand what it cost us for them to enjoy the democracy today in South Africa.

Apartheid in South Africa By Rachel Wiegardt-Egel When Athol Fugard, John Kani, and Winston Ntshona created Sizwe Banzi is Dead in 1972, South Africans had already spent more than two decades living under apartheid, the institutional system of racial segregation enacted by the country’s white Nationalist party and enforced from 1948 to 1994. In essence, apartheid was an obsession with racial distinctions turned into political practice—a way for the white minority to separate itself from, and control, the country’s black majority. Defined simply as “apartness” in Afrikaans (the language spoken by Afrikaners, the Dutch-descended white South Africans in power for the better part of the twentieth century), apartheid was based on an ideology that preached complete separateness between the races. In practice, apartheid meant a complex bureaucratic web of hundreds of laws and thousands of regulations that strictly categorized and physically divided members of different races.

In essence, apartheid was an obsession with racial distinctions turned into political practice—a way for the white minority to separate itself from, and control, the country’s black majority. Under these policies, South Africans were labeled as one of four races: Black (also called “Bantu"), Colored (those of mixed descent), Asian (of Indian descent), or White. Interracial mixing in both public and private spaces was absolutely forbidden, leading to segregated public facilities and harsh policies on interracial marriage, among other measures. Race determined all rights, including where a person could live. Ninety percent of the country was classified as white land that black South Africans were banned from owning. The remaining ten percent was split into ten disparate rural “reserves” splintered throughout the country, which were allocated as black “homelands” and assigned to differ23

ent black ethnic groups. These homelands (then also known as Bantustans) were meant to provide an illusion of independence from the central government while simultaneously fractionating the black population and preventing alliance between the separated ethnic groups. The designation of this paltry portion of land for the vast majority of the population led to overcrowding, extreme poverty, and lack of opportunity. This forced large numbers of black South Africans to seek out jobs in the white cities, which they were not permitted to enter without government permission— essentially making them migrant workers within their own nation. Courtesy of the McCarter Theatre Center.

Major Events Leading to the Establishment and Eventual Abolishment of Apartheid  [below] Apartheid on the ground: Anti-apartheid protest in South Africa in the 1980s.

1652 The Dutch East India Company establishes a settlement at Cape Town, South Africa. 1806 Britain annexes the Cape Colony, which constituted approximately half of modern South Africa. 1809 The British pass the first of the pass laws controlling movement on black people in the Cape.

1899-1902 Boer War is fought between the Dutch-descended Afrikaners and the British. 1910 The Union of South Africa is established, unifying four formerly British colonies, with Afrikaner Louis Botha as the first prime minister. 1912 The black South African political advocacy organization that became known as the African National Congress (or ANC) is formed. 1913 The Native Land Act sets aside 7.3% of land for black South African “reserves.”

1914 Afrikaner National Party is established. They campaign based on the idea of apartheid and the promotion of Afrikaner culture. 1948 National Party wins the election and D.F. Malan becomes South Africa’s prime minister. 1940s-early 1950s A series of acts establish the framework of apartheid. The African National Congress organizes a passive resistance campaign against apartheid. The government begins arresting ANC leaders to suppress the movement. 1960 Sharpeville Massacre: police open fire on antiapartheid protestors, killing 69 and wounding many.

1972 Sizwe Banzi is Dead is devised by John Kani, Winston Ntshona, and Athol Fugard.

1986 Europe and the US impose harsh economic sanctions on South Africa.

1976 Soweto uprising: students protest against the introduction of Afrikaans as the language of instruction in schools. An estimated 20,000 students participated in the protests, which often turned violent.

1989 F.W. de Klerk succeeds P.W. Botha as prime minister. De Klerk announces major changes and releases ANC secretary general Walter Sisulu.

1977 Anti-apartheid activist and student leader Steve Biko is arrested and dies in police custody after sustained torture and beatings. 1984 Archbishop Desmond Tutu is awarded the Nobel Peace Prize for his non-violent campaign to end apartheid.

1965 Nelson Mandela and other ANC leaders are sentenced to life imprisonment on charges of sabotage.

1990 Nelson Mandela is released after 27 years in captivity. 1993 Mandela, de Klerk, and representatives from 18 other parties agree on an interim constitution. Under this constitution, all citizens over 18 are allowed to vote, and many social and political rights are guaranteed. Mandela and de Klerk are awarded the Nobel Peace Prize. 1994 Nelson Mandela is elected president in the first free elections in South African history.

cast Atandwa Kani (Styles and Buntu) is a South African actor who made his United States television debut in the program Life is Wild. In 2009, Atandwa starred in season five of Life is Wild’s sister show, Wild at Heart, and returned to the show in its sixth and seventh series in 2010 and 2011 respectively. Atandwa was born in Port Elizabeth. As the son of wellknown South African actor, writer, and director John Kani, he was exposed to the entertainment industry at a young age and after spending time with his father while reading scripts and attending theatre performances, he was inspired to follow in his footsteps. He studied at the University of the Witwatersrand and graduated with an honors degree in theatre performance in 2008. At Wits, he was awarded the Leon Gluckman Award for best research project. His lead roles in student productions include Rosencrantz and Guildenstern are Dead, Much Ado About Nothing, Once on This Island, Translations, and I Need a Gun. He made his international stage debut in The Tempest (for which he received a best supporting actor Fleur du Cap nomination), a collaboration between the Baxter Theatre Centre and the Royal Shakespeare Company, in which he played Ariel alongside his father (Caliban) and Sir Antony Sher (Prospero). One reviewer described him as “the star of this production ... he was a true pleasure to watch, embodying the character and interacting beautifully with the rest of the cast.” Sean Hewitt of the Nottingham local

news site www.thisisnottingham.co.uk wrote of his performance that “in the musical scene-stealing Atandwa Kani, the best Ariel I’ve ever seen.” Atandwa premiered two new plays, Hayani and ID Pending, which explore ideas of home and identity for young South Africans in very different ways, at the National Arts Festival in 2009. Both plays were created with fellow actor and Wits graduate Nat Ramabulana. In association with the Drama For Life Company Laboratory, Atandwa and Nat took Hayani to Cape Town (Baxter Theatre) and Johannesburg (Market Theatre). They were rewarded with a number of Naledi and Fleur du Cap nominations, and scooped the 2014 Naledi Theatre Award for best new South African script. Atandwa also played the role of Thabo Mbeki in a Paul Grootboom-directed production of Rhetorical in 2012, for which he won a Naledi Award for best newcomer/breakthrough actor in 2013. He went on to perform in Sylvaine Strike’s The Miser, for which he received another Naledi nomina tion. Atandwa was also involved in the 40-year celebration of The Island, written by John Kani, Athol Fugard and Winston Ntshona and performed at the Market Theatre in 2013, under the direction of John Kani. He has appeared in True Love magazine’s “In Bed With...” feature and was involved in the unveiling of the 46664 legacy bangle as MC, alongside Tokyo Sexwale and Hlubi Mboya. In 2010, he was a regular in the SABC youth series Soul Buddyz and the following year, he featured in the third season of the SABC2 political series 90 Plein

cast Street, directed by Khalo Matabane. More recently, he starred in the new SABC3 drama series High Rollers by Rous House Productions and in the American television series Royal Pains. Atandwa was also one of the few South Africans chosen to be part of a brand-new American series titled Book Of Negroes, acting alongside Cuba Gooding Jr. Atandwa appeared in his first soap opera, Muvhango, in the role of Dr. Mongezi Zwane, before briefly featuring in Generations as “sexy chef” Samora. Among his recent big screen credits is Anant Singh’s Long Walk To Freedom, in which he played the young Nelson Mandela.

on to attend the summer acting course at the Royal National Studio in London. After returning, he went straight back to his village and began working with young people. It is through his grassroots arts work that he caught the eyes of producers and directors who wanted to collaborate with him— marking the beginning of a long, colorful and decorated career. At the age of 27, Mncedisi felt he had achieved everything he wanted—but there was more to come. Today, Mncedisi is a multi-award-winning actor and director and a recipient of the prestigious Standard Bank Young Artist Award for theatre. He has worked with acclaimed directors Lara Foot, James Ngcobo, Paul Grootboom, Malcolm Purkey, Aubrey Sekhabi, Craig Higginson, John Matshikiza, and William Kentridge, as well as two young directors that were once his students at the Market Theatre Lab: Monageng Motshabi and Price Lamla. Mncedisi has appeared in classic South African plays such as Nongogo, Woza Albert!, Asinamali!, Tshepang and Woyzeck on the Highveld, to name a few. He featured in the film Catch a Fire with Derek Luke and Tim Robbins, and recently appeared in the mini-series Book of Negroes alongside Louis Gossett Junior. The story continues…

Mncedisi Shabangu (Sizwe) started acting in 1992 in Kanyamazane, a small town in Mpumalanga that borders Mozambique and Swaziland. In 1995, he enrolled at the Market Theatre Laboratory. After he graduated, Swedish producer Christer Dahl commissioned his class to produce a new South African play. That sparked the birth of Gomorrah, a physical theatre piece that was critically acclaimed both at the Market Theatre and the National Arts Festival. Later, it toured Sweden and Mncedisi went

A r t i s t i c S ta f f Mannie Manim (Associate Producer/ Lighting Designer), co-founder of the Market Theatre, has been involved in theatre for 59 years, and has been lighting productions in South Africa

and internationally for more than 40 years. He was the head of drama for the Performing Arts Council of the Transvaal for seven years, managing director of the Market Theatre Com-

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A r t i s t i c S ta f f pany for 17 years, director of Performing Arts Administration at Wits University for 10 years, director and CEO of the Baxter Theatre Centre for nine years, and the executive director of the Fugard Theatre for its first year. He is now a freelance producer and lighting designer. Career highlights include The Tempest at the Baxter and in Stratford-upon-Avon; Waiting for Godot and Broken Glass at the Fugard Theatre; Nothing but the Truth in SA, Australia, the UK, and the USA; Carmen and the MysTeries at Spier in London, New York, Perth, and Toronto; The Magic Flute in SA, London, and Paris; The Island and Sizwe Banzi is Dead in SA, UK, Europe, Canada, and the USA; the revival of District Six: The Musical at the Baxter; Othello at the Market; Hamlet at the Baxter and the Swan Theatre (Stratford-upon-Avon); Sarafina! and Asinamali! in SA and the USA; Woza Albert! in SA, the UK, Australia, and the USA; Reach in SA and Europe; Show Boat at Artscape, in Germany, Sweden, and Norway and at the Chatelet Theatre, Paris; Porgy and Bess at Artscape, in Sweden, at the Berlin Opera House and in Oslo; and Noah of Cape Town at the Baxter. Mannie has lit every first production of an Athol Fugard play in SA since 1976 and has produced most of them, too. Other highlights include Stuur Groete aan Mannetjies Roux on its sold-out national tour; Ouroboros in SA, Europe, and India; Race for the KwaZulu-Natal Playhouse Company; and Solomon and Marion for four SA seasons and in Edinburgh. Last year he lit Athol Fugard’s latest play The Shadow of the

Hummingbird featuring Athol Fugard onstage in The Fugard and The Market Theatres and in the Andre Huguenet Theatre in Bloemfontein. He lit the world premiere production of John Kani’s new play Missing in The Baxter and The Market Theatres. I Stand Corrected by Mojisola Adebayo and Mamela Nyamza in Singapore. Cape Town Opera’s Show Boat on its UK tour and he lit and co-produced A Distant Drum, which performed in Carnegie Hall as part of the UBUNTU Festival. His accolades include the Shirley Moss Award for his practical and technical contribution to SA theatre (1980), the SA Institute of Technology Award for outstanding achievement as a technician, admin istrator, and lighting designer (1981), and the first Vita Award for the most enterprising producer (1985), as well as 10 Vita awards for best original lighting design. He was made Chevalier des Arts et des Lettres by the French government (1990), received a gold medal from the Simon van der Stel Foundation (1995), a gold medal for theatre development from the SA Academy for Science and Arts (1996), a Naledi lifetime achievement award (2004), a Fleur du Cap lifetime achievement award, an Arts and Culture Trust lifetime achievement award, the National Order of Ikhamanga in silver (2011), and a Fleur du Cap Award for best lighting design (2012). Adam Immerwahr (Assistant Director) Recently at McCarter: The Understudy. NYC directing credits include productions at The Public,

A r t i s t i c S ta f f Theater Row (both for Summer Play Festival), Ensemble Studio Theatre, The Wild Project, and NYU’s Studio Tisch. Internationally, he directed the African premiere of The Convert in Zimbabwe. He has directed and developed work for Luna Stage, Hangar Theatre, Premiere Stages, Bristol Riverside, Playwrights Theatre of NJ, PlayPenn, the National Constitution Center, Philadelphia Artists’ Collective, Princeton Summer Theater, Westminster Choir College, Theatre Masters, and Passage Theatre Company in Trenton, where he serves as resident director. Adam is the artistic director of OnStage Seniors: a community project of McCarter Theatre and the 2014-15 artist-in-residence at Nassau Presbyterian Church. Recipient of a 2008 Drama League Directing Fellowship and 2010 NJ Theatre Alliance “Applause Award”.

festive lighting for the annual galas. Other designs include Beauty Queen of Leenane with Langhorne Players, Tamer of Horses, Roundelay, Blessed Are…, Slippery as Sin, Trenton Lights, and Blood: a Comedy with director Adam Immerwahr at Passage Theatre, Princeton Theological Seminary, Syracuse University, and several operas with Westminster Choir College. Stuart Plymesser (Production Stage Manager) is back for his eighteenth season at Syracuse Stage where he has stage managed more than 60 plays, musicals, and special events, working with such talents as Olympia Dukakis, Frank Langella, Elizabeth Franz, and Phylicia Rashad. Stuart has worked at numerous regional theatres around the country and in Cape Town, South Africa and has toured nationally. Locally, he has also stage managed events for Syracuse Fashion Week. In addition, Stuart is adjunct faculty for Syracuse University’s Department of Drama and has been a guest speaker/lecturer at Ithaca College, Wells College, SUNY Oswego, and the Zabalaza Festival in Cape Town. Stuart is a proud member of Actors’ Equity Association, the union of professional actors and stage managers, as well as the United States Aikido Federation. www.stuartplymesser.com.

Paul Kilsdonk (Assistant Lighting Designer) is excited to return to Syracuse Stage after having been master electrician 21 years ago. Designs for McCarter Theatre include Eclipsed, Coming Home, Lucky Girl, and A Christmas Carol (associate design). In Paul’s two decades as McCarter Theatre’s lighting supervisor, he has been responsible for creating the lighting for hundreds of events, including soloist musicians, jazz trios, rock bands, orchestras, and

Playwright, Director, Set Design, Costume Design John Kani is an actor, a director, and a playwright. He was born in New Brighton, Port Elizabeth, in 1943, where

he started his career with the Serpent Players drama group. He joined the Market Theatre in Johannesburg in

Playwright, Director, Set Design, Costume Design 1986. Plays in which he has appeared include The Blood Knot, Driving Miss Daisy, The Native Who Caused All the Trouble, Othello, The Lion and the Lamb, Sizwe Banzi is Dead, The Island, Waiting for Godot, The Death of Bessie Smith, Playland, Duet for One, My Children! My Africa! (which won him an AA Life Vita Award in 1990 for his role as Mr. M), Hedda Gabler, Dance of Death and the Shakespeare compilation Ladies and Gentlemen, Shakespeare! John also performed in Sizwe Banzi is Dead and The Island, which he cowrote with Athol Fugard and Winston Ntshona and for which he won the 1974/75 Tony Award on Broadway for Best Actor. He has also received two OBIE awards in New York for his contribution to theatre. His London productions include Sizwe Banzi is Dead, The Island (which earned him an Evening Standard Award nomina tion), Waiting for Godot at the Old Vic, Master Harold and the Boys and, at the Royal National Theatre, My Children! My Africa!, which won him an Olivier Award nomination. He also acted in Playland at the Donmar Warehouse on the West End. From January to April 2000 he performed in The Island at the Royal National Theatre, preceded by a season of The Island at Peter Brook’s theatre, the Bouffe du Nord in Paris, and a short season at Stockholm’s Stadsteater. This was followed by seasons in Montreal, Canada, at the Kennedy Center in Washington, DC, and in London’s West End in 2002 to soldout houses. John’s film credits include The Wild Geese, The Grass is Singing, Marigolds in August, Victims of Apartheid, An African Dream, Option, A Dry

White Season, Sarafina! and Saturday Night at the Palace, for which he won a Taormina Golden Award at the Milan International Festival. He has appeared in Kini and Adams, The Ghost and the Darkness with Michael Douglas and Val Kilmer, The Tichbourne Claimant with Robert Pugh and Sir John Gielgud, The Final Solution, The White Lion, The End Game, Coriolanus, and How to Steal Two Million. At the Market Theatre, John has directed Goree and Blues Africa Café by Matsamela Manaka, Kagoos by Kessie Govender, and The Meeting by Jeff Stetson. He has also directed several commercials, one of which won an M-Net Plum Award and another CLIO Award in New York. The South African film, television, and advertising industry honored him with an Avanti Hall of Fame Award. In 1989, together with the late Barney Simon, co-founder of the Market Theatre, he founded the Market Theatre Laboratory, a drama school for young black people who are unable to study at universities because of their lack of high school education and financial resources. The school has now become a crucible of new talents and new works, and has an extensive outreach program. In 2002, John’s play Nothing but the Truth opened at the National Arts Festival in Grahamstown to critical acclaim. Successful seasons followed at the Baxter Theatre, the Market Theatre, and the Opera House in Port Elizabeth. It won three Fleur du Cap awards (best actor, best new South African play and best director for Janice Honeyman) and five Naledi Awards (including best actor, best new South African play

Over

15,000

students in Central New York will attend Syracuse Stage Education Programs during the 2014/2015 season. thank you to the following sponsors for their support!

The John Ben Snow Foundation, Inc. ArtsEmerging Program

Education Programs 2014/2015

Fall 2014 Elementary School Tour – Annabel Drudge

Education Programs 2014/2015, Young Playwrights Festival

Education Programs 2014/2015

Student Matinees

Education Programs 2014/2015

Playwright, Director, Set Design, Costume Design and best production for 2003). Further success followed when the play went to the Lincoln Center Theater in New York, where John received an award for excellence in international theatre presented to him by the Harlem Arts Alliance and the New York theatres. In 2005, the production was staged in Brisbane and at the Sydney Opera House in Australia. Nothing but the Truth also received the Olive Schreiner Prize for writing from the English Academy of Southern Africa. John also directed the film adaptation, which has won him the Silver Stallion at FESPACO (in Burkina Faso), as well as the awards for best film at the Milan International and Cameroon film festivals. In 2009, the Department of Education prescribed Nothing but the Truth as a Grade 12 setwork. In recent years at the Baxter, John has been seen in Antigone, directed by Sean Mathias; Hamlet, directed by Janet Suzman, which launched the Royal Shakespeare Company’s Complete Works Festival in Stratfordupon-Avon; and The Tempest, directed by Janice Honeyman, which also completed sold-out tours in England after opening at the RSC. He created, is executive producer of, and stars in Inkaba for local television. John has received many awards for his contribution to local and international arts and culture, including the National African Federated Chamber of Commerce Merit Award, the Rotary Club’s Paul Harris Fellowship Award, the Hiroshima Foundation Award for Peace in Stockholm, the African Renaissance Merit Award, the Titan of the Century Award by Tribute magazine’s Black

Business Forum (for the best performing artist of the past century) and the Leadership and Service Award from South African Breweries. John was the inaugural chair of the National Arts Council in 1997, a position he held until 2003. In 2005, he received the Order of Ikhamanga from President Thabo Mbeki (in recognition of his contribution to the struggle for liberation through his work in the arts). Subsequently, John was appointed by the President to serve on the Presidential Advisory Council of National Orders and Awards. He was awarded the inaugural Ousmanne Sembene Award at FESPACO 2009, a Lifetime Achievement Award from the South African Film and Television Awards and the Leadership and Service Award by the South Africa Washington International Program (SAWIP) for his contribution to its youth leadership program. John is a patron of the Market Theatre Foundation and is also the Market Theatre’s special ambassador. He is chairman of the Apartheid Museum, director of Jazz Film Company, and a board member of Urban Brew and the WWF-SA’s Green Trust. In 2010, he was appointed by the Minister of Higher Education and Training to the Wits University Governing Council. He has received an honorary Doctorate of Philosophy from the University of Durban-Westville, honorary Doctorates of Literature from Rhodes University and the University of Cape Town, and an honorary PhD from the Nelson Mandela Metropolitan University for his contribution to the arts and to the struggle for the liberation of his country.

p l ay w r i g h t s Athol Fugard has been working in the theatre as a playwright, director, and actor since the mid-fifties in South Africa, England, and the United States. His plays include: No-Good Friday; Non-Gogo; Blood Knot; Hello And Goodbye; People Are Living There; Boesman And Lena; Statements After An Arrest Under The Immorality Act; Sizwe Banzi Is Dead; Dimetos; The Island; A Lesson From Aloes; Master Harold… And The Boys; The Road To Mecca; A Place With The Pigs; My Children! My Africa!; Playland; Valley Song; The Captain’s Tiger; Sorrows & Rejoicings, and Exits And Entrances. He has been seen on stage in South Africa, London, Broadway, off-Broadway, and regional theatre in the United States. Film credits include The Road to Mecca, Ghandi, The Killing Fields, Meetings With Remarkable Men, Marigolds in August, Boesman and Lena, and The Guest. He has written the novel Tsotsi, which was filmed in South Africa, and his autobiographical memoirs, Cousin.

toured Europe, Australia, New Zealand, the United Kingdom and the USA, and earned him a Tony Award. From 1967 to 1972 Winston was a member of the Serpent Players, a theatrical group established in 1961, where he appeared in approximately 20 productions. Other theatre credits include: The Trials of Brother Jero, The Death of Bessie Smith with Janet Suzman and John Kani, Full Frontal (a one-man play in London by Michael Hastings), Waiting for Godot (touring the United Kingdom and the USA), Kagoos by Kessie Govender, and Phaedra. Among his television credits are Sizwe Banzi is Dead for the BBC and CBS, The Island for the BBC and Irish television, New Directions for SABC, The Children and I, The Heartlines: Grace, and The Heartlines: The Bet. His impressive list of film credits includes Malunde, I Dreamed of Africa, Power of One, A Dry White Season, The Wild Geese, Blood Diamond, Ghandi, The Store Keeper, Tarzane and Jane, The Air Up There, Perfume of the Cyclone, The Stick, Dogs of War, Marigolds in August, and Ashanti. In 1980, Winston was awarded the Rapport Oskar for Best Actor for Marigolds in August. In 1993, he received a special Obie Award in New York for his extraordinary contribution to theatre. He is also the recipient of an Honorary Degree from the University of Port Elizabeth. More recently, he received the National Arts Council’s Living Treasures Award. Winston currently resides in New Brighton and he is the chairman of the Eastern Cape Cultural Units, where he helps empower the youth with artistic skills.

Winston Ntshona was born on October 6, 1941 in Port Elizabeth. He is widely regarded as one of South Africa’s finest and most distinguished actors. The Guardian has described him as “astonishing” and the Evening Standard praised him as “unreservedly superb”. After its premiere in 1972, Sizwe Banzi is Dead (which he devised with Athol Fugard and John Kani) toured South Africa, the United Kingdom, and the USA. A year later he again gained stardom with the highly acclaimed play The Island, which he also devised with Fugard and Kani. The production

T h e M a r k e t T h e at r e The Market Theatre is renowned world-wide for brilliant anti-apartheid plays that have included Woza Albert!; Asinamali; Bopha; Sophiatown; You Strike the Woman, You Strike a Rock; Born in the RSA; Black Dog/ Inj’emnyama; as well as the premieres of many of Athol Fugard’s award-winning dramas. The Market Theatre’s history is intertwined with the cultural, social, and political struggle for freedom in South Africa. The Market Theatre is celebrating the past, but it is also confidently looking forward to playing a major cultural role in the 21st century for South Africa, and the African continent. To achieve this, The Market’s artistic policy for

a post-apartheid South Africa centers on encouraging new dramatic writing. These new works will offer ways to help South Africans understand, interpret and thrive in the second decade of the country’s new democratic life. The Market must continue to be a theatre that is engaged, challenging, and entertaining. The staff remains committed to maintaining the highest possible artistic standards as it searches out exemplary new writing and the best new, young directors, designers, and lighting designers to achieve this mission. The Market Theatre is determined to build on its reputation, even as it faces the new challenges of the 21st century.

M c C a r t e r T h e at r e C e n t e r McCarter Theatre Center: Under the leadership of artistic director Emily Mann and managing director Timothy J. Shields, Princeton, NJ’s McCarter Theatre Center is recognized as one of the nation’s premier theatre companies. World premieres include Christopher Durang’s Vanya and Sonia and Masha and Spike (2013 Tony Award for Best Play) and Miss Witherspoon; Tarell Alvin McCraney’s The Brother/Sister Plays; Edward Al-

bee’s Me, Myself & I; Emily Mann’s Having Our Say; Danai Gurira’s The Convert; and Regina Taylor’s Crowns. Other significant Broadway productions include Brian Friel’s Translations; Nilo Cruz’s Anna in the Tropics; and Electra, directed by David Leveaux. McCarter is supported by Princeton University, the New Jersey State Council on the Arts, and over 3,000 individuals, corporations, and foundations. www.mccarter.org.

Care for children & adults Complimentary Consultation Advanced SureSmile Technology ®

Clear braces Invisalign ® Reduced treatment times

Producing Artistic Director Timothy Bond is in his eighth season as producing artistic director of Syracuse Stage and the Syracuse University Department of Drama. For Syracuse Stage he has directed August Wilson’s The Piano Lesson, The Whipping Man, Two Trains Running, The Brothers Size, The Boys Next Door, Radio Golf, No Child..., Fences, The Price, The Diary of Anne Frank and Ma Rainey’s Black Bottom. He has 27 years experience in leading regional theatres throughout the country. Previously, he served for 11 years as associate artistic director of the famed Oregon Shakespeare Festival where he directed 12 productions, including works by Shakespeare, August Wilson, SuzanLori Parks, Edward Albee, Lorraine Hansberry, Lynn Nottage, Octavio Soliz, and Pearl Cleage. Prior to that, Bond spent 13 years with the Seattle Group Theatre, serving as artistic director from 1991 – 1996. While there he

directed more than 20 plays including a number of world and West Coast premieres, and he oversaw the largest capital campaign in the company’s history, culminating in the completion of a new theatre complex in the Seattle Center. Bond has also directed at such prestigious theatres as The Guthrie, Arena Stage, Seattle Repertory Theatre, Actors Theatre of Louisville, Milwaukee Repertory Theatre, The Cleveland Play House, A Contemporary Theatre, Indiana Repertory Theatre, and Geva Theatre. Bond received a Theatre Communications Group/ National Endowment for the Arts Directing Fellowship Award and has twice won Backstage West’s Garland Award for Outstanding Direction for Les Blancs (1998) and Blues for an Alabama Sky (1997). He served on the board of directors of the Theatre Communications Group from 1993 to 1997. Bond holds a BFA from Howard University and an MFA in directing from the University of Washington.

managing Director Jeffrey Woodward became the managing director of Syracuse Stage in 2008. For 17 years he served as the managing director for the McCarter Theatre Center in Princeton, NJ. During his tenure, McCarter was honored with the Tony Award for Outstanding Regional Theatre. WoodwardteachesTheatreManagement in Syracuse University's Department of Drama and is a member of the board of the University Hill Corporation, the

East Genesee Regent Association, and CNY Arts. He has served on the Board of Trustees of Theatre Communications Group and as President of ArtPride New Jersey. He has also served as a panel chairman, panelist, and on-site evaluator for the National Endowment for the Arts. He has worked for Hartford Stage, the Mark Taper Forum, Northlight Theatre, and the Oregon Shakespeare Festival, and served as a consultant to a number of organizations. He holds a BA from Pomona College and a MBA from New York University.

History Takes Center Stage at OHA’s Gift Gallery! Uniquely local, one-of-a-kind silk scarves, ties, jewelry, books, toys, puzzles, t-shirts, t-shi glassware, brewery items, vintage Syracuse China and much more!

Onondaga Historical Association 321 Montgomery Street, Syracuse, NY 13202 Hours: Wednesday through Friday, 10-4 Saturday and Sunday, 11-4 (315) 428-1864 www.cnyhistory.org

mission/vision Mission: Syracuse Stage is a global village

turous, and entertaining productions of new plays, classics and musicals, and offer interactive education and outreach programs in Central New York.

square where renowned artists and audiences of all ages gather to celebrate our cultural richness, witness the many truths of our common humanity, and explore the transformative power of live theatre. Celebrating our 42nd season as a professional theatre in residence at Syracuse University, we create innovative, adven-

Vision: Syracuse Stage illuminates the

many truths of our common humanity through the transformative power of live theatre.

A b o u t S y r a c u s e S ta g e Syracuse Stage is Central New York’s

These visiting artists are supported by a staff of artisans, technicians, educators, and administrators who are responsible for all facets of the theatre from building sets, props and costumes to marketing, development, and box office. A solid core of subscribers and supporters helps keep Syracuse Stage a vibrant artistic presence in Central New York. Year after year their support and patronage contribute to the success of the theatre. Additional support from government, foundations, corporations and Syracuse University helps to ensure the continued role of Syracuse Stage as a valued cultural resource for the community. Syracuse Stage is a constituent of the Theatre Communications Group (TCG), the national organization for the American theatre, and a member of the Arts and Cultural Leadership Alliance (ACLA), the University Hill Corporation and the East Genesee Regent Association.

premier professional theatre. Founded in 1974, Stage has produced more than 300 plays in 41 seasons including a number of world, American, and East Coast premieres. Each season 70,000 patrons enjoy an adventurous mix of new plays and bold interpretations of classics and musicals featuring the finest theatre artists. In addition, Stage maintains a vital educational outreach program that annually serves over 15,000 students throughout Central New York. Syracuse Stage is a member of The League of Resident Theatres (LORT), the largest professional theatre association in the country. America’s leading actors, directors and designers work and/or have worked at Stage including: Tony Award-winners Lillias White, Chuck Cooper and Elizabeth Franz, Emmy recipient Jean Stapleton, Sam Waterston, John Cullum, James Whitmore, Ben Gazzara and Ping Chong.

in The Community An important aspect of the Syracuse Stage mission is to be an active partner and resource in the Central New York community. Each season Syracuse Stage is pleased to partner with a diverse group of community organizations in sponsoring and facilitating various programs, benefits and events. Ongoing and past partnerships include Arc of Onondaga, The Burton

Blatt Institute, ARISE, IRC’s Community Wide Dialogue to End Racism, Hospice of CNY, SUNY Upstate Medical/St. Joseph’s Hospital Health Center, Big Brothers/Big Sisters of Onondaga County, The Learning Place, AIDS Community Resources, Syracuse Homes, The Chadwick Residence, The Child Care Council of Onondaga County, and Vera House, among others.

next at SU drama

next at Syracuse stage

Other Desert Cities

Measure for Measure

By Jon Robin Baitz Directed by Timothy Bond Co-produced with Portland Center Stage April 8 - 26

By William Shakespeare Directed by Celia Madeoy March 27 – April 12 Opening Night: March 28 Performed in the Loft Theatre General admission seating

Are there secrets that should always be kept? In this smart, sharply funny, and sensitive contemporary play, Jon Robin Baitz folds art, politics, and family secrets into a tumultuous drama that pits a liberal middle-aged writer against her conservative parents. Who owns a family’s history? There are no easy answers in this 2012 Pulitzer Prize-nominated play where certainty shifts like sand dunes in the wind. Recommended for ages 14 and up.

Hypocrites, beware! Such is the matter of this profound and intriguing late comedy by Shakespeare. When Duke Vincentio of Vienna inexplicably hands over power to Lord Angelo, a man of self-professed puritanism, he lays a trap that ensnares the falsely virtuous and rewards the just and true. Like most Shakespearean comedies, the course to the truth is neither smooth nor easy, but it is filled with engaging characters and extraordinary events, and even concludes with multiple marriages—however unlikely that may sometimes seem.

s y r a c u s e s ta g e b o a r d o f t r u s t e e s Chair

Ann Clarke* Dean, College of Visual and Performing Arts Syracuse University

President

Pat Colabufo Human Resource Manager Wegmans Food Markets

Robert Pomfrey* President & CEO POMCO Group Louis G. Marcoccia* Executive VP & Chief Financial Officer Syracuse University Vice Chair

Janet Audunson* Senior Counsel National Grid Vice Chair

Fran Nichols* Vice Chair Eric Mower + Associates Vice Chair

Richard Driscoll Group Manager Commercial Real Estate Lending M&T Bank Ellen Kimatian Eagen Sandra Fenske VP & General Counsel Lockheed Martin Corporation Helene Gold Private Voice & Piano Instructor

Melvin T. Stith* Professor, Whitman School of Management Syracuse University

Nancy Green Investment Advisor Edward S. Green & Associates

Treasurer

Larry Harris EVP and CFO Saab Defense and Security, USA

Bea Gonzalez* Dean, University College Syracuse University Secretary

Rod McDonald* Bond, Schoeneck & King Dan Berman Partner HancockEstabrook, LLP Timothy J. Bond** Producing Artistic Director Syracuse Stage & SU Dept. of Drama Lorraine Branham Dean/Professor, S.I. Newhouse School of Public Communications Syracuse University Sandra Brown President Grandma Brown’s Beans, Inc. Nancy Byrne Community Volunteer Brian Cimmet Professor of Practice/Music Director SU Department of Drama

Jeffrey Hoone Executive Director, Coalition of Museum & Arts Centers Syracuse University Brian Howard Private Bank Market Manager Key Bank John Huhtala Relationship Manager Middle Market Commercial Banking Chase Gregg Lambert Dean’s Professor of the Humanities Syracuse University Larry Leatherman President MOST

Samantha Millier Associate Attorney Mackenzie Hughes LLP Kevin O’Connor Sr. Resident Director & Sr. VP Investments Merrill Lynch Virginia Parker* Retired Educator Annette Peters Marketing Director Syracuse Media Group Linda Pitonzo Syracuse Stage Guild President James Reed Sr. VP Marketing & Sales Excellus BlueCross BlueShield Michelle Schultz Senior Director, HR Business Partner Human Resources AXA Richard Shirtz Regional President NBT Bank L. John Steigerwald IV Marketing and Sales Representative Cathedral Candle Company Sharon Sullivan* Community Volunteer Wanda Thompson Sr. VP of Operations Upstate Medical University Phil Turner Pastor Bethany Baptist Church Jeffrey Woodward** Managing Director Syracuse Stage

Vincent Love President 100 Black Men of Syracuse Inc.

Ralph Zito** Chair Syracuse University Department of Drama

Kevin R. McAuliffe Partner Hiscock & Barclay

Michael Zoanetti VP Senior Wealth Advisor Tompkins Financial Advisors

Suzanne McAuliffe Retired Educator

*Executive Committee **Ex-Officio

s y r a c u s e S ta g e e m e r i t u s c i r c l e We are grateful to the following individuals who have served as Members of the Stage Board of Trustees and continue to support Syracuse Stage at the Circle level. Jim Breuer Mary Beth Carmen Eddie Green Joan Green Elizabeth Hartnett

Claude Incaudo Howard C. Johnson Jack Mannion Margaret Martin Eric Mower

Judy Mower Michael Shende Jack Webb

S y r a c u s e S ta g e G u i l d b o a r d President

recording Secretary

Linda Pitonzo

Mary O’Hara

executive vice president

Corresponding Secretary

Sara Lowengard

Gretchen Goldstein

Vice President, Membership

Julia Martin Vice President, fundraising

Jacki Goldberg Vice President, Publicity

Kelly Gardner Treasurer

Ray Abdella

Deborah Borenstein Elaine Cardone Roxanna Carpenter Terry Delavan Sandi DiBianco Marsha Ferrara Grace Flusche Donna Green

Jessica Humphreville Barbara Ianuzi Lauren Kochian Ellen Lautz Amy McHale Carol Minkstein Beverly Short Marian Stanton Jean Straub Melissa Vassenelli Maryam Wasmund Ginny Yerdon

S y r a c u s e S ta g e e d u c at i o n a d v o c a c y b o a r d Sara Bambino

Patricia Farrington

William Preston

cicero-North Syracuse

Cicero-North Syracuse

Manlius Pebble Hill

High School

Todd Benware

Joe Goldberg

Christian Brothers Academy

Jamesville-Dewitt High School

Elizabeth Defurio

Fred Montas

Nottingham High School

Manlius Pebble Hill

Kimberly Doan

Kathleen Pickard

Auburn High School

Baker High School

Jennifer Sabatino Cato-Meridian Middle School

Y o u n g Ad u l t C o u n c i l Kristina Bell

Anna Capria

Molly North

10th grade, Jamesville-DeWitt

11th grade, Baker High School

12th grade, Jamesville-DeWitt

High School

Katherine Benware 10th grade, Christian Brothers Academy

Hayley Bermel 12th grade, Cicero-North Syracuse High School

Lily Byrne

High School

Brennan Carman 11 grade, Christian

Alizah Smith

Brothers Academy

11th grade, LaFayette

Big Picture School

Rose Collins 11th grade, Christian Brothers Academy

Michel Dadey

9th grade, Cato-Meridian

12th grade, LaFayette

High School

Big Picture School

Dana Tooney 11th grade, Christian Brothers Academy

Angel Appeal 2014/15 Season

Make Your Gift Mather!

Kyle Anderson (center, as Corny Collins) and the Council Kids in Hairspray. Photographer Michael Davis.

By increasing your gift or making a new gift your support will be generously matched dollar for dollar by The Richard Mather Fund. Please make your commitment now and help Syracuse Stage bring the country’s leading theatre artists to our Stage and support educational programs that will reach more than 15,000 students this season.

For more information call Meggan Madden at 315.443.9848 or visit www.SyracuseStage.org

sizwe banzi is dead Sponsors The Robert Sterling Clark Foundation is proud to support Syracuse Stage’s production of Sizwe Banzi is Dead, presented in partnership with the Market Theatre is Johannesburg, South Africa and the McCarter Theatre in Princeton, NJ. We welcome renowned South African theatre artist John Kani and this talented cast to Central New York. We congratulate Syracuse Stage for its commitment to artistic excellence, diversity, social engagement, and international cultural diplomacy. Chase is delighted to support this season’s award winning play Sizwe Banzi is Dead. We applaud Syracuse Stage for their commitment to enriching the lives of so many by delivering outstanding productions and vital educational programming for more than 42 seasons. The Syracuse Stage Board of Trustees is proud to sponsor this production of the award-winning classic Sizwe Banzi is Dead, directed by John Kani. Elinor Spring-Mills & Darvin Varon

Elinor Spring-Mills & Darvin Varon. We are pleased to support Sizwe Banzi is Dead, the South African classic that explores the universal struggle for human dignity.

season supporters*

Richard Mather Fund

The John Ben Snow Foundation, Inc.

*Corporate, Foundation and Government support received in the last 12 months from $3,000 - $100,000 and above.

RESTAURANT & COFFEE LOUNGE

ace The Pl

To Go

ow The Sh Before

315.475.5154 900 EAST GENESEE ST PHOEBESSYRACUSE.COM

Lunch ~ Dinner ~ Full Bar ~ Coﬀee Lounge

s y r a c u s e s ta g e a n n u a l G i f t s Syracuse Stage depends on the generosity of contributions from individuals, corporations, businesses, foundations and government agencies. It is with much gratitude that we recognize the following donors to our annual campaign. Contributors listed below represent donations received in the past twelve months. For information regarding levels of contribution and benefits of each please contact the Development office at 315.443.3931 or visit syracusestage.org

c o r p o r at e h o n o r r o l l $100,000+ Syracuse University $50,000 - $99,999 Syracuse Media Group – Season Sponsor $14,000 - $24,999 M&T Bank – Other Desert Cities, M&T Stage for All, Educational Programs, Syracuse Stage Gala 2015 POMCO Group – Presenting Sponsor, Vanya and Sonia and Masha and Spike $7,500 - $13,999 Bank of America – Children’s Tour, Annabel Drudge Business Journal News Network Hiscock & Barclay iHeart Media KeyBank N.A. – Hairspray Lockheed Martin MST – August Wilson’s The Piano Lesson and Military Initiatives NBT Bank – Vanya and Sonia and Masha and Spike Syracuse New Times Syracuse Stage Board of Trustees WAER WRVO

 = Increased Gift,

$5,000 - $7,499 Carrier Corporation Chase – Sizwe Banzi is Dead Excellus BlueCross BlueShield – Hairspray Lockheed Martin Employees Federated Fund National Grid Scherzi Photography + Video The SU Humanities Center presents as part of the 2014 Syracuse Symposium™ on Perspective – August Wilson’s The Piano Lesson Syracuse Stage Guild – In the Next Room, or the vibrator play Tompkins Financial Advisors Upstate Medical University – Other Desert Cities Wegmans – Educational Programs

Cooper Crouse - Hinds McIntosh Box & Pallet Co., Inc.

$2,800 - $4,999 Exelon Generation Urban CNY

$75 - $249 Brady System Fulton Savings Bank Giarrusso Building Supplies Mauro-Bertolo Therapy Services, P.T., P.C. Sheats & Bailey PLLC Urist Financial & Retirement Planning Visual Technologies Ann Wolfson Associates

$1,500 - $2,799 Bristol-Meyers Squibb Foundation Phoebe’s Syracuse Blue Print $1,000 - $1,499 Action Printwear, Inc. 

$500 - $999 Anoplate Corp. Eastern Security Service Merrill Lynch Law Office of Keith D. Miller L. & J.G. Stickley $250 - $499 ACLS Mailing & Fulfillment Geddes Federal Savings Hebert Financial Strategies/ Dennis & Judy Hebert Reeves Farms Smith Contemporary Furniture/Smith Interiors Ltd The Mid-York Press, Inc.

* = Stage Board Member, Stage Emeritus Board Member,

n = In-kind Contribution

Contributors listed have provided support in the past 12 months.

f o u n d at i o n & g o v e r n m e n t h o n o r r o l l $100,000+ The Dorothy and Marshall M. Reisman Foundation – Presenting Sponsor, August Wilson’sThe Piano Lesson, In the Next Room, Other Desert Cities, Founders’ Circle Member, New Sound Console $50,000 - $99,999 County of Onondaga, Administered by CNY Arts – Hairspray $25,000 - $49,999 Allyn Foundation – Hairspray, New Sound Console Central New York Community Foundation, Inc. John F. Marsellus Fund – New Sound Console Robert Sterling Clark Foundation – Sizwe Banzi

is Dead The Richard Mather Fund New York State Council on the Arts Shubert Foundation

Foundation – August Wilson’s The Piano Lesson Melvin & Mildred Eggers Family Charitable Foundation

$14,000 - $24,999 The John Ben Snow Foundation, Inc. – ArtsEmerging

$1,500 - $2,799 Frank & Frances Revoir Foundation Price Chopper’s Golub Foundation – Education Initiatives

$7,500 - $13,999 AXA Foundation The Gifford Foundation The Green Family Foundation $5,000 - $7,499 Grandma Brown Foundation – Hairspray Theatre Development Fund, Inc. $2,800 - $4,999 The Gladys Krieble Delmas

$1,000 - $1,499 Henry A. Panasci, Jr. Charitable Trust $500 - $999 Peter & Wendy Blanck Family Foundation $250 - $499 The Horowitch Family Foundation

endowment & planned gift donors $5,000 - $7,499 Mary Louise Dunn Fund

individual gifts All new and increased gifts this season are matched dollar for dollar by the Richard Mather Fund. Founders’ Circle $7,500 - $24,999 Paul Phillips, MD & Sharon* Sullivan Playwrights’ Circle $5,000 - $7,499 Daniel Bingham & Gail Hamner – August Wilson’s The Piano Lesson Bill & Nancy* Byrne – Hairspray Helene* & Neil Gold Mary & Larry* Leatherman

Judy & Eric Mower* Sandra Lee Fenske* & Joe Silberlicht Elinor Spring-Mills & Darvin Varon Producers’ Circle $2,800 - $4,999 Pete & Mary Beth* Carmen Margaret, Amy & Bob Currier Louis* & Susan Marcoccia Suzanne* & Kevin* McAuliffe

Judith Sayles & David Murray Frederick & Virginia* Parker Mrs. Sherwin Radin The Spina Family Dr. & Mrs. Thomas R. Welch Directors’ Circle $1,500 - $2,799 Janet* Audunson & David Youlen Joan Christy & Thomas Bersani Nancy Seward & Tim Bond

Cathy & Jim Breuer Sandra* L. Brown Laurie Clark Kristin & Sidney Cominsky Dana & Peggy Dudarchik James Eagen & Ellen* Kimatian Eagen Barbara & Michael Flintrop Joan & Eddie Green* Winifred E. Greenberg Ann & Larry* Harris Betsy Hartnett* Barbara & Brian* Howard Mr. & Mrs. Claude* Incaudo Tamara Jacobs & David Epstein Peter Cannavo & Helen Jacoby Mr. & Mrs. Dudley Johnson Dr. & Mrs. Howard C. Johnson Randy & Elizabeth Kalish Bea Gonzalez* & Michael Leonard Mr. John F.X. Mannion* & Mayor Stephanie A. Miner Nancy Green* & Tony Marschall Margaret* & Don Martin Sally Lou & Fran* Nichols Kevin* & Michelle O’Connor John & Sheila Parker William & Rosemary Pooler Bob* & Kellie Pomfrey Nancy & Steve Rogers Dene A. Sarason Elaine & Michael* Shende Leslie Kohman & Jeffrey Smith Dr. & Mrs. Sam Spalding James Sprague Gies & Kenneth Gies Sprague Patricia & Melvin* Stith Cindy Sutton & Family Sally & Bob Theis Eileen & David Thompson Cherry & Peter Thun Linda & Jack* Webb Glenda & Larry Wetzel Laurie & Michael* Zoanetti Benefactors $1,000 - $1,499 Maria & Paul Badami Marya & John Frantz and Sutton Real Estate Company, LLC Joyce Homan Susan Beth Burgess & Michael S. Nilan

Jan & David Panasci Sandra Hurd & Joel Potash Athenia Rogers Margaret & Richard Shirtz George & Rita Soufleris Stars $500 - $999 Dr. & Mrs. Richard Aubry Marion & Bob Barbero Daniel* & Sarah Berman Louise Birkhead Patti & Frank Borer Craig & Kathy Byrum Drs. Alexander* & Margaret Charters Ann Clarke* Frank N. Decker Donald Blair & Nancy Dock Richard & Therese Driscoll John Druke Lew & Elaine Dubroff Clay & Dora Elliott Mary Ann Finn Allan & Nirelle Galson Michael & Jacki Goldberg Donna Graber Marie & Joseph E. Grasso Bonnie & Gary Grossman Deb & Sam Haines Theodore C. & Antonia M. Hansen Donna Mahar & David Heisig Della & Philip Holtzapple David Jacobs & Douglas Goldschmidt John & Gloria Kennedy Gregg Lambert* Rachel May Barbara Beckos & Arthur McDonald John P. & Elizabeth Y. McKinnell Jane Merrill John MacAllister & Laurel Moranz Anne Morford Tina Press & David Rubin Gracia & Rick Sears Walter & Nancy Shepard Brian & Kathy Sischo Corinne & Lynn Smith James & Vicki Smith H. Paul Steiner Raymond & Linda Straub Nancy Kramer & Doug Sutherland Wanda Thompson* Tiso Family

In Tribute ontributions have been made to Syracuse Stage to honor someone, celebrate a special occasion or offer an expression of sympathy in memory of a loved one. Sarah B. Alden in memory of Jacqueline Coley In Memory of Arlene Alpaugh Allene Ayling in honor of Don Ayling Rose Erma Angotti in tribute of 43 years in real estate Mrs. Gwynne Bellos in honor of Dr. Neal S. Bellos Sherly Day-Bernthal in tribute of Murray Bernthal Carrie Berse in memory of Betty Lourie Dr. Stuart Bretschneider in tribute to Cindy Bretschneider Carol Bryant in honor of Virginia Parker Marion L. Burke in honor of Barbara B. Liptak The Central New York Community Foundation in memory of Betty Lourie Vicki and David Dansky in memory of Betty Lourie Susan G. Dorn in memory of Phillip K. Dorn June M. Estes in honor of Gerald L. Estes Mrs. Blanche & Ms. Carol Everingham, in honor of WWII, Purple Heart Veteran, Robert I. Everingham Barbara Genton in honor of Donna Perricone Peggy Ginniff in honor of my parents Harold & Mildred Ginniff Jacki & Michael Goldberg - in tribute of Natalie Goldberg Syracuse MT Student Tom & Christine Hafner in tribute of Peter Hafner Patti & Bill Haggerty in memory of Marilyn Parratt Kip & Terri Hargrave in honor of Gus Hargrave & Rick Menke Kelly and Colleen Harrison in honor of Kathleen D. Harrig Kathlyn Heaton in honor of Sharon Waletzko Heidi Holtz in memory of Betty Lourie Drs. Timothy & Lisa Izant in honor of the Izant Brothers Linda & Bob Jackson in honor of Kevin Crewell

Leah Weinberg Lorraine* Branham & Melvin Williams Lori Ott & Jeffrey Woodward Angels $250 - $499 George & Sandra Abbott Mr. Timothy Atseff & Ms. Margaret G. Ogden Anne Barash Joanne & Jim Beckman Diane & Orville Boden Donna Marie & Michael F. Bocketti Anthony & Nancy Bottar Dick Bowman Dr. Sharon Brangman & Charlie Lester Susan & Thomas Brett Mrs. William L. Broad Walter D. & Angel W. Broadnax Mark & Maren Brown Marlene A. Brown Marion L. Burke Dr. & Mrs. R. J. Cassady Ann & Steve Chase Pat Colabufo* Goodwin Cooke Thomas & Deborah Coyle Mr. W. Carroll Coyne Mr. & Mrs. Anthony Dannible Sandra Marie DiBianco Alan B. Dolmatch Walter & Linda Dudas Jonathan & Rosanne Ecker Marsha & Benjamin J. Ferrara Maryann Finn Michael & Grace Flusche Anita & Allen Frank Philip & Marilyn Frankel David & Sylvia Fry Charles R. Gallagher Penny & Ernie Giraud Jean Jeffery Greene Jerry & Beth Groff Ellen & Dave Hardy Dr. & Mrs. Donald M. Haswell Nancy & Bud Haylor Drs. Joe & Paula Himmelsbach Mr. & Mrs. Alexander Holstein Anne Barash & Eric Holzwarth Randall LaLonde & Patricia Homer

Carrie Mae Weems & Jeffrey* Hoone Dr. Peter & Mary Huntington Elaine & Steven Jacobs Lex & Helen Joseph Norma Kelley Stephen & Janet Kimatian Penelope J.M. & Stephen M. Klein Mary Rose Kott Ellen & Terry Lautz Linda & Dan Lowengard Marlene & Scott Macfarlane Candace & John Marsellus Albert Marshall Philip & Kim Mazza Amy & Myles McHale, Jr. Sam & Margaret McNaughton Samantha Millier Bernard P. & Leslie A. Molldrem Anne Morford Alejandro Amezcua & David Murray Betty Jane & Larry Myers Linda & Donald Napier Maria Maniscalco & James Nellis Dorothea & Douglas Nelson John & Joan Nicholson Mike & Maggie OíConnor Phyllis & Chuck Olmsted David & Susan Palen Janice & David Panasci Robert & Teresa Parke Robert & Jane Pickett Marilyn Pinsky Kathy & Dan Rabuzzi Rissa & Michael Ratner Mark Re & Nancy Pasquale James* & Theresa Reed Arnie & Libby Rubenstein Ellen & Lome Runge Jane Burkhead & Robert Sarason Lois & Ted Schroeder Marilyn & Mike Sees James W. Shults Rhoda Sikes Carol & Dirk Sonneborn Laurence Sovik Sharon Springer, MD Helene & George Starr John Steigerwald Dr. J. Martin & Jackie Talcik Robert & Rosemarie Tenney Cynthia G. Tracy Elizabeth A. Tumbridge Pastor Phil M. Turner/

Doris King in memory of Austin Hoffman II Richard & Joan Kollgaard in honor of Don Buschmann & Tracey White Robert & Ellen LaBerge in tribute of Daniela Varon Lorraine LaDuke in honor of Mrs. Cecile LaDuke Janet W. Lowe in honor of Bob Moss Gerald Mager in tribute of Thomas A. Brisk Mary S. Mahoney in honor of John Francis Mahoney John Huppertz & Diane Mastin in honor of Fran & Sally Lou Nichols Carl Peterson & Margaret Maurer in memory of Jacqueline Coley Mr. Wallace J. McDonald in memory of Betty Lourie Richard Midlam in tribute of Barbara Midlam Lois Moran in honor of Joan & Raymond Lee Janice Nelson in honor of Bea & Irving Solomon Brenda Neuss in tribute of Christine Lightcap Pamela K. Reisman Monaco in tribute of Dorothy & Marshall Reisman Mark Cywilko & Marianne Moosbrugger in honor of Isabell A. Cywilko In honor of Kathryn Mulligan Liz Nguyen in tribute of Jack P. Bleich Joy & Al Oliver in honor of Rebecca Oliver & Hillary Gale Joan & Lawrence Page – in tribute of the musicians of the orchestra who accompany some productions Susan A. Parker in honor of Virginia B. Parker Dr. Paul E. Phillips & Ms. Sharon Sullivan in memory of Betty Lourie Karleen Preske in tribute of Kathleen Wilkinson Anita Rathbun in honor of Mildred Rathbun David Relyea in honor of Paula Relyea Nancy Remchuk in honor of Timothy Bond Erica Rube in honor of Jackie Goldberg co- chairing the Gala Elaine Rubenstein in memory of Betty Lourie Lorne & Ellen Runge in tribute of Betty Lourie Terry & Marilyn Ryan in honor of Shirley Gersony Lois & Mike Schaffer in memory of Betty Lourie Nancy Scheutziw in tribute of Syracuse Stage Staff/ Volunteers

Bethany Baptist Church Sara & Jay Wason Marylou & Kurt Watson Wilbur & Linda Webb– in support of Audio-Described Performances Lynda & Terry Wheat John & Mitzi Wolf Mary Jane Woodward Kathy, Tony, Victoria & Lukas Zappala Supporting Cast $100 - $249 Dr. & Mrs. Jerrold Abraham Judy & Bud Adams Bev & George Adams Sally Alden Howard & Sara Alexander David & Amy Allyn Kal Alston Kristi Andersen Robert & Jeanne Anderson Alice & Bob Andrews Nathan Andrews Tony Antonello & Danielle Quintus James & Nancy Asher Holmes & Sarah Bailey George S. Bain Ed & Joan Bangel Nancy Barnum Gerhard & Carole Baule Andrew & Margot Baxter Ms. Gwynne Bellos Mr. & Mrs. Ronald Berger Dr. & Mrs. William Berkery Wanda Warren Berry Roslyn Bilford Gerald & Barbara Black Cynthia A. Blume Gary & Fran Bockus Katherine & Jack Boyce Mary Brady Bernard B. & Ona Cohn Bregman Robert Moss & Michael Brennan James & Joyce Bresnahan Rachel May & Tom Brockelman G. Martin & Kathleen Brogan Philip & Helen Buck Robert & Mary Burdick Mary & Bill Butler Frank & Kathy Campagna Fran & Larry Campbell Dr. Richard & Nina Sterne Cantor Ronald M. Capone

Peter Carney Tom & Maryann Carranti Timothy McLaughlin & Diane Cass Robert E. & Dorothy C. Chambers Steve & Mary Chapin Susan Chappuis Joseph L. & Janice L. Charles Tony & Carolyn Cimino Joan Cincotta Malcolm Clark R. Peter & Janet H. Clarke Carolyn & Sam Clemence James A. Clinton Mr. & Mrs. Craig Cobb Gregory Cohen Dr. & Mrs. Paul S. Cohen Sylvia & William Cohen Martha Cole Milt & Miggs Coleman Michele Combs Bob & Sue Congel Joan & Robert D. Conine Roger & Judy Corwin Mr. & Mrs. Richard Cote Mr. & Mrs. Douglas L. Cotton Orazio & Genevieve Covelli Elizabeth Cowan Tracy Cromp George W. Curry Peter & Margaret Darby John S. & Catherine J. Davies Clive & Sandra Davis Arthur & Juleen Delaney Paula A. Dendis Mr. & Mrs. Robert H. Derrenbacker David C. Dickinson Delores R. Dixon Elizabeth & Evan Dreyfuss Jeff & Linda Drimer David & Robin Drucker Lynn Cleary & David Duggan Karen Dunn Nancy & Tony Ebersole Dr. Nabila A. Elbadwi/ Radiotherapy Associates of Upstate NY Betsy & Bill Elkins Richard Ernst Susan A. Estabrook Cissie Fairchilds Lori & Christopher Farrell Tom & Jane Ferguson James & Barbara Finlon Joseph & Lillian Fischer Dan & Colleen Fisher

Mr. & Mrs. Jacob H. Schuhle in memory of William Whiting Mansukh J. Shah in memory of Indira M. Shah Mel Shindler in honor of Tracey White John W. Sivak, Jr. in memory of Phoebe P. Sivak Corrine and Lynn Smith in support of Open Captioning H. Paul Steiner in honor of Renee & Ben Vivan Summerville, June 7, 1968 Darcie Bowden Judy & Jim Sweet in memory of Kara Sweet Gobron Peter & Hanora Vander Sluis in memory of Hildegarde B. Vander Sluis Ron Theel in memory of Karen Theel Gary Walters in memory of Patti Grycka Carol Bryant & Richard Ward in honor of Virginia & Fritz Parker Terry & Lynda Wheat in memory of Kathy GoldfarbFindling Lynda & Terry Wheat in memory of Betty Lourie Joanne Wickman in memory of Arlene Alpaugh Octavia Wilcox in honor of Ethel May Pierce Janet & Larry Wolf in memory of Frederick I. Wolf

Karen & William Fisher Katherine Flack Robert & Terry Flower Theresa Flyn Len Fonte Kathleen Forrest Drs. Tess & Jeff Freedman Ellie & Cyril Freeman Mr. & Mrs. Kenneth Freer Judith Fox Martin & Daisy Fried Melanie & Mark Fullerton Edgar & Eva Galson David & Bernice Gaynor Margaret Gelfuso Barbara W. Genton Dr. & Mrs. Henry George III Mr. & Mrs. John Gerson Michele Gildemeyer Frank & Anne Girardi Peggy Ginniff James Godleski Sheila Goldie Phyllis Goldman Robert & Karen Goldman Gretchen & Jeff Goldstein

Mrs. Lewis H. Goodman Linda Fabian & Dennis Goodrich Lawrence & Dorothy Gordon Drs. Michael & Wendy Gordon Judith & Samuel Gorovitz David Graham William J. Gray Stephen & Julia Graziano Roger & Vicki Greenberg Carol Guido James M. Hahn Elaine & Gregory Hallett Mr. & Mrs. Daniel Halsey Ruth Hancock Kevin & Denise Hanlon Carole & Mark Hansen Milena Hansen Bill & Kathy Harmand David & Lib Hayes Lionel Lee Hector Alan & Dorothy Heller Lee & Nancy Herrington Mary Hershberger Celaine & Victor Hershdorfer Jacqueline Hicks Camille & Mark Hill Judy & John Hoepner Marcia Hayden-Horan & Philip Horan Patricia & John Hottenstein Mr. & Mrs. Richard Hovey Guy & Patricia Howard Karen Heitzman & James Howe Dr. Anne Hunt John Huppertz & Diane Mastin Dr. Harold Husovsky & Dr. Susan E. Stred Jim & Sherri Hyla Pam Hyland John & Linda Isaac Janet & John Isabelle Virginia Jacob Anne Jamison & Peter Vanable Mr. & Mrs. Jastrzab Daniel & Rhea Jezer Sisters Janet & Joan James Aiello & Pam Johnson Dr. & Mrs. Howard C. Johnson Mr. & Mrs. Stephen L. Johnson Mr. & Mrs. Thomas Johnston Michael & Lynette Jozefczyk

Marjorie T. & Joseph V. Julian Kankus Family Dr. and Mrs. Allan Kanter Jan & James Kaplan Phil & Judy Kaplan Robin & Mark Kasowitz Carolyn & Gregory Keefe John & Jane Keegan David & Noel Keith Jean Kimber Barbara & Richard Kimm Russell & Joan King Sally & Dick Kinsey Richard & Joan Kollgaard Barbara Sutton & Liz Kolodney Dr. Sylvia Betcher & Martin Korn Donald & Margo Koten Kathy & Scott Krell Margaret Kufel Stephen & Cheryl Ladenheim Hume & Peggy Laidman Jay & Linda Land L. Lardy & E. Pennington Phyllis & Harlan LaVine Linda & Jim LeMessurier Mark & Jeannette Levinsohn Bonnie Levy Elizabeth D. Liddy Edward & Carol Lipson Brian & Susan Lison K.B. Lloyd Paul Brown & Susan Loevenguth Harlan London, Ph.D. Betsy Long John & Marian Loosmann Nick & Cathy Lozoponi Eugene & Christine Lozner Thomas Luck Tom Miller & Mary MacBlane Patricia & James MacKillop John & Janet Mallan J.R. Manier Jon M. Maloff Louis & Nancy Maresca Mary K. Massad Fred & Virginia Marty Elizabeth G. Mascia Grace & Richard Mason John & Gloria Mandly Rick Manier Ann M. Marshall Nancy & Tony Marshall Frederick & Virginia Marty Mary K. Massad Michael Mattson

Matching Gift Program he following companies will match gifts of their employees, retirees and spouses with a gift of their own to Syracuse Stage. Ask your personnel office for a matching gift form, send the completed form with your gift – and we’ll do the rest! AT&T Allied-Signal, Inc. American Express Company Avon Products, Inc. AXA Equitable Bank of America Borden, Inc. Bristol-Meyers Squibb Foundation CIGNA Corporation CNA Foundation Chemical Bank Chubb Group of Insurance Companies Citicorp & Citibank, N.A. Coopers Industries Foundation Crouse Hinds Co. – Cooper Industries Deluxe Corporation Digital Equipment Corporation Emerson Electric Co. Equitable Life Assurance Society Farmer & Traders Life Ins. Co. Fireman’s Fund Insurance GE Foundation General Foods Corporation GlaxoSmithKline John Hancock Mutual Life Insurance The Home Depot Foundation Honeywell IBM Corporation J.P. Morgan Chase & Co. Johnson & Johnson Kemper National P&C Co. Key Foundation Lever Brothers Company Marine Midland Bank, N.A. McDonald’s Corporation Merrill Lynch Mobil Oil Corporation The MONY Group Mutual Life Insurance Co. NCR Corporation National Grange New York Telephone Niagara Mohawk Foundation Owens-Illinois, Inc. Pitney Bowes The Prudential Foundation Charles Schwab Radio Shack Rockwell Automation Trust SmithKline Beecham Labs The St. Paul’s Companies The Travelers Companies United Parcel Service United Technologies Corp. Verizon Welch Allyn Xerox Corporation

Mr. & Mrs. Peter Mazzaferro Drs. Toni & Bob McCormick Don & Rena McCrimmon Michael McGrath Pat McGrath Brian & Cheryl McIntyre Bev & Dave McKay Marilyn McKnight Brian McLane Diane Cass & Tim McLaughlin Dr. & Mrs. James L. Megna Mary & Eckart Meisterfeld Ben & Julie Merchant Clifford & Marjorie Mellor Ann R. Melvin Sis Merrell Elizabeth & Walter Merriam David Michelo & Peggy Ruzzie Mr. & Mrs. Charles Miller Dan &Terry Miller Merrill L. Miller, M.D. David & Beth Mitchell Gail & Peter Mitchell June M. Mitchell James Mitscher Robert & Barbara Moore John Palmer & Liz Morgenthein Dr. & Mrs. Charles Muniak Mary Jane & Stephen Nathan Richard & Barbara Natoli Cathryn Newton Stephen W. Nevins Douglas & Gail Nielsen Dennis & Doren Norfleet Neil Novelli Brenda Neuss Robert & Beth Oddy Howard McLaughlin & Mary O’Hara Sally O’Herin Albert & Joy Oliver Donna & Richard O’Neil Timothy & JoDean Orcutt Deborah O'Shea Cathy L. Palm Connie & Peter Palumb Susan Parker Francis McMillan Parks David & Cynda Penfield Mr. & Mrs. Ralph Penner Kenn & Annette* Peters David & Susan Pickard Mary & Barry Pickard Richard & Neva Pilgrim David & Linda Pitonzo

Joe & Karen Porcello Howard & Ann Port Tom & Camille Potter Mrs. John Raper David & Linda Rezak Robert & Christina Rhinehart Mr. & Mrs. David A. A. Ridings Brian & Chris Rieger Julie and Boyd Rimel Michael Rogan & Cindy Wheeler Avard & Patricia Rogers Howard J. Rose Nancy Machles Rothschild Elaine Rubenstein Maria & Richard A. Russell Linda & Bob Ryan Don & Florence Saleh Richard & Jill Sargent Kelly & Tony Scalzo M. Gelfuso & P. Scheibe Keith Schroeder Janice Scully Jeffrey & Abby Scheer Robert Scheer Nancy Mudrick& Eric Schiff George & Sharon Schmit Herbert & Hillery Schneiderman Mr. & Mrs. Jacob H. Schuhle Margaret Schuhle Ellen Schwartz Ruth Seaman Thelie Trotty-Selzer and Jon Selzer Constance Semel Drs. Peter Cronright & Judy Setla Rick & Betsy Severance Rob & Cheryl Shallish Mark Watkins & Brenda Silverman Barbara & David Simon Dr. & Mrs. Robert Slavens Dr. & Mrs. L. Ryan Smart Craig & Martha Smith Debbie & David Smith Judith B. Smith Robert & Sheila Smith Harold & Ruth Smulyan Gwen Kay & Jef Sneider Marcene Sonneborn Rosemary Baker & Stu Spiegel Helen E. Stacy Anne Stagnitti John Steinburg & Karl

e endeavor to provide a complete listing of all donors in all individual giving categories. However, if your gift is not listed or is listed incorrectly, please accept our apologies, and contact the Development Office at (315) 443-9848.

Crossman Dr. & Mrs. Dennis J. Stelzner Deborah & Jim Stewart Dr. Lawrence Stewart Nona Stewart Jill & Ron Stratton Nan Strickland Thomas Talbot Joan & Gene Tarolli Laura M. Terpening Dr. & Mrs. James A. Terzian Christine & Richard Thomas Jim & Terry Toole Dr. Richard & Mavis Tornatore Marguerite Conan & James A. Traver Gregg Tripoli Jean & John Tromans Tom & Mollie Tucker Marc & Susan Viggiano Dina & Gershon Vincow Meghan & T.J. Vitale Fred & Patricia von Mechow Frank & Alice Vreeland Ann Vaccaro Barbara Vural Anita S. & Robert L. Wagner Kashi & Kameshawar Wali Mrs. Barbara Wanamaker Dr. & Mrs. Donald Washburn Wilbur & Linda Webb – Audio Description Sally Webster Miriam Weiner Steven Shahan & Elizabeth Weinstein Ruth S. Weinstock Margaret Harding & Joseph Whelan Evelyn D. White Stacey White Elizabeth & James Wiggins

Pauline & Robert Williamson Alex & Lola Winter Tina Winter Ivan & Bonnie Wolf Tom & Carol Wolff Kelly Wypych Cynthia A. Zacharek Judy & Steve Zdep, DDS Friends $75 - $99 Al & Jane Arras John & Mary Ann Baichi Gail & Dennis Baldwin Theresa & Dennis Bardenett Jon & Trish Booth Dr. & Mrs. Denis F. Branson Bob & Kathy Brown Mr. & Mrs. Nicholas Brust Dr. & Mrs. Deane Cady Sharon F. Campanelli Tim Cassidy Gary & Shannon Comins Mike & LaRae Cottrell Paula derBoghosian Mr. and Mrs. D. Devendorf Sharry W. Doyle

Mary Ellen Drabot Charles & Kimberly Driscoll James & Marlene Dunford Ronald Ferguson Molly Fitzpatrick Cliff & Jane Forstadt N. Gordon Gray Jane Guiles Milena Hansen Dr. & Mrs. Harris Holly S. Hart Robert & Denise Heater Elizabeth B. Humphreys Janet Jaffe Nancy Freeborough-Kaczmar Linda & Bob Kashdin Alexander & Joan Keilen John & Susan Kline Mr. & Mrs. Sheldon Kruth Robert & Lauren Lalley Lois M. Easterday & Susan J. Lamanna Eileen & James Lantier Joanne Lloyd Louisa & Carlos Lopez Patricia & Donald MacLaughlin

Thomas A Brisk & Gerald M. Mager Doug & Randi Matousek Ryan & Alyson McDermott Nancy & John Merrill Robt & Maureen Minich Verner & Jane Mize Robert Moore David & Janet Muir Janet S. Munro Deirdre Neilen Brenda Neuss Ellen O’Connor Karen Orr Kathy Palm Anita Pisano Steve & Kate Pynn Brian Silfer & Amy Romano Barbara Rothschild Dr. & Mrs. Bernard Schneider Lennie & Elizabeth Turner Marc & Marcy Waldauer JoAnn Wallace Larry Volan & Sara Warner Dianne D. Webb Anna Giacobbe & Peter Welge

S y r a c u s e STAGE S ta f f

ARTISTIC S ta f f

Producing Artistic Director..........................................................................................Timothy Bond Managing Director..................................................................................................Jeffrey Woodward Resident Dramaturg.............................................................................................................Kyle Bass Dramaturgy Student Intern..........................................................................................Tringa Ajeti Artistic Assistant...............................................................................................................Chris Botek Director of Educational Outreach...........................................................................Lauren Unbekant Education Outreach Manager.................................................................................Kate M. Laissle Education Assistant.........................................................................................................Len Fonte Teaching Artists..........Jessica Bland, Trisha Harris, Bella Poynton, Darian Sundberg, Corinne Tyo PRO D UCTION S ta f f

Director of Production Operations...........................................................................Don Buschmann Assistant Production Manager..................................................................................Dianna Angell Company Manager/Production Management Assistant...............................................Brian Crotty Student work study..............................................................................................Araceli L. Aquilar Technical Director.......................................................................................................Randall Steffen Assistant Technical Director...................................................................................Rebecca Schuetz Scene Shop Foreman..................................................................................................Michael King Master Carpenter..............................................................................................Elizabeth Nosewicz Carpenters...........................................................................................Mike Kuhla, Simone Scalici Graduate Assistant............................................................................................Christopher Zacher Scene Shop Intern......................................................................................................Alex Petersen Student work study.....................................................................Emma Antenen, Mylene Quijano Scenic Charge Artist................................................................................................Holly K. LaGrow Assistant Scenic Artist..............................................................................Kristen Prescott-Ezickson Graduate Assistants...............................................................Loren Bartnicke, Carlie Miller Sherry Properties Coordinator................................................................................................Mary Houston Props Carpenter.....................................................................................................Tammy Goetsch Props Artisan.................................................................................................................Lisa Letson Graduate Assistant.....................................................................................................Chelsea Jones Student work study.............................................................Ashley Kyker, Emily Mae Timmerman Prop Shop Volunteer.......................................................................................................Ryan Ross Costumer.....................................................................................................Gretchen Darrow-Crotty Assistant Costumer..................................................................................................Meggan Camp Cutter-Drapers...........................................................................Catherine Hennessy, Jennifer Peet First Hand...............................................................................................................Victoria Lillich Stitchers...................................................................................Amanda Moore, Cynthia Papworth Craftsperson/Shopper................................................................................................Sandra Knapp Wardrobe and Wig Supervisor.......................................................................................Sarah Stark Hair Stylist.............................................................................................................Kristina Scalone Student work study.................................Kathryn Bailey, Kiersten Kozbial-Wu, Charity Van Tassel Master Electrician.................................................................................................David M. Bowman Electrician...............................................................................................................Miles Dudgeon Electrics Apprentice......................................................................................................Ann Archer Student Assistants....................................................Gregory Folsom, Ryan Gibson, Anna LiDestri

S y r a c u s e STAGE S ta f f

Resident Sound Designer/Audio Engineer............................................................Jonathan R. Herter Assistant Audio Engineer......................................................................................Kevin O’Connor Sound Apprentice........................................................................................................Jade Taggert Graduate Assistant......................................................................................................Stefan Zoller Production Stage Manager........................................................................................Stuart Plymesser Stage Manager....................................................................................................Laura Jane Collins Stage Management Journeyman..................................................................................Erin C Brett Stage Management Apprentice...............................................................................Marisa Andrews A D MINISTRATIVE S ta f f

Administrative Director...................................................................................................Diana Coles Director of Marketing and Communications...............................................................Patrick Finlon Publications Director/Assistant Marketing Director................................................Joseph Whelan Group/Corporate Sales Manager................................................................................Tracey White Public Relations Manager....................................................................................Kristina Starowitz Graphic Designers.......................................................................Jonathan Hudak, Brenna Merritt Group Sales Assistants...........................................................................Amanda Kurey, Julia Slater Marketing Interns..........................................................................Emily C. Wagner, Ashley Judge Director of Development............................................................................................Barbara Beckos Assistant Director of Development......................................................................Katherine Keeney Development Assistant.........................................................................................Meggan Madden Development Intern..................................................................................................Sergio Gomez Comptroller...................................................................................................Mary Kennett Morreale Human Resources Administrator/Assistant Business Manager..................................Kathy Zappala Director of Information Management & Technology................................................Garrett Wheeler Student Assistant........................................................................................................Justin Ramer Director of Ticketing & Subscription Services.............................................................Miguel Tarrats Assistant Director of Ticketing & Subscription Services................................................Jon Wilson Assistant Box Office Managers............................................................Lisa Doerle, Stasya Erickson Angel Appeal Telefunding Manager..........................................................................Kathy Zappala Patron Sales and Services...........................................Brian Balamut, Jasmin Fink, Dennis Lennox Box Office Assistants.............................Jalina Brown-Omar, Stephanie Burnham, Tatiana Fenner, Amy Gleitsman, Farhana Mustafa, Nicholas Paro Adam Segrave, Maggie Siciliano Interpreters for the Deaf.....................Brenda Brown, Angelo Coppola, Mikki Evans Sue Freeman Joanne Jackowski, Sarah Korcz, Zenna Preli, Shaun Standford Open Captioning.........................................................................................................Chris Botek Audio Description.........................................................................Kate M. Laissle, Joseph Whelan Director of Audience Services................................................................................Wayne Yaddow, Jr. Student Assistant House Managers...........Louisa Britt, Tatiana Fenner, Troy Hussmann, Natalie Oliver Bartenders...........................Meg Pusey Anthis, Patrick Cummings, Michael King, Michael Kulha Community Services Officer......................................................................................Stacey Emmons Custodians........................................................................Kitty Ashby, Delores Bachus, Tony Rogers

ACCE S S I B I L I T Y PER F OR M ANCE S 2 0 1 4 / 1 5

sizwe banzi is dead

Sat. Mar. 7, 3:00 S Sat. Mar. 14, 3:00 AD Wed. Mar. 4, 2:00 OC Sun. Mar. 15, 2:00 OC other desert cities

Sat. Apr. 18, 3:00 S Sat. Apr. 25, 3:00 AD Wed. Apr. 15, 2:00 O Sun. Apr. 26, 2:00 O

American Sign Language = S Sign Language Interpreted Performance Series supported in part by Welch Allyn, in memory of Susan Thompson. An American Sign Language Interpreted performance is offered for every production. For the most advantageous viewing, be sure to mention your interest in sign interpretation when reserving tickets. Open Captioned Performances = O Open Captioning is provided for two matinee performances of every production. A small screen, placed to the side of the stage, displays text corresponding to the play’s dialogue and other sounds. Open Captioning can be viewed from most seats in the theatre. However, for the most advantageous viewing, please contact the Box Office. Open Captioning is supported by grants from Theatre Development Fund’s TAP Plus Praagram, NYSCA and donations from individuals and corporations. Audio-Described Performances = AD Simultaneous live narration and pre-show description for blind and visually impaired patrons. Please call the Box Office in advance to reserve headsets. Audio Enhancement: Syracuse Stage offers an infrared hearing system for patrons with up to 70% hearing loss. Headsets can be reserved free of charge through the Box Office or at the Coat Room before curtain. Wheelchair Seating and Accessibility: Syracuse Stage is wheelchair accessible. Please call the Box Office at 315-443-3275 to arrange wheelchair seating.

PROGRAM BOOK Publications Director: Joseph Whelan, Graphic Designer: Jonathan Hudak, Advertising: Katherine Keeney, Cover: Atandwa Kani and Mncedisi Shabangu in Sizwe Banzi is Dead. Photo: Ruphin Coudyzer.

Sizwe Banzi is Dead published Feb. 25, 2015 The Syracuse Stage program is published seven times a year. For advertising rates and information contact the development office at 315.443.2709. Printed by Midstate Printing Corporation.

G e n e r a l I n f o r m at i o n Syracuse Stage 820 East Genesee Street Syracuse, NY 13210-1508 Administration: 315/443-4008 Box Office: 315/443-3275 www.SyracuseStage.org Single Ticket Prices Opening Night: $54, $50, $30 Evenings: Fri., Sat.: $51, $48, $30 Sun., Tues., Wed., Thurs.: $40, $37, $30 Matinees: Wed., Sat., Sun.: $47, $43, $30 Previews: $35, $32, $30 All tickets can be purchased at the Syracuse Stage Box Office or online anytime at www.SyracuseStage.org. Prices may vary for opening nights and for Hairspray. Discounts Available for senior citizens and students. Call the Box Office for prices. Group Discounts Available Available for groups of 10 or more; additional discounts for student/senior citizen groups. Call Tracey White: 315/443-9844. Rush Tickets Rush tickets are available for purchase at a discounted rate on the day of the show for all performances by cash or check. Limited availability. Box Office Hours The Box Office is open Monday through Friday, 9 a.m. noon to 6 p.m., and two hours before each performance. Box Office phone: 315/443-3275. Box Office fax: 315/443-1408. Gift Certificates Call the Box Office or visit us online at www.SyracuseStage.org. Parking Entrance to the enclosed parking garage on Irving Avenue is on the corner of Madison Street and Irving, next to the MadisonIrving Medical Building. For hours of operation and parking costs, call (315) 475-4742. There is an open parking lot between Phoebe’s Garden Cafe and the garage maintained by Syracuse University. Beepers and Cell Phones For the actors’ safety and in consideration of the audience please turn off all cell phones; check your beeper and leave your seat number with an usher at the Coat Room prior to the performance. They will monitor your beeper and notify you if there is an emergency. Fire Notice The exit indicated by a red sign nearest the seat you occupy is the shortest route to the street. In the event of an emergency, walk to that exit and follow the house staff ’s directions. Smoking Policy Smoking is not permitted in this building or any public building in accordance with Syracuse University and New York State policy. We ask that our patrons who smoke do so outside of our theatre. Quiet Children Quiet children over the age of five are welcome at Syracuse Stage performances. We do ask that adults remove disruptive children to the lobby.

Ticket Exchange All tickets may be exchanged. Please call the Box Office 24 hours prior to the earliest performance involved in the exchange. Single ticket exchanges carry a $5 fee per ticket. 6Pack holders may make one free exchange per show. Subscribers may make unlimited free exchanges; upgrade charges may apply. Subscribers who missed a scheduled performance and did not exchange may use their Extra Value Ticket or purchase a missed performance pass for $5. Latecomers In order to ensure the safety and concentration of the actors and the uninterrupted enjoyment of our patrons, latecomers will be seated at the earliest, appropriate break in the performance in the closest available seats. Buy it if You Like it! Many of the items featured in our productions are available for purchase. For information contact Mary Houston, Props Master: (315) 443-2437. To Volunteer as an Usher If you would like to get a backstage view of Syracuse Stage, or would like to expand your social circle, this is the ideal opportunity for you. All we ask for is a positive attitude, a smiling face and the willingness to commit a few hours a month. Please call our House Manager at (315) 443-3219 for more information. Open Captioning We are pleased to offer two open captioned performances for each mainstage play. Open captioning provides a simultaneous display of the play’s dialogue on a screen next to the stage. Audio-Described Performances Simultaneous live narration and pre-show description for blind and visually impaired patrons. Please contact Box Office in advance to reserve headsets. Audio Enhancement We offer an infrared listening system for patrons with up to a 70% hearing loss. Headsets can be reserved free of charge through the Box Office or at the Coat Room before curtain. Signed Interpreted Performances Tuesday evenings, the third or fourth week of each production, we offer performances for the hearing impaired. Wheelchair Accommodations Syracuse Stage is wheelchair accessible. Please call the Box Office to arrange wheelchair seating. Emergency Telephone Contact To be reached in an emergency, please leave your name and seat location at the Coat Room when you arrive. This is the only way we can locate you. In case of an emergency you may be reached at (315) 443-9922. www.SyracuseStage.org Subscribe, purchase 6Packs and single tickets 24-7. Information, schedules, reviews and more. Please . . . The use of cameras and recording devices is not permitted. Please do not bring drinks and/or food into the theatre. ADVERTISER SUPPORT Syracuse Stage encourages audience members to support the businesses advertised in our program.

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