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I n M e M o r I a M

Longtime subscriber and supporter of Syracuse Stage. Member of the Stage

Board of Trustees – 1974 - 2000 Treasurer of the Board – 1974 - 1988President of the Board – 1988 - 2000

Lou KemptonMarch 1, 1933 - Jan 18, 2015

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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 work-ing for the McCarter Theatre in Princeton when we toured a pro-duction 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 inter-national 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 soli-tary 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 doc-tor 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 adminis-trator, and an extremely talented lighting design-er. Mannie and I have maintained a great corre-spondence 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,

letter from the

managing director

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Jeff WoodwardManaging Director

and Mannie and Lara Foote, the artistic direc-tor 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 drama-turg Kyle Bass decided that Stage should pro-duce 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 com-panion 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.

You are about to see a brilliant revival of this extraordinary play that introduced to many americans the inhu-manity of apartheid. The production is performed

in the same style as it was originally produced. John is the director, Mannie is the lighting designer, atandwa plays the roles his father cre-ated, and has been joined by the wonder-ful 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.

best,

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

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SyracuSe Stage gala 2015 Featuring Keb’ Mo’June 19, 2015

save the date

Three-time Grammy award-winning singer, song-writer, guitarist and contemporary blues artist, Keb’ Mo’ will perform at Syracuse Stage’s an-nual 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.

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s c e n i c & c o s t u m e D e s i g n e r

John Kani

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

presents an internat ional tour of the market theatre proDuct ion of

Timothy BondProducing Artistic Director

Jeffrey WoodwardManaging Director

a s s o c i at e p r o D u c e r & l i g h t i n g D e s i g n e r

Mannie Manim

D i r e c t e D b y

John Kani

season sponsor

w r i t t e n b y

athol Fugard, John Kani and Winston ntshona

p r o D u c t i o n s ta g e m a n a g e r

Stuart Plymesser*

presenting sponsor sponsors

meDia sponsors

f e at u r i n g

atandwa Kani and Mncedisi Shabangu

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

Elinor Spring-Mills &Darvin Varon

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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

c a s t

(in order of appearance)

atandwa Kani...........................................Styles, BuntuMncedisi Shabangu...............................................Sizwe

Sizwe Banzi is Dead will be performed without an intermission.

setting

new Brighton, a black township outsidePort elizabeth, South africa.

a D D i t i o n a l c r e D i t s

assistant Director: adam Immerwahrassistant Lighting Designer: Paul Kilsdonk

Stage Management Journeyman: erin C BrettStage Management apprentice: Marisa andrews

Stage Management Intern: Leola Powell†

Sound apprentice: Jade Taggartelectrics apprentice: ann archerWardrobe Supervisor: Sarah Stark

official Hotels for Guest artists: The Genesee Grande Hotel, Parkview Hotel

performance sponsorship

Suzanne & Kevin Mcauliffe, February 25Mary & Larry Leatherman, opening night, February 27

ellen & James eagan, February 28, 8 pmBill & nancy Byrne, Friday, March 6

Drs. elinor Spring-Mills & Darvin Varon, March 14, 8 pmSally Lou & Fran nichols, March 14, 8 pm

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In 1965, norman, one of the members of the Serpent Players drama group, was arrested by the South african Po-lice’s Special Branch for his involvement in the underground liberation movement. He was sen-tenced to five years on robben Island, where nelson Mandela spent most of his years as a po-litical 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 ex-amining the life of this coat. It was the begin-ning of what later be-came 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 mak-ing; The Island followed in 1973.

In 1976, after jointly winning the Tony award for best actor on Broad-way for both plays the previous year, Winston ntshona and I were ar-

a note from

director john kani

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rested by the Secret Po-lice and were detained in solitary confinement for 23 days. We were only released because of mas-sive 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 peo-ple’s necks, identifying an individual by where he or she was born, where they could work, who they

married and so on. Win-ston, athol Fugard and I were like Dr. Franken-stein, creating a monster that went on to occupy our lives for more than four decades.

When the Syracuse and Princeton theatres asked me to revive this produc-tion of Sizwe Banzi, I was very excited. It gave me the opportunity to work with younger South afri-can actors who were not even born when this play was first staged. also, I relished the opportu-nity to work with my son atandwa Kani and Mncedisi Shabangu, who are among the most im-portant actors working in my country today. I also directed atandwa in the recent production of The Island for The Mar-ket Theatre. We sincerely hope you enjoy this new-generation incarnation of Sizwe Banzi is Dead.

Dr. John KaniDirector

D

r. Jo

hn K

ani

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JW: Clearly much has changed in South africa since you and athol Fu-gard and Winston nt-shona 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 creat-ing the play: there comes a time when everybody

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 inter-national 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 dur-ing riots. at 71, Kani remains an active force in South african theatre as a prominent writer, director, and actor.

intervieweD by Joseph whelan

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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 question-ing ourselves I just simply said, “He’s got his pass-book in order.” a pass-book 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 night-mare you could never get in order. So I said, “He’s got his book in order and he takes a picture to cel-ebrate.”

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 run-ning all the time. So we knew we had fulfilled our mandate of art re-

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 docu-ment that tells you where you live, where you must not live, where you can work, where you can’t work.

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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 ter-minology.

JW: How could you per-form if the police were after you?

JK: The play could not be banned. It did not have a script. We were improvis-ing 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 perfor-mances 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.

JK: It’s the kind of thing—we didn’t even know what you’re talk-ing 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 Gar-den, and Walter Matthau and some other actress said, “The winner is, oh, my God, the winners are John Kan-eye and Win-ston 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

[right] John Kani and Winston ntshona in Sizwe Bansi Is Dead.

[opposite] John Cul-lum, ellen Burstyn, John Kani, angela Lansbury, and Winston ntshona at the Tony awards Ceremony, 1975.

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said, “Thank you.” Win-ston said, “Thanks.” We walked off.

JW: and the trouble be-gan.

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.

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

JK: one performance,

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 re-leased after 23 days. I was in solitary confinement, and Winston was in an-other town about 120 miles away.

JW: The Tony award helped secure your re-lease.

JK: While I was sitting

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 demonstrat-ing: “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 plac-ards, “Free John Kani.

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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 re-leased 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 town-ship, 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 dan-ger.

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 hos-pital in the township, we're taking him to the hospital in the colored area. ap-parently, the police came back and didn’t find my body lying there and went

straight to the black hospi-tal in the township to fin-ish 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 isola-tion ward for infectious diseases. That’s where we hid him.” The secret po-lice wouldn’t dare go into the ward for infectious diseases. That’s where I was lying.

JW: now you’re work-ing on the play with a new generation.

JK: one of them happens to be my son (atandwa Kani).

JW: What challenges did you encounter?

JK: The difficulty for me is to make them understand about the struggle of the seven-ties. 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 any-way?” 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 ex-perience that they had to go through in order to understand what it cost us for them to en-joy the democracy to-day in South africa.

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apartheid in South africa

When athol Fugard, John Kani, and Winston ntshona created Sizwe Banzi is Dead in 1972, South africans had al-ready spent more than two decades living under apartheid, the institution-al system of racial segrega-tion enacted by the coun-try’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 bet-ter part of the twentieth century), apartheid was based on an ideology that preached complete separateness between the races. In practice, apart-heid meant a complex bureaucratic web of hun-dreds of laws and thou-sands of regulations that strictly categorized and physically divided mem-bers of different races.

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 mix-ing in both public and private spaces was abso-lutely forbidden, leading to segregated public fa-cilities and harsh policies on interracial marriage, among other measures.

race determined all rights, including where a person could live. nine-ty percent of the country was classified as white land that black South af-ricans were banned from owning. The remaining ten percent was split into ten disparate ru-ral “reserves” splintered throughout the country, which were allocated as black “homelands” and assigned to differ-

ent black ethnic groups. These homelands (then also known as Bantu-stans) were meant to provide an illusion of independence from the central government while simultaneously fractionating the black population and prevent-ing alliance between the separated ethnic groups. The designation of this paltry portion of land for the vast majority of the population led to over-crowding, extreme pov-erty, and lack of oppor-tunity. This forced large numbers of black South africans to seek out jobs in the white cities, which they were not permitted to enter without gov-ernment permission—essentially making them migrant workers within their own nation.

Courtesy of the McCarter Theatre Center.

by rachel wiegarDt-egel

In essence, apartheid was an ob-session with racial distinctions turned into political practice—a way for the white minority to sep-arate itself from, and control, the country’s black majority.

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1652The Dutch East India Company establishes a settlement at Cape Town, South Africa.

1806Britain annexes the Cape Colony, which constitut-ed approximately half of modern South Africa.

1809The British pass the first of the pass laws control-ling movement on black people in the Cape.

1899-1902Boer War is fought between the Dutch-descended Afri-kaners and the British.

1910The Union of South Af-rica is established, unify-ing four formerly British colonies, with Afrikaner Louis Botha as the first prime minister.

1912The black South African political advocacy organiza-tion that became known as the African National Con-gress (or ANC) is formed.

1913The Native Land Act sets aside 7.3% of land for black South African “reserves.”

major eventS leading to the

eStaBliShment and eventual

aBoliShment of apartheid

[below] apartheid on the ground: anti-apart-heid protest in South africa in the 1980s.

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1914Afrikaner National Party is established. They campaign based on the idea of apartheid and the promotion of Afrikaner culture.

1948National Party wins the election and D.F. Malan becomes South Africa’s prime minister.

1940s-early 1950sA series of acts establish the framework of apart-heid. The African Na-tional Congress organizes a passive resistance cam-paign against apartheid. The government begins arresting ANC leaders to suppress the movement.

1960Sharpeville Massacre: police open fire on anti-apartheid protestors, killing 69 and wounding many.

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

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

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

1977Anti-apartheid activist and student leader Steve Biko is arrested and dies in police custody after sustained torture and beatings.

1984Archbishop Desmond Tutu is awarded the Nobel Peace Prize for his non-violent campaign to end apartheid.

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

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

1990Nelson Mandela is released after 27 years in captivity.

1993Mandela, de Klerk, and representatives from 18 other parties agree on an interim constitution. Under this constitution, all citizens over 18 are al-lowed to vote, and many social and political rights are guaranteed. Mandela and de Klerk are awarded the Nobel Peace Prize.

1994Nelson Mandela is elected president in the first free elections in South African history.

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Atandwa Kani (Styles and Buntu) is a South african actor who made his United States televi-sion debut in the pro-gram 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 well-known South african actor, writer, and director John Kani, he was ex-posed 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 foot-steps. He studied at the University of the Witwatersrand and graduated with an honors degree in theatre per-formance in 2008. at Wits, he was awarded the Leon Gluckman award for best research project. His lead roles in student productions include Rosen-crantz 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 be tween 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, em-bodying 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 pro-duction of Rhetorical in 2012, for which he won a naledi award for best new comer/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, un-der the direction of John Kani. He has appeared in True Love magazine’s “In Bed With...” feature and was in-volved 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 fol lowing year, he featured in the third season of the SaBC2 political series 90 Plein

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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.

Mncedisi Shabangu (Sizwe) started acting in 1992 in Kanyama-zane, a small town in Mpumalanga that bor-ders Mozambique and Swaziland. In 1995, he enrolled at the Market Theatre Laboratory. after he graduated, Swedish producer Christer Dahl com missioned his class to pro-duce a new South african play. That sparked the birth of Gomorrah, a phys-ical theatre piece that was critically ac-claimed both at the Market Theatre and the national arts Festival. Later, it toured Sweden and Mncedisi went

on to attend the summer acting course at the royal national Studio in Lon-don. 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 produc ers and directors who wanted to collaborate with him—marking the beginning of a long, col-orful and decorated career. at the age of 27, Mncedisi felt he had achieved everything he wanted—but there was more to come. To day, Mncedisi is a multi-award-winning actor and direc-tor and a recipient of the prestigious Standard Bank Young artist award for theatre. He has worked with ac-claimed directors Lara Foot, James ngcobo, Paul Grootboom, Malcolm Purkey, aubrey Sekhabi, Craig Hig-ginson, John Matshikiza, and Wil-liam 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 fea-tured in the film Catch a Fire with Derek Luke and Tim robbins, and recently appeared in the mini-series Book of Negroes alongside Louis Gos-sett Junior. The story continues…

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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-

a r t i s t i c s ta f f

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DELI & CATERING SERVICE

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pany for 17 years, director of Per-forming 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; Car-men and the MysTeries at Spier in Lon-don, 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-up-on-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 pro-duced most of them, too. other high-lights include Stuur Groete aan Man-netjies 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 Mar-ket Theatres and in the andre Hu-guenet 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 UBUn-TU Festival. His accolades include the Shirley Moss award for his prac-tical 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 Che-valier 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 achieve-ment award (2004), a Fleur du Cap lifetime achieve ment award, an arts and Culture Trust lifetime achieve-ment award, the national order of Ikhamanga in silver (2011), and a Fleur du Cap award for best lighting design (2012).

Adam Immerwahr (Assistant Di-rector) recently at McCarter: The Understudy. nYC directing credits include productions at The Public,


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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, Han-gar Theatre, Premiere Stages, Bristol riverside, Playwrights Theatre of nJ, PlayPenn, the national Constitution Center, Philadelphia artists’ Col-lective, Princ eton Summer Theater, Westminster Choir College, Theatre Masters, and Passage Theatre Com-pany in Trenton, where he serves as resident director. adam is the artistic director of onStage Seniors: a com-munity project of McCarter Theatre and the 2014-15 artist-in-residence at nassau Presbyterian Church. recipi-ent of a 2008 Drama League Direct-ing Fellowship and 2010 nJ Theatre alliance “applause award”.

Paul Kilsdonk (Assistant Lighting De-signer) is excited to return to Syracuse Stage after having been master electri-cian 21 years ago. Designs for McCa-rter 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

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, Syr-acuse 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 olym-pia Dukakis, Frank Langella, eliza-beth Franz, and Phylicia rashad. Stuart has worked at numerous re-gional 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/lectur-er at Ithaca College, Wells College, SUnY oswego, and the Zabalaza Festival in Cape Town. Stuart is a proud member of actors’ equity as-sociation, the union of professional actors and stage managers, as well as the United States aikido Federation. www.stuartplymesser.com.


John Kani is an actor, a director, and a playwright. He was born in new Brigh-ton, 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

http://www.stuartplymesser.com

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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 Bes-sie 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 compila-tion Ladies and Gentlemen, Shakespeare! John also performed in Sizwe Banzi is Dead and The Island, which he co-wrote 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 Lon-don 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, pre ceded by a season of The Island at Peter Brook’s theatre, the Bouffe du nord in Paris, and a short season at Stockholm’s Stad-steater. This was followed by seasons in Montreal, Canada, at the Kennedy Center in Washington, DC, and in London’s West end in 2002 to sold-out houses. John’s film credits include The Wild Geese, The Grass is Singing, Marigolds in August, Victims of Apart-heid, 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 Giel-gud, The Final Solution, The White Lion, The End Game, Coriolanus, and How to Steal Two Million. at the Mar-ket 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 tal-ents and new works, and has an ex-tensive 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 Bax-ter 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 Hon eyman) and five naledi awards (including best actor, best new South african play


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Over 15,000students 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.

Fall 2014 Elementary School Tour – Annabel DrudgeArtsEmerging Program

Education Programs 2014/2015

Student Matinees

Education Programs 2014/2015, Young Playwrights Festival



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and best production for 2003). Fur-ther 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 Har-lem 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 Depart-ment 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 Stratford-upon-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 contri-bution to local and international arts and culture, including the national african Federated Chamber of Com-merce Merit award, the rotary Club’s Paul Harris Fellowship award, the Hi-roshima 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 perform-ing 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 lib-eration through his work in the arts). Subsequently, John was appointed by the President to serve on the Presi-dential advisory Council of national orders and awards. He was awarded the inaugural ousmanne Sembene award at FeSPaCo 2009, a Lifetime achieve ment award from the South african Film and Television awards and the Leadership and Service award by the South africa Washington In-ternational Program (SaWIP) for his contribution to its youth leadership program. John is a patron of the Mar-ket Theatre Foundation and is also the Market Theatre’s special ambassador. He is chairman of the apartheid Mu-seum, director of Jazz Film Com pany, and a board member of Urban Brew and the WWF-Sa’s Green Trust. In 2010, he was appointed by the Min-ister of Higher education and Train-ing to the Wits University Governing Council. He has received an honorary Doctorate of Philosophy from the University of Durban-Westville, hon-orary Doctorates of Literature from rhodes University and the University of Cape Town, and an honorary PhD from the nelson Mandela Metropoli-tan University for his contribution to the arts and to the struggle for the lib-eration of his country.


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Athol Fugard has been working in the theatre as a playwright, director, and actor since the mid-fifties in South af-rica, england, and the United States. His plays include: No-Good Friday; Non-Gogo; Blood Knot; Hello And Goodbye; People Are Living There; Boes-man 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 Cap-tain’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 cred-its include The Road to Mecca, Ghandi, The Killing Fields, Meetings With Re-markable Men, Marigolds in August, Boesman and Lena, and The Guest. He has written the novel Tsotsi, which was filmed in South africa, and his auto-biographical memoirs, Cousin.

Winston Ntshona was born on oc-tober 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 “unreserv-edly 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

toured europe, australia, new Zea-land, 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 Suz-man 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 Pha-edra. 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 Hear-tlines: Grace, and The Heartlines: The Bet. His impressive list of film credits includes Malunde, I Dreamed of Af-rica, Power of One, A Dry White Sea-son, 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, Mari-golds 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 ex-traordinary contribution to theatre. He is also the recipient of an Honor-ary 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 Cul-tural Units, where he helps empower the youth with artistic skills.

p l ay w r i g h t s

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The Market Theatre is renowned world-wide for brilliant anti-apart-heid plays that have included Woza Albert!; Asinamali; Bopha; Sophia-town; 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-win-ning dramas. The Market Theatre’s history is intertwined with the cul-tural, 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 encour aging new dramatic writ-ing. These new works will offer ways to help South africans under stand, interpret and thrive in the second de-cade 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 high-est 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.

t h e m a r k e t t h e at r e

McCarter Theatre Center: Under the leadership of artistic director emily Mann and managing director Timothy J. Shields, Princeton, nJ’s McCarter Theatre Center is recog-nized 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 produc-tions include Brian Friel’s Transla-tions; nilo Cruz’s Anna in the Trop-ics; 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.

m c c a r t e r t h e at r e c e n t e r

http://www.mccarter.org

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Care for children & adults

Reduced treatment times

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Advanced SureSmile Technology ®

Complimentary Consultation Invisalign ®

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Timothy Bond is in hiseighth season as pro-ducing 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, Suzan-Lori 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 direc-tor 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 his-tory, 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.

p r o D u c i n g a r t i s t i c D i r e c t o r

Jeffrey Woodward be-came the managing di-rector of Syracuse Stage in 2008. For 17 years he served as the managing director for the McCarterTheatre Center in Princeton, nJ.During his tenure, McCarter washonored with the Tony award for outstanding regional Theatre. Woodward teaches Theatre Management 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.

m a n a g i n g D i r e c t o r

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History Takes Center Stage at OHA’s Gift Gallery!

Uniquely local,

one-of-a-kind silk scarves, ties, jewelry, books, toys,

puzzles, t-shit-shirts,

glassware,brewery items,

vintage Syracuse China

and much more!

Onondaga Historical Association321 Montgomery Street, Syracuse, NY 13202

Hours: Wednesday through Friday, 10-4Saturday and Sunday, 11-4

(315) 428-1864 www.cnyhistory.org

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Syracuse Stage is Central new York’s 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 main-tains a vital educational outreach pro-gram 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 asso-ciation in the country. america’s leading actors, directors and design-ers 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.

These visiting artists are supported by a staff of artisans, technicians, educators, and administrators who are responsible for all facets of the theatre from build-ing sets, props and costumes to mar-keting, development, and box office. a solid core of subscribers and sup-porters 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 gov-ernment, foundations, corporations and Syracuse University helps to ensure the continued role of Syracuse Stage as a val-ued cultural resource for the community. Syracuse Stage is a constitu-ent of the Theatre Communications Group (TCG), the national organiza-tion 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.

i n t h e c o m m u n i t y

An important aspect of the Syracuse Stage mission is to be an active partner and resource in the Central new York com-munity. 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.

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

Mission: Syracuse Stage is a global village square where renowned artists and audi-ences 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 pro-fessional theatre in residence at Syracuse University, we create innovative, adven-

turous, and entertaining productions of new plays, classics and musicals, and offer interactive education and out-reach programs in Central new York.

Vision: Syracuse Stage illuminates the many truths of our common humanity through the transformative power of live theatre.

m i s s i o n / v i s i o n

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next at su Drama

Measure for Measureby william shakespeareDirected by celia madeoymarch 27 – april 12opening night: march 28performed in the loft theatregeneral admission seating

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 char-acters and extraordinary events, and even concludes with multiple marriages—how-ever unlikely that may sometimes seem.

next at syracuse stage

Other Desert Citiesby Jon robin baitzDirected by timothy bondco-produced withportland center stageapril 8 - 26

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 liber-al middle-aged writer against her conser-vative parents. Who owns a family’s his-tory? 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.

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Chairrobert Pomfrey*President & CeoPoMCo Group

PresidentLouis G. Marcoccia*executive VP & Chief Financial

officerSyracuse University

ViCe ChairJanet audunson*Senior Counselnational Grid

ViCe ChairFran nichols*Vice Chaireric Mower + associates

ViCe ChairMelvin T. Stith*Professor, Whitman School of

ManagementSyracuse University

treasurerBea Gonzalez*Dean, University CollegeSyracuse University

seCretaryrod McDonald*Bond, Schoeneck & King

Dan BermanPartnerHancockestabrook, LLP

Timothy J. Bond**Producing artistic DirectorSyracuse Stage & SU Dept. of

Drama

Lorraine BranhamDean/Professor, S.I.

newhouse School of Public Communications

Syracuse University

Sandra BrownPresidentGrandma Brown’s Beans, Inc.

nancy ByrneCommunity Volunteer

Brian CimmetProfessor of Practice/Music

DirectorSU Department of Drama

ann Clarke*Dean, College of Visual and

Performing artsSyracuse University

Pat ColabufoHuman resource ManagerWegmans Food Markets

richard DriscollGroup ManagerCommercial real estate LendingM&T Bank

ellen Kimatian eagen

Sandra Fenske VP & General CounselLockheed Martin Corporation

Helene GoldPrivate Voice & Piano Instructor

nancy GreenInvestment advisoredward S. Green & associates

Larry HarriseVP and CFoSaab Defense and Security, USa

Jeffrey Hooneexecutive Director, Coalition of

Museum & arts CentersSyracuse University

Brian HowardPrivate Bank Market ManagerKey Bank

John Huhtalarelationship ManagerMiddle Market Commercial

BankingChase

Gregg LambertDean’s Professor of the

HumanitiesSyracuse University

Larry LeathermanPresident MoST

Vincent LovePresident100 Black Men of Syracuse Inc.

Kevin r. McauliffePartnerHiscock & Barclay

Suzanne Mcaulifferetired educator

Samantha Millierassociate attorneyMackenzie Hughes LLP

Kevin o’ConnorSr. resident Director & Sr. VP

InvestmentsMerrill Lynch

Virginia Parker*retired educator

annette PetersMarketing DirectorSyracuse Media Group

Linda PitonzoSyracuse Stage Guild President

James reedSr. VP Marketing & Salesexcellus BlueCross BlueShield

Michelle SchultzSenior Director, Hr Business

PartnerHuman resourcesaXa

richard Shirtzregional PresidentnBT Bank

L. John Steigerwald IVMarketing and Sales

representativeCathedral Candle Company

Sharon Sullivan*Community Volunteer

Wanda ThompsonSr. VP of operationsUpstate Medical University

Phil TurnerPastorBethany Baptist Church

Jeffrey Woodward**Managing DirectorSyracuse Stage

ralph Zito**ChairSyracuse University Department

of Drama

Michael ZoanettiVP Senior Wealth advisorTompkins Financial advisors

*Executive Committee**Ex-Officio

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

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President

Linda Pitonzo

exeCutiVe ViCe President

Sara Lowengard

ViCe President, MeMbershiP

Julia Martin

ViCe President, fundraising

Jacki Goldberg

ViCe President, PubliCity

Kelly Gardner

treasurer

ray abdella

reCording seCretary

Mary o’Hara

CorresPonding seCretary

Gretchen Goldstein

Deborah Borensteinelaine Cardoneroxanna CarpenterTerry DelavanSandi DiBiancoMarsha FerraraGrace FluscheDonna Green

Jessica HumphrevilleBarbara IanuziLauren Kochianellen Lautzamy McHaleCarol MinksteinBeverly ShortMarian StantonJean StraubMelissa VassenelliMaryam WasmundGinny Yerdon

s y r a c u s e s ta g e g u i l D b o a r D

Jim BreuerMary Beth Carmeneddie GreenJoan Greenelizabeth Hartnett

Claude IncaudoHoward C. JohnsonJack MannionMargaret Martineric Mower

Judy MowerMichael ShendeJack Webb

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.

Sara BambinoCiCero-north syraCuse high sChool

Todd BenwareChristian brothers aCadeMy

elizabeth DefurionottinghaM high sChool

Kimberly Doanauburn high sChool

Patricia FarringtonCiCero-north syraCuse high sChool

Joe GoldbergJaMesVille-dewitt high sChool

Fred MontasManlius Pebble hill

Kathleen Pickardbaker high sChool

William PrestonManlius Pebble hill

Jennifer SabatinoCato-Meridian Middle sChool

syracuse stage eDucat ion aDvocacy boarD

y o u n g a D u lt c o u n c i l

Kristina Bell10th grade, JaMesVille-dewitt high sChool

Katherine Benware10th grade, Christian brothers aCadeMy

Hayley Bermel12th grade, CiCero-north

syraCuse high sChool

Lily Byrne9th grade, Cato-Meridianhigh sChool

anna Capria11th grade, baker high sChool

Brennan Carman11th grade, Christian brothers aCadeMy

rose Collins11th grade, Christian brothers aCadeMy

Michel Dadey12th grade, lafayette big PiCture sChool

Molly north12th grade, JaMesVille-dewitt high sChool

alizah Smith11th grade, lafayette big PiCture sChool

Dana Tooney11th grade, Christian brothers aCadeMy

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Angel Appeal2014/15 SeaSon

By increasing your gift or making a new gift your sup-port 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

MaKe your giFt Mather!

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s i z w e b a n z i i s d e a d s p o n s o r s

s e a s o n s u p p o r t e r s *

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.

Chase is delighted to support this season’s award win-ning 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.

Elinor Spring-Mills &Darvin Varon

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.

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 com-mitment to artistic excellence, diversity, social engage-ment, and international cultural diplomacy.

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.

54

PHOEBESSYRACUSE.COM Lunch ~ Dinner ~ Full Bar ~ Coffee Lounge

315.475.5154900 EAST GENESEE ST

Before The ShowThe Place To Go

RESTAURANT &COFFEE LOUNGE

55

c o r p o r at e h o n o r r o l l

$100,000+Syracuse University

$50,000 - $99,999Syracuse Media Group –

Season Sponsor

$14,000 - $24,999M&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 - $13,999Bank of america – Children’s

Tour, Annabel DrudgeBusiness Journal news

networkHiscock & Barclay iHeart MediaKeyBank n.a. – HairsprayLockheed Martin MST

– august Wilson’s The Piano Lesson and Military Initiatives

nBT Bank – Vanya and Sonia and Masha and Spike

Syracuse new TimesSyracuse Stage Board of

Trustees WaerWrVo

$5,000 - $7,499Carrier Corporation Chase – Sizwe Banzi is Deadexcellus BlueCross

BlueShield – HairsprayLockheed Martin employees

Federated Fund national Grid Scherzi Photography +

VideoThe 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 vibra-tor play

Tompkins Financial advisors Upstate Medical University –

Other Desert CitiesWegmans – educational

Programs

$2,800 - $4,999exelon GenerationUrban CnY

$1,500 - $2,799Bristol-Meyers Squibb

FoundationPhoebe’sSyracuse Blue Print

$1,000 - $1,499action Printwear, Inc.

Cooper Crouse - HindsMcIntosh Box & Pallet Co.,

Inc.

$500 - $999anoplate Corp.eastern Security ServiceMerrill LynchLaw office of Keith D.

MillerL. & J.G. Stickley

$250 - $499aCLS Mailing & FulfillmentGeddes Federal SavingsHebert Financial Strategies/

Dennis & Judy Hebert reeves FarmsSmith Contemporary

Furniture/Smith Interiors Ltd

The Mid-York Press, Inc.

$75 - $249Brady SystemFulton Savings BankGiarrusso Building SuppliesMauro-Bertolo Therapy

Services, P.T., P.C.Sheats & Bailey PLLC Urist Financial & retirement

PlanningVisual Technologiesann Wolfson associates

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, corpora-tions, 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

= InCreased GIFt, * = staGe Board MeMBer, staGe eMerItus Board MeMBer, = In-kInd ContrIButIon

Contributors listed have provided support in the past 12 months.

56

e n D o w m e n t & p l a n n e D g i f t D o n o r s

$5,000 - $7,499Mary Louise Dunn Fund

Founders’ Circle$7,500 - $24,999Paul Phillips, MD & Sharon*

Sullivan

Playwrights’ Circle$5,000 - $7,499Daniel Bingham & Gail

Hamner – august Wilson’s The Piano Lesson

Bill & nancy* Byrne – Hairspray

Helene* & neil GoldMary & Larry*

Leatherman

Judy & eric Mower*Sandra Lee Fenske* & Joe

Silberlichtelinor Spring-Mills &

Darvin Varon

Producers’ Circle$2,800 - $4,999Pete & Mary Beth* CarmenMargaret, amy & Bob

CurrierLouis* & Susan MarcocciaSuzanne* & Kevin*

Mcauliffe

Judith Sayles & David Murray

Frederick & Virginia* ParkerMrs. Sherwin radinThe Spina FamilyDr. & Mrs. Thomas r.

Welch

Directors’ Circle $1,500 - $2,799Janet* audunson & David

YoulenJoan Christy & Thomas

Bersaninancy Seward & Tim Bond

i n D i v i D u a l g i f t s

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 - $99,999County of onondaga,

administered by CnY arts – Hairspray

$25,000 - $49,999allyn 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 DeadThe richard Mather Fundnew York State Council on

the artsShubert Foundation

$14,000 - $24,999The John Ben Snow

Foundation, Inc. – artsemerging

$7,500 - $13,999aXa Foundation The Gifford Foundation The Green Family

Foundation

$5,000 - $7,499Grandma Brown Foundation

– HairsprayTheatre Development Fund,

Inc.

$2,800 - $4,999The Gladys Krieble Delmas

Foundation – august Wilson’s The Piano Lesson

Melvin & Mildred eggers Family Charitable Foundation

$1,500 - $2,799Frank & Frances revoir

Foundation Price Chopper’s Golub

Foundation – education Initiatives

$1,000 - $1,499Henry a. Panasci, Jr.

Charitable Trust

$500 - $999Peter & Wendy Blanck

Family Foundation

$250 - $499The Horowitch Family

Foundation

All new and increased gifts this season are matched dollar for dollar by the Richard Mather Fund.

57

Cathy & Jim BreuerSandra* L. BrownLaurie Clark Kristin & Sidney CominskyDana & Peggy DudarchikJames eagen & ellen*

Kimatian eagenBarbara & Michael FlintropJoan & eddie Green* Winifred e. Greenbergann & Larry* HarrisBetsy Hartnett* Barbara & Brian* HowardMr. & Mrs. Claude* IncaudoTamara Jacobs & David

epsteinPeter Cannavo & Helen

JacobyMr. & Mrs. Dudley JohnsonDr. & Mrs. Howard C.

Johnson randy & elizabeth KalishBea Gonzalez* & Michael

LeonardMr. John F.X. Mannion* &

Mayor Stephanie a. Minernancy Green* & Tony

MarschallMargaret* & Don MartinSally Lou & Fran* nicholsKevin* & Michelle

o’ConnorJohn & Sheila ParkerWilliam & rosemary PoolerBob* & Kellie Pomfreynancy & Steve rogersDene a. Sarasonelaine & Michael* ShendeLeslie Kohman & Jeffrey

SmithDr. & Mrs. Sam SpaldingJames Sprague Gies &

Kenneth Gies SpraguePatricia & Melvin* StithCindy Sutton & FamilySally & Bob Theiseileen & David ThompsonCherry & Peter ThunLinda & Jack* WebbGlenda & Larry WetzelLaurie & Michael* Zoanetti

Benefactors$1,000 - $1,499Maria & Paul Badami Marya & John Frantz

and Sutton real estate Company, LLC

Joyce HomanSusan Beth Burgess &

Michael S. nilan

Jan & David Panasci Sandra Hurd & Joel Potashathenia rogersMargaret & richard Shirtz George & rita Soufleris

Stars$500 - $999Dr. & Mrs. richard aubryMarion & Bob BarberoDaniel* & Sarah BermanLouise BirkheadPatti & Frank BorerCraig & Kathy ByrumDrs. alexander* & Margaret

Chartersann Clarke*Frank n. DeckerDonald Blair & nancy Dockrichard & Therese DriscollJohn DrukeLew & elaine DubroffClay & Dora elliottMary ann Finnallan & nirelle GalsonMichael & Jacki GoldbergDonna GraberMarie & Joseph e. GrassoBonnie & Gary GrossmanDeb & Sam Haines Theodore C. & antonia M.

HansenDonna Mahar & David

HeisigDella & Philip Holtzapple David Jacobs & Douglas

Goldschmidt John & Gloria Kennedy Gregg Lambert*rachel MayBarbara Beckos & arthur

McDonaldJohn P. & elizabeth Y.

McKinnellJane MerrillJohn Macallister & Laurel

Moranzanne MorfordTina Press & David rubinGracia & rick SearsWalter & nancy ShepardBrian & Kathy SischoCorinne & Lynn Smith James & Vicki SmithH. Paul Steinerraymond & Linda Straubnancy Kramer & Doug

Sutherland Wanda Thompson*Tiso Family

Sarah B. alden in memory of Jacqueline Coley

In Memory of arlene alpaughallene ayling in honor of

Don aylingrose erma angotti in tribute

of 43 years in real estateMrs. Gwynne Bellos in honor

of Dr. neal S. BellosSherly Day-Bernthal in tribute

of Murray Bernthal Carrie Berse in memory of

Betty LourieDr. 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 mem-ory 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

In Tributeontributions have been made to syra-

cuse stage to honor someone, celebrate a special occasion or offer an expression of sympathy in memory of a loved one.

58

Leah WeinbergLorraine* Branham & Melvin

WilliamsLori ott & Jeffrey Woodward

Angels$250 - $499George & Sandra abbottMr. Timothy atseff & Ms.

Margaret G. ogdenanne BarashJoanne & Jim Beckman Diane & orville BodenDonna Marie & Michael F.

Bockettianthony & nancy BottarDick Bowman Dr. Sharon Brangman &

Charlie LesterSusan & Thomas BrettMrs. William L. Broad Walter D. & angel W.

BroadnaxMark & Maren BrownMarlene a. BrownMarion L. BurkeDr. & Mrs. r. J. Cassadyann & Steve ChasePat Colabufo*Goodwin CookeThomas & Deborah CoyleMr. W. Carroll CoyneMr. & Mrs. anthony

DannibleSandra Marie DiBiancoalan B. DolmatchWalter & Linda DudasJonathan & rosanne eckerMarsha & Benjamin J.

FerraraMaryann FinnMichael & Grace Fluscheanita & allen FrankPhilip & Marilyn FrankelDavid & Sylvia FryCharles r. GallagherPenny & ernie GiraudJean Jeffery GreeneJerry & Beth Groffellen & Dave HardyDr. & Mrs. Donald M.

Haswellnancy & Bud HaylorDrs. Joe & Paula

HimmelsbachMr. & Mrs. alexander

Holsteinanne Barash & eric

Holzwarthrandall LaLonde & Patricia

Homer

Carrie Mae Weems & Jeffrey* Hoone

Dr. Peter & Mary Huntington

elaine & Steven JacobsLex & Helen Josephnorma KelleyStephen & Janet KimatianPenelope J.M. & Stephen

M. KleinMary rose Kottellen & Terry LautzLinda & Dan Lowengard Marlene & Scott MacfarlaneCandace & John Marsellusalbert MarshallPhilip & Kim Mazzaamy & Myles McHale, Jr.Sam & Margaret

McnaughtonSamantha MillierBernard P. & Leslie a.

Molldremanne Morfordalejandro amezcua & David

MurrayBetty Jane & Larry Myers Linda & Donald napierMaria Maniscalco & James

nellisDorothea & Douglas nelsonJohn & Joan nicholson Mike & Maggie oíConnorPhyllis & Chuck olmsted David & Susan PalenJanice & David Panasci robert & Teresa Parkerobert & Jane PickettMarilyn PinskyKathy & Dan rabuzzirissa & Michael ratnerMark re & nancy Pasquale James* & Theresa reedarnie & Libby rubensteinellen & Lome rungeJane Burkhead & robert

SarasonLois & Ted SchroederMarilyn & Mike SeesJames W. Shults rhoda SikesCarol & Dirk SonnebornLaurence SovikSharon Springer, MDHelene & George StarrJohn SteigerwaldDr. J. Martin & Jackie Talcikrobert & rosemarie TenneyCynthia G. Tracyelizabeth a. TumbridgePastor 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 MulliganLiz nguyen in tribute of Jack

P. BleichJoy & al oliver in honor of

rebecca oliver & Hillary Gale

Joan & Lawrence Page – in tribute of the musicians of the orchestra who accom-pany 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 trib-ute 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

59

Bethany Baptist Church Sara & Jay WasonMarylou & Kurt WatsonWilbur & Linda Webb– in

support of audio-Described Performances

Lynda & Terry WheatJohn & Mitzi WolfMary Jane WoodwardKathy, Tony, Victoria &

Lukas Zappala

Supporting Cast$100 - $249Dr. & Mrs. Jerrold abrahamJudy & Bud adamsBev & George adamsSally aldenHoward & Sara alexanderDavid & amy allynKal alstonKristi andersenrobert & Jeanne andersonalice & Bob andrewsnathan andrewsTony antonello & Danielle

QuintusJames & nancy asherHolmes & Sarah BaileyGeorge S. Bained & Joan Bangelnancy BarnumGerhard & Carole Bauleandrew & Margot BaxterMs. Gwynne BellosMr. & Mrs. ronald BergerDr. & Mrs. William BerkeryWanda Warren Berryroslyn BilfordGerald & Barbara BlackCynthia a. BlumeGary & Fran BockusKatherine & Jack BoyceMary BradyBernard B. & ona Cohn

Bregmanrobert Moss & Michael

Brennan James & Joyce Bresnahanrachel May & Tom

BrockelmanG. Martin & Kathleen

BroganPhilip & Helen Buckrobert & Mary BurdickMary & Bill ButlerFrank & Kathy CampagnaFran & Larry CampbellDr. richard & nina Sterne

Cantorronald M. Capone

Peter CarneyTom & Maryann CarrantiTimothy McLaughlin &

Diane Cassrobert e. & Dorothy C.

ChambersSteve & Mary ChapinSusan ChappuisJoseph L. & Janice L. CharlesTony & Carolyn CiminoJoan CincottaMalcolm Clarkr. Peter & Janet H. ClarkeCarolyn & Sam ClemenceJames a. ClintonMr. & Mrs. Craig CobbGregory CohenDr. & Mrs. Paul S. CohenSylvia & William CohenMartha ColeMilt & Miggs ColemanMichele CombsBob & Sue CongelJoan & robert D. Conineroger & Judy CorwinMr. & Mrs. richard CoteMr. & Mrs. Douglas L.

Cottonorazio & Genevieve Covellielizabeth CowanTracy CrompGeorge W. CurryPeter & Margaret DarbyJohn S. & Catherine J.

DaviesClive & Sandra Davisarthur & Juleen DelaneyPaula a. DendisMr. & Mrs. robert H.

DerrenbackerDavid C. DickinsonDelores r. Dixonelizabeth & evan DreyfussJeff & Linda DrimerDavid & robin DruckerLynn Cleary & David

DugganKaren Dunnnancy & Tony ebersoleDr. nabila a. elbadwi/

radiotherapy associates of Upstate nY

Betsy & Bill elkinsrichard ernstSusan a. estabrookCissie FairchildsLori & Christopher FarrellTom & Jane FergusonJames & Barbara FinlonJoseph & Lillian FischerDan & Colleen Fisher

Karen & William FisherKatherine Flackrobert & Terry Flower Theresa FlynLen FonteKathleen ForrestDrs. Tess & Jeff Freedmanellie & Cyril FreemanMr. & Mrs. Kenneth FreerJudith FoxMartin & Daisy FriedMelanie & Mark Fullertonedgar & eva GalsonDavid & Bernice GaynorMargaret GelfusoBarbara W. GentonDr. & Mrs. Henry George IIIMr. & Mrs. John GersonMichele GildemeyerFrank & anne GirardiPeggy GinniffJames GodleskiSheila GoldiePhyllis Goldmanrobert & Karen GoldmanGretchen & Jeff Goldstein

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 Goldfarb-Findling

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 memo-ry of Frederick I. Wolf

60

Mrs. Lewis H. GoodmanLinda Fabian & Dennis

GoodrichLawrence & Dorothy

GordonDrs. Michael & Wendy

GordonJudith & Samuel GorovitzDavid GrahamWilliam J. GrayStephen & Julia Grazianoroger & Vicki GreenbergCarol GuidoJames M. Hahnelaine & Gregory HallettMr. & Mrs. Daniel Halseyruth HancockKevin & Denise HanlonCarole & Mark HansenMilena HansenBill & Kathy HarmandDavid & Lib HayesLionel Lee Hectoralan & Dorothy HellerLee & nancy HerringtonMary HershbergerCelaine & Victor

HershdorferJacqueline HicksCamille & Mark HillJudy & John HoepnerMarcia Hayden-Horan &

Philip HoranPatricia & John HottensteinMr. & Mrs. richard HoveyGuy & Patricia HowardKaren Heitzman & James

HoweDr. anne HuntJohn Huppertz & Diane

MastinDr. Harold Husovsky & Dr.

Susan e. StredJim & Sherri HylaPam Hyland John & Linda IsaacJanet & John IsabelleVirginia Jacobanne Jamison & Peter

VanableMr. & Mrs. JastrzabDaniel & rhea JezerSisters Janet & JoanJames aiello & Pam JohnsonDr. & Mrs. Howard C.

JohnsonMr. & Mrs. Stephen L.

JohnsonMr. & Mrs. Thomas

JohnstonMichael & Lynette Jozefczyk

Marjorie T. & Joseph V. Julian

Kankus FamilyDr. and Mrs. allan KanterJan & James Kaplan Phil & Judy Kaplanrobin & Mark KasowitzCarolyn & Gregory KeefeJohn & Jane KeeganDavid & noel KeithJean KimberBarbara & richard Kimmrussell & Joan KingSally & Dick Kinseyrichard & Joan KollgaardBarbara Sutton & Liz

KolodneyDr. Sylvia Betcher & Martin

KornDonald & Margo KotenKathy & Scott KrellMargaret KufelStephen & Cheryl

LadenheimHume & Peggy LaidmanJay & Linda LandL. Lardy & e. PenningtonPhyllis & Harlan LaVineLinda & Jim LeMessurierMark & Jeannette LevinsohnBonnie Levyelizabeth D. Liddyedward & Carol LipsonBrian & Susan LisonK.B. LloydPaul Brown & Susan

LoevenguthHarlan London, Ph.D.Betsy LongJohn & Marian Loosmannnick & Cathy Lozoponieugene & Christine LoznerThomas LuckTom Miller & Mary

MacBlanePatricia & James MacKillopJohn & Janet MallanJ.r. ManierJon M. MaloffLouis & nancy MarescaMary K. MassadFred & Virginia Martyelizabeth G. MasciaGrace & richard MasonJohn & Gloria Mandlyrick Manierann M. Marshallnancy & Tony MarshallFrederick & Virginia MartyMary K. MassadMichael Mattson

at&tallied-signal, Inc.american express Companyavon Products, Inc.aXa equitableBank of americaBorden, Inc.Bristol-Meyers squibb FoundationCIGna CorporationCna FoundationChemical BankChubb Group of Insurance CompaniesCiticorp & Citibank, n.a.Coopers Industries FoundationCrouse Hinds Co. – Cooper Industriesdeluxe Corporationdigital equipment Corporationemerson electric Co.equitable Life assurance societyFarmer & traders Life Ins. Co.Fireman’s Fund InsuranceGe FoundationGeneral Foods CorporationGlaxosmithklineJohn Hancock Mutual Life Insurancethe Home depot FoundationHoneywellIBM CorporationJ.P. Morgan Chase & Co.Johnson & Johnsonkemper national P&C Co.key FoundationLever Brothers CompanyMarine Midland Bank, n.a.Mcdonald’s CorporationMerrill LynchMobil oil Corporationthe MonY GroupMutual Life Insurance Co.nCr Corporationnational Grangenew York telephoneniagara Mohawk Foundationowens-Illinois, Inc.Pitney Bowesthe Prudential FoundationCharles schwabradio shackrockwell automation trustsmithkline Beecham Labsthe st. Paul’s Companiesthe travelers Companiesunited Parcel serviceunited technologies Corp.VerizonWelch allynXerox Corporation

MatchingGift Program

he following companies will match gifts of

their employees, retirees and spouses with a gift of their own to syra-cuse stage. ask your personnel office for a matching gift form, send the completed form with your gift – and we’ll do the rest!

61

Mr. & Mrs. Peter MazzaferroDrs. Toni & Bob McCormickDon & rena McCrimmonMichael McGrathPat McGrathBrian & Cheryl McIntyreBev & Dave McKayMarilyn McKnightBrian McLaneDiane Cass & Tim

McLaughlinDr. & Mrs. James L. MegnaMary & eckart MeisterfeldBen & Julie MerchantClifford & Marjorie Mellorann r. MelvinSis Merrellelizabeth & Walter MerriamDavid Michelo & Peggy

ruzzieMr. & Mrs. Charles MillerDan &Terry MillerMerrill L. Miller, M.D.David & Beth MitchellGail & Peter MitchellJune M. Mitchell James Mitscherrobert & Barbara MooreJohn Palmer & Liz

MorgentheinDr. & Mrs. Charles

MuniakMary Jane & Stephen

nathanrichard & Barbara natoliCathryn newtonStephen W. nevinsDouglas & Gail nielsenDennis & Doren norfleetneil novelliBrenda neussrobert & Beth oddyHoward McLaughlin & Mary

o’Hara Sally o’Herinalbert & Joy oliverDonna & richard o’neilTimothy & JoDean orcuttDeborah o'SheaCathy L. PalmConnie & Peter PalumbSusan ParkerFrancis McMillan ParksDavid & Cynda PenfieldMr. & Mrs. ralph PennerKenn & annette* PetersDavid & Susan PickardMary & Barry Pickardrichard & neva PilgrimDavid & Linda Pitonzo

Joe & Karen PorcelloHoward & ann PortTom & Camille PotterMrs. John raperDavid & Linda rezakrobert & Christina

rhinehartMr. & Mrs. David a. a.

ridingsBrian & Chris riegerJulie and Boyd rimelMichael rogan & Cindy

Wheeleravard & Patricia rogersHoward J. rosenancy Machles rothschildelaine rubensteinMaria & richard a. russellLinda & Bob ryanDon & Florence Salehrichard & Jill SargentKelly & Tony ScalzoM. Gelfuso & P. ScheibeKeith SchroederJanice ScullyJeffrey & abby Scheerrobert Scheernancy Mudrick& eric SchiffGeorge & Sharon SchmitHerbert & Hillery

SchneidermanMr. & Mrs. Jacob H.

SchuhleMargaret Schuhleellen Schwartzruth SeamanThelie Trotty-Selzer and Jon

SelzerConstance SemelDrs. Peter Cronright & Judy

Setlarick & Betsy Severancerob & Cheryl ShallishMark Watkins & Brenda

SilvermanBarbara & David SimonDr. & Mrs. robert SlavensDr. & Mrs. L. ryan Smart Craig & Martha SmithDebbie & David SmithJudith B. Smithrobert & Sheila SmithHarold & ruth SmulyanGwen Kay & Jef SneiderMarcene Sonnebornrosemary Baker & Stu

SpiegelHelen e. Stacyanne StagnittiJohn Steinburg & Karl

Crossman Dr. & Mrs. Dennis J.

StelznerDeborah & Jim StewartDr. Lawrence Stewartnona StewartJill & ron Strattonnan StricklandThomas TalbotJoan & Gene TarolliLaura M. TerpeningDr. & Mrs. James a. TerzianChristine & richard ThomasJim & Terry TooleDr. richard & Mavis

TornatoreMarguerite Conan & James

a. TraverGregg TripoliJean & John TromansTom & Mollie TuckerMarc & Susan ViggianoDina & Gershon VincowMeghan & T.J. VitaleFred & Patricia von MechowFrank & alice Vreelandann VaccaroBarbara Vuralanita S. & robert L. WagnerKashi & Kameshawar WaliMrs. Barbara WanamakerDr. & Mrs. Donald

WashburnWilbur & Linda Webb –

audio DescriptionSally WebsterMiriam WeinerSteven Shahan & elizabeth

Weinsteinruth S. WeinstockMargaret Harding & Joseph

Whelanevelyn D. WhiteStacey Whiteelizabeth & James Wiggins

e endeavor to provide a com-

plete 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 develop-ment office at (315) 443-9848.

63

Pauline & robert Williamsonalex & Lola WinterTina WinterIvan & Bonnie WolfTom & Carol WolffKelly WypychCynthia a. ZacharekJudy & Steve Zdep, DDS

Friends$75 - $99al & Jane arrasJohn & Mary ann BaichiGail & Dennis BaldwinTheresa & Dennis BardenettJon & Trish BoothDr. & Mrs. Denis F. Branson Bob & Kathy BrownMr. & Mrs. nicholas BrustDr. & Mrs. Deane CadySharon F. CampanelliTim CassidyGary & Shannon CominsMike & Larae CottrellPaula derBoghosianMr. and Mrs. D.

DevendorfSharry W. Doyle

Mary ellen DrabotCharles & Kimberly

DriscollJames & Marlene Dunfordronald FergusonMolly FitzpatrickCliff & Jane Forstadtn. Gordon GrayJane GuilesMilena HansenDr. & Mrs. HarrisHolly S. Hartrobert & Denise Heaterelizabeth B. HumphreysJanet Jaffenancy Freeborough-KaczmarLinda & Bob Kashdinalexander & Joan KeilenJohn & Susan KlineMr. & Mrs. Sheldon Kruthrobert & Lauren LalleyLois M. easterday & Susan J.

Lamannaeileen & James Lantier Joanne LloydLouisa & Carlos LopezPatricia & Donald

MacLaughlin

Thomas a Brisk & Gerald M. Mager

Doug & randi Matousekryan & alyson McDermottnancy & John Merrillrobt & Maureen MinichVerner & Jane Mizerobert MooreDavid & Janet MuirJanet S. MunroDeirdre neilenBrenda neussellen o’ConnorKaren orrKathy Palmanita PisanoSteve & Kate PynnBrian Silfer & amy romanoBarbara rothschildDr. & Mrs. Bernard

SchneiderLennie & elizabeth TurnerMarc & Marcy WaldauerJoann WallaceLarry Volan & Sara WarnerDianne D. Webbanna Giacobbe & Peter

Welge

64


Producing artistic Director..........................................................................................Timothy BondManaging Director..................................................................................................Jeffrey Woodwardresident Dramaturg.............................................................................................................Kyle Bass Dramaturgy Student Intern..........................................................................................Tringa ajetiartistic assistant...............................................................................................................Chris BotekDirector 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

p r o D u c t i o n 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. aquilarTechnical 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 QuijanoScenic Charge artist................................................................................................Holly K. LaGrow assistant Scenic artist..............................................................................Kristen Prescott-ezickson Graduate assistants...............................................................Loren Bartnicke, Carlie Miller SherryProperties 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 rossCostumer.....................................................................................................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 TasselMaster electrician.................................................................................................David M. Bowman electrician...............................................................................................................Miles Dudgeon electrics apprentice......................................................................................................ann archer Student assistants....................................................Gregory Folsom, ryan Gibson, anna LiDestri

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resident Sound Designer/audio engineer............................................................Jonathan r. Herter assistant audio engineer......................................................................................Kevin o’Connor Sound apprentice........................................................................................................Jade Taggert Graduate assistant......................................................................................................Stefan ZollerProduction Stage Manager........................................................................................Stuart Plymesser Stage Manager....................................................................................................Laura Jane Collins Stage Management Journeyman..................................................................................erin C Brett Stage Management apprentice...............................................................................Marisa andrews

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administrative Director...................................................................................................Diana ColesDirector 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 JudgeDirector of Development............................................................................................Barbara Beckos assistant Director of Development......................................................................Katherine Keeney Development assistant.........................................................................................Meggan Madden Development Intern..................................................................................................Sergio GomezComptroller...................................................................................................Mary Kennett Morreale Human resources administrator/assistant Business Manager..................................Kathy ZappalaDirector of Information Management & Technology................................................Garrett Wheeler Student assistant........................................................................................................Justin ramerDirector 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 Paroadam Segrave, Maggie Siciliano

Interpreters for the Deaf.....................Brenda Brown, angelo Coppola, Mikki evans Sue FreemanJoanne Jackowski, Sarah Korcz, Zenna Preli, Shaun Standford

open Captioning.........................................................................................................Chris Botek audio Description.........................................................................Kate M. Laissle, Joseph WhelanDirector 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 KulhaCommunity Services officer......................................................................................Stacey emmonsCustodians........................................................................Kitty ashby, Delores Bachus, Tony rogers

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sizwe banzi is deadSat. Mar. 7, 3:00 sSat. Mar. 14, 3:00 ad

Wed. Mar. 4, 2:00 OC

Sun. Mar. 15, 2:00 OC

Other desert CitiesSat. Apr. 18, 3:00 sSat. Apr. 25, 3:00 ad

Wed. Apr. 15, 2:00 OSun. Apr. 26, 2:00 O

american Sign Language = ssign Language Interpreted Performance series supported in part by Welch allyn, in memo-ry 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 = Oopen 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. How-ever, 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 = adsimultaneous live narration and pre-show description for blind and visually impaired pa-trons. 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.

ac c e S S I B I l I t Y p e r F o r M a n c e S 2 0 1 4 / 1 5

Sizwe Banzi is Dead published Feb. 25, 2015The 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.

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.

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syracuse stage820 east Genesee StreetSyracuse, nY 13210-1508administration: 315/443-4008Box office: 315/443-3275www.SyracuseStage.org

single ticket pricesopening night: $54, $50, $30evenings: Fri., Sat.: $51, $48, $30Sun., Tues., Wed., Thurs.: $40, $37, $30Matinees: Wed., Sat., Sun.: $47, $43, $30Previews: $35, $32, $30all 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.

Discountsavailable for senior citizens and students. Call the Box office for prices.

group Discounts availableavailable for groups of 10 or more; additional discounts for student/senior citizen groups. Call Tracey White: 315/443-9844.

rush ticketsrush 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 hoursThe 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 certiFicatesCall the Box office or visit us online at www.SyracuseStage.org.

parkingentrance to the enclosed parking garage on Irving avenue is on the corner of Madison Street and Irving, next to the Madison-Irving 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 phonesFor 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 noticeThe 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 policySmoking 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 chilDrenQuiet children over the age of five are welcome at Syracuse Stage performances. We do ask that adults remove disrup-tive children to the lobby.

ticket exchangeall 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 perfor-mance and did not exchange may use their extra Value Ticket or purchase a missed performance pass for $5.

latecomersIn 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 usherIf 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 smil-ing face and the willingness to commit a few hours a month. Please call our House Manager at (315) 443-3219 for more information.

open captioningWe 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 perFormancesSimultaneous live narration and pre-show description for blind and visually impaired patrons. Please contact Box office in advance to reserve headsets.

auDio enhancementWe 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 perFormancesTuesday evenings, the third or fourth week of each production, we offer performances for the hearing impaired.

wheelchair accommoDationsSyracuse Stage is wheelchair accessible. Please call the Box office to arrange wheelchair seating.

emergency telephone contactTo 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.orgSubscribe, 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 supportSyracuse Stage encourages audience members to support the businesses advertised in our program.

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