Table of Contents
Letter from Vivienne
Support PlayMakers
Who We Are
Title Page
Program Notes
About Lydia R. Diamond
Actor Bios
Creative Team Bios
General Information
PlayMakers Staff
Friends of PlayMakers
Dear Friends,
Happy 2022!
Thank you for being here. Coming out of a complicated holiday season (I hope filled with more joy than stress), I am thrilled to welcome you back to the theatre with Lydia Diamond’s compelling family dramedy, “Stick Fly”. A huge hit on the theatre circuit when it premiered several years ago, its resonances in 2022 seem freshly profound in the midst of the national conversation about the impact of racism and equity on all of our institutions: marriage, family, education, community and on and on.
As we were planning this season, in conversation with PlayMakers company member and Artistic Associate, Kathy Williams, this title kept resurfacing. It’s a play near and dear to her heart and one that she has taught in her classes for many years. Her admiration and enthusiasm for the play was clear, and it created a perfect opportunity for her directorial debut in the Paul Green Theatre. It was also a wonderful opportunity to collaborate with a stellar design team and feature five of our fantastic third-year Professional Actor Training Program actors, allowing them the challenge and opportunity to showcase their talents alongside our estimable guest actor, Oscar Best, in the role of the family’s patriarch.
I am so admiring of Kathy’s thoughtful work on this play, rich with the complexity of family dynamics, where so much of the drama—as is so often the case in life—lives in what is unsaid.
I am happy to shout from the rafters, however, that this is the first of three plays this season written by superb female playwrights. Lydia is joined later in the season by Dipika Guha and her fittingly brilliant “Yoga Play” and Tracy Young with a riveting adaptation of Madeleine L’Engle’s “A Wrinkle in Time”. Three powerhouse playwrights (in the hands of three equally fabulous female directors!) offering richly diverse storytelling for our PlayMakers audiences. I hope you’ll join us for all of them.
Here’s to a year ahead of health, clarity and fantastic theatre!
Warmly,
Vivienne
It is my pleasure to serve another year as the chair of the PlayMakers Advisory Council and welcome you back to the Paul Green Theatre stage for our 2021-22 season.
Our five-show season was born out of the need to celebrate the healing power of human connection after a year that challenged us all. We believe that the theatre will have an important role to play in making sense of the complex world in which we find ourselves in. When I walk out of PlayMakers after a show, I always say how lucky we are to have a theater with such world-class performances right here in Chapel Hill. This season, I am grateful for the opportunity to experience PlayMakers’ signature variety of shows, live and in person once again!
In addition to an impressive lineup of powerful performances, PlayMakers continues its work serving the Triangle community and beyond. We are privileged to provide unique learning opportunities for K–12 classrooms and UNC students, creating new ways to engage with our local artists and advocates, and make the power and joy of theatre accessible to underserved communities.
Theatre is and always will be a place for community. And it is up to us—the community—to ensure that PlayMakers continues to thrive. Gifts from patrons like you will be critical to our success as we navigate reopening after more than a year away from producing live theatre with in-person audiences. If you enjoy and believe in the power of the theatre as I do, I invite you to become a Friend of PlayMakers. Please make a tax-deductible contribution to the annual fund, pledge a monthly donation as a Sustainer, or offer a campaign gift to strengthen and sustain PlayMakers’ vision for the future.
I truly believe that there has never been a more important time to support the arts. Join me in championing our local theatre—an organization that makes a difference in our community. As Joan Gillings often said, “You will sit a little taller in your theatre seat, knowing you made a difference, too.”
Thank you!
Warmly,
Amy Guskiewicz
PlayMakers Advisory Council
Amy Guskiewicz, Chair
Betsy Blackwell, Vice Chair
Duncan Lascelles, Vice Chair
Joanne Garrett
Deborah Gerhardt
Bobbi Hapgood
Janelle Hoskins
Betty Kenan, emeritus
Stuart Lascelles
Robert Long, emeritus
Graig Meyer
Julie Morris
Florence Peacock
Diane Robertson
Wyndham Robertson
Carol Smithwick
Jackie Tanner
Mike Wiley
In Memoriam
We Remember Joan Gillings
PlayMakers Repertory Company and the Department of Dramatic Art mourn the extraordinary loss of our dear friend, Joan H. Gillings, who passed away in February surrounded by family at her home in Wrightsville Beach, NC.
Joan was a lover of the arts and her dedication and support of our work was unparalleled. As a member of the PlayMakers Advisory Council for over 10 years, and its chair for 7, she worked closely with our staff on a multitude of projects including serving as chair for our annual PlayMakers Ball for many years, participating in our Producing Artistic Director search in 2015, and building lasting relationships with our students and faculty. Her transformational gift in 2017 has allowed us to expand opportunities for our students, support dynamic new work on our stages, and enhance performance and outreach offerings in our community. For Joan, her philanthropy and enthusiasm always came back to one thing – “the kids,” as she liked to call them – and her love for UNC can be felt and seen all over our campus. She brought an unmistakable joy and enthusiasm every time she entered our building and we aspire to carry that spirit forward in everything we do.
We are forever grateful to have known Joan and are honored to carry on her transformational legacy through our work in the building that bears her name. She will be sorely missed.
PlayMakers is…
“One of America’s Best Regional Theatres” (American Theatre Magazine), PlayMakers Repertory Company is North Carolina’s premier professional theatre company, proudly in residence on the dynamic campus of the University of North Carolina-Chapel Hill. The professional company was founded in 1976, growing out of a storied 100 year tradition of playmaking at Carolina. Our mission is to produce relevant, courageous work that tells stories from and for a multiplicity of perspectives. We believe that theatre can have a transformational impact on individuals and entire communities, and we are committed to the work of becoming an anti-racist organization whose work is accessible to all.
At the very heart of the PlayMakers experience is one of the nation’s last remaining resident theatre companies, made up of accomplished performers, directors, designers, artisans, and technicians, and supported by exceptional graduate students in UNC’s Department of Dramatic Art. Our company works side by side with guest artists from all over the world and our alumni include Pulitzer Prize, Tony®, Emmy®, and Grammy Award® winners.
Creating Tomorrow’s Classics, Today
Producing Artistic Director Vivienne Benesch is continuing PlayMakers’ tradition of producing vibrantly reimagined classics, large-scale musical theatre, and significant contemporary work, but is also broadening the company’s reach to become a home for new play development and a true hub of social and civic discourse in the region. Her first five seasons have already given life to ten important new American plays.
A Hub of Engagement
PlayMakers seeks to provoke thought, stimulate discussion and push the boundaries of the theatrical form in everything we do. Whether through our intimate @Play series, our mainstage offerings or our virtual line-up, we look for opportunities for direct, dynamic engagement between audiences, artists and thinkers. The Vision Series, post-show discussions and a host of unique engagement opportunities – including the continuation of last season’s online PlayMakers Keeping You Company – enrich our audience’s experience of the live arts.
Theatre for the People
PlayMakers Mobile is an initiative that seeks to contribute positively to the civic and social life of our region by taking world-class theatre out of our building and into the community. We create a streamlined production of a play each year and take it to schools, transitional housing facilities, and long-term treatment facilities around the Greater Triangle area. And best of all, it’s all free of charge. We look forward to getting back on the road as soon as we can do so safely.
Passing the Torch
PlayMakers’ award-winning Summer Youth Conservatory is the only professionally supported training program of its kind in the region. The Theatre Quest program provides camps to area middle school students, while the Theatre Intensive and TheatreTech programs allow Triangle high schoolers to apprentice directly with professional directors, choreographers, musical directors, and technicians, culminating in a professional quality production on the PlayMakers mainstage for the whole community to enjoy.
Eliminating Barriers
With a commitment to eliminating barriers for attendance when we host live events, PlayMakers offers All Access performances for our patrons living with disabilities, we offer accessible $20 tickets for all performances, and tickets reduced to just $10 for UNC students and $12 for all other students. Our Spotlight on Service program also offers complimentary tickets to local service organizations. This season, we are proud to offer complimentary tickets to front-line workers in honor of their ongoing service to the community. For more information, please contact
Our Mission
As the premiere professional theatre company of North Carolina, PlayMakers Repertory Company strives to produce entertaining, relevant, and courageous work that tells stories from and for a multiplicity of perspectives and creates transformational impact in our immediate and extended communities.
Our Vision
Provoke
Represent
Create
Our Values
Artistic excellence and artistry
Education and training
Community engagement
Access and equity
Financial health
Discovery and innovation
Collaboration and communication
Culture of support
Antiracism Accountability Statement
At the heart of PlayMakers Repertory Company’s mission is the belief that theater has the power to transform individuals and entire communities. There is no more aspirational or urgent a use of that power than working to dismantle the systems of oppression, white supremacy, and racism that pervade American life and consume the American Theatre. PlayMakers continues to assess and evaluate our own practices in order to embed equitable, antiracist policies into strategic planning, our mission, and our operations.
PlayMakers Repertory Company, and those of us who work here, commit to the following:
- To work intentionally to create an antiracist culture in our company.
- To continually educate ourselves on the ways in which we can combat racism locally and nationally as we move to create an inclusive, diverse, and equitable sense of belonging for every one of our constituents.
- To demonstrate our values through action in our policies, practices, and procedures.
We are grateful to Black, Indigenous and People of Color artists and administrators within our local community as well as the larger theatrical community across the country for the resources they’ve expended, both in time and emotional labor. Their work lays an important foundation for us by articulating some of the harmful practices that must change immediately as well as identifying pathways for the long-term evolution that must follow. In that light, this document is the beginning of a response to the demands for change made by the anti-racist organization #WeSeeYouWhiteAmericanTheater.
As a professional theatre company embedded in, and inextricably linked to the Department of Dramatic Art (DDA) at the University of North Carolina–Chapel Hill, the path forward will be complex and singular. We will therefore be updating our action items and commitments continuously as our work evolves.
We at PlayMakers understand our responsibility not only to the artists, staff, and audiences with which we engage, but significantly, to the many students training here for a career in the theater.
For more information on our next steps, please
These are not our first steps, and by no means our last. They are not perfect. And they are not enough. But they are steps forward. We invite you to come back to our website and our theater often and monitor our progress. We take our responsibility to this effort seriously and we welcome your involvement and assessment.
Land Acknowledgement
We acknowledge that the Center for Dramatic Art is located on the unceded lands of one or more of Abiayala’s (the Americas’) original sovereign nations, the name(s) of which have not yet been affirmed. The unjust acquisition of these Indigenous lands came about through a history of racism, violence, dispossession, displacement, and erasure of cultures by settlers as part of the larger, land-centered project of settler colonialism.
As we look to the future, please join us in acknowledging and learning about the atrocities committed against these Nations and work with us towards inclusion, representation, and a better relationship with citizens of sovereign American Indian and Alaska Native nations.
Why is Land Acknowledgement important?
This statement is part of the continual interrogation of our own participation and complacency in colonial structures and a call for greater awareness, accountability, and intentionality in the work we do. As storytellers we are committed to learning and telling stories in ways that will have transformational impact in our immediate and extended communities.
We are excited by future partnerships with Native Americans and look forward to sharing this journey of knowledge and growth with you.
Learn more:
Stick Fly
by Lydia R. Diamond
Directed by Kathryn Hunter-Williams
Scenic Designer
Costume Designer
Lighting Designer
Sound Designer
Dramaturg
Vocal Coach
Stage Manager
Assistant Stage Manager
JAN 28-FEB 6, 2022
STICK FLY was developed in part at Chicago Dramatists, originally produced by Congo Square Theatreand subsequently produced by McCarter Theatre Center. A further developmental production, directed by Kenny Leon, was produced jointly by Arena Stage and the Huntington Theatre Company.
*Indicates members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
PlayMakers is the Professional Theatre of the Department of Dramatic Art
Adam Versényi, Chair
Vivienne Benesch, Producing Artistic Director
Nichole Gantshar, Managing Director
Produced in association with The College of Arts & Sciences
The University of North Carolina at Chapel Hill
by Jacqueline E. Lawton
Lydia Diamond is a brilliant and talented playwright. Her characters are bold, passionate, intelligent, and flawed. The worlds she creates are rich, complex, and engaging. Her dialogue is pointed and intelligent. She also has a sharp mind for comedy. Her plays include The Bluest Eye, The Gift Horse, Harriet Jacobs, The Inside, Smart People, Stage Black, and Voyeurs de Venus. She has received numerous awards including the African American Arts Alliance of Chicago Black Excellence Award, an Independent Reviewers of New England (IRNE) Award, an LA Weekly Theater Award, and a Los Angeles Drama Critics Circle Award.
Diamond studied theatre at Northwestern University and discovered playwriting in her junior year. In an interview with Broadway Direct, she explained that through playwriting she found “an artistic outlet that was not predicated upon fitting myself into plays without characters who looked like me.” She found a sense of purpose and autonomy in writing plays. She goes on to say, “I could tell my own stories, populated with people who looked like me or the diverse array of people in my life.” The people in her plays are well-drawn, deeply human, and recognizable. Stick Fly is a perfect example of how Diamond writes characters we know or could know to help audiences better understand ourselves.
Stick Fly is set in 2005 on Martha’s Vineyard. In the play, we meet the wealthy and successful LeVay family at their summer house. This is a special family weekend because the LeVay sons have invited the women in their lives home to meet the family. Diamond was inspired to write Stick Fly because she wanted to write a comedic, well-made play that explored the themes of family, legacy, and generational conflict. She was particularly interested the dynamics of fatherhood. In an interview with Writers Theatre, Diamond explains:
“I knew I wanted to explore fatherhood and what that meant—absent and present fathers, and how present fathers can maybe be absent and all of that—but I wanted it to be like a comedy.”
Diamond also wanted to explore class and the Black experience. She was interested in the way that race informs wealth and power, and the impact of racism within the Black community by writing about a wealthy Black family, she overturns stereotypes, societal expectations, and sheds lights on part of Black history that many people do not know. In that same interview, Diamond shares:
“I wanted to put in this house three classes of people and how that played out over the course of a weekend. I knew that I wanted them to be people who had been financially privileged for generations, so I knew it was either going to be Hilton Head or Martha’s Vineyard: two of the places in America where Black people have gone for a long time. But Martha’s Vineyard had an even richer history. I didn’t go to Martha’s Vineyard until shortly before the play had its Broadway premiere, and it was fascinating because it was the first time I’d been in a place where Black people could vacation and not be questioned. There’s a freedom there that was new for me.”
Through Stick Fly, we can see the power of Diamond’s skill as a storyteller. She weaves the themes of the plays into the characters and their relationships with each other. In the play, we meet Kent, the youngest son, who hasn’t quite figured out his path in life, but still hopes to impress his demanding, prominent, and well-respected father, Joe. Kent’s fiancée is Taylor, an intelligent and ambitious entomologist, who grew up middle class and feels out of place in wealth and prestige. Then there is Flip, the eldest son, who is a successful plastic surgeon and quite the charmer. He’s quite the package and has had all the advantages that wealth can afford, but he also has some growing up to do. Flip’s girlfriend, Kimber is a wealthy white woman, whose poise and confidence set her at ease in this world. On the other side of the financial spectrum is Cheryl, the daughter of the family maid, but her long-time association with the family gives her a sense of comfort that Taylor craves.
Diamond has set the stage for a dramatic and dynamic weekend, and she does not disappoint. As the weekend progresses, the LeVay family secrets are revealed and the ties that bind are stretched to the seams. Like many families, the LeVays must learn how to come together, how to heal, and how to move forward. And as with most family gatherings, they find it’s best to keep the mojitos flowing!
Lydia R. Diamond
Playwright
Award winning Plays include: “Smart People”, “Stick Fly”, “Voyeurs de Venus”, “The Bluest Eye”, “The Gift Horse”, “Harriet Jacobs”, “The Inside”, and “Stage Black”. Theatres include: Arena Stage, Cort Theatre (Broadway), Chicago Dramatists, Company One, Congo Square, Goodman Theatre, Hartford Stage, Huntington Theatre Company, Jubilee Theatre, Kansas City Repertory, Long Wharf, Lorraine Hansberry, McCarter, Theatre Mo’Olelo Performing Arts Co., MPAACT, New Vic Theatre, Playmakers Repertory, Plowshares Theatre Company, Second Stage Theatre, Steppenwolf Theatre Company and TrueColors. Commissions include: Arena Stage, Steppenwolf (4), McCarter, Huntington, Center Stage, Victory Gardens and The Roundabout Theatre Company. A recipient of many playwriting awards, Lydia was also an 2005/06 W.E.B. Du Bois Institute non-resident Fellow, a 2007 TCG/NEA Playwright in Residence at Steppenwolf Theatre, a 2006/07 Huntington Playwright Fellow, a 2012 Sundance Institute Playwright Lab Creative Advisor, is a Board Member with Chicago Dramatists and a 2012/13 Radcliffe Institute Fellow. Lydia is a graduate of Northwestern University (Class of 1991), has an Honorary Doctorate of Arts from Pine Manor College and was 2013/14 Playwright in Residence at Arena Stage. Lydia is on faculty at the University of Illinois at Chicago where she teaches playwriting.
Cast List
in alphabetical order
“Spoon” Kent LeVay —
Joe LeVay —
Kimber —
“Flip” Harold LeVay —
“Flip” Harold Le Vay (Understudy: January 27-29)—
Taylor —
Cheryl —
*Indicates members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
Anthony August
“Spoon” Kent LeVay
PlayMakers: Company member in third year of UNC’s Professional Actor Training Program. “The Skin of Our Teeth”, “The Storyteller”, “Everybody”, “Ragtime”. “Wilder & Wilder” (PlayMakers Mobile).
Regional: “The Hunchback of Seville” (Mildred’s Umbrella), “Ma Rainey’s Black Bottom” (The Ensemble Theater), “Fade To Black Festival”, “This is Modern Art” (The Landing Theatre Company), “Macbeth” (Encore Theatre).
University: “When the Ancestors Call”, “Dutchman”, “A Raisin in the Sun”, “Last Days of Judas Iscariot”, “The Mountaintop” (Texas Southern University).
Education: Texas Southern University, B.A. in Theatre.
Oscar Best
Joe LeVay
PlayMakers: Debut.
Regional: “Henry V” (The Pacific Residence Theatre), “ART”, “Victor Victoria”, “Wild Party” (Malibu Stage Company).
Film/TV: His television credits include “NCIS L.A.”, “Grey’s Anatomy”, and “Murder 101” with Dick Van Dyke. His film credits include “Underneath the Silver Lake” (Dir. David Robert Mitchell), “The Magnificent Room” (Dir. Cynthia Mort), and “The Last Face” (Dir. Sean Penn).
Education/Awards: The Actor’s Studio, Dance Theatre of Harlem. Oscar received the NAACP Best Actor in LA award for his role in “Bloodknot” (Dir. Lou Gossett Jr.)
Tori Jewell
Kimber
PlayMakers: “The Skin of Our Teeth”, “Julius Caesar”, “Ragtime”. Company member in third year of UNC’s Professional Actor Training Program. “Wilder & Wilder” (PlayMakers Mobile); “Stop Kiss”. “References to Salvador Dalí Make Me Hot” (PlayMakers Ground Floor).
Regional: “Into the Breeches” (Theatre Raleigh).
University: Her favorite shows throughout her undergraduate experience were “A View From The Bridge” (Company Carolina) and “Hedda Gabler” (Kenan Theatre Company).
Other: “College Witch” (YouTube), “To the Girl I Never Kissed” (YouTube)
Education: B.A. in Anthropology, UNC-Chapel Hill, 2019.
Jamar Jones
Understudy: “Flip” Harold LeVay
PlayMakers: “The Skin of Our Teeth”. Company member in first year of UNC’s Professional Actor Training Program
Regional: Fires in the Mirror, Passing Strange (Firehouse Theatre); Fences, Akeelah and the Bee (Virginia Repertory Theatre); Red Velvet (Quill Theatre); An Octoroon, Topdog/Underdog (The Conciliation Lab); Free Man of Color (The Heritage Ensemble Theatre Company); Choir Boy (Richmond Triangle Players/THETC); and Equus (Cadence Theatre Company).
University Guest Artist: Pure Confidence, Blues for Mister Charlie, The Story (University of Richmond).
Education/Awards: The College of William and Mary, B.A. Sociology and Theatre. 2019 Richmond Theatre Critics Circle Award, Best Actor in a Leading Role- Play for An Octoroon; 2020 RTCC Award, Ernie McClintock Best Ensemble Acting for Passing Strange.
Khalil LeSaldo
“Flip” Harold LeVay
PlayMakers: Company member in third year of UNC’s Professional Actor Training Program. “The Skin of Our Teeth”, “Julius Caesar”, “Dairyland”. “Mud”, “References to Salvador Dalí Make Me Hot” (PlayMakers Ground Floor).
New York: “Sing”, “Care Full”, “Game Night”.
Regional: “We Can Eat Love”, “As You Like It”, “Julius Caesar” (Portland Stage); “Romeo and Juliet”, “Julius Caesar”, “Romeo and Juliet” (Tenessee Shakespeare Company); “A Manor of Speaking”, “Deep as Hell”, “Hell and Other Adventures”, “Deep as Hell 2: Wide as Hell” (2Sheets Theater Company); “Bug” (60 Grit Theatre); “The Last Days of Judas Iscariot” (Mad Horse Theater Company); “Princess Kaguya” (Theater at Monmouth); “To Kill a Mockingbird” (The Theater Project); “Hellcab”, “After” (Profiles Theatre); “Wait Until Dark” (Jedlicka Performing Arts); “Switch Tryptych” (Big Picture Group).
Film / TV: “Defending Jacob” with Chris Evans, “Chicago P.D.”.
Education/Awards/Other: Bachelor’s Degree in Psychology, Bowdoin College; Alice Merrill Mitchel Prize (2011); The Telling Room Story Slam Champion, Devising and Physical Theater (Celebration Barn).
AhDream Smith
Taylor
PlayMakers: “The Skin of Our Teeth”, “Julius Caesar”. Company member in third year of UNC’s Professional Actor Training Program. “Wilder & Wilder” (PlayMakers Mobile); “References to Salvador Dalí Make Me Hot” (PlayMakers Ground Floor).
New York: “The Talking Cure” (Hudson Guild Theatre); “Sistas on Fire” (The Duke On 42nd Street); “The Trojan Women”, “The Caucasian Chalk Circle”, “The Exception And The Rule” (Shapiro Theatre).
Television: “Silent Killer”, “The Honeymoon Killers”, “Death and The Maiden” (Investigation Discovery).
Education/Awards/Other: Wesleyan University (B.A), William Esper, Stella Adler, Upright Citizens Brigade, Broadway Dance Center.
Omolade Wey
Cheryl
PlayMakers: “The Skin of Our Teeth”, “The Storyteller”, “Julius Caesar”, “Everybody”. Company member in third year of UNC’s Professional Actor Training Program. “Wilder & Wilder” (PlayMakers Mobile); “No Child”, “Stop Kiss”, “References to Salvador Dalí Make Me Hot” (PlayMakers Ground Floor).
University: “God & Country”, “By the Way”, “Meet Vera Stark”, “Insurrection: Holding History”.
Education/Awards: Winner of the Director’s Company Next Wave Initiative Hattie McDaniel Acting Scholarship. BSFS in Culture & Politics from Georgetown University’s Walsh School of Foreign Service.
Kathryn Hunter Williams
Director
PlayMakers: Company member for 21 seasons. Recent highlights include directing “No Fear & Blues Long Gone”, “Count”, plus acting in “The Skin of Our Teeth”, “Edges of Time”, “Julius Caesar”, “Everybody”, “Life of Galileo”, “Skeleton Crew”, “Leaving Eden”, “Tartuffe”, “Dot”, “Intimate Apparel”, “The Crucible”, “Trouble in Mind”, “A Midsummer Night’s Dream”, “The Tempest”, “Love Alone”, “A Raisin in the Sun”, “Imaginary Invalid”, “Henry IV & V”, “The Parchman Hour”, “Angels in America”, “Fences”, “Doubt”, “Yellowman”, among others.
New York/Regional: Living Stage, The Negro Ensemble Company, Manhattan Class Company, New Dramatists, Archipelago Theater.
Education/Other: BFA, UNC School of the Arts; MFA, UNC-Chapel Hill. Kathryn is on the faculty of the Department of Dramatic Art at UNC-Chapel Hill, Company Artistic Associate for PlayMakers Rep and Associate Director of HiddenVoices, a non-profit organization dedicated to bringing life changing stories into a public forum.
Anita Tripathi
Scenic Designer
PlayMakers: Bright Star.
Broadway: Associate designer for David Gallo on several productions
Regional: Previous Resident Designer at Virginia Stage Company, credits include “Of Mice and Men”, “Private Lives”, “A Christmas Carol” and others; “To Kill a Mockingbird” (Shakespeare Theatre of New Jersey) Currently design frequently for Children’s Theatre of Charlotte, including the world premiere of Steven Dietz’s new play, “The Ghost of Splinter Cover”.
Education/Awards/Other: Assistant Professor of Design and Technology at Davidson College; MFA from University of South Carolina. Member USA Local 829.
Pamela Bond
Costume Designer
PlayMakers: Debut.
Regional: “House of George” (NCCU University Theatre), “Dreamgirls”, “WHITE”, “Black Nativity” (Justice Theatre Project). She also performed in “Dance on Widows Row” (Agape Theatre)
Education/Other: B.A. in Theatre, a B.S. in Textiles & Apparel and a M.A. in Textiles & Apparel from North Carolina Central University. Ms. Bond is a member of Alpha Psi Omega Honor Society, Gamma Xi Phi Art Society and Delta Sigma Theta Sorority, Incorporated. Pamela A. Bond is a native of Durham, North Carolina. Ms. Bond serves as Artistic Production Assistant for North Carolina Central University and Assistant Professor of Dramatic Art at the University of North Carolina at Chapel Hill.
: @pambond8 
: @PamelaBondCostumeDesigns: @cups.andcocktails
Latrice Lovett
Lighting Designer
PlayMakers: As You Like It
Regional: “The Niceties”, “The Mountaintop” (Heritage Theatre Festival); “Gem of the Ocean”, “Savior Samuel” (Pittsburgh Playwrights Theatre Company); “5 Guys Named Moe” (Skylight Musical Theatre)
Education: MFA, University of Missouri Kansas City
Michael Anthony Betts, II
Sound Designer
PlayMakers: Debut.
Durham-based sound designer whose work centers on Black & Brown bodies and their existence in white space. A 2011 UNC alumnus, Betts completed his MFA in Experimental and Documentary Arts at Duke University in 2020. Notably, Michael designed for playwright Howard Craft’s “The Miraculous and the Mundane”, Sonny Kelly’s one-man show, “The Talk”, and “Haunted”. Betts produced the audio version of Dr. LeRhonda S. Manigualt-Bryant New York Times op-ed, “My Mother Is Busy Getting Ready To Die.” Betts also assisted on her award winning film short death.everything.nothing. Current projects include: Mike Wiley Productions’ “Parallel Lives”, Tiffany Albright’s “Keepsake”; a collaboration with death row inmate Michael J. Braxton (@RromeAlone) on an album and audio memoir; and the Duke University’s Kenan Institute of Ethics’s “American Hallowed Ground Project”.
Jacqueline E. Lawton
Dramaturg
PlayMakers: Company member in her 7th season and professor in the Department of Dramatic Art at UNC-Chapel Hill.
Regional Dramaturgy: Actors Theatre of Louisville’s Humana Festival of New American Plays, Arden Theater, Arena Stage, Ensemble Studio Theater, Ford’s Theatre, Goodman Theatre, Horizons Theater, Interact Theatre, Kennedy Center VSA Program, Rorschach Theatre, Round House Theatre, the Stratford Festival, Theater J, Virginia Stage Company and Woolly Mammoth Theatre Company
Playwright: “Anna K”; “Among These Wild Things”; “Behold, a Negress”; “Blackbirds”; “Blood-bound and Tongue-tied”; “Deep Belly Beautiful”; “The Devil’s Sweet Water”; “Edges of Time”; “Freedom Hill”; “The Hampton Years”; “Intelligence”; “Love Brothers Serenade”; “Mad Breed”; “Noms de Guerre”; “So Goes We”; and the “Wonderful Wizard of Oz”.
Education/Affiliations: MFA in Playwriting, University of Texas at Austin; James A. Michener Fellow. TCG Young Leaders of Color, National New Play Network (NNPN), Arena Stage’s Playwrights’ Arena, Center Stage’s Playwrights’ Collective and the Dramatist Guild of America.
Tia James
Vocal Coach
PlayMakers: Company member for two seasons. Actor: “Julius Caesar”, “Native Son”. Vocal coaching includes “Ragtime”, “How I Learned to Drive”, “Life of Galileo”, “Bewilderness”, “She Loves Me”, “Skeleton Crew”, “Sherwood”, “Jump”, “Your Healing is Killing Me”. Director: “As You Like It”, PlayMakers Mobile “Macbeth”, and PlayMakers Ground Floor “Constellations”.
Broadway: “The Merchant of Venice”.
Off-Broadway / New York: “The Winter’s Tale”, “The Merchant of Venice” (Shakespeare in the Park).
Regional: “Richard III” (Allentown Shakespeare); “Loving and Loving” (Stella Adler Studios); “Much Ado About Nothing” (Two River Theatre); “Civilization (all you can eat)” (Woolly Mammoth Theater).
Television: “Nurse Jackie”, “Treme”.
Teaching / Coaching / Directing: UNC-Chapel Hill, NYU Graduate Acting, NYU Dance, Atlantic Acting School, Montclair University.
Education / Awards: MFA NYU Tisch Graduate Acting Program, BFA Virginia Commonwealth University; Teacher Training under Scott Miller and John Patrick. Recipient of the 2014 NYU Graduate Acting Diversity Mentorship Scholarship, 2003 Kennedy Center American College Theatre Festival, Irene Ryan Acting Scholarship winner for Best Actor; 2019 Michael Chekhov/Zelda Fichandler Scholarship.
Elizabeth Ray
Stage Manager
PlayMakers: Company member in her fifth full season. “Love, Loss, and What I Wore”, “The Storyteller”, “Everybody”, “Dairyland”, “No Fear & Blues Long Gone: Nina Simone”, “How I Learned to Drive”, “Jump”, “Skeleton Crew”, “Temples of Lung and Air”, “‘A’ Train”, “Tartuffe”, “Dot”, “The Cake”, “Into the Woods”, “A Midsummer Night’s Dream”, and “Private Lives”.
New York: “Shows for Days” (Lincoln Center Theater), “In the Secret Sea” (Theatre Row), “Wallenberg”, “Requiem for Mr. B”, “Presto Change-O” (Frankel Green Production Company), and “Welcome to Shoofly” (Playwrights Horizons).
Work at other regional theatres includes productions at North Carolina Theatre, Theatre Raleigh, Palm Beach Dramaworks, and Cape Fear Regional Theatre. Elizabeth is a member of Actors’ Equity Association.
Charles K. Bayang
Assistant Stage Manager
PlayMakers: Company member for 11 seasons. Work at other regional theatres includes productions at Studio Arena Theatre, Merrimack Repertory Theatre, Huntington Theatre Company, Alabama Shakespeare Festival, Dallas Theater Center and Dallas Children’s Theatre. Charles holds an MFA from the University of Alabama and has been a member for Actors’ Equity since 1997.
Vivienne Benesch
Producing Artistic Director
Vivienne is in her sixth full season as a company member and Producing Artistic Director at PlayMakers, where she has helmed productions of “The Skin of Our Teeth”, “The Storyteller”, “Dairyland”, “Life of Galileo”, “Leaving Eden”, “The May Queen”, “Three Sisters”, “Love Alone”, “RED”, and “In The Next Room”. In her six seasons with the theatre, she is particularly proud to have produced ten world-premieres and launched PlayMakers Mobile, a touring production aimed at reaching underserved audiences around the Triangle. For 12 seasons, she served as Artistic Director of the renowned Chautauqua Theater Company and Conservatory, presiding over the company’s transformation into one of the best summer theatres and most competitive summer training programs in the country. Vivienne has also directed for the Folger Shakespeare Theatre (Helen Hayes nomination for best direction 2019), The Shakespeare Theatre of New Jersey, Trinity Repertory Company, NY Stage & Film, and Red Bull Theatre, among others. In 2018, she directed the world premiere of Noah Haidle’s “Birthday Candles” for Detroit Public Theatre and will be directing it again on Broadway in 2022, starring Debra Messing. As an actress, Vivienne has worked on and off-Broadway, in film and television, at many of the country’s most celebrated theatres, and received an Obie Award for her performance in Lee Blessing’s “Going to St. Ives”. Vivienne is a graduate of Brown University and NYU’s Graduate Acting Program. As an educator, she has directed for and served on the faculty of some of the nation’s foremost actor training programs, including The Juilliard School, UNC-Chapel Hill’s Professional Actor Training Program, Brown/Trinity Rep MFA Program, and at her alma mater, NYU’s Graduate Acting Program. She is the 2017 recipient of the Zelda Fichandler Award given by the Stage Directors and Choreographers Foundation.
Nichole Gantshar
Managing Director
Nichole Gantshar is a former dramaturg turned arts administrator. Having spent the past two years in interim leadership with Louisville Ballet and Theatre Bay Area, she looks forward to becoming part of the Triangle community. She spent five years as Executive Director of Rochester City Ballet, where she tripled grant revenue, grew audiences by 30 percent, added free (philanthropy supported) sensory-friendly performances, and earned support from the National Endowment for the Arts and The Shubert Foundation. Apart from her career in the arts, Nichole worked as a Legislative Aide in Congress and as a journalist.
Regional: Hangar Theatre, Milwaukee Ballet, Pittsburgh Ballet Theatre, Playwrights Horizons, Richmond Ballet, Syracuse Stage, and Tulsa Ballet.
Volunteer: Rotary, treasurer, Literary Managers and Dramaturgs of the Americas (LMDA), Chair of the National Student Education Fund, treasurer, Syracuse Chapter of Girls Inc.
Awards: Nominee, Outstanding Young Woman of America, LMDA Residency Grant. Faculty: Syracuse University, University at Stony Brook, University of Pittsburgh and the Wooster Center for the Arts.
Education: MFA, University at Stony Brook.
Michael Rolleri
Production Manager
Michael is in his 35th season with PlayMakers Repertory Company. He has been Technical Director, Project Manager, Exhibition Technician, and Lighting Designer for industrial shows in the Southeast region, as well as lead carpenter for films, the U.S. Olympic Festival, and scenic studios. He has also been a rigger in the Southeast region and has served on the executive board and as President of IATSE Local 417. Michael is a 30 year Gold Pin member of IATSE. An active member of United States Institute For Theatre Technology (USITT), he is a three-time winner at USITT’s Tech Expo. He is a full Professor/Head of the Technical Production Program at UNC-Chapel Hill and was an instructor at High Point University and Tufts University.
Education: MFA in Design and Technical Production, UNC-Greensboro.
Stick Fly
by Lydia R. Diamond
Time: 2005
Place: Martha’s Vineyard
Act 1: Approximately 1 hour, 15 minutes
15-minute intermission
Act 2: Approximately 1 hour, 15 minutes
Please be aware this production uses simulated smoking
Joan H. Gillings Center for Dramatic Art
CB# 3235, UNC-Chapel Hill
Chapel Hill, NC 27599-3235
Box Office: 919.962.7529
Website: www.playmakersrep.org
What Will Shows Look Like This Year?
The 21/22 season will feature five live, in-person performances featuring works that explore the resilience of family bonds in all their complicated forms, friendships that transcend language, time, and space, and one man’s connection to his community that helps him stand taller than he could alone.
Health and Safety
PlayMakers Repertory Company is committed to the safety and well-being of our patrons, artists and staff. We will be following state, industry and University safety guidelines in the 21/22 season.
All patrons are required to wear face coverings at all times while inside the Joan H. Gillings Center for Dramatic Art.
We have increased sanitation measures throughout the building and put some new protocols in place to improve safety including:
- Touch free electronic ticketing
- Hand sanitizers throughout the Center for Dramatic Art
- More frequent cleaning of high-touch surfaces
- HEPA filtration units
- With the exception of onstage performances, artists, crew and staff will be required to wear masks
What If I Have to Miss My Performance Date?
For the safety of all our artists, patrons, and staff, if you feel unwell, please stay home. You may call our Box Office and ask to be reseated for another performance, or request a refund up to 48 hour before your ticketed performance.
If you know you will miss a performance date, we can exchange your ticket for you, based on availability. Please call our Box Office at least 48 hours before your scheduled performance, and please be aware that all exchanges are based on availability and a fee or additional cost may apply. Subscribers may exchange their tickets with no additional fee, but additional cost may apply with a change in performance or section.
Box Office Hours
Mon, Weds, Fri 12:00 noon-5:00p.m. and 90 minutes prior to each performance.
Use of Cell Phones and Other Electronics
Texting and using cell phones, laptops, smart watches, and other devices light- or sound-emitting devices are strictly prohibited during the performance. Please turn all electronic devices to silent, theatre mode, or off during the show.
Cameras or Recording Devices
Taking photographs or videotaping inside the theatre is strictly prohibited during performances. However, before the show, during intermission, and after the show, you are invited to take and share your photos of the stage and scenery.
Parking
There are several paid and free parking options available near PlayMakers. We recommend arriving 30 minutes before the show so that you have time to park and pay (Monday-Thursday evenings only) and find your seat. For more information and an interactive map of nearby parking options, please visit
Policy on Young Children
As a courtesy to our patrons, it is the policy of PlayMakers not to admit children under the age of 5. All of our shows have content ratings for each production (for example: Rated PG-13). If you are considering bringing your child, please refer to website or contact our Box Office for further information. All patrons, regardless of age, must have a ticket.
Headsets for Hearing Impaired Patrons
Our theatres are equipped with sound systems that amplify the sound from the stage. Patrons who wish to use the system may obtain headsets on a first-come, first-served basis from the coat check. Headsets must be returned immediately after the performance.
Late Seating and Leaving Your Seat During the Performance
To minimize disruptions to the actors and other patrons, late seating will be provided at the discretion of the house manager at an appropriate break in the action on stage. Patrons who need to be seated late must be escorted by house staff to seats at the rear entrance of the auditorium, which entails climbing a flight of stairs. Patrons can take their regular seat at intermission.
Administration
Vivienne Benesch, Producing Artistic Director
Nichole Gantshar, Managing Director
Artistic
Tracy Bersley, Movement Coach/Choreographer
Kathryn Hunter-Williams, Company Artistic Associate
Chelsea James, Producing Assistant
Tia James, Vocal Coach
Gregory Kable, Dramaturg
Jacqueline E. Lawton, Dramaturg
Jeffrey Meanza, Associate Artistic Director
Mark Perry, Dramaturg
Gwendolyn Schwinke, Vocal Coach
Jeri Lynn Schulke, Engagement Associate
Adam Versényi, Dramaturg
Administration
Kate Jones, Business Operations Coordinator
Lisa Geeslin, Accountant
Marketing & Audience Services
Alex James, Audience Services Associate
Diana Pineda, Director of Sales & Marketing
Thomas Porter, Box Office Manager
Rosalie Preston, Associate Director of Marketing
Jessie Gleason, Undergraduate Marketing Assistant
Work Study Students
Artistic: Josh Wehab
Box Office/ Front of House: Aisha Bynum, Charity Cohen, Eli Dietrich, Chloe Jones, Olivia Mahon, Yaeelin Merino-Velasquez, Olivia Morse, Kaitlyn Rivera, Krystal Rivera, Alla Sirelkhatim, Naomi Smith, Lily Vance
Development: Mahika Kawale
Marketing: Belawal Ahmed
Department of Dramatic Art
Adam Versényi, Professor and Chair
FACULTY
Vivienne Benesch, Professor of the Practice
Tracy Bersley, Assistant Professor
Pamela Bond, Visiting Teaching Assistant Professor
Jan Chambers, Professor
McKay Coble, Professor
Jeffrey Blair Cornell, Associate Chair, Teaching Professor
Ray Dooley, Professor Emeritus
Samuel Ray Gates, Assistant Professor
Julia Gibson, Associate Professor
Jennifer Guadagno, Teaching Assistant Professor
Kathryn Hunter-Williams, Teaching Associate Professor
Tia James, Assistant Professor
Gregory Kable, Teaching Professor
Jacqueline E. Lawton, Associate Professor
Adam Maxfield, Teaching Associate Professor
Triffin Morris, Professor of the Practice
David Navalinsky, Associate Professor
Bobbi Owen, Distinguished Professor Emerita
Mark Perry, Teaching Associate Professor
Rachel E. Pollock, Teaching Assistant Professor
Michael Rolleri, Professor
Gwendolyn Schwinke, Assistant Professor
Aubrey Snowden, Teaching Assistant Professor
STAFF
Betty Futrell, Student Services Specialist
Lisa Geeslin, Accounting Technician
Jordan Clodfelter, KTC Technical Director
Karen Rolleri, Business Coordinator
Jamie Strickland, Business Officer
Production
Michael Rolleri, Production Manager
Costumes
Jennifer Bayang, Assistant Costume Director
Amy Evans, Wardrobe Supervisor
Marissa Lupkas, Costume Collection Coordinator
Triffin Morris, Costume Director
Rachel Pollock, Costume Craftsperson
Costume Production Graduate Students:
Matty Blatt, Jocelyn Chatman, Alex Hagman, Emma Hoylst, Lou Pires, Athene Wright, Sherry Wu
Lighting
Benjamin Bosch, Head Electrician
Props
Emma Anderson, Props Artisan
Andrea Bullock, Properties Master
Scenic
Noah George, Master Carpenter
Adam Maxfield, Technical Director
Laura Pates, Assistant Technical Director
Jessica Secrest, Scenic Artist
Technical Production Graduate Students:
Brock Burton, Gregory Condon, Paul Edghill, Patrick Hardison, Kevin Pendergast, Luke Robinson, Garrett Weeda
Spencer Ellis, Undergraduate Assistant-Scene Shop
Haley Connell, Undergraduate Assistant-Paint
Sound
Marisa Clemente, Sound Associate
Mac Cohen, Undergraduate Assistant
STAGE MANAGEMENT
Charles K. Bayang, Stage Manager
Elizabeth Ray, Stage Manager
Work Study Students
Carpentry: Tygia Drewhowell, Jeffrey Jones, Danielle Mou, Lillyann Nekervis
Lighting: Jessica Atkins, Anthony Burch, Jahel Gomes, Sananda Jagannathan, Annabelle Jiang, Alex Mitropoulos
Props: Charlotte Allsbrook, Hannah Fatool, Lydia McRoy, Marissa Romano
Scenic Painting: Madison Austin, Madeleine Collins, Corinne Laverge, Faith Wang
PlayMakers’ Resident Acting Company
Jeffrey Blair Cornell
Samuel Ray Gates
Julia Gibson
Kathryn Hunter-Williams
Tia James
Gwendolyn Schwinke
Professional Actor Training Program:
Sergio Mauritz Ang, Anthony August, Hayley Cartee, Heinley Gaspard, Tori Jewell, Jamar Jones, Khalil LeSaldo, Saleemah Sharpe, AhDream Smith, Sanjana Taskar, Adam Valentine, Omolade Wey
For this Production of Stick Fly
Lormarev Jones, Intimacy Choreographer
Jeff A. R. Jones, Fight Choreographer
Paul Edghill, Production Technical Director
Patrick Hardison, Assistant Technical Director
Luke Robinson, Shop Lead
Gerald “Fitz” Morrissey, Assistant to the Lighting Designer
Lou Pires, Assistant to the Costume Director
Jocelyn Chatman, Athene Wright, Drapers
Alex Hagman, Matty Blatt First Hands
Emma Holyst, Stitcher
During this period of re-emergence, we are producing a smaller, “capsule” season of only five powerful shows. While this allows us to remain focused on the safety and well-being of our patrons, artists, and staff, it has substantial financial implications.
As a nonprofit professional theatre, ticket sales traditionally cover only half of our annual operating costs. This year, we cannot count on ticket revenue as we have in the past. We must rely on the generosity of our community to help close the gap and keep our stages alive.
Ways to Give
Online
Phone or Email
prc_development@unc.edu
919.962.2481
Send your check to:
PlayMakers Repertory Company Development Department
Joan H. Gillings Center for Dramatic Art
CB 3235
Chapel Hill, NC 27599-3235
You can help support and sustain all our work, both on stage and off, by making a tax-deductible gift which enables us to:
- Bring innovative, entertaining, and relevant theatre to the Triangle
- Serve students across the state through our award-winning educational programs
- Engage with our audiences through artist and community conversations
- Remain flexible, safe, and better prepared for the future
Every gift, big or small, makes a huge difference!
PlayMakers is grateful to the members of the Friends of PlayMakers for their generous support. For more information about how to join this dynamic group of supporters, call the PlayMakers Development Office at 919.962.2481 or visit us at playmakersrep.org.
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Todd Haimes*
Garrett Hall and Zachary Howell
Bruce Hamilton and Jennifer Weiss*
Jean Handy*
Doranne Hans
Ms. Carol Ann Brainard and Ms. Nancy W. Hardin
Cheryl and Toby Harrell
Joanne Harrell
Edwin Harris
Lynden Harris*
Patti Seitz Hartel
Jim and Mary Hayes
Rachel Heller
Richard Hendel*
Eric Herget and Sherry Wilner
Klaus Hermanns
Ellen Herron
William Hicks and William Sadler
Ann Hillenbrand
Margaret R. Hinkle*
Marin Hinkle
Jennifer Hodgson and Matthew Conley
Peter Hollis
Houston and Joyce Horn
Mary Howes,
In Memory of Jonathan B. Howes
John and Joyce Hren
Mr. David Hubby and Ms. Sarah F. Hubby
Mary Hulett*
Malcolm and Wanda Hunter
Leslie Hurtig*
Beth H. Isenhour*
Abby Jablin
Elizabeth W. Jackson
Robert and Jacqueline Little
Emma Jakoi
Champa and David Jarmul
Perry Jenkins
Mr. John Jennings and Lisa Jennings
Jewish Community Foundation of Durham & Chapel Hill
Suzanne Fields Jones
Susan Joyner
Eve and Rudy Juliano
Dan and Linda Kaferle
Cindy Kahler
H. Richard and Sally A. Kahler
Dr. Richard Miles Kamens and Ms. Bobette S. Eckland
Amy Kane*
Lynne Kane
Howard and Joan Kastel
Laura Kayser*
Paul and Edith Keene
Marie-Beatrice and Robert Keller
Arlon Kemple and Karen Long
Barbara Keyworth
Brian and Moyra Kileff
Dr. Harriet King
Robert and Mary King,
In memory of Charles H. Kahn
Andrew Stewart and Peggy Kinney ^
Ann and Bill Kirkland
Rabecca Klemp
Joyce Kline
Ted and Marilyn Koenig
Stephen and Bunny Koff
Elizabeth Koonce
Helen Kotsher
Lloyd Kramer and Gwynne Pomeroy
Dave and Doris Krepp
Ted and Debbie LaMay
Benjamin Landman and Jen Feldman,
in honor of Ms. Betty-Ann Landman
Gerry and Ray Larson
Robert Lauterborn,
in memory of Sylvia Lauterborn
Carol and Alexander Lawrence
Mary and Jon Leadbetter
Priscilla and Russell Leavitt
Judith and Norbert Lechner
Philip and Nancy Leinbach
David and Carolyn Leith
John and Ruth Leopold
Arnold and Annette Levine
Joy Lewis and Frederick Annand
Betty and John Leydon
Judith C.P. Lilley
Ginger and Derek Long
Carol Lucas
John Ludlow and Kathy Davies
Virginia Ludwig
Mrs. Earl C. Lynch
Sara Mack
Corey Madden
Dr. and Mrs. Donald Madison
Dr. Samuel Hays Magill and Ms. Eunice M. Brock
John Manley
Raleigh and Betsy Mann^
Lee and Elaine Marcus
Chris and Caroline Martens
Jeff Mason
Shelley J. Masters
Leigh Matthews
Michael Mayer
Dr. and Mrs. Robert N. McCall
Meredith McClurg
Ann and Webb McCracken
Ed and Connie McCraw
J.S. McKnight
Patrick Joseph Mclane^
Lee McLean
John and Bonnie Medinger
Ewa Meehan
Larry and Jerri Meisner
Cathleen Melton and Larry Greenblatt
Joan and Ron Mendelsohn
Brian Meredith
Julia Merricks and Susan Hauser*
Tracie Merrill-Wilson
Molly S. Metzler*
Graig Meyer
Ryan Millager
Herbert Miller
Erik and Natalia Milz
Mark and Alice Mine
Sophie Jessica Mitchell
Dana Mochel
Jill Moore *
Aela Morgan*
Eric Muller and Leslie Branden-Muller
Margaret Mullinix
Kate Murphy
Seth Murray and Jamie Newman
Margaret Murray
Judy Murray
Lee and Ava Nackman
Michael Naglich*
Diane Nelson, Ph.D.*
Michele and Klaus Nettesheim
Barbara Nettesheim
Betty Nies
Linda W. Norris
James and Nancy Nutt
Drs. Susan and Raphael Orenstein
Marilyn and Peter Ornstein
Barry and Lois Ostrow
Mrs. Heather Kelly Owen and Mr. Russ Owen
Norman Owen,
in memory of Roberta Yule Owen^
Michael Patrick
Josie Patton
Michael Paul
Ron and Julie Paxton
Robert and Kay Pearlstein
Robert Peet
Nancy Pekar
Arnold Pender
Joanna V. Percher
Imara Perera*
Carol and Al Perlman
Mr. Stephen Perrin and Ms. Cecelia M. Sandford
Rebecca Perritt
Thomas Phillips
Meredith Piatt
Pickett M. Gutherie Revocable Trust
Jim P. Polga*
Ms. Susie Post-Rust and Mr. Adam MacKenzie Rust
Ted and Peggy Pratt
Jane Preyer*
Todd and Nicky Purves*
Jeffrey Qualls
Margaret Quinlan
Mr. Stephen Allan Rich and Mrs. Sandra Danneman Rich
Geraldine and Gary Richards
Margaret Louise Robe
Louise A. Robinson
James and Janet Robles
Philip and Jo Rodgers *
Patricia Roos
Joel Rosch and Carol Vatz
Philip Rosoff and Dona Shikaraishi
Judith L. Ruderman
Jennifer Rudinger
Laura and Reid Russell
Patti and Dan Ryan
Sylvia and Norman G. Samet,
In memory of Charles H. Kahn
Celia Sandford and Stephen Perrin
Dale and Robert Sandler
Elizabeth Saunders*
Carol Elizabeth Sawyer
Allie and Ian Scales^
Carol Schachner^
Ms. Karen Ann Sindelar and Mr. Douglas Brian Schiff
Ernest and Mary Schoenfeld
Tanya L. Schreiber
Janice and Richard Schulke
Dr. Caryl Jane Schwartzbach and Alan Bolzan
Gwendolyn Schwinke
Maren Searle and John Skelley
Rick and Georgie Searles
Patricia Shane
Barbara Sharf
William N. Sharpe Jr.
Alison Sheehy*
Barbara and Jonathan Sheline
Stephanie Shipman and Walter Travers*
Connie Shuping,
in memory of Ed and Dot Kennedy
Nikki Silver*
Bland Simpson*
David Singley Jr.
Ron and Mary Sinzdak
Sim Sitkin and Vivian Olkin
Barry Slobin and Carol Land
Mike and Kim Slomianyj
Linda Smith
Dr. Richard L. Smith and Dr. Amy Grady
Rosalyn Smith
Dr. and Mrs. Stuart Solomon ^
Ilene Speizer*
Marcia Spray, In honor of Laura Carson Spray
Kimberly and David Spurr
Sally and Jeremy Stander
Ms. Mary Elizabeth Hall and Mr. Robert A. Stanger Jr.
Allen Steckler
Susanne Steinmetz*
Anne Stephens*
Marian Stephenson
Cathy and Sefton Stevens
Andy Stewart and Peggy Kinney^
Dorcas Stolper
Leslie and Paul Strohm
Mr. Edward Strong*
Jeannie Pfister Stroupe^
Ed and Lynne Sullivan
Terrence and Marguerite Sullivan
Steven and Madeline Sunshine
Jeff Surles
Nanette and David Talaski
Beverly Taylor
David C. Taylor
Stephen Tell and Rosemary Hoban
The Boyer Living Trust
Charles Thomas and Suzanne Maupin
Janet Thomas
Robert and Shirley Thompson
David and Kelley Tobin*
Beatrice Treat
Nancy Trovillion*
Nancy Tunnessen
Nancy Tusa and Andy Brawn
Mr. David Burr and Ms. Rustine Unger
Lindsay Usher
Mary Van Bourgondien*
Ted Van Griethuysen
Barney and Vivian Varner
Dr. Barbara Carol Vatz and Mr. Joel Burt Rosch
Adam Versenyi
Jill Vexler*
Dr. Victor and Mrs. Linda Roggli
Robin Visser
Deborah and Jonathan Wahl
Ina Wallace
Mary Louise Waller
Angela Walter*
Helen Warner
David and Marsha Warren
Tovah Wax and Lucjan Mordzak
George Weinhouse
The Honorable Jennifer Weiss and Mr. Bruce Alan Hamilton
Dr. Lynn Wesson
Shirley H. White, in honor of Steven H. White
Loretta Wile
Mike Wiley
Jane Williams
Dr. Nancy E Williamson
Richard D. Wilson
Joy Wood
Nancy Worley
Jerry M. Worsley
Janice and Richard Woychik
David and Dee Yoder
Marla Yost
YourCause, LLC Trustee for Red Hat Matching Gifts
Justin Yung^
Rosilene Ziegler and John Steege
^ Sustainers Club Member
+ Women’s Point of View (WPOV) Supporter
* PlayMakers Special Event Supporter
~ Deceased
This list is current as of January 18, 2022. If your name is listed incorrectly or not at all, please contact PlayMakers Development Office at 919.962.2481. We will ensure you are recognized for your thoughtful support.
PlayMakers’ 2021/22 Season is Made Possible in Part by Grants from
Foundation Support
National Endowment for the Arts, North Carolina Arts Council, Orange County Arts Commission, The Shubert Foundation, Fidelity Foundation, Truist Foundation, The Educational Foundation of America
Additional Funding for Guest Artists is Provided by
Robert Boyer and Margaret Boyer Fund, Louise Lamont Fund, Emeriti Professors Charles and Shirley Weiss Fund
Producing Council
Mebane Lumber, Residence Inn Chapel Hill, Spoonflower, Larry’s Coffee, The Siena Hotel/Il Palio Restaurant
Corporate Council
De Maison Selections, Aloft
Associates
Cambria Suites