An Appreciation for a Colleague

I attended the Bridgewater State Univ. production of The Importance of Being Ernest on Thursday evening. It was the final BSU production directed by my long-time colleague and friend Dr. Suzanne Ramczyk. She follows me into retirement after a three-decade career in teaching theatre at BSU.

Oscar Wilde's "'Ernest" is delightful and a light-hearted tease on the social program of marriage and the absurdity of British class practice. It was well done and featured two alumni in older character roles.

I have been reflecting on our long run collaboration, and the shows Suzanne directed that I designed:

[left: Comedy of Errors]

Machinal (2011), Cabaret (2009), An Ideal Husband (2008), How I Learned to Drive (2008), Urinetown (2006), "Theatre on the Edge" (2005), The Secret Garden (2003), Antigone (2002), Hotel d'Amour (2000), The Scarlet Letter (1999), Jack the Ripper (1997), Marisol (1995), No Trifling with Love (1994), Life Chains (1992), Step on a Crack (1992), The King Stag (1991), Madwoman of Chaillot (1989), Comedy of Errors (1988), Lock Up Your Daughters (1987), The Threepenny Opera (1986), Company (1985). I may have overlooked one or two.

I designed many shows for other directors over the years, but working with Suzanne was always an artistically rewarding experience. She and I shared a passion for exploration, innovation, social commentary, and the highest artistic standards we could muster. We both were followers of the revolutionary theatrical experiments in the 1960s and 70s. She received her doctorate at the University of Oregon, and she once trained under theatre fundamentalist Jerzy Grotowski.

Dr. Ramczyk is perhaps the most prepared and grounded director of any of the dozen or so with whom I have worked. I was particularly engaged by her openness to and respect for my perspectives on the work. Often beginning with a simple image or phrase, we would find a touchstone and anchor for artistic explorations in the production. It is notable that she challenged me to be more exploratory, she trusted my responses and defended my choices.

Scores of students over the years have benefited from her zealous investment in performance studies, the training she provided in movement and voice, and her continuing support in their performing careers. A life in professional theatre and film is difficult, the work is irregular and usually at night on stage, and out of town for film. Yet many students have realized that dream by way of her mentoring.

Suzanne and her husband Ed Zeldin deserve a long and rewarding retreat. I suspect she will find a way to remain active in theatre. I wish them happiness and great health for a well-earned retirement.

Arthur L. Dirks

30 April 2017