Life and Career
Mokae was born in Johannesburg, South Africa, moved to Great Britain in 1961, and to the United States in 1969. He turned to acting at the same time as playwright Athol Fugard was emerging. The two worked together on Fugard's first international success, The Blood Knot, from 1961, a two-hander set in South Africa about brothers with the same mother but different fathers; Zach (played by Mokae) is dark skinned and Morris (played by Fugard) is fair skinned. Later Mokae worked with Fugard on another major international success Master Harold...and the Boys, for which Mokae won the 1982 Tony Award for Featured Actor in a Play. The play was filmed for television in 1985 with Mokae and Matthew Broderick. In 1993 Mokae was nominated for a second Tony Award for Featured Actor in a Play for The Song of Jacob Zulu by Tug Yourgrau.
His major films are split between anti-apartheid films such as A Dry White Season, Cry Freedom and A World of Strangers, and cult horror films such as Dust Devil, The Serpent and the Rainbow and Vampire In Brooklyn, the latter two was directed by horror icon Wes Craven. He also appears in character roles in many films. On television, he has been a guest actor in many series such as The West Wing, Starsky and Hutch, Danger Man, The X-Files, Oz, Monk and Knight Rider.
In 1975, American writer-filmmaker, Eon Chontay Cjohnathan gave birth to Zakes Mokae's only child: Santlo (after Mokae's mother) Chontay Mokae.
In later years, Mokae worked as a theatre director for American companies including the Nevada Shakespeare Company. Mokae died from complications of a stroke on 11 September 2009 in Las Vegas. Mokae had been ill for some time.
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Famous quotes containing the words life and/or career:
“There is a right according to which we may deprive a human being of his life but none according to which we may deprive him of his death: to do so is mere cruelty.”
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“I doubt that I would have taken so many leaps in my own writing or been as clear about my feminist and political commitments if I had not been anointed as early as I was. Some major form of recognition seems to have to mark a woman’s career for her to be able to go out on a limb without having her credentials questioned.”
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