TONY AWARD-WINNING POLITICAL THRILLER
BY J.T. ROGERS DIRECTED BY RYAN RILETTE
2019-2020 HOME HIT OFF-BROADWAY COMEDY
“FUNNY AND FAST PACED ... [WITH] BOUNCY, JUICY DIALOGUE.” BY JOCELYN BIOH DIRECTED BY NICOLE A. WATSON SEP 18 – OCT 13, 2019
— Vulture
TONY AWARD-WINNING WONDROUS JOURNEY
“IMPRESSIVE ... AN UNCOMMONLY HIGH-FLYING THEATRICAL RIDE.” — The Washington Post
A PLAY BY SIMON STEPHENS BASED ON THE NOVEL BY MARK HADDON DIRECTED BY RYAN RILETTE AND JARED MEZZOCCHI NOV 20 – DEC 29, 2019
GROUNDBREAKING ROCK MUSICAL
“EXHILARATING ... A FRESH BREEZE OF TRUE INSPIRATION.” BOOK & LYRICS BY STEVEN SATER — The New York Times MUSIC BY DUNCAN SHEIK BASED ON THE PLAY BY FRANK WEDEKIND DIRECTED BY ALAN PAUL JAN 22 – FEB 24, 2020
SUBSCRIPTIONS ON SALE NOW!
COMING SEASON PULITZER PRIZE-WINNING DRAMA
“IMMENSELY HAUNTING ... [WITH] TREMENDOUS EMOTION.” — The New York Times
BY MARTYNA MAJOK DIRECTED BY RYAN RILETTE APR 1 – APR 19, 2020
SPECTACULAR THEATRICAL ROMP
“COMEDIC, GYMNASTIC,
MUSICAL, SENSUAL, SHOCKING AND REDEMPTIVE.” — The New York Times
BY CHARLES MEE DIRECTED BY MEREDITH McDONOUGH MAY 20 – JUN 21, 2020
PROVOCATIVE ROMANTIC COMEDY
“SMART [AND] SEXY ... BY REHANA LEW MIRZA DIRECTED BY NICOLE A. WATSON JUN 10 – JUL 3, 2020
MIRZA IS A SHARP WRITER
AND A SAVVY THINKER.” — The New York Times
More info at RoundHouseTheatre.org
ROUND HOUSE RENOVATIONF Since the first week of January, laughter and applause have been replaced by hammers and drills at Round House Theatre! Led by Forrester Construction, renovations are well underway, and we are excited to open our doors in September to a new and improved Round House. In the meantime, take a look at what’s been going on inside!
Where the orchestra seating used to be is now prepared for concrete to be poured over the existing foundation and form the new curved seating arrangement.
In the main lobby, the steel skeleton of the new lobby staircase has been installed, and the redesigned balcony has been extended and curved to accommodate patrons on the second floor.
From this view, you can see what used to be the Box Office has been completely removed to allow room for the new concierge-style desk. Previously unused space above the Box Office has been opened up and will become the new Artistic Wing.
The view from the stage is a little different now! All seats in the theatre have been removed in preparation for the new seating, and interior walls have been taken down so construction on the new Control Booth and offices in the balcony can begin.
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Visit RoundHouseFullCircle.org to follow our progress! Cover: Erin Weaver, Maboud Ebrahimzadeh, and Cody Nickell. Back Cover: Holly Twyford and Craig Wallace. Photos by Nicholas Griner.
NFROM
OUR LEADERS
Dear Friends, Welcome to Round House Theatre! We are excited to be producing at the Lansburgh Theatre while our Bethesda home is undergoing renovations, and we are grateful to the Shakespeare Theatre Company for making it possible for us to rent this gem of a theatre in downtown Washington, DC. On April 6, we held our Broadway near Bethesda Gala, headlined by the incomparable Audra McDonald. It was the most successful Gala in Round House history, setting records for most money raised (both gross and net!). This includes our highest "Make a Difference" fundraising total ever, with more than $75,000 pledged for our Play It Forward initiative. Play It Forward builds the next generation of audiences, artists, and administrators through initiatives like our free student ticket program, Free Play, which provides free tickets to anyone age 13 through college—any play, any time. Play It Forward combines this groundbreaking program with our Teen Performance Company and our Apprenticeship and Internship offerings as we seek to invest in and shape the future of American theatre. Great thanks to our co-chairs, Michael and Ilana Heintz and Mark and Merrill Shugoll, for their hard work in making our Gala a huge success. Believe it or not, our renovation is already halfway done! From our new concierge-style box office, to the grand staircase in the lobby, to our full bar and café, to the acoustically improved and comfortable theatre with great sightlines, we can’t wait to share our new space with you. If you’d like to make your mark in our new theatre, you can name a seat or have your name engraved on one of the bricks. For more information, or to see photos of the ongoing renovation and renderings of the completed theatre, please visit RoundHouseFullCircle.org. And stay tuned for more news about our official reopening…we’re planning a free, public celebration of our Homecoming in late August. And finally, the main reason for these renovations will become apparent in midSeptember, when we open our 2019-2020 Season with School Girls; or, the African Mean Girls Play, written by Jocelyn Bioh, and directed by our own Nicole A. Watson. This hilarious yet heartfelt look at girls in a 1980s Ghanaian high school will have you laughing but leave you with a lump in your throat. It’s a fitting beginning to a season that is entertaining, empathetic, and exciting—and featuring two Tony Awardwinning shows, a Pulitzer Prize winner, and a thrilling repertory exploring love, hate, and relationships. Take care of your subscription today! Thank you for joining us during our downtown sojourn, and we look forward to seeing you back in Bethesda this fall!
P.S. Don’t forget we have one more show at the Lansburgh—A Doll’s House, Part 2, by Lucas Hnath, directed by Nicole A. Watson, running from June 5 – 30. Like Oslo, this show was a smash Broadway hit; you won’t want to miss it.
SPONSOR SPOTLIGHT Round House Theatre extends its deep gratitude to Esthy & Jim Adler, Lorraine & Doug Bibby, Heidi & Mitch Dupler, Ann & Frank Gilbert, and Judy & Leo Zickler, sponsors of Oslo.
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Oslo is a thought-provoking play about a pivotal moment in modern diplomacy. We are pleased to sponsor this ambitious Round House production directed by Ryan Rilette that features a cast as remarkable as the real-life political actors who inspired the play.”
— Esthy & Jim Adler The 1993 Oslo Accords were an early path to peace between Israelis and Palestinians that remains as unsteady as it is important today. We are happy to support this unique play that puts the audience in the room where secret talks unfolded. Bravo to Round House for taking on this complex topic through the lens of a Tony Award-winning play!”
— Lorraine & Doug Bibby
Watching Round House plays—and discussing them—is our favorite pastime. We are delighted to support Round House’s production of Oslo that tells a great story about people seeking a way to bridge a hostile divide.”
— Heidi & Mitch Dupler
When I learned that Round House Theatre had the rights to produce this fine play of historical significance, I wanted us to support this production. Frank and I are proud to reinforce the importance of Round House in the community through our sponsorship.”
— Ann & Frank Gilbert
We’re thrilled to be sponsoring Oslo, a striking view of international peacemaking that took place in a moment of hope. The inability to resolve conflict even now plagues our own country. Round House has succeeded in helping us understand this historical conflict with an absorbing political thriller. We are so proud to be part of its production.”
— Judy & Leo Zickler To become a sponsor for an upcoming Round House Theatre production, please contact Veronica Kannan, Director of Development, at 240.670.8795.
T
R O U N D H O U S E T H E AT R E Ryan Rilette, Artistic Director, and Ed Zakreski, Managing Director, present
BY J.T.
ROGERS DIRECTED BY RYAN RILETTE Scenic Designer MISHA KACHMAN
Costume Designer IVANIA STACK
Lighting Designer JESSE BELSKY
Sound Designer/Composer MATTHEW M. NIELSON
Projections Designer JARED MEZZOCCHI
Props Master KASEY HENDRICKS
Dialect Coach DAWN-ELIN FRASER
Fight Choreographer CASEY KALEBA
Dramaturg GABRIELLE HOYT
Assitant Director SUSANNAH MORGAN EIG
Resident Stage Manager CHE WERNSMAN*
Stage Manager RACHEL S. HAMILTON*
*Member Actors’ Equity Association, The Union of Professional Actors and Stage Managers in the United States
Oslo is presented by special arrangement with Dramatist Play Service, Inc., New York. Sponsored in part through the generous support of Esthy & Jim Adler, Lorraine & Doug Bibby, Heidi & Mitch Dupler, Ann & Frank Gilbert, and Judy & Leo Zickler. The video and/or audio recording of this performance by any means whatsoever are strictly prohibited.
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CAST in order of appearance
TERJE RØD-LARSEN......................................................................Cody Nickell* MARIANNE HEIBERG...............................................................Kimberly Gilbert* JOHAN JORGEN HOLST..............................................................Todd Scofield* MONA JUUL.......................................................................................Erin Weaver* JAN EGELAND........................................................................ Gregory Wooddell* YOSSI BEILIN.............................................................................Alexander Strain* AHMED QURIE............................................................... Maboud Ebrahimzadeh* YAIR HIRSCHFELD.........................................................................Sasha Olinick* HASSAN ASFOUR.........................................................................Ahmad Kamal* RON PUNDAK......................................................................... Gregory Wooddell* TORIL GRANDAL......................................................................Kimberly Gilbert* FINN GRANDAL.............................................................................Todd Scofield* AMERICAN DIPLOMAT....................................... Michael Sweeney Hammond* URI SAVIR................................................................................. Juri Henley-Cohn* TROND..................................................................................................John Austin THOR BJORNEVOG............................................. Michael Sweeney Hammond* JOEL SINGER....................................................................... John Taylor Phillips* GERMAN HUSBAND...........................................................................John Austin GERMAN WIFE.................................................................. Susannah Morgan Eig SHIMON PERES........................................................................Conrad Feininger* SWEDISH HOSTESS......................................................... Susannah Morgan Eig RECORDED VOICES..................................... Ghaith al-Omari, David Makovsky *Member Actors’ Equity Association, The Union of Professional Actors and Stage Managers in the United States
Oslo runs approximately 2 hours and 50 minutes including a 15-minute intermission.
SPECIAL THANKS TO: Inger Dreng; Ronen Gilat; The Foundation for Middle East Peace: Lara Friedman; Georgetown University’s Laboratory for Global Performances and Politics’ CrossCurrents Festival: Faisal Abualheja, Ali Panjwani, and Teddy Rodger; The Goethe Institut: Aylin Michele; David Grossman; Bonnie & Alan Hammerschlag; Philippa Hughes; J Street: Jeremy Ben-Ami, Tali DeGroot, Ruti Kadish, and Hannah Morris; Kathleen Matthews; Hilla Medalia; Milton Gottesman Day School: Laurie Brumberg and Gila Efrati; The Museum of the Palestinian People: AnaMichele Babyak, Nizar Farsakh, and Bshara Nassar; Maïa Nelles-Sager; The Norwegian Embassy: Urd Berge Milbury and Jon-Åge Øyslebø, Minister Counselor for Communications, Cultural Affairs and Education; Shakespeare Theatre Company; Joel Singer; The Washington Institute for Near East Policy: Ghaith al-Omari, David Makovsky, Basia Rosenbaum, Dennis Ross, and Jeff Rubin; and Washington Strategy Group: Joel Rubin.
ADDITIONAL PRODUCTION STAFF Production Assistant: Rebecca Silva Wardrobe: Sarah Steele, Anastazia Whittle Wig Stylist/Maintenance: Dori Beau Seigneur Deck Chief: Niki Sears Run Crew: Casey Parker Light Board Operator: Peter Goldschmidt Sound Board Operator: Matthew Allen Carpenters: JJ Hersh, James McDonald Electricians: Brice Hilburn, Paul Callahan, Andrew Baynard, Doug DelPizzo, Hailey LaRoe, Norah Matthews, Calvin Anguiano, Kevin Sweetser, Erin Teachman, Alex Taggert, Elizabeth Roth, Rachel Prell, Will Voorhies, E-hui Woo Stitcher: Dennis Kitmore Assistant to Projection Designer: Alan Eisen Assistant Audio/Video Supervisor: James Guess Assistant Stage Operations Supervisor: Jess Rich Wardrobe Supervisor: Stephanie Goad STC Lansburgh Staff Associate Director of Production: Brittany Truske Audio/Video Supervisor & Stage Operations Supervisor: Gordon Nimmo-Smith Master Electrician: Sean R. McCarthy Associate Master Electrician: Lauren Lee Full staff listing on page 38.
This theatre operates under an agreement between the League of Resident Theatres and Actors’ Equity Association (AEA), the Union of Professional Actors and Stage Managers in the United States. AEA, founded in 1913, represents more than 45,000 actors and stage managers in the United States. Equity seeks to advance, promote, and foster the art of live theatre as an essential component of our society. Equity negotiates wages and working conditions, providing a wide range of benefits, including health and pension plans. AEA is a member of the AFL-CIO, and is associated with FIA, an international organization of performing arts unions. The Equity emblem is our mark of excellence. For more information, visit www.actorsequity.org. The Scenic, Costume, Lighting, and Sound Designers are represented by United Scenic Artists, Local USA-829 of the IATSE. The Fight Choreographer is a member of the STAGE DIRECTORS AND CHOREOGRAPHERS SOCIETY, a national theatrical labor union.
CAST JOHN AUSTIN (Trond/ German Husband) is thrilled to make his Round House debut. DC credits include Kleptocracy at Arena Stage; Melancholy Play at Constellation Theatre (Helen Hayes nomination: Outstanding Ensemble, Outstanding Production); A Midsummer Night’s Dream with Prince George County Shakespeare. Regional/national tours include Othello, Alice in Wonderland, and The Great Gatsby with National Players of Olney Theatre Center. Austin, TX credits include Zeus in Therapy with Tutto Theatre Company (B. Iden Payne Award: Outstanding Young Performer) and Pride and Prejudice with Austin Shakespeare. John earned a BFA in Acting, Summa Cum Laude from Boston University (Dean’s Award) and a Certificate in Classical Acting from L.A.M.D.A. He holds the Bette Davis Prize for excellence in the acting profession. Instagram: @johnaustintx; johnaustinactor.com MABOUD EBRAHIMZADEH (Ahmed Qurie) is a Round House Theatre Resident Artist. Round House credits include Small Mouth Sounds, The Book of Will, and Bengal Tiger at the Baghdad Zoo, and next season he will appear in The Curious Incident of the Dog in the Night-Time, Hatefuck, and Big Love. Regional credits include Murder on the Orient Express at Hartford Stage; Disgraced and Murder on the Orient Express at McCarter Theatre; Disgraced at Milwaukee Rep; The Invisible Hand (Barrymore Award for Outstanding Lead Actor) at Theatre Exile; The Liar at Gulfshore Playhouse; and The Container at Center Stage. Other DC credits include The Price at Arena Stage; Oil and The Invisible Hand at Olney Theatre Center; Mockingbird at Kennedy Center; King John, Timon of Athens, and Julius Caesar at Folger Theatre; Water by the Spoonful and Edgar & Annabel at Studio Theatre; and The
Pillowman, The Last Days of Judas Iscariot, Bobrauschenbergamerica, and Scorched at Forum Theatre. Film and television credits include Jessica Jones, Imperium, and Sally Pacholok. www.maboudebrahimzadeh.com SUSANNAH MORGAN EIG ( A s s i s t a n t D i r e c t o r/ German Wife/Swedish Hostess) is thrilled to be returning to Round House for Oslo. Last season, Susannah served as Artistic Apprentice and assistant directed I’ll Get You Back Again, The Book of Will, and The Legend of Georgia McBride. Other DC credits include director of The Tragical Comical Fool’s Game with The 2018 Capital Fringe Festival; and assistant director of King John and A Winter’s Tale at Folger. Recent acting credits include Juliet in Romeo and Juliet at Florida Shakespeare Theater. Training includes The Shakespeare Institute, MA in Shakespeare and Creativity; and Rice University, BA in English and Theatre. CO N R A D F E I N I N G E R (Shimon Peres) is delighted to return to Round House Theatre, where he has been seen in Glengarry Glen Ross, Nixon’s Nixon (twice), Travels with My Aunt, The Fantasticks, The Rehearsal, and Joe Egg. Other DC area appearances include The Price, Peter Pan, Henry II, and Amadeus at Olney Theatre Center; Macbeth at Baltimore Shakespeare Festival; Amadeus at Everyman Theatre; What the Butler Saw at Signature Theatre; Pygmalion, The Seagull, and The Great White Hope at Arena Stage; All’s Well That Ends Well, King Lear, Henry V, and Richard II at Shakespeare Theatre Company; Skull in Conammara, Tale of the Wolf, and The Play's The Thing (twice) at The Washington Stage Guild. Feininger is a Mary Goldwater recipient, five-time Helen Hayes nominee, and he shares one Helen Hayes award for best ensemble for Glengarry Glen Ross. K I M B E R LY G I L B E R T (Marianne Heiberg/Toril Grandal) last appeared at Round House in The Book of Will. Other Round House credits include Angels in
Š2018 Honest Tea, Inc. All rights reserved.
America, Uncle Vanya, The Lyons, and The Beauty Queen of Leenane. Kimberly has been in the DC Theatreverse since the year 2,000 where she has been fortunate enough to play on the stage of Round House as well as Ford’s Theatre, Shakespeare Theatre Company, The Kennedy Center, Folger Theatre, Studio Theatre, Theater J, Forum Theatre, Mosaic Theatre, Source, Metro Stage, and, most frequently, Woolly Mammoth and Taffety Punk, both of which she is a proud Company Member. Kimberly is a graduate of Shakespeare Theatre Company’s Academy for Classical Acting. MICHAEL SWEENEY HAMMOND (American Diplomat/Thor Bjornevog) is honored to make his Round House debut. DC credits include Julius Caesar (FFA) and All’s Well That Ends Well (FFA) at Shakespeare Theatre; and Solid Gold Cadillac at Studio Theatre. Off-Broadway/New York credits include The Rivals at NY Classical Theatre; Hamlet. A Version at Theatre at St. Clements; and As You Like It and Cymbeline at Back Room Shakespeare Project. Regional credits include In the Heat of the Night at LA Theatre Works; His Girl Friday and Car Plays: San Diego at La Jolla Playhouse; Honor Killing at Florida Studio Theatre; Torchbearers at Williamstown Theatre Festival; A Devil at Noon at Eugene O’Neill Theatre Center; and Timbuktu, USA at Boston’s Sleeping Weasel. Training includes MFA, UC San Diego and BA, Brown University. JURI HENLEY-COHN (Uri Savir) is thrilled to be making his Round House debut in Oslo. Off-Broadway credits include The Strangest at 4th Street Theater/NYTW and Inventing Avi at The Abingdon Theater. Regional credits include Bashir Lazhar at Barrington Stage, Dracula at ASF, Dying City at Opera House Arts, Things Just Change at Odyssey Theater (LA), Someone Who’ll Watch Over Me at Hudson Theater (LA), and The Blue Demon at The Williamstown Theater Festival. Film and TV credits include Divorce; When They See Us; Ramy; Orange is the New Black; Blindspot; Unforgettable; Royal Pains; Believe; Golden Boy; New York, I Love You;
Jessica Jones; American Odyssey; Odd Mom Out; Brittany Runs a Marathon; Manifest; Blue Bloods, and the upcoming mini-series The Loudest Voice. www.JuriHenley-Cohn.com AHMAD KAMAL (Hassan Asfour) is excited to be making his debut at Round House! Other area credits include Richard III at Shakespeare Theatre Company; Gloria (Helen Hayes nomination- Outstanding Supporting Actor, Ensemble, and Production), and KISS at Woolly Mammoth Theatre Company; The Invisible Hand at Olney Theatre Center; 4,380 Nights at Signature Theatre; Love and Information, I Call My Brothers, and Blackberry Winter at Forum Theatre; The Return at Mosaic Theater; Aladdin and the Wonderful Lamp at Adventure Theatre; and Exit The King at 4615 Theatre. Ahmad holds a BFA from the University of Virginia, and an MA in Professional Acting from Bristol Old Vic Theatre School. CODY NICKELL (Terje Rød-Larsen) is excited to make his Round House debut with such a tremendous cast and creative team. Recent DC credits include Born Yesterday at Ford’s Theatre; Botticelli In the Fire at Woolly Mammoth; Antony and Cleopatra at The Folger Theatre; and Richard III and The School for Lies at Shakespeare Theatre Company (Helen Hayes nomination). Cody’s regional credits include shows at Gulfshore Playhouse (Artistic Associate for 3 seasons), Arden Theatre, Wilma Theatre, Playmakers Rep, Portland Center Stage, Santa Cruz Shakespeare, Syracuse Stage, San Jose Rep, Studio Theatre, Two River Theatre, and Barrington Stage, as well as appearances at the Naples Philharmonic, Baltimore Symphony Orchestra, and the Anchorage Symphony Orchestra. Cody’s career includes film, television, and voice-over work. Cody is the recipient of the Connecticut Critics Circle Award for Outstanding Lead Actor and has been nominated for four Helen Hayes Awards. Cody is a graduate of Carnegie Mellon University’s School of Drama.
Mind vs. Matter. Game on.
ON STAGE APR 30 – JUN 9 folger.edu/theatre | 202.544.7077
NYC THEATRE TOUR JUNE 7 - 9, 2019 Interested in enjoying a fabulous New York City weekend taking in the hottest shows on and off-Broadway, including Round House’s production of Handbagged at the Brits Off Broadway Festival? Join Artistic Director Ryan Rilette and Managing Director Ed Zakreski for the Round House NYC Theatre Tour!
The weekend tour package includes: • • •
Prime seats to four incredible shows: Handbagged (VIP Opening Night); Gary: A Sequel to Titus Andronicus; Hadestown; and Frankie & Johnny in the Clair de Lune Two group dinners and two group brunches at top NYC restaurants All tips, gratuities, and service charges
The cost of the tour is $1,499 per person and capacity is limited. To reserve your spot, or for more information, please contact Veronica Kannan at VKannan@RoundHouseTheatre.org or 240.670.8795.
SASHA OLINICK (Yair Hirschfeld) is pleased to return to Round House Theatre where he has previously appeared in A Prayer for Owen Meany, The Book Club Play, Around the World in 80 Days, The Talented Mr. Ripley, and Amadeus as Mozart. Other recent DC credits include King John at Folger Theater; Albert Einstein in Secrets of the Universe (and other Songs) at The Hub Theater (company member); Fly By Night at 1st Stage; The Last Night of Ballyhoo, The Last Schwartz, Life Sucks, and G-d’s Honest Truth at Theater J; and OLIVÉRio at the Kennedy Center. Film and television credits include Enemy of The Reich: The Noor Inayat Khan Story, and VEEP. Sasha teaches acting at Montgomery College, the National Conservatory of Dramatic Art, and through the Educational Theatre Company.
Outside of DC, Todd has worked at Everyman, Arden, PlayMakers, Charlotte Rep, and four seasons at North Carolina Shakespeare Festival. Television credits include recurring role in seasons 3 and 5 of The Wire.
JOHN TAYLOR PHILLIPS (Joel Singer) is incredibly excited to make his Round House debut with Oslo. Other DC credits include Talley’s Folly at Theater J. Regional credits include Oedipus Complex at The Goodman, Born Yesterday at Milwaukee Repertory Theatre, Othello at Chicago Shakespeare Theatre, The Odd Couple at Dallas Theatre Center, The Winter’s Tale at Illinois Shakespeare Festival, Dial M for Murder at Utah Shakespeare Festival, and nine seasons at American Players Theatre. Film credits include Parkland.
ERIN WEAVER (Mona Juul) is excited to be back at Round House Theatre, where she previously appeared in Or, (Helen Hayes Award); Miss Bennet: Christmas at Pemberley; The Nutcracker; Ordinary Days (Helen Hayes Award); A Wrinkle in Time; and A Murder, A Mystery and A Marriage. Other DC area credits include Wonderland and The Night Fairy at Imagination Stage; Sense & Sensibility (Helen Hayes Award- Ensemble), A Midsummer Night’s Dream, Romeo and Juliet, The Comedy of Errors, and Arcadia (Helen Hayes Award) at the Folger Theatre; Mother Courage and Her Children (Helen Hayes Award) at Arena Stage; Company (Helen Hayes Award), The Last Five Years, and Xanadu at Signature Theatre; Me…Jane: The Dreams & Adventures of Young Jane Goodall at the Kennedy Center; and A Lump of Coal for Christmas at Adventure Theatre. Erin is a proud resident of Silver Spring with her husband Aaron and their amazing daughter, Maisie.
TODD SCOFIELD (Johan Jorgen Hoist/Finn Grandal) has previously appeared at Round House in The Book of Will, Cat on a Hot Tin Roof, Stage Kiss, NSFW, This, The Beauty Queen of Leenane, Double Indemnity, and Tabletop. Over the past 16 years, Todd has also appeared in numerous shows for Shakespeare Theatre Company and Folger Theatre. He played C.S. Lewis in Freud's Last Session at Theater J. Other area theaters include Arena Stage, Olney Theatre Center, Studio Theatre, Imagination Stage, Ford's Theatre, and Adventure Theatre.
A LE X A N D E R S TR AI N (Yossi Beilin) previously appeared at Round House in Seminar (Helen Hayes nomination, Supporting Actor), Glengarry Glen Ross (Helen Hayes Nomination, Lead Actor and Helen Hayes Ensemble Award), Next Fall, My Name is Asher Lev, and Lord of the Flies. Other recent DC area performances include Every Brilliant Thing at Olney Theatre Center, New Jerusalem at Theater J (Helen Hayes nomination, Lead Actor), and Tribes at Everyman Theatre. He is a graduate of NYU and Marymount University.
GREGORY WOODDELL (Jan Egeland/Ron Pundak) has previously appeared at Round House Theatre in Stage Kiss and Cat on a Hot Tin Roof. Other Bios continued on page 27
Ellen McLaughlin’s
THE
ORESTEIA Freely Adapted from Aeschylus Directed by
Michael Kahn APRIL 30–JUNE 2 The Oresteia is made possible by a generous grant from:
ORDER TODAY! ShakespeareTheatre.org 202.547.1122 Restaurant Partner: Photo of Rad Pereira and Josiah Bania by Tony Powell.
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AN UNLIKELY PATH TO PEACE
Yitzhak Rabin and Yasser Arafat shake hands after having signed the Oslo Accords
It was 5:00 AM in Washington, DC, and the Israelis and Palestinians were fighting. Just four hours away from signing the Oslo Accords, diplomat Hassan Asfour called the Israeli suite on behalf of Yasser Arafat to demand that the Israelis change all mention of “the Palestinian team” in their document to "Palestinian Liberation Organization," further cementing the power of Arafat’s government over the Palestinian territories. Though the Israelis in fact had no problems with this point, they did not want to concede immediately to the PLO. They refused. “The Chairman is packing his bags,” the Palestinians threatened. “[W]e have just arrived, and we have not even begun to unpack yet,” Foreign Minister and architect of the Oslo Accords, Shimon Peres, replied. “We can leave even quicker still!” An hour before the signing, Peres at last acquiesced. The PLO had one last request, though: that the word “PLO” be typed into the document, rather than penciled into the margin. Peres agreed.
This combination of stubbornness, brinksmanship, and petty squabbling, juxtaposed with deep ethnoreligious divides and a tragic history of violence, had characterized Israeli-Palestinian interactions for decades. But something was different on this muggy September morning in 1993. Those in the know— who had spent much of the past year on round-trip flights from the Middle East and America to increasingly remote locations in Norway for a series of secret academic discussions that unexpectedly became top-secret official negotiations— called it the Oslo spirit. And, on that day in September, they believed that it had changed the world. Until January 20, 1993, the Israeli government had banned its citizens from even meeting members of the PLO, which it considered a terrorist organization. Not so coincidentally, this same day, a small band of Israeli academics, Norwegian diplomats, and PLO officials met in Norway and committed to creating a “Declaration of Principles” outlining the tenets of Israeli-Palestinian peace. Eventually they’d be joined by two more Israelis, a high-powered diplomat and lawyer empowered to speak directly for Foreign
Photo by Remy Steinegger
"Peace for us means the destruction of Israel." —Yasser Arafat, 1980, in The Times Minister Shimon Peres and Prime Minister Yitzhak Rabin. This document would form the foundation of the Oslo Accords. When this unlikely group convened, they aimed only to provide assistance for the public, official talks on IsraeliPalestinian peace originally sponsored by the United States and the Soviet Union that had been dragging on for two years. Beginning in Madrid in 1991 before moving to Moscow, London, and then Washington, DC, these negotiations included its sponsors, as well as Israel and Jordan and—at times—Lebanon and Syria. Due to Israel’s refusal to recognize the PLO, no official Palestinian delegation existed; instead, Palestinian negotiators were folded into the Jordanian team, though no PLO officials were permitted to take part. The result was an unwieldy and disappointing process, frequently marked by American interference (especially after the dissolution of the USSR), in which PLO officials would stay at hotels near the negotiations in order to pass information and approval to their official delegates. Faced with this massive bureaucratic endeavor, the intimate and secret Oslo negotiations were conceived as a backchannel that could feed into the main diplomatic pipeline. With Israelis engaging directly with PLO members, both sides hoped to come up with ideas that they could then pass on to their official delegations. Yet something
quite different occurred. Rather than ever merging with the ongoing public negotiations in DC, the Oslo talks instead ran parallel, moving forward at a dizzying pace before suddenly, and shockingly, eclipsing the official channel entirely. Over the course of nine months, these meetings shifted from academic exercise to one of the most breathtaking shifts in Middle East policy that the world had ever witnessed. How and why this breakthrough occurred has fascinated historians, sociologists, psychologists, diplomats, and foreign-policy experts ever since. In Oslo, playwright J.T. Rogers explores, and vividly dramatizes, what many believe to be the crucial factor: the Oslo spirit. The Oslo negotiators went to extreme, almost absurd lengths to keep their project hidden from the world. Yet these efforts served not only to avoid a major diplomatic incident, but to preserve the intimacy and fellowship that had sprung up among the negotiators. These bonds between people led directly to the massive breakthroughs made in 1993, and it’s this confluence of the public and private, of personal and political, that makes up the core of J.T. Rogers’s Oslo.
“The use of force...undoubtedly has brought about the impact we wanted—strengthening the population’s fear of the Israeli Defense Forces.” —Yitzhak Rabin , 1987, on the use of his “Iron First” policy during the First Intifada
THE OSLO BACKLASH
by Gabrielle Hoyt, Dramaturg The famed handshake between Israeli Prime Minister Yitzhak Rabin and PLO Chairman Yasser Arafat—with a smiling President Clinton looming behind them—emblemized the bridging of a seemingly unbroachable divide. Yet while the Oslo Accords had done the unthinkable, internal fractures on both sides would soon threaten this fragile agreement. As soon as the existence of the Accords became public, Hamas, which today controls the Gaza Strip, issued Leaflet 102 announcing its intent to “[ruin] this agreement and continue the resistance struggle.” In the coming months, Hamas would increase its violent activities against Israelis, aided by several other extremist Palestinian groups. Meanwhile, the Israeli right wing responded with a grassroots protest movement—led by extremists but sanctioned by politicians such as Benjamin Netanyahu—to oppose the Accords. As mass protests called Yitzhak Rabin and his ministers traitors, terrorists, and Nazis, and burned the prime minister in effigy, Israeli settlers
The grave of Yitzhak Rabin after his 1995 assassination
continued to expand their incursions onto Palestinian land, further eroding Palestinian trust in the agreement. The first major act of post-Oslo violence erupted in February 1994, when American-born extremist Dr. Baruch Goldstein entered the holy Cave of the Patriarchs. It was Purim day for Jews, and the middle of Ramadan for Muslims. Dressed in his Israeli Defense Forces uniform, Goldstein opened fire with his army-issue assault rifle, killing 29 Palestinian worshippers and wounding 125. A wave of protests and bloodshed swept the Occupied Territories; the Israel Defense Forces retaliated with live ammunition, and by imposing a curfew on Hebron’s Palestinian residents. With another 20 Palestinians and 10 Israelis dead, Hamas promised, “Our response will not take long.” This response took the form of a series of suicide attacks, the first of which occurred in April 1994, on Holocaust Memorial Day; eight Israeli citizens died, and another 55 were wounded. This was Hamas’s first successful suicide attack within Israel proper, and was quickly
followed by the Dizengoff Street bus bombing of October 1994, the first such attack in Tel Aviv, and the deadliest in Israel’s history: 22 dead and 50 wounded. Tragically, even high points of the peace process coincided with horrific acts of violence. In the weeks before Yitzhak Rabin, Yasser Arafat, and Shimon Peres were awarded the Nobel Peace Prize for the Oslo Accords, Hamas kidnapped IDF Corporal Nahshon Waxman. A botched rescue operation led to Waxman’s death, as well as those of another IDF soldier and three of the kidnappers. Awarded the Nobel on the same day, Rabin stated, “I would gladly give up the Nobel prize if I could bring the two fallen soldiers back to life.” This juxtaposition of peace and violence reached its apex on November 4, 1995. With right-wing Israeli attacks at a fever pitch and elections on the horizon, proponents of Oslo held a counter protest featuring both Shimon Peres and Yitzhak Rabin. Attended by more than 100,000, the rally in Tel Aviv’s Kings of Israel Square (now called Rabin Square) ended with the popular Song of Peace, and Hatikva, Israel’s national anthem. While Rabin tucked lyrics into his breast pocket, Peres commented, “We know how to make peace. We don’t know how to sing.” As the two descended the dais, right-wing extremist Yigal Amir—who had stalked Peres since the Accords’ announcement—stepped forward. With three shots of his pistol, he killed Rabin. A grief-stricken Peres later noted that the bullets had ripped through the lyrics in Rabin’s pocket. While a sense of optimism and possibility characterized the Oslo Accords, suspicion, violence, and hatred made a resurgence in the years afterwards. Following Rabin’s death, Benjamin Netanyahu, who opposed Oslo, beat Shimon Peres in the razorthin Israeli elections of 1996, halting the progress of the Accords. September
Palestinian worshippers evacuate after the massacre at the Cave of the Patriarchs
2000 brought the Second Intifada, to which Israel responded by building the Israeli West Bank Barrier. In 2002, Hassan Asfour paid a direct price for his affiliation with Yasser Arafat, narrowly surviving a beating by masked young men in Ramallah. While most news sources reported that rival Palestinian factions were responsible for this attack, the disillusioned Asfour blamed Israel. In 2006 came Hamas’s victory in Palestinian elections, and the split between the Palestinian Authoritycontrolled West Bank and the Gaza Strip held by Hamas. In the years following, Israel has launched multiple full-scale invasions into Gaza to curb Hamasinstigated rocket attacks and used live ammunition to disperse protests. As of this essay’s writing, militants in Gaza have resumed rocket fire into Israel, with the IDF responding with bombings. Today, many of Oslo’s architects disavow it, and most retrospectives on the Accords—along with popular Israeli and Palestinian opinion—consider them a failure. Eternal optimist Shimon Peres insisted to his death that the Accords could still provide a blueprint for lasting peace, and he’s joined in that sentiment by both Terje Rød-Larsen and Joel Singer. The history that will determine the legacy of the Accords may not yet be written.
1940s - 1960s
1920
Britain is granted a mandate over Palestine. Riots against the Balfour Declaration break out amongst the Arab population of Jerusalem.
The first Palestinian nationalist organizations begin to form.
1959
Israel declares independence and is recognized by the UN; the Arab League (Egypt, Jordan, Iraq, Syria, Lebanon, Saudi Arabia, and Lebanon) declares war, which continues for nine months; at the war’s end, Israel occupies Western Jerusalem, Jordan holds the West Bank and Eastern Jerusalem, and Egypt occupies Gaza. Over 700,000 out of 1,200,000 Palestinian Arabs are displaced, an event Palestinians refer to as the Nakba—the catastrophe. Israelis refer to this conflict as the War of Independence.
The UN recommends partition between Jewish and Arab states within Palestine, with Jerusalem a neutral international zone.
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1918
1917
Theodor Herzl chairs the First Zionist Conference, marking the beginning of the modern Zionist movement.
1948
1897 1947
After taking Palestine from the Ottomans following World War I, Britain issues the Balfour Declaration, which voices support for a “homeland for the Jewish people” in Palestine. In the same declaration, it also states that nothing should be done to threaten the civil rights of “communities of non-Jewish peoples” in the region.
Yasser Arafat forms Fatah as a fighting group in Egypt.
1.25 million Jews immigrate to Israel, including 1 million Jews from Muslim-majority countries and 250,000 Holocaust survivors. Exiled Palestinians begin to carry out raids into Israel using Egypt as a base.
1939 - 1945
The Arab League founds the Palestinian Liberation Organization. Its charter vows to combat Zionism and calls for a complete restoration of the Palestinian homeland. In the coming years, the PLO uses hijackings, attacks, and raids in order to continue its resistance to Israel.
1970
1939
The British government issues the White Paper in response to the Arab Revolt, limiting Jewish immigration and land purchasing, while stating that Britain would work towards the establishment of an independent State of Palestine over the next decade.
The Six-Day War between Israel and Egypt, Jordan, and Syria breaks out. Israel emerges victorious and gains control of East Jerusalem, the West Bank, Gaza, the Golan Heights, and the Sinai Peninsula. 300,000 Palestinians become refugees. In response, the UN issues Resolution 242 laying out principles for a peaceful settlement in the Middle East.
1969
1920s - 1930s
Britain appoints Palestinian nationalist Mohammed Amin al-Husseini as Grand Mufti of Jerusalem; he rallies Palestinians against further concessions to Jewish nationalism.
1967
1921 1964
Palestinian nationalist violence breaks out against both Jews and British troops. In 1935, an Arab revolt takes place, lasting till 1939; British troops kill 5,000 Arabs, and injure another 15,000. Britain, meanwhile, attempts to limit Jewish immigration to Palestine, as Jewish resistance rises.
Britain continues to enforce its quota system as Jewish refugees flee Nazi-occupied Europe; in response, Jewish underground organizations begin smuggling refugees into the mandate, though most efforts are unsuccessful. After the conclusion of WWII, the international community begins to learn the full scope of the Holocaust.
Driven out of Jordan, the PLO makes Lebanon its base of operations.
Yasser Arafat becomes the leader of the PLO, now in Jordan.
Continued on next page.
1978 1988
The Madrid Conference unites Israeli, Lebanese, Syrian, Jordanian, and Palestinian representatives to begin peace talks; the PLO is not allowed to participate.
Saddam Hussein invades Kuwait, backed by Yasser Arafat. The Arab League responds with outrage, politically and financially damaging the PLO.
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Yasser Arafat’s PLO declares the independence of the State of Palestine, while Arafat acknowledges the right of the state of Israel to exist.
The First Intifada begins after an Israeli truck crashes into a station wagon full of Palestinian workers. On December 9, spontaneous mass protests break out. The IDF responds in force. The increased violence will continue for five years.
1992
1991 1991
1974
Israel withdraws from much of Lebanon, but maintains a “security zone.”
Israel invades Lebanon to drive out the PLO. The Sabra and Shatila massacre takes place, as Israel’s Christian Phalangist allies murder between 460 and 3,500 Palestinian and Lebanese Muslims; the IDF does not intervene. The PLO flees to Tunisia.
Israel and Egypt sign the Camp David Accords; Israel cedes the Sinai back to Egypt, and pledges to increase selfgovernment within the West Bank and Gaza.
The settlement movement Gush Emumim forms, aiming to promote Jewish settlement across the entire “land of Israel” and begins occupying land in the West Bank, Gaza, East Jerusalem, and the Golan Heights. Meanwhile the Arab League recognizes the PLO as the official representative of the Palestinian people.
1987
1973
Members of the Palestinian group “Black September” kill 11 Israeli athletes at the Munich games.
1985
1972 1982
On Yom Kippur, Egypt and Syria attack Sinai and the Golan Heights; though Israel defends the territories it has captured, the surprise attack and significant losses Israel suffers cause a national crisis and damage the dominant Labour Party. The UN adopts Resolution 338, which reaffirms Resolution 242.
Yitzhak Rabin is elected prime minister and calls for a freeze on new settlements in the Occupied Territories, thus ending the First Intifada.
INTERVIEW
WITH J.T. ROGERS by Literary Manager Gabrielle Hoyt
Photo by R. Ashley
This play has three acts, twenty-one characters, and deals with one of the most controversial geopolitical topics in the world. Why did you set yourself the task of writing it? On a visceral level, what first put my playwriting antennae up was the story: castle, Norway, PLO, Israel, Johnnie Walker Black, dirty jokes, world peace, nobody knows. That’s my play, right there. When I first heard this story, I thought, I’ve stumbled upon a secret! But in truth, it’s completely out in the open, thoroughly debated, yet completely unknown in the United States. That was humbling and flabbergasting and slightly embarrassing, and therefore really interesting. Despite the scope, it feels like a narrative that really lends itself to a theatrical experience. It’s a story where all the characters are complex; the story is layered, political, historical; and the stakes are enormous. And, there are characters of varying levels of status, which as Shakespeare taught us, is great for interesting storytelling. And these characters you’re talking about are based on real people. Given that fact, do you consider the play historical fiction? Well, it’s historical, and I fictionalized things. By taking a historical event and fictionalizing it, in a way, you are staying deeply true to what occurred. Everyone who’s seen the play who took part in this process has said to me, “You changed lots of things, but I’m amazed that you caught the spirit of what happened and how
we were.” By focusing on the spirit, I actually got closer to the “truth.” As far as the characters go, I wanted the freedom to make a play. I read everything I could about everybody, but I purposefully never actually listened to any of their voices, never watched any video footage. The only engine you have as a playwright is the metronome of the human voice, and I wanted to remain free in that. How do you feel about the play being produced in DC? I’m geeking out. It’s a politics town! It’s the only politics town! It’s a place where the engine is policy and power, and this is a play about policy and power. And do you consider yourself a political playwright? I get asked all the time, why would you write a play about this topic? And it says a lot about American playwriting that I get asked that. In the states, I’m now considered the American political playwright. In London, I’m just a playwright. So how do you weave all this together into a coherent narrative? The play is built speech by speech, scene by scene, act by act on a series of reversals. Every time someone says one thing about a character, the opposite is true. In my plays, you should never assume that what people are saying is what they believe. Americans have the luxury of believing what people tell them until proven otherwise. In most of the world it’s the opposite, and that’s the world of this play. This interview has been condensed for space and clarity.
DC credits include nineteen productions with Shakespeare Theatre Company (Affiliated Artist); title role in Baskerville: A Sherlock Holmes Mystery (World Premiere by Ken Ludwig) at Arena Stage and McCarter Theatre; and Cabaret at Signature Theatre. Broadway credits include The Lyons and Cymbeline. Other theatre highlights include title role in Henry VIII at Chicago Shakespeare Theater; Some Men (World Premiere by Terrence McNally) at Philadelphia Theatre Company; School of Night (American Premiere by Peter Whelan) at Mark Taper Forum; and Miracle at Naples (World Premiere by David Grimm) at Huntington Theatre Company. Television credits include 30 Rock, Person of Interest, The Good Wife, Third Watch, Guiding Light (recurring), and One Life to Live (recurring). Gregory received training at The Juilliard School.
AM
C TE ARTISTI
J.T. ROGERS (Playwright)'s plays include Oslo (Lincoln Center Theater, then Broadway; National Theatre, London, then West End); Blood and Gifts (Lincoln Center Theater; National Theatre); The Overwhelming (National Theatre, then UK tour with Out of Joint; Roundabout Theatre); White People (Off Broadway with Starry Night Productions); and Madagascar (Theatre 503, London; Melbourne Theatre Company). For Oslo he won the Tony, New York Critics, Outer Critics, Drama Desk, Drama League, Lortel, and Obie awards. As one of the playwrights for the Kiln Theatre of London’s The Great Game: Afghanistan he was nominated for an Olivier Award. His works have been staged throughout the United States and in Germany, Canada, Australia, and Israel. He is a Guggenheim fellow and has received three NYFA fellowships in playwriting. Rogers is a member of the Dramatist Guild, where he is a founding board member of the Dramatists Legal Defense Fund. He is an alum of New Dramatists and holds an honorary doctorate from his alma mater, the University of North Carolina School of the Arts. RYAN RILETTE (Director) is currently in his seventh season as Artistic Director of Round House Theatre. During his tenure, he has produced the four best-selling shows
and two best-selling, highest-attended seasons in Round House history. Since his arrival, the Helen Hayes Awards have nominated Round House productions for 52 awards and awarded them 13, including Outstanding New Play or Musical and Outstanding Resident Musical. Next season, Rilette will direct The Curious Incident of the Dog in the Night-Time and Cost of Living. He has previously directed Small Mouth Sounds, “Master Harold”…and the Boys”, The Book of Will, Angels in America: Perestroika, The Night Alive, and Fool for Love. He has also directed numerous regional and world premieres at theatres throughout the country, including at Marin Theatre Company in the San Francisco Bay Area, where he served as Producing Director for five seasons; Southern Rep Theatre in New Orleans, where he served as Producing Artistic Director for six seasons; and Rude Mechanicals Theatre Company in New York, which he co-founded and served as Artistic Director for three seasons. As an actor, Rilette has acted in a handful of forgettable madefor-TV movies, an award-winning miniseries, in a film opposite Tommy Lee Jones, and at numerous theatres across the country, including in Three Sisters and No Sisters at Studio Theatre and Uncle Vanya at Round House. He is also the former President of the National New Play Network, and a former professor at Tulane University and Loyola University New Orleans. He serves on the boards of Maryland Citizens for the Arts and Theatre Washington. MISHA KACHMAN (Scenic Designer) has worked on numerous Round House shows, including The Lyons, Uncle Vanya, Ordinary Days, and The Legend of Georgia McBride. He has worked at Arena Stage, Asolo Repertory Theatre, Baltimore Center Stage, Cincinnati Playhouse, Cleveland Playhouse, The Kennedy Center, Milwaukee Shakespeare, Opera Lafayette, Royal Opera of Versailles, Pasadena Playhouse, Portland Center Stage, Shanghai Dramatic Arts Centre, Signature Theatre, Studio Theatre, Syracuse Stage, Theater J, Wilma Theater, and Woolly Mammoth Theatre Company, among many other companies in the United States and abroad. Misha is a recipient of the 2013 Helen Hayes Award for Outstanding Set Design and a Company Member at Woolly Mammoth. Mr. Kachman is a graduate of the St. Petersburg Theatre
THE KEEGAN THEATRE PRESENTS
Ripcord REGIONAL PREMIERE
by
David Lindsay-Abaire
“[an] expertly engineered situation comedy about adversarial roommates in a retirement home ... a parade of gently tickling diversions.” — The New York Times
Playing June 15 - July 6
Tickets and information at keegantheatre.com
Arts Academy and he currently serves as the Head of the MFA Program in Design at The University of Maryland. For more information visit www.mishakachman.com. IVANIA STACK (Costume Designer) is delighted to return to Round House Theatre, where she is currently a Resident Artist. Her work has been seen at many regional and DC area theatres including Arena Stage, Woolly Mammoth Theatre Company (Company Member), Seattle Repertory Theatre, Ford’s Theatre, Kennedy Center Family Theatre, Center Stage, Everyman Theatre, The Second City, The Contemporary American Theatre Festival, Signature Theatre, Imagination Stage, Olney Theatre Center (Associate Artist), Studio Theatre, Theater J, Constellation Theatre, Andy’s Summer Playhouse, Pointless Theatre, Synetic Theatre, Forum Theatre, Theatre Alliance, Rorschach Theatre, The Karski Project, Metro Stage, and Gala Hispanic Theatre. She has an MFA in design from the University of Maryland, College Park. JESSE BELSKY (Lighting Designer) is delighted to be working with Round House Theatre again following Handbagged and The Book of Will last season. Other Washington, DC designs include Who’s Afraid of Virginia Woolf at Ford’s Theatre; JQA and The Year of Magical Thinking at Arena Stage; The Mystery of Love & Sex at Signature Theatre; The Winter’s Tale, Sense & Sensibility, and A Midsummer Night’s Dream at Folger Theatre; The Magic Play and Labour of Love at Olney Theatre Center; PYG, The Remains, The Effect, Three Sisters, No Sisters, and ANIMAL at Studio Theatre; and Actually and Everything Is Illuminated at Theater J. His designs for Everyman Theatre in Baltimore include The Roommate, Deathtrap, and Blithe Spirit. Regional credits include work at Actors Theater of Louisville, Portland Center Stage, Syracuse Stage, Yale Repertory Theater, Triad Stage, and Playmakers Repertory Theater. Mr. Belsky holds a BA from Duke University and an MFA from the Yale School of Drama and has taught lighting design at Connecticut College and UNC Greensboro. www.jessebelsky.com MAT TH E W M . N IE L SON (Sou n d Designer/Composer) is happy to be returning to Round House where his design
and composition credits include The Legend of Georgia McBride; The Book of Will; The Who & The What; Rapture, Blister, Burn; Two Trains Running; Young Robin Hood; Double Indemnity; Around the World in 80 Days; Asher Lev; Book Club Play; and A Prayer for Owen Meany. Other DC-area credits include Arena Stage, Ford’s Theatre, The Kennedy Center, Woolly Mammoth, Signature Theatre, Olney Theatre, Studio Theatre, Rorschach, Forum, Catalyst, Theatre Alliance, CATF, and The Smithsonian. Off-Broadway Credits include The Public Theatre, Lincoln Center, and 59e59. Regional Theatre credits include Denver Performing Arts Center, Cincinnati Playhouse, Milwaukee Rep, St. Louis Rep, Portland Center Stage, Denver Theatre Center, Actors Theatre of Louisville, Delaware Theatre Company, Philadelphia Theatre Company, Barrington Stage Company. Film and TV credits include Those Who Wait, The Hero Effect, Elbow Grease, From Hell to Here, Epix Drive-In, Discovery Channel, National Geographic, and Delivery.com. Mr. Nielson has won four Helen Hayes Awards and several other regional theatre and film festival awards. Samples can be heard online at curiousmusic.com. JARED MEZZOCCHI (Projections Designer) returns to Round House where he has previously designed How I Learned to Drive and I’ll Get You Back Again. He won a 2017 Obie Award, Lucille Lortel Award, and Henry Hewes Award for his design in Vietgone (Manhattan Theatre Club), and also received the 2012 Princess Grace Award as the first projections designer to receive it. He is a company member at Woolly Mammoth Theatre, where he has designed The Nether, Women Laughing Alone with Salad, and Chad Deity. Additional DC credits include Smart People at Arena Stage; Astro Boy and the God of Comics at Studio Theatre; and BELL at National Geographic. Additional New York credits include Downtown Loop at 3LD and You Are Dead. You Are Here. at HERE Arts Center. Regional credits include Portland Center Stage, South Coast Rep, Milwaukee Repertory, Baltimore Center Stage, Cleveland Playhouse, Company One, and The Wilma. He has designed nationally and internationally for Big Art Group, Builder’s Association, and Connect4Climate (Design Week, Milan IT). Jared is the Artistic Director of Andy’s Summer Playhouse, an innovative
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NH children’s theater focusing on new work, and currently teachesmin the MFA Design program at The University of Maryland. KASEY HENDRICKS (Props Master) is thrilled to be returning to Round House for Oslo. Previously she has worked on Round House Theatre’s Gem of the Ocean; How I Learned to Drive; Small Mouth Sounds; The Legend of Georgia McBride; Handbagged; The Book of Will; Miss Bennet: Christmas at Pemberley; Angels in America; Caroline, or Change; Or,; Cat on a Hot Tin Roof; Seminar; Rapture, Blister, Burn; and many more. During the summer season, she has worked as the Props Master at Wolf Trap Opera; some of her shows include TOSCA!, Madame Butterfly, La Traviata, The Marriage of Figaro, Carmen, and Rigoletto. She has also worked at many other theatres in the area, such as Synetic Theater (credits include Hamlet, Romeo and Juliet, Much Ado About Nothing, Beauty and the Beast, Sleeping Beauty), Constellation Theater, Imagination Stage, and Olney Theatre. DAWN-ELIN FRASER (Dialect Coach) is thrilled to return to Round House after coaching last season’s "Master Harold" …and the Boys. Broadway credits include Finding Neverland, Waitress, Once on this Island, and What the Constitution Means to Me. Off-Broadway, she has worked on The House that Will Not Stand, Slave Play, An Ordinary Muslim, Sojourners, Her Portmanteau, and Nat Turner in Jerusalem at NYTW; Barbeque and Eve's Song at The Public Theater; Our Lady of Kibeho and By the Way, Meet Vera Stark at Signature Theater; Invisible Thread at Second Stage; and Crossing: An American Opera at BAM. She has also coached the national tours of Waitress, The Gershwin’s Porgy and Bess, and Finding Neverland, and was dialect coach for the site-specific concert Ragtime on Ellis Island. She is Head of Voice and Speech for New Studio on Broadway/NYU and holds an MFA from American Conservatory Theater. CASEY KALEBA (Fight Choreographer) returns to Round House Theatre, where he has staged more than a dozen shows including Angels in America: Parts I and II, Father Comes Home From the Wars (Parts 1, 2 & 3), Young Robin Hood, and The Night Alive. DC credits include Born Yesterday, Who’s Afraid of Virginia Woolf,
and Ragtime at Ford’s Theatre; King John, Romeo and Juliet, and Richard III at Folger Theatre; Romeo et Juliette with Wolf Trap Opera; Billy Elliot, West Side Story, and The Scottsboro Boys with Signature Theatre; Sweeney Todd, Bakersfield Mist, and Dial M for Murder with Olney Theatre Center. Casey is a two-time Helen Hayes nominee for work at Constellation Theatre Company and Keegan Theatre, and coordinates the stage combat training program through Round House Theatre’s Education wing. www.ToothandClawCombat.com GABRIELLE HOYT (Dramaturg) is thrilled to spend a fourth season at Round House! She has contributed to every Round House production for the past three years, including the world premieres of Ironbound by Martyna Majok, and Miss Bennet: Christmas at Pemberley by Lauren Gunderson and Margot Melcon. She also works on Round House’s Equal Play commissioning program, seeking to amplify underrepresented voices in the American theatre. In addition to her role at Round House, she is a freelance director and dramaturg who focuses on new plays and non-traditional rehearsal processes. She recently directed Ali Viterbi’s 10-woman play Period Sisters at HEREArts in New York and a reading of Stefani Kuo’s Little Stubby Wings Like She Glued Them On (also at HEREArts), as well as readings of Ali’s play In Every Generation at the Barrow Group and the San Diego Jewish Arts Festival. Past productions have gone up at Rorschach Theater’s Klecksography Festival, 24-Hour Plays: Nationals, the Cape Cod Theatre Project, and Yale University. CHE WERNSMAN (Resident Stage Manager) over the last three seasons has managed Gem of the Ocean; How I Learned to Drive; Small Mouth Sounds; The Legend of Georgia McBride; “Master Harold”…and the Boys; Handbagged; The Book of Will; I’ll Get You Back Again; How I Learned What I Learned; Or,; Caroline, or Change; Miss Bennet: Christmas at Pemberley, and was on the SM team for Angels in America: Parts I and II. She previously managed Father Comes Home from the Wars: Parts 1, 2 & 3; The Beauty Queen of Leenane; I Love to Eat; The Little Prince; A Prayer for Owen Meany; and Once on this Island. Che manages extensively throughout the DC/Baltimore area at Imagination Stage,
The National, The Kennedy Center, Folger Theatre, Shakespeare Theatre Company, Theater J, Mosaic, Studio Theatre, Everyman Theatre, Rep Stage, Center Stage, and Olney. Che has a Bachelor of Science from Virginia Tech and is a proud member of Actors’ Equity Association. RACHEL S. HAMILTON (Stage Manager) is thrilled to be returning to Round House Theatre. Previous Round House credits include How I Learned What I Learned and Cat on a Hot Tin Roof. DC credits include South Pacific, A Christmas Carol (20152017), The Producers, Carousel, Godspell, The Little Mermaid, and Colossal at Olney Theatre Center; The Wild Party, Arabian Nights, and Urinetown at Constellation Theatre; I Shall Not Hate at Mosaic Theatre Company; and Chimerica, and Silence! The Musical at Studio Theatre. National Tour credits include Rodger & Hammerstein's Cinderella, Darius & Twig, and Elephant & Piggie’s We Are in a Play! Rachel is a proud native of Portland, Maine!
Hey, look right here. At Chevy Chase Trust, we believe that sometimes you don’t have to look further than your local community for a great investment opportunity. That’s why Chevy Chase Trust honors the work of Round House Theatre—and why you can count on us for continued support of their mission.
At Chevy Chase Trust, we believe that sometimes you don't have to look further than your local community for a great investment ChevyChaseTrust.com opportunity. That's why Chevy Chase Trust honors the work of Round House Theatre—and why on usthat for continued At you Chevy can Chase count Trust, we believe sometimes you don’t have to look further yourmission. local community for a great support of than their
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investment opportunity. That’s why Chevy Chase Trust honors the work of Round House Theatre—and why you can count on us for continued support of their mission.
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I N D C T HE AT R E .
“
“
THE CURRENT METEOR
That’s what Peter Marks of The Washington Post labeled Round House Theatre, referring to our remarkable rise over the past six years. In that time, we have received consistent rave reviews, premiered a new play that became an Off-Broadway hit, and produced some of the best-attended and highest-grossing shows and seasons in our history. Now, with our DC-metro area distinction secure, we’ve got bigger plans on the horizon: to establish Round House as one of the leading regional theatres in the country. To achieve this, we publicly announced the Full Circle capital campaign in March 2018 with four inspiring goals: launch innovative artistic initiatives, advance theatre to future generations, create a dynamic and flexible theatre, and ensure our financial sustainability. Thanks to our recent successes, we are poised to expand our impact and join the top tier of regional theatres in America. The Full Circle campaign will allow us to fulfill that potential. Realizing our objectives will ignite a new phase of artistic success at Round House while creating a home for artists and audiences. Round House began life as a group of artists and educators committed to placing great acting and theatre education at the center of their company. After 40 years, these values continue to define Round House—and they will form the foundation on which we build an artistic institution with national clout.
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Rendering by Kamm Architecture
Rendering by Kamm Architecture
The Full Circle campaign has already raised $11.5 million toward a $14 million goal to fund ambitious artistic initiatives at Round House Theatre while enhancing the experience of our audience. This campaign has four goals: LAUNCH INNOVATIVE ARTISTIC INITIATIVES • Establish Equal Play, a groundbreaking program to commission 30 new plays from women playwrights and playwrights of color • Through Fair Play, provide competitive artist salaries to build loyalty with the best local talent • Create a Resident Artist program to continue our prioritization of local artists and provide vital job stability ADVANCE THEATRE TO FUTURE GENERATIONS • Expand Round House’s Play It Forward initiative, nurturing the artists, audiences, and administrators of tomorrow • Broaden Free Play, underwriting free tickets for students age 13 through college • Sustain the free Teen Performance Company pre-professional program • Provide high schoolers and recent college graduates with apprenticeships and internships in artistic, education, development, marketing, and production departments CREATE A DYNAMIC AND FLEXIBLE THEATRE • Renovate our performance space to improve acoustics and sightlines, as well as enhance our technical capacity to produce shows ranging from intimate to epic • Create a highly flexible theatre which is more comfortable and accommodating for our patrons • Transform our lobby and public spaces to enhance the patron experience and encourage engagement before and after performances ENSURE OUR FINANCIAL SUSTAINABILITY • Increase operating reserve fund • Provide funding for future capital upgrades For more information and to support the Full Circle campaign, visit RoundHouseFullCircle.org or contact us at FullCircle@RoundHouseTheatre.org.
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Round House Theatre is incredibly grateful for all supporters of the Full Circle capital campaign. Because of their generosity, our goals to launch innovative artistic initiatives, expand our education programming, create a warm and welcoming theatre, and ensure our financial security will soon become a reality.
Jennifer, Larry, and Michael Abrams, in honor of their mother, Natalie R. Abrams Natalie R. Abrams Toko and Dave Ackerman Jim and Esthy Adler Helen and Fred Altman Anonymous (2) Anonymous in honor of Doug Bibby Keith and Celia Arnaud Arronson Foundation Arts & Humanities Council of Montgomery County Baker-Merine Family Foundation Michael Beriss and Jean Carlson Ellen Berman Cathy S. Bernard Doug and Lorraine Bibby Elaine Kotell Binder and Richard Binder Don and Nancy Bliss Donald and Janet Boardman Jon and Ellen Bortz The Morris and Gwendolyn Cafritz Foundation Jane and Fred Cantor Belle and Marty* Davis Bill Davis and Jane Hodges Dimick Foundation Heidi and Mitch Dupler Jim Eisner Rich and Pam Feinstein Laura Forman and Richard Bender Arlene Friedlander Christopher and Carol Sue Fromboluti Tim and Susan Gibson Ann and Frank Gilbert Susan Gilbert and Ron Schechter Arlene and Harry Gildenhorn Chris and Jean Gilson Eric Glantz and Jessica Nassau The Greene-Milstein Family Foundation Stuart and Beverly Greenfeig Nancy Greenspan The Greif Family
Jay and Robin Hammer Alan and Bonnie Hammerschlag John and Meg Hauge Robert Hebda Mindy A. Hecker Robin Hettleman and Matthew Weinberg Alesha and Levi Holliday Larry and Sue Jeweler Elaine Economides Joost Daniel Kaplan and Kay Richman Richard Kasten Henry B. & Jessie W. Keiser Foundation, Inc. Chaz and Jane Kerschner Neil and Ann Kerwin John and Rachel King Carole Klein and Brad Chesivoir Debra Kraft and Rob Liberatore Shawn and Stacia Krantz Bruce S. Lane and Ann E. Lane Darryl Lemke and Maryellen Trautman Jeffrey* and Carolyn Leonard Phyllis and Mort Lessans Marion Ein Lewin Brian and Judy Madden State of Maryland Paul and Zena Mason Susan Freeman McGee Marvin and Joanne McIntyre John and Marie McKeon Maureen and Michael McMurphy and the Patrick Michael McMurphy Memorial Foundation Scott and Louise Melby Jeff Menick Lynn and Philip Metzger Lisa Mezzetti Alan Miller and Sue O’Hara Montgomery County Executive Community Grant Caryn McTighe Musil and Robert K. Musil Sally Patterson Patricia Payne and Nancy Firestone
Denise and Craig Pernick Joram and Lona Piatigorsky Geraldine Fogel Pilzer Linda Ravdin and Don Shapero Susan and Bill Reinsch Margaret Roper and Cliff Johnson Pamela and Glenn Rosenthal The Estate of Henry Schalizki Dian and Steve Seidel Barbara Selter Share Fund Victor Shargai and Craig Pascal Robin Sherman Shugoll Research Linda and Steve Skalet Tina and Albert Small, Jr. David and Sherry Smith Patti and Jerry Sowalsky Pam and John Spears Ed Starr and Marilyn Marcosson Shellie Steinberg Straske Family Fund Carol Trawick Alan and Irene Wurtzel Anne and Robert Yerman Joe and Lynda Zengerle Judy and Leo Zickler Margot Lurie Zimmerman, in memory of Paul Zimmerman This list is current as of April 4, 2019 and includes all donations and pledges of $2,500 and above.
THANK YOU to all of the CORPORATE, FOUNDATION, GOVERNMENT, and INDIVIDUAL donors who made generous annual contributions to Round House Theatre. These tax-deductible gifts help the theatre continue to produce excellent productions and education programs and keep them accessible to our entire community. Please consider becoming a donor and start receiving benefits today! For more information about making a donation of cash, securities, or in‑kind services, please contact the Round House Theatre Development Department at 240.641.5352.
LEADERSHIP CIRCLE DIAMOND CIRCLE ($10 0,0 0 0 +) Arts & Humanities Council of Montgomery County Maryland State Arts Council P L AT I N U M C I R C L E ($ 5 0,0 0 0 – $ 9 9, 9 9 9) Cathy S. Bernard The Morris and Gwendolyn Cafritz Foundation Heidi and Mitch Dupler Jeffrey* and Carolyn Leonard Share Fund The Shubert Foundation GOLD CIRCLE ($ 2 5 ,0 0 0 – $ 4 9, 9 9 9) Michael Beriss and Jean Carlson Bonnie and Alan Hammerschlag The Sheldon and Audrey Katz Foundation MARPAT Foundation Linda Ravdin and Don Shapero Sulica Fund S I LV E R C I R C L E ($10,0 0 0 – $ 24 , 9 9 9) Margaret Abell Powell Fund of the William S. Abell Foundation Esthy and Jim Adler Paul M. Angell Family Foundation The Cora and John H. Davis Foundation Rich and Pam Feinstein Ann and Frank Gilbert Susan Gilbert and Ron Schechter Carolyn Kaplan* Daniel Kaplan and Kay Richman Bruce and Ann Lane Family Fund Marion Ein Lewin J. Willard and Alice S. Marriott Foundation
Nora Roberts Foundation Pasternak & Fidis The Rowny Foundation Patti and Jerry Sowalsky Thorn Law Group, PLLC Bernard and Ellen Young Judy and Leo Zickler BRONZE CIRCLE ($ 5 ,0 0 0 – $ 9, 9 9 9) Elaine Kotell Binder and Richard Binder Don and Nancy Bliss Donald and Janet Boardman Jon and Ellen Bortz Dimick Foundation Graham Holdings Company Jay and Robin Hammer John and Meg Hauge Rick Kasten Henry B. & Jessie W. Keiser Foundation Neil and Ann Kerwin Debra Kraft and Rob Liberatore Elissa Leonard and Jay Powell Judy and Brian Madden Paul and Zena Mason Maureen and Michael McMurphy and the Patrick Michael McMurphy Memorial Foundation Scott and Louise Melby Sally J. Patterson Susan and Bill Reinsch Hank Schlosberg, in honor of Paul Mason, Mark Shugoll, and Marion Ein Lewin Dian and Steve Seidel Mark and Merrill Shugoll Linda and Steve Skalet David and Sherry Smith Anne and Robert Yerman Lynda and Joseph Zengerle Margot Lurie Zimmerman, in memory of Paul Zimmerman COPPER CIRCLE ($ 2 , 5 0 0 – $ 4 , 9 9 9) Keith and Celia Arnaud Marla and Bobby Baker, BakerMerine Family Foundation
Jere and Bonnie Broh-Kahn Frances Chyatte City of Rockville Dallas Morse Coors Foundation for the Performing Arts Belle Davis, in memory of Martin “Marty” Davis Eileen and Paul DeMarco Hope Eastman and Allen Childs Jim Eisner Laura Forman and Richard Bender Eric Glantz and Jessica Nassau Neil R. Greene and Ellen G. Miles Ed Grossman and Rochelle Stanfield Robert E. Hebda Paul Henderson Linda Lurie Hirsch William L. Hopkins and Richard B. Anderson* Reba and Mark Immergut Clifford Johnson and Margaret Roper Kensington Park Senior Living Community Heidi and Bill Maloni Marvin and Jo Anne McIntyre Montgomery County Executive’s Ball Carl and Undine Nash Joram and Lona Piatigorsky Barbara Rapaport Deborah and Lee Rogers Glenn Rosenthal Margaret Ann Ross Venable Foundation Richard and Susan Westin Elena and Joel Widder Roger Williams and Ginger Macomber Alan and Irene Wurtzel
INNER CIRCLE F E L LOW S ($1 , 5 0 0 – $ 2 ,4 9 9) Guido Adelfio and Maryanne Fiorita Adelfio Clement and Sandra Alpert Designated Endowment
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Terry Beaty Sue Ann and Kenneth Berlin City Perch Kitchen and Bar Larry Culleen and Nina Weisbroth Eileen and Paul DeMarco Dreyfuss Theatre Education Fund Victoria Edouard Fleishhacker Foundation Thomas and Kathleen Fingleton Carole and Robert Fontenrose David and Marcia Gelfand Susan and Timothy Gibson Arlene and Dr. Harry S. Gildenhorn The Greene-Milstein Family Foundation David and Jean Grier Mindy Hecker Michael and Ilana Heintz Robbins and Giles Hopkins Rosalyn Levy Jonas Erin and Mark Kopelman Barry Kropf Lerch, Early & Brewer Anne & Henry Reich Family Foundation, Lee G. Rubenstein, Co-President Elaine and English Showalter Pamela and John Spears The Weissberg Foundation Mier and Cathy Wolf B E N E FACTO R S ($1 ,0 0 0 – $1 ,4 9 9) Walter and Loretta Anderson Anonymous Judy Areen and Richard Cooper Nancy and Dan Balz Jeffrey Bauman/Beech Street Foundation Wendy and Eben Block Peter and Barbara Clapman Janice Crawford William Davis Bill and Donna Eacho Paul and Shauna Fitzgerald Arlene Friedlander Susan and Peter Greif Patti Herman Martha Horne Glen and Lauren Howard Mark and Tato Joelson Margaret Johnson Dana and Ray Koch Ellen Kohn Daniel Korengold and Martha Dippell Darrell Lemke and Maryellen Trautman
Mark Levitt and Kay Klass Robert and Gail Linn Barbara and Alan McConagha, Melamed Foundation Doug and Mary Beth McDaniel Phillip Messing Alan Miller and Susan O’Hara Martha Newman Catherine and Patrick O’Reilley Elissa and Bill Oshinsky Franklin and Jackie Paulson Markley Roberts Eric and Shelley Rubin Evelyn Sandground and Bill Perkins Marilyn and Barry Scheiner Elisabeth Shouten Robin Sherman David and Peggy Shiffrin Page and Amy Stull Susan and John Sturc Stephen and Lucinda Swartz Marna Tucker and Lawrence Baskir Patrick and Betsy Turley Stanley and Joan Weiss Kathy and Bob Wenger Andrew A. and Marcia D. Zvara A DVO C AT ES ($ 5 0 0 – $ 9 9 9) Bob and Marilyn Abrams Anonymous Kate and Stephen Baldwin Nan Beckley Ellen L. Berman Marian Block and Ed Rosic Trevor Boothe Barbara Brown Patricia Bryant Michael L. Burke and Carl W. Smith Jennifer and Jeremy Buzzell Fred and Jane Cantor Lynn and Bill Choquette Robert and Maureen Clark Jean Cohen Mary Cole Rosalie Anne Dahlen-Hartfield Steve Danielson Steven desJardins Timothy Douglas Jean and Paul Dudek Paul Ehrenreich and Ellen Riker Marjorie and Tony Elson Clare Evans Julie M. Feinsilver Duane and Barbara Fitzgerald Helene Freeman Jean and Christopher Gilson Jack Giraudo and Christine Colby Giraudo Alan and Hedda Gnaizda
Stuart and Beverly Greenfeig Robin Hettleman and Matthew Weinberg Leonard Hockstader Hon. Susan Hoffman Jane Holmes Nancy and Richard Horowitz Deanie and Larry Hotchkiss Carol and Terry Ireland Larry and Sue Jeweler Elaine Joost Chuck Knauss and Ann McLarty Stacey and Jonathan Koff Jean and Chris Koppen Ann Labriola and Bruce Coolidge Isiah and Catherine Leggett Judy Gilbert Levey and Jeff Levey Erik Lichtenberg and Carol Mermey Keith Martin Winton Matthews, Jr. Rona and Allan Mendelsohn Lisa Mezzetti William Mullins Evan and Judy Novenstein Geri Olson Judith Oppenheim P. David Pappert Betsy Paull Geraldine Fogel Pilzer Mark and Teresa Plotkin Margaret R. Randol Julie and Ron Redfern Ryan and Christy Rilette Susan C. Robertson David and Gayle Roehm Dr. Cynthia Rohrbeck Steven M. Rosenberg and Stewart C. Low III Linda Ryan John and Lisa Sanders Barbara Selter The Honorable Robert Sharkey and Dr. Phoebe Sharkey Daniel and Sybil Silver Luanne and Marc Stanley Shellie Steinberg Herb and Jane Stevens Tom Tinsley D.M.W. Carolyn L. Wheeler John Wheeler Kathryn Winsberg and King Stablein Ed and Judy Zakreski Marc Zwillinger A S S O C I AT ES ($ 2 5 0 – $ 4 9 9) Cathy Abramson and Barry Gottfried
Toko and Dave Ackerman Actor’s Equity Foundation, Inc. Anonymous Fred and Helen Altman Robert Angerer and Pamela McInnes John and Mary Atwater Naomi and David Balto Linda Beer and David Lassiter Marty Bell and Sheryl Rosenthal Beverly Billingsley Teresa and Brent Blackwelder Tom Calhoun and Thelma Triche Letitia Carlson Wallace Chandler Stacey Colino Beth Davis Karen M. Deasy Ted Deming Ruey and Hugh Dempsey John and Linda Derrick Katherine DeWitt Linda and Joseph Dominic Carolyn Donnelly Pat Dorazio Peggy Dugan Emily and Michael Eig Anne and John Elsbree Steven Ferguson Arlene and Harold Finger Matthew Fink Ken Fleishman Molly Frantz Elizabeth Franzino Carla Freeman* Elisabeth R. French Joanie and Lawrence Friend Michael and Ellen Gold Leslie Goldberg Dr. Larrie Greenberg and Mrs. Joyce Greenberg Helene Guttman Brigid Haragan Frederic Harwood and Nedda di Montezemolo James Heegeman Florence H. Hein Bonnie Heiserman and RIVA Market Training and Research Francis Hinton Putzi Hirshberg and Norman Goldberg Larry Hothem Randy Howes Ella Iams ICM Partners Susan and Dudley Ives Peter and Judy Jablow Veronica Kannan Colleen and Jack Katz Victor Katz and Melissa Crowe Scott Kaufmann Carole Ann Klein
Carole Klein and Brad Chesivoir Nancy and Everett Korman Vinca LaFleur Marcel C. LaFollette and Jeffrey K. Stine Melissa Leebaert Mickey and Bill Lemer Marci Levin and Joel Resnick Joy Lewis Freddi Lipstein and Scott R. Berg Jan Lower and Paul Berger Ann Hutchison Lung Deanna and Thomas Marcum Aleta Margolis Jonathan Massey and Madeline Katz Diane and Peter Mayer Susan and Todd Mayman Scott McCarthy John and Marie McKeon Jan and Charles McNamara Janice Mehler Laurel and Robert Mendelsohn Joann Mican and Skip Mahon Ina Milton Alfred Munzer and Joel Wind Stacy Murchison Jim Myerberg Beth Newburger Kevin O’Connell and Jill Goodrich Terry Peel Chase and Beth Phillips Wes Pickard and Jeanette Studley Jessica Pollner Melissa Polott Everett Redmond Susan and David Reichardt Anne and Rob Rubinovitz William and Ellen Sandler Eric J. Sanne and Judy Rivlin Julia and James Schaeffer Mary Schellinger Myrna Schiattareggia Joseph Serene Mickie Simpson Dale and Alan Sorcher Scott Spector and Sandy Masur Garrett Stevens Grant P. and Sharon R. Thompson James and Claudia Thurber Volker and Helga Treichel Debby Vivari Sandra Willen Lyric Winik Robert and Carole Winter William and Charlene Zellmer *in memoriam
M ATC H I N G G I F T C O M PA N I ES Ameriprise Financial, Inc. Exxon Mobil GE Foundation IBM Salesforce Synchrony Financial Tegna IN-KIND DONORS &pizza 7 Locks Brewing Cava Chevy Chase Florist Clyde’s of Chevy Chase Doyle Printing & Offset Co. Henry’s Sweet Retreat Honest Tea Company Modern Market Panera Bread Company PassionFish Potbelly’s Sandwich Shop Provisions Catering Purple Onion Catering Seasons 52 Shugoll Research Vamoose Whole Foods Market Zeke’s Coffee Zivaara
MAJOR FUNDING PROVIDED BY
Round House Theatre is supported in part by funding from the Montgomery County government, The Arts and Humanities Council of Montgomery County, and the Maryland State Arts Council, an agency dedicated to cultivating a vibrant cultural community where the arts thrive (MSAC is funded by the National Endowment for the Arts, a federal agency, which believes that a great nation deserves great art). The theatre is deeply grateful for the continued support of its federal, state, and local elected officials. Every gift is important to us, and we’re grateful to those who contribute at all levels. Due to space constraints, however, we are only able to list donors giving $250 or more. List is current as of April 4, 2019 and reflects the annual giving of an individual or organization for the fiscal year 2018 or 2019, whichever is greater. While we make every effort to provide accurate acknowledgement for our contributions, occasionally errors occur. We appreciate your patience and assistance in keeping our lists current. To make corrections, please contact the Development Department at 240.641.5352.
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TEES OF TRUS BOARD Mitchell S. Dupler, President Sally J. Patterson, Immediate Past President Douglas M. Bibby, Vice President Linda J. Ravdin, Secretary Cathy S. Bernard, Treasurer Jay Hammer, Assistant Treasurer Bruce S. Lane, Assistant Secretary Elaine Kotell Binder Timothy Douglas Maboud Ebrahimzadeh Laura Forman Ann Gilbert Susan Gilbert Bonnie Hammerschlag Daniel Kaplan Neil Kerwin Debra L. Kraft Marion Ein Lewin Paul Mason Kathleen Matthews Susan Freeman McGee Scott Melby Aruna Miller Ryan Rilette Amy Selco Mark Shugoll David H. Smith Patti Sowalsky Riley Temple Ed Zakreski Judy Zickler
CIL RY COUN A R O N O H Esthy and James Adler Sue Ann Berlin Don Boardman* Jean Carlson Bunny Dwin* Donna W. Eacho* Burt Fishman Stuart Greenfeig* Reba Immergut* Peter A. Jablow* Ann Lane Jeffrey† and Carolyn Leonard Ann Marie Mehlert Trina and Lee G. Rubenstein Ron Schechter Marilyn Scheiner Jeremy W. Schulman* Victor Shargai Robin Sherman William J. Sim* Shellie Steinberg Kathy Yanuck Wenger* Roger Williams* Mier Wolf*
Andrew A. Zvara* *former Round HouseTheatre Board members † deceased
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ARTISTS
RESIDENT ARTISTS Maboud Ebrahimzadeh Paige Hathaway Ivania Stack Craig Wallace ACTORS John Austin Stori Ayers Stephanie Berry Katie deBuys Timothy Douglas Susannah Morgan Eig Conrad Feininger Kimberly Gilbert Michael Glenn Michael Sweeney Hammond Juri Henley-Cohn Beth Hylton Ahmad Kamal Alyssa Wilmoth Keegan Cody Nickell Peter O’Connor Sasha Olinick Daven Ralston Nancy Robinette KenYatta Rogers Jefferson Russell Todd Scofield Andrea Harris Smith Alexander Strain John Taylor-Phillips Katie Tkel Emily Townley Holly Twyford Justin Weaks Erin Weaver James Whalen Alfred Wilson Gregory Wooddell DESIGNERS Jesse Belsky Colin K. Bills Debra Booth Harold F. Burgess II Tony Cisek Andrew Cissna Alexandra Kelly Colburn Justin Ellington Melissa Flaim Kara Harmon Kasey Hendricks Helen Huang Misha Kachman Casey Kaleba York Kennedy Roc Lee
Jared Mezzochi Matthew M. Nielson Debra Kim Sivigny Darius Smith Cliff Williams DIRECTORS Timothy Douglas Amber Paige McGinnis Ryan Rilette Nicole A. Watson PLAYWRIGHTS Lucas Hnath Caleen Sinette Jennings J. T. Rogers Paula Vogel August Wilson Bess Wohl STAGE MANAGERS Lacey Talero Che Wernsman Samantha Wilhelm TEEN PERFORMANCE COMPANY Henry Allison Leah Block Anna Brosowsky Abigail Cannon Isaac DeMarchi Pria Dahiya Keira DiGaetano Shaelyn Edwards Eck Gauri Girirajan Justin Gross Victoria Keith Abigail Lo Nate Mitchell Elijah Oshinnaiye Kennedi Roland Kana Seiki Miles Solomon Alyssa Taylor Gillian Tomlinson Ella WIlks
STAFF LEADERSHIP Artistic Director: Ryan Rilette Managing Director: Ed Zakreski ARTISTIC Associate Artistic Director: Nicole A. Watson Literary Manager: Gabrielle Hoyt Artistic Apprentice: Erika Williams
PRODUCTION Production Manager: Jesse Aasheim Assistant Production Manager/ Company Manager: Sara Patterson Technical Director: Matt Saxton Assistant Technical Director: Jose Abraham Master Electrician/Audio Supervisor: Chris Hall Costume Shop Manager: Aubrey Mazzaferri Scenic Charge: Jenny Cockerham Master Carpenter: Shaun Bartlow Seasonal Carpenter: Noah Beye Stage Management Apprentice: Casey Parker Production Apprentice: Stefan Smith-Simmons EDUCATION Director of Education: Danisha Crosby Program Manager: Kathleen Mason Lead Teaching Artists: Kelsey Hall, Ian Anthony Coleman, Brandon McCoy Education Apprentice: Morgan Scott Faculty: Ashley Barrow Desiree Chappelle Andrew Cissna Reenie Codelka Kevin Corbett Mary Davis Amanda Forstrom Dominique Fuller James Michael Hannah
Paige Hathaway Emma Hébert Mitchell Hébert Gabrielle Hoyt Claire Jones Patrick Joy Casey Kaleba Emily Lettau Katelyn Manfre Christopher Richardson Jonathan Rizzardi Sophie Rosenthal Nate Ruleaux Justin Schmitz Danielle Scott Morgan Scott Shirley Serotsky Stefan Smith-Simmons Ivania Stack Elle Sullivan Mariana Taitano Rosa Tellez Michael Thomas Jacob Traver Craig Wallace Che Wernsman Gray West Rick Westerkamp Michael Anthony Williams Mary Rose Winnard
ADMINISTRATION General Manager: Tim Conley Associate General Manager: Emmy Leaverton Facilities Manager: Liz Sena Executive Assistant: Elly Straske DEVELOPMENT Director of Development: Veronica Kannan
Associate Director of Development: Mary Bounds Major Gifts Officer: Joanna Miller Campaign Coordinator: Amanda Kegu Development Assistant: Claire Tinsley Arts Administration Apprentice: Joey Hamilton MARKETING & COMMUNICATIONS Director of Marketing & Communications: Anna Mills Russell Associate Director of Marketing & Communications: Sarah Randall Graphic Designer: Kaley Etzkorn Marketing Apprentice: Lilly King AUDIENCE SERVICES Box Office Manager: Latashia Carney Box Office Associates: Francisco Borja Marquita Dill Alisha Frier Billy Griffis Steve Langley Sofia Sandoval-Ferriss Lead House Manager: Michele Cesar Turner House Management Staff: Tiffany Broadus Courtney Feiman Maureen May Ellen Menown Kristina Mitchell Tamisha Ottley Lacey Talero
ABOUT ROUND HOUSE THEATRE ROUND HOUSE THEATRE is one of the leading professional theatres in the Washington, DC, area, producing a season of new plays, modern classics, and musicals for more than 55,000 patrons each year at our 400-seat theatre in Bethesda. Round House has been nominated for more than 181 Helen Hayes Awards and has won more than 32, including four “Outstanding Resident Play” Awards, the “Outstanding Resident Musical Award,” and the Charles MacArthur Award for Original New Play in 2016. Round House’s lifelong learning and education programs serve more than 4,000 students each year at its Education Center in Silver Spring and in schools throughout Montgomery County. Cornerstone programs include Free Play, which provides free tickets to teens and college students; the year-round Teen Performance Company, which culminates in the student-produced Sarah Metzger Memorial Play; Summer Camp for students in grades K-12; and a full slate of classes for adults and youth. Alyssa Wilmoth Keegan and Peter O’Connor in How I Learned to Drive, Zack Powell and Yesenia Iglesias in The Legend of Georgia McBride, and Jennifer Mendenhall and Beth Hylton in Handbagged by Kaley Etzkorn.
U P N E X T AT T H E L A N S B U R G H T H E AT R E HIT BROADWAY COMEDY
BY LUCAS HNATH DIRECTED BY NICOLE A. WATSON
JUN 5 - 30, 2019 “SMART, FUNNY, AND UTTERLY ENGROSSING.” — The New York Times
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2019 , 5 N U EGIN J B S E C AN