BY MATTHEW LÓPEZ
INSPIRED BY THE NOVEL HOWARDS END BY E.M. FORSTER
DIRECTED BY TOM STORY
BY SAM HOLCROFT DIRECTED BY RYAN RILETTE
ROUND HOUSE’S LEADERSHIP
ELCOME TO THE 2025–2026 SEASON AT ROUND HOUSE THEATRE! We are thrilled to welcome you back for the start of a brand-new season—and to begin with one of the most important and ambitious productions in our history: The Inheritance by
This breathtaking, two-part epic has been hailed as “the most important American play of this century,” and we could not be prouder to bring it to the DMV. Inspired by Howards End, López has crafted a sweeping, deeply moving portrait of contemporary gay life in America—exploring love, loss, identity, and the legacy of the AIDS crisis with both urgency and grace. At its heart, The Inheritance asks a profound question: what do we owe to those who came before us, and what must we leave for those who follow? In examining how trauma, memory, and compassion pass from one generation to the next, the play becomes not just a story about a community—but a call to care for one another across time.
Producing a work of this magnitude is no small feat, and we are immensely grateful to the Roy Cockrum Foundation for their generosity and vision in helping to make this production possible. Their support has empowered us to bring The Inheritance to life with the scope and artistry it deserves.
As you experience The Inheritance —a bold, urgent, and deeply human story—we hope you're reminded of the power of live theatre. A production like this doesn’t happen without bold support. Yes, our funders and sponsors are essential, but it’s the passion and generosity of individuals like you that make it possible. At a time when public arts funding is under threat, your personal investment in Round House matters more than ever. Every gift—whether $10 or $10,000—helps us tell daring stories, support new talent, and keep theatre accessible through arts education and community engagement programming. If this play has moved you, challenged you, or made you feel seen, help us keep that momentum going. Stand with us. Invest in what theatre can do. Make your
This production also kicks off a season of bold, expansive storytelling. Over the next year, you’ll see everything from hilarious new comedies to groundbreaking world premieres to powerful work by some of America’s greatest living playwrights. It’s a season full of
Whether you’re a long-time subscriber or this is your first visit, we are so glad to have you with us. Thank you for being a part of the Round House family—and welcome to the
ED ZAKRESKI EXECUTIVE DIRECTOR
ROUND HOUSE THEATRE EXTENDS ITS DEEP GRATITUDE TO OUR GENEROUS SPONSORS OF THE INHERITANCE
The Inheritance is made possible by a generous gift from THE ROY COCKRUM FOUNDATION
THANK YOU TO OUR PRODUCTION SPONSORS:
The Inheritance is sponsored by Nan Beckley
The Inheritance, Part One is sponsored by Rick Kasten
The Inheritance, Part Two is sponsored by Jay and Robin Hammer .
Inspired by director Tom Story’s belief in the importance of these plays for the DC gay community, The Roy Cockrum Foundation is grateful for the opportunity to support Round House Theatre in realizing this profoundly important work.”
—THE ROY COCKRUM FOUNDATION
The Inheritance is an important, ambitious, and deeply moving play—and I’m thrilled that Round House Theatre is bringing it to Washington audiences. It’s the kind of bold, challenging work that reminds us why theatre matters, and I’m proud to support a company with the vision and courage to produce it.”
CREATIVE TEAM
ROUND HOUSE THEATRE
It’s a perfect time to support this play and Round House Theatre! I’ve been a longtime fan and sponsor of Tom Story’s work as an actor and a director, and The Inheritance is a play that I am very eager to see.”
—RICK KASTEN
We are excited to support The Inheritance because it speaks to the power of empathy across generations and reminds us that love, loss, and legacy touch us all, regardless of who we are. We believe in creating space for stories that deepen understanding and celebrate our shared humanity. As avid theatre-goers, we know that great drama accomplishes this better than any other medium, and we believe Round House does this consistently better than any other theatre in DC. We are supporting this production as our way of saying that Round House stands for compassion, connection, and courageous storytelling.”
—JAY AND ROBIN HAMMER
To become a sponsor for an upcoming Round House Theatre production, please contact Michael Barret Jones, Director of Development, at 240.670.8795 or MJones@RoundHouseTheatre.org.
AUG 27 – OCT 19, 2025
RYAN RILETTE , Artistic Director, and ED ZAKRESKI , Managing Director BY MATTHEW LÓPEZ
INSPIRED BY THE NOVEL HOWARDS END BY E.M. FORSTER
DIRECTED BY TOM STORY
Scenic Designer . . . . . LEE SAVAGE
Costume Designer . . . . . FRANK LABOVITZ
Lighting Designer . . . . . COLIN K. BILLS
Sound Design UPTOWNWORKS
Composer . . . . . . . PAUL ENGLISHBY
Projections Designer . . . . KELLY COLBURN
Movement Director and Intimacy Director BRITTA JOY PETERSON
Fight Director CASEY KALEBA
Voice Coach . . . . . . LISA BELEY
Dramaturg . . . . . . . OTIS CORTEZ RAMSEY-ZÖE
Casting Director . . . . . SARAH COONEY
Associate Director ASHLEY MAPLEY-BRITTLE
Associate Projections Designer . . MARK COSTELLO
Assistant Scenic Designer . . . MICHAEL RUIZ-DEL-VIZO
Production Stage Manager . . . CHE WERNSMAN*
Assistant Stage Manager JUANCARLOS CONTRERAS*
TAKING PICTURES OR VIDEO DURING THIS PRODUCTION IS STRICTLY PROHIBITED
—NAN BECKLEY
CAST
(in alphabetical order)
Young Man 8/Jason #2 . . . . . . JONATHAN ATKINSON*
Young Man 1/Adam McDowell/Leo . . . . JORDI BERTRÁN RAMÍREZ*
Young Man 5/Toby’s Agent/Charles Wilcox . . . BEN BOGEN*
Young Man 2/Jason #1
Henry Wilcox
Young Man 9/Eric Glass
JOHN FLOYD*
ROBERT GANT*
DAVID GOW*
Young Man 6/Tristan . . . . . . JAMAR JONES*
Young Man 10/Toby Darling . . . . . . ADAM POSS*
Young Man 7/Jasper/Paul Wilcox . . . . . HUNTER RINGSMITH*
Margaret . . . . . . . . NANCY ROBINETTE*
Morgan/Walter Poole
ROBERT SELLA*
Young Man 3/Young Henry COLE SITILIDES
Young Man 4/Young Walter . . . . . . DYLAN TOMS
UNDERSTUDIES
Young Man 10/Toby Darling
Young Man 8/Jason #2 and Young Man 5/ Toby’s Agent/Charles Wilcox
. JONATHAN ATKINSON*
. ANTHONY DE SOUZA
Henry Wilcox ERIC HISSOM*
Margaret .
. . ELIZABETH PIEROTTI* Young Man 9/Eric Glass HUNTER RINGSMITH*
Young Man 1/Adam McDowell/Leo . . . COLE SITILIDES
Young Man 3/Young Henry and Young Man 4/ Young Walter
. DREW SHARPE
Young Man 6/Tristan and Young Man 2/Jason #1 . THEODORE SHERRON III
Young Man 7/Jasper/Paul Wilcox
Morgan/Walter Poole
THE INHERITANCE was originally commissioned by Hartford Stage (Darko Tresnjak, Artistic Director; Michael Stotts, Managing Director).
The world premiere was performed in London at the Young Vic, PART ONE on March 2, 2018, and PART TWO on March 9, 2018. This production was supported by Nattering Way LLC and Sonia Friedman Productions.
THE INHERITANCE transferred to the Noël Coward Theatre in the West of London, with a first performance of PART ONE on September 21, 2018, and of PART TWO on September 28, 2018.
The Young Vic production was presented in the West End by Tom Kirdahy, Sonia Friedman Productions and Hunter Arnold with Elizabeth Dewberry & Ali Ahmet Kocabiyik, 1001 Nights Productions, Greg Berlanti, Brad Blume, Shane Ewen, Rupert Gavin, Robert Greenblatt, Marguerite Hoffman, Mark Lee, Peter May, Arnon Milchan, Oliver Roth, Scott Rudin, Tulchin/Bartner Productions, Bruno Wang, Richard Winkler, Bruce Cohen/Scott M. Delman.
THE INHERITANCE opened at the Ethel Barrymore Theatre, New York, with a first performance on November 17, 2019.
. DYLAN TOMS
. JAMES WHALEN*
The New York production was presented on Broadway by Tom Kirdahy, Sonia Friedman Productions, Hunter Arnold, Elizabeth Dewberry & Ali Ahmet Kocabiyik, 1001 Nights Productions, Robert Greenblatt, Mark Lee, Peter May, Scott Rudin, Richard Winkler, Bruce Cohen, Mara Isaacs, Greg Berlanti & Robbie Rogers, Brad Blume, Burnt Umber Productions, Shane Ewen, Greenleaf Productions, Marguerite Hoffman, Oliver Roth, Joseph Baker/Drew Hodges, Stephanie P. McClelland, Broadway Strategic Return Fund, Caiola Productions, Mary J. Davis, Kayla Greenspan, Fakston Productions, FBK Productions, Sally Cade Holmes, Benjamin Lowy, MWM Live, Lee & Alec Seymour, Lorenzo Thione, Sing Out, Louise! Productions, AB Company/Julie Boardman, Adam Zell & Co./ZKM Media, Jamie deRoy/ Catherine Adler, DeSantis-Baugh Productions/Adam Hyndman, Gary DiMauro/Meredith Lynsey Schade, Ronald Frankel/Seriff Productions, John Goldwyn/Silva Theatrical Group, Deborah Green/Christina Mattsson, Cliff Hopkins/ George Scarles, Invisible Wall Productions/Lauren Stein, Sharon Karmazin/Broadway Factor NYC, Brian Spector/ Madeleine Foster Bersin, Undivided Productions/Hysell Dohr Group, UshkowitzLatimer Productions/Tyler Mount.
PRODUCTION
Production Manager SYDNEY GARICK
Assistant Production Manager and
Company Manager . . CHASSI SLAPPY
Technical Director MATT SAXTON
Assistant Technical Director JOSE ABRAHAM
Lead Carpenter . . . DYLAN RUTEMILLER
Costume Shop Manager . . ALISON JOHNSON
Scenic Charge JENNY COCKERHAM
Props Supervisor . . . ANNAMAE DURHAM
Sound and Projections Supervisor . DELANEY BRAY
Lighting Supervisor STEVEN BURRALL
Production Assistant . . CARRIE EDICK
Wardrobe Head . . . HANNAH HEROLD
Wardrobe Crew ALYESKA REIMER, GIULIANA WEISS
Deck Crew . . . ELLEN MITCHELL
Automation Operator . . MICHAEL HANLON
Audio Engineers (A1) DELANEY BRAY, AJ NAVARRO
Audio Assistant (A2) . . BRIAN JOHNKE
Light/Projections Board Operator . KRISTOP ROSARIO
Crew Swings MEGAN AMOS, ELENA RHIANNON STARK
Assistant Company Manager OLIVIA LUZQUINOS
Carpenters . . . . BEN CAMPION, GERARDO SORIANO CONTERAS, ETHAN GILLIAM, JAMES MCDONALD, JACK MOXLEY, ELLEN MITCHELL, WILLIE SCHACK, WILL STUTZMAN
Costume Shop Assistant . . REGAN MCKAY
Stitcher . . . . SIERRA HENDERSON
Scenic Artists ADRIENNE KRAUEL, ALEX LOPEZ, SARAH PHILLIPS-HOOLEY
Props Artisans . . . . MASON DENNIS, SARAH PHILLIPS-HOOLEY
Projections Technician . . WILL STUTZMAN
Light Board Programmers CAIT FOSTER, ALANA ISAAC, ELLIOT PETERSON
Electricians . . . . ZAVAR BLACKLEDGE, FELIX CLARKE, MALORY HARTMAN, SARAH MACKOWSKI, JAYE OVERTON, ISA PELEGERO, KRISTOP ROSARIO, JASON ZUCKERMAN
FULL STAFF LISTING on pages 37-38
SPECIAL THANKS TO Joseph R. Crea, Chris Dinolfo, Samuel Fromkin, Trenor Gould, and Stefan Mitrovic.
*As indicated, Actors and Stage Managers are members of Actors' Equity Association, The Union of Professional Actors and Stage Managers in the United States.
The Scenic, Costume, Lighting, Sound, and Projections Designer of this production are represented by United Scenic Artists, Local USA 829 of the IATSE.
The Cast and Stage Managers are members of Actors’ Equity Association (“Equity”). Founded in 1913, Equity is the U.S. labor union that represents more than 51,000 professional Actors and Stage Managers. Equity fosters the art of live theatre as an essential component of society and advances the careers of its members by negotiating wages, improving working conditions, and providing a wide range of benefits, including health and pension plans. Actors’ Equity is a member of the AFL-CIO and is affiliated with FIA, an international organization of performing arts unions. #EquityWorks
The Director and Fight Director are members of the STAGE DIRECTORS AND CHOREOGRAPHERS SOCIETY, a national theatrical labor union
ONE MAY AS WELL BEGIN
NE MAY AS WELL BEGIN WITH HOWARDS END . The Inheritance , while not strictly an adaptation of Howards End , vibrates with a spiritual inheritance to the work and its author, E.M. Forster. Howards End interrogates class, conventions, codes of conduct, and social relations in England at the turn of the century. The crux of the novel concerns how three socially distinct families interact and the role of social customs and expectations in shaping interactions. Two words, “only connect,” form the novel’s rallying cry and moral core.
In Howards End , the solidly middle-class, Anglo-German Schlegel siblings, particularly sisters Margaret and Helen, are Forster’s main characters. Their brother Tibby holds a supporting role but is not himself a driver of the plot. The Schlegels are forward-thinking and progressive. They become intertwined with Henry and Ruth Wilcox
HOWARDS
END SPARKED A FASCINATION WITH INHERITANCE, BOTH CONCEPTUALLY AND PRACTICALLY, THAT LASTED FOR THE REST OF FORSTER’S LIFE.
best in everyone. In contrast, Toby, like Helen, tends to be more impulsive, freespirited, headstrong, and charismatic. Ruth Wilcox is reborn as Walter Poole. Henry Wilcox retains the same name in both works. Elements of both Basts are amalgamated into Adam and Leo. If you know Howards End (from the novel or any film or tv adaptation), you can track how playwright Matthew López maintains or modifies elements of story and character throughout the play.
and Jacky Bast. The Wilcoxes are wealthy conservatives whose fortune stems from the Imperial and West African Rubber Company. Meanwhile, the Basts are working class strivers, neither of whom have been able to overcome the limiting circumstances of their births.
In The Inheritance , Margaret Schlegel becomes Eric Glass, and Helen Schlegel becomes Toby Darling. Rather than siblings, Glass and Darling are romantic partners. Eric, like Margaret, is measured, generous, forgiving, and inclined to see the
The Inheritance also draws inspiration from Forster himself and contains hints of other works by Forster and others. According to biographer Wendy Moffat, Howards End sparked a fascination with inheritance, both conceptually and practically, that lasted for the rest of Forster’s life. As a result, Forster began work on a pair of projects that concerned “a gay literary legacy as an embodiment of the ‘spiritual inheritance’ of human connection.” Forster’s own gay writing, including his posthumously published novel Maurice , constituted one project. Forster’s other endeavor was the creation of a personal archive of gay material, which included such items as a list of famous homosexual authors and
an unpublished scrapbook of gay history entitled “Lest We Forget Him!” Though Forster never came out publicly, he was, as López describes him, “hiding in plain sight.” Forster maintained relationships with younger gay men who, according to Moffat, “came to see him as a gay paterfamilias .”
The Forster we meet in The Inheritance allows us a glimpse of who he might have been when interacting with the younger generation of gay male writers; it’s a peek at the figure who was hidden from sight even as he stood in full view.
Cover of the first edition of Howards End by E.M. Forster (pub. Edward Arnold, London, 1910)
Portrait of E M Forster, painted in 1911 by Roger Fry, a year after receiving critical acclaim for Howards End
BIOS
CAST
JONATHAN ATKINSON (Young Man 8/Jason #2) está muy emocionado de hacer su debut con Round House Theatre en The Inheritance . DC credits include At The Wedding at Studio Theatre; Daphne’s Dive at Signature Theatre; The Mortification of Fovea Munson at The Kennedy Center; Evita and The Crucible at Olney Theatre Center; and Ragtime, A Christmas Carol , and One at Ford’s Theatre. Jonathan is co-host of ¡UY QUE HORROR! A Latinx Horror Movie Podcast. Instagram: @jonnyeliot / @uyquehorror. (He/Him)
JORDI BERTRÁN RAMÍREZ (Young Man 1/Adam McDowell/Leo) is grateful to be a part of Round House Theatre’s production of The Inheritance . Select regional credits include Cabaret (Virginia Theater Festival) and The Winter’s Tale (The Old Globe). Jordi graduated from Yale last year with a double major in History of Science, Medicine, & Public Health and in Theater Studies, where his credits include Angels in America: Millennium Approaches (Prior), The Goat, or Who is Sylvia? (Billy), Spring Awakening (Melchior), Cabaret (Emcee), and (B). For his accomplishments in theatrical performance at Yale, Jordi was awarded the Louis Sudler Prize for Excellence in the Performing and Creative Arts. @ jordibertranramirez
BEN BOGEN (Young Man 5/Toby’s Agent/Charles Wilcox) is honored to be making his DC theatre debut in The Inheritance . Broadway credits: Frozen ( U/S Weselton, Olaf ). OffBroadway credits : Jersey Boys ( New World Stages ), Only Human ( Theatre St Clements) Broadway National Tours : Jersey Boys ( Frankie Valli alternate) , Wicked, and Tina: The Tina Turner Musical. Regional credits include Rent (ACT of CT), The Flamingo Kid (Hartford Stage), Sousatzka (The Elgin Theatre in Toronto), and Damn Yankees (Pittsburgh CLO). Television credits: series finale. Ben is also a proud choreographer/movement creator having recently choreographed Spring Awakening at Clear Space Theatre Company and associate directed/choreographed Jersey Boys at Sierra REP. Training: BFA University of Michigan. Instagram: @benmbogen
JOHN FLOYD (Young Man 2/Jason #1) is thrilled to be making his Round House Theatre debut! DC theatre credits include Romeo and Juliet, Our Verse in Time to Come, A Midsummer Night’s Dream, Antony and Cleopatra, Macbeth, and Timon of Athens at Folger Theatre; A Christmas Carol at Ford’s Theatre; and One in Two at Mosaic Theatre Company. Regional Credits include What Will Happen to All That Beauty? at Contemporary American Theatre Festival. www.johnfloydactor.com. Instagram: @john.floyd
ROBERT GANT (Henry Wilcox) is thrilled to make his Round House Theatre debut. He is best known for playing Ben Bruckner on Showtime’s groundbreaking series Queer as Folk . Select recurring television roles include 13 Reasons Why , The Fosters , Good Trouble , Supergirl , BBC’s Personal Affairs , The Tomorrow People , Popular , and Caroline in the City . Other select Friends , Station 19 , Criminal Minds , Hawaii Five-0 , Castle , Bones , , The Closer , Mike & Molly , and Shameless . Select film work
To Catch a Killer , Summer of Dreams , and Kiss Me Deadly Select theatre credits include Whose Life Is It Anyway? , Little Shop of Horrors , The Mikado , The Mystery of Edwin Drood . As a producer and writer, Robert develops projects centered on LGBTQ+ stories. A longtime social justice advocate, he holds degrees from the University of Pennsylvania and Georgetown Law.
DAVID GOW (Young Man 9/Eric Glass) is making his Round House Theatre debut! Previous NY credits include Banya at Theaterlab, What I First Desired at Soho Playhouse, Chokehold at 14th St Y, Sweat at Capital Rep, and Bleach at Wilson's Lounge. Regional Credits include Rust on Bone at Denver Center; Hamlet, Measure for Measure, The Waverly Gallery, Dear Jack, Dear Louise, and Mother’s and Sons at Shakespeare & Company; Vanya & Sonia & Masha & Spike and Sense & Sensibility at 4th Wall Theater; Pirira and The Giant Void in my Soul at Luna Stages; and T he Foreigner at A.D. Players. Film/TV credits include The Girls on the Bus on HBO; The Good Fight and Madam Secretary on CBS; The Savant, The Intruder, and Chrissy Judy on Apple TV. IG: @davidfgow
JAMAR JONES (Young Man 6/Tristan) makes his Round House Theatre debut with The Inheritance . DC credits include Akira Kurosawa Explains His Movies and Yogurt… at Woolly Mammoth. Regional credits include Blues for an Alabama Sky at Seattle Rep; Fat Ham , Much Ado about Nothing , Emma , The Legend of Georgia McBride , A Wrinkle in Time , Hamlet , and The Christmas Case of at PlayMakers Repertory Company; Black Like Me at Chautauqua Theater Toni Stone at Playhouse on Park; Fires in the Mirror (2022 RTCC Award–Best
Lead Performance/Play) and Passing Strange at Firehouse Theater; An Octoroon (2019 RTCC Award–Best Actor/Play) and Topdog/Underdog at TheatreLab; and Fences at Virginia Rep. Television includes Law & Order . UNC at Chapel Hill–M.F.A (Acting). jamarjonesofficial.com.
ADAM POSS (Young Man 10/Toby Darling) is thrilled to make his Round House debut in The Inheritance . DC credits include The History Boys ( Studio Theatre). Broadway credits include Peter Morgan’s Patriots (Ethel Barrymore Theatre) Select regional credits include Lady Macbeth in Robert O’Hara’s all-male Macbeth (Denver Center); Oedipus in Oedipus el Rey and the world premiere of Madhuri Shekar’s Queen ( Victory Gardens); Angelo in Measure for Measure ( Chicago Shakespeare ); the world premieres of Christopher Shinn’s Teddy Ferrara and 2666 (The Goodman Theatre); Birthday Candles and Dracula in the world premiere of Dracula (Cincinatti Playhouse); the world premieres of Rajiv Joseph’s The North Pool (Theatreworks Silicon Valley) and his The Lake Effect (Silk Road Rising). Select television credits include Chicago Med/Fire/PD, Empire, Shameless, Paper Girls, and The Big Leap. Instagram: @santaposs. www.adamposs.com
depicting his favorite things, and who insisted on buying her an elegant dress from Neiman Marcus when first nominated for a Helen Hayes.
ROBERT SELLA (Morgan/Walter Poole) is proud to make his Round House debut with The Inheritance. DC credits include Design for Living , Don Carlos , and Mourning Becomes Electra (Helen Hayes Award) at Shakespeare Theatre Company; and the first national tour of Angels in America and Bruinhaha! at the Kennedy Center. Broadway appearances include Flying Over Sunset , Sylvia , Sideman , and Chitty Chitty Bang Bang . Robert played opposite The Lady from Dubuque on the West End. Favorite off-Broadway and regional projects include Amadeus and Private Lives (Chicago Shakespeare Theater); The Mystery of Irma Vep (Red Bull/Lucille Lortel); and Stuff Happens (Public). Film and television includes Manchester by the Sea , Sleepy Hollow , and New Amsterdam . Robert is a graduate of UCLA and Juilliard.
HUNTER RINGSMITH (Young Man 7/Jasper/Paul Wilcox) is so thrilled to be making his Round House debut with this production. DC area credits include King Lear at Shakespeare Theatre; Shear Madness at Kennedy Center ; Desperate Measures at Constellation Theatre ; Major Barbara at Washington Stage Guild; and Twelfth Night and A Midsummer Night’s Dream at the Folger Off-Broadway credits include The Tempest at the Public Theatre’s Shakespeare in the Park. Regionally he’s been in Clarkston at Bridge Street Theatre; Bad Jews , Ghost , Sister Act , Sherlock Holmes: The Final Adventure and First Date at Lake Dillon Theatre Co; and has worked with Pennsylvania, New Swan, Colorado, Arkansas, and Great River Shakespeare Fests and The Dallas Theatre Center. Film work includes Netflix’s Rustin MFA: University of California Irvine. BFA: Southern Methodist University. www.hunterringsmith.com Instagram: @hringsmith
NANCY ROBINETTE (Margaret) is always gleeful when reunited with Round House, having performed here in Jennifer Who Is Leaving , Uncle Vanya , A Doll's House Part 2 , Escape from Happiness , Better Living , Love and Anger , and Who’s Afraid of Virginia Woolf ? Recent performances elsewhere include roles in Death on the Nile and The Heiress at Arena Stage; Uncle Vanya at Berkeley Rep and Shakespeare Theatre Company; Problems Between Sisters at Studio at Gulfshore Playhouse and Everyman Theatre; Trip to Bountiful Prayer for the French Republic at Manhattan Theatre Club for which she received an Outer Critic’s Circle nomination. For her 40+ years in the D.C. area theatre, she received a Helen Hayes Tribute. She dedicates this performance to the memory of her brother John, for whom she and her siblings created an AIDS quilt
COLE SITILIDES (Young Man 3/Young Henry) is delighted to be making his Round House Theatre debut in The Inheritance. Previous DC credits include Richard III at Shakespeare Theatre Company; Brighton Beach Memoirs at Theater J; and A Christmas Carol at Ford’s Theatre. Regional credits include The C Word with Los Angeles Theatre Initiative. He is a recent graduate of the UCLA School of Theater, Film, and Television. Instagram: @colesitilides.
DYLAN TOMS (Young Man 4/Young Walter) is so excited to be making his Round House Theatre debut with The Inheritance. DC credits include Into the Woods, Sweeney Todd, She Loves Me, and Assassins at Signature Theatre; FINN and The Mortification of Fovea Munson at Kennedy Center Theater for Young Audiences ; Meredith Wilson’s The Music Man ( Helen Hayes Award, Outstanding Ensemble) at Olney Theatre Center; The Lion, The Witch, and the Wardrobe, (Helen Hayes Nomination, Outstanding Lead Performer), Charlotte’s Web, Junie B. Jones: The Musical, and You’re a Good Man, Charlie Brown at Adventure Theatre MTC; and Finn: A Concert Reading with Monumental Theatre Co. and Theatre Alliance. Regional credits include Waitress at Mill Mountain Theatre and Cabaret at Showtimers Theatre @dylan_toms
UNDERSTUDIES
JONATHAN ATKINSON (Young Man 10/Toby Darling Understudy) see bio for Young Man 8/Jason #2
ANTHONY DE SOUZA (Young Man 8/Jason #2 and Young Man 5/Toby’s Agent/Charles Wilcox Understudy) is excited to be making their Round House Theatre debut with The Inheritance. Previous DC credits: José in Junie B. in Jingle Bells, Batman Smells! at Maryland Ensemble Theatre and Ignatius in Green Machine in the Capital Fringe Festival. Workshops/Readings: Walter Mercado presents: a queer Puerto Rican (not just) Christmxs Spectacular! at Avant House of Desires at We Happy Few. Anthony is also a director, with previous credits including Ride the Cyclone and Ordinary Days at CenterStage Theatre Company (Catholic University). Anthony is a graduate of the Catholic University of America with a BM in Musical Theatre. You can follow their work on their website: www.anthonydesouzaactor.com
ERIC HISSOM (Henry Wilcox Understudy) Round House credits include The Tempest, The Great Leap, Bengal Tiger at the Baghdad Zoo, and Curious Incident of the Dog in the Night-Time. DC credits include Arcadia at Folger Theatre (Helen Hayes Award); Death on the Nile at Arena Stage; The Diary of Anne Frank at Olney Theatre Center; Born Yesterday at Ford’s Theatre; The Vibrator Play at Woolly Mammoth; Body of an American at Theatre J; The Effect at Studio Theatre, and many others. Regional credits include work at Seattle Rep, La Jolla Playhouse, Cleveland Playhouse, Milwaukee Rep, Asolo Rep, and many others. He did the national tour of The Thirty-Nine Steps, and has done a bit of TV and film, including the feature Out of Time
ELIZABETH PIEROTTI (Margaret Understudy) is pleased to be supporting this production at Round House Theatre. DC credits include Ulysses on Bottles at Mosaic Theater Company; The Apple Family Plays, The Steward of Christendom and Silence , Cunning , and Exile at Studio Theatre; The Women and The Time of Your Life at Arena Stage; The Grapes of Wrath and Inherit the Wind Never Swim Alone at Woolly Mammoth Theatre; Well , The How and the Why , and The Glass Menagerie at 1st Stage; The Well of Horniness and The Art of Dining at Source Theatre; Medea at Songs of the Goat; and The Supper at Scena Theatre.
HUNTER RINGSMITH (Young Man 9/Eric Glass Understudy) See bio for Young Man 7/Jasper/Paul Wilcox
COLE SITILIDES (Young Man 1/Adam McDowell/Leo Understudy) See bio for Young Man 3/Young Henry
DREW SHARPE (Young Man 3/Young Henry and Young Man 4/Young Walter Understudy) is a DC-based actor, musician, and songwriter making his Round House Theatre debut. His recent theatre credits include Wipeout at Studio Theatre; Hand to God , Apropos of Nothing , and Merrily We Roll Along at The Keegan Theatre; Reefer Madness at NextStop Theatre Company;
The Tempest , The Complete Works of William Shakespeare (Abridged) , and Our Town with The Classic Theatre of Maryland; and Amelia Earhart with The REV on Tour. Instagram: @drew.sharpie21
THEODORE SHERRON III (Young Man 6/Tristan and Young Man 2/Jason #1 Understudy) is thrilled to be making his Round House Theatre debut with The Inheritance ! DC credits include The America Play at Perisphere Theatre. Touring credits include A Midsummer Night's Dream at Shakespeare Beyond. Regional credits include Akeelah and the Bee at Baltimore Romeo and Juliet, Complete Works of William Shakespeare, and Macbeth at Chesapeake Shakespeare Company; and R&J at Strand Theatre Co.
DYLAN TOMS (Young Man 7/Jasper/Paul Wilcox Understudy) See bio for Young Man 4/Young Walter
JAMES WHALEN (Morgan/Walter Poole Understudy) is delighted to be back at Round House for this production of The Inheritance . He was previously seen here in Small Mouth Sounds and NSFW . Recent credits include Porgy and Bess at The Washington National Opera; Uncle Vanya and King Lear at Shakespeare Theatre Company; And Then There Were None and A Midsummer Night’s Dream at Everyman Theatre; Ragtime and Daphne’s Dive at Signature Theatre; Shipwreck at Woolly Mammoth Theatre; and The Heiress at Arena Stage. He has also performed at Berkeley Rep, Olney Theatre Center, Mosaic Theater Company, Theatre J, and Actors Theatre of Louisville. TV and film credits include House of Cards , VEEP , I Love You But I Lied , Money Matters , and A Beautiful Mind.
CREATIVE TEAM
MATTHEW LÓPEZ (Playwright) is a Tony-winning, Emmynominated playwright and filmmaker. His play The Inheritance is the most honored American play in a generation, sweeping the “Best Play” awards in both London and New York, including the Tony Award, Olivier Award, Drama Desk Award, and Evening Standard Award. With Amber Ruffin, Matthew co-wrote the book for the musical adaptation of Some Like it Hot (Drama Desk Award, Tony nomination). His other plays include The Whipping Man , The Legend of Georgia McBride , Somewhere , Reverberation , The Sentinels , and Zoey’s Perfect Wedding . Matthew wrote and directed the film Red, White, and Royal Blue , based on the bestselling novel, for which he was nominated for an Emmy Award.
TOM STORY (Director) is an actor, director, and teacher living in Washington, DC. He has appeared in over 75 plays in DC, New York, and around the country. He has directed at Studio Theatre, Round House Theatre, Berkshire Theatre Group, Imagination Stage, Adventure Theatre MTC, and American University. Tom has been nominated for multiple Helen Hayes Awards and is a Fox Foundation Fellow, a Cabinet member of Studio Theatre, and a graduate of Duke University and The Juilliard School. He studied acting with Michael Kahn and directing with Joy Zinoman.
LEE SAVAGE (Scenic Designer) Broadway credits include The Lightning Thief (Longacre Theatre) . Additional New York City credits include: Natural Shocks and Collapse (Woman’s Project); Somebody's Daughter (Second Stage); Twelfth Night, X: Or, Betty Shabazz v. The Nation , and Julius Caesar (The Acting Company); New Golden Age and Rx (Primary Stages), and All-American (LCT3). DMV area credits include productions at Folger Theatre, Ford’s Theatre, The Kennedy Center, Shakespeare Theatre, Signature Theatre, Studio Theatre and Washington National Opera. Regional credits include productions at American Conservatory Theatre, Asolo Rep, Baltimore Center Stage, Dallas Theater Center, Guthrie Theater, Kansas City Rep, Long Wharf, Old Globe, PlayMakers Rep, Trinity Rep, Two River Theater, Yale Rep, and others. Lee has received two Helen Hayes Awards, the NAACP Award, and a Connecticut Critics Circle Award. Lee is a founding member of Wingspace Theatrical Design. He holds a Master of Fine Arts (Yale School of Drama), a Bachelor of Fine Arts (Rhode Island School of Design), and is the Head of Scenic Design at Rutgers, Mason Gross School of the Arts.
FRANK LABOVITZ (Costume Designer) is thrilled to return to Round House Theatre. Previous Round House credits include The Legend of Georgia McBride and Bengal Tiger at the Baghdad Zoo . DC credits include Head Over Heels , The School for Lies , and Little Shop of Horrors at Constellation Theatre Company; Once at Olney Theatre Center; The Panties, The Partner, and The Profit at Shakespeare Theatre Company; The Glass Menagerie at Ford’s Theatre; Wig Out! And Cloud 9 at Studio Theatre; and Which Way to the Stage , Cabaret , and Three Penny Opera at Signature Theatre. Frank has been nominated seven times for the Helen Hayes Award for Outstanding Costume Design and has received the award for three of his designs. Franklabovitz.com
COLIN K BILLS (Lighting Designer) returns to Round House, where his designs include Bad Books, Spring Awakening , The Legend of Georgia McBride , The Lyons , Uncle Vanya , and many others. His most recent work in the DMV has included The Marriage of Figaro at Wolf Trap Opera and Job at Signature. He has won three Helen Hayes Awards and is a recipient of a Princess Grace Fellowship in Theater. He has taught design at Howard University and is a graduate of Dartmouth College. (He/him/his).
UPTOWNWORKS (Sound Design) is a collaborative design team specializing in theatre, film, podcasts, and installations. DC credits include The Scenarios and Problems Between Sisters at Studio Theatre. Other design credits includes Becoming Eve with New York Theatre Workshop; Grandiloquent at the Lucille Lortel Theatre; Franklinland at Ensemble Studio Theatre; I’m Not Your Perfect Mexican Daughter at Denver Center
(DCPA); Dangerous Days at Miami New Drama; Murder on the Orient Express at Syracuse Stage; FIVE: The Parody Musical at Theatre 555; Lady Day and Fires in the Mirror at Baltimore Center Stage; Avaaz at South Coast Repertory, DCPA, and Olney Theatre Center; and Black Odyssey at Classic Stage Company. This design was led by Daniela Hart (uptownworksnyc.com), Liam Bellman-Sharpe (liambellmansharpe.com), Noel Nichols (noelnicholsdesign.com), and Bailey Trierweiler (btsounddesign.com).
PAUL ENGLISHBY (Composer) studied Composition at Goldsmiths College and The Royal Academy of Music. He is a recipient of an Emmy Award, BAFTA, Ivor Novello and Tony Award Nominations. Paul is an Associate Artist at the RSC and has written scores for over 20 RSC productions. Other theatre includes Emil and the Detectives (National Theatre); The Inheritance (Tony and Olivier nominated original score); The Audience (West End/Broadway); Hedda Gabler (Old Vic); The Moderate Soprano (Hampstead/West End); and Red Velvet (Tricycle/West End/NYC). Television includes Now and Then, Masters of the Air ; Lang Lang Plays Disney, Luther (five seasons, BAFTA nominated original score); The Musketeers (two seasons); and Witness for the Prosecution (Ivor Novello award nominated original score). Films include They All Came Out to Montreux, Together, Good Grief , Page Eight ( Emmy Award winner), An Education, A Royal Night Out, Sunshine on Leith, and Miss Pettigrew Lives for a Day.
KELLY COLBURN (Projections Designer) is a multidisciplinary artist working in the DC Area (Piscataway/Nacotchtank lands). She is the Executive Director at Flying V, a Media/Projections faculty member at The University of Maryland College, and a twotime Helen Hayes recipient. Round House Theatre credits include Small Mouth Sounds and Nollywood Dreams. Other DC area credits include The Colored Museum (Studio Theatre, Helen Hayes Nominee), Postcards from Ihatov (1st Stage, Helen Hayes Nominee), Passing Strange (Signature Theatre, Helen Hayes Nominee), My Mama and the Full Scale Invasion (Woolly Mammoth Theatre Company, Helen Hayes Nominee), and Look Both Ways (Kennedy Center TYA & Theater Alliance, Helen Hayes Nominee). Off-Broadway: american (tele)visions (Lucille Lortel Nominee, Henry Hewes Nominee). BFA NYU Tisch ’11 | MFA UMD ’18. (she/they/k)
BRITTA JOY PETERSON (Movement Director and Intimacy Director) is a choreographer, director, and intimacy professional who organizes constellations of relations on stage, page, and screen. She is thrilled to make her Round House debut with The Inheritance . Recent work has been seen at The John F. Kennedy Center for Performing Arts (DC), Studio Theatre (DC), The Floor (NYC), Public Assembly (LA), Performance Mix 33 (NY), Lyric Repertory Theatre (UT), Imagination Stage (MD), Dance Place (DC), Triskelion Arts (NY), Sonics Immersive Media Lab (England), and Paramount Theatre (MN) among others. Recent Intimacy Coordination includes forthcoming feature films Here I’m Alive (dir. Joshua Z. Weinstein), NYX (dir. Kristina Klebe), and short films SLAPHAPPY (dir. Nabeel Jan) and Best Wishes (dir. John Anderson). BJP holds an MFA from Arizona State University and is based in Lenapehoking/Brooklyn.
CASEY KALEBA (Fight Director) returns to Round House Theatre for The Inheritance , where he has staged more than a dozen shows including Topdog/Underdog,
Girlhood (Teen Performance Company), Nine Night , Quixote Nuevo , The Curious Incident of the Dog in the Night-Time , Angels in America , and The Night Alive . DC credits include Fences , Ragtime , and Who’s Afraid of Virginia Woolf at Ford’s Theatre; Il Trovatore , Turandot , and Macbeth with the Washington National Opera; King of the Yees , Blackbeard , and A Funny Thing Happened on the Way to the Forum with Signature Theatre; and Singing in the Rain , Mary Stuart , and Sweeney Todd with Olney Theatre Center. Recent work includes Hamlet at the Guthrie Theatre and The Play That Goes Wrong at Northern Stage. Casey is a five-time Helen Hayes nominee for Choreography and coordinates the stage combat training program through Round House Theatre’s education wing. ToothandClawCombat.com
LISA BELEY (Voice Coach) is excited to work for the first time with Round House Theatre. She is the Head of Voice and Text at the Shakespeare Theatre Company (STC) in Washington, D.C., where she has contributed to numerous productions, including 2018’s Comedy of Errors with The Inheritance director Tom Story. Other favorite STC productions include Frankenstein , King Lear , The Oresteia , Hamlet , Camelot , and many others during her nine years with the company. Lisa is on faculty with STC’s MFA Classical Training Program at George Washington University, where she teaches voice and speech. Lisa's expertise in dialects has led her to work with many notable actors in film and television, including Freddie Highmore, Paul Bettany, Sam Neill, Christina Hendricks, Lea Thompson, and others.
OTIS CORTEZ RAMSEY-ZÖE (Dramaturg) is a care worker, dramaturg, and director. He has developed new works at such institutions as Chautauqua Theater Company, South Coast Rep, Playwrights Center, Kennedy Center, National New Play Network, Alabama Shakespeare Festival, and Sundance Institute. He has held posts in Dramaturgy at the David Geffen School of Drama at Yale and Carnegie Mellon University, Theatre at Northeastern University, Women’s Studies and Honors Humanities at University of Maryland, and Theatre Arts at Howard University. He was Literary Manager at Arena Stage and Baltimore Center Stage, Associate Artistic Director at banished? productions , and Future Classics Program Coordinator at The Classical Theatre of Harlem. (he/him/love)
SARAH COONEY (Casting Director) is Round House Theatre’s Casting Director & Associate Producer. In the DC area, Sarah has cast for The Kennedy Center’s Broadway Center Stage series, Signature Theatre, Shakespeare Theatre Company, Studio Theatre, Olney Theatre Center, and Rep Stage. As a Casting Director with NYC’s Binder Casting, Sarah cast for The Lion King Broadway and National Touring productions and the Encores! series at New York City Center. Other Regional casting credits include Barrington Stage, Hartford Stage, TheaterWorks Hartford, Seattle Rep, Drury Lane Theatre, Weston Playhouse, McCarter Theatre, ACT of Connecticut, and others. Film and TV casting credits include Crashing (HBO), The Big Sick (Apatow Productions), Kevin Can Wait (CBS), and Clipped (HGTV). Sarah taught at West Virginia University, and is a New York University alum.
ASHLEY MAPLEY-BRITTLE (Associate Director) is a local theatre director and assistant/associate director. She is excited to be back at Round House and working on The Inheritance . Directing experience includes Rosencrantz and Guildenstern are Dead with Nu Sass, Sanditon and a staged reading of Peerless at We Happy Few, and MOJO at the Edinburgh Fringe Festival. Previous Associate Directing experience includes Private Jones at Signature Theatre and The Hatmaker’s Wife at Theatre J. Some of her Assistant Directing experience includes Colored Museum and Good Bones at Studio Theatre, Much Ado About Nothing and Jane Anger at Shakespeare Theatre Company, The Great Leap , “ We declare you a terrorist…” , and Nine Night at Round House Theatre. She has her BA in Performance Theatre from High Point University and her MFA in Theatre Directing from East 15 Acting School (London, UK) and she served as Round House Theatre’s Artistic Apprentice for their 2021-2022 season. Website: www.ashleymapleybrittle.com. ( she/her )
MARK COSTELLO (Associate Projections Designer) is a nationally produced video designer across various performance disciplines. He is a founding member of Merkins, Daniello & Sons, a company dedicated to creating innovative and athletic theatrical performance. Mark is a founding member of Alaska House, a multimedia design collective. He has a BFA from New York University and an MFA from the University of Maryland.
CHE WERNSMAN (Production Stage Manager) is embarking on her tenth season as Resident Stage Manager at Round House Theatre with The Inheritance ! Some of her favorite Round House Theatre credits include: Bad Books; What the Constitution Means to Me; A Hanukkah Carol; Topdog/Underdog; Ink ; On the Far End ; The Tempest ; Nine Night ; "We declare you a terrorist…" ; A Boy and His Soul ; The Curious Incident of the Dog in the Night-Time ; Handbagged (Off-Broadway - 59E59, Bethesda); Oslo; Gem of the Ocean ; Small Mouth Sounds ; The Book of Will ; and A Prayer for Owen Meany . Che has worked as an AEA Stage Manager in the DC/Baltimore region for over two decades, with shows at Everyman Theatre, The Kennedy Center, Folger Theatre, Imagination Stage, The National, Shakespeare Theatre Company, Theatre J, Studio, Rep Stage, Center Stage, and Olney Theatre Center. Che has a Bachelor of Science from Virginia Tech.
JUANCARLOS CONTRERAS (Assistant Stage Manager) is grateful that his first production with Round House Theatre is The Inheritance . Other local DMV-area credits include: Akira Kurosawa Explains his Movies and Yogurt (with Live and Active Cultures!) at Woolly Mammoth Theatre; Kunene and the King at Shakespeare Theatre Company; And Then There Were None at Everyman Theatre. Regional credits include three seasons at the Oregon Shakespeare Festival, with highlights being Lizard Boy and Romeo & Juliet ; Spring Awakening at Northern Stage; Jacob Marley’s Christmas Carol at the Fulton Theatre; and two summer seasons at Creede Repertory Theatre with highlights being An Iliad and Little Shop of Horrors BA in Theatre, Film, and Dance from Cal Poly Humboldt; MFA in Stage & Production Management from Carnegie Mellon University.
HIDING IN PLAIN SIGHT
AN
INTERVIEW WITH MATTHEW LÓPEZ
BY OTIS CORTEZ RAMSEY-ZÖE
was, and I loved it. Looking back at it, that day in that cinema in Panama City, Florida in 1990-whatever-it-was was maybe one of the most important days of my life. Of course, I couldn't have known it then. But I very clearly remember that experience of seeing that film and being changed by it.
ORZ: When did you began to write the play? How did the idea and scale develop?
ML: There was a little bit of post facto intentionality to the largeness of it that didn't really exist. I genuinely had no ambition any greater than simply retelling this story in a contemporary queer way. I didn't know that it was going to be two parts. I didn't know that I was going to put so much of my own life into it. Now, I look at it as sort of a quasi-autobiography as literary adaptation. It's my way of hiding in plain sight.
I used the word pure to describe the intentions of a person who loves a book and wants to live inside the world of the book in a more concrete way, and for me that was writing a play. I started to outline it in summer 2013. I started to write it in the spring of 2015. Although I was doing a lot of other things, it never really stopped growing in my head. I ended up writing Part One in about five weeks. The writing was furious. It was all I did for five, maybe six weeks. A year later, after we developed Part One, I wrote Part Two in about a two-month process in 2016.
ORZ: What was the first thing that you wrote that became a part of the play, or what was the earliest idea that stuck?
OTIS CORTEZ RAMSEY-ZÖE : When did you first know that you wanted to adapt or engage Howards End ?
MATTHEW LÓPEZ : It's a very specific date. Around July of 2008, I was sitting in Sheep Meadow in Central Park rereading Howards End for the umpteenth time, and the idea just landed fully formed, which was take the plot of Howards End, set it in present day New York City, and instead of three families from different social classes, tell the story using three generations of gay men to explore the legacy of HIV and the epidemic on the lives of gay men and successive generations. It gestated for a while. One could argue that it gestated even longer because I saw the movie of Howards End when it was released in the theaters. I begged my mom to take me to see it, which tells you everything you need to know about what kind of fourteen-year-old boy I
ML: The first thing was just sort of figuring out Eric and Toby, who they were in relation to the Schlegel sisters. The second thing that I needed to do was figure out the structural underpinning, the architecture of the play. One of the early realizations, I was really interested in Forster as a person and the thing that's missing from Howards End really is Forster himself. I mean, he's there throughout, but he's absent as an out gay man. Of course, he wasn't an out gay man, but he was hiding in plain sight, and I wanted to sort of bring him out of the shadows. As a young man trying to figure out how to retell Howards End, I needed Forster’s guidance, his presence.
AROUND JULY OF 2008, I WAS SITTING IN SHEEP MEADOW IN CENTRAL PARK REREADING HOWARDS END FOR THE UMPTEENTH TIME, AND THE IDEA JUST LANDED FULLY FORMED…
ORZ: In terms of Howards End and Forster, was there something in the novel or regarding its author that you wanted in the play that ultimately didn’t make it into this version?
ML: There was. In Part Two, there used to be a huge subplot about the writing of Maurice in 1913-1914, the secreting of it by Forster throughout his life, the bequeathing
of it to Isherwood, and its subsequent posthumous publication. You know, there's no time to do that story. That said, I knew that Part Two had to feel very different from Part One. If people came back after Part One and Part Two was just more of the same, they’d get bored very quickly. It is a very calculated decision to ask the audience to take a giant leap into the unknown, because that's what the characters are doing in Part Two.
WHAT IS YOUR ROUND HOUSE
LEGACY?
CREATE IT TODAY AND JOIN THE STREET 70 LEGACY
SOCIETY
The Inheritance asks us What do we owe those who came before us? But, more importantly, it asks What legacy will we leave behind?
ORZ: What did setting the play in 2015-2018 enable? How did it inform your engagement with history and Forster?
ML: The play was originally written in the perpetual now. In 2016, we had done an enormous workshop in the summer. I was rewriting. Then, in the fall of 2016, Donald Trump was elected president for the first time. And that was the thing that placed the play within a very specific time. Suddenly, the play wasn't about the perpetual now; it was about a very specific period in the late Obama and early Trump years, and it was a response in the moment to what was happening in America. Little could I have known that history would repeat itself, and here we are at the beginning of another Trump era. I took the risk that the play would eventually become dated by knowing that Forster's work was also very specific to its time, and it's survived. I knew that I couldn't write this play without dealing with Trump, who, I should add, is never named in the play.
ORZ: Intergenerational relationships are central to the play. Who are your mentors and elders both in real life and those you’ve met only through their work?
ML: The obvious answer in terms of literary lineage is Forster himself. Tennessee Williams. James Baldwin. In Part Two, there's a lot of me chasing after Another Country I feel a kinship between Rufus in Another Country and Leo. I feel like there's so much inspiration of Another Country and Tennessee Williams, too. In so many ways, I was aiming for his unabashed lyricism and romanticism. Wendy Wasserstein was a huge influence on me. In the minutiae of the domestic scenes, I feel I was chasing The Heidi Chronicles.
Personally, the main one was Terrence McNally. He was the other enormous influence. Love! Valor! Compassion! The big misunderstanding people have about this play is that I'm chasing Kushner. I'm not chasing Kushner. I was chasing Terrence McNally. He, for me, was the goal, was the spiritual godfather of the play, and I happened to be very fortunate that he was a personal friend. That relationship, his encouragement of my writing, I don't know if I would have had the courage if it weren't for his encouragement.
ORZ: What, would you say, is a common thread across your body of work?
ML: The common thread of my work, so far as a playwright, has been powerless people building safe spaces for themselves and therein claiming their right to political and economic power for themselves. It is about vulnerable people creating safe places for themselves in the world. You could reduce every single one of my plays down to that.
You can ensure your legacy as a proud supporter of the work that Round House produces with a planned gift today, for a future tomorrow. By including Round House in your estate plans, you can help shape the future of the theatre you love for generations to come.
• There is no minimum commitment
• Planned gifts cost nothing now, and can be as simple as a bequest or a more formal vehicle like a charitable annuity, remainder trust, or insurance arrangement.
• You can pick how you want your money to be used—support general operating costs, new play development, or any program of your choosing
• Your gift can remain anonymous, if you choose.
For more information, please contact the Development Department at 240-644-1405 or Development@RoundHouseTheatre.org
Thank you to the following STREET 70 LEGACY SOCIETY
MEMBERS who have generously included Round House Theatre in their estate plans.
RACHEL H.M. ABRAHAM*
ANONYMOUS (2)
NAN BECKLEY
DON AND JAN BOARDMAN
DIANE BOEHR
JAMES BURKS AND BETTE PAPPAS
MARTY* AND BELLE NEGRIN DAVIS
GILBERT AND RONA EISNER
LAURA FORMAN AND RICHARD BENDER
HELENE FREEMAN
STEVEN GARRON
ANN AND FRANK* GILBERT
SUSAN GILBERT AND RON SCHECHTER
JAY AND ROBIN HAMMER
ROBERT E. HEBDA
LINDA LURIE HIRSCH
ELAINE ECONOMIDES JOOST
CHERYL C. KAGAN
RENEE KLISH
DANA AND RAY KOCH
SETH AND BARBARA KOCH
BRUCE AND ANN LANE
DARRELL LEMKE* AND MARYELLEN TRAUTMAN*
SCOTT AND PAULA MOORE
GERI OLSON
DYLAN NATHANIEL PARHAM
SALLY J. PATTERSON
LINDA RAVDIN AND DON SHAPERO
LINDA RYAN
HENRY SCHALIZKI*
MARK AND MERRILL SHUGOLL
PAMELA AND JOHN SPEARS
JOHN AND VAL WHEELER
*in memoriam
For more information on making a legacy gift to Round House, please visit RoundHouseTheatre.org/PlannedGiving
HOUSE RULES
At Round House, “Theatre For Everyone” isn’t just a statement. It’s our mission and an organizational value. It means that everyone—patrons, artists, staff, students, trustees, and volunteers—is invited to fully participate and deserves to be treated with respect. This is our promise to you…and we ask you to help us uphold these values and expectations in all of your interactions with Round House.
We believe that…
• All are welcome here, and each person is empowered and encouraged to fully engage with our work.
• Everyone is a human being, equally deserving of respect.
• Theatre is an “empathy gym,” and building that muscle is what each of us is here to do.
• Anti-racism—the intentional and conscious effort to combat racial prejudice and systemic and structural racism—is an ongoing and active practice, and we must all stand against oppression and marginalization of all kinds.
• Discomfort is often productive, but cruelty never is.
We invite you to…
• Assume positive intent and expect the same assumption in return.
• Enjoy our art with your whole self—laugh, clap, cry, have reactions!—and embrace your fellow audience members’ reactions in turn. Remember that your experience is shared with the rest of the audience.
• Make a deliberate effort to confront your own biases, and partner with us to help make Round House a welcoming space for everyone. We’re all learning!
• Help us create a positive community and a culture of collaboration.
We will not tolerate…
• Insulting or discriminatory speech towards anyone.
• Unwanted invasion of another person’s physical space.
• Abusive or harassing behavior.
• Ignoring or talking over staff who are trying to assist you.
• Creating a hostile environment for fellow audience members, students, artists, or staff.
• Disrespect of or damage to our theatre or other facilities.
D. HUNTER
WE ARE GLAD YOU’RE HERE! Thank you for being a part of the Round House community as we work together to truly be a Theatre For Everyone.
If you witness or experience behavior that violates the values and expectations outlined above, please alert our staff. Round House will take action to protect our community, with consequences up to and including removal from Round House activities.
In our ongoing efforts to learn more and strengthen our relationships with members of our local community, and to work towards dismantling the harmful effects of white supremacy and colonization, Round House acknowledges that our theatre, administrative offices, education center, and production shop are located on unceded land cared for by native tribes including the Piscataway peoples We pay our respects to the Piscataway community and their elders both past and present, as well as future generations
We pledge to do the work necessary to build relationships with sovereign tribal nations, to ensure that Round House becomes a more inclusive space, and to never cease ongoing learning
EXECUTIVE LEADERSHIP
RYAN RILETTE (Artistic Director) is in his fourteenth season as Artistic Director of Round House Theatre. During his tenure, he has produced seven of the 10 highest grossing seasons and 17 of the top 20 highest grossing productions in the theatre’s history. His productions have received 99 Helen Hayes Awards nominations and 30 Helen Hayes Awards. Ryan created the theatre’s Equal Play commissioning program, Resident Artist program, Fair Play pay scale for artists, and Free Play ticketing program. For Round House, he has directed Bad Books, The Seafarer , “We declare you a terrorist...” (world premiere), Throw Me on the Burnpile and Light Me Up , Homebound , The Curious Incident of the Dog in the NightTime , Oslo , Small Mouth Sounds , “Master Harold”...and the Boys , The Book of Will , Angels in America: Perestroika , The Night Alive , Fool for Love , This , and How to Write a New Book for the Bible. He will direct the American Premiere of Rules for Living as the next show in this season. Prior to joining Round House, Ryan served as Producing Director of Marin Theatre Company, Producing Artistic Director of Southern Rep Theatre, and co-founder and Artistic Director of Rude Mechanicals Theatre Company. He is the former Board President of the National New Play Network, and formerly served on the boards of theatreWashington and Maryland Citizens for the Arts.
ED ZAKRESKI (Executive Director) is in his tenth season leading Round House Theatre, overseeing management, finance, marketing, and fundraising. Under his leadership, Round House doubled earned income and increased contributed income by 150%, growing the annual operating budget from $4 million to $10 million; and the theatre has been named one of the “Best Places to Work” by Bethesda Magazine multiple times. Over more than 30 years as a DC arts executive leader and fundraiser, Ed has raised more than $150 million. At Round House, he led the $14 million Full Circle Capital Campaign and theatre renovation, and produced the twelve highest-grossing productions in the company’s history. Before joining Round House in 2016, Ed spent 12 years as Chief Development Officer at Shakespeare Theatre Company, where he completed the $75 million capital campaign for Sidney Harman Hall and produced the $3 million opening gala—called “the most buzzedabout gala” by Washington Life . He also doubled the annual fund and built STC’s Annual Gala and Will on the Hill into two of BizBash’s Top 10 Washington events. From 1998–2005, he held increasingly senior roles at the Kennedy Center, culminating as Director of Individual Campaigns, leading a 22-member team that raised $11+ million annually. At the Kennedy Center, he significantly expanded engagement and fundraising of the Center’s auxiliary boards and led unique experiential arts meetings across the United States and in Beijing, Budapest, Copenhagen, London, Paris, Prague, and St. Petersburg. Ed holds a degree in arts management from American University and is a frequent presenter on nonprofit arts management and fundraising.
ROUND HOUSE ANNUAL DONORS
List is current as of July 21, 2025.
WE GRATEFULLY ACKNOWLEDGE the following donors who support the work of Round House Theatre through Annual Fund, Gala, and Theatre for Everyone contributions These gifts help Round House continue to be a theatre for everyone and enrich our community through bold, outstanding theatrical and educational experiences that inspire empathy and demand conversation
To learn more about the ways to support Round House, donor benefits, or to make a gift, visit RoundHouseTheatre.org/Support or call the Development Department at 240.641.5352.
LEADERSHIP CIRCLE
DIAMOND CIRCLE
PLATINUM CIRCLE
Cathy S. Bernard
The Roy Cockrum Foundation
Heidi and Mitch Dupler
Jay and Robin Hammer
Bonnie and Alan Hammerschlag
State of Maryland
Montgomery County Government
Linda J. Ravdin and Don Shapero
Judy and Leo Zickler
SHARE FUND
Michael Beriss and Jean Carlson
The GPS Fund
Susan and Timothy Gibson
John and Rachel King
Janice McCall
Dian and Steve Seidel
Sherman Fairchild Foundation
David and Sherry Smith
The Sulica Fund
GOLD CIRCLE
Anonymous
Nan Beckley
Walter A. Bloedorn Foundation
Ellen and Jon Bortz
James Burks and Bette Pappas
Lynn and Bill Choquette
Gilbert and Rona Eisner
Clare Evans
Pam and Richard Feinstein
Michael and Ilana Heintz
Paul Henderson
Rafael Hernandez and Laura Roulet-Hernandez
Rick Kasten
The Sheldon and Audrey Katz Foundation
Ann and Neil Kerwin
Maryland State Department of Education
Still Point Fund
Susan and Bill Reinsch
SILVER CIRCLE
Anonymous (2)
+
Arronson Foundation
Gregory Dobbins
Susan Gilbert & Ron Schechter in honor of Kimberly G. & Maboud E.
David Hantman
John and Meg Hauge
Robert E. Hebda
Mindy A. Hecker
Robin Hettleman and Matthew Weinberg
Jan and Carole Ann Klein
Maureen and Michael
McMurphy and the Patrick Michael McMurphy Memorial
Philip* & Lynn Metzger
Lisa M. Mezzetti
The Morgan Fund at Seattle Foundation
Martha Newman and Brian Sutton
Linda Ryan
Elaine and English Showalter
Nina Weisbroth and Larry Culleen
John and Val Wheeler
BRONZE CIRCLE
Celia and Keith Arnaud
Lorraine and Doug Bibby
Elaine Kotell Binder and Richard Binder
Don and Nancy Bliss
Dallas Morse Coors Foundation for the Performing Arts
The Dimick Foundation
Stephanie deSibour and Marc Miller
Jim Eisner
Laura Forman and Richard Bender
Susie and Michael Gelman
Alan* and Hedda* Gnaizda
The Greene-Milstein Family Foundation
Leslie Grizzard and Joe Hale
John Horman
Sari Hornstein
Michele Jawando
Elaine Economides Joost
Nancy and Robert Kopp
Chris and Kathleen Matthews
John and Marie McKeon
Don McMinn and Harv Lester
Richard and Meka Parker
Evelyn Sandground and Bill Perkins
Linda Schwartz
Mark and Merrill Shugoll
Linda and Steve Skalet
Michael and Andrea Steele
Pamela Suan
Anne* and Robert Yerman
Bernard and Ellen Young
COPPER CIRCLE
Marla and Bobby Baker, BakerMerine Family Foundation
James R. Beckers and Donna Mertens
Ellen Berman
Wendy and Eben Block
Don and Jan Boardman
Michael L. Burke and Carl W. Smith
Jane* and Fred Cantor
Paula Causey & Bruce Gregory
City of Rockville
Neil and Marcy Cohen
William Davis and Jane Hodges
Jean and Paul Dudek
Susan Dweck
Bunny R. Dwin
E&B Family Trust
Victoria Heisler Edouard
Joan Farragher
Burton and Anne Fishman
Lisa Gappa-Norris
Ann and Frank* Gilbert
Ellen G. Miles in honor of
Neil Richard Greene
Susan and Peter Greif
Edward Grossman and Rochelle Stanfield
Lana Halpern
Jeffrey and Rose Heintz
Donald Hesse and Jerrilyn Andrews
Linda Lurie Hirsch
Jane Holmes
Robbins and Giles Hopkins
Howard and Ella Iams
Reba and Mark Immergut
Clifford Johnson and Margaret Roper
Daniel Kaplan and Kay Richman
Debra Kraft and Rob Liberatore
Dana and Ray Koch
Barry Kropf
The Henry Luce Foundation
Michael and Judy Mael
Ed Starr and Marilyn Marcosson
MetroBethesda Rotary Foundation Inc.
Scott and Paula Moore
Joann Moser and Nicholas Berkoff
Mary Katherine Nagle and Jonodev Chaudhuri
Carl and Undine Nash
Onstage DMV
Michael and Penelope Pollard
Barbara Rapaport
Joy A. Rhoden
Mark Rothman
Margaret Ann Ross
The Rowny Foundation
Amy Selco and Kevin Keeley
Barbara and Mike Selter
Robin Sherman
Jay P. Siegel and Mona Sarfaty
Leslie and Howard Stein
Jay Sushelsky and Noreen Marcus
Leslie C. Taylor
William Tompkins, Jr. and Dana Brewington
The VAC Fund
Richard and Susan Westin
Lynda and Joseph Zengerle
INNER CIRCLE
SUSTAINERS
Clement and Sandra Alpert
Designated Endowment Fund
Daniel and Nancy Balz
Leslie Bauer
Marian Block
Irene and Joseph Bromberg
Susan and Dixon Butler
Bonnie C. Carroll
John and Valerie Cuddy
Lisa Demarco
The Eacho Family Foundation
Hope Eastman and Allen Childs
FBB Capital Partners
Lois Fishman
Daryl Flatté and Richard David
Fleishhacker Foundation — in honor of Mitch and Heidi Dupler
Carole and Robert Fontenrose
Nikki Gettinger
Ellen and Dr. Michael Gold
Tom and Karen Guszkowski
Nicole Halmos
Adam and Erin Heintz
The Heintz Family
Connie Heller
Brenda and Dwayne Holt
Abigail Hopper and John Pietanza
Raymond James
Belinda Kane
John Keator and Virginia Sullivan
Margaret Kenny
Renee Klish
Kathleen Knepper
Ellen Kohn
Daniel Korengold and Martha Dippell
Ann and Bruce Lane
Sharon and Jim Lowe
Denise and Craig Pernick
Henry Kahn and Laura Primakoff
RBC Wealth Mangement
Janet Rosenbaum
Malcolm Russell-Einhorn
Ruchi Sharma and Apoorva Gandhi
Suzanne Shapiro
Victor Shargai* and Craig Pascal
Laura Sloss and Peter Lowet
Page and Amy Stull
Grant P. and Sharon R. Thompson
BENEFACTOR
Dave and Toko Ackerman
Anonymous
Kate and Stephen Baldwin
Jeff Bauman and Linda Feinberg/ Beech Street Foundation
Gary and Linda Bittner
Harvey Maisel and Andrea BoyarskyMaisel
Sharon Brown
Richard Cleva
Belle Davis
Janet Garber and Kris Keydel
Karen Garnett and Dan Hudson
Susan Gordon
Margaret Hennessey
Larry* and Sue Jeweler
Michael Kampen and Rachael Schroeder
James Kanski
Kyle F. Kerr and Stephen Bique
Chaz and Jane Kerschner
Shelley Klein and Cathy Bendor
Mimi and Michael Brodsky Kress
Barbara Kurshan
Isiah and Catherine Leggett
Stephen H. Leppla
Ann Hutchison Lung
Mary Maguire
Barbara and Alan* McConagha
Doug and Mary Beth McDaniel
Anne McGuirk
Arthur and Sallie Melvin
Kathleen Meskill
Alan Miller and Susan O'Hara
Robert K. Musil and Caryn McTighe Musil
Nkechi Nneji
William and Paula Phillips
Mark and Teresa Plotkin
Steve Roberts
David and Gayle Roehm
Cynthia Rohrbeck and Philip Wirtz
Helene and Mitchell Ross
Judy and Mark Sandstrom
Kathy Sklar
Sarah Sloan
Donald M. Spero and Nancy Chasen
Rochelle S. Steinberg
Susan and John Sturc
Lucinda and Stephen Swartz
Marna Tucker and Lawrence Baskir
Richard and Elisabeth Waugaman
Kathy and Bob Wenger
Carolyn L. Wheeler
Lyric W. Winik
Ellie Zartman
ADVOCATES
Boris Allan and Kathleen Pomroy
Anonymous
American Online Giving Foundation
Elisabeth Bahl
Naomi and David Balto
Lynn Barclay
Jane Beard and Jeff Davis
Howard Benjamin
Carol Blakeslee
Denise Brady
Robert Brewer and Connie Lohse
Jeremy Brosowsky and Beth Tritter
Jeffrey and Joan Butvinik
Carol Chelemer
Janice Crawford
Donna Dana
Eileen and Paul DeMarco
Katherine DeWitt
David Drasin
John Driscoll
Laura Elliot
Kenny Emson
Dr. Julie M. Feinsilver
Jonathan Fellner
Steven Ferguson and Deen Kleinerman
Barry and Jeanette Filderman
Kathy Freeman
Dr. Helene Freeman
Donna and Bruce Genderson
Brigid Haragan
Keith and Shelby Harper
James Heegeman
Thomas and Ann Humphrey
William and Jennifer Jacob
Rachel Jaffe
Elizabeth B. Jones
Michael and Jean Kaliner
Veronica Kannan
Erna Kerst
Monica Knor
Lerch, Early, & Brewer
Jessica Lerner and Daniel Pink
Edward Lieberman
Sharon Light and Gidon van Emden
Paul Love
David and Karen Marcellas
Winton Matthews, Jr.
Susan Freeman McGee
Anna McGowan
Rick McUmber and Melanie Folstad
Diane Meyers
Mike and Mary Morse
Joseph Mullinix
Jill Nelson
Geri Olson
Gail Kern Paster
Stan Peabody
Andrew Pierre and Joan Root
Vicken K. Poochikian and Irene Roth
Deborah and Lee Rogers
Michelle and KenYatta Rogers
Steven M. Rosenberg and Stewart C. Low III
Florence and Daniel Rosenblum
Sheryl Rosenthal and Marty Bell
Jane Rostov
Fanchon Silberstein
Stuart Sirkin and Arlene Farber Sirkin
Ian and Marcia Solomon
David Stevens
Holly Stone
Tom Strikwerda and Donna Stienstra
Maxine Sushelsky
Ruth Tate
Sheila Taube
Travis Memorial Endowment
Joanne Tucker
Martha Tuohey
Jack Vanderryn and Margrit Venderryn
Walter Wentz
Wegmans Food Markets
Madeline and Gary Wilks
Ed and Judy Zakreski
Marc Zwillinger and Kirsten Chadwick
ASSOCIATES
Actors' Equity Foundation, Inc.
Donald Adams and Ellen Maland
John Allnutt
Anonymous
Betsy and Robb Anderson
Alan and Susan Apter
Lee T. Arevian
Lucie Austin
Michaela and David Barnes
Leonard and Gabriela Bebchick
Emily Berman
Kenneth Berman
Edie and David Blitzstein
Linda Blumberg and Stephen Turow
Diane Boehr
Judith and L. Thompson Bowles
Yolanda Bruno
Stephen Brushett
Ronald and Lori Bubes
Carole Bumpus
Clarette Cain
Lucinda Calahan
The California Wellness Foundation
Leslie Calman
Linda Cancellieri
Amy Clayman and Erik Belanoff
Vanessa Chernick
Ann Christy
Tracey L. Chunn
Franklin C Coleman
Edward Cowan
Daffy Charitable Fund
Diana Daniels
John Devaney
Antoinette Doherty and Karl Kippola
Andi Drimmer
Marc and Nancy Duber
Peggy Dugan
Sarah and Josh Eastright
William Eaton
Fred and Starr Ezra
Arlene Ferretti
Barbara Fleischer
Amy Francis
Arlene Friedlander
Meredith Fuchs and Jeff Chyatte
Nicole and Christopher Gardner
Francie Gilman
MATCHING GIFT COMPANIES
Synchrony Financial
Eric Glantz and Jessica Nassau
Andrew Green
Larrie and Joyce Greenberg
Stuart and Beverly Greenfeig
Jane and Jeff Griffith
Julie and Jason Grosman
Wilbur and Rita Hadden
Mary Ann Hamel
Susan and Allen Hanenbaum
Alan Helgerman
Jay and Linda Herson
Avi Hoffer
Susan Hoffmann
Larry Hothem
Sandy Hudson
Chris Huff and Pamela Van De Walle
Greg Ip
Kristina Jeffers
Michael Joy and Deborah Fischer
Penny Kahn
Arthur Karlin
Aaron Kaufman
Linda Kaufman
Kari and David Keaton
Lisa Kenigsberg
Allison King
Monica Knorr
Michael Kolakowski
Sara and Stephen Kraskin
Gary LaFree and Vicki ViramontesLaFree
Felice Li
Sandra Maddock
Jessica and Brian Markham
John and Liza Marshall
Toni Marx
Michael Mayer
Harriet McGuire
Patricia McMahon
Janice and David Mehler
Jack Melamed and Robert Baker
Carol Mermey and Erik Lichtenberg
Simone and Christopher Meyer
Susan Milligan and Philip McGuire
Edward and Nancy Mills
Tish Mills
John Murphy
Julie Nemecek and Andrew Snyder
Glenn Nyre
Nicholas Olcott and Tim Westmoreland
Fred and Barbara Ordway
John and Margie Orrick
Jane D. Pacelli
Mary Padgett
Jim and Joan Palmer
Katherine Phillips
Joram and Lona Piatigorsky
Mark Radke and Helen Chaikovsky
Nancy Raskin
Bo and Andrea Razak
Everett Redmond and Valerie Schneider
Dennis W. Renner and Michael T. Krone
Sharon Rennert
John Rinzel
Naomi Robin and Gerald Gleason
Lori and Bob Rodman
Barbara and Bob Rosen
Geraldine Rottenberg
William and Ellen Sandler
Ronda Schrenk
Kristen Sgambat
Penelope and Edward Shapiro
Marnie S. Shaul
James and Ann Sherman
Stephanie and Johnny Shuchart
Robert Shue
Judith Silber
Emily Silverberg
Cecile Srodes
Crystal Swann
David A. Talmage
Sheila Taube
Sally Tedrow
Maria Tsao
Lore Unt
Debby Vivari
Carla Washington
Julie Watson
Lesley Whitley
Eric Williams
Eric and Lalah Williams
Kathryn Winsberg and King Stablein
Beryl Zbar
William and Charlene Zellmer
Lynn Zinn *In memoriam
Business Council Member
IN KIND DONORS
Doyle Printing & Offset Co.
Mayorga Coffee
Pebblebrook Hotel Trust
Provisions Catering
Barbara Rapaport
Susan Gage Caterers
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.
Artist Housing at Round House Theatre is provided by major contributions from the Melissa Blake Rowny Fund for Artistic Development and the State of Maryland. We make every effort to provide accurate acknowledgment for our contributors. If your name is misspelled or omitted, please accept our apologies and contact the Development Department at 240.641.5352 or Development@RoundHouseTheatre.org.
BOARD OF TRUSTEES
Jay Hammer, Chair
Amy Selco, Vice Chair
Joy Rhoden, Secretary
Michele Jawando, Assistant Secretary
Leslie Grizzard, Treasurer
Michael Heintz, Assistant Treasurer
Ro Boddie
Stephanie deSibour
Mitchell S. Duple
Clare Evans
Susan Gibson
David Hantman
Rafael Hernandez
Neil Kerwin
John King
Nancy Kopp
Michael Mael
Michael McMurphy
Mary Kathryn Nagle
Ndidi Obichere
EMERITUS TRUSTEES COUNCIL
Linda Ravdin, Chair
Laura Forman, Vice Chair
Michael Beriss
Cathy S. Bernard
Elaine Binder
Donald Boardman
Mitch S. Dupler
Bunny Dwin
Maboud Ebrahimzadeh
Ann Gilbert
Susan D. Gilbert
Bonnie Hammerschlag
Reba Immergut
Peter Jablow
Bruce Lane
Susan F. McGee
Meka Parker
Ryan Rilette*
Ruchi Sharma
Michael Steele
Nina Weisbroth
Ed Zakreski*
Judy Zickle
Ex-officio
Life Trustee
Sasha Olinick
David Smith
Rochelle S. Steinberg
Patti Sowalsky
Riley K. Temple
Kathy Wenger
Mier Wolf
Judy Zickler
STAFF DIRECTORY
EXECUTIVE LEADERSHIP
Artistic Director: Ryan Rilette
Executive Director: Ed Zakreski
ADMINISTRATION
General Manager: Tim Conley
Facilities Manager: Liz Sena
Associate General Manager: Carter Rice*
Artistic & Executive
Associate : Amy Benson
ARTISTIC
Casting Director & Associate
Producer: Sarah Cooney*
DEVELOPMENT
Director of Development: Michael Barret Jones
Associate Director of Development:
Katelyn Maurer
Development Operations
Manager: Patrick Joy
Development Associate:
Natalie Cumming
EDUCATION
Director of Education:
Danisha Crosby
Education Program Manager: Emily Lettau
Lead Teaching Artists: Ian Anthony Coleman
Kelsey Hall
Faculty:
Sean Baldwin
Maddi Bard
Ian Anthony Coleman
Lila Cooper
Kevin Corbett
Fabiolla Da Silva
Anna DiGiovanni
Victoria Donnelly
Luke Dorris
Amanda Dullin-Jones
Emily Erickson
Jordan Essex
Deven Ferrer
Katie Fitz
Scean Flowers
Caitlin Frazier
Dominique Fuller
Liam Goff
Danielle Gover
Rose Hahn
Caitlyn Hooper
Alexis Jefferson
Darren Jenkins-Johnston
Claire Jones
Emma Lou Joy
Darcy Kaufman
JJ Kaczynski
Casey Kaleba
Shana Laski
Olivia Luzquinos
Sarah Mack
Mary Rose Madan
Arielle Moore
Mark Mumm
Benjamin Pallansch
Erin Pipes
Kelsey Powell
Olivia Reed
David Singleton
Dani Stoller
Elle Sullivan
Rick Westerkamp
Skylar Wilson
Che Wernsman
MARKETING & COMMUNICATIONS
Director of Marketing & Communications:
Hannah Gr ove-DeJarnett
Associate Director of Sales & Audience Services:
Brian Andrade
Associate Director of Marketing & Communications:
Megan Behm
Audience Services Manager:
Mason Catharini
Patron Experience And Rentals Manager:
Zoe Harr
Public Relations and Partnerships Manager:
Amy Killion
Graphic Designer:
Kent Kondo
Food and Beverage Manager: Jenna Buzard
Bar/Café Staff:
Mackenzie Bills
John Crawford
Kayla Earl
Ayana Graham
Jen McClendon
Ellen Mitchell
Jess Rampulla
MaryGrace Ruebens
Sam Weiser
Box Office Associates & House Managers:
Helen Aberger
Nessa Amherst
Mercedes Blankenship
Rachel Borczuch
Erin Cleary
Lila Cooper
Alexus Crockett
Autumn Delahoussaye
Laura DeMarco
Marquita Dill
Carrie Edick
Allison Farrall
Kira Gandolfo
Bailey Howard
Bella Lerch
Nicolas Lopez
Olivia Luzquinos
Trinity McCrorey
Artemis Montague
Tamisha Ottley
Dylan Parham
Denisse Peñaflor
Lauren Queen
Jessica Rampulla
Daniel Ricci
DeDe Smith
Phillippos Sourvinos
Lacey Talero
Sam Weiser
OUR VALUES
Jae Gee
Kennedi Hendrix
PRODUCTION
Production Manager:
Sydney Garick
Assistant Production Manager/Company Manager:
Technical Director:
Matt
Assistant Technical Director:
Costume Shop Manager:
Alison Johnson
Lighting Supervisor:
THEATRE FOR EVERYONE
ARTISTIC AMBITION
COMMUNITY
EMPATHY
INTEGRITY
Steven Burrall
Audio/Visual Superviso r :
Delaney Bray
Lead Carpenter: Dylan Rutemiller
Scenic Charge: Jenny Cockerham
Resident Stage Manager: Che Wernsman
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 50,000 patrons each year at our 350-seat theatre in Bethesda. Round House has been nominated for more than 235 Helen Hayes Awards and has won more than 54. Round House’s lifelong learning and education programs serve more than 5,000 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.
