This Much I Know

T HIS MU CH I K N OW

BY JO NATHA N SPEC TOR D IRE C TE D BY H AYLEY FINN JA N UARY 3 1–FE BRUA RY 25, 2024

FRO M T H E M A NAG I NG DI RE C TO R Dear Patrons, Young people in our community are experiencing a mental health crisis. Even before the COVID19 pandemic, the CDC’s Youth Risk Behavior Surveillance System had reported increasing feelings of sadness or hopelessness among youth beginning in 2015. After March 2020, many young people were further isolated when schools were closed, many parents and caregivers were suddenly unemployed, and over 200,000 children experienced the death of someone in their household. Many studies have shown how arts programs in schools increase psychological well-being and academic performance, but many schools had to cut or scale back their arts programs in the past several years.

Theater J is expanding our educational programming to meet the needs of the youth in our community. Thanks to the generous support of the Shapiro Family Foundation, Share Fund, and the Robert M. Fisher Memorial Foundation Theater for Youth Fund, Theater J welcomed our first full-time Educational Programs Manager Hester Kamin in September 2023. Since her arrival, we have had over 600 students attend a performance, and we have established school residencies with six DC public and charter schools where students have been able to participate in workshops on performance, writing, and costume design.

In addition to providing opportunities for youth to express themselves through theater, Theater J’s work is fighting antisemitism and building crosscultural connections by creating opportunities for youth to learn about Jewish culture and celebrate the many different cultures and identities that make Washington, DC one of the most vibrant communities in the world.

The need is much greater than we currently have the resources to provide, so if you are able to help support the work on our stages and in classrooms by making a contribution to Theater J, it would help us give the gift of theater to the next generation and help us do the work of building a better future for our youth.

Thank you for your support of Theater J. Enjoy the show!

David Lloyd Olson, Managing Director 2

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FRO M T H E A RT I ST I C DI RE C TO R Dear Patrons, I hope your new year is off to a beautiful start.

I’m thrilled you are here for Jonathan Spector’s East Coast premiere of This Much I Know. I first read this play in 2020 while it was still being developed, and I haven’t stopped thinking about it since.

This play grapples with philosophical ideas deeply rooted in our everyday choices. It asks questions ingrained in our humanity. Can we break out of preconceived beliefs? What is the difference between responsibility and culpability? How do we comfort our loved ones? And ultimately, tackles the big question: What can we know?

The play travels back and forth in time in the ways memory and imagination enter our thoughts. Formally, it is adventurous and ambitious, yet only three actors perform the entire epic journey – it invites us into its theatrical play. It encourages us to imagine and consider how we piece together narratives. The storytelling is prismatic. The interrogation is rigorous. It sits in conversation with the great Jewish thinkers who wrestled with epistemology.

In fact, Jonathan Spector was inspired by the brilliance of Nobel Prize winner Daniel Kahnman’s book Thinking Fast and Slow. Mixing philosophy, history, and fiction, Spector creates a distinct story that I hope stays with you for days and encourages conversation.

Through my process on this play, in addition to working with a brilliant team of designers and actors, I’ve had the pleasure of researching and conversing with historians, psychologists, religious leaders, and even a magician. Through the run of this play, we invite thought leaders in various fields to join us in conversation. I hope you’ll stay or return for one of these discussions or create your own conversation circle.

Thank you for being here and taking this journey with us.

With appreciation,

Hayley Finn, Artistic Director 3

T H ANK YO U TO OU R 2023 /2024 SEASON SPONSORS LEADING PRODUCER Covenant Foundation DC Commission on the Arts and Humanities National Endowment for the Arts SPONSORING PRODUCER Cathy Bernard Norbert Hornstein and Amy Weinberg Sari R. Hornstein Arlene and Robert Kogod, The Robert and Arlene Kogod Family Foundation The Marinus and Minna B. Koster Foundation Nussdorf Family Foundation Patricia Payne Revada Foundation of the Logan Family Kay Richman and Daniel Kaplan Share Fund The Shubert Foundation SUPPORTING PRODUCER Patti and Mitchell Herman Dianne and Herb Lerner Alfred Munzer and Joel Wind Helene and Robert Schlossberg Barney Shapiro and Susan Walker THANK YOU TO OUR PRODUC TION ANGEL S Susan and Dixon Butler Howard Menaker and Patrick Gossett Kenneth and Amy Krupsky Saul and Nancy Pilchen Ilene and Steven Rosenthal April Rubin and Bruce A. Ray Les Silverman Terry Singer Joan Wessel This production is supported in part by the DC Commission on the Arts and Humanities, an agency supported in part by the National Endowment for the Arts.

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E DL AV ITC H D C JCC

A ARON & CECILE GOLDMAN THEATER • TRISH VR ADENBURG STAGE

Hayley Finn, Artistic Director David Lloyd Olson, Managing Director EAST COAST PREMIERE

T HIS MUC H I K N OW

By Jonathan Spector January 31 – February 25, 2024

Director……………………….......................………………………...… Hayley Finn^ Scenic Designer……………….............................................Misha Kachman+ Costume Designer………………........................................ Danielle Preston+ Lighting Designer………………......................................... Colin K. Bills+ Sound Designer……………….............................................Sarah O’Halloran+ Projection Designer………………......................................Mona Kasra+ Props Designer………………...............................................Pamela Weiner Casting Director……........................……......................... Jenna Place NYC Casting……........................……................................Elizabeth Hay Associate Costume Designer…….............................. Jessica Utz Production Stage Manager………………...................... Anthony O. Bullock* Assistant Stage Manager………………...........................Hansin Arvind Assistant Stage Manager………………...........................Grace Carter CAST (in order of appearance)

Lukesh……………….....................………..........................………Firdous Bamji* Natalya……….....….............…………………....................……… Dani Stoller* Harold………………………...............……..................……………… Ethan J. Miller* The video or audio recording of this performance by any means is strictly prohibited.

Member of SDC, the Stage Directors and Choreographers Society

^

*Appearing through an Agreement between this theater, Theater J, and Actors' Equity Association, the Union of Professional Actors and Stage Managers in the United States +Member of United Scenic Artists Local 829

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A B OU T T H E A RT I ST S Firdous Bamji* (Lukesh): Theatre includes: The Lehman Trilogy (Huntington); Indian Ink (Roundabout, Obie Award: Outstanding Performance); Homebody/Kabul (BAM, New York Theatre Workshop, Steppenwolf, Mark Taper Forum); Mary Stuart (Huntington); The Changeling, Measure for Measure (TFANA); Gum, Crocodiles in the Potomac (WP Theatre); SubUrbia (Lincoln Center); The Birthday Party (ACT); In the Heart of America (Long Wharf); Othello (Hartford Stage); As You Like It, Galileo (Center Stage); Dollhouse (Goodman); Much Ado About Nothing, Richard II, Troilus & Cressida (Shakespeare Theatre); The Lisbon Traviata (Studio Theatre); Burn This, Bent, Beirut, Danny & the Deep Blue Sea, (Trustus Theatre).

International: A Disappearing Number (Complicité, Olivier, Evening Standard and Critics Circle Awards: Best New Play); Hamlet (Bristol Old Vic). TV (includes): Madame Secretary, Berlin Station, Law & Order, Law & Order SVU. Film: Ashes, The War Within (Independent Spirit Award nom.), Justice, Analyze That, Unbreakable, The Sixth Sense.

Dani Stoller* (Natalya) Theater J debut. DC: Which Way to the Stage, Ragtime (Signature Theater, Helen Hayes Nomination Best Supporting Performer); My Body, No Choice (Arena Stage, Helen Hayes Nomination for Best Supporting Performer); As You Like It, Midsummer, District Merchants (Folger Theatre); The Joy That Carries You, The Humans, The Diary of Anne Frank, The Crucible (Olney Theatre Center). She has also performed at Studio Theatre, 1st Stage, Keegan Theatre, and The Kennedy Center. As a playwright her piece, The Joy That Carries You, co-written with Awa Sal Secka, was the winner of the Helen Hayes for Best New Play, and her play Just Great was recently published by Broadway Licensing.

Ethan J Miller* (Harold): Ethan is honored to be making his Theater J debut in This Much I Know. Other DC credits include: The Chosen (1st Stage), The Last Match (1st Stage), A Measure of Cruelty (4615 Theater Company), Turn of the Screw (Creative Cauldron), Macbeth (Drunk Shakespeare). Other credits include: A Midsummer Night’s Dream (Theater at Monmouth) and Paint Your Wagon (The Jackson hole Playhouse). Training: University of Minnesota BFA Guthrie Actor Training Program.

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Jonathan Spector (Playwright) is a native of Annandale, Virginia and delighted to return to Theater J, where he was once an intern. His plays include Eureka Day, Best Available, Good. Better. Best. Bested., and Siesta Key. His work has been produced across the country and abroad with theaters including The Old Vic (starring Helen Hunt), Asolo Rep, Mosaic Theater, Syracuse Stage,

A B OU T T H E A RT I ST S Hampstead Theater, InterAct, Aurora Theater, Burgtheater (The National Theater of Austria), and the State Theater of South Australia. Honors include two Glickman Awards, two Bay Area Theater Critics Circle Awards, Rella Lossy Award, Theater Bay Area Award, Edgerton Award, WhatsOnStage Award Nomination and a New York Drama Critics Circle Award Nomination. Current Commissions: Roundabout Theater, La Jolla Playhouse, Manhattan Theater Club, Miami New Drama. Jonathan is a graduate of the much-besieged New College of Florida.

Hayley Finn^ (Director) See bio on page 10.

Misha Kachman+ (Scenic Designer) Theater J: Either/Or, Lost in Yonkers, After the Fall, Race, The Odd Couple, The New Jerusalem, Our Class. DC: Kleptocracy, Holiday, Junk (Arena); Unleashed!, Beastgirl, Dr. Wonderful, Barrio Grrrl (Kennedy Center); Nancy (Mosaic); Colossal (Olney); The Lyons, Oslo, Young Robinhood (Round House); Cabaret, Xanadu, The Fix, Midwestern Gothic (Signature Theatre); Good Bones (Studio); Fever/Dream, Chad Deity, Marie Antoinette, Hir, Fairview, Stupid Fucking Bird, An Octoroon, Kiss (Woolly Mammoth). Off-Broadway: The Originalist (59E59); The Gett (Rattlestick); Remember This (Theatre for a New Audience). Regional: Arizona Theatre Company, Baltimore Center Stage, Berkeley Rep, Children’s Theatre Company, Cincinnati Playhouse, Cleveland Playhouse, Court Theatre, Pasadena Playhouse, Portland Center Stage, Seattle Opera, Seattle Rep, Syracuse Stage, Village Theatre, Wilma Theater. mishakachman.com Danielle Preston+ (Costume Designer): Theater J: The Chameleon, One Jewish Boy, The How & The Why, The Christians, Roz & Ray. DC: The Sensational Sea Minkettes (Woolly Mammoth), Fat Ham, Clyde's, The Mis-edumacation of Dorian Belle (Studio Theatre), Passing Strange, Penelope (Signature Theatre), A Good Indian Boy (Olney Theatre), Regional: Blues for an Alabama Sky (Barrington Stage), Locomotion (Children's Theatre Company), Schoolgirls: Of the African Mean Girls Play, The Realness (Hangar Theatre) Education: MFA in Costume Design, University of North Carolina School of the Arts, daniellepreston.com @danielleprestondesign Colin K. Bills+ (Lighting Designer) he/him/his returns to Theater J, where his most recent designs have been Gloria: A Life, Nathan the Wise, Becoming Dr. Ruth, Sheltered, The Jewish Queen Lear, and The Last Night of Ballyhoo. He is a Board Member and Company Member at Woolly Mammoth Theatre where he has designed over fifty productions. Colin has designed at nearly every theater in the DMV and his work has been seen at theaters across the US. 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.

Sarah O’Halloran+ (Sound Designer) is a sound designer and composer. Her theater credits include Theater J: The Chameleon, Gloria: A Life, Nathan the Wise, Compulsion, Talley’s Folly; Woolly Mammoth/The Second City: She the

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A B OU T T H E A RT I ST S People: The Resistance Continues; 1st Stage: The Phlebotomist, The Brothers Size, Swimming with Whales, Trevor, and When the Rain Stops Falling; Studio Theatre: Cry it Out; Rep Stage: The Glass Menagerie; E2, The 39 Steps, The Heidi Chronicles, and Things That Are Round; Everyman Theatre: Sense and Sensibility, Be Here Now, Proof, Dinner with Friends; Mosaic Theater: In His Hands, The Return; Olney Theater Center: The Humans, Our Town, Labour of Love; Theater Alliance: A Chorus Within Her; Forum Theatre: Nat Turner in Jerusalem; What Every Girl Should Know, and Dry Land.

Mona Kasra+ (Projection Designer) is an Iranian American new media artist, interdisciplinary scholar, and Associate Professor of Digital Media Design at the University of Virginia. Her practice-based research questions, critiques, and experiments with the affordances of media technologies within artistic forms and in a variety of improvisational framings. Mona's work has been exhibited in numerous art galleries and film festivals in the US and around the world, and she has juried, curated, and programmed for many exhibitions and conference programs. She holds an MFA in Video Art and a PhD in Arts & Technology. Her selected design credits include The Till Trilogy (Helen Hayes Award Nomination- Outstanding Projections/Media Design), Unseen, Marys Seacole (Mosaic DC), We Swim, We Talk, We Go to War (Golden Thread SF), When the Rain Stops Falling, Seven Guitars, Arctic Circle (UVA Drama), Holy Bone, Flesh World, (w)hole, T.N.B, blahblah (DWZ Collective Dallas).

Anthony O. Bullock* (Production Stage Manager) is the Resident Production Stage Manager for the 23-24 season. Theater J: Moses, The Chameleon, One Jewish Boy, Gloria: A Life, Two Jews Walk into a War…, Intimate Apparel, Nathan the Wise, Compulsion or the House Behind, Tuesdays with Morrie, The Wanderers, Sheltered, Occupant, Love Sick, The Jewish Queen Lear, and Actually. DC: Red Velvet, Our Town (Shakespeare Theatre Company); The Pajama Game (Arena Stage); SOUL: The Stax Musical, Twisted Melodies (Baltimore Center Stage); Billy Elliot (Signature Theatre); The Children, The Hard Problem, Cloud 9, Hedda Gabler, Moment, Between Riverside and Crazy, Chimerica, Jumpers for Goalposts, Laugh (Studio Theatre). NYC: The School for Lies (Classic Stage Company) and workshops with Project Springboard: Developing Dance Musicals. Other regional credits include Barrington Stage Company, Williamstown Theatre Festival, McCarter Theatre, TheatreSquared, among others. BFA from Oklahoma City University. Proud member of AEA. Shana Laski (Assistant Director) Theater J debut. DC: The Tempest, Jennifer Who Is Leaving (Round House Theater); The Winter’s Tale (Folger Theatre); Birds of North America (Mosaic Theatre Company); Scorched (Expats Theater); Dua: A Monster’s Story (Theatre Prometheus); Grief Containers (Spooky Action Theater). Instagram: @shana.laski, shanalaski.com

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THEATER CAMPS When school is out, join us at the Edlavitch DCJCC for fun theater camps!

These multi-age adventures, led by Theater J artists, are a wonderful introduction to theater and a great way to make new friends!

FOR GRADES 2 – 8

ONE-DAY CAMPS DATES: 2/16, 2/19, 4/5, 6/4 9:00 AM – 5:00 PM

SPRING BREAK THEATER CAMP: Monday, April 15 – Friday, April 19 9:00 AM – 3:00 PM

/THEATERJCAMPS LEARN MORE AND REGISTER AT EDCJCC.ORG WE LCO ME TO THE THE ATE R J TEA M:

Hester Kamin, Education Programs Manager ing have Theater J’s educational and family programm Family iro Shap the from ts grown due to multi-year gran r Fishe M. rt Robe the and , Foundation, the Share Fund d ome welc we er, emb Sept In Memorial Foundation.

Manager.

Hester Kamin as our first Education Programs of five She previously served as Director of Education and created regional theatres, including Synetic Theater, -seat Hawaii Theatre and Bucks the programs at two historic places: the 1400 and choreographed more than County Playhouse. Hester has also directed AEA, Dramatists Guild of America.

200 shows around the world. Member SDC, GS THIS SEA SON INC LUD E: THE ATE R J’S EDU CAT ION AL OFF ERIN • Classes for Theater Lovers -show discussions • Matinee performances for schools with post artists • Classroom residencies led by professional uary 16, February 19, April 5, (Febr 2-8 es grad for ps Cam ter • One-Day Thea and June 4) for grades 2-8 (April 15-19) • Vaudeville Fairy Tale Spring Break Camp le Book & The Wizard of Oz • Summer Musical Theater Camp: The Jung (July 1–18, July 22–August 8) FOR MOR E INFO RMATIO N: rg, or call 202.777.3244.

Visit theaterj.org, email hester@theaterj.o

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THE AT ER J L E ADE RSH I P Hayley Finn (Theater J Artistic Director) is an accomplished director and producer with over twenty-five years of experience in professional theater across all aspects of the profession, including producing, directing, casting, education, fundraising, and has been instrumental in creating national partnerships for theaters across the country. Prior to joining Theater J, she was the Associate Artistic Director at the Playwrights’ Center, where she worked with some of the nation’s leading playwrights and in her tenure produced over 1,000 workshops. She also served as a Co-Artistic Director of Red Eye Theater from 2019-2023 where she co-produced and curated the New Works 4 Weeks Festival—an annual four-week festival that commissions 11 artists each year to make new performance works—and co-led the fundraising and development of a new 150-seat black box theater in Minneapolis.

She has directed nationally and internationally, including at Cherry Lane Theatre (New York, NY), Curious Theatre Company (Denver, CO), the Edinburgh Fringe Festival (Edinburgh, Scotland), Ellis Island (New York), Guthrie Theatre (Minneapolis, MN), HERE Arts Center (New York, NY), History Theatre (St. Paul, MN), Flea Theater (New York, NY), The Kitchen (New York, NY), LAByrinth Theater Company (New York, NY), Marin Theater Company (Mill Valley, CA), New Dramatists (New York, NY), O’Neill Theater Center (Waterford, CT), Pillsbury House (Minneapolis, MN), People’s Light (Malvern, PA), Public Theater (New York, NY), Playwrights’ Horizons (New York, NY), Red Eye Theater (Minneapolis, MN), Six Point Theater (St. Paul, MN), South Coast Repertory Theater (Costa Mesa, CA), and the Nine Gates Festival in Prague. Finn was Assistant Director on several Broadway productions, including the Tony Award-winning production of Arthur Miller’s A View from the Bridge.

Finn is an Alumna of the Drama League Director’s Program, recipient of the Ruth Easton Fellowship, TCG Future Leader Grant, National Endowment for the Arts support, and a Minnesota State Arts Board Artist Initiative Grant. She received her BA and MA from Brown University.

David Lloyd Olson (Theater J Managing Director) made his stage debut at age five at the Marcus JCC of Atlanta preschool and is now proud to be one of the leaders of the nation’s largest professional Jewish theater. He most recently served as managing director of Quintessence Theatre Group in Philadelphia where he oversaw the organization’s largest ever fundraising campaign and the doubling of their annual foundation support. He was manager of the executive office and board engagement at the Shakespeare Theatre Company where he supported the transition of the theater’s artistic directorship from Michael Kahn to Simon Godwin. He has also held positions at Arena Stage, GALA Hispanic Theatre, the DC Commission on the Arts and Humanities, and Pointless Theatre. He was an Allen Lee Hughes management fellow at Arena Stage, a Fulbright English teaching assistant in Valmiera, Latvia, and the recipient of two DC Commission on Arts and Humanities Felllowship program grants. He proudly serves on the board of the Alliance for Jewish Theatre (alljewishtheatre.org) and the board of Adas Israel Congregation.

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PRO DU C T ION , E DC JCC , & T H E AT E R J STAFF

THIS M U C H I K N OW STA F F Head Electrician: Garth Dolan Electrics Crew: Michael House, Rex Hsu Load-in Crew: Max Abramovitz, Martin Bernier, David Higgins, Tad Howley, Justin MetcalfBurton, Lucien Reubens, Jonathan Dahm Robertson, and Tori Schuchmann Assistant Director: Shana Laski Dialect Coach: Adrienne Nelson Magic Consultant: Ryan Phillips Assistant Props Designer: George Burgtorf Assistant Costume Designer: Cody Von Ruden Dramaturgy Consultant: Sarah Rose Leonard Light Board Programmer and Operator: Mikayla French Sound Board Operator: Alondra Santos-Castillo Special thanks to Signature Theatre, The Clarice Smith Performing Arts Center, and FC Production.

EDLAVITCH DCJCC LEADERSHIP

Edlavitch DCJCC Chief Executive Officer: Jennifer Zwilling Chief Financial Officer: Craig Mintz Senior Director of Institutional Advancement: Emily Jillson THEATER J STAFF

Artistic Director: Hayley Finn Managing Director: David Lloyd Olson Producing Director: Kevin Place External Affairs Development Executive Assistant: Ryan Muha Director of Patron Experience: Jasmine Jones EDCJCC Arts Outreach Coordinator: Jacob Ettkin EDCJCC Creative Director: Molly Wnston Ticket Office Manager: Nino Porter House Managers and Ticket Office Associates: Steve Chazanow, Emily Eason, Cristen Fletcher, Asher Herman, Cory McConville, Lauren McNeal, Regev Ortal, Robert Reeg, Hadiya Rice, Kaneeka Rice, Alex Romero, Sam Rollin, and Mary-Margaret Walsh.

Production Interim Associate Producer: Charlotte La Nasa Resident Production Stage Manager: Anthony O. Bullock Technical Director: Tom Howley Head Electrician: Garth Dolan Resident Casting Director: Jenna Place Resident Props Designer: Pamela Weiner Education & New Play Development Education Programs Manager: Hester Kamin Expanding the Canon Rosh Beit: Sabrina Sojourner Expanding the Canon Commissioned Writers: Harley Elias Zachariah Ezer, Caroliva Herron, Jesse Jae Hoon, MJ Kang, Thaddeus McCants, and Kendell Pinkey Yiddish Theater Lab Commissioned Writer: Aaron Posner Teaching Artists: Nayna Agrawal, Dr. Debra Caplan, Rick Foucheux, Jen Jacobs, Naomi Jacobson, James J. Johnson, James Carlos Lacey, Tori Niemiec, Caraid O’Brien, Aaron Posner, Sharyn Rothstein, Howard Shalwitz, Bobby Smith, Holly Twyford, and Erin Weaver Founding Artistic Director: Martin Blank

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Truth in the Illusion

By Sarah Rose Leonard, dramaturg Look at these two images:

Which line do you think is longer?

They are in fact of equal length if you measure, but our mind perceives the second image as longer. According to psychologist Daniel Kahneman, most of us will still perceive the second line as longer even after we know the truth. The Müller-Lyer illusion, as the set of images is called, is a classic cognitive illusion that Kahneman uses in his book Thinking Fast and Slow to illustrate how often we are unable to change how we process information, even when we know we are wrong. The only way to battle cognitive illusions is to recognize them and attempt to not believe or act on them…but this is nearly impossible for the human brain to do. As Kahneman says, “Constantly questioning our own thinking would be impossibly tedious…the best we can do is a compromise: learn to recognize situations in which mistakes are likely and try harder to avoid significant mistakes when the stakes are high.” (good luck to us!)

When playwright Jonathan Spector read Kahneman’s book he wondered if he could craft the theatrical equivalent of cognitive illusions. To do so would be to base a play in classic theater magic: now you see something, now you don’t. He began to write This Much I Know in 2018, when he stumbled down an internet rabbit hole about Svetlana Iosifovna Alliluyeva, Joseph Stalin’s daughter. (How he got to Alliluyeva is lost to the magic of our cognitive inability to remember what happens in an internet rabbit hole). He learned that Alliluyeva defected to the U.S. in the middle of the Cold War — using a bit of dramatic illusion herself — which caused a political dust up. By the time the Soviets realized Alliluyeva had defected, it was too late — she was quickly thrust into the public spotlight, giving a press conference shortly after her plane landed in New York.

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Svetlana’s defection happened suddenly, but her recognition of her own cognitive fallacies about her father and her country slowly built over time. When the love of her life died, the remaining belief she had in her country withered away. As she writes, “I could live in Russia—being a hypocrite, hiding my true opinions. More than half of our people live like that. We have no opportunity to criticize, we have no press, no freedoms, and also nobody wants to risk…

My husband’s death changed my nature. I feel it impossible to be silent and tolerant anymore.”

Svetlana found her way into Jonathan’s play, burrowing into a plot structure inspired by Kahneman’s work. A New Yorker article about the psychological aftereffects seen in people who caused accidental deaths caused inspiration for another plotline, as did Derek Black, an heir to a prominent white nationalist legacy who later renounced his beliefs.

Derek attended Jonathan’s alma mater: New College, a tiny hotbed of liberal free thinkers in Sarasota, Florida. Derek’s own cognitive illusions changed very gradually due to his exposure to, and eventual acceptance of, students who thought differently than him and engaged him in ongoing conversation.

Derek was outed on campus while he was still knee-deep in his transformation.

Jonathan watched current students wrestle with how to treat this very particular student on alumni threads in his inbox. Derek’s peers ostracized him, but some friends and teachers continued to engage him, and those repeated encounters resulted in real change over the years. Eventually, Derek could no longer participate in his family’s belief system. His journey proves Kahneman’s point that it’s near impossible to align ourselves with how we used to think once we have undergone a shift.

These plotlines weave into each other in This Much I Know, finding common themes in the questions, “What are we responsible for?” “How do we change our minds?” “How do we determine what is real?” Characters wind their ways through these questions by following their intuition, acting mostly on a subconscious level. Harold, the character influenced by Derek, confides in his mentor and favorite professor, Lukesh, about being publicly outed as coming from a white nationalist family on campus. Lukesh — unlike Harold’s peers and other professors — engages in conversation with Harold. The seemingly simple power of listening helps each character on their journey. A bevy of Russians listen to Lukesh’s wife Natalya as she tries to uncover a mystery. The audience, cast as Lukesh’s students, aid him as he unravels his own trials.

But don’t try to think too hard as you listen, your brain will fall into cognitive illusions no matter what you do. We’re only human. We follow stories. At the core of this particular story are three characters learning to see each other as they really are, leaving illusions and previous perceptions behind.

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TRADITION! Looking at a Play through Judaism's Lens

By Rabbi Atara Cohen

W

hile This Much I Know does not predominantly feature Jewish characters, this incredible performance is distinctly Jewish. Experiencing this play reminded me of experiencing a page of Talmud, a foundational Jewish text of Rabbinic conversations from about the year 500 CE. This is not because this play has rabbis, nor does the Talmud address Zebras and Stalin, but because the multivocal and overlapping structure of this play is distinctly Talmudic.

The Talmud reads like a debate, seamlessly jumping from topic to topic in an argumentative flow of tradition, optimized for memorization.

While the text is written as if it were a conversation between speakers in the same room, the speakers often are often from different centuries, different countries, and even mythical places. A man in the fourth century CE might be in dialogue with one from the first, Biblical verses abound, and occasionally prophets from previous millennia appear to offer guidance.

So too, here, characters in different centuries, continents, and relationships to fictionality, join to create a cohesive

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story arc. By weaving together time periods and unlikely characters, the Talmud and This Much I Know (albeit on a smaller scale) create richly textured explorations of some of our most fundamental questions.

One such question haunts Natalya and other characters: to what degree are we responsible for actions that we cannot control? Are we culpable for harm that we caused which we did not intend? The Rabbis of the Talmud argue over similar questions at length.

According to Biblical law, if a person kills someone accidentally, they are not subject to the death penalty as in a case of ordinary murder, but they are subject to exile.

Centuries later, the Rabbis of the Talmud attempt to define the parameters of “accident:” is there a difference between someone who causes harm due to negligence verses someone who causes harm in a way they could not have anticipated?

The Talmud concludes yes: there are gradations of culpability, and not all accidents can be understood in the same way. As you watch the actions of our play unfold, consider how the play addresses this question. How does our consciousness of our actions impact our culpability for our actions?

“The most influential Jewish theater company in the nation.”

—The Washington Post

Theater J is a nationally-renowned, professional theater that celebrates, explores, and struggles with the complexities and nuances of both the Jewish experience and the universal human condition. Our work illuminates and examines ethical questions of our time, intercultural experiences that parallel our own, and the changing landscape of Jewish identities.

As the nation’s largest and most prominent Jewish theater, we aim to preserve and expand a rich Jewish theatrical tradition and to create community and commonality through theatergoing experiences.

The Edlavitch DCJCC embraces inclusion in all its programs and activities. We welcome and encourage the participation of all people, regardless of their background, sexual orientation, abilities, or religion, including interfaith couples and families.

Actors’ Equity Association (AEA) was founded in 1913 as the first of the American actor unions. Equity’s mission is to advance, promote and foster the art of live theatre as an essential component of our society. Today, Equity represents more than 40,000 actors, singers, dancers and stage managers working in hundreds of theatres across the United States.

Equity members are dedicated to working in the theatre as a profession, upholding the highest artistic standards. Equity negotiates wages and working conditions and provides a wide range of benefits including health and pension plans for its members. Through its agreement with Equity, this theatre has committed to the fair treatment of the actors and stage managers employed in this production. AEA is a member of the AFL-CIO and is affiliated with FIA, an international organization of performing arts unions. For more information, visit www.actorsequity.org.

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JxJ: DC Jewish Film + Music continues this winter with a fresh lineup, including family-friendly screenings, insightful documentaries, Israeli music, and our first-ever music therapy event!

MUSIC YEAR-ROUND

SHUFUNI: LOOK AT ME

Sunday, February 4, 10:30 AM A concert featuring four artists from Gaza, aiming to connect Jews in the diaspora to Israeli culture.

FILM YEAR-ROUND

SUPERNOVA: THE MUSIC FESTIVAL MASSACRE

Tuesday, February 20, 7:30 PM In this emotional film, survivors, first responders and parents recount their stories and the horrors they witnessed.

FILM YEAR-ROUND

THE DEFINITION OF INSANITY

February 25–29 A documentary film that immerses audiences in the Miami-Dade Community Mental Health Project.

MUSIC YEAR-ROUND

MUSIC, SOCIAL CHANGE AND YOU

Sunday, February 18, 10:00 AM In this unique interactive workshop, singer and trauma therapist Darren Abrahams will take you on a musical journey.

FILM YEAR-ROUND

FAMILY FILM FUN: AN AMERICAN TAIL

Sunday, February 25, 10:00 AM Sundays are family fun days this winter at the EDCJCC! We invite you to a free screening of the beloved animated film “An American Tail”.

FILM YEAR-ROUND

BELLA!

March 14–18 As Kamala Harris and Nancy Pelosi lead the nation, they travel a path blazed by several women before them, notably Bella Abzug.

See the full lineup and buy tickets at JxJDC.org

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2023–2024 T H E AT E R J CO UN C I L Mara Bralove, Chair Mindy Gasthalter Ann Gilbert Cheryl Gorelick Rae Grad Patti Herman Daniel Kaplan Arlene Klepper Kenneth Krupsky Stephen Lachter

Karen Lehmann-Eisner Ellen Malasky Meredith Margolis Howard Menaker Alfred Munzer Sherry Nevins Patricia Payne Saul Pilchen Bella Rosenberg

T HEATE R J H ONOR A RY CO U N C I L Patty Abramson* Paul J. Mason Michele G. Berman Hank Schlosberg* Marion Ein Lewin Trish Vradenburg*

Evelyn Sandground Mita M. Schaffer Robert Schlossberg Terry Singer Stuart Sotsky Patti Sowalsky Manny Strauss Bob Tracy Kathryn Veal Joan S. Wessel Irene Wurtzel

EDLAVI TC H D C JCC 2023– 2024 B OA R D O F D I REC TORS OF FICE R S Daniel Hirsch, President Johanna Chanin, Senior Vice President Meredith Margolis, Vice President Norm J. Rich, Vice President BOARD M E M B E R S Janet B. Abrams Andrew Altman Joan Berman Michele G. Berman Jordan Lloyd Bookey Jennifer Bradley Jaclyn Lerner Cohen Sara Cohen Eva Davis Jonathan Edelman Myrna Fawcett Meg Flax Brian Gelfand

Janis Schiff, Vice President Jonathan Grossman, Treasurer David Goldblatt, Assistant Treasurer Benjamin D. Loewy, Secretary

Dina Gold Debra Goldberg Rena Gordon Brad Lackey Meredith Margolis Joshua Maxey Sid Moskowitz Alfred Munzer Alyson Myers Melanie Franco Nussdorf Amie Perl Arnold Polinger Shannon Powers

Ilene Rosenthal Michael Salzberg Rhea Schwartz Michael Singer Tina Small Mimi Tygier Diane Abelman Wattenberg Jessika Wellisch Eric Zelenko Jennifer Zwilling, Chief Executive Officer, Ex Officio

William Kreisberg Saul Pilchen Deborah Ratner Salzberg John R. Risher, Jr.* Lynn Skolnick Sachs

Mindy Strelitz Francine Zorn Trachtenberg Robert Tracy Ellen G. Witman

FO UN DI NG DI R E C TO R Ginny Edlavitch DIREC TOR S E M E R I T I Stephen Altman Rose H. Cohen Jill Granader Martha Winter Gross Stephen Kelin

VICE PRE SI DE NT E M E RI T U S Lee G. Rubenstein 18

H O N O R A RY D IREC TOR Barbara Abramowitz *of blessed memory

Theater J, as part of the Edlavitch DCJCC, embraces inclusion in all of its programs and activities. Theater J strives to make our productions accessible to all by providing the following to meet the needs of our patrons, and to enhance their experience at the theater.

For more information, please contact our Director of Patron Experience at 202.777.3268 or contact our ticket office at theaterj@theaterj.org.

ACCE SSI B LE S E AT I N G The Edlavitch DCJCC has ramp access from the Q Street entrance and all our restrooms are ADA accessible. In the Goldman Theater, removable seats provide patrons with the opportunity to be seated with their companions while sitting in their wheelchair.

ASSI ST I V E LI ST E N I N G Assistive listening devices are free-of-charge and offered on a first-come, firstserved basis at all performances.

OC

OPE N CAPT I O N I N G Open Captioning is offered twice for each Theater J production.

L ARG E PR I NT P RO G R A M S Large print programs are available at our Ticket Office, located on the first floor.

Theater J respects and welcomes gender diversity. Please use the restroom which makes you most comfortable or most closely fits your gender identity or expression. An all-gender restroom is located on the Lower Level.

AN TI-DI SCR I M I NAT I O N Theater J and the Edlavitch DCJCC commit to being an inclusive, safe, and welcoming space for all. This institution does not tolerate discrimination or harassment based on race, color, religion (creed), gender, gender expression, age, national origin, disability, marital status, sexual orientation, or military status, in any of its activities or operations from either patrons or staff. Please visit our website at theaterj.org to learn more about our policies and procedures LAND ACK NOW LE DG E M E N T Our building sits on the traditional homeland of the Nacotchtank (Anacostan), farmers and traders who lived along the banks of the Anacostia River. Beginning in 1608, European settlers decimated the Nacotchtank with disease, warfare, and forced removal. By the 1700s, the survivors fled to join other tribes to the north, south, and west, including the Piscataway Peoples, who continue to steward these lands from generation to generation.

We know this acknowledgement is only a small step towards justice, and we ask that all of us learn about the past and present and invest in the future of our country’s Indigenous communities wherever we are.

PHOTOS : • Page 2: David Lloyd Olson. Photo by Ryan Maxwell Photography • Page 4: Dina Thomas and Nancy Robinette in The Chameleon by Jenny Rachel Weiner. Photo by Ryan Maxwell Photography. Eric Da Costa and Shaina Silver-Baird in Old Stock: A Refugee Love Story. Photo by Ryan Maxwell Photography. Renee Elizabeth Wilson and Awa Sal Secka in Intimate Apparel by Lynn Nottage. Photo by Ryan Maxwell Photography. Mani Yangilmau, Sydney Lo, Debora Crabbe, Susan Lynskey, Erin Weaver, Sherri L. Edelen, and Awa Sal Secka in Gloria: A Life by Emily Mann.

• Page 15: Em Whitworth and Sorab Wadia in Nathan the Wise by Gotthold Ephriam Lessing. Photo by Ryan Maxwell Photography. Grant Harrison in Moses by Michele Lowe. Photo by Ryan Maxwell Photography. Danny Gavigan and Alanna Saunders in One Jewish Boy by Stephen Laughton. Photo by Ryan Maxwell Photography.

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H ESTER STR EE T IN TERV I EW WI T H PLAY W R I GH T SHARY N ROT H ST E IN Why and how you're adapting HESTER STREET, from novel to movie to play?

It’s an honor to be adapting Hester Street for the stage. The film itself is a feminist and film landmark; Joan Micklin Silver was one of the first successful female filmmakers, and her talent is evident in every frame of the movie. I was deeply inspired by how Micklin Silver adapted her own source material; Abraham Cahan’s 1896 short story Yekl: A Tale of the American Ghetto. Micklin Silver had transformed the novella, which focuses on the character of Jake, into a story about Gitl, Jake’s wife. In so doing, she completely shifted our point of view, simultaneously telling a historical story and making it feel deeply modern to the moment she was writing in, the early 1970s.

I saw the opportunity to do that same thing in bringing the movie to the stage.

While the film is based in realism, the stage allows and demands that you open your mind to more poetic ways of storytelling. I wanted to stay true to the heart and humanity in both Cahan’s novella and Micklin Silver’s film, while adding a layer of theatricality that allows a modern audience to reckon with the current state of American Judaism, and consider our past as immigrants and refugees in light of current events.

What's changed? What remains the same? Why now?

There’s music! Beautiful, haunting songs by Joel Wagonner that are somehow of the past and the present at the same time. I’ve also worked to give every character a fuller backstory and arc in the show, taking liberally from both the film and the novella to add depth and complexity. The rhythm of the show, the way it moves from one scene to the next, and over time, is a major change from the film—there’s a dance element to it that adds magic and grace.

Yet I think the most significant change is the audience (presumably, you, reading this right now!). This a show about love, hope and what it means to become an American. I know that a live audience, bringing their own history and experience to this story is going to electrify the world of Hester Street.

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FR I E N DS O F T H E AT E R J

Theater J gratefully acknowledges the following donors who have supported Theater J since January 1, 2023 through January 23, 2024.

Leading Producer ($100,000+) Covenant Foundation

Sponsoring Producer ($25,000–$99,999) Cathy S. Bernard Robert M. Fisher Memorial Foundation Theater for Youth Fund Norbert Hornstein and Amy Weinberg Sari R. Hornstein The Marinus and Minna B. Koster Foundation

Supporting Producer ($18,000–$24,999) The Morris and Gwendolyn Cafritz Foundation Bruce A. Cohen Memorial Fund Leading Angels ($10,000–$17,999)

Michele and Allan Berman Myrna Fawcett James A. Feldman and Natalie Wexler Sponsoring Angels ($6,000–$9,999) Susan and Dixon Butler Carol Dwin Rae Grad and Manuel Schiffres Meg and John Hauge Daniel Hirsch and Brenda Gruss

Supporting Angels ($3,000–$5,999) AllShifts Anonymous Ann Gilbert Mara Bralove and Ari Fisher Johanna Chanin and Randall Levitt Arlene and Martin Klepper Lois and Michael Fingerhut David and Patricia Fisher Enthusiasts ($1,000–$2,999)

Joyce and Fred Bonnett Linda Goldsmith and Howard Berger Michele and Allan Berman Lisa and Josh Bernstein Andrea Boyarsky-Maisel Johanna Chanin and Randall Levitt Debra Lerner Cohen and Edward Cohen Marcy and Neil Cohen, Ryna Cohen Dave Connick Admirers ($500–$999)

Anonymous Shimmy Braun Michelle and Glenn Engelmann Gail Ginsberg Lucia and Frederic Hill

DC Commission on the Arts and Humanities

Arlene and Robert Kogod, The Robert and Arlene Kogod Family Foundation

Alfred Munzer and Joel Wind National Endowment for the Arts Nussdorf Family Foundation Patricia Payne Diane and Arnold Polinger Revada Foundation of the Logan Family

Hank Schlosberg* Shapiro Family Foundation Share Fund The Shubert Foundation

Patti and Mitchell Herman Kay Richman and Daniel Kaplan Dianne and Herb Lerner

The Morgan Fund at the Seattle Foundation Helene and Robert Schlossberg

Cheryl Gorelick Bella Rosenberg M. Craig Pascal

Evelyn Sandground and Bill Perkins

Karen E. Lehmann The Leshowitz Family Foundation, Terry Singer Sherry Nevins Trina and Lee G. Rubenstein

Dr. April Rubin and Bruce A. Ray Richard Solloway Manny Strauss and Betsy Karmin Judy and Leo Zickler

Ellen and Gary Malasky Paul and Zena Mason Mindy Gasthalter Howard Menaker and Patrick Gossett Kenneth and Amy Eisen Krupsky Sandra and Stephen Lachter Carl and Undine Nash Ilene and Steven Rosenthal

Les Silverman Stuart Sotsky Martha Winter Gross and Robert Tracy The George Wasserman Family Foundation Joan S. Wessel James Beller and Christopher Wolf

Alan McAdams and Ellen Dykes Nancy and Marc Duber Ginny and Irwin Edlavitch Suzanne and Enrique Fefer Daniel Hirsch and Brenda Gruss Meredith Margolis and Gary Goodweather Mary Lynne Martin Joan and Barry Rosenthal Trina and Lee G. Rubenstein

Ruth and Samuel Salzberg Family Foundation Deborah and Michael Salzberg Alfred Sanders and Shlomit David Peggy and David Shiffrin Lewis Schrager and Frances Marshall Mindy Strelitz and Andrew Cornblatt Kathryn Veal

Helaine Harris Jean and Michael Kaliner Aviva Kempner Kenneth and Audrey Kramer Donald and Lynne Myers

Vicki Robinson June and Marvin Rogul Arlene Farber Sirkin and Stuart Sirkin

*of blessed memory

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EDLAV I TC H D C J CC DO N O RS The Edlavitch DCJCC wishes to thank the following donors who enable us to serve the community. This list includes all fiscal year 2024 gifts to date (July 1, 2023 - January 24, 2024) from donors who made commitments or donations of $1,000 or more. The Edlavitch DCJCC would like to thank all of our donors for the important impact they have on our work.

$100,000+

Anonymous Diane and Norman Bernstein Foundation The Morris and Gwendolyn Cafritz Foundation

Bruce A. Cohen* DC Commission on the Arts and Humanities Susie and Michael Gelman, The Morningstar Foundation

Daniel Hirsch and Brenda Gruss Jewish Federation of Greater Washington Arlene and Robert Kogod, The Robert and Arlene Kogod Family Foundation

Covenant Foundation DC Government Sari R. Hornstein Norbert Hornstein and Amy Weinberg

Low Income Investment Fund (LIIF) Nussdorf Family Foundation Howard and Geraldine Polinger Family Foundation

Revada Foundation of the Logan Family Share Fund The Shubert Foundation

Rena and Michael Gordon The Kay Family Foundation The Marinus and Minna B. Koster Foundation Dianne and Herb Lerner Alfred Moses Alfred Munzer and Joel Wind National Endowment for the Arts

Patricia Payne Kay Richman and Daniel Kaplan Ilene and Steven Rosenthal Martha and Philip Sagon Family Foundation Hank Schlosberg* Rhea Schwartz and Paul Wolff Shapiro Family Foundation

Foundation Jennifer Loew Mendelson and Dan Mendelson The Morgan Fund at the Seattle Foundation Sid and Linda Moskowitz Saul and Nancy Pilchen

Bella Rosenberg Janis and Philip Schiff Helene and Robert Schlossberg The Abe & Kathryn Selsky Foundation Richard Solloway

Ann Gilbert Thelma Z. Lenkin The Leshowitz Family Foundation, Terry Singer

M. Craig Pascal Diane and Arnold Polinger Evelyn Sandground and Bill Perkins Manny Strauss and Betsy Karmin

Ruth and Samuel Salzberg Family Foundation Trina and Lee G. Rubenstein Mara Bralove and Ari Fisher Jordan Lloyd Bookey and Felix Lloyd Kenneth and Amy Eisen Krupsky Mimi Tygier and Robert Rubin Jeff Menick The Schoenbaum Family Foundation, Inc. Tina and Albert Small, Jr. Patti and Jerry Sowalsky AllShifts Charles E. Smith Family Foundation David and Patricia Fisher Diane Abelman Wattenberg Dina Gold Dr. Stuart Sotsky

Edith Gelfand, Brian and Jenny Gelfand Ellen and Gary Malasky Eric and Kathryn Zimmerman Eric Zelenko Francine Zorn Trachtenberg and Stephen Joel Trachtenberg Jessika and David Wellisch Joan and Alan Berman Les Silverman Marshfield Associates Mindy Gasthalter Monica and Gavin Abrams Sandra and Stephen Lachter Susan Sachs Goldman The George Wasserman Family Foundation

$50,000 - $99,999

$25,000 - $49,999

Cathy S. Bernard Johanna Chanin and Randall Levitt Naomi and Nehemiah Cohen Foundation The Dweck Family Lois and Richard England Family Foundation Robert M. Fisher Memorial Foundation $15,000 - $24,999

Michele and Allan Berman Bookey Family Foundation James A. Feldman and Natalie Wexler Cheryl Gorelick Rae Grad and Manuel Schiffres Patti and Mitchell Herman Jacob and Charlotte Lehrman $10,000 - $14,999

Anonymous Cyna and Paul Cohen, Sara C. Cohen and Norm J. Rich Myrna Fawcett $5,000 - $9,999

Debra Goldberg and Seth Waxman Sherry Nevins The Sosland Foundation Gary Laden, Esq. Joy Lerner and Stephen Kelin Amy and Alan Meltzer Arlene and Martin Klepper Judy and Leo Zickler Janet B. Abrams Bunny Dwin Meg and Samuel Flax Rose and Robert Cohen Howard Menaker and Patrick Gossett Susan and Dixon Butler April Rubin and Bruce A. Ray Embassy of Israel Michelle and Jonathan Grossman Paul and Zena Mason 22

$2,500 - $4,999

Babs and Rabbi A.N. Abramowitz, Wendi and Daniel Abramowitz Stephen and Amy Altman Anonymous Gifts Jamie and Joseph A. Baldinger Joy and Leonard Baxt James Beller and Christopher Wolf Deborah and Charles Both Susie and Kenton Campbell Susan Cohn Dave Connick Sara Cormeny and Peter Miller $1,000 - $2,499

Karen E. Lehmann Elaine and Richard Binder Jessica Dodson and Jeremy Levine Rona and Allan Mendelsohn Sonnie and William Dockser Toby Dershowitz Alison Baraf and Aryeh Portnoy Amie Perl and Evan Goldman Debra Vodenos and Samuel Boxerman Ilana Drimmer Joan Nathan Kimberly and Bruce Levin Margery and Sheldon London Rhoda and Daniel Glickman Sandra Hoexter Suzanne and Bruce Rosenblum Tova Geller Alan McAdams and Ellen Dykes The Kresge Foundation Ginny and Irwin Edlavitch Janet and Robert Wittes Janet Leno and Peter Harrold Ziva and Aaron Tomares Dr. Kathryn Veal

Cornerstone Research, Inc. Lois and Michael Fingerhut Jill and Robert Granader Martha Winter Gross and Robert Tracy Aviva Kempner Tamara Korolnek William Kreisberg Brad and Ali Lackey Marion Ein Lewin Saskia and Benjamin D. Loewy Meredith Margolis and Gary Goodweather

Carol Mates and Mark Kahan Alyson Myers Carl and Undine Nash Mita M. Schaffer and Tina M. Martin Peggy and David Shiffrin Michael Singer and James Smith Joan S. Wessel Janice White Rebecca Wolozin and Louis Beckman

Natalie Friedman and Daniel Winston Daniel Freeman and Rebecca Zylberman Ellen Gertsen Audrey Goldstein Mindy Strelitz and Andrew Cornblatt Miriam Morsel Nathan and Harvey Nathan Jennifer Zwilling Rosenwasser and Jon Rosenwasser Rob Kallman Susan Rubin Suleiman Catherine and Micah Gibson Rabbi Fred N. Reiner and Susan Liss Ellen Witman Alfred Sanders Andrea Boyarsky-Maisel Bernard Gewirz Deborah and Michael Salzberg Debra Lerner Cohen and Edward Cohen Ellen and Scott Paseltiner Eric Adler Erwin Gudelsky Irene and Lou Katz

Jacqueline and Edward Cohen Jay Freedman Jesse and Alyssa Levine Joan and Barry Rosenthal Joyce and Fred Bonnett Leslie and Howard Stein Lewis Schrager and Frances Marshall Lisa and Josh Bernstein Lise Van Susteren and Jonathan Kempner Lois and Hadar Granader Lynda Zengerle Marcy and Neil Cohen, Ryna Cohen Margaret Hoeger Marian and James Brodsky Nancy and Marc Duber Renay and Bill Regardie Sandy Bieber and Linda Rosenzweig Susan and Steven Bralove Susan Brett and Rob Shesser Susan Wedlan and Harold Rosen Suzanne and Enrique Fefer The EJL98 Charitable Trust, on behalf of Edward Lenkin and Roselin Atzwanger *of blessed memory

All of the programs at the Edlavitch DCJCC are supported in part by a generous gift from the Jewish Federation of Greater Washington.

With the support of our community of donors, the Edlavitch DCJCC remains the premier address in our nation’s capital for an expanding, diverse, and vibrant urban Jewish community.

Consider a tax-deductible contribution to the EDCJCC today. Visit edcjcc.org/support.

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A WORLD PREMIE RE BEGINS MARCH 27

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