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DEAR FRIENDS, I’m very pleased to welcome you to Amy Herzog’s Belleville, the first play of Studio Theatre’s 37th season. Amy’s writing is striking in its maturity. She writes crisp, actable dialogue. She controls the revelation of information with great assurance. She reveals the deep dynamics of a relationship in minute moments. She has a sophisticated political sensibility and a keen grasp of genre and style. And she wrote the play before she turned 35. The rest of this season’s plays are similarly sophisticated, and most are written by young playwrights. The notable exception is celebrated American playwright Beth Henley, who of course has written the season’s most delightfully playful and childlike play. I hope you’ll agree this is a season notable for its freshness. We’re producing two new plays. We’re introducing a bevy of new writers to Washington: Rachel Bonds, Joshua Harmon, Julia Jordan, Mallery Avidon, Tom Wells. We’re turning Stage 4 into a rock cabaret and offering our first late-night shows. We’ve unveiled a new website and graphic identity. And the staff and I feel as though we’re just getting started. As part of the most discerning and adventurous audience in DC, I want to thank you for supporting this spirit of the new. We’re glad to have you along for the ride. Studio dedicates this production of Belleville to the memory of Tana Hicken, a fellow adventurer and stalwart of DC stages large and small, whom we lost this August. Tana last performed in Amy Herzog’s 4000 Miles, produced here in 2013. She brought talent, rigor, and a great store of humanity to that production and to everything she did. We were all lucky to have her among us.
YOURS, DAVID MUSE ARTISTIC DIRECTOR
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BELLEVILLE
LAUGH
BY AMY HERZOG DIRECTED BY DAVID MUSE BEGINS SEP 3, 2014 Belleville unmasks the seemingly perfect marriage and Parisian life of expats Abby and Zack, anatomizing the consequences of deceptions small and large and the terrifying, profound unknowability of our closest relationships.
BY BETH HENLEY DIRECTED BY DAVID SCHWEIZER BEGINS MAR 11, 2015
BAD JEWS
JUMPERS FOR GOALPOSTS
BY JOSHUA HARMON DIRECTED BY SERGE SEIDEN BEGINS NOV 5, 2014 Joshua Harmon’s savage comedy about family, faith, and identity politics follows three cousins and their verbal battle royale over a family heirloom.
BY TOM WELLS DIRECTED BY MATT TORNEY BEGINS MAY 13, 2015
CHOIR BOY BY TARELL ALVIN MCCRANEY DIRECTED BY KENT GASH BEGINS JAN 7, 2015 A music-filled story of masculinity, tradition, coming of age, and speaking your truth, set in the gospel choir of an elite prep school for young black men.
WORLD PREMIERE
This world-premiere slapstick comedy is a story of mishaps and moxie, the romance of Hollywood and ultimately a Hollywoodcaliber romance. From the Pulitzer Prizewinning playwright of Crimes of the Heart.
US PREMIERE
A hilarious and heartbreaking play about romance, resilience, taking chances, and moving on by the winner of Britain’s 2012 George Devine Award for Most Promising Playwright.
W C IT O H M O P DI NE LE SC O ME OU R M NT NT O Y ED RE OU AD OF R S D- TH UB ON ES SC R PA E S IP P CK E TIO AG CIA N ES L .
&
FOR $75
($95 FOR SATURDAY EVENINGS)
TERMINUS
FOR $50
BY MARK O’ROWE DIRECTED BY TOM STORY BEGINS DEC 10, 2014
THE WOLFE TWINS
MARY-KATE OLSEN IS IN LOVE
($65 FOR SATURDAY EVENINGS)
BY RACHEL BONDS DIRECTED BY MIKE DONAHUE BEGINS OCT 15, 2014 WORLD PREMIERE
BY MALLERY AVIDON DIRECTED BY HOLLY TWYFORD BEGINS JUN 3, 2015
MURDER BALLAD
SILENCE! THE MUSICAL
CONCEIVED BY AND WITH BOOK AND LYRICS BY JULIA JORDAN MUSIC AND LYRICS BY JULIANA NASH DIRECTED BY DAVID MUSE BEGINS APR 15, 2015
BOOK BY HUNTER BELL MUSIC AND LYRICS BY JON AND AL KAPLAN DIRECTED BY KEITH ALAN BAKER BEGINS JUL 15, 2015
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PRESENTS
BELLEVILLE BY AMY HERZOG DAVID MUSE ARTISTIC DIRECTOR
DIRECTOR DAVID MUSE
KEITH ALAN BAKER MANAGING DIRECTOR /ARTISTIC DIRECTOR, 2NDSTAGE
SET DESIGNER DEBRA BOOTH
SERGE SEIDEN PRODUCING DIRECTOR
COSTUME DESIGNER ALEX JAEGER
MERIDITH BURKUS DIRECTOR OF STRATEGIC INITIATIVES
SOUND DESIGNER AND COMPOSER RYAN RUMERY
LIGHTING DESIGNER PETER WEST
DRAMATURG LAUREN HALVORSEN DIALECTS GARY LOGAN FIGHT DIRECTOR ROBB HUNTER
Belleville is a professional production employing members of Actors’ Equity Association, United Scenic Artists, and Stage Directors and Choreographers Society.
CASTING DIRECTOR JACK DOULIN
Belleville is presented by special arrangement with Samuel French, Inc.
PRODUCTION STAGE MANAGER JOHN KEITH HALL*
Belleville was commissioned by Yale Repertory Theatre, New Haven, Connecticut (James Bundy, Artistic Director, Victoria Nolan, Managing Director) and received its first public performance on October 21, 2011.
TECHNICAL DIRECTOR ROBERT SHEARIN
Beginning September 3, 2014 in the Metheny Theatre.
Belleville is generously underwritten by Bobbi and Ralph Terkowitz.
ST CA ABBY — GILLIAN WILLIAMS* ZACK — JACOB H KNOLL* ALIOUNE — MADUKA STEADY* AMINA — JOY JONES* Belleville will be presented without an intermission.
UNDERSTUDIES ABBY KATRINA CLARK+; ZACK GRANT CLOYD+; ALIOUNE ANDERSON WELLS+; AMINA MARY MILLER+
*Members Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States +Equity Membership Candidate
TE NO PHOTO: GILLES KLEIN
A NOTE FROM THE DRAMATURG, LAUREN HALVORSEN Amy Herzog forged her career by transforming incidents from her life into stage-worthy explorations of family secrets, misunderstandings, and hard-won connections—in After the Revolution a woman grapples with the reveal of her grandfather’s long-hidden betrayal; in 4000 Miles, a grandmother and grandson navigate their own evolving notions of mortality. Belleville approaches secrets and lies from a decidedly different point of view, and the play’s influences are less personal, but Herzog remains captured by stories of shifting understandings in our closest relationships, and the intersection of intimacy and deception. Abby and Zack, the American couple at the center of Belleville, decamp to the titular bohemian enclave in Paris for Zack’s prestigious post fighting pediatric AIDS with Médecins Sans Frontières. Their lives are ostensibly perfect—until Abby returns early one afternoon and finds Zack home during his work day. The discovery prompts the emergence of other inconsistencies as Herzog reveals the depth of the anxieties the two are hiding from each other. The precision of Belleville’s mounting tensions—the careful release of information between characters (and audience) or the way certain objects gradually shift from inconsequential to menacing—reinterprets cinematic tropes of the suspense genre. Herzog watched the 1940s psychological thrillers Gaslight and Suspicion as research: “This genre has different requirements…there’s a lot of calibration—exactly how many times does something get mentioned, and when is too much. It’s different onstage than in film, though, because onstage, when you put something down, the audience knows where it is and it is one static thing. In movies, it’s not always in the frame.” Belleville dissects the limitations of intimacy: how well can we ever truly know each other? Beyond the secrets people keep, Herzog explores the comfort a certain level of duplicity provides and points to the lies we let ourselves believe to feel like we can love—or be lovable—in the first place.
AMY HERZOG Perhaps because she came to theatre as an actor, Amy Herzog’s writing is one of nuance and intimation. Where some writers angle for the pleasures of flawlessly articulated arguments or extravagant theatricality, Herzog’s interests are characterbased. “More than anything,” she says, “I hope people connect to the texture of relationships as they emerge during the course of my plays.” Her own performance career ended when, after graduating from college, she went on tour with a production of Ramona Quimby and discovered it made her “utterly miserable.” When she returned to New York, she co-founded theatre company The Tank with classmates from Yale and rekindled her interest in playwriting. Soon after, Herzog received a J. R. Humphrey Fellowship in Dramatic Writing from Columbia University to develop the play In Translation, which earned her acceptance into the Yale School of Drama. Upon graduation, Herzog worked with Youngblood and the writers’ group at Ars Nova. In 2008, she won the Helen Merrill Award for Aspiring Playwrights, around the same time she started writing After the Revolution, which premiered at the Williamstown Theatre Festival in 2010. The production, which transferred to Playwrights Horizons, was hailed as the arrival of a major writer. After the Revolution follows Emma, the daughter of two generations of American radicals, as she navigates the revelation that her recently deceased grandfather— blacklisted during the 1950s for refusing to name names to the House Un-American Committee and lionized in the family’s mythology—had spied for the Russians. After the Revolution was loosely based on an incident in Herzog’s own extended family, and the play features Vera Joseph, the widow of Emma’s grandfather, who continues as one of the central characters in 4000 Miles. 4000 Miles premiered in 2011 at LCT3, Lincoln Center’s new play programming initiative, and was the first show to transfer from LCT3 to the Lincoln Center’s mainstage programming. The play was a finalist for the Pulitzer Prize for Drama and received the 2012 OBIE Award for Best New American Play. Her Yale Rep commission, Belleville, premiered in the fall of 2011. The play—praised by The New York Times as “thrillingly good”—received its New York premiere in the spring of 2013 at New York Theatre Workshop. Herzog’s latest play, The Great God Pan, premiered in 2012 at Playwrights Horizons in New York. With a deft and empathic hand, Herzog develops a story of how the specter of trauma shifts protagonist Jamie’s deepest understandings of himself, his family, and his future. The New York Times called the play “haunting, deeply affecting, and unfailingly honest,” and praised Herzog as “one of the bright theatrical lights of her generation.” Amy Herzog writes with honesty, wisdom, and generosity. As John Lahr wrote in a review of After the Revolution in The New Yorker, “The ability to listen is, perhaps, the definition of love. Herzog’s accomplishment is to trap this rare sense of connection.”
ST CA GILLIAN WILLIAMS (ABBY) was recently seen in Venus in Fur at Seattle Repertory Theatre and Arizona Theatre Company. Other regional theatre credits include Cabaret at Trinity Repertory Theatre, A Christmas Carol at Hartford Stage, and Hamlet and boom at Sandra Feinstein-Gamm Theatre. Ms. Williams was one of two Americans to receive the 2011 International Actor’s Fellowship from Shakespeare’s Globe and was the assistant director for Fiasco Theater’s acclaimed Off Broadway production of Cymbeline. Her television and film credits include The Good Wife, Georgina Chapman’s A Dream of Flying, and Self Storage. Ms. Williams is a graduate of the Brown University/ Trinity Rep Graduate Acting Program and holds a BA in theatre performance and Russian studies from Sarah Lawrence College. JACOB H KNOLL (ZACK) is making his Studio Theatre debut. Mr. Knoll’s credits include productions at the Miscreant Theatre and the Gorilla Repertory Theatre Company in New York. Regionally, he has appeared at the Denver Center for the Performing Arts, Center Stage, and Shakespeare & Company. His film and television credits include Boardwalk Empire, Flight of the Conchords, Severed Threads, The Day Lehman Died, Sesame Street, Alejandro Iñárritu’s Birdman, and Jon Lindstrom’s How We Got Away With It. Mr. Knoll holds an MFA from the Yale School of Drama. MADUKA STEADY (ALIOUNE) returns to DC, having recently appeared in A Raisin in the Sun at Ford’s Theatre. His New York credits include Amy’s View on Broadway (with Judi Dench), In Darfur at the Public Theater, Living Room in Africa at Theatre Row, Mud River Stone at Playwrights Horizons, Scapin at Roundabout Theatre Company, and A Fair Country at Lincoln Center Theater. His regional credits include Stick Fly and The Overwhelming at the Contemporary American Theater Festival, Intimate Apparel at Capital Repertory Theatre, Noises Off at Studio Arena Theater, and A Midsummer Night’s Dream at the Utah Shakespeare Festival. His film and television credits include The Blacklist, Pan Am, All My Children, Freedomland, Law & Order, Sesame Street, and Lorenzo’s Oil. Mr. Steady is a graduate of Carnegie Mellon University’s School of Drama. JOY JONES (AMINA) appeared in Studio Theatre’s Invisible Man, for which she received the 2013 Helen Hayes Award for Outstanding Ensemble. Her other recent local credits include Mary T. & Lizzy K. at Arena Stage and Agnes Under the Big Top at the Forum Theatre. In New York, Ms. Jones recently appeared as Nina Simone in The Champion at BRIC and the BAM Attic. She has also done workshops at the Lincoln Center Festival, Playwrights Horizons, and the Public Theater. Regionally, Ms. Jones has performed at the Denver Center for the Performing Arts, the Huntington Theatre, PlayMakers Repertory, and Arkansas Repertory and internationally she has appeared with the Royal Shakespeare Company. Her onscreen credits include Tantalus: Behind the Mask (PBS) and Broken Continent (Web). She has an MFA in acting from UNC-Chapel Hill.
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S ST TI AR DAVID MUSE (DIRECTOR) is in his fifth season as Artistic Director of Studio Theatre. For Studio and 2ndStage, he has directed Cock, Tribes, The Real Thing, An Iliad, Dirt, Bachelorette, The Habit of Art, Venus in Fur, Circle Mirror Transformation, reasons to be pretty, Blackbird, Frozen, and The Intelligent Design of Jenny Chow. Previously, he was Associate Artistic Director of the Shakespeare Theatre Company, where he directed seven productions, including Henry V, Romeo and Juliet, Julius Caesar, and Coriolanus. Other directing projects include Frankie and Johnny in the Clair de Lune at Arena Stage, The Bluest Eye at Theatre Alliance, and Swansong for New York Summer Play Festival. He has helped to develop new work at numerous theaters, including New York Theatre Workshop, Geva Theatre Center, Arena Stage, Ford’s Theatre, and The Kennedy Center. Mr. Muse has taught acting and directing at Georgetown, Yale, and the Shakespeare Theatre Company’s Academy of Classical Acting. A fivetime Helen Hayes Award nominee for Outstanding Direction, he is a recipient of the DC Mayor’s Arts Award for Outstanding Emerging Artist and the National Theatre Conference Emerging Artist Award. Mr. Muse is a graduate of Yale University and the Yale School of Drama. DEBRA BOOTH (SET DESIGNER) is Director of Design at Studio Theatre, where she has designed Cock; The Apple Family Plays; Edgar & Annabel; Bachelorette; Moonlight; Blackbird; My Children! My Africa!; The Pillowman; Caroline, or Change; Fat Pig; A Number; Afterplay; The Russian National Postal Service; Far Away; Privates on Parade; and many others. Her international work includes premiere operas Marco Polo (Tan Dun/Martha Clarke) in Munich, Hong Kong, and New York and The Hindenburg (Steve Reich/Roman Paska), which toured Europe. Regionally, Ms. Booth’s credits include the premiere of Lost Boys of the Sudan at Minneapolis Children’s Theatre; Marisol at Hartford Stage and the New York Shakespeare Festival; Trying, The Illusion, and Happy Days at Portland Stage Company; the New York premiere of Angels in America at The Juilliard School; The Game of Love and Chance at the Berkshire Theatre Festival; Broken Glass at Philadelphia Theatre Company (Barrymore Award nomination); and Moon for the Misbegotten at Yale Repertory Theatre. She has also collaborated on projects with Estelle Parsons and Al Pacino for the Actors Studio. Ms. Booth is the recipient of the National Endowment for the Arts Design Grant and a graduate of the Yale School of Drama. PETER WEST (LIGHTING DESIGNER) returns to Studio Theatre, where he previously designed Torch Song Trilogy and Superior Donuts. His recent designs include The Importance of Being Earnest with the Shakespeare Theatre Company, Zero Cost House with Pig Iron Theatre Company, and The Mystery of Irma Vep at Red Bull Theater. His work has been seen throughout the United States and in Europe, Japan, and South America in theatres such as the Shakespeare Theatre Company, The Spoleto Festival, Berkeley Repertory Theatre, Arena Stage, California Shakespeare Theater, Shakespeare Santa Cruz, PlayMakers Repertory Company, Geva Theatre Center, The Barbican, Denver Center Theatre Company, the Public Theater, New York Theatre Workshop, and the American Dance Festival. He has designed more than 40 productions for the Drama Division of The Juilliard School and has been an adjunct lecturer at Williams College and Brooklyn College. Mr. West is an artistic associate of Red Bull Theater.
Y T I C L U F I T BEAU AMY HERZOG initially toyed with setting Belleville in America but ultimately settled on France—more specifically Paris, where she had spent some time in her early twenties. “I am really very interested in the Paris of the American imagination,” she says. “You know, a place where extraordinary people do extraordinary things. We all have a very strange, outdated view of the city…There’s something exciting to me about the nostalgia for something that actually doesn’t exist.”
PHOTO: FABRIZIO SCIAMI
The significance of Belleville, the eclectic, working-class neighborhood where Zack and Abby reside, also evolved as Herzog wrote the play: “I felt the environment of Belleville was kind of a character. ‘Belleville’ means ‘beautiful city,’ and I think the dream of what Paris was going to be was very alive for Abby and very important to why they’re there, and it felt like that was a good starting point for the audience—the words ‘beautiful city’ in another language.”
ALEX JAEGER (COSTUME DESIGNER) has designed costumes for multiple Studio Theatre productions, including Cock; The Habit of Art; Circle Mirror Transformation; The Solid Gold Cadillac; Grey Gardens; The History Boys; Rosencrantz and Guildenstern Are Dead; Caroline, or Change; The Prime of Miss Jean Brodie; Black Milk; The Russian National Postal Service; A Class Act; and The Cripple of Inishmaan. He has also designed A Parallelogram and Other Desert Cities at the Mark Taper Forum; The Nether, Eclipsed, and The Paris Letter at the Kirk Douglas Theatre; and Two Sisters and a Piano for the Public Theater. Other credits include Venus in Fur, Major Barbara, Arcadia, Speed-the-Plow, Maple and Vine, and Rock ‘n’ Roll (also for the Huntington Theatre Company) for the American Conservatory Theater and A Wrinkle in Time, A Streetcar Named Desire, August: Osage County, Cat on a Hot Tin Roof, Dead Man’s Cell Phone, Romeo and Juliet, Handler, and Fuddy Meers for the Oregon Shakespeare Festival. RYAN RUMERY (SOUND DESIGNER AND COMPOSER) is a musician, composer, and sound designer. He previously designed Tribes for Studio Theatre. He recently produced an album for The Joy of Harm, featuring Jacob Valenzuela from Calexico and recorded by Craig Schumacher (Neko Case and KT Tunstall) at Wavelab. Mr. Rumery also plays piano and drums with The Painted Bird, a dance piece by Palissimo, Inc.; The Painted Bird has been performed at Baryshnikov Arts Center, La MaMa, PS 122, Legion Arts, Wexner Center, and in Zilina, Slovakia. Last summer, he performed his live score for The Master Builder at the Brooklyn Academy of Music, featuring John Turturro. Last year, Mr. Rumery released his first two EPs from the productions of 4000 Miles at Lincoln Center and Ivanov, starring Ethan Hawke, at Classic Stage Company. His film credits include SyncroNYCity, Gatewood, and Flower Man. His theatre work has been heard across the United States, including the Broadway production of Thurgood starring Laurence Fishburne, which aired on HBO. ROBB HUNTER (FIGHT DIRECTOR) has directed violence for many Studio Theatre productions including Red Speedo (Helen Hayes Award nomination for Outstanding Choreography), The Motherfucker with the Hat, Invisible Man, Superior Donuts, American Buffalo, Legends!, reasons to be pretty, and The Walworth Farce (Helen Hayes Award nomination for Outstanding Choreography). His work has also been seen in The Winter’s Tale, The Alchemist, Hamlet (CB) and Measure for Measure at the Shakespeare Theatre Company; Ruined, Noises Off, Stick Fly, and others at Arena Stage; Hamlet, Don Giovanni, and the East Coast premiere of Moby Dick for Washington National Opera; plus numerous other theatres including Olney Theatre Center, Ford’s Theatre, Rep Stage, Baltimore Shakespeare Festival, and WSC. Mr. Hunter is a member of the Stage Directors and Choreographers Society, AEA, and SAG/AFTRA, and is one of only thirty Fight Directors in the world certified by the Society of American Fight Directors, for whom he is also a Certified Teacher. He holds an MFA in theatre pedagogy from Virginia Commonwealth University. Mr. Hunter is an artist in residence at American University and a combat/movement instructor for the Domingo-Cafritz Young Artist Program at The Kennedy Center and at McDaniel College. GARY LOGAN (DIALECTS) returns to Studio Theatre, having coached dialects for Tribes, The Real Thing and Venus in Fur, and Frozen and Crestfall for Studio 2ndStage. Internationally, he has worked with the Royal Shakespeare Company on Tantalus and for several seasons was a voice and dialect coach for the Stratford Shakespeare Festival of Canada. Regionally, his work includes Pride in the Falls of Autrey Mills with Christine Lahti at Signature Theatre, Master Class with Tyne Daly at The Kennedy Center, Shenandoah with Scott Bakula at Ford’s Theatre, The Beaux’ Stratagem and August: Osage County at Everyman Theatre, Love in Afghanistan at Arena Stage, Henry V at Folger Theatre, and Design for Living for the Shakespeare Theatre Company. Mr. Logan was the recipient of a 2006 Tyrone Guthrie Award and is the author of The Eloquent Shakespeare.
LAUREN HALVORSEN (DRAMATURG) is Studio Theatre’s Associate Literary Director. For Studio and Studio 2ndStage, she has dramaturged Water by the Spoonful, Tribes, The Real Thing, The Motherfucker with the Hat, The Aliens, Bachelorette, The Big Meal, and Time Stands Still. Previously, she spent three seasons as Literary Manager of the Alley Theatre and has worked in various artistic capacities for the WordBRIDGE Playwrights Laboratory, City Theatre Company, O’Neill Playwrights Conference, First Person Arts Festival, and The Wilma Theater. Ms. Halvorsen is a graduate of Bryn Mawr College. JOHN KEITH HALL (PRODUCTION STAGE MANAGER) has stage managed productions on the East Coast from New Hampshire to Florida. He spent several years as Resident Stage Manager at the Barter Theatre in Abingdon, VA, where he supervised more than forty productions. Mr. Hall is the Resident Stage Manager at Studio Theatre, where he has stage managed Cock, Water by the Spoonful, Tribes, The Apple Family Plays, Torch Song Trilogy, The Real Thing, 4000 Miles, The Motherfucker with the Hat, The Aliens, Invisible Man, Bachelorette, Sucker Punch, The Golden Dragon, The Habit of Art, The History Boys, Adding Machine: A Musical, and The Road to Mecca, among others. A graduate of Virginia’s Longwood University, Mr. Hall is a proud member of the Actors’ Equity Association. NATHAN NORCROSS (ASSISTANT DIRECTOR) joins Studio this season as the Artistic Apprentice, serving as the Assistant Director for each Subscription Series production as well as collaborating with the Literary Department. As a director, Mr. Norcross’ early professional career has spanned a variety of genres and forms—from large-scale musicals to intimate chamber pieces, from developing new plays with living playwrights to developing his own adaptation of Shakespeare’s Macbeth. Mr. Norcross has worked alongside a number of directors he now counts as valuable mentors, including Mark Lamos, Nicky Martin, Gary Griffin, Bob Moss, and Eric Rosen. He assisted Phylicia Rashad in directing a production of A Raisin in the Sun at the Westport Country Playhouse. Mr. Norcross is a graduate of NYU’s Tisch School of the Arts where he earned a BFA in Acting, as well as Florida State University where he recently completed an MFA in Directing. JACK DOULIN (CASTING DIRECTOR) has been the Casting Director at New York Theatre Workshop since 2000, where his casting work includes Fetch Clay / Make Man; Peter and the Starcatcher; Aftermath; Homebody / Kabul; Caryl Churchill’s Far Away, A Number, and Love and Information; The Beard of Avon (directed by Doug Hughes); and Ivo von Hove’s productions of Hedda Gabler, The Misanthrope, and The Little Foxes. For Soho Rep he has cast Blasted, Elective Affinities, The Ugly One, Uncle Vanya, Jackie Sibblies Drury’s We Are Proud to Present…, A Public Reading of an Unproduced Screenplay about the Death of Walt Disney, Marie Antoinette, and An Octoroon. Other casting credits in New York include The Persians, Andre Gregory’s productions of Uncle Vanya (with Julianne Moore and Wallace Shawn) and The Master Builder, Edgewise, Creature, Beebo Brinker, Dark Yellow, Living Room in Africa, Orange Flower Water, and The Gin Baby. For Studio Theatre he previously cast Cock and The Motherfucker with the Hat. Other regional credits include productions at Long Wharf, The Goodman Theatre, Hartford Stage, American Repertory Theatre, Seattle Rep, Pig Iron Theatre, Philadelphia Theatre Company, The Wilma Theater, and Arena Stage. Mr. Doulin’s film casting includes Michael Almereyda’s New Orleans, Mon Amour and Jonathan Demme’s forthcoming film A Master Builder. He was also responsible for the speaking roles in the Metropolitan Opera’s production of Le Fille du Regiement. Mr. Doulin teaches at ESPA and in the Drama Division of The Juilliard School.
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Richard Tucker Scully and Lee A. Kimball Janet W. Solinger and Jacob K. Goldhaber Mary Ann Stein Al and Nadia Taran James Turner Kazuko Uchimura Elisse Walter John and Sue Whitelaw Rosa Wiener Linda Winslow Robert I. Wise Paul Wolfson Colin Young
MEMBERS
($250-$499) Anonymous Judith Andrews Agard Carolyn Alper Paul and Catherine Armington Dorothy C. Barthelmes and Robert M. Henry June Bashkin Jason and Nichole Bassingthwaite Nan Beckley Joseph and Ruth Bell James Bellor and Christopher Wolf Robin Berrington Rick and Burma Bochner Nina and Tony Borwick
Catherine Braun Mady Chalk Cecilia Chandler Wallace W. Chandler John and Linda Cogdill Will Cooke Jonathan Cooper and Kate Heinzelman Mary Davidson Linda and John Donovan Peggy M. Dugan Michael and Mary Durr Luc and Caroline Everaert Katharine Fairhurst Ellen Farrell and Brian Butters Marc and Anne Feinberg Suzanne and Ted Fields Paul Gamble Carl Gerber William B. Glidden Amnon and Sue Golan Goldmuntz Family Fund Joseph H. and Merna C. Guttentag Jack Hairston Jr. Leda Hall Margaret Hennessey George Higgins Donald Hooker Edward and Victoria Jaycox Andrew Joskow and Lisa Sockett Robert and Jean Kapp Paul and Masako Kaufman Christine and Gene Kilby
Robert L. Kimmins Norman and Selma Kunitz Rod Lawrence Robert Lees Darrell Lemke and Maryellen Trautman James F. and Mary B. Lischer Dr. Richard Little Caroline and Robert Lyke Thomas and Joan Malarkey Claudia Malloy and Chris Kleponis Captain Lory Manning W. A. McGrath Jeffrey Mendell and Eddie Adkins Lisa Mezzetti Jane Molloy Tom Morgan and Ken Youngert Dr. Christopher Nekarda Elizabeth and John Newhouse Louisa Newlin Daniel and Carol O’Laughlin Karl Olsson Norval Peabody Lewis R. Podolske James R. Posner Carol Rabenhorst Alfred Raider Roz Rakoff Dr. and Mrs. Alan Ramsey Dennis W. Renner and Michael T. Krone Massimo and Marilou Righini Julie F. Rios
Friends with Benefits Host Committee members Christina Logothetis and Nichole Allem at the 2014 FWB Summer Fling. Photo: Rena Schild.
Tom and Cathie Woteki with Board Member Stanley Marcuss at the 2014 Come to Your Senses Gala. Photo: Steve Kolb.
Sara Rosenbaum Robert D. and JoAnn Royer Terry Savela John V. Schappi Richard Schwab Marty and Carol Segal Richard and Phyllis Sharlin Ian Shuman Joan and Ronald Silberman Richard and Athena Spear Eleanor Spoor Ms. Cecile Srodes Eva Stehle Barbara Stout Charles and Cecile Toner Jeff Toretsky Cori Uccello Drs. Stephan and Ann Werner Carolyn Wheeler Jeffrey Wilder Hal Wolken Julie and David Zalkind
MATCHING GIFTS
American Express Companies The Capital Group Companies Charitable Foundation Freddie Mac Foundation Bill and Melinda Gates Foundation IBM Matching Grants Program Qualcomm
IN-KIND
Ace Beverage Amtrak Aram Designs B Too
BakeHouse Barcelona Restaurant and Wine Bar Birch & Barley BodySmith Gym + Studio Calvert Woodley Fine Wines & Spirits CHURCHKEY Cleveland Park Liquors & Fine Wines The Coca-Cola Company Colonial Parking Stuart and Sylvia Danovitch Dolcezza Drafting Table EatWell DC Four Seasons Hotel Washington DC Shannon Grahek Beam Global Spirits & Wine Inc. Stephen L. Kolb Arthur and Barbara Levine Maggiano’s Little Italy, Chevy Chase Marvin Restaurant McWilliams Ballard Residential Brokerage Mehri & Skalet Mitchell Gold + Bob Williams New Columbia Distillers Policy Restaurant and Lounge Shugoll Research Unipark Valet Services Whole Foods Market P Street YMCA National Capital Zentan *In Memoriam Artistic Director David Muse and Board Member Mark Foster at the 2014 Season Launch. Photo: Nora Simon.
PRODUCTION STAFF ASSISTANT DIRECTOR NATHAN NORCROSS ASSISTANT STAGE MANAGER JEN GRUNFELD+ LIGHT BOARD OPERATOR/ELECTRICS APPRENTICE ERIC MCMORRIS SOUND BOARD OPERATOR/SOUND-PROJECTIONS APPRENTICE CHRISTAL JEREZ PROPERTIES DIRECTOR DEB THOMAS MASTER ELECTRICIAN/SOUND TECHNICIAN ADRIAN ROONEY COSTUME SHOP MANAGER BRANDEE MATHIES ASSOCIATE PRODUCTION MANAGER LORNA MULVANEY PRODUCTION ASSOCIATE JACOB JANSSEN COMPANY MANAGER/PRODUCTION APPRENTICE VICTORIA VASQUEZ ASSISTANT TECHNICAL DIRECTOR/MASTER CARPENTER JEN WORSTER CARPENTER MARTY THOMAN CARPENTRY/SCENE SHOP APPRENTICE BIANCA HAMP SCENIC ARTIST ERICH STARKE HAIR STYLIST JOHN GREEN
BOARD OF TRUSTEES
ACKNOWLEDGMENTS
Gerald M. Rosberg, Chairperson Virginia A. McArthur, Vice Chairperson E. C. Michael Higgins, Secretary Jon Danforth, Treasurer Irene Harriet Blum Frederick J. Boyle Vincent Brown Susan L. Butler Liz Cullen Mark W. Foster Susan L. Gordon Warren Graves Jean Heilman Grier Bret Hewitt Leonade Jones Albert G. Lauber, Jr. Stanley Marcuss Herbert E. Milstein A. Fenner Milton Larry Naake James Nozar Jonathan Pitt Teresa M. Schwartz Steve Skalet Jerome Sowalsky David Steinglass Roberta S. Terkowitz William G. Tompkins, Jr. Robert Tracy Jonathan Tycko Janet Wittes
Studio Theatre is grateful to Esthy and James Adler for their support of this production. Studio is also pleased to thank opening night hosts Hope and Mark Foster and David and Jean Heilman Grier, and pre-show reception hosts Albert Lauber and Craig Hoffman.
EX-OFFICIO
Keith Alan Baker David Muse Serge Seiden
HONORARY BOARD
Jan Carol Berris Morris J. Chalick, M.D. Barbara Smith Coleman* Virginia R. Crawford John G. Guffey S. Ross Hechinger Jaylee M. Mead, Chair Emeritus* Russell Metheny Harold F. Nelson Nancy Linn Patton Marshall E. Purnell Joan Searby Victor Shargai Henry F. von Eichel* Joy Zinoman, Founding Artistic Director *in memoriam
COUNSEL TO STUDIO THEATRE
Legal Advisor: Mark Alberta Auditor: Darrin S. Rogers, CPA, CMA, Rogers & Company PLLC
Studio Theatre thanks Dr. Sadibou Sow and Sarah PickupDiligenti for their assistance with this production.
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.
SERVICES
STUDIO THEATRE
1501 14th Street NW Washington, DC 20005 Box Office: 202.332.3300/ 202.332.1187 fax Administraton: 202.232.7267 Fax: 202.588.5262 web: studiotheatre.org email: studio@studiotheatre.org
PLEASE HELP US STAY GREEN.
Return bottles or cans to the concession bar or place them in the adjacent recycling bins. Studio Theatre is powered by 100% renewable wind power.
TICKETS
We have three easy options to purchase tickets: Online: www.studiotheatre.org Phone: 202.332.3300 In Person: Visit our Box Office
BOX OFFICE HOURS
Monday-Sunday: 12:00PM-7:30PM
DISCOUNTS
Blue Star Theatres Military Discount U.S. military personnel are invited to purchase discounted tickets at 20% off the regular ticket prices. Senior Citizens (62+) $5 Discount with ID. $30 at 30 Rush Tickets on sale 30 minutes before curtain time as available. Studio25: $25 Tickets for Twentysomethings For those under 30 years old, present your ID and purchase $25 tickets throughout the season. College
Connection Students may purchase $20 tickets for any performance, when available. Must present a valid student ID for each ticket purchased. Group Rates available for groups of 10+. Call 202.232.7267, ext. 361.
TRANSIT
Metrorail Studio Theatre is equidistant to three Metro stops: Dupont Circle on the Red Line; U Street-Cardozo on the Yellow/ Green Lines; 13th & U Street NW; McPherson Square on the Blue/ Orange Lines, 14th & Eye Street NW. Metro Bus Studio Theatre is located on the 53 or 54 bus lines on 14th Street and the G2 line on P Street. Circulator Bus Woodley ParkAdams Morgan McPherson Square line. Studio Theatre is located on the Circulator Bus route immediately across from the Theatre at 14th and P Streets NW.
PARKING
Washington Plaza Hotel at 10 Thomas Circle NW. Vouchers on sale at concessions for $13. Colonial Parking Garage locations: P Street between 14th & 15th Streets NW, and between 16th & 17th Streets NW. Subject to availability. Studio Theatre is not responsible for damaged, lost, or stolen items.
AUDIENCE SERVICES
Cab Request Service Fill out a cab request form (available at the Box Office) either before the show or during intermission. Concessions There are full bars in the Mead
Lobby (first floor) and the Milton Lobby (second floor). They are open one hour before the performance. Shop in our Elevator Bookstore Scripts, books, performance guides, t-shirts, mugs, baseball caps, and more are on sale in our bookstore, located in the Mead Lobby (first Floor).
ACCESSIBILITY
· Large Print and Braille Programs · Audio-Described Performances · Assistive Listening Devices · Sign Language Interpretation · Captioned Performances · Accessible Entrances, Seating, and Restrooms
VOLUNTEER
To become a volunteer, please email volunteer@studiotheatre.org, call 202.232.7267, or visit studiotheatre.org/about/ opportunities.
USHER
To become an usher, please email usher@studiotheatre.org to contact our volunteer coordinator.
STAFF
ARTISTIC DIRECTOR: DAVID MUSE MANAGING DIRECTOR/ARTISTIC DIRECTOR, 2NDSTAGE: KEITH ALAN BAKER PRODUCING DIRECTOR: SERGE SEIDEN DIRECTOR OF STRATEGIC INITIATIVES: MERIDITH BURKUS Director of Design: Debra Booth Literary Director: Adrien-Alice Hansel Associate Literary Director: Lauren Halvorsen Artistic Apprentice: Nathan Norcross Commissioned Writers: Rachel Bonds, Vivienne Franzmann, Stew and Heidi Rodewald Technical Director: Robert Shearin Assistant Technical Director/Master Carpenter: Jen Worster Carpenter: Marty Thoman Carpentry/Scene Shop Apprentice: Bianca Hamp Master Electrician/Sound Technician: Adrian Rooney Electrics Apprentice: Eric McMorris Sound and Projections Apprentice: Christal Jerez Scenic Artist: Erich Starke Properties Director: Deborah Thomas Costume Shop Manager: Brandee Mathies Associate Production Manager: Lorna Mulvaney Production Associate: Jacob Janssen Company Manager/Production Apprentice: Victoria Vasquez Resident Stage Manager: John Keith Hall Stage Management Apprentice: Jen Grunfeld
Business Manager: Terence McCann Assistant Business Manager: Eric Colton Business Apprentice: Julia Corrigan Administrative and Events and Rentals Coordinator: Nikki Grizzle Executive Assistant: Mary Grace Short Information Technology Director: Nick Torres Facilities Manager: Kieran Kelly Facilities and Operations Apprentice: Dawn Kelley Director of Development: TC Benson Manager of Major Gifts: Zack Lynch Development Officer: Stephanie Richards Development Associate, Individuals and Events: Kelsey Beaumont Development Apprentice: Laura Cohen Director of Marketing and Communications: Beth Hauptle Publicist and Publications Manager: Liz O’Meara-Goldberg Marketing Manager: Scott Sanger Subscriptions Manager: Adria Gunter Database and Digital Marketing Manager: Rachael Wilkinson Communications Apprentice: Dorothy Trigg Graphic Design Apprentice: Cheyenne Michaels Photographer: Teddy Wolff Photographer and Videographer: Igor Dmitry Director of Ticket Operations: Stephen Notes Box Office Manager: Amy Horan Assistant Box Office Manager: Tobias Franzen Box Office Associates: Andra Belknap Jen Gushue, Rachel Garmon, Juliette Ebert, Orion Jones
Box Office Assistants: Milica Bogetic, Emily Gilson, Erin Loundes, Bri Manente, Yewande Odetoyinbo, Emily Kester, Kara Sparling Box Office Swing Managers: Danielle Mohlman, Elise Morrow-Schapp, Orion Jones, Emily Kester, Rachel Garmon Audience Services Manager: Lynn Coughlin House Manager: Robert Montenegro House Manager Swings: Ric Birch, Matt Dewberry, Jon Harvey Assistant House Managers: Amie Cazel, Juliette Ebert, Rachel Garmon, Elizabeth Greenstein, Corinne Hayes, Orion Jones, Marley Kabin, Emily Kester, Jeff Kirkman III, Briana Manente, Anna Treichler, Jon White, Kara Sparling, Quill Nebeker Director of Education: Roma Rogers Education Manager: Madeleine Burke Pitt Associate Education Manager: Anderson Wells Education/Conservatory Apprentice: Kaitlyn McElrath Instructors: Joy Zinoman (Director of Curriculum and Teacher Training), Meade Andrews, Carol Arthur, Nancy Bannon, Diana Bradley, Zach Campion, Kate Davis, Elena Day, Kate Debelack, Denise Diggs, Catherine Eliot, George Fulginiti-Shakar, Julie Garner, Charlotte Graham, Robb Hunter, Nancy Paris, Madeleine Burke Pitt, Roma Rogers, Serge Seiden, Colette Yglesias Silver, Matthew Vaky