HEDDA GABLER Program | Studio Theatre by Studio Theatre

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FRIENDS, Most anytime we at Studio describe the kind of theatre produced here, we invoke the word ‘contemporary.’ But Hedda Gabler was written about 125 years ago. What gives? One answer: Studio is an institution particularly indebted to the tradition and style of theatrical realism, a movement that arose in the late nineteenth century and has never gone away. Realism so upended the conventions of the day that we generally think of this period as the beginning of modern drama, and Ibsen as its father. James Joyce once wrote of Ibsen, “It may be questioned whether any man has held so firm an empire over the thinking world in modern times.” Another: There is something intrinsically contemporary about Hedda. She is a creature unlike any put on stage before her, and she seems only slightly less shocking to us now that we’ve become accustomed to the key features of her modernity: self-absorption, ennui, sexual frustration, emotional detachment, disenchantment with the very notion of marriage. And Hedda is contemporary on a deeper level, too. She is profoundly unknowable. Mysterious. Inscrutable. The true roots of her malaise and her behavior are unknown to us, and probably to her. In Hedda Gabler, Ibsen gave the world theatre its first great neurotic. Another: Mark O’Rowe, a contemporary Irish dramatist and Studio favorite, has blown the dust off Ibsen in this remarkable adaptation, which is modern without straining to be so. And Matt Torney, Studio’s recently appointed Associate Artistic Director, brings a freshness to the production, inspired in part by a number of strikingly contemporary takes on modern classics from leading European directors. But I suppose the most direct answer is this: it felt like now to us. A dazzling group of theatre artists worked to bring this play to life. I’m so pleased that you’re here to enjoy it. YOURS,

DAVID MUSE ARTISTIC DIRECTOR

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PRESENTS

HEDDA GABLER WRITTEN BY HENRIK IBSEN IN A NEW VERSION BY MARK O’ROWE DIRECTOR MATT TORNEY SET DESIGNER LUCIANA STECCONI COSTUME DESIGNER MURELL HORTON LIGHTING DESIGNER SCOTT ZIELINSKI SOUND DESIGNER FITZ PATTON DRAMATURG ADRIEN-ALICE HANSEL CASTING STEWART HOWARD & PAUL HARDT PRODUCTION STAGE MANAGER ANTHONY O. BULLOCK* Hedda Gabler premiered on January 31, 1891 at the Residenztheater in Munich, Germany. This version by Mark O’Rowe premiered on April 10, 2015 at the Abbey Theatre in Dublin, Ireland. Beginning May 11, 2016 in the Mead Theatre.

PRODUCTION MANAGER JOSH ESCAJEDA TECHNICAL DIRECTOR ROB SHEARIN Hedda Gabler is generously underwritten by an anonymous donor. * Member Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States

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CAST In order of appearance

Hedda Gabler will be presented with one 15-minute intermission.

UNDERSTUDIES Julle Tesman and Berte | DECLAN CASHMAN Jorge Tesman | LOUIS LAVOIE + Hedda Tesman | SHAYNA R. PADOVANO + Thea Elvsted | CHELSEA THALER + Judge Brack | AJ CALBERT Ejlert Lovborg | EVAN GARDNER + * Member Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States +Equity Membership Candidate

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NOTE A NOTE FROM THE DRAMATURG, ADRIEN-ALICE HANSEL Hedda Gabler stands as one of the most fascinating figures in modern drama. Simultaneously towering and petty, impulsive but capable of slow-burn manipulations. She is a woman whose torment is at least partially self-imposed and whose most creative acts are stunning in their cruelty. Hedda commands the center of Henrik Ibsen’s strikingly contemporary investigation of power—the all-too-human drives to create, influence, ensnare, or destroy. Both drawn to and repelled by convention, Hedda is full of a passionate but aimless desire for freedom, with an eye trained on society and the scandal she believes would break her. These contradictions, and the mystery of what motivates her, drew adaptor Mark O’Rowe to the play. “Society is against Hedda, but so is her own pathology: She wants to be an artist, but she doesn’t have the courage to create. She wants to break out of domesticity, but she’s afraid of scandal,” says O’Rowe. “You can’t solve Hedda. You have to luxuriate in her contradictions and allow her to exist from moment to moment, never quite sure how to feel about her.” Ibsen underlines the mystery at Hedda’s core by presenting her actions in situ, without monologues or soliloquies. Hedda gathers information and repurposes it as ammunition, showcasing her particular talent for sounding out an opponent and striking wherever they are most vulnerable. She also undertakes several crucial actions onstage alone and in silence, throwing the audience into the deep end, witnessing a mind in crisis struggle to work its way through an ambiguous situation. Even Ibsen’s dialogue hides as much as it reveals. Edmund Gosse, who translated Hedda Gabler for its first English-language production in 1891, commented on the disjointed nature of the original language, the play’s “hissing conversational fireworks, fragments of sentences without verbs, clauses that come to nothing, adverbial exclamations and cryptic interrogatories,” going on to state that Ibsen’s “rapid broken utterance will give an extraordinary sense of reality.” The play’s language feels conversational, relatable, written with an ear for what speech can dodge or elide as much as for what it allows characters to actually say. More than a century later, O’Rowe’s new version captures that haunting paradox between observable behavior and unknowable motivations in language as supple and fragmentary as Ibsen’s original. Fleetly plotted, Hedda Gabler is structured to give the audience the moment-tomoment experience of Hedda and her contradictions, unfolding in one intimate, near-secret scene to the next over the 36 hours from the morning after the Tesmans’ return to the play’s tragic conclusion. The scenes interlock masterfully in a series of short interactions with consequences that quickly cascade beyond the characters’ attempts to curb them. The result is a series of interactions that unfurl swiftly, setting a snare that closes around its central figure while accruing a sense of a roiling undertow, an enigma at the center of Hedda that can’t quite be explained away by psychology or society.

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PLAYWRIGHT HENRIK IBSEN Born in 1828 in the shipping town of Skien, Norway, Henrik Ibsen initially worked as a resident playwright for two theatres in Norway, turning out a series of idealistic historical dramas. When Norway abandoned Denmark in their war against Prussia in 1863, his idealistic nationalism collapsed and Ibsen took a twenty-seven-year exile from his native country. He wrote his first significant plays of his career in Rome, including Brand (1866), the mythological-historical epic Peer Gynt (1867), and The League of Youth (1869) — which reflect his complicated feelings about the political trajectory of Norway and its implications for Norwegian citizens. Moving to Munich in 1875, Ibsen produced some of his most critically acclaimed works, including The Pillars of Society (1877) and A Doll’s House (1879). In 1880, invigorated by Émile Zola’s essay “Naturalism in the Theatre,” in which Zola scathingly condemned the barren wasteland that European drama in the 1870s had become, Ibsen embarked on a decade-long outpouring of stunning creativity: Ghosts (1881), Roshersholm (1886), and Hedda Gabler (1890), among others. Drawing on private life as the encapsulation of all that was wrong with public life, Ibsen created characters with whom the audience could identify: a common dramaturgical tactic today, largely thanks to Ibsen’s pioneering approach, but one that shocked Ibsen’s audience. Ibsen returned to Norway in 1891, and his last four plays — The Master Builder (1892), Little Eyolf (1894), John Gabriel Borkman (1896), and When We Dead Awaken (1899) — show Ibsen at the height of his powers, as do his back-to-back nominations for the Nobel Prize in Literature in 1902, 1903, and 1904. He died in 1906, and received a state funeral from the Norwegian government.

MARK O’ROWE

Mark O’Rowe is a playwright and film writer whose second play, Howie the Rookie, won the George Devine Award, the Rooney Prize for Irish Literature and an Irish Times/ESB Irish Theatre Award for Best New Play when it premiered at the Bush Theatre in 1999. His other plays include From Both Hips (Fishamble, 1997), Made in China (Abbey Theatre, 2001), and Crestfall (Gate Theatre, 2003). In 2007 he wrote Terminus, a series of interlocking monologues, which received rave reviews when it opened at Dublin’s Abbey Theatre and won a Fringe First when it transferred to the Edinburgh Festival in 2008. The Abbey appointed him a writer-in-association for their 2014 centenary, where Our Few and Evil Days premiered in 2014 and his new version of Hedda Gabler premiered in 2015. In 2003, O’Rowe wrote his first feature film, Intermission, which starred Colin Farrell and Cillian Murphy and was a popular hit as well as winning the IFTA Award for best screenplay. His 2008 adaptation of Jonathan Trigell’s novel, Boy A, won a BAFTA for Best Single Drama, a Broadcasting Guild Award for Best Single Drama and four jury awards at Dinard British Film Festival. O’Rowe’s adaptation of Daniel Clay’s 2008 novel Broken (Rufus Norris, dir) opened Cannes Critics’ Week and won Best Independent Feature at the BIFAs in 2012.

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CAST BIOS KIMBERLY SCHRAF (Julle Tesman) has appeared in a number of Studio Theatre productions in her 30 years as a Washington actor, including all four of the Apple Family plays (That Hopey Changey Thing, Sweet and Sad, Sorry, and Regular Singing), The Women, Skylight, The Bacchae, Frozen, and Crestfall (by Hedda Gabler adaptor Mark O’Rowe). Other area productions include The Laramie Project, Our Town, Sabrina Fair, and The Carpetbagger’s Children at Ford’s Theatre; Ah, Wilderness!, The Women, and Molly Sweeney at Arena Stage; Measure for Pleasure (Helen Hayes Award nomination), The Gigli Concert, Freedomland, and Watbanaland at Woolly Mammoth Theatre Company; Show Boat (Helen Hayes Award nomination) and Angels in America, Parts I and II at Signature Theatre; The Sisters Rosensweig, After the Fall, Mikveh, and Hannah and Martin at Theater J; The Misanthrope, Better Living, and A Prayer for Owen Meany at Round House Theatre; and Proof, You Can’t Take It With You, Going to Saint Ives, and Light Up the Sky at Everyman Theatre. Her television credits include Homicide: Life on the Street. In the fall, Ms. Schraf will appear in The Diary of Anne Frank at Olney Theatre Center. ROSEMARY REGAN (Berte) previously appeared at Studio Theatre in Animal, The Cripple of Inishmaan, The Desk Set, Conversations with My Father, and Rosencrantz and Guildenstern Are Dead. For Studio 2ndStage, she performed in Terrorism, Mad Forest, Hot Fudge, Terrence McNally: Five Short Plays, and Muzeeka. Other recent local appearances include Middletown (NextStop Theatre), Mary Stuart (Folger Theatre), and Optimism! or Voltaire’s Candide (Spooky Action Theater, Helen Hayes Award nomination for Best Ensemble). She has also appeared at Signature Theatre, Virginia Shakespeare Festival, Theater Alliance, and Solas Nua, among others. AVERY CLARK (Jorge Tesman) was most recently seen as Fin in Studio Theatre’s production of Moment. Other local productions include Measure for Measure, The Tempest, and A Midsummer Night’s Dream with Shakespeare Theatre Company. Select New York credits include Arcadia and the original cast of Coronado (written by Dennis Lehane, Invisible City), The Pillowman (Astoria Performing Arts

Center), Rosencrantz and Guildenstern are Dead (MCT), and The Scarecrow (Metropolitan Playhouse). His regional work includes Romeo and Juliet, Cymbeline, The Count of Monte Cristo at Alabama Shakespeare Festival; A Christmas Carol with Cincinnati Playhouse in the Park; Hamlet, Henry V, and The 39 Steps with Arkansas Rep; Journey’s End at the Alley Theatre; The Heidi Chronicles at Repertory Theatre of St. Louis; A Midsummer Night’s Dream with the Pennsylvania Shakespeare Festival; Three Days of Rain at Oldcastle Theatre Company; and The Shape of Things at Premiere Stages. His television credits include Guiding Light on CBS and American Genius on National Geographic. JULIA COFFEY (Hedda Tesman) makes her Studio Theatre debut. New York credits include Perfect Arrangement at Primary Stages and London Wall (Drama Desk Nomination) and The Widowing of Mrs. Holroyd (Drama League Nomination) at The Mint Theater. Regional credits include Rosalind in As You Like It at Baltimore Center Stage; Arcadia, Maple & Vine, and Once in a Lifetime at American Conservatory Theater in San Francisco; The Beaux Stratagem and Portia in Merchant of Venice at Shakespeare Theatre Company; Tales from Hollywood at The Guthrie Theater; Juliet in Romeo and Juliet at Chicago Shakespeare Theater; and various productions at Pittsburgh Public, St. Louis Rep, Santa Cruz Shakespeare, Barrington Stage, Playmakers Rep, and Signature Theatre. KIMIYE CORWIN (Thea Elvsted) makes her Studio Theatre debut. Most recently she was in The Changeling with Red Bull Theater in New York City. Other theater credits include Wasted: An Historical Burlesque at Ars Nova, A Christmas Carol at McCarter Theatre, Love’s Labour’s Lost at Actors Theatre of Louisville, A Midsummer Night’s Dream at Syracuse Stage, Snow Falling on Cedars at Hartford Stage, Hamlet (Kevin Kline Award Nomination) and Twelfth Night at Shakespeare Festival St. Louis, and Now Circa Then at TheatreWorks Silicon Valley. Ms. Corwin has also choreographed for productions at Oregon Shakespeare Festival and Dallas Theater Center. Her film and television credits include Five Dances (directed by Alan Brown), The Family, The Following, The Michael J. Fox Show, and One Life to Live. Ms. Corwin is a graduate of the Brown University/Trinity Rep Graduate Acting Program and holds a BFA in Dance from Juilliard.

MICHAEL EARLY (Judge Brack) most recently appeared as Robert Lawery in the world premiere of Katherine’s Colored Lieutenant at Geva Theatre Center. He understudied and performed the titular role in Satchmo at the Waldorf at the Westside Theatre. Mr. Early is an Associate Artist with Classical Theatre of Harlem, where he has appeared in A Midsummer Night’s Dream, Henry V, The Trojan Women, Mother Courage, and Dream on Monkey Mountain. Other stage work includes The Public, Signature Theatre, Prospect Theatre, The Shakespeare Theatre of New Jersey, Yale Rep, McCarter, Cleveland Play House, Great Lakes, Williamstown Theatre Festival, Berkshire, Center Stage, and Shakespeare Theatre Company. Television appearances include Forever, Royal Pains, Damages, Law & Order, Law & Order: SVU, Early Edition, All My Children, and One Life to Live. Mr. Early is currently on the faculty at Sarah Lawrence College and is a graduate of Yale School of Drama. SHANE KENYON (Ejlert Lovborg) makes his Studio Theatre debut. A Chicago-based actor for almost a decade, his credits include Buzzer at Goodman Theatre; If There Is I Haven’t Found It Yet at Steep Theatre, for which he received a Jeff Award, Best Supporting Actor; Shining City, The Seafarer, and Shadow of a Gunman at Irish Theatre of Chicago, where he is an ensemble member; Hushabye, Where We’re Born, and Betrayal at Steppenwolf Theatre; The Who & The What at Victory Gardens; Things You Shouldn’t Say Past Midnight at Windy City Playhouse; Season On The Line at The House Theatre; Transpotting USA (Book & Lyrics); Big Love at Strawdog Theatre Company; Jailbait at Profiles Theatre; Mary’s Wedding at Rivendell Theatre; and Hamlet, Romeo and Juliet, Macbeth, and A Midsummer Night’s Dream at Lakeside Shakespeare Theatre. His film and television credits include Empire (FOX), Chicago P.D. (NBC), Olympia (30 Pictures), Jessica (Folded Rose Productions), Mind Games (ABC), and Chicago Code (FOX). Mr. Kenyon received his BFA in Theatre Performance from the Chicago College of Performing Arts at Roosevelt University.

HEDDA: THEN AND NOW When Hedda Gabler premiered in 1891, it was greeted largely with shock and revulsion by reviewers of the day, who took it as a portrait of a badly behaved woman. Somewhat ironically, it was one of Ibsen’s most popular plays, largely on the audience’s vicarious thrill of watching the car‑crash Hedda made of the lives of those around her, as well as her own.

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“ The play is simply a bad escape of moral sewage‑gas. … Hedda’s soul is a-crawl with the foulest passions of humanity. — Pictorial World, 1891 “ Her soul is too small even for human sin…. Surely this is a monster of unsexed depravity, beside whom Lady Macbeth overflows with the milk of human kindness.” — New York Times, 1904 “ What a hopeless specimen of degeneracy is Hedda Gabler! A vicious, heartless, cowardly, unmoral, mischief-making vixen.” — The Ledger, 1904

But Ibsen’s notes for Hedda Gabler suggest a poet and thinker interested in how a person’s sense of self, of “really being alive” (as Hedda says) thrives or withers within a society. Writing while Nietzsche was working out his sense of the battle between the soul’s Apollonian and Dionysian impulses, and just as Freud was developing his theories of the subconscious, Ibsen has been called “the father of modern drama” in part because of his marriage of text to subtext, his ability to capture the messiness of conflicting impulses.

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“Life is not tragic. Life is ridiculous, and that cannot be borne.” — Ibsen’s notes on Hedda Gabler, 1890 “As Nietzsche proposed and Ibsen demonstrated, there is a kind of redemption to be found in the wedding of Dionysian insights about life’s mystery and darkness with an Apollonian clarity and beauty of form. In this finely wrought tragedy, which leaves us with far more questions than answers, Ibsen has created a story that provokes, evolves and endures.” — critic Martha Hostetter, 2001 “Even as Ibsen saw the shortcomings and guessed at the hidden contradictions in the hearts of those he met on the street, he was able to feel their humanity and give expression to it. In doing so, Ibsen created a style that still strikes us today as direct, fresh, and surprisingly conversational.... Behind a strikingly modern façade of bravado and evasion lurk subtle intimations of doubt and self-loathing.” — translator Paul Walsh, 2007

STUDIO DISTRICT Studio Theatre is the arts hub of one of Washington DC’s most exciting neighborhoods. Whether you’re looking for a restaurant to enjoy a pre-performance meal, a bar to have drinks after the show, or maybe even somewhere to take your bike this weekend for a tune-up, we encourage you to support these nearby businesses that support us.

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CALL 202.232.0714 OR VISIT STUDIOTHEATRE.ORG Former student Sara Dabney Tisdale and Suzanne Stanley in Studio’s production of Mary-Kate Olsen is in Love. Photo: C. Stanley Photography.

ARTIST BIOS MATT TORNEY (Director) is in his first season as Associate Artistic Director at Studio, where he has previously directed Jumpers for Goalposts (nominated for two Helen Hayes Awards including Best Ensemble), The New Electric Ballroom, and The Walworth Farce (nominated for two Helen Hayes Awards). Prior to his work at Studio, Mr. Torney served as the Director of Programming for Origin Theatre in New York, an Off Broadway company that specializes in European new writing. His New York credits include Stop the Tempo and Tiny Dynamite (Origin Theatre, Drama Desk Award nominee), The Twelfth Labor (Loading Dock), The Dudleys (Theatre for the New City), The Angel of History (HERE), and Three Sisters and A Bright Room Called Day (Atlantic Theatre School). Regional credits include Sherlock Holmes and the Crucifer of Blood and Observe the Sons of Ulster Marching Towards the Somme (Pittsburgh Irish and Classical Theatre) and Improbable Frequency (Solas Nua, Helen Hayes Award nominee for ‘Best Choreography’). International credits include Digging For Fire and Plaza Suite (Rough Magic, National Tour), Angola (workshop at the Abbey Theatre), Paisley and Me (Grand Opera House, Belfast), The Last Days of Judas Iscariot (Making Strange, Irish Theatre Award nominee for Best Director), and Woyzeck (Rough Magic, Best Production nominee at the Dublin Fringe Festival). Originally from Belfast, Mr. Torney holds an MFA from Columbia University. LUCIANA STECCONI (Set Designer)’s previous designs for Studio Theatre include Bad Jews, The Night Watcher, An Iliad, Lungs, The History of Kisses, Tynan, In the Red and Brown Water, The Year of Magical Thinking, Stoop Stories, Amnesia Curiosa, Souvenir, and Lypsinka: The Passion of the Crawford. For Studio 2ndStage, she designed Carrie, Contractions, Astro Boy and the God of Comics, Mojo, Songs of the Dragons Flying to Heaven, 60 Miles to Silver Lake, That Face, A Beautiful View, All That I Will Ever Be, and Crestfall. In the DC area, she has designed for Woolly Mammoth Theatre Company, Signature Theatre, The Kennedy Center Theater for Young Audiences, Mosaic Theater Company, Theater J, Everyman Theatre, Olney Theatre Center, Contemporary American Theater Festival, The Library of Congress, Georgetown University, Catholic University, American University, Imagination Stage, Adventure Theatre MTC, Opera Lafayette, and Spooky Action Theater, among others. Ms. Stecconi received the 2010 Washington DC Mayor’s Art Award for Outstanding Emerging Artist and the 2006 Brandeis University Ira Gershwin Prize. She holds an MFA in design from Brandeis University and she is a member of USA 829. MURELL HORTON (Costume Designer) makes his Studio Theatre debut. Mr. Horton’s most recent work in DC was The Critic and The Real Inspector Hound at Shakespeare Theatre Company. The production moved to the Guthrie Theater in February. Mr. Horton is the recipient of the 2007 Irene Sharaff Young Master Award for costume design. He has been nominated for seven Helen Hayes Awards for Outstanding Costume Design, all for work produced at the Shakespeare Theatre Company. These productions include a number of world premieres and the David Ives’ trilogy of The Liar, Heir Apparent, and The Metromaniacs, all directed by Artistic Director Michael Kahn. Upcoming productions include The Liar at Classic Stage Company, NYC; School for Lies at Shakespeare Theatre Company; and a new

dance piece in Havana, Cuba. Mr. Horton has worked in New York City and across the East Coast. Other credits include New York City Opera, The Juilliard School, Houston Grand Opera, The Guthrie Theater, Oregon Shakespeare Festival, and The Denver Center. SCOTT ZIELINSKI (Lighting Designer) has created designs for over 300 productions of theatre, dance, and opera throughout the world. He has worked extensively in New York and at regional theatres throughout the U.S. including in the DC area at Arena Stage, The Kennedy Center, Shakespeare Theatre Company, and Signature Theatre. Internationally he has designed in Adelaide, Amsterdam, Avignon, Berlin, Bregenz, Edinburgh, Fukuoka, Gennevilliers, Hamburg, Hong Kong, Istanbul, Linz, London, Lyon, Melbourne, Orleans, Oslo, Ottawa, Paris, Reykjavik, Rouen, St. Gallen, Shanghai, Singapore, Shizuoka, Stockholm, Stuttgart, Sydney, Tokyo, Toronto, Vienna, Vilnius, and Zurich. Dance and opera highlights include American Ballet Theatre, Bregenzer Festspiele, Boston Ballet, Brooklyn Academy of Music, Canadian Opera Company, CND Paris, English National Opera, Houston Ballet, Houston Grand Opera, Kennedy Center, Lithuanian National Opera, National Ballet of Canada, De Nederlandse Opera, New York City Opera, Opera Australia, Royal Opera House, San Francisco Ballet, San Francisco Opera, and Spoleto Festival. FITZ PATTON (Sound Design) is currently represented on Broadway with The Father, The Humans, Blackbird, and Act of God. His other Broadway credits include It’s Only a Play, Airline Highway, The Other Place, I’ll Eat You Last: A Chat with Sue Mengers, Outside Mullingar, Casa Valentina, The House of Blue Leaves, Brighton Beach Memoirs, and Broadway Bound. Mr. Patton’s many Off Broadway credits include this season’s Prodigal Son (New York City Center), When the Rain Stops Falling (Lincoln Center Theater, Lucille Lortel and Drama Desk Awards), and The Other Place (MCC Theater, Lortel nomination). His symphony credits include The Holy Land. Mr. Patton is the founder of Chance Magazine, a theatre design magazine. ADRIEN-ALICE HANSEL (Dramaturg) is Studio Theatre’s Literary Director. At Studio, she has dramaturged the world premieres of Animal, Laugh, Red Speedo, Dirt, Lungs, and The History of Kisses as well as productions of Constellations, Jumpers for Goalposts, Bad Jews, Cock, Moth, Edgar & Annabel, The Apple Family Plays, An Iliad, Invisible Man, Sucker Punch, The Golden Dragon, and The New Electric Ballroom, among others. Prior to joining Studio, she spent eight seasons at the Actors Theatre of Louisville, where she headed the literary department and coordinated project scouting, selection, and development for the Humana Festival of New American Plays. She also served as production dramaturg on roughly 50 new, contemporary, and classic plays there, including premieres by Naomi Wallace, Gina Gionfriddo, Kirk Lynn and Rude Mechs, Rinne Groff, The Civilians, Charles Mee, Anne Bogart and SITI Company, Jordan Harrison, and John Belluso. She is the co-editor of eight anthologies of plays from Actors Theatre and editor of seven editions of plays through Studio. Ms. Hansel holds an MFA from the Yale School of Drama.

STUART HOWARD AND PAUL HARDT (Casting) have previously cast Murder Ballad, Torch Song Trilogy, The Real Thing, and The Habit of Art for Studio Theatre. They are located in New York City and cast for Broadway, Off Broadway and national and international tours. They also cast for several regional theatres including Goodspeed Opera House in East Haddam, CT; Philadelphia Theatre Company; Asolo Repertory Theatre in Sarasota, FL; and Delaware Theatre Company in Wilmington, DE. ANTHONY O. BULLOCK (Production Stage Manager) is in his second season at Studio Theatre. He has worked internationally on The White Snake by Mary Zimmerman with Goodman Theatre as part of The Wuzhen Theatre Festival in Wuzhen, China. Regionally, he has worked at Classic Stage Company, McCarter Theatre, Williamstown Theatre Festival, Shakespeare & Company, The Philadelphia Shakespeare Theatre, Bristol Riverside Theatre, Passage Theatre Company, ReVision Theatre, Oklahoma City Repertory, Black Hills Playhouse, Lyric Theatre of Oklahoma, and Oklahoma Children’s Theatre. He holds a BFA in Theatrical Design and Production with an emphasis in Stage Management from Oklahoma City University. Mr. Bullock is a proud member of Actors’ Equity Association. SIVAN BATTAT (Assistant Director) is Studio Theatre’s 2015–2016 Artistic Apprentice, where she serves as the resident assistant director. This season, she has assistant directed Moment, Between Riverside and Crazy, The Apple Family Plays, and Chimerica. Outside of Studio, Ms. Battat has worked with a number of artists including Kim Weild, Lily Whitsitt, Faye Driscoll, Yuri Kordonsky, and Rinde Eckert. She has worked at the Cape Cod Theatre Project, as well as New Havenbased companies Elm Shakespeare and Collective Consciousness Theatre. She most recently worked with the Doris Duke Building Bridges Grant to develop a new commission with Leila Buck for the Muslim Women’s Voices Series at Wesleyan University. She has spent time working with various peace-based groups abroad including the Arab-Hebrew Theatre of Jaffa in South Tel Aviv, and a young artists’ festival in Sderot, Israel. Ms. Battat spent a semester training at the Moscow Art Theatre School and is a graduate of Wesleyan University, where she received her BA in Theater and Social, Cultural, and Critical Theory. AMANDA LANDIS (Assistant Stage Manager) is Studio’s 2015-2016 Stage Management apprentice. This season she has assistant stage managed Chimerica, Bad Jews, Between Riverside and Crazy, and Moment. Ms. Landis is a recent graduate of Northwestern University, where she received a BA in theatre arts and emphases in artistic leadership and management and musical theatre performance. She has worked in various capacities with Lookingglass Theatre Company, Project &, Next Theatre Company, Catalogue for Philanthropy, and Rubicon Theatre Company.

B GA

STUDIO THEATRE’S

SUMMER FLING: HEDDA GABLER

PRESENTS

FRIDAY, JUNE 3 6:30 PM

AT THE PENTHOUSE POOL CLUB

The Friends With Benefits members-only Summer Fling is just around the corner. Don’t miss this drama-filled evening featuring pre-show drinks with DC’s coolest arts-loving young professionals, a steamy performance of Hedda Gabler, and exclusive access to an afterparty at the Penthouse Pool Club at VIDA Fitness U Street. All Friends With Benefits members get two free tickets, and there’s still time to join. One year membership starts at just $10 a month (it’s Spotify... for your artistic brain!) and gets you in to the Summer Fling along with special events and happy hours all year long.

STUDIOTHEATRE.ORG/FLING To reserve tickets or purchase a membership, call Tobias Franzen at 202.232.7267 x373 or email tfranzen@studiotheatre.org.

HEDDA GABLER STAFF

Assistant Director SIVAN BATTAT Assistant Stage Manager AMANDA LANDIS Assistant Lighting Designer ERIC McMORRIS Assistant Dramaturg SARAH COOKE Weapons Consultant CHRIS YOUNG Light Board Programmer/Operator SEAN PATRICK FORSYTHE Sound Board Programmer/Operator JESS HOOVER For additional members of the production staff, please see the full staff listing.

ACKNOWLEDGEMENTS Studio Theatre would like to thank Trudy H. Clark for her support of this production. Hedda Gabler is funded in part by the DC Commission on the Arts and Humanities, an agency supported in part by the National Endowment for the Arts.

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.

ABOUT STUDIO THEATRE Now in its sixth season under the leadership of Artistic Director David Muse, Studio Theatre is dedicated to the best in contemporary theatre, producing an uncommonly rich and wide-ranging repertoire of provocative new writing from around the world alongside unique special events and inventive stagings of contemporary classics, performed by acclaimed actors in intimate spaces. Devoted to artistic excellence, Studio Theatre strives to present audiences with extraordinary writing, sophisticated design, and stunning performance. Our commitment to connecting actors and audience is built into our architecture, where none of our four performance spaces seats more than 225 patrons. No theatre of comparable budget size operates such exclusively intimate spaces. Throughout the Theatreâ&#x20AC;&#x2122;s 37-year history, the quality of its work has been recognized by sustained community support as well as with 341 nominations and 63 Helen Hayes Awards for excellence in professional theatre.

BOARD OF TRUSTEES Bobbi Terkowitz, Chair Teresa Schwartz, Vice-Chair Jean Heilman Grier, Secretary Jon Danforth, Treasurer Robert Batarla Susan Butler Liz Cullen Mark Foster Susan Gordon Albert Lauber Wendy Luke Stan Marcuss Ginny McArthur Herb Milstein Fenner Milton

Larry Naake James Nozar Juan Otero Gerry Rosberg Steve Skalet Jerome Sowalsky Robert Tracy Jonathan Tycko Janet Wittes EX-OFFICIO Meridith Burkus David Muse HONORARY BOARD Jan Carol Berris Irene Harriet Blum, Chair Emeritus Vincent Brown Morris J. Chalick, M.D.

Barbara Smith Coleman* Virginia R. Crawford* John G. Guffey Warren Graves S. Ross Hechinger E. C. Michael Higgins 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 *â&#x20AC;&#x160;In memoriam

LEADERSHIP DAVID MUSE (Artistic Director) is in his sixth season as Artistic Director of Studio Theatre. For Studio, 2ndStage, and Studio X, he has directed Constellations, Chimerica, Murder Ballad, Belleville, 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 PHOTO: TEDDY WOLFF. 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 theatres, 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 six-time 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. MERIDITH BURKUS (Managing Director) joined Studio Theatre in May 2014. She brings ten years of arts management experience to the position—encompassing theatre, music, film, and public media. Most recently, Ms. Burkus held the position of Director of External Relations at StoryCorps, the Peabody Award-winning radio program and national oral history project, working to optimize StoryCorps’ impact on a national scale. Under her leadership, StoryCorps increased its operating budget by 25% and launched several new initiatives and recording locations across the country. She previously held positions in marketing, public relations, and development with several New York City organizations, including five seasons at The Public Theater as Director of Individual Giving. At The Public, she significantly increased annual contributions to various programs and initiatives such as Shakespeare in the Park, Public Lab, Joe’s Pub, and the Under the Radar Festival, in addition to being a key player in the successful completion of the recent $40 million capital campaign to renovate The Public’s historic home on Lafayette Street. She is a graduate of the Boston Conservatory of Music.

On April 1, 2016, Studio Theatre celebrated the bold, irreverent and unexpected at Fool’s Paradise, a gala celebration of all things foolish. With a performance from Murder Ballad’s Christine Dwyer, and fantastic room décor ranging from a butterfly garden to an oceanarium, guests delighted in discovering unexpected flourishes around every corner. The evening also honored longtime Studio Trustee, Liz Cullen, and her tireless dedication to making Studio Theatre a place where the imaginative spirit is unleashed. Thank you to our amazing family of fools who dedicated their time and resources to support exceptional contemporary theatre by sponsoring Fool’s Paradise.

CIRCUS OF FOOLS Jesters Susan and Dixon Butler, Gerald and Laura Rosberg, Daniel and Teresa Schwartz, Craig Pascal and Victor Shargai, Tycko & Zavareei LLP

Troubadours Trudy H. Clark, Jinny and Michael Goldstein, John and Meg Hauge, Graham Holdings Company, John Horman, Frances Lewis, Sid Stolz and David Hatfield

Clowns The Aron Family Foundation, Bank of Georgetown, BB&T Bank, Joe and Sue Bredekamp, Dr. Morris J. Chalick, Nancy Chasen and Don Spero, Thomas F. and Elizabeth D. Cullen, Dr. Mark Epstein and Amoretta Hoeber, Mark and Hope Foster, Burton Gerber, Andrea Hatfield and Buck O'Leary, E.C. Michael Higgins and Virginia A. McArthur, F. Lynn Holec, Jack Jetmund and Vince Keilman, Anthony and Karen Kamerick, Dr. and Mrs. William Kramer, Stephen and Maria Lans, Wendy Luke, B. Thomas Mansbach, Cyrus Mehri, Nancy and Herbert Milstein, Pamela and Byrne Murphy, Carl and Undine Nash, Toni Ritzenberg, Rogers & Company, Steve and Ilene Rosenthal, David and Peggy Shiffrin, Steve and Linda Skalet, Patricia Smith, Jerry and Patti Sowalsky, Statistics Collaborative, The Touma Foundation, Inc., Bobbi and Ralph Terkowitz

Photos: Igor Dmitry and Allie Dearie.

Vince Keilman and Jack Jetmund

Bruce Bartels and Romana Li

Susan Butler

Christine Dwyer

Jennifer Moyer, Ralph and Bobbi Terkowitz

Amber McGinnis and Matt Torney

Liz Cullen and Foolâ&#x20AC;&#x2122;s Paradise performers

Ethan McSweeny, Dorothy McSweeny, Nancy Anderson, and William McSweeny

THANK YOU Without the generosity of our dedicated supporters, Studio Theatre could not continue to bring the best of contemporary theatre to our nation’s capital. Thank you to all who have made gifts for general operating support, special events, and new projects.

$75,000+

Anonymous DC Commission On the Arts and Humanities Andrew C. Mayer Charitable Trust National Capital Arts & Cultural Affairs Program and the US Commission of Fine Arts The Shubert Foundation

$50,000 – $74,999

Paul M. Angell Family Foundation The Morris and Gwendolyn Cafritz Foundation David and Jean Heilman Grier Albert Lauber and Craig Hoffman Share Fund

$30,000 – $49,999

Abramson Family Foundation Susan L. and Dixon M. Butler Doris Duke Charitable Foundation Dr. Mark Epstein and Amoretta Hoeber The JBG Companies Stanley and Rosemary Marcuss Virginia A. McArthur and E.C. Michael Higgins Gerald and Laura Rosberg Sherman Fairchild Foundation Steve and Linda Skalet Bobbi and Ralph Terkowitz

$15,000 – $29,999

Anonymous The Adler Family Fund Beech Street Foundation Don and Nancy Bliss Bruce Cohen Henry H. and Carol Brown Goldberg Judy and Steve Hopkins Rick Kasten Helen and David Kenney The Mandy & David Team, Compass Real Estate Joan and David Maxwell Ann K. Morales National Endowment for the Arts PEPCO Toni Ritzenberg Milton and Dorothy Sarnoff Raymond Foundation Daniel and Teresa Schwartz Mr. Craig Pascal and Mr. Victor Shargai Hattie M. Strong Foundation Weissberg Foundation William S. Abell Foundation, Inc.

$7,500 – $14,999

Trudy H. Clark The Dallas Morse Coors Foundation for the Performing Arts Thomas F. and Elizabeth D. Cullen Sheryl and Rick Donaldson Hope and Mark Foster John Horman Lynne and Joseph Horning Carolyn and Warren Kaplan The Lewis & Butler Foundation Wendy Luke

Nancy and Herbert Milstein Juan and Julissa Otero Jon and NoraLee Sedmak Jerry and Patti Sowalsky Statistics Collaborative Tycko & Zavareei LLP United Way of the National Capital Area George Wasserman Family Foundation Marvin F. Weissberg Alan and Irene Wurtzel Judy and Leo Zickler Nina Zolt and Miles Gilburne

$5,000 – $7,499

Anonymous (2) Peter A. Bieger Frederick and Theresa Boyle Jon Danforth and Carol Arthur Lois England Wendy and William Garner Jinny and Michael Goldstein Susan L. Gordon Graham Holdings Company John and Meg Hauge Jack Jetmund and Vince Keilman Peter B. Kovler and Judy Lansing The George Preston Marshall Foundation A. Fenner Milton The Morningstar Foundation Larry and Joan Naake James Nozar and Adam Unger Comcast Jonathan and Madeleine Pitt Lutz Alexander Prager Lola C. Reinsch Sidney Stolz and David Hatfield

Stonesifer/Kinsley Family Fund Robert Tracy and Martha Gross Jonathan and Joan Tycko

$2,500 – $4,999

Dr. Stewart Aledort and Dr. Sheila Rogovin Aron Family Foundation Bank of Georgetown BB&T Bank Joe and Sue Bredekamp Dr. Morris J. Chalick Nancy Chasen and Don Spero Miriam Cutler and Paul Salditt Margery Doppelt and Larry Rothman Mona and Mark Elliot Betty and Wes Foster Family Foundation Burton Gerber Andrea Hatfield and Buck O’Leary F. Lynn Holec William Logan Hopkins Mark and Carol Hyman Fund IBM Matching Grants Program Anthony and Karen Kamerick Dr. and Mrs. William Kramer Stephen and Maria Lans Susan Lee and Stephen A. Saltzburg The Jacob & Charlotte Lehrman Foundation Lorraine S. Dreyfuss Theatre Education Fund B. Thomas Mansbach Karen and Daniel Mayers Wallis McClain Cyrus Mehri Pamela and Byrne Murphy Carl and Undine Nash Rogers & Company PLLC Steve and Ilene Rosenthal Drs. Irene Roth and Vicken Poochikian Joan Searby Linda and Stanley Sher

David and Peggy Shiffrin Patricia Smith Gene Spencer The Touma Foundation Margot and Paul Zimmerman

$1,500 – $2,499

Anonymous Marc Albert and Stephen Tschida The Alford Foundation Leonard and Joy Baxt Carl and Rise Cole Dimick Foundation Lizbeth J. Dobbins George M. Ferris The Ferris Family Foundation Nancy Deck and Michael Gross IBM Corporation Arlene and Martin Klepper Barry Kropf Peter Kunstadter Mark Lewellyn Romana Li and Bruce Bartels Steven Perez Carol Rabenhorst Anne & Henry S. Reich Family Foundation Bishop Gene Robinson Steven M. Rosenberg and Stewart C. Low III Mary Ann Stein Martha Washington StrausHarry H. Straus Foundation Mark Tushnet and Elizabeth Alexander Eric R. and Laura M. Wagner Susan P. Willens Bruce and Margareta Yarwood

IN-KIND

Amtrak Aram Designs B Too Balance Gym Birch & Barley Bluebird Bakery BodySmith Gym + Studio

Cava Mezze CHURCHKEY Colonial Parking Compass Coffee Cork Daikaya Dolcezza Drafting Table EatWell DC Fathom Creative Ghibellina Hank’s Oyster Bar Hemphill Fine Arts Kingsbury Confections Lunar Massage Marvin Restaurant Mehri & Skalet Number Nine Policy Restaurant and Lounge Posto Shugoll Research Slipstream Sotto Sweetgreen Teavine/Cider Snap The Fainting Goat Unipark Valet Services For a complete listing of our generous supporters, please visit studiotheatre.org/ support. *In Memoriam This list represents contributions received through April 14, 2016. Every effort has been made to ensure the accuracy of this listing. For more information, please contact the Development Office at 202.232.7267.

STUDIO STAFF LEADERSHIP ARTISTIC DIRECTOR DAVID MUSE MANAGING DIRECTOR MERIDITH BURKUS PRODUCTION MANAGER JOSH ESCAJEDA GENERAL MANAGER ELISABETH BAYER DIRECTOR OF MARKETING AND COMMUNICATIONS DANIEL RECH

ARTISTIC ASSOCIATE ARTISTIC DIRECTOR MATT TORNEY LITERARY DIRECTOR ADRIENALICE HANSEL ASSOCIATE LITERARY DIRECTOR LAUREN HALVORSEN DIRECTOR OF DESIGN DEBRA BOOTH ARTISTIC APPRENTICE SIVAN BATTAT STUDIO CABINET BRIAN MACDEVITT, DUNCAN MACMILLAN, NATSU ONODA POWER, SERGE SEIDEN, TOM STORY, HOLLY TWYFORD READERS’ CIRCLE JENNIFER CLEMENTS, SARAH COOKE, TIM GUILLOT, DIANA METZGER, ROBERT MONTENEGRO, NATHAN NORCROSS, AVIVA PRESSMAN, ERIN WASHBURN COMMISSIONED WRITERS MARY ELIZABETH HAMILTON, IKE HOLTER, CLARE LIZZIMORE, AARON POSNER DORIS DUKE FOUNDATION ARTISTIC RESIDENT KENT GASH

PRODUCTION ASSISTANT PRODUCTION MANAGER CHELSEA CRANSHAW COMPANY MANAGEMENT AND PRODUCTION APPRENTICE KAT ZERINGUE RESIDENT STAGE MANAGER ANTHONY O. BULLOCK STAGE MANAGEMENT APPRENTICE AMANDA LANDIS TECHNICAL DIRECTOR ROBERT SHEARIN SCENIC ARTIST ERICH STARKE STAFF CARPENTER BIANCA BESSLER STAFF CARPENTER MASON HURLEY CARPENTRY APPRENTICE ALEX MATHIS PROPERTIES DIRECTOR DEBORAH THOMAS COSTUME SHOP MANAGER BRANDEE MATHIES MASTER ELECTRICIAN/HEAD OF AUDIO ADRIAN ROONEY ELECTRICS APPRENTICE SEAN FORSYTHE SOUND/PROJECTIONS APPRENTICE JESS HOOVER

ADMINISTRATION MANAGER OF EXECUTIVE STAFF AND BOARD MARY GRACE SHORT EDUCATION AND ADMINISTRATIVE ASSISTANT ANDERSON WELLS ADMINISTRATIVE ASSISTANT RAVENN MCDOWELL FINANCE ASSOCIATE JOSEPH E. SEIGER-COTTOMS BUSINESS APPRENTICE CLARA BLICKENSTAFF FACILITIES MANAGER KIERAN KELLY

DIRECTOR OF INFORMATION TECHNOLOGY NICK TORRES FOOD AND BEVERAGE MANAGER LAVELLE DANIEL COMMUNITY ENGAGEMENT MANAGER RANDA ABU-RAHMEH

DEVELOPMENT MANAGER OF MAJOR GIFTS ZACK LYNCH MANAGER OF PARTNERSHIPS AND EVENTS NIKKI GRIZZLE INSTITUTIONAL GIVING ASSOCIATE NATE C. GROONWALD DEVELOPMENT ASSOCIATE TOBIAS FRANZÉN DEVELOPMENT APPRENTICE TASMIN SWANSON

MARKETING AND COMMUNICATIONS DIGITAL MARKETING MANAGER RACHAEL WILKINSON COMMUNICATIONS APPRENTICE KENDALL HELBLIG GRAPHIC DESIGN APPRENTICE ALLIE DEARIE GRAPHIC DESIGNER SHAWN HELM PHOTOGRAPHERS TEDDY WOLFF, IGOR DMITRY WEBSITE DESIGN L2 INTERACTIVE DIRECT MARKETING SMART STRATEGIC MARKETING FOR THE ARTS

AUDIENCE SERVICES DIRECTOR OF TICKET SALES AND AUDIENCE SERVICES BENJAMIN DUGOFF MANAGER OF TICKET SALES AND SERVICES AMY HORAN BOX OFFICE MANAGER STEPHEN NOTES SUBSCRIPTIONS AND GROUPS MANAGER ADRIA GUNTER AUDIENCE SERVICES MANAGER LYNN COUGHLIN AUDIENCE SERVICES ASSOCIATE MANAGERS RIC BIRCH, VICTORIA BOUTIN, RACHEL GARMON, NICK HOUHOULIS, MARLEY KABIN, EMILY KESTER, JEFF KIRKMAN III, QUILL NEBEKER AUDIENCE SERVICES ASSOCIATES JOSEPH GRAF, EMMA SAFFORD, KRISTINA WILLIAMS

EDUCATION EDUCATION MANAGER ZACH CAMPION DIRECTOR OF CURRICULUM AND TEACHER TRAINING JOY ZINOMAN INSTRUCTORS CAROL ARTHUR, NANCY BANNON, DIANA BRADLEY, ZACH CAMPION, KATE DAVIS, ELENA DAY, KATE DEBELACK, DENISE DIGGS, CATHERINE ELIOT, GEORGE FULGINITISHAKAR, JULIE GARNER, ROBB HUNTER, NANCY PARIS, MADELEINE BURKE PITT, ROMA ROGERS, SERGE SEIDEN, COLETTE YGLESIAS SILVER, MATTHEW VAKY, JOY ZINOMAN