BETWEEN RIVERSIDE AND CRAZY Program | Studio Theatre

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FRIENDS, Let me tell you about some of the artists who have come together to make this production come to life.

One: Stephen Adly Guirgis. Born and raised in New York City, Stephen attended Catholic school in Harlem, worked in restaurants his father managed in Grand Central Terminal, and eventually found himself as a downtown theatre maker. You can hear the city in every line his characters speak.

They are everyday people — cops, ex-cons, hustlers, addicts, working stiffs — but they are anything but common. His characters are oversized creations, stuffed with equal parts personality and problems. Most of them are struggling to find goodness or grace, and you can feel Guirgis forgive them and love them even more when they don’t quite get there. I’m hard pressed to name a contemporary playwright whose writing feels so alive.

Two: Brian MacDevitt. Brian has spent most of his storied career as a lighting designer. His five Tony Awards attest to his influence and skill. Now Brian has begun to test the waters as a director, and it’s easy to see a director’s sensibility in him.

That should come as no surprise: most great designers think like dramaturgs and directors. They understand story and how to support it imaginatively, use their tools to build character and intensify emotion, and spend their days making the work of their collaborators stronger. And Brian has had a series of master classes watching and working with the great directors of our day: Mike Nichols, Pam MacKinnon, Joe Mantello, Jack O’Brien, Mary Zimmerman, Bart Sher, Kenny Leon, and so on.

Three: Frankie Faison, who has spent his long career moving back and forth between stage and screen — where you’ve likely seen him. As gracious as he is talented, Frankie is one of America’s great character actors.

This distinguished trio is joined by a prodigiously talented cast and team of designers, many of whom are working with us for the first time. This building has been abuzz with their energy for weeks. I’m so glad you could be with us as they share the fruits of their labor with you.

YOURS,

DAVID MUSE ARTISTIC DIRECTOR

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W WA HA W N TY WA HE T T O NT N Y O S U TO OU EE , SE E IT .

MAIN SERIES Studio’s Main Series is the core of our programming, offering an uncommonly rich repertoire of provocative contemporary writing from around the world and inventive stagings of contemporary classics.

Studio X is purposefully eclectic, encompassing plays that benefit from particularly intimate or immersive stagings, presented work, and some of Studio’s world premieres.

BEGINS MARCH 16, 2016

BEGINS FEBRUARY 10, 2016

MOMENT

BY DEIRDRE KINAHAN DIRECTED BY ETHAN McSWEENY A long-absent son, an ailing mother, and the long-simmering resentments of two sisters collide in this intimate and explosive family drama.

BEGINS MAY 11, 2016

HEDDA GABLER

BY HENRIK IBSEN IN A NEW VERSION BY MARK O’ROWE DIRECTED BY MATT TORNEY Mark O’Rowe’s stunning contemporary adaptation is a mesmerizing study of power, control, and self-deception, offering a nuanced portrait of one of the most fascinating figures in modern drama.

SELECT THREE OR MORE SHOWS

Create your own subscription package by choosing the plays, the dates, and the seats that work for you. Like all subscribers, you will be able to exchange your tickets and never pay a service fee. It’s that easy.

CONSTELLATIONS

BY NICK PAYNE DIRECTED BY DAVID MUSE Theoretical physicist meets beekeeper, but the story branches off from there.

An intimate and imaginative romance that charts the limitless possibilities of one relationships.

BEGINS MAY 18, 2016

THE OBJECT LESSON CREATED AND PERFORMED

BY GEOFF SOBELLE DIRECTED BY DAVID NEUMANN SCENIC INSTALLATION

BY STEVEN DUFALA Hilarious and heartbreaking, The Object Lesson unpacks our relationship to the stuff we cling to and the crap we leave behind.

BEGINS JULY 7, 2016

HAND TO GOD

BY ROBERT ASKINS DIRECTED BY JOANIE SCHULTZ Like nothing you’ve seen before, this blasphemous Broadway hit is a ruthless comedy about sex, sinners, and sock puppets.

L 202.332.3300 OR VISIT STUDIOTHEATRE.ORG/SUBSCRIBE

DAVID MUSE ARTISTIC DIRECTOR MERIDITH BURKUS MANAGING DIRECTOR

PRESENTS

BETWEEN RIVERSIDE AND CRAZY

BY STEPHEN ADLY GUIRGIS DIRECTOR BRIAN MacDEVITT SET DESIGNER LEE SAVAGE LIGHTING DESIGNER JEN SCHRIEVER COSTUME DESIGNER DEDE M. AYITE SOUND DESIGNER ERIC SHIMELONIS FIGHT DIRECTOR ROBB HUNTER DIALECT COACH ZACH CAMPION Between Riverside and Crazy is presented by special arrangement with Dramatists Play Service, Inc., New York.

Originally Produced by Atlantic Theater Company, New York, 2014 Neil Pepe, Artistic Director, Jeffory Lawson, Managing Director (in association with Scott Rudin) Produced by Second Stage Theatre, New York, 2015 Carole Rothman, Artistic Director, Casey Reitz, Managing Director Beginning January 13, 2016 in the Metheny Theatre.

DRAMATURG LAUREN HALVORSEN CASTING JACK + SHARKY PRODUCTION STAGE MANAGER ANTHONY O. BULLOCK* PRODUCTION MANAGER JOSH ESCAJEDA TECHNICAL DIRECTOR ROB SHEARIN Between Riverside and Crazy is generously underwritten by STEVE AND LINDA SKALET.

H E M P H I L L

Upcoming Exhibitions: Fall 2015

RenĂŠe Stout Winter 2016

Linling Lu Spring 2016

Colby Caldwell

Next door to Studio Theatre

CAST In order of appearance

Walter “Pops” Washington | FRANKIE R. FAISON* Oswaldo | SEAN CARVAJAL* Lulu | JASMIN TAVAREZ* Junior | BRYANT BENTLEY* Detective O’Connor | EMILY TOWNLEY* Lieutenant Caro | DAVID BISHINS* Church Lady | CRISTINA FRIAS* Between Riverside and Crazy will be presented with one intermission.

UNDERSTUDIES Walter “Pops” Washington | MICHAEL HILL Oswaldo | JUSTUS HAMMOND + Lulu | AVA SILVA + Junior | ANDERSON WELLS + Detective O’Connor | DALLAS MILHOLLAND + Lieutenant Caro | NICKLAS ALIFF + Church Lady | GRAZIELLA JACKSON + * Member Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States +Equity Membership Candidate

We’re here for you before or after the show!

Prix fixe theatre menu or cocktails in our lounge.

Tabard Inn • 1739 n STreeT nW • 202-331-8528 • TabardInn.com

A NOTE FROM THE DRAMATURG, LAUREN HALVORSEN

NOTE

The fast-talking denizens of Stephen Adly Guirgis’s plays are rarely at a loss for words, asserting their truths, hopes, and frustrations via dizzying arias. But just as his characters’ initial swagger often softens to reveal well-cloaked vulnerabilities, Guirgis’s ferocious works arise from his own needling questions and uncertainties.

Two events — one from the headlines and one from Guirgis’s personal life — sparked Between Riverside and Crazy. In 1994, Peter Del-Debbio, an off-duty white NYPD officer, mistook Desmond Robinson, an undercover black transit cop, for a criminal and shot him five times on a subway platform. (Robinson sued for $50 million and settled for $3 million nine years later.) The play was written in early 2014 — before a series of harrowing murders exposed a national crisis of racially-charged police violence — and is not a direct response to those tragedies, but taps into the fears and outrage lurking in our collective consciousness. (Guirgis says, “I don’t know that there is a social issue that keeps me up at night more [than racism].”)

The other catalyst was Guirgis moving back to his childhood home, a sprawling rent-controlled Riverside Drive apartment, to look after his father following his mother’s death. His father passed away four years later, but Guirgis and a band of semi-permanent houseguests stayed in the spacious home, despite threats of eviction and rent increases from the landlord.

That situation bears minor resemblance to the one at the play’s start. Recent widower Walter “Pops” Washington is straddling the past and the present: he’s eight years into a bitter legal battle with the city over being shot by a white cop while he was off-duty; his son has moved back home, with a ragtag entourage in tow; and neglect and sorrow have deteriorated the once-stately apartment. (As Guirgis describes, “It’s a rent-controlled palace ruled by a grieving despot King.”) And Walter — merciless monarch that he is, holding court with a bottle of whiskey from his dead wife’s wheelchair — doesn’t mince words. Guirgis’s linguistic verve is on full display, but the profane rants are grounded in emotional precision, tethering his characters to authenticity. Walter’s a man out of fucks to give, save for the slew he wields in conversation.

Between Riverside and Crazy addresses knotty social matters — race, ethics, gentrification — but topicality is not its engine. Guirgis interrogates issues through his characters, examining how they struggle, absorb, and experience them as specific realities. The play traffics in subverted expectations, as Guirgis presents familiar archetypes — the dim-witted girlfriend, the good cop/bad cop, the recovering addict, the faithful church lady — then navigates them past the predictable. (As one character asserts, “I may look how I look — but that don’t mean I am how I look.”)

Like its title suggests, Between Riverside and Crazy explores the possibilities of the intermediate. In a world of rigid dichotomies — guilt and innocence, belief and doubt, truth and fiction — what lives in the space between? Guirgis maps a warped route to grace, shunning clear-cut heroes and villains, and puts his faith in unlikely saviors.

ACTING CLASSES FOR ADULTS AND YOUNG ACTORS 13 –17 CLASSES BEGIN FEBRUARY 8 “THE AREA’S PREMIER PROFESSIONAL TRAINING FACILITY FOR ACTORS AND DIRECTORS.”

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VARIETY

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REGISTER NOW CALL 202.232.0714 OR VISIT STUDIOTHEATRE.ORG Former student Sara Dabney Tisdale in Studio Theatre’s production of Mary-Kate Olsen is in Love. Publicity photo: Teddy Wolff.

PLAYWRIGHT STEPHEN ADLY GUIRGIS Stephen Adly Guirgis was born and raised on New York City’s Upper West Side by an Egyptian father and Irish-American mother. “We didn’t have money to really go to Broadway,” he recalls, “but every couple years we would go see a play.” In college, Guirgis didn’t find his focus until his sister gave him tickets to a production of Lanford Wilson’s Burn This, starring John Malkovich.

“It changed my fucking life,” he explains.

“The play just knocked me out. I went back and changed my major to theater.”

Mr. Guirgis initially embarked on an acting career, but found his calling in playwriting.

His plays, as fiercely funny as they are tragic, are notable for their colorful characters and portraiture of New York City street life. As Hilton Als of The New Yorker describes them, Guirgis’ plays feature “black, Jewish, and Latino voices that meet and crash and land on the predatory streets that his characters sometimes stalk far into the night, in search of a little coke, perhaps, or some Chicken McNuggets.”

Mr. Guirgis’ plays have been produced on five continents and throughout the United States. They include Our Lady of 121st Street (Drama Desk, Lucille Lortel, Outer Critics Circle Best Play nominations, 10 Best Plays of 2003), Jesus Hopped the ‘A’ Train (Edinburgh Festival Fringe First Award, Barrymore Award, Olivier nomination for London’s Best New Play), In Arabia, We’d All Be Kings (2007 LA Drama Critics Circle Awards, Best Production and Best Writing), The Last Days of Judas Iscariot (10 Best, Time Magazine and Entertainment Weekly) and The Little Flower of East Orange at The Public Theater. All five plays were originally directed by Philip Seymour Hoffman for LAByrinth Theatre Company. The Motherfucker with the Hat opened on Broadway in 2011 in a co-production with The Public Theater; the production received six Tony nominations, including Best Play. Between Riverside and Crazy (Atlantic Theater Company and Second Stage Theatre) received the 2015 Pulitzer Prize for Drama, as well as the New York Drama Critics Circle Award, the Lucille Lortel Award, the Outer Critics Circle Award, and the Off Broadway Alliance Award for Best New Play.

In London, his plays have premiered at The Donmar Warehouse, Almeida Theatre, Hampstead Theatre, and at The Arts in the West End. Mr. Guigis has received a 2006 PEN/Laura Pels Award, a 2006 Whiting Award and a 2004 TCG fellowship. His television writing credits include NYPD Blue, The Sopranos, Big Apple and UC: Undercover.

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CAST BIOS FRANKIE R. FAISON (Walter “Pops” Washington) earned a Tony and Drama Desk nomination for Best Supporting Actor for his portrayal of the brain-damaged Gabriel to James Earl Jones’ Troy Maxon in August Wilson’s award-winning play Fences. His other Broadway appearances include Getting Away with Murder, the Brooks Atkinson Theatre production of Of Mice and Men, and the Circle in the Square revivals of The Iceman Cometh and The Shadow Box. Mr. Faison also played Memphis in August Wilson’s Two Trains Running and Willie Loman in Arthur Miller’s Death of a Salesman. Following his success as Commissioner Ervin Burrell on the acclaimed HBO series The Wire, Mr. Faison’s performances have been seen in studio and independent films, including Chief Gordan in the Wayan’s Brothers’ White Chicks, and roles in Cirque du Freak, Nick and Nora’s Infinite Playlist, Meet the Browns, and indies Order of Redemption, For Sale By Owner, Adam, and Splinterheads. Mr. Faison also appeared in all three Hannibal Lecter films: The Silence of the Lambs, Red Dragon, and Hannibal, as well as appearing in the initial film Manhunter, which makes him the only actor to have appeared in all of the films. He can currently be seen in the hit Cinemax series Banshee as Sugar Bates.

SEAN CARVAJAL (Oswaldo) makes his Studio Theatre debut. As an actor, some of his work includes Ghetto Babylon (59E59), Lissabon (La MaMa), Holy Land (HERE Arts Center), Seven Spots on The Sun(Cincinnati Playhouse), and Stephen Adly Guirgis’s Dominica, That Fat Ugly Ho (Labyrinth Intensive Ensemble). He also starred in HBO’s award-winning short film CRUSH. Mr. Carvajal has worked as a teaching artist, collaborating with students in high schools, juvenile detention facilities, senior centers, and hospitals with arts-in-education organizations throughout New York City, including The New York Theatre Workshop.

JASMIN TAVAREZ (Lulu) is making her professional theatre debut as Lulu. She has appeared on television in Shameless (HBO), Southland (TNT), Law & Order: SVU (NBC), Gossip Girl (CW), and most recently on Bosch (Amazon). Ms. Tavarez is a graduate of The Juilliard School, where she trained under Michael Kahn and James Houghton in the Drama Division. Her credits there include Gower in Shakespeare’s Pericles, Gotchling in A Dark Room Called Day, Nanny in A Doll’s House, and Maniefa in Diary of a Scoundrel.

BRYANT BENTLEY (Junior) makes his DC debut at Studio Theatre. His regional work includes Gabriel in August Wilson’s Fences directed by Clinton Turner Davis at Everyman Theater, Walter Lee in A Raisin In The Sun at Wright State University, Jackie Robinson in Most Valuable Player and The Color of Justice and Huckleberry Finn at Indiana Repertory Theater, Willie in Master Harold and The Boys at Clarence Brown Theater, and Lank in Dominique Morisseau’s Detroit ’67 at Ensemble Theater of Cincinnati, as well as appearances in Gem of the Ocean, The Color of Justice, The Exonerated, A Soldier’s Play, Topdog/Underdog, Blues For an Alabama Sky, Jitney, Greater Tuna, Five Guys Named Moe, Cinderella, Comfort Zone, and The Crucible around the country. He is the recipient of the Theater Roundtable Best Actor Award for his portrayal of Simon in Matthew Lopez’s The Whipping Man at Gallery Players Theater and of the Central Ohio Theatre Critics Circle Best Actor Award for his portrayal of Boy Willie in August Wilson’s The Piano Lesson at CATCO Theater. He was nominated for the Tampa Bay Theatre Award for Actor in a Leading role twice: for his portrayals of Sterling Johnson in August Wilson’s Two Trains Running and of Boy Willie in The Piano Lesson, both at American Stage Theater.

EMILY TOWNLEY (Detective O’Connor) has previously appeared at Studio Theatre in Laugh, Skin Tight, Rock ‘n’ Roll, and The Bright and Bold Design. She is a Company Member at Woolly Mammoth Theatre Company, where she has performed in multiple productions; her favorite roles there include Penny Easter in The Totalitarians (2015 Helen Hayes nomination for Best Actress), Mary in Detroit, Pauline in A Bright New Boise, Lizzie in Mary Stuart, Heidi in Fuddy Meers, and Marilyn in Watbanaland. Locally and regionally, she has appeared in numerous productions for the Folger Theatre, Everyman Theatre, Rep Stage, MetroStage, Washington Stage Guild, Source Theatre, The Kennedy Center, Round House Theatre, and Gulfshore Playhouse. She was most recently seen in Bad Dog at Olney Theatre Center and will next perform as Lucinda in the DC premiere of The Mystery of Love & Sex at Signature Theatre. Ms. Townley is a proud member of Actors’ Equity Association.

DAVID BISHINS (Lieutenant Caro) is a native of Washington DC, but recently returned after many years working in New York. Select New York credits include The Glass House at The Clurman, Incident at Vichy with TACT, Sympathetic Magic at Second Stage, The Nest with Tectonic Theatre Project, and Boys in the Band with WPA at the Lucille Lortel. In the DC area, Mr. Bishins has performed at the Shakespeare Theatre Company in The Tempest and The Winter’s Tale, at Woolly Mammoth Theatre Company in Appropriate, and will play Robert McNamara in Arena Stage’s upcoming production of All The Way. Regionally, he recently he reprised his role in Appropriate for The Mark Taper Forum. Other regional credits include work at The Old Globe, Intiman, Long Wharf, Barrington Stage, Vermont Stage, The Wilma Theater, Pittsburgh Public Theater, and Hartford Stage. Mr. Bishins is in the upcoming film A Cure for Wellness directed by Gore Verbinsky. Other film credits include SALT, The Adjustment Bureau, Sorry, Haters!, and The War Within, among others. He recently finished shooting a recurring role as the Secretary of Homeland Security on House of Cards for Netflix.

His other television credits include Homeland, Blue Bloods, Fringe, and the entire canon of Law & Order shows. Mr. Bishins is a proud member of Actors’ Equity Association and a graduate of The Juilliard School. Mr. Bishins has been represented by his agents at Abrams Artists Agency since 1989.

CRISTINA FRIAS (Church Lady) was most recently seen in Real Women Have Curves at Pasadena Playhouse. Other theatre credits include The Motherfucker with the Hat at South Coast Repertory, Pericles at Independent Shakespeare Company, Romeo and Juliet at Shakespeare Center LA, and Hamlet at LA Women’s Shakespeare Company. Ms. Frias originated the role of Sparky in PLACAS at Lorraine Hansberry Theatre, and Dolores in Luis Alfaro’s celebrated Black Butterfly at Mark Taper Forum/Kennedy Center/Smithsonian. She also appeared in the Music of Antonin Dvorak at Walt Disney Concert Hall; Sunstone at Getty Villa; Camino Real at Theatre@Boston Court; Broken Hearts (Best Ensemble Garland Award) at Cornerstone Theatre Company, Independent Female at San Francisco Mime Troupe, and Close Encounters with Culture Clash and Latina Theatre Lab. Ms. Frias toured her solo work All Aboard (Highways Emerging Artist Award and CTG’s Latino Theatre Lab Commission) in Europe and East Africa and is the recipient of multiple Artists-in-Residence Awards from the L.A. Department of Cultural Affairs. She recently starred in the film The Parting Shot (2015 Milan International Film Festival Selection). She holds an MFA in Acting from the Institute of CalArts and a BA from UC Berkeley.

RIVERSIDE DRIVE is a scenic seven-mile boulevard

that runs along the west side of Manhattan parallel to the Hudson River.

The street is home to some of the city’s most coveted addresses, grandest architecture, and opulent row houses, including the play’s contested, rentcontrolled Upper West Side apartment.

Rent-controlled apartments are nearing extinction in New York. The city’s rent control laws were established in 1943 to protect tenants from World War II-related housing shortages. Contrary to popular opinion, these policies do not prevent increases, but rather cap the maximum base rent. When the original tenant (or their lawful successor) vacates the apartment, it can either become rent-stabilized, or be removed from regulation and rented at current market price. As Stephen Adly Guirgis notes, Walter and company are living in “prime Manhattan real estate that, if deregulated, would easily fetch ten times its current rent.”

NEW YORK CITY HOUSING MEDIAN RENT INCREASES BETWEEN 2000 AND 2012 Percent of Increase

1

RENT-CONTROLLED UNITS IN NEW YORK CITY 2 Number of Units 2 million

75%

Only 1.8%

44%

of New York City apartments are rent-controlled 38,000

In New York City

In the Rest of the US

RentControlled

Other Homes

NEW YORK’S RENT-STABILIZED HOUSING LOSSES Percent of Losses by Borough since 2000

69.2%

3.3%

14%

13%

0.5%

The Bronx

Brooklyn

Queens

Staten Island

Manhattan 1. The Growing Gap: New York City’s Affordability Challenge, April 2014 2. The Guardian, August 2015

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.

RESTAURANTS AND BARS 1. Barcelona 1622 14th St NW 202.588.5500 barcelonawinebar.com Spanish

8. Estadio 1520 14th St NW 202.319.1404 estadio-dc.com Spanish

15. The Pig 1320 14th St NW 202.290.2845 thepigdc.com Pork-Centric

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10. Logan Tavern 1423 P St NW 202.332.3710 logantavern.com American

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6. Cork 1720 14th St NW 202.265.CORK corkdc.com Wine Bar

13. Number Nine 1435 P St NW 202.986.0999 numberninedc.com American

20. Tabard Inn 1739 N St NW 202.331.8528 tabardinn.com New American

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21. 10 Thomas Restaurant At Washington Plaza Hotel 10 Thomas Circle NW 202.408.6136 washingtonplazahotel.com American

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6 R St NW

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27. Source 1835 14th St NW 202.204.7800 sourcedc.org Performing Arts Venue

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NEXT IN STUDIO X

BEGINS MARCH 16

BY NICK PAYNE DIRECTED BY DAVID MUSE BEGINS FEB 10

MOMENT

BY DEIDRE KINAHAN DIRECTED BY ETHAN McSWEENY A long-absent son, an ailing mother, and the long-simmering resentments of two sisters collide in this intimate and explosive family drama.

2016

CONSTELLATIONS

NEXT IN THE MAIN SERIES

Studio Theatre

Theoretical physicist meets beekeeper, but the story branches off from there. An intimate and imaginative romance that plays out the infinite possibilities of a single relationship.

PARKING

BOX OFFICE

Studio has a parking partnership with Washington Plaza Hotel at 10 Thomas Circle NW, three blocks south of Studio. Patrons who park at the hotel’s parking garage can purchase a $13 voucher at concessions.

During Performance Weeks Sunday and Monday: 12pm – 6pm Tuesday-Saturday: 12pm – 7pm Phones shut off 30 minutes prior to matinees.

Non-Performance Weeks Monday-Friday: 12pm – 7pm

STUDIO THEATRE 1501 14TH ST NW WASHINGTON, DC 20005 BOX OFFICE & GROUP SALES 202.332.3300 ADMINISTRATIVE OFFICE 202.232.7267 STUDIOTHEATRE.ORG

ARTIST BIOS BRIAN MacDEVITT (Director) designed lighting for Sucker Punch and The Real Thing at Studio Theatre, where he also served as the Production Designer for Murder Ballad. His recent directing credits include Proof at Theater Three in New York and Spring Awakening at The Clarice Smith Center. Other directing credits include Joyce Soho and readings at New York Stage and Film and Naked Angels. He has designed lighting for close to 70 shows on Broadway, including Larry David’s A Fish in the Dark, A Delicate Balance with Glenn Close, and This is Our Youth by Kenneth Lonergan. Other Broadway credits include Death of a Salesman starring Philip Seymour Hoffman and directed by Mike Nichols; The Book of Mormon (Tony Award), The Coast of Utopia, Joe Turner’s Come and Gone, Frankie and Johnny in the Clair de Lune, Fences, A Behanding in Spokane, Race, The Pillowman, Urinetown, and Into the Woods. He is the recipient of five Tony Awards, an Obie Award for Sustained Excellence, a Bessie Award, Lucille Lortel Award, Outer Critics Circle Award, the Hewes Award, and a Drama Desk Award. He designed lights for dance productions with The Joffrey Ballet, American Ballet Theater, Tere O’Connor Dance, Merce Cunningham, Lar Lubovitch, Nancy Bannon, and many others. His designs for the Metropolitan Opera include The Enchanted Island, Le Compte Ory, and Doctor Atomic. He is on the faculty of University of Maryland and is a member of the Naked Angels Theater Company.

LEE SAVAGE (Set Designer)’s New York credits include Muscles In Our Toes, Sunset Baby, and Thinner Than Water at Labyrinth; Collapse at the Women’s Project; All-American at LCT3; The Dream of the Burning Boy and Ordinary Days at Roundabout; Oohrah! at the Atlantic Theater Company; The Bereaved with Partial Comfort; and punkplay at Clubbed Thumb. His area credits include productions at Shakespeare Theatre Company, Washington National Opera, Ford’s Theatre, and Signature Theatre. Regionally, his work has been seen at Asolo Repertory Theatre, Chautauqua Theater Company, Dallas Theater Center, Glimmerglass Festival, Goodman Theatre, Guthrie Theater, Westport Country Playhouse, Wilma Theater, Yale Repertory Theatre, and others. International credits include A Streetcar Named Desire at The Gate and The Jammer at Edinburgh Fringe Festival. Mr. Savage received a Helen Hayes Award for his work on Much Ado About Nothing and nominations for A Midsummer Night’s Dream and Richard III at Shakespeare Theatre Company, as well as a Connecticut Critics Circle Award for The Intelligent Design of Jenny Chow at Yale Rep. He is a Member of Wingspace Theatrical Design and a contributing editor for Chance Magazine. He received his BFA from the Rhode Island School of Design and MFA from the Yale School of Drama, where he is currently on faculty.

JEN SCHRIEVER (Lighting Designer) is making her Studio Theatre debut. In the DC area, she has designed Marie Antoinette at Woolly Mammoth Theatre Company; Sunday in the Park with George and A Second Chance at Signature Theatre; Romeo and Juliet, The Conference of the Birds, and The Taming of the Shrew at Folger Theatre; and Carousel at Olney Theatre Center. In New York, Ms. Schriever has designed lights for John Leguizamo’s Ghetto Klown on Broadway (also filmed for HBO), and she will be designing Danai Gurira’s Eclipsed on Broadway in the spring. Her opera credits include Les Pêcheurs de Perles and Die Fledermaus at the Metropolitan Opera; and La Traviata, Faust and A Midsummer Night’s Dream at the Mariinsky in Russia. Off Broadway and regionally, Ms. Schriever has worked at The Public Theater, Signature Theatre Company, Abrons Arts Center, Women’s Project, Second Stage, Labyrinth, Soho Playhouse, New World Stages, Union Square, Town Hall, Goodman Theatre, Goodspeed Opera House, Papermill Playhouse, Center Stage, Williamstown Theatre Festival, and People’s Light.

She is an adjunct professor at Purchase College and a member of Wingspace.

DEDE M. AYITE (Costume Designer) makes her Studio Theatre debut. Locally, her work has been seen in The Blood Quilt and Five Guys Named Moe at Arena Stage (the latter in co-production with the Cleveland Playhouse.) Her recent design credits include Ugly Lies the Bone at Roundabout Theatre Company, ToasT at The Public Theater, Marie Antoinette at Steppenwolf Theatre (Jeff Award), Stagger Lee at Dallas Theater Center, The C.A. Lyons Project at Alliance Theatre, brownsville song (b-side for tray) at LCT3. She designed sets and costumes for Urban Retreat and Manahatta at The Public Theater and designed sets for Raisin in the Sun at CalShakes and The Piano Lesson at Yale Repertory Theatre. Other costume designs include The Music Man in Concert at Two Rivers and NJPAC, Last Laugh at the soloNOVA Festival, Mary Stuart at NYU, June’s Blood and Fried Chicken & Latkes with the National Black Theatre, Holding it Down at Harlem Stage, Vassa with the Lee Strasberg Theatre & Film Institute, and Illmatic at Urban Stages. Her television work includes design for Kurt Metzger on Comedy Central, Fox Shortcoms on the FOX Network, and COPPER Project with Improv Everywhere/BBC America. Ms. Ayite’s upcoming projects include The Royale at Lincoln Center Theater, Washer/Dryer at Ma-Yi Theater Company, and The Wiz at Oregon Shakespeare Festival. She holds an MFA from the Yale School of Drama.

ERIC SHIMELONIS (Sound Designer)’s previous Studio Theatre productions include The Year of Magical Thinking, Stoop Stories, In the Red and Brown Water, An Iliad, Time Stands Still, The Motherfucker with the Hat, and Torch Song Trilogy. Other recent productions include The Night Alive at Round House Theatre, Rosencrantz and Guildenstern Are Dead at Folger Theatre, and Marie Antoinette at Woolly Mammoth Theatre Company, for which he received a 2015 Helen Hayes Award nomination. Mr. Shimelonis is the recipient of a 2014 Helen Hayes Award for outstanding sound design for his work on Never the Sinner at 1st Stage.

ROBB HUNTER (Fight Director) has directed violence for many Studio productions, including Bad Jews, Belleville, The Motherfucker with the Hat, Reasons to be Pretty, Invisible Man, Superior Donuts, American Buffalo, Red Speedo (Helen Hayes nomination for choreography) and The Walworth Farce (Helen Hayes nomination for choreography) and others. He also directs movement/violence for the Washington National Opera, where his work includes Carmen, Moby Dick, Don Giovanni, Hamlet; The Shakespeare Theatre, where his work includes the upcoming Othello (spring 2016), As You Like It, Winter’s Tale, The Alchemist, Measure for Measure, and others; King Hedley II, Stick Fly, Ruined, Noises Off, and others at Arena Stage; as well as work at Woolly Mammoth, Ford’s Theatre, Olney Theatre, Rep Stage, Constellation Theatre, and The Baltimore Shakespeare Festival. He is a member of the Stage Directors and Choreographers Society, AEA, SAG/AFTRA, and is one of only thirty Fight Directors in the world certified by the Society of American Fight Directors. He is Choreographer in Residence at American University, and teaching artist for The Shakespeare Theatre and the Studio Theatre Acting Conservatory.

ZACH CAMPION (Dialect Coach) is the Education Manager at Studio Theatre and a member of the Studio Theatre Acting Conservatory faculty. Between Riverside and Crazy is Mr. Campion’s third project at Studio, having provided dialect support for Chimerica earlier this season and Terminus last season. He recently coached dialect for the world premiere Voracious at University of Maryland Baltimore County, and will begin work on Dial M for Murder at Olney Theatre in March. Mr. Campion is a certified teacher of Fitzmuarice Voicework® and holds an MFA in Theatre Pedagogy from Virginia Commonwealth University.

LAUREN HALVORSEN (Dramaturg) is in her fifth season as Associate Literary Director of Studio Theatre. Her dramaturgy credits at Studio include Chimerica, The Wolfe Twins, Belleville, Water by the Spoonful, Tribes, The Real Thing, The Motherfucker with the Hat, The Aliens, Bachelorette, The Big Meal, and Time Stands Still. Previously, Ms. Halvorsen spent three seasons as Literary Manager of the Alley Theatre. She was the Artistic Associate of the WordBRIDGE Playwrights Laboratory for six years and has worked in various artistic capacities for City Theatre Company, O’Neill Playwrights Conference, First Person Arts Festival, and The Wilma Theater. Ms. Halvorsen is a graduate of Bryn Mawr College.

JACK + SHARKY (Casting) Jack Doulin has been the Casting Director at New York Theatre Workshop since 2000. Productions include: Love and Information, Peter and the Starcatcher, Homebody / Kabul, Far Away, A Number, Hedda Gabler, The Misanthrope and The Little Foxes. Other NYC highlights include two notable productions of Uncle Vanya: Andre Gregory’s production with Julianne Moore and Wallace Shawn (filmed by Louis Malle as Vanya on 42nd Street), and Annie Baker’s adaptation with Reed Birney, Maria Dizzia and Michael Shannon directed by Sam Gold. For SoHo Rep: Blasted, A Public Reading...Disney, Marie Antoinette. Film: New Orleans, Mon Amour directed by Michael Almereyda and Jonathan Demme’s A Master Builder. Sharky, also known as Taylor Williams, serves as the Casting Associate at New York Theatre Workshop. Together they recently cast: Oklahoma! (Bard SummerScape), Scenes from a Marriage (NYTW), You Got Older (P73), Beth Henley’s Laugh (Studio Theatre), An Octoroon (Soho Rep and TFANA) and Generations (Soho Rep).

ANTHONY O. BULLOCK (Production Stage Manager) is the Resident Stage Manager at Studio Theatre, where he previously stage managed Chimerica, Laugh, and Jumpers for Goalposts. 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 Center, 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 thus far, she has assistant directed Chimerica, directed by David Muse, and The Apple Family Plays, directed by Serge Seiden. 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, New Haven-based Elm Shakespeare Company, and Collective Consciousness Theatre, where she helped devise a piece for World Refugee Day with a group of refugees and actors in New Haven. 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 Southern 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 recent graduate of Wesleyan University, where she received her BA in Theater and Social, Cultural, and Critical Theory.

FOOLS PARADISE

A GALA CELEBRATION OF ALL THINGS FOOLISH IT’S THE 1ST OF APRIL AT 6:30 PM. THE VALET HAS JUST TAKEN YOUR CAR TO GOD KNOWS WHERE. YOU ARE BOLD. YOU ENTER THIS WORLD FRESH TO NEW EXPERIENCE. YOU CHECK YOUR COAT. YOU PAUSE. YOU GRAB A COCKTAIL. YOU MOVE THROUGH THE GATHERING CROWD. THE EVENING BEGINS AS IT OFTEN DOES BUT THIS IS SOMEHOW DIFFERENT. IT HAS A SUSTAINED BREATH, A SENSE OF PLAYFULNESS, A GENEROSITY OF SPIRIT. YOU FEEL IT. YOU RECOGNIZE IT IN YOUR COMPANIONS. IT HOLDS YOU IN A MOMENT. ON THIS NIGHT, IN THIS CITY YOU HAVE ENTERED A FOOLS PARADISE. JOIN US 1 APRIL 2016 AT 6:30 PM HONORING LONGTIME STUDIO THEATRE BOARD MEMBER, LIZ CULLEN STUDIOTHEATRE.ORG/GALA 202.232.7267

BETWEEN RIVERSIDE AND CRAZY STAFF Assistant Director SIVAN BATTAT Assistant Stage Manager AMANDA LANDIS Take Over Assistant Stage Manager PAUL LUCKENBAUGH Production Assistant TRE WHEELER Light Board Programmer SEAN PATRICK FORSYTHE Sound Board Programmer JESS HOOVER Take Over Sound/Light Board Op CHARLES PATRICK DERRICKSON Assistant to Mr. MacDevitt EAMON BOYLAN Assistant to Ms. Schriever ALEXANDRA CHRISTIE For additional members of the production staff, please see the full staff listing.

ACKNOWLEDGEMENTS 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 Theatre’s 37-year history, the quality of its work has been recognized by sustained community support as well as with 329 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 Fred Boyle 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 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 * In memoriam

LEADERSHIP DAVID MUSE (Artistic Director) is in his sixth season as Artistic Director of Studio Theatre. For Studio and 2ndStage, he has directed 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 include Frankie and Johnny in the Clair de Lune at Arena Stage, The Bluest Eye at Theatre Alliance, PHOTO: TEDDY WOLFF. 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.

CAN THEATRE CHANGE THE WORLD? Guiding Studio’s work is our dedication to presenting the best in contemporary theatre, producing plays that are representative of Washington DC’s rich diversity — that declare our intent to be regarded as an organization that is artistically, politically, and socially open to the world, and deeply committed to serving as a gathering place for civic dialogue and action that is both welcoming and inspirational to all.

In the last year alone, we tripled the number of area high school students who attend free matinee shows; we provided free meeting space for many local charitable organizations, including the Urban Land Institute, Creative Mornings, and the Logan Circle Community Association; and we doubled the number of captioned performances offered throughout the season, all in an effort to open our doors as widely as possible.

By making a gift to Studio Theatre, you are joining a community of people who believe that theatre really can change the world. A gift at any level truly matters and all of us at Studio, along with the organizations we work with, thank you for your kind consideration.

MAKE A GIFT ONLINE STUDIOTHEATRE.ORG/SUPPORT PHONE 202.232.7267 MAIL DEVELOPMENT OFFICE 1501 14TH ST NW WASHINGTON, DC 20005 STOCK Please contact the Development Office at 202.232.7267 or DEVO@STUDIOTHEATRE.ORG for more information.

MATCHING GIFTS Did you know that your employer may match some or all of your contribution to Studio Theatre? Ask your company about its matching gifts program today to increase your impact.

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(l to r) Jelani Alladin in Choir Boy. Photo: Igor Dmitry; Liam Forde and Kimberly Gilbert in Jumpers for Goalposts. Photo: Igor Dmitry; Christine Dwyer and Tommar Wilson Murder Ballad. Photo: Igor Dmitry; James Caverly in Tribes. Photo: Teddy Wolff.

THE ARTISTIC DIRECTOR’S CIRCLE To enable us to make significant investments in artistic innovation, a group of Studio enthusiasts have created the Artistic Director’s Circle, a membership program that supports the creative vision of Studio Theatre and allows Studio to invest in the art and artists that make our work so distinctive. Commitments begin at $15,000 and up and are designated to enhance our artistic programming.

Thank you to our incredible family of Artistic Director’s Circle members:

THE MEAD CIRCLE Anonymous

THE MILTON CIRCLE

David and Jean Heilman Grier Albert Lauber and Craig Hoffman

THE METHENY CIRCLE

Susan L. and Dixon M. Butler Drs. Mark Epstein and Amoretta Hoeber

Stanley and Rosemary Marcuss Virginia A. McArthur and E.C. Michael Higgins

Esthy and James Adler Don and Nancy Bliss Bruce Cohen Rick Kasten Helen and David Kenney

Gerald and Laura Rosberg Steve and Linda Skalet Bobbi and Ralph Terkowitz

THE STAGE 4 CIRCLE

Stephen and Judy Hopkins John Horman and Toni Ritzenberg Henry H. and Carol Brown Goldberg

Joan and David Maxwell Daniel and Theresa Schwartz Irene and Alan Wurtzel

For more information on how to become a member of the Artistic Director’s Circle, please contact Zack Lynch, Manager of Major Gifts at zlynch@studiotheatre.org or by calling 202.232.7267 x370.

Sarah Marshall, Rick Foucheux, Ted van Griethuysen, Elizabeth Pierotti, Kimberly Schraf, and Jeremy Webb in Studio Theatre’s 2013 production of Sweet and Sad. Photo: Teddy Wolff.

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 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

$30,000 – $49,999

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

$15,000 – $29,999

William S. Abell Foundation, Inc. The Adler Family Fund Beech Street Foundation Don and Nancy Bliss Bruce Cohen Henry H. and Carol Brown Goldberg Stephen and Judy Hopkins Rick Kasten

Helen and David Kenney The Mandy & David Team, Compass Real Estate Joan and David Maxwell National Endowment for the Arts PEPCO Daniel and Teresa Schwartz Mr. Craig Pascal and Mr. Victor Shargai Hattie M. Strong Foundation United Way of the National Capital Area Weissberg Foundation

$7,500 – $14,999

Carolyn Alper Peter A. Bieger

The Dallas Morse Coors Foundation for the Performing Arts

CrossCurrents Foundation Thomas F. and Elizabeth D. Cullen Miriam Cutler and Paul Salditt Sheryl and Rick Donaldson Hope and Mark Foster Wendy and William Garner Susan L. Gordon Graham Holdings Company John and Meg Hauge John Horman Lynne and Joseph Horning Carolyn and Warren Kaplan The Lewis & Butler Foundation A. Fenner Milton Ann K. Morales Larry and Joan Naake Juan Otero Toni Ritzenberg Milton and Dorothy Sarnoff Raymond Foundation Jon and NoraLee Sedmak Jerry and Patti Sowalsky Statistics Collaborative

Robert Tracy and Martha Gross Tycko & Zavareei LLP George Wasserman Family Foundation J. Watkins and Brad Frey Marvin F. Weissberg Whole Foods Market P Street Alan and Irene Wurtzel Judy and Leo Zickler Nina Zolt and Miles Gilburne

$5,000 – $7,499

Anonymous (3) Frederick and Theresa Boyle Trudy H. Clark Comcast Jon Danforth and Carol Arthur Lois England Jinny and Michael Goldstein Charmaine and Albert Horvath Peter B. Kovler and Judy Lansing Wendy Luke The George Preston Marshall Foundation Nancy and Herbert Milstein The Morningstar Foundation James Nozar and Adam Unger Jonathan and Madeleine Pitt Lutz Alexander Prager Lola C. Reinsch Sotheby’s International Realty Stonesifer/Kinsley Family Fund Mark Tushnet and Elizabeth Alexander Jonathan and Joan Tycko

$2,500 – $4,999

Dr. Stewart Aledort and Dr. Sheila Rogovin Leonard and Joy Baxt

BB&T Bank J. Frank Bernheisel Sue and Joe Bredekamp Capital Bank Capital One, N.A. Dr. Morris J. Chalick Nancy Chasen and Don Spero Susan Clampitt and Jeremy Waletzky Carl and Rise Cole Lizbeth J. Dobbins Margery Doppelt and Larry Rothman Kenneth B. Dreyfuss Lorraine S. Dreyfuss Theatre Education Fund Mona and Mark Elliot Betty and Wes Foster Family Foundation Burton Gerber The Aaron and Cecile Goldman Family Foundation Frona Hall Kenneth G. Hance, Jr. and Kamer Davis Andrea Hatfield and Buck O’Leary F. Lynn Holec William Hopkins and Richard Anderson Mark and Carol Hyman Fund IBM Matching Grants Program Anthony and Karen Kamerick Christine and Gene Kilby Arlene and Martin Klepper Jane Lang and Paul Sprenger* Stephen and Maria Lans The Jacob & Charlotte Lehrman Foundation B. Thomas Mansbach Karen and Daniel Mayers Wallis E. McClain Carl and Undine Nash Bob and Nina Randolph Sandy Read and Hugh Hill Rogers & Company PLLC Steve and Ilene Rosenthal Drs. Irene Roth and Vicken Poochikian Joan Searby

Linda and Stanley Sher Patricia Smith Gene Spencer Sidney Stolz and David Hatfield Martha Washington StrausHarry H. Straus Foundation The Touma Foundation TrueTheatreGoer, LLC George and Trish Vradenburg Margot and Paul Zimmerman

$1,500 – $2,499

Anonymous The Alford Foundation Patricia Alper Cohn and David Cohn Cindy and Mark Aron Amy F. Berger and Glen Nager Bruce and Deborah Berman Continental Properties, Ltd. Dimick Foundation Bill and Melinda Gates Foundation Michael Gross and Nancy Deck Warren Gump Karen Kaub Barry Kropf Mark Lewellyn Romana Li and Bruce Bartels Barbara and Al McConagha Steven Perez Carol Rabenhorst Anne & Henry S. Reich Family Foundation Bishop Gene Robinson Richard Seaton and John Berger Susan P. Willens Bruce and Margareta Yarwood

IN-KIND

Ace Beverage Amtrak Aram Designs B Too BakeHouse Barcelona Restaurant and Wine Bar Birch & Barley

Bluebird Bakery BodySmith Gym + Studio Cava Mezze CHURCHKEY Cleveland Park Liquors & Fine Wines Colonial Parking Cork Daikaya Dolcezza Drafting Table EatWell DC Fathom Creative Four Seasons Hotel Washington DC Ghibellina Hank’s Oyster Bar Kingsbury Confections Marvin Restaurant McWilliams Ballard Residential Brokerage Mehri & Skalet Mitchell Gold + Bob Williams New Columbia Distillers Number Nine Policy Restaurant and Lounge Posto Shugoll Research Slipstream Sotto Sweetgreen Teavine/Cider Snap The Fainting Goat Unipark Valet Services YMCA National Capital Zentan For a complete listing of our generous supporters, please visit studiotheatre.org/ support. *In Memoriam This list represents contributions received through December 28, 2015.

Every effort has been made to ensure the accuracy of this listing. For more information, please contact the Development Office at 202.232.7267

Friends With Benefits is a group of young patrons who want to socialize and network while supporting the vibrancy of Studio Theatre through philanthropy and young audience engagement. And, unlike other friends with benefits, the only drama here is on stage.

GREAT RELATIONSHIPS COME WITH PRIVILEGES: ® Buy-one-get-one ticket offers ® Free tickets to the FWB annual events ® Invitations to 2 FWB happy hours — join us for drinks and hors d’oeuvres before a show ® Exclusive invitations to unique events in the Studio Theatre District ® Late night parties at Studio and affiliated nightspots

MEMBERSHIP STARTS AT JUST $10 A MONTH QUESTIONS?

Please contact the Development Department at devo@studiotheatre.org or 202.232.7267

studiotheatre.org/join

STUDIO STAFF LEADERSHIP

DEVELOPMENT

ARTISTIC DIRECTOR DAVID MUSE MANAGING DIRECTOR MERIDITH BURKUS PRODUCTION MANAGER JOSH ESCAJEDA GENERAL MANAGER ELISABETH BAYER DIRECTOR OF DEVELOPMENT RODNEY TRAPP DIRECTOR OF MARKETING AND COMMUNICATIONS DANIEL RECH

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

ARTISTIC ASSOCIATE ARTISTIC DIRECTOR MATT TORNEY LITERARY DIRECTOR ADRIENALICE HANSEL ASSOCIATE LITERARY DIRECTOR LAUREN HALVORSEN DIRECTOR OF DESIGN DEBRA BOOTH KENNEDY CENTER DESIGN FELLOW CHARLES JOHNSON ARTISTIC APPRENTICE SIVAN BATTAT 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 HAMP STAFF CARPENTER MASON HURLEY CARPENTRY APPRENTICE ALEX MATHIS PROPERTIES DIRECTOR DEBORAH THOMAS COSTUME SHOP MANAGER BRANDEE MATHIES MASTER ELECTRICIAN/SOUND TECHNICIAN 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 BUSINESS APPRENTICE CLARA BLICKENSTAFF FACILITIES MANAGER KIERAN KELLY FACILITIES APPRENTICE JOE TOMASELLI DIRECTOR OF INFORMATION TECHNOLOGY NICK TORRES FOOD AND BEVERAGE MANAGER LAVELLE DANIEL

MARKETING AND COMMUNICATIONS DIGITAL MARKETING MANAGER RACHAEL WILKINSON COMMUNICATIONS APPRENTICE KENDALL HELBLIG GRAPHIC DESIGN APPRENTICE ALLIE DEARIE GRAPHIC DESIGNER SHAWN HELM PUBLIC RELATIONS ASSISTANT CHELSEA WELLS 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 ASSOCIATE 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, MARLEY KABIN, EMILY KESTER, JEFF KIRKMAN III, QUILL NEBEKER AUDIENCE SERVICES ASSOCIATES JOSEPH GRAF, EMMA SAFFORD, KRISTINA WILLIAMS

EDUCATION EDUCATION MANAGER ZACH CAMPION CONSERVATORY APPRENTICE THAIS MENENDEZ 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