ANGELS IN AMERICA | Round House Theatre by Sarah Pressler

BY TONY KUSHNER

elcome back to Round House for the start of our 2016-2017 season—our biggest season yet!

ROUND HOUSE THEATRE is one of the leading professional theaters in the Washington, DC metropolitan area, producing a six-show season of modern classics, new plays, and musicals for more than 33,000 patrons each year at our 400-seat theater in Bethesda. Round House has been nominated for 151 Helen Hayes Awards and has won 30. Its productions have won “Outstanding Resident Play” four times. Round House’s education and outreach programs serve 4,000 students each year at its Bethesda theater, at its Silver Spring Education Center and in schools throughout Montgomery County. Cornerstone programs include its Intersections in-school literacy program, its Play It Forward program that provides free tickets for high school students, Student Matinees for each production, its unique Teen Performance Company that culminates in the student-produced Sarah Metzger Memorial Play, and year-round Classes for Adults & Youth.

We are thrilled to partner with Olney Theatre on this revival of the epic Angels in America, one of the masterworks of American theater. This is the first work in a two-year partnership with Olney that is designed to highlight the incredibly rich theater taking place in Montgomery County and to encourage cross-pollination between our two audiences. We welcome Olney’s board, subscribers, and ticket buyers, and look forward to joining you in Olney next year at this time as we co-produce another epic to start our 2017-2018 season. Part of Round House’s mission is “to captivate audiences with stories that inspire compassion, evoke emotions, and demand conversation,” and Angels in America certainly does all of that. This moving and thought-provoking play demands both your attention during its performance, and your discussion after the fact. Our partnership with Olney will allow us not only to present this play on the grand scale that it deserves, but also to drastically expand opportunities for dialogue and debate within our communities. We hope that you’ll join us for one of the many pre-show, post-show, and panel discussions that we’re hosting throughout the run. Tony Kushner celebrates this spirit of dialogue in Angels, and we hope to honor that same ideal over the next two years. Angels in America also marks the first show under a new leadership structure here at Round House. For years, Round House has been led by a single Producing Artistic Director. Due to our significant growth in recent years we changed that structure in June to a dual-leader model with the addition of Managing Director Ed Zakreski. Ed joins Round House after more than a decade at Shakespeare Theatre Company as Chief Development Officer and nearly a decade at The Kennedy Center. Ed will oversee Round House’s administrative, development, and marketing operations while Artistic Director Ryan Rilette will continue to oversee the artistic, production, and education departments. We hope you enjoy and are provoked by Angels in America, and we look forward to seeing you at the theater for more great work all season! BEST,

www.RoundHouseTheatre.org @RHT_RoundHouse Round House Theatre

RYAN RILETTE ROUND HOUSE THEATRE ARTISTIC DIRECTOR

ED ZAKRESKI ROUND HOUSE THEATRE MANAGING DIRECTOR

elcome to the groundbreaking launch of Olney Theatre Company’s 79th season. We’re unveiling a two-year partnership with Round House that showcases the dynamism of MoCo and DC’s theater community, and we’re doing it with one of the greatest plays ever written. With its panoply of awards, awesome cultural reach, and political prescience, theater-lovers know that Angels in America is “important.” Set amidst Reagan’s “morning in America,” Angels paints the dawn in disconcerting shadow. This was the period that ignited the culture wars that still burn brightly, a time when the president wouldn’t utter the word “AIDS” until four years into the plague, and a moment of ideological bankruptcy on the left that paved the way for Bill Clinton’s centrist vision. We chose Angels for election season to consider how we got here, what lessons we learned, and which we forgot. But at the time of this writing (our sixth rehearsal week), and 25 years after its premiere, it’s the play’s emotional resonance that strikes with momentous force. (Not to say its political edge has dulled: to the contrary, Donald Trump’s mentor, Roy Cohn, is an essential character, and his monologues shed more light on Trump than anything you read in the paper.) Kushner’s “Gay Fantasia on National Themes” intertwines the personal and the political in ways not seen since Death of a Salesman, or until Hamilton. It is a triumphant work of art. A triumphant work of art requires enormous resources. That’s why we’re partnering with Round House, a theater of extraordinary artistry and institutional strength. The partnership is intended in part to introduce Olney’s audiences to our Bethesda neighbor (and vice versa in 2017, when we co-produce in Olney). And we believe new models of producing are essential to the theater field’s ongoing vitality, especially in the increasingly vibrant DC metro arts community. What we couldn’t anticipate when we envisioned this partnership was that we’d be so simpatico in terms of process. This has been a joyous, egoless collaboration dedicated to the best artists and the most curious audiences in the region. On behalf of our Board and staff, we heartily thank our colleagues at Round House for taking the risk. While Angels is running, Olney’s second show of the season—The Diary of Anne Frank—is playing in our intimate black box theater with another stellar cast. Non-Olney members holding Angels tickets get $20 off (use discount code ANNE20), so please take advantage of the opportunity to get to know us better. And drop us a line with your thoughts about Angels at Jason@OlneyTheatre.org or Debbie@OlneyTheatre.org. ONWARD!

OLNEY THEATRE CENTER is an award-winning, nonprofit, Equity theatre. Our mission is to produce and present extraordinary theatre and performance on our fourtheatre campus for an evermore diverse set of audiences in our community, and to educate the next generation of theatremakers to follow in our footsteps. We strive every day to unleash the creative potential of our artists and audiences, and in so doing, become Maryland’s premier center for theatre performance and education. In the past two years, Olney Theatre has produced seven world or regional premieres, including Andrew Hinderaker’s Colossal (2015 Charles MacArthur Award for Outstanding New Play or Musical), and Jennifer Hoppe-House’s Bad Dog (2015 Steinberg Award nominee). Olney’s shows and educational activities are accessible and affordable, and we strive to provide a thoughtprovoking and enjoyable theatrical experience. Olney Theatre Center is situated on 14 wooded acres in the heart of the beautiful WashingtonBaltimore-Frederick “triangle,” within easy access to all three cities, and is also home to National Players, America’s longest-running touring company.

www.OlneyTheatre.org

JASON LOEWITH OLNEY THEATRE CENTER ARTISTIC DIRECTOR

@OlneyTheatre

DEBBIE ELLINGHAUS OLNEY THEATRE CENTER MANAGING DIRECTOR

Olney Theatre Center

BE PART OF OUR 2016-17 SEASON!

BY LAUREN GUNDERSON & MARGOT MELCON DIRECTED BY ELEANOR HOLDRIDGE ROLLING WORLD PREMIERE

Set two years after the iconic Pride and Prejudice, Miss Bennet follows your favorite characters as they gather at Pemberley, the home of Mr. and Mrs. Darcy. But this holiday, all eyes are on Mary Bennet, who has come into her own as a confident woman with curiosity, wit, and talent…and perhaps even a love story. Miss Bennet is a Christmas story of family, young love, and bright futures you won’t want to miss!

n am Vaugha er & Willi Katie Kleig

EMBER 23 - DEC

ER NOVEMB 240.644.1100 RoundHouseTheatre.org

18, 2016

Tickets and info: olneytheatre.org 301.924.3400

OLNEY T H E AT RE C E NT E R

WE’RE CLOSE BY! Just 10 mins. from the ICC, 30 mins. from DC, 15 mins. from Rockville and Columbia, and 40 mins. from Baltimore!

R O U N D H O U S E T H E AT R E & O L N E Y T H E AT R E C E N T E R present

ANGELS IN AMERICA BY TONY KUSHNER PART I: MILLENNIUM APPROACHES PART II: PERESTROIKA

DIRECTED BY JASON LOEWITH

DIRECTED BY RYAN RILETTE

Scenic Designer: JAMES KRONZER

Projection Designer: CLINT ALLEN

Costume Designer: IVANIA STACK

Assoc. Costume Designer/ Crafts Artisan:

Lighting Designer: YORK KENNEDY

Sound Designer: JOSHUA HORVATH

Props Master: KASEY HENDRICKS

Dialect Coach: ZACH CAMPION

Fight Choreographer: CASEY KALEBA

Dramaturg: GABRIELLE HOYT

Assistant Director: PHILIP KERSHAW

Flying Effects: D2 FLYING EFFECTS

Production Stage Manager: Rehearsal Stage Manager: MARNE ANDERSON* JOHN KEITH HALL*

SETH GILBERT

Stage Manager: CHE WERNSMAN*

CAST

(characters listed in order of appearance)

JONATHAN BOCK*...........................................................................Louis, Angel Australia KIMBERLY GILBERT*...................Harper, Martin Heller, Mormon Mother, Angel Africanii MITCHELL HÉBERT*.................................................Roy Cohn, Prior 2, Angel Antarctica THOMAS KEEGAN*..............Joe, Prior 1, The Eskimo, Mormon Father, Angel Europa SARAH MARSHALL*...................Rabbi Chemelwitz, Henry, Hannah, Ethel Rosenberg, Aleksii Antedilluvianovich Prelapsarianov, Angel Asiatica JON HUDSON ODOM*.........................Mr. Lies, Belize, Voice of Caleb, Angel Oceania TOM STORY*.........................................................................Prior Walter, Man in the Park DAWN URSULA*................................Emily, Sister Ella Chapter, The Homeless Woman, Angel, Voice of Orrin * Member Actors’ Equity Association, The Union of Professional Actors and Stage Managers in the United States

Millennium Approaches runs approximately three hours. Perestroika runs approximately three hours and 40 minutes. MILLENNIUM APPROACHES was first performed in a workshop production presented by Center Theatre Group/Mark Taper Forum, May 1990. The world premiere was presented by The Eureka Theatre Company, May 1991. Opened in London at the Royal National Theatre of Great Britain, January 1992. The first production of ANGELS IN AMERICA, PARTS I & II was presented at the Mark Taper Forum. PERESTROIKA was first performed as a staged reading by The Eureka Theatre Company in May 1991. The world premiere was presented by the Mark Taper Forum in November 1992. The play was presented by New York University/Tisch School of the Arts in April 1993. The play opened in London at the Royal National Theatre of Great Britain in November 1993. ANGELS IN AMERICA, PART I: MILLENNIUM APPROACHES and ANGELS IN AMERICA, PART II: PERESTROIKA is produced by special arrangement with Broadway Play Publishing, Inc. NYC www.broadwayplaypub.com The video and/or audio recording of this performance by any means whatsoever are strictly prohibited.

PART I: MILLENNIUM APPROACHES ACT ONE: Bad News

End of October-Third Week of November, 1985

Intermission ACT TWO: In Vitro First Three Weeks of December, 1985

Intermission ACT THREE: Not-Yet-Conscious, Forward Dawning 3 Days After the End of Act Two

PART II: PERESTROIKA ACT ONE: Spooj December, 1985

ACT TWO: The AntiMigratory Epistle January, 1986

ACT THREE: Borborygmi January, 1986

Intermission ACT FOUR: John Brown’s Body 2 Days After the End of Act Three

Intermission ACT FIVE: Heaven, I’m in Heaven January, 1986

EPILOGUE: Bethesda January, 1990

Round House Theatre extends its deep gratitude to Michael Beriss & Jean Carlson, sponsors of Part I: Millennium Approaches, along with Esthy & Jim Adler and Judy & Leo Zickler, sponsors of Part II: Perestroika.

Michael and Jean are proud to sponsor Part I of Angels in America: Millennium Approaches, especially after seeing the first read and the amazing work of the assembled actors and the thought-provoking visions of collaborating artistic directors Ryan Rilette and Olney’s Jason Loewith. Michael and Jean also appreciate Round House’s steadfast dedication to its education programs and community outreach, thus supporting both the current and next generations of theater professionals and audiences.”

— Michael Beriss & Jean Carlson

The New York Times has called Angels in America the most influential American play of the last 25 years. This exciting revival will be a major event in the Washington theater world this year. We are proud to be helping Ryan to bring Angels to the Round House stage.”

— Esthy & Jim Adler

We were first introduced to Angels in America in 1993, on the night Judy’s oldest grandson was born—so it’s meaningful for us in unexpected ways. We are excited to be sponsoring this play, with Ryan directing a superb cast—it’s such a key part of modern American theater history. Round House and Olney Theatre have joined to produce a masterful event.”

— Judy & Leo Zickler

To become a sponsor for an upcoming Round House Theatre production, please contact Director of Development Laura Blackwelder at 240.644.1401.

MAJOR FUNDING PROVIDED BY

ARTIST TRANSPORTATION PROVIDED BY

The Artist Sponsorship program at Olney Theatre Center is a great way to contribute to the success of a production. Designating your contribution to a production to honor a specific artist is an excellent way to make artists feel welcome, and it allows you to gain special access to the production process from first rehearsal to opening night. We would like to thank the following artist sponsors for their generosity.

Robert E. Hebda sponsoring Mitchell Hébert (pictured with Evan Casey from Olney Theatre Center’s Guys and Dolls)

Clifford L. Johnson and Margaret T. Roper sponsoring Jon Hudson Odom (Pictured with Nisi Sturgis from Olney Theatre Center’s Dial ‘M’ for Murder)

7271 Woodmont Ave, Bethesda, MD 301.913.0003

William Mitchell and David Vignolo sponsoring Tom Story (Pictured with Michael Kostroff from Olney Theatre Center’s The Producers)

ONY KUSHNER DOES NOT REMEMBER attempting to write a play “with an AIDS theme.” Instead, he explains, “I set out to write about what it was like to be me, a gay man in New York, in the mid1980s, and it was not possible to do that without placing it in the middle of the epidemic…The world I was born into was receding and something new and rather terrifying was taking its place.”1 Ultimately, Kushner used his personal experience as a “gay man in New York” as a lens for far larger themes: American myths, immigrants, medieval fertility rituals, Kabbalah chants, ex-drag queens, Steven Spielberg, and the apocalypse all find a place under the aegis of Angels. This goal of simultaneous specificity and immensity might prove overly complex and ambitious in a lesser work. But at the center of Angels sits a single unifying concept. Oskar Eustis, the production’s original dramaturg and now the artistic director of the Public Theatre, puts it best: “[Angels is about] how incredibly hard and incredibly necessary it is to change.”2

STOP MOVING by Gabrielle Hoyt, Dramaturg

The content of Angels directly takes on the difficulty and the inescapability of change. When the Angel finally descends from Heaven, she commands that the humans of the Earth must “STOP MOVING”—their forward motion has disturbed the Heavens. When “The World’s Oldest Living Bolshevik,” Aleksii Antedilluvianovich Prelapsarianov, makes an appearance, he echoes her sentiments, warning, “If the snake sheds his skin before a new skin is ready, naked he will be in the world, prey to the forces of chaos…Have you, my little serpents, a new skin?...Then we dare not, we cannot, we MUST NOT move ahead!” When the tortured housewife Harper gets the chance to ask any question she desires, she inquires, “How do people change?” The answer she receives: “God splits your skin with a jagged thumbnail” and pulls until “your innards are yanked out” before “he stuffs them back, dirty and tangled and torn.” The kind, degree, and methods of change vary from character to character—but in each case, the process is both painful and inexorable. Angels in America’s true genius, though, lies in how it couples intimate, personal journeys with large-scale cultural and political evolution.

1 “A Q&A with Tony Kushner on his Angels in America,” Seattle Times, Misha Berson 2 “Angels in America: The Complete Oral History,” Slate, Isaac Butler and Dan Kois Photo of Tony Kushner by Joan Marcus

The 1980s brought about the AIDS epidemic, the Reagan Revolution, the discovery of holes in the ozone layer, the fall of Communism, and the specter of a new millennium. The United States seemed to be on the verge of some great unknown, with no real understanding of what might lie beyond. Kushner mirrors this sense of uncertainty in the structure of Angels’ two parts. He calls the first, Millennium Approaches, a “taut, efficient narrative.” Perestroika, on the other hand, “contain[s] expansiveness, roughness, wildness and incompleteness in [its] DNA.” A sequel that rises from the literal wreckage of its predecessor, only a play as sprawling as Perestroika can continue the process of change that Millennium Approaches begins. Angels’ commitment to displaying the hardship and pain of this evolution also explains its epic-length running time: as Kushner himself once exclaimed in frustration, “I can’t get these people to change fast enough!”2 “Change” has become a byword of American politics in the 21st century. Politicians left and right promise change, but rarely specify either their methods or their end goals. With Angels in America, Tony Kushner reminds us that change does not occur in a vacuum; nor, for that matter, does change necessarily progress as we want it to. AIDS infected a generation of gay men, and changed America. Millions of immigrants crossed the ocean, and changed America. President Ronald Reagan buoyed a new conservatism, and changed America. Communism fell, and changed America. Each of these changes occurred not as a monolithic wave, but on an intensely intimate level: person-by-person, belief-by-belief, and blood-cell-by-blood-cell. The tempestuous nature of the ‘80s in America is due to the instability faced by millions of Americans during that decade; and in turn, this large-scale cultural change led to an even greater degree of personal change. By creating a play both epic and intimate, Kushner reminds us that change cannot be categorized, but only catalyzed; human actions may set it off, but we can never hope to control it. There is no big change and no small change; there is only change, an inexorable force more powerful than any of our attempts to harness or control it.

FACT & FICTION

LTHOUGH ANGELS IN AMERICA DRAWS heavily on historical events—from the AIDS crisis to the Reagan Revolution to the advent of Mormonism—it contains only two characters based in real life: Roy Cohn and Ethel Rosenberg. Lawyer, powerbroker, and closeted gay man, Roy emerged in the 1950s as an ardent anti-Communist. At 24, he helped prosecute Julius and Ethel Rosenberg, two Jewish Americans accused of espionage. Executed after Roy illegally pressured the case’s judge to exact the death penalty, the two became a cause célèbre before their demise. Even the Pope pleaded for their lives due to the trial’s alleged injustice. It has since arisen that Julius Rosenberg did pass information to the USSR; Ethel’s involvement remains disputed. Roy’s aggression impressed Senator Joseph McCarthy. The two led McCarthy’s anti-Communism hearings, but ran afoul of the Army after demanding preferential treatment for their associate, G. David Schine. The subsequent hearings led to McCarthy’s downfall, rumors about the trio’s sexuality, and Roy’s transition to the private sector. He remained a powerful conservative, amassing influence, taking on clients like Donald Trump, and continuing his unethical tactics (Roy was often indicted but never convicted). Diagnosed with AIDS in 1984 and dogged by allegations of homosexuality, he claimed to have liver cancer, but procured a slot in an AZT clinical trial. In 1986, Roy was disbarred on multiple counts of unethical conduct; he died five weeks later.

ANGELS IN

BETHESDA I

N PLANNING A REVIVAL, THE SAME QUESTION ALWAYS emerges: “Why this play here and now?” Angels in America offers compelling reasons to the “why now” question, from its political awareness to its apocalyptic overtones. “Why here,” though, is often harder. For Angels in Bethesda, Maryland though, the answer is clear: because of our region’s unique history with the fight against HIV/AIDS. During the 1980s, the National Institutes of Health (NIH)—located under ten minutes from this building—stood at the forefront of HIV/ AIDS research. Recalls Dr. Anthony Fauci, then director of the National Institute of Allergy and Infectious Diseases, “I became…convinced that we were dealing with something that was going to be a disaster for society.”3 Fauci and his colleagues lobbied for increased funding and resources for their research, and attempted to remain open to critiques and calls to action by gay activist groups. Eventually, led by Dr. Henry

ANGELS AND HIV/AIDS:

1985

Angels in America opens four years after the emergence of HIV/AIDS in the US; with no effective treatment yet discovered, a diagnosis of AIDS amounts to a death sentence. The crisis begins in 1981, when San Francisco doctors notice a trend of immunodeficiency in their gay male patients; they name the syndrome GRID, for “Gay-Related Immune Deficiency.” As the disease spreads, researchers rename it to “Acquired Immune Deficiency Syndrome.” By 1983, the CDC suspects that AIDS is caused by an unknown infectious agent passing through blood exchanges and sexual intercourse. Angels in America begins two years later, in 1985.

1986

A TIMELINE

The surgeon general seeks to educate the public that AIDS cannot be spread through casual contact. The CDC announces that AIDS is disproportionately infecting people in the black and Latinx communities, and the acronym “HIV” becomes official vernacular. There are 28,712 cases of AIDS reported in the US, and 24,559 deaths.

Angels in America begins. The medical community has announced that AIDS is caused by a retrovirus. The FDA approves ELISA, the first commercially available blood test to detect HIV, and in September, President Reagan publicly uses the word “AIDS” for the first time. Clinical trials of the drug that will become AZT commence. There are 15,527 cases of AIDS reported in the US, and 12,529 deaths.

Admirably, the NIH has not attempted to erase its complex legacy. Instead, it has amassed a staggering collection of resources on the medical, cultural, and political history of the epidemic. It has made oral histories, primary source documents, and countless studies available to the public, and funds several traveling exhibits on HIV/AIDS through the National Library of Medicine. Given the NIH’s commitment to history and remembrance, we can think of no place more appropriate than Bethesda for Angels in America’s 25th-anniversary revival. 3 “In Their Own Words.” National Institutes of Health, n.d. Web. 24 Aug. 2016.

Under pressure from AIDS activism organizations like ACT UP, the FDA speeds up its drug approval process, while the surgeon general sends out 107 million pamphlets entitled Understanding AIDS—the largest mass mailing of its kind. Congress passes the HOPE Act, authorizing federal funding for AIDS prevention, treatment, and education. There are 82,362 cases of AIDS reported in the US, and 61,816 deaths.

The FDA fast-tracks the approval of AZT, and increases access to experimental treatments. The WHO begins a worldwide education program about HIV/AIDS. The Senate overwhelmingly passes an amendment requiring that HIV/AIDS education programs promote abstinence and discourage homosexual behavior. There are 50,378 cases of AIDS reported in the US, and 40,849 deaths.

1989

1987

1988

Meanwhile, clinical AZT trials also led to controversy. Following a double-blind study protocol, procedure required that half the participating patients receive a placebo—which many activists found equivalent to murder. And as Kushner himself depicts in Angels, admittance to these trials could sometimes depend on influence, as in the case of the AIDSstricken power broker Roy Cohn, who was rumored to have

Today, the NIH continues its efforts to combat HIV/AIDS. In 2010, a study funded by the NIH proved the efficacy of Truvada (also called PrEP), a drug that radically reduces risk of infection in HIV-negative individuals. Ongoing studies have also sustained the search for a true cure for the virus, even as the cataclysmic nature of the HIV/AIDS epidemic has begun to fade from the public consciousness.

The Epilogue of Angels in America takes place. ACT UP protests that NIH clinical trials do not include enough people of color and women. Congress passes the American with Disabilities Act, forbidding discrimination against those with HIV/AIDS, as well as the Ryan White CARE Act, the largest HIV-specific funding bill to date. There are 160,969 cases of AIDS reported in the US, and 120,453 deaths.

The NIH recommends that patients with HIV/AIDS be granted access to experimental treatments as soon as they have proved safe, but before they have proved effective, radically expanding patients’ ability to undergo new drug protocols. Congress creates the National Commission on AIDS. There are 117,508 cases of AIDS reported in the US, and 89,343 deaths.

TODAY

Of course, the NIH’s history with HIV/AIDS does not only contain triumphs. During the height of the epidemic. activists like Larry Kramer, the founder of Gay Men’s Health Crisis and Act Up, and writer of The Normal Heart, asserted that the NIH was woefully underfunding its HIV/ AIDS research. This dispute was further embittered by the Reagan Administration’s sluggish response to the epidemic, exemplified by the president’s reluctance to even utter the word “AIDS” until 1985, four years after its initial discovery.

pulled strings to ensure that he received an early version of AZT before his death.

1990

Masur, teams of scientists at the NIH instituted clinical trials of the antiretroviral medication AZT, the first drug used to successfully combat HIV/AIDS, and fast-tracked the medication’s release to the public once they understood its life-saving potential.

According to the UN, 36.7 million people were living with HIV worldwide in 2015. About 78 million have become infected since the epidemic began, and 35 million have died of AIDS-related causes. All statistics from the American Foundation for AIDS Research.

CAST

JONATHAN BOCK (Louis, Angel Australia) is excited to be making his Round House and Olney Theatre debut. OffBroadway: The Essential Straight and Narrow at The New Ohio, Empire Travel Agency with Woodshed Theatre Ensemble, Lost and Found at NY Fringe Festival. Regional: Dracula and Arabian Night at Williamstown Theatre Festival, My Name is Asher Lev at Milwaukee Rep, The Chosen at TheatreWorks Silicon Valley, Thom Pain (based on nothing) at Cutting Ball Theater, Comedy of Errors at Lake George Theater Lab, Yellowjackets (u/s) at Berkeley Rep, and readings at The Public, New Dramatists, and Sundance Film Lab. Film: La Mission, Bicycle Bride. TV: “The Good Wife,” “Law & Order: SVU.” MFA: NYU Graduate Acting Program. KIMBERLY GILBERT (Harper, Martin Heller, Mormon Mother, Angel Africanii) last appeared at Round House in Uncle Vanya, The Lyons, and The Beauty Queen of Leenane. Kimberly has been in the DC Theatreverse since the year 2000 where she has been fortunate enough to play on the stage of Round House as well as Ford’s, The Kennedy Center, Folger Theatre, Studio, Theater J, Forum, Source, Metro Stage, and, most frequently, Woolly Mammoth and Taffety Punk, both of which she is a proud Company Member. Kimberly is a graduate of Shakespeare Theatre Company’s Academy For Classical Acting. Next up for Kimmah: Mosaic’s production of Charm by Phillip Dawkins. MITCHELL HÉBERT (Roy C o h n , Pr i o r 2 , A n ge l Antarctica) most recently appeared as Edouard Dindon in La Cage Aux Folles at Signature Theatre. Round House Theatre acting credits include: Uncle Vanya (Helen Hayes nomination), How to Write a New Book for the Bible (Helen Hayes nomination), The Drawer Boy (Helen Hayes nomination), Charming Billy, Around the World in 80 Days, Eurydice, and Crime and

Punishment. Other local acting credits include: The Guard and The Laramie Project at Ford’s Theatre; After the Fall at Theater J (Helen Hayes Award, acting); and Clybourne Park (Helen Hayes nomination), The Gigli Concert, Kvetch, and The Clean House at Woolly Mammoth Theatre. Directing credits include: Cat on a Hot Tin Roof and Glengarry Glen Ross at Round House Theatre (Helen Hayes Award, directing); Rabbit Hole at Olney Theatre Center; and The Illusion at Forum Theatre. Mitchell is on the faculty of the University of Maryland’s School of Theatre, Dance, and Performance Studies. THOMAS KEEGAN (Joe, Prior 1, The Eskimo, Mormon Father, Angel Europa) is pleased to be returning to Round House, after previously appearing in Fool for Love. He has also appeared at Woolly Mammoth Theatre Company in the world premieres of Zombie: The American and Women Laughing Alone with Salad; The Glass Menagerie at Ford’s Theatre; The Body of an American at Theater J; Dying City at Signature Theatre; Othello and The Taming of the Shrew at Folger Theatre; King Lear, Measure for Measure, Twelfth Night, Richard II, A Midsummer Night’s Dream, The Revenger’s Tragedy, Macbeth, The Changeling, Henry VI Part 1, and Cymbeline at The American Shakespeare Center. Thomas has appeared on HBO’s “Veep,” AMC’s “Turn,” and CBS’s “Madam Secretary.” Thomas earned his MFA from The Academy for Classical Acting. He serves as literary manager of Solas Nua. In February, Thomas can be seen as David in Arena Stage’s production of Lillian Hellman’s Watch on the Rhine. @TheThomasKeegan SARAH MARSHALL (Rabbi Chemelwitz, Henry, Hannah, Ethel Rosenberg, Aleksii Antedilluvianovich P r e l a p s a r i a n o v, Angel Asiatica) happily returns to Round House where she was last seen as Big Mama in Cat on a Hot Tin Roof. Other Round House credits include: The Beauty Queen Of Leenane, The Book Club Play, The Cherry Orchard, Escape From Happiness, Three Sisters, Elektra, Antigone, Criminals In Love, Baby With The Bathwater, How The Other Half Loves, The Madwoman of Chaillot, In Circles, Love and Anger, and When The Wind

Blows. She has performed for many years in Washington appearing at Studio Theatre, Woolly Mammoth Theatre Company, Shakespeare Theatre Company, Folger Theatre, Signature Theatre, Arena Stage, Washington Stage Guild, The Kennedy Center, and Ford’s Theatre. She teaches acting at Georgetown University, where she has been teaching for 25 years. JON HUDSON ODOM (Mr. Lies, Belize, Voice of Caleb, Angel Oceania) last appeared at Round House in Father Comes Home from the Wars (Parts 1, 2 & 3) and at Olney Theatre in Colossal (Helen Hayes nomination, Outstanding Ensemble), Piano Lesson, and Hay Fever. Other DC credits include: An Octoroon at Woolly Mammoth Theatre; Passion Play at Forum Theatre (Helen Hayes Award, Outstanding Supporting Actor); Twelfth Night at CenterStage; A Christmas Carol at Goodman Theatre; Yellowman at Rep Stage; You Can’t Take It With You at Everyman Theatre; A Christmas Carol and Our Town at Ford’s Theatre; 2-2-Tango and Invisible Man (u/s) at Studio Theatre; A Few Good Men at Keegan Theatre; Reals at Theater Alliance; The BFG (Helen Hayes Nomination for Oustanding Ensemble) at Imagination Stage and The National Children’s Theatre; The Ramayana at Constellation Theatre; and Framed at the National Gallery of Art. Jon is an Artistic Associate at Olney Theatre Center and a member of The Ensemble at Forum. Education: University of North Carolina School of the Arts. TOM STORY (Prior Walter, Man in the Park) returns to Round House after appearing in Next Fall and Seminar. He is an Affiliated Artist at Shakespeare Theatre where credits include The Winter’s Tale, The Government Inspector, The Merry Wives of Windsor, Cymbeline, Twelfth Night, Richard II, Henry V, Design for Living, Major Barbara, The Rivals, and Measure for Measure. Other DC credits include: Three Men in a Boat at Synetic Theater; The Book Club Play and Oliver at Arena Stage; Our Town, Sabrina Fair, A Christmas Carol, 1776, and The Glass Menagerie at Ford’s Theatre; The Book Club Play, The Glass Menagerie, Amadeus, Secret Lives of the Sexists, The Heidi Chronicles, The

Misanthrope, Moby Dick–Rehearsed, Camelot, Life’s a Dream, and Design for Living (director) at Berkshire Theatre Festival; POP!, The Wolfe Twins, Legends!, The Invention of Love, Prometheus, The York Realist, Ivanov, A Number, The Pillowman, The Rocky Horror Show, Silence! The Musical, Moth (director), and Terminus (director) at Studio Theatre; The School for Scandal, Henry IV Part 1 at Folger Theatre; Eugene O’Neill Theater Center; McCarter Theatre Center; Kansas City Repertory; Northern Stage; Great Lakes Theater Festival; Seattle Repertory Theatre. Awards: 6 Helen Hayes Award nominations; Fox Foundation Fellowship. Training: Duke University; The Juilliard School. DAWN URSULA (Emily, Sister Ella Chapter, The Homeless Woman, Angel, Voice of Orrin) returns to Round House after appearing in Stage Kiss, Next Fall, and A Wrinkle in Time. Other recent credits include The Hub’s Redder Blood, the 25th Anniversary Rep of Death of a Salesman and A Streetcar Named Desire at Everyman Theatre (where she is a company member), Theater J’s Queen’s Girl in the World, and Woolly Mammoth’s Zombie: The American (where she is also a company member). On-camera credits include the PBS documentary A Prince Among Slaves and HBO’s “The Wire.” This UVA and ACA grad has received two Helen Hayes and numerous Baltimore City Paper awards. She can be seen in the upcoming productions of Topdog/Underdog at Olney and Dot at Everyman Theatre. www.DawnUrsula.com

C ARTISTI

TEAM

TONY KUSHNER (Playwright) Born in New York City in 1956, and raised in Lake Charles, Louisiana, Tony Kushner is best known for his two-part epic, Angels in America: A Gay Fantasia on National Themes. His other plays include A Bright Room Called Day, Slavs!, Hydrotaphia, Homebody/Kabul, and Caroline, Or Change, the musical for which he wrote book and lyrics, with music by composer Jeanine Tesori. Kushner has translated and adapted Pierre Corneille’s The Illusion, S.Y. Ansky’s The Dybbuk, Bertolt Brecht’s The Good Person of Szechwan and Mother Courage and Her Children, and the English-language libretto for the children’s opera BRUNDIBÁR by Hans Krasa.

He wrote the screenplays for Mike Nichols’ film of Angels in America and Steven Spielberg’s Munich. In 2012 he wrote the screenplay for Spielberg’s movie Lincoln. His screenplay was nominated for an Academy Award, and won the New York Film Critics Circle Award, Boston Society of Film Critics Award, Chicago Film Critics Award, and several others. His books include But the Giraffe: A Curtain Raising and Brundibar: The Libretto, with illustrations by Maurice Sendak; The Art of Maurice Sendak: 1980 to the Present; and Wrestling with Zion: Progressive Jewish-American Responses to the Palestinian/Israeli Conflict, co-edited with Alisa Solomon. His recent work includes a collection of one-act plays entitled Tiny Kushner, and The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures. In addition, a revival of Angels in America ran Off-Broadway at the Signature Theater and won the Lucille Lortel Award in 2011 for Outstanding Revival. Kushner is the recipient of a Pulitzer Prize for Drama, an Emmy Award, two Tony Awards, three Obie Awards, an Arts Award from the American Academy of Arts and Letters, a PEN/Laura Pels Award, a Spirit of Justice Award from the Gay and Lesbian Advocates and Defenders, a Cultural Achievement Award from The National Foundation for Jewish Culture, a Chicago Tribune Literary Prize for lifetime achievement, and the 2012 National Medal of Arts, among many others. Caroline, Or Change, produced at the National Theatre of Great Britain, received the Evening Standard Award, the London Drama Critics’ Circle Award and the Olivier Award for Best Musical. In September 2008, Tony Kushner became the first recipient of the Steinberg Distinguished Playwright Award, the largest theater award in the US. He is the subject of a documentary film, Wrestling with Angels: Playwright Tony Kushner, made by the Oscar-winning filmmaker Freida Lee Mock. He lives in Manhattan with his husband, Mark Harris. JASON LOEWITH (Director, Part I) is delighted to make his Round House debut. As Artistic Director of Olney Theatre Center since 2013, he directed Carousel, How To Succeed…, Avenue Q, Rancho Mirage, and Marjorie Prime. As a playwright, Jason won Lucille Lortel, Outer Critics Circle, and Jeff Awards for Adding Machine: A Musical, which he co-wrote with composer Joshua Schmidt (Off-Broadway, 2008). Recent regional work as a director includes the Alliance Theatre

(Atlanta), Everyman Theatre and CenterStage (Baltimore), DC’s Studio Theatre, and six years as Artistic Director of Chicago’s Next Theatre Company. He is a recipient of support from the NEA, the Rockefeller Foundation, the MacArthur Foundation, and TCG. Jason served four years as Executive Director of the National New Play Network, and five years with Classic Stage Company Off-Broadway. He is a member of the TheatreWashington Board of Governors and the Board of dog & pony dc. His book The Director’s Voice, Volume 2 was published by TCG in 2012. RYAN RILETTE (Director, Part II) is in his fifth season as Artistic Director of Round House, where he has acted in Annie Baker’s new version of Uncle Vanya, and directed The Night Alive by Conor McPherson, Fool for Love by Sam Shepard, This by Melissa James Gibson, and How to Write a New Book for the Bible by Bill Cain. Prior to joining Round House, Rilette served as Producing Director of Marin Theatre Company for five seasons and Producing Artistic Director of Southern Rep Theater for six seasons. He is also the co-founder of New York’s Rude Mechanicals Theater Company, where he served as Artistic Director for three seasons, and is the former President of the National New Play Network. In addition to his work at Round House, Rilette has directed the world premieres of Bellwether by Steve Yockey, Magic Forest Farm by Zayd Dohrn, The House of Plunder by Jim Fitzmorris, Rising Water and The Vulgar Soul by John Biguenet, and The Sunken Living Room by David Caudle. He has also directed regional premieres of God of Carnage by Yasmina Reza, Fuddy Meers by David LindsayAbaire, Boom by Peter Sinn Nachtrieb, In The Red and Brown Water by Tarell Alvin McCraney, Edward Albee’s The Goat, or Who is Sylvia?, In Walks Ed by Keith Glover, and Kimberly Akimbo by David Lindsay-Abaire. As an actor, he has worked at numerous theaters regionally and in New York, and can be seen later this season at Studio Theatre as Andrey in Three Sisters and No Sisters. He is a former professor at Tulane and Loyola Universities in New Orleans, and earned his MFA in Acting from American Conservatory Theatre. JAMES KRONZER (Scenic Designer) has designed scenery for numerous Round House productions, including Ironbound, The Nutcracker, Glengarry Glen Ross, and Amadeus. Recent designs in the area include Gypsy at

Signature Theatre and Clybourne Park at Woolly Mammoth. His work has also been seen at Shakespeare Theatre Company, Folger Theatre, and The Kennedy Center. Other theater credits include Broadway, Off-Broadway, Sweeney Todd at the Denver Center, All the Way at St. Louis Rep, Peter and the Starcatcher and 4000 Miles at Cincinnati Playhouse in the Park, Portland Center Stage, Milwaukee Rep, and Arden Theatre. He has adapted the designs for several national tours including Anything Goes, The Producers, The Drowsy Chaperone, Shrek the Musical, and Spamalot. Internationally, he currently has Burn the Floor — Fire in the Ballroom on tour. He also designed scenery for Disney Cruise Line’s Twice Charmed and has shows running on 12 ships on the Norwegian Cruise Line fleet. TV credits include “Join or Die with Craig Ferguson” for the History channel, a recent pilot for Comedy Central “Sleight of Mouth” with Justin Wilman, plus over 80 comedy specials, 50 of which can be seen on Netflix. He has worked with comedians such as Marc Maron, Bo Burnham, Demitri Martin, Kevin Nealon, Aziz Ansari, and Jim Gaffigan. Mr. Kronzer has been nominated 32 times for the Helen Hayes Award and has received the award eight times. He is a member of United Scenic Artists. His work can be seen at www.JamesKronzer.com. IVANIA STACK (Costume Designer) is delighted to return to Round House Theatre where she previously designed Cat on a Hot Tin Roof, Uncle Vanya, Seminar, This, Glengarry Glen Ross, and Young Robin Hood. Ivania also designs at several DC area theaters including: Olney Theatre Center (Associate Artist), Center Stage, Everyman Theatre, Woolly Mammoth Theatre Company (Company Member), Arena Stage, The Contemporary American Theatre Festival, Theater J, Signature Theatre, Imagination Stage, Studio Theatre, Synetic Theater, Kennedy Center Family Theatre, Forum Theatre, Rorschach Theatre, Metro Stage, and Gala Hispanic Theatre. She is a Ring Leader (Artistic Director) for dog & pony dc. Ivania has an MFA in design from the University of Maryland, College Park. YORK KENNEDY (Lighting Designer) is pleased to make his Round House and Olney Theatre debuts. His designs for the stage have been seen in theaters across the country and internationally including Arena Stage, Chicago Shakespeare Theatre, Marin Theatre Company, Berkeley Rep, Seattle Repertory, American Conservatory Theatre, Polish National Opera, Los Angeles Opera, The Alley Theatre, Dallas Theatre

Center, Yale Repertory, Brooklyn Academy of Music, Hartford Stage, and the Denver Center. He has designed over 45 productions for The Old Globe Theatre in San Diego, CA and spent six seasons as resident lighting designer for the company’s Shakespeare Festival. In the dance world he has collaborated with Malashock Dance, Brian Webb, and Tracey Rhodes. As an architectural lighting designer, he has designed numerous themed environments, theme park, residential, retail, restaurant, and museum projects. Current projects include: La Boheme for Portland Opera; Cloud 9 for Hartford Stage; the Moscow Dream Island, Russia; Motiongate, Dubai; and Ocean Flower, China. He is a graduate of the California Institute for the Arts and the Yale School of Drama. JOSHUA HORVATH (Sound Designer) Olney Theatre credits: Bad Dog. DC credits: Baskerville and Oliver (Arena). Off-Broadway: Clay (Lincoln Center). Regional: Into The Woods and Timon of Athens (Oregon Shakespeare), Little Shop of Horrors and Comedy of Tenors (Cleveland Playhouse), The Verona Project and King Lear (California Shakespeare), Blood Wedding, Thaddeus and Slocum, 1984, The Great Fire (Lookingglass Theatre), Start Down (The Alliance), An Iliad (Geva, Kansas City Rep), A Raisin in the Sun (Milwaukee Rep), Comedy of Tenors and Baskerville (McCarter), Immediate Family (The Mark Taper Forum), A Long Red Road, The Good Negro, The Story, Pullman Porter Blues, and Electricidad (Goodman Theatre), Civil War Christmas (Long Wharf), Crime and Punishment (CenterStage), Winesburg (Steppenwolf), Porgy and Bess and Titus Andronicus (Court), and Circle Mirror Transformation (Cincinnati Playhouse in the Park). Mr. Horvath has taught sound design for theater and film at Northwestern University and DePaul University. He is a four time Joseph Jefferson Award winner, a LA Ovation winner, a company member of The House Theatre of Chicago, an artistic associate of Lookingglass Theatre, and a collaborative partner with Goodman Theatre. KASEY HENDRICKS (Props Master) is thrilled to be returning as Props Master for Angels in America. Previously, she has worked with Round House on The Who & The What, Cat on a Hot Tin Roof, Father Comes Home from the Wars (Parts 1, 2 & 3), Stage Kiss, The Night Alive, Ironbound, Seminar, and Rapture, Blister, Burn. Her other Props Master credits in the area include Wolf Trap Opera’s Carmen, La Traviata, The Marriage of Figaro, Madame Butterfly, and The Ghosts of

Versaille; as well as Constellation Theatre’s 36 Views. As Props Assistant at Woolly Mammoth Theatre Company she worked on The Elaborate Entrance of Chad Deity, The Convert, and Stupid Fucking Bird. CLINT ALLEN (Projection Designer) Recent credits include: The Glass Menagerie, The Widow Lincoln, The Laramie Project, and Fly (Ford’s Theatre); Sleepy Hollow (Washington Ballet); To Kill A Mockingbird (Delaware Rep); Fly (Pasadena Playhouse, Cincinnati Playhouse, and St. Louis Rep); The Whale or Moby Dick (Horsehead Theatre); Juno and the Paycock (Resident Ensemble Players); Holed Up with Jason Moran (DaCamera Houston); Communicating Doors and Sherlock Holmes and the Suicide Club (Alley Theatre). Other regional projection credits: The Farnsworth Invention, Rock and Roll, and Underneath the Lintel (Alley Theatre); world premiere of The Heavens are Hung in Black (Ford’s Theatre). Other credits: Sunday in the Park with George (UMW Theatre); Bring It On, Reefer Madness, Heathers the Musical (TUTS); Straight White Men (Stages Theatre); A Winter’s Tale, Faith Healer, and The Good Thief (Stark Naked Theatre); Ford’s Theatre’s 2011-2015 Galas; Now This, a World Premiere (University of Houston); Hollywood to Broadway (Shanghai). Member of USA829. www.NewAspectDesign.net SETH GILBERT (Associate Costume Designer & Crafts Artisan) is the Resident Costume Designer and Assistant Costume Shop Manager at Olney Theatre Center. Recent Olney Theatre credits include: Bakersfield Mist; Dial ‘M’ for Murder; The Producers; Carousel; How to Succeed in Business Without Really Trying (Helen Hayes Award nomination, Outstanding Resident Musical); A Chorus Line (Associate Costume Designer, Helen Hayes Award, Outstanding Resident Musical); You’re A Good Man, Charlie Brown; The Sound of Music; Grease; Annie; and Forever Plaid. National Players credits include: Tour 68: Grapes of Wrath, Hamlet, The Giver; Tour 66 (Associate Costume Designer): As You Like It; To Kill a Mockingbird. Regional credits include: Marie Antoinette (Associate Wig Designer, Helen Hayes Award Nomination, Outstanding Costume Design) at Woolly Mammoth Theatre Company; and The Ghosts of Mary Lincoln at Theatre 40. Education: BS in Costume Design & Technology from the University of Michigan–Flint. ZACH CAMPION (Dialect Coach) Angels

in America is Mr. Campion’s first project with Round House Theatre and second with Olney Theatre having coached dialects for Dial ‘M’ for Murder this Spring. Other area credits include coaching dialect for Hand to God, Chimerica, Terminus, and Between Riverside and Crazy at Studio Theatre, When the Rain Stops Falling at 1st Stage Tysons, and the world premiere Voracious at University of Maryland Baltimore County. Upcoming projects include dialect coaching My Fair Lady at Olney Theatre and Smart People at Arena Stage. Mr. Campion is the Education Manager at Studio Theatre and a member of the Studio Theatre Acting Conservatory faculty. He is a certified teacher of Fitzmuarice Voicework® and holds an MFA in Theatre Pedagogy from Virginia Commonwealth University. CASEY KALEBA (Fight Choreographer) previously arranged violence for Round House Theatre’s productions of Father Comes Home from the Wars (Parts 1, 2 & 3), Stage Kiss, The Night Alive, Ironbound, Young Robin Hood, Bengal Tiger at the Baghdad Zoo, Double Indemnity, Crown of Shadows, The Talented Mr. Ripley, The Picture of Dorian Gray, and Sarah Metzger Memorial productions of Dracula and Cyrano. Other local credits include The Fix, Cabaret, Miss Saigon, and Really Really at Signature Theatre; Rosencrantz & Guildenstern are Dead, Romeo and Juliet, Julius Caesar, and Richard III at Folger Theatre; The Bachelorette, Time Stands Still, Jerry Springer: The Opera, and Reefer Madness at Studio Theatre; Pluto, and Marisol at Forum Theatre; and She Kills Monsters, Neverwhere, and Living Dead in Denmark at Rorschach Theatre. Academic productions include work at Gallaudet, Georgetown, American, Catholic, and the University of Maryland. Casey is an audition choreographer for the Marvel Universe Live tour, and a member of the Men At Arms: Reforged web series, and a Certified Teacher with the Society of American Fight Directors. GABRIELLE HOYT (Dramaturg) is thrilled to return to Round House as Artistic Fellow, and to serve as season dramaturg. She recently directed The Wind Up at Cape Cod Theatre Project, and Nothing Besides Remains at 24 Hour Plays: Nationals. Previous directing credits include Antony and Cleopatra, and Private Lives. As Round House’s artistic apprentice, she assistant directed plays including the world premiere of Ironbound by Martyna Majok, and Cat on a Hot Tin Roof. A graduate of Yale University, Gabrielle is also the Artistic Associate at the Cape Cod

Theatre Project. PHILIP KERSHAW (Assistant Director) is the current Artistic Apprentice at Round House Theatre and feels extremely fortunate for the opportunity to work on Angels in America. He recently graduated from the University of Maryland, College Park as a Creative and Performing Arts Scholar with a dual-degree in History and Theatre. MARNE ANDERSON (Production Stage Manager) is thrilled to be making her Round House and Olney Theatre debut with Angels in America. Other DC credits: All the Way, Erma Bombeck: At Wit’s End, King Hedley II, Five Guys Named Moe, Mother Courage and Her Children, The Mountaintop, Metamorphoses, Long Day’s Journey Into Night, The Arabian Nights, and Duke Ellington’s Sophisticated Ladies (Arena Stage); A Midsummer Night’s Dream, Rosencrantz and Guildenstern Are Dead (Folger Theatre); The Wings of Ikarus Jackson (Kennedy Center, TYA); You for Me for You and Mr. Burns, A Post-Electric Play (Woolly Mammoth). Regional credits: The Will Rogers Follies and Damn Yankees (Finger Lakes Musical Theatre Festival). National Tour: Young Frankenstein. She is a graduate of the University of North Carolina School of the Arts and a proud member of Actors’ Equity Association. JOHN KEITH HALL (Rehearsal Stage Manager) DC credits include The Producers at Olney Theatre Center; many productions at Studio Theatre, including: Bad Jews, Choir Boy, Water By The Spoonful, Tribes, Torch Song Trilogy, 4000 Miles, Sucker Punch, In The Red And Brown Water, The History Boys, Adding Machine: A Musical, and The Road To Mecca; The Nether and An Octoroon at Woolly Mammoth; Soon, SCKBSTD, and West Side Story at Signature Theatre. Regional credits include several seasons as a Resident Stage Manager at The Barter Theatre in Virginia where he supervised over 40 productions, Shadowland Stages in New York, and Virginia Musical Theatre in Virginia Beach. A graduate of Virginia’s Longwood University, Mr. Hall is a proud member of the Actors’ Equity Association. CHE WERNSMAN (Stage Manager) is thrilled to be back at Round House for this season, where she last stage managed Father Comes Home from the Wars (Parts 1, 2 & 3) and The Beauty Queen of Leenane. Previously at Round House, she managed I Love to Eat, The Little Prince, A Prayer for Owen Meany, and Once

On This Island. Che has worked extensively throughout the DC/Baltimore area, managing shows at Olney Theatre, Imagination Stage, The National, The Kennedy Center, Folger Theatre, Shakespeare Theatre Company, Theater J, Studio, Everyman, Rep Stage, CenterStage, and Virginia Shakespeare Festival. Ms. Wernsman has a BS from Virginia Tech and is a proud member of Actors’ Equity Association.

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Production Assistant: Jack Riley Takeover Production Assistant: Jessica Short Run Crew: Mackenzie Bunch, Chris Hall, Elliot Lanes, David Phillip, Mikey Showers Takeover Run Crew: Anastazia Whittle Additional Carpentry: Austin Byrd, Chris Hall, Kevin Karstaedt, Eric Knauss, Greg MacWilliam Additional Painters: Colleen Murray, Fred Via Assistant Master Electrician: Chris Hall Electricians: Stefanie DeHart, Peter Gambardella, Chris Hall, Sarah Mackowski, Mikey Showers, Will Voorhies Choreography Assistant: Michael Bobbit Make-up Consultant: Skip Smith Assistant to Scenic Designer: Paige Hathaway Assistant to Lighting Designer: Sean Forsythe Special Thanks: Zak Borovay; Isaac Butler; Elissa Goetschius; Kimberly Kelly, Nursing Director for Critical Care at Suburban Hospital; Dr. Peter Kim; Olney Production Department; TJ Senker; Ali Viterbi; David Whitney Full Round House staff listed on page 21.

This theatre operates under an agreement between the League of Resident Theatres and Actors’ Equity Association (AEA), the Union of Professional Actors and Stage Managers in the United States. AEA, founded in 1913, represents more than 45,000 actors and stage managers in the United States. Equity seeks to advance, promote, and foster the art of live theatre as an essential component of our society. Equity negotiates wages and working conditions, providing a wide range of benefits, including health and pension plans. AEA is a member of the AFL-CIO, and is associated with FIA, an international organization of performing arts unions. The Equity emblem is our mark of excellence. For more information, visit www.actorsequity.org. The scenic, costume, sound, lighting, & projection designers are represented by United Scenic Artists, Local USA-829 of the IATSE.

THANK YOU

to all of the CORPORATE, FOUNDATION, GOVERNMENT, and INDIVIDUAL donors who make generous annual contributions to Round House Theatre during the 2014-2015 and 2015-2016 seasons. These tax-deductible gifts help the theatre continue to produce excellent productions and education programs and keep them accessible to our entire community. Please consider joining one of our giving circles. For more information about making a donation of cash, securities, or in‑kind services, please contact the Round House Theatre Development Department at 240.644.1403.

ROUND HOUSE INNER CIRCLE

BRONZE CIRCLE ($ 5 ,0 0 0 – $ 9, 9 9 9)

S I LV E R C I R C L E ($10 ,0 0 0 – $ 24 , 9 9 9)

Margaret Abell Powell Fund of the William S. Abell Foundation Esthy and Jim Adler Lorraine and Doug Bibby Elaine and Richard Binder Clark Charitable Foundation The Cora and John H. Davis Foundation Richard and Pamela Feinstein Susan Gilbert and Ron Schechter Carolyn and Warren Kaplan Daniel Kaplan and Kay Richman Jeffrey and Carolyn Leonard Marion Ein Lewin J. Willard and Alice S. Marriott Foundation National Endowment for the Arts Nora Roberts Foundation Pasternak & Fidis Linda Ravdin and Don Shapero The Rowny Foundation Sulica Fund Bernard and Ellen Young

A DVO C AT ES ($ 5 0 0 – $ 9 9 9)

Rachel H.M. Abraham Kate and Stephen Baldwin Teresa and Brent Blackwelder Dr. Clement Alpert Marian Block and Ed Rosie Kenneth and Sue Ann Berlin Lynn and Bill Choquette Frances Chyatte Don and Kristin Cook Carol Sue Fromboluti Arlene Friedlander Greene-Milstein Family Foundation Stuart and Beverly Greenfeig Mindy Hecker Edward Grossman and Rochelle Robbins and Giles Hopkins Stanfield Reba and Mark Immergut Margaret and John Hauge Bill and Kathryn Lane Robert E. Hebda Frank and Joanne Lavin Patti Herman Lerch, Early & Brewer Liza Hogan Chris and Kathleen Matthews William L. Hopkins and Richard B. Chase Phillips Anderson Lee and Trina Rubenstein Bob and Wendy Kenney Howard and Harriet Shapiro Laura and David Klaus Pamela and John Spears Bryan Kustner Darrell Lemke and Maryellen B E N E FACTO R S Trautman ($1 ,0 0 0 – $1 ,4 9 9) Susan Lutz and John Maser Natalie Abrams Louise Maillett Nancy and Dan Balz Winton Matthews, Jr. Community Foundation of Doug and Mary Beth McDaniel COPPER CIRCLE Montgomery County Don McMinn ($ 2 , 5 0 0 – $ 4 , 9 9 9) William and Donna Eacho Rona and Allan Mendelsohn David and Jane Fairweather Marla and Bobby Baker, BakerCatherine and Dennis O’Reilley Thomas and Kathleen Fingleton Merine Family Foundation Mark and Teresa Plotkin Paul and Shauna Fitzgerald Chevy Chase Trust Jennifer Porter Fleishhacker Foundation City of Rockville Barbara Rapaport Carole and Robert Fontenrose Dallas Morse Coors Foundation Julie and Ron Redfern Michael and Ilana Heintz for the Performing Arts Sheldon and Barbara Repp Robin Hettleman and Matthew Dimick Foundation Sandy Reznick Weinberg Jan and Jim Eisner Ryan and Christy Rilette Laura Forman and Richard Bender Linda Lurie Hirsch Dr. Susan C. Robertson Erin and Mark Kopelman Eric and Jessica Glantz Steven M. Rosenberg and Stewart Janet Leno Graham Holdings C. Low III Lynn and Phillip Metzger Neil Greene and Ellen G. Miles Eric and Shelley Rubin Stacy Murchison JBG Companies Linda Ryan P. David Pappert Marriott International, Inc. Amy Selco and Kevin Keeley Mark and Ellen Rosenthal Susan Freeman McGee Silver Spring-Kensington Rotary Victor Shargai and Craig Pascal Scott and Louise Melby Club David and Peggy Shiffrin Jeffrey Menick Michelle Six Joan Shugoll Sally J. Patterson Arthur Spitzer and Elisabeth Boas Susan and John Sturc Patricia Payne Luanne and Marc Stanley TrueTheatergoer, LLC Mier and Cathy Wolf Ed and Judy Zakreski Jerry and Jean Whiddon Alan and Irene Wurtzel A S S O C I AT ES ($ 2 5 0 – $ 4 9 9) Roger Williams and Ginger Lynda and Joseph Zengerle Macomber Paul and Margot Zimmerman Actors’ Equity Foundation, Inc.

Don and Nancy Bliss Don and Jan Boardman Ann and Frank Gilbert Arts & Humanities Council of Henry B. & Jessie W. Keiser Montgomery County Foundation Cathy S. Bernard Bruce and Ann Lane Family Fund Maryland State Arts Council Judy and Brian Madden Judy and Leo Zickler Heidi and Bill Maloni P L AT I N U M C I R C L E Paul and Zena Mason ($ 5 0 ,0 0 0 – $ 9 9, 9 9 9) Susan and Bill Reinsch The Morris and Gwendolyn Cafritz Kevin Roberts Foundation Hank Schlosberg Heidi and Mitch Dupler in honor of Marion Lewin, Paul Mason, and Mark Shugoll GOLD CIRCLE Dian and Steve Seidel ($ 2 5 ,0 0 0 – $ 4 9, 9 9 9) Robin Sherman Michael Beriss and Jean Carlson Mark and Merrill Shugoll Data-Prompt, Inc. Dick and Katie Snowdon Alan and Bonnie Hammerschlag Patti and Jerry Sowalsky Steve Joyce Carol Trawick MARPAT Foundation Laura and Robert Walther Share Fund The Weissberg Foundation The Shubert Foundation Anne and Robert Yerman D I A M O N D C I R C L E ($10 0,0 0 0 +)

ANNUAL FUND SUPPORTERS

F E L LOW S ($1 , 5 0 0 – $ 2 ,4 9 9)

Anonymous Celia Arnaud Nan Beckley Ellen L. Berman Patricia Bryant Martin and Barbara Buzas Tom Calhoun and Thelma Triche Jane and Fred Cantor Wallace Chandler Stacey Colino Richard Cooper Linda and Joseph Dominic Pat Dorazio Peggy Dugan Anne and John Elsbree Clare Evans Duane and Barbara Fitzgerald Jackie Greenbaum Susan Greif Helene Guttman Bill Hamilton and Paula Jackson Barbara and William Hancock Judith Hautala Susan R. Hoffmann Nikki Hoffpauir Larry Hothem Carol and Terry Ireland Judy and Peter Jablow Richard Kasten Craig and Stephanie Kiker Judy Gilbert Levey and Jeff Levey Erik Lichtenberg Joan Lynn Virginia Mahoney Deanna and Thomas Marcum Pat McKee John and Marie McKeon Lisa Mezzetti Joann Mican and Skip Mahon Ina Milton Martha Newman Bill and Suzanne Noonan Geri and Dick Olson Judith Oppenheim Terry Peel Posner-Wallace Foundation Blake Robison and Connan Morrissey Marilyn and Barry Scheiner Mary Schellinger Sara Schotland Edward Scott Perry and Dianne Seiffert Roger Simon Cora Simpson Linda and Steve Skalet David Stevens Ann Truss

United Way of the National Capital Area Joan and Stanley Weiss Larry Williams and Patti Pride Kathryn Winsberg and Newton Stablein M ATC H I N G G I F T C O M PA N I ES

Ameriprise GE Foundation Reynolds American Foundation IN-KIND DONORS

7 Locks Brewing Amtrak Cabot Creamery of Vermont Chevy Chase Florist The Daily Dish Denizens Brewing Co. Founding Farmers Google Honest Tea Company Jaleo Montgomery County Government PassionFish PEPCO Pete’s New Haven Style Apizza Shugoll Research Silver New American Brasserie Vamoose Zeke’s Coffee Zivaara Round House Theatre is supported in part by funding from the Montgomery County government, The Arts and Humanities Council of Montgomery County, and the Maryland State Arts Council, an agency dedicated to cultivating a vibrant cultural community where the arts thrive (MSAC is funded by the National Endowment for the Arts, a federal agency, which believes that a great nation deserves great art). The theatre is deeply grateful for the continued support of its federal, state, and local elected officials. Every gift is important to us, and we’re grateful to those who contribute at all levels. Due to space constraints, however, we are only able to list donors giving $250 or more. List is current as of August 12, 2016 and reflects the giving of an individual or organization for the fiscal year 2016 or 2017, whichever is greater. While we make every effort to provide accurate acknowledgement for our contributions, occasionally errors occur. We appreciate your patience and assistance in keeping our lists current. To make corrections, please contact the Development Department at 240.644.1403.

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This lists consists of contributions of $250 or more for the period 5/1/15 through 7/31/16. Due to space constraints, we can only list those who have contributed $250 and above. Every gift makes a difference and we thank all of our donors for their generous support. G OV E R N M E N T S U P P O R T

Arts and Humanities Council of Montgomery County Maryland Department of General Services Maryland State Arts Council Maryland State Department of Education National Endowment for the Arts $ 5 0 0 ,0 0 0 +

Bob and Eveline Roberts $10 0 ,0 0 0 +

Mrs. Eugene B. Casey Roberts Home Medical, Inc. Roberts Oxygen $ 5 0,0 0 0 +

The Morris and Gwendolyn Cafritz Foundation Mrs. Maggi Root $10 ,0 0 0 +

Anonymous The Community Foundation of National Capital Region Susan and Jay Finkelstein Rhonda Friedman and James Rafferty Charles S. Mack and Alice Barrett Mack Helen Marshall MedStar Montgomery Medical Center Kathleen Quinn Margaret T. Roper and Clifford L. Johnson Schwab Foundation The Shubert Foundation $ 5 ,0 0 0 +

Anonymous - In memory of Kate Gibson Ausherman Family Foundation DLA Piper EagleStone Tax & Wealth Advisors Morty and Meghan Gudelsky Mr. and Mrs. Stephen Z. Kaufman

Jennifer and Scott Kneeland Linowes and Blocher, LLP Bill and Babi Meekins Open Options Access Technology Linda Rosenzweig and Sandy Bieber Mr. Vernon L. Skinner Patricia Woodbury $2,500 +

Anonymous Cathy S. Bernard Mr. and Mrs. David Bottegal Dallas Morse Coors Foundation for the Performing Arts M. Charlene Dorrian EagleBank Carl M. Freeman Foundation Joshua M. Freeman Foundation Robert E. Hebda Paul Henderson - In memory of Marilyn Henderson Ms. Winifred E. Herrmann Nettie Horne Lane and Cheryl Jennings Andi Kasarsky Stephen and Mary Klein Sidney Kramer Paul and Pat Mangus Bob and Marlene Mitchell The Honorable Karen S. Montgomery and Mr. Harry Montgomery Tony and Connie Morella Mr. and Mrs. Tommy Mulitz - In honor of the Mulitz-Gudelsky Family M&T Bank James Pape and Nancy Newman-Pape Mita M. Schaffer and Tina M. Martin Victor Shargai and Craig Pascal Carol Trawick John R. and Andrea Z. Urciolo $1 ,0 0 0 +

Connie and Larry Aaronson Adventure Park America’s Charities Deborah and Bruce Berman Bernard Family Foundation

Dennis and Holly Blackledge Tim and Julia Boulay Robert Burk Ned Cramer Ed and Leslie Cronin Richard and Joan Curtis Steve Danielson and Dr. Kenneth Hoyle Eileen and Paul DeMarco Frederick Denecke Gordon and Margot Dibble Joan Elise Dubinsky and Craig N. Packard Debbie and Andrew Ellinghaus Edith L. Embrey Edward Epes Maureen and Tom Estrin Bob and Pat Fauver Fidelity Charitable Gift Fund Berdie and David Firestone Barry and Marie Fleishman Robert J. and Liane A. Giardina Hal and Karen Gordon Graham Holdings Mrs. Mary Graham The William H. Graham, Sr. Family John Hauge Max and Helen Jacobs - In memory of William Graham The Honorable Benjamin F. Kramer Jane Thérèse Larsen Richard W. Ley Megan and Tony Limarzi Mr. Jason Loewith David and Jennifer Lubitz John and Kathy Lyons Maggie and Tico McCready Lisa McKillop - In honor of Debbie Ellinghaus, Julie-Ann Elliott, and Alan Wade Sue Morss - In loving memory of Lester Robert Morss National Philanthropic Trust Clyde and Christina Northrop Osborne C. Parchment, PhD Steve C. Phan and Richard J. Poster Robert and Lelia Russell Adrienne and Louis Sacks Linda Schwartz Roger and Barbara Schwarz

Rusty Suter - In loving memory of Dick and Nancy Thomas Marlin R. and Alicia B. Taylor Sandy and Alan Wade Brad Watkins Jonathan Weiss Kevin White & Rossana Salvadori - In honor of our parents Anson and Marge, Dilvo and Dina $500 +

Sanford and Bettye Ames Harold M. and Christine A. Bartlett Dr. Patricia Beaston Merle and Nancy Biggin George Bradford Jeanne Brush Susan and Dixon Butler Julie B. Christopher Dr. Thomas A. Clark CQI Associates, LLC Patricia Dorazio Ms. Andrea Drimmer David Dunn Carol B. Epstein Mr. Mark B. Epstein Robert and Carole Fontenrose William A. Hanson and Gail A. Lieberman Holly Hassett Jim and Lynne Hensley Eric Horowitz Richard and Debra Hughes Jon and Michelle Hulsizer Mr. and Mrs. Richard Jourdenais Mr. Jim Kronzer The Honorable Isiah Leggett and Mrs. Catherine S. Leggett Robert E. Liles II Frederick and Betty Marcell Maury and Beverly Marks Susan McCarthy MedImmune, LLC Mr. William L. Mitchell and Mr. David A. Vignolo Marty and Christina More Elizabeth M. Moss National Housing Endowment – In honor of Robert Mitchell Rosemary Celia Pompa Howdy and Cecelia Ritchie

Mr. and Mrs. Louis Sacks Charlie and Marie Schaub Mary and Richard Slaninka Leslie F. Smith and Stacy P. Smith Michael and Camilla Smith Jerome and Patti L. Sowalsky Ms. Donna Spiegler Neil and Lily Starr Duane and Sylvia Straub United Jewish Endowment Fund Ken and Jaki Ulman Adolph Vezza J. Watkins and Dr. Brad Frey Robert and Sarah Wheedleton Dr. and Mrs. Steven C. White George A. and Katherine C. Whitehouse David and Deborah Yaffe $250 +

Anonymous Sarah Allen and John Anderson JoAnn and Dean Aulick Carol Ballentine Fran and Harvey Berger Arden M. Brady Richard Brush Patricia Bulhack Glen and Robin Cameron Dan and Cheryl Chartier Katherine and Wil Chase Patricia Corridon George and Patricia Cowperthwaite Clare Crawford-Mason Earle Drake James and Denise Duda The Ellinghaus Family Wyn Fitzpatrick Dr. Christopher Frey Ms. Noreen B. Friedman Lawrence and Joan Friend Lucian and Lynn Furrow Peter Glassman - In honor of Rhonda Friedman Jonah Green Pat Gross Bill Grossman Samuel Hack and Dr. Anita Solomon Freddi and Dick Hammerschlag David and Sara Harris Joshua and Ana Rita Hauge Rob and Shar Hellie Elizabeth A. Henriksen Dick Kafka and Val Hildebrand Ms. Linda Lurie Hirsch Ms. Susan B. Hughes

Barbara Humphrey Arthur and Laura Ibers Jo Anne Johnson Mr. and Mrs. Jason King Jones Elizabeth S. King Emanuel and Aimee Kokotakis John Koskinen Nancy Laing Beverly G. Landstrom Willis Lansford Barbara Latvanas Stephen and Kathleen Leslie Linda Levy and Dennis Kronenberg - In honor of Victor Shargai Carol and Tim Leydig Mrs. Lillian Litowsky Marcia D. Litwack Jesus and Alicia Lizarazo Katherine C. Madaleno Peg Mancuso Barbara Mayo-Wells Linda and Tom McCabe Ms. Donna P. Mergliano Nancy Cox Mills and Edward W. Mills Frederick and Elizabeth Montgomery Reginald and Chrissie Nash Connie Newett Allyson and Bob Parlock William Phillips Wesley Pickard and Jeanette Studley Dr. Carole A. Rayburn Robert C. and Rose M. Ridgway Cokie and Steve Roberts Margaret Ann Ross Fill and Linda Ruegg Julia and Peter Shawhan - In honor of Susan J. Shawhan and National Players Ms. Susan J. Shawhan Cora and Murray Simpson Family Fund Linda and Steve Skalet Carl W. Smith and Michael L. Burke Patricia M. Smith Roger and Carolyn Sorensen Gary and Janet Sowers James Stewart Wyman and Tine Stone Susan Stracquatanio and Thomas Jones Lois Taylor and Stephen Simpson Peter Threadgill Carrie and John Trauth Dr. and Mrs. Mark A. Wallace Ms. Beverly Walling T and Tara Watts Helene Weisz and Richard Lieberman

OLNEY THEATRE CORPORATION BOARD OF DIRECTORS Executive Committee Charles S. Mack, President Susan Finkelstein, Board Chair Linda E. Rosenzweig, Vice President Clifford Johnson, Treasurer Robert Mitchell, Secretary Jennifer Kneeland, Immediate Past President

Directors Phyllis Bottegal George Bradford Debbie Ellinghaus Rhonda Friedman Robert E. Hebda Stephen Klein Jason Loewith Helen Marshall William Meekins Thomas J. Senker Alan Wade James Warring Patricia Woodbury

Honorary Board Members Stephen Kaufman Anthony Morella Mita M. Schaffer William H. Graham, Sr. (in memoriam)

S AV E T H E D AT E

to benefit Round House Theatre programs in honor of longtime Board Member and community leader Cathy Bernard

Saturday, November 5, 2016

Denizens ad goes here

BOARD

TEE OF TRUS

Mitchell S. Dupler, President Sally J. Patterson, Immediate Past President Susan Gilbert, Vice President Cathy S. Bernard, Treasurer Erin Kopelman, Secretary Michael Beriss Douglas M. Bibby Elaine Kotell Binder Laura Forman Ann Gilbert Kimberly Gilbert Eric Glantz Bonnie Hammerschlag Steve Joyce Daniel Kaplan

STAFF Bruce S. Lane Marion Ein Lewin Paul Mason Susan Freeman McGee Scott Melby Linda J. Ravdin Ryan Rilette Kevin Roberts Mark Shugoll Patti Sowalsky Mier Wolf Ed Zakreski Judith H. Zickler General Counsel: Ann Marie Mehlert Lerch Early & Brewer, Chtd.

D RY BOAR ADVISO Jerry B. Whiddon, Producing Artistic Director Emeritus Guido Adelfio Esthy and James Adler Norman A. Barker Sue Ann Berlin Jean Carlson Donna W. Eacho Carol Brown Goldberg Reba Immergut Peter A. Jablow Mark and Tory Joseph Betsy Karmin Audrey and Sheldon Katz Ann Lane Frank and Joanne Lavin Gordon and Jocelyn Linke

ARTISTIC/PRODUCING

ADMINISTRATION

Artistic Director: Ryan Rilette Associate Producer: Danisha Crosby Artistic Fellow: Gabrielle Hoyt Artistic Apprentice: Philip Kershaw

Managing Director: Ed Zakreski General Manager: Tim Conley Accountants: Raffa, P.C.

PRODUCTION Production Manager: Jesse Aasheim Technical Director: Amanda MacWilliam Master Electrician/Audio Supervisor: Liz Sena Costume Shop Manager: Rachel Schuldenfrei Scenic Charge: Jenny Cockerham Carpenter: Shaun Bartlow Production Apprentice: Laura Sperling EDUCATION

Dorothy and William F. McSweeny Chuck Muckenfuss Eliot Pfanstiehl Trina and Lee G. Rubenstein Ron Schechter Marilyn Scheiner Jeremy W. Schulman Victor Shargai Robin Sherman William J. Sim Richard W. Snowdon, III Shellie Steinberg Manny Strauss Kathy Yanuck Wenger Roger Williams Andrew A. Zvara

Education Associate: Kathleen Mason Lead Teaching Artist: Brandon McCoy Education Apprentice: Laura Loy Faculty: Wyckham Avery, Mariel Berlin-Fischler, Audrey Bertaux, Ashley Blair, Mark Cabus, Reenie Coldeko, Laura Cole, Ian Coleman, Kevin Corbett, Dani Ebbin, Amanda Forstrom, Dominique Fuller, Kelsey Hall, Emma Hébert, Casey Kaleba, Ava Knox, Roni Lancaster, Sabrina Mandell, David Mavricos, Laura Miller, Monica Powell, Melrose Pyne, Christopher Richardson, Mimi Rinaldi, Jonathan Rizzardi, Andy Stoffel, Kris Thompson, Michele Vicino, Rick Westercamp

DEVELOPMENT Director of Development: Laura Blackwelder Manager of Institutional Giving: Mary Bounds Development Assistant: Amanda Kegu MARKETING & COMMUNICATIONS Director of Marketing & Communications: Bryan Joseph Lee Associate Director of Marketing & Communications: Sarah Randall Graphic Design & Content Manager: Cheyenne Michaels Branding: Propellor AUDIENCE SERVICES Director of Audience Services: Wil E Johnson III Box Office Shift Supervisors: Sarah Scafidi, Nashira Rawls Group Sales: Steve Langley Box Office Associates: Marquita Dill, Gabrielle Hoyt, Matthew Rock, Ali Hoxie Lead House Manager: Michele Cesar Turner House Management Staff: Tiffany J. Broadus, Pamela A. Jafari, Lori Lentner Schwartz, Courtney Feiman, Rachel Spears, Lorraine Ebbin, Samara Fantie

TS 17 ARTIS 2016 – 20 ACTORS Jonathan Bock Joseph Carlson Theresa Cunningham Felicia Curry Katie deBuys Will Gartshore Danny Gavigan Kimberly Gilbert Mitchell Hébert Naomi Jacobson Thomas Keegan Katie Kleiger

Eugene Lee John Lescault Gregory Linington Sarah Marshall Griffin McCahill V. Savoy McIIwain Jon Hudson Odom Micah Payton Nova Y. Payton Miranda Rizzolo Olivia Russell Dorea Schmidt Awa Sal Secka Scott Sedar

Tom Story Kathryn Tkel Holly Twyford Dawn Ursula William Vaughan Korinn Walfall Kara-Tameika Watkins Erin Weaver Delores King Williams DESIGNERS Clint Allen Christopher Baine Andrew R. Cissna

Daniel Conway David Gallo Paige A. Hathaway Joshua Horvath York Kennedy James Kronzer Frank Labovitz Matthew M. Nielson Kendra Rai Constanza Romero Nancy Schertler Dan Moses Schreier Jason Sherwood Ivania Stack

Thom Weaver

PLAYWRIGHTS

DIRECTORS

Liz Duffy Adams Lauren Gunderson Tony Kushner Margot Melcon Diana Metzger Jeanine Tesori August Wilson

Matthew Gardiner Eleanor Holdridge Todd Kreidler Jason Loewith Aaron Posner Ryan Rilette Gabrielle Hoyt (assistant) Philip Kershaw (assistant)

STAGE MANAGERS Marne Anderson John Keith Hall Che Wernsman

We are proud to support Round House Theatre Wills, Trusts and Estates | Family Law 7735 Old Georgetown Road, Suite 1100 Bethesda, MD 20814 | T 301.656.8850 pasternakfidis.com

Photo of Rachel Zampelli and Mario Rizzo by Christopher Mueller

A steamy world premiere comedy with a splash of southern charm

September 13 â&#x20AC;&#x201C; November 6, 2016 $40 TICKETS! USE CODE ANGELS

Photo of Rachel Zampelli and Mario Rizzo by Christopher Mueller

Breweries have long been part of the local identity by reflecting the personality of its community - we are helping to rebuild that idea, one beer at a time.

From Grains to Glass - Fresh. Local. Beer. Open Wednesday thru Sunday Food Trucks & Live Music

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Our Farmers Thank You

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Vamoose

to New York City for Music, Art, Theatre, Dance, and Entertainment! Convenient schedules, pick-up and drop-off points!

Bethesda, MD 7460 Waverly St across the street from Round House Arlington, VA 1801 N. Lynn St 1 block from Rosslyn Metro Lorton, VA 9000 Lorton Station Blvd VRE Station New York City Penn Station

www.VamooseBus.com • 301-718-0036

SHNER

R A CELEB

ONY KU ION OF T

NOV 23 - DEC 18, 2016

SEP 7 – OCT 30, 2016 BY LAUREN GUNDERSON & MARGOT MELCON DIRECTED BY ELEANOR HOLDRIDGE ROLLING WORLD PREMIERE H O L I DAY D E L I G H T

APR 12 - MAY 7, 2017 BY TONY KUSHNER DIRECTED BY JASON LOEWITH & RYAN RILETTE CO-PRODUCED WITH OLNEY THEATRE CENTER T WO G R E AT T H E AT E R C O M PA N I E S . ONE EXTRAORDINARY T H E AT R I C A L E V E N T.

JAN 25 - FEB 26, 2017

BY LIZ DUFFY ADAMS DIRECTED BY AARON POSNER MA D C A P COMEDY

JUNE 7 - JULY 2, 2017

August Wilson’s

MUSIC BY JEANINE TESORI BOOK & LYRICS BY TONY KUSHNER DIRECTED & CHOREOGRAPHED BY MATTHEW GARDINER MUSICAL DIRECTION BY JON KALBFLEISCH SHOW-STOPP ING M USICAL

CO-CONCEIVED AND DIRECTED BY TODD KREIDLER A N A MERIC A N MAST ER

2016-2017 SEASON

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