MUSIC BY JEANINE TESORI BOOKS & LYRICS BY TONY KUSHNER DIRECTED & CHOREOGRAPHED BY MATTHEW GARDINER
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ONE OF THE MOST IMPORTANT OUTPOSTS IN
THE REGION FOR
PROVOCATIVE,
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HIGH-END DRAMA… - PETER MARKS, THE WASHINGTON POST
FROM OUR LEADERS The second entry in our Tony Kushner Festival is the 2003 musical he wrote with Jeanine Tesori, Caroline, Or Change. Though it is a vast departure from Angels in America in both its subject matter and form, it shares with that play a thematic focus on change. Both tell deeply personal stories of individual change that take place during moments of great change in society. Where Angels focused on gay men at the height of the AIDS crisis, Caroline tells the story of a black maid in Louisiana during the Civil Rights movement. In both cases, the whispers of the private story reverberate from the explosion of the public story, reminding us that the personal is always political and vice versa. Drastically different from any musical running in New York at the time it premiered, it divided critics in its initial run at the Public Theater. Some considered it too earnest while many called it one of the one of the best new musicals to premiere in years. Fourteen years later, it’s often hailed as one of the best musicals of the 21st Century. The influence of its deeply emotional core with richly drawn characters can be felt in such groundbreaking new musicals as Next To Normal, Dear Evan Hansen, and Fun Home, which Tesori also wrote. As you can read about later in the program, it wasn’t until Tesori joined Kushner to write the music that this piece took flight. Her ingenious score draws from a multitude of sources ranging from 1950s pop to blues to Klezmer and even Classical, but it always manages to feel cohesive. We’re proud to present it with the original 9-piece orchestration for which she wrote it.
RoundHouseTheatre.org @RHT_RoundHouse Round House Theatre
ROUND HOUSE THEATRE is one of the leading professional theaters in the Washington, D.C. area, producing a six-show season of new plays, modern classics and musicals for more than 40,000 patrons each year at our 400-seat theater in Bethesda. Round House has been nominated for more than 150 Helen Hayes Awards and has won over 30, including four “Outstanding Resident Play” Awards and the Charles MacArthur Award for Original New Play in 2016. Round House’s lifelong learning and education programs serve over 4,000 students each year at its Education Center in Silver Spring and in schools throughout Montgomery County. Cornerstone programs include Play It Forward, which provides free tickets for high school students, the year-round Teen Performance Company, which culminates in the student-produced Sarah Metzger Memorial Play, Summer Camp for students in grades K-12, and a full slate of classes for Adults & Youth.
We are also proud to welcome back visionary director Matthew Gardiner, who was last seen at Round House with the hit chamber musical Ordinary Days. I thank him and his remarkable team of designers, actors, and musicians for giving us such a beautiful production of this stunning musical.
RYAN RILETTE ROUND HOUSE THEATRE ARTISTIC DIRECTOR
Welcome to Caroline, Or Change. This groundbreaking musical exemplifies our mission of captivating audiences with stories that inspire compassion, evoke emotions, and demand conversation. This goal, which we accomplish through new plays, modern classics, and musicals, takes on increased importance in our current national conversation. During a time of hyper partisanship and a growing disconnect between American worldviews, this musical (like Kushner’s Angels in America, with which we opened our season), draws parallels to other similar times in our country’s history. As Frank Rich wrote in his New York Times commentary shortly after Caroline’s Broadway opening, “Caroline, like Angels, is about that sensation of history cracking open.” As a playwright, Tony Kushner excels at portraying opposing viewpoints with empathy and compassion— an invaluable artistic trait at this moment in American history. Looking forward to the rest of our season, we are thrilled to announce that on Saturday, May 13, 2017, our Annual “Broadway in Bethesda” Gala will feature the legendary entertainer Ben Vereen performing his solo show, Steppin’ Out With Ben Vereen, fresh from a sold-out run at 54 Below in New York City. Beloved by multiple generations for his 40-year Broadway career, which runs from Jesus Christ Superstar to Pippin to Wicked, and a TV career spanning Roots to last year’s remake of The Rocky Horror Picture Show, this performer will be the highlight of Round House’s best gala yet. As Ben Vereen said (or rather, sang!) to open Pippin, “Join us!” Performance tickets are only $69, and gala tickets, including the sponsor dinner, start at $300. Earlier this month, our theatrical community said goodbye to Tricia McCauley, the beloved local actress (and my college classmate) who was murdered on Christmas Day. From 1995 to 2005, Tricia served as a teaching artist and frequent understudy at Round House Theatre. At her memorial service, many people spoke about first meeting Tricia through Round House education programs. In recognition of her many years at Round House, we are honored to dedicate this production of Caroline, Or Change in memory of Tricia McCauley.
ED ZAKRESKI ROUND HOUSE THEATRE MANAGING DIRECTOR
R O U N D H O U S E T H E AT R E Ryan Rilette, Artistic Director and Ed Zakreski, Managing Director present
ARTIST TRANSPORTATION PROVIDED BY
MUSIC BY JEANINE TESORI BOOK & LYRICS BY TONY KUSHNER MAJOR FUNDING PROVIDED BY
DIRECTED BY MATTHEW GARDINER ORIGINALLY DIRECTED ON BROADWAY BY GEORGE C. WOLFE
Musical Director JON KALBFLEISCH
Scenic Designer JASON SHERWOOD
Costume Designer FRANK LABOVITZ
Lighting Designer GRANT WILCOXEN
Sound Designer FITZ PATTON
Props Master KASEY HENDRICKS
Dramaturg GABRIELLE HOYT
Assistant Director PHILIP KERSHAW
Production Stage Manager CHE WERNSMAN*
CAST
(characters listed in order of appearance)
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 designers are represented by United Scenic Artists, Local USA-829 of the IATSE.
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CAROLINE THIBODEAUX .......................................................................... Nova Y. Payton* THE WASHING MACHINE ............................................................... Theresa Cunningham* THE RADIO...................................Felicia Curry*, Olivia Russell+, Kara-Tameika Watkins* NOAH GELLMAN ..........................................................................................Griffin McCahill THE DRYER/THE BUS ...........................................................................V. Savoy McIIwain* GRANDMA GELLMAN.............................................................................. Naomi Jacobson* GRANDPA GELLMAN.................................................................................... John Lescault* ROSE STOPNICK GELLMAN ..................................................................... Dorea Schmidt* STUART GELLMAN....................................................................................... Will Gartshore* DOTTY MOFFETT ......................................................................................... Awa Sal Secka+ THE MOON ........................................................................................Delores King Williams* EMMIE THIBODEAUX.................................................................................... Korinn Walfall+ JACKIE THIBODEAUX ...................................................................................... Elijah Mayo+ JOE THIBODEAUX ............................................................................................... Micah Tate MR. STOPNICK....................................................................................................Scott Sedar* Understudy for Caroline Thibodeaux: Felicia Curry*, Understudy for The Washing Machine: Delores King Williams*, Understudy for The Radio: Daphne Ebbs, Understudy for Noah Gellman: Sammy Strent, Understudy for Grandma Gellman: Jane Petkofsky, Understudy for Grandpa Gellman/Mr. Stopnick/ Stuart Gellman: Brendan Murray+, Understudy for Rose Stopnick Gellman: Katie Culligan+, Understudy for Dotty Moffet: Kara-Tameika Watkins*, Understudy for The Moon: Theresa Cunningham*, Understudy for Emmie Thibodeaux: Olivia Russell+, Understudy for Jackie/Joe Thibodeaux: Jeremiah Hasty * Member Actors' Equity Association, The Union of Professional Actors and Stage Managers in the United States. + Equity Membership Candidate
ACT ONE Scene Scene Scene Scene Scene Scene
1 Washer/Dryer 2 Cabbage 3 Long Distance 4 Moon Change 5 Duets 6 The Bleach Cup
ACT TWO Scene 7 Ironing Scene 8 The Chanukah Party Scene 9 The Twenty Dollar Bill Scene 10 Aftermath Scene 11 Lot’s Wife Scene 12 How Long Has This Been Going On? Epilogue
ORCHESTRA Conductor/Piano ...............................................................................................Jon Kalbfleisch Reed 1 .............................................................................................................................Ben Bokor Reed 2 ..........................................................................................................................Kelsey Mire Guitar ...........................................................................................................................Jim Roberts Bass ................................................................................................................................. Bill Hones Drums ....................................................................................................................... Paul Keesling Violin 1 ................................................................................................................. Paula McCarthy Violin 2 ..............................................................................................................Ellen McSweeney Viola ............................................................................................................................. Derek Goad Cello ...................................................................................................................... Suzanne Orban The musicians employed in this production are members of and represented by Washington D.C. Federation of Musicians, Local 161-710 of the American Federation of Musicians
Caroline, Or Change runs approximately two hours and twenty minutes including intermission Originally Produced on Broadway by: Carole Shorenstein Hays, HBO Films, Jujamcyn Theatre, Freddy DeMann, Scott Rudin, Hendel/Morten/Wiesenfeld, Fox Theatricals/ Manocherian/Bergere, Greg Holland/Scott Nederlander, Margo Lion, Daryl Roth, Zollo/ Sine in association with the Public Theatre. Originally Developed and Produced in October 2003 by the Public Theatre; George C. Wolfe, Producer; Mara Manus, Executive Producer. CAROLINE, OR CHANGE is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI. www.MTIShows.com The video and/or audio recording of this performance by any means whatsoever are strictly prohibited.
Sponsored in part through the generous support of Heidi & Mitch Dupler and Marion Ein Lewin Round House Theatre dedicates this production to the memory of Tricia Lynn McCauley
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Round House Theatre extends its deep gratitude to Heidi & Mitch Dupler and Marion Ein Lewin, sponsors of Caroline, Or Change.
Exploring a time when history ‘cracked open’ propelled by blues, gospel and klezmer music! We are thrilled to help bring this show to the Round House stage.”
— Heidi & Mitch Dupler
HIGH SCHOOL STUDENTS: GET IN ON THE ACTION
AT ROUND HOUSE! I first saw Caroline, Or Change when it opened on Broadway in 2004 and was struck with its message, its originality, and the significance of its social commentary. I am so delighted that this landmark musical is now appearing at Round House in a bright new production, with a superb cast.”
— Marion Ein Lewin
To become a sponsor for an upcoming Round House Theatre production, please contact Director of Development Laura Blackwelder at 240-644-1404.
See ANY Round House production FOR FREE through our PLAY IT FORWARD program! Come with your friends to a TEEN NIGHT performance and get a BEHIND-THE-SCENES look at the production!
LEARN MORE AT RoundHouseTheatre.org/Education
CREATING CAROLINE
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Only through its musical form, Kushner believes, could Caroline attain its emotional heft. Praising his partner, he raves, “Jeanine’s music seems to offer up with an organicity and shapeliness and spontaneity that must be what we mean when we say that something possesses grace. Words can be graceful, but music is grace itself…a blessing that enters the soul through the ear.”4 The final score of Caroline combines blues and jazz with klezmer, creating a melodic fabric that supports the musical’s inclusive narrative.
JOHN NY RE B’S DECA PITATE D! That Courthouse statue, Confederate Soldier? You see the TV news last night? Found the headless body In choo choo bayou, Wrapt in a flag, in the muddy stars and bars. -Caroline, Or Change, “The Chanukah Party”
by DRAMATURG GABRIELLE HOYT
Caroline, Or Change is Tony Kushner’s first—and so far only—musical. Kushner started writing the piece as an opera, changing his mind only after director George C. Wolfe convinced him that the piece’s dramatic demands required musical theater performers. The final version of Caroline stays true to its operatic roots, thanks to Kushner’s poetic libretto and Jeanine Tesori’s musically complex score. Combine that musical complexity with characters as memorable as the lonely, lost eight-year-old Noah; the strong, stoic African-American maid Caroline; a crooning dryer; and a torchsong-singing Moon; and you begin to get a sense of the creative genius generated by the collaboration of Tesori, Wolfe, and Kushner.
George C. Wolfe
Drawn heavily from Kushner’s life, Caroline, Or Change is set in the playwright’s hometown of Lake Charles, Louisiana in 1963. It concerns a Jewish family like Kushner’s, and an
African-American maid based on the woman who cared for the playwright when he was a child. “Caroline, Or Change,” he elaborates, “tells a story…grounded in memories from my early life,” combined with a larger narrative of “race relations, the civil rights movement and African Americans and southern Jews in the early 1960s.”1 In order to tell this deeply personal story, Kushner felt the necessity of another element: music. Looking back on the creative process, he recounts, “I grew up in a house filled with music…Writing this story as a musical gave me access to memories, and to a means of evoking my particular childhood.”2 That’s where Jeanine Tesori came in. A master of musical storytelling, Tesori believes, “The music serves up the text…the text rules.” At the same time, Tesori’s music comes from an intimate and vulnerable place. In fact, she reveals, she can hardly bear watching her finished work, because “I have put so much of myself up there on the stage.” Looking back on their collaboration, Kushner marvels at Tesori’s compositions, comparing the “grace” of her music with his own “struggle” to “move audiences with words alone.”3
An equally integral member of this collaboration was celebrated director George C. Wolfe. Tesori remembers the safe workshop space that Wolfe provided for her and Kushner, allowing them to explore their purest creative impulses. She also celebrates his ability “[t]o verbalize ideas about music,” an invaluable skill during a creative process such as Caroline’s. Kushner reveals that he in fact wrote Caroline for George C. Wolfe’s direction, relying upon him to help create a piece that represented Jewish and African-American voices in equal measure. He remembers the experience as “communal, collaborative,” and essential to the creation of Caroline. Only an imagination as inventive as Kushner’s could have produced a show as visionary as Caroline, Or Change. Yet as Kushner and his collaborators make clear, only their partnership could have transformed a narrative of childhood into a powerful evocation of the terror, tumult, and change of the 1960s. The finished version of Caroline ensures that all of its characters, from grandparents to clarinet players to washing machines, have a moment in the spotlight. Their voices merge to create the fabric of Caroline, Or Change, just as its collaborators joined forces to generate this singular, groundbreaking musical.
Like many elements in Caroline, Or Change, the subplot of the missing head of “Johnny Reb” draws directly from history. Immediately following the Civil War, the US only allowed the construction of Union monuments. This policy flagged during the early twentieth century with the resurgence of the South and the rise of the KKK. The Daughters of the Confederacy raised money for memorials across the country, erecting such a statue in Lake Charles, Louisiana—the setting of Caroline—but also as northward, and close to home, as Rockville. The Rockville statue, inscribed, “To Our Heroes of Montgomery Co. Maryland That We Through Life May Not Forget To Love The Thin Grey Line,” has caused a recent local dispute. Following the 2015 tragedy at Emanuel AME Church in Charleston, a nationwide movement to remove Confederate remnants from public property gained steam. By July 2015, “Black Lives Matter” had been spray painted onto Rockville’s statue. After much debate, Montgomery County requested that the city take possession of the statue and move it to a nearby historic park. Rockville, however, refused, concerned about the cost and controversy of such an object. As a result, the statue still stands, in limbo, by the courthouse.
Kushner, Tony. Introduction to Caroline, Or Change. Steindler, Catherine. Tony Kushner, the Art of Theater No. 17. The Paris Review. Issue 201: Summer 2012. 3 Bossler, Gregory. A Change for Caroline: Jeanine Tesori. The Journal of the Dramatists Guild of America. May/June 2004. 4 Kushner, Tony. Speech to the League of American Theatres and Producers Spring Road Conference. May 11, 2004. 1
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Lake Charles, LA statue
Montgomery County, MD statue
CAST
Theatre in The Square; Alice Thru the Wonderglass at Synchronicity Theatre; Heartbeats at Aurora Theatre. Training: Syracuse University, Musical Theatre. Theresa serves as an Artistic Associate at Ovations Theatre.
NOVA Y. PAYTON (Caroline Thibodeaux) is so excited to be making her Round House Theatre debut. SIGNATURE: Silver Belles (Gloria), Jelly’s Last Jam (Hunny/Miss Mamie), La Cage aux Folles (Jacqueline); Diner (Party Singer/Stripper); Elmer Gantry (Mary Washington); Crossing (Unknown Woman), Defying Gravity: Making of a SuperNOVA, Dreamgirls (Effie, Helen Hayes nomination), The Best Little Whorehouse in Texas (Jewel), Xanadu (Melpomene/Medusa), Hairspray (Motormouth, Helen Hayes Award). TOUR: 3 Mo’ Divas (PBS, CD, DVD), Smokey Joe’s Café (BJ). DC AREA: Shakespeare Theatre: Kiss Me, Kate (Hattie replac.); Shakespeare Gala; Imagination Stage: A Year with Frog and Toad; Ford’s Theatre: Freedom’s Song (Free Woman); Violet (Ensemble); Olney Theatre Center: Godspell (Ensemble); Arena Stage: Smokey Joe’s Cafe; Adventure Theatre: Happy Elf (Mrs. Claus/Gurt); Kennedy Center: Spring Gala Concert My Fair Lady (Ensemble). REGIONAL: The 5th: Man of La Mancha (Aldonzo), A Night with Janis Joplin (Blues Singer/Blues Woman); Milwaukee Rep: Dreamgirls (Effie); Prince Music Theatre: Dreamgirls (Effie, Barrymore nomination). www.simply-nova.com.
F E L I C I A C U R RY ( T h e Radio) is thrilled to be back at Round House after appearing in This and on the Round House stage in Oliver! for Adventure Theatre MTC. DC theatre credits include Collective Rage (Woolly Mammoth); Disgraced (Arena Stage); OLIVÉRio, Chasing George Washington and Beehive (Kennedy Center); A Christmas Carol, The 25th Annual Putnam County Spelling Bee and Civil War (Ford’s Theatre); Home (Rep Stage); Laugh (World Premiere - Beth Henley) and Bloody Bloody Andrew Jackson (Studio Theatre); Les Misérables (Signature Theatre); Imagination Stage; MetroStage; Olney Theatre Center; Toby’s Dinner Theatre. NYC: We 3 Lizas’ (Joe’s Pub), Petite Rouge and DMLRR The Brontes (NYMF). Regional credits include Vanya and Sonia and Masha and Spike’ and ‘The Mountaintop’ (Gufshore Playhouse), ‘Sister Act’ (Riverside Center), Dreamgirls and The Color Purple (VA Rep). Tours: Willy Wonka (KCTYA), Barbie Live! Awards: 4 Helen Hayes nominations, 3 Ensemble HH noms (HH Award - Ensemble, Les Miserables), 2 RTCC noms (RTCC Award - Best Actress, The Color Purple) Member: Capitol Steps, Factory 449. Education: UMCP. She is a proud member of AEA. Upcoming: ‘Ragtime’ (Ford’s Theatre).
THERESA CUNNINGHAM (The Washing Machine) is excited to make her debut at Round House Theatre. D.C. credits include The Color Purple (Helen Hayes Award for Outstanding Suppor ting Actress, Resident Musical) and Les Miserables at Toby’s Dinner Theatre; Ain’t Misbehavin’ at Riverside Theatre; Once On This Island at Olney Theatre Center; A Raisin in the Sun and If I Hold My Tongue at Compass Rose Theatre; Caroline, Or Change at Stillpointe Theatre; Wiley and the Hairy Man at Imagination Stage. Regional credits include I Dream with MusicalDramatic Arts; Smokey Joe’s Café at Atlanta Lyric Theatre; Three Sistahs at Horizon Theatre; Member of the Wedding and Seussical: the Musical at Springer Opera House; True Story of the 3 Little Pigs and Tallulah and Hattie at
OLIVIA RUSSE LL ( The Radio) Olivia is delighted to be making her debut on a Round House Theatre stage with Caroline, Or Change. She has most recently been on the D C T h e a t re s ce n e i n Shakespeare Theatre Company’s Kiss Me Kate and Romeo and Juliet. Other D.C. performances include Mosaic Theatre Company’s Milk Like Sugar (Reading), Signature Theatre’s Jelly’s Last Jam and U.G.L.Y., as well as on the Ira Aldridge Theatre stage in Anything Goes and Not About Nightingales. Film/Web Series credits include Fire Reds, The One, and Black & Sexy TV’s Doing It Wrong. She was the 2015 recipient of the Suzan Lori-Parks Excellence in The Arts Award. EDUCATION: Howard University. BFA.
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KARA TAMEIKA WATKINS (The Radio) is happy to return to Round House Theatre after appearing in Once in This Island. Other credits include Jelly’s Last Jam, Dreamgirls, Hairspray, Sunset Boulevard and A Funny Thing Happened on the way to the Forum at Signature Theatre; Crowns, Smokey Joe’s Café at Arena Stage; Little Shop of Horrors, Children of Eden at Ford’s Theatre; Caroline, Or Change at Studio Theatre; Carmen: An Afro-Cuban Musical, Peter Pan at Olney; Caroline, Or Change at Creative Cauldron; Hairspray at PCLO, Northshore Music Theatre and the Nevada productions of Hairspray and Smokey Joe’s Café. Proud Member AEA. GRIFFIN “FIN” MCCAHILL (Noah Gellman), is thrilled to return to Round House Theatre after appearing as Buster in Cat on a Hot Tin Roof. Fin is an enthusiastic member of Adventure Theatre MTC Academy’s Pre-Professional Program and has dreams of Broadway. He has played the Starkeeper and Young Billy at Olney Theatre’s Carousel, Troy Bolton in High School Musical and Daddy Warbucks in Annie with Theater Unlimited. On the small screen, he played young Chris Aldrich in Investigation Discovery’s, Evil Kin and recently appeared on the Ellen DeGeneres Show as the son in a Thanksgiving Mobile Moderator skit with Wolf Blitzer. Fin is a 6th grader who loves the outdoors, keyboard, graphic novels, acting, singing, dancing, trampoline, songwriting, his friends, family, video games and maybe most of all, his pets. Fin is grateful for this truly “awesome” opportunity & experience. V. SAVOY MCLLWAIN (The Dryer/The Bus) is excited to make his Round House Theatre debut. Regional credits include Signature Theatre: Jelly’s Last Jam (Buddy Bolden),Show Boat (Joe), Adventure Theatre: Strega Nona (Mayor); National credits include La Boheme (Marcello), Carmen (Morales), Don Giovanni (Leporello), Shadow Boxer (Blackburn), Let Freedom Sing (Jack Johnson, world premiere); INTERNATIONAL: Porgy and Bess (Jake and Jim), Cosi fan tutte (Guglielmo); EDUCATION: Duke Ellington School of the Arts;
University of Northern Iowa, BM; University of Maryland at College Park, MM. NAOMI JACOBSON (G ra n d m a G ellm a n) is excited to return to Round House Theatre (The Lyons, Wintertime, The Talented Mr. Ripley, Smell of the Kill, Mere Mortals) and working with Matthew Gardiner. D.C. credits include the Shakespeare Theatre (Affiliated Artist), Woolly Mammoth Theatre (company member),The Kennedy Center, Arena Stage, Signature Theatre, Ford’s Theatre, Theater J, Folger Theatre, Olney Theatre Center, Wolf Trap Opera. Regional credits include The Goodman Theatre, The Guthrie Theatre, Milwaukee Repertory Theatre, Berkshire Theatre Festival, Center Stage, Cincinnati Playhouse in the Park, Arizona Theatre Company and The Atlantic in NYC. TV/Film work includes Homicide, Her Father’s Eyes (A&E), and voice over narration for PBS, NPR, Discovery Channel, and the Smithsonian, She’s received three Helen Hayes Awards and fifteen nominations, the Lunt-Fontanne Fellowship, and an Individual Artist Grant from the D.C. Arts Commission. Next up: MacBeth at Shakespeare Theatre directed by Leisl Tommy. Member: Actors Arena. JOHN L E S C AU LT (G ra n d p a G e l l m a n) is delighted to return to Round House Theatre where he’s appeared in: The Lyons, Fahrenheit 451, The Talented Mr. Ripley, Winter time, Heartbreak House, Our Town, and Shakespeare, Moses, and Joe Papp. Other D.C. credits include: The Shakespeare Theatre: A Midsummer Night’s Dream (Macau Arts Festival), Henry V, Richard II, Measure for Measure, Edward II, Tamburlaine, and The Winter’s Tale; Arena Stage: The Music Man and Our War; Kennedy Center: The Second City’s Twist Your Dickens, with The National Symphony: Dvorak and Beethoven, with Opera Lafayette: Le Deserteur, and Sancho Panca. Folger Theatre: Romeo and Juliet, A Midsummer Night’s Dream, School for Scandal, and Macbeth. Regional credits include: The Cincinnati Playhouse: A Prayer for Owen Meany and Native Gardens. Film/TV credits include: Lincoln, The Day Lincoln Was Shot and Beautiful Something.
DOREA SCHMIDT (Rose S t o p n i c k G e l l m a n) is delighted to be making her Round House Theatre debut. Other D.C. credits include Collective Rage (World Premiere) at Woolly Mammoth Theatre Company; Fiddler on the Roof and Oliver! at Arena Stage; Carousel (Helen Hayes nomination for Best Supporting Actress) and Mary Poppins at Olney Theatre Center; Black Comedy, The Fantasticks, and The Last 5 Years at No Rules Theatre Company; The Love of the Nightingale at Constellation Theatre Company; and Goodnight Moon at Adventure Theatre. Regional credits include Crimes of the Heart and The Beaux’ Stratagem at Everyman Theatre; My Fair Lady at The Cape Playhouse; Doubt and [title of show] at Open Stage of Harrisburg; and The Sound of Music at the Fulton Theatre/Maltz Jupiter Theatre. Training: Messiah College, the National Theatre Institute, and the William Esper Studio. www. doreaschmidt.com. WILL GARTSHORE (Stuart Gellman) last appeared at Round House in The Nutcracker, Ordinary Days, This, Becky Shaw, Orson’s Shadow, A Year with Frog and Toad, The World Goes‘ Round, and Summer of ’42. D.C. area credits include The Fix, Show Boat, Merrily We Roll Along, My Fair Lady, Assassins, Sex Habits of American Women, Urinetown, Pacific Overtures, Elegies, Allegro, Twentieth Century, Grand Hotel, Side Show, and Floyd Collins (Signature); The Religion Thing (Theater J); The Great Gatsby and Passion (Kennedy Center); The Velvet Sky (Woolly Mammoth); Monster (Olney); Privates on Parade and A New Brain (Studio). Will performed on Broadway in Parade and OffBroadway in The Last Session and Ziegfield Follies of 1936. Regional credits include Elegies (Philadelphia Theatre Co.); Myths + Hymns (Prince); 3hree (Ahmanson & Prince); and Fanny Hill (Goodspeed). Will is a two-time winner of the Helen Hayes Award for Best Actor and an eight-time nominee. He isa graduate of the American Academy of Dramatic Arts in NYC and the University of Maryland-College Park.
AWA SAL SECKA (Dotty Moffet) is grateful and excited to perform at Round House Theatre! Her most recent appearances include Black Nativity at Theatre Alliance (Narrator/Elder), Chasing the Wind (workshop) at the Creative Cauldron, and U.G.L.Y. (workshop) at Signature Theatre. Other theatre credits include Eretz Chadasha: The Promised Land (Mother) at Mosaic Theatre, James and the Giant Peach (Sponge) at ATMTC, SILENCE! The Musical (Ardelia) at Studio Theatre, and Avenue Q at Olney Theatre. She’s also performed nationally with ATMTC in the national tour of BIG NATE the Musical (Mrs. Godfrey). Some collegiate credits include You’re a Good Man, Charlie Brown (Lucy Van Pelt), Once in This Island (Ti Moune), The Unmentionables (Aunty Mimi), The Resistible Rise of Arturo Ui (Arturo Ui), RENT (Joanne), and The Wiz (Dorothy). She has an A.A. in Theatre Performance from Montgomery College; currently pursuing her Bachelor’s. See her again at Signature Theatre in Jesus Christ Superstar! DELORES KING WILLIAMS (The Moon) is thrilled to be making her Round House debut. Other D.C. credits include Carousel and Grease at Olney Theatre Center; Showboat and Holiday Follies at Signature Theatre; Carmen Jones at the Kennedy Center. New York City credits include I’m a W-O-M-A-N, the Music and Incredible Life of Miss Peggy Lee at the Metropolitan Room; A Tribute to Ella Fitzgerald at the Walt Whitman Theatre; The Capitol Steps at the Fairbanks Theatre and Town Hall; United States Army Band, Pershing’s Own at Carnegie Hall. Touring credits include Porgy and Bess at the Spoleto Festival and The Smithsonian Jazz Masterworks Orchestra. Awards include Helen Hayes nominations, winner of the Billie Holiday Vocal Competition, an Audie Award for book narration, and a Semi-Finalist in the Thelonious Monk Jazz Vocal Competition. Delores can next be seen on tour with The Capitol Steps. KORINN WALFALL (Emmie Thibodeaux) is thrilled to make her Round House Theatre debut. D.C. area credits include Capital Fringe Festival: That Kind of Girl. Regional credits
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include Kennedy Center: In His Own Words… the Walter Dean Meyers Tribute. Strathmore: Audra McDonald’s Pre-Lecture Concert. EDUCATION: University of Maryland-College Park, 2016, Theatre, Creative and Performing Arts Scholar. UPCOMING: Jesus Christ Superstar at Signature Theatre.
Theatre for Young Audiences in the commissioned opera, “The Emperor’s New Clothes,” and the drama, “The Red Badge of Courage.”
ELIJAH J. MAYO (Jackie Thibodeaux) is ecstatic to be performing at Round House Theatre for the first time. Other D.C. credits include Jelly’s Last Jam (Young Jelly) at Signature Theatre. Commercial credits include: Lockheed Martin, SAMHSA, Harford County Tourism, People’s Television, Inc., and Comcast/Xfinity. Educational and Industrial Film credits include: Maryland Science Films and the Beast film. Print Work includes: Amtrak; and Northrop Grumman. Workshops/ Training include: (On-Camera) Linda Townsend; and (Film) Director Tom Logan. He hopes to be able to continue to share his talents in future productions.
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
MICAH TAT E (Joe Thibodeaux) is thrilled to make his professional stage debut here at Round House Theatre.
SCOTT SEDAR (Mr. Stopnik) performed with some of Round House Theatre’s founders in The Man of La Mancha, Three Penny Opera, Butterfingers Angel, Twelfth Night and The Club Etc. This past June, Scott appeared in 1st Stage Tysons production of Floyd Collins. He sang in an earlier incarnation of that musical at Signature Theatre, as well as that company’s innovative 110° In The Shade. Other regional credits include Bye, Bye, Birdie at Olney, Dreams of a Summer House at Rep Stage, Evita with Open Circle, Anna Karenina at Washington Stage Guild, Harvey at Woolly Mammoth and Midsummer Nights’ Dream for Maryland Shakespeare at Center Stage, Baltimore. Opera roles include the InSeries adaptations of The Marriage of Figaro and The Abduction from the Seraglio. He completed two 32-city tours for the Kennedy Center’s
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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. JEANINE TESORI (Music) has been thrice nominated for Tony Awards for her Broadway scores: Twelfth Night (1998) at Lincoln Center, Thoroughly Modern Millie (2002) at the Marquis, and Caroline, Or Change (2004) at the Eugene O’Neill. Her first musical, Violet, produced off-Broadway in 1997, was nominated for seven Drama Desk Awards including Outstanding New Musical and won the Drama Critics’ Circle Award for Best Musical, the Lucille Lortel Award for Outstanding Musical, and a Special Obie Citation for Tesori’s music. In the field of film, she has composed new songs for The Emperor’s New Groove 2: Kronk’s New Groove (2005), Wrestling With Angels (the 2006 documentary about Tony Kushner), Shrek the Third (2007), and three animated Disney DVDs (Mulan II, Lilo and Stitch II, The Little Mermaid: Ariel’s Beginning). She also wrote the scores for Show Business: The Road to Broadway (2007) and Nights in Rodanthe (2008). Before Millie closed in 2004, the innovative Caroline, Or Change opened, making Tesori the first woman composer in history to have two original musicals running concurrently on Broadway. Though Caroline is considered more of an opera than a musical “comedy,” it won a Tony nomination for the score and the 2004 Drama Desk Award for Outstanding Music. The National Theatre production in London’s West End received the Olivier Award for Best New Musical. Tesori and Kushner, now close friends, collaborated again in 2006 on a new translation and adaptation of Bertolt Brecht’s Mother Courage and Her Children, with Meryl Streep, produced as a part of the Public Theatre’s Shakespeare in the Park series. M AT T H E W G A R D I N E R ( D i r e c t o r/ Choreographer) returns to Round House Theatre after directing Ordinary Days. He is
the Associate Artistic Director at Signature Theatre in Arlington, VA, where recent directing highlights have included Jelly’s Last Jam, La Cage Aux Folles, West Side Story, Cabaret, Soon, Sunday in the Park with George (2015 Helen Hayes Award, Outstanding Direction of a Musical), The Threepenny Opera, Tender Napalm, Dying City, Dreamgirls, Xanadu, and Really Really. As a Choreographer, Matthew choreographed Titanic, The Fix, Company, Sweeney Todd, Dirty Blonde. Matthew has also directed productions at Ford’s Theatre (The Laramie Project), The Kennedy Center (Snow White, Rose Red (and Fred!)), and MetroStage (tick, tick…BOOM!), Studio Theatre (Jerry Springer: The Opera; Reefer Madness (2008 Helen Hayes Award, Outstanding Direction of a Musical)) and choreographed productions at Shakespeare Theatre (The Tempest) MetroStage (Jacques Brel is Alive And Well…) and Studio Theatre (Grey Gardens, Adding Machine). Matthew holds a BFA in Directing from Carnegie Mellon University. JON KALBFLEISCH (Musical Director) Jon is delighted to be making his Round House Theatre debut with Caroline, Or Change. In his capacity as Resident Music Director at Signature Theatre, Jon has helmed over 50 productions, with 9 Helen Hayes Awards and 27 nominations to his credit. Most recently, he worked with Matthew Gardiner on Signature’s acclaimed production of West Side Story. On Broadway, Jon was Associate Conductor for Les Misérables (Marius Company), and conductor for the Gala Benefit concert of The Visit, starring Chita Rivera and John Cullum. Elsewhere, Jon was music director for Putting it Together at the Mark Taper Forum in Los Angeles, and toured with the national companies of Les Misérables and Martin Guerre. With a MM in Orchestral Conducting from Southern Methodist University, Jon is Music Director and Conductor of the Lawton Philharmonic Orchestra, and a frequent pianist with the Baltimore Symphony Orchestra. www. jonkalbfleisch.com JASON SHERWOOD (Scenic Designer) Round House Theatre debut. DC credits include The Taming of the Shrew at Shakespeare Theatre, Cake Off at Signature, Choir Boy and Silence! The Musical at Studio. He recently designed the stage adaption of Frozen for Disney Creative Entertainment. Recent world
premiere designs Off-Broadway and regionally, including Her Portmanteau at New York Theatre Workshop, Songbird at 59E59, Ring Twice for Miranda at City Center, Red Velvet at the Old Globe, Frankenstein at the Denver Center, Paint Your Wagon and Jasper in Deadland at the 5th Avenue Theatre, The Whipping Man at the Alliance Theatre, The Circus in Winter at Goodspeed, Squash at the Flea, and many others. Sherwood is the recipient of a Henry Hewes Design Award nomination, several Suzi Bass Award nominations, a Gregory Award nomination, the USITT Rising Designer Award, and was named by LiveDesign Magazine as “Young Designer to Watch.” NYU grad. Instagram: @JasonSherwoodDesign FRANK LABOVITZ (Costume Designer) is excited to return to Round House where he last designed NSFW. Other Round House credits include The Beauty Queen of Leenane, Bengal Tiger at the Baghdad Zoo, Next Fall, and Pride and Prejudice. Other design credits include La Cage aux Folles, The Gulf, West Side Story and The Three Penny Opera at Signature Theatre; Guards at the Taj, The Totalitarians and You for Me for You at Woolly Mammoth; A Very Pointless Holiday Show, Gimme a Band, Gimme a Banana and Sleeping Beauty: a Puppet Ballet at Pointless Theatre Company; Pluto, The T Party, and Mad Forest at Forum Theatre; Cloud 9, Silence!: the Musical and The Torch Song Trilogy at Studio Theatre; The Tale of the Allergist’s Wife, The Religion Thing and Sholom Aleichem: Laughter Through Tears at Theater J; The Glass Menagerie at Ford’s Theatre; and Charm at Mosaic Theatre. He received his MFA in design from The University of Maryland. GRANT WILCOXEN (Lighting Designer) makes his Round House Theatre debut with Caroline, Or Change. Regional credits include Jelly’s Last Jam (Signature Theatre); Hair: A Retrospective, An Iliad (Kansas City Repertory Theatre); and Real Estate (Concert Tour). Associate Lighting Designer credits include Hand to God, On The Town, Bronx Bombers, Let it Be, Rock of Ages (Broadway); Night is a Room, Barbecue, Toast, Venice, Happy Hour (Off-Broadway); Sport Center LA (ESPN); and Football Night in America (NBC Sports). Grant graduated from SUNY Purchase where he is now an adjunct teacher.
FITZ PATTON (Sound Designer) makes his Round House Theatre debut with Caroline, Or Change. Broadway credits include The Humans (current), Present Laughter (upcoming), Little Foxes (upcoming), Our Mother's Brief Affair, The Father, Blackbird, Act of God, It's Only a Play, Airline Highway, The Other Place, I’ll Eat You Last, Outside Mullingar, Casa Valentina, The House of Blue Leaves, Brighton Beach Memoirs, and Broadway Bound. In 2010 he was awarded both Lucille Lortel and Drama Desk awards for his design for When the Rain Stops Falling at Lincoln Center’s Mitzi E. Newhouse Theater, and was nominated again in 2011 for his work on The Other Place. He is the founding editor of Chance Magazine, a serialized art book on performance and design. KASEY HENDRICKS (Props Master) is thrilled to be returning as Props Master for Caroline, Or Change. Previously, she has worked with Round House on Miss Bennet: Christmas at Pemberley, 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 Theater’s 36 Views. As Props Assistant at The Woolly Mammoth Theatre Company she worked on The Elaborate Entrance of Chad Deity, The Convert, and Stupid Fucking Bird. GABRIELLE HOYT (Dramaturg) is thrilled to return to Round House Theatre as an Artistic Fellow, and to serve as dramaturg for the 2016-2017 season. She is currently developing The Thay Bay Play, a 10-woman piece about sororities, and recently directed The Wind Up at the Cape Cod Theatre Project, and Nothing Besides Remains at 24 Hour Plays: Nationals. She will soon assistant direct the world premiere of Fickle: A Fancy French Farce by Meg Miroshnik at Olney Theatrer Center. At Round House, she has assistant directed five plays, including the world premieres of Miss Bennet by Lauren Gunderson and Margot Melcon, and Ironbound by Martyna Majok. PHILIP KERSHAW (Assistant Director) is the current Artistic Apprentice at Round House Theatre and feels extremely fortunate
for the opportunity to work on Caroline, Or Change. 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. CHE WERNSMAN (Production Stage Manager) is thrilled to be at Round House Theatre all this season! Most recently she stage managed Miss Bennet: Christmas at Pemberley and was on the SM team for Angels in America: Parts I and II. Also at RHT she has managed: Father Comes Home from the Wars: Parts 1, 2 & 3, The Beauty Queen of Leenane, I Love to Eat, The Little Prince, A Prayer for Owen Meany, and Once on This Island. Che has worked extensively throughout the D.C./ Baltimore area, managing shows at Imagination Stage, The National, The Kennedy Center, Folger Theatre, Shakespeare Theatre Company, Theatre J, Mosaic, Studio, Everyman, Rep Stage, CenterStage, Olney and Virginia Shakespeare Festival. Ms. Wernsman has a Bachelor of Science from Virginia Tech and is a proud member of Actors’ Equity Association.
STAFF DUCTION
AL PRO
ADDITION
Production Assistant: Jessica Short Light Board Operator: Chris Hall Audio Engineer: Mikey Showers Wardrobe Crew: Anastazia Whittle, Jeffery Peavey Deck Crew: E. Linda Bruce Child Wrangler: Jude Rodriguez Carpenters: Nick Aliff, Joe Carlson, Molly Hall, Christopher Gaut, Alex Monsell, Mikey Showers Painters: Colleen Murray, Sandi Reinhart Electricians: Stefanie DeHart, Peter Gambardella, Chris Hall, Sarah Mackowski, Alexander Roberts, Mikey Showers, Julia Walker Audio Technicians: Ethan Carleton, Veronica Lancaster, Mikey Showers Wigs: Ali Pohanka Stitchers: Michele Macadaeg Associate Sound Designer: Shannon Slaton Special Thanks: Signature Theatre, Walter Ware III Full Round House staff listed on page 19.
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 AFLCIO, 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.
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THANK YOU to all of the CORPORATE, FOUNDATION, GOVERNMENT, and INDIVIDUAL donors who make generous annual contributions to Round House Theatre during the 2015-2016 and 2016-2017 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 becoming a donor and start receiving benefits today! 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.
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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.
We are proud to support Round House Theatre
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 January 1, 2017 and reflects the annual 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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TE OF TRUS
ES
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 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 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
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 Fitz Patton Kendra Rai Constanza Romero Nancy Schertler Dan Moses Schreier Jason Sherwood Ivania Stack Thom Weaver Grant Wilcoxen DIRECTORS Matthew Gardiner Eleanor Holdridge Todd Kreidler Jason Loewith Aaron Posner Ryan Rilette Gabrielle Hoyt (assistant) Philip Kershaw (assistant) PLAYWRIGHTS Liz Duffy Adams Lauren Gunderson
Tony Kushner Margot Melcon Diana Metzger Jeanine Tesori August Wilson STAGE MANAGERS Marne Anderson John Keith Hall Che Wernsman TEEN PERFORMANCE COMPANY Ben Beriss Maren Beriss Malaika Bhayana Ben Bradshaw Marie Brier Declan Conditt Lucas Craig Keira DiGaetano Cole Greenberg Queen Griffin Alex Haddad Liza Hazelwood Victoria Keith Carol Kelleher Isabelle Koff Derek Lamb Julia Matney Lily Metzger Willa Murphy Carly Sturm Roma Venkateswaran
STAFF EDUCATION Education Associate: Kathleen Mason Lead Teaching Artist: ARTISTIC/PRODUCING Brandon McCoy Associate Producer: Education Apprentice: Laura Loy Danisha Crosby Faculty: Wyckham Avery, Artistic Fellow: Gabrielle Hoyt Mariel Berlin-Fischler, Artistic Apprentice: Audrey Bertaux, Ashley Blair, Philip Kershaw Mark Cabus, Reenie Coldeko, Laura Cole, Ian Coleman, PRODUCTION Kevin Corbett, Dani Ebbin, Production Manager: Jesse Aasheim Amanda Forstrom, Dominique Technical Director: Eric Knauss Fuller, Kelsey Hall, Emma Assistant Technical Director: Hébert, Casey Kaleba, Jose Abraham Ava Knox, Roni Lancaster, Master Electrician/Audio Sabrina Mandell, David Supervisor: Liz Sena Mavricos, Laura Miller, Costume Shop Manager: Monica Powell, Melrose Pyne, Rachel Schuldenfrei Christopher Richardson, Mimi Scenic Charge: Jenny Cockerham Rinaldi, Jonathan Rizzardi, Master Carpenter: Shaun Bartlow Andy Stoffel, Kris Thompson, Production Apprentice: Michele Vicino, Rick Westercamp Laura Sperling LEADERSHIP Artistic Director: Ryan Rilette Managing Director: Ed Zakreski
ADMINISTRATION General Manager: Tim Conley Associate General Manager: Emmy Landskroener Executive Assistant: Elly Straske Accountants: Raffa, P.C. DEVELOPMENT Director of Development: Laura Blackwelder Major Gifts Officer: Veronica Kannan Manager of Institutional Giving: Mary Bounds Campaign Coordinator: Amanda Kegu Development Assistant: Susannah Stern MARKETING & COMMUNICATIONS Director of Marketing & Communications: Bryan Joseph Lee Associate Director of Marketing & Communications: Sarah Randall
Graphic Design & Content Manager: Grace Toulotte Marketing Apprentice: Tiara Jenifer AUDIENCE SERVICES Director of Audience Services: Wil E Johnson III Box Office Manager: Latashia Carney Box Office Associates: Francisco Borja, Marquita Dill, Gabrielle Hoyt, Tionge Johnson, Philip Kershaw, Steve Langley, Lindsey Long, Torin Lusebrink, Nashira Rawls, Matthew Rock Lead House Manager: Michele Cesar Turner House Management Staff: Tiffany Broadus, Lorraine Ebbin, Samara Fantie, Richard Lambert, Lori Lentner Schwartz, Ellen Menown, Sarah Trunk
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U P N E X T AT R O U N D H O U S E
OR,
A
M A D C A P
APR 12 - MAY 7, 2017
BY LIZ DUFFY ADAMS DIRECTED BY AARON POSNER Desperate to escape a career in espionage, up-and-coming playwright Aphra Behn just landed her first commission for a professional company—if she can deliver her play by dawn. But in a world of sex and spies, can Aphra save the life of King Charles II and launch her budding writing career all in one night? With echoes of Restoration comedy, this playful farce is a rush of madcap antics and rollicking intrigue. Scenic Designer Paige A. Hathaway Costume Designer Kendra Rai Sound Designer Christopher Baine
CO ME DY !
F E AT U R I N G
HOLLY TWYFORD ERIN WEAVER GREGORY LININGTON
BAWDY, HILARIOUS AND WHIP-SMART... FOR ANYONE WHO LOVES LITERATURE, LOVE, OR LAUGHTER.” — The Ideologue