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Make your tax-deductible gift to Round House today. Contact Jennifer Culotta at 240.644.1403 to make your gift today, or donate securely online at RoundHouseTheatre.org.
Fetch Clay, Make Man artwork by Esther Wu
HELP US START 2014/15 ON A GOOD NOTE.
Photo of Janine Divita, Erin Weaver, Samuel Edgerly, and Will Gartshore by Danisha Crosby
7735 Old Georgetown Rd. Bethesda, MD 20814 | (301) 656-8850 www.pasternakfidis.com
Last year, thanks to the generosity of the Arts & Humanities Council of Montgomery County, the Town of Chevy Chase, and a number of foundations, board members, and individual donors, we raised more than $250,000 for much-needed technological improvements. Most of these improvements can be seen directly on the stage, but we also set aside some money to upgrade the technology that we use to thank you for your support, like the new digital donor wall in the lobby. If you haven’t yet seen it, please take a look on your way out. The names you see on the donor wall are a vital part of the work we do here. We can’t thank them enough for their generosity. If your name isn’t already listed on the donor wall, I hope you will consider joining your fellow donors in making a leadership gift. You’ve probably heard that ticket sales cover less than half the cost of producing live theater. That’s especially true here at Round House, where we strive to keep our ticket prices lower than every other theater our size. We offer every-day low prices and numerous other discount programs, including free tickets to Montgomery County high school students, because we believe that theater should be accessible to everyone, regardless of their financial situation. If you agree with us, please consider making a donation of any size this year to support our work. Even a $10 donation makes a huge difference in our ability to continue to offer affordable tickets to world-class theater like Fetch Clay, Make Man. The production you are about to see has already had a very successful, well-reviewed, four-week run in the San Francisco Bay Area at Marin Theatre Company, where I served as Producing Director for five years before coming here to Round House. I’m thrilled that a number of our local artists got the chance to work in the Bay Area for the first time with this show, and excited to welcome artists from the Bay Area and Chicago to this incredibly vibrant theatrical community that we call home. I’m equally excited to introduce DC audiences to the work of award-winning playwright and hip-hop artist Will Power. I first saw Will perform his solo show Flow in 2005, and was immediately taken by his phenomenal lyricism. I’ve eagerly watched his transition from solo performance artist to playwright, and am thrilled to now be producing his Off-Broadway hit play. I am sure this won’t be the last time you see Will’s work in the DC area — he’s someone we should all keep our eye on! Thank you as always for your support of our work here at Round House. Enjoy the show.
Ryan Rilette, Producing Artistic Director
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Photo by ClintonBPhotography
FROM THE PRODUCING ARTISTIC DIRECTOR
SPONSOR SPOTLIGHT
A R O U N D H O U S E T H E AT R E P R O D U C T I O N Ryan Rilette, Producing Artistic Director A Co-Production with Marin Theatre Company, California
Round House Theatre extends its deep gratitude to Heidi & Mitch Dupler, sponsors of Fetch Clay, Make Man.
FETCH CLAY, MAKE MAN
“We are excited about this new season at Round House and thrilled to have the opportunity to be connected with this powerful production. It tells a story about a time we remember well, from a perspective we never knew.” — Heidi and Mitch Dupler
By
WILL POWER Directed by
DERRICK SANDERS
The Dupler Family To become a sponsor for an upcoming production, please contact the Development Department at 240.644.1403.
Scenic Designer: Courtney O’Neill
Lighting Designer: Colin K. Bills
Costume Designer: Heidi Leigh Hanson
Sound Designer: Christopher Baine
Projection Designer: Caite Hevner Kemp
Properties Artisan: Kirsten Royston
Casting: Danisha Crosby Meg Pearson
Dramaturg: Margot Melcon
Assistant Director: Edgar Gonzalez
Production Stage Manager: Bekah Wachenfeld *Member Actors’ Equity Association, The Union of Professional Actors and Stage Managers in the United States.
Sponsored in part through generous support from HEIDI & MITCH DUPLER
Performances beginning October 10, 2014 The New York Premiere of FETCH CLAY, MAKE MAN was produced by New York Theatre Workshop James C. Nicola, Artistic Director, William Russo, Managing Director. The play was originally commissioned and produced by McCarter Theatre Center with support from the NEA/TCG Residency Program for Playwrights
The video and/or audio recording of this performance by any means whatsoever is strictly prohibited. Artist Transportation provided by
Major funding provided by
CAST (in order of appearance) Stepin Fetchit
ROSCOE ORMAN*
Muhammad Ali
EDDIE RAY JACKSON*
Brother Rashid
JEFFERSON A. RUSSELL*
William Fox
ROBERT SICULAR*
Sonji Clay
KATHERINE RENEE TURNER*
*Member Actors’ Equity Association, The Union of Professional Actors and Stage Managers in the United States
Time: 1965 Place: Lewiston, Maine Fetch Clay, Make Man will be performed with one intermission.
JALEO.COM
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11/4/13 6:19 PM
AN EPIC REMATCH Why Muhammad Ali vs. Sonny Liston remains the most anticipated, watched and controversial bout in boxing history
Cassius Clay was a fast-talking 22-yearold challenger who had won the light heavyweight gold medal at the 1960 Olympics in Rome, Italy. The signatures of Clay’s style — constant movement and a tendency to keep his hands low and lean away from punches — were viewed as fundamental flaws that would be quickly exploited by an experienced, hard-hitting heavyweight like Liston. At the opening bell of the Liston-Clay fight in Miami, an angry Liston charged Clay, looking to end the fight quickly and decisively. Clay’s superior speed and movement were immediately evident, as he slipped most of Liston’s lunging punches, making the champion look awkward. After six rounds, Liston refused to leave his corner when the bell sounded, and Clay was declared the winner by technical knockout. There were allegations of a fix as soon as the fight ended, but a month-long investigation brought no evidence to support the claim. The unexpected ending of the bout took on even more suspicious overtones when it was discovered that the two fighters had a rematch clause in their contract. Many argued that Liston had more to gain financially from losing the first bout and fighting a rematch than he did from winning. On February 27, 1964, just days after the first Liston-Clay fight, Clay announced that he had become a member of the Nation of Islam. Clay began going by the name
Cassius X until Nation of Islam leader Elijah Muhammad announced that Clay would be renamed Muhammad Ali. State boxing commissions were reluctant to license the controversial rematch, but it was decided that the fight would take place November 16, 1964, in Boston. However, the bout was delayed, rescheduled, and moved, until finally it landed on May 25, 1965, in a small city in Maine, located 35 miles north of Portland. The atmosphere surrounding the second fight was tense, largely due to the repercussions of Ali’s public embrace of the Nation of Islam. Malcolm X, who had a public falling out with Elijah Muhammad, had been assassinated several months before the fight; the men arrested for his murder were members of the Nation of Islam. Rumors circulated that Ali might be killed by Malcolm’s supporters in retaliation. The FBI took the threats seriously enough to post a guard around Ali. Liston’s camp claimed he had received death threats from the Nation of Islam. Security for the fight was unprecedented. Due to the remote location and the fear of violence, only 2,434 fans were present in the 4,900-seat arena, a community ice-hockey rink, setting the all-time record for the lowest attendance for a heavyweight championship fight. Fetch Clay, Make Man begins just days before their epic rematch.
By Margot Melcon, Dramaturg Lewiston, Maine, was not the first place that boxers Cassius Clay and Sonny Liston faced off across a ring. When their first bout took place in Miami Beach on February 25, 1964, Liston was the World Heavyweight Champion. He had learned to box in the Missouri State Penitentiary while serving time for armed robbery, and his boxing career was managed by a one-time hit man who ran boxing interests for the Mafia.
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Clay and Liston’s first fight, February 25, 1964.
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Stepin Fetchit, Fox publicity photo, 1929.
Cassius Clay, early publicity photo.
THE MAKING OF AN ICON Stepin Fetchit and Muhammad Ali
By Margot Melcon, Dramaturg
perception of black men. He took those perceptions, used them, exaggerated them, exploited them to his advantage and made a career of playing with image in a way, and in a larger and more accessible medium, than any other black actor had before. For this, Perry was vilified, at the time and for years to come, said by many to embody the negative stereotypes of black men. He was accused of being a tool of white oppression, an Uncle Tom, and of holding black culture back by presenting an unflattering and shallow view of an entire population. Similarly, when Cassius Clay came out as a boxer in the early 1960s, his outspoken bragging and playful way with words — and his insistence that others recognize his physical prowess and good looks — outraged people across the country. He was loud and proud and an intimidating 6' 3," 215-pound young black man who hit people for a living. But Clay was also fiercely charming, extremely hard working, intelligent, devout,
Lincoln Perry was an American comedian and actor who, in the 1920s and 30s, was one of the highest paid actors working in the Golden Age of Hollywood. He was the first black actor to become a millionaire, working alongside some of the most famous early motion picture artists. He was a shrewd negotiator, a brilliant strategist, hard working and deliberate. But he was known throughout his life as the iconic and controversial character he created: the lazy, shiftless, mumbling Stepin Fetchit. Perry was a master at the creation of his image. The outward persona of Stepin Fetchit very little resembled the man, but was crafted so convincingly that the world believed that Lincoln Perry and Stepin Fetchit were one and the same. In the early part of the 20th century, Perry’s options as a performer were limited by where artists of color were able to perform and by America’s
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loyal and, in his private life, a modest and thoughtful man. Clay came of age during the Civil Rights era, a time of great transition that had many people deeply invested in who would represent black Americans. Emerging from the shadows of Reverend Martin Luther King, Jr. and Minister Malcolm X, Cassius Clay infamously became Heavyweight Champion Muhammad Ali; a spokesperson for many black Americans, he perfectly executed the role he played in the public eye. “Ali cultivated an image that was the warrior and the politician. It seems to be in juxtaposition to what the image that Stepin Fetchit was doing, but they were both doing something that was very important,” commented director Derrick Sanders to the cast and creative team at the first rehearsal for Fetch Clay, Make Man. “How do you keep that core of yourself as you try to cultivate an image to move people forward, whether it’s through laughter or through fighting?” Both Muhammad Ali and Stepin Fetchit were cultural icons in a shifting America.
Lewiston, Maine, 1965. Ali and Perry at Ali’s training camp.
They both made choices about who they were, as public figures and as private men. Both had people around them who wanted to shape and form their identities, some with righteous motives and some exploitative. Despite manipulation coming from all sides, each man was able to maintain a sense of self as well as a savvy understanding of how the persona they presented was moving society forward.
Round House Theatre is pleased to welcome
Honest Tea as its
2014 ∕ 15 Season Concessions Sponsor
T S A C EDDIE RAY JACKSON (Muhammad Ali) appeared at Marin Theatre Company, RHT’s co-producer for Fetch, in August Wilson’s Fences. He also recently acted in the world premiere of Christina Anderson’s Pen/man/ship at Magic Theatre. Originally from San Francisco, he was a 2013 company member of Oregon Shakespeare Festival and appeared in The Heart of Robin Hood. His New York credits include Much Ado About Nothing at Classic Stage Company; A Midsummer Night’s Dream and La Ronde at Riverside Theatre; and Miss Julie, The Proposal, and Endgame at Columbia University. His film and television credits include Couched, Subway Candy, and Ex-Girlfriends. Jackson received an MFA in Acting from Columbia University and BA in Theatre Arts from California State University, Sacramento. eddierjackson.com
ROSCOE ORMAN (Stepin Fetchit) makes his RHT debut in Fetch Clay, Make Man. He is a 50-year veteran of stage, film, and television. Widely known for his four decades as “Gordon” on Sesame Street, Orman, an Audelco Award winner and a five-time nominee, played Gabriel in the original Broadway production of Fences. Other theater credits include Whose Got His Own, Duplex, Fabulous Miss Marie, Everynight When The Sun Goes Down, Great McDaddy, Sixteenth Round, Last Street Play, Julius Caesar, Coriolanus, Talented Tenth, Do Lord Remember Me, Driving Miss Daisy, Jitney, and The Confessions of Stepin Fetchit, to name a few. Films include Willie Dynamite (title role), F/X, Follow That Bird, New Jersey Drive, Striking Distance, Elmo In Grouchland, and Jeremy Fink And The Meaning of Life. On television, he was Tyrone in All My
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Children and has made numerous guest appearances, including Sanford and Son, Kojak, A Man Called Hawk, Law & Order, Cosby, Sex and the City, The Wire, and Alpha House. JEFFERSON A. RUSSELL (Brother Rashid) has appeared at RHT in Two Trains Running, Fahrenheit 451, Amadeus, and One Flew Over the Cuckoo’s Nest. Other credits include Clybourne Park (Helen Hayes Award nominated Outstanding Ensemble) at Woolly Mammoth Theatre Company; The Trinity River Plays at Dallas Theatre Center and the Goodman Theatre in Chicago; Race at Gulfshore Playhouse; The Piano Lesson at Hangar Theatre in Ithaca, New York; Hecuba, Blood Knot, A Raisin in the Sun, and A Lesson Before Dying at African Continuum Theatre Company; Gem of the Ocean, Blues for an Alabama Sky, Hedda Gabler, and The Soul Collector at Everyman Theatre; The Tempest at Folger Theatre; Cyrano and Edward II at the Shakespeare Theatre Company; Measure For Measure at Academy for Classical Acting at George Washington University; and other theater companies including several national tours with the Kennedy Center for the Performing Arts. TV credits include HBO’s The Wire and NBC’s Homicide: Life on the Streets. Jefferson has a BA in Sociology/Criminal Justice from Hampton University, an MFA in Classical Acting from the Academy for Classical Acting at George Washington University, is a former Baltimore police officer and a founding member of GALVANIZE, a network for artists of color. ROBERT SICULAR (William Fox) has appeared at Marin Theatre Company in Arms and the Man, The Seafarer, and the world premiere of Magic Forest Farm, directed
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C I T S I T AR TEAM
by Ryan Rilette. He has also performed in the San Francisco Bay Area with A.C.T., Berkeley Rep, San Jose Rep, TheatreWorks, Center REP, Cal Shakes, and the San Francisco Shakespeare Festival. His other theater credits include the Denver Center Theatre Company, South Coast Rep, Seattle Rep, Repertory Theatre of Saint Louis, Actors Theatre of Louisville, Sacramento Theatre Company, the Shakespeare Theatre Company in Washington D.C., and the Colorado, Lake Tahoe, Santa Fe Shakespeare Festivals, as well as eight seasons with the Oregon Shakespeare Festival in Ashland. Sicular’s screen credits include recurring roles on General Hospital and The Young and the Restless, a starring role in the science fiction comedy thriller Never Die Twice, a featured part in the Bollywood potboiler Dil Pardesi Ho Gayaa and the role of “Dad” in Josh Kornbluth’s upcoming Love and Taxes. He also stars in the podcast series Dr. Dark Presents (drdarkpresents.com). Sicular attended the University of California, Berkeley, and the London Academy of Music and Dramatic Art.
WILL POWER (Playwright) is an awardwinning playwright and performer. Fetch Clay, Make Man recently enjoyed a successful run Off-Broadway at New York Theatre Workshop. His other plays include Steel Hammer with SITI Company at the Humana Festival of New American Plays (Actors Theatre of Louisville), The Seven (Lucille Lortel Award Best Musical) at New York Theatre Workshop and La Jolla Playhouse in San Diego, Five Fingers of Funk! at Children’s Theatre Company in Minneapolis, Honey Bo and the Goldmine at La Jolla Playhouse, and two acclaimed solo shows, The Gathering and Flow, which have toured to over 70 cities nationwide, Europe, and Australia. Power’s numerous awards include a United States Artist Prudential Fellowship, the TCG Peter Zeisler Memorial Award, a Jury Award for Best Theatre Performance at the HBO US Comedy Arts Festival, and the Trailblazer Award from the National Black Theater Network. Power’s numerous film and television appearances include The Colbert Report (Comedy Central) and Bill Moyers on Faith & Reason (PBS). He spent his early years as a key member in two critically acclaimed avant-garde music groups, Midnight Voices and the Omar Sosa Sextet. With these groups, Power recorded and toured extensively. He has taught theater around the world and held a number of artist fellowships and guest teaching positions at institutions such as the City College of New York, Princeton University, and the University of Massachusetts Amherst. Power is currently on the faculty at the Meadows School of the Arts – Southern Methodist University in University Park, Texas, and is the Andrew W. Mellon Foundation Playwright in Residence with the Dallas Theatre Center.
KATHERINE RENEE TURNER (Sonji Clay) makes her RHT debut in Fetch Clay, Make Man. A Washington D.C. based actor, she has appeared in The Threepenny Opera at Signature Theatre, Photo-Op at UrbanArias, A Midsummer Night’s Dream and Much Ado About Nothing at Shakespeare Theatre Company, The Laramie Project at Ford’s Theatre, The Twelve Days of Christmas at Adventure Theatre, and Rumplestiltskin at Imagination Stage. Her television and film credits include The RA’s, Wintersmith, and Ward 11. Turner is a graduate of Ithaca College and the National Theater Institute at Eugene O’Neill Theatre.
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DERRICK SANDERS (Director) makes his RHT debut with Fetch Clay, Make Man. He recently directed August Wilson’s Fences at Marin Theatre Company, The Mountaintop at Virginia Stage Company, the world premiere of Mr. Chickee’s Funny Money at Chicago Children’s Theatre, Clybourne Park at University of Illinois at Chicago School of Theatre and Music, and Clybourne Park and the world premiere of Beneatha’s Place for “The Raisin Cycle” at CenterStage. His other credits include King Hedley II at the OffBroadway Signature Theatre; Seven Guitars and King Hedley II for “August Wilson’s 20th Century” at the Kennedy Center; Joe Turner’s Come and Gone at CenterStage; Fences and Radio Golf at Virginia Stage; Jitney at True Colors Theatre in Atlanta; the world premieres of Bud, Not Buddy, and Jackie and Me at Chicago Children’s Theatre; and the world premiere of Five Fingers of Funk at Children’s Theatre Company in Minneapolis. Sanders was assistant director of August Wilson’s world premiere productions of Radio Golf and Gem of the Ocean on Broadway and at the Goodman Theatre in Chicago, as well as the Huntington Theatre in Boston and Mark Taper Forum in Los Angeles for Radio Golf. As the founding artistic director of Congo Square Theatre Company in Chicago, he directed numerous productions including Joe Turner’s Come and Gone, which won Black Theatre Alliance Awards for best production and direction, and Seven Guitars, which won Joseph Jefferson Awards for best production and direction. A member of UIC’s Theatre Faculty, he organizes Chicago’s August Wilson Monologue Competition. He was named Chicago Tribune’s Chicagoan of the Year in 2005. In March, Sanders made his filmmaking debut at the Queens World Film Festival in New York City with the premiere of his short Perfect Day, which recently screened at the San Francisco Black Film Festival. He received his BFA from Howard University and MFA from University of Pittsburgh.
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COURTNEY O’NEILL (Scenic Designer) makes her RHT debut with Fetch Clay, Make Man. She is a Chicago-based scenic designer, whose regional credits include The Mountaintop at Virginia Stage Company; When I Come to Die at the Kansas City Repertory Theatre; Song Man Dance Man at the Milwaukee Rep; Sons of the Prophet, Noises Off, and Sundown Town at TheatreSquared; and This is Our Youth (associate designer) on Broadway. Her Chicago credits include Great God Pan at Next Theatre Company, The Little Prince at Lookingglass Theatre Company, and Our Town with the Hypocrites. O’Neill received the 2013 United States Institute for Theatre Technology Scene Design Award, a Joseph Jefferson Award for the Hypocrites’s Mud, and a Jeff Award nomination for the Gift Theatre Company’s Talk Radio. She holds an MFA from Northwestern University and a BFA from Depaul University, where she currently teaches. courtneyoneill.com COLIN K. BILLS (Lighting Designer) has had his work seen at RHT, Berkshire Theatre Festival, CenterStage, Contemporary American Theatre Festival, Dallas Theater Center, Everyman Theatre, Ford’s Theatre, Imagination Stage, Intiman Theatre, Kennedy Center, Olney Theatre Center, Opera Lafayette, Opéra Royal Versailles, Portland Center Stage, the Smithsonian, Signature Theatre, Studio Theatre, Synetic Theater, Theater J, the Washington Revels, Williamstown Theatre Festival, and the Wilma Theater. He is a company member of Woolly Mammoth Theatre Company and a “conspirator” with dog & pony dc. A graduate of Dartmouth College, Bills has won three Helen Hayes Awards and a Princess Grace Fellowship. HEIDI LEIGH HANSON (Costume Designer) has designed costumes for Marin Theatre Company’s productions of Jacob Marley’s Christmas Carol and Good People. She recently designed for the San Francisco
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CAITE HEVNER KEMP (Projection Designer) makes her RHT debut with Fetch Clay, Make Man. Her selected OffBroadway credits include Phoenix at Rattlestick Playwrights Theater, My Mother Has 4 Noses at the Duke on 42nd Street, Triassic Parq at Soho Playhouse, Jukebox Jackie at La Mama, Honky at Urban Stages, and Son of a Gun at Theater Row. Her other New York design credits include Avery Fisher Hall, Ars Nova, the Civilians, the Juilliard School, the Flea Theater, Cherry Lane Theatre, and Studio 42; and regional credits include Arena Stage, Guthrie Theater, Playmakers Rep, Williamstown Theatre Festival, ArtsEmerson, Chautauqua Theater Company, Bergen Stages, Yale Drama, Premiere Stages, and Greenwich Music Festival. caitekemp.com
Mime Troupe’s Ripple Effect and Shotgun Players’ Coast of Utopia: Salvage. Other recent projects include costume designer for Cutting Ball Theater’s world premiere of Sidewinders and assistant costume designer for La Musica Lirica’s opera productions of Le nozze di Figaro, Suor Angelica, La cambiale di matrimonio, and Lucia di Lammermoor. Her film and TV credits include Netflix’s Arrested Development and assistant costume designer for the film Lucky Strike, directed by Christopher Ashley. Hanson has also designed productions for Laguna Playhouse, Open Fist Theatre Company in Los Angeles, and Yale Repertory Theatre, among others. She has a BA in theater from California State University Long Beach and an MFA in costume and set design from the Yale School of Drama. heidileigh.com CHRISTOPHER BAINE (Sound Designer) makes his RHT debut with Fetch Clay, Make Man. He recently designed Detroit at Woolly Mammoth Theatre Company, Water by the Spoonful at Studio Theatre, Yellow Face at Theater J, and Romeo and Juliet at Folger Theatre (2014 Helen Hayes Award nominee). For Woolly Mammoth, he also designed The Elaborate Entrance of Chad Deity (2013 Hayes Award nominee), Gruesome Playground Injuries, and A Bright New Boise (2012 Hayes Award winner for Outstanding Sound Design). Baine has also designed for many regional theaters including Shakespeare Theatre Company, the Kennedy Center, Olney Theater Center, Everyman Theatre, Forum Theatre, dog & pony dc, Adventure Theater, Children’s Theatre of Charlotte, Synetic Theater, and Theatre Alliance. A 2012 Kenan Fellow at the Kennedy Center, he has also been the Resident Sound Designer for Imagination Stage and a guest artist with the University of Maryland, Catholic University, and American University. bainedesign.com
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KIRSTEN ROYSTON (Properties Artisan) was the assistant props artisan for Marin Theatre Company’s production of Failure: A Love Story. The resident technical director of San Francisco State University’s Brown Bag production development class, she is a Bay Area-based set, props, and production designer. Her recent prop work includes American Buffalo and The Letters at Aurora Theatre Company and Daylighting: The Berkeley Stories Project and Edward Gant’s Amazing Feats of Loneliness at Shotgun Players. kirstenroyston.com MEG PEARSON (Casting) has directed casting for all Marin Theatre Company main stage productions since 2008. In addition, she directs casting for MTC’s School Tour and MTC’s New Play Reading Series. Pearson served as casting director on the feature film Seducing Charlie Barker, directed by Amy Glazer, and is a former Board member of the Bay Area Children’s Theatre. Before going to MTC, she served as casting assistant on television shows Las Vegas, King of Queens, and Grounded for Life, as well as feature films Eurotrip, Dude, Where’s My Car?, and Straight Jacket. Pearson is a graduate of the
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Theatre Arts program at Boston College. MARGOT MELCON (Dramaturg) joined Marin Theatre Company as literary manager and dramaturg in 2008 and has served as dramaturg for all MTC’s productions in the past five seasons in addition to managing new play development for the company. She has worked on new plays with the Kennedy Center, the New Harmony Project, The Playwrights’ Center in Minneapolis, Shotgun Players, Berkeley Rep’s Ground Floor, and Bay Area Playwrights Festival, and was a fellow at the National Critics Institute at the O’Neill Playwrights Festival. She is a graduate of California State University, Chico. BEKAH WACHENFELD (Production Stage Manager) is thrilled to return to the Round House team for her second season after stage managing Becky Shaw, Seminar, This, The Lyons, Two Trains Running, Ordinary Days, and Fool for Love. Select DC area stage management credits include An Iliad at Studio Theatre; The Religion Thing, New Jerusalem, The Whipping Man at Theater J; If You Give A Moose A Muffin at Adventure Theatre MTC; Mad Forest at Forum Theatre. Select regional credits include Miss Saigon, White Christmas, Amadeus at Walnut Street Theatre; Bad Dates, The Musical of Musicals…, The Light in the Piazza, Les Misérables at Weston Playhouse; Morini Strad with Primary Stages; Boy Wonders with Second Stage. International credits include The Time of Your Life, Cradle Me at Finborough Theatre in London, UK. Ms. Wachenfeld also freelances in corporate event planning. She is a proud member of AEA and graduate of James Madison University. Love to DSKMAT. RYAN RILETTE (Producing Artistic Director) is entering his third season as Producing Artistic Director of Round House, where he directed Fool for Love by Sam Shepard, This by Melissa James Gibson, and How to Write a New Book for the Bible by Bill Cain and
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where later this season, he will be seen as Astrov in Annie Baker’s Uncle Vanya. Prior to joining Round House, he served as Producing Director of Marin Theatre Company for five years. For MTC, he has directed the world premieres of Bellwether by Steve Yockey and Magic Forest Farm by Zayd Dohrn. He also directed God of Carnage by Yasmina Reza; Fuddy Meers by David Lindsay-Abaire; Boom by Peter Sinn Nachtrieb; and In The Red and Brown Water by Tarell Alvin McCraney, the first part of The Brother Sister Plays Trilogy, which MTC co-produced with American Conservatory Theatre and Magic Theater, and which was named “the theatrical event of the year” by the San Francisco Chronicle. Prior to joining MTC, Rilette served as Producing Artistic Director of Southern Rep Theatre, the leading professional theater in New Orleans, from 2002 to 2007. At Southern Rep, he directed the world premieres of The House of Plunder by Jim Fitzmorris, The Vulgar Soul by John Biguenet, and The Sunken Living Room by David Caudle; and the regional premieres of Edward Albee’s The Goat, or Who is Sylvia?, In Walks Ed by Keith Glover, and Kimberly Akimbo by David Lindsay-Abaire. He also commissioned, developed, and directed two plays about Hurricane Katrina and its effect on the region: Rising Water by John Biguenet and The Breach by Tarell Alvin McCraney, Catherine Filloux, and Joe Sutton. Rilette is the co-founder and former Artistic Director of Rude Mechanicals Theatre Company, the past president of the National New Play Network, and a former professor at Tulane and Loyola universities in New Orleans. He earned his MFA in Acting from American Conservatory Theatre.
MARIN THEATRE COMPANY is the Bay Area’s premier mid-sized theater and the leading professional theater in the North
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Bay. They produce a six-show season of provocative plays by passionate playwrights from the 20th century and today in their 231-seat main stage theater, as well as a five-show Theater Series for Young Audiences (in partnership with the Bay Area Children’s Theatre) in their 99-seat studio theater. They are committed to the development and production of new plays by American playwrights, with a comprehensive New Play Program that includes productions of world premieres, two nationally recognized annual playwriting awards and readings, and workshops by the nation’s best emerging playwrights. Their numerous education programs serve more than 6,000 students from over 40 Bay Area schools each year. MTC was founded in 1966.
is directed, acted and designed by high school students; School Outreach, including Intersections, Student Matinees, and Play It Forward, a program that allows Montgomery County high school students to attend Round House shows for free; and Classes for Adults and Youth. Round House began life in 1970 as “Street ’70,” a program of the Montgomery County Department of Recreation that provided educational outreach in schools and performances throughout the county. In 1977, Montgomery County offered Street ’70 a permanent home in what used to be the Bushey Drive Elementary School in Silver Spring. The building was round, so the company changed its name to Round House Theatre. In 1982, Round House incorporated as a nonprofit. The company remained a part of the County’s Department of Recreation until 1993, when it became a separate and independent professional theater.
ROUND HOUSE THEATRE is one of the leading professional theaters in the Washington, DC metropolitan area. Its mission is to serve as “a home for outstanding ensemble acting and lifelong learning” and “to captivate audiences with stories that inspire compassion, evoke emotions, and demand conversation.” In its 37-year history, Round House has been nominated for 140 Helen Hayes Awards (including eight in 2014) and has won 27 (including three in 2014). It’s productions have won “Outstanding Resident Play” four times. It produces a six-show season of modern classics, new plays, and musicals for more than 40,000 patrons each year at its 395-seat theater in Bethesda. Round House’s educational programs serve more than 2,500 students of all ages at its six-classroom Education Center in Silver Spring and in schools throughout Montgomery County. Its many innovative education programs encompass Full Day Programs for Youth, including Summer Programs for K – 12; a Teen Performance Company, with classes and events for teens throughout the year culminating in The Sarah Metzger Memorial Play, the only play produced by a regional theater that
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ADDITIONAL PRODUCTION STAFF Production Assistant: Rachel Zucker Run Crew: Chris Hall, Elliot Lanes, Kelly Sinnott Additional Carpentry: Peter Gambardella, Bianca Hamp, Greg MacWilliam, Kyle McGruther Interim Master Electrician: Kris Thompson Electricians: Chris Hall, Kate Kolarik, Sarah Mackowski, Kathryn Pong, Kris Thompson, Will Voorhies Associate Lighting Designer: Cecilia Durbin Special Thanks: Cathy & Mier Wolf, Doug Frazer Full time staff listed on page 20. A copy of Round House Theatre’s current financial statement is available upon request. Contact Round House Theatre at One Veterans Place, Silver Spring, MD 20910 or call 240.644.1099. Documents and information submitted to the State of Maryland under the Maryland Charitable Solicitations Act are available from the Office of the Secretary of State for the cost of copying and postage.
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, lighting, sound, and projection designers are represented by United Scenic Artists, Local USA-829 of the IATSE. The director is a member of the Stage Directors and Choreographers Society, an independent national labor union.
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www.VamooseBus.com • Tel: 301-718-0036
K N A H T YOU
…to all of the CORPORATE, FOUNDATION, GOVERNMENT and INDIVIDUAL donors who made generous annual contributions to Round House Theatre during the 2014/2015 season. These taxdeductible 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 240.644.1401.
D I A M O N D C I R C L E ($ 10 0 , 0 0 0 +) Maryland State Arts Council
P L AT I N U M C I R C L E ($ 5 0 , 0 0 0 – $ 9 9, 9 9 9) Alan and Bonnie Hammerschlag Jeffrey and Carolyn Leonard
The Morris and Gwendolyn Cafritz Foundation Judy and Leo Zickler
G O L D C I R C L E ($ 2 5 , 0 0 0 – $ 4 9, 9 9 9) Dr. and Mrs. Clement Alpert Cathy S. Bernard Don and Jan Boardman Data-Prompt, Inc.
Heidi and Mitch Dupler Margaret Abell Powell Fund of the William S. Abell Foundation MARPAT Foundation
Linda Ravdin and Don Shapero The Share Fund The Shubert Foundation Town of Chevy Chase
S I LV E R C I R C L E ($ 10 , 0 0 0 – $ 24 , 9 9 9) Esthy and Jim Adler Michael Beriss and Jean Carlson Clark-Winchcole Foundation Clark Charitable Foundation The Homer and Martha Gudelsky Family Foundation
J. Willard and Alice S. Marriott Foundation Ann and Bruce Lane Susan Freeman McGee Nora Roberts Foundation Pasternak & Fidis
The Rowny Foundation Susan Gilbert and Ron Schechter Dick and Katie Snowdon Sulica Fund Bernard and Ellen Young
B R O N Z E C I R C L E ($ 5 , 0 0 0 – $ 9, 9 9 9) Elaine and Richard Binder Don and Nancy Bliss Richard and Pamela Feinstein Freddie Mac Foundation Ann and Frank Gilbert Mark and Anastasia Joelson
Henry B. & Jessie W. Keiser Foundation Marion Ein Lewin Judy and Brian Madden Heidi and Bill Maloni Paul and Zena Mason Chris and Kathleen Matthews
Susan and Bill Reinsch Hank and Charlotte Schlosberg Laura and Robert Walther Robert and Virginia Walther Alan and Irene Wurtzel Anne and Robert Yerman Lynda and Joseph Zengerle
C O P P E R C I R C L E ($ 2 , 5 0 0 – $ 4 , 9 9 9) Marla and Bobby Baker, Baker-Merine Family Foundation Terry Beaty Sue Ann and Ken Berlin Doug and Lorraine Bibby Chevy Chase Trust Frances Chyatte City of Rockville Clark Construction Group, LLC Community Foundation for Montgomery County Dallas Morse Coors Foundation for the Performing Arts Bunny R. Dwin
F E L LO W S ($ 1 , 5 0 0 – $ 2 , 4 9 9) Natalie and Paul Abrams Kathy and Norm Barker Dimick Foundation Carol Sue Fromboluti Robert E. Hebda
Robbin and Giles Hopkins Reba and Mark Immergut Alan King Cathy Kwart Rona and Allan Mendelsohn
Lynn and Philip Metzger Stacy Murchison Larry and Melanie Nussdorf Marilyn and Barry Scheiner
B E N E FAC TO R S ($ 1 , 0 0 0 – $ 1 , 4 9 9)
ROUND HOUSE INNER CIRCLE Arts & Humanities Council of Montgomery County
ANNUAL FUND SUPPORTERS
Jan and Jim Eisner David and Jane Fairweather Laura Forman and Richard Bender Eric and Jessica Glantz Hank and Carol B. Goldberg Graham Holdings Company Stuart and Beverly Greenfeig Daniel Kaplan and Kay Richman Lerch, Early & Brewer Montgomery County Executive’s Ball Nina McLemore Scott and Louise Melby Col. John and Marlene Moser
Tim Westmoreland Sally J. Patterson Anne & Henry Reich Family Foundation, Lee G. Rubenstein, Co-President Victor Shargai and Craig Pascal Robin Sherman Susan and John Sturc Weissberg Foundation Ginger Macomber and Roger Williams Mier and Cathy Wolf Margot and Paul Zimmerman
Round House Theatre is funded by operating grants from 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 county elected officials.
69603
Nancy and Dan Balz Tessie and Thanos Castambas Bill and Donna Eacho Robin Hettleman and Matthew Weinberg Allan and Shelley Holt
Erin and Mark Kopelman Frank and Joanne Lavin Judy Levey Geoff and Lisa Lewis Winton Matthews, Jr. Louis and Sherry Nevins
Ilga Pakalns Mr. and Mrs. Louis Pohoryles Cynthia Rohrbeck David and Peggy Shiffrin Carol Trawick Andrew A. and Marcia D. Zvara
A DVO C AT E S ($ 5 0 0 – $ 9 9 9) Rachel H.M. Abraham Michael and Nancy Arons Bethesda Magazine Community Fund Gail and Samuel Broder Susan and Laird Burnett Calvert Investments Jane and Fred Cantor Katherine Chase Peggy Dugan David Ehrhart EuroMotorcars
Charles Gebbert Mary and Bill Gibb Jean and Christopher Gilson Albert Glickman Sheldon and Sherri Gottlieb Ellen Hatoum Linda Lurie Hirsch William L. Hopkins and Richard B. Anderson Denise and Alexander Liebowitz
Douglas McManus and Susan Albert in honor of Laura Forman Harv Lester and Don McMinn Jeffrey Menick David Metzger The Greene-Milstein Family Foundation Ann Morales Elissa and Bill Oshinsky P. David Pappert Laurance M. Redway
Eric and Shelley Rubin Dian and Steve Seidel Leslie Smith Pamela and John Spears Luanne and Marc Stanley Ed Starr and Marilyn Marcosson Tom Calhoun and Thelma Triche Lance Tucker Vivian Cavalieri LLC Jerry and Jean Whiddon
Carole and Robert Fontenrose Mr. and Mrs. Larrie Greenberg M.D. Norman Gurevich Michael G Hansen Ilana Heintz Terry Ireland Judy and Peter Jablow Gail Jensen Larry and Sue Jeweler
Suzanne and Jon Lawrence Darrell Lemke and Maryellen Trautman Lynn Bregman and Barry Malter Joan Mican and Skip Mahon Geri and Dick Olson Posner-Wallace Foundation in honor of Rachel Abraham Nancy E Randa
Ryan and Christy Rilette Gene and Gail Rubinson Mary Schellinger Sarah Sexton Linda and Leslie Smith Joan and Stanley Weiss Leslie Maitland and Daniel Werner Wiley Rein LLP Kathryn Winsberg
Four Seasons Gansevoort Hank’s Oyster Bar Hilton Garden Inn Bethesda Honest Tea The Irish-Inn at Glen Echo The Iron Bridge Wine Company Jaleo Barry and Beth Lindley Max Brenner Microsoft Mon Ami Gabi
Montage Resort Nina McLemore The Patton Alliance Paul’s Liquor Propellor Provisions Red Door Spa Residence Inn Bethesda Richard Nader Entertainment Ritz Carlton River Falls Rothschild Chateau Salamander Resort & Spa
Shugoll Research Signature Theatre Strathmore Studio Theatre SunTrust The Taproot Foundation Theatre J Vamoose The Washington Kastles Zeke’s Coffee
A S S O C I AT E S ($ 2 5 0 – $ 4 9 9) Deborah and David Astrove Stephen and Kate Baldwin Robert and Carol Bennett Ellen L. Berman David Bradley Joan Bullmer Michael Burke Linda and Joseph Dominic Laurie Edberg Sally A. Fasman
IN-KIND DONORS American Plant Amtrak Assagi Barrel Oak Winery Cabot Creamery of Vermont Café Deluxe Calvert Woodley Contemporary American Theater Festival Chevy Chase Florist Community Forklift Daily Grill Doyle Printing & Offset Co.
S P EC I A L F U N D S Donald B. Hirsch Scholarship Fund The Jeffrey and Carolyn Leonard Fund The Sarah Metzger Memorial Fund Melissa Blake Rowny Fund for Artistic Development
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. This list is current as of October 1, 2014.
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.
ROUND HOUSE THEATRE DIRECTORY
AUDIENCE SERVICES
BOARD OF TRUSTEES
LOCATIONS
Mitchell S. Dupler, President Sally J. Patterson, Immediate Past President Susan Gilbert, Vice President Cathy S. Bernard, Treasurer Bruce S. Lane, Secretary Michael Beriss Elaine Kotell Binder Donald M. Boardman Laura Forman Ann Gilbert Eric Glantz Bonnie Hammerschlag Mitchell Hébert Erin Kopelman Marion Ein Lewin
ADVISORY BOARD Geoffrey P. Lewis Susan Freeman McGee Brian M. Madden Paul Mason Scott Melby Stacy Murchison Linda J. Ravdin Ryan Rilette Laura Walther Roger Williams Mier Wolf Judith H. Zickler General Counsel: Ann Marie Mehlert Lerch Early & Brewer, Chtd.
Jerry B. Whiddon, Producing Artistic Director Emeritus Guido Adelfio Esthy and James Adler Norman A. Barker Sue Ann Berlin Jean Carlson Donna W. Eacho Zelda Fichandler 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 Jonathan R. and Shellie Steinberg Manny Strauss Kathy Yanuck Wenger Andrew A. Zvara
Bethesda Mainstage
Paid parking is available in the
4545 East-West Highway
Chevy Chase Trust building
Join the director and/or
Producing Artistic Director: Ryan Rilette Associate Producer: Danisha Crosby Artistic Apprentice: Sarah Scafidi
ADMINISTRATION
General Manager: Tim Conley Accountants: Raffa, P.C.
DEVELOPMENT
Manager of Institutional Giving: Patricia Germann Development Associate: Jennifer Culotta
MARKETING & PUBLIC RELATIONS
Director of Marketing & Public Relations: Lance Tucker Marketing & Public Relations Manager: Sarah Pressler
AUDIENCE SERVICES
Director of Audience Services: Wil E Johnson III Box Office Manager: Donna Hall Group Sales: Steve Langley Box Office Associates: Marquita Dill, Alessandra Dreyer, Lorraine Ebbin, Andrea Ponger, Ryan Rigazzi Lead House Manager: Michele Cesar Turner
House Management Staff: Sondra Katz, Nora O’Reilly, Lori Lentner Schwartz, Rachel Spears, Richard Taylor, Maureen Wynn
2014 – 15 ARTISTS
PRODUCTION
Production Manager: Jesse Aasheim Technical Director: Amanda Stultz Assistant Technical Director: Kevin Maresca Master Electrician/Audio Supervisor: Liz Sena Costume Shop Manager: Rachel Schuldenfrei Scenic Charge: Jenny Cockerham Carpenter: Shaun Bartlow Production Stage Manager in Residence: Bekah Wachenfeld
EDUCATION
Director of Education: Brianna McCoy
FACULTY
Nora Achrati Nate Alston Audrey Bertaux Elizabeth Jernigan Casey Kaleba Timothy Kerber Marin Leggat Bri Manente Brandon McCoy Jessica Pearson Melissa Richardson Andrew Stoffel Rick Westerkamp
Actors Evan Casey Katie deBuys Sherri L. Edelen Maggie Erwin Gabriela Fernandez-Coffey Will Gartshore Danny Gavigan Tim Getman Kimberly Gilbert Laura C. Harris Deborah Hazlett Mitchell Hebert Helen Hedman Beth Hylton Eddie Ray Jackson Mark Jaster Thomas Keegan Vincent Kempski Marty Lodge Brandon McCoy Roscoe Orman Lawrence Redmond Ryan Rilette Nancy Robinette Jefferson A. Russell Todd Scofield Eric Shimelonis Robert Sicular Michelle Six Katherine Renee Turner Erin Weaver James Whalen Jerry Whiddon Lauren Williams Joy Zinoman Designers Christopher Baine Colin K. Bills Tony Cisek Andrew R. Cissna Daniel Conway Heidi Leigh Hanson Kasey Hendricks Helen Huang Jennifer Crier Johnston
Misha Kachman Caite Hevner Kemp James Kronzer Frank Labovitz Andrea Moore Matthew M. Nielson Courtney O’Neill Meghan Raham Eric Shimelonis Debra Kim Sivigny Paul Toben Daniel MacLean Wagner Directors Joe Calarco Meredith McDonough Ryan Rilette Derrick Sanders Shirley Serotsky John Vreeke Edgar Gonzalez, Assistant Director Katie Ryan, Assistant Director Sarah Scafidi, Assistant Director William Yanesh, Musical Director Dramaturgs Jodi Kanter Otis Ramsey-Zoe Brent Stansell Fight Choreographers Casey Kaleba
Bethesda, MD 20814
parking garage, adjacent to
Round House Theatre’s
the theater. The eastern-most
Producing Artistic Director
Education Center
elevator in the garage provides
for a pre-performance
925 Wayne Avenue
direct access to the theater.
discussion of the show you
Silver Spring, MD 20910 Administrative Office One Veteran’s Place
Parking is also available in
are about to watch. Held
various nearby lots including
in the theater at 7:15 p.m.
the metered garage on Waverly
prior to the first Friday
Street. Meters run until 10 p.m.
Silver Spring, MD 20910
weekdays, with free parking on Saturday and Sunday. Pay-by-Cell
BOX OFFICE HOURS
Phone parking is available in the Waverly Street garage.
20
2014/2015 Season
performance. POST-SHOW TALKBACKS Join us for a post-show discussion of the play
When there is a performance
following the Wednesday
the box office is also open:
and Thursday evening
Tuesday: noon – 7:30 p.m.
METRO
and Sunday matinee performances.
Wednesday & Thursday:
BETHESDA
10 a.m. – 7:30 p.m.
Round House Theatre
Round House
Friday: 10 a.m. – 8 p.m.
is at 4545 East-West Highway,
Theatre facilities
Saturday: Noon – 8 p.m.
one block east of Wisconsin
are accessible
Sunday: Noon – 3 p.m.
Avenue and of the Bethesda
to persons with
station on the Red Line.
disabilities. Please
SILVER SPRING
request special
TICKET SALES AND SUBSCRIBER EXCHANGES
Round House Theatre Education
Phone: 240.644.1100 Fax: 240.644.1101 Tickets and subscriptions may also be purchased at
Center is at 925 Wayne Avenue, adjacent to the Wayne Avenue
Audio-description
parking garage and two blocks
is provided at the
from the Silver Spring station on
second Saturday matinee.
the Red Line.
the box office or online at
Sign-interpretation
www.RoundHouseTheatre.org.
PERFORMANCE DETAILS GROUP SALES
Cameras and recording devices
Discounts are available for
are not allowed in the theater.
groups of 10 or more. Call
Please turn off all pagers,
240.644.1100 for details.
telephones, watch alarms, and other electronic devices during the performance. Latecomers will
LOBBY CONCESSIONS
be seated at the management’s
Food and beverages are available for purchase before
needs seating at time of ticket purchase.
discretion.
performance. (Reservations for sign interpreting services must be made at least 2 weeks before the performance.) Audio-enhancement for all productions.
intermission. Food is not allowed
Program design by
in the theater auditorium,
Scott Shumaker at
although drinks with lids
Precision Design LLC.
Please ask an usher
or caps are permitted.
To advertise, contact Adrienne Miller Phelps at 202.320.4764 or
Round House Theatre
is provided at the fourth Saturday
systems are available
the performance and during
adrienne@amapolamarketing.com
Round House Theatre
DIRECTOR DISCUSSION
www.RoundHouseTheatre.org
M – F noon – 5 p.m.
ARTISTIC / PRODUCING
SPECIAL PERFORMANCES
PARKING
21
2014/2015 Season
for assistance.
up next
at Round House Theatre
“Moving, inclusive, and wholly original” — Chicago Tribune
THE NUTCRACKER A New Holiday Musical Created by Tommy Rapley, Jake Minton, Phillip Klapperich, & Kevin O’Donnell Based on the story by E.T.A. Hoffman Directed by Joe Calarco
Nov. 26 – Dec. 28
Weaving together a delightful original score, spellbinding spectacle, and astonishing puppetry, Clara’s crusade to save her family (with the assistance of a remarkable nutcracker) comes alive with dazzling theatricality. This contemporary retelling is as poignant and touching as it is hilarious and fun. With Evan Casey, Sherri L. Edelen, Mitchell Hébert, Will Gartshore, Vincent Kempski, Lawrence Redmond, Erin Weaver, & Lauren Williams
240.644.1100 or RoundHouseTheatre.org