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The Nutcracker artwork by Esther Wu
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Photo of Janine Divita, Erin Weaver, Samuel Edgerly, and Will Gartshore by Danisha Crosby
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When I saw The Nutcracker last year at The House Theatre of Chicago, I immediately fell in love with it. I thought it perfectly captured the joy and heartbreak that live side-byside during the holidays for those who have experienced the loss of a loved one. At the same time, it was extraordinarily funny and a whole lot of fun. I was immediately hooked and knew I had to bring it home to the DC area! As you’ll see, this version of The Nutcracker is different than the ballet version you may be familiar with (just as the ballet is different from the original short story by E.T.A. Hoffmann). What I love about this version is that it centers on a contemporary military family suffering from the loss of their son / brother. I don’t think we talk nearly enough about the toll our never-ending war in the Middle East has taken on the families of the men and women who sacrifice for us. I also love that Clara’s dolls coming to life takes on a new significance in this version of the play. It is her imagination that saves her, and ultimately, allows her family to heal. Unlike many Round House shows, this is one that your entire family can enjoy! Those of you who come to Round House often know that we have a particular interest in bringing more young people to the theater. That’s why we recently launched “Play it Forward,” a program that offers free tickets to Montgomery County Public High School students. Many of you have donated to this program and have asked what else you can do to help us get younger people to the theater. This is your chance to help. The Nutcracker is a perfect show to introduce new audiences to Round House. Help us spread the word! For those of you who are new here, welcome! We hope you’ll come back to see one of the other great shows we have coming up later this season. Up next is the off-Broadway hit comedy Rapture, Blister, Burn by Gina Gionfriddo, who wrote Becky Shaw, one of the biggest hits of our 2012 –13 season. Annie Baker’s new adaptation of Uncle Vanya follows, featuring many of the area’s best known actors. Finally, we end the season with the American Premiere of the British hit comedy NSFW by Lucy Kirkwood. It’s a spring that’s filled with funny, thought-provoking work that you’re sure to enjoy. Thank you for choosing to spend part of your holiday with Round House. I hope you are as moved and thrilled by The Nutcracker as I am. On behalf of the staff and board, I wish you and your family a very happy holiday season!
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
Round House Theatre extends its deep gratitude to Susan Gilbert & Ron Schechter, sponsors of The Nutcracker. “As parents who greatly enjoyed watching Sesame Street with our children, this Nutcracker offers the same lovely experience. It is a story of loss that’s overcome by hope, and with its generous sprinkling of theatrical magic, it is a wondrous holiday show. Merry Christmas, Happy Hanukkah and Best Wishes for a Happy, Healthy New Year!” — Susan Gilbert & Ron Schechter
THE NUTCRACKER Created by
Tommy Rapley, Jake Minton, Phillip Klapperich, AND Kevin O’Donnell Book by
Jake Minton
AND
Phillip Klapperich
Music by
Lyrics by
Kevin O’Donnell
Jake Minton
Based on the story by E.T.A. Hoffmann
To become a sponsor for an upcoming production, please contact the Development Department at 240.644.1403.
Directed & Choreographed by Joe Calarco Music Director: William Yanesh
Scenic Designer: James Kronzer
Costume & Puppet Designer: Helen Huang
Lighting Designer: Daniel MacLean Wagner
Sound Designer: Matthew M. Nielson
Props Master: Jennifer Crier Johnston
Dramaturg/Assistant Director: Sarah Scafidi
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 SUSAN GILBERT & RON SCHECHTER
Performances beginning November 26, 2014 THE NUTCRACKER was produced by special arrangement with Bruce Ostler, BRET ADAMS, LTD., 448 West 44th Street, New York, NY 10036. www.bretadamsltd.net THE NUTCRACKER was originally developed and produced by The House Theatre of Chicago
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) Clara
LAUREN WILLIAMS*
David / Really Scary Rat / Teddy
MITCHELL HÉBERT*
Martha / Scary Rat / Dance Captain
SHERRI L. EDELEN*
Uncle Erich Drosselmeyer / Really Quite Scary Rat
LAWRENCE REDMOND*
Fritz / Nutcracker
VINCENT KEMPSKI*
Monkey
WILL GARTSHORE*
Hugo
EVAN CASEY*
Phoebe
ERIN WEAVER*
* Member Actors’ Equity Association, The Union of Professional Actors and Stage Managers in the United States
ORCHESTRA Piano / Conductor
WILLIAM YANESH
Violin
YASHAUNA SWAN
Cello
STEPHEN CZARKOWSKI
Percussion
ZACHARY KONICK
MUSICAL NUMBERS ACT ONE Homecoming – The Orchestra Christmas, Come to Me – Clara Christmas, Come to Me (Reprise) – Clara Let’s Make Cookies/Food Fight – Clara, Hugo, Fritz, Phoebe, Monkey
JALEO.COM
The Saber and The Rattle – The Orchestra
ACT TWO Here Comes the Rat King – Quite Scary Rat, Really Quite Scary Rat, Scary Rat Christmas Days of Yore – Fritz DC 202.628.7949 BETHESDA 301.913.0003 CRYSTAL CITY 703.413.8181 LAS VEGAS 702.698.7950
Battle in the Attic – The Orchestra Clara, The Nutcracker – The Orchestra Ring the Bell for Thee – The Company The Nutcracker will be performed with one intermission.
TFG-153 Round House Ad.indd 1
11/4/13 6:19 PM
Being able to both play into and push against those expectations made The Nutcracker a perfect piece to imbue with new meaning for our audience.
Providing a space for people to exorcise those emotions at the holidays quickly became an integral mission of the piece What would you say is the important theme or through-line of your adaptation? Why did you want to tell this particular story?
Why did you choose The Nutcracker as your framing story, and why did you infuse it with the story of a military family grieving the death of a son? JM: The idea was to adapt the novella on which the ballet is based, but Phil didn’t find a story that resonated with him there. The Nutcracker was written about 85 years before Oz or Pan, and it didn’t have the same sort of brave child heroes. It’s essentially a romance about an enchanted prince and the magic kiss from a beautiful and pure young girl that restores him to his true form. It’s the Frog Prince or Beauty and the Beast set at Christmas. And it just didn’t interest us. So Phil decided to tear it apart and start from scratch.
PK: I guess this adaptation started with me. I’d done a couple similar projects with The House adapting Peter Pan and The Wizard of OZ. These were very successful shows for us in our early years, and we were looking to do something similar with another story. We decided that a Christmas show might be a fun thing to do with the company, and I felt like I could give The Nutcracker the same kind of… slightly more grown up, darker treatment, with some real emotional stakes. TR: Phil has a gift for being able to crack open these oh-so-familiar childhood stories to reveal their deeper, darker inner workings, and The Nutcracker seemed like it had all the right ingredients for that kind of deconstruction: A little magic, some scary rats, fantastical toys, a mysterious uncle, a plucky protagonist, and lots and lots of preconceived notions about how the story would unfold.
Round House Artistic Apprentice Sarah Scafidi rounded up the team for an interview about their creative process: What was the initial impulse that led you to develop this piece? Where did you get the idea?
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Photos by Michael Brosilow, courtesy of The House Theatre of Chicago
H T I W N O I T A S R E V A CON BOR ATORS A L L O C E TH This new musical version of The Nutcracker was born at The House Theatre of Chicago through collaborators Tommy Rapley (director), Jake Minton (book and lyrics), Phillip Klapperich (book), and Kevin O’Donnell (music). The four drew initial inspiration from E.T.A. Hoffmann’s 1816 short story “The Nutcracker and Mouse King,” the same story that provided the basis for the ballet we all know so well, but this new version sets The Nutcracker amidst a family grieving the loss of their son at war.
TR: We whole-heartedly celebrate the joy of the holiday season, while also making room for the people who may be having a hard time tapping into that joy. Holidays are festive and glorious times, yes, but almost everyone is missing someone at this time of year. Our play attempts to honor those feelings of loss while encouraging us to cherish the ones nearest to us, and the memories we are able to make with them. JM: That idea of a time of year that’s supposed to be full of joy and expectation, and what that does to a family that’s full of sadness and despair.
PK: Unlike Pan or OZ, the source material here was much less helpful in building a narrative framework for a modern retelling. The original Hoffmann story is profoundly weird and digressive, and the ballet is even less helpful. The entire second act of the ballet is built out of the last couple pages of the book. So we needed to do a little more world-building. We basically mined the book for the most valuable stuff: Clara and Fritz, Drosselmeyer, the rodent army and king, the living toys. We wanted Clara to go on an adventure in her home, to discover magic in ordinary things.
KO: Whether it’s sadness, or anger, or frustration, so many of us, young and old, feel those things over the holidays, and it’s all the more reason to want to — need to — celebrate. In general, what was the process like working together to create the piece? TR: A bit of a whirlwind that first year. We premiered the piece as a part of the “Visiting Company Initiative” at Steppenwolf here in Chicago, and we were woefully behind… I remember feeling like opening that year was akin to bringing a plane into the hangar with one engine on fire and no landing gear.
TR: Once we hit on the idea of “a story about a family dealing with loss at the holidays,” however, we realized The Nutcracker was a natural fit. All the symbols at work in [the novella] could be bent and repositioned to create a story that was packed with joy, but also made room for the darker emotions that many people are dealing with at the holidays: grief, fear, anger, guilt, loneliness.
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KO: I’d say this is one of the most collaborative things I’ve ever worked on, which I’m loathe to say, as I think every piece of theater is inherently collaborative. In the early years, we were all together, all in rehearsals most of the time, so it was very fluid. JM: It was fun and crazy and stressful and
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brilliant and a mad dash to the finish line. [At Steppenwolf], we were writing and rewriting scenes up through dress rehearsals and previews. And I was in the play that year as Drosselmeyer and Teddy! I remember one dress rehearsal when I was backstage between scenes working on a rewrite and Phil came to find me… he’d been working on a different rewrite in the theater… to tell me they needed me on stage for a scene. And people were yelling. And I pushed my computer at him and said, “Here! Teddy is a crazy cowboy now! Work on that while I’m gone.” Oh, the actors hated us that year. But it was so fun! It was an all-hands-on-deck creation. How has the script and production evolved since its premiere in 2007? PK: In the original production, at Steppenwolf in 2007, Clara’s tasks are focused strictly
on finding and destroying the rats that she believes have infested her house. For the first remounting, [in] 2010, I think, we overhauled almost the entire script. The structure stayed the same, but nearly every line was rewritten. Clara’s tasks now centered around trying to revive the canceled Christmas party, and she discovers the rats along the way. This was a major change for us that really tied everything together in an elegant way. The script has been pretty much locked since the first remount. Little changes here and there. KO: There is one song that has had three completely different versions over the years, but we’ve stuck with the current version for three years now. But it could change next year! Gosh, I hope not, but the fact is, we have on paper a version we are proud of, but every year we make a few tweaks in Chicago. So it’s still a living thing for us, which I think is part of the magic of it.
0 7 T E STRE Y T E I C SO We recently launched Street 70, a planned giving society that honors supporters who have included Round House in their will or estate plans. If you would like to be recognized or are interested in learning more, contact the Development Office at 240.644.1401 or visit roundhousetheatre.plannedgiving.org.
Round House Theatre is pleased to welcome
Honest Tea as its
2014 ∕ 15 Season Concessions Sponsor BOOK EARLY AND SAVE 25% OR MORE* *Restrictions apply.
T S A C LAUREN WILLIAMS (Clara) is delighted to be making her Round House Theatre debut this holiday season. Lauren’s credits include Violet, Hello Dolly, Parade and Liberty Smith at Ford’s Theatre; Elephant and Piggie (H.H. Nomination), Snow White, Rose Red…, The Phantom Tollbooth at The Kennedy Center for Performing Arts; Hairspray (H.H. Nomi nation), Into The Woods (H.H. Nomination), Nevermore, A Funny Thing Happened... (H.H. Nomination), The Happy Time, My Fair Lady, Allegro at Signature Theatre; Reefer Madness, Dog Sees God at Studio Theatre 2nd Stage; You’re a Good Man Charlie Brown at Adventure Theatre; God’s Ear and Butterfinger’s Angel at Rep Stage. Lauren would like to thank P and D for their unconditional love and support!
SHERRI L. EDELEN (Martha / Scary Rat / Dance Captain) previously appeared at Round House in The World Goes ‘Round and The Diary of Anne Frank. Other local credits include Cabaret and My Fair Lady at Arena Stage; Design for Living at Shakespeare Theatre; Gypsy, Xanadu, Hairspray, Sweeney Todd, and Les Misérables at Signature Theatre; Romeo and Juliet at Folger Theatre; and How to Succeed… at Olney Theatre. She was in the national tours of Me and My Girl, Nunsense, and Big; and in Sunday in the Park with George and Merrily We Roll Along at The Kennedy Center as part of their Sondheim Celebration. Regional credits include Our Town and Caroline or Change (Barrymore nomination) at Arden Theatre Company, The Light in the Piazza (Barrymore Award) and Elegies (Barrymore nomination) at Philadelphia Theatre Company, The Music Man and Annie Get Your Gun at Stages St. Louis, Citizen Ruth at New York Fringe Fesetival, and Outside Mullingar at Fusion Theatre Company. She also recently directed Steel Magnolias at Riverside Theatre Center. Sherri is a two-time winner of the Helen Hayes Award and has received numerous nominations. Later this season, she’ll be seen in Turn of the Screw at Creative Cauldron and Vanya, Sonia, Masha and Spike at Arena Stage.
MITCHELL HÉBERT (David / Really Scary Rat / Teddy) most recently appeared in How to Write a New Book for the Bible (Helen Hayes nomination), and directed Glengarry Glen Ross (Helen Hayes Award – Outstanding Director) at Round House. Previous RHT credits include The Drawer Boy (Helen Hayes nomination), Young Robin Hood, Charming Billy, Around the World in 80 Days, Eurydice, and Crime and Punishment. Local credits include After the Fall at Theater J (Helen Hayes / Robert Prosky Award), and Clybourne Park (Helen Hayes nomination) at Woolly Mammoth Theatre, where he is a long-time company member. Other Woolly credits include: The Gigli Concert, Kvetch, and The Clean House. He has performed at many of the DC area’s theatres including Shakespeare Theatre, Theater J, Forum Theatre, Theatre of the First Amendment, and Olney Theatre
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Center, where he also directed Rabbit Hole. Mitchell is on the faculty of the University of Maryland’s School of Theatre, Dance, and Performance Studies. He will appear in Round House Theatre’s Uncle Vanya later this season.
LAWRENCE REDMOND (Uncle Eric Drosselmeyer / Really Quite Scary Rat) previously appeared at Round House in A Trip to Bountiful, Permanent Collection,
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A Lesson Before Dying, A Prayer for Owen Meany, The Misanthrope, and Rum and Coke. DC Area recent credits include Elmer Gantry at Signature Theatre; How To Succeed… and Triumph of Love at Olney Theatre Center; A Midsummer Night’s Dream, Much Ado About Nothing, As You Like It, Romeo and Juliet at the Shakespeare Theatre Company; The Music Man and Ruined at Arena Stage; The Winter’s Tale and Henry VIII at Folger Theatre; Rock ‘n’ Roll at Studio Theatre; Jerry Springer: The Opera and Reefer Madness: The Musical at Studio Theatre 2nd Stage; New Jerusalem, A Bad Friend, and Life in Refusal at Theatre J. He is a two-time recipient and six-time nominee of the Helen Hayes Award, and recipient of the Mary Goldwater Award.
Passion (Kennedy Center); Parade, The Civil War (Ford’s); 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 Velvet Sky (Woolly Mammoth); Monster (Olney); Privates on Parade and A New Brain (Studio). Will performed on Broadway in Parade and Off-Broadway 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 is a graduate of the American Academy of Dramatic Arts in NYC.
VINCENT KEMPSKI (Fritz / Nutcracker) is making his Round House debut with The Nutcracker. He last appeared in The 25th Annual Putnam County Spelling Bee and the 2014 Ford’s Gala at Ford’s Theatre. Other credits include Gypsy, Miss Saigon, Spin, The Best Little Whorehouse in Texas, Crossing: In Concert at Signature Theatre; Grease and Joseph and the Amazing Technicolor Dreamcoat at Olney Theatre; Spring Awakening at Keegan Theatre; Latino Inaugural Celebration 2013 and The Greenwood Tree (reading) at The Kennedy Center; and The Pirates of Penzance at Washington Savoyards. Vincent graduated cum laude with a BM from The Catholic University of America.
EVAN CASEY (Hugo) previously appeared at Round House in Lord of the Flies. OFF-BROADWAY: River’s End (NYMF), NEO 8 Concert (York Theatre Company). REGIONAL: North Carolina Theatre, Everyman Theatre, New London Barn Playhouse. DC AREA includes: Orphie and the Book of Heroes, Elephant and Piggie’s We Are In A Play! (Kennedy Center); Little Shop of Horrors, Meet John Doe, Shenandoah (Ford’s Theatre); Much Ado About Nothing (Shakespeare Theatre Company); Sunday in the Park with George, Really Really, and Company (Signature Theatre); Avenue Q, The 39 Steps, Camelot (Olney Theatre Center); tempOdyssey, Dog Sees God (Studio Theatre Secondstage). He has also performed at Rep Stage, Theatre of the First Amendment, Imagination Stage, and Bay Theatre Company. FILM: Of Dice and Men, Treasure Hunt, Flanking the Sentinel, Jargon, Once Upon a Time at the DMV. TV/ WEB: House of Cards, Missing Persons Unit, Thurston, Stage Fright. TRAINING: BM, Magna Cum Laude, Catholic University; London Dramatic Academy. TEACHING:
WILL GARTSHORE (Monkey) previously appeared at Round House in Ordinary Days, This, Becky Shaw, Orson’s Shadow, A Year with Frog and Toad, The World Goes ‘Round, and Summer of ’42. DC area credits include The Religion Thing (Theater J); The Great Gatsby and
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C I T S I T AR TEAM
Winston Churchill High School, National Conservatory of Dramatic Arts, Signature Theatre, Adventure Theatre-MTC. OTHER: Capitol Steps, GraphicAudio Audiobooks. ERIN WEAVER (Phoebe) is excited to be back at Round House where she last appeared as Deb in Ordinary Days, Meg in A Wrinkle in Time, and Mary in A Murder, A Mystery and A Marriage. Recent DC credits include playing Skuggle in The Night Fairy at Imagination Stage, Kattrin in Mother Courage and Her Children (directed by Molly Smith, starring Kathleen Turner) at Arena Stage and Juliet in Romeo and Juliet (Helen Hayes nomination) at the Folger Theatre, where she also appeared as Luciana in The Comedy of Errors and Thomasina in Arcadia (Helen Hayes Award, Outstanding Supporting Actress). Other area performances include Amy in Company (Helen Hayes Award, Outstanding Supporting Actress), Cathy in Last Five Years (Helen Hayes nomination) and Kira in Xanadu (Helen Hayes nomination) all at Signature Theatre. Erin started her professional career playing young Cosette/Eponine in the first national tour of Les Misérables and went on to perform regionally at the California Shakespeare Theater, Arden Theatre, People’s Light and Theatre Company (where she received a Barrymore Award for their production of Cinderella, Best Ensemble) among others. She is currently a proud resident of Silver Spring with her husband Aaron and daughter Maisie.
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TOMMY RAPLEY (Creator) is a proud company Member with The House Theatre of Chicago, where he regularly directs and choreographs. A member of Actor’s Equity Association, he has performed around Chicago on stages such as Drury Lane Oakbrook, The Marriott, The Court and The Goodman Theatre. Tommy also regularly ruins young minds at Chicago Academy for the Arts and Northwestern University. Much Love to Scott, Mom and Jane JAKE MINTON (Creator / Playwright / Lyricist) is from Dallas, Texas where he attended SMU with several fellow House company members. As a playwright, Jake has co-authored The Sparrow, Dave DaVinci Saves the Universe, Rose and The Rime, Girls vs. Boys, and The Nutcracker. As an actor, he’s performed in Death and Harry Houdini, The Valentine Trilogy, Cave With Man, The Boy Detective Fails, The Great and Terrible Wizard of Oz, and The Nutcracker. As a preschool teacher, Jake has been terrifying his students with stories about rat kings for months. And as a husband, he is the luckiest. PHILLIP KLAPPERICH (Creator / Playwright) is a founding member of The House Theatre of Chicago. In addition to The Nutcracker (2007, Jeff Nominee – Best New Adaptation), he is the writer of The Terrible Tragedy of Peter Pan (2002), The Rocket Man (2004, Jeff Nominee - Best New Work), The Great and Terrible Wizard of Oz (2005) and the co-writer, with Michael Rohd, of Wilson Wants it All (2010, Jeff Award – Best New Work). In 1997, on his 20th birthday, Phillip took the Metro from his dorm at GW and walked (what seemed like) miles in the rain to see a
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production of Uncle Vanya at Round House. Exactly 10 years later the first production of this show went into rehearsal at Steppenwolf Theatre. Find him on Twitter @pklapperich. KEVIN O’DONNELL (Creator / Composer) has been a company member of The House Theatre of Chicago since 2006. Kevin has worked on over 20 House shows dating back to The Rocketman in 2004. His song cycle Ploughed Under: An American Songbook premiered there in Season 11. His work in Chicago theater has earned him 20 Jeff Nominations (nine Awards), and two consecutive After Dark Awards (Outstanding Season). In Chicago he has worked with The Hypocrites (Artistic Associate), Steppenwolf, Lookingglass, The Building Stage, Redmoon, Chicago Shakespeare, TimeLine, The Court Theatre and many others. Regionally he has worked at A.R.T. (Cambridge, MA); A.C.T. (San Francisco); The Arscht Center (Miami); Kansas City Rep; Stages Rep (Houston); Baltimore CenterStage; First Stage (Milwaukee); Lambs Players (San Diego); St. Anne’s Warehouse, The Cherry Lane, and 59E59 (New York). As a musician he has recorded and/or performed with Andrew Bird, Nickel Creek, Jon Rauhouse, Kelly Hogan, David Berkeley, and many others. He also likes to cook. JOE CALARCO (Director / Choreographer) makes his Round House debut with The Nutcracker. Joe’s extensive work in the DC area includes Gypsy, Walter Cronkite is Dead (writer/director), Assassins, Urinetown, Sideshow, Nijinsky’s Last Dance, among many others at Signature Theater, where he was just hired as Director of New Works. Other DC work includes Orphie and the Book of Heroes and The Trumpet of the Swan at The Kennedy Center, A Midsummer Nights Dream at The Shakespeare Theatre Company, The Religion Thing at Theater J, Shakespeare’s R&J at The Folger, and Short Order Stories at Charter Theater. His work Off Broadway includes A Christmas Carol (Drama
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Desk nomination), his play In The Absence of Spring at Second Stage, In Transit (Drama Desk nomination) and Boy at Primary Stages; and The Burnt Part Boys and Floyd and Clea Under the Western Sky at Playwrights Horizons. He is the winner of the Lucille Lortel Award, four Helen Hayes Awards, and two Barrymore Awards. WILLIAM YANESH (Music Director) previously served as music director for Ordinary Days at Round House. DC area: Elmer Gantry (Asst.), Good Times, Never Been Gone, The Last Five Years (Helen Hayes nomination) at Signature Theatre; Goodnight Moon and Winnie-the-Pooh at Adventure Theatre MTC; Grand Night for Singing at Washington Savoyards. Orchestrator: Miss Nelson is Missing at ATMTC. Composer: The Cat in the Hat at ATMTC; The Ballad of the Red Knight at Port City Playhouse Medieval; Story Land at DC Fringe. Education: BM, Carnegie Mellon University. Upcoming: Into the Woods and Garfield at ATMTC, Man of La Mancha at Shakespeare Theatre Company. JAMES KRONZER (Scenic Designer) has designed scenery for numerous Round House productions, including Seminar, This, Glengarry Glen Ross, and Amadeus, among others. Recent designs in the area include Gypsy at Signature Theatre and Clybourne Park at Woolly Mammoth. His work has also been seen at Shakespeare Theatre, The Folger, Theater J, and The Kennedy Center. Other theater credits include Broadway, Off-Broadway, Lord of the Flies at the Denver Center, A Midsummer Night’s Dream at St. Louis Rep, 4000 Miles at Cincinnati Playhouse in the Park, Portland Center Stage, Milwaukee Rep and Arden Theatre. He has adapted the designs for several national tours including Anything Goes, The Producers, The Drowsy Chaperone, Shrek the Musical and Spamalot. He also designed scenery for Disney Cruise Lines Twice Charmed and has shows running on nine ships on the Norwegian Cruise Line fleet. TV credits
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include a recent pilot for Comedy Central plus over 60 comedy specials, 40 of which can be seen on Netflix. He has worked with comedians such as Dennis Miller, Bo Burnham, Sinbad, Kevin Nealon, Aziz Ansari and Nick Cannon. Mr. Kronzer has been nominated 32 times for the Helen Hayes Award and has received the award eight times. He is a member of United Scenic Artists. His work can be seen at www.JamesKronzer.com. HELEN HUANG (Costume & Puppet Designer) has designed for The Washington Ballet; Woolly Mammoth Theatre Company; Ford’s Theatre; Folger Theatre; The Studio Theatre; Shakespeare Theatre Company; Arena Stage; Signature Theatre Company; Classic Stage Company, New York; Guthrie Theater; Oregon Shakespeare Festival; The Children’s Theatre Company, Minneapolis; Milwaukee Repertory Theatre; Syracuse Stage; Seattle Repertory Theatre; Philadelphia Theatre Company; Utah Shakespeare Festival; Disney Entertainment; Boston Lyric Opera. International: Set and costume design at National Opera House of China and the Central Television of China. Awards: Helen Hayes Award and Ivey Award. Other credits include costume design in Exhibition “Curtain Call: Celebrating a Century of Women Designing for Live Performance” at The New York Public Library, Lincoln Center, and the Prague Quadrennial. Huang is a professor of MFA Costume Design Program at University of Maryland, College Park. DANIEL MACLEAN WAGNER (Lighting Designer) Mr. Wagner has designed lighting for more than 25 productions at Round House over the past 30 years, including most recently Fool for Love, Seminar, This, and Glengarry Glen Ross. He has designed lighting for more than 400 productions at many other theaters, including Arden Theatre Company, Berkshire Theatre Festival, Boston Lyric Opera, New Repertory Theatre, Philadelphia Theatre Company, Portland
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Stage, Arena Stage, The Shakespeare Theatre Company, The John F. Kennedy Center, The Studio Theatre, Signature Theatre, Theatre of the First Amendment, Horizons Theatre, Potomac Theatre Project, The Rep Stage, Theater J, Woolly Mammoth Theatre Company, and Olney Theatre Center. He is an eight-time recipient of the Helen Hayes Award, for which he has received 28 nominations. Recent designs include Awake and Sing at Olney Theatre Center, Bad Jews at Studio Theatre, and Freud’s Last Session at Theatre J. For many years, Mr. Wagner held the positions of Resident Lighting Designer at Olney Theatre Center and Artistic Associate at Signature, and was a member of the Artists Roundtable at Round House. He serves on the Boards of Directors of the Helen Hayes Awards, St. Andrew’s Episcopal School, and Crossway Community. Mr. Wagner is Professor Emeritus in the School of Theatre, Dance, and Performance Studies, of which he was formerly Director, at the University of Maryland. MATTHEW M. NIELSON (Sound Designer) Round House sound design and composition credits include Two Trains Running, Young Robin Hood, Double Indemnity, Crown of Shadows, Next Fall, Amadeus, Around the World in 80 Days, My Name is Asher Lev, Eurydice, The Book Club Play, and A Prayer for Owen Meany (Helen Hayes Award). Other credits: Cincinnati Playhouse, Forum Theatre (Helen Hayes Award, The Illusion), Catalyst Theatre (Helen Hayes Award, 1984), Woolly Mammoth, Signature Theatre, Olney Theatre, The Kennedy Center, Rorschach, Delaware Theatre Company, Philadelphia Theatre Company, Barrington Stage Company, CATF, the Smithsonian Institution, Ford’s Theatre, Arena Stage, and Adventure Theatre. OffBroadway sound design credits include the Joseph Papp Public Theatre/New York Shakespeare Festival. Film and TV credits include Elbow Grease, From Hell to Here, A Sleepover Story, The Long Road, Epix Drive-In, the Discovery Channel, National
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Geographic and Delivery.com. He is a founding member of audio theater company The Audible Group and creator of the series Troublesome Gap. He runs Sound Lab Studios, a premiere recording studio and production house in North Carolina. Samples can be heard through his publishing company, curiousmusic.com.
as part of Charm City Fringe. Her other directing credits include The Lord of the Underworld’s Home for Unwed Mothers, Mr. Bundy, and The Best Laid Plans. Sarah has interned at Clubbed Thumb, Kitchen Theatre Company, Wellfleet Harbor Actors Theater, and Olney. She is an alumnus of Messiah College and the National Theater Institute.
JENNIFER CRIER JOHNSTON (Props Master) is making her debut as Props Master at Round House Theatre. She has worked at the Kennedy Center for many years and most recently handled Props for their Spring Gala productions of My Fair Lady and Camelot. She designed the window displays featuring props and costumes from ongoing productions following her initial display for the 2006 Spring Gala – The Art of Music In Film. She has worked on The Arab Festival, the Indian Festival, and Nordic Cool. Ms. Johnston has worked at Rep Stage, on an early production of Gypsy at Signature Theatre, and several productions with the Washington International Opera with the late Lou Stancari. Known as Ms. Overprop by several local photographers for who she worked as Prop Stylist – Debi Fox, Taran Z, and Peter Garfield and The Photo Group – Ms. Johnston cut her teeth in NYC working with David Langley, Peter Papadopolous, and Bill Stettner.
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, Fool for Love, and Fetch Clay, Make Man. 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.
SARAH SCAFIDI (Assistant Director / Dramaturg) is excited to spend the season as Round House Theatre’s first-ever Artistic Apprentice! Her DC-area credits include assistant director for Spring Awakening with Steve Cosson at Olney Theatre Center, director of [title of show] with Purple Light Theatre, stage manager for Recovery at Capital Fringe ‘13, and a Venue Manager for Cap Fringe ’14. Sarah recently returned from LA as an SDCF Observer with Michael Wilson on the remount of the Broadway production of Trip to Bountiful at Center Theatre Group and just finished directing Deborah Zoe Laufer’s Leveling Up for Interrobang Theatre
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15
2014/2015 Season
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ADDITIONAL PRODUCTION STAFF Production Assistant: Rachel Zucker Run Crew: Chris Hall, Timothy Kerber Audio Engineer: Mikey Showers Additional Carpentry: Peter Gambardella, Kyle McGruther, Chris Hall Stitchers: Ananda Keator-Lewis, Timothy Kerber Rat King Construction: Marie Schneggenburger Marionette Construction/Instruction: Jill Kyle-Keith, Beale Street Puppets Physical Therapist: Jenna Calo, Body Dynamics, Inc. Electricians: Madison Bahr, Mimi d’Autremont, Chris Hall, Sarah Mackowski, Xena Petkanas, Will Voorhies Audio Technicians: Mikey Showers, Logan Thigpen Associate Scenic Designer: Jeremy W. Foil Associate Lighting Designer: Jedidiah Roe Assistant Costume Designer: Robert Croghan Assistant to the Costume Designer: Tyler Gunther Rehearsal Pianist: Jacob Kidder Special Thanks: Imagination Stage, Dre Moore Full time staff listed on page 20.
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. The director is a member of the Stage Directors and Choreographers Society, an independent national labor union.
Bethesda, MD 7490 Waverly Street between East-West Hwy and Montgomery, across the street from Round House Theatre Bethesda
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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 240.644.1403.
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
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 TrueTheatergoer
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 Marlene Moser
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 DMW 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 Erik Lichtenberg 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 Jacqueline R. Werner and Richard L. Soffer Leslie Maitland and Daniel Werner Wiley Rein LLP Kathryn Winsberg
Four Seasons Gansevoort Google 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 Nan Beckley Robert and Carol Bennett Ellen L. Berman David Bradley Joan Bullmer Michael Burke Ernest Cordova Linda and Joseph Dominic Laurie Edberg Sally A. Fasman
IN-KIND DONORS
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)
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
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 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 county elected officials.
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
69603
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 November 17, 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
ADVISORY BOARD
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
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
Bethesda, MD 20814
parking garage, adjacent to
www.RoundHouseTheatre.org
the theater. The eastern-most
Education Center
elevator in the garage provides
925 Wayne Avenue
direct access to the theater.
Silver Spring, MD 20910
Parking is also available in various nearby lots including
Administrative Office
the metered garage on Waverly
One Veteran’s Place
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
M – F noon – 5 p.m.
2014 – 15 ARTISTS
ARTISTIC / PRODUCING Producing Artistic Director: Ryan Rilette Associate Producer: Danisha Crosby Artistic Apprentice: Sarah Scafidi
House Management Staff: Sondra Katz, Nora O’Reilly, Lori Lentner Schwartz, Rachel Spears, Richard Taylor, Maureen Wynn
ADMINISTRATION
PRODUCTION
General Manager: Tim Conley Accountants: Raffa, P.C.
DEVELOPMENT
Director of Development: Laura Blackwelder Manager of Institutional Giving: Patricia Germann Development Associate: Jennifer Culotta
MARKETING & PUBLIC RELATIONS
Marketing & Public Relations Manager: Sarah Pressler Graphic Design: Scott Shumaker Season Artwork: Esther Wu Branding: Propellor
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
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 Education Associate: Ian Brown-Gorrell Lead Teaching Artists: Jessica Pearson Brandon McCoy
FACULTY
Nora Achrati Audrey Bertaux Elizabeth Jernigan Casey Kaleba Timothy Kerber Marin Leggat Matt McGee Bri Manente David Mavricos Jessica Pena Melissa Richardson Andrew Stoffel Rick Westerkamp
Round House Theatre
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
20
2014/2015 Season
SPECIAL PERFORMANCES
PARKING
Waverly Street garage.
When there is a performance 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) Katie Ryan (Assistant) Sarah Scafidi (Assistant) William Yanesh, Musical Director Dramaturgs Jodi Kanter Otis Ramsey-Zoe Brent Stansell Fight Choreographers Casey Kaleba Teen Performance Company Isabel Brodsky Milena Castillo-Grynberg Declan Conditt Nate Fellner Ronee Goldman Zoe Johnson Francis Kpue Derek Lamb Pamela Lawrence Zoe Malhotra Meribor Matusow Willa Murphey Natalia Pichardo Ilana Simon-Rusinowitz Megan Thompson Tyler Tripler Megan Wirtz
the box office is also open: Tuesday: noon – 7:30 p.m.
METRO BETHESDA
Wednesday & Thursday: 10 a.m. – 7:30 p.m.
Round House Theatre
Friday: 10 a.m. – 8 p.m.
is at 4545 East-West Highway,
Saturday: Noon – 8 p.m.
one block east of Wisconsin
Sunday: Noon – 3 p.m.
Avenue and of the Bethesda station on the Red Line.
TICKET SALES AND SUBSCRIBER EXCHANGES
SILVER SPRING Round House Theatre Education Center is at 925 Wayne Avenue,
Phone: 240.644.1100
adjacent to the Wayne Avenue
Fax: 240.644.1101
parking garage and two blocks
Tickets and subscriptions
from the Silver Spring station on
may also be purchased at
the Red Line.
the box office or online at 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
LOBBY CONCESSIONS
the performance. Latecomers will
other electronic devices during be seated at the management’s
Food and beverages are available for purchase before
discretion.
the performance and during intermission. Food is not allowed
Program design by
in the theater auditorium,
Scott Shumaker at
although drinks with lids
Precision Design LLC.
or caps are permitted.
To advertise, contact Adrienne Miller Phelps at 202.320.4764 or adrienne@amapolamarketing.com
Round House Theatre
21
2014/2015 Season
DESIGNER DISCUSSION Join the design team for a pre-performance discussion and get a behind-the-scenes look at the creation of the show. Held in the theatre at 6:45pm prior to the first Wednesday performance. DIRECTOR DISCUSSION Join the director and/or Round House Theatre’s Producing Artistic Director for a pre-performance discussion of the show you are about to watch. Held in the theater at 7:15 p.m. prior to the first Friday performance. POST-SHOW TALKBACKS Join us for a post-show discussion of the play following the Wednesday and Thursday evening and Sunday matinee performances. Round House Theatre facilities are accessible to persons with disabilities. Please request special needs seating at time of ticket purchase. Audio-description is provided at the second Saturday matinee. Sign-interpretation is provided at the fourth Saturday performance. (Reservations for sign interpreting services must be made at least 2 weeks before the performance.) Audio-enhancement systems are available for all productions. Please ask an usher for assistance.
up next
at Round House Theatre
Gina Gionfriddo Directed by Shirley Serotsky By
January 28 – February 22, 2015 In a comedy hailed by The New York Times as “intensely smart and immensely funny,” Gina Gionfriddo (Becky Shaw) takes a sharp, unflinching look at 21st century gender politics. After grad school, Catherine built a career as a rock-star academic while Gwen built a home with a husband and children. Decades later, unfulfilled in opposite ways, each woman covets the other’s life, and a dangerous game begins as each tries to claim the other’s territory. With searing insight and trademark wit, this 2013 Pulitzer Prize finalist, directed by Shirley Serotsky (Associate Artistic Director of Theater J), examines family, career, romance, middle-aged meltdowns, and the decisions that define a life.
240.644.1100 or RoundHouseTheatre.org