UNCLE VANYA | Round House Theatre by Sarah Pressler

Anton Chekhov Adapted by

Annie Baker

Working with a literal translation by Margarita Shalina and the original Russian text

FROM THE PRODUCING ARTISTIC DIRECTOR The first part of Round House’s mission is to serve as “a home for outstanding ensemble acting,” and no playwright demands ensemble acting more than Chekhov. So when I read Annie Baker’s fabulous new translation of my favorite Chekhov play, Uncle Vanya, I knew that we had to tackle it. And what an ensemble we have gathered for this show! I am honored and privileged to share the stage with such an illustrious group of local artists. In this cast are four current or former Artistic Directors, five directors, a sound designer/composer, and actors who have collectively earned 7 Helen Hayes Awards and 31 Helen Hayes Award nominations for acting (not to mention a ton more for directing and design)! It’s an extraordinary group, led by the phenomenal John Vreeke as director and supported by a team of all-star designers. I have been blown away daily by their work in rehearsals, and can’t wait to share this extraordinary piece with you. We have recently announced our 2015 – 2016 season, and like Uncle Vanya, our choice of shows for next season was driven by the desire to find plays with big, meaty roles for our actors to tear into. We begin the season with the world premiere of Martyna Majok’s Ironbound as our entry into the Women’s Voices Theater Festival, which will feature more than 50 world premieres by female playwrights. During that festival, we will also host Belle of the Brawl, a fight workshop led by our partner Tooth & Claw Arts, featuring an international, all-female faculty. We couple that with the regional premieres of four celebrated new plays by master playwrights: The Night Alive by Conor McPherson, Stage Kiss by Sarah Ruhl, Father Comes Home From the Wars (Parts I, II & III) by Suzan Lori-Parks, and The Who & The What by Ayad Akhtar. We’ll also revive one of the best plays of the 20th Century, Cat on a Hot Tin Roof, and we’ll round the season out with our Teen Performance Company’s production of Naomi Iizuka’s Good Kids. It’s an ambitious, exciting season of celebrated contemporary and classic plays that you won’t want to miss! For more information on the shows, including full descriptions and dates, please pick up a brochure in the lobby or visit us online at RoundHouseTheatre.org. Thank you for joining us for Uncle Vanya today, and please consider coming back for all of next season by joining us as a 2015 – 2016 season subscriber!

Pre-Show Dinner Package Purchase 2 Dinner Entrées & Receive: Large Carafe of House Wine $8 Food Credit for Parking* • Happy Hour 4-7PM Monday - Friday 11AM - 7PM Saturday All Day Sunday

Join Us for Brunch 11AM - 3PM Saturday & Sunday

Daily Grill is located just 1 block away at the Bethesda Hyatt. One Bethesda Metro Center

Reservations Recommended 301.656.6100 | DailyGrill.com *Show parking ticket & theatre ticket to redeem. Two full-priced entrées must be purchased. Cannot be combined with any other offer or promotion. Not valid during Happy Hour or Private Dining. Limit one offer per table.

Uncle Vanya artwork by Esther Wu

•

Ryan Rilette, Producing Artistic Director

Round House Theatre

2014/2015 Season

Photo by ClintonBPhotography

Serving America’s Favorite Food

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

SPONSOR SPOTLIGHT

UNCLE VANYA By

Round House Theatre extends its deep gratitude to Bonnie and Alan Hammerschlag & Bernard and Ellen Young, sponsors of Uncle Vanya.

ANTON CHEKHOV Adapted by

“We think this Uncle Vanya production will be historic! It always feels like an honor to be able to support a play, but it feels especially wonderful when it is a classic that has been adapted for our modern ears by a Pulitzer Prize winning playwright. This promises to be a special evening.” — Bonnie and Alan Hammerschlag

ANNIE BAKER Working with a literal translation by MARGARITA SHALINA and the original Russian text Directed by

JOHN VREEKE Scenic Designer: Misha Kachman Sound Designer: Eric Shimelonis Dramaturg: Otis Cortez Ramsey-Zöe

“We’re so pleased to have been with Round House since its early days and wish all great and continuing success.” — Bernard and Ellen Young

Costume Designer: Ivania Stack Original Music: Mark Jaster and Eric Shimelonis Assistant Director: Orion Jones

Lighting Designer: Colin K. Bills Props Master: Andrea Moore 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 BONNIE & ALAN HAMMERSCHLAG and BERNARD & ELLEN YOUNG

Performances beginning April 8, 2015 “Uncle Vanya (Baker, trans.)” is presented by special arrangement with SAMUEL FRENCH, INC.

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

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) Yefim Marina Mikhail Lvovich Astrov

Your Law Firm for Life

Legal services to families, individuals and businesses in trusts and estates, family law, business and litigation

We are proud to support the Round House Theatre 7735 Old Georgetown Rd. Bethesda, MD 20814 | (301) 656-8850 www.pasternakfidis.com

Ivan Petrovich Voinitsky (Vanya) Alexander Vladimirovich Serebryakov Sophia Alexandrovna (Sonya) Ilya Ilyich Telegin Yelena Andreyevna (Yelena) Maria Vasilyevna Voinitskaya

ERIC SHIMELONIS NANCY ROBINETTE* RYAN RILETTE* MITCHELL HÉBERT* JERRY WHIDDON* KIMBERLY GILBERT* MARK JASTER GABRIELA FERNANDEZ-COFFEY* JOY ZINOMAN

*Member Actors’ Equity Association, The Union of Professional Actors and Stage Managers in the United States

Uncle Vanya will be performed with one intermission.

2015 SUMMER PROGRAMS

2015 Gala Concert

Saturday, May 9

Don’t miss your chance to see Tony nominee Norm Lewis, star of Broadway’s Porgy and Bess, Les Misérables, Chicago and Phantom of the Opera! Gala Packages include an elegant sponsor dinner, live auction, open bar and dessert reception. Single concert tickets also available. For more information, visit roundhousetheatre.org or call Development at 240.644.1403.

YOURSELF EXPRESS

An evening with NORM LEWIS

FOR GRADES K - 6 IN SILVER SPRING GRADES 7 - 12 IN BETHESDA

Re-Righting Chekhov’s Uncle Vanya by Otis Cortez Ramsey-Zöe Whenever the American theatre remembers its conscience it remembers Chekhov. —Eric Bentley, “Chekhov as Playwright (Reconsiderations, No. XI)” Eric Bentley’s assertion operates on multiple levels. On one hand, in terms of kinds of aesthetic pleasure, Bentley positions Chekhov’s plays as engaging in difficult pleasures, which are complex and require a kind of focus and attention that immediate pleasures do not demand. On the other hand, since conscience concerns one’s inner feelings and Chekhov’s work is predicated upon the internal and psychological operations of individuals, the statement acknowledges Chekhov’s impact on the development of theatre, for his legacy is that, in some measure, he has influenced everything in the theatre that has come after him. Indeed, Chekhov’s revolutionized theatre with his technique of concealing action beneath the humdrum conduct of everyday life. He is equally interested in characters’ adherence to banal daily routines as well the effects of a radical breach in routine,

Round House Theatre

both of which are present in Uncle Vanya. In his notebooks, Chekhov declared, “Let everything on the stage be just as complex and at the same time just as simple as in life. People have dinner, merely dinner, but at that moment their happiness is being made or their life is being smashed.” For Chekhov, action is contained in language, rather than plot. In The Death of Tragedy, George Steiner defined drama as “language under such high pressure of feeling that the words carry a necessary and immediate connotation of gesture.” Moreover, in performance as in everyday life, language consists not only of words but also of spaces between words, of silences that bear the weight of action as well, and involves tempo, cadence and the like. In fact, all of language is a physical act. Chekhov’s writing is extremely concentrated, employing a minimum of words rather than voluminous linguistic excesses, toward the aim of reflecting the truth of real life. In Uncle Vanya, the oft-disjointed dialogue mirrors the stagnant lives of farmers, doctors, servants, retired

2014/2015 Season

intellectuals, and boarded beauties. As Peter Brook observes, “it is construction that counts, rhythm, the purely theatrical poetry that comes not from beautiful words but from the right word at the right moment. In the theatre, someone can say yes in such a way that the yes is no longer ordinary — it can become a beautiful word, because it is the perfect expression of what cannot be expressed in any other way.” It is a simplicity that is as full as silence, and in Chekhov’s plays everything happens in the spaces of these words and silences. Indeed, something is growing inside of each silence in Uncle Vanya — emotion intensifies or diminishes, intention is revealed, action stirs, hope is born, passion crosses over to resignation. Words, silence, gesture and action all work together such that one can operate as a container for another. For her adaptation of Uncle Vanya, Annie Baker decided that “[t]he goal was to create a version that would make Chekhov happy; to create a version that sounds to our contemporary American ears the way the play sounded to Russian ears during the play’s first productions in the provinces in 1898.” Baker strictly follows Chekhov’s own maxim that the language should be as simple, authentic, and realistic as possible. One strategy for achieving this, according to Baker, was to preserve all the quoting and name-dropping that takes place in the original Russian. (Waffles’s exclamation “It was a scene worthy of Aivazovsky!” is usually translated as “It was a scene worthy of a painter of shipwrecks!”). Similarly, the grammar of the original text — endless run-on sentences, ellipses, the awkward repetition of words — has been paid special attention. Words like “creep” are an attempt to loyally translate the slang of 19th Century Russia.

Round House Theatre

Baker offers an adaptation that is unadorned. In so doing, her choices provide spaces for audiences to reflect upon the actions, and perhaps to hear more precisely the intentions behind each expression. Take for example, Baker’s usage of the word “creep.” In his translation, Peter Carson uses “eccentrics,” a term historically applied with a level of tenderness or endearment. Eccentrics are often thought to be charming and might draw one near; whereas, individuals do not routinely wish to draw closer to creeps. Betsy Hulick uses the term “oddball” in her version. However, Baker’s monosyllabic term is more efficient when compared to a disyllabic word, and monosyllabics tend to land with stiff force. Moreover, in one specific instance, Baker writes, “I’ve come to the conclusion that we’re all creeps. Everyone in the world, behaving naturally, is a complete creep. So the truth is, Vanya, you’re totally normal.” In contrast, Hulick writes, “I am now of the opinion that it’s normal to be odd. You are perfectly normal.” In this instance, Hulick expresses the sentiment clearly and as two direct and complete thoughts. Whereas Baker’s text sort of meanders, resembling real life and the way in which our ideas are not easily expressed. In this moment especially, these words are offered as comfort, but in moments when comfort is most needed, it can be difficult to know precisely what to say in exactly the right way. Of her efforts, Baker states, “We will never know if that goal was achieved, but it was the guiding principle behind this text.” Throughout, Baker’s text is unornamented in such a way that reveals its beauty, a beauty that Brook describes as “the perfect expression of what cannot be expressed in any other way.”

2014/2015 Season

T S A C ERIC SHIMELONIS (Yefim / Original Music / Sound Designer) Other Round House productions include: Fool For Love, Ordinary Days, Seminar, This, Beauty Queen of Leenane, Becky Shaw, How to Write a New Book for the Bible, and Bengal Tiger at the Baghdad Zoo. Other recent productions include: Marie Antoinette at Woolly Mammoth (Helen Hayes Award nomination), The Originalist at Arena Stage, Julius Caesar and Richard III at the Folger, Grounded at Everyman and Olney, and Never the Sinner at 1st Stage (Helen Hayes Award). Eric is an educational writer and director for the Washington Bach Consort, a recent member of the faculty at the University of Maryland, and resident composer with NYC’s Voice Of The City Ensemble, with whom he had a sold-out Carnegie Hall debut starring F. Murray Abraham singing his song cycle Elusive Things. Thanks to Rebecca for her boundless love and support. www.shimelonis.com

Jack, Nutsmeg. Television: Louie, Homicide. Awards: Helen Hayes Award, Fox Fellow, Will Ensemble Award.

RYAN RILETTE (Mikhail Lvovich Astrov) is currently in his third season as Producing Artistic Director of Round House, where he directed Fool for Love, This, and How to Write a New Book For the Bible, and will direct The Night Alive next season. As an actor, Rilette has been seen on stages in New York, New Orleans and San Francisco, and in a handful of tv/film roles, including In The Electric Mist, Elvis, Heartless, The Madam’s Story and The Dead Will Tell, among others. He is proud to make his Round House acting debut with Uncle Vanya. Prior to joining Round House, Rilette 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. Prior to joining MTC, Rilette served as Producing Artistic Director of Southern Rep Theatre, the leading professional theater in New Orleans. 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 immediate past president of the National New Play Network, and a former professor

NANCY ROBINETTE (Marina) Round House: Love and Anger, Who’s Afraid of Virginia Woolf?, Escape From Happiness, Better Living, A Body of Water. Folger Theatre: Romeo and Juliet. Shakespeare Theatre: The Heir Apparent, The Government Inspector, Lady Windemere’s Fan, Twelfth Night, The Winter’s Tale, The Rivals, The Little Foxes; Arena: AhWilderness!, Well; Studio: Tribes, Frozen, Souvenir; Scena: Happy Days, Mother Courage and Her Children, Stakeout at Godot’s; Signature: Walter Cronkite is Dead, Eagle River, Available Light. Also worked at Williamstown, Papermill, McCarter, Globe, New York Theatre Workshop; Roundabout theatres. Film: The Day Lincoln Was Shot, The Hunley, Serial Mom, Soldier

Round House Theatre

at Tulane and Loyola universities in New Orleans. He earned his MFA in Acting from American Conservatory Theatre.

2014/2015 Season

(Speed the Plow, Lost in Yonkers, The Odd Couple, Seagull on 16th Street), Studio Theatre (Blackbird, Landscape of the Body), Olney Theatre, Bay Theatre, Everyman Theatre, Adventure Theatre (Tiny Tim’s Christmas Carol, Give A Pig A Pancake), Kennedy Center. Film/TV credits include: The Wire, An American Affair, A Woman Named Jackie, and The Pelican Brief. Voiceover/Narration: Heart and Soul – Frank Loesser, Woody Guthrie. Mr. Whiddon has taught at George Mason, University of Maryland, and Catholic University. He also coaches actors as well as leaders in the corporate world. Love to Jean, Amelia, and Hannah. They are the center.

MITCHELL HÉBERT (Ivan Petrovich Voynitsky) most recently appeared in The Nutcracker, How to Write a New Book for the Bible (Helen Hayes nomination), and directed Glengarry Glen Ross (Helen Hayes Award, directing) 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 The Laramie Project at Ford’s Theatre, After the Fall at Theater J (Helen Hayes Award, acting), 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 Ford’s Theatre, The Shakespeare Theatre, Theater J, Forum Theatre, Theatre of the First Amendment, and Olney Theatre 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.

KIMBERLY GILBERT (Sophia Alexandrovna) last appeared at Round House in The Lyons and The Beauty Queen of Leenane. Kimberly has worked in the DC Theatreverse for over ten years where she has been fortunate enough to play on the stages of Ford’s, The Kennedy Center, Folger Theatre, Theater J, Source, Metro Stage, and, most frequently, Woolly Mammoth and Taffety Punk, both of which she is a proud Company Member. Kimberly is a graduate of Shakespeare Theatre Company’s Academy For Classical Acting.

JERRY WHIDDON (Alexander

MARK JASTER (Ilya Ilyich Telegin / Original Music) last appeared at Round House Theatre in Look Out Below! during the snow-pocalypse of 2009; and as the Mute in The Fantasticks (Helen Hayes nomination, 2000). His last appearance in a Chekov play was long ago as a Round House company member: Tusenbach in The Three Sisters. Mark now performs most often in “Variety Arts”: “A Fool Named ‘O’” (Maryland Renaissance Festival, Edinburgh Fringe), also in the Christmas Revels and The Maryland Youth Ballet’s Nutcracker.

Vladimirovich Serebryakov) Co-founder of Round House Theatre, and Producing Artistic Director from 1985 – 2005. Some favorite directing credits at RHT include: Nixon’s Nixon, Orson’s Shadow, Our Town, The Swan, Three Days of Rain, Mystery School, Dog Logic. Acting credits: Moss (Body of Water), Henry (The Lion in Winter), Vanya (Uncle Vanya), Tyrone Power (Filthy Rich), Petie Maxwell (Love and Anger), Francois (Wintertime). In recent years he has acted and/or directed regionally at: Theater J

Round House Theatre

2014/2015 Season

Since 2006 he has co-directed Happenstance Theater with Sabrina Mandell, appearing in all their works, including Prufbox, Cabaret Macabre (3 Helen Hayes nominations, 2014), and Impossible! A Happenstance Circus, which will run again this summer on this very stage. He served as teaching assistant to Marcel Marceau, frequently consults and teaches mime and movement, and is a proud member of Big Apple Circus’ Clown Care Unit, performing as Dr. Baldy at Children’s Hospital.

Invention of Love, The Road to Mecca, The History Boys, and Pillowman. For the Studio Theatre, she also directed Chekhov’s The Seagull, Three Sisters, and Ivanov. She has garnered numerous awards throughout her career for Directing and for Visionary Leadership in the Arts.

C I T S I T AR TEAM

GABRIELA FERNANDEZ-COFFEY (Yelena Andreyevna) last appeared at Round House Theatre in The Lyons and How the Garcia Girls Lost Their Accents. Other DC area credits include Mockingbird at the Kennedy Center; Detroit, Gruesome Playground Injuries, and Stunning at Woolly Mammoth; Water by the Spoonful and The Motherfucker with the Hat at Studio Theatre; and After the Fall at Theater J, for which she won a Helen Hayes Award for Outstanding Supporting Actress. She is a Woolly Mammoth Company Member and graduate of NYU’s Tisch School of the Arts.

ANTON CHEKHOV (Playwright) was one of the greatest dramatists of the nineteenth century. Chekhov’s four major plays — The Seagull, Uncle Vanya, Three Sisters, and The Cherry Orchard — are frequently revived in modern productions. His first full-length plays, Ivanov and The Wood Demon, were unsuccessful. After the failure of the first production of The Seagull, Chekhov swore that he would never have another play produced. However, Constantin Stanislavski persuaded him to revive The Seagull. Stanislavski gave it a very careful production at his Moscow Arts Theatre, employing his methods of acting and direction, and the play was recognized as an important new drama. Uncle Vanya, a reworking of The Wood Demon, followed The Seagull, quite successfully, although Three Sisters, again produced at the Moscow Arts Theatre, was not well received. In 1904, Chekhov suffered two heart attacks and died in the German spa town of Bradenweiler, just as he was beginning to be recognized internationally as a major dramatist. He is buried in Novodevichy Cemetery in Moscow.

JOY ZINOMAN (Maria Vasilyevna Voinitskaya) is the Founding Artistic Director of the Studio Theatre. She has been teaching and directing for 50 years in the U.S. and abroad. Under her leadership, the Studio Theatre, where she directed 75 productions, received over 200 Helen Hayes nominations. For the Studio Theatre Acting Conservatory, Joy created its core curriculum and continues to serve as Master Teacher/ Director of Curriculum and is pleased to be celebrating its 40th anniversary on May 11, 2015. Her most recent productions include 4000 Miles, Sounding Beckett (Library of Congress and Off-Broadway), American Buffalo, Moonlight, Rock and Roll, The

Round House Theatre

ANNIE BAKER (Adaptor) grew up in Amherst, Massachusetts. Her full-length plays include The Flick (Pulitzer Prize for Drama, Susan Smith Blackburn Award, Obie Award for Playwriting), Circle Mirror Transformation (Playwrights Horizons, Obie Award for Best New American Play, Drama Desk nomina-

2014/2015 Season

tion for Best New American Play), The Aliens (Rattlestick Playwrights Theater, Obie Award for Best New American Play), Body Awareness (Atlantic Theater Company, Drama Desk and Outer Critics Circle nominations for Best Play/Emerging Playwright), and an adaptation of Chekhov’s Uncle Vanya (Soho Rep, Drama Desk nomination for Best Revival), for which she also designed the costumes. Her plays have been produced at over 150 theaters throughout the U.S., and have been produced internationally in over a dozen countries. Other recent honors include a Guggenheim Fellowship, New York Drama Critics Circle Award, Lilly Award, and Time Warner Storytelling Fellowship. A published anthology of her work, The Vermont Plays, is available from TCG.

Kennedy Center Theater for Young Audiences, Imagination Stage, and the Helen Hayes Awards Society. He has received six Helen Hayes Awards nominations for Best Director. Other regional theatre credits include the Alley Theatre in Houston, Arkansas Repertory Theatre, Attic Theatre in LA, Salt Lake Acting Company, and First Stage in Milwaukee. Seattle-area credits include Book-It Repertory Theatre, Annex Theatre, Alice B. Theatre, Arts West Playhouse, Seattle Public Theatre, Balagan Theatre, Center Stage, and Stone Soup Theatre. His television credits include Associate Producer and Casting Associate for the CBS TV Series Northern Exposure.

MISHA KACHMAN (Scenic Designer) returns to Round House after previously having designed Ordinary Days, The Lyons, Young Robin Hood, I Love to Eat, Crown of Shadows: The Wake of Odysseus, A Wrinkle in Time, and Around the World in 80 Days. Misha has worked at Arena Stage, Cincinnati Playhouse in the Park, Woolly Mammoth Theatre Company, Wilma Theater, Signature Theatre, Maryland Opera Studio, Studio Theatre, Opera Lafayette, Milwaukee Shakespeare, Theater J, Shanghai Dramatic Arts Center, Skylight Music Theatre, and Center Stage, among many other companies in the United States and abroad. Mr. Kachman is a Company Member at Woolly Mammoth and an Artistic Associate at Olney Theatre Center. He is a recipient of the 2013 Helen Hayes Award for Outstanding Set Design. Mr. Kachman is a graduate of the Saint Petersburg Theatre Arts Academy. He serves as Associate Professor of Scene and Costume Design at University of Maryland.

JOHN VREEKE (Director) directed last season’s The Lyons, his first time with Round House. He is a Company Member at Woolly Mammoth Theatre Company where his directing credits include the hugely popular Detroit by Lisa D’Amour, (also, this season, her new play Cherokee) The Elaborate Entrance of Chad Deity by Kristoffer Diaz, a production which received nine Helen Hayes nominations for design, direction, and performance; A Bright New Boise by Sam Hunter which received five nominations, again for design, direction, and performance; Gruesome Playground Injuries by Rajiv Joseph, Boom by Peter Sinn-Nachtrieb, Homebody/Kabul by Tony Kushner, Our Lady of 121st Street by Stephen Adley Guirgis, Martha, Josie and the Chinese Elvis by Charlotte Jones, and The K of D by Laura Schellhardt. This season he directed the Kushner epic The Intelligent Homosexuals Guide to Capitalism and Socialism With A Key to the Scriptures for Theater J and The Last Days of Judas Iscariot for Forum. In the DC area he has also worked for Washington Shakespeare Company, MetroStage, Everyman Theatre, Olney Theatre Center, H Street Theatre, Source Theatre Festival, Charter Theatre, Theater Alliance,

Round House Theatre

IVANIA STACK (Costume Designer) is proud to return to Round House, where she recently designed Seminar, This, Glengarry Glen Ross, and Young Robin Hood. Her DC area credits include Lights Rise on Grace, Detroit, The Elaborate Entrance of Chad Deity, Bright New Boise, Full Circle, and Boom for Woolly Mammoth Theatre

2014/2015 Season

Company (Company Member); Stones in His Pockets for Center Stage; Freud’s Last Session, Our Class, The Whipping Man, After the Fall, The Odd Couple, Photograph 51, The Four of Us, and In Darfur for Theater J; Motherf**ker With The Hat, Time Stands Still, and Adding Machine: A Musical at Studio Theatre; Grounded, Tribes, God of Carnage, Heroes, and 50 Words for Everyman Theatre in Baltimore; Godspell and Colossal for Olney Theatre Center (Artistic Associate), Meena’s Dream, Clementine in the Lower Nine, bobrauschenbergamerica, and Angels in America at Forum Theatre; House of Desires, Living Out, Cabaret Barroco, House of the Spirits, Ana en el Tropico, Lucido, and True History of Coca Cola in Mexico at Gala Hispanic Theatre; and Ghost-Writer, Savage in Limbo, Lonely Planet, The Real Inspector Hound, and Heroes for MetroStage. She is a Ring Leader for dog & pony dc.

COLIN K. BILLS (Lighting Designer) returns to Round House, where his most recent designs include Fetch Clay Make Man, The Lyons and How to Write a New Book for the Bible. As a Company Member at Woolly Mammoth, he has designed over thirty-five productions including Detroit, The Elaborate Entrance of Chad Deity, Clybourne Park, and Dead Man’s Cell Phone. He is a Conspirator with the devising company dog & pony dc, collaborating in the writing, direction and design of Toast, A Killing Game and Beertown. His designs have been seen at Arena Stage, The Berkshire Theater Festival, Centerstage, Contemporary American Theatre Festival, Dallas Theatre Center, Everyman Theatre, Ford’s Theatre, Forum Theatre, Imagination Stage, Intiman Theatre, The Kennedy Center, Lincoln Center, Marin Theatre Company, Metro Stage, Olney Theatre Center, Opera Lafayette, Opéra Royal de Versailles, Portland Center Stage, The Smithsonian Institution, Signature Theatre, The Studio Theatre, Synetic Theater, Theater J, the Washington Revels, and The Williamstown Theatre Festival. Mr. Bills has won three Helen Hayes

Round House Theatre

Awards and is a 2009 recipient of a Princess Grace Fellowship in Theater. He is a graduate of Dartmouth College.

ANDREA “DRE” MOORE (Props Master) has been creating theatrical properties in the DC area for over 12 years. She has designed properties at Round House for several productions (Fool For Love, Ordinary Days, The Lyons, This, Young Robinhood, Crown of Shadows, I Love To Eat). Her work has graced the stages of Adventure Theatre (The Wonderful Wizard of Oz, Tiny Tim’s A Christmas Carol, Stuart Little, Pinkalicious, Jungle Book, Three Little Birds), Flying V (The Pirate Laureate and The King Of The Sea, Fights – Love Is A Battlefield, The Best of Craigslist, The Pirate Laureate of Port Town), Rep Stage (The Whale), Theatre J (The History of Invulnerability), Rorschach Theatre (Neverwhere), Imagination Stage, Georgetown University, The Kennedy Center, and Olney Theatre. She also assists in the education of our future theatre designers and craftspeople at the University of Maryland College Park, at the Clarice Smith Performing Arts Center.

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, Fetch Clay, Make Man, The Nutcracker, and Rapture, Blister, Burn. 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

OTIS CORTEZ RAMSEY-ZÖE (Dramaturg) is an

ADDITIONAL PRODUCTION STAFF

Associate Artistic Director at banished? productions, Lecturer of Theatre Arts at Howard University, Series Editor for NoPassport Press’s Dreaming the Americas Series, and freelance dramaturg. He has developed new works with such organizations as The Sundance Institute, Kennedy Center, Theatre J, Arena Stage, and CENTERSTAGE. Current projects include dramaturg for Jacqueline E. Lawton’s new adaptation of The Wonderful Wizard of Oz (Adventure Theatre, April 3 – May 25), The Shipment (Forum Theatre, May 21 – June 13) and deviser/ dramaturg for Tyger presented by banished? productions as part of the Mead Theatre Lab Program (April 16 – 26).

Production Assistant: Samantha Wilhelm Run Crew: Kathryn Dooley, Chris Hall, Liz Sena Additional Carpentry: Peter Gambardella, Chris Hall, Kyle McGruther Electricians: Peter Gambardella, Chris Hall, Sarah Mackowski, Xena Petkanas, Beth Regalbuto Special Thanks: Michael Steiner, Cesar Ramos, Susan McGee, Harriet Weil, University of Maryland, Adventure Theatre MTC

ORION JONES (Assistant Director) is grateful to be onboard this very special production of Uncle Vanya. Past assistant credits include

Life Sucks (Theater J), A Hatful of Rain (Berkshire Theatre Festival), and Measure for Measure (Academy for Classical Acting). He will graduate in May with an MFA in stage direction from The Catholic University of America. A special thanks to Mr. Vreeke.

2014/2015 Season

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

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

ROUND HOUSE THEATRE is one of the leading professional theaters in the Washington, DC metropolitan area, producing a six-show season of modern classics, new plays and musicals for more than 40,000 patrons each year at our 400-seat theater in Bethesda. Round House has been nominated for 146 Helen Hayes Awards (including six in 2015) and has won 27 (including three in 2014). Its productions have won “Outstanding Resident Play” four times. Round House’s educational programs serve more than 2,500 students at its six-classroom Education Center in Silver Spring and in schools throughout Montgomery County.

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, & 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.

BRANDON BUTLER Night Manager

bbutler@tbchotels.com • www.bethesdacourtwashdc.com

STAY & PLAY

Restaurants, Bars, Theatres and more. 7740 WISCONSIN AVENUE, BETHESDA, MARYLAND 20814 Stay with us656-2100 on a• FFriday or Saturday night TEL: (301) AX: (301) 986-0375 • (800) 874-0050

bbutler@

BETHESDA COURT HOTEL

$89/night

for just including Breakfast! bc BUTLER:bc

2/29/08

7740 WI TEL: (301) 6

*some restrictions may apply. 10:23 AM Page 1 Taxes not included.

bc BUTLER:b

BRANDON BUTLER

7740 WISCONSIN AVENUE BETHESDA, MARYLAND 20814 Night• Manager TEL: (301) 656-2100 • FAX: (301)• 986-0375 • TOLL FREE: (800) 874-0050 bbutler@tbchotels.com www.bethesdacourtwashdc.com www.bethesdacourtwashdc.com

bbutler@

BETHESDA COURT HOTEL

7740 WISCONSIN AVENUE, BETHESDA, MARYLAND 20814 TEL: (301) 656-2100 • FAX: (301) 986-0375 • (800) 874-0050

Round House Theatre is pleased to welcome

Honest Tea as its

2014 ∕ 15 Season Concessions Sponsor

BRANDON BUTLER Night Manager

bbutler@tbchotels.com • www.bethesdacourtwashdc.com

BRANDON BUTLER Night Manager BETHESDA COURT HOTEL

bbutler@tbchotels.com • www.bethesdacourtwashdc.com 7740 WISCONSIN AVENUE, BETHESDA, MARYLAND 20814 TEL: (301) 656-2100 • FAX: (301) 986-0375 • (800) 874-0050

7740 WIS TEL: (301) 6

bbutler@

bbutler@ 7740 WI TEL: (301) 6

BETHESDA COURT HOTEL

7740 WISCONSIN AVENUE, BETHESDA, MARYLAND 20814 TEL: (301) 656-2100 • FAX: (301) 986-0375 • (800) 874-0050

7740 WI TEL: (301) 6

BRANDON BUTLER

BRANDON BUTLER Night Manager BETHESDA COURT HOTEL

bbutler@tbchotels.com • www.bethesdacourtwashdc.com 7740 WISCONSIN AVENUE, BETHESDA, MARYLAND 20814 TEL: (301) 656-2100 • FAX: (301) 986-0375 • (800) 874-0050 BETHESDA COURT HOTEL

bbutler@

bbutler@ 7740 WIS TEL: (301) 6

BOOK EARLY AND SAVE 25% OR MORE* *Restrictions apply.

Bethesda, MD 7490 Waverly Street between East-West Hwy and Montgomery, across the street from Round House Theatre Bethesda

What’s the secret behind crafting the best cheddar in the world? Use only the purest, freshest, all-natural ingredients. Be patient. Let time and Mother Nature gently age the cheese to perfection. For over 90 years, the farm families who own Cabot have proudly continued a tradition and a way of life they love. Try Cabot, the world’s best cheddar*, crafted from the heart. 2012 World Championship Cheese Contest

Vamoose

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

cabotcheese.coop

Arlington, VA 1801 N. Lynn Street (corner 19th St) 1 block from Rosslyn Metro Blue & Orange Line Lorton, VA VRE Station 9000 Lorton Station Blvd New York City Penn Station 30th St and Seventh Avenue on the NW corner at the Bagel Maven Café

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

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 Charitable Foundation Clark-Winchcole Foundation The Cora and John H. Davis Foundation Pam and Richard Feinstein Susan Gilbert and Ron Schechter

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 Hank and Charlotte Schlosberg in honor of Marion Ein Lewin, Paul Mason, and Mark Shugoll 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 Freddie Mac Foundation Ann and Frank Gilbert Henry B. & Jessie W. Keiser Foundation Mark and Anastasia Joelson

Marion Ein Lewin Judy and Brian Madden Heidi and Bill Maloni Paul and Zena Mason Chris and Kathleen Matthews Susan and Bill Reinsch 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 Lorraine and Doug 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 Jan and Jim Eisner

Natalie 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

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 Nina McLemore Scott and Louise Melby Montgomery County Executive’s Ball Marlene Moser Sally J. Patterson

Nancy and Dan Balz Tessie and Thanos Castambas Bill and Donna Eacho Robin Hettleman and Matthew Weinberg Linda Lurie Hirsch 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

Dian and Steve Seidel David and Peggy Shiffrin Mark and Merrill Shugoll Carol Trawick Jerry and Jean Whiddon Andrew A. and Marcia D. Zvara

A DVO C AT E S ($ 5 0 0 – $ 9 9 9)

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.

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

Anne & Henry Reich Family Foundation, Lee G. Rubenstein, Co-President Victor Shargai and Craig Pascal Robin Sherman Susan and John Sturc Weissberg Foundation Tim Westmoreland Roger Williams and Ginger Macomber 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 local elected officials.

Rachel H.M. Abraham Michael and Nancy Arons Bethesda Magazine Community Fund Brent and Teresa Blackwelder Gail and Samuel Broder Susan and Laird Burnett Tom Calhoun and Thelma Triche Calvert Investments Jane and Fred Cantor Katherine Chase DMW

Peggy Dugan David Ehrhart EuroMotorcars Carole and Robert Fontenrose John and Sarah Freeman Charles Gebbert Mary and Bill Gibb Jean and Christopher Gilson Albert Glickman Sheldon and Sherri Gottlieb The Greene-Milstein Family Foundation Harv Lester and Don McMinn

Ellen Hatoum William L. Hopkins and Richard B. Anderson Denise and Alexander Liebowitz Doug and Mary Beth McDaniel Douglas McManus and Susan Albert in honor of Laura Forman Jeffrey Menick David Metzger Ann Morales

Elissa and Bill Oshinsky P. David Pappert Laurance M. Redway Sheldon and Barbara Repp Eric and Shelley Rubin Leslie Smith Pamela and John Spears Luanne and Marc Stanley Ed Starr and Marilyn Marcosson Lance Tucker Vivian Cavalieri LLC

Stacey Colino Ernest Cordova Linda and Joseph Dominic Laurie Edberg Clare Evans Sally A. Fasman Duane and Barbara Fitzgerald Mr. and Mrs. Larrie Greenberg M.D. Norman Gurevich Michael G. Hansen Ilana Heintz Susan R. Hoffmann Terry Ireland Judy and Peter Jablow Gail Jensen

Larry and Sue Jeweler Richard Kasten Dana and Ray Koch Suzanne and Jon Lawrence The Honorable Isiah Leggett and Mrs. Catherine Leggett Darrell Lemke and Maryellen Trautman Erik Lichtenberg Joan and James Lynn Louise Maillett Leslie Maitland and Daniel Werner Keith Martin Lisa Mezzetti Joan Mican and Skip Mahon

Martha Newman 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 Howard and Harriet Shapiro Harlan and Beverly Sherwat Linda and Leslie Smith Jacqueline R. Werner and Richard L. Soffer Joan and Stanley Weiss 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 Montgomery County Government MSKM Architects 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) Actors’ Equity Foundation, Inc. A. Mario Loiederman Middle School Deborah and David Astrove Kate and Stephen Baldwin Nan Beckley Robert and Carol Bennett Ellen L. Berman Marian Block and Ed Rosie David Bradley Lynn Bregman and Barry Malter Joan Bullmer Michael Burke Martin and Barbara Buzas

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.

M ATC H I N G G I F T C O M PA N I E S Ameriprise Financial, Inc. Chubb & Son GE Foundation IBM Corporation Wiley Rein LLP

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 March 22, 2015.

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 Doug Bibby Elaine Kotell Binder Donald M. Boardman Laura Forman Ann Gilbert Eric Glantz Bonnie Hammerschlag Mitchell Hébert Steve Joyce 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 Mark Shugoll 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 theatre. The eastern-most

Education Center

elevator in the garage provides

925 Wayne Avenue

direct access to the theatre.

Silver Spring, MD 20910

Parking is also available in various nearby lots including

Administrative Office

the metered garage on Waverly

One Veterans 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.

ARTISTIC / PRODUCING

2014 – 15 ARTISTS

Producing Artistic Director: Ryan Rilette Associate Producer: Danisha Crosby Artistic Apprentice: Sarah Scafidi

House Management Staff: Lorraine Ebbins, Samara Fantie, Brian Jones, Sondra Katz, Nora O’Reilly, Lori Lentner Schwartz, Rachel Spears, Richard Taylor

ADMINISTRATION

PRODUCTION

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 Hébert 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

General Manager: Tim Conley Accountants: Raffa, P.C.

DEVELOPMENT

Director of Development: Laura Blackwelder Manager of Institutional Giving: Patricia Germann Development Assistant: Amanda Togliatti

MARKETING & COMMUNICATIONS

Director of Marketing & Communications: Bryan Joseph Lee Associate Director of Marketing & Communications: Sarah Pressler 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, Giovanni Sayles, Claire Smith 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: Megan Westman 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

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

2014/2015 Season

SPECIAL PERFORMANCES

PARKING

Waverly Street garage.

When there is a performance Andrea Moore Matthew M. Nielson Courtney O’Neill Meghan Raham Eric Shimelonis Debra Kim Sivigny Ivania Stack Paul Toben Daniel MacLean Wagner Directors Joe Calarco Meredith McDonough Ryan Rilette Derrick Sanders Shirley Serotsky John Vreeke Edgar Gonzalez (Assistant) Orion Jones (Assistant) Sarah Scafidi (Assistant) Margot Sturc (Assistant) William Yanesh, Musical Director Dramaturgs Jodi Kanter Otis Cortez Ramsey-Zöe 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

discretion.

available for purchase before the performance and during intermission. Food is

Program design by

not allowed in the theatre

Scott Shumaker at

auditorium, although drinks

Precision Design LLC.

with lids or caps are permitted.

Round House Theatre

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.

R E V O C S DI R U O Y Y R O ST N

SO A E S 6 1 0 2015/2

ON SALE NOW SUBSCRIPTIONS STARTING AT $99 ROUNDHOUSETHEATRE.ORG

up next

at Round House Theatre

Lucy Kirkwood

Directed by

Meredith McDonough May 27 – June 21, 2015 Money, sex, and Photoshop! NSFW (Not Safe for Work) is a hilarious, biting comedy about power games and privacy in the media and, in particular, how magazines objectify women. When Aiden, editor of “Doghouse” men’s magazine, charges his team of journalists with finding an amateur model for a racy photo spread, he can’t foresee the trouble it will bring. In the aftermath, feature writer and prime casualty, Sam, seeks a lifeline at “Electra,” a stylish women’s magazine that surely can’t be anywhere as bad as his last job… or can it?

240.644.1100 or RoundHouseTheatre.org