UNCLE VANYA | Round House Theatre
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Transcript of UNCLE VANYA | Round House Theatre
By Anton ChekhovAdapted by Annie Baker
Working with a literal translation by Margarita Shalina and
the original Russian text
Round House Theatre 1 2014/2015 Season
FROM THE PRODUCING ARTISTIC DIRECTOR
The first part of Round House’s mission is to serve as “a home for outstand-
ing 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 phenom-
enal 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!
Ryan Rilette,
Producing Artistic Director
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Serving America’s Favorite Food
*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.
Daily Grill is located just 1 block away at the Bethesda Hyatt.One Bethesda Metro Center
Reservations Recommended301.656.6100 | DailyGrill.com
Pre-ShowDinner Package
Purchase 2 Dinner Entrées & Receive: Large Carafe of House Wine$8 Food Credit for Parking*
Happy Hour4-7PM Monday - Friday11AM - 7PM Saturday
All Day Sunday
Join Us for Brunch11AM - 3PM Saturday & Sunday
•
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Artist Transportation provided by
A R O U N D H O U S E T H E A T R E P R O D U C T I O N
Ryan Rilette, Producing Artistic Director
Major funding provided by
SPONSOR SPOTLIGHT
“We think this Uncle Vanya pro-
duction will be historic! It always
feels like an honor to be able to
support a play, but it feels espe-
cially wonderful when it is a clas-
sic 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
“We’re so pleased to have been
with Round House since its early
days and wish all great and con-
tinuing success.”
— Bernard and Ellen Young
To become a sponsor for an upcoming production,
please contact Laura Blackwelder, Director of Development, at 240.644.1401.
UNCLE VANYABy
ANTON CHEKHOVAdapted by
ANNIE BAKERWorking with a literal translation by
MARGARITA SHALINA and the original Russian text
Directed by JOHN VREEKE
Scenic Designer: Misha Kachman
Costume Designer: Ivania Stack
Lighting Designer: Colin K. Bills
Sound Designer: Eric Shimelonis
Original Music: Mark Jaster and Eric Shimelonis
Props Master: Andrea Moore
Dramaturg: Otis Cortez Ramsey-Zöe
Assistant Director: Orion Jones
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.
The video and/or audio recording of this performance by any means whatsoever is strictly prohibited.
Round House Theatre extends its deep gratitude to Bonnie and Alan Hammerschlag & Bernard and Ellen Young, sponsors of Uncle Vanya.
CAST (in order of appearance)
Yefim ERIC SHIMELONISMarina NANCY ROBINETTE*Mikhail Lvovich Astrov RYAN RILETTE*Ivan Petrovich Voinitsky (Vanya) MITCHELL HÉBERT*Alexander Vladimirovich Serebryakov JERRY WHIDDON*Sophia Alexandrovna (Sonya) KIMBERLY GILBERT*Ilya Ilyich Telegin MARK JASTERYelena Andreyevna (Yelena) GABRIELA FERNANDEZ-COFFEY*Maria Vasilyevna Voinitskaya 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.
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We are proud to support the Round House Theatre
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.
2015 Gala Concert
An evening with NORM LEWIS
Saturday, May 9
2015 SUMMER PROGRAMSFOR GRADES K - 6 IN SILVER SPRING
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Register Today! For registration form, call 301.585.1225or visit RoundHouseTheatre.org
Round House Theatre 6 2014/2015 Season Round House Theatre 7 2014/2015 Season
by Otis Cortez Ramsey-ZöeWhenever 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 posi-
tions 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 feel-
ings and Chekhov’s work is predicated upon
the internal and psychological operations
of individuals, the statement acknowledges
Chekhov’s impact on the development of the-
atre, 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,
both of which are present in Uncle Vanya. In
his notebooks, Chekhov declared, “Let every-
thing 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 reflect-
ing the truth of real life. In Uncle Vanya, the
oft-disjointed dialogue mirrors the stagnant
lives of farmers, doctors, servants, retired
intellectuals, and boarded beauties.
As Peter Brook observes, “it is construc-
tion 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 con-
temporary 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 usu-
ally 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.
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, individu-
als 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 espe-
cially, 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 expres-
sion of what cannot be expressed in any
other way.”
Re-Righting Chekhov’s Uncle Vanya
Round House Theatre 8 2014/2015 Season Round House Theatre 9 2014/2015 Season
CASTERIC SHIMELONIS (Yefim /
Original Music / Sound Designer)
Other Round House produc-
tions 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
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
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
at Tulane and Loyola universities in New
Orleans. He earned his MFA in Acting from
American Conservatory Theatre.
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.
JERRY WHIDDON (Alexander
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
(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.
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.
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.
Round House Theatre 10 2014/2015 Season Round House Theatre 11 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.
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.
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
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.
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 inter-
nationally as a major dramatist. He is buried
in Novodevichy Cemetery in Moscow.
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-
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.
JOHN VREEKE (Director) directed last sea-
son’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 sea-
son, 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,
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 compa-
nies 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.
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
ARTISTIC
TEAM
Round House Theatre 12 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, collabo-
rating 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
ADDITIONAL PRODUCTION STAFF
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
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, & 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.
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.
OTIS CORTEZ RAMSEY-ZÖE (Dramaturg) is an
Associate Artistic Director at banished? pro-
ductions, 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).
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.
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
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 free-
lances 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 sea-
son of modern classics, new plays and musi-
cals 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.
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7740 WISCONSIN AVENUE, BETHESDA, MARYLAND 20814TEL: (301) 656-2100 • FAX: (301) 986-0375 • (800) 874-0050
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7740 WISCONSIN AVENUE, BETHESDA, MARYLAND 20814TEL: (301) 656-2100 • FAX: (301) 986-0375 • (800) 874-0050
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7740 WISCONSIN AVENUE, BETHESDA, MARYLAND 20814TEL: (301) 656-2100 • FAX: (301) 986-0375 • (800) 874-0050
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7740 WISCONSIN AVENUE, BETHESDA, MARYLAND 20814TEL: (301) 656-2100 • FAX: (301) 986-0375 • (800) 874-0050
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B ET HE SD A CO UR T HO TE L
7740 WISCONSIN AVENUE, BETHESDA, MARYLAND 20814TEL: (301) 656-2100 • FAX: (301) 986-0375 • (800) 874-0050
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7740 WISCONSIN AVENUE, BETHESDA, MARYLAND 20814TEL: (301) 656-2100 • FAX: (301) 986-0375 • (800) 874-0050
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B ET HE SD A CO UR T HO TE L
7740 WISCONSIN AVENUE, BETHESDA, MARYLAND 20814TEL: (301) 656-2100 • FAX: (301) 986-0375 • (800) 874-0050
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STAY & PLAY Restaurants, Bars, Theatres and more.
Stay with us on a Friday or Saturday night
for just $89/night *
including Breakfast!*some restrictions may apply. Taxes not included.
Round House Theatre is pleased to welcome
Honest Tea as its
2014 ∕15 Season Concessions Sponsor
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.
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Vamoose to New York City for Music,
Art, Theatre, Dance, and Entertainment
Convenient schedules, pick up and drop off points
Bethesda, MD 7490 Waverly Street between East-West Hwy and Montgomery, across the street from Round House Theatre Bethesda
Arlington, VA 1801 N. Lynn Street (corner 19th St) 1 block from Rosslyn Metro Blue & Orange Line
Lorton, VAVRE Station9000 Lorton Station Blvd
New York City Penn Station 30th St and Seventh Avenue on the NW corner at theBagel Maven Café
www.VamooseBus.com • Tel: 301-718-0036
BOOK EARLY AND SAVE 25% OR MORE*
*Restrictions apply.
ANNUAL FUND SUPPORTERSFELLOWS ($1 ,500 – $2,499)
Natalie AbramsKathy and Norm BarkerDimick FoundationCarol Sue FrombolutiRobert E. Hebda
Robbin and Giles HopkinsReba and Mark ImmergutAlan KingCathy KwartRona and Allan Mendelsohn
Lynn and Philip MetzgerStacy MurchisonLarry and Melanie NussdorfMarilyn and Barry ScheinerTrueTheatergoer
BENEFACTORS ($1 ,000 – $1 ,499)
Nancy and Dan BalzTessie and Thanos CastambasBill and Donna EachoRobin Hettleman and
Matthew WeinbergLinda Lurie HirschAllan and Shelley HoltErin and Mark Kopelman
Frank and Joanne LavinJudy LeveyGeoff and Lisa LewisWinton Matthews, Jr.Louis and Sherry NevinsIlga PakalnsMr. and Mrs. Louis PohorylesCynthia Rohrbeck
Dian and Steve SeidelDavid and Peggy ShiffrinMark and Merrill Shugoll Carol TrawickJerry and Jean WhiddonAndrew A. and Marcia D. Zvara
ADVOCATES ($500 – $999)
Rachel H.M. AbrahamMichael and Nancy AronsBethesda Magazine
Community FundBrent and Teresa BlackwelderGail and Samuel BroderSusan and Laird BurnettTom Calhoun and
Thelma TricheCalvert InvestmentsJane and Fred CantorKatherine ChaseD M W
Peggy DuganDavid EhrhartEuroMotorcarsCarole and Robert FontenroseJohn and Sarah FreemanCharles GebbertMary and Bill GibbJean and Christopher GilsonAlbert GlickmanSheldon and Sherri GottliebThe Greene-Milstein
Family FoundationHarv Lester and Don McMinn
Ellen HatoumWilliam L. Hopkins and
Richard B. AndersonDenise and Alexander
LiebowitzDoug and Mary
Beth McDanielDouglas McManus and
Susan Albert in honor of Laura FormanJeffrey MenickDavid MetzgerAnn Morales
Elissa and Bill OshinskyP. David PappertLaurance M. RedwaySheldon and Barbara ReppEric and Shelley RubinLeslie SmithPamela and John SpearsLuanne and Marc StanleyEd Starr and
Marilyn MarcossonLance TuckerVivian Cavalieri LLC
ASSOCIATES ($250 – $499)
Actors’ Equity Foundation, Inc.
A. Mario Loiederman Middle School
Deborah and David AstroveKate and Stephen BaldwinNan BeckleyRobert and Carol BennettEllen L. BermanMarian Block and Ed RosieDavid BradleyLynn Bregman and
Barry MalterJoan BullmerMichael BurkeMartin and Barbara Buzas
Stacey ColinoErnest CordovaLinda and Joseph DominicLaurie EdbergClare EvansSally A. FasmanDuane and Barbara FitzgeraldMr. and Mrs.
Larrie Greenberg M.D.Norman GurevichMichael G. HansenIlana HeintzSusan R. HoffmannTerry IrelandJudy and Peter JablowGail Jensen
Larry and Sue JewelerRichard KastenDana and Ray KochSuzanne and Jon LawrenceThe Honorable Isiah Leggett
and Mrs. Catherine LeggettDarrell Lemke and
Maryellen TrautmanErik LichtenbergJoan and James LynnLouise MaillettLeslie Maitland and
Daniel WernerKeith MartinLisa Mezzetti Joan Mican and Skip Mahon
Martha NewmanGeri and Dick OlsonPosner-Wallace Foundation in honor of Rachel AbrahamNancy E. RandaRyan and Christy RiletteGene and Gail RubinsonMary SchellingerSarah SextonHoward and Harriet ShapiroHarlan and Beverly SherwatLinda and Leslie SmithJacqueline R. Werner
and Richard L. SofferJoan and Stanley WeissKathryn Winsberg
IN-KIND DONORS
American PlantAmtrakAssagiBarrel Oak WineryCabot Creamery of VermontCafé DeluxeCalvert WoodleyContemporary American
Theater FestivalChevy Chase FloristCommunity ForkliftDaily GrillDoyle Printing & Offset Co.
Four SeasonsGansevoortHank’s Oyster BarHilton Garden Inn BethesdaHonest TeaThe Irish-Inn at Glen EchoThe Iron Bridge Wine
CompanyJaleoBarry and Beth LindleyMax BrennerMicrosoftMon Ami Gabi
Montage ResortMontgomery County
GovernmentMSKM ArchitectsNina McLemoreThe Patton AlliancePaul’s LiquorPropellorProvisionsRed Door SpaResidence Inn BethesdaRichard Nader EntertainmentRitz Carlton
River FallsRothschild ChateauSalamander Resort & SpaShugoll ResearchSignature TheatreStrathmoreStudio TheatreSunTrustThe Taproot FoundationTheatre JVamooseThe Washington KastlesZeke’s Coffee
ROUND HOUSE INNER CIRCLEDIAMOND CIRCLE ($100,000+)
Arts & Humanities Council of Montgomery County Maryland State Arts Council
PLATINUM CIRCLE ($50,000 – $99,999)
Alan and Bonnie HammerschlagJeffrey and Carolyn Leonard
The Morris and Gwendolyn Cafritz FoundationJudy and Leo Zickler
GOLD CIRCLE ($25,000 – $49,999)
Dr. and Mrs. Clement AlpertCathy S. BernardDon and Jan BoardmanData-Prompt, Inc.
Heidi and Mitch DuplerMargaret Abell Powell Fund of the
William S. Abell FoundationMARPAT Foundation
Linda Ravdin and Don ShaperoThe Share FundThe Shubert FoundationTown of Chevy Chase
SILVER CIRCLE ($10,000 – $24,999)
Esthy and Jim AdlerMichael Beriss and Jean CarlsonClark Charitable FoundationClark-Winchcole FoundationThe Cora and John H. Davis
FoundationPam and Richard FeinsteinSusan Gilbert and Ron Schechter
The Homer and Martha Gudelsky Family Foundation
J. Willard and Alice S. Marriott Foundation
Ann and Bruce LaneSusan Freeman McGeeNora Roberts FoundationPasternak & Fidis
The Rowny FoundationHank and Charlotte Schlosberg
in honor of Marion Ein Lewin, Paul Mason, and Mark Shugoll
Dick and Katie SnowdonSulica FundBernard and Ellen Young
BRONZE CIRCLE ($5,000 – $9,999)
Elaine and Richard BinderDon and Nancy BlissFreddie Mac FoundationAnn and Frank GilbertHenry B. & Jessie W. Keiser
FoundationMark and Anastasia Joelson
Marion Ein LewinJudy and Brian MaddenHeidi and Bill MaloniPaul and Zena MasonChris and Kathleen MatthewsSusan and Bill ReinschLaura and Robert Walther
Robert and Virginia WaltherAlan and Irene WurtzelAnne and Robert YermanLynda and Joseph Zengerle
COPPER CIRCLE ($2,500 – $4,999)
Marla and Bobby Baker, Baker-Merine Family Foundation
Terry BeatySue Ann and Ken BerlinLorraine and Doug BibbyChevy Chase TrustFrances ChyatteCity of RockvilleClark Construction Group, LLCCommunity Foundation
for Montgomery CountyDallas Morse Coors Foundation
for the Performing ArtsBunny R. DwinJan and Jim Eisner
David and Jane FairweatherLaura Forman and Richard BenderEric and Jessica GlantzHank and Carol B. GoldbergGraham Holdings CompanyStuart and Beverly GreenfeigDaniel Kaplan and Kay RichmanLerch, Early & BrewerNina McLemoreScott and Louise MelbyMontgomery County
Executive’s BallMarlene MoserSally J. Patterson
Anne & Henry Reich Family Foundation, Lee G. Rubenstein, Co-President
Victor Shargai and Craig PascalRobin ShermanSusan and John SturcWeissberg FoundationTim WestmorelandRoger Williams and
Ginger MacomberMier and Cathy WolfMargot and Paul Zimmerman
MATCHING GIFT COMPANIES
Ameriprise Financial, Inc. Chubb & SonGE FoundationIBM CorporationWiley Rein LLP
…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 tax-deductible gifts help the theatre continue to produce excellent productions and education programs and keep them accessible to our entire community. Please consider joining one of our giving circles. For more information about making a donation of cash, securities, or in-kind services, please contact the Round House Theatre Development Department at 240.644.1403.
Round House 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.
THANK YOU
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.
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Round House Theatre 20 2014/2015 Season Round House Theatre 21 2014/2015 Season
ROUND HOUSE THEATRE DIRECTORY
Mitchell S. Dupler, PresidentSally J. Patterson, Immediate Past President
Susan Gilbert, Vice President
Cathy S. Bernard, Treasurer Bruce S. Lane, SecretaryMichael BerissDoug BibbyElaine Kotell BinderDonald M. BoardmanLaura FormanAnn GilbertEric GlantzBonnie HammerschlagMitchell HébertSteve JoyceErin Kopelman
Marion Ein LewinGeoffrey P. LewisSusan Freeman McGeeBrian M. MaddenPaul MasonScott MelbyStacy MurchisonLinda J. RavdinRyan RiletteMark ShugollLaura WaltherRoger WilliamsMier WolfJudith H. Zickler
General Counsel: Ann Marie Mehlert Lerch Early & Brewer, Chtd.
AUDIENCE SERVICESLOCATIONS
Bethesda Mainstage
4545 East-West Highway
Bethesda, MD 20814
www.RoundHouseTheatre.org
Education Center
925 Wayne Avenue
Silver Spring, MD 20910
Administrative Office
One Veterans Place
Silver Spring, MD 20910
BOX OFFICE HOURS
M – F noon – 5 p.m.
When there is a performance
the box office is also open:
Tuesday: noon – 7:30 p.m.
Wednesday & Thursday:
10 a.m. – 7:30 p.m.
Friday: 10 a.m. – 8 p.m.
Saturday: Noon – 8 p.m.
Sunday: Noon – 3 p.m.
TICKET SALES AND SUBSCRIBER EXCHANGESPhone: 240.644.1100
Fax: 240.644.1101
Tickets and subscriptions
may also be purchased at
the box office or online at
www.RoundHouseTheatre.org.
GROUP SALESDiscounts are available for
groups of 10 or more. Call
240.644.1100 for details.
LOBBY CONCESSIONSFood and beverages are
available for purchase
before the performance and
during intermission. Food is
not allowed in the theatre
auditorium, although drinks
with lids or caps are permitted.
PARKING
Paid parking is available in the
Chevy Chase Trust building
parking garage, adjacent to
the theatre. The eastern-most
elevator in the garage provides
direct access to the theatre.
Parking is also available in
various nearby lots including
the metered garage on Waverly
Street. Meters run until 10 p.m.
weekdays, with free parking on
Saturday and Sunday. Pay-by-Cell
Phone parking is available in the
Waverly Street garage.
METRO
BETHESDA
Round House Theatre
is at 4545 East-West Highway,
one block east of Wisconsin
Avenue and of the Bethesda
station on the Red Line.
SILVER SPRING
Round House Theatre Education
Center is at 925 Wayne Avenue,
adjacent to the Wayne Avenue
parking garage and two blocks
from the Silver Spring station on
the Red Line.
PERFORMANCE DETAILSCameras and recording devices
are not allowed in the theater.
Please turn off all pagers,
telephones, watch alarms, and
other electronic devices during
the performance. Latecomers will
be seated at the management’s
discretion.
Program design by
Scott Shumaker at
Precision Design LLC.
SPECIAL PERFORMANCESDESIGNER 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.
Producing Artistic Director: Ryan Rilette
Associate Producer: Danisha Crosby
Artistic Apprentice: Sarah Scafidi
ADMINISTRATIONGeneral Manager: Tim Conley
Accountants: Raffa, P.C.
DEVELOPMENTDirector of Development: Laura Blackwelder
Manager of Institutional Giving: Patricia Germann
Development Assistant: Amanda Togliatti
MARKETING & COMMUNICATIONSDirector of Marketing & Communications: Bryan Joseph Lee
Associate Director of Marketing & Communications: Sarah Pressler
Season Artwork: Esther WuBranding: Propellor
AUDIENCE SERVICESDirector of Audience Services: Wil E Johnson III
Box Office Manager: Donna Hall
Group Sales: Steve LangleyBox Office Associates: Marquita Dill, Alessandra Dreyer, Giovanni Sayles, Claire Smith
Lead House Manager: Michele Cesar Turner
House Management Staff: Lorraine Ebbins, Samara Fantie, Brian Jones, Sondra Katz, Nora O’Reilly, Lori Lentner Schwartz, Rachel Spears, Richard Taylor
PRODUCTIONProduction 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 BartlowProduction Stage Manager in Residence: Bekah Wachenfeld
EDUCATIONDirector of Education: Brianna McCoy
Education Associate: Megan Westman
Lead Teaching Artists: Jessica Pearson Brandon McCoy
FACULTYNora AchratiAudrey BertauxElizabeth JerniganCasey KalebaTimothy KerberMarin LeggatMatt McGeeBri ManenteDavid MavricosJessica PenaMelissa RichardsonAndrew StoffelRick Westerkamp
Actors Evan CaseyKatie deBuysSherri L. EdelenMaggie ErwinGabriela Fernandez-CoffeyWill GartshoreDanny GaviganTim GetmanKimberly GilbertLaura C. HarrisDeborah HazlettMitchell HébertHelen HedmanBeth HyltonEddie Ray JacksonMark JasterThomas KeeganVincent KempskiMarty LodgeBrandon McCoyRoscoe OrmanLawrence RedmondRyan RiletteNancy RobinetteJefferson A. RussellTodd ScofieldEric ShimelonisRobert SicularMichelle SixKatherine Renee TurnerErin WeaverJames WhalenJerry WhiddonLauren WilliamsJoy Zinoman
Designers Christopher BaineColin K. BillsTony CisekAndrew R. CissnaDaniel ConwayHeidi Leigh HansonKasey HendricksHelen HuangJennifer Crier JohnstonMisha KachmanCaite Hevner KempJames KronzerFrank Labovitz
Andrea MooreMatthew M. NielsonCourtney O’NeillMeghan RahamEric ShimelonisDebra Kim SivignyIvania StackPaul TobenDaniel 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 KanterOtis Cortez Ramsey-ZöeBrent Stansell
Fight ChoreographersCasey Kaleba
Teen Performance CompanyIsabel BrodskyMilena Castillo-GrynbergDeclan CondittNate FellnerRonee GoldmanZoe JohnsonFrancis KpueDerek LambPamela LawrenceZoe MalhotraMeribor MatusowWilla MurpheyNatalia PichardoIlana Simon-RusinowitzMegan ThompsonTyler TriplerMegan Wirtz
Jerry B. Whiddon, Producing Artistic Director Emeritus
Guido AdelfioEsthy and James AdlerNorman A. BarkerSue Ann BerlinJean CarlsonDonna W. EachoZelda FichandlerCarol Brown GoldbergReba ImmergutPeter A. JablowMark and Tory JosephBetsy KarminAudrey and Sheldon KatzAnn LaneFrank and Joanne LavinGordon and Jocelyn Linke
Dorothy and William F. McSweeny
Chuck MuckenfussEliot PfanstiehlTrina and Lee G. Rubenstein
Ron SchechterMarilyn ScheinerJeremy W. SchulmanVictor ShargaiRobin ShermanWilliam J. SimRichard W. Snowdon, IIIJonathan R. and Shellie Steinberg
Manny StraussKathy Yanuck WengerAndrew A. Zvara
BOARD OF TRUSTEES ADVISORY BOARD
ARTISTIC / PRODUCING 2014 – 15 ARTISTS
ON SALE NOWSUBSCRIPTIONS STARTING AT $99
ROUNDHOUSETHEATRE.ORG
nextup at Round House Theatre
by Lucy Kirkwood Directed by
Meredith McDonough May 27 – June 21, 2015Money, sex, and Photoshop! NSFW (Not Safe for Work) is a hilarious, bit-ing 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 journal-ists with finding an amateur model for a racy photo spread, he can’t foresee the trouble it will bring. In the after-math, 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
DISCOVER
STORYYOUR2015/2016 SEASON