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

Ph

oto

by

Clin

ton

BP

hoto

gra

phy

Un

cle V

an

ya a

rtw

ork

by

Est

her

Wu

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

•

•

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.

Your Law Firm for LifeLegal services to families, individuals and businesses in

trusts and estates, family law, business and litigation

7735 Old Georgetown Rd. Bethesda, MD 20814 | (301) 656-8850www.pasternakfidis.com

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

GRADES 7 - 12 IN BETHESDA

EX

PR

ES

S

YO

UR

SE

LF

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


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.


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.

BE TH ES DA C OU RT H OT EL

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

BRANDON BUTLER Night Manager

[email protected] • www.bethesdacourtwashdc.com

















B ET HE SD A CO UR T HO TE L




















bc BUTLER:bc 2/29/08 10:23 AM Page 1

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

www.bethesdacourtwashdc.com





















BETHESDA COURT HOTEL













































































































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.

What’s the secret behind crafting the best cheddar in the world?

cabotcheese.coop

z2012 World Championship Cheese Contest

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.

69603


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

UNCLE VANYA | Round House Theatre

Documents

Transcript of UNCLE VANYA | Round House Theatre