THE NIGHT ALIVE Program | Round House Theatre

NIGHT ALIVEREGIONAL PREMIERE

B Y

CONOR McPHERSOND I R E C T E D B Y

RYAN RILETTE

Katie deBuys & Edward Gero

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Dawn Ursula

December 2 – December 27, 2015

STAGE KISSBY SARAH RUHL

DIRECTED BY AARON POSNER

March 30 – April 24, 2016

CAT HOT TIN ROOF

BY TENNESSEE WILLIAMSDIRECTED BY MITCHELL HÉBERT

October 21 – November 13, 2015

NIGHT ALIVEBY CONOR MCPHERSON

DIRECTED BY RYAN RILETTE

January 27 – February 21, 2016

FATHER COMES HOME

WARSBY SUZAN-LORI PARKS

DIRECTED BY TIMOTHY DOUGLAS

May 25 – June 19, 2016

WHO & WHATBY AYAD AKHTAR

DIRECTED BY ELEANOR HOLDRIDGE

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ROUND HOUSE THEATRE is one of the leading professional theatres in the Washington, DC metropolitan area, producing a six-show season of modern classics, new plays and musicals for more than 40,000 patrons each year at our 400-seat theatre in Bethesda. Round House has been nominated for 146 Helen Hayes Awards and has won 28. 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. Its many education programs encompass Full Day Programs for Youth; a Teen Performance Company, with classes and events for teens throughout the year culminating in The Sarah Metzger Memorial Play, the only play produced by a regional theater that is directed, acted, and designed by high school students; School Outreach, including Intersections, Student Matinees; Play It Forward, a program that allows Montgomery County high school students to attend Round House shows for free; and Classes for Adults & Youth.

When evaluating plays for possible production, my Round House colleagues and I often ask ourselves a deceptively simple question: Where does this play land in the body? Some plays are intellectual and hit you in the head; some are passionate and hit you

below the belt; others are nail biting and turn your stomach. While we produce a mixture of all of these types, the works that we gravitate towards, the ones we think of as “Round House” plays, are character-driven pieces that touch the heart—and in the best-case scenario, even the soul. Those are the plays that we feel best fit our mission to serve as “a home for outstanding ensemble acting” and “to captivate audiences with stories that inspire compassion, provoke emotions, and demand conversation.” Finding a play that fits all of those criteria, however, is tricky. Most plays only fit a few. The Night Alive is a rarity—a perfect fit. I was lucky enough to see the Donmar Warehouse world premiere of The Night Alive before I had read anything about it, while it was still in previews. As a long-time fan of McPherson, I expected richly drawn, flawed, down-and-out characters. I expected great dialogue, wonderful storytelling, and an element of the supernatural. What surprised me, though, was the optimism, the hope, and the faith that lies at the heart of this play. It affected me profoundly. I immediately knew that it was a work that we had to produce. I am blessed with an extraordinary cast to help me bring this play to life here. We are thrilled to welcome back to Round House Edward Gero in the lead role of Tommy. Also returning are Katie deBuys and Michael Tolaydo. And making their Round House debut with this production are two very talented actors of whom I expect you will see a lot more here in the future: Joseph Carlson and Gregory Linington. While only two of these actors have worked together before, they immediately bonded over this gorgeous material, and have incredible chemistry as an ensemble. Like most great plays, The Night Alive asks more questions than it provides answers. I attended the play with a co-worker and while we both loved it, our interpretations of the play differed radically. That’s okay. In fact, I think it’s pretty wonderful. A great work of art is only complete when you, as its audience, finish it. I look forward to discussing this one with you, and hope that you will be as moved by it as I was when I first encountered it—and, after many months living in the world of The Night Alive, still am.

BEST,

RYAN RILETTE, PRODUCING ARTISTIC DIRECTOR

FROM THE PRODUCING ARTISTIC DIRECTORCB

Photograp

hy

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SPONSOR SPOTLIGHTRound House Theatre extends its deep gratitude to

Esthy & Jim Adler and Judy & Leo Zickler, sponsors of The Night Alive.

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We’re always happy to sponsor Ryan [Rilette]’s

excellent play choices, and are particularly excited about The Night Alive with such a superior cast. We know Ryan and the cast will infuse this play with energy!” — Judy & Leo Zickler

We’re excited about this Round House Theatre

production of The Night Alive. Getting the rights to produce Conor McPherson’s new prize-winning play in Washington was a great coup for Ryan Rilette. Recruiting Edward Gero to inhabit the play’s central role was an inspiration. We are eager to see this show onstage, and proud to help get it there.” — Esthy & Jim Adler

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

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SPONSOR SPOTLIGHTA 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

presents

NIGHT ALIVEB Y

CONOR MCPHERSOND I R E C T E D B Y

RYAN RILETTE

Scenic & Costume Designer: MEGHAN RAHAM

Lighting Designer: COLIN K. BILLS

Composer/ Sound Designer:

ERIC SHIMELONIS

Props Master: KASEY HENDRICKS

Fight Choreographer: CASEY KALEBA

Dialects: MARY COY

Dramaturg: BRENT STANSELL

Assistant Director: GABRIELLE HOYT

Production Stage Manager: JANA LLYNN*

CAST

Tommy EDWARD GERO*

Aimee KATIE DEBUYS*

Doc GREGORY LININGTON*

Maurice MICHAEL TOLAYDO*

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

PLACE: An Edwardian house near the Phoenix Park in Dublin

TIME: Autumn.The present.

The Night Alive will be performed without an intermission.

The Night Alive is presented by special arrangement with Dramatists Play Service, Inc., New York.

Sponsored in part through generous support from Esthy & Jim Adler and Judy & Leo Zickler

The video and/or audio recording of this performance by any means whatsoever are strictly prohibited.

ARTIST TRANSPORTATION PROVIDED BY

MAJOR FUNDING PROVIDED BY

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.

AS A SPIRITUAL MEDITATION ON LIFE AND and death, The Night Alive is in many ways a thematic continuation of playwright Conor

McPherson’s body of work. McPherson, one of the most successful and prolific Irish playwrights working today, is known for exploring the supernatural and imbuing realistic theatrical settings with an abstract spiritual dimension. His Broadway productions of The Weir (1999) and Shining City (2006) center around ghost stories while The Seafarer (2007) presents a character who literally embodies the Devil. McPherson describes his latest play, The Night Alive, as a “supernatural play with no ghosts” rooted in the Catholic idea that the spiritual world is somehow more real than the material one. He says: “I’m asking, why are we here, and what’s beyond? We know so little of the why, what the universe is, what infinity is. The veil around us is very fragile.”

McPherson calls The Night Alive a modern day Nativity play

WHAT’S GOING ON?

“with all the motifs about giving shelter to someone who needs shelter and featuring three wise men, none of them very wise here.” Critic Charles McNulty concurs, defining the play as “a contest between decency and savagery, charity and exploitation, and faith and despair.” Raised as a Catholic, McPherson grappled with his religious beliefs

from an early age and started writing as a teenager after he rejected his strict upbringing. His play’s characters face a world entrenched in Catholic morality, and seek redemption from the “guilt and fear” that McPherson often associates with Catholic belief. Yet despite this seeming rejection of faith, McPherson describes the spiritual and supernatural elements in his plays as “probably a search for God.”

Inspired to write the play when he saw an older man taking a young woman into a house near Phoenix Park in Dublin (where the play is set), The Night Alive serves as a reflection of McPherson’s personal life at this point

“What’s goin’ on? That is the question. What in the name of Jaysus is goin’ on?”

—Tommy in The Night Alive

“TO ME, ALL OF MY PLAYS ARE ABOUT THE MYSTERY

OF GOD, ABOUT REACHING A POINT OF TRANSCENDENCE

WHERE UNSAYABLE EMOTIONS CAN EMANATE,

AND ABOUT ASKING, ‘WHAT’S GOING ON?’”

—Conor McPherson

by Brent Stansell, Dramaturg

WHAT’S GOING ON?

Photo: Christian Reimer. www.goo.gl/LDmBTC

in his career. Writing at 42 as a new father with a young daughter, and sober for over a decade, McPherson has centered his narrative on a man struggling with life who finally finds peace. McPherson’s central characters are often men facing existential crises confronted by female characters in jeopardy who serve as symbols of innocence and vulnerability.

Like many of his plays, The Night Alive is also a morality tale where people are forced to recognize their responsibility to one another. Through his characters’ search for redemption from the significant mistakes they have made in their lives, McPherson unearths the feelings of loss and loneliness ingrained in the human experience. Although his characters deal with substantial problems, McPherson says his characters have “an innate sense of what’s right and wrong” and they are able to find grace in small moments of compassion.

The Night Alive also reflects the harsh realities facing Ireland in 2013, when the play was written: Ireland’s unemployment rate had reached its highest point (over 14%) since the country’s financial crisis began. Indeed, McPherson’s plays are often set in a larger world defined by specific socio-economic conditions. In The Night Alive, even though the entire action of the play takes place in Tommy’s makeshift flat, the characters are unable to escape the very real world of violence and economic depression that envelops them. This social consciousness

contrasts with the isolation of McPherson’s characters, who are trapped in their own dark recesses and alienated from others, yet desperately seeking transcendence.

Above all, McPherson’s plays present great stories that are constantly shifting and changing. McPherson started his career writing plays that took the form of monologues simply told directly to the audience, connecting his work to the origins of Irish drama, in which storytellers performed for

their community at the local pub. Although his plays have become increasingly more realistic, he still forces audiences to question the reliability of the story being told. As explained by scholar Scott T. Cummings, “[McPherson’s] stories always begin in a world that is familiar and ordinary. Then, as the narrative gains momentum, they take advantage of the listener’s initial trust, the proverbial willing suspension of disbelief. The situation goes to implausible extremes—of alcohol consumption, of ruthless crime, or supernatural occurrences.” In

this way, McPherson brings attention to the psychology of storytelling, always keeping his audiences wondering, “What is real and what isn’t?”

In fact, McPherson wants all of his plays to ask a litany of questions. In The Night Alive, his audience is left to grapple with the biggest ones: What is life? What happens after? What is our purpose? Why are we here? And most importantly, “What in the name of Jaysus is goin’ on?”

“ALL I CAN SAY IS MY WORK IS A BATTLE

AGAINST LONELINESS. IT’S AN ACKNOWLEDGMENT

THAT WE ALL HAVE A FUNDAMENTAL LONELINESS

EVEN THOUGH YOU MAY NOT BE ALONE. BUT ALL

THAT LONELINESS CAN BE EASED BY ADMITTING AND

SHARING THAT FACT.”

—Conor McPherson

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BIOSEDWARD GERO (Tommy) last appeared at Round House as Salieri in Amadeus and Richard Nixon in Nixon’s Nixon . A veteran of Washington Theatre, he received the Helen Hayes

Award four times with fifteen nominations. Last season he appeared as Justice Antonin Scalia in John Strand’s The Originalist directed by Molly Smith. Other credits include Mark Rothko in RED at the Goodman Theater and Arena Stage. He has played over 70 roles in 31 seasons with Shakespeare Theatre Company, recently as King Henry in Henry IV Parts 1 and 2. Others include Hotspur in Henry IV (Helen Hayes Award) and Macduff in Macbeth (Helen Hayes Award). DC credits include Scrooge in A Christmas Carol at Ford’s Theatre; John in Shining City, Ivan in The Seafarer, and Donny in American Buffalo at Studio Theatre; and Sweeney Todd in Sweeney Todd at Signature Theatre. Film and television credits include House of Cards, Turn: Washington’s Spies, Die Hard II, and Striking Distance. He is a Professor of Theater at George Mason University. Mr. Gero is a recipient of the 2015 Lunt-Fontanne Fellowship.

KATIE DEBUYS (Aimee) is very happy to return to Round House after appearing in Fool for Love and Seminar (Helen Hayes Nomination: Best Supporting Actress). DC area credits include Stupid

F**king Bird and In The Next Room or the vibrator play at Woolly Mammoth; Henry V, The Conference of the Birds, and The Gaming Table at Folger Shakespeare Theatre, and Measure for Measure at Shakespeare Theatre Company. She has performed with the Baltimore Symphony Orchestra in A Midsummer Night’s Dream and Tchaikovsky: Mad But for Music. Regional credits include The Giver at Indiana Repertory Theatre, Bug (B. Iden Payne Award: Best Actress) and Killer Joe at Capital T Theatre in Austin, Texas and Twelfth Night and Julius Caesar at the Texas Shakespeare Festival. This winter and spring, the original cast of Stupid

CASTF**king Bird will reunite for runs at Syracuse Stage and Portland Center Stage. Ms. deBuys received a BS in Theatre from Northwestern University and an MFA in Acting from The University of Texas at Austin.

GREGORY LININGTON (Doc) is thrilled to be making his Round House debut. DC credits include Midsummer, The Tempest, and Tartuffe (co-production with South Coast Rep and Berkeley Rep)

at Shakespeare Theatre; Equivocation (world premiere co-production with Seattle Rep and the Oregon Shakespeare Festival) at Arena Stage; and Welcome Home, Jenny Sutter (world premiere co-production with OSF) at The Kennedy Center. New York credits include Throne of Blood (world premiere co-production with OSF) at the Brooklyn Academy of Music and The Unfortunates at Joe’s Pub. Other regional credits include the Shakespeare Center of Los Angeles, Center Theatre Group, PCPA, Yale Rep. Gregory was a 12-year Company Member of the Oregon Shakespeare Festival (OSF) and a 5-year Company Member of Misery Loves Company in Prague, Czech Republic. Film and television credits include Innocent Sleep, Persuasion, Harrison’s Flowers; Grey’s Anatomy, Shameless, Major Crimes, The West Wing. He was a teacher at Southern Oregon University, Oregon Shakespeare Festival, and Co-Creator of the Los Angeles High School Shakespeare Project. Training includes The Groundlings, SITI Company and the Pacific Conservatory for the Performing Arts. www.GregoryLinington.com.

MICHAEL TOLAYDO ( M a u r i c e ) ’ s p a s t performances at Round House include Pride and Prejudice, Charming Billy, and Treasure Island. DC credits include Tribes, Uncle

Vanya, Privates on Parade, Blue Heart, and Waiting for Godot at Studio Theatre; The Admission, Boged: An Enemy of the People, Apples from the Desert, New Jerusalem (Helen Hayes nomination, Supporting Actor), The Accident, Benedictus, The Pangs of the Messiah, and numerous stage readings including Seven Jewish Children at Theater J; The Real Inspector Hound, Heroes (Helen Hayes Award, Ensemble

Acting), and Sea Marks at Metro Stage; a one-person telling of St. Mark’s Gospel and Blue/Orange at Theatre Alliance; and The Clandestine Marriage, Macbeth, The Tempest, and The Merchant of Venice at Folger Theatre. Broadway credits include A Moon for the Misbegotten, Kingdoms, Dirty Linen/New Found Land, The Robber Bridegroom, The Time of Your Life, The Three Sisters, and Edward II. Michael is a Professor Emeritus of Theater, Film, and Media Studies at St. Mary’s College of Maryland.

J OS E P H CAR L SO N (Kenneth) ‘s DC Credits include Colossal at Olney Theatre Center (Helen Hayes Robert Prosky Award Nomination); Lt. of Inishmore at Constellation Theatre;

Macbeth in Voodoo Macbeth at American Century Theater; Salome and Mein Kampft at Scena Theatre; Twelfth Night with HalfMad Theatre; Beauty and the Beast, The Picture of Dorian Gray, Genesis Reboot, and Lysistrata at Synetic Theater. Regional credits include A Street Car Named Desire (Richmond Theatre Critics Circle Nomination, Outstanding Leading Actor) at Firehouse Theatre; Is He Dead? and The Grapes of Wrath with Virginia Repertory Theatre; Hamlet, Henry IV part II and Henry V at Richmond Shakespeare; Antony and Cleopatra, Romeo and Juliet, and Bootleg Shakespeare’s Troilus and Cressida with Quill Theatre. Joe has appeared in feature and made-for-TV films and television shows including Lincoln, Turn, Antihero, Killing Lincoln, with multiple projects to be released early next year including a co-starring role on a major cable network miniseries.

CONOR MCPHERSON (Playwright) was born in Dublin in 1971. He attended the University College in Dublin, where he began to write and direct. His plays include Rum & Vodka, The Good Thief, This Lime Tree Bower, St. Nicholas, The Weir (Olivier Award, Best Play), Dublin Carol, Port Authority, Shining City (Tony Award nomination, Best Play), and The Seafarer. Film work includes I Went Down, Saltwater, Samuel Beckett’s Endgame, and The

ARTISTIC TEAM

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BIOS Actors. Other awards include the George Devine Award; Critics’ Circle Award; Evening Standard Award; Meyer Whitworth Award; Stewart Parker Award; two Irish Film & Television Academy Best Screenplay Awards; CICAE Best Film Award, Berlin Film Festival (Saltwater); Best Film and Best Screenplay Awards, San Sebastian Film Festival (I Went Down).

RYAN RILETTE (Director) is in his fourth season as Producing Artistic Director of Round House, where he has acted in Annie Baker’s new version of Uncle Vanya, and directed Fool for Love by Sam Shepard, This by Melissa James Gibson, and How to Write a New Book for the Bible by Bill Cain. Prior to joining Round House, Rilette served as Producing Director of Marin Theatre Company for five seasons and Producing Artistic Director of Southern Rep Theater for six seasons. He is also the co-founder of New York’s Rude Mechanicals Theater Company, where he served as Artistic Director for three seasons, and is the former President of the National New Play Network. Rilette has directed the world premieres of Bellwether by Steve Yockey, Magic Forest Farm by Zayd Dohrn, The House of Plunder by Jim Fitzmorris, Rising Water and The Vulgar Soul by John Biguenet, and The Sunken Living Room by David Caudle. He has also directed regional premieres of God of Carnage by Yasmina Reza, Fuddy Meers by David Lindsay-Abaire, Boom by Peter Sinn Nachtrieb, In The Red and Brown Water by Tarell Alvin McCraney, Edward Albee’s The Goat, or Who is Sylvia?, In Walks Ed by Keith Glover, and Kimberly Akimbo by David Lindsay-Abaire. As an actor, he has worked at numerous theaters regionally and in New York, and on TV/film in In the Electric Mist and the CBS miniseries Elvis, among many others. He is a former professor at Tulane and Loyola Universities in New Orleans, and earned his MFA in Acting from American Conservatory Theatre.

MEGHAN RAHAM (Scenic & Costume Designer)’s DC credits include Fool for Love (sets and costumes) at Round House; Life Sucks (sets) at Theater J; Romeo and Juliet and The Conference of the Birds (sets) at Folger Theatre; Red Speedo and The Aliens (costumes) at Studio Theatre; The Wings of Ikarus Jackson (sets and costumes) at The Kennedy Center/ Theatre for Young Audiences. Off-Broadway credits include Clay at Lincoln Center LCT3.

Regional credits include The Chosen (sets and costumes) at Barrington Stage; Death of a Salesman, Little Shop of Horrors, Circle Mirror Transformation, Broke-ology and others at Kansas City Repertory Theatre; Fedra at Lookingglass Theatre Company; Frankenstein with The Hypocrites at the Museum of Contemporary Art (Chicago); Venice (sets and costumes; both Ovation Nominated) at Center Theatre Group, LA. International credits include design and co-creation of S/he is Nancy Joe, which premiered in Prague in 2012 and has toured internationally (2013 Edinburgh Fringe Herald Angel Award). Ms. Raham holds an MFA from Northwestern University, and is an Assistant Professor at American University.

COLIN K. BILLS (Lighting Designer)is pleased to be returning to Round House, where he has previously designed Uncle Vanya, Fetch Clay, Make Man, The Lyons, and How to Write a New Book for the Bible, among others. He is a Company Member at Woolly Mammoth where he has designed over forty productions, including Stupid Fucking Bird, Clybourne Park, and The Convert. As a Conspirator with the devising company dog & pony dc, he has collaborated in the writing, direction and design of A Killing Game and Beertown. His designs have been seen at The Berkshire Theater Festival, CENTERSTAGE, Contemporary American Theatre Festival, Dallas Theater Center, Everyman Theatre, Ford’s Theatre, Forum Theatre, Imagination Stage, Intiman Theatre, The Kennedy Center, Marin Theatre Company, Metro Stage, Olney Theatre Center, Opera Lafayette, Opéra Royal Versailles, Portland Center Stage, The Smithsonian, Signature Theatre, Studio Theatre, Synetic Theatre, Theater J, The Washington Revels, The Wilma Theater, and the Williamstown Theatre Festival. Colin has won three Helen Hayes Awards and is a recipient of a Princess Grace Fellowship in Theater. He is a graduate of Dartmouth College.

ERIC SHIMELONIS (Composer/Sound Designer)’s other Round House productions include: Ironbound, NSFW, Uncle Vanya, 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,

The Originalist at Arena Stage, Julius Caesar and Richard III at the Folger, and Grounded at Everyman and Olney. Eric is the recipient of a Helen Hayes Award for Outstanding Sound Design. He 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 of his song cycle Elusive Things, sung by F. Murray Abraham. www.Shimelonis.com

KASEY HENDRICKS (Props Master) is thrilled to be returning as Props Master for The Night Alive. Previously, she has worked with Round House on Ironbound, Seminar, and Rapture, Blister, Burn. Her other Props Master credits in the area include Wolf Trap Opera’s Carmen, La Traviata, The Marriage of Figaro, Madame Butterfly, and The Ghosts of Versaille; as well as Constellation Theater’s 36 Views. As Props Assistant at Woolly Mammoth Theatre Company she worked on The Elaborate Entrance of Chad Deity, The Convert, and Stupid Fucking Bird. Thank you so much to the wonderful production team on The Night Alive for a great experience!

CASEY KALEBA (Fight Choreographer) previously arranged violence for Round House Theatre’s productions of Ironbound, Young Robin Hood, Bengal Tiger at the Baghdad Zoo, Double Indemnity, Crown of Shadows, The Talented Mr. Ripley, The Picture of Dorian Gray, and Sarah Metzger Memorial productions of Dracula and Cyrano. Other local credits include Signature Theatre (The Fix, Cabaret, Miss Saigon, Really Really); Folger Theatre (Rosencrantz & Guildenstern are Dead, Romeo and Juliet, Julius Caesar, Richard III); Studio Theatre (The Bachelorette, Time Stands Still, Jerry Springer: The Opera, Reefer Madness); Forum Theatre (Pluto, Marisol); and Rorschach Theatre (She Kills Monsters, Neverwhere, Living Dead in Denmark). Academic productions include work at Gallaudet, Georgetown, American, Catholic, and the University of Maryland. Casey is an audition choreographer for the Marvel Universe Live tour, and a member of the Men At Arms: Reforged web series, and a Certified Teacher with the Society of American Fight Directors.

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MARY COY (Dialects) is happy to return to Round House after working on NSFW last season. Other area coaching credits include Chesapeake Shakespeare Company, Arena Stage, Adventure Theatre, Ford’s Theatre, and the Keegan Theatre. She has coached and taught voice and acting at New York University, Syracuse University, Virginia Commonwealth University, University of Virginia, Shakespeare & Company, and the American Shakespeare Center. Mary is a designated Linklater voice teacher and currently adjunct instructor at the University of Maryland, College Park. She has an MFA in Shakespeare and Performance from Mary Baldwin College.

BRENT STANSELL (Dramaturg) has been a teaching artist at Round House since 2006 and previously served as dramaturg on NSFW, Fool for Love, Ordinary Days, This, and The Lyons. Other DC area dramaturgy credits include work with the Inkwell and Forum Theatre as well as with his own theatre company, DC Theatre Collective. Brent has taught at The Catholic University of America, Montgomery College, The George Washington University, American University, Folger Theatre, and The Shakespeare Theatre Company, where he is Training Programs Manager. DC area acting credits include columbinus (u/s) at Round House and productions with Rorschach Theatre and the National Player’s Tour 55 out of the Olney Theatre Center. He has an MFA in Dramaturgy from Brooklyn College and a BA in Dramatic Literature from The George Washington University.

GABRIELLE HOYT (Assistant Director) is thrilled to be serving as this season’s artistic apprentice at Round House, where she recently assistant directed the world premiere of Ironbound. A graduate of Yale University, Gabrielle’s directing credits include The Taming of the Shrew, Antony and Cleopatra, Private Lives, Tick, Tick…Boom!, and an experimental adaptation of Henry James’s The Portrait of a Lady. She assistant directed Crave at the Yale School of Drama Cabaret, and has interned at Elevator Repair Service and the Pearl Theatre Company. In addition to directing, she has also house managed at the Yale Repertory Theatre and the International Festival of Arts and Ideas, and worked as the intern coordinator for the Cape Cod Theatre Project.

JANA LLYNN (Production Stage Manager) is delighted to return to Round House Theatre where her career began. One fateful afternoon on a Rockville playground, when Ms. Llynn was a child, she met Jerry Whiddon and joined Street ’70. When Street ’70 became Round House Theatre, founding Artistic Director June Allen arranged for her to become Montgomery County’s first Executive Intern placed at RHT at the original Bushey Drive location (coincidently, Ms. Llynn’s old elementary school building). After graduating university, she returned to the DC area for a season with Shakespeare Theatre Company (coincidentally, Edward Gero’s first season there), and then a couple of seasons at Arena Stage. Then, Ms. Llynn was invited to be the AEA PSM for RHT’s first full season on the union contract. Then, an offer took Ms. Llynn to NYC. Broadway credits include The Drowsy Chaperone, Bridge & Tunnel, Company, and The Moliere Comedies. Off-Broadway credits include SILENCE! The Musical, SHOUT! The Mod Musical, Matt & Ben (starring writer/performer Mindy Kaling), The Shawl (dir. Sidney Lumet, starring Dianne Wiest), Beau Jest (3 years Off-Broadway & director for Boston production), Carnegie Hall, Lincoln Center. Favorite Industrial credits include PSM for Pfizer-Brazil Viagra Launch. For Jerry, June, Mom, Dad.

ADDITIONAL PRODUCTION STAFF

Production Assistant: Jen Grunfeld

Assistant to the Costume Designer: Robin Weiner

Run Crew: Chris Hall, Jake Oxford, Mike Showers

Additional Carpentry: Peter Gambardella, Chris Hall, Kyle McGruther, Rachel Prell, Mike Showers

Electricians: Peter Gambardella, Chris Hall, Sarah Mackowski, Bethany Regalbuto, Erin Simpson

Painters: Carolyn Hampton, Elizabeth Jernigan

Full time staff listed on page 15.

The Glass Menagerieat Ford’s TheatreJan. 22-Feb. 21, 2016fords.org

Cat on a Hot Tin Roofat Round House TheatreMarch 30-April 24, 2016roundhousetheatre.org

A Streetcar Named Desireat Everyman TheatreApril 13-June 12, 2016on sale 11/1everymantheatre.org

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ROUND HOUSE INNER CIRCLE

DIAMOND CIRCLE ($100,000+)

Arts & Humanities Council of Montgomery County

Maryland State Arts Council

PLATINUM CIRCLE ($50,000 – $99,999)

Cathy S. BernardHeidi and Mitch DuplerAlan and Bonnie HammerschlagJeffrey and Carolyn LeonardThe Morris and Gwendolyn Cafritz

FoundationJudy and Leo Zickler

GOLD CIRCLE ($25,000 – $49,999)

Dr. Clement AlpertMichael Beriss and Jean CarlsonData-Prompt, Inc. Margaret Abell Powell Fund of the

William S. Abell FoundationMARPAT FoundationLinda Ravdin and Don ShaperoThe Share FundThe Shubert Foundation

SILVER CIRCLE ($10,000 – $24,999)

Esthy and Jim AdlerElaine and Richard BinderDon and Jan BoardmanClark Charitable FoundationClark-Winchcole FoundationThe Cora and John H. Davis

FoundationPam and Richard FeinsteinSusan Gilbert and Ron SchechterJ. Willard and Alice S. Marriott

FoundationBruce and Ann Lane Family FundMarion Ein LewinJudy and Brian MaddenSusan Freeman McGeePasternak & FidisThe Rowny Foundation

Hank and Charlotte Schlosberg in honor of Marion Ein Lewin, Paul Mason, and Mark Shugoll

Sulica FundBernard and Ellen Young

BRONZE CIRCLE ($5,000 – $9,999)

Lorraine and Doug BibbyDon and Nancy BlissAnn and Frank GilbertRoger HaydenHenry B. & Jessie W. Keiser

FoundationHeidi and Bill MaloniPaul and Zena MasonNora Roberts FoundationSusan and Bill ReinschMark and Merrill ShugollDick and Katie SnowdonMarna Tucker and Lawrence BaskirAnne and Robert Yerman

COPPER CIRCLE ($2,500 – $4,999)

Marla and Bobby Baker, Baker-Merine Family Foundation

Chevy Chase TrustFrances ChyatteCity of RockvilleClark Construction Group, LLCDallas Morse Coors Foundation for the

Performing ArtsDimick FoundationJan and Jim EisnerLaura Forman and Richard BenderEric and Jessica GlantzGraham Holdings CompanyBill HamiltonLerch, Early & BrewerMarriott International, Inc.Susan Lutz and John MaserNina McLemoreScott and Louise MelbyMontgomery County Executive’s BallMarlene MoserSally J. PattersonRyan and Christy RiletteVictor Shargai and Craig PascalLaura and Robert WaltherWeissberg FoundationRoger Williams and Ginger MacomberMier and Cathy Wolf

Alan and Irene WurtzelMargot and Paul Zimmerman

ANNUAL FUND SUPPORTERS

FELLOWS ($1 ,500 – $2,499)

Sue Ann and Ken BerlinJane and Fred CantorCarol Sue FrombolutiReba and Mark ImmergutDaniel Kaplan and Kay RichmanGeoff and Lisa LewisJeffrey MenickLynn and Philip MetzgerStacy Murchison Anne & Henry Reich Family

Foundation, Lee G. Rubenstein, Co-President

Sheryl Rosenthal and Marty BellMarilyn and Barry ScheinerPamela and John SpearsSusan and John SturcTrueTheatergoer

BENEFACTORS ($1 ,000 – $1 ,499)

Nancy and Dan BalzBrent and Teresa BlackwelderCommunity Foundation for

Montgomery CountyMike DanielBill and Donna EachoThomas and Kathleen FingletonRobin Hettleman and

Matthew WeinbergLinda Lurie HirschAllan and Shelley HoltRobbins and Giles HopkinsErin and Mark KopelmanFrank and Joanne LavinRona and Allan MendelsohnIna MiltonMontgomery County Medical SocietyMonument BankLarry and Melanie NussdorfCynthia RohrbeckDian and Steve SeidelSuman SorgCarol TrawickJerry and Jean Whiddon

ADVOCATES ($500 – $999)

Rachel H.M. AbrahamNatalie AbramsRobert Brewer and Connie LohseMaggie Boland and John HanceTom Calhoun and Thelma TricheLynn and Bill ChoquetteD M WEuroMotorcarsCarole and Robert FontenroseJohn and Sarah FreemanMary and Bill GibbSheldon and Sherri GottliebThe Greene-Milstein Family FoundationRobert E. HebdaMichael and Ilana HeintzJudy and Peter JablowSuzanne and Jon LawrenceWinton Matthews, Jr.Louis and Sherry NevinsP. David PappertLouis and Libby PohorylesSheldon and Barbara ReppSandy ReznickHoward and Harriet ShapiroRobin ShermanLuanne and Marc Stanley

ASSOCIATES ($250 – $499)

Actors’ Equity Foundation, Inc.A. Mario Loiederman Middle SchoolAnonymousCelia ArnaudKate and Stephen BaldwinNan BeckleyEllen L. BermanNoemie BismutMarian Block and Ed RosieWendy and Eben BlockMichael L. Burke and Carl W. SmithMartin and Barbara BuzasWallace ChandlerStacey ColinoErnest CordovaJennifer CulottaEileen and Paul DeMarcoHoward and Harriet DienerLinda and Joseph DominicVictoria ElliottClare EvansDuane and Barbara Fitzgerald

THANK YOU…to all of the CORPORATE, FOUNDATION, GOVERNMENT, and INDIVIDUAL donors who made generous annual contributions to Round House Theatre during the 2014/2015 season. These 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.

13

THANK YOU Megan Frantz in memory of Patricia Ann Cutlip

Leslie GoldbergNancy GreenspanBill Grossman Fund of the Isidore

Grossman FoundationHelene GuttmanSusan R. HoffmannWilliam L. Hopkins and

Richard B. AndersonTerry IrelandSusan JensenLarry and Sue JewelerMark JohnsonRichard KastenCraig and Stephanie KikerDana and Ray KochThe Honorable Isiah Leggett and

Mrs. Catherine LeggettDarrell Lemke and

Maryellen TrautmanErik LichtenbergJanice LowerJoan and James LynnLouise MaillettEllen and Gary MalaskyDeanna and Thomas MarcumKeith MartinJane McCallumScott McCarthyPat McKeeMiriam M. MetzgerLisa Mezzetti Joan Mican and Skip MahonMartha NewmanGeri and Dick OlsonBeth PalmaPosner-Wallace Foundation in honor of Rachel AbrahamSusan Robertson Lisa and John SandersMary SchellingerJoan H. SearbyPerry and Dianne SeiffertSarah SextonHarlan and Beverly SherwatLeslie SmithLinda and Leslie SmithCheryl and Robert WeinerJacqueline R. Werner and

Richard L. Soffer

MATCHING GIFT COMPANIES

Ameriprise Financial, Inc. Chubb & SonGE FoundationIBM CorporationMacy’s Inc.SunTrustWiley Rein LLP

IN-KIND DONORS

AmtrakBethesda Court HotelCabot Creamery of VermontCafé DeluxeChevy Chase FloristCommunity ForkliftDaily GrillDoyle Printing & Offset Co.GoogleHilton Garden Inn BethesdaHonest TeaThe Irish-Inn at Glen EchoJaleoMax BrennerMontgomery County GovernmentMSKM ArchitectsNina McLemoreThe Patton AllianceRaffa and AssociatesThe Taproot FoundationVamooseZeke’s Coffee

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.

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. List is current as of October 2, 2015 and reflects the cumulative giving of an individual or organization for the fiscal year 2015 or 2016, whichever is greater. 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

Sunday, November 15, 2015

A benefit for Round House in honor of longtime Board Member and former Board President

Don Boardman

Enjoy an unforgettable evening of fabulous food and cocktails as we toast Don

and take you on a behind-the-scenes exploration of the theatre.

To learn more and purchase tickets, visitRoundHouseTheatre.org by November 2nd

Questions?Email [email protected]

or call 240.644.1403

14www.VamooseBus.com • 301-718-0036

Vamooseto New York City for

Music, Art, Theatre, Dance, and Entertainment!

Convenient schedules, pick-up and drop-off points!

Bethesda, MD7460 Waverly Stacross the street from Round House

Arlington, VA1801 N. Lynn St1 block from Rosslyn Metro

Lorton, VA9000 Lorton Station BlvdVRE Station

New York CityPenn Station

STAY &

PLAY Restaurants, Bars, Theatres

and more.Stay with us

Friday or Saturday night for only

$89/night*

including Breakfast!

*some restrictions may apply. Taxes not included.

BETHESDA COURT HOTEL

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

BRANDON BUTLER Hotel Manager

[email protected] • www.bethesdacourtwashdc.com

















B E T H E S D A C O U R T H O T E L




















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

15

Mitchell S. Dupler, PresidentSally J. Patterson,

Immediate Past PresidentSusan Gilbert, Vice PresidentCathy S. Bernard, Treasurer Erin Kopelman, SecretaryMichael BerissDouglas M. BibbyElaine Kotell BinderLaura FormanAnn GilbertEric GlantzBonnie HammerschlagMitchell HébertSteve JoyceBruce S. Lane

Marion Ein LewinPaul MasonSusan Freeman McGeeScott MelbyStacy MurchisonLinda J. RavdinRyan RiletteMark ShugollLaura WaltherMier WolfJudith H. Zickler

General Counsel: Ann Marie Mehlert Lerch Early & Brewer, Chtd.

STAFF

2015 – 2016 ARTISTS

ACTORSStori AyersJosiah BaniaJoseph CarlsonMichael Kevin DarnallKatie deBuysJaBen EarlyRick FoucheuxEdward GeroTim GetmanMichael GlennAlexandra HenriksonValeka HoltMahira Kakkar

Alyssa Wilmoth KeeganGregory LiningtonSarah MarshallStephen Patrick MartinBrandon McCoyJon Hudson OdomMarni PenningKenyatta RogersJefferson A. RussellTodd ScofieldMichael TolaydoTom TrussDawn UrsulaWilliam VaughanTyasia VelinesCraig WallaceGregory Wooddell

Anu YadavRachel Zampelli

DESIGNERSChristopher BaineColin K. BillsTony CisekAndrew R. CissnaJames Bigbee GarverKathleen C. GeldardKasey HendricksHelen HuangKelsey HuntJames KronzerBrian MacDevittMatthew M. NielsonMeghan RahamKendra Rai

Nancy SchertlerEric ShimelonisIvania StackLuciana Stecconi

DIRECTORSTimothy DouglasMitchell HébertEleanor HoldridgeAaron PosnerRyan RiletteDaniella TopolGabrielle Hoyt (assistant)Sam Mauceri (assistant)Christopher Michael Richardson (assistant)

Sarah Scafidi (assistant)

DRAMATURGSJessica PearsonOtis Ramsey-ZoeBrent Stansell

PLAYWRIGHTSAyad AkhtarNaomi IizukaMartyna MajokConor McPhersonSuzan-Lori ParksSarah RuhlTennessee Williams

STAGE MANAGERSJana LlynnBekah WachenfeldChe Wernsman

ARTISTIC/PRODUCINGProducing Artistic Director: Ryan RiletteAssociate Producer: Danisha CrosbyArtistic Apprentice: Gabrielle Hoyt

ADMINISTRATIONGeneral Manager: Tim ConleyAccountants: Raffa, P.C.

DEVELOPMENTDirector of Development: Laura BlackwelderManager of Institutional Giving: Mary BoundsDevelopment Assistant: Kristina Erwin

MARKETING & COMMUNICATIONSDirector of Marketing & Communications:

Bryan Joseph Lee Associate Director of Marketing &

Communications: Sarah Pressler RandallGraphic Design & Content Manager:

Cheyenne MichaelsBranding: Propellor

AUDIENCE SERVICESDirector of Audience Services: Wil E Johnson IIIBox Office Shift Supervisors:

Sarah Scafidi, Giovanni SaylesGroup Sales: Steve LangleyBox Office Associates: Marquita Dill, Claire Smith,

Alessandra Dreyer, Gabrielle Hoyt, Matthew Rock, Victorya Neal

Lead House Manager: Michele Cesar TurnerHouse Management Staff: Tiffany J. Broadus,

Pamela A. Jafari, Lori Lentner Schwartz, Courtney Feiman, Richard Taylor, Rachel Spears, Lorraine Ebbin, Samara Fantie

PRODUCTIONProduction Manager: Jesse AasheimTechnical Director: Amanda StultzAssistant Technical Director: Austin ByrdMaster Electrician/Audio Supervisor: Liz SenaCostume Shop Manager: Rachel SchuldenfreiScenic Charge: Jenny Cockerham

Carpenter: Shaun BartlowProduction Stage Manager in Residence:

Bekah Wachenfeld

EDUCATIONDirector of Education: Brianna McCoyEducation Associate: Megan WestmanLead Teaching Artists:

Brandon McCoy, Jessica PearsonEducation Apprentice: Kathleen MasonFaculty: Nora Achrati, Mariel Berlin-Fischler,

Audrey Bertaux, Reenie Codelka, Laura Cole, Kevin Corbett, Adam Curtis, Gabriela Fernendez-Coffey, Emma Hebert, Mitchell Hebert, Brenna Horner, Kyle Jackson, Claire Jones, Casey Kaleba, Marin Leggat, David Mavricos, Jessica Pena, Samantha Sheahan, Tia Shearer Bassett, Shirley Serotsky, Adi Stein, Andy Stoffel, Michael Anthony Williams, Alyssa Wilmoth-Keegan, Daniel Yabut, Amanda Zeitler

BOARD OF TRUSTEESADVISORY BOARD

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 Lavin

Gordon and Jocelyn LinkeDorothy and William F. McSweenyChuck MuckenfussEliot PfanstiehlTrina and Lee G. RubensteinRon SchechterMarilyn ScheinerJeremy W. SchulmanVictor ShargaiRobin ShermanWilliam J. SimRichard W. Snowdon, IIIJonathan R. and Shellie SteinbergManny StraussKathy Yanuck WengerAndrew A. Zvara

U P N E X T A T R O U N D H O U S E

STAGE KISSR E G I O N A L P R E M I E R E

DECEMBER 2 - DECEMBER 27, 2015

Art imitates Life. Life imitates Art. When two actors with a history are

thrown together as romantic leads in a forgotten 1930s melodrama, they

quickly lose touch with reality as the story onstage follows them offstage. Sarah Ruhl’s singular voice returns to Round House with Stage Kiss, a charming tale about what happens when lovers share a stage kiss—or

when actors share a real one.

B Y

SARAH RUHLD I R E C T E D B Y

AARON POSNER

F E A T U R I N GDAWN URSULA*

GREGORY WOODDELLCRAIG WALLACEMICHAEL GLENNTODD SCOFIELDTYASIA VELINES

RACHEL ZAMPELLI

A R T I S T I C T E A MScenic Designer TONY CISEK

Costume Designer KELSEY HUNTLighting Designer ANDREW R. CISSNA

Sound Designer JAMES BIGBEE GARVERDramaturg JESSICA PEARSON

*pictured

“SUFFUSED WITH

WARMTH AND HUMOR. S A R A H R U H L

F R OT H I LY W H I P S TO G E T H E R ROMANTIC COMEDY AND

BACKSTAGE FARCE IN THIS L I V E L Y C O M E D Y . ”

— The New York Times

PERFECT FOR THE HOLIDAYS!

THE NIGHT ALIVE Program | Round House Theatre

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Transcript of THE NIGHT ALIVE Program | Round House Theatre