BURNPILE AND LIGHT ME UP - BY LUCY ALIBAR DIRECTED BY RYAN RILETTE - Round House Theatre
←
→
Page content transcription
If your browser does not render page correctly, please read the page content below
THROW ME ON THE
BURNPILE
AND LIGHT ME UP
BY LUCY ALIBAR
D I R E C T E D B Y R YA N R I L E T T E
RSHIP
S E ’ S LEADE
H OU
ROUND
From
O NE OF THE KEY IDEAS THAT DRIVES OUR PROGRAMMING CHOICES
at Round House is to produce plays written by and about people who have
been historically underrepresented or misrepresented on American stages. Throw Me
As you watch Throw Me On the Burnpile and Light Me Up, we encourage you
to consider the ways that we as a society discard those who have the least. Daddy
asks Lamby where all the educated people were when things were being turned into
on the Burnpile and Light Me Up is no different. White people from the South may not trash. It’s a question we should all grapple with. We hope that this production helps
seem to fit that description, but rarely have white rural poverty and the violence and you to do so.
fear that accompany it been seen on American stages with the clarity depicted here.
At the same time, this is a frequently hilarious play that also underlines the joy
This is a play about “Southern white trash.” We use the word “trash” here, despite its that Lamby’s finds in herself, her family, and her friends. It’s a theme that carries
racist and classist derogatory meaning, because it’s a word that playwright Lucy Alibar over into our next show, which wraps up our spring virtual season. While it may
uses throughout this semi-autobiographical, one-woman play. In the world of this play, seem counterintuitive to present a play titled We’re Gonna Die in the midst of a global
the trash of history is literally seeping up through the ground, and, together with the pandemic, Young Jean Lee’s musical play is a perfect antidote for our time. We hope
trash of lives lost to the criminal justice system, is collected in a giant trash pile in the you will join us for this one-woman show, performed with a four-person band, which
playwright’s yard. “Trash” is also the term given to the criminals Daddy represents, to finds joy and comfort in life’s inanities and inevitabilities.
Daddy himself as well as his family for consorting with them, and to the poorest and
Stay tuned for information about our return to live performance this fall. As always,
most vulnerable students in Lamby’s school. It’s an all-purpose word that’s used to
the safety of our audiences, artists, and staff will remain paramount. Thank you for
describe anyone and anything we throw away in our society.
being a part of keeping Round House thriving through the pandemic. We remain
In describing to Lamby why he represents killers on death row, Daddy tells the story of extraordinarily grateful.
one of his clients who was treated like trash his whole life—too poor to get the mental
help he needed, never educated, given drugs at an early age. Daddy says, “They just
leave him out there, hoping he’ll run off to the woods and die. Well, surprise! They
do run off to the woods and die, eventually, but not before taking a hell of a lot more
RYAN RILETTE | ARTISTIC DIRECTOR ED ZAKRESKI | MANAGING DIRECTOR
people with them.” It’s partly our fault as a society that this man has turned into a
killer, Daddy is saying. If the system was set up to take care of those most in need
instead of discarding them, then perhaps he wouldn’t have committed the horrible
atrocities that he did.
1
R O U N D H O U S E T H E AT R E E X T E N D S I T S R O U N D H O U S E T H E AT R E
D E E P G R AT I T U D E T O A L L O F O U R
R YA N R I L E T T E , Artistic Director, and
SPONSORS FOR THE 2020-2021 VIRTUAL SEASON E D Z A K R E S K I , Managing Director
PR E S E NT
Round House Theatre’s 2020-2021
Reimagined Virtual Season is sponsored by
THROW ME ON THE
MITCH & HEIDI DUPLER
L I N D A R AV D I N & D O N S H A P E R O
BURNPILE
T H E Z I C K L E R FA M I LY
AND LIGHT ME UP
BY LUCY ALIBAR
D I R E C T E D B Y R YA N R I L E T T E
It is my great pleasure to sponsor Round
House Theatre’s production of Throw Me on the
Burnpile and Light Me Up. I first experienced
Lucy Alibar’s distinctive voice and powerful
storytelling through her Oscar-nominated
screenplay for Beasts of the Southern Wild,
and was moved by her ability to tell complex
stories with the clarity of a child’s mind. I am C R E AT I V E T E A M
honored to help bring this remarkable talent to Scenic Designer. . . . . . . . . . . . . . . . . . . PA I G E H AT H AWAY
the Round House stage.” Costume Designer. . . . . . . . . . . . . . . . . I VA N I A S TAC K
Lighting Designer . . . . . . . . . . . . . . . . . H A R O L D F. B U R G E S S I I
—NAN BECKLEY
Sound Design & Original Music . . . . . . M AT T H E W M . N I E L S O N
Dialect Coach. . . . . . . . . . . . . . . . . . . . . MELISSA FLAIM
Dramaturg . . . . . . . . . . . . . . . . . . . . . . . N AYS A N M OJ G A N I
During a year in which our ‘normal’
Assistant Scenic Designer . . . . . . . . . . ANDREW COHEN
interactions were upended, Throw Me on the Production Stage Manager. . . . . . . . . . CHE WERNSMAN*
Burnpile and Light Me Up offers an opportunity Director of Photography. . . . . . . . . . . . MABOUD EBRAHIMZADEH
to examine how we perceive of and connect
with others. We are honored to help bring this
comedic yet moving story to the Round House
Running Time approximately 95 minutes with no intermission.
stage, and we offer our heartfelt thanks to all
of those who have supported Round House, the
theatrical jewel of Bethesda, throughout this
challenging time. We look forward to gathering Center Theatre Group/Kirk Douglas Theatre, Michael Ritchie,
Artistic Director, produced the World Premiere of Throw Me on the
at the theatre again as soon as we are able." Burnpile and Light Me Up in Los Angeles, CA in 2016.
— PAT T I A N D J E R RY S OWA L S KY Produced by LCT3/Lincoln Center Theater, New York City in 2018.
2
A
CAST
Lamby. . . . . . . . . . . . . . . . . . . . . . . . B E T H H Y LTO N *
CO N V E R SAT I O N
WITH
PRODUCTION
Production Technical Director. . . . J O S E A B R A H A M LUCY ALIBAR,
Props Coordinator. . . . . . . . . . . . . . M AT T S A X T O N
Location Audio . . . . . . . . . . . . . . . . M AT T H E W M . N I E L S O N P L AYW R I G H T
Camera Operators. . . . . . . . . . . . . . J O H N G R OV E , N AT E P E S C E
Electrician / Light N AYSA N M OJ G A N I : I know that this play is
Board Programmer . . . . . . . . . . . . . C A S S A N D R A S A U L S K I a work of fiction, but is it fair to say that it’s inspired
Production Assistant. . . . . . . . . . . . N I E W B H A R YAG U N T R A by your own childhood?
LU CY A L I B A R : I drew on experiences from
POST PRODUCTION my own life, which I think many writers do. Russel T.
Editor . . . . . . . . . . . . . . . . . . . . . . . . M A B O U D E B R A H I M Z A D E H Davies wrote this incredible show, It’s a Sin, and for
Sound Editing & Mix . . . . . . . . . . . . M AT T H E W M . N I E L S O N me this play lives in that same sphere. Drawn from
memory, trying to work from the perspective that a
very young person had at a turbulent time without
trying too hard to comment on it.
Full staff listing on page 12 N : And then there are some parallels between you
and Lamby in the play, as well as between your father
and hers, yes?
L : There’s definitely similarities between myself and
Lamby. I was very lonely, very desperate for friends,
The Scenic, Costume, Lighting, and Sound Designers of this production and I was just so weird. And in this play, I tried to
are represented by United Scenic Artists, Local USA 829 of the IATSE. focus on my perception of my father that I had at nine
years old. The father in the play certainly has some
of mine’s better aspects. Their senses of humor are
very similar.
N : And they’re both rural defense lawyers.
L : Yeah. With my dad’s work, I saw up close the
*Actors’ Equity Association (“Equity”), founded in 1913, is the U.S.
failings of the criminal justice system, the healthcare
labor union that represents more than 51,000 professional Actors and
Stage Managers. Equity fosters the art of live theatre as an essential system… I saw how they let people down.
component of society and advances the careers of its members by
N : Thinking about your work in general—Beasts of
negotiating wages, improving working conditions and providing a wide
range of benefits, including health and pension plans. Actors’ Equity the Southern Wild, Troop Zero—that father-daughter
is a member of the AFL-CIO and is affiliated with FIA, an international relationship seems like a story you keep coming back
organization of performing arts unions. #EquityWorks
to, as does the relationship to the South. Why is that?
What do you find so compelling in those stories?
L : The simplest answer is, I’m from the South, so
3
IN DEFENSE OF DEFENSE
BY NAYSAN MOJGANI
I N THROW ME ON THE BURNPILE AND LIGHT ME UP, LAMBY’S FATHER IS
a lawyer whom we mostly see defending the people nobody else wants to defend:
those who have committed heinous crimes and don’t have the money to hire
anybody else. Others in town scorn both Lamby and her father as a result, asking how
he could defend such actions. After Lamby sees the crime scene photos from one of
“
these cases, she asks her father the same question.
“I’m defending Gary Dwayne Atkins. I’m not defending A vindictive voice
what he did. I’m not trying to prove he’s innocent. inside us whispers
He doesn’t have anybody else, Boss. And I took an
that they’re just
that’s very familiar territory and tends to be my default. But I also think you write oath to defend this guy when I took an oath to defend
about the things that you can’t understand, the things that keep you up at night. the United States Constitution. And we have a good
as bad as their
There’s not a clear road map for father-daughter stories. In every generation, the Constitution that says no matter how sorry a piece of clients, that they’re
role of the father is remarkably different. The expectations are different. And family trash you are, you deserve a defender. You deserve a parasites, that
to family, the father-daughter relationships are different. But it was rare that I saw fight for Life over Death.” they’re scum, that
those relationships onscreen. And it’s just a puzzle I’ve always returned to. This isn’t a foreign idea to any of us. The right to they’re immoral.”
“
N : And the South? What about that environment “keeps counsel (part of the Sixth Amendment) and the
The world seemed you up at night?” presumption of innocence are both fundamental to our justice system. These
principles apply regardless of who the defendant is, or of what crimes they are
an incredible L : Well, the sense of faith and Christianity in the South is
accused. Most of us would agree with and endorse these principles as true and just
interesting, because we were not that. In that sense, I was
kaleidoscope that and real. As theoretical ideals, anyway.
an outsider and could never be a part of that. But you
I was never quite can’t escape religion and faith the South—it’s in the air. We can all think of cases and defendants that test the limits of those ideals. From
a part of.” So it gave me this incredible love of language very early famous football players to violent police officers to stomach-turning acts of assault,
on. The King James Bible is one of the most beautiful when we see somebody that we know did something terrible go free, it just feels
English-language texts, and being around people who felt that love for God, higher wrong. We point to it as a failure of our justice system. And we blame the
power, creator… That was humbling and interesting. The world seemed an incredible
kaleidoscope that I was never quite a part of.
N : You’ve compared this play to storytelling. What does that form mean to you?
L : Somebody talking to you and you just hear this amazing story… When I first saw
Spalding Gray’s Swimming to Cambodia, it just blew my mind that theatre could
be that. You’re just talking to a man in a flannel shirt, and he’s just talking about
his mom, but it goes one way and it circles back. You’re just hearing about this
experience of him having a small role in a movie, but you’re getting this whole thing,
you’re going on this huge journey. I’ve always wanted to live there, when I go to the
theatre… That’s what I always aspire to do.
4
lawyers. A vindictive voice inside us whispers that they’re just as bad as their clients,
that they’re parasites, that they’re scum, that they’re immoral.
THE SIXTH AMENDMENT & RIGHT
And some of them may be. Some of them are just in it for the money. Some of them
convince themselves that their clients are innocent. But they all are doing a necessary TO COUNSEL (A BRIEF HISTORY)
job without which—to the degree our justice system works—our justice system could
not work, and those ideals to which we pay lip service would bear no resemblance to
actual lived experience. SIXTH AMENDMENT:
1791 “In all criminal prosecutions, the accused shall enjoy the right to
While Throw Me on the Burnpile… is a piece of fiction, it—like most works of art—
draws elements from the life of its creator, Lucy Alibar. Specifically, Lucy’s father, Baya a speedy and public trial, by an impartial jury of the State and
M. Harrison III, is a private defense attorney, who also serves as a court-appointed district wherein the crime shall have been committed, which
attorney for those who are unable to afford to hire one—this practice serves to district shall have been previously ascertained by law, and to
alleviate the pressure on public defenders’ offices with too many cases (or can be the be informed of the nature and cause of the accusation; to be
only indigent defense option in jurisdictions without a public defender). Harrison has confronted with the witnesses against him; to have compulsory
worked on several capital cases in his career. process for obtaining witnesses in his favor, and to have the
Assistance of Counsel for his defence.”
One of those was the case of John Ruthell Henry, who murdered his estranged wife and
her 5-year-old son. Harrison took on the case in the appeal phase and represented his
client for 14 years, managing appeal after appeal. He represented his client literally to
COFFIN V. UNITED STATES:
the end, receiving a call from the Supreme Court denying a last-minute appeal about 1895 Explicitly codified the presumption of innocence (“innocent until
one hour before Henry was pronounced dead after his execution by lethal injection.
Harrison did not deny that Henry committed the crimes for which he was executed, proven guilty”)
nor did he claim that Henry was a good man. But like the father in Burnpile, he took
an oath. Because everyone deserves a defender.
P OWELL V. ALABAMA:
Although the right to counsel was established as part of the Sixth Amendment in 1791, 1932 “The Scottsboro Boys” case; established that the right to counsel
it wasn’t until a series of Supreme Court cases beginning in 1932 that that right gained
real meaning. Prior to that, a defendant who didn’t know about the Sixth Amendment, means a right to effective counsel and (at least in capital cases)
or couldn’t afford a lawyer, had no counsel, no advocate. There was no guarantee that those who could not afford an attorney were entitled to have
their rights were protected or that the laws were followed. Almost 100 years later, the one appointed
thankless but necessary job of allowing (or, perhaps, forcing) us to live by the ideals
we all claim to believe in falls to these lawyers and public defenders who defend
the defenseless. JOHNSON V. ZERBST:
1938 Expanded the right to be appointed an attorney to all federal cases
GIDEON V. WAINWRIGHT:
“My father once said: ‘To keep our society free and
1963 Expanded that right to state felonies
democratic, someone has to do your job, and do it
well.’ Then he paused and said: ‘I'm just really sorry
it's you.’ I feel the same way.” ARGERSINGER V. HAMLIN:
—John Henry Browne, Defense Attorney for Ted Bundy;
1972 Further expanded that right to cover any case where imprisonment
June 27, 2014, The Guardian was a possibility
5
BIOS P A I G E H A T H A W A Y (Scenic Designer) is a Round House Resident Artist,
CAST returning after designing The Curious Incident of the Dog in the Night-Time; School
Girls; Or, The African Mean Girls Play; A Doll’s House, Part 2; How I Learned to
B E T H H Y L T O N (Lamby) is very happy to return to Round Drive; The Book of Will; and Or,. Other DC credits include Right to be Forgotten
House after appearing in Small Mouth Sounds; Handbagged; at Arena Stage; Ain't Misbehavin', John, and The Gulf at Signature Theatre; the
and Rapture, Blister, Burn. Beth is a company member of Queens Girl Rep at Everyman; South Pacific, Thurgood, and Godspell at Olney
Baltimore’s Everyman Theatre: some favorite recent performances Theatre Center; and Familiar at Woolly Mammoth. Regionally, she designed Matilda,
include Blanche in A Streetcar Named Desire, Rosemary Cinderella, Jerome Robbins’ Broadway, and A Chorus Line at the Muny; A
in Outside Mullingar, and Marie Antoinette in The Revolutionists. Midsummer Night’s Dream at Arden Theatre; and Sweat at Asolo Repertory
DC-area credits include Appropriate and Collective Rage at Woolly Mammoth Theatre. Paige is a member of USA 829. She received her BFA from the University
and The Heidi Chronicles at Rep Stage, as well as productions at Ford’s and Olney. of Oklahoma and MFA from the University of Maryland. PaigeHathawayDesign.com
Favorite regional performances include Amanda in Private Lives at PICT; Nora in A Instagram: @paigehathawaydesign
Doll’s House at Gulfshore Playhouse; Elvira in Blithe Spirit at Delaware Theatre
Company; and The Woman in The 39 Steps at The Maltz-Jupiter. Other credits I V A N I A S T A C K (Costume Designer) is delighted to return to Round House
include PlayMakers Rep, Kennedy Theatre NC, Weston Playhouse, and Public Theatre Theatre, where she is currently a Resident Artist. Her work has been seen at many
of Maine. regional and DC area theatres including Arena Stage, Woolly Mammoth Theatre
Company (Company Member), Seattle Repertory Theatre, Ford’s Theatre, Kennedy
Center Family Theatre, Center Stage, Everyman Theatre, The Second City, The
M
VE TEA Contemporary American Theatre Festival, Signature Theatre, Imagination Stage,
C R E AT I Olney Theatre Center (Associate Artist), Studio Theatre, Theater J, Constellation
Theatre, Andy’s Summer Playhouse, Pointless Theatre, Synetic Theatre, Forum
L U C Y A L I B A R (Playwright) has written for Zoetrope,
Theatre, Theatre Alliance, Rorschach Theatre, The Karski Project, Metro Stage, and
the Oxford American, and the Wall Street Journal. Her plays
Gala Hispanic Theatre. She has an MFA in design from the University of Maryland,
have been seen at Sundance Theatre Lab, National Theatre
College Park.
Studio, Joe’s Pub, Ojai Playwrights Conference, Berkeley
Repertory Theatre, and Williamstown Theatre Festival. Her
H A R O L D F . B U R G E S S I I (Lighting Designer) returns to Round House, where
first movie, Beasts of the Southern Wild (an adaptation
previous credits include Homebound; A Doll’s House, Part 2; and A Year with Frog
with Benh Zeitlin of her play, Juicy and Delicious), received the Sundance Grand
and Toad. DC credits include Breath Boom and My Children! My Africa! at Studio
Jury Prize and the Cannes Film Festival Caméra d’Or. For her work on Beasts, she
Theatre; Aubergine, Thurgood, and Grounded at Olney Theatre Center; Trayf, Broken
was nominated for the Scripter, BAFTA, and Academy Award. Alibar is the winner
Glass, Another Way Home, and The Sisters Rosensweig at Theatre J; Big River at
of the Ray Bradbury Nebula Award, the Humanitas Prize, and the Nantucket Film
Adventure Theatre; and Unexplored Interior at Mosaic Theatre Company. Regional
Festival New Voices in Screenwriting Award. She is a Sundance Screenwriting Fellow.
credits include Be Here Now, Murder on the Orient Express, Radio Golf, Dinner With
She’s since been privileged to work for Pixar, Escape Artists/Amazon, Julia Roberts/
Friends, The Importance of Being Earnest, Sweat, Aubergine, Dot, and Death of A
New Line Cinema, and Guillermo del Toro/Universal Studios (The Secret Garden).
Salesman at Everyman Theatre; and productions for Rep Stage, Imagination Stage,
Alibar is a Usual Suspect at New York Theatre Workshop and an associate editor at
Northern Stage (VT), and several local universities. Harold is the recipient of a 2020
Oxford American.
Maryland State Arts Council Independent Artist award. He holds an MFA from the
University of Maryland and is the Director of the College Park Scholars Arts program.
R Y A N R I L E T T E (Director)
Harold is a member of United Scenic Artists, Local 829. HaroldBurgessDesign.com
Please see bio with Executive Leadership on page 9.
M A T T H E W M . N I E L S O N (Sound Design & Original Music) returns to
Round House, where design and composition credits include Homebound, Spring
Awakening, The Legend of Georgia McBride, The Book of Will, Two Trains
Running, Around the World in 80 Days, and A Prayer for Owen Meany. DC-area
credits include Arena Stage, Ford’s Theatre, the Kennedy Center, Woolly Mammoth,
6
Signature Theatre, Olney Theatre Center, Studio Theatre, Theatre Alliance, CATF, Sounds; The Legend of Georgia McBride; Or,; The Book of Will; and A Prayer for
and The Smithsonian. Off-Broadway credits include The Public Theatre, Lincoln Owen Meany. Che has worked as an AEA Stage Manager in the DC/Baltimore
Center, and 59e59. Regional credits include Denver Performing Arts Center, region for the past two decades, with shows at Imagination Stage, The National,
Cincinnati Playhouse, Milwaukee Rep, Portland Center Stage, Actors Theatre of The Kennedy Center, Folger Theatre, Shakespeare Theatre Company, Theatre J,
Louisville, Philadelphia Theatre Company, and Barrington Stage Company. Film/ Studio, Everyman, Rep Stage, Center Stage, and Olney Theatre Center. She earned a
TV credits include Those Who Wait, The Hero Effect, Elbow Grease, From Hell Bachelor of Science from Virginia Tech.
to Here, Discovery Channel, National Geographic, and Delivery.com. Matthew
has won five Helen Hayes Awards and several regional theatre and film festival M A B O U D E B R A H I M Z A D E H (Director of Photography) is a Round House
awards. CuriousMusic.com Theatre Resident Artist, previously serving as Director of Photography for The Work
of Adrienne Kennedy: Inspiration & Influence and Homebound and previously seen
M E L I S S A F L A I M (Dialect Coach) is a professional actress, vocal coach, and in Homebound, The Curious Incident of the Dog in the Night-Time, Oslo, Small
educator who lives and works in Washington, DC. Melissa has previously served as Mouth Sounds, The Book of Will, and Bengal Tiger at the Baghdad Zoo. Other
Dialect Coach at Round House Theatre for their productions of The Curious Incident DC credits include The Price at Arena Stage; Oil and The Invisible Hand at Olney
of the Dog in the Night-Time, Miss Bennett: Christmas at Pemberley, The Book of Theatre Center; Mockingbird at the Kennedy Center; King John and Timon of
Will, and Handbagged–and is delighted to return for Throw Me on the Burnpile and Athens at Folger Theatre; Water by the Spoonful and Edgar & Annabel at Studio
Light Me Up. She has worked as the Vocal Coach for The Folger Theatre, Woolly Theatre; and The Pillowman at Forum Theatre. Regional credits include Murder on
Mammoth, Constellation Theatre, and WSC/Avant Bard, among others. As a member the Orient Express at Hartford Stage and McCarter Theatre; Disgraced at McCarter
of the faculty at CUA, she has coached a number of productions including The Theatre and Milwaukee Rep; The Invisible Hand (Barrymore Award, Outstanding
Laramie Project, Bloody Poetry, Pride and Prejudice, The Revolutionists, The Lead Actor) at Theatre Exile; The Liar at Gulfshore Playhouse; and The Container at
Merchant of Venice, Tartuffe, The Cherry Orchard, and Love’s Labor’s Lost. Center Stage. Film and television credits include Jessica Jones, Imperium, and Sally
Pacholok. MaboudEbrahimzadeh.com
N A Y S A N M O J G A N I (Dramaturg) has recently joined the staff of Round House
Theatre as Associate Artist for Literary & New Plays, in which capacity he serves as
in-house dramaturg and leads the theatre's new work program. As a theatre scholar,
director, and dramaturg, Naysan has worked on new and classic work with theatres
around the country, including La Jolla Playhouse, MOXIE, Theatre de la Jeune Lune,
Theatre Squared, Malashock Dance, and Arena Stage (where he previously served
as Literary Manager), and has taught at UC San Diego and George Mason University.
Naysan holds a PhD in Theatre & Drama from UC San Diego, and a BA from Carleton
College. He currently lives in Northern Virginia with his wife and their two children.
A N D R E W C O H E N (Assistant Scenic Designer) is happy to be back at Round
House, where he previously worked on Rapture, Blister, Burn. Off-Broadway credits
include Where Words Once Were at Lincoln Center Theatre and Occupied Territories
at 59E59. Regional credits include The Wanderers, The Jewish Queen Lear, and
Broken Glass at Theater J; King John at Folger Theatre; The Crucible at Olney
Theatre Center; Eureka Day and Satchmo at the Waldorf at Mosaic Theater Company;
Earthrise and Darius & Twig at Kennedy Center TYA; and Charlotte’s Web and A Year
with Frog and Toad at Imagination Stage. He received his MFA in Scenic Design from
University of Maryland. andrewcohendesigns.com
C H E W E R N S M A N (Production Stage Manager) is so happy to back for her
fifth season at Round House! Some of her favorite RHT credits include The Curious
Incident of the Dog in the Night-Time; School Girls; or, The African Mean Girls
Play; Handbagged (Off-Broadway, Bethesda); Oslo; Gem of the Ocean; Small Mouth
7
T H E CO ST O F T RAS H
BY NAYSAN MOJGANI
White trash.
How often have you heard the phrase? Or used it yourself?
Certain images and associations are conjured up: Trailer parks. Jeff
Foxworthy. Uneducated. Lazy. NASCAR. Racism. Meth. Roseanne. Wife-beaters
(both the article of clothing, and the more literal meaning). The South.
Most importantly, however, “white trash” means “poor.” It’s one thing to dismiss
a person as trash for their behavior, words, or beliefs. But when we write off
individuals, communities, and even entire regions as “white trash,” we do so largely
because of poverty.
Trash is refuse. Waste. Something to be discarded. Something that is not wanted or
needed, and that should be removed. Trash is taken to the outskirts of society, buried,
and forgotten. There is a cost to that when we throw away literal trash—Styrofoam,
and plastic bags, and CFCs. So naturally, there’s a cost to doing the same with human
beings: a cost to those individuals, as well as to the rest of us.
When we cast people out and label them trash, they band together. Who else can
trash associate with, after all, other than more trash? And over time, as we tell them
over and over that they are trash and treat them accordingly, they eventually accept
the label and all that comes with it. And the rest of us people of color and LGBTQ+ folks in these communities as well, who suffer because
“
take this as confirmation and justification for that label, they are surrounded by people who are living up to their label of trash.
In Georgia, where and we tell ourselves that they deserve it or bring it on
And, of course, eventually the worm turns.
this play is set, the themselves. And we stop caring and we stop paying
attention and we stop trying to fix the situation. In the aftermath of the 2016 election, an entire cottage industry of class-based
childhood poverty ruminations and analyses of American society popped up, the most notable example
rate in urban areas But that “trash” isn’t a monolith.
of which was, perhaps, J.D. Vance’s controversial Hillbilly Elegy, recently adapted into
stays around 1 in 5, It’s trite to say “think of the children,” but think of the the universally panned film of the same name. While “economic anxiety” is certainly
children. Rural children are more likely to be affected by overblown as an explanation, the January insurrectionists do not seem to have been
but for rural areas,
poverty than urban children—nationwide, those stats are primarily composed of the poor, and voting rates in poor rural counties are generally
it’s 1 in 3.” 1 in 4 versus 1 in 5, but in some places it’s even higher. the lowest in the country. There is no denying that our current political dynamic is
According to Save the Children (the actual reputable informed in no small part by the consequences of condemning and ignoring these
organization with no connection to the slogan co-opted by QAnon), of the 41 counties parts of our country.
with child poverty rates above 50% in 2016, 93% of those counties were rural. In
“Round House is a theatre for everyone… We amplify voices that have been historically
Georgia, where this play is set, the childhood poverty rate in urban areas stays around
under-represented and under-resourced.” These words are part of our mission
1 in 5, but for rural areas, it’s 1 in 3.
and values. The next time you hear the words “white trash”—from your mouth or
Rural areas have less funding for schools, for prisons, for public defenders, for another’s—give some thought to what those words mean and where they came from.
hospitals, for psychiatric services. Even trash need these things. There are plenty of And what the cost is.
8
OUR MISSION: O U R VA LU E S :
Round House is a theatre for everyone. T H E AT R E F O R E V E R YO N E |
T IVE
EXECU We enrich our community through bold, ARTISTIC AMBITION |
RSHIP
LEADE outstanding theatrical and educational
C O M M U N I T Y | E M PAT H Y |
experiences that inspire empathy and
INTEGRITY
R Y A N R I L E T T E (Artistic Director) is in his ninth season as Artistic Director demand conversation.
of Round House Theatre. During his tenure, he has produced five of the best-
READ MORE AT
selling and highest-attended seasons in the theatre’s history. His productions RoundHouseTheatre.org/MissionValues
have received 57 Helen Hayes Awards nominations and 13 Helen Hayes Awards,
including Outstanding Original New Play or Musical, Outstanding Ensemble,
and Outstanding Resident Musical. Ryan created the theatre’s Equal Play
Commissioning program, Resident Artist program, Fair Play pay scale for
artists, and Free Play ticketing program. For Round House, he has directed
Homebound, The Curious Incident of the Dog in the Night-Time, Oslo, Small R O U N D H O U S E T H E AT R E L A N D AC K N O W L E D G M E N T
Mouth Sounds, “Master Harold”…and the Boys, The Book of Will, Angels
In our ongoing efforts to learn more and strengthen our relationships with members
in America: Perestroika, The Night Alive, Fool for Love, This, and How to of our local community, and to work towards dismantling the harmful effects of
Write a New Book for the Bible. Prior to joining Round House, Ryan served white supremacy and colonization, Round House acknowledges that our theatre,
as Producing Director of Marin Theatre Company, Producing Artistic administrative offices, education center, and production shop are located on the
Director of Southern Rep Theatre, and co-founder and Artistic Director of unceded land of the Piscataway peoples. We acknowledge the Piscataway as the
Rude Mechanicals Theatre Company. He is the former Board President original caretakers of this land. We pay our respects to the Piscataway community and
of the National New Play Network, and currently serves on the boards of their elders both past and present, as well as future generations.
theatreWashington and Maryland Citizens for the Arts. Ryan is a member We also acknowledge that, as the world experiences the COVID-19 pandemic, many
of SDC, AEA, and SAG-AFTRA. of us are using the internet and other technologies that are not as readily available or
accessible in present day indigenous communities.
E D Z A K R E S K I (Managing Director) is in his fifth season as
Managing Director of Round House Theatre. He has produced the five best- We pledge to do the work necessary to build relationships with sovereign tribal nations,
selling shows in Round House history, led the theatre’s $12+ million Full to ensure that Round House becomes a more inclusive space, and to never cease
Circle campaign, and oversaw the complete renovation of its Bethesda ongoing learning.
theatre. He has been an executive leader and fundraiser in DC area Learn more about the Piscataway tribe:
nonprofit arts organizations for more than 25 years, raising more than Facebook.com/PiscatawayConoyTribe
$120 million. Prior to joining Round House, Ed spent 12 years as Chief PiscatawayConoyTribe.com
Development Officer at Shakespeare Theatre Company where he
Support indigenous rights organizations on a national or global level:
completed the $75 million capital campaign to build Sidney Harman
Native American Rights Fund: NARF.org
Hall and produced its $3 million opening gala. From 1998-2005, Ed
Cultural Survival: CulturalSurvival.org
worked in Development at the Kennedy Center, ultimately overseeing Indigenous Environmental Network: IENEarth.org
a 22-member team raising more than $11 million annually. Ed holds a
degree in Arts Management from American University and frequently
presents and leads workshops about management and fundraising
WHAT I S A L A N D
for nonprofit arts organizations.
ACKN OWL EDG MEN T ?
A land acknowledgment is a formal statement that recognizes and respects
Indigenous peoples as the traditional stewards of a given geographic area. We share
ours as part of Round House’s ongoing efforts toward equity and anti-racism.
9ROUND HOUSE W E G RAT E F U L LY AC K N OW L E D G E the following donors who support the work of our 2019-
2020 and 2020-2021 Seasons. These tax-deductible gifts help Round House continue to be a home for
A N N UA L D O N O R S
outstanding theatrical and educational experiences that inspire empathy and demand conversation.
To learn more about the ways to support Round House, donor benefits, or to make a gift, visit RoundHouseTheatre.org/
InnerCircle or call the Development Department at 240.641.5352.
List is current as of April 2, 2021.
LEADERSHIP CIRCLE
DIAMOND Elaine Kotell Binder and
Richard Binder
Sari Hornstein
Rick Kasten
Paul Henderson
Linda Lurie Hirsch
Robert Lewicki and Edna Boyle
Judy and Brian Madden
Amy Selco and Kevin Keeley
Elaine and English Showalter
CIRCLE Clark-Winchole Foundation Ann and Neil Kerwin Jane Hodges John and Marie McKeon Pamela and John Spears
The Cora & John H. Davis Joy Lewis Robbins and Giles Hopkins Scott and Louise Melby Weissberg Foundation
$100,000+ Foundation Paul and Zena Mason Reba and Mark Immergut Aruna and David Miller Richard and Susan Westin
Arts and Humanities Council of Pam and Richard Feinstein Susan Freeman McGee Clifford Johnson and Carl and Undine Nash Sheila & Oliver Wilcox
Montgomery County JBG Smith Alan Miller and Susan O'Hara Margaret Roper Barbara Rapaport Roger Williams and
A. James & Alice B. Clark The Sheldon and Audrey Katz Elissa and Bill Oshinsky Rosalyn Levy Jonas City of Rockville Ginger Macomber
Foundation Foundation Pasternak & Fidis, P.C. Dana and Ray Koch Glenn and Pamela Rosenthal Alan and Irene Wurtzel
Maryland State Arts Council Debra Kraft and Rob Liberatore Sally J. Patterson Barry Kropf Margaret Ann Ross
Montgomery County Government Ann and Bruce Lane Hank Schlosberg, in honor of Paul
Marion Ein Lewin Mason, Mark Shugoll, and Marion
INNER CIRCLE
PL ATINUM Maryland State Department
of Education
Ein Lewin
Linda and Steve Skalet
CIRCLE Chris and Kathleen Matthews Michael and Andrea Steele SUSTAINERS Foundation, Lee G. Rubenstein, Lana Halpern
David and Joan Maxwell The Sulica Fund co-President Margaret Johnson
$50,000-$99,999 Marvin and Jo Anne McIntyre The Venable Foundation $1,500-$2,499 Michelle Six Megan Klose and Frank Burdette
The Morris and Gwendolyn Maureen and Michael McMurphy Anne* and Robert Yerman Clement and Sandra Alpert Ed Starr and Marilyn Marcosson Kathleen Knepper
Cafritz Foundation and the Patrick Michael McMurphy Lynda and Joseph Zengerle Designated Endowment Fund Susan and John Sturc Ellen Kohn
Share Fund Memorial Foundation Margot Lurie Zimmerman, in Kate and Stephen Baldwin Carol Trawick Mimi Kress
Shubert Foundation National Endowment for the Arts memory of Paul Zimmerman Daniel and Nancy Balz Mary Jo Veverka Isiah and Catherine Leggett
Susan and Bill Reinsch Jeff Bauman/Beech Street Foundation Kathy and Bob Wenger Beverly Lehrer
Elena and Joel Widder Lerch, Early, & Brewer
GOLD CIRCLE The Rowny Foundation
COPPER Janice Crawford
Mier and Cathy Wolf Frank Liebermann
Susan Gilbert and Ron Schechter Eileen and Paul DeMarco
$25,000-$49,999 Mark and Merrill Shugoll CIRCLE Victoria Heisler Edouard Sharon and James Lowe
Michael Beriss and Jean Carlson Bernard and Ellen Young
$2,500-$4,999
Burton and Anne Fishman BENEFACTOR B. Thomas Mansbach
James P. Martinko
Cathy S. Bernard Fleishhacker Foundation - in honor
Lorraine and Doug Bibby Marla and Bobby Baker, Baker- of Mitch and Heidi Dupler $1,000-$1,499 Doug and Mary Beth McDaniel
Heidi and Mitch Dupler
BRONZE Merine Family Foundation Victoria Frink Andrew Auerbach Catherine and Patrick O'Reilley
Jay and Robin Hammer CIRCLE Ellen Berman Neil R. Greene and Ellen G. Miles Daniel and Nancy Balz R. Scott & Courtney Clark Pastrick
Menick-Friese-Phillips-Bock Group
Bonnie and Alan Hammerschlag Brookfield Properties Management Edward Grossman and Sue Ann and Ken Berlin
Daniel Kaplan and Kay Richman
$5,000-$9,999 James Burks and Bette Pappas Rochelle Stanfield Marian Block and Ed Rosic Geraldine Fogel Pilzer
Linda Ravdin and Don Shapero Anonymous Larry Culleen and Nina Weisbroth, Mitchell and Patti Herman Susan and Dixon Butler Andrew and Melissa Polott
David and Sherry Smith Don and Nancy Bliss in honor of Rosa K. Culleen Robin Hettleman and Jane* and Fred Cantor Olwen and Don Pongrance
Patti and Jerry Sowalsky Don and Jan Boardman Dallas Morse Coors Foundation for Matthew Weinberg Anne and Bill Charrier Claire Reade
Judy and Leo Zickler Ellen and Jon Bortz the Performing Arts Jane Holmes Warren Coats Dennis Renner and Michael Krone
Brown Advisory William Davis and Jane Hodges JKW Foundation Greg Crider Ryan and Christy Rilette
Lynn and Bill Choquette Hope Eastman and Allen Childs Renee Klish Belle Davis Sheryl Rosenthal and Marty Bell
SILVER CIRCLE Stephanie deSibour Jim Eisner Darrell Lemke and Katherine DeWitt Ludwig and Joan Rudel
$10,000-$24,999 The Dimick Foundation Clare Evans Maryellen Trautman Lorraine S. Dreyfuss Theatre Linda Ryan
Laura Forman and Richard Bender Suzi and Dale Gallagher The Levitt Philanthropic Fund Education Foundation Evelyn Sandground and Bill Perkins
Margaret Abell Powell Fund of the
Lawrence and Joanie Friend Susan and Timothy Gibson in honor of Bonnie and Alan Bunny R. Dwin Marilyn and Barry Scheiner
William S. Abell Foundation
Ann and Frank Gilbert Susan and Peter Greif Hammerschlag Christina Files Robin Sherman
Esthy and Jim Adler
Leslie Grizzard and Joe Hale Holly Hassett Laurel and Robert Mendelsohn Dr. Helene Freeman Michael L. Burke and Carl W. Smith
Paul M. Angell Family Foundation
John and Meg Hauge Robert E. Hebda MetroBethesda Rotary Foundation Inc. Arlene Friedlander Ian and Marcia Solomon
Celia and Keith Arnaud
Michael and Ilana Heintz Ms. Mindy Hecker Martha Newman Karen Garnett and Dan Hudson Somerset Elementary School PTA
Terry Beaty
Bonnie and Harold Himmelman Bruce J. Heim Foundation RBC Wealth Management Nancy Garrison Leslie and Howard Stein
Nan Beckley
John Horman Connie Heller Anne & Henry Reich Family Susan Gordon Rochelle S. Steinberg
10Jane and Herb Stevens
Page and Amy Stull
Elaine Economides Joost
Veronica Kannan
Sandra Willen
DMW
Rhonda Goldberg
Sara Goldberg
Jill Myers
Ellen and Bill Neches
MATCHING
Mr. Leslie C. Taylor Mary Kennedy John and Val Wheeler Robert Goor Mary E. Nelson GIFT
William & Karen Tell Foundation Cookie Kerxton Kathryn Winsberg and King Stablein Mary-Alice Gray Kevin O'Connell and Jill Goodrich
Ms. Carolyn L. Wheeler Jean and Chris Koppen Carole and Robert Winter Stuart and Beverly Greenfeig Colleen O'Malley COMPANIES
George and Patti White Simeon M Kriesberg and Karen Spangler and Matthew Yeo Suzanne Guardia Fred and Barbara Ordway CIT
David Young Martha L Kahn Ellie Zartman Helene Guttman Mary Padgett ExxonMobil Foundation
Ed and Judy Zakreski Stephen Leppla Keith and Shelby Harper Lisal Panciocco Freddie Mac Foundation
Andrew A. and Marcia D. Zvara Herb and Dianne Lerner Florence H. Hein Terry and Ann Peel GE Foundation
Jan Lower and Paul Berger ASSOCIATES Suzanne Henig Dr. Willo Pequegnat IBM
ADVOCATES Ann Hutchison Lung $300-$499 Fred and Lucia Hill Carol and Jerry Peron Salesforce
Deanna and Thomas Marcum John Hogg Perry Perone Truist Financial Corporation
Anonymous (4)
$500-$999 Susan Martin
Actors' Equity Foundation, Inc.
Thomas Hudson Joram and Lona Piatigorsky Synchrony Financial
Winton Matthews, Jr. Nancy Hughes Katherine Pickett Texas Instruments
Fred and Helen Altman Marie Ali
Diane and Peter Mayer Dudley and Susan Ives Michael Polis and Rhoda Barish
Dr. Robert Angerer and Boris Allan
Dr. Pamela McInnes
David McGoff
Phillip* and Judith Messing
Robert and Betsy Anderson
Deborah Jaffe
Victoria Jaycox
Marcella Portewig
Jaclyn Portnoy
IN KIND
Shannon Baker-Branstetter Bruce and Janet Andrews
Ann Baker and Chris Zeilinger
Lisa M. Mezzetti
Dennis Askwith
Elke Jordan Lisa Potetz DONORS
William Mullins Samuel and Leslie Kaplan Carol Preston
Naomi and David Balto Carol Assmann Andy Stern Office Furniture
Stacy Murchison Colleen and Jack Katz Beverly Purdue
Lynn Barclay Michael Barry Chevy Chase Florist
Evan and Judy Novenstein Robert and Diane Kaufman David and Susan Reichardt
Thomas Blackburn and Brenda Frank Marilyn Barth Dawson’s Market
Geri Olson John Keator and Virginia Sullivan Markley and Jeanne Roberts
Wendy and Eben Block Leonard Bebchick Doyle Printing & Offset Co.
John and Margie Orrick Charles Kelly Helene Ross
Barbara Boggs Seth Berlin Honest Tea
P. David Pappert Chaz and Jane Kerschner Jane Rostov
Jeremy Brosowsky and Beth Tritter Jonathan Binder Microsoft
Stan Peabody Alan and Leslie Kerxton Kristin Ruckdeschel
Jack and Jan Buresh Judith Block Provisions Catering
PGIM Real Estate Nalin Kishor Carl Schaefer and Frances Li
Martin and Barbara* Buzas Linda Blumberg and Stephen Turow Vamoose
Mark and Teresa Plotkin Carole Klein and Brad Chesivoir Stephen Schaefer
Bill Cain Glenn Boston Zeke’s Coffee
Julie and Ron Redfern Rita Kopin Christina Schoux
Margaret Cohen Gayle Boyd
Sharon Rennert Karla Kramer Linda Scofield
Sue Cunningham Sandy Bresnahan
Eric J. Sanne and Judith Rivlin Stephen Kraskin Jeffrey Seltzer and Karen Rothenberg
Kenneth Davis Robert Brewer and Connie Lohse
David and Gayle Roehm Vinca LaFleur James and Ann Sherman
Ted Deming Julie Buchanan
Steven M. Rosenberg and Dr. Marcel C. Lafollette and Joseph Silvio
Linda and Joseph Dominic Ellen Cades
Stewart C. Low III Mr. Jeffrey K. Stine Cora Simpson
Jean and Paul Dudek Wallace Chandler
Vivian Rosskamm Roberta Larkin Carrie Singer
Eli and Flo Dweck Thomas L. Cline
Laura and Marc Salganik Phyllis and Mort Lessans Suzanne Snedegar
Bill and Donna Eacho Robert and Janis Colton
William and Ellen Sandler Sharon Light Sara Sonet
Emily and Michael Eig Richard Cooper and Judy Areen
Julia and Jim Schaeffer Peter Linquiti Jeffrey Splitstoser
Matthew Fink Lisa Cosgrove-Davies
Perry and Dianne Seiffert Deborah and Robert Litt Deborah Taylor
Duane and Barbara Fitzgerald Edward Cowan
Cathy Selden-Feidt Mary Maguire Barry and Jo Ann Thompson
Carole and Robert Fontenrose Kaye A. Craft
Suzanne Shapiro Dave and Margo Maier Tom Calhoun and Thelma Triche
Mark Foster John and Valerie Cuddy
The Honorable Robert Sharkey and Diane Makuc Lorraine Tropf
Sam and Linda Gibbons Julie Davis and John Metz Round House Theatre is supported in
Dr. Phoebe Sharkey George Martin Debby Vivari
Janet Gilchrist Reid Detchon part by funding from the Montgomery
Jay P. Siegel and Mona Sarfaty Sara Mazie Sandra Vogelgesang
Joseph Gitchell Cynthia Dopp County government, the Arts and
Daniel and Sybil Silver Mr. and Mrs. Jon McBride James Voorhees
Alan* and Hedda Gnaizda Douglas Dunlop Humanities Council of Montgomery
David and Mickie Simpson Lee McBride Ronald Wange
Michael Greene David Eisenstein County, and the Maryland State
William and Alice Sims William McDermott Anne Warner
Regina Greenspun Susan Fariss Arts Council.
Leslie Smith Nancy McManus Sara Watkins
Eugenia Grohman Marilynne Felderman
Luanne and Marc Stanley Philip & Lynn Metzger Susan and Adam Wegner
Tom & Karen Guszkowski Steven Ferguson and Deen
Richard Steiner Thomas Michael Robert and Blima Wellek
Jay and Maureen Harris Kleinerman
Rebecca Stevens Antoinette Miller Leila Whiting We make every effort to provide accurate
James Heegeman Harold and Arlene Finger
Tom Strikwerda James Miller Mike & Jenifer Wilhelm acknowledgement for our contributors.
Margaret Hennessey Susan and Jay Finkelstein
Lucinda and Stephen Swartz Tish Mills Mary Jo Wills If your name is misspelled or omitted,
Cathy MacNeil-Hollinger and Robert and Sally Fish
Deborah Tannen Rita Molyneaux Lyric Winik please accept our apologies and
Mark Hollinger Devra Lee Fishman
Grant P. and Sharon R. Thompson Kendall Montgomery William and Charlene Zellmer contact the Development Department
Glen and Lauren Howard Louis W. Fusco
Patricia G. Tice Scott and Paula Moore at 240.641.5352 or Development@
Howard and Ella Iams Steve Garron *In memoriam
Marna Tucker and Lawrence Baskir Audrey Morris RoundHouseTheatre.org.
Carol and Terry Ireland Jeffrey and Elaine Gaynes
Leslie and Michael Weber Alfred Munzer and Joel Wind
Andrew Isen Janet George
Susan Weldon Robert K. Musil and
Mark Israel Laurence Gold
Mr. Gerry Widdicombe Caryn McTighe Musil
Larry* and Sue Jeweler Ellen and Michael Gold
11SUM M E R 2021
P S F OR K-1 2
AT ROUND HOUSE,
R E CA M
T H E AT
THE PANDEMIC HAS NOT
CHANGED WHAT WE DO,
JUST HOW WE DO IT.
When the coronavirus crisis began, Round House committed to continue
engaging audiences with interesting and meaningful theatrical experiences.
Over the past year, our digital productions have connected audiences from
around the world and inspired important conversations.
PLEASE CONSIDER MAKING A GIFT TO ROUND HOUSE TODAY. Your gift will
ensure we can finish our innovative virtual season strong and be ready to launch
an exciting 2021-2022 Season. Plus, YOU’LL RECEIVE EXCLUSIVE, BEHIND-
THE-SCENES ACCESS TO OUR PRODUCTIONS, ARTISTS, AND EVERYTHING
ROUND HOUSE.
Thank you for sticking with us—we can't wait to see you in person at
R
E
E S
L FE! L
YUUORU
R S
S
the theatre!
SS
S O
YYO
Donate today at RoundHouseTheatre.org/Join-Give or contact us at
Development@RoundHouseTheatre.org or 240.641.5352.
EEXX
E XPPRR
REE
ESSS
Info at
RoundHouseTheatre.org/Camp
12DIRECTORY Faculty: DEVELOPMENT Box Office Associates &
ES
D O F TRUSTE Agyeiwaa Asante Director of Development: House Managers:
B OA R Ashley Barrow Veronica Kannan Nessa Amherst
Desiree Chappelle Development Officer: Marquita Dill
Doug Bibby, President Leslie Grizzard Mark Shugoll Reenie Codelka Dina Goldman* Lauren Farnell
Linda Ravdin, Vice President Bonnie Hammerschlag David H. Smith Jenny Cockerham Development Operations Brandon Horwin
Amy Selco, Secretary Michael Heintz Patti Sowalsky Kevin Corbett Manager: Helen Aberger Steve Langley
Cathy Bernard, Treasurer Michele Jawando Ivania Stack* + Maboud Ebrahimzadeh Institutional Giving Manager: Julia Marks
Bruce Lane, Assistant Secretary Daniel P. Kaplan Michael Steele Dominique Fuller Katelyn Maurer Maureen May
Jay Hammer, Assistant Treasurer Neil Kerwin Nina Weisbroth Emma Lou Hébert Sonia Olychik
Mitchell Dupler, Immediate Marion Ein Lewin Roger Williams Mitchell Hébert MARKETING &
Tamisha Ottley
Past President Joy Lewis Ed Zakreski* Eleanor Holdridge COMMUNICATIONS
Nashira Rawls
Elaine Kotell Binder Debra Kraft Liberatore Judy Zickler Caleen Sinnette Jennings Director of Marketing &
Sisi Reid
Stephanie deSibour Kathleen Matthews Claire Jones Communications:
*Ex-officio Sofia Sandoval-Ferriss
Maboud Ebrahimzadeh* + Paul Mason +Artist Representatives Tim J. Lord Hannah Grove-DeJarnett
Danielle Scott
Laura Forman Aruna Miller Casey Kaleba Associate Director
Morgan Scott
Susan Gilbert Ryan Rilette* Sisi Reid of Marketing &
Lacey Talero
Danielle Scott Communications:
*Member of the Equity, Diversity,
Katie Atkinson
CIL Morgan Scott Inclusion, and Accessibility
O R A R Y COUN Elle Sullivan Graphic Designer: Staff Workgroup.
H ON Kent Kondo
Craig Wallace
Esthy and James Adler Peter A. Jablow* William J. Sim* Rick Westerkamp AUDIENCE SERVICES
Sue Ann Berlin Ann Lane Shellie Steinberg Associate Director of Sales &
ADMINISTRATION
Don Boardman* Carolyn Leonard Kathy Yanuck Wenger* Audience Services:
General Manager:
Jean Carlson Ann Marie Mehlert Mier Wolf* Brian Andrade*
Tim Conley
Bunny Dwin* Trina and Lee G. Rubenstein Andrew A. Zvara* Audience Services Manager:
Facilities Manager:
Donna W. Eacho* Ron Schechter *Former Round House Mason Catharini
Liz Sena*
Burt Fishman Marilyn Scheiner Theatre Trustees
Associate Managing
Stuart Greenfeig* Jeremy W. Schulman*
Director: Jasmine Jiang*
Reba Immergut* Robin Sherman
Associate General Manager:
Carter Rice
S TA F F
LEADERSHIP Assistant Production Resident Stage Manager:
Manager/Company Che Wernsman
R O U N D H O U S E T H E AT R E is one of the leading professional
Artistic Director:
Ryan Rilette Manager: Sara Patterson theatres in the Washington, DC, area, producing a season of new plays, modern
EDUCATION classics, and musicals for more than 55,000 patrons each year at our 352-seat
Managing Director: Technical Director:
Director of Education:
Ed Zakreski Matt Saxton theatre in Bethesda. Round House has been nominated for more than 197
Danisha Crosby
Assistant Technical Director: Helen Hayes Awards and has won more than 37, including four “Outstanding
ARTISTIC Education Program Manager:
Jose Abraham Resident Play” Awards, the “Outstanding Resident Musical Award,” and the
Associate Artist– Kathleen Mason
Master Electrician/Audio
Literary & New Plays: Education Assistant: Charles MacArthur Award for Original New Play in 2016. Round House’s lifelong
Supervisor: Chris Hall
Naysan Mojgani* Patrick Joy* learning and education programs serve more than 5,000 students each year at its
Costume Shop Manager:
Casting Director: Lead Teaching Artists: Education Center in Silver Spring and in schools throughout Montgomery County.
Aubrey Mazzaferri
Agyeiwaa Asante Ian Anthony Coleman Cornerstone programs include Free Play, which provides free tickets to teens and
Scenic Charge:
Kelsey Hall
PRODUCTION Jenny Cockerham college students; the year-round Teen Performance Company, which culminates in
Brandon McCoy
Production Manager: Master Carpenter: the student-produced Sarah Metzger Memorial Play; Summer Camp for students
Jesse Aasheim* Shaun Bartlow in grades K-12; and a full slate of classes for adults and youth.
13UP NEXT FROM
R O U N D H O U S E T H E AT R E
…and it’ll be okay.
B Y YO U N G J E A N L E E
D I R E C T E D B Y PA I G E H E R N A N D E Z
Bad things will happen to all of us. That’s a certainty
in life, but it also means that none of us are alone. And
while we can’t avoid breaking up, getting sick, and
losing loved ones, we can sing a little song to feel a little
better. Based on true stories of tragedies and traumas,
Young Jean Lee creates an experience that is part one-
woman stage play, part live-band rock concert, and
totally life-affirming. We’re Gonna Die is a "goofily grim
and oddly uplifting” (Vogue) meditation on the human
experience, blending indie songs with down-to-earth
storytelling to offer a simple but hopeful message: We
are going to die…and it’ll be okay.
BEGINS STREAMING ON DEMAND
JUNE 14You can also read
