MUSIC-FILLED MODERN EPIC - B Y OCTAVIO SOLIS DIRECTED BY LISA PORTES - Round House Theatre
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MUSIC-FILLED MODERN EPIC
BY
O C TAV I O S O L I S
DIRECTED BY
LISA PORTES
M E T O OUR
E A SO N
W ELCO
2 02 2 S
2 0 2 1 - SOCIO-
POLI TICAL F
ABLE
N EPIC
MODER
FILLED
MUSIC-
021
1 0 – D EC 5, 2
N OV DV E N T U
RE
021 ARMING
A
8 – O CT 3, 2 WITTY
& HEAR
TW
SEPT E DY
N DRAM
K I TC H E
I T W E ST END
H
N EW PLAY FESTIVA L
N ATION A L CA PITA L
2022
R 5 – M AY 8 ,
AP M
2 -CO
30, 202 -RICH ES ROM
JAN 5 – R A G S -T O
ILLER
O L I T I C AL THR
ITING P
N A I L- B
N EW PL AY F EST IVA L
N AT ION A L CA PI TA L
A P R 7 – M AY 8 , 2 02 2 J U N 8 – J U L 3 , 2 02 2
RSHIP
LEADE
HO USE’S
ROUND
From
W
E L C O M E B A C K T O R O U N D H O U S E T H E AT R E !
After being unable to welcome audiences into our space for a year and a half, we
can’t begin to tell you how wonderful it feels to have you back in our theatre again.
We are extremely proud of the nationally recognized digital work we’ve produced during the
pandemic—Homebound, free digital education programs, our Adrienne Kennedy festival,
and other shows—all of which were seen by audiences all across the country, but nothing
surpasses the feeling of being in the same room, watching and telling stories together.
And what a way to come back! Lisa Portes’s production of Octavio Solis’s Quixote Nuevo is
a theatrical tour de force. It celebrates all of the wonders of live theatre that we’ve missed—
great ensemble acting, live music, puppetry, huge laughs, and moments that will break
your heart. At the same time, this reimagined epic provides you with lots to think about
and discuss: immigration, border politics, dementia, aging parents, and unrequited love,
among just a few. We had originally planned to produce Quixote Nuevo in the fall of 2019,
in the middle of the presidential election. At that time, the immigration issues in this play
felt paramount. But after living through a year and a half of one of the worst pandemics in
history, the pursuit by death in the play has become more prominent. That’s part of what
makes it such a great piece: it explores so many big, poetic ideas that the play itself changes
based on the time in which you see it. It’s truly a Round House play.
We do recognize, however, that we are not yet through the COVID-19 pandemic, and we
continue to prioritize the health and safety of our audiences, artists, students, and staff.
Last month, we joined together with more than a dozen of the region’s top theatres to
announce a vaccine mandate, and we are requiring masks, except when eating or drinking in
designated locations in our lobby. We are fortunate that we improved our HVAC capabilities
with our recent renovation, and we have added MERV-13 filters and are following all CDC
recommendations regarding airflow and circulation.
We have a great season ahead—one that will help you travel theatrically all over the world. Up
next is Lauren Yee’s socio-political fable, The Great Leap, which travels from San Francisco to
Beijing in 1989. Of course, we will continue to follow the science and are prepared to adjust
our plans as needed, as we keep everyone’s health at the forefront of our decision making.
We are thrilled you are with us. Welcome back, and please come back soon!
RYAN RILETTE | ARTISTIC DIRECTOR ED ZAKRESKI | MANAGING DIRECTOR
3
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
D E E P G R AT I T U D E T O D O U G A N D LO R RA I N E B I B BY ,
S P O N S O R S O F Q U I XOT E N U E V O
We are thrilled to support the return of in-person theatre
at Round House. Quixote Nuevo is filled with all the humor,
heart, and spectacle that makes live theatre so special.
This wonderful show offers a warm welcome back to the
theatre for the entire community."
— D O U G A N D LO R R A I N E B I B BY
To become a sponsor for an upcoming Round House Theatre production,
please contact Veronica Kannan, Director of Development, at 240.670.8795.
4
R O U N D H O U S E T H E AT R E
R YA N R I L E T T E , Artistic Director, and
E D Z A K R E S K I , Managing Director
P R E S E NT
B Y O C TAV I O S O L I S
DIRECTED BY
LISA PORTES
C R E AT I V E T E A M
Scenic Designer. . . . . . . . . . . . . . . . . . . M I L AG R O S P O N C E D E L E Ó N
Costume and Puppet Designer . . . . . . HELEN HUANG
Lighting Designer . . . . . . . . . . . . . . . . . A L B E R TO S E G A R R A
Composer and Sound Designer. . . . . . DAV I D M O L I N A
Music Director . . . . . . . . . . . . . . . . . . . . JESSE SANCHEZ
Fight Choreographer. . . . . . . . . . . . . . . CASEY KALEBA
Dialect Coach. . . . . . . . . . . . . . . . . . . . . C Y N T H I A S A N TO S - D E C U R E
Dramaturg . . . . . . . . . . . . . . . . . . . . . . . N AYS A N M O J G A N I
Assistant Director . . . . . . . . . . . . . . . . . DY L A N A R R E D O N D O
Associate Costume Designer. . . . . . . . A S H LY N N E L U DW I G
Assistant Costume Designer . . . . . . . . S T E P H A N I E PA R K S
Properties Coordinator. . . . . . . . . . . . . L I N DA D I B E R N A R D O
Production Stage Manager. . . . . . . . . . CHE WERNSMAN
Assistant Stage Manager . . . . . . . . . . . SAMANTHA WILHELM
Assistant Scenic Designer . . . . . . . . . . ANDREW R. COHEN
Quixote Nuevo runs approximately 2 H O U R S A N D 3 0 M I N U T E S
including a 15 minute intermission.
Quixote Nuevo is produced by special arrangement with Mark Orsini, BRET ADAMS, LTD.,
448 West 44th Street, New York, NY 10036. www.bretadamsltd.net.
The World Premiere of Quixote Nuevo was produced by California Shakespeare Theater
(Eric Ting, Artistic Director; Susie Falk, Managing Director).
Quixote Nuevo was subsequently co-produced by Hartford Stage, Huntington Theatre Company, and Alley Theatre.
A first adaption of Don Quixote was commissioned by and received its world premiere in 2009 at
Oregon Shakespeare Festival (Bill Rauch, Artistic Director; Paul Nicholson, Executive Director).
5
CAST
Don Quixote/Jose Quijano. . . . . . . . . . . . . . . . . . . . . . . . . . . HERBERT SIGUENZA
Sancho Panza/Manny Diaz. . . . . . . . . . . . . . . . . . . . . . . . . . . ERNIE GONZÁLEZ, JR.
Papa Calaca/Trucker/Vivaldo/Viedma/Cardenio. . . . . . . . . RAÚL CARDONA
Magdalena/Perla. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ISABEL QUINTERO
Antonia/Inez Castillo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JYLINE CARRANZA
Bruno Castillo/Terrified Boy/Yard Guy/Young Quijano. . . . . P E T E R PA S C O
Padre Perez/Big Man with Belt/Border Patrolman . . . . . . . L AW R E N C E R E D M O N D
Dr. Campos / Dulcinea . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S A R I TA O C Ó N
Rosario Castillo / Juana Diaz. . . . . . . . . . . . . . . . . . . . . . . . . AD E L I N A MI TCHE L L
PRODUCTION
Puppet Artistry . . . . . . . . . . . . . . . . . . . L I Q I A N G
Puppet & Craft Artisan . . . . . . . . . . . . . D R E M O O R E
Puppet Artisans. . . . . . . . . . . . . . . . . . . M AT T H E W PA U L I ,
VA N E S S A S P R I N G - F R A N K
Light Board Operator . . . . . . . . . . . . . . CHRIS HALL
Audio Engineer . . . . . . . . . . . . . . . . . . . BRANDON COOK
A2/Deck Audio Crew . . . . . . . . . . . . . . D E L A N E Y B R AY
Wardrobe Head. . . . . . . . . . . . . . . . . . . VIOLET LANE-RUCKMAN
Wardrobe/Deck Crew. . . . . . . . . . . . . . CAITLIN O’BRIEN
Deck Crew . . . . . . . . . . . . . . . . . . . . . . . T H O M A S N AG ATA
Light Board Programmer . . . . . . . . . . . CASSANDRA SAULSKI
Carpenters. . . . . . . . . . . . . . . . . . . . . . . JEFF CAMPBELL, MARK CARMOUZE,
M AT T S C H L E I G H , VA N E S S A S P R I N G -
F R A N K , M I C H A E L T S A LTA S
Electricians. . . . . . . . . . . . . . . . . . . . . . . ANGELA ARMSTRONG,
Z AVA R B L AC K L E D G E , S T E P H A N I E
D E H A R T, S T E P H E N I N D R I S A N O,
S A R A H M AC KOW S K I , E L L I OT
PETERSON, CASSANDRA SAULSKI
Audio Consultant. . . . . . . . . . . . . . . . . . GORDON NIMMO-SMITH
Stitchers. . . . . . . . . . . . . . . . . . . . . . . . . B E C C A J A N N E Y, D E N N I S K I T M O R E
Movement Consultant. . . . . . . . . . . . . . C R I S T I N A C A M AC H O
Additional Costume & Craft Work. . . . F I O N N A C L A R K , B E C C A J A N N E Y,
C O DY VO N R U D E N
F U L L S TA F F L I S T I N G on page 30
The Scenic, Costume, Lighting, and Sound Designers of this production are represented by United Scenic Artists, Local USA
829 of the IATSE.
All Actors and Stage Managers are members off Actors’ Equity Association (“Equity”), founded in 1913, is the U.S. labor
union that represents more than 51,000 professional Actors and Stage Managers. Equity fosters the art of live theatre as an
essential component of society and advances the careers of its members by negotiating wages, improving working conditions
and providing a wide range of benefits, including health and pension plans. Actors’ Equity is a member of the AFL-CIO and is
affiliated with FIA, an international organization of performing arts unions. #EquityWorks
The Director and Fight Choreographer are members of the STAGE DIRECTORS AND CHOREOGRAPHERS SOCIETY, a national
theatrical labor union.
6
A
CONVERSATION
WITH
THE
PLAYWRIGHT
Dramaturg Naysan Mojgani sat
down with playwright Octavio
Solis to discuss his life, the
play, and the changing state of
America’s borders.
N AY S A N M O J G A N I : Growing
up in El Paso 50 years ago, what was
the relationship with the border and
with Mexico?
O C TAV I O S O L I S : Well, I never
thought that I lived anywhere special. In
fact, I thought it was distinctly UNspecial.
It just seemed like an ugly, ordinary,
dusty, town in Texas, and I
“
couldn’t wait to leave when I
graduated from high school.
But in retrospect, that town
haunted me. I started to
realize that the dynamic “I started to realize that
between El Paso and its
the dynamic between El
sister city across the Rio
Grande, Juarez, was also
Paso and its sister city
alive in me, that it split me across the Rio Grande,
down the middle. I started Juarez, was also alive
writing about stories that in me, that it split me
took place on the border down the middle.”
”
immediately. About border
towns that were really stand-
ins for my life growing up in
El Paso. And it became, for
me, the mythic landscape on which I
could set my stories.
7
I grew up less than a mile from the Rio NM: When you see that wall or that
Grande. We saw people coming over that freeway—this effort to really sort of
had crossed the river at night with their separate El Paso and Juarez—does it still
clothes in a bundle. There was a part of feel like one community?
us that identified with them, but there
OS: It does, it just feels split, the same
was a part of us that felt, “that is not us.”
way that maybe East and West Berlin
It created a class of awareness within
did. It makes it harder. The woman who’s
us, even though my own father was an
been taking care of my mother, who has
undocumented worker. (It took all the way
Alzheimer’s, lives in Juarez. When COVID
until the 80s before my parents became
hit last year, they really shut down the
American citizens, when Reagan provided
border. And so, when that happened, she
amnesty).
couldn’t go home. She knew that if she
For a long time, that border was so porous went home to visit her family and her
that American citizens could freely go into son, she wouldn’t be able to come back
Juarez, open a business there, and then to take care of my mother. So, she’s been
come back and live in the US, and vice living with my mother all this time. And
versa. But 9/11, COVID, and the policies it’s sad because it doesn’t have to be that
of the prior administration have really way. I remember going to Juarez when
clamped down on the border. They talk I was a kid to get my hair cut. It was a
about building a wall. Well, the wall’s been monthly ritual: my dad would take all four
in El Paso for quite a while now. It runs all of us, and we’d get our haircuts, my mom
along the river, and it’s got sensors, it’s got would do her shopping, and we’d go to the
cameras, it is patrolled constantly. They restaurants and eat. And it was amazing
built a border freeway right alongside it— to know that we could just walk over to
anyone coming over the fence also must another country and then drive back. It’s
contend with six lanes of traffic. just so much harder now.
In the 19th century, there came this But we always knew we were Americans,
idea—in the identity of America—of and yet we also came from Mexico. And
rugged individualism, of the individual that’s what makes the border not just
as independent and making his life on exist in El Paso and Juarez, but it exists
his own. And it’s a fantasy because you here, in me. I’m split. There is still an
need a community. But that idea persists. allegiance to Mexico that feels like that’s
Because it also is a part of the reason why where my soul belongs. But I know that I
a lot of immigrants are drawn to America, wouldn’t ever be fully accepted, because
they want to come and make their own there’s another part of me that is so
lives easier. But you still have to find distinctly American. And when I put my
your community. hand over my heart and pledge allegiance
to the flag, I mean it. I mean it, and every
8
Latino who is of Mexican descent in this It’s not just a loss of identity as who you
country means it. They probably mean it are, what you’ve done. But he also loses
more than other people because of the his identity as a Mexican American, as
sacrifices they have made, their parents an uncle, and as a brother. And then he’s
and their parents’ parents had to make. truly lost.
NM: Quixote Nuevo premiered in 2018. Death is, in Mexican culture, almost a
The world is very different than it was family member. Because we confront
three years ago; how do those changes death all the time with relatives, friends,
reflect on the play? etc. We invite death into our household—I
have an altar here next to my desk, where
OS: If I were writing this play now, COVID
I honor my dead relatives—and so death
would have a presence on stage, but it
is constantly a presence. We celebrate
wouldn’t be the presiding idea of the work.
death as a part of life, as the figure that
When Cervantes wrote his novel, the
will usher us into the next phase of our
plague was also active in Europe at that
existence, whatever that may be. And
time, and I believe that there’s a specific
death, in this case, comes across at first
“
chapter in the novel that describes people
as opposed to Quixote,
with the plague. So, there would
and he wants to get away
probably be a scene, a
from it. But after a while,
moment, where someone
death participates in
is carrying this plague, My way into this
his adventures, creates
COVID. But Papa Calaca
work was through problems for him to
and all these calacas that
are waiting for Quixote to
Alzheimer’s, solve, and starts to
through dementia, celebrate him. In the end,
finally forget who he is—
death is won over and
which is a kind of death— as I’ve been
goes, “Wow, you did it.”
would carry some of that dealing with it
burden of this plague NM: That relationship
with my mother.
”
that we have. Because with death as a family
my way into this work member, as something to
was through Alzheimer’s, be welcomed and celebrated:
through dementia, as I’ve is that harder to hold on to in this last year
been dealing with it with my mother. And and a half?
as I searched for a way to tell the story
OS: Death is the great evener. Death
of Don Quixote while also telling my own
makes us all realize we’re on the same
story, I realized that all these things that
journey. And if it doesn’t win now, it will
Quixote is going through can be read as
win later. It will win later…
the symptoms of dementia, which let me
tell my own stories within the stories of Except, there are things that humans
the novel. So, for me, it’s a kind of death could do to reduce Death’s power. And
to lose your identity, to lose who you are. Death would be quite happy with that.
And that’s what the calacas are waiting Death says, “You’re making this too easy
for. They’re waiting for Quixote to admit for me.” He’s going to win in the end
that he’s just a feeble old man whose anyway, and either you’re smart or foolish
memories are all gone, and he should about the choices you make. Quixote has
consign himself to the senior facility. And no choice. He knows what’s coming. But
he won’t because he still has unfinished he needs time to travel through his own
business. So, he adopts this identity memories, before those memories are
and tries to outrun the death that is taken away, so that he can confront those
pursuing him. people he hurt and find absolution before
death comes, to find love again.
9
BIOS
CAST
R A Ú L C A R D O N A (Papa Calaca/Trucker/Vivaldo/
Viedma/Cardenio) is excited to be making his East Coast debut
at Round House Theatre with Quixote Nuevo. His theatrical credits
include Zoot Suit at Center Theatre Group; August 29th at Los
Angeles Theatre Center; Trumpus Caesar and Brown Buffalo at
Company of Angels; Zoot Suit, Restless Spirits, Corridos Remix,
Mummified Deer and Bandido! The American Melodrama of Tiburcio Vasquez at San Diego
Repertory Theatre; and Zoot Suit, La Pastorela, La Virgen Del Tepeyac and Mundo Mata
at El Teatro Campesino. National touring credits include Selena Forever and Veteranos:
A Legacy of Valor. Film and television credits include Bob Dylan’s Shadow Kingdom,
Quentin Tarantino’s Once Upon a Time in Hollywood, and Mayans M.C.
J Y L I N E C A R R A N Z A (Antonia/Inez Castillo) is excited
to make her debut at Round House Theatre! She graduated in May
2021 with a bachelor’s degree in music from the Catholic University
of America. Previous credits include Miss You Like Hell at Olney
Theatre Center; Be More Chill at Monumental Theatre Company; and
9 to 5 at the Catholic University of America.
E R N I E G O N Z Á L E Z , J R . (Sancho Panza/Manny Diaz)
is ecstatic to make his Round House Theatre debut in an Octavio
Solis play! Ernie has performed in theatres across the country,
including La MaMa, Creative Place Theatre, Milwaukee Repertory
Theatre, Second City Chicago – BrownCo, Victory Gardens Theater,
Porthouse Theatre, and Odyssey Theatre. As a company member
at Ohio Shakespeare Festival, he has performed as numerous Shakespearean clowns,
including Bottom in A Midsummer Night’s Dream, Touchstone in As You Like It, both
Dromios in The Comedy of Errors, and Costard in Love's Labour's Lost, to name a few.
Select TV credits include Euphoria on HBO, Indebted on NBC, Carol’s Second Act and
Training Day on CBS, One Day at A Time and Grace and Frankie on Netflix, Alone Together
on Freeform, and No Tomorrow on The CW, as well as national commercials for Sonic, Rite
Aid, Lowes, and Nopalina. www.AllAboutErnie.com
A D E L I N A M I T C H E L L (Rosario/Juana) is thrilled to make
her Round House Theatre debut with Quixote Nuevo! DC credits
include Gun & Powder at Signature Theatre; The Last Five Years and
Little Shop of Horrors at Constellation Theatre Company; Head Over
Heels at Monumental Theatre Company; and Sesame Street Sing-
Along at the Kennedy Center. Adelina is a graduate of George Mason
University '19. www.AdelinaMitchell.com | @AdelinaMitchell
10S A R I T A O C Ó N (Dr. Campos/Dulcinea) is thrilled to be part
of Quixote Nuevo at Round House Theatre. Regional credits include
the world premiere of Quixote Nuevo, Everybody, The War of the
Roses, and Twelfth Night at Cal Shakes; Men on Boats at American
Conservatory Theater; The River Bride at Arizona Theatre Company;
Quixote Nuevo at Huntington Theatre; The Copper Children at
Oregon Shakespeare Festival; The Crucible, Leaving Eden, and The Life of Galileo at
PlayMakers Repertory; PLACAS at Puerto Rican Traveling Theater, Los Angeles Theatre
Center, GALA Hispanic Theatre, South Coast Rep, and Su Teatro; and Ghosts of the
River at Brava Theater and Teatro Visión. Awards and notable achievements include the
TCG Fox Foundation Resident Actor Fellowship, Center for Cultural Innovation Investing
in Artists Award, California Arts Council Local Impact Award, and RHE Charitable
Foundation Artistic Fellowship.
P E T E R P A S C O (Bruno Castillo/Terrified Boy/Yard Sale
Guy/Young Quijano)
I S A B E L Q U I N T E R O (Magdalena/Perla) is beyond
delighted to make her debut with Round House Theatre’s production
of Quixote Nuevo. Regional credits include The Roommate at
Renaissance Theaterworks. Chicago credits include In the Heights
at Porchlight Music Theater; Yasmina’s Necklace, The Sins of Sor
Juana, Boleros for the Disenchanted, and Blood Wedding/Al Son que
Me Toques Lorca at Goodman Theatre; Living Large in a Mini Kind of Way, Quita Mitos
at Teatro Luna. Isabel self-produced La Osa Menor, an album project she began in 2011
with singer/musician Gonzalo Córdova, based on her father's Spanish poetry and set to
Córdova's original Latin and Colombian music. It was performed with storytelling and
guest musicians at Steppenwolf's 1700 Theater. She will continue to workshop it into a
full musical. www.LaOsaMenorAlbum.com
L A W R E N C E R E D M O N D (Padre Perez/Big Man with
Belt/Border Patrolman) is humbled to join this company of
great artists at Round House Theatre. He is ecstatic to be reunited
with Director Lisa M. Portes and Jyline Carranza, who he previously
worked with in Miss You Like Hell at Olney Theatre Center.
H E R B E R T S I G U E N Z A (Don Quixote/Jose Quijano) is
thrilled to be making his debut at Round House Theatre. Herbert is
a founding member of Culture Clash, the California-based Chicano
performance group. Since 1984, Culture Clash has performed
original plays in the nation’s top regional theatres, including Arena
Stage, the Kennedy Center, the Mark Taper Forum, Huntington
Theatre Company, Berkeley Rep, Yale Rep, and Alley Theatre. He is currently Playwright
11in Residence at the San Diego Repertory Theatre through the Andrew W. Mellon National
Playwright Residency Program. Herbert’s playwrighting credits include A Weekend with
Pablo Picasso and adaptations of classics including El Henry, Manifest Destinitis, and Bad
Hombres/Good Wives. Film credits include Larry Crowne, directed by Tom Hanks, and
Pixar’s Oscar-winning animation Coco.
M
VE TEA
C R E AT I
O C T A V I O S O L I S (Playwright) is a playwright and director
whose works include Mother Road, Quixote Nuevo, Hole in the Sky,
Alicia’s Miracle, Se Llama Cristina, John Steinbeck’s The Pastures
of Heaven, Ghosts of the River, Quixote, Lydia, June in a Box, Lethe,
Marfa Lights, Gibraltar, The Ballad of Pancho and Lucy, The 7
Visions of Encarnación, Bethlehem, Dreamlandia, El Otro, Man of
the Flesh, Prospect, El Paso Blue, Santos & Santos, and La Posada Mágica have been
mounted at California Shakespeare Theatre, Mark Taper Forum, Yale Repertory Theatre,
Oregon Shakespeare Festival, The Denver Center for the Performing Arts, Dallas Theater
Center, Magic Theatre, The Alley Theater, Arena Stage, Hartford Stage, Huntington
Theatre Company, Intersection for the Arts, South Coast Repertory Theatre, San Diego
Repertory Theatre, San Jose Repertory Theatre, ShadowLight Productions, Venture
Theatre in Philadelphia, Latino Chicago Theatre Company, Boston Court and Kitchen
Dog Theatre, the New York Summer Play Festival, Teatro Vista in Chicago, El Teatro
Campesino, Undermain Theatre in Dallas, Thick Description, Campo Santo, The Imua!
Theatre Company in New York, and Cornerstone Theatre. His collaborative works include
Cloudlands, with music by Adam Gwon; Burning Dreams, co-written with Julie Hebert and
Gina Leishman; and Shiner, written with Erik Ehn. Notable achievements include an NEA
1995-97 Playwriting Fellowship, the Roger L. Stevens Award from the Kennedy Center,
the Will Glickman Playwright Award, a production grant from the Kennedy Center Fund
for New American Plays, the 1998 TCG/NEA Theatre Artists in Residence Grant, the 1998
McKnight Fellowship Grant from the Playwrights Center in Minneapolis, and the National
Latino Playwriting Award for 2003. Octavio is the recipient of the 2000-2001 National
Theatre Artists Residency Grant from Theatre Communications Group and the Pew
Charitable Trust, the United States Artists Fellowship for 2011, and the 2014 PEN Center
USA Award for Drama. He is a Thornton Wilder Fellow for the MacDowell Colony, New
Dramatists alum, and member of the Dramatists Guild. He is working on commissions for
Arena Stage, La Jolla Playhouse, SF Playhouse, and South Coast Repertory Theatre.
L I S A P O R T E S (Director) is honored to be making her Round
House debut with Quixote Nuevo. Other DC area credits include
Miss You Like Hell by Quiara Alegría Hudes and Erin McKeown
at Olney Theatre; Kudzu: A Southern Musical by Doug Marlette,
Jack Herrick, and Mike Craver, and Eleanor: An American Love
Story by Jonathon Bolt, Tom Tierney, and John Forster at Ford’s
Theatre; and How to Bake an Apple Pie and See the World by Wendy McLeod and Michael
Silversher at the Kennedy Center. A Chicago-based director, she has created work for
Steppenwolf Theatre, Goodman Theatre, Northlight Theatre, Victory Gardens, Timeline
12Theatre, American Blues, Silk Road Rising, Next Theatre, and Teatro Vista. Regionally,
Lisa has directed projects for California Shakespeare Theatre, Guthrie Theatre, The
Denver Center, Cincinnati Playhouse, Children’s Theatre Company, and South Coast
Rep. New York credits include productions at Playwrights Horizons and Soho Rep, and
developmental work at New York Theatre Workshop, The Flea Theatre, and The Public
Theatre. Recent projects include The Thanksgiving Play by Larissa Fasthorse at Cincinnati
Playhouse; Rightlynd by Ike Holter at Victory Gardens; I Come from Arizona by Carlos
Murillo at Children’s Theatre Company; and Native Gardens by Karen Zacarías at The
Denver Center. Lisa is a co-founder and current Advisory Committee member of the
Latinx Theatre Commons. She serves on the Executive Board of the Stage Directors and
Choreographers Society (SDC), the Board of Theatre Communications Group (TCG),
and is a member of the Directors Circle of the Drama League. In 2016, she was honored
with the Zelda Fichandler Award for Directors. Lisa heads the MFA Directing Program at
The Theatre School at DePaul University in Chicago, where she lives with her husband,
playwright Carlos Murillo, and their two teenagers, Eva Rose and Carlos Alejandro.
Upcoming projects include Quixote Nuevo at Denver Center Theatre and Clean by
Christine Quintana at South Coast Rep. www.LisaPortes.com. Special Thanks to Carlos,
Eva, and Carlitos Murillo
M I L A G R O S P O N C E D E L E Ó N (Scenic Designer) is a scenic designer
whose Washington, DC area credits include In the Heights at Round House Theatre in
co-production with Olney Theatre Center; Detroit’67 at Signature Theatre; Silent Sky,
Into the Woods, Jefferson’s Garden, and Ragtime at Ford’s Theatre(Artistic Associate);
Miss you Like Hell, Matilda, Carousel, and Once on this Island at Olney Theatre; Life is
a Dream, Elliot, A Soldier’s Fugue, and The Sins of Sor Juana at Gala Hispanic Theatre;
The Little Mermaid, Heidi, and 101 Dalmatians at Imagination Stage; Kennedy Center
Family Theatre, Rep Stage, Theatre Alliance, and Studio Theatre 2nd Stage. Regional
Credits include Steel Magnolias at Everyman Theatre, Ensemble Studio Theatre/NYC,
Children’s Theatre of Charlotte, Penn State Centre Stage. Awards include 5 Helen Hayes
nominations. Milagros is Head of BFA Theatre Design & Technology at Penn State and a
member of USA-829. She is a graduate of the University of Maryland: MFA Scenic Design,
MFA Drawing & Painting; Pontifical Catholic University of Peru: BFA in Drawing & Painting.
H E L E N H U A N G (Costume and Puppet Designer) is an award-winning costume
designer whose credits include Arena Stage, Studio Theatre, Woolly Mammoth Theatre
Company, Ford’s Theatre, Shakespeare Theatre Company, Folger Theatre, Signature
Theatre Company, Theatre Oregon Shakespeare, Guthrie Festival, Children’s Theatre
Company Cincinnati Playhouse, Classic Stage Company, Syracuse Stage, Seattle
Repertory Theatre, and Milwaukee Repertory Theater. Other credits include Philadelphia
Theatre Company, Disney Entertainment, Boston Lyric Opera, and The Washington Ballet.
International credits include set and costume design for National Opera House of China
and the Central Television of China. Awards include Helen Hayes Award and Ivey Award.
Helen’s design works have been presented in Prague Quadrennial, the Costume Design
at the Turn of the Century in Moscow, and Celebrating a Century of Women Designing
for Live Performance in New York. Helen is a professor of MFA Costume Design Program,
University of Maryland, College Park. www.HelenQHuang.com
A L B E R T O S E G A R R A (Lighting Designer) has worked at various theatres
across the Washington, DC area, including Tender Age at Studio Theatre; El Perro del
13Hortelano at GALA Theatre; Earthrise at The Kennedy Center; Blood at the Root at
Theater Alliance (Helen Hayes Award for Outstanding Lighting Design); The Agitators,
Vicuña & the American Epilogue and Satchmo at the Waldorf at Mosaic Theater; and An
Act of God at Signature Theatre. Regional credits include 1776 and The Gift Horse at New
Repertory Theatre and Priscilla, Queen of the Desert at BlueBarn Theatre. Upcoming
projects include: The Thanksgiving Play at Olney Theatre Center, Acoustic Rooster at The
Kennedy Center, White Noise at Studio Theatre, and The Three Musketeers at Cleveland
Play House. Alberto received his MFA in Lighting Design from the University of Maryland,
College Park, and he is a member of USA 829. www.AlbertoSegarra.com
D A V I D M O L I N A (Composer and Sound Designer) is a multi-instrumentalist,
sound artist, and instrument inventor. He is known nationally and internationally for
his work in performing arts, multimedia, and film productions. Recent credits include
King Lear at St. Louis Shakespeare Festival and Macbeth for Next Chapter Podcasts.
Awards include an LA Ovation (2009), Creative Capital Grant (2009), Wattis Fund (2011),
InterMusic SF’s MGP (2016), and the San Francisco Arts Commission Grant (2021).
David’s instruments and multimedia collaborations were featured at SFMOMA, The
Broad Museum, Oakland Museum of California, McLoughlin Gallery, and in the recorded
soundtrack for Quixote Nuevo. Band collaborations include Tau (Berlin), Emanative (UK),
El Paso (Peru), and The Pyramids. Molina’s bands are Impuritan, Ghosts and Strings, and
Transient. He teaches sound at Brava Theater Center (SF). www.DRMSound.com | Music
available at www.DavidRMolina.Bandcamp.com
J E S S E S A N C H E Z (Music Director) is a playwright, composer, and music director.
He is a sought-after collaborator in theatre, opera, TV, and film. Jesse is currently in
residence as Producing Music Supervisor for the Oregon Shakespeare Festival, a Tony
Award-winning organization that stands as one of the preeminent destinations for
American regional theatre. He has music directed in professional theaters across the
country, including Round House Theatre, Denver Center, Hartford Stage, Alley Theatre,
Oregon Shakespeare Festival, American Conservatory Theater, Huntington Theatre
Company, Arizona Theatre Company, Theatreworks Silicon Valley, and many more. He
served as music assistant on the first national tour of Hamilton and the world premiere
of The Prince of Egypt at Theatreworks SV. Over the course of his career, he has worked
with Stephen Schwartz, Alex Lacamoire, Greg Anthony Rassen, Paul Scott Goodman,
AnnMarie Milazzo, Michael Starobin, Dominick Ammendum, and countless others. His
works have been heard nationally at O’Neill Music Theatre Conference, FOGG Theatre SF,
Arizona Theatre Company, Huntington Theatre Company, Hartford Stage, Alley Theatre,
and University of Texas at Austin, among others. His writing works have been performed
or developed coast to coast at the Boston Lyric Opera, New York Theatre Barn, Arizona
Theatre Company, Oregon Shakespeare Festival, The Choreography Lab, The 24 Hour
Plays: Viral Monologues, The Green Room 42, Arizona State University, and The New York
Conservatory for Dramatic Arts. He has contributed as a songwriter in multiple writing
rooms for Netflix and is currently developing a new musical with the band Chicago,
commissioned by the Arizona Theatre Company, in partnership with BMG Music Group.
Jesse received the 2021 National Alliance for Musical Theatre Frank Young Development
Grant for his musical, Sueños. In 2018, he was recognized on the “People to Watch” list
by American Theatre magazine and nominated for an educator Grammy in 2014. Other
notable achievements include being a finalist for his plays and musicals at the National
14Alliance for Musical Theatre Conference and a semi-finalist for the O’Neill National Music
Theater Conference and Bay Area Playwrights Festival. www.JesseJSanchez.com
C A S E Y K A L E B A (Fight Choreographer) returns to Round House Theatre, where
he has staged more than a dozen shows including The Curious Incident of the Dog in the
Night-Time, Oslo, Angels in America, Young Robin Hood, and The Night Alive. DC credits
include Fences, Into the Woods, and Who’s Afraid of Virginia Woolf at Ford’s Theatre; Don
Giovanni and Samson and Delilah with the Washington National Opera; Blackbeard, Billy
Elliot and West Side Story with Signature Theatre; Singing in the Rain, Mary Stuart, and
Sweeney Todd with Olney Theatre Center. Recent work includes the national tour of An
Officer and a Gentleman. Casey is a three-time Helen Hayes nominee for Choreography
and coordinates the stage combat training program through Round House Theatre’s
education wing. www.ToothandClawCombat.com
C Y N T H I A S A N T O S - D E C U R E (Dialect Coach) is a voice and dialect coach
who is certified in both Knight-Thompson Speechwork and Fitzmaurice Voicework.
Some credits include El Huracan at Yale Rep, I Come from Arizona at Children’s Theatre
of Minneapolis, In the Heights at Phoenix Theater, AZ, and Chance Theater, CA; Shelter
at Center for New Performance/CalArts, The Long Road Today/Diálogos at South
Coast Repertory, TV credits include Orange is the New Black on Netflix, The Affair on
Showtime. She co-edited Scenes for Latinx Actors: Voices of the New American Theatre
and has taught in Puerto Rico, Barcelona, Shanghai, as well as conferences in London
and Montreal on empowering underrepresented voices, speech, and accents of Spanish.
Cynthia is a member of VASTA, ATHE, SAG/AFTRA, and AEA. She is an Assistant
Professor of Acting at Yale University, School of Drama.
N A Y S A N M O J G A N I (Dramaturg) is Round House Theatre’s Associate Artist
for Literary and New Plays, in which capacity he serves as in-house dramaturg and
leads Round House 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 Arena Stage (where he
previously served as Literary Manager), La
Jolla Playhouse, MOXIE, Theatre de la Jeune
Lune, Theatre Squared, Malashock Dance,
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.
D Y L A N A R R E D O N D O (Assistant
Director) is a DC-based, interdisciplinary
theatre maker and is thrilled to be working
on his first project at Round House Theatre.
Directing credits include TRACE with The
Kaleidoscapes; My Documents - On Policing
Fantasy at Künstlerhaus Mousonturm;
Unexpected Turbulence for the Edinburgh
15Festival Fringe; Q-Fest 2.0, 3.0 and 4.0 at 4615 Theatre Company; and assisting on The
Beacons at INTAR. DC acting credits include Decameron, Phantom of the Opera, and
Snow Queen at Synetic Theater; Lady from the Village of Falling Flowers at Spooky Action
Theater; The White Snake at Constellation Theatre Company; Reykjavik at Rorschach
Theatre; Interstellar Ghost Hour at Longacre Lea; and The Great Gatsby, Othello, and Alice
in Wonderland with National Players at Olney Theatre Center. www.DylanArredondo.com
A S H L Y N N E L U D W I G (Associate Costume Designer) is thrilled to be joining
the Round House Theatre team as Associate Costume Designer for Quixote Nuevo and
The Great Leap. DC credits include Costume Design Assistant at the Wolf Trap Opera and
White Pearl at Studio Theatre. Other professional credits include The Addams Family and
The Hunchback of Notre Dame at the Cumberland County Playhouse. She is a third year
Costume Design MFA Candidate at the University of Maryland. Credits at UMD include
Noises Off and Little Women the Musical (upcoming).
S T E P H A N I E P A R K S (Assistant Costume Designer) is thrilled to be working
on Quixote Nuevo at Round House Theatre. Her Broadway credits include Cinderella and
Motown. Her regional credits include The Papermill Playhouse, The Weston Playhouse,
The Hippodrome State Theatre, Submersive Productions, and The Alabama Shakespeare
Festival. Stephanie is currently pursuing her MFA in Costume Design at The University
of Maryland.
L I N D A D I B E R N A R D O (Properties Coordinator) is excited for Quixote
Nuevo to be their first Round House Theatre production. Linda has worked for many
great companies in the DC area, including the Clarice Smith Performing Arts Center,
GALA Hispanic Theatre, Imagination Stage, Shakespeare Theatre Company, and the
Smithsonian Folklife Festival. They have also had the opportunity and pleasure to prop at
Milwaukee Repertory Theatre, The Glimmerglass Festival, and Santa Fe Opera. Working
at Summerfest Music Festival has also been a career highlight. Some of their favorite
credits include Intimate Apparel, The Library, Much Ado About Nothing, Guards at the
Taj, and Little Women. In addition to propping, Linda is also an active papercraft artist
whose work can be followed on Instagram: @Magicwood.Workshop | www.LMDiBernardo.
Wordpress.com
C H E W E R N S M A N (Production Stage Manager) is so happy to be back for her
sixth season at Round House! Some of her favorite RHT credits include We’re Gonna
Die; 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 Sounds; The Legend of Georgia McBride; Or,; The Book of Will; and A Prayer for
Owen Meany. Che has worked as an AEA Stage Manager in the DC/Baltimore region
for the past two decades, with shows at Imagination Stage, The National, The Kennedy
Center, Folger Theatre, Shakespeare Theatre Company, Theatre J, Studio, Everyman, Rep
Stage, Center Stage, and Olney Theatre Center. She earned a Bachelor of Science from
Virginia Tech.
S A M A N T H A W I L H E L M (Assistant Stage Manager) is delighted to be back
at Round House! She previously worked as the Production Stage Manager on A Doll’s
House: Part 2, the Assistant Stage Manager on The Curious Incident of the Dog in the
Night-time and Gem of the Ocean, and as Production Assistant on Small Mouth Sounds,
16The Legend of Georgia McBride, Handbagged, The Book of Will, Uncle Vanya, and NSFW.
Other area credits include Come from Away (2017 Helen Hayes Award for Outstanding
Musical Production), Ragtime, Who’s Afraid of Virginia Woolf, A Christmas Carol, and
The Glass Menagerie at Ford’s Theatre; Me, Jane: The Dreams and Adventures of Young
Jane Goodall National Tour with the Kennedy Center; Escaped Alone and Easy Women
Smoking Loose Cigarettes at Signature Theatre. She is a graduate of the University of
Mary Washington.
WHAT WILL YOUR LEGACY BE?
The S T R E E T 7 0 L E G A C Y S O C I E T Y commemorates Round House
Theatre’s original name as part of the Montgomery County Department of
Recreation and recognizes those who have generously chosen to include
Round House in their estate plans. This can be as simple as making a
gift to Round House in a will or naming us as a beneficiary in a qualified
retirement plan or life insurance policy.
If you’re interested in joining the Street 70 Legacy Society, or if Round House is already a
part of your estate plans, please contact Veronica Kannan, Director of Development, at
240.670.8795 or VKannan@RoundHouseTheatre.org.
Thank you to the following S T R E E T 7 0 L E G A C Y S O C I E T Y members
who have generously included Round House Theatre in their estate plans.
R AC H E L H . M . A B R A H A M DA N A A N D R AY KO C H
NAN BECKLEY S E T H A N D B A R B A R A KO C H
D O N A N D JA N B OA R D M A N BRUCE AND ANN LANE
DIANE BOEHR DA R R E L L L E M K E A N D
J E R E A N D B O N N I E B R O H - KA H N M A RY E L L E N T R AU T M A N
JA M E S B U R K S A N D B E T T E PA P PA S GERI OLSON
M A R T Y * A N D B E L L E N E G R I N DAV I S SA L LY J . PAT T E R S O N
L AU R A F O R M A N A N D L I N DA R AV D I N A N D D O N S H A P E R O
RICHARD BENDER H E N RY S C H A L I Z K I *
ST E V E N G A R R O N MARK AND MERRILL SHUGOLL
ANN AND FRANK GILBERT PA M E L A A N D J O H N S P E A R S
JAY A N D R O B I N H A M M E R *in memoriam
RENEE KLISH
For more information on making a legacy gift to Round House, please visit
RoundHouseTheatre.org/PlannedGiving
17A BRIEF GUIDE TO
DO N QU I XOT E
B Y N AY S A N M O J G A N I | D R A M AT U R G
IN 1605, A MINOR CASTILIAN
government functionary of
Cervantes’ Quixote tells the story of
a middle-aged minor nobleman who
scant literary accomplishment–and even has read too many books of chivalric
less renown—by the name of Miguel de romances and gone mad. He places
Cervantes Saavedra published one of the himself into the old-fashioned stories
most successful novels the world has ever he loves, recreating himself as an
known. El ingenioso hidalgo don Quijote de anachronistic knight and drafting the
la Mancha (The Ingenious Gentleman Don farmer Sancho Panza as a squire.
Quixote of La Mancha) was an immediate Together, the two venture across the
success, with copies sold (and pirated!) all Spanish countryside, righting wrongs
around the world. 400 years later, it is the and facing great foes… at least in Don
best-selling novel in history (500+ million Quixote’s mind.
copies) and frequently tops “best of” lists
both by critics and other authors.
S ELECT ED EV E N TS F R O M C E RVA N T E S ’ QU IXOT E
Consider these your crib notes to the original. See
how many echoes you can spot as you watch the play!
After going mad, Don Quixote christens
his elderly horse Rocinante and rides
away from his niece and housekeeper, a barber) burn his library, blaming the
pledging himself in service to an unseen books for his illness.
lady love, Dulcinea. Quixote convinces a neighboring farmer,
Quixote arrives at an inn which he Sancho Panza, to accompany him on his
mistakes for a castle, where he is greeted adventure, promising him great rewards
by two prostitutes and is jokingly knighted for his service as squire.
by the innkeeper. A field of windmills is taken by Quixote for
The knight stops a farmer from beating an army of giants, which he attacks and
a servant for shirking his duties; as loses to in battle.
soon as Quixote rides on, the farmer The pair join a group of goatherds for
ties the servant back up and continues supper and shelter; Quixote expounds on
beating him. the lost Golden Age, and the party spends
Quixote’s family and friends (a priest and the night in song and stories.
18Although modern readers may find building on Cervantes’ foundation. Writers
the sheer size of the tome intimidating from Shakespeare to Salman Rushdie
(Edith Grossman’s English translation have adapted Quixote. Both Orson Welles
approaches 1,000 pages), there is nothing and Terry Gilliam labored for years to put
dusty or old-fashioned about it. So their versions on film. Picasso’s sketch
much of modern culture is presaged by of Quixote and Sancho is one of the most
Cervantes: meta-textuality, blurring the recognizable representations of the work
line between fact and fiction, hilarious in the world.
(and often scatological) comedy, nested
For Solis, the project began as a fairly
and layered narratives, looking back
straightforward adaptation of Don Quixote
at the past with both wistfulness
in 2009 for the Oregon Shakespeare
and critique… it is no surprise
Festival. While he was happy with the
that the book continues to
result, Solis felt like it was Cervantes’
captivate readers and
Quixote on stage, rather than his. Over
inspire artists.
the course of several years, Solis and
Our playwright, his collaborators revised and reiterated,
Octavio Solis, is working to, as the playwright has said, “pry
one in a long the Quixote from Cervantes’ cold dead
line of artists fingers,” adding to the base layer Solis’s
home along the US-Mexico border and the
burning issue of immigration and his own
family’s experience with Alzheimer’s. The
result premiered at Cal Shakes in 2018
as Quixote Nuevo, the story of a retired
Cervantes scholar in contemporary Texas,
who, much like Cervantes’ Quixote, loses
himself in his chivalric books, and falls into
the original Don Quixote. Like all the best
adaptations, it simultaneously captures so
much that made the original what it was
while also being something wholly nuevo.
After leaving the goatherds, the
adventurers get in a fight and recover at
an inn; while there, Quixote mixes what he Cardenio shares his tragic story with
claims to be a cure-all potion, but instead them and then departs back into the
of healing their wounds, it causes both wilderness.
men to vomit copiously.
Quixote sends Sancho to deliver a letter
Quixote and Sancho rescue a group of to Dulcinea, while he himself—inspired
slaves from the king’s soldiers, freeing the by Cardenio—does penance in the
captives and then fleeing themselves. wilderness; instead, Sancho and Quixote’s
The men encounter a wild man named friends hatch a plan to lure him home and
Cardenio living in the mountains; take care of him.
19IN Q U I XOT E N U E V O , O U R H E R O I S R E T I R E D A N D
THE NUMBERS
AG I N G, facing the end of his life. He and his family are struggling to
manage his dementia, and those around him decide that an assisted
living facility might be the best environment for him.
As the US population gets older (the 65-and-up cohort is projected
to grow from 17% to almost a quarter of the population
over the next 40 years), we will
BY
W H O D O E L D E R LY A M E R I C A N S L I V E W I T H ?
Roughly two-thirds of men who are age 65 and older live with a spouse; only
47% of women of that age cohort do, with most of the difference accounted for
by women living alone. The following represents a partial breakout by race.
FAMILY HOUSEHOLD, NO SPOUSE NONFAMILY HOUSEHOLD, NO SPOUSE
ALONE GROUP QUARTERS
MARRIED COUPLE HOUSEHOLD
0% 20% 40% 60% 80% 100% 0% 20% 40% 60% 80% 100%
Credit: US Census Bureau
Living arrangements both reflect and influence so many other factors in our
lives: income, health, social connectedness, etc.
WHO HAS ALZHEIMER’S?
Alzheimer’s is the most 7,000,000
common form of dementia
6,000,000
in the US, where it affects 1
85+ 5,000,000
in 9 adults age 65 or older.
PEOPLE
Early-onset Alzheimer’s, 4,000,000
affecting those under 65, 75-84 3,000,000
can occur as young as one’s 2,000,000
30’s, but it is exceedingly
1,000,000
rare, representing 65-74
LIVING WITH 0
roughly 5% of those NO ALZHEIMER'S
AGE
with Alzheimer’s. ALZHEIMER'S
Credit: Alzheimer’s Association
20all be touched by issues of aging and end-of-life care. Here’s some helpful data to be
aware of. (Please note that all categorizations and labels come from
the original studies and datasets.)
W H AT D O E S I T CO ST ?
Elder health care can vary widely in type, quality, and cost of care. Here, we’re
comparing the costs across multiple categories of care for Texas (where
Quixote Nuevo is set), the DMV, and the national average.
HOME HEALTH AIDE ADULT DAY HEALTH CARE ASSISTED LIVING FACILITIES
NURSING HOME (SEMI-PRIVATE ROOM) NURSING HOME (PRIVATE ROOM)
$14,000
$12,000
$10,000
$8,000
$6,000
$4,000
$2,000
$0
Credit: Genworth Financial
Obviously, cost is not the only concern when making these decisions, as
everybody’s family and health situations are unique, and some require more
care than others.
WHERE DO 20%
AMERICANS DIE?
80% of Americans would
prefer to die in their home. In
reality, 80% of Americans die ACUTE CARE HOSPITALS
outside their homes. NURSING HOMES
AT HOME
20% 60%
Credit: Stanford School of Medicine
21T E E N S and C O L L E G E S T U D E N T S
can see Round House productions
FOR FRE E
through our F R E E P L AY program.
Visit RoundHouseTheatre.org/FreePlay
for tickets and information!
BECOMING
DR. RUTH
SEPT 30 - OCT 24, 2021
AMERICA’S FAVORITE SEX
THERAPIST RETURNS
Directed by Starring
HOLLY TWYFORD NAOMI JACOBSON
“Jacobson’s got the
Westheimer verve”
— THE WASHINGTON POST
THEATERJ.ORG | 202.777.3210
22DOUBLE
YO U R I M PAC T !
Thanks to the generosity of three anonymous donors,
all gifts to Round House will be matched—up to $75,000!
Now more than ever we are relying on the support of our generous
community as we make a triumphant return to live performances.
With a gift of $100 or more, you’ll become a member of the Round House Inner
Circle. Make the most of the 2021-2022 Season with exclusive benefits, including:
• Invitations to our popular Inside Look production preview events
• Subscription to our Backstage donor newsletter
• Advance access to special event tickets
• 10% discount on single tickets
• And much more!
With your support, Round House will continue fulfilling our mission to be a theatre
for everyone and enrich our community through bold, outstanding theatrical and
educational experiences.
D O N AT E TO DAY A N D YO U R G I F T W I L L G O T W I C E AS FA R !
W AY S T O G I V E
Give by phone—Call 240.641.5352. Recommend a grant to Round
House through your Donor
Mail your check to:
Advised Fund.
Round House Theatre
Attn: Development For stock transfer and
4545 East-West Highway wire transfer information,
Bethesda, MD 20814 please contact
Development@RoundHouseTheatre.org.
Round House Theatre is an exempt organization as described in Section 501(c)(3) of the Internal Revenue Code.
All donations are tax-deductible to the fullest extent allowed by law. Federal Tax ID #52-1289737
Photo of Debora Crabbe, Theresa Cunningham, Jade Jones, Moriamo Temidayo Akibu, and Awa Sal Secka in School
Girls; Or, the African Mean Girls Play by C Stanley Photography.
23TIVE
EXECU
RSHIP
LEADE
R Y A N R I L E T T E (Artistic Director) is in his tenth season as Artistic
Director of Round House Theatre. During his tenure, he has produced five of the
best-selling and highest-attended seasons in the theatre’s history. His productions
have received 63 Helen Hayes Awards nominations and 14 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 Throw Me
on the Burnpile and Light Me Up, Homebound, The Curious Incident of the Dog in
the Night-Time, Oslo, Small Mouth Sounds, “Master Harold”…and the Boys, The
Book of Will, Angels in America: Perestroika, The Night Alive, Fool for Love, This,
and How to Write a New Book for the Bible. Prior to joining Round House, Ryan
served as Producing Director of Marin Theatre Company, Producing Artistic
Director of Southern Rep Theatre, and co-founder and Artistic Director of
Rude Mechanicals Theatre Company. He is the former Board President
of the National New Play Network, and currently serves on the boards of
theatreWashington and Maryland Citizens for the Arts. Ryan is a member of
SDC, AEA, and SAG-AFTRA.
E D Z A K R E S K I (Managing Director) is in his sixth season as
Managing Director of Round House Theatre. He has produced the five
best- selling shows in Round House history, led the theatre’s $12+
million Full Circle campaign, and oversaw the complete renovation of its
Bethesda theatre. He has been an executive leader and fundraiser in DC
area nonprofit arts organizations for more than 25 years, raising more
than $120 million. Prior to joining Round House, Ed spent 12 years as
Chief Development Officer at Shakespeare Theatre Company where he
completed the $75 million capital campaign to build Sidney Harman
Hall and produced its $3 million opening gala. From 1998-2005, Ed
worked in Development at the Kennedy Center, ultimately overseeing
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
for nonprofit arts organizations.
24OUR 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 |
We enrich our community through
ARTISTIC AMBITION |
bold, outstanding theatrical and
C O M M U N I T Y | E M PAT H Y |
educational experiences that inspire
empathy and demand conversation. INTEGRITY
READ MORE AT
RoundHouseTheatre.org/MissionValues
R O U N D H O U S E T H E AT R E L A N D A C K N O W L E D G M E N T
In our ongoing efforts to learn more and strengthen our relationships with
members of our local community, and to work towards dismantling the harmful
effects of white supremacy and colonization, Round House acknowledges that
our theatre, administrative offices, education center, and production shop
are located on the unceded land of the Piscataway peoples. We acknowledge
the Piscataway as the original caretakers of this land. We pay our respects to
the Piscataway community and their elders both past and present, as well as
future generations.
We also acknowledge that, as the world experiences the COVID-19 pandemic,
many of us are using the internet and other technologies that are not as readily
available or accessible in present day indigenous communities.
We pledge to do the work necessary to build relationships with sovereign tribal
nations, to ensure that Round House becomes a more inclusive space, and to
never cease ongoing learning.
Learn more about the Piscataway tribe:
Facebook.com/PiscatawayConoyTribe
PiscatawayTribe.org
Support indigenous rights organizations on a national or global level:
Native American Rights Fund: NARF.org
Cultural Survival: CulturalSurvival.org
Indigenous Environmental Network: IENEarth.org
WHAT I S A LA N D
ACKN OWLEDGMEN 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.
25ROUND HOUSE
A N N UA L D O N O R S
List is current as of August 1, 2021.
LEADERSHIP CIRCLE
Linda Ravdin and Susan Gilbert and
DIAMOND
Don Shapero Ron Schechter
CIRCLE Patti and Jerry Sowalsky Dian and Steve Seidel
$100,000+ Judy and Leo Zickler Bernard and Ellen Young
Arts and Humanities
Council of Montgomery SILVER BRONZE
County CIRCLE CIRCLE
Maryland State Arts Council
Montgomery County
$10,000-$24,999 $5,000-$9,999
Government Margaret Abell Powell Fund Anonymous
of the William S. Abell Don and Nancy Bliss
Foundation Don and Jan Boardman
PL ATINUM
Paul M. Angell Family Ellen and Jon Bortz
CIRCLE Foundation Brown Advisory
$50,000-$99,999 Celia and Keith Arnaud Larry Culleen and Nina
The Morris and Gwendolyn Terry Beaty Weisbroth, in honor of
Cafritz Foundation Nan Beckley Rosa K. Culleen
A. James & Alice B. Clark Cathy S. Bernard Stephanie deSibour
Foundation Lorraine and Doug Bibby The Dimick Foundation
Share Fund Elaine Kotell Binder and Marion Ein Lewin
Shubert Foundation Richard Binder Laura Forman and
The Cora & John H. Davis Richard Bender
GOLD CIRCLE Foundation Lawrence and Joanie Friend
Pam and Richard Feinstein Leslie Grizzard and Joe Hale
$25,000- Jay and Robin Hammer John and Meg Hauge
$49,999 The Sheldon and Audrey Michael and Ilana Heintz
Margaret Abell Powell Fund Katz Foundation Sari Hornstein
of the William S. Abell Debra Kraft and Rob Rick Kasten
Foundation Liberatore Ann and Neil Kerwin
Michael Beriss and Ann and Bruce Lane Joy Lewis
Jean Carlson David and Joan Maxwell Paul and Zena Mason
Heidi and Mitch Dupler Maureen and Michael Chris and Kathleen
Bonnie and Alan McMurphy and the Matthews
Hammerschlag Patrick Michael Pasternak & Fidis, P.C.
Daniel Kaplan and McMurphy Memorial Mark and Merrill Shugoll
Kay Richman Foundation Linda and Steve Skalet
Susan and Bill Reinsch David and Sherry Smith
Pamela and John Spears
26W 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 2020-2021 and 2021-2022 Seasons. These tax-
deductible gifts help Round House continue to be a theatre for everyone
and enrich our community through bold, 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.
Michael and Andrea Steele William Davis and Elaine Economides Joost
The Sulica Fund Jane Hodges Carole and Jan Klein
The Venable Foundation Hope Eastman and Dana and Ray Koch
Richard and Susan Westin Allen Childs Ellen Kohn
Mier and Cathy Wolf Jim Eisner Barry Kropf
Anne* and Robert Yerman Clare Evans Phyllis and Mort Lessans
Lynda and Joseph Zengerle Burton and Anne Fishman Judy and Brian Madden
Fleishhacker Foundation Alan Miller and
COPPER — in honor of Mitch and Susan O'Hara
Heidi Dupler Aruna and David Miller
CIRCLE Susan and Timothy Gibson Michael and
$2,500-$4,999 Ann and Frank Gilbert Penelope Pollard
Marla and Bobby Baker, Susan and Peter Greif Barbara Rapaport
Baker-Merine Family Edward Grossman and Helene Ross
Foundation Rochelle Stanfield Margaret Ann Ross
Bruce J. Heim Foundation Holly Hassett Elaine and English
James Burks and Robert E. Hebda Showalter
Bette Pappas Ms. Mindy Hecker Weissberg Foundation
Lynn and Bill Choquette Paul Henderson John and Val Wheeler
City of Rockville Linda Lurie Hirsch Roger Williams and
Dallas Morse Coors Robbins and Giles Hopkins Ginger Macomber
Foundation for the John Horman Alan and Irene Wurtzel
Performing Arts Clifford Johnson and
Margaret Roper
INNER CIRCLE
Eileen and Paul DeMarco Laurel and
SUSTAINERS
Suzi and Dale Gallagher Robert Mendelsohn
$1,500-$2,499 Neil R. Greene and Martha Newman
David and Ellen G. Miles Menick-Friese-Phillips-Bock
Satoko Ackerman Connie Heller Group
Clement and Sandra Alpert Robin Hettleman and RBC Wealth Management
Designated Endowment Matthew Weinberg Anne & Henry Reich Family
Fund Michele Jawando Foundation, Lee G.
Jeff Bauman/Beech Street JKW Foundation Rubenstein, co-President
Foundation Joseph Gawler's Sons, LLC Mary Jo Veverka
Ellen Berman Ms. Carolyn L. Wheeler
27You can also read
