The Cave is a Round House Theatre Equal Play Commission
THURSDAY, FEBRUARY 26 AT 8:00PM
SATURDAY, FEBRUARY 28 AT 2:30PM
WRITTEN BY JUCOBY JOHNSON
DIRECTED BY MEGAN BEHM
FRIDAY, FEBRUARY 27 AT 8:00PM
SUNDAY, MARCH 1 AT 2:30PM
NOISE IN THE LINE
WRITTEN BY MATTHEW CAPODICASA
DIRECTED BY JARED MEZZOCCHI
THURSDAY, MARCH 5 AT 8:00PM
SATURDAY, MARCH 7 AT 2:30PM
MARBLE ROOFTOP
WRITTEN BY ELIANA THEOLOGIDES RODRIGUEZ
DIRECTED BY NIKKI MIRZA
FRIDAY, MARCH 6 AT 8:00PM
SUNDAY, MARCH 8 AT 2:30PM
The Bonnie Hammerschlag National Capital New Play Festival Developmental Reading Series is sponsored by Clare Evans and the Luger Charitable Trust.
From ROUND HOUSE’S LEADERSHIP
WELCOME BACK TO ROUND HOUSE and to the featured production of our fifth annual Bonnie Hammerschlag National Capital New Play Festival: the world premiere of Nothing Up My Sleeve…Simple Deceptions for Curious Humans by Aaron Posner and Dendy.
Part magic show, part memoir, and part theatrical sleight of hand, this one-person piece is a dazzling blend of wonder and truth. Performed by Dendy, who amazed audiences as Ariel in our 2022 production of The Tempest , Nothing Up My Sleeve is a heartfelt journey through memory, identity, and connection, told with wit, warmth, and technical brilliance.
On many levels, this is a show about belief. What do we believe when we’re constantly told not to trust what we see and hear? What can magic teach us about truth, deception, and the fragile contract between performer and audience? At a time when disinformation is part of our daily lives, this show feels urgent in its own quiet way. It reminds us that theatre can still be a place for awe and reflection, and that magic can open us up rather than shut us down.
Nothing Up My Sleeve had its first public reading under its former name, The Sorcerer’s Apprentice , during our 2024 Festival. This year’s festival will once again feature four incredible new play workshops, including a Round Housecommissioned play with music and a piece where you’re required to wear headphones. If you want to see the future of American theatre, we hope you’ll join us for as many of these as you can. Plays workshopped in our first four festivals have gone on to receive productions at the Atlantic Theatre, La Jolla Playhouse, Williamstown Theatre Festival, and many others, in addition to Round House.
This production also arrives amid a season already filled with big moments, following our acclaimed productions of The Inheritance and Rules for Living , both of which received rave reviews and broke box office records. We are thrilled to share this next chapter with you, and grateful to all of you who participated in the development of this piece over the last few seasons.
Thank you for joining us. We hope this experience leaves you a little more curious, a little more connected, and a little more amazed.
RYAN RILETTE ARTISTIC DIRECTOR
ED ZAKRESKI EXECUTIVE DIRECTOR
ROUND HOUSE THEATRE EXTENDS ITS DEEP GRATITUDE TO OUR GENEROUS SPONSORS OF
NOTHING UP MY SLEEVE
The 2025–2026 Season is sponsored by LINDA J. RAVDIN & DON SHAPERO AND DAVID & SHERRY SMITH
Aaron Posner has been an important pillar of local theatre for decades, so it is a true pleasure to support him and his latest directing effort, and to welcome Dendy back to DC. Their play is a lovely exploration of Dendy’s life in magic, and also a magical experience for attendees of all ages. I am happy to help Round House Theatre bring Nothing Up My Sleeve to the stage for you.”
—LISA MEZZETTI
We are proud to sponsor Nothing Up My Sleeve, celebrating Dendy’s extraordinary gifts as both magician and storyteller, blending illusion, humor, and humanity to create an unforgettable theatrical experience. It is our hope that enjoyable plays such as this will bring a younger audience back to the theatre. We are sure this will be a memorable experience for all.”
—JAN & CAROLE KLEIN
How exciting to support this world premiere at Round House! We are thrilled to see this play performed as part of the Bonnie Hammerschlag National Capital New Play Festival—it’s a riveting story of magic and coming of age!”
—JOHN & RACHEL KING
I was lucky to attend two readings of Nothing Up My Sleeve while it was in early stages of development at Round House. It’s a privilege to encourage and support new works at Round House, especially Aaron and Dendy’s latest collaboration, which promises to feature great magic in the telling of Dendy’s personal story.”
—ROBERT HEBDA
We love Bethesda’s Round House Theatre! After seeing our first play many years ago, we became subscribers. The plays we have seen over the years have enriched our lives. And no matter what the play is, we leave the theatre knowing more about our world. And we also love how convenient it is to get to Round House via Metro Rail. Theatre near transit is important to us.”
—JOHN & VAL WHEELER
To become a sponsor for an upcoming Round House Theatre production, please contact Michael Barret Jones, Director of Development, at 240.670.8795 or MJones@RoundHouseTheatre.org.
BONNIE HAMMERSCHLAG NATIONAL CAPITAL NEW PLAY FESTIVAL
DEVELOPMENTAL READING SERIES
I am delighted to again sponsor the Developmental Reading Series, now in its fifth year. The Readings highlight the rigorous process of developing new work through multiple cycles of writing and refinement, and offer an early platform for dialogue between playwrights and audiences. It is thrilling to be present at the beginning—and to later see these plays grow from workshop to mainstage.”
—CLARE EVANS
CREATIVE TEAM
ROUND HOUSE THEATRE
RYAN RILETTE , Artistic Director, and ED ZAKRESKI , Managing Director
Electricians ...................... SARAH MACKOWSKI ISA PELEGERO
KRISTOP ROSARIO
Carpenters ......................
MARTY BERNIER ETHAN GILLIAM
JAMES MCDONALD
ELLEN MITCHELL WILL STUTZMAN
MIKAYLA TALBERT
Props Artisan .................... SARAH PHILLIPS-HOOLEY
Crew Swing ..................... G WEISS
A special thanks from the creators of Nothing Up My Sleeve: We’d like to express the depth of our gratitude to our friend, mentor and invaluable collaborator, Teller. Without his kindness, skill, and penetrating insight, this production would simply never have come to exist. He has proven to be—for both of us—the most generous and inspiring of collaborators. We want to say thank you from the bottom of our collective magic-loving hearts.
Additional special thanks to: Edward Dawson of Dawson Tailors and Crystal of Eminent Hair Society.
The Scenic, Costume, Lighting, and Sound Designer of this production are represented by United Scenic Artists, Local USA 829 of the IATSE.
The Actor and Stage Manager employed in this production are members of Actors’ Equity Association (“Equity”). Founded in 1913, Equity 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 is a member of the STAGE DIRECTORS AND CHOREOGRAPHERS SOCIETY, a national theatrical labor union
THE MAGIC OF COLLABORATION:
IN CONVERSATION WITH DENDY & AARON POSNER
Round House’s audiences were introduced to the team of Dendy and Aaron Posner with our hit production of The Tempest in 2022, adapted and directed by Posner and Teller, featuring Dendy as Ariel and as magic consultant. That partnership eventually resulted in Nothing Up My Sleeve (previously seen in our workshop series as The Sorcerer’s Apprentice). In this conversation with Artistic & Dramaturgical Advisor Naysan Mojgani, the duo dive into their history together.
A LEGACY OF STAGE MAGIC
The famously secretive art of stage magic presents some challenges to historians. Much of what goes on behind the scenes is closely guarded to preserve the very illusions being presented. Plus, the farther back in history we go, the more tangled this history gets with spiritual and supernatural beliefs: for instance, 17th-century skeptics and demonologists debated how Pharaoh’s magicians created illusions to match the divine magic of Moses and Aaron (my favorite theory involves hypnotizing a snake to pretend to be a stick) .
But some figures and events have left a clear mark, establishing a lineage of illusionists and magicians leading to today and Dendy—here’s just a few of them!
NAYSAN MOJGANI: How did the two of you meet and start working together?
AARON POSNER: When Teller and I first started working on The Tempest , I got emails from 4 different people saying, “Do you know Dendy?” We had decided at this point that we needed a magician who could fully create a character and marry outstanding magic with the art of being on stage and being a character and telling a story and all the things that you’re looking for from a really good actor.
DENDY: There was an audition in New York. I walked in, and there were 15 much better-looking Ariels. And they all had magic in their hands. I was working at a magic shop at the time, and I sold 2 of those guys their trick for the audition, not knowing that was what it was for. Because I recognized—“I sold you that! I taught you this trick!”
POSNER: A lot of them were doing things like the handkerchief that turns color— what I would now call “apparatus magic tricks,” and not skill-based tricks. They were doing things that would work but didn't require you to be an actual magician.
DENDY: Aaron had asked for magic that illustrated the speech. So, I took Ariel's first monologue, about the storm. And I did a series of things with playing cards and balls
REGINALD SCOT (1537-1599)
An English gentleman who wrote The Discoverie of Witchcraft in 1584, debunking beliefs in witches and magic; this is the first English text to describe how to perform sleight of hand and illusions.
CENTURY)
Touring magician and juggler who received a license to perform for King James I in 1619. Vincent may have written the 1635 Hocus Pocus Junior: The Anatomie of Legerdemain, another early instructional text in sleight of hand.
WILLIAM “HOCUS POCUS” VINCENT (17TH
bear, but I am certainly not a magician. I know most of most of the magic tricks, and I have transformed some tricks because I see them as a theatre director and not as a magician, but I’ve tried to maintain my distance and not know all of the details, so I’m not looking at things that other people aren’t. I’m trying to walk that line of insideroutsider.
DENDY: A lot of past magicians in history that were really groundbreaking had a very theatrical sense, had a good director's brain. They knew the language of the entire theatre. So that's what makes Aaron so good. It's very easy to just point at something and have it move, but the idea of really trying to do something and approach it the way an actor would, you need a good director to facilitate all of that.
MOJGANI: And how did this project come to be?
DENDY: During the first Tempest production in Vegas, Teller offered the cast and crew tickets for anyone who wanted to come see his show at the Rio. I abused that. It felt like I saw the show 50+ times. There was a week where I saw it 4 nights. Eventually, I started watching not for the magic. I was watching the crew, I was watching the lighting, I was watching the timing, I was watching how they got in and out of tricks, how they cleared a stage and brought things back on. And how a trick morphed with each audience. And that's when I thought, “this is really what I want to be doing. I want to be on the stage doing a collection of things that I feel good about doing.” I wanted to start doing something that's not just being in someone else's play, but to do something that speaks more to what I want to do.
POSNER: In working with Dendy, I found that he was one of the hardest-working, most diligent, most passionate, most doggedly-in-pursuit-of-excellence performers I'd ever worked with. And my respect for him as a collaborator grew so exponentially during our various years of working on The Tempest that when I heard him talking about wanting to do a one-person show, my impulse was, “If this is important to you, you have helped me and my show and my career, and I have the skills and perspective
JEAN-EUGÈNE ROBERT-HOUDIN (1805-1871)
A French watchmaker and illusionist considered the Father of Modern Magic. RobertHoudin established magic as an upperclass entertainment, performing in his own theater in coat and tails.
HARRY KELLAR (1849-1922) ADELAIDE HERRMANN (1853-1932)
“The Dean of American Magic.” Kellar ran away from home and became a magician’s apprentice at 12 years old. He was held in such regard by his peers that after a World War I benefit performance, the other magicians carried him out in a sedan chair.
“The Queen of Magic,” who began her career as assistant to her future husband, Alex Herrmann. After Alex’s death in 1896, Adelaide continued performing in her own right into her 70s. One of the first woman illusionists, Adelaide demanded recognition “as a leader in the profession, and entirely irrespective of the question of sex.”
to do this with you. If you want to do this thing, we should probably just… we should probably do this thing.”
DENDY: This is new territory for me. Hands down, across the board, new territory for me. And it's been amazing. There have been moments where I'll be saying one thing, or I'm confused, and then Aaron is very good about saying, “let's talk about this,” and explaining, in terms of language, art, tone, all those things.
POSNER: I don't think of myself quintessentially as a playwright, even though I've written 20-something plays, but I am a playmaker, and I know how to take things and turn them into plays, whether those are novels, or short stories, or other people's plays. So Nate would tell me stories and show me magic tricks, and I was going, “oh, there's a place for that, there's a place for that. That's super cool, but I don't see that there's a place for it here.” And then, eventually a shape emerges.
DENDY: When we started this, we had a conversation about how we could go two ways. We can go completely fictitious and create… like, “A Play.” Or we can talk about my personal life. We went back and forth on this. And we ended up realizing that it was just more interesting to—
POSNER: And we partially realized this because of the National Capital New Play Festival. It was that very first reading. When we asked the audience, Dendy’s life was what they were most interested in. The genesis of this piece began in the Round House rehearsal space, it was Round House's willingness to invest in us and to take a chance before a script began, and its continuing support that has made this possible.
DENDY: Absolutely. And the space knows magic. It has the memory. I'm comfortable on that stage. And hopefully the audience will leave filled with as much joy, real joy, as magic has given me my entire life. There's something about passing that on to people that sometimes does not translate well in a magic show. Sometimes it becomes a battle of wits, and you leave a magic show going, “I feel stupider.” You don't want that feeling. You want to feel filled. You want to feel good.
HARRY BLACKSTONE SR. (1885-1965) JIM STEINMEYER (BORN 1958)
The last of the great courtly magicians, modeled after Thurston and Kellar. The Smithsonian’s magic collection began with two of Blackstone’s props, donated by his son, also a magician.
A magic historian and designer, Steinmeyer has worked with the greatest names in 20th- and 21st-century magic. His work as a historian, particularly his 2018 The Secret History of Magic (with Peter Lamont), was instrumental in creating this very article!
Photo by Open Media for Channel 4, licensed under CC BY-SA 4.0
BIOS
DENDY (Co-Writer, Magic Designer, and Performer) is a magician, actor, playwright, and magic designer. He returns to Round House Theatre, where he previously appeared as Ariel in The Tempest Other DC acting credits include The Fantasticks at Arena Stage. His work has been seen at theatres across the country, including American Repertory Theater, Trinity Repertory Company, Chicago Shakespeare Theatre, Cincinnati Playhouse, the Smith Center, Tanglewood Music Festival, Folger Theatre, Shakespeare Theatre Company, South Coast Repertory, and Atlantic Theatre Company. His magic designs have been seen on Broadway in the revival of Sondheim’s Company and Once Upon a One More Time , and featured on Netflix; including the Adam Sandler film The Week Of . He has worked with Penn & Teller, the longest-running headliners in Las Vegas history, and appears on Penn & Teller: Fool Us on The CW. Dendy has received a Jeff Award nomination and two Helen Hayes Award nominations for his work as an actor. Find him on Instagram @natedendy.
AARON POSNER (Co-Writer and Director) is a theatre director, playwright, former Artistic Director of two major regional theatres, and a tenured full professor at American University. Aaron has directed nearly 200 productions at major regional theatres across the country, including most major theatres in the DMV. Previously at Round House: The Tempest (with Teller) , Or, Stage Kiss, and his Mark Twain musical (with composer James Sugg) A Murder, A Mystery & A Marriage . His many published and produced plays include Stupid Fucking Bird, Life Sucks, No Sisters, JQA, District Merchants, The Chosen, My Name Is Asher Lev , The Gift of Nothing , Me... Jane: The Adventures of Young Jane Goodall , and more. He has won more than 20 regional theatre awards, including six Helen Hayes Awards, two Barrymore Awards, a Jeff Award, an Eliot Norton Award, an Outer Circle Critics Award, and the John Gassner Prize.
DANIEL CONWAY (Scenic and Projections Designer) has designed more than a dozen plays for Round House Theatre. Other projects include Play On! at Signature Theatre; Born Yesterday and Sabrina Fair at Ford's Theatre; MacBeth at Chicago Shakespeare Theatre; Penn and Teller on Broadway; the premiere of Queens for a Year at Hartford Stage; The Tempest (directed by Aaron Posner and Teller) for American Repertory Theatre, Chicago Shakespeare, and South Coast Repertory theatres; At Wit's End, Love in Afghanistan, Vanya, Sonia, Masha and Spike at Arena Stage; the premiere of American Song at Milwaukee Rep ; The Games Afoot at Cleveland Playhouse; Company, Hairspray, Chess, Sunset Boulevard , and Jelly's Last Jam at Signature Theatre; The Merry Wives of Windsor at Shakespeare Theatre Company; Hand to God, Three Sisters, and the premiere of No Sisters at Studio Theatre; and District Merchant at South Coast Repertory. He is a fourteen-time Helen Hayes nominee for Outstanding Set Design, and received the award in 2000, 2009, and 2015. Most recently in 2017, he won for Stunning at Woolly Mammoth Theatre. In 2019, Mr. Conway was the featured American set designer at The Prague Quadrennial of International Theatre Design and Performance Art.
JEANNETTE CHRISTENSEN (Costume Designer) is a Baltimore-based designer with notable credits including the Broadway national tour and the Spanish world
premiere at GALA Hispanic Theatre (Helen Hayes Award win) of On Your Feet! . National tours include: Don’t Let the Pigeon Drive the Bus! , Show Way The Musical , and Look Both Ways: A Tale Told in Ten Blocks at The Kennedy Center TYA. Regional work includes: Dinner & Cake and Art at Everyman Theatre; Wolf at the Door and Tribes at American Players Theatre; The Thanksgiving Play and Life Sucks at Oklahoma City Repertory Theater; The Last Five Years and In the Heights at Pennsylvania Shakespeare Festival; Romeo and Juliet at Folger Theatre; The Brothers Paranormal and Red Pitch at Olney Theatre Center. She has also worked as an associate designer with The Muny, Wolf Trap Opera, and Studio Theatre. As an educator, she has taught at the University of Maryland, University of the Arts, and George Washington University. She holds a BA from Arizona State University, an MFA from University of Maryland, and an MPS in Business of Art & Design from MICA. jchristensendesign.com
THOM WEAVER (Lighting Designer) Thom Weaver (Lighting Designer) has previously designed The Tempest, The Heal, Or, How I Learned What I Learned, and 26 Miles for Round House Theatre. Off-Broadway credits include: Sandra (Vineyard), The Total Bent (Public), Kingdom Come (Roundabout), Exit Strategy (Primary Stages), King Hedley II , How I Learned What I Learned , The Liquid Plain (Signature Theatre Company), and Teller’s Play Dead (The Players Theater). Regional credits include productions with: Alliance Theatre, Huntington Theatre Company, Alley Theatre, Arden Theatre, The Wilma Theater (Associate Artist), Philadelphia Theatre Company, Milwaukee Repertory Theatre, Chicago Shakespeare, Children’s Theatre Company, Geva, Cleveland Play House, Portland Center Stage, The Folger Theatre, Asolo Repertory Theatre, Hangar Theatre, CenterStage, California Shakespeare Theater, Syracuse Stage, Berkshire Theatre Festival, Williamstown Theatre Festival, Spoleto Festival USA, Lincoln Center Festival, City Theatre, Pittsburgh Public Theatre, and Yale Repertory Theatre, as well as numerous designs with Pilobolus. He is the recipient of a Helen Hayes Award, two Jeff Awards, six Barrymore Awards and two AUDELCO Awards. Education: Carnegie Mellon and Yale. @thomweaverdesign
SARTJE PICKETT (Composer and Sound Designer) is a composer and sound designer working in theatres across the United States. DC credits include A Midsummer Night’s Dream at the Folger Theatre (Helen Hayes Award). Regional credits include The 39 Steps, Proof, Love’s Labours Lost, Cyrano de Bergerac, and Mary’s Wedding at American Players Theatre; The Great Leap and Twelfth Night at The Guthrie; Hamlet and A Delicate Balance at Yale Repertory Theatre; The Merry Wives of Windsor , Much Ado About Nothing , and Richard III at The Oregon Shakespeare Festival; Fat Ham, Dracula: a Feminist Revenge Tragedy Really, and The Three Musketeers at Virginia Stage Company; and Nina Simone: Four Women at Milwaukee Rep and Kansas City Rep. Film and game composition credits include: Insight, A Space of Time, and Flanker ExerGame.
CHRISTINA J. GARNER (Properties Coordinator) is a New York Areabased scenic designer and props artisan originally from Casper, Wyoming. She is thrilled to be making her Round House Theatre debut with such an exciting show! Christina holds an MFA in Scenic Design from the University of Connecticut where she studied under Alexander Woodward. Recent props work includes The Cottage (Hartford Stage Company) and properties supervisor for the 2025 summer season at The Cape Playhouse in Dennis, MA. Recent designs include Offenbach’s Orphée aux Enfers (UConn School of Music), Much Ado About Nothing , and the North American premiere of A Hundred Words for Snow (Connecticut Repertory Theatre). Instagram: @christinajgarnerdesign Website: christinajgarnerdesign.com (She/They)
BRANDON ROAK (Associate Scenic Designer) is excited to join the team at Round House Theatre. Previous Round House credits include Assistant Scenic Designer on A Hanukkah Carol and The Tempest . DC design credits include The One Good Thing at Washington Stage Guild. Regional design credits include Waitress (Suzi Bass Award for Best Scenic Design of a Musical) at Aurora Theatre; Misery and The Flick at The Warehouse Theatre; Don Giovanni at Maryland Opera Studio; and La Calisto at the Peabody Institute at John Hopkins University. Brandon has an MFA in Scenic Design from the University of Maryland. Instagram: @brandonroak_designs | Website: brandonroakdesigns.com
ANDRÉS POCH (Associate Projections Designer) is a Colombian live entertainment artist and designer. He is a graduate of University of Maryland with an MFA in Design in Scenic and Projection. He currently serves as Vice President and Director of Theatrical Productions at Glenda’s Baby Production. His artistic mission is to improve accessibility to theatre through design for people onstage, backstage, and audiences. Credits include Julius X (Folger Theatre); Harmony High: Pegasus Remix (Imagination Stage); Meat Expectations and Autocorrect Thinks I’m Dead (Gallaudet Theatre); I Will Eat You Alive (Interrobang Productions); Not So Quiet Nocturne (VOCA); Lost Patterns, Finally Fairies!, Triple Helix, Risk of Play and Overscore (UMD); Winterfest (Adventure Theatre); POTUS and In the Heights (Winnipesaukee Playhouse); Giant Slalom (Best Scenic Design, NH Theatre Awards), Waffle House, Folding Time, and Out There (Andy’s Summer Playhouse); WORD.SOUND.POWER. (Brooklyn Academy of Music). www.andrespoch.com. (He/Him)
YANNICK GODTS (Associate Lighting Designer) is a lighting designer based in Washington, D.C., and currently an MFA Theatre Design candidate at the University of Maryland. Prior to pursuing his MFA, he toured for many years with Pilobolus as their Lighting Supervisor while designing lighting, scenery, and props for various theatre and dance companies in DC and New York. Theatre: fire work (Theatre Alliance) ; Damn Things Will Kill Ya ; Daughters of Leda (American University); and Sweeney Todd (Ocala Civic Theatre). Assistant/Associate: The Great Privation (Woolly Mammoth); Kim's Convenience (SoulPepper); Senior Class (Olney); Data (Arena Stage); The Migration ; and Drumfolk (Step Afrika!). Opera: San Giovanni Battista (In Series/Catapult Opera); Così fan tutte (Maryland Opera Studio); The Marriage of Figaro (assistant, Wolf Trap); and Prisoner of the State (associate, Unusual Suspects). Recent Dance: Put Away The Fire, Dear (Kayla Farrish); Moon (assistant, Mark Morris); Tales from the Underworld ; The Ballad ; and Behind the Shadows (Pilobolus).
CHE WERNSMAN (Production Stage Manager) is in her tenth season as Resident Stage Manager at Round House Theatre. Some of her favorite Round House Theatre credits include: The Inheritance; Bad Books; What the Constitution Means to Me; A Hanukkah Carol; Topdog/Underdog; Ink ; On the Far End ; The Tempest "We declare you a terrorist…" ; A Boy and His Soul ; The Curious Incident of the Dog in the Night-Time ; Handbagged (Off-Broadway - 59E59, Bethesda); Oslo; Gem of the Ocean Small Mouth Sounds ; The Book of Will ; and A Prayer for Owen Meany . Che has worked as an AEA Stage Manager in the DC/Baltimore region for over two decades, with shows at Everyman Theatre, The Kennedy Center, Folger Theatre, Imagination Stage, The National, Shakespeare Theatre Company, Theatre J, Studio, Rep Stage, Center Stage, and Olney Theatre Center. Che has a Bachelor of Science from Virginia Tech.
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HOUSE RULES
At Round House, “Theatre For Everyone” isn’t just a statement. It’s our mission and an organizational value. It means that everyone—patrons, artists, staff, students, trustees, and volunteers—is invited to fully participate and deserves to be treated with respect. This is our promise to you…and we ask you to help us uphold these values and expectations in all of your interactions with Round House.
We believe that…
• All are welcome here, and each person is empowered and encouraged to fully engage with our work.
• Everyone is a human being, equally deserving of respect.
• Theatre is an “empathy gym,” and building that muscle is what each of us is here to do.
• Anti-racism—the intentional and conscious effort to combat racial prejudice and systemic and structural racism—is an ongoing and active practice, and we must all stand against oppression and marginalization of all kinds.
• Discomfort is often productive, but cruelty never is.
We invite you to…
• Assume positive intent and expect the same assumption in return.
• Enjoy our art with your whole self—laugh, clap, cry, have reactions!—and embrace your fellow audience members’ reactions in turn. Remember that your experience is shared with the rest of the audience.
• Make a deliberate effort to confront your own biases, and partner with us to help make Round House a welcoming space for everyone. We’re all learning!
• Help us create a positive community and a culture of collaboration.
We will not tolerate…
• Insulting or discriminatory speech towards anyone.
• Unwanted invasion of another person’s physical space.
• Abusive or harassing behavior.
• Ignoring or talking over staff who are trying to assist you.
• Creating a hostile environment for fellow audience members, students, artists, or staff.
• Disrespect of or damage to our theatre or other facilities.
WE ARE GLAD YOU’RE HERE! Thank you for being a part of the Round House community as we work together to truly be a Theatre For Everyone.
If you witness or experience behavior that violates the values and expectations outlined above, please alert our staff. Round House will take action to protect our community, with consequences up to and including removal from Round House activities.
EXECUTIVE LEADERSHIP
RYAN RILETTE (Artistic Director) is in his fourteenth season as Artistic Director of Round House Theatre. During his tenure, he has produced seven of the 10 highest grossing seasons and 18 of the top 20 highest grossing productions in the theatre’s history. His productions have received 99 Helen Hayes Awards nominations and 30 Helen Hayes Awards. 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 Rules for Living, Bad Books, The Seafarer , “We declare you a terrorist...” (world premiere), 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. He has also acted in Round House's productions of Ink and Uncle Vanya . 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 formerly served on the boards of theatreWashington and Maryland Citizens for the Arts.
ED ZAKRESKI (Executive Director) is in his tenth season leading Round House Theatre, overseeing management, finance, marketing, and fundraising. Under his leadership, Round House doubled earned income and increased contributed income by 150%, growing the annual operating budget from $4 million to $10 million; and the theatre has been named one of the “Best Places to Work” by Bethesda Magazine multiple times. Over more than 30 years as a DC arts executive leader and fundraiser, Ed has raised more than $150 million. At Round House, he led the $14 million Full Circle Capital Campaign and theatre renovation, and produced the twelve highest-grossing productions in the company’s history. Before joining Round House in 2016, Ed spent 12 years as Chief Development Officer at Shakespeare Theatre Company, where he completed the $75 million capital campaign for Sidney Harman Hall and produced the $3 million opening gala—called “the most buzzedabout gala” by Washington Life . He also doubled the annual fund and built STC’s Annual Gala and Will on the Hill into two of BizBash’s Top 10 Washington events. From 1998–2005, he held increasingly senior roles at the Kennedy Center, culminating as Director of Individual Campaigns, leading a 22-member team that raised $11+ million annually. At the Kennedy Center, he significantly expanded engagement and fundraising of the Center’s auxiliary boards and led unique experiential arts meetings across the United States and in Beijing, Budapest, Copenhagen, London, Paris, Prague, and St. Petersburg. Ed holds a degree in arts management from American University and is a frequent presenter on nonprofit arts management and fundraising.
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LAND ACKNOWLEDGMENT
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 unceded land cared for by native tribes including the Piscataway peoples. We pay our respects to the Piscataway community and their elders both past and present, as well as future generations.
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.
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ROUND HOUSE
ANNUAL DONORS
List is current as of January 4, 2026.
WE GRATEFULLY ACKNOWLEDGE the following donors who support the work of Round House Theatre through Annual Fund, Gala, and Theatre for Everyone contributions. These 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/Support or call the Development Department at 240.641.5352
Artist Housing at Round House Theatre is provided by major contributions from the Melissa Blake Rowny Fund for Artistic Development and the State of Maryland.
LEADERSHIP CIRCLE
DIAMOND CIRCLE
Cathy S. Bernard
The Roy Cockrum Foundation
Heidi and Mitch Dupler
Gilbert and Rona Eisner
Jay and Robin Hammer
Bonnie and Alan Hammerschlag
State of Maryland
Montgomery County Government
Linda J. Ravdin and Don Shapero
Judy and Leo Zickler
PLATINUM
CIRCLE
SHARE FUND
Nan Beckley
Michael Beriss and Jean Carlson
Judy Duberrier
Clare Evans
John and Rachel King
Janice McCall
Maureen and Michael McMurphy and the Patrick Michael McMurphy Memorial Foundation
Dian and Steve Seidel
Sherman Fairchild Foundation
David and Sherry Smith
The Sulica Fund
GOLD CIRCLE
Anonymous
Walter A. Bloedorn Foundation
Ellen and Jon Bortz
James Burks and Bette Pappas
Lynn and Bill Choquette
Pam and Richard Feinstein
The GPS Fund
Susan and Timothy Gibson
Susan Gilbert and Ron Schechter in honor of Kimberly G. and Maboud E.
Michael and Ilana Heintz
Paul Henderson
Rafael Hernandez and Laura Roulet-Hernandez
Daniel Kaplan and Kay Richman
Rick Kasten
The Sheldon and Audrey Katz Foundation
Ann and Neil Kerwin
Maryland State Department of Education
Still Point Fund
Susan and Bill Reinsch
SILVER CIRCLE
+
Americans for the Arts
Anonymous (2)
Arronson Foundation
Gregory Dobbins
Lisa Gappa-Norris
Leslie Grizzard and Joe Hale
David Hantman
Robert E. Hebda
Robin Hettleman and Matthew Weinberg
Jan and Carole Ann Klein
Philip* and Lynn Metzger
Lisa M. Mezzetti
The Morgan Fund at Seattle Foundation
Martha Newman and Brian Sutton
Linda Ryan
Linda and Steve Skalet
John and Val Wheeler
BRONZE CIRCLE +
Celia and Keith Arnaud
James R. Beckers and Donna Mertens
Lorraine and Doug Bibby
Elaine Kotell Binder and Richard Binder
Don and Nancy Bliss
The Dimick Foundation
Laura Forman and Richard Bender
The Greene-Milstein Family Foundation
John and Meg Hauge
Mindy A. Hecker
John Horman
Sari Hornstein
Michele Jawando
Elaine Economides Joost
John and Marie McKeon
Don McMinn and Harv Lester
Richard and Meka Parker
Evelyn Sandground and Bill Perkins
Linda Schwartz
Amy Selco and Kevin Keeley
Ruchi Sharma and Apoorva Gandhi
Elaine and English Showalter
Mark and Merrill Shugoll
Michael and Andrea Steele
Pamela Suan
Nina Weisbroth and Larry Culleen
SUSTAINERS
Clement and Sandra Alpert
Designated Endowment Fund
Daniel and Nancy Balz
Jane Beard and Jeff Davis
Ellen Berman
Carol Blakeslee
Irene and Joseph Bromberg
Susan and Dixon Butler
Bonnie C. Carroll
Richard Cleva
Belle Davis
Robert Yerman and Britta Lindberg
Bernard and Ellen Young
COPPER CIRCLE
Anonymous
Wendy and Eben Block
Don and Jan Boardman
Halcy Bohen
Michael L. Burke and Carl W. Smith
Jane* and Fred Cantor
Paula Causey and Bruce Gregory
City of Rockville
Neil and Marcy Cohen
John and Valerie Cuddy
William Davis and Jane Hodges
Stephanie deSibour and Marc Miller
Jean and Paul Dudek
Susan Dweck
Bunny R. Dwin
E&B Family Trust
Victoria Heisler Edouard
Jim Eisner
Joan Farragher
Nancy and Cary Feldman
Susie and Michael Gelman
Ann and Frank* Gilbert
Ellen G. Miles in honor of Neil Richard Greene
Susan and Peter Greif
Edward Grossman and Rochelle Stanfield
Jeffrey and Rose Heintz
Donald Hesse and Jerrilyn Andrews
Linda Lurie Hirsch
Jane Holmes
Lisa Demarco and Leonard Goldman
Linda Dreeben
The Eacho Family Foundation
Hope Eastman and Allen Childs
Ensurise
FBB Capital Partners
Lois Fishman
Daryl Flatté and Richard David
Dr. Helene Freeman
Meredith Fuchs and Jeff Chyatte
Fleishhacker Foundation — in honor of Mitch and Heidi Dupler
Carole and Robert Fontenrose
Robbins and Giles Hopkins
Howard and Ella Iams
Reba and Mark Immergut
Clifford Johnson and Margaret Roper
Renee Klish
Dana and Ray Koch
Nancy and Robert Kopp
Barry Kropf
Michael and Judy Mael
Ed Starr and Marilyn Marcosson
Maryland Department of Transportation/Purple Line
Arthur and Sallie Melvin
Carol Mermey and Erik Lichtenberg
MetroBethesda Rotary Foundation Inc.
Scott and Paula Moore
Mary Katherine Nagle and Jonodev Chaudhuri
Scott Hunt and Pamela Nash
Carl and Undine Nash
Onstage DMV
Michael and Penelope Pollard
Barbara Rapaport
Joy A. Rhoden
Nora Roberts Foundation
William and Eveline Roberts
Mark Rothman
Margaret Ann Ross
The Rowny Foundation
Barbara and Mike Selter
Suzanne Shapiro
Robin Sherman
Leslie and Howard Stein
Mr. Leslie C. Taylor
William Tompkins, Jr. and Dana Brewington
Janet and Jerome White
Lynda and Joseph Zengerle
INNER CIRCLE
Nikki Gettinger
Douglas Grove
Tom and Karen Guszkowski
Lana Halpern
The Heintz Family
Connie Heller
Brenda and Dwayne Holt
Abigail Hopper and John Pietanza
Raymond James
Belinda Kane
James Kanski
John Keator and Virginia Sullivan
Margaret Kenny
Kathleen Knepper
Ellen Kohn
Daniel Korengold and Martha Dippell
Debra Kraft and Rob Liberatore
Ann and Bruce Lane
Sharon Light and Gidon van Emden
Ann Hutchison Lung
Kathleen Meskill
Joann Moser and Nicholas Berkoff
Jill Nelson
Ellen Parker
Craig Pascal
Henry Polmer
RBC Wealth Management
Sarah Richmond
Laura Sloss and Peter Lowet
Pamela and John Spears
Jay Sushelsky and Noreen Marcus
Jill Waterman
Stacy and Julian Yochum
BENEFACTOR
Nora Abramson and Dave Nathan
Anonymous
Marla and Bobby Baker, BakerMerine Family Foundation
Kate and Stephen Baldwin
Leslie and Joe Bauer
Jeff Bauman and Linda Feinberg/ Beech Street Foundation
Ann S. Berman
Gary and Linda Bittner
Marian Block
Harvey Maisel and Andrea Boyarsky-Maisel
Jeffrey and Joan Butvinik
Vanessa Chernick
Kenneth Coon
Donna Dana
Marilyn Falik
Karen Garnett and Dan Hudson
Ellen and Dr. Michael Gold
Susan Gordon
Nicole Halmos
Margaret Hennessey
Thomas and Ann Humphrey
Madeleine Susan Jacobs
Michael Kampen and Rachael Schroeder
Kyle F. Kerr and Stephen Bique
Chaz and Jane Kerschner
Shelley Klein and Cathy Bendor
Pauline Klein-Locker
Barbara Kurshan
Isiah and Catherine Leggett
Stephen H. Leppla
Sonya Levine
Joyce Lowenstein
The Henry Luce Foundation
Mary Maguire
Barbara and Alan* McConagha
Doug and Mary Beth McDaniel
Mary McGrane
Alan Miller and Susan O'Hara
Indrani Mitra
Robert K. Musil and Caryn McTighe Musil
Nkechi Nneji
William and Paula Phillips
Mark and Teresa Plotkin
Henry Kahn and Laura Primakoff
David and Gayle Roehm
Cynthia Rohrbeck and Philip Wirtz
Fran Rothstein and Stephen Wolk
Malcolm Russell-Einhorn
Judy and Mark Sandstrom
Jay P. Siegel and Mona Sarfaty
Kathy Sklar
Sarah Sloan
Deborah Sobeloff
Susan and John Sturc
Lucinda and Stephen Swartz
Grant P. and Sharon R. Thompson
Marna Tucker and Lawrence Baskir
The VAC Fund
Richard and Elisabeth Waugaman
Kathy and Bob Wenger
Carolyn L. Wheeler
Madeline and Gary Wilks
Ellie Zartman
ADVOCATES
Dave and Toko Ackerman
Lee T. Arevian
Lynn Barclay
Marty Bell and Sheryl Rosenthal
Howard Benjamin
Diane Boehr
Amy Bogdon and Robert Kornfeld
Denise Brady
Robert Brewer and Connie Lohse
Janice Crawford
Robert A. Davis and Patricia Brannan
David and Linda DeBord
Eileen and Paul DeMarco
Cyril Draffin
David Drasin
John Driscoll
Laura Elliot
Carrie and Evan Ewachiw
Dr. Julie M. Feinsilver
Steven Ferguson and Deena Kleinerman
Barry and Jeanette Filderman
Burton and Anne Fishman
Kathy Freeman
Janet Garber and Kris Keydel
Nicole and Christopher Gardner
Donna and Bruce Genderson
Wilbur and Rita Hadden
Brigid Haragan
Susan Harding
James Heegeman
Bob and Suzanne Henig
Jill Herscot
Daniel Hicks
Rachel Jaffe
Larry* and Sue Jeweler
Elizabeth B. Jones
Michael and Jean Kaliner
Veronica Kannan
Erna Kerst
Katha Kissman
Monica Knor
Michael Kolakowski
Sara and Stephen Kraskin
Jessica Lerner and Daniel Pink
Edward Lieberman
Paul Love
David and Karen Marcellas
Chris and Kathleen Matthews
Winton Matthews, Jr.
Susan Freeman McGee
Jeffrey Menick
Diane Meyers
Carol Migdalovitz
Joseph Mullinix
Joe M. Norton
Geri Olson
Heidi and David Onkst
John and Margie Orrick
Gail Kern Paster
Stan Peabody
Denise and Craig Pernick
Andrew Pierre and Joan Root
Gail J. Povar
Vicken K. Poochikian and Irene Roth
Everett Redmond and Valerie Schneider
Naomi Robin and Gerald Gleason
Deborah and Lee Rogers
Michelle and KenYatta Rogers
Steven M. Rosenberg and Stewart C. Low III
Florence and Daniel Rosenblum
Jane Rostov
Elias Savada
Joaquin Sena
Fanchon Silberstein
Stephen Skinner
David Stevens and Linda Wymbs
Holly and George Stone
Maxine Sushelsky
Ruth Tate
Sheila Taube
James and Elizabeth Thetford
Travis Memorial Endowment
Joanne Tucker
Martha Tuohey
Jack Vanderryn and Margrit Venderryn
Julie Watson
Walter Wentz
Richard and Susan Westin
Christopher Wolf and James L. Beller
Ed and Judy Zakreski
ASSOCIATES
Actors' Equity Foundation, Inc.
Donald Adams and Ellen Maland
Boris Allan and Kathleen Pomroy
John Allnutt
Anonymous (2)
Betsy and Robb Anderson
Alan and Susan Apter
Lucie Austin
Michaela and David Barnes
Emily Berman
Kenneth Berman
Edie and David Blitzstein
Linda Blumberg and Stephen Turow
Elizabeth Boe
Judith and L. Thompson Bowles
Mimi and Michael Brodsky Kress
Yolanda Bruno
Stephen Brushett
Ronald and Lori Bubes
Carole Bumpus
Clarette and Allie Cain
Lucinda Calahan
Leslie Calman
Linda Cancellieri
Amy Clayman and Erik Belanoff
Bernadette U. Chan
Ann Christy
Tracey L. Chunn
Franklin C Coleman
Bruce and Lisa Cort
Edward Cowan
Cahn Curtis
Diana Daniels
Karen Deasy
John Devaney
Katherine DeWitt
Antoinette Doherty and Karl Kippola
Andi Drimmer
Marc and Nancy Duber
Peggy Dugan
Norma Dugger
Sarah and Josh Eastright
William Eaton
Thomas R. Edgar
Judy Edstrom
Barbara Elkus
Marjorie and Anthony Elson
Fred and Starr Ezra
Sally A. Fasman
Michael and Regine Feuer
Barbara Fleischer
Lisa Forrest and Herb Golden
Ronna L. Foster
Amy Francis
Barbara Fugate and Kazuo Yaginuma
Andrew Green
Stuart and Beverly Greenfeig
Jane and Jeff Griffith
Julie and Jason Grosman
Mary Ann Hamel
Freddi and Richard Hammerschlag
Avi Hoffer
Susan Rosengarten Hoffmann
Barbara Hoover
Larry Hothem
Sandy Hudson
Chris Huff and Pamela Van De Walle
Greg Ip
Kristina Jeffers
Michael Joy and Deborah Fischer
Penny Kahn
Arthur Karlin
Aaron Kaufman
Lisa Kenigsberg
Cookie L. Kerxton
Allison King
Carole Klein and Brad Chesivoir
Marjorie S. Klein and David Doar
Kenneth A. Kopp
Claire Kurs
Gary LaFree and Vicki Viramontes-LaFree
Lerch, Early, & Brewer
Felice Li
Maura and Eric Lightfoot
Geralyn Lobel
Dorothea Lyas
Claire Maklan
Sandra Maddock
Jessica and Brian Markham
Leslie Z. Martin
Toni Marx
Virginia A. McArthur
Martin and Judith McLean
Anna McGowan
Harriet McGuire
Janice and David Mehler
Jack Melamed and Robert Baker
Simone and Christopher Meyer
Lenore Meyers
Susan Milligan and Philip McGuire
Edward and Nancy Mills
Tish Mills
Mike and Mary Morse
John Murphy
Julie Nemecek and Andrew Snyder
Samantha Nolan
Nicholas Olcott and Tim Westmoreland
Fred and Barbara Ordway
Jim and Joan Palmer
Katherine Phillips
Joram and Lona Piatigorsky
Deborah Potter
Mark Radke and Helen Chaikovsky
Bo and Andrea Razak
Peter S. Reichertz
Dennis W. Renner and Michael T. Krone
Sharon Rennert
MATCHING GIFT COMPANIES
Synchrony Financial
Jane Rice
Judy Riggs
John Rinzel
Steve Roberts
Constance R. Robey
Lori and Bob Rodman
Martha P. Rogers and Daniel E. Toomey
Catherine Roha
Barbara and Bob Rosen
Barbara B. Rosenbaum M.D. and Robert Feldhuhn
Janet Rosenbaum
Helene and Mitchell Ross
Jan Rothman
Ronda Schrenk
Kristen Sgambat
Penelope and Edward Shapiro
Marnie S. Shaul
James and Ann Sherman
Stephanie and Johnny Shuchart
Robert Shue
Emily Silverberg
Shaheena and Marco Simons
Stuart Sirkin and Arlene Farber Sirkin
Donald M. Spero and Nancy Chasen
Cecile Srodes
Richard Steiner
Rochelle S. Steinberg
Tom Strikwerda and Donna Stienstra
Crystal Swann
David A. Talmage
Sally Tedrow
Judith Travis
Maria Tsao
Lore Unt
Marianne Van Pelt
Debby Vivari
Arthur Warren
Carla Washington
Wegmans Food Markets
Christine Westbrook
Jerry* and Jean Whiddon
Lesley Whitley
Eric and Lalah Williams
Kathryn Winsberg and King Stablein
Mier and Cathy Wolf
Nate Wong
Beryl Zbar
Lynn Zinn
*In memoriam
+Denotes Business Council Member
IN KIND DONORS
Doyle Printing & Offset Co.
Mayorga Coffee
Pebblebrook Hotel Trust
Provisions Catering
Barbara Rapaport
Susan Gage Caterers
Round House Theatre is supported in part by funding from the Montgomery County government, the Arts and Humanities Council of Montgomery County, and the Maryland State Arts Council.
Artist Housing at Round House Theatre is provided by major contributions from the Melissa Blake Rowny Fund for Artistic Development and the State of Maryland.
We make every effort to provide accurate acknowledgment for our contributors. If your name is misspelled or omitted, please accept our apologies and contact the Development Department at 240.641.5352 or Development@ RoundHouseTheatre.org.
DIRECTORY
BOARD OF TRUSTEES
Jay Hammer, Chair
Amy Selco, Vice Chair
Joy Rhoden, Secretary
Michele Jawando, Assistant Secretary
Leslie Grizzard, Treasurer
Michael Heintz, Assistant Treasurer
Ro Boddie
Stephanie deSibour
Mitchell S. Duple r
Clare Evans
Susan Gibson
Morgan Gould
David Hantman
Rafael Hernandez
Abigail Hopper
Neil Kerwin
John King
Nancy Kopp
Michael Mael
Michael McMurphy
EMERITUS TRUSTEES COUNCIL
Linda Ravdin, Chair
Laura Forman, Vice Chair
Michael Beriss
Cathy S. Bernard
Doug Bibby
Elaine Binder
Donald Boardman
Mitch S. Dupler
Bunny Dwin
STAFF
EXECUTIVE LEADERSHIP
Artistic Director: Ryan Rilette
Executive Director: Ed Zakreski
ADMINISTRATION
General Manager: Tim Conley
Facilities Manager: Liz Sena
Associate General Manager: Carter Rice
Artistic & Executive
Associate : Amy Benson*
Maboud Ebrahimzadeh
Ann Gilbert
Susan D. Gilbert
Bonnie Hammerschlag
Reba Immergut
Peter Jablow
Bruce Lane
Susan F. McGee
Sasha Olinick
ARTISTIC
Associate Artistic Director—Casting & Artist Management: Sarah Cooney
Artistic & Dramaturgical Advisor: Naysan Mojgani
DEVELOPMENT
Director of Development: Michael Barret Jones
Associate Director of Development: Katelyn Maurer
Mary Kathryn Nagle
Ndidi Obichere
Meka Parker
Ryan Rilette*
Ruchi Sharma
Michael Steele
Nina Weisbroth Ed Zakreski*
Judy Zickle r
* Ex-officio | Life Trustee
David Smith
Rochelle S. Steinberg
Patti Sowalsky
Riley K. Temple
Kathy Wenger
Mier Wolf
Judy Zickler
Associate Director Of Development For Operations And Analysis: Patrick Joy
Development Associate: Natalie Cumming *
EDUCATION
Director of Education: Danisha Crosby *
Education Program Manager: Emily Lettau
Lead Teaching Artists:
Ian Anthony Coleman
Kelsey Hall
Faculty:
Sean Baldwin
Madlynn Bard
Mercedes Blankenship
Atiah Can Ozturk
Lila Cooper
Kevin Corbett
Fabiolla Da Silva
Anna DiGiovanni
Amanda Dullin-Jones
Abby Dunbar
Carrie Edick
Raine Ensign
Jordan Essex
Jada Francis
Dominique Fuller
Rose Hahn
Caitlyn Hooper
Darren Jenkins-Johnston
Claire Jones
Emma Lou Joy
JJ Kaczynski
Casey Kaleba
Darcy Kaufman
Victoria Keith
Kit Krull
Peter Leibold
Laura Loy
Olivia Luzquinos
Mary Rose Madan
Kiyana McManus
Mark Mumm
Benjamin Pallansch
Erin Pipes
Kelsey Powell
Daniel Schorr
Vish Shukla
Dani Stoller
Elle Sullivan
Doug Ullman
Che Wernsman
Charlie Williams
MARKETING & COMMUNICATIONS
Director of Marketing & Communications:
Hannah Gr ove-DeJarnett
Associate Director of Sales & Audience Services:
Brian Andrade
Associate Director of Marketing & Communications:
Megan Behm
Audience Services Manager: Mason Catharini *
Patron Experience And Rentals Manager:
Zoe Harr
Public Relations and Partnerships Manager:
Amy Killion
Graphic Designer: Kent Kondo
Food and Beverage Manager: Jenna Buzard
Bar/Café Staff:
Mercedes Blankenship
John Crawford
Kayla Earl
Ayana Graham
Jen McClendon
Ellen Mitchell
Jess Rampulla
MaryGrace Ruebens
Box Office Associates &
House Managers:
Helen Aberger
Nessa Amherst
Mercedes Blankenship
Rachel Borczuch
Erin Cleary
Alexus Crockett
Autumn Delahoussaye
Laura DeMarco
Marquita Dill
Carrie Edick
Allison Farrall
Jae Gee
Kennedi Hendrix
Bailey Howard
Bella Lerch
Nicolas Lopez
Olivia Luzquinos
Artemis Montague
Tamisha Ottley
Dylan Parham
Denisse Peñaflor
Sam Powers
Lauren Queen
Jessica Rampulla
DeDe Smith
Lacey Talero
Charlotte Van Schaack
Sam Weiser
PRODUCTION
Production Manager:
Sydney Garick
Assistant Production Manager/Company Manager: Chassi Slappy
Technical Director:
Matt Saxton
Costume Shop Manager:
Alison Samantha Johnson
Assistant Technical Director: Jose Abraham
Scenic Charge:
Jenny Cockerham
Sound & Projections
Superviso r :
Delaney Bray *
Lighting Supervisor:
Steven Burrall
Lead Carpenter: Dylan Rutemiller
Resident Stage Manager: Che Wernsman
OUR VALUES
THEATRE FOR EVERYONE
ARTISTIC AMBITION COMMUNITY EMPATHY INTEGRITY
ROUND HOUSE THEATRE is one of the leading professional theatres in the Washington, DC, area, producing a season of new plays, modern classics, and musicals for more than 50,000 patrons each year at our 350-seat theatre in Bethesda. Round House has been nominated for more than 235 Helen Hayes Awards and has won more than 54. Round House’s lifelong learning and education programs serve more than 5,000 students each year at its Education Center in Silver Spring and in schools throughout Montgomery County. Cornerstone programs include Free Play, which provides free tickets to teens and college students; the year-round Teen Performance Company, which culminates in the student-produced Sarah Metzger Memorial Play; Summer Camp for students in grades K-12; and a full slate of classes for adults and youth.
