ROUND HOUSE
BACKSTAGE
R O U N D H O U S E T H E AT R E DONOR NEWSLETTER SPRING 2025 ISSUE 27
BAD BOOKS
AL N AT I O N G A L H RSC HAMME T I VA L AY F E S BONNIE L P W E L N C A P I TA
BROAD
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GREETINGS FROM OUR LEADERSHIP
DEAR FRIEND, There has been so much to celebrate at Round House over the past few months, and we have been honored to share these special moments with all of you. The centerpiece of spring at Round House is the Bonnie Hammerschlag National Capital New Play Festival. Our incredibly timely mainstage world premiere of Bad Books by Sharyn Rothstein became the best-selling mainstage premiere of the festival to date! On Opening Night, we kicked off another exciting festival and were particularly pleased to honor the festival’s new sponsor, former Trustee and longtime Round House supporter Bonnie Hammerschlag. We are deeply grateful to Bonnie and her husband Alan for their continued support, and we look forward to many more successful festivals to come. On May 10, Round House supporters came together to enjoy the annual Broadway in Bethesda Gala, featuring a powerhouse performance by Tony Award-winner Renée Elise Goldsberry. The evening also featured many familiar faces, with a magical start from Dendy (who will return to the Round House stage in next year’s Bonnie Hammerschlag National Capital New Play Festival in Nothing Up My Sleeve), moving appearances from our Teen Performance Company, and a lively auction emceed by actor Kimberly Gilbert. We are already looking forward to a monumental 2025-2026 Season. From the moving two-part Tony-winning epic The Inheritance to the regional premiere of Sally & Tom, the newest play from Suzan-Lori Parks that offers a comedic and unflinching take on the stories we tell about American history, we’re thrilled to welcome audiences back next season. Take a deeper dive into how the 2025-2026 Season came to be on pages 4-5. In this issue, you’ll also meet our newest Business Council member, Mayorga Coffee, whose delicious coffee is now available at the Fourth Wall Bar and Café. On pages 8-9 you can learn about the ways that Round House collaborates with our peer institutions across the country. Whether you sponsor a production, add a donation to your ticket purchase, plan a bequest, or secure matching contributions from your employer, your support makes it possible for Round House to continue to support our employees, to plan for the future, and to dream ever bigger. Thank you for celebrating with us, and we’ll see you at the theatre!
RYA N R I L E T T E
ED ZAKRESKI
A R T I ST I C D I R EC TO R
M A N AG I N G D I R EC TO R
Cover: Photo of Kate Eastwood Norris (The Librarian) and Holly Twyford (The Mother) in Bad Books by Margot Schulman. Photo of the Bonnie Hammerschlag National Capital New Play Festival reading of Indian Princess by Susan Gibson. Photo of the Broadway in Bethesda Gala by Cameron Whitman Photography.
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LETTER FROM IN-KIND DONOR
Mayorga Coffee: Coffee With Purpose and Impact
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T M AYO R G A C O F F E E , we’re fueled by the idea that great coffee can create real change. For over 25 years, our founder, Martin Mayorga, has been on a mission to transform the coffee industry by supporting small farmers, protecting their land, and building sustainable supply chains.
But we don’t stop at organic. Our team works closely with partner farms to implement regenerative farming practices, such as shadegrown coffee that preserves biodiversity and prevents soil erosion. We also regularly test our coffee and soil health, ensuring we’re delivering the highest-quality, most sustainable coffee possible.
Martin’s journey began when he witnessed firsthand the inequality and exploitation faced by small-scale coffee producers. Determined to make a difference, he built Mayorga Coffee around a simple but powerful idea: consumers can enjoy exceptional coffee while uplifting farming communities and protecting the planet.
Unlike many conventional coffee brands, we’ve rejected a profit-first model in favor of one that prioritizes fairness, transparency, and community. When you drink Mayorga Coffee, you’re not just enjoying a delicious cup—you’re joining a movement. Every bag of Mayorga represents a legacy of accountability, pride in heritage, and a commitment to doing business the right way.
At Mayorga, we are committed to direct trade and organic farming. We partner directly with small producers across Latin America, ensuring they receive fair prices for their harvests. This approach not only supports farmers financially but also helps preserve their land for future generations. The result is high-quality, Specialty Grade, 100% organic coffee that’s grown without synthetic pesticides, additives, or dyes—delivering pure, natural flavor in every cup.
We’re thrilled to partner with Round House Theatre this year, sharing our coffee with its vibrant community of supporters. Together, we can celebrate the arts while enjoying coffee that’s making a difference in the lives of farmers, their families, and the planet. Here’s to great coffee and meaningful connections. ¡Salud!
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T H E S E F O U R P L AY S ARE A O F T H E P OW E R O F STORYTELLING AND T H E AT R I C A L I T Y.
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N O U R 2 0 2 5 - 2 0 2 6 S E A S O N , Round House will introduce DMV audiences to four new plays, with the regional premieres of the most honored play in a generation and the newest hit by a living legend, the American premiere of a celebrated British holiday comedy, and the world premiere of a magic show from the creators of The Tempest. By turns epic, thoughtprovoking, and awe-inspiring, these four plays are a celebration of the power of storytelling and theatricality.
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We begin our season in August with the DMV premiere of a two-part epic, The Inheritance. Winner of The Tony, Olivier, Drama Desk, Evening Standard, London Critics Circle, and Drama League Awards for “Best Play,” this modern masterpiece by Matthew López focuses on the legacy of the AIDS crisis through three generations of gay men who grapple with the tragedy of the past, what it means for their future, and what we owe to those who come before us. Inspired by E.M. Forster’s Howards End and
directed by DC’s own Tom Story, The Inheritance is an epic examination of survival, healing, class divide, and what it means to call a place home. Over the holidays, we will introduce audiences to Sam Holcroft’s hysterical and thought-provoking Rules for Living. A holiday comedy that was a hit at the National Theatre in London, this US premiere resets the play to America. As an extended family gathers for Christmas dinner, each of their individual coping strategies—the rules by which they all survive—are projected for the audience to see, leading to hysterical confrontations that build to pure mayhem by the play’s conclusion. In February, we kick off our fifth annual Bonnie Hammerschlag National Capital New Play Festival with the world premiere of Nothing Up My Sleeve. Previously presented as a workshop in our 2024 Festival as The Sorcerer’s Apprentice, this oneman, autobiographical coming-of-age story and magic show is the newest piece by the team who brought you our magical production of The Tempest, Aaron Posner and Dendy. Featuring magic by Dendy (Ariel in The Tempest), Nothing Up My Sleeve features a score of mind-blowing tricks, and is sure to be one of the hottest tickets in the DMV next season. Finally, we end our season in May and June with the DMV premiere of the newest work from legend Suzan Lori-Parks (the playwright behind last season’s Helen Hayes-nominated Topdog/ Underdog), Sally & Tom. A backstage dramedy about an off-off-off-Broadway theater company putting on a play about Sally Hemings and Thomas Jefferson, this ferocious and funny off-Broadway hit directed by long-time Round House favorite Timothy Douglas celebrates the art of theater while taking a hard look at American history. The epic, thought-provoking, awe-inspiring comedies, dramedies, and magic shows in our 2025-2026 Season explore how our stories define us and how our history influences our present. With shows that are sure to make you laugh, cry, and gasp in wonder, this is a season not to be missed!
POETIC AMERICAN EPIC
INHERITANCE B Y M AT T H E W L Ó P E Z I N S P I R E D B Y T H E N OV E L H OWA R D S E N D BY E.M. FORSTER DIRECTED BY TOM STORY
AUGUST 27 – OCTOBER 19, 2025 H I L A R I O U S H O L I DAY FA R C E
BY SAM HOLCROFT D I R E C T E D B Y R YA N R I L E T T E
D E C E M B E R 3 , 2 0 2 5 – JA N UA RY 4 , 2 0 2 6
M AG I C A L WO R L D P R E M I E R E
S I MP L E D EC EPT I O N S F O R CU R I O U S H U MA N S B Y A A R O N P O S N E R & D E N DY M AG I C B Y D E N DY DIRECTED BY AARON POSNER
FEBRUARY 11 – MARCH 15, 2026 F E R O C I O U S A N D F U N N Y D R A M E DY
SALLY & TOM B Y S U Z A N - LO R I PA R K S
DIRECTED BY TIMOTHY DOUGLAS
M AY 2 0 – J U N E 2 1 , 2 0 2 6
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WHERE ARE THEY NOW? C H E C K I N G I N O N R O U N D H O U S E E D U C AT I O N A L U M S T E E N P E R F O R M A N C E C O M P A N Y ( T P C ) alum and former Round House Theatre Teen Educator D E R E K L A M B is excited to be starting his PhD this summer. Derek joined Round House as an actor in the Teen Performance Company’s productions of Chatroom (2014-2015) and Good Kids (2015-2016). Through the masterclasses of TPC and as a production associate on Beach Week (2016-2017), Derek became interested in technical theatre, which he pursued during his undergrad at Pitt Stages and beyond with Baltimore Theater Project. While Derek’s love of theatre continues, his primary focus since leaving Round House has been biomedical research. He received his undergraduate degree in chemistry and molecular
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biology and is completing a master’s degree in biostatistics. Derek is proud to have published both academic research on diseases including COVID-19 and sickle cell anemia, alongside public health journalism on vaccine hesitancy and sexual health. He will be
beginning his PhD in biostatistics at the University of Pennsylvania this June.
Round House has shaped who I am in more ways than I can list. Being a member of the Teen Performance Company was such a supportive experience. Knowing that we were trusted to create, to take risks, and to overcome whatever obstacles we faced together, that was empowering in a way that I’d never felt before. Round House’s core focus on the ensemble—on a group of people working towards a shared goal—that’s something I’ve found to be just as critical to working in science as in theatre.”
WHERE ARE OUR SENIORS HEADED? We checked in with some of our graduating seniors from this year’s Teen Performance Company to see where they’re headed next year. F I N D AV I S was the playwright of this year’s Sarah Metzger
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Memorial Play, Gallows Humor. They were also an actor in the 2022-2023 production of Girlhood and in the 2023 National
Capital New Play Festival developmental reading of Limp Wrist on the Lever. In the fall, they will be studying at NYU Tisch and majoring in Theatre. G I O R G I A T O T I played Casey in this year’s Sarah
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Metzger Memorial Play, marking her third year as a
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member of TPC. Next year she will be attending the University of Vermont in their Honors College, majoring in Political Science with a potential minor in French. L O I S P R O E L L E R was the Sound Designer in this year’s
Sarah Metzger Memorial Play. This was Lois’ first time joining TPC. In the fall, they’re heading to American University where they will be double majoring in Audio Technology and Theatre Design. This spring, they will also be the Sound Designer for The Mystery of Edwin
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Drood at Wildwood Theatre.
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K NOW A ST UDEN T W H O MIG H T B E INTERESTE D I N TP C?
A P P L I C AT I O N S for director,
AU D I T I O N S for actors will
designer, dramaturg, stage managers, and run crew for the 20252026 Company are now open at RoundHouseTheatre.org/TPC
be held in September; visit RoundHouseTheatre.org/TPC to sign up to our email list to be notified about auditions.
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CO-PRODUCTIONS AND ROLLING WORLD PREMIERES: PRODUCING IN COLLABORATION BY N AYS A N M OJ G A N I , Artistic and Dramaturgical Advisor
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U D I E N C E S O CC A S I O N A L LY A S K
National New Play Network Rolling World
us “what happens next with this
Premiere (RWP). In a RWP, several theaters
production,” hoping to be able to tell
around the country commit to producing
their friends in other cities to see it. Usually,
separate productions of a new play, all within a
Round House’s productions start and end with
span of 18 months. While the productions are
us. However, there have been some exceptions—
separate, the theaters work with the National
most notably, our American premiere of Moira
New Play Network (an alliance of professional
Buffini’s Handbagged transferred to New York’s
theaters dedicated to developing and producing
59E59 in 2019; and the new plays we premiere
new plays nationwide) to coordinate publicity,
go on to be produced by other theaters around
share insights, and support the playwright
the country and the world—but usually, we
in continuing to fine-tune their script while
respond to that question with something about
seeing how it plays across multiple markets
the ephemeral nature of theatre and encourage
and audiences. For Bad Books, our colleagues
the asker to come see the play again with their
at Florida Studio Theatre, Curious Theatre
friends.
Company, and Williamston Theatre are sharing
Our current season, however, includes both
this fantastic new play with their audiences this
a National New Play Network Rolling World Premiere and a co-production, so we thought it was a good time to talk a little about the ways that Round House collaborates with our peer
are the first of many productions for the play (an extra benefit of a RWP is the boost in wordof-mouth that comes with several simultaneous
institutions across the country.
productions).
Sharyn Rothstein’s Bad Books, like Charly Evon
Round House audiences are most familiar
Simpson’s it’s not a trip it’s a journey in 2022 and our 2017 production of Lauren Gunderson’s Miss Bennet: Christmas at Pemberley, is a
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season and next, and we are confident that these
with co-productions through our history of collaborations with Olney Theatre Center (Ink, Fela!, Angels in America, and In the Heights),
in which we partnered with our neighbors to
House co-produces with theaters outside the
produce a single production of those shows at
DMV, we’re able to send some of our top-notch
one or the other of our theaters. This season,
actors, designers, stage managers, and other
King James by Rajiv Joseph demonstrates
artists to those other theaters, spreading the
another common approach to co-producing,
good word about one of America’s best theatre
as did last season’s smash hit Next to Normal,
cities!
which was co-produced with Barrington Stage
Post-COVID, audiences have gotten used
Company. King James is co-produced with TheaterWorks Hartford, as well as Barrington Stage Company again. What this means is that the three theaters share the common expenses of getting a play off the ground—building a set, hiring artists, paying actors for rehearsal— and then take turns presenting the finished production. King James was tremendously well received in Hartford earlier this winter, and then the set and costumes were put in a truck and shipped down to Bethesda. We did some brushup rehearsals, adjusted some of the technical components to fit our space, and then hit the ground running with a full production. By sharing expenses, theaters are able to lower the cost of producing a play, while accumulating good press along the way, and maintaining an artistic conversation between markets: when Round
to seeing more co-producing, Rolling World Premieres, touring shows, “Presented by,” and commercial productions. It’s no great secret that the economics of theatre have become more challenging in recent years: these more collaborative models are just a few of the ways theaters, including Round House, continue bringing top-notch performances to our stages while continuing to speak to the here and now of our community. The ensemble of Miss Bennet: Christmas at Pemberley. Photo by Grace Toulotte; Dawn Ursula in Angels in America. Photo by Danisha Crosby; The ensemble of In The Heights. Photo by Stan Barouh; Cristina Pitter (Frankie), Dezi Bing (Willie), Afua Busia (Rain), and Erin Margaret Pettigrew (June) in it’s not a trip it’s a journey. Photo by Margot Schulman Photography; Duain Richmond (Fela Kuti) with the ensemble in Olney Theatre Center and Round House Theatre’s co-production of Fela! Photo by Teresa Castracane; Cody Nickell (Larry Lamb) and Andrew Rein (Rupert Murdoch) in Round House Theatre and Olney Theatre Center’s co-production of Ink. Photo by Margot Schulman Photography; Kate Eastwood Norris (The Librarian) and Holly Twyford (The Mother) in Bad Books. Photo by Margot Schulman; Gregory Perri (Matt) and Blake Morris (Shawn) in King James at Round House Theatre. Photo by Margot Schulman Photography.
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ROUND
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T H E AT
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arlier this month, we hosted our annual Broadway in Bethesda Gala, featuring a performance by Broadway star Renée Elise Goldsberry. The evening began with a Sponsor Dinner, where attendees had the opportunity to meet Round House VIPs and savor specialty cocktails and a delectable dinner. Meanwhile, ticketholders attended a pre-show cocktail reception in the theatre lobby, before being joined by dinner attendees for the main event in the theatre. Attendees participated in an exciting auction, and were treated to performances by Dendy, heard from Teen Performance Company members Fin Davis and Lark Jeffers, and participated in a paddle raise. After the main event, guests were treated to a dessert buffet in our lobby, and our Executive Producer sponsors, Producer sponsors, and Teen Performance Company had the opportunity to meet with Renée on our stage. The event was our most successful Gala in our history, helping us raise over $525,000 in support of Round House’s artistic and educational programs.
Renée Elise Goldsberry
Photos by Cameron Whitman Photography and DJ Corey Photography
Gala Co-Chairs Jay and Robin Hammer with their guests
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Heidi & Mitch Dupler
Michele Jawando, Councilmember Will Jawando, and Renée Elise Goldsberry
Don McMinn, Harv Lester, Jean Carlson, and Michael Beriss
Gala Dinner
Linda Ravdin, Don Shapero, and Renée Elise Goldsberry
Kimberly Gilbert, Fin Davis, and Lark Jeffers
Demi Friedson and Councilmember Andrew Friedson, Nan Kaufman, and Delegate Aaron Kaufman
Managing Director Ed Zakreski, Katrina Clark, and Maboud Ebrahimzadeh
Mary Kathryn Nagle and Jonodev Choudhuri
Michael Staines, John Horman, Jonathan Keegan, and Alex Staines
Michael J. Wilson, Senator Cheryl Kagan, Judy and Michael Mael
Ilana Heintz and Jeffrey Heintz
Rachel King, Gala Co-Chairs Jay and Robin Hammer, and John King
Wendy Feldman Block and Dendy
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GALLOWS HUMOR INSIDE LOOK AND OPENING NIGHT
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U R 2 0 2 4 - 2 0 2 5 T E E N P E R F O R M A N C E C O M PA N Y took the stage in March, presenting the 23rd Annual Sarah Metzger Memorial Play, Gallows Humor. Gallows Humor was our very first play commissioned and written by a teenager, and as a result, offered a unfiltered and first-hand view on what it is like to be in a school lockdown.
Giorgia Toti (Casey) and company
At the Inside Look, members of the design team shared their experiences working with their mentors and how they created the world of the play. We also heard from playwright Fin Davis about how they borrowed pieces from their real-life experiences with lockdowns and inserted them in the play. Finally, Director of Education Danisha Crosby emphasized how much the students learned and grew over the season. Opening Night was a rousing success, we were delighted to welcome the biggest Opening Night audience we’ve ever had for a Teen Performance Company opening. Lynn Metzger, Sarah Metzger’s mother, spoke about the importance of the program, and Fin Davis spoke about what the program has meant for every member of the company. Photos by Kent Kondo and Cameron Whitman photography
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Abigail Graef (Lighting Designer) explains her lighting design
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Ana Ewachiw and Alexander Weiss (Set and Props Designers) discuss the set of Gallows Humor
The 2024-2025 Teen Performance Company
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Director of Education Danisha Crosby discusses how the team and cast practiced self-care while working on this challenging show.
Dani Stoller (Playwriting Mentor) and Fin Davis (Playwright) Artistic Director Ryan Rilette and Lynn Metzger Alex Isicson and Lily Metzger
Kenai Sanders (Alex) and family Montgomery County Board of Education members Laura Stewart and Rita Montoya
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Lynn Metzger discusses the legacy of the Teen Performance Company and its place in Round House history. Artistic Director Ryan Rilette praises the tremendous work of the TPC company
Maya Keeley, Amy Selco, and Bob Hebda
Michael Beriss, Jean Carlson, and Maureen & Michael McMurphy
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BAD BOOKS INSIDE LOOK AND OPENING NIGHT
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E W E R E T H R I L L E D T O P R E S E N T the world premiere of Bad Books by Sharyn Rothstein as part of our fourth annual Bonnie Hammerschlag National Capital New Play Festival. Bad Books marked the third world premiere that came out of our developmental reading series—those who attended the readings in 2023 may remember hearing an earlier draft of the play!
Costume Designer Ivania Stack and Managing Director Ed Zakreski
During the Inside Look, donors were able to see a recorded, exclusive interview between the production’s director, Artistic Director Ryan Rilette, and playwright Sharyn Rothstein. We also heard directly from Ryan about the difficulties in creating a show that is not only in the round, but also constantly rotating—something that has never been done in the DC area! At Opening Night, we were delighted to welcome donors, friends, family, artists, and press to what would soon become the best-selling mainstage premiere of the festival to date. Photos by Kent Kondo and Cameron Whitman photography
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Artistic Director Ryan Rilette and Holly Twyford (The Mother)
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Costume Designer Ivania Stack explains how she creates distinct characters with costume designs
The team sings happy birthday to Bonnie Hammerschlag— the sponsor of the Bonnie Hammerschlag National Capital New Play Festival
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Artistic Director Ryan Rilette explains the peculiarities of the set
Alan & Bonnie Hammerschlag and Managing Director Ed Zakreski
Cathy Bernard, Kimberly Gilbert, and Robin Hammer
Artistic Director Ryan Rilette, Holly Twyford (The Mother), Rick Kasten, and Kate Eastwood Norris (The Librarian)
Naysan Mojgani (Artistic & Dramaturgical Advisor) and Maboud Ebrahimzadeh
Dr. Carla Sandy and Joy Lewis
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Neil & Ann Kerwin and Steve & Linda Skalet
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Sharyn Rothstein (Playwright) and Artistic Director Ryan Rilette Gabriel Alejando, Todd Scofield, Joe Graf, and Nicole Halmos
Heidi and Mitch Dupler
Lynn Metzger explains the impact of the Teen Performance The Cast and Company Creative Team of Bad Books
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SIMPLIFY YOUR GIVING AND MAXIMIZE YOUR BENEFITS BY GIVING MONTHLY M A K E YO U R F I R S T M O N T H LY G I F T A N D I M M E D I AT E LY R E C E I V E B E N E F I T S E Q U I VA L E N T T O YO U R ANNUALIZED GIVING: J O I N T H E A DVO C AT E L E V E L at $50/month and unlock all Inside Looks for the season J O I N T H E B E N E FAC T O R L E V E L at $100/month and unlock an exclusive Backstage Tour and an invitation to an Opening Night of your choice J O I N T H E C O P P E R C I R C L E at $250/month and unlock a full season of Opening Nights
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M A X I M I Z E YO U R BENEFITS WITH A RECURRING M O N T H LY G I F T !
DEVELOPMENT DIRECTORY
DONOR HOTLINE: 240.644.1405
MICHAEL BARRET JONES
PATRICK JOY
Director of Development
Development Operations Manager
MJones@RoundHouseTheatre.org
PJoy@RoundHouseTheatre.org
240.670.8795
240.644.1403
KATIE MAURER
NATALIE CUMMING
Associate Director of Development
Development Associate
KMaurer@RoundHouseTheatre.org
NCumming@RoundHouseTheatre.org
240.644.1402
240.641.5352