t Nex

PHOrch 23–Apr


At Th

GRA il 24 TO

rJ eate


51 PH

A play that glows with intelligence and humanity” - Backstage

By Anna Ziegler Directed by Daniella Topol
Featuring Elizabeth Rich With Clinton Brandhagen, James Flanagan, Tim Getman, Michael Glenn and Alexander Strain

(800) 494-TIXS • theaterj.org • 16th & Q Streets NW
A funny, moving portrait of the unrequited life of Rosalind Franklin, one of the great female scientists of the 20th Century, and her fervid drive to map the contours of the DNA molecule. A chorus of physicists relives the chase, revealing the unsung achievments of this trail-blazing woman whose stunning discoveries included the beating of her own romantic heart.
Developed and produced by The Ensemble Studio Theatre/ Alfred P. Sloan Foundation Science & Technology Project. This production funded in part through the EST/ Sloan Project Mainstage Initiative.



March 8–27, 2011
Arena Stage at the Mead Center for American Theater Welcomes its first Guest Company-In-Residence

From the Artistic Director
It’s an honor to be asked to share our work, our heritage, our mission, and our spirit with this extraordinary theater company. Arena Stage has always been a model theater citizen, helping to raise the game, and extend a hand, to smaller companies all over town. Now, in this glistening new jewel box, Arena is reaching out as never before to companies across the country and throughout the city, to help broaden and deepen the range of work that’s to be shared with its audience. And in reaching out to us, Arena has invited in the Theater J audience as well, a nucleus of some 1,400 subscribers and 36,000 ticket buyers this past calendar year, to add a Jewish Voice and Presence to Arena’s most significant inaugural relaunch. We are proud to be that Jewish voice, bringing a universal message of what it means to be an immigrant in America; what it means to be of faith in America—and to have that faith challenged by the forces of modernism, intellectual freedom, and even—lurking around the corner—the dreaded (though frequently inevitable and often seductive) assimilation. Aaron Posner’s wonderful adaptation of Chaim Potok’s masterpiece plays to multiple generations at one and the same time, speaking to teenagers who’ve judged a book by its cover, so to speak, only to be startled to find that underneath the façade—the stereotype—lurks something surprising, inspiring, and utterly identifiable. For a nonJew to find himself or herself in Danny Saunders is not only miraculous; it’s a testament to the persuasiveness of Chaim Potok’s creation. And yet adults as well may very well approach these characters—the Hasidic, Orthodox Jews—and assume a difference; a lack of familiarity that breeds contempt; and so many of us, in our humanism, assume that same secular snobbery; a superiority banked on our own liberation from tradition and its yoke of adherence to ritual, to dress code, to diet. And so this play—this elegant force of literature—comes at the apikoris in all of us (which is to say the skeptic, the slacker, the “bad Jew”) like one of the more provocative subversions our thought-provoking theater has ever offered. Because this work quietly, unassumingly, soulfully binds us each to the other, breaking down preconceptions— linking secular to religious; orthodox to liberal; right-wing to left—each of us finding, like Danny and Reuven, something to admire and to envy in the other, even as we are made to appreciate who we are by the generosity of spirit which pervades this novel, which our adapter has shaped so lovingly for the stage. Our theater seeks to build bridges in the dramas we present, but frequently there is the assumption that those bridges only span the distance between our community and our neighbors. The Chosen reminds us today, as it did 10 years ago, that there are equally critical bridges to traverse within our own circles, our own schools, our own families, within our own hearts. We are all as divided as Revuen and Danny, as Reb Saunders and David Malter, stamped by our heritage, yet set free in this great land. We are transported by the love that’s transmitted in this work, and hope to hold onto this grace for a long while—after this brief three-week residency on the Fichandler Stage comes to an end, we’ll remember how we were touched by this magical place, this magical book, this magic called theater. Come back and see us over on 16th and Q! We’ve got great art and ideas mixing it up on a nightly and daily basis in one of the most vibrant JCC’s in the world. Like Arena, it’s a special place. - Ari Roth

From the Director
So, I’ve directed well over 100 plays during my 20+ years as a professional director, and adapted more than a dozen works of literature for the stage. I have loved some, liked more, and enjoyed most. But I have never felt more proud—or that I have been doing something more worthwhile—than I have while working on bringing Chaim Potok’s masterful novel of friendship, family and faith, The Chosen, to the stage. I had the honor of working closely with Chaim on this adaptation. The conversations we had were meaningful to me not only in the work, but in my life as well. He was a wise and passionate artist and teacher, and he believed deeply in the power of what he would call, with full and careful emphasis, “serious literature.” He did not write to simply entertain, but rather to illuminate, to explore, to celebrate and to connect. I hope you will find this simple, human story of two fathers and two sons as compelling as I do. While it takes place in a very Jewish world, I know a huge part of Chaim’s success as a novelist was his ability to cross boundaries of all kinds. You do not have to be Jewish to understand or connect deeply to his work. He took special pride, in fact, in letters he would receive from readers all over the world—many of whom had never met a Jew—who felt that he was telling their story, too. I am grateful to be immersed in his world once again here in Washington, DC with this exceptional group of artists and these two exceptional theater companies. Theater J was the first to produce THE CHOSEN after its inaugural production in 1999, and Ari Roth helped spread Chaim Potok the word about the script that has lead to over 50 professional productions nationwide over the last decade. I am equally pleased to be part of Arena’s inaugural season in this sparkling new facility. Both companies have been wonderfully supportive of this project and a joy to work with. Finally, I would like to dedicate this production to my wondeful parents, and to my once and future walking partner and fellow secular spiritual explorer, Clarke. Thanks for coming. I hope you enjoy THE CHOSEN. And I hope you will be compelled to read more of Chaim’s “serious literature.” It is wonderfully worthwhile. Warmly, Aaron Posner

; s



a e






Theater J’s Angels
This select group has provided generous support for


Esthy & Jim Adler Andrew Ammerman Michele & Allan Berman Cheryl Gorelick

Judy & Peter Kovler Faye & Jack Moskowitz Diane & Arnold Polinger Charlotte & Hank Schlosberg

The Fisher Family Visiting Artists Program
Robert M. Fisher Memorial Foundation

The Arlene and Robert Kogod New Play Development Program
Arlene & Robert Kogod

Theater J’s Passports Educational Program
The Jacob & Charlotte Lehrman Foundation

Theater J Council
Marion Ein Lewin Co-Chair Paul Mason Co-Chair Lois Fingerhut Vice-Chair Carolyn Kaplan Vice-Chair Mara Bralove Treasurer Ellen Malasky Secretary Natalie Abrams Patty Abramson Michele G. Berman Deborah Carliner Mimi Conway Myrna Fawcett Ann Gilbert Cheryl Gorelick Yoav Lurie Jack Moskowitz Elaine Reuben Evelyn Sandground Hank Schlosberg Mita Schaffer Andy Shallal Patti Sowalsky Stephen Stern Manny Strauss Barbara Tempchin Trish Vradenburg Joan Wessel Rosa Wiener Irene Wurtzel Bernard Young Margot Zimmerman

Washington DCJCC Leadership
President Mindy Strelitz Chief Executive Officer Arna Meyer Mickelson Chief Operating Officer Margaret Hahn Stern Chief Financial Officer Judith Ianuale Chief Development Officer Mark Spira Chief Programming Officer Joshua Ford


Fichandler Stage/Arena Stage at the Mead Center for American Theater

March 8–27, 2011
Arena Stage at the Mead Center for American Theater presents Theater J’s Production of


Adapted and Directed by Aaron Posner Based on the novel by Chaim Potok
Reb Saunders Rick Foucheux* David Malter Edward Gero* Older Reuven Aaron Davidman* Danny Joshua Morgan Young Reuven Derek Kahn Thompson

Artistic & Production Team
Scenic Designer James Kronzer** Lighting Designer Nancy Schertler** Costume Designer Kate Turner-Walker** Stage Manager Susan R. White* Sound Designer James Sugg Properties Designer Michelle Elwyn Production Dramaturg Stephen Spotswood Dialect Coach Shelley Herman Gillon Assistant Directors Alvin Ford Jr., Christina Halligan Stage Management Assistant Michael D. Ward Assistant to Set Designer Sean Urbantke Assistant to Lighting Designer Andrew Cissna Show Carpenter Sean Malarkey Light Board Operator Scott Folsom Sound Engineer Brian Burchett *Member of Actors’ Equity Association Props Marion Hampton Dubé Wardrobe Alice Hawfield ** Member of United Scenic Artists Local 829

Theater J and Arena Stage at the Mead Center for American Theater would like to extend Special Thanks to:
Stephanie Friedman Deb Thomas of The Studio Theatre Rabbi Ethan Seidel of Tifereth Israel Congregation Rabbi James Michaels of Hebrew Home for the Aged Rena Fruchter of the Melvin J. Berman Hebrew Academy

Patrons are requested to turn off pagers, cellular phones and signal watches, and to refrain from taking photographs, text messaging, or making a recording of any aspect of this performance.


Glossary of Terms
(adapted from The Oxford Dictionary of the Jewish Religion, aish.com, and the Steppenwolf Theatre Company Study Guide) Apikorsim: Literally: unbeliever or heretic. A derogatory term referring to secular or less observant Jews—usually used by Orthodox Jews. Eretz Yisroel: Literally: The Land of Israel. Area which Jews believe God promised them in the Torah. Gematriya: A method of interpreting a biblical word based on the numerical value of its letters in the Hebrew alphabet. This discipline of Jewish mysticism seeks to find hidden meanings of words through numerology. Goyim or Goy: [Yiddish] Non-Jews; Gentiles. Haganah: A militia founded in Palestine in the 1920s to protect Jewish settlements from attack by Arab Palestinians. At times the Haganah cooperated with the British Army (which controlled Palestine at the time); other times they acted against British policies. After 1948, Haganah became the Israel Defense Force (IDF)—the Israeli army. Hasidism: A Haredi (Ultra-Orthodox) Jewish religious movment that promotes strict observance of Jewish laws and rituals, and has a connection to Jewish mysticism. Hasidism traces its roots to 18th Century Eastern Europe, where Jews had lived for nearly 500 years. In the mid-1600s a rebellion by the Cossacks and Orthodox Christian classes targeted the Jews for their religious beliefs and their connections to the gentry. Many Jewish communities in the area were destroyed. Seeking spiritual relief, some Jews turned to Israel ben Eliezer, a spiritual master and guide sometimes referred to as Baal Shem Tov (Master of the Name). He taught that service to God did not consist solely of religious scholarship but also a sincere love of Gematriya Table God and a willingness to devote one’s life to Him. This belief put Hasidic Jews, as the followers of ben Eliezer would eventually be called, at odds with the Rabbinical establishment, who opposed a sect that seemed to represent a departure from reason and scholarship. Upon ben Eliezer’s death, his circle of followers split Eastern Europe, each moving to a different area. Over the next century, Hasidic dynastic courts spread across Europe, each one named after the shtetl of its origin. Leadership of each court was passed down the family line. The majority of Hasidic Jews in America arrived shortly after World War II. Most of the approximately 165,000 Hasidim in the New York City area live in three neighborhoods in Brooklyn: there are approximately 45,000 Satmar Hasidim in Williamsburg, over 50,000 Bobover Hasidim in Boro Park, and at least 15,000 Lubavitch in Crown Heights. Irgun: A Zionist rebel group that operated between 1931 and 1948, considered by some to be a terrorist organization; others regarded them as freedom fighters. Kosher or Kasher: Literally: fit, proper. Ceremonially clean according to Jewish law. Often refers to food, but can also be used to designate the ritual fitness of any object. Macher: [Yiddish] An important person; a big shot. Meshugunah: [Yiddish] Crazy. Mishnah: The documented version of Jewish oral law. Religious Jews believe the Jewish people received the written Torah and the Oral Torah at Mount Sinai. The oral Torah was the explanation of how the written laws should be followed, and was passed from one generation to the next but never written down. But during the second century, oppression by Rome—reflected in the destruction of the Temple and the defeat of the Bar Kokhba rebellion—was causing the oral Torah to be lost. As a consequence, Rabbi Yehudah HaNasi collected and edited these halakhot (Jewish laws) so that they would continue to be passed on. The end result was a definitive, yet cryptic (a teacher was still required to explain the material) version of the entire Oral Law called the Mishnah. (Literally: repetition, because it was studied by repeating). The Mishnah is divided into six basic segments and further subdivided into 63 tractates with a total of 525 chapters. 6

Glossary of Terms
Modern Orthodox: A philosophy that attempts to adapt Orthodox Judaism and interaction with the surrounding modern world. The Modern Orthodox movement developed in the mid18th Century as a middle ground between the Ultra-Orthodox movement and the liberal Reform movement, and was led by Rabbi Samson Raphael Hirsch. He took a literalist approach to the biblical narrative and divine revelation, insisting that the written and oral law are authoritative for all Jews. However he differed from traditionalist Orthodox leaders in his readiness to harmonize traditional Judaism with modern life in dress, speech and forms of worship. “Observer of the Commandments”: Refers to the 613 mitzvot (commandments) to which Jews are expected to adhere. According to traditional Judaism, God gave Noah and his family seven commandments to observe when he saved them from the flood. These commandments are: 1) to establish courts of justice; 2) not to commit blasphemy; 3) not to commit idolatry; 4) not to commit incest and adultery; 5) not to commit bloodshed; 6) not to commit robbery; and 7) not to eat flesh cut from A Page of Talmud a living animal. Observant Jews believe these seven commandments are binding to all people—Jews and Non-Jews alike—because all people are descended from Noah. The 613 mitzvot, on the other hand, are only binding to the descendants of those who accepted the commandments at Sinai (those of Jewish descent) and to those who have converted to Judaism. Payos: Earlocks or sidecurls. Many strictly observant Jewish men wear their earlocks long in accordance with a passage in the Torah. Rabbi: Literally: teacher. A rabbi is a scholar and an expert in Jewish law. Rabbis serve as the spiritual and religious leader of their congregation. Satmar Hasidism: A Hasidic sect whose followers initially adhered to the late Grand Rebbe Yoel Teitelbaum (1887–1979), Satmar Rebbe in the town of Szatmárnémeti (now Satu Mare, Romania). While the sect of Hasidism to which Danny Saunders and his father adhere is not named in THE CHOSEN, many of its characteristics seem to resemble the Satmar community. Shabbat: The day of rest and contemplation; the holy day of the Jewish week, commemorating God’s day of rest after creating the world in six days. Shabbat lasts from sundown on Friday night until sundown on Saturday. Observant Jews believe that no work should be done on Shabbat—including driving, preparing food, or lighting a fire or stove. Shul: A common term for synagogue. Literally: school. Synagogue: A Jewish house of worship. Talmud: Literally: teaching. The book of Jewish law and commentaries on the Torah by learned rabbis. The name applies to each of the two great compilations, the Talmud Yerushalmi (Jerusalem Talmud) and the Talmud Bavli (Babylonian Talmud). The Talmud includes the Mishnah (The Laws) followed by the Gemara (The Commentaries). The Talmud also includes ethical guidance, medical advice and historical information. Torah: A term applied to both the entire corpus of sacred literature and to the first five books of the Hebrew Bible (known to Christians as the Old Testament) Tzaddik: A righteous man often considered to possess spiritual power. Not all tzaddiks are rabbis, but the leading rabbi of some Hasidic communities is deemed a tzaddik. According to Hasidism, the tzaddik is the intermediary between God and man, the “soul of the world.” Tzitzit: The fringes of the tallit, a shawl that Orthodox and Hasidic men and boys wear beneath their clothes. The fringes remind the wearer of the commandments. Yeshiva: A school where students study sacred texts, particularly the Talmud. Yeshiva Bocher: [Yiddish] A student at a Talmudic academy. Literally: young man. The Zohar: A mystical commentary on the Torah. 7

Williamsburg, Brooklyn and the Jewish Community
Adapted from the Brooklyn Public Library and Steppenwolf Theatre Company’s Study Guide In 1792 real estate speculator Richard M. Woodhull purchased land surrounding North 2nd Street, Brooklyn; had it surveyed, and divided it into city lots. His aim was to attract urban New Yorkers to what was then “the suburbs.” He established a horse ferry, opened a tavern, and named the area Williamsburgh. But by 1811 Woodhull had suffered financial failure. Subsequent ventures also failed, until roads were built in the early 1800s that connected the coast to the interior. By 1827, Williamsburgh was incorporated as a village. In 1852 Williamsburgh received a city charter, but three years later it was consolidated into the City of Brooklyn. At the time of consolidation the “h” was dropped from the neighborhood’s name. The first synagogues in Williamsburg were built in the 19th Century, but the Jewish population did not flourish until 1903, when the Williamsburg Bridge linked the neighborhood to Manhattan’s Lower East Side. The influx was so notable that the bridge was often called “The Jews’ Highway.” After World War II, the Hasidic population of Williamsburg grew as survivors of the Holocaust came to the US.
Williamsburg Bridge, 1937

You can see many signs of the Hasidic community when you walk through Williamsburg today: men in black hats speaking Yiddish; dishes on shop countertops to allow for the exchange of money without touching hands (the only person of the opposite sex adult Hasidic Jews touch are their own spouses); and many adaptations to accommodate the restrictions of Shabbat. The Torah forbids carrying objects outside the home on the Sabbath, so many buildings in the area have combination locks which allow residents to come and go without keys. Some buildings have “Shabbes elevators” which stop automatiWilliamsburg Brooklyn in the 1940s cally at all floors on Saturday, since the pushing of an elevator button closes a circuit, which also constitutes a violation of the Sabbath. Williamsburg is historically an ethnically mixed area, and the different groups living there have sometimes clashed. Until recently, the major tension has been between Hasidic Jews and Latin American immigrants. In recent years, however, many artists and “hipsters” have moved to Williamsburg, attracted by relatively low rents and its proximity to Manhattan. This has caused rents to climb—an issue of special concern to the Hasidim, whose closed communities tend to keep them earning little money with which to support their large families. In 2004, a rally was held in Williamsburg to protest the change and organizers distributed a printed prayer entitled “For the Protection of Our City…From the Plague of the Artists.” More recently, in 2009, there was a conflict surrounding bike lanes that were painted through the center of the neighborhood. Religious residents were troubled that women wearing shorts and sleeveless tops were now biking through the area, both of which violate the strict dress code of Orthodox Jews.


The Foundations of Zionism
Adapted from Zionism by Prof. Binyamin Neuberger; and Ultra-Orthodox & Anti-Zionist by Dr. Aviezer Ravitzky The idea of Zionism is based on the connection between the Jewish people and its land, a link which began almost 4,000 years ago when Abraham settled in Canaan, later known as the Land of Israel. Central to Zionist thought is the concept of the Land of Israel as the historical birthplace of the Jewish people and the belief that Jewish life elsewhere is a life of exile. Over centuries in the Diaspora (scattered communities of Jews outside of Israel) Jews maintained a relationship with their historical homeland, manifesting this connection through rituals and literature.

Flag of Israel

Modern Zionism in part owes its success as an active national movement to anti-Semitism and persecution. Over the centuries, Jews were expelled from almost every European country--a cumulative experience that had a profound impact, birthing influential Jewish leaders who turned to Zionism as a result of the anti-Semitism in their respective societies. Thus Moses Hess, shaken by the blood libel of Damascus (1844), founded Zionist socialism; Leon Pinsker, shocked by the pogroms (1881–1882) which followed the assassination of Czar Alexander II, lead the Hibbat Zion movement; and Theodor Herzl, who experienced the venomous anti-Semitic campaign of the Dreyfus case in Paris (1896), organized Zionism into a political movement. Rise of Political Zionism Political Zionism emerged in the 19th Century within the context of the liberal nationalism then sweeping through Europe. Although Zionism was basically a political movement aspiring to a return to the Jewish homeland, it also promoted a reassertion of Jewish culture. An important element in this reawakening was the revival of Hebrew, long restricted to liturgy and literature, as a living national language. Most of the founders of Zionism knew that Palestine had an Arab population (though some spoke naively of “a land without a people for a people without a land”). Still, only a few regarded the Arab presence as a real obstacle to the fulfillment of Zionism. Many Zionist leaders believed that since the local community was relatively small, friction between it and the returning Jews could be avoided. However, these hopes were not fulfilled. During the years 1936–1947, the struggle over the Land of Israel grew intense. Arab opposition became more extreme with the increased growth of the Jewish community. At the same time, the Zionist movement felt it necessary to increase immigration and develop the country’s economic infrastructure in efforts to save as many Jews as possible from Nazi-dominated Europe. The clash between the Jews and the Arabs brought the UN to recommend, on November 29, 1947, the establishment of two states in the area west of the Jordan River—one Jewish and one Arab. The Jews accepted the resolution; Arabs rejected it. On May 14, 1948, in accordance with the UN resolution of November 1947, the State of Israel was established. Orthodox Opposition to the State of Israel Many Ultra-Orthodox Jews are anti-Zionist because they believe that the redemption of the Jews must come through the agency of the Messiah rather than through any actions of the Jews, and more so, that it cannot come about as a result of a secular (non-religious) political organization such as Zionism. Therefore, these groups perceive the establishment of the State of Israel as an anti-messianic act. In the words of the Midrash, the Jewish people were adjured not to return collectively to the Land of Israel by the exertion of physical force, nor to “rebel against the nations of the world,” nor to “hasten the End;” rather they were required to wait for the heavenly, complete, and miraculous redemption that is distinct from the realm of human endeavor. According to this logic, any Jewish state prior to the messianic age undermines and denies the Torah and takes a stand against halAnti-Zionist, Ultra Orthodox Jews march akhah (Jewish law). in Jerusalem 9

About the Artists
Rick Foucheux (Reb Saunders) returns to Theater J with much excitement as an Associate Artist-in-Residence. He began Theater J’s season as Eugene Biddle in Something You Did and then appeared as Oscar Madison in The Odd Couple. Rick has been performing in Washington’s vibrant theatre scene for 27 years. His previous appearances with Theater J include Ari Roth’s Born Guilty and Peter and the Wolf as well as Talley’s Folly, for which he received a Helen Hayes Award nomination. He also performed in Theater J’s co-production of Homebody/ Kabul with Woolly Mammoth Theatre Company, where he is a company member. In 2008, Rick appeared as Willy Loman in Arena Stage’s revival of Death of A Salesman and was featured here last season in R. Buckminster Fuller: The History (And Mystery) of the Universe. Previously, he appeared here in Shakespeare in Hollywood, Born Yesterday and The Goat or Who Is Sylvia? Other credits include the Shakespeare Theatre’s Twelfth Night, Folger Theatre’s I Henry IV, and last season’s The Rivalry at Ford’s Theatre. He also appeared at New York’s Irish Repertory Theatre in their hit revival of The Emperor Jones. Rick received the Helen Hayes Outstanding Lead Actor Award in 2000 for Edmond at Source Theatre and in 2006 for Take Me Out at The Studio Theatre. He is a 2011 Lunt-Fontanne Fellow, a national program of the Ten Chimney’s Foundation supporting the continuing development of actors in the theater. Edward Gero (David Malter) played Pablo Christiani in The Disputation and Lyman Felt in Ride Down Mt. Morgan at Theater J; Sweeney Todd in Sweeney Todd at Signature Theatre; Donny in American Buffalo, Andre Prozorov in Afterplay, Tom Sargeant in Skylight (Helen Hayes Award), Vershinin in Uncle Vanya, Charlie in Conversations with My Father, man in bash at The Studio Theatre; Scrooge in A Christmas Carol at Ford’s Theatre; Friar Laurence in Romeo and Juliet at Folger Theatre; Richard Nixon in Nixon’s Nixon at Roundhouse Theatre; Philip Gelberg in Broken Glass at Olney Theatre Center and Sargent in What the Butler Saw at Arena Stage. In his 28 seasons with the Shakespeare Theatre Company, he has played Hotspur in Henry IV (Helen Hayes Award), Bolingbroke in Richard II (Helen Hayes Award) and Macduff in Macbeth (Helen Hayes Award). Regional credits include Gloucester in King Lear at The Goodman Theatre in Chicago and Horace Vandergelder in The Matchmaker at Center Stage in Baltimore, where he is an Artistic Associate. In New York, he has performed at South Street Theatre and Classic Stage Company. His film and television credits include Die Hard II, Striking Distance, and voice work for The Discovery Channel and PBS. He is an Associate Professor of Theater at George Mason University. He also teaches for the Academy for Classical Acting, GWU and Shakespeare for the Opera, Maryland Opera Studio, University of Maryland. He is a thirteen-time Helen Hayes nominee and four-time recipient. Upcoming productions include Amadeus at Round House Theatre, where he will play Salieri. Aaron Davidman (Older Reuven) is an actor, playwright and director. He has been a company member of The Jewish Theatre San Francisco (formerly Traveling Jewish Theatre) since 2000 and served as its artistic director for the past 9 years. Among many works at TJT he co-wrote and directed the international collaboration Blood Relative about the Israeli-Palestinian story and directed TJT’s critically acclaimed production of Death of a Salesman. He directed Golda’s Balcony and The Chosen at Theatreworks and the world premiere of This World In a Woman’s Hands by Marcus Gardley at Shotgun Players. He also directed the world premiere of Gardley’s Love is a Dream House In Lorin at Shotgun for which he was named Best Director of 2007 by the East Bay Express. Among many roles at TJT Aaron originated the role of Momik Neuman in Corey Fischer’s Kennedy Center Award-winning play See Under: Love, based on the David Grossman novel. He is a graduate of the University of Michigan and received his formal theatrical training at Carnegie Mellon University. He is a recipient of the New Generations Fellowship from Theatre Communications Group and is currently an MFA candidate in playwriting at San Francisco State University. Learn more about his work at aarondavidman.com. 10

About the Artists cont.
Joshua Morgan (Danny) Joshua graduated from the University of North Carolina School of the Arts and studied at the American Academy of Dramatic Arts and Judith Blazer’s 2005/2007 company of the Artist’s Crossing. Performance credits include roles in The Trojan Women, Godspell, Burn This, Comedy of Errors, Children of Eden, Othello, Show Boat, Sunday in the Park with George, The Good Doctor, Sweeney Todd, The Laramie Project, and Les Miserables to name a few. Joshua has worked as a Musical Director/Rehearsal Pianist for many shows within the NY/NJ/DC area and coaches a handful of select students. The musical play, Definition of a Housewife, conceived and written by himself and Jeffery Self had a workshop production in the summer of 2006 at Columbia University. Joshua is the Co-Artistic Director of No Rules Theatre Company based out of Washington, DC and Winston-Salem, NC (NoRulesTheatre.org) and sits on the boards of the Actors Center in Washington, DC and the Artists Crossing in NY. You can find out more information about Joshua at JoshuaMorgan.net. Derek Kahn Thompson (Young Reuven) last appeared in Sabrina Fair at Ford’s Theater. His Washington, D.C., credits include King John at the Shakespeare Theater Company and The Pirates of Penzance, Great Expectations, and A Child’s Christmas in Wales at Folger Theatre. Mr. Kahn Thompson holds a BS in Journalism from Northwestern University.

Aaron Posner (Director, Adapter) is a nationally recognized awardwinning director, playwright and teacher. He has been the Artistic Director of two LORT theatres and directed at major regional theatres across the country including The Arden, The Alliance, Portland Center Stage, Seattle Rep, Milwaukee Rep, Actor’s Theatre of Louisville, The Folger Shakespeare Theatre, California Shakespeare Theatre, Shakespeare Santa Cruz, Arizona Theatre Company, Delaware Theatre Company, Roundhouse Theatre, Woolly Mammoth Theatre Company and many others. His adaptations of literature—which include Chaim Potok’s novels The Chosen and My Name Is Asher Lev, Ken Kesey’s Sometimes A Great Notion, and a musical of A Murder, A Mystery & A Marriage by Mark Twain (with music by James Sugg)—have been produced by more than 40 professional theaters from coast to coast (including many of those listed above as well as Steppenwolf Theatre, Writers Theatre, Cleveland Playhouse, Florida Stage and many others) as well as major professional theaters in Canada, Israel, and South Africa. Three are published by Dramatists Play Service. Aaron is the founder and former Artistic Director of the Arden Theatre Company in Philadelphia. He won two Barrymore Awards for playwrighting and two Helen Hayes Awards for directing, is an Eisenhower Fellow, and is originally from Eugene, Oregon. Chaim Potok (Novelist) is one of the most prolific and honored Jewish American authors. He was born and raised in New York City. He studied English Literature and earned a Doctorate in Philosophy from the University of Pennsylvania. An ordained rabbi, he served as an army chaplain in Korea for sixteen months. The Chosen, Potok’s first novel, was first published in 1967, and was on The New York Times Bestseller List for ten months. Other works by Potok include The Promise, In The Beginning, The Book of Lights, Davita’s Harp, I Am The Clay, Old Men at Midnight, The Gates of November, Wanderings, The Book of Lights, My Name is Asher Lev and The Gift of Asher Lev. He has received The National Jewish Book Award for Fiction, The National Foundation for Jewish Culture’s 1997 Jewish Cultural Achievement Award, the O’Henry Award and many others.


James Kronzer (Scenic Designer) Most recently designed Honey Brown Eyes for Theater J. He has also designed shows for Washington Ballet, The Shakespeare Theatre, The Kennedy Center, Signature Theater, Woolly Mammoth and Studio Theatre among others. His work has been seen on Broadway, Off-Broadway and regionally in Philadelphia, San Diego, Atlanta, Denver, Florida, Los Angeles, Salt Lake City, Boston, Vermont and Knoxville. His numerous national tours include The Wizard of Oz, Thomas Live!, Backyardigans and Barbie Live! as well as a new musical for Disney called Twice Charmed. He has also designed numerous shows for Norwegian Cruise Lines and has done several specials for Comedy Central. He began his career as a Design Assistant for the Royal Shakespeare Company and the Royal National Theater in London. He has received eight Helen Hayes Awards (DC) and two Barrymores (Philadelphia). He is a member of United Scenic Artists. More of his work can be seen at jameskronzer.com. Nancy Schertler (Lighting Designer) has designed the Broadway productions of Bill Irwin’s Fool Moon and Largely New York (Tony nom.) and off-Broadway productions of Hilda, Texts for Nothing, A Flea in Her Ear, The Regard Evening and Falsettoland. Regional theater designs include over 60 productions for Arena Stage; Scapin, directed and staring Bill Irwin, Boleros for the Disenchanted, and After the War among others for the American Conservatory Theatre in San Francisco; Suessical for The Children’s Theatre Company.; A Christmas Story for Portland Center Stage; A Christmas Carol, at Milwaukee Repertory Theater; The Three Musketeers and The Sisters Matsumoto at Seattle Repertory Theatre. Opera credits include the world premieres of The Difficulty of Crossing a Field, Shadowboxer, and Later the Same Evening, an opera inspired by the work of Edward Hopper, commissioned by the University of Maryland and the National Gallery of Art. Kate Turner-Walker (Costume Designer) is delighted to join Theater J in this exciting collaboration with Arena Stage. Recent work includes The Comedy of Errors at Folger Theatre; Snow White, Rose Red and Fred and Knuffle Bunny: A Cautionary Musical at Kennedy Center Theatre for Young Audiences; Superior Donuts at The Studio Theatre and The Talented Mr. Ripley at Round House Theatre. For the second season of TLC’s “DC Cupcakes” (airing this spring), she acted as a creative consultant for projects combining cupcakes and fashion. Kate has received two Helen Hayes Award nominations. She is an adjunct professor of Costume Design at George Washington University. James Sugg (Sound Designer) James Sugg is a member of Pig Iron Theatre Company with whom he has created 10 original pieces. He has also worked with the Wilma, The Arden Theater, Seattle Rep, Actors Theater of Louisville, Folger Theater, Headlong Dance Theater, Rainpan 43 and Lucidity Suitcase Intercontinental. He is the composer of the musicals A Murder, A Mystery And A Marriage, James Joyce is Dead and So Is Paris (Pig Iron), The Sea (a one man electric chamber opera) and Cherry Bomb (1812 Productions). His work has been recognized with two Obies, four Barrymores for Outstanding Sound Design, the F. Otto Haas Award for Emerging Theater Artist and a Pew Fellowship. Susan R. White (Stage Manager) is thrilled to be a part of Theater J’s production of Aaron Posner’s The Chosen and to be working, once again, with Artistic Director Ari Roth. Susan is a proud member of Actors’ Equity Association. Michelle Elwyn (Properties Designer) has most recently collaborated on properties with The Cameri Theatre of Tel Aviv for Return to Haifa. For Theater J, she has designed properties for The Odd Couple, Lost in Yonkers, Something You Did, Mikveh, Pangs of the Messiah, Accident, Seagull on 16th Street, Honey Brown Eyes, David, Speed the Plow, Either Or, Sleeping Arrangements, Picasso’s Closet and The Disputation. Other props design projects include: A Prayer for Owen Meany at Round House Theatre; Hamlet, Arcadia, A Winter’s Tale, Henry IV Part I, Midsummer Night’s Dream and Measure for Measure at Folger Theatre; Two-Bit Taj Mahal at Theater of the First Amendment; Meet John Doe and Jitney at Ford’s Theatre; Assassins at Signature Theatre; The Shape of Things, Privates on Parade and Hambone at Studio Theatre. Her work includes costume crafts at Washington National Opera and Asolo Theatre in Sarasota, FL, as well as scenic painting and sculpture at Shakespeare Theatre Company, Theater of the First Amendment, Folger Theatre Group, Arena Stage, Asolo Theatre, Playwrights’ Horizons, NYC, McCarter Theatre, Princeton, NJ, Long Wharf Theatre, New Haven, CT And Opera Theatre of Rochester. She has also co-designed stage sets for Marsha Norman’s Getting Out at Florida Studio Theatre and the Ringling Museum of Art’s Medieval Fair. 12

About the Artists cont.

About the Artists cont.
Stephen Spotswood (Production Dramaturg) is a playwright, journalist and, thanks to Theater J, occasional dramaturg. Co-founder of Bright Alchemy Theatre, a company of artists devoted to the creation of devised work, he is also a teaching artist at Imagination Stage, working with middle and high school students on devised theatre and new play development. His newest play, The Resurrectionist King, produced by Active Cultures Theatre, opens at Joe’s Movement Emporium on March 30. Shelley Herman Gillon (Dialect Coach) is a playwright who coaches actors in Irish, Puerto Rican, German, Russian and Yiddish dialects and those from regions of the US and UK. Ms Gillon works with non-native speakers on writing skills and accent reduction. Her Tennessee Williams biographical musical, Tom to Tenn, co-written with Harriet McFaul Pilger and Paul D. Leavitt, will be performed on March 25th as part of Georgetown’s Tenn Cent Fest. Recent works include Bulletins from Fatland, Raised by the Radio and Crawling from the Ashes, an adaptation of Julia Caswell Daitch’s 9/11 Memoir. Ms. Gillon is a graduate of Tulane University, Loyola University School of Law and The Neighborhood Playhouse, where she studied with the legendary Sandford Meisner. Ari Roth (Artistic Director) is enjoying his 14th season as Artistic Director at Theater J where, together with a dedicated staff, he has produced 96 full productions, including 33 English language world premieres, and many more workshop presentations. Also a playwright, Mr. Roth has seen his work produced across the country, as well as at Theater J, where productions include Goodnight Irene, Life In Refusal, Love & Yearning in the Not-for-Profits, Oh, The Innocents, and a repertory production of Born Guilty, originally commissioned and produced by Arena Stage, directed in this space by Zelda Fichandler, based on the book by Peter Sichrovsky, together with its sequel, The Wolf in Peter (recently presented as The Born Guilty Cycle by the Epic Theatre Ensemble). His plays have been nominated for five Helen Hayes Awards, including Best Resident Production, and two Charles A. MacArthur Awards. He is a 1998 and 2003 recipient of a National Endowment for the Arts playwriting grant, three-time winner of the Helen Eisner Award, two-time winner of the Avery Hopwood, four-time recipient of commissions from the National Foundation for Jewish Culture and recipient of the Mertyl Wreath Award from Hadassah. He was recently named one of The Forward 50, a recognition from The Forward newspaper honoring fifty nationally prominent “men and women who are leading the American Jewish community into the 21st century.” He has taught for the University of Michigan for 15 years, currently for their “Michigan in DC” program, as well as for Brandeis, NYU and Carnegie Mellon Universities. Sarah Rayer (Managing Director) is thrilled to be the newest member of the Theater J team. She comes to Theater J with an MBA from St. Joseph’s University in Philadelphia and a decade of work in prominent New York Theaters including Playwrights Horizons and The Public Theater. At the Public, she served as assistant to the Artistic Producer, Rosemarie Tichler and Administrative Director of The Shakespeare Lab. Prior to her work in producing, Sarah worked for four years in casting on projects such as “Law & Order,” The Lion King, and many of the Public Theater’s Shakespeare in the Park (Initiative and readings). She’s worked as an Associate Producer for Eve Ensler’s V-Day (a social awareness and engagement initiative of The Vagina Monologues) at Madison Square Garden; Sarah also Associate Produced for “A Net of Souls: A Borrowed Light - Voices from Women in Prison.” In addition to her theater work, Ms. Rayer has a consulting company S. Rayer Associates.

Artistic Director Ari Roth Managing Director Sarah Rayer Associate Producer Delia Taylor Director of Marketing & Communications Grace Overbeke Director of Community Outreach & New Media Becky Peters Director of Literary & Public Programs Shirley Serotsky Director of Patron Services Tara Brady Development Associate Gavi Young Casting Director Naomi Robin Technical Director and Master Carpenter Tom Howley MCCA Operations Director Daniel Risner For a full list of Theater J staff bios, visit theaterj.org and click on “About Us” 13

Theater J Staff

Photo of Geoff Packard by Scott Suchman.

Meet the other Founding Father.

World Premiere Musical! March 23-May 21
music by Michael Weiner; lyrics by Adam Abraham; book by Marc Madnick, Eric R. Cohen and Adam Abraham; based on an Original Story by Marc Madnick and Eric R. Cohen; choreographed by Denis Jones; directed by Matt August

(202) 397-SEAT | www.fords.org
511 10th St. NW, Washington, DC 20004
Lead Sponsor: United Technologies; Sponsors: Raytheon Company; Altria Group; Qualcomm Incorporated; Shell Oil Company Ford’s Theatre stages Built by The Home Depot | Chevron, a 2010-2011 Season Sponsor

LSmith 5x8 clr.indd 1 2/9/11 5:08:48 PM

carlyle suites carlyle suites carlyle suites


1 7 3 1 3 1E WE W H A MH IS H I R E E . N.W W 1 7 N N H A M P S P R E AV AV E N WAWA S HG TH A M N , H I R 2 AV E 9 H N I GT , D 20 00 1 7 3 1 SN IE W N O NO P SC D C E0 0 9 0 . N W
202.234.3200 I N G T O N , D C 2 0 0 0 9 202.234.3200 WWW.CARLYLESUITES.COM WA S H WWW.CARLYLESUITES.COM




Parking at the Washington DCJCC
N 17th Street Q Street

WASHINGTON DCJCC PARKING LOT Limited parking available. COLONIAL PARKING 1616 P Street between 16th & 17th Streets, just 2 blocks away!


P Street

Parking-1616 P St. (Colonial Garage)

15th Street

14th Street

16th Street


Friends Of Theater J
Theater J is, at its core, a playwrights’ theater and as such, we have named our giving levels in honor of Jewish playwrights and two of their director/producers. We gratefully acknowledge our current donors who have supported us for the 2010–2011 season to date. We ask our many long-time supporters and new friends of the theater to join them in underwriting this exciting season. (This list is current as of February 2, 2011.)
Executive Producing Show Sponsor ($25,000 and above) The Robert M. Fisher Memorial Foundation The Jewish Federation of Greater Washington National Endowment for the Arts The Shubert Foundation Wendy Wasserstein Grand Angel ($15,000 - $24,999) Charlotte & Hank Schlosberg Patti & Jerry Sowalsky The George Wasserman Family Foundation Harold Clurman Champion Angel ($10,000 - $14,999) Carolyn & Warren Kaplan The Jacob & Charlotte Lehrman Foundation Trish & George Vradenburg Irene & Alan Wurtzel Ellen & Bernard Young Tony Kushner Collaborating Angel ($7,500 - $9,999) Esthy & James Adler Deborah Carliner & Robert Remes The Max & Victoria Dreyfus Foundation Marion & Larry Lewin Evelyn Sandground & Bill Perkins Joseph Papp Producing Angel ($5,000 - $7,499) Patty Abramson & Les Silverman Anne & Ronald Abramson Joan& Peter Andrews Michele & Allan Berman Naomi & Nehemiah Cohen Foundation Louie & Ralph Dweck Lois & Richard England Kovler Foundation-Judy & Peter Kovler Zena & Paul Mason Judith Morris & Marvin Weissberg Faye & Jack Moskowitz The Omega Foundation Elaine Reuben Margaret Hahn Stern & Stephen Stern Natalie Wexler & James Feldman Rosa D. Wiener Judy & Leo Zickler Lillian Hellman Supporting Angel ($3,000 - $4,999) The Family of H. Max & Josephine F. Ammerman & Andrew Ammerman Natalie & Paul Abrams The DC Commission on the Arts and Humanities Lois & Michael Fingerhut Dr. Kenneth & Cheryl Gorelick Fund Al Munzer & Joel Wind Diane & Arnold Polinger Loretta Rosenthal The Abe & Kathryn Selsky Foundation Joan Wessel Arthur Miller Mentor ($1,500 - $2,999) Susan & Dixon Butler Ann & Frank Gilbert Mimi Conway & Dennis Houlihan Lisa Fuentes & Thomas Cohen Sandra & Arnold Leibowitz Mid Atlantic Arts Foundation Marjan & Andy Shallal Margot & Paul Zimmerman David Mamet Muse ($1,000 - $1,499) Elizabeth Berry Mara Bralove & Ari Fisher The Center for Cultural Judaism, Inc. Myrna Fawcett Marjory Goldman Laine & Norton Katz Victor Shargai Betsy Karmin & Manny Strauss Rona & Allan Mendelsohn Janet Solinger Neil Simon Stage Benefactor ($500 - $999) Babs & Rabbi A.N. Abramowitz Carolyn Small Alper Michele & Alan Berman Steven des Jardins Marlin & David Feldman Ina Ginsburg Gayle & David Greene Ira Hillman & Jeremy Barber Linda & Steven Hirsch Estelle & Dr. Irving Jacobs Rachel Jacobson & Eric Olsen In Memory of MJ Bear Elizabeth Karmin & Emanuel Strauss Undine & Carl Nash Trudy & Gary Peterson Steven M. Rosenberg & Stewart C. Low III Anne & Richard Solomon Barbara & Stanley Tempchin Annie & Sami Totah Betty L. Ustun Beverly Walcoff Julie & David Zalkind Sholom Asch Admirer ($350 - $499) Shoshana & Peter Grove Iris & Michael Lav Yoav Lurie Ellen & Gary Malasky Linda Segal Sandra & Dale Stein Paddy Chayefsky Champion ($175 - $349) Anonymous (2) Ronald Bleeker Goldie Blumenstyk Susan & Steven Bralove Mady Chalk Rosalind & Donald Cohen Miriam J. Cutler & Paul Saldit Peter & Shelly Dreifuss Barbara & Samuel Dyer Susan & Michael Friedman Paula Seigle Goldman Jack Golodner Edith & Arthur Hessel Faye & Aaron Hillman Joy Lerner & Stephen Kelin William Kreisberg Neal Krucoff Dianne & Herbert Lerner Arthur Le Van Tina Martin & Mita Schaffer Sue Morss Vivian L. Pollock Toby Port & Jeffrey Ahl Barbara Rappaport Erica & Douglas Rosenthal Loretta Rosenthal Leona & Jerrold Schecter Lois & Basil Schiff Ms. Terry Schubach Sylvia Shenk & Yori Aharoni Beverly & Harlan Sherwat Lynnette Spira Deborah Tannen & Michael Macovski Susan Tannenbaum & David Osterhout Marjorie & Allan Weingold T. Michael Wight Debbie & Steven Young Ben Hecht Booster ($75 - $174) Susan & Alan Apter Anonymous Deborah Berkowitz & Geoffrey Garin Sharon Bernier Edith Bralove Dr. Lloyd Brodsky Karen & John Burgess Susan & Marshall Bykofsky Wallace Chandler Esther Coopersmith Helen Darling & Brad Gray Rabbi Fred Scherlinder Dobb & Ms. Minna Scherlinder Morse Leona & Donald Drazin Dr. & Mrs. Burton Epstein Stuart Fischer Anne & Al Fishman Kit Gage & Steven Metalitz


Friends Of Theater J cont.
Renee Gier Morton Goren Jack Hahn Morton Halperin Carol & Robert Hausman Peggy Heller Rachel Jacobson & Eric Olsen Betty-Chia Karro & Henry Gassner Helene & Allan Kahan Dana & Ray Koch Adrienne Kohn & Garry Grossman Beth Kramer Martin Krubit Michael Lewis Faiga G. Levine Mary & Edward Levy Hannah & Tim Lipman Susan & Donald Lubick Rosalie Lurie Madeline & Gerald Malovany Noreen Marcus & Jay Sushelsky Thomas Merrick Jolynne Miller Nancy & Richard Millstein Caroline & Michael Mindel Mona & Leonard Mitnick Tena Nauheim & David Harrison Joan & Ludwig Rudel Froma & Jerome Sandler Anne & Barry Schenof Margaret Sohn & Harvey Cohen Helen & Jonathan Sunshine Virginia & James Vitarello Mindy & Sheldon Weisel Stephen Werner

Washington DCJCC Donors
The Washington DCJCC wishes to thank all those who made contributions to the 16th Street J to help support our programs during the 2010 fiscal year (July 1, 2009 – June 30, 2010). Your support has been invaluable in allowing us to create and sustain programs of excellence throughout the year.
$100,000 + Ann Loeb Bronfman The Robert M. Fisher Memorial Foundation The Jewish Federation of Greater Washington $50,000 - $99,999 The Morris & Gwendolyn Cafritz Foundation DC Office on Aging Melanie Franco Nussdorf & Lawrence Nussdorf Howard & Geraldine Polinger Family Foundation ServeDC - The Mayor’s Office on Volunteerism David Bruce Smith United Jewish Endowment Fund $25,000 - $49,999 Jamie & Joseph A. Baldinger Diane & Norman Bernstein DC Commission on the Arts & Humanities Louie & Ralph Dweck Brenda Gruss & Daniel Hirsch Tamara & Harry Handelsman Stuart Kurlander National Endowment for the Arts The Shubert Foundation, Inc. Robert H Smith* Family Foundation Patti & Jerry Sowalsky $15,000 - $24,999 Lisa & Josh Bernstein Ryna, Melvin, Marcella & Neil Cohen Ginny & Irwin Edlavitch Susan & Michael Gelman Alexander Greenbaum Martha Winter Gross & Robert Tracy Carolyn & Warren Kaplan Barbara & Jack Kay Arlene & Robert Kogod Jacob & Charlotte Lehrman Foundation Charlotte & Hank Schlosberg Schoenbaum Family Foundation George Wasserman Family Foundation, Inc. $10,000 - $14,999 Patty Abramson & Les Silverman Esthy & Jim Adler Michele & Allan Berman Susie & Kenton Campbell Deborah Carliner & Robert Remes Debra Lerner Cohen & Edward Cohen Lois & Richard England Family Foundation Rena & Michael Gordon Susy & Thomas Kahn Judy & Peter Kovler Thelma & Melvin Lenkin Marion & Larry Lewin Faye & Jack Moskowitz Diane & Arnold Polinger Deborah & Michael Salzberg Rhea Schwartz & Paul Wolff The Abe & Kathryn Selsky Foundation Francine Zorn Trachtenberg & Stephen Joel Trachtenberg Trish & George Vradenburg Natalie Wexler & James Feldman Carolyn & William Wolfe Irene & Alan Wurtzel Judy & Leo Zickler $5,000 - $9,999 Academy of Motion Picture Arts and Sciences American Jewish World Service The Family of H. Max & Josephine F. Ammerman & Andrew Ammerman Melinda Bieber & Norman Pozez Max N. Berry Ann & Donald Brown Naomi & Nehemiah Cohen Foundation Sara Cohen & Norman Rich Rose & Robert Cohen CrossCurrents Foundation The Max & Victoria Dreyfus Foundation, Inc. Embassy of Israel Lois & Richard England Federal Emergency Management Agency Marilyn & Michael Glosserman Cheryl Gorelick Deborah Harmon & Robert Seder G. Scott Hong Humanities Council of Washington,DC William Kreisberg Jacqueline & Marc Leland Joy Lerner & Stephen Kelin Elyse & Jeffrey Linowes Linda Lipsett & Jules Bernstein MAZON: A Jewish Response to Hunger Linda & Sid Moskowitz Kathy & Thomas Raffa Renay & William Regardie Elaine Reuben Rae Ringel & Amos Hochstein Beth Rubenstein & Evan Markiewicz Lynn & John Sachs Evelyn Sandground & Bill Perkins Emily Schoenbaum Tina & Albert Small Jr. Barbara & Michael Smilow Mindy Strelitz & Andrew Cornblatt Lori & Les Ulanow Joan Wessel Rosa D. Wiener Ellen & Bernard Young Rory & Shelton Zuckerman $2,500 - $4,999 Anonymous Babs & Rabbi A.N. Abramowitz Natalie & Paul Abrams Amy & Stephen Altman Larry Axelrod Joan & Alan Berman Elizabeth Berry Rita & David Brickman Nicholas Chocas Cyna & Paul Cohen Margery Doppelt & Larry Rothman Exxon Mobil Corporation


Washington DCJCC Donors cont.
Myrna Fawcett Lois & Michael Fingerhut Joanne Fungaroli Marsha Gentner & Joe Berman Debra Goldberg & Seth Waxman The Aaron & Cecile Goldman Foundation Roberta Hantgan Horning Brothers Corporation Betsy Karmin & Manny Strauss Connie & Jay Krupin Barbara Kurshan Susan & Samuel Lehrman Sandra & Arnold Leibowitz Edward Lenkin Geoffrey Mackler Zena & Paul J. Mason Alfred Munzer & Joel Wind PNC Bank Points of Light Institute Posner-Wallace Foundation Toni Ritzenberg Loretta Rosenthal Debra & Jonathan Rutenberg Sandra & Ivan Sabel Charles & Lynn Schusterman Family Foundation Sanford Schwartz Sprint Foundation Saul I. Stern* Katherine & Thomas Sullivan Rachel Jacobson & Eric Olsen JCC Association Sally Kaplan Laine & Norton Katz Aviva Kempner Ceceile Klein Linda Klein Bette & William Kramer Lisa Landmeier & Hugo Roell Sandra & Stephen Lachter Dianne & Herbert Lerner The Samuel Levy Family Foundation Steven Lockshin Steven Lustig Ellen & Gary Malasky Peter Mancoll Cathryn & Scot McCulloch Rona & Allan Mendelsohn Mid Atlantic Arts Foundation Lindsay & Aaron Miller Patrice & Herbert Miller Shirlee Ornstein Glenna & David Osnos Peggy Parsons Ruth & Stephen Pollak Toby Port Ravsak: The Jewish Community Day School Hillary & Jonathan Reinis Carol Risher Paula & Bruce Robinson Joan & Barry Rosenthal Chaya & Walter Roth Jane Nathan Rothschild Sharon Russ & David Rubin Victor Shargai Michael Singer Ann Sislen Richard Solloway Jane & Daniel Solomon Margaret Hahn Stern & Stephen Stern Marsha E. Swiss & Ronald M. Costell Embassy of Switzerland Tabard Corporation Tikkun Olam Women’s Foundation of Greater Washington Rita & David Trachtenberg United Way of the National Capital Area Marion & Michael Usher Lise Van Susteren & Jonathan Kempner Cynthia Wolloch & Joseph Reid Margot & Paul Zimmerman
Due to space limitations, only donors of $1,000 or more are listed. The Washington DCJCC would like to thank all of our many donors for the important impact they have on our work. * of blessed memory


“Spellbinding.” “Wholly faScinating.”
–New York Times – Chicago Tribune

Steppenwolf theatre Company’s production of

edward albee’S who’S afraid of Virginia woolf?
directed by Pam macKinnon starring tony award winner tracy Letts and amy morton with carrie coon and madison dirKs

february 25 – april 10

order today!

202-488-3300 | www.arenastage.org
Molly Smith Artistic Director edgar dobie Managing Director


Photo of Amy Morton and Tracy Letts by Saverio Truglia.

About Arena Stage at the Mead Center for American Theater
Arena Stage at the Mead Center for American Theater is a national center for the production, presentation, development and study of American theater. Under the leadership of Artistic Director Molly Smith and Managing Director Edgar Dobie, Arena Stage is the largest company in the country dedicated to American plays and playwrights. Founded in 1950 by Zelda Fichandler, Thomas Fichandler and Edward Mangum, Arena Stage is one of the nation’s original resident theaters and has a distinguished record of leadership and advancement in the field. Arena Stage produces huge plays of all that is passionate, exuberant, profound, deep and dangerous in the American spirit, and presents diverse and ground-breaking work from some of the best artists around the country. Arena Stage is committed to commissioning and developing new plays, including the first, second and third productions of new works, in addition to the creation and testing of best practices for new play development through the American Voices New Play Institute. Arena Stage impacts the lives of more than 20,000 students annually through its work in community engagement. Now in its sixth decade, Arena Stage serves a diverse annual audience of more than 300,000. arenastage.org.
Photo by Suzanne Blue Star Boy

Molly Smith

Edgar Dobie

BACKSTAGE at the LINCOLN PLAY READING SERIES In association with Theater J

MONDAY, MARCH 21, 2011
Graphic by Mberry@berrybestsolutions.com

Doors Open 6:30 pm – Performance 7:45 pm
**Seating Limited: This is an exclusive Lincoln Theatre Event**
The Historic Lincoln Theatre 1215 U Street, NW, Washington, DC www.lovethelincoln.com 20

$25 General Admission / VIP Preferred Seating and Reception $35 (First 76 tickets)

Program funded in part by the DC Commission on the Arts and Humanities

Photo by Scott Suchman

“remarKaBle.” “eXPloSiVe.”

– Chicago Tribune

– Chicago Sun-Times

RuinEDaPril 22 – June 5
1101 Sixth St., SW, Washington, DC 20024

by Lynn nottage | directed by charLes randoLph-Wright winner of the 2009 Pulitzer Prize for Drama


202-488-3300 | www.arenastage.org

Illustration by Rudy Gutierraz

THE OF N MOS May AN COW By the Helen Hayes 11–J TUC S Nominated Playwright of une KE The Rise and Fall 12 T
of Annie Hall

By Sam Forman Directed by Shirley Serotsky
Featuring James Flanagan, Heather Haney, Bob Rogerson, Susan Rome and Amal Saade

(800) 494-TIXS • theaterj.org • 16th & Q Streets NW
(Dupont Circle Metro)
For the Moscow family, a summer weekend in Nantucket brings brisket, booze and a blowout confrontation between competing brothers who have avoided each other for years. A fast-paced new American comedy with its heart in Chekhov country.

About Theater J
Hailed by The New York Times as “The Premier Theater for Premieres,” and nominated for over forty Helen Hayes awards, Theater J has emerged as one of the most distinctive, progressive and respected Jewish theaters on the national and international scene. A program of the Washington DCJCC, the theater works in collaboration with other components of the Morris Cafritz Center for the Arts: the Washington Jewish Film Festival, the Ann Loeb Bronfman Gallery, and the Literary, Music and Dance Department. Theater J produces thought-provoking, publicly engaged, personal, passionate and entertaining plays and musicals that celebrate the distinctive urban voice and social vision that are part of the Jewish cultural legacy. Acclaimed as one of the nation’s premiere playwrights’ theaters, Theater J presents cutting edge contemporary work alongside spirited revivals and is a nurturing home for the development and production of new work by major writers and emerging artists exploring many of the pressing moral and political issues of our time. Dedicated above all to a pursuit of artistic excellence, Theater J takes its dialogues beyond the stage, offering an array of innovative public discussion forums and outreach programs which explore the theatrical, psychological and social elements of our art. We frequently partner with those of other faiths and communities, stressing the importance of interchange among a great variety of people wishing to take part in frank, humane conversations about conflict and culture. Performing in the 240-seat Aaron & Cecile Goldman Theater in the vibrant Dupont Circle neighborhood, Theater J works with some of the world’s most distinguished authors for the stage. It has produced world premieres by Richard Greenberg, Thomas Keneally, Robert Brustein, Joyce Carol Oates and Ariel Dorfman, with many debuts from emerging writers like Stefanie Zadravec and Sam Forman. The late Wendy Wasserstein’s play Third, which began at Theater J, received its New York premiere at Lincoln Center Theatre, while Neena Beber received an OBIE for her New York production of Jump/ Cut. Theater J’s diverse body of work features thematically linked festivals including its ongoing “Voices From a Changing Middle East” series. In 2009 Theater J received a special citation in The Washington Post recognizing Theater J’s Israel-related programming. With hit productions ranging from Talley’s Folly and The Disputation to Pangs of the Messiah, The Price, Honey Brown Eyes (Winner of the 2009 Helen Hayes Charles MacArthur Award for Outstanding New Play), Sholom Aleichem: Laughter Through Tears, The Rise and Fall of Annie Hall, Zero Hour (for which Jim Brochu won the 2010 Helen Hayes Award for Outstanding Lead Actor in a non-resident production) In Darfur, Mikveh and New Jerusalem, it’s no surprise that Washingtonian Magazine notes, “Theater J productions keep going from strength to strength.” Winner of the 2008 Mayor’s Arts Award for Excellence in an Artistic Discipline, Theater J offers a number of additional programs including Artistic Director’s Roundtables, Peace Cafés, Tea at 2 (a monthly reading series) and the Passports Educational Program. Theater J has garnered support from the National Endowment for the Arts, Theatre Communications Group (TCG) and The Shubert Foundation. Theater J is a member of the Cultural Alliance, the League of Washington Theatres, TCG and the Association for Jewish Theatre.
Photos by Stan Barouh

Washington DCJCC 1529 Sixteenth Street NW Washington, DC 20036 Info: (202) 777-3210 or theaterj@washingtondcjcc.org theaterj.org

Josh Lefkowitz and Maureen Rohn in The Rise and Fall of Annie Hall Robert Prosky in The Price Alexander Strain and Michael Tolaydo in New Jerusalem Holly Twyford in Lost in Yonkers


Sign up to vote on this title
UsefulNot useful