IT’S NOT TOO LATE TO SUBSCRIBE FOR GREAT SEATS! SOMETHING YOU DID By Willy Holtzman August 28–October 3 THE ODD COUPLE By Neil Simon October 23–November 28

THE KINSEY SICKS in OY VEY IN A MANGER December 18–January 2

The Cameri Theatre of Tel Aviv’s RETURN TO HAIFA By Ghassan Kanafani Adapted by Boaz Gaon January 15–30 Presented by Arena Stage at the Mead Center for American Theater, Fichandler Stage THE CHOSEN By Chaim Potok Adapted by Aaron Posner March 8–27 PHOTOGRAPH 51 By Anna Ziegler March 23–April 24

THE MOSCOWS OF NANTUCKET By Sam Forman May 11–June 12

Choose the plays YOU want to see. Get EASY ticket exchanges & the BEST seats! CALL (800) 494-TIXS (8497). For groups of 10 or more, call (202) 777-3214 or visit theaterj.org for more information. IT’S NOT TOO LATE TO SUBSCRIBE FOR GREAT SEATS! SOMETHING YOU DID

Choose the plays YOU want to see. Get EASY ticket exchanges & the BEST seats! CALL (800) 494-TIXS (8497). For groups of 10 or more, call (202) 777-3214 August 28–October 3, 2010 or visit theaterj.org for more information. From the Artistic Director Welcome to a brand new season and a newly transformed season-opener, ingeniously updated by its author from his drama that first ran Off-Broadway during the 2008 presidential campaign; a cam- paign that, for all its calls for “Hope” and “Change,” cast unequivo- cally harsh light on the radical social change and anti-war activism of a previous generation. The wages of that activism are under the micro- scope tonight, in Willy Holtzman’s play that we in the office affection- ately refer to as “The Play That Saved the Day” or “The Play that Found its Way To The Top Of The Heap” in the mad scramble before news was about to hit that we were to be Losing Madoff and Mourning the Disen- chantment of Elie Wiesel (whose character was later written out of Deb Margolin’s Imagining Madoff, slated to have opened our season before being withdrawn by the playwright as she contemplated its revision). Holtzman’s play was the strong finisher in a marathon selection frenzy where the goal was to fill a very particular slot; that of our August/October opener, hop-scotching the High Holidays—the momentous Days of Awe—playing while people prayed (or rather, before and after); a month of personal and collective reflection in our communal gathering spaces. Something You Did presents itself, like its season-opening predecessor, as both vigorously topical and a richly textured personal inquiry, taking on a dialectical perspective about the past—in this case, examining radical activism from a morally-critical point of view, while re-inscribing meaning to the legacy of a time we reverentially still refer to as “The ‘60s.” Holtzman’s play has stayed relevant by revising itself to keep up with the changing admin- istrations in the White House and the shifting political discourse in our land, as our media culture grows more toxic and the instruments for disseminating that vitriol grow more per- vasive and shrill. But more meaningful than its up-to-date plot points, Something You Did is galvanized by the embattled principles of its protagonist, displaying an almost classical sense of reckon- ing by the end. Alison Moulton may indeed be an emblem for our times in that she is, with- out question, a lightning rod; heroine to some; terrorist to others; an idealist who persists in keeping the faith, besmirched by violence, hubris, and bypassed by time; holding onto the hope that goodness might reemerge from within; that redemption might be achieved through acts of justice for sins committed; contrition for entitlement gone amuck. The actual transcript of Alison’s real-life precursor, Kathy Boudin, in her third appearance before the New York State parole board, reveals a woman still defending her principles while eloquently evincing self-knowledge, self-criticism, even self-belittlement; seeing in her younger self a flimsiness of identity and a need to be taken seriously, suggesting a desire to have impact while ignoring the impact that her actions had upon the victims who were just as legitimate in their pursuit of life as were the misfortunate she was trying to help. Alison enacts her own process of Truth and Reconciliation with the self and society. She forces us to see that we all wind up intersecting with history through various stages in our lives, and that history—both personal and collective—is one where we will inevitably do bad things, even while pursuing what we believe to be good. This play says, in no uncertain terms, that we all will have blood on our hands, and asks whether we will be worthy of being saved. Will our guilt ever end? How does this play end? How do we resolve with each other; we who find ourselves on opposite sides of political and cultural divides all the time now, having torn the fabric of our civil society in this toxic mud-sling we call the public realm? Let’s hope that in this theater, with this play, we might build toward a more perfect union. Happy New Year, and come on back for the exciting new season that lies ahead!

1 -Ari Roth Aaron & Cecile Goldman Theater/Morris Cafritz Center for the Arts August 28–October 3, 2010 presents SOMETHING YOU DID

By Willy Holtzman Directed by Eleanor Holdridge+

Cast Arthur Norman Aronovic* Gene Rick Foucheux* Lenora Aakhu Freeman* Alison Deborah Hazlett* Uneeq Lolita-Marie Artistic & Production Team Scenic Designer Luciana Stecconi Lighting Designer Jason Arnold** Costume Designer Frank Labovitz Sound Designer Veronika Vorel** Properties Designer Michelle Elwyn Production Stage Manager Roy A. Gross* Assistant Director David Conison Assistant Stage Manager Jill Berman Scenic Artist Amy Kellett Head Electrician Garth Dolan Sound Operator Daniel Risner Lighting Operator Stephanie P. Freed * Member of Actors’ Equity Association Dramaturgical Consultant Deryl Davis ** Member of United Scenic Artists Local 829 Casting Director Naomi Robin + Stage Directors and Choreographers Society The play will be performed without an intermission Produced through special arrangement with Broadway Play Publishing Inc. The script to this play may be purchased from B P P I at BroadwayPlayPubl.com Theater J would like to extend special thanks to Roz and Don Cohen, Chuck Fox of Arena Stage, Maureen Karl and the Arlington County Library, Burton Wides, Arena Stage at the Mead Center for American, David Streeter of National Jewish Democratic Council, Aurora Hill branch of Arlington County Library and Dan Murch of Cayenne Creative Something You Did was originally commissioned by Center Stage (Irene Lewis, Artistic Director) in Baltimore. It premiered at People’s Light and Theater Company in Malvern, PA, directed by Abigail Adams. It opened in New York in April, 2008, produced by Primary Stages in association with Nancy Cooperstein and Betty Ann Besch Solinger. Patrons are requested to turn off pagers, cellular phones and signal watches during performances. Please do not text message during the performance. The taking of photographs and the use of recording equipment are not allowed in this auditorium. 2 Theater J’s Angels Generous support for SOMETHING YOU DID provided by Evelyn Sandground & Bill Perkins 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 Natalie Abrams Amelia S. Mattler Trish Vradenburg Co-Chair Patty Abramson Jack Moskowitz Joan Wessel Paul Mason Michele G. Berman Elaine Reuben Rosa Wiener Co-Chair Deborah Carliner Evelyn Sandground Irene Wortzel Lois Fingerhut Mimi Conway Hank Schlosberg Margot Zimmerman Vice-Chair Myrna Fawcett Andy Shallal Mara Bralove Ann Gilbert Patti Sowalsky Treasurer Cheryl Gorelick Stephen Stern Ellen Malasky Carolyn Kaplan Manny Strauss Secretary Yoav Lurie Barbara Tempchin Washington DCJCC Leadership

President Mindy Strelitz Chief Financial Officer Judith Ianuale Chief Executive Officer Arna Meyer Mickelson Chief Development Officer Mark Spira Chief Operating Officer Margaret Hahn Stern Chief Programming Officer Joshua Ford Books for Prisons

In partnership with the Washington DCJCC Morris Cafritz Center for Community Service, Theater J invites audience members to bring in books to donate to local prison libraries through the DC Books for Prisons Project. The DC Books for Prisons Project provides a critical link between citizens who are incarcerated and those outside prison walls by sending donated reading material to prisoners and educating the public about issues sur- rounding prisoner education and literacy. Needed Donations Include: •Dictionaries (English, Spanish-English by far most popular request) •Atlases and almanacs •Learning a language (especially Spanish) •How-to (especially woodworking, plumbing, gardening, car mechanics, motor repair) Books can be used or new. All books must be paperback copies! Book-collection boxes will be located in the 16th Street Lobby from August 31–October 3 3 From The Playwright Think back to a time when protestors daily filled the streets; when bi- zarrely dressed activists denounced government officials in extreme and offensive ways; when Saul Alinsky provided the road map for mili- tant grassroots organizing. Now ask yourself this: when you think of that time, who is in the White House, Richard Nixon or Barack Obama? Something You Did takes aim at the paradoxical nature of American political life. It is inspired by real events, namely the parole appeal of one-time Weather Underground extremist Kathy Boudin, who was an accomplice in an armored car robbery that left three men dead, incluing an African-American police officer. Boudin’s release after more than 20 Willy Holtzman years in prison drew the fury of the PBA (Patrolmen’s Benevolent Asso- ciation) and the political right, yet no critic was more corrosive than former radical turned outspoken neo-conservative, David Horowitz. Horowitz was quick to label Boudin a terror- ist and equate her with “Islamofascists.” But he was not without his own moral baggage, having possibly contributed to the death of his colleague Betty van Patter through a mis- guided association with the Oakland Black Panthers. Sportswriters dream about contests that never were - Ali versus Marciano, the 1917 White Sox versus the 1961 Yankees. Playwrights are driven to draw unacquainted antagonists into a common dramatic arena. Something You Did is about the collision of the ‘60s New Left and the post-9/11 New Right, lately known as the Tea Party. It asks whether the radi- cal sins of the past can be forgiven even as the reactionary sins of the present multiply. So why have I fictionalized a story based on public figures? Because as Emerson famously said, “Fiction reveals truth that reality obscures.” This play is not merely the literal stuff of polemics and political pundits. It is meant to go to the very core of who we are as a people. In a truly personal way it asks whether we are victims of terror, perpetrators, or both? I am a child of the ‘60s and these are the questions that compelled me to write this play. I’m not interested in some nostalgic romanticization of the past or, for that matter, a facile denunciation of it. I’m interested in the way the past reaches into the present - the way a Presidential candidate can be excoriated for seemingly casual contact with a reformed self-confessed bomber. Is the past a contagion to be eradicated at all costs? Is it a kind of moral Mobius strip that loops back on itself in a continuum of political reversal? Or, as Bob Dylan put it somewhat prophetically in Subterranean Homesick Blues, is it simply his- tory repeating itself? Look out, kid/It’s somethin’ you did God knows when/But you’re doin’ it again....

An iconic SNCC poster, based on a photograph by Danny Lyon

4 Dramaturgy Who is Alison Moulton? Something You Did introduces us to the fictional protagonist Alison Moulton, a character with a number of non-fictional ties. The play suggests that Alison was a member of a radical left-wing organization that emerged in the late-1960s; a group we immediately identify as the Weathermen. The Weathermen initially formed as a splinter group of SDS (Students for a Democratic Society). Founded in late 1959, the SDS had strong involvement in the civil rights move- ment. SDS was initially guided by the Port Huron Statement, a political manifesto that laid out a philosophy for post-Vietnam America. As US involvement in Vietnam grew, so too did SDS membership. By April of 1965, SDS was able to organize a march on Washington, DC, beginning a more militant phase in the organization’s history which included taking over college campuses and occupying administration buildings of schools across the country. As the war continued on, more and more groups splintered away from the SDS, until its dis- solution in the mid-1970s. The most infamous offshoot of the SDS became known as the Weathermen. The Weathermen first came to prominence at a 1968 SDS meeting where a pamphlet (written by Weathermen founders Bernadine Dohrn, Bill Ayers, and John Jacobs) enti- tled “you don’t need a weatherman to know which way the wind blows” (quoting Bob Dylan’s Subterranean Homesick Blues) called for radical revolution in line with The Black Panthers. The culmination of this early phase were the Days of Rage riots, a four-day, violent demonstration that coincided with the trial of The Chicago 7. The increasing internal splintering of the SDS allowed Dohrn to lead an overt takeover in 1969. The Weathermen became the effective leaders of the SDS, with all official SDS propaganda and literature promoting the Weathermen agenda. The cover of an organizing In late 1969, the Weathermen held the last SDS “National Coun- pamphlet for SDS, 1969 cil” meeting where they discussed how to organize cells, what it meant to go underground and terrorist protest tactics. The Weath- ermen hoped to organize semi-autonomous cells under a central leadership in almost every major city. In actuality, only a few cells were effective, with New York City (led by John Jacobs and Terry Robbins) comprising the largest numbers. In March 1970, a nail bomb blew up a Greenwich Village town house being used as a Weathermen safe house. The blast killed several members of the NYC leadership, includ- ing Terry Robbins. Robbins’ girlfriend, Cathy Wilkerson, and fellow Weatherman Kathy Boudin escaped the blast. Though the incident hurt morale within the group, The Weathermen endured and the remaining members decided to go underground. Now the Weather Under- ground, followers assumed fake identities. Firemen contain a blaze caused by an accidental bomb detonation at a Weathermen hideout in Greenwich Village 5 DramaturgyAbout the Artists

As the Weather Underground, the group embarked on a series of bombings. People were not targeted; rather warnings were issued shortly before each blast in order to eliminate ca- sualties. Notable bombing targets included The Pentagon and NYC Police Headquarters. As the fervor of the anti-war movement died down towards the end of the 1970s, many members came out from underground and surrendered to the authorities. The remaining few continued to attack targets through the early 1980s, one of which resulted in the arrest of Alison Moulten’s closest true-life parallel, Kathy Boudin. Kathy Boudin was born in 1943 to a wealthy family in Manhat- tan, with a history of leftist politics. Her father was lawyer Leonard Boudin, known for rep- resenting figures like Fidel Castro, Paul Robeson, and a number of those subpoenaed by the House Un-American Activities Commit- tee. Boudin was actively involved in the Weathermen from the be- ginning. She was one of the only survivors of the Greenwich Vil- lage town house explosion, and while awaiting trial she fled un- derground. In 1981 Boudin and several members of the Weath- A 1970 FBI wanted poster seeking Bill Ayers, er Underground and the Black Kathy Boudin, Judith Clark, and Bernadine Dohrn Panthers planned and executed a robbery of a Brinks armored car in Rockland County, New York. The robbery was botched, resulting in the death of three men: a security guard and two police officers. Boudin was apprehended as she fled. At her trial, lawyer Leonard Weinglass (who worked for Leonard Boudin) managed to get a plea bargain that sentenced Boudin twenty years to life. At her third parole board hearing, in August, 2003, Boudin was asked to reflect on the ways in which prison had changed her. The following is excerpted from her response.

“It’s hard to face the suffering when you’re responsible for people’s death. I first got my- self on my feet in here, and then after I felt a little time had gone by, I wanted to face it. I wanted to read the newspapers and know what I was responsible for. I wanted to meet people who had suffered because of what I had done. I had the fortunate experience of meeting one of the women that was the victim of the crime…and the experience of meet- ing with her was the beginning of my hearing her on a personal level of what it was like to be in a robbery and what it meant…And I tried to imagine what it was like the morning that Patrick Paige left and said goodbye to his wife, and then he’s just doing his job and a robbery happens and he’s killed. And I just felt that I will always live with that responsibil- ity. And also that this 22 years, and I feel that remorse has also given me hope that I don’t have to be frozen in that past, that by feeling the remorse that I feel it allowed me to change and that I have a dream of being able to go home and take the really hard lesson and be able to work at home and do things and just be a normal hard working person. Thank you.” Boudin served 23 years. In 2003, she successfully achieved parole. - Compiled by David Conison and Shirley Serotsky 6 About the Artists Norman Aronovic (Arthur) Most recently appeared at Gala Hispanic Theatre in Beauty of the Father. At the Ford’s Theatre grand re-opening he was seen as the abolitionist John Brown in The Heavens Are Hung In Black. He appeared at The Olney Theatre Center as Rabbi Verble in King of the Jews and at the Shakespeare Theatre Company he was part of the Ensemble in the Helen Hayes Award winning production of King Lear, directed by Robert Falls and starring Stacy Keach. Here at Theater J he was seen in Pangs of the Messiah and David in Shadow and Light, and at Woolly Mammoth Theatre Company as Lenny in Billy Nobody. On the west coast he portrayed Mark in Deep Eyes at the Los Angeles Theatre Center and at Theatre Geo in Hollywood as the Direc- tor in Intermission. For L.A. Theatre Works he recorded the Telephone Repairman in Barefoot in the Park and at the Laguna Beach Playhouse appeared in Breakfast with Les and Bess. Norman has appeared in the films The Pelican Brief and Species 2. He has also appeared on television in episodes of The Wire, Homicide, Unsolved Mysteries and A Man Called Hawk. Rick Foucheux (Gene) returns to Theater J with much excitement as an Associate Artist-in-Residence. He will also appear this season in The Odd Couple and in The Chosen, adapted and directed by Aaron Posner in Theater J’s guest company residency at Arena Stage. Rick has been performing in Washington’s vibrant theatre scene for 26 years. His previous appearances with Theater J include Ari Roth’s Born Guilty, Peter and the Wolf and Talley’s Folly, for which he received a Helen Hayes Award nomination. He also per- formed in Theater J’s co-production of Homebody/Kabul with Woolly Mam- moth Theatre Company. In 2008, Rick appeared as Willy Loman in Arena Stage’s revival of Death of A Salesman, and he was recently featured there in R. Buckminster Fuller: The History (And Mystery) of the Universe. Rick played Mr. Van Daan in Roundhouse Theatre’s The Diary of Anne Frank, Erie Smith in Hughie at the Washington Stage Guild, Sir Toby in the Shakespeare Theatre’s Twelfth Night, the title role in Folger Theatre’s I Henry IV, and Stephen Douglas in last season’s The Rivalry at Ford’s Theatre. He also appeared at New York’s Irish Repertory Theatre in their 2009 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. Aakhu Freeman (Lenora) appeared recently in Much Ado About Nothing at the Folger Theatre with Timothy Douglas as director and The Soul Collector at Everyman Theatre with Jennifer Nelson as director. Other credits include Insurrection: Holding History and The Bluest Eye at Theatre Alliance, di- rected by Timothy Douglas and David Muse, respectively; Our Lady of 121st Street at Woolly Mammoth Theatre Company, directed by John Vreeke; The Amen Corner at ACTCo, directed by Darryl V. Jones; Fences at Everyman Theatre, directed by Jennifer Nelson; The Great White Hope and All My Sons with M. Emmett Walsh at Arena Stage, directed by Molly Smith and Cat on a Hot Tin Roof at the Kennedy Center, directed by Mark Lamos. She also appeared in the filmTalk To Me and the Showtime special presentation Middle Passage -N- Roots. Ms. Freeman holds a BFA from Howard University, and an MA from American University. Deborah Hazlett (Alison) has appeared in Bug at Syracuse Stage, Frozen at Playmaker’s Repertory Theatre and Hamlet and A Midsummer Night’s Dream at the Folger Shakespeare Theatre. At Florida Stage, she appeared in The Count and Mezzulah 1946. She has been in eight productions at The Shake- speare Theatre Company, including Henry IV Parts I and II, The Taming of the Shrew, Twelfth Night and Macbeth. At Woolly Mammoth Theatre Company, she performed in the US premeire of Bug. Ms. Hazlett appeared in Crave and The Blue Room at Signature Theatre. She recently received a Helen Hayes nomination for Best Ensemble for Rabbit Hole at Olney Theatre Center. At Baltimore’s Everyman Theatre, she has appeared in Much Ado About Nothing, Sight Unseen, Betrayal, Candida, Frankie and Johnny in the Claire de Lune, Uncle Vanya, Hedda Gabler, Side- man, Proof, and The Pavilion, as well as A Delicate Balance, Watch on the Rhine, The Crucible, The Road to Mecca, Voir Dire and Cat on a Hot Tin Roof. She was in Arcadia at Rep Stage, and at Totem Pole Playhouse she appeared in Crimes of the Heart, Proof, and Sylvia. Ms. Hazlett’s 7 About the Artists cont. film and television credits includeLaw and Order, Homicide, and Young Americans. She earned her MFA at the Univesity of South Carolina, and narrates books for Harper Collins and BBC America.

Lolita-Marie (Uneeq) is thrilled to be making her debut with Theater J! Recent credits include Blues for an Alabama Sky with Angelisa Gillyard as director for African Continuum Theatre; The Vagina Monologues with Grace Overbeke, Christie Walser, and Rayona Young as directors at Silver Spring Stage; The Constellation with Jessica Burgess as director at Active Cultures Theatre; Rai- sin in the Sun with Richelle Howie as director at Tantallon Players and Doubt with Gloria Dugan as director for Elden Street Players. Lolita has appeared in the film Too Saved (Shuaib Mitchell, director). Lolita holds an MBA from Johns Hopkins University and a BA from Howard University. For a full resume, visit www.lolitamarie.com. Lolita-Marie thanks God for his continual blessings and her family and friends for their love and support!

Willy Holtzman (Playwright) Plays include The Morini Strad (PlayPenn, Perry-Mansfield New Play Festival, regional premiere this fall at City Theatre Company), The Real McGonagall (New Harmony Project Walt Wangerin Fellowship, regional premiere this season at Portland Stage), Something You Did (Primary Stages, People’s Light and Theatre), Sabina (Primary Stages, New Jewish Theatre, Portland Stage Little Festival), Hearts (People’s Light and Theatre, Asolo Theatre, Baltimore Center Stage, Long Wharf Theatre, Northlight Theatre, Alliance Theatre, New Jewish Theatre, Barrymore Award, Award, Smith and Kraus Best New Plays), Bovver Boys (Primary Stages, Cleveland Play House, Berkshire Theatre Festival, Curtain Theatre), The Closer ( GeVa Theatre - Davie Award, Working Theatre), Inside Out (Theatre for a New Audience, Portland Stage, Nebraska Rep), Blanco (book, Goodspeed Opera House), San Antonio Sunset (New York, Los Angeles, London, Dublin, Bombay; Best Short Plays) and White Trash (West Bank Downstairs Cabaret). For film and television he has written Edge of America (Peabody Award, Humanitas Prize, Writers Guild Award, Sundance Film Festival Opening Night 2004), Voices in Conflict (Emmy Nomination), Blood Brothers (HBO, Cine Golden Eagle Award). Willy received the HBO Award at the National Playwrights Conference. He was a Lila Wallace resident playwright at Juilliard, and he serves on the board of directors at New Dramatists and Harlem Stage Company.

Eleanor Holdridge (Director) Off-Broadway productions include Steve & Idi by David Grimm at the Rattlestick Playwrights Theatre, Cycling Past The Matterhorn at the Clurman Theatre, The Imaginary Invalid and Mary Stuart at the Pearl Theatre Company. Among her regional produc- tions are Gee’s Bend (the Arden Theatre), The Crucible and Much Ado About Nothing (Per- severance Theatre); Noises Off, Art and The Blond, The Brunette and the Vengeful Redhead (Triad Stage); Julius Caesar and Macbeth (Milwaukee Shakespeare); The Two Gentlemen of Verona (Alabama Shakespeare Festival); Hamlet (premiere, national tour and remount) and As You Like It, Lettice And Lovage, The Tempest and Twelfth Night (Shakespeare & Company); A Midsummer Night’s Dream (Shakespeare Festival of St. Louis); Henry V (Shakespeare On The Sound); The Taming Of The Shrew and The Tempest (Philadelphia Shakespeare Festival); Be- trayal (Portland Stage Company); The Lion In Winter (Northern Stage); and The Cenci and The Two Noble Kinsmen (Red Heel Theatre Company). In the past, she has held positions as Artis- tic Director for the Red Heel Theatre Company, Resident Assistant Director at the Shakespeare Theatre and Resident Director at New Dramatists. She has directed and taught students at the Yale School of Drama, NYU’s graduate program and the Juilliard School, among others, and just moved to DC as Head of the Directing Program at The Catholic University of America. She holds an MFA from Yale School of Drama.

Luciana Stecconi (Scenic Designer) is a set designer and scenic artist currently based in the Washington DC metro area. Recently she designed the set for Zero Hour at Theater J; In The Red and Brown Water, The Year of Magical Thinking, Stoop Stories, Amnesia Curiosa (created and performed by rainpan43), Souvenir, and Lypsinka: The Passion of the Crawford at The Stu- dio Theatre. She also designed A Beautiful View, All That I Will Ever Be, Crestfall, That Face and 60 miles to Silver Lake for The Studio 2ndStage. Other credits include Wandering Alice (cre- 8 About the Artists cont. ated and performed by Nichole Canuso Dance Company in Philadelphia), The Two Orphans and Scenes From An Execution for the Brandeis Theatre Company. Luciana holds an MFA in Set Design and Painting from . She is the recipient of the 2006 Ira Gersh- win prize, and was named the 2010 Outstanding Emerging Artist at the Mayor’s Arts Awards.

Jason Arnold (Lighting Designer) Previous designs for Theater J include Zero Hour, Honey Brown Eyes, Sandra Bernhard’s Without You I’m Nothing, The Price, Family Secrets, A Bad Friend, Oh the Innocents and Talley’s Folly. Other lighting design credits include Resurrection (Philadelphia Theatre Company, Hartford Stage), Emergence-See! (Arena Stage), The Never- ending Story, The Jungle Book, Junie B. Jones, Seussical and Bunnicula (Imagination Stage) and Intelligence, The Santaland Diaries, A Shayna Maidel and Mrs. Farnsworth (Rep Stage). Jason teaches at American University.

Frank Labovitz (Costume Designer) is pleased to be working once again with the wonderful people at Theater J, where he has previously designed Sholom Aleichem: Laughter Through Tears and the staged readings of Shlemiel the First and Shylock. He has designed costumes for many area theatres including Woolly Mammoth Theatre Company, The Olney Theatre Cen- ter, Studio Theatre, Second Stage, Imagination Stage, Rorschach Theatre, Theater Alliance, Catalyst Theater, The National Players and The Potomac Theatre Project. Frank received an MFA from The University of Maryland.

Veronika Vorel (Sound Designer) has designed Mikveh at Theater J; Full Circle, Eclipsed and Fever/Dream at Woolly Mammoth Theatre Company; Black Pearl Sings! at Ford’s Theatre; The Way of the World at the Shakespeare Theatre Company; Alice at Round House Theatre; Arcadia and Henry IV Part One at Folger Theatre and The Bread of Winter at Theatre Alliance. Regionally, she designed Anything Goes at the Kansas City Starlight Theatre; Boleros For the Disenchanted at the Yale Repertory Theatre and Peer Gynt and Titus Andronicus at the Yale School of Drama. She was a member of the Sound Design Staff for West Side Story on Broad- way and at the National Theatre. Ms. Vorel received her training at the Prague Conservatory of Music, California Institute of the Arts and the Yale School of Drama. She garnered three Helen Hayes Award nominations for her work in the 2009 season.

Michelle Elwyn (Properties Designer) designed the properties for Theater J’s Mikveh, Lost in Yonkers, The Accident, The Seagull on 16th Street, Honey Brown Eyes, David In Shadow and Light, Speed the Plow, Pangs of the Messiah, Either Or, Sleeping Arrangements, Pica- sso’s Closet and The Disputation. Other props design projects include: The Picture of Dorian Gray, Permanent Collection, Camille and A Prayer for Owen Meany at Round House Theatre; 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, Jitney at Ford’s Theatre; Assassins at Signature Theatre; Afterplay, The Life of Galileo; The Shape of Things, Privates on Parade and Hambone at The Studio Theatre. She has also co-designed stage sets for Marsha Norman’s Getting Out at Florida Studio Theatre and the Ringling Mu- seum of Art’s Medieval Fair.

David Conison (Assistant Director/Dramaturg) is the co-founder and director of La Rinascita, an international theater ensemble that creates original, experimental works for the stage. With La Rinascita, David co-wrote and directed The Fugitives which played DC (Capitol Hill Arts Workshop), Prague (Divadlo na Pradle), and Chicago (Dream Theater). David and La Rinascita were selected as artists in residence for Montana Artists Refuge from October to Decem- ber 2010, where they will create and premiere new work. David holds a BA from American University and has studied with Dell’Arte School of Physical Theater (Blue Lake, CA) and at the LaMaMa E.T.C. Director’s Symposium (Umbria, IT). For more information, visit him at www. LaRinascitaTheatre.com

Roy A. Gross (Stage Manager) recently was the stage-manager for Theater J’s New Jeru- salem: The Interrogation of Baruch de Spinoza. He has worked as a producer, production manager, stage manager, and writer in the DC metro area for ten years. A proud member of Actors’ Equity Association, he serves as a member of the DC/Baltimore AEA Liaison Commit- tee and the regional campaign coordinator for Broadway Cares/Equity Fights AIDS. Roy had 9 About the Artists cont. the privilege of stage managing Tribute Productions’ Beyond Glory, bringing the piece to the US Military around the world as part of Operation Homecoming, a program jointly sponsored by the National Endowment for the Arts and the Department of Defense. Roy is the recipient of a US Army Southern European Task Force Scroll of Appreciation, US Army 282nd Base Support Battalion Scroll of Appreciation, and a League of Washington Theatres Offstage Honor Award. Currently Roy is the Executive Director of Artists’ Bloc, an organization that presents the devel- oping performing art work of over 40 creating artists each year.

Ari Roth (Artistic Director) is beginning his 14th season as Artistic Director at Theater J where, together with a dedicated staff, he has produced 93 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 produc- tions 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, based on the book by Peter Sichrovsky, together with its sequel, The Wolf in Peter (a fused version of both plays will be presented October 17, 2010 at the Museum of Jewish Heritage by the Epic Theatre Ensemble, featuring Rick Foucheux). His adaptations include The Seagull on 16th Street, Still Waiting (companion to Waiting for Lefty); Remaking a Melting Pot; the American adaptation of Hillel Mitelpunkt’s The Accident, and his current Ali Salem Rides Again, based on Ali Salem’s travel memoir, A Drive To Israel: An Egyptian Meets His Neighbor. His plays have been nominated for five Helen Hayes Awards, including Best Resident Produc- tion and two Charles A. MacArthur Awards. He is a 1998 and 2003 recipient of a National En- dowment 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 Myrtle 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 for 14 years, currently for their “Michigan in DC” program, as well as for Brandeis, NYU and Carnegie Mellon Universities.

Patricia Jenson (Managing Director) is pleased to be in her eighth season with Theater J. After over 500 performances as an actress in Minnesota, her second career has her oversee- ing personnel, budgets, ticket services, fundraising and council relations. She graduated with a degree in both Theater and Economics from The George Washington University and interned with Arena Stage. In 2008 she received the Washington DCJCC’s Lynn Skolnick Sachs Award for Program Excellence.

Theater J Staff

Artistic Director Ari Roth Managing Director Patricia Jenson Production Manager Delia Taylor Director of Marketing and Communications Grace Overbeke Marketing & Group Sales Associate 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 Tom Howley Master Carpenter Ellen Houseknecht MCCA Associate Technical Director Daniel Risner Construction & Load-in Crew Antonio Bullock, Ellen Houseknecht, Tad Howley, Kevin Laughon, Cathryn Salisbury-Valerien and Adam Wyron Front of House Raha Behnam, Bonnie Berger, Elizabeth Heir, Katherine McCann and Hadiya Rice

For a full list of Theater J staff bios, visit theaterj.org and click on “About Us” 10 Next Up At Theater J

THE ODD COUPLE By Neil Simon The Annual Arthur Tracy “The Street Singer” October 23–November Endowment 28 Production

Directed by Jerry Whiddon Featuring Rick Foucheux and J. Fred Shiffman With Lise Bruneau, Marcus Kyd, Paul Morella, Helen Pafumi, Jefferson Russell and Michael Willis. BUDDIES BANTER BELLY-LAUGHS THE KINSEY SICKS IN OY VEY IN A MANGER December 18–January 2

SASSY SENSATIONAL SUBVERSIVE “If Dame Edna somehow mated with the Bobs, their offspring might resemble The Kinsey Sicks, a San Francisco-based drag quartet that apparently has never encountered a tune it couldn’t twist and bend to suit its own wickedly amusing purposes” - The Washington Post

THE CAMERI THEATRE

OF TEL AVIV PRESENTS Directed by Sinai Peter RETURN TO HAIFA Adapted by Boaz Gaon from the novella Adapted by Boaz Gaon by Ghassan Kanafani January 15–30 HISTORY HOME HUMANITY

Performed in Hebrew with English sur-titles. 11 THE ODD COUPLE By Neil Simon October 23–November 28

Parking at the Washington DCJCC N

Q Street WASHINGTON DCJCC PARKING LOT WASHINGTON 17th Street 17th 16th Street 16th 14th Street 14th Limited parking available. Street 15th DCJCC P COLONIAL PARKING 1616 P Street between THEATER J 16th & 17th Streets, just 2 blocks away! P Street P Parking-1616 P St. (Colonial Garage)

12 Additional Programming for SOMETHING YOU DID Theater J is dedicated to taking its dialogues beyond the stage, of- fering an array of innovative public discussion forums and outreach programs which explore the theatrical, psychological and social elements of our art. Discussions take place weekly, following Sunday matinees and other selected evenings. All topics, panelists and dates are subject to change. For additional discussions, names of panelists, and updates, please visit theaterj.org.

Saturday, August 28, 9:30 pm: Post-Preview Talkback Sunday, August 29, 9:00 pm: Talkback with the Playwright and Creative Team Sunday, September 5, 4:30 pm: Our new Intercultural forum, Scripture Unscripted: Clerical Perspectives on Protest & Punishment, Prisons & Parole

Sunday, September 12, 4:30 pm: How the 1960s Changed the World

9:00 pm: When Protest Comes to Shove: How Far is Too Far?

Thursday, September 16, 9:00 pm: Cast Talkback Sunday, September 19, 4:30 pm: Switching Sides: Neo-Conservatism and the

Journey of Gene Biddle Sunday, September 26, 4:30 pm: Protest Movements and the Internet: Political Activism Yesterday and Today Tuesday, September 28, 9:00 pm: Peace Café: Defining Terrorism The Return of the 5 X 5: Playwrights respond to SOMETHING YOU DID Sunday, October 3 at 4:30 pm: Scenes from “After the Revolution”

Theater J invites local playwrights to respond to the pertinent issues of smear politics, 1960s revisionism, the desire to rejoin society, and the anti-war movement, as dramatized by Something You Did. Playwrights are asked to attend a performance, then write a five min- ute play inspired by the show. Five of these plays will be chosen to be read by professional actors following the October 3 matinee of Something You Did.

The deadline for play submission is Friday, September 15, 2010. Plays can be submitted via email to [email protected]. Call (202) 777-3228 or email for more information.

Upcoming Readings

On selected weekday afternoons, professional actors read the best new work emerging from the Arlene and Robert Kogod New Play Development Program in an intimate setting with tea and cookies. All readings are $5. Monday, September 27 at 2:00 pm HAYMARKET By Zayd Dohrn The true story of the terrorist bombing that rocked the city of Chicago in the summer of 1886. The play begins moments after the dynamite is thrown, and follows the lives of anarchists, policemen, elected officials, and ordinary citizens in the aftermath of tragedy and through the first “red scare” in American history. Join us for more readings in the fall! All dates and times posted at theaterj.org 13 Save The Date: One Night Only! Join us on Monday, February 28, 2011 for a benefit performance of Neil Simon’s the SUNSHINE BOYS Starring Theodore Bikel of SHOLOM ALEICHEM: LAUGHTER THROUGH TEARS

Currently on tour in Europe and across the US!

Jim Brochu of ZERO HOUR Now Off-Broadway at the DR2!

With an All-Star DC Supporting Cast! Directed by Derek Goldman Early-bird Special: Save 20% on tickets before December 1 Tickets are on sale now at (202) 777-3225 or theaterj.org

14 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 the following generous donors who gave during the 2010 fiscal year and allowed us to meet our 2009/2010 season budget. We also gratefully acknowledge those who have given since July 1, 2010 towards our 2011 fiscal year (as indicated by a carrot ‘^’). 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 August 11, 2010.) Executive Producing Betsy Karmin & Manny Strauss Betty L. Ustun^ Show Sponsor Sandra & Arnold Leibowitz Beverly Walcoff ($25,000 and above) Zena & Paul Mason Anthony & Janet Walters The Robert M. Fisher Faye & Jack Moskowitz Diane Abelman Wattenberg Memorial Foundation^ Al Munzer & Joel Wind The Jewish Federation of Diane & Arnold Polinger Sholom Asch Admirer Greater Washington^ Elaine Reuben ($350 - $499) The Shubert Foundation Loretta Rosenthal Richard Arndt The National Endowment for the Arts Joan Wessel Bonnie & Jere Broh-Kahn Brenda Gruss & Daniel Hirsch Wendy Wasserstein Grand Angel Arthur Miller Mentor Deborah Lerner Cohen & ($15,000 - $24,999) ($1,500 - $2,499) Edward Cohen Arlene & Robert Kogod Susan & Dixon Butler Eugene Herman Charlotte & Hank Schlosberg Ruth & Mortimer Caplin Estelle & Irving Jacobs Patti & Jerry Sowalsky^ Mimi Conway & Dennis Houlihan Cookie Kerxton The George Wasserman Barbara Kurshan Dana & Ray Koch Family Foundation Chaya & Walter Roth Iris & Michael Lav^ Marjan & Andy Shallal^ Yoav Lurie Harold Clurman Champion Angel Victor Shargai Ellen & Gary Malasky^ ($10,000 - $14,999) Margot & Paul Zimmerman Michelle Sender Carolyn & Warren Kaplan Suzan & Ronald Wynne David Mamet Muse The Jacob & Charlotte ($1,000 - $1,499) Paddy Chayefsky Champion Lehrman Foundation Agatha & Laurence Aurbach ($175 - $349) Trish & George Vradenburg Mara Bralove & Ari Fisher Anonymous Irene & Alan Wurtzel Jane & Charlie Fink Rabbi & Babs Abramowitz

Ann & Frank Gilbert Collaborating Angel Cecily Baskir & John Freedman Marjory Goldman ($7,500 - $9,999) Goldie Blumenstyk^ Shoshana & Peter Grove Deborah Carliner & Robert Remes^ Susan & Steven Bralove Ira Hillman & Jeremy Barber The Max & Victoria Beth Chai - Greater Washington Rachel Jacobson & Eric Olsen Dreyfus Foundation Jewish Humanist Congregation Rona & Allan Mendelsohn Jacqueline & Marc Leland Mady Chalk Melanie Franco Nussdorf & Evelyn Sandground & Bill Perkins Rosalind & Donald Cohen* Lawrence Nussdorf Ellen & Bernard Young Edward Collins Toby Port Hillary & Jonathan Reinis David Culp Joseph Papp Producing Angel Margaret Hahn Stern & Stephen Stern Susan & George Driesen ($5,000 - $7,499) Saul Stern* Alison Drucker & Thomas Holzman Patty Abramson & Les Silverman Susan & Jay Finkelstein Esthy & James Adler Neil Simon Stage Benefactor Debra Goldberg & Seth Waxman American Jewish World Service ($500 - $999) Jeanette & Leonard Goodstein The Family of H. Max & Josephine F. Margery Cunningham Martha Winter Gross & Robert Tracy Ammerman and Andrew Ammerman Miriam J. Cutler & Paul Saldit Elizabeth Grossman & Ryna, Mel, Marcella & Neil Cohen Steven des Jardins^ Lois & Richard England Joshua Boorstein Barbara & Samuel Dyer Lois & Michael Fingerhut Ritalou Harris Robert Eager Cheryl Gorelick Lauren & Glen Howard Ina Ginsburg^ Hamilton Street Family Foundation Julie Jacobson Frances Goldman G. Scott Hong Rebecca Klemm Paula Siegle Goldman Barbara & Jack Kay Nal Krucoff^ Michael Gottesman Judy & Peter Kovler Michael Lang Meliha & Joshua Halpern Marion & Larry Lewin Arthur Le Van Edith & Arthur Hessel The Omega Foundation Joy Lerner & Stephen Kelin Rosalyn & Gary Jonas Rosa Wiener Freddi Lipstein & Scott Berg Judy & Leo Zickler^ Dianne & Herbert Lerner Amelia & Mike Mattler Pat & Larry Mann Tina Martin & Mita Schaffer^ Lillian Hellman Supporting Angel Jeff Menick Trudy & Gary Peterson^ Caroline & Michael Mindel ($2,500 - $4,999) Janice & Andy Molchon Natalie & Paul Abrams Shira Piven & Adam McKay Tina & Albert Small Jr. Sue Morss^ Michele & Allan Berman Undine & Carl Nash Embassy of Israel Marsha E. Swiss & Ronald M. Costell Barbara & Stanley Tempchin Louisa Foulke Newlin & Myrna Fawcett William Newlin Lisa Fuentes & Tom Cohen^ Francine Zorn Trachtenberg & Stephen Joel Trachtenberg Muriel Miller Pear 15 Friends Of Theater J Continued Barbara Rappaport^ Ruth & Barry Fishman Johana McCarthy Erica & Doug Rosenthal Richard Frankel John McGraw Faye & Norman Seltzer Linda & Jay Freedman Gloria Meade Beverly & Harlan Sherwat Renee Gier^ Thomas Merrick Susan Talarico Stacie & Bruce Goffin Steven Metalitz John Tolleris F. Goldsman Neil Miller Debby & Donald Tracy Morton Goren^ Nancy & Richard Millstein In memory of Marjory Hecht Watson Hilton Graham Mona & Leonard Mitnick Marjorie & Allan Weingold^ Wendy Gray & Steven Pearlstein Dorothy Moss & Larry Meyer^ Linda Winograd Judith & Albert Grollman David & Margaret Nalle Carolyn & William Wolfe Merna & Joseph Guttentag Tena Nauheim & David Harrison^ Ellen Wormser Cindy Hallberlin & Joel Kanter Joan Nathan & Allan Gerson Richard Young Faye & Aaron Hillman Stephanie Paul Linda & Steven Hirsch Dori Phaff & Dan Raviv Ben Hecht Booster Ann Hoffman Suzy Platt ($75 - $174) Robert Honeygosky Nikki & Michael Rabbino Anonymous Lorna Jaffe Ellen Miles Ratner & Phillip Ratner Patricia Andringa Sarah Kagan Joan & Ludwig Rudel^ Leslie Barr Helene & Allan Kahan^ Leona & Jerrold Schecter Rosalyn Bass & James Greene Pamela Kahn Diane Schroth Byrna Bell Jean & Robert Kapp Rochelle & Richard Schwab Sharon Bernier^ Phyllis Kline & Norman Lord Steve Shapiro Sue Boley Dana & Ray Koch^ Arlene Farber Sirkin & Stuart Sirkin Andrea Boyarsky-Maisel Ellen Kolansky Janet Solinger Edith Bralove Adrienne Kohn & Garry Grossman Kathy Sreedhar David Cantor Nancy Korman Sandy Stern Wallace Chandler^ Beth Kramer^ Sandra Stewart Timothy Christensen William Kreisberg Helen & Jonathan Sunshine Margaret Sohn & Harvey Cohen^ Martin Krubit Elizabeth & Joel Ticknor David Connick Michael Lewis^ Stephanie & Fernando Hellen Darling & Brad Gray^ Hannah & Tim Lipman^ van Reigersberg Leona & Donald Drazin David Lipton Virginia & James Vitarello* Peter & Shelley Dreifuss^ Marjory & Sheldon London Jonathan Waxman Kenneth Dreyfuss Madeline & Gerald Malovany* Leslie H. Weisman Gitta Fajerstein Marlene & Ken Markison Stephen Werner^ Anne & Al Fishman^ Lynne Martin Phyllis & John Wimberly 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 + Brenda Gruss & Daniel Hirsch Michele & Allan Berman Ann Loeb Bronfman Tamara & Harry Handelsman Susie & Kenton Campbell The Robert M. Fisher Stuart Kurlander Deborah Carliner & Robert Remes Memorial Foundation National Endowment for the Arts Debra Lerner Cohen & The Jewish Federation of The Shubert Foundation, Inc. Edward Cohen Greater Washington Robert H Smith* Family Foundation Lois & Richard England Patti & Jerry Sowalsky Family Foundation $50,000 - $99,999 Rena & Michael Gordon The Morris & Gwendolyn $15,000 - $24,999 Susy & Thomas Kahn Cafritz Foundation Lisa & Josh Bernstein Judy & Peter Kovler DC Office on Aging Ryna, Melvin, Marcella & Neil Cohen Thelma & Melvin Lenkin Melanie Franco Nussdorf Ginny & Irwin Edlavitch Marion & Larry Lewin & Lawrence Nussdorf Susan & Michael Gelman Faye & Jack Moskowitz Howard & Geraldine Polinger Alexander Greenbaum Diane & Arnold Polinger Family Foundation Martha Winter Gross & Robert Tracy Deborah & Michael Salzberg ServeDC - The Mayor’s Office on Carolyn & Warren Kaplan Rhea Schwartz & Paul Wolff Volunteerism Barbara & Jack Kay The Abe & Kathryn David Bruce Smith Arlene & Robert Kogod Selsky Foundation United Jewish Endowment Fund Jacob & Charlotte Lehrman Foundation Francine Zorn Trachtenberg & Stephen Joel Trachtenberg $25,000 - $49,999 Charlotte & Hank Schlosberg Trish & George Vradenburg Jamie & Joseph A. Baldinger Schoenbaum Family Foundation Natalie Wexler & James Feldman Diane & Norman Bernstein George Wasserman Family Foundation, Inc. Carolyn & William Wolfe DC Commission on the Irene & Alan Wurtzel Arts & Humanities $10,000 - $14,999 Judy & Leo Zickler Louie & Ralph Dweck Patty Abramson & Les Silverman Esthy & Jim Adler 16 Washington DCJCC Donors Continued $5,000 - $9,999 Marsha Gentner & Joe Berman Marjory Goldman Academy of Motion Picture Debra Goldberg & Seth Waxman Paula Seigle Goldman Arts & Sciences The Aaron & Cecile Shoshana & Peter Grove American Jewish World Service Goldman Foundation Erwin Gudelsky The Family of H. Max & Josephine F. Roberta Hantgan Istituto Italiano di Cultura Ammerman & Andrew Ammerman Horning Brothers Corporation Rachel Jacobson and Eric Olsen Melinda Bieber & Norman Pozez Betsy Karmin & Manny Strauss JCC Association Max N. Berry Connie & Jay Krupin Sally Kaplan Ann & Donald Brown Barbara Kurshan Laine & Norton Katz Naomi & Nehemiah Susan & Samuel Lehrman Aviva Kempner Cohen Foundation Sandra & Arnold Leibowitz Ceceile Klein Sara Cohen & Norman Rich Edward Lenkin Linda Klein Rose & Robert Cohen Geoffrey Mackler Bette & William Kramer CrossCurrents Foundation Zena & Paul J. Mason Lisa Landmeier & Hugo Roell The Max & Victoria Dreyfus Alfred Munzer & Joel Wind Sandra & Stephen Lachter Foundation, Inc. PNC Bank Dianne & Herbert Lerner Embassy of Israel Points of Light Institute The Samuel Levy Family Foundation Lois & Richard England Posner-Wallace Foundation Steven Lockshin Federal Emergency Toni Ritzenberg Steven Lustig Management Agency Loretta Rosenthal Ellen & Gary Malasky Marilyn & Michael Glosserman Debra & Jonathan Rutenberg Peter Mancoll Cheryl Gorelick Sandra & Ivan Sabel Cathryn & Scot McCulloch Deborah Harmon & Robert Seder Charles & Lynn Schusterman Rona & Allan Mendelsohn G. Scott Hong Family Foundation Mid Atlantic Arts Foundation Humanities Council of Washington,DC Sanford Schwartz Lindsay & Aaron Miller William Kreisberg Sprint Foundation Patrice & Herbert Miller Jacqueline & Marc Leland Saul I. Stern* Shirlee Ornstein Joy Lerner & Stephen Kelin Katherine & Thomas Sullivan Glenna & David Osnos Elyse & Jeffrey Linowes Theatre Communications Peggy Parsons Linda Lipsett & Jules Bernstein Group, Inc. Ruth & Stephen Pollak MAZON: A Jewish Response to Hunger The Washington Post Company Toby Port Linda & Sid Moskowitz Matthew Watson Ravsak: The Jewish Community Kathy & Thomas Raffa Diane Abelman Wattenberg Day School Renay & William Regardie Judith & Herbert Weintraub Hillary & Jonathan Reinis Elaine Reuben Carol Risher Rae Ringel & Amos Hochstein $1,000 - $2,499 Paula & Bruce Robinson Beth Rubenstein & Evan Markiewicz Sandy & Clement Alpert Joan & Barry Rosenthal Lynn & John Sachs American Technion Society Chaya & Walter Roth Evelyn Sandground & Bill Perkins Agatha & Laurence Aurbach Jane Nathan Rothschild Emily Schoenbaum Dorothy Bennett Sharon Russ & David Rubin Tina & Albert Small Jr. Linda & Michael Berg Victor Shargai Barbara & Michael Smilow Tracy & Adam Bernstein Michael Singer Mindy Strelitz & Andrew Cornblatt Suanne & Richard Beyda Ann Sislen Lori & Les Ulanow Lynn & Wolf Blitzer Richard Solloway Joan Wessel Frances & Leonard Burka Jane & Daniel Solomon Rosa D. Wiener Susan & Dixon Butler Margaret Hahn Stern & Stephen Stern Ellen & Bernard Young Jane & Calvin Cafritz Marsha E. Swiss & Ronald M. Costell Rory & Shelton Zuckerman Ruth & Mortimer Caplin Embassy of Switzerland Mimi Conway & Dennis Houlihan Tabard Corporation $2,500 - $4,999 Toby Dershowitz Tikkun Olam Women’s Foundation of Anonymous Faith Diamond Greater Washington Rabbi & Babs Abramowitz Nava & Mark Ely Rita & David Trachtenberg Natalie & Paul Abrams Diana Engel United Way of the National Capital Area Amy & Stephen Altman Gayle & John Engel Marion & Michael Usher Larry Axelrod Laura & Michael Faino Lise Van Susteren & Jonathan Kempner Joan & Alan Berman Jane & Charlie Fink Cynthia Wolloch & Joseph Reid Elizabeth Berry Susan & Jay Finkelstein Margot & Paul Zimmerman Rita & David Brickman Linda & Jay Freedman Nicholas Chocas Geico Philanthropic Foundation Cyna & Paul Cohen Richard Gerber Due to space limitations, only donors of $1,000 Margery Doppelt & Larry Rothman German Embassy or more are listed. The Washington DCJCC would like to thank all of our many donors for the impor- Exxon Mobil Corporation Donna & Jon Gerstenfeld tant impact they have on our work. Myrna Fawcett Sarah & Bernard Gewirz Lois & Michael Fingerhut Cathy & Michael Gildenhorn Joanne Fungaroli Carol & Henry Goldberg * of blessed memory 17 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 Bronf- man Gallery, and the Literary, Music & Dance Department. Theater J produces thought-provoking, publicly engaged, personal, pas- sionate and entertaining plays and musicals that celebrate the distinc- tive 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 out- reach 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 Dar- fur, Mikveh and New Jerusalem, it’s no surprise that Washingtonian Maga- zine notes, “Theater J productions keep going from strength to strength.” Winner of the 2008 Mayor’s Arts Award for Excellence in an Artistic Dis- cipline, Theater J offers a number of additional programs including Artis- tic Director’s Roundtables, Peace Cafés, Tea @ 2 (a monthly reading se- ries) and the Passports Educational Program. Theater J has garnered support from the National Endowment for the Arts, Theatre Communica- tions Group (TCG) and The Shubert Foundation. Theater J is a member of the Cultural Alliance, the League of Washington Theatres, TCG and Photos the by Stan Barouh Association for Jewish Theatre. Josh Lefkowitz and Maureen Rohn Washington DCJCC in The Rise and Fall of Annie Hall 1529 Sixteenth Street NW Robert Prosky in The Price Washington, DC 20036 Alexander Strain and Michael Info: (202) 777-3210 or Tolaydo in New Jerusalem [email protected] Holly Twyford in Lost in Yonkers theaterj.org 18