HAIFA the SUNSHINE BOYS Starring Theodore Jim & Bikel Brochu

Save The Date: One Night Only! VaudevilleSave The isDate: in Vogue,One Night Burlesque Only! is Booming, And on Monday, February 28...

THE CAMERI THEATRE OF TEL AVIV’S A Benefit Concert Reading of Neil Simon’s RETURN TO HAIFA THE SUNSHINE BOYS Starring Theodore Jim & Bikel Brochu

Academy Award Nominee Recipient of Helen Hayes Award Co-Founder of The Cameri Theatre for Outstanding Lead Actor in a Non-Resident Production, 2010

Featuring Will Gartshore With James Konicek, Tonya Beckman Ross, Michael Russotto and Deidra LaWan Starnes Directed by Derek Goldman Tickets—starting at $150— are on sale now at (202) 777-3225 or theaterj.org

January 15–30, 2011

2 THE CAMERI THEATRE OF TEL AVIV’S RETURN TO HAIFA

Jim Brochu

Recipient of Helen Hayes Award for Outstanding Lead Actor in a Non-Resident Production, 2010

Featuring Will Gartshore With James Konicek, Tonya Beckman Ross, Michael Russotto and Deidra LaWan Starnes

Tickets—starting at $150— are on sale now at (202) 777-3225 or theaterj.org

January 15–30, 2011 From the Artistic Director I like to call The Cameri Theatre, “The Lincoln Center of Israel,” a sleek, white patina-clad campus in the heart of the cultural capital of the nation, flanked by an opera house and a performing arts library, offering toits 35,000 subscribers five performance spaces, from immense auditoriums to more intimate studios and a cabaret space, presenting work that spans the gamut from the finest in classical repertory to up-to-the minute, cutting- edge Israeli and international work. And so it is an immense honor to be able to host the Cameri troupe here in our nation’s capital for, what appears to be, their longest North American residency ever.

And what a vital, important project they bring to us, allowing us to experience an almost forbidden dialogue, between Arab and Jew, about 1948, critically examining a foundational narrative from when Israel became a state, triumphing in its actualizing of the Zionist dream, in all its legitimacy, while at the same time—whether by dint of circumstance, design, or the result of abject rejection—triggering the displacement of families and the unfolding of the Palestinian refugee crisis. An Important Encountering Even to convene this examination of opposing versions of history is to invite criticism from those who would criminalize mention of the word “Naqba,” or “Catastrophe,” the name that Palestin- ians use to describe the Arab-Israeli War of 1948 (even some Arabs living freely within Israel), while Jews the world-over refer to it as “The War of Independence.” A similar discrepancy per- tains to the 1967 Six Day War (the period immediately following wherein the bulk of this story takes place); a war that to most Israelis is regarded as a heroic triumph that saw the reunification of Jerusalem, while to others—be they Arabs living within Israel, or in surrounding countries and territories—an episode of national humiliation. How can a land comprised of such competing terminologies and meanings—a land fostering competing national aspirations—ever give rise to a peace between its inhabitants; a peace founded on mutual recognition, and a right to exist, and the necessary acceptance of the others’ historical predicament? In short, how to fuse from these two distinct historical narratives, a single, interwoven tapestry?

This production offers a sober lesson in the intricacies of attempting to negotiate such an attempt in the creation of Dov, or Khaldun (even his name is contested), the child of Palestinian parents, raised by Jewish Israeli survivors of the Holocaust. Can Dov/Khaldun, the peace child, soldier and prodigal son, be both Palestin- ian and Israeli, and can his two families support such a synthesis? On the other hand—and what makes this story so hopeful and so human—is his identity crisis really any different than any adopted child’s quest to determine where he be- longs? A Literary and Theatrical Achievement The brilliance of Ghassan Kanafani’s novella is that it creates a modern fable that resonates with tactile meaning, hewing to a realism in its pungent characteriza- tions and specificity of perspectives. The brilliance of Boaz Gaon’s adaptation is in Arab refugees crowding a British ship carrying them to Akko. May 1948. John Phillips the moment-to-moment reality in which these encounters between families (and within families) unfold. The liberation that our adapter established in writing freely through the plot-points of the novella—with full permission given by the Kanafani estate—allows for a realism in the dialogue which convinces us that emblematic events such as losing a child in the tumult of war, might actually, frighteningly, have happened.

2 From the Artistic Director cont. And the brilliance of the Cameri Theatre production is in its creation of a definitive Israeli reading of this classic Palestinian text, without attempting to mimic the didactic anthems that char- acterized some of the soliloquies in the original, written in 1968, and published a year later. The show’s first production introduced the resonant plot and pulsatingly-real characters to an Israeli public celebrating the 60th anniversary of the founding of the state of Israel in 2008. In the most generous way possible, it allowed the story to speak fairly, even-handedly, thrusting the central question before the public to experience and debate in the finest tradition of socio- political drama. Now in the winter of 2011, the production hits our city with the force and novelty of a time capsule landing in a backyard. How faded do the hopes for finding mutual recognition and a fully integrated two-state solution now appear? How foreign to look upon a courtyard in an Israeli city and find travelers from Ramallah sitting down for tea with a suspicious yet curi- ous Israeli host? Less than three years after its premiere, this Israeli Return to Haifa is more poignant than ever for all the cross-cultural dialogue and mutual reckoning that seems hardly to be taking place at all. Why Not in English? We are showing this play in Hebrew (and some Arabic) because that is the only way the Kanafani family wished the play to be shared in North America; as an Israeli adaptation; not the definitive English language version. There have been other versions of this tale in the Arabic speaking world, and there will be others to come, perhaps, someday, in English. This is a landmark Israeli effort to better understand one of the most seminal narratives in Pal- estinian literature. May we live to see many more such efforts, on both sides; of each reading and adapting the stories of the other to yield ever-more ques- tions, brighter light, and deep- er understanding.

At Last! We should note that a Cameri tour to Theater J was to have happened two years ago with Jewish families leaving the old city through Zion’s Gate. a different show, as we’d an- June 1948. John Phillips nounced and planned for the production of Plonter, an ensemble-devised piece in 19 scenes about the Gordian knot that represented the Palestinian-Israeli conflict, hop-scotching between Palestinian and Israeli characters living on both sides of The Wall, or The Fence, or The Separa- tion Barrier; call it what you will. The 21 person touring troupe proved too big for us to afford in the fall of 2008 as the economy turned and we lost key subsidizing of plane fares and hotel ac- commodations. Our economy hasn’t improved all that much—but our producing fortunes have— this time, in addition to support from the National Endowment for the Arts, the Mid Atlantic Arts Foundation and the DC Commission on the Arts and Humanities, we’ve received key funding from the Fisher Family Foundation, the law firm of Carliner & Remes which helped secure three different categories of travel visas, and a great deal from our good friends at the Carlyle Suites Hotel, as well as support for the Washington DCJCC’s Israel programming through the arts from the Jewish Federation of Greater Washington and key support for much of the cost of airfare from the Israeli government’s Ministry of Foreign Affairs, which helps to make available the finest in Israeli culture year after year. We’re grateful that this historic residency is able to take place. And we’re excited that this production will anchor a nine play Voices from a Changing Middle East Festival of readings and performance pieces exploring varying notions of home. Buy a Festival pass and take the entire journey with us. -Ari Roth 3 Theater J’s Angels This select group has provided generous support for RETURN TO HAIFA Natalie & Paul Abrams Zena & Paul Mason Anne & Ronald Abramson Mid Atlantic Arts Foundation Joan & Peter Andrews Joel Wind & Al Munzer Carliner & Remes, P.C. National Endowment for the Arts Carlyle Suites Hotel Patti & Jerry Sowalsky The DC Commission of Margaret, Sarah & Stephen Stern the Arts & Humanities In memory of Saul Stern Lois & Richard England Marvin Weissberg Lois & Michael Fingerhut The Abe & Kathryn Selsky Israeli Ministry of Foundation, Inc. Foreign Affairs Naomi & Nehemiah Cohen The Jewish Federation Foundation of Greater Washington 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 Hank Schlosberg Co-Chair Patty Abramson Andy Shallal Paul Mason Michele G. Berman Patti Sowalsky Co-Chair Deborah Carliner Stephen Stern Lois Fingerhut Mimi Conway Manny Strauss Vice-Chair Myrna Fawcett Barbara Tempchin Carolyn Kaplan Ann Gilbert Trish Vradenburg Vice-Chair Cheryl Gorelick Joan Wessel Mara Bralove Yoav Lurie Rosa Wiener Treasurer Jack Moskowitz Irene Wurtzel Ellen Malasky Elaine Reuben Bernard Young Secretary Evelyn Sandground Margot Zimmerman

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 4 Aaron & Cecile Goldman Theater/Morris Cafritz Center for the Arts RETURN TO HAIFA January 15–30, 2011 Theater J presents The Cameri Theatre of Tel Aviv’s Production of RETURN TO HAIFA Adapted by Boaz Gaon from the novella by Ghassan Kanafani Directed by Sinai Peter Cast Saffiyeh Raida Adon Sa’id Suheil Haddad Dov Erez Kahana Miriam Rozina Kambos Artzi Michael Teplitsky Ephraim Nisim Zohar Artistic & Production Team Scenic Designer Frida Shoham Lighting and Projection Designer Klyph Stanford** Costume Designer Ofra Confino Director of International Relations & Tour Manager Ifat Tubi The Arlene and Robert Kogod New Play Development Program Stage Manager Nissan Zehira Arlene & Robert Kogod Assistant Director Jason Schlafstein Assistant Stage Manager Jay Chiang Sur-title Coordinators Lena Sulpovar, Nayab Hussain Music Mika Dany ** Member of United Scenic Artists Local 829 Properties Michelle Elwyn Wardrobe Jenny Bernson, Paula Wang Board Operators Elliot Lanes, Aaron Waxman Theater J and The Cameri Theatre would like to extend Special Thanks to: The Jewish Federation OF GREATER WASHINGTON

NATIONAL Israeli Ministry ENDOWMENT of Foreign Affairs FOR THE ARTS

Roz & Don Cohen The Foux and Sorkin Families for their generous donation to the original production Filmmaker David Goldenberg for the documenting of this production The Israeli Ministry of Foreign Affairs, Department of Scientific & Cultural Agreements The Embassy of Israel, Department of Cultural Affairs Lee G. Rubenstein for his efforts on behalf of Theater J and this production’s success Robert A. Remes and Suerah Shirazi of Carliner & Remes, P.C. 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. 5 From the Adapter, Boaz Gaon “There’s nothing to say. Words are powerless”. - Saffiyeh to Miriam, Return to Haifa

About ten years ago, in the fall of 2000, a short novella by Ghassan Kanafani came to my atten- tion. Dr. Ami Elad Buskila, one of Israel’s leading experts on Arabic literature, then based in Oxford, introduced the novella to me amidst a swarming group of Middle Eastern students at the School of Oriental and African studies, in London. My wife and I were living there at the time, and it is from there that we watched the Israeli-Palestinian peace process break down, burst into flames, de- volve into a political impasse—tragic and deadly— which has claimed the lives, so far, of thousands Boaz Gaon reading from his poetry of Israeli and Palestinian men, women and children. Hundreds of children have been killed since and more will perish in the future, which still—amazing as it may sound—does not seem brighter than it seemed then, just before the breakdown of the Camp David peace talks which has plunged the region—or put differently, our lives and the lives of my children—into enduring dark- ness.

Dr. Elad-Buskila was surprised: Had I really not heard of Ghassan Kanafani? And of “Return to Haifa” in particular, one of the most important texts in modern Arabic literature? Cleverly con- cealing the gist of the story, so as not to ruin the shock of the forthcoming artistic experience, he concentrated instead on Kanafani’s delicate and rare portrayal of a Jewish Holocaust survivor, in the novella. “Remember,” he said, “that Kanafani wrote the novella in 1968, only a year after the Six Day War, the fall of Pan Arabism, and the beginning of the occupation.” Kanafani was also, in our terms today, a militant: he was the spokesperson of the Popular Front for the Liberation of Palestine. He was [allegedly] assassinated by the Israeli Mossad in 1972 together with his 14 year old niece. “Read it,” said Ami. And I did.

Ten years later, I can still recall my reaction. Simply put, I was shattered. What do you do, asked Kanafani, when there’s nothing to be done? What do you say, when nothing’s to be said? What happens when two people are violently thrown against each other and a reality produces itself which is so insoluble, so devastating, so plainly cruel and murderous that the words themselves become powerless?

“There’s nothing to say”, says Saffiyeh, the Palestinian mother of the lost Khaldun, to Miriam, the adoptive parent of the child raised as an Israeli—Dov. “Words are too weak.” Words will not bring back her son. Words will not bring back her house, which she built and bled for. And for Miriam, words will not revive her own lost son, who was murdered in Poland during the Holo- caust, nor will it relieve her aching fear of her losing her own house, her own child, without whom she has nothing. Better then, so it seems, to keep silent; to burn quietly in the fires of war; to watch, as Sa’id says later in the play, as Haifa becomes a tomb; a headstone, to the lives of thousands of children who turn to soldiers who turn to statues, silent and frozen and dead. As I am writing these words, my children are playing downstairs. One day they will become soldiers and perhaps one of them—two of them?—will be severely injured, perhaps kidnapped, shot, die. But there’s nothing to do; there’s nothing to say; the crackle of the fire of war is too holy to silence; too beautifully unstoppable.

And still, they speak. Sa’id to Miriam, Miriam to Saffiyeh, Saffiyeh to Sa’id and Saffiyeh to Miriam, with an urgency and desperation that only the tragic twins of history—the Jews of Israel and the Palestinians of Palestine—can fully understand. No one can better understand Miriam than Saf- fiyeh, as a bereaved mother. No one knows what Saffiyeh had sacrificed better than Miriam, not even Sa’id. They talk because they cannot help talking; their need is too great and their pain so immense and the basic human needs of living, and loving, mothering and fathering so desperate to flourish, that they do what humans do when they bother to believe their hearts instead of their political leaders—which is to find themselves in the lives of others. Saffiyeh is Miriam, after all, and Miriam is Saffiyeh. My own mother, a Jewish Holocaust survivor from Greece, who lost an entire family, cried at the end of Saffiyeh’s monologue, describing her flight from Haifa in ’48 and of leaving Khaldun, her baby, behind. Pain is pain is pain, loss is loss is loss; a child buried is a child buried; the fires of war are not holy and they are not beautiful (and this from a former lieu- 6 From the Adapter, Boaz Gaon cont. “There’s nothing to say. Words are powerless”. tenant in the Israeli army): they are cruel and they - Saffiyeh to Miriam, Return to Haifa are ugly and they aim to cheat us into thinking that Words Are Powerless. About ten years ago, in the fall of 2000, a short Eight years after reading the original novella, the He- novella by Ghassan Kanafani came to my atten- brew adaptation of Return to Haifa opened at The tion. Dr. Ami Elad Buskila, one of Israel’s leading Cameri Theatre in Tel Aviv. A small storm erupted, experts on Arabic literature, then based in Oxford, with protestors from the Israeli far right demanding introduced the novella to me amidst a swarming that The Cameri Theatre shut down the play, blanket group of Middle Eastern students at the School our words, sanctify silence or else. My mother came of Oriental and African studies, in London. My to the play and cried. School buses filled with Israeli wife and I were living there at the time, and it is and Palestinian schoolchildren came to the play and from there that we watched the Israeli-Palestinian were transfixed. In July 2008 the Bereaved Parents peace process break down, burst into flames, de- Circle, an Israeli and Palestinian organization of Scene from the Cameri’s original volve into a political impasse—tragic and deadly— mothers and fathers who have lost their children and production of Return to Haifa which has claimed the lives, so far, of thousands siblings in the Israeli-Palestinian conflict, came to the of Israeli and Palestinian men, women and chil- play, sat in silence, and at the end of the play, stood outside of the theater for another two hours dren. Hundreds of children have been killed since with tears in their eyes and immeasurable longing in their hearts. All that I have learned, since and more will perish in the future, which still—amazing as it may sound—does not seem bright- the Fall of 2000, the fall of Peace and the blossoming of War, has been burned into their minds, er than it seemed then, just before the breakdown of the Camp David peace talks which has their hearts, their skin; that the comfort of silence is a lie; that there is no such thing as “nothing plunged the region—or put differently, our lives and the lives of my children—into enduring dark- to say;” that it is the resort of deceiving cowards, who have lost too much or too little, to convince ness. us that all that we can do, as parents, as Humans, is to noisily add more children to the fire. Dr. Elad-Buskila was surprised: Had I really not heard of Ghassan Kanafani? And of “Return to Boaz Gaon, Tel Aviv, December 2010 Haifa” in particular, one of the most important texts in modern Arabic literature? Cleverly con- cealing the gist of the story, so as not to ruin the shock of the forthcoming artistic experience, he concentrated instead on Kanafani’s delicate and rare portrayal of a Jewish Holocaust survivor, in On the adaptation of “Return to Haifa” for the Israeli stage the novella. “Remember,” he said, “that Kanafani wrote the novella in 1968, only a year after the Early in the adaptation process, director Sinai Peter and Six Day War, the fall of Pan Arabism, and the beginning of the occupation.” Kanafani was also, I reached a decision about what it is that we would want in our terms today, a militant: he was the spokesperson of the Popular Front for the Liberation Return to Haifa, the play, to achieve. We did not want of Palestine. He was [allegedly] assassinated by the Israeli Mossad in 1972 together with his 14 an intellectual experience—but a heightened emotional year old niece. “Read it,” said Ami. And I did. one. We did not want lengthy manifestos during which each side—as if such a thing exists—would boldly and Ten years later, I can still recall my reaction. Simply put, I was shattered. What do you do, asked ecstatically represent one hundred years of achieve- Kanafani, when there’s nothing to be done? What do you say, when nothing’s to be said? What ment, either Jewish or Palestinian. What we did want happens when two people are violently thrown against each other and a reality produces itself was to reproduce the experience that Sinai and I had which is so insoluble, so devastating, so plainly cruel and murderous that the words themselves when reading the original novella; that of a heart shat- become powerless? tered, pain exposed, frustration revealed and truth(s) “There’s nothing to say”, says Saffiyeh, the Palestinian mother of the lost Khaldun, to Miriam, exposed. For the Cameri production of Return to Haifa to work, for an audience mostly Jewish the adoptive parent of the child raised as an Israeli—Dov. “Words are too weak.” Words will not and Israeli to respond, we would need to concentrate on the almost unbearable tension which bring back her son. Words will not bring back her house, which she built and bled for. And for builds between the Palestinian parents who gave birth to Khaldun, and the Jewish parents who Miriam, words will not revive her own lost son, who was murdered in Poland during the Holo- adopted and named Dov, leading up to the inevitable, fateful, tragic, heart piercing encounter. I caust, nor will it relieve her aching fear of her losing her own house, her own child, without whom shared this sentiment with the surviving members Ghassan Kanafani’s family (safe-guardians of she has nothing. Better then, so it seems, to keep silent; to burn quietly in the fires of war; to the Kanafani estate) who currently reside in Beirut and Denmark. To my relief, they allowed me watch, as Sa’id says later in the play, as Haifa becomes a tomb; a headstone, to the lives of thou- to proceed. And we did, remaining faithful to the original setting and spirit of the novella while sands of children who turn to soldiers who turn to statues, silent and frozen and dead. As I am changing several elements to heighten the dramatic tension. writing these words, my children are playing downstairs. One day they will become soldiers and perhaps one of them—two of them?—will be severely injured, perhaps kidnapped, shot, die. But In the original novella, Miriam loses a brother in the Holocaust. We felt that losing a son would there’s nothing to do; there’s nothing to say; the crackle of the fire of war is too holy to silence; raise the bar dramatically and worsen her fear of losing her only source of human comfort; her too beautifully unstoppable. adoptive son whose name she takes from the murdered son. Furthermore, the original novella ends with Sa’id calling for arms; calling for another war, yearning for his other son, Khaled, to join And still, they speak. Sa’id to Miriam, Miriam to Saffiyeh, Saffiyeh to Sa’id and Saffiyeh to Miriam, the Palestinian Fedayin and repossess what has been stolen. But our play opened in 2008, four with an urgency and desperation that only the tragic twins of history—the Jews of Israel and the decades of war later, with thousands of Israelis and Palestinians paying the price of this endur- Palestinians of Palestine—can fully understand. No one can better understand Miriam than Saf- ing illusion; that War is the Solution. What was needed instead, we felt [interpreting Ghassan fiyeh, as a bereaved mother. No one knows what Saffiyeh had sacrificed better than Miriam, not Kanafani’s most poignant plea], was a cry of pain and accusation; a call to put an end to cruelty even Sa’id. They talk because they cannot help talking; their need is too great and their pain so and injustice; almost a plea. At the end of the play, an opportunity arises. Dov, formerly Khaldun, immense and the basic human needs of living, and loving, mothering and fathering so desperate invites Sa’id and Saffiyeh to spend the night in their lost house in Haifa. What then happens, to flourish, that they do what humans do when they bother to believe their hearts instead of their during that night, is anyone’s guess. Do the truths which are revealed to the characters blossom political leaders—which is to find themselves in the lives of others. Saffiyeh is Miriam, after all, or die? Do they continue talking through the night or retreat back into silence? We do not know. and Miriam is Saffiyeh. My own mother, a Jewish Holocaust survivor from Greece, who lost an We do know, though, what should happen, what must happen, what we would like the following entire family, cried at the end of Saffiyeh’s monologue, describing her flight from Haifa in ’48 and morning to look like. Or so we hope. of leaving Khaldun, her baby, behind. Pain is pain is pain, loss is loss is loss; a child buried is a child buried; the fires of war are not holy and they are not beautiful (and this from a former lieu- 7 Plot Synopsis of Return to Haifa Scene One The play opens in 1967 as a Palestin- ian couple, Sa’id and Saffiyeh, make their way from Ramallah to Haifa. They intend to visit the home they fled in 1948, just prior to the end of the British mandate and the start of the Arab-Israeli war. The couple is drawn by more than an abandoned house—in the chaos of escape they left behind their infant son, and do not know what happened to him. As they near their old home, the scene flashes back to April 1948. Polish Jew Ephraim Goshen meets with an official from the Jewish Agency at the same house, recently abandoned. Having fled Europe after the war and then spending seven months in a refugee camp with his wife Miriam, Ephraim pleads for a house of their own. The clerk, Artzi, explains that only families with children will be given a house and since Ephraim and Miriam are child- less—their son died in the Holocaust— they won’t be approved. Ephraim per- sists, and Artzi admits he may have a solution. Scene Two We return to 1967, as Saffiyeh and Sa’id arrive at the house. We return to 1948, as Ephraim is thrilled to show Miriam the house they have just been Scenes from the Cameri’s original production of granted. She is overjoyed but anxious— RETURN TO HAIFA what happens if the Jewish Agency changes their mind? As the couple begins to discuss possible renovations, a baby is heard crying upstairs. Ephraim struggles to explain to his distraught wife exactly what he agreed to in order to secure the house, and the scene flashes to 1967. Sa’id and Saffiyeh stand outside the door of their old home, hesitating to ring the bell. The scene returns to 1948, as Ephraim explains that to earn the house he agreed to care for the orphaned child, whose parents—he has been told—are dead. Miriam, still haunted by the loss of her own child, falters. Ephraim assures her that this is God’s way of asking their forgiveness. Miriam agrees to keep the child, but “only until the morning.”When light comes, they will have to decide what they will do. Ephraim heads to the market for supplies while Miriam sings a Polish lullaby to the sleeping infant. Scene Three It is again 1967, and Sa’id and Saffiyeh remain on the doorstep. They discuss what has changed about the house and look for hints about its current residents. Finally, the door opens and Miri- am greets them. She tells them she knew they must be the house’s former residents; she could tell by the way they “stroked the soil.” Unable to resist any longer, Sa’id asks about their lost son, calling him by his original name—Khaldun. Miriam avoids the subject, and then lies about the boy’s fate, claiming he was killed by Arabs while serving in the IDF. Saffiyeh explains that they only want to see him, just once. They reach a standoff when Sa’id and Saffiyeh refuse to leave. Miriam retreats into the house and Miriam and Ephraim argue—each blaming the other for their current predicament. Finally Miriam invites Sa’id and Saffiyeh inside. She’s received worried calls from the neighbors and it’s getting dark. “We’ll all catch cold” she says. They will wait for her “Dubinka” inside. 8 Plot Synopsis of Return to Haifa cont. Scene Four The scene begins in a flashback to 1954. Ephraim is searching for his young son, now named Dubinka. An argument between Miriam and “Dov” sent him fleeing to the woods surrounding their home, and Ephraim beseeches him to come home. “You’ve got a mother who loves you. And a father” he pleads, “And a home. Everything’s fine.” Back in 1967, Sa’id, Saf- fiyeh and Miriam await Dov’s return. Sa’id and Miriam argue about what really happened in 1948, while Saffiyeh longs to know more about “Khaldun.” The argument reaches a climax, and Sa’id retreats to the porch. The two women are left alone to talk about the child they have both loved. They hear someone outside. It is Artzi, from the Jewish Agency, who is now a senior official in the Haifa municipality. Miriam introduces the unknown couple as relatives of her gardener. Artzi reminds Miriam of the debt she owes for municipal taxes and encourages her to sell the house to a private contractor. She refuses, and he leaves in a huff claiming that “the house is killing her!” Sa’id storms outside again, still nursing his anger. Saffiyeh and Miriam, alone again, learn more about each other. Saffiyeh, for the first time in the play, shares with Miriam the events of that fateful day in 1948: she was putting “Khaldun” to sleep when the war erupted, unexpectedly. As she ran to the street to quiet the shouting horde, she was swept away by hundreds of people fleeing their homes in the direction of the water. At the docks she was reunited with Sa’id and they were forced onto a boat. When they reached Beirut they begged the Lebanese soldiers to let them go back for their child, and were told they could return when the war ended. But they weren’t allowed back, until now. When Saffiyeh finishes, Miriam tells her own heart-breaking tale, of losing her only son in the Holocaust. Sa’id returns, frantic. A soldier is approaching the house. A voice is heard from outside: “Mom! Ima, are you there?” Dov enters the house, dressed in his Israeli paratrooper uniform. Miriam tries to explain what has happened—to ease the shock. But Dov reacts with anger. He has grown to resent the biologi- cal parents who seemingly abandoned him, and accuses them of “taking the house keys, but the baby… me… you left behind.” Miriam is embarrassed by her son’s behavior and she repri- mands him for his conduct. He is chastened by his mother’s firm words. The group sits down for tea and as they talk, it becomes clear to Sa’id and Saffiyeh that Dov’s place is in Haifa, not in Ramallah. Too much has changed for their “Khaldun” to return to them and live as a Palestinian. Sa’id asks if Dov will defend Israel in the next war. Dov answers that there will never be another war in the Middle East, but Sa’id speaks of a future filled with fighting. As they finally prepare to leave, Dov invites Sa’id and Saffiyeh to stay the night—a drive back to Ramallah, in the dark, would be a dangerous undertaking. He offers to drive them back himself, in the morning. Saffi- yeh and Miriam go to prepare an extra bed. Left alone, Sa’id breaks down, and begs Dov to come to him, just once. As they are about to embrace, Ephraim enters the stage. We are now both in 1954 and in 1967. Both fathers speak to the boy that is both Dov and Khal- dun, and he, as a child, answers. Both swear to love the child, and to quell his boyish fears. Dov, the child, begins to fall asleep just as Miryam and Safiyeh enter the stage. They all watch the boy try to sleep. The future remains an unanswered question.

9 About Ghassan Kanafani, Author of Return To Haifa “After a little while he realized that he was driving the car through Haifa with the feeling that nothing in the streets had changed. He used to know Haifa stone by stone, intersection by intersection…Oh, he knew Haifa well, and now he felt as though he hadn’t been away for twenty years. He was driving his car just as he used to, as though he hadn’t been absent those twenty bitter years.” - Ghassan Kanafani, “Return to Haifa”

Ghassan Kanafani, the famous Palestinian journalist, novelist, and short story writer, was born in Akko in the North part of Palestine on April 9, 1936 and lived in Jaffa until May 1948. When the Arab-Israeli war started, Kanafani fled with his family first to Lebanon and then to Syria, where they settled as refugees. After finishing his secondary education he studied Arabic literature at the University of Damascus, during which time he joined the Arab Nationalist Party (later, the Popular Front for the Liberation of Palestine.) Kanafani worked as a teacher in Kuwait for a few years, then returned to Beirut in 1959 and became a spokesperson for his party, writing prolifi- cally in both literature and journalism. He died in 1972 when his booby-trapped car exploded, killing him and his niece in Beirut. By the time of his untimely death, Kanafani had published 18 books and written hundreds of articles on culture, politics, and the Palestinian people’s struggle. His books were re-published posthumously in several editions in Arabic. His novels, short stories, plays and essays were also collected and published in four volumes. His writing has been translated into 17 different languages and published in more than 20 countries; and has been adapted for film, radio plays and theatrical performances. His novella “Men in the Sun” (1962) was made into a film and translated into several languages, including English. The film was banned in many Arab countries for pointing an accusing finger at the treatment of the Palestinian refugees. Another of Kanafani’s novellas, “All That’s Left to You,” is considered one of the earliest and most successful modernist experiments in Arabic fiction.

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)

10 About Haifa Haifa is the largest city in northern Israel, and the third-largest city in the country, with a population of over 265,000. The city’s name first appeared in third- cen tury Talmudic literature and, although its ori- gin remains obscure, it’s been suggested that “Haifa” is related to the Hebrew words hof yafe, which mean ‘beautiful coast’. Haifa’s history has been set around its strategic location on a natural harbor on the Mediterra- nean Sea. Haifa’s historical roots can be traced back to the 4th Century CE when a small fishing and trading port was built there. The Persian occupation during the 6th Century CE acceler- ated the development of Haifa’s costal area. In 1099 the Crusaders laid siege to the city and sacked it, destroying the docks and shipyards. The city was later attacked again by the Mam- luke invaders. Haifa flourished again under Ot- Haifa, 1948 toman rule in the 16th Century. By the early 19th Century, Haifa’s Jewish community began to increase in tandem with the rise of Zionism. In 1898 Theodore Herzl visited Haifa and imagined what lay ahead for the fledgling city: “Huge liners rode at anchor…a serpentine road led up to Mt Carmel,” and “at the top of the mountain there were thousands of white homes and the mountain itself was crowned with imposing villas.” His predictions have proved amazingly accurate. Haifa’s modern revival truly got under way with the construction of the Hejaz railway between Damascus and Medina in 1905, and the later development of lines to Akko and the south of the country. Land was reclaimed from the sea to create a neighborhood of offices and warehouses, and Haifa rapidly became the country’s shipping base, naval center and oil terminal. Much of this development took place during the British Mandate—the British were the first to exploit Haifa’s naturally sheltered position as a harbor, bucking the ancient trend of favoring Caesarea and Akko. As the country’s major new port, Hai- fa was the first sight of Israel for ship- loads of immigrating Jews. Prior to the British withdrawal from Palestine, Haifa became a Jewish stronghold and it was the first major area to be secured by the newly declared State of Israel in 1948. The city earned a reputation for liberalism, which, to a certain extent, it still maintains. The mostly secular Jewish community enjoys a better than average relation- ship with the local Arab population, who are mainly Christian. In recent years Haifa has shifted its economy from heavy industry to technology. This culminated in 2004 when two professors at Haifa’s Tech- Jewish immigrants arriving in Haifa following World War II. nion were awarded the Nobel Prize for chemistry after describing the manner in which cells destroy unwanted proteins. IBM also maintains a strong presence here, with a research labora- tory staffed by 600 people.

Source: Adapted from the Lonely Planet Guide to Israel and the Palestinian Territories

11 VOICES FROM A CHANGING MIDDLE EAST: PORTRAITS OF HOME Additional Readings & Performances Complementing RETURN TO HAIFA

ARGENTINA by Boaz Gaon Friday, January 21, 2:00 pm (Tickets $5*) A new work by the adapter of RETURN TO HAIFA •Directed by Sinai Peter Featuring Noa Baum, Jenifer Deal, Rick Foucheux, Erez Kahana, Michael Kramer, Alexander Strain and Michael Willis The Israeli daughter of a “disappeared” Argentinean Jew visits the former Ambassador to Argentina hoping to discover what became of her father 20 years earlier during the junta’s rise to power. A RAILWAY TO DAMASCUS by Hillel Mitelpunkt Monday, January 24, 7:30 pm By the acclaimed author of THE ACCIDENT • Directed by Sinai Peter Featuring Dan Crane, Lindsay Haynes, Erez Kahana, Michael Kramer, Jennifer Men- denhall, Jay Saunders and Michael Tolaydo Haifa, 1942. With the German army approaching and tensions between Jews and Arabs on the rise, the British contemplate retreat. Sara is caught in a swirl of betrayal, fanaticism, and fear. THE PROMISE by Ben Brown Monday, January 31, 7:30 pm Directed by Jason Schlafstein Featuring Norman Aronovic, Conrad Feininger, David Bryan Jackson, Michael Kramer, Mark Krawzyk, Jason Lott, Paul Morella, Marni Penning, Bob Rogerson and Jerry Whiddon England, 1917. Chaim Weizman entreats Lord Arthur Balfour and battles with Edwin Montagu in this “even-handed look back at history...As welcome as it is quietly fascinating” (The Telegraph). TO PAY THE PRICE by Peter-Adrian Cohen Saturday, February 5, 8:00 pm Directed by Robert Kalfin Featuring Frank Anderson, Roger Clark, George Kareman, Dan Sickles and Grace Zandarski A theatrical biography of Jonathan “Yoni” Netanyahu (brother of Benja- min), the only Israeli fatality of the 1976 rescue of Jewish hostages at the Entebbe airport in Uganda. I’M SPEAKING TO YOU CHINESE by Savyon Liebrecht Monday, February 7, 7:30 pm By the author of APPLES FROM THE DESERT • Directed by Allison Stockman Featuring Noa Baum, Stephen Patrick Martin, Helen Pafumi and James Whalen At the Israeli Embassy Tickets must be purchased by February 4. Must have photo ID. The story of an Israeli family’s struggle after the Holocaust. Dark desires, secret love affairs, and the price of real estate make up the landscape of this funny, heart-breaking memory play.

All Readings and Performances $10* or Buy a Festival Pass for only $50! For more information or to purchase, Call (800) 838-3006 or visit theaterj.org

12 VOICES FROM A CHANGING MIDDLE EAST: PORTRAITS OF HOME VOICES FROM A CHANGING MIDDLE EAST: PORTRAITS OF HOME Additional Readings & Performances Complementing RETURN TO HAIFA Additional Readings & Performances Complementing RETURN TO HAIFA

WRESTLING JERUSALEM by Aaron Davidman Saturday, February 12, 8:00 pm Directed by Aaron Posner Featuring Aaron Davidman This tour-de-force solo performance depicts one man’s journey from a summer camp in upstate New York to the Middle East; from S’derot to Ramallah; from idealism, to despair, to new hope. THE HOUR OF FEELING and URGE FOR GOING Two plays by Mona Mansour Monday, February 14, 7:00 pm Directed by Lise Bruneau Featuring Rasha Zamamiri In 1967, a Palestinian academic arrives in England where he delivers a career-defining lecture. Presented with its sequel (presented last spring) depicting family life in a Lebanese refugee camp. Celebrating the 10th Anniversary of the Peace Café ! VIA DOLOROSA by David Hare Saturday, February 19, 8:00 pm Originally directed for Theater J by Nick Olcott Featuring David Bryan Jackson A reprise of our acclaimed production of master playwright David Hare’s journey to Israel, the West Bank and Gaza. As relevant as it was a decade ago when it launched our Peace Café forum. THE ADMISSION by Motti Lerner Sunday, February 27, 7:30 pm From the acclaimed author of BENEDICTUS •Directed by Sinai Peter Featuring Dan Crane, Lindsay Haynes, Stephen Patrick Martin, Jennifer Mendenhall, Jay Saunders, Salma Shaw and Michael Tolaydo Giora, a battle-wounded professor, is engaged to Neta but still in love with Samia. Searching for truth about his father’s recently revealed war-time past, he threatens to break the family apart.

The Jewish Federation NATIONAL OF GREATER WASHINGTON ENDOWMENT FOR THE ARTS

The 2011 Voices From a Changing Middle East Festival: Portraits of Home is supported in part by an All Readings and Performances $10* or Buy a Festival Pass for only $50! award from the National Endowment for the Arts and a grant from The Jewish Federation of Greater Washington to support Israel Programming through the Arts. This engagement of The Cameri Theatre For more information or to purchase, Call (800) 838-3006 or visit theaterj.org is a DC Performing Arts Presenters Initiative project, made possible through funding by the Mid Atlantic Arts Foundation with support from the DC Commission on the Arts and Humanities. The Cameri The- atre’s Residency is also supported by the Fisher Family Foundation Visiting Artist Endowment Fund.

13 About the Artists Raida Adon (Saffiyeh) has degrees from the Art Department of the Bezalel Academy of Arts and Design in Jerusalem, as well as the Academy of Dance and Music in Jerusalem. Her acting credits include Snow White, Cinderella, the Red Shoe etc. at the Arab Chil- dren’s Theater Z’Beni; The Diwan and Pasatine at the Acre Alterna- tive Theater Festival, where she was singled out as an outstanding creator and actress; Jericho at Year Nought and The Something at The Alternative Theater Festival in Egypt and The Eyes that See at The Palestine Al-Chakawati Theater in Jerusalem. At The Cameri Theatre, she performed in Plonter, Witches and Hebron. Her television appearances include “Neigh- bors,” “Army Training,” “Zinzana,” “Tranquility,” “The Block,” “Magen David Adom 101,” “Timrot Ashan” and “Hashiva Lachaim.” She has also acted in the Palestinian filmsThe Three Lost Diamonds and The Olive Season which won first prize in the Egyptian Film Festival in 2003. Other films includeYellow Asphalt, which won first prize at the Haifa Film Festival in 2000, and first prize in Germany; The Trumpet in the Wadi, which won first prize at the Haifa Film Festival in 2001; The Ninth Month, Islands on the Beach; Whispering Embers and the Documentary film Yasmin which won First Prize at the Jerusalem Film Festival. Suheil Haddad (Sa’id) has performed at the Jerusalem Khan Theatre and the Cameri Theatre of Tel Aviv. He is one of the founders of the Arab-Hebrew Theatre of Jaffa, where he has also performed. He won the Critics Prize at the Locarno Film Festival for his performance in Avanti Popolo; an award at the Valencia Film Festival for his leading role in The Milky Way; and an award at the Akko Festival of Alternative Theatre for his monodrama Monsieur Ibrahim and the Flowers of the Koran. He is currently performing at the Al-Midan Arab Theatre in Haifa. He is an editor and producer at Israel’s Educational Television channel. His works include a documentary for the Arab audience, We Were There, on the visit of an Arab-Jewish delegation to the Auschwitz death camp.

Erez Kahana (Dov) participated in acting and directing workshops at London’s Drama Centre and Actors Centre. He has performed in the Theater for Children and Youth, The Kibbutz Theater, Goshen Theater, and the Arab-Hebrew Theater of Jaffa, where he appeared in Peer Gynt Goes on a Journey. At the Teatro dell’Orologio in Rome he appeared in Isabel Allende’s House of Spirits, and spent five seasons in the city. In London he appeared in Close to Home, and as a dancer-actor was a member of the Cargo Dance Ensemble that performed all over Europe. Television and cinema credits include Sabbaths and Festivals and Skirt of Tears (First Prize at the Haifa Film Festival). He made a guest appearances in “It’s All Honey,” “Our Song,” “Altalena” and “Cause for Concern.” He has appeared in 20 commercials in Israel and abroad. He has also appeared in Games in the Backyard and as Raffi inJohnnie Walked. In Israel, he appears in a TV series, and hosts a weekly radio program.

Rozina Kambos (Miriam) born and studied in Romania. Among her roles: Lady Macbeth, Hecuba in The Trojan Women, Jenny in The Threepenny Opera and Toinette in The Imaginary Invalid. Ms. Cambos immigrated to Israel in 1983. For the Beersheva Theater, she has played Hella in The Master and Margarita, Rosina in The Barber of Seville, Katharina in The Taming of the Shrew, Titania and Hippolyta in A Midsummer Night’s Dream and Fania Fénelon in Playing for Time. Among her roles at Habimah National Theatre are Dunyasha in The Cherry Orchard, Grusha in The Caucasian Chalk Circle, Fraulein Kost in Cabaret, Anita in A Small Family Business, The Mother in Nights of Honey and Terror, Gorgeous Teitelbaum in The Sisters Rosenzweig, Serafina inThe Rose Tattoo, Anna in Anna Weiss (1997 Klatchkin Prize), Veronica in Veronica’s Room, Ella Margolin in Along the Walls (Outstanding Actress Award, 1997 ) and Agonizing Mother in Walkers In The 14 About the Artists cont. Dark (Best Actress, Israeli Theatre Awards 1998). She has recently won the Best Supporting Actress Award for her role in the filmThe Human Resources Manager. Since 1997, she has performed at The Cameri Theatre. Among her favorite roles are The Aunt in Dona Rosita the Spinster, Lily Chatterton in Two Into One, The Baroness in The Italian Straw Hat, Her Ladyship in The Dresser, Matilda in Caviar and Lentils, Margaret the governess in The Father, as well as many leading roles in Israeli plays, television series and films.

Michael Teplitsky (Clerk) is a graduate of the St. Petersburg Academy of Theatre, Music and Cinema, and the Beit Zvi School of the Perform- ing Arts in Israel. He has performed at the Orna Porat Theatre for Chil- dren and Youth, Habima National Theatre, the Yiddishspiel Theatre, the Malenki Theatre, Gesher Theatre, Tmuna Theatre, and the Cameri Theatre of Tel Aviv. International projects include The European Shake- speare, A Midsummer Nights’ Dream at the Dusseldorf Municipal Theatre; Courage at the London Aspect Theatre; Don Quixote at the Bochum Municipal Theatre in Germany; and an Israeli-Russian project, The Immigrant Position. He gained first prize for his monodramaCon - trabass at the Teatronetto Theatre Festival, and has acted in films and commercials.

Nisim Zohar (Ephraim) started his acting career with the Haifa repertory company and at the Haifa Theater Club. Upon receiving a grant for most promising young actor, he lived for some years in New York where he attended the H.B. Professional workshop and studied film- making at the N.Y.U. At the Cameri Theatre of Tel Aviv he appeared in King Henry the Fourth, Ubu Roi, Live Like Pigs, The Visit, Coriolanus, and Julius Caesar. In recent years he has performed mainly at the Beit Lessin Theatre, including Bianca, The Odd Couple and Born Yester- day. He has recently performed at the Cameri Theatre in A Flea in Her Ear, Return to Haifa, and Fiddler on the Roof. He has also written/ translated/performed scripts for cinema and three mono-dramas: As I Like It, Lenny Bruce, and My Mother’ s Soup, which he also performed in the United States, England, Scotland, and Holland. He is the author of two books: Aubergines and Okra ,a collection of short stories and recipes, and a novel My Mother’s Soup. Boaz Gaon (Playwright) received an Msc in Media and Communica- tions from The London School of Economics and Political Science. He received his BA in Theatre Studies from Tel Aviv University. He is currently a Dramatic Writing professor at the Minshar Arts School, in Tel Aviv and Head of Drama and Story department at HSCC, a leading TV production company. Boaz formerly served as Senior writer and New York and London correspondent for Ma’ariv Israeli newspaper and an Investigative reporter for Channel 2 television. His dramatic writing includes Traitor, an adaptation of Ibsen’s Enemy of The People for the Be’er Sheva Theater; Mismatch, for the Haifa Theater and Branja at the Beit Lessin theater. He was the Winner of the 2009 festival for new Israeli plays. Other plays by Gaon include Family package, The Israeli Family, a comedy for the Haifa Theater (nominated for Best Entertainment Show, 2004 and read at Theater J in 2007). Gaon’s work has also been seen at The Odessa Branch Denver Arts Center, Theatrefest 2002. His play Dress Rehearsal, won the Best Play Award at Akka Israeli fringe Festival. He recently published the non fiction bookWhere America Ends – my life as an Israeli in New York. Other work includes Gymax’s yellow bus, a novel.

Sinai Peter (Director) is a graduate of Tel Aviv University’s Drama Department. He has acted in the Haifa Municipal Theater, in Beit Les- sin and in the at Children and Youth Theater. Together with The San Francisco Mime Troupe’s team, he wrote the play Seeing Double (Re- cipient of the Obbi prize in 1990). As a director, he has to his credit The Swan, Arturo Ui, Clearing, The Graduate and Chimps at the Haifa Theater. He directed the American play Machinal at The Khan Theater of Jerusalem and Unsung Heroes in Haifa Theater—a theater project

15 About the Artists cont. based on civilians’ experience during the recent Lebanese war. In 2007 he directed Pangs of the Messiah by Motti Lerner (an American premiere) at Theater J. In 2008 he directed Return To Haifa at the Cameri Theatre. In 2009 he returned to Theater J where he directed the Ameri- can premiere of Hillel Mitelpunkt’s The Accident. From 1984 through 1986, Peter served as Artistic Director of Neve-Tzedek Theater in Tel Aviv. From 2000 through 2004, he was Artistic Director of the Haifa Municipal Theater. Since 1990 he has taught drama at the Kibbutzim Seminar’s School of Performing Arts in Tel Aviv.

Frida Shoham (Scenic Designer) is a graduate of the Design Program at the Tel Aviv Univer- sity School of Theatre Arts. She has designed sets for more than 100 productions, including Southern Australia, The Free City, Good American Boy, Saturday Sunday Monday, Guys and Dolls, The Silence, and Unlikely Heroes at the Haifa Municipal Theatre; Sonia Mushkat, Love Letter, Kiss of the Spider Woman, Forgiveness, Then We Embraced, Oscar and Aunt Rosa, Abandoned Property, Autumn Sonata, and Driving Miss Daisy at the Habima National Theatre; New Song, Downpour, The Master of Two Servants, Juno and the Paycock, and Stolen Water at the Beersheba Municipal Theatre: The Anchor, Marvin’s Room, and Holy Water at the Beit Les- sin Theatre; The Investigation, and Light and Shadow at the Cameri Theatre of Tel Aviv; What We Talk About When We Talk About Love at the Fringe Theatre; Mezritch at the Tzavta Theatre; and a variety of theatre productions for children and youth. Monodramas include, The Child Behind the Eyes, Lea Goes Out On The Streets, The Pessoptimist, The Anchor, Visitor in the Cherry Orchard, A Little Soul Searching, Jacques, Julie Christie’s Eyes, and Berta and the Art of Maintenance. At Mediatheque: The Mother-of-Pearl Color, and design of the Derech HaTeatron [Through Theatre] project (arts wall, through props). She is also director of the Stage Design Program at the Kibbutzim College of Education School of Performing Arts.

Klyph Stanford (Lighting and Projection Designer) is delighted to be back at Theater J where he was Projections Consultant for last season’s Mikveh. Other recent design work includes scenery for A Girl’s Guide To Washington Politics at Woolly Mammoth Theatre, scenery for Black Nativity, scenery and lighting for Five Flights, and scenery, lighting and Projections for The Woman Who Amuses Herself at Theater Alliance, lighting for Henry VIII at Folger Theatre, scenery for The Piano Lesson at Hangar Theatre, lighting and projections for El Bola, Cuba’s King of Song, and lighting for El Retablillo de Don Cristobal at Gala Hispanic Theatre, and scenery and projections for Hysteria (Helen Hayes Nomination) at Rep Stage. Mr. Stanford is a proud member of United Scenic Artists. Ofra Confino (Costume Designer) is a graduate of the Design Program at the Tel Aviv Universi- ty School of Theatre Arts. She holds a MFA in set and costume design from New York University. She has designed costumes for various theatres in Israel. Her work includes designs for the Jerusalem Khan Theatre: The Seagull, The Love of Don Perlimplín, Belisa in the Garden, The Illusion and The American Princess; for the Beit Lessin Theatre: Tyre and Jerusalem, I’m Speak- ing To You Chinese, Apples from the Desert, and Driver-Artist; for the Cameri Theatre of Tel Aviv: Oil Town (a coproduction with the Haifa Municipal Theatre), Antigone (a coproduction with the Habima National Theatre), The Glass Menagerie, The Father, The Ketuba, Thrill My Heart, The Servant of Two Masters, The Caucasian Chalk Circle, Grocery Store (a coproduction with the Beit Lessin Theatre), Festen (a coproduction with the Habima National Theatre) and His Reputation Precedes Him (a coproduction with the Haifa Municipal Theatre); for the Habima National Theatre: The Spotted Tiger, and The Policeman Azoulay and for the Haifa Municipal Theatre: Every Good Boy Deserves Favor.

Mika Dany (Music) studied theater at Tel Aviv University and the Body Politic studio in Chicago, Illinois. She studied composition with Shosh Reisman, Reuven Sarussi, and Prof. Julet Sarai (The Franz Liszt Academy of Music in Budapest), and at the Rimon School of Jazz and Contem- porary Music; she studied voice training with Prof. Chana Hacohen. Between 1981 and 1992 she performed in a variety of theatre productions.

Michelle Elwyn (Properties) has designed the properties for Theater J’s The Odd Couple, Lost in Yonkers, Something You Did, Mikveh, Pangs of the Messiah, Accident, The Seagull on 16th Street, Honey Brown Eyes, David, Speed the Plow, Either Or, Sleeping Arrange- ments, Picasso’s Closet and The Disputation. Other props design projects nclude: The Picture of Dorian Gray, Permanent Collection, Camille, A Prayer for Owen Meany at RoundHouse The- atre; Hamlet, Arcadia, A Winter’s Tale, Henry IV Part I, A Midsummer Night’s Dream, Measure 16 About the Artists cont. 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, Hambone at Studio Theatre. Her work includes costume crafts at Washington National Opera and Asolo Theatre in Sarasota, FL, as well as scenic paint- ing 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 codesigned stage sets for Marsha Norman’s Getting Out at Florida Studio Theatre and the Ringling Museum of Art’s Medieval Fair. Jason Schlafstein (Assistant Director) is thrilled to return to Theater J as the Assistant Direc- tor of Return to Haifa and Associate Producer for the Voices of a Changing Middle East Festival. Outside Theater J, he is the Assistant Director for If You Give a Cat a Cupcake at Adventure Theatre and is currently directing a staged reading for Doorway Arts Ensemble. He most recently co-produced and co-directed Become What You Are at the Writer’s Center. Other recent credits include directing The Hunchback Variations and Suburban Motel: Featuring Loretta for 1st Stage, serving as Casting and Associate Director for Freud Meets Girl by Wayward Theater, Assistant Director and Interim Production Manager for The Odd Couple at Theater J, and As- sistant Director for If You Give A Pig A Pancake at Adventure Theatre. He was the assistant to the Artistic Director at Woolly Mammoth Theatre Company for the 2009-2010 season. Thanks to Delia, and love to Kelly. Ari Roth (Artistic Director) is enjoying his 14th season as Artistic Director at Theater J where, together with a dedicated staff, he has produced 95 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, 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 promi- nent “men and women who are leading the American Jewish community into the 21st century.” He has taught for the University of Michigan for 14 years, currently for their “Michigan in DC” program, as well as for Brandeis, NYU and Carnegie Mellon Universities.

\Theater J Staff 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 Technical Operations Director Daniel Risner Construction Crew Ellen Houseknecht Load-in Crew Ellen Houseknecht, Kevin Laughon, Cathryn Salisbury-Valerien and Meaghan Toohey Front of House Raha Behnam, Bonnie Berger, Elizabeth Heir, JauNelle Hugee and Hadiya Rice For a full list of Theater J staff bios, visit theaterj.org and click on “About Us”

is honored to have arranged the performer visas on this production for Boaz Gaon, Sinai Peter and the distinguished actors and staff of The Cameri Theatre. Robert A. Remes, Suerah Shirazi 17 Next Up At 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 January 3, 2011.)

Adapted and Directed

by Aaron Posner from the novel THE March CHOSEN 8–27by Chaim Potok

Featuring Rick Foucheux, Edward Gero With Aaron Davidman, Joshua Morgan and Derek Thompson

“Stunning! A great universal work!” -Robert Aubrey Davis, Around Town For Tickets, Call (202) 488-3300 or visit theaterj.org

Presented by Arena Stage at the Mead Center for American Theater on the Fichandler Stage

PHOTOGRAPH 51 March 23–April 24

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

“A fascinating scientific suspense story!” -CurtainUp, Los Angeles DISCOVERY. DESTINY. DEOXYRIBONUCLEIC ACID. For Tickets, Call (800) 494-TIXS or visit theaterj.org Originally commissioned for Active Cultures Theatre

18 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 January 3, 2011.) Executive Producing Arthur Miller Mentor Ben Hecht Booster Show Sponsor ($1,500 - $2,999) ($75 - $174) ($25,000 and above) Susan & Dixon Butler Susan Apter The Robert M. Fisher Mimi Conway & Dennis Houlihan Sharon Bernier Memorial Foundation Lisa Fuentes & Thomas Cohen Karen & John Burgess The Jewish Federation of Mid Atlantic Arts Foundation Wallace Chandler Greater Washington Marjan & Andy Shallal Helen Darling & Brad Gray National Endowment for the Arts Margot & Paul Zimmerman Rabbi Fred Scherlinder Dobb & The Shubert Foundation Ms. Minna Scherlinder Morse David Mamet Muse Stuart Fischer

Wendy Wasserstein Grand Angel ($1,000 - $1,499) Anne & Al Fishman ($15,000 - $24,999) Mara Bralove & Ari Fisher Kit Gage & Steven Metalitz Charlotte & Hank Schlosberg The Center for Cultural Judaism, Inc. Renee Gier Patti & Jerry Sowalsky Myrna Fawcett Morton Goren The George Wasserman Ann & Frank Gilbert Jack Hahn Family Foundation Marjory Goldman Morton Halperin Laine & Norton Katz Carol & Robert Hausman Harold Clurman Champion Angel Betsy Karmin & Manny Strauss ($10,000 - $14,999) Peggy Heller Rona & Allan Mendelsohn Helene & Allan Kahan Carolyn & Warren Kaplan Janet Solinger The Jacob & Charlotte Dana & Ray Koch Adrienne Kohn & Garry Grossman Lehrman Foundation Neil Simon Stage Benefactor Trish & George Vradenburg ($500 - $999) Beth Kramer Irene & Alan Wurtzel Steven des Jardins Martin Krubit Michael Lewis Ina Ginsburg Tony Kushner Collaborating Angel Faiga G. Levine ($7,500 - $9,999) Ira Hillman & Jeremy Barber Hannah & Tim Lipman Esthy & James Adler Linda & Steven Hirsch Madeline & Gerald Malovany Deborah Carliner & Robert Remes Rachel Jacobson & Eric Olsen Noreen Marcus & Jay Sushelsky The Max & Victoria Dreyfus In Memory of MJ Bear Nancy & Richard Millstein Foundation Trudy & Gary Peterson Caroline & Michael Mindel PHOTOGRAPH 51 Marion & Larry Lewin Anne & Richard Solomon Mona & Leonard Mitnick Evelyn Sandground & Bill Perkins Barbara & Stanley Tempchin Tena Nauheim & David Harrison March 23–April 24 Ellen & Bernard Young Betty L. Ustun Joan & Ludwig Rudel Beverly Walcoff Froma & Jerome Sandler Joseph Papp Producing Angel Julie & David Zalkind ($5,000 - $7,499) Anne & Barry Schenof Patty Abramson & Les Silverman Sholom Asch Admirer Margaret Sohn & Harvey Cohen Anne & Ronald Abramson ($350 - $499) Virginia & James Vitarello Joan& Peter Andrews Iris & Michael Lav Mindy & Sheldon Weisel A New Play Michele & Allan Berman Yoav Lurie Stephen Werner By Anna Ziegler Naomi & Nehemiah Cohen Foundation Ellen & Gary Malasky Directed by Daniella Topol Louie & Ralph Dweck Lois & Richard England Paddy Chayefsky Champion Featuring Elizabeth Rich Kovler Foundation-Judy & Peter Kovler ($175 - $349) With Clinton Brandhagen, Zena & Paul Mason Anonymous Faye & Jack Moskowitz Ronald Bleeker James Flanagan, Tim Getman, Goldie Blumenstyk Michael Glenn and Alexander Strain The Omega Foundation Elaine Reuben Rosalind & Donald Cohen Margaret Hahn Stern & Stephen Stern Peter & Shelly Dreifuss “A fascinating scientific Natalie Wexler & James Feldman Paula Seigle Goldman suspense story!” Rosa D. Wiener Gayle & David Greene -CurtainUp, Los Angeles Marvin Weissberg Shoshana & Peter Grove Judy & Leo Zickler Neal Krucoff Dianne & Herbert Lerner DISCOVERY. Lillian Hellman Supporting Angel ($3,000 - $4,999) Tina Martin & Mita Schaffer DESTINY. Natalie & Paul Abrams Sue Morss The DC Commission on the Arts and Barbara Rappaport DEOXYRIBONUCLEIC ACID. Humanities Erica & Douglas Rosenthal Lois & Michael Fingerhut Ms. Terry Schubach Dr. Kenneth & Cheryl Gorelick Fund Beverly & Harlan Sherwat Al Munzer & Joel Wind Sandra & Dale Stein Diane & Arnold Polinger Marjorie & Allan Weingold Originally commissioned for Active Cultures Theatre Loretta Rosenthal T. Michael Wight The Abe & Kathryn Selsky Foundation Joan Wessel 19 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 + Thelma & Melvin Lenkin Lori & Les Ulanow Ann Loeb Bronfman Marion & Larry Lewin Joan Wessel The Robert M. Fisher Faye & Jack Moskowitz Rosa D. Wiener Memorial Foundation Diane & Arnold Polinger Ellen & Bernard Young The Jewish Federation of Deborah & Michael Salzberg Rory & Shelton Zuckerman Greater Washington Rhea Schwartz & Paul Wolff The Abe & Kathryn $2,500 - $4,999 $50,000 - $99,999 Selsky Foundation Anonymous The Morris & Gwendolyn Francine Zorn Trachtenberg & Rabbi & Babs Abramowitz Cafritz Foundation Stephen Joel Trachtenberg Natalie & Paul Abrams DC Office on Aging Trish & George Vradenburg Amy & Stephen Altman Melanie Franco Nussdorf Natalie Wexler & James Feldman Larry Axelrod & Lawrence Nussdorf Carolyn & William Wolfe Joan & Alan Berman Howard & Geraldine Polinger Irene & Alan Wurtzel Elizabeth Berry Family Foundation Judy & Leo Zickler Rita & David Brickman ServeDC - The Mayor’s Office on Nicholas Chocas Volunteerism $5,000 - $9,999 Cyna & Paul Cohen David Bruce Smith Academy of Motion Picture Margery Doppelt & Larry Rothman United Jewish Endowment Fund Arts and Sciences Exxon Mobil Corporation $25,000 - $49,999 American Jewish World Service Myrna Fawcett Jamie & Joseph A. Baldinger The Family of H. Max & Josephine F. Lois & Michael Fingerhut Diane & Norman Bernstein Ammerman & Andrew Ammerman Joanne Fungaroli DC Commission on the Melinda Bieber & Norman Pozez Marsha Gentner & Joe Berman Arts & Humanities Max N. Berry Debra Goldberg & Seth Waxman Louie & Ralph Dweck Ann & Donald Brown The Aaron & Cecile Brenda Gruss & Daniel Hirsch Naomi & Nehemiah Goldman Foundation Tamara & Harry Handelsman Cohen Foundation Roberta Hantgan Stuart Kurlander Sara Cohen & Norman Rich Horning Brothers Corporation National Endowment for the Arts Rose & Robert Cohen Betsy Karmin & Manny Strauss The Shubert Foundation, Inc. CrossCurrents Foundation Connie & Jay Krupin Robert H Smith* Family Foundation The Max & Victoria Dreyfus Barbara Kurshan Patti & Jerry Sowalsky Foundation, Inc. Susan & Samuel Lehrman Embassy of Israel Sandra & Arnold Leibowitz $15,000 - $24,999 Lois & Richard England Edward Lenkin Lisa & Josh Bernstein Federal Emergency Geoffrey Mackler Ryna, Melvin, Marcella & Neil Cohen Management Agency Zena & Paul J. Mason Ginny & Irwin Edlavitch Marilyn & Michael Glosserman Alfred Munzer & Joel Wind Susan & Michael Gelman Cheryl Gorelick PNC Bank Alexander Greenbaum Deborah Harmon & Robert Seder Points of Light Institute Martha Winter Gross & Robert Tracy G. Scott Hong Posner-Wallace Foundation Carolyn & Warren Kaplan Humanities Council of Toni Ritzenberg Barbara & Jack Kay Washington,DC Loretta Rosenthal Arlene & Robert Kogod William Kreisberg Debra & Jonathan Rutenberg Jacob & Charlotte Lehrman Foundation Jacqueline & Marc Leland Sandra & Ivan Sabel Charlotte & Hank Schlosberg Joy Lerner & Stephen Kelin Charles & Lynn Schusterman Schoenbaum Family Foundation Elyse & Jeffrey Linowes Family Foundation George Wasserman Family Foundation, Inc. Linda Lipsett & Jules Bernstein Sanford Schwartz MAZON: A Jewish Response to Sprint Foundation $10,000 - $14,999 Hunger Saul I. Stern* Patty Abramson & Les Silverman Linda & Sid Moskowitz Katherine & Thomas Sullivan Esthy & Jim Adler Kathy & Thomas Raffa Theatre Communications Michele & Allan Berman Renay & William Regardie Group, Inc. Susie & Kenton Campbell Elaine Reuben The Washington Post Company Deborah Carliner & Robert Remes Rae Ringel & Amos Hochstein Matthew Watson Debra Lerner Cohen & Beth Rubenstein & Evan Markiewicz Diane Abelman Wattenberg Edward Cohen Lynn & John Sachs Judith & Herbert Weintraub Lois & Richard England Evelyn Sandground & Bill Perkins $1,000 - $2,499 Family Foundation Emily Schoenbaum Rena & Michael Gordon Tina & Albert Small Jr. Sandy & Clement Alpert Susy & Thomas Kahn Barbara & Michael Smilow American Technion Society Judy & Peter Kovler Mindy Strelitz & Andrew Cornblatt Agatha & Laurence Aurbach 20 Washington DCJCC Donors cont.

The Washington DCJCC wishes to thank all those who made contributions to the 16th Street J to help Dorothy Bennett Rachel Jacobson & Eric Olsen Paula & Bruce Robinson support our programs during the 2010 fiscal year (July 1, 2009 – June 30, 2010). Your support has been Linda & Michael Berg JCC Association Joan & Barry Rosenthal invaluable in allowing us to create and sustain programs of excellence throughout the year. Tracy & Adam Bernstein Sally Kaplan Chaya & Walter Roth Suanne & Richard Beyda Laine & Norton Katz Jane Nathan Rothschild Lynn & Wolf Blitzer Aviva Kempner Sharon Russ & David Rubin Frances & Leonard Burka Ceceile Klein Victor Shargai Susan & Dixon Butler Linda Klein Michael Singer Jane & Calvin Cafritz Bette & William Kramer Ann Sislen Ruth & Mortimer Caplin Lisa Landmeier & Hugo Roell Richard Solloway Mimi Conway & Dennis Houlihan Sandra & Stephen Lachter Jane & Daniel Solomon Toby Dershowitz Dianne & Herbert Lerner Margaret Hahn Stern & Stephen Stern Faith Diamond The Samuel Levy Family Marsha E. Swiss & Ronald M. Costell Nava & Mark Ely Foundation Embassy of Switzerland Diana Engel Steven Lockshin Tabard Corporation Gayle & John Engel Steven Lustig Tikkun Olam Women’s Foundation of Laura & Michael Faino Ellen & Gary Malasky Greater Washington Jane & Charlie Fink Peter Mancoll Rita & David Trachtenberg Susan & Jay Finkelstein Cathryn & Scot McCulloch United Way of the National Capital Area Linda & Jay Freedman Rona & Allan Mendelsohn Marion & Michael Usher Geico Philanthropic Foundation Mid Atlantic Arts Foundation Lise Van Susteren & Jonathan Kempner Richard Gerber Lindsay & Aaron Miller Cynthia Wolloch & Joseph Reid German Embassy Patrice & Herbert Miller Margot & Paul Zimmerman Donna & Jon Gerstenfeld Shirlee Ornstein Sarah & Bernard Gewirz Glenna & David Osnos Cathy & Michael Gildenhorn Peggy Parsons Due to space limitations, only donors of $1,000 or more Carol & Henry Goldberg Ruth & Stephen Pollak are listed. The Washington DCJCC would like to thank Marjory Goldman Toby Port all of our many donors for the important impact they Paula Seigle Goldman Ravsak: The Jewish Community have on our work. Shoshana & Peter Grove Day School Erwin Gudelsky Hillary & Jonathan Reinis * of blessed memory Istituto Italiano di Cultura Carol Risher

21 About the Cameri Theatre of Tel Aviv The Cameri, Tel Aviv’s Municipal Theatre that was founded in 1944, is Israel’s biggest theatre and one of the country’s six public theatres. Each year The Cameri stages up to ten new productions, together with 20 productions from previous years, that are performed before audiences totaling more than 1,000,000 in Tel Aviv, throughout Is- rael and all over the world—some 1,700 performances every year. The Cameri has 40,000 subscribers. So far, The Cameri has produced some 500 productions on its Director General: Noam Semel various stages. The theatre’s company in- Artistic Director: Omri Nitzan c l u d e s 1 0 0 o f I s r a e l ’ s fi n e s t a c t o r s , a n d i t s plays are directed by celebrated directors from Israel and abroad. In 2003 The Cameri moved into its new and sophisticated home in the Tel Aviv Perform- ing Arts Center complex, adjacent to the New Israeli Opera, the Municipal Library and the Tel Aviv Museum. The new Cameri Theatre’s five auditoriums constitute a modern, vibrant and active theatrical center. Six years ago, in a step almost unequalled for an institution of the arts, The Cameri The- atre was awarded the Israel Prize for Lifetime Achievement and Special Contribution to So- ciety and the State of Israel. In their decision the judges noted: “The sixty-year-old Cameri Theatre is a young, involved, responsive, socially-oriented theatre that is attentive to the reality in which we live and responds to current needs. The Cameri Theatre is engaged in fostering and de- veloping original Israeli drama and strengthening ties with the finest culture and modern drama in the world. The Cameri Theatre strives towards excellence on the level of artistic performance in all its branches: acting, directing, sets and music. It nurtures individuality in terms of content, spirit, and character, fosters and encourages young actors and advances them.

The Cameri Theatre strives to broaden the circle of audiences and reaches out to new audiences, including performances in the periphery and on the confrontation line, and in its new home it constitutes an artistic and cultural attraction to all social strata and age groups in Israeli society.” In the theatre’s productions—original Israeli plays and plays from world drama—emphasis is placed on social, value and political issues that are at the center of the Israeli public’s life. Even the classical plays included in the Cameri’s repertoire are selected because their subjects are close to our heart and on our public’s agenda. The theatre has a Society of friends headquartered in Tel Aviv with branches in London and New York. In its activities, The Society supports the theatre’s wide-ranging activities and assists in advancing projects such as “The Peace Foundation”—bringing young Israelis and Palestinians together to see one of the theatre’s productions; “Theatre in Education”—bringing high school and university students to see plays; helping bring special needs audiences to the theatre; subsidizing tickets for senior citizens and assisting with the simultaneous translation of our productions into foreign languages (English, Russian and Arabic). The Institute of Israeli Drama is also part of The Cameri Theatre. The Institute, founded by the Cameri’s director general Noam Semel, aims to advance Israeli drama in Israel and abroad, and to deepen awareness of the importance of original drama for the emergent Israeli culture. The Institute holds international conferences, at which the works of Israeli playwrights are presented to conference participants. 22 About Theater J The Cameri, Tel Aviv’s Municipal Theatre Hailed by The New York Times as “The Premier Theater for Premieres,” and that was founded in 1944, is Israel’s biggest nominated for over forty Helen Hayes awards, Theater J has emerged as one theatre and one of the country’s six public of the most distinctive, progressive and respected Jewish theaters on the theatres. Each year The Cameri stages up national and international scene. A program of the Washington DCJCC, the to ten new productions, together with 20 theater works in collaboration with other components of the Morris Cafritz productions from previous years, that are performed before audiences totaling more Center for the Arts: the Washington Jewish Film Festival, the Ann Loeb Bron- than 1,000,000 in Tel Aviv, throughout Is- fman Gallery, and the Literary, Music and Dance Department. rael and all over the world—some 1,700 Theater J produces thought-provoking, publicly engaged, personal, pas- performances every year. The Cameri has sionate and entertaining plays and musicals that celebrate the distinc- 40,000 subscribers. So far, The Cameri has tive urban voice and social vision that are part of the Jewish cultural produced some 500 productions on its various stages. The theatre’s company in- legacy. Acclaimed as one of the nation’s premiere playwrights’ theaters, c l u d e s 1 0 0 o f I s r a e l ’ s fi n e s t a c t o r s , a n d i t s Theater J presents cutting edge contemporary work alongside spirited plays are directed by celebrated directors revivals and is a nurturing home for the development and production of from Israel and abroad. 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 In 2003 The Cameri moved into its new and pursuit of artistic excellence, Theater J takes its dialogues beyond the sophisticated home in the Tel Aviv Perform- stage, offering an array of innovative public discussion forums and out- ing Arts Center complex, adjacent to the New reach programs which explore the theatrical, psychological and social Israeli Opera, the Municipal Library and the elements of our art. We frequently partner with those of other faiths and Tel Aviv Museum. The new Cameri Theatre’s communities, stressing the importance of interchange among a great five auditoriums constitute a modern, vibrant variety of people wishing to take part in frank, humane conversations and active theatrical center. about conflict and culture. Six years ago, in a step almost unequalled Performing in the 240-seat Aaron & Cecile Goldman Theater in the vibrant for an institution of the arts, The Cameri The- Dupont Circle neighborhood, Theater J works with some of the world’s most atre was awarded the Israel Prize for Lifetime distinguished authors for the stage. It has produced world premieres by Achievement and Special Contribution to So- Richard Greenberg, Thomas Keneally, Robert Brustein, Joyce Carol Oates ciety and the State of Israel. In their decision and Ariel Dorfman, with many debuts from emerging writers like Stefanie the judges noted: “The sixty-year-old Cameri Theatre is a young, involved, responsive, socially-oriented theatre that is attentive to the reality in Zadravec and Sam Forman. The late Wendy Wasserstein’s play Third, which which we live and responds to current needs. The Cameri Theatre is engaged in fostering and de- began at Theater J, received its New York premiere at Lincoln Center Theatre, veloping original Israeli drama and strengthening ties with the finest culture and modern drama while Neena Beber received an OBIE for her New York production of Jump/ in the world. The Cameri Theatre strives towards excellence on the level of artistic performance Cut. Theater J’s diverse body of work features thematically linked festivals in all its branches: acting, directing, sets and music. It nurtures individuality in terms of content, including its ongoing “Voices From a Changing Middle East” series. In 2009 spirit, and character, fosters and encourages young actors and advances them. Theater J received a special citation in The Washington Post recognizing Theater J’s Israel-related programming. With hit productions ranging from The Cameri Theatre strives to broaden the circle of audiences and reaches out to new audi- Talley’s Folly and The Disputation to Pangs of the Messiah, The Price, Honey ences, including performances in the periphery and on the confrontation line, and in its new Brown Eyes (Winner of the 2009 Helen Hayes Charles MacArthur Award for home it constitutes an artistic and cultural attraction to all social strata and age groups in Israeli Outstanding New Play), Sholom Aleichem: Laughter Through Tears, The Rise society.” and Fall of Annie Hall, Zero Hour (for which Jim Brochu won the 2010 Helen In the theatre’s productions—original Israeli plays and plays from world drama—emphasis is Hayes Award for Outstanding Lead Actor in a non-resident production) In Dar- placed on social, value and political issues that are at the center of the Israeli public’s life. Even fur, Mikveh and New Jerusalem, it’s no surprise that Washingtonian Maga- the classical plays included in the Cameri’s repertoire are selected because their subjects are zine notes, “Theater J productions keep going from strength to strength.” close to our heart and on our public’s agenda. 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- The theatre has a Society of friends headquartered in Tel Aviv with branches in London and New tic Director’s Roundtables, Peace Cafés, Tea at 2 (a monthly reading se- York. In its activities, The Society supports the theatre’s wide-ranging activities and assists in advancing projects such as “The Peace Foundation”—bringing young Israelis and Palestinians to- ries) and the Passports Educational Program. Theater J has garnered gether to see one of the theatre’s productions; “Theatre in Education”—bringing high school and support from the National Endowment for the Arts, Theatre Communica- university students to see plays; helping bring special needs audiences to the theatre; subsidiz- tions Group (TCG) and The Shubert Foundation. Theater J is a member of ing tickets for senior citizens and assisting with the simultaneous translation of our productions the Cultural Alliance, the League of Washington Theatres, TCG and the into foreign languages (English, Russian and Arabic). Association for Jewish Theatre. Photos by Stan Barouh The Institute of Israeli Drama is also part of The Cameri Theatre. The Institute, founded by the Washington DCJCC Josh Lefkowitz and Maureen Rohn 1529 Sixteenth Street NW in The Rise and Fall of Annie Hall Cameri’s director general Noam Semel, aims to advance Israeli drama in Israel and abroad, and Robert Prosky in The Price to deepen awareness of the importance of original drama for the emergent Israeli culture. The Washington, DC 20036 Info: (202) 777-3210 or Alexander Strain and Michael Institute holds international conferences, at which the works of Israeli playwrights are presented [email protected] Tolaydo in New Jerusalem to conference participants. theaterj.org Holly Twyford in Lost in Yonkers 23