1990 – 2020 Thank You to Our Sponsors and Donors Theater J gratefully acknowledges Theater J gratefully acknowledges the following Season Sponsors the following Production Angels Leading Producer Leading Angel Myrna Fawcett The Morris and Gwendolyn Arlene and Robert Kogod, The Robert and Arlene Esthy and James Adler Mindy Gasthalter Cafritz Foundation Kogod Family Foundation Cathy S. Bernard Cheryl Gorelick Alan and Shulamit Elsner James A. Feldman and Natalie Meg and John Hauge Lois and Michael Fingerhut Sponsoring Producer Wexler Betsy Karmin and Manny David and Patricia Fisher National Endowment for the Arts Nathan Goldman Marital Trust Strauss The Robert M. Fisher Memorial DC Commission on the Arts and Humanities Patti and Mitchell Herman Arlene and Martin Klepper Foundation Susie and Michael Gelman, The Morningstar Embassy of Israel Sandra and Stephen Lachter Ann and Frank Gilbert Foundation Howard Menaker and Patrick Dianne and Herb Lerner Martha Winter Gross and Sari R. Hornstein Gossett Marion Ein Lewin Robert Tracy The Marinus and Minna B. Koster Foundation The Morgan Fund at the Frances Marshall and Lewis Kenneth and Amy Eisen Revada Foundation of the Logan Family Seattle Foundation Schrager Krupsky Share Fund Patricia Payne and Nancy Sherry and Louis Nevins Ellen and Gary Malasky The Shubert Foundation Firestone Elaine Reuben, The Timbrel Jeff Menick Amy Weinberg and Norbert Hornstein Diane and Arnold Polinger Fund Undine and Carl Nash Nora Roberts Foundation Les Silverman Nancy and Saul Pilchen Supporting Producer Bella Rosenberg Dr. Kathryn Veal Trina and Lee G. Rubenstein Bruce A. Cohen Evelyn Sandground and Bill Ellen and Bernard Young Mita M. Schaffer and Tina M. Alfred Munzer and Joel Wind Perkins Judy and Leo Zickler Martin Nussdorf Family Foundation Terry Singer Rae Grad and Manuel Kay Richman and Daniel Kaplan Patti and Jerry Sowalsky Supporting Angel Schiffres Hank Schlosberg George Wasserman Family Andrea Boyarsky-Maisel David and Peggy Shiffrin Helene and Robert Schlossberg Foundation, Inc. Mara Bralove and Ari Fisher Richard Solloway Susan and Dixon Butler Dr. Stuart Sotsky Sponsoring Angel Kathy Byrnes and John Alan and Irene Wurtzel Michele and Allan Berman Immerwahr Joyce and Fred Bonnett As of April, 2021.
2 th 30 Anniversary Executive Report 30th Anniversary Executive Report 4 A Message from Adam Immerwahr 14 Theater J Council
5 A Message from Jojo Ruf 16 Our Theater Now (2014 – Today)
6 A Message from Our 20/21 Council Co-Chairs 18 Facts and Figures Patti Herman and Howard Menaker 20 Timeline 8 “All Possibility:” Theater J’s Founding (1990 – 1993)
10 Moving Home: Theater J in the Goldman Theater (1993 – 1997)
12 Explosive Growth: Theater J Goes International (1997 – 2014)
Cover: Susan Rome in Edward Albee’s Occupant, 2019. Photo by C. Stanley Photography. This page: Kathryn Tkel and Alexander Strain in The Wanderers by Anna Ziegler. Photo by Teresa Castracane.
3 th 30 Anniversary Executive Report A Message from Artistic Director Adam Immerwahr Dear Friends,
Five years into my time as artistic director of More than anything, what became clear for me is Theater J, I find myself deeply humbled. the vital importance of Theater J. The existence of a thriving Jewish theater just up the street from We began assembling Theater J’s history in the White House is something that has made a preparation for our annual benefit in 2020. We difference in so many lives over the past thirty decided to begin the event with a short documentary years—artists and audience members alike. Theater video, featuring interviews with Theater J’s past J has mattered from political administration to artistic leaders, community supporters, and Edlavitch political administration. It has provided a critical DC Jewish Community Center staff members whose venue for dialogue in both the theater and the work transformed us into the theater we are today. Jewish communities. And it has preserved the As I conducted the interviews, I was overwhelmed stories and art of a great cultural tradition. and inspired by the powerful stories, meaningful memories, and incredible testaments to the urgent None of this would have been possible without the need for Jewish theater. In conversations with my extraordinary community that surrounds, supports, predecessors Martin Blank, Randye Hoeflich, and and holds Theater J up. The full history of Theater Ari Roth, I was in awe of the wisdom, the foresight, J is in the thirty years of subscribers, audience and the tenacity that they had individually and members, donors, actors, writers, technicians, collectively wielded over decades of leadership. I felt designers, directors, ushers, staff members, not as much as though I was standing in their shoes reviewers, and students who have participated in but rather standing on their shoulders, lifted up by this art with us. I hope that as we move forward their vision and their perspicacity. to our next thirty years, we will carry all of those stories with us; they are our true strength. Theater J’s story—particularly of our earliest years—could never be captured by a simple video May we all go together from strength to strength. documentary. Too much was left on the cutting room floor. We assembled this booklet to preserve Yours, some of that legacy and history, and to share it with our community in celebration of our thirtieth Adam Immerwahr anniversary as a professional theater company. Artistic Director, Theater J
4 th 30 Anniversary Executive Report Photo by Michael Temchine Photography A Message from Managing Director Jojo Ruf Dear Friends,
Theater J has come a long way in 30 years. What harmony with our sister programs. It is remarkable began as a handful of productions on a makeshift to think that building a wooden stage for a few stage in a rented townhouse has grown into the hundred dollars 30 years ago would lead to the largest and most prominent Jewish theater in thriving program we are today. (See page 7 for the the country. I feel immensely privileged to have full founding story.) witnessed much of that growth, first as an audience member, then as an artist, and now in my third year The story of Theater J is truly remarkable, though, as the managing director. because you are part of our community. While our 30th Anniversary looks different than we planned, The story of Theater J is one of community. We Theater J continues in many ways as we always have flourished alongside over 90 professional have, through the generosity and support of donors, theater companies in the region, been honored subscribers, and audience members like you. You lift with the DC Mayor’s Arts Award for Excellence in us up and sustain us. And for that we are immensely an Artistic Discipline, and received over 70 Helen grateful. Hayes nominations to date. We have produced world premieres alongside forgotten classics, Thank you for being part of our story, for helping us worked with local, national, and international grow into the thriving theater we are today. Here’s playwrights, and showcased the artistry of actors, to our next 30 years. directors, designers, and technicians who work all across the DMV at theaters large and small. We are Warmly, proud to be part of this thriving theater community. Jojo Ruf The story of Theater J is one of a Jewish Managing Director, Theater J community. As one of the many programs that make up the Edlavitch DC Jewish Community Center, it is a beautiful thing to watch a rehearsal while the Anavim preschool class passes by in the hall, to hear actors running lines amidst the distant sound of students practicing Hebrew just one floor up, to have theater patrons and film patrons mingle in the lobby, eagerly anticipating their evening plans. Simply put, our productions resonate more fully in
5 th 30 Anniversary Executive Report Photo by Kate Conway. A Message from Our 20/21 Council Co-Chairs:
Patti Herman and Howard Menaker
in spreading the word of our fine work to the Script Discussion Group, where we read and discuss Photo by C. Stanley Photography. Washington-area Jewish community and regional plays, is one very popular and valuable way that theater patrons in order to increase our audience Council members learn more about the literary and and bring continued success to our vibrant theater. analytical aspects of plays while sharing insights We support the theater’s financial success as well and questions with Theater J staff. as its creative work, acknowledging that our shared goal of artistic excellence requires considerable Council members are particularly proud to celebrate resources. We therefore also play a vital role in Theater J as the nation’s most prominent Jewish fundraising and outreach. theater. As Theater J evolves and grows, moving from strength to strength, the Council will continue As COVID-19 currently challenges to our industry, to center our Jewish values and culturally specific in-person theater performances have been put on mission as we connect with our larger family of hold throughout the country and around the world. theater makers and lovers both inside and outside The Theater J Council plays a unique and vital role Theater J has met this moment by expanding the Washington Jewish community, as we honor our in the life of the theater. We are individuals with our online programming through our “Classes for past, celebrate our present, and plot our future. an abundance of diverse talents and backgrounds, Theater Lovers” and Yiddish Theater Lab readings. all joined by one very important commitment: Council members have enthusiastically embraced supporting the Jewish mission, values, and success this new fulfillment of Theater J’s mission to OUR MISSION of Theater J. Theater J is a nationally-renowned, professional connect artists and audience members through theater that celebrates, explores, and struggles theatrical experiences, and are using our own As our theater is a program of the Edlavitch with the complexities and nuances of both the personal and professional contacts to open our Jewish experience and the universal human DCJCC, our Council does not function like most doors to new online audiences and participants well condition. Our work illuminates and examines: other nonprofit theater boards. With fiduciary and beyond the Washington Metropolitan area. ethical questions of our time, inter-cultural governing responsibilities resting in the EDJCC experiences that parallel our own, and the Board of Directors, the Theater J Council embraces changing landscape of Jewish identities. As The Theater J Council is a group of collegial our mission as ambassadors of, and advocates the nation’s largest and most prominent Jewish volunteers, proud to devote our time to our roles for, our theater. This is the beauty of what we theater, we aim to preserve and expand a as advisors, advocates, and ambassadors. We rich Jewish theatrical tradition and to create do. We are theater patrons who support the enjoy close relationships with our dedicated, community and commonality through theater- outstanding art on our stage as well as an array hardworking staff members that includes frequent going experiences. of artistic programming. We take distinct pleasure communication and personal interactions. Our
6 th 30 Anniversary Executive Report Theater J leads the way in so many ways. It’s an inspiration. It’s a model. It’s supportive of the other institutions and artists in our community and other theaters that are smaller and in other parts of the country. The world looks to Theater J for not only for content but for inspiration and also for leadership and how to run an effective organization.
– Hank Kimmel, Alliance for Jewish Theater Board President
Joshua Morgan in The Chosen, adapted by Aaron Posner and Chaim Potok. Photo by Stan Barouh. “All Possibility:” Theater J’s Founding (1990-1993) Well before the founding of its official theater Blank, “and I said ‘No way, we should just make Theater J began with a series of readings, but Blank program, the DC Jewish Community Center a theater company now! If you can come up with and colleagues quickly grew the company into a frequently presented and produced theater. In the money for the wood, I’ll build it!’” Together full producing theater. In October 1991, Theater J the early 1980s, the then-peripatetic community with maintenance staff member Ralph Williams, staged A Night in Ukraine, a musical reimagining of center, bivouacked in a townhouse on P Street NW, Blank constructed a theater inside the townhouse’s Anton Chekhov’s farcical one-act play The Bear as produced Clifford Odets’ final play, the comedy The snug meeting room. With the DCJCC on board, a Marx Brothers film. Everyone in the audience was Flowering Peach, in the social hall at Ohev Shalom, Blank’s ambitious venture needed a name. Wanting given a pair of Groucho Marx glasses — eyebrows the capital’s oldest Orthodox synagogue. The something simple but effective, Blank suggested and all. Theater J received its first Helen Hayes production ran for weeks and was by all accounts Theater J. What he didn’t share was his inspiration, Award nomination for only its second production, an enormous success, but the required resources an X-rated theater company in Minneapolis called James Lapine’s Table Settings, a nearly unheard-of proved too much for the itinerant organization. Theater X. feat for a new theater company. Soon audiences “It was really quite an undertaking to do sets and were quick to book tickets for a night at Theater J. designs and lighting and everything that goes into The resolutely makeshift theater on Jefferson Place a production in a rented space,” says Founding could only sit 40 to 50 patrons at a time. To exit, (Left to right) Mary Suib, Gillian Holt, DCJCC Executive Director Jill Moskowitz. audience members had to cross over the stage. The Elizabeth Kitsos, and Jim Sheehan. actors had to be careful to not hit their heads on Photo thanks to Eric Winick. By 1990, the DCJCC was ensconced in yet another the ceiling at times. After each night’s performance, townhouse, this time at 1836 Jefferson Place. There, Blanks and Williams had to remove every stick of Miriam Mörsel Nathan, the DCJCC’s Director of the set and every seat so that the DCJCC could the Cafritz Center for the Arts, received a grant use its meeting room during the day. The space from the Embassy of Israel to produce a reading of sat above the townhouse’s one-car garage, which an English translation of Krum, a drama by one of was reserved for the CEO. “I couldn’t leave the Israel’s most celebrated — and most controversial building until intermission because you could — playwrights, Hanoch Levin. The well-received hear the garage door going up,” chuckles former reading was directed by Martin Blank, whom Nathan Executive Director Arna Meyer Mickelson. “It was had recently hired as cultural arts coordinator all possibility, it was all dream. None of it made any at the JCC. “The JCC’s thinking was to wait to sense to do but we did it anyway. And that’s how open a theater company until after we moved to a we began, on a tiny stage in a tiny building with a permanent building, which was years off,” shares shoestring.”
8 th 30 Anniversary Executive Report 1 2 3
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1. Linda Kenyon and Garth 4. Jill Moskowitz, Kravits in A Night in Founding DCJCC 5 6 Ukraine by by Dick Executive Director Vosburgh and Frank Lazarus. 5. Richard Rohan in A Night in Ukraine by 2. Brad Wiss and Bill Dick Vosburgh and Hollingsworth in Table Frank Lazarus. Settings by James Lapine. 6. Martin Blank, Theater J Found Artistic Director. 3. 2028 P Street NW
9 th 30 Anniversary Executive Report Moving Home: Theater J in the Goldman Theater (1993 - 1997) President Calvin Coolidge laid the cornerstone of In the mid-1990s, the reinvigorated the original Washington DC Jewish Community DCJCC purchased the original Center on 16th and Q in 1925. From its beautiful, building on 16th and Q. Only neo-classical home, the Center served its two spaces would remain intact community for decades. In the late 1960s, though, after an extensive renovation: Charles E. Smith, one of the leaders of DC’s Jewish the basement-level pool and the community, envisioned a new campus for the Center historic 16th Street Lobby. The in Rockville, Maryland, where many Jews were cavernous auditorium had a simple moving amid the decade’s turmoil. After selling the raised-platform stage with a flat historic Q Street building to the city government, seating area. DCJCC Board Member the Jewish Community Center left DC. Lee G. Rubenstein, who held leadership roles in both fundraising In 1980, the Rockville JCC assigned Jill Moskowitz and building design, oversaw the to be Branch Director for the reforming theater’s renovation with Artistic Washington DC Jewish Community Center. With Director Randye Hoeflich Saunders, a modest budget of $24,000 and just a truckful who succeeded Martin Blank in 1993. of supplies, her job was to create a community “I did not believe the existing design program for the 25,000 DC Jews who were not of the building’s theater space travelling to Rockville. “My greatest hopes,” says would be what we would want to Moskowitz, “were that the DCJCC would become have” Rubenstein shares, “I wanted a neighborhood, a Jewish neighborhood, for the something more intimate and closer many scattered people that live throughout the together.” LEFT District, that it would meet the many unmet needs, Randye Hoeflich Saunders, and continue to grow and flourish and change Working in consultation with theater former Artistic Director, with time.” Thus, the DC Jewish Community professionals from Arena Stage and the Theater J
Center began again, programming first in parks designer of the Shakespeare Theatre’s ABOVE and synagogues before twice resting in temporary Lansburgh Theater, Rubenstein envisioned Deborah Ratner Salzberg, Irwin homes, first a townhouse on P Street and then one sloped audience seating with “Juliet balconies” Edlavitch, and Lee G. Rubenstein at 1836 Jefferson Place. on both sides. This layout would bring the celebrating the JCC’s return to its original Q Street home.
10 th 30 Anniversary Executive Report audience much closer to the stage and allow for uninterrupted sightlines for everyone in the house—a level of intimacy that has become a signature of Theater J. “I never dreamed of all the details necessary,” says Hoeflich Saunders, “everything from deciding the number of bathroom stalls to how many rows of lights overhead we’d need. But the greatest challenge was keeping Theater J running and vibrant and not suffering from a lack of attention while spending so much time planning for the wonderful transition.”
In 1997, the DC Jewish Community Center moved into our newly named Irwin P. Edlavitch Building, giving Theater J a permanent home in the refurbished theater, named for Aaron and Cecile Goldman. One of the first productions in the new space was The Bar Mitzvah of Harry London, written by Goldman himself.
22 years later, the DCJCC completed another renovation and renamed itself the Edlavitch DC Jewish Community Center. The Goldman Theater received new seats, new lights, new climate controls, and a new entrance, along with a spacious lobby and a new ticket office on the Center’s ground floor. The stage itself was named the Trish Vradenburg Stage in honor of philanthropist and Broadway playwright Trish Vradenburg, continuing Theater J’s longstanding tradition of dedicating performance spaces to philanthropic playwrights.
TOP Aaron and Cecile Goldman Theater, circa 2000.
BOTTOM The Cafritz Auditorium prior to becoming the Goldman Theater
11 th 30 Anniversary Executive Report Explosive Growth: Theater J Goes International (1997 - 2014)
Ari Roth with playwright David Henry Hwang.
Theater J experienced an extraordinary period and international reputation. In his early years, Joyce Carol Oates, Thomas Keneally and Ariel of growth under the leadership of its third and the theater partnered significantly with other DC Dorfman all had plays receive world premieres at longest-serving artistic director, Ari Roth. As a theaters. Woolly Mammoth had lost its performance Theater J. The theater became known for cultivating playwright, Roth was no stranger to the DC theater venue and had yet to build its new home. Woolly’s top directing, designing, and acting talent to its scene, having had his play Born Guilty produced artistic director, Howard Shalwitz, met with Roth stage. and directed by Zelda Fichandler at Arena Stage in and a partnership was formed. Together, the two 1991. It was as a playwright that Roth first became companies produced four co-productions over “We had a reputation that was well beyond involved with Theater J when the theater (under the three years. “I think the collaboration between Washington,” said Mickelson. “We were picking up leadership of Martin Blank) produced a reading of Woolly and Theater J left a footprint on both of our plays and playwrights from Israel, from Europe. Ari his play: Oh, the Innocents. organizations,” said Shalwitz. “I’m really proud to say had a passion for theater and a passion for justice. that I learned a lot from Ari and the whole approach At that time, of course, we also began to touch It wasn’t until October 1997 that Roth became to audience engagement at Theater J — that really the questions of where a Jewish theater and its the Artistic Director of Theater J, shortly after the influenced me. And I think that Theater J benefited relationship to Israel belonged. And that became an move back into the building on 16th and Q. “When I from Woolly’s longer history of producing.” Theater J issue.” first arrived,” said Roth, “Theater J had a $90,000/ went on to partner with Rorschach Theater, Synetic year budget with only an artistic director, a part Theater, and Arena Stage. “Those productions really “It is said that I attracted some controversy in the time technical director, and a volunteer managing taught us how to be a professional resident theater programming that I did at Theater J,” said Roth. director. Together, we launched a two and a half company,” said Roth. “Maybe right from the beginning, with Waiting for play season — and were off to double our budget Lefty / Still Waiting, telling the story of the labor the next year.” The first box office hit under Roth’s tenure was The movement from in the ‘30s up to the present day. So Old Neighborhood by David Mamet, produced in we started with a bang. Ten years later, we got in Under Roth’s leadership, and in collaboration with 1999. As Theater J grew, a series of world premieres trouble with Elie Wiesel for a first draft of Imagining Edlavitch DC Jewish Community Center CEOs by artists of national and international standing Madoff that had to be revised. Sandra Bernhard Arna Meyer Mickelson and Carole Zawatsky, helped to put the theater on the map. Wendy attracted a viral tempest. But the thing that really Theater J grew substantially, obtaining a national Wasserstein, Robert Brustein, Richard Greenberg, had staying power with us, in terms of achievement,
12 th 30 Anniversary Executive Report acclaim, and controversy, was the Voices from a Changing Middle East Festival. What we were trying to do, in story after story, was put multiple narratives, multiple claims to history on stage and have them argue with each other; to have justice emerge from a kind of synthesis of the audience As artistic director, taking in different stories.” Ari Roth was fearless, a “As artistic director, Ari Roth was fearless, a visionary in his own right” stated Miriam Mörsel Nathan, who oversaw Roth’s work during the time she was visionary in his own right Director of the DC Jewish Community Center’s Morris Cafritz Center for the Arts. “His passion and vision could and did create a challenge, but it was precisely because of those qualities that the theater – Miriam Mörsel Nathan expanded and grew to the heights that it did.” With the passage of time, Roth’s iconoclastic and sometimes irreverent approach — however fearless, passionate, or visionary — ultimately created an untenable level of tension for EDCJCC management, at the same time his artistic choices continued to anger and alienate vocal members of the community. This mix eventually proved unsustainable.
Roth’s tenure with Theater J and the EDCJCC ended in 2014. His termination caused a storm in both the Jewish and theater communities, with accusations all around. Roth went on to found Mosaic Theater, now located in the Atlas Arts Center on H Street, a position he resigned from in 2020 reportedly amidst further management and artistic controversies. Despite the circumstances of his departure from the EDCJCC, it is unquestionable that Roth left an indelible mark on Theater J, which would not be the theater we know it as today without his 18 years of leadership.
Right: Cast of Waiting for Lefty by Clifford Odets.
13 th 30 Anniversary Executive Report Theater J Council Theater J’s Council, a committee of individuals others who shared their great enthusiasm,” kvells serving as ambassadors, advisors, and supporters, Rubenstein. “That’s really been the success of the was created in the late 1990s. Lee G. Rubenstein, whole Council. It couldn’t have been done without a DCJCC board member, remembers opining at the the two of them.” time, “The key to theater is raising enough money.” Rubenstein was also a board member of Arena Stage The role of the Council has evolved as Theater J at the time. “Because of my experience at Arena, has grown and professionalized. “In the early days,” I felt that we needed not just general fundraising says Berman, “we were really hands-on, driving but specific fundraising for the theater,” Rubenstein actors from the airport, putting them up in our continues. “The money would need to be there so homes, bringing food to rehearsals.” For many years, that the theater could take risks and, at times, fail.” Council Members even prepared the food for the Opening Night parties. “It was really fun,” continues Rubenstein approached Patty Abramson (of blessed Berman, “the atmosphere was a group ‘Let’s put on memory) and Michele Berman, both fellow DCJCC a play’ kind of one.” Eventually, much of the day- board members, about putting together an event to-day work shifted to the theater’s expanding to support the theater. Together, they arranged professional staff, and the Council shifted in their a dinner at Lauriol Plaza, one of Dupont Circle’s role, forming subcommittees for finances and landmark restaurants, before the opening night nominations, and a regular script reading group that of Arthur Miller’s Danger: Memory! in 1999. “One advises the artistic director. hundred and fifty people gathered for a dinner of seafood enchiladas before the performance,” shares An ever-present part of the success of the program, Ari Roth, Theater J Artistic Director from 1997 to the Theater J Council has 33 members, from many 2014. “We had a wonderful evening,” says Berman, professions and walks of life, who are committed to “and from that, Patty and I thought that we really furthering the work of the theater. should be doing more to support the theater.” TOP The DCJCC formed a committee which soon Patty Abramson and Michele Berman became called the Theater J Council. “Michele BOTTOM Berman and Patty Abramson excelled at being Jojo Ruf with Theater J Council members (left to right) Saul ambassadors for the theater, and bringing in Pilchen and Bob Tracy.
14 th 30 Anniversary Executive Report Theater J is a gateway that leads us to explore what it means to be a Jew and a human being in the world. It calls to us, it speaks directly to our hearts, it inspires us, it challenges us and makes us think. It engages us to be the best human beings we can be. In this way, Theater J represents some of the best gifts that Jewish people can bring to the world.
– Rabbi Gil Steinlauf, Kol Shalom
Naomi Jacobson in Becoming Dr. Ruth by Mark St. Germain. Photo by Teresa Wood. Our Theater Now (2014-Today) After Shirley Serotsky’s tenure as interim artistic Safran Foer’s best-selling novel Everything is production, The Jewish Queen Lear, based on Jacob director in 2014-2015, Immerwahr was brought Illuminated had only received two productions Gordin’s Mirele Efros in a new English translation to the Edlavitch DC Jewish Community Center before Theater J mounted it in 2018, leading to by Nahma Sandrow and directed by Immerwahr in in an international search, led by members of many subsequent productions the following year. 2019. A second production, Rinne Groff’s version of the Theater J Council, the Edlavitch DC Jewish Theater J has also revived forgotten masterpieces Osip Dymov’s The Singer of His Sorrow entitled The Community Center (EDCJCC) Board of Directors, by major American playwrights, such as Arthur Red Beads, which Groff developed through several and EDCJCC Chief Operating Officer Carole Miller’s Broken Glass and Edward Albee’s Occupant, Lab readings, was scheduled for spring 2021. Zawatsky. Immerwahr quickly followed the suit of both directed by Aaron Posner. his predecessors in producing artistically excellent Offstage, Immerwahr, arm-in-arm with Theater J’s theater with some of the region’s most notable and In collaboration with several philanthropic families, Managing Director Jojo Ruf, is commitmented to run talented theater professionals while also nurturing Immerwahr established the first two Jewish play the theater ethically and with strong Jewish values. the company’s national standing and outlook. prizes in the country in 2019, one to an established With the support of the EDCJCC and the Theater writer and one to an emerging female-identifying J Council, the company has meaningfully increased In particular, Theater J has refined its mission, writer. He has also led the company toward a artist compensation, streamlined scheduling upholding and expanding a rich Jewish theatrical robust play development program, commissioning procedures to aid artists who are parents and tradition. Although Theater J has always been a four new plays in his first five years of leadership. caregivers, interrogated standard industry practices culturally-specific organization, Immerwahr focuses These innovations have created a robust pipeline of that do not positively contribute to rehearsals or on plays that celebrate, explore, and struggle new plays for future Theater J seasons, as well as performances, and taken many other steps to ensure with the complexities and nuances of the Jewish promote Jewish playwrights and plays nationwide. Theater J remains a safe and welcoming home for experience. Immerwahr has programmed a wide artists and audiences alike for years to come. range of Jewish voices and stories, including: Furthering Theater J’s reputation as a leading Lindsay Joelle’s Trayf, about a New York ‘Mitzvah Jewish theater, Immerwahr created the popular Erin Weaver and Kimberly Gilbert (left to right) in Tank’; The Wanderers — Anna Ziegler’s fourth play at Yiddish Theater Lab with the expressed mission Sheltered by Alix Sobler. Photo by Teresa Castracane. Theater J — about the intersecting lives of a Satmar of preserving and reviving the literature of the Hasidic couple and a secular couple; and Becoming Yiddish Theater, a dominant cultural force from the Dr. Ruth by Mark St. Germain, the story of holocaust 1880s to the 1930s all but forgotten today. The survivor and sex therapist Dr. Ruth Westheimer. initiative engages actors, directors, and scholars on new English language readings, workshops, and Several of Theater J’s recent productions have commissions which showcase the immense variety renewed interest in plays deserving of wider of Yiddish plays. To date, the Lab has produced attention. The theatrical adaptation of Jonathan a dozen staged readings as well as one full
16 th 30 Anniversary Executive Report Theater J is a kind place to work. There is a sense of generosity and positivity that helps the artistic process and that I appreciate every single time.
– Aaron Posner, Director and Playwright
Kimberly Gilbert and Judith Ingber in Life Sucks by Aaron Posner. Photo by C. Stanley Photography. Since 2015, Theater J has continued to grow the company’s local and national reputation and resources, with a particular commitment to increasing pay equity and the diversity of our artists.
Adam Immerwahr and Alix Sobler discuss Sobler’s play Sheltered (2020). Photo by Teresa Castracane
Number of DMV-area artists employed per Percentage of male/female- season since 2015 identifying playwrights since 2015
(TCG) ge 157 ra ve a le a 139 m e f
l a
n
o i Female t Male
a n 46%
% 54% 0 114 3 109 2016-17 2017-18 2018-19 2019-20 Season Season Around Town Season Season
25% 11% 58 54% average increase in actor increase in number of Number of Major Donor ($3000 increase in contributed compensation since 2015 subscriptions since 2015 and above) Households income since 2015
18 th 30 Anniversary Executive Report DC
Queens Girl in the World TheTheater J’sJourney three most recent of world a Theater premieres have Jgone World on to multiple Premiere productions across by Caleen Sinnette Jennings the country — and the world — a strong signal of the company’s ability to develop scripts and foster relationships with contemporary playwrights. World premiere, Theater J, 2015 Everyman Theatre (Baltimore, MD), 2019 Life Sucks, or, The Present Ridiculous by Aaron Posner Clackamas Rep (Oregon City, OR), 2019 World premiere, Theater J, 2015 Hangar (Ithaca, NY), 2020 Lookingglass Theatre (Chicago), 2016 Aurora Fox Arts Center (Aurora, CO), 2019 Trayf by Lindsay Joelle Stage West Theatre (Fort Worth, TX), 2017 Wheelhouse Theater Company (NYC), 2019 World premiere, Theater J, 2018 Manbites Dog Theater (Durham, NC), 2017 CATCO (Columbus, OH), 2019 New Rep (Boston, MA), 2019 Open Book Theatre (Trenton, MI), 2017 The Custom Made Theatre Co. Asolo Rep (Sarasota, FL), 2020 (Postponed) New Jewish Theatre (St. Louis, MO), 2018; (San Francisco, CA), 2019 Winnipeg Jewish Theater (Winnipeg, Canada), Deon-Walsh Productions (St. John’s, Newfoundland Corofin Dramatic Society, (Ireland), 2020 (Postponed) and Labrador), 2018 2019; Glor Theatre
19 th 30 Anniversary Executive Report Timeline
1990 – 1991 1994 – 1995 The Old Neighborhood by David Mamet Uncle Philip’s Coat by Larry Block & Matty Selman Krum (Staged Reading) by Hanoch Levin Jenny Keeps Talking by Richard Greenberg Tomorrowland by Neena Beber A Night in Ukraine (Staged Reading) by Dick Vosburgh Social Security by Andrew Bergman and Frank Lazarus Catskills Tzimmis by Ernest Joselovitz Fillerup! A Show About Jewish Women & Food Written and performed by Deb Filler “Shiva” (Staged Reading) by Judy Carter 1995 – 1996 1991 – 1992 Nano and Nicki in Boca Raton by Sherry Kramer 1999 – 2000 Three One-Acts (Staged Readings): If the Walls Could (World Premiere) Danger: Memory! One-Acts by Arthur Miller Talk by Laurence Klavan; Sure Thing by David Ives; Hanukah Rapping The Good Doctor by Neil Simon, based on the stories and Stage Directions by Israel Horowitz I Ought to Be in Pictures by Neil Simon of Anton Chekhov O, the Innocents (Staged Reading) by Ari Roth December 31, 1996 — EDCJCC moves back to 1529 Red Diaper Baby Written and performed by Josh A Night in Ukraine by Dick Vosburgh and Frank 16th Street Kornbluth Lazarus (First full production) Life in Refusal by Ari Roth (World Premiere) Table Settings by James Lapine 1996 – 1997 Red Diaper Trilogy (with The Mathematics of They Never Said a Word by Ron O’Leary 1992 – 1993 Change and Ben Franklin: Unplugged) Written and Bed and Sofa Libretto by Laurence Klavan and Music performed by Josh Kornbluth Talk Radio by Eric Bogosian by Polly Pen (First at 1529 16th Street) Collected Stories by Donald Margulies Elephants by David Rush The Bar Mitzvah of Harry London by Aaron Goldman DP by Roy Friedman (World Premiere Workshop) March 1993 — First Helen Hayes Nomination, Gillian Two by Two by Richard Rodgers, Martin Charnin and A Sunday with Ben by Aaron Goldman (World Holt for Best Supporting Actress for Table Settings Peter Stone Premiere) Bobby Gould in Hell by David Mamet The Greene House Effect by Charlie Schulman (World 1997 – 1998 2000 – 2001 Premiere) September 1997 – Ari Roth succeeds Randye Hoeflich Decoding the Tablecloth by Gabriela Kohen Summer 1993 — Randye Hoeflich succeeds Martin as artistic director Via Dolorosa by David Hare Blank as artistic director Waiting for Lefty by Clifford Odets, withStill Waiting by Ari Roth The Chosen Adapted by Aaron Posner & Chaim Potok 1993 – 1994 Exile in Jerusalem by Motti Lerner God of Vengeance by Sholem Asch Whatever It Is, I’m Against It: Groucho Marx on the Love & Yearning in the Not-For-Profits & Other Air by Richard Rohan 1998 – 1999 Marital Distractions by Ari Roth (World Premiere) Only Kidding by Jim Geoghan The South Side: Racial Transformation of an My Left Breast Written and performed by Susan Miller The Common Enemy by Charlie Schulman American Neighborhood by Louis Rosen The Ride Down Mt. Morgan by Arthur Miller Goodnight Irene by Ari Roth
20 th 30 Anniversary Executive Report 2001 – 2002 Hannah & Martin by Kate Fodor 2008 – 2009 Rocket to the Moon by Clifford Odets Central Park West/Riverside Drive by Woody Allen Sandra Bernhard’s Without You I’m Nothing by The People’s Violin Written and performed by Charlie Sandra Bernhard and John Boskovich Varon 2005 – 2006 Honey Brown Eyes by Stefanie Zadrevec Shylock Written and performed by Gareth Armstrong There Are No Strangers by Jeanette L. Buck (World Theodore Bikel in Sholom Aleichem: Laughter Premiere) Miklat by Joshua Ford (World Premiere) Through Tears by Theodore Bikel The Disputation by Hyam Macoby Via Dolorosa (Remount) by David Hare Dai (Enough) Written and performed by Iris Bahr String Fever by Jacquelyn Reingold Tommy J & Sally by Mark Medoff (World Premiere) The Accident by Hillel Mitelpunkt Betty Rules: The Exception to the Musical Returns! I Will Bear Witness (Part II) by Victor Klemperer Benedictus by Motti Lerner Written and performed by Alyson Palmer, Amy Ziff The Rise and Fall of Annie Hall by Sam Forman Born Guility by Ari Roth and Elizabeth Ziff The Seagull on 16th Street by Anton Chekhov Peter & the Wolf by Ari Roth (World Premiere) The Dybbuk A new adaptation based on the play by S. Anski, adapted by Hannah Hessel and Paata 2002 – 2003 Tsikurishvilli 2009 – 2010 Death and the Maiden by Ariel Dorfman Bal Masque by Richard Greenberg (World Premiere) Zero Hour Written and performed by Jim Brochu The Last Seder by Jennifer Maisel Picasso’s Closet by Ariel Dorfman (World Premiere) Lost in Yonkers by Neil Simon Jump/Cut by Neena Beber (World Premiere) Judy Gold is Mommy Queerest Book by Judy Gold, Eric Kornfeld and Bob Smith, Lyrics by Eric Kornfeld, The Mad Dancers by Yehuda Hyman 2006 – 2007 Music by John McDaniel Talley’s Folly by Lanford Wilson Shlemiel the First Conceived and adapted by Robert Brustein The Four of Us by Itamar Moses 2003 – 2004 Spring Forward, Fall Back by Robert Brustein Andy Warhol: Good for the Jews? Written and performed by Josh Kornbluth in collaboration with Sleeping Arrangements by Laura Shaine Cunningham God’s Donkey: A Play on Moses Produced by the David Dower Traveling Jewish Theatre Family Secrets by Sherry Glaser and Greg Howells In Dafur by Winter Miller From Tel-Aviv to Ramallah: A Beat-Box Journey South Side Stories Music and lyrics by Louis Rosen Mikveh by Hadar Galron Starring Yuri Lane, by Rachel Haverlock Either, Or by Thomas Keneally New Jerusalem by David Ives Welcome to My Rash & Third by Wendy Wasserstein Shylock by Arnold Wesker (World Premiere) Pangs of the Messiah by Motti Lerner (World 2010 – 2011 Homebody/Kabul by Tony Kushner Premiere) Something You Did by Willy Holtzman Passing the Love of Women by Motti Lerner & Israel Zamir (English-Language World Premiere) 2007 – 2008 The Odd Couple by Neil Simon Oy Vey in a Manger Written and performed by The Oh, The Innocents Written and directed by Ari Roth Accident by Amy Ziff Kinsey Sicks Speed-the-Plow by David Mamet 2004 – 2005 Return to Haifa The Cameri Theatre Production, Shlemiel the First Conceived and adapted by Robert adapted by Boaz Gaon from the novella by Ghassan A Bad Friend by Jules Feiffer Brustein Kanafani The Tattooed Girl by Joyce Carol Oates (World 25 Questions for a Jewish Mother by Kate Moira The Chosen Adapted and directed by Aaron Posner, Premiere) Ryan and Judy Gold Based on the novel by Chaim Potok, on the Betty Rules: The Exception to the Musical Written The Price by Arthur Miller Fichandler Stage at Arena Stage and performed by Alyson Palmer, Amy Ziff and David in Shadow and Light Libretto by Yehuda Photograph 51 by Anna Ziegler Elizabeth Ziff Hyman, Music by Daniel Hoffman The Moscows of Nantucket by Sam Forman
21 th 30 Anniversary Executive Report 2011 – 2012 The Admission by Motti Lerner (Workshop The How and the Why by Sarah Treem Presentation) Imagining Madoff by Deb Margolin Brighton Beach Memiors by Neil Simon Golda’s Balcony by William Gibson Parade Book by Alfred Uhry, Music by Jason Robert Broken Glass by Arthur Miller Brown Freud’s Last Session by Mark St. Germain After the Fall by Arthur Miller The Prostate Dialogues Written and performed by Jon 2017 – 2018 Spelman (World Premiere) Ov Yey in a Manger Written and performed by The Sotto Voce by Nilo Cruz The Last Night of Ballyhoo by Alfred Uhry Kinsey Sicks 2014 – 2015 The Religion Thing by Renee Calarco (World Premiere) Jonathan Safran Foer’s Everything is Illuminated YENTL Adapted by Leah Napolin and Isaac Bashevis Electile Dysfunction: The Kinsey Sicks for President! Adapted by Simon Block Singer Written and performed by The Kinsey Sicks Becoming Dr. Ruth by Mark St. Germain The Intelligent Homosexual’s Guide to Capitalism New Jerusalem: The Interrogation of Baruch de Roz and Ray by Karen Hartman and Socialism with a Key to the Scriptures by Spinoza by David Ives Tony Kushner Trayf by Lindsay Joelle (World Premiere) The Whipping Man by Matthew Lopez Life Sucks (Or the Present Ridiculous) by Aaron The History of Invulnerability by David Bar Katz Posner (World Premiere) 2018 – 2019 (Around Town Season) December 18, 2014 – EDCJCC and Ari Roth part ways The Pianist of Willesden Lane by Mona Golabek and Lee Cohen 2012 – 2013 G-d’s Honest Truth by Renee Calarco (World Premiere) Body Awareness by Annie Baker Actually by Anna Ziegler The Call by Tanya Barfield Our Class by Tadeusz Słobodzianek, translated by Talley’s Folly by Lanford Wilson The Tale of the Allergist’s Wife by Charles Busch Ryan Craig The Jewish Queen Lear by Nahma Sandrow December 1, 2015 – Adam Immerwahr starts as artistic Woody Sez: The Life and Music of Woody Guthrie director Devised by David M. Lutken with Nick Corley and 2019 – 2020 Darcie Deaville, Helen Russell and Andy Teirstein 2015 – 2016 Love Sick Written and adapted by Ofra Daniel, Music Apples from the Desert by Savyon Liebrecht by Ofra Daniel and Lior Ben-Hur Queens Girl in the World by Caleen Sinnette Jennings Boged (Traitor): An Enemy of the People by Boaz (World Premiere) Edward Albee’s Occupant Gaon & Nir Erez Sons of the Prophet by Stephen Karam Sheltered by Alix Sobler Race by David Mamet Stars of David: Story to Song Based on the book by The Wanderers by Anna Ziegler Andy and the Shadows by Ari Roth (World Premiere) Abigail Pogrebin The Hampton Years by Jacqueline E. Lawton (World The Sisters Rosenweig by Wendy Wasserstein Premiere) Falling Out of Time Adapted by Derek Goldman 2013 – 2014 The Body of an American by Dan O’Brien After the Revolution by Amy Herzog Another Way Home by Anna Ziegler The Argument by Alexandra Gersten-Vassilaros 2016 – 2017 Woody Sez: The Life and Music of Woody Guthrie (Remount) Devised by David M. Lutken with Nick The Last Schwartz by Deborah Zoe Laufer Corley and Darcie Deaville, Helen Russell and Andy The Christians by Lucas Hnath Teirstein Oy Vey in a Manger Written and performed by The Our Suburb by Darrah Cloud (World Premiere) Kinsey Sicks Yellow Face by David Henry Hwang Copenhagen by Michael Frayn
22 th 30 Anniversary Executive Report 2020-2021 Theater J Council Edlavtich DCJCC 2020-2021 Board of Directors Patti Herman, Co-Chair Kenneth Krupsky Stuart Sotsky Saul Pilchen Meg Flax Janis Schiff Howard Menaker, Stephen Lachter Patti Sowalsky Johanna Chanin Brian Gelfand Rhea Schwartz Daniel Hirsch Dina Gold Michael Singer Co-Chair Ellen Malasky Manny Strauss Eric Zelenko Debra Goldberg Tina Small Bob Tracy, Treasurer Meredith Margolis Kathryn Veal Jonathan Grossman Rena Gordon Cathy Toren Ann Gilbert, Secretary Alfred Munzer David Goldblatt Ellen Kassoff Gray Mimi Tygier Mara Bralove Sherry Nevins Benjamin D. Loewy Elise Lefkowitz Diane Abelman Honorary Council Barbara Abramowitz Julie Lundy Wattenberg Bruce A. Cohen Saul Pilchen Patty Abramson* Janet B. Abrams Meredith Margolis Alan Elsner Elaine Reuben Michele G. Berman Andrew Altman Sid Moskowitz Dava Schub, Nancy Firestone Bella Rosenberg Marion Ein Lewin Joseph A. Baldinger Alfred Munzer Chief Executive Officer Joan Berman Alyson Myers ex-officio Mindy Gasthalter Evelyn Sandground Paul J. Mason Michele G. Berman Melanie Franco Nussdorf Cheryl Gorelick Mita M. Schaffer Hank Schlosberg Jordan Lloyd Bookey Arnold Polinger Founding Director Rae Grad Robert Schlossberg Trish Vradenburg* Jennifer Bradley Shannon Powers Ginny Edlavitch Daniel Kaplan Lewis Schrager Terry Joan S. Wessel Jaclyn Cohen Norm J. Rich Eva Davis Sharon Russ Vice President Emeritus Arlene Klepper Singer Irene Wurtzel Jonathan Edelman Jonathan Rutenberg Lee G. Rubenstein *of blessed memory Myrna Fawcett Michael Salzberg
Theater J is a program of the Edlavitch DC Jewish Community Center, whose lead support is provided by the Jewish Federation of Greater Washington.
23 th Report Designed by Lee Dixon 30 Anniversary Executive Report