Whether it’s a pre-show discussion with the designers or a post-show talkback with the actors and special guests, Round House offers numerous opportunities throughout each production to enhance your experience as an audience member. All discussions are FREE for ticket holders unless otherwise noted.

November 23, 2016 – Design Discussion, Post-Show Discussion
November 25, 2016 – Director Discussion, Post-Show Discussion
November 27, 2016 – Post-Show Discussion
November 30, 2016 – Post-Show Discussion
December 1, 2016 – Post-Show Discussion
December 2, 2016 – #FreeBeerFriday
December 4, 2016 – Post-Show Discussion with Psychoanalysis, Creativity and the Arts Program at the Washington Center for Psychoanalysis
Eleanor Holdridge, director
Richard Waugaman, M.D.
Elisabeth Waugaman, Ph.D.
Moderator: Rosa Aurora Chavez, M.D., Ph.D., Psychoanalyst &Chair, Psychoanalysis, Creativity and the Arts Program, Washington Center for Psychoanalysis
December 7, 2016 – Post-Show Discussion
December 8, 2016 – Post-Show Discussion
December 9, 2016 – #FreeBeerFriday
December 11, 2016 – Post-Show Discussion
December 14, 2016 – Post-Show Discussion
December 15, 2016 – Post-Show Discussion
December 16, 2016 – #FreeBeerFriday
December 17, 2016 – Jane Austen High Tea

Pre-Show Discussions

The year: 1985. The place: New York. The mood: apocalypse. Join a member of our staff on Wednesdays and Thursdays before performances as they provide context and background for the play you’re about to see. Discuss the progression of HIV/AIDS, the rise of Reaganism, and the setbacks to gay rights as we provide you with an introduction to Angels’ key themes.

From the destruction of Millennium Approaches rises a new work: Perestroika. Before the second half of your Angels experience, discuss major plot points, character arcs, and themes. Delve into the twists and turns of Millennium in order to prepare yourself for Perestroika.

September 7, 2016 – Design Discussion, Post-Show Discussion
September 9, 2016 – Director Discussion
September 14, 2016 – Pre-Show Discussion
September 15, 2016 – Pre-Show Discussion
September 16, 2016 – #FreeBeerFriday
September 28, 2016 – Director Discussion
October 2, 2016 – Post-Show Panel Discussion (details below)
October 5, 2016 – Pre-Show Discussion
October 6, 2016 – Pre-Show Discussion
October 7, 2016 – #FreeBeerFriday
October 9, 2016 – Post-Show Panel Discussion (details below)
October 12, 2016 – Pre-Show Discussion
October 13, 2016 – Pre-Show Discussion
October 14, 2016 – #FreeBeerFriday
October 16, 2016 – Post-Show Panel Discussion (details below)
October 19, 2016 – Pre-Show Discussion
October 20, 2016 – Pre-Show Discussion
October 21, 2016 – #FreeBeerFriday
October 23, 2016 – Post-Show Panel Discussion (details below)
October 26, 2016 – Pre-Show Discussion
October 27, 2016 – Pre-Show Discussion
October 28, 2016 – #FreeBeerFriday

Panels: Angels in Conversation

Over the four weeks of October, join our four panels of experts to discuss the broader themes of Angels in America: the HIV/AIDS epidemic, LGBTQ rights, spirituality, and the play’s own dramatic legacy. Continue the conversation after each October Sunday matinee performance, and truly engage with this epic work.

Medicine: October 2 following the matinee performance
15,527 sick. 12,529 dead. Angels in America opens as the plague of HIV/AIDS continues to swell, with no end in sight. The only hope lies in an experimental treatment called AZT, which has just begun its first human trials. Our panel of NIH experts recounts their race against time to stem the tide of HIV/AIDS, as present-day activists discuss the continued—and underreported—struggle to eradicate the epidemic once and for all.
Dr. David Morens, Senior Scientific Advisor, NIH
Dr. Victoria Harding, author of 30 Years of AIDS
Devin Barrington-Ward, Director of Communications, Whitman-Walker Health

Law: October 9 following the matinee performance
“We will be citizens,” Tony Kushner promises at the end of Angels in America—and history seems to have vindicated his optimism. On the twenty-fifth anniversary of Kushner’s masterpiece, the LGBTQ community has won marriage equality, a repeal of “Don’t Ask Don’t Tell,” and mainstream political acceptance; but the fight is far from over. Our legal panel explores both the triumphs and setbacks of the 21st century, including the ongoing state-level legal backlash against LGBTQ rights.
Hayley Gorenberg, Deputy Legal Director, LAMBDA Legal
Zack Ford, LGBT Editor, ThinkProgress

Religion: October 16 following the matinee performance
“In my church,” Mormon character Harper asserts, “we don’t believe in homosexuals.” Yet Angels in America goes on to reveal a far more complex vision of sexuality and religion, one that seeks to reconcile faith and acceptance. Our panel of faith leaders from the DMV area discusses their own organizations’ efforts to unite these two concepts, while also engaging in a broader conversation about the true nature of a personally and spiritually fulfilling worldview.
Pastor Tim Hughes, Brown Memorial Church
Representatives from 6th and I, and Affirmation DC

Legacy: October 23 following the matinee performance
Two parts, eight acts, thirty-one characters—Angels in America is not a small play, nor was its creation a small task. Join us as our panel explores the story behind the saga, from the play’s conception to its first production at the Eureka Theatre to its impact on American culture, all through oral history and firsthand accounts.
Isaac Butler, co-author of Angels in America: The Oral History
Tom Kamm, Angels in America original scenic designer


Todd Kreidler directed August Wilson’s How I Learned What I Learned, and served as dramaturg for August Wilson’s Radio Golf and Gem of the Ocean in their early productions at the Huntington and other regional theatres and on Broadway. His adaptation of Guess Who’s Coming to Dinner appeared at the Huntington in the fall of the 2014-2015 season. He wrote the Broadway musical Holler If Ya Hear Me, an original story featuring the lyrics of Tupac Shakur, and is writing a musical with Nikki Sixx, based on Sixx’s memoir and music, The Heroin Diaries. His stage adaptation of the film Guess Who’s Coming to Dinner ran at Arena Stage in Washington, DC and premiered at True Colors Theatre Company in Atlanta. Most recently, he directed How I Learned What I Learned at Off Broadway’s Signature Theatre and at Pittsburgh Public Theater. He originally directed and co-conceived the piece with Mr. Wilson performing at Seattle Repertory Theatre in 2003. He co-founded the August Wilson Monologue Competition, a national program aimed at integrating August Wilson’s work into high school curriculum, of which the Huntington facilitates the Boston competition.


David Gallo


Constanza Romero


Thom Weaver


Dan Moses Schreier

December  2016


Liz Duffy Adams Or, premiered Off Broadway at Women’s Project Theater and has been produced numerous times since, including at the Magic Theater and Seattle Rep. She’s a New Dramatists alumna and has received a Women of Achievement Award, Lillian Hellman Award, New York Foundation for the Arts Fellowship, Will Glickman Award, Weston Playhouse Music-Theater Award, and MacDowell Colony residencies. Her work has also been produced or developed at the Contemporary American Theater Festival, Humana Festival, Portland Center Stage, Syracuse Stage, New Georges, Clubbed Thumb, Cutting Ball, Shotgun Players, and Crowded Fire, among others. Other plays include A Discourse on the Wonders of the Invisible World; Buccaneers; Dog Act; Wet or, Isabella the Pirate Queen Enters the Horse Latitude; The Listener; The Reckless Ruthless Brutal Charge of It or, The Train Play; and One Big Lie. Publications include Poodle With Guitar And Dark Glasses in Applause’s “Best American Short Plays 2000-2001,” Or, in Smith & Kraus’ “Best Plays Of 2010,” and several plays in acting editions by Playscripts, Inc. and Dramatists Play Service. Adams has a BFA from New York University and an MFA from Yale School of Drama, and was the 2012–2013 Briggs-Copeland Visiting Lecturer in Playwriting at Harvard University. She has dual Irish and American citizenship, is originally from the northern coast of Massachusetts, and divides her time between western Massachusetts and New York City.


Aaron Posner Previous Round House credits include Stage Kiss, the musical A Murder, A Mystery & A Marriage (book, lyrics and direction), and My Name is Asher Lev. Locally, Aaron has directed at Arena Stage, Folger Theatre (where he is an artistic associate), Signature Theatre, Studio Theatre, Theatre Alliance, Theater J, and Woolly Mammoth. In addition to the two listed above, his plays Stupid Fucking Bird, Life Sucks (Or The Present Ridiculous) and The Chosen have all appeared on local stages as well as in hundreds of productions around the country and abroad. He has won five Helen Hayes Awards as a director and an author, The John Gassner Award and an Outer Circle Critics Award (New York), two Barrymore Awards (Philadelphia), an Elliot Norton Award (Boston) and a Bay Area Theatre Award (The Bay Area). He lives in Maryland with his wife, actress Erin Weaver, and their amazing daughter, Maisie.


Paige A. Hathaway


Kendra Rai


Christopher Baine

Round House Theatre