For concert tickets ($125 each), including an open bar, live auction, and dessert reception, click here and choose the Concert Tickets option.

Timeline Of Evening

6pm – Sponsor Reception and Dinner
8pm – Live Auction and Performance
10pm – Dessert Reception

$250 GALA PACKAGE (1 seat)

  • Elegant sponsor dinner
  • Live auction
  • Preferred seating to gala concert
  • Dessert reception

For single tickets to the full event, click here and choose the Gala Package option.

For the sponsor opportunities listed below, contact the Development Office at development@roundhousetheatre.org or 240.644.1403.

 $10,000 HEADLINE SPONSOR (1 table) 

  • As our entertainment sponsor, you will have exclusive access to meet Norm Lewis, our headliner of Broadway in Bethesda 2015
  • Premiere seating for the dinner and the evening’s performance
  • Public recognition from the stage
  • Recognition on stage signage & event entrance signage (logo optional)
  • Full-page recognition and listing in event program
  • Two half-page ads in upcoming Round House production playbills
  • Recognition on the Gala section of our website (click-through optional)

$5,000 STAR SPONSOR (1 table)

  • Priority seating for your own table (seats 8) for dinner and performance
  • Public recognition from the stage
  • Recognition on stage signage & event entrance signage (logo optional)
  • Full-page recognition and listing in event program
  • Two half-page ads in upcoming Round House production playbills
  • Recognition on the gala section of our website (click-through optional)

$2,500 SPOTLIGHT SPONSOR (4 seats)

  • Four tickets to the event, with priority seating for the performance
  • Recognition on event entrance signage
  • Half-page recognition and listing in event program

$1,000 FOOTLIGHT SPONSOR (2 seats)

  • Two tickets to the event, with priority seating for the performance
  • Recognition on event entrance signage
  • Listing in event program

Norm-LewisAn evening with Norm Lewis

Saturday, May 9, 2015

Don’t miss your chance to see Broadway’s history-making Phantom! Tony-nominee Norm Lewis performs a selection of his show-stopping hits from Porgy and BessPhantom of the OperaLes Misérables and more.

Visit the tabs above for information on purchasing concert tickets or gala packages, as well as sponsorship opportunities.

For more information, contact the Development Office at development@roundhousetheatre.org or 240.644.1403.

handsMonday, March 16, 2015 at 7:30pm

Round House Theatre Bethesda
4545 East-West Highway

Free Admission. Complimentary Open Bar. Light Fare.

Great Deals for New Subscribers!

Click here to RSVP

RBB---NEW-dramaturgyFeminism in Black and White

By Jodi Kanter, Dramaturg

Can a woman “have it all”?  That is, can she create a meaningful and successful life for herself both at work and at home?  And if she is fortunate enough to create such a life, what are the chances that she can sustain it?

For more than half a century, American women have labored to answer this question on the printed page.  Betty Friedan is often credited with being the first to put the question in writing.  In her 1963 book, The Feminine Mystique, Friedan identified the “problem that has no name”—the dissatisfaction of many middle class women with a life lived entirely in the domestic sphere.  A decade later, in her landmark study of rape, Against Our Will, journalist Susan Brownmiller raised public consciousness about an epidemic of violence against women that plagued the country.  How could women find fulfillment in either work or family in a culture that continually forced them into subordination?  Arguing that mediated images of sexual violence fueled this epidemic, law professor Catherine McKinnon and activist Andrea Dworkin took up their pens in the 1980s to draft anti-pornography legislation in several states. And since the mid-1990s, women of what has been called the Opt Out Generation—those who have left work to raise a family—have written visibly and prodigiously about how difficult it remains to opt back in when they are ready.

It is important to note, too, that not only white, middle class American women have done the writing.  The feminist and civil rights movements separated in the late 1960s for both cultural and strategic reasons.  Many African Americans felt their concerns being pushed to the margins of the women’s movement by its overwhelmingly white leadership.  Others consciously reserved their own prose for what they felt was the more urgent struggle for racial equality.  But many important writers have insisted that their fight for equality as African Americans and their fight for equality as women must not—cannot—be separated.  In 1984, Audre Lorde’s seminal collection of essays, Sister Outsider, spoke directly to the figure of patriarchal culture.  “Perhaps … I am the face of one of your fears,” Lorde wrote, “Because I am a woman, because I am Black, because I am a lesbian, because I am myself — a Black woman warrior poet doing my work — come to ask you, are you doing yours?”  In 1990, Patricia Hill Collins’ Black Feminist Thought sought for the first time to produce a theoretical framework for reading some of the most important feminist thinkers of the era.  And in 1999, Joan Morgan’s When Chickenheads Come Home to Roost articulated a “hip hop feminism” for the 21st century.  These works continually remind us that the essential question of feminism to not just whether women can have it all but whether all women can have it all?

Nor have feminist writers restricted themselves to the genre of nonfiction.  Poets such as Adrienne Rich and Gwendolyn Brooks have crafted a feminism that is not a matter of the intellect but of the soul.  Novelists such as Toni Morrison and Jean Rhys have demonstrated that the faculty of imagination is central to the progress of feminism and, indeed, to all struggles for liberation.

And then, of course, there are the playwrights, women whose works—from Lillian Hellman’s The Little Foxes to Lorraine Hansberry’s A Raisin in the Sun, from Paula Vogel’s How I Learned to Drive to Wendy Wasserstein’s The Heidi Chronicles, from Sarah Ruhl’s The Vibrator Play to Gina Gionfriddo’s Rapture, Blister, Burn—have dramatized feminism as an embodied practice.  For them, as for us who sit in their audiences, feminism lives not only on the page but in the breath, the voice, and the flesh.

A Timeline of Important Events in American Women’s History

1848 – The First Woman’s Rights Convention, organized by Elizabeth Cady Stanton and Lucretia Mott and held in Seneca Falls, New York

1866 – Elizabeth Cady Stanton, Susan B. Anthony, and Lucy Stone found the American Equal Rights Association to promote universal suffrage.  Three years later it will change its name to The National Women’s Suffrage Association.

1896 – The National Association of Colored Women is founded.  Mary Church Terrell is its first president.

1920 – In February, the National League of Women Voters is founded.  Six months later, the Nineteenth Amendment to the Constitution grants women the right to vote.

1960 – The Food and Drug administration approves birth control pills.

1963 – The Feminine Mystique by Betty Friedan is published.

1966 – The National Organization for Women (NOW) is founded.

1967 – Inaugural issue of The Phyllis Schlafly Report is mailed to 3,000 supporters.

1968 – Cornell University offers the nation’s first accredited course in women’s studies.

1970 – At the second annual Congress to Unite Women, twenty lesbian feminists challenge straight feminists to confront their homophobia.

1972 – Ms. Magazine begins monthly publication.

1973 – Through Roe v. Wade and its companion case, Doe v. Bolton, the Supreme Court overturns antiabortion statues.

1979 – At New York University, Andrea Dworkin and Catherine McKinnon organize the first meeting of what will become Women Against Pornography (WAP).

1981 – Sandra Day O’Connor becomes the first woman Supreme Court justice.

1982 – ERA fails to be ratified in three states.  Although the amendment is reintroduced in 1983 and 1984, it fails both times due to lack of support in Congress.

1984 – Geraldine Ferraro wins the Democratic nomination for vice president.

1993 – President Clinton signs the Family and Medical Leave Act.

2005 – Hilary Clinton becomes the first First Lady to be elected to public office when she wins a seat in the U.S. Senate, representing New York.

2009 – Sonia Sotomayor becomes the nation’s first Hispanic Supreme Court justice.

Artistic Team

Director: Zoe Malhorta (Stone Ridge High School)
Stage Manager: Isabel Brodsky (Georgetown Day School)
Assistant Stage Manager: Francis Kpue (Don Bosco Brisco Rey)
Lighting Designer: Declan Conditt (John F. Kennedy High School)
Sound Designer: Ronee Goldman (Blair High School)
Costume Designer: Natalia Pichardo (The German School)
Dramaturg: Megan Wirtz (Georgetown Day School)
Film Director: Milena Castillo-Grynberg (Blair High School)
Marketing Associate: Zoe Johnson (Blair High School)

Cast

Laura: Megan Thompson (Bethesda-Chevy Chase High School)
Emily: Willa Murphy (Blair High School)
Jack: Tyler Tripler (Walt Whitman High School)
William: Derek Lamb (Blair High School)
Jim: Nate Fellner (Bethesda-Chevy Chase High School)
Eva: Pamela Lawrence (Stone Ridge High School)
Crew: Ilana Simon-Rubinowitz (Bethesda-Chevy Chase High School)
Crew: Meribor Matusow (The Siena School)

Sarah-Graduation-244x300The Sarah Play honors the memory of Sarah Emily Metzger, an active member of the theater community in her school and at Round House, who was killed in an automobile accident during her freshman year of college. One of the Round House family’s lasting memories of Sarah is that, while still a high school student, she independently mounted a full-scale theatre production. Wishing to expand on the opportunities offered by her high school’s theatre department, Sarah worked to raise funds, secure facilities and a production staff, market and promote her production, and direct a full-length play.

After her passing, Sarah’s family worked with Round House to create The Sarah Metzger Memorial Fund as a tribute to the inspiring young woman. Through the generosity of many contributors, the fund provides the financial resources each season for similarly passionate and motivated high school students to create a fully-realized production with a professional theatre company.

Click here to read a collection of Sarah’s writings on theatre, including her bio from her self-produced production.

Click here for a production history and photos of the past Sarah Play productions.