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)


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.

The Round House Theatre Teen Performance Program is a pre-professional program for the next generation of theater artists. Round House gathers the region’s most creative young theater artists and provides mentorship to them as they work on a play at our theater. Students selected shadow productions on the RHT stage, attend events and master classes with RHT company members, and work closely with professional artists and practitioners at every step of the process.

The program culminates in The Sarah Metzger Memorial Play which is directed, designed, stage managed, and performed by high school students.  The Sarah Play was established by the Metzger family and friends to celebrate the memory of Sarah Metzger, an inspiring and active member of the theatre community, who was killed in an automobile accident during her freshman year of college.


By Enda Walsh
Directed by Zoe Malhotra

The 2015 Sarah Metzger Memorial Play

March 13 – 16, 2015
Round House Theatre, 4545 East-West Highway, Bethesda


“An impressive number of themes… handled in commendably non-dogmatic style… A triumph.” - London Evening Standard
“One of the most thrillingly enjoyable evenings I’ve had in the theatre” - Sunday Times
“Punchy, provocative” - The Independent
“Enda Walsh’s Chatroom is a winner… This is a clever, funny, discomforting piece to make audiences of all ages think.” - The Observer

Six teenagers, communicating only via the internet, talk about everything from pop stars to Willy Wonka to suicide: Jim is depressed and talks of ending his life and Eva and William do their utmost to persuade him to carry out his threat. From this chilling premise is forged a funny, compelling and uplifting play that tackles the issues of teenage life and cyber-bullying head-on and with great understanding.

LWLauren Williams (Clara) is delighted to be making her Round House Theatre debut this holiday season. Lauren’s credits include Violet, Hello Dolly, Parade and Liberty Smith at Ford’s Theatre; Elephant and Piggie (H.H. Nomination), Snow White, Rose Red…, The Phantom Tollbooth at The Kennedy Center for Performing Arts; Hairspray (H.H. Nomination), Into The Woods (H.H. Nomination), NevermoreA Funny Thing Happened…(H.H Nomination), The Happy Time, My Fair LadyAllegro at Signature Theatre; Reefer MadnessDog Sees God at Studio Theatre 2nd Stage; You’re a Goodman Charlie Brown at Adventure Theatre; God’s Ear and Butterfinger’s Angel at Rep Stage. Lauren would like to thank P and D for their unconditional love and support!

MHMitchell Hébert (David/Rat/Teddy) most recently appeared in How to Write a New Book for the Bible (Helen Hayes nomination), and directed Glengarry Glen Ross (Helen Hayes Award – Outstanding Director) at Round House. Previous RHT credits include The Drawer Boy (Helen Hayes nomination), Young Robin Hood, Charming Billy, Around the World in 80 Days, Eurydice, and Crime and Punishment.  Local credits include After the Fall at Theater J (Helen Hayes/Robert Prosky Award), and Clybourne Park (Helen Hayes nomination) at Woolly Mammoth Theatre, where he is a long-time company member. Other Woolly credits include: The Gigli Concert, Kvetch, and The Clean House. He has performed at many of the DC area’s theatres including Shakespeare Theatre, Theater J, Forum Theatre, Theatre of the First Amendment, and Olney Theatre Center, where he also directed Rabbit Hole. Mitchell is on the faculty of the University of Maryland’s School of Theatre, Dance, and Performance Studies. He will appear in Round House Theatre’s Uncle Vanya later this season.

SESherri L. Edelen (Martha/Rat) previously appeared at Round House in The World Goes ‘Round and The Diary of Anne Frank. Other local credits include Cabaret and My Fair Lady at Arena Stage; Design for Living at Shakespeare Theatre; Gypsy, XanaduHairspraySweeney Todd, and Les Misérables at Signature Theatre; Romeo and Juliet at Folger Theatre; and How to Succeed… at Olney Theatre. She was in the national tours of Me and My Girl, Nunsense, and Big; and in Sunday in the Park with George and Merrily We Roll Along at The Kennedy Center as part of their Sondheim Celebration. Regional credits include Our Town and Caroline or Change (Barrymore nomination) at Arden Theatre Company, The Light in the Piazza (Barrymore Award) and Elegies (Barrymore nomination) at Philadelphia Theatre Company, The Music Man and Annie Get Your Gun at Stages St. Louis, Citizen Ruth at New York Fringe Fesetival, and Outside Mullingar at Fusion Theatre Company.  She also recently directed Steel Magnolias at Riverside Theatre Center. Sherri is a two-time winner of the Helen Hayes Award and has received numerous nominations. Later this season, she’ll be seen in Turn of the Screw at Creative Cauldron and Vanya, Sonia, Masha and Spike at Arena Stage.

LRLawrence Redmond (Uncle Eric Drosselmeyer/Rat) returns to Round House Theatre where he was previously seen in A Trip to Bountiful, Permanent Collection, A Lesson Before Dying, A Prayer for Owen Meany, The Misanthrope, and Rum and Coke.  DC Area recent credits include Elmer Gantry at Signature Theatre; How To Succeed… and Triumph of Love at Olney Theatre Center; A Midsummer Night’s Dream, Much Ado About Nothing, As You Like It, Romeo and Juliet at the Shakespeare Theatre Company; The Music Man and Ruined at Arena Stage; The Winter’s Tale and Henry VIII at Folger Theatre; Rock ‘n’ Roll at Studio Theatre; Jerry Springer:  The Opera and Reefer Madness: The Musical at Studio Theatre 2nd Stage; New Jerusalem, A Bad Friend, and Life in Refusal at Theatre J.  He is a two-time recipient and six-time nominee of the Helen Hayes Award, and recipient of the Mary Goldwater Award.

VKVincent Kempski (Fritz/Nutcracker) is making his Round House debut with The Nutcracker. He last appeared in The 25th Annual Putnam County Spelling Bee and the 2014 Ford’s Gala at Ford’s Theatre. Other credits include GypsyMiss Saigon, Spin, The Best Little Whorehouse in Texas, Crossing: In Concert at Signature Theatre; Grease and Joseph and the Amazing Technicolor Dreamcoat at Olney Theatre; Spring Awakening at Keegan Theatre; Latino Inaugural Celebration 2013 and The Greenwood Tree (reading) at The Kennedy Center; and The Pirates of Penzance at Washington Savoyards. Vincent graduated cum laude with a BM from The Catholic University of America.

WGWill Gartshore (Monkey) last appeared at Round House in Ordinary Days, This, Becky Shaw, Orson’s Shadow, A Year with Frog and Toad, The World Goes ‘Round, and Summer of ’42. DC area credits include The Religion Thing (Theater J); The Great Gatsby and Passion (Kennedy Center); Show Boat, Merrily We Roll Along, My Fair Lady, AssassinsSex Habits of American Women, UrinetownPacific Overtures, Elegies, Allegro, Twentieth Century, Grand Hotel, Side Show, and Floyd Collins (Signature); The Velvet Sky (Woolly Mammoth); Monster (Olney); Privates on Parade and A New Brain (Studio). Will performed on Broadway in Parade and Off-Broadway in The Last Session and Ziegfield Follies of 1936. Regional credits include Elegies (Philadelphia Theatre Co.); Myths + Hymns (Prince); 3hree (Ahmanson & Prince); and Fanny Hill (Goodspeed). Will is a two-time winner of the Helen Hayes Award for Best Actor and an eight-time nominee. He is a graduate of the American Academy of Dramatic Arts in NYC and the University of Maryland-College Park.

ECEvan Casey (Hugo) previously appeared at Round House in Lord of the Flies. OFF-BROADWAY: River’s End (NYMF), NEO 8 Concert (York Theatre Company). REGIONAL: North Carolina Theatre, Everyman Theatre, New London Barn Playhouse. DC AREA includes: Orphie and the Book of Heroes, Elephant and Piggie’s We Are In A Play! (Kennedy Center); Little Shop of Horrors, Meet John Doe, Shenandoah (Ford’s Theatre); Much Ado About Nothing (Shakespeare Theatre Company); Sunday in the Park with George, Really Really, and Company (Signature Theatre); Avenue Q, The 39 Steps, Camelot (Olney Theatre Center); tempOdyssey, Dog Sees God (Studio Theatre Secondstage). He has also performed at Rep Stage, Theatre of the First Amendment, Imagination Stage, and Bay Theatre Company. FILM: Of Dice and Men, Treasure Hunt, Flanking the Sentinel, Jargon, Once Upon a Time at the DMV. TV/WEB: House of Cards, Missing Persons Unit, Thurston, Stage Fright. TRAINING: BM, Magna Cum Laude, Catholic University; London Dramatic Academy. TEACHING: Winston Churchill High School, National Conservatory of Dramatic Arts, Signature Theatre, Adventure Theatre-MTC. OTHER: Capitol Steps, GraphicAudio Audiobooks.

EWErin Weaver (Phoebe) is excited to be back at Round House where she last appeared as Deb in Ordinary Days, Meg in A Wrinkle in Time, and Mary in A Murder, A Mystery and A Marriage. Recent DC credits include playing Skuggle in The Night Fairy at Imagination Stage, Kattrin in Mother Courage and Her Children (directed by Molly Smith, starring Kathleen Turner) at Arena Stage and Juliet in Romeo and Juliet (Helen Hayes nomination) at the Folger Theatre where she also appeared as Luciana in The Comedy of Errors and Thomasina in Arcadia (Helen Hayes Award, Outstanding Supporting Actress). Other area performances include Amy in Company (Helen Hayes Award, Outstanding Supporting Actress), Cathy in Last Five Years (Helen Hayes nomination) and Kira in Xanadu (Helen Hayes nomination) all at Signature Theatre. Erin started her professional career playing young Cosette/Eponine in the first national tour of Les Misérables and went on to perform regionally at the California Shakespeare Theater, Arden Theatre, People’s Light and Theatre Company (where she received a Barrymore Award for their production of Cinderella, Best Ensemble) among others. She is currently a proud resident of Silver Spring with her husband Aaron and daughter Maisie.

Tommy Rapley (Creator) is a proud Company Member with The House Theatre of Chicago, where he regularly directs and choreographs.  A member of Actor’s Equity Association, he has performed around Chicago on stages such as Drury Lane Oakbrook, The Marriott, The Court and The Goodman Theatre. Tommy also regularly ruins young minds at Chicago Academy for the Arts and Northwestern University.  Much Love to Scott, Mom and Jane

Jake Minton (Creator/Playwright/Lyricist) is from Dallas, Texas where he attended SMU with several fellow House company members.  As a playwright Jake has co-authored The SparrowDave DaVinci Saves the UniverseRose and The RimeGirls vs. Boys, and The Nutcracker.  As an actor, he’s performed in Death and Harry HoudiniThe Valentine TrilogyCave With ManThe Boy Detective FailsThe Great and Terrible Wizard of Oz, and The Nutcracker.  As a preschool teacher, Jake has been terrifying his students with stories about rat kings for months.  And as a husband he is the luckiest.

Phillip Klapperich (Creator/Playwright) is a Founding Member of The House Theatre of Chicago. In addition to The Nutcracker (2007, Jeff Nominee – Best New Adaptation), he is the writer of The Terrible Tragedy of Peter Pan (2002), The Rocket Man (2004, Jeff Nominee – Best New Work), The Great and Terrible Wizard of Oz (2005) and the co-writer, with Michael Rohd, of Wilson Wants it All (2010, Jeff Award – Best New Work). In 1997, on his 20th birthday, Phillip took the Metro from his dorm at GW and walked (what seemed like) miles in the rain to see a production of Uncle Vanya at Round House. Exactly 10 years later the first production of this show went into rehearsal at Steppenwolf Theatre. Find him on Twitter @pklapperich.

Kevin O’Donnell (Creator/Composer) has been a company member of The House Theatre of Chicago since 2006. Kevin has worked on over 20 House shows dating back to The Rocketman in 2004.  His song cycle Ploughed Under: An American Songbook premiered there in Season 11. His work in Chicago theater has earned him 20 Jeff Nominations (9 Awards), and 2 consecutive After Dark Awards (Outstanding Season). In Chicago he has worked with The Hypocrites (Artistic Associate), Steppenwolf, Lookingglass, The Building Stage, Redmoon, Chicago Shakespeare, TimeLine, The Court Theatre and many others. Regionally he has worked at A.R.T. (Cambridge, MA); A.C.T. (San Francisco); The Arscht Center (Miami); Kansas City Rep; Stages Rep (Houston); Baltimore CenterStage; First Stage (Milwaukee); Lambs Players (San Diego); St. Anne’s Warehouse, The Cherry Lane, and 59E59 (New York). As a musician he has recorded and/or performed with Andrew Bird, Nickel Creek, Jon Rauhouse, Kelly Hogan, David Berkeley, and many others. He also likes to cook.

Joe Calarco (Director/Choreographer) makes his Round House debut with The Nutcracker. Joe’s extensive work in the DC area includes Gypsy, Walter Cronkite is Dead (writer/director), Assassins, Urinetown, Sideshow, Nijinsky’s Last Dance, among many others at Signature Theater, where he was just hired as Director of New Works. Other DC work includes Orphie and the Book of Heroes and The Trumpet of the Swan at The Kennedy Center, A Midsummer Nights Dream at The Shakespeare Theatre Company, The Religion Thing at Theater J, Shakespeare’s R&J at The Folger, and Short Order Stories at Charter Theater. His work Off Broadway includes A Christmas Carol (Drama Desk nomination), his play In The Absence of Spring at Second Stage, In Transit (Drama Desk nomination) and Boy at Primary Stages; and The Burnt Part Boys and Floyd and Clea Under the Western Sky at Playwrights Horizons. He is the winner of the Lucille Lortel Award, four Helen Hayes Awards, and two Barrymore Awards.

William Yanesh (Music Director) previously served as music director for Ordinary Days at Round House. DC AREA: Elmer Gantry (Asst.), Good Times, Never Been Gone, The Last Five Years (Helen Hayes nomination) at Signature Theatre; Goodnight Moon and Winnie-the-Pooh at Adventure Theatre MTC; A Grand Night for Singing at Washington Savoyards. ORCHESTRATOR: Miss Nelson is Missing at ATMTC. COMPOSER: The Cat in the Hat at ATMTC; The Ballad of the Red Knight at Port City Playhouse; Medieval Story Land at DC Fringe. EDUCATION: BM, Carnegie Mellon University. UPCOMING: Into the Woods and Garfield at ATMTC, Man of La Mancha at Shakespeare Theatre Company.

James Kronzer (Scenic Designer) has designed scenery for numerous Round House productions, including Seminar, This, Glengarry Glen Ross, and Amadeus, among others. Recent designs in the area include Gypsy at Signature Theatre and Clybourne Park at Woolly Mammoth. His work has also been seen at Shakespeare Theatre, The Folger, Theater J, and The Kennedy Center. Other theater credits include Broadway, Off-Broadway, Lord of the Flies at the Denver Center, A Midsummer Night’s Dream at St. Louis Rep, 4000 Miles at Cincinnati Playhouse in the Park, Portland Center Stage, Milwaukee Rep and Arden Theatre. He has adapted the designs for several national tours including Anything Goes, The Producers, The Drowsy Chaperone, Shrek the Musical and Spamalot. He also designed scenery for Disney Cruise Lines Twice Charmed and has shows running on nine ships on the Norwegian Cruise Line fleet. TV credits include a recent pilot for Comedy Central plus over 60 comedy specials, 40 of which can be seen on Netflix. He has worked with comedians such as Dennis Miller, Bo Burnham, Sinbad, Kevin Nealon, Aziz Ansari and Nick Cannon. Mr. Kronzer has been nominated 32 times for the Helen Hayes Award and has received the award eight times. He is a member of United Scenic Artists. His work can be seen at www.JamesKronzer.com.

Helen Huang (Costume & Puppet Designer) has designed for The Washington Ballet; Woolly Mammoth Theatre Company; Ford’s Theatre; Folger Theatre; The Studio Theatre; Shakespeare Theatre Company; Arena Stage; Signature Theatre Company; Classic Stage Company, New York; Guthrie Theater; Oregon Shakespeare Festival; The Children’s Theatre Company, Minneapolis; Milwaukee Repertory Theatre; Syracuse Stage; Seattle Repertory Theatre; Philadelphia Theatre Company; Utah Shakespeare Festival; Disney Entertainment; Boston Lyric Opera. International: Set and costume design at National Opera House of China and the Central Television of China. Awards: Helen Hayes Award and Ivey Award. Other credits include costume design in Exhibition “Curtain Call: Celebrating a Century of Women Designing for Live Performance” at The New York Public Library, Lincoln Center, and the Prague Quadrennial. Huang is a professor of MFA Costume Design Program at University of Maryland, College Park.

Daniel MacLean Wagner (Lighting Designer) Mr. Wagner has designed lighting for more than 25 productions at Round House over the past 30 years, including most recently Fool for Love, Seminar, This, and Glengarry Glen Ross. He has designed lighting for more than 400 productions at many other theaters, including Arden Theatre Company, Berkshire Theatre Festival, Boston Lyric Opera, New Repertory Theatre, Philadelphia Theatre Company, Portland Stage, Arena Stage, The Shakespeare Theatre Company, The John F. Kennedy Center, The Studio Theatre, Signature Theatre, Theatre of the First Amendment, Horizons Theatre, Potomac Theatre Project, The Rep Stage, Theater J, Woolly Mammoth Theatre Company, and Olney Theatre Center. He is an eight-time recipient of the Helen Hayes Award, for which he has received 28 nominations. Recent designs include Awake and Sing at Olney Theatre Center, Bad Jews at Studio Theatre, and Freud’s Last Session at Theatre J.  Upcoming projects include The Milk Train Doesn’t Stop Here Anymore at New Repertory Theatre. For many years, Mr. Wagner held the positions of Resident Lighting Designer at Olney Theatre Center and Artistic Associate at Signature, and was a member of the Artists Roundtable at Round House. He serves on the Boards of Directors of the Helen Hayes Awards, St. Andrew’s Episcopal School, and Crossway Community.  Mr. Wagner is Professor Emeritus in the School of Theatre, Dance, and Performance Studies, of which he was formerly Director, at the University of Maryland.

Matthew M. Nielson (Sound Designer) Round House sound design and composition credits include Two Trains Running, Young Robin Hood, Double Indemnity, Crown of Shadows, Next FallAmadeus, Around the World in 80 Days, My Name is Asher Lev, Eurydice, The Book Club Play, and A Prayer for Owen Meany (Helen Hayes Award). Other credits: Cincinnati Playhouse, Forum Theatre (Helen Hayes Award, The Illusion), Catalyst Theatre (Helen Hayes Award, 1984), Woolly Mammoth, Signature Theatre, Olney Theatre, The Kennedy Center, Rorschach, Delaware Theatre Company, Philadelphia Theatre Company, Barrington Stage Company, CATF, the Smithsonian Institution, Ford’s Theatre, Arena Stage, and Adventure Theatre. Off-Broadway sound design credits include the Joseph Papp Public Theatre/New York Shakespeare Festival. Film and TV credits include Elbow Grease, From Hell to Here, A Sleepover Story, The Long Road, Epix Drive-In, the Discovery Channel, National Geographic and Delivery.com. He is a founding member of audio theater company The Audible Group and creator of the series Troublesome Gap. He runs Sound Lab Studios, a premiere recording studio and production house in North Carolina. Samples can be heard through his publishing company, curiousmusic.com.

Jennifer Crier Johnston (Props Master) is making her debut as Props Master at Round House Theatre. She has worked at the Kennedy Center for many years and most recently handled Props for their Spring Gala productions of My Fair Lady and Camelot. She designed the window displays featuring props and costumes from ongoing productions following her initial display for the 2006 Spring Gala – The Art of Music In Film. She has worked on The Arab Festival, the Indian Festival, and Nordic Cool. Ms. Johnston has worked at Rep Stage, on an early production of Gypsy at Signature Theatre, and several productions with the Washington International Opera with the late Lou Stancari. Known as Ms. Overprop by several local photographers for who she worked as Prop Stylist – Debi Fox, Taran Z, and Peter Garfield and The Photo Group – Ms. Johnston cut her teeth in NYC working with David Langley, Peter Papadopolous, and Bill Stettner.

Sarah Scafidi (Assistant Director/Dramaturg) is excited to spend the season as Round House Theatre’s first-ever Artistic Apprentice! Her DC-area credits include assistant director for Spring Awakening with Steve Cosson at Olney Theatre Center, director of [title of show] with Purple Light Theatre, stage manager for Recovery at Capital Fringe ‘13, and a Venue Manager for Cap Fringe ’14. Sarah recently returned from LA as an SDCF Observer with Michael Wilson on the remount of the Broadway production of Trip to Bountiful at Center Theatre Group and just finished directing Deborah Zoe Laufer’s Leveling Up for Interrobang Theatre as part of Charm City Fringe.  Her other directing credits include The Lord of the Underworld’s Home for Unwed Mothers, Mr. Bundy, and The Best Laid Plans. Sarah has interned at Clubbed Thumb, Kitchen Theatre Company, Wellfleet Harbor Actors Theater, and Olney. She is an alumnus of Messiah College and the National Theater Institute.

Bekah Wachenfeld (Production Stage Manager) is thrilled to return to the Round House team for her second season after stage managing Becky Shaw, Seminar, This, The Lyons, Two Trains Running, Ordinary Days, Fool for Love, and Fetch Clay, Make Man. Select DC area stage management credits include An Iliad at Studio Theatre; The Religion Thing, New Jerusalem, The Whipping Man at Theater J; If You Give A Moose A Muffin at Adventure Theatre MTC; Mad Forest at Forum Theatre. Select regional credits include Miss Saigon, White Christmas, Amadeus at Walnut Street Theatre; Bad Dates, The Musical of Musicals…, The Light in the Piazza, Les Misérables at Weston Playhouse; Morini Strad with Primary Stages; Boy Wonders with Second Stage. International credits include The Time of Your Life, Cradle Me at Finborough Theatre in London, UK. Ms. Wachenfeld also freelances in corporate event planning. She is a proud member of AEA and graduate of James Madison University. Love to DSKMAT.