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F_Oyamel_Woolly Ad_press.pdf 1 11/2/11 1:23 PM
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Caldwell & Company are proud members of Woolly’s Corporate Circle!
Beginning with our award-winning production of The Elaborate
Entrance of Chad Deity , Woolly’s 2012-13 season has depicted characters from a wide range of backgrounds—Puerto Rican,
Indian, Korean, Rhodesian, and American—who are driven to revolt against the world handed to them by their parents’ generation. We now reach the climax, the world premiere of
Aaron Posner’s Stupid Fucking Bird —an irreverent contemporary riff on perhaps the greatest theatre classic to deal with youthful revolutionary zeal, Anton Chekhov’s The Seagull .
In Chekhov’s original, which premiered in Russia in 1896, a young playwright calls for “new forms” as he imagines a kind of love and art that will affirm his independence from his famous mother. In Aaron’s radically new version, the story is roughly the same, but the language and the world are right here, right now, in this very theatre tonight. The dense Chekhovian “subtext”
(the inner thinking of the characters) has been brought to the surface through a variety of exuberant strategies, and the latent theatricality of the original has been heightened through
Aaron’s pointed interrogation of the act of theatergoing itself.
Since Stupid Fucking Bird responds playfully to the various scenes in Chekhov’s play, I have encouraged our cast and design team to respond to Aaron’s scenes with the same spirit. Misha
Kachman’s s set design, for example, begins as an abstract installation under the watchful gaze of Chekhov himself. It then shifts to a familiar American brand of “kitchen sink” realism, and ends in a deconstructed environment where the world of the characters and world of the theatre seem to collide. Don’t be surprised if you start to feel the play circling in on itself. After all, Stupid Fucking Bird is one daring playwright’s reinvention of a revolutionary play about a revolutionary playwright!
Our process on Stupid Fucking Bird began last summer with a workshop at the Lake George Theater Lab, followed by a series of brief workshops in Washington. On behalf of all the artists, I want to thank the donors of Woolly’s Free the Beast! campaign, whose generosity has supported these extended developmental steps.
I look forward to seeing you back at Woolly in July for another timely and side-splitting evening by Chicago’s legendary The
Second City. And our 34th season begins in late August with
Lisa D’Amour’s Detroit , one of the best and most provocative new American plays of the past year. Thanks for your support of
Woolly’s unique brand of theatrical revolution, season after season.
What Makes Woolly Unique?
For 33 seasons, Woolly Mammoth has built a reputation as “Washington’s most daring theatre company” ( The New York Times ) and has become one of the most influential new play theatres in the nation. By throwing our full producing energy behind innovative new work, we’ve helped launch the careers of major
American playwrights including Sarah Ruhl,
Craig Wright, Robert O’Hara, Danai Gurira, and many others. We sustain a company of both local and national artists and frequently collaborate with other companies to expand our skills and our impact. Most importantly, we work in partnership with our audience to try new theatrical innovations and explore their relevance to our city and our world.
Your response—in person or online—helps shape the future of American theatre. Please email us at discussion@woollymammoth.net.
connect with us!
For additional content connected to Woolly’s productions, check out:
• Woolly Blog: woollymammothblog.com
• Twitter: @woollymammothtc #WoollyBird
• Facebook: facebook.com/woollymammothtc
• Email: discussion@woollymammoth.net
special thanks
We would like to graciously thank Theater J for their contribution to our set dressing in Act II.
We would also like to thank Lindsey Gates and the Lake George Theater Lab.
Additional thanks go out to Aaron Bliden, Ari
Brand, Matt Dewberry, James Gardiner, Grace
Gonglewski, Eric Hissom, Eric Messner, Geoff
Packard, Jose Joaquin Perez, and Holly Twyford.
Aaron Posner would like to thank Erin Weaver,
The Posner Family, Dan Conway, Chuck Mee,
David Downs, Clarke Conant, and all the actors and designers who have been part of the development of this play over the past two years.
Howard Shalwitz
Artistic Director
Show Art Concept & Design: Carolyn Sewell

2012:
The economy’s in the dumps. Unemployment is sky high.
The middle class is disappearing. A national poll reveals that Americans prefer cockroaches to Congress.
2013:
Haven’t you heard? Obama’s been re-elected. The economy is on the rebound (sort of). Marijuana and gay marriage are legal (kind of). America , now you’re All Better!!
Howard Shalwitz, Artistic Director
Jeffrey Herrmann, Managing Director
Presents
By Aaron Posner
Directed by Howard Shalwitz
Cast
Con .........................................................................................................................................Brad Koed*
Emma ............................................................................................................ Kate Eastwood Norris*+
Doyle ..................................................................................................................................Cody Nickell*
Nina ...................................................................................................................................Katie deBuys*
Sorn ..............................................................................................................................Rick Foucheux*+
Mash .........................................................................................................................Kimberly Gilbert*+
Dev ....................................................................................................................................Darius Pierce*
Set Designer .............................................................................................................Misha Kachman+
Costume Designer ............................................................................................................Laree Lentz
Lighting Designer ...........................................................................................................Colin K. Bills+
Sound Designer ................................................................................................................James Sugg
Dramaturg...................................................................................................................Miriam Weisfeld
Production Stage Manager .......................................................................... Maribeth Chaprnka*
*Member, Actors’ Equity Association +Woolly Company Member
ARTISTIC DIRECTOR’S CIRCLE:
Anonymous
Anne & Ronald Abramson
Arlene & Robert Kogod
Tom Leahey
Joan & David Maxwell
Scott B. & Evelyn Schreiber
PLAYWRIGHT’S CIRCLE:
Louis & Bonnie Cohen
Anthony & Jacqueline
Dobranski
Miles Gilburne & Nina Zolt
Cathy MacNeil Hollinger
& Mark Hollinger
The McCormick Clan
Pete Miller & Sara Cormeny
Julie Rios
Judy & Leo Zickler
SEASON SPONSORS:
Anonymous
Joan & Peter Andrews
Donna Ari
Mark & Cindy Aron
Susan L. & Dixon M. Butler
William Caldwell
David S. Cohen &
Craig A. Benson
Jeffrey P. Cunard
Sheryl & Rick Donaldson
Michael Fitzpatrick &
Miriam Gonzales
Michael Klein & Joan Fabry
Judith Morris & Marvin
Weissberg
Gerry Widdicombe
SHOW SPONSORS:
Lorraine E. Chickering
Melissa Galetto
The Greene-Milstein
Family Foundation
Victoria Isley
Karl K. & Carrol Benner Kindel
Eleanor Roberts Lewis
& Roger K. Lewis
Julianna & Donald Mahley
Michael Ramirez & John Ralls
Judy & Leo Zickler
RESTAURANT SPONSOR
COFFEE SPONSOR
Actor’s Equity Association (AEA), founded in 1913, represents more than 45,000 actors and stage managers in the
United States. Equity seeks to advance, promote, and foster the art of live theatre as an essential component of our society. Equity negotiates wages and working conditions, providing a wide range of benefits, including health and pension plans. AEA is a memeber of the AFL-CIO, and is associated with FIA, an international organization of performing arts unions. The Equity emblem is our mark of excellence. For more information, visit www.actorsequity.org.
The set, costume, lighting, and sound designer of this production is represented by
United Scenic Artists, Local
USA-829 of the IATSE.

W ith Stupid Fucking Bird , Aaron Posner creates his own highly personal riff on one of the most influential plays of the Western canon: Chekhov’s The Seagull .
Chekhov’s protagonist, the young playwright Constantin
Treplev, rebels against the artistic traditions of his mother, the famous actress Irina Arkadina, and cries out for new forms of love, life, and art. For over a hundred years, The Seagull has provided a vehicle for theatrical revolution: generation after generation of directors, designers, actors, translators, and adaptors have seized Treplev’s story and sought new forms of their own invention with which to reinterpret it.
Part of the significance of The Seagull is rooted in the play’s Moscow premiere. This 1898 production was not only
Chekhov’s first critical success, but also his first play directed by Constantin Stanislavski and the first major success of
Stanislavski’s new Moscow Art Theatre (MAT). At the time of
The Seagull’ s Moscow premiere, Chekhov was a thirty-eight year old with no theatrical successes—the St. Petersburg premiere of the play had been panned by critics. But the play’s second production changed everything and MAT has remained closely associated with the play ever since. To this day, its full name is “Moscow Art Theatre, Named for A.P. Chekhov,” and the curtain of its main stage—as well as numerous other architectural details—feature an art deco-style seagull design.
The legacy of The Seagull and Chekhov’s subsequent MAT productions has been tremendous. Stanislavski’s “system” for teaching actors ushered in a revolutionary new era of realism in Western theatre, which had previously been mired in a stilted, melodramatic style. Stanislavski directed The Seagull and also played Arkadina’s lover Trigorin; Vsevolod Meyerhold, who later became a leading MAT director and was tortured and executed for resisting Stalin’s agenda, played Treplev;
Olga Knipper, who became Chekhov’s wife, played Arkadina.
When the Moscow Art Theatre took their work—including several Chekhov productions—on tour in the United States twenty-five years later, the complex, subtle, and deeply human performances of their actors captured the imaginations of American critics, audiences, and artists. As American actors and directors attempted to imitate this fresh new style, they began to speak of a “method,” inspired by the
Stanislavski “system,” that formed the foundation for the teachings of Lee Strasberg, Stella Adler, Sanford Meisner, and countless other 20 th century New York masters.
Chekhov preferred illustrating the quirks, futility, and circularity of human behavior over traditional playwriting tools of tight plotlines and predictable dramatic conflicts. This provided an ideal vehicle for Stanislavski’s early theories, which urged actors to live as their characters lived. When playing a rural character,
Stanislavski theorized, shouldn’t the actor first live a rural life and bring the memory of those sights, sounds, smells, and habits into the performance of the play? Similarly, The Seagull and Chekhov’s subsequent works inspired the set designer Victor Andreevich
Simov to depart from the traditional 19 th -century box set and create a rich environment of exterior and interior details, from the lake and shrubbery outside Arkadina’s house to the furniture within. Simov’s sets established a tradition of Chekhovian design in Russian theatre, characterized by birch trees, autumn leaves, tea sets, and sounds of animals and the natural world.
Stupid Fucking Bird provides its designers the opportunity to create their own fresh responses to this tradition. Look closely at Misha Kachman’s set for the first act: these icons of “Chekhoviana” have been deconstructed into tongue-incheek signposts: a trapdoor filled with leaves, a stray samovar, a stencil of Chekhov’s image on the back wall. In acts two and three, this style will transform abruptly into different versions of “realism” as Con vainly searches for a new path to truth, love, and art. Similarly, in each act of the play Laree
Lentz’s costumes occupy a different place on the continuum of naturalism and our contemporary understandings of metatheatrical reality. And original songs composed by James Sugg to match Aaron Posner’s lyrics draw the famously subtextual inner thoughts of Chekhov’s characters explicitly to the surface.
With Stupid Fucking Bird , writer Aaron Posner and director
Howard Shalwitz take up Treplev’s challenge to create “new forms” of theatre. Posner, a frequent director of Shakespeare’s plays, has said he is interested in communicating Chekhov’s subtext more explicitly, allowing the actors to speak directly to the audience in Shakespearean asides. Other inspirations Aaron has cited include the pastiche-style adaptations of Charles Mee, which frequently mix scenes of dialogue with wistful arias; and the audacious engagement between actors and audience in
Robert O’Hara’s Bootycandy , which premiered at Woolly in 2011.
Despite Chekhov’s insistence that The Seagull is a simple portrait of rural life, his protagonist’s cry to revolutionize art still beckons new generations of adaptors and directors to strive to do just that.
For more information on Woolly Rentals: woollyrentals.net
rentals@woollymammoth.net
202-312-5272
Woolly Mammoth Season 33 Premiere Catering Partner
Tickets start at $100. Don’t miss out!
RSVP today at woollymammoth.net/events.

Unleash your inner rebel-artist and join us in the lobby during the run of Stupid
Fucking Bird to try your hand turning text from Anton Chekhov’s The Seagull into a new form–a tweet! Wanna take it to the next level? Check out our social media after the show (#SFLobby) to find an archive of the tweets from each night, and undertake the totally absurd task of turning the tweets of other audience members into your own piece of writing.
Who knew 140 characters could go so far?
Interact with what inspired our artists to make the work you see on stage. Check out our new touch-screen Pinspiration Board in the lower lobby to see what inspired the creation of the world of Stupid Fucking Bird .
Remember: inspiration travels, so you can always find what sparked an idea in our artists online at pinterest.com/woollymammothtc.
Tickets: $20. For more information, and to purchase tickets, visit woollymammoth.net.
Are you an artist in the
DC area? Join us for a networking mixer and discussion about the challenges of creating art in our current environment, and the responsibility/burden of living up to those who have come before us. Stupid
Fucking Bird playwright Aaron Posner will lead a conversation about how we create art, how we respond, retaliate against, and remix the work of previous generations.
All artistic disciplines are welcome!
Guests are invited to mix and mingle with artists and art makers of all disciplines and stay for the show. The evening includes a reception with discounted drinks, conversation and networking, and one ticket to Stupid Fucking Bird .
Free admission, reservation required.
Reserve your tickets at woollymammoth.net.
Bring your creativity to Woolly! In collaboration with FIGMENT DC, Woolly
Mammoth invites you to come play at the theatre. Participate in an interactive art display, add your artistic flair to an existing piece, or create a work all your own. Work with artists from across the community to reveal your inner artist.
FIGMENT is a forum for the creation and display of participatory and interactive art by emerging artists across disciplines: a celebration of creative culture. FIGMENT presents an annual free weekend-long participatory arts and creative culture event in cities across the United States, including here in Washington, D.C. Unleash
Your Inner Artist! features a sampling of the multitude of activities in FIGMENT
DC’s upcoming fall annual event. For more information, visit dc.figmentproject.org.
History proves that great art can change the world. Join us for a lively exploration of some contemporary works of art that have changed both society and the arts world.
Panelists include Yana Sakellion, a designer and artist who works across mediums including graphic design, interactive media, and video and Alan Zilberman, film editor and a contributing theater critic for Brightest Young Things. This panel will be moderated by
Milena Kalinovska, Director of Public Programs and Education and curator at the Hirshhorn Museum and Sculpture Garden.
Art impacts both the artist and the audience. What happens when you look at a painting on a museum wall, and what happened to the painter when they created it? What was the effect of Stupid Fucking Bird on your brain and in your heart?
Woolly explores why art matters to us and how art can save, change, and reinvent our lives.
Panelists include Woolly Mammoth Theatre Company Member and Stupid Fucking Bird cast member, Kimberly Gilbert; Dr. David
J. Linden, Professor in the Department of Neuroscience at the
Johns Hopkins University School of Medicine and author of
The Compass of Pleasure ; and Dr. Donna Betts, Ph.D, an art therapist and Assistant Professor at George Washington
University. This panel will be moderated by Jocelyn Prince,
Woolly’s Connectivity Director.
• No limits on student tickets when bought as a group!
• Education groups can request special meet-ups with the Woolly artistic team.
• Group Tickets are a flat rate and start at $32!
• No processing fees.
• Structured payments for larger groups.
• Purchase over the phone or request a promotional code just for your group!
• Discount on facility/room rentals.
• Access to future special offers through our periodic group leader e-mails.
Learn more at woollymammoth.net
or call 202-393-3939
JUNE 7-30
@SourceFestDC
#sourcefest
|

BRAD KOED (Conrad) made his Broadway debut last spring in Arthur Miller’s Death of a Salesman directed by Mike Nichols. He also starred in Classic Stage Company’s production of Unnatural Acts Off-Broadway.
Other past performances include The
Diary of Anne Frank at Syracuse Stage and
Shipwrecked at the Edinburgh Fringe Festival. Brad can be seen in the upcoming films Cantuckee and Julia . He received his BFA from Syracuse University and is a resident of Brooklyn, NY.
KATE EASTWOOD NORRIS (Emma) performs in theatres all over the US. Her Woolly credits include She Stoops To Comedy, Full
Circle, Fever Dream, Big Love and Bug. She just marked her fifth world premiere at her second Humana Festival in Will Eno’s Gnit, but things like 25 Shakespeare productions, ten of which were at the Folger Theatre, help balance her creative pH. She has two Helen Hayes Awards and a Barrymore
Award for acting and is currently blowing her mind while pursuing a Master’s Degree in the Humanities and the Creative Life with an emphasis in Depth Psychology at Pacifica Graduate Institute.
Kate currently lives four blocks from the beach in Florida with her husband Cody and is fully aware of how lucky she is. Big thanks to Aaron and Howard for including her in this amazing play. She also wanted to thank the audience for coming to see a brand new play and she thinks that it is very adventurous and wise of them to do so. Check out kateeastwoodnorris.com for the full resume.
CODY NICKELL (Doyle) Woolly credits include
Clybourne Park , In The Next Room or the vibrator play . Regional: Gulfshore Playhouse:
The Whipping Man, The Importance of
Being Earnest, Blithe Spirit, ‘Art’, and God
Of Carnage (Director). Folger Theatre: The
Taming of the Shrew, Arcadia, The School for
Scandal , Macbeth; Shakespeare Theatre Company: Romeo and
Juliet . New York: NYFringe: Raps ; The Mac Wellmann Festival:
Sincerity Forever ; The Cherry Lane Alternative: The Allegory of Painting . Other credits include Portland Center Stage: How
To Disappear Completely and Never Be Found (US premiere),
The Pillowman , Outrage (World Premiere), The Merchant of
Venice ; Two River Theater Company: Macbeth , The Underpants ;
Shakespeare Santa Cruz: The Playboy of the Western World ,
Much Ado About Nothing , King Lear , As You Like It , The Taming of the Shrew , The Tamer Tamed . Film and Television: That ’70s
Show , All My Children , Celebrity Death Match , Late Night with Conan O’Brien , Dorian Blues . Training: Carnegie Mellon
University, School of Drama, BFA. Cody is the Artistic Associate at Gulfshore Playhouse in Naples, FL. codynickell.com.
KATIE DEBUYS (Nina) is a native of Santa
Fe, New Mexico. She studied theatre at
Northwestern University and holds an MFA in
Acting from The University of Texas at Austin.
Here at Woolly, she played Mrs. Givings in In the Next Room or the vibrator play, directed by Aaron Posner. She spent most of the past year at the Folger Shakespeare Theatre, as Katherine and Boy in Henry V , as The Duck in The Conference of the Birds, and as Lady Lucy in The Gaming Table. Katie won a B. Iden
Payne Award for Best Actress as Agnes in Capital T Theatre’s production of Bug in Austin, where she also played Sharla in
Killer Joe.
This fall, you can see Katie as Juliet in Measure for Measure at The Shakespeare Theatre. Katie’s incredibly generous and supportive parents make everything possible. This performance is dedicated to them with her deepest thanks.
RICK FOUCHEUx (Sorn) began his
Washington career at Woolly Mammoth thirty years ago in R.U.R. As a Woolly
Company Member, his other appearances have included The Choir, Heaven, Cooking with Elvis, and Dead Man’s Cell Phone. He has performed in many of Washington’s other fine theatres and was seen most recently at Roundhouse in Glengarry Glen Ross. This September, Rick will premiere Jim
Lehrer’s stage biography of Alexander Graham Bell to mark the
125 th anniversary of the founding of the National Geographic
Society. Rick has twice received the Helen Hayes Outstanding
Lead Actor Award. In 2011, through Woolly’s sponsorship, he was named a Lunt Fontanne Fellow of the Ten Chimney’s Foundation.
KIMBERLY GILBERT (Mash) is celebrating her sixth year as a Woolly Mammoth
Company Member. Previous shows on the
Mammoth stage include You for Me for You ,
Cooking with Elvis , Big Death & Little Death ,
Martha , Josie and the Chinese Elvis , The K of D , Measure For Pleasure , Boom , Fever/
Dream , Clybourne Park , In the Next Room or the vibrator play, A
Bright New Boise , and Mr. Burns, a post-electric play . She is also a proud company member of Taffety Punk Theatre Company.
DARIUS PIERCE (Dev) is making his Woolly
Mammoth debut. He is happy to be back in DC after performing in Comedy of Errors and The Gaming Table at the Folger Theatre.
After getting a Math degree from Brown
University, he (naturally) moved to Portland,
OR to act. Some of his favorite productions there were Beard of Avon (Drammy Award for Lead Actor),
Twelfth Night , 25th Annual Putnam County Spelling Bee , The
39 Steps , Bloody Bloody Andrew Jackson , Lips Together, Teeth
Apart , Les Miserables (Portland Area Musical Theatre Award for
Best Supporting Actor), As You Like It , and The Long Christmas
Ride Home . He is also a co-founder of the Anonymous Theatre
Company. On rare occasions, you can find him on-screen, most recently guest starring on TNT’s Leverage . More often, you can find him playing softball or video games. Darius would like to thank
Elizabeth and Julian for supporting his cross-country venture.
The makers of BEERTOWN bring you a second edition of…
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In a not-so-distant time and place, a deadly plague begins killing the citizenry— inexplicably, indiscriminately, and fast!
Only your cunning and skills can keep you alive
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How far will you go? How hard can you play?
How much fun can you have?
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July 11 – 28
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Info/Tix: dogandponydc.com
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4/21/13 4:17 PM AKG2013_WoollyProgram_041913.indd 1
1. MAKE A $500 DONATION
2. CHOOSE THE DATE of the performance you would like to sponsor
3. COMPLETE YOUR SPONSORSHIP by calling 202-312-5264 or emailing kc.sledd@woollymammoth.net
You’ll receive the following benefits when you sponsor a performance:
• 2 tickets to your sponsored performance
• 2 drink coupons for use at Judith’s Café
• Recognition in our Lobby, programs, and website
• Invitation for 2 to a behind-the-scenes glimpse into the rehearsal process

AARON POSNER (Playwright) is a freelance director and playwright, an Associate Artist at the Folger Theatre and
Milwaukee Rep, was a founding Artistic Director of Philadelphia’s
Arden Theatre, and his plays and productions have been seen at more than a third of the LORT theatres in the country. Aaron has been a fan of Woolly since the early 90’s, and directed In the
Next Room or the vibrator play at Woolly in 2011. He has won
Barrymore Awards as both a director and playwright, and Helen
Hayes Awards for Best Director three of the last eight years.
His published and produced adaptations include The Chosen ,
My Name Is Asher Lev (currently in an open-ended run Off-
Broadway), Sometimes A Great Notion , Mark Twain’s A Murder, A
Mystery & A Marriage (with James Sugg), and many more. Aaron is an Eisenhower Fellow, a graduate of Northwestern University, is from Eugene, Oregon, and lives outside DC with his wife, actress Erin Weaver, and his tiny daughter, Maisie.
HOWARD SHALWITz (Director)   has been the visionary force behind Woolly Mammoth for 33 seasons, steering the theatre’s adventurous play selection, guiding the development and production of dozens of new works, and building a renowned acting company. Under his leadership, Woolly Mammoth has grown from a tiny “alternative” theatre to one of the leading centers for provocative new theatre in America. Howard received the 2011 Helen Hayes Award for Outstanding
Director for  Clybourne Park , and has received multiple Helen
Hayes nominations as both a director and an actor. In recent seasons, he directed the world premieres of  Civilization, Fever/
Dream,  and  Big Death and Little Death , along with  She Stoops to
Comedy ,  Measure for Pleasure , and  The Faculty Room . Howard has directed for leading New York and regional companies including New York Theatre Workshop, Playwrights Horizons,
Arena Stage, Studio Arena, and Milwaukee Rep. In 2012 he was recognized as Distinguished Finalist for the Zelda Fichandler
Award for Outstanding Regional Director.
MARIBETH CHAPRNKA (Stage Manager) returns to Woolly
Mammoth where her previous productions include Civilization
(SM) and Fever/Dream (ASM) . Other credits include Round
House Theatre: Young Robin Hood, Bengal Tiger at the Baghdad
Zoo, Pride and Prejudice, Fahrenheit 451, Hotel Cassiopeia,
Redshirts, The Director: The Third Act of Elia Kazan, Jon
Spelman’s Frankenstein, and A Prayer for Owen Meany (ASM);
The Kennedy Center : Jason Invisible and American Scrapbook ;
Contemporary American Theatre Festival: Captors and In a
Forest, Dark and Deep ; Annapolis Opera: Carmen ; Summer Opera
Theatre Company: The Impresario, Suor Angelica, Rigoletto, and
Cendrillon ; Shakespeare Theatre Company: As You Like It (ASM);
Pittsburgh Opera: The Barber of Seville, Lucia di Lammermoor,
Turandot, Dialogues of the Carmelites ; and Michigan Opera
Theatre: Madame Butterfly . She completed a stage management apprenticeship at Round House Theatre, and is a graduate of the
University of Maryland, College Park.
MISHA KACHMAN (Set Designer) is a Woolly Company Member and a native of St. Petersburg, Russia. At Woolly, he designed sets and costumes for The Convert, The Elaborate Entrance of
Chad Deity, Mr. Burns, a post-electric play, A Bright New Boise,
Oedipus el Rey, Gruesome Playground Injuries and Fever/Dream .
Misha received the 2012 Helen Hayes Award for his design for
Chad Deity . He has worked for Signature Theatre, Round House
Theatre, The Kennedy Center, Maryland Opera Studio, Theater J,
Studio Theatre, Shanghai Dramatic Arts Center and Milwaukee
Shakespeare, among many other companies. Misha serves as an
Associate Professor of Scenic and Costume Design at University of Maryland. Prior to moving to the United States, Misha worked as a staff museum designer at The State Hermitage Museum in
St. Petersburg from 1994 to 1998; he is also a renowned painter and printmaker. More of Mr. Kachman’s work can be seen at mishakachman.com.
COLIN K. BILLS (Lighting Designer) is a Woolly Company Member, where his designs include  The Convert, The Elaborate Entrance of Chad Deity, Mr. Burns, a post–electric play ,  A Bright New
Boise ,  Oedipus el Rey ,  Gruesome Playground Injuries ,  Clybourne
Park ,  Full Circle , and  Dead Man’s Cell Phone . He is a Conspirator with dog & pony dc, where he recently directed  A Killing Game and has created sets and lighting for  Beertown ,  Courage , and
Punch . His designs have been seen at The Berkshire Theater
Festival, CENTERSTAGE, Contemporary American Theatre
Festival, Everyman Theatre, Forum Theatre, Imagination Stage,
Intiman Theatre, The Kennedy Center, Metro Stage, Olney
Theatre Center, Portland Center Stage, Round House Theatre,
The Smithsonian Institution, Signature Theatre, Studio Theatre,
Synetic Theater, Theatre for the First Amendment, Theater J, The
Washington Revels, and The Williamstown Theatre Festival. Colin has won three Helen Hayes and is a 2009 recipient of a Princess
Grace Fellowship in Theater. He is a graduate of Dartmouth
College.
JAMES SUGG (Composer/Sound Designer) returns to Woolly where he was last seen as Sam/Mr. Burns in Mr. Burns, a postelectric play. Other Woolly credits include sound design for In the
Next Room or the vibrator play and Pig Iron Theater Company’s
Hell Meets Henry Halfway. James is a member of Pig Iron, with whom he has created 18 original pieces. He has also worked with
Milwaukee Repertory Theater, Arena Stage, Seattle Repertory
Theatre, Actors Theater of Louisville, The Wilma Theatre, Arden
Theatre Company, Folger Theater, Headlong Dance Theater,
Rainpan 43 and Lucidity Suitcase Intercontinental. He is composer of the musicals A Murder, A Mystery And A Marriage
(book and lyrics by Aaron Posner) , James Joyce is Dead and So
Is Paris (Pig Iron), The Sea (a one man electric chamber opera), and Cherry Bomb (book and lyrics by Jen Childs). His work has been recognized with two Obies, four Barrymores for Outstanding
Sound Design, an F. Otto Haas Award for Emerging Theater Artist, and a Pew Fellowship.
LAREE LENTz (Costume Designer) is thrilled about the opportunity to collaborate with Team Woolly and its collective artists. Local credits include Spooky Action Theater: Optimism!
Or Voltaire’s Candide ; 1 st Stage Theatre: Never the Sinner ,
Studio Theatre: An Iliad and Studio 2ndStage: Songs of the
Dragons Flying to Heaven ; Synetic Theater: Home of the
Soldier ; The Kay Theatre, UMD and NACTA Beijing, China: A
Midsummer Night’s Dream ; The Kay Theatre: The Bluest Eye;
The Kogod Theatre, UMD: A Child Shall Lead Them: Making
The Night of the Hunter, Minotuar, and Am I Black Enough Yet?
.
Outside credits include Central Piedmont Community College:
Legally Blonde , Will Roger’s Follies , and Hairspray . Laree holds an MFA in Costume Design from The University of Maryland,
College Park.
MIRIAM WEISFELD (Dramaturg) is the Associate Artistic
Director at Woolly Mammoth, where she was lead producer of the 30 th anniversary conference on Theatre, Democracy, and
Engagement, and has dramaturged several world premieres including Anne Washburn’s Mr. Burns, a post-electric play ,
David Adjmi’s Stunning , Robert O’Hara’s Antebellum and
Bootycandy , among others. Additional credits include work for
New York Theatre Workshop (projects with JoAnne Akalaitis,
Ivo van Hove, and Universes); A.R.T. (with Robert Woodruff,
Anne Bogart, and Paula Vogel); Two River Theatre/Folger
Theatre (with Teller); Steppenwolf Theatre; Actors Theatre of
Louisville; Lookingglass Theatre; and the Banff Playwrights
Colony. She has lectured on theatre at Harvard University, MIT,
George Washington University, Suffolk University, Northwestern
University, the Kennedy Center, and the Moscow Art Theatre
School. She holds an MFA in Dramaturgy from the A.R.T./MXAT
Institute at Harvard University. She is a contributing author to the next edition of the Routledge Companion to Dramaturgy .
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By Lisa D’Amour
Directed by John Vreeke
September 9 - October 6, 2013
Detroit brilliantly defines our current American moment. A rollercoaster entertainment, the play taps comically yet powerfully into our anxiety about clinging to whatever economic rung we’ve got a hold of—at a time when the shell of our civilization seems to be crumbling around us. Fundamentally, Detroit is a play about neighbors, two couples who live next door to one another in an inner-ring suburb that could be outside any major American city. One couple is trying to move up, the other is clearly on the way down—but their growing friendship leads to both hilarious liberation and shocking collapse for all, revealing the thin line that separates sophisticated men and women from dangerous drunken beasts.
ABOUT THE HERERO OF NAMIBIA, FORMERLY KNOWN AS SOUTH WEST AFRICA,
FROM THE GERMAN SUDWESTAFRIKA, BETWEEN THE YEARS 1884-1915
By Jackie Sibblies Drury
Directed by Michael John Garcés
February 10 - March 9, 2014
By Branden Jacobs-Jenkins
Directed by Liesl Tommy
November 4 - December 1, 2013
In her ingeniously original new play, Jackie Sibblies Drury takes us inside the creation process as a group of actors, three black and three white, tries to figure out how to tell the mysterious story of a small African tribe that was wiped out by German colonialists. But the real story is how these inexperienced theatre artists are affected by their own process, how their sincere attempt to inhabit the minds of people a century ago and halfway around the world comes home to roost in their own feelings about race today. Some will view this as satire, some as an excavation of our cultural souls. In either case, We Are prouD to present...
is a mesmerizing new work about the limits of empathy and good intentions.
Branden Jacobs-Jenkins grew up in Washington, DC where he was inspired by plays at Woolly Mammoth, and now he has emerged as one of New York’s most infamous theatrical provocateurs. His latest work, AppropriAte , represents Branden’s cheeky and wholly brilliant attempt to channel the great big white American dysfunctional family classics by venerable writers like O’Neill and Williams—but with a twist. Chronicling a Southern family’s bizarre reunion following the death of their patriarch, AppropriAte is a riveting potboiler with more secrets than you can shake a stick at. It is also a take-no-prisoners indictment that will leave you peering into your own soul and history.
Stop by the Box Office following the performance, or contact us via woollymammoth.net or 202-393-3939
Created/Performed by Elevator Repair Service
Directed by John Collins
March 31 - April 20, 2014
O ne of America’s most acclaimed ensembles, Elevator Repair Service has become an international sensation with an unlikely theatrical strategy— taking actual texts from famous novels and other sources, and turning them into riveting and intelligent theatre. Their word-for-word rendition of
“The Great Gatsby” (called simply Gatz ) toured the world to rave reviews, and now they’re focusing on a uniquely Washington topic, the Supreme
Court. Playfully riffing on one of the most colorful cases of the 1990s—
Barnes vs. Glen Theatre— ArguenDo reveals the wit and wisdom of the noted Justices as they bring their high-brow erudition and left-field logic to bear on a decidedly low-brow conundrum: can nude dancers in Indiana perform totally in the nude, or must they wear pasties and g-strings?
Woolly is proud to welcome Elevator Repair Service for their first extended stay in the nation’s capital.
By Peter Sinn Nachtrieb
Directed by Robert O’Hara
June 2 - June 29, 2014 the totAlitAriAns marks the return to Woolly Mammoth of one of our favorite playwrights, Peter Sinn Nachtrieb, author of the acclaimed international hit, Boom . His newest work is an outrageous comic dissection of our American passion for vapid, misleading, and overheated rhetoric.
The freight-train plot focuses on a speechwriter, her doctor husband, and a hot new candidate for public office in Nebraska. But the play’s deeper subject is the connection between the secret lies told in the bedroom and the public lies told on the stump. Woolly is delighted to welcome back one of our brainiest and most fearless writers—with his most dizzying concoction ever.
Created/Performed by The Pajama Men
Music by Kevin Hume
December 10, 2013 - January 5, 2014
Comedy duo The Pajama Men took DC by storm this past holiday season. In addition to performing to sold-out houses every night, the remarkable Mark and Shenoah spent their days in the Woolly rehearsal hall, creating and developing their newest piece, Just the tWo of eAch of us . The show blends their trademark wit, characters, improv, and fast-paced physical comedy with plenty of new surprises. It is our great pleasure to welcome them back.
*All dates and titles subject to change.
Stop by the Box Office following the performance, or contact us via woollymammoth.net or 202-393-3939

Artistic Director .....................................................................Howard Shalwitz
Managing Director.............................................................. Jeffrey Herrmann
Assistant to the Artistic Director ...................................... Jecamiah Ybañez
Assistant to the Manager Director .............................................Kelly Garvis
ADMINISTRATION
Director of Finance and Administration ...............................Allyson Quirico
Operations Manager .....................................................................Paul Kappel
Legal Advisor .................................... Pillsbury Winthrop Shaw Pittman LLP
CONNECTIVITY
Connectivity Director............................................................... Jocelyn Prince
Connectivity Assistant.......................................................Chelsea De Jesus
Connectivity Intern................................................................. Jennifer Culotta
DEVELOPMENT
Director of Development........................................ Sarah Slobodien Dovere
Development Manager,
Foundation & Corporate Relations ......................... Sabrina Sikes Thornton
Development Operations Manager ......................................Martha Burson
Individual Giving Manager ........................................................KC Ellis Sledd
Development Assistant .........................................................Emily Cauthorne
LITERARY
Associate Artistic Director ...................................................Miriam Weisfeld
Andrew W. Mellon Playwright in Residence ........................Robert O’Hara
MARKETING AND PUBLIC RELATIONS
Director of Marketing and Public Relations ..........................Deeksha Gaur
Marketing & Communications Manager ................... Anneliese DeDiemar
Communications Assistant ......................................................... Emily Wilson
Director of Business Development ......................................... Bethany Seay
Business Development Coordinator ................................... Emily Schneider
Audience Services Manager ....................................................Rachel Loose
Box Office Supervisors ............................................Mia Branco, Jon Rubin,
Jason Schlafstein, Kristina Williams
Patron Services Representatives ...............Jordan Beck, Cynthia Perdue,
Ashley Promisel, Haley Raines, Stacey Sulko
House Managers......................... Myra Cruz, Kevin Faragher, Kelly Garvis,
Cat Gill, Jecamiah Ybañez
Concessionaires...............Emily Cauthorne, Hannah Fogler, Caitlin Griffin,
Allie Heiman, Kasey Hendricks
PRODUCTION
Artist Relations Manager........................................................Kevin Faragher
Technical Director ...........................................................................Scott Little
Assistant Technical Director .............................................Brian J. McVicker
Properties Master ...................................................................Jennifer Sheetz
Master Carpenter........................................................................... Joel Garcia
Master Electrician .............................................................................Ann Allan
Audio Visual Engineer ................................................................. Aaron Fisher
Properties Assistant ............................................................Kasey Hendricks
Assistant to the Production Manager ......................................Omar Ingram
Lighting Assistant................................................................... Ashley Promisel
Technical Assistant .....................................................................David Phelps
Additional Production Staff
Resident Stage Manager ...................................................... Jason Caballero
Sound Engineer/Operator ............................................................ Alan Chaikin
Light Board Operator ............................................................... Laurie Bautista
Electricians ....................... Austin Byrd, Jordan Beck, Jonathan Hudspeth
Assistant Costume Designer .........................................................Jen Dasher
Assistant Directors ..................................Hannah Green, Jecamiah Ybañez
Wardobe Supervisor ................................................................... Haley Raines
COMPANY
Colin K. Bills
Doug Brown
Jessica Frances Dukes
Daniel Escobar
Rick Foucheux
Michael John Garcés
Kimberly Gilbert
Mitchell Hébert
Naomi Jacobson
Misha Kachman
Sarah Marshall
Jennifer Mendenhall
Bruce Nelson
Kate Eastwood Norris
Robert O’Hara
Michael Russotto
Emily Townley
Dawn Ursula
John Vreeke
Michael Willis
Alumni
Grover Gardner
Jason Kravits
Christopher Lane
Namu Lwanga
Nancy Robinette
Rob Leo Roy
Rhea Seehorn
Eric Sutton
Gráinne Cassidy, 1962-97
Claque
Robbie Champion
Sydney-Chanele Dawkins
Paul Eckert
Elizabeth El-Hage
Jess Finkel
Michael Galang
Piper Hendricks
Karen Lawrence
Benjamin Noll
Teresa Philipp
Scott Renda
Susan Timmons
Jonathan Zucker
Working Group
Sydney-Chanele Dawkins
Scott Renda
Jenna Zhu
BOARD OF DIRECTORS
Scott B. Schreiber
President
Gerry Widdicombe
1st Vice President
Donna Ari
Vice President
Ted Walker
Vice President
Linette S. Hwu
Secretary
J. Chris Babb
Jeff Banks
Lorraine Chickering
David S. Cohen
Michael Fitzpatrick
Elizabeth Friedman
Melissa L. Galetto
Wendy Hagen
Nancy Hartsock
Jeffrey Herrmann
Victoria Isley
William Caldwell
Treasurer
Karen Lefkowitz
Anthony V. Lupo
Lisa Martinez
Thomas McCormick
Pete Miller
Michelle Newberry
Michael Ramirez
Julie Rios
Jeremy Rissi
Howard Shalwitz
We would like to thank our most generous supporters – individuals, foundations, corporations, and government agencies – who are supporting our Season
33 Annual Fund with gifts of $10,000 or more through April 18, 2013. We would not be successful in pursuing our mission without this amazing support.
CORPORATE, FOUNDATION, AND
GOVERNMENT SPONSORS
American Airlines
American Express Philanthropy
The Andrew W. Mellon Foundation
Bank of America
The Share Fund of The Community Foundation for the National Capital Region
Caldwell & Company CPAs
D.C. Commission on the Arts and Humanities
Doris Duke Charitable Foundation
Horace Goldsmith Foundation
The Kresge Foundation
MARPAT Foundation
The Morris and Gwendolyn Cafritz Foundation
National Capital Arts and Cultural Affairs
National Endowment for the Arts
Pennsylvania Performing Arts on Tour
Pillsbury Winthrop Shaw Pittman Foundation
The Shubert Foundation
Theatre Communications Group
The Trust for Mutual Understanding
U.S. Commission of Fine Arts
ARTISTIC DIRECTOR’S CIRCLE
Anonymous
Anne & Ronald Abramson
Arlene & Robert Kogod
Tom Leahey
Joan & David Maxwell
Scott B. & Evelyn Schreiber
PLAYWRIGHT’S CIRCLE
Louis & Bonnie Cohen
Anthony & Jacqueline Dobranski
Miles Gilburne & Nina Zolt
Cathy MacNeil Hollinger & Mark Hollinger
The McCormick Clan
Pete Miller & Sara Cormeny
Julie Rios
Judy & Leo Zickler
SEASON SPONSORS
Anonymous
Joan & Peter Andrews
Donna Ari
Mark & Cindy Aron
Susan L. & Dixon M. Butler
William Caldwell
David S. Cohen & Craig A. Benson
Jeffrey P. Cunard
Sheryl & Rick Donaldson
Michael Fitzpatrick & Miriam Gonzales
Michael Klein & Joan Fabry
Judith Morris & Marvin Weissberg
Gerry Widdicombe
Woolly Mammoth Theatre Company is a participant in the New Generations Program, funded by Doris
Duke Charitable Foundation and administered by Theatre Communications Group, the national organization for the American theatre. Woolly
Mammoth has also been awarded a grant through the Doris Duke Charitable Foundation’s Continuing
Innovation Program. Woolly Mammoth’s 33rd
Season is funded in part by the DC Commission on the Arts & Humanities, an agency supported in part by the National Endowment for the Arts.
Thank you for supporting an individual production with gifts of $1,500 or more through April 18, 2013.
Anonymous
Adler Family Fund
David Alpert & Stephanie Schneider
Catherine & Paul Armington
J. Chris Babb & James Martin
Josette Bailey
Wade Carey & Ted Coltman
Nancy Hartsock, The Hasenberg Hartsock Group at Merrill Lynch Wealth Management
Karen Lefkowitz & Allen Neyman
Anthony Lupo & Jean Hsu
Al & Barbara McConagha
Russell Mikel & Alison Hurst
Carl & Undine Nash
Jeremy & Erika Rissi
Michael & Riki Sheehan
Jeremy P. Waletzky
Ted Walker
THE ELABORATE ENTRANCE
OF CHAD DEITY
Jeffrey Ahl & Toby Port
Chuck & Jenny Lawson
Lisa Martinez
Bob & Mary Lou McGee
YOU FOR ME FOR YOU
Wendy & Don Hagen
Linette S. Hwu
Rick Kasten
Barbara L. Strack
IN THE MIDDLE OF NO ONE
Kenneth W. Crow & Basil Halabi
Susan & Daniel Mareck
THE CONVERT
Special Funding for The Convert provided by:
Joan & David Maxwell
DC Commission on the Arts & Humanities
National Endowment for the Arts
Shannon & Michael Alford
Jeff and Stacie Banks
Miriam J. Cutler & Paul Salditt
Elizabeth & Paul L. Friedman
Chas Hausheer & Sheila Sweeney
William L. Hopkins & Richard Anderson
Sheldon & Barbara Repp
David & Peggy Shiffrin
Patricia Smith
Sallie C. Tyler
Adrienne & David Umansky
David Zinn & Ellen Harris
AMERICAN UTOPIAS
Don & Nancy Bliss
Liz Dobbins
Charlotte Hollister & Donald Clagett
David Jasinski & John Glowacky
Annie & Paul Mahon
E & B Family Trust
STUPID FUCKING BIRD
Lorraine E. Chickering
Melissa Galetto
The Greene-Milstein Family Foundation
Victoria Isley
Karl K. & Carrol Benner Kindel
Eleanor Roberts Lewis & Roger K. Lewis
Julianna & Donald Mahley
Michael Ramirez & John Ralls
Judy & Leo Zickler

Woolly Mammoth is committed to the evolution of American Theatre, and we could not fulfill our mission without the generous support of our loyal donors. We would like to thank the following donors for contributing $250 or more between October 1, 2011 and April 18, 2013.
CORPORATE, FOUNDATION,
AND GOVERNMENT
SPONSORS
Anonymous
Accenture
Alice Shaver Foundation
American Express
Philanthropy
The Andrew W. Mellon
Foundation
The Anthony Lucas-
Spindletop Foundation
Arent Fox LLP
Arnold & Porter
AstraZeneca
Pharmaceuticals, LP
Bank of America Matching
Gifts Program
Bank of Georgetown
Boies, Schiller & Flexner LLP
British Council USA
Busboys & Poets
CA Technologies
Caldwell & Company CPAs
Combined Federal
Campaign of the
National Capital Area
The Share Fund of The
Community Foundation for the National Capital Region
Cooper Thomas, LLC
Crowell & Moring LLP
The Dallas Morse Coors
Foundation for the
Performing Arts
Davis Wright Tremaine LLP
DC Commission on the
Arts & Humanities
Democracy Engine LLC
Doris Duke Charitable
Foundation
East Banc, Inc
Evans Constituent
Services Fund
Exxon Mobil Matching
Gift Programs
Freddie Mac Foundation
GE Foundation
Gibson, Dunn, & Crutcher
GKA, PC
H Rubenstein Family
Charitable Foundation
Harman Family Foundation
HITT Contracting, Inc.
Horace Goldsmith Foundation
IBM International Foundation
Legacy Venture IV, LLC
The Leon Foundation
Lockheed Martin
Employees’ PAC
MARPAT Foundation
Mile High United Way
Morgan Stanley Private
Wealth Management
The Morris and Gwendolyn
Cafritz Foundation
National Capital Arts and Cultural Affairs
National Endowment for the Arts
Neiman Marcus Group
Matching Gift Program
Northrop Grumman
PEPCO
Pew Charitable Trust
Matching Gift Program
Pfizer Foundation
Pillsbury Winthrop Shaw
Pittman Foundation
Posner-Wallace Foundation
PSCC LTD
Robert Wood Johnson
Foundation
The Shubert Foundation
Suntrust
The Foundation For
Jewish Philanthropies
Theatre Communications
Group
The Tom Lane Fund
The Troy Foundation
The Trust for Mutual
Understanding
United Way of the
National Capital Area
US Commission of Fine Arts
Vanguard Charitable
Endowment Program
The Washington Post
Company
INDIVIDUAL DONORS
Anonymous (7)
Anne & Ronald Abramson
Family Foundation
Doreen Adger
Adler Family Fund
Swati Agrawal
Jeffrey Ahl & Toby Port
Shannon & Michael Alford
Jo & John Allen
Carolyn Alper
David Alpert & Stefanie
Schneider
Gabriela Anaya &
Bruce Tanzer
Karen Ancillai
Joan & Peter Andrews
Donna Ari
Catherine & Paul Armington
Mark & Cindy Aron
J. Chris Babb &
James Martin
Susan Baer, PhD &
Bruce Thornburg
Orrin & Cheryl Baird
Nicole Baker
Jeff and Stacie Banks
Dennis Bass
Jamie Bennett
Larry Stuebing & Lois Berlin
Deborah and Bruce Berman
Emily Betsill and Erik DuMont
Beryl Bills, In Memory of David B. Bills
Don & Nancy Bliss
Christie and Mike Bloomquist
Eleanor Bochner
Eliza Booth
Ann Breiter
Nancy Taylor Bubes
Rich & Amy Buckley
Michael L. Burke &
Carl Smith
Rita Burke
Susan & Dixon Butler
Corey Caldwell
William Caldwell
Marianne Morse Callahan
Wade Carey & Ted Coltman
Steven Carlton
Christine E. Carnavos
Dr. James W. Carroll
Kent & Brenda Carter
David & Anne Case
Athena Caul & Brian Bayliss
Gina Cavalier
Wallace W. Chandler
John Chester
Lorraine E. Chickering
Bob and Vanessa Clerman
Eli and Virginia Grace Cohen
Bruce A. Cohen
David S. Cohen &
Craig A. Benson
Louis & Bonnie Cohen
David Cohn & Patricia
Alper-Cohn
Andy Colb & Nancy Chapman
Christopher and
Charlotte Cole
Eric Conn
Harald and Nancy Cordes
Tim & Susan Cowles
Kenneth W. Crow &
Basil Halabi
Jeffrey P. Cunard
Paul Cunningham and
Peter Kazon
Miriam J. Cutler &
Paul Salditt
Richard & Karen Cys
Ross Dannenberg &
Meredith Whitely
Deanna K. Dawson
Donna J. Dean &
John L. Meyer
Justin Dean
John E. Decker
Stephen Deets
Allison Denny &
Topher Kandik
Steven desJardins
Liz Dobbins
Edward Dobranetski
& Elizabeth Delo
The Dobranski
Foundation, Inc.
Sheryl & Rick Donaldson
Sarah and Isaac Dovere
Lis & Kevin Driscoll
Elizabeth Duncan
Joe Dunne & Elena
Grigorieva
Daniel & Toby Edelman, in Honor of Catherine
MacNeil Hollinger
Jim and Elizabeth Engel
Revi-ruth Enriquez
Robert & Helen Fall
Cheryl & John Falvey
James Feldman &
Natalie Wexler
Todd Feldman &
Randy Carswell
Marcia Feuerstein &
Ronald Schwarz
Charlie & Jane Fink
Tracy Fisher
Jane and Nathan Fishkin
Sandra & James F. Fitzpatrick
Michael Fitzpatrick &
Miriam Gonzales
Ryan & Amelia Fogarty
Krista Fogleman
Nancy McElroy Folder
Mary Candace Fowler &
Robert Brookhiser
William and Melissa Hall
Audrey D. Hallett
Andrea & James Hamos
Laura Handman &
Harold Ickes
Brenda Hansen &
David Seide
Nancy Hartsock, The
Hasenberg Hartsock
Group at Merrill Lynch
Wealth Management
Mike Haungs
Chas Hausheer &
Sheila Sweeney
Monica Jeffries Hazangeles
& John Peter Hazangeles
Aaron Heinsman
Meredith Hendrickson
& Michael Kemper
Margaret Hennessey
Anne and Henry Reich
Family Foundation, Lee G.
Rubenstein, co-President
Jeffrey Herrmann &
Sara Waisanen
Peter Herrmann
Dr. Alison Burgess Hickman
Michael Higgins &
Judith A Kirvan
Sara Hope Franks
Barbara Friday
Edward and Rhonda Friedler
Elizabeth & Paul L. Friedman
Bruce Frishman
Christopher & Catherine Frost
Denny A. Fuller
Tim Fuller
Barry & Mary Ann Fulton
David Furth and Martha
Finnemore
Melissa Galetto
Gabrielle G. Gallegos
Paul Gamble
Erik Gaull
Jim Geletka
Jaquelin Gellhorn
Miles Gilburne & Nina Zolt
James Robert Golden
Susan Gordon
David Gossett &
Dena Ringold
Gale Gottlieb
Steve & Sally Gresham
Jeffrey H. Grotte
Shirley Gustafson
Wendy & Don Hagen
Frona G. Hall
Michael Killoren
Bob and Sherri Kimbel
Robert L. Kimmins
Karl K. & Carrol Benner Kindel
Michael Klein & Joan Fabry
Rebecca Klemm
Lauren S. Kogod
Leslie S. Kogod
Stuart A. Kogod
Joan & Victor Korenman
John Kuehn
Meredith Kurz
Beth Ann Kyle
Lauren Daniels Laitin
& Mark Laitin
James Lambert
Nels Larson & Anne
Thompson
Keith Laughlin & Juliet Zucker
Chuck & Jenny Lawson
Tom Leahey
Karen Lefkowitz &
Allen Neyman
Samuel Lehr
Steve Leinwand &
Ann Lawrence
Judith E. Leonard
Josh & Debra Levin
Randall & Patricia Lewis
Eleanor Roberts Lewis
& Roger K. Lewis
Linda Lurie Hirsch
Charlotte Hollister &
Donald Clagett
Earl-Rodney Holman
William L. Hopkins &
Richard Anderson
Glen & Lauren Howard
Daniel C. Hudson &
Karen Garnett
Elizabeth Hughes
Joel Hunter
Linette S. Hwu
Victoria Isley
David Jasinski &
John Glowacky
Edward & Victoria Jaycox
Christopher &
Christina Junker
Richard Kamenitzer &
RoseMarie Pfaffe
Rick Kasten
Jonathan Katz
Christine Kearns
Jean Keeting &
Edward Barrese
Nevin Kelly
Eugene & Dale Kenney
Robert & Wendy Kenney
Michael Kerst
Joan & David Maxwell
Mike & Joy Maxwell
Theodore & Laura May
Al & Barbara McConagha
The McCormick Clan
Bob & Mary Lou McGee
Annie McGinn
Harriet McGuire
Mike McIntyre
Luann McKinney &
Phil Costello
Alison E. Meiss
Kenneth & Barbara
Mendenhall
Russell Mikel & Alison Hurst
Herbert and Patrice Miller
Pete Miller & Sara Cormeny
The Greene-Milstein
Family Foundation
James Miner & Curtis Rozier
Grant Mitchell &
Sheila Manes
Jane & Paul Molloy
Hazel C. Moore
Kevin Moore
Judith Morris & Marvin
Weissberg
Kristine Morris
Janice & Tom Munsterman
Erik Lichtenberg &
Carol Mermey
Nancy Limprecht &
Rick Haines
Tom and Anne Lindenfeld
Russell C. Lindner
Norm & Susan Linsky, in
Honor of Gerry Widdicombe
Anthony Lupo & Jean Hsu
Raphael Lupo &
Deborah Browder
John Macgaffin
Cathy MacNeil Hollinger
& Mark Hollinger
Julianna & Donald Mahley
Annie & Paul Mahon
Harvey Maisel & Andrea
Boyarsky-Maisel
Jeffrey Maletta &
Catherine May
Susan & Daniel Mareck
Sarah Pierce Martin
Tina M. Martin & Mita
M. Schaffer
Lisa Martinez
Mark Mason & Robin Cantor
Gerri Mason-Hall
Peter Mathers &
Bonnie Beavers
Winton E. Matthews, Jr.
David & Judith Mauriello Michael Ramirez &
John Ralls
Carmen Ramirez
Larry Rampy
Deborah A. Rayworth
Renay & Bill Regardie
Peter Reichertz
Linda Caro Reinisch
Scott D. Renda
Sheldon & Barbara Repp
Elaine Reuben
Mary & David Rich
Valerie S. J. Rind
Stephen Rintoul
Julie Rios
Jeremy & Erika Rissi
Cindy Roberts & Andy Clark
Jill and Rick Robinson
Katie Root
Laura and Gerald Rosberg
Ed Rosic & Marian Block
Toby Russell
Sara E. Rutstein
Kathy Sanders and
Dag Sandbakken
Joel & Alexandra Scannell
Karen & Milton
Schneiderman
Lenore Schreiber
Scott B. & Evelyn Schreiber
Philip I. Myers
Carl & Undine Nash
Diane Naughton
Jane McGrath Neal
Brian Nelson & Barbara Calvi
Melanie B. Ness
Jo-Ann Neuhaus
William Newlin & Louisa
Foulke Newlin
Allen Neyman
Melanie & Lawrence
C. Nussdorf
Aimee Occhetti
Jean E. Osburn
Henry Otto & Judy Whalley
Philip Owens
Ilga Pakalns
Charles Parsons
William E Pate &
Frances Burden
Teresa and Matt Philipp
Lawrence Plotkin &
Ruth Hansen
Debbie and Michael Poliner
Jonathan Poling &
Malcolm McCluksky
Ane Powers
Lutz Alexander Prager
Judy Lynn Prince
Joshua Quattlebaum
Patricia Smith
Amy Smithson
Janet W. Solinger
Linda Sorkin
Stan M. Spracker
Daniel Squire
John Squire & Debra Taylor
Edward Starr & Marilyn
Marcosson
Daniel Steiner
Tom Steinmenz
Malcolm Stevenson
Barbara L. Strack
Stephen and Sylvia Taplin
Grant P. & Sharon
R. Thompson
Randall and Carol Thompson
William S. Tinkler
Stephen & Narges Topetzes
Stan & Ilene Trachtenberg
Mike Trauberman &
Amy Golden
Mona Trempe and
Jan Hertzsch
Jennifer Trock
Robert Trout and
Janet Studley
Meyer Tubin
William Turanchik
Sallie C. Tyler
Adrienne & David Umansky
Jonathan and Ann Vitti
The Schwartz-Wolff
Foundation, in honor of Liz Friedman
Richard Tucker Scully
& Lee A. Kimball
Sunny Jung Scully &
William Alsup
Jack Seed
Howard Shalwitz
Janet Shalwitz &
Burt Feuerstein
Shirley Shalwitz
Victor Shargai
Michael and Riki Sheehan
Pat Murphy Sheehy
Playwrights Fund
David & Peggy Shiffrin
Mary Sies & Chris Stark
Charles Silverman & Joyce
Hagel-Silverman
Linda Singer
Delacey Skinner
Joe Slaughter
Bonnie and Michael
Slobodien
Rick Slobodien
Ed & Andy Smith
Maggi Smith
Elizabeth Vrenios
Jeremy P. Waletzky
Ted Walker
Karl T. Walli
Arthur Warren and
Jim Pridgen
Julie Anne Watko
Caroline Watson
Elizabeth Wehrle
Richard Weibl & Terri Nally
Harold & Marilyn Weiner, in Honor of Louis &
Bonnie Cohen
Nina Weissberg &
Stuart Martin
Ruth Werner
Joan S. Wessel
Blair and Caitlin White
Marlene Whiteley
Gerry Widdicombe
E. Marcus Wiggs, III
Dave & Joy Willey
Kristin Williams &
Howard Weissman
Stacey Winn
Nancy Witherell, in honor of Gerry Widdicombe
Julie Wolf
Barbara and Paul Wolfand
Paul Wolfson
Kathryn & Abby Wood
Irene & Alan Wurtzel
John and Cecilia Wyand
Jeffrey Yablon
James Yap
James Yenckel &
Sandra LaFevre
Karen S. Yingst &
Tom Biederman
Roger Yoerges &
Denise Esposito
E & B Family Trust
Gerald Yuille
David & Julie Zalkind
Christian Zazzali &
Kernan Bussiere
Judy & Leo Zickler
Margot & Paul Zimmerman
David Zinn & Ellen Harris
Deborah Ziska
Jonathan Zucker

It will allow Woolly to bust out of the cage and take our work to new levels, supporting long-term commissions, research, and workshops that give playwrights the time to focus on their writing in collaboration with actors, directors, and designers.
It will increase rehearsal time for our actors and support ambitious plans by our scenic, lighting, and costume designers. It will enable new collaborations among the members of our superb company and guest artists, leading to work that fulfills Woolly’s unique mission to challenge our audiences and engage deeply with our community.
For more information or to help FREE THE BEAST! visit woollymammoth.
net/freethebeast or call
Sarah Slobodien Dovere,
Director of Development, at 202-312-5275.
we’ve ALreAdy sAid YES To The FoLLowing projecTs:
YOU FOR ME FOR YOU by Mia chung, Fall 2012
Korean-American playwright Mia Chung is one of the most imaginative young writers of her generation, and Woolly was honored to launch her first major production. With brilliant
Russian director Yury Urnov at the helm, this delicate story about two North Korean sisters shattered our conception of life inside and outside the rigid borders of an ominous regime.
Free the Beast! supported:
• Completion commission for the playwright
• Three-day workshop at Woolly
• Four-week workshop production with Drama Desk and Obie Award-winning Ma-Yi Theater
Company in New York City
• World Premiere at Woolly in fall 2012, in association with Ma-Yi’s network of Asian-
American artists
STUPID FUCKING BIRD by Aaron posner, Spring 2013
The idea for this play emerged when Aaron Posner—one of Washington’s best directors and adapters—was rehearsing Sarah Ruhl’s In the Next Room or the vibrator play at Woolly.
Helmed by Woolly Artistic Director Howard Shalwitz, this contemporary riff on Chekhov’s The
Seagull explores how art, love, and revolution fuel one’s pursuit of happiness.
Free the Beast! supported:
• Completion commission of the playwright
• Funding for composer and musical director of the original score
• Three one-day workshops at Woolly Mammoth
• One-week workshop at Lake George Theater Lab in upstate New York
• World Premiere production at Woolly in spring 2013
ARGUENDO by elevator repair service, Spring 2014
Elevator Repair Service—the innovative company that created  Gatz —comes to Woolly with their newest show,  Arguendo . This time, they bring their unique theatrical style to the
Supreme Court, tackling the 1991 First Amendment case Barnes v. Glen Theatre, brought to the court by a group of go-go dancers petitioning for their right to perform completely naked.
Free the Beast! will support:
• Co-commission with the Public Theater and the Wexner Center
• Travel ensemble to tour Supreme Court in DC
• Travel/housing for Woolly’s dramaturg to attend a workshop in Boston
• Additional resources for the ensemble as they continue to develop the piece in Boston,
New York, and Washington
THE TOTALITARIANS by peter sinn nachtrieb, Spring 2014
Written by Peter Sinn Nachtrieb, author of the hit play Boom , and directed by Woolly
Playwright-in- Residence Robert O’Hara, this high-energy farce follows a rich wife’s vanity campaign for public office, hilariously exposing just how vacuous and absurd our political language has become.
Free the Beast! will support:
• Travel for director and Woolly’s dramaturg to attend a workshop at New Dramatists in New York City
• Three-day workshop with cast and designers
• Travel/housing for director and dramaturg to see world premiere production at co-commissioning theatre Southern Rep in New Orleans
• Expanded Design Team: Video Designer, Gun Expert, Dance Choreographer
• An extra week of rehearsals
Anonymous (3)
Mary Abbajay & Christopher Marlow
Anne & Ronald Abramson Family Foundation
Adler Family Fund
Jeffrey Ahl & Toby Port
Shannon & Michael Alford
Donna Ari
Catherine & Paul Armington
J. Chris Babb & James Martin
Jeff & Stacie Banks
Don & Nancy Bliss
Rich & Amy Buckley
Patricia G. Butler
Susan & Dixon Butler
William Caldwell
Lorraine E. Chickering
David S. Cohen & Craig A. Benson
Kenneth W. Crow & Basil Halabi
Jeffrey P. Cunard
Liz Dobbins
Anthony & Jacqueline Dobranski
Lis & Kevin Driscoll
Joe Dunne & Elena Grigorieva
Michael Fitzpatrick & Miriam Gonzales
Sandra & James F. Fitzpatrick
Angela D. Fox
Jerry & Kathy Freshley
Elizabeth & Paul L. Friedman
Melissa Galetto
Wendy & Don Hagen
Nancy A. Hartsock
Chas Hausheer & Sheila Sweeney
Linette S. Hwu
Victoria Isley
Arlene & Robert Kogod
Chuck & Jenny Lawson
Karen Lefkowitz & Allen Neyman
Eleanor Roberts Lewis & Roger K. Lewis
Anthony Lupo & Jean Hsu
Cathy MacNeil Hollinger & Mark Hollinger
Susan & Daniel Mareck
Tina M. Martin & Mita M. Schaffer
Lisa Martinez
Peter Mathers & Bonnie Beavers
The McCormick Clan
Bob & Mary Lou McGee
The Andrew W. Mellon Foundation
John Mendonca & Jeanne Loveland
Pete Miller & Sara Cormeny
The Greene-Milstein Family Foundation
Carl & Undine Nash
PEPCO
Michael Ramirez & John Ralls
Barbara & Shelly Repp
Julie F. Rios
Erika & Jeremy Rissi
Scott B. & Evelyn Schreiber
Sunny & Bill Alsup
Laine Shakerdge
Robert Shalwitz & Paula Krasnoff
Shirley Shalwitz
Linda Sorkin
Daniel Squire
Barbara L. Strack
Grant P. & Sharon R. Thompson
Ted & Amanda Walker
Joan S. Wessel
Gerry Widdicombe
Dave & Joy Willey
Irene & Alan Wurtzel
E & B Family Trust
Jonathan Zucker
Anonymous
Mary Abbajay & Chris Marlow
Anne & Ronald Abramson Family
Foundation
Mark & Cindy Aron
J. Chris Babb & James Martin
Bank of America Matching Gifts Program
Patricia G. Butler
Jeffrey P. Cunard
D.C. Commission on the Arts and
Humanities
Anthony & Jacqueline Dobranski
Sheryl & Rick Donaldson
Lis & Kevin Driscoll
The Eugene & Agnes E. Meyer Foundation
Elizabeth & Paul L. Friedman
Alex Hahn & Paige Lance Hahn
Jeffrey Herrmann & Sara Waisanen
Linette S. Hwu
Arlene & Robert Kogod
Karen Lefkowitz & Allen Neyman
Cathy MacNeil Hollinger & Mark Hollinger
Pete Miller & Sara Cormeny
Hazel C. Moore
The Morris and Gwendolyn Cafritz
Foundation
Jane McGrath Neal
Prince Charitable Trusts
Stacy & Jason Reed
Howard Shalwitz
Grant P. & Sharon R. Thompson
Gerry Widdicombe
Dave & Joy Willey

a t s h e p h e r d u n i v e r s i t y
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Friends –
Following a return engagement this summer by Chicago’s The Second
City—with an all-new revue developed exclusively for Woolly and entitled America All Better!!
—we’ll launch right into Season 34, which will explore “America’s Tell-Tale Heart” over the course of six extraordinary productions.
We’ll start with bang as we present Lisa D’Amour’s scary-funny comedy
Detroit , which follows two couples caught in the economic downturn on the outskirts of an unnamed mid-western city. Directed by John Vreeke and starring Company Members Emily Townley and Mike Willis, with
Gabriela Férnandez-Coffey ( Stunning , Gruesome Playground Injuries ), Tim
Getman ( The Unmentionables , Gruesome Playground Injuries ), and Danny
Gavigan, this dazzling play was a runner-up for the Pulitzer Prize in 2011 and landed on the New York Times Top 10 Theatre productions of 2012.
It’ll be followed by DC-native Branden Jacobs-Jenkins’ Appropriate , his audacious, mouth-dropping run at the grand tradition of the big-cast, dysfunctional Southern family drama. And then, the crazily-inventive physical comedy duo, the Pajama Men, will return to Woolly for the holidays with a brand new revue entitled Just the Two of Each of Us .
After the New Year, we will present another New York Times Top 10 Theatre production from 2012: We Are Proud to Present… by Jackie Sibblies Drury, directed by Company Member Michael John Garcés. Then, we’ll welcome
Elevator Repair Service—a New York-based company that recently toured the world with their marathon performance of “The Great Gatsby”—with
Arguendo , a performance of a 1991 Supreme Court case that tackled nude dancing at an Indiana night club. And finally, we’ll end the season with The Totalitarians by Peter Sinn Nachtrieb, author of Woolly audience favorite, Boom.
Directed by Company Member Robert O’Hara ( Antebellum ,
Bootycandy ) and featuring Company Members Emily Townley and Dawn
Ursula. This hilarious farce is set during a political campaign in Nebraska and examines the utter vacuousness and absurdity of what passes for political speech these days.
Truly, it’s going to be an amazing season—maybe the best line-up in my seven seasons here at Woolly—and I want you there for every moment.
The best way to secure the best seats at the best prices is to become a subscriber or a Six-Pack holder. You can find all the information you’ll need in this program, on our website, and at the box office.
Enjoy the show and we will look forward to seeing you back here soon for
Season 34!
Most Sincerely,
All
202-393-3939
Jeffrey Herrmann
Managing Director