Woolly Mammoth takes great pride in being the first theatre in America to have committed to producing Clybourne Park in 2010. In the fifteen months since our original production, the play has won the Pulitzer Prize for Drama, the Olivier Award for Best New Play, the Helen Hayes Awards for Outstanding Resident Production and Outstanding Director, and a pile of Helen Hayes nominations recognizing every member of our remarkable cast, all of whom are returning for this summer re-mount.

But our reason for returning to Clybourne Park in 2011 has nothing to do with its many accolades. It has to do with the impassioned conversation the play sparked in our community about race and gentrification. As Clybourne Park amply demonstrates, questions about where we live and whom we live next to have certainly changed in America over the past 50 years. But they have not gone away.

Fifteen months ago, the election of Barack Obama was fresher in our minds, along with the much-discussed dream of a “post-racial” America. Today, as we look toward Obama’s second campaign for President, we’ve learned that he is just one good and important man, but not Superman. In the political realm, questions of race and fairness are addressed slowly. But in neighborhoods across America, race relations evolve daily, the result of thousands of tiny decisions by homeowners, home buyers, lenders, real estate agents, and others.

What’s your story? Has race played a role in decisions you’ve made about your housing, or anyone else’s housing? In what ways is your neighborhood like Clybourne Park?

On the next page you’ll see a partial listing of the many post-show conversations and other special forums surrounding our production of Clybourne Park. Please join us for these free events, and make your voice heard in a provocative exchange of personal stories, feelings, and ideas. Also check out our website, www.woollymammoth.net, where you’ll find links to the Woolly blog, our new audience blog: woolly-pedia, Radio Woolly podcasts, and a variety of other ways to join the conversation.

I look forward to seeing you back at Woolly next season for a brand new collection of thorny, juicy, dramatic, and hilarious plays that ask the question: does our civilization have an expiration date? And what comes next? Thanks for your commitment to theatre that’s worth talking about.

HOWARDSHALWITZ

ARTISTICDIRECTORHill Country Barbecue Market D.C. @HillCountryWDC

410 Seventh Street, NWIn Penn Quarter, between D & E Streets

(202) 556-2050

www.HillCountryWDC.com

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Presented with special support from the Pillsbury Winthrop Shaw Pittman Foundation

and Sheryl & Rick Donaldson

This production of Clybourne Parkis sponsored in part by:

Don & Nancy BlissLorraine E. ChickeringBob & Mary Lou McGeeChuck & Jenny LawsonBarbara StrackShirley ShalwitzIrene & Alan WurtzelJudy & Leo Zickler

WOOLLY MAMMOTH THEATRE COMPANY

present

HOWARD SHALWITZ JEFFREY HERRMANNArtistic Director Managing Director

Restaurant Sponsor

Set Designer…James KronzerCostume Designer…Helen HuangLighting Designer…Colin K. BillsSound Designer…Matt OttoProperties Master… Jennifer SheetzDramaturg…Kristin LeaheyStage Manager… William E. Cruttenden III*

* Member, Actors’ Equity Association+ Woolly Company Member

BY BRUCE NORRISDIRECTED BYHOWARD SHALWITZ

PLEASE TURN OFF ALL ELECTRONIC DEVICES.The video and/or audio recording of this performance by any

means whatsoever is strictly prohibited. There will be a 15 minute intermission

August 23 – 26 • Tickets now on sale through the Woolly Box Office!

“Reggie Watts is the Coolest Comedian on the Planet.”—GQ

IS YOUR NEIGHBORHOOD CLYBOURNE PARK ?Special guests from across the District will be catalyzing audience dialogues following all evening performances of Clybourne Park (Wednesdays, Thursdays, Fridays, and Saturdays). Guests include: Sarah Browning (Split This Rock); Erricka Bridgeford (Community Mediation Maryland); James Sykes (US Vets Inc); Elahe Izadi (WAMU’s Dcentric). Exchanges begin after the show and last 30 minutes.

AuDIENCE ExCHANgES

Town hall-style discussions featuring a community of special guests who will share their insights and explore a topic the production examines.   • July 31: Media as Storyteller: Who is telling the story of the changing face of our city?   • August 7: Gentrification is…: Perspectives on this complex issue   • August 14: Creating our Futures: What do you work toward in your community?Forums begin at 5:15pm following the Sunday matinee performances and last one hour. Attend the show and stay for the conversation, or come that afternoon just for the Forum.

MAMMOTH FORuMS

Dynamic dialogues featuring local artists from a range of disciplineswho are creating work examining aspects of their community.   • July 23: Danny Harris, People’s District (peoplesdistrict.com)  • August 6: Tendani Mpulubsi, Barry Farm: Past and Present  • August 13: Abel Lopez, GALA Hispanic TheatreForums begin at 5:15pm following the Saturday matinee performances and last one hour. Attend the show and stay for the conversation, or come that afternoon just for the Forum.

ARTISTIC FORuMS

RADIO WOOLLY SPECIAL FEATuRESRadio Woolly will feature a special series, “Conversations Between Neighbors,” exploring the dialogues that happen in our own backyards.

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Russ…Mitchell Hébert*+Bev…Jennifer Mendenhall *+Francine…Dawn Ursula *+Albert…Jefferson A. Russell*Jim…Michael Glenn*Karl…Cody Nickell*Betsy…Kimberly Gilbert*+

Tom…Michael Glenn*Lindsey…Kimberly Gilbert*+Steve…Cody Nickell*Kathy…Jennifer Mendenhall *+Kevin…Jefferson A. Russell*Lena…Dawn Ursula *+Dan…Mitchell Hébert*+Kenneth…Chris Dinolfo*

Special Thanks: Chuck Fox at Arena Stage, The Brass Knob Back Doors Warehouse, Inc., DC Historical Society, Andy Shallal, Busboys & Poets, Jefferson A. Russell, Jennifer Nelson, Guest Speakers in Audience Exchanges and Mammoth Forums, Richard Fleming, Joyce Ferguson, Gayle Wald, Mark McInturff, Ellie Walton

Clybourne Park Claque: Step Armah, Matt Berman, Eric Colchamiro, Margaux Delotte-Bennett, Elias El-Hage, Elizabeth El-Hage, Brandon Gryde, Ryan Michael Hayes, Piper Hendricks, Kathy English Holt, Ben Noll, Rebecca Renard, Jessica Solomon, Penelope Spain, Susan Timmons, Jonathan Zucker

*Member, Actors’ Equity Association +Woolly Company Member

Playwrights Horizons, Inc., New York city, produced theWorld Premiere of Clybourne Park Off-Broadway in 2010

Additional Production Staff for Clybourne Park:Carpenters… Christian Sullivan, Jason R. Cabellero Scenic Artist…Leigh-Ann FriedelDeck Crew…Andrew HawkinsElectricians…Chris Hall, Donray CooperLightboard Op…Ann AllanWardrobe Supervisor… Mary “Allie” GonsiewskiWig Mistress…Haley RainesAsst. Set Designer…Sean Urbantke

Asst. Costume Designer… Franklin LabovitzAsst. to the Costume Designer… Adriana Diaz, Chelsey SchullerFight Choreographer…John GurskiAsst. Sound Designer… Elisheba IttoopAsst. Dramaturg…Augie PraleyASL Coach…Samantha Birchett HunterASL Consultant…Monique HoltWig Designer…Anne Nesmith

Show Art Concept & Design: Carolyn Sewell Design

Act I: September 1959 Act II: September 2009

Clybourne Park Working Group: Eric Colchamiro, Natalie Hopkinson,Gowri Koneswaran, Amy Lazarus, Ben Noll, Sybil Roberts, Mary Corbin Sies,Sybil Roberts, Susan Timmons

This list represents giving from January 1, 2010 through June 27, 2011.

Our productions and programming are only possible with the generous support of our many contributors, who will combine this season to provide half of our $4 million budget. We want to take this opportunity to recognize and thank our largest contributors for their tremendous commitment to Woolly Mammoth. We couldn’t do it without you!

ARTISTIC DIRECTOR’S CIRCLEAnonymous (2)Anne & Ronald AbramsonThe Andrew W. Mellon FoundationAmerican Airlines AstraZeneca Pharmaceuticals, LPLouis & Bonnie CohenSheryl & Rick DonaldsonEmcArts’ Innovation Lab for the Performing Arts and Doris Duke Charitable Foundation

The Eugene & Agnes E. Meyer FoundationGeorge Sexton AssociatesMichael Klein & Joan FabryArlene & Robert KogodTom LeaheyCatherine MacNeil Hollinger & Mark HollingerMARPAT FoundationJoan & David MaxwellPete Miller & Sara Cormeny

The Morris and Gwendolyn Cafritz FoundationNational Capital Arts & Cultural Affairs ProgramNational Endowment for the ArtsPillsbury Winthrop Shaw Pittman FoundationThe Shubert Foundation

PLAYWRIgHT’S CIRCLEMark & Cindy AronJ. Chris Babb & James MartinDavid S. Cohen & Craig A. BensonJeffrey P. Cunard

D.C. Commission on the Arts and HumanitiesThe Dobranski FoundationEli Lilly and CompanyElizabeth & Paul L. FriedmanMelissa Galetto

Miles Gilburne & Nina ZoltJudith Morris & Marvin WeissbergPhRMAJudy & Leo Zickler

SEASON SPONSORSAnonymousDonna AriSusan L. & Dixon M. ButlerCapitol Counsel, LLCKenneth W. Crow & Basil Halabi

Davis Wright Tremaine LLPThe Group Tour CompanyLinette S. HwuKaren Lefkowitz & Allen Neyman

PEPCOOmni Shoreham HotelShirley ShalwitzDave & Joy Willey

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During the cool Chicago summer of 1937, the Hansberrys moved to 6140 Rhodes Avenue. Upon their arrival a mob of white neighbors greeted the black family in an attempt to convince them to leave. At dusk, in response to the all but genial welcoming from the “improvement association,” Mrs. Nannie Hansberry fired a P08 pistol into the temperate sky. The crowd dispersed—at least for that evening. Shortly thereafter, a neighbor hurled a rock through the Hansberry’s front window which nearly hit one of the family’s four young children. Although the rock missed Lorraine Hansberry’s skull, the incident propelled the NAACP and Carl Hansberry, a leading civil rights litigator and the family’s patriarch, to file a lawsuit to combat legal segregation in the north. In 1940, the Supreme Court ruled in Hansberry’s favor on a technicality, while declining to publically address the housing issues in America’s most segregated city: Chicago.

As a result of Shelley v. Kramer (1948), the Court openly declared northern residential segregation unconstitutional. Perhaps the 1946 occurrences of twenty-seven bombings and a demonstration of over 5,000 people to keep blacks out of a Chicago public housing project contributed to this ruling. Violence attributed to racial discord continued to ravage the Windy City. Between 1956 and 1958 alone, the Chicago Tribune reported 250 incidents of racial violence, a total that included at least thirty-eight arson cases. Yet in 1959 the first Broadway play by an African American woman graced the New York stage. Mirroring the many traumatic events she experienced and witnessed as a child in Chicago, Lorraine Hansberry introduced the world to her world—with A Raisin in the Sun.

In the play, matriarch Lena Younger lives with her extended family in a cramped apartment on Chicago’s South Side. Following the death of her hard working husband, she receives an insurance check for $10,000 and surprises the family by placing a down payment on a house located in Clybourne Park, an affordable white neighborhood. Karl Lindner, a representative from the neighborhood association, visits the family and tells them that the association has offered to buy the house back

RAISIN’SCHILDRENBy Kristin Leahey, Production Dramaturg

Sidney Poitier, playing Walter Lee Younger, and Ruby Dee, playing Ruth Younger, in the 1961 film of A Raisin in the Sun. Both actors portrayed their roles in the 1959 Broadway premiere of the play.

INTERVIEW WITH BRUCE: PART I FEBRUARY 22, 2010

Kristen Leahey: Why write a play connected toA Raisin in the Sun?

Bruce Norris: I was obsessed with that play when I was a kid. I especially liked the scene in which Lena slaps Beneatha. I liked anything with violence in it, particularly if it was violence around ideas. God. Religion. I first saw the play when I was 12, right around the time that I was starting to hate authority so I loved that scene. Even though the scene is the imposition of authority onto Beneatha, still I really loved the play. I was always regretful that I never got to play Karl Lindner so I thought I’ll just give him some more to do. That’s a way of getting to play that part indirectly.

KL: Could you talk about the location of Clybourne Park? BN: For designers, actors, and the director’s purposes, the play is set in Chicago in terms of being connected to the Hansberry play. Obviously there are cities all around the country where the exact same thing happened. Detroit. DC. I never wanted to write a play about the racial history of Chicago, that actually is a topic that is too specific and local and it doesn’t interest me.

KL: Can you talk about the power of language in your work?

BN: I think that this play, like a couple of other plays of mine, specifically The Pain and the Itch, has a lot to do with how people try to subtly manipulate language in order to persuade people to be on their side. Especially in the second act, it’s about the way that people stake out their territory by using certain kinds of rhetorical tropes and figures of speech that they think will work as code to persuade someone else to their point of view.

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BRUCE NORRIS is a writer and occasional actor whose plays include The Unmentionables (produced at Woolly Mammoth in 2007), A Parallelogram, The Pain and the Itch, Purple Heart, We All Went Down to Amsterdam, and The Infidel, all of which originated at Steppenwolf Theatre in Chicago. His plays have also been seen at Playwrights Horizons in New York, The Royal Court Theatre and Wyndham’s Theatre in London, Lookingglass Theatre in Chicago, Philadelphia Theatre Company, Staatstheater Mainz in Germany, and The Galway Arts Festival in Ireland. He is the recipient of the Pulitzer Prize for Drama (2011) for Clybourne Park, as well as the Steinberg Playwright Award (2009), the Whiting Foundation Prize for Drama (2006), two Joseph Jefferson Awards (Chicago), and the Kesselring Prize, Honorable Mention (2006). As an actor he has appeared in the films A Civil Action, The Sixth Sense, and All Good Things. He lives in Brooklyn, New York.

at a higher price in order to prevent the black family from moving in. In the play’s final scene, Walter Lee, the family’s son, explains to Lindner that he comes from a line of plain and proud people and that the Youngers will move into their new home because their father “earned it for us brick by brick.”

Critics and audiences alike lauded the play for its intimate and authentic representation of black life during the mid-twentieth century, as well as its universal appeal to multiethnic audiences. Americans could identity with the Youngers, the play’s central family, and their search for the American dream. In her creation, Hansberry first and foremost desired to expose audiences to the racial inequality found in the north spurred by endemic residential segregation. In an interview with Studs Terkel, Hansberry noted, “[N]ot only is this a Negro family, specifically and definitely culturally, but it’s not even a New York family or a southern Negro family. It is specifically a Southside Chicago [family].” Even if the play’s universalisms clarify or overshadow Hansberry’s principal argument, the classic continues to resonate with generations of new audiences and artists, inspire questions of identity and community, and draw attention to the fact that racial conflict remains a part of the American psyche.

Nearly fifty years after the opening of Hansberry’s revolutionary play, the term “post-racial” entered the American consciousness with the 2008 election of the U.S.’s first African American President. Yet in February 2009, Attorney General Eric Holder remarked, “Though this nation has proudly thought of itself as an ethnic melting pot in things racial, we have always been, and we, I believe, continue to be, in too many ways, essentially a nation of cowards.” Similar to the Youngers, many families today scratch and claw to attain the American Dream. And many individuals, in part because of discrimination, fail to reach it. Although Hansberry stirs a universalizing sense of hope in audiences, she instills a portentous message delivered by Karl Linder: “I sure hope you know what you people are getting into.” Upon moving into a primarily white neighborhood the Youngers, the Hansberrys, and their new neighbors approach a precipice of uncertainty. As a nation still struggling with racial tension, we also now meet at a threshold of both daunting and hopeful uncertainty.

A typical Chicago-style bungalow home.

Howard Shalwitz: You’ve now worked on productions of Clybourne Park in New York, Washington, San Francisco, and London, with several more coming up. Have you found that the issues in the play resonate differently in different cities? Bruce Norris: Actually, they resonate very similarly. You can change the specific details —neighborhoods, ethnicities, timelines— but almost every major city I’ve been to tells the exact same story. In London it’s white Brits vs. Pakistanis; in Germany they complain about the impact of immigrant Turks. Wherever you draw a geographic boundary and claim it (tacitly or overtly) for one group there will be problems when that boundary is crossed. I don’t really think Clybourne Park is as much about racism as it is about territoriality. HS: Where were you when you learned you won the Pulitzer Prize, and how has it affected you?

BN: I was at a friend’s house on an island off the coast of Maine with no internet, so I found out only after everyone else had. The only effect is that it’s made me even more insufferable than I already was.

INTERVIEW WITH BRUCE: PART II JUNE 20, 2011

Now in its 31st Season, Woolly Mammoth Theatre Company continues to hold its place at the leading edge of American theatre. Acknowledged as “the hottest theatre company in town” (The Washington Post), “known for its productions of innovative new plays” (The New York Times), Woolly Mammoth is a national leader in the development of new

plays, and one of the best known and most influential mid-sized theatres in America.

Woolly serves an essential “Research and Development” role within the American theatre; plays premiered here have gone to productions at more than 200 theatres in 39 states and 12 countries.

“According to [2010] census statistics released Thursday…the [District of Columbia’s] black population dropped by more than 39,000 over the decade, down to 301,000 of the city’s 601,700 residents…the non-Hispanic white population skyrocketed by more than 50,000 to 209,000 residents…’The Parliament song ‘Chocolate City’ pinned a label on the city,’ said poet E. Ethelbert Miller, a leading figure in Washington’s African American arts community. ‘Well, chocolate melts.’”

—“Black DC Residents Plummet,” WashingtonPost.com, March 24, 2011

SuRVEYINg THE LANDSCAPERecent Reflections on Race and Gentrification in Washington

“[N]eighborhoods have network effects. Having more people like you means having more services for people like you, which is very valuable. Unfortunately, even a very mild preference for

being around a few of your ‘own kind’ seems to result in fairly homogenous neighborhoods… A city planner trying to fight this has a heroic task in front of them.”

—Megan McArdle, “Gentrification and its Discontents” The Atlantic, October 22, 2010

1. Get involved, but first listen and learn.2. Say hello to people, and if you have a front porch, use it.3. Have a baby or get a dog.4. Don’t automatically cross the street to avoid young, black kids.5. Visit local, small businesses and take note of what they offer. Some sell things you actually want.

—Elahe Izadi, Five Ways To Be a Good Gentrifier, WAMU’s DCentric, May 25, 2011

“Some have argued that the Old Georgetown Act was the death knell of Georgetown’s Black population. Keeping buildings up to historical standards isn’t cheap…And just generally speaking,

preservation laws tend to increase the desirability and, in turn, the price of a neighborhood. It’s very difficult for a neighborhood to be historically protected yet remain a working class neighborhood. It is somewhat ironic that the African-American characters [in the play] are seeking to preserve the historical form of Clybourne Park. As in Georgetown, the historical

preservation of Clybourne Park may very well be seeding the end of its working-class character.

—The Georgetown Metropolitan, March 19, 2010 in response to the question “Is Your Neighborhood Clybourne Park?”

“Though this nation has proudly thought of itself as an ethnic melting pot, in things racial we have always been and continue to be, in too many ways, essentially a nation of cowards. Though race related issues continue to occupy a significant portion of our political discussion, and though there remain many unresolved racial issues in this nation, we, average Americans, simply to do not talk enough with each other about race.”

—Attorney General Eric Holder, Department of Justice African American History Month Program, February 18, 2009

“Probably contrary to other parts of the City, the change from a white community to a black community happened relatively quickly in Fairfax Village. This community was built in the 1940s

as apartments for working class residents, who happened to be white. This area was largely unaffected by the 1968 riots. In the 1970s, a developer converted Fairfax Village from apartments to condos. Most of the people that bought after the conversion were black. The play reveals the

complexities…related to how communities change over times. The big question that I walked away asking myself was ‘What defines a community?’

—Life in the Village (Washington, DC), March 21, 2010 in response to the question “Is Your Neighborhood Clybourne Park?”

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CHRIS DINOLFO (Kenneth) has been in many DC productions, including Solas Nua: Swampoodle, Johnny Meister and The Stitch; Synetic Theater: King Lear, The Master and Margarita; Folger Theatre: Henry IV, Part 1; The Studio Theatre and Studio Theatre 2ndStage: The History Boys, All That I Will Ever Be; The Kennedy Center: Nobody’s Perfect (u/s), Unleashed! The Secret Lives of White House

Pets (u/s); Shakespeare Theatre Company: The Alchemist, The Imaginary Invalid; The Keegan Theatre: The Importance of Being Earnest, Mojo Mickybo, Death of a Salesman, Elizabeth Rex; and Maryland Shakespeare Festival: The Two Gentlemen of Verona.

KIMBERLY GILBERT (Betsy/Lindsey) is returning to Woolly after many productions, including In The Next Room or the vibrator play, Fever/Dream, Boom, Measure for Pleasure, The K of D, Martha, Josie and the Chinese Elvis, Big Death Little Death, and Cooking With Elvis. When she’s not under the Woolly roof she can be found being a Taffety Punk, a Tryster, and part-timing with The Army of Darkness. She is also a proud graduate of Shakespeare

Theatre Company’s Academy for Classical Acting.

MICHAEL GLENN (Jim/Tom) has been a Washington-based actor since 2000, and has performed at many area theatres. Some favorites include Longacre Lea: Cat’s Cradle, The Hothouse, Power of the Dog, Dumb Waiter, Dogg’s Hamlet/Cahoot’s Macbeth; Folger Theatre: Henry VIII, Arcadia, Twelfth Night; Signature Theatre: The Lieutenant of Inishmore, Fallen From Proust; Washington Stage Guild: Man of Destiny, O’Flaherty V.C., The Underpants, A Skull in Connemara, Major Barbara; ACTCo: Blood Knot and As You Like It. Michael is the proud

father of a subversive little boy who was born during the original run of this production!

MITCHELL HÉBERT (Russ/Dan) is a long-time Company Member at Woolly where he was last seen in House of Gold. His many credits at Woolly include The Gigli Concert, Patience, Kvetch, and The Clean House. He has performed at many of the DC area’s leading theatres including Round House Theatre, where he is a member of its Artist’s Round Table, and Olney Theatre Center, where he directed the critically acclaimed production of Rabbit Hole. He has

also performed at Shakespeare Theatre Company, Theatre J, The Studio Theatre, Theater of the First Amendment, Rep Stage, and Everyman Theatre in Baltimore. Upcoming projects include After the Fall at Theatre J and directing The Illusion at Forum Theatre in spring 2012. He has been nominated for two Helen Hayes Awards (Clybourne Park and The Drawer Boy) and received the Greater Baltimore Theatre Award for Outstanding Actor in Uncle Vanya. Mitchell is on the faculty of the University of Maryland’s School of Theatre, Dance, and Performance Studies, where he is a Professor of Acting and Directing.

JENNIFER MENDENHALL (Bev/Kathy) has been a Woolly Company Member since 1988; her most recent Woolly shows include Measure for Pleasure and Dead Man’s Cell Phone. Recent shows elsewhere include The Studio Theatre: The New Electric Ballroom and Circle Mirror Transformation; Studio Theatre Second Stage: A Beautiful View and Crestfall; Forum Theatre: Angels in America; Arena Stage: Legacy of Light; Solas Nua: Woman and Scarecrow;

Theatre J: The Accident; Theatre Alliance: Ambition Facing West, The Monument, You Are Here, Slaughter City; Humana Festival: dark play, or stories for boys...; Florida Stage: Cradle of Man. She has also appeared at The Kennedy Center, Shakespeare Theatre Company, and

MetroStage, among others. She has received the Boomerang Fund Artist’s Grant, Washington Theatre Lobby Award, and the Helen Hayes Award, and is a member of Actors’ Equity Association. As Kate Reading, she is an audio book narrator. She lives in Hyattsville with her husband, Michael Kramer, and their two children, Henry and Vivian. For details on audio books go to www.jennifermendenhall.com/madison.html.

CODY NICKELL (Karl/Steve) has appeared in In the Next Room or the vibrator play at Woolly Mammoth as well as several other shows in Washington, DC, including Folger Theatre: Macbeth, School For Scandal, Arcadia (Helen Hayes Nomination); Shakespeare Theatre Company: Romeo and Juliet. In New York he has appeared at Cherry Lane Theatre, The New York Fringe Festival, The Mac Wellman Festival, The Kraine Theater, and

numerous workshops at The Lark Theater, Lincoln Center Theater, Ars Nova, and Epic Theatre, to name a few. He has done regional work at Portland Center Stage, Gulfshore Playhouse, Shakespeare Santa Cruz, San Jose Repertory Theatre, Playmakers Repertory Company, Capital Rep, Two River Theater Company, Arden Theatre Company, The Wilma Theater, Stamford Theatre Works (Connecticut Critics Circle Award), and Barrington Stage Company. TV and Film credits include That 70’s Show, Celebrity Death Match, All My Children, Guiding Light, The Conan O’Brien Show, and the film Dorian Blues. Cody is a graduate of the Carnegie Mellon School of Drama. www.codynickell.com

JEFFERSON A. RUSSELL (Albert/Kevin) recently appeared as Count Orsini-Rosenberg in Amadeus at Round House Theatre and in the World Premiere of Regina Taylor’s The Trinity River Plays at Dallas Theatre Center and Goodman Theatre. Other credits include Hangar Theatre: Avery in The Piano Lesson; Round House Theatre: Scanlon in One Flew Over the Cuckoo’s Nest; African Continuum Theatre: Odysseus in Hecuba, Walter Lee in A Raisin in the Sun,

Grant in A Lesson Before Dying; Everyman Theatre: Citizen Barlow in Gem of the Ocean, Leland in Blues for an Alabama Sky, Lovborg in Hedda Gabler, Cedric in David Emerson Toney’s The Soul Collector; North Carolina Shakespeare Festival: Egeus/Snout in A Midsummer Night’s Dream; Baltimore’s Arena Players: Malcolm X in The Meeting, Frank in Flyin’ West, and Wendal in Before It Hits Home. Jefferson has performed at several other theaters including Imagination Stage, The Kennedy Center, and Rep Stage. Television credits include HBO’s The Wire and NBC’s Homicide. This fall, he will appear in Round House Theatre’s Fahrenheit 451 as Captain Beatty. Jefferson has a BA in Sociology/Criminal Justice from Hampton University, is a former Baltimore Police Officer and a founding member of GALVANIZE.

DAWN URSULA (Francine/Lena), a Woolly Company Member, has been seen here in Eclipsed, The Unmentionables by Bruce Norris, The Velvet Sky, and Starving. Other credits include Everyman Theatre: Two Rooms, Doubt, Gem of the Ocean, Yellowman, Much Ado About Nothing, and Light up the Sky; The Shakespeare Theatre’s Academy for Classical Acting: ‘Tis Pity She’s a Whore and Much Ado About Nothing; Hangar Theatre’s The Piano Lesson; Baltimore

Shakespeare Festival: Kate in Taming of the Shrew; Rep Stage: Butterfingers Angel…, Anna Lucasta; ACTCo: Joe Turner’s Come and Gone; True Colors Theatre Company: Flyin’ West; and The Kennedy Center: Shear Madness, Mermaids, Monsters…, and Unleashed…. TV credits include HBO’s The Wire and the PBS documentary, Prince Among Slaves. Dawn has received a Helen Hayes Nomination for Clybourne Park, and Baltimore City Paper’s 2008 “Best Actress” Award and 2005 Best Production for Yellowman. Dawn received her BA from UVA, her MFA from The Shakespeare Theatre’s Academy for Classical Acting at George Washington University, and is also a founding member of GALVANIZE.

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HOWARD SHALWITZ (Director, Woolly Mammoth Artistic Director) received a 2011 Helen Hayes Award for his direction of Clybourne Park. For over 30 years he has led Woolly Mammoth on a unique path, focused on new plays that ask provocative questions, introduce fresh voices, and challenge theatrical convention. He has directed nearly thirty Woolly plays including Fever/Dream, Measure for Pleasure, She Stoops to Comedy, and the upcoming Civilization, and appeared as an actor in Full Circle, The Gigli Concert, and Lenny & Lou, to mention just a few. He has directed for many New York and regional companies including Playwrights Horizons, New York Theatre Workshop, Arena Stage, and Milwaukee Repertory Theatre, and has performed with Studio Arena Theater, Soho Rep, New Jersey Shakespeare, and many more. Howard is one of the few artists to receive multiple Helen Hayes nominations as both a director and actor. He was honored as a “Washingtonian of the Year” in 1998, and received the Cultural Alliance Founder’s Award in 2006. A native of Buffalo, he studied philosophy at Wesleyan University and received his Masters in Teaching at Brown University before launching his theatre career in New York in 1975.

JAMES KRONZER (Set Designer) is a veteran designer with Woolly Mammoth and was nominated for a Helen Hayes Award for his design of Clybourne Park this past year. His previous shows here include Maria/Stuart and The Unmentionables (Helen Hayes nomination) among others. Recent shows in the area include The Studio Theatre: The Solid Gold Cadillac; Round House Theatre: Amadeus; Signature Theatre: Art, Sweeney Todd, and Showboat; The Washington Ballet: Cinderella; Shakespeare Theatre Company: The Beaux Stratagem. His regional work has been seen at Arden Theatre Company, The Denver Center for the Performing Arts, Playmakers Repertory Company, The Wilma Theater, Portland Center Stage, and Clarence Brown Theatre. New York credits include Broadway: Glory Days; Primary Stages: Opus; The Zipper Theater: Under the Bridge. His national tours include The Wizard of Oz and he has coordinated scenery for the current tours of Spamalot and Shrek. He has also designed a new musical for Disney called Twice Charmed. His work has been seen on TV for several specials for both Comedy Central and Showtime for comedians such as Whitney Cummings, Tom Papa, Titus, and Nick Cannon. Jim has received the Helen Hayes Award eight times and is also a recipient of two Barrymore Awards in Philadelphia. He is a member of United Scenic Artists. www.JamesKronzer.com

HELEN HUANG (Costume Designer) has designed costumes at Woolly Mammoth for In the Next Room or the vibrator play, Measure for Pleasure, Stunning, The Unmentionables, Current Nobody, Homebody/Kabul, and The Velvet Sky. Her other design credits include work at Guthrie Theater, Children’s Theatre Company, Oregon Shakespeare Festival, Walt Disney Creative Entertainment, and Boston Lyric Opera, among others. Helen has also designed for several DC area theatres, including The Studio Theatre, Arena Stage, Shakespeare Theatre Company, Olney Theatre Center, The Kennedy Center, and Theater of the First Amendment. She is a recipient of a Helen Hayes Award for Outstanding Costume Design and the Ivey Award in Minneapolis. She is a professor in the MFA Costume Design Program in the Department of Theatre at the University of Maryland, College Park.

COLIN K. BILLS (Lighting Designer) is an Associate Artist at Woolly, where he has lit many productions including Bootycandy, Oedipus el Rey, In the Next Room or the vibrator play, House of Gold, Gruesome Playground Injuries, Clybourne Park, Full Circle, Eclipsed, Fever/Dream, Stunning, The Unmentionables, Dead Man’s Cell Phone, and The Clean House. His

designs have been seen at The Berkshire Theater Festival, CENTERSTAGE, Contemporary American Theatre Festival, Didactic Theatre, Everyman Theatre, Forum Theatre, Imagination Stage, Intiman Theatre, The Kennedy Center, Maryland Stage, MetroStage, Olney Theatre Center, Round House Theatre, The Smithsonian Institution, Signature Theatre, The Studio Theatre, Synetic Theater, Theatre of the First Amendment, Theater J, Tsunami Theatre, Vermont’s Northern Stage, the Washington Revels, and The Williamstown Theatre Festival. Mr. Bills has won three Helen Hayes Awards, and been nominated for that award eleven times. He is a 2009 recipient of a Princess Grace Fellowship in Theater, and is a graduate of Dartmouth College.

MATT OTTO (Sound Designer)’s previous work for Woolly Mammoth was The K of D. His recent DC credits are Adventure Theatre: Charlotte’s Web, If You Give a Pig a Pancake, and Go Dog Go; Solas Nua: Johnny Meister and The Stitch (Helen Hayes Award Nomination); Gala Hispanic Theatre: Bola: King of Cuban Song, Momia en el Closet, El Mejor El Rey; Theatre J: The Four of Us, Benedictus; Journeyman’s production of As American As; The American Century Theatre Company: Seascape, Serenading Louie, and Eccentricities of a Nightingale. Other regional credits include World Premieres of Hollow Roots and Hong Kong Dinosaur at the Yale Cabaret. Matt Otto received his BFA in Sound Design from Boston University and is currently pursuing his MFA at the Yale School of Drama. For more of Matt’s work please go to www.mattottosound.com.

WILLIAM E. CRUTTENDEN III (Stage Manager) is thrilled to once again be a part of this terrific show at Woolly Mammoth. His Woolly credits include Bootycandy, Clybourne Park, Full Circle, Boom, Maria/Stuart, Measure for Pleasure, and No Child… among others. His past credits include Off-Broadway: Perfect Harmony; Signature Theatre: And the Curtain Rises, Sunset Boulevard, Chess, I Am My Own Wife; Shakespeare Theatre Company: 2010 Will Awards; West Virginia Public Theatre: Doubt; Olney Theatre Center: Is He Dead?, Bad Dates, Of Mice and Men; and Imagination Stage: Twice Upon a Time.

KRISTIN LEAHEY (Dramaturg) is the Resident Dramaturg at Northlight Theatre and formerly the Literary Manager at Woolly Mammoth Theatre Company in Washington, DC. Some of her recent dramaturgical credits include: Sarah Ruhl’s In the Next Room or the vibrator play, Paula Vogel’s Civil War Christmas, Jon Jory’s Sense and Sensibility, Madeline George’s Precious Little, Tanya Saracho’s El Nogalar, and Danai Gurira’s Eclipsed and The Convert. She has worked on projects produced at Goodman Theatre, The Kennedy Center, Indiana Repertory Theatre, Victory Garden’s Theatre, The Notre Dame Shakespeare Festival, Goodman Theatre, Collaboraction, Teatro Luna, Teatro Vista, Steep Theatre, Eclipse Theatre, and A Red Orchid Theatre. She is a Ph.D candidate at The University of Texas at Austin, where she is a recipient of an Endowed Fellowship. Her publications include articles in Theatre Topics, Theatre History, and Theatre Studies, and she has taught in the theatre department at The University of Texas at Austin and at DePaul University.

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, and lighting designers of this production arerepresented by United Scenic Artists, Local USA-829 of the IATSE.

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BOARD OF DIRECTORSPete Miller,President

Donna AriRichard BuckleyWilliam CaldwellLorraine ChickeringRichard C. DonaldsonLis DriscollJoseph A. Dunne

Linette S. Hwu,Vice PresidentJ. Chris Babb,Vice President

Elizabeth FriedmanWendy W. HagenNancy HartsockJeffrey HerrmannTom LeaheyKaren Lefkowitz

Melissa L. Galetto,SecretaryGerry Widdicombe,Treasurer

Anthony Lupo Catherine MacNeil Hollinger Jeremy RissiScott SchreiberHoward ShalwitzGrant P. ThompsonTheodore H. Walker

ADMINISTRATIVE STAFFManaging Director…Jeffrey HerrmannGeneral Manager…Brian SmithBusiness Manager…Allyson QuiricoDirector of Marketing & Communications… Alli HouseworthSales Manager…Zacory BoatrightPress & Digital Content Manager…Brooke MillerGraphic Design & Web Manager… Kate Ahern LovericDirector of Development… Sarah Slobodien DovereDevelopment Manager, Annual Giving… Rachel DutcherDevelopment Manager, Special Events… Shelley WeberCampaign Associate…Jen Anthony

Connectivity Director…Rachel GrossmanBox Office Manager…Timmy MetznerBox Office Supervisors… Mia Branco, Maura Krause, Bryan Joseph Lee, Ali WaltonPatron Services Reps… Neel McNeill, Cynthia Perdue, Haley Raines, Jason SchlafsteinHouse Managers…Julia Harman Cain, Mary Cat Gill, José NuñezConcessionaires…Caitlin Griffin, Kirsten Hazelrig, Cameron Huppertz, Paul KappelAssistants… Ellys Abrams, Noel Edwards, Melanie Harker, Bridget Miskell, Lia NeitzertPhotographer…Stan BarouhLegal Advisor…Pillsbury Winthrop Shaw Pittman LLP

ACTINg COMPANYDoug Brown, Jessica Frances Dukes, Daniel Escobar, Rick Foucheux, Grover Gardner, Kimberly Gilbert, Mitchell Hébert, Naomi Jacobson, Jason Kravits, Christopher Lane, Namu Lwanga, Sarah Marshall, Jennifer Mendenhall, Bruce Nelson, Kate Eastwood Norris, Nancy Robinette, Rob Leo Roy, Michael Russotto, Rhea Seehorn, Eric Sutton, Dawn Ursula, Michael Willis, Gráinne Cassidy, 1962-97

ARTISTIC/PRODuCTION STAFFArtistic Director…Howard ShalwitzProduction Manager…Taryn StaplesDirector of Artistic Development… Miriam WeisfeldLiterary Manager…John M. BakerTechnical Director…Paul BradleyProperties Master…Jennifer SheetzAssistant Technical Director…Scott Little

Scenic Charge…Jason EdwardsMaster Carpenter…Joel GarciaMaster Electrician…Ann AllanResident Sound Engineer/Sound Board Operator…Alan ChaikinResident Asst. Stage Manager…Jason R. CaballeroAssistants… Becca Dieffenbach, Douglas Eacho, Allison Heiman, Cameron Huppertz

ExpEriEncE thE thEatrE from a wholE nEw

pErspEctivE.

BUY ticKEts now atwoollYmammoth.nEtor call 202-312-5265.

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It takes a team—ranging from the director, to the actors, to the stage manager, to the box office—to bring each production to the stage. The same is true for our family of donors who combine each season to provide nearly $2 million in cash and in-kind gifts. Each one helps to sustain Woolly Mammoth’s mission and ensure the vitality of our artistic and audience connectivity programs. We thank the following contributors, those who made gifts valued at $250 or more between January 1, 2010 and June 27, 2011, for their support. To see our complete roster of supporters, please visit us online at woollymammoth.net.

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ANNuAL FuND CONTRIBuTORS

Woolly Mammoth’s annual fund provides the essential bedrock of support for all our programs and community services. Your generous—and tax-deductible—gift helps us continue producting the most original new plays in America.

The Hasenberg Hartsock Group at Morgan Stanley Smith Barney is proud to support Woolly Mammoth Theatre

John HasenbergSenior Vice PresidentFinancial Advisor

Nancy HartsockFinancial AdvisorFinancial Planning Specialist

© 2011 Morgan Stanley Smith Barney LLC. Member SIPC. NY CS 6424984 SUP020 09/10 GP10-01837P-N08/10

Bravo

A Morgan Stanley Company

1050 Connecticut Ave., NWWashington, DC 20036202-861-5026nancy.a.hartsock@mssb.com www.fa.smithbarney.com/thehasenberghartsockgroup

Robert Shalwtiz &Paula KrasnoffShirley ShalwitzKevin ShanerVictor ShargaiPat Murphy SheehyDavid & Peggy ShiffrinThe Shubert FoundationJonathan Sichel &Charles OutcaltMary Sies & Chris StarkSignature TheatreDavid SilbertMargaret Gooding SilverwoodRozanne & Mark SilverwoodKristy SimmonsMolly & Paul SingerSkadden, Arps, Slate, Meagher & Flom LLP & AffiliatesSlumber Parties, Inc.Corinne SmithDarrell Smith &Tom TurnbullEd & Andy SmithPatricia SmithJanet W. Solinger

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Grant P. & Sharon R. ThompsonTina Palmer StudiosTiny Jewel BoxMichael TonerStephen & Narges TopetzesJennifer TrockThe Troy FoundationMichael Turner & Essie Blankson-TurnerTzell Travel GroupU.S. Chamber of CommerceAdrienne & David UmanskyMarilyn & Roderick UvegesGoodman Van Riper PhotographyJayne VictorLouie VitielloWainger GroupTheodore H. WalkerKarl T. WalliThe Walters Art MuseumWashington Convention & Sports AuthorityWashington Improv

TheatreWashington KastlesWashington Nationals Baseball ClubThe Washington Post CompanyWashington WizardsJody WatleyCaroline WatsonRichard Weibl &Terri NallyNina Weissberg & Stuart MartinWell Dunn CateringTommy & Barbara WellsJoan S. WesselWestport Country PlayhouseMarlene WhiteleyGerry WiddicombeWillard InterContinental HotelDave & Joy WilleyKristin Williams &Howard WeissmanW Frank & Crystal WilliamsMichael & Lori WillisKevin & Maria Wilsey

WisdomBeverly & Christopher WithPaul WolfsonJoan & Ned WoodwardIrene & Alan WurtzelJames YapDebra YogodzinskiDavid & Julie ZalkindJudy & Leo ZicklerMargot & Paul ZimmermanShannon & Kristen ZimmermanDavid Zinn & Ellen HarrisZipcarJonathan Zucker DON’T LET THE WORLD END WITHOUT

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a Bright new BoiseBy Samuel D. Hunter, Directed by John VreekeOctober 10 – November 6

spoiler alert: everyBody diesWritten/Performed by Chicago’s The Second CityDecember 6 – January 8

civilization (all you can eat)By Jason Grote, Directed by Howard ShalwitzFebruary 13 – March 11

arias with a twistCreated by Joey Arias and Basil TwistDirected by Basil TwistApril 4 – May 6

Mr. Burns, a post-electric playBy Anne Washburn, Directed by Steven CossonMusic by J. Michael FriedmanMay 28 – July 1

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