Watch on the Rhine
By Lillian Hellman
Directed by Lisa Peterson
Co-production with the Guthrie Theater
Main Season · Roda Theatre
November 30, 2017–January 14, 2018
Running time: 2 hours and 15 minutes, plus one 15-minute intermission and a 5-minute pause
It’s 1940—and Fanny Farrelly, a wealthy matriarch living in Washington, DC, is about to learn it’s no longer the world she once knew. After spending 20 years abroad, Fanny’s daughter arrives home with her German husband, Kurt, an anti-fascist activist. When a houseguest and Nazi sympathizer threatens to turn Kurt in, the family discovers how far they’ll go to fight for what they believe—and for each other. Written in 1941 by activist playwright Lillian Hellman, Watch on the Rhine is a timely examination of moral obligation, sacrifice, and what it means to be American.
Watch on the Rhine includes the minor use of an e-cigarette and an e-pipe, and also includes a recorded gunshot effect. Berkeley Rep offers an advisory about any stage effect of potential concern to patrons’ health. We don’t offer advisories about subject matter, as sensitivities vary from person to person. If you have any concerns about content, please contact the box office.
Current ticket prices
Premium: $67–97 · Section A: $57–81 · Section B: $45–65
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Prices are subject to change at any time. Generally, your best bet is to buy early. Weeknight tickets tend to cost less than weekends. For the consistently lowest prices, see any three or more subscription plays.
Lisa Peterson · Director
Lisa is a two-time Obie Award-winning writer and director whose previous projects at Berkeley Rep include It Can’t Happen Here (2016); The Madwoman in the Volvo (2016); An Iliad (2012), which Lisa co-wrote with Denis O’Hare and which won Obie and Lortel Awards for Best Solo Performance; Mother Courage (2006); The Fall (2001); and Antony & Cleopatra (1999). Other recent West Coast productions include You Never Can Tell (California Shakespeare Theater), Hamlet (Oregon Shakespeare Festival), and Chavez Ravine (Ovation Award for Best Production—Center Theatre Group). She has directed world premieres by many major American writers, including Tony Kushner, Beth Henley, Donald Margulies, José Rivera, David Henry Hwang, Luis Alfaro, Marlane Meyer, Naomi Wallace, Basil Kreimendahl, and many others. She regularly works at the Guthrie Theater, Actors Theatre of Louisville, the Mark Taper Forum, La Jolla Playhouse, Seattle Repertory Theatre, Arena Stage, and New York Theatre Workshop. Lisa and Denis are working on a new play about faith called The Good Book and a commission for McCarter Theatre Center titled The Song of Rome. Lisa is also writing a new music-theatre piece with Todd Almond called The Idea of Order, co-commissioned by La Jolla Playhouse, Berkeley Rep, and Seattle Rep.
Neil Patel · Scenic Design
Neil’s Berkeley Rep credits include Our Town, Ghosts, and Nocturne. His recent designs include Time and the Conways (Roundabout Theatre Company), Father Comes Home from the Wars (Parts 1, 2 & 3) (Royal Court, London), Mughal-E-Azam (National Centre for the Performing Arts, Mumbai), Born for This (the Broad Stage), The Crucible (the Glimmerglass Festival), Mr Burns: a post-electric play and Stage Kiss (Playwrights Horizons), and Norma (LA Opera). His film and television credits include Some Velvet Morning (TrBeCa Films), The Path (Hulu), In Treatment (HBO), and Little Boxes (Netflix). Neil created exhibition designs for Space Force Construction for VAC Foundation, Venice.
Raquel Barreto · Costume Design
Raquel was the costume designer for Roe at Berkeley Rep (also Oregon Shakespeare Festival and Arena Stage). Her other credits include Pericles (the Guthrie Theater); The River Bride, Pericles, The Happiest Song Plays Last, and Water by the Spoonful (Oregon Shakespeare Festival); Lady Day at Emerson’s Bar and Grill (Actors Theatre of Louisville); and The Glass Menagerie, The Triumph of Love, Romeo and Juliet, Uncle Vanya, and Pericles (California Shakespeare Theater), as well as productions at Arena Stage, Syracuse Stage, Folger Theatre, San Jose Repertory Theatre, Cornerstone Theater Company, Latino Theater Company, the Magic Theatre, Campo Santo, and the Cutting Ball Theater. She has also designed for OperaUCLA, San Francisco Lyric Opera, the Joyce Theater, Los Angeles Philharmonic, Walt Disney Concert Hall, Jacob’s Pillow, and the Broad Stage. Raquel is on the costume design faculty at the UCLA School of Theater, Film and Television and received an MFA from the University of California, San Diego.
Alexander V. Nichols · Lighting Design
Alex has designed more than 30 productions for Berkeley Rep. His Broadway credits include Wishful Drinking, Hugh Jackman—Back On Broadway, and Nice Work If You Can Get It. His off-Broadway productions include In Masks Outrageous and Austere, Los Big Names, Horizon, Bridge & Tunnel, Taking Over, Through the Night, and In the Wake. Alex has worked at regional theatres throughout the country, including American Conservatory Theater, Mark Taper Forum, National Theatre of Taiwan, Oregon Shakespeare Festival, and La Jolla Playhouse, among others. His dance credits include resident designer for Pennsylvania Ballet, Hartford Ballet, and American Repertory Ballet; lighting supervisor for American Ballet Theatre; and resident visual designer for the Margaret Jenkins Dance Company since 1989. His designs are in the permanent repertory of San Francisco Ballet, Boston Ballet, Alvin Ailey American Dance Theater, Hubbard Street Dance, Hong Kong Ballet, Singapore Dance Theatre, ODC/SF, and the Royal Winnipeg Ballet. Alex’s other projects include the museum installation Circle of Memory, a collaboration with Eleanor Coppola, presented in Stockholm, Sweden, and the video and visual design for Life: A Journey Through Time, a collaboration with Frans Lanting and Philip Glass, presented at the Concertgebouw, Amsterdam.
Paul James Prendergast · Sound Design / Composition
Paul was the composer and sound designer for It Can’t Happen Here and Roe at Berkeley Rep. His Broadway credits include All the Way. His regional credits include the Guthrie Theater, Oregon Shakespeare Festival (25 productions), Seattle Repertory Theatre, the Mark Taper Forum, South Coast Repertory, American Repertory Theater, PlayMakers Repertory Company, Hartford Stage, Great Lakes Theater Festival, Geffen Playhouse, Long Wharf Theatre, California Shakespeare Theater, Idaho Shakespeare Festival, Utah Shakespeare Festival, the Kennedy Center, Alley Theatre, La Jolla Playhouse, and American Conservatory Theater. He has also designed for theme parks, including Universal Studios, Disney, and Knott’s Berry Farm, and museums, including J. Paul Getty, Geffen Contemporary, and Autry Museum of Western Heritage. His dance credits include Diavolo Dance Theater, Momix, and Parsons Dance. Paul’s work as a singer/songwriter has appeared in films, on recordings, and in music venues nationwide.
Aaron Preusse · Fight Director
Aaron’s credits include The Parchman Hour, The Royal Family, The Bluest Eye, Refugia, and Native Gardens at the Guthrie Theater; The Pirates of Penzance and Jesus Christ Superstar at the Ordway; Carmen at the Minnesota Opera; The Three Musketeers at Commonweal Theatre Company; Buried Child and Time to Burn at Red Bird Theatre; The Three Musketeers at Theatre in the Round; The Illusion and Henry V at Theatre Pro Rata; Carmen at Skylark Opera; Human Combat Chess (six seasons) at Six Elements Theatre Company; Peter Pan at the Phipps Center; and Leading Ladies at Lyric Arts of Anoka. Aaron trained at the Dell’Arte International School of Physical Theatre and the London Academy of Music and Dramatic Art, and is a member of the Society of American Fight Directors.
Jo Holcomb · Dramaturg
Jo worked on more than 60 productions at the Guthrie Theater since 1996, including Native Gardens, Refugia, The Bluest Eye, The Parchman Hour, South Pacific, Trouble in Mind, Critic/Hound, The Music Man, Juno and the Paycock, The Crucible, A Christmas Carol, My Fair Lady, Crimes of the Heart, Freud’s Last Session, Uncle Vanya, Other Desert Cities, Tales from Hollywood, The Burial at Thebes, God of Carnage, M. Butterfly, Faith Healer, The Intelligent Homosexual…, Caroline, or Change, Shadowlands, The Glass Menagerie, and Six Degrees of Separation. She is a librarian/literary specialist and teaches at the University of Minnesota/Guthrie Theater BFA Actor Training Program. Jo received her MS from University of Kentucky and MA from Athenaeum of Ohio.
McCorkle Casting, Ltd./Pat McCorkle · Casting
McCorkle Casting, Ltd./Pat McCorkle is the casting consultant for the Guthrie Theater’s 2017–18 season, and has cast more than 50 productions there since 1998. Broadway credits include End of the Rainbow, The Lieutenant of Inishmore, The Glass Menagerie, Cat on a Hot Tin Roof, One Flew Over the Cuckoo’s Nest, The Ride Down Mt. Morgan, Amadeus, She Loves Me, Blood Brothers, and A Few Good Men. Off-Broadway credits include Tribes, Our Town, Almost, Maine, Ears on a Beatle, Down the Garden Paths, Killer Joe, Mrs. Klein, and Driving Miss Daisy. Film and television credits include Premium Rush, Ghost Town, Secret Window, Tony ’n’ Tina’s Wedding, Basic, The Thomas Crown Affair, The 13th Warrior, Madeline, Die Hard with a Vengeance, School Ties, Sesame Street, Californication (Emmy nomination), Max Bickford, Strangers with Candy, Barbershop, and Chappelle’s Show.
Amy Potozkin, CSA · Casting
This is Amy’s 28th season at Berkeley Rep. Through the years she has also had the pleasure of casting plays for ACT (Seattle), Arizona Theatre Company, Aurora Theatre Company, B Street Theatre, Bay Area Playwrights Festival, Dallas Theater Center, Marin Theatre Company, the Marsh, San Jose Repertory Theatre, Social Impact Productions Inc., and Traveling Jewish Theatre. Amy cast roles for various independent films, including Conceiving Ada, starring Tilda Swinton; Haiku Tunnel and Love & Taxes, both by Josh Kornbluth; and Beyond Redemption by Britta Sjogren. Amy received her MFA from Brandeis University, where she was also an artist in residence. She has been an audition coach to hundreds of actors and a presentation/communication coach to many businesspeople. Amy taught acting at Mills College and audition technique at Berkeley Rep’s School of Theatre, and has led workshops at numerous other venues in the Bay Area. Prior to working at Berkeley Rep, she was an intern at Playwrights Horizons in New York. Amy is a member of CSA, the Casting Society of America, and was nominated for Artios Awards for Excellence in Casting for The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures and One Man, Two Guvnors.
Jennifer Liestman · Casting
Jennifer has been on the artistic staff at the Guthrie Theater for the past 15 years and is in her third season as the artistic associate/resident casting director. In addition to her casting work, she also enjoys speaking with the students with the Guthrie/University of Minnesota training program as well as teaching auditioning master classes to students across the country.
Kathy Rose* · Stage Manager
Kathy last worked with Berkeley Rep as stage manager for John Leguizamo’s Latin History for Morons, and she also stage managed How to Write a New Book for the Bible. She has produced or stage managed for organizations such as the Santa Fe Opera, Teatro Zinzanni, Yerba Buena Center for the Arts, ODC Dance, the SF Jazz Center, Opera Paralléle, Post: Ballet, and Cal Performances. Kathy has worked with a wide variety of artists, most notably Joan Baez, Anna Deavere Smith, Lars Ulrich, and Meredith Monk. Kathy is a proud member of both Actors’ Equity Association (AEA) and the American Guild of Musical Artists (AGMA).
The Guthrie Theater
The Guthrie Theater (Joseph Haj, Artistic Director) was founded by Sir Tyrone Guthrie in 1963 and is an American center for theater performance, production, education and professional training, dedicated to producing the great works of dramatic literature and to cultivating the next generation of theater artists. Under Haj’s leadership, the Guthrie produces a mix of classic and contemporary plays on three stages, and continues to set a national standard for excellence in theatrical production and performance. In 2006, the Guthrie opened its new home on the banks of the Mississippi River in Minneapolis. Designed by Pritzker Prize-winning architect Jean Nouvel, the Guthrie Theater houses three state-of-the-art stages, production facilities, classrooms, full-service restaurants and dramatic public lobbies. Please visit guthrietheater.org.
Jessica Berman · Dialect Coach
Dave Maier · Fight Consultant
James McGregor · Production Assistant
Victoria Northridge · Studio Teacher
Sarah Agnew* · Sara Muller
Sarah appeared at Berkeley Rep in Roe (also Oregon Shakespeare Festival and Arena Stage), as well as in Theatre de la Jeune Lune’s Don Juan Giovanni, The Green Bird, and The Miser. Regional credits include Richard III and Dead Man’s Cell Phone (OSF), Hamlet (New Victory Theater), Twelfth Night (Shakespeare Theatre Company), The Servant of Two Masters (Yale Repertory Theatre), Sarah Ruhl’s Three Sisters and Behind the Eye (Cincinnati Playhouse in the Park), The Syringa Tree (Jungle Theater), and Time Stands Still, The 39 Steps, Dollhouse, Major Barbara, Home Place, The Secret Fall of Constance Wilde, and As You Like It (the Guthrie Theater), and The Miser and Amerika (American Repertory Theatre). Film/TV credits include Lady Dynamite, Detective Fiction, and Older Than America. Sarah is a 2012 McKnight Theater Fellow and received the Cincinnati Acclaim Award and Princess Grace Honorarium.
Elijah Alexander* · Kurt Muller
Elijah last appeared at Berkeley Rep in Much Ado About Nothing. He has been seen on Broadway in Metamorphoses and off Broadway in Shopping and Fucking (New York Theatre Workshop). Other New York credits include Throne of Blood at Brooklyn Academy of Music. He has performed with the Royal Shakespeare Company in Tantalus. Elijah’s regional credits include Fingersmith, Hamlet, Pride and Prejudice, and Henry VIII (Oregon Shakespeare Festival); Richard III, Julius Caesar, Gaslight, Midsummer Night’s Dream, and Art (Utah Shakespeare Festival); Man and Superman, Restoration Comedy, and An Ideal Husband (California Shakespeare Theater); Disgraced (Arizona Theatre Company); and The Invisible Hand (Gregory Award, A Contemporary Theatre, Seattle). His film and television credits include Mr. & Mrs. Smith, Amazing Love, Touch, Awake, JAG, and Summerland. Elijah received an MFA from the Yale School of Drama. Please visit elijahalexander.net.
Emma Curtin · Babette Muller
Emma is thrilled to be making her debut at Berkeley Rep. Previous mainstage credits include Tarzan, Billy Elliot (Debbie), Fiddler on the Roof (Bielke), Mary Poppins, Shrek the Musical (Young Fiona), The Music Man, A Little Princess, and The Sound of Music (Gretl) at Berkeley Playhouse; Wait Until Dark (Gloria) and A Christmas Carol (Helen/Fan/Belinda) at Chanticleers; Oklahoma! (Virginia/featured dancer) and Our Town (Rebecca) at Altarena Playhouse; and Beauty and the Beast at Woodminster Summer Musicals. Emma attends Oakland School for the Arts (vocal emphasis) and does additional vocal training with Erica D’Ambrosio. She studies ballet, tap, hip-hop, lyrical, and jazz with Dance10 and Irish step dance with Annie McBride.
James Detmar* · Joseph
James is making his Berkeley Rep debut. He has performed around the country in West Side Story, White Christmas, and Sound of Music at Ordway Center for the Performing Arts; Cabaret and Spring Awakening at Theater Latté Da; Fly by Night at Jungle Theater; Lombardi and The Highwaymen at History Theatre; Annie, Mid-Life: The Crisis Musical, and Beauty and the Beast at Chanhassen Dinner Theatres; Dirty Rotten Scoundrels at Old Log Theatre; and Glengarry Glen Ross at the Torch Theatre. James’ film and television credits include Thin Ice, Hap and Ashley, Factotum, Public Domain, Best Man Down, Ghost Light, From the Earth to the Moon, Carousel of Revenge, America’s Most Wanted, Santa Barbara, Clarissa Explains It All to You, Superboy, and Hi Honey, I’m Home!
Kate Guentzel* · Marthe
Kate is making her Berkeley Rep debut. She has appeared at the Guthrie Theater in The Master Butchers Singing Club and M. Butterfly, Jungle Theater in The Heiress and The Birthday Party, Park Square Theatre in School for Lies, Penumbra Theatre in Dutchman, Pillsbury House Theatre in The Children, and Illusion Theater in My Antonia. Her other theatre credits include Frank Theatre, TigerLion Arts, Gremlin Theatre, Pangea World Theater, Sandbox Theatre, and Four Humors Theater. She received an Ivey Award for the role of Antonia in Illusion Theater’s My Antonia, and was Star Tribune’s Best Actress 2016. Kate trained at University of Minnesota, Twin Cities.
Jonah Horowitz · Bodo Muller
Jonah is honored to be making his debut with Berkeley Rep. Favorite credits include Simon in 13 The Musical, Geppetto in Pinocchio, and Joseph and the Amazing Technicolor Dreamcoat (CMT San Jose) and Small Boy in Billy Elliot (Berkeley Playhouse). He has also participated in conservatory programs at American Conservatory Theater and the Berkeley Rep School of Theatre. This spring he is looking forward to playing the title role in James and the Giant Peach at Berkeley Playhouse. Jonah lives in Berkeley and is in the 6th grade at King Middle School. He enjoys making movies and building sets for his backyard theatre company.
Hugh Kennedy* · David Farrelly
Hugh is making his Berkeley Rep debut. He has appeared at the Guthrie Theater in Tribes, Othello, Pride and Prejudice, The Primrose Path, Arsenic and Old Lace, The Two Gentlemen of Verona, A View from the Bridge, The Government Inspector, A Midsummer Night’s Dream, Be Here Now, and A Christmas Carol. He also appeared in Hamlet at Jungle Theater and in Anthony Tassa’s Macbeth Arabia in Dubai, UAE. His other theatre credits include the Public Theater, the Moving Company, Philadelphia Theatre Company, Eugene O’Neill Theater Center, New York Theatre Workshop, TheatreSquared, Arkansas Repertory Theatre, the Acting Company, and Pillsbury House Theatre. His film credits include Suburbicon, The Goodbye, and Hope. Hugh received the 2012 Ivey Award for Buzzer and was a Presidential Scholar of the Arts. He received a BFA from University of Minnesota Actor Training Program and is a national reviewer for the YoungArts Organization in Miami, Florida.
Leontyne Mbele-Mbong* · Anise
Leontyne is making her Berkeley Rep debut. She has appeared at Aurora Theatre Company in Temple and Breakfast with Mugabe; the San Francisco Shakespeare Festival in Hamlet; African-American Shakespeare Company in Antony and Cleopatra, Medea, Much Ado About Nothing, Merry Wives of Windsor, and A Raisin in the Sun; Stanford Rep in Slaughter City; Shotgun Players in Top Girls; Aluminous Collective in The Last Days of Judas Iscariot; Role Players Ensemble in Good People; Altarena Playhouse in Fences and Sylvia; Central Works in Andromache; Woman’s Will in Richard III, Twelfth Night, and Macbeth; Solano College Theatre in Intimate Apparel; TheatreFirst in World Music and Map of the World; and Lamplighters Music Theater in Show Boat and Candide. Leontyne received a Theatre Bay Area Award for Outstanding Performance Female Principal for Medea. She received a BA from Macalester College. Please visit leontynembele-mbong.com.
Caitlin O’Connell* · Fanny Farrelly
Caitlin is making her Berkeley Rep debut. She has appeared on Broadway in The Crucible, Mothers and Sons, The Heiress, and 33 Variations. She has appeared at the Guthrie Theater in Watch on the Rhine, Mrs. Warren’s Profession, and Playboy of the Western World. Her off-Broadway credits include Ugly Lies the Bone (Roundabout Theatre Company), All’s Well That Ends Well (New York Shakespeare Festival/the Public Theater), The Killing of Sister George (the Actors Theatre Company), Stuff Happens (the Public), Third (Lincoln Center Theater), Boy (Primary Stages), and Baby Screams Miracle (Clubbed Thumb). She has also appeared at Williamstown Theater Festival in Pygmalion; South Coast Repertory in Habeus Corpus; Shakespeare Theatre Company in Much Ado About Nothing, Twelfth Night, and Merry Wives of Windsor; Center Stage in The Matchmaker, Winter’s Tale, and Othello; the Old Globe in Julius Caesar; Denver Center Theatre Company in Third, The Clean House, Dinner with Friends, and The Little Foxes; and Actors Theatre of Louisville/Cincinnati Playhouse in Doubt. Her film and television credits include Oppenheimer Strategies, The Automatic Hate, The Stepchild, Unforgettable, Whoopi, and Homicide. Caitlin is a recipient of a Fox Foundation Grant.
Silas Sellnow · Joshua Muller
Silas is making his Berkeley Rep debut. His theatre credits include Peter and the Starcatcher at Theater Latté Da; Richard III, Comedy of Errors, As You Like It, and Julius Caesar at Great River Shakespeare Festival; While You Were Out at Red Eye Theatre; and The Snow Queen at Park Square Theatre. Silas received a BFA from University of Minnesota/Guthrie Theater Actor Training Program.
Jonathan Walker* · Teck De Brancovis
Jonathan is making his Berkeley Rep debut. He has appeared on Broadway in The Assembled Parties, 20th Century, After the Fall, and Rocky. His off-Broadway credits include world premieres by Richard Greenberg, Donald Margulies, Wendy MacLeod, Doug Wright, James Lapine, Peter Parnell, and Charles Busch at MCC Theater, the Public Theater, Playwrights Horizons, Primary Stages, Roundabout Theatre Company, Manhattan Theatre Club, Cherry Lane Theatre, and the New Group. He appeared in the films The Chaperone, Bridge of Spies, It Had to Be You, Man on a Ledge, Michael Clayton, People I Know, Heights, and Far from Heaven. Jonathan’s television credits include Madam Secretary, Quantico, Person of Interest, Elementary, The Good Wife, The Big C, Sex and the City, Chappelle’s Show, Law & Order, Zero Hour, The Carrie Diaries, and Daredevil.
* Indicates a member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
Gripping…Lisa Peterson’s potent staging of the play…amplifies its unsettling echoes with the here and now…Suspense fuels the stylish period piece, a thrilling cross between a political parable and a drawing-room farce…A mesmerizing [Elijah] Alexander burns with the gravity of Kurt’s mission, his unyielding fight to free the world of fascism. His eventual explosion is one of the play’s finest moments.”
Mercury News / Bay Area News Group
Visually stunning…A captivating look at how individuals come into activism.”
A thunderclap of a play…will have no trouble capturing the attention of a modern audience.”
It was an intense experience, and left me with tears in my eyes.”
This production is so compelling, so brisk in its pace, so beautifully performed and elegantly staged that it deserves your attention even if its underlying message wasn’t so vitally important.”
A clarion call for moral clarity…They say that history repeats itself—first as tragedy, then as farce. We can’t be sure about how to describe the current political moment. But Watch on the Rhine…in Lisa Peterson’s stately and absorbing production…suggests that it could be both at once…The stately Farrelly household, a metaphor for a nation of people from different parts of the world, is fractured by external forces pressing on it. People must decide whether to fight for what is right or acquiesce to what is expedient…For a work with such charged politics, it’s not ham-fisted or heavy-handed. In fact, it feels like a very human story with some unusual characters…This Watch, with its impulse for moral clarity, calls out to audiences and artists today.”
Official trailer: Watch on the Rhine
See why audiences call Lillian Hellman’s classic play “suspenseful” and “thrilling!”
Lisa Peterson on Lillian Hellman
Director Lisa Peterson shares why Watch on the Rhine playwright Lillian Hellman was such an influential public figure and writer.
Behind the scenes: Lisa Peterson
The director of Lillian Hellman’s Watch on the Rhine reveals more about this classic political thriller.
Introducing Watch on the Rhine
Lillian Hellman’s classic political thriller.
Photos courtesy of Kevin Berne/Berkeley Repertory Theatre
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- Friday, December 1, 2017
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- Thursday, December 7, 2017
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