Meet the Artists of THE LADY WITH THE LITTLE DOG: Ed Moser

Quotidian’s PR assistant, Lauren Katz, chats with Ed Moser, Sound and Projections Designer.

What was your first theatrical experience? My first experiences performing were earlier than I can remember, actually. My mother was an award-winning documentarian who, among other things, played Norfolk’s first Romper Room hostess. I was on the show whenever the tv studio needed more kids to go to air. My father was Jackie Gleason’s deck manager in Miami, and I remember the week day rehearsals: a world premiere hour-long musical production for national air on a weekly basis. Since my parents were so active in that community, I saw a great deal of backstage production, from car commercials to puppet theatre.

How did you begin designing in DC? I’d been back to school in an attempt to keep up with youngsters breaking into industrial video and music production. Their fresh certifications with softwares were proving superior to my experience in the job market, so here I was, back at home looking to complete my required internship, when out of the blue an old mutual friend of Tim Thompson’s called me with a sound engineering question. Tim is the sound master at Arena and was then looking for some production help with Señor Discretion Himself. It was lucky timing.

What appeals to you about the DC theatre community? In film, when the project strikes, no one wants to go through that kind of work again anytime soon, so finding steady work with artistic satisfaction has become impossible since the Reagan era. In theatre, we’re nutty enough to move right on the the next show. The scale is small, but the community is large and active enough to keep you busy through the whole year, if you want it bad enough. Very few cities have that.

How did you get involved with The Lady with the Little DogI love working with Quotidian Theatre. It’s that simple; it’s my favorite company. The people here make Emma Peel look incompetent. The secret to the quality of shows you see here is that the artists get to work far in advance. For Lady, we’ve been actively designing since last fall. When you have that much lead time for revisions it pays dividends.

What’s different about this role/project for you? How does this rehearsal process differ from others? Most productions divide and conquer by department, then merge everything in the final week before opening. So the performers usually have weeks to get everything to a certain standard, and memorization, before adding costumes, lights, etc. But for this show, our director, Stephanie, knows that the key to achieving the tone that she’s so good at setting (marked by A Little Trick a couple of years ago) is to integrate early. In particular, the blocking is detailed to word by word, moment by moment, step by step blueprinting that amounts to choreography. Everything about this process has been so much more collaborative.

How has the process been so far? Rewarding. Being a small company in a small venue, our challenge is always to squeeze more than is possible out of our resources— or at least I’m one of those responsible for making sure we do— and on this show we’re really taking a home run swing. We’re adding a multi­-level set and projections, which invariably tax the ingenuity of production teams, but now comes the payoff on the investment, and I can’t wait for opening night. This is a good show.

The Lady with the Little Dog runs July 8 – August 7, 2016 at The Writer’s Center in Bethesda, where QTC is the Resident Theatre Company. Tickets are on sale now


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Meet the Artists of THE LADY WITH THE LITTLE DOG: Ian Blackwell Rogers

Quotidian’s PR assistant, Lauren Katz, chats with Ian Blackwell Rogers, who plays Dmitry Dmitriyevich Gurov. 


Ian Blackwell Rogers

What was your first theatrical experience? Clowning, like literally trying to be a clown, under the awning at an aunt’s wedding, around age 6.

What appeals to you about the DC theatre community? What a great community! I’ve found it tremendously supportive, and friendly, and there’s a lot of spark to come up with good ideas. You work with people, and you want to work with them again, and you probably will. Fortunately, people seem to want to work with me again too!

How did you get involved with The Lady with the Little Dog? Chelsea recommended that I read for this project, and I liked it a lot. I felt it would be a good stretch for me. I could imagine the production, and I wanted to see how it would come together.

What’s different about this role/project for you? How does this rehearsal process differ from others? Well, I’ve been doing a lot of Shakespeare and other early modern verse plays, which demand a more presentational style. Lots of words; gestures and emotions are big; there’s a heightened quality. Here, we’re trying to say a lot while actually uttering a little less, if that makes sense.

What is most exciting about this play? What is most challenging? I think the answer is the same for both of these questions— the precision demanded as we use our words, our movements, our music, and the delicate interactions between people to create this world that we hope will be absolutely realistic, but not rigid in time and place. I love this style of work, but it is demanding!

Why should audiences come to see this play? 
I think there is a unique mood in the words, the Russian setting, and the music. The music! That’s probably the best short answer.

The Lady with the Little Dog runs July 8 – August 7, 2016 at The Writer’s Center in Bethesda, where QTC is the Resident Theatre Company. Tickets are on sale now

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Meet the Artists of THE LADY WITH THE LITTLE DOG: Vanessa Bisbee

Quotidian’s PR assistant, Lauren Katz, chats with choreographer, Vanessa Bisbee.

Headshot V Terzaghi

Vanessa Bisbee

What was your first theatrical experience? I was a “rotten little orphan” in a community theater production of Annie when I was 5, and I started taking ballet classes at 3. I’ve been dancing, choreographing and performing since then.

How did you begin performing/choreographing in DC? I acted in a couple short films and web series shortly after moving to DC. A year after moving to DC, I auditioned for a show at Silver Spring Stage – As Bees in Honey Drown. After that I choreographed several musicals for Kensington Arts Theatre. Since then I’ve choreographed for musicals and straight plays and worked with an educational dance company.
What’s your dream role/project? I’d love to choreograph the musical Contact or to perform in it. Choreographing A Chorus Line and Spring Awakening is also on on my list of dream projects.
What appeals to you about the DC theatre community? It’s a warm and welcoming crowd. I’ve been inspired by artistic collaborations, and I’ve had the chance to see people I’ve worked with go on to perform in New York. There are opportunities to grow professionally and to volunteer to teach young artists. That’s an impressive range of fascinating and fulfilling experiences.
How did you get involved with The Lady with the Little DogSeveral years ago, I choreographed Dancing at Lughnasa for Quotidian. Since then I’ve wanted to work with them again. When Stephanie asked if I would choreograph a waltz number, I was happy to say yes.
How has the process been so far? Relatively quick! Ian and Chelsea learned the dance in one rehearsal. It’s gratifying to work with performers who combine their dancing with strong acting and rich character experience. Ian and Chelsea did that immediately.
What’s different about this role/project for you? How does this rehearsal process differ from others? My last few choreography projects have been dance sequences for straight plays, so this has been similar to other projects.
What is most exciting about this play? What is most challenging? It’s always a challenge to combine dialogue and dance without losing one or the other. But I’m excited about using movement to tell the story of their turbulent affair.
Why should audiences come to see this play? The acting is superb. I’m a fan of Chekov, so I recommend seeing his work whenever possible.
The Lady with the Little Dog runs July 8 – August 7, 2016 at The Writer’s Center in Bethesda, where QTC is the Resident Theatre Company. Tickets are on sale now
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Intimate Theater: What Supporting Quotidian Means

Steve LaRoque in QTC's production of "A Dublin Carol"

Steve LaRoque in QTC’s production of “A Dublin Carol”

by Steve LaRoque, Senior Quotidian Member

A few months ago, I was talking with a long-time Quotidian subscriber (in a situation far removed from any theater) about our then-upcoming production, A Lesson from Aloes. She told me that she had already made her reservation, and that she was looking forward to seeing “intimate theater” again.

Intimate theater. I had never thought about it much, but the Quotidian theater experience does indeed deserve to be called intimate. Our 99-seat performing space at the Writer’s Center brings you close to the play, no matter where your seat is. When I am in the audience, I usually sit no closer than the sixth row – a habit that comes from my days as a director, when I had to be sure that all my actors could make themselves heard. Even up there in the high places, I never feel that I am removed from the play – and, yes, I can hear every word.

But why is this kind of theater particularly desirable? Partly because it’s harder to find. Look almost everywhere, and you see theaters – along with everything else – getting bigger, more grandiose, with legions of lights, huge projections, and turntables that snap characters and sets into place from opposite ends of the stage. All of it clever, but does the wizardry make for a good play? Not necessarily.

In fact, in a lot of ways, low-tech, close-up shows like ours are more demanding, on both sides of the curtain. On the Quotidian stage, the audience can see just about everything, including the tiny details: the framed pictures of prize fighters on the walls of Harry Hope’s bar in The Iceman Cometh; the titles of Tesman’s beloved books on the shelves in Hedda Gabler; the football club banners on the walls of the chipper in This Lime Tree Bower. Heaven help you if you don’t get the details right; somebody will let you know. We make a point of getting them right.

David Dubov in QTC's production of "A Lesson From Aloes"

David Dubov in QTC’s production of “A Lesson From Aloes”

More importantly, an intimate setting helps the audience focus on what we all come to theater for: the characters, the lines, the story. In this respect, I will put Quotidian up against any other theater going. Think of David Dubov, as Piet Bezuidenhout in the opening scene of A Lesson from Aloes, holding an aloe plant in his hand, thumbing through his field- book, and contemplating the astounding possibility that he may have discovered a hitherto unknown species. In a scene like this, the smallest things are important: the turn of the head, a fugitive smile, the light irony in the voice as Piet tries out a Latin name for a hypothetical new species. You can savor every detail, because you are there; you could be a guest in the room. That’s intimate theater.

It’s the kind of theater that we have always tried to offer, and hope to be able to for a long time to come. No surprise, the economics of theater haven’t changed a bit: the ticket sales and subscriptions cover only a fraction of the operating expenses. And we try to keep the expenses about as low as possible. We continue to have zero – zero – full-time paid staff, so that the dollars go overwhelmingly into the productions themselves. Including every donation dollar. We only come to you once a year with our summer fundraising campaign, so please consider making a donation to Quotidian today – and be assured that you will see the results on stage, very close to wherever you happen to be sitting.

Your tax-deductible gift helps QTC give back to the DC-area community, by…

  • Offering free theater tickets to Veterans and their families via VetTix.
  • Providing discounted tickets to students, seniors, and others on fixed incomes.
  • Collaborating with Bethesda-Chevy Chase High School, which has added QTC to its intern program.
  • Hiring established, outside-QTC directors Laura Giannarelli and Stevie Zimmerman.
  • Providing opportunities to rising local talents–director Michael Avolio and actors Sara Dabney Tisdale, Jenny Donovan, Jonathan Feuer, James Flanagan, Carolyn Kashner, David Mavricos, Chelsea Mayo, Zach Roberts, and Chris Stinson.
  • Enlightening patrons with free post-show discussions and dramaturg sessions for subscribers.

DC Theater Scene’s Roy Mauer in his review of The Veil honored QTC with these words about its role in the local theater community, “…distinction is due the modest playhouse on Walsh Street for arranging the U.S. premiere of The Veil right in our own Bethesda. Quotidian has now presented seven of Conor McPherson’s works, including three area premieres, a tremendous credit to the local theater scene.”

For those of you who feel the same, please help us bring affordable, downtown-quality theater to our neighborhood. We are profoundly grateful to ALL of our loyal patrons and donors. We wouldn’t be here without you!

Your tax-deductible investment in the arts also supports your community! Every Gift Makes a Difference!

Donation Levels

  • Major Stakeholder, gift of $5,000 plus
  • Angel, gift of $2,000-$4,999
  • Producer, gift of $1,000-$1,999
  • Director, gift of $500-$999
  • Star, gift of $250-$499
  • Lead Actor, gift of $150-$249
  • Featured Player, gift of $100-$149
  • Supporting Actor, gift of $25-$99

If you are interested in helping produce a show with your gift, for which you’ll be duly recognized in the program, lobby, and QTC’s social media, please contact

QTC is a 501(c)3 Non-Profit Organization. To donate a one-time OR recurring gift on line via PayPal, click on the “Donate” button above, and enter the amount you would like to invest. Checks made out to “Quotidian Theatre Company” may be mailed to QTC’s mailing address: 5705 Brewer House Circle, #202, Rockville, North Bethesda 20852.

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Meet the Artists of THE LADY WITH THE LITTLE DOG: David Dubov

Quotidian’s PR assistant, Lauren Katz, chats with the artists of the production. David Dubov plays Anton Pavlovich, the Narrator.


David Dubov

What was your first theatrical experience? I was a 16-year-old music student at the all-boys’ school in England where I spent my teenage years. The local girls’ school was putting on a production of The Merry Widow by Franz Lehar, and naturally they wanted boys to fill out some of the roles (and the deeper singing parts). Surprisingly, to my delight and horror, I was cast as Count Cascada, who has a solo right at the top of the show – a toast to the arriving widow. I nervously rehearsed my part for six weeks, and when the opening night came, there I was, holding a glass of “champagne” – and trembling so hard, most of it went down my sleeve!

I was hooked, and the last nearly 40 years have been spent regaling people with that story, on stage and off, while still feeling that first thrill every time I step out under the lights.
How did you begin performing in DC? I had taken a hiatus from acting after attempting to pursue my career in Los Angeles (ask me sometime about what you really have to do to get cast in movies), so I was primed to work again. But, it took sitting in the orchestra pit at the Victorian Lyric Opera Company in Rockville in 2008 to rekindle my passion. I’d been asked, ironically, to return to my roots playing the cello with VLOC, and, while watching HMS Pinafore and, later, The Mikado in performance, I thought to myself “I could do that again.” The next show VLOC was Ruddigore and I went for it, despite my continuing lack of singing skills, and the terror of having a solo.
And, it was such fun! Since then, much to my husband’s disappointment, I have never looked back, and have tried to stay busy ever since.
What’s your dream role/project? George in Who’s Afraid of Virginia Woolf. I’ve seen the show many times, the most notable being the recent Steppenwolf production with Tracey Letts as George, and it is the role I was born to play.
What appeals to you about the DC theatre community? There is a sense of intimacy and interconnectedness in DC theater that doesn’t exist anywhere I else, I’ve found. Certainly not in the other cities I’ve been fortunate enough in which to work. Everyone knows everyone else, and there is a great deal of support for ventures both new and tried-and-true. I read somewhere that DC has the second-most active theater scene in the country, after New York, and I believe it. Such energy and vitality! I wouldn’t want to be anywhere else.
How did you get involved with The Lady with the Little Dog?  The director, Stephanie Mumford, offered me the role, and given my history with Quotidian and an innate sense that I should do more Chekhov, I couldn’t refuse!
How has the process been so far? I was coming directly off of QTC’s production of A Lesson From Aloes, so shifting gears from South Africa to Russia has been a challenge. Fortunately, I get to work with some very talented folks, so my transition has been smooth.
What’s different about this role/project for you? How does this rehearsal process differ from others? Being the Narrator, I get to take a 10,000-foot view of the proceedings, while simultaneously portraying a vibrant character in his own right. It’s the genius of the piece, and of our director, that allows that portrayal to unfold. The audience will go into the show thinking one thing about who I am, and, if I do my job right, leave with a completely different impression.

Why should audiences come to see this play? We don’t often get treated to a “new” Chekhov piece. People will get to see how timeless and important his writing is, especially when it is reframed in this manner. The short story form allows for a great deal of latitude in character development in time and space, while the form of a play is more narrow. Stephanie Mumford, in addition to directing the piece, carefully and skillfully made Chekhov’s words on the page come to life in well-drawn characters transcending the limitations of the stage. Everyone who comes to see it is in for a thrilling ride as we take on a complete world!

The Lady with the Little Dog runs July 8 – August 7, 2016 at The Writer’s Center in Bethesda, where QTC is the Resident Theatre Company. Tickets are on sale now

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Meet the Artists of THE LADY WITH THE LITTLE DOG: Don Slater

Quotidian’s PR assistant, Lauren Katz, chats with the artists of the production. Don Slater is QTC’s Resident Lighting Designer.

Don Slater

Don Slater

What was your first theatrical experience? People who know me well will find this hilarious.  I was a dancer (that is not a misprint) in a suburban Philadelphia junior high school performance of The Boy Friend.  I was also on the track team.  About 3 weeks before the opening, I tore a muscle at a track meet, effectively ending my dancing career.  I moved over to the lighting crew and I have been doing stage lighting for the past 50 years.

How did you begin designing in DC? In 1995 I met a couple of people who were involved with the Silver Spring Stage, a community theatre in Four Corners.  I was asked to light a production of Quilters.  After that experience, I became a regular lighting designer at SSS and started lighting for the British Players, another community theatre.  I also met Jack Sbarbori and Stephanie Mumford.  Three years later, I started lighting shows for Jack and Steph and I have been QTC’s Resident Lighting Designer ever since.

What appeals to you about the DC theatre community? The breadth and depth of the DC theatre scene is astonishing.  There are about 80 professional companies of various sizes in the area and over 40 community theatres.  Those numbers alone are amazing, but the fact that there can be so many organizations putting up really good stuff is what makes it so special.

Why did you choose to participate in The Lady with the Little Dog? How has the process been so far? As is usually the case, Steph asked me to light her show.  We sat down to talk about the set and the scenes and the look she wants to create on the stage.  For me, the process is not unlike painting a commissioned portrait.  The set is my canvas and I have a palette of lighting instruments and colors.  The challenge always lies in creating the portrait that is in the director’s mind’s eye.

Why should audiences come to see this play? Folks should see this play for the same reasons they see other QTC shows.  We do attention to detail as well as or better than any other theatre in the area.  It is what makes our productions special.  We have some very talented actors in our shows, but Jack and Steph have a touch that takes it to another level.  We hear many remarks from patrons at the end of a show comparing us to some very prestigious area companies and those remarks are almost universally complimentary.

The Lady with the Little Dog runs July 8 – August 7, 2016 at The Writer’s Center in Bethesda, where QTC is the Resident Theatre Company. Tickets are on sale now


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Meet the Artists of THE LADY WITH THE LITTLE DOG: Chelsea Mayo

Quotidian’s PR assistant, Lauren Katz, chats with the artists of the production. Chelsea Mayo plays Anna Sergeyevna, the lady with the little dog.

Chelsea.Mayo.headshot (1)

Chelsea Mayo

What was your first theatrical experience? The first play I performed in was Stone Soup in 2nd grade. I played a soldier named Charlie. I remember being happy to have lines but disappointed I had to play a boy. My first experiences as an audience member were at Nashville Children’s Theatre, seeing stage adaptations of books I loved – The Little House in the Big Woods, Anne of Green Gables, and The Hobbit.

How did you begin performing in DC? My first job when I moved here was playing Nerissa in The Merchant of Venice at Chesapeake Shakespeare Company. After that show, I did a lot of Shakespeare and other classics. The Lady with the Little Dog is the first time I’ve been involved in creating and premiering a new adaptation of a classic story.

How did you get involved with The Lady with the Little DogI was in QTC’s production of Conor McPherson’s The Veil with director Stephanie Mumford two years ago. Early last year, she told me about her idea to adapt this story for the stage and asked if I’d be interested in playing Anna.

What’s different about this project for you? Aside from the above, this project relies much more on movement to tell the story than the language-heavy plays I’ve mostly worked on in the past.

How is this role different for you? I’m still figuring that one out. Anna can be naive at times and very wise at others. Her story is about balancing what we want or dream of for ourselves with what other people expect of us, and what to do when nothing turns out how we expect it will.

Why should audiences come to see this play? I think Lady is going to be true to what audiences love about QTC’s productions, but it also tries something new. QTC strives to give audiences the impression that they’re looking over a fence or through a window into the characters’ lives; Lady retains that intimacy, but there are also elements in the design, interplay between the performers, and the writing itself that are very theatrical and surprising. I hope audiences will find it refreshing.

The Lady with the Little Dog runs July 8 – August 7, 2016 at The Writer’s Center in Bethesda, where QTC is the Resident Theatre Company. Tickets are on sale now

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Falling in Love with Chekhov

by QTC co-founder Stephanie Mumford

Stephanie Mumford

Stephanie Mumford

As a member of the University of Minnesota MFA Acting program long, long ago, I was required to take a class outside the theater curriculum. Having already become a fan of Russian playwright Anton Chekhov in college, where I directed his farce, The Bear, I elected to take a class on Chekhov’s short stories. After reading our first assignment, “Late Blooming Flowers,” one of Chekhov’s earliest works, I was hooked. The heartbreak of zero endings brought on by inertia, inaction, and miscommunication struck me as so true-to-life. At the same time, I was charmed and amused by his spot-on characterizations of human foibles and depiction of ironic behaviors. While it is difficult to choose favorites from Chekhov’s vast collection of delightful and insightful short works, three of them—”A Little Trick,””Verochka,” and “The Lady with the Little Dog”– struck me as thematically related and I have long wanted to adapt them to the stage. But how?

Having successfully tackled “A Little Trick” with the exceptional talents of Michele Osherow and Doug Prouty, in a first rendition, and subsequently at QTC with Sara Dabney Tisdale and Jonathan Feuer as the would-be lovers sledding down an icy hill, I decided to undertake the more complicated of the three stories, “The Lady with the Little Dog.”

Problem #1 – dealing with the narration. Since “A Little Trick” was only a few pages long, I decided the best way to stay true to Chekhov’s intent was to simply modify the narration into a long monologue for the central male character. That approach would not be possible, nor interesting to an audience, with the much longer “The Lady with the Little Dog.” Therefore, I decided to divide the lines between a Chekhov-like narrator and his creation, Dmitry Dmitriyevich Gurov, to explore their relationship and make it more active, but without inserting any– well not much– dialogue of my own. (Additional dialogue inserted in the adaptation was taken from Chekhov’s short story “About Love,” his play Three Sisters, and Tolstoy’s novel Anna Karenina.)

Portrait of the artist Ivan Aivazovsky (1817-1900), 1889. Artist: Anonymous

Portrait of the artist Ivan Aivazovsky (1817-1900), 1889. Artist: Anonymous

Problem #2 – multiple settings in Yalta, Moscow, and Saratov. My initial idea for the set was simply a long curved platform with just a few pieces of furniture. The audience would fill in the rest with their imaginations. Then I thought that a few projected images taken from classic Russian art would go a long way to help set the scene. Fortunately, the prolific seascape painter Aivazovsky (left) provided me with a myriad of options for depicting the lavender moonlit Black Sea noted in the story, as well as a transcendent sunrise over Oreanda. To represent Moscow, I found old (public domain) Russian footage of a snow-covered Petrovka Street– the very street mentioned by Gurov in the story.

Problem #3 – casting multiple incidental roles. Since I knew it would be a challenge to find and integrate all the actors needed to portray the numerous minor roles in the story, I decided to have the narrator and musicians assume these characters when needed. The mutability of the set and characters give the production a dreamlike impression, which is the goal. At this point, we are only into our third week of rehearsals, but what were once concepts are beginning to take shape into a moving and delightful story.

The Lady with the Little Dog runs July 8 – August 7, 2016 at The Writer’s Center in Bethesda, where QTC is the Resident Theatre Company. Tickets are on sale now

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Announcing Quotidian’s 2016-17 Season!

QTC’s 2016-17 Season of 3 Plays Comprises…

13221722_1148066648547609_1983080169193235724_nConor McPherson’s THE NIGHT ALIVE
21 October – 20 November 2016

“Something bright and beautiful pulses in the shadows of The Night Alive,” wrote New York Times reviewer Ben Brantley about McPherson’s most recent play, winner of the New York Drama Critics Circle Award. Brantley praised McPherson’s “singular gift for making the ordinary glow with an extra dimension, like a gentle phosphorescence waiting to be coaxed into radiance.” The often dark, at times violent, drama about the relationship among five highly imperfect people is also infused with black comedy as these sad souls fumble in the darkness toward the light. Directed by Jack Sbarbori and featuring David Dubov, David Mavricos, Chelsea Mayo, Joe Palka, and Matthew Vaky.

13248511_1148065925214348_1797984930077769523_oJohn Patrick Shanley’s DOUBT: A PARABLE
7 April – 7 May 2017

This Pulitzer Prize and Tony Award-winning drama, set in 1964, pits Catholic school principal Sister Aloysius against the new, charismatic priest, Father Flynn, when his relationship with the school’s first African American student is perceived to be suspicious. Armed with only her moral certitude, Sister Aloysius sets off on a personal crusade to unearth the truth. Directed by Stevie Zimmerman and featuring Chelsea Mayo and Stephanie Mumford.

14 July13 August 2017

Quotidian life assumes Biblical proportions in this devastating family drama by Pulitzer Prize and Academy Award-winning playwright/sceenwriter Horton Foote. In 1935 Harrison, Texas, Leonard Tolliver’s successful life is dismantled to the point where he realizes the axioms by which he lives are false. Directed by Jack Sbarbori and featuring QTC favorites and talented newcomers.

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Working on a Dream Project

by Addison Switzer


Addison Switzer (Steve)

I’ve always wanted to do an Athol Fugard play. I’m interested in the fact that his characters are often in the most extreme of circumstances–circumstances that test their humanity and their very spirit. Fugard uses the system of apartheid as a powerful antagonist, with the characters being the protagonists. Many things are sacrificed in the struggle–love, friendship and trust are replaced by anger, doubt and mistrust.

In preparing to rehearse A Lesson From Aloes, I knew I needed to do some research. We gathered as a very caring cast and director and watched documentaries, listened to audio clips and had group discussions to try to really understand each of our individual situations as well as that of the group. I thought I already knew a lot about Fugard’s work and South Africa at that time, but the research really opened my eyes. As much as I’d read about and heard about the atrocities, there’s nothing like seeing them to give them depth and to gain an understanding of what a character is thinking or feeling at a given time. I’m so glad to be able to cross one of the plays off my wish list in doing this show, and I’m really glad to be doing it with such a great group of people.

A LESSON FROM ALOES April 29 – May 29, 2016 at The Writer’s Center in Bethesda, where Quotidian is the Resident Theatre Company.  Tickets
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