Mar 282016

IntrnationalTheaterWorld Theatre Day Message 2016 by Anatoli Vassiliev

Do we need theatre?

That is the question thousands of professionals disappointed in theatre and millions of

people who are tired of it are asking themselves.

What do we need it for?

In those years when the scene is so insignificant in comparison with the city squares and

state lands, where the authentic tragedies of real life are being played.

What is it to us?

Gold-plated galleries and balconies in the theatre halls, velvet armchairs, dirty stage wings,

well-polished actors’ voices, – or vice versa, something that might look apparently different:

black boxes, stained with mud and blood, with a bunch of rabid naked bodies inside.

What is it able to tell us?


Theatre can tell us everything.

How the gods dwell in heaven, and how prisoners languish in forgotten caves underground,

and how passion can elevate us, and how love can ruin, and how no-one needs a good

person in this world, and how deception reigns, and how people live in apartments, while

children wither in refugee camps, and how they all have to return back to the desert, and how

day after day we are forced to part with our beloveds, – theatre can tell everything.

The theatre has always been and it will remain forever.

. / .

And now, in those last fifty or seventy years, it is particularly necessary. Because if you take a

look at all the public arts, you can immediately see that only theatre is giving us – a word from

1 / 2

mouth to mouth, a glance from eye to eye, a gesture from hand to hand, and from body to

body. It does not need any intermediary to work among human beings – it constitutes the

most transparent side of light, it does not belong to either south, or north, or east, or west -

oh no, it is the essence of light itself, shining from all four corners of the world, immediately

recognizable by any person, whether hostile or friendly towards it.

And we need theatre that always remains different, we need theatre of many different kinds.

Still, I think that among all possible forms and shapes of theatre its archaic forms will now

prove to be mostly in demand. Theatre of ritual forms should not be artificially opposed to

that of “civilized” nations. Secular culture is now being more and more emasculated, so-called

“cultural information” gradually replaces and pushes out simple entities, as well as our

hope of eventually meeting them one day.

But I can see it clearly now: theatre is opening its doors widely. Free admission for all and


To hell with gadgets and computers – just go to the theatre, occupy whole rows in the stalls

and in the galleries, listen to the word and look at living images! – it is theatre in front of you,

do not neglect it and do not miss a chance to participate in it – perhaps the most precious

chance we share in our vain and hurried lives.

We need every kind of theatre.

There is only one theatre which is surely not needed by anyone – I mean a theatre of political

games, a theatre of a political “mousetraps”, a theatre of politicians, a futile theatre of politics.

What we certainly do not need is a theatre of daily terror – whether individual or collective,

what we do not need is the theatre of corpses and blood on the streets and squares, in the

capitals or in the provinces, a phony theatre of clashes between religions or ethnic groups…

Feb 182016


Dario Fo’s first version of the play They Don’t Pay? We Can’t Pay! premiered in the late 1970s (Originally in Italian as Non si paga! Non si paga!) and was not only played widely throughout Europe but made its way quickly to the San Francisco Mime Troup in the US and Tamanous Theatre in Canada, among other places, as an outrageous working class farce. (His other very famous play Accidental Death of an Anarchist made him one of the most produced playwrights in 20th century Europe.) Since that time he has revised it various times – as cultural and political conditions have changed. He even changed the title (Sottopaga! Non si paga!) He has opened up the original play so that it is less of a living room farce, and more of an epic theatre piece: a sort of boulevard theatre, with a subversive curtain adding a vaudeville element, adding the twist of putting some of the action out on the streets, bringing it somewhat closer to Brechtian theatre – only potentially much funnier.

In the more recent version, as we have received it—with great delight—from Fo translators Jon Laskin and Michael Aquilante, the social backdrop for this imaginative farce remains some form of recent economic collapse. In our production we find ourselves viewing a story of desperate people when banks and financial institutions in our own country are bailed out at the expense of taxpayers – who are losing their homes which are “under water” due to loans they can’t pay (This is not a departure from Fo’s script). Wages are forced down and people now have trouble buying the necessities to get by. In this regard Fo keeps the original plot of earlier versions from the 1980s and 1990s intact: working class women begin taking five-finger-discounts in grocery stores, and during a spate of evictions a resistance begins and the authorities close in.

In the spirit of Fo’s wish that very production of this play be topical for the time and place of the production, as we worked we placed our play in a mythical Newark, New Jersey. Newark, with its industry, its role as a transportation hub – much like Fo’s Milan–provided for us, a fitting American model. Italian place names and corporate institutions have been changed to American Equivalents. And while Fo previously reserved some his sharp barbs ever for “the Pope”—that is Pope Benedict—he has defended Pope Frances from “the forces around him” – causing us to improvise a few “tweaks” to this part of the satire.

Fo also seems occasionally to be writing with the recognition that non-commercial theatre is always
working with hard times – forced into multiple casting and peculiar set and design arrangements by
ever increasing budgetary restraints. To do a comedy or farce in these times, requires that we expand the repertory of beloved overclass farces from Noel Coward, Oscar Wilde, et al.
Therefore, as a tribute to the underclass created by the Great Recession, the bail-out of Wall Street, and even to our fellow “off-off” theatre companies working with little to create big artistic statement, we offer our underclass farce.  Joe Martin, Director

DC PREMIERE of THEY DON’T PAY? WE WON’T PAY  Opens March 3, 2016

SHOWS: March 3 – March 26, 2016 WED-SAT at 7:30 PM; SUN at 3 PM 

At FLASHPOINT, 916 G Street, NW, Washington DC 20001


Feb 022016

IMG_3726They Don’t Pay, We Won’t Pay! (Sottopaga! Non si paga!) is one of the greatest European comedies of the 20th Century, which caused the future Nobel Prize-winning playwright Dario Fo to be brought to trial for incitement. This working class farce set during a time of economic collapse, begins with an episode of mass shoplifting by working class women from food stores, due to price hikes. It soon converges with the shipping of cheap contraband food from Asia as well as work stoppages and strikes. As a result of the “liberation” of food from grocery stores, a peculiar number of pregnant-looking women in coats are being pursued by the authorities everywhere. One of these working class women, Antonia, must deal with her legalistic husband, Giovanni—a union member who plays by the rule-book. She must also explain the unexpected “pregnancy” of his best friend Luigi’s wife, Marghareta, a fact that Giovanni in turn “reveals” to Marghareta’s husband. But soon the raids by authorities seeking contraband food close in on their neighborhood, and chaos ensues.

Though the piece has been called a “comedy of hunger” it is also about the bigger financial farce that results if the victims of financial collapse—brought about by capitalism run-amok—are asked to pay for the disaster while the guilty parties are bailed out.

This play by a master playwright and performer, is both physical comedy and a comedy of wit, sometimes in “boulevard” style. Fo has roots in Commedia dell’Arte, and the influence shows in this modern farce. In awarding him the Nobel Prize for Literature—there is no theatre category!—the Nobel committee remarked in 1997 that Dario Fo “emulates the jesters of the Middle Ages in scourging authority and upholding the dignity of the downtrodden.”

Quick Note: We will not be playing the piece “Italian”—but will re imagine it in the New York City area: specifically, ethnic and industrial Newark, which matches the community depicted in the play socioeconomically. (Newark is also a likely town for actions against trains and transit (which are in the play) among other things. Joe Martin

Dec 302015

20110930_DSC_3593Dear Friend,

Can you imagine a world without artists, without performers, and without performances? Here at Ambassador Theater, we can’t imagine a world without the enriching experience of creating and being a part of art. We also can’t imagine a world that has no international dialogue, no cultural experiences… Can you? We didn’t think so!

To be a part of Ambassador Theater is to be a part of an international dialogue. Our newest production is “They Don’t Pay? We Won’t Pay!” by the Italian Nobel Prize winner, Dario Fo. This political farce will be making it’s premiere at Flashpoint in D.C. with the help of the Italian Embassy and the Italian Cultural Institute. The play is considered one of Fo’s best, and will be an interesting juxtaposition in today’s political climate. The well-recognized and awarded Italian actor, Mario Pirovano, will perform Johan Padan and the Discovery of America and will be available to give workshops on “They Don’t Pay? We Won’t Pay!” to the wonderful actors in our production. It is something not to be missed.

This innovative production of “They Don’t Pay? We Won’t Pay!” will take dedicated effort from the actors, the staff, and the behind-the-scenes managers. Will you support us by making a $100 donation? Your donation is graciously accepted, and will help pay for the amazing and talented people making this production happen. You may add your support online or send a check to Ambassador Theater at 916 G Street, NW, Washington DC 20001.  All donations are tax-deductible!

Thank you for your support in all that Ambassador Theater does for the community, here in D.C. and internationally. We look forward to hearing from you and seeing you in the audience of “They Don’t Pay? We Won’t Pay!”

With most sincere gratitude,

Hanna Bondarewska
Artistic Director & Founder

Dec 232015

HannawithLittleThomasWhiteHouse2010_EDITEDDear Santa,

Thank you very much for all your wonderful gifts this past year!  I have appreciated the love and the creativity from all of the wonderful people involved with Ambassador Theater.  Here are a few snapshots of those wonderful gifts:

Safe travels!  I can now safely transport all of the props, set pieces, and costumes to the theater for the actors and actresses to use for our amazing shows.

Thank you for sending me talented actors and designers with whom we were able to create inspiring shows such as “Rage”, “The Trap”, “Smartphones” and “Snow Child” and inspiring educational programs in schools.

Thank you for all wonderful audiences as well as the critics who came to see our shows and showered us with beautiful 5 stars reviews and compliments.

Thank you for always watching over us and sending all of your love and strength to overcome any obstacles Ambassador Theater may face.  Thanks to you, we can go on with our mission to develop an international cultural dialog through works from around the world.

Thanks to you, we explored the works from Canada, Poland, Spain and learned more about Native Americans while working with the students at Hoffman Boston Elementary School

And last (but not least!), thank you for all the angels you sent our way to help support the cost of our endeavors.

And now, I humbly invite you to send us more beautiful people, who will help us to continue developing our theater and creating an international dialogue.

I ask that you continue to bestow such generous gifts.  Please use your magic power and make our dreams come true.

We have created a special online GoFundMe Campaign to support Ambassador Theater: CLICK HERE PLEASE

Our wish list is below:

1. Help us collect generous financial support to produce more interesting shows and events

2. Which in turn create a vibrant diplomatic board of directors to help us plan and support our future seasons

3. So that we can bring more audience members to our shows

4. Empower us to create a wonderful production of “They Don’t Pay? We Won’t Pay!” for our audiences.

5. Increase the number of people who will help us develop our fundraising and marketing campaigns.

6. Support our Literary Café Programs at the embassies such as one planned for the Embassy of Israel, March 8, 2016 and help us create more in 2016 to introduce our audiences and artists to beautiful poetry and music from around the world.

7. Send our way the angels to offer summer camp to underprivileged children in DC Metro area.

8. Help us develop more powerful partnerships with other organizations such as Kennedy Center and more.

9. Give all artists all your protection to create and inspire our audiences! Tell them to join our support circle

The list might be long but we will be truly grateful for whatever you send our way,so that we may send you in return our passion and our work  done with the same love for international theater that helps us carry on our mission!

Thank you and Happy Holidays!

P.S. If you wish to write back to me, our mailing address is 916 G Street, NW, Washington DC 20001

I would be truly happy to hear from you!

Nov 062015

SMARTPHONES.10-24-15 042I am truly amazed how much intuition and belief helps to make right decisions in very tough situations and how much then everything falls into the right places. It feels like you are struck by a lightening!

Now, after the opening night of Smartphones, A Pocket-Size Farce I may breath and relax, not completely maybe but breath.

Imagine the situation, it’s about 4:30 pm on Thursday, October 22, I am in the middle of the rehearsal for the Salon of Opera at the Embassy of Poland, where I am supposed to perform as Duchess Elzbieta Sieniawska to introduce talented opera singers to the audience and also block specific moments of the performance as a director, when I get a frantic call from the lovely Stage Manager, Michelle Taylor informing me that our main actor, Bruce Rauscher, was just brought by emergency to a  hospital and he cannot move.  My heart stopped for a moment. So many feelings of compassion, stress and survival! All I knew is that we had full house, lots of VIPs, press and fabulous food prepared for the Opening Night by Taberna del Alabardero.  I immediately tried to call Bruce, texted him worrying what was happening to him, left him messages and at the same time tried calling our director of the play, Joe Banno.  All calls failed, could not catch anyone on the phone. Then I picked my brain quickly , who could help to safe the night! I called several colleague actors, texted them but could not get anyone on the phone. I started frantically texting, all I could think of was sending emergency notes, asking for help! And guess what, all of them responded promptly but the first one was 1469906_10152043200317419_1379102465_ndear friend, Ivan Zizek, who said, I will do it for you but I can come not earlier then 7 pm, one hour before the show.  I had no choice, I knew he can do it and he did! As he always does, a true friend and a fabulous actor as in Protest when we played together mirroring each other as Stanek and Stankova.

The next thing was going back and forth with dear Michelle Taylor, amazing SM whose help was priceless in this huge ordeal to notify all actors in a play and find the best solution to save the show!

Since we had no chance to get in touch with the director due to smartphones – spotty area, dear Michelle and wonderful actors decided to cast Ivan in a small part of Maid and dear Tekle who originally supposed to play Maid, stepped into the big role of Barnaby (originally played by Bruce Rauscher). We knew he had to be “on the book” but he knew the play and blocking so it was natural for all great team of “Smartphones” to make such a great decision.

Then, I had to make phone calls to the Embassy of Spain, the author, Emilio Williams, who first asked if I should cancel the show, I replied too late, “the show must go on”. I knew everyone would understand this and had no doubt that the actors would step up to the occasion and do a fantastic job!. I also knew that I had to welcome the audience and explain what has happened.  Everything was put in place and then on my way to the theater, at about 6:45 pm, I get a phone call from the director, Joe Banno, asking what happened to Bruce and that he just realized while waiting for our calls that he was out of area. I explained that we got Ivan to step in and that he was coming about 7 pm to learn the part to go on at 8 pm. Joe froze for a moment and said, you should have cancelled the show! I replied “too late”, “the show must go on!” I could no longer wait :”for Fede…or Godot…to find a better solution!”

I stood in front of the full house and welcomed everyone to the theater of absurd and ridiculous with a sad announcement of dear Bruce Rauscher’s health condition and a last minute replacement! The audience welcomed the full cast and team of “Smartphones” with not only understanding but also with full approval of this very tough decision I had to make. Thank God, they loved it! And approved my decision!

Then, we had to decide what to do with the full weekend of the performances and with the Press Opening. Ivan could not help with other nights, so the search for new actor to play Maid begun again. I could not play on Friday since I had to perform as Duchess Sieniawska at the Embassy of Poland…then who could step in…? So many calls, frantic searches and finally Michelle stepped in again, she found an actress to step in on Friday, the show was saved again! But she could not perform besides Friday…so who could step in???? I guess…me!

VAL_4148Once more, I had to write notes to the members of the press about the situation, giving them a choice to come back another time. They all replied that they still wanted to come on Saturday night and cover the show despite all circumstances. And we all did it again, full house, me shaking before stepping on the stage as “Maid” and then a huge applause from the approving audience and a relief…we did it! The night proved to me again that my intuition and believe in the fabulous cast was right!  The focus and fabulous delivery of dear Ariana Almajan, Moriah Whiteman, Shravan Amin and wonderful and brave, Tekle Ghebremeschel was unspeakable! They were all on the tip of their toes and saved the show! All I could think at the curtain call was, thank you, thank you dear friends, thank you to all whose help and devotion to the theater and art is absolutely priceless and makes me go on! Despite  all genuine feelings of doubt, love and passion, compassion and sorrow, I stand strong and tall for the mission of the Ambassador Theater and all who believe in it!

Now on a razor scooter, artistic director flies on through the stage waving and sending kisses to all true lovers of the theater and art! VAL_4229

The show of Smartphones, A Pocket-Size Farce by dear friend, Emilio Williams, got raving reviews and must go on!!!!

With love and appreciation,

Hanna Bondarewska

P.s. Make sure to catch the show before we close Nov 15th!








Oct 222015

EmilioWilliamsIn the US, theater makers call those who are not involved in the process of creating theater “civilians”. I think I write theater for civilians. I love civilians and going with them to see experimental theater, particularly. The best civilians have a very clean eye, they’re hard to fool, and while they may not be able to pin-point at a given problem within a show, they know when something is not quite right. That intuition of the civilians I find very useful as a playwright and as a friend and it allows me to experience theater from a less jaded perspective.

One of the few things that most civilians get confused about is the difference between a show and a play. Technically is not correct to say that you have seen a play.  A show you see, and a play you read. A show is always just an interpretation of a given play, one of many infinite potential versions of what that text could be.

This is why attending the opening of a new show based on one of your plays is an exhilarating but nerve-racking experience. My civilian friends, when they come with me to an opening have a hard time  understanding that I’m truly, and honestly as clueless about what’s about to happen on the stage as they are.

A show can make a play one writes so much better. It has happened to me. Or it can make a play one writes, much worse too. It happened to me, too. That’s the beauty of the collective nature of theater shows, a medium in which so many artists come to contribute their own reading and take on a given material. And this is a risk always worth taking.

Being asked permission to produce one of your plays by a total stranger is one of the biggest honors that a playwright can have, better to me that any award or any rave review.

This morning I wake up early to fly to DC, where a troupe called Ambassador Theatre opens tomorrow the East Coast premiere of my play “Smartphones, a pocket-size farce”. On my facebook I find a picture of the cast dressed up for the show. The picture is very promising and a great relief. I sense that the director, and the team have captured, at least in appearance, how I pictured these characters in my mind.

This teaser makes me even more excited and curious about what may be waiting for me Thursday night.

A novelist in Spain once wrote that publishing a book was like giving away your son for adoption. Once you do that, the book is not yours anymore… I feel like that when I come to see a show of one of my plays, when I have not been part of the process. As a playwright to give your play to a community of artist and they make your own show with it.

Something interesting happens to me when I come to a premiere. I don’t remember writing the plays. Smartphones I wrote 6 years ago. I only recognize a few brainy choices that I may have made during the writing process, but most of it all, I remember vaguely as in a dream, and I don’t recognize the material as mine, but rather as something that had been dictated or transcribed. It’s hard to explain and a bit freaky.

This detachment to the play is a good thing, I believe. It makes me wants to go to opening night to be surprised and to see a show that no matter how it may be will be for sure something new and different from any other show or previous productions of that same play. That’s the beauty of theater. From play to play, from show to show, from night to night, everything is the same and everything is absolutely different, and hopefully, always surprising.


Oct 212015


Welcome to the Theatre of the Absurd and the Ridiculous! Okay now, everybody check to make sure that your apps are up-to-date.  Great!  Now text all your friends about this production.  And, while you’re at it, take a selfie here in Flashpoint and tweet it.  Have you answered all your emails and liked all your Facebook friends’ posts?  Don’t forget!

I am so thrilled to be working again with the director, Joe Banno, and the Embassy of Spain and SPAIN Arts and Culture to present the DC Premiere of SMARTPHONES, A Pocket-Size Farce by the contemporary Spanish playwright, Emilio Williams.  Emilio — the newest member of the Ambassador Theater family — will join us for the Press Night on October 24th, and will be part of a Q&A after the show. Oh, Okay, now please add that bit of information to your smartphones and tweet it too! And try not to miss what promises to be a great Q&A! One more thing, please make sure to taste delicious paellas by famous Chef Javier Romero from Taberna del Alabardero after the opening nights Oct 22 and Oct 24th! Thank you!
Alright, now that we’ve gotten our smartphones squared away, come and watch ourselves come to life onstage!

A Few Smartphones Pointers:

P.S. But before we open these exciting plays, we need to secure the funds to pay for the theater rental fees, our wonderful talented actors, designers, set, costumes, insurance and PR. With your generous support, we may continue our international cultural dialog through interesting plays from around the world. You may simply write a check to Ambassador Theater and mail it at 916 G Street, NW, Washington DC or make a secure donation while getting a ticket to our next show via Instantseats.com or through our JustGive.com

Your generous gift is 100% tax-deductible as Ambassador Theater is 501 (c) 3 charitable organization.

As Ambassador Theater’s supporter, I would like to invite you to our next VIP Opening Nights and a receptions as my special guest! Thank you for your donation and support of our mission!

Simply make a donation and e-mail our Assistant Artistic Director, Shawn Lyles at ambassadortheater@aticc.org to reserve the seats for the shows!
SMARTPHONES, A POCKET-SIZE FARCE opens on Thu, Oct 22 & runs until Nov 15!
THEY WON”T PAY? WE DON’T PAY opens on Thu, March 3 and runs until March 26, 16!


With most sincere gratitude,

Hanna Bondarewska
Artistic Director & Founder

Ps. Please tell your friends about our upcoming show of Smartphones. They can get tickets here online



May 222015

TheTrapSample2In “The Trap”, Tadeusz Różewicz has a dying Franz Kafka deliriously dream of a world of horrors that could have come from a novel Kafka never had a chance to write, but that would become reality in Prague and Vienna and across Europe less than two decades after the author’s death.

The man who wrote of the nightmare of Josef K. in “The Trial” would not have been surprised by the rise of a regime that perfected brutality through bureaucracy, and that mobilized a continent to mechanize murder on an unprecedented scale. K.’s arrest on charges he is never made aware of, the alternating stupidity and pomposity of the officers of the court, and a system where the law could change from moment to moment at whim of the masters — all of these aspects of the story Kafka created would be borne out under Nazism.

Throughout “The Trap”, executioners skulk about the edges of the stage, eyeing the movements of the characters with suspicion and disdain. Are they from the near future of the Holocaust, or from Franz’s own time? They are both, and neither; they are the representation of the idea that anyone can become an instrument of death, and that too many among us will stand by while it happens. In one of the most surreal tableaus of the play, a petit bourgeois barber bends Franz’s ear with pretentious babble while in another time, his dim-witted assistant has risen to power as a thuggish enforcer for the Nazi state, humiliating a man of science and learning before hastening him off to his demise.

Why did they, and why do we, stand by? Josef K. — and Franz — would know that it is because distance creates deniability. Most of those culpable for the Holocaust, and for atrocities committed both before and since, were not cramming bodies into rail cars or launching missiles aimed at villages, but were rather the people filling out the paperwork to make it happen — like the forms that would send Franz’s beloved sister Ottla, his truest ally throughout “The Trap”, off to Theresienstadt and later Auschwitz, where she would be killed. They never had to witness the real results of all those papers.

The executioners in “The Trap” embody what Hannah Arendt called the banality of evil. They are driven not by fanaticism or sociopathy but by a desire to get ahead and get along, and to take advantage of the chaos of the times to rise in stature. They might be unwilling to kill by the sword, but are all too willing to do it with the pen. Kafka would have understood.

May 212015


Dear Friends, I am thrilled and humbled to present to you The Trap, the most provocative and intriguing play, by one of the most challenging authors I have ever worked with, Tadeusz Różewicz. Living in today’s difficult world of political and social unrest, constantly changing technology and fast life is not easy. I myself feel trapped by challenges and contradictions of life, with its highs and lows and happiness and sorrow constantly interchanging. Looking through the eyes of Franz Kafka and Tadeusz Różewicz and discovering more and more traps that are part of our lives has become a true artistic and mental challenge as well as a blessing. It has made me, as I hope it will make you, the audience, appreciate the artists even more and see how difficult their struggles to create and survive are. Many artists of today, like Kafka, feel alienated, misunderstood and are prone to psychological highs and lows trapped between art and reality of everyday life. Let’s stop for a moment in this fast moving world and give them a hand.  By doing so, we will help ourselves by nourishing what is the most fragile and priceless, our hearts and souls! Let’s stop and reflect on our cruel history which keeps repeating itself, trapping soldiers and civilians in the hell of war. Let’s think about peace and wish for it with all of our hearts! Let’s be kind to one another and help each other to cope with the trappings we are faced with in our lives. I hope this production will make us stop for a moment, and reflect on life and how we can make it better for ourselves, artists and those around us. This creative journey would never be possible without an amazing ensemble of actors, designers and artists and of course our friends and supporters, whose help made it possible for us to experience and unravel the traps that T. Różewicz and Franz Kafka had created for us.  I would like to thank Embassy of the Republic of Poland and Polish Consulate as well Theatre Department of the George Washington University for helping us to bring “The Trap” to life. I hope our biggest contributors and challengers; T. Różewicz and Franz Kafka are watching us from above with appreciation and smile!

Thanks to all Friends and Supporters!

The Ambassador Theater’s 6th season continues rolling on!  During the past seasons, we produced 14 main stage productions in addition to various “Bare Bones” and Staged Readings, New Work Series, Literary Café programs, play-reading workshops, summer camps, Studio Classes and outreach programs.  All of our programs have introduced our audiences to the cultures of several countries across multiple continents (Belgium, Bulgaria, Canada, Czech Republic, Egypt, France, Greece, India, Macedonia, Poland and Spain). We have worked with over 100 actors, artists, authors, translators, directors and designers, in addition to over a thousand students and interns from various DC Metro schools and colleges. We have even taken students abroad to perform at the Presidential Palace in Warsaw for the First Lady of Poland.  Our productions have been seen by over 10,000 spectators in many venues around the area.  We are fortunate to have developed valued friendships and partnerships with the diplomatic representatives of countries from where our productions originate.  Most recently, our production of Happily ever After received 2014 Best Play, Best Director, Best Actress and Best Actor recognition from DC Metro Theatre Arts as well as the 2013 Helen Hayes Canadian Partnership Grant Award.  I would like to express my deepest gratitude to our Board of Directors, artists, designers, partners, friends, and, most of all, our audience for helping us to fulfill our mission to continue facilitating international cultural dialogue. We have a thrilling season ahead of us, please join our Circle of Members and Supporters and sign up on our newsletter list. We would love to stay in touch and hear from you at our various events throughout the season! I would like to dedicate this show to all those who suffered the loss of their loved ones in tragic genocides around the world. Enjoy the show! Hanna Bondarewska

WHEN: May 28 – June 21, 2015

May 26, 27 Previews at 8 pm

May 28 at 8 pm, Opening & Reception follows

Friday, May 28, Special Q&A after the show with Prof. Kazimierz Braun, the closest collaborator of T. Różewicz;

Saturday, 30, 8 pm Press Night

Thursdays – Saturdays at 8:00 pm; Matinees: Sundays at 3:00 pm

TICKETS: $20 – $40 Online: http://www.aticc.org/home/category/get-tickets

For 16 + Audiences

Media/Press: please e-mail us to reserve your tickets!

Please be advised there is a momentary nudity!