Abby and Zack traded the comforts of America for noble adventure abroad, moving to the trendy Parisian enclave Belleville for his prestigious post with Doctors Without Borders. Their lives seem perfect. But when Abby returns home early one afternoon, she uncovers a few seemingly inconsequential surprises. Chillingly precise and psychologically astute, Amy Herzog (4000 Miles) anatomizes the consequences of deceptions small and large and the terrifying, profound unknowability of our closest relationships.
Runtime: This performance will run approximately 1 hour and 45 minutes with no intermission.
Belleville is generously underwritten
by Bobbi and Ralph Terkowitz.
Amy Herzog’s 4000 Miles premiered as part of Lincoln Center Theater’s new works initiative LCT3 in 2011 and became the first play from LCT3 to graduate to a full Off-Broadway run at Lincoln Center Theater. The production received an OBIE Award for Best New American Play.Her other plays include Belleville (Yale Repertory Theatre, upcoming at Steppenwolf and New York Theatre Workshop), After the Revolution (Williamstown, Playwrights Horizons; John Gassner Award Nomination), The Wendy Play (ACT, San Francisco), and Hungry (Ensemble Studio Theater). Ms. Herzog is a graduate of the Yale School of Drama, and the 2011 recipient of the prestigious Whiting Writers’ Award.
(As of March 2013)
David Muse is in his ninth season as Artistic Director of Studio Theatre, where he has directed The Remains, The Effect, The Father, Constellations, Chimerica, Murder Ballad, Belleville, Cock, Tribes, The Real Thing, An Iliad, Dirt, Bachelorette, The Habit of Art, Venus in Fur, Circle Mirror Transformation, reasons to be pretty, Blackbird, Frozen, and The Intelligent Design of Jenny Chow. Previously, he was Associate Artistic Director of the Shakespeare Theatre Company, where he has directed nine productions, including Richard III, Romeo and Juliet, Coriolanus, and King Charles III (a co-production of ACT and Seattle Rep). Other directing projects include Frankie and Johnny in the Clair de Lune at Arena Stage, The Bluest Eye at Theater Alliance, and Swansong for New York Summer Play Festival. He has helped to develop new work at numerous theatres, including New York Theatre Workshop, Geva Theatre Center, Arena Stage, Ford’s Theatre, and The Kennedy Center. David has taught acting and directing at Georgetown, Yale, and the Shakespeare Theatre Company’s Academy of Classical Acting. A nine-time Helen Hayes Award nominee for Outstanding Direction, he is a recipient of the DC Mayor’s Arts Award for Outstanding Emerging Artist and the National Theatre Conference Emerging Artist Award. David is a graduate of Yale University and the Yale School of Drama.
(As of April 2019)
Gillian Williams was recently seen in Venus in Fur at Seattle Repertory Theatre and Arizona Theatre Company. Other regional theatre credits include Cabaret at Trinity Repertory Theatre, A Christmas Carol at Hartford Stage, and Hamlet and boom at Sandra Feinstein-Gamm Theatre. Ms. Williams was one of two Americans to receive the 2011 International Actor’s Fellowship from Shakespeare’s Globe and was the assistant director for Fiasco Theater’s acclaimed Off Broadway production of Cymbeline. Her television and film credits include The Good Wife, Georgina Chapman’s A Dream of Flying, and Self Storage. Ms. Williams is a graduate of the Brown University/Trinity Rep Graduate Acting Program and holds a BA in theatre performance and Russian studies from Sarah Lawrence College.
(As of September 2014)
Jacob H Knoll is making his Studio Theatre debut. Mr. Knoll’s credits include productions at the Miscreant Theatre and the Gorilla Repertory Theatre Company in New York. Regionally, he has appeared at the Denver Center for the Performing Arts, Center Stage, and Shakespeare & Company. His film and television credits include Boardwalk Empire, Flight of the Conchords, Severed Threads, The Day Lehman Died, Sesame Street, Alejandro Iñárritu’s Birdman, and Jon Lindstrom’s How We Got Away With It. Mr. Knoll holds an MFA from the Yale School of Drama.
(As of September 2014)
Maduka Steady returns to DC, having recently appeared in A Raisin in the Sun at Ford’s Theatre. His New York credits include Amy’s View on Broadway (with Judi Dench), In Darfur at the Public Theater, Living Room in Africa at Theatre Row, Mud River Stone at Playwrights Horizons, Scapin at Roundabout Theatre Company, and A Fair Country at Lincoln Center Theater. His regional credits include Stick Fly and The Overwhelming at the Contemporary American Theater Festival, Intimate Apparel at Capital Repertory Theatre, Noises Off at Studio Arena Theater, and A Midsummer Night’s Dream at the Utah Shakespeare Festival. His film and television credits include The Blacklist, Pan Am, All My Children, Freedomland, Law & Order, Sesame Street, and Lorenzo’s Oil. Mr. Steady is a graduate of Carnegie Mellon University’s School of Drama.
(As of September 2014)
Joy Jones returns to Studio Theatre after performances in Cloud 9, Invisible Man (Helen Hayes Award: Outstanding Ensemble), and Belleville. Off Broadway credits include Zaide at Lincoln Center Festival and The Champion at BRIC Media Arts and workshops at The Public, Playwrights Horizons, and New Dramatists. International credits include Tantalus at the Royal Shakespeare Company. Select regional credits include Mary T & Lizzy K at Arena Stage; Ruined and Tantalus at the Denver Center; Fences at Everyman Theatre; Invisible Man at Huntington Theatre; and Pericles and Romeo & Juliet at PlayMakers Repertory. Recently, she was featured in String Music on BBC4 and in the independent film The Confidential Informant. Ms. Jones holds an MFA in acting from UNC-Chapel Hill.
(As of December 2016)
Debra Booth is Director of Design at Studio Theatre, where she has designed If I Forget, Translations, The Wolves, The Father, The Hard Problem, Moment, Constellations, The Apple Family Cycle, Jumpers for Goalposts, Belleville, Cock, Edgar & Annabel, Bachelorette, Moonlight, Blackbird, My Children! My Africa!, The Pillowman, and many others. Her international work includes premiere opera Marco Polo (Tan Dun/Martha Clarke) in Munich, Hong Kong, and New York. Regionally, Debra’s credits include Small Mouth Sounds at Round House Theatre; Richard III, The Collection, and The Lover at the Shakespeare Theatre Company; Marisol at Hartford Stage and The Public Theatre; Trying, The Illusion, and Happy Days at Portland Stage Company; the New York premiere of Angels in America at The Juilliard School; Broken Glass at Philadelphia Theatre Company (Barrymore Award nomination); and Moon for the Misbegotten at Yale Repertory Theatre. Debra is the recipient of the DC Commission on the Arts and Humanities Artist Fellowship, National Endowment for the Arts Design Grant, and a graduate of the Yale School of Drama.
(As of October 2019)
Peter West returns to Studio Theatre, where he previously designed Torch Song Trilogy and Superior Donuts. His recent designs include The Importance of Being Earnest with the Shakespeare Theatre Company, Zero Cost House with Pig Iron Theatre Company, and The Mystery of Irma Vep at Red Bull Theater. His work has been seen throughout the United States and in Europe, Japan, and South America in theatres such as the Shakespeare Theatre Company, The Spoleto Festival, Berkeley Repertory Theatre, Arena Stage, California Shakespeare Theater, Shakespeare Santa Cruz, PlayMakers Repertory Company, Geva Theatre Center, The Barbican, Denver Center Theatre Company, the Public Theater, New York Theatre Workshop, and the American Dance Festival. He has designed more than 40 productions for the Drama Division of The Juilliard School and has been an adjunct lecturer at Williams College and Brooklyn College. Mr. West is an artistic associate of Red Bull Theater.
(As of September 2014)
Alex Jaeger has designed costumes for multiple Studio Theatre productions, including Cock; The Habit of Art; Circle Mirror Transformation; The Solid Gold Cadillac; Grey Gardens; The History Boys; Rosencrantz and Guildenstern Are Dead; Caroline, or Change; The Prime of Miss Jean Brodie; Black Milk; The Russian National Postal Service; A Class Act; and The Cripple of Inishmaan. He has also designed A Parallelogram and Other Desert Cities at the Mark Taper Forum; The Nether, Eclipsed, and The Paris Letter at the Kirk Douglas Theatre; and Two Sisters and a Piano for the Public Theater. Other credits include Venus in Fur, Major Barbara, Arcadia, Speed-the-Plow, Maple and Vine, and Rock ‘n’ Roll (also for the Huntington Theatre Company) for the American Conservatory Theater and A Wrinkle in Time, A Streetcar Named Desire, August: Osage County, Cat on a Hot Tin Roof, Dead Man’s Cell Phone, Romeo and Juliet, Handler, and Fuddy Meers for the Oregon Shakespeare Festival.
(As of September 2014)
Ryan Rumery is a musician, composer, and producer. His music is in the films Awake: A Dream from Standing Rock (Tribeca Film Festival 2017), How to Let Go of the World (And Love All the Things Climate Can't Change) (Sundance 2016, HBO), and City of Gold (Sundance, SXSW 2015). Recent theatrical scores include Fool For Love on Broadway, The End of Longing at MCC Theater, Emperor Jones at The Irish Repertory Theatre, and Between Riverside and Crazy at the Atlantic Theater Company and Second Stage Theater. Mr. Rumery, Christian Frederickson, and the late Jason Noble recently released their album The Painted Bird – Amidst. Mr. Rumery recently produced three albums for Jeremy Bass. Upcoming albums include Arlo Hannigan and The Walker Project. Mr. Rumery recently received the Obie Award for Sustained Excellence in Sound Design and Composition, and was a selected composer for the Sundance Institute of Music and Sound Design Labs at Skywalker Sound.
(As of September 2017)
Lauren Halvorsen is in her ninth season as Studio’s Associate Literary Director. Her dramaturgy credits here include Doubt, P.Y.G. or the Mis-Edumacation of Dorian Belle, Admissions, Kings, If I Forget, Vietgone, The Wolves, Skeleton Crew, The Father, Three Sisters, The Hard Problem, Hand to God, Moment, Between Riverside and Crazy, Chimerica, The Wolfe Twins, Belleville, Water by the Spoonful, Tribes, The Real Thing, The Motherfucker with the Hat, The Aliens, Bachelorette, The Big Meal, and Time Stands Still. Previously, Lauren spent three seasons as Literary Manager of The Alley Theatre. She was the Artistic Associate of the WordBRIDGE Playwrights Laboratory for six years and has worked in various artistic capacities for The Kennedy Center, City Theatre Company, Eugene O’Neill Theater Center, First Person Arts Festival, and The Wilma Theater. Lauren is a graduate of Bryn Mawr College.
(As of December 2019)
Robb Hunter has directed violence for more than 20 Studio productions including Vietgone, The Effect, Hand to God, Bad Jews, Belleville, The Motherfucker with the Hat, Reasons to be Pretty, Invisible Man, Superior Donuts, American Buffalo, Red Speedo (Helen Hayes nomination for choreography) and The Walworth Farce (Helen Hayes nomination). He also directs movement/violence for the Shakespeare Theatre Company, Arena Stage, Woolly Mammoth (where he received a Helen Hayes Award for HIR and nomination for An Octoroon), Signature Theatre, and many others. He is a member of SDC, AEA, SAG/AFTRA, and is a Certified Fight Director for the Society of American Fight Directors. He is on faculty at The Shakespeare Theatre’s Academy for Classical Acting, is the Choreographer in Residence at American University and is a teaching artist for the Studio Theatre Acting Conservatory.
(As of February 2019)
Gary Logan‘s work for Studio Theatre includes dialects for Moment, Jumpers for Goalposts, The Wolfe Twins, Tribes, Belleville, The Real Thing, Venus in Fur, Frozen, and Crestfall. Internationally, he was the voice and text coach for the Royal Shakespeare Company’s Tantalus, and for several seasons was a voice and dialect coach for the Stratford Festival of Canada. Regionally, his work includes Lights Rise on Grace and Marie Antoinette at Woolly Mammoth; Pride in the Falls of Autrey Mill (with Christine Lahti) and Tender Napalm at Signature Theatre; Master Class (with Tyne Daly) at The Kennedy Center; Shenandoah (with Scott Bakula) at Ford’s Theatre; The Beaux’ Stratagem, Private Lives, and August: Osage County at Everyman Theatre; Love in Afghanistan at Arena Stage; Henry V and Much Ado About Nothing at Folger Theatre; and Othello, The Tempest, and Design for Living for the Shakespeare Theatre Company. Mr. Logan is a recipient of The Tyrone Guthrie Award and is the author of The Eloquent Shakespeare (University of Chicago Press).
(As of March 2016)
John Keith Hall's DC credits include many productions at Studio Theatre including Bad Jews, Choir Boy, Water by the Spoonful, Tribes, Torch Song Trilogy, 4000 Miles, Sucker Punch, In The Red And Brown Water, The History Boys, Adding Machine: A Musical, and The Road To Mecca; Hir, The Nether, and An Octoroon at Woolly Mammoth Theatre Company; Soon, SCKBSTD, and West Side Story at Signature Theatre; Sweeney Todd, Mary Poppins, and The Producers at Olney Theatre Center. Regional credits include several seasons as a Resident Stage Manager at The Barter Theatre in Virginia where he supervised over 40 productions, Shadowland Stages in New York, and Virginia Musical Theatre in Virginia Beach. A graduate of Virginia’s Longwood University, Mr. Hall is a proud member of the Actors’ Equity Association.
(As of September 2017)
Nathan Norcross is Studio Theatre’s Artistic Apprentice. He serves as the Assistant Director for each Subscription Series production as well as collaborating with the literary department. As a director, Mr. Norcross’ early professional career has spanned a variety of genres and forms—from large-scale musicals to intimate chamber pieces, from developing new plays with living playwrights to developing his own adaptation of Shakespeare’s Macbeth. Mr. Norcross has worked alongside a number of directors he now counts as valuable mentors, including Mark Lamos, Nicky Martin, Gary Griffin, Bob Moss, and Eric Rosen. He assisted Phylicia Rashad in directing a production of A Raisin in the Sun at the Westport Country Playhouse. Mr. Norcross is a graduate of NYU’s Tisch School of the Arts where he earned a BFA in acting, as well as Florida State University where he recently completed an MFA in directing.
(As of May 2015)a
