9/30/15 – 10/25/15


Rachel has it all: marriage, house, career.  So why does she suddenly have this creeping feeling? Did she leave something behind? Or is there something in the walls…? Her husband thinks she needs time; her psychiatrist suggests positive thinking. But then the visions start. Apparitions of doubts, past decisions, future mistakes. Is it time for Xanax? Prozac? Or perhaps she just needs to forget it all, follow her instinct, and kiss a stranger. A darkly comic play about the underside of domesticity, the complexity of the brain in chaos, and the thin line between sinking and survival.

Play Name

Show Information

Runtime: Approximately 1 hour and 20 minutes with no intermission.
Environmental Warnings: This production contains herbal cigarette smoke and strobe effect lighting.


The Artists


Production Team


Rachel Hauck

Rachel Hauck's recent work in New York includes Our Lady of Kibeho and And I And Silence (Signature Theatre Company); Grand Concourse, Patron Saint of Sea Monsters, The Call, and Go Back To Where You Are (Playwrights Horizons); Bright Half Life (Women’s Project); To The Bone (Cherry Lane); Stay (Rattlestick Playwrights Theater), An Iliad (New York Theatre Workshop, McCarter Theatre Center); Slowgirl (LCT3); Harper Regan and Bluebird (Atlantic Theater Company); Regrets (Manhattan Theatre Club); This Wide Night (Naked Angels, Lortel Nom); Orange, Hat & Grace (Soho Rep, Drama Desk Nom); Beebo Brinker Chronicles (Hourglass, 37 Arts). Recent regional work includes The Good Book (Court Theatre); Chavez Ravine (Center Theatre Group); Into The Woods (Oregon Shakespeare Festival, Annenberg Center); Clybourne Park and Cat on a Hot Tin Roof (Guthrie Theater); and Assassins (Playmakers Rep). Ms. Hauck designed the national and international tour of Lisa Peterson and Denis O’Hare’s production of An Iliad. She has spent 10 years as the resident set designer at the O’Neill Playwrights Conference. 

(As of 2015)


Kathleen Geldard

Kathleen Geldard returns to Studio Theatre after designing Cry It Out, Curve of Departure, Animal, Choir Boy, Jumpers for Goalposts, Tribes, and Invisible Man. Other recent regional credits include Macbeth at Shakespeare Theatre Company; Misery and Shakespeare in Love at Cincinnati Playhouse; and The Curious Incident of the Dog in the Nighttime; and Humana Festivals 2015, 2016, 2017, and 2018 at Actors Theatre of Louisville. Other regional credits include Arena Stage, Portland Center Stage, Huntington Theatre, Baltimore Center Stage, Signature Theatre, Woolly Mammoth Theatre Company, Florida Studio Theatre, La Jolla Playhouse, Berkeley Rep, The Kennedy Center, Round House Theatre, Imagination Stage, and Folger Theatre. She is an artistic associate for Signature Theatre.

(As of January 2019)


Jesse Belsky

Jesse Belsky previously designed P.Y.G. or The Mis-Edumacation of Dorian Belle, The Remains, The Effect, Three Sisters, No Sisters, and Animal at Studio Theatre. Regional credits include The Magic Play at Portland Center Stage, Syracuse Stage, and Actors Theatre of Louisville; Lydia and Rough Crossing at Yale Repertory Theatre; and The Year of Magical Thinking at PlayMakers Repertory Company. DC designs include Who’s Afraid of Virginia Woolf? at Ford’s Theatre; J.Q.A. and The Year of Magical Thinking at Arena Stage; Oslo, Handbagged and Book of Will at Round House Theatre; The Mystery of Love & Sex at Signature Theatre; Henry IV P1, Winter’s Tale, Sense & Sensibility, and A Midsummer Night’s Dream at Folger Theatre; Labour of Love, The Invisible Hand and The Magic Play at Olney Theatre Center. Jesse holds a BA from Duke University and an MFA from the Yale School of Drama, and he has taught lighting design at Connecticut College and UNC Greensboro.

(As of December 2019)


Jonathan Ezra Rubin

Jonathan Ezra Rubin returns to Studio Theatre for Constellations after fight directing Animal for Studio X and Mary-Kate Olsen Is in Love for Studio 2ndStage. Choreography credits include Flying V Fights: Heroes & Monsters, The Pirate Laureate and the King of the Sea, Lobster Alice, Flying V Fights: Love is a Battlefield, The Best of Craigslist, and The Pirate Laureate of Port Town at Flying V; Macbeth at the Georgetown Gilbert & Sullivan Society; She Kills Monsters at Marshall High School; Shakes Alive! Tour and Romeo & Juliet at Maryland Shakespeare Company; Hamlet at Lumina Studio Theatre; Klecksography: Haunting Monsters — Wolfman at Rorschach Theatre; and Social Creatures at Single Carrot Theatre. Coming up in June, his choreography will also be seen in LiveArt DC's The Merry Death of Robin Hood, Cohesion Theatre Company's Neverwhere, and Flying V's Matt & Ben. Mr. Rubin is recognized as an Advanced Actor/Combatant with the Society of American Fight Directors, and freelances as a fight choreographer.

(As of February 2016)


Daniel Kluger

Daniel Kluger's recent New York credits include The Village Bike (MCC); Your Mother’s Copy of the Kama Sutra (Playwrights Horizons); The Few, Ode to Joy, and The Correspondent (Rattlestick Playwrights Theater); Women or Nothing (Atlantic Theater Company); Nikolai and the Others (Lincoln Center); Somewhere Fun and The North Pool (Vineyard); Tribes and Hit the Wall (Barrow Street Theatre); and The Seagull (Lake Lucille). His regional credits include productions at The Old Globe, Mark Taper Forum, La Jolla Playhouse, Long Wharf, Pig Iron, TheatreWorks, and American Players Theatre.

(As of October 2014)


Adrien-Alice Hansel

Adrien-Alice Hansel is the Literary Director at Studio, where she has dramaturged the world premieres of  Queen of Basel, The Remains, No SistersI Wanna Fucking Tear You ApartAnimalLaughRed SpeedoDirtLungs, and The History of Kisses as well as productions of Cry It Out,Translations, Curve of Departure, The EffectWig Out!Straight White MenCloud 9Hedda GablerConstellationsJumpers for GoalpostsBad Jews (twice), The Apple Family PlaysInvisible ManSucker PunchThe Golden Dragon, and The New Electric Ballroom, among others. Prior to joining Studio, she spent eight seasons at the Actors Theatre of Louisville, where she headed the literary department and coordinated project scouting, selection, and development for the Humana Festival of New American Plays. She also served as production dramaturg on roughly 50 new, contemporary, and classic plays there, including premieres by Naomi Wallace, Gina Gionfriddo, Kirk Lynn and Rude Mechs, Rinne Groff, The Civilians, Anne Bogart and SITI Company, Jordan Harrison, and John Belluso. She is the co-editor of eight anthologies of plays from Actors Theatre and editor of eight editions of plays through Studio. Adrien-Alice holds an MFA from the Yale School of Drama.

(As of April 2019)


Allie Roy

Allie Roy returns to Studio after last stage managing If I Forget. Other Studio credits include Translations, Curve of Departure, Straight White Men, Murder BalladSilence! The Musical, and the world premiere of Animal for the Women’s Voices Theater Festival. Regional credits include West Side Story in concert with the NSO as well as Love, Factually at The Kennedy Center; the world premieres of Mrs. Miller Does Her Thing and Diner as well as The Scottsboro Boys, West Side Story, and Elmer Gantry at Signature Theatre; the world premiere of After the War as well as When January Feels Like Summer and Ulysses on Bottles at Mosaic Theater Company; and The Originalist at Arena Stage. Upcoming regional projects include Grand Hotel at Signature Theatre and Describe the Night at Woolly Mammoth Theatre Company.

(As of January 2019)


Paul Lysek

Paul Lysek joined Studio Theatre for the first time as Assistant Director for Studio X's Animal. As a theatre artist and musician, he has recently worked and performed at The Kennedy Center, Arena Stage, FringeNYC, Capital Fringe Festival, and with Blind Pug Arts Collective. He has assistant directed under Stephen Brotebeck, and served as a music assistant on Broadway’s If/Then. Mr. Lysek is a 2014 graduate of American University where he studied theatre and music history.

(As of September 2015)


To witness the cracking good Studio X production of Animal now playing at the Studio Theatre is to behold a brilliance of uniqueness and universality that exemplifies why the Women’s Voices Theater Festival exists.
DC Metro Theater Arts
I spent a weekend sampling the [Women’s Voices Theater Festival] offerings...The finest show I saw was the Studio Theater’s ‘Animal,’...a moving contemporary drama with a startling twist that you’re not likely to see coming, or to forget.
The New York Times

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