Until the Flood

04/16/21 - 05/23/21


When Michael Brown was shot by a police officer in Ferguson in 2014, the outrage and protests that followed were a wake-up call to some and familiar, exhausting news to others. Dael Orlandersmith created characters for Until the Flood from dozens of interviews across Ferguson’s communities, using this specific flashpoint to look at race and power in the United States and worldwide. Written to be performed by one or multiple actors of any race or gender, Studio Associate Artistic Director Reginald L. Douglas has cast the play with a cross-generational ensemble of three Black women, celebrating the resolve for justice that remains as urgent today as it was seven years ago.

Until the Flood is no longer available.

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Until the Flood is intended for mature audiences. Click on the content note for a detailed explanation.

Video Production by Studiio Box DC, studiioboxdc.com.


Runtime: 1 hour and 20 minutes

In the interest of welcoming people with a wide range of needs and life experiences, Studio offers a bit of information on what you will encounter in the play. There are some spoilers in here, so be ready, and please use this information as it is helpful to you.

Studio Theatre's 2020-2021 season is made possible through the generosity of Season Sponsors Susan and Dixon Butler; Dr. Mark Epstein and Amoretta Hoeber; David and Jean Heilman Grier; Arlene and Robert Kogod; Judge Albert Lauber and Prof. Craig Hoffman; Joan and David Maxwell; Teresa and Dan Schwartz; Steven and Linda Skalet; Bobbi and Ralph Terkowitz; and Amy Weinberg and Norbert Hornstein.


The Artists


Production Team


Wes Culwell

Wes Culwell is an award-winning producer and director. He founded Studiio Box Creative in 2012 and has been committed to creating visibility around social justice issues as well as establishing Studiio Box as a premier creative agency in the greater Washington, DC area. Wes has spent more than 20 years in production, including nine years producing for networks such as NBC, Bravo, Oxygen, VH1, TLC, and National Geographic. During this challenging year for the arts, Wes has focused his energies on assisting theatrical companies to bring their visions to the digital screen. He received a BA in Drama from the University of California, Irvine and an MFA in Cinema from San Francisco State University. studiioboxdc.com. 

(As of January 2021) 


Jesse Belsky

Jesse Belsky previously designed PipelineP.Y.G. or The Mis-Edumacation of Dorian BelleThe RemainsThe EffectThree SistersNo Sisters, and Animal at Studio. Regional credits include The Magic Play at Portland Center Stage, Syracuse Stage, and Actors Theatre of Louisville; Lydia and Rough Crossing at Yale Rep; and The Year of Magical Thinking at PlayMakers Repertory Company. Other DC designs include Who’s Afraid of Virginia Woolf? at Ford’s Theatre; JQA and The Year of Magical Thinking at Arena Stage; OsloHandbagged, and The Book of Will at Round House Theatre; The Mystery of Love & Sex at Signature Theatre; Henry IV, Part 1The Winter’s Tale, Sense and Sensibility, and A Midsummer Night’s Dream at Folger Theatre; and Labour of LoveThe 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. He has taught lighting design at Connecticut College and UNC Greensboro. 

(As of February 2021) 


Elisheba Ittoop

Elisheba Ittoop is a sound designer, composer, and audio producer. She returns to Studio having designed for The Big Meal, Songs of the Dragons Flying to Heaven, That Face, and The Receptionist. She has produced podcasts and written music for NPR, CNN, Audible, WGBH, Futuro Media, WFMT Radio Network and Glimmerglass Opera Festival, Wonder Media, Pinna, Three Uncanny Four, and others. Her sound designs and original music for theatre have been heard at The Kennedy Center, The Public Theater, Roundabout Theatre Company, American Repertory Theater, Playwrights Horizons, Manhattan Theatre Club, and many others across the country. She has created sound and music installations for the Bonnaroo Music Festival and the Okeechobee Music & Arts Festival. She has an MFA in Sound Design from the University of North Carolina School of the Arts and a BFA in Theatre from New York University. elishebaittoop.com. 

(As of February 2021) 


Adrien-Alice Hansel

Adrien-Alice Hansel is the Literary Director at Studio, where she has dramaturged the world premieres of I Hate it HereQueen of Basel, The Remains, No Sisters, I Wanna Fucking Tear You Apart, Animal, Red Speedo, Dirt, Lungs, and The History of Kisses as well as productions of Cry It Out, Translations, Curve of Departure, The Effect, Wig Out!, Straight White Men, Cloud 9, Hedda Gabler, Constellations, Jumpers for Goalposts, Bad Jews  (twice), The Apple Family Plays, Invisible Man, Sucker Punch, The 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 is the co-editor of eight anthologies of plays from Actors Theatre and editor of 10 editions of plays through Studio. Adrien-Alice holds an MFA from the Yale School of Drama. 

(As of January 2021) 


Autumn J. Mitchell

Autumn J. Mitchell (she/they) is a native of Savannah, Georgia. Last year she stage managed Pass Over at Studio and she is excited to return for Until the Flood. Notable management credits include The Wiz at the Oregon Shakespeare Festival; Fences and The Man of Destiny at the American Players Theatre; Acis and Galatea and The Face on the Barroom Floor at Central City Opera; Lucky Plush Productions’ The Better Half and Rink Life at Steppenwolf Theatre; and Step Afrika!’s Magical Musical Holiday Step Show at the Atlas Performing Arts Center. Autumn is an alumna of Alabama State University and holds a BA in Theatre with a concentration in Stage Management and Technical Theatre. Along with being a stage manager, she champions authentic and positive representation of Black and Brown theatre makers in predominantly white institutions. 

(As of February 2021) 


Orlandersmith gives expression to America’s racial stalemate with lyrical flow. Written with as much empathy as outrage…Until the Flood assures that the struggle lives on.
Los Angeles Times
Superb…a round of applause for Felicia Curry, Ora Jones and Billie Krishawn.
New York Times
An urgent moral inquest.
The New York Times

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