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DARIO FO – The Jester of our times

Dario Fo

 Dario Fo, an Italian actor-author, can claim to be the most frequently performed living playwright in the world. Born on Lake Maggiore in northern Italy in 1926, he made his debut in theatre in 1952 and is still writing and performing. His work has gone through various phases, always in company with his actress wife Franca Rame. His stage career began with political cabaret, moved on to one-act farces, and then to satirical comedies in his so-called ‘bourgeois phase’ in the early 1960s when he became a celebrated figure on TV and in Italy’s major theatres. In 1968, he broke with conventional theatre to set up a co operative dedicated to producing politically committed work in what were then known as ‘alternative venues’. His best known work, including Accidental Death of an Anarchist, Mistero Buffo and Trumpets and Raspberries, dates from this period. He was awarded the Nobel Prize for Literature in 1997, and in the official citation the Swedish Royal Academy stated that he had ‘emulated the jesters of the Middle Ages in scourging authority and upholding the dignity of the downtrodden.’

Photo CreditsDario Fo, Cesenatico, 2005
Per gentile concessione di archivio.francarame.it

Dario Fo, Cesenatico, 2005
Per gentile concessione di archivio.francarame.it

The Team of Ambassador Theater is thrilled to partner with the Italian Cultural Institute and celebrate 90th Birthday of Dario Fo with the presentation of an Italian actor, an inerpreter of Dario Fo's monologues, Mario Pirovano, in Johan Padan and the Discovery of America Feb 26, 2016 at 7 PM at the Embassy of Italy and a production of DC Premiere of They Don’t Pay? We Won’t Pay! March 3-26, 2016 at FLASHPOINT, 916 G Street, NW, Washington DC.

They Don’t Pay? We Won’t Pay! 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, Margherita, a fact that Giovanni in turn “reveals” to Margherita’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.”
 WHERE: Mead Theatre Lab at FLASHPOINT
     916 G Street NW, Washington DC
WHEN: March 3 – March 26, 2016; Wednesdays – Saturdays at 7:30 pm; Matinees Sundays at 3:00 pm
Previews March 1, 2 at 7:30 pm;

Opening & Reception follows, March 3 at 7:30 pm 
Press Night: Sat, March 5, 7:30 pm; Special Q&A after the show with the Special Guest, Italian Actor, longtime collaborator of Dario Fo, Mario Pirovano, director, Joe Martin and actors 
TICKETS: $20 – $40 Online For 14 + Audiences


The Open Theatre of Tadeusz Różewicz

The Open Theatre of Tadeusz Różewicz

By Daniel Gerould

  Although he has not written anything new for the theatre since The Trap (Pulapka, 1981), Tadeusz Różewicz remains the      most provocative and original Polish playwright of the post-war period. His probing of the boundaries traditionally assigned to  theatre has put him in the forefront of artistic innovators along with Kantor and Grotowski. Outstanding directors have sought to realize his work in production, despite inherent tensions between the author's radically experimental propositions and the nature of theatre itself.

With his first performed play, The Card Index ( Kartoteka, 1960), Różewicz (already a major poet) introduced a new theatrical language of fragmented structure and imagistic montage, which, at first, seemed disorienting but eventually came to be accepted as a quintessential expression of post-war sensibility. For the generation of Poles who came of age in 1939, the experience of wholesale death and destruction during the war and occupation had rendered obsolete notions of beauty, high ideals, and noble words. A new aesthetic, Różewicz felt, had to take Auschwitz as its basic premise.  Literature as it had existed until then was simply a lie. Repudiating ideologies, moral judgments and intellectual speculations as empty abstractions, the author of The Trap clung to the bare facts of human life as the only truths and the only values.

Of Polish playwrights since 1945, Różewicz has been the most restless experimenter with form. In a number of his works for the stage he undertakes an ontological analysis of theatre that questions the very assumptions that make performance possible. Recognizing that reality will not submit to the artistic conceptions of the past, the Polish poet strives to go beyond the limits of the genre. In rejecting hierarchical notions of high and low, foreground and background, beginning, middle and end, Różewicz essays a kind of drama that starts at point zero with an undifferentiated aleatory mass of sights and sounds and persists as pure duration.

Różewicz has repeatedly voiced the "desire to write a play that would be both truly realistic and at the same time poetic."  By rendering poetry realistic and realism poetic, the playwright has achieved his goal in many of his dramas. His work is realistic in the sense of being totally immersed  in existence  in  all  its  corporeality; the ordinary, the banal  and the bodily are the playwright's raw materials  which he refuses to imbue with any transcendental meaning. But Różewicz is an unorthodox "realism" unencumbered by illusionistic conventions. Externals, such as plot and cause­ and-effect sequentiality, are eliminated in favor of an interior drama that reveals life as it is experienced in the depths of stillness.

To paint a picture of everyday life in which nothing out of the ordinary hap­pens, the author of The Trap favors the simplest means: emptiness among events, silence between words, waiting. Action, the most basic element of drama in the traditionalist view, is considered by Różewicz to be the antithesis of realism and thus the negation of true theatre. "My plays have no endings," the Polish poet has declared. Rather than the temporal unfolding of a plot, he strives for the simple duration of a given situation. His aim is the creation of an "open theatre" without fixed perimeters where scenes can be re-ordered or added at will. Różewicz’s method of composition is a poetic counterpoint and collage of images producing a polyphonic form capable of accommodating a rich mixture of styles ranging from the colloquial and salacious to elegant parody and pastiche of fin-de-siècle fashions and literary traditions.

Questioning the separation of theory from practice, Różewicz has produced a new kind of script that is half treatise and polemic with his predecessors, in which extended stage directions serve as a commentary to interrupt the action and disintegrate the dramatic form. The lengthy stage directions are also arguments with all future directors with whom the play­wright may conceivably collaborate. His concept of "open theatre" involves the creation of works that can be completed only in the theatre when director, designer and performers confront the text-and one another.

For Różewicz, the struggle between a play and its realization on stage is the crowning moment of the whole theatrical process.  "What I like best in the theatre are the rehearsals," the playwright avows. "When the director fights with everything and everyone. The drama of the battle over the shape of the 'performance'." The texts that Różewicz produces are designed to heighten the conflict by resisting the efforts of theatre artists to dominate the author. "I've written my plays," the author explains, "so as to make difficulties for the directors who stage them, not to make their lives easy."

Różewicz has been fascinated with Kafka ever since he first visited Prague during the Stalin years when the Czech author was forbidden reading. Along with Chekhov and Beckett, Kafka serves as a model for Różewicz’s concept of inner drama and directly inspired two of the author's last dramas. The Hunger Artist, a highly personal adaptation of Kafka's tale, explores the creative process and the relation of artist to society.

Loosely based on the writer's diaries and letters, The Trap is an enigmatic work that "sets traps" for literal-minded critics, directors and audiences. Not one of the Czech author's literary works is ever mentioned (except the generic "Letter to His Father"), nor does the name Kafka once appear.  This is hardly the usual life of an artist in which titles and names are constantly dropped. We may ask: is The Trap a biographical play about Kafka? Różewicz himself denies that this is the case, insisting that his task as poet, after absorbing masses of facts about the Czech writer, was to depart as far as possible from the documentary material so that his own drama could come into being.

In fact, the Polish author is more concerned with Kafka's inmost fears than with the realia of his life, and except for a few fragments from the letters, Różewicz leaves his sources discreetly uncited. The Trap dramatizes anxieties and nightmares of the artist Franz as he himself experiences them in relation to his father, his family, his friend, and his fiancée. And despite his attempts to escape the many threats of confinement-existential, societal and historical-assailing him from all sides, the traps are too cunning for Franz. At first sight the highly fluid structures of time and space that Różewicz has created for The Trap make the play seem formless and meandering. The play, however, actually has a firm skeleton of recurring phrases, images and motifs. It is only superficially an "amorphous" play, Różewicz argues,"less like the crown of a tree than the underground roots intertwined and growing in all directions.  And therefore the length-in a temporal sense-of a scene on the stage does not always correspond to the length of the duration of that 'scene' or to the space that it occupies in the text."

The playwright uses Tableau XII, "At the Barber's", to illustrate the drama's temporal indeterminacy and elasticity. "The hidden magnitude of that scene is many times greater than what is shown taking place on the stage.  It is a scene that comprises the past and the future lurking in the present. … The roots are still hidden in the soil, in the darkness, of the future." The scene takes place in 1914 as war is declared on Serbia, and at the same time the Barber's assistant Vic abuses the Jewish Gentleman like a Nazi thug some twenty years later.

Structured as a series of tableaux, The Trap is a family photo album through which we can move backwards and forwards. The central image embodying all the play's dangers, the "trap" is as much biology as history. It is lurking everywhere-as the body in which Franz is imprisoned and as the camp (Auschwitz) to which his sisters will be sent. The "trap" is simultaneously present at all times, in all scenes, extending beyond Franz to the world at large. Throughout the play the Nazis are waiting behind the scenes-represented by the Black Wall. At the denouement of The Trap, what has until this point been the tragedy of a family, and of an individual victimized by the family, becomes the tragedy of the Jews. As the actors playing Kafka and his family take their bows, the Executioner-Guards come out from behind the Black Wall that opens at the back of the stage and brutally push the performers off to the trains leaving for the death camps. As the wall closes, only desperate fingers and palms of hands can be seen.

For Jerzy Jarocki, a frequent Różewicz collaborator who directed The Trap in 1992, the drama grows out of the confrontation between Kafka's apocalyptic forebodings and Różewicz’s own experiences of the war and the Holocaust. Significantly, it is not the sensitive Franz, but his blunt pragmatic Father who scents the coming of the Executioners and forecasts the Holocaust. Franz is too obsessed with the inner concentration camp of creativity to which his art has condemned him to have direct knowledge of the approaching Nazis. Whenever the Executioner-Guards appear, he is in a state of dreaming. Literature, which is Franz's fate, proves perilous to his life.

Built on a poetics of heterogeneity, The Trap consists of realistic dialogue, long multi-layered conversations, remembrances, quotations, descriptions, visions, dreams and events taking place outside Franz's consciousness as well as scenes occurring in his presence but not perceived by him. Recurrence and transformation are devices that bind the diverse layers into a whole. Felice's teeth, ready to devour the artist, become the gold crowns of the corpses at the extermination camp Majdanek. The huge wardrobe that for Franz seems a tombstone appears to his Father as a means of salvation in which the family can hide from its persecutors. Father and son pairs occur in different modalities. Despite (or perhaps because of) the writer's instructions to bum his works, Max becomes Franz's "wardrobe" that will preserve his "children" from destruction. Franz's supposed son by Grete is a monster (as he has been for his Father), the revenge of nature on the artist for giving himself exclusively to the creative imagination.

The entire drama is punctuated by the presence of Franz's Animula, or little soul, a childhood double, who, Różewicz tells us in one of his permissive stage directions, may appear at any point throughout the performance . The playwright has written several such appearances into the text, as, for ex­ample, in Tableau Ill where Animula watches Franz's dream of his Father's enactment of Abraham's sacrifice of Isaac, and in Tableau XV where the "little soul" is a silent witness to the deportations through the Black Wall. Never does Animula identify with any of the characters or actions, remaining on stage alone after everyone has gone and leaving the theatre with the last spectator. If the Executioner-Guards take us ahead into a historical future, Animula always brings us back to a timeless past of childhood and its open­ eyed perceptions of adult horrors-noncommittal, non-judgmental, non­ comprehending.

Różewicz is only one of many late twentieth-century playwrights who have found in the Czech author's life and work inspiration for their own dramas, but The Trap may well be the most penetrating treatment of Kafka's psychic dilemma. It is curious to note to what extent Różewicz's intensely personal, Polish viewpoint anticipates that of the British writer Alan Bennett, who analyzes Kafka's predicament in almost identical terms, al­though his own plays on the subject are radically dissimilar.

In his "Author's Note" of 1987 to Two Kafka Plays (Kafka's Dick and The Insurance Man), Bennett views Kafka as a prey to traps both biological and historical. "Death took no chances with Kafka and laid three traps for his life," Bennett writes. "Parched and voiceless from TB of the larynx, he was forty, the victim, as he himself said, of a conspiracy by his own body.  But had his lungs not ganged up on him there was a second trap, twenty years down  the line when the agents of death would have shunted him, as they did his three sisters, into the gas chambers. That fate, though it was not to be his, is evident in his last photograph. It is a face that prefigures the concentration camp."

The third trap that might have caught Kafka (but never did) is the consequence of Bennett's playful imagining that the Czech writer first avoids TB and then escapes the Nazis by fleeing to America in 1938, only to die of asbestos poisoning which he had contracted in 1917 while managing his brother-in-law's factory. Although Bennett uses the same "trap" metaphor as Różewicz, it is unlikely that the British playwright could have known the Polish drama. And whereas Bennett has written "exterior" drama of a satirical nature about the reception, perception and consumption of Kafka as a cultural artifact in present-day Britain, Różewicz has placed Franz's ambiguous inner drama as son and artist in the context of the tragic historical catastrophe that engulfed his family, his culture, and his civilization.

The ultimate "trap" for Różewicz is Kafka himself, who, the Polish playwright avers, is a "black hole" in the European literary firmament capable of swallowing whatever is attracted to it. In The Trap Franz maintains that "Silence contains everything and is more important and vaster than speech and sound." For Różewicz , theatre has great possibilities; there is nothing it can­ not encompass. But speaking about silence has become such an impossible task that it has kept him from writing for the stage since 1981.

In 1991-ten years after the play was first published- Różewicz added a prologue to The Trap in the form of a poem, "Interrupted Conversation", which is an interior monologue by Franz during the last months or days of his life in a sanatorium near Vienna. Unable to speak, the dying writer communicates with the outside world on scraps of paper. His thoughts are dis­connected but return persistently to his obsessions: the various women in his life, his complexes, problems with his Father, reflections on war and death. According to the poet, the prologue offers a summation of the play, with stress on its twin themes of suffering and silence. It is Różewicz’s farewell to Kafka.

The Trap

 Ambassador Theater presents the US Premiere of


…Anxieties and nightmares of Franz Kafka…

By Tadeusz Różewicz

Translated by Adam Czerniawski

May 28 – June 21, 2015

XX Bldg. of the George Washington University

814 20 Street, NW, Washington DC






To kill or be killed – That is the Question in Michele Riml’s ‘Rage’

Ariana Almajan as Laura Whalen and Marlowe Vilchez as Raymond Stitt in Ambassador Theater's production of
Ariana Almajan as Laura Whalen and Marlowe Vilchez as Raymond Stitt in Ambassador Theater’s production of “Rage wp-caption” by Michele Riml, directed by Joe Banno
Photo by Val Radev

By Eliza Anna Falk
The Ambassador Theater International Cultural Centre (ATICC) and its Founder and Artistic Director, Hanna Bondarewska, are not afraid of challenges and demanding repertoire. Providing a platform for expression of complex narratives, whilst working toward building bridges between di verse cultures and groups, lies at the core of ATICC’s mission.  Showcasing plays from around the world is what the Ambassador Theater does best. This year the American audiences will have the opportunity to see ‘Rage’, a riveting play, written by a critically acclaimed Canadian playwright, Michele Riml.  
In ‘Rage’, the winner of the 2005 Sydney Risk Prize and 2008 Jessie Richardson Award, two opposing worlds collide and shake us up with a loud bang!  The drama’s intense plot and a shocking finale force us to reflect on the complexity of the human psyche and examine where we stand on the issue of violence.  And if it is just for a brief moment, that we stop and think about our contribution to peace, the production is a success. 
Riml’s pairing of two opposite philosophies and animating them by two equally incompatible characters, is what has attracted Joe Banno to the script. The award winning Director has always been drawn to naturalistic plays dealing with psychology of intricate relationships, and humans crossing lines between good and evil. ‘Rage’, just like his beloved Shakespearian dramas, puts a spotlight on a dysfunctional relationship and proves that real people are flawed, changeable and capable of anything.  
In the play, a radical, suicidal student called Rage brings his father’s gun to school in preparation for a counselling session with Laura, one of his teachers. A philosophical discussion on peace and violence turns into a blood chilling duel after Rage asks Laura to do the impossible – or so we think. The odds are high for the Hitler’s sympathiser to harm a human being representing all he despises, yet how about the pacifist abandoning her ‘being peace’ attitude and turning violent?
Laura may be idealistic but is she weak? Why ruthless and uncompromising Rage goes through a moment of weakness? These are only some of the questions, the Director and Actors (Ariana Almajan and Marlowe Vilchez) had spent time discussing before and after moving rehearsals to the stage. Deconstructing the characters through analysis of their personalities, motivations and behaviours, was crucial in bringing them to life and allowing the Actors to acclimatize with and understand the personas they were going to inhabit. Not to mention decoding the play’s intention and message.
 Michele Riml wants to tell us much more than the important obvious. We know that facts of life cannot be changed – good and evil go together like light and darkness, and peace and violence have always existed in tandem. We know that guns have been made accessible to youngsters with tragic consequences. It is also common knowledge that growing up is difficult; especially for those born with predisposition to depression and violent behaviour; and that schooling is unpopular with many students, making teachers potential targets of resentment and abuse.
 It is rather uncommon for a pupil to harm a teacher, however, as the publicly available data demonstrates, student violence against educators has become a common occurrence across the American schools. Whilst preventative measures are being implemented, plays such as ‘Rage’ are crucial in exposing the issue to the public and emphasizing the gravity of the crisis. The graphic presence of the gun and the way it is used in the play in front of the live audience is part of Riml’s strategy and her attempt to show us the danger for what it really is – another life about to be lost.
 The drama is a strong reminder to parents and firearms owners to play their part in trying to prevent school shootings by practicing good parenting and keeping weapons away from children and adolescents. The importance of parental and environmental contribution to the process of early and on-going prevention cannot be emphasised often enough.   Although solution to the multilayered problem of youth violence requires action on numerous levels, experts generally agree that early intervention by families and around the environments that children live in are most effective.
Another truth ’Rage’ brings to mind is that holding a belief may be a passive position to be in until it is complicated by intrusion of experience with its power to trigger responses not necessarily matching the ideals. The play incites us to think about grey areas between theory and action and gives us a chance to reflect on ‘what if’ situations. Banno praises the play for opening up a very important debate on whether violence can be justified, especially in extreme circumstances, such as the current one with ISIS and their ‘to kill or be killed’ motto.
 Pertinent questions around violence and complexity of human responses bring us to the issue of ‘Rage’s’ finale and audience’s expectations. The director is a fan of open endings and had been toying with the idea until the author disclosed that the approach had been already trialled and given ‘thumbs down’ by the audience. Thus, it is safe to announce that the approaching Ambassador Theater’s production will not only allow audiences to witness the drama unfolding, but also make them privy to its unexpected conclusion!  

OCT. 22 – NOV. 16, 2014

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




Ambassador Theater Presents US Premiere of

Helen Hayes Recommended!


By Michele Riml

Directed By Helen Hayes Awarded Director

Joe Banno

Produced By

Hanna Bondarewska


Ariana Almajan 

Marlowe Vilchez

October 22 – November 16, 2014
Mead Theatre Lab at FLASHPOINT
916 G Street, NW, Washington DC 20001 (Near Gallery Place Metro, Paid Garage Parking on 9th or 10th Street)

Preview Wednesday, Oct. 22, 2014 Opening & Reception after the show
Press Opening: Sat., Oct. 25, 2014 8 PM
Shows: Wed – Sat at 8 PM; Sun at 2 PM 
Tickets: $10 – $40
Box Office


RAGE – In this tense, one-act, Canadian play, an unstable high-school student confronts a pacifistic guidence councelor in her claustrophobic office at the school. During their increasingly heated conversation a gun is produced, and their encounter becomes a battle of wills.  Will “justifiable” violence or passive resistance win the day?  Who will survive?

1917550_388970801501_4125082_nMichele Riml is a critically acclaimed playwright from Vancouver, Canada. Her plays include Under the Influence, Poster Boys, RAGE, Souvenirs, On the Edge, The Amaryllis, Henry and Alice: Into the Wild and the international hit Sexy Laundry, which has been produced in Canada, Poland, Germany, New Zealand, Iceland, Mexico and the USA. Originally produced by Green Thumb Theatre in Vancouver, RAGE was the winner of the 2005 Sydney Risk prize for Outstanding Original Play and has also been translated into French and German. Her plays for young audiences include The Skinny Lie, The Invisible Girl and Tree Boy. Michele was nominated for the 2008 Siminovitch Prize. She is represented by Colin Rivers at Marquis Entertainment in Toronto.




Ambassador Theater Studio Classes

Exploring International Cultures Through Theater and Art!

WINTER 2015 Semester starts January 26th!


Ambassador Theater offers studio classes exploring international literature and drama through movement, voice and improvisation. Through Ambassador Theater’s unique international cultural exchange the students have the opportunity to experience Art and Drama in enriching and innovative ways, inspiring both individual and collaborative growth. Classes are taught by highly experienced professionals from all over the world such as Award-winning director Ms. Lilia Slavova and others. The classes are available for three age groups: Globetrotters (4-6 years old), Voyagers (7-9 years old), and Explorers (10 and up). Register and Pay On-Line Through INSTANT SEATS

“A new experience where imagination and education come together.”


At the Convergence Lab Theater in Alexandria VA

Join Ambassador Theater in discovering the beauty of children's international literature and culture, explore nursery rhymes, songs, fables and walk through the adventures of many famous characters from the most admired stories. The classes are taught by a professional,  acting coaches and artists, whose main focus will be movement, speech and basic acting skills with fun theater games and will finish with a final showcase at the Convergence, THE LAB Theater, 1819 N. Quaker Lane (at Crestwood Drive), Alexandria VA 22302 We also offer exciting Art Classes that help the kids connect with what they learn about in their drama classes. They are able to understand how theater is a true collaboration of all art forms and will focus on making some props, parts of the costumes they will use in their performance, learn about the genre and style used in the play and culture they are studying, and more. We also offer special private classes on Mondays, and Wednesdays!

Mon. Jan. 26 – April 27, 2015; Wed, Jan. 28 – April 22, 2015; 

12 WEEKS OF CLASSES BOTH ART AND DRAMA CLASSES are offered one day a week, Mon or Wed:

If you are interested in Saturday classes, please contact us via e-mail: ambassadortheater@aticc.org


45 minute DRAMA or ART CLASS (plus $10 art supplies): $260 plus Registration fee

60 minute DRAMA or ART CLASS (Plus $10 art supplies):  $300 plus Registration fee

90 minute DRAMA CLASS: $350 plus Registration fee


Combo of both Art and Drama Classes 90 minute CLASSES (45 min each of ART and DRAMA): $480 plus Registration fee for GLOBETROTTERS

2 hour CLASSES (60 min ART and 60 min DRAMA): $580 plus Registration fee for VOYAGERS

2.5 hour CLASSES (60 minute ART and 90 min DRAMA): $650 plus Registration fee for EXPLORERS

(To Register for Combo classes scroll down under Drama Classes and choose that option, in the message specify which day you want the child to be registered for) Early Registration by January 10, 2015 – 15% off, (code: earlybird) 

Mondays and Wednesdays classes:

ART:                                                                              DRAMA: 

  • 4:15 – 5:00 PM: Globetrotters (4-6 years)         5:00 – 5:45 PM: Globetrotters (4-6 years)
  • 5:00 – 6:00 PM: Voyagers  (7-9 years)                6:00 – 7:00 PM: Voyagers  (7-9 years)
  • 6:00 – 7:00 PM Explorers  (10 and up)               7:00 – 8:30 PM: Explorers (10 and up)

You may pay by check written to Ambassador Theater and send it at 916 G Street, NW, Washington DC (please e-mail Hanna at ambassadortheater@aticc.org to request the registration form to send you payment by check) 

or Register and Pay On-Line

We also offer private classes: Pay on Line or by check written to Ambassador Theater (You need to schedule the classes in advance)

Success in Auditions with Lilia Slavova at Convergence Lab Theater, 1819 N. Quaker Lane (at Crestwood Drive), Alexandria VA 22302
Part of the "Smart Actors-Stupid Choices" Series
Learn to make strong, specific and memorable choices for your monologue and cold reading while you get introduced to powerful audition techniques.
Lilia Slavova’s direct, personal, honest and practical approach comes from years of experience as an award winning actor ,director, choreographer, puppeteer and published author. Member of SAG, AFTRA ,Equity, Lilia has been attending the Actor’s Center and the League Auditions for the last 15 years in a casting capacity; this and her international theatrical experience makes her ideal coach for helping you achieve your auditioning and professional goals.
Lilia’s work with preparing students for colleges is fantastic since the success of her student entering the collages of their choice is 100% plus the scholarships they receive!

Mondays, Wednesdays: 2:00 PM, 3:00 PM, 4:00PM, 8:30 PM

Half an hour: $35

One hour: $70

A package of 3 classes: $200

A package of 5 classes: $335

A package of 12 One hour classes: $840

A package of 12 Half Hour classes: $420

Contact us with any questions using our online  form or email us at ambassadortheater@aticc.org.

You may pay by check written to Ambassador Theater and send it to: Ambassador Theater, 916 G Street, NW. Washington DC 20001 

You may also Register and Pay On-Line