“I told the board it was important in this first year audiences get a sense of my artistic vision for the company,” said Rilette, who came to the Bethesda-based theater after serving as managing director of the Marin Theatre Company, in the wealthy suburbs north of San Francisco. “What it came down to for me was recognizing those two shows were shows that would not end up in any season that I would pick.”
Since the transfer of power at not-for-profit theaters tends to occur in the period between the end of one season of plays and the start of the next, it is often the responsibility of a departing leader to pick the plays to be produced during a successor’s first year on the job. That is because rights to plays, the casting of actors and hiring of directors must be negotiated months, and sometimes as much as a year, in advance, so that a full new season can be unveiled to potential subscribers. This was the case in 2010 when Joy Zinoman, leaving after more than three decades at Studio Theatre, arranged virtually the entire schedule for the following season, when David Muse would be in place as Studio’s artistic director.
The year’s lag time can be confusing for audiences attempting to acquire a feel for the kinds of shows favored by a new artistic head. With that in mind, Rilette says, he opted to ask Cain — whose “Equivocation” ran last fall at Arena Stage — for the rights this coming season to “How to Write a New Book for the Bible,” which Rilette will also direct and will run April 10 to May 5.
The play, based on Cain’s own life, details what happens after a man moves in to care for his elderly mother. “I’ve had the chance to work with Bill twice as a producer, but this is the first time as a director,” Rilette said. “It’s the perfect play to introduce the kind of work that I want to do here. It’s actor- driven, it’s very spare, very elegant in its stage poetry. It’s a play about family and relationships and storytelling. I thought, ‘I just can’t pass up this opportunity to perform that piece.’ ”
The absence of women writers in Round House’s upcoming season subjected the company to criticism on social media and elsewhere. “I felt really strongly that we needed to have some female voice in the season,” Rilette said. “It bothered me that it was all male playwrights.” In 2009, Gionfriddo — whose comedy “After Ashley” received a production at Woolly Mammoth Theatre four years earlier — was a Pulitzer Prize finalist for “Becky Shaw,” a work that explores the comic complications after a young woman is set up on a blind date. It will run May 29 to June 23. No director has been chosen.