It’s London, 1967, and the sixties are in full swing when we meet Ken and Sandra, two carefree spirits in a world that belongs to the young. Love, Love, Love drops in with them over the next 44 years, from free love to middle-class comfort to well-compensated retirement—when their adult daughter accuses them of squandering the world they inherited. Mike Bartlett turns his sharp eye and biting humor on the Baby Boomers and the generation they spawned.
Environment Warnings: This production of Love, Love, Love contains the use of herbal tobacco and flashing lights. In keeping with the period and setting of the play, characters smoke throughout the runtime. Patrons who are concerned about inhaling herbal cigarette smoke are encouraged to wear masks.
Runtime: 2 hour and 30 minutes including two 10 minute intermissions
Read the program.
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. Use this information as it is helpful to you.
Environment Warnings: This production of Love, Love, Love contains the use of herbal tobacco and flashing lights. In keeping with the period and setting of the play, characters smoke throughout the runtime. Patrons who are concerned about inhaling herbal cigarette smoke are encouraged to wear masks.
Please note late seating will be determined at the discretion of House Management.
Love, Love, Love is generously underwritten by Dr. Mark Epstein & Amoretta Hoeber.
Mike Bartlett is currently Associate Playwright at Paines Plough. In 2011 he was writer-in-residence at The National Theatre, and in 2007 he was Pearson Playwright in Residence at the Royal Court Theatre. His play Love, Love, Love won Best New Play in the 2011 Theatre Awards UK; and his play COCK won an Olivier Award in 2010 for Outstanding Achievement in an Affiliate Theatre; he won the Writer's Guild Tinniswood and Imison prizes for Not Talking and the Old Vic New Voices Awards for Artefacts. Theatre credits include: Love, Love, Love; 13 (National Theatre); DECADE (co-writer); Earthquake in London; Cock; Contractions; Artefacts; and My Child. Radio credits include: The Core, Heart, Liam, The Steps, Love Contract, Not Talking, and The Family Man, all on BBC. Screen credits include Earthquakes in London and Hometown. Directing credits include Honest by DC Moore. He is currently under commission from Headlong Theatre, Liverpool Everyman and Playhouse, Hampstead Theatre, and The Royal Court Theatre.
David Muse is in his fourteenth season as Artistic Director of Studio Theatre, where he has directed Fun Home; People, Places & Things; Cock (the in-person and digital productions); The Children; The Remains; The Effect; The Father; Constellations; Chimerica; Murder Ballad; Belleville; 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. As Studio’s Artistic Director, he has produced 115 productions; established Studio R&D, its new work incubator; significantly increased artist compensation; created The Cabinet, an artist advisory board; and overseen Open Studio, a $20 million expansion and upgrade of Studio’s four-theatre complex. Previously, he was Associate Artistic Director of the Shakespeare Theatre Company, where he has directed nine productions, including Richard III, Henry V, Coriolanus, and King Charles III (a co-production with American Conservatory Theater and Seattle Rep). Other directing projects include Frankie and Johnny in the Clair de Lune at Arena Stage, The Bluest Eye at Theatre Alliance, and Patrick Page's Swansong at the 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, New Dramatists, 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.
Max Gordon Moore’s appearances on Broadway include The Nap and Saint Joan with Manhattan Theatre Club, as well as Indecent at the Cort Theatre and Relatively Speaking at the Brooks Atkinson Theatre. Off Broadway appearances include The Trees at Playwrights Horizons, Golden Shield at Manhattan Theatre Club, Man From Nebraska at Second Stage, Describe the Night at Atlantic Theater Company, Coriolanus at The Public Theater’s Shakespeare in the Park, The Master Builder at the Brooklyn Academy of Music, Mothers at The Playwrights Realm, and Man and Superman and It’s a Wonderful Life at the Irish Repertory Theatre. He appeared in the film Here Today and his television appearances include New Amsterdam on NBC; East New York, NCIS: New Orleans, Instinct, Madam Secretary, and The Good Wife on CBS; and Succession on HBO. Max is a graduate of Sarah Lawrence College and the Yale School of Drama.
Hunter Hoffman is an actor and musician born and raised in the DMV and currently based in Sacramento, California. Love, Love, Love marks his debut at Studio Theatre.Broadway credits include Sweat and the most recent tour of Oklahoma! Off Broadway credits include Troilus and Cressida at The Public Theater’s Shakespeare in the Park. Select regional credits include Sweat with the Public Theater’s Mobile Unit National Tour; Jump, The Last Wide Open, and Insertion at B Street Theatre; Clarkston at Boise Contemporary Theater; and Shakespeare in Love at New Stage Theatre. Hunter holds a B.A. in Theatre from Principia College and is a graduate of The Neighborhood Playhouse School of the Theatre. On social media @thelostwayne (Instagram). hunter-hoffman.com
Liza Bennett is an actor and writer based in New York City. After graduating from the Juilliard School's Drama Division, she began her career with The Public Theater's The Merchant of Venice, starting at Shakespeare in the Park and later at Broadway’s Broadhurst Theatre. Some of her other theater credits include A Winter's Tale at The Public Theater's Shakespeare in the Park, Other Desert Cities at Bucks County Playhouse, and Break at NYC Fringe. She has worked extensively across film and television including Steve McQueen’s 12 Years a Slave, The Leftovers on HBO, Chicago Fire on NBC, Billions on Showtime, The Blacklist and Elementary on CBS, and the upcoming feature Our Son. In addition to the Juilliard School, she is a proud graduate of the South Carolina Governor's School for the Arts and Humanities.
Madeline Seidman is grateful to be making her D.C. debut! Her recent Off Broadway credits include Partnership and Becomes a Woman at the Mint Theater Company. Her regional theater credits include Who’s Afraid of Virginia Woolf? and The Christians at Chautauqua Theater Company, as well as the self-written solo show Kitchen of Truth at Yale Cabaret. She has acted in readings at the Eugene O'Neill Theater Center, Rattlestick Playwrights Theater, Fault Line Theatre, New York Theatre Workshop, Urban Stages, and Clubbed Thumb. She was featured on television in A League of Their Own for Amazon and in the short films Olive and Lynn and CRAM. She will next be seen in the feature film Music for the Requiem Mass. Madeline is a graduate of Williams College and earned her MFA at Yale School of Drama, where she was the recipient of the Herschel Williams Prize for an Actor with Outstanding Ability.
Max Jackson began acting professionally in Washington, DC at age 11 in To Hell and Back at Active Cultures Theatre, going on to spend his teen years appearing in shows such as Henry IV, Part 2 with Shakespeare Theatre Company; The Full Monty at The Keegan Theatre; A Christmas Carol at Ford's Theatre; The Water Engine at Spooky Action Theater; Jonkonnu at Howard University; as well as Arcadia and The Rocky Horror Show at Central Square Theater in Cambridge, Massachusetts. He trained as an actor in London, graduating from the Royal Academy of Dramatic Art in summer 2022, where he appeared professionally the following spring in Company.
Hunter Hoffman is an actor and musician born and raised in the DMV and currently based in Sacramento, California. Love, Love, Love marks his debut at Studio Theatre. Broadway credits include Sweat and the most recent tour of Oklahoma! Off Broadway credits include Troilus and Cressida at The Public Theater’s Shakespeare in the Park. Select regional credits include Sweat with the Public Theater’s Mobile Unit National Tour; Jump, The Last Wide Open, and Insertion at B Street Theatre; Clarkston at Boise Contemporary Theater; and Shakespeare in Love at New Stage Theatre. Hunter holds a B.A. in Theatre from Principia College and is a graduate of The Neighborhood Playhouse School of the Theatre. On social media @thelostwayne (Instagram). hunter-hoffman.com
Samuel Richie is making his Studio Theatre debut. Regional credits include A Christmas Carol and Henry V at the Chesapeake Shakespeare Company and Cymbeline, Romeo & Juliet, and Man and Superman at Shakespeare Theater Company's Academy. Other credits include Macbeth at Rapid Descent Theater and Henry VI and The Tempest at Do it Live! Sam holds an MFA in classical acting from the Shakespeare Theater Company and frequently studies stage combat with the Society of American Fight Directors. www.samuelrichie.com
Patricia Hurley is an actor and educator raised overseas, and now based in Washington, D.C. Local and regional credits include Mary Poppins, A Comedy of Tenors, Misalliance, Camelot, Triumph of Love, Doubt, Elf The Musical, Sweeney Todd, Peter Pan, Fiddler on the Roof, The Heiress (Olney Theatre Center); Nate the Great; The Lion, the Witch, and the Wardrobe; Seussical; One Hundred Dresses (Imagination Stage); Quilters (1st Stage); The 39 Steps (Constellation Theatre Company); The Spitfire Grill (Fulton Theatre, PA); Merrily We Roll Along (Signature Theatre). Lady Windermere’s Fan (Shakespeare Theatre Company). TV credits include Three Women (Starz). Patricia is a graduate of The Catholic University's Music Theatre program at the Benjamin T. Rome.
Ashton Fortune is a New York City-based actor with a split upbringing between small-town Texas and the DMV. She graduated from The University of Texas at Austin with a Bachelor of Arts in Theatre & Dance, where she premiered lead roles in four new plays. Favorite credits include Amy in Dry Land. DC credits include Crystal in The Texas Homecoming Revolution of 1995 with Best Medicine Rep. She has workshopped plays with Studio Theatre, The National New Play Network, Breaking & Entering Theatre Collective, The Kennedy Center, The Cohen New Works Festival, and UTNT.
Bowen Fox is an actor and educator based in D.C. previously seen at Studio working on John Proctor is the Villain. Other regional credits include Holiday at Arena Stage, Jane Anger and The Merchant of Venice at Shakespeare Theatre Company (STC), Sweat at The Keegan Theatre, and Hedda Gabler and Much Ado About Nothing at STC Academy. He holds an MFA from the STC Academy at George Washington University and a BFA from SCAD.
Alexander Woodward is a New York-based multi-hyphenate designer, organizer, and artist focused in scenic and costume design for live performance in theatre, opera, and dance. They previously designed the set for Studio’s production of White Noise. Broadway credits include the premiere of The Sound Inside. Regional credits include the ballet Their Eyes Were Watching God at Collage Dance Collective. In addition to their design work, Alexander is a co-founder of "In The Wings: a Design & Tech Showcase" for young artists at the Williamstown Theatre Festival and serves as the Area Head of the BFA & MFA Design and Technical Theatre program at the University of Connecticut. As a designer and educator, Alexander is an avid proponent for advancing arts advocacy, exploring all aspects of our medium as a form for social change and a tool to shape the environment around us. In recent years, Alexander has served on the executive board for Wingspace, a non-profit organization that promotes conversation on design, our community, and furthers activism within the industry. MFA Yale School of Drama, United Scenic Artists Local 829. On social media @alexanderwoodwarddesign (Instagram). alexanderwoodward.com
Montana Levi Blanco made his Broadway debut in 2022 with The Skin of Our Teeth and A Strange Loop, the former earning him a Tony Award. His designs have appeared Off Broadway at the Public Theater, Lincoln Center Theater, Soho Rep, Signature Theatre, Playwrights Horizons, Theatre for a New Audience, Atlantic Theater Company, Roundabout Theatre Company, and the Shed; regionally at the Guthrie Theater, Berkeley Repertory Theatre, Goodman Theatre, Woolly Mammoth Theatre Company, and Yale Rep. Montana has also designed for Opera, including works at the Metropolitan Opera, Houston Grand Opera, Minnesota Opera, and the Glimmerglass Festival. In addition to a Tony Award, he is the recipient of a Sam Norkin Special Drama Desk, a Lucille Lortel, two Obies, and two Henry Hewes Design Awards. Montana is a graduate of Oberlin College and Conservatory of Music, Brown University and the Yale School of Drama. montanaleviblanco.com
Cha See is a lighting designer from Manila, Philippines and based in NYC. She is a Drama Desk, Lucille Lortel, and Obie Award grantee. Off-Broadway credits include You Will Get Sick at Roundabout Theatre Company; The Seagull/Woodstock, NY and one in two at The New Group; Wet Brain at Playwrights Horizons; The Fever and Lucy at Audible Theater; Exception to the Rule at Roundabout Underground; What to Send Up When It Goes Down at Playwrights Horizons/Brooklyn Academy of Music (BAM); soft at MCC; and As You Like It at La Jolla Playhouse, among others. Cha's designs will soon be featured in Babbitt at La Jolla Playhouse, Becoming A Man at American Repertory Theater, and Is It Thursday Yet? at the Perelman Center. Cha received her MFA from NYU Tisch. Seelightingdesign.com
Matthew M. Nielson returns to Studio, where his design and composition credits include Hand to God, Clyde’s, The Remains, MotherStruck, The Real Thing, and Venus in Fur. DMV-area credits include Arena Stage, Ford’s Theatre, the Kennedy Center, Woolly Mammoth Theatre Company, Signature Theatre, Olney Theatre Center, Theater Alliance, Contemporary American Theater Festival, and The Smithsonian. Off Broadway credits include The Public Theater, Lincoln Center Theater, and 59E59 Theaters. Regional credits include Guthrie Theater, Denver Center for the Performing Arts, Cincinnati Playhouse, Milwaukee Rep, Portland Center Stage, Actors Theatre of Louisville, Philadelphia Theatre Company, and Barrington Stage Company. Film credits include Those Who Wait, Elbow Grease, and From Hell to Here, with TV/commercial credits including The Hero Effect on OWN and other work for the Discovery Channel, National Geographic, and Delivery.com. Matthew has received several Helen Hayes, regional theatre, and film festival awards for his sound design and composition work. curiousmusic.com
Lisa Beley is a voice actor and vocal/text/dialect specialist. She returns to Studio after serving as dialect coach for Espejos: Clean earlier this season. She is Head of Voice and Text at the Shakespeare Theatre Company (STC) and full-time faculty with the company’s MFA Academy at George Washington University. Her credits at the Shakespeare Theatre Company include King Lear, Much Ado About Nothing, Our Town, Hamlet, The Oresteia, and Richard III. Her film and television credits include The Good Doctor on ABC, Bates Motel on A&E, Alcatraz on FOX, and Supernatural on the WB. As a voice-over artist Lisa can be heard in several series, features, and commercials. Select animation series include: Inhumans, Exosquad, Iron Man: Armored Adventures, Mobile Suit Gundam 00: A Wakening of the Trailblazer, and Death Note.
Amy Kellet (she/her) is a freelance props designer; she is also a puppeteer, puppet builder, and scenic charge. Regional credits include Fun Home and The Hot Wing King at Studio Theatre; Incendiary at Woolly Mammoth Theatre Company; Look Both Ways, a co-production between Theater Alliance and the Kennedy Center; Falsettos and Things That Are Round at Rep Stage; Do You Feel Anger?, The Blackest Battle, and Day of Absence at Theater Alliance; The Mamalogues at 1st Stage; Moon Man Walk, Orlando, and Once On This Island at Constellation Theatre Company; An Act of God at NextStop Theatre Company; Dreamgirls and Rent at ArtsCentric; Visions of Love, Rite of Spring, Don Cristobal, and King Ubu at Pointless Theatre Company; Príncipe y Príncipe and Que Las Hay, Las Hay at Gala Hispanic Theatre; The Burn, The Late Wedding, and Peekaboo! at The Hub Theatre; The Three Musketeers and A Tale of Two Cities at Synetic Theater; and Young Playwrights Festival 2022 (set and props) at Baltimore Center Stage.
Adrien-Alice Hansel (she/her) is the Literary Director at Studio, where she has dramaturged the world premieres of Good Bones, John Proctor is the Villain, I Hate it Here, Queen of Basel, No Sisters, I Wanna Fucking Tear You Apart, Red Speedo, Dirt, Lungs, and The History of Kisses, among others, as well as productions of Fat Ham, Fun Home, Clyde's, English, Heroes of the Fourth Turning, The Hot Wing King, Flow, Until the Flood, 2.5 Minute Ride, Translations, Curve of Departure, Wig Out!, Straight White Men, Hedda Gabler, Jumpers for Goalposts, Bad Jews (twice), The Apple Family Cycle, 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 12 editions of plays through Studio. Adrien-Alice holds an MFA from the Yale School of Drama.
Leigh Robinette previously worked at Studio Theatre on English. Off Broadway: Dear Evan Hansen. DC credits include The Winter’s Tale and A Midsummer Night’s Dream with Folger Theatre; Incendiary, There’s Always the Hudson, Describe the Night, Gloria, Botticelli in the Fire, Familiar, The Arsonists, and An Octoroon at Woolly Mammoth Theatre Company; Angels in America, Part one: Millennium Approaches, Holiday, Change Agent, The Originalist, Dear Evan Hansen, Fiddler on the Roof, and Mother Courage and Her Children at Arena Stage; Love Sick and The Jewish Queen Lear with Theater J; and The Second City's Love, Factually at The Kennedy Center. She has also worked with Capital Concerts, Live Nation, the Huntington Theatre Company in Boston, and the Hangar Theatre in Ithaca, NY. She is a graduate of Boston University.
Kate Murray, CSA Studio credits include People, Places &Things; Pipeline; Kings; and The Hard Problem. Kate is a Casting Director at The Public Theater/New York Shakespeare Festival in New York City. Broadway credits include Suffs (upcoming); Fat Ham; Ain't No Mo'; for colored girls who have considered suicide/when the rainbow is enuf; The Crucible; and A View From the Bridge. Additional selected credits include work with Arena Stage, BAFTA, Baltimore Center Stage, Bedlam, Center Theatre Group, Cherry Lane Theatre, Hudson Valley Shakespeare Festival, New Georges, TheaterWorks Hartford, and Two River Theater.
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