Arena Stage The Mead Center for American Theater MY ACCOUNT
Part of the Lillian Hellman Festival The Little Foxes
Event Calendar

The Little Foxes

By Lillian Hellman
Directed by Kyle Donnelly

September 23 — October 30, 2016
Kreeger Theater

Starring Emmy Award winner Marg Helgenberger

There are people who eat and there are those who get eaten. First in line to be served is Regina Giddens, clawing her way to wealth with her equally calculating brothers. When their plan to control the local cotton mill is thwarted, they'll turn to ever more devious schemes, even as it further divides their family. Starring Emmy winner Marg Helgenberger (CSI: Crime Scene Investigation), Lillian Hellman's classic tale of greed, betrayal and all the sordid ties that bind takes sibling rivalry to unimaginable heights and reveals how far a ruthless family can bend the rules before they break each other.

Attention Apple users: Click here to update Safari

The Hellman Festival is generously sponsored by Beth Newburger Schwartz.


KIM JAMES BEY (Addie) returns to Arena Stage from earlier productions of The Cherry Orchard (dir: Lucian Pintilie) and Six Characters in Search of an Author (dir: Liviu Ciulei). She was an understudy role in Lloyd Richards’ Joe Turner’s Come and Gone (Arena Stage) and in The Glass Menagerie with the late Ruby Dee. A regular at Center Stage in Baltimore, Kim recently appeared as Auntie Fola in Beneatha’s Place. New York credits include Zooman and the Sign (Second Stage Theatre), Salt (Actor’s Free Studio) and The American Plan (John Houseman). Regional credits include Delaware Theatre Company, Repertory Theatre of St. Louis, Cincinnati Playhouse in the Park, Cleveland Play House and McCarter Theatre. She also appeared in PBS’ The Raisin Cycle. Kim is a Professor and Chairperson of Howard University’s Department of Theatre Arts.

EDWARD GERO (Benjamin Hubbard)’s Arena Stage credits include Antonin Scalia in The Originalist and Mark Rothko in Red. He is a four-time Helen Hayes winner and 15-time nominee. Regional credits include Red and Gloucester in King Lear (Goodman); Papa/Sims in The Nether (Woolly Mammoth); Tommy in The Night Alive (Round House); the title role of Sweeney Todd (Signature Theatre); Scrooge in A Christmas Carol (Ford’s Theatre); American Buffalo, Shining City and Skylight (Helen Hayes Award, Studio Theatre). In 32 seasons with Shakespeare Theatre Company, over 70 roles include Helen Hayes-winning turns in Henry IV, Richard II and Macbeth. Film/TV credits include House of Cards, TURN: Washington’s Spies, Die Hard 2, Striking Distance and narrations for Discovery Channel and PBS. He is a Ten Chimneys 2015 Lunt-Fontanne Fellow and associate professor of theater at George Mason University.

MEGAN GRAVES (Alexandra Giddens) is thrilled to be appearing at Arena Stage for the first time. Previous D.C. credits include A Midsummer Night’s Dream at the Folger Theatre; Passion Play and Clementine in the Lower 9 with Forum Theatre; Wild Sky at Solas Nua; The BFG (Helen Hayes Award) and Inside Out (among others) at Imagination Stage; and One Man, Two Guvnors and The Cripple of Inishmaan at 1st Stage Theatre. Regionally, Megan has appeared in Peter and the Starcatcher at Virginia Repertory Theatre and in Two Gentlemen of Verona with the Virginia Shakespeare Festival. She received her BFA in Theatre from Shenandoah Conservatory.

MARG HELGENBERGER (Regina Giddens) is an Emmy Award winner and Golden Globe nominee. Her television credits include CBS’s recent Under the Dome and Intelligence, and 12 seasons as Catherine Willows on CSI: Crime Scene Investigation. Her breakout role as K.C. on China Beach won her an Emmy Award in 1990. On stage, Marg appeared in the 2013 off-Broadway revival of The Exonerated and more recently in The Other Place (Barrington Stage Company). Her feature film roles include Erin Brockovich, Mr. Brooks, In Good Company, Species and Always, in addition to numerous made-for-television movies. Marg is a graduate of Northwestern University and currently resides in Los Angeles. She is an ambassador for the Race to Erase MS and Stand Up To Cancer foundations.

ISABEL KEATING (Birdie Hubbard) garnered a Tony Award nomination and won the Drama Desk award for The Boy from Oz on Broadway. She also starred on Broadway in Hairspray, Enchanted April, Spider-Man and Terrence McNally’s It’s Only A Play. Off-Broadway credits include Primary Stages, Atlantic and Rattlestick. In Washington, Isabel won the Helen Hayes Award for Tom Stoppard’s Indian Ink, directed by Joy Zinoman at Studio Theatre, where she began, appearing in The Rise and Fall of Little Voice and many others. Regional credits include Old Globe, Hartford Stage, Long Wharf and Williamstown. Television guest spots include The Path, Law & Order: Criminal Intent and voicing the Emmy Award-winning Judy Garland: By Myself. Among her films are James Schamus’s just-released, acclaimed Indignation and The Nanny Diaries.

GREGORY LININGTON (Oscar Hubbard) last appeared at Arena Stage in Equivocation (world-premiere co-production with Seattle Repertory and Oregon Shakespeare Festival). D.C. credits include The Taming of the Shrew, Othello, A Midsummer Night’s Dream, The Tempest and Tartuffe (Shakespeare Theatre Company); The Night Alive (Round House); and Welcome Home, Jenny Sutter (Kennedy Center). New York credits include Throne of Blood (Brooklyn Academy of Music) and The Unfortunates (Joe’s Pub). Regional credits include Shakespeare Center of Los Angeles, Center Theatre Group, PCPA and Yale Repertory. Gregory was a company member at Oregon Shakespeare Festival (12 years) and Misery Loves Company in Prague (five years). Film/TV credits include Innocent Sleep, Harrison’s Flowers, Grey’s Anatomy, Shameless and The West Wing. He currently teaches at Shakespeare Theatre Company and is an adjunct professor at Georgetown University.

STANTON NASH (Leo Hubbard) last appeared in the D.C. area as Mozart in Amadeus (Center Stage). He has performed around the country, acting at Ensemble Studio Theatre, Denver Center, McCarter Theatre, Steppenwolf Theatre Company, Twin Cities Theater Company, Georgia Shakespeare and in the Chicago company of Wicked. He is a graduate of the University of Minnesota/Guthrie Theater B.F.A. Actor Training Program.

DAVID EMERSON TONEY (Cal) returned to Arena Stage last season in All the Way, after beginning his career here nearly 40 years ago, with more than 35 productions. Broadway credits include Julie Taymor’s Juan Darien and A Free Man of Color, directed by George C. Wolfe. Regional credits include Lucio in Measure for Measure (Folger Theatre); The Persians and Othello (Shakespeare Theatre Company); Jacques in As You Like It (Utah Shakespeare Festival); Splash Hatch on the E Going Down (Yale Repertory Theatre); and the Fool in King Lear and West in Two Trains Running (Kansas City Repertory Theatre). In 2005 he received the Helen Hayes Award for Outstanding Supporting Actor for Two Trains Running (African Continuum Theatre Company). David is the Artistic Director of the Department of Theatre at the VCU School of the Arts, in Richmond, VA.

JAMES WHALEN (William Marshall / Fight Captain) is happy to make his debut at Arena Stage in The Little Foxes. He was most recently seen in After the War with The Mosaic Theater Company. Some recent area credits include The Sisters Rosensweig at Theater J, NSFW at Roundhouse Theatre, Colossal at Olney Theatre Center, Boeing-Boeing at Rep Stage, Ghosts at Everyman Theatre and Shear Madness at The Kennedy Center, as well as Dracula for Actors Theatre of Louisville. Film/TV credits include A Beautiful Mind, Veep and I Love You... but I Lied.

JACK WILLIS (Horace Giddens)’ Arena Stage credits include All the Way, Sweat, Mother Courage and Her Children, Book of Days, Of Mice and Men and Agamemnon and His Daughters. Broadway credits include Julius Caesar, The Crucible, Art and The Old Neighborhood. Off-Broadway credits include The Resistible Rise of Arturo Ui, World of Mirth, The Iphigenia Cycle and Valhalla. He has appeared in more than 200 productions worldwide and been a company member at Oregon Shakespeare Festival, American Conservatory Theater, American Repertory Theater, Trinity Repertory Company and Dallas Theater Center. Film/ TV credits include Toy Story 3, The Talented Mr. Ripley, The Cradle Will Rock, The Out-of- Towners, Love Hurts, I Come in Peace, Problem Child, Law & Order, Ed and Dallas.


LILLIAN HELLMAN (Playwright) was an American dramatist and screenwriter. Broadway credits include Watch on the Rhine, The Autumn Garden, Toys in the Attic, Another Part of the Forest, The Children’s Hour and The Little Foxes. Her screenplay adaptation of The Little Foxes, starring Bette Davis, received an Academy Award nomination in 1942. Her honors include two New York Drama Critics Circle Awards; a Gold Medal for Distinguished Achievement in the Theater from the Academy of Arts and Letters; and a National Book Award for An Unfinished Woman. As a teacher and scholar she was well-respected, and her political involvement was integral in the fight against fascism at home and abroad. Lillian will be remembered not only as an activist, playwright and memoirist, but as a woman who could overcome the hurdles of her time and succeed on her own terms.

KYLE DONNELLY (Director)’s Arena Stage credits include All the Way; Other Desert Cities; Ah, Wilderness!; Well; The Women; Born Yesterday; She Loves Me; Polk County (Helen Hayes Award for Best Musical); Dancing at Lughnasa (Helen Hayes Award for Best Production); Misalliance; Tom Walker; Shakespeare in Hollywood; Lovers and Executioners; Summer and Smoke; and School for Wives, as well as being associate artistic director. Additional credits include Seattle Repertory, Steppenwolf, Huntington, Goodman, Williamstown Theatre Festival, Berkeley Repertory, McCarter, Eugene O’Neill Theater Center, Cape Cod Theatre Project, The Old Globe, American Conservatory Theater, Studio Theatre, Humana Festival and Alliance Theatre and Roundabout. Awards include TCG’s Alan Schneider Director Award. Kyle is the head of the M.F.A. professional actor training program at the University of California, San Diego.

MIKIKO SUZUKI MACADAMS (Set Designer)’s work has been seen off-Broadway at Epic Theatre Ensemble, INTAR Theatre, Ensemble Studio Theatre, Working Theater and NAATC. Regional credits include Opera Theatre of Saint Louis, the Old Globe, Seattle Repertory Theatre, Oregon Shakespeare Festival, Syracuse Stage, Long Wharf Theatre, Actors Theatre of Louisville, Cornerstone Theater Company, Intiman Theatre, Cincinnati Playhouse in the Park, Yale Repertory Theatre and The Public Theater’s Under the Radar Festival, among others. International work has been seen at Aichi Triennale, Kanagawa Prefectural Hall, Nissei Theatre, Nikikai Opera Theatre and Tokyo Metropolitan Theatre. As an associate scenic designer, her Broadway credits include Fiddler on the Roof, The King and I, The Bridges of Madison County, Golden Boy and more.

JESS GOLDSTEIN (Costume Designer)’s Arena Stage credits include Baskerville and Tintypes. Broadway and New York credits include On the Town; Jersey Boys; Newsies; Proof; How I Learned to Drive; Take Me Out; Love! Valour! Compassion!; and Buried Child. He received a 2005 Tony Award for The Rivals and Tony nominations for Henry IV and The Merchant of Venice. Jess also designs opera, most notably Il Trittico (Metropolitan Opera), and his film designs include Tony Goldwyn’s A Walk on the Moon. He is a graduate of the Yale School of Drama, and has taught costume design there since 1990. He was the 2012 winner of the Michael Merritt Award for Excellence in Design and Collaboration, and 2015 recipient of the Irene Sharaff Award for Lifetime Achievement.

NANCY SCHERTLER (Lighting Designer) began her career as an intern at Arena Stage 40 years ago. Arena has provided her with the opportunity to learn from and design for some of the finest directors, including Zelda Fichandler, Liviu Ciulei, Kyle Donnelly, Garland Wright, Douglas C. Wager and Molly Smith. Broadway productions include Bill Irwin’s Fool Moon and Largely New York (Tony Award nomination). Off-Broadway designs include Hilda, Texts for Nothing and The Regard Evening. She has designed for regional theaters across the country, including the American Conservatory Theatre, La Jolla Playhouse, The McCarter Theatre, Portland Center Stage and Seattle Repertory Theatre. World-premiere opera productions include The Difficulty of Crossing a Field, commissioned by The American Conservatory Theatre, and Shadowboxer, Clara and Later the Same Evening, commissioned by the University of Maryland Opera Studio.

RYAN RUMERY (Original Composition and Sound Designer) is a musician, composer and producer. His music is featured in the films How to Let Go of the World (Sundance 2016, HBO); City of Gold (Sundance and SXSW 2015, IFC/Sundance Selects); and And, Apart. Recent theatrical scores include the Pulitzer Prize-winning Between Riverside and Crazy (Atlantic/ Second Stage) and Fool For Love (Broadway). As a drummer, he performs with the Obie Award-winning The Secret City, Jeremy Bass and Big Weather. Rumery was Sound Consultant for Sufjan Stevens’ Round-Up at the Barbican and Edinburgh International Festival. He recently produced two albums for Jeremy Bass: Winter Bare and New York in Spring; the title track from the latter album won the John Lennon Songwriting Prize. Additional albums include his own, Riverside, Outside Mullinger, 4000 Miles and Ivanov.

ANNE NESMITH (Wig Designer) is pleased to return to Arena Stage, where her design credits include All the Way, Oliver!, Destiny of Desire, Fiddler on the Roof, Mother Courage and Her Children, Guess Who’s Coming to Dinner, Other Desert Cities and The Music Man. Her recent work includes La Cage aux Folles (Signature Theatre); La Boheme and L’Opera Seria at Wolftrap Opera; and Cosi fan tutte (Nishinomiya, Japan) and 110 in the Shade (Ford’s Theatre). Her designs have been seen at the Kennedy Center, Opera Philadelphia, Shakespeare Theatre Company, Washington Ballet and Saito Kinen Festival in Matsumoto, Japan. Anne was the resident wig/makeup designer for the Baltimore Opera and has created wigs for Smithsonian National Portrait Gallery programs, Investigation Discovery’s Ice Cold Killers, Maryland Public Television and the U.S. Army’s tour Spirit of America.

JOE ISENBERG (Fight Director)’s choreography credits include productions at Bard Summerscape 2016, Washington National Opera, the Kennedy Center Theatre For Young Audiences, Woolly Mammoth Theatre Company, Round House Theatre, Studio Theatre, Signature Theatre, Theatre J, Humana Festival 2011 and 2012, Florida Stage and InterAct Theatre. He assisted at Folger Theatre, Actors Theatre of Louisville, Alabama Shakespeare Festival and The Metropolitan Opera. Joe has been a guest teacher at The University of North Carolina School of the Arts, Howard University, Georgetown University and The Duke Ellington School of the Arts. Awards include the 2013 Helen Hayes Award for Outstanding Choreography, Society of American Fight Directors 2010 Swashbuckler of the Year Award and Kennedy Center/Keenan Fund for the Arts, Fight Choreographer in Residence for 2010-11. Joe is a graduate of the North Carolina School of the Arts School of Drama.

MARY COY (Dialect Coach)’s Arena Stage credits include All the Way and Destiny of Desire. She has also coached voice and dialects at Ford’s Theatre (The Guard), Round House (NSFW, Night Alive) and Signature Theatre (The Flick). Teaching credits include Shakespeare & Company, NYU’s Tisch School of the Arts, University of Mississippi, Virginia Commonwealth University, Syracuse University and Randolph-Macon Woman’s College. She currently teaches at the University of Maryland.

GEOFF JOSSELSON (New York Casting)’s previous Arena Stage credits include Disgraced, All the Way, Oliver!, The Blood Quilt, King Hedley II, Fiddler on the Roof, The Shoplifters, Camp David and The Velocity of Autumn. Broadway and Off-Broadway productions include The Velocity of Autumn; Southern Comfort; Yank!; Enter Laughing; Pretty Filthy; John and Jen, Himself and Nora; and Altar Boyz. Also productions for Actors Theatre of Louisville, Barrington Stage Company, Bay Street Theatre, Brooklyn Academy of Music, Cleveland Play House, Denver Center, Marriott Theatre, North Shore Music Theatre, Old Globe, Oregon Shakespeare Festival, The Public Theatre, San Francisco Symphony, Sharon Playhouse and the York Theatre Company. In addition to his independent casting office, Geoff teaches master classes around the country and is on faculty at CAP21.

CHRISTI B. SPANN (Stage Manager) returns to Arena after serving as Stage Manager for Love in Afghanistan, and ASM on Smokey Joe’s Café, Good People; My Fair Lady; You, Nero; and Ah, Wilderness! Other D.C. credits include The Bard’s Broadway and Merry Wives of Windsor with the Shakespeare Theatre Company. Christi spent 12 seasons on the stage management staff at the Denver Center Theatre Company, and four summer seasons with The Great River Shakespeare Festival.

KRISTEN MARY HARRIS (Assistant Stage Manager) is thrilled to be part of this production at Arena Stage. Favorite Arena Stage credits include Disgraced, The Blood Quilt, Fiddler on the Roof, Mother Courage and Her Children, Red, The Normal Heart and Oklahoma! (Helen Hayes Award). Additional D.C. credits include Road Show, The Threepenny Opera, Miss Saigon, and the world premieres of Kid Victory and Crossing (Signature Theatre) and A Christmas Carol (Ford’s Theatre). Kristen holds a B.F.A. in theater production from the University of Arizona.

Photo Gallery

An Interview with The Little Foxes Director, Kyle Donnelly

Kyle Donnelly has directed a wide variety of shows at Arena and formerly served as Associate Artistic Director. We are thrilled to welcome her back for The Little Foxes.

What attracts you to The Little Foxes and why do you think this play is necessary today?

With the volatile political situation in this country right now and the continuing rise of the wealthy 1% to the detriment of the rest of the 99% of the population, The Little Foxes comes along and demonstrates the 19th century roots of this kind of behavior in America. The Hubbards will do anything to ensure they become members of the 1%, the rest be damned. It is a cautionary tale for us all.

You’ve done a tremendous amount of research on Lillian Hellman and this play. Can you share some of the insight you’ve uncovered?

Research is one of my favorite parts of directing. I do what is satisfying to me regarding the history, time period and behavior of the characters in the play. My research on this play, other than usual historical research and study of the playwright, involved Henry James. I instinctually felt that Hellman was influenced by that great writer, and so I began to investigate. Probably the most influential on me was the film, The Innocents, an adaptation of James’ Turn of the Screw. It is very atmospheric and spooky and melodramatic. I felt this tone, this view of the world, fit with my ideas about the production.

Can you talk a little about the inspiration for the scenic design?

The Turn of the Screw was very inspirational for the design. Although you think you can hide in a beautiful, lush house, the forces of nature outside will make their way in. That sounds like a horror movie, doesn’t it? Not by accident.

You have a long history with Arena Stage. What do you think distinguishes the work at Arena Stage?

Arena Stage is an artistic home for me and I always welcome coming back. Zelda Fichandler created a wonder and I will always be grateful for her inspiration and dedication. This is my first time in the Kreeger in a very, very long time since I work mostly in the Fichandler, and I’m excited about that. Arena has the best craftsmen in American theatre and thus the production values are exemplary which is always satisfying. And due to Arena’s stature in American regional theatre they can attract great talent to work there. And the audiences are so smart. I knew when I did All the Way last year they would get the play more than any other audience, and I was right!

In addition to being a prolific nationally-recognized director, you are on the Acting Faculty of the MFA program at University of California San Diego. Does your directing work inform your teaching work, and vice versa? If so, how?

While I don’t "teach" when I am directing — they are really very different things — what teaching has afforded me is a great appreciation and respect for actors and the process they go through to create a role. I’m very lucky to teach in a program that not only allows, but insists we keep our professional lives vibrant. Thus we can bring back to the classroom those experiences that we acquire on the road. I am also able to try out material with my acting students whether through readings, workshops or scene work and understand material more than words on a page.


Post-Show Discussions
October 11 at 7:30 p.m.
October 12 at 12:00 p.m.
October 18 at 12:00 p.m.
October 26 at 12:00 p.m.
October 27 at 8:00 p.m.


Audio Described

Saturday, October 8 at 2:00 p.m.
Saturday, October 15 at 2:00 p.m.

Open Captioned

Wednesday, October 19 at 7:30 p.m.
Thursday, October 20 at 8:00 p.m.
Saturday, October 22 at 2:00 p.m.

The Little Foxes runs approximately two and a half hours including two intermissions. This production contains strong language and effects including electronic and herbal cigarette smoking.

The Little Foxes illustration by Sam Spratt.