AGPA in New Orleans

RWTG will present the play Becky Shaw, by Gina Gionfriddo, at the AGPA Annual Meeting in New Orleans on Saturday morning, March 2, 2013 as an Open Session. Following the reading there will be a debriefing of the actors and then a moderated discussion with the audience of training and practicing group therapists.

The cast features Red Well members Rosemary Segalla and Rob Williams along with guest artists Kavita Avula, Liz Marsh and Yavar Moghimi. The understudy for the roles of Suzanna and Becky is Barbara Keezell, PhD from Boston, MA. The leadership team includes co-directors Bob Schulte and John Dluhy and discussion facilitators Mary Dluhy and Molly Donovan.

“In Gina Gionfriddo’s Becky Shaw, a newlywed couple fixes up two romantically challenged friends: wife’s best friend meets husband’s sexy and strange new co-worker. When an evening intended to bring happiness takes a dark turn, crisis and comedy ensue in this wickedly funny play that asks: What do we owe the people we love and the strangers who land on our doorstep” (Dramatists Play Service).

From a contemporary relational perspective, the play illuminates a fundamental truth about intimate life, as framed by Stephen Mitchell, PhD:

“The central dynamic struggle throughout life is between the powerful need to establish, maintain and protect intimate bonds with others and various efforts to escape the pains and dangers of those bonds—the sense of vulnerability, the threat of disappointment, engulfment, exploitation and loss” (1988).

Becky Shaw is distinctive for its complex characterizations, insight into contemporary challenges to finding love and for its appreciation of our universal need for mutual recognition and self acceptance. 
Rehearsals begin January 6, 2013. The actors will be keeping a blog diary of their preparations for the upcoming event. Stay tuned!
Bob Schulte


The RWTG presented a workshop titled, Civilized Savages: Using Theater and Group Process to Illuminate Dynamics of Conflict at the 35th Annual International Conference of the Self on October 18, 2012 in Washington, D.C.

Our workshop was designed to explore the conference-related question: How do we reconcile our desire for self-autonomy with the sense of embedded-ness in a relational world? Our format featured a dramatic reading of the play God of Carnage by Yasmina Reza, followed by an audience discussion.

God of Carnage is a dark comedy about two families struggling to balance self-interest and family loyalties with concern-for-the-other. The play dramatizes a meeting between two sets of parents, Michael and Veronica Novak, and Annette and Alan Raleigh. They have come together to address an act of violence that has occurred between their eleven-year-old sons earlier in the week. The Raleigh’s son Benjamin hit the Novak’s son Henry, with a stick, breaking two of his teeth. The parents of the two boys search for a mutually agreeable way to resolve the situation.

A post-performance debriefing allowed the actors an opportunity to reflect on their subjective experience of self-as-actor-in-character. A moderated audience discussion followed, exploring the play’s central themes of civility and savagery within and between committed couples, the intergenerational transmission of values to offspring and the search for authentic encounters in contemporary societies.

The reading featured Mary and John Dluhy as Veronica and Michael Novak and Liz Marsh and Rob Williams as Annette and Alan Raleigh. Molly Donovan was the workshop discussion facilitator. Bob Schulte directed the reading. Also in attendance were RWTG colleagues Kavita Avula, Maryetta Andrews-Sachs and Yavar Moghimi.

This workshop completed the 2012 season of RWTG performances of God of Carnage. RWTG performed the play at the AGPA Annual Meeting in New York, the Division 39 Annual Meeting in Santa Fe, the International Group Psychotherapy and Group Process Conference in Cartagena, Columbia and the Annual International Conference of the Self in Washington, D.C.

Thanks to all the RWTG members and guest artists for their contributions of time, talent and collaboration during the 2012 season.

Our 2013 season begins with an Open Session at the AGPA 2013 Annual Meeting in New Orleans. We will present the play Becky Shaw by Gina Gionfriddo. The acting ensemble includes Kavita Avula, Liz Marsh, Yavar Moghimi, Rosemary Segalla and Rob Williams. John Dluhy and Bob Schulte will co-direct the reading. Mary Dluhy and Molly Donovan will facilitate the actor debriefing and audience discussion.

What Rules Y/Our World?

The XVIII Congress of the International Association for Group Psychotherapy and Group Processes (IAGP) was held in Cartagena, Columbia from July 16-21, 2012.  The theme “Between Worlds and Cultures: Social Transformation” recognized the dynamic interplay of many cultures in the social transformations of the 21stcentury. Cartagena de Indias, one of the oldest cities in the Western Hemisphere, is also known as the Heroic City and the Pearl of the Caribbean. The city is a symbol of diversity and multi-cultural influence.


The Red Well Theater Group was pleased to present a dramatic reading of God of Carnage, by Yasmina Reza, translated by Christopher Hampton. An audience discussion followed. The cast included John Dluhy, Mary Dluhy, Rosemary Segalla and Rob Williams. Bob Schulte directed the reading.

Our introduction to the workshop quoted from an article in the current issue of GROUP, titled Philosophy of Life: J.L. Moreno’s Revolutionary Philosophical Underpinnings of Psychodrama and Group Therapy by Peter Howie:

“Moreno believed that spontaneity and creativity are the propelling forces in human progress… that love and mutual sharing are powerful, indispensible working principles in group life.  It is imperative to have faith in our fellow man’s intentions, a faith that transcends mere obedience arising from physical and legalistic coercion… and that a super-dynamic community based upon these two principles can be brought to realization through mutual encounter and engagement.”
Moreno’s ideals are put to the test in God of Carnage, a dark comedy about two families struggling to balance self-interest with concern-for-the-other.  The play dramatizes a meeting between two couples that have come together to address an act of violence that has occurred between their eleven-year-old sons.  From a geopolitical perspective, the play might also be viewed as a parable about nations responding to an act of “armed” aggression with a diplomatic overture in hopes of a peaceful resolution.

Our workshop was presented just hours after the Aurora, Colorado shootings had occurred back in America.  Scores were also killed and wounded on the streets of Damascus, Syria that day. These shocking headlines gave painful immediacy to the intersubjective question, “What rules y/our world?”

The audience was appreciative of the actors’ passionate portrayals of the characters and the discussion was engaging and insightful.  The dramatic tension between retaliatory aggression and empathy as alternative pathways to conflict resolution emerged quickly as a central theme.  The difficulty of being understood and recognized when the atmosphere is one of mistrust and fear was thoughtfully explored as relevant to both our clinical work and broader efforts of reconciliation and community building around the world.
Upon returning home, we all took a moment to reflect on our experiences in Cartagena.
Something Old, Something New…
 “My trip to Cartagena started with me feeling anxious anticipation. Upon arrival, and beginning with a wild taxi ride to the hotel, this quickly turned into curiosity and pleasure. The old of Cartagena is magnificently represented by a walled city dating back to the sixteen hundreds.  The new is represented by an enormous development of high rises on the beach, much like Florida. I felt drawn into the past by the old city and pushed into the future by the rapidly evolving new city. I imagine the slaves building the great wall and I imagine the newly rich inhabiting the sparkling highrises. Meeting up with fellow group therapists, particularly colleagues from AGPA, was delightful. Being with Macario Giraldo in his native land was a special joy. The play was well received and I was rewarded with many compliments, especially about my capacity to accurately portray Annette’s vomiting. This was definitely a new acting challenge for me!

The Actor Prepares…

 “The first and second time I read the part of Michael Novak, (at previous conferences this year) I felt dysphoric at the curtain.  In Cartagena I spent more leisure time with the cast in what I call informal rehearsal, with me staying “in character” throughout.  The week of touring, the heat and the humidity, combined with meeting old friends—and at least one old enemy—all led the way to a deeper and more complex performance experience …I see this immersion experience as a new way of preparing for future performances.  I was glad to have spent the week in this foreign land in such an intimate way with my other cast members.  It was a singular adventure.”
Too Much Reality

 “In the week leading up to the performance, I was enjoying the life that my character, Alan, a high powered international attorney might have led. I spent the week on vacation at an exotic Caribbean location, learning to scuba dive.  I was rested, relaxed, and ready to go. However, my own God of Carnage intervened with a severe case of traveler’s diarrhea or perhaps food poisoning. While Rosemary was acting like she was vomiting, I was doing the real thing in my hotel room….a little too much reality. I am happy to have fully recovered, but have a real sense of loss in missing the workshop and not being there with my fellow actors. I look forward to the next workshop, when I can step into the role of Alan and bring him alive again.”


Hamsters Unite…

“When Rob got sick and I had to fill in at the last minute as lawyer Alan, I was filled with a curious mix of dread and excitement.  My experience helped me better understand a subplot of the play, one that concerns a pet hamster that is let out of its cage, abandoned curbside to fend for him self. Not quite sure if the hamster will be able navigate this unexpected, newfound freedom, the characters speculate wildly on the fate of the never-likely-to-be-heard-from-again hamster.  I could identify! Let out of my directors’ cage, I quickly joined with the other hamsters (actors, are after all, hams at heart!) and soon I felt the comfort and protection of our natural habitat, the stage. We ham-sters lived the truism, ‘the show must go on’, and I feel the wiser for it… I was relieved when Rob recovered quickly and I will be glad to see him back on the stage for the next performance of God of Carnage.”

Poetry in Emotion…

The heat and beauty of Cartagena …
Heat in our performance
Heat in the global issues
Heat on the beach and on the pavement
Beauty in the vibrant colors
Beauty in the people
Beauty in the music
And beauty and heat in the walled old city
Loved being in and with the heat and beauty of our group
Our next performance of God of Carnage will be Thursday morning, October 18, 2012 at the 35th Annual International Conference on the Psychology of the Self in Washington, D.C.  The conference theme, ‘Is Self an Illusion’ will be an interesting new vantage point from which to consider the characters and action of the play.  We hope you’ll consider joining us there.  To learn more about the conference, go to
Rob, John, Mary, Rosemary and Bob

The Leading Edge of Creativity

RWTG was the Invited Panel of Section VIII, (Couple and Family Therapy & Psychoanalysis), at the Spring Meeting of Division 39 (Psychoanalysis) of the American Psychological Association held in Santa Fe, New Mexico last April 15-21, 2012. The Meeting was titled, “The Leading Edge of Creativity”.

Members of RWTG presented a dramatic reading of the play God of Carnage, by Yasmina Reza, followed by an audience discussion. The presentation was titled, “When Diplomacy Fails and Couples Go Ballistic: A Theatrical Case Study”.

The acting ensemble included John Dluhy, Mary Dluhy, Molly Donovan and Barry Wepman. The reading was directed by Bob Schulte. Joyce Lowenstein, current President of Section VIII, was the discussion moderator.

The presentation offered this perspective on the use of theater to illustrate principles of couples and family therapy: “Presenting a theatrical case study has certain advantages. The ‘as if’ of the theater allows us to become emotionally engaged and intellectually curious, but without the burden of an actual therapeutic mandate. The discussion segment… invites the observer to contemplate what it might be like to encounter parents/spouses like those portrayed in the play, in an actual therapeutic situation. We aspire to discover something new with you–about our clinical work, our subjectivities and the cultures we co-create.”

We’re grateful to Section VIII Board of Directors and Joyce Lowenstein for the invitation and a terrific time in Santa Fe!

Robert Schulte