Recipient of the
2012 American Theatre Wing
National Theatre Company Award

In this tour de force by one of America’s most celebrated writers, the Bundren family travels through fire and water with a coffin strapped to a wooden wagon to fulfill their mother's dying wish to be buried in Jefferson, Mississippi. The story is told from several characters’ points of views revealing their secret motivations and complex relationships.

Produced through special arrangement with Lee Caplin
and the Literary Estate of William Faulkner

 

Matt Walley (Cash Bundren), David Greenwood (Anse Bundren),
Cynthia Meier (Addie Bundren) and Dylan Page (Dewey Dell Bundren)

Andrew Garrett (Vardaman Bundren), Dylan Page (Dewey Dell Bundren), David Greenwood (Anse Bundren),
Matt Bowdren (Darl Bundren), Julian Martinez (Ensemble), Matt Walley (Cash Bundren), Lee Rayment (Ensemble),
Christopher Johnson (Jewel Bundren), Phillip Bennett (Ensemble), Angela Horchem (Ensemble), Marissa Garcia (Ensemble),
and Leanné Whitewolf Charlton (Ensemble)

Photos by Tim Fuller

About the poster

 

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Press

Stage adaptation of Faulkner works well

Review of As I Lay Dying by Kathleen Allen in the November 10 Arizona Daily Star

As I Lay Dying is vividly alive

Review of As I Lay Dying by Chuck Graham on November 5 in Let The Show Begin! at TucsonStage.com

Intensity from page to stage
As I Lay Dying, rich with inner voices, an unblinking look at the human animal

Preview of As I Lay Dying by Kathleen Allen in the November 3 Arizona Daily Star

Direction

	Joseph McGrath (Director) is a graduate of the Juilliard School of Drama and is the Artistic Director for The Rogue Theatre for which he has performed in many of its plays.  Joe was most recently seen as Andrew Undershaft in Major Barbara, Bernard in New-Found-Land, Deeley in Old Times, Caliban in The Tempest, and Pastor Manders in Ghosts.  In 2009, Joe won the Arizona Daily Star Mac Award for Best Actor for his portrayal of Tobias in A Delicate Balance. Joe also authored and directed Immortal Longings for The Rogue and has directed The Balcony, Endymion, The Maids (winner of the Arizona Daily Star 2007 Mac Award for Best Play), Red Noses and Our Town. He has toured with John Houseman’s Acting Company, performed with the Utah Shakespearean Festival, and he is a frequent performer with Ballet Tucson appearing in The Hunchback of Notre Dame, Cinderella, A Midsummer Night’s Dream, Dracula and The Nutcracker. He has also performed with Arizona Theatre Company, Arizona Opera, Tucson Art Theatre, and Arizona OnStage. Joe owns, with his wife Regina Gagliano, Sonora Theatre Works, which produces theatrical scenery and draperies.

Director’s Notes

What a challenge to travel the mere 25 years and across the pond from George Bernard Shaw to William Faulkner! Major Barbara was still in a nineteenth century theatrical tradition, but after a terrifying war, and on the brink of the Great Depression comes Faulkner’s modernist As I Lay Dying. And it offers so many changes now for the Rogue. From British to American. From urban to rural. From riches to rags.

Perhaps the greatest challenge is being faithful to Faulkner. In this modernist style, Faulkner leaves the reader struggling to follow along, and indeed there can be great rewards in turning back a page or two—or fifty—and discovering, suddenly, what was meant by that mysterious voice or ambiguous pronoun in the first part of the book. Of course, the theatre is a different medium. So we clarify where necessary.

The novel As I Lay Dying is written in 59 chapters, told in first person by any one of 15 characters. It is already, in a sense, a series of monologues, all telling the story of the Bundrens, the loss of their mother, and their effort to take her to her rest. These narrators come in varying degrees of reliability as they tell the story. Some have no particular axe to grind that will change the facts of the story. Others see the world from desperate circumstances, the madness of grief, or baffled superiority. Which is the real story? And is there one?

A curious challenge is the occasional tendency of these rural characters to speak a more articulate language when they speak in narration to us, the audience, than when they speak to one another. It is Faulkner’s clue that the mind and heart will have their own intelligence and poetry that cannot make themselves known in our outward lives. I know of no stage work that is written in quite this manner, where the voice of the character remains true while its inner poetry takes this more expressive wing.

Finally, a word about the music. Paul Amiel, as a musician, has a remarkable ability to understand literature. He hears the appropriate affect of the word, and along with Marissa Garcia and Eric Schoon, Paul underscores Faulkner’s poetry and allows these characters to reach immediately into our psyches—a critical addition in transferring this tragic, comic and heroic epic to the stage.

—Joseph McGrath, Director of As I Lay Dying
director@theroguetheatre.org

Adaptation

	Annette Martin (Adapter) is an artist and writer living in North Carolina. For over 30 years, she was Distinguished Professor of Performance Studies at Eastern Michigan University, where she first adapted Faulkner to the stage.

 

Christopher Johnson (Jewel Bundren)

Photo by Tim Fuller

 

William Faulkner's Nobel Prize Acceptance Speech, 1950

I feel that this award was not made to me as a man, but to my work—a life’s work in the agony and sweat of the human spirit, not for glory and least of all for profit, but to create out of the materials of the human spirit something which did not exist before. So this award is only mine in trust. It will not be difficult to find a dedication for the money part of it commensurate with the purpose and significance of its origin. But I would like to do the same with the acclaim too, by using this moment as a pinnacle from which I might be listened to by the young men and women already dedicated to the same anguish and travail, among whom is already that one who will some day stand here where I am standing.

Our tragedy today is a general and universal physical fear so long sustained by now that we can even bear it. There are no longer problems of the spirit. There is only the question: When will I be blown up? Because of this, the young man or woman writing today has forgotten the problems of the human heart in conflict with itself which alone can make good writing because only that is worth writing about, worth the agony and the sweat.

He must learn them again. He must teach himself that the basest of all things is to be afraid; and, teaching himself that, forget it forever, leaving no room in his workshop for anything but the old verities and truths of the heart, the old universal truths lacking which any story is ephemeral and doomed—love and honor and pity and pride and compassion and sacrifice. Until he does so, he labors under a curse. He writes not of love but of lust, of defeats in which nobody loses anything of value, of victories without hope and, worst of all, without pity or compassion. His griefs grieve on no universal bones, leaving no scars. He writes not of the heart but of the glands.

Until he relearns these things, he will write as though he stood among and watched the end of man. I decline to accept the end of man. It is easy enough to say that man is immortal simply because he will endure: that when the last dingdong of doom has clanged and faded from the last worthless rock hanging tideless in the last red and dying evening, that even then there will still be one more sound: that of his puny inexhaustible voice, still talking.

I refuse to accept this. I believe that man will not merely endure: he will prevail. He is immortal, not because he alone among creatures has an inexhaustible voice, but because he has a soul, a spirit capable of compassion and sacrifice and endurance. The poet’s, the writer’s, duty is to write about these things. It is his privilege to help man endure by lifting his heart, by reminding him of the courage and honor and hope and pride and compassion and pity and sacrifice which have been the glory of his past. The poet’s voice need not merely be the record of man, it can be one of the props, the pillars to help him endure and prevail.

 

Matt Bowdren (Darl Bundren), Julian Martinez (Ensemble), Lee Rayment (Ensemble),
Dylan Page (Dewey Dell Bundren), Christopher Johnson (Jewel Bundren),
David Greenwood (Anse Bundren), and Andrew Garrett (Vardaman Bundren)

Photo by Tim Fuller

 

Cast
Anse Bundren		David Greenwood
Dewey Dell Bundren		Dylan Page
Cash Bundren		Matt Walley
Darl Bundren		Matt Bowdren
Addie Bundren		Cynthia Meier
Jewel Bundren		Christopher Johnson
Vardaman Bundren		Andrew Garrett
Cora Tull/Ensemble		Leanné Whitewolf Charlton
Vernon Tull/Ensemble		Julian Martinez
Doc Peabody/Ensemble		Phillip Bennett
Kate/Ensemble		Angela Horchem
MacGowan/Ensemble		Lee Rayment
Ensemble		Marissa Garcia

 

Cast Biographies

Philip G. Bennett (Doc Peabody/Ensemble) played the role of Alonso in The Rogue theatre's production of The Tempest. He is a graduate of the American Stanislavski Theatre, where he served as Assistant Artistic Director, actor and instructor under the Russian émigré director, Sonia Moore. He made his professional debut on the New York stage in 1970 as Lopakhin in Chekhov’s The Cherry Orchard, and played such roles as: Cabot in O’Neill’s Desire Under the Elms, Horatio in Shakespeare’s Hamlet, Constantine in The Seagull, Bird in Peter Brook’s Royal Shakespeare production of Convocation of the Birds, and Mr. Pinchwife in Wycherley’s The Country Wife. In 1976, he founded the San Francisco Theatre Academy and Company. He is a three-time recipient of the prestigious Hollywood DramaLogue Award for Best Direction. Philip coaches and conducts professional actor training classes at the Historic Y in Tucson, Arizona. www.philipgbennett.com Matt Bowdren (Darl Bundren) is the current Resident Artist of The Rogue Theatre. Past credits at The Rogue include Adolphus Cusins in Major Barbara, Arthur in New-Found-Land, Moon in The Real Inspector Hound, Benjamin in The Four of Us, the Director in Six Characters in Search of an Author and Billy in The Goat. Matt graduated with his BFA in Acting from the University of Arizona, and is pursuing his MFA in Acting at the University of Georgia. Matt is one of the founding members of The Now Theatre, which co-produces the “Rogue After Curfew” series, where he was recently seen as Tupolski in The Pillowman. Other acting credits include Hamlet (Live Theatre Workshop), Betrayal, The Shape of Things (University of Georgia), Titus Andronicus, Romeo and Juliet, and Biloxi Blues (Arizona Repertory Theatre). In New York City, he toured in Midsummer Night's Dream with Hudson Shakespeare Co., and Somewhere in Between with Collaborative Stages. Leanné Whitewolf Charlton (Cora Tull/Ensemble) has previously performed with The Rogue Theatre in Major Barbara, The Real Inspector Hound, Endymion, Red Noses, The Good Woman of Setzuan and The Tempest. She received her BFA in Acting from the University of Arizona in May and was last seen as Anna Trumbell in the ART production of What I Did Last Summer, Corin in As You Like It, Edith Frank in The Diary of Anne Frank, and others. Other favorite Arizona credits include Maud Moon/Albertine in Borderland’s production of Dust Eaters, as well as Linda Waterman in Fiction for Beowulf Alley Theatre. Leanné earned her Actors' Equity Association candidacy as the understudy for Amanda in the Arizona Theatre Company production of The Glass Menagerie and as Grandma Kurnitz in ATC’s production of Lost in Yonkers. Marissa Garcia (Ensemble/Musician) performed with The Rogue Theatre as Barbara Undershaft in Major Barbara. She is a Tucson native and received her BFA in Acting/Directing from the University of Arizona. Since graduating, Marissa has performed and directed with companies throughout Arizona, Colorado and California. She was seen on Los Angeles stages in premieres of Bernardo Solano’s Lost and Evangeline Ordaz’s Visitors’ Guide to Arivaca, a show she was also involved in here with Borderlands Theater. Other credits include: Ana in Living Out (2005 Mac Award Nominee–Best Actress), Julia in School of the Americas (Borderlands Theater); Thomasina in Arcadia, Cordelia in King Lear (Arizona Repertory Theatre); and Evelyn in Close Ties (Catalina Players). Marissa would like to dedicate her performance to Christopher Patrick Ellis. Andrew Garrett (Vardaman Bundren) is happy to be returning to the stage after more than a year on hiatus.  He is likely in his final year at the University of Arizona, hoping to receive his degree this spring.  Previously he was seen on the Rubicon stage in Macbeth (Macduff) and at Moorpark College in Two Gentlemen of Verona (Valentine).  Other credits include A Midsummer Night’s Dream (Lysander), Bye Bye Birdie (Conrad), and The Sunshine Boys (Ben Silverman). David Greenwood (Anse Bundren) was a member of the cast of The Rogue Theatre’s first production, The Balcony, and has recently appeared in The Real Inspector Hound, The Decameron and Major Barbara. He has appeared locally in Shining City and The Birthday Party at Beowulf Alley Theatre and The One-Armed Man, The Disposal and The Glass Menagerie at Tucson Art Theatre. Angela Dawnielle Horchem (Kate/Ensemble) appeared as Amalia in The Rogue Theatre’s production of The Decameron. She combines a background in team sports with a passion for theatre. After earning her MA in theatre from the University of Nebraska at Omaha, Angela went on to study physical theatre at Dell’Arte International and performance in Bali, Indonesia. In Tucson, she co-founded Clown, R.N., a clown therapy program working with local hospitals and clinics. Other credits include Antony & Cleopatra and The Taming of the Shrew at the Nebraska Shakespeare Festival, Mother Courage, Metamorphoses, The Arabian Nights, and Much Ado About Nothing at UNO, and guest-artist roles with companies across the country, including WONDERHEADS, National Headquarters, The Witching Hour, and Dell’Arte International. Whether approaching Shakespeare or an original, devised work, Angela brings a passion for character, love for the physical, and spirit of exploration and discovery. Christopher Johnson (Jewel Bundren) is currently in his fifth season as the Artistic Director of Etcetera at Live Theatre Workshop, where acting credits include Thom Pain (based on nothing), Jailbait, Dying City, Kimberly Akimbo, The Santaland Diaries, Say You Love Satan, The Eating Disorder Talent Show (which he wrote), Mr. Marmalade, Cloud 9, The Rocky Horror Show, Danny and the Deep Blue Sea, The Importance of Being Earnest, Lemon Sky (Mac Award Nomination, Best Actor), The Penis Monologues, Hedwig & The Angry Inch (Mac Award Nomination, Best Actor), Savage In Limbo, Dog Sees God, Bug, Sweet Eros, Fat Pig, Tape, Corpus Christi, A Midsummer Night’s Dream and Titus Andronicus. He has performed elsewhere with Winding Road Theater Ensemble (United, Fifth of July, The Lion in Winter, Armor), Fairbanks Shakespeare Theatre (Camino Real, Antony & Cleopatra), Invisible Theatre (Swimming in the Shallows), Brachiate Theatre Project (Macbeth), 1984 Theatre (Waiting for Godot) and Tucson’s Shakespeare Under The Stars (Romeo & Juliet, Much Ado about Nothing). This is Christopher’s first appearance at The Rogue. Julian Martinez (Vernon Tull/Ensemble) was last seen in Borderlands Theater’s White Tie Ball as Edward Moreno.  He trained at the School at Steppenwolf, the Second City Conservatory, received his BFA from Columbia College Chicago and attended PCPA Theaterfest’s conservatory program. In Chicago, he has performed with Urban Theatre, Steppenwolf, The Second City, Writers’ Theater, Lookingglass Theatre Company, Chicago Art Institute’s Voices program and numerous Chicago storefronts. He co-produced a webisodic series called Comanche (www.ComancheTheSeries.com) which he’s in the process of turning into a novel trilogy. Cynthia Meier (Addie Bundren) is the Managing and Associate Artistic Director for The Rogue Theatre for which she has directed and acted in many plays. Most recently she was seen as Lady Britomart Undershaft in Major Barbara, Mrs. Drudge in The Real Inspector Hound, Pampinea in The Decameron and Mrs. Alving in Ghosts. In 2008, she received Arizona Daily Star’s Mac Award for Best Actress for her performance in The Rogue’s production of The Goat. Cynthia has also performed in Cat on a Hot Tin Roof (Arizona Repertory Theatre), A Streetcar Named Desire (Arizona Theatre Company), Blithe Spirit and A Midsummer Night’s Dream (Michigan Repertory Theatre), Romeo & Juliet and Chicago Milagro (Borderlands Theatre), A Namib Spring (1999 National Play Award winner), and Smirnova’s Birthday, The Midnight Caller, and The Ballad of the Sad Cafe (Tucson Art Theatre). Cynthia holds a Ph.D. in Performance Studies from the University of Arizona. Dylan Page (Dewey Dell Bundren) performed with The Rogue Theatre in Major Barbara and The Real Inspector Hound. She recently played Janice in Member of the Wedding with Arizona Onstage Productions, Evelyn in The Shape of Things at the Arizona Repertory Theatre, Mona in Come Back to the Five and Dime Jimmy Dean, Jimmy Dean, Elizabeth in Pride and Prejudice and Margaret in The Triangle Factory Fire at Tucson High Magnet School. Lee Rayment (MacGowan/Ensemble) performed the role of Stephen Undershaft in The Rogue Theatre’s production of Major Barbara. He is a graduate from the University of Northern Colorado. Lee has recently returned from a brief stint abroad. Some previous roles include Katurian in The Pillowman for The Now Theatre, Salieri in Amadeus, Pantalone in The Servant of Two Masters, and Mr. Cladwell in Urinetown. Matt Walley (Cash Bundren) performed the role of Bill Walker in The Rogue Theatre’s production of Major Barbara. He graduated from Dell’Arte International in 2009 with an MFA in Physical Ensemble Theatre. Since then he has performed with The Pinnacle Peak Pistoleros and their Wild West Stunt Shows, as well as with Stories that Soar! Matt has been seen at Live Theatre Workshop here in Tucson and has acted in New York, Chicago, and San Francisco. He is teaching acting this year at The University of Arizona.

Music Preshow
Front: Angela Horchem, Paul Amiel, Eric Schoon, and Julian Martinez
Back: Phillip Bennett, Leanné Whitewolf Charlton, Marissa Garcia and Lee Rayment

Photo by Tim Fuller

 

Preshow Music

Bob-tailed Mule
Lonely Tombs
Bury Me Beneath the Willow
Can the Circle Be Unbroken
Trying to Make Heaven my Home

Music in the Play

Shall We Gather at the River
And Am I Born to Die (Idumea)
Down by the Canebrake
The Restless Dead

Musicians
Banjo, guitar, harp, Irish flute, harmonica		Paul Amiel, Music Director
Voice, flute, harmonica, mandolin		Marissa Garcia
Viola, guitars, wash tub bass		Eric Schoon

 

	Paul Amiel (Music Director) is a multi-instrumentalist and ethnomusician focusing on Medieval, Turkish, Chinese, Japanese, Middle Eastern, and ancient music, having studied abroad with master musicians. He founded and performs with the Summer Thunder Chinese Music Ensemble, the traditional Japanese music duo Muso, and various Turkish/ Middle Eastern/Mediterranean ensembles such as Seyyah and Zambuka. Paul has performed on harp, flute, saz, ney, dulcimer, and shakuhachi for groups such as Musica Sonora and the Arizona Early Music Society, as well as in many Rogue productions, including The Decameron, The Tempest, Our Town, Othello, Immortal Longings, Orlando, Endymion, The Dead and on the recent Rogue Album CD. He is delighted to have the opportunity to focus on American music for this production.
Eric Schoon (Musician) Trained as a classical violist, Eric has performed in orchestras and as a soloist in the United States and throughout Eastern and Western Europe. He studied at Penn State University, and completed a Bachelor of Musical Arts degree in viola performance in 2008. In addition to the viola, Eric also enjoys playing guitar, harmonica, wash tub bass and a variety of percussive instruments and objects. In addition to his study of music, he holds degrees in philosophy and sociology and is currently completing a Ph.D. in Sociology at the University of Arizona.

Music Director’s Notes

It’s a comfortable thing, music is.
                    —Cash Bundren

Music in Mississippi of the 1920s–30s was incredibly rich and varied, both for African-American and Euro-American culture, and Faulkner often references it in his work. Through radio, recordings, fairs and festivals, the Bundrens would have heard the Mississippi string bands (usually guitar, fiddle, and banjo) playing what was already known in the 1920s as “Old Time” music, alongside church music and Southern folk ballads. These songs and styles make up the repertoire for our play, and were chosen from a variety of recordings drawn from the commercial music industry and field research by ethnomusicologists. Interestingly, in spite of Faulkner’s literary interest in the music of the south, he did not favor it himself, being partial to Mozart and Prokofiev. It is reported that he would even walk out of a diner if a juke box began to play.

The incidental compositions for this production are built on motifs from period source music, and the instruments we are using (such as banjo, slide guitar, harmonica) still typify the South. Eric’s viola brings a dark, mournful tone to the fiddle tradition. Other evocative colors come from of the Gothic harp, and Marissa’s beautiful, haunting voice.

Oh those tombs, lonely tombs 
Seemed to say in a low gentle tone
Oh how sweet is the rest 
In our beautiful Heavenly home.
                    (Lonely Tombs)

This world’s so sad and I’ve grown weary
of weeping for the only one I love
But then I know I never will see him
Until we meet in heaven above.
                    (Bury Me Beneath the Willow)

Can the circle be unbroken
Bye and bye, Lord, bye and bye
There’s a better home a-waiting
In the sky, Lord, in the sky.
                    (Can the Circle Be Unbroken)

Soon as from earth I go
What will become of me?
Eternal happiness or woe
Must then my fortune be.
                    (And Am I Born to Die)

Through this music and these songs, we may be able to enter into the world of As I Lay Dying.
Audience members are invited to sing along with the refrain of the following song, sung at the end of the preshow:

I’m travelin’, yes, I’m travelin’
Tryin’ to make heaven my home.
I’m travelin’, Lord, I’m travelin’
Tryin’ to make heaven my home.

I’d like to thank, for suggestions, inspiration, and patience, David Badagnani, Harlan Hokin, James and Paul at Tucson’s The Folk Store, Dave Firestine, Frank Sanzo, Stefan George, Melanie Thompson, James Charles Rodgers, Evren Sonmez, my wonderful band (Three Hole Punch) with Marissa and Eric, and the director and cast of As I Lay Dying for so enthusiastically laying into this here music.

—Paul Amiel, Music Director of As I Lay Dying

 

Cynthia Meier (Addie Bundren)

Photo by Tim Fuller

 

Designers
Costume Design		Cynthia Meier
Lighting Design		Clint Bryson
Scenic Design		Joseph McGrath
Production Staff
Stage Manager		Leah Taylor
Assistant Director		Bryan Rafael Falcón
Dialect Coach		David Morden
House Manager		Susan Collinet
Box Office Manager		Thomas Wentzel
Box Office Assistant		Anna Swenson
Snack Bar Manager		Leigh Moyer
Snack Bar Assistant		Shannon Macke
Poster and Program		Thomas Wentzel

 

	Clint Bryson (Lighting Designer) has designed lights for nearly every Rogue Theatre production. Other lighting design credits include As Bees in Honey Drown and Golf Game for Borderlands, Woman in Black for Beowulf Alley, and The Seagull for Tucson Art Theatre. Clint is currently the Shop Foreman, Production Technical Director and Marketing Director for Catalina Foothills Theatre Department where he designs and coordinates the construction of all scenery. He is also a member of Rhino Staging Services, and a regular participant in Arizona Theatre Company’s Summer on Stage program where he designs and builds the scenery as well as teaches production classes.
Leah Taylor (Stage Manager) was Stage Manager for The Rogue Theatre’s Major Barbara and Assistant to the Stage Manager for The Decameron. She was Stage Manager for The Now Theatre’s The Pillowman, The Bald Soprano and Overruled. Other work includes shows with Winding Road Theatre Ensemble and Sacred Chicken Productions. Leah graduated from the University of Arizona in May 2011 with a Bachelor of Arts in Classics and Anthropology.
	Bryan Rafael Falcón (Assistant Director) is a director/designer, recently re-based in Tucson, who also spends time crafting the occasional independent film. He is the former artistic director of two Indiana-based theater companies: The Backporch Theater Company (a Shakespeare traveling troupe) and New World Arts (an experimental black box theater company). His most recent projects include assistant directing The Tempest at The Rogue and directing Tracy Letts’ Bug at New World Arts. He will be directing The New Electric Ballroom at The Rogue in 2012. Every once in awhile he flexes a pen to stroke a quiet phrase or two.
David Morden (Dialect Coach) directed The Rogue’s productions of Major Barbara, Ghosts, A Delicate Balance, The Goat (2008 Arizona Daily Star Mac Award), Six Characters in Search of an Author and Krapp’s Last Tape, Not I and Act Without Words. He has appeared with The Rogue Theatre as Rinieri in The Decameron, Stephano in The Tempest, Brabantio and Montano in Othello, Editor Webb in Our Town, in the ensembles of Animal Farm and Orlando, as Madame Pace in Six Characters in Search of an Author, The Pope in Red Noses, Yephikhov in The Cherry Orchard, The Man in the Silver Dress in the preshow to The Maids and Glaucus in Endymion. He has acted locally with Arizona Opera (The Pirates of Penzance, The Threepenny Opera, among others), Arizona Onstage Productions (Assassins), Actors Theatre (The Bible: The Complete Word of God (Abridged)) and Green Thursday Theatre Project (Anger Box, Rain), of which he was a co-founder. David has also directed productions with Green Thursday, Oasis Chamber Opera, DreamerGirl Productions, and Arts for All.
	Susan Collinet (House Manager) received her A.A. Degree from Pima Community College in 2005, and her B.A. in Creative Writing and English Literature from the UA in 2008. Previously, Susan spent twenty years in amateur theater as well as in the American Theater of Brussels and the Theatre de Chenois of Waterloo, Belgium. She has worked in such positions as volunteer bi-lingual guide in the Children’s Museum of Brussels and volunteer assistant Director of Development of the Arizona AIDS Project in Phoenix. Susan is currently peddling a manuscript of poetry for publication and working on collections of creative nonfiction and fiction. Her writing has won awards from Sandscript Magazine, the John Hearst Poetry Contest, and the Salem College for Women’s Center for Writing, and has been published in the 2010 Norton Anthology of Student’s Writing. In addition to being House Manager, Susan acts as Volunteer Coordinator for The Rogue.

 

Dylan Page (Dewey Dell Bundren)

Photo by Tim Fuller

 

Our Thanks
Arizona Daily Star		Ward & Judy Wallingford
Tim Fuller		Tucson Weekly
Chuck Graham		Jesse Greenberg
Amy Novelli		Shawn Burke
Patrick Baliani and his Honors English Classes

 

David Greenwood (Anse Bundren), Andrew Garrett (Vardaman Bundren),
Dylan Page (Dewey Dell Bundren), and Julian Martinez (Vernon Tull)

Photo by Tim Fuller

 

Performance Schedule for As I Lay Dying

Location: The Rogue Theatre at The Historic Y, 300 East University Boulevard
Free off-street parking! Click here to see map and parking information.

Performance run time is approximately 2 hours and 35 minutes, not including music preshow or post-show discussion. There will be one 10-minute intermission.

Thursday November 3, 2011, 7:30 pm PREVIEW
Friday November 4, 2011, 7:30 pm OPENING NIGHT
Saturday November 5, 2011, 7:30 pm
Sunday November 6, 2011, 2:00 pm matinee

Thursday November 10, 2011, 7:30 pm, HALF-PRICE NIGHT SOLD OUT
Friday November 11, 2011, 7:30 pm
Saturday November 12, 2011, 7:30 pm
Sunday November 13, 2011, 2:00 pm matinee SOLD OUT

Thursday November 17, 2011, 7:30 pm, HALF-PRICE NIGHT SOLD OUT
Friday November 18, 2011, 7:30 pm
Saturday November 19, 2011, 7:30 pm
Sunday November 20, 2011, 2:00 pm matinee