Recipient of the
2012 American Theatre Wing
National Theatre Company Award

 

Press

Vanya and Vodka
The Rouge captures Chekhov is all his maddening and moving glory

Review of Uncle Vanya by Sherilyn Forrester in the November 10 Tucson Weekly

Existential ennui fills Uncle Vanya

Review of Uncle Vanya by Chuck Graham on November 8 in Let The Show Begin! at TucsonStage.com

Uncle Vanya offers comedic chops with a tragic edge

Review of Uncle Vanya by Kathleen Allen to be published in the November 10 Arizona Daily Star

With Uncle Vanya, Tucson’s Rogue Theatre peers again into our inner lives

Preview of Uncle Vanya by Kathleen Allen in the November 3 Arizona Daily Star

Read others’ reviews of The Rogue Theatre, or write your own review on TripAdvisor!

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Direction

	Joseph McGrath (Director) is a graduate of the Juilliard School of Drama and is the Artistic Director for The Rogue Theatre.  For The Rogue Theatre, Joe authored and directed Immortal Longings, and directed The Bridge of San Luis Rey, By the Bog of Cats, The Lady in the Looking Glass, Dante’s Purgatorio, Mistake of the Goddess, Mother Courage and Her Children, As I Lay Dying, The Real Inspector Hound (2010 Mac Award for Best Director), The Decameron, Our Town, Red Noses, Endymion, The Maids (winner of the Arizona Daily Star 2007 Mac Award for Best Play), and The Balcony. Joe was most recently seen as Roy Cohn in Angels in America Part One: Millennium Approaches, Mr. Taylor in Tales of the Jazz Age, a singing peasant in Miss Julie, as Claudius in Hamlet and Rosencrantz and Guildenstern Are Dead, Lord Henry Wotton in The Picture of Dorian Gray, Shylock in The Merchant of Venice, Vladimir in Waiting for Godot, Johnnie ‘Rooster’ Byron in Jerusalem, Myron Berger in Awake and Sing, Bernard Nightingale in Arcadia, Duke Vincentio in Measure for Measure, and Richard, Duke of Gloucester in Richard III. In 2009 Joe won the Arizona Daily Star Mac Award for Best Actor for his portrayal of Tobias in A Delicate Balance. 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. Joseph McGrath’s direction of Uncle Vanya is supported in part by a generous gift from Paul Winick & Ronda Lustman.

Notes from the Director

I find it intimidating taking on any play by Anton Chekhov, and Uncle Vanya most of all. Chekhov gives us very few of those exciting twists and surprises—those involving developments that keep us turning the page. His theatre exists in the subtle, brittle exchanges of the human animal: our foibles and skillfulness, our venal preoccupations and noble courage, our delusions as well as those flashes of self-awareness when we see, with pain and wisdom, our own frailties. Chekhov is responsible for much of what we regard as received wisdom in the modern craft of acting. It was Chekhov’s The Seagull and the subsequent production of Uncle Vanya that affected Stanislavski’s method and his published techniques of acting, which eventually became part of the theatrical air we breathe. Because of this, Chekhov, more than almost any other, is an actor’s playwright. We on the staff (the director, designers, stage manager, and artisans) must be servants to the actors as they live this complex life of leisure, passion, frustration, and love. Thus I have done my best to keep out of the way, allowing the actors to create this world. And if all goes well, they will continue, even in performance, to respond with wit and imagination to the unforeseen moments that develop. It is well known that Chekhov insisted that his plays—certainly Uncle Vanya—were comedies. It is often hard to render them as such. Uncle Vanya is a series of events gone wrong or off the rails. But I take him at his word that these moments of deep pain, frustration, or crossed signals, like a clown’s slips or collisions, are for the most part to be taken with humor. And Chekhov, good doctor that he is, sees the vulnerabilities of people and their foolish intentions with sympathy, and perhaps prescribes laughter as the best therapy. A cure never comes, but how could it? The affliction is our humanity—a malaise to be managed, not cured. So please feel free to laugh. —Joseph McGrath, Director director@theroguetheatre.org

About the Playwright

Anton Pavlovich Chekhov (1860–1904) was a Russian playwright and short story writer, who is considered to be among the greatest writers of short fiction in history. His career as a playwright produced four classics and writers and critics hold his best short stories in high esteem. Along with Henrik Ibsen and August Strindberg, Chekhov is often referred to as one of the three seminal figures in the birth of early modernism in the theatre. Chekhov practiced as a medical doctor throughout most of his literary career. Chekhov had at first written stories only for financial gain, but as his artistic ambition grew, he made formal innovations that have influenced the evolution of the modern short story. He made no apologies for the difficulties this posed to readers, insisting that the role of an artist was to ask questions, not to answer them. Chekhov renounced the theatre after the reception of The Seagull in 1896, but the play was revived to acclaim in 1898 by Stanislavski’s Moscow Art Theatre, which subsequently also produced Chekhov’s Uncle Vanya and premiered his last two plays, Three Sisters and The Cherry Orchard.

 

 

Molly McKasson as Marina and Matt Bowdren as Astrov

 

Holly Griffith as Sonya and Matt Bowdren as Astrov

 

David Weynand as Serebryakov and Grace Kirkpatrick as Yelena

 

Vince Lucarini as Telegin and Molly McKasson as Marina

Photo by Tim Fuller

 

Cast in order of appearance
Marina, a nanny		Molly McKasson
Uncle Vanya, brother of the Professor’s first wife, Sonya’s uncle		Ryan Parker Knox*
Serebryakov, a retired professor		David Weynand*
Yelena, the Professor’s current wife		Grace Kirkpatrick
Sonya, the Professor’s daughter from his first wife, Vanya’s niece		Holly Griffith
Mrs. Voynitsky, mother of the Professor’s first wife and Vanya		Cynthia Meier
Astrov, a doctor		Matt Bowdren*
Telegin, an impoverished landowner		Vince Lucarini
Laborer		David Weynand*
*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States

 

 

	Matt Bowdren (Astrov) is an Artistic Associate and Education Director for The Rogue Theatre. At the Rogue he has appeared in Tales of the Jazz Age, The Bridge of San Luis Rey, Miss Julie, By the Bog of Cats, Hamlet (2015 Mac Award for Best Actor), Rosencrantz and Guildenstern Are Dead, The Picture of Dorian Gray, The Merchant of Venice, Waiting for Godot, Awake and Sing, Betrayal, Arcadia, Measure for Measure, Mistake of the Goddess, after the quake (2013 Mac Award for Best Actor), Richard III, Metamorphosis, Mother Courage and Her Children, The Night Heron, Journey to the West, As I Lay Dying, Major Barbara, The Real Inspector Hound, New-Found-Land, The Four of Us, Six Characters in Search of an Author and The Goat. For the Rogue Theatre Matt has directed Angels in America Part One and a reading of The War Boys and assistant directed Richard III, The Merchant of Venice, and By the Bog of Cats. Other Arizona credits include The Pillowman with the Now Theatre and Romeo and Juliet with Southwest Shakespeare. Recently Matt was seen as a Faculty Fellow and teaching artist with The Arizona Repertory Theatre in Frankenstein and Othello. Regionally Matt has performed in Georgia and New York City with The Rose of Athens, Hudson Shakespeare Company, and Collaborative Stages. Matt holds an M.F.A in Performance from the University of Georgia. Matt Bowdren’s performance is supported in part by a generous gift from Sheldon Trubatch & Kate Phillips.
Holly Griffith (Sonya Serebryakov) is a member of the Acting Ensemble at The Rogue Theatre and has appeared in Angels in America Part One, Tales of the Jazz Age, The Bridge of San Luis Rey, Miss Julie, By the Bog of Cats, Rosencrantz and Guildenstern Are Dead, Hamlet, The Merchant of Venice, The Lady in the Looking Glass, Jerusalem, Purgatorio and Arcadia. She has also served as Box Office Assistant, Dramaturg, Stage Manager, and Co-Producer of the John & Joyce Ambruster Play-Reading Series at The Rogue. Holly dabbles in tap, jazz, and ballet dance, and has performed and choreographed for Emerson Dance Company, X-Dance, and Emerson Urban Dance Theatre in Boston, Massachusetts. Holly holds an MA in English Literature from the University of Arizona, teaches Freshman Composition, and has a fierce interest in the history, culture, and literary tradition of Ireland. Holly Griffith’s performance is supported in part by a generous gift from Kristi Lewis.
	Grace Kirkpatrick (Yelena Serebryakov) has a BFA in Acting and minor in Psychology from the University of Arizona. She has appeared with The Rogue Theatre in Angels in America Part One and Miss Julie. Previous credits include Rachel (Reckless), Puck (A Midsummer Night’s Dream), and Madame Armfeldt (A Little Night Music) at the Arizona Repertory Theatre. Grace Kirkpatrick’s performance is supported in part by a generous gift from Joan Cook.
Ryan Parker Knox (Vanya Voynitsky)   The Rogue’s 12th Anniversary Season marks Ryan’s fifth as a member of the Resident Acting Company. He is constantly humbled and inspired by the fierce intellect and thrilling passion of both his fellow Artists and The Rogue’s loyal patrons. Ryan has previously appeared in Angels in America Part One, The Bridge of San Luis Rey, By the Bog of Cats, Hamlet, Rosencrantz and Guildenstern Are Dead, The Picture of Dorian Gray, The Merchant of Venice, The Lady in the Looking Glass, Jerusalem, Awake and Sing, Dante’s Purgatorio, Betrayal, Arcadia (2014 Mac Award for Best Actor), Measure for Measure, Mistake of the Goddess (Hayavadana), Richard III, Kafka’s Metamorphosis, Mother Courage and Her Children, The Night Heron, and Journey to the West. He is a BFA Graduate of the University of South Dakota, lived in Minnesota’s Twin Cities for over a decade, and came to Tucson in 2011. Ryan Parker Knox’s performance is supported in part by a generous gift from Karen DeLay & Bill Sandel.
	Vince Lucarini (Telegin) arrived in Tucson from Philadelphia in 1995. In 2002 he took a job that brought him to five different countries in Europe and Asia in a twelve year span. Since his return Vince has played the role of Sherlock Holmes in an original musical written, directed, and produced by Arizona Rose Theater Company and then played three different roles in Jesus Christ Super Star, also for Arizona Rose. Vince lives in Sabino Canyon with his wife, two dogs and two cats. Vince Lucarini’s performance is supported in part by a generous gift from an anonymous donor.
Molly McKasson (Marina) is very happy to be working with The Rogue. Her theater career began in Chicago at the Body Politic, doing story theater with Paul Sills. For six years she continued to work with Sills in numerous productions—twice on Broadway, once at the Mark Taper and the Kennedy Center, as well as on tour. In New York she worked in a variety of off and off-off Broadway shows, before returning home to join Arizona Theatre Company’s first professional company. She’s been a member of the Invisible Theater ensemble and the improv team of Mols & Suz. As a playwright her work has been produced by ATC and I.T., where she continues to perform. Molly McKasson’s performance is supported in part by a generous gift from an anonymous donor.
	Cynthia Meier (Mrs. Voynitsky) is Co-Founder and Managing and Associate Artistic Director for The Rogue, and has appeared in Angels in America Part One, The Bridge of San Luis Rey, By the Bog of Cats, The Lady in the Looking Glass, Awake and Sing, Purgatorio, Measure for Measure, Mistake of the Goddess, Mother Courage and Her Children, The Night Heron, The New Electric Ballroom, As I Lay Dying, Major Barbara, The Real Inspector Hound, The Decameron, Ghosts, Not I, Our Town, A Delicate Balance, Immortal Longings, Six Characters in Search of an Author, Red Noses, The Goat (2008 Mac Award for Best Actress), The Maids, Endymion, and The Balcony. Cynthia has been nominated for seven Mac Awards for Best Actress from the Arizona Daily Star. She 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) and A Namib Spring (1999 National Play Award winner). Cynthia co-founded Bloodhut Productions, which toured throughout the western United States. Cynthia holds a Ph.D. in Performance Studies from the University of Arizona. Cynthia Meier’s performance is supported in part by a generous gift from John & Joyce Ambruster.
David Weynand (Serebryakov, Laborer) is proud to be making his debut performance with The Rogue.  Tucson audiences have seen him in Stella and Lou (Invisible Theatre) and Comedy of Errors, Tempest, Othello and Frankenstein (Arizona Repertory Theatre). He has performed off-Broadway as one man in Night just before the forest (UBU Repertory) and Ron in The Ice Fishing Play (The Samuel Beckett Theatre). Favorite roles in regional theatre include Dvornichek in Rough Crossing (Cincinnati Playhouse in the Park), Etienne in A Flea in Her Ear (St. Louis Repertory Theatre), Hindley in Wuthering Heights (Paper Mill Playhouse), A Tuna Christmas (Actors Theatre of Louisville), Algernon in The Importance of Being Ernest with actor Larry Linville (Capital Repertory), Pseudolous in A Funny Thing Happened on the Way to the Forum (Hampton Playhouse), Bela Zangler in Crazy for You (Walnut Street Theatre), Lord Henry in  The Picture of Dorian Gray (Wisdom Bridge), Paul in You Can’t Take it With You (Steppenwolf) and Tom/Phyllis/Leslie in Sylvia (Capital Repertory). David holds an MFA in Directing from Texas State and a BFA in Acting from Theatre School at DePaul University/Goodman School of Drama. David Weynand’s performance is supported in part by a generous gift from Joan Warfield.

 

 

Grace Kirkpatrick as Yelena and Matt Bowdren as Astrov

 

Ryan Parker Knox as Uncle Vanya, Matt Bowdren as Astrov and Grace Kirkpatrick as Yelena

 

Musicians Derek Granger and Jake Sorgen

Photos by Tim Fuller

 

Music
Music is supported in part by a generous gift from Jan Stewart
Jake Sorgen
Derek Granger

 

Preshow Music

Theme for Sonya by Jake Sorgen

Lonely Accordion trad., arr. by Jake Sorgen and Derek Granger

Theme for Uncle Vanya by Jake Sorgen

Sokolov’s Polka/Ural Rowan Tree by Sergei Orekhov/trad.
arr. by Jake Sorgen

 

Music Director’s Notes

Anton Chekhov presents a unique musical challenge for The Rogue. Despite his adherence to realism, he seems to be unwilling to let go of certain theatrical elements of the pre-realism worlds, most notably the confluence of music and drama. Music appears in several of Chekhov’s plays in “realistic” settings though with a clear storytelling intention. In Uncle Vanya Chekhov has given musical duties to Ilya Telegin, a friend to the family living on the estate. The pieces Telegin plays (two different traditional Russian folk dances) aim to walk this blurred line Chekhov has drawn between realistic amateur entertainment and dramatic storytelling through music. In addition, Joe McGrath has created some wonderful opportunities for clarinetist Derek Granger and myself to extend beyond these musical confines in the transitions between the four acts of the play. Joe’s choice to have these be narrative moments with the characters deepening their relationships with each other has given us the freedom to do the same musically. Four of the five pieces featured in the pre-show return in these transitions and in Telegin’s onstage playing to create a score that weaves in and out of the lives of these flawed characters. —Jake Sorgen, Music Director and Composer

 

	Jake Sorgen (Music Direction and Original Composition) was music director for Angels in America Part One, The Bridge of San Luis Rey, Miss Julie, By the Bog of Cats, Hamlet, Rosencrantz and Guildenstern Are Dead, The Merchant of Venice, The Lady in the Looking Glass, Waiting for Godot, Jerusalem and Awake and Sing at The Rogue Theatre, and has performed as a musician at The Rogue in Purgatorio and Betrayal. Jake is an improviser/composer/musician originally from Woodstock, New York, and has composed for and performed with musicians, actors, and dancers in Amsterdam, Austin, Boston, New York, and Tucson. Most recently Jake studied improvised music with violist Mary Oliver and movement with dancer Katie Duck and performed and studied with members of the Instant Composers Pool and the Creative Music Studio in the Netherlands and New York.
Derek Granger (Musician) is the Director of Choirs at Flowing Wells High School in Tucson, Arizona. He performed as a musician for The Rogue Theatre’s summer production of Tales of the Jazz Age. A native of Las Vegas, Nevada, Derek graduated from the University of Arizona in 2011 with degrees in Saxophone Performance and Music Education. His performance experience includes two tours of China with Artifact Dance Project, a concerto performance with the Tucson Symphony Orchestra, multiple first place awards at MTNA regional solo and chamber music competitions, and performances In Mexico, Canada, and France. Derek currently performs with Arizona Repertory Theatre and the Presidio Saxophone Quartet. Derek is a member of the National Association for Music Education, Arizona Music Educators Association, and serves as South-Central regional choir chair.

 

Matt Bowdren as Astrov

 

Cynthia Meier as Mrs. Voynitsky and Holly Griffith as Sonya

 

Ryan Parker Knox as Uncle Vanya and Holly Griffith as Sonya

Photo by Tim Fuller

 

Designers
Costume Design		Cynthia Meier
Costume design is supported in part by a generous gift from Ellen & Warren Bodow
Scenic Design		Joseph McGrath
Lighting Design		Deanna Fitzgerald* & Shannon Wallace
Lighting design is supported in part by a generous gift from Bryan & Lizzie Falcón.
Production Staff
Stage Manager		Shannon Wallace
Scenic Artist		Amy Novelli
Set Construction		Joseph McGrath & Christopher Johnson
Costume Construction		Karen DeLay, Cynthia Meier & Nanalee Raphael
Master Electrician		Peter Bleasby
Lighting Crew		Brie Gonzalez, Connor Greene, Reinold Kellici, Tori Mays, Patrick McClanahan & Taylor Moss
House Manager		Susan Collinet
Assistant House Managers		Leigh Moyer & Lizzie Schloss
Box Office Manager		Thomas Wentzel
Box Office Assistants		Kara Clauser, Holly Griffith, Allie Knuth & Rebekah Thimlar
Program Advertising		Paul Winick
Poster, Program & Website		Thomas Wentzel
*Represented by United Scenic Artists Local USA 829 of the International Alliance of Theatrical Stage Employees

 

	Deanna Fitzgerald (Lighting Design) is a professional Lighting Designer and member of United Scenic Artists, as well as an Associate Professor and head of lighting design and technology at the University of Arizona, where she also serves as the Associate Director of the theatre program and the Director of Graduate Studies. Her lighting design credits include theatre, dance, opera, circus-themed, puppets, architectural lighting and more. She is also a registered yoga and meditation teacher and conducts classes and workshops focused on using these and other "quietive" practices to enrich creative processes. Some of Deanna’s career highlights include the lighting designs of Cirque Mechanics: Boom Town, which toured for 2 years with a off-Broadway appearance at The New Victory Theatre, and Erth’s Dinosaur Zoo US Tour. She designed the lighting for the world premiere STOMP OUT LOUD, the Las Vegas version of the internationally acclaimed STOMP. Other design credits include the San Francisco Opera’s Merola and Coconut Grove Playhouse’s Young Artist programs, as well as numerous original dance designs for choreographers such as Deborah Hay, Ben Levy and Andy Vaca. Other credits include 6 years as the Lighting Director on the International Tour of STOMP; Production Director of the Opera Theater Music Festival in Lucca, Italy; Lighting Supervisor/Assistant Lighting Designer at the Santa Fe Opera; Lighting and Tour Consultant for the Original Broadway Cast tours of the Greater Tuna trilogy and Assistant Lighting Designer at the Cincinnati Ballet.
Shannon Wallace (Stage Manager, Lighting Design) is grateful to be working with The Rogue Theatre again, having previously been stage manager for Angels in America Part One, The Bridge of San Luis Rey and The Picture of Dorian Gray. She graduated from the University of Arizona with a Bachelor of Fine Arts, focusing on both stage management and lighting design. During her time in school she worked on over 25 productions with Arizona Repertory Theatre, including: Bat Boy: The Musical, Avenue Q, Love Song, Cymbeline, Nine, Boeing Boeing, The Man Who Came to Dinner, Oklahoma!, Lend Me A Tenor, The Full Monty and Othello. She also worked at Arizona Theatre Company on their Summer on Stage productions of Elephant’s Graveyard and Legally Blonde: The Musical. Additionally, she had the opportunity to work as assistant stage manager for Oklahoma City Philharmonic’s The Christmas Show 2014. And she enjoyed a summer with the Contemporary American Theatre Festival in Shepherdstown, West Virginia, working as part of the company and events management team.
	Peter Bleasby (Master Electrician) lit his first show at 13, using near-lethal home-made equipment.  Professionally, he was with BBC-TV for several years, and then was an assistant to UK lighting designer Richard Pilbrow, including the inaugural production at the National Theatre in London (Hamlet, directed by Olivier). He later transferred to the general lighting industry, handling projects ranging from major sports stadia to cathedrals, but maintained his theatre interests by lighting innumerable shows on both sides of the Atlantic.  When the Rogue established itself at The Historic Y in 2009, he volunteered for the initial lighting “hang,” returning in 2013 to work with lighting designer Don Fox and later with Deanna Fitzgerald.  For the 2014-15 season, he planned and supervised the installation of an extensive permanent wiring system that enables the lighting crews to devote more time to the creative process.  In Tucson, he also directs the technical and logistical aspects of Southern Arizona AIDS Foundation fundraisers, including the fashion show Moda Provocateur.
Susan Collinet (House Manager) earned her Bachelor of Arts Degree in Creative Writing and English Literature from the University of Arizona in 2008. Decades before returning to college as a non-traditional student, Susan spent twenty years in amateur theater, mostly on the East coast, as well as in Brussels, Belgium in the American Theater of Brussels, and the Theatre de Chenois in Waterloo. She has worked in such positions as a volunteer bi-lingual guide in the Children’s Museum of Brussels, the Bursar of a Naturopathic Medical school in Tempe, Arizona, an entrepreneur with two “Susan’s of Scottsdale” hotel gift shops in Scottsdale, Arizona, and as the volunteer assistant Director of Development of the Arizona Aids Project in Phoenix. Susan continues to work on collections of poetry and non-fiction. Her writing has won awards from Sandscript Magazine, the John Hearst Poetry Contest, the Salem College for Women’s Center for Writing, and was published in a Norton Anthology of Student’s Writing. In addition to being House Manager, Susan serves on the Board of Directors and acts as Volunteer Coordinator for the Rogue.

 

Ryan Parker Knox as Uncle Vanya, Molly McKasson as Marina and Matt Bowdren as Astrov

 

Vince Lucarini as Telegin, Molly McKasson as Marina and Ryan Parker Knox as Uncle Vanya

Photo by Tim Fuller

 

Our Thanks
Tim Fuller		Tucson Weekly
Chuck Graham		Patrick Baliani
Arizona Daily Star		Shawn Burke
Jerry James		Our Advertisers
Arizona Theatre Company

 

Thank You to Our Production Sponsors Meg & Peter Hovell

	We first saw Uncle Vanya in New York City in 1973 with George C. Scott, Julie Christie, and Nicol Williamson, directed by Mike Nichols. At the end of the play, Meg remained in her seat, her Slavic soul was sobbing. The others in the group were discussing dinner plans—how could they? When we learned that Uncle Vanya was on the short list for this season at The Rogue, we jumped to be part of the team that brought this masterpiece to Tucson. As Chekhov is famous for saying, if there is a gun in Act 1, it will be fired before the end of the show. We fired off our donation immediately.

Performance Schedule for Uncle Vanya

Location: The Rogue Theatre at The Historic Y, 300 East University Boulevard
Click here for information on free off-street parking

Performance run time of Uncle Vanya is two hours twenty-five minutes including one ten-minute intermission.
Run time does not include the music preshow beginning 15 minutes before curtiain, or post-show discussion.

Thursday, November 3, 2016, 7:30 pm DISCOUNT PREVIEW
Friday, November 4, 2016, 7:30 pm DISCOUNT PREVIEW
Saturday, November 5, 2016, 7:30pm OPENING NIGHT
Sunday, November 6, 2016, 2:00 pm matinee

Thursday, November 10, 2016, 7:30 pm
Friday, November 11, 2016, 7:30 pm
Saturday, November 12, 2016, 2:00 pm
Saturday, November 12, 2016, 7:30 pm SOLD OUT
Sunday, November 13, 2016, 2:00 pm matinee SOLD OUT

Thursday, November 17, 2016, 7:30 pm
Friday, November 18, 2016, 7:30 pm
Saturday, November 19, 2016, 2:00 pm matinee SOLD OUT
Saturday, November 19, 2016, 7:30 pm
Sunday, November 20, 2016, 2:00 pm matinee SOLD OUT