Recipient of the
2012 American Theatre Wing
National Theatre Company Award

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Press

Piece of Work
Classic bard handled with aplomb

Review of Macbeth by Sherilyn Forrester in the May 4 Tucson Weekly

A sweeping Macbeth at The Rogue

Review of Macbeth by Chuck Graham on May 1 in Let The Show Begin! at TucsonStage.com

The Rogue brings on the blood with Macbeth

Preview of Macbeth by Kathleen Allen in the April 27 Arizona Daily Star

 

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

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Direction

	Matt Bowdren (Director) is an Artistic Associate and Education Director for the Rogue Theatre. For the Rogue Theatre Matt has directed Angels in America Part 1 and a reading of The War Boys and assistant directed Richard III, The Merchant of Venice, and By the Bog of Cats. Locally Matt has directed Mr. Marmalade at the University of Arizona and Cigarettes and Chocolate for the Now Theatre. At The Rogue he has appeared in Penelope, Uncle Vanya, 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, Waiting for Godot, Awake and Sing, Betrayal, Arcadia, Measure for Measure, Mistake of the Goddess and after the quake (2013 Mac Award for Best Actor). Other credits include Romeo and Juliet with Southwest Shakespeare, Midsummer Night’s Dream with the Hudson Shakespeare Company and Comedy of Errors with the Rose of Athens. Recently Matt was seen as a Faculty fellow and teaching artist with the Arizona Repertory Theatre in Frankenstein and Othello. Matt holds an M.F.A in Performance from the University of Georgia. Matt Bowdren’s direction of Macbeth is supported in part by a generous gift from Norma Davenport.

Notes from the Director

Macbeth is a play that is saturated in fear. Witches, magic, war, political unrest, all of these create an atmosphere of terror in the play. However, the true fear comes not in the blood and gore, but in the startling recognition of humanity in the play’s tragic villain, Macbeth. Macbeth is brutally murderous. He kills men, women, and children. However, unlike the villains we love—Richard III or Iago—Macbeth cannot delight in his acts. His imagination plagues him until the end, and although he recognizes, weighs, and is revolted by the implications of his actions, he acts nonetheless. Shakespeare is a master at creating complicated and conflicting characters and Macbeth is the pinnacle, a ruthless murderer with a boundless imagination and the ability to love. In the world today, we behold images of violence and death almost daily. Unarmed drivers shot by law enforcement, tourists being run down in crowded marketplaces, chemical weapons being dropped on innocents, and all too often it feels that all we can do is wonder why?  We want to find a reason why someone would commit these acts. We need to know what causes someone to hurt, to destroy, and to murder. It would help to make sense of such senselessness if there was an outside force dictating these actions. In Macbeth, we want desperately to believe that magical forces push the tragic hero/villain. We hope there is something dark outside of our control that illustrates that a man revered in his society, who is respected and accomplished, as Macbeth is, can commit such atrocities. This is the fear in the play. Not the magic or the blood, but the simple fact that Macbeth knows what he is doing, and our own ambition, jealousy, and greed is the dark force acting on us. Shakespeare shows us a world that fosters violence, a world that begs for it, and then gives us the most human character. A man who makes the choice, over and over, to satisfy his own ruthlessness. Matt Bowdren, Director director@theroguetheatre.org

 

 

Cynthia Meier as Lady Macbeth and Joseph McGrath as Macbeth

Photo by Tim Fuller

 

Cast
First Witch		Holly Griffith
Second Witch		Grace Kirkpatrick*
Third Witch		Claire Hancock
Duncan		David Weynand*
Malcolm		Sterling Boyns
Lennox		David Greenwood*
Ross		Claire Marie Manle
Macbeth		Joseph McGrath*
Banquo		Matt Walley
Lady Macbeth		Cynthia Meier
Fleance		Eric Du
Macduff		Ryan Parker Knox*
Lady Macduff		Bryn Booth
Son		Gabe Morales
*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States

 

	Bryn Booth (Lady Macduff) is a recent graduate from the BFA Acting program at the University of Arizona and member of the Equity Membership Candidacy program. She is thrilled to return to the Rogue after performing in The White Snake and be a part of such a stunning production with such talented artists. Bryn was recently seen as Juliet in Romeo & Juliet with Tucson’s Shakespeare in the Park. She performed many times with Arizona Repertory Theatre as Bianca in Othello, Justine in Frankenstein, and Fritzie in Cabaret. In recent years, she had the wonderful pleasure to understudy for Arizona Theatre Company’s productions of Romeo & Juliet as Lady Montague and Lady Capulet, and Of Mice and Men as Curley’s Wife. Bryn is overjoyed to join the Rogue’s ensemble for their upcoming 2017–2018 season. Bryn Booth’s performance is supported in part by a generous gift from Sally Krusing.
Sterling Boyns (Malcolm) recently graduated from The University of Arizona with his BFA in Acting. He has appeared with The Rogue in The White Snake and Angels in America, Part One. His past credits include The Man Who Came to Dinner, The Glass Menagerie, A Midsummer Night’s Dream, Lend Me a Tenor, Barefoot in the Park and Rent (Arizona Repertory Theatre). In addition, he has appeared in Fences and Romeo and Juliet (Arizona Repertory Theatre). He has also performed in ATC Café Bohemia’s staged readings of Catapult and Octagon. Sterling Boyns’ performance is supported in part by a generous gift from Stu Salasche & Els Duvigneau.
	Eric Du (Fleance) a native Ohioan, earned his minor in theatre at Millikin University in Decatur, Illinois. He has previously appeared at The Rogue in Penelope, Hamlet and Rosencrantz and Guildenstern Are Dead. He recently performed in Arizona Theatre Company’s production of Fiddler on the Roof as one of the boys and understudied for Perchik, Sasha, Yussel, and other villagers. He also performed at The Gaslight Theatre for two years. Eric Du’s performance is supported in part by a generous gift from Nick Soloway & Kay Ransdell.
David Greenwood (Lennox) has appeared at The Rogue in The White Snake, The Bridge of San Luis Rey, By the Bog of Cats, Hamlet, Rosencrantz and Guildenstern Are Dead, The Merchant of Venice, Waiting for Godot, Jerusalem, Awake and Sing, Purgatorio, Arcadia, Measure for Measure, Mistake of the Goddess, Richard III, Metamorphosis, Mother Courage, The Night Heron, Journey to the West, The Winter’s Tale, As I Lay Dying, Major Barbara, The Real Inspector Hound, The Decameron and The Rogue’s first production, The Balcony. David 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. David Greenwood’s performance is supported in part by a generous gift from Andy & Cammie Watson.
	Holly Griffith (First Witch) is a member of the Acting Ensemble at The Rogue Theatre and has appeared in The White Snake, Uncle Vanya, 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 Andy & Cammie Watson.
Claire Hancock (Third Witch) performs both nationally and internationally as a dancer, and has been a guest teacher and choreographer for organizations including the Limon Institute, Broadway Theatre Project, Arizona Theatre Company, Arizona Opera, Tucson Symphony Orchestra, and True Concord Voices and Orchestra. She holds a Master of Arts degree in European Dance Theatre from the Laban Centre in London, England, and earned both a Bachelor and Master of Fine Arts degree in dance from the University of Arizona. In 2009, together with colleague Ashley Bowman, she formed Artifact Dance Project, a professional contemporary dance company dedicated to presenting original dance works with live music. Claire is co-artistic director, founding member and rehearsal director for the company. Last summer, she performed the role of Nancy Lamar in Tales of the Jazz Age, a joint production of The Rogue Theatre and Artifact Dance Project. Claire Hancock’s performance is supported in part by a generous gift from Andy & Cammie Watson.
	Grace Kirkpatrick (Second Witch) has a BFA in Acting and minor in Psychology from the University of Arizona. She has appeared with The Rogue Theatre in Penelope, The White Snake, Uncle Vanya, 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 (Macduff)   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 at The Rogue in Penelope, The White Snake, Uncle Vanya (2016 Arizona Daily Star Mac Award for Best Actor, Comedy), 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 wishes to extend a most sincere and humble thanks to those friends and family members whom have stuck by him throughout everything. He wouldn’t be who or where he is without them. Ryan Parker Knox’s performance is supported in part by a generous gift from Jude & Ward Wallingford.
	Claire Marie Mannle (Ross) is delighted to be working at the Rogue again. Recent roles include Mr. Podgers/Oscar Wilde/Witch for a reading of A House of Pomegranates and Ensemble in The White Snake with The Rogue Theatre, Gonzalo in The Tempest and Aemelia in The Comedy of Errors (Arizona Repertory Theatre). You may also recognize her from an Arizona Lottery commercial. She is an Instructor for the School of Theatre, Film, and Television for The University of Arizona. She came to Tucson via Los Angeles where she worked with The Grand Guignolers, Cornerstone Theater Company, A Noise Within, The Antaeus Academy, and SITI Company. She has her MFA from the Dell’ Arte International School of Physical Theater and her BA from Smith College. Claire Marie Mannle’s performance is supported in part by a generous gift from Todd Hansen.
Joseph McGrath (Macbeth) is Co-Founder and Artistic Director for The Rogue Theatre and has appeared in Penelope, The White Snake, Angels in America Part One, Tales of the Jazz Age, Miss Julie, Hamlet, Rosencrantz and Guildenstern Are Dead, The Picture of Dorian Gray, The Merchant of Venice, Waiting for Godot, Jerusalem, Awake and Sing, Arcadia, Measure for Measure, Richard III, The Night Heron, Journey to the West, The Winter’s Tale, The New Electric Ballroom, Shipwrecked!, Major Barbara, New-Found-Land, Old Times, The Tempest, Ghosts, Naga Mandala, Othello, Krapp’s Last Tape, A Delicate Balance (2009 Mac Award for Best Actor), Animal Farm, Orlando, Happy Days, Six Characters in Search of an Author, Red Noses, The Goat, The Cherry Orchard, The Good Woman of Setzuan, Endymion, The Dead, and The Fever. Joe is a graduate of the Juilliard School of Drama and has toured with John Houseman’s Acting Company. He has performed with the Utah Shakespearean Festival and has been a frequent performer with Ballet Tucson appearing in The Hunchback of Notre Dame, A Midsummer Night’s Dream, and for seventeen years as Herr Drosselmeyer in The Nutcracker. He has also performed with Arizona Theatre Company, Arizona Opera, and Arizona Onstage. Joe owns, with his wife Regina Gagliano, Sonora Theatre Works, which produces theatrical scenery and draperies. Joseph McGrath’s performance is supported in part by a generous gift from Andy & Cammie Watson.
	Cynthia Meier (Lady Macbeth) is Co-Founder and Managing and Associate Artistic Director for The Rogue, and has appeared in Uncle Vanya, 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 Bill & Barb Dantzler.
Gabriel Morales (Son) has appeared at The Rogue Theatre as Markey in Jerusalem and the Boy in Mistake of the Goddess. He is a native Tucsonan, born in 2007. He currently attends Carrillo Magnet Elementary as a fourth grade student. Gabriel is blessed with parents who love him, and three sisters whom he spends a majority of his time entertaining. He enjoys playing little league baseball, math, baking and playing board games. Gabriel has a beautiful heart, and has to be one of the friendliest nine-year-olds you will ever meet. Gabriel Morales’ performance is supported in part by a generous gift from Norma Davenport.
	Matt Walley (Banquo) is glad to be back at The Rogue Theatre. He has enjoyed previous roles in Richard III, Journey to the West, The Winter’s Tale, Shipwrecked!, As I Lay Dying, and Major Barbara. He graduated from Dell’Arte International in 2009 with an MFA in Physical Ensemble Theatre. He has also performed with The Pinnacle Peak Pistoleros and their Wild West Stunt Shows, Stories that Soar!, and Live Theatre Workshop. Matt Walley’s performance is supported in part by a generous gift from Andy & Cammie Watson.
David Weynand (Duncan) has appeared with The Rogue as Fa Hai in The White Snake and Serebryakov in Uncle Vanya. 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 Sally Krusing.

 

 

Music
Jake Sorgen

 

	Jake Sorgen (Music Direction and Original Composition) was music director for Penelope, The White Snake, Uncle Vanya, 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. Jake Sorgen’s music direction is supported in part by a generous gift from Kathy Ortega & Lawrence Johnson.

Music Director’s Notes

In the line of Shakespearean tragedies, Macbeth makes a more profound impact with less material than any other. Though often noted as the shortest of Shakespeare’s tragedies or the tragedy that lacks subplots, the play resonates deeply with me for the enormity of its philosophical explorations with such a direct focus, not in spite of it. When Matt and I first discussed musical and sonic approaches to Macbeth, he encouraged me to explore a sound that matches Shakespeare both in mood and form, stretching how much I could do with a limited palette. The result is a score that is more consistent, sometimes persistent, than in other Shakespeare plays we’ve taken on at The Rogue, but often pared down to one or two notes or in some cases no actual melodies at all. The two main instruments I play for this production have been re-purposed to create a sound unique to this world. I’ve detached the front piece of the piano, allowing me to play the strings inside, mixed with different sustaining and muting techniques. The mandolin, affixed to a stand, is played entirely by bow, more closely mirroring the darker tones of viola da gamba—a precursor to the modern day violin family of instruments. My deepest thanks to the cast who bring this music to life by embodying the soundscape of Macbeth’s Scotland in every scene and to Matt whose friendship and collaborative spirit pushed me every step of the way. —Jake Sorgen, Music Director and Composer

 

 

Claire Hancock, Holly Griffith and Grace Kirkpatrick as the Three Witches

Photo by Tim Fuller

 

Designers
Costume Design		Cynthia Meier
Costume design is supported in part by a generous gift from Mona Mizell
Scenic Design		Joseph McGrath
Lighting Design		Deanna Fitzgerald*
Lighting design is supported in part by a generous gift from Bryan & Lizzie Falcón.
Production Staff
Stage Manager		Shannon Wallace
Fight Choreographer		Brent Gibbs
Assistant Fight Choreographer		Kendall Phillips
Fight Captain		Bryn Booth
Scenic Artist		Amy Novelli
Set Construction		Joseph McGrath & Christopher Johnson
Costume Construction		Cynthia Meier, Nanalee Raphael & Elizabeth Falcón
Puppet Construction		Matt Cotten & Cynthia Meier
Witches’ Masks		Aaron Cromie
Prosthetic Head		Clif Dance
Master Electrician		Peter Bleasby
Lighting Programmers		Patrick McClanahan & Connor Greene
Lighting Crew		Tori Mays, Brie Gonzalez, Connor Greene, Patrick McClanahan & Shannon Wallace
House Manager		Susan Collinet
Assistant House Manager		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) has served as stage manager for The Rogue Theatre productions of Uncle Vanya, Angels in America Part One, The Bridge of San Luis Rey and The Picture of Dorian Gray, and as assistant director for The White Snake. 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.
	Brent Gibbs (Resident Fight Director) teaches acting and stage combat at the University of Arizona’s School of Theatre Arts where he also serves as the Artistic Director for the Arizona Repertory Theatre. He is a member of Actors’ Equity Association and Screen Actors Guild/American Federation of Television and Radio Artists.  For nine years Brent served as the director, fight director and production stage manager for one of the nation’s largest Outdoor Dramas, Tecumseh. He has gained recognition as an Advanced Actor/Combatant by the Society of British Fight Directors, Fight Directors Canada and The Society of American Fight Directors where he also holds the rank of Certified Teacher and Fight Director.  He has taught combat master classes around the United States and Europe at various schools including The Royal Academy of Dramatic Art in London.  For several summers he taught stage combat workshops at the International Theatreschool Festival in Amsterdam.
Peter Bleasby (Master Electrician) lit his first show at 13. Professionally, he was with BBC-TV for several years, and was an assistant to UK lighting designer Richard Pilbrow during the inaugural production of the National Theatre (Hamlet, directed by Olivier.) He transferred to architectural lighting, but maintained his theatre interests by lighting many shows on both sides of the Atlantic. When the Rogue established itself at the Historic “Y” in 2009, he volunteered for the initial season, returning in 2013 with  lighting designer Don Fox, and later working with Deanna Fitzgerald. He devised the installation of the permanent wiring system that enables lighting teams to devote more time to the creative process. For the Southern Arizona AIDS Foundation he directs the technical and logistical aspects of 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.

Our Thanks
Tim Fuller		Tucson Weekly
Chuck Graham		Patrick Baliani
Arizona Daily Star		Shawn Burke
Jerry James		Our Advertisers
Arizona Theatre Company
University of Arizona School of Theatre, Film and Television

Performance Schedule for Macbeth

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 Macbeth is two hours and twenty-five minutes, including one 15-minute intermission.
Run time does not include the music preshow beginning 15 minutes before curtiain, or post-show discussion.

Thursday, April 27, 2017, 7:30 pm DISCOUNT PREVIEW
Friday, April 28, 2017, 7:30 pm DISCOUNT PREVIEW
Saturday, April 29, 2017, 7:30pm OPENING NIGHT
Sunday, April 30, 2017, 2:00 pm matinee SOLD OUT

Thursday, May 4, 2017, 7:30 pm
Friday, May 5, 2017, 7:30 pm
Saturday, May 6, 2017, 2:00 pm SOLD OUT
Saturday, May 6, 2017, 7:30 pm
Sunday, May 7, 2017, 2:00 pm matinee SOLD OUT

Thursday, May 11, 2017, 7:30 pm
Friday, May 12, 2017, 7:30 pm SOLD OUT
Saturday, May 13, 2017, 2:00 pm matinee SOLD OUT
Saturday, May 13, 2017, 7:30 pm SOLD OUT
Sunday, May 14, 2017, 2:00 pm matinee SOLD OUT