Click here to listen to Cynthia Meier and Joseph McGrath, co-founders of The Rogue Theatre, as they reflect on why we chose the plays we did and why we’re excited to share them with you.

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Galileo
by Bertolt Brecht
Translated by Charles Laughton

Sponsored by Marianne & Bill Leedy

September 6–23, 2018

A fictionalized telling of the struggles of Galileo Galilei and his confirmation of the Copernican Model of the solar system and its cosmological and religious implications, resulting in a harrowing confrontation with the powerful Catholic Church.

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The Curious Incident of the Dog in the Night-Time
by Simon Stephens, based on the novel by Mark Haddon

Sponsored by Joan Cook, in memory of Douglas Cook

November 1–18, 2018

In a rushing, shifting theatrical style, the story is told of a brilliant 15-year-old boy with autism and his amateur investigation of the killing of a dog. He discovers a family secret and takes matters into his own hands, and eventually succeeds in his advanced math exam.

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Much Ado About Nothing
by William Shakespeare

Sponsored by John Wahl & Mary Lou Forier

January 10–27, 2019

A classic duel of the sexes between two great figures of wit, Benedick and Beatrice. With a transfixing melodrama at its core, it has a cast of colorful characters: young lovers, mature lovers, an older generation, comic rustics, and a gang of sinister but incompetent villains.

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The Secret in the Wings
by Mary Zimmerman

Sponsored by Barbara Martinsons & Larry Boutis

February 28–March 17, 2019

Through the frame of a modern telling of Beauty and the Beast, seven other fairy tales are enacted in the setting of a basement play space. Rich and phantasmagoric, the play evokes an air of danger, both physical and sexual, along with a triumph of love.

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The Crucible
by Arthur Miller

Sponsored by Pat & John Hemann

April 25–May 12, 2019

Miller’s defiant response to the McCarthy era hearings and the ruined lives left in its wake. Set in Colonial Massachusetts, this retelling of the Salem witch trials shows us John and Elizabeth Proctor caught up in the fury and paranoia over the hazards of accepting accusation as conviction.

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