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Directed by Joseph McGrath
Musical direction by Harlan Hokin
Additional Direction and Choreography by Patty
Gallagher
Produced by special arrangement with Samuel French, Inc.
March
27–April 13, 2008
Thursday–Saturday 7:30 PM,
Sunday 2:00 PM
Preview Night Thursday March 27 7:30 PM
Pay-What-You-Will Nights Thursdays April 3 & 10 7:30 PM
Zuzi’s Dance Theatre, Historic YWCA, 738
North Fifth Avenue at University Boulevard
See
Map
What happens when the Marx Brothers meet the Black
Plague of 1348? Jabbing a finger into the ribs of politics, sex, and
religion, Red Noses is a poignant portrait of human resilience
in the face of the great unknown.
A Musical Preshow with Clowns begins fifteen
minutes before curtain, conceived by Harlan Hokin and guest artist
Patty Gallagher.
BRODIN: Don't start dying before you die.
Alex Samaniego (Grez), Rick Shipman (Lefranc), David Morden
(Flagellant),
Todd Fitzpatrick (Patrice), Clark Ray (Brodin), Steve Cruz (Toulon)
and Layla Tenney (Sabine)
Photo by Tim Fuller
About
the poster
View production photos
Press
Red Noses: Mocking Authority,
Avoiding Despair
Preview of Red Noses by Kathleen Allen
in the March 21 Arizona Daily Star
Director’s Notes
Oddly enough, the experience of directing Peter Barnes’ Red
Noses has been similar, in many ways, with a Rogue production of
a few years ago—Jean Genet’s The Balcony. Both plays
are huge and sprawling. Both playwrights seem to people the stage with
all sectors of society. Of course, Barnes’ world isn’t the
existential world of Genet, which can be opaque. Not so Red Noses,
much of which comes from British music hall tradition. Nevertheless, both
retain the same tenuous grip on reality. Theatrical devices abound. Peter
Barnes and Jean Genet seem to invite us, with every turn of the page,
to depart from the expected—a quality that always draws the notice
of the Rogue.
Barnes’ subject here isn’t some general symbolic construct,
however, but a great historic hinge-point of Western history—the
Black Death of 1347. This first and most catastrophic of bubonic pestilences
changed the perspective of the Western mind. To many social historians
it set ideas in motion that opposed the primacy of the Church and lead,
ultimately, to Reformation, the Enlightenment, and the importance of the
individual in Western philosophy.
Today, it would seem absurd and deeply arrogant that any church or cleric
would offer themselves as the sole gatekeeper to God. But prior to this
time it was the attitude and understanding of the Catholic Church and
the society as a whole that priest and Pope were the only path to God
and salvation. A serious business, perhaps. But with pestilence and brutality
in this world, and hell’s perdition in the next, Barnes proposes
that laughter, joy, and the foolish clown present the most critical revolutionary
danger to Church and power.
Like so many of the plays we do at the Rogue, this play, though often
frivolous on its surface, is about so many more important issues than
just this one theme. And we invite you to, once again, tell us what you
see and think as we embark together on this silly and profound adventure.
—Joseph McGrath, Director of Red Noses
director@theroguetheatre.org
Joseph McGrath as Flote and Patty Gallagher as Sonnerie
Photo by Cynthia Meier
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Cast |
Camille, Evaline, 2nd Leper |
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Jill Baker |
Mother Metz, Marie, 3rd Leper |
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Leanné Whitewolf-Charlton |
Toulon |
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Steve Cruz |
Pellico, Vasquez, Patrice, Viennet |
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Todd Fitzpatrick |
Sonnerie, Scarron |
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Patty Gallagher |
Le Grue |
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Kenton Jones |
Flote |
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Joseph McGrath* |
Marguerite |
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Cynthia Meier |
Monselet, Mistral, Antrechau |
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Michael Mill* |
Clement IV, Flagellant |
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David Morden* |
Rochfort |
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Roger Owen |
Brodin, Druce |
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Clark Andreas Ray |
Grez |
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Alex Samaniego |
Lefranc, Bonville, Bigod, 1st Attendant |
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Rick Shipman |
Madame Bonville, Bembo |
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Terese Simone |
Frapper, Crowd |
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Aaron Sosa |
Sabine, 1st Leper, 2nd Attendant |
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Layla Tenney |
*Member of
Actors’ Equity Association,
the Union of Professional Actors and Stage Managers in the United
States,
appearing under a Special Appearance Contract
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Dr.
Patty Gallagher’s participation as Artist in Residence in The Rogue
Theatre’s 2007–08 season is supported by
the UC Santa Cruz Committee on Research and its Arts Research Institute.
Cast Biographies
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Jill Baker
(Camille, Evaline, 2nd Leper) made her Tucson debut
with The Rogue Theatre, performing the roles of First God and Boy
in The Good Woman of Setzuan. She has also appeared as
Anya in the Rogue’s production of The Cherry Orchard.
She came to Tucson from Chicago where she co-wrote, directed and
performed Mary Shelley and Her Monsters. She spent the
previous year as Artist in Residence at the Berkshire Theatre Festival
where she taught playwrighting and acting to elementary school students
while touring a production of Strange Waves. Other productions
with the Berkshire Theatre Festival include The Father,
Peter Pan, and Arabian Nights. She graduated with
her BFA in Theatre Performance from Missouri State University. |
Leanné
Whitewolf-Charlton (Mother Metz, Marie, 3rd Leper)
has appeared with The Rogue Theatre as Indian Maid and Echo in Endymion
and as Third God and Wife in The Good Woman of Setzuan.
She received theatre and dance education from University of Wiisconsin-Milwaukee
and Northwestern College where she appeared in The Miracle Worker,
Bram Stoker’s Dracula and Pippin. She has
studied with The Milwaukee Ballet as well as the internationally
renowned Afro-modern dance company Ko-Thi. Her Arizona credits include
the roles of Linda Waterman in Fiction for Beowulf Alley
Theatre Company and Albertine and Maud Moon in the Borderlands Theatre
production of Dust Eaters. |
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Steve Cruz
(Toulon) most recently appeared with The Rogue
Theatre as Trofimov in The Cherry Orchard. He received
his Bachelor’s degree in acting from Northern Arizona University,
appearing onstage in productions of When You Comin’ Back,
Red Ryder?, I Remember Mama, A Midsummer Night’s
Dream and The Odd Couple. Here in Tucson, he performed
in All In The Timing at Top Hat Theatre Club, and Fifth
Planet and Black Comedy at Beowulf Alley Theater Company. |
Todd Fitzpatrick
(Pellico, Vasquez, Patrice, Viennet) performed as Vagrant and Stationmaster
in The Rogue Theatre’s production of The Cherry Orchard.
Other Arizona credits include performances as Jesus in Godspell,
Scarecrow in The Wizard of Oz and Saul in Play On!
(all at The Poor Man’s Theater), Joe in Our Town
(Northern Arizona University) and Emile in New Moon (The
Gilbert and Sullivan Theater). His other roles include Linus in
You’re a Good Man, Charlie Brown and Teddy Prior
in The Battle of Corpus Christi. He appeared as Lon in
the HBO film El Diablo and has studied at American Conservatory
Theater in San Francisco. |
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Patty Gallagher
(Sonnerie, Scarron) is Artist in Residence in The
Rogue Theatre’s 2007–08 season. She has performed with
The Rogue Theatre as Shen Te in The Good Woman of Setzuan,
Ranevskaya in The Cherry Orchard, and Winnie in Happy
Days. Patty is Assistant Professor of Theatre Arts at University
of California Santa Cruz where she directs courses in physical theatre,
mask, Balinese dance, and clown traditions. She is Director in Residence
for the Clown Conservatory, San Francisco School of Circus Arts.
She holds a doctorate in Theatre from University of Wisconsin–Madison.
She has performed clown and buffoon with Teatro Cronopio and studied
in Laboratorio Grupo Malayerba. She has worked with the New Pickle
Circus, Fool Time Circus, Folger Shakespeare Theatre, San Francisco
Circus and the Weird Sisters Ensemble. She has performed and directed
workshops in Asia, South America, Europe, and the U.S., and recently
was a Fulbright Scholar in Quito, Ecuador. She is a founding member
of Local Hero, a physical theatre ensemble. |
Kenton
Jones (Le Grue) most recently appeared as Simeonov-Pishchik
in The Rogue Theatre’s production of The Cherry Orchard.
He studied Improvisation at Second City in Chicago and in Los Angeles
with Avery Schreiber. Favorite roles have included Renfield in The
Passion of Dracula, Jerry in The Zoo Story, and Mrs.
Forrest in Psycho Beach Party. Kenton appeared in Arizona
Onstage’s The Full Monty as well as Perfect Wedding,
Lend Me A Tenor, and A New Brain. Kenton co-authored
and will also appear in the upcoming Homoneurotic II, at
the Cabaret Theatre. |
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Joseph
McGrath (Director, Flote) is the Artistic Director
for The Rogue Theatre for which he has performed in The Fever,
The Dead, Endymion, The Good Woman of Setzuan,
The Cherry Orchard, The Goat, or Who is Sylvia?
and Happy Days, and has directed The Balcony,
Endymion, and The Maids. Joe is a graduate of
the Juilliard School of Drama. He has toured with John Houseman’s
Acting Company and performed with the Utah Shakespearean Festival.
In Tucson, he is a frequent performer with Ballet Tucson appearing
in The Hunchback of Notre Dame, Cinderella, A
Midsummer Night’s Dream, Dracula and perennially
in The Nutcracker. He has also performed with Arizona Theatre
Company, Arizona Opera, Tucson Art Theatre, Arizona OnStage, Green
Thursday, Damesrocket Theatre, and Old Pueblo Playwrights in such
plays as The Seagull, Assassins, Oleanna,
Threepenny Opera, and Anger Box. Joe is also a
scenic designer and owns Sonora
Theatre Works with his wife Regina Gagliano, producing theatrical
scenery and draperies. |
Cynthia
Meier (Marguerite) is the Managing and Associate
Artistic Director for The Rogue Theatre for which she has performed
in The Goat, or Who is Sylvia?, The Maids, Endymion
and The Balcony, and adapted and directed James Joyce’s
The Dead, directed Happy Days, The Good Woman
of Setzuan, The Fever and The Cherry Orchard.
She also directed The Seagull (featuring Ken Ruta) for
Tucson Art Theatre. Recently, she directed Talia Shire in Chamber
Music Plus Southwest’s Sister Mendelssohn. A co-founder
of Bloodhut Productions, Cynthia has also performed in 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 is a Division Dean at Pima Community College and
holds a Ph.D. in Performance Studies from the University of Arizona. |
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Michael
Mill (Monselet, Mistral, Antrechau) Michael’s
favorite roles include Dr. Rance in Orton’s What The Butler
Saw, David Bliss in Coward’s Hay Fever, The
Street Singer in Brecht’s The Threepenny Opera, Alceste
in Molière’s The Misanthrope, and the twin
brothers in Anouilh’s Ring Round The Moon. He has
appeared in the Alabama Shakespeare Festival’s productions
of King Lear, The Winter’s Tale, and The
Merry Wives of Windsor; was resident actor for Playhouse on
the Square, Memphis; and has been directed by Dr. John Reich, protégé
of Max Reinhardt, as well as Pulitzer Prize-winning playwright Paul
Green. Michael is pleased to be working with The Rogue Theatre’s
company of richly-talented artists. He would like to acknowledge
the gracious hospitality of Dr. Jerry & Deborah Dickey, as well
as the continuing support (and insightful admonitions) of Margaret
McCarley, Daniel O’Brien, Alan Lee, Gerard Lafond, and Mister
Jon Dawes Menick. |
David
Morden (Clement IV, Flagellant) has appeared with
The Rogue Theatre as Yephikhov in The Cherry Orchard, The
Man in the Silver Dress in the preshow to The Maids and
Glaucus in Endymion. David also directed The Rogue Theatre’s
production of The Goat, or Who is Sylvia? As a singer,
he has played Constable Smith in the Arizona Opera’s production
of The Threepenny Opera and has sung in the chorus of Die
Fledermaus, The Flying Dutchman and Susannah.
He has performed locally with 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 directed productions with
Green Thursday (Shakespeare’s R&J, White
Garden), Oasis Chamber Opera (Sing to Love), DreamerGirl
Productions (The Dreamer Examines His Pillow) and Arts
For All (The Apple Tree). |
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Roger Owen
(Rochfort) appeared as Gaev in The Cherry Orchard
and the Carpenter and the Policeman in The Good Woman of Setzuan
at The Rogue Theatre. He’s worked with Arizona Civic Theatre
(now ATC), U of A, Playbox and many others. In 1979, he played Mitch
in Streetcar Named Desire in Key West (with Tennessee Williams
involved in rehearsals). Favorite classical roles include Macbeth,
Oberon and Toby Belch in Invisible Theatre’s 1970s outdoor
summer productions at La Placita,Aphrodite/Old Nurse/Theseus in
Hippolytus, also at IT, and Jerry in Albee’s Zoo
Story (1981). More recently, he has appeared as John Lambert
in Visitor’s Guide to Arivaca, as Michael the Archangel
in A Tucson Pastorela at Borderlands Theatre, and as Frank
in Dirty Story and Julian in Cactus Flower at
Live Theatre Workshop. He most recently played the role of an amoral
senator in Fifth Planet and Other Plays at Beowulf Alley. |
Clark
Andreas Ray (Brodin, Druce) most recently played
the title role in Tucson Parks & Recreation’s summer production
of Richard III. Some of his favorite roles are The
Man in Upstairs Theater Company’s Closet Land
and Teddy in Fitful Tulip Theatre production of Brian Friel’s
Faith Healer. Clark has also acted and performed stunts
in films and television series such as Tombstone, Young
Riders (14 episodes), and Gunsmoke. He also performs
regularly with Action Unlimited in a live stunt show. |
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Alex Samaniego
(Grez) has worked with Old Pueblo Playwrights, Coyote
Ramblers, Arizona OnStage, and Borderlands Theater. He’s played
card cheats, druggies, man-eating cannibals, and a myriad of other
losers that he has enjoyed tremendously. This is his first time
portraying a high-caliber loser with The Rogue and he’s bursting
with joy for being able to do so. He’s also acted in a worldwide
theatrically-released film, as well as commercials for which he
was paid in sandwiches. Alex has studied here, there and back again,
and has taught acting workshops to children in as far away places
as Southern Africa. |
Rick Shipman
(Lefranc, Bonville, Bigod, 1st Attendant) appeared in this season’s
production of The Goat, or Who is Sylvia? He recently moved
to Tucson from Phoenix where he has acted for the last 9 years and
has performed for most of the theatre companies there. Some of Rick’s
favorite roles include Ross in The Goat, Stephano in Southwest
Shakespeare’s production of The Tempest; Robert in
Proof and Pozzo in Waiting for Godot, both for
Is What It Is Theatre; Sgt. King in No Time for Sergeants
and Murray in The Odd Couple for Hale Centre Theatre; and
Dalton in Equus and GW in Sordid Lives, both for
Nearly Naked Theatre Company. He has also appeared in a few TV commercials
and some Indie films. Rick is also an acting coach and is getting
his degree in education. |
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Terese Simone
(Madame Bonville, Bembo) is thrilled to be making her debut with
the Rogue. She is a graduate of the Dell'Arte International School
for Physical Theater. Teresa was last seen with Borderlands Theater
in A Tucson Pastorela (she was the sheep). She is also
a member of Stories That Soar, a theater in education ensemble that
makes plays out of stories written by children. Teresa is a co-founder
of the BodyMind Theater Group, whose last show, Black and White,
was devised around the architecture of a public park in Denver,
Co. Teresa teaches drama at Green Fields Country Day School. |
Aaron Sosa
(Frapper, Crowd) performed the role of Yasha in The Rogue Theatre’s
production of The Cherry Orchard. He has graduated with
a degree in Theatre Arts from the University of Arizona, where he
has performed as Baby San in Tracers, Actor One in Grimm
Tales, and Frank in On the Way to Miami. Other performances
also include The White Knight in Alice in Wonderland. He
is thankful to his parents for their support and The Rogue Theatre
for giving him the opportunity to act in the Tucson community. |
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Layla Tenney
(Sabine, 1st Leper, 2nd Attendant) is excited to be sharing the
stage with the Rogue Theatre for the first time. Layla has been
dedicating her love for the theatre in her schoolwork, currently
studying to complete a BFA in Theatre Arts Education from University
of Arizona, and has spent the last couple of years at Pima Community
College, where she was last seen in Much Ado About Nothing.
A member of the Actors Guild of Variety Artists, she entertained
thousands performing as multiple characters at Universal Studios
Hollywood in 2006. She recently returned from directing and leading
the theatre department at an international girls camp in West Virginia.
Her heart belongs to her sweet husband Chris, who makes her more
alive everyday. |
Music
in Red Noses
Red Noses calls for a number of musical pieces
that are familiar to us in the twenty-first century, but that have no
relationship to the Black Death of 1348. Some pieces are anachronistic
not only to us but also to the setting of the play. There’s some
Gregorian chant, which is eternally appropriate in a religious setting,
as well as an out-of-context choral setting by Palestrina (who wrote specifically
for the Roman Papal chapel). The play freely interposes modern cultural
references in the form of jokes (many of them groaners) and music that
we recognize. The use of these familiar musical bits and modern references
is an effective technique for including us in the world created by the
play.
—Harlan Hokin, Musical Director
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Musicians |
piano, etc. |
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Harlan Hokin |
oboe, etc. |
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Julie Trujillo |
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Preshow
Music |
Das Veilchen (The Violet) |
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W. A. Mozart |
Recit & Aria from Acis and Galatea |
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G. F. Handel |
Theme from Amarcord |
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Nino Rota |
Fur Elise |
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L. v. Beethoven |
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Music in
the play |
Incidental music and songs |
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Harlan Hokin |
Life is just a Bowl of Cherries |
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Brown & Henderson |
Dies irae, Te lucis ante terminum |
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Gregorian Chant |
Gregorian Chant |
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G. Palestrina |
Three Ravens |
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Thomas Ravenscroft |
Red Roses for a Blue Lady |
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Tepper & Bennett |
Tea for Two |
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Caesar & Youmans |
Didn’t He Ramble |
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Traditional New Orleans funeral song |
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Harlan Hokin
(Musical Director) has directed the music for The Rogue Theatre productions
of The Goat, or Who is Sylvia?, The Cherry Orchard,
The Good Woman of Setzuan, The Maids, Endymion,
The Dead and The Balcony. He has performed extensively
as a singer in Europe and the United States, including a stint with
the Oregon Shakespeare Festival. He earned a doctorate in historical
performance practice from Stanford, and has taught at Stanford and
UC Santa Cruz. Harlan is an active workshop teacher and writer on
topics of interest to singers and early music performers. Harlan was
Vocal Director for Arizona Onstage’s production of Assassins.
This summer Harlan served as music director for Arizona Theatre Company’s
Summer On Stage program. He is currently serving as Artistic
Director for the Arizona Early Music Society and is the father of
two nearly perfect children. |
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Designers |
Scenic Design |
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Joseph McGrath |
Costume Design |
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Cynthia Meier |
Lighting Design |
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Clint Bryson |
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Production
Staff |
Stage Manager |
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Michelle Scalpone |
Lightboard Operator |
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Carolyn Hokin |
Set Construction |
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Chadwick McGinnis |
Costume and Scenic Support |
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Jill Baker, Leanné Whitewolf-Charlton |
Marketing
and Publicity |
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Thomas Wentzel |
Poster and Program |
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Thomas Wentzel |
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Our Thanks |
Jesse
Greenberg |
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Chuck Graham |
James Reel |
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Kathy Allen |
Don Yunker Design |
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Adam Hostetter |
St. Philip’s in the Hills Episcopal
Church |
Our Advertisers |
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Clint Bryson (Lighting
Designer) has designed lights for The Rogue Theatre’s productions
of The Balcony, The Dead, Endymion, The
Cherry Orchard, and Happy Days. Other lighting design
credits include As Bees in Honey Drown and Golf Game
for Borderlands, Woman in Black for Beowolf 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. Clint thoroughly enjoys the passion
and integrity that The Rogue brings to their productions and looks
forward to playing his part in their creative journeys. |
Michelle
Scalpone (Stage Manager) is extremely excited to
be a part of Red Noses. She is a sophomore at the University of
Arizona, a BFA candidate in Theatre Production, with an emphasis
in Stage Management. She has spent the past year as the proud Stage
Manager of the School of Theatre Arts’ touring production
of Encore: With a Song in My Heart. Other productions of
which she has been a part include: Scrooge, Older But
Miser (Gaslight Theatre, ASM), Broadway Bound (Arizona
Repertory Theatre, Light Board Operator), the One Act Festival (School
of Theatre Arts, ASM), and Candide (ART, Swing ASM). Michelle
would like to thank her Mom, Dad, Julie, Sean, Erika, Nicole, Rhea,
friends and family for always being there for her and supporting
her in what she loves to do. |
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Performance Schedule for Red Noses
Location: Zuzi’s Dance Theater, Historic Y, 738 N. 5th Avenue at
University See
map
Thursday March 27, 2008, 7:30 pm PREVIEW
Friday March 28, 2008, 7:30 pm
Saturday March 29, 2008, 7:30 pm
Sunday March 30, 2008, 2:00 pm matinee
Thursday April 3, 2008, 7:30 pm PAY-WHAT-YOU-WILL
Friday April 4, 2008, 7:30 pm
Saturday April 5, 2008, 7:30 pm
Sunday April 6, 2008, 2:00 pm matinee
Thursday April 10, 2008, 7:30 pm PAY-WHAT-YOU-WILL
Friday April 11, 2008, 7:30 pm
Saturday April 12, 2008, 7:30 pm
Sunday April 13, 2008, 2:00 pm matinee
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