Produced by special arrangement with Samuel French, Inc.
A masterpiece of simplicity and grace, this play is
a powerful and stark portrait of American life at the beginning of
the twentieth century. Join us for an imaginative journey alongside
the townspeople of Grover’s Corners, where life, in all its
brutality and wonder, is laid bare for our examination and appreciation.
Robert Anthony Peters (George Gibbs), Alexandra Franklin
(Emily Webb) and Terry Erbe (Stage Manager)
“I’ve met no ‘cultivated’
folk,”
he wrote a friend a year after moving to Douglas,
“and I have not missed them.”
Local author Tom
Miller writes of Thornton Wilder’s Arizona connection in the
July 2009 issue of Smithsonian Magazine. To read the article, click here.
A short biography of Thornton Wilder, a chronology of
his life,
and a list of currently availably publications by or about Thornton Wilder
can be found here.
Dylan Stringer (Wally Webb), Celia Madeoy (Myrtle Webb)
and Alexandra Franklin (Emily Webb)
Photo by Tim Fuller
Press
Food for thought fills Our
Town at Rogue Theatre
Review of Our Town by Chuck Graham on January
12 in Let The Show Begin! at TucsonStage.com
Our Town populated with meaning Rogue Theatre to stage classic about local lives, universal context
Preview of Our Town by Kathleen
Allen in the January 1 Arizona Daily Star
A behind the scenes look at The Rogue’s production of Our
Town, filmed on closing night, January 24th, 2010. If you have
a YouTube account, we invite you to subscribe to our
YouTube channel.
Direction
Joseph
McGrath (Director) 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, Happy Days,Red Noses, Six Characters in Search of an Author,
Orlando, Animal Farm and A Delicate Balance
and has directed The Balcony, Endymion, The
Maids (winner of the Arizona Daily Star 2007 Mac
Award for Best Play) Red Noses and Immortal Longings,
which he also authored. 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.
Director’s Notes
In 1785 James Hutton first proposed what is still the
working model of modern geology: that land was formed over vast periods
of time from the earth’s molten core, and laid down in ocean sediments.
In the 1920s Edwin Hubble determined that the nebulae picked up in astronomer’s
telescopes were not distant objects in the Milky Way Galaxy, but distant
galaxies in themselves. That the universe was thus not only comprised
of the Milky Way, vast as it may be, but by billions more galaxies like
it.
It is only now that we as a species are beginning to fully understand
the size and age of our universe, our planet, and of life itself.
From this perspective, Our Town, though first performed in
1938, might well have been written yesterday. Thornton Wilder stands
with us, peering into the vastness of time and space and depicts our
lives in this infinite cosmos. He renders what are for us the simplest
possible lives in the simplest possible setting. Grover’s Corners
is an unremarkable and anonymous small town populated by unremarkable
people. In the end they will, like our nameless Pleistocene ancestors
with their artifacts of pot shards and bones, leave us precious little
to interpret their lives and loves, their joys and sorrows. Even so,
we see enough to recognize them and ourselves as remarkable beyond measure
in a universe of “chalk and fire.”
Brian Taraz (Joe Stoddard) and Jesse McCain (Sam Craig)
Photo by Tim Fuller
Cast
Stage Manager
Terry Erbe
George Gibbs
Robert Anthony Peters
Emily Webb
Alexandra Franklin
Dr. Frank Gibbs
Roberto Guajardo*
Julia Gibbs
Cynthia Meier
Charles Webb
David Morden*
Myrtle Webb
Celia Madeoy*
Simon Stimson
Paul Barby
Louella Soames
Jan Henderson
Howie Newsome
Todd Fitzpatrick
Professor Willard
Bill Epstein
Constable Warren
Art Jacobson
Sam Craig
Jesse McCain
Joe Stoddard
Brian Taraz
Wally Webb
Dylan Stringer
Rebecca Gibbs
Daria Berg
Joe Crowell/Si Crowell
Dylan Connelly
*Member
of Actors’ Equity Association,
the Union of Professional Actors and Stage Managers in the United
States,
appearing under a Special Appearance Contract
Cast Biographies
Paul Barby
(Simon Stimson) is delighted to be back in the
theatre again. In 1960, he left his home on a ranch in Oklahoma
to study acting at the American Academy of Dramatic Arts in New
York. That was followed by classes with Lee Strasberg of Actors
Studio fame. During the late 1960s, he appeared professionally
in musicals with the Pittsburgh Civic Light Opera, the St. Louis
Muny Opera and Houston’s Sharps Town Music Theater. While
living in Albuquerque during the 1970s, he appeared in numerous
plays and musicals, among them the lead roles in Boys in the
Band and Promises, Promises. Family business required
his return to Oklahoma for a long drought without theater activities.
Among later very infrequent community theater appearances was
that of the title role in the musical Scrooge, a favorite
role. Simon Stimson is his first role with The Rogue Theatre.
Daria
Berg (Rebecca Gibbs) understudied Scout in Arizona
Theatre Company’s To Kill a Mockingbird. She also
played Amaryllis in The Music Man with Arizona Repertory
Theatre, and Dixie in Cat on a Hot Tin Roof with Arizona
Repertory Theatre. She is currently in a local short film, Cash
For Keys. She plays softball and tennis and is a cheerleader
for her school, the Pusch Ridge Christian Academy Lions.
Dylan
Connelly (Joe/Si Crowell) is a 6th grader at Orange
Grove Middle School with interests in history and science. Our
Town is Dylan’s first production. As his father would
say, “Dylan’s a ham, he will either be an actor or
a priest. Let’s hope for the girls’ sake, he’s
an actor.”
Bill
Epstein (Professor Willard) is a Professor of
English at the University of Arizona, Bill has produced, directed,
written and acted in productions in the U.S. and Britain, on campuses
and in community and commercial theaters. He has played leads
in mummers’ plays, commedia dell’arte, musicals
(West Side Story, Bells Are Ringing), comedies
(Plaza Suite, It Should Happen to a Dog, Misalliance,
Light Up the Sky, I Hate Hamlet), and dramas
(Old Times, Antigone, The Festivities,
Deathtrap, The Subject Was Roses, Educating
Rita), as well as supporting roles in Shakespeare (Hamlet,
Taming of the Shrew, Measure for Measure), Brecht,
Chekhov, Fo, Genet, Giraudoux, Shaffer, Shaw, Uhry, Wilde, and
others. In Tucson, he has acted with, among others, Arizona Repertory
Theatre, Beowulf Alley Theatre Company, Borderlands Theater, Live
Theatre Workshop, and Quintessential Productions. Two of the plays
he has acted in received MAC Awards for Best Comedy. This is his
second appearance with The Rogue Theatre.
Terry
Erbe (Stage Manager) returns to The Rogue Theatre
after a long absence, having appeared previously in The Balcony.
Terry is in his tenth year teaching and directing theatre at Catalina
Foothills High School, and he can be seen occasionally around
town in various productions. Terry is a founding member of the
newly formed Winding Road Theatre Ensemble, and will be appearing
next month (Valentine’s Day) in their second production,
Frankie & Johnny in the Claire de Lune by Terrence
McNally. Recent acting credits include Leaving Iowa and
The Exonerated at The Invisible Theatre and Of Mice
and Men at Beowulf Alley Theatre Company. Directing credits
include Prelude to a Kiss and A Perfect Ganesh
at Live Theatre Workshop, The Woman in Black at Beowulf
Alley Theatre Company, The Last Five Years for Timberwolf
Productions and Eleemosynary for the Frances & Claire
Theatre Ensemble.
Todd
Fitzpatrick (Howie Newsome) most recently appeared
as Leslie in Beowulf Alley Theatre Company’s production
of Seascape. He previously performed with The Rogue Theatre
in The Cherry Orchard, Red Noses and Six
Characters in Search of an Author. Other roles he has performed
include Linus in You’re a Good Man, Charlie Brown,
Scarecrow in The Wizard of Oz and Jesus in Godspell.
Todd appeared as Lon in the HBO film El Diablo and has
studied at American Conservatory Theater in San Francisco.
Alexandra
Franklin (Emily Webb) recently moved to Tucson
after earning a BFA in Acting from Illinois Wesleyan University.
Prior to coming to Tucson, Ali toured the state of Tennessee with
the National Theatre for Children. She is currently an intern
at Invisible Theatre where she assists in the box office, provides
production assistance, and works with the fabulous Pastime Players.
Ali also enjoys long form improv, which she studied at Brave New
Workshop in Minneapolis for a number of years.
Roberto
Guajardo (Dr. Frank Gibbs) is making his debut
at The Rogue Theatre. He most recently appeared at Arizona Theatre
Company in George is Dead. Other ATC productions include
To Kill a Mockingbird, Molly’s Delicious,
Twelfth Night, Sherlock Holmes: The Final Adventure,
Macbeth, Over the Moon, Much Ado About Nothing,
Wit, As You Like It, Picasso at the Lapin
Agile, The Two Gentlemen of Verona, A Midsummer
Night’s Dream, Shadowlands, Once Crazy
Day, The Tempest, You Can’t Take It With
You and The Matchmaker. Other regional appearances
include Kansas City Repertory Theatre, Pasadena Playhouse, Seattle
Repertory Theatre and San Jose Repertory Theatre. Mr. Guajardo
has also worked extensively throughout Arizona, including performances
at Invisible Theatre, Borderlands Theater, Beowulf Alley Theatre
Company, The Flagstaff Festival of the Arts, Actor’s Lab,
Arizona Jewish Theatre Company, Actors Theatre and Phoenix Theatre.
He has also made numerous appearances on TV and in film. In 2008,
Roberto was honored to receive TPAC’s Lumie Award for Lifetime
Achievement for outstanding contribution to the arts in Pima County.
Janet
Lynn Henderson (Louella Soames) is acting with
The Rogue Theatre for the first time. She has been seen in The
Full Monty and Jewtopia with Arizona Onstage Productions,
Noche de los Muertos for Beowulf Alley Theatre Company,
Rags: The New American Musical for Borderlands Theater,
Pippin, Man of La Mancha and A Secret Garden
with UMC Fine Arts, All in the Timing and The Laramie
Project for Pima Community College Theatre Arts, as well
as The Comedy of Errors and A Streetcar Named Desire,
Lillies of the Field, Gypsy, Nunsense
and others at various fine community theatres in Tucson. She was
educated primarily by the fine and conscientious instructors at
Pima Community College and in the most demanding educational facility
of all—the School of Life.
Art Jacobson
(Constable Warren) arrived in Tucson from Chicago 35 years ago
and fell in love with the Old Pueblo. He considers himself a native
Tucsonan. This is his sixth appearance in a Rogue Theatre production.
Rogue audiences saw him first as the Envoy in The Balcony
and most recently as Firs in The Cherry Orchard. He has
also appeared in productions by Borderlands Theater, Old Pueblo
Playwrights, and Beowulf Alley Theater. He’s happy to be
returning to play with his fellow Rogues.
Celia
Madeoy (Myrtle Webb) is in her third year as Instructor
on faculty with the UA School of Theatre Arts’ Professional
BFA Training Program and a company artist/vocal coach with Arizona
Repertory Theatre. Past ART credits include Joanne in Company,
Grace in Bus Stop, Nurse in Medea, Mrs. Paroo
in The Music Man and Josephine Strong in Urinetown.
Professionally, she has performed with numerous regional theaters
including the Shakespeare Theatre Company, Folger Theatre, Shakespeare
& Company, Marin Shakespeare Company, Child’s Play Touring
Theatre, and with Maryland, North Carolina and Virginia Shakespeare
Festivals. At the American Shakespeare Center, Celia acted with
the Resident Troupe of the Blackfriars Playhouse as Lady Macbeth,
Emilia in Othello, Gonzalo in The Tempest, and
Phoebe in As You Like It. She also played Kate opposite
two-time Obie award actor, Rocco Sisto in The Taming of the
Shrew at Shakespeare & Company and was named most outstanding
actress of the Berkshires that season. Her classical training
in Shakespeare performance includes working along side several
distinguished directors of the Royal Shakespeare Company, National
Institute of Dramatic Art and Shakespeare’s Globe in London.
Celia holds her MFA in Acting from The Theatre School at DePaul
University, Chicago.
Jesse
McCain (Sam Craig) is a sophomore at the University
of Arizona. This is his first production with the Rogue Theatre.
He was recently seen as part of Debut through the University
of Arizona School of Theatre Arts, as well as Detective George
Blumberg in the wacky murder mystery Dedicated To The End
for the U of A family weekend. Previously, Jesse was seen in Dracula,
The Crucible and A Midsummer Night’s Dream
at Sabino High School.
Cynthia
Meier (Julia Gibbs) is the Managing and Associate
Artistic Director for The Rogue Theatre for which she has adapted
and directed James Joyce’s The Dead, directed Animal
Farm, Orlando, Happy Days, The Good
Woman of Setzuan, The Fever and The Cherry Orchard,
and performed in A Delicate Balance, Immortal Longings, Six
Characters in Search of an Author, Red Noses, The
Goat (Best Actress, Arizona Daily Star 2008 Mac Award), The
Maids, Endymion and The Balcony. She also
directed The Seagull (featuring Ken Ruta) for Tucson
Art Theatre. For Chamber Music Plus Southwest, she has directed
Talia Shire in Sister Mendelssohn and Edward Herrmann
in Beloved Brahms. A co-founder of Bloodhut Productions,
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 is a Faculty
member in Speech at Pima Community College and holds a Ph.D. in
Performance Studies from the University of Arizona. In 2000, Cynthia
was awarded the Tucson YWCA Woman on the Move Award.
David
Morden (Charles Webb) has directed The Rogue Theatre’s
productions of A Delicate Balance, The Goat
(2008 Arizona Daily Star Mac Award) and Six Characters in
Search of an Author. David has appeared with The Rogue Theatre
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. As a singer, he has performed
in the chorus of Arizona Opera’s production of The Threepenny
Opera, Die Fledermaus, The Flying Dutchman,
Susannah, and The Mikado. He has acted 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).
Robert
Anthony Peters (George Gibbs) was born and raised
in San Francisco and is currently enjoying the warm desert climes
of Tucson. In 2001, he completed his BS at the University of Arizona
in Marketing and Entrepreneurship, was subsequently a Koch Fellow
in Washington, DC, and went on to train at the Lee Strasberg Theatre
Institute in New York City. He has been performing in stage, film,
and voiceover productions for nearly ten years. A few of his films
that are available to the purchasing public are The Pursuit
of Happyness, Revolution Summer, The Village
Barbershop, Wasted, and many more that have yet
to see the light of day. These days, he is primarily seen working
in his father’s Pak Mail store in Northwest Tucson. He is
the president of Laissez Faire Media (laissezfairemedia.com)
and a member of SAG, AFTRA, and Theatre Bay Area. His website
is robertanthonypeters.com.
Dylan
Stringer (Wally Webb) is currently a theater student
in Terry Erbe’s theater class at Catalina Foothills high
school. Although this is his first time performing in a professional
theater production, he has always been involved in the arts. Dylan
has played the saxophone, the piano and other instruments for
several years, and has been an active member of his school’s
jazz program and others around town. He has written short stories
and songs ever since he was in elementary school and hopes to
make a career creatively in the future.
Brian
Taraz (Joe Stoddard) makes his debut with The
Rogue with this production. Previously, Brian performed the role
of Harold in Black Comedy at Beowulf Alley Theatre Company.
The bulk of Brian’s theatrical acting has taken place in
San Diego, performing in numerous Shakespeare plays such as Macbeth,
Twelfth Night and A Midsummer Night’s Dream,
as well as Marat/Sade, Book of Days, The
Trial and I Hate Hamlet. Brian also has a musical
side, composing original pieces using traditional religious texts
as the lyrics. Samples of his work can be heard at www.godsminstrel.com.
Daria Berg (Rebecca Gibbs) and Robert Anthony Peters
(George Gibbs)
Photo by Tim Fuller
Music Director’s
Notes
The denizens of Grover’s Corners are likely to have
had music as an integral part of their lives—so integral that
they may hardly have noticed it! Wilder specifies very common and well-known
hymns. The Wagner and Mendelssohn wedding marches and Handel’s
Largo are unforgettable, deeply affective pieces. And, of course,
there’s a very good reason that these pieces are so dear to us:
they’re really good.
Preshow music
Our preshow includes music that would have seemed familiar to New Englanders
around the turn of the 20th century. Folk songs and melodies of British
provenance were known to many. Community singing was and is a fairly
wide-spread part of that kind of life. We are including several pieces
from the choral repertoire known as “shape note,” “Fasola,”
“Sacred Harp,” or “singing school” music. This
type of music-making is a distinctly American phenomenon, even though
it has its roots in 17th and 18th century English country parish singing.
These days, Fasola singing is often associated with church groups in
the southeastern United States, but its origin is firmly in New England.
The style gradually migrated south in the decades following the Civil
War, partly as a result of book publishers sending singing masters around
to teach the pieces and interest congregations in purchasing books.
There are many American books containing this material; the best known
are “Sacred Harp,” “The Social Harp” and “Southern
Harmony.” Many of the songs are suitable for either sacred or
secular purposes.
At Sacred Harp “singins,” participants generally sit in
a square by voice part, with the tenors nearest the door. There are
no specific vocal or musical requirements—participants take their
places and do the best they can. The cliché is that people would
walk a hundred miles to join a “singin,” but no one would
bother cross the street to listen to the stuff.
The idea of Fasola is a variation of notions of music theory that produced
the European Solfege syllables Do, ReMi,
etc. But the shape-note system is simpler and less comprehensive, consisting
of four shapes that can be moved around as needed to complete a regular
8-note scale (square, circle, half-circle or triangle). Each shape represents
a position in a scale, such as the middle tone of a whole-tone/half
tone sequence. Singers learn the scalar position of each shape in relation
to the others, and are able to sing any melody written in this format.
The shapes that correspond to Mi and Fa show the relationship
each note has to the notes next to it. The exact starting pitch is irrelevant,
since the shapes indicate position in a scale rather than specific frequencies.
The shapes do not affect the notation of the rhythm.
There is a very active and welcoming Fasola group in Tucson.
They can be contacted at http://www.tucsonfasola.org/.
Local, regional and national “singins” are common throughout
the USA.
Our pump organ (reed organ) is a relic of a type that was very common
through the 19th and early 20th centuries. The organ we’re using
in this production has been lovingly restored and loaned to The Rogue
Theatre by Mr. Jim Periale.
—Harlan Hokin, Musical Director
Preshow
Music
Lillibullero
Melody attributed to Henry Purcell (1659–1695)
Minstrel Boy (The Moreen)
Traditional Irish Melody
The Saints’ Delight
from Sacred Harp; text by Isaac Watts, 1707;
music by F. Price, 1835
Portland
from Sacred Harp; text by Isaac Watts, 1719;
music by Abraham Maxim, 1802
Sweet Prospect
from Sacred Harp; text by Samuel Stenneett,
1787; music by William Walker, 1833
Music
In the Play
Blest Be the Tie That Binds
Words by John Fawcett, 1782; music by Hans G. Naegeli,
1845
Art Thou Weary, Art Thou Languid
Words by John M. Neale, 1862; music by Henry W. Baker,
1868
Love Divine
Words by Charles Wesley, 1747; music by Rowland Huw
Prichard, 1830 (from Hyfrydol, a Welsh tune)
Largo
G. F. Handel, Xerxes, 1738
Bridal Chorus
Richard Wagner, Lohengrin, 1850
Wedding March
Felix Mendelssohn, from A Midsummer Night’s
Dream, 1842
Incidental music
Harlan B. Hokin
Entr’acte
Music
The Last Rose of Summer
from Irish Melodies by Thomas Moore (1807-34)
Wayfaring Stranger
from Bever’s Christian Songster, 1858
Musicians
Paul
Amiel
harp, flute, mountain dulcimer
Harlan Hokin
guitar, domra
Dawn C. Sellers
reed organ, vocals
Robert Villa
violin
Alexandra Cockrell
additional vocals
Harlan
Hokin (Musical Director) 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. Recent
theatrical involvement has been with The Rogue Theatre as Musical
Director for A Delicate Balance, Animal Farm,
Immortal Longings, Orlando, Six Characters
in Search of an Author, Red Noses, The Goat,
The Cherry Orchard, The Good Woman of Setzuan,
The Maids, Endymion, The Dead and The Balcony,
and Arizona Onstage Productions as Vocal Director for their production
of Assassins. Harlan has also 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.
Paul
Amiel is a multi-instrumentalist who has extensively
studied and performed Medieval, Turkish, Arabic, Chinese, Celtic
and Japanese music both here and abroad. He founded and performs
with the Summer Thunder Chinese Music Ensemble, the traditional
Japanese music duo Musou, and Zambuka (Middle Eastern, Turkish,
and Mediterranean music and dance). Paul has performed music for
The Rogue Theatre’s productions of The Dead, Endymion,
The Good Woman of Setzuan, Orlando and Immortal
Longings.
Dawn C. Sellers
was a pianist, composer and educator prior to receiving an MFA in
dramatic writing from Carnegie Mellon University. Her screenplay,
Butterfly Found, won the Arthur Sloan Foundation Screenwriting
Award as well as the Santa Fe Screenwriter’s Conference Award.
She composed music for the Off-Broadway production of Dance
with Me by Jean Reynolds and is published with Hal Leonard
Music Publishing, Alfred Music Publishers and the Neil A. Kjos,
Jr. Music Company. Dawn also holds a Masters of Music from Northwestern
University and a Ph.D. in Music Education from the University of
Oklahoma. Since moving to Tucson two years ago, her plays have been
produced by This Side Up Productions, Beowulf Alley Theatre Company,
Live Theatre Workshop and The Arizona Women’s Theatre. A member
of Tucson’s Old Pueblo Playwrights, her play Frozen Heart
will be presented at Live Theatre Workshop in April. She’s
delighted to dust off her musical chops for The Rogue.
Robert
Villa has been playing violin for about eight
years and his love of music and violin encompasses more than “classical”
music, as he plays in Zambuka, an Anatolian-Middle Eastern music
ensemble and may occasionally be seen at the local Irish pub on
Sundays trying to learn Irish fiddle. He has performed music for
The Rogue Theatre’s productions of The Dead and
Endymion. Apart from his love of music, he is a passionate
naturalist in love with the cultural and natural history of Mesoamerica
and the Sonoran region. He is a laboratory technician at the Human
Origins Genotyping Laboratory at University of Arizona and the
vice president of Tucson Herpetological Society which is dedicated
to the conservation, education and research of amphibians and
reptiles of Arizona and Mexico.
David Morden (Charles Webb) and Paul Barby (Simon Stimson)
Photo by Tim Fuller
Production
Staff
Stage Manager
Barbara Freischlad
Assistant Stage Manager
Alexandra Cockrell
House Manager
Susan Collinet
Assistant House Manager
JoAn Forehand
Box Office Manager
Thomas Wentzel
Electrician
Peter Bleasby
Poster and Program
Thomas Wentzel
Marketing and Publicity
Norma Davenport, Carol Elliott,
Sylvia Feldman, David Morden, Pam Shack,
Ward Wallingford, Thomas Wentzel,
Jim Wilson
Lobby Art
Kathy Young
Designers
Scenic Design
Joseph McGrath
Costume Design
Cynthia Meier
Lighting Design
Clint Bryson
Clint Bryson (Lighting
Designer) has designed lights for The Rogue Theatre’s productions
of The Balcony, The Dead, Endymion, The
Cherry Orchard, Happy Days, The Goat, Red
Noses, Six Characters in Search of an Author, Orlando,
Immortal Longings, Animal Farm and A Delicate
Balance. 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. 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.
Barbara
Freischlad (Stage Manager) is very pleased to
be managing the Rogue stage again. She was also the Rogue stage
manager for Animal Farm in September 2009. Barbara is
a Performing Arts major at Pima Community College. She leads a
parallel life as a percussionist and serves the Civic Orchestra
of Tucson as its timpanist. She finds many similarities between
playing percussion and stage managing. When she is neither onstage
nor backstage, Barb roves about with her guitar singing folk songs
like a true rogue.
Alexandra Cockrell
(Assistant Stage Manager) is a sophomore at Catalina Foothills High
School where she was recently seen as Lizzie Flynn in The Uninvited,
and will soon be seen as Schwarzy in the March production of Spelling
Bee. She was also seen as Young Tommy in The Who’s
Tommy and Helen Keller in The Miracle Worker at Arizona
Repertory Theatre. This is her first show at The Rogue.
Our Thanks
Tucson Fasola
Kathy Allen
Peter Bleasby
Jim & Petey Periale
Joe Schwanz
Susan Collinet
Amy Novelli & Sweet Pea
Tim Fuller
Jesse Greenberg
Our Advertisers
Alexandra Franklin (Emily Webb), Terry Erbe (Stage Manager),
Robert Anthony Peters (George Gibbs) and Bill Epstein (First Dead Man)
T U C S O N A R I Z O N A![rogue, (rôg), n. [<16th-c. thieves' slang <L.rogare, to ask]](Assets/Roguescrolltextheader.gif){kind=small}
