Recipient of the
2012 American Theatre Wing
National Theatre Company Award

PRODUCTION SPONSOR: PAUL BARBY Directed by Cynthia Meier Musical direction by Harlan Hokin April 29–May 16, 2010 Thursday–Saturday 7:30 P.M., Sunday 2:00 P.M. Musical Preshow begins 15 minutes before curtain Discussion with the cast and director follows all performances Added performance: DISCOUNT MATINEE Thursday May 6 10:00 am (No half-price student rush, no musical preshow) Preview Night Thursday April 29, 7:30 P.M. Pay-What-You-Will Nights Thursdays May 6 & 13, 7:30 P.M. Half-price Student Rush 15 minutes before curtain Performance Schedule The Rogue Theatre at The Historic Y 300 East University Boulevard Free Off-Street Parking (except for Thu May 6 Matinee) See Map and Parking Information

A classic tale of love and longing outpacing reason, this play questions whether love and desire can ever be contained. The passion of Othello, the Moor of Venice, burns hotly in this story of a man who loved not wisely, but too well. Unrivalled in its portrayal of jealousy, revenge and surrender, Othello contains some of the most rapturous of Shakespeare’s verse, as well as his most intriguing villain.

OTHELLO: ...Till that a capable and wide revenge
Swallow them up. Now, by yond marble heaven,
In the due reverence of a sacred vow
I here engage my words.

Joseph McGrath (Iago) and Nathan Crocker (Othello)

Photo by Tim Fuller

About the poster

---

Press

Passion, rage flow in Othello
Rogue Theatre’s staging moves quickly, with grace

Review of Othello by Kathleen Allen in the May 7 Arizona Daily Star

Wickedly Good: The Rogue’s enjoyable Othello is perfect for Shakespeare-phobes

Review of Othello by Nathan Christensen in the May 6 Tucson Weekly

Shakespeare is the master psychologist in Rogue’s Othello

Review of Othello by Chuck Graham on May 2 in Let The Show Begin! at TucsonStage.com

The villain Bard’s fans love to hate
Rogue Theatre’s Othello will flesh out the odious Iago

Preview of Othello by Kathleen Allen in the April 23 Arizona Daily Star

 

DESDEMONA: If I do die before thee prithee, shroud me
In one of those same sheets.

Carolyn Hokin (Attendant), Avis Judd (Desdemona) and Patty Gallagher (Emilia)

Photo by Tim Fuller

 

Direction

	Cynthia Meier (Director) 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 Not I, Our Town, 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. 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.

 

Synopsis of
The Tragedy of Othello, The Moor of Venice

The play opens with Roderigo, a rich and dissolute gentleman, complaining to Iago, a high-ranking soldier, that Iago has not told him about the secret marriage between Desdemona, the daughter of a Senator named Brabantio, and Othello, a Moorish general in the Venetian army. He is upset by this development because he loves Desdemona and had previously asked her father for her hand in marriage. Iago is upset with Othello for promoting a younger man named Michael Cassio above him, and tells Roderigo that he plans to use Othello for his own advantage. Iago’s argument against Cassio is that he is a scholarly tactician with no real battle experience from which he can draw strategy; in contrast, Iago has practical battle skills. By emphasizing Roderigo’s failed bid for Desdemona, and his own dissatisfaction with serving under Othello, Iago convinces Roderigo to wake Brabantio, Desdemona’s father, and tell him about his daughter’s elopement. Next, Iago sneaks away to find Othello and warns him that Brabantio is coming for him.

However, before Brabantio reaches Othello, news arrives in Venice that the Turks are going to attack Cyprus; therefore Othello is summoned to advise the senators. Brabantio arrives and accuses Othello of seducing Desdemona by witchcraft, but Othello defends himself successfully before an assembly that includes the Duke of Venice, Brabantio’s kinsman Lodovico and Gratiano, and various senators, explaining that Desdemona became enamored of him for the stories he told of his early life.

By order of the Duke, Othello leaves Venice to command the Venetian armies against invading Turks on the island of Cyprus, accompanied by his new wife, his new lieutenant Cassio, his ensign Iago, and Emilia as Desdemona’s attendant.

The party arrives in Cyprus to find that a storm has destroyed the Turkish fleet. Othello orders a general celebration. Iago schemes to use Cassio to ruin Othello and takes the opportunity of Othello’s absence at the celebration to persuade Roderigo to engage Cassio in a fight. He achieves this by getting Cassio drunk on wine. The brawl greatly alarms the citizenry, and Othello is forced to quell the disturbance. Othello blames Cassio for the disturbance, and strips him of his rank. Cassio is distraught, but Iago persuades him to importune Desdemona to act as an intermediary between himself and Othello, and persuade her husband to reinstate him.

Iago now persuades Othello to be suspicious of Cassio and Desdemona. As it happens, Cassio is having a relationship of sorts with Bianca. Othello drops the handkerchief that was his first gift to Desdemona and which he has stated holds great significance to him in the context of their relationship. Iago asks Emilia to steal it. Emilia, unaware of what Iago plans to do with the handkerchief, steals it. Iago plants it in Cassio’s lodgings as evidence of Cassio and Desdemona’s affair. After he has planted the handkerchief, Iago tells Othello to stand apart and watch Cassio’s reactions while Iago questions him about the handkerchief. Iago goads Cassio on to talk about his affair with Bianca, but very quietly mentions her name so that Othello believes they are still talking about Desdemona when Cassio is really speaking of Bianca. Bianca, on discovering the handkerchief, chastises Cassio, accusing him of giving her a second-hand gift which he received from another lover. Othello sees this, and Iago convinces him that Cassio received the handkerchief from Desdemona. Enraged and hurt, Othello resolves to kill his wife and Iago is asked to kill Cassio as a duty to their intimacy. Othello proceeds to make Desdemona’s life a misery, hitting her in front of her family. Desdemona laments her suffering, remembering the fate of her mother’s maid, who was forsaken by her lover.

Iago convinces Roderigo to kill Cassio instead, because Cassio has just been appointed in Othello’s place, whereas if Cassio lives to take office, Othello and Desdemona will leave Cyprus, thwarting Roderigo’s plans to win Desdemona. Roderigo attacks Cassio in the street after Cassio leaves Bianca’s lodgings. They fight and both are wounded. Cassio’s leg is cut from behind by Iago who manages to hide his identity as perpetrator. Passers-by arrive to help; Iago joins them, pretending to help Cassio. Iago secretly stabs Roderigo to stop him from confessing.

In the night, Othello confronts Desdemona, and then kills her by smothering her in bed, before Emilia arrives. At Emilia’s distress, Othello tries to explain himself, justifying his actions by accusing Desdemona of adultery. Emilia calls for help. The Governor arrives, with Iago and others, and Emilia begins to explain the situation. When Othello mentions the handkerchief as proof, Emilia realizes what Iago has done; she exposes him, whereupon Iago kills her. Othello, realizing Desdemona’s innocence, attacks Iago but does not kill him, saying that he would rather have Iago live the rest of his life in pain. Lodovico, a Venetian nobleman, apprehends both Iago and Othello, but Othello commits suicide with a dagger before they can take him into custody. At the end, it can be assumed, Iago is taken off to be tortured and possibly executed.

 

BRABANTIO: Come hither, Moor:
I here do give thee that with all my heart
Which, but thou hast already, with all my heart
I would keep from thee.

Robert Anthony Peters (Cassio), Nathan Crocker (Othello), Avis Judd (Desdemona),
Nic Adams (Lodovico), David Morden (Brabantio) and Brian Taraz (The Duke of Venice)

Photo by Tim Fuller

Cast of Othello
Othello		Nathan Crocker
Iago		Joseph McGrath*
Desdemona		Avis Judd
Emilia		Patty Gallagher*
Cassio		Robert Anthony Peters
Roderigo		John Shartzer
Brabantio, Montano		David Morden*
The Duke of Venice		Brian Taraz
Bianca		Sarah K. Smith
Lodovico		Nic Adams
Gratiano		Todd Fitzpatrick
Attendant		Carolyn Hokin
*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

	Nic Adams (Lodovico) has appeared with The Rogue Theatre in Orlando and Six Characters in Search of an Author and with the Now Theatre in This Property is Condemned and The Zoo Story, both “Rogue After Curfew” productions. A theatre student at the University of Arizona, Nic performed in the Arizona Repertory Theatre’s productions of Urinetown (Robbie the Stockfish), Titus Andronicus (Martius), and Candide (Ensemble).
Nathan Crocker (Othello) has appeared as Leo Bloom in The Producers, Paul in Kiss Me, Kate and Michael in Tick...Tick...BOOM!, Nurse/Tybalt in Joe Calaraco’s Shakespeare's R&J, Jackie Robinson in Everybody’s Hero, and Howie Newsome/Sam Craig in Our Town. His Shakespeare credits include Sebastian in Twelfth Night, Lucius in Julius Caesar, Lucio in Measure for Measure, and Puck and Lysander in separate productions of A Midsummer Night’s Dream (UNC-Greensboro, UC Irvine). Nathan recently received his MFA in Acting from UC Irvine and received his BFA in Theatre (Magna Cum Laude) from UNC-Greensboro.
	Todd Fitzpatrick (Gratiano) most recently appeared as Howie Newsome in The Rogue Theatre’s Our Town. Prior to that, he was seen 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.
Patty Gallagher (Emilia) is Associate Professor of Theatre Arts at University of California Santa Cruz where she teaches movement, mask, Balinese dance, and clown traditions. With The Rogue Theatre she performed the roles of the Player in Act without Words, Shen Te in The Good Woman of Setzuan, Ranevskaya in The Cherry Orchard, Winnie in Happy Days (most recently for Rogue’s tour to Bangalore, India), Sonnerie and Scarron in Red Noses, and Orlando in Orlando. She has worked with Shakespeare Santa Cruz, The Folger Shakespeare Theatre, California Shakespeare Theater, The New Pickle Circus, Ripe Time Theatre, Two River Theatre, Teatro Cronopio and Grupo Malayerba. She has performed, choreographed and directed workshops in Asia, South America, Europe, and the U.S. In 2006 she was Fulbright Scholar in Quito, Ecuador. She holds a doctorate in Theatre from University of Wisconsin–Madison, and she is Director in Residence for the Clown Conservatory, San Francisco Circus Center.
	Carolyn Hokin (Attendant) last appeared at The Rogue in the pre-show to Immortal Longings. Other Rogue appearances include The Dead, Endymion, The Good Woman of Setzuan, and as the percussionist/vocalist of The Hokoi from the pre-show to The Goat. She has worked extensively at BASIS School, where she directed The Compleat Wrks of Wllm Shkspr (Abridged) and played Bella in Lost in Yonkers, Titania in A Midsummer Night’s Dream and Audrey in Little Shop of Horrors.
Avis Judd (Desdemona) has previously performed with The Rogue Theatre in Animal Farm, The Good Woman of Setzuan, as Dunyasha in The Cherry Orchard, as Sasha in Orlando, as Beatrice in Immortal Longings and as Julia in A Delicate Balance. She received her theatre degree from Northwestern University. Other favorite roles include Olga in The Three Sisters, Faith in Invisible Theatre’s production of Kindertransport, Emilia in Othello; and the title role in a one woman show, which she adapted and directed, about Bahá’í heroine Martha Root.
	Joseph McGrath (Iago) is the Artistic Director for The Rogue Theatre for which he has performed in Krapp’s Last Tape, A Delicate Balance (winner of the Arizona Daily Star 2009 Mac Award for Best Actor), Animal Farm, Orlando, Six Characters in Search of an Author, Happy Days, The Goat, The Cherry Orchard, The Good Woman of Setzuan, The Dead and The Fever. He authored and directed Immortal Longings for The Rogue and has also directed The Balcony, Endymion, The Maids (winner of the Arizona Daily Star 2007 Mac Award for Best Play) and Red Noses. 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 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.
David Morden (Brabantio/Montano) has appeared with The Rogue Theatre as Editor Webb in Our Town, 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. David has directed The Rogue Theatre’s productions of Krapp’s Last Tape, Not I and Act Without Words, A Delicate Balance, The Goat (2008 Arizona Daily Star Mac Award) and Six Characters in Search of an Author. He has acted locally with Arizona Onstage Productions, Arizona Opera, Actors Theatre and Green Thursday Theatre Project, of which he was a co-founder. David has directed productions with Green Thursday, Oasis Chamber Opera, DreamerGirl Productions and Arts For All.
	Robert Anthony Peters (Cassio) played George Gibbs in The Rogue Theatre’s recent production of Our Town. 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. 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 also a student online at the Mises Academy, currently studying Austrian Business Cycle Theory. He is the president of Laissez Faire Media and a member of SAG, AFTRA, and Theatre Bay Area. His website is robertanthonypeters.com.
John Shartzer (Roderigo) is a Senior at The University of Arizona, hoping to graduate with a BA in Acting. John was last seen in the Now Theatre’s Some Girls. The Rogue Theater productions in which he has appeared include Animal Farm, Orlando and Six Characters in Search of an Author. He is a proud member of the U of A’s only all-improv comedy troupe, The Charles Darwin Experience.
	Sarah K. Smith (Bianca) received her MA in Theatre Education and Outreach from the University of Arizona where she studied theatre as a social, political, and education tool. As an undergraduate, she studied performance at the University of Southern California. She is the Education Coordinator at UApresents and is determined to keep arts education alive in Arizona. Sarah’s acting credits include Anthems at Beowulf Alley Theatre, Top Girls, A Midsummer Night’s Dream and The Vagina Monologues at the University of Arizona, The Laramie Project: 10 Years Later at UApresents, and Emma’s Child at the Village Theatre Guild. She is also a storyteller and show curator with Odyssey Storytelling.
Brian Taraz (The Duke) made his debut with The Rogue as Joe Stoddard in Our Town. 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.

 

EMILIA: What will you give me now
For that same handkerchief?

Joseph McGrath (Iago) and Patty Gallagher (Emilia)

Photo by Tim Fuller

 

Music Director’s Notes

This being a play about Othello, the Moor of Venice, we’re basing our preshow on music that would have been heard in Venice in the late 16th century, the time period of the play. Venice was a wealthy sea-faring city-state bursting at the seams with music—everything from glorious poly-choral antiphonal motets in the Basilica of San Marco to annoying serenades in the streets. There were at least forty sponsored processions through the streets and canals each year—think “Mardi Gras” forty times over! The best and most expensive composers from all over Europe were imported to be city music directors and Maestri di Cappelli. Venetian society demanded and paid for, through its liberal sponsorship, innumerable works of quality and originality.

It was during Shakespeare’s lifetime that Venetian humanism produced the marriage of high poetry and deeply expressive music known as “madrigals.” This was a new form of dramatic vocal art inspired by current interpretations of ancient methods of dramatizing life’s experiences by combining thoughts, words, rhythm and musical harmony. We will perform one of the best and best known of these madrigals in our preshow, Cipriano di Rore’s Anchor che col partire.

—Harlan Hokin, Musical Director

 

Preshow Music
L’Amor donna		Giacomo Fogliano (1468–1548)
For the love I bear you lady I would gladly endure this anguish Which I suffer for you daily, you ignore me and I languish.
Sixpence All Too Dear		Hokin/Amiel instrumental
La Tricotea		Cancionero de Palacio, Madrid, Biblioteca Real, MS II–1335
La Tricotea, may San Martin see it. Open the window and signal him. The wineskin looks limp: fill it up! I want to see the world spin. Orli, cerrli, trum Madonna, your lover is a fool, get rid of him, rotten old cheese. I am a monarch, of great renown, Madame, For the sake of love, be mine!
Nigra sum		Claudio Monteverdi (1567–1643), from Song of Songs
I am black and beautiful, o daughters of Jerusalem. The king has brought me into his chambers. We will exult and rejoice in you; My beloved speaks and says to me: “Arise, my love, my fair one, and come away; For now the winter is past, the rain is over and gone. The flowers appear on earth; The time of singing has come.”
Anchor che col partire		Cipriano da Rore (1515–1565)
Although each time we’re parted I feel like I’m dying I would depart each hour, every moment, Such is the pleasure I feel upon my return. Therefore, a thousand thousand times each day I will depart from you, so sweet is the feeling when I come again.
Ay me, alas!		Thomas Weelkes (1576–1623)
Aye me, alas, hey ho! Thus doth Messalina go Up and down the house a-crying, for her monkey lies a-dying. Death, thou art too cruel to bereave her jewel Or to make a seizure of her only treasure. If her monkey die she will sit and cry, Fie fie, fie.

 

Music In the Play
Mille Regretz		Josquin des Prez (1450–1521)
Ritornello from Orfeo		Claudio Monteverdi (1567–1643)
Sederunt principes		Perotin of Notre Dame (fl. 1200)
The Willow Song		Anonymous lute song (1583)
Lachrimae		John Dowland (1563-1626)
Incidental music		Harlan Hokin and Paul Amiel

 

Musicians
Paul Amiel
Harlan Hokin

 

	Harlan Hokin (Musical Director) has performed extensively as a solo singer and director with many international early music ensembles including Sequentia and P.A.N. (Project Ars Nova), and did a stint with the Oregon Shakespeare Festival many years ago. 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, and teaches music theory and literature at Pima Community College. He has served the Rogue as music director since its inception, and acted as vocal director for Arizona Onstage’s production of Assassins. He is currently serving on the Board of Directors of the Arizona Early Music Society, and is the father of two nearly perfect former 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 Krapp’s Last Tape, Our Town, Immortal Longings, Orlando, The Good Woman of Setzuan, Endymion and The Dead.

 

IAGO: Away, I say; go out and cry a mutiny!

John Shartzer (Roderigo), Joseph McGrath (Iago),
Robert Anthony Peters (Cassio) and David Morden (Montano)

Photo by Tim Fuller

 

Production Staff
Stage Manager		Ashley Simon
Text Coach		David Morden
House Manager		Susan Collinet
Assistant House Manager		JoAn Forehand
Box Office Manager		Thomas Wentzel
Electrician		Peter Bleasby
Poster and Program		Thomas Wentzel
Designers
Scenic Design		Joseph McGrath
Costume Design		Cynthia Meier
Lighting Design		Clint Bryson
Fight Choreography		Carrie Cole

 

	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, A Delicate Balance, Our Town, and Krapp’s Last Tape, Not I and Act Without Words. 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.
Ashley Simon (Stage Manager) was the Stage Manager for The Rogue Theatre’s Immortal Longings, and Assistant to the Stage Manager for Arizona Theatre Company’s The Glass Menagerie, Ain’t Misbehavin’, The Kite Runner, A Raisin in the Sun, Hair and The Lady with All the Answers. She stage managed The Mousetrap, Same Time Next Year and Forever Plaid at The Theater Barn in the Berkshires. At Florida Stage, she was Assistant to the Stage Manager for the world premieres of Deborah Zoe Laufer’s End Days, Roger Heddon’s The Count and Jessica Goldberg’s Ward 57. Ms. Simon is a graduate of the BFA Theatre program at Sam Houston State University.

 

Our Thanks
Kathy Allen		Jesse Greenberg
Anthony Allen Taylor		Tim Fuller
Joe Schwanz		Arizona Theatre Company
UA Drama Department		Ballet Tucson
Our Advertisers

 

IAGO: I have’t. It is engender’d. Hell and night
Must bring this monstrous birth to the world’s light.

Joseph McGrath (Iago)

Photo by Tim Fuller

 

Performance Schedule for Othello

Location: The Rogue Theatre at The Historic Y, 300 East University Boulevard
Free off-street parking! Click here to see map and parking information.

Performance run time is approximately 2 hours 30 minutes, not including musical preshow or post-show discussion. There will be one 10-minute intermission.

Thursday April 29, 2010, 7:30 pm PREVIEW
Friday April 30, 2010, 7:30 pm OPENING NIGHT
Saturday May 1, 2010, 7:30 pm
Sunday May 2, 2010, 2:00 pm matinee

Thursday May 6, 2010, 10:00 am DISCOUNT MATINEE (no musical preshow)
Thursday May 6, 2010, 7:30 pm PAY-WHAT-YOU-WILL
Friday May 7, 2010, 7:30 pm
Saturday May 8, 2010, 7:30 pm
Sunday May 9, 2010, 2:00 pm matinee

Thursday May 13, 2010, 7:30 pm PAY-WHAT-YOU-WILL
Friday May 14, 2010, 7:30 pm
Saturday May 15, 2010, 7:30 pm
Sunday May 16, 2010, 2:00 pm matinee