In the shadow of the Brooklyn Bridge, Arthur Miller’s heartbreaking story tells of Eddie Carbone,
a longshoreman, whose incestuous love for his niece drives him to his own destruction.
August 27, 2020
Meet with the cast of A View from the Bridge:
Dear Rogues,
In just two weeks, we’ll be opening A View from the Bridge at The Rogue.
It’s thrilling to think that we might actually get to have people in the theatre again! We've been closely watching the Pima County statistics that determine whether we can open. The most important benchmark is the percentage of COVID-19 cases in the county. That percentage must be less than 0.1 percent, and Pima County must maintain this low average over a two-week period. That means that less than 1 in 1,000 people have the virus.
Of course, if we are able to open the play, we will be at a much lower audience capacity than normal. We will have fewer than 45 people in the usual 170-seat theatre on any night, everyone will be masked, we will do extensive cleaning, no one will gather in the lobby, the snack bar will be closed, etc.—for a complete list of precautions you can click here.
We will also be creating a professional three-camera video of the production so that those of you who feel more comfortable staying at home will still be able to see the production.
The play is beautiful and compelling. And our production concept is interesting: masked actors moving to a soundtrack of the play including vocals, music, and sound effects. We are certain it will be a fascinating night at the theatre—whether you see it at home or at The Rogue.
Free “Open Talk” Video: A View from Arthur Miller, Abridged
available Monday, September 7
Professor Patrick Baliani of the UA Honors College will explore what makes Miller America’s most “moral” playwright, and the special place occupied by A View from the Bridge in the evolution of Miller’s development.
A link to the video on YouTube will be posted here once it is available.
This open talk is supported in part by a generous gift from Bill & Nancy Sohn.
Direction
Christopher Johnson (Director) first came to The Rogue in 2011 to play Jewel in As I Lay Dying, and now serves as Artistic Associate and General Manager. The recipient of eight Arizona Daily Star Mac Award nominations for Best Director, his directing credits include The Rogue’s productions of The Beauty Queen of Leenane,Middletown, The Crucible,Three Tall Women, Penelope, and The Picture of Dorian Gray; as well as Rogue’s staged readings of The Illusion, No Exit, Don Juan in Hell, A House of Pomegranates, The River, and Elizabeth Rex. With the recent launch of Rogue Radio, he has helmed productions of The Awakening and The Importance of Being Earnest. Elsewhere in Tucson Christopher has directed boom, Cabaret, The Year Of Magical Thinking, The Altruists, and Speech & Debate for Winding Road Theater Ensemble; Psycho Sarah for Middlesex Repertory; Hedwig and The Angry Inch for The Bastard Theatre; as well as Wit, Persephone Or Slow Time, The Book Of Liz, My Name Is Rachel Corrie, Say You Love Satan, Killer Joe, The Rocky Horror Show, Danny And The Deep Blue Sea, Savage In Limbo, Bug, Titus Andronicus, and A Midsummer Night’s Dream for Etcetera at Live Theatre Workshop where he served as Artistic Director of the late-night series from 2007-12. Before turning his attention primarily to producing and directing he acted in just over a hundred plays on Tucson stages (and a handful in Alaska).
Christopher Johnson’s direction of A View from the Bridge is supported in part by generous gifts from Joan Warfield and Jim Wilson & Adam Hostetter.
Notes from the Director
O Sleepless as the river under thee, Vaulting by the sea, the prairies’ dreaming sod, Unto us lowliest sometime sweep, descend And of the curveship lend a myth to God.
—To Brooklyn Bridge by Hart Crane
Arthur Miller’s dramatic prose is always compelling. It grabs us as we watch and listen, often unaware we have been in its grip until we are released from it. His critics fault him for being overly didactic, but I’ve always appreciated his incisive moralism. It’s what makes him such a thrilling storyteller. There will never be a shortage of great plays with big, important questions at their center, but what makes Miller’s stories so disquieting are his answers. He doesn’t want us to wonder why a good person might betray their country, family, or peers—as if such an act is unthinkable outside the safety of a hushed and darkened theatre. What Miller shows us is that disloyalty and infidelity are very common indeed.
As the narrator of the story and Miller’s surrogate, Alfieri, puts it in his opening monologue: “now we are quite civilized, quite American” (emphasis mine).
People started referring to New York City as a “concrete jungle” in the early twentieth century, and Miller’s A View from the Bridge gives ample support to this adage. His portrayal of the Brooklyn neighborhood of Red Hook is one in which longshoremen, sailors, and secretaries stand in for the more familiar hierarchy of lions, hyena, and gazelle. When Eddie Carbone’s niece Catherine gets hired as a stenographer for a local plumbing company, he moans, “Plumbers; they’ll chew her to pieces if she don’t watch out.” To Eddie, “most people ain’t people,” and are no more trustworthy than starving animals.
The easy takeaway from A View from the Bridge might be that poverty is dehumanizing, but there’s a good argument to be made that what Miller is really hoping to reveal is that the line between man and beast is a desperately thin one, a construct of our own shoddy design hinging on the success and implementation of law.
But if the last 90 days in this country have shown us anything, it’s that law is not justice, and Eddie Carbone is unflinching in his pursuit.
It’s unclear whether Miller considers Eddie man or beast by the time the curtain falls on the bloody final scene. What is clear is that he recognizes something near-mythical in the man’s tragic trajectory, something he maybe would rather he hadn’t. The play was written at a time when the author’s marriage was dissolving under the weight of a very public affair with Marilyn Monroe and his peers were going before the House Un-American Activities Committee to name names. For Miller, these and other events were not unfolding in a straight line where hope might be found on the horizon, but rather in a small and violent circle.
In the midst of our currently ongoing pandemic and national civil unrest, and as we recklessly flirt with authoritarianism in America, it’s hard to argue with Miller. Eddie’s implied (and utterly problematic) heroism seems to arise from his willingness not to rise above his station as a beast of the earth, but to meet it head on. After all, civilization is a treatment not a cure; it’s not even a vaccine for the hunger, lust, and inclination towards supremacy inherent in men. Can we hope to be any better without first navigating the disruption and discomfort of recognizing Eddie as one of our own?
If I have learned anything in my time preparing and directing this socially distant, non-speaking production of A View from the Bridge, it’s that disruption and discomfort are by no means anathema to doing the work that needs to be done.
Arthur Miller was born in Harlem on October 17, 1915, the son of Polish immigrants. At school, he studied journalism, became the night editor of the Michigan Daily, and began experimenting with theater. Miller’s prolific writing career spans a period of over sixty years. During this time, Miller wrote twenty-six plays (including All My Sons, Death of a Salesman, The Crucible, After the Fall, and The Ride Down Mount Morgan), a novel (Focus), several travel journals, a collection of short stories (I Don’t Need You Anymore), and an autobiography (Timebends). Miller’s plays generally address social issues and center around an individual in a social dilemma, or an individual at the mercy of society. He received numerous honors throughout his career, including Michigan’s Avery Hopwood Award, 1936 and 1937; the Theatre Guild’s Bureau of New Plays Award, 1937; the New York Drama Critic’s Circle Award, 1947; the Pulitzer Prize, 1949; the New York Drama Critic’s Circle Award, 1949; the Antoinette Perry and Donaldson Awards, 1953; and the Gold Medal for Drama by the National Institutes of Arts and Letters, 1959. He was elected President of PEN (Poets, Essayists, and Novelists) in 1965. Arthur Miller died on February 10, 2005 at the age of 89.
Cast
Catherine
Bryn Booth+
Rodolpho
Hunter Hnat+
Alfieri
Joseph McGrath+
Beatrice Carbone
Carley Elizabeth Preston+
Eddie Carbone
Aaron Shand+
Marco
Jeffrey Baden
Louis/Mrs. Lipari
Cynthia Meier+
Mike/Tony/Second Officer
Christopher Pankratz
+ Member of The Rogue Resident Acting Ensemble
Jeffrey Baden (Marco) is proud to be working in his second production with The Rogue Theatre, having appeared last season as Queequeg in Moby Dick. Some of his prior plays were The Scoundrel & Scamp Theatre’s Blood Wedding as Leonardo, Benny in In The Heights, and Romeo in Romeo and Juliet. He also studied at the Royal Academy of Dramatic Art in London and at Pima Community College.
Jeffrey Baden’s performance is supported in part by generous gifts from Clay Shirk and Kate Phillips & Sheldon Trubatch.
Bryn Booth(Catherine) is a graduate of the BFA Acting program at the University of Arizona. She was most recently seen as Clotho, The Spinner in The Rogue’s production of Moby Dick. This is Bryn’s fourth season as a member of the Resident Acting Ensemble with The Rogue where she has performed as Ruth Condomine (Blithe Spirit), Tour Guide (Middletown), Abigail (The Crucible) for which she was nominated for a MAC award for Best Actress in a Drama, Snake-Leaves Princess (The Secret in the Wings), Hero (Much Ado About Nothing),Voice Five/No. 40 (The Curious Incident of the Dog in the Night-Time), Little Monk (Galileo), Regan (King Lear), Rose of Sharon (The Grapes of Wrath), Sybil (A House of Pomegranates), and Lady Macduff (Macbeth). In 2018, Bryn played Mag in the Scoundrel & Scamp’s production of Lovers, for which she was nominated for a MAC award for Best Actress in a Drama. Other credits include Gowdie Blackmun in The Love Talker with the Scoundrel & Scamp Theatre, Juliet in Romeo & Juliet (Tucson Shakespeare in the Park), and Bianca in Othello (Arizona Repertory Theatre). In recent years, she had the pleasure of understudying with Arizona Theatre Company in Romeo & Juliet as Lady Montague and Lady Capulet, and Of Mice and Men as Curley’s Wife. Bryn wants to thank Joe and Cindy for giving her the best job she’s ever had with the most amazing people she’s ever met.
Bryn Booth’s performance is supported in part by generous gifts from Peter & Meg Hovell and Pam & Richard Duchaine.
Hunter Hnat(Rodolpho) is grateful to be in his third season as a member of The Rogue Resident Acting Ensemble. You may have seen him in previous Rogue productions as Ray Dooley in The Beauty Queen of Leenane, Flask in Moby Dick, Edmund Tyrone in Long Day’s Journey Into Night, the Mechanic in Middletown, Ezekiel Cheever in The Crucible, Son of Three Blind Queens (and others) in The Secret in the Wings, Claudio in Much Ado About Nothing, Christopher in The Curious Incident of the Dog in the Night-Time, Andrea in Galileo, Oswald in King Lear, Steindorff in Bach at Leipzig, and Ensemble for A House of Pomegranates. He has also been a part of The Rogue’s staged readings of The Illusion, No Exit, and Cloud 9. Other credits include Jokanaan in Salomé (The Scoundrel & Scamp), Ensemble and Romeo U/S in Romeo and Juliet (Arizona Theatre Company), Boyfriend in How the House Burned Down (Live Theatre Workshop) as well as several other workshops and readings. He is a U of A alumnus with his BFA in Musical Theatre, class of 2015. Enjoy the show!
Hunter Hnat’s performance is supported in part by generous gifts from Barbara & Gerald Goldberg and Shawn Burke.
Joseph McGrath (Alfieri) is Co-Founder and Artistic Director for The Rogue Theatre and has appeared in Moby Dick, Long Day’s Journey Into Night, The Crucible, The Secret in the Wings, Galileo (2018 Mac Award for Best Actor), King Lear, Bach at Leipzig, Celia, A Slave, Macbeth, 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 generous gifts from Todd Hansen and Kate Phillips & Sheldon Trubatch.
Cynthia Meier (Louis/Mrs. Lipari) is Co-Founder and Managing and Associate Artistic Director for The Rogue, and has appeared in The Beauty Queen of Leenane, Blithe Spirit, The Crucible, Three Tall Women, The Grapes of Wrath, A House of Pomegranates, Macbeth, 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 nine 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 Ward & Judy Wallingford.
Christopher Pankratz (Mike/Tony/Second Officer) has performed at The Rogue in Moby Dick, The Grapes of Wrath, King Lear,Much Ado About Nothing, The Crucible and at the Scoundrel and Scamp in Lovers. He also directed last season’s play reading of An Enemy of the People. Christopher also teaches acting and theatre tech at Flowing Wells High School where he has written and produced several plays including Black Friday, Frankenstein, Cuando Soñamos,Spinning Tales, Leave It to the Snakes, Cuando Mentimos, The Story Seller’s Tale, and the newly-published play, The Longest Day of April. Christopher would like to thank his director, colleagues, family, friends, and students for their support and inspiration.
Christopher Pankratz’s performance is supported in part by a generous gift from Meg & Peter Hovell.
Carley Elizabeth Preston (Beatrice Carbone) has appeared with The Rogue Theatre as Mrs. Bradman in Blithe Spirit and as Tituba in The Crucible. This is her second season as a member of The Rogue’s Resident Acting Ensemble. She received her BFA in Acting and Directing from the University of Arizona where she was a member of the Arizona Repertory Theatre. Some of her other stage credits include Time Stands Still (Mac Award for Best Actress), Molly Sweeney, Enchanted April, The Search for Signs of Intelligent Life in the Universe (Live Theatre Workshop), Mrs. Mannerly (Mac Award Nominee for Best Actress), Boston Marriage, By the Bog of Cats (SSTC), Miracle on 34th Street (Mac Award Nominee for Best Actress) Kimberly Akimbo, and Good People (WRTE). Ms. Preston is the Development Operations Manager for Arizona Theatre Company and she would like to thank the loves of her life, Jerrad McMurrich and their fur babies Marley Jenkins O’Toole and Loki Björn Hiddleston for always supporting her theatre habit.
Carley Elizabeth Preston’s performance is supported in part by generous gifts from Susan Tiss and Kristi Lewis.
Aaron Shand (Eddie Carbone) was last seen on The Rogue stage as Ishmael in Moby Dick. Now in his third season as a member of The Rogue Theatre’s Resident Acting Ensemble, Aaron has also appeared as The Cop in Middletown, Judge Hathorne in The Crucible, The Sea Captain & others in The Secret in the Wings, Don Pedro in Much Ado About Nothing, Sagredo in Galileo, Noah Joad in The Grapes of Wrath and Duke of Albany in King Lear. Born and raised in Tucson, he received his B.F.A. in Acting from the University of Arizona, performing for the Arizona Repertory Theatre in Bus Stop, The Miracle Worker and Romeo & Juliet. He also spent a season with the Milwaukee Repertory Theater, performing in The Cherry Orchard, State of the Union and A Christmas Carol.
Aaron Shand’s performance is supported in part by generous gifts from Sally Krusing and Bill & Barb Dantzler.
Music
Pianist & Composer — Russell Ronnebaum
Preshow Music
Three Coins in the Fountain bySammy Cahn and Jule Styne (1954) That’s Amore by Harry Warren and Jack Brooks (1953) Mambo Italiano by Bob Merrill (1954) Que Sera, Sera (Whatever Will Be Will Be) by Jay Livingston and Ray Evans (1956) Tu Vuo’ Fa’ L’Americano (You Want to Be American) by Renato Carosone and Nicola Salerno (1956)
Production Music
Paper Doll by Johnny Black Tu Vuo’ Fa’ L’Americano (You Want to Be American)
by Renato Carosone and Nicola Salerno Eddie’s Theme (Incidental Music) by Russell Ronnebaum The Jones Boy performed by The Mills Brothers
by Vic Mizzy and Mann Curtis Mambo Burger performed by Jack “Bongo” Burger & Orchestra
by Jack Burger O Christmas Tree by Ernst Anschütz Eddie’s Theme (Incidental Music) by Russell Ronnebaum
Russell Ronnebaum (Music Director, Composer/Arranger) serves as The Rogue Theatre’s Director of Music and Resident Composer. He holds a Master of Music degree in collaborative piano from the University of Arizona where he studied under Dr. Paula Fan. He currently serves as the assistant director of music at St. Mark the Evangelist Catholic Church in Oro Valley, as well as the staff accompanist for the Tucson Masterworks Chorale. As a classically trained pianist, Russell has performed with the Tucson Symphony Orchestra, the American Wind Symphony Orchestra, Artifact Dance Company, Arizona Repertory Theatre, and as a concerto soloist with the Tucson Masterworks Chorale. Russell made his Carnegie Hall debut in 2016 performing the music of composer Dan Forrest. Past credits include The Rogue’s 2019 and 2020 productions of Much Ado About Nothing, Long Day’s Journey Into Night, Blithe Spirit, Moby Dick, The Beauty Queen of Leenane, and The Awakening (Music Director, Pianist, and Composer) and The Secret in the Wings (Vocal Director). Russell also composes the music for Rogue Radio, a radio play series produced in partnership with Arizona Public Media, NPR 89.1 FM. Recent composition commissions and premieres include music for bassoon quartet, live theatre, strings, brass, voice, choir, and piano. Recordings, videos, sheet music, and upcoming concert dates can be found at www.RRonnebaum.com.
Russell Ronnebaum’s music direction is supported in part by a generous gift from Kathy Ortega & Larry Johnson.
Music Director’s Notes
The 1950s was a hopping time in the United States as far as technological and musical innovations go. Color TV was now available coast to coast, and international influences, through the proliferation of media, ushered in numerous pop hits incorporating the Mambo and Cha-Cha. These musical styles are quite appealing to the young characters of Catherine, a young woman looking forward to graduation and taking on her first job, and Rodolpho, a carefree blonde-haired young man who just arrived in Brooklyn from Italy.
Catherine’s uncle, Eddie Carbone, is less than excited about the blossoming relationship between his niece and Rodolpho. Rodolpho’s personality is best summed up with the snappy song, Tu Vuo’ Fa’ L’Americano (You Want to Be American), while Eddie’s demeanor (Eddie’s Theme) is stuck in a weighty, melancholic tone, and represents the burden of that which is his life.
—Russell Ronnebaum, Music Director, pianist and composer
Designers and Production
Staff
Costume Design
Cynthia Meier
Costume design is supported in part by a generous gift from Kathy Ortega & Larry Johnson
Scenic Design
Joseph McGrath
Scenic design is supported in part by a generous gift from Scott & Anel Brittenham
Lighting Design
Don Fox
Lighting design is supported in part by a generous gift from Andy & Cammie Watson
Stage Manager
Shannon Wallace
Scenic Artist
Amy Novelli
Production Recording
Chris Babbie of Location Sound
Sound Design
Vincent Calianno
Set Construction
Joseph McGrath &
Christopher Johnson
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Costume Construction
Cynthia Meier & Nanalee Raphael
Master Electrician
Peter Bleasby
Asst. Lighting Design/Lighting Intern
Mack Woods
Lighting Crew
Tom Martin, Connor Greene,
Alex Alegria, Lauren Pineda
& Aidyn Corkrell
Dialect Coach
Joseph McGrath
House Manager
Susan Collinet
Assistant House Manager
Megan Coy
Box Office Manager
Thomas Wentzel
Box Office Assistants
Shannon Elias, Holly Griffith
& Hunter Hnat
Program
Thomas Wentzel
Rogue Website
Bryan Rafael Falcón, Bill Sandel
&
Thomas Wentzel
Don
Fox (Lighting Design) holds an MFA in Lighting Design from The University of Arizona and a BA in Theatre Administration from St. Edward's University, Austin, TX. He is currently serving as an Assistant Professor for the University of Arizona. As a professional, freelance lighting and scenic designer and theatre producer and consultant, his clients include The Moscow Ballet, The Atlantis Resort Bahamas, Borgata Casino Atlantic City, Silversea Cruises, Music Theatre Wichita, Florida State University, Central Washington University, City Opera Ballet Company Bellevue, the San Antonio Botanical Garden's Shakespeare in the Park, and many others. Locally, he has designed acclaimed Rogue productions since 2013 including Arcadia, Lady in the Looking Glass, Angels In America, By The Bog of Cats, The White Snake, A House of Pomegranates, The Grapes of Wrath and
Moby Dick, among many others. Please visit Don on the web at www.DonFoxDesigns.com.
Shannon Wallace (Stage Manager) is excited for her fourth year as Resident Stage Manager with The Rogue Theatre, after a one-year hiatus. She served as stage manager for Angels in America, A House of Pomegranates and The Grapes of Wrath. She also worked on The Picture of Dorian Gray, The Bridge of San Luis Rey, Uncle Vanya, Penelope, Macbeth, Celia, A Slave, Bach at Leipzig, Three Tall Women, King Lear, Galileo, The Curious Incident of the Dog in the Night-Time, Much Ado About Nothing and The Crucible as stage manager as well as associate lighting designer. 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. She has also worked for Arizona Theatre Company, the Oklahoma City Philharmonic, and the Contemporary American Theatre Festival serving on both stage management teams and company & events management teams. She is grateful to be working full-time as a theater artist in her hometown.
Shannon Wallace’s stage management is supported in part by a generous gift from Kathy Ortega & Larry Johnson.
Amy Novelli (Scenic Artist) is originally from Ohio and Pennsylvania. She received her Cum Laude BFA from the Columbus (Ohio) College of Art & Design in 1987 and her MFA from Carnegie Mellon University in Pittsburgh in 1994. Novelli’s scenic art career began in New York City where she worked as a sculptor for the Macy’s Thanksgiving Parade Studio. She was Scenic Charge Artist for the Arizona Theatre Company 2010–2014, painted several sets for Arizona Opera and UA Opera, and presently paints for The Rogue Theatre and Arizona Broadway Theatre in Peoria (Phoenix). Amy created monstrous Halloween decor for Hotel Congress for 20 years, and was lead painter for Marshal-Fields 1998 award winning Easter Window display “Alice in Wonderland”. She supervised four public art projects in the Tucson area with high school youth and won commissions to design and paint five large scale outdoor murals across the country as well as at the Biosphere II and La Posada Hotel on Oracle Blvd. She has taught at the University of Arizona and Pima Community College. Novelli’s fine art work has been exhibited at several Tucson Galleries and in May-August 2020 she had a one woman show at the Tucson International Airport and will have another in September 2020 at Agua Caliente Gallery. Amy Novelli has been living in Tucson since 1996. When not painting, Novelli trains and rides her three horses with friends and guests in the Tucson Mountains and several Arizona wilderness areas.
Nanalee Raphael (Costume Manager) has known from age five that she would work in theatre. Of course, she thought it would be as an actor, not as someone who flings fabric around. She feels blessed that she has always been employed in costuming, for both professional and academic theatres, and has never had to have a “day job.” Until moving to Tucson in 1995, she was peripatetic in her work situations, desiring to work with theatres all over the country. She has taught at the University of Wisconsin–Milwaukee but was lured by the bright lights of Chicago and so moved there to teach at the University of Illinois-Chicago. Following her husband to central Illinois, she then wangled a position at the University of Illinois, Urbana-Champaign, where she created a successful costume rental program. She then gave up all that greenery to come to Tucson to teach and design at the University of Arizona. She has worked as a costume designer, costume director and/or draper in professional theatres in Michigan, (Hope Summer Repertory, Holland), Wisconsin (American Players Theatre, Spring Green), Illinois (Goodman, Wisdom Bridge, and Steppenwolf, Chicago), New York (The Public, NYC), Arizona (ART & ATC, Tucson), at Shakespeare Festivals in Vermont and New Jersey, and California (The Old Globe, San Diego). She received both her Bachelor's and Master's degrees in Costume Design and Technology from Syracuse University. She is one of the “Pioneering Seven,” the first group of women to study full-time at Dartmouth College.
Peter Bleasby (Master Electrician) lit his first show at 13. Professionally, he was with BBC-TV for several years, and was an assistant to the 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 lighting involvement 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 with Deanna Fitzgerald and Josh Hemmo. He devised the permanent wiring system that enables lighting designers to devote more time to the creative process. For several years he directed the technical and logistical aspects of fundraisers for the Southern Arizona AIDS Foundation, 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 ofStudent’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
Arizona Daily Star
Chuck Graham
Kathleen Kennedy
Taming of the Review
Shawn Burke
Todd Hansen
Kate Mammana & Gloss Studio
Video recording of A View from the Bridge is sponsored in part by a generous donation from
Max McCauslin & John Smith
Student tickets are sponsored in part by generous donations from
Pat & John Hemann
and
Flowing Wells High School
Tickets
Advance purchases
are required for all performances this season.
Performances can sell out and have waiting lists,
so please be advised that if you are not at the theatre by curtain time, you may forfeit your seats.
If you are going to be late, please call the box office in advance to let us know.
Price: $42 all performances except for
$32 Previews Thursday, September 10 and Friday, September 11
$15 Student tickets
This season, The Rogue Theatre has reserved seating for all ticket holders. If you have specific seating requirements due to disability, please
call 520-551-2053 or e-mail Ticket “at” TheRogueTheatre “dot” org and we will do our best to accommodate
you.
Tichet sales for live performances close 24 hours before curtain time to allow us time to plan socially-distanced seating.
The box office staff is available one hour before curtain and the house
opens 10 minutes before curtain.
Please familiarize yourself with our COVID-19 protocols here.
Ticket Purchase Options
1. Purchase individual (general admission) tickets or season tickets online
Click here --> to enter our Web store
2. Purchase individual (general admission) tickets by phone: 520-551-2053.
To inquire about ticket availability or reschedule your tickets, call the Rogue Ticket Line at 520-551-2053 or e-mail us at Ticket “at” TheRogueTheatre “dot” org
Tickets may be rescheduled up to 24 hours before a performance, pending availability.
Please let us know if you will be unable to attend, so that we may make use of your seats for sold-out performances.
Performance
Schedule for A View from the Bridge
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 A View from the Bridge is approximately one hour and fifty minutes, including one ten-minute intermission.
Video viewing option will be available from approximately Saturday, September 12 until end of Sunday, October 4
Thursday, September 10, 2020, 7:30 pm DISCOUNT PREVIEW
Friday, September 11, 2020, 7:30 pm DISCOUNT PREVIEW
Saturday, September 12, 2020, 2:00 pm matinee
Saturday, September 12, 2020, 7:30 pm OPENING
NIGHT
Sunday, September 13, 2020, 2:00 pm matinee
Thursday, September 17, 2020, 7:30 pm
Friday, September 18, 2020, 7:30 pm
Saturday, September 19, 2020, 2:00 pm SOLD OUT
Saturday, September 19, 2020, 7:30 pm
Sunday, September 20, 2020, 2:00 pm matinee
Thursday, September 24, 2020, 7:30 pm
Friday, September 25, 2020, 7:30 pm
Saturday, September 26, 2020, 2:00 pm
Saturday, September 26, 2020, 7:30 pm
Sunday, September 27, 2020, 2:00 pm matinee
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