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rogue, (rôg), n. [<16th-c. thieves' slang <L.rogare, to ask]

Recipient of the
2012 American Theatre Wing
National Theatre Company Award


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McGrath and company conjure a great deal of theatrical magic here. “A thing of beauty is a joy forever” is the refrain running through the play; a live performance can hardly last forever, but Rogue Theatre has at least given us a thing of beauty.

—James Reel, The Tucson Weekly


A thing of beauty is a joy forever...

John Keats' Endymion

Adapted and directed by Joseph McGrath
Musical direction by Harlan Hokin
Featuring live Mediterranean music by Paul Amiel & friends

September 28–October 15, 2006

Thursday–Saturday 7:30 pm, Sunday 2:00 PM
Preview Thursday September 28 7:30 PM
Preshow of live music begins 15 minutes before curtain

Performance Schedule

Zuzi’s Dance Theatre, Historic YWCA, 738 North Fifth Avenue at University Boulevard
See Map

Join us for the premiere of the Rogue’s adaptation of Keats’ epic Romantic poem about a youth beloved of the Moon. Reminiscent of the language of Shakespeare, the story follows the passionate journey of Endymion who, under the gaze of the Immortals, seeks and finds a remarkable love. The Rogue Theatre’s production will dramatize the poem with bright and energetic staging, a 16-person ensemble, and live vocal and instrumental music.

View the full poster

View production photos

O magic sleep! O comfortable bird,
That broodest o’er the troubled sea of the mind
Till it is hushed and smooth!

Photo by Tim Fuller


3-page review by Iris J. Arnesen in the Winter, 2006 The Opera Glass

Thing of Beauty

Review by James Reel in the October 5 Tucson Weekly

Man’s atavism still comes through in modern Endymion

Review by Chuck Graham in the October 5 Tucson Citizen

Rogue Theatre’s Endymion an admirable effort

Review by Kathleen Allen in the October 3 Arizona Daily Star

Keats’ Endymion is now a play

Preview by Kathleen Allen in the September 22 Arizona Daily Star

Director’s Notes

The poetic romance Endymion began as a contest among Hunt, Shelley, and Keats to see who could write a work of 4000 lines by the end of 1817. The twenty-two-year-old John Keats succeeded in this Herculean task, although by the time of its completion, I doubt that the contest itself had meaning for him any longer. The 4000 line goal, as a consequence, resulted in a sprawling and overly-embellished work by our modern standards. And it was savagely criticized when it first appeared. But it contains a soaring heart and intellect that is smothered in its excesses. Our great good fortune is to be here, almost two hundred years later, and have it in the public domain, to do with what we wish. Cutting and adapting this poem might be appalling to those who hold Keats in reverence, but this type of thing is often done by us “theatricals” with vicious abandon. In this case, it is my hope that we have done it with respect, understanding, and courage. What we present is a 4000-line behemoth culled of its embellishments and distilled to more essential matter. Our adaptation stands now at just over 1500 graceful and magnificent lines and I think it sings a more coherent melody. To the best of our research, this has never been done before.

This is regarded as an earlier work of Keats. Although, when we talk of Keats, the terms “early” and “late” are vastly compressed. This “early” work was completed four years before his death at twenty-six.

What a loss his death was—particularly for those of us in the theatre. As I hope you shall see, Keats’ pentameter couplets contain a remarkable psychological complexity, rivaling Shakespeare at times. Had cruel Nature permitted him his maturity, I have no doubt that we would have another Hamlet or Lear in our canon.

But we do have Endymion, Ode on a Grecian Urn, Ode to a Nightingale, and a remarkable amount of material from this prolific young pen.

And, oh, how young indeed. Endymion, with all its sophistication of language and classical reference, is brimming with hormones. It has been a special treat to work on something with such grace and magnificence of language that speaks from such a young and innocent heart.

Joseph McGrath, Director of Endymion

You may purchase a copy of Joseph McGrath's adaptation of Endymion at our online store.


Venus and Cupid
(Arlene Naughton and David Alexander Johnston)

Photo by Cynthia Meier


Music in Endymion

The music in Endymion (and all Rogue productions) is intended to create an enhanced affective atmosphere that helps integrate the text with the stage action. The Rogue is committed to live sound. It’s all real. There is no electronic sound. The company creates the experience by using only voices, bodies and instruments, and thus hopes to offer audiences the opportunity to engage their imaginations for maximum effect.

The on-stage band consists of a motley group of instruments—Gothic harp, ud, balama, violin, various flutes and percussion instruments. Endymion is full of the fantastic magic of the ancient world, textualized by one of the quintessential 19th century English romantic poets. We believe the diverse musical styles and textures harmonize well with Keats’ text, and enhance everyone’s theatrical experience.

—Harlan Hokin, Musical Director

Sources for music that appears in Endymion (all pieces adapted and arranged by Harlan Hokin) :
Lo! Thing of beauty, thing of love, from Dieu! Qu’il la fait bon regarder, the 1st of Trois Chansons de Charles d’Orleans, by Claude Debussy (1862–1918)
Eau pure du Bassin (Butterfly becomes Water Nymph), from Debussy’s Chansons de Bilitis
Chant Pastoral (Circe seduces Glaucus), from Debussy’s Chansons de Bilitis
Lovers Awake (Glaucus resurrects the shipwrecked lovers), from a song, Après un Rêve by Gabriel Faure (1845–1924)
Hicaz Hümâyun Presrev (Venus and Cupid), Turkish classical composer Neyzen Veli Dede
Bratets Kosi (Diana’s Temple), from a Croatian folk song
Additional incidental pieces by Harlan Hokin: Man’s Voice Was on the Mountain, Procession of Mortals, Pan’s Blessing, O Magic Sleep, Peona’s Song, Magic of the Moon, Down a Fearful Dell, O Sorrow, Bacchanalia, Olympian Fanfare

Pre-Show Music

Endymion was the Shepherd King of Latmos, a location in Western Turkey on the Aegean coast, just across a narrow strait from the Greek island of Samos. Music of the Greek-Mediterranean-Turkish region establishes the feeling of a pastoral shepherd band from the ancient world. Our Pre-show includes pieces from Medieval Spain, Turkey, and Ancient Greece, played on ud, ney flute, harp, and violin, evoking the world of Endymion.

—Paul Amiel

Harlan Hokin (Musical Director)

The Rogue’s production of Endymion will be filled with music chosen and arranged by our Musical Director, Harlan Hokin. Harlan 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 The Balcony and The Dead and Arizona Onstage Productions as Vocal Director for their production of Assassins. He is currently serving as Artistic Director for the Arizona Early Music Society and is the father of two nearly perfect teenagers.

Paul Amiel (harp, flute) has extensively studied and performed Medieval, Turkish, and ancient Chinese music both here and abroad. Paul currently directs the Summer Thunder Chinese Music Ensemble (playing the qin and ditzu), the Turkish Group Seyyah (playing ney and baglama), is a member of the art-rock band Ecce Hobo, and writes music for theater and film.
Paul Amiel (Harp, Flute)
Robert Villa (Violin)

Robert Villa (violin)began taking violin lessons while in the 7th grade at Roskruge Middle School. He is currently playing 8th chair in the first violin section of the Civic Orchestra of Tucson. He is also beginning a string quartet and is open to giving lessons. His love of music encompasses many styles and genres. As well as music, Robert loves nature and all that is wild. He is currently on the board of the Tucson Herpetological Society—dedicated to conservation, education and research concerning the amphibians and reptiles of Arizona and Mexico.

Michael Henderson (ud, violin) first got on stage playing in punk bands in Tucson in high school in the 1980s, then later studied ethnomusicology with Ter Ellingson, Nusrat Fateh Ali Khan, Dariush Talai, and Sam-Ang-Sam. His long-term project Fermented Music has been going since 1992. His latest recording is the double CD Blue Stained Stems. He presently plays ud for the Turkish group Seyyah.
Michael Henderson (ud, violin)


Synopsis of Endymion’s Journey

The story begins in a forest clearing with the people of Latmos celebrating the abundance of summer and paying homage to Pan. Endymion, the young king of Latmos, is in the throes of melancholy. He reveals to his sister, Peona, that through a series of visions, he has fallen in love with Diana, the Goddess of the Moon, and has fixed his ambitions on immortality.

After many days of wandering through the forest, Endymion comes upon a water nymph, who tells him that he has a long journey ahead of him. Endymion is then summoned by Diana into the Underworld. He enters a cave, where he finds Cupid and the sleeping Adonis attended by a host of cherubs. Cupid tells him the story of Venus and Adonis. Venus arrives to claim Adonis and tells Endymion that, with persistence, his quest will end happily. Endymion falls asleep to dream again of his love, the Moon.

As he continues through the caverns, Endymion discovers two rushing streams—Alpheus, a river god, and Arethusa, a water nymph. As he listens to their perpetual and agonized courtship and evasion, both streams tumble over a cliff and their voices fade from hearing.

Endymion finds that his path has led him to the bottom of the sea where he is accosted by Glaucus, an old man who tells him that he is the fulfillment of an ancient oracle. Glaucus relates his story of his seduction by the goddess Circe. He rejected her and she cursed him to live a thousand years and then die alone. Glaucus then found a scroll which promised that if he were to find all lovers who have died at sea and keep them safe, a youth who loves a heavenly power would one day come to restore them all (including Glaucus) to young life and love. Endymion, realizing that he is the promised savior, fulfills his role and revives the doomed lovers. Venus celebrates the happy scene and urges Endymion on in his journey.

Arriving back on dry land, Endymion meets an Indian Maid, who laments her lonely life. He falls in love with her. They are swept into the heavens, where Endymion, in a dream, finds that this rarefied atmosphere is clearly not his home. They return to the earth. He realizes that his earthly love for the Indian Maid means that he must relinquish his dreams of immortality. He returns to Latmos, and at Diana’s temple, he awaits his final fate when the Moon Goddess reveals it was she all along, disguised as the Indian Maid, who won his love. He is left forever asleep in the loving arms of the Moon.

—David Morden

Masks in Endymion

Dr. Patricia Gallagher from UC-Santa Cruz spent a delightful week with the Rogue ensemble in August, conducting workshops in mask and movement. Much of the staging of the production grew out of these revitalizing workshops. We are grateful to Patty for her enthusiastic and enlightening creative energies.

Half-masks of the gods and goddesses are sculpted by Beckie Kravetz (, with painting and decoration by Joseph McGrath and Cynthia Meier.

Mask of Young Glaucus is a Balinese mask by I. Nyoman Setiawan.

Circeís Seduction of Young Glaucus
(Susan Arnold and Chris Hokin)

Photo by Cynthia Meier


Gods and Goddesses

We have found, in the course of this project that the classical mythologies of the Mediterranean were, and are, remarkably pliant. What might be true for Apollo or Dionysus on one island or in one city was entirely different a hundred miles, or a hundred years away. Keats, in his retelling of Endymion, has extended this phenomenon across civilizations (he is not alone in this). Hence, notions of Paradise, and other Christian ideas, permeate this version of Greco-Roman myth.

Keats has used the Roman names for these deities (although a careful ear will hear a Greek name here and there in the text). Keeping in mind that there are no hard and fast definitions for these mythological presences, we offer some guidelines to help with the overall world of western classical mythology:


Pan: The Greek god of flocks and shepherds. His fearsome appearance caused panic to those who first saw him. He had horns, a beard, a tail and feet of a goat. He terrified his mother, having been born fully-grown and she fled. Woodland nymphs raised him. A nymph that he pursued changed into a “reed” to avoid him—the reed became his flute!

Satyrs: sons of Pan. They loved prankish merriment. They had ears and feet of a goat with human bodies.

Endymion: (One version) He was a good and kind ruler always retaining his youthful look but was very tired because the moon goddess (Selene) solicited his love and he couldn’t handle it so he agreed to her proposal only on the condition that Zeus would grant him immortality and perpetual sleep. His terms were accepted and he was transported to the Heavens (after begetting 50 daughters.) He was then placed on a soft couch to remain in ageless repose.

Venus: (The Roman name for Aphrodite) She was the beauty emerging from the clean foam of the sea. Her love power was so great that lions, wolves, panthers, and tigers followed her like tame animals. Where she touched ground with her foot, flowers sprang. She did much good but she was not always benign. She caused Circe to be cruelly spurned by Odysseus. It was she who claimed the prize of Discord’s golden apple bearing the inscription “To the Fairest” by bribing the judge, a Trojan prince named Paris, with the most beautiful woman in the world: Helen, a Greek. Unfortunately, the Greeks were not in on the deal, and the Trojan War ensued.

Diana: (Roman name for Artemis) She was a daughter of Zeus and twin sister of Apollo. She was a goddess of the chase who hunted daily with her band of lovely nymphs. She and her brother were born beneath Mt. Cynthus on the island of Delia—hence she was often called Cynthia. (It seems she became the successor to Selene as goddess of the “chaste” moon. This fusing of deities was a common practice and happened’ in later times.)

Selene: The goddess of the moon. Although she mated with Zeus, the object of her celestial caresses and love was Endymion. She bore 50 daughters by him bestowed while he lay in perpetual sleep. In later times she was completely identified with Artemis under her Roman name, Diana.

Venus, by Rosetti
Venus, by Rosetti
Bacchus, by Caravaggio
Bacchus, by Caravaggio

Bacchus: (The Roman name for Dionysus) The wine God, son of Zeus—born out of his thigh. He was honored into “the sacred mysteries”, which no man could witness so he was always accompanied by women. He did many fortuitous things in his continuing travels aiding other gods. His drunken ways were a later invention attributed to the Romans and Bacchus.

Circe: A goddess who established herself on the mythical island of Aeaea where she exercised the powers of sorcery. She turned those who were shipwrecked on her island into beasts. She had a sweet singing voice, which she used to lure men.

Cupid: (The Roman name for Eros) He was the most celebrated child of Venus and was the capricious creator of sensual love. He was usually depicted as an infant equipped with wings, a bow and quiver filled with love darts.

Arethusa and Alpheus: Arethusa was a Naiad (water nymph) who was pursued by Alpheius, a river God. He fell passionately in love with her. She fled from his amorous behavior from Greece to Sicily and there changed herself into a beautiful well. The persistent old river god however speedily flowed under the sea and mingled his amorous waters with hers!

The Arcadians came from the mountain of Cyllene, on Greece’s Peloponnesus peninsula.

Glaucus: A sea God who fell in love with the nymph, Scylla. As he pursued her, he ran into Circe who became jealous and by her magic bewitched Glaucus who immediately forgot all about Scylla. One version of Scylla’s fate was that Circe turned her into a dog-like monster with six fearful heads and twelve feet.

Echo: A nymph who fell passionately in love with Narcissus, who was cold and indifferent to her overtures of love. Hera was offended by Echo (because she was an excessive chattering nymph) and reduced her to a simple repetitive power of speech, which gave her the last (and alas only) word in all things. Her form faded with grief till at last all her flesh shrank away. Her bones were changed into rocks and there was nothing left of her but her voice.

Circe, by Waterhouse
Circe, by Waterhouse


Speak not of grief, young stranger.
(Christopher Burnham, Leanné Whitewolf and Cynthia Meier)

Photo by Tim Fuller



Endymion Christopher Burnham
Poet Joseph McGrath*
Diana Cynthia Meier
Bacchus Chuck Rankin
Venus Arlene Naughton
Cupid David Alexander Johnston
Circe Susan Arnold*
Glaucus/Ensemble David Morden*
Peona/Ensemble Caroline Murphy
Alpheus/Ensemble Tony Eckstat
Arethusa/Ensemble Tanaya Gallagher
Water Nymph/Scylla/Ensemble Carolyn Hokin
Adonis/Young Glaucus/Ensemble Chris Hokin
Oracle/Elephant/Ensemble Art Jacobsen
Oracle/Ensemble Joan Van Dyke
Echo/Indian Maid/Ensemble Leanné Whitewolf

  *Member of Actors’ Equity Association,
the Union of Professional Actors and Stage Managers in the United States,
appearing under a Special Appearance Contract


Paul Amiel Harlan Hokin
Michael Henderson Robert Villa

Production Staff

Stage Manager John Murphy                   
Lightboard Operator James Naughton
Costume Assistants Adam Hostetter, Erin Smith
Masks Beckie Kravetz, I. Nyoman Setiawan
                  Marketing and Publicity Thomas Wentzel
Poster and Program Thomas Wentzel
Box Office Carol Elliott, James Naughton


Scenic Design Joseph McGrath
Costume Design Cynthia Meier
Lighting Design Clint Bryson

Our Thanks

Jenny Carrillo
David Hoffman
James Reel
Chuck Graham
ZUZI! Dance Company
Kathy Allen
Patty Galagher
William Killian
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Cast Biographies

Susan Arnold (Circe)

Susan Arnold (Circe) works in theater and film as an actor, director, writer and producer. She most recently appeared as Gertrude in Southwest Shakespeare’s production of Hamlet, for which she received an Arizoni nomination for Best Actress. Her roles in local productions include Vita Sackville-West in White Garden, Polina in The Seagull, April in Hotíl Baltimore, and FS in Anger Box. Her regional credits include Maria Callas in Master Class, Molly in Molly Sweeney, Patsy in A Closer Walk with Patsy Kline, Maria in Twelfth Night, Lady Macbeth in Macbeth, Kathy in The Kathy and Mo Show and Halbrech in Scotland Road. Susan is a member of Screen Actorís Guild and has several commercial and independent film credits. She received her M.A. from the University of Arizona and currently serves as Artistic Director for C.A.S.T., Clean and Sober Theatre in Tucson. She is thrilled to be working on this production with The Rogue.

Christopher Burnham (Endymion), a native of Tucson, has spent much of his life on the stage, getting his start in children’s theater and working his way up through the Theater Department of Salpointe Catholic High School, where some of his favorite roles included Henry Higgins (My Fair Lady), Captain Keller (The Miracle Worker), and King Sextimus (Once Upon a Mattress). Currently a senior in the Theater program at the University of Arizona, Christopher’s roles have included four ensemble roles in Guys and Dolls, Talthybios in The Trojan Women, Al in The Philadelphia, Adam in The Creation of the World and Other Business, and Mr. Bergin in The Rogue Theatre’s The Dead. Christopher would like to express his joy at having the opportunity to work with such a great cast and director, bringing such beautiful language to the stage. Also, he would like to thank his parents, sister, and good friends for their love, support, and encouragement.

Christopher Burnham (Endymion)
Tony Eckstat (Alpheus)

Tony Eckstat (Alpheus) has been active in the Tucson theater community since 1999. With experience acting, directing, and working backstage, he has contributed his efforts to a variety of local groups, including Live Theatre Workshop, Tucson Community Theatre, Wilde Playhouse, Catalina Players and many others. One of the co-founders of Tucson Theatre Ensemble, he is particularly proud to be a part of their outreach program, which takes live performances out to underserved communities. Tony is no stranger to the camera either, having taken part in numerous local films and cable television projects.

Tanaya Gallagher (Arethusa): This is Tanaya’s third professional show, the first two being The Rogue Theatre’s productions of The Balcony and The Dead. She performed in many shows at Catalina Foothills High School including Cabaret, Jake’s Women, The Children’s Hour and Summer and Smoke. Currently she is training to become a fitness instructor at Canyon Ranch and is attending Pima Community College where she runs cross country.

Tanaya Gallagher (Arethusa)
Carolyn Hokin (Ensemble)

Carolyn Hokin (Water Nymph/Scylla/Ensemble) is a sophomore in Spanish at the University of Arizona, and is more than thrilled to be a part of the Rogue Theatre’s production of Endymion. She got her start performing at St. Philip’s in the Foothills Episcopal Church, where she sang such coveted solo pieces as Leonard Bernstein’s Chichester Psalms and Gabriel Fauré’s Pie Jesu. She has worked extensively with the BASIS School, where she most recently played Bella in Lost in Yonkers, Titania in Shakespeare’s A Midsummer Night’s Dream, and directed The Compleat Wrks of Wllm Shkspr (Abridged). Carolyn has also recently performed with The Rogue Theatre in The Dead. Carolyn is also currently a member of Tucson’s popular improv troupe Not Burned Out Just Unscrewed.

Chris Hokin (Adonis/Young Glaucus/Ensemble) is a senior at Tucson High School. He has apperared in a few school plays such as A Midsummer Night’s Dream (Theseus), Oklahoma (Ali Hakim), and Romeo and Juliet (Mercutio), but has never been part of a real theatre company. Hence, this will be the first major production he has ever participated in. In addition, Chris hold a second degree black belt in Tae Kwon Do and Tang Soo Do, and has recently achieved a black belt in Haidong Gumdo (Korean sword). He also plays electric/acoustic guitar. Furthermore he is more than happy to be working in such a wonderful atmosphere as the Rogue Theatre.

Chris Hokin (Ensemble)
Art Jacobson (Ensemble)

Art Jacobson (Oracle/Elephant/Ensemble) began his acting career as a child actor in Chicago radio. In college, he played John Adams in a summer-long production of The Common Glory. He wrote and acted in radio dramas produced by the Broadcasting Service of the University of Michigan and came home to Chicago as a production director at NBC’s affiliate, WMAQ. Subsequently, he taught philosophy at Roosevelt University in Chicago. Tucson audiences have seen him in readers’ theatre performances of No Exit and The Critics, as the Rabbi in Borderlands Theater production of Vilna’s Got a Golem, and in The Rogue Theatre’s The Balcony and The Dead. He’s delighted to be part of Endymion.

David Alexander Johnston (Cupid) has recently been seen on stage with Arizona Theatre Company in The Fantasticks and Much Ado About Nothing and in a variety of roles in My Fair Lady. His other professional theatre credits include major roles in Joseph and the Amazing Technicolor Dreamcoat, Big River, I Do! I Do!, Odd Couple, and The Foreigner. He performed with Arizona Opera in Threepenny Opera, Barber of Seville, Carmen, and Girl of the Golden West. His television and movie credits include Day of Redemption, Spin, The Unflyable Plane for BBC, Fast Getaway II, Tank Girl, and several regional and national commercials and industrial films. Local Arizona audiences may recognize David from his roles as Marvin in Falsettoland, Buzz in Love, Valour, Compassion! and P. T. Barnum in Barnum.

David Alexander Johnston (Cupid)
Joseph McGrath, Artistic Director (Poet)

Joseph McGrath, Artistic Director (Poet) is a graduate of the Juilliard School of Drama. He has toured with John Houseman’s Acting Company, appearing in Pericles, Tartuffe, Twelfth Night, and The Country Wife. At the Utah Shakespearean Festival, Joe appeared in Hamlet, Henry IV: Part I, and Much Ado About Nothing. In New York City, he directed Rough Magic: A Shakespeare Quartet. In Tucson, he is a frequent performer with Ballet Tucson appearing as an Ugly Stepsister in Cinderella, Bottom in A Midsummer Night’s Dream, VanHelsing in Dracula and, perennially, as Drosselmeyer in The Nutcracker. He has also performed with the Arizona Theatre Company, Tucson Art Theatre, Arizona OnStage, Green Thursday, Damesrocket Theatre, and Old Pueblo Playwrights in such roles as Trigorin in The Seagull, Sam Byck in Assassins, John in Oleanna, and This Rock in Anger Box. Joe is also a scenic designer and owns Sonora Theatre Works with his wife Regina Gagliano, producing theatrical scenery and draperies. Most recently, Joe directed The Balcony, performed The Fever, and performed in The Dead for The Rogue Theatre and also appeared in Arizona Opera’s Threepenny Opera.

Cynthia Meier, Managing Director (Diana) has performed in The Balcony (The Rogue Theatre), A Streetcar Named Desire (Arizona Theatre Company), Blithe Spirit, A Midsummer Night’s Dream (Michigan Repertory Theatre), Romeo & Juliet, Chicago Milagro (Borderlands Theatre), Top Girls (Damesrocket Theatre), A Namib Spring (by Patrick Baliani, winner of the 1999 National Play Award), A Nightingale, Smirnova’s Birthday, The Midnight Caller, The Ballad of the Sad Cafe (Tucson Art Theatre), and A Maid’s Tragedy (directed by Domini Blythe of the Royal Shakespeare Company). Most recently, Cynthia adapted and directed James Joyce’s The Dead and directed Wallace Shawn’s The Fever for The Rogue Theatre and directed Chekhov’s The Seagull (featuring Ken Ruta) for 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.

Cynthia Meier, Managing Director (Diana)
David Morden (Glaucus)

David Morden (Glaucus) appeared most recently as Constable Smith in the Arizona Opera’s production of The Threepenny Opera as well as singing in the chorus of The Flying Dutchman. As an actor, 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 is a co-founder. As a director, he has worked with Green Thursday (Shakespeare’s R&J, White Garden), Oasis Chamber Opera and Arts For All. A member of the Tucson Symphony Chorus, he will delve once again into the world of opera this spring in the chorus of Arizona Opera’s Susannah.

Caroline Murphy (Peona) (formerly Liebert) is thrilled to be back on a Tucson stage with her Rogue Theatre debut. Caroline has performed at the Union Colony Dinner Theatre in Colorado as Sarah Brown in Guys and Dolls, and as Wife/Ensemble in Joseph and the Amazing Technicolor Dreamcoat, as well as in off-off Broadway shows in New York and as part of the 42nd Street cast in the Gypsy of the Year Awards, Palace Theatre, Broadway. Caroline was last seen in Tucson in the Arizona Rose Theatre Company as Marion in Robin Hood, and at University of Arizona Opera Productions such as The Fairy Godmother in Cendrillon and Valencienne in The Merry Widow. Caroline received her Bachelor of Music from the U of A, and studied acting there and in New York.

Caroline Murphy (Peona)
Arlene Naughton (Venus)

Arlene Naughton (Venus) performed most recently in The Rogue Theatre’s The Balcony and The Dead. She is very pleased to be returning to the stage after a ten-year absence. Her Arizona credits include Nunsense (Flagstaff Festival of the Arts), Brighton Beach Memoirs (Serendipity Playhouse), A Christmas Carol (Gaslight Theatre); and Wigged Out! (Stray Theatre Company). Arlene also toured with the Nebraska Theatre Caravan and performed in Lady Audley’s Secret (Imperial Hotel) and I’ll Be Back Before Midnight (Derby Dinner Playhouse). She is a licensed marriage and family therapist and works at Cottonwood de Tucson.

Chuck Rankin (Bacchus) brings nearly twenty years of various stage experience to share with The Rogue’s brilliant and creative ensemble. He is grateful for the opportunity to play the God of Wine in this production of Endymion. Memorable past performances on Tucson stages include portrayals of Hercule Poirot in Agatha Christie’s Black Coffee at Live Theatre Workshop, Marcus in Titus Andronicus at Etcetera Late Night Theatre, and Mark Jennings in Borderlands’ production of Guatanamo. Lately Chuck has been practicing his juggling skills, concurrently directing Ira Levin’s Deathtrap for Live Theatre Workshop while rehearsing for Endymion.

Chuck Rankin (Bacchus)
Joan Van Dyke (Ensemble)

Joan Van Dyke (Oracle/Ensemble) grew up in Tucson and performed during her young teens in what is now the Cabaret Theatre. After studying drama, music and dance in Boston, she transferred to the School of Theatre Arts at the U of A, where her favorite role was Joan in The Lark. Before returning for a Master’s Degree in Children's Theatre, she worked with Sandy Rosenthal and performed the role of the Wife in Rashomon at the Temple of Music and Art. She joined the Invisible Theatre in its formative years where she acted, wrote plays and directed the Children’s Workshop. She has studied pantomime in Los Angeles, has worked with Marcel Marceau for several summers and has worked as a Wolf Trap Artist in Head Start Centers in Tucson. Last January she performed with Live Theatre Workshop in Dearly Departed. She is very pleased to be a part of the Rogue Theatre for its production of Endymion.

Leanné Whitewolf Charlton (Echo/Indian Maid/Ensemble), before moving to Southern Arizona, received her formal theatre and dance education from Northwestern College and the University of Wisconsin-Milwaukee. She performed in numerous Midwestern productions including The Miracle Worker, The Good Woman of Setzuan, Dracula, Pippin and The Sound of Music. She has studied with the Milwaukee Ballet as well as the internationally renowned African-American dance company, Ko-Thi. Her Arizona Credits include the role of Hattie Dealing in Laundry and Bourbon (The Studio for Actors) and Helga Ten Dorp in Deathtrap (Tucson Theatre Ensemble). Leanne is grateful for the opportunity to be back on the stage after a long absence and is proud to be a part of The Rogue Theatre ensemble cast. She is especially thankful to Shelene, Dixie, Lakota and the founding members of the Florence Players who bless her journey every day. She lives with her loving and supportive husband, Russ and a large four-legged family.

Leanne Whitewolf (Ensemble)


Performance Schedule for Endymion

Location: Zuzi’s Dance Theater, Historic Y, 738 N. 5th Avenue at University  See map

Preshow of live Mediterranean music begins 15 minutes before curtain

Thursday September 28, 7:30 pm (Preview)
Friday September 29, 7:30 pm
Saturday September 30, 7:30 pm
Sunday October 1, 2:00 pm matinee

Thursday October 5, 7:30 pm
Friday October 6, 7:30 pm
Saturday October 7, 7:30 pm
Sunday October 8, 2:00 pm matinee

Thursday October 12, 7:30 pm
Friday October 13, 7:30 pm
Saturday October 14, 7:30 pm
Sunday October 15, 2:00 pm matinee



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