Recipient of the
2012 American Theatre Wing
National Theatre Company Award

PRODUCTION SPONSOR: NORMA DAVENPORT Directed by Cynthia Meier Musical direction by Harlan Hokin January 22–February 8, 2009 Thursday–Saturday 7:30 PM, Sunday 2:00 PM Added performance Saturday February 7, 2:00 P.M. Preshow music begins 15 minutes before curtain A post-show discussion will follow all performances Preview Night Thursday January 22, 7:30 PM Pay-What-You-Will Nights Thursdays January 29 & February 5, 7:30 PM Cabaret Theatre, Temple of Music and Art 330 S. Scott Ave., Tucson New comfortable seating! See map ORLANDO is produced by special arrangement with Bruce Ostler, BRET ATAMS, LTD., 448 West 44th Street, New York, NY 10036

Virginia Woolf's imaginative Orlando follows the adventures of a young man over 300 years, from the Elizabethan Age to the modern era, as he encounters love in its many forms and experiences the world from the viewpoint of both sexes. A brilliant and gender-bending adventure adapted to the stage by MacArthur genius, Sarah Ruhl.

Patty Gallagher as Orlando and Avis Judd as Sasha

David Morden as Queen Elizabeth and Patty Gallagher as Orlando

Photos by Tim Fuller

About the poster

Rogue After Curfew, a late night show in association with The Now Theatre, presents Edward Albees’s The Zoo Story, directed by Chelsea Bowdren Thursdays–Saturdays, 10:00 P.M., January 22–February 4, 2009 at the Cabaret Theatre $10 Tickets available at the door ($5 with purchase of a ticket to Orlando) Full information about The Zoo Story Ticket Information        Performance Schedule

Press

Strong cast led by Gallagher makes this a must-see

Review of Orlando by Kathleen Allen in the January 30 Arizona Daily Star

Orlando Blooms

Review of Orlando by Gene Armstrong in the January 29 Tucson Weekly

Comedy is king—and queen —in production of Woolf's Orlando

Review of Orlando by Chuck Graham in the January 29 Tucson Citizen

Whimsical Woolf work to be staged

Preview of Orlando by Kathleen Allen in the January 16 Arizona Daily Star

Nic Adams as The Captain and Patty Gallagher as Orlando

Photo by Tim Fuller

	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 Happy Days, The Good Woman of Setzuan, The Fever and The Cherry Orchard, and performed in 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.

Director’s Notes

Virginia Woolf published Orlando in 1928 as a tribute to Vita Sackville-West, a wealthy English gentlewoman and author. Although Vita was married to Harold Nicholson, they both partook of same-sex relationships outside of their marriage, including a passionate love affair between Vita and Virginia Woolf. In 1928, both Vita and Virginia were 36 years old. Orlando is a roman á clef: Orlando’s life over 350 years is a reflection of Vita’s 36 years of life. Of course, as with all great literature, Woolf’s novel speaks to more universal themes as well.

We like questions at the Rogue, and Woolf’s novel is full of them. Woolf asks us what it would be like to experience life as both a man and a woman. She asks us what time means as we travel through four different centuries to the present moment. She also asks us what marriage is and whether it can exist with all the other passions we might have. These themes of time and gender identity and relationships swirl together to create a timeless, ageless, sexually-ambiguous world.

In rehearsing this production, we’ve all become aware of the beauty and foibles of our own and each other’s gender. The men have thoroughly enjoyed exploring the costumes and manners of women, and the women have delighted in imagining the spontaneity and forthrightness of men. We leave it to you, our audience, to determine, as Orlando asks, “Which is the greater ecstasy? The man’s or the woman’s?”

Thank you for joining us in this great adventure.

—Cynthia Meier, Director of Orlando
director@theroguetheatre.org

“Have patience with everything that remains unsolved in your heart. Try to love the questions themselves, like locked rooms and like books written in a foreign language. Do not now look for the answers. They cannot now be given to you because you could not live them. It is a question of experiencing everything. At present you need to live the question. Perhaps you will gradually, without even noticing it, find yourself experiencing the answer, some distant day.”

—Rainer Maria Rilke, Letters to a Young Poet

Brendan Murphy as Shelmardine and Patty Gallagher as Orlando

Photo by Tim Fuller

The Red Bench: Sponsoring Orlando

The first Rogue production I saw was The Goat. The play, the production, the talk-back afterwards exhilarated me. I went home, sat down at the computer and sent a contribution to the Rogue. I wanted more plays.

Later that summer I met with Cindy Meier and Joe McGrath, the founders of the Rogue, who talked to me about their plans for the future growth of the Rogue and about whether I as a theatre enthusiast would be interested in joining their board. They also asked me if I would consider sponsoring one of the plays for the 2008-2009 season. Working on the Rogue’s board seemed exactly what I would like to do. I asked for a little time to think about the sponsorship. I had given money to theatres and other cultural institutions before, but never had even thought about sponsoring a work of art. I was not quite sure what it meant.

The next day I flew to Cambridge, MA, for a visit. Once there, as is my habit, I went to the nearby Fresh Pond Reservoir to walk a few miles. As I walked up Huron Avenue I mulled over the possibility of sponsoring a play. As I climbed the wooded hill on the path leading into the reservoir, I noticed a red granite bench on the hilltop above the path and decided to have a look. On closer inspection I saw that the top of the bench was carved with an excerpt from Virginia Woolf’s Orlando, the paean to Nature during which Orlando falls onto the moor and murmurs, “I have found my mate… I am Nature’s bride.” It was a great pleasure to read that beautiful language, so appropriate to the spot, and I sat down on the bench and thought what a wonderful thing it was for some person to have created this experience for any stranger who might happen upon it. This was the answer to my question about what it meant to sponsor a play – my play would be a red bench carved with poetry to give pleasure and inspiration to other people who shared a love of theatre. How fitting that one of the plays in the Rogue’s upcoming season was Orlando. When I returned to my friend’s home, I immediately emailed Cindy and Joe about the red bench, adding, “I will sponsor a play and the play will be Orlando.”

As a sponsor, I have enjoyed attending rehearsals, getting to spend time with the cast, even providing an apron, some doilies and a straw hat for the production. And I have learned what an enormous gift Cindy and Joe and the wonderful actors, musicians, and crew of the Rogue make every time they give us a play. I feel honored to have had the opportunity to make this contribution. I hope you enjoy the play.

—Norma Davenport, Production Sponsor

Cast Biographies

	Nic Adams (Chorus) has appeared with The Rogue Theatre in Six Characters in Search of an Author and with the Now Theatre in Cigarettes & Chocolate, a Rogue After Curfew production. 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).
Patty Gallagher (Orlando) was Artist in Residence in The Rogue Theatre’s 2007–08 season. She has performed with The Rogue Theatre as Shen Te in The Good Woman of Setzuan, as Ranevskaya in The Cherry Orchard, as Sonnerie/Scarron in Red Noses, and as Winnie in Happy Days. Patty is Associate Professor of Theatre Arts at University of California Santa Cruz where she directs courses in physical theatre, mask performance, Balinese dance, and clown traditions. She is Director in Residence for the Clown Conservatory, a year-round training program of the San Francisco School of Circus Arts. She holds a doctorate in Theatre and Drama from University of Wisconsin–Madison. She has performed clown and buffoon with Teatro Cronopio and studied in Laboratorio Grupo Malayerba. She has worked with the New Pickle Circus, Fool Time Circus, Folger Shakespeare Theatre, Ripe Time, San Francisco Circus and the Weird Sisters Ensemble. She has performed and directed workshops in Asia, South America, Europe, and the U.S., and recently was a Fulbright Scholar in Quito, Ecuador. She is a founding member of Local Hero, a physical theatre ensemble.
	Avis Judd (Sasha) has previously performed with The Rogue Theatre in The Good Woman of Setzuan and The Cherry Orchard. Avis received her theatre degree from Northwestern University. Favorite roles include Olga in The Three Sisters, Fury in the English language premier of Héléne Cixious’ The Perjured City, or the Awakening of the Furies; 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. Avis feels privileged to work with such a talented ensemble, and thanks her husband, Michael, and daughters, Sophia and Isabelle, for their loving support and encouragement.
Joseph McGrath (Chorus) is the Artistic Director for The Rogue Theatre for which he has performed in most of the productions, and has 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 and 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, Arizona OnStage, Green Thursday, and Damesrocket Theatre 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 (Chorus) has appeared with The Rogue Theatre 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 production of The Goat and Six Characters in Search of an Author. As a singer, he has played Constable Smith in Arizona Opera’s production of The Threepenny Opera and has sung in the chorus of Die Fledermaus, The Flying Dutchman, Susannah, and The Mikado. He has performed locally with Arizona Onstage Productions (Assassins), Actors Theatre (The Bible: The Complete Word of God (Abridged)) and Green Thursday Theatre Project (Anger Box, Rain), of which he was a co-founder. David has directed productions with Green Thursday (Shakespeare’s R&J, White Garden), Oasis Chamber Opera (Sing to Love), DreamerGirl Productions (The Dreamer Examines His Pillow) and Arts For All (The Apple Tree).
Brendan Guy Murphy (Chorus) is familiar to Tucson theatre audiences through his performances with Arizona Repertory Theatre (Noises Off), Green Thursdays (Anger Box, Shakespeare’s R&J), Invisible Theatre (Coming Through), Live Theatre Workshop (The Dining Room) and perennially with the LaughingStock Comedy Company, among others. Brendan also has extensive film and television credits and most recently formed his own independent film company, Murphy Speaking Films. This January, Brendan was awarded the 2009 Buffalo Exchange Arts Award. He dedicates this performance to “SPANX!”
	John Shartzer (Chorus) has performed with The Rogue Theatre in Six Characters in Search of an Author and with the Now Theatre in Cigarettes & Chocolate, a Rogue After Curfew production. A senior at the University of Arizona, John has performed with the Arizona Repertory Theatre in Titus Andronicus and Candide, S.O.S. Productions in Lucky Stiff, Arizona Broadway Theatre in Grease, Arizona Opera in Semele, and in the UA Review ’S Wonderful. John is a member of the improv troupe The Charles Darwin Experience. He will also be performing in the Now Theatre’s Zoo Story, a Rogue After Curfew production following Orlando.

Joseph McGrath as The Archduchess, Patty Gallagher as Orlando,
and Nic Adams, David Morden, John Shartzer, and Berndan Murphy as the Chorus

Photo by Tim Fuller

Music in Orlando

The music in Orlando sweeps over the same 350 years that the character of Orlando travels, ranging from an early Scottish melody to the Charleston. By the way, Pastime With Good Company really was written by Henry VIII. Yes, that Henry VIII. Like most aristocratic gentleman of his time, he was thoroughly instructed in music, dance, literature, hunting, manners, etc. It is well known that he loved to dance and sing. There is no doubt that he personally wrote the piece we are singing tonight, as well as many other good pieces. He was the second son, and not originally expected to become king. Even after his elder brother Arthur died, Henry continued to act the second son. By the time he actually became king he was universally admired as a handsome cultured gentleman. Later, as some of you may know, things changed significantly!

—Harlan Hokin, Musical Director

	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 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 has performed music for The Rogue Theatre’s productions of The Dead, Endymion, and The Good Woman of Setzuan. He has extensively studied and performed Medieval, Turkish, Chinese, Celtic and Japanese music on a variety of traditional instruments both here and abroad. Paul is currently enagaged in attempting a synthesis of various musical traditions, and making bamboo flutes.

	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, and Six Characters in Search of an Author. Other lighting design credits include As Bees in Honey Drown and Golf Game for Borderlands, Woman in Black for Beowolf Alley, and The Seagull for Tucson Art Theatre. Clint is currently the Shop Foreman, Production Technical Director and Marketing Director for Catalina Foothills Theatre Department where he designs and coordinates the construction of all scenery. He is also a member of Rhino Staging Services, and a regular participant in Arizona Theatre Company’s Summer on Stage program where he designs and builds the scenery as well as teaches production classes. Clint thoroughly enjoys the passion and integrity that The Rogue brings to their productions and looks forward to playing his part in their creative journeys.

The country habit has me by the heart,
For he's bewitched forever who has seen,
Not with his eyes but with his vision, Spring
Flow down the woods and stipple leaves with sun.

—“Winter” from The Land by Vita Sackville-West, 1926

Performance Schedule for Orlando

Location: Cabaret Theatre, Temple of Music and Art, 330 S. Scott Ave.  See map

Thursday January 22, 2009, 7:30 pm PREVIEW
Friday January 23, 2009, 7:30 pm
Saturday January 24, 2009, 7:30 pm
Sunday January 25, 2009, 2:00 pm matinee

Thursday January 29, 2009, 7:30 pm PAY-WHAT-YOU-WILL
Friday January 30, 2009, 7:30 pm
Saturday January 31, 2009, 7:30 pm
Sunday February 1, 2009, 2:00 pm matinee

Thursday February 5, 2009, 7:30 pm PAY-WHAT-YOU-WILL
Friday February 6, 2009, 7:30 pm
Saturday February 7, 2009, 2:00 pm matinee ADDED PERFORMANCE
Saturday February 7, 2009, 7:30 pm
Sunday February 8, 2009, 2:00 pm matinee