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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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Immortal Longings

PRODUCTION SPONSORS:
NANCY REEDER
JUDITH AND WARD WALLINGFORD

Directed by Joseph McGrath
Musical direction by Harlan Hokin

March 19–April 5, 2009

Thursday–Saturday 7:30 PM, Sunday 2:00 PM
Preshow music begins 15 minutes before curtain
Discussion with the cast and director follows all performances

Preview Night Thursday March 19, 7:30 PM
Pay-What-You-Will Nights Thursdays March 26 & April 2, 7:30 PM

Performance Schedule

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

See Map

What does Juliet have to say to Cleopatra? How can Kate and Lady Macbeth exist in the same room? What happens when Shakespeare’s women step out from the pages of their plays and discuss their lives, their loves and whether their fates should remain forever unchanged?

A banquet of beautiful scenes from Shakespeare, Immortal Longings is an evening with ten of the most impressive women ever written. The verse is soaring and the furniture is flying. This is not to be missed.

 

Cindy Meier as Lady Macbeth, Alida Holguin Gunn as Kate, Laine Peterson as Ophelia and Dallas Thomas as Juliet

Cynthia Meier as Lady Macbeth, Alida Holguin Gunn as Kate,
Laine Peterson as Ophelia and Dallas Thomas as Juliet

 

Maxine Gillespie as Desdemona and Laine Peterson as Emilia

Maxine Gillespie as Desdemona and Laine Peterson as Emilia

Photos by Tim Fuller

About the poster

Purchase a copy of the script at our online store

 

Rogue After Curfew, a late night show in association with The Now Theatre, presents
Tennessee Williams This Property is Condemned, directed by Nic Adams
March 19–April 4, 2009 at the Zuzi Theatre
Thursdays–Saturdays, 10:30 P.M.
Sunday March 29, 5:00 P.M.

$10 Tickets available at the door ($5 with purchase of a ticket to Immortal Longings)

Full information about This Property Is Condemned

Ticket Information        Performance Schedule

This Property Is Condemned

 

Press

Shakespeare’s women

Video interview with Immortal Longings author/director Joseph McGrath by Sooyeon Lee on KUAT TV’s March 31 Arizona Illustrated

A Teen’s Trial: A group of Shakespearean women gather to decide the fate of Juliet in the wonderful Immortal Longings

Reviews of Immortal Longings and This Property is Condemned by James Reel in the March 26 Tucson Weekly

Juliet doesn't want to die!

Previews of Immortal Longings and This Property is Condemned by Kathleen Allen in the March 13 Arizona Daily Star

 

Laine Peterson as Iras, Susan Arnold as Cleopatra and 
        Maxine Gillespie as Charmian

Laine Peterson as Iras, Susan Arnold as Cleopatra and Maxine Gillespie as Charmian

Photos by Tim Fuller

 

Joseph McGrath (Director)

Joseph McGrath (Director) is the Artistic Director for The Rogue Theatre for which he has performed in The Fever, The Dead, Endymion, The Good Woman of Setzuan, The Cherry Orchard, The Goat, Happy Days, Red Noses, Six Characters in Search of an Author, and Orlando, 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. He has toured with John Houseman’s Acting Company and performed with the Utah Shakespearean Festival. In Tucson, he is a frequent performer with Ballet Tucson appearing in The Hunchback of Notre Dame, Cinderella, A Midsummer Night’s Dream, Dracula and perennially in The Nutcracker. He has also performed with Arizona Theatre Company, Arizona Opera, Tucson Art Theatre, Arizona OnStage, Green Thursday, Damesrocket Theatre, and Old Pueblo Playwrights in such plays as The Seagull, Assassins, Oleanna, Threepenny Opera, and Anger Box. Joe is also a scenic designer and owns Sonora Theatre Works with his wife Regina Gagliano, producing theatrical scenery and draperies.

Notes from the Author/Director

The fourth Rogue season closes in a circle with Immortal Longings. In Six Characters in Search of an Author, we saw Pirandello’s characters, tortured and passionate, though insubstantial and bloodless, existing only as fictions wandering the world in search of people to inhabit and tell their story. The characters of Shakespeare, and indeed all dramatic characters, are just such entities when extracted from their narratives, as we see them here. In Orlando, we addressed gender questions, asking: independent of one’s sex, what makes up a human being? And here we see the men played quite plausibly by women: the passion and politics of relationship prevail regardless of our physical equipment. It has been satisfying indeed to produce not just three individual plays, but a season with these challenging thematic threads.

The few roles for women that exist in Shakespeare’s plays are thrilling to watch. But many of these ladies, though they have power, charm, and wit, are circumscribed by their men. Their concerns reach no farther than the concerns of their lover, husband, or father and rarely do they reveal any deeper philosophical reflections, though we’re often left thinking that there’s a missing scene in which they do just that. I’ve tried to find some of those missing scenes with Immortal Longings.

Additionally, these parts were all written to be played by men and one can sense the homoeroticism that permeates the page in plays like As You Like It. Our modern tradition of having women actually play the parts of Shakespeare’s women in production circumvents this added layer clearly written into the work. With Immortal Longings we are restoring some sense of that through completely reversing the genders.

Finally, many of us in popular America have lost our sense of tragedy. We wish to be affirmed and inspired. To see hard work and honesty rewarded and see people who look like us be good and noble and come to happy ends. But we are not foolish people. We know quite well that life is not fair, and that we ourselves can often fall far short of our own high ideals. So why have we all but abandoned this soaring genre of the Western tradition? Perhaps we have become too tidy and sensitive. The lights slowly fading on a stage littered with bodies, after all, can be messy and depressing. But it has its virtues. Were we never to tread where death lurks, we might never be able to appreciate the grandeur of the life we have been given.

—Joseph McGrath, Author/Director of Immortal Longings
director@TheRogueTheatre.org

 

Alida Holguin Gunn as Kate and Dallas Thomas as Juliet

Dallas Thomas as Juliet and Alida Holguin Gunn as Kate

Photo by Tim Fuller

 

Character Synopses

JULIET, Romeo and Juliet
Verona.
The Capulets and the Montagues are bloody enemies. Juliet, a Capulet, and Romeo, a Montague, fall in love. Their love forbidden, they are married in secret by their Friar. But a confrontation on the streets of Verona leads to the death of Juliet's cousin Tybalt by Romeo's hand. Romeo is banished by Verona's Prince Escalus. That night Romeo and Juliet secretly consummate their marriage, and Romeo withdraws to banishment. Juliet's hand is then promised to the Prince's kinsman, Paris. To avoid this sinful marriage, the Friar gives Juliet a potion to simulate her death, arranging to notify Romeo of the subterfuge. Juliet drinks the potion, is discovered apparently dead, and is placed in the family tomb from which Romeo is to rescue her. But the Friar's message to Romeo is waylaid, and Romeo, hearing of Juliet's death, returns to the tomb, finds Paris outside in mourning, and through misunderstanding kills him. He then enters the tomb, finds the apparently dead Juliet, and kills himself in grief. Juliet awakens, discovers her husband dead and kills herself with his dagger.

KATE, The Taming of the Shrew
Padua.
Kate is a renowned scold (or shrew) and the older sister of Bianca. Their father forbids Bianca to marry until Kate is wed—though there are no suitors for a woman of such ill-temper. Petruchio arrives and learning of Lucentio’s wealth, determines he will woo and win the ill-tempered Kate. Through a series of outlandish scenes in which Petruchio bullies Kate into submission, she finally chooses a life of humility and moderation, giving up her angry and shrewish ways.

VIOLA, Twelfth Night
Illyria.
Viola has been shipwrecked on the shores of this foreign land, having lost her twin brother in the storm. To preserve her honor and to find refuge, Viola disguises herself as a boy and finds work in the court of the Duke Orsino, with whom she instantly falls in love. Unfortunately, she becomes the messenger between Orsino and the beautiful lady Olivia, whom he is attempting to woo. To make matters worse, Olivia falls in love with the disguised Viola. When Viola's twin brother miraculously arrives in Illyria, mistaken identities abound before Olivia marries Sebastian and the Duke weds Viola.

OPHELIA, Hamlet
Denmark.
Ophelia is the daughter of a close advisor to the throne. She and Hamlet, the Prince, are thought to be romantically attached, but Hamlet is too caught up in exposing the murder of his father by his uncle, the current king, to think of love. The court has become a suspicious place, and in a fit of passion, Hamlet, smelling a deception, denounces Ophelia. Later, Hamlet mistakenly kills Ophelia's father who has been eavesdropping on him. Ophelia, alone in the world, goes mad and wanders the castle singing songs and giving flowers, freighted with meaning, to everyone she meets. She eventually drowns when she falls into a creek and sinks under the water while she sings.

PORTIA, The Merchant of Venice
Venice.
Portia is a woman of means who entertains many proposals of marriage from rich and noble gentlemen. Bassanio, the handsomest of them all, wishes to woo Portia and to that end, borrows a large sum of money from his friend Antonio, a merchant. Antonio raises the funds for his friend’s adventure by borrowing them from Shylock, a Jewish moneylender. Bassanio does, indeed, win Portia’s hand, but it is discovered that Antonio is ruined when all his merchant ships are lost at sea. Shylock demands repayment with a pound of flesh, as stipulated in the contract. Portia decides to intercede in the matter, disguises herself as a lawyer, and defends Antonio in court. Through eloquent arguments and one critical loophole in the contract, Portia saves Antonio’s life and returns home to her loving marriage.

LADY MACBETH, Macbeth
Ancient Scotland.
At play's rise the forces of King Duncan are victorious in putting down a rebellion. The greatest warrior in the victory is Macbeth. On his way from the battlefield Macbeth encounters witches that predict his eventual rise to the throne. He later agrees to entertain Duncan at his castle and writes ahead to his wife, Lady Macbeth, telling her about the prediction of the witches, and to prepare for the arrival of the King. When Macbeth arrives, she convinces him to take matters into his own hands. That night while Lady Macbeth keeps watch, Macbeth murders Duncan. The crown falls to Macbeth, but the rest of Scotland soon deduces who murdered the king. As Macbeth broods over his insecurity, Lady Macbeth is seen sleep-walking, constantly trying to wash her hands of the blood of the king. As the army of the rightful heirs of the throne approach the castle, Lady Macbeth takes her own life, apparently, and Macbeth soon falls to the righteous vengeance of his victims.

ROSALIND, As You Like It
The Forest of Arden.
Rosalind is the daughter of an exiled Duke who now lives in the forest with his lords and followers. Still living at the Court, Rosalind and her cousin Celia witness a wrestling match in which the young Orlando, against all odds, defeats a hulking wrestler. Orlando instantly wins Rosalind’s heart, and he falls in love with her as well. Soon thereafter Rosalind, too, is banished from the court. Rosalind and Celia run away to the forest, with Rosalind disguised as a young man for their safety. Meanwhile, Orlando has been forced from the court and into the forest as well. He meets Rosalind (dressed in man’s clothes) and she immediately sees how lovesick he is for her. She tests his devotion by pretending to cure him of his lovesickness—and under the guise of her pretended identity as a man, their courtship blooms. A happy ending ensues when the banished Duke is miraculously restored to his position at the court, Rosalind reveals her true identity, is reunited with her father, and marries Orlando.

BEATRICE, Much Ado about Nothing
Messina.
Beatrice is a young, independent noblewoman who lives with her uncle, and cousin, Hero. The Prince and his soldiers are traveling through the town. Among them are Claudio, Hero’s beloved, and Benedick, a soldier who is renowned for a sharp, sarcastic wit. Beatrice, though once enamored of Benedick, also has a cutting wit and determines to cross swords at every chance. The Prince and his friends decide to amuse themselves by making Benedick fall in love with Beatrice through innuendo and rumors about how lovesick the lady is for him. Likewise, Hero and her ladies drop hints about how head-over-heels in love Benedick has fallen for Beatrice. Hearing how the other is smitten, they both fall hopelessly in love. Meanwhile, Claudio is misled by the Prince's brother into thinking that Hero has been unfaithful, and on their wedding day, Claudio disgraces her at the altar. The angry Beatrice gets Benedick to swear that he will challenge Claudio. He does so, but just in time the treachery is found out and Hero's reputation restored. The play concludes with a double wedding.

DESDEMONA, Othello the Moor of Venice
Cyprus.
Desdemona has married the blackamoor Othello, a well-respected soldier and leader. His lieutenant, the jealous Iago, is determined to cause Othello's downfall. Iago orders his wife to steal Desdemona's dropped handkerchief, and gives it to Cassio, Othello’s lieutenant. Iago then plants the idea in Othello’s mind that Desdemona and Cassio are lovers pointing out that Cassio has her handkerchief. In a jealous rage, Othello kills Desdemona.

CLEOPATRA, Antony and Cleopatra
Egypt.
Cleopatra, Queen of Egypt and Marc Antony, one of the leaders of the Roman Empire, are devoted lovers in the prime of life. Their love for each other is all-consuming and a scandal to the “civilized” societies of Rome. The powers of Rome declare war on Antony and Cleopatra to regain control of Egypt, and the lovers, distracted on the battlefield, misuse their forces and are defeated. Antony, in shame, kills himself. Cleopatra, now captive to Caesar and facing disgrace in Rome, allows asps to bite her, dying of their venom.

 

The death of Juliet

The death of Juliet

Photo by Tim Fuller

 

                         Cast                         

Portia
Lesley Abrams*
Cleopatra
Susan Arnold*
Rosalind
Chelsea Bowdren
Viola
Holly-Marie Carlson
Desdemona
Maxine Gillespie
Kate
Alida Holguin Gunn
Beatrice Avis Judd
Lady Macbeth
Cynthia Meier
Ophelia
Laine Peterson
Juliet Dallas Thomas

  *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

Lesley Abrams (Portia)<b

Lesley Abrams (Portia) is co-founder of the LaughingStock Comedy Company, which specializes in creating customized, improvised comedy for business audiences nationwide. Locally, she has appeared in productions of Doubt, New House New Dog, Steel Magnolias, Noises Off, Sister Mary Ignatius, The Trojan Women and Frozen, for which she won the 2006 Arizona Daily Star “Mac” award. She is currently working on a one-woman show about the writer Dorothy Parker.

Susan Arnold (Cleopatra) has worked extensively in the performing arts as an actor, director, writer and producer and is thrilled to be working again with the Rogue Theatre, where she last appeared as Claire in their production of The Maids. Her local credits include Circe in Endymion with The Rogue Theatre, Polina in The Seagull with Tucson Art Theatre, FS in Anger Box with Green Thursday Project, and April in Hot l Baltimore with Nathalia Stage Ensemble. Additional roles include Vita Sackville West in the world premiere of White Garden, Gertrude in Hamlet, Maria Callas in Master Class, Molly in Molly Sweeney, Maria in Twelfth Night, Lady Macbeth in Macbeth, Patsy Cline in A Closer Walk with Patsy Cline and Mo in The Kathy and Mo Show. Susan is a member of Actor’s Equity Association and Screen Actor’s Guild and is the recipient of several theatre excellence awards for acting and directing. She currently serves as Artistic Director for C.A.S.T., Clean and Sober Theatre, a prevention and education program of Compass Behavioral Health Care.

Susan Arnold (Cleopatra)
Chelsea Bowdren (Rosalind)

Chelsea Bowdren (Rosalind) is making her debut with the Rogue Theatre. Chelsea is a Junior at the University of Arizona and a member of the Arizona Repertory Theatre. With ART she has performed in Love’s Labour’s Lost, Medea, and Titus Andronicus. Other favorite credits include Hamlet, Macbeth, and Blithe Spirit. Chelsea recently directed Edward Albee’s The Zoo Story with The Now Theatre. Chelsea would like to thank her family for their constant support, the cast for a wonderful time, and Joe McGrath for his patience and guidance. A big high five to everyone who came to see this.

Holly-Marie Carlson (Viola) appeared as Joyce in the University of Arizona’s production of Top Girls, as well as Maria in Summertime, Anne Page in The Merry Wives of Windsor and Helena Oatecake in Much Ado About Nothing with Tucson’s Shakespeare Under the Stars. She was most recently seen in the premiere of Crossing Elliot at Beowulf Alley Theatre in the role of Sophie. A senior in the UofA School of Theatre Arts, Holly is looking forward to graduating and moving to a more temperate climate where she will continue to pursue acting and writing for the stage. Love and thanks are extended to her friends and family for their endless encouragement and support.

Holly-Marie Carlson (Viola)
Maxine Gillespie (Desdemona)

Maxine Gillespie (Desdemona) earned her B.A. in Theatre from Williams College. After an internship with the the Shakespeare Theatre Company in Washington, DC, she appeared in their production of The Merchant of Venice with Kelly McGillis and Marcia Cross. She has twice traveled to the United Kingdom to study Shakespeare—attending the Midsummer in Oxford program, co-administered by Yale University. In New York City, Maxine trained at the Circle in the Square Theatre and upstate at the Powerhouse Theatre at Vassar College during its inaugural summer season. She has performed in professional and community theatre productions in Virginia and North Carolina, as well as in Tucson. Maxine’s latest ventures include serving as actor and executive producer on a Los Angeles-based campy-comic horror film, Crustacean—coming soon to a theatre (or cable channel) near you!

Alida Holguin Gunn (Kate) is an Arizona native who has performed in numerous productions with Borderlands Theater including Esmeralda in Earthquake Chica, Pichuka in Conjunto, Cristina in Electricidad, La Llorona in Bacon!, Nicolette in Latins Anonymous, and The Bride in Bodas de Sangre. She has also directed Borderlands’ Folktales Youth Project’s Javalino Ballerino and Coyote y Culebra. Other acting credits include Liliana in Something Rare and Wonderful (Alley Theatre); Frida Kahlo in Still Life (Chamber Music Plus); Abby in Fiction (Beowulf Alley Theatre Company, Mac Award Nominee for Best Actress 2006); Killer in Killer in Love (Camilla’s Theater, NY); and her one-woman show Vein (NY). Alida attended the 2006 NALAC Institute, worked for Herberger Theater’s Youth-at-Risk program, and interned with The Mark Taper Forum’s Latino Theater Initiative.

Alida Holguin Gunn (Kate)
Avis Judd (Beatrice)

Avis Judd (Beatrice) has previously performed with The Rogue Theatre in The Good Woman of Setzuan, as Dunyasha in The Cherry Orchard and as Sasha in Orlando. 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 Isabel, for their loving support and encouragement.

Cynthia Meier (Lady Macbeth) is the Managing and Associate Artistic Director for The Rogue Theatre for which she has adapted and directed James Joyce’s The Dead, directed Orlando, 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.

Cynthia Meier (Lady Macbeth)
Laine Paterson (Ophelia)

Laine Peterson (Ophelia) was seen earlier this season as the Stepdaughter in Six Characters in Search of an Author with The Rogue Theatre. Previous credits include The Eight: Reindeer Monologues, Cigarettes and Chocolate, Tartuffe, Brighton Beach Memoirs, Romeo & Juliet, The Philadelphia Story, and Henry IV, Parts I & II. She was also an understudy for Arizona Theatre Company’s Love, Janis and performed in One Naked Woman and a Fully-Clothed Man at the UA. Laine is a member of the improv group The Charles Darwin Experience. Thank you to all of her loved ones!

Dallas Thomas (Juliet) is thrilled to be making her debut with The Rogue Theatre. Some of Dallas’ most recent credits include: Rita in Prelude to a Kiss (Live Theatre Workshop,) Susy in Wait until Dark (Beowulf Alley Theatre) and Joanna in Natives (The Invisible Theatre.) Dallas will appear this May in Don’t Talk to the Actors with The Invisible Theatre. Many thanks to The Rogue Theatre for the opportunity to play one of Shakespeare’s greatest ladies, and for the opportunity to work with such a great ensemble.

Dallas Thomas (Juliet)

 

Cynthia Meier as Lady Macbeth and Laine Peterson as Ophelia

Cynthia Meier as Lady Macbeth and Laine Peterson as Ophelia

Photo by Tim Fuller

 

Music in Immortal Longings

Preshow Music

The Silver Swan Orlando Gibbons [1583–1625]
A Robyn William Cornyshe [1468–1523]
It Was a Lover and His Lass Thomas Morley [1558–1603]
Ma Tredol Rosignol Mr. Borlet [15th C.]
Since Robin Hood Thomas Weelkes [1576–1623]

 

Preshow Singers

Susan Arnold Maxine Gillespie
Carolyn Hokin Alida Holguin Gunn
Avis Judd Cynthia Meier

 

Instrumentalists

Harlan Hokin
Paul Amiel

 

Music in the Play

Flow My Tears or Lachrimae John Dowland [1563–1626]
Can She Excuse My Wrongs John Dowland
L’amor donna Anonymous (Italian, 16th C)
Willow Song Anonymous (English)
Mas vale trocar Juan del Encina [ Spain, 1468–1529]
Will You Buy a Fine Dog Thomas Morley [1558–1603]
Walsingham English Folk Melody
Sweet, Stay Awhile John Dowland
The Showmaker's Wife John Dowland
John Dowland's Galliard John Dowland

Music Director’s Notes

Preshow Music

The Elizabethan age was a rich source of characteristic music, set to characteristic texts. Music and dance, among other social activities, were strong features of Tudor life, and not only at court. Madrigals, such as the ones on tonight’s preshow, featured prominently in the self-entertainment of the cultivated class. It Was a Lover and His Lass was included by Shakespeare in Twelfth Night. Since Robin Hood is a fun dance-like madrigal that pays homage to Shakespeare’s fellow company member Will Kemp.

Will Kemp (or, as he named himself, Caualiero Kemp) was a comic actor in The Lord Chamberlain’s Men, and was one of the original shareholders in the company. On the first Monday of Lent, 1599, he began his famous Forest-Gump-like “Nine Days Wonder,” an extended Morris dance that took him from London to Norwich, a distance of about 250 miles. As he put it when he later wrote of his exploit, “I my self, that’s I, head-Master of Morris-dancers, high Head-borough of heighs, and only tricker of your Trill-lilles, and best bel-shangles between Sion and Mount Surrey began frolickely to foote it, from the right Honorable the Lord Mayor’s of London, towards the right worshipful (and truly bountiful) Master Mayor’s of Norwich.” It actually took him considerably longer than nine days, but we must remember that hyperbole is not a 21st century invention.

Ma Tredol Rosignol is a generic bird-song piece. The subjects are the same as those of the dawn discussion between Romeo and Juliet: are we hearing the lark (alouette) or the nightingale (rosignol)? This piece a bit earlier than the days of Elizabeth, but is in a highly cultivated French style familiar to Tudor sophisticates. It appears in a book that could have been used by Henry VIII.

Will Kemp

Music within the play

We have attempted to take Elizabethan musical materials and wind them in to our Elizabethan play. Most of the incidental music is taken from the works of the famous Mr. John Dowland [1563-1626]. Even though his Catholicism apparently prevented him from being an official member of Queen Elizabeth’s court, he was well known to English music and dance enthusiasts during his lifetime. He lived and worked for many years on the European continent, including stints in France and Denmark, and eventually joined the English court of Elizabeth’s successor, James I.

Dowland’s instrument was the lute, which he is said to have played with great feeling and virtuosity. His output of pieces for solo lute, songs accompanied by lute, and ensemble music was prolific. He is perhaps best remembered for the lute song Flow My Tears or Lachrimae.

The anonymously composed Willow Song, sung by by Desdemona as a reflection on a benign memory, is undoubtedly the song Shakespeare was thinking of when he included it in Othello.

The melody called Walsingham is thought to have been Shakespeare’s source of the music for Ophelia’s Saint Valentine’s Day song, even though Kate and Beatrice sing a version of it as a duet in Immortal Longings.

—Harlan Hokin, Musical Director

 

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 Orlando, Six Characters in Search of an Author, Red Noses, The Goat, The Cherry Orchard, The Good Woman of Setzuan, The Maids, Endymion, The Dead and The Balcony, and Arizona Onstage Productions as Vocal Director for their production of Assassins. Harlan has also served as music director for Arizona Theatre Company’s Summer On Stage program. He is currently serving as Artistic Director for the Arizona Early Music Society and is the father of two nearly perfect children.

Paul Amiel has performed music for The Rogue Theatre’s productions of The Dead, Endymion, The Good Woman of Setzuan and Orlando. 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.
Paul Amiel
Carolyn Hokin (Preshow Singer)

Carolyn Hokin (Preshow Singer) is a senior studying Spanish Linguistics and Music at the University of Arizona, and is excited to be a part of this production of Immortal Longings. She got her start performing at St. Philip’s in the Hills 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 at BASIS School, where she directed The Compleat Wrks of Wllm Shkspr (Abridged) and played Bella in Lost in Yonkers, Titania in Shakespeare’s A Midsummer Night’s Dream, and Audrey in Little Shop of Horrors. Rogue Theatre patrons may recognize her from The Dead, Endymion, The Good Woman of Setzuan, and as the percussionist/vocalist of The Hokoi from the pre-show to The Goat. She was most recently seen bossing around actors as the stage manager for Orlando. Carolyn would like to dedicate this performance to her late grandmother, Belle.

 

Cynthia Meier as Lady Macbeth

Cynthia Meier as Lady Macbeth

Photo by Tim Fuller

 

Production Staff

Stage Manager Ashley Simon
Light Board Operator Ashley Simon
Costume Construction Assistance Avis Judd
Scenic Assistance Ashley Simon
                  Marketing and Publicity Adam Hostetter, David Morden,
Pamela Shack, Thomas Wentzel
Poster and Program Thomas Wentzel
 

Designers

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

 

Clint Bryson (Lighting Design)

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 and Orlando. 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, Light Board Operator) was the Assistant to the Stage Manager on Arizona Theatre Company’s 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 this past summer 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.
Ashley Simon

 

Our Thanks

        Jesse Greenberg        
Chuck Graham
James Reel
Kathy Allen
Tim Fuller
UA Opera Theatre Program
UA Theatre Arts Program
Arizona Theatre Company
Arizona Opera Company
Sonora Theatre Works
Carrie Kunz
Paul Lucas
Our Advertisers

 

Performance Schedule for Immortal Longings

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

Thursday March 19, 2009, 7:30 pm PREVIEW
Friday March 20, 2009, 7:30 pm
Saturday March 21, 2009, 7:30 pm
Sunday March 22, 2009, 2:00 pm matinee

Thursday March 26, 2009, 7:30 pm PAY-WHAT-YOU-WILL
Friday March 27, 2009, 7:30 pm
Saturday March 28, 2009, 7:30 pm
Sunday March 29, 2009, 2:00 pm matinee

Thursday April 2, 2009, 7:30 pm PAY-WHAT-YOU-WILL
Friday April 3, 2009, 7:30 pm
Saturday April 4, 2009, 7:30 pm
Sunday April 5, 2009, 2:00 pm matinee

 

 

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Updated on May 31, 2009

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