SPONSOR: PAUL BARBY
Directed by Cynthia
Musical direction by Harlan Hokin
Thursday–Saturday 7:30 P.M., Sunday
Musical Preshow begins 15 minutes before curtain
Discussion with the cast and director follows all performances
MATINEE Thursday May 6 10:00 am
(No half-price student rush, no musical preshow)
Preview Night Thursday April 29, 7:30 P.M.
Thursdays May 6 & 13, 7:30 P.M.
Half-price Student Rush 15 minutes before curtain
The Rogue Theatre at The Historic Y
300 East University Boulevard
Free Off-Street Parking
(except for Thu May 6 Matinee)
See Map and Parking Information
A classic tale of love and longing outpacing reason,
this play questions whether love and desire can ever be contained.
The passion of Othello, the Moor of Venice, burns hotly in this story
of a man who loved not wisely, but too well. Unrivalled in its portrayal
of jealousy, revenge and surrender, Othello contains some
of the most rapturous of Shakespeare’s verse, as well as his
most intriguing villain.
OTHELLO: ...Till that a capable
and wide revenge
Swallow them up. Now, by yond marble heaven,
In the due reverence of a sacred vow
I here engage my words.
Joseph McGrath (Iago) and Nathan Crocker (Othello)
Photo by Tim Fuller
Passion, rage flow in Othello
Rogue Theatre’s staging moves quickly, with grace
Review of Othello by Kathleen
Allen in the May 7 Arizona Daily Star
Wickedly Good: The Rogue’s
enjoyable Othello is perfect for Shakespeare-phobes
Review of Othello by Nathan Christensen
in the May 6 Tucson Weekly
Shakespeare is the master
psychologist in Rogue’s Othello
Review of Othello by Chuck Graham
on May 2 in Let The Show Begin! at TucsonStage.com
The villain Bard’s fans
love to hate
Rogue Theatre’s Othello will flesh out the odious Iago
Preview of Othello by Kathleen
Allen in the April 23 Arizona Daily Star
If I do die before thee prithee, shroud me
In one of those same sheets.
Carolyn Hokin (Attendant), Avis Judd (Desdemona) and
Patty Gallagher (Emilia)
Photo by Tim Fuller
Meier (Director) is the Managing and
Associate Artistic Director for The Rogue Theatre for which
she has adapted and directed James Joyce’s The Dead,
directed Animal Farm, Orlando, Happy Days,
The Good Woman of Setzuan, The Fever and The
Cherry Orchard, and performed in Not I, Our
Town, A Delicate Balance, Immortal Longings, Six Characters
in Search of an Author, Red Noses, The Goat
(Best Actress, Arizona Daily Star 2008 Mac Award), The
Maids, Endymion and The Balcony. A co-founder
of Bloodhut Productions, Cynthia has also performed in Cat
on a Hot Tin Roof (Arizona Repertory Theatre), A Streetcar
Named Desire (Arizona Theatre Company), Blithe Spirit
and A Midsummer Night’s Dream (Michigan Repertory
Theatre), Romeo & Juliet and Chicago Milagro
(Borderlands Theatre), A Namib Spring (1999 National
Play Award winner), and Smirnova’s Birthday,
The Midnight Caller, and The Ballad of the Sad
Cafe (Tucson Art Theatre). Cynthia is a Faculty member
in Speech at Pima Community College and holds a Ph.D. in Performance
Studies from the University of Arizona. In 2000, Cynthia was
awarded the Tucson YWCA Woman on the Move Award.
The Tragedy of Othello, The Moor of Venice
The play opens with Roderigo, a rich and dissolute gentleman,
complaining to Iago, a high-ranking soldier, that Iago has not told
him about the secret marriage between Desdemona, the daughter of a Senator
named Brabantio, and Othello, a Moorish general in the Venetian army.
He is upset by this development because he loves Desdemona and had previously
asked her father for her hand in marriage. Iago is upset with Othello
for promoting a younger man named Michael Cassio above him, and tells
Roderigo that he plans to use Othello for his own advantage. Iago’s
argument against Cassio is that he is a scholarly tactician with no
real battle experience from which he can draw strategy; in contrast,
Iago has practical battle skills. By emphasizing Roderigo’s failed
bid for Desdemona, and his own dissatisfaction with serving under Othello,
Iago convinces Roderigo to wake Brabantio, Desdemona’s father,
and tell him about his daughter’s elopement. Next, Iago sneaks
away to find Othello and warns him that Brabantio is coming for him.
However, before Brabantio reaches Othello, news arrives
in Venice that the Turks are going to attack Cyprus; therefore Othello
is summoned to advise the senators. Brabantio arrives and accuses Othello
of seducing Desdemona by witchcraft, but Othello defends himself successfully
before an assembly that includes the Duke of Venice, Brabantio’s
kinsman Lodovico and Gratiano, and various senators, explaining that
Desdemona became enamored of him for the stories he told of his early
By order of the Duke, Othello leaves Venice to command
the Venetian armies against invading Turks on the island of Cyprus,
accompanied by his new wife, his new lieutenant Cassio, his ensign Iago,
and Emilia as Desdemona’s attendant.
The party arrives in Cyprus to find that a storm has destroyed
the Turkish fleet. Othello orders a general celebration. Iago schemes
to use Cassio to ruin Othello and takes the opportunity of Othello’s
absence at the celebration to persuade Roderigo to engage Cassio in
a fight. He achieves this by getting Cassio drunk on wine. The brawl
greatly alarms the citizenry, and Othello is forced to quell the disturbance.
Othello blames Cassio for the disturbance, and strips him of his rank.
Cassio is distraught, but Iago persuades him to importune Desdemona
to act as an intermediary between himself and Othello, and persuade
her husband to reinstate him.
Iago now persuades Othello to be suspicious of Cassio
and Desdemona. As it happens, Cassio is having a relationship of sorts
with Bianca. Othello drops the handkerchief that was his first gift
to Desdemona and which he has stated holds great significance to him
in the context of their relationship. Iago asks Emilia to steal it.
Emilia, unaware of what Iago plans to do with the handkerchief, steals
it. Iago plants it in Cassio’s lodgings as evidence of Cassio
and Desdemona’s affair. After he has planted the handkerchief,
Iago tells Othello to stand apart and watch Cassio’s reactions
while Iago questions him about the handkerchief. Iago goads Cassio on
to talk about his affair with Bianca, but very quietly mentions her
name so that Othello believes they are still talking about Desdemona
when Cassio is really speaking of Bianca. Bianca, on discovering the
handkerchief, chastises Cassio, accusing him of giving her a second-hand
gift which he received from another lover. Othello sees this, and Iago
convinces him that Cassio received the handkerchief from Desdemona.
Enraged and hurt, Othello resolves to kill his wife and Iago is asked
to kill Cassio as a duty to their intimacy. Othello proceeds to make
Desdemona’s life a misery, hitting her in front of her family.
Desdemona laments her suffering, remembering the fate of her mother’s
maid, who was forsaken by her lover.
Iago convinces Roderigo to kill Cassio instead, because
Cassio has just been appointed in Othello’s place, whereas if
Cassio lives to take office, Othello and Desdemona will leave Cyprus,
thwarting Roderigo’s plans to win Desdemona. Roderigo attacks
Cassio in the street after Cassio leaves Bianca’s lodgings. They
fight and both are wounded. Cassio’s leg is cut from behind by
Iago who manages to hide his identity as perpetrator. Passers-by arrive
to help; Iago joins them, pretending to help Cassio. Iago secretly stabs
Roderigo to stop him from confessing.
In the night, Othello confronts Desdemona, and then kills
her by smothering her in bed, before Emilia arrives. At Emilia’s
distress, Othello tries to explain himself, justifying his actions by
accusing Desdemona of adultery. Emilia calls for help. The Governor
arrives, with Iago and others, and Emilia begins to explain the situation.
When Othello mentions the handkerchief as proof, Emilia realizes what
Iago has done; she exposes him, whereupon Iago kills her. Othello, realizing
Desdemona’s innocence, attacks Iago but does not kill him, saying
that he would rather have Iago live the rest of his life in pain. Lodovico,
a Venetian nobleman, apprehends both Iago and Othello, but Othello commits
suicide with a dagger before they can take him into custody. At the
end, it can be assumed, Iago is taken off to be tortured and possibly
Come hither, Moor:
I here do give thee that with all my heart
Which, but thou hast already, with all my heart
I would keep from thee.
Robert Anthony Peters (Cassio), Nathan Crocker (Othello),
Avis Judd (Desdemona),
Nic Adams (Lodovico), David Morden (Brabantio) and
Brian Taraz (The Duke of Venice)
Photo by Tim Fuller
||Robert Anthony Peters
|The Duke of Venice
||Sarah K. Smith
of Actors’ Equity Association,
the Union of Professional Actors and Stage Managers in the United
appearing under a Special Appearance Contract
(Lodovico) has appeared with
The Rogue Theatre in Orlando and Six Characters in
Search of an Author and with the Now Theatre in This
Property is Condemned and The Zoo Story, both “Rogue
After Curfew” productions. A theatre student at the University
of Arizona, Nic performed in the Arizona Repertory Theatre’s
productions of Urinetown (Robbie the Stockfish), Titus
Andronicus (Martius), and Candide (Ensemble).
Crocker (Othello) has appeared as Leo Bloom in
The Producers, Paul in Kiss Me, Kate and Michael
in Tick...Tick...BOOM!, Nurse/Tybalt in Joe Calaraco’s
Shakespeare's R&J, Jackie Robinson in Everybody’s
Hero, and Howie Newsome/Sam Craig in Our Town. His
Shakespeare credits include Sebastian in Twelfth Night,
Lucius in Julius Caesar, Lucio in Measure for Measure,
and Puck and Lysander in separate productions of A Midsummer
Night’s Dream (UNC-Greensboro, UC Irvine). Nathan recently
received his MFA in Acting from UC Irvine and received his BFA
in Theatre (Magna Cum Laude) from UNC-Greensboro.
(Gratiano) most recently appeared as Howie Newsome in The Rogue
Theatre’s Our Town. Prior to that, he was seen
as Leslie in Beowulf Alley Theatre Company’s production
of Seascape. He previously performed with The Rogue
Theatre in The Cherry Orchard, Red Noses and
Six Characters in Search of an Author. Other roles
he has performed include Linus in You’re a Good Man,
Charlie Brown, Scarecrow in The Wizard of Oz and
Jesus in Godspell. Todd appeared as Lon in the HBO
film El Diablo and has studied at American Conservatory
Theater in San Francisco.
Gallagher (Emilia) is Associate Professor of Theatre
Arts at University of California Santa Cruz where she teaches
movement, mask, Balinese dance, and clown traditions. With The
Rogue Theatre she performed the roles of the Player in Act
without Words, Shen Te in The Good Woman of Setzuan,
Ranevskaya in The Cherry Orchard, Winnie in Happy
Days (most recently for Rogue’s tour to Bangalore,
India), Sonnerie and Scarron in Red Noses, and Orlando
in Orlando. She has worked with Shakespeare Santa Cruz,
The Folger Shakespeare Theatre, California Shakespeare Theater,
The New Pickle Circus, Ripe Time Theatre, Two River Theatre, Teatro
Cronopio and Grupo Malayerba. She has performed, choreographed
and directed workshops in Asia, South America, Europe, and the
U.S. In 2006 she was Fulbright Scholar in Quito, Ecuador. She
holds a doctorate in Theatre from University of Wisconsin–Madison,
and she is Director in Residence for the Clown Conservatory, San
Francisco Circus Center.
Hokin (Attendant) last appeared at The Rogue
in the pre-show to Immortal Longings. Other Rogue appearances
include The Dead, Endymion, The Good Woman
of Setzuan, and as the percussionist/vocalist of The Hokoi
from the pre-show to The Goat. She has worked extensively
at BASIS School, where she directed The Compleat Wrks of
Wllm Shkspr (Abridged) and played Bella in Lost in
Yonkers, Titania in A Midsummer Night’s Dream
and Audrey in Little Shop of Horrors.
Judd (Desdemona) has previously performed with
The Rogue Theatre in Animal Farm, The Good Woman
of Setzuan, as Dunyasha in The Cherry Orchard, as
Sasha in Orlando, as Beatrice in Immortal Longings
and as Julia in A Delicate Balance. She received her
theatre degree from Northwestern University. Other favorite roles
include Olga in The Three Sisters, Faith in Invisible
Theatre’s production of Kindertransport, Emilia
in Othello; and the title role in a one woman show, which
she adapted and directed, about Bahá’í heroine
McGrath (Iago) is the Artistic Director
for The Rogue Theatre for which he has performed in Krapp’s
Last Tape, A Delicate Balance (winner of the Arizona
Daily Star 2009 Mac Award for Best Actor), Animal Farm,
Orlando, Six Characters in Search of an Author,
Happy Days, The Goat, The Cherry Orchard,
The Good Woman of Setzuan, The Dead and The
Fever. He authored and directed Immortal Longings
for The Rogue and has also directed The Balcony, Endymion,
The Maids (winner of the Arizona Daily Star
2007 Mac Award for Best Play) and Red Noses. Joe is a
graduate of the Juilliard School of Drama. He has toured with
John Houseman’s Acting Company and performed with the Utah
Shakespearean Festival. In Tucson, he is a frequent performer
with Ballet Tucson appearing in The Hunchback of Notre Dame,
Cinderella, A Midsummer Night’s Dream,
Dracula and The Nutcracker. He has also performed
with Arizona Theatre Company, Arizona Opera, Tucson Art Theatre,
Arizona OnStage, Green Thursday, Damesrocket Theatre, and Old
Pueblo Playwrights in such plays as The Seagull, Assassins,
Oleanna, Threepenny Opera, and Anger Box.
Joe is also a scenic designer and owns Sonora
Theatre Works with his wife Regina Gagliano, producing theatrical
scenery and draperies.
Morden (Brabantio/Montano) has appeared with
The Rogue Theatre as Editor Webb in Our Town, in the
ensembles of Animal Farm and Orlando, as Madame
Pace in Six Characters in Search of an Author, The
Pope in Red Noses, Yephikhov in The Cherry Orchard,
The Man in the Silver Dress in the preshow to The Maids
and Glaucus in Endymion. David has directed The Rogue
Theatre’s productions of Krapp’s Last Tape,
Not I and Act Without Words, A Delicate
Balance, The Goat (2008 Arizona Daily Star Mac
Award) and Six Characters in Search of an Author. He
has acted locally with Arizona Onstage Productions, Arizona
Opera, Actors Theatre and Green Thursday Theatre Project, of
which he was a co-founder. David has directed productions with
Green Thursday, Oasis Chamber Opera, DreamerGirl Productions
and Arts For All.
Anthony Peters (Cassio) played George Gibbs
in The Rogue Theatre’s recent production of Our Town.
In 2001, he completed his BS at the University of Arizona in
Marketing and Entrepreneurship, was subsequently a Koch Fellow
in Washington, DC, and went on to train at the Lee Strasberg
Theatre Institute in New York City. A few of his films that
are available to the purchasing public are The Pursuit of
Happyness, Revolution Summer, The Village
Barbershop, Wasted, and many more that have yet
to see the light of day. These days he is primarily seen working
in his father’s Pak
Mail store in Northwest Tucson. He is also a student online
at the Mises
Academy, currently studying Austrian Business Cycle Theory.
He is the president of Laissez
Faire Media and a member of SAG, AFTRA, and Theatre Bay
Area. His website is robertanthonypeters.com.
(Roderigo) is a Senior at The University of Arizona, hoping
to graduate with a BA in Acting. John was last seen in the Now
Theatre’s Some Girls. The Rogue Theater productions
in which he has appeared include Animal Farm, Orlando
and Six Characters in Search of an Author. He is a
proud member of the U of A’s only all-improv comedy troupe,
The Charles Darwin Experience.
K. Smith (Bianca) received her MA in Theatre
Education and Outreach from the University of Arizona where
she studied theatre as a social, political, and education tool.
As an undergraduate, she studied performance at the University
of Southern California. She is the Education Coordinator at
UApresents and is determined to keep arts education alive in
Arizona. Sarah’s acting credits include Anthems
at Beowulf Alley Theatre, Top Girls, A Midsummer
Night’s Dream and The Vagina Monologues
at the University of Arizona, The Laramie Project: 10 Years
Later at UApresents, and Emma’s Child at
the Village Theatre Guild. She is also a storyteller and show
curator with Odyssey Storytelling.
Taraz (The Duke) made his debut with The Rogue
as Joe Stoddard in Our Town. Previously, Brian performed
the role of Harold in Black Comedy at Beowulf Alley Theatre
Company. The bulk of Brian’s theatrical acting has taken
place in San Diego, performing in numerous Shakespeare plays such
as Macbeth, Twelfth Night and A Midsummer
Night’s Dream, as well as Marat/Sade, Book
of Days, The Trial and I Hate Hamlet. Brian
also has a musical side, composing original pieces using traditional
religious texts as the lyrics. Samples of his work can be heard
What will you give me now
For that same handkerchief?
Joseph McGrath (Iago) and Patty Gallagher (Emilia)
Photo by Tim Fuller
This being a play about Othello, the Moor of Venice,
we’re basing our preshow on music that would have been heard in
Venice in the late 16th century, the time period of the play. Venice
was a wealthy sea-faring city-state bursting at the seams with music—everything
from glorious poly-choral antiphonal motets in the Basilica of San Marco
to annoying serenades in the streets. There were at least forty sponsored
processions through the streets and canals each year—think “Mardi
Gras” forty times over! The best and most expensive composers
from all over Europe were imported to be city music directors and Maestri
di Cappelli. Venetian society demanded and paid for, through its
liberal sponsorship, innumerable works of quality and originality.
It was during Shakespeare’s lifetime that Venetian
humanism produced the marriage of high poetry and deeply expressive
music known as “madrigals.” This was a new form of dramatic
vocal art inspired by current interpretations of ancient methods of
dramatizing life’s experiences by combining thoughts, words, rhythm
and musical harmony. We will perform one of the best and best known
of these madrigals in our preshow, Cipriano di Rore’s Anchor
che col partire.
—Harlan Hokin, Musical Director
||Giacomo Fogliano (1468–1548)
For the love I bear
you lady I would gladly endure this anguish
Which I suffer for you daily, you ignore me and I languish.
|Sixpence All Too Dear
||Cancionero de Palacio, Madrid,
Biblioteca Real, MS II–1335
La Tricotea, may San
Martin see it.
Open the window and signal him.
The wineskin looks limp: fill it up! I want to see the world spin.
Orli, cerrli, trum Madonna, your lover is a fool, get rid of him,
rotten old cheese.
I am a monarch, of great renown, Madame,
For the sake of love, be mine!
||Claudio Monteverdi (1567–1643),
from Song of Songs
I am black and beautiful,
o daughters of Jerusalem.
The king has brought me into his chambers.
We will exult and rejoice in you;
My beloved speaks and says to me:
“Arise, my love, my fair one, and come away;
For now the winter is past, the rain is over and gone.
The flowers appear on earth;
The time of singing has come.”
|Anchor che col partire
||Cipriano da Rore (1515–1565)
Although each time we’re
parted I feel like I’m dying
I would depart each hour, every moment,
Such is the pleasure I feel upon my return.
Therefore, a thousand thousand times each day
I will depart from you, so sweet is the feeling when I come again.
|Ay me, alas!
||Thomas Weelkes (1576–1623)
Aye me, alas, hey ho! Thus doth Messalina
Up and down the house a-crying, for her monkey lies a-dying.
Death, thou art too cruel to bereave her jewel
Or to make a seizure of her only treasure.
If her monkey die she will sit and cry, Fie fie, fie.
In the Play
||Josquin des Prez (1450–1521)
|Ritornello from Orfeo
||Claudio Monteverdi (1567–1643)
||Perotin of Notre Dame (fl. 1200)
|The Willow Song
||Anonymous lute song (1583)
||John Dowland (1563-1626)
||Harlan Hokin and Paul Amiel
Hokin (Musical Director) has performed extensively
as a solo singer and director with many international early music
ensembles including Sequentia and P.A.N. (Project Ars Nova), and
did a stint with the Oregon Shakespeare Festival many years ago.
He earned a doctorate in historical performance practice from Stanford,
and has taught at Stanford and UC Santa Cruz. Harlan is an active
workshop teacher and writer on topics of interest to singers and
early music performers, and teaches music theory and literature
at Pima Community College. He has served the Rogue as music director
since its inception, and acted as vocal director for Arizona Onstage’s
production of Assassins. He is currently serving on the
Board of Directors of the Arizona Early Music Society, and is the
father of two nearly perfect former children.
is a multi-instrumentalist who has extensively
studied and performed Medieval, Turkish, Arabic, Chinese, Celtic
and Japanese music both here and abroad. He founded and performs
with the Summer Thunder Chinese Music Ensemble, the traditional
Japanese music duo Musou, and Zambuka (Middle Eastern, Turkish,
and Mediterranean music and dance). Paul has performed music
for The Rogue Theatre’s productions of Krapp’s
, Our Town
, Immortal Longings
, The Good Woman of Setzuan
and The Dead
Away, I say; go out and cry a mutiny!
John Shartzer (Roderigo), Joseph McGrath (Iago),
Robert Anthony Peters (Cassio) and David Morden (Montano)
Photo by Tim Fuller
|Assistant House Manager
|Box Office Manager
|Poster and Program
Clint Bryson (Lighting
Designer) has designed lights for The Rogue Theatre’s productions
of The Balcony, The Dead, Endymion,
The Cherry Orchard, Happy Days, The Goat,
Red Noses, Six Characters in Search of an Author,
Orlando, Immortal Longings, Animal Farm,
A Delicate Balance, Our Town, and Krapp’s Last
Tape, Not I and Act Without Words. Other
lighting design credits include As Bees in Honey Drown
and Golf Game for Borderlands, Woman in Black
for Beowulf Alley, and The Seagull for Tucson Art Theatre.
Clint is currently the Shop Foreman, Production Technical Director
and Marketing Director for Catalina Foothills Theatre Department
where he designs and coordinates the construction of all scenery.
He is also a member of Rhino Staging Services, and a regular participant
in Arizona Theatre Company’s Summer on Stage program where
he designs and builds the scenery as well as teaches production
classes. Clint thoroughly enjoys the passion and integrity that
The Rogue brings to their productions and looks forward to playing
his part in their creative journeys.
Ashley Simon (Stage
Manager) was the Stage Manager for The Rogue Theatre’s Immortal
Longings, and Assistant to the Stage Manager for Arizona Theatre
Company’s The Glass Menagerie, Ain’t Misbehavin’,
The Kite Runner, A Raisin in the Sun, Hair
and The Lady with All the Answers. She stage managed The
Mousetrap, Same Time Next Year and Forever Plaid
at The Theater Barn in the Berkshires. At Florida Stage, she was
Assistant to the Stage Manager for the world premieres of Deborah
Zoe Laufer’s End Days, Roger Heddon’s The
Count and Jessica Goldberg’s Ward 57. Ms. Simon
is a graduate of the BFA Theatre program at Sam Houston State University.
Anthony Allen Taylor
Arizona Theatre Company
UA Drama Department
IAGO: I have’t. It is
engender’d. Hell and night
Must bring this monstrous birth to the world’s light.
Joseph McGrath (Iago)
Photo by Tim Fuller
Schedule for Othello
Location: The Rogue Theatre at The Historic Y, 300 East University
Free off-street parking! Click here
to see map and parking information.
Performance run time is approximately 2 hours 30 minutes, not including
musical preshow or post-show discussion. There will be one 10-minute
Thursday April 29, 2010, 7:30 pm PREVIEW
Friday April 30, 2010, 7:30 pm OPENING
Saturday May 1, 2010, 7:30 pm
Sunday May 2, 2010, 2:00 pm matinee
Thursday May 6, 2010, 10:00 am DISCOUNT
MATINEE (no musical preshow)
Thursday May 6, 2010, 7:30 pm PAY-WHAT-YOU-WILL
Friday May 7, 2010, 7:30 pm
Saturday May 8, 2010, 7:30 pm
Sunday May 9, 2010, 2:00 pm matinee
Thursday May 13, 2010, 7:30 pm PAY-WHAT-YOU-WILL
Friday May 14, 2010, 7:30 pm
Saturday May 15, 2010, 7:30 pm
Sunday May 16, 2010, 2:00 pm matinee