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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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Henrik Ibsen's 'Ghosts'

PRODUCTION SPONSORS: ANN AND NILS HASSELMO

Directed by David Morden

November 4–28, 2010

Thursday–Saturday 7:30 P.M., Sunday 2:00 P.M.

Musical Preshow begins 15 minutes before curtain
Discussion with the cast and director follows all performances

Preview Night Thursday November 4, 7:30 P.M.
Pay-What-You-Will Nights
Thursdays November 11 & 18, 7:30 P.M.
Half-price Student Rush 15 minutes before curtain
No performance Thursday November 25 (Thanksgiving)

Performance Schedule

The Rogue Theatre at The Historic Y
300 East University Boulevard

Free Off-Street Parking
See Map and Parking Information

Mrs. Alving’s son has returned from Paris with a troubling fatigue, just as she is finishing the construction of an orphanage named in honor of her late husband. As the moment approaches to dedicate the children’s home, secrets old and new are revealed and the family’s foundations crumble away—a powerful, taut drama of legacy, love and catastrophe.

 

Robert Anthony Peters (Oswald Alving) and Cynthia Meier (Mrs. Helene Alving)

Photo by Tim Fuller

About the poster

 


Make your reservations now for a spectacular meal before the performance at

Delectables Restaurant and Catering

533 N. 4th Avenue
Two blocks from The Rogue Theatre

On Opening Night, Friday, November 5,
Delectables will feature a special “Rogue menu” of Scandinavian specialties.

Rogue Season Ticket Holders receive 20% off their meal
before any performance of Ghosts!

To make a reservation, call 520-884-9289
For more information, visit www.delectables.com or Delectables’ Facebook page, Delectables On Fourth


In Rehearsal at the Rogue

This season, The Rogue Theatre is launching a new publication, In Rehearsal at the Rogue, as part of our continuing commitment to foster a dialogue with our audience about the challenging, provocative and complex ideas behind quality dramatic language and literature. In Rehearsal at the Rogue is written and edited by Dr. Carrie J. Cole. The second issue discusses Ghosts and can be downloaded here.
The file is viewable in Adobe Reader, downloadable here.


Press

Ibsen’s Ghosts alive, well and quite relevant at Rogue
Shaw comedy lifts spirits after
Ghosts

Reviews of Ghosts and Overruled by Kathleen Allen in the November 12 Arizona Daily Star

Ibsen vs. Shaw
Rogue’s
Ghosts and Now’s Overruled take on hypocrisy in extremely different ways

Reviews of Ghosts and Overruled by Nathan Christensen in the November 11 Tucson Weekly

Fine performance invigorates Ibsen’s Ghosts
In our Jerry Springer-desensitized era, it’s hard to appreciate how truly outrageous this play was

Review of Ghosts by Dave Irwin posted November 9 on TucsonSentinel.com

The future is now in Rogue’s Ghosts

Preview of Ghosts by Kathleen Allen in the October 29 Arizona Daily Star

 

Direction

David Morden (Charles Webb)

David Morden (Director) has directed The Rogue Theatre’s productions of A Delicate Balance, The Goat (2008 Arizona Daily Star Mac Award), Six Characters in Search of an Author and Krapp’s Last Tape, Not I and Act Without Words. David has appeared with The Rogue Theatre as Brabantio and Montano in Othello, 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. He has acted locally with Arizona Onstage Productions (Assassins), Arizona Opera (The Pirates of Penzance and The Threepenny Opera), 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).

Director’s Notes

What a privilege it has been to discover the brilliance of Henrik Ibsen first-hand! I always knew that he was a great writer from having seen and read some of his greatest hits: A Doll House, Enemy of the People, Peer Gynt, The Wild Duck and Hedda Gabler, among others. But analyzing and rehearsing a script of Ibsen’s from “the inside” was an unexpected joy and offered up revelation after revelation throughout the process. He is a master craftsman and this play is a tightly wound story that spins out slowly and methodically, revealing only one piece of the plot’s mysteries at a time. We don’t see the full picture until the last few minutes of the play. What’s more, he tells the story in a way that we, the audience, figure things out at exactly the moment the characters on stage do. One is never ahead of this playwright when watching his plays. Needless to say, it creates gripping drama to watch.

More importantly, though, Henrik Ibsen wrote many steps ahead of his audience thematically. He tackled social issues during the last quarter of the 19th century that few writers (and no playwrights) were willing to go near. The fallibility of the church, the pollution of free trade, the validity of marriage and many more “risky” topics are faced down and discussed by Ibsen’s characters. What his plays say about women’s rights in the pre-suffrage era is, in itself, staggering. He was a visionary whose plays continue to raised questions about Victorian society and continue to raise questions about modern society and our values today. Incidentally, Ibsen insisted that his characters were not a mouthpiece for his own political and moral views. He simply constructed stories in which the characters could struggle with the issues on their own without the playwright directing them from his soapbox.

Ibsen’s plays—and Ghosts, in particular—were loudly criticized for being immoral and indecent when they were first published. The vituperation that was leveled at him in the press would have sent a lesser playwright running for cover, never to return to the public stage again. Ibsen, however, knew that he was writing for a higher purpose and allowed the anger and the bile to pass over him as he waited for society to catch up to his characters’ insights and discoveries. He was, of course, vindicated in every way as he sits in the pantheon of the greatest authors that ever lived. We are grateful and blessed to have the opportunity to live in the world of Ibsen and Ghosts and to learn from a great mind and a great artist. We thank you for being a part of that journey.

—David Morden, Director of Ghosts
director@TheRogueTheatre.org

 

Jill Baker (Regina Engstrand)

Photo by Tim Fuller

 

               Cast               

Regina Engstrand Jill Baker
Pastor Manders Joseph McGrath*
Mrs. Helene Alving Cynthia Meier
Oswald Alving Robert Anthony Peters
Jacob Engstrand Brian Taraz

  *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

Jill Baker (Regina Engstrand)

Jill Baker (Regina Engstrand) has previously performed with The Rogue Theatre in Nāga Mandala, Animal Farm, Red Noses, The Cherry Orchard and The Good Woman of Setzuan. Other favorite roles include Catherine in Proof at Beowulf Alley Theatre and Bertha in The Father at the Berkshire Theatre Festival. She has recently spent time acting in film in Mattie and D.I.Y., which she is also directing with Director’s Seat Productions. She enjoys teaching theatre to young people and has directed numerous children’s productions, including CYT’s Narnia. She graduated with her BFA in Theatre Performance from Missouri State University.

Joseph McGrath (Pastor Manders) is the Artistic Director for The Rogue Theatre for which he has performed in Nāga Mandala, Othello, 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 directed The Balcony, Endymion, The Maids (winner of the Arizona Daily Star 2007 Mac Award for Best Play), Red Noses and Our Town. 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, and Arizona OnStage. Joe is also a scenic designer and owns Sonora Theatre Works with his wife Regina Gagliano, producing theatrical scenery and draperies.

Joseph McGrath (Pastor Manders)
Cynthia Meier (Mrs. Helene Alving)

Cynthia Meier (Mrs. Helene Alving) is the Managing and Associate Artistic Director for The Rogue Theatre for which she has 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. For The Rogue, she adapted and directed James Joyce’s The Dead, directed Nāga Mandala, Othello, Animal Farm, Orlando, Happy Days, The Good Woman of Setzuan, The Fever and The Cherry Orchard. 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.

Robert Anthony Peters (Oswald Alving) has performed with The Rogue Theatre as Cassio in Othello and George Gibbs in 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.

Robert Anthony Peters (Oswald Alving)
 

Brian Taraz (Jacob Engstrand) has appeared with The Rogue as Kappanna in Nāga Mandala, as the Duke in Othello and as Joe Stoddard in Our Town. Previously, Brian performed the role of Harold in Black Comedy at Beowulf Alley Theatre Company. Most oBrian Taraz (Jacob Engstrand)f Brian’s 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 at www.godsminstrel.com.

 

Joseph McGrath (Pastor Manders) and Brian Taraz (Jacob Engstrand)

Photo by Tim Fuller

 

Preshow Music

Program

Nocturne in E minor, Op. 72, No. 1 Frédéric Chopin
Waltz Op. 12, No. 2 Edvard Grieg, Lyric Pieces
Notturno Op. 54, No. 4 Edvard Grieg, Lyric Pieces
Homesickness Op. 57, No. 4
Edvard Grieg, Lyric Pieces

When I compose a song, my concern is not to make music but,
first and foremost, to do justice to the poet’s intentions.

                                                  —Edvard Grieg

Tonight’s preshow begins with Chopin’s Nocturne in e minor and is completed with Waltz, Notturno and Homesickness from the Lyric Pieces of Edward Grieg. Pianos were so popular at the time of Ibsen we can easily imagine Mrs. Alving of Ghosts seated at the piano playing either Chopin or Grieg late into the night.

A fellow Norwegian and contemporary of Ibsen, Grieg’s ten volumes of Lyric Pieces played a major role in making his name known and loved in every piano-playing home in Europe. With their simple, intimate mood images evoking the folk music and natural environment of Norway, this lovely collection of pieces helped earn Grieg the name, “The Chopin of the North.” Grieg’s admiration of Chopin’s lyrical style can especially be heard in the Notturno.

The very first encounter between Grieg and Ibsen took place at the Scandinavian Society in Rome, on Christmas Eve 1865. Grieg was then a young adult of 22 years, Ibsen fifteen years his senior. Ibsen must have quickly acquired a positive impression of Grieg. To a friend he characterized Grieg as “a splendid chap, one of those who will set the course of the future.”

Both were interested in presenting an intimate, authentic slice of life in their homeland. While Grieg set several of Ibsen’s poems to music, their bond was solidified when Ibsen asked Grieg to write the incidental music to Peer Gynt, one of the major works of the 1870s.

When Grieg received word of Ibsen’s death he wrote in a diary entry from London, 23 June 1906: “Although I was prepared, the news came as a shock. How much do I owe him! Poor, great Ibsen! He was not happy; it was as if there was a lump of ice in him, which never melted. But beneath this lump of ice lay a warm love of mankind.”

With a style based on the German romantic tradition of music, Grieg strove to create a typical Norwegian style of music. His friendships and discussions with other young Norwegians such as Rikard Nordraak (1842–1866), whose patriotism reached its fullest expression in the choral setting of Norway’s national anthem, also furthered this development. Grieg went in search of folk music in its native environment, attempting to reproduce the special atmosphere and the almost magical rhythms and harmonies folk musicians could coax out of their instruments. Even in Grieg’s lifetime those who heard his music gained the impression that it was strongly linked to the landscapes and way of life of the people around him.

His first biographer, Aimer Gronvold, described a summer day in the 1880s, when Gronvold sailed past the little settlement of Ullensvang in Hardanger on the local steamer and caught sight of the small figure of Edvard Grieg, striding along beside the fjord at Lofthus. Picking a path through rocks and stream Grieg made his way towards his destination, a small knoll with a wooden cabin specially built for him to compose in. It boasted but one tiny room, and was poised on the edge of the fjord, in the midst of the exquisite beauty of Ullensvang, with the dark, deep fjord below, and the glittering ridge of the Folgefonna glacier on the other side of the water. Grieg returned there every summer, and sometimes in the winter too, to seek the peace and tranquility he needed for his work. In the heart of this matchless amphitheater of nature, surrounded by the most sublime and majestic scenery in Norway, Grieg placed his grand piano and his writing desk. Here he sat, like an Orpheus reborn, and played in his mountain fastness, among the wild animals and the rocks.

His music came from the depths of rural Norway, where the quick and resonant tones of the Hardanger fiddle met his ear, and the Hardangerfjord’s shifting moods enchanted his eye. It is almost impossible to listen to Grieg, be it in a concert hall or a drawing room, without sensing a light, fresh breeze from the blue waters, a glimpse of sparkling glaciers, a recollection of the steep mountains and of life in the fjordland of western Norway, where Grieg was born and dearly loved to roam.

—Dawn C. Sellers, Pianist

From The Rogue’s new YouTube channel:
In preparation for The Rogue Theatre’s Ghosts, we interviewed Dawn Sellers, pianist and assistant director for the play, about her choice of music by Grieg for the preshow, the relationship between Grieg and Ibsen, and the musicality of Ibsen’s writing.

Dawn C. Sellers (Music)

Dawn C. Sellers (Pianist, Assistant Director) serves on The Rogue Theatre’s Board of Directors, performed in The Rogue’s production of Our Town, and was Assistant Director for The Rogue’s production of Nāga Mandala. Dawn was a pianist, composer and educator prior to receiving an MFA in dramatic writing from Carnegie Mellon University. Her screenplay, Butterfly Found, won the Arthur Sloan Foundation Screenwriting Award as well as the Santa Fe Screenwriter’s Conference Award. She composed music for the Off-Broadway production of Dance with Me by Jean Reynolds and is published with Hal Leonard Music Publishing, Alfred Music Publishers and the Neil A. Kjos, Jr. Music Company. Dawn also holds a Masters of Music from Northwestern University and a Ph.D. in Music Education from the University of Oklahoma. Since moving to Tucson three years ago, her plays have been produced by This Side Up Productions, Beowulf Alley Theatre Company, Live Theatre Workshop and The Arizona Women’s Theatre. A member of Tucson’s Old Pueblo Playwrights, her play Frozen Heart was presented at Live Theatre Workshop this past April.

 

Joseph McGrath (Pastor Manders) and and Cynthia Meier (Mrs. Helene Alving)

Photo by Tim Fuller

 

Designers

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

Production Staff

Stage Manager Nic Adams
Assistant Director Dawn C. Sellers
Scenic Artist Amy Novelli
Carpenter Chris Babbie
Dramaturg Carrie J. Cole
House Manager Susan Collinet
Assistant House Manager JoAn Forehand
Box Office Manager Thomas Wentzel
Box Office Assistant Anna Swenson
Snack Bar Manager Leigh Moyer
Snack Bar Assistant Shannon Macke
Poster and Program Thomas Wentzel

 

Clint Bryson (Lighting Designer) has designed lights for nearly every Rogue Theatre production. 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 Bryson (Lighting Design)
Nic Adams (Stage Manager)

Nic Adams (Stage Manager) has worked with The Rogue Theatre, both onstage and off, on its productions of Nāga Mandala, Othello, Krapp’s Last Tape, Not I, Act Without Words, Orlando and Six Characters in Search of an Author. Nic has appeared 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 productions of Titus Andronicus and Candide. He can next be seen in The Rogue's upcoming production of The Tempest.

Carrie J. Cole (Season Dramaturg) teaches graduate and undergraduate courses in Theatre History and Dramaturgy at the University of Arizona. Her areas of interest include American theatre and performance, performance ethnography, and audience and fan studies. She is a member of the American Society of Theatre Research, Popular Culture/American Culture Associations, and a Recognized Actor/Combatant by the Society of American Fight Directors. She holds a Bachelor of Theatre from Willamette University, a MA from the University of Arizona, and a Ph.D. from University of Maryland. Carrie was fight choreographer for The Rogue’s production of Othello and will be appearing on stage in the upcoming production of The Tempest. Carrie J. Cole (Season Dramaturg)
Susan Collinet, House Manager

Susan Collinet (House Manager) received her A.A. Degree from Pima Community College in 2005, and her B.A. in Creative Writing and English Literature from the University of Arizona in 2008. Before returning to college as a non-traditional student, Susan spent twenty years in amateur theater, mostly on the East coast, as well as in the American Theater of Brussels and the Theatre de Chenois of Waterloo, Belgium. She has worked in such positions as volunteer bi-lingual guide in the Children’s Museum of Brussels, Bursor of a Naturopathic Medical school in Tempe, Arizona, and volunteer assistant Director of Development of the Arizona Aids Project in Phoenix. Susan is currently peddling a manuscript of poetry for publication and continually working on collections of creative nonfiction and fiction. Her writing has won awards from Sandscript Magazine, the John Hearst Poetry Contest, and the Salem College for Women’s Center for Writing, and has been published in the 2010 Norton Anthology of Student’s Writing. In addition to being House Manager, Susan acts as Volunteer Coordinator for The Rogue.

 

Our Thanks

Arizona Theatre Company
     Ballet Tucson      
   Arizona Daily Star   
Sonora Theatre Works
Nils Hasselmo
Jesse Greenberg
Judy Wallingford
Shawn Burke
Tim Fuller
Chuck Graham
Delectables Restaurant and Catering
Our Advertisers

 

Brian Taraz (Jacob Engstrand) and Jill Baker (Regina Engstrand)

Photo by Tim Fuller

 

Performance Schedule for Ghosts

Location: The Rogue Theatre at The Historic Y, 300 East University Boulevard
Free off-street parking! Click here to see map and parking information.

Performance run time is approximately 2 and a half hours, not including musical preshow or post-show discussion. There will be one 10-minute intermission.

Thursday November 4, 2010, 7:30 pm PREVIEW
Friday November 5, 2010, 7:30 pm OPENING NIGHT
Saturday November 6, 2010, 7:30 pm
Sunday November 7, 2010, 2:00 pm matinee

Thursday November 11, 2010, 7:30 pm, PAY-WHAT-YOU-WILL
Friday November 12, 2010, 7:30 pm
Saturday November 13, 2010, 7:30 pm
Sunday November 14, 2010, 2:00 pm matinee

Thursday November 18, 2010, 7:30 pm, PAY-WHAT-YOU-WILL
Friday November 19, 2010, 7:30 pm
Saturday November 20, 2010, 7:30 pm
Sunday November 21, 2010, 2:00 pm matinee

Thursday November 25, 2010   NO PERFORMANCE
Friday November 26, 2010, 7:30 pm
Saturday November 27, 2010, 7:30 pm
Sunday November 28, 2010, 2:00 pm matinee

 

 

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