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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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William Shakespeare's 'The Tempest'

PRODUCTION SPONSORS:
CAROL ELLIOTT, DAVID MORDEN
AND NORMA DAVENPORT

Directed by Cynthia Meier

January 6–23, 2011

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 January 6, 7:30 P.M.
Pay-What-You-Will Nights
Thursdays January 13 & 20, 7:30 P.M.
Half-price Student Rush 15 minutes before curtain

Performance Schedule

The Rogue Theatre at The Historic Y
300 East University Boulevard

Free Off-Street Parking
See Map and Parking Information

In this last play authored by Shakespeare, we find a Duke and his young daughter, unfairly banished to a mystical island with only a misshapen monster and an inhuman spirit as company. There the Duke studies and masters the art of magic, and through shipwrecks and storms, he wins justice and sets the world aright. When he retires at the end of the play, we hear Shakespeare’s own voice at the end of a brilliant writing career displaying his exquisite mastery of dramatic and emotional poetry.

Featuring John Wilson (Professor Emeritus from the UA Dance Department) as Prospero

 

AUDIENCE REVIEWS OF THE TEMPEST

A thorough delight!
                                                       —Audience member, P.M.

Thank you for the glorious performance yesterday evening. The Rogue STILL never ceases to amaze me.

                                                       —Audience member, J.W.

The Rogue’s production of The Tempest was as fine a production of Shakespeare as I think I have ever seen, and I have seen several.
All elements, from directing and acting to design and dance, developed a beautiful ensemble.
                                                       —Audience member, E.R.G.

You all do such beautiful work. It is a joy to see your productions.
                                                       —Audience member, J.V.D.

John Wilson (Prospero)

Dallas Thomas (Miranda), John Wilson (Prospero) and Robert Anthony Peters (Ferdinand)

Photo by Tim Fuller

About the poster

View all production photos


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, January 7,
Delectables will feature a special “Rogue menu.”

Plus, Rogue Season Ticket Holders receive 20% off their meal
before any performance of The Tempest!

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

 


Press

Stepping Up Shakespeare: The Rogue Theatre adds dance elements to The Tempest

Preview of The Tempest by Margaret Regan in the January 6 Tucson Weekly

Tempest is a force of nature, to actor's joy

Preview of The Tempest by Kathleen Allen in the December 31 Arizona Daily Star

 

Direction

Cynthia Meier (Director)

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 Nāga Mandala, The Four of Us, Othello, Animal Farm, Orlando, Happy Days, The Good Woman of Setzuan, The Fever and The Cherry Orchard, and performed in many of the productions including The Goat for which she received the Arizona Daily Star’s 2008 Mac Award for Best Actress. 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 teaches Speech at Pima Community College and holds a Ph.D. in Performance Studies from the University of Arizona.

Director’s Notes

Joe and I often speculate about what Shakespeare was thinking. What went on as he worked with Lord Chamberlain’s (and later, the King’s) Men to create his plays? We laughed when we imagined the original “gabardine bit”(the cowering of Trinculo with Caliban under a huge coat in Act II). Had a couple of the actors in the company work out this routine sometime during the Henry plays and pled with Shakespeare to put it in? (And knowing what Hamlet has to say about clowns in his advice to the players did Shakespeare have a choice?) So did he finally say, many years later, “All right, you two, we’ll use the garbardine bit in The Tempest. Here.”

The Tempest echoes with many of Shakespeare’s plays. There are moments—almost direct lines—from Much Ado, Romeo & Juliet, Midsummer Night’s Dream, and so on. Even King Lear is evoked with the initial lines of the Boatswain—“Blow, til thou burst thy wind!” It’s almost as if Shakespeare thought, “This is it. Everything goes into this play. I’ve got some things I want to say.” Indeed, the plot in The Tempest is thin, the resolution vague, the characters fantastical, even the various locations are simply referred to as “another part of the island.” Yet, with The Tempest, Shakespeare clearly had some big things to say, and he says them principally through Prospero. And it is from Prospero that we hear some of the most beautiful poetry known to humankind.

There was no scenery in Shakespeare’s theater, The Globe. Just an empty stage with a trap door and some levels. We don’t presume to recreate that here at The Rogue, but we ask you to imagine with us this island somewhere in the Mediterranean. A place where marmosets scamper and spirits are trapped inside cloven pines. London audiences in Shakespeare’s day imagined a tempest on the high seas in full daylight in an outdoor theatre at 2:00 o’clock in the afternoon, simply by listening to the words of the play. Today, we, too, can imagine this fierce tempest (and the world of the play) and, if we’re lucky, get a glimpse of what Shakespeare was thinking as his time on this “great globe” was drawing to a close.

—Cynthia Meier, Director of The Tempest
director@TheRogueTheatre.org

 

David Morden (Stephano), Joseph McGrath (Caliban) and Ryan DeLuca (Trinculo)

Photo by Tim Fuller

 

               Cast               

Prospero John Wilson
Miranda Dallas Thomas
Ariel Patty Gallagher*
Caliban Joseph McGrath*
Ferdinand Robert Anthony Peters
Gonzalo Jon Benda
Antonio Brian Taraz
Sebastian Nic Adams
Alonso Phil Bennett
Stephano David Morden*
Trinculo Ryan DeLuca
Ceres Leanné Whitewolf Charlton
Juno Jenna Johnson
Iris Carrie J. Cole
Mariner James Robert Giza

  *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

Nic Adams (Sebastian)

Nic Adams (Sebastian) is the General Manager for The Rogue Theatre for which he has worked, both onstage and off, in productions of Ghosts, Naga Mandala, Othello, Krapp’s Last Tape, Not I, Act Without Words, Orlando and Six Characters in Search of an Author. He is the artistic director of The Now Theatre, which co-produces the “Rogue After Curfew” series. Nic can next be seen in The Rogue’s production of The Decameron.

Philip G. Bennett (Alonso) is a graduate of the American Stanislavski Theatre, where he served as Assistant Artistic Director, actor and instructor under the Russian émigré director, Sonia Moore. He made his professional debut on the New York stage in 1970 as Lopakhin in Chekhov’s The Cherry Orchard, and played such roles as: Cabot in O’Neill’s Desire Under the Elms, Horatio in Shakespeare’s Hamlet, Constantine in The Seagull, Bird in Peter Brook’s Royal Shakespeare production of Convocation of the Birds, and Mr. Pinchwife in Wycherley’s The Country Wife. In 1976, he founded the San Francisco Theatre Academy and Company. He is a three-time recipient of the prestigious Hollywood DramaLogue Award for Best Direction. Philip coaches and conducts professional actor training classes at the Historic Y in Tucson, Arizona. www.philipgbennett.com

Philip G. Bennett (Alonso)
Jon Benda (Gonzalo)

Jon Benda (Gonzalo) has been around theatres most of his life and has found himself playing everything from kings to queens to carrots to killers and has enjoyed them all. He is also part of “Not Burnt Out, Just Unscrewed” a local improv comedy group. He studies acting at the Philip G. Bennett TheatreLab. He is grateful to be at The Rogue in The Tempest, as it is a play, in part, about theatre.

Leanné Whitewolf Charlton (Ceres) has previously performed with The Rogue Theatre in Endymion, Red Noses and The Good Woman of Setzuan. A member of the Arizona Repertory Theatre, she was last seen as Anna Trumbell in the ART production of What I Did Last Summer, The Widow in The Taming of The Shrew, Edith Frank in The Diary of Anne Frank, and Medea. Favorite Arizona credits include Maud Moon/Albertine in Borderland’s production of Dust Eaters, as well as Linda Waterman in Fiction for Beowulf Alley Theatre. Leanné will graduate from the University of Arizona with a BFA in Acting in May and is an Actors’ Equity Association membership candidate. She is ever grateful to her husband Russ and the founding members of The Florence Players.

Leanne Whitewolf-Charlton (Ceres)
Carrie J. Cole (Iris/Season Dramaturg)

Carrie J. Cole (Iris/Dramaturg) first collaborated with The Rogue Theatre as fight director for last season’s Othello, and has joined The Rogue as dramaturg for the 2010-2011 season. Carrie has previously been seen on Tucson stages playing Rosalind in As You Like It, Rosaline in Love’s Labour’s Lost, and Alais in A Lion in Winter. An assistant professor in the UA’s School of Theatre, Film, & Television, Carrie oversees the BFA Dramaturgy Program, and serves as Resident Dramaturg for Arizona Repertory Theatre. She is currently working with the Network of Ensemble Theaters (NET) as a respondent to their MicroFests in Atlanta, Los Angeles, and Philadelphia.

Ryan DeLuca (Trinculo) is a Tucson native and open addict to Eegees. He has been in Invisible Theatre’s Bleacher Bums and many of UA’s ART productions, including What I Did Last Summer, Best Little Whorehouse in Texas, and Leading Ladies. Ryan was nominated in Arizona’s MAC Awards for Actor of the Year in Arizona Onstage Productions’ Falsettoland and won for Arizona Onstage Productions’ The Bible Belt. When he is not spending time outdoors with his incredible family or training with his nun-chucks, Ryan will be found raising money for his move to New York. He will also be Jay in Arizona Theatre Company’s upcoming performance of Lost in Yonkers.

Ryan DeLuca (Trinculo)
Patty Gallagher (Ariel)

Patty Gallagher (Ariel) 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, she has performed the roles of Shen Te in The Good Woman of Setzuan, Ranevskaya in The Cherry Orchard, Winnie in Happy Days (most recently for The Rogue’s tour to Bangalore, India), Sonnerie and Scarron in Red Noses, Orlando in Orlando, the Player in Act without Words, Emilia in Othello and Rani in Naga Mandala. 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.

James Robert Giza (Mariner/Assistant Stage Manager) studies acting locally with Philip G. Bennett at the Bennett TheatreLab. He received his training in assistant stage management at the Juilliard School, where he worked as a production assistant through the school’s Professional Intern Program. The Tempest is his first production with The Rogue.

James Robert Giza (Mariner/Asst Stage Manager)
Jenna Johnson (Juno)

Jenna Johnson (Juno) graduated from Harid Conservatory for Dance. She attended Indiana University before joining Atlanta Ballet. In 1995, she left for Europe, fulfilling a desire to travel while pursuing her career in dance. Ms. Johnson was accepted as a soloist with the Romanian National Opera Ballet in Bucharest where she danced from 1995 to 1997. She then joined the Oleg Danovski Ballet Theater as a principal in 1997. During her tenure with ODBT, she performed throughout western Europe as Carmen, Scheherazade and Odette/Odile forming a successful partnership with her future husband, Daniel Precup. Ms. Johnson returned to the United States in 2003 to dance with Oakland Ballet. She joined Ballet Tucson in 2004 and has performed principal roles in the company’s productions of Giselle, Sleeping Beauty, Dracula, A Midsummer Night’s Dream, Swan Lake, Cinderella and The Nutcracker.

Joseph McGrath (Caliban) is a graduate of the Juilliard School of Drama and is the Artistic Director for The Rogue Theatre for which he has performed in many of its plays. Joe was most recently seen as Pastor Manders in Ghosts, The Man/Naga in Naga Mandala, and Iago in Othello. In 2009, Joe won the Arizona Daily Star Mac Award for Best Actor for his portrayal of Tobias in A Delicate Balance. Joe also 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. He has toured with John Houseman’s Acting Company, performed with the Utah Shakespearean Festival, and 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.

Joseph McGrath (Caliban)
David Morden (Stephano, Text Coach)

David Morden (Stephano, Text Coach) 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 Opera (The Pirates of Penzance, The Threepenny Opera), 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 also directed The Rogue’s productions of Ghosts, 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 also directed productions with Green Thursday, Oasis Chamber Opera, DreamerGirl Productions, and Arts for All.

Robert Anthony Peters (Ferdinand) has performed with The Rogue Theatre as Oswald in Ghosts, 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 recently was in the short film, Life After Dogma and two web commercials for HP. He is the president of Laissez Faire Media and a member of SAG, AFTRA, and Theatre Bay Area. robertanthonypeters.com

Robert Anthony Peters (Ferdinand)
Brian Taraz (Antonio)

Brian Taraz (Antonio) has appeared with The Rogue as Engstrand in Ghosts, Kappanna in Naga Mandala, 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 of 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.

Dallas Thomas (Miranda) last appeared at The Rogue Theatre as Juliet in Immortal Longings. Recent Tucson credits include Don’t Talk to the Actors, Natives (Invisible Theatre), Wait Until Dark (Beowulf Alley Theatre), and Prelude to a Kiss (Live Theatre Workshop). Dallas performs with Stories that Soar! and teaches for SharMoore Children’s Productions. This spring, Dallas will appear in Invisible Theatre’s production of Premiere.

Dallas Thomas (Miranda)
John Wilson (Prospero)

John Wilson (Prospero), Professor Emeritus of the University of Arizona Dance Department, started his performing life at age four as a hoofer and tapped his way into his teens when he played his first Shakespearean role, Snug the Joiner, in A Midsummer Night’s Dream. In college and summer stock he honed his skills as both a comical and classical actor in productions of Molière, Pirandello, Ibsen, Shaw, Williams, Strindberg, Congreve, the Absurdists and the Bard. After a tour as a Marine Corps helicopter pilot, he completed joint PhDs in dramatic literature and dance at the University of Wisconsin-Madison. He has choreographed 98 works for college and professional companies during his career as a professor of dance and has won eight teaching excellence awards. Diane, his wife of 54 years, gave him encouragement to play the role of Prospero for The Rogue. Retired in Tucson, John and Diane have three beautiful children and seven gorgeous grandchildren.

Foreground: Carrie J. Cole, Leanné Whitewolf Charlton and Jenna Johnson (Spirits)
Background: Nic Adams (Sebastian), Jon Benda (Gonzalo), Brian Taraz (Antonio) and Phil Bennett (Alonzo)

Photo by Tim Fuller

 

Preshow Music

Program

Debussy’s Reflets Dans L’eau (Reflections in the Water)
played by Dawn Sellers
Sichler’s Un Oiseau en Mai for flute and piano
played by Paul Amiel and Dawn Sellers
Ravel’s Hommage a Rameau from Tombeau de Couperin
played by Dawn Sellers
Maid in Bedlam
sung by Leanné Whitewolf Charlton, Carrie J. Cole, Patty Gallagher,
Jenna Johnson, Joseph McGrath, David Morden and Ryan DeLuca

Music Director’s Notes

Working with such a delightful director as Cindy Meier made putting music for The Tempest together a joy. I was allowed to, much like Prospero, head to a deserted island with all my favorite music in tow.

Debussy’s The Sunken Cathedral becomes Prospero’s theme, snippets from Elliot Carter’s Flute Concerto becomes Ariel’s theme, a movement from Ned Rorem’s Second Piano Sonata underscores the goddesses gathering prior to their dance. Choreographed by Daniel Precup, music for the first dance is Ravel’s Menuet from Tombeau de Couperin, the second begins with a theme from a 16th century French song arranged by Poulenc and is blended into an original piece inspired by a theme of Rorem’s. This medley becomes the song sung by the goddesses and danced by Jenna Johnson.

Some music we improvise is inspired by a particular composer’s technique. In the opening scene where ship and sailors are tossed by the tempest, I’ve taken techniques developed by Henry Cowell for his landmark piece The Banshee of playing inside the piano on its strings to create the illusion of a storm. Trinculo enters to sounds inspired by percussion techniques from Cowell’s Ostinato Pianissimo.

Some music I’ve written specifically for this production such as Caliban’s theme played on clarinet. There are two versions. One sad and somber for his entrances and a second variation that is gloriously “drunk.”

In the text, Shakespeare indicates certain lines of poetry to be “sung” but music to accompany the words is not provided. I’ve written original music for most of the songs with one arranged from an existing tune by Poulenc and another from a popular Celtic group. All appear to support and underscore the action of the Play.

Throughout the performance you’ll hear Paul Amiel playing a variety of flutes, percussion, shells and harp. I’m playing piano, clarinet and percussion. Wish us luck! We hope you enjoy the voyage!

—Dawn Sellers, Musical Director

 

Foreground: Phil Bennett (Alonzo)
Background: Nic Adams (Sebastian), John Wilson (Prospero), Patty Gallagher (Ariel),
Jon Benda (Gonzalo) and Brian Taraz (Antonio)

Photo by Tim Fuller

Designers

Costume Design Cynthia Meier
Musical Director Dawn Sellers
Lighting Design Clint Bryson
Scenic Design Joseph McGrath
 

Production Staff

Stage Manager Jim Campbell
Assistant Director Bryan Falcon
Musician Paul Amiel
Choreographer Daniel Precup
Text Coaching David Morden
Assistant Stage Manager James Robert Giza
Additional Costume Construction Karen DeLay, Jenna Johnson
& Jenny Wise
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
Paul Amiel

Paul Amiel (Musician) is a multi-instrumentalist with a focus on the musical traditions and instruments of ancient and non-Western cultures . He has studied abroad with such notable teachers as Benjamin Bagby (harp), Iida Katsutoshi (shakuhachi), Cheng Gong liang (guqin), and Celaleddin Bicer (ney). Amiel founded and performs with the Summer Thunder Chinese Music Ensemble, the traditional Japanese music duo Muso, and the sufi group Seyyah. No stranger to The Rogue, he has performed music for Othello, Krapp’s Last Tape, Our Town, Immortal Longings, Orlando, The Good Woman of Setzuan, Endymion and The Dead.

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)

James Campbell (Stage Manager) originally trained as a musician, but fell into stage management as an assistant at the San Francisco Opera. Since then, he has functioned as a production/stage manager for the Eugene Opera, the Anchorage Opera, the Wildwood Festival for the Performing Arts in Little Rock, Arkansas; the Fargo Opera, the Tacoma Opera and others. He was the producer for touring productions for the Lamplighters Music Theatre, and, in the mid-nineties, was the General Manager for the Berkeley Opera. This is Jim’s first production with The Rogue, and his first production without high notes.

Bryan Falcon (Assistant Director) is a director/designer who has recently relocated to Tucson, Arizona and is honored to be working with The Rogue. He received his MFA in directing from Western Illinois University and has produced work across the Midwest and east coast. For several years, he served as artistic director for the Backporch Theater Company, a Shakespeare-in-the-Park traveling troupe. Following that, he co-founded and served as Artistic Director for New World Arts, a black box theater now in its eleventh year. His most recent projects include directing Electra by Jeremy Meneksoglu, Marisol by José Rivera and playing Eddie in Fool for Love.

Bryan Falcon (Assistant Director)
Daniel Precup (Choreographer)

Daniel Precup (Choreographer) is a graduate of the acclaimed National Choreographic High School of Bucharest, Romania. He joined the Oleg Danovski Ballet Theater at the age of 18 and moved through the ranks to become a principal dancer in 1998. Daniel studied stagecraft with European choreographers Oleg Danovski, Germinal Casado and Gigi Caciuleanu. He has performed in world-wide tours, dancing the title role of the Mandarin in The Miraculous Mandarin, Cardinal Richelieu in The Three Musketeers, and Siegfried in Swan Lake. Daniel came to the United States in 2003 as a principal dancer with Oakland Ballet. He joined Ballet Tucson in 2004, where his principal roles have included the title character in Dracula, Oberon in A Midsummer Night’s Dream, Prince Desire in Sleeping Beauty, the Cavalier in The Nutcracker and Frollo in The Hunchback of Notre Dame.

Dawn C. Sellers (Music Director, Pianist) performed in The Rogue’s production of Our Town, was Assistant Director for The Rogue’s production of Naga Mandala and Assistant Director and pianist for The Rogue’s production of Ghosts. Dawn was a pianist, composer and educator prior to receiving an MFA in dramatic writing from Carnegie Mellon University. She has composed music for Off-Broadway and is published by Hal Leonard, Alfred and Kjos Music Publishers. In Tucson, her plays have been produced by This Side Up Productions, Beowulf Alley Theatre Company, Live Theatre Workshop, and Live Theatre Workshop’s Etcetera series, as well as The Arizona Women’s Theatre. She is also listed on nytheatre.com, which features emerging women playwrights.

Dawn C. Sellers (Music)
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, Bursar 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.

 

Foreground: Jenna Johnson (Juno) and John Wilson (Prospero)
Background: Carrie J. Cole (Iris), Leanné Whitewolf Charlton (Ceres) and Patty Gallagher (Ariel)

Photo by Tim Fuller

 

And Now, A Word from Our Sponsors…

This production of The Tempest is sponsored by three members of The Rogue Theatre’s Board: David Morden, Carol Elliott and Norma Davenport. Here’s what they have to say about why they sponsored this play:

David Morden: Over the past five years, The Rogue Theatre has grown into an integral part of the Tucson arts community. There are few other places in this community where I can experience great drama in such an intimate and intense setting. As both artist and audience member, I find that The Rogue fulfills my hunger for intelligent, thought-provoking—even disturbing—theatre of the highest professional standards. I happily support this company with my time, talents and resources so that it can continue to offer a place of communion and conversation for friends (both new and old) who also value and treasure great art.

Carol Elliott: When Joe McGrath and Cindy Meier began exploring the possibility of producing The Tempest with the Board, I knew I wanted to be involved in a significant way. When David Morden challenged others to co-sponsor, I jumped at the chance. I had seen the play once before and knew that if The Rogue Theatre decided to produce it, it would be something special. And indeed, it is something special. Thank you for coming and supporting The Rogue. Opportunities to keep The Rogue alive abound. Sponsorship is just one. Ask our Board about them.

Norma Davenport: Being a sponsor is rewarding in so many ways! As a member of The Rogue Board, I’ve come to understand that supporting this kind of theatre gives a rare and precious opportunity to Tucson theatre artists. The chance to act in a first class production of Shakespeare’s The Tempest is an opportunity created by The Rogue. What a loss it would be if all this breathtaking talent and all these powerful performances had never seen the light of day! The sponsor helps make sure we don’t suffer such a loss. A sponsor makes a gift to the audience as well. Producing plays costs money; ticket income pays for only 55% of The Rogue Theatre’s expenses, so every time you see one of our plays, someone has given money to make that possible.

Our Thanks

     Arizona Daily Star     
Tim Fuller
   Tucson Weekly   
Peter E. Medine
Shawn Burke
Jesse Greenberg
Chuck Graham
Jenna Johnson
Delectables Restaurant and Catering

Jenna Johnson (Juno), John Wilson (Prospero), Patty Gallagher (Ariel) and Carrie J. Cole (Iris)

Photo by Tim Fuller

 

Performance Schedule for The Tempest

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 hours and 20 minutes, not including musical preshow or post-show discussion. There will be one 10-minute intermission.

Thursday January 6, 2011, 7:30 pm PREVIEW
Friday January 7, 2011, 7:30 pm OPENING NIGHT
Saturday January 8, 2011, 7:30 pm
Sunday January 9, 2011, 2:00 pm matinee SOLD OUT

Thursday January 13, 2011, 7:30 pm, PAY-WHAT-YOU-WILL SOLD OUT
Friday January 14, 2011, 7:30 pm
Saturday January 15, 2011, 7:30 pm SOLD OUT
Sunday January 16, 2011, 2:00 pm matinee SOLD OUT

Thursday January 20, 2011, 7:30 pm, PAY-WHAT-YOU-WILL SOLD OUT
Friday January 21, 2011, 7:30 pm SOLD OUT
Saturday January 22, 2011, 7:30 pm SOLD OUT
Sunday January 23, 2011, 2:00 pm matinee

 

John Wilson (Prospero)

Photo by Tim Fuller

 

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