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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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Enda Walsh's 'The New Electric Ballroom'

A heartbreaking story by one of Ireland’s most exciting new playwrights
about sisters who spend their waning years reliving their sexual awakening
at the dance hall outside their rural Irish fishing village

Directed by Bryan Rafael Falcón, Music Direction by Dawn Sellers

February 23–March 11, 2012

Thursday–Saturday 7:30 P.M., Sunday 2:00 P.M.
Thursday, March 8 is sold out
You may call The Rogue Ticket Line at 520-551-2053
to be added to a waiting list

Musical Preshow by members of 12 Measures of Interest begins 15 minutes before curtain
Discussion with the cast and director follows all performances

Preview Night Thursday February 23, 7:30 P.M.
Half-Price Nights Thursdays March 1 & 8, 7:30 P.M.
$15 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


Joseph McGrath’s performance is supported in part by a generous gift from Nancy Reeder.

About the poster

Joseph McGrath and Laura Lippman

Joseph McGrath and Laura Lippman

Photo by Tim Fuller


Gripping theatre fills New Electric Ballroom

Review of The New Electric Ballroom by Chuck Graham on February 27 in Let The Show Begin! at

Ballroom stings with rejection, humor

Review of The New Electric Ballroom by Kathleen Allen in the March 1 Arizona Daily Star

The sound of one hand clapping at New Electric Ballroom
Rogue’s latest production is a Mobius Strip of a play that loops back upon itself/em>

Review of The New Electric Ballroom by Dave Irwin posted March 1 on

Women in Transition
Etcetera and the Rogue Theatre both turn in respectable performances of difficult plays

Review of The New Electric Ballroom by Sherilyn Forrester in the March 1 Tucson Weekly

Moments of hope, beauty and laughter
Sisters relive, day after day, a stinging humiliation in New Electric Ballroom

Preview of The New Electric Ballroom by Kathleen Allen in the February 16 Arizona Daily Star

Playwright and Direction

Enda Walsh (Playwright)

Enda Walsh (Playwright) was born in Dublin in 1967. For several years, he worked with the Cork theatre company, Corcadorca. His breakthrough play was Disco Pigs in 1996, for which he won several awards. He has been prolific over the last several years, writing many plays and screenplays. Productions of his plays at the Edinburgh Festival have won four Fringe First Awards. The Scotsman newspaper described him as “the most explosively brilliant of modern Irish stage poets.” When asked “if someone saw one of your plays in a thousand years’ time, what would it tell them about the year 2007?”, Walsh replied: “That it was no different from 3007. My plays don't exist in a specific time; they’re about the small mystery of getting up in the morning and living a life.”

Bryan Rafael Falcón (Director) is a director/designer, recently re-based in Tucson, who also spends time crafting the occasional independent film. He is the former artistic director of two Indiana-based theater companies: The Backporch Theater Company (a Shakespeare traveling troupe) and New World Arts (an experimental black box theater company). His most recent projects include assistant directing As I Lay Dying and The Tempest at The Rogue and directing Tracy Letts’ Bug at New World Arts. Every once in awhile he flexes a pen to stroke a quiet phrase or two.

Bryan Falcon (Director)

Director’s Notes

The most engrossing and compelling stories in the world begin with a simple phrase—"What if?"

You may remember the day your heart was first broken. Remember the school bus din as you clutched tight a wrinkled note, already wishing you were home. Remember the laughter as you fled the dance hall, seeking sanctuary away from the music and glee. Remember when you stood heartbroken, completely still but the world hurtling around you.

And "What if," nursing your shattered heart, you locked the door to your safe and silent bedroom to hide—and never came out?

What stories do you tell yourself while you are locked inside? How does the outside warp and twist in your narrative as you try and make sense of the forbidden and dangerous world beyond your closed bedroom door? What stories do we tell of that which we cannot comprehend and cannot see? When do our narratives of hope and heartbreak become liturgy?

In The New Electric Ballroom, Enda Walsh has given us just that kind of story. In his lyrical, and at times operatic, text, Walsh has woven a world where the fantastic is nested with the mundane, where lipstick, tea, and gossip take on celestial resonance in this claustrophobic Irish fishing village.

A fascinating challenge of the work lies in the relationship of the poetry to the dramatic action, as this text takes on an almost musical quality in tone and temperament. One actress compared the musical nature of Bernard Shaw’s Major Barbara (which the Rogue performed earlier this year) to The New Electric Ballroom as the difference of a brass band performance to a violin solo. Also underscoring the musical quality is the fascinating work our music director, Dawn Sellers, has done to bring the soundtrack of the sisters’ journey to life.

The New Electric Ballroom won the top award at the 2008 Edinburgh Fringe Festival and was noted for its "daft humor and spine-chilling truths" by the New York Times. It has been a great pleasure exploring this beautiful work by this emerging Irish playwright with this amazing cast. I trust that you, like me, will fall in love with these characters and their wondrous stories. I hope you will experience the play as a cautionary tale, an opportunity to examine the role of story in our everyday lives—for better or worse.

—Bryan Rafael Falcón, Director of The New Electric Ballroom

Cynthia Jeffery, Cynthia Meier and Laura Lippman

Cynthia Jeffery, Cynthia Meier and Laura Lippman

Photo by Tim Fuller


Breda Cynthia Jeffery
Ada Laura Lippman
Patsy Joseph McGrath*
Clara Cynthia Meier

  *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

Cynthia Jeffery (Breda)

Cynthia Jeffery (Breda) is an ASU graduate with a degree in Theatre Arts. Cynthia has lived in Hawaii for 15 years where she owned and operated “Wide Eyed Theatre,” an after-school program, and co-produced three videos on Teen Crime Prevention with her husband, Tobin. She has worked as a DJ for “K-Hawaii’s Rock N’ Roll” and earned four Tiki Awards for Best Actress in such shows as A Streetcar Named Desire (Blanche), Macbeth (Lady Macbeth), Crimes of the Heart (Meg) and Beyond Therapy (Prudence). In Tucson, she received Mac Award nominations for her performances as Sheila in Relatively Speaking and Inez in No Exit and won recognition for her role as Amanda in LTW’s The Glass Menagerie. Favorite roles include Flora in Humble Boy, Nettie in The Subject was Roses and Mag in The Beauty Queen of Leenane. Film credits include The Lost River, The Greening of Eritrea, Spin, Animal Planet’s I Shouldn't be Alive and Finley Wade. This is Cynthia’s first production with The Rogue Theatre though she has been a fan of theirs for years. She currently works for KOLD News 13 as a National Sales Assistant and voiceover talent.

Laura Lippman (Ada) has previously performed with The Rogue Theatre as Elena in The Decameron and Anna in Old Times. She was the assistant director for The Rogue’s production of A Delicate Balance, and she recently directed Dead Man's Cell Phone for Chicken Lipps Productions and Blackbird at Beowulf Alley Theatre Company, which earned her the 2010 Arizona Daily Star Mac Award for Best Director of a Drama. Selected acting credits include Annie in All My Sons, Phoebe in As You Like It, Lady MacDuff in Macbeth, Flo in Dorothy Parker’s Big Blonde plus participating in the development of many new plays and devised theater projects. Laura teaches introductory acting at the University of Arizona. She received her undergraduate theater training at Bennington College and the Welsh College of Music and Drama in Cardiff, Wales. She earned her MFA in Directing from Carnegie Mellon University.

Laura Lippman (Ada)
Joseph McGrath (Patsy)

Joseph McGrath (Patsy) 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 in the ensemble of Shipwrecked!, and as Andrew Undershaft in Major Barbara, Bernard in New-Found-Land, Deeley in Old Times, Caliban in The Tempest, and Pastor Manders in Ghosts. 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, Our Town, The Decameron, The Real Inspector Hound (winner of the Arizona Daily Star 2011 Mac Award for Best Comedy and Best Director) and As I Lay Dying. 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. Joe owns, with his wife Regina Gagliano, Sonora Theatre Works, which produces theatrical scenery and draperies.

Cynthia Meier (Clara) is the Managing and Associate Artistic Director for The Rogue Theatre for which she has directed and acted in many plays. Most recently she was seen as Addie Bundren in As I Lay Dying, Lady Britomart Undershaft in Major Barbara, Mrs. Drudge in The Real Inspector Hound, Pampinea in The Decameron and Mrs. Alving in Ghosts. In 2008, she received Arizona Daily Star’s Mac Award for Best Actress for her performance in The Rogue’s production of The Goat. 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 holds a Ph.D. in Performance Studies from the University of Arizona.

Cynthia Meier (Clara)


Foreground: Joseph McGrath and Laura Lippman; Background: Cynthia Meier and Cynthia Jeffery

Foreground: Joseph McGrath and Laura Lippman
Background: Cynthia Meier and Cynthia Jeffery

Photo by Tim Fuller


Preshow Music

Billy Fury hits:
It’s Only Make Believe
Once Upon a Dream
Halfway to Paradise
Like I’ve Never Been Gone
Wondrous Place

Drummer/Vocalist Eric Cross
Guitarist Bill DeVinney
Bassist Ken Lamberton


Musican Biographies

Dawn C. Sellers (Music Director, Sound Design)

Dawn C. Sellers (Music Director, Sound Design) performed in The Rogue’s production of Shipwrecked! and Our Town, was Assistant Director for Naga Mandala, Assistant Director and pianist for Ghosts, and Music Director for The Tempest, Old Times, Major Barbara and Shipwrecked!. 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, which features emerging women playwrights.

Eric Cross (Drummer/Vocalist), comes from a family of musicians and was trained in the Tucson High School band, choir and orchestra programs. He performed with the Southern Arizona Light Opera (SALOC) in Lil Abner and Arizona Opera’s Italian Girl from Algiers. Eric has been the drummer for a number of Latin, rockabilly, country and classic rock bands over the years. He is currently the director, drummer and singer for the Our Savior’s Lutheran Church band 12 Measures of Interest.

Eric Cross (Drummer/Vocalist)
Bill DeVinney (Guitarist) (Music Director)

Bill DeVinney (Guitarist) was born into a musical family and learned to play the piano and sing choral music in church choirs. He began playing guitar in high school and college with folk music groups and later in a rock and roll band. Life and a family happened and music took a back seat for a long while. Bill recently resumed singing and arranging choral music for a male quartet, as well as picking up his guitar to play with a contemporary church music band 12 Measures of Interest and a bluegrass band. Bill plays both acoustic and electric guitar, sings back-up vocals and has written songs for both bands.

Ken Lamberton (Bassist) performs with the group 12 Measures of Interest. An author, his first book Wilderness and Razor Wire: A Naturalist’s Observations from Prison (Mercury House, 2000), was called by the San Francisco Chronicle, “entirely original: an edgy, ferocious, subtly complex collection of essays,” and won the 2002 John Burroughs Medal for outstanding nature writing. He has published five books and more than a hundred articles and essays. His latest book, Dry River: Stories of Life, Death, and Redemption on the Santa Cruz, is published by the U of A Press (2011). With degrees in biology and creative writing from the University of Arizona, Ken,, lives with his wife in a 1890s stone cottage near Bisbee.

Ken Lamberton (Bassist)

Music Director’s Notes

Think back with us to 1959, 1960, ‘61, ‘62, ‘63, ‘64… What pop music would you have been listening to? If you had lived in the U.K., particularly the small Irish fishing village of our play, you’d have been listening to Billy Fury.

Born in Liverpool, Ronald Wycherley (1940–1983) a.k.a. Billy Fury, was an internationally successful singer from the late 50s to the mid 60s and remained an active songwriter until the 80s.

An early British rock and roll star, Fury equaled The Beatles’ record of 24 hits in the 60s, and spent 332 weeks on the U.K. charts, without a chart-topping single or album. His rough-hewn good looks, unassuming masculinity, musical talent and sexually provocative stage performances helped turn Fury into the U.K.’s Elvis Presley.

For our performance, Eric Cross, Ken Lamberton and Bill DeVinney have taken time from their regular band, 12 Measures of Interest, to become the band of The New Electric Ballroom. During our pre-show, they’ll be playing a set of Billy Fury hits.

The playwright, Enda Walsh, has used music in two important and provocative ways within the play.

First, music fills the cassette recordings made by the women of our play years before, which they continue to play over and over as they relive their memories. We created a special recording by enlisting Rogue Board members and friends to join in a simulated ballroom dance at The Rogue while our band played. We then added ambient sounds to create the background for each sister’s story

Second, in support of the transformative moment of the play, Walsh includes a Billy Fury tune. For this moment, our New Electric band was recorded to support the action of the play.

What happens at that moment? You’ll have to wait and see. But you can be sure it’s a wondrous place where anything can happen!

Welcome to the electrifying world of The New Electric Ballroom!

—Dawn C. Sellers, Musical Director

Cynthia Meier, Cynthia Jeffery and Laura Lippman

Cynthia Meier, Cynthia Jeffery and Laura Lippman

Photo by Tim Fuller



Costume Design Cynthia Meier
Lighting Design Clint Bryson
Scenic Design Joseph McGrath
Sound Design Dawn C. Sellers

Production Staff

Stage Manager Leah Taylor
Assistant Director Lee Rayment
Dialect Coach David Morden
Scenic Painter Amy Novelli
House Manager Susan Collinet
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 Design)

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.

Lee Rayment (Assistant Director) is a graduate from the University of Northern Colorado. Lee has recently returned from a brief stint abroad. He has performed in the ensemble of As I Lay Dying, and as Stephen Undershaft in Major Barbara for The Rogue Theatre, Katurian in The Pillowman for The Now Theatre (for which he received the 2011 Mac Award for Best Actor from the Arizona Daily Star), Salieri in Amadeus, Pantalone in The Servant of Two Masters, and Mr. Cladwell in Urinetown.

Lee Rayment (Assistant Director)
Leah Taylor (Stage Manager)

Leah Taylor (Stage Manager) was Stage Manager for The Rogue Theatre’s Major Barbara, As I Lay Dying, and Shipwrecked! An Entertainment and Assistant to the Stage Manager for The Decameron. She was Stage Manager for The Now Theatre’s The Pillowman, The Bald Soprano and Overruled. Other work includes shows with Winding Road Theatre Ensemble and Sacred Chicken Productions. Leah graduated from the University of Arizona in May 2011 with a Bachelor of Arts in Classics and Anthropology.

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 UA in 2008. Previously, Susan spent twenty years in amateur theater 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 and volunteer assistant Director of Development of the Arizona AIDS Project in Phoenix. Susan is currently peddling a manuscript of poetry for publication and 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.

Susan Collinet, House Manager

Cynthia Meier, Cynthia Jeffery and Laura Lippman

Cynthia Meier and Cynthia Jeffery

Photo by Tim Fuller


Our Thanks

    Tim Fuller   
  Arizona Daily Star      
Chuck Graham
Tucson Weekly
Amy Novelli
Jesse Greenberg 
El Charro Cafe
Shawn Burke
Ward & Judy Wallingford
Nancy Reeder
Catalina Foothills High School
Arizona Theatre Company
Chris Babbie—Location Sound


Performance Schedule for The New Electric Ballroom

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 1 hours and 30 minutes, not including music preshow or post-show discussion. There is no intermission.

Thursday, February 23, 2012, 7:30 pm PREVIEW
Friday, February 24, 2012, 7:30 pm OPENING NIGHT
Saturday, February 25, 2012, 7:30pm
Sunday, February 26, 2012, 2:00 pm matinee

Thursday, March 1, 2012, 7:30 pm, HALF-PRICE NIGHT SOLD OUT
Friday, March 2, 2012, 7:30 pm
Saturday, March 3, 2012, 7:30 pm
Sunday, March 4, 2012, 2:00 pm matinee

Thursday, March 8, 2012, 7:30 pm, HALF-PRICE NIGHT SOLD OUT
Friday, March 9, 2012, 7:30 pm
Saturday, March 10, 2012, 7:30 pm
Sunday, March 11, 2012, 2:00 pm matinee




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