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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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Unless you visit London for the theater season every year,
you are not likely to see a better performance of
The Winter’s Tale in your lifetime.
                      —Professor Frederick P. Kiefer, UA Department of English

William Shakespeare's 'The Winter's Tale'


Patty Gallagher’s performance is supported in part by a generous gift from Karen DeLay & Bill Sandel

Directed by Cynthia Meier
Music Direction by Paul Amiel and Dawn Sellers

April 26–May 13, 2012

Thursday–Saturday 7:30 P.M., Sunday 2:00 P.M.
Sunday, May 13 is sold out
You may call The Rogue Ticket Line at 520-551-2053
to be added to a waiting list.

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

Preview Night Thursday April 26, 7:30 P.M.
Half-Price Nights Thursdays May 3 & 10, 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

When Leontes, the king of Sicily, suspects his queen of infidelity with his best friend, the king of Bohemia, his anger causes the death of his son, his queen and the abandonment of his infant daughter on a rocky sea coast. Sixteen years later, his daughter falls in love with a young swain, setting in motion a series of events that give Leontes a second chance. Filled with fury, love and miracles, (and a clown or two) this play affirms Shakespeare’s skill as a master storyteller.

Joseph McGrath as Leontes

Joseph McGrath as Leontes

Dallas Thomas as Perdita and Julian Martinez as Florizel

Dallas Thomas as Perdita and Julian Martinez as Florizel

Photos by Tim Fuller

About the poster

View all production photos




Not the Bards best, but humor, acting elevate Winter’s Tale

Review of The Winter’s Tale by Kathleen Allen in the May 3 Arizona Daily Star

Shakespeare’s shakey Winter’s Tale gets some respect
“Exit, pursued by a bear.” Whatcha gonna do??

Review of The Winter’s Tale by Dave Irwin posted May 2 on

Shakespeare and Steel
A Winter’s Tale is a winner; Magnolias is well-crafted and heartfelt

Review of The Winter’s Tale by Sherilyn Forrester in the May 3 Tucson Weekly

The Winter’s Tale of two stories

Review of The Winter’s Tale by Chuck Graham on April 29 in Let The Show Begin! at

Rogue stages Shakespeare comedy
Or is Winter’s Tale a romance? Or a dark fairy tale? You decide.

Preview of The Winter’s Tale by Kathleen Allen in the April 26 Arizona Daily Star

Kayla Samoy, a first year Honors College student at the University of Arizona, has been working on a long-term journalism project of covering the rehearsal process of The Winter's Tale at The Rogue. She has been putting her work into a blog which includes articles about music, choreography, puppets, costumes, lighting, the director's vision, interviews with the cast and staff, and much more. Explore her blog at


Cynthia Meier (Director)

Cynthia Meier (Director) is the Managing and Associate Artistic Director for The Rogue Theatre and holds a Ph.D. in Performance Studies from the University of Arizona. She is co-founder of Bloodhut Productions, a company performing original monologues and comedy improvisation, which toured throughout the western United States. At The Rogue Theatre, Cynthia has adapted and directed James Joyce’s The Dead, directed Shipwrecked!, New-Found-Land, Old Times, The Tempest, Nāga Mandala, The Four of Us, Othello, Animal Farm, Orlando, Happy Days, The Good Woman of Setzuan, The Fever and The Cherry Orchard. She also directed The Seagull (featuring Ken Ruta) for Tucson Art Theatre, and she directed Talia Shire in Sister Mendelssohn and Edward Herrmann in Beloved Brahms for Chamber Music Plus Southwest. 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) and has been nominated for five Mac Awards for Best Actress from the Arizona Daily Star. Cynthia has performed in many Rogue Theatre productions, and in 2008, she received the Mac Award for Best Actress for her performance of Stevie in Edward Albee's The Goat at The Rogue Theatre.

Director’s Notes

Last fall, Joe and I met with UA English Professor Fred Kiefer, who told us that The Winter’s Tale was his favorite play by Shakespeare because it contained the ultimate wish fulfillment—to bring a dead loved one back to life. Dr. Kiefer also introduced us to the idea of the play being a kind of fairy tale, complete with a rejected princess, two monsters (both Leontes and a nightmarish wild bear), good deeds, curses, prophecies, and a miracle. Like most fairy tales, The Winter’s Tale is a rollicking good story but also, like most fairy tales, the play contains deep psychological truths. The ecstatic conclusion of the play is indeed a wondrous thing, but the entire play is a marvelous journey of the psyche towards fulfillment.

The Winter’s Tale is the story of two kingdoms—Sicilia and Bohemia. Sicilia is set in the realm of the court—dark, tragic, and ominous, filled with the jealous fantasies of King Leontes. Bohemia is the realm of nature—light, comic, and lovely, filled with the pastoral beauty of Leontes’ daughter, Perdita. At the center of the play, just after intermission, we are met by the character of Time, who allows us to skip over 16 years to see the fruition of our tale. Over the course of one evening we experience both a tragedy and a comedy and share in the heartache and joy of these kingdoms.

Your experience of the play is always the most important part of any piece of theatre we produce. Stay and talk with us at the post-show discussion, or if Time does not allow you to do so, feel free to write to us. Thank you for being here.

—Cynthia Meier, Director of The Winter’s Tale


More information

Matt Walley as the Clown, Patty Gallagher as Autolycus and David Greenwood as the Shepherd

Matt Walley as the Clown, Patty Gallagher as Autolycus and David Greenwood as the Shepherd

David Morden as Polixenes and Avis Judd as Hermione

David Morden as Polixenes and Avis Judd as Hermione

Photos by Tim Fuller



King Leontes of Sicilia begs his childhood friend, King Polixenes of Bohemia, to extend his visit to Sicilia. Polixenes protests that he has been away from his kingdom for nine months, but after Leontes’ pregnant wife, Hermione, pleads with him he relents and agrees to stay a little longer. Leontes, meanwhile, has become possessed with jealousy—convinced that Polixenes and Hermione are lovers, he orders his loyal retainer, Camillo, to poison the Bohemian king. Instead, Camillo warns Polixenes of what is afoot, and the two men flee Sicilia.

Furious at their escape, Leontes now publicly accuses his wife of infidelity, and declares that the child she is bearing must be illegitimate. He throws her in prison, over the protests of his nobles, and sends to the Oracle of Delphi for what he is sure will be confirmation of his suspicions. Meanwhile, the queen gives birth to a girl, and her loyal friend Paulina brings the baby to the king, in the hopes that the sight of the child will soften his heart. He only grows angrier, however, and orders Paulina’s husband, Lord Antigonus, to take the child and abandon it in some desolate place. While Antigonus is gone, the answer comes from Delphi—Hermione and Polixenes are innocent, and Leontes will have no heir until his lost daughter is found. As this news is revealed, word comes that Leontes’ son, Mamillius, has died of a wasting sickness brought on by the accusations against his mother. Hermione, meanwhile, falls in a swoon, and is carried away by Paulina, who subsequently reports the queen’s death to her heartbroken and repentant husband. Antigonus meanwhile abandons the baby on the Bohemian coast, reporting that Hermione appeared to him in a dream and bade him name the girl Perdita and leave gold and other tokens on her person. Antigonus is then killed by a bear, and Perdita is raised by a kindly Shepherd.

Sixteen years pass, and the son of Polixenes, Prince Florizel, falls in love with Perdita. His father and Camillo attend a sheep-shearing in disguise and watch as Florizel and Perdita are betrothed. They then tear off their disguises, and Polixenes intervenes and orders his son never to see the Shepherd’s daughter again. With the aid of Camillo, however, who longs to return to his native land, Florizel and Perdita take ship for Sicilia, after using the clothes of a local rogue, Autolycus, as a disguise. They are joined in their voyage by the Shepherd and his son, a Clown, who are directed there by Autolycus.

In Sicilia, Leontes—still in mourning after all this time—greets the son of his old friend effusively. Florizel pretends to be on a diplomatic mission from his father, but his cover is blown when Polixenes and Camillo, too, arrive in Sicilia. What happens next is told to us by gentlemen of the Sicilian court: the Shepherd tells everyone his story of how Perdita was found, and Leontes realizes that she is his daughter, leading to general rejoicing. The entire company then goes to Paulina’s house in the country, where a statue of Hermione has been recently finished. The sight of his wife’s form makes Leontes distraught, but then, to everyone’s amazement, the statue comes to life—it is Hermione, restored to life. As the play ends, Paulina and Camillo are engaged, and the whole company celebrates the miracle.


More information

The Lords and Ladies of the Court of Sicilia: Dylan Page and Marissa Garcia (front), Christopher Johnson, Daniel Thomson, Lee Rayment and Chris Koval (rear)

The Lords and Ladies of the Court of Sicilia: Dylan Page and Marissa Garcia (front),
Christopher Johnson, Daniel Thomson, Lee Rayment and Chris Koval (rear)

Philip Bennett as Antigonus and the Bear

Philip Bennett as Antigonus and the Bear

Photos by Tim Fuller



Leontes, King of Sicilia Joseph McGrath*
Hermione, Queen of Sicilia Avis Judd
Mamillius, son of Leontes James Cockrell
Polixenes, King of Bohemia David Morden*
Camillo, Advisor to Leontes Steve McKee
Paulina, Lady of Sicilia’s Court Kathryn Kellner
Antigonus, Lord of Sicilia’s Court Philip Bennett
Shepherd David Greenwood
Clown Matt Walley
Perdita, adopted by the Shepherd Dallas Thomas
Florizel, son of Polixenes Julian Martinez
Autolycus, a pickpocket Patty Gallagher*
Dorcas & others Marissa Garcia
Rogero & others Christopher Johnson
Cleomenes & others Dan Thomson
Dion & others Chris Koval
Mopsa & others Dylan Page
Archidamus & others Lee Rayment

  *Member of Actors’ Equity Association,
the Union of Professional Actors and Stage Managers in the United States,
appearing under a Special Appearance Contract


More information

Kathryn Kellner as Paulina and Joseph McGrath as Leontes

Kathryn Kellner as Paulina and Joseph McGrath as Leontes

Patty Gallagher as Autolycus

Patty Gallagher as Autolycus

Photos by Tim Fuller


Cast Biographies

Philip G. Bennett (Antigonus

Philip G. Bennett (Antigonus) has appeared with The Rogue Theatre as Doc Peabody in As I Lay Dying and Alonso in The Tempest. He is a graduate of the American Stanislavski Theatre, and served as Assistant Artistic Director, actor/instructor under the Russian émigré teacher, 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, Constantine in The Seagull, and Bird in Peter Brook’s Royal Shakespeare production of Convocation of the Birds.  Most recently he has appeared with Borderlands Theatre Company as Shipkovin in Agnes Under the Big Top. In 1976 he founded the San Francisco Theatre Academy and Company. Phil is a recipient of the prestigious Hollywood DramaLogue Award for Best Production and Direction. Philip coaches and conducts professional actor training classes in Tucson.

James Cockrell (Mamillius) is an eighth-grader at Orange Grove Middle School. He has been an active member with the Tucson Diving Team at the UA Aquatic Center and sings in the St. Philip’s St. Nicholas and Schola Choirs. Recently James played the role of John Henry in The Member of the Wedding for Arizona Onstage Productions. Before that he sang the role of Harry in the UA School of Music’s production of Britten’s opera Albert Herring. James has been a frequent actor at the UA School of Theatre Arts where he played the roles of Winthrop in The Music Man, Tommy (age 5) in Tommy and performed in The Miracle Worker and Carousel. The role of Mamillius is his tenth on stage, beginning with his Arizona Opera debut in Madama Butterfly at age of 3½. James attended the Interlochen Arts Camp for five summers in northern Michigan, where in addition to singing, acting, dancing and playing the violin, he enjoyed riding his bike, swimming, fishing and cookouts.

James Cockrell (Mamillius)
Patty Gallagher (Autolycus)

Patty Gallagher (Autolycus) 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, Rani in Naga Mandala, Ariel in The Tempest, Alibech in The Decameron, and Player 1 in Shipwrecked! 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.

Marissa Garcia (Dorcas) performed with The Rogue Theatre in the ensemble and as a musician in As I Lay Dying and as Barbara Undershaft in Major Barbara. She is a Tucson native and received her BFA in Acting/Directing from the University of Arizona. Since graduating, Marissa has performed and directed with companies throughout Arizona, Colorado and California. She was seen on Los Angeles stages in premieres of Bernardo Solano’s Lost and Evangeline Ordaz’s Visitors’ Guide to Arivaca, a show she was also involved in here with Borderlands Theater. Other credits include: Ana in Living Out (2005 Mac Award Nominee–Best Actress), Julia in School of the Americas (Borderlands Theater), Thomasina in Arcadia, Cordelia in King Lear (Arizona Repertory Theatre), and Evelyn in Close Ties (Catalina Players).

Marissa Garcia (Dorcas)
David Greenwood (Shepherd)

David Greenwood (Shepherd) was a member of the cast of The Rogue Theatre’s first production, The Balcony, and has recently appeared in The Decameron, The Real Inspector Hound, Major Barbara and As I Lay Dying. He has appeared locally in Shining City and The Birthday Party at Beowulf Alley Theatre and The One-Armed Man, The Disposal and The Glass Menagerie at Tucson Art Theatre.

Christopher Johnson (Rogero) is currently in his fifth season as the Artistic Director of Etcetera at Live Theatre Workshop, where acting credits include Thom Pain (based on nothing), Jailbait, Dying City, Kimberly Akimbo, The Santaland Diaries, Say You Love Satan, The Eating Disorder Talent Show (which he wrote), Mr. Marmalade, Cloud 9, The Rocky Horror Show, Danny and the Deep Blue Sea, The Importance of Being Earnest, Lemon Sky (Mac Award Nomination, Best Actor), The Penis Monologues, Hedwig & The Angry Inch (Mac Award Nomination, Best Actor), Savage In Limbo, Dog Sees God, Bug, Sweet Eros, Fat Pig, Tape, Corpus Christi, A Midsummer Night’s Dream and Titus Andronicus. He has performed elsewhere with Winding Road Theater Ensemble (United, Fifth of July, The Lion in Winter, Armor), Fairbanks Shakespeare Theatre (Camino Real, Antony & Cleopatra), Invisible Theatre (Swimming in the Shallows), Brachiate Theatre Project (Macbeth), 1984 Theatre (Waiting for Godot) and Tucson’s Shakespeare Under The Stars (Romeo & Juliet, Much Ado about Nothing). This is Christopher’s second appearance at The Rogue, having played Jewel Bundren in As I Lay Dying earlier this season.

Christopher Johnson (Rogero)
Avis Judd (Hermione)

Avis Judd (Hermione) is performing in her tenth Rogue production with The Winter’s Tale! She was previously seen in Naga Mandala, Animal Farm, The Good Woman of Setzuan, as Dunyasha in The Cherry Orchard, Sasha in Orlando, Beatrice in Immortal Longings, Julia in A Delicate Balance, Desdemona in Othello and as Kate in Old Times. 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 Martha Root. She most recently appeared as Hermia in ChickenLipps production of Sarah Ruhl’s Dead Man’s Cell Phone.

Kathryn Kellner (Paulina) performed with The Rogue Theatre last fall as Mrs. Baines in Major Barbara. Her professional acting career has included work in the areas of television, film, industrial film and training, voiceover, and musical theatre, as well as regional theatre and off- Broadway. Locally, Kathryn was recently seen at Invisible Theatre as Roseanne in Brilliant Traces and Christa McAuliffe in Defying Gravity. Kathryn has a BFA from the University of Arizona and continuing studies with the Royal National Theatre Studio, London. Kathryn runs the Kellner Studio, a multidisciplinary consulting and coaching practice that provides consultation and theatre based training in presentation skills and communication strategies. She has lectured and taught in the U.S. and Canada in the fields of higher education, law, science, and politics.

Kathryn Kellner (Paulina)
Chris Koval (Dion)

Chris Koval (Dion) received his B.A in theater at Kent State University. He continued his conservatory training in San Francisco at The Bennett Theatre Lab, and is currently Assistant Instructor to Philip Bennett here in Tucson, as well as the drama teacher at Catalina High School. Some of his San Francisco credits include, A Midsummer Night’s Dream, Cabaret, Dinner With Friends, Bobby Gould in Hell, Fall Out on Turk Street, and It’s a ‘Miserable’ Life. As a member of California Desert Regional Theatre, he performed John Brown’s Body and Lone Star. New to the area, he has recently performed with C.A.S.T (Clean and Sober Theater), a youth outreach program of Cope Mental Health Clinic, as well as Tucson Theatrical Mime Troup. This is Chris’ first production at The Rogue.

Julian Martinez (Florizel) performed with The Rogue Theatre as Vernon Tull in As I Lay Dying. He was recently seen in Borderlands Theater’s White Tie Ball as Edward Moreno. He trained at the School at Steppenwolf, the Second City Conservatory, received his BFA from Columbia College Chicago and attended PCPA Theaterfest’s conservatory program. In Chicago, he has performed with Urban Theatre, Steppenwolf, The Second City, Writers’ Theater, Lookingglass Theatre Company, Chicago Art Institute’s Voices program and numerous Chicago storefronts. He co-produced a webisodic series called Comanche ( which he’s in the process of turning into a novel trilogy.

Julian Martinez (Florizel)
Joseph McGrath (Leontes)

Joseph McGrath (Leontes) 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 Patsy in The New Electric Ballroom, in the ensemble of Shipwrecked!, 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.

Steve McKee (Camillo) has worked with many local theatre companies and been featured in independent and student films. Favorite roles include Harpagon in The Miser, Halder in Good, Terrence in Breaking Legs, A.C. in Beowulf Alley Theatre's Death of Zukasky and Panch in Arizona OnStage Productions' 25th Annual Putnam County Spelling Bee. Ensemble work includes Sweeney Todd and The Full Monty with Arizona Onstage Productions. Steve has also appeared locally with Live Theatre Workshop and Borderlands Theatre.

Steve McKee (Camillo)
David Morden (Polixines)

David Morden (Polixenes) has appeared with The Rogue Theatre as Louis de Rougemont in Shipwrecked!, Rinieri in The Decameron, Stephano in The Tempest, 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 Major Barbara, 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.

Dylan Page (Mopsa) is currently a Studio Art and Anthropology student at the University of Arizona. She has performed with The Rogue Theatre as Dewey Dell in As I Lay Dying, Jenny Hill in Major Barbara and Felicity Cunningham in  The Real Inspector Hound.  Her other recent credits include Flaminia in Commedia dell’Arte Day with the Illegitimate Theatre Ensemble, Janice in Member of the Wedding (Arizona Onstage Productions), and Evelyn in The Shape of Things (Arizona Repertory Theatre).

Dylan Page (Mopsa)
Lee Rayment (Archidamus)

Lee Rayment (Archidamus) 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.

Dallas Thomas (Perdita) has previously appeared at The Rogue as Miranda in The Tempest and Juliet in Immortal Longings. Dallas has appeared locally with Beowulf Alley Theatre (Wait Until Dark), The Invisible Theatre (Natives, Don’t Talk to the Actors, Premiere) and Live Theatre Workshop (Prelude to a Kiss), among others. Dallas is the Production Manager for Stories that Soar! She holds a BFA in Acting from Oklahoma State University.

Dallas Thomas (Perdita)
Daniel Thomson (Cleomenes)

Daniel Thomson (Cleomenes) is a Theatre, Film and Television student currently studying at the U of A. He has appeared at The Rogue Theatre as Charles Lomax in Major Barbara. With The Now Theatre he has appeared in This Property is Condemned, A Night of Three Short Plays, The Bald Soprano, and G.B. Shaw’s Overruled, which he directed. Dan is a member of The Charles Darwin Experience, the University of Arizona’s only all-improv comedy group.

Matt Walley (Clown) has performed with The Rogue Theatre as a musician in Shipwrecked!, as Cash Bundren in As I Lay Dying and Bill Walker in Major Barbara. He graduated from Dell’Arte International in 2009 with an MFA in Physical Ensemble Theatre. Since then he has performed with The Pinnacle Peak Pistoleros and their Wild West Stunt Shows, as well as with Stories that Soar! Matt has been seen at Live Theatre Workshop here in Tucson and has acted in New York, Chicago, and San Francisco. He is teaching acting this year at The University of Arizona.

Matt Walley (Clown)


Time: Marissa Garcia and Lee Rayment

Time: Marissa Garcia and Lee Rayment

Shepherd's Song: Anton Shekerjiev and Paul Amiel

Shepherd’s Song: Anton Shekerjiev and Paul Amiel

Photos by Tim Fuller


Preshow Music

from Venezia, Biblioteca Nazionale Marciana, Ms. It. IV. 1227. (c.1540)
Pauana in paso e mezzo
Son fonti e fiumi

The Frog Galliard, John Dowland (1563–1626)
Sir John Smith, His Almain, John Dowland
Lady Hunsdon’s Puffe, John Dowland
Fortune, John Dowland
Lady Laiton’s Almain, John Dowland
Corranto, Anonymous
Pavana alla Venetiana Joan Ambriosia Dalza (fl. 1508)
My Lord Willoughby’s Welcome Home, John Dowland
Alman, Anonymous

O Hear the Joyful Music, Adriano Banchieri (1567–1634)


Harpsichord Dawn C. Sellers
Harp, kaval, saz, ney, percussion Paul Amiel
Gaida, tamboura, vocals Anton Shekerjiev

Music Directors’ Notes

In The Winter’s Tale, Shakespeare gave us two separate and very different worlds: the first, the court of Sicilia, for which I play the harpsichord, and the second, Bohemia, the music of which Paul will tell you about. Paul and I are set worlds apart across our stage, playing music, until we help transport our cast from one world to the other. At those moments, you’ll hear us share our musical themes. As runners in a marathon, our hands are both on the baton for an instant, and we play together and then pass our musical theme to the other world.

The first four pieces of the pre-show are taken from the earliest known source of Italian dance music for keyboard, Venezia, Biblioteca Nazionale Marciana, Ms. It. IV. 1227 (1540). Most of the others are by John Dowland (1563–1626), who wrote primarily for lute and was one of the few English composers to be known throughout Europe in his own lifetime.

The harpsichord itself was built by a well-known harpsichord builder from Michigan, John Challis, in 1940, and is most delighted to be making its first appearance at The Rogue.

Our players unite in song to welcome you to the court of Sicilia by singing O Hear the Joyful Music, written by Adriano Banchieri (1567–1634).

—Dawn C. Sellers, Music Director, Sicilia

It was a delightful challenge imagining and creating the soundscape of Bohemia, a very musical place in The Winter’s Tale. Shakespeare inaccurately described that well-known forested land as “a desert by the sea”; and so I extended the bard’s license in geography to music and relocated his Bohemia to Bulgaria, Macedonia, Thrace, and Aegean Turkey (more deserts and seas). The music of that ancient area is, for Western ears, strange while familiar, rustic and complex, with asymmetrical rhythms and flexible modalities, very suitable for pastoral/Arcadian joy and bliss. I beg indulgence from my Czech friends who were looking forward to a good polka.

Time is a choral piece (using Shakespeare’s text) I based on the harmonies of the Bulgarian song Molih Ta. The shepherd’s dance is the very old Peloponnesian song Tsakonikos in 5/4 and the Macedonian 9/8 Djungarica, while the Satyrs’ romp is to Triti Puti from Bulgaria. A large challenge was to find characteristic melodies that fit the Elizabethan meters of Autolychus’ songs; and with some tinkering, his lyrics have been adapted into the melodies Radiklaka (Serbia), Samiotisa (Thrace), and T’hthela Kais’agapousa (Macedonia).

Our instruments are the long-necked lute saz, as well as the guitar-like tamboura; the kaval shepherd’s flute and the Turkish ney; and the gaida bagpipe, which is made from an entire goat turned inside-out. And of course the gothic harp (for magic).

In this endeavor, I am deeply indebted to the Rogue for supporting live theater music, musicians, and musical imagination; to Mzekala, Tucson’s Balkan group, for suggestions and directions to sources; to John and Amanda, who boldly took the “broken” rhythms of this music and turned them into amazing expressions of dance; and to Anton Shekerjiev, our piper, whose talent, knowledge, and musical skills have helped immeasurably to bring this Balkan “Bohemia” to life.

—Paul Amiel, Music Director, Bohemia


Musican Biographies

Paul Amiel (Music Director)

Paul Amiel (Music Director, Bohemia) is a multi-instrumentalist and ethnomusician focusing on Medieval, Turkish, Chinese, Japanese, Middle Eastern, and ancient music. He founded and performs with the Summer Thunder Chinese Music Ensemble, the traditional Japanese music duo Muso, and various Turkish/ Middle Eastern/Mediterranean ensembles such as Seyyah and Zambuka. Paul has performed on gothic harp, kaval, saz, ney, banjo, shakuhachi, and accordéon for groups such as Musica Sonora, Arizona Early Music Society and Illegitimate Theater, as well as in many Rogue productions, including The Decameron, The Tempest, Our Town, Othello, Immortal Longings, Orlando, Endymion, The Dead and on the recent Rogue Album CD. Paul was Music Director for this season’s As I Lay Dying at The Rogue.

Dawn C. Sellers (Music Director, Sicilia) 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, Shipwrecked! and The New Electric Ballroom. 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.

Dawn C. Sellers (Music Director)
Anton Shekerjiev (Musician)

Anton Shekerjiev (Musician, Bohemia). Born and raised in Bulgaria, Anton traveled extensively in Eastern and Western Europe playing music from the Balkans, and lived for several years in Spain performing with masters of Bulgarian music. In 2001 he moved to the USA, and in Tucson formed the bands Balkan Spirit, Trite Muzikante, MoroMore and others, performing Mediterranean, Flamenco, Moroccan, Asian and other types of world music. Anton currently performs with the bands Gsol, Tarraf de Tucson, Mzekala and others playing tamboura, djura, guitar, and kaba gaida (bagpipe). He has recently graduated from the University of Arizona with a Bachelor of Fine Arts.


Shepherd's Dance: Julian Martinez as Florizel and Dallas Thomas as Perdita

Shepherd’s Dance: Julian Martinez as Florizel and Dallas Thomas as Perdita

Satyr's Dance

Satyr’s Dance

Photos by Tim Fuller



Choreography John Gardner &
Amanda McKerrow
Costume Design Cynthia Meier
Lighting Design Clint Bryson
Scenic Design Joseph McGrath

Production Staff

Stage Manager Leah Taylor
Text Coach David Morden
Puppet Design & Construction Matt Cotten
Masks Angela Horchem
Costume Construction Cynthia Meier, Karen Delay & Kathryn Kellner
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


John Gardner (Choreography)

John Gardner (Choreography) has distinguished himself in two major dance companies, American Ballet Theatre and White Oak Dance Project. He joined American Ballet Theatre in 1978, and was promoted to the rank of soloist in 1984. Mr. Gardner’s diverse repertoire included many soloist and principal roles, which represented an extensive range of styles, and afforded him the opportunity to work with many of the master choreographers of the twentieth century. Mr. Gardner is currently a repetiteur for the Antony Tudor Trust, and together with his wife Amanda McKerrow stages many of the Antony Tudor ballets around the world. During the course of his career, Mr. Gardner has achieved an excellent reputation as a master teacher and coach for ballet on both the professional and student levels, and has choreographed and staged numerous ballets for companies and schools around the world.

Amanda McKerrow (Choreography) has the honor of being the first American to receive a gold medal at the International Ballet Competition in Moscow in 1981. Since then she has been a recipient of numerous other awards, including the Princess Grace Dance Fellowship. Ms. Mckerrow joined American Ballet Theatre under the direction of Mikhail Baryshnikov in 1982, was appointed to the rank of soloist in 1983, and became a principal dancer in 1987. She danced leading roles in the major classics, and had numerous works created for her by many of the great choreographers of the twentieth century. She has also appeared as a guest artist throughout the world. Ms. McKerrow is a trustee for the Antony Tudor Trust, and together with her husband John Gardner stages many of the Antony Tudor ballets around the world. Ms. McKerrow is also in demand as a master teacher for both students and professional dancers.

Amanda McKerrow (Choreography)
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.

Leah Taylor (Stage Manager) was Stage Manager for The Rogue Theatre’s Major Barbara, As I Lay Dying, Shipwrecked! An Entertainment and The New Electric Ballroom, 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.

Leah Taylor (Stage Manager)
Susan Collinet, House Manager

Susan Collinet (House Manager) earned her Bachelor of Arts Degree in Creative Writing and English Literature from the University of Arizona in 2008. Decades 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 Brussels, Belgium in the American Theater of Brussels, and the Theatre de Chenois in Waterloo. She has worked in such positions as a volunteer bi-lingual guide in the Children’s Museum of Brussels, the Bursor of a Naturopathic Medical school in Tempe, Arizona, an entrepreneur with two “Susan’s of Scottsdale” hotel gift shops in Scottsdale, Arizona, and as the volunteer assistant Director of Development of the Arizona Aids Project in Phoenix. Susan continues to work on collections of poetry and non-fiction. Her writing has won awards from Sandscript Magazine, the John Hearst Poetry Contest, the Salem College for Women’s Center for Writing, and was published in a Norton Anthology of Student’s Writing. In addition to being House Manager, Susan acts as Volunteer Coordinator for the Rogue.


Our Thanks

    Tim Fuller   
  Arizona Daily Star      
Chuck Graham
Tucson Weekly
Karen DeLay
Jesse Greenberg 
Kathryn Kellner
Shawn Burke
Peter Medine
Fred Kiefer


Joseph McGrath as Leontes and James Cockrell as Mamillius

Joseph McGrath as Leontes and James Cockrell as Mamillius

Marissa Garcia, Dylan Page, James Cockrell as Mamillius and Avis Judd as Hermione

Marissa Garcia, Dylan Page, James Cockrell as Mamillius and Avis Judd as Hermione

Photos by Tim Fuller


Performance Schedule for The Winter’s Tale

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 2 hours and 20 minutes, , including one ten-minute intermission, and not including music preshow or post-show discussion.

Thursday, April 26, 2012, 7:30 pm PREVIEW
Friday, April 27, 2012, 7:30 pm OPENING NIGHT
Saturday, April 28, 2012, 7:30pm
Sunday, April 29, 2012, 2:00 pm matinee

Thursday, May 3, 2012, 7:30 pm, HALF-PRICE NIGHT SOLD OUT
Friday, May 4, 2012, 7:30 pm
Saturday, May 5, 2012, 7:30 pm
Sunday, May 6, 2012, 2:00 pm matinee

Thursday, May 10, 2012, 7:30 pm, HALF-PRICE NIGHT SOLD OUT
Friday, May 11, 2012, 7:30 pm
Saturday, May 12, 2012, 7:30 pm
Sunday, May 13, 2012, 2:00 pm matinee SOLD OUT
You may call The Rogue Ticket Line at 520-551-2053 to be added to a waiting list


More information

Joseph McGrath as Leontes and Steve McKee as Camillo

Joseph McGrath as Leontes and Steve McKee as Camillo

SJoseph McGrath as Leontes, Avis Judd as Hermione, Kathryn Kellner as Paulina and Dallas Thomas as Perdita

Joseph McGrath as Leontes, Avis Judd as Hermione, Kathryn Kellner as Paulina and Dallas Thomas as Perdita

Photos by Tim Fuller




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Updated on March 24, 2013

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