Performance run time of Mary Shelley’s Frankenstein is approximately one hour and forty minutes, including one ten-minute intermission.

Mary Shelley’s Frankenstein

by David Catlin
presented through special arrangement with Bret Adams Ltd.

PRODUCTION SPONSORS: 
Pat & John Hemann

Directed by Cynthia Meier
Music Direction by Russell Ronnebaum

Video available until November 29, 2020

In an abandoned Swiss castle on a stormy night, five poets compete to tell the most frightening story. The young Mary Shelley will win, of course. In this new and exciting adaptation, Mary unfolds her tale with the other four poets playing all the parts. The Creature is not only brutal, but vulnerable, sophisticated, and very clearly a wounded piece of Mary herself.

The Rogue Theatre at The Historic Y
300 East University Boulevard

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Production Video Trailer

Dear Rogues,

We are thrilled to offer you a filmed version of Mary Shelley's Frankenstein! And we even have a trailer for you to watch, complete with piano by our own Russell Ronnebaum.

You can still see the Rogue play in your own home. Many people have told us how much they enjoyed the video of A View from the Bridge. You can order your video ticket here to stream Mary Shelley's Frankenstein through November 29th.

Thank you, dear Rogues!
Cynthia Meier
Director

Supporting Materials

Free “Open Talk” Video on
Mary Shelley’s Frankenstein

Reviews

Mary Shelley’s Frankenstein dives deep for more meaning
Review of Mary Shelley’s Frankenstein by Chuck Graham on November 15 in Let The Show Begin! at TucsonStage.com

Direction

Cynthia Meier (Director) is Co-Founder and Managing & Associate Artistic Director for The Rogue Theatre and holds a Ph.D. in Performance Studies from the University of Arizona. She has directed 35 of The Rogue’s 74 productions to date including Moby Dick, The Secret in the Wings, The Curious Incident of the Dog in the Night-Time, Galileo, Bach at Leipzig, The White Snake, Hamlet, Waiting for Godot, Betrayal, Naga Mandala, and The Four of Us for which she received Arizona Daily Star Mac Award nominations as Best Director, as well as Arcadia and Richard III for which she won Mac Awards for Direction. Cynthia has created stage adaptations for The Rogue of Thornton Wilder’s The Bridge of San Luis Rey, Virginia Woolf’s The Lady in the Looking Glass, James Joyce’s The Dead, Kafka’s Metamorphosis, F. Scott Fitzgerald’s Tales of the Jazz Age, and (along with Holly Griffith) Moby Dick. She has also clipped and pruned all ten plays by Shakespeare which The Rogue has produced. She is co-founder of Bloodhut Productions, a company performing original monologues and comedy improvisation, which toured throughout the western United States. 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 been nominated for nine Mac Awards for Best Actress from the Arizona Daily Star, 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.

Cynthia Meier’s direction of Mary Shelley’s Frankenstein is
supported in part by a generous gift from Susan Tiss.

Notes from the Director

Mary Wollstonecraft Godwin Shelley was born in 1797. At the tender age of 18, she would write one of the first instances of science fiction and one of the most enduring books of the Western canon—Frankenstein.

Mary Shelley was the daughter of Mary Wollstonecraft, an early advocate for women’s rights, and William Godwin, one of the first proponents of anarchism. Mary’s mother died just 11 days after Mary was born. Her father erected a tombstone that would help little Mary learn to read by tracing the engraved letters with her fingers over and over again. At this same tombstone, Mary would declare her love to the poet Percy Bysshe Shelley some 16 years later.

In 1814, Percy and Mary ran away together to France—taking Mary’s step-sister Claire along with them. On the trip, Mary became pregnant and later lost her child shortly after she was born. Mary remained devoted to Percy throughout her life—and long after his death from a boating accident at the age of 30. In fact, Percy’s actual desiccated heart was found wrapped in paper in Mary’s desk after she died.

In 1816, Mary, Percy, and sister Claire traveled again to Europe—this time to Switzerland to meet the poet Lord Byron. Byron was wealthy, sexually ambiguous, and at the height of his poetic capabilities. Claire developed a relationship with Byron (and in fact bore his child). Byron was staying at a villa in Geneva, with his personal doctor, John William Polidori. The five young people—Mary, Percy, Claire, Byron and Dr. Polidori—spent their days boating on Lake Geneva, and they spent their evenings drinking wine and talking about poetry and philosophy.

It is on one of these stormy evenings that Lord Byron suggested a competition among the five of them to see who could tell the best ghost story. And with this suggestion, Mary Shelley began to develop the story for which she will always be known.

After its publication, Frankenstein disappeared into temporary obscurity with fewer than 500 copies sold of the first edition. But it was made famous in the 1820s by no less than five adaptations for the stage. The legend of Frankensteinlives long beyond Mary Shelley’s death in 1851. In many ways, the stage may be responsible for the enduring image of Frankenstein. Between 1823 and 1931, twenty-six different Frankenstein plays were produced.

But nowhere is the indelible image of Frankenstein more vivid to Americans than in the 1931 horror film starring Boris Karloff. The film would popularize the image of the inarticulate monster, as well as the mad scientist and his hunchbacked assistant—none of whom were in the original novel.

At The Rogue, we have embarked on our telling of Frankenstein, authored by David Catlin. Catlin beautifully marries the Frankenstein story with the real-life story of Mary Shelley to create Mary Shelley’s Frankenstein.

So, what is it that Frankenstein still has to say to us?

Perhaps Frankenstein’s monster lets us explore our anxieties about our own monsters within, as well as our most constant companion, Death.

That story will never get old.

—Cynthia Meier, Director
director@theroguetheatre.org

Playwright

David Catlin is a founding Ensemble Member and former Artistic Director of Lookingglass Theatre in Chicago. David adapted and directed Mary Shelley’s Frankenstein, which debuted at Lookingglass in summer 2019. He also adapted and directed Moby Dick in 2015 for the Lookingglass which toured nationally, and played again at Lookingglass in the summer of 2017. Other Lookingglass writing credits include: Lookingglass Alice, Icarus, Her Name Was Danger, and The Idiot (Jeff Award for Adaptation.) David is an Artistic Associate with Actors Gymnasium and serves on the acting faculty at Northwestern University.

Cast

Bryn Booth (Mary Shelley/Elizabeth) is a graduate of the BFA Acting program at the University of Arizona. She was most recently seen as Catherine in The Rogue’s production of A View from the Bridge. This is Bryn’s fourth season as a member of the Resident Acting Ensemble with The Rogue where she has performed as Clotho, The Spinner (Moby Dick), Ruth Condomine (Blithe Spirit), Tour Guide (Middletown), Abigail (The Crucible) for which she was nominated for a MAC award for Best Actress in a Drama, Snake-Leaves Princess (The Secret in the Wings), Hero (Much Ado About Nothing),Voice Five/No. 40 (The Curious Incident of the Dog in the Night-Time), Little Monk (Galileo), Regan (King Lear), Rose of Sharon (The Grapes of Wrath), Sybil (A House of Pomegranates), and Lady Macduff (Macbeth). In 2018, Bryn played Mag in the Scoundrel & Scamp’s production of Lovers, for which she was nominated for a MAC award for Best Actress in a Drama. Other credits include Gowdie Blackmun in The Love Talker with the Scoundrel & Scamp Theatre, Juliet in Romeo & Juliet (Tucson Shakespeare in the Park), and Bianca in Othello (Arizona Repertory Theatre). In recent years, she had the pleasure of understudying with Arizona Theatre Company in Romeo & Juliet as Lady Montague and Lady Capulet, and Of Mice and Men as Curley’s Wife. Bryn wants to thank Joe and Cindy for giving her the best job she’s ever had with the most amazing people she’s ever met.

Bryn Booth’s performance is supported in part by generous
gifts from Todd Hansen and Jim Wilson & Adam Hostetter.

Christopher Johnson (Percy Bysshe Shelley/Victor Frankenstein) first came to The Rogue in 2011 to play Jewel in As I Lay Dying, and now serves as Artistic Associate and General Manager. Before turning his attention primarily to producing and directing he acted in just over a hundred plays on Tucson stages, and a handful in Fairbanks, Alaska. Select acting credits include the roles of Joshua in Corpus Christi, Peter in Bug, The Master of Ceremonies in Cabaret (2013 Mac Award Winner—Best Actor, Musical), Doug in Gruesome Playground Injuries, The Narrator in The Rocky Horror Show, Alan in Lemon Sky, Pale in Burn This, Hedwig in Hedwig and the Angry Inch, Betty/Gerry in Cloud 9, Chicklet in Psycho Beach Party, Thom Pain in Thom Pain (based on nothing), and Prior Walter in The Rogue’s production of Angels in America, Part 1: Millennium Approaches(2016 Mac Award Winner—Best Actor, Drama).

Christopher Johnson’s performance is supported in part
by generous gifts from Julia Annas and Mona Mizell.

Claire Hancock (Claire Clairmont & others) is a choreographer, dancer and interdisciplinary artist whose work focuses on the intersection of abstract forms and narratives. Many of her original works are focused on telling old stories in new ways through conventional and unconventional venues, immersive audience experiences, and on film/new media. She holds a Master of Arts degree in European Dance Theatre from Trinity Laban Conservatoire of Music and Dance in London, and earned both a Bachelor and Master of Fine Arts degree in dance from the University of Arizona. Hancock co-founded Artifact Dance Project, a professional dance company dedicated to dance, live music, and film. Recently she has been developing and creating new work with composer Vincent Calianno for a new company, Two Trains, which focuses on producing works for new media. She is thrilled to be returning to the Rogue stage. www.clairehancock.com

Claire Hancock’s performance is supported in part by
generous gifts from Carol Mangold and Julia Annas.

Hunter Hnat (Lord Byron/The Creature) is grateful to be in his third season as a member of The Rogue Resident Acting Ensemble. You may have seen him in previous Rogue productions as Rodolpho in A View from the Bridge, Ray Dooley in The Beauty Queen of Leenane, Flask in Moby Dick, Edmund Tyrone in Long Day’s Journey Into Night, the Mechanic in Middletown, Ezekiel Cheever in The Crucible, Son of Three Blind Queens (and others) in The Secret in the Wings, Claudio in Much Ado About Nothing, Christopher in The Curious Incident of the Dog in the Night-Time, Andrea in Galileo, Oswald in King Lear, Steindorff in Bach at Leipzig, and Ensemble for A House of Pomegranates. He has also been a part of The Rogue’s staged readings of The Illusion, No Exit, and Cloud 9. Other credits include Jokanaan in Salomé (The Scoundrel & Scamp), Ensemble and Romeo U/S in Romeo and Juliet (Arizona Theatre Company), Boyfriend in How the House Burned Down (Live Theatre Workshop) as well as several other workshops and readings. He is a U of A alumnus with his BFA in Musical Theatre, class of 2015. Enjoy the show!

Hunter Hnat’s performance is supported in part by generous
gifts from Bill & Barb Dantzler and Todd Hansen.

Sean Patrick (Dr. Polidori & others) is thrilled to join the cast of Frankenstein as his first mainstage with The Rogue Theatre, after playing Victor LeBrun in The Rogue’s audioplay of Kate Chopin’s The Awakening. A Tucson based actor with degrees in Theatre Arts and French language, Sean has 10 years experience teaching and directing devised theatre locally, nationally and internationally. Locally, Sean has been seen as Melchior in Winding Road’s Spring Awakening benefit for Planned Parenthood, The Bridegroom in Scoundrel & Scamp’s Blood Wedding, Bart in Scoundrel & Scamp’s Mr. Burns, a post electric play, and in various roles in Old Tucson’s musical revues.

Sean Patrick’s performance is supported in part by generous
gifts from Sally Krusing and Katherine & Art Jacobson.

Music

Preshow Music

Piano Sonata No. 17 in D minor, Op. 31, No. 2 ,
“The Tempest” — Ludwig van Beethoven (1770–1827)

Production Music
Music by Russell Ronnebaum

Act 1

Our Story Begins
All Alone at the Top of the World
Necromancy (playing God)
To the Giant Oak
Funeral Dirge
Kaiser-Waltzer, Op. 437 — Johann Strauss, Jr. (1825–1899)
Song of Suffering
One Last Night of Revelry

Act 2

My Heart Yearned to be Loved
They Abandoned Me
You Are Loved—Funeral Dirge
O Stars…
To England!

Piano Sonata No. 14 in C-sharp minor, Op. 27, No. 2,
“Moonlight,” Mvt. 1—Adagio sostenuto — Ludwig van Beethoven

Piano Sonata No. 8 in C minor, Op. 13, “Pathétique,”
Mvt. 2—Adagio cantabile — Ludwig van Beethoven

Piano Sonata No. 14 in C-sharp minor, Op. 27, No. 2 ,
“Moonlight,” Mvt. 3—Presto agitato — Ludwig van Beethoven

Death Herself
Whaddya Murder’m For?
I Will Be with You on Your Wedding Night
I Am the Monster
You Gave Them Me
I Am Nothing

Russell Ronnebaum (Music Director, Composer/Arranger) serves as The Rogue Theatre’s Director of Music and Resident Composer. He holds a Master of Music degree in collaborative piano from the University of Arizona where he studied under Dr. Paula Fan. He currently serves as the assistant director of music at St. Mark the Evangelist Catholic Church in Oro Valley, as well as the staff accompanist for the Tucson Masterworks Chorale. As a classically trained pianist, Russell has performed with the Tucson Symphony Orchestra, the American Wind Symphony Orchestra, Artifact Dance Company, Arizona Repertory Theatre, and as a concerto soloist with the Tucson Masterworks Chorale. Russell made his Carnegie Hall debut in 2016 performing the music of composer Dan Forrest. Past credits include The Rogue’s 2019 and 2020 productions of Much Ado About Nothing, Long Day’s Journey Into Night, Blithe Spirit, Moby Dick, The Beauty Queen of Leenane, The Awakening and A View from the Bridge(Music Director, Pianist, and Composer) and The Secret in the Wings (Vocal Director). Russell also composes the music for Rogue Radio, a radio play series produced in partnership with Arizona Public Media, NPR 89.1 FM. Recent composition commissions and premieres include music for bassoon quartet, live theatre, strings, brass, voice, choir, and piano. Recordings, videos, sheet music, and upcoming concert dates can be found at www.RRonnebaum.com.

Russell Ronnebaum’s music direction is supported in part by
a generous gift from George Bradbury & C.M. Peterson.

Robert Marshall (Cello) earned his M.M. of Cello Performance in 2016 from the University of Arizona, where he served as a founding member of the Graduate String Quartet. He has attended the Talis Festival & Academy in Switzerland, the St. Lawrence String Quartet Summer Seminar, and the University of Nebraska Lincoln Chamber Music Institute with the Escher and Chiara String Quartets. Past teachers include Dr. Theodore Buchholz, Charae Krueger, and Dr. Robert Jesselson. Orchestrally, he serves as principal in the Civic Orchestra of Tucson, assistant principal in the Sierra Vista Symphony Orchestra, and is frequently asked to perform with the Tucson Symphony and Tucson Pops Orchestras. In 2019, he performed the Schumann Cello Concerto with the Tucson Repertory Orchestra in preparation for the orchestra’s Japanese tour. During this year he also gave the Southwest premiere of Sarah Hennies’ Contralto, a multimedia piece exploring the relationship between transgender women and their literal and figurative voices scored for strings, percussion, and video. Mr. Marshall also enjoys collaborating on staged productions in dance and theatre. He has worked with the Arizona Theatre Company, Arts Express, the University of Arizona Repertory Theater, and Artifact Dance Project. This is his second production with The Rogue Theatre, after having performed in The Beauty Queen of Leenane last March.

Music Director’s Notes

Who is the monster in this story? The characters of the play are steeped in a number of inescapable human conditions. Fear, despondency, joy, and illness follow them wherever they go, influencing their disparate actions.

The musical choices for this production were informed by two motivations. The first: to pay homage to traditional dramatic underscoring, amplifying characters, emotions, and atmosphere. The second: to differentiate the human characters and monsters thematically.

The “Song of Suffering” is a reoccurring theme of mourning which is initially sung by a dead mother and echoes throughout the play. It follows the characters and serves as a reminder that their imperfect actions often lead to undesirable consequences.

The second major theme calls upon the music of Ludwig van Beethoven, who is a contemporary of Mary Shelley. His orderly compositions are all too fitting for the creatures, who operate with the purest of motivations: to love and be loved…to understand and be understood.

—Russell Ronnebaum, Music Director, pianist and composer

Designers and Production Staff

Deanna Fitzgerald (Lighting Design) is a member of United Scenic Artists and her lighting design credits include a wide range of theatre, dance, opera, circus-themed entertainment, puppets, architectural lighting and more. She is a registered yoga and meditation teacher and conducts classes and workshops focused on using these and other “quietive” practices to enrich creative processes. At the University of Arizona she is an Associate Dean for the College of Fine Arts and a Professor of lighting design. Some of Deanna’s career highlights include the lighting designs for STOMP OUT LOUD, the Las Vegas version of the internationally acclaimed STOMP, for whom she also toured for six years as lighting director; Cirque Mechanics: Boom Town, which toured for two years with an off-Broadway appearance at The New Victory Theatre; and Erth’s Dinosaur Zoo US Tour. Deanna has been smitten with her Rogue family since 2014 when she designed their extraordinary creation Jerusalem, and has since designed Beauty Queen of Leenane, Blithe Spirit, Long Day’s Journey Into Night, The Crucible, The Secret in the Wings, The Curious Incident of the Dog in the Night-Time, Galileo, King Lear, Three Tall Women, Bach at Leipzig, Celia A Slave, Macbeth, Penelope, Uncle Vanya, Tales from the Jazz Age, The Bridge of San Luis Rey, Miss Julie, The Picture of Dorian Gray, and Waiting for Godot. She is grateful for every moment she gets to spend making things with them and for LD Shannon Wallace and ME Peter Bleasby whose collaborations make that possible.

Vin Calianno (Sound Design) Inspired by the renegade eloquence of the American vernacular, composer and sound designer Vincent Calianno (b. 1979) “blurs the boundaries between fine art and popular culture” (VICE), through kaleidoscopic colorings, muscular rhythms, extreme stasis and motion, while curiously investigating new musical possibilities through new practices and obsolescent technologies. Calianno’s music has been commissioned and performed by ensembles including the International Contemporary Ensemble, Alarm Will Sound, Thalea String Quartet, JACK Quartet, Nouveau Classical Project, Ensemble Mise-en, Jennifer Koh, John Pickford Richards, Kivie Cahn-Lipman, the Buffalo Philharmonic, Artifact Dance Project, and others. In addition to his concert works, Calianno has an active career in sound design and scoring for film and new media. His credits include music for Adecco, Morgan Stanley, and AlixPartners campaigns, as well as films and dramatic podcasts. His awards include the ASCAP Rudolf Nissim Prize, the Chamber Music America Classical Commissioning Award, and the Sarah Award for Best New Podcast. New projects include a new work, Ashliner, for violinist Jennifer Koh, Animal within Animal for the American Composers Orchestra and L’Astronome, a large-scale opera as part of Two Trains’ 2020/21 season. Recent highlights include the Thalea String Quartet premiere of A History of the String Quartet in its Natural Habitat, and A Painted Devil, for dance the Artifact Dance Project. In 2019, Calianno co-founded Two Trains, a hybrid music-theatre-dance project focused on abstract and inventive storytelling through the combined expressions of imagery and sound. Their first project, L’Astronome, is a nine-part opera that combines movement, text, and sound through the medium of cinema, and is set to premiere in Fall of 2020. For more information visit droplid.com.

Shannon Wallace (Stage Manager, Lighting Design) is excited for her fourth year as Resident Stage Manager with The Rogue Theatre, after a one-year hiatus. She served as stage manager for Angels in America, A House of Pomegranates and The Grapes of Wrath. She also worked on The Picture of Dorian Gray, The Bridge of San Luis Rey, Uncle Vanya, Penelope, Macbeth, Celia, A Slave, Bach at Leipzig, Three Tall Women, King Lear, Galileo, The Curious Incident of the Dog in the Night-Time, Much Ado About Nothing, The Crucible and A View from the Bridge as stage manager as well as associate lighting designer. She graduated from the University of Arizona with a Bachelor of Fine Arts, focusing on both stage management and lighting design. During her time in school she worked on over 25 productions with Arizona Repertory Theatre. She has also worked for Arizona Theatre Company, the Oklahoma City Philharmonic, and the Contemporary American Theatre Festival serving on both stage management teams and company & events management teams. She is grateful to be working full-time as a theater artist in her hometown.

Shannon Wallace’s stage management is supported in part by
a generous gift from Andy & Cammie Watson.

Amy Novelli (Scenic Artist) is originally from Ohio and Pennsylvania. She received her Cum Laude BFA from the Columbus (Ohio) College of Art & Design in 1987 and her MFA from Carnegie Mellon University in Pittsburgh in 1994. Novelli’s scenic art career began in New York City at the Macy’s Thanksgiving Day Parade Studio. Charge Scenic Artist for the Arizona Theatre Company 2010–2014, Amy also painted several sets for Arizona Opera and UA Opera, and presently paints for The Rogue Theatre and until COVID at the Arizona Broadway Theatre in Peoria (Phoenix). Amy created monstrous Halloween decor for Hotel Congress for 20 years, and was lead painter for Marshal-Fields 1998 award winning Easter Window display “Alice in Wonderland”. She supervised four public art projects in the Tucson area with high school youth and won commissions to design and paint five large scale outdoor murals across the country as well as at the Biosphere II and La Posada Hotel on Oracle Blvd. She has taught at the University of Arizona and Pima Community College. Novelli’s fine art work has been exhibited at several Tucson Galleries and in May-August 2020 she had a one woman show at the Tucson International Airport. Amy Novelli has been living in Tucson since 1996. When not painting, Novelli trains rescue horses and dogs and enjoys riding wilderness trails all over the western states.

Amy Novelli’s scenic painting is supported in part by
a generous gift from Andy & Cammie Watson.

Lance Guzman (Assistant to the Director) is happy to be joining The Rogue for Mary Shelley's Frankenstein. He was previously in Moby Dick as Fedallah. He has also appeared in the Scoundrel and Scamp productions The Little Prince and most recently in It Is Magic. He is a University of Arizona graduate with a BA in Theatre Arts and a student of the Bennett Theatre Lab.

Nanalee Raphael (Costume Manager) has known from age five that she would work in theatre. Of course, she thought it would be as an actor, not as someone who flings fabric around. She feels blessed that she has always been employed in costuming, for both professional and academic theatres, and has never had to have a “day job.” Until moving to Tucson in 1995, she was peripatetic in her work situations, desiring to work with theatres all over the country. She has taught at the University of Wisconsin–Milwaukee but was lured by the bright lights of Chicago and so moved there to teach at the University of Illinois-Chicago. Following her husband to central Illinois, she then wangled a position at the University of Illinois, Urbana-Champaign, where she created a successful costume rental program. She then gave up all that greenery to come to Tucson to teach and design at the University of Arizona. She has worked as a costume designer, costume director and/or draper in professional theatres in Michigan, (Hope Summer Repertory, Holland), Wisconsin (American Players Theatre, Spring Green), Illinois (Goodman, Wisdom Bridge, and Steppenwolf, Chicago), New York (The Public, NYC), Arizona (ART & ATC, Tucson), at Shakespeare Festivals in Vermont and New Jersey, and California (The Old Globe, San Diego). She received both her Bachelor's and Master's degrees in Costume Design and Technology from Syracuse University. She is one of the “Pioneering Seven,” the first group of women to study full-time at Dartmouth College.

Peter Bleasby (Master Electrician) lit his first show at 13. Professionally, he was with BBC Television for several years, and was an assistant to the UK lighting designer Richard Pilbrow during the inaugural production of the National Theatre (Hamlet, directed by Olivier.) Although his career was in architectural lighting, he maintained some theatre lighting involvement on both sides of the Atlantic. In 2009, he volunteered for the Rogue’s initial season at the Historic Y. He has been master electrician at the Rogue for every show from 2013 to the present, supporting our lighting designers Deanna Fitzgerald, Don Fox, and Josh Hemmo. He devised the system that enables lights to be quickly re-arranged, allowing more time for the creative process. Elsewhere in Tucson, he directed the technical and logistical aspects of fundraisers for the Southern Arizona AIDS Foundation, including the fashion show Moda Provocateur.

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 Bursar 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 ofStudent’s Writing. In addition to being House Manager, Susan serves on the Board of Directors and acts as Volunteer Coordinator for the Rogue.

Our Thanks

Performance Schedule

The video viewing option will be available until the end of Sunday, November 29.

See the Calendar