Haunting and absorbing . . .

—Lorene Jayson, Audience Member

The Weir is one of the most beautiful works of theatrical art I have experienced,
and I will forever be grateful to The Rogue for giving it to me.

—Pat Hemann, Audience Member

This is a primo cast directed with finesse by Christopher Johnson.

—Arizona Daily Star

A beautifully effective ensemble performance.

—Chuck Graham review

Performance run time of The Weir is approximately one hour and forty minutes with no intermission.

The Weir

by Conor McPherson

PRODUCTION SPONSORS: 
Andy & Cammie Watson

Directed by Christopher Johnson
Music Direction by Russell Ronnebaum

February 25–March 14, 2021

Thursday–Saturday 7:30 P.M., Saturday & Sunday 2:00 P.M. Video available March 4–14, 2021.

A visitor from Dublin becomes the occasion for the spinning of occult yarns in a rural Irish pub. Well-told tales of ghosts and fairies, with enough doubt and footing in the real world to be merely unsettlingly coincidental. The visitor, however, has a tale of her own that lands much more heavily.

The Rogue Theatre at The Historic Y
300 East University Boulevard

Free Off-Street Parking
See Map and Parking Information

The Weir Production Video Trailer

The Making of The Weir

Supporting Materials

Free “Open Talk” Video on The Weir

Director Christopher Johnson talks about McPherson’s The Weir:
“Your Man in the Boneyard: Conor McPherson and The Weir”

This open talk is supported in part by a generous gift from Pat & John Danloe.

For more background on the play, check out Jerry James’ essay
”Storytelling, Spooks and the Sidhe
How the Irish Created Legends: Paganism, Christianity and Alcohol”

View the full-sized poster for the play

Reviews

Ghost stories from pub dreams encourage hope in rural Ireland
Review of The Weir by Chuck Graham on March 1 in Let The Show Begin! at TucsonStage.com

Direction

Christopher Johnson (Director) first came to The Rogue in 2011 to play Jewel in As I Lay Dying, and now serves as Artistic Associate and General Manager. The recipient of eight Arizona Daily Star Mac Award nominations for Best Director, his directing credits include The Rogue’s productions of A View from the Bridge, The Beauty Queen of Leenane, Middletown, The Crucible, Three Tall Women, Penelope, and The Picture of Dorian Gray; as well as Rogue’s staged readings of The Illusion, No Exit, Don Juan in Hell, A House of Pomegranates, The River, and Elizabeth Rex. With the recent launch of Rogue Radio, he has helmed productions of The Awakening and The Importance of Being Earnest. Elsewhere in Tucson Christopher has directed boom, Cabaret, The Year Of Magical Thinking, The Altruists, and Speech & Debate for Winding Road Theater Ensemble; Psycho Sarah for Middlesex Repertory; Hedwig and The Angry Inch for The Bastard Theatre; as well as Wit, Persephone Or Slow Time, The Book Of Liz, My Name Is Rachel Corrie, Say You Love Satan, Killer Joe, The Rocky Horror Show, Danny And The Deep Blue Sea, Savage In Limbo, Bug, Titus Andronicus, and A Midsummer Night’s Dream for Etcetera at Live Theatre Workshop where he served as Artistic Director of the late-night series from 2007-12.

Christopher Johnson’s direction is supported in part
by a generous gift from Maura Brackett.

Notes from the Director

It’s as apt a time as any in our history to be thinking about ghosts and our relationship to the invisible. Hundreds of thousands have died of Covid-19 in the last year. Yet, to much of the American populace, they effectively never existed; just a vague hint of blood in the air to those of us whose lives are incontrovertibly changed by the pandemic but have no firsthand knowledge of its fatality. So many ghosts, and such confusion in their wake as the stories we consume and share are increasingly designed to divide rather than inform. We’ve stopped telling stories about who we are and instead only repeat convenient hearsay.

But death is no less punctual for all our contrarian beliefs, our confidence in (or opposition to) science, our livid Facebook posts—the differing stories we tell about what it all really means, who’s really to blame, whether or not anything is really…real. Conor McPherson’s The Weir has come along this season at The Rogue to remind us why we tell stories in the first place. To remind us why, as one people living under the same mystery of existence, we naturally gravitate towards the humane practice of storytelling.

All through the rehearsal process I kept being reminded of the popular idiom, “houses aren’t haunted, people are.” No matter what any one of us might believe or have seen in our small allotment of time here on earth—we all have our ghosts. Who we were ten years ago is as good a phantom as any unfamiliar shadow that might startle us in the night.

Even though loss favors some more than others—it’s a guaranteed commodity in each of our lives, part of the price of admission. But sometimes we suffer a loss greater than our hearts can bear, and a genuine trauma occurs. A trauma that applies a kind of weight or pressure upon us, like a swimmer stuck against a dam (or weir). And the resulting paralysis between past and future creates a kind of living death in which we are unable to proceed upstream despite the burden being entirely behind us.

The characters in The Weir show us how storytelling might help us restore ourselves, however temporarily, back into the open waters of the living. Storytelling, of course, can facilitate empathy and intimacy—which are crucial to our capacity and functioning as social animals. It can bring us together but also help us better know ourselves as we navigate the natural shocks and soothing joys of being alive.

The Weir, then, is a kind of proof of concept on the curative power and utmost necessity of storytelling, and, for that matter—live theatre. We come together, whoever we are and however we can, in pursuit of our own betterment and survival. As I have learned time and again at The Rogue, theatre doesn’t happen on stage or in the audience, but in the precious span where the two converge.

So until we meet again; whether on this side, the other, or even with the veil between us—cheers, and be safe.

—Christopher Johnson, Director

Playwright

Conor McPherson is an Irish playwright, screenwriter and director of stage and film. One of the founders of Dublin’s Fly By Night Theatre, he was born in 1971 to an accountant and a housewife in the northern part of the country. His plays include Rum & Vodka, The Good Thief, This Lime Tree Bower, St Nicholas, The Weir (Olivier Award), Dublin Carol, Port Authority, Shining City (Tony Award nomination), The Seafarer (Olivier, Tony and Evening Standard Award nominations), The Veil, The Birds (adapted from the original novella by Daphne du Maurier), The Night Alive (New York Drama Critics’ Circle Award), and most recently, the Olivier Award-winning musical, Girl from the North Country, with Bob Dylan. In recognition of his contribution to world theatre, McPherson was awarded a doctorate of Literature, Honoris Causa, in June 2013 by the University College Dublin.

Cast

Hunter Hnat (Brendan) 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 Orestes in The Oresteia, Lord Byron/Frankenstein in Mary Shelley’s Frankenstein, 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, Ensemble 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. Other credits include Salomé (Scoundrel & Scamp), U/S in Romeo and Juliet (Arizona Theatre Company), 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
Ed & Nancy Landes and Kate Flash.

Joseph McGrath (Jack) is Co-Founder and Artistic Director for The Rogue Theatre and has appeared in A View from the Bridge, Moby Dick, Long Day’s Journey Into Night, The Crucible, The Secret in the Wings, Galileo (2018 Mac Award for Best Actor), King Lear, Bach at Leipzig, Celia, A Slave, Macbeth, Penelope, The White Snake, Angels in America Part One, Tales of the Jazz Age, Miss Julie, Hamlet, Rosencrantz and Guildenstern Are Dead, The Picture of Dorian Gray, The Merchant of Venice, Waiting for Godot, Jerusalem, Awake and Sing, Arcadia, Measure for Measure, Richard III, The Night Heron, Journey to the West, The Winter’s Tale, The New Electric Ballroom, Shipwrecked!, Major Barbara, New-Found-Land, Old Times, The Tempest, Ghosts, Naga Mandala, Othello, Krapp’s Last Tape, A Delicate Balance (2009 Mac Award for Best Actor), Animal Farm, Orlando, Happy Days, Six Characters in Search of an Author, Red Noses, The Goat, The Cherry Orchard, The Good Woman of Setzuan, Endymion, The Dead, and The Fever. Joe is a graduate of the Juilliard School of Drama and has toured with John Houseman’s Acting Company. He has performed with the Utah Shakespearean Festival and has been a frequent performer with Ballet Tucson appearing in The Hunchback of Notre Dame, A Midsummer Night’s Dream, and for seventeen years as Herr Drosselmeyer in The Nutcracker. He has also performed with Arizona Theatre Company, Arizona Opera, and Arizona Onstage. Joe owns, with his wife Regina Gagliano, Sonora Theatre Works, which produces theatrical scenery and draperies.

Joseph McGrath’s performance is supported in part by generous gifts
from Sally Krusing and Andy & Cammie Watson.

Carley Elizabeth Preston (Valerie) has appeared with The Rogue Theatre as Beatrice in A View from the Bridge, Mrs. Bradman in Blithe Spirit and as Tituba in The Crucible. This is her second season as a member of The Rogue’s Resident Acting Ensemble. She received her BFA in Acting and Directing from the University of Arizona where she was a member of the Arizona Repertory Theatre. Some of her other stage credits include Time Stands Still (Mac Award for Best Actress), Molly Sweeney, Enchanted April, The Search for Signs of Intelligent Life in the Universe (Live Theatre Workshop), Mrs. Mannerly (Mac Award Nominee for Best Actress), Boston Marriage, By the Bog of Cats (SSTC), Miracle on 34th Street (Mac Award Nominee for Best Actress) Kimberly Akimbo, and Good People (WRTE). Ms. Preston is the Director of Annual Fund and Stewardship for Arizona Theatre Company and she would like to thank the loves of her life, Jerrad McMurrich and their fur baby Loki Björn Hiddleston for always supporting her theatre habit.

Carley Elizabeth Preston’s performance is supported in part by generous gifts from
Todd Hansen and Denice Blake & John Blackwell.

Aaron Shand (Jim) was last seen on The Rogue stage as Agamemnon in The Oresteia. Now in his third season as a member of The Rogue Theatre’s Resident Acting Ensemble, Aaron has also appeared as Eddie Carbone in A View from the Bridge, as Ishmael in Moby Dick, The Cop in Middletown, Hathorne in The Crucible, The Sea Captain in The Secret in the Wings, Don Pedro in Much Ado About Nothing, Sagredo in Galileo, Noah Joad in The Grapes of Wrath and Duke of Albany in King Lear. Born and raised in Tucson, he received his B.F.A. in Acting from the University of Arizona, performing for the Arizona Repertory Theatre in Bus Stop, The Miracle Worker and Romeo & Juliet. He also spent a season with the Milwaukee Repertory Theater, performing in The Cherry Orchard, State of the Union and A Christmas Carol.

Aaron Shand’s performance is supported in part by generous gifts
from Meg & Peter Hovell and Sally Krusing.

Christopher Younggren (Finbar) is thrilled to return to The Rogue after previously being seen as Reverend Parris in The Crucible and Fabian in Twelfth Night. An MFA graduate from California State University, Fullerton, Christopher has been involved in theatre, radio, commercials, and film for almost 40 years, from Los Angeles to New York City. Locally he has appeared in The Scoundel & Scamp’s Salome, Live Theatre Workshop’s Voice of the Prairie (2017 Best Actor Mac Award), Move Over Mrs. Markham (2015 Best Actor Mac Award Nominee), and Time Stands Still, Tucson Labyrinth Project’s Dogs of Rwanda (2018 Best Actor Mac Award Nominee, Best Drama Mac Award), Invisible Theatre’s Indoor/Outdoor, Arizona Rose’s The Odd Couple and The 25th Annual Putnum County Spelling Bee, and Arts Express’ A Christmas Carol and Carousel, as well as several villainous roles at The Gaslight Theatre. He is also a middle school English teacher at The Academy of Tucson and a YouTube creator where he shares theatre games and teaching techniques on his channel, Classroom Confidential. As always he is grateful to his wife and boys for their unwavering love and support.

Christopher Younggren’s performance is supported in part by generous gifts
from Carol Mangold and Bill & Barb Dantzler.

Music

Russell Ronnebaum, Music Director

PRESHOW MUSIC

Guitar & Vocals –– John Keeney
Music recorded by Jim Brady Studios

Arthur McBride—Traditional Irish Song 

Wayfaring Stranger—Folk Hymn

Come By the Hills—Traditional Irish Air, Buachaill o'n Éirne Mé 
English words by Gordon Smith

Russell Ronnebaum (Music Director) 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 recent productions of Much Ado About Nothing, Long Day’s Journey Into Night, Blithe Spirit, Moby Dick, The Beauty Queen of Leenane, The Awakening, A View from the Bridge, Mary Shelley’s Frankenstein and The Oresteia (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 Clay Shirk.

John Keeney (Guitar/Vocals) is an interdisciplinary artist, thrilled to be working with the Rogue again. He has previously appeared on stage at the Rogue in Galileo and Much Ado About Nothing, and with Scoundrel and Scamp in There Is a Happiness that Morning Is, and as music director for Two Plays for Lost Souls.

Music Director’s Notes

The warmth of Irish folk music has a way of conjuring a momentary yet soulful connection between a singer and their listeners just as the storyteller three stools over can reach the hearts of any pub-goer in earshot. The storyteller bares their heart, whips a crowd, and sculpts the plot just as any good musician uses their voice and instrument to say what can’t be spoken.

To prime our audience’s ear for McPherson’s play, the musical selections include story-driven pieces which not only help to transport us to a dusty Irish pub, but also to offer cathartic reflections on human experiences like those that will be shared tonight over several hours and a few drinks.

In preparing the music to be recorded for this production, I had the pleasure of working with local artist John Keeney. John’s rich voice and deft musicality made for truly transporting tracks which compliment the play nicely, bringing the soulful flavor of rural Irish sound to the evening.

—Russell Ronnebaum, Music Director

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 Mary Shelley’s Frankenstein, 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.

Chris Babbie (Sound Design, Production Recording) started with The Rogue as a doorbell, graduated to Big Ben, and eventually became a Great White Whale. He continued providing The Rogue with sound design and sound FX for the last decade. When he isn’t touring with a bandor a musical, he is working in nearly every performance space from downtown Tucson to the far reaches of the surrounding foothills and beyond providing sound for theatre, film, television, and music of all types and styles. Chris’ sound design efforts contributed to The Goat, or Who Is Sylvia; Krapp’s Last Tape; New-Found-Land; Awake and Sing; Jerusalem; Angels In America, Part One; Penelope; Bach at Leipzig; Moby Dick; The Beauty Queen of Leenane; A View from the Bridge; and Mary Shelley’s Frankenstein. Among his other favorite theatrical sound design credits are Bent (a.k.a Theatre), Blue Window and Fall of the House of Usher (Meta Theatre), Touch and United (Damesrocket), Brahmadon (Actors’ Inc.’s), and Dual Heads (Borderlands). His work includes sound design for a Toni Press-Coffman new play over a dozen years ago, with Touch, and now returns with the recent design for her new play, United.

Vincent Calianno (Sound Design & Audio Post-Production) 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, A View from the Bridge and Mary Shelley’s Frankenstein 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 Kathy Ortega & Larry Johnson.

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 Christopher Johnson.

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.

Thomas Wentzel (Box Office Manager, Program, Website) is a Scientific Programmer for the National Solar Observatory and holds a Ph.D. in Physics from the University of Arizona. Previously he has worked as a Data Manager for several prevention programs in the Arizona Cancer Center and the Mel and Enid Zuckerman Arizona College of Public Health. He has served on the Board of the Tucson Men’s Cooperative, editing its newsletter for five years, and on the Executive Committee of Sons of Orpheus—The Male Choir of Tucson. He has sung with Furry Day Singers, Sons of Orpheus, AwenRising and Arizona Repertory Singers, and has performed with Tucson Art Theatre in Viktor Slavkin’s Cerceau and Clifford Odets’ Waiting for Lefty. Thomas has designed and built The Rogue Theatre Web site (with great assistance from Bill Sandel and Bryan Falcón in creating the 2020 Website update), creates all The Rogue’s posters and programs and has served as Webmaster, Business Manager and Treasurer.

Our Thanks

Performance Schedule

Performance run time of The Weir is one hour and forty minutes. There is no intermission.

The video viewing option will be available from Thursday, March 4
until the end of Sunday, March 14.

See the Calendar