COVID: We are committed to the safety of audience members, performers, and staff. Masks are required inside the theatre. Read more about our COVID-19 protocols and precautions.

Each and every performance is perfection...a master class in acting,
subtle physical humor, and stage craft.

-—S. Tiss, Audience Member

Five phenomenal performances melded together into one brilliant ensemble

—D. O’Dell, Audience Member

Walley gives the performance of his life...

—Chuck Graham, Let the Show Begin review

...an impeccable Joseph McGrath...

—Kathleen Allen, The Arizona Daily Star review

This was one of my favorites.

—K. Higgins, Audience Member

Good, provocative play. It woke me up at 2:30 with all kinds of thoughts
about isolation, guilt, self-image, rebirth, redemption...

—J. Pernet, Audience Member

Wow, what can I say! Brilliant performance!

—H. Yao, Audience Member

Performance run time of The Seafarer is 2 hours and 10 minutes,
including one 10-minute intermission.

Supporting Materials

Free “Open Talk” Video

Click here to see the video

The Devil You Know: A literary history of evil personified, from the Old Testament to The Seafarer

A Free Open Talk presented by Director Christopher Johnson on Saturday, February 25, 2:00 P.M.

This open talk is supported in part by a generous gift from
Pat & John Danloe and the Arizona Humanities Council

The Seafarer Trailer

Here are some quick clips from The Seafarer accompanied by words of praise from our opening weekend audience members!

Click here to see the video

Preshow: Seven Drunken Nights

John Keeney and the cast of The Seafarer perform their rendition of the traditional Irish drinking song Seven Drunken Nights.

Click here to see the video

Essay

Read Jerry James’ essay about the long history in ancient documents, folk tales, literature, music, and movies of selling one’s soul to the Devil.

To Beat the Devil:
So, You Want to Weasel Out of Your Satanic Bargain, Do You? Uh-Oh...

Poster

View the full-sized poster for the play

Reviews

The Devil comes to cllect in The Seafarer, on stage in Tucson
Review by Kathleen Allen on March 7, special to the Arizona Daily Star

Another deal is made with the Devil in The Rogue Theatre’s production of The Seafarer
Review of The Seafarer by Chuck Graham on March 6 at Let The Show Begin! and TucsonStage.com

Christopher Johnson (Director) first came to The Rogue in 2011 to play Jewel in As I Lay Dying and now serves as Assistant Artistic Director, Play-Reading Producer, and Board Member. The recipient of eight Arizona Daily Star Mac Award nominations for Best Director, his directing credits include The Rogue productions of Great Expectations, Passage, The Awakening, The Weir, 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 play-readings of I Am My Own Wife, Our Country’s Good, Loveplay, Let Me Down Easy, Everybody, The Importance of Being Earnest, The Illusion, No Exit, Don Juan in Hell, A House of Pomegranates, The River, and Elizabeth Rex. Elsewhere in Tucson Christopher has directed boom, Cabaret, The Year of Magical Thinking, The Altruists, and Speech & Debate for Winding Road Theater Ensemble; 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 late-night series Artistic Director from 2007-12).

Christopher Johnson’s direction is supported in part
by generous gifts from Susan Tiss and Andy Watson

DIRECTOR’S NOTES

There is nothing covered up, that shall not be revealed; and hid, that shall not be known. Wherefore whatsoever ye have said in the darkness shall be heard in the light…

—Luke 12:2-3

What would you do if your gravest sin appeared on your doorstep in the form of a charming older gentleman? How would you handle yourself as he walked right in, befriending your friends and family with ease? What would you say as he made himself at home and started drinking your whiskey? Such is the bedevilment encountered by our protagonist, Sharky, on Christmas Eve in Conor McPherson’s 2006 play The Seafarer.

McPherson has made a career for himself examining our relationship to the superstitious by expertly mining psychological insight with equal parts humor and dread. His Irish characters huddle close to the veil between life and death, which often proves thin and porous. And while the characters in his plays have typically encountered a ghost, demon, or fairy before we meet them, The Seafarer presents us with a paranormal collision at center stage.

The supernatural visitor in question goes by the name of Mr. Lockhart, a Mephistophelian entity that has come to collect what Sharky owes him via a game of poker. Like the best ghost stories, there’s a perfectly reasonable explanation for much of what unfolds here—even as the character of Mr. Lockhart evokes a terror of the beyond that taps into our most primal fears.

But Mr. Lockhart functions less as a devilish opponent to be outwitted than he does a personification of hell itself as we experience it on earth: isolated in shame, regret, and self-loathing. There is no more frightening figure than the one created in our own image, no more harrowing pursuer than the transgression we thought to have left behind.

But how can you hope to argue with a man who can read your thoughts, contradict someone who can see into your very soul? When there’s nowhere left to hide, we’re playing a game that can’t be won. Rather than try to bluff his own shadow, Sharky must instead contend with the source.

It’s no coincidence that McPherson’s play is set so near to the Winter Solstice, the darkest day of the year. The Irish have been celebrating the time in which the sun nearly stands still for centuries, long before Christianity took hold. This pagan tradition has not endured for its darkness, of course, but for its representation of hope in the promise of light.

Only in the light can we beat the devil at his own game, and change our shape.

—Christopher Johnson, Director
director@TheRogueTheatre.org

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

in order of appearance

Ryan Parker Knox (Ivan Curry) is pleased to be returning home to the Rogue’s stage for the first time in three years, and with a fine bunch of artists to boot. Since his last appearance in March 2020, Ryan has discovered a new-found passion for hiking, moved to Pennsylvania and back, and acquired several more gray hairs. With the exception of appearances in this season’s Play-Reading Series, Ryan didn’t do any performing of any kind until December 2022 and he enjoyed that time discovering peace within by being himself rather than playing other people. Art has never been more important in this chaotic world, and Ryan looks forward to channeling his own creativity and hopes to inspire others to fuel their own chosen forms of expression. Love to CM and to everyone else who has helped Ryan along the path.

Ryan Parker Knox’s performance is supported in part by
generous gifts from Katherine Jacobson and Kristi Lewis

Joseph McGrath (Mr. Lockhart) is a graduate of the Juilliard School of Drama and Co-Founder and Artistic Director for The Rogue Theatre. He has recently appeared in Great Expectations, Mrs Dalloway, Passage, Death of a Salesman, Twelfth Night, The Awakening, As You Like It, The Weir, 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), and King Lear. He also received the Mac Award for Best Actor for his portrayal of Tobias in A Delicate Balance. Joe has toured with John Houseman’s Acting Company and has performed with the Utah Shakespearean Festival. He 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
Katherine Jacobson, Kathleen McGrath & Jerry James and Peggy Houghton & Paul Garner

Robert Anthony Peters (Nicky Giblin) returns to the Rogue stage after a dozen year hiatus. After graduating from the University of Arizona in Marketing and Entrepreneurship, he was a Charles G. Koch Summer Fellow in DC and subsequently trained at the Lee Strasberg Theatre Institute in NYC. A member of SAG-AFTRA, he has been acting, producing, directing, and writing professionally in theater, film, voiceover, and more for over two decades. His most recognizable film acting roles are in The Pursuit of Happyness and Steve Jobs. He writes and lectures internationally on the relationships between art, law, philosophy, and economics. He records audiobooks, is a policy advisor for the Heartland Institute, a fellow with the Archbridge Institute, and is chair of the board of the Fully Informed Jury Association. He also manages his family’s retail shipping store Pak Mail at Ina and Oracle. His film writing, directing, and producing debut, the award-winning Tank Man, can be found at www.tankmanthemovie.com.

Robert Anthony Peters’ performance is supported in part by
generous gifts from Meg & Peter Hovell and Joan Warfield

Aaron Shand (James “Sharky” Harkin) was last seen on The Rogue stage as Mr. Wopsle/Bentley Drummle in Great Expecations. Now in his fifth season as a member of The Rogue Theatre’s Resident Acting Ensemble, Aaron has also appeared as Howard Wagner in Death of a Salesman, Duke Orsino in Twelfth Night, Leonce Pontellier in The Awakening, Orlando in As You Like It, Jim in The Weir, Agamemnon in The Oresteia, Eddie Carbone in A View from the Bridge, 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 Carol Mangold and Sally Krusing

Matt Walley (Richard Harkin) is excited to be returning this season as a member of The Rogue Theatre Resident Acting Ensemble. He previously appeared as Joe in Great Expectations, Stan in Sweat, Stubb in Moby Dick, Dr. Bradman in Blithe Spirit, Thomas Putnam in The Crucible, Mr. Walley in The Secret in the Wings, Dogberry in Much Ado About Nothing, Roger in The Curious Incident of the Dog in the Night-Time, Matti in Galileo, Edmund in King Lear and Uncle John in The Grapes of Wrath. He has enjoyed previous roles at The Rogue in Bach at Leipzig, Macbeth, Richard III, Journey to the West, The Winter’s Tale, Shipwrecked!, As I Lay Dying and Major Barbara. In 2019, as an Artist in Residence at The Scoundrel and Scamp Theatre, Walley co-created and performed in Oaf. Matt is on the board of The Tucson Fringe Festival and also The Shakespeare Forum in New York City. His company, Theatre 3, created new work for Live Theatre Workshop’s late night series Etcetera including Theatrum Orbis Terrarum and Mixtape. He graduated from Dell’Arte International in 2009 with an MFA in Physical Ensemble Theatre. He has also performed with The Pinnacle Peak Pistoleros and their Wild West Stunt Shows, Stories that Soar!, and Live Theatre Workshop.

Matt Walley’s performance is supported in part by generous gifts
from Shawn Burke and Paul Winick & Ronda Lustman

Russell Ronnebaum—Music Director
John Keeney—Guitar, Harmonica, Vocals

PRESHOW MUSIC

Arthur McBride, Traditional Irish Song
Into the Mystic, Van Morrison
Seven Drunken Night, Traditional Irish Song

Russell Ronnebaum (Music Director, Composer) 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 Babette’s Feast, Great Expectations, Mrs Dalloway, Passage, Death of a Salesman, Twelfth Night, The Awakening, As You Like It, The Weir, The Oresteia, Mary Shelley’s Frankenstein, A View from the Bridge, The Beauty Queen of Leenane, Moby Dick, Blithe Spirit, Long Day’s Journey into Night, Much Ado About Nothing 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 live theatre, strings, 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 generous gifts
from Ann & Andrew Lettes and Karen DeLay & Bill Sandel

John Keeney (Guitar, Harmonica, Vocals) is an interdisciplinary artist, thrilled to be working with the Rogue again. He has previously appeared on stage at the Rogue in As You LIke It, Galileo and Much Ado About Nothing, with The Scoundrel and Scamp in There Is a Happiness that Morning Is, and as music director for Two Plays for Lost Souls. He provided guitar and vocals for The Rogue’s recent production of The Weir.

Designers and Production Staff

Cynthia Meier (Costume Design) worked her way through college at Eastern Michigan University by assisting in the costume shop. Most of what she knows about Costume Design, she learned from Katie Holkeboer, the costume designer and professor at EMU. After graduating with her MA in Speech & Theatre, Cynthia stayed on at EMU to teach Costume Design, Costume Construction, Stage Makeup, and Introduction to Technical Theatre while designing the university mainstage plays and supervising the costume shop. She has designed costumes for each and every one of The Rogue plays since 2005. 

Cynthia Meier’s costume design is supported in part
by a generous gift from Sally Gershon

Joseph McGrath (Set Design) worked in the scene shops at West Virginia State University and the Juilliard School of Drama while he was studying to become an actor. He served as Technical Director for Arizona Theatre Company from 1987–88, and opened his own scene shop, Sonora Theatre Works, in the 1990s. Joe has designed and built scenery for Ballet Tucson for most of their ballets for over 20 years, as well as various projects with UA Opera Theatre. He has designed each and every set for The Rogue since its inception in 2005.

Joseph McGrath’s set design is supported in part
by a generous gift from Sally Krusing

Deanna Fitzgerald (Lighting Design) is a member of United Scenic Artists whose lighting design credits include theatre, dance, opera, circus-themed, puppets, architectural lighting and more. She is a yoga and meditation teacher, and conducts classes and workshops focused on using these and other “quietive” practices to aid creative process. Deanna is the author of The Heart of Light, published in January 2022. At the University of Arizona, she is the Vice-Dean for the College of Fine Arts and a Professor in the School of Theatre, Film, and Television. She serves on the Western Region Exam Committee of United Scenic Artists, the Boards of Directors for URTA (University Resident Theatre Association) and USITT (United States Institute of Theatre Technology), and as a general editor for the Theatre Design and Technology magazine. 
Deanna has been smitten with her Rogue family since 2014 when she designed their extraordinary creation, Jerusalem, and has since designed a couple dozen Rogue productions, including some of these favorites of hers: Sweat, The Curious Incident of the Dog in the Night-Time, Penelope, The Secret in the Wings, Mary Shelley’s Frankenstein, Beauty Queen of Leenane, Celia A Slave, Tales from the Jazz Age, and The Picture of Dorian Gray. She is grateful for every moment she gets to spend making things with The Rogue, and for the very talented associate-LD Shannon Wallace and ME Peter Bleasby whose collaborations make it possible for her do that.

Deanna Fitzgerald’s lighting design is supported in part by
a generous gift from Phil & Kay Korn

Hannah Al-Baiaty (Stage Manager) is thrilled to be working with The Rogue Theatre again after previously stage-managing Great Expectations, Twelfth Night and Passage. Hannah earned her BFA in Technical Theatre Production and Design from the University of Arizona. Her previous credits include Stage Manager for Under Construction Series: Ralph Lemon & Friends at Park Avenue Armory, Helen Simoneau Danse’s Flight Distance at Joyce SoHo, Arizona Repertory Theatre’s productions of Avenue Q and Voice of the Prairie, Assistant Stage Manager for Eugene Opera's production of Nixon in China and Assistant Production Manager for Pipeline Theatre Company’s world premiere of Byuioo. She also spent five seasons working as a Costume Technician for The Gaslight Theatre. Hannah would like to thank her husband, family and friends for their endless support and love.

Hannah Al-Baiaty’s stage management is supported in part
by a generous gift from Clay Shirk

Shannon Wallace (Production Stage Manager, Associate Lighting Design) first came to The Rogue in 2015 to stage manage The Picture of Dorian Gray, and now serves as their Production Stage Manager and Operations Manager. Her stage management credits at The Rogue include: The Picture of Dorian Gray, The Bridge of San Luis Rey, Angels in America, Uncle Vanya, Penelope, Macbeth, A House of Pomegranates, Celia, A Slave, Bach at Leipzig, The Grapes of Wrath, Three Tall Women, King Lear, Galileo, Curious Incident, Much Ado About Nothing, Secret in the Wings, The Crucible, A View from the Bridge, Mary Shelley’s Frankenstein, The Oresteia, The Weir, As You Like It, The Awakening and Mrs Dalloway. She also served as Production Stage Manager for Twelfth Night, Death of a Salesman, Passage, Sweat, Great Expectations and Babette’s Feast. 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. She spent a year living in Chicago and worked as the Operations Assistant for Mudlark Theater Company. She is grateful to be working full-time as a theater artist in her hometown and would like to thank her parents & her cats for their unconditional love.

Shannon Wallace’s production stage management is supported in
part by a generous gift from Els Duvigneau

Christopher Pankratz (Property Master) is honored to be both an actor and a member of the production staff at The Rogue. This is his fourth season as The Rogue’s Property Master. He has also been seen performing on The Rogue stage in The Grapes of Wrath, King Lear, Much Ado About Nothing, The Crucible, Moby Dick, A View from the Bridge, As You Like It, and The Awakening. In 2019, he directed An Enemy of the People for the John and Joyce Ambruster Play-Reading Series. Christopher taught acting and theatre tech at Flowing Wells High School where he wrote and produced several plays including Black Friday, Frankenstein, Cuando Soñamos, Spinning Tales The Musical, Leave It to the Snakes, Cuando Mentimos, Cuckoo, Cuando Perdonamos, The Snow Queen, You Can’t Make Wine from Raisins, and two newly-published plays: The Longest Day of April and The Story Seller’s Tale. Christopher would like to thank his colleagues, family, friends, and students for their support and inspiration.

Christopher Pankratz’s work as prop master is supported in
part by a generous gift from Jill Ballesteros

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 Ed & Nancy Landes

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 for the Rogue.

Matt Elias (Assistant House Manager) is constantly seeking out art whether it be theatre, music, television or video games. He became enamored with live performance at The Rogue Theatre in 2014 while joining his wife, Shannon, as an usher. His experience as a touring musician, his penchant for audio production and his general obsession with how stuff works, makes him useful in all sorts of tight places throughout the production process. Nowadays you’ll see him as Assistant House Manager, trading off shows with Susan Collinet and you won’t see him sneaking a peek at each of those shows from the couch in the hallway or the back hallway behind the curtains. Matt has experience as a Master Bicycle Technician, Emergency Medical Technician, Fire/EMS 911 Dispatcher, and most recently a Production Brewer at Dragoon Brewing Company.

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), and serves as Webmaster and Business Manager. He has also served on The Rogue’s Board of Directors since the founding of the theatre.

Shannon Elias (Box Office Assistant, Volunteer Coordinator) got her first big break in theatre at age 11 when she was cast as the Wicked Witch of the West in The Wizard of Oz in school. After that first applause, she was hooked. She began at the Rogue Theatre as an usher in 2008, and volunteered in various roles until she was hired as Box Office Assistant in 2018 and then Volunteer Coordinator in 2020. She has also appeared on The Rogue stage in The Oresteia, Everybody, The Sign in Sidney Brustein’s Window and Babette’s Feast, as well as worked backstage as Assistant Stage Manager for The Awakening and Mrs Dalloway. Shannon holds a Bachelor of Arts in Theatre Arts from the University of Arizona with a minor in Special Education and Rehabilitation Psychology.

Our Thanks

Performance Schedule

Performance run time of The Seafarer is two hours and ten minutes, including one ten-minute intermission.