McGrath and company conjure
a great deal of theatrical magic here. “A thing of beauty is a
joy forever” is the refrain running through the play; a live performance
can hardly last forever, but Rogue Theatre has at least given us a thing
—James Reel, The Tucson Weekly
A thing of beauty is a joy
Adapted and directed by Joseph
Musical direction by Harlan Hokin
Featuring live Mediterranean music by Paul Amiel
Thursday–Saturday 7:30 pm, Sunday 2:00
Preview Thursday September 28 7:30 PM
Preshow of live music begins 15 minutes before curtain
Zuzi’s Dance Theatre, Historic YWCA, 738 North Fifth Avenue at
Join us for the premiere of the Rogue’s adaptation
of Keats’ epic Romantic poem about a youth beloved of the Moon.
Reminiscent of the language of Shakespeare, the story follows the
passionate journey of Endymion who, under the gaze of the Immortals,
seeks and finds a remarkable love. The Rogue Theatre’s production
will dramatize the poem with bright and energetic staging, a 16-person
ensemble, and live vocal and instrumental music.
View production photos
O magic sleep! O comfortable bird,
That broodest o’er the troubled sea of the mind
Till it is hushed and smooth!
Photo by Tim Fuller
3-page review by Iris J. Arnesen in the Winter, 2006 The
Thing of Beauty
Review by James Reel in the October 5 Tucson Weekly
Man’s atavism still comes
through in modern Endymion
Review by Chuck Graham in the October 5 Tucson
Rogue Theatre’s Endymion
an admirable effort
Review by Kathleen Allen in the October 3 Arizona
Keats’ Endymion is
now a play
Preview by Kathleen Allen in the September 22 Arizona
The poetic romance Endymion began as a contest among Hunt, Shelley,
and Keats to see who could write a work of 4000 lines by the end of 1817.
The twenty-two-year-old John Keats succeeded in this Herculean task, although
by the time of its completion, I doubt that the contest itself had meaning
for him any longer. The 4000 line goal, as a consequence, resulted in
a sprawling and overly-embellished work by our modern standards. And it
was savagely criticized when it first appeared. But it contains a soaring
heart and intellect that is smothered in its excesses. Our great good
fortune is to be here, almost two hundred years later, and have it in
the public domain, to do with what we wish. Cutting and adapting this
poem might be appalling to those who hold Keats in reverence, but this
type of thing is often done by us “theatricals” with vicious
abandon. In this case, it is my hope that we have done it with respect,
understanding, and courage. What we present is a 4000-line behemoth culled
of its embellishments and distilled to more essential matter. Our adaptation
stands now at just over 1500 graceful and magnificent lines and I think
it sings a more coherent melody. To the best of our research, this has
never been done before.
This is regarded as an earlier work of Keats. Although, when we talk
of Keats, the terms “early” and “late” are vastly
compressed. This “early” work was completed four years before
his death at twenty-six.
What a loss his death was—particularly for those of us in the theatre.
As I hope you shall see, Keats’ pentameter couplets contain a remarkable
psychological complexity, rivaling Shakespeare at times. Had cruel Nature
permitted him his maturity, I have no doubt that we would have another
Hamlet or Lear in our canon.
But we do have Endymion, Ode on a Grecian Urn, Ode
to a Nightingale, and a remarkable amount of material from this prolific
And, oh, how young indeed. Endymion, with all its sophistication
of language and classical reference, is brimming with hormones. It has
been a special treat to work on something with such grace and magnificence
of language that speaks from such a young and innocent heart.
—Joseph McGrath, Director of
You may purchase a copy of Joseph McGrath's
adaptation of Endymion at our online
Venus and Cupid
(Arlene Naughton and David Alexander Johnston)
Photo by Cynthia Meier
Music in Endymion
The music in Endymion (and all Rogue productions)
is intended to create an enhanced affective atmosphere that helps integrate
the text with the stage action. The Rogue is committed to live sound.
It’s all real. There is no electronic sound. The company creates
the experience by using only voices, bodies and instruments, and thus
hopes to offer audiences the opportunity to engage their imaginations
for maximum effect.
The on-stage band consists of a motley group of instruments—Gothic
harp, ud, balama, violin, various flutes and percussion instruments. Endymion
is full of the fantastic magic of the ancient world, textualized by one
of the quintessential 19th century English romantic poets. We believe
the diverse musical styles and textures harmonize well with Keats’
text, and enhance everyone’s theatrical experience.
—Harlan Hokin, Musical Director
Sources for music that appears in Endymion (all pieces adapted
and arranged by Harlan Hokin) :
Lo! Thing of beauty, thing of love, from Dieu! Qu’il
la fait bon regarder, the 1st of Trois Chansons de Charles
d’Orleans, by Claude Debussy (1862–1918)
Eau pure du Bassin (Butterfly becomes Water Nymph), from Debussy’s
Chansons de Bilitis
Chant Pastoral (Circe seduces Glaucus), from Debussy’s
Chansons de Bilitis
Lovers Awake (Glaucus resurrects the shipwrecked lovers), from
a song, Après un Rêve by Gabriel Faure (1845–1924)
Hicaz Hümâyun Presrev (Venus and Cupid), Turkish
classical composer Neyzen Veli Dede
Bratets Kosi (Diana’s Temple), from a Croatian folk song
Additional incidental pieces by Harlan Hokin: Man’s Voice
Was on the Mountain, Procession of Mortals, Pan’s
Blessing, O Magic Sleep, Peona’s Song,
Magic of the Moon, Down a Fearful Dell, O Sorrow,
Bacchanalia, Olympian Fanfare
Endymion was the Shepherd King of Latmos, a location in Western Turkey
on the Aegean coast, just across a narrow strait from the Greek island
of Samos. Music of the Greek-Mediterranean-Turkish region establishes
the feeling of a pastoral shepherd band from the ancient world. Our Pre-show
includes pieces from Medieval Spain, Turkey, and Ancient Greece, played
on ud, ney flute, harp, and violin, evoking the world of Endymion.
The Rogue’s production of Endymion will be filled with
music chosen and arranged by our Musical Director, Harlan
Hokin. Harlan has performed extensively as a singer
in Europe and the United States, including a stint with the Oregon
Shakespeare Festival. He earned a doctorate in historical performance
practice from Stanford, and has taught at Stanford and UC Santa Cruz.
Harlan is an active workshop teacher and writer on topics of interest
to singers and early music performers. Recent theatrical involvement
has been with The Rogue Theatre as Musical Director for The Balcony
and The Dead and Arizona Onstage Productions as Vocal Director
for their production of Assassins. He is currently serving
as Artistic Director for the Arizona Early Music Society and is the
father of two nearly perfect teenagers.
Paul Amiel (harp, flute)
has extensively studied and performed Medieval, Turkish, and ancient
Chinese music both here and abroad. Paul currently directs the Summer
Thunder Chinese Music Ensemble (playing the qin and ditzu), the Turkish
Group Seyyah (playing ney and baglama), is a member of the art-rock
band Ecce Hobo, and writes music for theater and film.
Villa (violin)began taking violin lessons while
in the 7th grade at Roskruge Middle School. He is currently playing
8th chair in the first violin section of the Civic Orchestra of
Tucson. He is also beginning a string quartet and is open to giving
lessons. His love of music encompasses many styles and genres. As
well as music, Robert loves nature and all that is wild. He is currently
on the board of the Tucson Herpetological Society—dedicated
to conservation, education and research concerning the amphibians
and reptiles of Arizona and Mexico.
Michael Henderson (ud,
violin) first got on stage playing in punk bands in Tucson in high
school in the 1980s, then later studied ethnomusicology with Ter Ellingson,
Nusrat Fateh Ali Khan, Dariush Talai, and Sam-Ang-Sam. His long-term
project Fermented Music has been going since 1992. His latest recording
is the double CD Blue Stained Stems. He presently plays ud
for the Turkish group Seyyah.
Synopsis of Endymion’s
The story begins in a forest clearing with the people of Latmos celebrating
the abundance of summer and paying homage to Pan. Endymion, the young
king of Latmos, is in the throes of melancholy. He reveals to his sister,
Peona, that through a series of visions, he has fallen in love with Diana,
the Goddess of the Moon, and has fixed his ambitions on immortality.
After many days of wandering through the forest, Endymion comes upon
a water nymph, who tells him that he has a long journey ahead of him.
Endymion is then summoned by Diana into the Underworld. He enters a cave,
where he finds Cupid and the sleeping Adonis attended by a host of cherubs.
Cupid tells him the story of Venus and Adonis. Venus arrives to claim
Adonis and tells Endymion that, with persistence, his quest will end happily.
Endymion falls asleep to dream again of his love, the Moon.
As he continues through the caverns, Endymion discovers two rushing streams—Alpheus,
a river god, and Arethusa, a water nymph. As he listens to their perpetual
and agonized courtship and evasion, both streams tumble over a cliff and
their voices fade from hearing.
Endymion finds that his path has led him to the bottom of the sea where
he is accosted by Glaucus, an old man who tells him that he is the fulfillment
of an ancient oracle. Glaucus relates his story of his seduction by the
goddess Circe. He rejected her and she cursed him to live a thousand years
and then die alone. Glaucus then found a scroll which promised that if
he were to find all lovers who have died at sea and keep them safe, a
youth who loves a heavenly power would one day come to restore them all
(including Glaucus) to young life and love. Endymion, realizing that he
is the promised savior, fulfills his role and revives the doomed lovers.
Venus celebrates the happy scene and urges Endymion on in his journey.
Arriving back on dry land, Endymion meets an Indian Maid, who laments
her lonely life. He falls in love with her. They are swept into the heavens,
where Endymion, in a dream, finds that this rarefied atmosphere is clearly
not his home. They return to the earth. He realizes that his earthly love
for the Indian Maid means that he must relinquish his dreams of immortality.
He returns to Latmos, and at Diana’s temple, he awaits his final
fate when the Moon Goddess reveals it was she all along, disguised as
the Indian Maid, who won his love. He is left forever asleep in the loving
arms of the Moon.
Masks in Endymion
Dr. Patricia Gallagher from UC-Santa Cruz spent a delightful week with
the Rogue ensemble in August, conducting workshops in mask and movement.
Much of the staging of the production grew out of these revitalizing workshops.
We are grateful to Patty for her enthusiastic and enlightening creative
Half-masks of the gods and goddesses are sculpted by Beckie Kravetz (www.themaskstudio.com),
with painting and decoration by Joseph McGrath and Cynthia Meier.
Mask of Young Glaucus is a Balinese mask by I. Nyoman Setiawan.
Circeís Seduction of Young Glaucus
(Susan Arnold and Chris Hokin)
Photo by Cynthia Meier
We have found, in the course of this project that the classical
mythologies of the Mediterranean were, and are, remarkably pliant.
What might be true for Apollo or Dionysus on one island or in one
city was entirely different a hundred miles, or a hundred years
away. Keats, in his retelling of Endymion, has extended this phenomenon
across civilizations (he is not alone in this). Hence, notions of
Paradise, and other Christian ideas, permeate this version of Greco-Roman
Keats has used the Roman names for these deities (although a careful
ear will hear a Greek name here and there in the text). Keeping
in mind that there are no hard and fast definitions for these mythological
presences, we offer some guidelines to help with the overall world
of western classical mythology:
Pan: The Greek god of flocks and shepherds.
His fearsome appearance caused panic to those who first saw him.
He had horns, a beard, a tail and feet of a goat. He terrified his
mother, having been born fully-grown and she fled. Woodland nymphs
raised him. A nymph that he pursued changed into a “reed”
to avoid him—the reed became his flute!
Satyrs: sons of Pan. They loved prankish merriment.
They had ears and feet of a goat with human bodies.
Endymion: (One version) He was a good and kind
ruler always retaining his youthful look but was very tired because
the moon goddess (Selene) solicited his love and he couldn’t
handle it so he agreed to her proposal only on the condition that
Zeus would grant him immortality and perpetual
sleep. His terms were accepted and he was transported to the Heavens
(after begetting 50 daughters.) He was then placed on a
soft couch to remain in ageless repose.
Venus: (The Roman name for Aphrodite) She was
the beauty emerging from the clean foam of the sea. Her love power
was so great that lions, wolves, panthers, and tigers followed her
like tame animals. Where she touched ground with her foot, flowers
sprang. She did much good but she was not always benign. She caused
Circe to be cruelly spurned by Odysseus. It was she who claimed
the prize of Discord’s golden apple bearing the inscription
“To the Fairest” by bribing the judge, a Trojan prince
named Paris, with the most beautiful woman in the world: Helen,
a Greek. Unfortunately, the Greeks were not in on the deal, and
the Trojan War ensued.
Diana: (Roman name for Artemis) She was a daughter
of Zeus and twin sister of Apollo. She was a goddess of the chase
who hunted daily with her band of lovely nymphs. She and her brother
were born beneath Mt. Cynthus on the island of Delia—hence
she was often called Cynthia. (It seems she became the successor
to Selene as goddess of the “chaste” moon. This fusing
of deities was a common practice and happened’ in later times.)
Selene: The goddess of the moon. Although she
mated with Zeus, the object of her celestial caresses and love was
Endymion. She bore 50 daughters by him bestowed while he lay in
perpetual sleep. In later times she was completely identified with
Artemis under her Roman name, Diana.
| Venus, by Rosetti
|Bacchus, by Caravaggio
Bacchus: (The Roman name for Dionysus) The wine
God, son of Zeus—born out of his thigh. He was honored into
“the sacred mysteries”, which no man could witness so
he was always accompanied by women. He did many fortuitous things
in his continuing travels aiding other gods. His drunken ways were
a later invention attributed to the Romans and Bacchus.
Circe: A goddess who established herself on the
mythical island of Aeaea where she exercised the powers of sorcery.
She turned those who were shipwrecked on her island into beasts.
She had a sweet singing voice, which she used to lure men.
Cupid: (The Roman name for Eros) He was the most
celebrated child of Venus and was the capricious creator of sensual
love. He was usually depicted as an infant equipped with wings,
a bow and quiver filled with love darts.
Arethusa and Alpheus: Arethusa was a Naiad
(water nymph) who was pursued by Alpheius, a river God. He fell
passionately in love with her. She fled from his amorous behavior
from Greece to Sicily and there changed herself into a beautiful
well. The persistent old river god however speedily flowed under
the sea and mingled his amorous waters with hers!
The Arcadians came from the mountain of Cyllene,
on Greece’s Peloponnesus peninsula.
Glaucus: A sea God who fell in love with the nymph,
Scylla. As he pursued her, he ran into Circe who
became jealous and by her magic bewitched Glaucus who immediately
forgot all about Scylla. One version of Scylla’s fate was
that Circe turned her into a dog-like monster with six fearful heads
and twelve feet.
Echo: A nymph who fell passionately in love with
Narcissus, who was cold and indifferent to her overtures of love.
Hera was offended by Echo (because she was an excessive chattering
nymph) and reduced her to a simple repetitive power of speech, which
gave her the last (and alas only) word in all things. Her form faded
with grief till at last all her flesh shrank away. Her bones were
changed into rocks and there was nothing left of her but her voice.
| Circe, by Waterhouse
Speak not of grief, young stranger.
(Christopher Burnham, Leanné Whitewolf and Cynthia Meier)
Photo by Tim Fuller
||David Alexander Johnston
||Joan Van Dyke
Actors’ Equity Association,
the Union of Professional Actors and Stage Managers in the United
appearing under a Special Appearance Contract
||Adam Hostetter, Erin Smith
||Beckie Kravetz, I. Nyoman Setiawan
|Poster and Program
||Carol Elliott, James Naughton
ZUZI! Dance Company
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(Circe) works in theater and film as an actor,
director, writer and producer. She most recently appeared as Gertrude
in Southwest Shakespeare’s production of Hamlet,
for which she received an Arizoni nomination for Best Actress. Her
roles in local productions include Vita Sackville-West in White
Garden, Polina in The Seagull, April in Hotíl Baltimore,
and FS in Anger Box. Her regional credits include Maria
Callas in Master Class, Molly in Molly Sweeney,
Patsy in A Closer Walk with Patsy Kline, Maria in Twelfth
Night, Lady Macbeth in Macbeth, Kathy in The Kathy
and Mo Show and Halbrech in Scotland Road. Susan is
a member of Screen Actorís Guild and has several commercial and
independent film credits. She received her M.A. from the University
of Arizona and currently serves as Artistic Director for C.A.S.T.,
Clean and Sober Theatre in Tucson. She is thrilled to be working
on this production with The Rogue.
Burnham (Endymion), a native of Tucson, has
spent much of his life on the stage, getting his start in children’s
theater and working his way up through the Theater Department of
Salpointe Catholic High School, where some of his favorite roles
included Henry Higgins (My Fair Lady), Captain Keller (The
Miracle Worker), and King Sextimus (Once Upon a Mattress).
Currently a senior in the Theater program at the University of Arizona,
Christopher’s roles have included four ensemble roles in Guys
and Dolls, Talthybios in The Trojan Women, Al in
The Philadelphia, Adam in The Creation of the World and
Other Business, and Mr. Bergin in The Rogue Theatre’s
The Dead. Christopher would like to express his joy at
having the opportunity to work with such a great cast and director,
bringing such beautiful language to the stage. Also, he would like
to thank his parents, sister, and good friends for their love, support,
(Alpheus) has been active in the Tucson theater community
since 1999. With experience acting, directing, and working backstage,
he has contributed his efforts to a variety of local groups, including
Live Theatre Workshop, Tucson Community Theatre, Wilde Playhouse,
Catalina Players and many others. One of the co-founders of Tucson
Theatre Ensemble, he is particularly proud to be a part of their
outreach program, which takes live performances out to underserved
communities. Tony is no stranger to the camera either, having taken
part in numerous local films and cable television projects.
Gallagher (Arethusa): This is Tanaya’s third
professional show, the first two being The Rogue Theatre’s
productions of The Balcony and The Dead. She performed
in many shows at Catalina Foothills High School including Cabaret,
Jake’s Women, The Children’s Hour
and Summer and Smoke. Currently she is training to become
a fitness instructor at Canyon Ranch and is attending Pima Community
College where she runs cross country.
Hokin (Water Nymph/Scylla/Ensemble) is a sophomore
in Spanish at the University of Arizona, and is more than thrilled
to be a part of the Rogue Theatre’s production of Endymion.
She got her start performing at St. Philip’s in the Foothills
Episcopal Church, where she sang such coveted solo pieces as Leonard
Bernstein’s Chichester Psalms and Gabriel Fauré’s
Pie Jesu. She has worked extensively with the BASIS School,
where she most recently played Bella in Lost in Yonkers,
Titania in Shakespeare’s A Midsummer Night’s Dream,
and directed The Compleat Wrks of Wllm Shkspr (Abridged).
Carolyn has also recently performed with The Rogue Theatre in The
Dead. Carolyn is also currently a member of Tucson’s
popular improv troupe Not Burned Out Just Unscrewed.
Hokin (Adonis/Young Glaucus/Ensemble) is a senior
at Tucson High School. He has apperared in a few school plays such
as A Midsummer Night’s Dream (Theseus), Oklahoma
(Ali Hakim), and Romeo and Juliet (Mercutio), but has never
been part of a real theatre company. Hence, this will be the first
major production he has ever participated in. In addition, Chris
hold a second degree black belt in Tae Kwon Do and Tang Soo Do,
and has recently achieved a black belt in Haidong Gumdo (Korean
sword). He also plays electric/acoustic guitar. Furthermore he is
more than happy to be working in such a wonderful atmosphere as
the Rogue Theatre.
(Oracle/Elephant/Ensemble) began his acting career as a child actor
in Chicago radio. In college, he played John Adams in a summer-long
production of The Common Glory. He wrote and acted in radio
dramas produced by the Broadcasting Service of the University of
Michigan and came home to Chicago as a production director at NBC’s
affiliate, WMAQ. Subsequently, he taught philosophy at Roosevelt
University in Chicago. Tucson audiences have seen him in readers’
theatre performances of No Exit and The Critics, as
the Rabbi in Borderlands Theater production of Vilna’s
Got a Golem, and in The Rogue Theatre’s The Balcony
and The Dead. He’s delighted to be part of Endymion.
Alexander Johnston (Cupid) has recently been seen
on stage with Arizona Theatre Company in The Fantasticks and
Much Ado About Nothing and in a variety of roles in My
Fair Lady. His other professional theatre credits include major
roles in Joseph and the Amazing Technicolor Dreamcoat,
Big River, I Do! I Do!, Odd Couple, and
The Foreigner. He performed with Arizona Opera in Threepenny
Opera, Barber of Seville, Carmen, and Girl
of the Golden West. His television and movie credits include
Day of Redemption, Spin, The Unflyable Plane
for BBC, Fast Getaway II, Tank Girl, and several
regional and national commercials and industrial films. Local Arizona
audiences may recognize David from his roles as Marvin in Falsettoland,
Buzz in Love, Valour, Compassion! and P. T. Barnum in Barnum.
McGrath, Artistic Director (Poet) is a graduate
of the Juilliard School of Drama. He has toured with John Houseman’s
Acting Company, appearing in Pericles, Tartuffe,
Twelfth Night, and The Country Wife. At the Utah
Shakespearean Festival, Joe appeared in Hamlet, Henry
IV: Part I, and Much Ado About Nothing. In New York
City, he directed Rough Magic: A Shakespeare Quartet. In
Tucson, he is a frequent performer with Ballet Tucson appearing
as an Ugly Stepsister in Cinderella, Bottom in A Midsummer
Night’s Dream, VanHelsing in Dracula and, perennially,
as Drosselmeyer in The Nutcracker. He has also performed
with the Arizona Theatre Company, Tucson Art Theatre, Arizona OnStage,
Green Thursday, Damesrocket Theatre, and Old Pueblo Playwrights
in such roles as Trigorin in The Seagull, Sam Byck in Assassins,
John in Oleanna, and This Rock in Anger Box. Joe
is also a scenic designer and owns Sonora
Theatre Works with his wife Regina Gagliano, producing theatrical
scenery and draperies. Most recently, Joe directed The Balcony,
performed The Fever, and performed in The Dead
for The Rogue Theatre and also appeared in Arizona Opera’s
Meier, Managing Director
(Diana) has performed in The Balcony (The Rogue Theatre),
A Streetcar Named Desire (Arizona Theatre Company),
Blithe Spirit, A Midsummer Night’s Dream
(Michigan Repertory Theatre), Romeo & Juliet, Chicago
Milagro (Borderlands Theatre), Top Girls (Damesrocket
Theatre), A Namib Spring (by Patrick Baliani, winner of
the 1999 National Play Award), A Nightingale, Smirnova’s
Birthday, The Midnight Caller, The Ballad of the
Sad Cafe (Tucson Art Theatre), and A Maid’s Tragedy
(directed by Domini Blythe of the Royal Shakespeare Company). Most
recently, Cynthia adapted and directed James Joyce’s The
Dead and directed Wallace Shawn’s The Fever
for The Rogue Theatre and directed Chekhov’s The Seagull
(featuring Ken Ruta) for Tucson Art Theatre. Cynthia is a Division
Dean at Pima Community College and holds a Ph.D. in Performance
Studies from the University of Arizona.
Morden (Glaucus) appeared most recently as Constable
Smith in the Arizona Opera’s production of The Threepenny
Opera as well as singing in the chorus of The Flying Dutchman.
As an actor, he has performed locally with 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 is a co-founder.
As a director, he has worked with Green Thursday (Shakespeare’s
R&J, White Garden), Oasis Chamber Opera and Arts
For All. A member of the Tucson Symphony Chorus, he will delve once
again into the world of opera this spring in the chorus of Arizona
Murphy (Peona) (formerly Liebert) is thrilled to
be back on a Tucson stage with her Rogue Theatre debut. Caroline
has performed at the Union Colony Dinner Theatre in Colorado as
Sarah Brown in Guys and Dolls, and as Wife/Ensemble in
Joseph and the Amazing Technicolor Dreamcoat, as well as
in off-off Broadway shows in New York and as part of the 42nd Street
cast in the Gypsy of the Year Awards, Palace Theatre, Broadway.
Caroline was last seen in Tucson in the Arizona Rose Theatre Company
as Marion in Robin Hood, and at University of Arizona Opera
Productions such as The Fairy Godmother in Cendrillon and
Valencienne in The Merry Widow. Caroline received her Bachelor
of Music from the U of A, and studied acting there and in New York.
Naughton (Venus) performed most recently in The
Rogue Theatre’s The Balcony and The Dead.
She is very pleased to be returning to the stage after a ten-year
absence. Her Arizona credits include Nunsense (Flagstaff
Festival of the Arts), Brighton Beach Memoirs (Serendipity
Playhouse), A Christmas Carol (Gaslight Theatre); and Wigged
Out! (Stray Theatre Company). Arlene also toured with the Nebraska
Theatre Caravan and performed in Lady Audley’s Secret
(Imperial Hotel) and I’ll Be Back Before Midnight
(Derby Dinner Playhouse). She is a licensed marriage and family
therapist and works at Cottonwood de Tucson.
Rankin (Bacchus) brings nearly twenty years of various
stage experience to share with The Rogue’s brilliant and creative
ensemble. He is grateful for the opportunity to play the God of
Wine in this production of Endymion. Memorable past performances
on Tucson stages include portrayals of Hercule Poirot in Agatha
Christie’s Black Coffee at Live Theatre Workshop,
Marcus in Titus Andronicus at Etcetera Late Night Theatre,
and Mark Jennings in Borderlands’ production of Guatanamo.
Lately Chuck has been practicing his juggling skills, concurrently
directing Ira Levin’s Deathtrap for Live Theatre
Workshop while rehearsing for Endymion.
Dyke (Oracle/Ensemble) grew up in Tucson and performed
during her young teens in what is now the Cabaret Theatre. After
studying drama, music and dance in Boston, she transferred to the
School of Theatre Arts at the U of A, where her favorite role was
Joan in The Lark. Before returning for a Master’s
Degree in Children's Theatre, she worked with Sandy Rosenthal and
performed the role of the Wife in Rashomon at the Temple
of Music and Art. She joined the Invisible Theatre in its formative
years where she acted, wrote plays and directed the Children’s
Workshop. She has studied pantomime in Los Angeles, has worked with
Marcel Marceau for several summers and has worked as a Wolf Trap
Artist in Head Start Centers in Tucson. Last January she performed
with Live Theatre Workshop in Dearly Departed. She is very
pleased to be a part of the Rogue Theatre for its production of
Whitewolf Charlton (Echo/Indian Maid/Ensemble),
before moving to Southern Arizona, received her formal theatre and
dance education from Northwestern College and the University of
Wisconsin-Milwaukee. She performed in numerous Midwestern productions
including The Miracle Worker, The Good Woman of Setzuan,
Dracula, Pippin and The Sound of Music.
She has studied with the Milwaukee Ballet as well as the internationally
renowned African-American dance company, Ko-Thi. Her Arizona Credits
include the role of Hattie Dealing in Laundry and Bourbon
(The Studio for Actors) and Helga Ten Dorp in Deathtrap
(Tucson Theatre Ensemble). Leanne is grateful for the opportunity
to be back on the stage after a long absence and is proud to be
a part of The Rogue Theatre ensemble cast. She is especially thankful
to Shelene, Dixie, Lakota and the founding members of the Florence
Players who bless her journey every day. She lives with her loving
and supportive husband, Russ and a large four-legged family.
Schedule for Endymion
Location: Zuzi’s Dance Theater, Historic Y, 738 N. 5th Avenue at
Preshow of live Mediterranean music begins 15 minutes before curtain
Thursday September 28, 7:30 pm (Preview)
Friday September 29, 7:30 pm
Saturday September 30, 7:30 pm
Sunday October 1, 2:00 pm matinee
Thursday October 5, 7:30 pm
Friday October 6, 7:30 pm
Saturday October 7, 7:30 pm
Sunday October 8, 2:00 pm matinee
Thursday October 12, 7:30 pm
Friday October 13, 7:30 pm
Saturday October 14, 7:30 pm
Sunday October 15, 2:00 pm matinee