Recipient of the
2012 American Theatre Wing
National Theatre Company Award

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Press

Wilde’s World
Rogue and Artifact Dance create magic

Review of A House of Pomegranates by Sherilyn Forrester in the July 13 Tucson Weekly

Theatre becomes poetry in Rogue’s House of Pomegranates

Review of A House of Pomegranates by Chuck Graham on July 11 in Let The Show Begin! at TucsonStage.com

Christopher Johnson on the Wilde side

Preview of A House of Pomegranates by Kathleen Allen in the July 6 Arizona Daily Star

 

Read others’ reviews of The Rogue Theatre, or write your own review on TripAdvisor!

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Direction

	Joseph McGrath (Director) is a graduate of the Juilliard School of Drama and is the Artistic Director for The Rogue Theatre.  For The Rogue, Joe authored and directed Immortal Longings, and directed Uncle Vanya (2016 Mac Award for Best Director), The Bridge of San Luis Rey, By the Bog of Cats, The Lady in the Looking Glass, Dante’s Purgatorio, Mistake of the Goddess, Mother Courage and Her Children, As I Lay Dying, The Real Inspector Hound (2010 Mac Award for Best Director), The Decameron, Our Town, Red Noses, Endymion, The Maids (winner of the Arizona Daily Star 2007 Mac Award for Best Play), and The Balcony. Joe was most recently seen as Macbeth in Macbeth, Fitz in Penelope, in the ensemble of The White Snake, Roy Cohn in Angels in America Part One: Millennium Approaches, Mr. Taylor in Tales of the Jazz Age, a singing peasant in Miss Julie, as Claudius in Hamlet and Rosencrantz and Guildenstern Are Dead, Lord Henry Wotton in The Picture of Dorian Gray, Shylock in The Merchant of Venice, Vladimir in Waiting for Godot, Johnnie ‘Rooster’ Byron in Jerusalem, Myron Berger in Awake and Sing, Bernard Nightingale in Arcadia, Duke Vincentio in Measure for Measure, and Richard, Duke of Gloucester in Richard III. In 2009 Joe won the Arizona Daily Star Mac Award for Best Actor for his portrayal of Tobias in A Delicate Balance. He has toured with John Houseman’s Acting Company, performed with the Utah Shakespearean Festival, and he is a frequent performer with Ballet Tucson appearing in The Hunchback of Notre Dame, Cinderella, A Midsummer Night’s Dream, Dracula and The Nutcracker. He has also performed with Arizona Theatre Company, Arizona Opera, Tucson Art Theatre, and Arizona OnStage. Joe owns, with his wife Regina Gagliano, Sonora Theatre Works, which produces theatrical scenery and draperies. Joseph McGrath’s direction of A House of Pomegranates is supported in part by a generous gift from Carol Mangold, in memory of Bill Mangold.
Ashley Bowman (Choreographer) is a founding member of Artifact Dance Project. Since 2009, she has choreographed and directed several original large-scale works for the company. She most recently choreographed and directed Surrounding Dillinger in collaboration with Cameron Hood. The project was reviewed as: “It’s contemporary dance. It’s theater. It’s a concert. And it is, simply, astounding.” —Kathy Allen, Arizona Daily Star. She has helped shape many collaborations in music, art and film on behalf of the company. Ashley holds a BFA and MFA from the University of Arizona School of Dance where she was the recipient of the Maria Mandel Scholarship, The Outstanding Graduate Teaching Assistant Award, and the Creative Achievement Award. She is the recipient of the 2011 Buffalo Exchange Arts Award. Ashley specializes in professional training for adult and young adult students with a strong emphasis in contemporary dance. She was choreographer for The Rogue Theatre’s production of Tales of the Jazz Age. Ashley Bowman’s choreography of A House of Pomegranates is supported in part by a generous gift from Meg and Peter Hovell.
	Jake Sorgen (Music Direction and Original Composition) was music director for Macbeth, Penelope, The White Snake, Uncle Vanya, Angels in America Part One, The Bridge of San Luis Rey, Miss Julie, By the Bog of Cats, Hamlet, Rosencrantz and Guildenstern Are Dead, The Merchant of Venice, The Lady in the Looking Glass, Waiting for Godot, Jerusalem and Awake and Sing at The Rogue Theatre, and has performed as a musician at The Rogue in Purgatorio and Betrayal. Jake is an improviser/composer/musician originally from Woodstock, New York, and has composed for and performed with musicians, actors, and dancers in Amsterdam, Austin, Boston, New York, and Tucson. He performs solo and in music and interdisciplinary ensembles around the world and is currently recording his 4th solo album. Most recently Jake studied guitar with Ed DeLucia, improvised music with violist Mary Oliver, and movement with dancer Katie Duck and performed and studied with members of the Instant Composers Pool and the Creative Music Studio in the Netherlands and New York. Jake Sorgen’s music direction is supported in part by a generous gift from Susan Tiss.

Notes from the Director

This project, like last summer’s Tales of the Jazz Age, has been a wild and unpredictable enterprise. To begin with, Oscar Wilde, never one to settle into accepted templates, was forever turning unexpected corners. Hence, in staging these short stories, we’ve searched for the appropriate presentation for odd and inappropriate developments. Our adapter, Christopher Johnson, has chosen three distinct stories of vastly differing characters. We begin with a comedy, comfortably set in the drawing rooms and libraries of late nineteenth century British aristocracy. It depicts the choice of a mad and foolish exploit as a virtuous duty of a Victorian gentleman. The second story is an allegorical fairy tale, set in an indeterminate European period, depicting the friendship of a bird and a statue in an ultimate act of altruism. And finally, we close with a rich and detailed parable, set in a vaguely biblical Middle East. In this most poetic and challenging story of our evening, Wilde, among other things, questions the fundamental nature of the soul, and organized religion’s disparaging of the flesh. It very much turns the tables on us—and I can only think, even more so on Wilde’s Victorian audience. Working with Ashley Bowman and Artifact Dance Project has been a gift in approaching Wilde’s unexpected nature. The shifts to and from the dance idiom, and its expression throughout, in Ashley’s hand, seem often to bring a smile to Wilde’s work, and fit comfortably with his insistent subversiveness. There is a sly spark that the dancers have brought to the work that has given it a distinctive style. Our little summer skit seems to bring our full battery of resources to bear. Each of our performers is playing a broad variety of roles, Don Fox has a busy lighting design by necessity, Jake Sorgen has to bring a musical feel to three different worlds and accompany dancers as well, and Cindy’s got the same challenges in the costuming. Giving these wonderful artists the room to find their way in, quickly and comfortably, has been my task. The project has been bigger than we anticipated, but as you will see, we’ve nevertheless left a great deal to your imagination. That is the Rogue way, and, we think, very much as it should be. Joseph McGrath, Director director@theroguetheatre.org

Music Director’s Notes

While there are many reasons I’ve found great joy working as a musician and composer for the theatre, perhaps the biggest is the variety of sounds, styles, and contexts I encounter from show to show. Occasionally I am fortunate enough to explore a large swath of musical approaches in one evening. A House of Pomegranates provides such an opportunity. These three stories are so distinct that I’ve been able to explore the refined Viennese waltz, a Satie-by-way-of-Copland impressionist style, and Middle-Eastern infused Celtic style guitar all in about two hours. And then there is the fascinating combination of creating music that suits both Wilde’s prose and Ashley Bowman’s incredible choreography. Text—particularly that of Wilde’s—has its own rhythms to it, making it difficult to approach from a strictly musical understanding of timing and pace. Creating music, often in real time with Ashley, that can sit in and around the text while at the same time provide the rhythmic backbone to complement the choreography, has been a wonderful experience. My deepest thanks to Ashley and Joe for their creativity and support and to the cast of actors and dancers whose hard work propelled my efforts on this wonderful project.  —Jake Sorgen, Music Director and Composer

Preshow Music

All music composed by Jake Sorgen

“Anxiety Waltz” (from Lord Arthur Savile’s Crime)
“Swallow and the City” (from The Happy Prince)
“The Fuller’s Field” (from The Fisherman and His Soul)

 

 

Bryn Booth as the Little Mermaid and Ryan Parker Knox as the Fisherman in The Fisherman and his Soul

Author

	Oscar Fingal O'Flahertie Wills Wilde (Author, 1854–1900) was an Irish author, playwright and poet. After writing in different forms throughout the 1880s, he became one of London's most popular playwrights in the early 1890s. Today he is remembered for his epigrams, his novel The Picture of Dorian Gray, his plays, and his short stories, as well as the circumstances of his imprisonment and early death. Wilde's parents were successful Anglo-Irish Dublin intellectuals. At university, Wilde proved himself to be an outstanding classicist, first at Trinity College in Dublin, then at Oxford. He became known for his involvement in the rising philosophy of aestheticism, led by two of his tutors, Walter Pater and John Ruskin. After university, Wilde moved to London as a spokesman for aestheticism, trying his hand at various literary activities: he published a book of poems, lectured in the United States and Canada on the new "English Renaissance in Art,” and then returned to London where he worked prolifically as a journalist. Known for his biting wit, flamboyant dress and glittering conversation, Wilde became one of the best-known personalities of his day. At the turn of the 1890s, he refined his ideas about the supremacy of art in a series of dialogues and essays, and incorporated themes of decadence, duplicity, and beauty into his short stories and his only novel, The Picture of Dorian Gray. He wrote Salome (1891) in Paris but it was refused a license for production in England due to the absolute prohibition of Biblical subjects on the English stage. Unperturbed, Wilde produced four society comedies in the early 1890s, which made him one of the most successful playwrights of late Victorian London. At the height of his fame and success, while his masterpiece, The Importance of Being Earnest (1895), was still on stage in London, Wilde had the Marquess of Queensberry prosecuted for libel. The Marquess was the father of Wilde's lover, Lord Alfred Douglas. The trial unearthed and utilized evidence that caused Wilde to drop his charges and led to his own arrest and trial for gross indecency with other men. After two more trials he was convicted and imprisoned for two years' hard labor. Upon his release he left immediately for France, never to return to Ireland or Britain. He died destitute in Paris of cerebral meningitis at the age of 46.

Playwright

	Christopher Johnson (Playwright) is The Rogue’s General Manager, and has also served as an actor (Angels in America: Millennium Approaches), director (Penelope), stage manager (By the Bog of Cats) and adapter (The Picture of Dorian Gray) over the past six seasons since first appearing on the Rogue stage as Jewel in As I Lay Dying. Favorite Tucson credits include Cabaret, The Year of Magical Thinking, Hedwig and the Angry Inch, Wit, Thom Pain (based on nothing), Dying City, The Rocky Horror Show, Bug, Corpus Christi, and Titus Andronicus, to name a few. His recent adaptation of Charlotte Perkins Gilman’s The Yellow Wallpaper will see its first full production at The Scoundrel & Scamp Theatre in the Fall of 2017.

 

Hunter Hnat as Lady Clem and Ryan Parker Knox as Lord Arthur in Lord Arthur Savile’s Crime

 

Holly Griffith as The Happy Prince and Claire Hancock as the Swallow in The Happy Prince

Photo by Tim Fuller

 

Cast
Sybil Merton		Bryn Booth
The Happy Prince		Holly Griffith
The Swallow		Claire Hancock
The Soul		Hunter Hnat
Ensemble		Brendan Kellam
Lord Arthur		Ryan Parker Knox*
Duchess Paisley		Allie Knuth
Podgers		Steve McKee
Lady Windermere		Cynthia Meier
Ensemble		Nathanael Myers
*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States
Cast members play multiple roles in each of the three stories. Click here to see a complete cast list for all roles.
Music
Jake Sorgen

 

	Bryn Booth (Sybil Merton)  is a graduate from the BFA Acting program at the University of Arizona and member of the Equity Membership Candidacy program. She is thrilled to return to the Rogue after performing in the Rogue’s productions of The White Snake and Macbeth. Bryn was recently seen as Juliet in Romeo & Juliet with Tucson’s Shakespeare in the Park. She performed many times with Arizona Repertory Theatre as Bianca in Othello, Justine in Frankenstein, and Fritzie in Cabaret. In recent years, she had the wonderful pleasure to understudy for Arizona Theatre Company’s productions of Romeo & Juliet as Lady Montague and Lady Capulet, and Of Mice and Men as Curley’s Wife. Bryn is overjoyed to join the Rogue’s ensemble for their upcoming 2017–2018 season. Bryn Booth’s performance is supported in part by a generous gift from Norma Davenport.
Holly Griffith (The Happy Prince) is a member of the Acting Ensemble at The Rogue Theatre and has appeared in Macbeth, The White Snake, Uncle Vanya, Angels in America Part One, Tales of the Jazz Age, The Bridge of San Luis Rey, Miss Julie, By the Bog of Cats, Rosencrantz and Guildenstern Are Dead, Hamlet, The Merchant of Venice, The Lady in the Looking Glass, Jerusalem, Purgatorio and Arcadia. She has also served as Box Office Assistant, Dramaturg, Stage Manager, and Co-Producer of the John & Joyce Ambruster Play-Reading Series at The Rogue. Holly dabbles in tap, jazz, and ballet dance, and has performed and choreographed for Emerson Dance Company, X-Dance, and Emerson Urban Dance Theatre in Boston, Massachusetts. Holly holds an MA in English Literature from the University of Arizona, teaches Freshman Composition, and has a fierce interest in the history, culture, and literary tradition of Ireland. Holly Griffith’s performance is supported in part by a generous gift from Bill & Barb Dantzler.
	Claire Hancock (The Swallow) performs both nationally and internationally as a dancer, and has been a guest teacher and choreographer for organizations including the Limon Institute, Broadway Theatre Project, Arizona Theatre Company, Arizona Opera, Tucson Symphony Orchestra, and True Concord Voices and Orchestra. She holds a Master of Arts degree in European Dance Theatre from the Laban Centre in London, England, and earned both a Bachelor and Master of Fine Arts degree in dance from the University of Arizona. In 2009, together with colleague Ashley Bowman, she formed Artifact Dance Project, a professional contemporary dance company dedicated to presenting original dance works with live music. Claire is co-artistic director, founding member and rehearsal director for the company. For The Rogue Theatre, she has appeared as the Third Witch in MacBeth and Nancy Lamar in Tales of the Jazz Age. Claire Hancock’s performance is supported in part by a generous gift from Susan Collinet.
Hunter Hnat (The Soul) is working with The Rogue Theatre for the first time and is very excited to start the season off working on this wonderfully delicious performance of A House of Pomegranates. He is a Tucson local who has most recently been seen in the Tucson Fringe Festival’s Beer with the Bard. He is a U of A alumi with his BFA in Musical Theatre class of 2015 and has plans to take his career to Chicago where he can live happily ever after with his amazing fiance. Enjoy the show! Hunter Hnat’s performance is supported in part by a generous gift from Rhonda & Robert Fleming.
	Brendan Kellam (Ensemble) is an up and coming tap phenom from Tucson, Arizona. He most recently performed at the Lincoln Center in New York City as the featured tap dancer with the Tucson Jazz Institute in a tribute to Bill Robinson. Brendan is a well-rounded dancer having trained extensively in jazz, ballet, modern, hip-hop, and ballroom, but his heart lies with tap. He is an energetic tap dance performer and choreographer with a fresh modern style who has traveled all over the U.S. to study with many masters including Jason Samuels Smith, Gregg Russell, Logan Miller, Lady Di’ Walker, Bril Barrett, and the late Professor Robert L. Reed. Brendan has been seen performing with Danswest Dance Company since 2002 under the direction of Megan Maltos, as well as the Phoenix-based tap company, Tap 24.7. At age 12, Brendan began his journey as a choreographer. His work has been selected to be performed in the Big Apple Tap Festival in New York City and the Motor City Tap Festival in Detroit. He has choreographed for studios in various parts of the country producing top awards and accolades. Brendan is also a member of Artifact Dance Project, a modern based professional dance company in Tucson. Brendan Kellam’s performance is supported in part by a generous gift from Norma Davenport.
Ryan Parker Knox (Lord Arthur)   A House of Pomegranates marks Ryan’s 25th production at the Rogue spanning more than five seasons as a member of the Acting Ensemble. He remains humbled by the fierce intellect of his fellow company members and the gracious support from the faithful Rogue patrons. Ryan is a South Dakota native and graduate from USD in 1999 with a BFA in Acting, and also spent over a decade performing in Minneapolis/St Paul before arriving in Tucson in the autumn of 2011. He would like to sincerely thank his family and friends for all their support through all the ups and downs. Ryan Parker Knox’s performance is supported in part by a generous gift from Karen DeLay & Bill Sandel.
	Allie Knuth (Duchess Paisley) graduated from the University of Arizona BA Theatre Arts program one year ago, and has since appeared in Tales of The Jazz Age at The Rogue Theatre, Tesoro + Artifact and Brittney Katter + Artifact as a member of ADP II, and created and co-directed IDENTITY as a part of Live Theatre Workshop’s Etcetera Series. She has performed across Europe twice with International Dance Alliance, and has dedicated several years to dancing with and choreographing for Camalo Dance Company to support LGBTQA youth causes. In her free time, Allie enjoys painting, blogging, and traveling. She has been the dramaturg for Arizona Repertory Theatre’s The Comedy of Errors, The Tempest, and Twelfth Night. Allie is inspired by language, communication, and culture and is a budding practitioner of Theatre of the Oppressed. Allie Knuth’s performance is supported in part by a generous gift from anonymous donors.
Steve McKee (Podgers) has appeared at The Rogue in Awake and Sing, Measure for Measure, Richard III, Mother Courage and Her Children, and The Winter’s Tale. Steve has worked with many local theatre companies and been featured in independent and student films. Favorite roles include Harpagon in The Miser, Halder in Good, Terrence in Breaking Legs, A.C. in Death of Zukasky and Alan in God of Carnage. Steve also performs regularly with The Gaslight Theatre. Steve McKee’s performance is supported in part by a generous gift from Paul & Mary Ross.
	Cynthia Meier (Lady Windermere) is Co-Founder and Managing and Associate Artistic Director for The Rogue, and has appeared in Macbeth, Uncle Vanya, Angels in America Part One, The Bridge of San Luis Rey, By the Bog of Cats, The Lady in the Looking Glass, Awake and Sing, Purgatorio, Measure for Measure, Mistake of the Goddess, Mother Courage and Her Children, The Night Heron, The New Electric Ballroom, As I Lay Dying, Major Barbara, The Real Inspector Hound, The Decameron, Ghosts, Not I, Our Town, A Delicate Balance, Immortal Longings, Six Characters in Search of an Author, Red Noses, The Goat (2008 Mac Award for Best Actress), The Maids, Endymion, and The Balcony. Cynthia has been nominated for seven Mac Awards for Best Actress from the Arizona Daily Star. She has also performed in Cat on a Hot Tin Roof (Arizona Repertory Theatre), A Streetcar Named Desire (Arizona Theatre Company), Blithe Spirit and A Midsummer Night’s Dream (Michigan Repertory Theatre), Romeo & Juliet and Chicago Milagro (Borderlands Theatre) and A Namib Spring (1999 National Play Award winner). Cynthia co-founded Bloodhut Productions, which toured throughout the western United States. Cynthia holds a Ph.D. in Performance Studies from the University of Arizona. Cynthia Meier’s performance is supported in part by a generous gift from Todd Hansen.
Nathanael Myers (Ensemble) was born in Glendale, Arizona, finding his way to Tucson to attend the University of Arizona, where he earned his BFA in Studio Art, with an emphasis in Two-Dimensional Studies. With a background of visual art and music, playing the saxophone since he was 13, creating and performing has always been a soul-feeding passion. Nathanael began studying dance a year and a half ago and is so thankful for the support and training given at Artifact Dance Project. This is Nate’s second season with Artifact and first time being involved in the theatre. Blessed with this opportunity to take the stage with The Rogue Theatre, he is eager to immerse himself in another medium of art. Continuing this passion for a Renaissance approach to art, he looks forward to cross medium overlap in his art practices. Nathanael Myers’ performance is supported in part by a generous gift from anonymous donors.

 

Holly Griffith as the Acolyte and Hunter Hnat as the Soul,
with Nathanael Myers as the Ivory God, Claire Hancock, Ryan Parker Knox as the Fisherman,
and Brendan Kellam as the Ebony God in The Fisherman and his Soul

 

Holly Griffith as Herr Winckelkopf and Ryan Parker Knox as Lord Arthur in Lord Arthur Savile’s Crime

Photo by Tim Fuller

 

Designers
Costume Design		Cynthia Meier
Costume design is supported in part by a generous gift from Kristi Lewis
Scenic Design		Joseph McGrath
Lighting Design		Don Fox
Lighting design is supported in part by a generous gift from Nancy Peterson & David Becker.
Production Staff
Stage Manager		Shannon Wallace
Set Construction		Joseph McGrath & Christopher Johnson
Costume Construction		Cynthia Meier & Nanalee Raphael
Lighting Designer		Josh Hemmo
Master Electrician		Peter Bleasby
Lighting Crew Supervisor		Deanna Fitzgerald
Lighting Crew		Brie Gonzalez, Connor Greene, Reinold Kellici, Christopher Mason, Taylor Moss & Jack Viskocil
House Manager		Susan Collinet
Box Office Manager		Thomas Wentzel
Box Office Assistants		Kara Clauser, Holly Griffith, Allie Knuth & Rebekah Thimlar
Program Advertising		Paul Winick
Poster, Program & Website		Thomas Wentzel

 

	Don Fox (Lighting Design) holds an MFA in Lighting Design from The University of Arizona and a BA in Theatre Administration from St. Edward’s University, Austin, TX. He is a distance/online lighting design instructor for Indiana University of Pennsylvania and has served as Interim Instructor of Lighting Design at The University of Arizona. Fox is a professional, freelance lighting and scenic designer and theatre producer and consultant whose clients include The Moscow Ballet, The Atlantis Resort Bahamas, Borgata Casino Atlantic City, Silversea Cruises, Music Theatre Wichita, Florida State University, Central Washington University, City Opera Ballet Company Bellevue, the San Antonio Botanical Garden’s Shakespeare in the Park, and many others. He is the creator of the techno-rock opera EDM Antigone (visit www.EDMAntigone.com) which launched this spring. Locally, he is honored to regularly design for Artifact Dance Project and has designed acclaimed Rogue productions since 2013 including Arcadia, Lady in the Looking Glass, Angels In America, By The Bog of Cats and The White Snake, among many others. Please visit Don on the web at www.DonFoxDesigns.com.
Shannon Wallace (Stage Manager) has served as stage manager for The Rogue Theatre productions of Macbeth, Penelope, Uncle Vanya, Angels in America Part One, The Bridge of San Luis Rey and The Picture of Dorian Gray, and as assistant director for The White Snake. 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, including: Bat Boy: The Musical, Avenue Q, Love Song, Cymbeline, Nine, Boeing Boeing, The Man Who Came to Dinner, Oklahoma!, Lend Me A Tenor, The Full Monty and Othello. She also worked at Arizona Theatre Company on their Summer on Stage productions of Elephant’s Graveyard and Legally Blonde: The Musical. Additionally, she had the opportunity to work as assistant stage manager for Oklahoma City Philharmonic’s The Christmas Show 2014. And she enjoyed a summer with the Contemporary American Theatre Festival in Shepherdstown, West Virginia, working as part of the company and events management team. Shannon Wallace’s Stage management is supported in part by a generous gift from Kathleen McGrath & Jerry James.
	Peter Bleasby (Master Electrician) lit his first show at 13. Professionally, he was with BBC-TV for several years, and was an assistant to UK lighting designer Richard Pilbrow during the inaugural production of the National Theatre (Hamlet, directed by Olivier.) He transferred to architectural lighting, but maintained his theatre interests by lighting many shows on both sides of the Atlantic. When the Rogue established itself at the Historic “Y” in 2009, he volunteered for the initial season, returning in 2013 with  lighting designer Don Fox, and later working with Deanna Fitzgerald. He devised the installation of the permanent wiring system that enables lighting teams to devote more time to the creative process. For the Southern Arizona AIDS Foundation he directs the technical and logistical aspects of fundraisers, 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 of Student’s Writing. In addition to being House Manager, Susan serves on the Board of Directors and acts as Volunteer Coordinator for the Rogue.

 

Cynthia Meier as Constance Wilde in The Fisherman and his Soul

 

Bryn Booth as the Little Mermaid in The Fisherman and his Soul

Photos by Tim Fuller

 

Our Thanks
Tim Fuller		Tucson Weekly
Chuck Graham		Patrick Baliani
Arizona Daily Star		Shawn Burke
Jerry James		Our Advertisers
Arizona Theatre Company
University of Arizona School of Theatre, Film and Television

 

Ryan Parker Knox as Lord Arthur and Bryn Booth as Sybil Merton in Lord Arthur Savile’s Crime

 

Hunter Hnat as Oscar Wilde and Holly Griffith as The Happy Prince in The Happy Prince

 

Ryan Parker Knox as the Fisherman and Claire Hancock as the Young Witch
with Brendan Kellam, Holly Griffith, Nathanael Myers, Allie Knuth and Bryn Booth
in The Fisherman and his Soul

Photos by Tim Fuller

Performance Schedule for A House of Pomegranates

Location: The Rogue Theatre at The Historic Y, 300 East University Boulevard
Click here for information on free off-street parking

Performance run time of A House of Pomegranates is two hours and ten minutes, including one 10-minute intermission.
Run time does not include the music preshow beginning 15 minutes before curtiain, or post-show discussion.

Thursday, July 6, 2017, 7:30 pm DISCOUNT PREVIEW
Friday, July 7, 2017, 7:30 pm OPENING NIGHT
Saturday, July 8, 2017, 7:30pm
Sunday, July 9, 2017, 2:00 pm matinee SOLD OUT

Thursday, July 13, 2017, 7:30 pm
Friday, July 14, 2017, 7:30 pm
Saturday, July 15, 2017, 2:00 pm
Saturday, July 15, 2017, 7:30 pm
Sunday, July 16, 2017, 2:00 pm matinee

 

Holly Griffith as The Happy Prince and Hunter Hnat as Oscar Wilde

 

Claire Hancock as the Empress with Brendan Kellam and Nathanael Myers as her consorts and Hunter Hnat as the Soul

 

Brendan Kellam, Nathanael Myers and Allie Knuth as ghouls and Ryan Parker Knox as Lord Arthur

Photos by Tim Fuller