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Went to the play last night and my heart kept me awake until somewhere past 1:30. 
Singing.

—Kevin Thorson, Audience member 

A timely think piece is given a strong production by The Rogue.

—Arizona Daily Star review

Passage truly resonated with me. 
Such a simple message so eloquently delivered.

—Laura Kosakowsky, Audience Member

A most remarkable theatre experience.

—Katherine Jacobson, Audience Member

Supporting Materials

Free “Open Talk” Video

Click here to see the video

Safe Passage: Christopher Chen, E.M. Forster, and Theatre of the Oppressed

presented on Saturday, February 19, 2022 at 2:00 p.m.

Director Christopher Johnson talks about Obie Award-winning Christopher Chen’s playwriting
as it relates to the Theatre of the Oppressed as well as his inspired adaptation of E.M. Forster's
A Passage to India.

This open talk is supported in part by a generous gift from
Meg & Peter Hovell and the Arizona Humanities Council

Essay

Read Jerry James’ essay providing background on the British Empire’s colonization of India:

The Jewel in the Crown
Two Hundred Years of Colonizer and Colonized in British India

Poster

View the full-sized poster for the play

Reviews

A timely think piece is given a strong production by The Rogue
Review by Kathleen Allen on March 8, special to the Arizona Daily Star

Questions of cultural privilege fill Passage at The Rogue
Review of Passage by Chuck Graham on March 2 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 Artistic Associate, General Manager, 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’s productions of 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 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; 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 late-night series Artistic Director from 2007-12). Passage marks the 10th full production Christopher has directed for The Rogue.

Christopher Johnson’s direction of Passage is supported
in part by a generous gift from Clay Shirk

DIRECTOR’S NOTES

Like the majority of programming you’ll find at the Rogue, Christopher Chen’s Passage is rooted in literature from another century; a self-described remix of E.M. Forster’s 1924 novel A Passage to India. Unlike most plays you’ll encounter at the Rogue, Passage speaks directly to the moment in which we are currently living. A moment in which identity politics are wearing the social fabric perilously thin on a global scale.

Passage is set in modern-day Country X, which is currently under colonial occupation by Country Y. And yes, if you’ve read the source material, Country X is inspired by India and Country Y is inspired by Britain. But for this play’s purposes, the specifics of culture, history and geography have been removed to allow us to focus solely on the negative impact of power dynamics in all human relationships.

It’s been quite tricky to produce, as typically in the theatre we strive to present the specific in order to best allow the audience access to the universal. But Passage tasks us with reversing this equation. The story is told more universally in order to prevent those of us in the audience from latching on to anything too specific that might encourage us to distance ourselves or think “that’s not me, I would never do X or say Y.” It’s very easy to identify shortcomings in others, after all, but not so easy to turn that same critical eye inward.

Ultimately, Passage is about friendship and the blindspots of power and injury that must be negotiated in any relationship in order to sustain connection. Where do we fail in our interactions with those who have less status, money, or basic human rights than we do? How can we meet in the same place or even agree on a destination while utilizing private maps drawn from personal experience?

Like Forster before him, Chen presents the cave in his story as a metaphorical place of darkness, not unlike the mind, in which thoughts take shape and where we can easily lose our way. But he also reminds us of the literal darkness crucial to the function of live theatre, a place where we commune in excitement as the lights go down, anticipating enlightenment and the illumination of new ways forward. Just look at what we can do together, he seems to say, with a little imagination.

Safe travels,

—Christopher Johnson, Director
director@TheRogueTheatre.org

Playwright

Christopher Chen is an award winning, Chinese-American playwright who has had his work produced in theaters all over the country, including the Guthrie (Caught), American Conservatory Theatre (Communion), Manhattan Theatre Club (The Motion), San Francisco Playhouse (You Mean to Do Me Harm), and Lincoln Center (The Headlands). He received his BA from UC Berkeley and his MFA in playwriting from San Francisco State. Before Chen discovered playwriting to be his preferred medium of artistic expression, he dabbled in film, music composition, directing, acting, and was part of a UC Berkeley Asian American theatre group called Theatre Rice. His plays examine the hidden patterns beneath complex systems: socio-political systems, psychological systems, systems of power. He combines naturalism with the absurd within maximalist kaleidoscopic structures. Awards/Nominations include: Obie Award (Caught), Paula Vogel Playwriting Award, Glickman Award (The Hundred Flowers Project), and a Drama League Nomination (Caught). He is a recipient of the 2021 United States Artists Fellowship, recognizing the most compelling artists working and living in the United States today.

Cast

in alphabetical order

Jeffrey Baden (R) is ecstatic to be working with The Rogue again this season. Jeffrey previously performed with The Rogue in Twelfth Night as Valentine and First Officer, As You Like It as Charles the Wrestler and Amiens, A View from the Bridge as Marco, and in Moby Dick as Queequeg. Some of his prior performances were as Leonardo in The Scoundrel & Scamp Theatre’s Blood Wedding, Benny in In the Heights, and Romeo in Romeo and Juliet with Shakespeare in the Park. He studied at the Royal Academy of Dramatic Arts in London and at Pima Community College.

Jeffrey Baden’s performance is supported in part
by a generous gift from Sally Krusing

Bryn Booth (Q) is a graduate of the BFA Acting program at the University of Arizona. She was most recently seen as Letta in Death of a Salesman, Viola in Twelfth Night, Edna in The Awakening, Celia in As You Like It, Electra in The Oresteia, Mary Shelley in Mary Shelley’s Frankenstein and as Catherine in A View from the Bridge. This is Bryn’s fifth season as a member of the Resident Acting Ensemble with The Rogue where she has performed in Moby Dick, Blithe Spirit, Middletown, The Crucible (Mac Award Nominee for Best Actress), The Secret in the Wings, Much Ado About Nothing, The Curious Incident of the Dog in the Night-Time, Galileo, King Lear, The Grapes of Wrath, A House of Pomegranates, and Macbeth. In 2018, Bryn played Mag in the Scoundrel & Scamp’s production of Lovers (Mac Award Nominee for Best Actress). Other credits include The Love Talker (Scoundrel & Scamp), Romeo & Juliet (Tucson Shakespeare in the Park), and Othello (Arizona Repertory Theatre). She also had the pleasure of understudying with Arizona Theatre Company in Romeo & Juliet and Of Mice and Men. Bryn wants to thank Joe and Cindy for giving her the best job she’s ever had with the most amazing people she’s ever met.

Bryn Booth’s performance is supported in part by generous gifts
from Ward & Judy Wallingford and Pat & Sid Olson

Rosanne Couston (G) most recently appeared in Rogue Theatre's The Oresteia. She also appeared in a partially staged reading of A Poison Squad of Whispering Women and a full production of The Hall of Final Ruin with Something Something Theatre. She has worked extensively with Borderlands Theater in such shows as Nogales: Storytellers in Cartel Country, Barrio Stories, Burning Patience, Electricidad, and Barrio Hollywood. Her bilingual productions include Ausente/Absence, Sazon de Mujer, Living Out, and The House of Spirits. She also performed with Winding Road Theater Ensemble, Invisible Theatre, Live Theatre Workshop and Mercury Productions. She is passionate about information literacy and works as an academic librarian.

Rosanne Couston’s performance is supported
in part by a generous gift from Gian Morelli

Hunter Hnat (M) is grateful to be in his fourth season as a member of The Rogue Resident Acting Ensemble. You may have seen him in previous Rogue productions as Happy in Death of a Salesman, Sebastian in Twelfth Night, Robert in The Awakening, Le Beau/Sylvius in As You Like It, Brenden in The Weir, 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), and How the House Burned Down (Live Theatre Workshop). He is a U of A alumnus with his BFA in Musical Theatre, class of 2015. Enjoy the show!

Hunter Hnat’s performance is supported in part by generous gifts
from Bill & Barb Dantzler and Shawn Burke

Matthew Lai (S/D/J/Mosquito/Gecko) is delighted to make his Rogue Theatre main stage debut in Passage. He previously appeared on The Rogue stage as part of the Ambruster Play-reading Series in Let Me Down Easy. Regional San Francisco Bay Area credits include:  Fool For Love with Alter Theater, Voyage with Shotgun Players, On the Waterfront with San Jose Stage, Penelope’s Odyssey with Central Works, A Few Good Men with Hapgood Theatre, Witness for the Prosecution with Center REP, Incorruptible with California Conservatory Theatre, and Burn This with Dragon Theatre.  Matt is a member of San Francisco’s off-beat sketch comedy troupe, Hot Mess.  Off-Broadway, Matt appeared in Friends with Pan Asian Repertory. Other New York credits include Pericles with Kings County Shakespeare, Judy Garland Slept Here with Curan Repertory, and A Final Evening with the Illuminati with the Irish American Theatre Company. In the late 90s Matt appeared alongside Gilbert Gottfried in several commercial bumpers for USA Network’s Up All Night movie program. Matt was a 2010 BATCC nominee for Supporting Male Performance and studied acting at the American Academy of Dramatic Arts in New York.

Matthew Lai’s performance is supported
in part by a generous gift from Lynn Ratener

Joseph McGrath (F) is a graduate of the Juilliard School of Drama and Co-Founder and Artistic Director for The Rogue Theatre. He has recently appeared in 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 Julia Royall and Laurie Haskett (in memory of Jan Stewart)

Carley Elizabeth Preston (B) was last seen on The Rogue stage as Olivia in Twelfth Night. Now in her third season as a member of The Rogue Theatre’s Resident Acting Ensemble, Carley has also appeared as Adele in The Awakening, Rosalind in As You Like It, Valerie in The Weir, Beatrice Carbone in A View from the Bridge, Mrs. Bradman in Blithe Spirit, and as Tituba in The Crucible. Carley received her BFA 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, Miracle on 34th Street (Mac Award Nominee for Best Actress), Kimberly Akimbo, and Good People. Carley is also the Diversity Specialist for The Rogue. She would like to thank the loves of her life, Jerrad McMurrich and their fur babies Loki Björn Hiddleston and Freyja Laveau for supporting her theatre habit!

Carley Elizabeth Preston’s performance is supported in part by generous gifts
from Art & Katherine Jacobson and Kate McMillan & Bill Krauss

Russell Ronnebaum—Music Director and Composer/Arranger

Robert Marshall—Cello
Liz Soflin—Percussion

Preshow Music 
National Anthems arranged by Russell Ronnebaum

The National Anthem of Yemen, by Ayoob Tarish Absi (b. 1942), adopted 1990
North Korea, by Kim Won-gyum (1917–2002), adopted 1947
Belarus, by Niescier Sakałoŭski (1902–1950), adopted 1991
Tibet (Traditional), adopted 1949 or 1960
Crimea, by Alemdar Karamanov (1934–2007), adopted 1992
Ukraine, by Mikhailo Verbytsky (1815–1870), adopted 1991
Country Y, by Russell Ronnebaum (b. 1986) 
Country X, by Russell Ronnebaum 

Production Music 
Country Themes by Russell Ronnebaum
Underscoring improvised by Robert Marshall and Liz Soflin

Russell Ronnebaum (Music Director, Composer/Arranger) serves as The Rogue Theatre’s Director of Music and Resident Composer. He holds a Master of Music degree in collaborative piano from the University of Arizona where he studied under Dr. Paula Fan. He currently serves as the assistant director of music at St. Mark the Evangelist Catholic Church in Oro Valley, as well as the staff accompanist for the Tucson Masterworks Chorale. As a classically trained pianist, Russell has performed with the Tucson Symphony Orchestra, the American Wind Symphony Orchestra, Artifact Dance Company, Arizona Repertory Theatre, and as a concerto soloist with the Tucson Masterworks Chorale. Russell made his Carnegie Hall debut in 2016 performing the music of composer Dan Forrest. Past credits include The Rogue’s recent productions of 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 Sally Krusing and Peggy Houghton & Paul Garner

Elizabeth Soflin (Percussionist) is an avid performer of contemporary solo and chamber works for percussion whose work primarily focuses on interdisciplinary musical works for spoken text and percussion. She is half of the Weiss/Soflin Duo, a collaboration that has resulted in the creation and premieres of works for saxophone and percussion duo, including works by Stuart Saunders Smith and Matthew Burtner. She currently serves the percussion community as a member of the Percussive Arts Society’s New Music + Research Committee, as well as holding the office of Vice President for the Arizona chapter. Recent performances include appearances at the Tucson Fringe Festival, the Transplanted Roots Percussion Research Symposium at the University of Guanajuato, and the Black House New Music Workshop. She is a 2022 recipient of the Arizona Commission on the Arts Research and Development Grant. Elizabeth earned her Doctor of Musical Arts degree from the University of Arizona and holds music performance degrees from the University of Tennessee and Central Michigan University. Elizabeth Soflin is a proud artist endorser of Black Swamp Percussion and Mike Balter Mallets.

Robert Marshall (Cellist) began studying cello at age 12 in his hometown of Marietta, Georgia. He earned his Bachelors of Music in 2012, having studied with Dr. Robert Jesselson at the University of South Carolina and Charae Kruger at Kennesaw State University. In 2016, Mr. Marshall graduated from the University of Arizona Fred Fox School of Music, where he studied with Dr. Theodore Buchholz and served as the founding member of the Graduate String Quartet. His continued educational pursuits have taken him to festivals in Switzerland, Italy, and cites across the United States. Mr. Marshall currently serves as the principal cellist of the Civic Orchestra of Tucson, associate principal of the Sierra Vista Symphony, and frequently performs with the Tucson Symphony and Tucson Pops Orchestras. In 2019, he performed the Schumann Cello Concerto with the Tucson Repertory Orchestra in preparation for the orchestra’s Japanese tour. During this year he also gave the Southwest premiere of Sarah Hennies’ Contralto, a multimedia piece exploring the relationship between transgender women and their literal and figurative voices scored for strings, percussion, and video. In addition to orchestral and chamber music, Robert is passionate about collaborating on theatrical productions. He has worked with the Arizona Theatre Company, Arts Express, and the University of Arizona Repertory Theater. His first appearance at The Rogue Theatre was in 2020 for Martin McDonough’s Beauty Queen of Leenane, and he has enjoyed continued collaboration on productions of Frankenstein, Much Ado About Nothing, and As You Like It.

MUSIC DIRECTOR’S NOTES

Traditionally when creating a score for a play at The Rogue, I work closely with the director, identify the needed musical elements, take time to compose, then incorporate the music into rehearsals. For Passage, we brought in two fantastic guest musicians who were active collaborators in the development of the production music from the beginning. Having Liz Soflin and Robert Marshall in the theatre early in the production process to collaborate with the actors was integral to creating the unique musical tone of this play.

To highlight the contrasting qualities of the two fictional countries (X and Y), we decided to incorporate two radically different families of instruments: cello and percussion.  Despite their fundamental differences, the two bodies of instruments are still capable of playing in harmony as well as discordantly.  Liz and Robert’s creative instrumental improvisations are complemented by the organic backstage sounds created by actors scattered throughout the theatre playing a wide assortment of percussive instruments and found objects to create unique environmental soundscapes. 

The fictional countries in the play are locked in a state of tension with one another, so for the preshow I decided to draw upon national anthems of countries that are in conflict today.  The function of a national anthem is to proudly display the heritage of a country.  I chose to highlight the anthems of several countries which have endured recent struggles and oppression.

Russell Ronnebaum—Music Director, Composer/Arranger

Designers and Production Staff

Christopher Mason (Lighting Design) is a native of Tucson and working on his MFA in Lighting Design at the University of Arizona. After 26 years as an air traffic controller, he retired and went back to school to follow his passion for the theatre, receiving his BFA from the U. of A. in 2020. He has designed several shows for other companies in Tucson and is thrilled to be lighting his first with The Rogue. Christopher would like to thank his wife Ginger for all her support in changing things up. You can visit Christopher at www.lux2152.com

Christopher Mason’s lighting design is supported
in part by a generous gift from Joan Warfield

Hannah Al-Baiaty (Stage Manager) is thrilled to be working with The Rogue Theatre again this season after stage managing Twelfth Night. 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 the entire cast and production team of Twelfth Night for an amazing creative experience, with a special thank you to Shannon Wallace for bringing her into the Rogue community. She would also 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 Ward & Judy Wallingford

Shannon Wallace (Production Stage Manager) first came to The Rogue in 2015 to stage manage The Picture of Dorian Gray, and now serves as Production Stage Manager and Assistant Managing Director. 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 and The Awakening. 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 bunnies for their unconditional love.

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 Joan Warfield

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 Passage is one hour and fifty minutes, including one ten-minute intermission.