The Profoundness of the Ordinary

by Annie Sadovsky Koepf

Summer in Tucson and many are trying to escape, just as many try to escape their daily lives when they go to the theatre. The play Middletown, written by playwright Will Eno, tells us to embrace these moments and see the profound beauty and awe that mark them. The entire performance of this production impressed me. The Rogue’s reputation for excellence is more than well deserved!

Middletown is a comedic drama that follows some very ordinary characters in a very ordinary town. The cop in the first scene, played by Aaron Shand, speaks to the audience and tells us, “Things are fairly predictable. People come, people go. Crying, by the way, in both directions.” These simple thoughts really speak to the plot. Various characters come and go, and intertwine with each other, and with us, the audience, to push us to examine those moments between our initial and final tears on this planet. We are left to question our own existence as we follow the lives of the citizens of Middletown. As the theme for the Rogue’s season is obsession, the audience becomes obsessed, as do the characters, with the existential questions that haunt all of us.

Bryn Booth, Holly Griffith, Kathryn Kellner Brown, Ryan Parker Knox and Hunter Hnat in Middletown. Photo by Tim Fuller, courtesy of The Rogue Theatre.

Bryn Booth, Holly Griffith, Kathryn Kellner Brown, Ryan Parker Knox and Hunter Hnat in Middletown. Photo by Tim Fuller, courtesy of The Rogue Theatre.

Many actors take on various roles, effortlessly switching back and forth. The characters are so different and so believable that you forget that minutes ago that actor was portraying someone else. Kathryn Kellner Brown played the librarian and the female doctor. Her portrayal of the librarian had the entire audience in hysterics, and her compassion and caring was evident as the doctor. As I too am a female actor of “ a certain age,” I am happy to see other older women be represented in theatre. 

In the script, playwright Will Eno asks the actors to speak in everyday pacing, even though much of the dialogue is philosophical and poetic. That was done masterfully by all. Director Christopher Johnson not only thoughtfully cast the show, but ensured the interactions with the characters showed true emotion and vulnerability, which lead to the authenticity of their performances.

Eno does not want the fourth wall to exist in his plays. He names the audience in the list of characters. He invites us to have a participatory experience rather than a simply observational one. The actors speak directly to the audience and even come into the audience. The theater was set up in a transverse arrangement which facilitated this. Not only did you observe the actors, but the audience sitting across from you. Simple sets which were changed by the characters themselves focused all of the attention on the actors’ words and actions. 

The costumes, designed by Cynthia Meier, were believable, simple, and appropriate to echo the ordinary theme of the play. Lighting, designed by Josh Hemmo, was used judiciously to focus attention on a particular part of the stage, as well to indicate changes in the time of day. Music Director, Charles Zoll, did a masterful job of seamlessly integrating the music into the play. Primarily jazz, the music served as delicious background, but did come to the forefront with the one scene where dance was introduced. The jazz reinforced the emotional intensity of each scene, be it happiness, sadness, or joy

The dance performance by the mechanic, played by Hunter Hnat, was simultaneously mesmerizing and disconcerting. The script outlines that he is dressed as a Chakmawg Indian and that the dance is in the tradition of the Apache or the Sioux. Hnat’s character, the mechanic, brings in a headdress and then performs an interpretive dance, with seemingly no reference to Native American dances. At the finish, the nurse instructs him to speak in a stereotypical broken speech pattern, that has often been used to portray Native Americans as they speak English, when he goes in to perform the dance for some children. I have no idea why Mr. Eno placed this scene in the play and why he used such jarring speech. The play was first performed in 2005 when one would hope that the issues regarding non-stereotypical portrayals of ethnic groups would be addressed. I applaud The Rogue, but the disconnect between the thoughtful, beautiful dance and the seemingly insensitive dialogue in this scene was jarring to me.

Middletown was a delightful treat for me. I left with a renewed feeling of hope and appreciation for the simple everyday pleasures of ordinary life. All of us appreciate the feeling of awe that we have in new or peak experiences, but I now want to pay attention to those middle of the road, everyday wonders.

Middletown is playing at The Rogue Thursday through Saturday at 7:30pm and Saturday and Sunday at 2:00pm through July 21st. Tickets are $38, with student tickets available for $15, if available, 15 minutes before curtain. For tickets contact the box office at (520) 551-2053 or via TheRogueTheatre.org. A discussion with the director and cast follows all performances.

Bringing Literature to Life On Stage at The Rogue Theatre

Editor’s Note: This is the sixth in a series of interviews with creative decision makers and artistic directors at all of Tucson’s theatres as we look forward to the 2019-2020 season.

Touring the golden cage with The Rogue Theatre’s Joe McGrath and Cynthia Meier.

by Leigh Moyer

Rogue logo“What we’ve managed to do is build a golden cage for ourselves,” said Joe McGrath, Artistic Director of The Rogue Theatre, with a chuckle. “Our audience wants us to do the plays that we want to do. So we have to keep doing the plays we want to do– not the plays that we think will sell, or that we think people want to see.”

Cynthia Meier, The Rogue’s Managing and Associate Artistic Director, added, “And they really are plays that we want to see and that we want to work on. We keep this ongoing, long list of plays and we’ll look at it throughout the year and say, you know, it’s about time we did Brecht. Or, it’s about time we did this play. And these are plays that we want to see and spend time with.”

This season is focused on stories about obsession; it will have shows that make you think, make you laugh, make you cry, and — if they do their job right — make you reconsider how you look at a piece of literature or a cultural phenomenon.

The Rogue is generally known for doing classic pieces. For example, they do a Shakespeare play every season. “It’s a touchstone for us. Our mission is doing challenging pieces of great literature in an ensemble way; Shakespeare is the epitome of that,” Meier explained. They usually do an adaptation of a novel as well, often adapted for the stage by Meier. They do plays that make you think and plays that make you feel deeply and… plays where usually at least one character dies. 

I teased McGrath and Meier about that. Meier laughed and commented that she should have done research on how many characters had died on their stage when she looked at the diversity of casting and the playwrights.

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Joe McGrath and Cynthia Meier. Photo courtesy of The Rogue Theatre.

McGrath pointed out that while it is a funny unifying theme linking The Rogue’s plays, “Death is something that makes us human and unless we’re conscious of mortality and unless we bring it up, we’re not really dealing with what is important and even what is beautiful. The brevity of life is what makes beauty. There is no precious moment without the passage. So I want to stand up for death as being a good thing. So let’s hear it for death.”

Looking at this season and the major moments that the array of plays will present, it seemed to me Moby Dick was going to be the most challenging. I had one big question. There have been gods, snakes, dogs, and a bear on the Rogue stage, but all those things are smaller or more manageable. I wanted to know how exactly they were going to present the great white whale Moby Dick. That whale. Their answer: they don’t know yet. They have ideas, but how it will actually come together is still somewhat of a puzzle. 

“The interesting thing about this enterprise is making sure that we’re doing live theatre, not doing plays that are live television,” McGrath said. “That’s one of the reasons we like to go more theatrical. It’s all in the language. Film and television don’t like to just dwell on the language without visuals.” 

Maybe that is the answer. Moby Dick is a book, adapted for the stage in this instance by Meier and Holly Griffith. While theatre is a visual medium, for McGrath and Meier it is equally as much about language. “We usually do an adaptation because we believe that great literature deserves to be heard and seen, not just silently read,” Meier said.

Aaron Shand, Holly Griffith and Hunter Hnat in the 2018-2019 season production of The Secret in the Wings. Photo by Tim Fuller, courtesy of the Rogue Theatre.

Aaron Shand, Holly Griffith and Hunter Hnat in the 2018-2019 season production of The Secret in the Wings. Photo by Tim Fuller, courtesy of the Rogue Theatre.

McGrath jumped in to add, “And the interesting thing about great literature is that it is only great literature because of the words, because of the language. We think of Moby Dick as having whales and boats and the sea but it only lives because of the way it was conjured in language.”

He mused on how the audience feels and about The Rogue offers: “I’m guessing that a good percentage of audience members who stay after the show for the post show discussion just want us to tell them what to think. But that’s the nature of the plays we do; they don’t tell you what to think, they leave you grappling.”

The whole season is listed online and below, including a summer production. Come to see how they get a whale in a theatre, but come more to see how you relate to the whale; what your obsessions are and how they have shaped you. Season tickets start at $195.00 and single tickets can be purchased during the run of the show for $42.00 (preview performances are $32.00) with $15.00 student rush tickets available fifteen minutes before the show (depending on availability). Tickets for the summer performance of Middletown are $38.00.

The Rogue Theatre’s 2019-2020 Season:

Middletown by Will Eno (Summer Production)
July 11 – 21, 2019
Metaphysical musings on life and death bubble up from the “common folk” on the streets of contemporary Middletown, USA. Comic and prosaic lives show cracks of poetic existential despair. Directed by Christopher Johnson.

Long Day’s Journey into Night by Eugene O’Neill
September 12 – 29, 2019
A masterful image of a day in the Tyrone household, struggling with alcoholism, morphine addiction, and regret, as they reflect on love, dreams, and roads not taken. One of the most lauded of American plays, this deeply personal play received both the Tony Award for Best Play and a Pulitzer Prize. Directed by Cynthia Meier.

Blithe Spirit by Noël Coward
November 7 – 24, 2019
The novelist Charles Condomine invites the spiritualist Madame Arcati to hold a séance in his home. Arcati inadvertently summons the ghost of Charles’ first wife, Elvira, who Charles can see, but his present wife, Ruth, can’t. A jealous ghost, Elvira tries to upset the marriage. Directed by Joseph McGrath.

Moby Dick by Herman Melville, adapted by Cynthia Meier and Holly Griffith
January 9 – 26, 2020
The obsessed Captain Ahab assembles a whaling crew to pursue the albino sperm whale, Moby Dick, that took his leg in a prior voyage. Regarded by many as the great American novel, Moby Dick is Homeric, biblical, and Shakespearean in its breadth of expression. Directed by Cynthia Meier.

The Beauty Queen of Leenane by Martin McDonagh
February 27 – March 15, 2020
In a rural Irish cottage of the aging Mag and her spinster daughter Maureen, their comic and appalling lives are brought to a head as a romance develops for Maureen that Mag resents. Directed by Christopher Johnson.

Twelfth Night by William Shakespeare
April 23 – May 10, 2020
The shipwrecked Viola dresses as a boy for protection and is employed by Duke Orsino to woo Olivia for him. Olivia falls in love with Viola-in-disguise and Viola herself falls in love with Orsino. Meanwhile, the pranksters of Olivia’s household dupe the puritan Malvolio into falling in love with Olivia. Directed by Joseph McGrath.

The John and Joyce Ambruster Play-Reading Series:

Enemy of the People by Henrik Ibsen
October 6, 2019, 2:00 pm
The story of a man who dares to speak an unpalatable truth and the devastating consequences.

Madagascar by J. T. Rogers
December 1, 2019, 2:00 pm
At three different periods in time, three Americans find themselves in a hotel room overlooking the Spanish Steps in Rome confronting the haunting mystery that connects them.

Molly Sweeney by Brian Friel
February 2, 2020, 2:00pm
Told in a riveting series of monologues, a blind woman living in Donegal, Ireland undergoes a revolutionary operation to restore her sight.

The House of Bernarda Alba by Federico Garcia Lorca
March 22, 2020, 2:00pm
Following the funeral of Bernarda Alba’s second husband, the tyrannical matriarch announces to her five daughters that their period of mourning will last eight years.

Editor’s Note: This is the forth in a series of interviews with creative decision makers and artistic directors at all of Tucson’s theatres as we look forward to the 2019-2020 season. 

Theatre is a Community Service

Editor’s Note: This is the fifth in a series of interviews with creative decision makers and artistic directors at all of Tucson’s theatres as we look forward to the 2019-2020 season.

Sabian Trout, artistic director at Live Theatre Workshop, on the importance of live theatre to the health of the community.

by Leigh Moyer

Live Theatre Workshop“Do plays in the service of the community. Doing a play for yourself is going to kill your theatre and the worst thing you can do as an artistic director is to kill a theatre. There are so few left.” Sabian Trout, artistic director of Live Theatre Workshop’s Mainstage series, is not messing around when it comes to her community. Theatre is critical to a healthy community and she works to make sure that Tucson has live theatre year round. 

At the time of writing, LTW’s 2019-2020 season has already kicked off with Things Being What They Are and will continue through the summer into the more typical theatre season, and wrapping up as it warms up again. Then the next “season” starts the cycle all over, ensuring quality theatre all year. Trout is straightforward about working to bring the best shows to Tucson audiences: “I’m just applying for the best plays for our community.” Of course, selecting nine shows isn’t simple. Trout explained, “It’s a big puzzle every year based on feedback from the audience, what the space can accommodate, the talent available, if we can get the rights to produce the play, and a dozen or more factors. There are thousands and thousands of plays to choose from. It’s such a complicated thing, it is like its own living animal.”

Audiences can expect a little of everything this season, and should expect LTW’s offerings to expand their experience of life and lives that are different, but not so different, than their own. The season starts with a production exploring the bond between an unlikely duo and wraps with a play navigating the political and social ramifications of same sex marrage in a conservative southern home. In between, season ticket holders can expect mystery, love, heartbreak and revenge, humor, complicated relationships, tricks, first-time homebuyers and even a look at being an out-of-work actor. The plays are all tied together by experience, things we’ve all felt or fought in some way.

Shanna Brock and Stephen Frankenfeld in Stage Kiss. Photo by Ryan Fagan, courtesy of Live Theatre Workshop.

Shanna Brock as She and Stephen Frankenfeld as He in the 2018-2019 season production of Stage Kiss. Photo by Ryan Fagan, courtesy of Live Theatre Workshop.

“When I took over 13 years ago, it was clean, just stuff that wasn’t topical and didn’t represent our greater community,” Trout said.My favorite socially relevant plays are comedies. There are so many topical or socially relevant plays that are draining. That isn’t necessary to have an illuminating experience. A humorous take on challenging topics often changes your heart and mind more than angst-ridden plays.” 

According to Trout, Radiant Vermin and The Cake are probably the most socially relevant productions for LTW this season. Radiant Vermin is a comedy about the housing crisis, how difficult it is to buy a home, and what individuals are willing to do to get their dream place. The Cake follows a baker, thrilled to bake a wedding cake for her niece until she learns the niece has a bride rather than a groom. Humanizing the headlines, The Cake explores political and emotional viewpoints, cultural expectations, and how complex baking a cake can be.

Trout is excited about Heisenberg as both the artistic director, and this particular play’s director. “I don’t usually keep darlings to myself. I try to match plays to the directing talent, but this season, I chose a play that I’m elated about,” Trout admitted. “It’s a special play, newer, quirky, theatrical, I’m madly in love with this play, and I had to keep it for myself. It’s a love story about an extremely unlikely relationship.”

Heisenberg

Image courtesy of Live Theatre Workshop.

Still, she maintained that Tucson audiences should catch every show this season. The greatest compliment Trout can get is when an audience member tells her after a show that they weren’t sure about a show, based on the title or even the description, but after seeing it, are thrilled they gave it a shot because they loved it. Descriptions of each play are online and reproduced below. But maybe trust that Trout tamed the animal that is putting together a season and become a season ticket holder and catch them all. You might see something you never would have guessed you’d love.

Live Theatre Workshop’s Mainstage Series 2019 – 2020 Season:

Things Being What They Are by Wendy MacLeod
June 20 – July 20, 2019
As up-and-coming Bill readies a new condo for himself and his soon-to-arrive wife, he gets an unexpected visit from Jack, who at first appears to be a nightmare neighbor. What follows is a sharp comedy about the lives we dream of having versus the lives we end up living.
“Despite (or maybe it’s because of) its origin in a female mind, this funny, charming, and rather moving play probes the vulnerabilities of middle-class maleness with…good humor, affection and incisive accuracy.” ~ Chicago Tribune

Show People by Paul Weitz
July 25 – August 24, 2019
Jerry and Marnie are Broadway actors who haven’t worked in years. At Jerry’s insistence, they take on a wildly unorthodox job for a rich, young New York banker in Show People, a crazy comedy about the darker aspects of the need to be theatrical.
“A smashing light comedy…delightful and witty.” ~ NY Observer
“A real laugh-out-loud comedy…guaranteed to make audiences laugh themselves silly.” ~ Journal News

Heisenberg by Simon Stephens
August 29 – September 28, 2019
Amidst the bustle of a crowded London train station, Georgie spots Alex, a much older man, and plants a kiss on the back of his neck. This electric encounter thrusts these two strangers into a fascinating and life-changing game. Heisenberg brings to blazing, theatrical life the uncertain and often comical sparring match that is human connection.
“On its surface, a satisfyingly life-affirming mating dance between two people who are so utterly dissimilar that of course they are made for each other. But if you choose to tune into the quieter frequencies… a probing work that considers the multiplicity of alternatives that could shape our lives at every moment.” ~ NY Times

Accomplice by Rupert Holmes
October 10 – November 16, 2019
Winner of the Mystery Writers of America’s coveted “Edgar” award (the “Oscar” of crime and suspense) The New York Times called Accomplice “a deliciously witty cocktail of a whodunit with a maniacally seamless plot where skullduggery emerges the winner!” This theatrical roller coaster will trigger screams of laughter even as audiences vow to keep its secrets hush-hush. “The best fooler since Sleuth and twice as clever!” said the L.A.Times, while L.A. Theatre & Entertainment Review proclaimed it “the comedy thriller of all comedy thrillers!”

Tilly the Trickster by Molly Shannon
November 29 – December 29, 2019
Molly Shannon has created numerous unforgettable characters on Saturday Night Live and in movies such as Superstar and Never Been Kissed and now introduces young readers to her latest hilarious creation, the musical Tilly the Trickster. Tilly is a mischievous girl who loves nothing more than causing a little trouble. From leaking cups to toothpaste-flavored cookies, Tilly has a trick for everyone: her mom, dad, brother, classmates, and even her teacher. But when the tables are turned and her family does some scheming of its own, will Tilly decide to change her trickster ways?

The Norwegians by C. Denby Swanson
January 9 – February 15, 2020
A “killer” dark comedy about two scorned women and the very nice gangsters they hire to whack their ex-boyfriends. Fast-paced funny dialogue combines the spirit of Fargo with Saturday Night Live in this unexpected, entertaining, quirky comedy.
“C. Denby Swanson’s extremely odd and delightful comedy, is something of a guilty pleasure.” – The New York Times

Radiant Vermin by Philip Ridley
February 20 – March 28, 2020
When a young couple is offered an ideal house by a mysterious stranger, it prompts the question: How far would any of us go to get our dream home? A fast-paced, pitch-black comedy, Radiant Vermin is a provocative satire about consumerism, gentrification, and inequality.
“A blithely told fable for the age of unaffordable housing. Like a Brothers Grimm story, it is executed with its own consistent fantasy logic, deployed to remind us of the dangers of getting what we wish for…it makes for nasty and energetic fun…” – The New York Times

Ripcord by David Lindsay-Abaire
April 2 – May 9, 2020
David Lindsay-Abaire’s ripping Ripcord is a deeply satisfying and entertaining story of two women thrown together by a comic cosmic force possessed of a wicked sense of humor. A sunny room on an upper floor is prime real estate in the Bristol Place Senior Living Facility, so when the cantankerous Abby is forced to share her quarters with new-arrival Marilyn, she has no choice but to get rid of the infuriatingly chipper woman by any means necessary.
“…sweet-and-sour Ripcord is great fun…larded with moments of surprise, both wacky and more substantial. When the play gets serious, it’s genuinely moving.” ~ Time Out NY
“A show to treasure.” ~ Deadline.com 

The Cake by Bekah Brunstetter
May 14 – June 13, 2020
When Della, a North Carolina baker, is asked to bake a wedding cake for her best friend’s daughter, she is overjoyed. But that joy is short-lived when she learns that the intended is another bride, and realizes she is faced with an agonizing choice between faith and family. Struggling to reconcile her deeply-held belief in “traditional marriage” and the love she has for the young woman she helped raise, Della finds herself in strange new territory.
“Brilliant… Powerful and meaningful… great writing… abundant wit and humor” ~ LA Post-Examiner

Make Time to Laugh with Family Theatre

Editor’s Note: This is the forth in a series of interviews with creative decision makers and artistic directors at all of Tucson’s theatres as we look forward to the 2019-2020 season.

Talking the serious business of making time to be silly, plus bringing live theatre to Tucson’s children with Live Theatre Workshop Family Theatre artistic director Amanda Gremel.

by Leigh Moyer

Live Theatre WorkshopIn the theatre business, you hear a lot about doing it for the love of art or as a passion project. For Amanda Gremel, the Live Theatre Workshop Family Theatre  is certainly a passion project, but isn’t just a love for the craft; rather, it’s a calling and an obligation to future generations that she is only too happy to fulfill. Gremel’s life is steeped in Live Theatre Workshop. As a teen, she discovered her love of acting in their educational programs. As an adult, she pays it forward as a teacher in the same educational programs where she got her start, acts regularly, and is the artistic director for the Family Theatre.

While theatre for all ages is often shorter and lighter than productions rated for adults, it is no less important. “So many times, adults underestimate the power of kids to show us the way,” Gremel explained. “Sometimes we have to stop and take a moment and look at it through their eyes to be reminded that we can problem solve our way, can feel what we do, and it’s okay. Adults get wrapped up in our lives and forget that it’s okay to take that time to laugh.”

“I come to the family shows and I can’t tell you how funny they are.” Deborah Daun, the theatre’s marketing and public relations representative chimed in. “Not only are these shows really hilarious and the playwrights, mostly local playwrights, are really good, but there is incredible quality represented in these shows.”

Beyond being entertaining, the Family Theatre reminds children that they can face big problems, even monstrous ones like in the season opener Tabitha Turnpike Has a MONSTERous Problem, and with trust, determination, and, often, imagination, they can solve those problems. It might seem like a simple lesson, but it is one worth learning at every age, especially when you feel small in the face of problems that seem too large to tackle.

Overcoming life’s challenges with humor isn’t the only important work the Family Theatre productions do. Gremel works hard to expand not only what wonderful worlds children can imagine on stage, but who portrays the characters on stage.

Leda Robinson as RAPunzel and Evander Alan Gains as the Prince. Photo by Ryan Fagan, courtesy of Live Theatre Workshop.

Leda Robinson as RAPunzel and Evander Alan Gains as the Prince. Photo by Ryan Fagan, courtesy of Live Theatre Workshop.

“One of my favorite shows, and audiences loved it, too, was RAPunzel. I loved the script, loved the songs, being able to tour it in schools was great, and the diversity we had was great. We had an African-American Rapunzel and we don’t get to see that very often, right? For young people, and particularly the students in the Title 1 schools we tour in, to be able to see someone that looks like them on stage, in the lead role and singing their hearts out — that is what we are doing this for,” Gremel said of a 2018-2019 hip-hop musical adaptation of the fairytale Rapunzel. “In our world right now, it is so important to showcase that it is okay to be you, regardless of what you look like or who you identify as. The more I can bend the outdated norms, the more I want to. I want these kids to be like, oh, I am going to be this because there shouldn’t be boundaries. It is our job to show that story.”

“Part of the Live Theatre Workshop mission, and we’re very community oriented, is to create the next generation of theatre people,” Daun added. “We have shows for youth, but also education programs both in and out of school. It is a very organic way that LTW cultivates young people. We’re working with teachers and working with young people to come and audition, to be the next generation of actors and audiences.”

To do that, Live Theatre Workshop provides a number of educational opportunities from summer camps to acting classes. One of the programs that Gremel enjoys most is taking two shows from the season, one in the fall semester and one in the spring semester, and touring them in schools. The tours bring shows to children who might not otherwise have access to live theatre.

It isn’t easy to make all this happen. Running two seasons concurrently (Live Theatre Workshop also hosts a full mainstage season as well) isn’t always a fairytale come true. Productions, not to mention classes and other programs, share the same space. That can add up to some logistical challenges. “We have to get very creative in our Family Theatre shows. We only have one stage. Our shows are running at the same time. Our pieces and back drops need to be able to be hung in front of and hide the mainstage show, and often overlap multiple mainstage shows. We have to adjust to accommodate them to make one show work on a new set– in the middle of the run. So we come in early to make it work,” Gremel said. “Tucson has such great talent and passion. There is such passion that the young kids of Tucson are getting the same quality as in the mainstage shows.”

With the new season starting this Sunday, June 30th, who should be getting tickets for Live Theatre Workshop Family shows? Performances are open to everyone. “Audiences range from kids as small as breastfeeding babies, as young as six months old to people in their eighties or nineties,” Gremel answered, “Mainstage season ticket holders enjoy our Family Theatre shows, with or without children, right alongside enchanted kids.” The whole season is online and outlined below. You can become a season ticket holder now and ensure that you and your kids (or your inner child) get five Sundays of theatre.

And which show should you definitely see? Gremel laughed, “I hate to cop out but you are going to get and feel something different from each show. One might make you laugh and let you be silly with the actors on stage, one might let you feel something you forgot how to feel, especially as an adult. One might bring back memories. One might tell an old story in a completely new way, like this season’s adaptation of Pinocchio, done in the commedia dell’arte style using shadow puppets and mask work. They are all so different.”

2019-20 FAMILY SERIES Season

Live Theatre Workshop Family’s 2019-2020 Season:

Tabitha Turnpike Has a MONSTERous Problem
An original musical story by Richard Gremel and music by David Ragland
June 30 – August 11, 2019 (no show July 21), Sunday afternoons at 12:30 PM
Tabitha Turnpike is a little girl with a big imagination. But when her imagination gets her in trouble with her mom and dad, they insist that she quit being creative and grow up. Only problem is, Tabitha discovers a monster living under her bed and she can’t tell her mom and dad about it, because they will think she’s using her imagination again. Her monster has problems of his own. So the two team up and travel to Underthebedland to use their creativity and prove that all of us, monsters and humans, are great despite of our differences.

Pinocchio: The Legend of the Wooden Boy
An original musical adaptation by Tyler West and music by Michael Martinez
September 8 – October 20, 2019 (no show September 29), Sunday afternoons at 12:30 PM
This is a new adaptation based on the beloved characters from Carlo Collodi’s “Pinocchio: The Adventures of a Marionette.” Watch as three players set up their stage and tell the legend of the wooden puppet who came to life. With the help of masks, costumes, and shadow puppetry they will portray over a dozen of characters; like Geppetto, Pinocchio, The Cricket, The Fox, The Cat, The Blue Fairy, and many more!

Molly Shannon’s Tilly the Trickster
Adapted by Jeremy Dobrish, music and lyrics by Drew Fornarola, orchestrations by David Abbinanti
November 29 – December 28, 2019
Friday and Saturday nights at 7 PM, Saturday and Sunday afternoons at 3 PM
Tilly is a mischievous girl who loves nothing more than causing a little trouble. From leaking cups to toothpaste-flavored cookies, Tilly has a trick for everyone: her mom, dad, brother, classmates, and even her teacher. But when the tables are turned and her family does some scheming of its own, will Tilly decide to change her trickster ways? Molly Shannon has created numerous unforgettable characters on Saturday Night Live and in movies such as SUPERSTAR and NEVER BEEN KISSED and now introduces young readers to her latest hilarious creation, TILLY THE TRICKSTER, the musical! Fun for all ages, this is a show you and your family won’t want to miss. Starring Samantha Cormier as Tilly!

Mona Lisa on the Loose
An original musical story by Gretchen Wirges with music by David Ragland
January 26 – March 8, 2020 (no show February 16), Sunday afternoons at 12:30 PM
The Mona Lisa has hung on the walls of an art museum for over 100 years. But what visitors don’t know is that when the lights go out, the paintings come to life! On this day, she overhears the museum officials saying she is no longer drawing people in, and make plans to move her somewhere else. Come join us for a secret view into the mysterious life of the Mona Lisa and other paintings after hours as she plots a way to save her spot on the walls of the Louvre!

The Old Ball Game
An original musical story by Kristian Kissel with music by Michael Martinez
April 19 – May 31, 2020 (no show May 10), Sunday afternoons at 12:30 PM
Forrest Foster LOVES baseball. He comes by it honestly – his Dad played, his Grandfather played, his Great-Grandfather played, his… well, you get the idea. The only problem is that Forrest can’t seem to get into the game yet. But when his little league team’s star player gets injured, his coach just might have to look to the end of the bench and give Forrest his chance. He’s spent countless hours studying the game, its history, its players, and his own opponents. Now he’ll need to take everything he’s learned and put it to use to try to lift his team to victory – all for the love of the old ball game!

Logistical Challenges, Creative Surprises, and the Human Condition

Editor’s Note: This is the third in a series of interviews with creative decision makers and artistic directors at all of Tucson’s theatres as we look forward to the 2019-2020 season.

Exploring the human condition with Winding Road Theater Ensemble’s co-artistic director Maria Caprile.

by Leigh Moyer
Winding Road Logo

Winding Road Theater Ensemble aims to produce plays that are entertaining but outside of the box, and always speak to the human condition. The way co-artistic director of Winding Road Maria Caprile says “the human condition”, it sounds like an illness. Not one we need to get over, but one that we all share, and one that we can manage better by experiencing it together. This season at Winding Road explores life’s harder decisions, funny moments, challenges, morals, coping with loss, family dinners, and simply surviving.

This season is comprised of three mainstage productions plus the return of Eight 10s in Tucson, Winding Road’s short play festival, and three Winding Reads staged readings.

Caprile, along with co-artistic director Glen Coffman, doesn’t have a list of possible plays they want to produce in a particular season, but they do have stacks (and stacks) of plays waiting for the right time or the right cast. Sometimes everything falls perfectly into place, like with The Little Foxes. The first show of the season, opening Labor Day weekend in the Scoundrel & Scamp theater, it was too exciting an opportunity to pass up. Getting the rights to a Tony award-winning play, the chance for Coffman to direct a play he’s wanted to direct for a long time, and having the space to fully stage the production was more than reason enough to add it as the season opener. In addition to artistic direction, directing, and acting, Caprile is an extremely talented costume designer. “I’m doing the period costuming, which is always a fun challenge,” she added with excitement.

Like The Little Foxes, often they choose shows they’ve wanted to do for a while, but just as often, they’ll see something new and want to do it immediately, or think a play needs a revival in Tucson. Some of these plays get into this season, some next, some never. In her second season as co-artistic director, Caprile has gotten to know Winding Road, and, as a result, which scripts are in the spirit of Winding Road and which plays, even good plays, don’t fit the theater’s personality.

The Fantasticks

Kelly Coates, Tony Caprile, Elena Lucia Quach, Jerry James and Damian Garcia in The Fantasticks. Photo courtesy of Winding Road Theatre.

“I like those plays where the audience can look over your shoulder and into the play,” Caprile explained. “I like to blur those lines between play and audience.”
They also choose plays that not only are suitable for their ensemble cast, but that help them grow or give them opportunities they might not easily find elsewhere. Caprile explained that they have an obligation to the ensemble, as well as to talented people with whom Winding Road wants to work, so they look at a script and ask, “Do we have something for this actor or a directing opportunity for someone interested in getting into that?”. They are a community working together to bring interesting and thought-provoking theatre to Tucson and to encourage and teach newer talent skills that will help them succeed down their own winding road.

Nowhere is this more evident than in Eight 10s in Tucson. Modeled off Santa Cruz Actors’ Theater’s 8 Tens festival, Eight 10s in Tucson gives playwrights and aspiring playwrights the chance to have their story cast, directed, and brought to life on stage. It is also the chance for actors to try new roles and untested directors to wet their feet. After a huge response last year, this year, Winding Road is only accepting scripts during the month of August 2019, and only until they reach 300 total. From there, a team of volunteer readers and the artistic team at Winding Road pare down the applicants to the best and most Winding-Road-esque scripts until they’ve chosen the eight best short pieces of never-before-seen theatre to present to Tucson audiences.

Eight 10s

Morgan Smith and Maggie Geertsen in Eight 10s in Tucson. Photo courtesy of Winding Road Theatre.

And if producing eighty minutes of brand-new theatre in ten minute snapshots isn’t logistically challenging enough, this season Winding Road is all over the map. Not so much in theme — Caprile described this season as well-rounded, perhaps with an emphasis on family if you were looking for a particular connective thread — but literally. They don’t have a home stage, giving them the opportunity to put on shows not just downtown, but all over Tucson, and not just on traditional stages. “Angels Fall is a play about disparate people who all end up in a little chapel so we’re doing it in a little chapel,” Caprile explained, sounding equal parts thrilled and daunted by the challenge. “We have the chapel, but a chapel is not a theatre, so we’ll just have to figure out how to do it. It’s exciting. Those creative surprises are part of the joy of theatre. And you make it work.”

This isn’t the only production staged to challenge the director. Caprile is directing The Big Meal. Without giving too much away, this is the story of how a couple meet, simply enough, at a restaurant. It is told, however, by an ensemble of actors playing the five generations of one family it takes to tell their story. Caprile is keeping all the actors on stage. In the round. There might be a bit of madness in artistic genius.

If she had to choose one show that audiences not miss, it isn’t the trip to the chapel or the family dinner the actors aren’t excused from (not to say those aren’t well worth seeing, obviously); rather, the one she felt we all need to see is a staged reading of The Women of Lockerbie as part of the Winding Read series. Shown in the style of a Greek tragedy, this play revisits the explosion of PanAm 103 over Lockerbie in 1988. “That was so long ago and so much has happened, is this going to resonate?” Caprile said, wondering if it would be a good fit for modern audiences. “But it isn’t about the incident. It is about grief. And how this keeps happening. And how we deal with it. You can’t just ignore it. It isn’t about PanAm 103, it’s about public grief.”

In this day and age, and maybe in every age, grief is one part of the human condition that we need each other more than any other to understand, process, and, with time, overcome.

Tickets are available at WindingRoadTheater.org, $28.00 for mainstage productions (discounts may apply) and $15.00 for Winding Reads. Or you can purchase one of four season combination packages ranging from $35.00 to $125.00. Winding Road’s Box Office can be reached via email at windingroadte@gmail.com or by calling (520) 401-3626. The whole season is listed online and below.

Winding Road Theater’s 2019 – 2020 Season:

The Little Foxes by Lillian Hellman
August 29 – September 15, 2019
An American classic first staged at the National Theatre in New York. Directed by the Ensemble’s Co-Artistic Director Glen Coffman, this morality drama about corruption and greed within a wealthy, early 20th century Southern family has been revived more than half a dozen times on Broadway since its premiere in 1939.

The Big Meal by Dan LeFranc
December 5 – December 22, 2019
A hilarious, expansive tale that traverses five generations of an ordinary modern family in 90 minutes. Written by Dan LeFranc, The Big Meal won the 2010 New York Times Outstanding Playwright Award and received a 2012 Lucille Lortel Award nomination for Outstanding Play. This production is directed by Co-Artistic Director Maria Caprile.

Angels Fall by Lanford Wilson
February 13 – March 1, 2020
Set in a remote part of New Mexico, six people find themselves in a small mission church, brought together by the closing of a highway due to a possible accident at a nearby nuclear facility. Brightly humorous and deeply affecting, Angels Fall becomes a parable of vocation and survival which, in exploring the lives of its characters, illuminates the human condition. This production is directed by Molly Lyons.

Eight 10s in Tucson
April 16 – April 26, 2020
Winding Road presents the second annual Eight 10s in Tucson 10-minute play festival. Eight scripts, submitted by playwrights from around the country, selected and combined to make for a unique evening of entertainment – full of comedy, drama and everything in between. “…it’s a reminder of the prodigious playwriting talent out there, the accomplished actors and directors we have here, and it exposes Tucsonans to new and exciting works.” (Kathy Allen, Arizona Daily Star)

Winding Reads:

The Wrong People Have Money by Reed McColm
Popular York University professor Martin Delancey is challenged by a wealthy consortium of investors to conduct a serious study into the feasibility of an “impossible” endeavor. The funniest play ever written about moving Greenland South.

Christmas Break by Monica Bauer
When daughter Lilly comes home from college with newfound passion, the McNally family has a big decision to make: invest in Lilly’s scheme to end world hunger or pay for life saving treatment for the family pet. Add a teenaged son and a retired monk and you’ve got all the ingredients needed for a Christmas to remember.

The Women of Lockerbie by Deborah Brevoort
A grieving mother from New Jersey roams the hills of Lockerbie, Scotland, looking for her son, lost in the crash of Pan Am 103. Loosely inspired by a true story and written in the structure of a Greek tragedy, it is a poetic drama about the triumph of love over hate.

Hijinks, Hilarity, and Homicide in Death by Design at Live Theatre Workshop

by Vaune Suitt

Live Theater Workshop continues their mainstage productions with their fourth show of the season, Death by Design by Rob Urbinati. This brilliant comedy puts a spin on a typical murder mystery play and charms and surprises audience members until the end.

Death by Design cast

The cast of Death by Design. Photo by Ryan Fagan, courtesy of Live Theatre Workshop.

Death by Design is set in 1932 on a country estate in England. The show revolves around a chaotic, kooky, and unconventional married couple, Edward, an aging playwright, and Sorel, a popular actress, who retreat to their countryside home after a failed opening night. Things begin to go awry, though, when Sorel invites a British politician over, and unexpected guests begin to appear. When a murder takes place, it is the job of all of the guests to figure out who committed the crime, with the help of the couple’s housemaid, Bridget, who tries to solve the crime on her own.

Death by Design

Rhonda Hallquist as Bridget and Johnathan Heras as Jack in Death by Design. Photo by Ryan Fagan, courtesy of Live Theatre Workshop.

For a play set in the 1930s, I expected the worst in terms of gender roles and representation of the female characters. Although the struggle for women’s rights in England was not as drawn out and grueling as in the United States, women in England still had to wait far too long before they were given the right to vote in 1918 and full suffrage in 1928. To my surprise, though, this cast of four women and four men all had creative and bold characters, especially the women. In a time where women answered to men, the female characters in this show do the exact opposite. Even though the gender ratio between male and women is equal in this play, the women shine from beginning to end. The play starts off with the Irish housemaid, Bridget, played by Rhonda Hallquist, charming the audience with her wit and hilarious defiance of her employers and their guests. This housemaid seems to give more orders than she takes and carries herself in a strong manner. She proves to be the most competent detective of the story. The couple, Edward and Sorel, played by Christopher Moseley and Missie Scheffman, are a hilarious married couple far from in love. In one of the first scenes we hear Edward and his chauffeur, Jack, played by Jonathan Heras, discussing how he pushed his wife down the stairs. This at first came as an upset, only to find that the wife brought it on in the first place. Scheffman’s Sorel is complex and funny, and is well played as a very glamorous and vain woman with a hankering for disaster.
The politician, Walter Pierce, played by Michael F. Woodson, feels very relevant for a character from a 1930s English play–a capitalist who accepts an invite from Sorel to her country estate to begin an affair. With how familiar this country is with rich politicians that cheat on their wives and take funding away from things that matter, this feels very current to 2018.
The couple and their houseworkers, along with their unexpected guests each carry their own distinct persona that captures the audience’s attention. I was very impressed with the cast members’ ability to carry their dialects throughout the show, which made it feel all the more realistic. Alongside the phenomenal cast of actors, Jason Jamerson’s set was colorful, detailed, and interesting, and made the play feel even more like a two hour trip to England. The actors used the small space they were given well and the direction by Roberto Guarjardo was very physical and lent itself well to the dialogue and comedic timing. The lighting by Richard Gremel, though it was simple, did not take away from the show and did a good job of adding mystery to the murder scene. Brian McElroy’s sound elements added to the play and were accurate and realistic. Being a first time audience member of Live Theater Workshop, I definitely plan on returning and seeing what more the company has to offer.
Death by Design runs through November 17 at Live Theater Workshop. Tickets are $15 for the general public and can be purchased online at livetheaterworkshop.org, by phone at 520-327-4242, or in person. Live Theater Workshop is located at 5317 E Speedway Blvd. Tucson, AZ 85712.

Men on Boats, A must see season opener!

by Gabriella De Brequet

Men on Boats

Hannah Taylor as Powell, Katie Burke as Bradley, Analiese Bloom as Hawkins, and the cast of Men on Boats. Photo by Whitney Morton Woodcock, courtesy of Something Something Theatre.

Men on Boats is a genderbent semi-historical comedy about John Wesley Powell’s 1863 expedition to map the the Colorado River’s passage through the Grand Canyon with ten explorers, four boats, and slim rations. I was delighted to discover that not only is the playwright a woman (Jaclyn Backhaus), but Something Something’s production is directed by a woman (Jasmine Roth), stage managed by a woman (Shannon Harral), production designed by a woman (Madeline Greenwalt), and all of the characters are intentionally written to be played by trans or cis women! In reading the notes on the playwright I discovered that Backhaus included a casting note into her play instructing directors to cast racially diverse actresses who are cisgender or female identifying. As a queer person myself, I felt safe in the room I was sitting in, and I felt proud to be supporting a queer friendly theatre in Tucson.

The play follows ten explorers on four boats as they battle with each other and the elements to serve the United States government. The stakes are high and they struggle to get along with each other in close quarters and to find basic resources on their journey. The play deals with themes such as doubt, fear, and loyalty and friendship. There were some incredibly strong performances from some ensemble members. Maryann Green’s Dunn was particularly compelling. She took the stakes very seriously, and even when she wasn’t speaking, her subtext was clear. Kimberly Swanson’s Old Shady was incredibly lovable. Timea Post’s Hall and Analiese Bloom’s Hawkins were a perfect comedy duo, and Christine Peterson’s Goodman and Hannah Taylor’s Powell were strong and poignant.

Although there were some great performances from individual actors, I felt that the ensemble as a whole could have been a little more connected to each other. I found this to be a hiccup for the ensemble when the stakes were intended to be high. While some actors took the moments of danger in the boats and at camp seriously, some others did not. This ultimately made it more difficult for me to connect to the drama unfolding. I wish there had been more of a juxtaposition between the comedy and the drama throughout. Often the comedy was played through the danger and it didn’t quite serve the play.

The action in the boats happened downstage and into the audience, breaking the fourth wall to bring us into the narrative. This staging challenged the modern audience’s viewing experience, was fun to watch, and worked incredibly well for the structure of the play. I felt that there were some missed opportunities with the scene changes. The scene changes were done in black out, and in such a small space with that many props it would have been great to watch the characters help each other out of their boats and congratulate each other on a successful journey instead of watching actors stumble in a blackout.

The set design was simple, clear, and effective. The camp site set was made up of spare windows and spare wood pieced together to create a makeshift home. The props were great for practicality, stage business, and for setting the scene, and the lighting design worked well to create a distinction between the camps, and action in the boats. The technical elements worked well together to set the mood and support the play. Men on Boats is an incredibly well written play and I had a ton of fun watching it! This production is a huge victory for Something Something Theatre. Men on Boats is an exciting must see and a perfect season opener for Something Something Theatre!

Men on Boats runs through October 28 at the Cabaret Theatre at the Temple of Music and Arts. Tickets are $20 for students and seniors and $25 for general admission. You can purchase tickets on Something Something Theatre’s website somethingsomethingtheatre.com or by calling their box office at 520-468-6111.

After Centuries, the Damsel in Distress is Finally Given Her Voice in Eurydice

Kate Cannon and Adam Denoyer in Eurydice. Photo Tim Fuller

Adam Denoyer as Orpheus and Kathleen Cannon as Eurydice. Photo by Tim Fuller, courtesy of The Scoundrel & Scamp Theatre.

by Betsy Labiner

The Scoundrel & Scamp Theatre’s Season for Scoundrels is off to a strong start. Their opening production is Sarah Ruhl’s Eurydice, which reinterprets the myth of Orpheus and Eurydice by turning the focus away from Orpheus and onto Eurydice. Knowledge of the myth isn’t necessarily a prerequisite for seeing and enjoying this play, but personally, I found it fascinating to have the source material reexamined, challenged, and given nuance.

Director Claire Marie Mannle points out the peripheral role traditionally played by Eurydice in the story: “Usually the myth of Orpheus is seen from the viewpoint of the man, Orpheus, and his heroic but tragic journey. His wife Eurydice has little influence in the original versions of the myth. This play takes a chisel to that and breaks it open. It is all about Eurydice, her choices, her journey, her voice. Eurydice’s voice starts and ends this play.”* In modern pop culture studies, we’d essentially say the original myth engages in “fridging.” The term “Women in Refrigerators” was initially coined by writer Gail Simone in regard to comic books, and it refers to trope in which female characters are injured, raped, killed, or depowered – women that are, more often than not, victimized in order to catalyze a man’s story or character development. Essentially, in the original myth, Eurydice serves as a plot device and is fridged in order for Orpheus’s story to unfold. Not so here.

Mannle foregrounds Eurydice, played by Kathleen Cannon, from the outset. She has the first dialogue, is subtly placed in front of Orpheus, and is immediately charming. Everything about her is vibrant and engaging, constantly calling the audience’s attention back to her even as Orpheus rhapsodizes about his music. Orpheus, played by Adam Denoyer, is initially something of a harder sell as a character; he is distracted and inadvertently dismissive of Eurydice, though his love for her is evident even in his moments of apparent self-absorption. As the play progresses and Orpheus sinks into despair, Denoyer’s performance becomes more and more compelling. His pain is palpable, and stands in stark contrast to Eurydice’s delighted engagement with (re)learning and experience in her new realm.

Cannon’s Eurydice is literally a spark of life in the underworld. Eurydice’s confusion is matched by her determination and exuberance, and she literally glows against the muted backdrop of the underworld. In addition to Cannon’s captivating performance, the costuming, designed by Allison Morones, is another success in this manner, particularly in its interaction with the lighting and set design (Josh Hemmo; Jason Jamerson). Hemmo’s lighting shifts between a yellow-orange spectrum for the living and a blue-green tint for the dead, with characters in the underworld dressed in dark or muted tones. Eurydice’s red dress and hair stand out in the underworld, markers of her liveliness and vigor despite the circumstances. This is juxtaposed with the costuming and lighting of her father, played by Bill Epstein, on whom a grey suit and white lighting serve to make him much more intangible and ephemeral when not actively next to Eurydice. 

The Stones, played by Julia Balestracci, Leah Taylor, and Gretchen Wirges, were another delight. Their haughty disapproval for much of the play is heightened by the sound effects used on their voices, making them resonant and even more forceful. Their reactions both offer comedic asides and heighten the tension, particularly in moments such as when the Nasty Interesting Man walks onstage and each woman’s posture pulls taut. The Nasty Interesting Man, played with smarmy malice by Ryuto Adamson, offers both laughs and anxiety, as Adamson continually reasserts his power and revels in the control he exerts.

Kate Cannon leads the cast of Eurydice. Photo2 TIM FULLER

Kathleen Cannon as Eurydice. Photo by Tim Fuller, courtesy of The Scoundrel & Scamp Theatre.

Mannle’s production gives Eurydice life and depth, making her a real person to be loved and grieved. For Mannle, this is crucial not only in terms of our understanding of the characters and their stories, but also to reassess our own stories and those of the people surrounding us.  “It seems vitally important (perhaps now more than ever) that we tell old stories with new voices, voices that struggle to be heard,” Mannle explained. “I think it is critical that we amplify the voices of women and voices of people that have been historically marginalized and listen to them so that we can build a better world. Hopefully, this performance offers something to continue that conversation.”

Eurydice runs through October 28 at The Scoundrel & Scamp Theatre. Tickets are $28 general admission, with discounts available for students, educators, and patrons under the age of 30.

Tickets may be purchased online at scoundrelandscamp.org, by phone at 520-448-3300, or in person at the box office beginning one hour before each show. The Scoundrel & Scamp Theatre is located in the Historic Y, at 738 N. 5th Avenue.

*Quotes from Mannle are sourced from promotional materials provided by the Theatre.

 

Editor’s Note: Betsy Labiner is a box office assistant at The Scoundrel & Scamp Theatre. While she had no input or involvement with the creative process for this production and reviewed this play as she would one at any theatre, we feel it is important to disclose any potential biases.