Meeting Students’ Needs While Entertaining Us – What’s Not to Love at ART?

Editor’s Note: This is the twelfth 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.

Balancing education, entertainment, and moving audiences forward with Hank Stratton.

by Leigh Moyer

ART

Hank Stratton, artistic director of the Arizona Repertory Theatre (ART) and assistant professor in the University of Arizona School of Theatre, Film, and Television, can’t overstate the importance of theatre: “The event of theatre happening in front of you is something that you can’t experience in other forms and we need to show that to younger audiences. Every time I introduce someone to theatre it changes their lives. If you can’t tell a story with a block and a white piece of cloth, you just aren’t doing the job. All the rest of it is gravy. If you don’t have the elements of storytelling, of humanity, of simple talking and listening, then you’ve already gone off the rails. That’s theatre to me.”

This isn’t just a parable; it’s a lesson, one he teaches every year at the University of Arizona. The gravy for audience members is a six-show season that transports and amazes. For Stratton, however, choosing a season isn’t only about what will most entertain the audience but what will best educate his students. He’s unapologetic about it: “You may not always love what we do, but we need to look at what the students need first.”

That said, this season at ART there is a lot to love. 

A classic such as the fall production of Pippin, the fictionalized story of Charlemagne and his son’s quest to please him through war and feats on the battlefield, told through the lense of a troupe of performers, is countered by the spring opener The Wolves, a story that follows the very different kind of warfare of teenage girlhood. The Wolves takes place during the pregame warm up routine of the eponymous soccer team and the conversations they have, experiences they share, and losses they experience on and off the field.

The season also features Shakespeare’s The Two Gentlemen of Verona, along with the two more modern pieces The Last Night of Ballyhoo and The Light in the Piazza, and one sure to test walking skills, not to mention acting: The Legend of Georgia McBride. The latter follows the story of an Elvis impersonator who becomes a drag queen. 

Georgia-McBride“Not many of our young students have experience with drag,” Stratton explained, “We’re preparing them in terms of movement, culture, and pathos of those characters. During auditions, we watched all these young men in huge, colorful heels and I had a student come to me and say, ‘You are the one in freshman year who told me that you can’t wear flip flops and get the movement of the characters right if you are in the wrong shoe.’ As a teacher, it’s a feeling of ‘holy shit, this is working!’”

But this production is about far more than seeing college students in flamboyant costumes: “One of the reasons for doing The Legend of Georgia McBride is because the drag community is one that is underrepresented. It takes subjects that confront bias with humor. It is very rare to find a play about counterculture or LGBTQ subjects that doesn’t deal with AIDS. And while that conversation needs to keep going, the great plays from the 90s and aughts were about loss. I hope this take is more relatable to audiences today. It is their differences instead of their commonalities that make them successful.”

Embracing variety is a crucial part of ART’s mission, because along with the entertainment value and teaching students how to improve their stage craft with a given production, Stratton and the ART team are teaching young people how to be human — and representing different people and different stories is key to that.

“It is our responsibility to serve as the theatre, but also as a university and community. Sometimes that means I have to explain why diversity is important. We want everyone to be heard and that means that sometimes we have to ask both the audience and our students to trust us and take chances. We need to move the dial in a lot of ways but I don’t want people to feel like they can’t speak up when and if they feel dissent. We can find common ground in the theatre. One of the things that I appreciate about this season is that we are trying to move conversations through comedy.”

The season is outlined in more detail below and online. You can purchase tickets at theatre.arizona.edu or by contacting the box office at (520) 621-1162. Season subscriptions and single tickets are on sale now. Subscription prices vary based on the series selected. Single ticket prices are $32 for plays and $35 for musicals. Discounts available for students, seniors, military and UA employee/alumni. Group discounts are also available for groups of 10 or more.

University of Arizona Repertory Theatre’s 2019 – 2020 Season:

The Legend of Georgia McBride, by Matthew Lopez
September 21 – October 6, 2019
Casey works as an Elvis impersonator at a local bar and life is good. He even has a new sequin jumpsuit for his act. But in one evening he loses his job, his landlord demands the rent and his wife announces that a baby is on the way. So when a drag show moves into his old place of employment “The King” transforms himself into a queen and with the help of his new friends, he finds a family he never expected. Filled with humor, love and more than a few production numbers, this comedy takes us on a delightful journey that will warm the heart.

Pippin, book by Roger O. Hirson, music & lyrics by Stephen Schwartz
October 19 – November 3, 2019
With an infectiously unforgettable score from four-time Grammy winner, three-time Oscar winner and musical theatre giant, Stephen Schwartz, Pippin tells the story of one young man’s journey to be extraordinary. Heir to the Frankish throne, the young prince Pippin is in search of the secret to true happiness and fulfillment. He seeks it in the glories of the battlefield, the temptations of the flesh and the intrigues of political power, but none of them supply him with the treasure he seeks. In the end, Pippin finds that happiness lies not in extraordinary endeavors, but rather in the simple, ordinary moments that happen every day.

The Last Night of Ballyhoo, by Alfred Uhry
November 9 – 24, 2019
The year is 1939. While Hitler is invading Poland, Atlanta’s close-knit Jewish community is preparing for the premiere of Gone with the Wind and Ballyhoo, the social event of the year. The Freitag family hopes that the party will be a chance for their daughters to meet their future husbands–but when their uncle brings home his new employee, a handsome Eastern European bachelor from Brooklyn, everyone must confront their own prejudices, desires and beliefs. By turns heartbreaking and uplifting, The Last Night of Ballyhoo won the 1997 Tony Award for Best Play.

The Wolves, by Sarah DeLappe
February 8 – 23, 2020
The Wolves offers an unflinching, intimate glimpse into the world of a high school women’s soccer team. Nine diverse teammates navigate questions of identity, community, and society all while warming up for the last few games of their season. Playwright Sarah DeLappe’s unique, overlapping dialogue moves from moments that are deadly serious to awkwardly hilarious, but always true to life. With an ensemble of distinct female characters, this fast moving play offers audiences a window into the intense world of female adolescence. The Wolves was a finalist for the 2017 Pulitzer Prize for Drama.

The Two Gentlemen of Verona, by William Shakespeare
March 16 – 29, 2020
Best friends Valentine and Proteus embark on different paths in life only to run into each other again when they both fall in love with the same woman. The Two Gentlemen of Verona is one of Shakespeare’s earliest plays, his first comedy and also one of the most rarely performed plays in the canon. The play centers on a host of themes that Shakespeare would spend the rest of his career wrestling with, betrayal, disguise and love. Featuring one of his most beloved clowns, The Two Gentlemen of Verona provides an opportunity to see a master playwright just beginning to flex his genius.

The Light in the Piazza, book by Craig Lucas, music and lyrics by Adam Guettel
April 11 – 26, 2020
This Tony Award winning musical whisks you away to Italy for a captivating tale of passion and romance. It’s the summer of 1953, and Margaret Johnson is travelling the Tuscan countryside with her daughter Clara. When a handsome young Florentine captures Clara’s heart, Margaret must decide if she will risk revealing the truth that could threaten her daughter’s happiness and force her to confront her own choices and dreams. The Light in the Piazza features an intensely romantic score and a heartwarming story of love.

Students of All Ages Are Invited to See Themselves in Any Role at PCC Arts

Editor’s Note: This is the eleventh 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.

A theatre education for all audiences with Pima’s Todd Poelstra and Chris Will.

by Leigh Moyer

Pima ArtsIt should come as no surprise that Pima Community College Theatre Arts’ advance program coordinator Todd Poelstra and theatre faculty member Chris Will took the opportunity to teach me when I sat down with them a few weeks ago. They are, after all, professors. It struck me as very likely that they see almost every moment with an audience, from an interviewer to a classroom to a theater full of people, as an educational moment. Each season is structured to contain a children’s show in the fall, a musical in the spring, and either a contemporary piece or a classical piece rounding out each semester for a total of four productions per year. While chatting, though, they quickly moved past these nominal constraints to the boundlessness of what theatre offers.

“We could do Disney or something very popular but we don’t,” Will said, explaining why they are producing The Sun Serpent, the third installment of a bilingual (or in this case, trilingual) series by José Cruz González. “We’re doing Sun Serpent because it is culturally important, and because the kids who see this show, who come on field trips, probably wouldn’t come to theatre otherwise. Those kids need to see this work. Kids should have the very best theatre because they’re the future of theatre.”

“And it isn’t just the grade school students, it’s our students, they need that too,” Poelstra added, “We really want to change the dynamic; we want students of color to see themselves onstage and see stories that might be their story on stage and have opportunities to imagine themselves on stage.”

Adrian Hinojos as Dionysus, Veronica Hernandez as Persephone/Semele, and Rene Gallego as Orpheus. Photo courtesy of Pima Community College Center for the Arts.

Adrian Hinojos as Dionysus, Veronica Hernandez as Persephone/Semele, and Rene Gallego as Orpheus in the 2018-2019 season production of Polaroid Stories. Photo courtesy of Pima Community College Center for the Arts.

But if a mixed media story about the conquest of Cortez isn’t your thing (but really, it ought to be), don’t worry: the season is very eclectic. After Sun Serpent, audiences will be treated to Baskerville, a stage adaptation of the Sherlock Holmes mystery The Hound of Baskervilles. Then they change direction again, with the musical Singin’ in the Rain. The season wraps up with Shakespeare’s As You Like It, the origin of the oft-repeated line “All the world’s a stage.”

While many theatres have a theme tying the season together, Will pointed out that that can be hard or even inappropriate in an educational setting: “We need a balance, because we need to give these students a variety of pieces since we don’t know where they’re going to be heading. It’s our job to give them the experiences that will be good on a resume and get them roles in local theatres. We’re the training ground for them.”

There is one unifying trait among this season’s plays, although it might be more obvious to a director than to audiences. Each show is an ensemble piece, so while there will be a Sherlock and a Watson, for example, there will be a whole cast of characters that don’t have to fit a specific type. Casting is done based on who is excited, who is a promising young actor, and who gets what the directors are trying to create. 

Poelstra had a number of examples: “For all our shows this year, the idea of casting can, for the most part, go in any direction. We’re already making changes. The Sun Serpent is written as two brothers, now it is a sister and a brother. So as far as gender, and certainly any other category of identity, almost anything could happen in almost any of the shows. It is challenging with a dance-heavy musical; we have a student who is an amazing singer and in a wheelchair. I don’t know if she’ll be in the show before auditions, but I’m interested in the idea conceptually. And Watson could be anybody. Or, so could Sherlock. Anything could happen. It depends on who shows up and what they bring to auditions.”

It is exceptionally refreshing to see a company adopting this mindset. When Poelstra and Will choose plays, they are looking at the story and how it is best told. Casting is a secondary consideration, focusing on which actors bring the works most vividly to life, rather than seeking to fill the roles with a specific type of person. For me, Will summed it up best: “A lot of people become actors because they they think they want to play all these different characters, but in reality it’s the opposite, you find all those characters within yourself.”

Check out the whole season, whatever it might bring, at the West Campus (2202 W. Anklam Road). Contact the box office at (520) 206-6989 for tickets and information or shop online. The whole season is outlined below.

Pima Community College Center for the Arts’ 2019 – 2020 Season:

The Sun Serpent, by José Cruz González, directed by Milta Pinate
September 28 – October 6, 2019
When young Anahuac’s family meets the newly arrived Cortes, they believe he is the Sun Serpent come to usher in a new and better world. Anahuac’s brother eagerly joins Cortes’ grand march to the capital, Tenochtitlan. But while Cortes promised a world of peace and plenty, the soldiers he left behind soon engage in a ruthless search for gold. Orphaned during one of their raids, Anahuac sets off through the jungle to find and warn her  brother. Along the way, she meets the omnipotent Aztec ruler, Motecuhzoma and discovers that he is unable to protect his people against the Spanish. She comes to realize that neither leader is divine.

Baskerville: A Sherlock Holmes Mystery, by Ken Ludwig, directed by Chris Will
November 7 – 17, 2019
Comedic genius Ken Ludwig transforms Arthur Conan Doyle’s classic The Hound of the Baskervilles into a murderously funny adventure. Sherlock Holmes is on the case. The male heirs of the Baskerville line are being dispatched one by one. To find their ingenious killer, Holmes and Watson must brave the desolate moors before a family curse dooms its newest heir. Watch as our intrepid investigators try to escape a dizzying web of clues, silly accents, disguises, and deceit as five actors deftly portray more than 40 characters. Join the fun and see how far from elementary the truth can be.

Singin’ in the Rain, Screenplay by Better Comden and Adolph Green, songs by Nacio Herb Brown and Arthur Freed, directed by Todd Poelstra
February 20 – March 1, 2020
Adapted from the 1952 movie, SINGIN’ IN THE RAIN captures the waning days of the silent screen era as they give way to new-fangled talkies. Set in Hollywood, the studios are forced to suddenly change all the movie-making rules at once to accommodate sound. The plot focuses on Monumental Studio’s romantic lead Don Lockwood, his sidekick Cosmo Brown and Lockwood’s leading lady Lina Lamont who can’t sing, and can’t even really talk. Lina’s voice sounds something like nails on a chalkboard. Enter Kathy Selden, whose dulcet tones are able to cover Lina Lamont’s—calling into question what it means to act, how credit is distributed, and what it means to get a fair shake in the movie  business. Singin’ in the Rain includes some of the best-loved comedy routines, dance numbers and love songs ever written, including Good Mornin’, Make ‘em Laugh, and the show-stopping dance number, Singin’ in the Rain.

As You Like It, by William Shakespeare, directed by Mickey Nugent
April 16 – 26, 2020
The story follows its heroine Rosalind, accompanied by her cousin Celia, as she flees  persecution in her uncle’s court to find safety and eventually love in the Forest of Arden. In the forest, they find Orlando, Rosalind’s love. Disguised as a boy shepherd, Rosalind has Orlando woo her under the guise of “curing” him of his love for Rosalind. Along the way they encounter a variety of memorable characters, notably the melancholy traveler, Jaques, who speaks many of Shakespeare’s most famous speeches—such as “All the world’s a stage,” “too much of a good thing” and “A fool! A fool! I met a fool in the forest”. Jaques provides a sharp contrast to the other characters in the play, always observing and disputing the hardships of life in the country.

Old and New Favorite Stories This Season at The Scoundrel & Scamp Theatre

Editor’s Note: This is the tenth 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.

Building empathy and expanding what tribe means to us, one show at a time, with Bryan Falcón.

by Leigh Moyer

ScoundrelType_529_Black-01.pngWhat makes a Scoundrel & Scamp show? Well, according to Artistic and Co-managing Director Bryan Falcón: “At the heart there’s really the question of does the show have a mixture of heart and mind? Does it have a sense of mystery to it? Is there a little touch of whimsy? And is there duende that’s living underneath the surface?”

For those of you like myself who are unfamiliar with duende, it’s a figure from Latin American fairy tales: a mischievous spirit that lives in the walls of homes. While the term might be new to some of us, those familiar with the shows that The Scoundrel & Scamp Theatre produces will recognize it immediately. Not all their shows have spirits, but they do tend to have a personality of their own, an extra life beneath the surface, changing what seemed like a straightforward story into something else.

That  layered depth is alive and well in their first production, The Little Prince. A crashed aviator is confronted by a young prince exploring nearby worlds, and, with the innocence of a child, questions and ridicules the strange habits and priorities of adults. The Scoundrel & Scamp version aims to ask a classic loved by generations some of the same questions. Upsetting expectations, like taking traditional gender expectations and casting roles like the Aviator as a woman, intend to ask the questions of why things have been done one way and not another and, hopefully, answer them skillfully.

Falcón gushed about all the plays this season, about the mystery and joy he hopes each of them bring audiences, but one stands apart from the group: “In Cloud Tectonics there’s a search for who we are. It is a story that is near and dear to me. It’s a beautiful love story set against the backdrop of magical realism. A man living a mundane life, separated from the passions that filled him when he was young. It is his journey to look for the things that made him who he is and doing so through remembering Spanish and remembering the foods of his youth. These are things that speak to me as a Latin artist growing up in the United States.”

He continued, “I think border issues are on my mind a lot these days and the weight of our tendency to ‘other’ people. A lot of othering comes from a struggle to find our own people. We are hungry for an identity, something that we can believe in, that we feel is good and upright. And it’s so important for Tucsonans to be in tune with. How do we go through that process of finding what’s important to us, what gives us passion, what gives us reason to live? Cloud Tectonics is a really good story for our community today.”

Much of what he spoke about wasn’t about the content of the plays, but the issues he hopes they bring to light — namely, the issues of hate, intolerance, and a lack of basic empathy for others — and the conversations he hopes they will spark in audiences. Beyond border issues, the political climate of 2019 is on Falcón’s mind and that concern makes itself known in the productions to which he is drawn. 

“I think that’s interesting, tracking how our society has changed in the course of the last three years. And there’s a lot of argument to say it has changed recently, right? But in other ways, at a basic level, we haven’t changed a lot. It feels like we are inclined as a society to draw boxes around identities and say this is our tribe and we are going to just cheer for our tribe and just tear down the other tribe as much as we possibly can. And I feel that now it’s just as important, if not even more acute, that we set up situations where that conversation can happen across the table in the lobby of a theatre or in a talkback session where you can start to feel, to step into the identities of other people, start to understand what it is that hurts them, what is it that fires them up and makes them passionate. And start to have empathy so we can real conversations instead of pointing fingers at each other and labeling them bad people.”

Empathy is key, not just in this conversation, but in the mission statement of the theatre. Falcón stressed that showing a variety of voices and viewpoints was the foundation of each season. It can be challenging, he admitted, as the history of play-writing does not always lend itself to telling stories outside of a certain sphere. But that is where he and the Scoundrel & Scamp creative team, which includes Elizabeth Falcón and Claire Mannle, come in. He explained that he might find a season he is excited and passionate about, but then realize it all comes from one perspective. And when that happens, he says, “We scrap it and begin again. It takes a lot of time and effort but it is so important to our identity as a theatre company to have that sense of diversity and multiple lenses for those coming to see a play.”

The cast of the 2018-2019 season production of This Girl Laughs, This Girl Cries, This Girl Does Nothing. Photo by Tim Fuller, courtesy of The Scoundrel & Scamp Theatre.

The cast of the 2018-2019 season production of This Girl Laughs, This Girl Cries, This Girl Does Nothing. Photo by Tim Fuller, courtesy of The Scoundrel & Scamp Theatre.

Falcon seems to see his role as artistic director as a humanistic duty or community obligation. “We’re really in the business of growing empathy for others through addressing concerns of the heart. We want to explore themes of race and tribe and gender and push the boundaries of what all things mean to us. And the theatre is one of the few art forms if not the artform that allows you to step into other people’s skin for a time and in doing so learn empathy. Theatre is a way to change hearts. I borrowed that, that isn’t my quote, but I heard it and it stuck with me.”

Their season contains both plays “for Scoundrels” (usually recommended for those in high school and up) and “for Scamps” (theatre to be enjoyed by audiences of any age), The Scoundrel & Scamp Theatre is working to bring theatrical inclusivity to as many people as possible, regardless of age or background. “Part of our mission is to introduce the next generation to theatre,” Falcón explained. “Part of that is by providing theatre that families can come to with some sense of security that is is going to be a good experience for all involved, work that will hook people no matter their age. And there are some things we want to talk about of a darker or more adult nature and that is our season for Scoundrels.”

You can learn more about the whole season below or on their website. Individual tickets are available before the run of each show begins but season tickets are on sale now. This season they are also introducing a new way to consume (and I really think that is the best descriptor) theatre: The Scoundrel Society. As a member, you can watch any show as many times as you like. Entrance to other events like the new Late Night with Scoundrels cabaret and more intimate conversations with creatives and invitations to parties are also promised. Plus, you get a cool mug.

The Scoundrel & Scamp Theatre’s 2019 – 2020 Season:

The Little Prince, adapted by Holly Griffith from the novel by Antoine de Saint-Exupéry, directed by Holly Griffith
October 17 – November 3, 2019
“It is only with the heart that one can see rightly; what is essential is invisible to the eye.”An aviator crashes his plane into the Sahara desert and encounters a mysterious little prince from a distant planet. The two strangers, each far from home, share adventures and become friends. A new ensemble-based, physical theatre adaptation of the beloved classic story for children and grown ups who can remember that they were children once. 

Cloud Tectonics, by José Rivera, directed by Bryan Rafael Falcón
November 21 – December 8, 2019
“What better way to understand a mystery than to fall in love with it?”
On a rainy night in Los Angeles, a man picks up a pregnant hitchhiker to help her find her way home and time suddenly stops. Realism and magical realism collide in Rivera’s dreamlike world where two souls unexpectedly cross paths.

The Light Princess, book by Lila Rose Kaplan, music by Mike Pettry, directed by Michelle Milne
February 6 – 23, 2020
“A princess needs to find her ground so goodness can prevail, everyone needs something they can call their fairy tale.”
In this musical adapted from George MacDonald’s fairy tale, a king and queen are desperate to have a child. They turn to a witch for a solution, but “there is always a price.” Their daughter is born without gravity and must find it before her 16th birthday or else… Wise men, witches, princes all attempt to come to the rescue. This enchanting musical comedy is a Valentine for the whole family, appropriate for Scoundrels and Scamps alike.

Ada and The Engine, by Lauren Gunderson, directed by Bryan Rafael Falcón
March 26 – April 12, 2020
Ada Byron Lovelace is the woman you didn’t know to thank for our digital age. Although her dear friend Charles Babbage conceived the first “analytical engine” or proto-computer, she wrote and published the first program for it, an algorithm designed to be carried out by a machine. As she comes of age with a stern mother and in the shadow of a scandalous father, we see her brilliance in conflict with 19th century conventions. Genius knows no gender.

Letter’s End, by Wolfe Bowart
May 15 – 31, 2020
Wolfe Bowart (Cloud Soup, U.S. Premiere) triumphantly returns to the S&S stage with his unique solo physical comedy. On his inspiration for Letter’s End, Bowart says “I’ve always been interested in memory – how at times it tumbles out like Fibber McGee’s closet and other times seems elusive, stuffed away in an old package in the attic. The story begins with a man inhabiting a slightly off-kilter dead letter office, but then becomes something altogether unexpected. Ultimately a wondrous and poignant journey down a most magical memory lane, where mops sneeze and storks swoop in bearing gifts and trees grow out of shoes, Bowart’s performance inspired Canberra critic Wendy Brazil to remark “you will be mesmerized … he will make you laugh, he will make you sigh, and and you will be enchanted by his every move.”

Late Night With Scoundrels

The second Friday of the month at 10:30pm
A Late Night cabaret experience – sixty minutes of the best variety that Tucson has to offer! Explore the many skills and talents the artists of our community possess in this unique experience to 4th Avenue and the Tucson Community. Acting! Song! Dance! Standup! The Physical. The Metaphysical! …and Puppetry! Now something completely different for your Friday night. The first Late Night with Scoundrels will be held on September 13th.

 

Editor’s Note: Leigh Moyer is the resident house manager at The Scoundrel & Scamp Theatre. While she had no input or involvement in the creative process behind building a season, we feel it is important to disclose any potential biases.

Look Forward to a Season of Wit and Whimsy at Arizona Rose Theatre

Editor’s Note: This is the ninth 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.

Entertaining the People with Brandon Howell of Arizona Rose Theatre.

by Leigh Moyer

Arizona Rose TheatreGive the people what they want and make art while you do it. This seems to be the approach to Arizona Rose Theatre‘s 2019 – 2020 season, based on my recent conversation with managing director, Brandon Howell.

“We wanted to have a fun season this year. We have a group in the theatre, core performers and production team, work with them first, looking for suggestions. Also asked our audience what they wanted to see. Always take audience suggestions into consideration. We want to provide theatre that our audience wants to see,” Howell explained. “It isn’t quite putting shows into a hat and pulling the season out, but it is more looking at the suggestions and filling the slots.”

Arizona Rose Theatre has been bringing theatre to the people of Tucson for over 30 years. For much of that time, the productions they put on were dictated by in part by not having their own stage and having to adjust based on the stage available to use. Now, with a permanent home in the Tucson Mall, they are able to control the season better. They have also changed their model over the last three decades. In the beginning, they did all original works. Now they produce some originals like Sherlock Holmes and the East Wind and big names like Into The Woods

“No one should miss any of our shows. That has to be my answer,” Howell said when I asked if he had a favorite this season. “We are excited about all of our shows. They all present a challenge. And I enjoy when a show brings a challenge.”

They have given themselves several challenges; big musicals like Into the Woods in a relatively small space, adapting classic murder mysteries into musicals without losing the serious nature of the source material in Sherlock Holmes, and depending on a small cast to carry a lot of show in The Complete Works of William Shakespeare, Abridged

“I do think there are different elements considered. Female writers were the backbone of the season last year. Women playwrights was the unspoken theme. We often choose female heavy shows, although this year we haven’t really looked at that as much,” Howell said of this season compared to last.

The last of those three has the potential to have an extra layer of complication. At the time of the interview, casting wasn’t completed but Howell and the director were looking to cast the three man show with two men and a woman. I hope they did. I’d love to see, live on stage, that the gender of the actor doesn’t matter, that women can play roles usually filled by men. That said, there is a section that, quite spectacularly in my memory, makes fun of men playing women (and being so out of touch, the female characters are silly and over the top)– I am curious how Arizona Rose gets around that. I think it is possible and, with a history of writing, choosing plays by female playwrights, and frequently having strong women casts, they should have the skills to pull it off.

“[Arizona Rose Theatre] was founded with the mission, basically, of entertaining and introducing audiences to theatre, especially those who haven’t been to the theatre before or often. Every time we have an audience leave having enjoyed what they saw, we’re completing our mission. We want to improve and do it better every year,” Howell said, and added, “I want to reach out to newer audiences and introduce them to theatre. That is the future of theatre.”

A Season of Wit and Whimsy

Arizona Rose Theatre’s 2019 – 2020 Season:

The Musical World of Fairy Tales
August 24 – September 8, 2019
The Arizona Rose Theatre is expanding on a popular show from the last two seasons, the Musical World of Disney. In addition to favorite Disney music, the show will include music from other fairy tale favorites such as Shrek, Wicked, The Wizard of Oz and more… Come and enjoy a show for children of all ages. Watch as each song is brought to life with amazing production values, beautiful singing and fantastic dancing. This show is sure to delight the whole family.

Sherlock Holmes and the East Wind: a new musical
October 12 – 27, 2019
December 23rd, 1915–At the Hotel du Louvre in Paris, guests seek refuge from the war wreaking havoc throughout Europe. Dr. John Watson and his wife are staying there, and plan to meet their nephew, who is on leave from the British army. When a hotel maid is murdered however, they quickly become embroiled in an international conspiracy so complex that only the great Sherlock Holmes could unravel it–if only he were still alive.

Dashing Through the Snow
December 7 – 15, 2019
The play takes place in the Snowflake Inn in Tinsel, Texas where it’s Christmas 365 days a year. It’s four days before Christmas and a parade of eccentric guests arrive at the Snowflake Inn and deck the halls with holiday hilarity. Trina, the harried yet upbeat innkeeper of this B&B, has more than she can handle coping with these nuttier-than-a-fruitcake lodgers. You’ll swear this family-friendly Jones/Hope/Wooten Christmas comedy is more fun than a joyride in a one-horse open sleigh.

The Complete Works of William Shakespeare (abridged)
February 29 – March 15, 2020
All 37 plays in 97 minutes! By three actors! Complete Works is an irreverent, fast-paced romp through the Bard’s canon. It is fast paced, witty and physical; it’s full of laughter for Shakespeare lovers and even those few Shakespeare haters or those who “do not understand” Shakespeare will love this show.

Into the Woods
April 18 – May 3, 2020
Into the Woods is a Tony-winning musical with music and lyrics by Stephen Sondheim and book by James Lapine, about wishes and what can happen when they come true. Based on fairy tales by the Brothers Grimm, it brings together the story of a Baker and his Wife who wish for a child, of Cinderella who wishes to go to the King’s Festival, of Jack who wishes to keep his best friend, of a Witch who wishes to be beautiful again and many more. It all comes together in the woods, where everyone will have to consider if they truly want what they thought they wished for.

Tucson Welcomes a New Theatre!

Editor’s Note: This is the eighth 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.

Filling a gap in the Tucson theatre community: Southern Arizona Performing Arts Company opens this August!

by Leigh Moyer

SAPAC logo+wordmark

Tucson has theaters that focus on classic works, theaters that focus on contemporary works, theaters that focus on family-friendly, alternative, and new works. And while many of these theaters feature musical theatre productions during their season, Tucson has had few theaters dedicated just to presenting a full season of quality musicals. Until now.

I sat down with the founders of Southern Arizona Performing Arts Company (SAPAC) Kelli Workman, Artistic Director, and Danielle Wright, Production Manager, to talk about musical theatre and starting a new company in Tucson.

“We’re looking to fill the gap between professional and amateur theatre in the community. The long-term goal is to be an equity theatre. We want to give the talent in Tucson the experience of working on high level productions,” said Workman. “We want to add to the effort in bringing quality musical theatre to Tucson. We have a wish list of epic proportions that we want to bring to this community.” 

Each season they plan to bring a classic musical, a contemporary musical, and a concert style musical. Once they are more established, they want to workshop new musicals as well. “We want to do musicals people know but with a fresh concept so that people see something new, see a production in a new way,” explained Wright.

For their inaugural season, SAPAC is bringing stories of origins. [title of show] is about writing a show, the creating – the origin – of a musical. Hot Mikado is an updated adaptation of the piece by the pioneers of musical theatre: Gilbert and Sullivan; it is an opportunity to look at the roots of musical theatre and how artists are fostering growth in the medium. And then, 1776 is about the origins of our country. “For 1776,  we are focusing on nontraditional casting to showcase the breadth and  diversity of experiences in our country,” Wright said. “We’re planning to have a female director to insure a different voice comes through what is usually a very male-centered narrative. ”

Attention to diversity is important to SAPAC. The founding team, Workman, Wright, and Executive Director Dennis Tamblyn, are all white. They are interested in casting against tradition to see more women and people of color on stage and behind the scenes. They are also looking to select shows that show different people and different stories. And, when they work with an older piece, making sure that it meets 2019 expectations. Wright admitted they are still learning how to produce theatre responsibly and justly. “When doing classic musicals there were different social justice standards when they were written. We have to ask ourselves why something is important to the show but also what challenges  need to be considered; what interpretation of the material might encourage a conversation with our audience.”

Each production gives Tucsonans the chance to see and hear the stories of others. “Theatre fosters empathy,” Wright said. “At a Broadway League conference, Lin Manuel Miranda talked about how theater is one of the last things that eliminates the viewer’s power to create their own reality. Audience members with different ideologies all sit in one room and view the same thing. He said, ‘You ask the audience to live outside of themselves. You’re asking the audience to identify with people they might not normally ordinarily identify with.’ Storytelling helps individuals to learn about people who aren’t like them and knowing someone is loving someone.”

“I get really passionate about Broadway shows I love. This season each show is an important part of the season. We not only selected the shows specifically, but the venue that supported the show best,” Workman said. “We are very attached to each show.” From traditional proscenium theater space like that offered by the intimate Cabaret Theater at the Temple of Music and Art to the Demeester Outdoor Performance Center at Reid Park, each show is homed in the best location to help tell the story.

The full season is listed online and below. Tickets are $25.00, with discounts for seniors, students, teachers, and members of the military. Or as a season ticket subscriber see all four shows for the price of three. Tickets can be purchased online, by email at boxoffice@sapactucson.org or by phone at (520) 261-9309.

SAPAC 2019-2020 Season

Southern Arizona Performing Arts Company 2019-2020 Season:

Gutenberg! The Musical! by Anthony King and Scott Brown
August 15 – 25, 2019
Back by popular demand after being nominated for a MAC Award in 2018, this production of the hit two-man musical spoof is a special add-on event to our regular full season of musical productions. Two desperate (and bravely untalented) songwriters perform a backers’ audition for their new musical about Gutenberg, the inventor of the printing press. With an unending supply of enthusiasm, Bud Davenport and Doug Simon (portrayed by real-life brothers Carson and Tyler Wright) sing all the songs and play all the parts in their hilarious historical epic. Called “A smashing success” by the New York Times, Gutenberg! The Musical! went on to receive Lucille Lortel Award and Outer Critics Circle Award nominations for Outstanding Musical.

[title of show] by Jeff Bowen and Hunter Bell
September 13 – 22, 2019
Writing a musical is hard! Just ask Jeff and Hunter, two struggling writers, scrambling to write a musical to submit to a theatre festival. With the deadline looming, and with nothing to lose, the pair enlists the help of their friends Susan and Heidi (with Larry on the piano), and decide to try and create something exciting and new. What you get is four friends writing a musical about four friends writing a musical: meta-theatre at its most hilarious! This Tony-nominated musical is sure to leave you laughing!

Hot Mikado, adapted and arranged by David H. Bell and Rob Bowman
January 17 – 26, 2020
This hilarious and ‘HOT’ updating of Gilbert and Sullivan’s comic masterpiece weaves a sharp witted, fun-filled tale where – despite life or death stakes – characters still find time to tap their toes and croon their troubles away. Set in a fictionalized Japan, at a time when outlandish laws harshly sentence people for almost any indiscretion, it is the language of jazz, gospel, and the blues that is spoken most fluently. Hot Mikado thrills by combining traditional Japanese storytelling with the big band sights and sounds of popular American song and dance.

1776 by Peter Stone and Sherman Edwards
April 24 – 25, 2020
Long before Hamilton, there was three-time Tony Award-winning 1776 – the original American Revolution Musical! It’s a long, hot summer in Philadelphia, and the Continental Congress is at each other’s throats. The nation is on the brink of revolution – if only our founding fathers can agree to sign the declaration. American history blazes to vivid life in this extraordinary musical, revealing the humor and humanity behind these national icons. With a limited 2-performance run, you won’t want to miss our modern re-shaping (including nontraditional casting) of this hit show!

See Yourself Onstage This Season at Arizona Theatre Company

Editor’s Note: This is the seventh 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.

Arizona Theatre Company welcomes back Sean Daniels, once a season subscriber, now the Artistic Director.

by Leigh Moyer

ATC LogoFor Arizona Theatre Company’s (ATC) new Artistic Director, Sean Daniels, this is a homecoming. His love of theatre began as a child watching a “life changing production of Our Town” at ATC. After talking with Sean over lunch at a local downtown eatery, that seems almost too perfect. Our Town addresses a lot– growing up, learning who you are, and finding community, all things clearly important to Daniels, especially in theatre. 

And that means representing the community on stage.

“I’m interested in what the conversation is with the community. American Mariachi is the best selling play in Arizona Theatre Company’s history. And so you have to ask what is that about? Was it just the timing? Was it what the play is about? Or is it that a community is finally seeing themselves on stage where they hadn’t before. I’m more interested in what are the next set of plays that help to unlock those questions,” Daniels said, referencing the 2018-2019 season production of American Mariachi. “It is so powerful to see your story on stage. Clearly it resonated with this community. So how to figure that piece of the puzzle out, for me, that is my job. Invite them in, perhaps in an easy way, in Lowell, with the company I was with before ATC, that was putting on a production by a playwright from the greater community, but then working to do other things the community might be interested in. But you have to genuinely reflect them on stage. You can’t just say, ‘Now here’s a ticket coupon and come see a show where no one looks like you.’”

The 2018-2019 season production of American Mariachi. Photo by Tim Fuller, courtesy of Arizona Theatre Company.

The 2018-2019 season production of American Mariachi. Photo by Tim Fuller, courtesy of Arizona Theatre Company.

This season Daniels and his predecessor David Ivers selected six shows that reflect the local community and the issues the greater American culture is facing. And they aren’t pulling any punches. This season addresses gender and racial discrimination, challenges stereotypes of masculinity and femininity, asks us to look at white privilege, and then there are the Nazis. “We have an opportunity to have six curated evenings with people. What’s the conversation that we want to have with them over time?”

While a lot of the content ATC is bringing to the stage this year covers big, heavy topics, topics that are all too familiar in 2019, these are plays that tell stories about people and what it means to live during challenging times. There may be heartbreak and struggle, but there is joy and laughter. It is important to tell stories like this not because we need the lesson, although maybe we do, but because we need to see that things get better and we keep living.

“And,” Daniels added, referencing one of the shows he selected for this season, Women in Jeopardy!, “Looking at the season, I realized we didn’t have the show that you just scream in laughter from beginning to end. And that has a value in a season. You don’t want six of those. But there is nothing wrong with being entertained by theatre.”

Daniels will be considering diversity and representation in the casting process too, You have to think about your own biases that you bring. Could anyone play this role? Do I want the best actor? Do I believe that white actors are the only actors who can play all types of roles and actors of color are the only ones that can play those types of roles? Then find the best actors to pull it off. If you start with that you don’t end up with all white casts.”

Having a season that ranges from “Master Harold”…And The Boys, a show that looks at privilege in apartheid South Africa to The Legend of Georgia McBride, a musical about a drag queen, to classics like Cabaret, this season has a lot to offer. 

“That’s the point of being a season subscriber. You get to watch shows you wouldn’t have picked. In an era of Netflix and Amazon the algorithm has you figured out. It knows that based on your buying pattern, you would like this media, this item. And you’re always like, ‘You don’t know me!’ But then you look and you’re like, ‘Yeah, I probably would like this…’ There is nothing wrong with that, but the thing I hear from subscribers is they come to shows they wouldn’t have otherwise watched and ended up liking it. If you pick only what you know, you are only going to get that.”

There is more to diverse theatre than breaking free of an algorithm. “Sometimes I chose something thing because it allows a group of people who don’t look like you to finally see themselves on stage and be invited in. As an audience member maybe this play isn’t your favorite but that’s okay because you believe in this theatre and you want it to be around in 40 years and introducing a new audience to the theatre is important.” And for someone who, some years ago, realized theatre was his dream at an ATC production, fostering the continued success of the theatre and encouraging new audiences to check out the theatre is a key driver. 

But if you can’t catch the whole season? Daniels recommends that you don’t miss the first two shows: The Royale and Silent Sky. The first tells the story of the first time black and white boxers were allowed to box against each other during Jim Crow. The second looks at women in science, following the story of Henrietta Leavitt, a brilliant astronomer who made most of her discoveries (including where we are in the universe) without access to telescopes because of gender discrimination. It would be naive to say things haven’t improved in the hundred plus years since either event, but it would also be naive to say these problems have disappeared.

But it isn’t just that these are societal problems we have to face together that make Daniels recommend them but because the playwrights, Marco Ramirez and Lauren Gunderson, respectively, are interested in working here, in joining the community and learning from the Arizona audiences who will be experiencing their work. That is something special.

As a closing thought, Daniels reiterated, “I just think it is a real goal of ours to try to be more locally based. I am really focused on how this community owns us.”

Arizona Theatre Company’s 2019-2020 Season:

ATC 19/20 Season

The Royale by Macro Ramirez, directed by Michael John Garcés
9/07/19 – 9/28/19
A power-packed boxing drama. Winner of two Obie Awards, an Outer Critics Circle Award, a Drama Desk Award, and multiple other awards and sold out houses in London, New York and LA. The Royale is not your usual sports play. First of all, it is not really about life in the ring. Second, not a single punch will be thrown, at least not with fists. The play is a deeply theatrical and emotionally moving piece about the life of the outsider in American culture. Set in 1910, deep in the midst of Jim Crow, it explores one man’s struggle while reflecting a much broader one. It is also a play about a brother and his sister – his sister, who as he climbs for glory and respect, remains his greatest adversary and strongest motivation.

Silent Sky by Lauren Gunderson, directed by Casey Stangl
10/22/19 – 11/09/19
A celebration of discovery, originality, and curiosity. For the last three seasons, playwright Lauren Gunderson has proudly sat on the list of most produced playwrights in the country. Arizona Theatre Company proudly brings this brilliant and prolific author’s work to the professional stage in Arizona for the first time. Based on the true story of 19th-century astronomer Henrietta Leavitt, astonishing discoveries await as she maps distant stars in galaxies beyond our own. But this brilliant, headstrong pioneer must struggle for recognition in the man’s world of turn-of-the-century astronomy. During this time of immense scientific discoveries, women’s ideas were dismissed until men claimed credit for them. Like the recent film Hidden Figures, Silent Sky shines a bright light on women whose achievements have been too long overlooked by the telescope of history. In this exquisite blend of science, history, family ties, and fragile love, a passionate young woman must map her own passage through a society determined to keep a woman in her place.

Cabaret, based on the book by Joe Masteroff, Music by John Kander, lyrics by Fred Ebb, directored by Sara Bruner
11/30/19 – 12/29/19
Wilkommen! Bienvenue! Welcome! Cliff Bradshaw, an American author working on a novel in Berlin, encounters Sally Bowles, a talented cabaret performer, at the seedy Kit Kat Klub where she sings. When she is fired by the club’s owner, also her jealous boyfriend, she moves in with Cliff and the two fall in love. As the Nazis begin taking control of the German government, the atmosphere of the Kit Kat Klub and the lives of Cliff and Sally begin to change dramatically. For all the exuberant song and dance, the most powerful aspect of Cabaret remains the political wallop that it delivers. The horror gains momentum around them, as too many characters stay locked in denial or self interest. At its core, Cabaret is a devastating critique of apathy, and a clever and terrifying look at totalitarianism. Cabaret’s powerful story remains remarkably timely nearly 80 years after Isherwood’s original stories were published, which is why the piece continues to resonate with audiences more than 50 years after it debuted.

“Master Harold”…And The Boys by Athol Fugard, directed by Kent Gash
1/18/20 – 2/08/20
A semi-autobiographical masterwork. Of all Athol Fugard’s plays, none is more personal or shatteringly honest than “Master Harold”…And The Boys; because it relates a boyhood incident which involved himself and which haunted him for years until he tried to atone by writing this play. It may take place in South Africa during the early years of apartheid, but its depiction of the ways in which people are capable of hurting even those they love transcends the political landscape of bigotry and oppression that inspired it. The play recounts the long, rainy afternoon that Hally (“Master Harold”) spends with Sam and Willie, two middle-aged African servants of his parents’ household who have cared for seventeen-year-old Hally his whole life. This particular afternoon turns into a profound and life-changing experience for all involved. A stunning masterpiece, one of the most powerful coming-of-age plays ever written, and still timely, still compelling, still profoundly moving.

The Legend of Georgia McBride by Mathew Lopez, directed by Meredith McDonough
3/07/20 – 3/28/20
A big-hearted, FIERCE, music-filled comedy. A theatrical cornucopia of camp, country music, drag, domestic dilemmas, and larger-than-life divas awaits you! Casey is an Elvis impersonator with everything going for him, including a flashy sequin jumpsuit. But just like that he loses his gig, rent is overdue, and his wife announces a baby on the way. So when Elvis leaves the building and a drag show moves in, “The King” transforms into an all-out queen with the help of some new friends who become the second family Casey never saw coming. With snappy zingers and dance-worthy numbers, this wildly entertaining story will challenge your assumptions with extraordinary humor and depth. A valentine to the drag queens who helped mentor the playwright through his own coming out as gay while growing up in Florida, ATC is thrilled to bring you this light and fizzy comedy that’s as sweet as it is hilarious.

Women in Jeopardy! by Wendy MacLeod, directed by Sean Daniels
4/18/20 – 5/09/20
A riotous comedy! Screw the mid-life crisis; let’s solve some crimes! Middle-aged mom Liz has a new man. And let’s face it… he’s just plain creepy. When a mysterious disappearance sets the community on edge, Liz’s best friends leap to the rescue as the zany caper flings them from the ‘burbs’ to the wilds of Utah; because there’s no danger great enough to stop women from solving crimes if they want to! A riotous comedy about trading in wine glasses for spy glasses when the mid-life crisis just isn’t your speed.

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.