Company

An article about Rosemary  Close

Rosemary Close

Rosemary has been involved in theater in the Valley for over thirty years. Her work dates back as far as the Arizona Contemporary Theater Company, Northwest Studios and the Glendale Little Theater to name a few oldies. Her onstage credits include: Frozen, Harvey, Chapter Two, Barefoot in the Park, Cabaret, The Balcony, The Way We Live Now, Royal Gambit, Loves Scenes from Romeo and Juliet, Reel to Real, The Collected Works of Billy the Kid, The Maids, Skimpies and The Bad Seed. Her recent directing credits include: last season’s Velocity of Autumn and Hughie, previous season’s Grounded and An Almost Holy Picture. In 1991, Rosemary began her longtime association with the New York theater company, Mabou Mines. She appeared in numerous productions with that company both in Phoenix and New York. The highlight of that work with Mabou Mines was a leading role in the multimedia stage production, Wrath of Kali, directed by the award winning and acclaimed, Lee Breuer. Currently, she is the Managing Director for iTheatre Collaborative and is proud to be a part of the impact iTheatre has made in the Phoenix downtown community.

Credits

Production Team

The Velocity of Autumn

Alexandra is a 79-year-old artist in a showdown with her family over where she'll spend her remaining years. In Alexandra's corner are her wit, her volcanic passion and the fact that she's barricaded herself in her Brooklyn brownstone with a pile of Molotov cocktails. When Alexandra's estranged son Chris returns after 20 years and crawls through her second floor window, the emotional bombs start detonating, hopefully, before the real ones do.

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Veronica's Room

From the author of Rosemary’s Baby comes an harrowing labyrinth of suspense, entwining fantasy and reality. The story begins in 1973; Susan and her boyfriend, Larry have been enticed to the Brabissant mansion by the Mackeys, a charming, elderly Irish couple who are struck by Susan’s strong resemblance to Veronica, the long-dead daughter of the family for whom they work. Veronica’s room has been untouched by time and has been left exactly as it was in 1935. The mystery deepens as twist after twist unravels the frail threads of reality. Is it 1973 or 1935? Will Susan ever leave Veronica’s room? 

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Permanent Collection

Soon after African-American businessman Sterling North becomes the new director of the Morris Foundation, he discovers that this world-famous art collection includes several significant African sculptures tucked away in storage. His proposal to add them to the public galleries is opposed by the foundation's long-time education director, who is loyal to the idiosyncratic wishes of the late Dr. Morris. Spurred on by a zealous local journalist, this clash quickly escalates to public accusations of racism and a bitter struggle for control of the collection. “Permanent Collection” is a searing examination of racial politics that ultimately asks how much space -- literally and figuratively -- the white world gives to African-Americans. What is the cost of failing to view the world through another's eyes?

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The Effect

Hearts racing. Minds reeling. Knees buckling. Connie and Tristan have palpable chemistry—or is it a side effect of a new antidepressant? They are volunteers in a clinical trial, but their sudden and illicit romance forces the supervising doctors to face off over the ethical consequences of their work. The Effect takes on our pill-popping culture with humor and scintillating drama.

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Building the Wall

From Pulitzer & Tony winning Robert Schenkkan, comes a provocative theatrical event set in the near future and deals with one of the most talked about topics of this past election. In a time when campaign rhetoric turns into real policies, Building the Wall reveals the power of theater to question who we are and where we might be going.

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White Guy on the Bus

A shocking and excoriating new play that unravels a complex web of moral ambiguity, class conflict, and the racial divide in America. A wealthy white businessman and a struggling black single mom ride the same bus week after week. The question is why he rides the bus and what does he want from her? The answers, like race, are not so easy.

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The Trial of the Catonsville Nine

Fifty years ago nine people, including two Catholic priests, entered the Selective Service office in Catonsville, MD and removed 378 draft cards and burned them in the parking lot with homemade napalm to protest the war in Vietnam. Based on the trial transcripts, the play delves into the moral and religious motives of the nine, and why "the burning of paper not children."

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Hostage

Based on the true events of 1979 when students in Tehran took over the American Embassy. The mother of the youngest hostage, a 19 year-old Marine, flew to Tehran in the hope of being allowed to see her son. The play imagines what happened when mother and son were reunited, and the consequences the mother faced when she returned home and was suddenly suspect in her own country. Never doubt the ferocity of a mother’s love.

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Actually

Arizona premiere. Amber and Tom, finding their way as freshmen at Princeton, spend a night together that alters the course of their lives. They agree on the drinking, they agree on the attraction, but consent is foggy, and if unspoken, can it be called consent? With lyricism and wit, "Actually" investigates gender and race politics, our crippling desire to fit in, and the three sides to every story.

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