The Book of the Dun Cow
Apr 1st, 2011 - May 15th, 2011
adapted from the novel by Walter Wangerin
Choreographed by Colleen Kollar Smith
Original Music & Sound Design by Deborah Gilmour Smyth
Adapted by Robert Smyth
by Kerry Meads
Directed by Robert Smyth
Chauntecleer Lance Arthur Smith
Lord Russell Fox David Cochran Heath
Mundo Cani Dog Bryan Barbarin
Cockatrice Patrick J. Duffy
Pertelote Season Bowers
The Dun Cow / A Hen Kathleen Calvin
John Wesley Weasel/Voice of Wyrm Jesse Abeel
Wee Widow Mouse / A Hen Cynthia Peters Gerber
Beryl / Voice of the Dun Cow Caitie Grady
Costume Design Jeanne Reith
Lighting Design Nathan Peirson
Scenic Design Mike Buckley
Properties Design & Stage Manager Michael McKeon
Assistant Director Colleen Kollar Smith
Audio Master Patrick J. Duffy
Audio Engineer Robin Whitehouse
Assistant Stage Manager Brendan Farley
Michelle Miles
Matthew Meads
Makeup Design Jesse Abeel
Season Bowers
Costume Team Keith Bonar
Jemima Dutra
Carolyn Lancet
Noel Laws
JoClare Longfellow
Virginia Longfellow
Aina O'Kane
Marlene Amezola
Juliet Czoka
Jasmine Tiberi
"CRITICS CHOICE! Lamb’s brings a whole lot of theatrical savvy to The Book of the Dun Cow - a haunting and exotic original score by Deborah Gilmour Smyth, inspired and often witty choreography by Colleen Kollar Smith. It’s a Class Menagerie, a weird - yet weirdly endearing – creature feature."
- James Hebert ( San Diego Union-Tribune )
"A STUNNING PRODUCTION! In the climactic second act skirmish, Chaunticleer dukes it out with the rooster-hybrid named Cockatrice. This acrobatic combat occurs in mid air, in the style of Crouching Tiger, Hidden Dragon."
- Pat Launer ( )
"A treat for adventure fantasy fans!"
- Don Braunagel ( )
"Jeanne Reith has outdone even her previous best with the costumes! Layers of ruffled tail feathers; wonderful headdresses, a striking red bodysuit and body paint for Chauntecleer; and amazing beak anc cape of fabric plumes for an old rooster – in her choice of fabric, colors, and iconography, Reith offers a riot of imagination and invention."
- Ann Marie Welch ( North County Times )
"Back in the early ‘80s, Robert Smyth directed one of my all-time favorite produtions, Christopher Marlowe’s Dr. Faustus. What grabbed me was his concept of evil. The actor playing Mephistopheles wasn’t in the least demonic or bug-eyed. In fact, he moved slower than everyone else, somewhat like a monk. The actor made it clear that evil can take its time – that evil has all day. What Smyth did with time in Faustus, he does with space in Dun Cow. Evil worms its way everywhere in this beast fable. One sees visible agents, like Cockatrice, hears of basilisks, but the production suggests that what goes unseen is ever-present, onstage and in the audience, and ever ready to strike. Only constant diligence can keep it at bay. As the title character, Kathleen Calvin never says a word but speaks volumes in a balletic sequence. The Dun Cow, a brownish beast with horns, can help humanity. But in Wangerin’s world, free will rules, not destiny. The book is being written as we speak, and humans can’t wait passively for divine intervention. The Dun Cow helps those who help themselves."
- Jeff Smith ( San Diego Reader )