PETER QUINCE PERFORMING COMPANY, LTD.
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Cast

Bobby Soxers: Collette Kordecki, Lynn Nowakowski
Child: Kathy Risch

Streetwalkers: Les Kordecki, Sally Johnson
Sightseers: Paulette Quick, Mary Schmidt
Texan: Jim Willett
Texan's Wife: Jean Zipperer

Paper Doll Vendor: Wendy Lulloff
Nicely-Nicely: Michael Keith
Benny Southstreet: Bob Bjorklund
Rusty Charlie: Lee Garrow
Sarah Brown: Lynn Hoge
Arvide Abernathy: Eric Severson
Agatha: Jean Weber
Martha: Peg Phillips
Calvin: Dave Johnston
Harry the Horse: Michael Crechard
Lt. Brannigan: Fred Sharpe
Nathan Detroit: Reed Humphrey
Angie the Ox: Artie Orth
Miss Adelaide: Emily Mueller
Sky Masterson: Jim Panosh
Joey Biltmore: Brian Arndorfer
Mimi: Jan Hoffman
Gen. Matilda B. Cartwright: Linda Heiden
Gen. Cartwright's Aide: Lynn Zimmerman
Big Jule: Jim Ihde
Drunk: Vic Schwartz
Cuban Dancers: Chris L. Cummings, Dave Luisier
Hot Box Girls: Jan Hoffman, Gretchen Kurth, Betsy Peaslee, Nancy Protz, Cindi Seidl, and Joan Uetzmann
Crapshooters: Kevin Crawford, Dave Cummings, John Hoyer, Dave Luisier, Artie Orth, and Peter Tait
Pit

Director: Candi Ruppelt
Cello: Carol Thomley
Cello: Doug Zoerb
Flute: Sue Schrank
Flute / Piccolo: Sue Davis
Violin: Chris Hansen
Violin: Chris Smith
Violin: Jean Trainor
Bass: Lynn Allger
Oboe: Kris Pfeifer
Trumpet: Tony Fodden
Trumpet: Paul Johnston
Trumpet: Bob Denk
French Horn: Peggy Coombs
French Horn: Carol Reichert
Trombone: Jon Auman
Sax / Clarinet: Kevin Murray
Sax / Clarinet: Jon Meyer
Sax / Clarinet: Dave Mlada
Sax / Bass Clarinet: John Leslie
Clarinet: Jane Sieker
Clarinet: Sarah Kaufman
Percussion: Paul Trautman
Piano: Kathy Kaufman




Crew
Lighting: Rory McBeath, Bruce Humphrey, Josh Allen
Sound: Mark Anderson, Paul Anderson
Set Construction: Marilyn Bloom, Ron Breitwisch, Jan Hoffman, Mark Hoffman, Dan Hornung, Bruce Humphrey, John Hoyer, John Mueller, Paul Mueller, Les Kordecki, Cory Kubacky, Rick Panosh, Kathy Newlin, Donna Stanzel 
Posters: Linda Heiden, Barb Nash, Jan Hoffman, Les Kordecki, Fred Sharpe, Mary Jo Schultz, Sally Jo Johnson, Kaye Nueser, Doug Mrotek, Carol Reichart, Michael Crechard, Joe Jagodensky, Tony Fodden
Newspaper: Cris Cummings
Radio: Les Kordecki, Jeff Newlin, Eric Severson
Business: Marilyn Bloom, Bob Bjorklund, Jan Hoffman, John Hoyer, Collette Kordecki, Les Kordecki, Kathy Newlin, Peg Phillips, Cindi Seidl, Cindy Rathsack, Vic Schwartz, Jean Weber, Sue Worthington, Pat Rydezevski
Programs: Lauri Hirssig, Marilyn Bloom, Joan Uetzmann, Tom Thomsen
Building: Ron Breitwisch, John Hoyer, John Allen, Bruce Humphrey, Les Kordecki, Rick Panosh, John Mueller, Jean Weber, Cindi Seidl
Costumes: Ann Schultz, Jean Ploger, Cindi Seidl, Betsy Peaslee, Chris Cummings
Makeup: Jean Zipperer, Cindy Hartlaub, Luanne LeClair, Mary Schmidt, Kathy Oberbillig, Judy White, Monica Crechard
Ushers: Marilyn Bloom, Sue Denk, Ann Arndorfer, Cathie Cummings, Liz Fodden, Pat Granitz, Mary Kirchen, Joanne Mraz, Kaye Nueser, Laurie Hirssig, Kathy Walters, Bonnie Nichols
Props/Transportation: John Allen
Ron Breitwisch, Chirs Duebler, Cindy Hartlaub, Lauri Hirssig, Kathy LaLeike, Donna Stanzel, Jane Seiker, Les Kordecki

Photography: Paul Anderson, Michael Crechard
Advertising: Jan Hoffman, Jim Panosh, Barb Nash, Les Kordecki

Company Leadership
Board of Directors

Producer/Chairman of the Board: Reed Humphrey
Treasurer: Jim Ihde

Secretary: Emily Muller



Directing Staff

General Director: Kenneth Risch
          Assistant: Brian Arndorfer
Vocal Director: Kathy Kaufman
Orchestra Director: Candi Ruppelt
Choreography Director: Christine L. Cummings
Technical Director: Tom Skatrud 



Production Council

Stage Manager: John Mueller
Stage Electrician: Ron Breitwisch
Lighting: Rick Panosh
Set Construction: John Allen
Publicity:
  Posters: Cindi Seidl and Chris Hornung
  Newspaper: Paulette Quick
  Radio: Joe Jagodensky
  Television: Chris Hornung
Building: Bob Bjorklund
Costumes: Mary Jo Schultz and Sue Strohm
Makeup: Kris Schlei
Head Usher: Sally Johnson
Props/Transportation: Tom Thomsen
House Manager: Richard Quick
Photography: Mark Anderson
Advertising: Liz Fodden
Programs: Linda Heiden 

Musical Numbers

"Fugue for Tinhorns"...........................................................................Benny, Rusty Charlie, Nicely-Nicely
"Follow the Fold"
.........................................................................................Sarah, Arvide, Mission Band
"The Oldest Established"
.............................................................Nathan, Nicely-Nicely, Benny, Crapshooters
"I'll Know"
.....................................................................................................................Sarah and Sky
"A Bushel and a Peck"
.........................................................................................Adelaide and Hot Box Girls
"Adelaide's Lament"
.....................................................................................................................Adelaide
"Guys and Dolls"
.........................................................................................Nicely-Nicely and Benny
"If I Were a Bell"
...................................................................................................................................Sarah
"My Time of Day"
...................................................................................................................................Sky
"I've Never Been in Love Before"
.........................................................................................Sky and Sarah
"Take Back Your Mink"
.........................................................................................Adelaide and Hot Box Girls
"Adelaide's Lament (Reprise)"
.......................................................................................................Adelaide
"More I Cannot Wish You"
.....................................................................................................................Arvide
"Luck Be a Lady"
.......................................................................................................Sky and Crapshooters
"Sue Me"
.....................................................................................................................Nathan and Adelaide
"Sit Down, You're Rocking the Boat"
.............................................................Nicely-Nicely and Ensemble
"Follow the Fold (Reprise)"
.............................................................Mission Group and Crapshooters
"Marry the Man Today"
.......................................................................................................Adelaide
"Guys and Dolls (Reprise)"
.......................................................................................................Company


Program Notes
Producer's Note from the program


Musical theatre is often associated with magic; musicals are fantasies, fables and dreams. To those on the other side of the footlights, seeing that limited view that transverses time and reality, the magic might be mistaken for the transformation of wood, paint and muslin into plaster and stone, remnants into flashy costumes, a teenager into an old man, or a ream of impossible score into an unforgettable tune. Indeed, this is magic of a sort, for I have worked with the magicians that created it: the technical crews, the costumiers, directors, actors, makeup artists and musicians are just a few. But this is not the real magic, for like the best magicians, they are but skilled artists--from office staff to ushers--working to create the illusion of magic. 

When the lights are out, costumes return to remnants, the old man washes away his age and the muslin is only painted cloth. When they speak of the magic of the theatre, the real magic, people are speaking of the something special that theatre people possess that makes show business possible. These are the people who want to take a playwright's script into their care, find money to feed into it, to worry, laugh, and cry over it as it grows into a show to live but two nights for the audience. 

This willingness to seek responsibility for what seems an impossible venture is the contagious spirit of Peter Quince and the real magic of theatre. 

We all believe in magic. Perhaps theatre is linked so closely with magic because it depends upon it so. From the day we took the script under our care we believed our audience would be here to share our magic tonight. And like magic, tonight you are here. Our deepest thanks for believing in us and our dreams and for being something we can believe in. 

Reed Humphrey 



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  • Home
  • About Us
    • About PQPC
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  • FAQs
  • Past Shows
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    • In Memory
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  • Contact Us