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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
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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
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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
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