What if the world around you stopped making sense and the people in it were selfish, cruel and didn’t understand you? What if you went to another place, where everything was simple and scheduled everyone was unfailingly polite and congenial, if a bit peculiar? Would you stay in this second world…even if it were a nuthouse? Ethyl P. Savage ultimately faces this question that in the play, The Curious Savage, currently being performed by the Port City Playhouse (PCP).

In the play, Ethyl, an eccentric octogenarian played by Bonnie Jourdan, has a fierce desire to fulfill other people’s fantasies. When her husband dies, she starts a memorial fund for this purpose with her ten-million dollar inheritance. Her adult step-children, however, are determined to get her share of the money. Savage hides her fortune and convinces her step-children that she’s forgotten where she put it. Livid that she won’t hand over the money, they have her committed to a private sanatorium called the Cloisters, on the grounds that no “sane” person would give away millions of dollars to satisfy the foolish dreams of strangers.

At the Cloisters, Savage encounters a number of endearing, but fragile, “guests” who each suffer a major psychological flaw. Florence Williams, played with tragic dignity by Wendy R. Couchman, carries around a doll, believing it to be the son that was taken away from her. Fairy May, enthusiastically played by Jacqueline Mathis, has a pathological need for attention because she was abandoned as a child. Hannibal (John T. Adams III), a high-strung, former statistician, believes his has a genius for the violin, although he is completely talentless. Hannibal holds nightly concerts for the residents, while Jeffery (Spencer Tamney), an extremely talented pianist, refuses to play in front of anyone because he deludedly thinks he was horribly disfigured in World War II. Rounding out the group of misfits is Mrs. Paddy (Angela Le Blanc), who quietly scowls and paints puerile seascapes, occasionally shouting out a litany of the things she hates. The residents are cared for by the capable and pleasant staff: warm-hearted nurse, Miss Willie (portrayed with sincerity by Corrine Bush) and the soft-spoken Dr. Emmett (Jamin Hill).

Throughout the play, Ethyl is visited (read: assailed) by her three step-children. They are scheming, self-interested caricatures of people, too vain, dim and gullible to be real (actors Joseph Le Blanc, Morrigan Condo and Michael J. Switalski do the best they can with their decidedly two-dimensional characters). Ethyl convinces them to search for her buried fortune in a variety of ridiculous locations, leading to their humiliation and social ruin. Ultimately they are tricked into believing that the bonds were destroyed and slink away from the Cloisters, defeated and impoverished.

Although each actor does good job of portraying his or her character’s unique quirks, Ethyl is really the only role in the play who is well-developed. Jourdan plays the part with the right dose of mischief and levity, sometimes reveling in her personae as dotty old lady, occasionally furious at her circumstances and her step-children, and finally, torn about returning to the real world and leaving behind her new friends, who are emotionally incapable of joining her. I would have liked to see more connection between the characters and more development of the relationships, although farewell scene goes a long way to develop both depth and lovability in each guest’s character and their relationship with Ethyl.

Finally, the cast and crew did a commendable job of adapting to a new venue when a burst water pipe temporarily shut down the Nannie J. Lee Rec Center. The acoustics were excellent and the set felt proportionate to the stage. Only a few minor details (some backstage light bleeding onto the stage during crucial blackouts, and a few dim spots in the upstage right corner) hinted at the major, eleventh hour change in location.

Photo Gallery

Wendy R. Couchman, Bonnie Jourdan, Jacqueline Mathis	Bonnie Jourdan, Corrinne Brush
Wendy R. Couchman, Jacqueline Mathis, Bonnie Jourdan, John T. Adams, P. Spencer Tumney

The Musical Comedy Murders of 1940 is a comedy styled after (or rather, spoofing) the murder mystery movies of the forties, with more than its share of plot twists, intrigue and character cliques. The play takes place in the upstate mansion of an eccentric heiress who agrees to work with the New York police to solve a series of murders. She invites a number of guests to her home on the pretense of holding a backer’s audition for a new musical. It is soon revealed that the creative team for this new project had been involved in Manhattan Musical, a production that closed when three of its showgirls were mysteriously and brutally murdered. From the first scene and throughout the play, inhabitants and guests of the mansion are picked off, often by a mysterious masked individual, and the survivors are left to frantically solve the murders before they become the next victims.

The Sterling Playmakers did an excellent job of transporting the audience to the 1940s and providing a number of laughs in its rendition of Musical Comedy Murders, although the show could benefit from slightly faster pacing, especially in the first act.

Even before discussion of the onstage action, praise must be given to the set, props, costume and sound designers and crew. Often the unsung heroes of a stage production (and often only acknowledged when something goes wrong) the technical crew of Musical Comedy Murders did a fantastic job of creating a forties ambience. The intricate box set depicts the library of an opulent but mysterious mansion, fashionably decorated (set designer Glen Bartram and his crew must be geniuses at scouting flee markets) and filled with secret passages. The costumes, properties, even the slightly tinny radio music was very authentic to the period.

The action on stage, especially the exposition of the first act, dragged just a bit and a few lines were noticeably flubbed. However, as additional, colorful characters arrive on-scene, the plot develops and the audience becomes more intrigued by the action. Stand-out performances include Barbara D. Carpenter as the alcoholic and easily petrified lyricist, Bernice. Carpenter had the best comedic timing of the cast, delivering her lines with just a dash of sincerity, which is all one needs when embodying a cliqued role. Sophia Malakooti, as the overly complimentary, overly excited and just plain overly-over-the-top producer Marjorie, brings most of the comic relief in the first act, borrowing shamelessly, and successfully, from the frighteningly intense Norma Desmond (of Sunset Boulevard).

Marie Ann Garcia, as Nikki, has a lovely, bell-like voice. She credibly acts the role of an “innocent” ingénue with a secret and looks the part from head-to-toe. Glen Bartram, as Patrick O’Reilly, the Irish tenor (turned Italian police officer, turned German Gestapo agent), and Susan Kronenberg, as Helsa, the German maid who is “offed” in the first scene only to reappear with totally different personality, successfully portray the sinister villains of the show, and, it is worth noting, speak with rather convincing accents.

The other actors all committed well to their roles, although they could have played up even more the unique eccentricities of their respective characters. And almost all of the performers could have been more on top of their delivery at some point throughout the play.

On balance, Musical Comedy Murders is a show worth seeing, to admire the beautiful set, props and costumes and to have a laugh at the designedly ridiculous plot and characters.

Director’s Notes

Directing a show is no small task; however, directing a comedy, such as this one can be a huge , hysterically fun experience and well worth the laugh throughout the process. I am honored to be able to have been involved with this one. To have been able to work with such a creative crew; did you see the set? WOW! And actors full of zany entertaining charcters for all to enjoy-VIVOON! As a fan of the old comedy movies of long ago, likes Abbott & Costello and Marx Brothers (yes, I own their box sets), I am reminded how simple gags and goofy accents can allow you to escape from any of today’s woes- if only for two hours. I hope you are able to escape with us as we take you back to days gone by when musicals were popular, clothes had flair, mysterious houses had hidden doors, so no one knew who the real murderer was, and the hero got the girl!

Enjoy!

Cast

• Helsa Wenzel: Susan Kronenberg
• Elsa Von Grossenknueten: Kathleen Donovan
• Michael Kelly: Herb Fuller
• Patrick O’Reilly: Glen Bartram
• Ken De La Maize: David Grimm
• Nikki Crandall: Marie Ann Garcia
• Eddie McCuen: Grant Hildebrandt
• Marjorie Baverstock: Sophia Malakooti
• Roger Hopewell: Joe Bates
• Bernice Roth: Barbara Carpenter

Crew

• Producer: Deb Bartram
• Director: Liz Smith and J. Glenn Sartori
• Assistant Director: Jim Johnson
• Production Stage Manager: April Bridgeman
• Stage Manager: Andi Johnson
• Technical Director: Glen Bartram
• Set Design and Master Carpenter: Glen Bartram
• Light Design and Manager: Bill Fry
• Sound Design and Manager: Doug Pascale
• Composer: Joe Campanella
• Pianist: Margaret Waagner
• Dialect Coach: Rahel Ratze
• Costume Design: Susan Devine and Donna Naybor
• Makeup Design: Tosia Shall
• Running Crew: Andi Johnson, Helen Gernhardt
• Publicity Manager: Liz Smith
• Graphics: Tim Silk and Liz Smith
• Lobby Display: Diana Knollman
• Advertising: Angela Hepola
• Properties Mistress: Diana knollman and Lisa Alford
• Set Dresser: Michael Smith
• House Manager: Barbara Gillen
• Box Office Manager: Emille pugh
• Online Box Office Manager: Emille Pugh
• Box Office Staff: Roseann Vecchio, Tom Vecchio, Doris Argall
• Makeup Crew: Danica Shook
• Set Construction: Lisa Alford, Deb Bartram, Glen Bartram, Joe Bates, Theresa Bender, April Bridgeman, John Coscia, Joe Campanella, Barbara Carpenter, Bill Fry, Herb Fuller, Marie Ann Garcia, Helen Gernhardt, Chip Gertzog, David Grimm, Kelsey Hancher, Andi Johnson, Jim Johnson, Susan Kronenberg, Wendy Kronenberg, Sophia Malakooti, Doug Pascale, Scott Ruegg, Liz Smith, Steve Smith
• Bulk Mail: Kathy Bleutge, Joe Campanella, Anna Dulin, Corinne Fox, Justin Fox, kim Fry, Barb Gillen, Emille Pugh, Liz Smith, Steve Smith
• Ushers: Georgia Bell, Kathy Bleutge, John Bleutge, Lora Buckman, Katie Buckman, Peggy Darr, Lee Duney, Joe Campenella, Louise Gillen, Angela Hepola, mark Humphrey, Annabelle Johnson

Falsettos is a difficult musical to like. It explores the intensely intimate thoughts of a dysfunctional family learning to, well, function, and coping with the early days of the AIDs epidemic. The characters are real (and by that, I mean really flawed), the subject matter is heavy and the set is sparse (like the antipodal version of, “Our Town” set to music). And yet, with its often beautiful songs and the intense feelings that the characters have for each other, the show has a chance at getting under the audiences’ collective skin, to make them think, care, and even enjoy. The Elden Street Players’ production of Falsettos had some striking and engaging moments, but, overall, was not entirely successful at overcoming the inherent difficulties of the musical.

The play is a story of Marvin, a neurotic Jew who struggles to maintain one big, happy family, even after he left his wife for another man. Marvin in particular is a hard character to like. He is selfish and self-absorbed, controlling and needy. His saving grace, however, is in the love he has for his son, Jason, and his love/hate passion for his paramour, Whizzer. Harv Lester, as Marvin, brought a gorgeous tenor voice to the role. His shining moment of the evening was his quiet, intimate love tribute to Whizzer (What More Can I Say) but, overall, he struggled to connect with the characters. Most of his scenes with Whizzer were awkward and his interactions with the rest of the characters emoted too much pain and anger.

John Loughney‘s performance as Whizzer strikes the best balance of the evening in portraying true emotions in an animated way without seeming over-the-top (a particularly challenging task in the intimate setting of ESP’s blackbox theater). Louhgney’s Whizzer is truly charming in a way that makes you believe he could win the affections of Jason and Trina (characters who would be predisposed to dislike him) and his voice is stellar.

Keith J. Miller, as Mendel (Marvin’s psychiatrist who, in the course of providing therapy to the family, falls for Marvin’s ex-wife, Trina) tended to veer to the side of over-acting, although he brings a desperately needed light-heartedness to the First Act and his efforts to connect with Jason as a stepfather are funny and sometimes moving. Amy K. Cropper, as Trina, possesses a clear, lovely soprano voice and conveys sincere affection for Jason and (oddly enough) for Whizzer, but occasionally comes off as too sedate. The song, Breaking Down, for example, has the potential to be a side-splitting, bring-down-the-house number, and she played it just a little too coolly (although this may have been, in part, due to the directorial choice of keeping her behind the kitchen table for the entire song).

Wesley Coleman takes on the incredibly challenging role of Jason, Marvin and Trina’s eleven-year-old son. Coleman’s Vienna-Boys-Choir-voice rings true throughout the play, although a word or two gets lost in the mouthful of braces. While he hasn’t quite mastered convincing and sincere sorrow, he holds his own with the grown-ups in this very grown-up play and shows a wisdom and acting skill well beyond his tender years.

Kat Brais and Katie Wanschura round out the cast, playing Charlotte and Cordelia, the lesbian couple from next door. They bring energy and brightness to the Second Act, and provide warmer, more intricate harmonies to the songs. Both characters benefit from being less complex and introspective than the others, allowing the actors to portray their intentions more truly. Wanschura demonstrates charming enthusiasm while Brais shows tender affection towards her lover and her friends using her mellow alto voice.

The show’s overall strength came from the voices of its cast, who maneuvered through the difficult, sometimes discordant, harmonies of the songs beautifully (bravo to musical director Elisa Rosman). The best scenes of the night were The Baseball Game, which had me laughing out loud, and Unlikely Lovers, which brought tears to my eyes. In these scenes, each character intently focused on his or her feelings and desires toward another character, as opposed to engaging in the sometimes tedious and uninteresting introspection that occurs throughout the musical.

Director’s Notes

In this chaotic world, people weave in and out of our lives on a daily basis. Many of these people shape who we become as our friends, and, every so often if we are lucky, we find those unique individuals who become more than just friends. They become family. Family isn’t defined simply by blood relations. Family is defined by bonds created through compassion, struggle, and love as we lreate to one another. Falsettos chronicles some of these events in life that show us just how important family is to our everyday existence. This show explores the bonds that tie one particular family together during a tumultuous period from 1979 until 1981. I’m graeful that you have chosen to take this journey with us as we explore what it means to be a family that defies convention. As Falsettos shows, at the end of the day, it is those people who support us, love us, and fight with us that we call family — regardless of gender, age or societal expectations.

Cast

• Marvin: Harv Lester
• Whizzer: John Loughney
• Mendel: Keith J. Miller
• Jason: Wesley Coleman
• Trina: Amy K. Cropper
• Charlotte: Kat Brais
• Cordelia: Katie Wanschura

Orchestra

• Reeds: Dana Gardener, Gwynn Jones
• Drums: Arthur Garrison
• Keyboard: Brian Victor
• Keyboard/Conductor: Elisa Rosman

Crew

• Producer: John Segota
• Director: Christopher Smith
• Technical Director: Jeff Boatright
• Music Director: Elisa Rosman
• Choreographer: Christopher Smith
• Stage Manager: Joan A.S. Lada
• Assistant Stage Manager: Larissa Norris
• Set Designer/Set Painting Designer: Christopher Smith
• Master Carpenter: Marty Sullivan
• Set Painting: Jeff Boatright, Kay Brais, Megan Graytak, John Segota
• Set Construction/Load-In Crew: Jeff Boatright, Theresa Bender, Phillip Archey, Caitlyn Sullivan, Mike Schlabach, Bill Behan, Christopher Smith, Jason Langley, Marci Finkelstein, Kat Brais, John Segota, Joan A.S. Lada, Adam Carpenter, Barbara Carpenter, Dan Rossman
• Set Dressing/Properties: Jane Bordeaux
• Lighting Design: AnnMarie Castrigno
• Light Board Operator: AnnMarie Castrigno, Steve Lada, Erin Lada
• Sound Design: Stan Harris
• Costume Design/Coordination: Irene Molnar
• Hair/Make-up: Kat Brais
• House Management: Dave Sinclair
• Box Office Management: Melody Fetske
• Publicity: Rich Klare, Ginger Kohles
• Playbill: Ginger Kohles
• Audition Pianist: Brian Victor
• Auditions: Jason Langley, Irene Molnar, Joan A.S. Lada, Susannah Todd
• Photography: Jeff Boatright

Layoffs, a lousy economy and crackpot schemes to get rich quick; no, I’m not talking about the front page of the Washington Post, but rather, underlying themes of The Full Monty, an Americanized musical version of the 1997 British movie with the same name. Re-set in Buffalo, New York, the play is about six unemployed and desperate-for-cash steelworkers who decide to perform a striptease at a local club after seeing their wives’ and girlfriends’ enthusiasm for a touring Chippendale’s production. The premise of the musical hints at loads of low-brow humor, double-entendres and, of course, nudity, but the play also touches upon the weightier issues of unemployment, self-consciousness, depression and suicide and conspicuous consumption. On Saturday night, the Reston Community Players rendition of the musical delivered traditional Broadway camp, toe tapping songs and outrageous plot lines to a sold-out audience. RCP also offered up a rare and wonderful gift in community theater: a phenomenal male ensemble.

The show opens in a tacky Buffalo nightclub, where Georgie, boldly played by Hannah R. Rohlfs, has organized a male strip show to entertain the local ladies. To the stage enters Daniel McKay, as professional stripper Buddy (Keno) Walsh, and provides plenty of eye candy with his washboard abs and moves worthy of the real Chippendale’s dancers. Cut to the all-but-abandoned steel mill, where Jerry Lukowski, played by Evan Hoffmann, and other unemployed steel workers, lament the loss of their jobs, purpose and dignity. Jerry and his rotund side-kick, Dave Bukatinsky (played by Mike Hoskinson), collect their unemployment checks and head to the local bar, where they encounter Buffalo women, including their wives, willing to shell out $50 to see male strippers. Jerry, whose ex-wife is threatening to seek full custody of their son if Jerry doesn’t start paying child support, begins to concoct a plan to present a one-night “real man” strip show, and, in typical musical comedy fashion, hilarity ensues.

The ladies of “Monty” do the best they can with their decidedly two-dimensional characters. Worth noting is Lisa Merritt, playing Vicki Nichols who revels in her upper-middle class lifestyle, blissfully ignorant of the fact that her husband has been out of a job for six months. Merritt possesses a brassy and beautiful belt and portrays Vicki’s happy-go-lucky character nicely. Joan Monks as the chain-smoking, retired pianist Jeannette Burnmeister, does a decent New York accent and provides some of the best one-liners of the evening. Rohlfs as Georgie, Dave’s hard-working, hard-playing wife, also lends a strong voice and some sincere acting to the show. Jacki Young, playing Jerry’s ex-wife Pam, is poised and pretty; unfortunately, she never really explores the frustration of a single mom living paycheck to paycheck who might occasionally let her more working class roots show through. The female ensemble in general brought good harmonies and colorful characters to the show, but the scenes were invariably stolen by the men.

Hoffmann as Jerry has a strong, clear voice, although he struggles with some of the higher vocals. He seems a little uncomfortable with his anger in the opening scenes, but quickly warms up to the role once he begins his striptease scheming and his dancing skills are second only to McKay among the male ensemble. Hoskinson as Dave, however, delivered the best performance of the evening. He is deliciously blue collar, from the top of his beer belly to the tips of his work boots. Hoskinson’s voice is solid and he provides plenty of side-splitting laughs for the audience, while also showing real acting chops when struggling with his self-consciousness and marital challenges. Other leading men include the lonely and awkward security guard, Malcolm MacGregor, played by Justin Latus who brings an almost child-like innocence and a clear and gentle tenor to the role. Ethan Girard, who can’t really sing or dance but brings other “endowments” to the strip show, is played by an extremely brave Chuck Dluhy. Paul Mattocks portrays Harold Nichols, a former manager at the steel mill who is desperate to hide his failures from his extravagant wife. His role is often relegated to “straight man” against the other more flamboyant characters, although his love duet with Dave (“You Rule My World”) had me in stitches. Adrian Cubbage as Noah “Horse” T. Simmons had the audience whistling and cat-calling during his rendition of “Big Black Man.” Finally, little Nathan Lukowski is played by spunky Ian Pedersen, with an impish grin and the hit and miss wisdom of a ten-year-old going on 40.

In case you are curious, the show does live up to the promise in its title, so children and those with more delicate sensibilities might want to sit this one out. The rest of us will inevitably enjoy the funny, touching and daring production so successfully directed by Sue Pinkman.

Ian Pedersen, Justin Latus, Lisa Merritt, Mike Hoskinson and Evan Hoffmann	Evan Hoffmann and Ian Pedersen
Chuck Dluhy, Justin Latus, Paul Mattox, Hannah Rohlfs, Mike Hoskinson, Lisa Merritt, Emily Wallace, Andrea Heininge, Danny McKay, Jacki Young, KJ Jack

Director’s Notes

I was able to visit Broadway not too long after the Twin Towers fell in 2001. New York was aching, the town was suffering financially, and the residents and tourists out for a late autumn stroll would salute the firemen who were sitting outside the fire-houses, still draped in mourning. It was a struggle to find a way to enjoy life again, or find some momentary consolation in just getting through the day. Everywhere you looked, there were constant reminders of the trauma that native New Yorkers had experienced just a short time ago. I walked up to the Box Office, and got two seats in the 9th row Orchestra for The Full Monty, and what a difference a few hours made! People leaving the theatre were joyful…laughing…feeling a relief and release (oh…there’s that double entendre again!) that amy only last a few hours, but how awesome to be able to share that, or better yet to be the CAUSE of it!

Admittedly, The Full Monty is NOT for everyone. If you have any reservations about hearing bawdy language and sexual innuendo, this is NOT the show for you! You have never heard lyrics in a musical like you will hear tonight…and you will definitely “see a side” of your local actors that you have not seen before. However, if you can look past the outer trappings, there is a message and a metaphor that everyone can relate to, and I have just one suggestion for you: LET IT GO!

Each of the six main characters has an inner demon to confront to say nothing of the pressures and stress of everyday life when one is unemployed, or divorced, or over-weight, or just not quite happy enough to make it worthwhile getting up in the morning. Granted, they go about finding a solution in a rather audacious and unconventional way, but after all, it IS a musical comedy. It is my sincere hope that you will look beyond what you will actually SEE on stage, and recognize the wonderful message that the show is all about…stripping away the invisible barriers that prevent us from living our lives to the fullest!

“Hats-off” to my phenomenally courageous Monty-guys, my heroes, Evan, Mike, Chuck, Justin, Paul and Adrian, for their amazing talent, hours and hours of rehearsal, and unrelenting sense of humor. To the ladies and gents in the ensemble, you are the best of the best, and my heartfelt thanks to all of you for your talent and your patience. Many, many thanks to Ivan, Mark, and Jim for such wonderful teamwork, and lastly, I salute the Producettes (my fellow grannies), and the entire staff of designers and running crew for bringing this wonderful production to the stage. Now, have a fun-filled evening… and LET IT GO!

Cast

• Georgie Bukatinsky: Hannah R. Rohlfs
• Buddy (Keno) Walsh: Daniel McKay
• Reg Willoughby: Allen McRae
• Gary Bonasorte: Sam McCrea
• Marty: David Segal
• Jerry Lukowski: Even Hoffmann
• Dave Bukatinsky: Mike Hoskinson
• Malcolm MacGregor: Justin Latus
• Ethan Girard: Chuck Dluhy
• Nathan Lukowski: Ian Pedersen
• Susan Hershey: Emily Wallace
• Joanie Lish: KJ Jacks
• Estelle Genovese: Alana Sharp
• Delores: Andrea Heininge
• Betty: Eileen Mullee
• Pan Lukowski: Jacki Young
• Teddy: Daniel McKay
• Jogger #1: Eileen Mullee
• Jogger #2: KJ Jacks
• Molly MacGregor: Eileen Mullee
• Harold Nichols: Paul Mattocks
• Vicki Nichols: Lisa Merritt
• Dance Instructor: Emily Wallace
• Jeanette Burmeister: Joann Monks
• Noah “Horse” T. Simmons: Adrian Cubbage
• Repo Man #1: Sam McCrea
• Repo Man #2: Allen McRae
• Police Sergeant: Allen McRae
• Minister: Sam McCrea
• Tony: Giordano: David Segal

Crew

• Co-Producers: Judy Cook, Sharon Pound, Kay Vakerics
• Director: Sue Pinkman
• Musical Director: Mark Deal
• Choreographer: Ivan Davila
• Dance Captain: Hannah Rohlfs
• Stage Manager: Laura Baughman
• Set Design: Skip Larson
• Master Carpenter: Skip Larson
• Set Construction Crew: Sarah Paukstis, Sara Birkhead, Phil Charlwood (Car), Scott Johnson, Stephanie Gordon, Kelsey Jandura
• Set Painting: Skip Larson, Sarah Paukstis, Bea and Jerry Morse, Sharon Pound, Stephanie Gordon
• Lighting Design: Frank Coleman
• Lighting Crew: Ian Claar, Meghan Yeager
• Costume Design: Judy Whelihan
• Dressers: Charlotte Marson, Mary Catherine Williams
• Sound Design: Kevin Harney
• Sound Crew: Rich Claar
• Set Decoration: Bea and Jerry Morse
• Make up/Hair & Wigs: Sue Pinkman
• Properties Acquisition: Eileen Mullee
• Properties Mistress: Amy Frank
• Master Electrician: Ian Claar
• Fight Choreography: Karen Schlumpf and Brian Farrell
• Running Crew Chief: Sara Birkhead
• Running Crew: Sarah Paukstis, Jeff Bumgardner, Craig Davies, Nathan Williams, Tom Epps, David Holt, Mike O’Connor, Stacy Sherrad
• Flyman: Rick Schneider
• House Manager: Judy Cook
• Publicity: Kay Vakerics, Amy Frank
• Showbill: Jody Al Saigh, Bea and Jerry Morse
• Photographer: Joe Douglass
• Sign Interpreters: Jan Hishimura, Nicole Reynolds

Orchestra

• Conductor: Mark V. Deal
• Reeds: Dana Gardner, Howard McCullers
• Trumpets: Terry Bradley, Michael Fox, Scott Firestone
• Trombone: Chris Bradley
• Keyboard: James D. Watson, Amy Conley
• Guitar: Rick Peralta, Alex Blizniak
• Bass: Aaron Mynes, Rob Weaver