It’s an old tale. You’ve probably heard it a hundred times, but Taking Flight Theatre Company took the cult hit Evil Dead: The Musical, and made it fresh and enjoyable.

Evil Dead: The Musical is about five college students who steal away into an abandoned cabin in the woods during spring break. They soon discover a shotgun, The Book of the Dead, and a recording of demon-summoning words. Soon enough, each of them become Candarian Demons, and eventually, all turn against Ash, the story’s protagonist.

As Ash, Jesse Baskin was to die for! His vocals were on point and his comedic timing was excellent. “Housewares Employee,” a duet with Katie Pond as Linda, was hilarious and showed Baskin’s talents as the romantic lead. Susanna Todd as Ash’s demonetized sister Cheryl was a blast. She had such a powerful belt and showed so much comfort with her character. She and Baskin were very believable as brother and sister.

Glen Bartram as “Good Old Reliable Jake” had amazing vocals and was incredibly funny. Ra’Shawn Durell’s duet with Baskin (What The F*** Was That?) was by far one of my favorite numbers, coming second to “Do The Necronomicon,” which was skillfully choreographed by Kelly M. Sharon, and brilliantly performed by the Candarian Demons.

A cast is only as strong as their weakest link, but quite frankly, there were no weak links in this production. Every single member of the ensemble cast was strong and incredibly talented.

Every aspect of this production was superb, especially properties on the technical side. The set, designed by Kevin King, was simply marvelous, and when combined with Jeff Bender’s special effects, it was flawless. Everything moved! Absolutely everything. It was fun seeing books and the moose head, designed by Elisabeth Reeves, jump around as though they were really possessed. Christine Spata’s makeup design also demands applause. Spata did an amazing job designing each of the Demons. They all looked amazingly sinister, most especially Cheryl.

Taking Flight Theatre Company’s Evil Dead: The Musical has been one of the most fun filled experiences I’ve had as a theater audience member. I literally had a smile on my face from beginning to end, and then some. The show will run again on June 4, 5, 11, and 12 at 8PM, and on June 6 at 7PM. It would be foolish to miss out on this experience. Go ahead and “Join Us,” become a Deadite.

Director’s Notes

“How can this be real?” I echoed Ash’s sentiments when Taking Flight Theatre Company accepted my proposal to stage Evil Dead: The Musical. I remember being a young boy and watching the original film and being terrified, and then laughing until it hurt as a teenager when the trilogy ended with Army of Darkness. For many years, these movies and the characters have been near and dear to my heart and, to this day, I continue a traditional Halloween viewing of all three.

When I first heard of the musical being released Off-Broadway in 2006, I’ll admit I was one skeptical Deadite. How could they possibly transfer the essence of Evil dead to the stage and in musical format? Quite brilliantly. The musical, though it takes liberties of lines and character, captures everything that the fans love about the movies. The dialogue is sharp and witty. The plot is a tad inconsistent. The music is catchy and memorable and, of course, the show has copious amounts of blood. What I found interesting is, like the films, the musical harkens to comedy very similar to the Three Stooges where slapstick, schadenfreude, and the ability to take yourself very seriously in the delivery of those moments is much funnier than playing for the laugh. It is this faithful transference, and the little jabs, pokes, and homages to the films, that have created a cult fan base of almost Rocky Horror Show proportions for this musical. Yet it is still accessible to those who hear Necronomicon and don’t immediately think “book of the dead.”

This has been an incredibly journey, full of discovery, that I’ve had the pleasure to make with a very talented staff, cast and crew. Some people knew nothing about the movies or show before coming on and others were as diehard fans as myself but all have come together for this purpose and it is the hard work and dedication of many that has fone into what you are about to see.

To those who are here for a different kind of night at the theater, those who are curious, and the most hardcore Deadites, “it’s time” to grab your “boomstick,” “come get some,” and be glad you decided to “join us!” You’re in for a hell of a ride!

-Phillip M. Archey, Director

Photo Gallery

Photos provided by Taking Flight Theatre Company.

Cast

• Ash: Jesse Baskin
• Linda: Katie Pond
• Cheryl: Susanna Todd
• Scotty: Ra’Shawn Durell
• Shelly: Gretchen Wright
• Annie: Laura Fontaine
• Ed: Sean Cafferky
• Jake: Glen Bartram
• Moose/Professor Knowby: Stephen T. Wheeler
• Evil Tree: Will Olivier

Musicians

• Guitar: Tommy Beekman
• Keyboards: Michael Dombrow
• Drums: Jim Hofmann

Production Staff

• Producer: Theresa Nichols Bender
• Director: Phillip M. Archey
• Assistant Director: Wayne Jacques
• Music Direction: Michael Dombrow
• Choreography: Kelly M. Sharon
• Co-Stage Managers: Colleen Stock, Liz Stock
• Technical Director: Rick Wilson
• Set Design: Kevin King
• Master Carpenter: Earl Boaman
• Assisted by: Kevin King, Rick Wilson, Jesse Bogue, Nick Durso, Hannah Rohlfs, Jill Tunick
• Set Painting Design: Kevin King
• Assisted by: Leah Aspell, Theresa Bender, Adam Carpenter, Barbra Carpenter, Hannah Rohlfs, Michael Schaaff, Christine Spata, Liz Stock
• Set Dressing: Shannon Khatcheressian
• Lighting Design: Ian Claar
• Light Board Operator: Ashley Swiger
• Sound Design: Ben Allen
• Sound Board Operators: Beth Atkins, Sue Klein
• Mic Mixing: Liz Stock
• Special Effects: Jeff Bender
• Assisted by: Kevin Walker, Barbra Carpenter
• Costume Design/Construction: Jacquin Pierce Allen
• Assisted by: Lil Colquitt
• Properties: Trevor Johnston
• Moose Head Construction: Elisabeth Reeves
• Hair and Makeup Design: Christine Spata
• Publicity: Natale Safley, Michael Schaaff
• Box Office/House Management: Barbra Carpenter
• Assisted by: Adam Carpenter, Leah Aspell, Beth Atkins, Deb Bartram, Kat Brais, Ken Clayton, Kathy Dunlap, Mary Ann Hall, Ryan Housley, Bill Hoyt, Michael McAdoo, Scott Olson, Renee Rabben, Bob Rosenberg, Jessie Roberts, Jerri Wiseman, Kyra Wiseman
• Desk Captain: Michael Schaaff
• Fight Captain: Sean Cafferky
• Run Crew: Trevor Johnston, Will Olivier
• Poster Design: Nick Arey
• Photography: Trevor Johnston, Shannon Khatcheressian
• Playbill Design: Matthew Randall
• Audition Management: Mike Bender, Theresa Bender, Michael Schaaff, Liz Stock

Disclaimer: Taking Flight Theatre Company provided two complimentary media tickets to ShowBizRadio for this review.

Dominon Stage brings Terrence McNally’s 1994 play Love! Valour! Compassion! to the Gunston Arts Center in Arlington, VA. Their interpretation of the Tony winning play, turned featured film, was compelling and quite enjoyable.

Love! Valour! Compassion! is intriguing to say the least. It tells the story of eight gay friends spending three major holiday weekends throughout the summer together. Each character is completely different from each other, yet they all mesh so well. From joyous moments, to infidelities, to sufferings, and much, much more, the men discover within themselves the true friendship they have and how it helps them to survive their hectic lives.

Reprising his WATCH Outstanding Actor nominated (ESP, 2003) roles as twin brothers John and James Jeckyll, Matthew Randall was superb. For a lot of actors, playing two roles simultaneously is a feat to accomplish, but for Randall, it was very natural. As John, he was bitter and rough; always getting into arguments for just about anything, but as James, he was tender and lighthearted; very easily likable. Randall played both characters one right after the other with great success.

As choreographer Gregory Mitchell, Patrick M. Doneghy was fantastic, and Luke Morris, playing Bobby Brahms, was very believable as a blind man. Doneghy and Morris were great as the couple, even through an infidelity crisis, their love seemed pure and authentic. All seven men playing the eight friends were phenomenal. Each of them brought a new take to each of the characters, that were comparable and still quite different from the film adaptation of the play.

Also worth mentioning were the technical aspects of the show. The set designed by David M. Moretti, was very versatile and worked very well with Jeffery Scott Auerbach’s light design. This play had a plethora of adult themes including sexuality, infidelity, AIDS, vulgar language, and nudity, and director Rick Hayes took many liberties with the script. The nudity was one of the major factors that I questioned. At times, I felt like there was too much nudity, and at other times not enough. Still, Hayes did fantastic work putting together this production.

“Anyway…”

This production of Love! Valour! Compassion! is a must see! It satisfies all of the cravings a theater fanatic might have, and leaves you wanting more. Luckily for those that have yet to catch the performance, one more set of performances will run from Wednesday, June 2 to Saturday, June 5 at 8 PM and Sunday, June 6, at 2 PM. Don’t miss out!

From The Director

What defines “family?” Some people define it as being blood related. I think a “family” is those people who are in your heart. They do things without expecting anything in return. They are there when others abandon you. You can count on them. This show is dedicated to all my friends who are my family and are so deep in my heart. Love to you all. -Rick Hayes

The Players

• Gregory Mitchell: Patrick M. Doneghy
• Arthur Pape: Jeffery Stevenson
• Perry Sellars: Richard Isaacs
• John Jeckyll/James Jeckyll: Matthew Randall
• Buzz Hauser: Mario Font
• Bobby Brahms: Luke Morris
• Ramon Fornos: Shawn G. Byers

The Production Team

• Producer: Michele Bell
• Director: Rick Hayes
• Stage Manager: Christine Farrell
• Choreographer: Rikki Howie
• Scenic and Painting Design: David M. Moretti
• Master Carpenter: Hector Lorenzini
• Costume Design: Ceci Albert
• Lighting Design: Jeffery Scott Auerbach
• Sound Design: Kevine DelMine
• Properties Design: Helen Bard-Sobola
• Makeup and Hair Design: Rick Hayes
• Assistant Stage Manager: Jim Callery
• Sound Board Operator: Robert King
• Stage/Tech Crew: Julie Cameron, David Gonzalez
• Load In/Tech Crews: Bob Bell, Jim Callery, Kevin DeMine, David Gonzalez, Andrew Haddock, Brian Kane, Robert King, Angelo Mike, Phil Natalini, Jim Vincent, Reggie Waters
• Auditions: Bill Parker
• Logo Design/Graphic Artist: Jen Koscielniak
• Marketing/Social Media Team: Spencer Lepler, Angelo Mike, Larissa Norris
• Press/Archival Photography: Reggie Waters
• Program: Dave Moretti
• Lobby Display: Larissa Norris

Disclaimer: Dominon Stage provided two complimentary media tickets to ShowBizRadio for this review. Also, Dominion Stage purchased advertising on the ShowBizRadio.net web site, which did not affect this review.

“And what was last night scenic, may seem cynic by today.” Sadly, this is an adequate description of how I felt the morning after watching The Fantasticks at Fauquier Community Theatre.

I had high hopes with this show as El Gallo strolled onto the stage, but my expecations were not met as I saw two actors portraying children prance about in an uncoordinated manner. The playing between the two looked messy and overacted, and overall just too unreal. I understood it is a musical and a sense of unreality must be accounted for, however, this might have been because the actors were not given enough direction or were not able to capture the realism of playing children.

As El Gallo, Peter Fakoury was great! It was obvious that he was no stranger to the stage. He was sure to use the entire stage very well, and his soothing baritone voice was very enjoyable. As the girl Luisa, Valarie Kerby was frilly and bright. Her vocals were great, except for when she would be in her upper register. Most of her high notes were sharp, still, her vocals were the best of the cast. Addison Hoff as the boy Matt was enjoyable, however, his vocals seemed to be a bit lacking. Though his vocals weren’t horrible, for a male lead I expected them to be louder and more powerful. At times, some of his lyrics were lost because the piano would overpower him, which could have been easily solved had Hoff projected a bit more. Kerby and Hoff together had great chemistry and energy. They played off each other pretty well.

The best vocals of the night, however, did not come from Kerby, instead it came in the form of a duet between El Gallo and Matt. “I Can See It” was one of the only numbers in which I can honestly say I enjoyed each voice. Though it seemed that Hoff was holding back a bit physically, Fakoury was visually stimulating enough to successfully accomplish the number.

As The Mute, Clare Galvin was amazing. Even though she didn’t talk at all, she always seemed to steal each scene. Her comedic timing and fantastic facial expressions added so much to the show. There were times when Galvin was put in a weak spot on stage, such as upstage left under dim lighting, but she still managed to catch my attention without taking away from the show.

On the technical aspects of the show, everything was pretty successful. Pianists Meredyth Stirling and Dale Yaeger controlled the rythem of the show. It was nice to see that the director decided to use live music, rather than a recording. It was also wonderful that both El Gallo and the Mute played various percussion instruments thoughout the show. The light design by Tim Kirk was very attractive. There were clear distinctions between when the moon was out, and when it was day. Kirk also directed the special effects that allowed for a shower of bubbles to fall from the fly space. It was visually pleasing and added so much to the scenes in which they fell.

The audience was very enthusiastic, cheering for everything and anything, and at times made me lose track of what was going on. Once the show was done, I was satisfied with the production, but when I went through the things that were good, and those that weren’t so good, that feeling was lost. Still, it was an enjoyable night and I commend the Fauquier Community Theatre for their interpretation of The Fantasticks.

The Cast

• The Narrator (El Gallo): Peter Fakoury
• The Mute: Clare Galvin
• The Girl (Luisa): Valerie Kerby
• The Boy (Matt): Addison Hoff
• The Boy’s Father (Hucklebee): Evan Jones
• The Girl’s Father (Bellomy): Mike Stirling
• The Old Actor (Henry): Jack Seeley
• The Man Who Dies (Mortimer): Tim Hickling
• The Spare Indian (Charlie): Kirk Noé

The Production Staff

• Director: Martha Lynch
• Assistant Director: Karin Kerby
• Producer: Susan Noé
• Pianists: Dale Yaeger, Meredyth Stirling
• Vocal Coaches: Ken Galvin, Sarah LaFantasie
• Choreographers: Martha Lynch, Sandy Steinmeyer, Barbara Gallagher
• Lighting Design: Tim Kirk
• Set Design: Tim Kirk & Martha Lynch
• Costume Design: Susan Noé
• Properties: Peter Fakoury, Martha Lynch, Susan Noé
• Seamstresses: Susan Noé, Hannah Ballinger, Teena Stevic
• Make-up Design: Carrie Parsons
• Special Effects: Tim Kirk
• Set Painting: Martha Lynch, Susan Noé, Chris Noé, Kirk Noé
• Set Construction: Tim Kirk, Kirk Noé
• Stage Manager: Hannah Ballinger
• Stage Crew: Leah Ballinger
• Tech Crew: Tim Kirk, Kirk Noé, Kerry Campbell
• Opening Night Reception: Susan Noé & Hannah Ballinger
• Photography: Evelyn Rice
• Publicity: Susan Noé
• Box Office Manager: Christie Clark
• House Manager: Evelyn Rice

Disclaimer: Fauquier Community Theatre provided two complimentary media tickets to ShowBizRadio for this review.

It is a dark and stormy night. It is snowing. The lights are out. There is a gathering at an old mansion…oh, great. Another cliché murder story.

The Musical Comedy Murders of 1940 was just that, and much, much more! With a smooth Irish tenor, a bumbling comedian, a cross-dressing German house maid, and a “Stage Door Slasher,” the cast and crew of the Fauquier Community Theatre took an overdone idea and made it into a fabulous night of theater.

Financial backer Elsa Von Grossenknueten, (and self-proclaimed spy) invites three performers, a producer, a director, a lyricist, and a composer to her mansion for a secret investigation disguised as an audition for a Broadway musical. Mayhem ensues when the Stage Door Slasher, the person who murdered Elsa’s friend Bebe and two other Broadway dancers, is revealed to be in the house amongst the invited guests. After a few murders and multiple trips through the secret passageways of the old home, multiple crimes and criminals are brought to light, raising a “who dunnit” goose chase. Comedy and murder mix quite well in this tale.

As supposed chorus girl Nikki Crandall, Hannah Marie Malinowski was superb!
Though there were only two instances when singing was actually done in a show titled The MUSICAL Comedy Murders, Malinowski profiled herself as a magnificent soprano. Opposite her was Greg Crowe as Eddie McCuen. Though he had an array of hilarious one liners, his comedic timing was a bit rushed and he did not give the audience enough time to absorb the jokes.

Sally Zatkoff did a magnificent job as Helsa Wenzel and her doubles. Taking on one role is hard, but Zatkoff took on three roles and did so with great execution. She made sure that each character she played was distinct and thanks to her excellent acting, it was clear to the audience when she was a new character. Another excellent performance came from Carrie Parsons as the alcoholic lyricist Bernice Roth. She had great projection and commanded attention whenever she was on stage

The set was beautiful! Set designer Ted Ballard did an exquisite job creating the mansion library on stage. There were trap doors all over the place that were excellently concealed, and plenty of places to enter and exit from onto the scene. In fact, there were several trap doors that were revealed in act two that were not noticeable during act one. Light designer Tim Kirk and light operator Rita Okafer did a great job with the lighting. Since a large part of the show was done when the room lights were off (or out), they had to create a way for the scene to be seen in the dark, and they were able to pull it off very well.

Though the title was some what misleading and the show one huge cliché, the cast and crew of The Musical Comedy Murders of 1940 proved to be fantastically comedic and were “divoon. Simply divoon!”

Photo Gallery

Photos provide by Fauquier Community Theatre.

Cast

• Helsa Wenzel: Sally Zatkoff
• Elsa Von Grossenknueten: Lori Muhlstein
• Michel Kelly: Joe Bersack
• Patrick O’Reilly: Sean Bittick
• Ken De La Maize: Greg Powell
• Nikki Crandall: Hannah Marie Malinowski
• Eddie McCuen: Greg Crowe
• Marjorie Baverstock: Mary Brick
• Roger Hopewell: Ken Clayton
• Bernice Roth: Carrie Parsons

Production Staff

• Directors: Scott Olson, Sallie Willows
• Producer: Evelyn Rice
• Stage Manager: Lindy Bersack
• Costume Design: Hannah Ballinger, Susane Noé
• Set Design: Ted Ballard
• Set Construction: Ted Ballard
• Set Painting: Ted Ballard, Cast
• Set Decoration/Dressing: Susan Noé
• Properties: Dee Faulconer
• Light Design: Tim Kirk
• Light Operator: Rita Okafer
• Sound Design: Lynn Lacey
• Sound Operator: Annie Rush
• Makeup Design: Cast
• Hair Design: Teena Stevic
• Special Effects: Kevin Kirby
• Fight Choreography: Kevin C. Robertson
• Wardrobe Mistress: Hannah Ballinger
• Seamstress: Hannah Ballinger
• Programs: Evelyn Rice
• Posters: Sarah Weathers
• Photography: Hilary and Kevin Tupper
• Opening Night Reception: Laurie Bersack
• Box Office Manager: Christie Clark
• House Manager: Evelyn Rice

Disclaimer: Fauquier Community Theatre provided two complimentary media tickets to ShowBizRadio for this review.

If you could tell someone your deepest secrets because they couldn’t understand a word you were saying, would you? The Little Theatre of Alexandria’s production of Larry Shue’s The Foreigner, was a funny play with a cast of memorable characters, a superb set, and a knack for making the audience fall about.

The Foreigner centers around Englishman Charlie Baker (played by Matthew Hartman) and his unusual, three-day lodging stay at Betty Meeks’ (played by Mollie Wise) Georgia fishing cabin. Charlie suffers from a social anxiety disorder and doesn’t want to speak with strangers while at the lodge. His friend, and military sergeant, Froggy LeSueur (played by John McCracken), devises a ridiculous plan to get Charlie peace and quiet. He tells Mrs. Meeks that Charlie is from an exotic, foreign country, speaks no English, and must not be spoken to. Rather than just ignore Charlie; the zany Betty Meeks makes an effort to communicate with the strange fellow (though it is done with unconventional hollering, or rather, screaming), the half-wit benefactor Ellard Simms (played by Nathan Tatro) gives him English lessons, and the ex-debutant Catherine Simms (played by Nicole Goeden) tells the “foreigner” all of her deep, dark secrets. After unwillingly eavesdropping on conversations between Owen Musser, a local property inspector, (played by David James) and silver-tongued Reverend David Marshall Lee (played by Michael Reid), Charlie is caught into ridiculous situations that brings out the charm and hilarity of the play.

In the show, three distinct accents were used; the traditional British accent, the Georgian/Southern American accent, and an Eastern European-sounding accent. Matthew Hartman nailed all three with great accuracy. Reprising his role as Charlie Baker, he was just phenomenal. He effectively caught the personality differences between shy Englishman Charlie Baker and jocular foreigner “Cha-A-Lee”, from the way they moved to the way they spoke. Ironically named, the character of Betty Meeks was anything but meek, and Mollie Wise knew exactly how to portray her character successfully. She used elastic physicality and remarkable comedic timing to create a character both uproarious and believable. Wise was sure to nail every clever remark, and skillfully delivered great comedy.

A good supporting cast is essential to any show, and Nathan Tatro’s enthusiasm and Nicole Goeden’s believability as siblings Ellard and Catherine Simms added to the quality of the play. Although Goeden stood at times very stiffly, her facial expressions were spot on. She conjured up enough bitchiness and sass to pull off a notable performance. Another actor worthy of note was John McCracken. He created a flawless British accent that dripped of comedic winsomeness.

Though the acting was a great highlight of the show, the most remarkable aspect was by far the set design. Set designer Erin Cumbo‘s set included; a large fireplace, a dining room, a living room, a two-flight row of stairs, and five different levels of acting space. Combined with the lighting design of Franklin Coleman, the show looked gorgeous.

Overall, the cast and crew successfully put on a show that was both charming and inspiring, and the cast should be praised for a job well done. The show might be called The Foreigner, but it is evident that a marvelous afternoon of theater is no foreign thing at The Little Theatre of Alexandria.

Performances run from Wednesdays to Saturdays evenings at 8 pm, and on Sunday afternoons at 3 pm until October 3, 2009. Contact the box office at 703-683-0496 to reserve tickets.

Director’s Notes

The idea for The Foreigner came to playwright Larry Shue while he was studying with a theater company in Japan. Shue discovered that the Japanese would tolerate even his most bizarre behavior (due to the fact that he was unaware of Japanese social customs), dismissing his inappropriate actions as the conduct of an outsider.

The first production of the play at the Milwaukee repertory theater in 1983 was a huge success. When the play moved off-Broadway in 1984, the show struggled to survive until a Texas millionaire helped it out financially. It then went on to win two prestigious off-Broadway awards: the 1985 New York Obie and the Outer Circle Critics Award. The Foreigner has been successfully produced time after time since it was irst performed in the 1980s. Critics first tore the show apart because they felt it was written to merely amuse, not to drive home a heavy message. However, audiences have loved it, because they have looked deeper and found the messages of tolerance and self-awareness that Larry Shue has so deftly cloaked with wacky humor and some heart-warming transformations. The play not only overcame the negative reviews; it played 685 performances.

The Foreigner has become a staple of community theater – a guaranteed crowd please that continue to entertain cheering, laughing audiences. It is a comic classic that entertains you, gives you a lift and a laugh, and sends you home happy. The cast and crew sincerely hope you enjoy our production of Larry Shue’s The Foreigner.

– Frank Pasqualino

Photo Gallery

John McCracken (“Froggy” Lesueur) and Mollie Wise (Betty Meeks)	Michael Reid (Rev. David Marshall Lee) and David James (Owen Musser)
Matthew Hartman (Charlie Baker) and John McCracken (“Froggy” Lesueur)

Cast

• “Froggy” LeSueur: John McCracken
• Charlie Baker: Matthew Hartman
• Betty Meeks: Mollie Wise
• Rev. David Marshall Lee: Michael Reid
• Catherine Simms: Nicole Goeden
• Owen Musser: David James
• Ellard Simms: Nathan Tatro
• Klansmen/Townspeople: George Alberts, Michele Bell, Angela Bellis, Charle Dragonette, Zachary Frank, Jim Hutzler, J.J. Stinson, Emma Vroom

Crew

• Producers: Rachel Alberts and Michele Bell
• Director: Frank Pasaqualino
• Assistant Producer: Annie Vroom
• Stage Managers: Kira Simon and Lauren Miller
• Assistant Stage Manager: Jim Hutzler
• Set Designer – Erin Cumbo
• Set Construction: Chris Feldmann
• Assisted by: George Alberts, John Beahler, Lloyd Bittinger, Gail Cafardi, Jim Hutzler, Bob King, Jeff Nesmeyer, Dan Remmers, Sasha Rousseau, Jack Schaeffer, Bob Staiman, Peter Sudkamp. Jerry Wolf
• Set Painting: Erin Cumbo
• Assisted by: Cassie Duvall, Aditi Kale
• Costume Design: Jean Schilchting and Kit Sibley
• Wardrobe: Margaret Snow
• Assisted by: Jamie Blake, Rebecca Johnson, Annie Vroom, Nicole Zuchetto
• Properties: Bobbie Herbst and Donna Reynolds
• Assisted by: Carol Hutchinson, Rebecca Johnson, Leslie Reed, Jayn Rife, Margaret Snow, Nicole Zuchetto
• Set Dressing: Jeffery Stevenson
• Sound Design: David Correia
• Assisted by: Casey Brusnahan, Jim Carmalt, Anna Hawkins, Bill Rinehuls, Janice Rivera
• Lighting Design: Franklin Coleman
• Master Electrician: Eileen Doherty
• Assisted by: Casey Brusnaha, Pat Durako, Heather Franklin, Pam Leonowich, Arie McSherry, Mike O’Connor, Richard Schwab, J.J. Stinson, Carrie Vernon
• Makeup and Hair Design: Susan Braun
• Rigging: Russell Wyland
• Audition Table: Robin Parker, Margaret Snow, Annie Vroom, Bobbie Herbst
• Photographer: Shane Canfield
• Double Tech Dinner: Michele Bell and Bob Bell
• Opening Night Party: Jim Carmalt
• Assisted by: Pat Bradford, Shirley Carmalt