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Two musicals received five awards, Camelot by 2nd Star Productions and Ragtime by Kensington Arts Theatre. Two plays received four awards, The Pillowman by Silver Spring Stage and Red by the Elden Street Players. Kensington Arts Theatre received the most awards, a total of seven for their productions of Ragtime and Next to Normal. Colonial Players was the only theater company to receive awards for three separate productions, 1776, Shipwrecked and Trying.

• 2nd Star Productions
• Aldersgate Church Community Theatre
• The Alliance Theatre
• The Arlington Players
• Capital City Players of DC
• Bowie Community Theatre
• Castaways Repertory Theatre
• Taking Flight Theatre Company
• Chevy Chase Players
• Colonial Players of Annapolis
• Damascus Theatre Company
• Dominion Stage
• Elden Street Players
• Fauquier Community Theatre
• Greenbelt Arts Center
• Hard Bargain Players
• Kensington Arts Theatre
• Laurel Mill Playhouse
• Little Theatre of Alexandria
• McLean Community Players
• Montgomery Playhouse
• Port City Playhouse
• Port Tobacco Players
• Prince George’s Little Theatre
• Prince William Little Theatre
• Providence Players of Fairfax
• Reston Community Players
• Rockville Little Theatre
• Rockville Musical Theatre
• St. Mark’s Players
• Silver Spring Stage
• Tantallon Community Players
• Vienna Theatre Company

Winners for outstanding technical achievements.

Outstanding Set Design in a Musical (TIE)

• Jared Davis, Avenue Q, Dominion Stage
• Jane B. Wingard, Camelot, 2nd Star Productions

Outstanding Set Design in a Play

• John Downing and Bill Glikbarg, Twentieth Century, Little Theatre of Alexandria

Outstanding Set Construction in a Musical

• Hector Lorenzini, Avenue Q, Dominion Stage

Outstanding Set Construction in a Play

• Richard Gilpin and Zachary Ball, Brighton Beach Memoirs, Port Tobacco Players

Outstanding Set Painting in a Musical

• Jane B. Wingard, Camelot, 2nd Star Productions

Outstanding Set Painting in a Play

• Mary Speed and Brian Garrison, Red, Elden Street Players

Outstanding Set Decoration and Set Dressing in a Musical

• Jane B. Wingard and Gail Bagaria, Camelot, 2nd Star Productions

Outstanding Set Decoration and Set Dressing in a Play

• Paul Hennesy and Mike Mattheisen, Is He Dead?, Providence Players of Fairfax

Outstanding Properties in a Musical

• Joanne D. Wilson, Camelot, 2nd Star Productions

Outstanding Properties in a Play

• Susan d. Garvey, Red, Elden Street Players

Outstanding Lighting Design in a Musical

• Tommy Scott, Fiddler on the Roof, Port Tobacco Players

Outstanding Lighting Design in a Play

• Ken and Patti Crowley, 33 Variations, Little Theatre of Alexandria

Outstanding Sound Design in a Musical

• Kevin DeMine, Avenue Q, Dominion Stage

Outstanding Sound Design in a Play

• Sean Doyle, Shiloh Rules, Port City Playhouse

Outstanding Costume Design in a Musical

• Linda Swann, Camelot, 2nd Star Productions

Outstanding Costume Design in a Play

• Mary Wakefield, The Tempest, Rockville Little Theatre

Outstanding Makeup Design in a Musical

• Shemika Berry, The Wiz, Tantallon Community Players

Outstanding Makeup Design in a Play

• Sally Cusenza, The Pillowman, Silver Spring Stage

Outstanding Hair Design in a Musical

• Beverly Hill van Joolen, 1776, Colonial Players of Annapolis

Outstanding Hair Design in a Play

• Rachel Royall, Life with Father, Aldersgate Churtch Community Theatre

Outstanding Special Effects

• Joshua McKerrow, Kat McKerrow, Maya Wilcox, The Lieutenant of Inishmore, Laurel Mill Playhouse

Winners for outstanding performances by an actor or actress.

Outstanding cameo in a musical

• Lydia Kivrak as ‘Grandma Tzeitel’, Fiddler on the Roof, Port Tobacco Players

Outstanding cameo in a play

• Jeffrey Gangwisch as ‘James’, The Lieutenant of Inishmore, Laurel Mill Playhouse

Outstanding featured actress in a musical

• Eben K. Logan as ‘Sarah’, Ragtime, Kensington Arts Theatre

Outstanding featured actor in a musical

• Ryan Burke as ‘Dan’, Next to Normal, Kensington Arts Theatre

Outstanding featured actress in a play

• Christina Enoch Kemmerer as ‘Player #1’, Shipwrecked, Colonial Players of Annapolis

Outstanding featured actor in a play (TIE)

• Chris Daileader as ‘Michal’, The Pillowman, Silver Spring Stage
• Robert Tucker as ‘Player #2’, Shipwrecked, Colonial Players of Annapolis

Outstanding lead actress in a musical

• Emily Zickler as ‘Diana’, Next to Normal, Kensington Arts Theatre

Outstanding lead actor in a musical

• Sayne-Kharyi Lewis as ‘Colehouse Walker’, Ragtime, Kensington Arts Theatre

Outstanding lead actress in a play (TIE)

• Karen Grim as ‘Sarah Schorr’, Trying, Colonial Players of Annapolis
• Mary-Anne Sullivan as ‘Dr. Katherine Brandt’, 33 Variations, Reston Community Players

Outstanding lead actor in a play

• Chad W. Fornwalt as ‘Katurian’, The Pillowman, Silver Spring Stage

Winners for outstanding achievement in overall production.

Outstanding Stage Combat Choreography

• William T. Fleming, The Pillowman, Silver Spring Stage

Outstanding Choreography

• Darnell Morris and Eben K. Logan, Ragtime, Kensington Arts Theatre

Outstanding Music Direction

• Mayumi B. Griffie, Ragtime, Kensington Arts Theatre

Outstanding Direction of a Musical

• Evan Hoffmann, Caroline or Change, Elden Street Players

Outstanding Direction of a Play

• Gloria DuGan, Red, Elden Street Players

Outstanding Musical

• Ragtime, Kensington Arts Theatre

Outstanding Play

• Red, Elden Street Players

Wins sorted by theatre and show.

2nd Star Productions

• Camelot
  • Outstanding Costume Design in a Musical, Linda Swann
  • Outstanding Properties in a Musical, Joanne D. Wilson
  • Outstanding Set Decoration in a Musical, Jane B. Wingard and Gail Bagaria
  • Outstanding Set Design in a Musical, Jane B. Wingard
  • Outstanding Set Painting in a Musical, Jane B. Wingard

Aldersgate Church Community Theatre

• Life with Father
  • Outstanding Hair Design in a Play, Rachel Royall

Colonial Players

• 1776
  • Outstanding Hair Design in a Musical, Beverly Hill van Joolen
• Shipwrecked
  • Outstanding Featured Actor in a Play, Robert Tucker as “Player #2”
  • Outstanding Featured Actress in a Play, Christina Enoch Kremmerer as “Player #1”
• Trying
  • Outstanding Lead Actress in a Play, Karen Grim as “Sarah Schorr”

Dominion Stage

• Avenue Q
  • Outstanding Set Construction in a Musical, Hector Lorenzini
  • Outstanding Set Design in a Musical, Jared Davis
  • Outstanding Sound Design in a Musical, Kevin DeMine

Elden Street Players

• Caroline or Change
  • Outstanding Direction of a Musical, Evan Hoffmann
• Red
  • Outstanding Direction of a Play, Gloria DuGan
  • Outstanding Play
  • Outstanding Properties in a Play, Susan d. Garvey
  • Outstanding Set Painting in a Play, Mary Speed

Kensington Arts Theatre

• Next to Normal
  • Outstanding Featured Actor in a Musical, Ryan Burke as “Dan”
  • Outstanding Lead Actress in a Musical, Emily Zickler as “Diana”
• Ragtime
  • Outstanding Choreography, Darnell Morris & Eben K. Logan
  • Outstanding Featured Actress in a Musical, Eben K. Logan as “Sarah”
  • Outstanding Lead Actor in a Musical, Sayne-Kharyi Lewis as “Colehouse Walker”
  • Outstanding Music Direction, Mayumi B. Griffie
  • Outstanding Musical

Laurel Mill Playhouse

• The Lieutenant of Inishmore
  • Outstanding Cameo in a Play, Jeffrey Gangwisch as “James”
  • Outstanding Special Effects, Joshua McKerrow et al

Little Theatre Of Alexandria

• 33 Variations
  • Outstanding Light Design in a Play, Ken & Patti Crowley
• Twentieth Century
  • Outstanding Set Design in a Play, John Downing & Bill Glikbarg

Port City Playhouse

• Shiloh Rules
  • Outstanding Sound Design in a Play, Sean Doyle

Port Tobacco Players

• Brighton Beach Memoirs
  • Outstanding Set Construction in a Play, Richard Gilpin & Zachary Ball
• Fiddler on the Roof
  • Outstanding Cameo in a Musical, Lydia Kivrak as “Grandma Tzeitel”
  • Outstanding Light Design in a Musical, Tommy Scott

Providence Players

• Is He Dead?
  • Outstanding Set Decoration in a Play, Paul Hennesy & Mike Mattheisen

Reston Community Players

• 33 Variations
  • Outstanding Lead Actress in a Play, Mary-Anne Sullivan as “Dr. Katherine Brandt”

Rockville Little Theatre

• The Tempest
  • Outstanding Costume Design in a Play, Mary Wakefield

Silver Spring Stage

• The Pillowman
  • Outstanding Featured Actor in a Play, Chris Daileader as “Michal”
  • Outstanding Lead Actor in a Play, Chad W. Fornwalt as “Katurian”
  • Outstanding Makeup Design in a Play, Sally Cusenza
  • Outstanding Stage Combat Choreography, William T. Fleming

Tantallon Community Theatre

• The Wiz
  • Outstanding Makeup Design in a Musical, Shemika Berry

• The Wedding Singer, Fall 2014
• The Comedy of Errors, Winter 2015
• Annie, Spring 2015

More information may be found at the Arlington Players web site. Schedule is subject to change due to performance rights conflicts or other issues. Specific dates of performances and auditions are yet to be announced.

Anyone who auditions for local theaters knows the drill. One- or two-minute monologues; thank you very much. Alternatively, if the director is a more sensible sort, cold readings from the script with several people you don’t know. For musicals, 16 bars of a song, preferably not from the show; thank you very much. Where there’s dance to be done, 15 minutes of learning a combination that seems extremely simple to the choreographer, then attempting to remember it in front of the director in groups of four or five. And, oh yes, the two hours in which everyone explains to the director their dysfunctional families, adolescent emotional traumas, sexual orientation dilemmas, insensitive teachers, and concerns about chronic unemployment. Not. Of course, in considering A Chorus Line, currently running at The Arlington Players (TAP), we’re talking about a Broadway musical, an extremely successful one at that, so the necessity of suspending disbelief is consequently paramount.

To be fair, the subject matter of the show, if not its picture of the audition process, had a basis in reality, namely recorded conversations among dancers that were workshopped into the original 1975 production. What makes the show the success that it has become is less the life stories of its characters, however – accountants and plumbers can come from dysfunctional families too, after all – than its succession of Marvin Hamlisch hit songs and energetic, well-designed dance numbers.

The songs still work, going on 40 years later. “Dance Ten; Looks 3” (aka “Tits and Ass”), perhaps the all-time greatest anthem to the glories of plastic surgery, sparkles as Val (Dana Cass) struts her altered stuff, actually in a more understated way than in some productions. Diana (Amanda Kaplan) had two memorable numbers, leading the second act ballad “What I Did for Love” effectively – one might wish for a somewhat darker vocal tone in the song – and knocking “Nothing” clear out of the park. The latter, both a satire on the nonsensical theater games teachers and directors sometimes impose on actors and an evocation of her character’s detached emotional state as a teenager, is augmented by the ensemble’s well-choreographed, comic illustration of the theater games in question.

Shaun Patrick Moe (Mike), who also has a strong tenor voice, has an accomplished tap number (“I Can Do That”) early in the show. Another good high tenor in the group, Mark Allen (Al) and Nadine Rousseau (Kristine, Al’s wife), team up in “Sing,” in which Al constantly intervenes to provide sung words as his vocally challenged wife attempts to tell her story. The brassy Sheila (Kristen Magee) leads the wistful “At the Ballet,” joined by Bebe (Evie Korovesis) and Maggie (Caroline Griswold). As Cassie, Allison Block nails her emotional soliloquy “The Music and the Mirror” both vocally and in the number’s dance solo.

Cassie, a veteran performer seeking to start over as an ensemble dancer following an unsuccessful attempt at making it in Hollywood, was formerly in a relationship with Zach (Blakeman Brophy), the director/choreographer of the unnamed musical for which the other characters are auditioning. Zach opposes Cassie’s desire to return to the ensemble ranks, insisting that she is too good for such a role in the show. In part because of the unresolved feelings that he and Cassie retain for one another, he makes a point of being harder on Cassie than on any of the other dancers in the audition. In the only non-singing, non-dancing role in the show, Brophy is a thoroughly convincing tough but mostly fair, all-business, work-centered director. Zach’s gentlest moment comes when he attempts to help Paul (Chris Galindo), a shy, inhibited Puerto Rican gay man, express his feelings. Rather than giving Paul a song to tell his story, the playwrights chose an overly long monologue, which – perhaps inevitably given how it is written – Galindo delivers on a nearly unvarying note of pathos.

Among the best known pieces in the show is “One,” a number in which the ensemble sings the praises of the nascent show’s never-seen female lead, very much in the manner of the title songs from Mame and Hello Dolly. This is always a choreographic highlight of A Chorus Line, especially in the big production number-style reprise/curtain call. Like all Stefan Sittig’s choreography for the show, the number is beautifully designed and executed. In a show about dance and dancers, director Susan Devine was able to cast a group whose members were all able to learn an intimidatingly enormous amount of choreography, and who carry off a wide variety of dance styles and moves with precision and spirit. This is a cast full of triple threats, even in the smaller roles (e.g., Russell Silber as Bobby, who wants to be a movie star and has a delightful moment miming his story as other actors have intervening bits). Among the dancers, special mention should be made of Brook Urquart who, as Larry, the dance captain, is captivating to watch.

A Chorus Line takes place on a bare stage, the only set element being a series of upstage mirrors. In addition to suggesting the mirrors in a dance studio, the mirrors add depth to many numbers and reflect the audience as well as the performers. During Cassie’s “The Music and the Mirror,” a three-part mirror, reminiscent of the sort one finds in a clothing store, is flown in briefly behind her, but adds little to the look of the number. Chris Hardy’s lighting design was particularly strong on pools of area light (for example, as the cast enters during the reprise of “One”) and on the use of color (for example, during “The Music and the Mirror”). The cast sports a variety of costumes (design credits to Susan Devine, Anne Marie Nasto, Donna Naybor, and Araxie Vann). Many were informal rehearsal attire or dance togs, with others being distinct character highlights, like Cassie’s red dress and Val’s tight blue outfit (showing off the aforementioned t & a). They not only looked right; they performed the key task of enabling the cast to move freely. Paul Nasto’s orchestra accompanied the proceedings with nary a glitch to be heard.

At the end of the audition, Zach has to make his choices of which of the aspirants will get hired and which will get sent home jobless. The reasons for his decisions, like the casting choices of many directors, are opaque. In this respect at least, A Chorus Line touches the reality of the audition process, at least before the finale in which all the job seekers, those hired and those not, get to parade in spectacularly glittery gold costumes. If only.

Photo Gallery

The Line	Cassie
Finale

Photos by Peter Hill

Cast

• Al: Mark Allen
• Bebe: Evie Korovesis
• Bobby: Russell Silber
• Cassie: Allison Block
• Connie: Gina Santos
• Diana: Amanda Kaplan
• Don: Ricardo Coleman
• Greg: Matt Greenfield
• Judy: Kim Paschall
• Kristine: Nadine Rousseau
• Larry: Brook Urquhart
• Maggie: Caroling Griswold
• Mark: Sean Cantor
• Mike: Shaun Patrick Moe
• Paul: Chris Galindo
• Richie: Willie Garner
• Sheila: Kristen Magee
• Val: Dana Cass
• Zach: Blakeman Brophey
• Ensemble Dancers and Pit Singers:
  • Frank: Dimitri Gann
  • Tricia: Katie Mallory
  • Roy: Quinn McCord
  • Lois: Michele Vicino
  • Pit Singer: Tyler Lazzari

Orchestra

• Conductor: Paul Nasto
• Reeds: Gwyn Jones, Dana Gardner, Mila Weiss, Louis Reichwein
• Trumpets: Paul Weiss, Scott Firestone
• Trombone: Bill Wright, Rick Schutz, Chris Bradley
• Keyboards: William VanLear, Francine Krasowska
• Guitar: Eric Oganesoff
• Bass: Dave Burrelli
• Drums: Manny Arciniega
• Percussion: Jackie Bradley

Production Team

• Producer: Amanda Acker and Leah Aspell
• Director: Susan Devine

• Music Director: Paul Nasto
• 
Choreographer: Stefan Sittig

• Stage Manager: Joan A.S. Lada

• Conductor: Paul Nasto
• Scenic Design/Master Carpenter: Bob Bell
• Lighting Design: Chris Hardy
• Sound Design: Dave Correia
• Costume Design: Susan Devine, Anne Marie Nasto, Donna Naybor, Araxie Vann
• Assistant Musical Director: Williams VanLear
• Assistant Choreographer: Kristina Friedgen
• Assistant Stage Managers: Meghann K. Peterlin and Nolan Hughes
• Rehearsal Pianists: Francine Krasowska and William VanLear
• Production Assistant/Light Board Operator: Laura Fargotstein
• Light Board Operator: Joni Hughes
• Dance Captain: Gina Constantino Santos
• Set Consultant: Dave Means
• Technical Advisor: Christopher Smith
• Sound Crew: Keith Bell, Stan Harris, Drew Moberley
• Flyrail: Steven Yates
• Set Construction Crew: Amanda Acker, Steve Lada, Christopher Smith, Rachel Wolkowitz
• Set Papers: Amanda Acker, Karinn Cologne, Barbara Esquibel, Joan Lada, Karen Togh
• Auditions: Jayn Rife and Carol Strachan
• Audition Pianist: William VanLear
• Audition Dance Instructor: Kristina Friedgen
• Box Office: Barbara Esquibel and Christopher Smith
• Program: Daren Batra
• Photography: Peter Hill
• Logo Design: James Villarrubia

Disclaimer: The Arlington Players provided two complimentary media tickets to ShowBizRadio for this review.

9 to 5, the Musical is based on the 1980 movie. A “sexist, egotistical, lying, hypocritical bigot of a boss” is making his employees’ lives intolerable. When a little fantasy revenge dream accidentally comes true, three women are linked together in a race to fix their office before the boss can call the police.

The three main characters, Violet Newstead (Elizabeth Yates), Doralee Rhodes (Jennifer Lambert) and Judy Bernly (Allison Block) were a wonderful trio with great chemistry. They each had very different styles, from Violet’s efficiency to Doralee’s friendliness to Judy’s nervousness. At Judy’s introduction, Allison Block appeared so nervous it appeared to be stage fright. But after the action continued it was obvious she was performing as newly divorced Judy exceptionally well. Their boss, Franklin Hart (Russell Kopp) was thoroughly unlikable, and balanced sliminess with charm.

Director and Choreographer John K. Monnett created a fun show. “9 to 5,” the opening dance number, set the tone for the rest of the entertaining production. The fantasy sequences in the first act were very well done, with a nice surprise of the way Violet’s woodland creatures were handled. The character to watch is the transformation of Judy, growing from a nervous pipsqueak to a strong, secure woman. John-Michael d’Haviland’s music was pleasurable throughout, from the twang of Doralee’s country singing, to the sorrow of Roz (Annie Ermlick) singing the sorrowful “5 to 9.”

Amanda Acker’s set was admirable, allowing for the flexibility of multiple locations requiring rapid scene changes. The stage crew under the direction of stage manager Terri Carnahan executed the changes quickly and efficiently, with a minimum of distraction. The one scene I remember from the movie was the boss, Franklin Hart, being hooked to a garage door opener and hoisted to the ceiling whenever he threatened the ladies. This effect was done very well, congrats to the crew and Russell Kopp. Laura Fontaine’s costumes were period appropriate, definite flashbacks to the 1970s.

There are a few spots in the script that I don’t think will hold up well over time. The little asides and anachronisms were funny, but in twenty years the references may not be as obvious. And that’s the worst thing I can say about this production, a nitpick with the script. The Arlington Players’ DC area première of 9 to 5, the Musical is a fun show, with serious underpinnings, but all in all, it’s a good time at the theater.

Director’s Notes

Let’s think back on 1979 — the time when our story tonight takes place — a gallon of gas ran about 68 cents, shag rugs, pet rocks and disco were the hottest thing around. Sony introduced the first walkman and the board game Trivial Pursuit was launched. “Kramer vs. Kramer” topped the box office (and won the Oscar) and pop music was in transition from disco to new wave as Gloria Gaynor sang of self-empowerment with “ I Will Survive” but the Knack’s ode to young lust “My Sharona” topped the charts for the year.

More seriously, there were historic milestones that had significant international impact for the next several decades: Margaret Thatcher being elected Prime Minister in the United Kingdom. Pope John Paul II visiting his native Poland as the first pope to cross behind the Iron Curtain, the Three Mile Island nuclear incident, and the Iranian Hostage Crisis. The Dow closed the year at 838, and the Fed interest rate hovered around 15%-both statistics simultaneously quaint and terrifying to us today.

1979 also saw the first deadline for the Equal Rights Amendment. Originally drafted in 1923, this constitutional amendment designed to guarantee equal rights for women was passed by congress in 1972 and sent to the states for ratification with a seven year deadline. Although the decline was extended to 1982 (amid controversy), it ultimately was not ratified and and debate continues today, as it was reintroduced in the current senate only last month.

Then there is “9 to 5.” Originally a movie starring Jane Fonda, Lily Tomlin and Dolly Parton, it was the story of three women who become friends as they endure sexism in the workplace and confront their “sexist, egotistical, lying, hypocritical, bigot” of a boss (played by Dabney Coleman). Their story still resonated thirty years later when it arrived on Broadway (with Allison Janney, Megan Hilty, Stephanie J. Block and Marc Kudisch) as the screen-to-screen stage musical 9 to 5: the Musical, featuring a score written by Dolly Parton herself (her first.) Parton’s gift for storytelling as a strong leader lends itself to musical theater, and she has created endearing songs that express each character’s emotions simply and honestly and are relatable to anyone who has felt the need to take charge of her (or his) own life to make things better.

So whether you want to interpret this how as feminist manifesto, self-empowerment treatise, or escapist fantasy is up to you (I think it blends all three). And just as 1979 was filled with culturally fond memories and some rather significant events, so too today we live in a time of serious matters and silly diversions. So perhaps simply enjoying the fantasy of sticking it to the man in charge (and who hasn’t had his thought at one time or another) is enough for the evening. Please sit back and enjoy the ride!

John K. Monett, Director and Choreographer

Cast

• Violet Newstead: Elizabeth Yates
• Doralee Rhodes: Jennifer Lambert
• Judy Bernly: Allison Block
• Franklin Hart, Jr.: Russell Kopp
• Roz Keith: Annie Ermlick
• Joe: Derek Pickens
• Josh Newstead: Sean Cantor
• Dwayne Rhodes: Mike Usowski
• Kathy: Marla McClure
• Margaret Pommerence: Barbara Porter
• Maria Delgado: Sally Kiernan
• Missy Hart: Jean Koppen
• Bob Enright: Sam Nystrom
• Dick Bernly: Mark Hildago
• Detective: Sidney Davis
• Doctor: Max Aguilar
• Candy Striper: Evie Korovesis
• Russell Tinsworthy: Ronald Boykin
• New Employee: Laurie Newton
• Ensemble: Max Aguilar, Karen Batra, Ronald Boykin, Sean Cantor, Sidney Davis, Mark Hildago, Sally Kiernan, jean Koppen, Evie Korovesis, Justin Latus, Marla McClure, P.J. Mitchell, Laurie Newton, Sam Nystrom, Barbara Porter, Kedren Spencer, K.C. Tydgat, Mike Usowski
• Vocal Ensemble: Lauren Laird, Atena Moore, Robert Summer, Joelle Thomas

Orchestra

• Conductor: John-Michael d’Haviland
• Reeds: Gwyn Jones, Dana Gardner, Mila Weiss*
• Trumpet: Paul Weiss, Mark Allred
• Trombone: Ryan Shofnos, Rick Schulz*
• Guitars: Eric Oganesoff, Bob Weaver
• Bass: Randy Dahlberg
• Percussion: Joel Frisch
• Drums: jim Hofmann
• Keyboard/Piano: Sarah Elliott, Alan Margolis
• * alternate performers on selected dates

Production Team

• Producer: Irene Molnar
• Director & Choreographer: John K. Monett
• Music Director: John-Michael d’Haviland
• Stage Manager: Terri Carnahan
• Conductor: John-Michael d’Haviland
• Technical Director: Christopher Smith
• Set Design: Amanda Acker
• Set Painting: Amanda Acker
• Master Carpenter: TJ Donahue
• Set Dressing Design: Joyce Frank
• Lighting Design: Ryan Desmond
• Sound Design: Keith Bell
• Costume Design: Laura Fontaine
• Make Up Design: Larissa Norris
• Wig & Hair Design: irene Molnar
• Assistant Stage Managers: Meghann K. Peterlin, Stephen Yates
• Assistant to the choreographer: Kathy Oh
• Associate Sound Designers: Chris Kagy, Drew Moberely
• Set Construction Crew: Amand Acker, Scott Drew, Peter Kinkel, Richard Garey, Erica Lee, William Kolodrubetz, Heng Lim, Arthur Pleasants, Todd Shiba, Christopher Smith, Rachel Wolkowitz
• Charge Painters: Beth Ceyak, Joyce Frank, Kevin Lane, irene Molnar, Mika Rautianan, Charles Reed, Karen Toth, Rachel Wolkowitz
• Costume/Wardrobe: Holly Strickland, Jessica L. Randazzo
• Light Board Operator: Joni Hughes
• Spot Light Operators: Billy Cover, Ashley Johnson, Adrian Steele, Lou Timmons
• Flyrail: Amanda Acker, T.J. Donahue, Michael Pakonen
• FOY Operators: Steve Lada, Steven Yates
• Stage Crew: Amanda Acker, Scott Drew, Nolan Hughes, Steve Lada, Katie Lewis, Rachel Wolkowitz
• Auditions: Lauren Laird, Judy Lewis, Katie Lewis, Adrian Steele, Steven Yates
• Audition Pianist: Elisa Rosman, Alan Margolis
• Audition Dance Instructor: Cathy Oh
• Photography: Peter Hill
• Program: Nikki Hoffpauir
• Logo Design: James Villarrubia
• Box Office: Karinn Cologne, Barbara Esquibel, Dina Green, Nikki Hoffpauir
• Opening Night Party: Terri Carnahan

Disclaimer: The Arlington Players provided two complimentary media tickets to ShowBizRadio for this review. TAP also purchased advertising on the ShowBizRadio.net web site, which did not influence this review.

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