S The University of Michigan SGi1lbert and Sllivan iety's 1. * n-r - 5 Revised Edition Harry Benford . 4indding ,u1 of 4iflms Revised Edition 1 Gloria Katlan Bennish 1928-1987 Dedicated to Gloria, who started it all and who never lost her love and enthusiasm for the Society or for G&S. 2. 4udding lull of 4lums The University of Michigan Gilbert & Sullivan Society's JFirt Jiftp L tars Harry Benford Life's a pudding full of plums, Care's a canker that benumbs. The Gondoliers Published by the Friends of the University of Michigan Gilbert & Sullivan Society Ann Arbor 1997 (Revised 2006) iv 61ontots Page Prologue .......................................................... 1 (Preface and Acknowledgements) O ur Curtain Raiser . ................................................. 3 (Overall Trends and General Observations) Our M ain Attraction ................................................. 7 (Abstracts of Actual Programs with Current Commentary) Our Curtain Calls...................................................249 (Appendix) Epilogue.........................................................277 (Table of Shows and Directors) V vi proo, jue Preface and Acknowledgements ike most writers, I have left this introductory chapter till last; and like most I find this part far from easy. I suppose the central purpose of a preface is to explain why the book was written. So, to get on with it, let me state that I wrote the book for various reasons all pertaining to the fiftieth anniversary of the University of Michigan's Gilbert & Sullivan Society. Indeed, I volunteered to do so because I knew that Margie Warrick was going to ask me, and I like to please Margie. More importantly, I wanted to honor Gloria Bennish and the estimated five thousand participants whose hard work, talent, and skill have continued and strengthened the society over these five decades. For any student group to continue and to thrive over half a century is, if you stop to think about it, truly remark- able. So let us review the troupe's many achievements to help us appreciate its success, and perhaps learn a lesson or tow that may help the society continue on through its next fifty years. The lessons to be learned here have nothing to do with acting techniques or theater technology. They deal, rather, with human relations and the almost magical strength through which well knit amateur groups man- age to overcome every imaginable sort of emergency. Throughout this book you will find examples of threat- ened catastrophes that were averted; but in far greater numbers you will find direct and indirect indications of the joys of theatrical teamwork and the thrill of pleasing a discerning audience. Speaking of audiences, during these fifty years, the society has performed before a cumulative total of about half a million people. That represents a generous contri- bution to the campus and community's reputation as a desirable place in which to live. Moreover, I may even suggest that the society has served an educational function as well, for Gilbert's memorial in London is rightfully inscribed, "His foe was folly and his weapon wit." Let me say a word about the circumstances under which this book was written. I made a seemingly early start, but after some months of work came to realize that the opus was threatening to be the dullest ever produced. So I took another tack, but ran into technical difficulties and the product was threatening to be awkward, unattractive, and hard to read. (I'll spare you the details.) Then, when some expert advice put me on the right track, time was running short, so the book had to be written under the sort of circumstances common to the way Sullivan com- posed the Savoy operas, by which I mean intense pressure. I wish I could believe I could match Sullivan's success. In any event, that's my all-purpose alibi for all the shortcomings you'll run across in this book. Finally, let me predict that when AD 2047 comes round, the society will be celebrating its first century and some poor devil will be asked to write another history. To him or her I say, "Break a leg, only start sooner." There are many individuals whose help has made this book possible. Almost without exception, their help was offered with- out restraint and with marked enthusiasm for the project. As a start, I should acknowledge the valuable spade work done by Jean Lynn Barnard in her fastidious cata- loging of all 4000 individuals involved in the first forty years of UMGASS productions. Dave Goldberg, too, deserves credit for the special issue of GASBAG that celebrated the society's first forty years. His success in eliciting fascinating reminiscences from former members has added immeasurably to our understanding of the qualitative values of the shared experience, as well as to historic facts. David deserves further recognition for contributing photographs, and for just being David. The final bit of spadework that deserves praise is David Owens' continuation of Jean Barnard's catalog of partic- ipants, bringing it up to the present time. David Owens also added some personal recollections that enrich the text. Many of the photographs and nuggets of factual infor- mation that embellish this book came from the University's Bentley Historical Library. In particular, I am indebted to Librarians Nancy Bartlett, Karen Jainia and Kim Mayer. rj 1 pr rf : iY LopY b rte' A key player in the adventure of producing this book has been Paula Bousley. Her expertise and hard work have been essential to any attractive features you may find herein. The G&S Society merits our thanks for turning over to us their valuable archives, which have been the source of many photographs and informative historic details. In particular, Stacey Harrington, president, and Pam Grace, company promoter, deserve thanks for their cooperation. Mitch Gillett kindly made available his comprehensive collection of recently-made photographs, which add valuable pictorial interest. At the other end of the time scale, Ran Hobart earned our thanks by contributing photographs dating back to Year Zero. Margie Warrick merits recognition for her never-ending enthusiasm for all things Geeandessian. The wife of the typical author knows what it means to endure a preview of widowhood. Surely, my good wife, Betty, deserves my loving thanks for her encouragement, editorial advice, and angelic patience in the face of such husbandly neglect. Finally, in all probability, I have overlooked one or more deserving individuals. If you happen to be one of them, please accept this lame, yet sincere apology. 4 ~~ 4 Finished! At last! Finished! The book is finished and my soul has gone out into it. Alan Wineman gets a warm word of thanks for his good work in providing preliminary photocopies. r Preface to Revised Edition The first edition of this work was made possible bya team of willing workers whose names areacknowledged in the prologue above. I am still thoroughly grateful for their hard work. Now I must enlarge the roster of heroes by praising Karl Zinn, who rode herd on this new edition; and Paula Bousley, who type-set the original edition as well as this one. That first edition was assembled at a frantic pace, so extreme that the finished product could best be described as hasty journalism - certainly not as scholarly research. Thus the inspiration for this revision was, well, to revise - and my thanks go out to the several friends who were good enough to point out the mistakes that were gener- ously sprinkled throughout the first edition. In the first edition we spoke of the remarkable fifty-year life of the University of Michigan's Gilbert & Sullivan Society. Now, a decade later, as we approach the troupe's sixtieth year, this edition is dedicated to the resolve that G&S will be alive and well on campus for additional decades to come. At this moment the students are wrestling with a complication injected by the University's administrators, who, for some remote rea- son, want "University of Michigan" taken out of the title. So, although a change in name has to be considered, the troupe - and its indomitable spirit - promises to live on indefinitely "in spite of dungeon, fire and sword." As I exclaimed in capping the first edition: Finished! At last! Finished! The book is finished and my soul has gone out into it. November 2006 Ann Arbor 2 Our lurtain Raiser Overall Trends and General Observations 11things human change, and what could be more human and more susceptible to change than a student-run theatrical performing group? Yet, here we are celebrating the fiftieth anniversary of the University of Michigan's Gilbert & Sullivan Society. What has been the glue that has managed to keep our organization alive and well despite the inevitable forces tending to pull us apart? There are few obvious, yet incomplete, answers to that question. To begin, of course, the basic material with which we have to work: the Savoy operaas, with their enchanting and ever fresh words and music are unsur- passed in the realm of musical theater. Gilbert's wit and humor remain appropriate even in today's world, while Sullvan's music is always tuneful and beautifully fitted to those words. Then there is the happy social circumstance that the operas all involve large choruses of equal num- bers of men and women. Need we say more? There are many less obvious factors that help, subtle influences that are often hard to put into words. Perhaps the adventures and mis-adventures reported here will serve to convey some feeling for these intangible forces that keep us so closely knit. Not surprisingly, over our decades of association with the society we have noted a few long-term trends. One is that the standards of performance have had their ups and downs, but overall the trend has definitely been upward. We can recall a painful period when principal tenors were of such indifferent quality that their lack of volume was a distinct benefit. We can also recall orchestras that were so marginal that we could hardly wait for the over- ture to be finished and the curtain to go up so that the stage action would take our minds off the music. About twenty years ago the board decided to make life easier for the music director, so they set aside money to pay the musicians, and the quality has been much improved ever since. In our earliest years theater scheduling was often a prob- lem, and we had difficulty getting into the Mendelssohn Theatre. Even when that issue was finally settled we often ran into difficulty in obtaining suitable dates. There was a particularly difficult period when scheduling decisions were made by the managers of a professional theater program, and they allowed student groups in slots that suited their own convenience. In the past few decades, however, and following decisions by an ad hoc campus-wide committee, we have won permanently assigned one-week time slots close to the end of each of the two main academic terms. Often, indeed, we have been able to book consecutive weekends in the second term. Another significant scheduling change came about with- in recent years when time slots were switched from Sunday-through-Saturday evening to Monday-through- Sunday afternoon. This allowed us to offer two matinee performances, which was a net gain because matinees always seem to be exceedingly popular. A few years ago, for example, the UM Alumni Association started a series of education programs tied in with our shows. These cul- minate in the participants attending the Saturday after- noon show. The numbers involved generally run to at least fifty. As a result, until we added the Sunday mati- nees, the demand for the Saturday tickets was truly a problem. We have had a long history of encountering trouble in finding proper locations for rehearsals, for set-building, and for office space. When we first became involved there were good office spaces and rehearsal rooms in the Union. Those spaces were later converted into adminis- trative offices and we were given an office in the then- new Student Activities Building, along with a set-build- ing shop and loft for storing costumes in the same build- ing. Inevitably, however, the Big U's ever-growing bureaucracy pushed the student groups out onto the street. We really had to scratch to continue operations. We recall rehearsals being carried out in the Union's boiler room. Then we were given a tiny office on the ground floor of the League and were allowed to rehearse in a Black Hole of Calcutta (painted steerage green) in the basement of the League. Eventually the Big U came around to building the Student Theater Arts Complex close to the stadium. This now gives us nice rehearsal spaces, a well-equipped set shop, and sewing room. Long-term storage for costumes is found at the Willow Run Airport. The League office was in a lovely location, but was not only small, but forced to accommodate two other student groups as well as us. 3 After long and bitter complaint, we managed to convince the Big U to expel the interlopers. Now we have been moved to another office in the League. It is lots bigger than before, but in a less favorable location. Thus it is to be a pawn in the Big U's administration. Taking the show to Detroit and other out-of-town venues is now far less frequent than in the past. We sup- pose this is owing largely to today's somewhat shorter academic terms, and our standard end-of-the term time slot in the Mendelssohn Theatre. Numbers are important. We mean numbers of people involved in the work of the society. Large numbers lead to good health, and that is a fortunate feature of the G&S operas: they all require large choruses, with the already-mentioned favorable social implications. Large choruses means lots of ticket orders and many hands sharing the work behind the scenes. They also lead to a large pool of potential officers and directors for future shows. The other side of the coin is that large numbers lead to extra work for the costume crew and directors, and less clear enunciation in the choral singing. Some directors aver that the optimum chorus for the Mendelssohn Theatre consists of six sopranos, six altos, six tenors, and six bases (and most observers would agree that the resulting 24-member chorus represents an absolute minimum). Since the inception of the society, for whatever reasons, the general trend has been toward decreasing numbers until the 24-member chorus is now considered almost standard. In the past decade or two we have witnessed a slacking off in the energy and imagination used in promoting ticket sales. We can recall the days when many of the chorus members would go about singing choruses in public: in point of fact, right in front of the library from noon to one. And posters were put up all over town and not just in private quarters. Until just a few years ago there was something of a tra- dition in the form of crew pranks pulled off during cur- tain calls after the final performance of any given pro- duction. They tended to be in-jokes that left the audi- ence in utter bafflement. On the whole we're better off without them. What about encores? The practice has varied, but in recent years we 'ye seen them less often than in the past. We are pleased that our directors have never followed the lamentable curtain call practice common in other performing groups. We refer to the ridiculously con- trived practice of making the lead soprano trot into the wings and drag one or more of the supposedly reluctant directors on stage to share in the applause. Speaking of directors, some dramatics directors have held that position for several consecutive shows. (Marc Shepherd's comments in the appendix cover this topic more fully.) With isolated exceptions, directors have always resisted the temptation to put themselves in the cast. In years gone past there was a lamentable period when relations with the School of Music were strained. We are not aware of the details, but apparently some UMGASS music directors were less than diplomatic in their deal- ings with the faculty. We are now thankful that our rela- tionship is altogether amiable. Indeed, Dean Boylan has been most encouraging and, as you may note, serves as one of our faculty advisors. There was an admirable custom in times long past when the performers were strictly forbidden o make themselves visible to the audience in any way except when on the stage. Now, alas, as audiences leave the theater they are grossly impeded by performers (still in costume and make-up) who brazenly surge out into the stairway and lobby. This is not only annoying to the paying cus- tomers, but disenchanting as well. We now have a semi-regular habit of asking the audience to get into the proper mood by standing to sing "God Save the Queen" at the start of each performance. Unfortunately, some members of the audience fail to catch the spirit of the thing and have to content them- selves with singing "My country 'tis of thee." A significant change has come about through the forma- tion of our support group, FUMGASS, in 1969, and the concurrent introduction of our journal, GASBAG. The support group has provided financial stability so that UMGASS has been emboldened to produce some of the lesser known G&S operas with the knowledge that a sin- gle losing show will not cause the society to collapse. FUMGASS and GASBAG have also made it easier for UMGASS to sell tickets. Certain traditions have come and gone. For many years Betty and I sponsored a party on the weekend following the fall show. Initially this was preceded by a roving car- oling party and culminated with a showing of slides from the recent show. Then came the advent of videotapes, and the limited time frame dictated that something had to be trimmed, so the caroling excursions were allowed to die out. 4 Another tradition that is alive and well is the annual Ugly Cake contest. This is usually scheduled close to Halloween and costumes are appropriate. One famous costume featured two couples with faces and hair paint- ed white and all cuddled up with heads sticking through a sheet. They were, of course, Mount Rushmore. Several entries in the appendix tells more about this unique con- test. For many years we have been called upon to supply light entertainment at banquets or other social gatherings. Such minor productions usually consist of a pianist and up to a dozen singers. The latter are typically UMGASS regulars not currently involved in the full scale produc- tion. Props and costumes are optional. In the spring of 1972, under the prodding of the inimitable Gersh Morningstar, the participants became more ambitious and formed an offshoot company to produce low key shows. They called themselves the University of Michigan Gilbert & Sullivan Society Small Company. In time the Small Company decided to fly with its own wings. Under the enthusiastic leadership of Tom and Pat Petiet, it transmogrified itself into a totally independent troupe, the Comic Opera Guild, which produces every- thing in the light opera book except G&S. It is still under the leadership of the Petiets and is still thriving. The Society is held together by a constitution and set of by-laws. These are subject to change if exterior condi- tions make it desirable. Over the years the composition of the governing board has frequently undergone revision to suit perceived changing needs. To meet current UM requirements to qualify as a student society (with its attendant benefits) we are required to limit the president, treasurer, and at least one other position to UM students. One conven- tion that has remained for a long period is that elections are held toward the end of each spring term and the posi- tions last for just one year. Since each G&S opera is repeated every five or six years, one might expect that sets could be stored and reused. But, aside from flats, that is not the case. Storage space is limited and, moreover, every show has its own set of directors, and such individuals are too imaginative to feel satisfied with anyone else's creation. Costumes are saved (and often rented out), but few directors are totally satis- fied with what's in stock, so new outfits are usually required. In general, the only costumes we rent in are those for the dragoon guards in Patience and Yeomen of the Guard. Over the years we have seen significant changes in the make-up of the society. The earliest years were marked by personnel consisting almost exclusively of UM stu- dents. Lately, however, we have welcomed in a growing mix of faculty, staff, townspeople, and students for other institutions. All human activities are subject to internal friction and we have witnessed some within UMGASS that were pretty serious. But the group has always managed to rise above them and continue to attract new people who helped heal the wounds. This leads to our final comment on the secrets of our remarkable longevity. We believe it simply speaks well for the sort of people the Savoy operas attract, and the pleasures and satisfactions inherent in their production and in the social contacts engendered. The next chapter, "Our Main Attraction," replicates the important elements of each of the society's more than one hundred productions, and adds pertinent commen- tary from today's perspective. But what of the history before the first show went up? The program notes for the 1959 production of The Yeomen of the Guard carried the following, apparently accurate summary of those earliest days: GILBERT AND SULLIVAN SOCIETY HISTORY This semester's production of Yeomen marks the Gilbert and Sullivan Society's thirteenth year on the University of Michigan campus and the group's twenty-third production. The soci- ety has grown from an unstable group to a University tradition. A tremendous influx of students as well as the release of wartime tensions and restrictions fortified a natural desire to organize boy-meet- girl activities. However, the war had had its sobering effect upon student interests. To be successful, an activity had to offer more than the mere opportunity to circulate and have a good time; some constructive goals were necessary. It was in this light that Gloria Katlan (now Gloria Bennish), then a junior in the literary college, conceived the organization of a group dedicated solely to her favorite entertainment medium: Gilbert and Sullivan. 5 She was able to enlist the support of the Office of Student Affairs as well as the enthusi- asm of Professor and Mrs. Kenneth T. Rowe, who became the group's first faculty advisors. Professor Wayne Dunlap agreed to take the musical direction and appointed as his assistant, Rex Wilder. [Rex Wilder says to ignore what the first paragraph says about how he happened to become involved. He says a more accurate account is to be found in the first two para- graphs on page 250.] After a very promising beginning attended by about 75 interested people, the new "Society" soon seemed about to run aground. Hounded by financial difficulties as well as by a lack of the- ater contrast, interest in the group began to wane. Though practice on The Mikado had begun it was decided to switch to Trial by Jury, which was more within the capabilities of the reduced company. Again the group diminished in size. By Christmas only a handful of students remained to bolster Gloria's conviction that such a society was feasible. One was a 27-year old doctoral candidate, Ben Hazard, whose practical suggestions made sense to those remaining, the other a 17-year old freshman, Jim Ueberhorst, who had been cast as "Ko-Ko" in the Mikado, and then as the "Judge" in Trial by Jury (two parts which in his eight year associ- ation with the society he was never to play). Unfortunately, after Christmas vacation, Ueberhorst was the only principal to return, and the chorus had dropped to nine. It was decided, therefore, to disband until the Spring semester. The new semester saw the return of only two old members, Ben and Jim, since Gloria was no longer in school. The Society struggled through that Spring until May, with Ben as business manager and Jim as President. The group final- ly dwindled to seven members and plans for another reorganization in the Fall were made. That organization meeting resulted in two members. Ben and Jim were "unanimously" re- elected, and a second meeting was planned. The pair split a blueprinting bill for homemade posters, announcing a second organizational meeting for a December production of the Mikado. Rex Wilder agreed to take the musical direction, while Professor Harry Allen became dramatic director. The Society was able to set up a line of credit by borrowing $150 from a Detroit men's group whose president's daughter was playing the soprano lead. However, until three weeks before the scheduled performance, no theater had been contracted for, and the cho- rus consisted of twelve persons. Professor and Mrs. Rowe were instrumental in convincing the Ann Arbor school system that it should rent Pattengill Auditorium in the old high school. In a desperate last effort to enlarge the cho- rus, Jim and Ben approached the "Daily" for an article. Ben wrote, "a few positions available in the chorus for the forthcoming Gilbert and Sullivan operetta, The Mikado, last opportunity to join, Sunday." That Sunday, thirty-one new members applied for those "few positions." The Society was in business. Three weeks later the show was produced with singular success. The audience reaction was more than favorable. In addition a small profit resulted, making continuation into the next semester a reality. Many changes occurred as each new semester rolled around; the shows became more and more elaborate and expensive; well over 100 people became involved in each production; the shows became 100% student-directed, then faculty directed again; the troupe began to take a road show to Detroit each semester. Now shows are given in Wyandotte, Toledo, and Flint in addi- tion to Detroit. The outlook for the future is ever brighter. Kenneth Rowe's reminiscences in the appendix shed fur- ther light on the seeds of the society. 6 Our Mfain ZIttraction Abstracts of Actual Programs with Current Commentary (Featuring one hundred andfour acts but no intermissions)j l e moved to Ann Arbor in the fall of 1948 and immediately thereafter started going to all the UMGASS shows. We have a complete collec- tion of the programs and what follows are recollections or matters of historical interest that come to mind as we leaf through them. You will see frequent notes about when new people came in or veterans left. In the interest of economy such entries are for the most part confined to individuals who were with us for at least six shows. We were helped in this by comprehensive logs carefully worked up by Jean Lynn Barnard and David Owens. But be warned, these details are often subject to error. Jean and David faced such inherent problems as mistakes in those hastily assembled programs, and women who changed their name upon marriage. And we may have made slips in interpreting their logs. As Shadbolt says, we are but fal- lible mortals, the best of us. In short, for such goofs as may occur, please accept this abject grovel in a character- istic Japanese attitude. Our first directors: Harry R. Allen (left) and Rex Wilder (right). Photo courtesy of Ran Hobart, now in UM Bentley Historical Library. 7 THE UNIVERSITY OF MICHIGAN GILBERT and SULLIVAN SOCIETY This was the cover for the Society's very first production: The Mikado, which was presented on December 10 and 11, 1947. The venue was the auditorium in what was then the Ann Arbor High School (now the University of Michigan's Frieze Building). The figures on the cover were taken from Gilbert's Bab Ballads cartoons. The same cover, in various colors and arrangement of the figures, was used for the next ten years. It was designed by founding member Ben Hazard. 8 Our Main Attraction THE MIKADO Pattengill Auditorium December 10-11, 1947 Director: Harry R. Allen Settings: William H. Allison CAST (an ader o theft appearane) Conductor: Rex Wilder Assistant conductor: Thomas Wilson ACKNOWLEDGMENTS NAsNC-Poo . .. ..- Puss-Tush . .. ..- Poo-BAH Ko-Ko . ...-.-.-. Yum-Yuu. . .... -. PREP-Bo . Prr-SING . .. ..-. KATrA.. . .-. THE MCiADO OF JAPAN Guards. . . . Arnol Tumblers . Archie Brown John Thomson Ja L Sine. The Gilbert and Sullivan Society would like to express its gratitude to the following: y -Miss Ethel McCormick and Mrs. Benjamin Wheeler for their invaluable co- Dick Roussi operation and the Michigan League for their generosity in providing rehearsal Ann Sch -in space .Coh-e- Jense -Ruth C-m-bel . Dorothy Dunce Lester McCallun d Gerall, Bill Flenuning, Frank D. Montague Frederick Lee Scheffle Fred Thompson, Mark Neville The School of Music for their cooperation Mr. Nicholas Schreiber and Mr. George Balas of Ann Arbor High School for numerous cooperations in connection with the use of Pattengill Auditorium Miss Elizabeth Green and Mr. Clarence Roth of Ann Arbor High School for use of orchestral equipment and rehearsal space Mr. Robert Shedd for consultation on Japanese manners Mr. Newton C Loken, of the School of Physical Education, for cooperation Mr. Robert Shaw and The Julliard School of Music for assistance in obtaining orchestral scores The Office of the Dean of Women: Dean Mary C. Bromage for considerate cooperation The Office of Student Affairs: Dean Erich A. Walter and Dean Walter B. Rea for their invaluable advice and cooperation; Mrs. Ruth T. Callahan and Mrs. Alice K. Reynolds for continuous cooperation and friendly interest. CHORUS OF SCHOOL-GIRLS Janet Barber Dodie Clark Gloria E. Dubov Mary Lou Ewing Mary Lu Fratcher Florence Freedman June Freitag Zena Friedland Ran Hobart Gloria Katlan Avis McCrillis Ann McKinley Mary McPhail Mary Manley Joy Martin Jane Newsome Betty Robinson Elisabeth Robinson Arlynn Rosen Florence Rosen Iris Schuham Phyllis Schulman Phebe Williams CHORUS OF GENTLEMEN Bill Flemming Arnold Gerali Gary M. Hicks Paul H. Jones Jimmie Lobaugh Lester McCallum Bill Matheson Frank D. Montague Richard Newman Frederick Lee Scheer Jim Scheu L. James Schneider James Ueberborst Dick Watson Three little maids:Ann Shubring (Yum-Yum), Ruth Campbell (Pitti-Sing) and Cohleen Jensen (Peep-Bo). Photo courtesy of Ran Hobart, now in UM Bentley Historical Library, 9 The Mikado - 1947 ORCHESTRA VIOLIN Elizabeth Green, Concertmaster Hugh Altvater Peter Aquilina Dorothea DeTurk Walter Evich Robert Kozan Herman Merte Carl Williams VIOLA Grant Beglarian Dave Ireland VIOLIN-CELLO Thomas Ireland Alice Sano BASS Elaine Yokom Edward Skidmore Harold Daum FLUTE HORN Nathan Jones Charles Yancich Patricia Merritt Merrill Wilson OBOE Clara Kaatz Harriet Falls TRUMPET BASSOON Lucien Dick William Weichlein Ross Marshall Rose Ramsay TROMBONE CLARINET Roger Appleby John Crawford PERCUSSION Scott DeTurk William Kopp ACCOMPANISTS Elizabeth Robinson Ruth Stein Jimmie Lobaugh PRODUCTION STAFF Stage Manager . . . . . . . . . . . . . . . . William Allison Assistant Stage Manager . . . . . . . . . . . . . Donald Steibel Lighting . . . . . . . . . . . . George S. Drechsler, Barbara Hamel Scenery . . . . . . . William Allison, Donald Steibel, Barbara Hamel, Jack Bender, Jane Dieterle, Eva Kellogg, Mary Lee Higgins Costumes . . . . . . Martha Foltz, chairman, Betty Moyers, Aileen Miller, Marguerite Hutchinson, Mildred Ashley, Ruth Whittemore, Keith Fredlund Property Mistress . . . . . . . . . . . . . . Mary Lee Higgins Makeup . . . . Eva Kellogg, Vivian Milan, Jimmie Lobaugh, Elinor Horwitz Publicity Chairman . . . . . . . . . . . . . . . Harold Feldman Posters . . . . . . . . . . . . . Stewart N. Price, Naomi Dvorman Ticket Chairman . . . . . . . . . . . . . . . . Marilyn Bates Program Chairman . . . . . . . . . . . . . . . Donald Steibel Program Cover Design . . . . . . . . . . . . . Benjamin Hazard Head Ushers . . . . . . . . . . . . . . Guy Tribble, Ray Querin THE University of Michigan Gilbert and Sullivan Society originated in the fall of 1946. A group of students were enthusiastic about Gilbert and Sullivan and wanted to participate in production of the operettas and to add to their avail- ability to others. It seemed there was a place on campus for an organization which would be entirely extracurricular and which would thus give students with an urge to sing, act, or work in the theatre generally a chance to satisfy that urge regardless of the school or department in which they were enrolled or the courses they were taking. So this organization came into being. The first year was a hard and discouraging one. Plans, originally grandiose, had to be modified and still more modified. Although no production materialized that year, the members who continued to work together and maintained the continuity of the organization gained experience toward progress for the future and by rehearsing Gilbert and Sullivan gained in conviction of the pleasure of their undertaking. In the fall of 1947, the Society's assets were a strong basic membership; a set of choral scores and plans, made in the preceding spring, for production of The Mikado; and two fine directors, musical and dramatic. Enthusiasm and work both in the Society and without have supplied the rest. We cannot suficiently thank all those people who have helped us make this production a success. Our objective for the future is to put on a Gilbert and Sullivan operetta every semester. In time we hope to get through all their works, the less well-known ones as well as the ones to which everyone comes already humming the tunes. To our audience, we hope that you may enjoy the two hours you spend in our company through this production commensurately to our enjoyment of the many hours we have so happily spent in its preparation, and that your enjoyment will give you tolerance, if need be, as well as pleasant anticipation for productions to come. JAMEs UEBERHORST, President GLORIA KATI.AN, Secretary BENJAMIN HAZARD, Business Manager "'Faculty Advisers MR. and MRs. KENNETH Row MR. and MRS. WAYNE DUNLAP 10 Our Main Attraction 1997 Post Script: A key member of the chorus was Gloria Katlan (later Gloria Bennish). She was the initial spark plug in forming the society. Another significant member was Jim Ueberhorst, who was president and continued to serve as primary leader for several years. His chief side-kick was Benjamin Hazard, who served as business manager and who also designed the front cover. Other prominent names are Gary Hicks (who still comes to all our shows), Jimmie Lobaugh, and Jim Scheu. You may also note the name of Bill Flemming, who went on to become a well known sports commentator. Two members of the orchestra became UM faculty members: Elizabeth Green (School of Music) and Herman Merte (Engineering). Jack Bender, of the set crew, later joined the faculty of the Theater department. Gloria Bennish was fond of telling about how she managed to find the society's first faculty advisors (required by UM rules in those days). It involved many frustrating phone calls to totally unsympathetic professors until she turned to the gargantuan English Department and worked her way down the alphabetical listing. She was pretty well down the list and getting thoroughly discouraged, when she made contact with "Rowe, Kenneth," and he (bless his heart) at once agreed to help. He also enlisted his wife, Helen, and the two of them did magnificent work overcoming all manner of obstacles during the next few years. In those days the faculty advisors' responsibilities included, among other things, monitoring society finances, approving posters, and chaperoning parties, but the Rowes did far more than those picky duties. For the complete details of all this, please see Kenneth Rowe's recollections in the appendix. The archives contain a modest little certificate issued by the UM office of student affairs stating that "the Gilbert & Sullivan Society is a recognized student organization for 1947-48 (1st semester)," signed by Erich A. Walter, and dated October 1, 1947. That would mark the exact time that UMGASS became a legitimate student organization. Those energetic, pioneering students knew the value of publicity. They succeeded in having no fewer than twelve news items published before the first opening, and capped it off with a quarter-page ad in one of the local papers: "Good seats still available at $1.20 including tax." Mail orders were to be sent to the society in care of Dean Rea, Room 2, U Hall. A review in the Daily concluded with, "It was this enthu- siastic spirit which served to minimize incidental defects, and gave fair promise that the ambition and determination of this new and much-needed group will result in perfor- mances even more enjoyable than last night's." Orchestra members who went on to become University of Michigan faculty members include Elizabeth Green and Herman Merte. Jack Bender of the set crew also went on to join the UM faculty. Describing the execution: I to r: Jay Singer (Pooh-Bah), Ruth Campbell (Pitti-Sing), Dick Roussin (Ko-Ko), Lester McCallum (Mikado) and Dorothy Duncan (Katisha). Photo courtesy of Ran Hobart, now in UM Bentley Historical Library. 11 H 00 41. On tre b arivr: ic Rossi ad Droty uncn. ereyo no toKoKopighedAnnShurig (um-u m Photo~~~~~~~~~~~~~~~ corts ofRnHb4,nwi MBnlyHsoia irr.adrheBon(ak-o ) Phot fro UM ently Hitorial Lbrar, B nishcollcti, Bx 8 Our Main Attraction H. M. S. PINAFORE Pattengil Auditorium May 13-15, 1948 Director: Harry R. Allen Conductor: Rex Wilder CAST (IN ORDER OF THEIR APPEARANCE) BILL BOBSTAY, Boatswain's Mate................................................Howard Bevis BOB BECKET, Carpenter's Mate..............................................Jimmie Lobaugh LITTLE BUTTERCUP, A Portsmouth Bumboat Woman..............Joyce Edgar DICK DEADEYE, Able Seaman.....................James Ueberhorst RALPH RACKSTRAW, Able Seaman............................................Archie Brown CAPTAIN CORCORAN, Commander of H.M.S. Pinafore............Dick Roussin JOSEPHINE, The Captain's Daughter....................................Vivien Milan and Mary Ranger, alternates THE RT. HON. SIR JOSEPH PORTER, K.C.B.....................George Boucher First Lord of the Admiralty COUSIN HEBE, Sir Joseph's First Cousin.............Vivien Milan and Mary Ranger, alternates VIOLIN Elizabeth Green, CONCERTMISTRESS Peter Aquilina Michael Avasharian Robert Kozan David Margolin Jeanne Rupert Herbert Tanney VIOLA David Ireland Robert Miller ORCHESTRA CELLO Phyllis Butterfield ALTERNATE Thomas Leland Alice Sano BASS Harold Daum Edward Skidmore FLUTE Hambarson Bogosian Patricia Merritt ACCOMPANISTS Ruth Stein Ruth Oberholtzer Ann Schubring OBOE Harriet Falls CLARINET Albert Johnson BASSOON William Weichlein HORN Carla Kaatz TRUMPET Robert Buddenberg PERCUSSION William Kopp Elizabeth Robinson Alice Sano Anita Denniston Jimmie Lobaugh Ann McKinley CHORUS OF SISTERS, COUSINS, and AUNTS Anne Clark Florence Freedman June Freitag Gene Finlayson Janet Gildersleeve Barbara Grimm Ran Hobart Gloria Katlan Marie McPhail Mary McPhail Deora Nelson Janet Osborn Rosemary Owen Gloria Hile Marie Post Betty Lou Robinson Arlynn Rosen Florence Rosen Iris Schuhan Nancy Smith Phebe Williams PRODUCTION STAFF SCnr M rng Dn- ld Steibela sge anager....,............................................ .......... . .......... CHORUS OF SAILORS Setting..............................................................................................W illiam Allison Lighting............................................................. George Drechsler, Barbara Hamel Stage Crew -Barbara Hamel, Mary Bradford, Doris Gardner, Joyce Irving, Annette Rich, George Drechsler, Eva Kellogg, Martin Suber Costumes................Eva Kellogg, Marilyn Averill Properties...................................................................................... Rhona M orrison Make-up - Betty Beller, Virginia Bauer, Barbara Mutch, Phyllis Schulman, Haidee Prager Publicity, Tickets, Programs-Jim Schneider, Martin Suber, Harold Feldman, Marie Post Ticket Sales........................................................................................ Marilyn Bates Program Cover Design..................................................................Benjamin Hazard Head Usher...............................................................................Elizabeth Robinson Harold Bissel Jim Davies James Doolittle Gary Hicks Earl Langlois Jimmie Lobaugh Lester McCallum Dick Miller Dick Norling Robert Samulowitz Fred Scheffler James Scheu Jim Schneider Herb Smithline Dick Watson 13 H.M.S. Pinafore - 1948 ACKNOWLEDGMENTS The Gilbert and Sullivan Society would like to express its gratitude to the following: Miss Ethel McCormick and Mrs. Benjamin Wheeler for their invaluable cooperation and the Michigan League for their generosity in providing rehearsal space. The School of Music for their cooperation. Miss Gloria Katlan for initiating and leading the Gilbert and Sullivan Society through its inaugural year. Mr. Nicholas Schreiber and Mr. George Batas of Ann Arbor High School for numerous cooperations in connection, with the use of Pattengill Auditorium. Miss Elizabeth Green and Mr. Clarence Roth of Ann Arbor High School for use of orchestral equipment and rehearsal space. The Office of the Dean of Women: Dean Mary C. Bromage for con- siderate cooperation. The Office of Student Affairs: Dean Erich A. Walter and Dean Walter B. Rea for their invaluable advice and cooperation; Mrs. Ruth T. Callahan and Mrs. Alice K. Reynolds for continuous cooperation and friendly interest. 1997 Post Script: Note the fortuitous opening date: May 13: Sullivan's birth- day. Again, the publicity committee managed to have a dozen pre-show news items published, plus this: "Women stu- dents in HMS Pinafore have 11:30 permission May 11, 12 and 13." The show was broadcast live over WPAG with coopera- tion from WUOM. The review in the Daily started out thus: "The comic spir- it was ably caught by the company and securely held by the audience last night, as the Gilbert and Sullivan Society pre- sented their second production: HMS Pinafore." "Top flight singing and excellent characterization over- came the slightly unpolished orchestra work which at first threatened to undermine the effect of an otherwise near perfect performance. However, under director Rex Wilder, the orchestra perceptibly improved after the first few numbers." New members were Joyce Irving and Earl Langlois. Characters in 1948 Pinafore: Dick Roussin (Corcoran) and Joyce Edgar (Buttercup) Photo from UM Bentley Historical Library. 14 Our Main Attraction Quite well; and you, sir?. Jim Ueberhorst as Dick Deadeye. Always ready for a knock-down blow: Archie Brown (Ralph), Howard Bevis (Bill Bobstay) and Jimmie Lobaugh (Bob Becket) readingfrom right to left. Photo from UM Bentley Historical Library. 15 Yeomen of the Guard - 1948 O pi I.- 0 16 Our Main Attraction The Yeomen of the Guard Pattengill Auditorium December 7-9, 1948 Director: Maynard Klein Asst. Musical Director: Thomas Wilson Asst. Dramatics Director: Donald Decker CAST In order of their appearance PHOEBE MERYLL Sergeant Meryll's daughter ..................... Joyce Edgar WILFRED SHADBOLT Head Jailer and Assistant Tormenter . ... James Ueberhorst Second Yeoman ......................................... Jimmie Lobaugh DAME CARRUTHERS Housekeeper to the Tower ............... Dorothy Duncan SERGEANT MERYLL of the Yeomen of the Guard ............. Albert C. Johnson LEONARD MERYLL his son ............................. Richard Norling COLONEL FAIRFAX under sentence of death ............... Rowland McLaughlin SR RIcHARo CHOLMONDELEY Lieutenant of the Tower ........ Roge Appleby JACK POINT a Strolling Jester ................................ Robert Elson ELSIE MAYNARD a Strolling Singer .......................... Cohleen Jensen First Citizen ........................................ John A. Schmitt, Jr. Second Citizen ............................................... N ed M iles First Yeoman ........................................... James Doolittle Headsman ......................................... Earl G. Schwennesen Friar.....................................................Robert Pitts KATE Dame Carruther's niece ................................ Doris Kayes Violin Elizabeth Green concert mistress Dorothy Stealer Barbara MacMillan Herbert Tanney Hrman Merte George Serbinoff Gerald Liefer Ann Kasnper Viola David Ireland Grant Beglarian Cello Jerome Jelinek Daphne Porter Mary Gilbertson Arthur H. Kennett ORCHESTRA Bass Edward Skidmore Donald Price Flute Jeanne Kellar Paul Miller Oboe William Boyer Harriet Falls Clarinet D. R. Roberson Margaret Strand Bassoon John Beck Piano Arthur H. Kennett ACCOMPANISTS Anne McKinley PRODUCTION STAF Sets designed and executed by Felix Reiss Stage Manager-Fred Scheffler Production Chairman-Robert Grimsley Program Cover Design-Benjamin Hazard Rehearsal Assistant-Jimmie Lobaugh French Horn Julia Hamrick Charles Houser Trumpet Charles Gallagher Jean Chard Trombone John B. Tipton Harry C. Weitz Charleen Symmont Tympani Joe Miller Percussion Bill Kopp Mary M. Poole Elizabeth Robinson F Jane VanSise Barbara Crosby Gloria Hile Publicity Jim Schneider (C) Harold J. Feldman John Nehman Rosemary Owen Marie Post Earl Langlois Tickets Marilyn Bates (C) Paul Brentlinger Lydia Creed Barbara Crosby Betry French Ran Hobart Judy Loud Phoebe McBerty Marilyn Reed Beatrice Shapiro Shirley Sullivan Grace Wyman Lillian Bartlett Nancy Bylan Anne Clark Alice Coburn Patricia Dressler Harriet Fenske Gene Finlayson Sylvia Folz Mary Lu Fratcher June Freitag Ran Hobart Virginia Hourigan Frances Hundley Samuel Arny Donald Autore Howard Bevis Harold Bissell Roger Buslee Jim Coleman James Davies Frederick Gehring John Gehring CHORUS OF CITIZENS Joyce Irving Marie Post Betty Jordan Portia Prettie Gloria Katlan Alice Seguare Pat Kelly Beatrice Shapiro Elizabeth Kinkead Anne Siegel Barbara McBribe Nancy Smith Judith McMillin Shirley A. Smith Marie McPhail Ruth Ann South Mary Mayo Nina Spurr Sally Murray Harriett Stober Janet Osborn Phebe Williams Rosemary Owen Patricia Williamson Elaine Parker Maryalys Wiggers CHORUS OF YEOMEN Sid Goldberg David L. Nicol Gary Hicks Fred Scheffler Earl Langlois Jim Scheu Robert Logan John A. Schmitt, Jr. Carl Lorenrson Jim Schneider Robert W. Mayerson Arthur Schwartz Ned Miles Daniel Stepniewski John Naslund Bill Trow John F. Nehman, Jr. Richard Webber Costumes Marilyn Averill (C) Rosalyn Langendorf Ellen Leepman Nina Maughn Make-Up Jimmie Lobaugh (C) Jackie Harris Mary Kellogg Eva Kellogg Necia Musser Jim Ueberhorst Ushers Harold J. Feldman (C) Marian Cheney Lydia Creed Jane Hardin Jane VanSise Doris Gardner Irene Rogers Randolph V. Guerin Set Construction Betty Jo Baribeau (C) Frances Pyle Phebe Williams William A. Morgan Irene Rogers Arthur Simms Painting Eva Kellogg (C) Doris Gardner Lydia Creed Mary Kellogg Barbara Crosby Grace Wyman Beverly Bradford Lighting George Drechsler (C) Gene Conover Carlisle Marshall Clarke H. Stevenson Properties Grace Wyman (C) Lydia Creed Marian Cheney 17 The Yeomen of the Guard - 1948 ACKNOWLEDGEMENTS The Gilbert and Sullivan Society wishes to express its gratitude to the following: Mr. Schreiber, Mr. Baias, Mr. Duckwall and the staff of Ann Arbor High School who have enabled us to produce Yeomen of the Guard in Pattengill Auditorium. The Office of Student Affairs-Dean Erich A. Walter and Associate Dean Walter B. Ret for their considerate understanding and treatment of the problems which arose during this semester's production. The Office of the Dean of Women for their equally kind consideration. Co. K, 125 Inf. for the use of the Armory where our sets were constructed. The University Musical Society for generously permitting Choral Union Members to attend our rehearsals. The School of Music for its cooperation. And all those whose past efforts have furthered the aim of the Gilbert and Sullivan Society. 1997 Post Script: The striking thing about this production was the size of the chorus, which featured no fewer than 66 lusty yeomen and citizens. You may well imagine the sheer volume of work involved in providing them with costumes. On the other hand, think of how many of them must have helped make those costumes, how many tickets they could sell to their friends, how many might volunteer to work in the box office, distribute posters, or write puff pieces for newspa- pers. Then, too, eventually there would be many eager hands to take over the various elective offices to manage the next show. The director (apparently of both dramatics and music), Maynard Klein, was a professor of voice in the School of Music. He later served for several years as one of the facul- ty advisors. The officers were as follows: Jim Scheu, President Ran Hobart, Vice-president Anne Clark, Secretary Marilyn Bates, Treasurer Fred Scheffler, Business Manager L. James Schneider, Publicity Manager Dorothy Duncan, Librarian One may infer from the Acknowledgements that the Society had to jump over many hurdles to stage the show. Note, for example, that the set builders had to use the local Army Reserves armory for their work. And those thanks extended to the several deans imply a goodly number of administrative knots untied. It's the song of a merrymaid, nestling near: Robert Elson (Jack Point), Cobleen Jensen (Elsie Maynard), and Rowland McLaughlin (Col. Fairfax). Photo from UM Bentley Historical Library. Regarding the size of the chorus: As Gary Hicks explains in the appendix, this came about because until then the society had always needed as many performers as could be rounded up. They were in the habit of casting everyone who showed up and were caught unawares at this point. Another UMGASS tradition was set when seven of the ten publicity articles spelled it Yeoman instead of Yeomen. One is led to suspect that the error originated within the publicity crew. Large, illustrated ads quoted ticket prices at 90 cents and $1.20. The archives include a photograph of two fellows in yeomen's uniforms walking along the diag. Clearly the troupe knew how to drum up interest. Naomi Stern's review in the Daily concluded as follows: "An excellent chorus and a fine orchestra. directed by Maynard Klein, rounded the operetta into a near-profes- sional production. It was, altogether, a real triumph for the hard-working members of the Gilbert and Sullivan Society." This was apparently the sainted Gloria's last show. 18 Our Main Attraction 0 ~C 419 Patience - 1949 I4 a A languid love for lilies: Jim Ueberhorst as Bunthorne. Photo from UM Bentley Historical Library, Bennish collection, Box 8. 20 Our Main Attraction PATIENCE Pattengill Auditorium May 12-14, 1949 Director: Donald Decker Musical Director: Thomas Wilson Assist. Musical Director: Don Razey CAST (in order of their appearance) THer LADY ANGELA, a Rapturous Maiden .......................- Anne Siegel THE LADY SAPHIR, a Rapturous Maiden ..................... Mary Alice Reed Tee LADY ELLA, a Rapturous Maiden ........................... Marie Roth THE LADY JANE, a Rapturous Maiden ................... Harriet S. D. Norton PATIENCE, a Dairymaid ..................................... Carol Neilson COLONEL CALVERLEY, Officer of the Dragoon Guards .......... Jack M. Wilcox MAJOR MURGATROYD, Officer of the Dragoon Guards .......... Jimmie Lobaugh LIEUTENANT, THE DUKE OF DUNSTABLE, Officer of the Dragoon Guards ...... Howard Wuerth REGINALD BUNTHORNE, a Fleshly Poet ..................... James Ueberhorst ARCHIBALD GROSVENOR, an Idyllic Poet ................... Albert C. Johnson Violins Elizabeth Green concert mistress Ann Karoper Sanford Shanblatt Dorothy Shaler Herbert Tanney Phyllis Testal Joe Zinnes Violas David Ireland Wallace Bjorke Cellos Alice Sano Mary Brice Phyllis Butterfield Basses Harry Hansen Paul Cramer ORCHESTRA Flutes Paul Leighton Paul Miller Oboe Grover Schiltz Clarinet Durward Roberson Margaret Strand Bassoon John Beck French Horn Julia Hamrick Charles Houser William Penn ACCOMPANISTS Cohleen Jensen Trumpet James Burns George Enloe Trombone William Janton Ted Post Tympani Joe Miller Percussion Bill Kopp Piano Mary Gilbertson Arthur H. Kennett CHORUS OF RAPTUROUS MAIDENS Mary Gilbertson Marjorie Berry Shirley Bronson Nancy Bylan Anne Clark Loraine Davies Joyce Denison Mary R. Dodge Harry Berry Howard Bevis Roger Buslee Bill L. Fineman Keith Frey Raymond Kauppila Gene Finlayson Barbara Hart Ran Hobart Jane Ingersoll Joyce Irving Betty Jordan Marie McPhail Janet Osborn Eleanor Penfield Helen Schimkat Nina Spurr Ina Sussman Phebe Williams Betty Winterle Sets designed and executed by Felix Reiss assisted by Marie Post Dance Director-Jimmie Lobaugh CHORUS OF DRAGOON GUARDS Earl Langlois David Murray Perry Norton, Jr. Jack Raymond Fred Scheffier James Schneider Herbert Schroeder Arthur H. Schwartz William Trow Richard Webber Frank Whitehouse Costumes Betty Borgen (C) Marilyn Averill Lighting Marie Post (C) George Dreschler Properties Grace Wyman (C) Jane Van Sise Erna Fritz Peggy Wood Jose Engels Joyce Hale Marian Beam Betty French Painting Marie Post (C) Mary Kellogg Marilyn Bates Mary Altamere Elaine Benjamin Edna Foster Necia Musser Sally Sell Irene Rogers Joyce Edgar Make-Up Jimmie Lobaugh Cherry Richards Mickey Davis Jim Scheu Barbara McBride Construction Felix Reiss (C) John Fries George Dreschler Dale Stevenson Bill Morgan Donald Davis Elliot Organick Bill Burkett Head Usher Harold Feldman Publicity Paul Brentlinger (C) Rosemary Owen (C) William Coates John Nehman 21 Patience - 1949 1997 Post Script: The previous show had featured Maynard Klein direct- ing both dramatics and music, but now he and his wife joined advisory forces with the Rowes and Dunlaps while Maynard's two former assistants took up the directorial reins. Among the eleven pre-show news stories is one (with photograph) describing how Jim Ueberhorst, as Bunthorne, led a parade of rapturous maidens along the diagonal and then recited "Heart Foam." A photograph in the archives shows a dozen dragoons and a dozen maidens grouped in front of the central library listening to the recitation. Another news story advertises the need for a stage-struck dog, which led to yet another news story to the effect that 17 owners had volunteered their dogs. The directors didn't want to hurt any dogs' feelings, so they decided to eliminate the part. We believe the whole deal was cooked up by Jim Ueberhorst with the intent of turning the dog (or dogs) loose on the stage so they could do what comes naturally to the trees that filled the set. It was also reported that a giant green and yellow lily had mysteriously appeared near the center of the campus. Naomi Stern's review in the Daily started out as follows: "The Gilbert and Sullivan Society's venture into the realm of pure, unadulterated aestheticism was a pure, unadulterated success. Cast - singing, dancing and act- ing, costumes and settings made the always popular 'Patience' easily one of the top musical productions pre- sented on campus this year." Newcomers were Betty Borgen, David Murray. The officers were as follows: L. James Schneider: President Ran Hobart: Vice-president Phebe Williams: Secretary Phoebe McBerty: Treasurer Fred Scheffler: Business Manager Paul Bentlinger: Publicity Manager Rosemary Owen: Publicity Manager Grace Wyman: Librarian Jimmie Lobaugh's notes in the appendix tells of his ter- rible trial as the major when his velvet knee britches split up the crotch; but, read it for yourself. Principals in 1949 Patience: In front: Albert Johnson (Archibald Grosvenor), Harriet Norton (Lady Jane) and Jim Ueberhorst (Reginald Bunthorne). Photo from UMGASS archives, now in Bentley Historical Library. 22 Our Main Attraction THE PIRATES OF PENZANCE Pattengill Auditorium November 30, December 1-2, 1949 Director: Donald Decker Chorus master: Gilbert Vickers Rackham Auditorium - Detroit, Michigan December 3, 1949 Conductor: William Boyer Choreographer: Jimmie Lobaugh CAST In order of their appearance SAMUEL - Lieutenant to the Pirate King.....-...... ...Bob Elson THE PIRATE KING...................................---.......... -........................ D on H ostetler FREDERIC - The Pirate Apprentice................. _.......................Reid Shelton RUTH - Pirate Maid of All Work............................................Shirley Perloff EDITH Fran Hanslovsky KATE Major-General Stanley's Wards................ Vivien Milan MABEL Carol Neilson MAJOR-GENERAL STANLEY._...............-..._........-........................Bertram Gable SERGEANT OF POLICE.........-..............-.... .........--........_Clarence Stephenson VIOLINS Peter Aquilina Alice Crandell Vern Erkkila David Klein Phyllis Rutter Hazel Shirley Pat Welden VIOLAS Celeste Pryor Ramona Wings VIOLINCELLOS Diane Heger Daphne Irelan ORCHESTRA STRING BASS TRUMPE Charles Pryor Melb Beve FLUTE Nancy Weitknecht HORNS OBOE Lela Ted Heger Don CLARINETS TROMBiCAIESTOBset Richard Etlinger Jerstedt Robert Kinder BASSOON PERCUS d William Stonebraker Barb REHEARSAL ACCOMPANISTS Colette Jablonski Bruce McIntyre TS a Bram rly Short nd Bartholomew ald Button ONE yVanSyoc SION ara McGoey Joyce Baker Betty Borgen Denise Buffngtc Nancy Bylan Catherine Clark Mary Curtis Margaret Elling Gene Finlayson Helen Fisher Florence Freedn Elizabeth Gates Sally Hansen CHORUS OF GENERAL STANLEY'S WARDS Jane Ingersoll Helene Reynolds Joyce Irving Helen Schimkat n Lillian Johnson Alice Seguare Phyllis Kearl Nina Spurr Marilyn Kollenberg Mary Stephenson Judith McMillin Carol Tiemeyer wood Helene McPhail Marjorie Trysell Norma Manley Vera Uetrecht Mary Matheson Phebe Williams man Nan Netherton Betty Winterle Ruth Nordlinger Joan Young Rosemary Owen Bluma Mae Zilber Mary Jo Pfotenhauer PRODUC Stage Manager - Program Cover D PUBLICITY Richard Webber - Chairman Paul Brentlinger Nan Bylan Ray Decker Al Murphy Jim Scheu MAKE-UP Jimmie Lobaugh - Chairman Elaine Bauer Betty Beller Phyllis Fredenthal Phyllis Kearl Cherry Richards COSTUMES Betty Bargen - Chairman Phyllis Fredenthal Rosemary Owen PROPERTIES Joyce Hale - Chairman Marian Beam Lora Franklin Barbara Johnson TION STAFF - Dale Stevenson esign - Benjamin Hazard STAGE CREW Dale Stevenson-Stage Manager Elaine Bauer David Edwards Al Eglash Mary Fell Joyce Hale JimMcCannelee Lewis Palmer Marie Post - Special Effects USHERS Ina Sussman - Chairman Marian Beam Jose Engel Keith Frey Sally Hansen Barbara Johnson Mary Matheson Ross Netherton Helen Schimkat LIGHTING Marie Post - Chairman David Edwards Lewis Palmer Jim McConnelee CHORUS OF PIRATES AND POLICEMEN Martin Biesc Joseph Bookstein Stephen Bush Elliott Cooper 'Henry Eisner James Ensign 'Dwight Heim 'Gary Hicks Bob Haddock 'Newton Huntley Jerard Jacobson *Dave Jahsman Robert Johnstone William Jones 'Earl Langlois 'Jimmie Lobaugh 'David Murray Robert Newman Jack Ornee John Perry Jack Raymond Robert Robinson 'Fred Scheffier Arthur Schwartz 'Bruce Spencer David Summers 'Erik Thomassen 'William Trow 'James Ueberhorst Richard Webber Policemen 23 The Pirates of Penzance - 1949 1997 Post Script: What is most significant here is that Clarence (Dude) Stephenson's name appears in the cast for the first time, although there may be reason to think this was really not his first UMGASS show. Dude became a prominent fix- ture in the society, directed several shows, and continues even today as the chief swizzle stick of the famous Interlochen G&S productions. The program notes fail to mention Dude's qualifications, but some years later the notes mention that he had taught speech and dramatics in a high school. This leads us to infer that he was in grad school throughout his UMGASS career. The program mentions that Jerry Bilik "composes for the Marching and Symphony Bands." In case you don't know it, Jerry's Michigan Fanfare is still used at the start of every game in the Stadium. One scene we recall was when Don Hostetler (Pirate King) and Shirley Perloff (Ruth) rolled on the floor, howling with laughter after telling Reid Shelton (Frederic) about the paradox. The chorus numbered 67 wards, pirates, and policemen, an UMGASS record that has never been equaled. By now we had developed such a reputation that our ser- vices were called for in Detroit's Rackham Auditorium, and that became a regular feature for many years. See Gary Hicks's notes in the appendix. Early press releases called for choruses of 25 men and a like number of women. It was announced that while the Daphnephoric Bound had been introduced in the previous show, this one would fea- ture the Penzance Prance. The article went on to state that choreographer Jimmie Lobaugh was engaged in extensive research leading to absolute authenticity in his work. One of the nine pre-show news stories relates that posters all over campus advised that Pirates was to begin at 8:00 AM. Moreover, the posters failed to mention the venue or ticket prices. The UMGASS spin controllers managed to get a nice bit of free publicity out of those goofs (which they naturally blamed on the printers). Another news story related that UMGASS was giving away free book marks advertising the show. The printing came in different colors to suit one's fancy. Raucous red and wistful white were cited as examples. John Davies' review in the Daily stated that "The singing and acting reached a uniformly high level." And in closing: "But more important than anything else about the produc- tion, the cast obviously enjoys inhabiting the Savoyard world - and this exuberance very rapidly infects the audi- ence." A reviewer in the Detroit News was equally enthused. Principals in 1949 Pirates: Dude Stephenson (as Sergeant of Police) makes his first UMGASS appearance (far right). Photo from UMGASS archives, now in Bentley Historical Library. 24 Our Main Attraction JOLANTHE Pattengill Auditorium Rackham May 12-14, 1950 Dramatics director: Donald Decker Asst. Dramatics director: James Uberhorst Auditorium - Detroit, Michigan May 20, 1950 Musical director: William Boyer Asst. Musical director: Bertram Gable Choreographer: Vivien Milan CAST In order of their appearance CELIA Sheila Siler LEILA --. _....-------------_...------Fairies-----------Betty Della-Moretta FLETA Barbara L. Johnson QUEEN OF THE FAnuIES --------------- ---------- Gloria Gonan IOLANTHE-A Fairy, Strephon's Mother-___.-.-_ _ .Joan Zapf STREPHON-An Arcadian Shepherd....--___.--- Jacque Norman PHYLLIS-An Arcadian Shepherdess and Ward in Chancery Vivien Milan LORD TOLLOLLER... ..---------------------------------- _Reid Shelton THE LORD CHANCELLOR-..-------------- ------- _James Ueberhorst LORD MOUNTARARAT_---------- .----------- ..----- Kelley Newton PRIVATE WILLIS-Of the Grenadier Guards--.........David Murray, Jr. VIOLINS Miriam O'May David Klein Peter Aquilina Phyllis Rutter Don Morris Barbara Watson VIOLAS Theodore Powell Wallace Bjorke VIOLONCELLOS David Baumgarter Daphne Ireland ORCHESTRA BASS Jim Madcie FLUTE Nancy Weitknecht OBOE Grover Schiltz CLARINET Harvey Van Dyke Robert Kinder BASSOON John Beck Samuel Szor HORN Julia Hamrick Paul Kirk TRUMPET Fred Utley Becky Short TROMBONETheodore Post PERCUSSION Barbara McGoey Paul Miller Rehearsal Accompanist-BETTY ELuS Julaine Ames Betty Borgen Denise Buffington Nancy Bylan Catherine Clark Janet Currie Joyce Denison Harvey Bjornlie Clarence Broomfield Charles Dafoe Henry Elsner, Jr. James Ensign Keith Frey Milton Green CHORUS OF FAIRIES Gene Finlayson Caroline Nix Florence Freedman Alice Seguare Elisabeth Gates Nina Spurr Ruth Griggs Elva Vogt Barbara Hart Jane Williams Joyce Irving Phebe Williams Barbara L. Johnson Siri von Reis Marilyn Kollenberg CHORUS OF PEERS Robert Haddock Herbert Peck Gary Hicks Robert Robinson Earl Langlois Frederick Scheffler George Larounis David Summers Samuel Luborsky Erik Thomassen Conrad Mason Richard Webber Robert Moon Robert Zwickey Aaron Meislin STAGE CREW Jim McConne Joyce Hale- Helen Camie Steve Anders Lewis Palmer Louise Duus LIGHTING Dave Edward Jim Snow Frank Vogen PROPERTIES Barbara John Lora Franklin Marian Beam Alice Gill Cleo Taylor Ruth Hart Jane Clabeusc MAKE-UP Jimmie Loba Betty Winter Marie McPha Gene Finlays Joanna Stratt Phyl Kearl PRODUCTION STAFF Production Manager-DALE STEVENSON Program Cover Design-BENJAMsN HAZARD Set Designer-DNALD LINDEN COSTUMES lee-Stage Carpenter Joan Precht-Chairman Set Manager Irene Gonckowski lie Jane Bitto on USHERS Russell Gregory-Chairman Raymond Decer David Hubbell s-Chief Electrician Richard Pereles David Rasche itz Robert Schelleng Ina Sussman Curtis Verschoor son-Chairman Fred Vratny Jim Yobst PUBucTY William Grady-General Chairman Gary Hicks-Detroit Chairman Cho Robert Atamian Paul Brentlinger Dot Kline ugh-Chairman Al Murphy le Rosemary Owen il Marie Post on Frederick Schefmer on Ron Seavoy Dave Smith 1997 Post Script: Bob Brandzel, who had played the Lord Chancellor in the previous show, was now advanced to music director. He and Dude Stephenson continued as a team for the next several shows. Bob was presumably in grad school and had gained experience directing at Interlochen. Kelley Newton and Conrad Mason were two new per- formers who are still alive and well in these parts. Steve Anderson was another important newcomer. 25 The Gondoliers - 1950 a S0 26 Our Main Attraction GONDOLIERS Pattengill Auditorium Fall 1950 Dramatics director: James Ueberhorst Musical director: William Boyer Choreographer: Jimmie Lobaugh CAST in order of appearance FIAMETTA . . . . . . . . . . FRANCESCO . . . . . . . . . . GIULIA . . . . . . . . . . . ANTONIO . . . . . . . . . . . GIORGIO . . . . . . . . . . . VITTORIA . . . . . . . . . . . MARCO...... .. . . . GIUSEPPE . . . . . . . . . . . TESSA . . . . . . . . . . . GIANETTA . . . . . . . . . . . DUKE OF PLAZA-TORO . . . . . . DUCHESS . . . . . . . . . . . CASILDA . . . . . . . . . . . LUIZ . . . . . . . . . . . . DON ALHAMBRA BOLERO . . . . . INEZ. ...... . . . .... ANNIBALE . . . . . . . . . . CHORUS CONTAD INE BETTY AINSLIE CHARLOTTE ARKIN BETTY BORGEN MARY LOU BRENT DENISE BUFFINGTON NANCY BYLAN JEANNE CARIS DOROTHY CARSTENS BARB COOK JOAN COUTTS RUTH DIXON * BARB FINE GONDOLI E R S . . . Barbara Johnson . . . Robert Haddock Marilyn Floridas Russel Christopher George Larounis . Miriam Broderick Clarence Stephenson James Fudge Vivian Milan . . . . Rose Marie Jun .. Jim Ensign Gloria Gonan . . . Patricia Ternes . . . Richard Webber David Murray . . . . Lois Abrams Robert Johnstone Violins DON MORRIS DAVID KLEIN JIM BOUDOURIS MRS. MAYNARD PHYLLIS RUTTER DIANA STEVENS GENEVIEVE SHAN Violas LILIAS WAGNER DAVID IRELAND Violoncellos BRUCE KLINGBEI ALICE SANO ANNE STEVENSO Bass BEVERLY SPERA Flute NANCY WEITKNI PAT MANN Oboe GROVER SCHILT ORCHESTRA Clarinet ROBERT KINDER JOHN HUGHES ROBERT HARRIS KLEIN Bassoon JOHN BECK ON Horn 4KLIN MARY ORR LELAND BARTHOLOMEW Trumpet BECKY SHORT ALLEN KiGER L Trombone THEODORE POST N Percussion BARBARA McGOEY PAUL MILLER Accompanists ECHT HELEN KARG CORNELIA PAINTER Z PRODUCTION STAFF SHIRLEY FORSYTH SUE HUBBARD * JOYCE IRVING * JUNE KERNS ISABEL KING MARY LAFTER ELIZABETH MILLER ALICE MOLINA MARY PARSONS DORCAS STRONG * JUNE VOLLRATH CAROL WILKEY Executive Council GARY HICKS, President BETTY BORGEN, Vice-pres. DENISE BUFFINGTON, Sec'y NANCY BYLAN, Treasurer JOYCE IRVING, Librarian JIM ENSIGN, Business Mgr. LEWIS PALMER, Production Mgr. DAVID MURRAY, Publicity Faculty Advisers PROF. & MRS. H. Z. NORTON PROF. & MRS. MAYNARD KLEIN Stage Crew JIM McCONNELEE, Manager JACK SCHWANKE, Stage Design of Buffalo JIM ENSIGN, Stage Design BENJ. HAZARD, Cover Design STEVE ANDERSON ILONA CIPPOLA RICHARD KINNAIRD SHIRLEY LAPINSKY PATT MANN MARCIA RABINOWITZ GEORGE WALLACE KARL WALLICK WILLIAM WIEDRICH Lighting LEWIS PALMER DAVID EDWARDS Properties BARBARA JOHNSON, Choirrnon ALFRED FUNDORA ELIZABETH GATES JOAN KARNER SHIRLEY PIQUET LOIS SMITH CAROL WILKEY Costumes SALLY SMITH, Wardrobe Mistres BARBARA BELL MATILDE SAGHIR JOANtIA CTRATTON CLAIRE ROSENKOFF Make-up JIMMIE LOBAUGH VIVIAN MILAN BETTY WINTERLE JO SPENCER Ushers JIM PECK, Head Usher STEVE ANDERSON CALVIN ARNOLD HARVEY BJORNLIE CLARENCE BROOMFIELD JAMES CRAVEN PHIL EMBURY MacLELLAN EMSHWILLER LLOYD EVANS BEN FREIDMAN KEITH FREY GARY HICKS* DAVE JAHSMAN *Members of dancing chorus. SAM LUBORSKY * EARL LANGLOIS * GEORGE LAROUNIS CONRAD MASON CHET MILLER BOB MOON BILL REID FRED SCHEFFLER DAVE SUMMERS ERIK THOMASSEN GEORGE ZA ZANIS 1997 Post Script: We vividly remember the cachucha. The women wore long, brightly colored sashes about their waists. Near the end of the dance each man held one end of his partner's sash while she spun around and left the sash for him to wave about. It was, indeed a lovely spectacle. A key recruit: George Wallace (not that controversial governor). 27 00 00 0 0 0 0o 0 Gloria Gonan (Duchess) and Jim Ensign (Duke of Plaza Tory). Scene from 1951 Mikado: Dude Stephenson (Nanki-Poo , Photo from UMIGASS archives, now in UM Bentley Historical Library Mary, Jo Jones (Yum-Yum) and fames Fudge (Ko-Ko) . Photo Crom UMGASS archives, now in Bentley Historical Library . Our Main Attraction THE MIKADO High School Auditorium Hillsdale May 11, 1951 WITH COX AND BOX Rackham Auditorium Pattengill Auditorium Detroit Ann Arbor May 12, 1951 May 17-19, 1951 Director: James Ueberhorst Assistant director: Clarence Stephenson THE MIKADO THE CAST (IN ORDER OF THEIR APPEARANCE) NAN KI - PO O ...................................................................... Clarence Stephenson PISH - TUSH....................................................................................Donald Stout POOH - BAH....................................................................................David Murray K O - K O ............................................................................................. Jam es Fudge YU M - Y U M ................................................................................... M ary Jo Jones PEEP - BO ....................................................................... Barbara Louise Johnson PIT T I - SIN G .................................................................................. Vivien M ilan KAT ISH A ....................................................................................... Frances M orse THE MIKADO OF JAPAN............................................................David Tolan LITTER and THRONE BEARERS...............George Musselman, William Flynn, Jerome Kent, Sam Hazan, Jay Heyman, Kenneth Kirkwood, Erik Thomassen, Sherwin Batlis, Don- ald Kahn, Sam Luborsky. STANDARD BEARERS ........................................................ Sherman Kopelson, Ron Chart, Robert Stakenas, Richard Pereles FAN GIRLS.........................................................M ary Lafter, M arcy Blumberg CHORUS OF SCHOOL GIRLS Betty Borgen Mary Lafter Denise Buffington Esther McGlothlin Nancy Bylan Courtney Sherbrooke Dorothy Carstens Nancy Stevens Barbara Cook Lois Wasserman Joyce Irving Portia Weinsoff Marjorie Kingland Betty Winterle Jean Kruetzman CHORUS OF JAPANESE NOBLES Clarence Broomfield Samuel Luborsky Jim Chapekis Conrad Mason Edwin Conyer Robert Moon Charles Dafoe William Reid Lloyd Evans Frederick Scheffler Keith Frey David Summers Gary Hicks William Trow Earl Langlois Conductor: William Boyer Assistant conductor: Will Perry COX AND BOX THE CAST (IN ORDER OF APPEARANCE) C O X ................................................................................................. F rank Porretta BOUNCER................................................................................ Jimmie Louhaugh BO X ................................................................................... ..... Jim Ensign (Accompanist..........................Cornelia Painter) (IN ORDER TO INSURE THE NECESSARY FLEXIBILITY FOR THIS PRODUCTION, PIANO ACCOMPANIMENT HAS BEEN INCORPORATED) Viola Lilias Wagner Violin Jim Bourdouris Diana Stevenson Mrs. Maynard K Marjorie Vaugha Cello Bruce Klingbiel Anne Stevenson Bass Beverly Spera Flute Margery MacLai Pat Mann Oboe Ann Shelley Kathy Hutchins Majorie Kinglan ORCHESTRA WILLIAM BoYEsR, ConductorJIM BouRoous, Concertmaster Clarinet Bob Kinder Jim Hause John Hughes Bob Harris lein Bassoon n Gerald O'Conner Jack Beck French Horn Leland Bartholomew Mary Orr Bartholomew Trumpet Fred Utley in Alan Kigler Trombone Joe Moore Ted Workman d Accompanists David LeClair Justine Votypka PRODUCTION STAFF Assistant to the Director...................................................................Joyce Irving Stage Manager and Lighting..................................................... George Wallace Set Designer........... ......................... Shelton Murphy Stage Crew... ................................................................................. Elvera Bamber, Joan Karner, Barbara Herrider, Joan Wedge, Paula Rizo, Carol Klapprodt, George Musselman, Max Brown. Costumes...................................................................... Marion Beam, chairman, Carolyn Little, Marya Wester Properties................................................................... Elizabeth Gates, chairman, Barbara A. Johnson, Janina Frankas, Shirley Piguet, Jose Engle, Joy Xenis. Make-up...............................---........................... Betty Jane Winterle, chairman, Shirley Lapinski, Marya Wester, Carolyn Little, Joanne Spencer Publicity and Program Chairman....................................................Jay Heyman Publicity Staff..................... ..... John Sargent, Gary Hicks, Fred Scheffler, George Levy Ticket Chairman........................................................................Denise Buffington H ead U sher.......................................................................................Ron Stinson 29 The Mikado - 1951 1997 Post Script: This was a show of firsts. For the first time we found ourselves repeating an opera that we had already staged, and for the first time we appended a curtain raiser, Cox and Box, which featured Frank Poretta, who went on to become a fixture at the New York City Opera Company. And this show planted the seeds of the Fred Rico tradi- tion. For details of that historic event see Dude Stephenson's notes in the appendix, which also tells the legend of the inebriated Bouncer. New faces: Max Brown, Lois Wasserman and Joan Wedge. After being in the chorus of the society's first eight shows, this was to be Gary Hicks's last. Whereas the previous show had featured the cachucha ("a cross between a burlesque bump routine and an old fashioned square dance"), this one would feature the Titipu Toddle - or so the news stories would have you believe. A second news story described the campus parade of the Mikado and his court. A third press release advertises a special Mothers' day matinee for Sunday at 3:00 PM. This was probably the first UMGASS matinee. The Daily review by Paul Brentlinger started, "From the time a giggling coed chorus went on stage with its 'Titipu Toddle' dance step, last night's performance of 'The Mikado' became more than a good musical comedy - it became an exuberantly successful one." This was apparently the last UMGASS production that opened on Thursday evening and closed after Saturday matinee and evening shows. For the next few decades the standard schedule called for a Wednesday opening, but otherwise ran the same as before. The archives include a proposed constitution and set of by-laws that is undated but apparently was proposed in 1951. It was probably adopted, but one can't be sure. In any event, one of the by-laws reads as follows: "Chorus and principal members of the society will purchase suffi- cient tickets to cover cost of costumes on a pro-rata basis." Earl Langlois also said his farewells. The Executive Cabinet shows our first female president: Betty Borgen: President Joyce Irving: Vice-president Nancy Boylan: Secretary Denise Buffington: Treasurer William Reid: Librarian Erik Thomassen: Business Manager Steve Anderson: Production Manager Jay Heyman: Publicity Manager We are gentlemen ofjapan (1951 Mikado). Photo from UMGASS archives, now in Bentley Historical Library. 30 Our Main Attraction But youth, of course, must have its fling: David Murray as Pooh-Bah and women's cho- rus from 1951 Mikado. Photo from UMGASS archives, now in Bentley Historical Library. I beg your pardon. Will you present me? Photo from UMGASS archives, now in UM Bentley Historical Library. 31 Ruddigore - 1951 Speak up to her, Dick: Lois Wasserman (Rose Maybud) and Frank Poretta (Dick Dauntless) in 1951 Ruddigore. Photo from UMGASS archives, now in UM Bentley Historical Library. This particularly rapid, unintelligible patter: David Tolan (Sir Despard), Carole Anderson (Mad Margaret) and David Murray (Sir Ruthven) in 1951 Ruddigore. Photo from UMGASS archives, now in UM Bentley Historical Library. 32 Our Main Attraction RUDDIGORE Lydia Mendelssohn Theatre November 14-17, 1951 Director James Ueberhorst Musical director: David Klein CASTIN ORDER OF APPEARANCE ZORAH .-- ......................... __......._.._.----------- .Frances Hanslovsky RUTH _-..----- ---------------------------.. ------ _Nancy Bird DAME HANNAH------- -.. ...-------------------Mary Jo Pfotenhauer ROSE MAYBUD-.--...---.........-_..--.-Lois Wasserman SIR RUTHVEN MURGATROYD (Disguised as Robin Oakapple) ----------------....... -- -- David Murray OLD ADAM GoOD HEART---.....--......---------------Russell Christopher RICHARD DAUNTLESS --------------------------- Frank Porretta MAD MARGARET-.....--..-..--- --........... -....._..__Carole Anderson SIR DESPARD MURGATROYD----.-- _.-___.--.--David Tolan SIR RODERICK MURGATROYD...-..._..._.....-..-.James Ueberhorst Rackham Auditorium November 23, 1951 Dramatic director: Clarence Stephenson Asst. to the director: Joyce Irving Orchestra DAVID KLEIN. Conductor VIOLINS Jean Waler Patricia Phillips Carl Burklund Roland Jones VIOIA Andrew White 'CELLO Camilla Heller Charles Turner STRING BASS Beverly Spera FLUTE Darlene Rhodus Sally Rentschler OBOE Barbara Perelman CLARINET Edward Banghart Nancy Syrnmons BASSOON Gerald Corey FRENCH HORN Neilsen Dalley David Dow TRUMPET Judy Haswell TROMBONE David Eiteman PERCUSSION Jerry Bilik ACCOMPANISTS Jerry Bilik Lily Fox Heleen Karg Justine Votypka Lois Gauger Catherine Hutchins Jean McFarland FISHERMEN Jerry Kent William Sickrey Fred Schaefier FISHERWOMEN Phyllis Bailey Barbara Greenblatt Ilean Gudelsky Wanda Michaels Suzanne Zeek BRIDESMAIDS Nanette Allen Loins Becker Betty Borgen Allegra Branson Brenda Brush Barbara Cook Lois Gauger Joyce Irving Jean Kreutzman Elise Kuhl Mary Lafter Despina Logan Dorinne Reifler Elise Simon Dorcas Stephenson Mary Stephenson Ralian Tjotis GHOSTS OF THE MURGATROYDS James Fudge John Geralt Robert Haddock George Larounis William Reid Clarence Stephenson Sidney Straight Sherman Van Solkema BUCKs AND BLADES Stephen Anderson Clarence Broomfield Harry Easom Charles Emery John Geralt Bruce Graden Herbert Jennings Sam Luborsky Conrad Mason Robert Moon Spencer Parsons John Perry William Posner William Reid Tudor Richards John Roach Tom Strauss Sherman Van Solkema PRODUCTION STAFF EXECUTIVE COUNCIL WILLIAM REID_.--..-....------ ---...... __President SAMUEL LUBORSKY - --------- Vice-President MARY LAFTER - - ......-.--- Secretary DENISE BUFFINGTONe------ -- Treasurer STEPHEN ANDERSON Business Manager ARBaa COOK _.----------Librarian GEORGE MUSSELMAN----------------- Production Manager ROBERT HADDOCK .- _.... - .-- ___Publicity POSTER DESIGN AND PORTRAITS Joan Wedge SET DESIGN AND PAINTING James Ensign LIGHTING George Wallace STAGE MANAGER Ken Ross CREW Dulcie Batson Carolyn Krigbaum Isabel Simms Max Brown Don Wilcox John Harris Lewis Palmer Edward Banghart MAKEUP Shirley Lapinski, Chairman Mary Levi Patrica Ketchum Beverly Arment Rita Levin PROPERTIES Marian Beam, Chairman Shirley Piquet Carol Miles Margaret Ortwig Margee Brewer COSTUME MISTRESS Betty Borgen 1997 Post Script: David Dow's name appears in the orchestra for the first time. He went on to play lead roles, and is still active in G&S affairs in Texas. Another first-timer was accompa- nist and percussionist Jerry Bilik, whose name will appear many times hereafter. Then-president Bill Reid lives in Ann Arbor and still comes to our shows. New recruits: John Geralt, Edward Banghart and Barbara Marcus. A new and enthusiastic faculty advisor was Sidney Straight. He continued in that position for a 35 years, and on seven occasions took a role on stage. Sid worked with the UM admissions office. 33 Ruddigore - 1951 The happy cast: 1951 Ruddigore. Photo from UMGASS archives, now in UM Bentley Historical Library. 34 Our Main Attraction PRINCESS IDA Lydia Mendelssohn Theatre April 16-19, 1952 Director: James Ueberhorst Musical director: David Klein Rackham Auditorium April 26, 1952 Dramatic director: Clarence Stephenson Asst. to the director: Joyce Irving CAST In Order of Appearance KING HILDEBRAND ..................... (April 16, 17, 18) Ara Berberian KING HILDEBRAND ....................... (April 19, 26) Sidney Straight FLORIAN .............................................. John Geralt CYRn................................................Arthur Jones PRINCE HILARION (Hildebrand's son) ................. Frank Porretta ARAC .................. .... George Larounis GURON Sons of Gamma ......................... William Irwin SCYNTHIUS. .......................... W illiam Reid KING GAMA ...... .................................... Jerald Bilik LADY PSYCHE (Professor of Humanities) ........ Mary Anne Dunsworth MELISSA (Lady Blanche's Daughter) ................. Carole Anderson SACHARISSA. ..(.................. Lois Wasserman CHLOE Girl Graduates.............................Nancy Bird ADA -....---............. .... Betty Borger LADY BLANCHE (Professor of Abstract Science) ............ Vivien Milan PRINCESS IDA (Daughter of Gama) ..................... Dolores Lowry LADIES OF THE COURT-Acr I PAGES GIRL GRADUATES-Acts II AND III Marie BlumAnn Zionts Nanette Allen COURTIERS AND SOsDIRS Phyllis Bailey Roger Buslee Nancy Bird John Dennis Betty Borgen Harry Easom Brenda Brush Charles Emery Mary Detwyler Bruce Graden Anne Fenech Grant Harris Lois Gauger Herbert Jennings Nancy Habighorst Robert LeVine Joyce Irving Samuel Luborsky Wanda Michaels Conrad MasonGeorge Musselman Elise Simon Bernard Posner Mary Stephenson James Potter Louise Tate Thomas Reed Ralian Tjotis John Roach Lois Wasserman Richard Stillinger Laura Weible Thomas Straus Marya Wester Robert Weatherill GUARDS DAUGHTERS OF THE PLOW Jerome Kent Marie Blum WilimSickrey Barbara Lawson LrITrER BEARERS Anne Pendleton Fredrico Scheffer Renate Plaut John Harris Ann Zionts George Wallace 1997 Post Script: A prominent newcomer was Ara Berberian, who now sings with the Metropolitan Opera. (He studied law at UM; his on-stage training came in G&S.) Tom Roach succeeded Jerry Bilik on the drums. In later years Tom practiced law, he became a prominent member of the UM board of regents and is now serving as president of the UM alumni association. VIoLusS Pat Phillips Janet Pasch Margaret Kaykka Barbara Watson VIOLA Andrew White CELLO Charles Turner Mary Krengel BAss Barbara McGoey Ralph Hamilton FLUTE Barbara Rhodus Sally Rentschler ORCHESTRA DAVID KLEIN, Conductor OBOE Barbara Perelman CLARINET Edward Banghart Daniel Dow BASSOON Gerald Corey FRENCH HoRN Neilson Dalley David Dow TRUMPET Barton Cowan Judy Haswell TROMBONE David Eiteman PERcUssION Tom Roach ACCOMPANISTS Jerry Bilik Justine Votypka Catherine Hutchins Marjorie Kingland Lois Gauger Bruce Graden Arlene Fineman Kathleen Bond Wesley True Nancy Wright Frances Hanlovsky Harold Easom Lily Fox PRODUCTION STAFF EXECUTIVE COUNCIL W ILLIAM REID ... . .......................... ........... President LoIs GAUGER ................. . . ... ........... Vice-President MARY LAFTER........ ................................... Secretary STEPHEN ANDERSON ..... . . .... .......... Treasurer BRENDA BRUSH ...................... ........... ..... ibrarian GEORGE MUSSELMAN.. ....... . ................ Production Manager JOHN ROACH CHARLES EMERY ASSISTANT IN DANCE Barbara Enelow STAGE MANAGER Donald Wilcox STAGE CREw John Harris Dulcie Batson Carl Signor Sally Osborn Joan Kelly LIGHTING George Wallace Max Brown Joan Wedge Ser DESIGN AND POSTERS Joan Wedge MAKE-UP John Sargent Caroline Krigbaum Mary McLean Dulcie Batson COSTUMES Wanda Michaels, Chairman Patricia McVay Brenda Brush Mary Gray PROPERTIES Matilda Nahru Ruth Finger Frederick Scheffler was serving in Korea during the run of this show, but he was honored in absentia by being listed as a litter bearer under the name of Fredrico Scheffler. That imaginary Fredrico later evolved into the Fred Rico of con- tinuing fame. (See Scheffler's notes in the appendix.) 35 Princess Ida - 1952 The happy ending: 1952 Princess Ida. Photo from UM archives, now in UM Bentley Historical Library. 36 Our Main Attraction YEOMEN OF THE GUARD Lydia Mendelssohn Theatre November 19-22, 1952 Dramatic diretor: Kenneth Rosen Rackham Auditorium November 28, 1952 Musical director: Paul Miller Assist. to the director: Lois Wasserman THE CAST (IN ORDER OF APPEARANCE) PHOEBE MERYLL...................................................................Vivian Milan (Sergeant Meryll's daughter) WILFRED SHADBOLT.......Richard Stillinger (Head Jailor and Assistant Tormentor) DAME CARRUTHERS...- ................................ Esther McGlothlin (Housekeeper to the Tower) SECOND YEOMAN........................ Jay Thompson SERGEANT MERYLL...........................Grant Harris LEONARD MERYYL, his son............. . ....... Les Bennett COLONEL FAIRFAX............... . Lloyd Evans (Under sentence of death) SIR RICHARD CHOLMONDELEY..............................Walter Flickinger (Lieutenant of the Tower) JACK POINT . . . . . .Xonrad MatthaeiJA KP I T.................................................................... o r d M th e (A Strolling Jester) ELSIE MAYNARD...........................Dawn Waldron (A Strolling Singer) FIRST CITIZEN................................ .............. .............. George Gates SECOND CITIZEN............................................................Grant Hildebrand FIRST YEOMAN..............................................................Conrad Mason THE HEADSMAN.......................................................................John Geralt KATE, Dame Carruther's niece..................................Helen Alexander SECRETARY POLTWHISTLE (doesn't appear)............Frederico PEOPLE'S CHORUS ORCHESTRA PAUL MILLER, Conductor VIOLIN ......... _.......- .. .......... ................................-........David Klein, Patricia Phillips CF.LO. . .Bruce Biddle FLUTE....-._...... ........ _..-....... ..-.. ....... .- -... .. - -... ..- - - ..-... Sally Bennet 0 0E............ ........... ......-..................-.. ... ....- ---...... Barbara Perelman CLARINET....._...................- -.... ....... ..... .... . .. ........ _....... Edward Banghart BASSOON.. ............. .... .. .............. Dave Dow and Gerald Corey TRUMPET.----.....-... . .. ......... Steve Soifert and James Campbell BASS......................... - .. . ............... . ........... .. .-... - Ann Courtright ACCOMPANISTS Justine Votypka Lois Gauger Margaret Kingland Francis Haus Helen Karg Patricia Roelois Sally Davis Francis Hanslovsky Fred Purser Bruce GradenArlene Fineman Phyllis Bailey Marie Blum Ruth Boss Brenda Brush Barbara Carpenter Janice Croft Sophia Fedonis Jan Gaines Wandalie Henshaw Martha Kisel YEOMEN OF Douglas Bailey Don Black Michael Faber Bruce Graden (chorus master) Herb Jennings Conrad Mason Ann Pendleton Bette Plait Gloria Rauchle Pat Roelols Judith Schirmer Elise Simon Lois Wasserman Mary Wester Jane Williams THE GUARD Robert Maxwell Stuart Meach Robert Prince Sidney Straight Jay Thompson Robert Weatherill PRODUCTION STAFF EXECUTIVE COUNCIL BRENDA BRUSH-.. ...-.- ...-.-- .__......._......... ...... President LOIS GAUGER...---.-...---.-.........-- _...Vice-president WANDA MICHAELS....-................ S...ecretary STEPHEN ANDERSON....................Treasurer RLISE SIMON....-..-..--................ .................... Librarian [IARRY EASOM...........................Production Manager HERB JENNINGS, GRANT HARRIS-.._...-.........................Publicity FAMES TETREAULT.....-.......Business Manager SET DESIGN and EXECUTION .. .............. .......................- Joan Wedge PROPS.....--.....Eli Berger (chairman), Jo Collins, Renie Plaut, Bruce Laughry, Sandra Rotenberg, Art White, Edith Weiss LIGHTING ..... .......... ........................-. George Wallace (chairman). Dave Plumer, Max Brown, Elizabeth Gjelsnoss 0srUMES.---...... ......... .......--. .............Wanda Michaels, Toico Irring PAINTING.-.-..........----Joan Wedge (chairman), Johanna Beilecki, Joan Libby MAKE-UP-............................ .............Ruth Boss, Jo Collins, Wandallo Henshaw, Grant Hildebrand CONSTRUCTION and STAGE CREW.-.........-..............George Gots, Bruce Laughry Chuck Corwin, Jo Collins, Steve Anderson, Richard Hoheb, John Bowen, Don Fairbairn Vital newcomers included George Gates and Grant Hildebrandt. Farewells went to: Vivien Milan (after 11 shows) and David Murray (11). 1997 Post Script: The role of Secretary Poltwhistle was credited to a certain Frederico. A review in the Free Press reveals that in taking the show to Detroit, we tried to get by with an eleven-piece orchestra. The understandably unhappy critic reported that it "wor- ried its way through the score, managing to come out at the end without disaster." 37 The Yeomen of the Guard - 1952 As he sighed for the love of a ladye. 1952 Yeomen. i to r: Richard Stillinger (Shadbolt), Vivien Milan (Phoebe), Lloyd Evans (Fairfax), Dawn Waldron (Elsie), Konrad Mattthaei (Jack Point), Walter Flickinger (Sir Richard), Esther McGlothlin (Dame Carruthers) Grant Harris (Sergeant Meryll). Photo from UMGASS archives, now in UM Bentley Historical Library. We might be passing happy together. Vivien Milan (Phoebe) and Richard Stillinger (Shadbolt). Photo from UMOASS archives, now in UM Bentley Historical Library. 38 Our Main Attraction H.M.S. PINAFORE WITH Pattengill Auditorium Ann Arbor May 6-9, 1953 Director: Jerry Bilik TRIAL BY JURY Rackham Auditorium Detroit May 16, 1953 Musical director: David Klein Asst. to the director: Lois Wasserman The Cast TRIAL BY JURY THE LEARNED JUDGE.....................................................................Robert Moore THE PLAINTIFF ............................................................................. Lois Wasserman THE DEFENDANTC.............................................................................Charles Wingert COUNSEL FOR THE PLAINTIFF ...................................... ....... Walter Flickinger U SH E R ............................................... ..... ...................... ......... ............. Sidney Straight FOREMAN OF THE JURY............ ... ...................................... Harry Easom FIRST BRIDESMAID............. ........................................................ Kay Frauenthal H.M.S. PINAFORE SIR JOSEPH PORTER, K. C. B............... ............. William Means (First Lord of the Admiralty) CAPTAIN CORCORAN.....................................John Geralt (Commander of H.M.S. Pinafore) RALPH RACKSTRAW.........................................................................Robert Moore DICK DEADEYE .................................. .......................................... Richard Stillinger BILL BOBSTAY (Boatswain's Mate) ...................................................... David Dow BOB BECKET (Carpenter's Mate) ................................................... Thomas Tuttle JOSEPHINE ........................................................................................... Dawn Waldron COUSIN HEBE (Sir Joseph's First Cousin)...................................Harriet Bennett LITTLE BUTTERCUP (A Portsmouth Bumboat Woman)........Ann Rohrbach ORCHESTRA 1st Violin George Papage Betty Beebe David Seeback Marilyn Schwaner 2nd Violin Carolyn Lentz Janet Streiker Viola Grace Cool Cello Charles Turner Phyllis Rhode Pat Klein String Bass Eugene Wycoff French Horns Nielsen Dalley Beverly Luce Percussion Jo-Ann Rohleder Flute Sally Bennett Oboe Barbara Perelman Clarinet Edward Banghart Sarah Manning Bassoon Gerald Corey Edward Knob Trumpet Sanford Norian John Davis Trombone David Green Accompanists Carol Drake Arlene Fineman Carol Leybourn Lily Fox Patricia Roelofs GILBERT AND SULLIVAN "at work" GIRLS' CHORUS Irma Bailit Nancy Bartholomew Balig Berberian Marie Blum Brenda Brush Anne Fenech Kay Frauenthal Wandalie Henshaw Joyce Irving Rita Isbitu Joann Karoatz Martha Kisel Tony Marchand Mary McCabe Wanda Michaels Renie Plaut Gloria Prutinsky Betty Jo Richter Pat Roelots El'sse Simon Sue Thiemann Lois Wasserman Laura Weible Jean White MEN'S CHORUS Neil Bernstein Marshal Blondy Merton Crouch Dave Dow Harry Easom George Gates Frank Greene Grant Hildebrand Don Kirkpatrick John Kolh Mervyn Manning Conrad Mason William Moore Robert Portnoy William 0. Scott Howard Shapiro Larry Sperling Stuart Sperling Tom Tuttle Raymond Wright Executive Board President .............. Brenda Brush Vice-president .......... Herb Jennings Secretary .............. Wanda Michaels Treasurer .............. Harry Easom Business Manager ....... Elise Simon Production Manager ..... Eli Berger Publicity ............... Grant Harris Don Fairbairn Librarian .............. Marie Blum Scholarship Chairman ... .Conrad Mason Faculty Advisors Professor and Mrs. Maynard Klein Mr. Sidney Straight 39 H.M.S. Pinafore & Trial By Jury - 1953 PRODUCTION CREW STAGE CREW John Bowen, Chairman Joan Wedge Steve Anderson Dave Goldstein Mimi Goldstein Jo Collens Dick Hoheb Dave Markowitz Ivan Kahn Dave Wulfsohn Don Fairbairn George Gates John Harris Dulcie Batson Nola Hartman Robert Floum Richard Kostoff COSTUMES Wanda Michaels, chairman Joyce Irving Ruth Boss Doris Hyman John Harris PROGRAM Elise Simon, chairman Brenda Brush Conrad Mason Marie Blum Lois Wasserman Merton Crouch Jerry Bilik David Klein PROPERTIES Dave Goldstein, chairman Mimi Goldstein Edith Weiss Dulcie Batson Sandra Rotenberg Robert Floum MAKE-UP Jo Collens, chairman Ruth Boss Barbara Some Barbara Goldstein Carol Carrigan Rhoda Wagner LIGHTING Dave Plummer, chairman George Wallace Elizabeth Gjelsness Max Brown 1997 Post Script: The role of Sir Joseph Porter was taken by William Means, who is now a judge in Mishawaka IN, and who still comes to Ann Arbor to see our shows. The Berberians were represented by Ara's sister, Balig. Their good example was later carried on by two nieces and a nephew, the Haidostians, all of whom were exceptional- ly active UMGASSers in later years . One of the pre-show news stories states that UMGASS had $1700 in the bank and was instituting an annual $100 scholarship to be awarded on a basis of service to the group, financial need and general academic ability. Newcomers: Betty Beebe and Howard Shapiro. The program was distinctive in that it was the first in which Ben Hazard's original cover design was finally aban- doned. It was also the first to carry rehearsal photos, now a firm tradition. The archives contain this poem apparently written by Jim Ueberhorst: RAPTURE! RAPTURE! (In solemn dedication on the launching of HMS PINAFORE and her running mate, TRIAL BYJJURY.) (IF YOU WANT TO KNOW WHO WE ARE, WE RESPOND WITHOUT DELAY, That HAPPILY COUPLED ARE WEed, and HEREUPON WE'RE BOTH AGREED:) When NIGHT HAS SPREAD HER PALL ONCE MORE, And dress rehearsal's past, When "TURN, OH TURN IN THIS DIRECTION," Is at an end at last, When "WE SAIL THE OCEAN BLUE" is practiced, Then you know THE DIE IS CAST. For ALL IS PREPARED AND A GOOD JOB TOO, So DRY THE GLISTENING TEAR And FARE THEE WELL, MY GALLANT CREW. RISING EARLY IN THE MORNING, WHEN DARKLY LOOMS THE DAY, You think "IT MAY NOT BE- But yes, it is the sixth of May." And as THE HOURS CREEP ON APACE You feel you're being racked, Then OH JOY OH RAPTURE UNFORESEEN, It seems the house is packed. So now WITH JOY UNBOUNDED, LIKE AN EAGLE ... SOARING, MAY ALL GOOD FORTUNE PROSPER YOU, TO SET THE HOUSE AROARING. 40 Our Main Attraction PATIENCE Lydia Mendelssohn Theatre Ann Arbor November 5-7, 1953 Dramatic director: Dude Stephenson CAST of CHARACTERS Rackham Auditorium Detroit November 13, 1953 Music director: Jerry Bilik ORCHESTRA (IN ORDER OF APPEARANCE) ANGELA......................................H------------------------------- Helen Alexander ELLA-----.............................---------------------------......Wandalie Henshaw PATIENCE........................................--------------------------------Lynn Tannel SAPHIR------....................-------------------......... ---------.........--- Katy Micou BUNTHORNE----........................----------------------.......Jimmie Lobaugh COLONEL..................----------------------------------......David Dow GROSVENOR.......................................-------------------------------John Geralt DUKE.............................................-------------------------------------Alan Cro foot MAJOR-........................................----------------------------------Ara Berberian LADY JANE ------------------------------ Sophia Fedonis SOLICITOR-----..........................-------------------------.....George Wallace 1st Violin Bass Viol George Papich, Joseph Hanchrow Concertmaster Clarinet Elizabeth J. Richter Edward Banghart Margaret Mary Koykka Janet Streicher Flute Second Violin Sally Rentschler Carolyn Lentz Elizabeth Beebe Oboe Viola Barbara Perelman Grace Cool Bassoon Cello Edward Knob Judy Jorstad Trumpet Charles Turner Carl Balduf Trombone Brude Whitener French Horn Robert Reynolds Carol Cunningham Percussion Jo Ann Rohleder Accompanists for Thursday Night Performance Gwendolyn Williams Carol Drake Howard Shapiro, Manager Rebecca Badger Beverly Bricker Balig Berberian Brenda Brush Arlene Fineman Mary Jane Ernst Susan Goldberg Gerald Berman Richard Booth Don Corzine Dick Cramer Warren Exo Howard Greene GIRLS' CHORUS Natalie Grodnik Susan Hetherington Rita Isbitts Thelma Kavanau Martha Kisel Lenoa Macey Toni Marchand MEN'S CHORUS Frank Greene James Harris Grant Hildebrand George Kling Doug Lootens Ned Miller Dick Mills Barbara Millbrook Geraldine Posen Lenore Rattner Arlene Rybac Renee Silverman Virginia Vencek Sandy Wasserstein John Montgomery R. George Portnoy Fred Scheffler Donald Seltz Karl Stone Ralph Wolfstein EXECUTIVE BOARD HARRY EASOM ........................ ................................................................ President ELISE SIMON ....................................... ..................--......................... Vice-President FRANK GREENE ................................ ,.........................................................Treasurer WANDA MICHAELS...................................................................... ............Secretary MERVYN MANNING...................................................................Business Manager JOHN HARRIS.............................Production Manager GEORGE GATES..........................................................................................Publicity BALIG BERBERIAN................................................................................... Librarian MARTHA KISEL....................................................................Scholarship Chairman MARIE BLUM......................................................................Assistant to the Director JOAN WEDGE..........................................................................................Set Designer Faculty Advisors Professor and Mrs. Maynard Klein Mr. Sidney Straight 41 Patience - 1953 PRODUCTION CREW STAGE CREW Dave Markowitz, Chairman Chuck Tannel Max Brown Al Senter Richard Beaudry Richard Strang Dave Wulfsohn Bill Himelhoch Dick Warren PROPERTIES Peggy Scott, chairman Connie Butler Dulcie Harris MAKE-UP Laura Roberts, chairman Leda Cosmenco Marlene Bourgin JoAnne Geller Kay Frauenthal Pat Roelofs Clara Oppenheimer Vicki Saldinger Gretchen Hahn COSTUMES Martha Kisel, chairman Lois Wasserman Brenda Brush Rita Isbitts SET Joan Wedge, chairman Bill Himelhoch Al Senter Carol Hillman Edith Silbern Lynette Peters Nadya Spassenko 1997 Post Script: An important and talented newcomer was Lynn Tannel in the title role. She became almost a regular as our leading soprano. We welcomed Jimmie Lobaugh back from the Korean War and he played the role of Bunthorne. (See Dude Stephenson's comments in the appendix.) Playing horn in the pit was Robert Reynolds, now UM's director of bands. Tom Arp, Reviewer for the Daily, had these words, "Unless their actions belie the attitude of the group, the Gilbert and Sullivan Society is certainly the most spirited organization on campus. Once again they. have overcome artistic difficulties to take a really fine produc- tion." "The most unfortunate incident was the absence of the orchestra, which because of previous commitments was unable to appear - but the two-piece piano team which handled this performance was really more than adequate." New blood: Thelma Kavanau, John (Pat) Montgomery, Donald Seltz, Robert Senter, Natalie Grodnik, Joseph Hanchrow and Richard Booth. Farewell to Lois Wasserman (after 7 shows). 42 Our Main Attraction THESPIS and Lydia Mendelssohn Theater Ann Arbor April 15-17, 1954 Music director: Jerry Bilik "THESPIS" Written by W. S. Gilbert Composed by Jerry Bilik Apollo ......... ....................................... Dave Dow Diana .......................................... Mary Ann Belin Jupiter.........................................Ara Berberian Daphne........................................Joanne Wilson Mercury.....................................Jimmie B. Lobaugh Mars............................................. Sidney Straight Thespis..............................................Alan Crofoot Nicemis............................................ Dawn Waldron Sparkeion............................................. John Geralt Pretteia.............................................. Katy Micou Sillimon.......................................... Robert Brandzel Timidon..................-- - -..................... Richard Booth Preposteros....................................... Ralph Wolfstein Stupidas............................................ Jerry Berman Cymon............................................ Neal Hillerman Tipseion ............................................. George Gates THE SORCERER Rackham Auditorium Detroit April 24, 1954 Dramatic director: Clarence Stephenson "THE SORCERER" Written by W. S. Gilbert Composed by Arthur Sullivan Sir Marmaduke Pointdextre (an Elderly Baronet) ...... Ara Berberian Alexis (of the Grenadier Guards-his son)........ Clarence Stephenson Dr. Daly (Vicar of Ploverleigh)........................ Alan Crofoot Notary......................................... Sidney Straight John Wellington Wells (of J. W. Wells & Co., Family Sorcerers) .......................... Jimmie Lobaugh Lady Sangazure (a Lady of Ancient Lineage).......... Marion Mercer Aline (her daughter--betrothed to Alexis)................Lyn Tannel Mrs. Partlet (a Pew-opener)........................ Mary Witham Constance (her daughter)........................... Nancy Witham Chorus of Townspeople Chorus of Stars and Mortals Women's Chorus Becky Badger Balig Berberian Arsella Dahl Margaret Dussling Margie Erickson Maryjane Ernst Sue Goldberg Barbara Greenblatt Natalie Grodnik Sue Hetherington Ann Jo James Thelma Kavanau Doris Kirschner Phyllis Klein Marty Taugher Geri Posen Joan Wedge Men's Chorus Bob Bradzel Jerry Berman Dick Booth Donald Corzine George Gates Frank Greene Grant Hildebrand Neal Hillerman Buddy Moore Fred Scheffler Donald Seltz Howard Shapiro Ralph Wolfstein Dave Plumer EXECUTIVE BOARD FRANK P. GREENE ................................... President MARYJANE ERNST................................ Vice-President DAVE DOW............................................ Treasurer BALIG BERBERIAN.................................... Secretary ROBERT G. PORTNOY......................... Business Manager DAVE MARKOWITZ........................... Production Manager MERVYN MANNING..................................... Publicity BARBARA MILLBROOK................................. Librarian GEORGE GATES.............................Scholarship Chairman MARIE BLUM..........................Assistant to the Director JOAN WEDGE...............................THESPIS Set Designer AL SENTER.........................THE SORCERER Set Designer FACULTY ADVISORS Professor and Mrs. Maynard Klein Mr. Sidney Straight 43 Thespis & The Sorcerer -1954 GILBERT AND SULLIVAN ORCHESTRA JERRY BILIK, Conductor VIOLIN George Papich Concertmaster Carolyn Lentz Doris Bengtsson Gloria Defo Betty Beebe Margaret Mary Koykka VIOLA Grace Cool CELLO Judy Jorstad BASS Joseph Hanchrow CLARINET Edward Banghart John Bayer OBOE Barbara Perelman BASSOON Waldie Anderson FLUTE and PICCOLO Sally Rentschler FRENCH HORN Carol Cunningham Robert Reynolds BASS TROMBONE Bruce Whitener TRUMPET Emerson Head PERCUSSION Jo Anne Rohleder VIOLA Jane Stolz ACCOMPANISTS Gwendolyn Williams Carol Drake ORCHESTRA MGR. Howard Shapiro 1997 Post Script: Any attempt to produce Thespis faces the problem of the all-but-complete disappearance of Sullivan's score. We bravely overcame that difficulty through Jerry Bilik's sub- stitute music composed "in the Sullivan idiom." This allowed us to stage what is, as far as we know, the opera's American premiere. Jerry's work was well received: "Sir Arthur would have been proud!" In the Free Press reviewer Collins George wrote,"Bilik's success is indicated in the fact that his work is, if anything, equally spirited and more tuneful than the authentic Gilbert and Sullivan work, The Sorcerer, which occupied the first half of the twin bill." A cultural note: On campus we tend to think of out-of- town follow-on shows as end-of-term romps. But here's how a Detroit reviewer expresses his perspective, "In preparation for the Detroit event, three trial performances were held last week at the university." Significant newcomers included David Newman, Marian Mercer and Bob Brandzel. All continued on with us for several years, and all are still active as professional enter- tainers. Another newcomer was Janet Ewart. Fond farewells: Joyce Irving (after 11 shows), Jimmie Lobaugh (10), Fred Scheffler (12), Robert Senter (6), George Wallace (8) and Joan Wedge (7). The program for this show carried biographical informa- tion on the principals, and was the first to do so. As for the directors, they told nothing about Jerry Bilik, and would have ignored Dude Stephenson as well, but he was in the cast, so they simply mentioned that he had been directing the shows for many years. It was clearly a democratic troupe, and they weren't about to hand out glory to the upper echelons. Stage Crew Max Brown, chr. Al Senter Joan Wedge Dave Plumer Langdon Plumer Alan Lawson Dave Markowitz John Montgomery Chuck Tannel Dave Wulfson Pete Wulfson PRODUCTION CREW Lighting Dave Plumer, chr. John Montgomery George Wallace Barbara Millbrook Properties Janet Ewart, chr. Gretchen Hahn Kay Murphy Elaine Terner Costumes Sue Hetherington, chr . Yolande Courtwright Barbara Rock Naomi Kranzberg Make-up Marge White, chr . Lois Peisachow JoAnne Geller Marlene Bourgin 44 Our Main Attraction THE PIRATES OF PENZANCE Lydia Mendelssohn Theatre Ann Arbor November 17-20, 1954 Dramatic director: Dude Stephenson THE PIRATES OF PENZANCE Written by W. S. Gilbert Composed by Arthur Sullivan Frederic...........................................Arnulf Esterer Ruth (his nurse)................................... Marian Mercer Pirate King ............................................ Bob Cotton Major-General ...................................... Bob Brandzel His Wards: Mabel ............................................. Lynn Tannel Edith............................................ Nancy Witham Isabel ............................................ Mary Witham Kate................................................Katy Micou Sergeant of Police..................................... Dick Booth Samuel ................................................ David Dow Chorus of Pirates, Police, and Major-General's wards. Rackham Auditorium Detroit November 27, 1954 Musical director: Jerry Bilik Women's Chorus Doris Bengtsson Arsella Dahl Helene Lenz Bessie Loye Margaret Dussling Marge Erickson Natalie Grodnik Thelma Kavanau Peggy Kleinstein Eleanor Shur Ruth Tolman Helen Mendelson Bette Lefcourt Sue Novitsky Iseli Koenig Janet Wormley Men's Chorus Richard Arentz George Gates Frank Greene Grant Hildebrand John McLaughlin Eugene Moore David Morgan David Newman George Finkel Arthur Schwartz Don Seltz Howard Shapiro Tom Taylor EXECUTIVE BOARD FRANK P. GREENE.................................... President MARYJANE ERNST................................Vice-President BARBARA MILLBROOK.................................Secretary DAVID MARKOWITZ....................................Treasurer HOWARD SHAPIRO ........... ............... Business Manager JOHN BIXBY..............................Production Manager GEORGE GATES ........................................ Publicity REBECCA BADGER .................................... Librarian PEGGY KLEINSTEIN ..................... Assistant to the Director AL SENTER ....-.-......................... PIRATES Set Designer FACULTY ADVISORS Professor and Mrs. Maynard Klein Mr. Sidney Straight 45 The Pirates of Penzance - 1954 GILBERT AND SULLIVAN ORCHESTRA JERRY BILIK, Conductor PRODUCTION CREW VIOLIN Ronald DeBoven Concertmaster Betty Beebe Janet Streicher Margaret Mary Koykka Karl Blister VIOLA Grace Cool CELLO Phyllis Rhode David Green BASS VIOL Bruce Klingbell CLARINET Frances Smith Ulysses Nikromas OBOE Pat Stenberg FLUTE Pat Martin BASSOON Eleanor Becker FRENCH HORN Carol Cunningham Ruth Epstein TRUMPET Wesley Measel TROMBONE Susan Fischer PERCUSSION JoAnne Rohleder ACCOMPANIST Dawn Waldron Scenery Arlen Base Louise Beck Stan Berger Arlene Bischek Max Brown Ann Cohn Sondra Gard Harriet Garfinkel Gail Grippen Nancy Gryziak Shirley Hahnesand Kay Jordan Ruth Katzman Thelma Kavanau Phyllis Klein Carol Pearce Lois Peisachow Karen Rosen Barbara Sorcher Barbara Schulz Mike Simpson Ann Tarlowe Paula Wallack Properties Shirley Eahnesanc Ruth Katzman Carol Pearce Lighting John Montgomery Stan Berger Make-up Marlene Bourgen Joan Kadri Barbara Minibrool JoAnne Geller Beth Greene Wendy Warbasse Costumes Thelma Kavanau Mary Anderson Sue Hetherington 1997 Post Script: The Witham sisters (twins) played the roles of sisters Edith and Kate. That was even more appropriate than their playing mother (Mrs Partlett) and daughter (Constance) in The Sorcerer. Geeandessers have a tradition of having trouble with spelling names. In this program, for example, Marian Mercer's name is spelled Marion on one page, but they got it right on another. The more things change, the more they remain the same. And let's face it, you are sure to find some juicy mistakes in this opus. Once again the publicity crew swung into vigorous action. There were ten news articles, including some in Detroit papers. There were numerous small ads, includ- ing one citing ticket prices at 60 cents and 80 cents for Wednesday and Thursday shows; and 90 cents and $1.20 for Friday and Saturday. (Saturday matinees had not as yet become standard practice.) One of the news stories had it that "Pirates and police were engaged in mortal combat which disturbed the peace of the Great Dane who is accustomed to take his noon siesta on the diag. However, everyone, Great Dane included, left the diag for the Lydia Mendelssohn box office where tickets for the operetta are now on sale." One has a right to suspect that the UMGASS publicity crew not only staged the riot, but also reported the news. Harry Strauss, a reviewer for an unknown paper said, among other things, "Giving some hilarious moments were Marian Mercer as our hero's nurse. Miss Mercer in costume of more than yesteryear, prancing about, though Production Secretary Mary Jane Ernst in full command of the stage, steals about every scene she's in with her artful sense of timing and mimicry." Dorsey Callaghan of the Free Press wrote, "[The show] was immensely amusing and well-paced. I look forward to further productions by this group. It is gaining in G&S know-how with every performance." New faces: George Finkel, Patricia Martin, Eugene Moore and Patricia Stenberg. Farewell to Max Brown (after 8 shows). 1954 Pirates in rehearsal: Marian Mercer (Ruth), Arnulf Esterer (Frederic) and Lynn Tannel (Mabel). Photo from UMGASS archives, now in UM Bentley Historical Library. 46 Our Main Attraction IOLANTHE Lydia Mendelssohn Theater Ann Arbor April 13-16, 1955 Dramatic director: Clarence E. Stephenson WITH COX AND BOX Rackham Auditorium Detroit April 23, 1955 Set designer: Albert Senter Music director: Jerry Bilik THE CAST I-LANTHE (In order of their appearance) CELIA Kate Micou LEILA - - - - - - - - - - - - Fairies- - - - - - - Beatrice Berger FLETA Janet Wormley QUEEN OF THE FAIRIES - - - - - - - - - - - - - - Marion Mercer IOLANTHE - A Fairy, Strephon'a Mother - - - - - - - - Lynn Tannel STREPHON - An Arcadian Shepherd - - - - - - - - - - - John Geralt PHYLLIS - An Arcadian Shepherdess and Ward in Chancery Joan Holmberg LORD TOLLOLLER - - - - - - - - - - - - - - - - - Alan Crofoot THE LORD CHANCELLOR - - - --- - - - - - - - - - Bob Brandzel LORD MOUTARARAT - - - - - - - - - - - - - - - - Arnuli Esterer PRIVATE WILLIS - Of the Grenadier Guards - - - - -Joseph Hanchrow DANCER - - - - - - - - - - - - - - - - - - - - - - - -Beth Greene CHORUS OF FAIRIES THE CAST COX AND BOX (In order of appearance) COX - - - - - - - - - - - - - - - - - - - - - - Clarence Stephenson BOUNCER - - - - - - - - - - - - - - - - - - - - - - Sidney Straight BOX - - - - - - - - - - - - - - - - - - - - - - - - - - Jerry Bilik Accompanist - - - - - - Doris Linton Musical Numbers OPENING REFRAIN RATALPIN (Song) - - - - - - - - - - - - - - - - - - - - - Bouncer STAY, BOUNCER, STAY (Duet) - - - - - - - - - - - - Cox, Bouncer HUSH-A-BYE BACON (Song) - - - - - - - - - - - - - - - - - - Box OH, 'TIS THE PRINTER (Trio) - - - - - - - - - - Cox, Box, Bouncer THE BUTTER CUP (Serenade) - - - - - - - - - - - - - - Cox, Box THREE YEARS AGO (Duet)-- ---- ---------------- -- Cox, Box MY HAND UPON IT (Finale)-- ---- ----------- Cox, Box, BouncerThelma Kavanau Margaret Koehler Alice Koval Helene Lenz Margaret Schreiber Nancy Snyder Martha Hazen Lynne Towle Patricia Wright Elizabeth Abbott Arline Bechek Margaret Dussling Lois Peisachow Marilyn Schirmer CHORUS OF PEERS Howard Shapiro John Ferris Albert Senter Dick Booth Grant Hildebrand Suzanne Turner Janet Wormley Mary Lou Conant Leslie Ann Dietz Jorie Hammond Katy O'Harra Iseli Koenig Paul Cohn Dave Morgan Dick Arentz George Gates Eugene Moore Gershom Morningstar Stewart Gordon George Finkel John McLaughlin David Newman Executive Cabinet President ................. George A. Gates Vice-president .............. Janet Wormley Secretary .................... Becky Badger Treasurer ..................... Iseli Koenig Production ................. David Morgan Publicity ................... Richard Booth Librarian ................. Thelma Kavanau Asst. to the Director ....... Shirley Hahnesand Faculty Advisors Professor and Mrs. Maynard Klein Mr. and Mrs. Sidney Straight 47 Iolanthe & Cox and Box - 1955 GILBERT AND SULLIVAN ORCHESTRA Jerry Bilik, Conductor VIOLINS Jane Stolz Concert Master Betty Beebe Wanda Perelli Carol Krencicki Doris Bengtason Kathleen Rush VIOLA Grace Cool CELLO Beverly Wales BASS Carolyn Lentz PIANO Doris Linton BASS TROMBONE John Christie PERCUSSION Ulysses N. Fredrico FLUTE Pat Martin OBOE Pat Stenberg CLARINET John Bauer Sarah Manning BASSOON Eleanor Becke TRUl&PET Wesley Measel Bruce Jacobson FRENCH HORN Darlene Knops David Dow, Orchestra Mgr PRODUCTION STAFF Scenery TECHNICAL DIRECTOR - - - - - - - - - - - - - - - Pat Montgomery ASST. TECHNICAL DIRECTOR- - - - - - - - - - - - - - -Paul Kors PRODUCTION SECRETARY- - - - - - - - - - - - - - - Kaye Jordan SET DESIGNER ------ -------------------- -Albert Senter STAGE CREW- - Wandalie Henshaw, Thelma Kavanau., Lois Peisachow, Donna Hanson, Bob Kleinberg, Marilyn Fluke Costumes Margy Erickson Lighting Paul Kors Make Up Beth Greene Program Don Seltz Properties Tickets Lois Peisachow Shirley Burkhart Alumni Sec'y Marge Dussling 1997 Post Script: This turned out to be the talented Jerry Bilik's last show. He went on to do great things in Hollywood, but we dare say few of them ever matched the fun he had with us. The lead parts were dominated by veterans such as Marian Mercer, Lynn Tannel, Alan Crofoot, and Bob Brandzel; but there was an important newcomer in the men's chorus: Gershom Morningstar. Once again the admirable publicity crew had pumped out a goodly number of pre-show press releases. They even carried Dude Stevenson's history of Fredrico. It's a lengthy article and concludes as follows: "Of course we would just as soon keep Fredrico out of the actual per- formance," Stevenson continued, "But with a new show every semester, anything is likely to happen - and usu- ally does." Another article explains that all members of the troupe have to pitch in with the production work. It mentions that sets for recent shows were built under difficult con- ditions. At one time they used the basement of the old journalism building, but had to give way when it was torn down to make room for a new wing on the Union. Then they were allowed to use the basement of the rifle range, but only when the army wasn't doing target prac- tice (ricocheting bullets being considered a danger). Then someone decided the basement was a fire trap, so the troupe was forced out and moved to the attic of Lane Hall, but still used the rifle range basement for storage. An article in the Detroit News mentions that Cox and Box had been broadcast on television. That may have been a first for UMGASS. The anonymous reviewer for the Daily thought the pro- duction weak, but John Finlayson of one of the Detroit papers called it "excellent." His opening paragraph states that the performers "covered themselves with the rollick- ing type of satirical-song glory that goes with a G and S job well done." Other newcomers included John Christie and Bruce Jacobson. After singing seven principal roles, this was to be John Geralt's last show. 1955 Gondoliers: Richard Webber (Luiz) and Patricia Ternes (Casilda). Photo from UMGASS archives, now in UM Bendey Historic Library. 48 Our Main Attraction THE GONDOLIERS Lydia Mendelssohn Theater Ann Arbor November 16-19, 1955 Music director: Robert Brandzel THE CAST THE GONDOLIERS The Duke of Plaza-Toro (a Grandee of Spain).................David Newnman Lui (His Attendant).......................................:.... David Dow Don Alhambra Del Bolero (the Grand Inquisitor).............John McLaughlin Marco Palmieri.,............( ).... Clarence Stephenson Giuseppe Palmieri............( )..........Marshall Hill Antonio....................( Venetian Gondoliers )... Gershom Morningatar Francesco .f ...... ,.........( )..............Fred Rico Georgio....................( )......... Richard Arentz The Duchess of Plaza-Toro.................................. Mary Pohly Casilda (Her Daughter) ...................................... Joan Holmberg Gianetta ..................... ( )...................Nancy Witham Tessa.......................( Contadine )' ....---............ Mary Witham Fiametta .................... ( ).................... Margaret Bell Vittoria ..................... ( )................Sarah-Jane Weston Inez .................................................... Naomi Shulman Rackham Auditorium Detroit November 26, 1955 Dramatic director: Clarence E. Stephenson GILBERT AND SULLIVAN ORCHESTRA Robert Brandzel, Conductor Marjorie .Hammond Thelma Kavanau Phyllis Criswell Lynette Peters Natalie Grodnik Leslie Diets Ruth Oppenhenim David Morgan Peter Cartwright Eugene Moore Pat Siith Richard Booth George Finkel CHORUS OF "CONTADINE" Betty Staeheli Margie Wright Arline Borkin Jane Hirschmann Margaret Duaaling Isabel Francis Barbara Mitchell Sandra Edelman CHORUS OF GONDOLIERS John Hickman Richard Arents Don Cameron John Hafenrichter Gene Correll Marlene Weinstoci Cynthia Conway Martha -Hazen Judy Blum Ann Olson Nancy Lester Judy Gilden Robert Schultz. Larry Green Doll Bass Grant Hildebrand George Gates Grant Bowbeer VIOLIN Jane Stoltz Wanda Perelli John Boyd Betty Beebe Kathleen Rush Marilyn Knaggs Dan Wolter Brenda Ackermann VIOLA Joanne Smalla CELLO Beverly Wales Eleanor Becker Richard Osius BASS Joseph Hanchrow Ed Drew FLUTE Patricia Martin Elaine Burr OBOE Patricia Stenberg Barbara Marcus CLARINET John Bauer Virginia Catanese Southard Bu dicker Patricia Noffsinger BASSOON Janet Mason FRENCH HORN Robert Reynolds Carol Cunningham Ruth Epstein TRUMPET Bruce Jacobson Lida Lou Clayton TROMBONE John Christie PERCUSSION Harry Henshaw PIANO Doris Linton Executive Board President...................................Richard Booth Vice President ..................... Gershom Morningstar Secretary ................................. Rebecca Badger Treasurer...............................SIirley Burkhart Production .................................. David Morgan Publicity....................................Eugene Moore Librarian..............................Margaret Dussling Assistant to the Directors.....................Louis Stern 49 The Gondoliers - 1955 PRODUCTION STAFF Set Designer................................... Production Secretary ........................... Stage Manager ................................. ........ Albert Senter ....... Thelma Kavanau ...... Robert Kleinberg STAGE CREW COSTUMES TICKETS Don SeltzSolveg Peterson Nancy Palazzalo Gail Stevens Ted Wilcox Art Simon Bess Loye Marion Flemming Mona Shute Hilliard Goldman Peter Wulfsohn Ann Strong Valerie Dunn LIGHTING Paul Kois Stan Arnold Thelma Kavanan PROPERTIES Natalie Grodnik Naomi Shulman Ann Olson Janet Ewart MAKE-UP Chris Naggs Theresa Fessler Janet Ast Priscilla Iorsleff ALUMNI SEC'Y Leslie Dietz PROGRAM Richard Arentz Lynette Peters Margaret Bell ORCHESTRA MGR. Bruce Jacobson DANCE CONSULTANT Beth Greene 1997 Post Script: Now we find Bob Brandzel moving up from singer to music director, while Dude Stephenson continued his long and outstanding leadership as dramatic director. David Newman and Gersh Morningstar were now in principal parts, and Gersh was also vice-president. Fred Rico appeared as Francesco to critical acclaim. Once more the troupe traveled to Detroit for an encore production at the Rackham Auditorium. They were well received, as usual. John Finlayson of the Detroit News reported, "[The evening] proved to be a merry one for the Michigan Savoyards . . . have a professional approach to their undertakings, and are not lacking in the enthusiasm and disciplines the undertakings require. A new name in the chorus was that of Gene Correll, who stayed on for many years as a pillar of the troupe. Another significant newcomer was Don Cameron, slated for fame and glory in later years. Other new names were Peter Cartwright, Judy Gilden, Robert Schultz, Hilliard Goldman, Mona Morningstar, Ann Olson, Sarah-Jane Weston, and Dan Wolter. The make-up crew included a certain Priscilla Torsleff, who later married Pat Montgomery. You'll be hearing more about them as we go along. 1955 Gondoliers: John McLaughlin (Don Alhambra) and Farewell to: Barbara Marcus (after 7 shows). Naomi Shulman (Inez). Photo from UMGASS archives, now in UM Bentley Library. 50 Our Main Attraction THE M IKADO Lincoln Auditorium Wyandotte April 20, 1956 Lydia Mendelssohn Theater Ann Arbor April 13-14, 1956 Rackham Auditorium Detroit April 21, 1956 Musical director: Robert Brandzel Dramatic director: Clarence C. Stephenson THE CAST TEE MIKADO THE MIKADO of Japan............................... ROBERT COTTON NANKI-POO The Mikado's son, In love wit Tum-Yu........... DAVID DOW ED-KO The Lord High Executioner ......................... DAVID NEWMAN POOH-BAH Lord High Everything Esae....................WILLIAM TAYLOR PSH-TUSH A Noble Lord ......................... GERSHOM MORNINGSTAR YUM-YUM JOAN HOLMBERG PrrTI-SING Three Sisters, Wards of Ko-Ko NANCY WITHAM PEEP-BO BARAH-JANE WESIONKATISHA An Elderly Lady In love with Nanki-Poo ......... ALICE DUTCHER SCHOOL GIRS GILBERT AND SULLIVAN ORCHESTRA Robert Brandzel, Conductor Beverly Auch Mary Coedy Cynthia Conway Arselia Dal Katie Micou Esterer Judith Gilden Natalie Grodnik Joyce Hateman Richard Booth Grant Bowbeer Peter Cartwright Jerry Davies Thomas Dent Betty Hiu Margaret Legband Helene Lenz Dianne ModseL Ruth Oppenheim Gayle Porath Carol Sapp Naomi Sulman NOBLES Patrick Fischer John Hartmann John Hickman Robert Lauer Eugene Moore Gloria Sparber Louise Sprowl Sally Stockwell Mary Shilivan Alice Umemoto Marlene Wetnstock Margie Wright Sandra Zinsmaster David Morgan Robert Schulz Howard Sapiro Warren Sablette Ralph Wolfstein VIOLIN Jane Stoltz Betty Beebe Margaret West Janet Streicher Diane Chadsey Dan Wolter VIOLA Joanne Smalla Anne Hall CELLO Beverly Wales Richard Oslus BASS Joseph Hanchrow FLUTE Patricia Martin Kathleen Emmons CLARINET John Bauer Southard Busdicker BASSOON Janet Mason FRENCH HORN Robert Reynolds Ruh Epstein TRUMPET Carmen Spadero Bruce Jacobson TROMBONE John Christie PERCUSSION James Moore EXECUTIVE BOARD President ..................................... David Dow Vice-President .............................. George Gates Secretary............................... Priscilla Torsleff Treasurer ..................................... Ann Olson Production Co-ordinator ................. Thelma Kavanau Publicity....................................Eugene Moore Faculty Advisors Professor and Mrs. Maynard Klein Mr. and Mrs. Sidney Straight 51 The Mikado - 1956 PRODUCTION Technical Director................,... ........... John Montgomery Assistant Technical Director ........................ Hilliard Goldman Stage Manager..................................... Robert Kleinberg Electrician................................................Paul Kors Costumes ........................................... Thelma Kavanau Make.-Up..... .. ..................................... Natalie Grodnik Properties ...................... ..................... Janet Ewart SETS MAKE-UP Priscilla Torsieff Art Simon Gail Grippen Rose Greenfield Alan Wineman Mona Shute Patti Kreul Kay Baumhauer Ann Olson Pat Barnes Fred Rico Naomi Shulman Bobbie Hayman Ruth Oppenheim Kathie Henke Marge Erickson Chris Knaggs Bessie Loye Margaret Dussling Barbara Weiss Barbara Lewis Nancy Bluestone Judith Gilden Gloria Sparber Paul Cohen Tom Taylor Sandra Heims Carol Sapp TICKETS Marlene Weinstock ALUMNI SEC'Y Judith Blum ORCHESTRA MGR. Bruce Jacobson PROGRAMS Bob Schulz John Hickman LIBRARIAN Ruth Oppenheim CREDITS Novelty Costume Company, Detroit The Michigan League Lane Hall Mr. George D. Lytle 1997 Post Script: The well-organized David Dow played the part of Nanki- Poo, served as society president, and advanced his academ- ic career as a second-year student in the Med School. He was joined by Gersh Morningstar (Pish-Tush) and David Newman (Ko-Ko). The archives contain a news clipping advertising a Saturday matinee, with ticket prices ranging from 90 cents to $1.50. John Finlayson of the Detroit News said, "The 'M' savo- yards are a knowing and devoted lot and they brought entertainingly to life the pompous absurdities of song and story." On the other hand, an anonymous reviewer in the Ann Arbor News found all sorts of complaints and ended up say- ing that the success of the production lay with the genius of Gilbert & Sullivan and not with the troupe. Maybe the reviewer was feeling unusually grumpy that evening. Two-record sets of the show were advertised at $6.50. Pris Torsleff headed the set crew and served as secretary, while Pat Montgomery was tech director. The two were clearly destined to join forces. New faces: Sally Stockwell, Alice Umemoto, and (yes!) Alan Wineman. Farewells to: Howard Shapiro (after 6 shows). 52 Our Main Attraction RUDDIGORE Lydia Mendelssohn Theatre Ann Arbor December 8-10, 1956 Musical director: Robert Brandzel Rackham Auditorium Detroit November 16, 1956 Dramatic director: Clarence E. Stephenson THE CAST RUDDIGORE Sir Ruthven Murgatroyd (Disguised as Robin Oakapple, A Young Farmer). ........................................ John Reid Klein Richard Dauntless (His Foster Brother, A Man-o'Wars-Man)...... Herbert Start Sir Despard Murgatroyd (Of Ruddigore, A Wicked Baronet) ...... David Newman Old Adam Goodheart (Robin's Faithful Servant)............Gershom Morningstar Sir Roderic Murgatroyd (A Former Baronet).......................Fred Rico Rose Maybud (A Village Maiden)................................. Lynn Tannel Mad Margaret................................................M arian Mercer Dame Hannah (Rose's Aunt)....................................Kathryn Leo Zorah ............ Professional Bridesmaids........... Sarah-Jane Weston Ruth ' Sandra Reid Gloria Antebi Sharon Claxton Mary Coedy Rozlyn Dolinsky Joan Donovan Rosalind Farris Maxine Herman Professional Bridesmaids Betty Hill Judith Murray Ann Polak Carol Rudman Carol Sapp Alice Scafide Bette Silverman Betsy Nichols Toby Stern Sally Stockwell Sandra Suino Judi Tendl er Alice Umemoto Ruth Yakes Sandra Zinsmaster Richard Booth Pete Cartwright Paul Cohn Jerry Davies George Finkel Larry Green Bucks and Blades Grant Hildebrand Neal Hillerman Cyrus Hopkins Robert Lauer Charles Menges Eugene Moore Terrell Rodefer Gary See Donald Seltz Robert Schulz Warren Sublette Dan Wolter EXECUTIVE BOARD President.................................Pat Montgomery Vice President...............................Richard Booth Secretary................................ Priscilla Torsleff Treasurer.......................................Ann Olson Production Co-ordinator .................... Thelma Kavanau Faculty Advisors Professor and Mrs. Maynard Klein Mr. and Mrs. Sidney Straight Mr. and Mrs. Harry Benford 53 Ruddigore - 1956 GILBERT AND SULLIVAN ORCHESTRA Robert Brandzel, Conductor VIOLIN Marilyn Knaggs Wanda Pereli Diane Chadsey Virginia Stumm Marcia Wintner Edith Goldstein VIOLA Joanne Smalla Alice Dutcher CELLO Beverly Wales Richard Osius BASS Joseph Hanchrow FLUTE Patricia Martin Elaine Burr CLARINET Fred Ormand Donald Wilcox BASSOON Janet Uhl FRENCH HORN Jackie Mindlin David Dow TRUMPET Bruce Jacobson Walter Chesnut TROMBONE John Christie Earl Groner PERCUSSION James Moore PIANO Charlotte Davis 1997 Post Script: With Bob Brandzel and Dude Stephenson continuing their good work as directors, we find such familiar names as Morningstar, Tannel, and Mercer in leading parts. The role of Sir Roderick was credited to Fred Rico. (In those olden days a student on probation was not supposed to engage in extracurricular activities, so Fred's name was often used as a Lord High Substitute.) Those industrious publicity beavers were hard at work again for this show. Including Detroit papers, there were at least ten pre-show articles, including five with pho- tographs. In addition to all that free publicity, there were nine paid ads of one sort or another. Reviewer Jean Willoughby made comment to the effect that the singers had to contend with an over-enthusiastic orchestra. On the whole, however, she thought it was a great show and the overall effect was one of gaiety and color. We see here for the first time the name of Terrell Rodefer as part of the props crew. In later years Terry served many important backstage responsibilities. Another significant newcomer was John Reid Klein (Maynard's son), in the role of Robin Oakapple. Other key newcomers included Edith Goldstein and Ann Polak. Grant Hildebrandt stepped out after this, his eighth show. We now find Pat Montgomery as president, Pris Torsleff as secretary, and the two of them forming the entire light crew. In that year, too, it happens that Pat Montgomery must shoulder responsibility for inducing the Benfords to become faculty advisors. OBOE Patricia Stenberg PRODUCTION Technical Director.............. Hilliard Goldman Costume and Scenic Designer...... Thelma Kavanau Stage Crew Marshall Kievit Pat Montgomery Joel Baum Mona Shute Bob Lauter Bob Evans Alan Wineman Amanda Lauffer June Rose Randolph Kean Sharon Carrigan Richard Light Ann Rothman Ann Olson Nancy Leighton Natalie Rosengard Diana Kammins Props Janet Ewart Terrell Rodefer Lights Pat Montgomery Priscilla Torsleff Orchestra Manager Bruce Jacobson Prompter Mona Shute Tickets Robert Lauer Programs Bob Schulz Credits Bud Moore Ann Olson Lane Hall Michigan League Novelty Costume Company 1957 Princess Ida: Robert Denison (King Hildebrand) and Lynn Tannel (Princess Ida). Photo from UMGASS archives, now in UM Bentley Library. 54 Our Main Attraction PRINCESS IDA Lydia Mendelssohn Theatre Ann Arbor March 14-16, 1957 Wilson Auditorium Wyandotte March 22, 1957 Rackham Auditorium Detroit March 23, 1957 Musical director: Robert Brandzel THE CAST PRINCESS IDA King Hildebrand..........................................Robert Denison Hilarion (His Son).....................................Clarence Stephenson Cyril.........................................................John Klein Florian............................................ Gershom Morningstar King Gama................................................David Newman Arac Fred Rico Guron (His Sons)...................................Tom Sexworth Scynthius John Vavroch Princess Ida (Gama's Daughter).............................Lynn Tannel Lady Blanche (Professor of Abstract Science)..................Judy Tatham Lady Psyche (Professor of Humanities).................. Sarah-Jane Weston Melissa (Lady Blanche's Daughter)............................Sandra Reid Sacharissa Cynthia Conway Chloe (Girl Graduates)..........................Rosalind Farris Ada Ann Olson Dramatic director: Clarence E. Stephenson GILBERT AND SULLIVAN ORCHESTRA Robert Brandzel, Conductor Courtiers, Soldiers, and Girl Graduates Ruth Badenell Mary Coedy Linda Bates Judy Gilden Diane Franjac Carol Jones Helen Izzo JoAnn Krantz Carole Karp Betsy Nichols Carol Rudman Ann Polak Sally Stockwell Naomi Shulman Judy Volkert Alice Umemoto Lois Weiss Sandra Wilson Jo Zagray Peter Cartwright Sandra Zinsmaster Paul Cohn Betty Hill Eugene Moore Charles Menges Donald Seltz Patrick Smith Warren Sublette Robert Hembel Mark Moyer Edward Dickenson George Finkel Robert Lauer Buckley Robbins Robert Schulz Lyndon Whybrew Dan Wolter VIOLIN Sue Covich Marcia Wintner Patricia Howes Wanda Perelli Julie Gaines Edith Goldstein VIOLA Joanne SmaUa Blanche Mueller CELLO Beverly Wales Richard Osius BASS Roberta Wolff FLUTE Patricia Martin Elaine Burr OBOE Patricia Stenberg CLARINET Patricia Noffsinger Southard Busdicker BASSOON Robert Quayle FRENCH HORN Jackie Mindlin David Dow TRUMPET Bruce Jacobson Walter Chesnut TROMBONE Ken Miesen John Christie PERCUSSION James Moore PIANO Sue Litchfield EXECUTIVE BOARD President.......................... Jerry Davies Vice President.....................Eugene Moore Secretary........................... Mary Coedy Treasurer .... ............ David Dow Production Coordinator ...........Thelma Kavanau Publicity.......................... Richard Booth Faculty Advisors Professor and Mrs. Maynard Klein Mr. and Mrs. Sidney Straight Mr. and Mrs. Harry Benford 55 Princess Ida - 1957 1997 Post Script: An unusual feature of this show was that director Dude Stephenson cast himself as Hilarion, while Fred Rico played Arac. The casting notes tell us that Dude was spending his summers with the speech arts faculty at the National Music Camp "directing plays and the Operetta Workshop." Dude is still up there at Interlochen every summer directing massive productions of the Savoy operas. Amidst the plethora of puff pieces, the archives carry an extensive article about Lynn Tannel. In it she relates a story that has become an important item in UMGASS lore. She tells of twisting her tongue at one point in the previous show, Ruddigore, in which she played the soprano lead. At the point in the first act where she identifies her- self to Mad Margaret, she called herself "sweet May Rosebud," and left Mad Margaret to fight off hysterics. One of the paid ads looks something like this: MEN We have a full chorus of beautiful girls -- BUT there are still a few openings for men in GILBERT & SULLIVAN'S "PRINCESS IDA" If Interested Call NO 2-8453 Cultural note: See anything wrong with that ad? An incidental news clipping mentions that the newly opened Student Activities Building (SAB) was looked upon by UMGASS as a blessing. Now the troupe was to have an office and a place to store scenery other than in the attic of Lane Hall. What the article doesn't say is that the SAB also contained set building facilities and a place to store costumes. As we now know, the SAB was soon des- tined to make all students unwelcome so as to make room for the Big U's ever-expanding bureaucracy, although they still have enough chutzpah to leave the word "Student" in the name of the building. A lengthy article outlines the work that must be done to get the show ready and mentions that the week of the show calls for building a ticket booth on campus and arranging some sort of campus stunt to attract publicity. Max Woodruff writing in the AA1 News starts with: "In every important respect - musical and stage direction, acting, singing, choreography and staging - the University Gilbert & Sullivan Society's production of 'Princess Ida' is a successful one. The wholehearted and PRODUCTION Production Coordinator................Thelma Kavanau Technical Director...............John P. Montgomery Costumn and Set Designer.............Thelma Kavanau Electrician.,............................ Marshall Kievit Properties Chairman....--................Janet Ewart Makeup Chairman . .... Priscilla Torsiaff Program Chairmen . ..... Donald Selt Natalie Grodnik stae ew Priscilla Torsleff Randy Kean Stephen Cutler Alan Wineman Roger Bainbridge Peter Suit nene Maki Harriet Cluckstern Lenore Davis Dianna Kammins June Rose Cherry Coleman Sandy Suino Makeup June Rose Harriet Gluocastern Jerry Davies Richard Booth Eugene Moore Gwenn Bashara Mona Shute Gloria Sparber Publicity SecretarySaZaZinstaster Tickets RosaTind Farri Librarian Programs Ann Olson Robert Schulz Paul Cohn Betty Hill Edward Dickinson Orchestra Manager Bruce Jacobson Prompter Publicity Eugene Moore Alan Wineman Robert SchulzRtosalind Farris Sally Stockwell Joan Katz Robert Lauer Properties Terry Rodefer Assistants to Mr. Brandzel Cynthia conway Jane Hirschman CREDITS laHal Michigan League Tracy Music Company cooperative effort from everyone associated with last night's opening performance gave to it a near-professional polish and a thoroughness of delivery with which even the exacting and compulsive Gilbert would have had no valid quarrel. " Meanwhile, in Detroit the top ticket prices had crept up to $2.00. Newcomers included Harriet Gluckstein. Farewells to: Thelma Kavanau (after 8 shows) and Patricia Stenberg (6). By this time we had started making LP recordings and offering them for sale. We must confess, however, that it was some years before the quality of such recordings became truly satisfactory. They were eventually succeeded by cassette tapes, while cassettes in turn are now replaced by videotapes. 56 Our Main Attraction Aifter scaling fence and paling: John Klein (Cyril), Dude Stephenson (Prince Hi/anion), Gersh Morningstar (Florian). Photo from UMGASS archives, now in LIM Bentley Historic Library. Would you know the kind of maid:-John Klein (Cyril). Photo from UM archives, now in UM Bentley Historic Library. 57 Princess Ida - 1957 Walls andfences scaling. Robert Denison (King Hildebrand). UMGASS archives, now in UM Bentley Historic Library. With joy abiding. Finale of1957 Princess Ida. Photo from UMGASS archives, now in UM Bentley Historic Library. 58 Our Main Attraction TRIAL BY JURY Lydia Mendelssohn Theatre Ann Arbor November 21-23, 1957 Musical director: Robert Brandzel & THE SORCERER Rackham Auditorium Detroit December 7, 1957 Dramatic director: Clarence Stephenson THE CAST TRIAL BY JURY The Learned Judge...............................................Gershom Morningstar The Plaintiff........................................................Charlotte Schuster The Defendant ........................................................... Griffin Griffin Counsel for the Plaintiff.................................................. John Vavroch Usher,.................................................................Robert Denison Foreman of the Jury..................................................... George Finkel Cynthia Conway Peter Cartwright Paul Cohn Gene Correll James Anderson Ruth Badenell Richard Bauman David Blackburn Carla Cargill Mary Coedy Allan Collins Nancy Copenhaver Albert Encols Bridesmaids Sylvia Obert Catherine Quick The Jury James Currie George Mack George Finkel Norman Miller William Horner Charles Menges The Public Rosalind Farris Dale Mayers Jill Freedman Edmund Merriman Judy Gilden Jayne Miller Charles Hitselberger Helen Murray Sherry Hutte James O'Brien Carol Jones Suzanne Osborne Paul Lehman Ann Polak Ruth Lehman Elsa Ruedy Nancy Lind Alice Scafide Gerald Manning Sally Stockwell Eugene Moore Philip Power Buckley Robbins Robert Schulz Donald Seltz John Smead Sandra Suino Bette Tomola Alice Umemoto David Williams Dan Wolter Jo Zagray THE CAST THE SORCERER Sir Marmaduke Pointdextre.........................................Ernest Kramer Alexis......----- --- -- ........... .......................... ......... Jerry Langenkamp Dr. Daly............................................................ James Ueberhorst Notary ................ ........................................ Richard KretchmarJohn Wellington Wells.................................................David Newman Lady Sangazure..........,.......................... ................... Alice Dutcher Aline..........................................................Lynn Tannel Mrs. Partlet ................................... ..-.................... Ann Olson Constance .................. ....................... .................. Sandra Reid James Anderson Ruth Badenell David Blackburn Carla Cargill Peter Cartwright Mary Coedy Paul Cohn Allan Collins Cynthia Conway Gene Correll James Currie Rosalind Farris Villagers George Finkel Jill Freedman Judy Gilden Charles Hitselberger William Horner Sherry Hutte Carol Jones Paul Lehman Ruth Lehman Nancy Lind George Mack Gerald Manning Dale Mayers Charles Menges Jayne Miller Norman Miller Eugene Moore Helen Murray Sylvia Obert James O'Brien Ann Polak Philip Power Catherine Quick Buckley Robbins Elsa Ruedy Alice Scafide Robert Schulz Donald Seltz John Smead Sally Stockwell Sandra Suino Bette Tomola Alice Umemoto David Williams Dan Wolter Jo Zagray 59 Trial By Jury and The Sorcerer - 1957 EXECUTIVE BOARDPRODUCTION Production Coordinator.,............................Priscilla Montgomery Technical Manager.................................John (Pat) Montgomery Set Designer Lenore Davis Make-Up Carole Portney, Chmn. Patrick Smith, Chmn. Elaine Kashkin Sandra Smith Ann Olson Enid Towne Sheryl Callahan Jerry Davies Eugene Moore George Finkel Wardrobe Harriett Gluckstein, Chmn. Lee Bollendonk Joan Slelaff Orchestra Manager David Dow Asst. Orchestra Manager Chris Jacobson Electrician Costume Designer Marshal Kievit Albert Senter Stage Crew Publicity Alan Wineman Sally Stockwell Robert Montgomery Judy Gilden Hill Goldman Lenore Davis Art Simon Nancy Copenhauer Jan Willoughby Joan DeMou Allen Jirasek Darlene Dupuie Penny Lysinger Priscilla Montgomery Joan Feingold John Montgomery Barbara Lasky Sybil Sleight Edith Goldstein Ardith Ducolon Properties Janet Ewart Terry Rodefer Publicity Secretary Robert Schulz Prompter Mona Morningstar Rehearsal Accompanists Jane Hirschmann Cynthia Conway Judy Dickstein Programs Ann Polak, Chmn. Don Selta RobertlSchulz Paul Cohn GILBERT AND SULLIVAN ORCHESTRA Robert Brandzel, Conductor VIOLIN CLARINET President ................................................ Ann Olson Vice-President.................................... Jerry Davies Secretary.,,.....................................Mary Coedy Treasurer......... ........................ Charles Menges Production Coordinator...................Priscilla Montgomery Publicity......... .,............................ Sandra Zinamaster 1997 Post Script: Of particular note here was the return of founding mem- ber Jim Ueberhorst, back on campus to study law. He was welcomed by such regular veterans as Bob Brandzel, Dude Stephenson, Gersh Morningstar, David Newman, Lynn Tannel and David Dow. This was to be Jim's eleventh and last show. We still vividly recall the fine work David Newman did in the title role. His calm, matter-of-fact reaction to the elec- trifying incantation scene was a marvel to behold. One of the news items reveals that the society was still renting most, or all, of its costumes at this point. It also mentions that individuals who have completed five semes- ters with the group are awarded G&S pins shaped like a lyre. The headline in the Daily review said it all: "Twin Bill Delightful, Exuberant." Pat Montgomery and Pris Torsleff had by now become man and wife. Pat was tech manager and Pris production coordinator. This turned out to be their last UMGASS show, but they went on to continued glory with G&S groups in Maine. The chorus of 41 golden throats included another married couple of note: Paul and Ruth Lehman, both of whom are currently faculty advisors and the parents of our current FUMGASS treasurer: Laura Lehman Christian. Ruth Lehman is the sister of founding member Jimmie Lobaugh. Until he retired, Paul was senior associate dean in our School of Music. Recruits: Allan Colliers, Nancy Lind and Suzanne Osborn. Farewells to George Finkel (after 6 shows) and Pat & Pris Montgomery (8 each). Lenore Sherman Diane Chadsey Sue Covich Marilyn Knaggs Marcia Wintner Dale Seeback VIOLA David Jordan Blanche Mueller CELLO Robert Ritsema Linda Kessler Southard Busdicker Patricia Noffsinger BASSOON Russell Bedford FRENCH HORN Robert Reynolds David Dow TRUMPET Carl Balduf Bruce McCormick TROMBONE DavidCVan Fleet John Christie PERCUSSION Fred Steinbaugh PIANO Jane Hirschmann BASS Roberta Wolff FLUTE Carol Stavash Eleanor Tibbals OBOE Kay LaDouceur 60 Our Main Attraction H.M.S. PINAFORE Preceded by COX AND roX Lydia Mendelssohn Theatre Ann Arbor March 13-15, 1958 Wilson Auditorium Wyandotte March 21, 1958 Rackham Auditorium Detroit March 22, 1958 Musical director: Robert Brandzel THE CAST H.M.S. PINAFORE Sir Joseph Porter, K. C.B., First Lord of the Admiralty. .Gershom Morningstar Captain Corcoran, Commander of the H. M. S. Pinafore.............. John Klein Ralph Rackstraw, Able Seaman .................................... David Dow Dick Deadeye, Able Seaman ................................... David Newman Bill Bobstay, Boatswain's Mate................................Larry Wolf Bob Becket, Carpenter's Mate.................................Peter Michaels Josephine, The Captain's Daughter............................... Lynn Tannel Cousin Hebe, Sir Joseph's First Cousin..,...................Rosemary Palen Little Buttercup, A Portsmouth Bumboat Woman ............... Bonnie Glasgow Dramatic director: Clarence Stephenson THE CAST COX AND BOX James John Cox, A Hatter............................................. Robert Brandzel John James Box, A Printer.........................................Clarence Stephenson Sergeant Bouncer, Their Landlord....................................... Robert Denison Carolyn Beau Sandra Becker Karen Chamn Barbara Christiansen Marianne Davidson Judy Heric Sherry Butte Carole Karp Sisters, Cousins, and Aunts Jane Lauer Nancy Lind Dale Mayers Suzanne Osborne Ann Polak Louise Rose Rachelle Rosen Elsa Ruedy Cynthia Shore Alta Singer Sally Stockwell Sandra Suino Bette Tomola Alice Umemoto Ruth Wegman Jo Zagray GILBERT AND SULLIVAN ORCHESTRA Robert Brandzel, Conductor Sailors Richard Bauman Peter Cartwright Paul Cohn Allan Collins Gene Correll James Currie David Damouth Robert Denison John Hitchcock William Horner Mark Lagome George Mack Charles Menges Tyrone McConnell Norman Miller Eugene Moore Philip Power Kurt Reinstein Fred Rico Donald Seltz Richard Schultz Robert Schulz John Smead Dan Wolter VIOLIN Lenore Sherman Patricia Howes Marilyn Knaggs Doris Posner Ellen Pannitch Dale Seeback VIOLA David Jordan Joanne Smalla CELLO Robert Ritsema Linda Kessler BASS Roberta Wolff FLUTE Eleanor Tibbals Janet Gardner OBOE Kay LaDouceur CLARINET Patricia Noffsinger Southard Busdicker BASSOON Russell Bedford FRENCH HORN Vincent Schneider David Wickham TRUMPET Carl Balduf Bruce Jacobson TROMBONE Kenneth Miesen John Christie PERCUSSION Fred Steinbaugh PIANO Jane Hirschmann Executive Board President ......................... Charles Menges Vice-president ................ Gershom Morningstar Secretary .............................. Ann Polak Treasurer.........................Peter Cartwright Publicity Manager .................... Robert Schulz 61 H.M.S. Pinafore & Cox and Box - 1958 Set Deli er Lenore vs e Lighting -Wi"shall Kievit, Chmn. Robert Montgomery William Weimer Stags Crew "ger Balnbridge Ardith Ducolon Joan Feingold Hill Goldman Edith Goldstein Harriet Glucksteln Al Jirasek Douglas McLain Richard Moulton Arthur Simon Harry Webb Alan Winman Wardrobe AndWtel, Chin. Mary J' Campbell Betty Viel Carolyn Strutz PRODUCTION Technical Directors J. Marshall lit Jan S. Willoughby Prorties Jan war, Chain. Terry Rodeler Programs n W nz, Chmn. Alan Wineman, Chinn. Philip Power Sherry Honte Paul Cohn Jane Hirschmann Tyrone McConnell Arthur Simon Ann Polak Orchestra -Manager Bruce Jacobson Prompter Mona Morningstar Production Assistant Leslie nglan Photographer Philip Pwer Production Secreary Harriet Glucktein Publicity Rober Schul, Mgr. Nancy Copenhaver Philip Power Publicit Secretar Me -U r Rico, Chmn. Enid Weieband Shieryt Callahan Rehearsal Accompanists Jane Hirschmann Rosemary Splee 1997 Post Script: In their final appearances for the Society, directors Stephenson and Brandzel gave themselves a treat by taking the title roles in the curtain raiser. Several of the principals in Pinafore were veterans: Gersh Morningstar, John Klein, David Newman, and Lynn Tannel. The chorus of 48 included a young fellow named Philip Power, who is now a member of the UM board of regents. See Dude Stephenson's entry in the appendix for the story of how a case of the mumps threatened to destroy the show. Tickets One of the pre-show publicity pieces states that by the Mona Morningdtar time the curtain rises, each participant has been in prepa- ration for an average of eighty hours. Also, tellingly, "Tickets for tomorrow's show have been sold out since Tuesday." A reviewer, Allegra Branson, described the main event as, "most delightful, spirited, colorful, and generally excellent. Gloria Bennish, in a 1972 interview, relates a yarn about an unspecified UMGASS production of Pinafore. Could it have been this one? In her report, ". . . the two leading players in the term's production, Pinafore, were confined by doctor's orders to the Health Service Building for the week of the performance because of sore throats. With help from friends, the two managed to sneak out from the building each night, make the performance, and then sneak back in. Farewells to: David Dow (after 14 shows), David Newman (8), Janet Ewart (7) and Donald Seltz (9). The Major-General (Tom Jennings) and three of his wards: Sally Stockwell, Carla Cargill, and Beverly Garber. From 1959 Pirates of Penzance. Photo from UMGASS archives, now in UM Bentley Historic Library. 62 Our Main Attraction PATIENCE Lydia Mendelssohn Theatre Ann Arbor November 20-22, 1958 DeVilbiss High School Auditorium Toledo December 5, 1958 Rackham Auditorium Detroit December 6, 1958 Music director: Robert Denison THE CAST Dramatic director: Jim Bob Stephenson GILBERT AND SULLIVAN ORCHESTRA Robert Denison, Conductor PATIENCE Colonel Calverley.............(Officers of) . ... Warren Jaworski Major Murgatroyd............( Dragoon ).. .. Thomas Jennings Lieut. The Duke of Dunstable .,...( Guards ) .. .David M. Schwartz Reginald Bunthorne (a Fleshly Poet)..........Gershom Morningstar Archibald Grosvenor (an Idyllic Poet)................John Vavroch Mr. Bunthorne's Solicitor ....... ............. Frederick Rico The Lady Angela...... . ....... ( ) ...... Janet Wilkinson The Lady Saphir...............(Rapturous) ..... Gloria Cusumano The Lady Ella..............( Maidens) ......... Virginia Hill The Lady Jane..............( ) ...... Althea Romaine Patience (a Dairy Maid).......................Carla Cargill Rapturous Maidens Flute Pat Martin Sandy Mount Oboe Elaine Sublette Clarinet Bill Donahue Bob Stakenas Bassoon Jerry O'Connor Trumpet Bruce Jacobson Dave Bates Percussion Calvin Langejans Violin Dale Seeback Nancy Slawson Florence Poe Ruth Rittenhouse Mary Carter Carol Jewell Marilyn Knaggs Cello Bob Ritsema Don Tracy Bass Paul Staples Horn Dave Whitwell Don Drew Kay Miesen John Christie Sandra Becker Laurel Benn Kathy Bennet Barbara Christiansen Linda Davison Nancy French Beverly Garber Judy Gilden Cyndie Hoffert Sherry Hutte Laurel Krauss Jane Lauer Nancy Lind Dale Mayers Arlene Miholancan Dragoon Guards Jack Houck Jon Maxwell Ty McConnell Gerald McDonald Tom Moceri Bud Moore Charles Murdoch Suzanne Osborne Ann Polak Alice Scafide Julie Stockwell Sally Stockwell Bette Lynn Tomola Alice Umemoto Jim Brickley Peter Cartwright Patrick Chester Allan Collins Edward Dickinson Ward Edwards William Fors Julius Myers Robert Ogburn Brian Parker James Stegenga John Titchener Bob Wilson Dan Wolter EXECUTIVE BOARD President........................... Peter Cartwright Vice-President........................ Marshall Kievit Secretary. ................................... Judy Gilden Treasurer. ................................... Jim Currie Publicity...............................Ann Polak Faculty Advisors Mr. and Mrs. Sidney Straight Mr. and Mrs. Maynard Klein Mr. and Mrs. Harry Benford The Department of Speech 63 Patience - 1958 PRODUCTION Production Manager. .................... Jan Willoughby Stage Crew......... ... Linda Davison, Harriet Gluckstein, Edith Goldstein, Al Jirasek, Mary Leppala, Ed Mahler, Douglas Mc - Lain, Linda Miller, Doug Schroeder, George Sporzynski, Bill Weimer, Al Winemnan Set Designer. ......................... Edith Goldstein Lighting. .. ........ Marshall Kievit, Designer; Bill Weimer, Electrician; Douglas McLain Properties....... Terry Rodefer, Chairman; Sherry Stasheff Wardrobe....... Carolyn Strutz, Chmn.; Mary Jo Campbell, Nadia Abraham Make-Up............ .Jerry Davies, Chmn.; Carol Warner, Barbara Miller, Murna Moxley, Cecile Winestein, Beverly Hestenes, Nancy Jones 1997 Post Script: This show featured two new directors. Jim Bob Stephenson (a WWII veteran and instructor in the Department of Speech) replaced his brother, Dude, as dra- matic director, while Robert Denison (a veteran of three on-stage UMGASS performances) replaced Bob Brandzel as music director. It seemed to us that Jim Bob, while doing a credible job, suffered by comparison with his brother. Nevertheless he was popular with the performers and stayed on for a total of three productions. Gersh Morningstar returned for his seventh UMGASS show, but the other leads were newcomers. Among these was Tom Jennings, who later came back for several more shows. We well remember the entry of the women's chorus for the finald of the first act. Gersh, in the role of Bunthorne, was stretched out full length on the lovesick maidens' shoul- ders, face to the sky, and looking particularly green- cheeked and desolate. A review in the AA News calls the show captivating. It speaks approvingly of slapstick humor (which we don't recall), but also mentions that Gersh Morningstar, as Bunthorne, "turned several laughs that weren't in the orig- inal script on a gesture." New blood: Julius Myers, Laurel Otte and Julie Stockwell. Prompter..... Programs .... .................... Mona Morningstar ... Karen Chanin, Chnn.; Nancy Lind, Chmn.; Suzanne Osborne, Robert Schulz, Sherry Stasheff, Patrick Chester, Michael Went- worth Tickets. . Publicity. . .. . . . . . . .. . . . . . . .Mona Morningstar .. ... . .. Ann Polak, Chmn.; Robert Schulz, Arnold Matlin, Mabelle Lengyel, Hill Goldman Publicity Secretary. ................... Nancy Copenhaver Rehersal Accompanist. .................. Carol Colin Photographer. .......................... David Arnold Fond farewells: Bruce Jacobson Martin (7), Robert Schultz (7). (after 7 shows), Patricia A publicity shot for Detroit newspapers showing cast members from Detroit: I to r: Tom Jennings, Beverly Garber, Julius Myers, Julie Stockwell, Patrick Chester, and Sally Stockwell. Photo from UMGASS archives, now in UM Bentley Historic Library. 64 Our Main Attraction THE PIRATES OF PENZANCE Preceded by RICHLEY REWARDED: A TRIUMVIRETTA IN ONE ACT Lydia Mendelssohn Theatre Ann Arbor March 12-14, 1959 Wilson Auditorium Wyandotte March 20, 1959 Rackham Auditorium Detroit March 21, 1959 Music director: Frank Mueller THE CAST The Pirates of Penzance Frederic ........................... Charles W alton Ruth (his Nurse) ................. Mary Alice Powell Pirate King ............................ Larry W olf Major-General ...................... Tom Jennings His Wards: Mabel ....................... Lynn Tannel Edith......................Carol Werner Isabel ....................... Judity Gilden Kate.....................Sara-Jane Weston Sergeant of Police ................ Bowen Schumacher Samuel ............................ John Vavroch Major-General's Wards Jean Barr Joan Lucas Sandra Becker Marcia Milanowski Carla Cargill Sue Osborne Linda Davison Ann Polak Beverly Garber Elsa Ruedy Virginia Hill Alice Scafide Paula Johannes Miriam Singer Barbara Lanehart Sally Stockwell Sherry Lewin Alice Umemoto Nancy Lind Sharon Wolf Alternate: Susan Huggard Lucky Stephenson Dramatic director: Jim Bob Stephenson THE CAST Richley Rewarded Sir Algernon Flitt ................... David Schwartz Sir Rodney Childeblande ................ John Klein Sir Cholmondeley Cholmondeley ......... Paul Zweifel Pirates and Policemen Pat Chester Tyrone McConnel Allan Collins David Minikel David Damouth Eugene Moore Robert DeVries Julies Myers Edward Dickenson Phil Ross Robert Dunlap John Smead Roger Honkenen Hubert Smith Donald Hovey Benjamin Steiner John Madeley Robert Wingler John Maxwell Charles Wurst Alternate: Irving Byer Faculty Advisors Mr. and Mrs. Sidney Straight Mr. and Mrs. Maynard Klein Mr. and Mrs. Harry Benford The Department of Speech 65 The Pirates of Penzance & Richley Rewarded - 1959 1997 Post Script: Frank Mueller (grad student in music) now replaced Denison as music director, a position that he held for he next four shows. Morningstar and Brandzel contributed a clever curtain- raiser called Richley Rewarded. If nothing else, the mini- opera is noted for introducing into our ranks Paul Zweifel, who went on to perform several leading roles; he was eventually put out to pasture as a faculty advisor and anchor-man on alphabetical lists. Lynn Tannel sang Mabel, her farewell role with us. We well recall that she was then obviously pregnant, which fact tended to justi- fy her decision to accept Frederic's offer of marriage. Reviewer Mack Woodruff said the orchestra on occasion seemed to be getting in its own way. Otherwise the rest of the review was all peaches and cream. He concluded as follows: "As long as there are operettas like 'The Pirates of Penzance' and groups like the Society to give them the production treatment they deserve, it's highly unlikely that the world will ever grow too tired of Gilbert and Sullivan." Now there's a sentiment worth casting in bronze and mounting over the front door of the Mendelssohn Theatre. One of the ads is for a special children's matinee. Prices are 75 cents for children and one dollar for parents and teachers. Recruits: Miriam Singer and Benjamin Steiner. Saying farewell: Judy Gilden. (after 7 shows), Ann Polak (6), Betty Beebe (7), Sally Stockwell (7), Alice Umemoto (7) and Sarah-Jane Weston (6). 1959 Yeomen in rehearsal. Paul Zweifel (Sergeant Meryll) in front. Photo from UMGASS archives, now in UM Bentley Historical Library. 66 Our Main Attraction YEOMEN OF THE GUARD Lydia Mendelssohn Theatre Ann Arbor November 18-21, 1959 Rackham Auditorium Detroit November 28, 1959 Music director: Frank Meuller THE CAST In order of their appearance Phoebe Meryll (Sergeant Merylls Daughter) ........ MARY CAROLYN SHAW Wilfred Shadbolt (Head Jailer and Asst. Tormentor).... RICHARD KRETCHMAR Second Yeoman ..................................... BUD MOORE Dame Carruthers (Housekeeper to the Tower).............. MARY LEPPALA Sergeant Meryll (Of the Yeomen of the Guard)............ PAUL ZWEIFEL Leonard Meryll (His Son)................................JERRY HAKES Colonel Fairfax (Under sentence of death).............. T MCCONNELL Sir Richard Cholmondeley (Lieutenant of the Tower),. .. KENNETH HUDSON Jack Point (Strolling Jester).................... GERSHOM MORNINGSTAR Elsie Maynard (Strolling Singer)....................... KAREN DECKER First Citizen ........................ ... ........... JAN WILLOUGHBY Second Citizen ................................... CLYDE McVICAR First Yeoman ....... ............................... DAVID MINIKEL Headsman ........................ ............... DOUo MADELEY Friars .................. ...... ................... Juuus MEYERS DANIEL WOLTER Kate ......................................... VIRGINIA HILL Chorus of Townspeople Bower Theatre Flint November 27, 1959 Toledo December 5, 1959 Dramatic director: Jim Bob Stephenson GILBERT AND SULUVAN ORCHESTRA FRANK MUELLER, Conductor Violin STUART BLOOM BARBARA HENDERSON ELAINE HYMAN CAROL JEWEL VONGSUCKDSI MAREITAN JEAN PANN DALE SEEBACK JIM SCHAFFER JOHN KELINGOS Viola DAVE JORDAN PAM HARRIS Cello JOANN ADAMS LINDA KESSLER Bass JERRY BRINKER SUE TANNER Flute KAY GARDNER SANDRA MOUNT DAVE SMITH Percussion LAURIE EPSTEIN THERESA LOPEZ BOB POZAR Oboe KARL ZINN ALICE CAMP Clarinet VIVIAN FINLEY DOUG ISAACSON DELIGHT LEWIS LARRY SHAW ROBERT GARRELS Bassoon DAN SMITH Horn JOHN BRISBIN GEORGE DUNN Trumpet STAN MOGELNICK BYRON PEARSON JIM McKIMMY Trombone DAVE MAGE DICK YORK GARY WALDO CONSTANCE BAILEY SANDRA BECKER LAUREL BENN JULIE BORNG SUSAN CARRINGTON ILENE COHEN EUGENE CORRELL SHIRLEY DAVIS ANNE DUNSMORE MARTHA GLOMSET HARRIET GLUCKSTEIN MARJORIE KALM JUDITH KROL PATRICK CHESTER ROBERT DUNLAP JERRY HAKES DAVID KILPATR[CK SHERRY LEWIN NANCY LIND JEANNE LUCAS INA LYNCH J. DOUGLAS MADELEY CLYDE MCVICAR JULIUS MEYERS SUSANNE OSBORNE PHYLLIS PETERS JEAN SAYRE FRED SHIPPEY FRED RICO Chorus of Yeomen NORMAN MILLER DAvID MINIKEL BUD MOORS DAVID SCHWARTZ ESTHER SOKOLOV JULIE STOCKWELL CAROL WARD JANET WILKINSON JAN WILLOUGHBY DANIEL WOLTER CHILDREN NANCY LrrrKEHAus BETSEY PLANT JOHN STEPHENSON LUCKY STEPHENSON JOHN SMEAD HUBERT SMITH PETER SMrH- BEN STEINER EXECUTIVE BOARD President ...................... MONA MORNINGSTAR Vice President ..................... DAVID SCHWARTZ Secretary ........................... SANDRA BECKER Treasurer . . ....................... TY McCONNELL Faculty Advisors Mr. and Mrs. Sidney Straight Mr. and Mrs. Maynard Klein Mr. and Mrs. Harry Benford The Department of Speech 67 The Yeomen of the Guard -1959 PRODUCTION Production Managers ....... EDITH GOLDSTEIN, TERRY RODEFER Set Designers ............ RUSSELL THAYER, EDITH GOLDSTEIN Stage Crew ... SANDRA DALLAS, GAIL KURIANSKY, GAY LAGUtRE, LINDA MILLER, MIKE PENNER, STAN REDFERN, SUE SAUTTER, MIM SINGER, SHERRY STASHEFF Lighting Design............. .JAN WILLOUGHBY, TERRY THURE Light Crew . . ............ STAN REDFERN, TERRY RODEFER Properties .. . -....................... SHERRY STASHEFF Wardrobe........ VIRGINIA MUELLER, Chairman; RUTH HAHN, Chairman; PAMELA DEJOUR Prompter .... .................. MONA MORNINGSTAR Programs. . .. LAUREL BENN, Chairman; MONA MORNINGSTAR, GERsHOM MORNINGSTAR, JEAN SAYRE Tickets .................. .... NANCY LIND Publicity....... . ....... . . ................ DAVID M INIKEL Publicity Secretary .................... HARRIET GLUCKSTEIN Rehearsal Accompanists... . .CAROLYN ADAMS, CONNIE BAILEY Photographer. . .. . ...................... .. DAVID GILTROW Orchestra Manager ................. ....... PETER SMrrH 1997 Post Script: Two new participants of significance were Fred Shippey (chorus) and Sue Sautter (stage crew). These two later married. In due course they brought forth a little bundle of joy named Beth, who later became an UMGASSian pillar, and is still much in evidence in these parts. Collins George writing in the Free Press found little to praise in this production: "The University of Michigan Gilbert and Sullivan Society was at its poorest in its pre- sentation of 'Yeomen of the Guard' Saturday in the Rackham Memorial Auditorium. This was all the more disappointing as one has come to expect expert perfor- mances from the group [etc. etc.]. Collins George did, however, have flattering things to say about Karen Decker (Elsie) and Ty McConnell (Fairfax) and admitted that the scenery and costumes were beautiful. As for the orchestra, it was "pitiful." He winds up his review by saying, "The Society has done so well in the past, one hopes its next presentation will be back up to its old standard." Other newcomers were Carolyn Adams and Ruth Hahn. Adieu to Mona Morningstar (after 8 shows) and Dan Wolter (8). A strange proposal you reveal: Gersh Morningstar (Jack Point), Karen Decker (Elsie Maynard) and Kenneth Hudson (Lieutenant). Photo from UMGASS archives, now in UM Bentley Historical Library. 68 Our Main Attraction IOLANTHE With Selections From THE BAB BALLADS Lydia Mendelssohn Theatre Ann Arbor March 10-12, 1960 Lincoln Junior High School Wyandotte March 18, 1960 Highland Park High School Detroit March 19, 1960 Director: Jim Bob Stephenson Music director: Frank Mueller IOLANTHE Celia .......................................... ANITA FECHT Leila .. .................................... M ARY SHAW Fleta ..................................... JULIE STOCKWELL Queen of the Fairies ....... .. . . . . .. . . . . .CHRISTINE HOSACK Iolanthe .................................. LAUREL BENN Strephon ................................ TY MCCONNELL Phyllis ............................. ...... VIRGINIA HILL Lord Tolloller .............................. PETER SMITH Lord Mountararat ....................... KENNETH HUDSON The Lord Chancellor ....................... TOM JENNINGS Private Willis ............................. PAUL ZWEIFEL First Train Bearer . . .. .. . .. . . . . . . . . . . . .. . JOHN STEPHENSON Second Train Bearer .................. EVELYN STEPHENSON THE BAB BALLADS OVERTURE General John Gentle Alice Brown Roll on Thou Terrestrial Globe. . The Reverend Micah Sowles The Disconcerted Tenor To Phoebe ................... The Fairy Curate .... Sung by DAVID SCHWARTZ ......... Sung by PETER SMITH JEANNE LUCAS ERNA WEINER PAT KRAMER LINDA HERIC DARIA HAMBURG JOANNA MYERS CARRIE WARD JOHN BOSTROM EUGENE MOORE WARD EDWARDS JOHN SMEAQ JULIUS MYER LARRY GREEN Chorus of Fairies CAROLYN FOLTZ JUDY GREEN NANCY DENOVAN MARGARET ZEIGER SHEILA FELDSTEIN ROCHELLE GOODMAN SUZANNE OSBORNE Chorus of Peers FRED SHIPPEY JON CLARK BEN STEINER 0. WORTH STEPHENSON BARRY ROSENFELD ROBERT DAVIDOW SHERRY LEWIN NANCY LIND JEAN SAYRE AMY BAND ELENA RADLEY GAYE LA GUIRE MICHAEL BAAD DAVID KILPATRICK NORMAN MILLER JACK ROUSE WILLIAM GIOVAN ROGER HONKANEN EXECUTIVE BOARD President...............................EUGENE MOORE Vice President....... ............. TYRONE McCONNELL Secretary.................................LAUREL BENN Treasurer..................................JULIUS MYERS Technical Directors......................EDITH GOLDSTEIN TERRY RODEFER Faculty Advisors Prof. and Mrs. Maynard Klein Mr. and Mrs. Sidney Straight Prof. and Mrs. Harry Benford Prof. and Mrs. Ward Edwards The Department of Speech 69 lolanthe - 1960 GILBERT AND SULLIVAN ORCHESTRA FRANK MUELLER, Conductor Violin PENELOPE LINT CAROL JEWELL ELAINE HYMAN ALBERTA COHEN JOHN KELINGOS Viola SUSAN McKINNEY SUSAN STRAUSS FELIX PAPPALARDI FRED FRICO Cello ELLEN WEATHERBEE Bass SUE TANNER Flute KAY GARDNER KAREN HILL NAOMI PASTER Percussion HAROLD JONES WILLIAM CURTIN LAURIE EPSTEIN Piano CONSTANCE BAILEY Oboe ALICE CAMP MRS. JOHN BRISBIN Clarinet ROSS POWELL MAC DANFORTH DOUGLAS ISAACSON BERNARD SELLING KAREN FREEVOL BOB GARRELS LARRY SHAW Bassoon WILLIAM SCRIBNER Horn VINCENT SCHNEIDER JOHN BRISBIN GEORGE DUNN Trumpet BYRON PEARSON JACK McKIMMY Trombone GARY WALDO DAVE MAGE DICK YORK ARDEN MIESEN PRODUCTION Assistants to the Directors ...... VALJOAN URBAN, JACK ROUSE Technical Directors ....... EDITH GOLDSTE1N, TERRY RODEFER Stage Manager ...................... .. . .. TERRY RODEFER Set Design ............................. EDITH GOLDSTEIN Lighting Design ............. TERRY THURE, ELLEN WITTMAN Wardrobe ..................... RUTH HAHN, JUDY SMITH Properties ................. ..... . .. SHERRY STASHEFF Bookholder ........................... VIRGINIA MUELLER Programs .............. DAVID SCHWARTZ, VIRGINIA MUELLER Cover ............................. ANDY ARGYROPOULOS Tickets .................................. SHERRY LEWIN Publicity ................... PAT CHESTER, NORMAN MILLER Rehearsal Accompanist .................. ... CONNIE BAILEY Orchestra Manager ......... ................. PETER SMITH Photographer ............................ ALLAN WINDER Call Girl ............................... GAIL KURIANSKY Historian. .... ................. GAIL KURIANSKY Mailing List ........................ HARRIET GLUCKSTEIN Make-Up ............. CECILE WEINSTEIN, RUTH GALANTER, ANNE HOOVER, JANE KESSLER, ESTHER NEWTON, JOAN RADNER, JANET RETZKER- Costume Crew............LUCKY STEPHENSON, PAM DEJOURNO, SALLY LESEUR, BOBBI FISHER Light Crew...............TERRY THURE, ELLIE WITTMAN, DOUGLAS MCLAIN Stage Crew..........TOM BROWN, FRED RICA, LINDA MILLER, STAN REDFERN, JACK ROUSE, SUE SAUTTER, MIM SINGER, FRANK SLYKER, FRED SHIPPEY, RON BROWN, RUTHY ROSENWACH Ensemble For The Bob Ballads Flute Clarinet KAREN HILL ROSS P Oboe Horn LOUISE SHELDRUP VINCEI Bassoon WILLIAM SCRIBNER OWELL NT SCHNEIDER 1997 Post Script: This show is noted for its curtain raiser: selections from Gilbert's Bab Ballads, with incidental music by David Schwartz. After an absence of two years, Dude Stephenson returned to do the recitations, and this served as his farewell to the society after 16 shows. The orchestra included a name that was to become familiar in later years: Felix Pappalardi. Another potent newcomer was Mike Baad (chorus). We note in the stage crew a certain Fred Rica, an alias, perhaps, for Fred Rico? New recruits: O. Worth Stephenson, Ellen Weatherbee and Anne Hoover. Farewells: Eugene Moore (after 10 shows) and Suzanne Osborn (6). A new entry appeared among the Faculty Advisors: Prof. & Mrs Ward Edwards. 70 Our Main Attraction THE MIKADO Lydia Mendelssohn Theatre Ann Arbor November 10-12, 1960 Rackham Auditorium Detroit November 19, 1960 J.L. Anderson High School Auditorium Trenton November 20, 1960 Music director: Frank Mueller Dramatic director: John Barrett GILBERT AND SULLIVAN ORCHESTRA FRANK MUELLER, Conductor THE CAST (In Order of Their Appearance) Nanki-Poo .................................. JERRY HARES Pish-Tush ................................. JULIUS MYERS Pooh-Bah ................................ M IKE ROBBINS Ko-Ko .................................... TOM JENNINGS Yum-Yum ................................ JEANNE LUCAS Peep-Bo ................................... .M ARY SHAW Pitti-Sing.............. .................... LAUREL BENN Katisha...................................KAY GARDNER The Mikado of Japan ........................ CARL SCHURR CHORUS OF SCHOOL GIRLS Violin Penelope Lint Nancy Kerr Ruth Seifert Sharon Dierking Ellie Rubin Alberta Cohen Viola Felix Pappalardi Cello Mary Anne Lentz Flute Anne Speer Oboe Alice Everett Bassoon Ellie Binhammer Clarinet Bob Garrels Larry Yurdin Carol Ober French Horn Chuck Marks Dave Elliot Trumpet Dave Wolter Bob Everett Trombone Dick York Dave Mage Percussion Bud Ronsaville Harold Jones Piano Carolyn Adams SUSAN KARYL COHEN CHRISTINE CONRAD NANCY DENOVAN JUDY EBNER BETTY FLANSBURG MARTHA FRYE JANET GOLDBERG SHELLY GOODMAN JUDITH GREEN RUTH HAHN JAN HURSHBURGER SHIREEN HUTTE LOUISE KAO SHEILA KWIAT NANCY LIND LOUISE LIU GINNY MUELLER MARY ANN OLSEN NANCY PERRY ELENA RADLEY JEAN SAYRE MIM SINGER ESTHER SOKOLOV JULIE STOCKWELL CAROLE THOMAS ERNA WEINER EUGENIA WESTOW MAGGIE ZEIGER CHORUS OF JAPANESE NOBLES JON CLARK RONALD SABACEK ALLAN COLLINS FREDERICK SHIPPEY DAVE KILPATRICK CLARK SMITH THOMAS LEMIEUX PETER SMITH JOHN MAIER BEN STEINER ROBERT MOSS WORTH STEPHENSON Executive Board President .................. Julius Meyers Vice-president..............Cecile Weinstein Secretary ................... Mim Singer Treasurer .................. Fred Shippey Technical director ........... Ron Brown Technical director ........... Terry Rodefer Publicity ................... Pete Smith Faculty Advisors Prof. and Mrs. Maynard Klein Mr. and Mrs. Sidney Straight Prof. and Mrs. Harry Benford Prof. and Mrs. Ward Edwards 71 The Mikado - 1960 PROGRAM Assistants to the Directors .. FELIX PAPPALARDI, CECILE WEINSTEIN Technical Directors ............ TERRY RODEFER, RON BROWN Scene Designers . . ............... .RON BRowN, TERRY RODEFER Scenic Artist .................................. LINDA M ILLER Stage Crew ........... SHELA FELDSTEIN, HARRIETT GLUCKSTEIN' JOAN GLUECKMAN, CAROLYN HELFENSTEIN, ANN HOOVER, DOUGLAS McLAIN, LINDA MILLER, JANE MOORE, ANN OLson, NAOMI PASTER, JOAN RADNER, SUE SAurER,r CAROL SHEPHERD, FRED SKIPPEY, BRIAN FENLON Properties ... . . .. . . . . . SHERRY STAsHEFF Lighting . . . . .... . .. . .. DAVID MILLER, PHILIP KLINTWORT, DUSTY SMITH, DOUGLAS McLASIN Wardrobe ...... RUTH HAHN, SHIELA FELDSTEIN, LUELLA MUELLER, GAYLE PEARL, BARBARA L. FERET, SANDY MAVIS Make-Up .................. ELAINE NOMA and GINNY MUELLER, BEVERLY BALLARD, NANCY DENOVAN, ANNE HOOVER, GAYE LA QUItE, NNCY PaRRY, STAN REDPERN, CAROLE THOMAS, CECILE WEINSTEIN Programs ................. LAUREL BENN, NANCY DENOVAN, STAN REDFERN, JEAN SAYRE, JUDY SMITH Tickets ............... .. ..... . NANCY LIND, CECILE WEINSTEIN, SHERRY HUTTE, MARY SHAW Publicity . ......................... BILL GIOVAN, PETER SMITH, KAY GARDNER, DICK ROSENBAUM Rehearsal Accompanist ........................ CAROLYN ADAMS Orchestra Manager .............................. KAY GARDNER Photographer ..................................... FRED SHIPPEY H istorian ................. ...................... JUnY SMITH M ailing List ................................... NANCY PERRY 1997 Post Script: Having stepped aside, Jim Bob was replaced by John Barrett, a doctoral candidate and teaching fellow in the Theater Department. Barrett had been a professional dancer and we still recall his enthusiasm for his work and the new level of dancing to which he drove the troupe. A newcomer named Mike Robbins played Pooh-Bah, his first of several roles with the group. Felix Pappalardi was assistant music director and played viola in the pit. One may note in the cast list a disquieting numerical imbalance between the men's and women's choruses. Reviewer Barbara Holmquist made several telling observa- tions starting with this: "When we come right down to a blunt analysis of entertainment in music, there can be no evading the fact that Gilbert and Sullvan ... have no rivals, peers or competition of any sort." She went on to mention that while the show was well done, the orchestra was not up to snuff and "limped and stumbled" through parts of the overture, "like an unwilling group doing compulsory sight- reading. Since one cannot always count on the shuffling and swishing of late-comers as acoustical camouflage, it behooves the Society to patch up the blotch on their oth- erwise shiny escutcheon." Newcomers: Anne Speer Atcheson and Jane Moore. To ask you what you mean to do. 1960 Mikado. Photo from UMGASS archives, now in UM Bentley Historical Library. 72 Our Main Attraction TRIAL BY JURY & RUDDIGORE Lydia Mendelssohn Theatre Ann Arbor March 16-18, 1961 Rackham Auditorium Detroit March 24, 1961 Detroit Institute of Arts Detroit March 25, 1961 Music director: Frank Mueller TRIAL BY JURY The Judge ...................................... Peter Smith The Plaintiff .................................... Anna Shaw The Defendant.. .................................. Jerry Hakes Counsel for the Plaintiff .......................... Julius Myers Usher...................................Felix Pappalardi Foreman of the Jury...........................Ron Sabacek Bridesmaids............. .Nancy Kerr, Lynne Lee, Marinna Mallis Elena Redley, Julie Stockwell Jury ......................... Fred Rico, Bob Moss, Tom LeMieux, Steve Blanding, Dave Kilpatrick, Clark Smith, Clyde McVicar CHORUS OF TOWNSPEOPLE Tony Bilotti Kathleen Simpliner Jay Cranston Bill Smith Bob Dahlin Alisande Staples Martha Fry Ben Steiner Joan Glueckman Carole Thomas Kirsten James George Vande Bunte John Maier Eugenia Weslow Carole Plamp Karl Williams Ann Shryock Elinor Winn Mim Singer Sandra Zisman Executive Board President ............................ Julius Myers Vice-president ......................... Nancy Lind Secretary .............................. Ann Olsen Publicity .......................... Dave Kilpatrick Publicity...............................Bob Moss Technical director .................... Terry Rodefer Dramatic director: John Barrett RUDDIGORE CAST Sir Ruthven Murgatroyd....................... Roger Staples Richard Dauntless............................... Jack Hart Sir Despard Murgatroyd........................ Mike Robbins Old Adam Goodheart...,............................Mike Baad Rose Maybud .................................. Lavetta Loyd Mad Margaret...................................... Kay Smith Dame Hannah ... .......................... Janet Rurshburger Zorah ......................................... Laurel Benn Ruth ..... .................................... Nancy Lind Sir Raderic Murgatroyd (Ghost)......................Carl Schurr Ghosts ...................... Steve Blanding, Dave Kilpatrick, Tom LeMieux, Pete Smith, Clyde McVicar, Bill Smith, Fred Rico, Julius Myers CHORUS OF BRIDESMAIDS Tony Bilotti Ann Shryock Martha Frye Kathleen Simpliner Joan Glueckman Alisande Staples Kirsten James Julie Stockwell Lynne Lee Carole Thomas Marinna Mallis Eugenia Weslow Carole Plamp Elinor Winn Elena Radley Sandra Zisman CHORUS OF BUCKS & BLADES Jay Cranston Ron Sabacek Bob Dahlin Clark Smith John Maler Ben Steiner Bob Moss George Vande Bunte Karl Williams ALTERNATE GIRLS CHORUS Rita Trager Ricky Johnstone Snuan Siegel Paula Siegel Faculty Advisors Prof. and Mrs. Maynard Klein Mr. and Mrs. Sidney Straight Prof. and Mrs. Harry Benford Prof. and Mrs. Ward Edwards 73 Trial By Jury & Ruddigore - 1961 GILBERT AND SULLIVAN ORCHESTRA Frank Mueller, Conductor Violin Bassoon Marcia Korwin Alice Everett Judy Meyer Bonnie Robbins Clarinet Ruth Seifert Mike MalkimEleanor Rubin John Morgan Viola French Horn Stanley Hale George Dunn Chuck Marks Dan Levine Trombone Flute Jan Hulett Monette Holmes Percussion Oboe Laurie Opstein Gertrude Bradley Piano Elaine Ploshnick Carolyn Adams PRODUCTION Assistants to the Directors: Felix Pappalardi, Allan Collins, Carl Schurr Technical Directors: Terry Rodefer Scene Designer and Artist: Terry Rodefer Stage Crew: Cecile Weinstein, Clark Charnetsl, Jan Hulett, Marcia Kasabach, Audri Fortuna, Phil Klintworth, Dave Miller, Dusty Smith, Harry Taxin, Becky Staton, Gretel Geist, Joan Gleuckman, Ann Olson, Jane Moore, Sue Sautter, Fred Shippy, Sherry Stasheff, Ann Hoover, Eric Arnold, Richard Bartels, Douglas McLain, Neal McLain, Linda Miller, Sheila Feldstein, Worth Stephenson, Chris Conrad, Laurie Pines, Joan Lieber, Michael Krive, John Rooks, Dave Wilson, Dianne Johnson, Naomi Paster. Properties: Sherry Stasheff, chairman; Sue Sauter, Jane Moore, Dave Miller Lighting: David Miller, Philip Klintworth, Dusty Smith, Audrey Fortuna, Cecile Weinstein, Sherry Stasheff Wardrobe: Ruth Hahn, chairman; Luella Mueller, Cheri Wilcox, Sallie Garabrant, Jeanne Lucas, Betty Flansburg Make-up: Ginny Mueller, Jack Rousse, chairmen; Judy Smith, Stan Redfern, Iris Lipkourtz, Elaine Wender, Janet Retzker, Anita Templer, Janice Weiss, Jody Meyers, Jean Sayre, Lynn Everrtt, Jan Jenkins, Rita Trager, Cecile Weinstein, Carole Thomas, Al Collins Programs: Erna Weiner, chairman: Nancy Kerr, Jean Sayre. Laurel Benn Tickets: Elena Radley, chairman; Joan Glueckman, Mike Robbins, Nancy Lind, Erna Weiner, Ben Steiner Publicity: Robert Moss, Dave Kilpatrick, chairmen; Sue Siegel, Ron Sabacek, Carl Schurr, Mim Singer, Harold Foreman, Louise Kao, Chuck Mantes, Betty Flansburg Rehearsal Accompanists: Carolyn Adams, Nancy Kerr Orchestra Managers: Nancy Kerr, Kay Smith Photographer: Fred Shippey Historian: Cecile Weinstein Social Committee; Elena Radley, chairman; Ben Steiner, Jack Maier 1997 Post Script: We now found Felix Pappalardi advanced to assistant con- ductor (and the role of the usher in Trial). The cast list was replete with newcomers who were to become important fixtures in succeeding shows: Steve Blanding, Jay Cranston, Gretel Geist, Roger and Alisande Staples, Karl Williams and his wife-to-be (Kay Sempliner), and Lavetta Loyd. Welcome to: Neal McLain and Becky Staton. Farewells to: Nancy Lind (after 8 shows), Julius Myers (6) and Ann Olson (7). Note that two road shows were staged in Detroit on suc- cessive evenings, the first in the Rackham Auditorium, the second in the Institute of Art. 74 Our Main Attraction 3J. 1I 4. . Finaf ore Fall 1961 Musical director: Felix A. Pappalardi, Jr. Director of staging: Tom Jennings DRAMATIS PERSONAE THE RT. HON. SIR JOSEPH PORTER, K.C.B. . ..EVAN FERBER CAPTAIN CORCORAN........................DICK HAZZARD RALPH RACKSTRAW.................................JACK HART DICK DEADEYE.. ..... ......................... MICHAEL BAAD BILL BOBSTAY.,..............................STEVE TAYLOR BOB BECKET..............................STEPHEN BLANDING JOSEPHINE......................... ........... CAROLYN KLEIN COUSIN HEBE.................................... LAUREL BENN LITTLE BUTTERCUP.........................SIDNI SCHWANEKE C H O R U S Sir Joseph's Sisters, His Cousins, His Aunts BRENDA BENCKS JENIFER McVAUGH TONI BILOTTI CAROLE PLAMP CHRIS CONRAD ELENA RADLEY RUTH HAHN KAY SEMPLINER NANCY HALL ALISANDE STAPLES LINDA HART BECKY STATON SHARON HEWITT JULIE STOCKWELL JOAN LIEBER ELLIE WINN Sailors, Marines, Etc. DENNIS L. ANDERSON JACK MAIER CURT BLANDING FRED RICO DAN CRAMPTON FRED SHIPPEY JAY W. CRANSTON ROGER STAPLES ROBERT DAHLIN O. W. STEPHENSON, III CHRIS JONES HARVEY J. TOLES DAVID M. KILPATRICK KARL WILLIAMS THOMAS LEVY 1997 Post Script: The directors, Pappalardi and Jennings, were new to the positions, but not to the Society. New names that were destined to become standard fixtures were Curt Blanding, Brenda Bencks, Andre Garner, Nancy Hall, and Tom Levy. O R C H E S T R A Felix A. Pappalardi, Jr., Conductor VIOLIN BASS FRENCH HORN Penelope Lint Patricia Smith Mitch Osman Sally Christenson FLUTE Chuck Marks Sharon Dierking Ann Speer Mike Stulberg Jeanette Hoffman TRUMPET OBOE Don Gillis, Jr. VIOLA Pat Cook Dave Wolter Lana Nail BASSOON TROMBONE CELLO Robert Barris Roxanne BatesCLARINET Ellen Weatherbee John Koljohnen PERCUSSION Sam Schultz Mike Crews Bill Curtin PRODUCTION CREW Technical Directors............PHIL KLINTWOTH, DAVE MILLER Scene Designer and Painter... . ............... JOAN GLUECKMAN Stage Manager........ ........................ NEAL McLAIN Stage Crew ............ BOB MOSS, BECKY STATON, NANCY HALL, JOHN ROOKS, FRED SHIPPEY, FRED RICO, AUDREY FORTUNA, JANET MUTH, JANE MOORE, GRETEL GEIST, BOB WESTOVER, NEAL McLAIN, SHEILA FELDSTEIN, JILL STEWART. Properties ......... SUE SAUTTER, JANE MOORE, GRETEL GEIST, SHERRY STASHEFF, FRED SHIPPEY Lighting ..................... PHIL KLINIWORTH, DAVE MILLER, AUDREY FORTUNA, JOHN ROOKS Wardrobe ................ SALLJIE GARABRANT, LYN TOLHURST. LUELLA MUELLER Make-up................ .... JANET GOLDBERG, ANN HOOVER, ANDREE GARNER, EMILY CUTLER, EUGEN1A WESLOW, LOUISE LIND, NAN DEBOER, LINDA LACY, ANN LAING Programs............ ........... CHRIS CONRAD, TOM LEVY, ALLAN COLLINS, FELIX PAPPALARDI, MIKE BAAD, JACK M A I E R, ROGER STAPLES, ALISANDE STAPLES. Tickets ..... . ............ STEVE BLANDING, CURT BLANDING Publicity ................. BEN STEINER, WORTH STEPHENSON, LEVEY DAVIDSON, JOHN MAYHEW, BOBBI FISHER. Rehearsal Accompanist...........................CAROLYN ADAMS Mailing List................................ ... DAVE KILPATRICK Historian ................. ...... ................ .GRETEL GEIST Welcome to Bob Westover. Farewell to Julie Stockwell (after 6 shows). 75 A personage of noble rank and title. 1960 Mikado with Tom Jennings (Ko-Ko), Mike Robbins (Pooh-Bah) and Julius Meyers (Pish-Tush). Photo from UMGASS archives, now in UM Bentley Historical Library. 76 Our Main Attraction PATIENCE Lydia Mendelssohn Theatre Ann Arbor April 3-6, 1962 Music director: Felix A. Pappalardi, Jr. DRAMATIS PERSONAE Colonel Calverley -------------------------------- Mike Baad Major Murgatroyd--------------------------------------Martin"Widzer Lieutenant, The Duke of Dunstable------------------------Brian Forsyth Reginald Bunthorne (a Fleshly Poet)-----------------------Tom Jennings Archibald Grosvenor (an Idyllic Poet)---------------------Dick Hazzard Mr Bunthorne's Solicitor----------------------------Heinrich Bjoenfjord The Lady Angela---- .----------------------------------- Betty Hubbard The Lady Ella----------------..--------------------------Nancy Hall The Lady Saphir----------------------------------------Jeanne Lucas The Lady Jane----- - ------------------------- Dana Krueger Patience (a Dairy Maid)----------------------------------Lavetta Loyd CHORUS OF RAPTUROUS MAIDENS Marilyn Bennett Sharon Hewitt Sidni Schwaneke Toni Bilotti Harriet Johnsen Meredith Seapy Alice Enos Paula Levy Kay Sempliner Margaret Franks Joan Lieber Janet Stagner Joan Glueckman Marian Mueliner Becky Staton Ruth Hahn Elena Radley Constance Zweifel OFFICERS OF THE 35th DRAGOON GUARDS Jay Cranston James Martin Stephen Straight Jack Hart Richard Mundell Harvey Toles Peter Kunsmann Fred Shippey Karl Williams Thomas Levy Ben Steiner Roger Wertenberger Jack Maier 0. Worth Stephenson P. F. Zweifel Executive Board President ............................. Mike Baad Vice-president ....................... Fred Shippey Secretary ............................ Chris Conrad Treasurer .......................... Steve Blanding Publicity ........................... Bob Westover Publicity ............................. Toni Bilotti Technical director .................... Terry Rodefer Faculty Advisors Rackham Auditorium Detroit April 28, 1962 Dramatics director: Roger C. Staples THE UNIVERSITY OF MICHIGAN GILBERT AND SULLIVAN SOCIETY'S 27hiriei Prod uction .1 14 Directed by: FELIX A. PAPPALARDI, JR. and ROGER C. STAPLES The cover of this program was an adaptation of the Pilotell etching appearing on the 1881 authorized Stoddard libertto. Professor and Mrs. Harry Benford Professor and Mrs. Ward Edwards Professor and Mrs. Maynard Klein Mr. and Mrs. Sidney Straight 77 Patience - 1962 ORCHESTRA Conducted by Felix A. Pappalardi, Jr. Violin I Lana Nail Thomas Le Veck Violin Ii Paul Swerkin Nancy Kerr Sanford Cohen Viola Susan Galbraith 'Cello Carolyn Tolson Sam Schultz Bass Mike Endres Percussion Bob Pozar Flute Anne Speer Jeannette Hoffman Oboe Patricia Cook Clarinet Robert Arrels Philip Georger Bassoon William Halsker Horn Mitch Osman Donald Mathews Trumpet Donald Gillis, Jr. Stan Mogelinicki Trombone Robert Benninghoff Kai Miesen PRODUCTION Assistants to the Directors . . . . . . . . Ellen Gustafson, Lavetta Loyd Choreography..-...-.. ... . , . Jay Cranston, Jack Hart, Tom Jennings Technical Director and Set Design . . . . . . . . . . ... Terry Rodefer Stage Manager.... . . . . . . -. Neil McLain Crew,... Eileen Alexander, Toby Berk, Alan Carr. Chris Conrad, Kay Cooper, Geri Davis, Judy Deke, Ellie Drake, Mynsa Drake, Gretel Geist, Sharon Hewitt, Ann Hoover. Phil Klintworth, Lynn Lipphart, May Louis, Neal McLain. Dave Miller, Jane Moore, John Rooks, Sue Sautter, Fred Shippey, Mim Singer, Cowboy Street, John Watt, Bob Westover, Carole Worther Properties . . . Sue Sautter (Chairman), Geri Davis, Gretel Geist, Jane Moore, Cowboy Street Lighting . . . Dave Miller (Chairnan), Toby Berk, Allan Carr, Audri Fortuna, Phil Klintworth, John Rooks Wardrobe . . . Sallie Garabrant (Chairman), Ruth Hahn, Mrs. Frank Mueller, Elaine Urban Make-up . . . Janet Goldberg (Chairman), Kathleen Balter, Beverly Bellas, Salty Garabrant, Andrea Garner, Ann Hoover, Louise Lind Programsr . . Chuck Humphrey (Chai-man) , Tom Levy, Jim Martin, Elena Radley, Roger Staples, Carol Watanabe, Nancy Wolfe, Connie Zweifel Tickets.. . . . . . . .,.. Ben- Steiner, 0. Worth Stephenson (Co-chairmen) Publicity . . Toni Bilotti. Bob Westover (Co-chairmen). Carolyn Adams, Kathy Balcer, 'Andree Garner, Ann Middleton, Bob Moss, Sidni Schwaneke, Fred Shippey, Carl Shurr, Roger Staples, Ellie Winn Rehearsal Accompanist . . . . . . . . . . . Ellen Gustavson Mailing List . . . . . .. . . . . Karl Williams (Chairman), Kay Senpliner Historian . . . . . . . . . . .. . . . . . . . . . . . Gretel Geist 1997 Post Script: This show is of particular significance to the Benfords. The directors wanted someone with a high forehead and long nose to play the solicitor, and Harry was chosen. That was the start of a much closer relationship with the troupe and one that still continues. Roger Staples, a teaching fellow in English, was the new dramatics director. Significant new- comers included Paula Levy (the future Mrs Baad), Connie Zweifel, Stephen Straight (Sid's son) and most significant- ly, Roger Wertenberger. Jay Cranston was chief choreog- rapher. One memorable touch was supplied by the man's chorus. At the point near the end, when it is announced that the duke is about to select a bride, the dragoons all applaud lustily. This goes on until at a hidden signal they suddenly stop. The effect was most weird and generated a good laugh. We well recollect an incident in the second act dress rehearsal. For the grand finale the dragoons dropped to one knee and the women, following their well-rehearsed actions, dropped in unison, each on her partner's extended knee. That was the intent, but now instead of those wel- coming knees the unsuspecting women jammed them- selves down on the upthrust hilts of so many sabers. Like a thoroughly-rehearsed troupe, they shrieked in unison and bounced back to the vertical position. After that the men wore those swords only in the first act. Julie Stockwell writing in the AA News said, "This semes- ter's production . . . has a professional precision that has not always been present in UM productions of the operettas." She had nice things to say about most, but not all of the principals, and gave highest praise to the ensem- ble numbers "where full chorus and orchestra were blend- ed ... into an exciting whole." Top ticket prices had by now crept up to $1.75. Cultural note: Along about this time the reviewers stopped referring to our productions as "operettas," and started call- ing them "light operas." or just "operas." The adjective "comic" came along somewhat later. Fresh recruits: Alan Carr, May Louis and Connie Zweifel. Farewells to Tom Jennings (after 6 shows) and Miriam Singer (6). 78 Our Main Attraction PRINCESS IDA Lydia Mendelssohn Theatre Ann Arbor November 7-10, 1962 Rackham Auditorium Detroit November 16, 1962 Music director: Dr. Rosella Duerksen Dramatics director: Gershom Clark Morningstar Executive producer: Fred Rico CAST OF PRINCIPALS King Hildebrand. .................... . . Paul Vanderkoy Hilarion (His Son).. ..................... Henry Naasko Cyril............................H endrik Broekman Florian......... . .... ....... ......... Dick Hazzard King Gama .................... Gershom Clark Morningstar Arac - -- . -- ---- ---... . . . . . .. . John Allen Guron . . .(His Sons) . ...... . . ... . .... Ronald Westman Scynthius)........ . Gene Correll Princess Ida (Gama's Daughter)...............Nancy Hall Lady Blanche (Professor of Abstract Science).......Lois Alt Lady Psyche (Professor of Humanities) ...... Brenda Bencks Melissa (Lady Blanche's Daughter)..... .... Carolyn Adams Sachrissa . . . .. .. . .... . .. .. Anne Niitme Chloe ..... (Girl Graduates) ............. .. Sue Morris Ada .... . . ... . ... .... .. .. .... ... Andre Garner Stephanie Zerby Beatrice Kay Houser Betty Royal Judy Jacobson Paula Levy Kay Sempliner Bob Westover James Mitter Richard Mundell Dan Rudgers Bob Roth ;IRL GRADUATES Carol Miller Karen Emens Mary Cay Corey Linda Blair Jodi Edgar Janet Way Becky Staton COURTIERS Ben Steiner 0. Worth Stephenson III Allen Jay Cooke Curt Blanding Mike Baumer Andrde Garner Maggie Franks Alloe Enos Lorenza Camacho Novia Muir Jan Stagner Louise McKnight Jay Cranston Peter Kunsman Barkley Bowman Al Collins Neal MeLain Flute: Judy Kerwin Alma Henderson Diana Owen Violin: Mary Ellen Henkel Julia Kurtyka Judy Wright Betsy Kirchen Viola: Ed Ungar Diana Slinker ORCHESTRA Double Bass: Andrew Amerson Art Feinberg Clarinet: Sterling Murray Roger Lang French Horn: Dale McIvor Judy Kohn Victoria Young Trombone: Bob Lang Constance Zweifel Trumpet: Lynn Winter Dave Robbins Sackbut & Psaltery: John Glen Piano: Mary Ellen Mason Drums: Turk Posar EXECUTIVE BOARD President. .. .. .. .. .. . . . . .. . . .. . .. .. ... Jay Cranston Vice President................. . ... ..... .. Dick Hazzard Secretary................................ .Becky Staten Treasurer.................................Al Collins Business Manager...............-.Charles E. Hurnphrey, Jr. Technical Director................... ..... ,.Fred Shippey Music Director.--.-.......................Itoselia luerksen Dramatics Director..............Gershom Clark Morningstar Faculty Advisors Prof. and Mrs. Harry Benford Prof. and Mrs. Ward Edwards Prof. and Mrs. Maynard Klein Prof. and Mrs. Paul F. Zweifel Mr. and Mrs. Sidney Straight 79 Princess Ida - 1962 COMMITTEES Assistant to the Business Manager .................................... Thomas Levy Assistants to the Director ... .... ...................... Jay Cranston and Anne Niitme Business Manager....................................Charles E. Humphrey, Jr. Costumes........................... Liz Stern (Chairman), Gretel Geist, Jane Moore Historian ..... ..... ............................................. Gretel Geist Lighting.. , . Neil McLain (Chairman), Al Carr, Clark Charnetski, Judy Duke, Dave, Miller, John Rooks. Mailing Lists.. ................................................... Kay Sempliner Make-up,. . Anne Hoover, (Chairman), Beverly Belles, Martha Eldridge, Peggy Hillman, Salli Kimberly, May Louis, Judy Silver. Props........ .............. .... Sue Sautter (Chairman), Gretel Geist, Jane Moore Programs... Andre Garner (Chairman), Al Cooke, Alloe Enos, Margie Hilkevitch, Charles E. Humphrey Jr., Silvana La Rocca, Thomas Levy, Roger Staples. Publicity.. . . Alloe Enos (Chairman), Paula Berry, Charles t. Humphrey Jr., Carol Watanabe. Rehearsal Accompanist.......................................Mary Ellen Mason Set Painter ............................ . ............................ Sue Sautter Stage Crew .. Janice Barnes, Al Carr, Clark Charnetski, Judy Deke, Martha Eldridge, Tom Friedman, Gretel Geist, Anne Hoover, Salli Kimberly, Lynn Lipphart, May Louis, Jane Moore, JoAnn Nagy, Ron Palmer, Mr. and Mrs. William L. Sautter, Teresa Sergel, Judy Silver, Bob Westover, Paul Zweifel. Technical Director and Set Design .... .................... .......... Fred Shippey Tickets ............. ................ Worth Stephenson, Ron Steiner, (Co-Chairmen) Wardrobe ...................................... Liz Stern (Chairman), Ann Correll 1997 Post Script: This show brought new directors: Gersh Morningstar (a PhD candidate and employee of the UM Mental Health Research Institute) and our first female director: Rosella Duerksen, for music. (She held a Doctor of Sacred Music degree and was the founder of the Cantata Singers.) Fred Rico had been promoted to executive producer, which may have been a mistake because by the next show he had dropped out of sight. Morningstar, himself, took the role of Gama. Reviewers in the Daily proclaimed: ". . . the Society avoid- ed its old pitfalls. Gone was the orchestra which drowned out the chorus; gone was the chorus which could not be understood. Instead, the show, for the most part, was live- ly and enjoyable, a feat none too simple with 'Princess Ida'." Ted Rancont in the AA News said, "Sparked by a crisp, sweet orchestra that dashed and darted with discipline under the baton of music director Dr Roselle Duerksen, a superb G&S chorus more than made up for the occasional shortcomings of an unequally matched set of principals to create an evening of fantasy and fun that was all smiles." Several significant names appear among the newcomers: John Allen, Henry Naasko, Lois Alt, Ann Correll, Salli Kimberly, Sue Morris,Dan Rudgers, and Mary Ellen Mason in her maiden effort as rehearsal accompanist. Other newcomers included Art Feinberg, Tom Freedman and Teresa Sergel. Farewells to: Laveta Loyd (after 3 shows) and O. Worth Stephenson (6). I can recall standing next to Lois Alt (our Lady Jane) watching the antics of the chorus in rehearsal and being surprised to hear her say, "Oh, I wish I were in the chorus!" That has always stuck in my mind, and it illustrates the truth that in G&S no element is more important, or brings more satisfaction, than the chorus. Jean Barnard's notes, as well as those of Sue Morris, in the appendix tell how our old regular Lavetta Loyd was called upon to replace the suddenly stricken Nancy Hall in the title role. Another cliff-hanger! Paul Zweifel and his wife, Connie, made their first appear- ance as faculty advisors. The program had a unique feature: the complete libretto for the opera, which would have been desirable if accom- panied by magnifying glasses and reading lights. 80 Our Main Attraction THE GONDOLIERS Lydia Mendelssohn Theatre Ann Arbor May 2-4, 1963 Musical director: Dr. Rosella Duerksen THE CAST The Duke of Plaza-Toro (a Grandee of Spain). . . James W. Brown Luiz (His Attendant) . . . . . . . . . . . . . . . . . . James Martin Don Alhambra Del Bolero (the Grand Inquisitor) . . . ..John Allen Marco Palmieri . . . . ( ) . . . . Henry Naas ko Giuseppe Palmieri . . . ( ) . . Richard Hazzard Antonio . . . . . . . . .(Venetian Gondoliers) . . . . Steve Taylor Francesco . . . . . . .( ) - . . . . . Jack Hart Giorgio . . . . . . . . . ( ) . . . . . Mike Baad The Duchess of Plaza-Toro . . , . . . . . . . . . . . . . . Lois Alt Casilda (Her Daughter) . . . . . . . . . . . . . . . Dolores Noeske Gianetta . . . . . . . . ( ) . . . . . . . . . . Karen Emens Tessa . . . . . . . . . ( ). . . . . . . . Jan Hurshberger Fiametta . . . . . . . . (Contadine) . . . . . . . . . . . Sue Morris Vittoria........( ) . . . . . . . . . . Phyllis Koch Giulia... ........ ( ) . . . . . . . . . . Diane Magaw Inez (The King's foster mother) . . . . . . . . . . . Judith Riecker Annibale . . . . . . . . . . . . . . . . . . . .Jay Wheeler Cranston Dramatics director: Gershom Clark Morningsstar ORCHESTRA Violin: Judy Wright Barbara Adams Anne Quackenbush Martha Dickey Marty Miller Viola: Ed Ungar Nancy Cole Cello: Mary Burt String Bass: Art Feinberg Flute: Judy Kerwin Ann Jarvi Clarinet: John Moses Bill Glace Oboe: Alice Everett Trumpet: D. Hurley Robbins Stuart Aptekar James Shugert French Horn: Vicki Young Judy Kohn Trombone: Constance Zweifel Roger Lang David Mage Piano: Mary Ellen Mason Percussion: Jerry Hartweg CHORUS OF CONTADINE Maria Bahas Lana Bidelman Linda Blair Bethia Brehmer Lori Camacho Alloe Enos Beatrice Houser Judy Jacobson Esther Kauppila Ann Kirkby Sharon Kotzin Paula Levy Louise Lind Marilyn Rideout Jan Stagner Becky Staton Diane Tickton Janet Way Judy Wilder Mayno Williams Ruth Worthington Mary Cockram CHORUS OF GONDOLIERS Paul Anderson Curt Blanding Airel Cooper Jay Cranston John Dohn Bob Roth Dan Rudgers Fred Shippey Ben Steiner David Van Huisteyn Tom Way Fred Webb Bob Westover COMMITTE ES Assistant to the Business Manager-.-...-...-...--...........----Thomas Levy Costumes - - - Ann Correll (Chairman), Judy Jacobson, Ann Kirkby, Constance Zweifet, Esther Kauppila, Marry Ellen Mason, Sue Morris, Louise Lind Lighting ..-.-.........-. ... Al Carr (Chairman), Neil McLain, John Rooks Mailing Lists.-.-.....-.Kay Sempliner (Chairman), Jean Barnard, May Louis Make-up . . . . Beverly Bellas (Chairman), Judy Berry, Patti Urban, Cecelia Bondy, Phyllis Scholes, Kathy Chessman, May Louis, Kathy Rulis, Sharon Peacock, Mike Harrah, Andree Garner, Maggie Franks, Nancy Hall, Birdie Hanson Props. . . . . . . . . . . . . Sue Sautter (Chairman), Salli Kimberly, Jane Moore Programs . . . Allen Cooke (Chairman), Pat Rapport, Marge Burton, Tom Way, David Van Hulsteyn, Roger Staples, Paula Levy Publicity . . . . Alloe Enos (Chairman), Judy Jacobsen, Allen Cooke, Bob Westover, Neal McLain, Al Collins, Paula Levy, Thomas Levy Set Design . . . . . . . . . . . . . . . . . . . . . . Gretel Geist and Fred Shippey Set Painter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Gretel Geist Stage Crew . . Ron Brown, Lori Camacho, Alan Carr, Martha Eldridge, Tom Friedman, Gretel Geist, Bruce Gordon, Salli Kimberly, May Louis, Jane Moore, JoAnn Nagy, Kathy Ruifs, Sue Sautter, Bob Schlack, Teresa Sergel, Fred Shippey, Ann Shryock, Barb Tribbey, Bob Westover, Judy Wiltse Stage Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Tom Friedman Technical Directors . . . . . . . . . . . . . . . . . . .Alan Carr and Fred Shippey Tickets . . . . . . ... . . . . . . . . . . . . . . . . Toni Bilotti and Lori Camacho Wardrobe. . . . . . . . . . . . . . . . . . Ann Correll (Chairman), Douglas Pryor EXECUTIVE BOARD President. .-.-.......-. Secretary ..-.-..... ...-.- Treasurer-.......-.-... Business Manager . . . . . . Technical Directors . - - Music Director . . . . . . . . Dramatics Director ..-. - - . . Jay Wheeler Cranston .- - .. .- Judy Jacobson -.----- Al Collins .. . . . . . Steve Blanding -Fred Shippey and Alan Carr .. . . .. Rosella Duerkson Gershom Clark Morningstar 81 The Gondoliers - 1963 1997 Post Script: Noteworthy newcomers included Diane Aron, Judy Riecker (now Judy Dow Rumelhart), Jim Martin, Dolores Noeske, Judy Jacobson, Marlene Bickel, and Brenda Bencks, all on stage. A particularly significant newcomer was Ann Correll, who became a long-time fixture as Ultimate Costumier. An important newcomer among the mailing crew was Jean Lynn Barnard. This was apparently the first show in which Fred Rico's long lost foster brother, Bolivar Kegnastie (disguised as Kolivar Begnastie), made himself known. Mr Kegnastie is thought to have been the protege of Gersh Morningstar. Ted Rancont's review in the AA News spoke most glow- ingly of freshman Karen Emens in the role of Gianetta. He also had words of praise for the chorus and orchestra. He thought the staging "static," and some of the principals adequate, at best. The arrival of Ann Correll may be looked upon as a turn- ing point. Before Ann, costumes were apparently more likely to be rented than locally produced. Note that most earlier programs list "Wardrobe" crews more often than "Costume" crews. Aufwiedersehen to: Jane Moore and Benjamin Steiner. The show was not taken on the road, breaking a tradition of many years. The show closed on a Saturday, and the next day an ad hoc troupe, "The Vest Pocket Players," presented a twin-bill of Cox & Box and for the first time ever on the stage: The Toledo War, the plot for which was loosely based on the true story of the armed conflict that almost broke out between Michigan and Ohio. The music was composed by David Broekman, the father of one of our performers. Morningstar was the chief instigator and director. The cast included Judy Riecker, Sue Morris, Richard Hazzard, and Morningstar. Music was by a two-piece combo with the imposing title of New Savoy Orchestra. Filled to the brim with girlish glee. Probably from the 1963 Mikado, with Dolores Noeske as Yum-Yum, Diane Magaw as Peep-Bo and either Kathy Kimmel or Susan Morris as Pitti- Sing. Photo from UM Bentley Historical Library, Bennish collection, Box 6. 82 Our Main Attraction Lydia Mendelssohn Theatre Ann Arbor November 20-23, 1963 Musical director: Bill Donahue Dramatics director: Gershom Clark Morningstar THE CAST Mikado...--...................-...........Sidney Straight Nanki-Poo ............................. Henry Naasko (WThF) James Martin (Sat-M, Eve) Ko-Ko.... .............. ........................ John Allen Pooh-Bah................................... James W. Brown Pish-Tush................................Franklin Spotts Yum-Yum................................Dolores Noeske Pitti-Sing.......................... Susan Morris (WFSat-M) Kathleen Kimmel (ThSat-Eve) Peep-Bo. ...................................... Diane Magaw Katisha............................. Lois Alt (WThSat-M, Eve) Judy Riecker (F) Go-To ......................................... Don Nelson Cho-Cho Cum, Shu Nee............. .Becky Staton, Andree Garner, Mee No, Mee Tu Mayno Williams, Paula Levy CHORUS OF SCHOOL GIRLS Diane Beauchamp Judy Becker Mary Bird Bethia Brehmer Anna Mae Epley Vicki Franks Barbara Gillanders Clara Goodrich Sara Hall Sara Hoopengardner Esther Kauppila Claudia Kesler Anne Niitme Laurel Otte Barb Rudendall Marjorie Schuman Lisa Snyder Gretchen VandenBout Mary Vereen Joan Westermann Joan Woertz CHORUS OF JAPANESE NOBLES Bob Allerton Paul Anderson Bob Beauchamp Curt Blanding Steve Blanding Paul Duemler Jim Galbraith EXECUTIVE BOARD President.... .......................... Lois Alt Vice-President .. ........ Henry Naasko Secretary ............................ John Allen Treasurer .......................... Al Collins Business Manager....................Thomas Levy Technical Director .-. ---. . . . . . . . . . . . . . Fred Shippey Music Director....................William Donahue Dramatics Director ......... Gershom Clark Morningstar Dan Glicken Bob Grimer Sami Halaby Ed Haroutunian Jack Hart Shigeo Kashima Richard LeSueur Bob Miller Al Neller Tom Petiet Charles Sutherland Fred Webb 83 The Mikado - 1963 ORCHESTRA Violin: Martha Zebrowski Gail MaCall Dave Gassman Mary Fox Susan Higgenbottom Pam Capaldi Viola: Susan Tepping Cello: Ann Frisinger String Bass: Donald Childs Art Feinberg Flute: Tom Baehr Pat Bryson Fran Grossman Ann Jarvi Clarinet: Carol Sue VanderBrook Jim Mattson Oboe: Kenneth Snipes Janice Barrett Trumpet: D. Hurley Robbins David Dexter Tom McCarty COMMITTEES French Horn: David Goldberg Robert Shapiro John Crum Judy Kohn Trombone: 1997 Post Script: This was the ill-fated show that had to be canceled after only two performances because of Kennedy's assassination. (See Kathleen Strang's commentary in the appendix.) That would have brought financial ruin, but the Big U, having forced the shut-down, came through with a saving grant. Assistant to the Business Manager............. Costumes . . .Ann Correll (Chairman), Esther Kauppila Mary Bird, Jean Hoomstra, Ruth W Barbara Gillanders, Midge Fox, Sue M Rita Smitter, Linda Smitter, Susan Topp Lighting....................... Alan Carr (Cha Mailing Lists .. Jean Barnard (Chairman), Ruth Os Jane Beach Make-up... Nancy Wolfe (Chairman), May Louis, Jay+ Props ................... Salli Kimberly (Chai Programs., .Paula Levy (Chairman), Paul Duemler, Ungar, Anne Nlitme, Roger Staples Publicity... .Lori Camacho (Chairman), Marge Bu Anne Beauchamp, Fred Bico Set Designers...................Gretel Ge Stage Crew. .Fred Ayers, Joan Bixby, Bryan Crutche Eckhouse, Tom Friedmann, Terry Gr Jean Houvener, Orval Huff, May Louis, Nathan, Lynn Rice, Teresa Sergel, Ann Kathy Strand, Carol Ungar, Roger We Stage Manager............................ Technical Director....................... . Tickets...............Mayno Williams (Chairman Constance Zweifel It turns out that there was a noteworthy antecedent to this Bassoon: tale. The archives contain a lengthy editorial from the Alma Henderson Daily in which the Student Government Council is scold- Piano: ed for settling a scheduling conflict between UMGASS Mary Ellen Mason and Musket in the latter's favor. In those ill-advised times Percussion: the SGC was charged with assigning theater dates. What Jerry Hartweg the conflict boils down to was that both troupes wanted the theater two weeks earlier than the week that proved so tragic. UMGASS argued against taking that weekend because it would conflict with the Glee Club's always pop- .... Curtis Blanding ular annual concert. (This seems a weak point; after all, t, Suzanne Oleszczuk. UMGASS had long been battle-hardened to performing arheit, Nancy Yates, in direct competition with the Messiah in Hill, plus majorlorris, Mrs. Smitter, ing productions in the other theaters.) Director Gersh airman), Fred Ayers Morningstar put forth another argument claiming he "had ten, Maureen Maher, to attend a conference in Wyoming" on the dates in ques- tion; but that somewhat dubious point apparently carried Cranston, Sue Morris no weight. In rationalizing its decision the SGC noted that rman), Sue Sautter Musket was subsidized by the Michigan Union, and that Marge Burton, Carol Union would be unlikely to allocate funds for a production in conflict with the Glee Club. They seemed to have no irton, Hilary Hicks, sympathy whatsoever for a struggling self-supporting enterprise such as UMGASS. ist, Margaret Geist r, Jim Cutler, Margi Perhaps the cancellation had its almost-bright side; appar- ady, Beverly Greey, ently the production was not one of our better ones. The Helen Morsink, Kathy Shryock, Terry Sink, Daily reviewers found the show had a few good points, but rner, Bob Westover the AA News reviewer dubbed it "wobbly" and complained .... Tom Friedmann of lapses too numerous to mention here. ..... Fred Shippey Bill Donahue, a doctoral candidate in music was the newn), Barbara Schanoes music director. Other significant newcomers (all on stage) included Kathy Kimmel (now Strang), Claudia Kesler (now Scarber), Richard LeSueur, Tom Petiet, Judy Becker, Robert Miller, Jim Cutler and Charlie Sutherland. Another name destined for fame was that of David Goldberg, french hornist. He has been with us ever since (with one forgivable exception) and has served as editor of GASBAG and president of FUMGASS. We could go on, and we hope he does. Farewells: Allan Collins (after 10 shows), Laurel Otte (6), Becky Staton (6), and Sid Straight (7). 84 Our Main Attraction 10LANTHE Lydia Mendelssohn Theatre Ann Arbor April 8-11, 1964 Musical direction: William J. Donahue THE CAST The Lord Chancellor.............................John Allen Lord Mountararat .................... Gershom Clark Morningstar Lord Tolloller ............................. James Galbraith Private Willis ..... (Of the Grenadier Guards)......... .Michael Baad Strephon ......... .(An Arcadian Shepard) ....... Charles Sutheriand Queen of the Fairies .................... Judy RAeicker (WFSat-M) Kathleen Kimmel (ThSat-Eve) Iolanthe...... (A Fairy, Strephon's Mother). .Brenda Bencks (WFSat-M) Edith Donahue (ThSat-Eve) Celia .................. ( ) ............... Anne Niitme Leila ................... (Fairies) ............... Susan Morris Fleta ................. ( ) .. . . . . .. .. ... .Susan Lerner Phyllis . . (An Arcadian Shepherdess and Ward in Chancery) . Diane Magaw Lord Chancellor's Train Bearer .................... Don Nelson CHORUS OF FAIRIES Staged by: Allan D. Schreiber ORCHESTRA Violin: Gail MacCall Kay Hamilton Barbara Adams David Gassman Midge Fox Martha Zebrowski Viola: Nora Cary Lucy Marsh Cello: Barbara Urist Peter Tourin String Bass: Art Feinberg Donald Childs Flute: Torn Baehr Pat Bryson Carol Adams Stephen Schlakman C larine t: Martin Stella Robert Phillip Oboe: Pauline Hosack Trumpet: D. H. Robbins Victor Bowman French Horn: Dale McIvor David Goldberg Trombone: Greg Magnuson Jung Ludwig Bassoon: Neil Miller Piano: Mary Ellen Mason Percussion: Jerry Hartweg Triangle : Fred Rico Diane Beauchamp Judy Becker M. Kathleen Cole Mary Ann Drach *Andree Garner *Dancers Bob Alierton Nick Batch Bob Beauchamp Curt Blanding Fred Bookstein Art Gulick *Suzy Geffen Carla Globe Claudia Kesler Margaret Lamb *Paula Levy *Carole Markeson Jodi McIvor Sidni Schwaneke Meredith Seapy Linda Shur CHORUS OF PEERS Sami Halaby Dick Hazzard Tom McCarty Robert Miller Don Nelson Tim Parrish Tom Petiet Alan Shulman Jay Starkoff Fred Webb EXECUTIVE BOARD President..... ........... . ........ Curtis Blanding Vice-President ........... .......... Susan Morris Secretary. ............................ Andree Garner Treasurer ......................... Thomas Levy Business Manager ................... Michael Band Technical Directors....... .Alan Carr and Bryan Crutcher Music Director. .................. William J. Donahue Dramatics Director. ................ Allan D. Schreiber Were you not to Ko-Ko plighted. Probably from 1963 Mikado, with Henry Naasko (Nanki-Poo) and Dolores Noeske (Yum-Yum). Photo from UM Bentley Historical Library, Bennish collection, Box 6. 85 lolanthe - 1964 COMMITTEES Choreography. ................................. Judith Riecker Assistant to the Director.-.......................Marlene Bickel Scene Designer ....... ..................... Paul Shortt Costumes ... Ann Correll (Chairman), Emmy Briggs (Co-Chairman), Margaret Drost, Mary Bird, Laurie Hazzard, Barbara Modica, Linda Swayze, Susan Tepping, Midge Fox, Nancy Yates, Barbara Gillanders, Jean Woertz, Ruth Warheit, Jean Hoomstra Lighting .... Alan Carr (Chairman), Fred H. Ayers, Neal McLain, Sue Sautter, Teresa Sergel, Ann Shryock Mailing Lists................................Jean Barnard Make-up..... Arthur Bakewell (Chairman), Jay C. Cranston, Margaret Drost, Salli Kimberly, May Louis, Linda Schrump, Cathy Nathan, Sue Shaberman, Marilyn Smith Photography................. ........... P. James Galbraith Props...... Salli Kimberly (Chairman), Allen R. Cook, Margaret Drost, Eric Hoberg, Barb Modica Programs. .. Paula Levy (Chairman), Marge Burton, Mary Ann Drach, Robert Miller, Meredith Seapy, Esther Kauppila, Al Schulman Publicity.... Esther Kauppila (Chairman), Barrie Hiuser, Henry Naasko, Donna Schultz, Thomas Petiet Stage Crew... Curt Blanding, Fred H. Ayers, James R. Culter, Leslie Goodman, Richard Harris, Nancy G. Rogers, Sue Sautter, Teresa Serget, Ann Shryock, Judy Wiltse, Richard Bohn, Paul Anderson, Bob Westover, Gretel Geist. Stage Manager.............................. Tom Friedman Technical Directors.....................Alan Carr, Bryan Crutcher Tickets.....-Mayno Williams (Chairman), Claudia Kesler, Steve Blanding 1997 Post Script: Dramatics direction now came under a graduate student in theater: Allan Schreiber. He proved to be exception- ally able and stayed on for five more shows. By the end of his tenure nearly all of our shows would be sold out. One highlight that stands out was the way Kathy Kimmel (as queen of the fairies) twirled one of her long braids like a school girl when calling out, "Oh, Private Willis!" An even more memorable moment came when Judy Riecker, alternating in the same role, found her white silk slip had dropped down around her ankles. What did she do about it? Read Sue Morris's notes in the appendix. The Daily reviewer avowed that the society had offered "a full, rich evening's entertainment." The AA News reviewer (Ted Rancont) wrote, "Bravo! exultantly beau- tiful, [UMGASS] carried its thin audience off to fairy- land last night screaming with laughter." Notable newcomers: Nicholas Batch and Mary Ann Drach. Farewells: Gretel Geist (after 7 shows) and Steve Blanding (6). I was called upon to carry a flag for the entry of the peers. After the first performance I was told, not asked, to stop smnging. 86 Our Main Attraction TRIAL BY JURY and THE SORCERER Lydia Mendelssohn Theatre Ann Arbor November 19-21, 1964 Musical director: Harold Haugh TRIAL BY JURY THE CAST The Learned Judge......................... William Timberlak The Plaintiff (Angelina) ............................ Anne Niitm The Defendant (Edwin)....................Robert W. Malnstror Counsel For The Plaintiff.................... .Richard Le Seue Usher ........................................ John L. HenkE Foreman Of The Jury ............................ Michael Baa Associate.. .................................. Robert Westove BRIDESMAIDS Tibbetts Opera House Coldwater, Michigan November 28, 1964 Dramatics director: Allan D. Schreiber THE SORCERER THE CAST Sir Marmaduke Pointdextre...................Richard Hazzard Alexis ......................................... Milton Bailey Aline ................................... .Grace Hanninen Lady Sangazure. .............................. Kathleen Kimmel Dr. Daly.......... . ......................... Michael Baad John Wellington Wells.........................Michael Robbins Mrs. Partlet ........ ............. . . ...... Marilyn Lawrence Constance ........... . , ...................... Brenda Bencks Notary...... ........................... .. John L. Henkel Dancers.............. .Nancy Henson, Paula Levy, Janice Maltzer Hercules................ ...... ............... Fred Rico WOMEN'S CHORUS Paula Levy* Ellen Hinterman * Dancers Joyce Baker Mary Ann Drach Nancy Henson Claudia Kesler Perry Anderson James Bailey Nicholas C. Batch Gene Correll John Gidos Marylin Kraker WOMEN'S CHORUS Kay Mickelson Carolyn Myers Faye Peterson Linnea Salmeen MEN'S CHORUS Janice Maltzer* Margaret Lami Sidni Schwaneke Janet Way Kay Williams *Juror Joyce Baker Mary Ann Drach Ellen Hinterman Claudia Kesler Perry Anderson James Bailey Nicholas C. Batch Gene Correll Marylin Kraker Margaret Lamb Kay Mickelson Carolyn Myers MEN'S CHORUS Faye Peterson Linnea Salmeen Sidni Schwaneke Janet Way Kay Williams Robert Miller Donald Nelson Tom Petlet Harvey Sales Karl Williams George Hunt Ted Landers Bill Merchant Robert Miller Donald Nelsor Tom Petiet Harvey Sales Karl WilliamE John Gidos George Hunt Ted Landers Bill Merchant EXECUTIVE BOARD President..............................LMichael Baad Vice-President.................... Curtis Blanding Secretary......................... Salli Kimberly Treasurer . . . . . . . . . . . . . . . . . . . . . . . . Thomas Levy Business Manager .................. Robert Beauchamp Technical Directors...... Alan Carr and Bryan Crutcher Music Director...................... . Harold Haugh Dramatics Director. .................. Allan D. Schreiber Faculty Advisors Prof. and Mrs. Harry Benford Prof. and Mrs. Ward Edwards Prof. and Mrs. Maynard Klein Prof. and Mrs. Paul F. Zweifel Mr. and Mrs. Sidney Straight Mr. and Mrs. Conrad Mason 87 Trial By Jury & The Sorcerer - 1964 ORCHESTRA Violin: Gail MacCall Mary Ellen Henkel Annette Possnert Martha Zebrowski John Brockett Raymond Krauss Ned Farrar Cello: Carol Dick Alice Leach Viola: Nora Cary Lucy Marsh String Bass: Ralph Hamilton Flute: Roger Schlatter Patricia Bryson Oboe: Pauline Hosack Clarinet: Bruce Cowan Robert Vander Schalie Trumpet: D. H. Robbins Tom McCarty COMMITTEES Trombone: Choreography .............................. Judith Rlecker Assistant to Mr. Schreiber ............... . ..... Marlene Bickel June Ludwig Assistant to Mr. Haugh ...................... Mary Ellen Henkel Bassoon: Scene Designer. .............................. Terry RodeferCostumes .... Ann Correll (Chairman), Mary Ann Drach (Co-Chairman), Richard Rector Joyce Baker, Glinda Distler, Jane Draper, Laurie Hassard, Kay Miller, Faye Peterson, Barbara Werta, Lori Camacho, Lois Alt, Marge Burton, Esther Kauppila, Margaret Lamb Piano: Vance Israel Percussion: Gary Grolle French Horn: Richard Reynolds David Goldberg Lighting. .... Alan Carr (Chairman), Teresa Sergel (Script Girl), James R. Cutler, Fred Ayers, Neal MoLain Make-Up..... Kathy Nathan (Chairman), Michele Roberts (Co-Chairman), Natalie Axelrod. Andree Garner, Salt Kimberly, Marilynn Smith Photography ............... .. .......... D. James Galbraith Props....... Sall Kimberly (Chairman), Allen R. Cook, Eric Hoberly Programs.... Paula Levy (Chairman), Marge Burton, Mary Ann Drach, Timothy Parrish, Judith Riecker, Allan D. Schreiber Publicity .... D. James Galbraith (Chairman), Paula Levy (Co-Chair- man), Arlene Braussallan, Mary Burton, Judy Jacobson, Roger Schreiber, Minette Spehl, Tom Petiet Stage Crew... Fred Ayers, Alan Bomberger, James R. Cutler, James Hall, Richard Harris, May Louis, Ann McLain, Neal McLain, Norman Roller, Teresa Sergel, Gary Shapiro Stage Manager ............................. Tom Friedman Technical Directors ................. Alan Carr, Bryan Crutcher Tickets ..... Claudia Kesler (Chairman), Curtis Blanding, James R. Cutler, Kathy Nathan 1997 Post Script: This double bill was notable in that the baton was taken up by no less a personage than the distinguished Prof. Harold Haugh. Other worthy newcomers included Larrie Henckel on stage. The show was taken to the ancient Tibbetts Opera House in Coldwater for afternoon and evening per- formances. Attendance was dismal, however, and no fur- ther road shows were attempted for several years. Ted Rancont took a dim view of the curtain raiser, but showered praise semi-unbounded on the main event. He submitted this gem: "Looking like a smiling G&S carica- ture himself in the pit, [Harold] Haugh drew exuberance from his orchestra without ever competing with the singers to give the program unity and impishness." Ticket prices now ranged from $1.00 for the matinee to $2.00 for weekend evenings. New blood: Alan Bomberger, Joyce Baker, Ted Landers and Carolyn Myers. Farewells to: Neal McLain (after 7 shows), Andre Garner (7), Terry Rodefer (11) and Kay Sempliner Williams (6). Prof. Haugh's notes in the appendix describe the problems that arose during a matinee performance that occurred coincident with an Ohio State football game. Maestro Harold Haugh and three of his talented neophytes. Photo from UMGASS archives, now in UM Bentley Historical Library. 88 Our Main Attraction YEOMEN OF THE GUARD Lydia Mendelssohn Theatre Ann Arbor March 31 - April 3, 1965 Dramatic director: Allan D. Schreiber THE CAST In Order of Their Appearance Phoebe Meryll (Sergeant Meryll's Daughter) ..... SUSAN MORRIS Wilfred Shadbolt (Head Jailer and Asst. Tormentor). WILLIAM MOORE Dame Carruthers (Housekeeper to the Tower). .KATHLEEN KIMMEL Sergeant Meryll (Of the Yeomen of the Guard) .. JOHN L. HENKEL Leonard Meryll (His Son). ..................... JAMES MARTIN Colonel Fairfax (Under sentence of death) .. .NICHOLAS C. BATCH Sir Richard Cholmondeley (Lieutenant of the Tower) . .TOM PETIET Jack Point (Strolling Jester)... . ......... H. STEPHEN STRAIGHT Elsie Maynard (Strolling Singer)............. DOLORES MARTIN First Citizen.... .............................. TED LANDERS Second Citizen ........................... ROBERT MILLER First Yeoman .............................. JAMES BAILEY Headsman............................ GENE CORRELL Kate ............................ MARY ANN DRACH Music director: Morton Achter ORCHESTRA Violin DAVID AUSTIN BETH MILFORD SYLVIA BERG JOHN BROCKETT RONALD EVANS CECELIA FOERCH GAIL MacCOLL JOHN SAVAGE Viola NORA CARY LUCY MARSH Cello BARBARA URIST CAROL DICK Bass ART FEINBERG HAYES KAVANAGH Flute ANN AITCHESON Oboe LEO SETTLER Clarinet DAVID CULLEN CAROL OBER Bassoon JACK COURTNEY Horn DAVID GOLDBERG DALE McIVER Trumpet HURLEY ROBBINS VICTOR BOWMEN Trombone BRYAN BOWMEN Percussion ROD LOEFFLER Piano MARY ELLEN MASO JOYCE BAKER JANET BARNARD DIANE BEAUCHAMP BETTY A. BRODY CHERYL DEMBE DIANA FARRAN Townswomen SARA HALL NANCY HENSON CLAUDIA KESLER MARILYN KRAKER LOIS A. LEVITT PAULA LEVY JANE ROBINSON LINDA SIEGRIST SIDNI SCHWANEKE DIANE TICKTON MARY WALTENEN PATRICIA WILCOX ROBERT B. SHAPIRO JOHN WOLF LARRY ZEE Townsmen BRUCE ABRAHAMSE JAMES H. KARLS PERRY L. ANDERSON TED LANDERS JOHN CRUMB, JR. ROBERT MILLER Yeomen JAMES BAILEY ROBERT H. BEAUCHAMP LEE MOCKRIN DON NELSON JAMES PHILLIPS DAN RUDGERS CHARLES SUTHERLAND ROBERT WINER EXECUTIVE BOARD President....... . .. %... . TED LANDERS Vice-President..................TOM FRIEDMAN Secretary......................MARY ANN DRACH Treasurer......................... THOMAS LEVY Business Manager....... . ....... JAMES R. CUTLER Technical Directors ... ALAN CARR& BRYAN CRUTCHER Music Director.... . . . . ..... . . . MORTON ACHTER Dramatic Director...........ALLAN D. SCHREIBER Faculty Advisors Prof. and Mrs. Harry Benford Prof. and Mrs. Ward Edwards Prof. and Mrs. Maynard Klein Prof. and Mrs. Paul F. Zweifel Mr. and Mrs. Sidney Straight Mr. and Mrs. Conrad Mason 89 The Yeomen of the Guard - 1965 PRODUCTION Assistant to Dramatic Director .. . .... . ... MARLENE BICKEL Choreography ........................... JUDY RIECKER Costumes...ANN CORRELL, Chairman; JOYCE BAKER, ELENA BENVENUTO, BETTY BRODY, MARGE BURTON, LORI CAMANCHO, GLENDA DISTLER, JANA DRAPER, LAURIE HAZARD, ESTHER KAUPPILA, KAY MILLER, SUSAN MORRIS, FAITH SCHULTZ, PAT WILCOX Lighting..... JAMES R. CUTLER, Chairman; FRED AYERS, ALAN BOMBERGER, TERESA SERGEL Make-up .... CYNTHIA MERRITT, Chairman; JAN BARNARD, LYNN FRISBIE, JOYCE HENDRICK, KATHY NATHAN, SUE PIWONKA, CHRISTA RAGATZ Photography ........ , ............ D. JAMES GALBRAITH Properties ... SALLI KIMBERLY, Chairman; ALLEN COOK, ERIC HOBERG, KATHY MILLER, MARILYN MITCHELL Programs ... ANNE NIITME, Chairman; CURTIS BLANDIG, MARI- LYN LAWRENCE, PAULA LEVY, KAY MICKELSON Pubicity .... PAULA LEVY, Chairman; PERRY L. ANDERSON, JANET BARNARD, ROBERT H. BEAUCHAMP, VICKI HEDGE, NANCY HENSON, CAROLYN MYERS, GINNY PALEY, TOM PETIET, SIDNI SCHWANEKE Rehearsal accompanist .................. KATHRYN WEST Set Designer ............................ RAYMOND BEARD Stage Crew .... FRED AYERS, JUDY ROSWELL, JAMES HALL, MAY LOUIS, ANN McCLAIN, NEAL McCLAIN, MARCIA ORRCHRISTA RAGATZ, TERESASERGEL, ROBERT B. SHAPIRO Stage Manager .... ..................... TOM FRIEDMAN Technical Directors ....... .ALAN CARR and BRYAN CRUTCHER Tickets ...... CLAUDIA KESLER, Chairman; ROBERT MILLER, Ass't. Chairman; CURTIS BLANDIG, CAROLYN MEYERS 1997 Post Script: Our new music director was Morton Achter, a PhD can- didate in musicology. Other new and shining faces (on stage) were those of Nick Batch and Linda Siegrist, and behind the scenes: Christa Ragatz, Sidni Schwaneke and Marlene Bickel. The rehearsal accompanist for this show, and many more to come, was Kathy West. Dolores Noeske and Jim Martin had recently wed, and they appeared as Elsie Maynard and Leonard Meryll. We well recall that after Sergeant Meryll says, "... it seems but yesterday he robbed the lieutenant's orchard" Jim came trotting on stage tossing an apple in his hand. One of Allan Schreiber's deft touches. Mort Achter's notes in the appendix give some feeling for the pleasures of working with Allan Schreiber and Judy Dow. Dave Goldberg's notes tell of the immature back- stage crew who couldn't wait until curtain call to pull their stunts. We are sorry he reminded us. Writing in the AA News, Norman Gibson had nothing but good things to say about the show. His key paragraph put it this way: "All the full intent of the opera's music, singing and dialogue seem to shine through in the [UMGASS] production." Welcome to Linda Siegrist and Elizabeth Van Der Wege. Farewells: Tom Levy (after 8 shows). Dismantling the set for 1965 Yeomen, always a melancholy task. Photo by David Goldberg, from his private collection. 90 Our Main Attraction The Pirates of Penzance Lydia Mendelssohn Theatre Ann Arbor December 1-4, 1965 Dramatics director: Allan D. Schreiber Musical director: Morton Achter Choreographer: Judy Riecker THE CAST In Order Of Appearance Frederic. . . . . . . . . . ..--------------------------------------------- NICHOLAS C. BATCH Ruth (his nurse) ...............................-----------...... KATHLEEN KIMMEL Pirate King . . . . . . . . . . . ..-------------------------------------------------- MIKE BAAD Major-General....-----------------------------GERSHOM CLARK MORNINGSTAR His Wards: Mabel. . . . . . . . . . ..------------------------------------------------- SUSAN MORRIS Edith.. . . . . . . . . ..------------------------------------------------- LYNN HANSHER Isabel... .... ...------------------------------------------CECILY BIANCA SIMON Kate.. .........---------------------------------------------- RITA MONTGOMERY Sergeant of Police. . . . . . . .. ..--------------------------------------------JOHN ALLEN Samuel.. . . . . ... . . ..--------------------------------.------------------- LARRY T. ZEE Major-General's Wards F PAULA BAAD* JUDITH BECKER JOYCE BAKER JUANITA WHEELER MARILYN MARCIN CAROLYN AISHTON* JULIE COON CAROLYN MYERS BETTY A. BRODY Dancers LENORE FERBER* KATHLEEN OTWELL DIANE L. BEAUCHAMP JANET BARNARD MARY ANN DRACH SUE LIND DIANE TICKTON CYNTHIA PARRY Pirates and Policemen JOHN PLANER SCOTT MAC KAY JOHN F. SNOPEK NORMAN G. DELISK GERALD L. WEST JAY W. CRANSTON ROB COLWELL ROBERT DICKINSON CHARLES SUTHERLAND TED LANDERS TOM MC CARTY HENRY NAASKO TOM PETIET CONRAD MASON PHILLIP SIARKOWSKI ROBERT WINER JOHN WOLF Front cover of the programme ofthefirst London production of "The Pirates of Panzance", 1880 91 The Pirates of Penzance - 1965 ORCHESTRA PRODUCTION Violins TOM LE VECK CONNIE BOHANNON JOHN BROCKEET RONALD EVANS MIDGE HARDING GLENN LITTON, JR. GAIL MAC COL GINNT MC FARLAND FRAN MALINOFF MICHAEL SAND Violas NOR CARY MARILYN ROHN Cellos RIMA BOYER TOM GAMBLE Double Basses LUCY APTEKAR ART FEINBERG Flute ANN AITCHESON Oboe MELL COLEMAN Clarinets CAROL OBER NICK VANDER SCHALIE Bassoon SUE REINHACKEL Horns DAVID GOLDBERG DALE MCIVOR Trumpets DAVID WOLTER BOB AUSTIN Trombone PAUL RASOR Percussion ROD LOEFFLER Piano KATHRYN WEST Assistant to Dramatics Director-.,..-.........-...................... .. ,..._MARLENE BICKEL Choreography-----------------..........-----------------------.....JUDY RIECKER Costumes--........,ANN CORRELL, chairman; MIDGE HARDING, JOYCE BAKER. ELLEN HINTERMANN, JANA DRAPER, NANCY HALL, CYNTHIA PARRY, ANN BURR, CAROL MORNINGSTAR, SUE PIWONKA. MARSHA LIEBERHA.UT Lighting. . .. JAMES R. CUTLER, chairman; MARK BOWLES, LORI COMACHO. CONRAD MACINA, TERESA SERGEL Make-up ..--........ KATHY NATHAN, chairman; ALICE APPLEBAUM, ROBERTA CANTOW, JEAN GREENBERG, SUE PIWONKA Photography . . . ..--------------------------------------. -----.... CURTIS BLANDING Properties.-.,.,.....MAY LOUIS, chairman; AARON MERRIT, SUSAN REGEN, BILL HENGS, DAVE WIGGERT Programs-...,..,....PENELOPE BEDWEL, chairman: MARTI STAHL, MARY ANN DRACH Publicity.-..............,JANET BARNARD, chairman, MARTI STAHL. BOB BEAUCHAMP. JOYCE BAKER, DIANE BEAUCHAMP, TOM FRIEDMAN. JAY CRANSTON, TOM PETIET, DIANA FARRAN, GARY MC RAY Rehearsal accompanist. . .. . . ...--------------------------------------KATHRYN WEST Set Designer-.. . . ..--------------------------------------------DEENA FERRIGNO Stage Crew ..-..... -ANNE BEAUCHAMP, JOAN BIXBY, MARILYN BROWN, JOAN KATZ, JEMIE MC BRIDE, BOB SCHOW, FRED RICO Stage Manager-----.--.------------------TOM FRIEDMAN; BOB RUBIN, assistant Technical Directors-.-.-.---------------.ALAN BOMBERGER; LEE ERMAN, assistant Tickets-----..--------------.-------------DIANA FARRAN, CHRISTA RAGATZ Mailing List-.-----------------CLAUDIA KESLER, JOAN BIXBY, BOB SCHAPIRO Lord High Usher ..-------------------------.-----------.... ,HEINRICH BJOENFJORD EXECUTIVE BOARD President............. Vice-President.--........ Secretary................ Treasurer............... .. .............. ....... ....... TED LANDERS --...............-----........... ..... TOM FRIEDM AN ... ,...............................MARY ANN DRACH --------,.-----....---.--.--.-CURTIS BLANDING Business Manager...... ...----------------------------------JAMES R. CUTLER Music Director .... .....-..-.-......... -........... MORTON ACHTER Dramatics Director.. .. ...------------------------------ALLAN D. SCHREIBER Faculty Advisors Prof. and Mrs. Harry Benford Prof. and Mrs. Ward Edwards Prof. and Mrs. Maynard Klein Prof. and Mrs. Paul F. Zweifel Mr. and Mrs. Sidney Straight Mr. and Mrs. Conrad Mason 1997 Post Script: Since the previous show Mike Baad had married Paula Levy, so there you see Paula Baad heading the list of General Stanley's wards. (But she and Mike disappeared after this show.) Important new names include Julie Coon, Joyce Baker, Lenore Ferber, John Planer, Gerald West, Ted Landers, Henry Naasko, and Robert Winer. Susan Morris did a wonderful job as Mabel. We particu- larly remember her introductory coloratura gymnastics. Whoever arranged the music (probably Mort Achter) had woven in the wedding march from Lohengrin. A nice gim- mick. Judy Dow Riecker was the center of a feature article that mentions her good work in choreographing recent UMGASS shows, whipping that raw material into almost- professional dancers. Ted Rancont put it this way: "William Schwenck Gilbert and Sir Arthur Seymour Sullivan set their harps aside, leaned out their little white clouds above Lydia Mendelssohn Theatre and beamed last night. They were tickled pink. So was I." Anne Lin of the Daily concluded thus: "There are no dull moments, and entrances and exits are cleverly, yet incon- spicuously worked out. Schreiber has the key to just the right amount of affectation and topsy-turvydom, which keep this 19th century satire so appealing today." Newcomer Lenore Ferber's notes in the appendix illumi- nate a social custom long dead: The women in the show were required to iron the men's costumes as well as their own. "You've come a long way, baby." Newcomers: Glenn Litton, Tom Gamble, Virginia Gianty McFarland, Aaron Merritt, Nick van der Schalie and Juanita Wheeler. Farewells to: Teresa Sergel (after 7 shows). 92 Our Main Attraction Ru d dig o r e Lydia Mendelssohn Theatre Ann Arbor March 23-26, 1966 Dramatics director: Allan Schreiber Musical director: Morton Achter Choreographer: Judy Riecker CAST OF PRINCIPLES ORCHESTRA Sir Ruthven Murgatroyd (Disguised as Robin Oakapple, A Young Farmer) Charlie Sutherland Richard Dauntless (His Foster Brother, A Man-o'Wars-Man) --- Greg Isaacs Sir Despard Murgatroyd (Of Ruddigore, A Wicked Baronet) -- .------ John Allen Old Adam Goodheart (Robin's Faithful Servant) .. Bob Winer Sir Roderic Murgatroyd (A Former Baronet) _. .- ..- Gershom Clark Morningstar Rose Maybud (A Sweet Village Maiden) Lucy Becker Mad Margaret (A Strange Village Maiden) T-----Julie Amato Dame Hannah (Rose's Aunt) Kathy Kimmel Zorah (Professional Bridesmaid) Carolyn Delevitt Ruth (Professional Bridesmaid) (Dancer) Paula Baad Violin CONNIE BOHANNON JOHN BROCKETT JACKIE EVANS RONALD EVANS HOLLY GOAD MIDGE HARDING FRAN MALJNOFF GINNY McFARLAND ANDRIA RUSSELL LAURA STEVENSON Viola KITT STEVENSON NORA STEVENSON 'Cello TOM GAMBLE PETER TOURIN Bass ART FEINBERG BRENDA GEE Flute ANN AITCHESON RICHARD WALLIS Oboe MELL COLEMAN Clarinei NICK VAN DER SCHALIE FRANK GREEN Bassoon HOWARD TOPLANSKY Horn DAVID GOLDBERG STEVE OVITSKY Trumpet DAVID WOLTER ROBERT AUSTIN Trombone KARL HINTERBICHLER Percussion JIM KLOCK Piano KATHRYN WEST Professional Bridesmaids *CAROLYN AISHTON JUDY BECKER MARILYN CHASTEEN HOLLY CHURCH JULIE COON MARY ANN DRACH *LENORE FERBER JO GUNDERLOCK LAURA HALFORD CLAUDIA KESSLER BONNIE McIVOR SUSAN MORRIS CAROLYN MYERS *CYNTHIA PARRY MICHELLE ROBERTS JUANITA WHEELER Bucks and Blades TOM BAEHR tTIM PARRISH tNICK BATCH t*TOM PETIET ARCH COPELAND tJOHN PLANERGENE CORRELL ZICK RUBIN tJAY CRANSTON*tROBERT DICKINSON BOB SHAPIRO *JAMES LINTON BOB WESTOVER *CONRAD MASON IJACK WOLF * dancers t ghosts Executive Board President NICK BATCH Vice-President ________________BOB WINER Secretary .- .___.______._SUSAN MORRIS Treasurer ___CURTIS BLANDING Business Manager. --.... ___ _. TED LANDERS Technical Co-Directors .ALAN BOMBERGER, LEE ERMAN Musical Director .-- -. _ __ -MORTON ACHTER Dramatics Director _ _____ --__---.ALLAN SCHREIBER Faculty Advisors Prof. and Mrs. Harry Benford Prof. and Mrs. Ward Edwards Prof. and Mrs. Maynard Klein Prof. and Mrs. Paul F. Zweifel Mr. and Mrs. Sidney Straight Mr. Conrad Mason 93 Ruddigore - 1966 PRODUCTION Assistant to Dramatics Director -...... -.... .. MARLENE BICKEL Choreography .-.-.. . _....._ .....-- _.... . .._.JUDY RIECKER Costumes -- _ANN CORRELL, chairman; JANA DRAPER, assistant chairman; GRAYS HARRIS, JOYCE BAKER, SARAH PETERSON, MARSHA LIEBENHAUT, ELLEN HINTERMAN, BETTY BRODY, SONIA BURNS, CAROLYN MYERS, CYNTHIA PARRY Hallway Committee..TED LANDERS, TOM PETIET, JANA DRAPER, GREG ISSACS, DAVE GOLDBERG Lighting. ..---.. -. __- ..-- ..-- JIM CUTLER, chairman; SARAH HOOK Lord High Usher ...... .- ............ __...__....-.........- .HEINRICH BJOENPJORD Mailing List_.-_JOYCE BAKER, chairman; TED LANDERS, NICK BATCH, TOM PETIET, PENNY LANDERS Make-up _.._._-WANDA REIF, chairman; MERLE JACOB, JEANNE WOTHERS, LAURA HALFORD, JANE FALK, SALLI KIMBERLY, JAN BARNARD, ALICE APPLEBAUM, DONNA KAUFMAN, ALICE BAGDAD Photography .... ___.......... .___.--?--- ...- ... . -JIM GALBRAITH Programs__._...--TED LANDERS, chairman; MARY ANN DRACH, CAROLYN AISHTON, HOLLY CHURCH, JO GUNDERLOCK, JACK WOLF, CONRAD MASON, TIM PARRISH, JIM CUTLER Properties__.._MAY LOUIS, chairman; BARBARA BECKER, JOAN KATZ, EMMA TERRAZAS, BEVERLY BURNHAM, PAT NICHOLSON, SALLI KIMBERLY Portrait Artist --..-.. _.-...----------------------..-_.-..PEGGY RHINES Publicity__._-__TOM FRIEDMAN, TOM PETIET, co-chairmen; NICK BATCH, KIT CARPENTER, PENNY LANDERS Rehearsal accompanist --. ___.- --- ___..---__.KATHRYN WEST Set Designer - - ---- ~ ------ ~-~RAY BEARD Stage Crew____-.BILL WENGS, DAVE WIGGERT, JOHN ROHSENOW, SUSAN WEISS, BARB MIGDAL, MARILYN BROWN, JOAN BIXBY, DON DANYKO, SALLI KIMBERLY, SARAH HOOK, JOAN KATZ, AARON MERRIT, JOYCE BAKER, CHRISTA RAGATZ Stage Manager -. _ .----.____ ....-- _--.-.-----_BOB RUBIN Tickets_...___..-CLAUDIA KESSLER, BOB SHAPIRO, co-chairmen; CHARLIE SUTHERLAND, TIM PARRISH, TOM PETIET 1997 Post Script: Director Allan Schreiber had by now joined the faculty of the Speech Department at Eastern Michigan. Reflecting our troupe's high ethical standards, as you will note, the lead singers were categorized as "Principles." Old timers abounded, but a nice newcomer was Julie Amato. The chorus included former leads, such as Sue Morris, Tom Petiet, and Nick Batch. A marked characteristic of the society is the willingness of former leads to step back and enjoy the pleasures of the chorus. Ted Rancont wrote that he was still laughing helplessly. John Crumb, writing in the Daily starts out as follows: "Every large institution has its traditions, but few of them are as nice as the University's [G&S] Society. For pure entertainment last night's performance has hardly been matched on campus this season, because of the Society's remarkable color and enthusiasm (to be challenged, I understand, only by a Gilbert & Sullivan party.)" A telling ad, probably in the Daily announced: TONIGHT: RUDDIGORE Sat. Mat. & Sat. Night - SOLD OUT. New talent: Frank Green, Barbara Becker and Jim Linton. After nine shows and many responsibilities, this turned out to be Curt Blanding's final fling. Other farewells: Art Feinberg (after 7 shows), Tom Friedman (8), May Louis (9) and Conrad Mason (9). ard working Ann Correll, long-time Duchess of Costuming. oto by David Goldberg, from his private collection. 94 Our Main Attraction H. M. S. PINAFORE Lydia Mendelssohn Theatre Ann Arbor November 30 - December 3, 1966 Dramatics director: John Allen Musical director: Timothy Adams Choreographer: Judy Riecker CAST OF PRINCIPALS Sir Joseph Porter, K.C.B. .....-------....-- .------------------------------ John Allen Captain Corcoran --.---- .- _- ------ ---------. Charles Sutherland Ralph Rackstraw - ---- ---------------------------..-......- Greg Isaacs Dick Deadeye ------- Robert Schneider Bill Bobstay (Boatswain's Mate)-------------------------------. Randy Solomon Bob Becket (Carpenter's Mate) -...---.-- ----------- --------.--. James Karls Josephine --.---..------------------- ----- Susannah Morris Cousin Hebe-----------------------------------Lenore Ferber Buttercup-------------------------------------- ---------------- Judy Riecker Celerity-------.......-------------------.------------------------------------.Sue Piwonka Chorus of Sisters, Cousins, and A unts: Debby Anderson, Julie Avenson, Joyce Baker, Judy Becker, Molly Beukema, Betty Brody, Julie Coon, Cheryl Dembe, Mary Ann Drach, Nancy Goeboro, Clara Goodrich, Jo Gunderlock, Peggy Haskins, Jennifer Huntley, Barbara Kauf- man, Janice Lent, Kathleen McKevitt, Angie Pollee, Carolyn Teich, Juanita Wheeler. Chorus of Sailors: Evan Cohen, John Heuer, Ted Landers, Jim Linton, Paul Mennill, Bob Miller, Dennis Murphy, Jim Phillips, John Planer, Alan Potok, Fred Rico, Robert Westover, Bob Winer. Violin Jean Huttula concert mistress Barbara Addison Holly Good David Jacoby Frances Malenoff Ginny McFarland Robert Sheer Laura Stevenson Viola Judy Nickel Tina Ragonetti Cello Carol Dick Tom Gamble ORCHESTRA Bass Richard Womack Flute Tom Baehr Patricia Bryson Louise Hartung Carol Wallace Oboe Mel Coleman Quentin Fisher Clarinet Nick Van Der Schalie Frank Green Trumpet Dan Rudgers Kathy Copperthwaithe Fred Leonberger Bassoon Bill Dixon French Horn David Goldberg Steve Berg Tympani Dennis Johnson Gong Bolivar Kegnastie BEHIND THE SCENES Choreographer - - ------------ Judy Riecker Assistant to the Dramatics Director- --------- ------ Salli Kimberley Accompanists . Mary Weil, Kathleen Kimmel Samra, Jackson Hammitt, Carolyn Teich Technical Director --------------- --------. Alan Bomberger Assistant Technical Director - Bill Wengs Set Design - Alan Bomberger, Tom Petiet Costume Design --- -- - -Ann Correll Stage Manager ------------------------- Marshall Williams Stage Crew .. Carroll Fetter, Helen Fox, Michael Gilmartin, Nancy Halicki, Aaron Merril, Donna Sugarman. Lighting ___------------------ ------------------ ___James Cutler Make-Up .-----Wanda Reif, chairman; Michele Baehr, Jan Barnard, Judy Becker, Mary Colwell, Jean Evans, Jane Falk, Laura Halford, Kathy Hetmanski, Claudia Kesler, Sue Piwonka, Christa Ragatz, Arlene Steinberg. Properties __---Ellen Kotz, chairman; Barbara Becker, Salli Kimberly, Christine Royden Costumes - - Ann Correll, chairman: Debbie Anderson, Joyce Baker, Linda Jurk, William Kay, Susan Morris, Carolyn Myers, Ellen Reichelt, Lisa Sam- miel, Carolyn Teich, Laura Van Vlack Publicity -_ -....Christa Ragatz, Jan Barnard, Tom Petiet, co-chairmen; Pam Thomas Mailing List ---- -.-.. Pam Thomas, chairman; Gale Boraks, Carol Dwyer, Christa Ragatz Tickets -----------.----.-----. - -- Claudia Kesler, Fred Rico, co-chairmen Programs -_- -- .Mary Ann Drach, Susan Morris, co-chairmen; John Allen, Julie Coon, Lenore Ferber, Jo Gunderlock, Barbara Kaufman, Steve Kay, Cheryl Lassen Photography -- -James Cutler, Vernon Soden, Pam Thomas Ober Usher - . -- ----------------- --. irich Bjoenfjord 95 EXECUTIVE BOARD President -----.--_-.._ -_ Tim Parrish Vice President -- __..._.-- ----- -.-....--.--- ---- - - --. Jim Cutler Treasurer ---.--.--- _ -Bob Shapiro Secretary . . ._--- ...----. --.---. ..------- ------- ---- Joyce Baker Business Manager .-- Jim Linton Musical Director -----.. - .._-- -- . -------. Tim Adams Dramatics Director ..--- Jo Allen Technical Director ----.--- _ -. Al Bomberger H.M.S. Pinafore - 1966 1997 Post Script: John Allen's essay "Twenty Years ofJoy" was printed in the program for the 1967 Patience. Twenty Years of Joy Twenty years ago, in the fall of 1946, The University of Michigan Gilbert and Sullivan Society began the joy- ous adventure which continues tonight at Castle Bunthorne. It has been a long and happy association of town and campus talent, town and campus audiences, and two cranky Englishmen. A twentieth anniversary might well justify a "History of the Society," were it not that such histories are usually dull and invariably the same - Ups, Downs, In the pink, In the red, Statistics, Logistics, and Obscure biography. The essence of the G&S experience, on the contrary, is not horizontal, but vertical - it is qualitative, not quantitative, and is recorded on the heart rather than the calendar. In short, it does not reduce itself to History. To what, if anything, can it be reduced? In a word, Joy. Pleasure, of course - but it is more than pleasure, since pleasure diminishes with time and is essentially a private, exclusive experience. The joy of Gilbert and Sullivan, on the other hand, grows as it is shared, and expands its influence as time moves on. Pleasure is mostly the audience's portion; joy remains for the participants. If, as sometimes happens, the audience experiences a pleasure approaching joy, this is a natural response to the joy manifest in the produc- tion. (It is always the aim of productions to make that joy apparent!) The joy manifest in production does not begin in pro- duction, however. It begins in tryouts and rehearsals, at picnics and parties, and over coffee and late-night talks. It expands through close "annual" events like the Halloween Costume Party and the Christmas Caroling Night - complete with candles and four-part harmo- ny. It begins, advances, and ends in deep friendships and the bond of shared experiences. The particular magic of Gilbert and Sullivan Operettas draws together from widely scattered points those kin- dred souls who had nothing in common before enter- ing their first production - and who may have every- thing in common thereafter. The members of the Society share much more than rehearsal time and per- formances: they voluntarily share good times and bad, laughter and sorrow, joy - and sometimes heartbreak. But mostly joy. This quality of joy is the basic ingredi- ent of all the Gilbert and Sullivan operettas. It is this quality of joy which draws people into the Society - and keeps them there, show after show. It is this quality of joy which reaches out to the audiences and provides them with whatever pleasure they take home with them. In this joy lies the past - and the future - of the Gilbert and Sullivan Society: in the experience and the hearts of all who come in contact with it, either side of the footlights, on-stage or off- stage. It is this joy we would give you tonight -- and perhaps throughout the next twenty years! John Allen (a UM librarian) had by now become dramat- ics director. John a veteran of several shows happened to be on hand when the need for a director was suddenly per- ceived. He was teamed with Tim Adams as music director. Tim was a master's degree candidate who had earlier served as assistant director. The chorus included Kathy McKevitt, who later achieved immortality by becoming a co-founder of GASBAG. Reviewers in both the Daily and AA News were downright enthusiastic. One headline read, "H.M.S. Pinafore Triumphant, Buoyant, Talented Production." The other simply said "HMS Pinafore Delights." Newcomers: Janice Lent, Mike Gilmartin and Dennis Murphy. We particularly remember the crew prank. The cast list showed a certain Sue Piwonka in the imaginary role of Celerity (as in Sir Joseph's admonition to Captain Corcoran: "Go, ribald, get you hence to your cabin with celerity. This is the consequence of ill-advised asperity!"). Now it so happened that Sue Piwonka was a special friend of Charlie Sutherland, who was in the role of the captain. After the final show, during the second curtain call, two backstage men dressed as pirates ran across the stage and through the door leading to the captain's cabin. During the third curtain call they emerged from the cabin and retraced their steps into the wings, but this time they were carrying Sue Piwonka . Few, if any, in the audience understood the joke, but to those of us who did, it was the cleverest and funniest crew prank ever. The abduction of Celerity. Photo by David Goldberg, from his private collection. 96 Our Main Attraction Principal peformers in 1966 Pinafore: Judy Dow Riecker (Buttercup), Greg Isaacs (Ralph), Charlie Sutherland (Corcoran), JohnAllen (Sir Joseph), Robert Schneider (Deadeye) and Sue Morris (Josephine). Photos by David Goldberg, from his private collection. 97 H.M.S. Pinafore - 1966 From 1966 Pinafore, Robert Schneider (Deadeye) and two of his admirers. Photo by David Goldberg, from his private collection. Love-sick all against our will, 1967 Patience. In foreground: Sue Morris (Angela), Nancy Seabold (Ella) and Sheryll Peterson (Saphir). Photo by David Goldberg, from his private collection. 98 Our Main Attraction PATIENCE Lydia Mendelssohn Theatre Ann Arbor March 22-25, 1967 Stage director: John Allen Musical director: John Planer Choreographers: Judy Becker and Lenore Ferber CAST Colonel Calverley ..-. ..............--...... _.._.__-..-..__ ..-Milton Wright Major Murgatroyd-........-..........._...___.....- ...... ......__..-__-_..Robert Winer Lieutenant The Duke of Dunstable...- .......... ..-. Robert Gerber Reginald Bunthorne ..........---.....--..... _....... -..-- -iliam Moore Archibald Grosvenor-.- .----... _--.---.. _.........-.- -Charles Sutherland Mr. Bunthorne's Solicitor .Fred Rico The Lady Angela-....Susan Morris The Lady Saphir-- --.. _-- -- Sheryll Peterson The Lady Ella ....--. _.....-........--_.- ....---.- _Nancy Seabold The Lady Jane .....----.--------.. _.--- -__.- -.-_ .-- Kathleen Samra Patience --.............. .- -....-_....-_ _....-- -- Nancy Hall CHORUS OF RAPTUROUS MAIDENS Deborah Anderson, Joyce Baker, Jan Barnard, Judy Becker, Betty Brody, Julie Coon, Lenore Ferber, Jo Gunderlock, Tamara Hessler, Jennifer Huntley, Barbara Kaufman, Claudia Kesler, Salli Kimberly, Jeanne Leighton, Janice Lent, Kathleen McKevitt, Sue Piwonka, Angie Pollee, Linda Siegrist, Juanita Wheeler. OFFICERS OF DRAGOON GUARDS Paul Angelino, Joe Costick, Jay Cranston, Steve Detrick, Kenneth Fischer, Michael Gilmartin, John Heuer, Jim Karls, Ted Landers, Jim Linton, Michael Lubline, Benjamin Perry, David Seybold, Bob Shapiro, John Snopek, Howard Speil, John Stanley, Paul Weiss, Jerry West. EXECUTIVE BOARD OF THE GILBERT AND SULLIVAN SOCIETY President--..-----...------..---..........,. _.-.- ....- _........James R. Cutler Vice President .......------------------...... .....--- -.----.....-...--. James Linton Treasurer ........ ,--_..........-- - .- .. . __.,.-...._._Robert Shapiro Secretary -- .. _..- - - -- -.. .-..-...----.. .......---.. Joyce Baker Business Manager -.---............---................... _.............-.-- James Karls Musical Director.-..-..-...........-..-- - --........,......--..........-.....-...John Planer Stage Director -- - ... ........................... . .. John Allen Technical Director ... ...... ............ ., - . ........... ,Marshall Williams ORCHESTRA Violin 'Cello Laura Stevenson Carol DickCarol Goldberg concert nsistress M. Margaret Marble Mrs. Alan Cole Catherine Fisher Bass Frances Malinoff Roice Wille Ginny McFarland FluteDennis Murphy Patricia Bryson John Siegmund Carol Wallace Richard Wallis Viola Oboe MariaElena Castellanos Quentin Fisher Janet Kelenson Clarinet Judy Nickel Frank Green Barbara H. Zajac Nick van der Schalie Bassoon William Dickson Trumpet Fred Leonberger George Luse, Jr. French Horn Steve Berg David Goldberg Percussion Elizabeth Kutlov Thomas Leeds BEHIND THE SCENES Choreographers .Judy Becker, Lenore Ferber Assistant to the Stage Director --. Mary Ann Drach Accompanists --. "-- -__......---.- .- yn West, Mary Weil Technical Director-.........-.... ...... _..-. - ._..Marshall Williams Set Designer ---...-.--.-- .- ____-Sandra Jean Reid Costume Designer - ---. - - _ - Ann Correll Stage Manager_-------_.------....---------....--.. --. Aaron Merritt Stage Crew .-.- ....John Alexander, Al Bomberger, Roger Cholewiak, Ted Gillespie, Mike Gilmartin, Martha Hairston, Dan Holbert, Stephen Kay, Ginny McFarland, Aaron Merritt, Dave O'Connell, Martha Stahl Lighting . -__-----_.. -.- John Alexander, Al Bomberger, James Cutler Make-Up ..---... Wanda Reif, chairman; Jan Barnard, Michele Baehr, Judy Becker, Bon- nie Britton, Jean Evans, Eren Ozker, Sue Piwonka, Sandra Jean Reid, Susan Saefkow Properties--------- --- -Sue Shippey, chairman: Martha Hairston, Salli Kimberly Costumes-.......-......- Ann Correll, chairman: Sue Shippey, assistant; Joyce Baker. Marilyn Gordon, Tammy Hessler, Linda Jurk, Kathy McKevitt, Carolyn Myers, Sue Piwonka, Ellen Reichart, Sue Saefkow, Laura Van Vlack, Juanita Wheeler Publicity--..--............Christa Ragatz, chairman; Jan Barnard, David Fox, Dan Holbert, Andrea McDonald, Aaron Merritt, Pam Thomas Mailing LiUst .. . . - -_ am Thomas Tickets-----......-. .. ------------------ - Claudia Kesler, Jerry West Programs . ........ .... Susan Morris, chairman; Nancy Hall, James Cutler, John Planer Photography .-.......-. --.-....-............ Timothy Adams, James Cutler, Steve Detrick Super Usher ........-.....--....... Heinrich Bjoenfjord 99 Patience - 1967 1997 Post Script: As may be noted, John Allen returned as dramatics direc- tor, while John Planer, a doctoral student in musicology, moved up from the chorus to become music director. After choreographing several shows Judy Riecker relinquished those duties to Judy Becker and Lenore Ferber. The title role was filled by Nancy Hall, who had played a minor lead in the 1962 production of the same show. Among the returning veterans was Kathy Samra (formerly Kimmel), while a newcomer in the chorus was Ken Fischer, who is now the popular and successful director of the University Musical Society. Another newcomer was Mike Gilmartin, who later married Nancy Hall and about whom much will be said later on. Norman Gibson of the Ad News found the entire produc- tion first rate. Tom Segall of the Daily found the opera uneven. Ticket prices now ranged from $1.50 to $2.50. Yet another newcomer was the great John Alexander, whose flame still lights the stage and cozy corner. And another newcomer was Paul Angelino. Farewells: Alan Bomberger (after 6 shows), Claudia Kesler (8), Carolyn Myers (6), Kathy Kimmel Samra (8) and Sue Sautter Shippey (11). See Sue Morris's notes in the appendix for the dirty (but forgivable) practical joke played on her by John Allen and Charlie Sutherland. When Ifirst put this uniform on. Milton Wright (Col. Calverly), Robert Gerber (Duke of Dunstable) and Robert Winer (Major Murgatroyd). Photo be David Goldberg, from his private collection. I cannot tell what this love may be. Nancy Hall as Patience. Photo by David Goldberg, from his private collection. 100 Our Main Attraction THE MIKADO Lydia Mendelssohn Theatre Ann Arbor November 15-18, 1967 Dramatics director: James N. Holm, Jr. Musical director: John Planer Technical designer: C. Thomas Ault CAST OF PRINCIPALS The Mikado of Japan Nanki-Poo_-- -Tom Petiet Violin Catherine Fischer, Graham Wilks concert mistress Ko-Ko Pooh-Bah Pish-Tush Yum-Yum Pitti-Sing Peep-Bo Katisha - - - CHORUS OF SCHOOL GIRLS .Michael Harrah Emilie Karpiuk Judith Kingsley ..Zalman Usiskin Ginny McFarland Frances Malinoff Dale Helms Ellen Reslock Sally Schuster - Susan Morris John Siegmund __Judii Block Laura Stevenson Louise Wilson ---. Julie Coon Viola Judy Riecker Janet Kelenson Laura Stevenson Walter Correll 'Cello Tom Gamble Carl Goldberg Naomi Klein ORCHESTRA Bass Helen Rauch Flute Carol Wallace Richard Wallis Oboe Quentin Fisher Clarinet Frank Green Nick van der Schalie Bassoon William Dickson Trumpet Nicholas C. Batch Fred Leonberger French Horn Roy Burgess David Goldberg Trombone Constance Zweifel Second Trombone Nanki-Poo Tuba Richard Colvin Percussion Robert Benford Elizabeth Kutlov Marilyn Mernitz, Lenore Ferber*, Kathy McKevitt, Janice Lent, Pat Shaffer, Nancy Hall*, Julie Avenson, Linda Siegrist, Jeanne Leighton, Kathleen Wilks*, Juanita Wheeler, Joyce Baer, Elizabeth Seligson, Cynthia Nelson, Rosemary Mullin, Carol Goldberg, Iris Hiskey, Barbara Kaufman*, Barbara Becker, Lucy Becker*, Jo Gunderlock CHORUS OF JAPANESE NOBLES Mike Gilmartin, Jim Linton*, Joe Costick*, Paul Weiss, Eric Lund, Jerry West, Rob Colwell, John Carroll, Dave Seybold, Elliott Sigman, Don Breiter, Tom Marcus, Steve Detrick, Scott Robertson, Gary Smith, James Karls, Ted Landers, Bob Miller, Paul Angelino*, Stan Litch, John Slinker *Principal Dancers EXECUTIVE BOARD President ................. James Cutler Vice-president ............. James Linton Treasurer ................. James Karls Secretary ................... Lenore Ferber Business manager ............ David Seybold Dramatics director .......... James Holm Jr. Musical director ............ John Planer Technical director ........... C. Thomas Ault FACULTY ADVISORS Prof. and Mrs. Harry Benford Prof. and Mrs. Ward Edwards Prof. and Mrs. Maynard Klein Mr. Conrad Mason Mr. and Mrs. Sidney Straight Prof. and Mrs. Paul Zweifel 101 The Mikado - 1967 BEHIND THE SCENES Choreography_.__ __ .o._.. ._- . ... _- Carolyn Delevitt, Judy Rilcker Scenic-Lighting Designer - .- --- - C. Thomas Ault Costume Designer _ . . __.. _. ._ Ann Correll Costume Construction .. _ _yce Baker, Mary Cook, Maralin Faulkner Make-Up Marilyn Gordon Stage Manager .-. ennia Webster Stage Crew __ __-Martha Hairston, Vicki Hart, Dale Helms, Aaron Merritt Judy Robinson, Colby Schneider Lighting Technician . --- _ -----.-- ....-- --- __David Mohler Lighting Crew .-Jim Cutler, Ronald Westman, John Schultz Publicity - . Dan Holbert, Chairman; Christa Ragatz, Assistant Pat Dovas, Ike Middlebrook, Rand Mueller Tom Petiet, Jennifer Rhea, Fred Rico, Martie Rossman Tickets and Mailing List __ _-Pamela Thomas, Fred Rico Programs -jo gunderlock, Chairman; Christa Ragatz, Assistant Pat Dovas, Ernie Friedman, Lynne Lipton Rand Mueller, Jan Phlegar, Dave Seybold Photography ___ Jim Itsherg Cover Design --- Tom Petiet Rebcarsal Accompanists Kathryn West, Barbara Shafran 1997 Post Script: A new dramatics director, James Holm (a doctoral candi- date in speech), was teamed with John Planer and Judy Riecker. The scene and lighting designer was Thomas Ault, who was to carry that responsibility for many shows in later years. The principals included significant newcom- ers such as Michael Harrah and a visitor from England: Graham Wilks, whose wife, Kathy, was in the chorus. Other newcomers included Colby Schneider (one of the founders of GASBAG), and Cyndy Nelson who achieved sainthood by instituting the custom of holding a brunch for the troupe on days when matinees were on tap. (See her notes in the appendix.) Benfordian ties with UMGASS were further strengthened by the presence of Tigger in the orchestra. Also in the orchestra, Fred Rico performed on the marine parade. Yet another newcomer was Victoria Hart. She started in the chorus, but later advanced to leading parts and also served on the board. Also new: Pat Schafer (later: Petiet), Ellen Reslock, John Schultz and Elliott Sigman. This was to be Nick Batch's last show. Anther farewell: Mary Ann Drach (after 8 shows) The last previous Mikado had been troubled by the Kennedy assassination and this new production followed suit. There were no assassinations, but a few of the per- formers had somewhat similar plans for one or two of the directors. See Sue Morris's and Lenore Ferber's notes in the appendix. Norman Gibson was generally positive in his AA News review, complaining only about latecomers. Thomas Segall, on the other hand, found plenty of room for com- plaint. The headline for his review in the Daily seemed apt: "Gilbert & Sullivan's 'Mikado' Commits Hari-Kari." Ober Usher Heinrich Bjoetdjord This year the Society would like to pay tribute to two very special people, Professor and Mrs. Harry Benford, who are celebrating their eleventh year as faculty advisors for the Soci- ety. Throughout these eleven years they have been the one constant force in the Society, serving in more than just an advisory capacity. Professor Benford, chairman of the Department of Naval Architecture and Marine Engineering, has held the official titles of Ober Usher, Peacemaker and Diplomat, Friend and General Helper, Candid Photographer, and Stage Actor. (He has been the Solicitor in the last two productions of Patience.) In addi- tion he and his wife host the annual Christmas Caroling Party. Although Gilbert and Sullivan fans for years, Professor Benford and his wife did not become involved in the University of Michigan Gilbert and Sullivan Society until the Fall of 1956 when one of the Professor's students, who was then President of the Society, invited them to be advisors for the growing group. Since then, they have proven themselves to be an indispensible part of the Society. Holding true to the family tradition, the Benfords' three sons, Howard, Frank, and Robert, are Gilbert and Sullivan fans. The youngest, Robert, is playing percussion in the orchestra this semester. 102 Our Main Attraction PRINCESS IDA Lydia Mendelssohn Theatre March 27-30, 1968 Dramatics director: Roger Wertenberger Scenic designer: C. Thomas Ault Choreographers: Kathleen Wilks Music director: Bradley Bloom Costume designer: Ann Correll and Lenore Ferber THE CAST: King Hildebrand: Hilarion: King Gama: Cyril: Florian: Arac: Guron: Scynthius: Princess Ida: Lady Psyche: Lady Blanche: Melissa: Paul Zweifel Graham Wilks David Arthur Hollenback William Pollard Milton Wright Michael John Gilmartin Dave Seybold Tom Petiet Susannah Morris Nancy Ann Hall Judii Block Jill Hughes Students of Castle Adamant: Edie Axilrod, Barbara Becker, Joyce Baker, Victoria Hart, Iris Hiskey, Janice Lent, Linda Line, Elizabeth Long, Kathleen McKevitt, Frederica Rico, Barbara Seiden, Pat Shaffer, Barbara Weiner Courtiers to King Hildebrand: John Alexander, Paul Angelino, Terry Blackburn, Donald Breiter, Steve Detrick, David Gilmartin, Gerald Horan, Ted Landers, Jim Linton, Bob Miller, Paul Mindell, Elliot Sigman, John Slinker, Rick Wagstaff EXECUTIVE BOARD President ._- - ___ ___ _ - ____-Tames Cutler Vice-President _ _ "_-________ . __ ____ David Seybold Treasurer -___ -- James Karls Secretary _ --Louise Wilson Business Manager James Linton Dramatics Director __ _-_.__ Roger Wertenberger Musical Director . .. Bradley Bloom Technical Director --__ _ _ -____.__ C. Thomas Ault 103 Princess Ida - 1968 Violins: Glenn Litton, concert master Allen Barenholtz Jan Decker Emilie Karpiuk Genny McFarland Dennis Murphy Ellen Reslock John Siegmund Louise Wilson ORCHESTRA Cellos: Carl Goldberg Naomi Klein Bass: Helen Rauch Flutes: Carol Wallace Donna Ando Oboe: Quentin Fisher Clarinets: Michael Allen Frank Green French Horns: Dave Goldberg Steve Hynson Trombones: Larry Horwitz Connie Zweifel Percussion: Robert Benford 1997 Post Script: Two new, really able directors stepped in to smooth the troubled waters: Roger Wertenberger (majoring in TV and theater) and Bradley Bloom (teaching fellow at EMU) for music. The cast included some future - famous names such as John Alexander, Gerry Horan, Dave Gilmartin (Mike's brother), Margaret MacLeod, Jane Hassinger, David Johnson, Julie May, and Rick Wagstaff. Norman Gibson gave the show a mixed review, whereas Thomas Segall described it as, "simply smashing." Farewell to Kathy West (after 6 shows), Juanita Wheeler (6), Paul Zweifel (6), Jim Cutler (10), Joyce Baker (8), Salli Kimberly (10), Aaron Merritt (6) and Ted Landers (8). See Lenore Ferber's notes in the appendix for the story of why the set had to be walked across campus. Brad Bloom's notes will give you an inkling of what it was like to work with a near-genius like Roger Wertenberger, as will Gerry Horan's. Fred Rico, in one of his more subtle disguises, appeared as one of the women of Adamant. See page 116 for illustration. 104 Our Main Attraction OLIVER! Trueblood Theatre Ann Arbor July 17-20, 1968 Director & Musical director: Roger Wertenberger Director for Junior Light Opera: Michael Harrah Choreographer: Patricia Shaffer CAST (In order of appearance) The Widow Corney ........................... Janet Stolarevsky The Boys: Charley Bates ............................ Kim ReynoldsCyri ...................................... Kenneth TyraWiilrd .................................. Peter Kornbluh Robin ...................................... Robert Kraft Lionel ...................................... Eric Sonquist Ralph ..................................... David Mayotte Grosvenor ........................... William McKee, Jr. Rupert ................................ Joshua Greenbaum Jasper .................................... Gregory Moceri Alexis..................................... John Wilkins Ruthven ................................. William Walker Bunthorne ............................... John Reynolds Oliver Twist ..................................... Thomas Hulce. Mr. Bumble, the Beadle ......................... Howard Travis Mr. Sowerberry, the Undertaker .................. John Alexander Mrs. Sowerberry .................................. Kathleen Loeb Charlotte, their daughter ....................... Caroline Fleming Noah Claypole, the mortician's apprentice ........... David Krimm Jack Dawkins, The Artful Dodger ............... Nicholas Jacquez Fagin, an old retainer .......................... David Hollenback Nancy ........................................... Jane Hassinger Bet ............................................ Sheila Satterfield Mr. Brownlow a gentleman ..................... Michael Harrah Mrs. Bedwin, his housekeeper ................... Susannah Morris Bartender in the Three Cripples .................. John Alexander Bill Sikes ........................................ David Johnson Dr. Grimwig ..................................... Thomas Petiet The Rose Seller ..................................... Allison Fine The Milkmaid .................................. Patricia Shaffer The Strawberry Seller ..................... Carolyn Delevitt The Knife Grinder ................................ David Minikel The Long Song Seller ............................. Paul Angelino The Bo with the Books ..................... William McKee, Jr. Old Sally....................................... Marilyn Gordon Annie,hercomamion ........................... Patricia Shaffer The Night Wa ............................... Evan Cohen The Bow Street Runners.......... Paul Erik Hann 1st Woman ................................... Colby Schneider 2nd Woman ........................................... Dale Hower 3rd Woman ...................................... Patricia Bearup 4th Woman .................................. Kathleen McKevitt Zeke ....................... ........................... Himself Officers for the Gilbert and Sullivan Society President .................................... David Hollenback Vice-President ..... ,..........................Susannah Morris Secretary .......................................... Christa Ragatz Treasurer......,............................... David Seybold Business Manager ................................ Michael Harrah Director ..................................... Roger Wertenberger Musical Director .................................. Bradley Bloom Designer...... .......................... C. Thomas Ault Faculty Advisors................ Prof. and Mrs. Harry Benford Prof. and Mrs. Maynard Klein Mr. and Mrs. Sidney Straight ENSEMBLE Roger Wertenberger, Conductor Barbara Becker, Pianoforte Violins: Glenn Litton, Concertmaster Dennis Murphy Frances Malinoff Cello: Carl Passa Bass: Fred Rico (John Hendrickson) Flute: Carol Wallace Oboe: James Harwood Clarinet: Michael Allen Bassoon: Jeffrey McClean French Horn: Carl Daehler Trombone: John Ashby Percussion: Robert Benford Production Staff for Oliver! Rehearsal Accompanist......................Barbara Becker Assistant to the Directors...........Christa Ragatz, Kathleen Wilks Stage Managers ....... ... Michael Allen, Elmo Morales Stage Crew ...... Gwendolyn Anderson, Germaine Chipault, Rachel Evans, James Frederick, Martha Hairston, Nels Hairston, Janice Herzog, Susan Kegales, Robert Kenney, Francine King, Suzanne Knickerbocker, Barbara Kridler, David Mohler, Diane Reaver, Judith Robinson, Susan Scott, Jason Steinman, Carol Wallace, Christine Williams Light Crew .... James Frederick, Carol Wallace, Christine Williams Properties Mistresses ........... Germaine Chipault, Francine King Properties Crew ............. Barbara Kridler, Christine Williams Costume Crew............... Marilyn Chaney, Katherine Riordan, Mary Riordan, Shirle Orth Make-up Technician............ ............ Christa atz Make-up Crew. ...... ..... Sophie Farah, Marilyn Goron, Donald Heckenlively, Janice Herzog, James Hoim, Susan Kegales, Judith Lear, Susan Scott Flood Control ................. Michael Allen, Germaine Chipault, Donald Heckenlively, James Holm, David Mohler Box Office ....................... Sara Hassinger, Thomas Hulce House Manager ................................ Michael Harrah Head Usher...................................Harry Benford Publicity ......................... Thomas Petiet, Patricia Shaffer OLIVER! is the happy result of the combined forces of the Gilbert and Sullivan Society and Ann Arbor Junior Light Opera. The G&S group, of course, has been producing the repertoire of Sir William S. Gilbert and Sir Arthur Sullivan on campus for over 20 years, but OLIVER! Is'its first non G&S show. Ann Arbor Junior Light Opera has been a recent, but active addition to the musical scene. With a mem- bership composed of secondary school students, the group produced FLAHOOLEY and TAKE ME ALONG, under the auspices of the Ann Arbor Recreation Department, and COX AND BOX and THE FOOL KILLER as an independent organization. They plan to continue production this fall with HENRY, SWEET HENRY; the Gilbert and Sullivan Society will offer THE GONDOLIERS during November. 105 Oliver! - 1968 1997 Post Script: Enthusiasm and energy was at such a level that we could- n't wait until September to start work on a new show. And so we departed from tradition and undertook this Broadway musical. Since many youngsters were required, we joined forces with Junior Light Opera, an active group managed by Michael Harrah. The title role was taken by Thomas Hulce from nearby Plymouth, and he went on to play another title role in a Hollywood production: Amadeus. Norman Gibson called the show "outstanding," while Lissa Matross of the Daily was somewhat less enthused. She mentioned the 100 degree heat in the Trueblood Theater, which may help explain either the show's short- comings, or her physical discomfort and state of mind. A potent newcomers in the cast was Janet Stolarevsky. The orchestra included Glenn Litton (a future UMGASS pres- ident) and Carl Daehler (a future music director). The venue was the steamy Trueblood Theatre, but the show was a highly successful venture in every respect. As you may note, director Roger Wertenberger created names for everyone on stage. That was of no help to the audience, but perhaps boosted the morale of the otherwise nameless chorus members. At the light controls, Alan Bomberger (technical director) standing. Photo by David Goldberg, from his private collection. Curtain about to go up. Mike Gilmartin (left) and Marshall Williams (right). Photo from David Goldberg's private collection. 106 Our Main Attraction THE GONDOLIERS Lydia Mendelssohn Theatre November 13-16, 1968 Director: Roger Wertenb Assistant director: Nancy Scene designer: Michael Corps of Venetian Dar erger Musical director: Bradley Bloom y Hall Choreographer: Makram Joubran Allen Lighting designer: David Mohler Costume designer: Ann Correll DRAMATIS PERSONAE (in order of appearance) ncers --------.---- - _Phyllis Anne Adler, Janice Arsulowicz, Mary Kristen Tooze, Kathleen Webb ---------- Nancy Hall ------ Joan Susswein Contadine -Janice Lent -- -Lynette Hashman(.-Barbara Becker Gianetta - Tessa.---------- Fiametta------ Vittoria Giulia --- Antonio ----- Francesco -- Giorgio r Annibale-- -- Marco Palmieri -- __ - Giuseppe Palmieri Venetian Gondoliers Keith E. Drayton David Minikel Donald H. Regan Donald Breiter David Kaeuper Charles Sutherland The Duke of Plaza-Toro, a Spanish Grandee -_ The Duchess of Plaza-Toro, his wife------ Casilda, their daughter------.----- Luiz, drummer to the Duke_.--------_____ Don Alhambra del Bolero, the Grand Inquisitor Inez, the King's Foster Mother ------ --------- John Alexander - -------- Jane Hassinger ---------- Anne Temple -Michael Reinhart -- David Johnson Cynthia Nelson Chorus of Contadine----------._-_ -_---Patricia Bearup, Margaret Emerson, Victoria Hart, Iris Hiskey, Barbara Kaufman. Linda Line, Kathleen McKevitt, Colby Schneider Chorus of Gondoliers--_...._..-..- Paul Angelino, Thomas Cobb, Christopher Dant, David Gilmartin, Richard Giszczak, Gerald Horan, Peter Miller, Richard Fereuson-Wagstaff OFFICERS for The Gilbert and Sullivan Society President .. David Hollenback Vice-President_.. Elizabeth C. Van Der Wege Secretary--.. y_--- _- -- _ _ Linda Line Treasurer-__.. _--David Seybold Business Manager- Michael Harrah Dramatics.Director. , -- __ ------ -Roger Wertenberger Musical Director __ ___-- _____ -_ Bradley Bloom Technical Director Michael Allen Faculty Advisors __ _ __ -____- Prof. and Mrs. Harry Benford Prof. and Mrs. Maynard Klein Mr. and Mrs. Sidney Straight The Gilbert and Sullivan Society Acknowledges Elaine Fritz Carol Goldberg Mrs. James Riecker WUOM Human Performance Center, Dept. of Psychology 107 The Gondoliers - 1968 UNIVERSITY THEATRE ORCHESTRA PERSONNEL for THE GONDOLIERS VIOLINS Glenn Litton, Concertmaster Dennis Murphy Donald Diem Maria Mykolenko Allen Barenholtz Anne Spencer Barbara Kimmel Jonelle Dick Emilie Karpiuk Ellen Reslock Karen Shedlowe Lorna Wallace Janice Lilien Kathleen Pierzchala VIOLAS David Kessler Martha Ferriby Loren Siegel John Siegmund VIOLONCELLO Roberta Fox Gayle Southworth Thomas Gamble Naomi Klein Diane Reaver Constance Dick BASS VIOLINS Lucille Aptekar Kenneth Aptekar FLUTES Janice Engberg Nancy Gwinn CLARINETS Nicholas Van Der Schalie Philip Oranburg OBOES Frederick Dunn Patricia McGuire BASSOONS Dale Harmelink William Dixon TRUMPET Holly Goad FRENCH HORNS Carl Daehler David Goldberg Allen Goodman TROMBONES David Hann Paul Niemisto Lawrence Horwitz PERCUSSION Robert Benford James Ogden 1997 Post Script: New faces on stage included Richard Giszczak, Janice Lent, Linda Line, Don Regan, Joan Susswein, and Anne Temple - all of whom stayed on for long periods. We well remember how John Alexander, in his role as the duke, allowed himself to be banged to the stage by his duchess, diminutive but determined Jane Hassinger. Having shown himself to be such an amiable bean bag, John went on to further damaging activities in following shows. Indeed, once his reputation was established, direc- tors went out of their way to find excuses to have John bashed about. Thomas Segall wrote words of praise about the "regular royal queen" quartet, and then added, "It was precisely such energetic, spontaneous, and thoroughly untraditional busi- ness which gave this wonderfully funny production a per- sonality of its own. It began with the first choreographed overture to grace the Ann Arbor stage." His final para- graph reads as follows: "It is with great pleasure that the semi-annual Merry Molar Award, for the most dazzling smile in the ladies' chorus and enthusiasm beyond the call of duty, is presented this fall to Barbara Kaufman." Farewells to: Virginia Gianty McFarland (after 7 shows), Elizabeth Van Der Wege (7) and Connie Zweifel (7). We tacitly ignore you. On floor: Keith Drayton (Antonio), David Minikel (Francesco) and Don Regan (Giorgio). Standing over them: Janice Lent (Fiametta), Lynette Hashman (Vittoria) and Barbara Becker (Giulia). Photo from UMGASS archives, now in UM Bentley Historical Library. 108 Our Main Attraction Trueblood Theatre March 19-22, 1969 Dramatics director: Roger Wertenberger Musical director: Bradley Bloom Designer-Technical director: C. Thomas Ault DRAMATIS PERSONAE UNIVERSITY THEATER ORCHESTRA THE LORD CHANCELLOR OF GREAT BRITAIN ....... Gershom Clark Morningstar THE WHIGS THE DUKE OF MOUNTARARAT ...........~.........._................Charles Sutherland THE MARQUIS OF MARMADUKE .............. ...................... ........Don Regan THE EARL CHOLMONDELEY ................................................. Thomas Petiet THE EARL HALBPFENNIG...................................................Peter Miller VISCOUNT MENTONE ........................................................ Christopher Dant VISCOUNT SCYNTH1US..........................................................,Harry Gilbert BARON BEN HASHBAZ.........................................................John Alexander THE TORIES THE DUKE OF TOLLOLLER ............................................ J. Mark Rottschafer THE DUKE OF DUNSTABLE ................................................. Timothy Parish THE MARQUIS MURGATROYD ................................................... Gerald Horsn THE EARL POINDEXTRE .............................................. ...... Ellot Sigman VISCOUNT DRAMALEIGB ............................................... Richard J. Glazesak BARON BLUSHINGTON .................................................. David Gilmsartin BARON won KRAKENFELDT....................................................Thomas Cobb THE QUEEN OF THE FAIRIES .................................................. Linda D. Deater THE FAIRIES CELIA ........................................................................... Anne J. Temple LEILA................................................................................Janice E. Lent FLETA ............................... ...........................- . . _........... ... Jane Hassinger PIIYLLA ............................................................. ......... Cynthia Nelson SALATA ........................................................ ...... Patricia Shaffer Petiet HELENE ............................................................... _..2 _.Norma L Pdllkka DAPHNE ......................................................... ....................Victoria Hart SAPHIR ..............................................................-.... .... Karen Raskin CYMON................................................................................Judith Jacobs ZORAB ........................................................................... .. Kathy Kelly NICEMIS ....................................................... .................... Colby Schneider PRErrElA .................................................. _.................. Larlsa A. Lucau AND IOLANTHE.............................................................Joan Sara Sussweln THE ARCADIANS PHYLLIS (A Shepherdess and Ward of Chancery).................Nancy Jaynes Bloom STREPHON (A Shepherd, later THE DUKE OF ARCADY)......Michael Reinhart THE SENTRY PRIVATE WILLIS (Of the Grenadier Guards)............................David Johnson. VIOLINS Glenn Litton, Concertmaster Dennis Murphy Jill Perkeley Louise Wilson David Jacoby Barbara Kimmel Jonelle Dick Emilie Karpitsk Ellen Reslock Kathy Pierselsala Janice Lilien VIOLAS Martha Ferriby Loren Siegel Ro Lee CELLI Bobbi Fox GavleIcSoutlsworth Thomas Gamble Naomi Klein Diane Heaver Constance Dick BASS VIOLIN Locr- Aptekar FLUTES Nancy Gwnn Janet Kolman Janice Johnson OBOES Fredrick Dann CLARINETS Dick von der Schaliw Frank Grcen BASSOON Bill Dixon TRUMPET Steve Sharpe Rylansi Truax FRENCH HORNS David Goldberg TROMBONES Paul Niemisto Larry Horwitz PERCUSSIONRobert Benford EXECUTIVE BOARD Presideat ....................... Vas, President ................ Treasurer ................. Business Manager .......... Dramatics Director......... Music Director ............... DsalguerTeelmnleal Director . .................................................................. .............Glenn Litton ...,.........DonalRegan ....... Colby Schneider .... Nlck van der Schalie ........Roy H. Burgess .Roger . Wettenbeeger .......... Bradley Bloom ......... C. Thomas Auks Faculty Advisors Prof. and Mrs. Harry Benford Prof. and Mrs. Maynard Klein Mr. and Mrs. Sidney Straight 109 lolanthe - 1969 BEHIND THE SCENES Costum e Designer ............................ ........................ ...................................... Ann C. Correll Ughting Design er .................................................................................................... David M ohler Light Crew .................................................. Douglas Sprigg, John Shultz, Gretchen Meyerink M ake Up Designer .... ,.. ..................... .............. ........ ,............................Judy Robinson Make Up Assistat Chairman ........................................................................ Rch Sherwood Stage Manager Brian O'Neill Prop M aster ...... ............................................................................................... Nelson Hairston Crew Chief ..... ..................................................................................................... M ichael Allen Stage Crew ................Rosemary Rogier, Paul Angelino, Richard James, Kathy Benditzky Sharon Nichols, Ilene Chester, Wally Laitner, Judii Block, Bright Larkin Costume Crew ............ Margaret McLeod, Peggy Monteith, Laura Haynes, Barbara Engle, Rosemary Rogier, Carol Morningstar, Kathy Evaldeon Rehearsal Accompanist..........................................Nancie Fisher Art Design .................... , .................................................................................... Tom Petiet Publicity Committee .......................................................................... Roy Burgess, Chairman Linda Line, Glenn Litton, Tom Petiet, Pat Petiet, Sandy Beadle, Marty Ross, Harry Gilbert, Anne Temple Program Committee ._............. .Bob Scherba, Chairman John Willis, Joe Jones, Don Cunitz, Jim Stanfield Ticket Committee.................................... . Di Pott, Chairman Peggy Monteith, Laura Haynes, Diane Peters Nancy Cairy, Harry Benford, Fred Rico Head Usher .............-- .....-......-..... .. .Harry Benford Photographer ......................................................................... John Willis, Roger Wertenberger 1997 Post Script: We recall how John Alexander characteristically walked right into the proscenium during the entry of the peers. Perhaps a more noteworthy item was Wertenberger's re-interpolation of the DeBeleville song, which the D'Oyly Cartes had dropped after the first few perfor- mances. Uncharacteristically, there is a refrain in the overture that does not reappear in the body of the opera. Wertenberger noted that those notes fitted the lines, so he orchestrated them and gave their performance to Mark Rottschaffer (in the part of Tolloller) just after "Oh, foolish fay." If you care to look them up, the words are in the Bab Ballad "The Reward of Merit." The show was later taken to Roseville and we recall that Dave Johnson (as Private Willis) completely forgot to make his final appearance, leaving the Queen of the Fairies to call, "Oh, Private Willis!" repeatedly, and ever more frantically, until he finally showed up, red of face as well as uniform. An unusual newspaper ad announces that various tickets for the show have been stolen. It identifies which ones and announces that they will not be honored. Norman Gibson started his review by warning G&S purists that they would be outraged. That may have been a bit strong, but the show was, indeed, not at all what Gilbert had in mind. John Allen, writing in the Ad News was less condemning, calling the show "subdued, yet ultimately satisfying." Tom Ault's famous purple set attracted its share of favorable attention. A new face of more than passing potency: John Kelly. Farewells: Tom Gamble (after 6 shows) and Janice Lent (6). The annual election meeting after the spring show was a contentious affair. A faction of the troops seemed to feel that a change in directorship was overdue. Some feelings were understandably hurt and several key participants dropped out. At the same time a new constitution was installed, which enlarged the governing board by the addition of a producer (sort of an absolute despot) and two Pooh-Bahs (which subsequently became, one Pooh- Bah and one Pish-Tush). 110 Our Main Attraction PAINT YOUR WAGON Trueblood Theatre August 6-8 and September 3-5, 1969 Produced by: Christine Wilson Directed by: Kathleen McGill Set design: R. Ronald Beebe Choreographer: Carol Richard Music direction: David Robbins Costume designer: Dennis A. Parker Technical supervision: Michael Allen Book and lyrics: Alan Jay Lerner Music by: Frederick Loewe Cast of Paint Your Wagon in order of appearance Sam Jasper . - -. - - - Ben Rumson Salem Trumbull, store owner Jennifer Rumson, Ben's daughter Steve Bulnack Pete Billings . - Cherry Jourdel Jake Whippany Mike Mooney Sandy Doc Newcomb Edgar P. Crocker Rueben Sloane Julio Jacob Woodling, a Mormon Sarah Woodling, Jacob's wife Elizabeth Woodling, Jacob's wife. Dutchie, saloon owner Joe Hank ____ _ Cherry's Fandangos: LucyKatinka - Carmelita Suzanne Yvonne Mary Elsie Ray Janney, gambler Bil Ed Walt____ - -- . John Kelly Wm. Allen Russell Charles Sutherland Robert Harrington Janice Lent Phillip Smith -George Washington -- Patricia Petiet Christopher Dant Barry George George Kelly - Richard Giszczak Peter Miller John Horton III David Johnson Chuck Vukin Cindy Ballard Suzanne Morgan - Michael Jenkins - Charlie Burbach Mark Holson Carolyn Wanink Leslie Bundee Kathleen McDowell Phyllis Adler Linda Siegrist Sally Snow Linda Line - John Horton III Richard Giszczak -Wm. Allen Russell Michael Jenkins Gilbert and Sullivan Society Executive Board peter miller __president victoria hart -----_-.- vice-president nick van der schalie --- _ ... _. . -- --__ treasurer janice lent ........ secretary linda line -_- pooh-bah gretchen meyerlink pooh-bah prof. and mrs. harry benford faculty advisors prof. and mrs. edward stasheff faculty advisors 111 Paint Your Wagon - 1969 Production Crew Kathy McKevittAssistant to the Director Assistant Producer Stage Manager, Costumer .Dennis Holly .Michael Allen _Cathe Lake....._. . .. _._._.. . ....- ______.... ....... r... Costume Crew. .Joy Wezelman, Bette Spencer, Carol Bosch, Bev Johnson, Peggy Morgenstern, Gwen Nagel, Cathy Dobson, Diane Reaver Technical Crew ---- ----.- Gretchen Meyerink, Carol Samara, Harold Burris-Meyer, Diane Reaver, Carol Duffy, Rosali Reichenbach, Donald Heckenlively, Bill Stern, Kathy Ready Lighting James Hosbein, Dave Mohler, Larry Sherman Make-up ..-.- .Annabelle Grimm, David Bernstein, Debbie McDermott, Phylis McClure Rehearsal Accompanist, _.._... ...__. _ ..._ ._-- Martha Levin Orchestra Flutes: Barb DeHart Beverly Johnson Oboe: Carol Guernsey Clarinets: Nick van der Schalie Mike Allen Tenor Sax: David Altmose Trumpets: William Bing Ryland Frueaxe Trombone: Jan Sciter Guitar: Bob Zajac Bass: Terry Wheelan Percussion: Harlan Goldberg Piano, Organ, Electric Piano: Dave Robbins 1997 Post Script: The previous summer's show had been a great success and so another such effort was planned, although the produc- ers and directors were all newcomers, and not acquainted with UMGASSian twists and traditions. This particular Broadway show was selected only after at least two other tentative selections had to be rejected for one reason or another. This led to serious delays in getting organized and the entire production was dogged by ill-luck. Despite all, it was a good production, helped in no small part by an excel- lent cast. The summer weather was hot; the non-air condi- tioned Trueblood Theater was even hotter, and ticket buy- ers were few. The producer had spent money rather lavish- ly and the society ended up several thousand dollars in the red. With guarantees from the faculty advisors, the Big U agreed to keep the society alive, but the overall situation found UMGASS at the lowest ebb within memory. Most of the dissidents then returned determined to get the troupe back in the black. In truth, the society's plight had served to re-ignite enthusiasm, and morale was once more at a peak. Out of economic necessity we decided to break with tradition by producing two of the most popular operas during the following academic year. Norman Gibson opined that it had the makings of a mar- velous show, but that opening night mistakes and misfor- tunes were hard to take. (We recall that part of the scenery started to come apart and one of the stage hands had to come out into plain view and push a wall back into place.) Laurie Harris in the Daily thought the singing great, but the acting not. 112 Our Main Attraction H. M. S. PiNAFORE Lydia Mendelssohn Theatre December 3-6, 1969 Dramatics director: Roger Wertenberger Musical director: Bradley Bloom Choreographer: Nancy Hall Gilmartin CAST OF CHARACTERS PRODUCTION STAFF Sir Joseph Porter, K.C.B. Captain Corcoran Ralph Rackstraw Dick Deadeye Bill Bobstay (Boatswain's Mate) Bob Becket (Carpenter's Mate) Josephine Buttercup Cousin Hebe Charles Sutherland Jerald Wigdortz James Bryan H. D. Cameron Michael Reinhart Thomas Petiet Nancy Jaynes Bloom Julia Lacy Susan Morris Chorus of Sisters, Cousins, and Aunts: Candace Christiansen, Ann Emmons Kay Feinauer, Helen Freedman, Cynthia Haidostian, Lynette LaFata, Kathlyn Maldegen, Kathleen McKevitt, Patricia Shaffer Petiet, Ann Poberskin, Colby Schneider, Sandra Sprowl, Patricia VanAtta, Harriet Winkelman, Nancy Worthington. Chorus of Sailors: Jack Bothwell,Gene Correll, David Gilmartin, Garry Gross, Jerry Horan, Carl Mezoff, Robert Miller, Thomas Petiet, Richard Roselle, J. Mark Rottschafer, Richard Sherwood, Elliott Sigman, Brain Sutton, Richard Ferguson -Wagstaffe, Paul Weiss. Production Co-ordinator Richard Ferguson -Wagstaff Technical Director John Wellington Wells Stage Manager Victoria Hart Assistant Stage Manager Paul Angelino Lighting Technician John Schultz Properties Master Nelson Harrison Makeup Technician Carol Sutton Rehearsal Accompanist and Musical Assistant Eugene Galantay Photographer Roger Wertenberger Art Designer Thomas Petiet Set Construction and Stage Crew Brian Sutton, Judy Donald, John Barrie, Cynthia Turczyn, Rose Trendelenburg, Dianne Reaver, JoAnn Robinson, Janet Ashby, Suzanne Tiffany, Cheryl Dell, Bonnie Mills, Bob Kinney, Cathy Benditzsky, Bright Larkin Light Crew Larry Sherman, Dean Irwin Makeup Crew Ann Poberskin, Kathy Nadal, Donna Zalewski, Lynn Medved, Jody Wagner. Costume Crew Margaret McLeod, chairman; Julianne Smendzuik, Jean McCown, Heather Goddard, JoAnn Robinson, Anne Born, Deborah Fitunik. Rosemary Rogier, Carol Holland, Claudia Rouster, Gwendolyn Nagle, Heather Jackson, Susan Morris. Publicity Thomas Petiet and Gershom C. Morningstar, co-chairmen; Patricia Shafer Petiet, Frank Kelly, Elliot Sigman, Dan Rudgers, John Alexander, John Schultz. Programs Susan Morris, chairman; David Gilmartin, Nancy Hall Gilmartin, Gene Correll, Thomas Petiet, Patricia Shafer Petiet, Bolivar Kegnastie. Tickets Fred Shippey, chairman; Anne Temple. Nancy Hall Gilmartin, David Gilmartin, Dia Pott, Julie Geren, Colby Schneider. UNIVERSITY THEATRE ORCHESTRA Violin Dennis Murphy Susan Thayer Robert Kumin Maria Mykolenko Barbara Langell Marian Waltz Rae Ann Reutershan Ellen Gordon Barbara Kimmel Tamara Jacobs Kathy Pierzchala Marilyn Zemach Marina Lounsberry Louise Wilson Viola Lonni Sue Johnson Cello Bobbi Fox Gayle Southworth Judith Weil Bass Lucille Aptekar Sandra Bergman Flute Janie Enberg Anne Louise Cheney Kathy Feldman Oboe Christopher Moss Janet Frey Clarinet Tyler Roehm Nick van der Schalie Judith Ann Shirley Bassoon Barbara Wurman Leslie Ruth Coleman French Horn David Goldberg Carl Daehler Amy Schonfeld Trumpet Daniel Rudgers George Wilson Trombone Michael Heroy Paul Niemisto Percussion Robert Benford 113 H.M.S. Pinafore - 1969 1997 Post Script: Owing to economic straits, the show was done with mini- mum budget but maximum enthusiasm. The chorus included an important newcomer: Cynthia Haidostian, a niece of Ara Berbarian. She was destined to become one of our most active leaders. Another important newcomer was James Bryan, who sang tenor lead for six shows. At this time Brad Bloom and Glenn Litton had organized what they called the University Theatre Orchestra. Its his- tory is outlined in Brad Bloom's part of the appendix. In order to enhance income, the directors arranged to increase the number of performances by staging two on Friday: one at 7:00 pm and one at 9:30 pm. That second Friday show was tough on the performers, but they were buoyed up by the enthusiasm of the members of the audi- ence who came after a comfortable meal and a few drinks. FUMGASS and GASBAG, a pair of innovations of last- ing influence made their first appearances at this time. The friends group was organized by the Benfords and John Allen. After the initial appeal was mailed out, the very first respondents were the Harold Haughs. The other earliest patrons were the Jay Cranstons, the James Rieckers (i.e., Judy Dow Rumelhart), the Henry van der Schalies, and Robert Freese. Notes by Benford in the appendix tell all the lurid details about the start of both FUMGASS and GASBAG. Reviewer John Allen had nothing but praise for the show, and especially for Don Cameron, as Deadeye. He also noted the return of Jay Cranston to the audience: "Hearing his rotund, piercing, unabashed laughter again made it seem like old times. Long live tradition, say I, and [UMGASS] - offering its fiftieth production this week deserves a whole house full of appreciative doctors." Gordon Gapper, writing in the FlintJournal opined that, "The production was generally on an even keel and cer- tainly 'dressed overall' as a spectacle from opening tableau to choreography. The staging . . . was, in fact, foaming with imaginative touches and if there was more than a slice of ham in it all, that's better than hardtack." Newcomers: Ed Glazier, Carl Mezoff and Nan Worthington. The faculty advisors now consisted of the Benfords plus three newcomers: Don Cameron and the Harold Haughs. 114 Our Main Attraction TlE PIIRATES OF PENZANIE Lydia Mendelssohn Theatre April 15-18, 1970 Stage director: Roger Wertenberger Assistant director: Richard Ferguson-Wagstaffe Choreographer: Nancy Hall Gilmartin Music director: Bradley Bloom Scenic designer: Ursula Belden Producer: Gene Correll Costumer: Ann Correll THE CAST: Major General Stanley: Mabel: Sergeant of Police: Isabel: Kate: Pirate King: Frederic: Ruth: Samuel: Policeman: Edith: UNIVERSITY THEATRE ORCHESTRA Charles Sutherland Linda Oakley H. Don Cameron Colby Schneider Helene Freedman William Hall James Bryan Jane Hassinger John Alexander David Gilmartin Anne Umana Violin Glenn Litton Susan Thayer Maria Mykolenko Marian Waltz Rae Ann Reutershan Ellen Gordon Ellen Reslock 'Tamara Jacobs Kathy Pierzchala Marilyn Zemach Marina Lounsberry Viola David Kessler Lonni Sue Johnson Nancy Raines Cello Gayle Southworth Judith Weil Laura Garfinkel Maggie Waltz Bass Christopher Brown Flute Jan Enberg Kathy Feldman Sally Waisbrot Oboe Christopher Moss Janet Frey Clarinet Tyler Roehm Nick van der Schalie Judith Ann Shirley Bassoon Barbara Wurman Leslie Ruth Coleman Jean McCown French Horn David Goldberg Carl Daehler Amy Schonfeld Trumpet Daniel Rudgers Edward Steeh Trombone Michael Heroy Richard Polk Percussion Robert Benford The Stanley Girls: Ann Emmons, Maria Fattore, Cynthia Haidostian, Vicki Hart, Norma Hoffmeister, Shelly Kassman, Melly Koebel, Kathy Maldegen, Kathy McKevitt, Catherine Moore, Debby Peckham, Sandy Sprowl, Pat VanAtta, Sue Woodward The Pirates of Penzance: Chris Dant, Richard Giszczak, Mark Goldberg, Gary Gross, Arthur Gulick, Gerry Horan, Michael Kelly, Paul Kessler, Victor Lindblom, Robert MacGregor, Carl Mezoff, Richard Roselle, Richard Sherwood, Elliott Sigman, Paul Weiss 1997 Post Script: This was one of Roger Wertenberger's wilder productions. As a start, his policemen's chorus consisted of diminutive Dave Gilmartin all by himself under Don Cameron as the sergeant. Toward the end of the show, when the pirates were supposed to hide upon the entry of the major gener- al, Roger had some of them jump into big steamer trunks conveniently found at hand. These were on castors and arranged so the occupants could shuffle them about. This generated a lot of cheap laughs, but did little to advance the plot. At times, it must be admitted, Roger's imagination outran his judgment. John Alexander's notes in the appendix tell about life in those trunks. New talent: Vic Lindblom, Bob MacGregor and Richard Polk. After yeoman service in ten shows, this was to be Gene Correll's last. We also said farewell to Victoria Hart, after six shows. Other farewells: Glenn Litton (after 5 shows), Colby Schneider (5), Nick van der Schalie (9), and Tigger Benford (6). 115 N- ThNap nigt 98Pics d Photo fromUMGASS arhives, no in UM Btle irna ir Our Main Attraction UI4 Vwmtn nf ftle (1 uar Lydia Mendelssohn Theatre November 11-14, 1970 Dramatics director: Gershom Clark Morni: Technical director: Jim Fellows THE CAST: Jack Point: H. Don Cameron Elsie Maynard: Janet Smith Wilfred Shadbolt: Charles Sutherland Phoebe Meryll: Judii Block Colonel Fairfax: James Bryan Leonard Meryll: Richard Giszczak Dame Carruthers: Sandra Yowik Sergeant Meryll: Ronald Orenstein Kate: Roberta Pauline Sir Richard Cholmondely: Dr. George A. Gates Chorus of Citizens: Rick York, Carl Mezoff, Pat Petiet, Brett Briskin, Debbie Dunn, Mark Goldberg, Dee Bailey, Larry Brown, Ann Emmons, Carol Holtz, Peter Mellencamp, Roberta Pauline, David Gilmartin, Helene Freedman, Cynthia Haidostian, Sarah Olson, Shelley Kassman, Robert Cohen, Elliott Sigman, Bruce Lehman, Barbara Becker, Pam Dryden, Beverly Kirkpatrick, Sandra Woodra, Gerry Horan, Mike Gilmartin, Mike McManus, Mary Griffin, Chris Peterson, Anita Handelman, Kay Kionka, Nan Worthington, Ashley Putnam Chorus of Yeomen: Kevin Casey, Carl Mezoff, Dave Parsons, Tom Petiet, Rick York, Gene Sager, Gerry Horan, Rich Roselle, Richard Giszczak, E. Hastings Stevenson Musical director: David F. Jorlett, Jr. Costume designer: Ann Correll UNIVERSITY THEATRE ORCHESTRA FOR THE YEOMEN OF THE GUARD Violin Louann Bradford Jonelle Dick Ellen Gordon Dennis Murphy Maria Mykolenko Aleta Niewadonski Ellen Reslock Maxine Semchyshen Alan Smith Andy Vizulis Judy Warnock Mason Yu Viola Lonnie Sue Johnson Michael Pilafian Cello Laura Garfinkel Natalie Lewis Judith Weil Bass Lucy Aptekar Charles Pilzer Flute Ann Cheney Jan Enberg Deborah Thomas Clarinet Ralph Katz Tyler Roehm Judith Ann Shirley Oboe Janet Frey Christopher Moss Bassoon Mary Kruzas Carl Radziewicz French Horn Carl Daehler David Goldberg Ellen Perlow Trumpet Fred Welch Stan Baptista Trombone Donald Dygert Michael Heroy Percussion Claudia Tull Gilbert and Sullivan Executive Board President Gerald Horan Vise-President David Gilmartin Secretary Cynthia Haidostian Treasurer Richard Giszczak Pooh-Bah Fred Shippey Pish-Tush Richard Roselle 117 The Yeomen of the Guard - 1970 THE GILBERT AND SULLIVAN SOCIETY WOULD LIKE TO ACKNOWLEDGE " MR. STANFIELD WELLS and his " JUNIOR LIGHT OPERA for supply- staff at the Michigan Union for pa- ing tights tience and generosity in reserving re- " WUOM for giving us time on 11th hearsal rooms Hour and the Noon Show and space e MR. MAURICE RINKEL and his on the cover of the November Bulletin staff for careful accounting of our " HURON VALLEY AD-VISOR, ANN funds and much sage advice ARBOR NEWS, ON THE TOWN " MR. JOHN TOY of the Minneapolis MAGAZINE, YPSILANTI PRESS, G & S Society for supplying the three EASTERN ECHO, and OBSERVER songs deleted after the original pro- NEWSPAPERS, INC., for printing duction pictures and articles " MISS IRENE KENDROVICS AND e ANN ARBOR CIVIC THEATRE for MR. TOMMY McWILLIAMS of the a pair of jester shoes Copy Center for prompt and cheerful " UNIVERSITY NEWS SERVICE for duplicating service their extensive press releases " The secretarial staff of the Depart- " ROBERT LUSCOMBE for a picture ment of Naval Architecture and Ma- and article in Music at Michigan rine Engineering for expert advice on " LAWYERS' CLUB for providing anspelling, punctuation, and the mysteries elegant background for picture takingof the duplicating equipment " EDWARD WOLFRUM of Audio " MR. JOHN EMERSON AND MR. Graphics for technical recording equip-AND MRS. T. R. MORRSE of Tor- ment onto for providing the music for Ser- * COUNSELOR FRED RICO of the e MR. ROGER WERTENBERGER for Upper Volta Cold Stream Guards forcMRetGtERchEsRTioNBE forgeadvice on costumes and props, andcreating the orchestration for Sergeant for getting Shelley Kassman to smileMeryll's song " EUREKA CLEANERS for the care they've given our costumes 1997 Post Script: This show returned Gersh Morningstar as director, teamed with newcomer David Jorlett as music director. David was an experienced director and was then the choral director of the Southfield public schools. The hearty chorus numbered over two score, of whom many went on to take lead roles in later shows. To men- tion a few: Dave Parsons, Gene Sager, Kevin Casey, Rich Roselle, and Ashley Putnam. A rather frightening goof in a newspaper ad indicated that evening performance tickets cost $8.00, when what was meant was curtain at 8:00 p.m. Egad. The real prices were $2.00 and $2.50. Once more the promoters were at work and managed to get free publicity in half a dozen illustrated puff pieces, including one by Linda Siegrist. We even cracked the usually aloof School of Music with a nice article in Music at Michigan. Robert Jones writing in the Daily complained that the music director reached a level of unparalleled mediocrity in leading the orchestra, but did a great job with the singers. His overall conclusion was that it was "a produc- tion with many fine attributes; it is entirely worth seeing." Sandra Yowik played Dame Carruthers, while lurking in the publicity crew was her future husband, Charlie Hudson. At newcomer Ron Orenstein's urging, the long-dropped song "A laughing boy but yesterday" was reintroduced, and Ron, as Meryll, sang it with gusto. A welcome newcomer was Chris Haidostian, Cyndy's sis- ter. Other newcomers: Ralph Katz, Corky Schorr and Eric Stern Departures: George Gates (after 9 shows) and John Schultz (7). The UM Flint extension center sponsored a special per- formance in that city. Edward Stasheff, a professor of speech, and his wife were now added to the list of faculty advisors. 118 Our Main Attraction lUDDDYG1OE Lydia Mendelssohn Theatre April 14-17, 1971 Dramatics director: Nancy Hall Gilmartin Technical director: James R. Fellows Choreographer: Lenore Ferber Musical director: Bradley Bloom Assist. musical director: Eric Stern Costume designer: Ann C. Correll THE CAST: Sir Roderick Murgatroyd: Rose Maybud: Sir Ruthven Murgatroyd: Mad Margaret Richard Dauntless: Dame Hannah: Sir Despard Murgatroyd: Zorah: Old Adam Goodheart- Ruth: UNIVERSITY THEATRE H. Don Cameron Judy Levitt Keith Austin Brown Joan Susswein Jerald Wigdortz SandyYowik Charles Sutherland Helene Freedman Dave Johnson Shelley Kassman VIOLIN Dennis Murphy Maria Mykolenko Aleta Niewadonski Ellen Reslock Louann Bradford Alan Smith VIOLA Lonnie Sue Johnson Terri Feldman CELLO Laura Garfinkel Natalie Lewis BASS Charles Pilzer FLUTES Jan Enberg Lois Eitzen CLARINET Ralph Katz Mary Kruzas OBOE Christopher Moss BASSOON Eric Haughen Gregg Mickiewiz ORCHESTRA FRENCH HORN David Goldberg Ellen Perlow TRUMPET Steve Sharpe Daniel Rudgers TROMBONE Michael Heroy s PERCUSSION Claudia Tull Bridesmaids: Camille Buda, Barbara Becker, Cynthia Haidostian, Chris Peterson, Ann McMican, Shelley Kassman, Benne Willerman, Nan Worthington, Cheryl Cheger, Pat Braden, Ann Emmons, Debbie Dunn, Helene Freedman, Marie Fattore Gentry: Larry Brown, Charlie Hudson, Rich Roselle, Gerry Horan, Mike Gilmartin, Rick York, Elliot Sigman, Mark Steiner, Pete Mellencamp, Hank Schade, Gary Hummel, Victor Lindblom, Dave Gilmartin, Gene Sager 119 Ruddygore - 1971 BEHIND THE SCENES Stage Manager: Mike Housefield Head Carpenter: Dennis P. PearsonProperties Technician: Margaret MacLeod. Hair Stylist: Kathy Pais.Make-Up Technicians: Jeff Steward, Anne Born.Stage Crew: Jane Axlerad, Margaret MacLeod, Dennis R. Pearson, Alden S. Raine,Erica L. Raine, Kelly Seifert, Dan Tholen, Everett Lunsford, Debby Weingust, RuthKallio. Lgtn rw ayEasPiano Tuner and Mover: Fred Rico Lighting Crew: Racy Evans. Costume Crew: Claudine Heldt, Margaret MacLeod, Betsy McPherson, Susan Morris,Rosemary Rogier, Corky Schorr, Nan Worthington, Kathy Fox, Kathy SchmidtMake-Up Crew: Debby Peckam, Jim Przeslawski.Program Chairman: Nan Worthington. Program Photographer: Fred Shippey.Program Art: Everett Lunsford, Sarah Olson.Program Committee: Gerry Horan, Kathleen Schoonmaker, Jerald Wigdortz,Ronald Orenstein. Publicity Chairman: Judii Block. Publicity Photography: Roger Werterberger.Publicity Committee: Tony Atkins, Larry Brown, Cheryl Chegar, Charles Hudson, VictorLindblom, Ronald Orenstein, Chris Peterson, Richard Roselle, Corky Schorr, LindaSiegrist, Sandy Yowik. Ticket Chairman:Richard York House Manager:Heinrich Bjoenfjord WE WOULD LIKE TO ACKNOWLEDGE GLENN LITTON, one of the founders of the University Theatre Orchestra for his extensive assistance to Brad. MARGARET MacLEOD is hereby presented with the first annual "Steady Trooper Through the Ages" award for her yeoman efforts on costuming, the set, and, of course, as a general troubleshooter of unparalleled greatness. MIDWEST WOOLENS of Detroit for their fine material. MR. MAURICE RINKEL and his staff for much sage advice and careful accounting of our funds. BURKHART TYPESETTING COMPANY for much patience, explanation, and the type- setting for the program. SERV-ALL PRINTERS for their wonderful work on the program. MR. STANFORD WELLS and his staff at the Michigan Union for patience and gen- erosity in reserving rehearsal rooms. MISS IRENE KENDROVICS and MR. TOMMY McWILLIAMS of the copy center for prompt and cheerful duplicating service. THE SECRETARIAL STAFF of the Dept. of Naval Architecture and Marine Engineering foruexpert advice on spelling, punctation, and the mysteries of the duplicating equipment. EUREKA CLEANERS for the care they've given our costumes. STATION WUOM for giving us time on Eleventh Hour and the Noon Show. HURON VALLEY AD-VISOR, ANN ARBOR NEWS, ON-THE-TOWN Magazine, YPSILANTI PRESS, EASTERN ECHO, and OBSERVER NEWSPAPERS, INC., for printing pic- tures and articles.UNIVERSITY PLAYERS SPEECH DEPARTMENT for mention in their orosram. 1997 Post Script: Directorial leadership had now fallen to a team of talented and experienced artists well known to our audiences. Marcia Abrahamson's review in the Daily is full of praise. She starts with, "Gilbert and Sullivan may not have planned it that way, but 'Ruddigore' is delightful." Recruits: Dan Tholen, Erik Haugen and Michael Heroy. After seven shows this was to be Dave Gilmartin's last, and the same for Gerry Horan. Gerry had but to say, "Pass the mustard." Other farewells: Ellen Reslock (after 7 shows), Dan Rudgers (7), Kathy McKevitt Schoonmaker (10) and Fred Shippey (13). FUMGASS was now in its third year and thriving. The patrons numbered more than two dozen. Of course there were lots of members of lower rank whose names have gone unmentioned. The program carried an insert signed by president Gerry Horan: "Richard Giszczak, the man with that catchy last name, has been the financial wizard, in the guise of trea- surer, behind the Gilbert & Sullivan Society this year. In true Horatio Alger fashion he has transformed the G&S 'books' from a series of miscellaneous papers filling several shopping bags to an impeccable set of accounting ledgers. (Soon to be published in paperback under the title War and Peace) We thank him very much." The other officers were: David Gilmartin: Vice-president Cynthia Haidostian: Secretary Fred Shippey: Pooh-Bah Richard Roselle: Pish-Tush 120 Our Main Attraction 'Jhe &MbUIado Lydia Mendelssohn Theatre December 8-11, 1971 Dramatics director: Herbert Motley Asst. dramatics director: Susan Morris Musical director: Bradley Bloom Asst. musical director: Eric Stern Technical director: James Brown Co-choreographers: Nancy Hall Gilmartin & Lenore Ferber UNIVERSITY THEATRE ORCHESTRATHE CAST Nanki-Poo ........................... James Bryan Yum-Yum ......................... Ashley Putnam Ko-Ko ............................ H.D. Cameron Peep-Bo ...................... Deborah Ann Dunn Pitti-Sing ..................... Christine K. Eastwood Pooh-Bah ............................. John Allen Katisha ........................ Patricia Jean Deckert Pish-Tush ........................ Mark S. Goldberg The Mikado .................. E. Hastings Stephenson CHORUS OF LITTLE LADIES Nancy Graser, Barbara Becker, Cynthia Haidostian, Mary Lou Zuelch, Nan Worthington, Sarah Olson, Beverly Kirkpatrick, Kathy Maldegen, Bonnie Carnes, Cindy Hill, Cecilia Guerra, Ann McMican, Susan Sweet, Kathryn Bradley GENTLEMEN OF JAPAN Ed Glazier, Roger Holtz, Karl Schwartz, Elliott Sigman, Vic Lindblom, Jim Lewis, Kevin Casey, Ross Siefert Violin Alan Smith Dennis Murphy Andrew Vizulis Rebecca Vizulis Jill Berkeley Mary Dreyer Peter Dykema Aleta Niewadonski Viola Cittredge Carry Lonnie Sue Johnson Michele McManus Jeanine Schmidt Celio Elizabeth Van Beek Laura Garfinkel Natalie Lewis Bass Charles Pilzer Flutes Nina Galerstein Deborah Thomas Oboe Mary Kruzas Clarinet Ralph Katz Janet Burdick Bassoon John Burgess Eric Haughen French Horn David Goldberg Ellen Perlow Trumpet Gary Hann Steve Sharpe Trombone Michael Heroy Allan Denner David Heroy Percussion Claudia Tull EXECUTIVE BOARD Cynthia Haidostian .............................. President Nan Worthington..........................Vice President Chris Peterson...............................Secretary Vic Lindblom................................Treasurer Susan Morris ................................... Pooh-Bah Gene Sager .................................... Pish-Tush Faculty Advisors Professor and Mrs. Harry Benford Professor H. Don Cameron Professor and Mrs. Harold Haugh Professor and Mrs. Edward Stasheff 121 The Mikado - 1971 PRODUCTION STAFF Technical Director - James Brown Ill Asst. Technical Director - Dan Tholen Stage Manager - Dan Tholen Costume Coordinator - Carole Duffy Costume Crew - Cathy Buck, Carolyn Mark, Margaret McLead, Mrs. Pamela Motley Make-up Technicians - Jim Pergeslawski, Dorothy Belding, Jeff Stewart, Dianne Cenko Publicity - Sandy Hudson Tickets - Charles Hudson Programs - Ann McMican Photography - Program, Prof, Harry Benford; Publicity, Roger Wertenberger Program Design - Margaret MacLeod Publicity Artwork - Sarah Olson lighting Technician - Rick Schreiver Set Crew - Margaret MacLeod, Ralph Katz, John Linsinmeier, and Ruth Lighting Crew - Gary Vosburg, Lisa Dickinson, Joan Dubinky Prop Crew - Diane Wroblewski, Marian Cohen, Carol Green, Gary Vosburg 1997 Post Script: This show brought in a new dramatics director: Herbert Motley, a PhD candidate, former president of the Harvard G&S Players, and a dead ringer for Sir Arthur Sullivan. Although uncharacteristically tall for a Japanese maiden, Ashley Putnam, in her first major role, did a wonderful job as Yum-Yum. Tickets must have been selling well. They advertised 7:00 p.m. and 9:30 p.m. shows on Friday night and cautioned that Saturday night was already sold out. Norman Gibson gave the show generally good marks. He was especially complimentary to John Allen (Pooh-Bah) and Don Cameron (Ko-Ko). He also praised the orchestra and singers for producing a good balance. Mark Dillon of the Daily wandered off into the realm of his perceived flaws in today's capitalistic society, and lamented that the directors of the show failed to shine the spot light thereon. Aside from that, he apparently thought it was a pretty good evening's entertainment, even without its social message. After seven excellent shows, this was to be Brad Bloom's last, although we'd love to see him return. Other farewells: Margaret MacLeod (after 8 shows) and Barbara Becker (9). Beards were now the trendy fashion and many of the guys resisted coming clean for the show. As a result those gen- tlemen of Japan looked like burly forty-niners. Dave Goldberg has a splendid tale about John Allen's flim- sy sandal. Read all about it in the appendix. You should also read what Ed Glazier has to relate about another memorable incident that centered on Chris Eastwood, who almost found herself double cast. Rehearsal space was at a minimum, and much of the show was rehearsed in a kitchen in the basement of the Union. The show later was taken to Flint for a performance in a high school auditorium. 122 Our Main Attraction TUE FE Residential College Auditorium March 17-18, 1972 Dramatics director: Thomas Petiet Music director: Roger Wertenberger Choreographer: Pat Petiet DRAMATIS PERSONAE Aged Olympians Jupiter..............Ronald Orenstein Apollo...............Mark S. Goldberg Mars.................Thomas Petiet Diana................Dee Baily Mercury..............Anne-Eileen Born (Fri.) Pat Petiet (Sat.) Venus................Kay Kionka (Fri.) Pam Dryden (Sat.) Minerva..............Pat Petiet (Fri.) Anne-Eileen Born (Sat.) Thespis (Manager of a travelling theatrical company)..Gershom Clark Morningstar Sillimon (His stage manager).............Elliott Sigman Thespians Timidon..............Richard York (Fri.) Karl Schwartz (Sat.) Tipseon..............Larry Ramer Preposteros..........E. Hastings Stephenson Stupidas.............Pete Hyde Sparkeion............Karl Schwartz (Fri.) Richard York (Sat.) Nicemis..............Linda Siegrist Pretteia.............Sarah Olson (Fri.) Deborah Lehne (Sat.) Daphne...............Cynthia Hill Cymon................Shelley Stasson Parola...............Julie May Precocia.............Suzanne Tiffany E lementals First Star...........Shelley Stasson Fog..................Bridget Morningstar Chorus of Stars......THE FREDRICO CHORALE 123 Thespis - 1972 SMALL COMPANY PRODUCTION STAFF Dramatics Director...........Thomas Petiet Music Director...............Roger Wertenberge Choreographer................Pat Petiet Accompanist..................Barbara Engel Costumes.....................Jody Martin Ann Correll Set Design...................Thomas Petiet Set Construction.............Burns Park Cub Scout Troop Publicity....................Ronald Orenstein 1997 Post Script: In the spring of 1972, under the prodding of the inimitable Gersh Morningstar, those who had been providing casual entertainment became more ambitious and formed an off- shoot company to produce low key shows. They called themselves the University of Michigan Gilbert & Sullivan Society Small Company. This was their first production. Since most of Sullivan's music (including Jerry Bilik's sub- stitutions) had long ago disappeared, Roger Wertenberger was called upon to dredge up applicable tunes from other Sullivan scores. This was done and the Small Company was well received. A year or so later they produced a play: Gilbert's hilarious Haste to the Wedding. Soon thereafter, we had a friendly separation and the troupe became today's Comic Opera Guild. Price of admission: "One thin 50 cent Kennedy." 124 Our Main Attraction Lydia Mendelssohn Theater April 5-8, 1972 Dramatics director: Nancy Hall Gilmartin Musical director: Eric Stern Dramatics director: Susan Morris Artistic director: James R. Fellows Costumer: Ann Correll UNIVERSITY THEATER ORCHESTRATHE CAST Reginald Bunthorne ................... Keith Brown Patience ......................... Mary Lou Zuelch Archibald Grosvenor ................... E. Lee Davis Lady Jane ........................... Louisa Davis Colonel Calverley ................. Michael Gilmartin Lady Angela ........................ Sandy Hudson The Duke of Dunstable ........ Gene Lloyd Wm. Sager Lady Saphir ........................ Ashley Putnam Major Murgatroyd .................... Dave Johnson Lady Ella .......................... Kim Krajewski The Solicitors ....................... Harry Benford Edward Stein CHORUS OF RAPTUROUS MAIDENS Cynthia Haidostian, Susan Tyzenhouse, Debbie Dunn, Julia Decker, Carla Morand, Ann Emmons, Nan Worthington, Peggy Howell, Barbara Kelly, Susan Gobien, Kay-Ellen Klein, Cynthia Hill, Ann Pobereskin CHORUS OF 35th DRAGOON GUARDS Elliott Sigman, Chris White, Victor Lindblom, Jurgen Gobien, Charles Hudson, Jim Hill, Peter Hedlesky, Steve Gilmartin, John Alexander, Mark Goldberg, Ed Glazier, Jim Posante, Michael Gordon Violin ^.an Smith Dennis Murphy Andy Vizuis Becky Vizulis Mary Dreyer Aleta Niewiadomsky John Linsenmeier Viola Michele McManus Jeanine Schmidt Peter Dykema cello Dolly Orgo John Summerhayes Bass Charles Pfizer Flute Nina Galerstein Jan Enberg Deborah Thomas Oboe Mary Kruzas Clarinet Ralph Katz Richard Alder Bassoon Erik Haughen John Burgess Horn Dave Goldberg Ellen Perlow Trnumpet Charles Edmundson Randy Wilson Trombone Michael Heroy David Heroy Percussion Claudia Tull EXECUTIVE BOARD President ........................................ Cynthia Haidostian Vice President......................................Nan Worthington Secretary............................................ Chris Peterson Treasurer.............................................Vic Lindblom Pooh-Bah ........................................... Mike Gilmartin Pish-Tush...............................................Gene Sager Faculty Advisors Professor and Mrs. Harry Benford Professor H. Don Cameron Professor and Mrs. Harold Haugh Professor and Mrs. Edward Stasheff 125 Patience - 1972 BEHIND THE SCENES Stage Manager/Head Carpenter:Dan Tholen Set Crew: Han Balthaser, Julie May, Erie Haugen, James Jensen, Dennis Pearson, Mike Gilmartin, Becky Potts, Janis Leoart, Nancy Saswe, Pam and Bob Westover, Carry Brown, Kelly Seifert, Paul Jung, Suzy Dice, and Ruth Lighting Crew: Dennis Pearson, Paul Jung, Ann Sternberger Aesthetic Garb/Dragoon Uniforms: Ann Correll, Cathy Buck, Peter Hedlesky, James Fellows Makeup: Jeff Stewart, Paul Jung, Charles Sutherland 1997 Post Script: Eric Stern, our new music director had served in lesser capacities in earlier shows. He was then a sophomore majoring in composition. The roles of Archibald Grosvenor and Lady Jane were ably taken by the husband-and-wife team of Lee and Louisa Davis. The last we heard from them they were both per- forming with German opera companies. In this show the third of the Gilmartin brothers, Steve, made his initial appearance. It was also the first show for Peter John Hedlesky, who is still much in UMGASSian evidence. Norman Gibson reported his surprise that a production with so many directors could produce such a satisfactory and unified whole. Jeffrey Lane in the Daily wrote as though his liver were acting up. He was feeling glum and thought his readers should, too. Alas, a dismal and unenlightening review. This marking our twenty fifth year, Ann Arbor Mayor, Robert J. Harris proclaimed the week of the show to be Gilbert & Sullivan Week throughout the bournes of Greater Ann Arbor. He spake thus of the society: While offering shows of the highest quality, it has formed a common bond between the City of Ann Arbor and the University in offering both theatri- cal experience and entertainment. The society is world renowned - having mem- bers from all parts of the globe. The December production of "The Gondoliers" will mark the Hemi-Demi Centennial performance for the community. The Society will celebrate the Hairstyles: Charles Sutherland, Joan Susiwein Programs: Ashley Putnam, Barbara Kelly Program Cover: Bob Goldstrom Program Photography: Mike Gilmartin, Harry Benford Publicity: Jeff Endean Publicity Photography: Roger Wertenberger Publicity Art: Bob Goldstrom Tickets: Charles Hudson Head Usher: Linda Siegrist Rehearsal Accompanist: Kathy Maldegen reunion of old alumni and patrons while bringing to a climax the atmosphere of enthusiasm and friendship which has emanated from the society and its members to the Ann Arbor community throughout the years. Other new faces: Jim Posante and Susan Stephenson. Farewells to Linda Siegrist (after 7 shows) and Elliott Sigman (10). 126 Our Main Attraction Ebe 4onbotters Lydia Mendelssohn Theatre December 13-16, 1972 Dramatics director: Nancy Hall Gilmartin Musical director: Eric Stern Technical director: James Fisher THE CAST Marco ............................... James Bryan Gianetta...........................Ashley Putnam Giuseppe ....................... Charles Sutherland Tessa .............................. Laura Holland Christine Eastwood Don Alhambra ........................ Kevin Casey Duke of Plaza-Toro ................ James M. Drew Duchess of Plaza-Toro ................. Susan Bayha Luiz ............................. M ichael Gordon Casilda ............................ Lenore Ferber Antonio .................... David Charles Westbay Fiametta ............................ Kay Murray Giorgio .......................... Charley Hudson Vittoria ............................ Sandy Hudson Francesco ...................... Edwin Eric Glazier Guilia..............................Peggy Howell Inez ................................ Cynthia Hill CHORUS OF CONTADINE Sue Tyzenhouse, Carla Morand, Cynthia Haidostian, Debbie Dunn, Mary Drew, Cynthia Hill, Peggy Howell, Sue Crippen, Kay Murray, Chris Haidostian, Sandy Hudson, Fredica Rico, Cecelia Guerra CHORUS OF GONDOLIERS Chris White, Carl Mezoff, Peter Hedlesky, Paul Banas, Vic Lindblom, Skip Kruse, David Westbay, Edwin Glazier, Charley Hudson, Jim Posante, Tom Cook, Steve Gilmartin Dramatics director: Susan Morris Assistant director: Carlos A. Yorio Costume designer: Peter Hedlesky UNIVERSITY THEATER ORCHESTRA Violin Alan Smith Dennis Murphy Andy Vizulls Becky Vizulis John Linsenmeir Jan Pinkham Richard Giazczak Viola Michele McManus Angel Palmieri Cello Helen Peck Charlotte Lehnoff Baas Gregory Milston Flute Deborah Thomas Nina Galerstein Oboe Pam Chapman Clarinet Ralph Katz Barbara Kelly Mary Kruzas Basson Erik Haughen Michael James Horn Dave Goldberg Rosaline Baker Trumpet Charles Edmundson Trombone Michael Heroy David Heroy Dick Polk Percussion Mario Rico EXECUTIVE BOARD President.....................................Cynthia Haidostian Vice-President.....................................Charley Hudson Teasurer.......................................... Vic Lindblom Secretary.........................................Ashley Putnam Pooh-Bah:.......................................MikeGilmatrin Pish-TUah............................................. Julie May Faculty Advisors Professor and Mrs. Harry Benford Professor H. Don Cameron Professor and Mrs. Harold Haugh Professor and Mrs. Edward Stasheff 127 The Gondoliers - 1972 PRODUCTION STAFF Stage Manager: Dan Tholen Set Crew:Paul Jung, Mike Alexander, Bob Russell, Ward Squires, Emily Levin, Barry Bates, Dan Tholen, Marge Mier, Peggy Morgenstern, Vic Lindbolm, Mike Gimartin Lighting: Jim Fisher Costume Designs: Peter Hedleaky Costume Crew: Deborah Peeaon, Peggy Morgenstern, KayMurray, Kathy Kramer, Cynthia Page, Cathy Dobson, Diane Reaver, Peggy Howell,Susan Tyzenhouse% Chris Haidostian, Carla Morand, Cynthia Hill Make-up: Jeff Stewart 1997 Post Script: Now in our twenty-fifth year, we called this the Hemi- Demi-Centennial production. Of particular note: This show brought in two exceptionally valuable newcomers: Jim and Mary Drew (now Mary Locker). Another valuable newcomer was Sue Crippen, who served in many capacities for the next several shows. The show was taken to Midland. Things went reasonably well until one of the buses broke down on the way back and left cast members stranded somewhere in a bleak and snowy wilderness relieved only by a Dutch Pantry restau- rant within walking distance. Faced with a limited menu and limited financial resources, some of the cast members filled up on shoo The pie, which put some of them into sugar attack. But all survived and were ready to start a new show. This turned out to be Roger Wertenberger's last show (his eleventh) and Colby Schneider Wertenberger's seventh. By now the FUMGASS patrons list had grown to more than fifty names. hogum: Jim Posante, Ashley Putnam, Cynthia Hill, Laura Holland Progrum Cover and Poster Art: Peter Hedlesky Publicity: Julie May, Gene Sager Photogmphy: Mike Gilmartin, Roger Wertenberger Tickets: Charley Hudson Head Ushers: Dr. and Mrs. Robert Westover Rehearsal Accompanist: Corky Schoor Hemi-Demi Centennial Committee: Gloria Bennish, Julie May, Harry Benford, Gary Hicks A pyramid ofpulchritude, each lovelier than the other. Photo from UMGASS archives, now in Bentley Historical Library. 128 Our Main Attraction Chorus members from 1972 Gondoliers. Standing: Sue Tyzenhouse, Chris White, Carl Mezoff, Carla Morand, Peter Hedlesky and Cynthia Haidostian. Kneeling: Paul Banas, Debbie Dunn, Vic Lindblom, Mary Drew and Skip Kruse. Photo from UMGASS archives, now in UM Bentley Histrical Library. More chorus members. Standing: David Westbay, Ed Glazier, Peggy Howell and Charlie Hudson. Kneeling:fim Posante, Sue Crippen, Kay Murray, Tom Cook, Chris Haidostian, Sandy Hudson, Fredrica Rico and Steve Gilmartin. Photo from UMGASS archives, now in UM Bentley Historical Library. 129 The Gondoliers - 1972 At the Hemi-Demi-Centennial celebration. 1 to r: Betty Benford, Jean Lynn Barnard, Kenneth Rowe and Gloria Bennish. Photo from Bentley Historical Library. John Allen (absolute despot of FUMGASS) presents Martyn Green's Treasury of Gilbert & Sullivan to Gloria Bennish in recognition of her starting UMGASS a quarter of a century ago. Photo from Bentley Historial Library, Bennish collection. 130 Our Main Attraction PRINCESS IDA Lydia Mendelssohn Theater April 4-7, 1973 Dramatics director: Susan Morris Assistant director: James M. Drew THE CAST Princess Ida ........................ Ashley Putnam Hilarion ............................ James Bryan Lady Blanche ................. Nancy Hall Gilmartin Cyril ....................... Gene Lloyd Wm. Sager Lady Psyche ....................... Lynne Wieneke Florian ......................... Charles Sutherland Melissa .............................. Diane Aron King Hildebrand ..................... Dave Johnson Arac ................................ Kevin Casey Guron .............................. Jim Posante Scynthius ...................... Victor E. Lindblom Sacharissa ...................... Cynthia Haidostian Chloe ................................ M ary Drew Ada .............................. Carolyn Valdes WOMEN OF CASTLE ADAMANT Carolyn Valdes, Christine Haidostian, Carol Ryner, Barbara Bernstein, Mary Drew, Jan Lang, Carla Morand, Cynthia Haidostian, Donna Blanchard, Kathy Maldegan, Kim Ballard, Sue Tyzenhouse SOLDIERS OF KING HILDEBRAND Larry Fink, Skip Kruse, John Kelly, Dave Hunsche, Steve Gilmartin, Paul Banas, Ed Glazier, Jim Linton, Chris White, Jim Almdale, Jon Miller, Steve Olson Musical director: Eric Stern Technical director: Paul Jung UNIVERSITY THEATER ORCHESTRA Violin Dennis Murphy John Linsenmeir Jennifer Ott Kenneth Howard Susan Milhouse Viola Elaine Sproat John Waller Cello Helen Peck David Baker Barbara Heroy Pat Waller Bass Carl Ofterhouse Flute Nina Galerstein Deborah Thomas Oboe Trumpet Bolivar Kegnastie Charles Edmonson Mark Bernstein Bassoon Trombone Erik Haughen Dick Polk Craig Diederich Horn Rosaline Baker Nancy Bishop Percussion Steve Ott BEHIND THE SCENES Set Crew: George Gilles, Rich Johnson, Dave Moffdyk, Doug Vanderburg, Bob Douglas, Cindy Morris, Stu Itzkowitz, Kim Gyr Light Crew: George Gilles, Dave Moerdyk, Janice Gray Make Up: Sue Crippen Costume Crew: Marilyn Knagg, Jan Lang, Sue Tyzenhouse, Donna Blanchard, Peggy Fisher, Carla Morand, Kim Ballard Program: Barbara Bernstein Program Assistants: Ashley Putnam, Jon Miller, Dave Hunsche Program Cover: Jim Drew Photography: Vic Lindblom Publicity: Julie May, Cynthia Haid ostian, Gene Sager, Ashley Putnam, Vic Lindblom, Carol Ryner, Erlk Haughen Tickets: Charley Hudson, Vic Lindblom Women's Drill Sergeant: Frederica Rico Head Ushers: Dr. and Mrs. Robert Westover Rehearsal Accompanist: Carole Mllgrom 1997 Post Script: This was Ashley Putnam's final UMGASS performance. She was in the title role and was absolutely magnificent. We swear, there were those in the audience who thought she really was a princess. We well recall that this was a show that ran into bad luck with an inexperienced costumer and an equally inexperi- enced set builder. (See Sue Morris's grisly tale in the appendix.) Despite all the travails, the opening was truly a great success. We suspect the intensity of putting on those last-minute finishing touches enhanced the performers' already-high esprit de corps. Jim Kane, writing in the AA News, called the production "a royal treat." Among our newcomers was Bob Douglas. Farewells to Mike Gilmartin, after 9 shows, Vic Lindblom (6) and Julie May (4). 131 Four troublemakers: Gloria Bennish flanked by the three founders of FUMGASS: John Allen and the Benfords. Photo from UMGASS archives, now in UM Bentley Historical Library. The ducal party in 1972 Gondoliers: Michael Gordon (Luiz), Lenore Ferber (Casilda), Susan Bayha (Duchess) and Jim Drew (Duke). Photo from UMGASS archives, now in UM Bentley Historical Library. 132 Our Main Attraction THE GRAND DUKE Lydia Mendelssohn Theater November 28 - December 1, 1973 Stage director: James M. Drew Musical director: Eric Stern Technical director: Timothy W. Locker Choreographer: Jim Posante Rehearsal accompanist: Phil Youngholm THE CAST ORCHESTRA Grand Duke Rudolph ......... Gershom C. Morningstar The Baroness von Krakenfeldt .............. Sue Borofsky Ernest ............................... Chris Grapentine Julia ............................. Karen Lundgren Ludwig ............................... Stephen Poulos Lisa .................................. Lynne Wieneke Prince of Monte Carlo ...................... Tom Petiet The Princess of Monte Carlo ................ Diane Aron Doctor Tannhauser..................Charles Sutherland Elsa ........................... Sydney Peterhans Olga ................. .. ... ............ Sally Bublitz Bertha .............................. Sandy Hudson Gretchen...................................Pat Petiet Marina ................................... Mary Drew Viscount Mentone ......................... Carl Mezoff Ben Hashbaz....... ................... Ed Glazier Herald .................................. Tom Jenrette Violi Dennis Murphy Kittle Galin Walter D. Wilhngan Marta Furth Violin II Jacquelynne L. Madiol John Linsenmeier Amy Vance Gene Lynnsfield Viola Jim Dykema Gail Lee Cello Christopher Kurtz Helen Peck Melissa Floyd Bass James Bishop Flure Nina Galerstein Ann Osterdae Bassoon link Haugen Jill Whitcomb French Horn David Goldberg Amy Schoenfeld Trumpet John Moskwa Charles Edmonson Trombone David Heroy Craig Diederich Dick Polk Percussion Fred Marderness Clarinet Marian Nacasens Ralph Katz Susan Ziemba Oboe Jan McKinney CHORUS Peter Hedlesky, *Skip Kruse, David Shough, *Willie Jones, Carla Morand, Rich Stanford, Nan Worthington, Steve Mills, Chris Haidostian, *John Kelly, *Carl Mezoff, Judy Gelman, Mary Drew, *David Hunsche, Nancy Shanline, *Ed Glazier, *Joel Egnater, Susan Tukel, Benedict Stallone, Ann Mosher, Jim Almdale *Nobles and Chamberlains i r esident.. . ...................................................................................... S ip Kruse Vice President . -----------...................--.. -----.......................... Erik Haugen Secretaryr...........................................................................................Carla Morand Treasurer ................................................................... David Hunsche Pooh-Bah ................................................................................................ Mary Drew Pish-Tush.......................................................................................Susan Tyzenhouse Faculty Advisors Professor and Mrs. Harry Benford Professor H. Don Cameron Professor and Mrs. Harold Haugh Professor and Mrs. Edward Stasheff 133 The Grand Duke - 1973 PRODUCTION Assistant Technical Director ----..................... ................. Dick Adams Technical Assistants .................................................. .... Barbara Fiedler, Pam Durkee Lighting Designer ................................................................ Seth Orbach Light Crew..............................................Ed Dickinson, Ruth Kalio, Ted Kelly. Ted Rulfo Costume Coordinator ............................................... Craig Carter Set and Stage Crew........................... ................ Nancy Sandercock, Kathleen Doody, Ruth Kallio. Jim Huck, Bob Mersereau, John Repucci, David Luther, Dan Tholen, Barb Fiedler, TomSimons,John Monticello, Sam Horowitz, Michael Gordon, Dale Weston, Pam Durkee, Jeanie Kacakowsky, Vicky Kovari, Bruce Purvis, Maria Toohey, Debby Miller, Larry Eskew, Kit Carlson, Ed Dickinson, Roberta Friberg, Ann Stout Make-Up....... ...... --... --............... ................... ............ Ruben Stein Programs..........................Bolivar Kegnastie and Fred Rico, Co-Chairmen; Debbi Greene, Jackie Madiol, Carol Ryner Publicity .................................................. Mary Drew, David Hunsche Tickets .................................................. Susan Tyzenhouse Photographers...................................Jody Paffenbarger, John Kelly Curator of Costumes....................... ...... ............ ..... . ........ Ann Correll Archivist....................................................... ................................... G loria Bennish Head Ushers .... ................................ Dr. and Mrs. Robert Westover 1997 Post Script: We finally had the nerve to tackle this hard-to-sell show, the final work of Gilbert & Sullivan. We were well equipped with mature directors, an experienced board, and a robust cast. Eric Stern returned as music director, but the other directors were new to their positions, at least with UMGASS. Jim Drew and Jim Posante had been with us in lesser positions, while Tim Locker was new in town. We recall that the stage action got off to a spectacular start: The wedding party was lined up for its photograph, which was taken with the aid of an old fashioned magnesium explosion and great puff of smoke. A review by Jim Kentch (Daily?) praised Gersh Morningstar's "flawless" performance. Overall, however, he thought Gilbert had given the troupe a shallow dish into which to pour life's deeper philosophies. Newcomers: Kitty Galan, Bob Mersereau and Dave Shough. Adieu to: Gersh Morningstar (after 21 shows!) The show was well received and now we had only to stage Utopia Limited to complete the G&S canon. Karen Lundgren (Julia) and john Kelly (chorus) in ourfirst Grand Duke. Photo from UM Bentley Historical Library, Bennish Collection. Won't it be a pretty wedding? Isn't that Jim Almdale on the right and Sandy Hudson in the middle? (1973 Grand Duke). Photo from UM Bentley Historical Library, Bennish Collection. 134 The prince and princess of Monte Carlo rigged out in A comfy, cosy, rosy-posy innocent ingenoo! Kare n magnificent array: Diane Aron and Tom Petiet, 1973 Lundgren (Julia) and Stephen Poulos (Ludwig) in 197 3 Grand Duke. Grand Duke . Photo from UM Bentley Historical Library, Bennish collection. Photo from UM Bentley Historical Library, Bennish collection . 0 Sn n Iolanthe - 1974 No, we haven't any notion! Louise Fader as Celia in 1974 Iolanthe. Photo from UMGASS archives, now in UM Bentley Historical Library. Loudly let the trumpet bray! Kevin Casey (Mountararat) Private Willis! Roberta Owen (Queen) and Don and Dennis Kisor (Tolloller). Cameron (Private Willis) in 1974 Iolanthe. Photo from UMGASS archives, now in UM Bentley Historical Library. Photo from UM Bentley Historical Library, Bennish collection. 136 Our Main Attraction IOLANTHE Lydia Mendelssohn Theater April 10-13, 1974 Dramatics director: Susan Morris Musical director: Eric Stern Assistant director: Jim Posante Assistant musical director: Tom Mudge Technical director: Timothy Locker Costume designer: Craig Carter THE CAST: Lord Chancellor: lolanthe: Strephon: Phyllis: Fairy Queen: Lord Tolloller: Celia: Lord Mountararat: Leila: Private Willis: Fleta: John Allen Sue Borofsky Chris Grapentine Kay Murray Roberta Owen Dennis Kisor Louise Fader Kevin Casey Laura Holland H. D. Cameron Susan Crippen ORCHESTRA Violin Dennis Murphy Walter Wilihnganz Barbara Whale Kitty Galain Eileen Klein John Linsenmeier Jacquelynne L. Madiol Libby Morris Robin Ryner Viola John Dykema Viola Petersen Cello Christopher Kurtz Helen Peck Melissa Floyd David Baker Bass Andrew Stephenson Flute Nina Galerstein Ann Osterdale Clarinet Ralph Katz Marian Naessens Oboe Ellen Sudia Bassoon Erik Haugen Horn David Goldberg Phyllis Shuman Trumpet Charles Edmonsor Mark Bernstein Trombone Dick Polk Craig Diederich Percussion Fred Marderness Chorus offairies: Nan Worthington, Sally Bublitz, Cindy Hill, Mary Drew, Jan Lang, Carol Ryner, Christine Haidostian, Cynthia Haidostian, Susan Tyzenhouse, Marjorie Balgooyen, Bonnie Gill, Carla Morand, Susan Crippen Chorus of peers: Dave Hunsche, Skip Kruse, John Kelly, Steve Gilmartin, Jim Posante, John Snopek, Ed Glazier, Rich Stanford, Dave Shough, Bob Douglas, Fred Ianelli II, Ed Madaj, Tom Simonds PRODUCTION EXECUTIVE BOARD President ............................................ Skip Kruse Vice President .................. ................... Erik Haugen Secretary ....................... .................. Carla Morand Treasurer ........................................ David Hunsche Pooh-Bah ........................................... Mary Drew Pish Tush......... ..................... Susan Tyzenhouse Stage Manager .................................................... ..... Dan Tholen Props .........--................................................... Cathy Kosobud Set and Stage Crew .......... ..................... Donald MacGregor, Neil Hartman, Pam Durkee, John Repucci, Vicky Kovan, Barb Fiedler, Ruth Kallio, Janet Tetloff, Kathy Doody, Cathy Kosobud, Dale Weston, Bob Mersereau, Sandy Smith Shores, Nancy Sandercock, Jim Beals. John Linsenmeier Costume Crew ....--.............................. Gloria Bennish, Guendolen Carter, Jacki Knapman, Mike Koteles, Ginny Kuhl, Brenda Perkins, Gayle Sandstrom, Susan Schultz, Sandy Seegert Make-Up.......... .................................. Craig Carter, Jim Posante Programs ................. ................................ Mary Drew, Carol Ryner Poster and Program Cover Design ................................. Timothy W. Locker Publicity ............................................... Mary Drew, David Hunsche Tickets .................................................. Charley and Sandy Hudson Photographers ....................................... Patrick Cosgrove, Peter Ryner Curator of Costumes .................................................... Ann Correll Archivist ............................................................ Gloria Bennish Head Ushers ......................................... Dr. and Mrs. Robert Westover Rehearsal Accompanist .............................................. Phil Youngholm Dispenser of fairy dust ................................................... Fred Rico Stalwart Stickler for Proper Parliamentary Procedure...............Sir Bolivar Kegnastie 137 Iolanthe - 1974 Helen (Mrs. Kenneth T.) Rowe In happy memory of a very gra- cious lady who, in the very begin- ning, gave of her encouragement and love, and thus gave to all of us the pleasure of this evening. 1997 Post Script: As may be noted, this production was dedicated to Helen (Mrs Kenneth) Rowe, then lately deceased. She and Kenneth had been the society's first faculty advisors and had on more than one occasion saved us from disaster. A unique feature of this show was the first act set It consisted of oversize toad stools and shrubbery, which served to make the women's chorus seem like truly diminutive fairies. Writing in the AA News, Julie Wei reported the music was fine but the acting somewhat wooden. She closes by saying that while the performance was disappointing, it was a joy to watch and listen. (Ed.: That comes under the category of a lurching non-sequitur.) Kenneth Fink (Daily) had nothing but praise, and added that the audience loved it, too. Ticket prices now ranged from $2.50 to $3.50. After serving in ten shows, this was to be John Allen's last. A unique first-timer was Guendolen Carter (aka Mama C), who handled tickets and ran the box office for thir- teen shows. Farewells to Dennis Murphy (after 14 shows), Eric Stern (8) and Bob Westover 14). At the time of this production Ann Arbor was wracked with a series of rape/murders, one of which occurred, the police thought, about 8 PM on the Thursday night of our show. For some reason the police thought the culprit had the same name as our David Johnson, who was cast as Private Willis. Naturally, then, Dave became a prime suspect. When they queried Dave, he said he had a per- fect alibi; he was in the show; just ask director Sue Morris. Sue, of course tried to set the detective straight. But then he noted that Dave's role kept him off stage until the second act. Having watched too many TV mur- der mysteries, the detective hypothesized that Dave could have checked into the theater before the start of the show, but then sneaked out while no one else was in the green room, committed the dastardly deed, and then returned to the theater in plenty of time for the second act. Dave had visions of missing the rest of the run while languishing in jail. Fortunately, the coroner finally decided the murder had occurred at 11 PM, by which time most of the cast could swear that Dave was quaffing brew with them at some pub. So much for our most seri- ous brush with the law. Betty and I had an even better alibi. We were overseas that spring and had to miss the show. We were kept well informed, however, and received nothing but favorable reports. At this point there were nearly seventy FUMGASS patrons. Cyndy Haidostian was Absolute Despotess and John Allen was Duly Dispersed Despot. In those days the rank of patron was available for a mere $25 per year. 138 Our Main Attraction KfSfE OW Lydia Mendelssohn Theatre December 11-14, 1974 Artistic director: James Posante Technical director: Timothy Locker Assistant director: Musical director: Barbara Born Costume designer: Susan Morris Deborah MacVey 0THE CAST: Sir Joseph Porter: Capt. Corcoran: Josephine: Ralph Rackstraw: Dick Deadeye: Little Buttercup: Cousin Hebe: Bill Bobstay: Bob Becket: Kevin Casey Peter John Hedlesky Diane Aron Gene Lloyd Wm. Sager H. D. Cameron Roberta Owen Janis Fawcett Donald H. Regan Jim McMurtrie Sisters, Cousins and Aunts: Mary Drew, Donna Blanchard, Valerie Schultz, Catherine Christensen, Susan Frankle, Julia Broxholm, Linda Foran, Leigh Martin, Libby Stuber, Marie Crociata, Karen Kerns, and Carol Madalin Gallant Crew: Doug James, Ed Madaj, Jim Almdale, Ed Glazier, John Kelly, Joseph Beitel, Kim Bishop, Eric Hubbs, and David Kitto 1997 Post Script: One detail that stands out in our memory concerns the encores for the bell trio. During one of the shows the musi- cal director, Barbara Born, was so carried away with enthu- siasm that, after a half dozen rehearsed repetitions, she sneaked in a surprise. The performers, of course, were totally unprepared and made a mess of it. All hands were ready to wring Barbara's neck after that ill conceived bit of treachery. A key newcomer was Eric Hubbs, who sang in the chorus for ten shows, and Joe Beitel, who served in many capaci- ties for thirteen. Our concert master, George Marsh, went on to play in the National Symphony Orchestra. New blood: Dave Kitto, Julie Broxholm and Marie Crociata. Farewell to: Richard Polk (after 6 shows). 139 H.M.S. Pinafore - 1974 ORCHESTRA Violin George Marsh Kitty Galau Melissa Gerber Eileen Klain Jennifer Floyd Barbara Whale Viola Linda Puroff Phebe Duff Cello Melissa Floyd Marty Talman Bass Clark Suttle Trumpet Eric Becker David Olson Trombone Terry Donn Dick Polk Horn David Goldberg Kirby Dillworth Flute Ellie Mauk Laurie Cassel Clarinet Tim Visey Leif Bjoland Oboe Karen Fine Bassoon Erik Haugen Percussion Bill Moersch Boatswain's Pipe Fred Rico PRODUCTION Stage Manager .......................................................... Dan Tholen Set and Stage Crew ....................................... Ed Dickenson, Mary Drew, Bob Douglas, Bill Gisslander, John Kelly, Leigh Martin, Bob Mersereau, Brian Nelson, Bill Pattison, Joe Post, Molly Putts, Jeanne Reed, Doug James Costume Crew ............. Lenore Ferber, Sue Tyzenhouse, Ann Correll, Roberta Owen Make-up ......................................................... Charles Sutherland Hairdresser .............................................................. Liz Jelinek Programs ............................... Carol Ryner, Mary Drew, Marjorie Balgooyan Poster and Program Cover Design ....................................... Sam Viviano Publicity ............................................... Craig Carter, David Hunsche Tickets ........................................................... Guendolen Carter Photographer ............................................................ John Kelly Curator of Costumes .................................................... Ann Correll Head Ushers ................................................. Gerry West, Jim Linton Rehearsal Accompanists ................................. Corky Landis, Marie Crociata Royal Inspector of the Rigging .................................... Sir Bolivar Kegnastie EXECUTIVE BOARD President .............................................................. Mary Drew Vice President ......................................................... Erik Haugen Secretary ............................................................. Susan Crippen Treasurer ........................................................... David Hunsche Pooh-Bah ................................................................ John Kelly Pish-Tush ....................................................... Marjorie Balgooyan 140 We're sober men and true, 1974 Pinafore . Photo from UMGASS archives, now in UM Bentley Historical Library . Refrain, audacious tar. Diane Aron (Josephine ) and Gene Sager (Ralph) in 1974 Pinafore . Photo from UMGASS archives, now in UM Bentley Historica l Library . Carefully on tiptoe stealing, 1974 Pinafore . Photo from UMGASS archives, now in UM Bentley Historical Library . 0 -a 0 0 I. 0 -I Maynard Klein and Harold Haugh, with Anne Haug h in backgroun d Gerry Horan and Tom Petiet . Harry Benford, David Goldberg, Kenneth Rowe and Jea n Lynn Barnard . Lenore Ferber, Sue Morris and Cynthia Haidostian . Afew of the guests at our 1972 celebration . Photos from David Goldberg's private collection . Our Main Attraction o 4 eGuarb Lydia Mendelssohn Theater April 16-19, 1975 Stage director: Susan Morris Musical director: Clark E. Suttle Technical director: Timothy W. Locker Costume designer: Craig Carter Rehearsal accompanist: Debby Kulber THE CAST Yeoman ............................ Joseph Beitel ie UNIVERSIT 1I NCIIGAN Elsie Maynard ..................... Julia Broxholm Aim PEN Colonel Fairfax ...................... James Burlin Wilfred Shadbolt .................... H.D. Cameron Leonard Meryll ...................... Bruce Carvell Old Lady .......................... Marie Crociata Yeoman ...................... Chandler Cudlipp III Cook .......................... Robert C. Douglas Gossip ............................... Mary Drew Kate...............................Lenore Ferber Gossip ............................. Susan Frankle Phoebe ........................ Nancy H. Gilmartin Second Citizen ...................... Eric C. Hubbs Flower Seller .................... Cathie Huntress Yeoman ....................... J. Douglas James Asst. Jailer ....................... Louis H. Katz Yeoman ............................ John J. Kelly Little Girl ........................... Karen Kerns wednesda, satura, Jack Point .................... William A. Kinnucan APRI' '','975 First Citizen .......................... Steve Kistler Sat. matinee 2 p~m.Yeoman..............................David Kitto Mrs. Cholomondoly ............... Carol M. Madalin MENDEbSOHNYoung Girl ....................... Leigh C. Martin Yeoman ......................... Joseph Martorano Lieutenant Cholmondely ................ Carl Mezoff Ruffian ............................. Ann Mosher, Old Man ......................... Thomas Mudge Yeoman...........................James Posante Dame Carruthers .................. Patricia Rector Sergeant Meryll ........................ Don Regan Delivery Boy ........................ David Shough Ruffian .......................... Felicia Steinberg Headsman ..................... Andy Stephenson Young Boy ..................... Wm. Wayt Thomas Wife of Asst. Jailer ................ Nan Worthington 143 The Yeomen of the Guard - 1975 EXECUTIVE BOARD ORCHESTRA President ........................................................ Mary Drev Vice President .................................................... Erik Hauger Secretary ...................................................... ,Susan Cripper Treasurer ............................................ ............ David Hunsch. Pooh-Bah.................. ...................................... John Kell% Pish-Tush ...................................................... David Shougi Faculty Advisors Professor and Mrs. Harry Benford Professor H. Don Cameron Professor and Mrs. Harold Haugh Professor and Mrs. Edward Stasheff PRODUCTION Stage Manager ....... .......................................... Bob Mersereau Set and Stage Crew ............................. Mary Drew, Niel Hartman, Leigh Martin, Bob Mersereau, Brian Nelson, Pat Petiet, Joe Post, Molly Putts, Dave Robertson, David Shough, Nan Worthington Costume Crew ..... Amanda Kelly. Christy Motz, Brian Nelson. Gayle Sandstrom. Lily Supstiks Make-up.......................................Roberta Owen, Charles Sutherland Hairdresser ........................................................ ....... Fred Rico Programs ................. ............................ Marie Crociata, David Shough Poster and Program Cover Design......................................Sam Viviano Publicity .................................. Mary Drew, Nancy Gilmartin, Nan Worthington Tickets ............. ..................... ...................... ,Guendolen Carter Program Photographers ................................. Steve Topper, Nan Worthington Publicity Photographer ............................ ............... Nan Worthington Curator of Costumes ....... ,.............................................. Ann Correll Head Ushers ........................................... ..... Gerry West, Jim Linton Rehearsal Accompanists .................................... Debby Kulber, Marie Crociata Axe Sharpener ................................................... Sir Bolivar Kegnastie Violin Velma VanArc E. H. Griswald David Hejna Don Lipschutz Lucinda Rice Kittl Galan Gail Johnson Theresa Steinberger Libby Morris Molly Gilmartin Viola Robin Hamsher Phoebe Duff Cello Helen Peck Melissa Floyd Bass Glen Bering Trumpet Randy Bluse James Wilson Hom David Goldberg Karen Paul Trombone John Holtfretter Dave Heroy Dave Finlayson Flute Ellie Mauk Laurie Cassels Clarinet Bill Somers Jim White Oboe David Lauth Bassoon Erik Haugen Bruce Lupp Percussion Susan Kish Dean Taglioli 1997 Post Script: Clark Suttle, who had played bass fiddle for a couple of shows was now advanced to music director. A grad stu- dent, Clark was the assistant conductor of the University Symphony and the Michigan Youth Symphony. Newcomers of note included Cathie Huntress and Felicia Steinberg in the chorus, Pat Rector as Dame Carruthers, and Debbie Kulber as rehearsal accompanist. Other newcomers: Bruce Carvell, Lucinda Rice and Velma Van Ark. As you may see, the directors elected to give everyone in the chorus some form of identification. When everybody is somebody, then no one's anybody. Our recollection of Tim Locker's set was that it was so massive that the performers had to squeeze together to fit on the stage. Nevertheless, it was a thing of beauty. Andrew Sermon (Daily) complained that everything was so perfectly rehearsed and performed that the overall result was sterile. (In short, it left him nothing to grumble at.) In keeping with a long tradition, half the advertising spelled it "Yeoman." Ticket prices had now crept up to range between $2.50 and $3.75. Farewell to: Carl Mezoff. 144 thePirares Pen zance Lydia Mendelssohn Theatre December 10-13, 1975 Our Main Attraction Stage director: James Posante Musical director: Clark E. Suttle Technical director: Timothy W. Locker THE CAST Mabel ............................. Constance Barron Frederic ...................... Gene Lloyd Wm. Sager Pirate King ......................... David C. Parsons Ruth ............................ Felicia Steinberg Edith ................................ Carol Madalin Major-General Stanley ..................... Bev Pooley Kate ............................... Nancy Gilmartin Sergeant of Police ........................ Kevin Casey Isabel ...................... Cynthia Haidostian Hudgins Samuel .......................... Peter John Hedlesky Daughters Cynthia H. Hudgins, Judy Powers, Mary Drew, Carol Madalin, Naomi Kaplan, Janna Morrison, Cathie Huntress, Christine H. Garry, Nadine Uygur, Linda Foran, Nancy Gilmartin, Marie Crociata Pirates & Police John Kelly*, Jim Linton*, Lee Vahlsing*, Peter Hedlesky, Jerry West*, Phillip Paul*, Dicran Haidostian*, Ed Glazier, Stan Selden, Joe Beitel, Guido Lamell, John Meyer *Police orchestra Violin Flute Velma VanArc Carol Parker Lucinda Rice Erie Pacetti Charles Roth Kitti Galan Oboe Kathleen Ham Ellen Sudia Julie Copeland (Carrie Crall) Sylvia Schatz F. B. Carmon Clarinet Ralph Katz Viola Bill Somers Melissa Gerber Robin Hamsher Bassoon Eric Haugen Cello (Bruce Lupp) Melissa Floyd Fred Rico Trumpet Randy Blose Double Bass Cathy Leach Tim Standecker (Park Carmon) Horns Dave Goldberg Karen Paul Trombone John Holtfretter Dave Finlayson Percussion Bruce Carvell Librarian Velma VanArc EXECUTIVE BOARD President..........................................David Shough Vice President............ .................... . ... . . Mary Drew Treasurer............................................. Joe Beatel Secretary.........................................Cathie Huntress Pooh-Bah......................................... Marie Crociata Pish-Tush .......................................... Debbie Kulber Faculty Advisors Professor and Mrs. Harry Benford Professor H. Don Cameron Professor and Mrs. Harold Haugh Professor and Mrs. Edward Stasheff 145 The Pirates of Penzance - 1975 production Stage Manager ......... .. .......................... -. Dave Shough Sets and lighting ...... Pat MacPherson, Bob Mersereau, Tom Donlon, Nancy Linton, Zulma Bausch, Natalie Crites, Mary Drew, Joe Post, Dave Shough, Hannah Jo Smith, Annette Thompson, Sandy Sweeney, Julie Tanguay, Dan Tholen, Nan Worthington Tholen, Molly Putts. Costumes ................................... Craig Carter, Marie Crociata Make-up ........... .Sue Crippen, Ellen Pearson, Paul Carmon, Charlie Sutherland, Ashley Putnam Hairdresser ---........................................ Denise DiLallo Programs ...... . ............... Cathie Huntress, Julie Tanguay, Mary Drew Poster and program design ............................... Julie Tanguay Publicity ................................... Julia Broxholm, Mary Drew Tickets. ................................ Guendolyn Carter, Ron Salisbury Photographers ........................... Tom Kramer, Richard Dowling Curator of Costumes. ....................................... Ann Correll Archivist-.-.-. ....... - .. .. ... ... .. .. .. .. ... . Gloria Bennish Minister of Piratic Extermination ..................... Sir Bolivar Kegnastie 1997 Post Script: This was Beverley Pooley's first UMGASS appearance and also Connie Barron's. She's not been back since, but we keep hoping. Another new contributor was Julie Tanguay, who came up with the striking poster/program cover - her first of many. By the time of the final performance Clark Suttle had the orchestra so whipped into shape that the appreciative audi- ence insisted that he encore the overture. As far as we can recall that was the only time such a thing has happened. Jeffrey Selbst (Daily) said the show was "utterly and com- pletely perfect. A jewel. I'd advise you to go, but if you haven't tickets, forget it. They're sold out." Norman Gibson (AA News) was contentedly wallowing in his old standard complaints. A new name in the chorus was that of Dicran Haidostian, younger brother of the inimitable Haidostian sisters and nephew of the Berberians, thus becoming the fifth mem- ber of the family to enjoy the glories of UMGASS. Other new names: Tom Kramer, John Meyer and Lee Vahlsing. Farewells to: Jim Posante (after 8 shows) and Gene Sager (8). Dave Goldberg was given special recognition because this was his twenty-fifth UMGASS production. That was twenty two years ago, and Dave is still going strong! 2~~~ r42f~ Afamiliar sight in the Lydia Mendelssohn lobby: Dave Goldberg and partner signaling the end of intermission. The living, breathing music rack hap- pens to be the Reverend Canon Alexander Miller. Photo from David Goldberg's private collection. 146 Our Main Attraction RUDDGroz Lydia Mendelssohn Theatre April 14-17, 1976 Director-choreographer: Peter John Hedlesky Musical director: Clark E. Suttle Technical director: Timothy W. Locker Costume designer: Mary Ann Smith Rehearsal accompanist: Debby Kulber THE CAST Robin Oakapple .................... Douglas Finton Mad Margaret ................ Nancy Hall Gilmartin Richard Dauntless (Eve) ................. David Kitto Richard Dauntless (Mat) .............. John R. Meyer Dame Hannah ...................... Sandy Hudson Old Adam .......................... David Shough Rose Maybud ....................... Lenore Ferber Sir Despard Murgatroyd ................ Kevin Casey Zorah ............................. Lois Beckwith Sir Roderic Murgatroyd ................. Don Regan Ruth .............................. Marie Crociata Bridesmaids Carol Madalin, Susan Tyzenhouse, Lois Beckwith, Cynthia H. Hudgins, Mary Drew, Julie Tanguay, Susan Sinclair, Esther Schreier, Linda Foran, Marie Crociata, Christine H. Garry Gentry Joseph Beitel, Mark King, David Hudgins, Geoff Isaac, Jerry West, John Meyer, Jim Linton, John McDonald, Michael Craig, Lee Vahlsing, John Giles ORCHESTRA Violin Cathie Huntress Jeff Falenak Janice Davies Kitti Galan Velma VanArk Libby Morris John W. Wells Molly Stanley Viola Bob Gilmartin John Covington Cello Johna Taylor Martha Mesrobian Double Bass Ron Miller Flute Ellie Pacetti Ann Osterdale Oboe David Lauth Clarinet Robert Livear Cole Faxfair Bassoon F. B. Carmon M. Theophillus Trumpet Randy Blouse Cathy Leech French Horn Dave Goldberg Rob Fechtner Trombone Dave Finlayson John Holtfretter Dave Heroy Percussion Bruce Carvell EXECUTIVE BOARD President Vice President Treasurer Secretary Pooh-Bah Pish-Tush Faculty Advisors Professor and Mrs. Harry Benford Professor H. Don Cameron Professor and Mrs. Harold Haugh Professor Eva Likova Professor and Mrs. Edward Stasheff David Shough Mary Drew Joe Beitel Cathie Huntress Marie Crociata Debbie Kulber 147 Ruddigore - 1976 productiaa Stage Manager Asst. Technical Director Sets and lighting Costumes Make-up Programs Poster and Program Design Publicity Tickets Photographer Curator of Costumes Archivist Florist Chief of Staff of Basingstokes Portrait Artist Head Usher Bob Mersereau Pat MacPherson Peter Bleby,Janice Giles, Nancy Linton, Bob Mersereau, Mike O'Brien, Joe Post, Molly Potts, Mike Pruskie, Larry Schrenk, Julie Tanguay, Bill Weber, Jolly Woodbridge. Mary Ann Smith, Hannah Andrews Marie Crociata, Cindy Hill, Martha Mesrobian Sue Crippen, Ellen Pearson, Charlie Sutherland Mary Drew, Marie Crociata, Julie Tanguay Julie Tanguay David Shough Guendolyn Carter, Mary Drew Tom Kramer Ann Correll Gloria Bennish Fred Rico Sir Volivar Kegnastie Julie Tanguay Kathe Geist 1997 Post Script: Old salt Peter John Hedlesky was our new director/chore- ographer. He had been in five previous shows, twice in lead parts, the rest in chorus. In real life he toiled in the UM Hospital. Our tenor, David Kitto, had a voice teacher who wouldn't let him do two shows in one day, which explains why John Meyer stepped in for the Saturday matinee. He did a right good job, too. We recall that Nancy Hall Gilmartin (Mad Margaret) and Kevin Casey (Despard) were particularly funny in their Basingstoke duet. We think this was the show where the entering gentry all carried furled umbrellas When it came time to shed them, the smallest girl in the chorus stood center stage with arms akimbo, allowing the gents casually to deposit their umbrellas thereon. Rich Quackenbush (AM News) found the show a delight and mentioned such nice touches as the music director making his entrance in a long, flowing black velvet cape. Cyndy Haidostian Hudgins claimed the title Most Senior Cast Member, this being her eleventh UMGASS show. An engaging new face: Sue Sinclair. Farewell to: Bob Mersereau. Professional Bridesmaids in 1976 Sorcerer. Standing: Mary Locker, Cher Sussman, Sue Tyzenhouse, Mary Moyers, Diane Rodger and Esther Schreier. Kneeling: Nan Worthington, Betsy Armstrong andAnne Conable. Photo from UMGASS archives, now in UM Bentley Historical Library. 148 8OkCERg& Our Main Attraction Lydia Mendelssohn Theater December 1-4, 1976 Artistic director: Mary Joanne Tanguay Choreographer: Esther Schreier Scenic designer: Timothy W. Locker THE CAST John Wellington Wells ............. Glen M. Santiago Alexis ......................... Cameron Littlefield Aline .............................. Sue Sinclair Lady Sangazure ..................... Marie Crociata Sir Marmaduke ....................... David Barick Dr. Daly ......................... Ron Wlodarczyk Constance ........................ Felicia Steinberg M rs. Partlet ........................ Julie Tanguay The Notary ....................... Bruce R. Carvell Hercules ............................. Jerry W est The Chorus Mary Drew Locker, Cher Sussman, Susan Tyzenhouse, Mary Moyers, Diane Rodger, Esther Schreier, Nan Worthington, Betsy Armstrong, Anne E. Conable, Karen E. Grassmuck, Carolyn Lewis, Mike Zaremba, Ric Rice, John D. McDonald, Tom Shaker, Dean P. Dishnow, Joesph Beitel, Jerry West, Geoff Isaac, John J. Kelly, Lee Vahlsing, John R. Meyer Music director: Clark E. Suttle Technical director: Dan Tholen Asst. music director: Debbie Kulber ORCHESTRA First Violin Cathie Huntress Jeff Falenak Lucinda Kelly Janice Davies Kitti Galan Libby Morris Second Violin Velma Van Ark Molly Stanley Rob Ryner George Hutton Ella Dowd Viola Bob Gilmartin John Covington Dorie Pride Cello Johna Taylor Martha Mesrobian Lacey Ford Double Bass Ron Miller Gordon Ware Flute Ellie Pacetti Ann Osterdale Oboe David Lauth Clarinet Bill Somers Mike Vota Bassoon Eric Haugen F. B. Carmon Trumpet Kathy Leech Randy Blouse French Horn Louis Stout, Jr. Dave Goldberg Trombone Dave Finlayson John Holtfretter Percussion Robert Livear ...... Joseph Beitel .. Mary Drew Locker ....John Rt. Meyer ....Marie Crociata ....Debby Kulber ....Julie Tanguay EXECUTIVE BOARD President....................................... VicePresident ................................. . Treasurer...................................... . Secretary..................................... Pooh - Bahi..................................... Fish - Tush.................................... . A coruscation of impromptu epigram! Parties are important, too. From the left: David Keosaian, John Alexander, Robert Pazur, Rich Roselle, Ed Lundergan and Timur Kocak. 149 The Sorcerer - 1976 Propmistress ............ -. . .... . . . . . . . . . . . . . . . . . . . Anne E. Conable Set and Lighting Crew.. Alan Glater, John Hunter, Dave Lovelace, Joe Post, Molly Putts, Larry Schrenk, Lily Supstiks Prop Crew......................Tom Shaker, Mike Zaremba, Karen Grassmuck Costume Design...-.-....................................... Eva's Girls Costumer-------.........................................Marie Crociata Costume Crew............ .Cyndy Hill, Sue Sinclair, Mary Thies, Sue Tyzenhouse Make-Up.................................Ellen Pearson, Glen Santiago Programs..................Mary Drew Locker, Janna Morrison, Julie Tanguay Poster and Program Design...............................Julie Tanguay Publicity. ....................................... David Kitto, David Shough Tickets.. ........................... Guendolyn Carter, Mary Drew Locker Photographer..------.......................................Tom Kramer Curator of Costumes.......... .. ....................... Ann Correll Archivist. ................................................ Gloria Bennish Caterer.-.-..............................................Fred Rico Ghostwriter..-.---....................................Sir Bolivar Kegnastie Head Usher. .............................................. Dan Tholen We would like to thank the following people for their most valued assistance. Stage manager .............. Larry Schrenk Lighting designer ............ Mark Bowles Set construction ............. Betsy Armstrong, Joe Bietel, Dean Dishnow, Karen Grassmuck, John Kelly, Richard Lewis, Mary Drew Locker, Susan Morris, Allison Reissman, Lee Vahlsing, Nan Worthington, Mike Zaremba Costume crew .............. Karen Grassmuck, Cameron Littlefield, Ann McCoy, Ric Rice, Glen Santiago, Virginia Sinclair, Julie Tanguay, Mary Jo Tanguay, Ron Wlodarczyk, Nan Worthington Props ..................... A-1 Rentals, Cornwell Pool & Patio, The Magic Emporium Special Effects .............. Mark Bowles, Timothy W. Locker 1997 Post Script: We had a new dramatics director: Mary Jo Tanguay, Julie's sister, and holder of a BA in theater from Eastern Michigan. She was an imaginative person and introduced some non-traditional bits such as having a youngish Dr Daly doing a soft-shoe routine with straw hat and cane while singing "She's engaged to So-and-so!" After some years as rehearsal accompanist, Debbie Kulber was promoted to assistant music director. Reviewer Stephen Pickover (Daily?) found the show near perfect. Mary Jo used her EMU connections to bring in two tal- ented performers from that school: Glen Santiago (J. W. Wells) and Ron Wlodarczyk (Dr Daly). Other newcomers; Geoff Isaacs and Cher Sussman. Farewells: Kitty Galan (after 7 shows) and David Shough (7). Mary Drew had by now become Mary Drew Locker, but continuing as always to be the most faithful and hard working vice-president and chorus member. A new mem- ber of the chorus was Anne Conable, a graduate of Cornell. She had enjoyed working with the G&S group there and so chose UM for graduate studies when she heard of UMGASS. Karen Grassmuck was another attrac- tive newcomer. The fellow who was to catch the show on long-playing records asked me to see if we could have the bells in Burton Tower silenced so they wouldn't be bonging away during the performance. I was told by the authorities that our request would be met, but there was a slip-up and they bonged away as usual. But, I had to snicker because the show opens with the chorus belting out, "Ring forth, ye bells.." 150 Our Main Attraction Lydia Mendelssohn Theatre April 7-9, 1977 Stage director-choreographer: Susan Morris Scenic designer: Steve Gilliam Costume designer: Tim Locker Musical director: F. Carl Daehler Technical director: Craig Campbell Asst. musical director: Debby Kulber THE CAST Nanki-Poo ....................... John R. Meyer Yum-Yum .......................... Lenore Ferber Ko-Ko .......................... Glen M. Santiago Katisha .......................... Meredith Parsons The Mikado ...................... Beverly J. Pooley Pooh-Bah ......................... H.D. Cameron Pitti-Sing ....................... Carol M . M adalin Pish-Tush ........................ Ron Wlodarczyk Peep-Bo ........................... Julie Tanguay Go-To ............................... Geoff Isaac The Chorus Esther Schreier, Judie Hale, Joan Edwards, Betsy Armstrong, Nan Worthington, Cynthia Haidostian Hudgins, Mary Drew Locker, Cathy Sebold, Sue Sinclair, Christine H. Garry, Margaret Galloway, Anne E. Conable, Bob Douglas, Dean P. Dishnow, Geoff Isaac, David Hudgins, Kerry S. Walter, Joseph Beitel, Allen Glater, John D. McDonald, Richard Lewis, Michael Jones, Lee Vahlsing, Jerry West Filled to the brim with girlish glee. (Can anyone tell me the year?) Photo from UM Bentley Historical Library, Bennish collection. ORCHESTRA Violin I Kathy Huntress Lucinda Kelly Ted Ladewsky Velma VanArk Violin II Janice Davies Penelope Eckert Jeff Falenak Jackie Livesay viola Christine Cohen Norman Mattila Cello Joanna Taylor Ellen Weatherbee Bass Richard Goodsell Kerri Steele Horn David Goldberg Mark Welligen Trombone Marshall Brown Flute Wendy Pardee Louise Havenstein Oboe Carrie Crall Bassoon Eric Haugen Clarinet John Snyder Madeline Seibold Second Trombone Martha Taylor Marine Parade Fred Rico Trumpet Gary Maki Martin Heath Percussion Matt Barber EXECUTIVE BOARD President ....... ..................................... .Joe Beitel Vice President................................... Mary Drew Locker Treasurer ....-.-....---............... .................. John R. Meyer Secretary ............................................ Anne E. Conable Pooh-Bah .............................................. Debby Kulber Pish-Tush ......................................... Julie Tanguay 151 The Mikado - 1977 .- production Technical Director .................................. ... Craig Campbell Lighting Designer .................................... Craig Campbell Scenic Artist ..................... ................. Margaret Buck Stage Manager ............. ............. .. ........... Dan Tholen Set and lighting crew...... Mike Barnard, Tom Van Egmond, Howard Luby, William Morris, Brian Pentland, Alison Reissman.John Shipman, Ray Slowik, Craig Somach, Sarah Steingold Props ....................... Jeanne Leslie, Timothy W. Locker, Tom Shaker Costume painting ................................. Timothy W. Locker Costume crew ... Dean Dishnow, Toni Gibson. Allen Glater, Peter Greenquist, Cindy Hill, John Kelly, Mary Drew Locker, Pauline Locker, Mary Thies Make-up ............... .Anne E. Conable, Timothy W. Locker, Glen Santiago Programs ...................... David Kitto, Mary Drew Locker, Julie Tanguay Poster and program design ............................. . Julie Tanguay Publicity .............................. Tom Shaker, Nan Worthington Tickets ........................... Guendolen Carter, Mary Drew Locker Program photographer ..................................... Tom Kramer Curator of costumes ......................................... Ann Correll Archivist ................................... ... . Gloria Bennish Head Usher ................................... Cornelia Schorr Landes President/TomTit Suicide Prevention Bureau.............. .Sir Bolivar Kegnastie Publicity Photographer ...................... ...... Peter John Hedlesky Display Design .................................. Peter John Hedlesky 1997 Post Script: We now had a new music director, Carl Daehler, a doc- toral student in music, who stayed with us for two years. An innovative musician, he arranged for Fred Rico to per- form on the marine parade. One reviewer described Fred's work as "not without a surplus of untalent." An impressive number of former principals were found in the chorus of this show: Sue Sinclair, Bob Douglas, Joe Beitel, and Lee Vahlsing, among others. We particularly remember Tim Locker's beautiful costumes for the women's chorus. All were of similar cut, color, and decora- tions, but no two were identical. Norman Gibson (AA News) seemed to like practically everything about the show, but still couldn't bring himself to admit that it was a corking good production. He did, however, say that the remaining performance were nearly all sold out. (The irreverent editor of GASBAG had by this time dubbed Norman "Gaston Flatulence.") After eight shows, this was to be Chris Haidostian Garry's last. See Sue Morris's notes in the appendix for commentary on how the show was received by the participants. 4 And we die for love of thee. Pat Rector (Lady Jane) on left; Mary Locker, center. Patience of1977. Photo from UM Bentley Historical Library, Bennish collection. 152 Our Main Attraction PPITERCE Lydia Mendelssohn Theater December 7-10, 1977 Stage director: Peter John Hedlesky Vocal director: Deborah Lynne Kulber Music director: F. Carl Daehler Technical director: William J. Craven Scenic designer: Alice B. Crawford THE CAST Reginald Bunthorne ..................... Ed Glazier Patience .............................. Sue Sinclair Archibald Grosvenor ................. Graham Wilks Lady Jane ....................... Patricia A. Rector Colonel Calverley ..................... Lee Vahlsing Lady Saphir ........................ Julie Tanguay Lieut. The Duke of Dunstable ......... Daniel Boggess Lady Angela ...................... Felicia Steinburg Major Murgatroyd ................. Mark A. Kramer Lady Ella .......................... Sara Dalgleish *ACKNOWLEDGEMENTS The Society wishes to express special thanks to John McDonald for giving up his principal role as Mr. Bunthorn's Solicitor in order to fill in a chorus spot left vacant due to illness. It is this sort of generosity on the part of our company members that has brought us through many trials to our 30th production year. Thank You, John! The role of the Solicitor is now being played by our esteemed faculty advisor, Harry Benford. Harry is a Professor of Naval Architecture and Marine Engineering and former chairman of his department. He and his wife, Betty, organized FUMGASS nearly ten years ago and still play leading roles in keeping enthusiasm alive for our pro- ductions. Mr. Bunthorn's Solicitor .......... John D. McDonald* Maidens Cher Sussman, Betsy Armstrong, Sheryl Halsey, Kathleen Wilks, Mary Drew Locker, Leslie Jansson, Joan Edwards, Nan Worthington, Marie O'Connor Dragoons Don Krebs, Dough Worthington, Jim Linton, Joe Beitel, Dana Buck, John Meyer, John Daly, John Jarrett, John Momcilovich EXECUTIVE BOARD PRESIDENT ............ Joseph Beitel VICE PRESIDENT ............. Mary Drew Locker TREASURER ............ John R. Meyer SECRETARY ............. Nan Worthington POOH-BAH ............ Julie Tanguay PISH-TUSH............. Sue Sinclair orchestri F. Carl Daehler - Conductor Flute Deborah Ash Louise Hauenstein Oboe Lisa Bradley Clarinet Jay DeVries George Appel Bassoon Eric Haugen Horn David Goldberg Roy Burgess Trumpet David Maki Matthew Seides Trombone Marshall Brown Larry Weed Percussion Bruce Carvell Ron Carlson Violin Velma VanArk Mary Jane Porter Lucinda Kelly Mary Stefek Susan Noseworthy Penelope Eckert Viola Ruth Hoffman Robert Koch Cello Joanna Taylor Ellen Weatherbee Bass Greg Powell Bermuda Triangle Fred Rico 153 Patience - 1977 1997 Post Script: A welcome newcomer was Alice Crawford, a prominent local artist who designed the set. After an absence of ten years, Graham and Kathie Wilks returned from England and joined forces with us for this one show. This is a typical example of the loyalty G&S breeds among its adherents. Fred Rico returned, as well, and did passing fair dinging the Bermuda triangle in the pit About this time Prof. George W. Hilton of UCLA gave us a fine portrait of Sullivan (by Chicago artist A. Wright Ullman), and we were granted permission to give it a per- manent home in the lobby of the Lydia Mendelssohn Theatre. Needless to say, symmetry and simple justice demanded that we somehow manage to acquire a match- ing portrait of Gilbert. Watch for further developments. Recruit: Doug Worthington. Farewells to: Jim Linton (after 11 shows), Ed Glazier (11) Elliott Sigman (11) and Marie Crociata (6). production Stage Manager ....................................... Craig Somach Set Crew...................... .. ..................... Ed Begle Costume Crew ............... .Toni Gibson. Mary Drew Locker, Marie O'Connor Poster and program art ........... ................. . . . .Howard Israel Programs .... .................... Mary Drew Locker, Meredith Parsons Layout and Keyline ....................... ........ . ... Julie Tanguay Publicity. .............................. John McDonald, Nan Worthington Tickets ............... ......... Guendolen Carter, Mary Drew Locker Photographers ............ Peter John Hedlesky, Tom Kramer, Nan Worthington Curator of Costumes. ...................................... Ann Correll Archivist.. ................................. Gloria Bennish Faint Liliologist ...................................... Sir Bolivar Kegnastie Head Usher .......................................... Dan Tholen Production Notes: Set Crew ..... Light Crew .... Props ........ Costume Crew . ............. Ralph Katz, Larry Schrenk ............. Dana Buck, Jim Carpenter, Amanda Kelly, Ted Kelly, Steve Kirk, Elizabeth Margosches ............. Allison Reisman ............. Betsy Armstrong, Betty Benford, Harry Benford, Sheryl Halsey, Mark Michnovicz, Stephanie Michnovicz, Pat Rector, Sue Sinclair, Julie Tanguay, Graham Wilks, Kathleen Wilks, Doug Worthington Yes, yes - I am aesthetic, and poetic! Graham Wilks as Grosvenor. Photo from UM Bentley Historical Library, Bennish collection. 154 Our Main Attraction Four shots from 1978 Gondoliers. Photos from UM Bentley H-istorical Library, Bennish collection, Box 8. 155 The Gondoliers - 1978 Of happiness the very pith. Dan Boggess (Marco) and John Meyer (Giuseppe). So here we are, at the risk of our lives. Nan Worthington and Mark Kramer (Antonio). We shall both go on requesting till you tell us, never doubt it. Sigrid Johnson, Dan Boggess, Julie Tanguay and John Meyer. 156 Our Main Attraction Lydia Mendelssohn Theater April 12-15, 1978 Stage director: Mary Joanne Tanguay Choral director: Deborah Lynne Kulber Orchestra director: F. Carl Daehler Choreographer: Cher Sussman Technical director: Steven Kirk Scenic designer: Timothy Locker Lighting designer: Gary Smith Costumer: Patricia Murphy Rehearsal accompanists: Cornelia Landes & Jerry West THE CAST Duke of Plaza-Toro ............. Peter-John Hedlesky The Duchess ...................... Felicia Steinberg Don Alhambra ......................... Geoff Isaac Casilda ............................ Sara Dalgleish Luiz ................................. David Kitto Guiseppe ............................. John Meyer Tessa .............................. Julie Tanguay Marco .............................. Dan Boggess Gianetta ........................... Sigrid Johnson Inez ................................. Cyndy Hill Antonio .......................... Mark A. Kramer Fiametta ........................ Nan Worthington Francesco ........................... Joseph Beitel Gulia ............................... Mary Locker Giorgio ............................ Benjie Schrier Vittoria .......................... Leslie K. Jansson Contadine Leslie Jansson, Susan Stephenson, Tern Grassmuck, Ann Marie LaFrance, Libby Stuber, Kathleen Wilks, Debbie Lester, Betsy Wells, Mary Kelly Gondoliers Don Krebs, Craig Somach, Tom Kramer, Eric Hubbs, Gary Ostrowski, Marquis Childs, Stephen Pickover, Randy Jones, Kerry Walters GILBERT AND SULLIVAN ORCHESTRA F. CARL DAEHLER, JR. Conductor Violin Velma van Ark Pat Hyttinen Ted Ladewski Jackie Livesay Susan Noseworthy Lucinda Rice Mary Stefek Viola Ruth Hoffman Mike Pilafian Cello Randy Hoexter Joanna Taylor Ellen Weatherbee Bass Tim Meyer Percussion Bruce Carvell Flute Deborah Ash Louise Hauenstein Oboe William Sneddon Clarinet Bruce Cowan Eve Eden Bassoon George Ash Gordon Bredesen Horn Roy Burgess David Goldberg Mark Wiljanen Trumpet Gary Maki Mathew Seides Russell Spaulding Trombone Marshall Brown Nat Malcolm Larry Weed EXECUTIVE BOARD SOCIETY OFFICIERS PRESIDENT........................................Joe Beitel VICE-PRESIDENT........................................ Mary Locker TREASURER..........................................John Meyer SECRETARY.................................... Nan WorthingtonPOOH-BAH......................................aJulie TanguayPISH-TUSH ........................................... Sue Sinclair Faculty Advisors Professor and Mrs. Harry Benford Professor H. Don Cameron Professor and Mrs. Harold Haugh Professor Eva Likova Professor and Mrs. Edward Stasheff 157 The Gondoliers - 1978 production Stage Manager ................................. ... .. Dan Tholen Set Crew .............. Dan Tholen, Diana Buck, Lee Valhsin and Judy Grey Costumer ............ .................. .. . Nan Worthington Costume Crew - Cathy Modic, Mary Greenway, Doug Worthington, Sue Stephonson, Mary Kelly, Tony Gibson, Jamie and Barry Deflin Program and Poster Design ....... ........ ... Julie Tanguay Programs ...................... Julie Tanguay, Sue Sinclair and Mary Locker Tickets......................... .. Guendolen Carter and John Meyer Photographers ....................... Peter-John Hedlesky and Tom Kramer Curator of Costumes. ...................................... Ann Correll Archivist.. ........................ . ... .Gloria Bennish Props. ............................ Ann Marie LaFrance and Mary Kelly 1997 Post Script: Cher Sussman was our choreographer, and Debbie Kulber had been advanced to choral director. The rest of the team looked entirely familiar. This was the show in which the contadine wore bulky hip bolsters, which may have been authentic, but which were not at all flattering. We recall that in one of the perfor- mances John Meyer, in the role of Giuseppe, found his pants slipping down at a time when he was cavorting about and in no position to pull them up to where modesty dic- tated they belonged. He managed, but just barely. Norman Gibson really liked this production, but Jeffrey Selbst (Daily) thought it was "too busy," and not quite up to par. Ticket prices now ranged from $3.50 to $4.00. Farewells: Cyndy Hill (after 12 shows), Tom Kramer (6). Susan Stephenson (9), Dan Tholen (9) and Gerry West.. (11)n After sailing to this island. Julie Tanguay (Tessa) and Joe Beitel (Francesco). See Mary Locker's notes in the appendix for a wonderful Photo from UM Bentley Historical Library, Bennish collection. yarn about how gondolier Eric Hubbs ad-libbed a line that saved the show. By this time Dan Tholen and Nan Worthington were man and wife. The FUMGASS officers included, "Nanandan Worthington Tholen: Mail & Femail." (Their brief moment of triumph). Dan Boggess, Sigrid Johnson, John Meyer and Julie Tanguay. Photo from UM Bentley Historical Library, Bennish collection. 158 Our Main Attraction Lydia Mendelssohn Theatre November 29-30 and December 1-2, 1978 Stage director: Peter-John Hedlesky Music director: F. Carl Daehler Vocal director: Sue Sinclair Technical director: Ed Begle Scenic designer: Alice B. Crawford Lighting designer: Brad Butler THE CAST ORCHESTRAF. Carl Daehler - Conductor Princess Ida ........................ Karen Holohan Prince Hilarion ..................... Ernest Brandon The Lady Psyche .................... Lenore Ferber Cyril ................................ David Kitto Melissa ...................... Sara Dalgleish Chason Florian ............................. Lee Vahlsing The Lady Blanche ...................... Pat Rector King Hildebrand ................. Charles Sutherland King Gama ........................ David P. Curtis Arac ............................. M ark A. Kramer Guron ............................ Marc Shepherd Syntheius ............................. Steve Senie Sacharissa ........................... Mary Locker Chloe ........................... Susan Schievenin Violin Velma van Ark John Cannon Jackie Livesay Susan Noseworthy Lucinda Rice Beth Lipson Mary Stefek Blske Anna Weitzman Dixie Sullivan Viola Ruth Hoffman Robert Koch Susan Wolter Cello Randall Hoexter Ellen Weatherbee Bass Tim Meyer Flute Deborah Ash Louise Hauenstein Oboe Carolyn Hohnke Clarinet Paula Goldman Donn Eve Eden Bassoon George Ash Horn Nielsen Dalley David Goldberg Kerry Thompson Trumpet Gary Maki Rob Lieberman Phillip Rhodes Trombone Martha Taylor Analee Anderson Liz Young Percussion Bruce Carvell Women of Adamant Sarah Lehmann, Anna Millard, Cheryl Hodges, Susan White, Wendy Sabbath, Carol Koletsky, Julie Tanguay Men of Hildebrand's Court Randy Jones, Bob MacGregor, Robert Miller, Eric Saslow, Richard Morrison, John Kelly, Craig Somach, Dave Strauss, Bob Malcolm EXECUTIVE BOARD President... .... . . . .:. . . . ... ... :...:.:.:.. . . . John Meyer Vice-President. . .... .. .. ... ... ... ... ... ..... Joe Beitel Treasurer .. .. .. .. ... ... ... ... ... ... ..... Craig Somach Secretary. .. .. .. .. ... ... ... .... ... ... .. Terry Grasamuck Pish-Tush . . . . . .. . . . . . . . . . . . . . . . . . . . . . . Randy Jones Pooh-Bah . . . . ... . . . . .. . . . . . .. . . . . . . . . . Mark A. Kramer Company Promoter . . . . . . . . . . . . . . . . . . . . . . . . . . Lee Vahlsing Faculty Advisors Professor and Mrs. Harry Benford Professor H. Don Cameron Professor and Mrs. Harold Haugh Professor Eva Likova Professor and Mrs. Edward Stasheff 159 Princess Ida - 1978 PRO0DQCTIOT1 Asistant Director .. .. . . Marc Shepherd Re Accompanists ... . .. Teddy Klaus, Corky Landes, Loren PatzBman Technical Dirvctor. ....................... Ed Begls Set crew .. ... . . ..Eric Erikson, Bernadette Malinaki, Ronald Harniach, Jim Ray, John MacKrell, Steve Field, Maureen Evans, Bill Grahm, David Curtis Control Board Operator ... ... ... . ... ... .. Elizabeth Margosches Light Crew . ... .. . ..... . .. .. . . .. . ... Howard Baron, Jim Ray Stage Manager .. . . .. ... ... . .. . .. . ... . .. . .Richard Cardullo Costumer. ...... .... .. ................ Bettie Seeman Costume Crew .. . Janie Boyles, Elizabeth Foreman, Martha Howe, Toni Murphy Makeup . . . . . . .. . ..... David Curtis Makeup Crew .. . . . . .... .. .. Joe Beltel, Riva Capellari, Martha Cohen, Maureen Evans, Lill Kresel, Joe Dowel Program . . . .. . Sarah Lehmann, Mary Locker, Bob MacGregor, Marc Shepherd Photographer .. . ... . ... .. . . . . ... . .. . ... . Michael Kvicala Head Usher.............. .... . . .... .. . . ... Dan Tholen Curator of Costumes.......... . . . .... .. ........ Ann Correil Archivist . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . Gloria Bennish Tickets . . . . . . . . . . . . . ... . ............. . Guen Carter Props........ ... . .. ..... .. Steve Field, Pam Durkee, Tim Locker Fastidious Fruit Duster . . ... .. ................ Fred Rico Pusillanimous Primate Protector. ............. . Sir Bolivar Kegnastie Many thanks to those whose names we could not include. 1997 Post Script: Sue Sinclair, a former lead singer and recent graduate of the School of Music, stepped up to serve as vocal director. Being a little-known show, we were unable to attract the usual numbers of would-be performers, so the directors had to cast nearly everyone who tried out. This did not prevent their featuring a first rate set of principals, one of whom was destined to take a leading part in shaping the society, namely Marc Shepherd, a freshman who also signed on as assistant director. Chorus numbers were rather thin. Looking at the bright side of it, however, those numbers included such significant newcomers as Sarah Lehman and Dick Morrison who went on to appear in many shows and eventually married. Steve Field, Cheryl Hodges and Bob MacGregor were other first-timers who went on to help in many shows. And an important new- comer in the orchestra was Phil Rhodes (who is still with us). Yet another significant newcomer was Loren Platzman, an engineering professor who was a gifted pianist and did good work as one of the rehearsal accom- panists. Director Peter-John Hedlesky thought Gilbert's blank verse libretto tended to drag, so he reworked much of the dialogue. James Harvey (Flint Journal) called it, "a buoyant, well- integrated production." Al Phillips (AA News) said it "has at least six excellent things to recommend it," but he added that there was too much distracting business. Nina Shishkoffs (Daily) review carried the headline, "Performance rescues medium-weight 'Ida'." She summed it up as "good overall." Farewell to Velma Van Ark (after 6 shows). The executive board now included Lee Vahlsing in the newly created position of Company Promoter. FUMGASS patrons now numbered about 130 generous souls. Proud lady, have your way. David Parks (Ralph) and Kathy Simpson (Josephine)from 1979 Pinafore. Photo from UM Bentley Historical Library, Bennish collection, Box 1. 160 Our Main Attraction Lydia Mendelssohn Theatre April 5-8 and 12-14, 1979 Dramatics director: Cher Sussman Orchestral director: Mark Brandfonbrenner Lighting designer: Brad Butler Vocal director: Deborah Lynne Kulber Technical Director: Ed Begle Costumer: Pat Bulsok Scene designer: Alice Crawford THE CAST H.M.S. PINAFORE ORCHESTRA Captain Corcoran .................... Mark Kramer Buttercup .......................... Julie Tanguay Ralph Rackstraw ...................... David Parks Josephine .......................... Kathy Simpson Sir Joseph Porter ....................... Bev Pooley Dick Deadeye ..................... H. Lee Vahlsing Cousin Hebe .................... Susan B. Caughron Bill Bobstay ........................... Geoff Isaac Bob Becket ........................... John Kelly Sailors Doug Heym, Steve Krahnke, Marc Shepherd, Dayton Benjamin, Dave Strauss, Joe Beitel, Al Hainen, Richard Morrison, Glenn Browne, Bob MacGregor, John Penn, Randy Jones, Scott Hammonds, Andrew Hirss Ladies Nan Worthington, Marianne Kramarz, Wendy Sabbath, Ruth Gewanter, Carol Dansereau, Betsy Beckerman, Sue Clark, Veronica Hubbard, Sarah Lehmann, Rachel Pooley, Mary Kelly, Mariam Sussman, Vicky Seyferth, Diane Kuffert, Corky Landes, Kathie Gaber Violin Camille Ameriguian Joan Christenson Mi-Hee Chung Chuck Gray Eric Hanson Gabriela Klassen Kirsi Pertuli Lucinda Rice Laura Ross Jill Rowley Cindy Stutt Viola Becky Brehm Terese Parisoli Cello Eileen Benway Dave Moulton Susan Ross Wendy Smith Bass Jim Meyer Duncan Stewart Flute Jill Felber Phyllis Taylor Oboe David Lauth Clarinet Kathy Austin Mary Rivera Bassoon Erik Haugen Amy Thomas Trumpet John Eick Rob Lieberman Trombone Annabee Anderson Mark Mackenzie Horn Elizabeth Dean David Goldberg Percussion Matt BarberEXECUTIVE BOARD President . . . . . Vice-President . . Treasurer . . . .. Secretary.. . . . Company Promoter Pooh-Bah.. . . . Pish-Tush . . . . . . . David Kitto . .Joseph Beitel . Craig Somach Lenore Ferber . Lee Vahlsing . .Mark Kramer . Randy Jones Faculty Advisors Professor and Mrs. Harry Benford Professor H. Don Cameron Professor and Mrs. Harold Haugh Professor Eva Likova Professor and Mrs. Edward Stasheff 161 H.M.S. Pinafore - 1979 1 ?f01410 i kehearsal Accornpanits Stag Manager Props Set Crew Control Board Operators T.ig! L Cre Costume Crew Make-up P-ogram Prograu & Design Photographer Head Ushers Curator of Costumes Archivis Tickets Celery Argh Se-rvy Dog' Tore Cshu tnsnn, or.. Laundes Loren Platzman, David Reynolds Steve Field Pam Durkee Bil Ande~a.. Con le Fergus. Bob Masta, Carol Miller Cynthia Dopy. Pat Petiet, Martha Pierce Howard Baron, z. Begle, Catte Magill, Chris Mas. ;arol Miller, Clay Owsley Alai Simons, Todd Werir Marianne Kramarz, Corr-all, Carol Siuny Toni Murphy Mar> and Tim Locker a-ar Lehmann, Dettie Ze 'sse, Randy Jones Mary Lockar J'"ie Tanguay Mary Doerr Cyn. & IDvid 1 us, Eric Hubbs Ann Correll Gloria Bennii . Guen Carter Frederica Rico Si Boliv neajnastie Mai thanks t. those 1997 Post Script: Veteran trouper Cher Sussman stepped in to try her hand as dramatics director, while musical direction was shared by Debbie Kulber and Mark Brandfonbrenner. The latter was a junior in cello performance, with six summers of G&S at Interlochen. Another unique feature was the combination of Bev Pooley, as Sir Joseph, and daughter Rachel as one of his sisters or cousins or aunts. Cher's directorial debut was a great success. She intro- duced some nice touches. In one of these Sir Joseph sat on a cannon and the thing thereupon fired a shot. A moment later, a ship in the distance was seen to lose a topmast. Nina Shishkoff (Daily) headlined "A rousing success," but added that the choreography was a bit sloppy. She also noted that the bell trio received five encores, each wackier than the one before. Susan Isaacs Nisbett (AA News) headlined "Worthy of cheers," then went on to say, "I have a suspicion that Pinafore is one of the operas one would love in almost any state of repair; its wit and tuneful music can over- come countless dramatic and vocal impediments. What a joy, then, to have this excellent rendition, filled with fine orchestral playing, professional quality singing (every word clearly intelligible!) and credible, sometimes even inspired acting." (Now there's a critic of more than pass- ing perspicacity.) could inc-de One of us wrote a letter to the editor of the AA News criticizing one of the paper's writers for using the expres- sion, "Things are seldom as they seem," and pointing out that the correct expression could be heard in the forth- coming UMGASS production. The day after that was printed the editor published a brief note in good natured self-defense: "We secretly think that mention of the [show] was the real point of the letter, and we admire a good PR effort when we see one!" Two potent newcomers: Cynthia Dopp and Steve Krahnke.Farewells to: Lenore Ferber (after 15 shows), Erik Haugen (14) Corky Schorr Landes (after 8 shows), Pat Petiet (10), Lucinda Rice (8).and Cyndy Haidostian Hudgins (13) - although Cyndy went on to serve as FUMGASS treasurer for decades. The program for this show was the first to carry a glos- sary of terms, a practice that has now become standard. Bev and Pat Pooley were now added to the roster of fac- ulty advisors. 162 Our Main Attraction No bullying, I trust. Beverley Pooley (Sir Joseph) and Mark Kramer (Captain Corcoran) in 1979 Pinafore. In front row, I to r Dave Strauss (?), Richard Morrison, John Kelly (Bob Beckett), Geoff Isaac (Bill Bobstay), Lee Vahlsing (Dick Deadeye), David Parks (Ralph), Joe Beitel, Scott Hammonds and Marc Shepherd (midshipmite). Photo from UM Bentley Historical Library, Bennish collection. How does your captain treat you, eh? Bev Pooley and David Parks. In front row, I to r: John Kelly, GeoffIsaac, Lee Vahlsing, Joe Beitel, Scott Hammond and Marc Shepherd. Photo from UM Bentley Historical Library, Bennish collection. 163 H.M.S. Pinafore - 1979 Every step with caution feeling. Lee Vahlsing (Deadeye), Julie Tanguay (Buttercup), Kathy Simpson (Josephine) and David Parks (Ralph). Photo from UM Bentley Historical Library, Bennish collection, Box 9. His energetic fist. Geoff Isaac, John Kelly and David Parks. Photo from UM Bentley Historical Library, Bennish collection, Box 1. 164 Our Main Attraction TRIAL BY JURY A benefit performance for Lydia Mendelssohn Theatre June 8-9, 1979 Dramatics director: Kathy Platzman Music director: Mark Brandfonbrener Technical director: Steve Field THE CAST Judge ................................ Bev Pooley Angelina (Plaintiff) .................. Kathy Simpson Edwin (Defendant) .................... David Parks Counsel for the Defense ................ Lee Vahlsing Foreman of the Jury ................... Mark Kramer Usher ................................ Tom Petiet Baliff ............................. Doug Foreman Jury Ernest Brandon, Scott Hammonds, Andrew Hirss, Eric Hubbs, Randy Jones, John Kelly, Mark Kramer, Marc Shepherd Bridesmaids Sara Dalgleish Chason, Sara Lehmann, Ann Marie LaFrance, Nan Worthington Townspeople Mary Grace Evans, Monica Smith Gelenas, Marianne Kramarz, Deborah Kulber, Patricia Pooley, Rachel Pooley, Mary Rumman, Wendy Sabbath, Lisa Warren, Rachelle Warren, Bob Douglas, Paul Potter, Larry Sperling ORCHESTRA Violin Joan Christenson Barbara Hamilton Jill Rowley Viola Davin Pierson Cello Rob Hoester Young-Sook Lee Bass Greg Powell Percussion Tim Bartholow Flute Jill Felber Phyllis Taylor Oboe David Lauth Clarinet Lief Bjaland Paul Torre Bassoon Dean Zimmerman Horn David Goldberg Rob Fechtner Trumpet Peter Terry Trombone Brooks Barnes Executive Board Faculty Advisors President .......................... Marc Shepherd Vice-president .......................... John Kelly Treasurer ............................ David Parks Secretary ........................ Nan Worthington Pooh-Bah ...................... Marianne Kramarz Pish-Tush ..................... Vicky Lynn Seyferth Company Promoter ................ Scott Hammonds Professor and Mrs. Harry Benford Professor H. Don Cameron Professor and Mrs. Harold Haugh Professor Eva Likova Professor and Mrs. Edward Stasheff Professor Beverley Pooley 165 Trial By Jury - 1979 PRODUCTION Rehearsal Accompanists Stage manager ....... Props .............. Set Crew ........... Lighting Designer .... Costumer ........... Publicity ............ Program ............ Program & Poster desig Head Usher ......... Curator of Costumes . . Archivist ........... Mail Order Tickets ... Illustrations (May It Ple All-around Good Guy. Lights ............. Orchestration (Utopia L . . . . . . . ... Loren Platzman, Deborah Kulber, Nancy Pitt, Beth Hensel ........... Ron Miller ........... Ann Marie LaFrance, Eric Hubbs, Kathy Simpson, Doug Foreman, Rachel Warren, Lisa Warren, Beverley Pooley, Rachel Pooley, Pat Pooley ........... Ron Miller, Mark Kramer, Ginny Barnes, Carol Kahn ........... Ken Marko ........... Patty Haldeman ........... Scott Hammonds, Mark Kramer .......... Joe Beitel, Marianne Kramarz n ......... Scott McKowen ........... Dick Morrison ........... Ann Correll ........... Gloria Bennish ........... Guen Carter ase You) .. .Tom Petiet, Paul Potter .......... Joe Beitel ........... Mike Gersiwitz imited) .. . .Loren Platzman Additional thanks to Doris & Ricky Sperling and to all those who contributed time and effort whose names are not shown here. 1997 Post Script: This was staged to help raise money for rehabilitating the Lydia Mendelssohn Theatre. Kathy Platzman agreed to direct the production and proved to the company that she had a distinct talent for it. Kathy had been involved in G&S activities at Harvard and had directed two shows there. There were performances at 7:30 and 9:00 p.m. on Friday and Saturday evenings, along with other entertainment produced by other groups. The price of admission was $3.00. Norman Gibson headlined his review "Gleeful, out- landish." Although just finishing his freshman year, Marc Shepherd was now the newly-elected president. For a gallant captain's daughter. From 1979 Pinafore: Bev Pooley (Sir Joseph), Kathy Simpson (Josephine) and Mark Kramer (Captain Corcoran). Photo from UM Bentley Historical Library, Bennish collec- tion, Box 1. 166 Our Main Attraction IOLANTHE Lydia Mendelssohn Theatre December 5-8, 1979 Artistic director, Choreographer: Robert Miller Musical director: Mark Brandfonbrener Vocal director: Thomas L. Pedersen Scenic designer: Alice Crawford Lighting designer: Brad Butler Costume designer: Ann C. Correll Assistant to the director: Margaret Dopp THE CAST The Lord Chancellor ................ H.D. Cameron Lord Mountararat ..................... Lee Vahlsing Lord Tolloller......................David Parks Strephon ........................ Scott Hammonds Phyllis .............................. Ann Savaglio Queen of the Fairies ............... Jacqueline Radlow lolanthe ........................... Julie Tanguay Private Willis ....................... Donald Regan Celia ........................... Susan Sinclair Lelia ........................... Nan Worthington Fleta ................................ Jane Davey Pages & Heralds .................... Barrie Bondrie, Perry Gasnier Fairies Barbara Shapiro, Sandra Dergazarian, Debby Kulber, Amy Jo Torch, Abigail Meisel, Vicky Lynn Seyferth, Sue Swaney, Susan Campbell, Jane Davey, Carol Thrane Peers Bob Malcolm, Robert Reizner, Daniel Hyde, Bob MacGregor, Pete Andrews, Randy Jones, Bernard Patterson, Gary Ostrowski, Steven Krahnke, Eric Hubbs, Marc Shepherd, John Kelly EXECUTIVE BOARD President........Marc Shepherd Vice-President . . . . . . John Kelly Treasurer ... ..... David Parks Secretary . .... Nan Worthington Company Promoter Scott Hammonds Pooh.Bah . . ...... Sue Swaney Pish.Tush ... Vicky Lynn Seyferth I PQODUCTION i Rehearsal Accompanists .. . . . . Mike Geyer, John Krueger, Deborah Kulber Construction Supervisors .. . . . . . . Ed Begle, Dan Worthington, Steve Field Set Crew .. .. . . . . . . . . . . . . . . . . Ginny Barnes, Karen Grassmuck Sarah Kaas, Ellen Katz. Rachel Pooley Light Crew . . . . . . . .. . . . . . .. Marty Butler, Chris Magill, Kathy Magill, Elizabeth Margosches, John Kelly, Doug Worthington Costume Crew . . .. . .. . Hannah Andrews, Martha Butler, Peter Greenquist Anne Jansma, Joanne Jurmu, Mary Kelley, Carol Selby Make-up .. . .. . . . . .. . .. . . Jim Kramer, Christy Speirn, Nancy Bennet Program .. ... . Vicky Seyferth, Sarah Lehmann, John Kelly, Marc Shepherd. Photography ., . .. . .. . . . . . . . . . . . .. . . . . . . . . . . John Kelly Head Usher . .. . . . . . . . . . . . . . . . . . . . . . . . . Richard Morrison Curator of Costumes . . .. . . . . . . . .. . ... . . . . . . . . Ann Correll Archivist . . . . . . . .. . . . . . .. . . . . . . . . .. . .. .. Gloria Bennish Tickets ... . . . . . . . . . . . . .. . . . . .. . . . . . . . . . Guen Carter Dispenser of Fairydust .. . . . . . . . . . . . . .. . . . . . . . . . Fred Rico Stalwart Stickler for Proper Parliamentary Procedure . . . .Sir Bolivar Kegnastie Many thanks to those whose names we could not Include. 1997 Post Script: Our new artistic director/choreographer, Robert Miller, was a teacher in a local school, who had performed or directed G&S in England as well as in New York. The vocal director was Tom Pedersen, a masters student in voice with directing experience in California. The romantic leads were taken by Scott Hammonds and Ann Savaglio, which turned out to be prophetic in that they were later married. Nan Worthington Tholen (Leila) was named the dean of the performers, this being her twentieth show. She was also secretary of the society, mother of a year-old daughter, and an employee at Mott Hospital. A veritable bundle of energy, and beautiful to boot. Welcome newcomers included Margaret Dopp (Cynthia's sister) and Robert Reizner, who has been with us on and off ever since. Farewells to: Sue Sinclair (after 7 shows) and Robert Miller (after 10 shows). There were now somewhat over 150 FUMGASS patrons, and the cost had by now sneaked up to $30 per year. Kathy and Loren Platzman were now added to the list of patrons. Loren was a professor of engineering and a faith- ful rehearsal accompanist. 167 The Pirates of Penzance - 1980 EEEEK! The great capture scene, from 1980 Pirates. Photo from UM Bentley Historical Library, Bennish collection, Box 9. David Pollitt (music director 1989-81) and Gloria Bennish. Photo from UM Bentley Historical Library, Bennish collection. 168 Our Main Attraction Lydia Mendelssohn Theatre April 16-19, 1980 Dramatics director: Kathy Platzman Musical director: Leif Bjaland Costume designer: Hannah Andrews Scenic designer: Steven Krahnke Asst. musical director: Paul Klemme Asst. director: Margaret Dopp Lighting designer: Brad Butler THE CAST ORCHESTRA Major-General Stanley .................. Bev Pooley Pirate King ............................ Clint Fink Frederic ............................. David Parks Mabel ............................. Riva Capellari Ruth ....................... Mary Joanne Weiskircher Sergeant of Police .................... Don Cameron Samuel ............................. Lee Vahlsing Edith .............................. Jayne Siemens Kate .......................... Mary Jo McElheron Isabel ............................. Julie Tanguay Pirates and Police Joe Wein, Daniel Hyde, Mark Friedes, Eric Hubbs, Bob MacGregor, John Alexander, Geoff Isaac, Mark Brandfonbrener, Marc Shepherd, Gary Ostrowski, John Kelly, Steve Krahnke, David Keosaian, Robert Reizner, Joe Beitel, Randy Jones, Pete Andrews General Stanley's Daughters Ann Hubbs, Sandra Dergazarian, Louise Nowicki, April Oja, Wendy Wilkinson, Sarah Lehmann, Debby Kulber, Barbara Shapiro, Cheryl Hodges, Sue Swaney, Nan Worthington, Mary Locker VIOLIN I Bruce Wilkison Meredith Sachs Diane Bischak Karen Clegg VIOLIN II Laura Ross Dilip Das Ann Savaglio VIOLA John Madison Eric Johnson CELLO Eileen Folson Kathy Everson CONTRABASS Timothy Meyer FLUTE Jill Felber Kim Jeanette Teal CLARINET Mary Rivera Richard Shillea OBOE Bonnie Griffiths Lorelei Crawford BASSOON Carol Gillie TRUMPET Stephen Hix Rob Lieberman HORN Linda LaRoche David Goldberg Neilson Dalley TROMBONE Charlotte Leonard Annalee Anderson DOUBLE ENTENDRE Fred Rico & Sir Bolivar Kegnastie EXECUTIVE BOARD President ........... Marc Shepherd Vice-President .......... John Kelly Treasurer ............. David Parks Secretary ......... Nan Worthington Company Promoter. Scott Hammonds Pooh-Bah ............ Sue Swaney Pish-Tush ......... Sarah Lehmann Faculty Advisors Professor and Mrs. Harry Benford Professor H. Don Cameron Professor and Mrs. Harold Haugh Professor Eva Likova Professor and Mrs. Loren Platzman Professor and Mrs. Beverly Pooley Professor and Mrs. Edward Stasheff 169 The Pirates of Penzance - 1980 PRODUCTION 1997 Post Script: After an absence of one show, Kathy Platzman now returned to direct. She it was who introduced the practice of asking the audience to sing God Save the Queen, which habit she had acquired at Harvard. Our music director, Leif Bjaland, was studying conducting under Gustav Meier. The most memorable feature of this production was the sight of the women as they first appeared: tripping over rocky mountain dressed in old fashioned bathing suits, a rather startling affectation for late February in Penzance. A nice touch came with Edith's and Kate's first act solos. Edith stood stage right and the girls clustered around her during her solo. Then when it came Kate's turn (standing stage left) the girls all tippy toed sideways until the cluster centered on Kate, but no one was seen to take a step. Elaine Gurgegian (AA News) gave the show an A+ and said the singing and acting were of high caliber. The advertising noted that the Friday evening and Saturday matinees were sold out. The ticket prices were now $4.00 to $5.00. Shortly before that time Marc Shepherd submitted a financial statement for 1978-79, with this summary: Show Gross income Expenses Profit Co-Technical Directors.. . . . . . . . . . . . . ... Ed Begle & Steve Field Stage Manager . . . . . . . . . . . . . . . . . . . ... . .. . . ..Steve Field Rehearsal Accompanists . . . . . . . . . . . . John Krueger, Loren Platzman Props .. . .. . . . . . . . . . . . . . .. . Ann and Eric Hubbs, Dan Hyde Costume Crew . . . . . . . . Cynthia Lempert, Susan Spitzer, Bernice Merte, Wendy Wilkinson, Robin Wilt, Karen Rollet, Ann Correll, Kathe Kornbluh, Jum Murtaugh, Margaret Dopp, Ellen Arneson Scenic Artists. . . . . . Joe Beitel, Jim Horton, Randy Jones, Debby Kulber, Ruth Kenny, April Oja, Julie Tanguay, Carol Walker Construction Crew...............Mike Arsenault, Mark Bradfonbrener Sandy Dergazarian, Mary Kelly, John Kelly, Joe Wein Lighting Crew .................... Marty Butler, Bob Kushler, Cathy Magill, Chris Magill, Elizabeth Margosches, Judy Oppenheimer, Mary Quade, Matthew Sporzynski, Dick Wagman, Joe Wein, Kris Westrum Make-up ............................. Steve Krahnke, Wendy Wilkinson, Nan Worthington, Mary Locker Poster Design ......................................... Julie Tanguay Program . . .. . . . . . . . . . . . . . . ..Sarah Lehmann, Marc Shepherd Photographer . . .. . . . . . . . . . . .. . . . .... . .. Michael Kvicala Head Usher . . . . . . . . . . . . . . . . . . . . . ... . Richard Morrison Tickets . . . . ... . .. . . . . . . . . . . . ........ . . Guen Carter Archivist . . .. . . . . . . . . . . . . . . . . . .. . .. . . .. Gloria Bennish Curator of Costumes . . . . . . . . . . . . . .. . . .. . . . . . Ann Correll Many thanks to those whose names we could not include. Veteran members of the chorus included John Alexander (10), John Kelly (13), Joe Beitel (12), Julie Tanguay (10), Debby Kulber (12), Nan Worthington (20), and Mary Locker (15). Two other veterans, Fred Rico and Bolivar Kegnastie, paired up to play the double entendre (some- thing like a set of bagpipes conjoined with a bass fiddle, and requiring four hands, one foot, and one elbow to oper- ate). Remarkably enough, former musical director Mark Brandfonbrener was also in the chorus. G&S is just so irre- sistible! New faces: David Keosaian, Wendy Jo Herschman, Cynthia Lempert (who is still with us), Jim Murtaugh and April Oja. This turned out to be Guen Carter's last show. We still miss her. After sixteen leading roles, Don Cameron also elected to step into the wings, although we may hope to see, and enjoy, him again. Other farewells: Geoff Isaacs (after 6 shows), Debbie Kulber (10) and Lee Vahlsing (9). FUMGASS officers now included Gloria Bennish: presi- dent, Ruth Straight: vice-president, Mary Locker: secre- tary, Cynthia Haidostian Hudgins: treasurer; Harry Benford: Editor, and Nanandan Worthington Tholen: femail & mail. Ida Pinafore Trial $14, 686 $18, 225 $2214 $14,761 ($75) $17, 025 $1200 $1300 $914 (to benefit theater) (Figures exclude income & expenses of lobby sales.) 170 Our Main Attraction 1UDDIGOQE Lydia Mendelssohn Theatre December 10-13, 1980 Artistic director: Mary Locker Scenic designer: Alice Crawford Costume designer: Hannah Andrews Musical director: David Pollitt Choreographer: Regan Rohde Lighting designer: Rich Henson THE CAST Robin Oakapple/ Sir Ruthven Murgatroyd ............... Steve Krahnke Sir Despard Murgatroyd .............. John Alexander Richard Dauntless ................... Paul R. Nelson Sir Roderic Murgatroyd .............. Wayne Morrow Old Adam ............................ John Kelly Rose Maybud .................... Nan Worthington Mad Margaret ................. Ann LaFrance Hubbs Zorah ....................... Karen Elizabeth Grassmuck Dame Hannah ..................... Sandra Hudson Ruth ........................ DiaaPalnieDePamabte The Professional Bridesmaids Mary Ochsankehl, Cheryl Hodges, April Oja, Karla Bacsanyi, Mary Loewen, Amy Jo Torch, Jael Meadow, Wendy Jo Herschman, Lynn Berg, Liz McLogan, Jody Caley, Susan Campbell Men's Chorus Paul J. Morgan, Robert Reizner, Winthrop Cashdollar, Steve Winnett, Jackson Morris, David Hoffman, Jim Murtaugh, Jim Newton, Alan Wineman, Eric C. Hubbs, Marc Shepherd, Philip Meyers ORCHESTRA Violin I Bruce Wilkison* Yakako Tarumi Karen Feagley Wendy Lanum Violin H Misty Sachs Sue Swaney Susan Ziemba Viola Eric Johnson Bonnie Rideout Violincello Lynn Peithman Ellen Weatherbee Duncan Chaplin Double Bass Margaret Wlatz Oboe Eddie Benyas Flute Shelley MacMillan Judy Cook Clarinet Mario Hunter Karen Conrad Bassoon John Peterson French Horn David Goldberg* Pam Schwartz Trumpet Moffat Williams Barbara Franklin Trombone Richard Koshgarian Dan Leob Percussion Scott Small *concertmaster **This is David's 38th semester with the society. THE EXECUTIVE BOARD President ....... Steve Krahnke Vice-President. . . ..Steve Field Treasurer . . .. Sandra Dergazarian Secretary...... .Louise Nowicki Company Promoter Scott Hammonds Pooh-bah ........ Sue Swaney Pish..tush ........ Robert Reizner Faculty Advisors Professor and Mrs. Harry Benford Professor H. Don Cameron Professor and Mrs. Harold Haugh Professor Eva Likova Professor and Mrs. Loren Platzman Professor and Mrs. Beverly Pooley Professor and Mrs. Edward Stasheff 171 Ruddigore - 1980 I PLDODUCTION - Rehearsal Accompanists . . ...... Wendy Lanum, Bob Pazur, Mariko Sato, William Shapiro. Set Crew................Bill Dynes, Alan Elliott, Kimberly Olsted, Margaret Goldstein, Mike Arsenault, Gary Drayton, Pam Marples. Rag Dragger.............................Mike Arsenault Master Electrician.. .... ........................... Joe Urcha Anst. Lighting Designer. . .. ....... . . ........... Kim Glen Costume Crew.......Cynthia Lempert, James Murtaugh, Heather Braithwaite, Elizabeth Axelson, Nancy Gilmartin, Tracy Holland, Becky Darrow, Tim Locker, Ann Correll. Poster Design . . . .. . . . . ..... .. . .. ............ Mary Nash Program... . .. .. ... . . ......... Robert Reizner, Marc Shepard Ad Sales . . . . .. .. . .. Sue Campbell, Jael Meadow, Winthrop Cashdollar, Robert Reizner Photography.............. . Head Usher... ... .... .. , Curator of Costumes..... ... . Archivist.. . . . . . . . . . ... . Tickets ................... Property .. ............. . Promotion . . . . . . . . . . .. . . , Portrait Gallery Security. . . . .... House Authority on Etiquette . . . 1997 Post Script: After eight years in the chorus, Mary Locker resolved to try her hand as artistic/dramatics director, and has been our most regular and successful director on and off ever since. Her husband, Tim, served as her team mate. She was also teamed with a remarkably competent music director, namely David Pollitt, who held that position with great success for the next several shows. He was a superb violin- ist and a superb conductor; he was then in a doctoral pro- gram engaged in both those skills. Among the principals, Nan Worthington took her first starring role: Rose Maybud. (This was Nan's 21st and final show.) Sandy Hudson returned for her third performance as Dame Hannah. A newcomer, Diana Palmiere DePamelaere (the future Diana Hunt) played Ruth. The Detroit News of December 12 gave over the front page of its entertainment section to an illustrated article about this production. Norman Gibson emphasized whatever lapses he could detect. He thought the orchestra was too lusty during the matter matter matter trio, but admitted that the audience loved it. One wonders if he caught the sense of the third verse. Both choruses were dominated by newcomers. Among these were Jackson Morris, Jim Murtaugh, Jim Newton, and Alan Wineman, all of whom became old-timers in due ........... William Harder . .. . . . ..... Jar Lee Carver . ...... ... . . Ann Correll ....... ... Gloria Bennish .... . Ann Hubbs, Eric Hubbs .Margaret Kelly, Eric C. Hubbs Scott Hammonds, Eric C. Hubbs ............ Fred Rico . ...... Sir Bolivar Kegnastie time. Alan, had been in our 1956 Mikado and now returned after two dozen years AWOL, but we forgave him and he's still with us. Another new face was master musician Bob Pazur. A new name among the production crew was that of pho- tographer Bill Harder, who is still active. Another was that of Heather Braithwaite, who worked on six shows. David Goldberg was in his 38th semester in the pit, and Gloria Bennish continued her good work as archivist. But, after 21 shows, this was to be Nancy Hall Gilmartin's last. 172 Our Main Attraction YEOMEN OF THE GUARD Lydia Mendelssohn Theatre April 8-11, 1981 Artistic director & scenic designer: Timothy W. Locker Musical director: David Pollitt Costume designer: Cynthia Lempert Stage manager & asst. director: Marc Shepherd Technical director: Steve Field Lighting designer: Bob Cantor Rehearsal accompanist: Jackson Morris THE CAST Jack Point ..................... Peter John Hedlesky Colonel Fairfax ..................... David Keosaian Wilfred Shadbolt ....................... Bev Pooley Sergeant Meryll ............... John Lawrence Henkel Lt. Sir Richard Cholmondeley ......... Wayne Morrow Elsie Maynard ...................... Jayne Siemens Phoebe Meryll ........................ Linda Milne Dame Carruthers ............... Karen Lee Rodensky Kate Carruthers ................. Gretchen Stevenson Leonard Meryll ................ Winthrop Cashdollar Yeomen Chester Gunnworthy ................. Steve Krahnke Harold Ellsowrth ................... Jim Murtaugh Jason Bartholomew McPike ............ Eric C. Hubbs Farfal Marques ......................... John Kelly Paul Pikepoint ...... .............. . . Paul Morgan Hogan Underhill .................... .Philip Meyers Cuthbert Thistlethwaite .............. Alan Wineman William Pellingham .................... Rob Marcus Yeomen's Family Truley Gunnworthy ............... Sandy Dergazarian Alma Ellsworth .................... Rebecca Darrow Sophie Sourby .................... Lynn Amalfitano Mathilde Smythe-Bassingthwaite........Amy Jo Torch Penelope Pikepoint ................... Jane McLeod Merriweather T. McPike .............. Tracy Holland Townspeople Townsenilda Newspickle .................. April Oja William Biffenboob/Butcher ........... James Newton Tessie O'Toole/Candlemaker .......... Tracy Studerus Percival Attenborough/Baker .......... Robert Reizner Margaret Attenborough ............... Jamie Schultz Samuel Spade/Mason .................... John Floyd Megan McLaren/Fishmonger ............ Mary Locker Henry Potter/Potter .................... Paul Nelson Hepzibah Plushbottom .................. Sue Swaney Broomhilda Hithersay ................. Jael Meadow Phineas Farthingsworth .............. David Hoffman Cecilia Pennywort/Flower Girl .. .Wendy Jo Herschman Maggie Kelly/Beggar .......... a..aPaiae DePamebem Jose de Oliverez/Beggar ............. John Alexander 173 The Yeomen of the Guard - 1981 ORCHESTRA Production Violin Tom Cappadona Carl Correll Laura Hammes Beth Lipson Kevin McMahon Christopher Pulgram Bruce Wilkison* Viola Elizabeth Pausner Bonnie Rideout Cello David Frieman Ellen Weatherbee Bass Jed Fritzmeyer Flute Shelley MacMillan Lou Ann Newsom Clarinet Mario Hunter Lisa Mitchell Bassoon John Peterson French Horn David Goldberg Diane Wade Trumpet Greg Garrett Robert Howard Trombone Richard Koshgarian Dan Loeb Pete Witteveen Percussion Pat Fisher Rehearsal Accompanists ............... Jackson Morris, Jon Krueger, Bob Pazur Set Crew ................................ Jim Barnes, Karen Bublitz, Bill Dynes, Alan Elliott, Eric Taube, Chris Smith, Karla Bacayani, Megan Eagle, Rachel Scott, Rachel Pooley, Margaret Kelly Costume Crew .............. Sigrid Carpenter, Hannah Andrews, Tracy Holland, Becky Darrow, Jim Murtaugh, Karen Bublitz, Liz McLeary, Erin McLeary, Heather Braithwaite, Ann Correll, Kate Soper L.ightingDeigner ............................................... Bob Cantor PosterDesign ............................................... Julie Tanguay Program .......................... Bob Reizner, Jane McLeod, Tracy Studerus, Amy Winkelman, Rob Marcus, Becky Darrow Photography.................................................billHarder Head Usher ................................................. JariLee Carver Curator of Costumes............................................Ann Correll Archivist....................................................Gloria Bennish Tickets............-............................Ann Hubbs, Eric Hubbs Property ....................................... Eric Hubbs, Peter Anderegg Promotion...................... .............. Scott Hammonds DungeonCleanser .................. ..... ................ Fred Rico Swimming Coach ....................................... Sir Bolvar Kegnastie And now a word about Jose de Oliverez ... ~-.- After having his ship sunk in the Channel by the English Fleet during their battle with the Great Armada, Jose was cast ashore, penniless, unfriended and alone. He learned to speak English very rapidly and since then has survived on this foreign soil making a modest living ose by begging and robbing, with the occa.-sional college lecture tour on the decline of Spain as a Sea Power in the 16th cen- tury." Oboe Bonnie Griffiths *Concertmaster 1997 Post Script: Tim Locker now stepped up as artistic director/set design- er. After long but invisible service in the sewing room, Cynthia Lempert advanced to the rank of costume design- er, and she has been out of the shadows ever since. Edna Kilgore (A4 News): "Unhampered by sacred tradi- tion, the local society achieved novelty that suffused the staging, choreography, acting - in fact, everything." In short, she loved it. Welcome to: Jane McLeod, Karen Bublitz, Sigrid Carpenter, Lynn Amalfitano and Linda Milne. Of partic- ular significance was the first appearance of Jim Barnes, professor of physics and master carpenter. He's still with us. The program paid tearful farewells to three veterans mem- bers: (1) Joe Beitel, who had finally earned his PhD. Joe had been in the chorus for a dozen shows and had served on the board for eight of them, and also served as president Only known engraving of Jose" for two years. (2) Ann Correll, who had been thoroughly involved with costumes for eighteen years, and whose hus- band, Gene, had been a universal handyman for an equal span of time. (3) Nan Worthington, who had appeared in twenty one shows, had served on the board, and had toiled backstage. She and husband, Dan Tholen, had for several years taken on the task of mailing out GASBAGs. This production featured what threatened to be a case of perpetual curtain calls. It happened at the matinee. The music director understood he was to keep the orchestra playing as long as the curtain was going up and down. On the other hand, the stage manager understood he was to keep the curtain going up and down as long the orchestra was playing. Without exaggeration, there must have been close to a dozen curtain calls before Tim Locker rushed backstage and put an end to it. 174 Our Main Attraction ? ( 'Lydia Mendelssohn Theatre December 9-12, 1981 Directors: Terry Matthies and David Pollitt Head of design: Steven R. Krahnke Lighting designer: Gary Smith Costume designer: Terry Matthies Conductor: David Pollitt Ass. directors: Heather Braithwaite & Bob Pazur Musical consultant: Marc Shepherd UMGASS'S THIRTY-FIVE YEARS ul In 1946, an enterprising undergraduate named Gloria Catlan concluded that the University of Michigan was lacking in one important thing: a Gilbert and Sullivan society. In order to make her idea a reality, there were countless phone calls to be made, meetings to be had, and administrative barriers to be overcome. However, she quickly discovered that Ann Arbor had plenty of G & S supporters, and a year after organizing, the University of Michigan Gilbert and Sullivan Society mounted its first production of The Mikado in the fall of 1947. Since that first production, UMGASS has presented two Gilbert and Sullivan comic operas per year. In the meantime, G & S fans from Ann Arbor and around the world have formed the Friends of the University of Michigan Gilbert and Sullivan Society, and due in part to their support, UMGASS has come to be recognized as one of the foremost organizations of its kind in the United States. As we celebrate our 35th season, it is in- deed fitting that we perform Utopia, Limited -- the one G & S operetta that we have never done before. We also would like to take this opportunity to thank Gloria for thinking of the Society 35 years ago. We hope that you enjoy the performance, and join us in making our se- cond 35 years as successful and rewarding as our first. The Characters (in order of appearance) Phylla (a Utopian maiden) ................................. Karen Moyer Calynx (the Utopian Vice-Chamberlain).......................Jackson Morris Salata (another Utopian maiden).................................April Oja Melene (and another maiden) ............................... Mary Locker Tarara (the Public Exploder)..............................James Murtaugh Scaphio (a Judge of the Utopian Supreme Court) ........... David J. Keosaian Phantis (also a Judge) .................................. John Alexander King Paramount the First (King of Utopia).,............. Charles Sutherland The Princess Nekaya (younger daughter of King Paramount) .Monica Donakowski The Princess Kalyba (Nekaya's twin)......................... Carol A. Otto The Lady Sophy (their English Gouuemante) ..................... Linda Milne The Princess Zara (eldest daughter of the King)..-..-.............Nancy Pitt THE IMPORTED FLOWERS OF PROGRESS Captain Fitzbattleaxe (of the First Life Guards)..............Rob James Morisi Sir Bailey Barre, Q.C.. M.P .....................- Eric Christopher Hubbs Lord Dramaleigh (a British Lord Chamberlain) ................ Larry Williams Mr. Blushington (of the City Council) ......................... Robert Becker Mr. Goldbury (a Company Promoter)...........................Rich Roselle Captain Sir Edward Corcoran, K.C.B. (of the Royal Navy) ...... Wayne Morrow The First Life Guards......................................Joseph Beitel John Floyd Brian Kruger James Newton THE UTOPIAN COURT The King's Secretary .................................... . Pat Willerton Lady Sophy's Secretary................................Cheryl R. Hodges Lawyers............................................Paul Firehammer Ralph E. Roberts Head Vintner ...................................... Marianne Orlando Senators ............................................ George S. Hunt Winthrop S. Cashdollar Ladies-in-Waiting to Princess Zara.....................Wendy Jo Herschman Kathryn Wells Paauw Barbara Zucker-Pinchoff Ladies-in-Waiting to the Twins.............................-Karen Cooke Martha Ginsberg Jamie Schultz Laura Stec Household Comptroller................................. .Kathie Harsen Religious Officials ................................ William A. Wade. Jr. Alan Wineman Court Composer.......................................Lynn Amalfitano Treasurer............................................. Marc Shepherd The Kings Bodyguard .................................. .. Stephen Field 175 Utopia Limited - 1981 Production Technical Director and Properties ............... Steven R. Krahnke StageManager...............................Jane D.McLeod Set Crew ............................. Bill Dynes, Thor Sorensen, Jim Newton, Ralph Roberts, Erik Taube, Chris Smith, Alan Elliot, Julie Tanguay, John Alexander, Charlie Sutherland, Jane McLeod, John Floyd, Bob Becker, Margaret Dopp, Michael Ashmore Costume Crew ..................... Jane Burger, Mary Ellen Fields, Marianne Orlando, Susan Ashmore, Lori Stec, Sigrid Carpenter Lighting Designer..................................Gary Smith Poster Design ................................... Julie Tanguay Make-up Design ............................. Denise Kowalewski Wardrobe Mistress ............................ Mary Ellen Fields Program ........................ Jane McLeod, Marianne Orlando, Lynn Amalfitano, Steven R. Krahnke, Marc Shepherd Promotion ......................................... April Oja Assistant Stage Manager ......................... Margaret Dopp Photography.....................................Bill Harder Head Usher...........................Andrea Leibson-Chyette Tickets........................................Tracy Holland Curator of Costumes ............................ Timothy Locker Archivist ...................................... Gloria Bennish Activities ........................................ Steve Field Box Office...............................Winthrop Cashdollar Rag Dragger ....................................... Bill Dynes Procurer of the Poppies ............................... Fred Rico Cast Charm School Director ................... Sir Bolivar Kegnastie And many thanks to those whose names were not mentioned. 1997 Post Script: It took us 35 years (hence at least 70 productions), but here at last we finally had enough nerve to stage Utopia Limited and so complete the Savoy canon. Our dramatics director, Terry Mathies, had for many years been fascinated by this particular opera and was full of enthusiasm. She was a new- comer to UMGASS, but most of the others had been with us for some time. Mary Locker, who was serving as FUM- GASS secretary, could now claim to have been in every G&S show at least once. Rachael Urist (A4 News): Enthused about the production, stating, "The show is funny, and the acting is good." New blood: Jane Burger, Kevin McMahon, Lisa Mitchell and Pat Willerton. Farewells to: Tim Locker (after 16 shows) and Eric Hubbs (10). We note that Joe Beitel, who had supposedly stepped into the wings the previous year, was now listed as president of FUMGASS., but this turned out to be his final associa- tion. He is sorely missed. THE EXECUTIVE BOARD President ... Steven R. Krahnke Vice-President ...... Steve Field Treasurer ....... Jim Murtaugh Secretary ....... Tracy Studerus Company Promoter .. .April Oja Pooh-Bah . Winthrop Cashdollar Pish-Tush ........ Jane McLeod Faculty Advisors Professor and Mrs. Harry Benford Professor H. Don Cameron Professor and Mrs. Harold Haugh Professor Eva Likova Professor and Mrs. Beverly Pooley Professor Beverly Rinaldi Professor and Mrs. Edward Stasheff 176 Our Main Attraction Lydia Mendelssohn Theatre April 14-17, 1982 Director: Marie Julie Tanguay Choreographer: Tomas Chavez Scenic designer: Lauren Press Technical director: Steve Field Music director: Timothy Douglas Hoover Costume designer: Edith Leavis Bookstein Lighting designer: Diane Duvall Rehearsal accompanist: Jon Krueger Characters (in order of appearance) Lady Angela ........................... Diana Palmiere DePaemelere Lady Ella........................................Stellamarie Actis Lady Saphir....................................Cynthia K. Lincoln Lady Jane ....................................... Susan K. O'Brien Patience....................................Kathryn Wells-Paauw Colonel Calverley .................................. Wayne Morrow Lieut. the Duke of Dunstable.......................Rollin H. Marquis Major Murgatroyd ................................... James Newton Baba, the Duke's valet...............................John Kelly Reginald Bunthorne ........................... Beverley J. Pooley Archibald Grosvenor ........................ Peter-John Hedlesky Orchestra 35th Dragoon Guards John Alexander Robert C. Douglas Jonathan Giffen George S. Hunt Steve Krahnke James Murtaugh Marc Shepherd Pat Willerton Alan Wineman Rapturous Maidens Lynn Amalfitano Sandra Dergazarian Wendy Jo Herschman Molly Lindner Mary Locker Jane D. McLeod April Oja Marianne Orlando Susan Shuttleworth VIOLIN James Blythe Tom Cappadona DianeCooper' Carl Correll Laura Hammes Tony Huang Christopher Pulgram Nancy Stone VIOLA Reed Anderson Monica Donakowski CELLO Barbara Naragon Ellen Weatherbee BASS Keith Orr OBOE Theresa Delaplaine CLARINET Bruce Buchanan Lisa Mitchell BASSOON Dean Zimmerman HORN Charlene Black David Goldberg TRUMPET Don Miles Dean Snogren TROMBONE Richard Koshgarian Dave Whitacre PERCUSSION Jim LancioniFLUTE Laurie Lattemer Lisa Painter Concertmaster Executive Board Faculty Advisors Steve Krahnke, Jane D. McLeod, Jim Murtaugh, Winthrop Cashdollar, Steve Field, April Oja, Tracy Studerus Professor and Mrs. Harry Benford Professor H. Don Cameron Professor and Mrs. Harold Haugh Professor Eva Likova Professor and Mrs. Beverly Pooley Professor Beverly Rinaldi Professor and Mrs. Edward Stasheff 177 Patience - 1982 Production Technical Director ............................... ... Stephen Field Make-up Design ................................ Denise Kowalewski Properties ........................................... Pat Balysh Set Crew ........................ Jim Barnes (master carpenter), Nancy Racz, Jim Newton, Cynthia Dopp,Chris Smith, Karen Bublitz, Jeff Aiken, Alan Elliot Costume Crew...........Nell Allison, Cynthia Adopp, Susan Ashmore, Jim Barnes, Jane Burger, Heather Braithwaite, Glen Cooley, Anne Correll, Jessica Kehoe, Molly Lindner, Marianne Orlando, Ann Sichel, Lynn Tarrant, Kathy Wells-Paauw Poster Design.................................. Marie Julie Tanguay Photography.................................... ....... Ross Orr Program ........................... Jane D. McLeod, Steve Krahnke, Lynn Amalfitano, Marc Shepherd Program Art .................................. Marianne Orlando Promotion .................... . . April Oja, Rollin H. Marquis, Karen Moyer, Marc Shepherd, Marie Julie Tanguay Head Usher.......................................Andrea Leibson Ticket Chairwoman................................Susan Ashmore Box Office ..................................... Frank P. Martin Vi Archivist ......................................... Gloria Bennish Activities........................................... Stephen Field Tulip Tendor .................................... Fred Rico Compounder of the Calomel.....................Sir Bolivar Kegnastie And many thanks to those whose names were not mentioned. 1997 Post Script: Veteran performer, and commercial artist, Julie Tanguay initiated her career as dramatics director here. She was teamed with newcomer Tim Hoover (whom she later mar- ried) as music director. Tim held a newly-won master's degree in conducting. Another newcomer was Tomas Chavez, choreographer, who brought UMGASS dancing to a new level of energetic turbulence. Julie introduced a new character, the duke's valet Baba (played to the hilt, naturally, by John Kelly). On the other hand, the cast list makes no mention of the solicitor. Surely Julie didn't eliminate him to make room for Baba!?! If you know what happened to him, please notify the FBI's Bureau of Missing Persons. Our costume designer was Edie Bookstein, who also hap- pened to be a music critic for the Ann Arbor News. Her subsequent reviews of our shows were seldom marked by glowing tributes. Did we perhaps mistreat her costumes? The advertising stated that Friday and Saturday shows were all sold out. Constance Crump (AA News) concludes, "Purely fragrant, earnestly precious, how Botticellian, how Fra Angelican, all the maidens' description of Bunthorne apply equally to the production." Ben Ticho (Daily) concludes, "For century-old stuff, Gilbert and Sullivan has managed to age (if not mature) in a wild and funny fashion." There is in the file a letter from Tams-Witmark quoting orchestration rental at $250 per month. Ticket prices took another jump to a range of $5.00 to $6.00. A potent newcomer was Glen Cooley who went on to sing in the chorus, work on costumes, and serve on the board. The good news is that he's still with us. Farewell: Ellen Weatherbee (after 9 shows). We note that the program carries an ill advised public appeal for contributions directly to UMGASS rather than to FUMGASS. That must have confused the fans. Greatly pleased with one another. Pat Willerton and Marianne Orlando in 1982 Patience. Photo from UM Bentley Historical Library, Bennish collection. 178 Our Main Attraction Lydia Mendelssohn Theatre December 8-11, 1982 Dramatics director: Marie Julie Tanguay Technical director: Stephen Field Costume designer: Mary Eddy Lighting designer: Cynthia A. Dopp Characters (in order of appearance) Fiametta...................................... Jane D. McLeod Giulia...........................Monica Rose Donakowski Francesco ................................. Steven R. Krahnke Antonio........................................ James Newton Giorgio....................................... Douglas Pointon Vittoria ............................. Lynn Marie Amalfitano Marco Palmieri.................. . .. ...... ....... David Phelps Giuseppe Palmieri.......................Alvin A. Waddles, III Tessa........................................Bridget Connors Gianetta..................................... Anne M. DeVries Duke of Plaza-Toro .......................... Peter-John Hedlesky Duchess of Plaza-Toro ..................... Susan K. O'Brien Casilda ................................. Kathryn Wells-Paauw Luiz.................................... Winthrop S. Cashdollar Don Alhambra del Bolero..................... Alan Wineman Inez..........................................Karen M. Bublitz Music director: Julia Broxholm Orchestra director: Eric Becher Scenic designer: Alice Crawford Choreographer: Tomas Ceninceros Mateo Chavez Orchestra VIOLIN I Bruce J. Wilkison Kevin McMahon Bonita Becker Jeffrey Nelson VIOLIN II S. Schoernan Jill Trent VIOLA Barbara Corbato Catharine Franklin CELLO Karen Krurnmel Charlie Thomas BASS Tim Meyer FLUTE Liz Thompson Keny Howlett OBOE Jan Hayashi CLARINET Roger Garrett Gregory Young BASSOON Julie Wing Karen Pierson TRUMPET Eric Miller Dean Snogren HORN Steve Kierstead Doug Stotter TROMBONE Lee Millik~en Glen Adsit PERCUSSION Patrick ConnorsGondolieri David Burkam George S. Hunt Michael Huntress William D. Ling Jackson Morris James Murtaugh Craig Franklin Schreiber Marc Shepherd Doug Worthington Contadine Diana Palmiere DePaemelere Karen Elizabeth Grassmuck Wendy Holden Maureen Kirkwood Molly Lindner Mary Locker Kathryne Prost Louise P. Rizzi Sue Swaney THE EXECUTVE BOARD President............ Jane D. McLeod Vice-President .......... Stephen Field Secretary............... Linda Milne Treasurer........... James Murtaugh Pooh-Bah....... Wendy Jo Herschman Pish-Tush........... Lynn Amalfitano Company Promoter..... James Newton Faculty Advisors Professor and Mrs. Harry Benford Professor H.D. Cameron Professor and Mrs. Harold Haugh Professor and Mrs. Beverley Pooley Professor Beverley Rinaldi Professor and Mrs. Edward Stasheff 179 The Gondoliers - 1982 Production. Rehearsal Accompanists............Julia Broxhoim, Timothy Hoover, Bob Pazur Technical Director..................................Stephen Field Stage Manager........,............................ Chris Jensen Lighting Designer..... ................... Cynthia A. Dopp Properties........--.................................Pat Balysh Set Crew...........Cynthia Dopp, Sally Fox, Jeff Smuaski, April ja, Teresa Hodges, Jim Barnes, Paul Firehamrner, Amy Owsley, Karen Bublitz, Cheryl Hodges-Selden, Jeff Aiken, Torn J. Wilson, Robert Klinger, Margaret Dopp, Linda Lawrence, Steve Krahnke Costume Coordinator....................... Cynthia Lempert Costume Crew............ Mary Eddy (Crew Head), Cynthia Lempert, Tom J. Wilson, Jane Burger, Debbie Gadille, Verna Lasca, Gloria Bennish, Margaret Martin, Lynn Amalfitano, Molly Lindner, Kathy Wells-Paauw Lighting Crew......... Julie McCarty, Tom Wilson, Doug Worthington, Margaret Dopp, Marie Levasser Poster Design and Program Cover......... . ..... Marie Julie Tanguay Photographers ....................... Jeff Holcombe and Bill Harder Program... Lynn Amalfitano, Steve Krahnke, April Oja, Marc Shepherd, Jane McLeod, Karen Bublitz Program Ad Sales...... Lynn Amalfitano, Steve Krahnke, Sue Swaney, Karen Grassmuck Program Art.................................. Marianne Orlando Promotion .......................... James Newton, Steve Krahnke Lynn Amalfitano, April Qja Head Usher.............................. Andrea Leibson-Chyette Ticket Chairpersons.....Steve Krahnke, Andrea Leibson-Chyette (asst.) Box Office .................................... John Goldberg, Wendy Jo Herschman Archivist........................................ Gloria Bennish Activities......................................... Stephen Field Curator of Costumes ............................ Lynn Amalfitano Governor of the Gondolas............................. Fred Rico Lord High Fiori Farmer.....................Sir Bolivar Kegnastie And many thanks to those whose names were not mentioned. 1997 Post Script: Julie Tanguay returned as dramatics director, joined by Julia Broxholm as music director and Eric Becher as orchestra director. Julia Broxholm had sung principal roles with us in earlier years. Eric Becher was concurrently direc- tor of the Michigan marching band. Our technical director was Steve Field, a true veteran, whose other credits include several years as vice-president and organizer of many out- standing parties. Old-chorus member Alan Wineman was now given a lead part, that of the Grand Inquisitor. But Fate stepped in, as described by Mary Locker in the appendix. Friday and Saturday evenings were sold out early. Edna Kilgore (AA News): ". . . even the seasoned listener found new sources of delight." Newcomers: Douglas Brown, Wendy Holden, Mike Huntress, Maureen Kirkwood, William Ling, Jeffrey Nelson and Douglas Pointon-. Farewells to : Marc Shepherd (after 10 shows) and Dave Johnson (8). This was the show in which Giuseppe was played by Alvin Waddles, a talented Afro-American. The role of Marco was taken by David Phelps, a thoroughly blond fellow. At the point in the first act where they learn they are not brothers, they paused, held out their hands side by side, gazed at their contrasting skins, and then in unison exclaimed, "Not brothers!" The audience couldn't stop laughing for some time. Veterans of the chorus included Lynn Amilfitano (5 shows), Mary Locker (20), Doug Worthington (6), Marc Shepherd (10), Jim Newton (5), Steve Krahnke (8), and Jim Murtaugh (6). Finally, the program carried a note that the inimitable Joe Beitel had finally and reluctantly left us to teach botany at Sarah Lawrence College. Joe's patient thesis advisor had been long-time FUMGASSer Warren Wagner. We appreciate his patience. 180 Our Main Attraction TH~E M I I(ADO) Lydia Mendelssohn Theatre April 7-10 and 1416, 1983 Dramatics director: David Kitto Technical director: Warren B. Treisman Costume director: Cynthia Lempert Lighting designer: John C. Breckenridge C!hdroe tpor* (in order of appeaorance)Nank-Poo.................................... David Phelps Pish-Tiush................................ Craig Franklin Schrelber Pooh-Bah.................................. John L Henkel Ko-Ko.................................... John Alexander Yurn-Yum................................. Melanie Kimball Peep-Bo ................................ Laura A. Stanczyk PI-Sing............................... Marie Julie TangunyKalisha................................... iene R Saneth The Mikado .............................. Beverley J. Pooley Gentleman of Japan' Mr. Tomoe................................... Jim Bonevich Mr. Yahazu ................................ Douglas Brown Mr. Klkko.................................. Tomas Ghavez Mr. Kamna.................................... Glen CooleyMr. Tonil.................................. Steven Krahnke M.Hoshi................................ Scott Mad(~in Mr. Wa ................................... Douglas Moore Mr. Idah................................... Jackson Monris Mr. Ryiigo................................. James Newton Mr. Hi................................ Douglas Sheperdigian Mr. Cha-nom .. ............................. Alan Wineman Mr. Tsuki ................................. Robert Douglas Little Ladles Miss Kikyo .............................. Lynn Amalfitano Miss Momo .............................. Kate Monts Crtin Miss Hishi................................. M.C. Dykhouse Mliss Sugi.................................. Barbara Epstein Miss Saku ra........................... Wendy Jo Herschrman Miss Sasa.................................... Mary Locker Miss Suharna .............................. Jane D. McLeodbliss K&&ga ..................................... App Cja Miss Hisago .... .. .. .. .. . . . . . . .. . .. . .. . .. . . . . Christy.Tart Miss Ogi.V.................................. Susan Vincent Miss Yukl.................................. Marl Wanick Miss Morniji............................ Kathryn Wells-Paauw THE EXCU EBOARD President........... Jane D. McLeod Vice-President ......... Stephen Field Secretary..............Uinda Milne Treasurer.......... Jamnes Murtaugh Music director: Timothy D. Hoover Vocal director: James Ward Weible Scenic designer: Alice Crawford Chorus choreographer: Wendy Holden OrehbQ.h' a VIOLIN Kevin McMahon Bonita Becker Carl Correll Jacquelyn Lee Jeffrey Nelson Christine Oldenburg Cynthia Otte Stehanus Shoemnan (Thin Sing VIOLA W. Reed Anderson Victoria Miskolczy CELLO Karen Kdmel Rudi Lindner BASS Laura Campbell 'Concertmaster FLUTE Kerry Howlet Martha Luckham OBOE Loreli Crawford CLARINET Lisa Mitchell Gregory Young BASSOON Karen Pierson HORN David Goldberg Robert Paterson TRUMPET Gregory Garrett Dean Snogren TROMBONE David Gier Mark Scatterday PERCUSSION Alan Clark Faculty Advisors Professor and Mrs. Harry Benford Professor H.D. Cameron Professor and Mrs. Harold Haugh Professor and Mrs. Beverley Pooley Professor Beverley Rinali Professor and Mrs. Edward Stasheff 181 The Mikado - 1983 frodue tion Rehearsal Accompanists ......... Julia Broxholm, Timothy D. Hoover, Alvin B. Waddles, Iml Stage Manager........................ .Karen Elizabeth Grassmuck Properties....................................... Norah Martone Make-up Design ....................... Cynthia Lincoln Weible Technical Director ......................... Warren B. Treisman Set Crew....... Jim Barnes, Karen Bublitz, Henry Colby, David Devine, Carol Elffing, Sharon Fry, Jeff Goyer, Norah Martone, Warren B. Treisman Associate Lighting Designer................... Cynthia A. Dopp Lighting Crew............ Jim Barnes, Cathy Bordeaux, David Devine, Cynthia A. Dopp, Michael Felix, Chris Jensen, Norah Martone, Julie McCarty, Amy B. Owsley Costume Crew......... Cynthia Lernpert (Crew Head), Michael Ashley, Susan Ashmore, Hannah Ashmore, Jim Barnes, L.aura Boletino, Jane Burger, Carol Carpenter, Sigrid Carpenter, Tomas Chavez. Karen Cooke, Glen Cooley, Kathleen Dietz, Carol Eilffing, -Steve Field, Liz Fitzharris, Sharon Fry, Susan Hartrnan, Cheryl Hodges-Selden, Teresa Hodges, Sue Lyon, Liz McLeary, Carol Phillips, Alice Vining, Elaine Wethington, Tom Wilson, Jan Wylie Wig Consultant ................... .......... .... Linda Rice Wig Crew ................. Cheryl Hodges Selden, Carol Kirgis, Cynthia Lempert, Carol Phillips, Alice Vining, Elaine Wethington Poster Design and Program Cover................... Steven Krahnke Program and Publicity Photography .................. Jeff Holcombe Program.. .......... Lynn Amalfitano (Chairperson), Steven Krahnke, Melanie Kimball, Carol Wineman, Jane D. McLeod, Laurie Briggs Program Ad Sales ........... Lynn Amalfitano, Glen Cooley, Bill Ling, Doug Pointon, Andrea Leibson-Chyette, Wendy Jo Herschman Program Art............... .................... Glen Cooley Promotion ......................... James Newton, Steven Krahnke Tickets........ Steven Krahnke (Chairperson), Andrea Leibson-Chyette, Susan & Michael Ashmore, Ann & John Goldberg Archivist ...................................... Gloria Bennish Activities........................................... Steve Field Curator of Costumes ........................... Lynn Amalfitano Protector of the Parasols ............................... Fred Rico Tit-Willow Tender........................... Sir Bolivar Kegnastie And many thanks to those whose names were not mentioned. 1997 Post Script: The golden throated David Kitto returned for his tenth show; but only his first as dramatics director. He would have been welcomed back to do more; but, with degrees in music and arts administration, he soon flew the nest to make his career in the big city. The seasoned chorus made room for one particularly sig- nificant newcomer: Margie Warrick. Holding a PhD from Ohio State University. Margie became enshrined as a per- petual butt of semi-funny digs. More importantly, she went on to bolster many a chorus, she directed a show, and now holds the scepter as president of FUMGASS, our highest honor. New face: Julie McCarty. Aufwiedersehen to Jim Murtaugh (after 7 shows). After outstanding work in designing sets for seven shows, this was to be Alice Crawford's last (unless she'd like to come back). GASBAG editor up to this time was the versatile Marc Shepherd. Cozy corner scene (1987). Marc Shepherd, Don Cameron and Betty Benford. Photo by David Goldberg, from his private collection. 182 Our Main Attraction THE SORERER Lydia Mendelssohn Theatre November 30 - December 3, 1983 Directed by: Susan H. Morris Conductor: Eric Becher Costume designer: Lance Lawler Properties: Laura A. Stanczyk Music director: David Phelps Set designer: Steve Krahnke Lighting designer: Douglas Mueller Properties: Cynthia Baka Dramatis Personae (as they appear) Mrs. ZorahPartlett(apewopener) ... ... ... ... ... ... ... ... Beth Lane Constance Partiett(her daughter)... ... .. . ... ... .Susan Well Rosenbaum Rev. Dr. Daly(VicarofPloverletgh)............... Alvin B. Waddles Il Sir Marmaduke Pointdextre (a Baronet)... ... .. . ... ... .. H. Don Cameron Alexis Polntdextre (of the Grenadter Guards, his son).. ... ... . Michael Huntress Aline Sangazure (betrothed to Alexis) . ... ... ... ... ... Virginia Birchler Lady Sangazure (her mother, a Lady of ancient lineage) . . . .. Susan Marie Vincent A Notary Lawyer (somewhat plain, rather deaf) ....... ... ... Alan Wineman John Wellington Wells(ofJ. Wells and Co., FamilySorcerers) . .Peter-John Hedlesky People of Ploverleigh Servants Diane Avimeleh Laura A. Stanczyk Susan Filipiak Wendy Holden Jane D. McLeod Mary McGrew Kathleen Foss-Harsen Maureen T. Kirkwood Nancy Koch Mary Locker Kathryne Prost Martha B. Rubin Young People Douglas R. Worthington Scott MacKinnon David T. Burkam William D. Ling Steve Krahnke James A. Newton Adults Pat Willerton Rob Hilton David Folk Glen G. Cooley Paul Firehammer Larry Garvin The Executive Board President . . . . . . . . . .Jane D. McLeod Vice President ........ Karen BubIitz Secretary ............ Doug Pointon Treasurer ...... Maureen T. Kirkwood Pooh-Bah ........... David Burkam Pish-Tush...........Steve Krahnke Company Promotor ....... David Kitto Faculty Advisors Professor and Mrs. Harry Benford Professor H.D. Cameron Professor and Mrs. Harold Haugh Professor and Mrs. Beverley Pooley Professor Beverley Rinaldi Professor and Mrs. Edward Stasheff 183 The Sorcerer - 1983 The Orchestra Violins Kevin McMahon Christine Oldenburg Lisa Borgert Phil Bryant Shannon Townsend Viola Ann Streasick Lora Kramer Cello Susie Wijsman Bass Martha Schmilpfemig Flute Elissa Pascul Jeff Zook Mary Jett Oboe Jan Hayashi Clarinet Beth Hollar Lisa Mitchel Lecia Cecconi Bassoon David Nagle French Horn Julie Heirich David Goldberg Trumpet Greg Garrett Eric Adelman Trombone John Upton Glen Adsit Percussion Larry Bendena Beth Bowman Costumers, Carpenters, Crews, etc. RehearsalPianists.......... ...................... .Bob Pazur, Eric Barnes Stage Manager ... ... ... ... ... ... ... ... ... ... ...... NorahMartone Special Effects ..... ......... ............... Glen G. Cooley, Steve Krahnke, Properties ........... .. . ... ... ... ... ... Cynthia Baka, Laura A, Stanczyk Technical Director..-.........-...- ......... . .. . ... .. Steve Krahnke Costume Crew ... .. . ... Jane Burger, Sigrid Carpenter, Glen Cooley, Carol Elfring, Charity Hardison, Susan Hartman, Cynthia Lempert, Louise Willey Set Crew .. ... ... ... .... Michael Ashmore, Jim Barnes, Doug Brown, Karen Bublitz, Glen G. Cooley, Cynthia Dopp, Larry Garvin, Maureen Kirkwood, Bob Klingler, Beth Lane. Cynthia Lempert, Lia Lempert, William Ling, Jim Newton, Neil Rishol, Daniel Wineman, Lara Wineman, Douglas Worthington Lighting and Special Effects Crew... ... .. . Doug Brown, Cynthia Dopp, Glen G. Cooley, Chris Jensen, Julie McCarty Poster design and program cover.. ... ... ... ... ... ... ..... Marie Julie Tanguay Program and Publicity Photography... ... ... ... .. . ... ... ... .. Bill Harder Program.. ... ........................ ...... .. Peter-JohnHediesky Steven R. Krahnke, Glen Cooley Promotion ... ........... ... ................ ,.. ..... David Kitto Tickets ... ... ...... ....................... .. Robert N. Alexander David BurkamArchivist .. ... ... ... ... ... ... ... ... ... ... ... ... ..... Gloria Bennish Activities.. ... ... ... ... ... ... ... ... ... ... ... ... . ... Karen Bublitz Curator of Costumes.........-...-.........-...-...-...... Cynthia Dopp Rollicking Bun Tester ... ... ... ... ... ... ... ... ... . ..... ... Fred Rico Belching Toad Master ... ... ... ... ... ... ... ... ....... Sir Bolivar Kegnastie 1997 Post Script: David Phelps, with degrees in both math and music, was our new music director. He had played lead roles in earlier shows. A major gift from UMGASSer Michel Cameron allowed us to commission William Milne (Linda's father) to paint a portrait of Gilbert, which we hoped to hang next to that of Sullivan, which had been on display in the Mendelssohn lobby since 1977. We had a nice unveiling of the portrait at the Friday night afterglow party, but then we ran into some obstinate bureaucratic opposition to hanging it next to Sullivan's portrait. Watch for further developments! Rachel Urist stated that, "Rarely heard 'Sorcerer' casts a charming spell at Mendelssohn." She closed with, "The whole production is beautifully conceived, the music delightful to hear, and the evening is a pleasure to savor." Ticket prices now ranged between $4.00 and $6.50. First-timers included Larry Garvin and Rob Hilton. Prize for most seniority went to Steve Krahnke, with ten shows to his credit. That, of course, overlooks David Goldberg, who continued as senior statesman of the orchestra and who had by now assumed the presidency of FUMGASS, while Gloria Bennish continued as archivist. Welcome to: Nancy Koch. 184 Our Main Attraction Iolanthe Lydia Mendelssohn Theatre April 11-14, 1984 Directed by: Mary Locker Choreographer: Diana Palmiere Hunt Set designer: Steve Krahnke Music director: Ilana Maletz Conductor: Eric Becher Costume designer: Cynthia Lempert Lighting designer: Douglas Mueller Dramatis Personae (in order of appearance) Celia Carol Otto Leila } (Fairies) ................................... Diane Boggs Fleta Lynn Amalfitano Queen of the Fairies ................................... Linda Milne lolanthe (Mother of Strephon)....................... Beth M. Spencer Strephon (her son, an Arcadian Shepherd) .... . . . . . . . . . Steve Krahnke Phyllis (a ward In Chancery . ................. Monica Rose Donakowski an Arcadian Shepherdess) The Lord Chancellor (Presides over ................... John Alexander the Houses of Parliament) Lord Tolloller (A Peer of the British Realm) ........... Robert MacGregor Lord Mountararat (Also a Peer) .................... Beverley J. Pooley Private Willis (Of the Grenadier Guards) .................. Larry Garvin The Orchestra Violin I Kevin McMahon Christine Oldenburg Lisa Dale Linda Shapanka Violin II Jeff Nelson Lisa Borgert Jim Wetzstein Viola Barbara Corbato Laura Kramer Cello Karen Krummel Bass Martha Schmlipfemig Flute Laura Wyman Marni Rachmiel Oboe Aleksandra Ratajczak Clarinet Lisa Mitchell Elizabeth Campeau Bassoon Julie Wing Horn David Goldberg Cathy Miller Trumpet Dean Shogren Derek Lockhart Trombone Glen Adsit Mark Daniel Percussion Larry Bendena House of Per Susan Campbell Barb Crockett Karen Grassmuck Wendy Jo Herschman Wendy Holden Maureen T. Kirkwood Nancy Koch Beth Lipson Jane D. McLeod April Oja Lois Briggs-RedissI House of Peers Paul Canchester Glen R. Cooley William D. Ling Rob Hilton George Hunt Michael Huntress David Moore Doug Moore James A. Newton Jess Petty Pat Willerton Alan Wineman The Executive Board President..................................................Jane D. McLeod Vice President.................................................Karen Bublitz Secretary....................................................Doug Pointon Treasurer.............................................Maureen T. Kirkwood Pish-Tush.............. ........................................ Glen Cooley Pooh-Bah.....................................................Kathy Prost Company Promoter............................................Steve Krahnke Faculty Advisors Professor and Mrs. Harry Benford Professor H.D. Cameron Professor and Mrs. Harold Haugh Professor and Mrs. Beverley Pooley Professor Beverley Rinaldi Professor and Mrs. Edward Stasheff 185 Iolanthe - 1984 Production Rehearsal Pianists .......... Jacl Davis Bob Pazur. ElleenCondon. AlvinWaddles, Larry Garvin Stage Managers...........Morah Matone, ChrisJensen Properties....-.....................................Susan Morris, Kathy Foastesarsen Technical Directors .............--................... Steve Krabnka, Rebekah Michaels Master Carpenter ...................................... JIM erne AssIstant Designer .............. Elimabth LaPore Makeup Designer... .... .......... Cynthia Dop Costume Crew .... ..................... Sigrid Carpenter. Lance Lawler, Olen Cooley. Jane Burger, Us McLeary, Erin McLeary, Cathy Solberg, Heide Blaker, Cynthia Dopp, Jim Barnes Set Crew...... ..... Cynthia Bake, Jim ames, Doug Brown, Karen BubtItM Olen Cockey, Steve Field, Jlaa D. MicLeod. Sara MicLeod. Jim Newton Amy Owsley. Neil Risho Alan Wineman Danil Winemarn, Doug Worthington Lighting Crew ................. Doug Brown, Cynthia Dope. JutienMcCart. Amy Ossley Running Craw. Jim Barnes, Amy Owsley " ell Riahot, Doug Worthington M aobersof the cast Posterand Program Cover . ........................... ............ abrellaBarns Program Photography.................................. ,.. ............. David R.Smith PublIcty Phitographty.......................... .. .Bill Herder Program ............................. Nancy Koch.Blling, Olen Cooley. Steve Krahnke, Lynn Amalfitano Publicity... ...... ................ -. -. .............. ............. Stve Krahnke Bos Office......................Kathy Post Tickets.......................................BethLUpeonJane McLeod, DaveFolk, Kathy Prost Archivist..... . . . . ...... Qilom. Deonnish CCrwOf Costumes...::::::::::::::::::: :::::::::::::::::::::: : Cynthia Dopp Head Usher......... ................ Toma'Chavez Falry Portal LaunchControl, King of the Fairies. . . . . . . .. FredRico Keeperof theGuard House W.C. Key ...................................... Sir BolivarKegnestle 1997 Post Script: The program called Mary Locker "a good candidate for the quintessential UMGASS'er." Well spoke! Music director, Ilana Maletz, was a senior in the School of Music. Fred Rico was given double credit: Fairy Portal Launch Control, and King of the Fairies. Sir Bolivar Kegnastie was listed as Keeper of the Guard House W.C. Key. Welcome to Andy Anderson and Marni Rachmiel (who is still pitching in) After eleven shows, this turned out to be Steve Fields' last. By this time FUMGASS had introduced a new, and higher, level of membership: Paragons of Patronage (annual dues: $50). Sixty five loyal supporters had rushed to sign up and overshadowed the fifty Patrons (now being hit for $35 per year) See Larry Garvin's notes in the appendix for his inad- vetently unique interpretation of the role of Private Willis. Any excuse will do for a party. Photo from UM Bentley Historical Library, Bennish collection. 186 Our Main Attraction Pr.iUrcess ida Lydia Mendelssohn Theatre November 28 - December 1, 1984 Directed by: Susan H. Morris Scenic Designer: Thomas Martone Music director: Robert Pazur Lighting designer: Ken Yunker Costume coordinator: Glen C. Cooley Drarnatis Persorae (in order of appearance) Florian .......................................... Steve Krahnke Cyril.................................Timothy Patrick Morningstar King Hildebrand .................................. John Alexander Hilarion ........................................ Paul Ross Nelson Arac ............................................... John Kelly Guron ........................................ James A. Newton Scynthius ........................................ Alan Wineman King Game....................................Beverley J. Pooley Lady Psyche ........................................ Diane Boggs Melissa ........................................... Beth Spencer Sacharissa ....................................... Tamra Klemek Lady Blanche .................................... Jennifer Hilbish Princess Ida ............................ Jane Schoonmaker Rodgers Chloe .....................................- Maureen T. Kirkwood Ada...........................................Jane D. McLeod The Orchestra Violin Lsa Borgert Stan Chang Mariko Anne Close Jonathan lCrumrlne Jeffrey Nelson Alexander Ross* Pamela Starrett Viola Kathy Kliemann Lora M. Kramer Cello Krisin Swick Bass Carrie Loranger Flute Wendy Diane Fritz Elissa Pascul Oboe Adriana N. Dal Pra Clarinet Ralph Katz LIsa A. Mitchell Bassoon Margaret Phillips Horn David Goldberg Bruce Taggart Trumpet Patrick J. Hund Julie L. Matthews Trombone Glen Adsit Mark Daniel Percussion Alan Clark *Concertmaster Men of Castle Hildebrand Roland Bydlon Glen Cooley Scott DeChant Paul Firehammer Larry Garvin Rob Hilton Michael Huntress Paul J. Kaldjian Timur Kocak William D. Ling Pat Willerton Doug Worthington Women of Castle Adamant Susan Filipiak Wendy Holden Judith Corkran Katch Susan Kenny Marie M. Levasseur Mary Locker Marion Neiswender Martha Rubin Stephanie Takai Lynn P. Tousey - . W1e Executive Board President ............ Pat Willerton Vice President .......... Rob Hilton Secretary ........... Doug Pointon Treasurer ...... Maureen T. Kirkwood Pooh-Bah ............. Kathy Prost Pish-Tush ............. Nancy Koch Company Promoter ...... Glen Cooley Faculty Advisors Professor and Mrs. Harry Benford Professor H.D. Cameron Professor and Mrs. Harold Haugh Professor and Mrs. Rudi Lindner Professor and Mrs. Beverley Pooley Professor and Mrs. Edward Stasheff 187 Princess Ida - 1984 Te Productioi Persogae AssIstantChorusmaster .......................................... Jackson Morris Rehearsal Pianists ............................... Andrew Anderson, Jean Schneider Stage Manager .................................................. Karen Bublitz Properties...........................................Molly Lindner, Kathy Prost MasterCarpenter .................................................. Jim Barnes Costume Crew ............ Sigrid Carpenter, Glen Cooley, Cynthia Dopp, Cynthia Lempert Set Crew ................... Karen Bublitz, Scott DeChant, Roland Bydlon, Timur Kocak, Missy Snider, Larry Garvin, Pat Willerton, Steve Krahnke Lighting Crew ................. Doug Brown, Julie McCarty, Scott DeChant, Susan Morris Poster Design and Program Cover .............................. .Michelle Dansereau Photography ...................................................... Bill Harder Program ............................. Lynn Amalfitano, Jackie Brendle, Nancy Koch, Bill Ling, Jane McLeod, Patty Teugh Publicity ........................................................ Glen Cooley Tickets ............................................ Steve Krehnke,JaneMcLeod Special Assistant to the Set Designer ................................ Norah Martone Archivist ..................................................... Gloria Bennish Curator of Costumes ............................................. Cynthia Dopp Head Usher .................................................... Tomis Chavez PolisherofArmor ................................................... Fred Rico Keeperofthe MightyMust....................................SirBolivarKegnastle 1997 Post Script: Our new music director, affable Robert Pazur, was a grad- uate of Oberlin and a faithful accompanist in several earli- er shows. What sticks in our mind about this show was Steve Krahnke's mustache, which he wore despite being cast in the role of Florian. How unobservant was Ida supposed to be? Edith Leavis Bookstein (AA News) liked the show, but couldn't resist adding that the scenery and costumes were "aleatory." [One infers that she had a copy of Bartlett.] Our local newspaper employs a full-time curmudgeon whose primary responsibility is to read reviews and seek out any possible flaw to emphasize in the headline. In this case he/she came up with "Tech problems confound an admirable 'Ida'." There was a caroling/slide show party at the Benford's house a week after the show closed. Ticket prices now ranged from $4.50 to $7.00 with a 10 percent discount for seniors. Two charming newcomers were Jane Schoonmaker Rodgers, in the title role, and Jennifer Hilbish, as Lady Blanche. Another (although perhaps not as charming) newcomer was chorister Scott DeChant, who was destined for Great Things with the troupe. Other new and important faces: Timur Kocak, and Lynn Tousey. Farewells to: Sigrid Carpenter (after 6 shows) and Lisa Mitchell (6). By this time Molly & Rudi Lindner had taken over as edi- tors of GASBAG. Other FUMGASS officers were David Goldberg: president, John Alexander: vice-president, Jean Lynn Barnard: keeper of the rolls, Cynthia Haidostian Hudgins: treasurer, and mail master: Charles Hudson. Exuberance personified: Alan Wineman. Photo by Mitch Gillett, from his private collection. 188 Our Main Attraction OR- as that oeA a salor Lydia Mendelssohn Theatre April 3-7 and 11-13, 1985 Directed by: Julie Tanguay Scenic designer: Thomas Martone Lighting designer: Mary Cole Technical director: Jim Barnes The Characters (In order of appearance) Little Buttercup ..................................... Linda Milne Dick Deadeye .................................... Alan Wineman Bill Bobstay ................................. Frederic Himebaugh Ralph Rackstraw ................................... David Phelps Captain Corcoran .................................... John Kelly Josephine ................................ Trisha Hoffman-Ahrens The Rt. Hon. Sir Joseph Porter, K.C.B.............. Peter-John Hedlesky Cousin Hebe .................................... Mary Johantgen Bob Becket ....................................... Kirk Williams Music director: Timothy Douglas Hoover Costume designer: Cynthia Lempert Asst. music director: Linda Youngblood Jones Choreographer: Tomas Ceniceros Mateo Chavez The Orchestra Violin Meredith Arksey Sergio Bemal Lisa Borgert Jason Economides Allison Guest' Kevin McMahon Karl Standel Adriana Zoppo Viola Lora Kramer Schubert Somer Cello Mary Beth Melvyn Kristin Swick Rudi Lindner Bass Greg Powell Flute Michelle Putti Leslie Bulbok Katie Gorman Oboe Loreli Crawford Clarinet Janis Grodman Martin VanMaanen Bassoon Cathy Maternowski Horn David Goldberg Al Talpin Trumpet Charley Lea Phil Rhodes Trombone Tim Sanbom Steve Davis Percussion Al Clark *Concertmaster Sailors Roland J. Bydion Paul Canchester Scott DeChant Larry Garvin Rob Hilton Phil Hooper Michael Huntress Steve Krahnke John R. Meyer James Newton Pat Willerton Doug Worthington Sisters, Cousins, and Aunts of Sir Joseph Porter Lynn Bennett Barbara Epstein Pattie Juras Maureen T. Kirkwood Nancy Koch Kelly Ann Lambert Jane D. McLeod April Oja Martha Rubin Sharon Sussman Jennifer Swinburnson Lynn P. Tousey Margie Warrick The Faculty Advisors Professor and Mrs. Harry Benford Dean Paul Boylan Professor ,D. Cameron Professor and Mrs. Harold Haugh Professor and Mrs. Rick Lempert Professor and Mrs. Rudi Lindner Lindsey R. Nelson Professor and Mrs. Beverley J. Pooley Professor and Mrs. Edward Stasheff Professor and Mrs. Alan Wineman (We recall a touching pantomime that went on during the overture. It depicted Josephine arriving on board and Ralph being sent to meet her, carry her luggage, and con- vey her to her cabin. Their actions made it clear that it was love-at-first-sight for both of them.) The Executive Board. Standing i to r: Nancy Koch, Rob Hilton, Pat Willerton, Larry Garvin and Glen Cooley. Seated: Maureen Kirkwood. Photo by Mitch Gillett,from his private collection. 189 H.M.S. Pinafore - 1985 The Produetion Personae Rehearsal Pianists .................... Larry Garvin, Kelly Lambert, Bob Pazur Backstage Conductor .................................... Kelly Lambert Stage Manager...........................................Karen Bublitz Properties Crew .................. Maureen Kirkwood (Chair), John Alexander, Susan Filipiak, Wendy Jo Herschman, Wendy Holden, Judith Katch, Cynthia Dopp Timur Kocak, Bill Ling, Mary Locker, Doug Pointon Costume Crew ................... Jane Burger, Jennie Cobble, Linda Coiburn, Cynthia Dopp, Joanne Jurmu, Lance Lawler, Jessica Litman, Susan Morris, Amy Owsley, Mary Ellen Sitek, Cheryl Vervaecke, Rose Anna Worth Set Crew ...................... Karen Bublitz, Roland Bydion, Scott DeChant, Cynthia Dopp, Terry Grossman, Timur Kocak, Steve Krahnke, Leah Lempert, Amy Owsley, Kathleen Tyson, Danny Wineman, Lara Wineman, Doug Worthington Lighting Crew .......... Scott De Chant, Nancy Koch, Doug Brown, Julie McCarty Make-up.........................................Steve Krahnke Poster Design and Program Cover ............................. Adam Indyk Photography ................................... Bill Harder, Nancy Worth Recordings ................................ David Lau, Brookwood Studio Program .............. Peter-John Hedlesky, Bill Ling, Patty Teugh, Nancy Koch Publicity ................................................ Glen Cooley Ticket Chairman,......................................The Lone Ranger Ticket Office Staff.................. Scott DeChant, Larry Garvin, Jane McLeod Official Cottage Inn Waitri..... ...................... Teraisa and Jimmy Archivist .............................................. Gloria Bennish Curator of Costumes .......................... .......... Cynthia Dopp Head Ushers .................... Wendy Holden, Michael Ward, Tomas Chavez Master of Mops ......... ..................................... Fred Rico Arghl Scurvy Dog! ................ ............... Sir Bolivar Kegnastle 1997 Post Script: Our new technical director was hard-working Jim Barnes, a set building assistant in many past shows (and a profes- sor of physics at EMU). The roster of faculty advisors showed signs of growth with the addition of Dean Paul Boylan, the Lemperts, Lindsey Nelson, and the Winemans. Newcomer of note: Michael Ward. Farewell to: Julie McCarty (after 6 shows), April Oja (9) and Pat Willerton (6). Above: Pat Willerton and Nancy Koch, 1986. Photo by Mitch Gillett, from his private collection. Left: Linda Milne and Gloria Bennish, 1986. Photo by Mitch Gillett, from his private collection. 190 Our Main Attraction Ull Lydia Mendelssohn Theater December 11-14, 1985 Dramatics director: Mary Locker Technical director: Jim Barnes Costume designer: Glen Cooley Lighting designer: Ralph Kerr Asst. Technical director: Karen Bublitz THE CAST The Grand Duke Randolph .............. Mike Evans The Baroness ...................... Barbara Hilbish Ernest ............................ Jeffrey W illets Julia Jellicoe .......................... Linda Milne Ludwig ............................ Steve Krahnke Lisa ............................. Beth Spencer Notary ................................ John Kelly Elsa ........................ Maureen T. Kirkwood Bertha ........................... Jane D. McLeod Olga ............................. Sharon Sussman Gretchen ..................... Julie Tanguay Hoover Prince of Monte Carlo ........... Peter-John Hedlesky Princess of Monte Carlo ........... Lois Briggs-Redissi Herald ........................... Mark E. Powell Music director: Jon Krueger Set designer: Steve Krahnke Asst. set designer: Carol Wineman Choreographer: Tomas Ceniceros Mateo Chavez Properties: Claudia Pascarelli VO.IN Peter Kuper (Concertmaster) Karl Standel (Principal 2nd) Susan Katsarells Lisa Borgert Mariko Close Bmce Skelon Georgia Greene Pamela Starrett VIOLA Cynthia Ryan Gary Adler CELLO David Barts Martin Werner ORCHESTRA BASS Sarah Larnbert PERCUSSION Larry Bendina Lucy Sun Katie Gorman OBOE Laura Reynolds CLARET Ladea Cecconi Ralph Kame BASSOON Josh Hood Mark Taraebusi FRENCH HORI David Goldberg Kristen Johns TRUMPET Scott Kuehn h ip Rhodes TROMBONE Glen Adsit Mark Daniels John Upton Rented Nobles/Chamberlains Rob Hilton, Larry Garvin, Alan Wineman, Jackson Morris, Michael Huntress, Mark Powell, George Hunt Actresses of The Troupe Kate Morris Curtin, Lynn Tousey, Heather Ann Townsend, Jane McLeod, Wendy Jo Herschman, Nancy Koch, Judith Kahn, Lynn Marie Amalfitano, Molly Lindner Actors of The Troupe Tim Hoover, John T. Frey, Robert B. Reizner, Michael Huntress, Scott De Chant, Douglas G. Pointon, Mike Newdow, Reid J. Rozen, Brian S. McClemens, Timur Kocak, James A. Newton, Noel Shawn Dennis The Executive Board President...........Larry Garvin Vice-President ...... Jane McLeod Secretary .......... Doug Pointon Treasurer ........... Nancy Koch Pooh-Bah ........ Scott DeChant Pish-Tush.........Mike Huntress Company Promoter ... Bob Reizner Faculty Advimors Professor and Mrs. Harry Benford Professor H.D. Cameron Professor and Mrs. Harold Haugh Professor and Mrs. Beverly Pooley Professor and Mrs. Edward Stasheff Professor and Mrs. Alan Wineman Professor end Mrs. Rudi Uindner Professor and Mrs. Richard Lemnpert Dean Paul Boylan Sir Bolivar Kegnastle 191 The Grand Duke - 1985 PRODUCTION Rehearsal Accompanists......... Naomi Donaldson, Jon Krueger, Larry Garvin Set Crew ....................... Steve Krahnke, Jim Barnes, Mary Locker, Kate Curtin, Kathleen Tyson, Karen Bublitz, Sally Seldel, Scott DeChant, Roland Bydlon, Jane McLeod, Molly Lindner, Jane Hayward, Bob Reiner, Mike Huntress. Mark Powell, Alan Wineman, Lara Wineman, Dan Wineman, Tim Hoover, Julie Hoover, Kathlyn Krahnke, Robert Krahnke, S. G. Gisulander Mary Locker, Gladys Gisslander, BIl Harder, Shirley Milne Lighting Crew ...... .. Ralph Kerr, Doug Brown, Nancy Koch, Scott DeChant Costume Crew ................................ Glen Cooley (Designer), Cynthia Lempert (Assistant Designer), Mary Ellen Sitek, Linda Colbemn, Joanne Jurmu, Cynthia Dopp, Julie Hoover, Kate Sisak, Susan Morris Poster and Program Cover Design ................... Julie Tanguay Hoover Photography..................... ........ .......... Bi1 Herder Program...................... Mike Huntress, Patty Teugh, Nancy Koch, Peter-John Hedlesky, Mary Locker Promotion... ............................... Robert B. Reiner Tickets ................... Maureen Kirkwood (Chairperson), Scott DeChant, Stephanie Takal, Larry Garvin Archivist....................... ............... Gloria Bennish Activities .... .................................. Jane D. McLeod Curator of Costumes .................................. Cynthia Dopp Pretty Committee ........................ Ed Lundergan (Music Director), Mary Ann Nemeth and Jim Newton (Co-Dramatics Directors), Carol Otto, Stephen Roso, Mary Anderson, Jane Schoonmaker Rodgers, Robert Douglas, Mary Jo Corbett, Thomas Smith, Christopher Taylor, Robert MacGregor Uber Ushers............................... Margaret Dopp, Marie Klatt 1997 Post Script: Our new music director, John Krueger, had been accom- panist for several shows and the Pretty Committee. A prominent name in the chorus is that of Tim Hoover, who had been music director in three earlier shows. Here was another nice illustration of how our principals and directors are often pleased to step back and enjoy the fun of being in the chorus. Edith Leavis Bookstein gave the show an A+ and closed as follows: "The 'Grand Duke' has something for everyone. . . sometimes glorious, sometimes flawed, but always thought provoking." Coincident with this production the UM Alumni Association started a more-or-less annual habit of arrang- ing a Saturday enrichment program tied in with our shows. Typically, alumni would be invited to gather in the alumni building in mid-morning to hear some professor talk about a subject pertaining to the show. Then the pretty commit- tee would provide entertainment. Next would come lunch at the League, followed by a talk about the current show (what to watch for), and then everyone would attend the matinee performance. The cost of this first such enrich- ment program was $20. A notable newcomer was Barbara Hilbish in the role of The Baroness. In real life daughters often follow in their mother's footsteps. In this case, however, the roles were reversed, daughter Jennifer having been our Lady Blanche just a year before in Princess Ida. Barbara has remained active and, unlike Lady Jane, seems to grow ever more charming. Other newcomers of note: Mary Ann Nemeth, Reid Rozen, Jeff Willets and Mark Powell. After nineteen hard working shows this was to be Julie Tanguay Hoover's last (unless she'd like to return). She designed the poster and program cover (about the sixth to her credit). Farewells to: Bob Douglas (9), Douglas Pointon (7), Cher Sussman (8), Lynn Tousey (6) and Wendy Jo Herschman (9). Almost from the beginning we had been able to provide small groups of singers for casual entertainment for ban- quets, parties, or clubs. Back in 1971 Comic Opera Guild grew out of such a team. New teams arose on an ad hoc basis and one of these chose to call itself the Pretty Committee, and that name has stuck. This particular pro- gram is the first to mention the organization by name. Molly Lindner was advertised as its manager. Bolivar Kegnastie (with a prefixed fraudulent "sir") had wormed his way into he ever-lengthening list of faculty advisors, and one was left to wonder how long it would be before he was found out. I object to pirates as sons-in-law. John Alexander (Major General) and David Keosaian (pirate king) in 1986 Pirates. Photo by Mitch Gillett, from his private collection. 192 Our Main Attraction The Pirates of Penzance Lydia Mendelssohn TheatreApril 9-13 and 16-19, 1986 Directed by: Steven Krahnke Asst. director/Acting coach: Linda Milne Set designer: Debra L. Mexicotte Costume coordinator: Cynthia A. Dopp Music directors: Francis Cianfrocca Edward Lundergan Choreographer: Peggy Benson Lighting designer: William Craven Technical director: Sara Bettinger Production stage manager: Karen M. Bublitz Rehearsal accompanist: James Frey The Characters (In order of appearance) Samuel, a pirate butler ............................. Larry Garvin James, designated swashbuckler......................James Newton Ruth, a pirate maid-of-all-work ...................... Barbara Hilbish Richard, a pirate king ............................ David Keosalan Frederic, a pirate apprentice ........................ Jeffrey Willets Edith ..................................... Maureen T. Kirkwood Kate ......................................... Jane D. McLeod Isabel............................................Lynn Tousey Mabel ................................ Jane Schoonmaker-Rodgers Major-General Stanley ............................ John Alexander Edward, a police sergeant.......................Beverley J. Pooley THE ORCHESTRA Violin Louis Lev Mariko Close Bruce Skelton Jeff Nelson Karrie Standahl Adriana Zoppo Flute - Mami Rachmiel Amy Kilroy Viola Mike Hogle Cello Gerald Miller Jennifer Crowell Bass can Gregor Tuba Fred Rico Oboe Clarinet Laura Reynolds Martin VanMaanen Jill Sullivan Bassoon Josh Hood Percussion Larry Bendina French Horn Trumpet Dave Goldberg Dave Montalbetti Michelle Stebleton Scott Kuehen Trombone Gordon Good Bruce chrisp PIRATES Mike Baker Douglas Brown Roland Bydlon Glen Cooley Michael Darger Scott DeChant Gregory Kalfas Jay Kaplan Timur Kocak John Meyer Phillip Rhodes Doug Worthington POLICE Tom Bean Scott Jensen Ralph Katz Rick Meader Mark Powell Reid Rozen Alan Wineman STANLEY GIRLS Lynn Bennett Virginia Birchler Merry Clark Barb Epstein Susan Gorman Kristine Kelley Nancy Koch Michelle Laboe Laura Lehman Marie Levasseur Amanda Vandenberg Ann Marie Veraldi SIKH SERVANTS Rob Hilton Niel Rishoi THE UMGASS Executive Board President...........Larry Garvin Vice-President ...... Jane McLeod Secretary ........ Stephanie Takai Treasurer ........... Nancy Koch Pooh-Bah ......... Scott DeChant Pish-Tush .......... Mark Powell Company Promoter ... Bob Reizner FACULTY ADVISORS Professor and Mrs. Harry Benford Professor H. D. Cameron Professor and Mrs. Harold Haugh Professor and Mrs. Beverly J. Pooley Professor and Mrs. Edward Stasheff Professor and Mrs. Alan Wineman Professor and Mrs. Rudi Lindner Professor and Mrs. Richard Lempert Dean Paul Boylan 193 The Pirates of Penzance - 1986 Production Rehearsal Accompanists ....................... ....... James Frey, Larry Garvin, Rachel Kramer, Michelle Leboe Assistant Choral Director .................................. Betsy Shauer Assistant to the Choreographer............................ .Judith Kahn Orchestral Management................Mark Powell and Michelle Steblelon Master Carpenters ........................ Jim Barnes and Brian Chambers Set Crew ...................... Anna Ybarra, Phil Rhodes, Carol Wineman Jane Hayward, Tom Wilson, Karen Bubll, Kathleen Tyson, John Frey, Laura Bares, Elaine Becker Costume Crew .............................. Cynthia Dopp (coordinator), Cynthia Lempert and Glen Cooley (assistants), Lynn Amalfitano, Carol Wineman, Suzanne Meadows (hair), Elaine Becker, Jane Burger, Marilyn Waynick, Helen Ledger (make-up), Linda Milne (make-up), Krls Kelley, Anna Ybarra, Heather Braithwaite Lighting Crew .......................... William Craven (lighting designer), Laura Bares, Kari Johnstone, Kasia Grisso, Carolyn Erlich, Doug Brown, Jane Hayward, company volunteers. With special thanks to John Briggs, Janice Gary, Mary Cole, and Brian Fillplak Tickets .............................. Maureen Ktrkwood (chairperson), Scott Dechant, Larry Garvin, Rob Hilton, Susan Gorman, John Frey, Stephanie Takal Program .................................. Mark Powell, Karen Bublitz, Larry Garvin, Lynn Amalfitano, Mike Bielski, John Alexander, Bev Pooley, Bob Reiner Program Photographs ......................... Bill Harder and Linda Milne Poster Design ...................................... Johanna T. Wirtz Publicity ........................................... Robert B. Reiner Props .................. Kate Morris-Curtin, Claudia Pascarelli, Carolyn Erlich Ernileigh Curtin (assistant) Uber Usher ........................................ Tomas Chavez Activities .............................................. Jane McLeod Sword Sharperner ................................. Sir Bolivar Kegnastie 1997 Post Script: Having served in nearly every other capacity, the versatile Steve Krahnke now took over as director. We recall three of his innovations. One was to have John Alexander (as the Major General) make his first appearance in a bathing suit, and then to be shielded by a large towel while he changed into his uniform. Innovation number two was that his uni- form turned out to be kilts, which exhibited John's knobby knees to maximum advantage. Innovation number three was to add to the cast a cute, but distracting, little boy identified as the Pirate Kid. A new music director, Ed Lundergan, was concurrently working on a master's in choral conducting. He shared the baton with Francis Cianfrocca, a graduate of Eastman School of Music, who was then, like his partner, working on a master's in conducting under Gustav Meier. Edith Leavis Bookstein concludes, "Unless you belong to the Scrooge and Marley Society for Negative Thinkers, you'll have a wonderful time." Tickets now cost $4.50 to $7.50, and the alumni enrich- ment program had gone up to $22. Fresh talent: Kristine Kelly and Michelle Stebelton. Farewell: Doug Worthington (after 9 shows). Love triumphant!Jeff Willets (Ralph) and Jane Schoonmaker- Rodgers (Mabel) surrounded by Mabel's sisters in Pirates of 1986. Photo by Mitch Gillett, from his private col- lection. 194 Our Main Attraction Cox and Box Trial By Jury Lydia Mendelssohn Theater July 3-6, 1986 Directed by: Mary Locker Music director: Francis Cianfrocca Costume designer: Jenny Allen Frank Choreography: Tomas Chavez Technical directors: Sara Bettinger Bill Dynes Directed by: Linda Milne Set designer: Richard Evans Assoc. music director: Mark Powell Lighting designer: J. Scott Clarke Production stage manager: Karen Bublitz The Characters (in order of appearance) Cox and Box James John Cox, a journeyman hatter ............................... Reid Rozen John James Box, a journeyman printer...... . . . . . . . . .. . . . . . . . . . .Keith Brown Sergeant Bouncer, late of the Dampshire Yeomanry ..................... John Kelly Trial by Jury The Usher............................................. David Mosher The Defendant ............................................... Jeff Willets The Learned Judge .......................................... Larry Garvin The Plaintiff .................................... Jane Schoonmaker Rodgers The Counsel for the Plaintiff...............................Thomas Pasley The Foreman of the Jury....................................Don Devine Bridesmaids Jill Birch Trish Hoffman-Ahrens Maureen T. Kirkwood Kate Morris Curtin Spectators Toni DeMilde Barb Epstein Susan Filipiak Linda Gesche Kristine Kelley Debbi Kruse Choonhye Lee Lisa Lindquist Mary Anne Nemeth Gentlemen of the Jury Erik Hildinger Rob Hilton Timur Kocak James Newton Alan Wineman Laura Lehman Alisha Rohde Andrea Videki Mike Baker Jim Jeffries Dave Jessen Jay Kaplan Bob Reizner Fred Vipond 195 Cox and Box & Trial By Jury - 1986 The Ann Arbor Chamber Orchestra Music Director: Carl Daehler VIOLIN I: Laura Hammes, concertmaster Laura Paolini Pamela Stuckey Carl Correll VIOLIN IL Lenore M. Freeborn, principal Brian Etter Linda Etter VIOLA: C. Benson Headley Carla-Maria Rodrigues CELLO: Carol P. Bundra Julia Morehouse BASS: Gregg Emerson Powell Manager: Gregg Powell OBOE: Ellen M. Sudia CLARINET: G. Jay deVries Ralph Katz BASSOON: Nora Schankin HORN: Dave Goldberg C. Jill Boaz TRUMPET: Julie Matthews Phil Rhodes The UMGASS Executive Board President ....................... Larry Garvin Vice-President ................... Lynn Tousey Secretary ......................... Reid Rozen Treasurer....................... Nancy Koch Pooh-Bah ....................... Scott Jenson Pish-Tush ....................... Mark Powell Company Promoter ............... Bob Reizner Pooh-Bah Understudy ........... Scott DeChant FACULTY ADVISORS Professor and Mrs. Harry Benford Professor H. D. Cameron Professor and Mrs. Harold Haugh Professor and Mrs. Beverly J. Pooley Professor and Mrs. Edward Stasheff Professor and Mrs. Alan Wineman Professor and Mrs. Rudi Lindner Professor and Mrs. Richard Lempert Dean Paul Boylan TROMBONE: Jeff Ballast Brooks Barnes FLUTE: PERCUSSION: Nancy R. Waring Beth Graves Lenz Leslie Bulbuk Production Rehearsal Accompanists .............................. Bob Pazur and Rachel Kramer Production Stage Manager ..................................... Karen M. Bublitz Technical Directors........... .................... ...Sara Bettinger and Bill Dynes Set Crew .................................. ... ... Mark Tessmer, Susan Horvath, John Horvath, Gregory H. Kalfas, Conan the Barbarian, Jim Newton, Mark Ferreira, Jim Jeffries, Steve Krahnke, Andrea Videki, Scott DeChant Costume Crew ............................ Laura Lehman, Mark Powell, Anna Ybarra, Debbie Orr, Carrie Rudolph, Kris Kelley, Heather Braithwaite Lighting Crew ..... Gregory H. Kalfas (board), Scott Clark (designer), Nancy Koch (board) Tickets . .. . .... ... ............. Maureen T. Kirkwood (chairperson), Larry Garvin Program ... ................ ........... Mark Powell, Choonhye Lee, Larry Garvin, Toni Demilde, Karen Bublitz Program Photographs ................................................ Bill Harder Poster Design...................................................... Timur Kocak Publicity ...................................................... Robert B. Reizner Props............ Kate Morris-Curtin, Claudia Pascarelli, Carol Wineman, Laura Wineman Pretty Committee .... .................... Mary Anne Nemeth (dramatics director) and Jon Krueger (music director) Usher Organizer........ . . ............. .................... Tomas Chavez Activities ............. . ................................... Lynn Tousey Layout ............................................... Bolivar Kegrealnasie Personnel Management................................. Frederick "Kidglove" Rico 1997 Post Script: This show was produced as part of the then-recently intro- duced Ann Arbor Summer Festival. The nicest thing about the program is a full-page tribute to Gloria Bennish. It shows a nice picture of her beaming face over this caption: "A thousand thanks and expressions of unmodified rapture are due to Gloria Bennish, our foundress and friend amid all our ups and downs. As we approach our fortieth year we set this down: The things are few She would not do In friendship's name. Gloria has touched our lives and yours." Linda Milne, who directed Trial, was one of our regular performers and had recently completed her master's in music at UM. Christopher Potter (A News) closed with "Dare I invoke the clich6 that you'll leave smiling from ear to ear? Heck, why not - it's true!" Key newcomers included Laura Lehman and Don Devine. The program carries a farewell tribute to Larry Garvin, UMGASS president/factotum. Having conquered the mysteries of neuroscience at Michigan, he was about to enter Yale to study law. What can we say? A bright new talent: Julie Wright. Farewells to: John Kelly (after 20 shows), Carl Daehler (9) and Tomas Chavez (9). 196 Our Main Attraction Lydia Mendelssohn Theatre December 3-7, 1986 Directed by: Susan Morris Costume designer: Jenny Allen Frank Lighting designer: Tim Snyder Production state manager: Jane D. McLeod Music director: Edward Lundergan Set designer: Debra L. Mexicotte Technical director: Brian Chambers Asst. music director: Mark Powell Characters (in order of appearance) ORCHESTRA VIOLINS Kevin McMahon Keith Johnson Phoebe Meryll (Sergeant Meryll's daughter) ........... Jennifer Hilbish Bruce Skelton Wilfred Shadbolt (Head Jailer and Assistant Tormenter) . Steven Krahnke Betsy Thal Sergeant Meryll (of the Yeomen of the Guard) ........ John L. Henkel Jeff Nelson Dame Carruthers (Housekeeper to the Tower) ......... Barbara Hilbish Kim Accedo Kate (her Niece) ........................... Maureen T. Kirkwood Leonard Meryll (Sergeant Meryll's Son) .............. Jeffrey S. Smith VIOLAS Colonel Fairfax (under sentence of death) ........... David A. Mosher Sir Richard Cholmondely (Lieutenant of the Tower) .. Christopher Taylor cEI Jack Point (a Strolling Jester) ..................... Beverley Pooley Carol Bullock Elsie Maynard (a Strolling Singer) .... . .......... . ...... Julie Wright Jennifer Croweil FLUTES Amy Kilroy Marni Rachmiel CLARINETS Ralph Katz Mark Powell OBOE Eileen Burke BASSOONS Mark Tarabusi Josh H-ood TRUMPETS Phillip Rhodes Ellen Baer Larry Nissmnan HORNS David Goldberg Michelle Stebleton SACKBUTT Fred Rico TROMBONES Bruce Chrisp Rod Martell EUPHONIUM Scott Nelson PERCUSSION Lauri LevinsonHeadsman ................... .............. Chorus of Citizens Gordon Barnett BASS Margaret Waltz Karen Cherkasky Peter Christian Toni DeMilde Susan Filipiak Susan Gorman Stephen Hill Julie Jacobs David Jessen (2nd Citizen) Jay Kaplan Kristine Kelly Timur Kocak (1st Citizen) Laura Lehman Joel Newtson David Owens Tammy Shelton Martha Stewart Don Taylor Rosalie Toubes Lynn Tousey Amanda Vandenberg Suzanne Viviano Alan Wineman Chorus of Yeomen Don Devine Eric Gibson (1st & 2nd Yeoman) Scott Jensen (2nd Yeoman) Michael Huntress (1st Yeoman) Karl Kasischke Eric Larson Jackson Morris Reid J. Rozen The UMGASS Executive Board President ... Maureen T. Kirkwood Vice-President ...... Lynn Tousey Secretary ............ Reid Rozen Treasurer ............ Rob Hilton Pooh-Bah ........ Scott DeChant Pish-Tush .......... Scott Jensen Company Promoter ... Bob Reizner FACULTY ADVISORS Professor and Mrs. Harry Benford Professor H. D. Cameron Professor and Mrs. Harold Haugh Professor and Mrs. Beverly J. Pooley Professor and Mrs. Edward Stasheff Professor and Mrs. Alan Wineman Professor and Mrs. Rudi Lindner Professor and Mrs. Richard Lempert Dean Paul Boylan 197 The Yeomen of the Guard - 1986 Production Rehearsal Accompanists.............Steve Hansen, Simon Dearsley, Robert Pazur, Eric Gibson, Larry Garvin Orchestral Management ............................. Mark Powell Technical Director ............................... Brian Chambers Set Crew ..........................- Jim Barnes (Master Carpenter) Don Taylor, Suzanne Viviano, Maureen Kirkwood, Jay Kaplan, Jane McLeod, Nancy Johnson, Steve Krahnke, Karen Bublitz, Scott DeChant Paint Crew ................ Laura Bares, Nancy Johnson, Bill Craven Lighting Crew . Scott DeChant, Nancy Koch, Anna Ybarra, Randy Zaiber Costume Crew ....... Jenny Frank (designer), Vickie Sadler (costumer), Laura Lehman, Martha Stewart, Susan Gorman, Julie Jackson Running Crew Gordon Barnett, Karen Bublitz, Scott DeChant, Niel Rishoi Tickets...................... Scott DeChant (manager), Rob Hilton, Maureen Kirkwood, Barb Epstein Program ........ Scott Jensen, Amanda Vandenberg, Lynn Amalfitano, Reid Rozen, Christine Kelly, Rosalie Toubes, Dave Jessen, Jay Kaplan, Susan Gorman, Eric Gibson, Larry Garvin Photography ..................... ........... ....... Bill Harder Poster Design .................................... Timur Kocak Publicity ..................................... Robert B. Reizner Props ................................. Jim Barnes, Betsy Smith, Lynn Amalfitano, Laura Lichter, Barbara Boyd Head Ushers ........................ William Ling, Margaret Dopp Make-Up .............. David Curtis, Suzanne Meadows, Linda Milne Tender of the Block..........................Sir Bolivar Kegnastie 1997 Post Script: Among the principals one may note the talented moth- er/daughter combination of Barbara and Jennifer Hilbish as Dame Carruthers and Phoebe Meryll repectively. We suspect this was an UMGASS "first." We well recall that directors and principals were all superb, and the same may be said of the chorus. Linda Milne had been cast as Elsie, but health problems laid her low, so she was replaced by Julie Wright, who was a sparkling jewel in the set of veter- ans. Another newcomer (but not as lovely) was Gordon Barnett as the headsman. Bolivar Kegnastie was still claiming the title "Sir," and given credit as Tender of the Block. Fred Rico appeared in the pit tootling on the sackbutt. The Ad News of June 15 carried a feature article about Bev Pooley, and called him "Ann Arbor's favorite Englishman." The article showed three photos of Bev, each featuring a different characteristic facial expression. (They could have shown a dozen more, and not run out.) Edith Leavis Bookstein said the troupe batted only .500 with this show. She thought Bev Pooley was miscast as Jack Point. Egad. The archives contain a letter from Jeffrey Kuras (managing director of Mendelssohn) saying it would be okay to hang Gilbert's portrait next to Sullivan's in the lobby. Ticket prices now ranged from $5.00 to $8.50. New talent: Christina Liu, Jeff Smith, Suzanne Viviano and David Owens (who is still slugging!) Dave Goldberg was still president of FUMGASS, while also assisting the Lindners in editing GASBAG. There were now nearly eighty paragons of patronage and just over a hundred patrons (and gosh only knows how many enlist- ed, but unlisted, in the lower ranks). 198 Our Main Attraction RUDDIGORE Lydia Mendelssohn Theatre April 9-12, 16-19, 1987 is lovingly dedicated to the memory of Gloria Katlan Bennish (1928 - 1987) Founder, University of Michigan Gilbert and Sullivan Society Directed by: David Freiman Set designer: Steve Krahnke Technical director: Jim Barnes Lighting designer: Tim Snyder Music director: Douglas Morrison Choreographer: Susan Filipiak Costume designer: Madeleine Huggins Production stage manager: Karen Bublitz Dramatis Personae Sir Ruthven Murgatroyd.................Tmothy Morningstar (Disguised as Robin Oakapple, a young fanne) Richard Dauntless ........................................................ Jeffrey Willets (hls foster Brother, a Man-o-wa'sman) Sir Despard Murgatroyd, of Ruddigore (a wicked Baronet)John Kelly Old Adam Goodheart (Robin's Faithful servant).............Eric Gibson Rose Maybud (a village maiden) .............Jane Schoonmaker-Rodgers Mad Margaret............. ............... Jennifer S. Hilbish Dame Hannah (Rose's Aunt) ................................. Barb Smith Hilbish Zorah (professional bridesmaid) ............................... Margie Warrick Ruth (professional bridesmaid)............................Martha Stewart Sir Roderic Murgatroyd (21st Baronet of Ruddigore)...Alan Winenan Chorus of Ancestors Sir Rupert Murgatroyd - Peter Christian Sir Granville Murgatroyd - Scott Jensen Sir Conrad Murgatroyd - Steven Krahnke Sir Edward Murgatroyd - Rick Meador Sir Maxwell Murgatroyd - Scott DeChant Sir Sherman Murgatroyd - David Owens Sir Seymore Murgatroyd - Douglas Brown Sir Gilbert Murgatroyd - Marc C. Parrish Sir Sullivan Murgatroyd - Phillip Rhodes Sir Roscoe Murgatroyd - Tlmur Kocak Sir Desmond Murgatroyd - David Zinn Sir Jasper Murgatroyd - Jay Kaplan Sir Reginald Murgatroyd - Gordon Barnett Sir Lionel Murgatroyd - Don Devine Sir Mervyn Murgatroyd - Gregory H. Kalfas Chorus of Bridesmaids Lynn Bennett Carol Colvin Barbara Epstein Julie Jacobs Kristine Kelly Maureen T. Kirkwood Nancy Koch Laura Lehman Jane D. McLeod JoAnne Ripley Bridgid Simms Martha Stewart Amanda Vandenberg Suzanne Viviano Children Elyse Salberg Christine Haslett Ainsley Newman Alison Walker Lindsay Newman Daniel Wineman The UMGASS Executive Board President Maureen T. Kirkwood Vice President Lynn Tousey Secretary Reid Rozen Treasurer Rob Hilton Pooh-Bah Barb Epstein Pish-Thsh Scott Jensen Company Promoter Bob Reizner FACUL TIADVISORS Professor and Mrs. Harry Benford Professor H. D. Cameron Professor and Mrs. Harold Haugh Professor and Mrs. Beverley Pooley Professor and Mrs. Edward Stasheff Professor and Mrs. Alan Wineman Professor and Mrs. Rudi Undner Professor and Mrs. Richard Lempert Dean Paul Boylan 199 Ruddigore - 1987 Production Assistant Directors ................. Marc Maier, Jacqueline K. Cowling Rehearsal Accompanists...........Eric Gibson, Timothy Cheek Technical Director..........t'.............Jim Barnes Carpenters ............ Scott DeChant, Bill Dynes, Martin Greiner. Steve Krahnke, Phil Rhodes, Robert Wolk Set assistance ...................................... Gordon Barnett, Jill Birch, Doug Brown, Karen Bublitz, Peter Christian, Brian Chambers, Jeff Dine, David Freiman, David Jessen, Jay Kaplan, Krlstine Kelley. John Kelly, Laura Livingstone, Rick Meador, Jane McLeod, David Owens, Lucy Polakov, Claudia Schmidt, Chris Taylor, Kathleen Tyson, Suzanne Viviano, Alan, Carol, and Daniel Wineman, Brigid Simms . David Zinn, Martha Stewart, Amanda Vandenberg, Mr. & Mrs. Robert H. Krahnke Costume Crew ................... Madeleine Huggins (costume designer), Wendy L. Barber (asst.costume designer) , Laura LehmanBarb Epstein, Kristine Kelley- Amanda Vandenberg. Nancy Koch, Doreen Jesson, Suzanne Viviano, JoAnn Ripley, Julie Jacobs, Carol Colvin, Jane Berger Running Crew.......Karen Bublitz, Claudia Pascarelli, Doug Brown, Kathleen Tyson, Lynn Tousey, Susan Gorman, Roland Bydlon, Anna Ybarra, David Jessen, Betsy Smith, Eric Pascarelli Ticket Crew ................................. Scott DeChant (ticket manager), Barb Epstein, Greg Kalfas, Peter Christian. David Owens. Maureen Kirkwood Program ..................... Scott Jensen, Marc C. Parrish, Jay Kaplan, Lynn Amalfitano, Eric Gibson, Jeff Willets, Amanda Vandenberg, David Zinn Photography ............................... ............................ Bill Harder Poster Design ................................................................. David Zinn Publicity ............................................................... Robert B. Reizner Props ...................................... JillBirch, Gary Birch, Robert Wolk, Lynn Amalfitano. Gail Genzllnger Head Usher ..................................................................... Ried Rosen Umbrella Tender ................................................. Bolivar Kegnastie 40th Anniversary Committee - Doug Pointon (chairman), Jean Barnard, Lynn Amnalfitano, Nancy Koch, David Goldberg 1997 Post Script: The inside of the front cover announced this as our forti- eth anniversary production. Sadly, as you may note, it acknowledged the demise of Gloria Katlan Bennish. Dave Goldberg's special issue of GASBAG (Vol. XVIII, No. 4), concurrent with the show, was filled with reminis- cences contributed by 38 former active members of FUM- GASS. Highlights of those memoirs form the appendix to this book. We had a new, and somewhat unorthodox stage director: David Freiman, who introduced several nice touches. For example, action was stopped in the midst of the second act while a large banner was spread across the stage reading, "Meanwhile, back at the village." There followed a flash of Old Adam capturing Dame Hannah. The first act entry of the men's chorus was rather startling: They came running down the aisles dressed as rugby players, and tossing a ball back and forth. Bringing the portraits to life was effected by having two panels for each frame. One had a portrait; the other was blank. At the critical moment CO-2 fog enveloped the scene, each portrait panel was slid aside allowing the ances- tor to step out, after which the blank panel was slid into place, and there was the ancestor standing in front of his blank canvas. Very effective! For the final6 the ladies danced around a maypole flown in from above. In the last performance the stage manager learned at the last moment that some saboteur had attached a lot of extraneous stuff to the streamers. The decision was made to keep the maypole out of sight, leav- ing the ladies to extemporize their dance sans maypole. Freiman's final innovation was to partake of the curtain call, something outside our tradition and not since repeat- ed. Again we featured that unbeatable mother/daughter com- bination of Barbara and Jennifer Hilbish. The poster and cover design were by David Zinn, his first of many, and the list is still growing. In connection with our 40th birthday celebrations, we had a collection of old posters on display in the league cafeteria (er, buffet). Edith Leavis Bookstein began her review thus: 'With the polished choreography, beautiful voices, and inventive direction that bless its current production, the University of Michigan Gilbert and Sullivan Society could probably per-- form the yellow pages and make them enjoyable." [We couldn't have said it better ourselves.] Bidding goodbye: Karen Bublitz (after 13 shows) and Jane McLeod (13). 200 Our Main Attraction HERE'S A HOWDY DO Top Of The Park June 25 - 28 and July 2 - 4, 1987 Production manager and Supervising director: Steven Krahnke Musical director: Edward Lundergan Asst. Musical director: Scott Jensen ENSEMBLE PRODUCTION STAFF W.S. Gilbert ................. H. Don Cameron A.S. Sullivan ................. Edward Lundergan Lynn Amalfitano Lynn Bennett Peter Christian Barb Epstein Alex Glass Alicia Harris Barbara Smith Hilbish Stephen Hill Trish Hoffman-Ahrens Julie Jacobs Gregory Kalfas Jay Kaplan Maureen Kirkwood Timur Kocak Christina Liu Bob MacGregor Kathleen McCall Jane McEneaney Linda Milne David Moore Kevin Murray Jeff Strong Christoper Taylor Lynn Tousey Amanda Vandenberg Jeff Willets Alan Wineman Julie Wright Director: Trial By Jury, H.M.S. Pinafore ......... Linda Milne Director: Iolanthe, Ruddigore .................. Mary Locker Director: Patience, Utopia Ltd. ........... Mary Ann Nemeth Director: Mikado .......................... Gregory Kalfas Director: Pirates, Gondoliers, Princess Ida, Sorcerer, Thespis, Grand Duke, Utopia .......................... Steven Krahnke Choreographer: Trial by Jury, Pirates, Patience, Utopia ............. Peggy Benson Set: Steve Krahnke (designer), Scott DeChant, Jim Barnes, Gordon Barnett Costumes: Laura Lehman (coordinator), Ruth Lehman, Kathleen McCall, Gregory Kalfas, Lynn Amalfitano Placards: ............................. David Zinn Sound Engineer: ...................... Roger Arnett Program: ......................... David Goldberg Publicity. .... ..................... Bob Reizner Accompanists ...................... Simon Dearsley, Mark Knoll Card Girl .................... Mary Anne Nemeth Running commentary was provided by W. S. Gilbert (played by Don Cameron) and Arthur Sullivan (played by Edward Lundergan). Final appearance: Bob MacGregor (after 8 shows). EXECUTIVE BOARD President ....................... Maureen Kirkwood Vice-president........................Lynn Tousey Secretary ......................... Suzanne Viviano Treasurer:..........................Gregory Kalfas Pist-Tush ............................ Scott Jensen Pooh-Bah ........................... Barb Epstein Company promoter .................... Bob Reizner 1997 Post Script: This was a concert comprising selections from each of the G&S operas from Thespis to Grand Duke in the order in which they were created. This was part of the Ann Arbor Summer Festival, and the venue was the Top of the Park. 201 Here's A Howdy Do -- 1987 Mary Anne Nemeth (director of Patience) with honored guests: Jim Ueberhorst and Gary Hicks, 1987. Photo by Dave Goldberg, from his private collection. Jim Ueberhorst and admirers: Maureen Kirkwood, Harry Benford, Betty Benford and Timur Kocak, 1987. Photo by Dave Goldberg, from his private collection. 202 Our Main Attraction PATIENCE Lydia Mendelssohn Theatre December 9-13, 1987 Directed by: Mary Anne Nemeth Asst. director: Gregory H. Kalfas Choreographer: Peggy Benson Lighting designer: Tim Snyder Music director: Francis Cianfrocca Assoc. music director: Ed Lundergan Set designer: Debra L. Mexicotte Costume designer: Wendy L. Barber Production stage manager: Betsy Smith Dramatis Personae (In order of appearance) LADY ANGELA.........................JANE MCENEANEY LADY ELLA............................ LYNN AMALFITANO LADY SAPHIR......................... MAUREEN KIRKWOOD LADY JANE.............................KATHLEEN MCCALL PATIENCE.................... JANE SCHOONMAKER RODGERS MAJOR MURGATROYD......................... REID RozEN COLONEL CALVERLEY......................... TOM PETIET LIEUT. THE DUKE OF DUNSTABLE... . TIMOTHY MORNINGSTAR REGINALD BUNTHORNE.............. PETER-JOHN HEDLESKY ARCHIBALDGROSVENOR..............DAVID MOSHER SOLICITOR................................. HARRY BENFORD ORCH ESTRA VIOLIN Elise Christiansen Erin Furbee Susan Katsarelis Sarah Knudsen VIOLA Tomas Irvine Kathy Davis Jillian Noe Melissa Gerber CELLO Jennifer Crowell Mary Beth Melvyn BASS Tim Patalan PERCUSSION John Pennington FLUTE Johathan Sills Gina Kemper-Hart OBOE Laura Reynolds CLARINET Ralph Katz Mark Powell BASSOON Fred Hoops HORN David Goldberg Michelle Stebelton TRUMPET Marry Cargel Eric Holm TROMBONE Bruce Chrisp Jeanie Lee 35th Dragoon Guards PETER CHRISTIAN Scorr DECAN'r DON DEVINB DAVID JESSEN JAY KAPLAN TIUR KocAK DAVID MOORE DAVID OwENs PHmHP D. RHODEs JEFF STRONG ALAN WNmm DAVID S. ZuIN Love-Sick Maidens HoUX ACsMAN PENNY CHANDLER DrrrE DYRHOLM SUSAN FrurIA SUSAN GORMAN JUUE JACOBS KRISTINE KELLEY LAURA LEM PATRICIA MORRISON MICHELLE TRAMB SUZANNE VIVIANO MARGIE WARRICK We regret that not all players' names were available at the time of this last printing. UMGASS EXECUTIVE BOARD PRESIDENT MAUREEN KIRKWOOD VicE PRESIDENT PHILUP RHODES SECRETARY SUzANNE VIVIANo TREAsuRER ERIC GIBSoN CoMPANY POMOTER TIMJR KOCAK POOH-BAH GREGORY KALFAS PISH-TUSH ROBERT RBIZNER FACULTY ADVISORS Professor and Mrs. Harry Benford Professor H.D. Cameron Professor and Mrs. Harold Haugh Professor and Mrs.Beverly Pooley Professor and Mrs. Edward Stasheff Professor and Mrs. Alan Wineman Professor and Mrs. Rudi Lindner Professor and Mrs. Richard Lempert Dean Paul Boylan 203 Patience - 1987 PRODUCTION Rehearsal Accompanists: Eric Gibson. Ed Lundergan Technical Director: Brian Chambers Set Crew: Brian Chambers (Supervisor) Jim Barnes (Master Carpenter) Betty and Harry Benford, [THE DUKE AND DUCHESS OF WHEAT PASTE], Mitch Gillett, Eric Janasov, Doreen Jessen, Charlie Culp, Norah Martone, Garth Dickie, Penny Chandler, Gordon Barnett, Jennifer Barnett, Jeff Strong, Maureen Kirkwood, Holly Ackerman, Scott DeChant, Phillip Rhodes, Robin Cohen, Dave Jessen, Steve Hill, Ed Lundergan, Suzanne Viviano, Betsy Smith, Mike Bressler, Alan Wineman Lighting Crew: Tim Snyder (Lighting Designer), Doug Brown (Assis- tant Lighting Designer) Electricians: Steve Brodson, Scott DeChant, Bill Dynes, David Jessen, Nancy Koch, Kristine Kelly. Eileen Potts Running Crew: Steve Brodson, Nancy Koch Costume Crew: W.L.Barber (supervisor) Marilyn Edwards, Jill Beeson, Germaine Doeren, Jane Burger, Laura Lehman, Kathleen McCall, Suzanne Viviano, Julie Jacobs, Tim Morningstar, David Moore Running crew: Betsy Smith, Jim Barnes, Gordon Bamett Tickets: Peter Christian (manager), Gregory Kalfas, Jane McEneaney, Laura Lehman, Suzanne Viviano, David Owens, Michelle Trame, Philip Rhodes, Maureen Kirkwood, Charlie Culp, Kristine Kelley, Timur Kocak, and a cast of thousands Program: Robert Reizner, Reid Rozen, Maureen Kirkwood, Janice Salberg, Phillip Rhodes Photography' Bill Harder, David Mosher Poster Design: Charles Culp T-Shirt Design: David Zinn Publicity:Tiur Kocak, Jane McEneaney Properties: Robert Wolk & Linda Johnson (co-chairs), Debby Rice, Sharon Hilts Make-up: David Curtis (designer) Syble Meyers, Sabra Briere, David Zinn Hair: Diana Murphy (designer), Robert Buffinan (assistant) Video Production: Gordon Barnett House Authority on Asceticism: Sir Bolivar Kegnastie Floral Disposal: Fred Rico 1997 Post Script: Mary Anne Nemeth took on the twin responsiblities of stage and artistic direction. This was her first stab at direct- ing a full scale show, but she had gained experience in directing the Pretty Committee, and that experience (plus a solid cast) paid off in an outstanding show. Two senior members of the cast were Peter-John Hedlesky (Bunthorne), who had been in three earlier productions of Patience, and Tom Petiet (Colonel), who had sung in more than twenty of our shows. The Sunday December 6 issue of the AA News gave over its entire first page of arts & entertainment section to a puff piece about Patience. Edith Leavis Bookstein gave the show a mixed review. Writing in the Daily, Lisa Pollack concluded, "Sure it's silly and sappy. But as one of [the] characters sings, 'Nonsense? Ah, perhaps. But, ah, such precious nonsense'." There was a FUMGASS-sponsored afterglow for this show, possibly the first. Ticket prices now ranged from $7.00 to $9.00. See Ralph Katz's notes in the appendix for the adventure of the runaway cadenza. Energetic new recruit: Holly Ackerman (who is still with us). Aufwiedersehen: Lynn Tousey (after nine shows). Happy reunion after the 1987 Patience. Marc Shepherd and Peter- John Hedlesky (Bunthorne). Photo by Dave Goldberg, from his private collec- tion. 204 Our Main Attraction The Gondofkrs Lydia Mendelssohn Theatre April 6-10 and 14-17, 1988 Director/choreographer: Peter-John Hedlesky Set designer: Steve Krahnke Assoc. set designer: Scott DeChant Asst. director: Maureen Kirkwood 6Drainatis Persona (In order of appearance) FIAlMiwrA........................... RARON RA ITEREE FR~ANcEsco............................Mrrcn GnLE=GruuA............................. MELISSA ETIENNE ANTONIO ............................. KEVIN MuRRAY GIORGIO............................ ALAN WINEMAN VrrroRa ............................ KIM MACKENZJE ANNIBALE ............................ TuMVRuiKOcAK MARCO P LIEI....................JEFF SMITH G IUSEJ'PE PALMIERI.......................ERIc GIBSON TESSA............................... CLARE STOLLAK GIANErEA................. JANE SCHOONMAKER RoDxERs DUKE OF PLAZA-ToRo ..................... RnID RoZEN DUCHESS OF PLAZA-TORO........... MARY ANNE NEMETH CASILDA........ .. .................... LYNN TOUSEY Luiz..... ................... ...... TERENcE McGI NN DON ALNAMBRA DEL Boin o...........BEVERLEY POOLEY INEZ............................... BARBARA HILBISH Contadine Gondolieri HouL.Y Ac m uN Jom.AxANERm Susn FWax PsrtcUT KRISnNH KELLEY Scowrr DiART CAROLYN KING DAVID JESSEN LEAHi LAGIOS JACKSON MoRuus LAURA LEHMAN PHU.LIPRHODES PATTY MORRISON MICHAEL WARD ANNnrrs PRArr DAVID ZiNN MARGiE WARRICK Music director: James C. Nissen Costume designer: Kathleen McCall Lighting designer: Tim Snyder Production stage manager: Betsy Smith Dilip Das Erin Fube Keith Johnson cindy Katsarelis David Knapp Leo Liang YJi]La Thomas Irvine Gilian Noe Laura Kenney Andrew Rubin 'rim Patalan ieorchestra EFlt Kristin Lynes Annette Sievert Laura Reynolds Ralph Katz Mark Powell** Fred Hoops Robert Jordan Horn David Goldberg Michelle Stebleton InimpeL Dave Poliachek Dave Scott Trombone Robert Aibritton Bruce (2hd sp Dave Jackson John Pennington **Orchestra Manager UMGAS S EXECUTIVE BOARD PRESIDENT: MAUREEN KIRKWOOD VICE PRESIDENT: Piiu.uiP D.RHODES SECEAY: SUZANNE VwIVIANo T~rsuRni: ERIc GIBSON CoimiiN.toR 1OMOTER: T uR KocAx PooH-BAH: GREGORY H. KiLu~s PISH-TUSH REID RozEN [Facufty AdvMsors Professor and Mrs. Hanry Benford Professor H.D. Cameron Professor and Mrs. Harold Haugh Professor and Mrs.Beverley Pooley Professor and Mrs. Edward Stasheff Professor and Mrs. Alan Wineman Professor and Mrs. Rudi Lindner Professor and Mrs. Richard Lempert Dean Paul Boylan 205 The Gondoliers - 1988 'PROD'UCTION Assistant Director: Maureen Kirkwood Rehearsal Accompanists: Eric Gibson, Bob Pazur, Jackie Miller, Mark Sikkila 'echnical Director: Mike Daleiden Set Crew: Steve Krahnke (Designer), Scott DeChant (Associate Set Designer) Jim Barnes (Master Carpenter) Charles Culp, Annette Pratt, Holly Ackerman, Mitch Gillett, Robin Cohen, Jeff Smith, Betsy Smith, Lee Gallager, Eileen Potts, Mark Matossian, Gordon Bamett, Jennifer Barnett, Sharon Ratteree, Eric Janasov, Mike Baker, Danya Hoffman, Carolyn King, Leah Lagios, Maureen Kirkwood, David Zinn, Jackson Morris, David Jessen, Reid Rozen, Clare Stollak, Alan Wineman, Daniel Wineman Lighting Crew: Tim Snyder (Lighting Designer), Don Devine, Garth Dickie, Dave Jessen, Kristine Kelley, Eileen Potts Running Crew: Betsy Smith (Production Stage Manager), Kathleen McCall (Ass't Stage Manager), rin Barnes, Gordon Bamett, Robin Cohen, Charles Culp, Mike Daleiden, Martin Greiner, Mark Matossian, Christina Liu Costume Crew: Kathleen McCall (Designer), Jane Burger,LauraLehman, Ji Beeson, Doreen Jesson, Betsy Smith, Holly Ackerman, Margie Warrick, Patty Morrison, Leah Lagios, Carolyn King, Kristine Kelley, Melissa Etienne, Sharon Ratteree, Kevin Murray, Clare Stollak, Jane Schoonmaker Rodgers, Lynn Tousey, Mary Anne Nemeth, Suzanne Viviano, Lenore Angeli, Mike Ward Make-Up: David Zinn Tickets: Gregory Kalfas, Peter Christian (manager), Laura Lehman, Christina Liu, Mitch Gillett, Melissa Etienne, Holly Ackerman, John Alexander, Susan Filipiak, LeahLagios, Carolyn King, Kim Mackenzie, Terry McGinn, Sharon Ratteree, Margie Warrick, David Zinn Box Office Manager: David Owens Head Usher: Jane McEneaney Program: Reid Rozen, Maureen Khkwood, Jane McEneaney, Robert Reizner, David Zinn, Charles Culp Photography: Bill Harder, David Goldberg Poster Design and Program Cover: David Zinn T-Shirt Design: David Zinn Publicity: Timur Kocak, Kristine Kelley, Jane McEneaney, Eileen Potts, David Zlnn Properties: John Ellison Video Production: David Lau Llama Trainer: Fred Rico 1997 Post Script: Peter-John Hedlesky (director/choreographer) had been involved in our last three productions of Gondoliers so he clearly knew what he was about. He was teamed with a new music director, Jim Nissen, who was a born comedian and kept the troops amused with his wit. A graduate of Indiana University, Jim had an international education, having studied in Paris and Madrid as well as in Bloomington. The role of Francesco was taken by a true G&S scholar, Mitch Gillett, who quickly became one of our most fervent participants. Fred Rico did his usual fine job as llama trainer. Marianne Danks Rudnicki (AA News) wrote a mixed review. She found good singing, but some poor acting. New talent: Michael Daleiden. Adieu to Steve Krahnke (after 21 shows!), Jane Schoonmaker Rodgers (7) and Reid Rozen (7). 206 Our Main Attraction A SENTIMENTAL PASSION Summer 1988 Director: Mary Anne Nemeth* Music director: Linda Milne Costume coordinator: Laura Lehman THE CAST Douglas Brown Julia Broxholm Peter Christian Scott DeChant Melissa Etienne Mitchell Gillett Matt Grace Barbara Hilbish Julie Jacobs Jay Kaplan Kristine Kelley PRODUCTION STAFF John Kelly Nancy Koch Christina Liu Laura Lehman Linda Nadeau David Owens Annette Pratt Phillip Rhodes Jeffrey Strong Don Taylor Eva VanLeer Accompanists ......................... Irene Kong, Mary Ann Van Poelvoorde Placard: ............................... D .S. Zinn Set Designers ......................... Rich, Evans, Deb Mexicott Set Construction Crew ........... Jim Barnes, Douglas Brown, Scott DeChant, Rich Evans, Mitch Gillett, Matt Grace, Linda Milne, Mary Anne Nemeth, Phillip Rhodes, Don Taylor Sound Engineer ...................... Roger Arnett Program..............................D.S. Zinn *The director gratefully acknowledges the staging and choreograpic assistance of Peggy Benson, Peter-John Hedlesky, Mary Locker, and Linda Milne. EXECUTIVE BOARD President ....................... Maureen Kirkwood Vice-president ...................... Phillip Rhodes Secretary ......................... Suzanne Viviano Treasurer ............................ Eric Gibson Pooh-Bah ........................... M itch Gillett Pish-Tush ............................. D.S. Zinn Company Promoter ................... Timur Kocak 1997 Post Script: This was another concert made up of miscellaneous selec- tions from the Savoy operas. It was presented under the auspices of the Ann Arbor Summer Festival. Farewell to John Kelly (after 21 shows!) and Julia Broxholm (6). 207 A Sentimental Passion - 1988 Brightly dawns our wedding day. Phil Rhodes (Nanki-Poo), Laura Lehman (Yum- Yum), Nancy Koch (Pitti-Sing) and Matt Grace (Pish-Tush) in 1988 Top of the Park summer show, A Sentimental Passion. Photo by Dave Goldberg, from his private collection. Death to the invader (from Princess Ida). Women's chorus in 1988 summer show, A Sentimental Passion. Photo by Dave Goldberg, from his private collection. 208 Our Main AttractionUTOPIA (limited) Lydia Mendelssohn Theatre December 7-11, 1988 Director/choreographer: Mary Locker Asst. music director: Jeff Smith Costume designer: Kathleen McCall DRAATIS PERSONAE KING PARAMOUNT THE FIRST, King of Utopia .... NN....MAT GRACE SCAPHIO, Judge of the Utopian Supreme Court ............. DAVID JESSEN PHANTIS, judge of /the Utopian SupssmteCou ... N.N..N.N..w. N.D// NDEVINE TArRARA,t*he Public icExplobder . I~ Y'f..N.~t.NNN.. .Ne.1A.. -I1MUR KOCKCALYNX4Ate Utopian V ic-Chamerlai n. ... N....N ..... .LAN "W INEM A LORD DRAMALEIGH, a British Lord Chamberlain N...........ESMiTH CAPTAIN FITZBATL'LEAXE,Fcret Life Guard ...?..M...DAVID TROIANO CAPTAIN CORCORAN, LGC.B., of the Royal Navy ........ GREGORY ROACH MR. GOLDBURY, a Company ~MUJRRAY SIR BAILEY BARQCP.........~.w...N...N IC GILLEIT MR. BLUSHINGTON, of the County Council.w..N...............PETER CHRIS IAN THE PRINCESS ZARA, Eldest Dughter of the ng........N..KAIA MONROE THE PRINCESS NEKAYA, Zara's Younger Sitr...N... .. NAYMcEWE_ THE PRINCESS KALYBA,Zara's Younger Sister .-.-...-. SUSAN DUDERST'ADT THE LADY SOPHrt, their English Gouvemnante .N. .. ..... BARBARA HILBISH PHYLLA, a Utopian Maiden N.~......N..NJUL...1E...... JACOBS SALATA, also a Utopian /Maiden .~ . MACKENZIEMELENE,yet another Utopian M N/.....N NN..IN.....V\ LEHMAN THE FIRST LIFE GUARDS ............ N........ IC GILLEfl JAMES HEKMAN DAVID MOORE DAVID ZINN UTOPIAN MAIDENS ........................ HOLLY ACKERMAN MELISSA ETIENNE LEE GALLAGHER ANNFNTE PRATIT JUDIE SPICKER SUZANNE ViVIANO MARGIE WARRICK UTOPIAN GENTLEMEN NN.N....... N.N. .N.....GOC RDON BAR NMI STEVE BRODSON SCO'T'TDecHANT JOHN LENN JAY KAPLAN DAVID OWENS NIEL RISHOIMICHAEL WARD DAVID ZINN UTOPIAN Y.K- ...... IHN JENNIFER BARNT Music director: Timothy D. Hoover Set designer: Rich Evans Stage manager: Doug Brown THE ORCHESTRA VIOLIN Julie Bates Monica Das Stacey Helaler Sarah Knutson Codestina LUu Cheng-Mei Sun Andrew Wise TROMBONE Bruce Chrlsp Greg Lanzi Jeanie Lee BASS Tim Patatan FLUTE Deborah Scott Katz Jonathan Sills PICCOLO Deborah Scott Katz CLARINETf Ralph Katz Mark Powell BASSOON Rick Dapprich Dean Zmmierman HORN David Goldberg Michelle Steblelon TRUMPET Julia Goidreich Christine Karl Phil Rhodes Jeffrey Sandstromn OBOE Todd Barnhiart PERCUSSION Al Clark CELLO Nathaniel Gialtkin Jennifer Crowell VIOLA Patty Brown Kasla Grzeskowiak indicates orchestra manager UMGASS EXECUTIVE BOARD President Scott DeChant Vice President: Phillllp 0. Rhodes Secretary: Suzanne Viviano Treasure: Michelle Trame Comipany Promoter: Thnur Kock Pooh-Bal: Mitch Gillet Fish-Tush: David S. Zinn Sergeant at Arms: Fred Rico UMGASS FACULTY ADVISORS Professor and Mrs. Harry Beriford Professor H.D. Cameron Professor and Mrs. Harold Haugh Professor and Mrs. Beverley Pooley Professor and Mrs. Edward Stasheff Professor and Mrs. Alan Wineman Professor and Mrs. Rudi Lirndner Professor and Mrs. Richard Lemipert Dean Paul Boylan 209 Utopia Limited - 1988 PRODUCTION Technical Director Michael Daleiden Assistant Stage Managen Michelle Trame Set Crew: Rich Evans, Jim Barnes, Dan Kohls, Scott Kohls, Paul Bury, Annette Pratt, Scott DeChant, Alan Wineman, Steve Brodson, Mitch Gillett, Gordon Barnett, Jennifer Barnett, Jeff Smith, Niel Rishoi, Christina Liu, John Etienne, Matt Grace, Harry and Betty Benford, Susan Duder- stadt, Michelle LaLonde Lighting Crew: Tim Snyder, Kris Kelley, Nancy Koch, Eileen Potts, Doug Brown Costume Crew: Laura Lehman, Patricia Moore, Jane Burger, Suzanne Viviano, Doreen Jessen, Ruth Schultz, Holly Ackerman, Judie Spicker, John Etienne, Michael Ward, Cynthia Lempert, Betsy Smith, JulieJacobs, Kathleen Nolan, Niel Rishoi, Peter Christian, Ruth Lehman, Lee Gallagher, Myrna Ward, Donna Funk, Dolores Jacobs Make-Up: Mitch Gillett, David Zinn, Diana Hunt Tickets: Mitch Gillett, Peter Christian Cicket Chairman), Laura Lehman, Kim Mackenzie, Melissa and John Etienne, Suzanne Viviano, Susan Duderstadt, David Owens, David Jessen, Steve Brodson Box Office Manager. Betty Benford Head Ushen Eva VanLeer Program: David Zinn, Kristine Kelley, Timur Kocak, Jay Kaplan, Doug Brown, David Owens Photography: Bill Harder Poster Design/Program Coven David Zinn T-ShihtDesign: David Zinn Publicity Timur Kocak, Kristine Kelley, Jennifer Barnett, Kaia Monroe, Doug Brown Properties, Kate Morris Curtin, Mike Bressler, Lara Wineman, Jim Barnes, EmileighCurtin, Patty Moore, Kristie Smillie Explosives Consultant: Sir Bolivar Kegnastie 1997 Post Script: Having directed our second production of The GrandDuke, Mary Locker thought it appropriate to tackle this, our sec- ond airing of that other all-but-forgotten Savoy opera. She points out in her notes that, like The Grand Duke, this opera needs trimming. In so doing, she had eliminated parts that added nothing to the rich vein of political satire that enlivens the work. Matt Grace made an impressive King Paramount, well matched with Barbara Hilbish as Lady Sophy. Edith Leavis Bookstein closed her review with these words: "Don't look for any plot and don't expect a fast- paced first act. But sit back, relax and enjoy the wonderful cast. The second act is well worth the wait." Beth Colquitt (Daily) thought the whole show was won- derful. Ticket prices continued to ratchet up. They were now $7.50 to $10. Three newcomers among the principals were Kaia Monroe (Zara), Amy McEwen (Nekaya), and Susan Duderstadt (Kalyba), each more charming than the other. The chorus was enlivened by a delightful couple: John and Melissa Etienne, who brought proof that Spartans can be both nice and talented Possibly violating OSHA rules, much of the cast dashed about the stage barefoot. The set builders featured Gordon Barnett's daughter, Jennifer, who was then about six years old, and a willing worker. We dare say her carpentry skills were the equal of many a chorus member's. Adieu to Ralph Katz (after 17 shows). The FUMGASS officers were: David Goldberg: President John Alexander: Vice-president Jean Lynn Barnard: Keeper of the rolls Cynthia Haidostian Hudgins: Treasurer GASBAG editors; Rudi & Molly Lindner, with much extracurricular help from David Goldberg Mail Master: Charles Hudson. It was at this time that Dave Goldberg's awakening exper- tise in desk top publishing led to GASBAG coming out in much improved format. It now became an impressive booklet in place of the former bedraggled, second-rate, stapled-in-the corner look. A king of autocratic powers we. Matt Grace as King Paramount in 1988 Utopia. Photo from UM Bentley Historical Library, Bennish collection. 210 Our Main Attraction Director/choreographer: Linda Milne Asst. director: Doug Brown Lydia Mendelssohn Theatre April 12-22, 1989 Music director: Jim Nissen Set designer: Jim Barnes Stage managers: Scott DeChant, Doug Brown DRAMATIS PERSONAE THE ORCHESTRA THE MIKADO OF JAPAN .........................................-.. LARRY HENKEL NANKI-POO, his son, disguised as a minstrel.......JEFFERY TROVINGER KO-KO, Lord High Executioner of Titipu ..... ....... PETER-JOHN HEDLESKY POOH-BAH, Lord High Everything Else.................BEVERLEY POOLEY FISH-TUSH, a Noble Lord.................................................KEVIN MURRAY YUM-YUM, ward of Ko-Ko.. . ... KAREN SWAN PTIi-SING, also ward of Ko-Ko.............................MELISSA ETIENNE PEEP-BO, yet another ward of Ko-Ko ...........--........ ROBIN LOUNSBURY KATISHA, an elderly Lady of the Court ....................... RTH DeBOER GENTLEMEN OF JAPAN ............................................... PETER CHRISTIAN DON DEVINE MITCH GILLETr MAT GRACE BOB HERRON TROY HOLLAR JAY KAPLAN TIMUR KOCAK DAVID OWENS NIEL RISHOI JEFF SMITH THOR THORSON ALAN WINEMAN DAVID ZINN VIOLIN Monica Das* Susan French Melissa Robbirns Jeanne Sut Andrew Wise VIOLA Kasia Grzeskowiak Michelle Moffitt CELLO Jennifer Crowell Andrew Ruben BASS Mike Lelevich Tim Patalan FLUTE Margaret Hurbis Annette Sievert OBOE Laura Reynolds CLARINET Andrew Jordan Mark Powell * Concertmaster SOrchestra Manager BASSOON Mark Clague HORN David Goldberg Michelle Stebleton TRUMPET Chris Karl Dave Polacheck TROMBONE Robert Albritton Bruce Chrisp** PERCUSSION Roger Braun UMGASS EXECUTIVE BOARD President: Scott DeChant Vice-President: Phillip D. Rhodes Secretary: Suzanne Viviano Treasurer: Michelle Trame Company Promoter. Timur Kocak Pooh-Bah: Mitch Gillett Pish-Tush: David Zinn Sergeant at Arms: Fred Rico LITLE LADIES .....-.-........... . .......... .......... AMY SARA CLARK SUSAN DUDERSTADT KRISTEN GWALTNEY JULIE JACOBS KRIS KELLEY MAUREEN KIRKWOOD NANCY KOCH AUDREY LaVELLE LAURA LEHMAN PATY MORRISON KATHY PEGOUSKE JOANNE RIPLEY SUZANNE VIVIANO MARGIE WARRICK UMGASS FACULTY ADVISORS Professor and Mrs. Harry Benford Professor H.D. Cameron Professor and Mrs. Harold Haugh Professor and Mrs. Beverley Pooley Professor and Mrs. Edward Stasheff Professor and Mrs. Alan Wineman Professor and Mrs. Rudi Lindner Professor and Mrs. Richard Lempert Dean Paul Boylan 211 The Mikado - 1989 PRODUCTION Rehearsal Accompanista Eric Gibson, Bob Pazur, Jon Jarrett, Larry Garvin Set Crew: Chris Gagnon, Stephen Moorman, Brian Webb, Felicia S. Tatum, John Etienne, Jeffrey Osborne, Terene McGinn, Ronnie Shapiro, Don Devine, Bob Herron, Jay Kaplan, Mark Tessmer, Mike Daleiden, Christina Liu, Kristine Kelley, Margie Warrick, Audrey LaVele, Jennifer Barnett Annette Pratt Running crew: Gordon Barnett, John Etienne, Jeffrey Osborne, Melida S. Tatum Lighting Crew: Doug Brown, Scott DeChant, John Etienne, David Jessen, Kristine Kelley, Nancy Koch, Christina Llu, Eileen Potts Costume Crew: Jane Burger, Betsy Smith, Nancy Koch, Kristine Kelley, Kristen Cwaltney, Patty Morrison, Laura Lehman, Susan Duderstadt, Maureen T. Kirkwood, Suzanne Viviano, John Etienne, Melissa Etienne, Niel Rishol, Jay Kaplan, Margie Warrick, Robin Lounsbury Make-Up: Fred Zinn, David Zinn, Mitch Gillett Tickets; Mitch Gillett, Peter Christian (ricket Chairman), Pete-John Hedlesky, Audrey LaVelle, Thor Thorson, Alan Wineman, Daniel Wineman, Kristine Kelley, Karen Swan, Phil Rhodes, JoAnne Ripley, Suzanne Viviano, Doreen Jessen, Laura Lehman, Melissa Etienne, John Etienne, Maureen Kirkwood, Amy Sara Clark, Robin Lounsbury, David Owens, Linda Milne, Doug Brown, Timur Kocak Head Usher Annette Pratt Program: David Zinn, Suzanne Viviano, Jay Kaplan, Kristine Kefley, David Owens, David Goldberg, Maureen Kirkwood, Phil Rhodes, Mary Locker Photography: Bill Harder, Audrey LaVelle, Rich Evans Foster Design/Program Cover David Zinn Straight Man to the Lord High Gilly-Caups: Sir Bolivar Kegnastie T-Bhist Dsign: David Zinn Pabilicty: Thnur Kocak, Doug Brown, Thor Thorson, Kristine Kelley, Eileen Potts, Susan Duderstadt, Patty Morrison, Amy Sara ClarkJay Kaplan, Linda Milne Properties: Michael Ward, Steven Lovely, Beth Wriggert, Kate Morris Curtin, Eneflaigh Curtin, Suzanne Viviano Rehearsal Fans: Rich Evans, Thor Thorson, Doug Brown TheSodetywouldtlikato acknowliedgeJenniferBrownforhercarefulresearc,theAnnArbor MusicCompanyfortheloanof the trombonecaseseen inActL, andSandyCadotteof Dragon's Lair Fetons for her generous props donation, for which the cast's knees are truly grateful. 1997 Post Script: The versatile Linda Milne was director, and this was her first stab at leading a full-scale production. She was described in the program as the fairy godmother of UMGASS. She had a stable of experienced talent to back her up and a talented cast to carry out her wishes. Small wonder it was a great show! But it was her thirteenth and final UMGASS show. David Reynolds (Ad News) wrote: "In particular, the cho- rus ... must be singled out ... for the extraordinarily lux- urious sound that blossomed in every number in which it participated. This group easily matched (or even excelled) the choral singing to be heard on many professional recordings of Gilbert and Sullivan operas." Beth Colquitt (Daily) wrote of Ruth DeBoer: "Alone and yet alive [was] so beautifully delivered it almost brought tears to my eyes - truly." As usual with UMGASS, the chorus was strengthened by the return of several former leads such as Timur Kocak, Susan Duderstadt, Mitch Gillett, Alan W ineman, Jeffrey Smith, Don Devine, Peter Christian, David Zinn, and Matt Grace. Fresh faces: Ruth deBoer and Robin Lounsbury. Your revels cease! Ruth DeBoer as Katisha in 1989 Mikado. Adieu to Kristine Kelley (after 8 shows), Maureen Photo from UM Bentley Historical Library, Bennish collection, Box 6. Kirkwood (15), Timur Kocak (8), Bob Pazur (12), Mark Powell (8) and Michelle Stabelton. 212 Our Main Attraction the SORCERER Lydia Mendelssohn Theatre December 7-10, 1989 Director: Eric Gibson Music director: Goron Staxang Choreographer: Susan Filipiak Set designer: Steve Moorman Costume designer: Karen Goodburne Voss DRAMATIS PERSONAE SIR MARMADUKE POINTDEXTRE, an Elderly Baronet ...................... TOM PETIfET ALEXIS, of the Grenadier Guards, his son ............. .. .BARRY NAYBACK DR. DALY, Vicar of Ploverleigh ..................... ... . .MATHEW GRACE NOTARY...........................N... .......... ....... ........ ..................................... DON DEVINE JOHN WELLINGTON WELLS, of J. Wells & Co.......... .. JOHN HAMMOND ANABELLA SANGAZURE,a Lady of Ancient Lineage ...........SUZANNE VIVIANO ALINE, Her Daughter........................N... .N................... LEAH HTSCHEN ZORAH PARTLET, A Pew Opener ......... ................................PATRICIA PETIET CONSTANCE, Her Daughter -............................. LYNN BENNETT ARISTOCRATS THE ORCHESTRA VIOLIN Sarah Knutson Kevin Amidon Virginia Sorrentino Katherine Brown Susan French Stacey Heisler Laura Jacobsen Lance Calbk VIOLAElisabeth Dickey Giovanina Pagano Shawn Verfallie CELLO Amy Cooper Rachel Francisco HORN BASS Kathy Beam Marilyn Fung David Goldberg Michael Lelevich TRUMPET Julie Matthews John Marchianado TROMBONE Jeanie Lee Joshua Meckler PERCUSSION Cara Weissman FLUTE Hali Fieidman Annette Sievert OBOE Kristin Wiedenmann BASSOON Mark Clague CLARINET Hilary Field Richard Hawkins Susan Duderstadt Frances Norton Judie Spicker Thorvald Thorson David Bentley Doug Rogez MIDDLE CLASS Julie Jacobs Troy Hollar Kathy Pegouske Alan Wmeman Marie Powell Jay Kaplan VILLAGERS Holly Ackerman Jeff Chrisope Jennifer Ayers Scott DeChant Amy Sara Clark Mitch Gillett Susan Filiplak5 Erik Hildinger Pam Kaplan David Owens Jennifer Watson- Adam Sank Margie Warrick David Zinn spectres UMGASS EXECUTIVE BOARD Company Promoter: Thor Thorson Treasurer: Christina Liu President: Scott DeChant Pish-Tush: Troy Hollar Pooh-Bah: Mitch Gillett Secretary: Matthew D. Grace Vice-President: Nancy Dynes UMGASS FACULTY ADVISORS Professor and Mrs. Harry Benford Professor H.D. Cameron Professor and Mrs. Harold Haugh Professor and Mrs. Beverley Pooley Professor and Mrs. Edward Stasheff Professor and Mrs. Alan Wineman Professor and Mrs. Rudi Lindner Professor and Mrs. Richard Lempert Dean Paul Boylan 213 The Sorcerer - 1989 PRODUCTION Rehearsal Accompanist: Andrew Anderson Dance Coadu Jennifer Watson Set Crew Keith Amidon, Gordon Bamett, Jennifer Barnett, Mike Daleiden, John Etienne, Lee Gallagher, Matt Grace, Christina Lit, Steven Moorman, Jeffrey Osborne, Annette Pratt, Beth Shippey, Jason Smith, Brian Webb, Cindy Cramer Lighting Crew: Tim Snyder. Really. Costume Crew: Nancy Dynes, Robin Lounsbury, Melissa Etienne, Christina Liu, Doreen Jessen, Kathy Pegouske, Susan Duderstadt, Michael Ward, Suzanne Vivi- ano, Judie Spicker, Jennifer Watson Make-Up Edrianna Buonarroti Tickets: Mitch Gillett, Maureen Kirkwood (chairperson), Adam Sank, Amy Clark Thor Thorson, PeterJohn Hedlesky, Margie Warrick, David Bentley, Doug Roge, Jennifer Ayers, MattGrace,PamKaplan, Lynn Bennett,JudieSpicker, MariePowell, Doreen Jessen, Fran Norton, Gordon Barnett, Jennifer Watson, Charlie Culp, Suzanne Viviano Box Office Managers: Maureen Kirkwood, Charlie Culp Head Ushers: Melissa and John Etienne Programs Troy Hollar, David Zinn, Jay Kaplan, Suzanne Viviano, Julie Jacobs Photography: Bill Harder, Doug Rogez, Audrey Lavelle Publicity: ThorThorson,Timur Kocak, TroylHollar, Adam Sank, David Zinn, John Hammond, Suzanne Viviano Properties: Jim Barnes, Shannon Dobson, Holly McNulty, Laura Staich 1997 Post Script: This show brought in three new directors. Eric Gibson and Susan Filipiak teamed up for stage and choreographic direction. Our music director was Goran Staxang, a Swede who was new to G&S, but who quickly learned the ropes and the fun. The nimble fingered Andy Anderson assisted Goran and served as rehearsal accompanist. We had commisioned special music for this production and Susan Filipik choreoraphed some wild dances. During the intermission the curtain remained up, leaving the audience to admire the sprawled out villagers and to observe how Mr Wells arranged to have the social upper crust removed to more respectable locations. The archives contain a note to president Scott DeChant to the effect that the other two student groups crammed into the tiny UMGASS office were about to be evicted. That was the culmination of several years of effort by one of the faculty advisors. Edith Leavis Bookstein gave the show high grades. She thought the orchestra was not as polished as usual, but overall found it "a magical evening." After dutifully building sets for 19 of our shows, Jim Barnes was put in charge of properties, although we are not sure that was a promotion. Bill and Nancy Dynes, two of our most faithful back-stagers continued to lend their tal- ents, too. Indeed, if we start citing all the wonderfully loyal workers, we'd soon run out of ink. The FUMGASS officers were now: President: David Goldberg Vice-president: John Alexander Keeper of the Rolls: Jean Lynn Barnard Treasurer: Cynthia Haidostian Hudgins GASBAG Editors: Rudi & Molly Lindner (plus Dave Goldberg) Mail master: Charles Hudson. Then they are - my aunts! Barry Nayback as Strephon in 1990 Iolanthe. Photo by Mitch Gillett, from his private collection. 214 Our Main Attraction Director/choreographer: Peter-John Hedlesky Asst. director: Audrey Lavelle Rehearsal accompanist: Rebecca D. Davis Stage manager: Kim Lingenfelter Lydia Mendelssohn Theatre April 12-15, 1990 Music director: James C. Nissen Set/lighting designer: Steve Moorman Costume designer: Karen Goodburne Voss Properties: Steven Lovely Asst. stage manager: Carolyn Kley Technical directors: M~ichael Daleiden & Bill Dynes ~- \DL ns PERSONAE --- THE Loso CH x~wwwM~.W..r... [WlM.w...N. ~ ...... a..eelyPooleyLoRD o [cR x ... _.........w........ ... N~N.w ... _..w .rcGibson PRIVATE WiLuis, of me GRENAr*RRGus -. _------Matthew Grace SmREPHoN, sAAAPJ rpiso._ ..-- Barry Nayback LOLANTIIE, A FusY, SrweIor/a MTH R _.. - -Nicole Naeve CELIA, A Fiy.. .. .... ....._ ._..._ _Sue Booth LEnA, AF r . ..... _ _ __ w.._,__ .... _.__ - y n Bennett FLErA, A FAIRY .---------- _ _.oi Lounsbury PHY WS, A SHEPRB5DESS AND WARD IN 01McERsv.- -Julie Wright - NTimii ORc EsTRA /- JAMs C. Nissee, PH.D, CoNDucI-oR VIOLIN Moncs Das Susan French Stacey Heisler Jeanne Su* Andrew Wise Andrew Wu VIOLA Jovamena Pagano Shawn Vorfaillile CELLO Laura Kenney Smith Tim Smith TRUMPET Sue East Dave Polacheck OBOE Jennifer LeBoeuf PERCUSSION Pat Roulet FLUTE Sherrill Bennett Michele Groff CLARINET Richard Hawkins Andrew Jordan TROMBONE Ken Kroesche Jeanie Lee BASSOON Mark Clague HORN Dave Goldberg Molly Laughlin Amy Sara Clark Susan Duderstadt Melissa Etienne Leah Lagios Mary Anne Nemneth Angela Peterson Anne Schneider Martha Stewart Krista Stillings Suzanne Viviano Margie Warrick -~ \PEERS 1~ David Bentley Kevin~ranshaw Peter Christian Scott DeChant Don Devine Troy Hollar Jason Smith ThorvaldThorson Michael Ward Peter Wick Alan Winieman David Zisn BASS Mike Lelevich *Concertmlatress -C\UMGASS ExEacrnvE Bo / W~ President: Scott DeChant Secretary: Matthew D. Grace Company Promoter: Thor Thorson Pish-Tush: Troy Hollar Vice-Presidenth Nancy Dynes Treasurer Christina Liu Pooh-Bah: Mitch Gilett Sergeant at Arms: S. B. Kegnastie UMGASS FACULTY ADVISORS Piufessor and Mrs. Harry Benford Professor H.D. Cameron Professor and Mrs. Harold Haugh Professor and Mrs. Beverley Pooley Professor and Mrs. Edward Stasheff Professor and Mrs. Alan Wineman Professor and Mrs. Rudi Lindner Professor and Mrs. Richard Lempert Nean Paul Boylan 215 Iolanthe - 1990 ---- PRODUCTION / -- Assistant Stage Managen Carolyn ley Rehearsal Accompanist: Rebecca D. Davis Set/Lighting Crew: Keith Amidon, Gordon Barnett, Jennifer Barnett Mike Daleiden, Bill Dynes, John Etienne, Lee Gallagher, Matt Grace, Christina Liu, Steven Moorman, Jeffhey Osborne, Marie Powell, AnnettePratt, BethSippey,JasonSmith, Brian WebbKevin McKen- non,Jim Lochhead, Lyn Anslow, Pat Hancox, Holly McNulty, JimBarneySusan Dudestadt, Anne Schneider, Krista Stillings, Suzanne Viviano, Kay Trent, Marie Krawczyk, Douglas Rogez, Jeffrey Smith, Jill Callon, Niki Naeve Costume Crew: Karen GoodburneVoss,LauraChristian, PeterChrstianChristlnauu,Susan Duderstadt, Kim Ungenfelter, Mitch Cillett, Judie Spicker, Peter Wick, John Etienne, Mike Ward, Jim Barnes Make-Up: Fred Zinn, David Zinn, Mitch Gillett Ticket Manager Laura Christian Tickets: Peter Christian, David Goldberg, Mich Gillett, Peter-John Hedlesky, Audrey - LaVelle, Thorvuld Thorson, Angela Peterson, Krista Stilling, Troy E. Holar, Laura Christian, I. Kevin Branshaw, Lynn Bennett, Suzanne Viviano, Julie Jacobs, Gordon and Jennifer Barnett,John and Melissa Etienne, David Owens, Michael Ward, Peter Wick, Margie Warrick, JulieWright-Costa, Ruth Deltoer, Laura Christian, Marie Powell Box Office Manager: Laura and Peter Christian 0 Head Ushers: Melissa and John Etienne Captain Shaw By: Stephen Lovely, Michael Ward, David Zinn Captain Shaw's Wardrobe Byr Fred Rico ON Program David Zinn, Troy Hollar, Julie Jacobs, Suzanne Viviano, Audrey LaVelle, David Owens, Cindy Kramer Photography Audrey LaVelle, David Goldberg, Bill Harder Publicity David Zinn, Thor Thorson, Timur Kocak, Troy Holler, Audrey LaVelle, Cindy Kramer Properties: Steven Lovely, Michael Ward Artistic Coordinator: David Zinn 1997 Post Script: We had an experienced team of directors and plenty of talent, both new and old, in the cast. Not surprisingly, this was another outstanding production. Ruth DeBoer 4 was properly imposing as the queen of the fairies, Julie W right was a charmingly beguiling Phyllis. Indeed, the talent and teamwork were truly outstanding. Edith Leavis Bookstein's review discusses the history of Iolanthe, and outlines the plot. Not a word is said about the production. (Leads one to wonder if she were really there.) w Regretfully, our old director and faculty advisor Maynard Klein, died about the time of this production. The files contain a newspaper story about how we pro- vided a chorus to complement former D'Oyly Carte performers (Ken Sandford, Geoff Shovelton, Lorraine Daniels, Patricia Cope, Alistair Donkin and David Mackie) in a concert in the Michigan Theater. New arrivals: Jason Smith (still plugging) and Stephen Lovely. Steve's name later appears in only three more programs, but he collected tickets for half a dozen shows while confined to a wheel chair, for which he deserves special credit. Departing talent: Mary Ann Nemeth (after 7 shows). 216 Our Main Attraction PRINCESS IDA Lydia Mendelssohn Theatre December 1990 Director/choreographer: Eric Gibson Choreographer: Susan Filipiak Costume designer: Karen Goodburne Voss Lighting director: Randall Zaibek Properties: Steven Lovely Cast of Cfuaracters ice Hilarion .... w..~ .... ..... .. ........... w..... ilett ,1 Cams .... Hw..N...""H.".w.............. ._ ..I. Charles Sutherland r ... H.. .M..... 1 .I... ...I".wtN.. I...."HH.MwM ark Brenner Music director: Michael Hoffman Set designer: Steve Moorman Technical director: Michael Daleiden Stage manager: Michael Ward Rehearsal accompanist: Andrew Anderson Pie Orchestra !A&ae(9(qff man, Condfuctor Kinj Prin Cyr Flor Kinj Arei 'Jurosi..........M. I Scynthius ........ Princess Ida.................ayBnce.. ... Lady Blache Lay/ syh............... M elissa ........Sacharissa. Chloe ....... ... MY \M N M \"NN.N"N MN\M \ \ "N........zwuo""M e n ~ll uerr "" ""\NN\ \ M.............\"M"Y ~wN INErich lunew irtli w..1 w.....11..1..1..\ w \ Ir\\Mw./N.M.w/w NN..Mw..N N MI..I..I.w/M W t+W.w.. w..wN.NN/w M/M/.MMNI M.NwN N\ NtIw1\"t.N.N "N.N."N.N.N"w.." ".w /.NIt N. N/"..."..." N .NNI. N /t.N.. t Nt. N...t.N "w.N.N "..w.t.It N N.M..... N .. N .. "at..t tlt/N 6-N.w t. .N ".N..NN.It N/t1.... .... N.N.. . .. NNI6491100 N.\.. N. N4"o - N. w. N- w/ w..N. N... N. N. N. N N. ......-aaMacBride ...... Linda Nadeau~.._Leah Fiin ..~....Christina Clark .......Robirn Lounsbury .P..... rances Norton ..Gretchen Toth-Fejeh VIOLIN *Shi-Lin Zhou Andrew Wise Bing-Kuang Fang Stacey Heisler Jeanne Su Tum Kopf Kathleen Brauer FLUTE Allison Potter Kim Schmude OBOE Loraine Duso *Concertmnaster CLARINET Michael Sullivan Janet Pinto HORN David Goldberg Scott Pendleton TRUMPET Mary Bargiel Todd Craven TROMBONE Jeannie Lee John Zliggorsky VIOLA Huai Zhi Chen Shawn Verfaile CELLO Joan Hovda Amy Kuras BASSOON Dan Stone PERCUSSION Gerald Cleaver BASS NMichael McNeil Young rnnce ruxa nn ?M\ Y~ N MN . M NI Y 'Women of Aamnmt Amy Bogetto Laura Christian Susan Duderstadt Julie Jacobs Leah Laglos Kim Mackenzie Heather Olson Angela Peterson Suzanne Viviano Margie Warrick Janet Williams 'Waruiors of!.irneirand Kevin Branshaw Peter Christian Scott DeChant Don Devine Daniel Herman Troy Hollar Stuart Pinsky Phillip Rhodes Jason Smith Brian Webb Peter Wick Alan Wieman Steve Wood David Znn ~Eecutft'e Board President...........................Troy Hollar Vice-president ........................ Jeff Smith Secretary.........................Michael Ward Treasurer .......................... Christina Liu Company promoter ............... Susan Duderstadt Pist-Tush...........................Julie Jacobs Pooh-Bah ........................ Peter Christian ThM95I~qSS !Faeufty fdvisors Professor and Mrs. Harry Benford Professor H.D. Cameron Professor and Mrs. Harold Haugh Professor and Mrs. B~everley Pooley Professor and Mrs. Edward Stasheff Professor and Mrs- Alan Wineman Professor and Mrs. Rudi Lndner Professor and Mrs. Richard Lempert Dean Paul B~oylan 217 Princess Ida - 1990 Troduction Assistant Stage Managers: Jim Barnes, Lee Smith Ticket Managen laura Christian Box Offic Manages Marie Powell Rehearsal Aaumpanlats Andrew Anderson, Petid.a N Head Ushers: Eva VanLeer, Boelt Shippey Asistant to the Conducter: Jason Smith Master Carpente. Jim arnes Assistant Technical Directon Brian Webb Costume Assistant: Christina Liu Make-ap. Julia HaywoodI, David Zln Poater and T-Shir Design David Tinn Pholography Bill Harder, David Zinn, Audrey LaVelle Assistant Fish: Suzanne Viviano Assistant Tush: David Tin Act 111 Fight Choreography Assistant: Jeff Skevington Set Crews Kelth Amidon, Lyn Anslow,Gordon Barnett, Amanda Flies, Pat Haniox,Jonathan Kaufman, Robin Lounsbury, Marie Powell, Annette Pratt, Phil Rhodes, Eric Ryder, Jason Smith, Myke VanDyke, Alex Williams Lighting Crew: Jim Armbruster, Shannon BiglerJohn Sample with thanks to Gary Decker, Richard Nelson, Henry Reynolds Costume Crew: Laura Christian, Amanda Fies, Doreen Jessen, Jonathan Kaufman, Renee McKinney, Fran Norton, Lisa Reynolds, Phil Rhodes, SheilaSpeights, RebeccaSylvesterJanet Williams, Eric Gibson Properties Assiants Steven Morino, Shirley Philbin, Karen Voss Michael Ward, Beth Wiggart Ticket Crew: Kevin Branshaw, Susan Duderstadt, David Goldberg, Dan Herman, Charles Hudson, Robin Lounsbury, Linda Nadeau, Tara Pettit, Marie Powell, Phil Rhodes, Beth Shippey, Suzanne Viviano, Margie Warrick, Peter Wick Publicity: Susan Duderstadt, Amy Sara Cark, Matt Grace, Troy Hollar, Julie Jacobs, Phil Rhodes, Doug Rogez, Michael Ward, Peter Wick, and thanks to the cast & cew Programs Julie Jacobs, David Zinc, Suzanne Viviano, Audrey LaVelle, Robin Lounsbury, Linda Nadeau, Megan Rubiner. Fred Zinn, David Owens, David Goldberg, Eric Gibson Stage Mom: Sandy Toth-Fejel 1997 Post Script: Our new music director, Michael Hoffman, was a gradu- ate of USC who had spent a year of study in Sweden. He was then studying trumpet at our School of Music, but had Come into demand as a music director with other local groups. The imaginative Eric Gibson introduced some effective innovations is this production. Behind a scrim, during the overture, a pantomime show told the story of how Hilarion and Ida came to be wed in babyhood. That was one exam- ple. Another came at a touching and dramatic moment at the end, when Lady Psyche (Leah Fitschen) consoled the vanquished Princess Ida (Sara MacBride). The veteran Charlie Sutherland returned after a long absence. He was cast in the role of the miserable King Gama, although once long ago he had played King Hildebrand. Charlie is too nice a gentleman to be thought of as Gama, but he was convincingly disagreeable, nonetheless. The thankless role of Lady Blanche was taken by Linda Nadeau, an imposing figure with voice to match. Linda is still around. Julie Komorn (Daily) wrote a review that was one hundred percent praise. (Speaks well for her powers of observation.) The archives contain a letter from one of the faculty advi- sors to UMGASS president Maureen Kirkwood. The let- ter concerns the issue of asking the audience to sing "God Save the Queen." (There had been some complaints by such stalwarts as Phyllis Karr about the practice; but there were symmetric complaints when we didn't sing it.) The writer recommended substituting these words as a reason- able suits-all-tastes compromise: All hail their noble works, Nice notes and verbal quirks, Hail Geeandess! Long may our stage shine bright In their reflected light, And may they be done just right, Our Geeandess! The Pretty Committee at this point was managed by Julie Jacobs, with Patricia Ju as accompanist and Fred Rico as Head Gaffer. The ensemble comprised Scott DeChant, Ruth DeBoer, Jay Kaplan, Doug Rogez, Lisa Schrader, Ken Shepherd, Judie Spicker, and Suzanne Viviano. Now hearken to my strict command. Rupert Whitaker as Hildebrand in 1990 Princess Ida. Photo from UM Bentley Historical Library, Bennish collection, Box 9. 218 Our Main Attraction Death to the invader! Women's chorus in 1990 Princess Ida. From UM Bentley Historic Library, Bennish collection, Box 9. I have been wrong - I see my error now. Sara MacBride (Ida) and Leah Fitschen (Psyche). Photo from UM Bentley Library, Bennish collection, Box 9. 219 H.M.S. Pinafore - 1991 I've snuff and tobaccy, and excellent jacky. Linda Nadeau as Buttercup in 1991 Pinafore. Photo from UM Bentley Historical Library, Bennish collection. Ring the merry bells on board-ship. Karen Thompson (Josephine), David Keosaian (Corcoran) and Bev Pooley (Sir Joseph) Photo from UM Bentley Historical Library, Bennish collection. Kind Captain, your young lady is a-sighing. Alan Wineman (Deadeye) and David Keosaian (Corcoran). Photo from UM Bentley Historical Library, Bennish collection. 220 Our Main Attraction H.M.S. PINAFORE Lydia Mendelssohn Theatre April 11-14 and 18-21, 1991 Director: Audrey LaVelle Set designer: Scott DeChant Costume designer: Karen Goodburne Voss Lighting designer: Steve Moorman Costumer: Laura Christian Accompanist: Scott VanOrnum Music director: Jim Nissen Choreographer: Margie Warrick Technical director: Bill Dynes Stage manager: Kim Lingenfelter Properties: Steven Lovely Graphics: David Zinn Cast of Characters Captain Corcoran -. Sir Joseph Porter, K.C.B. Ralph Rackstraw ..... Dick Deadeye -.......... Boatswain ........... Caroenter's Mate......... ...........................- - --.--...... ...----.... Vavia Keosaian Ntt/t"/N/tt t N N/u/N NtN. N/Nt N N / tN/N YN. t//M"1M I t/" " "M M \ M MIt""Nt M/"M"N ///u/u "/"MM"/" M Nt NtN " t "/ "/"N "/" M NtN " "Nt N N/ I t / t u "" / Y N tM"M" "N w N/N//t t u N " .Nt t/ /t . N // Mt/ /"/ Y/" N N"N" f "t" "// /N.N// // t tt/ N/t"/Y/ Y.Y N....."N/N///N N M/Nut .....Bev Pooley -....... Darryl Taylor ..... Alan Wineman ..... Matthew Grace ....... Mark Brenner .Karen ThompsonJosephine -/................-..........-...--......----....--------------- Cottercup...-.. ......... ....-...-..-.-................. uta Naeau Cousin Hebe.-....... -.- .- ..-. -.- -- --- -- Ruth De oer Sisters, Cousins and Aunts Amy Bogetto Susan Duderstadt Nancy Dynes Kathy Faber Julie Jacobs Leah Lagios Robin Lounsbury Tara Pettit Marie Powell Marni Rachmiel Krista Stillings Ginni Summers Suzanne Viviano Margie Warrick Sailors Kevin Branshaw Scott DeChant Don Devine Mitch Gillett Troy Hollar Mark Ligeski Bob Reizner Phillip Rhodes Jeff Smith Michael Ward Peter Wick Steve Wood David Zinn Executive Board President ............................. Troy Hollar Vice president .......................... Jeff Smith Secretary ........................... Michael W ard Treasurer ........................... Christina Liu Company promoter ................ Susan Duderstadt Pish-Tush ............................ Julie Jacobs Pooh-Bah ......................... Peter Christian UMGASS Faculty Advisors Professor and Mrs. Harry Benford Professor H.D. Cameron Professor and Mrs, Harold Haugh Professor and Mrs. Beverley Pooley Professor and Mrs. Edward Stasheff Professor and Mrs. Alan Wineman Professor and Mrs. Rudi Lindner Professor and Mrs. Richard Lempert Dean Paul Boylan 221 H.M.S. Pinafore - 1991 The Orchestra VIOLIN Mike Sullivan Meg Bragie Roy Zajac Monica Ds Susan French BASSOON Stacey Heisler Mara Siewert Vanessa Leong Jeanne Su' HORN DeLain Bomer VIOLA David Goldberg Jessica Nance Shawn Verfaillie TRUMPET LeonbiVeakimets Dave Polcheck Mike Meretta CELLO Laura Christian TROMBONE Joan Hovda Robert Albritton Jeanie Lee BASS Jonathan Zigman PERCUSSION Cana Weisman FLUTE Kristie Fournier ORCHESTRA MANAGER Annette Sievert Dave Polacbeck OBOE Lorraine Duso *Concertmistress Production Asistantage ag Cami ey Tiket Manuo late C~rlstla Head Ushers Amette Pratt Assistant TedmicalDirecte JasonSmith Gansmit ria Webb Master Riggers: John Eieone, Melissa Etienne Figunehea: hMre. Blvar Kagnastle Anchor Weighen Fred Rico Make-Up: David Zinn, Fred inn Poser and T-shirtDesign: David Zin THw~aphy- Bill Harder, David Zin AssietiJs S manne Viviano Aeeiaea a David Zin setCusw Daniel Herman, Mike DeldeCen isti Llt, Lye Anslow, Steve Moorm a, Amanda Plies, Alex Woiliams, Gordon Barnett, Ann Kucesra, Doran Jessen, Chris Nelander, Marie Powell, Jonathan Kaufman, rank Thaxton, Stave Cecco, Jenmifer Sudm a rs Puerstnau, Pat Hancox, Jim Barnes, Mark Yeb, Holy Ackerman, Rachel Thonmpson,ILaura Christian, Peter Christian, Karen Tipton, Charles Leggate, Matt Grace, Pete Wick AudloVisual Mike Daleiden, Pat Hancox, Gordon Bamett Ann Kucera,Jason Smith Costume Crew: Christina LU, Lyn Anslow, Amanda RiM, Ruth DeBoer, Elen Wetmore, Pat Peters, Eric Gibson, Mary Jo Capeadle, GiniSim mas, Ho Bel, Deose Dshbosel Prperties Asiset Caire Wader, Susan HhpIak,May JoCgapadle, Michad Ward, WkaGibson licke Crw Al. Winen, Carol Winenan, Cordon Bernet, Jennier Brnett Kevin Branshaw, Marni Rachuiel, Peter Wick, Mark Ligeskd Krista Stilings, Marie Powel, Robin Lounasbury, Ruth Lemn Publity: Cast and Crew Progras: Julie Jacobs, David Zion, Suzanne Viviano, Audrey LaVee, Cuck Lever, Robin Lounbury, Unda Nadau, Megan Rubiner, Fred Zin David Owens, David Goldberg Surrgte FrincpalSsllorlFemals Relative Michelle Tramoe 1997 Post Script: This was Audrey LaVelle's first (but highly successful) attempt at directing. She came to us with an MFA from Chicago's Goodman School of Drama, and other good experience on the stage. The enterprising and energetic set designer, Scott DeChant, had somehow managed to acquire several reels of old rope and to fashion some convincingly hefty shrouds for the stage set. With rope to spare, he and his crew had some lines stretched overhead in the auditorium. They even had an annex of the hull set up in the lobby, complete with a nifty figurehead. During intermissions the patrons in the lobby were entertained by members of the women's chorus play-acting, with older ones scolding younger ones for running about where they didn't belong. Our Ralph Rackstraw, Darryl Taylor, became ill just before the opening performance. Fortunately, Jeff Smith hap- pened to be in the chorus. He knew the show, and easily stepped into Darryl's shoes. Another one of those last- minute rescue operations for which UMGASS is justly famous. Beth Colquitt (Daily) gave it a B+. At some point along about 1987 or perhaps slightly earlier, the university's theatrical community shifted the standard schedule, so that we now started opening on Thursday (rather than Wednesday) evening, and added a Sunday matinee to close the run of the show. Fresh talent: Ginni Summers (still active). Bon voyage to Christina Liu (after 8 shows) and Jeff Smith (8). There were now nearly 150 paragons of patronage and about 75 patrons. Love levels all ranks, 1991 Pinafore. Photo from Mitch Gilletts private collection. 222 Our Main Attraction miE YEOMEN OF THEl GUARD Lydia Mendelssohn Theatre December 5-8, 1991 Director: Kyle Marrero Asst. director: Susan Filipiak Set designer: Michael Daleidan Technical director: Brian Webb Stage manager: Troy Hollar Music director: Scott Jensen Choreographer: Kathy Marrero Costume designer: Laura Christian Lighting designer: Jaz Jaslow Properties: Claire Pferdner Graphics: David Zinn CAST OF CHARACTERS (N ORDER OF APPEARANCE) Phoebe Mery u. . ......... ...... _. ..... .................. W Ofted S bdb(l# ... .............. M....?..?.Y....M..?M Dame Carruthers. Sergeant Meryll.. M ""1" Y"............... l"....".."1" ....... ............ w N. w M"NI Leonard Meryll .............. ................. Lieutenant Chohnondely ............ .......... Colonel Fairfax..__... ..... .... ......... R......_uth DeBoer S~Sot~ c hantL ..... M.M......N .. MM.....LizaWirtz ...... ... M.........I{.M.... Lia...,Kevin Casey .ur...>...>.Michael Thompson .N.......N......-........Tricia Klapthor ..... . .N.M........ ......-.. Don Devine w....MM.N.Y. .. w.... .N n Smith .N..........I...... ....... Alan Wineman ..>-..................Kevin Branshaw Elsie Maynard. Jack Point..,...... Kae,.,.... 1st Yeoman ... 2nd Yeoman .. 3rd Yeoman .. 4th Yeoman...1st Citizen......- 2d Citizen.... " t""w "N " Mf[f[Nf t M N Mf f w w New M w '. N "[f"ff N "Nf tM Nf Nf NNf /N""1[""M"" M M"1 w ww [M[M MN" f M P Nf N NN M M N Nf M M M[MM1 W M f MM M M[ f N[ N1N f" tf" fft " f N"Nf"[[ .f. N N[w" IfNfff "" N ... .[N[[ ft Nf ttw [M [ f [f " MI . . . / N . . M M M . u . . . . .. ............ . ....... . . ...... K... ...... b e a n r-ia a ob YEOMEN TOWNSPEOPLE Peter Christian Jeffry Herman David Owens Brian Webb Steve Wood Holly Ackerman Gordon Barnett Daniel Herman Amy Bogetto Susan Duderstadt Jennifer Hargett Dana jessen Doreen jessen Lea jessen Steve Lambes Beth Shippey Christine Smith Jason Smith Judie Spicker Michael Thompson Karen Tipton Margie Van Tuyl Suzanne Viviano EXECUTIVE BOARD President...........................Troy Hollar Vice-president ..................... Patrick Hancox Company promoter ............... Susan Duderstadt Secretary..........................Mark Ligeski Treasurer...........................Tara Pettit Pish-Tush..........................Julie Jacobs Pooh-Bah ........................ Peter Christian UMGASS FACULTY ADVISORS Professor and Mrs. Harry Benford Professor R.D. Cameron Professor and Mrs. Harold Haugh Professor and Mrs. Beverley Pooley Professor and Mrs. Edward Stasheff Professor and Mrs. Alan Winenman Professor and Mrs. Rudi Lindner Professor and Mrs. Richard Lempert Dean Paul Boylan 223 The Yeomen of the Guard - 1991 THE ORCHESTRA *Denotes Concertmaster PRODUCTION CREDITS VIOLIN Daniel Anderson* Laura Cinat Susan French Christina Liu Jeremy Williams Andrew Wise VIOLA David Kaufman Debbie Stearns Katrin Varner CELLO Amy Kuras Beth Vandervennet BASS Michael McNeil FLUTE Michele Groff Kris Kashubosky OBOE April Smith CLARINET Heather Logemann Hillary Vrooman BASSOON Katherine Oliver Maria Sewert FRENCH HORN Kathy Beam David Goldberg TRUMPET Phillip D. Rhodes Jeff Sandstrom TROMBONE Damen Archer Jeanie Lee PERCUSSION Jim Allison ORCHESTRA MANAGER April Smith Assistant Musical Director: Amanda Jensen Make-up: David Adler Set Crew: Mike Daleiden, Brian Webb, Chris Nelander, Daniel Herman, Jeffry Herman, Gordon Barnett, Jennifer Barnett, Millie Griffin, Scott Horstein, Amanda Flies, Jennifer Sudman, Steve Moorman, Ann Kucera, Christina Liu, Jason Smith, Patrick Hancox, Alex Williams, Don Devine Master Carpenter Jim Barnes Ticket Manager. Laura Christian Ticket Crew: Jack Shaefer, Harry Shaefer, David Goldberg, Holly Ackerman, Scott DeChant, Nancy Dynes, Daniel Herman, Judie Spicker, David Owens, Jonathan Cogswell, Liza Wirtz, David Jessen, Ruth DeBoer, Peter John Hedlesky, Trica Klapthor, Beth Shippey, Qordon Barnett, Margie VanTuyl, Marie Powell,Jennifer Barnett Accompanist: Mark Salters Headsman: Fred Rico Poster/r-shirt Design: David Zinn Photography. Bill Harder, David Zinn Publicity: David 22nn, Michael Ward, Tara Pettit, Troy Hollar, Patrick Hancox, and the cast & crew Assistant Pish: Suzanne Viviano Assistant Tush: David Zinn Program: Julie Jacobs, David Zinn, Suzanne Viviano, Robin Lounsbury, David Owens, David Goldberg Costume Crew: Holly Ackerman, Doreen Jeusen, Amanda Flies, Alison Frame, Gordon Barnett, Tricia Klapthor, Liza Wirtz, Margie VanTuyl, Michael Ward, Peter Christian, Ruth DeBoer, Ruth Lehman, Suzanne Viviano, Karen Tipton, Jennifer Barnet, Beth Shippey Audio/Visual: Pat Hancox, Mike Daleiden Please note the following additions to our orchestra: Cello: Wendy Stewart Bass: Brad Phiel Trumpet: Holly Korzilius 1997 Post Script: This was the show that GASBAG reviewer Marc Shepherd ripped to shreds. In truth, although Marc was unnecessarily severe, this was not one of our better shows. We had enthusiatic, yet inexperienced, directors. Their good nature and dedication were not enough to avoid some pitfalls, one of which was in the set. It featured a balcony running across the back of the stage. It was at such a level that people in the theater's balcony could not see the heads of the actors situated on said stage balcony. After years in the chorus, Don Devine reveled in the juicy role of Jack Point. Edith Leavis Bookstein called the show unpolished [as was her spelling it "Yeoman"]. New recruits: Liza Wirtz and Tricia Klapthor (both still around). A most welcome returner was Kevin Casey (as Sergeant Meryll), whom we had not seen since 1976. At this point David Owens had come into his own as a super-reliable proof reader of the programs. Aufwiedersehen: Mike Daleiden (after 6 shows) and Suzanne Viviano (13). 224 Our Main Attraction Pk IIPAT[S of PENZANCE Lydia Mendelssohn Theatre April 9-19, 1992 Director: Eric Gibson Choreographer: Susan Filipiak Set designer: Tobin Ost Lighting designer: Matt Lacey Technical director: Alex Williams Music director: James Nissen Asst. director: Kennera Mullin Costume designer: Nancy Pipkin Asst. costume designer: Karyl Newman Props manager: Claire Pferdner Accompanist: Mark Salters CAST OF CHAcmPs_____________ Frederic ................................................................. Robert Mirshak Major-General Stanley...................................................Bev Pooley Pirate King ........................................................... Matthew Weber Sergeant of Police............................Kevin Casey Samuel ................................................................... Steven Wood Mabel ...................................................................... Lisa Romero Edith ......................................................................... Ruth DeBoer Kate .................................................................. Susan Duderstadt Isabel ................................................................... Jennifer Hargett Ruth ....................................................................... Lindo Nadeau TI-[ ORCHESTRA Violin Sarah Knuson Jeanne Su* Betsy Suger May Sun Jeremy Wiliams** Viola Jessica Nance Katrin Vamer Bass Jonathan zigman Flute Krlsty Fournier Michelle Groff-Kety Oboe Nick Hart Clarinet Dan Henig Eric Tshkoff Bassoon Kathy Oliver Horn Rob Douglas David Goldberg Trumpet Mike Merenla Jeff Sandstrom Trombone Robert Albriton Jeanie Lee *concertmasier **Orchestra Manager DAUGHTERS Susan Balowski Julie Bartholomew Amy Bogetto Meg Bragle Laura Christian Caroline deFauw Kate Fitzpatrick Jennifer Lade Stephanie Lanning Krista Stillings Eliko Sumi POLICE Mark Brenner Peter Christian Don Devine Jackson Morris Robert Reizner Dale Sirnmerman Michael Ward Alan Wineman PIRATES Mark Brenner Jamie Clements Don Devine Barnaby Fry David Jessen Stephen Lambes Robert Reizner Phillip Rhodes Jason Smith John Stroeh David Zinn EXECUTIVE BOARD President ............................. Troy Hollar Vice-president ......................... Pat Hancox Secretary ............................ M ark Ligeski Treasurer ........................... Beth Shippey Company promoter ................ Susan Duderstadt Pish-Tush ............................ Julie Jacobs Pooh-Bah ......................... Peter Christian [ACULTY ADVISORS Professor and Mrs. Harry Benford Professor H.D. Cameron Professor and Mrs. Harold Haugh Professor and Mrs. Beverley Paaley Professor and Mrs. Edward Stasheff Professor and Mrs. Alan Wineman Professor and Mrs. Rudi Lindner Professor and Mrs. Richard Lempert Professor and Mrs. Paul Lehman Dean Paul Boylan 225 The Pirates of Penzance - 1992 IPODUCTION C EDITS - Stage Managen Janet Keller Make-up: David Adler Master Carpenter; Jim Barnes Set Crew: Dan Herman, Bian Webb, Millie Griffin, Mike Daleiden, Gordon Barnett,Jennifer Barnett,JenniferSudman, Sheri Bacon, Jason Smith, Sheri Zablotsky, Heidi Roloff, Jim Barnes, Kristen Gibbs,Amanda Flies, ChrisYarg, PhillipRhodes, HarveyKrage, PaulTarris, Tobin Ost, Malt Lacey, Heather Yerrick, Anita Holszynsko Ticket Manager Laura Christian Ticket Crew: Kate Fitzpatrick, Allison Frame, Holly Ackerman, Dave Jessen, Laura Christian, Peter Christian, Phillip Rhodes, John Stroeh, David Goldberg, Ruth DeBoer, Eric Gibson, Gordon and Jennifer Barnet, Margie Van Tuyl Poster/T-shirt Desigm David Zinn Head Ushers Beth Shippey PhotographyBillHarder, DavidZinn Publicity: David Zinn, Susan Duderstadt, KenneraMullinJason Smith, Gordon Barneit, Amy Bogetto, Steve Wood, Troy Hollor, Ruth DeBoer Assistant Pisht Suzanne Viviano Assistant Tush: David Zinn Program Crews Julie Jacobs, David Zinn, Suzanne Viviano, David Goldberg Cutten Deb Yegerlehner Costume Crew: Holly Ackerman, Shert Bacon, Florence Bell, Allison Frame, Amanda Flies, Beth Gilford, Doreen Jessen, Christina Uu, Mary Meade, Beth Shippey, Anne Stabler, Ginni Summers, Karen Thompson, and the cast. Cutlass Tester: Fred Rico Props Crew: Steven Lovely, Michael Ward, Jim Barnes, Chris Smith, David Adler, Karen Thompson, Jonathan Cogswell, Amanda Flies, Allison Frame 1997 Post Script: Director Eric Gibson chose to move the time frame to the mid-1920s, which allowed him to dress the women as flap- pers and to have them enliven their initial entry by dancing the Charleston. The pirates wore traditional picaresque outfits in the first act, but had switched to American gang- ster fashions in the second. We doubt that the innovations will be repeated any time soon. Director Eric Gibson had the women looking hot, tired, bickering and out of sorts during their initial entry. Then, as they soaked up the pleasant atmosphere, they regained their good nature. A cultural note: The UM alumni association arranged another enrichment program for this show. They also put on similar programs for The School of Music's Barber of Seville and the Theater Department's Palfoey. The atten- dance figures were as follows: The demanding role of Mabel was ably handled by Lisa Ann Romero, a newcomer to Ann Arbor, enrolled in the DMA program at the School of Music. Bev Pooley did an exceptionally fine job as Major General Stanley, but that was only to be expected; this was his third go at the role and a good warm-up for his doing it again during the big fiftieth year celebration. The Pretty Committee was now directed by Kyle Marrero, assisted by Troy Hollar as manager and Mark Salters as accompanist. The singers were Tricia Klapthor, Scott DeChant, Amy Bogetto, Don Devine, Jonathon Cogswell, and Ruth DeBoer. The duties as GASBAG editor were now shared by Rudi Lindner, Dave Goldberg, and Julie Tanguay Hoover. David Zinn continued his years of designing posters, pro- gram covers, and T-shirts, an activity in which he still excels. A potent newcomer: Alex Williams, a second-generation UMGASSer and accomplished set builder who is still going at it. The list of faculty advisors now included for the first time Dean Paul Lehman and his wife, Ruth. In these parts they are chiefly famous as being the parents Laura Lehman Christian, but they had appeared in UMGASS shows decades ago. Barber of Seville Pal Joey Yeomen 42 about 55 89 Edith Leavis Bookstein misspelled Frederic's name and complained that the show lacked energy. She termed it "a little too genteel." She also said "This was well behaved Gilbert and Sullivan and a little dull." [Perhaps she dozed off during the girls' entrance.] 226 Our Main Attraction RUDDIGORE Lydia Mendelssohn Theatre December 3-6, 1992 Director: Mary Ann Stevenson Music director: Ben Cohen Choreographer: Ann Stevenson Set designer Monika Essen Costume designer: Nancy Pipkin Lighting designer: Nicole Baker Props manager: Claire Pferdner Stage manager: Jeff Zupan Costume assistant: Amanda Flies Technical director: Alex "Flex" Williams Accompanists: Andrew Anderson & Liz Olsen Graphics: David Zinn CAST OF CHARACTERS (IN ORDER OF APPEARANCE) ORCHESTRA Zorah Rth ...........................------------ ? ?.? ?.? ?....... ?.----.--- - - -.-- -- .-- - - -MUM .--.................... ,..---..........-.......-......-...........~.......-........N uame riannan ..... Rose Maybud........ Robin Oakapple ... Old Adam .....- N"N N HN N M M H " M N N "w "H H HN HHH H N M HN M NMI M H u M/i NM N w HNH N M w N N I NN N N N 1"N NN NHN M NNI M HH Y "N.N H. . . H . H . H .H H . NN.\....N\N." H 11 H M N.H MN HHM N.N "NN.NN 1 ".N ANN I M"1"""" N.N N N.. w.. H. H. NH .. N" H. H". N. N. H....N N N. N""" H. H. N. N. ...- Jennifer Hargett Susan Duderstadt* -..- Liza Wirtz Andrea Markowicz ............ David Zinn .... Alan Wineman sathan B. Cogswell ...-..Audrey Becker .-... KevinCasey -a.ani Lauslesass.......... ....... . ... .-...... .... jon Mad Margaret...... ................ -.-......................................... Sir Desp ard Murgatroyd................................-...........---....--..-- Violin Adam Ferguson Phil Ficsor Betsy Fuger Laura Jacobson* Janie Slager Jeremy Williams** Viola Katrina Warner Timaro Wilkins Cello Stefan Amarson Rachel Francisco Flute Annette Meschling Kerin Schweitzer Oboe Sarah Downe Clarinet Vivian Garcia Kathy Hines Bassoon Cheryl Huddlestone Sir Roderic Murgatroyd............ ,....................................Mark Brenner Horn David Gokdberg Jennifer Oliva Trumpet Kris Kwapis Ton Pfotenhauer Trombone Aaron LaVere Natalie Mannix Percussion Evan Hause *Concertmistress **Manager BRIDESMAIDS Holly Ackerman* Amy Bogetto* Laura Christian* Suzy Fink Jennifer Johns Maurine McCourry Susan OHarris Stephanie Piro Marni Rachmiel Beth Shippey (* indicates lady-toasts) BUCKS, BLADES, & ANCESTORS Andrew Anderson Peter Christian Don Devine MarshallForstot Chris Fuersnau David Owens Harry Shaefer Jack Shaefer Jason Smith Michael Ward Bass James Alberta The Society would like to take this opportunity to thank its faculty advisors, without whom the grand tradition of UMGASS wouldn't be nearly so grand. Executive Board President ............................. Liza W irtz Vice-president ..................... Holly Ackerman Secretary ............................ Beth Shippey Treasurer ........................... Amanda Flies Company promoter ................ Susan Duderstadt Pish-Tush.......................Doreen Jessen Pooh-Bah .......................... Allison Frame Professor and Mrs. Harry Benford Professor H.D. Cameron Professor and Mrs. Harold Haugh Professor and Mrs. Beverley Pooley Professor and Mrs. Edward Stasheff Professor and Mrs. Alan Wineman Professor and Mrs. Rudi Lindner Professor and Mrs. Richard Lempert Professor and Mrs. Paul Lehman Dean Paul Boylan 227 Ruddigore - 1992 PRODUCTION CREDITS Stage Manager: Jeff Zupan Lighting Crew: David Forstot Make-up: Julie Baum, Jennifer Johns, Stephanie Piro, David Zinn Master Carpenters Jim Barnes SetCrew: JeffDine,LynnAnslow,JimBarnes, Gordon Barnett, Jennifer Barnett, David Jessen, David Kennedy, Lonrr Kierkoc, Hany Neilor, Alex 'Flex" Williams Ticket Manager: Laura Christian Ticket Crew: Beth Shippey, Amanda Flies, HollyAckeman,PeterChristian,LausraChris- tian, MarnlRachmiel, DavidGoldberg, David Owens, Claire Schwartz, Jason Smith, Chris Fuerstnau, Andrea Markowicz, David Zinn Poaterf-shr"Designs David Zin Head Ushers Claire Schwartz Serviette: Fred Rico Photography: BillHarder, Holly Ackerman, Doreen Jessen, David Zinn Publicity: Susan Duderstadt, David Zinn, and sundry members of the cast and crew Assistant Tush: DavidZinn ProgramCrew: DavidOwens,LizaWirtz, DoreenJessen,DavtdZinn,SusanneViviano, Beth Shippey Costume Crew: Karen Tipton, Michael Mattingly, DoreenJessen, SueO'Harris, Peter Christian, Laura Christian, Marni Rachmiel, Beth Shippey, Polly Ester Page Turner: Bolivar Kegnastie Prnps Crew: StevenLovely, Michael Ward, Jonathan Cogswell, Dale Sirnoermnan, Amanda Flies 1997 Post Script: Director Mary Ann Stephenson, a retired librarian, was new to UMGASS, but no theatrical novice. Her choreog- rapher was her daughter, Ann, a medical researcher. Music director Ben Cohen was a master's student in choral con- ducting at UM and conductor for the Michigan Bach Society. In a typical near-catastrophe so typical of UMGASS, con- tralto lead Liz Wirtz crippled herself on the set the day before the show was to open. Sandy Hudson, who had played the role more than once was asked to please stand by. But Liza was determined to go on, so we found her a wheel chair of suitable vintage. Ann Stephenson was draft- ed to dress as a nurse and wheel it about, so all went well. Near the end of the show, when Dame Hannah and Robin are called upon to do battle, Robin sat in a throne-like chair with casters and was pushed about by Old Adam, while Hannah was pushed about by her nurse. They charged about, cutting and parrying like a couple of battle- ships on wheels. It was certainly hilarious, and David Zinn is given credit for the suggestion. Mary Ann Stephenson enlivened the Ghosts' high-noon song by introducing a few female spectres as "ladye-toasts." In addition, the ancestors' torture featured Bev Pooley in female garb singing Buttercup's entry number in his best cracked-falsetto voice. But don't look for Bev's name in the program. That was Mary Ann's special surprise. Edith Leavis Bookstein complained about excessive con- trasts in lighting. She thought everyone was well cast, but pacing seemed a little off and too sedate. In contrast, Melissa Rose Bernardo (Daily) loved the show and called it "lively." The Pretty Committee was now directed by Liza Wirtz and included Amy Bogetto, Ben Cohen, Suzy Frank, Susan Duderstadt, Beth Shippey, and David Zinn. By now the editorship of GASBAG was in the hands of David Goldberg and Julie Tanguay. Costume sketchfor Ancestor#8 by Nancy Pipkin ADDENDA Makeup Designers ................ Joy Dennis, Susie Berneis Running Crew ................. Alex Williams, Jeff Dine, Lynn Anslow, Jim Barnes, Amanda Flies, Clair Pferdner, Mary Ann Stevenson, David Forstot, Jeff Zupan Dame Hannah's Nurse .......... Ann Stevenson 228 Our Main Attraction TheGondoliers Lydia Mendelssohn Theatre April 15-18, 1993 Director/choreographer: Mary Locker Asst. music director: Claire Levacher Set designer: Scott DeChant Lighting designer: Therle Dregansky III Stage manager: Amanda Flies Asst. stage manager: Lynn Anslow Accompanist: Andrew Anderson Dramatis Personae in order of appearance Fiametta ......................................................... Toni Krachenberg Francesco.......................................................................................David Jessen Giulia .............. ...................... Laura Christian Antonio .............. ............. ...... . -----.--...... ---........ Phillip Rhodes Giorgio ..................- ........................ ................................... Alan W inemnan Vittoria ...................................................... ...... Julie Bartholomew Marco Palmieri ...................................................... Curtis Peters Giuseppe Palmieri................................David Zinn Tessa...........................~-............Liza Wirtz G ianetta .................................. -----. -................................... Julie Jacobs Duke of Plaza-Toro ....-...............-----------..............--.... Beverley Pooley Duchess of Plaza-Toro ......................-...........-- .. Linda Nadeau Casilda .................................................................................. Tricia Klapthor Luiz................................................... ........................................ M itch G illet Don Alhambra del Bolero ............................................................. Kevin Casey The Scribe ....................................-------................................. John Alexander Inez................ -.. ... Ginni Summers Music director: Jean Ronald LaFond Choreographer: Diana Hunt Costume designer: Sandra K. Wiley Properties manager: Michael Ward Technical director: Alex "Flex" Williams Makeup: Mitch Gillett Graphics: David Zinn Orchestra Violin Johanna Beaver Laura Rowe * Janie Stager Meg Bragle Alfonso Lopez Stephen Rassi Viola Katrin Vamer Tinarlo Wilkins Cello Stefan Amarson Adam Petty Bass Jim Alberts Afdefa Flute Jennifer Ansel Alison Potter Oboe Nicole Austrins clainet Suzanna Dennis Vivian Garcia Bassoon Cheryl Huddleston Katherine Oliver Horn Rob Douglass David Goldberg Trumpet Kns Kwapis Tom Pfotenhauer Trombone Damon Gupton Greg Ingles Aaron Levere Percussion Ben Thomas *concertmaster CONTADINE Holly Ackerman Kate Morris Curtin Amanda Kalaydjian Jessica Kaplan Carolyn Koch Stephanie Lanning Marni Rachmiel Beth Shippey Ginni Summers Margie Warrick GONDOLIERS Gordon Barnett Joshua Blunt Peter Christian Scott DeChant Don Devine Liam Hoekenga Randy Kurstin Jackson Morris David Owens Jason Smith 'Eecutive'Board President ......................... Liza Wirtz Vice-president ..................... Holly Ackerman Pish-Tush .......................... Doreen Jessen Pooh-Bah .......................... Allison Frame Secretary ......................... ... Beth Shippey Company promoter ................. Marni Rachmiel Treasurer ........................... Amanda Flies Cello ............................-- - Amy Cooper First Violin ....................... Jeremy Williams Clarinet...........................Don Henig facultj yAdvisors Professor and Mrs. Harry Benford Dean Paul Boylan Professor H.D. Cameron Professor Harold Haugh Professor and Mrs. Lehman Professor and Mrs. Richard Lempert Professor and Mrs. Rudi Lindner Professor Beverley Pooley Edward Stasheff Professor Alan Wineman 229 The Gondoliers - 1993 Production Credits Costume Crew: Holly Ackerman, Susan Campbell, Laura Christian, Peter Christian, Kae Curtin, MarilynGouin,LiamHoekenga, Julie Jacobs, David Owens, Marni Rachmiel, Beth Shippey, Ginni Summers Lighting Crew: David Forstot Pigeon Wrangler Fred Rico PropertiesCrew: RalphLangeSceve Lovely, Claire Pferdner, Suzanne Viviano, Beth Wiggert Master Carpenter: Jim Barnes Set Crews Lynn Anslow, Jeff Dine, Erica, A"nandaiesHJane ,rancotur, Don~rsncoeur, Daniel Henman, Julie Jacobs, David Jessen, DoreenjessenjessicaKaplan, DavidKennedy, Carolyn Koch. Phil Rhodes, Alan Wineman Enunciator: Sir Bolivar Kegnamie Head Usher: Claire Schwartz Photography: Bill Harder, Holly Ackerman, Doreen jessen, David Zinn Poster/ T-shirt Design: David Zinn Assistant Pish: David Zinn Assistant Tush: Beth Shippey Pogram Crew: Julie Jacobs, Doreen Jessen, David Owens, Phil Rhodes, Beth Shipp.,, Suzanne Viviano, David Zinn Publicity: Gordon Barnett, Jennifer Barnett, Laura Christian, Peter Christian, Allison Frame, Liam Hoekenga, Dosreen Jessen, Jes- sica Kaplan, Mami Rachmlel, BethShippey, Phil Stuart, David Zinn, and "The Mad Posterers" Ticket Manager: Laura Christian Ticket Crew: Holly Ackermsan, Gordon Banett, Jennifer Bnent Laua Christian, Peter Christian. Amanda Flies, David Jesen, Jessica Kaplan, Carolyn Koch, Toni Krachenberg, Stephanie Lanning, David Owens, Marni Rachmiel, Phil Rhodes, Beth Shippey, lnni Summers, Margie Warrick, Alan Wineman, Lira Wirta 1997 Post Script: Our new music director, Jean Ronald LaFond, was a native of Haiti and a DMA candidate in voice performance. He came to us with an impressive background as an opera singer with gigs in Rome and the Netherlands. Our director, Mary Locker, likes to add a little spice to Gilbert's work by slipping in an extra character on occa- sion. In this case she introduced an official scribe to follow the Grand Inquisitor about and write down his every pro- nouncement. The role was ably handled by John Alexander, who loved the part because he was required nei- ther to dance nor to learn lines. The others in the cast were seasoned veterans, as well. The only newcomer was Toni Krachenberg, the daughter of former UMGASS star Brenda Benks. The archives have an eye-catching poster showing three UMGASS characters with wide-opened mouths. In large letters: "We're looking for new faces," then in smaller let- ters: "Big mouths are optional." Edith Leavis Bookstein's review has a typically snide head- line: "Gondoliers stays afloat - mostly." Ticket prices continued to rise, ranging now between $8.00 and $12. Aufwiedersehen to: Jackson Morris (after 11 shows). The soldiers of our Queen. Dragoon Guards in 1993 Patience. Kevin Casey (Colonel Calverley), John Alexander (Major Muratroyd) and Scott Piper (Duke of Dunstable). Photo by Mitch Gillett, from his private collection. 230 Our Main Attraction COX & BOX TRIAL by JURY Trueblood Theater July 8-11, 1993 Director: Mitch Gillett Music director: Ben Cohen Set designer: Fred Rico Costume designer: Holly Ackerman Technical director: Alex Williams Lighting designer: Steve Krawcke Asst. technical director: Lynn Anslow THE CAST Cox & Box THE CAST Trial by Jury Bouncer .............................. Don Regan Mr. Cox ........................... Michael Ward Mr. Box ........................... David Troiano MUSICIANS Piano Violinists Liz Olsen Jeremy Williams Kazno Seta Viola Timario Wilkins French Horn David Goldberg Cello Nat Chaitkin Usher ........................ Kevin Lee Branshaw Edwin (Defendant) .................... Steve Pierce The Learned Judge ..................... David Zinn Counsel for Plaintiff .................. Harry Shaefer Foreman of the Jury ................. Daniel Herman First Bridesmaid ...................... Julie Jacobs Angelina (Plaintiff) ................ Robin Lounsbury Public Lynn Anslow, Cheryl Clarkson, Scott Mitchell, Lori Kathleen Gould, Jessica Kaplan, Liza Wirtz Jury Bill Colson, Liam Hoekenga, Ken Merte, Erik Olsen, Jim Robinson Bridesmaids H.J. "Catfish" Ackerman, Suzy Fink, Tricia Klapthor, Victoria Scott, Beth Shippey 4 Ah, how we loved, that child and I Duet in 1993 Patience. Liza Wirtz (Lady Angela) and Tricia Klapthor (Patience). Photo by Mitch Gillett, from his private collection. 231 Trial By Jury & Cox and Box - 1993 PRODUCTION Ticket manager ............. Jessica Kaplan Stage manager .............. David Kennedy House manager ............. Claire Schwartz Graphics designer ............ David Zinn Properties managers .......... Claire Pferdner, Steven Lovely Rehearsal accompanist ........ Liz Olsen Gavel tester ................ S.D. Chant Primo ballerino ............. Bolivar Kegnastie Running crew ............... Alex Williams Set construction ............. Alex Williams, Lynn Anslow, Dan Herman, David Kennedy, Tricia Klapthor, Erik Olsen, Robin Lounsbury, Alan Lounsbury, Ken Merte, Laura Merte, Beth Shippey, Mitch Gillett, Marni Rachmiel, Gordon Barnett, Jennifer Barnett Costume construction ........ Holly Ackerman, Cynthia Lempert, Victoria Scott, Julie Jacobs, Mitch Gillett, Lori Gould, Beth Shippey, Liza Wirtz, Jessica Kaplan, Polly Ester Ticket crew ................. Jessica Kaplan, Peter and Laura Christian, Cheryl Clarkson, Erik Olsen, Keven Branshaw, Holly Ackerman, Marni Rachmiel, Dan Herman, Victoria Scott, Lori Gould Publicity ................... Marni Rachmiel, David Zinn, Jessica Kaplan, CAST Program/Lobby Display ....... Beth Shippey, David Zinn 1997 Post Script: There is a rumour going around about a ringer or two in the cast. "Scott Mitchell," for example is thought to be director Mitch Gillett in deep disguise to spy on the rest of the cast. New talent: David Kennedy. Hold! Unhand me. or I scream! Eric Gibson (Archibald) and Tricia Klapthor (Patience) in 1993 Patience. Photo by Mitch Gillett, from his private collection. 232 Our Main Attraction PATIIENCIE Lydia Mendelssohn Theatre December 2-5, 1993 Director: Mary Locker Asst. music director: Scott Parkman Costume designer: Cynthia Lempert Lighting designer: Steve Krawcke Properties: Michael Ward Music director: Claire Levacher Set designer: Alex Williams Technical director: David Kennedy Stage manager: Amanda Flies Accompanist: Lynn Kompass Graphics: David Zinn CAST OF CHARACTERS ORCHESTRA Lady Angela. Lady Ella ...... Lady Saphir.. N l+w.NMww..wMlMN!!lMNwNh.!lww N Mwa.N M!!.l. 11l."M MN. l........."w .. ww...aailll1111 ."af.la.. 1 11 l1l al l a!!!l .. ".."wa.r i ... ". w .wN a!! l Ntaa 1a u a lw s.wa !ralrN al...N .N.lI.N r. .N s. Lady jane ....................................................................... Patience.................... Major Murgatroyd..... Colonel Calverley.. Lieut. The Duke of Du Reginald Bunthorne... Archibald Grosvenor, -liritor ........................................................... .................. "........................N....... .... .................................... unsta le................................... ... .-........ N.......1...I......................... .........11............................................. cllt V ...... ..............................."....................................... .. LizaWirtz .Rebecca Whiteford ........... Julle Jacobs ......... Linda Nadeau ........Tricia Klapthor .......John Alexander ........Kevin Casey .........Scott Piper -... David l./Zinn .......... Eric Gibson ............... Jim Barnes Dragoon Guards Gordon Bamett Bill colson Frank DeMita Don Devine Liam Hoekenga Jim Marsh Jason Miller David Owens Robet Reizner Jim Robinson Jason Smith Michael Ward Violin Alison Hoogerwerf *Bryan Johnston Stephen Qassi Daniel Roumain Song-I-lea Sackrider Robert Yang Viola Julia Gray-Lion Lin Yi-Chen Cello Aria DiSalvio carolyn Mead Double Bass Joel Knutson Flute Jin Ta Kristine Parker Oboe Jennifer Gabrysh Clarinet Carey Bell Suzanna Dennis Bassoon Matthew Harvell Horn Robert Douglass David Goldberg Trumpet Mike Austin Christopher Hart Trombone Aaron LaVere Christopher Nigrelli Percussion Evan Hause *ConcertmasterBeth Abbott Holly Ackerman Jennifer Freese Denise jobin Kimberley Johnson Jessica Kaplan Kathy Meyer Marni Rachmiel Beth Shippey Ginni Summers Pamela Vachon Anne Walker Executive Board President ............................. Liza Wirtz Vice-president ..................... Holly Ackerman Treasurer .......................... .Amanda Flies Pooh-Bah .......................... Jessica Kaplan Company promoter ................. Marni Rachmiel Secretary ............................ Beth Shippey Pish-Tush .......................... Doreen Jessen Matter-of-Fact young man ................ Fred Rico We would like to take this opportunity to thank our stalwart Faculty Advisors, without whose loyal support we would not be Empyrean, Della Cruscan, or even Early English. Professor and Mrs. Han-y Benford Dean Paul Boylan Professor H. D. Cameron Professor Harold Haugh Professor and Mrs. Paul Lehman Professor and Mrs. Richard Lempert Professor and Mrs. Rudi Lindner Professor Beverley Pooley Professor Edward Stasheff Professor Alan Wineman 233 Patience - 1993 PRODUCTION CREDITS Assistant Costume Designer: Tam Prentice Act II Millinery Unit: Steven Lovely, Michael Ward AnashtiWcelrp. Liwda ,1r~ Costume Crew: Beth Abbott, Holly Ackerman, Wide Bear, Glen Cooley, Amanda Flies, Cris Fosselman, Julie Jacobs, Doreen lessen, Steven Lovely, Kathy Meyer, Linda Nadeau, Beth Shippey, Ginni Summers, Pam Vachon, Michael Ward Grosvenor Body Double: Mitch Gillett Master Electrician: Jen Osbom Mystery Date: Mitch Gillett Lighting Crew: Dan Duran,AndyKozidd, Maura McDermott, Fuentd Ovahuna Properties Crew: Barb Kramer, Suzanne Viviano Lange, Steven Lovely, Barb Thuneil, Beth Wiggert, David Zinn Master Carpenter Jim Barnes SetCrew: Lynn Anslow, Jennifer Bamett, Aubrey Beardsley, Frank DeMita, Jeff Dine, Amanda Flies, Lyell Haynes, Liam Hoekenga, Denise Jobin, Mike Powell, Jason Smith, Anne Walker House Manager: Claire Schwartz IlluminatDr: Sir Bolivar Kegnastie Make-up: Sarah Baum, ElizabethWooley, Ginni Summers Photography: Bill Harder, David Zinn Program Editor: Doreen Jessen Program Crews: )esskca Kaplan, Davji8 Owens, Beth Shippey, David Zinn Publicity: Marni Rachmiel Ticket Manager Jessica Kaplan' Ticket Crew. Bth Abbott, Ho)' Ackerman, Gordon Barnett, Laura Christian, Peter Christian, Liam Hoekenga, Trish Klapthor, Denise Jobin, Cynthia Lempert, Jim Marsh, Linda Nadeau, David Owens, Mami Rachmiel, Don Regan, Jim Robinson, Beth Shippey, Cinni Summers, David Zinn 1997 Post Script: Our music director, Claire Levacher, was a Parisian with a master's degree in philosophy from the Sorbonne and sev- eral musical honors, most notably a first prize at the Conservatoire National Sup6rieur de Paris. She was at UM to study conducting, and we found her an exceptionally able and popular exponent of that art. The Grand Old Man of the set crew, Jim Barnes, was finally granted his most cherished wish and was given the role of the solicitor. More than that, Mary Locker expand- ed the part so that Jim partook of plenty of action on stage - but no spoken lines. And so Jim's faithful work on two or three dozen sets was at last rewarded. Gerald Brennan (AA News) started his review: "Sweet and wicked satire, brought to life with a rowdy grace and good humor, made an evening of superlative opera." [A refresh- ing improvement over ELB's ever-worsening reviews.] David Shepherdson (Daily) found it, "a thoroughly enjoy- able evening." A particularly talented newcomer was Scott Piper, who played the role of the Duke. He's not been back since, but we are still hoping. Another welcome newcomer: Pam Vachon. By this time the presidency of FUMGASS had fallen to the capable Margie Warrick. The other officers continued as before: Vice-president; John Alexander Keeper of the rolls: Peter Christian Treasurer: Laura Christian GASBAG editor: David Goldberg Mail master: Charles Hudson Sad is that woman's lot. Linda Nadeau as Lady Jane. Photo by Mitch Gillett, from his private collection. The pain that is all but a pleasure. The calm before the storm near the end offirst act, 1993 Patience. Photo by Mitch Gillett, from his private collection. 234 Our Main Attraction THE PVIIKADO Lydia Mendelssohn Theatre April 6-10, 1994 Director: Eric Gibson Asst. director: Margie Warrick Costume designer: Cynthia Lempert Lighting designer: Peter Davis Technical director: D Graphics: Davi CAST OF CHARACTERS Music director: Ben Cohen Asst. music director: Brad Pfeil Production stage manager: Alex Williams Set designer: Scott DeChant avid Kennedy d Zinn ORCHESTRA UN DOUBLE BASS HORN beth Rust * Chad Kuypers David Goldi hne Eller Todd Mitzu y Thompson FLUTE ert Yang Keren Schweitzer TRUMPET Frances Tate Chris Bubol LA Phil Rhodes line Lee OBOE n Varner Sarah Dow TROMBON Brookes Ban LO CLARINET Chris Osinsi a Christian Carey Bell Di SaMo Don Henig PERCUSSIO Scott Parkm BASSOON Cheryl Huddleston *Concertma in order of appearance NanKiPOO............................. ........................................ Alexanaer Drown Pish-Tush. Pooh-Bah Ko-Ko ___ .................... ..................... "............................... 1 ........................................................................ .VIV"....................... ................................... Tum-rum Peep-Bo .. Ptti-Sing. Mikado..., K ti hn love 1111\/eNINI/\\\III/""10011.1 \I"\"1"\//"0110.0/.I 01\8011/"101 III""\\"10"eay 00000110010100"\00111 NI.1"\000180"\00000011" N "1101110011.0 "01111 8 81 0 8 8 8 81 0N 00880 N010081I11"....................... N 11..040 " 1880NI.. N180808\80880801\8888801810/188000\1.000"\...\1. 8100008808001080 .Daniel Neer Peter John Hedlesky ........ John Alexander ........ Kate Fitzpatrick ................. Suzy Fink ....... Stephannie Piro ............... Bev Pooley .......... Unda Nadeau ViOl Elizal Dapi Jenn RobE Viol Caro Katri CEU Laur Aria berg da z E mes ki N an ster a sU Ia ........................................................................... GENTLEMEN Frank DeMita Don Devine Gene Kim Jim Marsh Tom McMurtrie Jason Miller Ed Morin Chris Pearce Jason Smith John Stroeh Stefan Treatman Alan Wineman LADIES Amy Anderson Kelly Gillespie Kathryn Hart Jessica Kaplan Stephanie Lanning Carol Otto Marni Rachmiel Julie Reinish Beth Shippey Ginni Summers Pam Vachon Kelly Wamke Executive Board President ............................ Beth Shippey Vice-president ..................... Holly Ackerman Pish-Tush .......................... Doreen Jessen Treasurer ........................... Amanda Flies Secretary .......................... Ginni Summers Company promoter ................. Marni Rachmiel Pooh-Bah .......................... Jessica Kaplan Stalwart ...................... Sir Bolivar Kegnastie FACULTY ADVISORS Professor and Mrs. Harry Benford Dean Paul Boylan Professor H.D. Cameron Professor and Mrs. Harold Haugh Professor and Mrs. Paul Lehman Professor and Mrs. Richard Lempert Professor and Mrs. Rudi Lindner Professor and Mrs. Beverly Pooley Professor and Mrs. Edward Stasheff Professor and Mrs. Alan Wineman 235 The Mikado - 1994 PRODUCTION CREDITS Accompanists: Sean Fleming, Liz Olsen Asst. Costume Designer: Tam Prentice Costume Crew: Beth Abbott, Jenni- fer Barnett, Laura Christian, Glen Cooley, Jeff Dine, Amanda Fies, Sandy Goodfliesh, Peter Greenquist, Stephanie Lanning, Carol Otto, Phil Rhodes, Beth Shippey, Jane Soranno, Ginni Summers,Pam Vachon, Sonja Waite, Alex Williams, Liza Wirtz House Manager: Claire Schwartz Assistant Ughting Designer: Jeff Dine Ughting: Amanda Flies, Russ Hagen, Fred Rico Properties Crew: Peter Davis, Scott DeChant, Jeff Dine, Eric Gibson, Sandy Goodfliesh, Doreen Jessen, Jessica Kaplan, Cynthia Lempert, Steven Lovely, Michael Ward, Alex Williams Make-up: Elizabeth Axelson, Jane Soranno, David Zinn Photography: Bill Harder, David Zinn Program Editor: Doreen lessen Program Crew: Holly Ackerman, Lucius Junius Brutus, Jessica Kaplan, David Owens, Beth Shippey, David Zinn Publicity: Mami Rachmiel Asst. Technical Director: Liam Hoekenga Master Carpenter: Jim Barnes Set Crew: Lyn Anslow, Gordon Barnett, Jeff Dine, Brian Haag, Usa Headings, Gene Kim, Jeff Singman, Sonja Waite, Alex Williams, Alan Wineman, David Zinn Asst. Stage Manager: Amanda Files Ticket Manager: Jessica Kaplan Ticket Crew: Holly Ackerman, John Alexander, Gordon Barnett, Jennifer Bamett, Peter Christian, Laura Chris- tian, Peter-john Hedlesky, David Owens, Beth Shippey, John Stroeh, Ginni Summers, Stefan Treatman, Pamela Vachon, David Zinn 1997 Post Script: This was Eric Gibson's final fling with us before going off to study directing at Indiana University. In his ten terms with us he had filled many responsibilities, all with enthu- siasm and imagination. Our Nanki-Poo, Alex Brown, was a young man of many talents. That he had a lovely tenor voice you might have guessed. But perhaps more surprising is the fact that, com- ing out of high school, he had been a much sought-after quarterback. The Wolverines wanted him, but the School of Music (and UMGASS) won him over. The three lttle maids: Kate Fitzpatrick, Suzy Fink, and Stephanie Piro made a remarkably well-matched trio. To top it off, Stephanie, in the role of Pitti-Sing looked like the twin of Jessie Bond, the Savoyard who created the role. The set, we fear, was too stark for our tastes. Marni Raith (Daily) wrote that, "this 'Mikado' was a fan- tastic introduction to the magic of Gilbert and Sullivan." Her concluding statement called it, "a phenomenal evening of theatrical entertainment." At this point the FUMGASS High Command had creat- ed a yet-more-exalted rank of membership: Peerless Philanthropic Paladin, KCB. Entry requirements are extremely stiff, but if you send $100, they waive all other requirements. Goodbye to: Scott deChant (after 18 shows). The Pretty Committee at this time was directed and manged by Beth Shippey, with help from Scott DeChant, Mitch Gillett, Jessica Kaplan, Don Devine, Julie Jacobs, Tricia Klapthor, and David Zinn. FUMGASS now had a newly created level of giving for well-heeled admirers: Peerless Philanthropc Paladins. The level of giving was set at $100, and there were nineteen entries on the initial list. 236 Our Main Attraction THE SORCERER Director/choreographer: Mary Locker Asst. director: Diana Hunt Set designers: Michael Ward, Alex Williams Stage manager: Linda Nadeau Props: Lynn Anslow Graphics: David Lydia Mendelssohn Theatre December 1-4, 1994 Music director: Tim Hoover Costume designer: Glen Cooley Technical designer: David Kennedy Asst. technical designer: Alex Williams Lighting: Jeffrey Dine Zinn ORCHESTRACAST OF CHARACTERS Sir Marmaduke Pointedextre (an Elderly Baronet)..............Robert Sherrane Alexis (of the Grenadier Guards, his son) ........................ Alexander Brown Dr. Daly (Vicar of Ploverleigh) ................................ Charles Sutherland Notary ................................................................................... Alan W ineman Lawyer........................................................................................... Dan M odel John Wellington Wells (of J.Wells & Co., Family Sorcerers)...... David Zinn Lady Sangazure (a Lady of Ancient Lineage) ..................... Anne Walker Aline (her daughter, betrothed to Alexis)...............Kate Fitzpatrick Mrs. Partlett (a Pew Opener)N.. .................... Ginni Summers Constance (her daughter) . ...... Tricia Klapthor Gardener........................................,............................................David Owens Chorus of Villagers ...... Holly Ackerman, Gordon Barnett, Elizabeth Blakely, Mark Brenner, Charles Cares, Laura Christian, Walden Chu, Bill Colson, Don Devine, Amanda Flies, Angela Fong, Stacey Harrington, Liam Hoekenga, Diana Hunt, George Hunt, Katherine Hunt, Virginia Hunt, Jessica Kaplan, Chelsea Kummer, Jeff Middents, Jason Miller, Liz Mitchell, Dan Model, Marni Rachmiel, Bob Reimer, Phil Rhodes, Elizabeth Robinson, Jim Robinson, Claire Schwartz, Beth Shippey, Jason Smith, Pamela Vachon, Traci Wenner Jack Schaefer Executive Board President ............................. Jason Miller Vice-president ..................... Holly Ackerman Treasurer........................Amanda Flies Secretary .......................... Claire Schwartz Pish-Tush ......................... Ginni Summers Company promoter .................. Pamela Vachon Pooh-Bah ........................... Beth Shippey 1997 Post Script: One important newcomer was Robert Sherrane (Sir Marmaduke), a grad student in library science, a G&S scholar, and a talented performer to boot. There were three generations of Hunts in the chorus: Ginny, her son George, George's wife Diana, and their ten-year old daughter Katherine. Each had more fun than the other. VIOLIN Adam Ferguson Betsy Fuger Xiang Gao Angela Griffith Daniel Roumain Song-Hea Sackriter Bob Yang * VIOLA Eileen Beckett Tim Wilkins CELLO AbbyAlwin Erin Himrod BASS Chad Kuypers FLUTE Susan Bozell Chang Lu OBOE Jessica Boelter CLARINET Carey Bell Don Henig * Concert Master ** Orchestra Manager BASSOON Eric Vamer HORN Dave Goldberg Todd Mitsudo TRUMPET Brian Gill Dan Savolskis TROMBONE Natalie Mannix ** Robert Myers PERCUSSION Al Clark PRODUCTION CREDITS Accompanist: Ling-Ju Lai Costume Crew: Elizabeth Blakely, Amanda Flies, Lisa Headings, Joan Krueger, Barbara Levine, Tam Prentice, Beth Shippey, Ginni Summers, Sonja Waite, Anne Walker House Manager: Claire Schwartz Assistant House Managers: Cathy Chow, Lisa Headings, Kathi Reister Lighting: David Kennedy Properties Crew: Michael Ward, Cynthia Lempert, Steven Lovely, Alex Williams Make-up: Fred Rico, Sir Bolivar Kegnasie Photography: Bill Harder (poster and studio photography), David Zinn Program Editor: Ginni Summers Program Crew: Jessica Kaplan, Phil Rhodes, Beth Shippey, Victoria Scott, David Zinn Publicity: Pamela Vachon Resident Conjurer: John R. Pullum Assistant Technical Director: Alex Williams Set Crew: Jim Barnes, Jennifer Barnett, Michael Burek, Frank DeMita, Mark Fisher, Lisa Headings, Liam Hoekenga, Bill Johnson, Cynthia Lempert, Jason Miller, Steven Lovely, Steven Stewart, Raj Suri, Lisa Waite, Sonja Waite, Alex Williams Banquet Presser: Imogene Happ Ticket Manager: Beth Shippey Beth's Ticket Pal: Jessica Kaplan Ticket Crew: Holly Ackerman, Gordon Barnett, Jennifer Barnett, Bubbles Blakely, Diana Christian, Laura Christian, Peter Christian, Amanda Flies, Liam Hoekenga, Jessica Kaplan, Cynthia Lempert, Cuddles Middents,JasonMiller, David Owens, Phil Rhodes, Elizabeth Robinson, RobertSherrane,JasonSmith,Ginni Summers, Alan Wineman 237 The Sorcerer - 1994 Now to the banquet we press. The 1994 Sorcerer's happy ending. Photo by Mitch Gillett, from his private collection. 238 Our Main Attraction H MSe PINAFORE Lydia Mendelssohn Theatre April 6-9 and 13-16, 1995 Director/choreographer: Margie Warrick Music director: Tim Hoover Asst. to the director: Amanda Flies Costume designer: Julie Hoover Set designer: David Kennedy Costume director: Tam Prentice Stage manager: Amanda Flies Props: Lori Kathleen Gould Technical director: Sara Tracy Graphics: David Zinn CAST OF CHARACTERS Josephine ................................................................................. Rebecca Whiteford Ralph Rackstraw.................................. Curtis Peters Captain Corcoran ........................................................................... Matthew Grace Little Buttercup....................................................................Barbara Smith Hilbish Sir Joseph Porter, K.C.B............................................................... Beverley Pooley Dick Deadeye....................................................................................... Don Regan Cousin Hebe ..................................................................................... Kandy Harris Boatswain........................................................................................Michael Ward Carpenter's Mate.................................Peter Christian SAILORS Michael Appel Charles Cares Don Devine Liam Hoekenga Josh Marmer Jim Marsh Dan Model Phil Rhodes Jason Smith Alan Wineman SISTERS, COUSINS AND AUNTS Holly Ackerman Cheryl Clarkston Robyn Denson Lissa Goldberg Stacey Harrington Jessica Kaplan Mary Locker Liz Mitchell Rebecca Peters Claire Schwartz Beth Shippey Mari Smookler Executive Board President ............................. Jason Miller Vice-president ..................... Holly Ackerman Treasurer ........................... Amanda Flies Company Promoter ................. Pamela Vachon Pooh-Bah ........................... Beth Shippey Pish-Tush ......................... Ginni Summers Secretary .......................... Claire Schwartz 239 H.M.S. Pinafore - 1995 ORCHESTRA PRODUCTION CREDITS VIOLIN Adam Ferguson Betsy Fuger Xiang Gao Angela Griffiths Daniel Roumain Song-Hea Sackriter Bob Yang * VIOLA Eileen Beckett Tim Wilkins CELLO Abby Aiwin Laura Christian BASS Chad Kuypers FLUTE Susan Bozel Chang Lu OBOE Jessica Boelter CLARINET Carey Bell Don Henig Concert Master ** Orchestra Manager I BASSOON TICKET MANAGER: Beth ShippeyBcAOON TICKET CREW: Holly Ackerman, Lynn Anslow, Mike Appel, Gordon Barnett, Eric Varner Jennifer Barnett, Diana Christian, Laura Christian, Peter Christian, Cheryl Clarkston, Amanda Flies, Liam Hoekenga, P.J. Jenkinson, Jessica Kaplan, Ruth Lehman, HORN Cynthia Lempert, Mary Locker, Jeff "Cuddles" Middents, Liz Mitchell, Dan Model, Dave Goldberg David Owens, Rebecca Peters, Marni Rachmiel, Don Regan, Phil Rhodes, Ginni Peter Hui Summers, Pam Vachon, Alan Wineman ASSISTANT TO THE COSTUME DIRECTOR: Holly Ackerman CORNET COSTUME CREW: Holly Ackerman, Laura Christian, Peter Christian, PT e GBos Amanda Flies, Beth ShippeyREHEARSAL ACCOMPANIST: Jean Schneider TROMBONE MASTER ELECTRICIAN: Jeff Dine Natalie Mannix ** SET CREW: Jim Barnes, Phil Rhodes, Steve Stewart Robert Myers SET ARTIST: Cynthia LempertPROPERTIES CREW: Michael Ward, Steven Lovely PERCUSSION ASSISTANT STAGE MANAGER: Elizabeth A. RobinsonPHOTOGRAPHY: Bill Harder (studio photography), David Zinn (candids) Lee Buckhorn PROGRAM EDITOR Ginni Summers SUIT PRESSER: Imogene Happ ASSISTANTS TO THE PROGRAM EDITOR: David Zinn, Victoria Scott PROGRAM CREW: Jessica Kaplan, Phil Rhodes, Beth Shippey, Robert Sherrane PUBLICITY: Pamela Vachon DRAMATURG: Fred Rico HAMATURG: Bolivar KegnastieCott Westphal BOX OFFICE MANAGER: Marni Rachmiel obyn Denson, HOUSE MANAGER: Claire Schwartz issa Goldberg ASSISTANT HOUSE MANAGERS: Jeff "Cuddles" Middents, Lisa Headingsi G eg DANCE CAPTAINS: Holly Ackerman, Don Devine Lynn Anslow, RUBBER BAND TASTER: Junipurr the Cat Alex Williams Addenda Lighting designer ................... S Additional costume crew ............. R L Additional set crew ................... 1997 Post Script: Margie Warrick was in her first directorship, but she showed herself to have a talent for it, indeed multi-talent. At the same time she continued as ultimate leader of FUMGASS, while holding down her full-time job as director of student affairs at the UM School of Public Health. Verily, a wonder woman who never lost her sweet- ness. At one of the performances, as the audience rose to sing "God save the Queen," Lila and Bob Green, in their sim- ulations of QE II and Prince Philip, stepped out from behind the curtain to lead the singing. Everyone was prop- erly impressed. Proving that perseverence pays, Matt Grace found himself in the role of Captain Corcoran, whereas he had been merely the boatswain in our previous Pinaforian produc- tion. Ann Sharp (AA News) had this to say: 'Warlock and her cast and crew capture the arch yet rowdy spirit of Gilbert perfectly." In this case our production was reviewed near the top of the first page of the April 12 New York Times. This was a day or two after Newt Gingrich had made a speech about his Contract with America over national TV. The Times happened to have a reporter covering a meeting of Michigan Republicans in Ypsilanti. The question came up, "How many had watched Newt?" Almost none had, and Peter Fletcher, who was presiding, "announced without apology that he had taken in a particularly fine perfor- mance of'H.M.S. Pinafore' at the University of Michigan, in Ann Arbor." At about this time Cynthia Haidostian Wilbanks turned over her FUMGASS treasurer duties to Laura Christian. Cyndy had held the position for twenty thankless years. Can Laura think of doing anything less? Don Devine's name now appears as GASBAG editor in place of the long-suffering David Goldberg. Dave was given special recognition at the UMGASS/FUMGASS afterglow party. In response Dave, wiping a tear from his eye, said, "I'm touched - but then you knew that." 240 Our Main Attraction THE GRAND DUKE Lydia Mendelssohn Theatre December 7-10, 1995 Director: Mary Locker Music director: Tim Hoover Asst. director: Marni Rachmiel Choreographer: Laura Christian Set designer: Alex Williams Technical director: Cynthia Lempert Costume designer: Mitch Gillett Costumer: Tam Prentice Lighting: Damian A. Caza-Cleypool and Adam Driver Graphics: David Zinn CAST OF CHARACThRS in order of appearance LudwigLead Comedian oftheCompany.................................................David Zinn Lisa,a Soubrette............................................ ............................... Rebecca Peters O lga.............................................................................................................LizaW irtzElsa........................................................................................................BethShippey Gretchen ..................................................................... ................. N iki Dickerson Bertha..........................................................................................Laura Christian M artha................... ......... .............. ........................................ JessicaKaplan N tr .. 1N . . ----... N.........- -.....-46......1.............1...~...........Tom\Petiet ErnestDumrnkopf,a TheatricalManager................................................MitchGillett JuliaJellicoe,an English Comedienne..............TriciaKlapthor Rudolph,GrandDuke ofPfenning Halbpfenning...............................Robert Sherrane The BaronessvonKrakenfeldt............................................BarbaraSmith Hilbish Herald............................................Don Regan The Prince ofMonte Carlo......................................................MatthewGrace ThePrincessof MonteCarlo...................... ..........MeganLoomis Duke of Riviera........................Michael Ward ViscountMentone.....-.... -.........---........-.............. AlanWineman ACTORS, ACTRESSES & TOWNSPEOPLE: Leslie Austin Stacey Harrington Harry Shaefer Peter Christian Liam Hoekenga Jack Shaefer Cheryl Clarkson Josh Marmer Luke Shaefer Don Devine Angela Milarch David Sirkin Amanda Flies David Owens Jason Smith Ron Fracker Robert Reizner Leslie Smith Allison Frame Elizabeth Robinson Kathryn TaylorCharles Roth CHAMBERLAINS & RENTED NOBLES: Gordon Barnett Jeff Middents David Chin Claire Schwartz Bill Colson Victoria Scott Cynthia Lempert Woo Jin Shim Executive Board Faculty Advisors President .. .. .. .. .. .. .. .. .. .. .. ..Robert Sherrane Harry and Betty Benford Vice-president .. .. .. .. .. .. .. .. .. Elizabeth Robinson Dean Paul Boylan Treasurer..........................Angela Fong Prof. H.D. Cameron Pish Tush .. .. .. .. .. .. .. .. .. .. .... . .. Jason Smith ProE. and Mrs. Harold Haugh Company promoter. .. .. .. .. .. .. ..Stacey Harrington Prof. and Mrs. Paul Lehman Secretary .. .. .. .. .. .. .. .. .. .. .. ... Gordon Barnett Prof. and Mrs. Rudi Lindner Pooh-Bah. .. .. .. .. .. .. .. .. .. .. .. ..Amanda Flies Prof. and Mrs. Berverly Pooley Prof. and Mrs. Edward Stasheff Prof. and Mrs. Alan Wineman 241 The Grand Duke -- 1995 ORCHESTRA VIOLIN I Tim Christie *Adam Ferguson Carolyn Lucancic Song-Hea Sackriter VIOLIN II Betsy Fuger Angela Griffiths Dan Roumain VIOLA Eileen Beckett Isha Lee CELLO Nicole Charboneau Rachel Francisco 1997 Post Script: BASS Chad Kuypers FLUTE "Susan Bozell Jill Vander Scheer OBOE Jessica Boelter CLARINET Carey Bell Don Henig * Concertmaster " Orchestra Manager BASSOON Eric Varner Lynn Hileman HORN Dave Goldberg Heather Wells CORNET Kris Ingles Steve Wenig TROMBONE Mike Harkins Aaron La Vere Rob Myers PERCUSSION Steve Aho PRODUCTION CREDITS REHEARSAL PIANIST: Jean Schneider COSTUMECREW: AnnAndersorViedBotek,PamGrace,CynthiaLempertTam Prentice, Sandy Wiley PUBLICITY: Pam Grace, Stacey Harrington, Jason Smith TICKET MANAGER: Amanda Plies TICKET CREW: Gordon Barnett,Jennifer Barnett,Peter Christian, Laura Christian, Diana Christian, Cheryl Clarkson, Don Devine, Niki Dickerson, Allison Frame, Liam Hoekenga, Jessica Kaplan, Megan Loomis, Josh Marmer, Jeff "Cuddles" Middents, Becky Peters, Marni Rachmiel, Elizabeth Robinson, JackShaefer, Robert Sherrane, BethShippey, Leslie Smith, Alan Wineman, Alex Williams. SET CREW: Holly Ackerman, Leslie Austin, Jennifer Barnett MikiDickersorn Marc Gerstein, Liam Hoekenga,Jessica Kaplan,David Kennedy,Cynthia Lempert,Eleanor Linn, Simon Linn-Gerstein, Mac Mackenzie, Marni Rachmiel, Phil Rhodes, Charles Roth, Victoria Scott, Beth Shippey, Liza Wirtz MASTER CARPENTER: Jim Barnes PHOTOGRAPHY: Bill Harder(studio photography), Robert Sherrane (candids) PHOTO STOMPER: F. R. lzbee PROGRAM EDITOR: Jason Smith DEA PROGRAMMAE: Victoria L. Scott PROGRAM CREW: Holly Ackerman, Amanda Flies, Stacey Harrington, Jessica Kaplan, Marni Rachmiel, Charles Roth, David Owens, Robert Sherrane, Beth Shippey, David Zinn SAUSAGE ROLL CATERING: Imogene Happ MEAD USHER: Claire Schwartz PARSON: Rev. Fred Rico UMGASS would like to acknowledge its Faculty Advisors: Harry and Betty Benford, Dean Paul Boylan, Prof. H.D. Cameron, Prof. and Mrs. Harold Haugh, Prof. and Mrs. Paul Lehman, Prof. and Mrs. Rudi Lindner, Prof. and Mrs. Beverly Pooley, Prof. and Mrs. Edward Stasheff, Prof. and Mrs. Alan Wineman. This was Mary Locker's second experience at directing The Grand Duke. How many of your friends can make that claim? She had a veteran cast and no one was surprised that the show was well received. Bruce Martin (AA News) headlined: "Duke grand fun, but a tune-up would help." (This carried out the old tradition of, given any excuse, adding something snide to every reviewer's headline ) Sadly, this turned out to be chorus member Jessica Kaplan's final UMGASS production. She was always an enthusiastic and good natured performer and a dedicated member of the executive board. Other farewells, but perhaps not for long: Tom Petiet (after 18 shows), Don Regan (9), Robert Reizner (16) and Mike Ward (16). He's nothing but a miserable prig. From the left: Robert Sherrane (Grand Duke Rudolph), Gordon Barnett, David Chin, Woo Jin Shim, Mike Ward, Jeff Middents, Alan Wineman and Bill Colson. Photo by Mike Gillett, from his private collection. 242 Our Main Attraction IOLANTHE Lydia Mendelssohn Theatre April 11-14, 1996 Director: Mitch Gillett Music director: Mitchell Williams Asst. director/Choreographer: Stacey Harrington Asst. music director: Adam Ferguson Technical director: Cynthia Lempert Lighting designer: Scott Westphal Asst. technical director: Scott Westphal Costume coordinator: Pam Grace Costume assistant: Tam Prentice Stage manager: David Kennedy Props: Charles Roth Asst. stage manager: Allison Frame Graphics: David Zinn DRAMATIS PERSONAE LordChtancenor .................................................................-..------RobertSherrane LordMountararat...............BeverleyPooleyLor M untra at................................................N..... ....................B v reyP o e LordTolloller...................BobDouglas Strephon,anArcadianshepherd.................................................................M att Grace Private Willis,oftheGrenadierGuards...................................................KevinCasey Queenof theFairies..... . . .........LindaNadeau Iolanthe,aFairy, Sbephon'smother........... ........Kandy Harris Phyllis,ashepherdess and Ward in Chancery.............................................KatieHart Celia,aFairy........................................................................................BeciiPeters Leila,aFairy........................................................................................N ikiDickerson Fleta,aFairy.......................................................... ............................... VictoriaScott PEERS Gordon Barnett, David Chin, Don Devine, Ron Fracker, James Robinson, Jason Linder, Phil Rhodes, Jason Smith, Philip Wilson FAIRIES Leslie Austin, Cheryl Clarkson, Bronwen Ferguson, Stacey Harrington, Mary Locker, Liz Mitchell, Elizabeth Robinson, Vicki Shabo, Beth Shippey, Pamela Vachon ORCHESTRA VIOLIN Tim christie Jay Lee Carolyn Lukancic Philip Payton Lisa Snyder Alejandra Urrutia *Claudia Watson Kirsten Yon VIOLA Megan Loomis Robert Meyer Judy Tay CELLO Michaela Loughman Ben Salsbury BASS Kristen Bruya FLUTE **Susan Bozell Roma Duncan OBOE Jessica Boelter CLARINET Carey Bell Julia Mahan * Concertmaster ** Orchestra Manager BASSOON Peter Unterstein HORN Dave Goldberg Michael Lipham TRUMPET Bill Skiba Tom Brown TROMBONE Lea Gernhardt Mike Harkins PERCUSSION Steve Aho Lee Bockhorn Executive Board Faculty Advisors President ......................... Robert Sherrane Vice-president ................... Elizabeth Robinson Treasurer ............................ Angela Fong Pish Tush..........................Jason Smith Company promoter ............... Stacey Harrington Secretary .......................... Gordon Barnett Pooh-Bah .......................... Amanda Flies Harry and Betty Benford Dean Paul Boylan Prof. H.D. Cameron Prof. and Mrs. Harold Haugh Prof. and Mrs. Paul Lehman Prof. and Mrs. Rudi Lindner Prof. and Mrs. Berverley Pooley Prof. and Mrs. Edward Stasheff Prof. and Mrs. Alan Wineman 243 lolanthe - 1996 PRODUCTION CREDITS REHEARSAL ACCOMPANISTS: Eunah Koh, Eva Young COSTUME CREW: David Chin, Lee Gallagher, Pam Grace, Tam Prentice, Beth Shippey MAKE-UP DESIGNER: Stephanie Pascaris PUBLICITY: Tim Curby, Stacey Harrington, Mary Massaron, JasonSmith, Karen Wiesenauer TICKET MANAGER: Amanda Flies TICKET CREW: Gordon Barnett, Cheryl Clarkson, Don Devine, Bronwen Ferguson, Stacey Harrington, Katie Hart, Rebecca Peters, Don Regan, Phil Rhodes,Elizabeth Robinson, Beth Shippey, Jason Smith, Pamela Vachon, Phil Wilson SET CREW: Lynn Anslow, Elizabeth Axelson, Jim Barnes, Jennifer Barnett, Tricia Borenstein, Amanda Flies, Marc Gerstein, David Kennedy, Simon Linn-Gerstein,, Eleanor Linn, Keith MacKenzie, Ed Morin, Jim Robinson, Jack Schaefer, Philip Wilson, MichelleVissler,Michael Ward, Anna Scodel, Dick Thomson, Kass Thomson, Scott Westphal, Alex Williams, Mitch Williams PROPS MANAGER: Charles Roth PROPS CREW: Cynthia Lempert, Charles Roth, Michael Ward MASTER CARPENTER: Jim Barnes PHOTOGRAPHY:BillHarder (studio photography), David Zinn (candids) PROGRAM EDITOR: Jason Smith DEA PROGRAMMAE: Victoria L. Scott PROGRAM CREW: Ron Fracker, Matt Grace, Imogene Q. Happ, Phil Rhodes, Beth Shippey, David Zinn HEAD USHER: Claire Schwartz FAIRY EFFECTS BY: Bolivar Kegnastie FAIRY WAND FETCHER: F.R. Isbie Addenda Pages ..................... Lee Gallagher, Katherine Hunt Additional lights crew ........ Don Devine, Allison Frame, Cynthia Lempert Additional costume crew ...... Nancy Mohr 1997 Post Script: Our new music director, Mitch Williams, was a grad stu- dent in musical performance, with considerable experience (both directing and performing) with groups in Indianapolis. By this time the count of Peerless Philanthropic Paladins had grown to sixty. There were about 150 Paragons of Patronage, and nearly as many Patrons. The GASBAG mailing list carried about 900 names. David Zinn's attractive poster and program cover showed in profile an almost-naked fairy. How that ever passed the Lord Chamberlain's office we'll never know. Mitchell Katz (Daily) had words of praise all around. Among other nice things, he said, "Mitch Williams con- ducted with a steady hand, and the musicians were able to flesh out all of Gilbert and Sullivan's classic melodies. Colorfuil sets designed by Cynthia Lempert gave the pro- ceedings a light and cheery look."~ Two attractive new faces: Dick and Kass Thomson. Dai Zi.' prgaoefr196llnh oe Farewell, for now: Kevin Casey (after 13 shows) and Claire UMGASS's most erotic poster since Jim Ueberhorst'sfamous Schwartz (5). It was also Stephen Lovely's last show. His shocker of1948. name appears in only four programs, but for another four shows he tore tickets at the door while confined to a wheel chair. Give him an A for heart. 244 Our Main Attraction The Yeomen of the Guard Director: Mary Locker Asst. director: Linda Nadeau Set designers: David Kennedy & Alex Williams Stage manager: Allison Frame Asst. stage manager: Kass Thomson DRAMATIS PERSONAE Sir Richard Cholmondely, Lieutenant of the Tower...............................Mitch Gillett Colonel Fairfax, under sentence of death........................................Matthew D. Grace Sergeant Meryll, of the Yeomen of the Guard..............................Charles Sutherland Leonard Meryll, his Son..............................Liam Hoekenga Jack Point, a Strolling Jester..............................................................Robert Sherrane Wilfred Shadbolt, Head Jailer and Assistant Tormenter ............................. David Zinn Elsie Maynard, a Strolling Singer...........................................................Bronwen Rae Phoebe Meryll, Sergeant Mery l's daughter ...................................... Patricia Klapthor Dame Carruthers, Housekeeper to the Tower .............................................. Liza Wirtz Kate, her Niece ................................................................................ Juliet Bourdeau The Headsman.................................................................................Alex Williams Solo Yeomen............................................Don Devine, Phil Rhodes, Jason Smith YEOMEN OF THE GUARD Gordon Barnett, Bill Colson, Don Devine, Sol Metz, David Owens, Phil Rhodes, Jason Smith, Alan Wineman TOWNSPEOPLE Jim Barnes, Niki Dickerson, Karen Furuhjelm, Stacey Harrington, Marie Howard, Katharine Hunt, Simon Linn-Gerstein, Sheldon Jones, Angela Milarch, Elizabeth Robinson, Victoria Scott, Ginni Summers, Luke Shaefer, Kathryn Taylor, Debra Tucker, Andrew Waltman Lydia Mendelssohn Theatre December 5-8, 1996 Music director: Steve Bizub Costume designers: Cynthia Lempert & Tam Prentice Lighting designer: Scott Westphal Props: Diana Hunt Grapics: David Zinn ORCHESTRA VIOLIN BASS HORN Cynthia Goetz Kristen Bruya Dave Goldberg Ben Baumann Julie Seidel John Litdejohn FLUTE Carolyn Lukancic Susan Bozell TRUMPET Beth Kirain Emily Perryman Mark DeGoti Emily Palen Paul Bhssin Jirshim Boey OBOE Carla Paroti TROMBONE VIOLA Robert MyersJudy Tay CLARINET Lea Gemnhardr LaTonya Woods Melissa Johnson Mann McDonald Chi-Chung Ho Micah Heilbnm PERCUSSION CELLO BASSOON Eli Shapiro Monica Fry ConnieK Ben Salbuy JonathanL Cheryl Darden The 1996 - 1997 UMGASS Executive Board President: Stacey Harrington Secretary: Kandy Dowds Vice President: Matthew Grace Pooh-bah: Scott Westphal Treasurer: Angela Fong Pish-tush: Jason Smith Company Promoter: Pamela Grace Faculty Advisors Harry and Betty Benford Dean Paul Boylan Prof. H.D. Cameron Prof. and Mrs. Harold Haugh Prof. and Mrs. Paul Lehman Prof. and Mrs. Rudi Lindner Prof. and Mrs. Beverley Pooley Prof. and Mrs. Edward Stasheff Prof. and Mrs. Alan Wineman 245 The Yeomen of the Guard - 1996 PRODUCTION CREDITS REHEARSAL ACCOMPANISTS: Mia Im, Bradley Martin, Danielle Deswert, Margaret Counihan COSTUME CREW: David Chin, Karen Furuhjelm, Marie Howard, Bronwen Rae, Ginni Summers TICKET CREW: Carol Barnett, Gordon Barnett, Jennifer Barnett, Bill Colson, Don Devine, Niki Dickerson, Stacey Harrington, Sol Met:, David Owens, Victoria Scott, Robert Sherrane, Jason Smith, Ginni Summers, Alan Wineman SET CREW:Jim Barnes, David Kennedy, Dick Thomson, Alex Williams LIGHT CREW: Don Devine, Allison Frame, Cynthia Lempert PROPS MISTRESS: Diana Hunt PROPS CREW: Victoria Scott MASTER CARPENTER: Jim Barnes PHOTOGRAPHY: Mitch Gillett PROGRAM EDITOR: Jason Smith DEA PROGRAMMAE: Victoria L. Scott PROGRAM CREW: Gordon Bamett, Angela Fong, Stacey Harrington, David Owens, Phil Rhodes, Robert Sherrane, David Zinn BOX OFFICEMANAGER: Marni Rachmiel BLOCK MAINTENANCE: F.R. Isbee ASSISTANT TO MR. SHADBOLT: Imogene Happ 1997 Post Script: Now Mary Locker was able to put two faithful old set builders in the cast. Jim Barnes played the role of a strong, silent, but befuddled elderly citizen, while Alex Williams played the headsman. Of course those on-stage duties gave neither of them any excuse to slack off on their usual set- building duties. We had a nice, illustrated pre-show article in the Ann Arbor News a few days before opening. Emily Sendler (A, News) reported that the audience liked the performance better than she did. She admired the stage action, but thought such action often made the performers forget to sing loud enough for the audience to catch the words. Does that perhaps explain why she spelled it "Yeoman."? In any event, the headline once more stressed the reviewer's complaint, noting that the production "needs to fortify voices." Ticket prices were now ranging from $10 to $14. This was the 35th UMGASS show in which Mary Locker had played a part. She has been a frequent chorus member, member of the board, FUMGASS officer, and one of our most popular and admired directors of all time. We await her next directorship with pleasant anticipation. If we have counted it right, this was the 66th show in which David Goldberg had played horn in the orchestra. Farewell, for now to Tricia Klapthor (after 7 shows). An important administrative change occurred between this show and the next: Responsibility for handling ticket sales was turned over to the University's Theatre & Drama Department. Our own Mary Locker, the quintessential Geeandesser. Long life to her! Photo by Mitch Gillett, from his private collection. 246 Our Main Attraction 'lie Pirates ofrPenzance Spring 1997 Lydia Mendelssohn Theatre Director: Robert Sherrane Set designer: Alex Williams/David Kennedy Costume designers: Cynthia Lempert/ Tam Prentice/Holly Ackerman/Pamela Grace 'Dramatis'Personae Major-General Stanley ........... Bev Pooley The Pirate King ...... .... .David Zinn Samuel.......................Tom Cooch Frederic ..................... Gerald Aben Sergeant of Police ........ Charles Sutherland Mabel ................... Heather Albrecht Edith ................... Kimberly Wagner Kate ...................... Kerry Bailey Isabel .................... Lindsay Calhoun Ruth ........................ Barb Hilbish Chorus of Pirates, Po[ice, am! General Stanfey's'Daugfiers (in no particular order) Sarah Packard, Tanis Allen, Tania Ensign, Kathryn Taylor, Jason Smith, Phillip Rhodes, Jack Shaefer, Josh Marmer, Adam Schwartz, Steve Rosoff, Sheldon Jones, Brent Lefgren, Pamela Vasquez, Phil Wilson, Carolyn Space, Amanda Flies, Stacey Harrington, Mindy Greenblatt, Alan Wineman, Andrew Waltman, Jason Gluck, Aaron Reifler, Aric Mutchnick, Beth Shippey, Liam Hoekenga, Ruth Kalinka, Aleta Melville Music director: Mitch Williams Lighting designer: Scott Westphall Graphic designer: David Zinn Props manager: Jim Barnes 'Eecutive'Board' President ................ Stacey Harrington Vice-president .............. Matthew Grace Treasurer .................... Angela Fong Secretary ................... Allison Frame Pooh-Bah .................. Scott Westphal Pish-Tush .................... Jason Smith Company Promoter ........... Pamela Grace 1997 Post Script: What you have here is the preliminary roster of the pro- duction coincident with the society's fiftieth anniversary celebration. Today the ticket prices range from $12.00 to $14, in con- trast to the early years' prices of 90 cent to $1.20. As for the alumni enrichment program, its current cost comes to $49 per person, which contrasts with the $20 price in 1985. We want all of you visiting alumni to know that we are gratified and flattered with your interest, your support, and the inspiration we derive from the traditions you have handed down. We trust we shall not disappoint. 247 The Pirates of Penzance - 1997 William Schwenck Gilbert November 18, 1836 May 29, 1911 Arthur Seymour Sullivan May 13, 1842 November 22, 1900 This inspirational page is brought to you by FUMGASS Friends of the University of Michigan Gilbert and Sullivan Society Portraits of Gilbert & Sullivan in Mendelssohn Theater lobby. 248 Our curtain fall1 en years ago in observation of our fortieth anniversary, David Goldberg compiled a massive collection of reminiscences collected from more than three dozen former active members of the society. (If you can find a copy, they are published in GASBAG Vol. XVIII, No.4, Issue #158, March/April 1987.) We have bravely essayed to bring you the highlights of those mem- oirs in this appendix. Exigence of economy has forced us to chop out much of what was collected, but we have tried to retain those parts that record pertinent history, or that serve to convey some of the intangible strengths of the society. We give place of honor to recollections by Prof. Kenneth Rowe. He and his wife, Helen, were our first faculty advi- sors. In March 1987 Jean Lynn Barnard sat down for an interview with the old gentleman and caught his reminis- cences on a tape. Kenneth then edited her transcript and his approved version is what appeared in GASBAG. It must be considered the definitive account of the earliest days of the UMGASS. What follows here, however, is a lightly edited and condensed version. I&nneth Ro Random Rememberings S'l begin at the beginning of my relation to the Gilbert and Sullivan Society and the beginning of the Gilbert and Sullivan Society itself, and the beginning was Gloria. The beginning for me was a telephone call that proved to be from Gloria Katlan. She simply stated that she was undertaking to organize a G&S society and that a faculty advisor was necessary and would I be one. I remember I just spontaneously said: "I think that's a great idea!," and she has frequently mentioned how it made her feel when that voice came over the telephone: "I think that's a great idea!" Later on I learned why she felt as she did when she got that immediate answer: Gloria had grown up in New York City with a G&S society, and it never occurred to her that any- one could live without Gilbert and Sullivan. She came out here as a freshman, and stood it as long as she could through that first year. When she returned as a sophomore in the fall of 1946, she had determined that Michigan must have a G&S Society. There was a University rule that every extracurricular orga- nization had to have a faculty advisor. Not knowing many faculty members, she turned, in a faculty directory, to the Theatre Division of the Speech Department as the most logical area, and started down the list alphabetically, with the same negative answer from everyone. She next tried the School of Music, but to no avail. So she decided the mam- moth English Department would be the next likeliest place and did the same thing there, with the same result until she got to the name Rowe. The name Rowe was quite a ways down. I can see how she felt when someone, without any question about it, just right off said that was a great idea. We made an appointment to meet at my office early the following morning And that was how I came to have a part in the beginning of the University of Michigan Gilbert and Sullivan Society. Gloria arrived at the office the next morning accompanied by a tall nice-looking graduate student named Ben Hazard, apparently her first recruit. Ben proved to be an invaluable addition for his dependability and wise counsel, and was, if I remember correctly, elected our first president. In 1946, while women were seldom on the faculty, they were considered suitable for advisory duties. Husband and wife teams were frequent, and the wives' signatures offi- cially recognized for approving and signing budgets and all publicity, such as advertisements and posters. I had talked with Mrs Rowe the night before and she was, as I antici- pated, responsive. By good fortune, she had completed one project and was ready for another. Also, like Gloria, she had grown up with a G&S society in her home town. I told my visitors my wife and I would be happy to be their advi- sors, and explained I would do all I could, but that my wife would do much more for them in regularity of presence at meetings and rehearsals, and on call for the unexpected. That first meeting gave me an enduring memory of Gloria's glowing eyes and determined chin, which made Gilbert and Sullivan a part of the University of Michigan. 249 A Pudding Full of Plums A formal organizational meeting was called with advance publicity inviting everyone interested in producing G&S operas to attend. I had a conflicting meeting, but received a report on the G&S meeting from Mrs Rowe. There was a substantial turnout. The business over, it was proposed they get down to work practicing G&S choruses. Pianists were available, but how about a con- ductor? There was no volunteer. My wife had been noticing a retiring young man, half hidden behind the curve of the grand piano. She maintained she did not know what prompted her, but she went over to him and put the baton in his hand and asked him if he would make a try at conducting. He came to life. The rest of the evening was a success. The young man was Rex Wilder, and we had acquired our conductor for the first few productions, while Rex was finishing his course in the School of Music. I was told, not by Rex, that he had asked for opportunity to practice conducting and was told he wasn't ready for it, that practice began in the third year, to forget about it until then. Rex, however, was a natural conductor; he was extraordinarily talented, and his conducting was one of the notable aspects of the Society for the period he was with them. He worked hard to understand the com- poser's intent in a score and how to release it. He was soon to demonstrate his mastery of the complexities of orchestra, choruses, individual parts, and non-musical dramatic stage business. He was a perfectionist, his edit- ing, his interpretation, the way his cast followed him and felt about him, in every way he was a great conductor. So that was another of those pieces of great luck at the beginning of the Society. The first year closed without a public production. It was agreed they were not yet ready to do justice either to themselves or for a paying audience. The Society then proceeded to show its mettle. In the spring of 1947, they produced for themselves, for practice and experience, Trial By Jury; and they did as good and finished a job as their talents, preparation, and hard work could accom- plish, and they had a grand time doing it. The first public production, in the fall of 1947, was The Mikado, one of the more difficult of the G&S operas. The UM G&S Society attracted good fortune like a magnet. They had an outstanding conductor in Rex Wilder. Just in time for The Mikado, our old friend Harry Allen returned to Ann Arbor on release from the army following WW II. He had graduated from Michigan in theater arts, but switched to architecture for graduate study, and still had two years to go for his degree. There was probably no more talented and experienced stage director for G&S in the country. He had a wide and var- ied experience with musical theater, especially G&S, including directing music drama in summer theater in Salt Lake City. He also had an effective personality with students. He always appeared relaxed and was as much a perfectionist underneath as Rex. As one student remarked, "You can't flap him." They called him Mr. A. As soon as we learned of his return to campus, we told him about the G&S Society, and he was happy to take it on as his recreation. He and Rex were contrasted, yet congenial, and a great team. In the fall of 1948 the posters announcing the organiza- tional meeting for the first production produced what may have become a collector's item, like a flawed postage stamp or coin. The original copy signed by Mrs. Rowe read across the top in bold letters, MEN, WOMEN, DO YOU LIKE TO SING? Then, underneath, infor- mation on the time and place of the mass meeting. Early the next morning Mrs. Rowe received telephone calls from the dean of women, the dean of men, and some higher official, possibly a vice-president. Jim Ueberhorst, one of the founders of the Society, had access to some office with printing equipment he had made the copies of the poster. He said his thumb, with- out his noticing it, covered up the G in SING, and all sixty posters bore Mrs. Rowe's signature! It was budget time in Lansing, and a delegation of legislators was due at ten o'clock for a tour of the campus. The theme of the phone calls was to threaten dire consequences if every poster were not down by ten o'clock. The disreputable posters were dutifully taken down, but not before they had produced the hoped-for results. The Society had been hoping for good male voices, and there was some influx from the Men's Glee Club, of course attributed to Jim's masterstroke. With a fine cast throughout, there was a baritone, Dick Roussin, who was special for any company. Although attractive enough for romantic leads, he always chose comedy roles. He had a voice like velvet, with absolute pitch and sense of rhythm and timing. He was com- pletely at home on the stage, and in any performance was likely to interpolate some piece of business. He did not worry either Rex or Harry because he never missed a beat and was always on the spot for delivery of a line where he was supposed to be. No one ever missed a cue because of him. As the Captain in Pinafore, instead of descending to the stage from the deck by way of a gangway, he swung out and down by an a rope dangling from the flies. But he landed on the beat at the spot were he was supposed to be for his next line. 250 Our Curtain Calls Harry Allen's unflappability was put to a severe test at the final rehearsal. The production was in Pattengill Auditorium in what was then the Ann Arbor High School. By circumstances entirely outside Harry's control or fore- seeing, when the cast arrived the stage was a shambles. With almost no off-stage space, the scenery was strewn all over the stage, and none erected. Some of the students were so dismayed they didn't see how they could open the next night. Incidentally, they had no previous access to the stage for rehearsals, and the special function of this rehearsal was for adjustment to the different dimensions. Harry Allen, as unperturbed and cheerful as always, moved quickly and efficiently about giving directions to the cast for stacking and arranging to clear the floor space, and was soon chalk-marking the floor for the expanded action pat- tern. With some, but not overwhelming delay, a rehearsal was in progress. He had them come just early enough next night to review the new distances. The opening night was a triumph. While by this time the Society had acquired a big mem- bership, what they were short on was any solid commit- ments for orchestra members. At that time, all extra-cur- ricular activities that needed musicians had a hard time; any instrumentalist at the university could make money playing for dances on weekends. Rex, almost up to the day of the first performance, was waylaying and buttonholing music students as they came out from classes. Rex knew their class schedule, and was stopping all orchestra poten- tials. He got his orchestra complete about two or three days before opening. How he could pull a group of under- rehearsed players together was phenomenal. At the other end of the production of The Mikado, the closing night prank was inaugurated. During the encore, which Rex was conducting with all of his absolute perfec- tionism and control, something like a stuffed duck thumped to the middle of the stage floor from the flies. That was not funny to Rex; he was furious. His face was set and I can still remember how he stepped up the tempo to an incredible pace. I never heard anything quite like the way he had them finish that encore. He had so perfectly outlined it to continue as a rising response to the produc- tion musically, and this nearly ruined his finale. All the effort that went into The Mikado was rewarded when a letter from a Detroit banker was read. He wrote that he was a G&S buff, and that whenever he knew of a significant production anywhere in the country he went to it. The Mikado had never been one of his favorites, but their production had made it so. The best story I know is not a funny one. It must have been for Pinafore, I know it wasn't for The Mikado. The time came when it was essential to have the scores in hand, but they hadn't yet arrived from Schirmer's, which generated a fair bit of excitement. Rex had reached my wife and told her about it. This was luck again. She told him that I was in New York for a meeting, and that she would call me and see what I could do about it there. This was Saturday night, and I was coming back by train the next day. I was chairman for a meeting that wasn't over until after mid- night. When I went to my room I found a message to call home as soon as I got in. I did, and my wife told me about the problem. Rex had told her to tell me what to do. Rex was a close friend of Robert Shaw, whose Chorale was on the air that night, so he would be at the broadcasting stu- dio until four a.m. I was to call him there, so I did. Rex also knew that Robert Shaw was a close friend of the head of Schirmer's, who would be at his country place on the week- end. Robert Shaw telephoned his friend, who came into town, and the three of us met outside Schirmer's. When we met, Robert Shaw's friend was in his country tweeds, and his keys were still in his town clothes pocket. I looked up the side of the building, saw a half-open window, and asked the head man where it went. He said it was his office; he was supposed to close and lock the window when he left at night, but he often forgot. I had studied the facade, and decided I could get up there to the second floor and do a little second-story work, so I did, then came down to let them in. So I secured the scores, and they were in Ann Arbor the next morning. Someone asked Rex, wasn't he nervous and worried until the scores got to him? Rex just said: "Not at all. I called Mrs. Rowe and told her about it, and Prof. Rowe was in New York, and she got in touch with him. It will be all right." I felt that was a nice accolade on our usefulness as faculty advisors. Getting Felix Reiss for scene design for The Yeomen of the Guard and Patience was equally good fortune. He was a chemical researcher whose hobby was stage design and he was truly skilled at it. So we had three unusually talented directors: Rex, Harry and Felix. Something that characterized the Society from the begin- ning that I think was a great contribution of Harry Allen's: He told everyone connected with the production: "Approach it as though there has never been a previous production. Forget the D'Oyly Carte or any other style. Maintain absolute respect for what is Gilbert's and Sullivan's, the text and the music, but otherwise use your own free approach to production with any fresh or original ideas you may have." 251 A Pudding Full of Plums The frequency of good fortune in the beginning years of the Gilbert and Sullivan Society was something better than accident. Good fortune needs an open door to enter. The welcoming door for us was the spirit of Gloria Katlan Bennish, her joyous devotion and dedication to arduous and unflagging effort. Wiorton (ChtCr 'ave Goldberg reported as follows: "We chatted with Morton Achter recently. Mort was musical director for three productions for UMGASS: Yeomen, Pirates, and Ruddigore, 1965-1966. Old-timers will remember the magic of the Achter-Schreiber shows - one beautiful production after another. Mort remem- bers the pleasurable times working with Al and with Judy Dow (as choreographer), as golden days which have not since been equaled. He recalls the auditions being jammed with talented people, making choosing difficult, but also making it easy to arrive at a strong cast. "Mort is now chairman of the music department at Otterbein College, in Westerville Ohio. Since arriving in 1975, he has directed Pirates and Gondoliers. " 3ohn indr omehow I was cast into the chorus of Patience (I think) and have since enjoyed being on stage and a part of the Society. Over the next few years I experienced and survived the setting and running of lights with Bomberger and Cutler (ABC lighting crew), parties lasting two or three days, and a brutal repaint of Castle Adamant the night before move in. Let me enlarge on that. The cast and crew arrived in the scene shop about 10 a.m. to put the finishing touches on the set. We completed painting the detail work, shadow- ing, etc., on the stones of the castle and the ivy growing up her impregnable walls. At 3 p.m., after pizza, we had a short rehearsal to get the feel of the set, then everyone went home to rest for Sunday's move-in and tech rehearsal day. That is, almost everyone. Tom Ault, set designer extraordinaire, was standing on the landing above the set, pensively looking down at his cre- ation. I, and several others, were cleaning up the shop. We heard Tom muttering to himself. Eventually, in an all too clear voice, "It's not right, the color is all wrong, the #@$)*@! thing is the wrong color!" So, we who remained in the area took the entire night to repaint from the base coat out each and every stone of Castle Adamant, all the shadowing, all the ivy growing up her now puce walls. But it was worth it. There were hordes of surprised faces Sunday when those who had escaped in time returned for the move-in work party. Sometime in the late 60s, I was living in the "G&S house" with Mike Gilmartin, Susan Morris, Nancy Hall, et al. On Saint Patrick's Day, my birthday, Susan baked a green birthday cake for me. We're talking about a green, green birthday cake, a cake so heavily green and so solid, so dense a cake that there has never been a duplicate - never. And I'm glad. It's illegal to say more about that cake. So was born the "Ugly Cake Contest" and party. By the following week we had developed rules for that contest of wit and skill, a philosophy to guide me through the judging, and some great ideas for "winning" designs. Cast as Samuel, my first step out of the ranks, I wasn't cer- tain I could actually sing alone on stage. I had always felt so safe buried in the chorus. Roger Wertenberger had seen me in true form at some party or other, and so had blocked me where I could be the brunt of some of his "greatest" bits. Large quantities of stage beer were poured over me, requir- ing the use of grease make-up, a joy to apply and remove. A great deal of time was spent in a rather small steamer trunk with David Gilmartin and wine was sloshed in on me, deftly aimed by Charlie Sutherland a.k.a Major General Stanley. During a last rehearsal before move-in, just before my first line, telling of Fred's impending freedom, my feet became confused, tossing me to the first landing - one flight of stairs down. Very funny, I guess. Everyone laughed. Roger loved it, so with some practice, we kept it in, and a tradi- tion of Alexander, the G&S Beanbag, was born. Gondoliers - whiplash. Iolanthe - three broken ribs from an unnatural dive into the frog laden swamp. Another Jo/anthe -- five inch gash in thigh. Ida - great crack on head from Gerry Horan's spear. Among other things, Roger gave me lots of bits in the shows he directed which helped me stand out from the crowd. From his patronage, I developed a stage presence and 252 Our Curtain Calls a confidence that has helped me every day since. I owe him much, and miss his wild imagination. All those pratfalls, aches and pains, long hours away from textbooks, learning lines, have been worth it because of the variety of skills learned, the warm memories, and especial- ly the fine friends made, even John Kelly. UMGASS is a terrific group, and over the twenty years I've been around, the faces have come and gone (getting younger every year, too) but the group spirit is unchanged, still as strong as when I first hammered my thumb into the set of H.M.S. Pinafore. And let's face it, we love it out there on the boards. Now, if I could only learn to read music ... 3an 1jnn Ba rard n Friday, November 9, 1962 I attended a most memorable performance of Princess Ida. The show had opened on Wednesday, with Nancy Hall in the title role. On Thursday shortly before curtain time, Nancy was admitted to Health Service with mononucleosis. As usual, there was no understudy. If the show had been forced to close, and refund the money for the remaining four performances (three in Ann Arbor and one in Detroit), the Society would probably have been bankrupt. Fortunately, one student's dedication to G&S saved the show: Lavetta Loyd, who had been in two previous shows, but had not tried out this term because of her class load, responded to the desperate call for help, and dropping everything else, stepped into the unfamiliar role. As I remember, Gershom Morningstar, the dramatics director, told me that he just barely had time to walk her through the blocking before the curtain went up, a little late. That first night she carried a script, but by her second night, the show I attended, it was in no way apparent that she had not been rehearsing for weeks. (There are, of course, some scenes where Princess Ida is carrying a book, and there may have been a script concealed in it - but if so, the audience was not aware of it.) Tarrij nford ack in the late sixties, being aware of growing com- munity enthusiasm for the G&S Society, Betty and I became convinced that the time was ripe to orga- nize a friends group. John Allen, then our poor-student- in-residence and an UMGASSer of many years standing, concurred in our view. Better yet, he volunteered to help. In order to get a range of views on functions and proce- dures for the proposed organization, we arranged a lunch for a few fans. (Among these was Jean Lynn Barnard.) Based on their advice and encouragement, we went ahead with the plan. In mid-1969 we mailed out a form letter to everyone we could think of who might want to join the club - which we decided to call FUMGASS. The levels of membership, based on admiration-to-poverty ratio, were set at $3 for Friends, $10 for Good Friends, and $25 for Patrons. Our very first response came from Harold and Anne Haugh, who did the Right Thing by signing up as Patrons, bless 'em! The October 1969 issue of GASBAG (about which estimable journal more eftsoons) announced that two dozen members were already enrolled. It explained the FUMGASS political structure, which was (and remains) based on the Utopian plan: absolute despotism tempered with dynamite. John Allen was our first absolute despot; Betty and I were wisemen. During those early days the three of us ran the whole show; but as membership increased, we found other willing workers to keep the rolls, handle the financial accounts, and mail out the GASBAGS. Now it's time to dwell a bit on the start of GASBAG, which originated as a modest little in-house newsletter for UMGASS. The initiative came from two charming and devoted members of the women's chorus: Kathy McKevitt and Colby Schneider. They enlisted me as a production expediter because I could get the thing duplicated in the Big U's copy centers. Within a few months, and equal number of issues, both young ladies set their editorial duties aside in favor of matters matrimonial. (By a nice coincidence, both were wed on the same day, right here in Ann Arbor, but not to one another.) That left me as chief factotum, which job I held until I retired from the faculty some thirteen years (and more than a hundred issues) later. GASBAG, as we all know, is an acronym for Gilbert & Sullivan Boys & Girls. What you may not know is that the word was originally conceived several years before Kathy and Colby adopted it for their journal. It was a take-off of 253 A Pudding Full of Plums MUSKET: Michigan Union Show Ko-Eds Too, the suc- cessor to the old Michigan Union (all-male) operas. In any event, GASBAG, which started out as a modest in-house gossip sheet, shortly became a leading journal of general interest to Gasniks all over the English-speaking world. It still serves that function and is the Big U's chief claim to fame in many corners of the globe. 3Crr 3ilik significant event - one of great drama and trauma (at least to me) is the horrendous "collapsing cot affair" that occurred during a production of Cox and Box, featuring Dude, myself, and our then-faculty adviser, Sid Straight. Now, while I may have provided some assets during my tenure as director, an acceptable singing voice was not one of them. Dude had a beautiful tenor and Sid a mellifluous baritone, but I must be described as a "consis- tent croak." Nonetheless, our mini production was a true smash hit night after night - until there was a literal true smash, as the cot onto which Dude reclined gave up the ghost on stage in a cloud of dust. Now, the show is supposed to go on, but Dude decided he might laugh or giggle were he to speak his next line, and rather than face such embarrassment he lay back on the collapsed couch, smiled this sheepish grin, and let me try to figure out what to do next. I looked in the wings. Sid was doubled over in hysterics. I looked in the pit; the orchestra members were convulsed. I looked at Dude again; he was turning purple trying to stifle a total break- down. In desperation I repeated my last line, hoping Dude would backtrack and go on. Nope! That idiotic grin, but not a word! In inspiration, I sang out: "Bouncer! Oh Bouncer!" (in my commendable croak). In the wings, Sid Straight went into spasms and further convulsions. Of course, by this time, the audience was pretty well out of control witnessing the total dissembling of the directors and adviser. However, somehow, from the pit, came the tinkling introduction to "Rataplan," and from the wings, the couch and the set (onto which I had collapsed) came the giggling gaggling calls; "Rat-a-pla-ha- ha-ha-ha-haan-etc," Tho' it seemed a lifetime had passed, we somehow got things rolling again, and became as a result of all this, the absolute toast of the cast party that night; but, of course, in our days, anything could become the toast of any party! I'm still actively engaged in live theatrical presentations, and Gilbert and Sullivan remain among my greatest heroes, so the warm and wonderful memories of those Ann Arbor productions hold a special place in my heart; and whenever I see a folding metal cot, that refrain comes back to haunt me once again: Rat-a pla-ha-ha-ha-ha-ha-haan! $mrdtp bloom radley Bloom remembers, 1. Starting rehearsals at 7:14, before the invention of digital watches. 2. Roger Wertenberger thinking of ways to "outbit" Dude Stephenson. Roger had so much going for him, but most of the memories he created were pretty con- troversial. No that's not the right word. They come right out of Roger's temper, because he had a real dark side about him. I remember my initiation to theater was through Roger, and I inferred the way to direct a show and to get attention was to scream as loud as I could at the cast (but not the orchestra). I remember that Roger was really, deep down beneath his explosive temper, a pretty kind-hearted individual, who really cared about the quality of the production. He was attentive to detail. He did everything, from painting sets to orchestrating the DeBelleville song, in Jolanthe. I really liked Roger; it's just hard to find really compli- mentary things to say about him. I remember his pas- sion. I remember the two of us sitting up until about 3:00 in the morning, having to go to the ashtray and smoke cigarette butts, while we debated what we were going to do in the next scene. 3. Betty and Harry Benford always being there when we needed them most. 4. Trying to drive to a church performance after a Saturday night cast party in my apartment. By the looks of the congregation I think I forgot to brush my teeth. Could it have been Horan and Gilmartin that were still there as I left? 5. Don Cameron, trying to count the fmnal6 of Pinafore by sticking out his tongue. 6. Giving Bev Pooley his first bass part to sing and deciding it was much better for him to mouth the words. 254 Our Curtain Calls 7. David Goldberg trying to play softly and blaming his horn if he couldn't, or was it the resonant wall of the theater? 8. Glenn Litton and the UTO (University Theater Orchestra). It basically started with an idea that Glenn and I had in terms of forming personnel to be shared among G&S, Musket and Civic Theatre, so that we weren't always scrambling to find musicians to play in those shows. We developed a pool of between forty and fifty that could be shared between the organiza- tions. I think it worked well, but lasted only about two or three years. After Glenn and I left the scene, the UTO died through lack of leadership. 9. Ashley Putnam playing the flute, before playing Yum- Yum, before her rise to stardom. 10. Nancy Gilmartin's Ruddigore, as one of my favorite all-time shows. It was a show that was conceived real- ly well. It was one of the first times that I experienced G&S that it wasn't overly "bitted." It was mainly a nicely-approached show, and was fun to do. 11. Gerald Wigdortz and the infamous story of "Da Plant." Some people will know that story. 12. The invaluable experience and the long-lasting friend- ships. Lfnorf Jfrbr eally, I can stretch my gray cells back 25 years to the wonderful Sir Joseph Porter that my brother Evan Ferber did for UMGASS. My one and only twenty-two year old memory of my very first U of M G&S production, Pirates ofPenzance in 1965, is that of our taffe- ta chorus costumes; yards and yards and yards of hot and slithery taffeta for men and women both, that creased at a glance and had to be ironed before every performance. Imagine a female chorus person in 1987 being responsible for ironing her partner's smelly mess of a costume each night? I'm amused and dismayed to remember that we were and we did. I remember Roger Wertenberger's Ida which had sky- scraper sets that refused to stay bolted together, probably owing to the over ambitious dances being done on them (I think I was the choreographer), which were of little effect anyway, since the sets were so tall that the choruses' heads were up in the light poles and could not be seen. As I recall, there was an emergency all-night bolting session to make sure that all performers stayed whole. That was also the set that had to be walked from the shop across campus to the theater because it was too grandiose to fit on the truck. Fortunately, it didn't rain. My last memory of that produc- tion is of costumes made of rubber backed curtain fabric. A treat for the eyes perhaps, but not for the nose. I remember Peter-John Hedleskey's Ruddigore opening on April 22 in 82 degree heat with no air conditioning in Lydia. I remember a show almost closing because the Mendelssohn theater manager, a humorless person, found liquor in the men's dressing room. I remember being a chorus member hollered at by a choreographer, whom I shall protect with anonymity, to do 3 and 5 step patterns to 4 beat measures. She was asked to two-step aside three weeks before opening and Judy Dow Alexander patched what she could. I remember in another Mikado donning enormous rug yarn wigs and never hearing very much of anything else after that. We would wait in the wings lis- tening for our cue with the wigs askew, then jam them straight as we made our entrance. If I'm not mistaken, that was the show that would have been difficult to follow under the best of circumstances since it was under the baton of John "the hummingbird" Planer, as we affection- ately dubbed him. I remember still another Mikado in which I played Yum-Yum, wearing a wig that refused to stay forward . Posterity can now see me all bulked out in a drapery fabric kimono with two hairlines. Peter John Hedlesky and Kevin Casey were kind enough to tell me years later that they were able to forget what I looked like once I sang the first solo. Posterity can also hear me mess up as Rose Maybud. Although they taped three different performances, I never got the words straight on that first solo, as the record now shows. Get Jinaison lthough I was not a founding member of UMGASS, I came aboard so to speak soon after in he chorus of the first H.M.S. Pinafore. One of my recollections about that show was Rex Wilder's despair over the women's chorus. He found the voices sounding shrill, particularly as we rehearsed our first entrance. His common counsel was for us to spend more time at the Pretzel Bell drinking beer to mellow the quality. The choruses at least, in those days lacked the profession- al training that seems more apparent today, but we did have a lot of enthusiasm. And sometimes we were present in large numbers. Maynard Klein directed the first Yeomen of the Guard and he was popular. The chorus was an absolute mob scene, but we did enjoy ourselves, as did the audiences. 255 A Pudding Full of Plums iarr (l3arnin e Iolanthe of April 1984 was stuffed with talent. I need only mention Bev Pooley, John Alexander, inda Milne, Steve Krahnke, Beth Spencer, and Monica Donakowski to illustrate. In spite of this, I played Private Willis. In the Saturday matinee, after the Lord Chancellor says, " ... and I may consider myself engaged to Phyllis," I (choose one): a) did a good mock-faint and slid into a sitting position; b) did a lousy mock-faint and slid into a sitting position; c) actually fainted and slid into a sitting position; d) got bored and fell asleep in a sitting position; e) all of the above. The correct answer is c), but let me explain. In the grand UMGASS tradition, I had stayed up late the night before. Out of the grand UMGASS tradition, I got up early the next morning to do a Pretty Committee show, but late enough that breakfast was not among those present. I wore a hot woolen costume with a lovely black busby designed to collect heat efficiently and funnel it to the noggin. And I took a whopping great slug of allergy medicine before sauntering on (hay fever, y'know). Those of you compiling a checklist have probably figured out that I did everything I could, apart from giving blood onstage, to ensure that I would spend part of the second act less than vertically. What happened? Did the unsuspecting audience catch on? The suspense must be killing you. Well, get off those ten- terhooks. Things went pretty well in the audience, at least (or so I'm told - my testimony is not what it might be). Since I went down at a punchline, the audience thought it droll and laughed. An accepted wit has only to say, "Pass the mustard." If you feel duped, don't worry. Among those suckered were, I'm told, Harry Benford and Charlie Sutherland, so you're in good company. The director, after deciding that I hadn't added my own schtick to her well- crafted show, had a few anxious moments. This was noth- ing compared to what happened backstage, Now, what would you do if someone decided to try acting the second act without benefit of consciousness? Opinion was divided. Some wanted to ring down the curtain. The majority prudently decided not to, reasoning a) he'll get up soon; b) if he doesn't, we'll be on soon to chivvy him about and generally make things oojahcum-spiff; and c) I hope someone remembers his lines. This last worried Linda Milne, the Fairy Queen, not a little. Willis may not have many lines, but without them, Iolanthe becomes G6tterdammerung. Fortunately for them, I assembled my wits in time. Coming to during the second verse of Jolanthe's tearful plea, I found myself propped inside my sentry box. After a moment or two, I brilliantly concluded that there was a show going on, indeed the one with the fairies. Anyhow, I nodded to the conductor, whose relieved grin was most gratifying. I then applied my still-sluggish cerebrum to the question of when to rise. I decided to do so when the fairies re-entered and even managed to do so. Despite a few wob- bly moments, I delivered my lines with more than the usual quaver, drawing a very nice laugh as a result, and danced my way through the finale with my customary ataxic grace. Afterwards, I drew several compliments on my realistic pratfall. As I recall, I modestly attributed it to practice. In fact, I drew more compliments after that performance than after any other. Hmm ...... d (5lazifr y earliest UMGASS memories are of the two shows I saw in Ann Arbor when I was still an ndergraduate at MSU. I came to see Princess Ida in 1968 because a former MSU roommate, Terry Blackburn, was in the chorus. It was a wonderful show, and was the first time I saw Nancy Gilmartin and Susan Morris on stage, The next show was the Wertenberger/Bloom Gondoliers in 1968. The single thing that stands out in my mind from that show was the first of Cindy Hill's three appearances as Inez. She did the role on her knees, dressed in black, and resembled a walking lampshade. Although Inez has few lines, that took a long time to deliver because this Inez had numerous physical handicaps, including, as I recall, a hare- lip, a palsied arm, sleeping sickness, and coughing fits. She kept falling asleep in the middle of sentences and Don Alhambra would kick her to wake her up. The final reve- lation was interrupted several times by a lengthy coughing fit. The result was in exceedingly bad taste, but hysterical- ly funny. I finally auditioned for the 1971 Mikado and was in the chorus of that and the next several shows. I remember that most of the musical numbers in Mikado had to be restaged only a couple of weeks before opening, because the block- ing was deemed unacceptable. I could name names here, but I'll refrain. Most of the cast did not enjoy being in this production, although the principals: Cameron (Ko-Ko), 256 Our Curtain Calls Bryan (Nanki-Poo), John Allen (Pooh-Bah) and Ashley Putnam (Yum-Yum) were excellent. Two memories stand out: Chris Eastwood was unhappy with her audition and came back with a wig and freckles painted on her face to audition as another person. The directors liked both girls and couldn't decide which to call back for Pitti-Sing. In the 1972 Gondoliers, I played my first UMGASS role: one line as Francesco. I remember Ashley Putnam's exu- berance as Gianetta, especially during the cachucha. At the final curtain call Mike Gilmartin came out on stage dressed as a pizza delivery man. He spotted Cindy Hill (again as Inez) and cried out "Mama!" and rushed to embrace her. I appeared in only one UMGASS show after that as Bunthorne in the 1977 Patience, although I continued to audition almost every semester until I left Ann Arbor. I have many pleasant memories of Patience. Pat Rector and I stopped the show with "So go to him and say to him." That was an exciting experience, even though we had no encores. The production with the aesthetic maidens in black and white gowns was striking. Pat Rector wore a stuffed dove perched on her shoulder for the entire show. During the last curtain call, Pat returned to the stage with the dove in her hands. She released it and it "flew" away. A gunshot rang out, followed by a flurry of feathers and a falling rubber chicken. Dauid GoIdbert De Profundis, or, From the Pit y first production was the 1963 Mikado. We opened on Wednesday, closed on Thursday. John Kennedy was assassinated on Friday after- noon, and the whole country closed. I can't think of The Mikado or the assassination separately. Whenever The Mikado comes up I hope for the best. The next couple of Mikadi were unfulfilling, as UMGASS experienced finan- cial, political, or artistic distress and produced somewhat bald and unconvincing narratives. The 1963 Mikado was further memorably marred for four of us musicians who were also members of the University Orchestra. It hap- pened that the U Orchestra had a rehearsal on opening night of The Mikado, and the conductor, aware of our over- lapping commitment, announced to the entire orchestra that anyone who missed the rehearsal would flunk. Naturally, and without much collusion, we all played the opening night Mikado. There just wasn't any question about what had to be done. After the orchestra concert (which didn't suffer from our missed rehearsal), the con- ductor apologized and no harm came to us. This lumpy beginning helped cement my relationship with UMGASS and caused my eventual GASian upfall. At times, the orchestra - sedentary, serious souls as we are, could not resist getting in on the action. In Iolanthe, 1984, as Lord Mountararat (Bev Pooley) grieved that Strephon did not die, he snapped a large tear-soaked hand- kerchief, spraying the vicinity. Saturday night, the dastard- ly horn section put up umbrellas for protection. In The Mikado, 1983, when the Mikado (Bev Pooley) demanded Nanki-Poo's whereabouts, Ko-Ko (John Alexander), would look nervous and scan the vicinity for help. Saturday night, we helped. As his glance fell upon the pit, the orchestra snapped open fans and hid under them. Roger Wertenberger gave me the only singing line in my life. In Pirates, 1970, the Major General (Charlie Sutherland), stuck for a rhyme for "lot o' news," eventually looked my way. I raised my hand, he called on me, and I stood up and sang "with many cheerful facts about the square of the hypotenuse." This brought home to me that I am destined to remain below stage for the rest of my days. Yeomen, 1987: Elsie (Julie Wright) wore a dress with pink ribbons tied at the waist, hanging straight down. Once, during her sad, searching "'Tis done! I am a bride!" one rib- bon caught on a stump she sat on, and as she then moved away, it unraveled, revealing a taut thread which stretched and gradually encompassed her as she turned. Finally, as she left, it snapped and wafted to the stage. Fortunately for Julie, she was unaware this was happening until told about it later. Only everyone in the audience saw it. The orches- tra was well behaved, under the circumstances. Old Mikadi (these memories are culled from an ancient GASBAG): Fall 1963: The first G&S appearance of Kathy Kimmel, Charlie Sutherland, Tom Petiet, Susan Morris (in a lead role), Bob Miller and me. All the leads used the usual Japanese fans, except Pooh-Bah (James W. Brown), whose fan was monstrous, heavy and three-foot long. In Act 2, the Mikado questions Pitti-Sing, Ko-Ko and Pooh-Bah concerning the whereabouts of Nanki-Poo. The three become agitated when asked to produce him, as does Katisha, suspecting that something is amiss: KoKo: "It's quite easy, that is, it's rather difficult. In point of fact, he's gone abroad!" Mikado: "Gone abroad! His address." Anxious looks, back and forth. At this point, Katisha and the three nervously snap open their fans, in order: Snap! Snap! Snap! Fa-l-o-o-o-M.. 257 A Pudding Full of Plums Fall 1971: Ashley Putnam, ex-flutist, as Yum-Yum. Bradley Bloom, musical director. Don Cameron as KoKo, John Allen as Pooh-Bah, Mark Goldberg as PishTush. A steamy Saturday night, as Ko-Ko soliloquizes: "There she goes ... oh, matrimony ... ," etc. At this point, enter Pooh- Bah and Pish-Tush, and as Pooh-Bah descends, it becomes apparent that his rubber thong sandal has broken and is making his arrival difficult. He stops, removes the sandal, glances at the sole, and says: 'Wouldn't you know, it says 'made in America!"' Unending gales of laughter, making UMGASS ad-lib history. Eventually (audience not quite recovered yet): Pish- Tush: "I am the bearer of a letter from his majesty the Mikado." Ko-Ko: "A letter from the Mikado! Really, that's quite anticlimactic!" Our wasted audience, still gasping, is once again relieved of its collective self-control. Mikadolepsy. Thanks to John and Don for the moment, and thanks to Don for recalling every syllable. I introduced a short-lived and little-known UMGASS tra- dition. It was little-known because most of the audience was gone when it occurred, and it was short-lived as explained below. Disguised as semi-perennial French hornist, I took it upon myself to improve upon the final note of the exit music, that is, the music played after the final bows, as the audi- ence leaves the theater. The trick was to end the piece after the final performance on a minor seventh chord, so as to symbolize the recurring nature of this business - as if to say - "Come again next production," or perhaps more simply put, just to have a moment of meaningless fun. This went on for about two years until April 1972, when Eric Stern conducted Patience. Upon hearing the seventh chord Eric became so incensed that he broke his baton on his music stand, sending pieces flying through the orches- tra, which was otherwise much relieved to be finished after a full week. I apologized profusely afterward and promised never to do it again, which promise has been kept, despite considerable temptation and the now infrequent egging-on of a few highly memoried old timers. In any case, the aforemen- tioned conductor, on hearing the apology and simultane- ously discovering who did it, damn near gave me a sausage. That is so like a band. At Harry Benford's suggestion about a sesquidecade ago, my fellow French hornist and I unfailingly (at times) hie ourselves to the proximity of the powder room in the the- ater lobby whereupon we blast the innocent theatergoers with a fanfare. The purpose of this decibellious outrage is to convince them that they are safer within the theater proper, and not to stand upon the order of their going, but to go at once. When time permits, I have composed fan- fares based on tunes from the current production, mixed with motives from other classics such as Aida, Bugler's Holiday, The Nickelodeon Song, Nestles (makes the very best), etc. Watch (out) for us. Enough said. harold Thuglh fter referring to the program of my one trespass in the sacred precincts of UMGASS (Sorcerer', Trial, 1964) I remember most two things: the vicissitudes of getting a cast and orchestra together, and my surprise at getting through the Saturday matinee. The Ohio State game in Columbus decimated our wind section and there were radios all over back-stage. Those radios got more attention than anything that was happening on stage. I remember announcing the score at the beginning of The Sorcerer and before the second act curtain. I don't remem- ber how that cosmic game came out, but it almost did me in! I also remember that one Dave Goldberg was the rock on which UMGASS was built. More power to him! deter-,johnt 1edkes robably the most near-disastrous incident in which I was involved occurred during a produc- tion of Patience in which I was playing Grosvenor. e the Act II duet with Bunthorne, I danced off into the wings and, with the assistance of a few chorus members, began the fast costume change necessary at that point. Suddenly, with the applause for the song still lingering, I heard the orchestra start up for an encore, and I froze. The people helping me change likewise stopped what they were doing. We all exchanged looks of horror and confusion. Out on stage, Bunthorne began singing "When I go out of door," and doing God-knows-what. After a moment he appeared in the wings, a scowl on his face. 'Why didn't you come back out?" he hissed at me. Then noted that I was wearing no pants. With a murmured "Oh," he went back out on stage to proceed with the dialogue. Of course, this incident was rather more troublesome for him than for me, but it's as close as I ever hope to get to being part of a "leg- endary" theatrical disaster. 258 Our Curtain Calls (3ar1 ifiks here were no tryouts for the first few productions of UMGASS. We welcomed anyone who came along. In our first show the fellow in the role of the Mikado sang in the chorus during the first act to give us an added body and keep us in tune. But within two years, we were well-enough known to have had over fifty show up for our first Yeomen. The stage was too full, but the thought of turning someone down had not been dis- cussed. As I was then president, I called a board meeting to discuss tryouts for the next semester. I had mixed emotions about this as I cannot read music or for that matter carry much of a tune, so I thought I was cutting off my own head with this suggestion; but we did pass the motion, and the fol- lowing semester Jim Ueberhorst (drama director) and our music director had the first tryouts. When my turn came, Jim just looked at me and said, "Please don't ruin my day - we have to let you in, but that does not mean I have to listen to you sing - get out of here." And so for the rest of my stay in Ann Arbor, I did not try out, but was "grandfathered" into the chorus. As we started our second year of productions, I went to the board and asked permission to explore the possibility of doing a road show in Detroit. I had no idea how I was going to proceed except that I thought that the Alumni Association in Detroit was my starting point. The Board made me an ex-officio member for road shows, and off I went. "My amazement - my surprise - you could tell by the expression of my eyes," as I went to both Men's and Women's Alumni Associations in Detroit only to be turned down flatly - even though I offered each of them all of the profits if they would just sponsor us. No soap! I then went directly to The Rackham Auditorium, and met the staff- and they were terrific. Yes they would love to have us and if we did the promotion, the only cost to us would be janitor service - not a penny in rental and all profits to be ours. There was only one catch, they did not have the authority to make the decision - their boss in Ann Arbor (head of extension) Mr. E.J. Soop must approve. I stayed that night with my mother, and told her of my success and that I had to meet a Mr. Soop the next day. Well, it turned out that my parents and Mr. Soop were friends, so that smoothed my path with him. He said, "Let's try one show and see what happens." And so Pirates became our first road show. I was fortunate to get the help of the drama critic of The Detroit News (who loved G&S), and he gave us several articles and a picture and we had a mailing list from Rackham, and with only a couple of hundred dollars spent, we had 989 people (Rackham only held 1044) pay for our Detroit Pirates. A standing ovation for a great show made the evening one I shall never forget, and after the show, as we were coming out into the audience in costume to meet the audience, the first person I ran into was Mr. Soop who was coming looking for me to tell me what a great show we had, and that the audience loved it, and would we consid- er coming back each semester? Would we? You bet, and "the money attached to it" you bet! Within a week I had two phone calls - one from the Women's Alumnae Association offering to sponsor our future shows - and take "the money attached to it." I never had such fun telling people to go to hell in my life! Also we went back to Detroit each semester for many years, and kept the profits. When we did Iolanthe, we for- got the orchestra lights and left them in Ann Arbor, and the cast (in costume) was out in the parking lot as people arrived asking for flashlights. We got enough and taped them to orchestra stands. During intermission we returned them as our lights had arrived by that time. The same thing happened to the programs the next semester and they were passed out between the acts. In 1951, we opened our production of The Mikado in Hillsdale (my home town). The orchestra had only one rehearsal and spent the entire day while sets were being put up learning their music, and it paid off with a fine perfor- mance, and the profits went to the high school for new band uniforms. Going "on the road" was exciting! We had a strict rule against encores and it held up for a couple of years until our first Pirates. The policeman's cho- rus had a very funny "gavotte" chorus line routine, and on the last night (and unknown to us) our music director decided to give us an encore. As we waited for the next music to come on and the audience to stop clapping, and still trying to keep our one leg raised high in the air hold- ing pose, down came the repeat music. We reacted well although one chorus member let out a cheerful yell (which can be heard on the record very clearly), and did it again. 259 A Pudding Full of Plums The first principal's encore came the next semester when Reid Shelton, as one of the pompous lords, waited until a thunderous applause had stopped and then walked in regal style downstage, and told the director to "please turn back to letter D; we want to do an encore." The audience roared its approval, and there went our rule against encores. Q4inthia -ill espite my attempts to break the record of consec- utive portrayals of Inez, I understand that my true contribution to UMGASS history is as foundress of the Saturday morning brunch, which is now an institu- tion. It all began with hostessing a Thursday night cast parry. I made a large vat of vegetable soup. It was a hit! People were making comments like, "This is the first bite of food I've had all week that isn't a potato chip." The Saturday morning brunch also began as an attempt to save the show from being destroyed by the cast parties. Who could ever forget those glorious days? There were the games. And the dances: one an Irish jig, to see if forty of us hopping and stomping could make the floor collapse. By Patience of 1972, we had truly reached the apex of cast parry celebration and raucous revelry. Most of us had pawed our way back into the theater for the Saturday mati- nee almost directly from the night before. By the evening performance, we, and the show along with us, were quite dead. Following the first chorus entrance, co-director Susie Morris came back to the green room aghast at the energy level. Some were roused from their slumbers. The rest slept on until our next entrance. It was a show soon thereafter that I first invited cast, crew, and orchestra to my home for brunch before the matinee. Even when I wasn't in the cast, hostessing the brunch was always a wonderful way of vicariously being part of the show. By 1976, I was merely providing a place for it to happen. The brunch had blossomed into a banquet, with competitive quiches, more eggs than I've ever seen in my life, a shared feast! If I started it all and it's an institution that's brought pleasure, then perhaps I've given back a frac- tion of the pay I've received throughout the years from being a part of UMGASS. (63raId iioran f (y first show was Ida in 1968. Roger Wertenberger was the director, and Brad Bloom had the orchestra. My fondest memory of Ida was a confrontation during dress rehearsal. The entire cast was on stage, the orchestra was playing "dah, dum" and then King Hildebrand is supposed to come out and sings something like "release Hilarion then, or be his bride," and so on. It was a pretty exciting moment, and in front of a fairly large audience of invitees (including Bob Miller's grade school class). But, no Hildebrand appears. I still remember the sick look on Brad's face and his peering fruitlessly into the wings. Finally our Hildebrand comes stalking on, totally out of character, and screaming, "Where's my scepter?!?" So the orchestra stops playing and we all look aghast, and from the back of the theater a great- ly agitated Roger Wertenberger comes charging down the aisle, screaming at the top of his lungs, runs up the stage and takes his huge three-ring binder and throws it to the floor, papers are flying everywhere, and then Roger and King Hildebrand had a major confrontation, which Brad Bloom typically managed to mediate so the show could go on. The next day Miller came and said that he had asked his class what their favorite part of the show was and just about every student enjoyed the part where the king and the fellow with the notebook were yelling at each other. It was the high point of the show. And I think from an artistic standpoint, we should have left it in. I remember Roger was big on cleavage. It was really criti- cal that we have lots of cleavage. Men, women, anything on stage had to show a lot of cleavage, and he insisted that there be massive cleavage pancake. That was one of Roger's quirks. In 1970 we did Yeomen. It was special for me because it was the one and only time in my G&S career that I had a solo. I was one of the yeomen. I remember practicing for hours and hours on what I considered to be the definitive solo in this particular role and an important contribution to the literature of G&S. But Dave Gilmartin timed my solo at nine seconds. So that was my nine seconds of glory in G&S. But most of the things I remember are the parties and getting together with people during the years I was with the society. The ugly cake contests were brilliant. I remem- ber John Alexander would dress up in the Lord Chancellor costume for the judging. And there were some pretty amazing cakes at these parties, some of which were edible, some of which were highly inedible. The one I worked the260 Our Curtain Calls hardest and longest on was a culinary creation titled "Prefrontal Lobotomy," which was an entry tasteless in both concept and execution. And then there were the cast parties which for obvious reasons I only vaguely remember. I remember there was a crew leader whose name escapes me. But, searching one day for some props, we were in this loft where we kept sets. We discovered that some fellow had a cot, an old television set and a little refrigerator. He had spent the entire summer living in that cozy hideaway. He was one of the many bizarre and wonderful characters from UMGASS. He's probably an accountant somewhere today. Ralph EIatz ake note of the many people who have worn mul- tiple hats in the several productions in which I ave been involved. Steve Krahnke (chorus, prin- cipal, tech. director, set designer), and Tim Locker (set designer, tech. director, costumer, chorus), are notable renaissance persons. Within my memory. however, there are few orchestra persons who have played more than one instrument in the pit. Mary Kruzas is the only one I can recall who played three different instruments in three dif- ferent G&S pit orchestras, to whit: clarinet (Ruddigore '71), oboe (Mikado '71) and bassoon (Yeomen '70). Mary was a clarinetist working on her music degree in woodwind performance, who (fired by an over-abundance of clarinets and stimulated by the challenge of performing on instru- ments she had just learned) did an admirable job. I still remember her beautiful solos in the overture to Mikado. Patience is noted (at least to players of that instrument), for having not one, but two (count 'em) two clarinet cadenzas in the score. Now here was grist for our mill: usually the soloist selects the cadenza. The conductor of that produc- tion did not accede to my desire to substitute cadenzas. Nonetheless, I added an unexpected but lengthy trill at the end of one of the cadenzas during the matinee. Mary Lou Zuelch, a small and rather bubbly Patience, took her breath expecting to come in, only to be somewhat delayed. Afterward, we passed in the hall and in a sonic assault such as only a soprano can muster, she said to me: "WHAT DID YOU DO!?!?!?" (My ears are still ringing even today.) ,3ohn [I&dl 10ith the exception of meeting my wife, on stage, many of my fondest memories contain what I refers to as "Cosmic Laffs," such as when I labeled a tin of guacamole dip "makeup remover," and which found its way into into the chorus women's dressing room. Also included are the many "Porcelain Pranks" of placing silver fulminate caps on W.C. seats, causing the initiate to suddenly assume the vertical when nature demanded a more recumbent endeavor. On stage I have been known to transfer a bolus of petroleum jelly to the fist of Debby Kulber, just as I left the stage and the women had a protracted stay before the audience's scrutiny. There was nothing to do with such a quantity, so it required her to deftly carry it around until the chorus finally withdrew. 9tEDE Krahnat, Rex 1Winder, 9Eilson PalICq, Qaid3 ohnson teve's contribution was confined to a discussion of how the hokey pokey was danced at UMGASS parties. It has only marginal pertinence to this his- toric exposition, so we omit it here. Rex Wilder and Neilson Dalley's contributions are largely duplicated by others; Dave Johnson's wonderful yarn is embodied in Our Main Attraction. Interested readers are referred to the issue of GASBAG from which these gems were derived. Richard ?1eunur y most vivid memory of my association with the Society was of our touring performance of Sorcerer and Trial By Jury in Coldwater. The performances took place in a beautifully restored theater. Unfortunately, the local group which brought us in had done very little to publicize this performance and at the matinee there were more people on stage than in the audi- ence. We must have done something right, however, because we had nearly a full house that evening. This only goes to prove that we must give our all to any performance even if we are depressed over the turnout. 261 A Pudding Full of Plums 3immit iobaugh tried out for the first production, The Mikado because Dorothy Duncan-Appleby had said it would be a lot of fun. I'd gone up to The National Music Camp for a lot of summers before 1947 so I knew a lot of the kids in the show, Dorothy mainly, though. As she had said, The Mikado was a lot of fun. I ended up doing a lot of the makeup, I've no idea why, but I guess that it was just a matter of there being no one else with more experience. At the first rehearsal I met all the pioneer regulars, Gloria and Gary, I think. We really were a strange lot, as I look back on it. We had undergrads, grads, returning GI's of all description and people connected with the University. Phoebe Williams was one of those. I've no idea what we sounded like, we looked pretty good though. Our costumes and wigs were rented. We had enthusiasm and blind faith. Boy, was it fun!! Pinafore came along next and I got a P*A*R*T. George Boucher was Sir Joseph, Vivien Milan was Hebe and she was so beautiful... oooh. Jim Ueberhorst was Dick Deadeye, and I was Bob Becket. Frankly, the only thing I remember about the show was that our director had me parading back and forth across the stage like some kind of strange cheerleader while I was singing "He is an Englishman." It must have worked, but I can't think why. Also, this was the one and only show I've ever heard of in which Little Buttercup danced the entire part through on her toes. She was quite an accomplished toe dancer and, I believe, our director thought it gave the part a certain something. Once again, I had something to do with the makeup. So, since I had just seen the Ballet Russe de Monte Carlo at the Michigan Theater, I made her up to look like Alexandra Danilova, complete with mauve eyelids going half way up her forehead. And I still remember the marvelous cast party. The next show was Yeomen, and that remains my favorite of those early productions, probably because Maynard Klein directed it. I regret that he never directed any further shows; he was such a nice person and a grand musician. I was the second yeoman. There is nothing special about that part, but it was fun. Those rented red Tudor uniforms were something to see. I do remember when we were doing Patience, I was Major Murgatroyd. When I jumped out on stage in my velvet knee britches, the back seam gave way from the crotch to the waist. The sound was something I'll always remember, but the cold blast of air that greeted my derriere was a sig- nal that guided my every action through the rest of that scene with five of us singing and dancing "If Saphir I choose to marry." When I came back from the Army, I was cast as Bunthorne in Patience. Al Crofoot was the Duke, Ara Berberian was the Colonel, Sophie Fedonis was Jane and the rest of the cast was admirable. Ara, Al and I were quite a trio. Ara stood six foot four; Al weighed 350 pounds, and I was a chubby ex-GI. Those two guys, both friends, always made me feel five feet tall weighing 150 pounds. Both of them went on to the Metropolitan Opera Company, and so did Russ Christopher. Then there was the world premier of Thespis by Bilik/Sullivan. Jerry kept in "Climbing over rocky moun- tain," but the rest of the music was his. I was Mercury. They wanted my brown hair dyed gold. I used a lot of gold hair spray and it looked beautiful. It produced a peculiar reaction on my scalp. As a matter of fact it turned Kelly green! It all washed off, but it caused quite a sensation and made my pillow case a colorful sight to see. Along with Thespis we did The Sorcerer. I was J.W. Wells, Ara was Marmaduke, Al was Dr. Daley, Dude was Alexis; and I got a chance to work with Marian Mercer as Lady Sangazure. My! she was fun. She was all dressed to go on stage opening night and she decided that she should wear lace elbow length gloves, so she got out an eyebrow pencil and drew on a pair. I still remember the three-flash teapot. The tech people had rigged up a huge teapot with switch- es and photographer's flashbulbs down inside. I called "Number One!" .... F*L*A*S*H. It was a really great stage prop. As J.W. yields his soul, I stepped back into Marmaduke's front door. Four (count 'em) four fire extin- guishers sprayed ice cold clouds all over me. I still think I had to pick pieces of frozen sweat off my face. If I had it to do all over again, I'd certainly join the G&S Society. It gave me some of my greatest times and some of my best friends; it gave me a wonderful hobby that I still enjoy. As a matter of fact I am still performing in G&S. Moreover, I've watched a new generation of people join the Society. My niece Laura Lehman is currently in the Society, my brother and sister-in-law, Paul and Ruth Lehman, have been in the society, and two of my pupils from Port Huron were also members: Jack Hart and Carl Shurr. 262 Our Curtain Calls iirarg ?oder hen Dave Goldberg sent out the call for long- time members of UMGASS to come up with anecdotes, it gave me a chance to do something I don't think of doing very often, but something that's so delightful, now that I've gone through it, I wish I had done it more often. And that was to dig out my old UMGASS programs and consider my history with the Society, show by show, trying to let the memories come back of those amusing things that David thought people might want to hear about. There's certainly many of them. And they started from the very first show with which I was involved. That was the Gondoliers which Susan Morris and Nancy Gilmartin co-directed back in 1972. Oooohhhohoho ... There were many remarkable things about that show to me, not the least of which was that I got to be in a show with Charlie Sutherland, whom I had greatly admired on stage for years. The other was that there was this truly delightful, thrilling young soprano named Ashley Putnam, who was doing Gianetta. And she was about as full of fun and sass as anyone could possibly be. There was a tremen- dously imaginative choreographer for that show. And just the overwhelming fun of spending the first semester get- ting to know what a zany and marvelous place UMGASS was to be. It culminated in one particular rehearsal that I remember as one of the high points of that whole experi- ence for me. For some reason, maybe because we were feel- ing a little overrehearsed, the whole rehearsal just went deliciously awry. But so wackily awry, that neither director seemed to have any inclination to bring it back onto track, and it was one of the most enjoyable evenings I've ever spent. I don't know who started it, but somewhere along the line somebody got the idea that one of the things that they were doing should be just a little bit bigger, a little bit crazier, a little bit loonier, than was the norm for that par- ticular scene. And it just caught fire. Chorus members did the cachucha with silk roses in their teeth, dialogue was overdone, gestures were overdone, people were flinging themselves at other people around the stage, and the entire thing was just full of immense energy, a ton of creativity, and a lot of joy. It was just the kind of spontaneous zani- ness for which UMGASS is truly famous, the kind of ener- gy simmering under the surface of all the controlled per- formances that people see on the stage, and it made a won- derful beginning to a long and loving association. After that, we tackled The Grand Duke for the first time. It was a truly wonderfil experience, because we were finally breaking that barrier of there being Savoy operas that were just not to be done. And there was a great deal of care and energy put into that production. A lot of fun went along with it. We departed from our usual practice and made a recording in a studio so as to preserve the final product as close to perfection as possible. I think we should have been better off to stay with the kind of recording we usually do, because the one thing that loses in the translation when you don't have the audience there, is that marvelous elec- tricity that happens between people who are having a won- derful time doing what they love to do on stage and people who are enjoying watching them do just that. Susan Morris's beautiful Iolanthe, with the oversized flow- ers, and toad stools and teeny little fairies on stage, fol- lowed. I remember best the incident of the fairy with the cracked wing. While we were on stage, in costumes at one of the tech rehearsals, some stage weight had not been put back in its proper place, and was left in the tunnel, right in the dark, right in the path of our own Nan Worthington, who went flying right over it after her toe got caught on it, and did something wretched to her wrist. Trouper that she was, nurse that she was, Nan managed to get herself fixed up, get bandaged-up, get her wings put back on, and flew through the rest of that show without dropping a step or moaning a moan. I recall the splendid technical work for the 1976 Sorcerer. In the finale Glen Santiago as J. W. Wells is supposed to yield himself up to Ahrimanes. Tim Locker (our set builder) had arranged a quick-acting trap door through which Glen could be dropped just as flash pots went off and hid him in smoke. It worked so well that some fundamentalist-lean- ing women in the audience hurried out because that was surely the work of the devil. A potential catastrophe was saved by a quick-thinking member of the chorus in the 1978 Gondoliers. In Act II, there's a moment when all the ladies have come across the sea to join their gondoliers, and Giuseppe, in a spirit of tremendous joy and generosity, says to the assembled men, "Gentlemen, will you allow us to offer you a magnificent banquet?" To which the entire male chorus replies, "We will!" And then the ladies are asked, what would they say to a dance? Well, this particular night, Giuseppe just got things messed up and said, "Gentlemen, what do you say to a magnificent banquet?" All of the chorus men stopped, froze for half a second, because 'We will" certainly isn't an appropriate response. And then the quick-thinking Eric Hubbs, piped up, "Why not?" And the catastrophe was averted. 263 A Pudding Full of Plums I recall another great save in a Gondoliers that Julie Tanguay directed. Alan Wineman, who was portraying Don Alhambra, lost his father just before the show opened. Alan knew that he could make opening night, but then wouldn't be available to finish the run. A frantic set of calls went out, and Julie came up with Dave Johnson, a long time stalwart in G&S who hadn't been active for about nine years. He graciously agreed to take over the part, came in and put in some tremendous extra rehearsal time, and in a couple of days, had everything down pat, committed to memory. He went on stage Thursday night and gave a flawless performance. The audience was most enthusiastic, the cast was ecstatic. He just fit in beautifully. We in the ladies' chorus organized a little tribute at the curtain call. We had taken our roses white and roses red back on stage with us for chorus bows and when he came out to take his bow, we, as a group, flung our roses at his feet in tribute to a job well done. There are other tales to tell. I'm thinking of Linda Milne, totally laden with bronchitis, managing to do truly incan- descent work as Julia in The Grand Duke, working her way through the part with the energy and focus and devotion it required, just as if she hadn't spent most of the day in bed, trying desperately to recover her voice. That entire show was pretty miraculous because it was the sickest show, as far as the general health of the company went. The rest of the cast was working through various strep throats, viruses, flus, laryngitises. Everybody was loading up on vitamin C and trying to do the best they could. But even the memo- ries of the time of illness can be tremendously pleasant when dealing with things that have to do with UMGASS. It has been a pleasure to dip into this storehouse and dust off these thoughts and remembrances. I've been delighted to share them, and hope they've brought as many smiles to the people reading this as they have to me. I look forward to many more years, in one capacity or another, building more memories to dust off the next time we have a big blow-out anniversary. 1onrad ifiason joined G&S in January, 1950 when I was a second semester freshman. Back then, Mother University was much more maternal and first-semester freshman were not allowed to participate in extracurricular activities, so I missed out on the fun at first. At that time the Society was desperate for males. My roommate (Henry Elsner) and his best friend (Eric Thomassen) were in the group and prevailed on me to join. I had never been involved in any- thing even remotely resembling theatrical activity, but 264 joining G&S quite literally changed my life; and I'm still involved in amateur theatrics. My first show was lolanthe and I can still remember the thrill I felt when the peers made their entrance. And I can also remember getting so carried away in the confrontation with the fairies ("Go away, Madam") during a performance one night that I just forgot where I was - it was all too real! Since that time I have espoused "technique" over "method" as an actor. One of the best features of Iolanthe was the costumes. To advertise the show, the peers were encouraged to wear their capes to classes. Mine was a deep, rich purple with a lemon yellow lining. Talk about an attention getter. We were really pressed for money in those days and it was a hand-to-mouth existence. To make money, we would take the show to Detroit every semester and perform in the Rackham Building. Set building problems were com- pounded by having to design for two different stages but that kept the sets simple (sometimes too simple!) and affordable. One year there was a thunderstorm that knocked out power to the theater, so we had to cancel a performance and pay a refund to the ticket holders. Talk about disappointment and anguish. Some cast members wanted to go on so badly that they suggested doing the show by flashlight! A lot of people just cried. That incident almost meant the end of the Society because we ended up so far in the red we were certain the University would ax us. But somewhere, somehow wiser heads prevailed and the University actually loaned us the money to keep going. As the years went by, however, our financial picture improved and we even had enough money to start giving it away! Yup, we established a scholarship amounting to $100 per semester. (Back then, $100 was a lot of money!). I was the first Scholarship Chair and it was my job to select the right person based on need and academic achievement. I worked with Dean Walters to do this and, as I recall, the first recipient was Elise Simon. Later on, we were able to lend money to a new group that wanted to start doing musical productions on campus; they called themselves MUSKET. Our Curtain Calls ,bane ff(i1Lod 6usan lorris My Life as an UMGASS Member or Nice Girls Finish Last y story begins at the end of the 1981 "My Valentine is Better than Your Valentine" party. Conceived by Steve Field, the then-vice-presi- dent, the MVBYV party represented the winter term counterpart to the fall term Ugly Cake Party. There were five entry categories: 1. Nancy Reagan "Love Your Valentine" Award for excel- lence in design related to the traditional valentine theme (a.k.a. the prettiest); 2. Bob Reizner "Really, it's edible" Award for excellence in the area of edible valentines; 3. "I don't believe you did that!" Award for excellence in offense; 4. "I love Yeomen of the Guard Award for the best valentine associated with the current show; 5. Sue Swaney "What is that ?!" Award for best animated valentine. Being a newcomer to UMGASS in 1981, I decided to throw myself into the spirit of the occasion by entering my valentine into the third category - the award for excel- lence in offense. This seemed to me a sure-fire way to become one of the "in" crowd at UMGASS. I called the local Farmer Jack and arranged to purchase a beef heart. I then traveled to Kiddieland on the west side of Ann Arbor and purchased a large arrow. Not being very creative, I simply rammed the arrow through the heart and brought this organic sculpture as my entry. Needless to say, I won the prize for the most offensive valentine. Triumphant and exhilarated, I joined in the party merry-making. My story does not end there, however. My initial pleasure at beating John Kelly in a contest for offense was soon tem- pered by the realization that none believed that I created the beef heart sculpture. Every last partygoer attributed the sculpture to my future husband, Steve Krahnke. No amount of pleading on my part could convince the party- goers that I was responsible for the entry. I still remember their taunts as if it were only yesterday- 'You are too sweet to do something as horrible as that"; "Only Steve has the gall to ram an arrow through a beef heart." emories of UMGASS are for me significant chapters in the last 24 years of my life. I count 32 productions in which I have participated as director, or in some other capacity; so I have spent a lot of TIME doing G&S; and I have been strongly influenced by my experiences, both artistically and personally. I have learned a great deal about acting, directing and stagecraft; a lot about British comedy, culture and history; and quite a bit about human nature! I have a lot of memories. Some mark important milestones in our history. The most terrible came on a Friday in November of 1963. I was double-cast with Kathleen Kimmel (Strang) in the part of Pitti-Sing in The Mikado. Each of us had done one performance, but we were to do no more. President Kennedy had been killed, and we can- celed the rest of the run. I remember a Sunday night in the early 60's sitting outside the rehearsal room and all of us feeling sorry that we had to be at G&S that night, because an exciting new group, called The Beatles, were making their American debut on TV. It wasn't long before the nature of G&S parties underwent a permanent change. Up until the mid-60's, parties consisted primarily of drinking, pursuing romantic adventures, and singing songs (mostly G&S) around the piano. By the end of the decade things had turned around: parties consisted of drinking, pursuing romantic adven- tures, and dancing to rock music with strobe lights flash- ing. The transition was not terribly smooth. I recall a party at which some of us reactionaries were trying to sing songs around the piano, which was situated in the dining room next to the table of what in those days passed for refresh- ments: potato chips, Wonder Bread, Velveeta, salami and bologna. At the same time some of the young whipper- snappers had imported a strobe light and some records and wanted to dance. Hostilities broke out. We called them the "strobes" and they dubbed us the "lunchmeats." No agree- ment was reached, but they eventually won out by sheer force of volume. Before many months, we were happily converted; but I must say I was pleased that at the final party for Yeomen last semester, there was a healthy contin- gent of lunchmeats singing away, and I was delighted to join them! I remember some real DISASTERS: For a long time we thought that The Mikado was jinxed. It began, of course, with the Kennedy assassination. Then there was a Mikado where the director was inexperienced and came up with so many bizarre ideas that a large number of the principals broke into open rebellion. Some persons, of course, sided 265 A Pudding Full of Plums with the director, and quite a lot of unpleasantness ensued. There was another Mikado where the choreographer - a nice woman and an excellent dancer, but inexperienced in theater - was fired three weeks before the performance; and three of us (Lenore Ferber, Nancy Gilmartin, and I) restaged the entire show in those three weeks! Finally, in the spring of 1983, David Kitto directed a beautiful pro- duction with apparently little difficulty (although David himself was a nervous wreck!). I hope the spell is broken! Princess Ida productions have been plagued with difficulties as well. I remember a Princess Ida (my first production) where the Ida (Nancy Hall) came down with mononucle- osis after opening night, and had to be replaced in one day. Lavetta Loyd, who had sung Patience the previous year, stepped in. She had sung another role in Ida at Interlochen the summer before, so she was familiar with it, and she car- ried a book with her on stage (something Ida certainly might do), in which she had her words written. She sang like an angel and got through it all without a hitch. We were all terribly impressed, even though we missed Nancy and felt bad for her. There was another Ida in which it was discovered shortly before the second performance that somehow the bolts holding a parapet in place had disappeared. I was most grateful that Tom Ault was in the habit of carefully check- ing his set each night, because it was I, in the role of Ida, who had to walk out on that parapet in the finale, standing above a double row of rather nasty halberds held by the men's chorus! In an Ida I directed in 1973, we moved into the theater to discover that the set designer (who had assured me all was going well) had not faced or painted anything; and that the costume designer (who also had not indicated any need for assistance) had completed 11 of the 68 required costumes. We had to cancel both the Sunday and Monday dress rehearsals, while the cast worked franti- cally day and night to get everything done. We made it, but it was a little too close for comfort! There was, of course, the financial disaster which followed upon the second non-G&S summer production, Paint Your Wagon. For a variety of reasons, the show was a finan- cial failure, and the society found itself virtually bankrupt at the end of it. We had to really scramble (doing Pinafore and Pirates in the same year, both on a shoestring budget) to recuperate. It was, however, that disaster (I believe) that prompted Harry Benford to found FUIMGASS, which has brought numerous blessings to the society over the years, not the least of which has been freedom from serious financial worries. If Harry Benford had never done any- thing else for our organization (which of course is not the case!), for the establishment of FUMGASS alone he ought to be sainted! I remember some pretty funny stuff: I remember a perfor- mance of Iolanthe, when Judy Dow Riecker was playing the Fairy Queen, and suddenly, during "Oh foolish fay," her slip came sliding down to the floor. She delicately stepped out of it, without missing a beat, and the fairies decorous- ly kicked it off stage. It is possible that most audience members never noticed! There was a Patience where Charlie Sutherland was Grosvenor and I was Angela. On his line "Remember the fable of the magnet and the churn!," he had been directed to make a false exit. I was to holler my line after him: "But we don't KNOW the fable of the magnet and the churn!,"~ and he was to re-enter saying "You don't? Why then I'll sing it for you!" At the final performance, he gave his line and made his exit. To my dismay, as I yelled my line after him, I watched him disappear into the wings. How in the world, I thought to myself, could he have FORGOTTEN that he has a song here? What can I do? Do I know all the words to this song? Shall I try to sing it? Well! I was a singer, and Angela is a rather small part, so I decided to take the bull by the horns. I was opening my mouth to say "Oh, I've just remembered that story! I'll sing it for you!" when I heard the panting Mr. Sutherland announce from the other side of the stage, "You don't!" He had run clear around the back of the stage and come in on the other side! It seems Charlie and John Allen (the director) had decid- ed that it would be a funny bit (which it was), and that it would be even funnier if they didn't tell me what was going on (which it was for them, but not for me!). I don't think I've ever had a more frightening moment on stage. I remember one March, Nancy Hall and I decided to bake a cake for John Alexander's birthday. Since it fell on, or near to, St. Patrick's day, we thought we'd make a green cake. Well, neither of us was good at making layer cakes, and the resulting confection was a real monstrosity. The top layer kept slipping off. We tried to secure it with toothpicks, but all they did was to reduce the hideous green mess to sticky crumbs. John told some others about our gift, and it was decided to have a contest to see who could bake him the ugliest cake! I guess most of us know what that led to! I remember a certain production, directed by Roger Wertenberger. Nancy Gilmartin was choreographer and sat in on the auditions. When it was time to choose the cast, Roger said that he wanted to give a certain young woman one of the minor roles. Nancy said, "You WH-AAAT?! She was awful!" Roger said, 'You're crazy, 266 Our Curtain Calls she was very good, plus she had a Very Good Body." (Roger had a sharp eye for female beauty, and frequently marked VGB on the tryout sheets of those women he thought had something significant to add to the produc- tion.) Nancy said, "Well you're wrong, but you're the direc- tor!" And so she was cast. At the first rehearsal, Roger was watching the group assemble. At one point he leaned over to Nancy and said, pointing to the woman in question, "Who is THAT?" Nancy said, "That's the girl you cast as ......... !" Well, it seems that Roger was wrong, and during every performance he and Nancy sat in the audience cring- ing whenever that particular young woman appeared. After that, Roger always took a Polaroid camera to auditions and photographed everyone he didn't know, attaching the pic- ture to the auditioner's tryout sheet. Roger's shows were unfailingly delightful. He is sorely missed. I met some pretty famous people here, too! I had the plea- sure of directing the fabulous Ashley Putnam in four pro- ductions. She was a natural talent, hard working and reli- able, terribly funny, and a great beauty. I appeared in our first non-G&S summer production (Oliver) with Thomas Hulce, when he was 15 years old. He was an absolutely amazing boy, gifted and disciplined in a way you never expect from someone that age, and with a personal appeal that had absolutely everyone mesmerized! And of course Eric Stern, who recently conducted the very successful Sondheim show, Sunday in the Park with George, on Broadway, got his start in our group. I directed five shows with Eric, who is still a beloved friend. J3ohn Iltr n the spring of 1965 I was considering graduate schools. I included UM in my tour of Midwestern universities, stayed with David Goldberg, and attend- ed a rehearsal of the G&S Society. Although there are many good ways to pick a graduate school, the real reason I chose UM was the G&S Society. And as I reflect upon that choice, I note that it was as good a reason as any! Not only did I enjoy the music and productions (they were an excellent antidote to the heavy doses of eight- and fif- teenth-century music that I was studying), but best of all, I enjoyed the friendships. I sang in three productions and served as musical director for two more -- Patience and Mikado. Although my painful memories of interpersonal conflicts during the Mikado production are nearly twenty years old, they still sear. Several days after that traumatic production, I failed my doctoral oral prelim and had to retake that examination during the summer. The spring of 1968 was no delight! Yet I treasure many good memories, such as contests among the tenors to sing (scream) the highest, which ended somewhere around e or f above "high c." I recall get- ting a haircut the evening of a performance of Pinafore, being scalped, and spraying my bald pate with brown shoe polish. I recall an argument whether it was artistry or musi- cal prostitution to imitate D'Oyly Carte interpretations. I recall how a glass of wine (only ONE glass - honest!) before dinner of a performance affected the tempos three hours later. And the parties - the parties! (Perhaps the less said about those wonderful parties the better.) From my experiences with G&S I learned three important lessons. (1) the most critical element of the production is the pacing of the stage action and music. (2) the audi- ence's delight in the production resides not so much in the polish as in the enthusiasm and joy of the performers. Therefore, (3) a director must foster good interpersonal relationships among the cast, or risk disaster. For those reasons, the friendships, and the sheer fun, I remain pro- foundly grateful. Pa~id Pollitt smile of warmth, optimism and friendship guided my days at the helm of the G&S ship. A smile from he first moment of inquiry, into the long periods of rehearsal and through the many shows, a smile that I later learned had pervaded the joyous G&S history from its inception, a smile that I was fortunate to receive and hold dear, a smile that now remains deep within - the smile of dearest Gloria Bennish. flark owcII Reminiscence of a Pine Tree Wonder ust what are Pine Tree Wonders? Well, being one of the duly sworn members of that elite group, I can tell you. They are those who have shown themselves to e genuine troupers (that means everybody) during the rehearsals and performances of high school G&S produc- tions at the National Music Camp at Interlochen, Michigan. These gems of theatrical stagecraft are produced every summer by the combined talents of Dude Stephenson and Mel Larimer. I was sworn into the order by Dude Stephenson the evening I performed as a member of the 35th Dragoon Guards in Interlochen's 1984 pro- 267 A Pudding Full of Plums duction of Patience. I had always known and loved G&S, but being with those two wonderful people gave my first real stage experience that little bit of magic. And it is that bit of Interlochen magic that made me try out for my first UMGASS show. It was Mary Locker's Grand Duke. What a show to make my Michigan Savoyard debut! While we were plagued from the very beginning by falling sets (sorry, Scott) and sick leading ladies, the show came off beautiful- ly. Three shows have gone by since then, and the magic that started for me as a Pine Tree Wonder continues as I work with (and continue to meet, every semester, mind you!) some of the best people it has ever been my pleasure to know. Jithi ch1CICr recall my five and a half years of total absorption in G&S at Michigan from 1947 to 1954 (including terms as president and business manager). In particu- lar I remember three events that were unique to me. In an economics class in the fall of 1947, Jim Schneider suggest- ed that I come to a G&S rehearsal at the League that night. Never having heard of Gilbert & Sullivan at the time, I wondered why I should want to do such a thing. Being open to suggestions at the time, I went to see what it was about, and to my dismay found a circle of nine or ten men rehearsing innocuous lines about "heaving a capstan round" and "where our patriotic banners may be planted." After two hours of this, I became totally unenthused, and could hardly believe they were talking about another rehearsal like this the following week. Still curious, I decid- ed to have one more look a week later and was astounded to find an entire women's chorus, which in itself interested me, plus talented soloists and some talk that a 16-piece orchestra that might arrive on opening night. That was the Mikado, the beginning show in December, 1947, organized by Jim Ueberhorst, Gloria Katlan and Ben Hazard, and from then on it was for me the most enthusi- astic reason for being in college. I graduated in June, 1950 and obtained a finance job at Kaiser Fraser at Willow Run for the following year, which meant staying in my fraternity house, having a car on cam- pus, having enough money to spend on whatever I wanted, never having to go to classes, and another great year (judged to be the best) of G&S shows. In June of 1951, I had to go into the army and it looked like the end of college activities and G&S. But "what to my wondering eyes should appear" but a two-week leave in early November, while I was enroute to Korea. Stopping by 268 Ann Arbor on my way to Detroit with loaded duffel bag, I found a G&S rehearsal in progress, and all of the old gang. "Too bad you won't be here in two weeks so you can be in Ruddigore," said Jim Ueberhorst. "But I will be here" I said, "my plane to Seattle doesn't leave till the morning after the last Saturday night show." "Great," said Jim, "here's a score for Ruddigore, and you will be in the show." So I spent my leave at rehearsals, drinking beer at the Old German restaurant, visiting my parents in Detroit, living again at the old fraternity house, and being in another suc- cessful and talented G&S show. It all concluded with a final day with my parents at an afternoon football game, dinner at the old Farm Cupboard, singing in Ruddigore, the usual party after the show and a 2 a.m. airplane depar- ture from Willow Run, which was attended by a dozen or more from the Ruddigore show. Sitting in Korea six months later, I received the program for the spring 1952, show and there was listed "Frederico Scheffler," a member of the men's chorus, and again in the program for a later year while I was away. It was a memorable beginning and a terrific forty years of growth and planning with thousands of students and Ann Arbor residents taking an enthusiastic part. I was excited to be a charter member and when I hear UMGASS men- tioned in the media, I recall the beginning days and admire how the troupe has developed forty years later. ff[ar[ chcpherd t the end of this book you'll find an up-to-date ver- sion of the "Table of Shows and Directors." Look t the first page and notice the orderly patterns evi- dent in the two right hand columns: often, the same two directors' names are repeated semester after semester. Now look at the second page. The same patterns are not evident. In fact, especially toward the bottom, there are no patterns at all. For the first twenty-five years or so we chose directors by following a simple rule: find a team that works and stick with it. Except for two oddball seasons, (1952-53, 1961- 62), we usually stuck with the same directors many semes- ters in a row. The dominant name on the first page is Dude Stephenson, who directed dramatics for ten consecutive semesters, thirteen in all, and often did the tenor lead, as well. A freshman in 1953 or 1954 could have spent his entire career at UMGASS with only one dramatics direc- tor: Dude Stephenson. Our Curtain Calls Although Dude was the extreme, he was not the only one who directed multiple shows consecutively. After Dude left, his brother, Jim Bob, directed four shows in a row. Altogether, we had seven consecutive years of Stephensons. Later on, there were two and a half consecu- tive years of Allen Schreiber productions and, later still, three straight years of Roger Wertenberger productions. For the first twenty years, we stayed close to Gilbert and Sullivan. In fact, our only non-G, non-S exclusion was Richley Rewarded in 1959, whose words and music were written by a couple of UMGASSers. Richley Rewarded was, however, paired with a G&S work. In the summer of 1968, we for the first time mounted a production that had noth- ing whatever to do with G&S: the musical Oliver!. That was enough of a success to prompt us to attempt musical theater again the following summer with Paint Your Wagon, one of the most disastrous productions we ever undertook. I expect that the Paint Your Wagon debacle is covered else- where in this issue, but I bring it up for another reason. The Pinafore-Pirates "season of recovery" that followed Paint Your Wagon marked the end of UMGASS's policy of sticking with the same directors show after show. Before that time, as I noted above, there were only two seasons in which we did not either establish or perpetuate an on- going association with a dramatics director. Since 1969-70, the opposite has been true: only twice have we used the same dramatics directors for two shows in a row (and there has not, since then, been an instance of three-in-a-row). It's not that UMGASS hasn't found directors it likes; scanning the list over the last fifteen years, we find numerous names that occur multiple times: Susan Morris, Peter-John Hedlesky, Mary Locker and Julie Tanguay, to name a few. Rather, we simply changed our policy. If the watchword of the first twenty five years was "pick a team and stick with it," the watchword of the last fifteen has been "make sure everyone gets a turn." Though I have no basis for comparison, I am compelled to believe that productions are better when directors know that they do not have a "lifetime contract." I have all the respect in the world for Dude Stephenson. It is to him, more than any other person, that I owe my love and appre- ciation of G&S. Yet, of the thirteen productions he direct- ed, some had to have been better than others and perhaps one or two were downright mediocre. Nevertheless, the job was his to keep essentially as long as he wanted it. Today, to be hired a second semester in a row, a director must be practically God-like. Of this pressure to succeed, our audi- ences are the obvious beneficiaries, though more than one dramatics director has been driven near the brink of insan- ity in the process. In its selection of musical directors, the policy has been slightly different. I mentioned that about fifteen years ago, we stopped selecting the same dramatics director semester after semester. On the musical side, however, the old poli- cy remained in force much longer. Only in the last five years or so has there been significant turnover in musical directors, and it is too early to tell if it is a long-term trend. Why would there be a difference in policy between selec- tion of dramatics and musical directors? This argument may draw some criticism, but I believe the difference is that dramatics direction is an art and musical direction is a sci- ence. In G&S opera, we do not seek creativity from our musical directors. What we seek is someone who knows how to get the singers and orchestra to perform as an ensemble. To be sure, a few musical directors have man- aged to elicit substantially more that "just" ensemble, but what we seek most is simply that the music sounds "together" to a trained ear. Once we have found a musical director who knows how to achieve this, we will probably keep him as long as he wants to stay. Dramatics direction, by comparison, is an intensely cre- ative activity. Far more is required than simply that the actors know their lines and move as an ensemble. Both audience and performers have to enjoy themselves, too. This is a tall order and directors achieve it, albeit with vary- ing degrees of success, using techniques that are as person- al and unique as a fingerprint or a signature. A Julie Tanguay production and a Mary Locker production may both rank 10 on a scale of 1 to 10, but they will nonethe- less be radically different. After even the best Mary Locker production (for example), the board normally will try to select another director simply to vary the production style from one semester to the next. I saw my first UMGASS production in 1977. Since that fall production of Patience, I have either been in or seen every UMGASS production. It is 1987 now, so I have been with the group a decade - one fourth the time it has exist- ed. A few personal observations on the period are in order: -Artistic standards have, for the most part, risen during the last ten years. In particular, musical preparation is now much more professional than it once was. -Competition for chorus roles is much keener than it used to be. In the 1978 Ida, we had only eighteen chorus mem- 269 A Pudding Full of Plums bers (and we had to scrounge to get that many). In recent semesters, it has not been uncommon to turn away two or three times as many as we cast. *Programming has become far more conservative than it once was. Between 1951 and 1961 we presented nine dou- ble-bills (e.g. Trial and Pinafore). It has only been done twice since then. I believe this is attributable to the high cost of production coupled with the high quality standards to which we have grown accustomed. -The office operation has grown far more professional. Before 1977, we: -Did not have our own telephone. -Did not have our own bank account. -Did not make videotapes of our productions. -Did not have a professional-looking pre-production flyer. -Did not have a publicity director. -Did not charge higher prices for better seats. All of these omissions have been corrected in the last ten years. One thing that has not changed is the esprit de corps. UMGASS is, and as far as I know, has always been, more than just a theater group. It is a family. We share each other's joys and sorrows, fall in love, get married, and watch each other's children grow up. We don't just put on productions together, we party together, have fun togeth- er, socialize together. The key to UMGASS's success is its unique blend of stu- dents and non-students. UM regulations require that our president and treasurer, plus at least half of everyone else, be students. As important as student participation is, how- ever, the average student leaves Ann Arbor after three or four years. It is the "townies" - the Julie Tanguay John Kelly Mary Locker David Goldberg Susan Morris John Alexanders of this world - who provide the continuity. Their presence guarantees that UMGASS will remain a vibrant organization. I plan to save this article and revisit it in 1997, when UMGASS will celebrate its golden anniversary. Nobody knows yet what shows will be done that year or who the participants will be, but UMGASS, good-old UMGASS, beloved UMGASS, will be there. You can bet on that. wudf ttphnson [1997 Post Script: Dude's first paragraph has been rewritten to conform with David Newman's contemporary article in the Michigan Daily.] ne of our near-disasters centered on the role of Little Buttercup. Bonny Glasgow, who was cast in the part, left the rehearsal early because she "felt funny." The next morning she called the director, Dude, from the Health Service to say she had pneumonia. Dude and music director, Bob Brandzel, decided Bonny's best replacement would be Alice Dutcher, who had sung contralto lead in previous shows. Alice agreed to step in, so that morning they showed her the blocking. They cut some of her lines and wrote the rest on slips of paper that she could carry in her basket. One problem remained: Alice was in the School of Music, and to keep her out of trouble the directors thought they'd better get permission from the dean, who apparently had some snobbish attitude toward G&S. They succeeded, but only after two hours of fervent pleading, and with the understanding that Alice could appear only on opening night (Thursday). She gave a per- fect (if curtailed) performance, but now a second replace- ment had to be found. Dude and Bob drafted another vet- eran contralto, Ann Olsen, and had her lined up for an emergency rehearsal; but that morning (Friday) Lynn Tannell (Josephine) called in to say she had the mumps and couldn't go on. More frantic phone calls went out until Margaret Whinery agreed to take the role (and again with slips in a basket).The directors brought in the entire cast for an afternoon rehearsal with the two substitutes, and all went well that evening. The next morning Margaret phoned Dude, who turned pale when her heard her start out, "Oh, Dude, I've got (pause) I've got to get two tickets for my parents for tonight's show." The situation was just appalling, but as so often happens, it was one of those things that brings everybody together. And I think that Pinafore was one of the strongest shows we ever did. But, at the time it was just terrifying, because we didn't know who might catch the mumps next, and the men wondered if they might not end up sterile. David Newman played Deadeye in that performance. He has since gone on to be a highly acclaimed screen writer in Hollywood. Way back in 1948 or 9, I remember we were posing for a publicity shot for Pirates of Penzance, and a girl named Vivien Milan was playing one of the minor leads in the thing. I was playing the part of the Sergeant of the Police, and I had this billy club and I was trying to twirl the thing 270 Our Curtain Calls like Charlie Chaplin, and I hit Vivien on the head. I think I may have knocked her out, but we did the picture any- way, and if you find it the in the archives, Vivien is the one who's closest to the camera and you'll know why she looks like she's in a great dreamy state. I remember Jimmy Lobaugh in Patience playing the part of Bunthorne. Jimmy was the best Bunthorne I have ever seen, professional or amateur. He was utterly amazing in that part, but he had a lot of trouble with the lyrics in the song, "When I go out of door, Of damozels a score, (All sighing and burning, And clinging and yearning) Will fol- low me as before" and so forth. He kept getting the lyrics mixed up, and I remember one night he was singing along and something came out "Zippety zappety, crippety crap- pety," Nobody blinked an eye. For some reason, that lyric, "Crippety, crappety" still sticks in my mind. I well remember the night we were doing The Mikado in Detroit. I was playing Nanki-Poo, Jim Fudge was playing Ko-Ko, and a girl named Mary Jo Jones was playing Yum- Yum. We were at that point where Yum-Yum learns that marrying Nanki-Poo will condemn her to burial alive, only she forgot what came next. So there we were in front of the audience, and nobody was saying anything. We all looked at each other, and finally I said, 'Well, just a moment, I'm going to consult Fredrico." And I started off stage. I remember Fudge turning to Mary Jo and saying, "Fredrico? Who's Fredrico?" and she's saying "I don't know, I've never heard of him," and they went on talking about Fredrico. I was backstage looking for our prompter, a fellow named Louie Stern. Well, Louie had evolved a romance with a girl in the chorus named Naomi Shulman, and as I ran around I moved the little side curtain and there was Louie wrapped in a very intimate embrace with Naomi. So I said 'Where the hell are we?" and they came out of it saying "Huh? What? What?" I said, "Oh, never mind," and started back on stage. Just as I got back to Jim and Mary Jo, I remembered the song, so I looked the orchestra conductor in the eye, and said, "Here's a how-de- do!". The conductor was Bill Boyer, and he was sitting there smiling all the time. Now, he had the book in front of him, and could have given us the lines. For some reason, I don't know why, he didn't; but he just sat there smiling, and I guess he was wondering who Fredrico was, too. But anyway, when I said 'Here's a how-de-do!" he suddenly jumped up and began beating any old time, wildly, and the orchestra members began coming in one at a time. Finally, they all got together and we got through the song some- how. It was just one of those awful moments, when you think you'd rather be anywhere but on stage. But, truth to tell, I didn't invent Fredrico. I picked that up from a talented, but flighty, actor named Robert Q. Lewis. Years before, I was in a youth theater group and was in a play in which Lewis (then a UM student) had a lead part. He seldom had his lines down pat, so whenever he needed help his standard gimmick was to trot offstage saying, "I need to consult Fredrico!" And so that was the first thing that came into my head there during The Mikado. Now you know where I came on Fredrico; where Lewis picked it up, I know not. I remember a certain Cox and Box. A fellow named Jim Ensign was playing the part of Bouncer. Frank Poretta (who went on to sing with the NY City Opera Co. and was in a lead role in the movie Song of Norway) was a wonder- ful tenor and had one of the parts. It got to be curtain time, and no Jim. I was just about to go on and do the basket bit again, when, finally, he came in, but drunk as a lord. He was really in no shape to perform, but we pushed him out there, and he sloshed his way through some way or other. I have a tape of that performance. It is just remarkable, because all the tempos are about half speed. Ninety percent of the lyrics are unintelligible. But, he got through the thing, and poor Frank - I've never seen anybody look sicker after a performance, because he was sober but had to rework all his lines to conform with Jim's erratic delivery. I remember John Klein (Maynard son). He was a wonder- ful performer - had a lot of spirit. He was a joy to play with on stage, to be with on stage because he gave you so much. He had a lot of stage energy. (It was tragic that he died so young.) He was playing Cyril, I was playing Hilarion, and we had the big fight with the three stupid brothers at the end of the play. It was very stylized, and we had wooden swords. Toward the end of the battle royal, one of those brothers hit Johnny's sword and snapped it in two. But, it didn't fall apart, it just hung there at a right angle. At that moment the brothers were supposed to fall and we three good guys were to put the tips of our swords to their throats, and look triumphantly heroic, with one foot on each of their chests. But, here's Johnny's sword ridiculously bent at a right angle; and he looked at it and began to laugh. Then I began to laugh. And I think it was Gershom Morningstar who was playing Florian also began to laugh, and the three hulking guys in the pile began to laugh, and that pile shook like a bowl full ofjelly. And then the whole chorus broke up. I've never seen a total breakup on stage like that one. Again, somehow, we got it under control. It was just one of those moments that you never forget. 271 A Pudding Full of Plums Eric Stern)ave Goldberg wrote, "We spoke recently with Eric Stern, musical director for five productions running from April 1972 thru April 1974. Eric lives in New York, and reports that he stays busy directing productions on Broadway. While we chatted with him, he recalled a bit of friction that he had with the music school." (What follows is the gist of what Eric had to say.) The music school did not particularly relish the time I spent with G&S, even though my grades were good. They finally called me into the dean's office, and I told them if they would give me an orchestra to conduct, I would spend more time in the music school. And of course, they didn't - and I didn't - and I spent the last two years in Ann Arbor doing nothing but theater, including G&S, and not going to school. When we did Jolanthe, the orchestrations we received from Tams-Witmark were not the Sullivan originals, so two weeks before we opened I started orchestrating off the phonograph record. I basically used my ear and wrote down what I was hearing, and I did about half the show, including the overture, and finished the percussion parts to the overture opening night in the box office. That was a thrilling moment. I've always been a little heavy, and don't really run or sprint, and that's the closest I remember to having an actual physical photo finish in my life. IathlCE Strang y most vivid memory of UMGASS came at the beginning of my association with the group. Susan Morris and I were grad voice students and friends, and Susan had already joined UMGASS. She urged me to see the 1963 Gondoliers. I did and I was hooked! We both auditioned for Mikado, the 1963 Fall show, and were double-cast as Pitti-Sing. The show opened on Wednesday Nov. 20; Susan and I each did one performance. Then, on Friday, Nov. 22 Kennedy was assassinated and the run of the show was canceled. We all gathered at Gersh Morningstar's home Friday night, cast and crew, for by then we were "family" and needed to be together to help each other through the shock and sadness of the experience. I was glad that I belonged to such a great group of people, especially during that difficult time. There followed four years of wonderful experiences onstage in several roles and productions, of which I have the happiest memories. My UMGASS friends and associ- 272 ates remained my "family" through my years as a graduate student at UM, far from the hills of Pennsylvania, my home. During recent years the Battle Creek community chorus has begun mounting G&S productions and my husband, Orville, and I have had the pleasure of being paired up in Pinafore (Buttercup and Corcoran), Sorcerer (Lady Sangazure and Sir Marmaduke), and Iolanthe (the fairy queen and Private Willis). Lots of people in our communi- ty chorus had never had anything to do with G&S before our first production (in 1982), but now there are many G&S fans here in Battle Creek. By last December when we organized a theater party from the community chorus to see UMGASS's production of Yeomen of the Guard, we had 35 people sign up and come! Yes, Harry, Gilbert and Sullivan are alive and well in Battle Creek, Michigan! One last item: Orville and I saw the Stratford production of Gondoliers a few years ago. It was the one in which Douglas Chamberlain played the Duchess of Plaza-Toro (yes, the Duchess) in drag. I've always wanted to play that role but never had the opportunity. Now, Orville wants to play it too - in drag! If we ever audition for Gondoliers I know my competition for the role of the Duchess will be my husband. Oh well, that's show business ... Thank you, UMGASS, for making a life-long G&S fan out of me. And thank you Susan, for getting me involved in such a wonderful theatrical pastime with such lovely, fun people. I wish you many, many more years of bringing happiness to audiences and performers alike. God bless you! harli SutherIland hen I think of my G&S times I think of the people I encountered, people who seemed too wonderfully talented, witty and alive. It is the plays themselves that brought this amazing mixture of actors and musicians together. Every inch of the G&S shows brims with wit, vivacity and beauty. I have flashes of the wonderful people and times. My first show had John Allen, Susan Morris, Kathleen Kimmel, Judy Dow Alexander, Lois Alt and Gershom Morningstar involved. John Allen seemed to live his role: the G&S funnyman. He was one of the most charming, fun to be with people ever. His wit and invention as an actor were unparalleled. Susan Morris was always the most graceful, beautiful actor/singer. Our Curtain Calls We used to sing at parties! People used to do solos or whole choruses of every description. One party became a feast of rounds. And of course the singing was magnificent. Look at the caroling parties - all are astounded at the sound. Personality snippets: Stephen Straight doing mime, improvising with a broom. Taking Lucy Becker to her church job after the closing party of Ruddigore, delivering her to the door of her church, giggling in a black cocktail dress. Homemade ice cream at Whitmore Lake. Dee Noeske Martin, the most beautiful, spirited Elsie, ever. Julie Amato, a former Miss America contestant as Mad Margaret, six months preg- nant. The wonderful Nick Batch, who gave new meaning to "in this alarming costume." I remember him best dressed in a used madras sport coat with acid burns, playing Humoresque on an eight-inch plastic violin, and then play- ing tuned glasses of water. The beautiful Julia Lacey dressed in a green sheath dress singing Gaelic songs, playing the Irish harp. This was at a party at Jane Hassinger's and Colby Schneider's as we decked a Christmas tree. Jerry Wigdortz, whose nickname was "star" because of his summer career singing The Impossible Dream in a New Jersey Shore Nightclub. His boisterous confidence and flashing teeth and gorgeous voice made Dick Dauntless and the captain a treat. Jim Bryan: are there really tenors who look like that? Nancy Hall Gilmartin - actress, dancer, singer, director. Another free-spirited, beautiful, hearty woman whose productions with Susan Morris were the pinnacles of my G&S experience. The tours to Flint - riding the bus with the orchestra. Joe Beitel, who would do anything for the show. Steve Krahnke, so marvelous on stage and behind the scenes. John Alexander winning fame in the "bean bag" roles - being dropped on his head each night by Jane Hassinger, as Duke and Duchess. Remember Jane at 18 in Oliver? Jim Posante serving apprenticeship (under Nancy and Susan), whose quick study and fleetness of foot got him started as theater director, performer, choreographer. Sandy Hudson (who can do anything) and her remarkable string of Dame Hannahs. David (Turkey) Johnson with the big voice and smile. Greg Isaacs, whose musicianship and energy and tenor voice were all so powerful. Ann Correll - "The bigger the role, the bigger the cos- tume" - putting Susan in a rubber backed brocade robe for Ida. Taffeta costumes for ten shows. Kevin Casey: irreverent big baritone, tall, skinny vegetarian. Ashley Putnam, flute major, whose coloratura was so precocious and whose height and beauty are so overwhelming. Ellen Wetherbee, the botanist-cello player. The ugly cake party with the cake fight. Judy Becker's party with the BYO punch and the pie fight in the yard. Real pies. Did you ever try to get pineapple off your ear? H. Don Cameron, who was lured into the society after years on the side lines. The delightful Bev Pooley - born for "those roles." Kathy McKevitt, chorus beauty who made many a chorus boy swoon. "Kathy McBlonde." Elliott Sigman - whose name was given to an award for klutziest male chorus member who lost the award to someone else in Ruddigore. John Kelly, chorus cutup, who always was strongest on stage. Jim Newton ("Mr. Newton, the most dangerous man alive"). The best dancer in many shows, learned by doing, as Jim Posante did. Jim Drew, the most amazing King Gama ever. Lenore Ferber: singer, dancer, actress, choreographer. Enchanting giggle, wonderful Casilda, Rose, best Psyche ever. Tom & Patty Petiet remember the riot on the volleyball court? Gene Sager: playful, cheery, rag doll of a tenor who played and partied and sang so wonderfully "Haughty lady." He often was carried upstairs, but wouldn't stay there for long with a party going on. The Gilmartin brothers, all or singly - Michael, David, Stephen. Oh, the word games and story telling and rowdy practical jokes with Gerald (Monly) Horan! Remember when they purposely set out to bore someone in conversation by playing "Who do you like better?" It ended up with the enraged victim throttling Horan on the floor. Remember the Pirates with Constance Barron and Beverley Pooley? Remember the guy whose name became a verb encouraging people not to emulate his behavior of incessantly singing G&S loudly at the piano? Remember the Friday night party at which the soprano, baritone and concert mistress partied so hard as to cause concern? 273 A Pudding Full of Plums Wonderful Roger Wertenberger, who gave vent to wild invention by staging unorthodox G&S differently from the way it was before. The "Classical" lolanthe. The mate- swapping Gondoliers. The Easter Egg Pirates. Remember the reconstituted DeBelleville song? My best loved show was the Pinafore to save the society from bankruptcy, with Roger, Brad Bloom and Tom Auk. The Tom Ault Mikado. The Jim Fellows' Art Nouveau Patience set with the brown burlap hangings and the round Greek temple. Ann Temple, the funniest Casilda. The handsome Michael Reinhart, so eager, who died so young. Joan Susswein, whose beauty, poignancy, and boisterousness and talent at 18 were amazing. Henry Naasko, tenor extraordinaire. Diane Aron Cahoun, my first romantic interest, stage kiss, etc. Just as lovely now as she was then. Eric "Bassoon" and Wanda "Make-up." Eric Stern: musi- cal prodigy, accompanist, conductor, composer. Ever hear "The Vaseline Rag"? Susan Morris, when on faculty at Eastern was referred to by a chorus boy student as "Miss Morris Baby." Richard Ferguson Wagstaffe, wild and eager boy wildly talented as set designer and chorus boy. Jim Linton, Skip Kruse, Joe Costick, Jerry West, Mike Gordon: fraternity brothers of mine. We just took over the society. Painting a Yeomen ground cloth for Jim Fellows. Nancy G. giving up and rubbing paint on with her hands. The Ida disaster. Fun night was canceled and the whole cast went over to the set shop to finish the set until 3 or 4. Ashley Putnam, Jim Bryan, Gene Sager. Keith Brown: fabulous as Bunthorne, with Mary Lou Zuelch. David Keosaian: why did you shave off that mag- nificent mustache? Never mind, I know why, but we all appreciated it. Chris Grapentine: skinny high school tenor becomes 6 ft 7-in, baritone in three years. Rich Roselle: eager, energetic chorus boy. Returned as "flower of progress" in Utopia (very) Ltd. Jim Almdale: tall, blonde, handsome, and sings too? Mary Drew Locker. The perfect G&S chorine beauty, grace and womanly alto voice. Julie Tanguay: the most beautiful poster designs ever. Beautiful and most energetic on stage. The real Japanese guy in the chorus of Mikado. We sang traditional "Mi-ya-sa-ma" his way. Best Japanese pronun- ciation ever. Diane Beauchamp, my first G&S chorus partner. Married "townie." Sue Crippen, cutest chorister. Gersh Morningstar's computerized blocking for Yeomen. Nancy Gilmartin not wanting to be a soprano any more, rehearsed Gianetta an octave down, then performed it in right octave but never a soprano again. She has played Ida, Psyche, and Blanche. Susan Morris playing Ida despite death threats. The so-called "new-blood" review of a show. The "rotten apple" harangue. The "when I say I hate you, it's not just the group as a whole, but each of you personally" speech. Gerry West (legally blind) playing G&S under an assumed name because his grades were so bad. G.W. redecorating a director's wife's dress at a "Singapore Sling" party. Gerald Horan's ugly cake "Sunrise on Lake Erie." Susan Morris' "Spiro Agnew in BasRelief," "Bile-filled ant," "Severe Rhinorrhea," the Runny Nose. at illft01 ~eryone brings a unique background and interest to the G&S experience, and mine is no exception. I ad a strong professional and personal interest in Soviet studies when, as a graduate student completing prelims and preparing for a year stay in the Soviet Union, I discovered G&S. There is something rather ironic about linking up an interest in the two in that the Soviet Union is probably the one place where G&S are almost com- pletely unknown. My G&S connection began with my first ever audition, for a chorus slot in the 1981 Utopia. Two Russian folk songs apparently compensated for a high level of anxiety (which was only to be matched in intensity, if not in length, by my Ph.D. prelims), and I secured a place among the baritones. A year later, I was emboldened to prepare a piece for the annual society entertainment party, and UMGASS's "Russian Ambassador" was born (with special thanks noted to Jim Newton, whose English translations of the ambas- sador's comments were always flawless). The ambassador's socialist realist critiques of various G&S operas served to guide the laboring theatrical masses on for several years, though I confess I never saw any real changes in the pro- 274 Our Curtain Calls ductions after the ambassador's definitive comments had been offered. Soon afterwards, I found myself in the USSR on an exchange program, and UMGASS recordings and other G&S paraphernalia stood me in good stead as the canon made a belated entrance into Soviet society. Having subsequently returned and visited Musovite friends, I know that the G&S niche carved out a few years ago is firmly secure. Finally, the Soviet connection provided me the insight necessary to deal effectively with the Byzantine pol- itics of chairing an UMGASS board, especially in dealing with a vice president who, as board members will recall, was forever plotting palace coups against me. Now, while no longer an active UMGASSer, I'm an active FUMGASSer who loves to return for UMGASS produc- tions. I'm afraid the "Soviet side" of the equation has dom- inated my activities the past couple of years, but an ongo- ing connection with UMGASS and constant exposure to the operas has helped me maintain sanity as I deal with the often apparent "insanity" of contemporary Soviet politics. From my perspective, G&S and Soviet studies are very complementary. But then, I can only wonder what can't be compatible with G&S? 275 A Pudding Full of Plums 276 Epilogue Epilo2ui Table of Shows and Directors 1947-1986 Chronological Tabluation of Productions Staged by The University of Michigan Gilbert and Sullivan Society Date Show Dramatics Music Fall 1947 Spring 1948 Fall 1948 Spring 1949 Fall 1949 Spring 1950 Fall 1950 Spring 1951 Fall 1951 Spring 1952 Fall 1952 Spring 1953 Fall 1953 Spring 1954 Fall 1954 Spring 1955 Fall 1955 Spring 1956 Fall 1956 Spring 1957 Fall 1957 Spring 1958 Fall 1958 Spring 1959 Fall 1959 Spring 1960 Fall 1960 Spring 1961 Fall 1961 Spring 1962 Fall 1962 Spring 1963 Fall 1963 Spring 1964 Fall 1964 Spring 1965 Fall 1965 Spring 1966 Fall 1966 Spring 1967 Fall 1967 Mikado Pinafore Yeomen Patience Pirates Iolanthe Gondoliers Mikado & Cox&Box Ruddigore Ida Yeomen Pinafore & Trial Patience Thespis & Sorcerer Pirates Iolanthe & Cox&Box Gondoliers Mikado Ruddigore Ida Trial & Sorcerer Pinafore & Cox&Box Patience Pirates & Richley Rewarded Yeomen Iolanthe & Bab Ballads Mikado Trial & Ruddigore Pinafore Patience Ida Gondoliers Mikado Iolanthe Trial & Sorcerer Yeomen Pirates Ruddigore Pinafore Patience Mikado Harry Allen Harry Allen Donald Decker Donald Decker Donald Decker Jas. Ueberhorst Jas. Ueberhorst Dude Stephenson Dude Stephenson Dude Stephenson Kenneth Rosen Jerry Bilik Dude Stephenson Dude Stephenson Dude Stephenson Dude Stephenson Dude Stephenson Dude Stephenson Dude Stephenson Dude Stephenson Dude Stephenson Dude Stephenson Jim Bob Stephenson Jim Bob Stephenson Jim Bob Stephenson Jim Bob Stephenson John Barrett John Barrett Tom Jennings Roger Staples Gersh Morningstar Gersh Morningstar Gersh Morningstar Allan Schreiber Allan Schreiber Allan Schreiber Allan Schreiber Allan Schreiber John Allen John Allen Jas. Holm Rex Wilder Rex Wilder Thomas Wilson Thomas Wilson Wm. Boyer Wm. Boyer Wm. Boyer Wm. Boyer David Klein David Klein Paul Miller David Klein Jerry Bilik Jerry Bilik Jerry Bilik Jerry Bilk Robert Brandzel Robert Brandzel Robert Brandzel Robert Brandzel Robert Brandzel Robert Brandzel Robert Denison Frank Mueller Frank Mueller Frank Mueller Frank Mueller Frank Mueller Felix Papalardi Felix Papalardi Rosella Duerksen Rosella Duerksen Wm. Donahue Wm. Donahue Harold Haugh Morton Achter Morton Achter Morton Achter Timothy Adams John Planer John Planer 277 A Pudding Full of Plums Date Show Dramatics Music Spring 1968 Summer 1968 Fall 1968 Spring 1969 Summer 1969 Fall 1969 Spring 1970 Fall 1970 Spring 1971 Fall 1971 Spring 1972 Fall 1972 Spring 1973 Fall 1973 Spring 1974 Fall 1974 Spring 1975 Fall 1975 Spring 1976 Fall 1976 Spring 1977 Fall 1977 Spring 1978 Fall 1978 Spring 1979 Fall 1979 Spring 1980 Fall 1980 Spring 1981 Fall 1981 Spring 1982 Fall 1982 Spring 1983 Fall 1983 Spring 1984 Fall 1984 Spring 1985 Fall 1985 Spring 1986 Summer 1986 Fall 1986 Spring 1987 Summer 1987 Fall 1987 Spring 1988 Summer 1988 Fall 1988 Spring 1989 Fall 1989 Spring 1990 Ida Oliver! Gondoliers Iolanthe Paint Your Wagon Pinafore Pirates Yeomen Ruddygore Mikado Patience Gondoliers Ida Grand Duke Iolanthe Pinafore Yeomen Pirates Ruddigore Sorcerer Mikado Patience Gondoliers Ida Pinafore Iolanthe Pirates Ruddigore Yeomen Utopia Patience Gondoliers Mikado Sorcerer Iolanthe Ida Pinafore Grand Duke Pirates Cox & Box Trial By Jury Yeomen Ruddigore Here's A Howdy Do Patience The Gondoliers A Sentimental Passion Utopia Mikado The Sorcerer Iolanthe Roger Wertenberger Roger Wertenberger Roger Wertenberger Roger Wertenberger Kathy McGill Roger Wertenberger Roger Wertenberger Gersh Morningstar Nancy Gilmartin Herbert Motley Nancy Gilmartin & Susan Morris Nancy Gilmartin & Susan Morris Susan Morris James M. Drew Susan Morris Jim Posante Susan Morris Jim Posante Peter-John Hedlesky Mary Jo Tanguay Susan Morris Peter-John Hedlesky Mary Jo Tanguay Peter-John Hedlesky Cher Sussman Robert Miller Kathy Platzman Mary Locker & Tim Locker Tim Locker Terry Mathies Julie Tanguay Julie Tanguay David Ditto Susan Morris Mary Locker Susan Morris Julie Tanguay Mary Locker Steve Krahnke Mary Locker Linda Milne Susan Morris David Freiman Steven Krahnke Mary Anne Nemeth Peter-John Hedlesky Mary Anne Nemeth Mary Locker Linda Milne Eric Gibson Peter-John Hedlesky Bradley Bloom Roger Wertenberger Bradley Bloom Bradley Bloom David Robbins Bradley Bloom Bradley Bloom David Jorlett Bradley Bloom Bradley Bloom Eric Stern Eric Stern Eric Stern Eric Stern Eric Stern Barbara Born Clark Suttle Clark Suttle Clark Suttle Clark Suttle Carl Daehler & Debby Kulber Carl Daehler & Debby Kulber Carl Daehler & Debby Kulber Carl Daehler & Debby Kulber Mark Brandfonbrener & Debby Kulber Mark Brandfonbrener & Tom Pederson Leif Bjaland & Paul Klemme David Pollitt David Pollitt David Pollitt Tim Hoover Eric Becher & Julia Broxholm Tim Hoover & Jim Weible Eric Becher & David Phelps Eric Becher & Hana Maletz Robert Pazur Tim Hoover Jon Krueger Francis Cianfrocca & Edward Lundergan Francis Cianfrocca Francis Cianfrocca Edward Lundergan Douglas Morrison Edward Lundergan Francis Cianfrocca James C. Nissen Linda Milne Timothy D. Hoover James C. Nissen Goron Staxang James C. Nissen 278 Epilogue Date Show Dramatics Music Fall 1990 Spring 1991 Fall 1991 Spring 1992 Fall 1992 Spring 1993 Summer 1993 Fall 1993 Spring 1994 Fall 1994 Spring 1995 Fall 1995 Spring 1996 Fall 1996 Spring 1997 Ida H.M.S. Pinafore Yeomen Pirates Ruddigore Gondoliers Cox & Box and Trial By Jury Patience Mikado Sorcerer Pinafore Grand Duke Iolanthe Yeomen Pirates Eric Gibson Audrey LaVelle Kyle Marrero Eric Gibson Mary Ann Stevenson Mary Locker Mitch Gillett Mary Locker Eric Gibson Mary Locker Margie Warrick Mary Locker Mitch Gillett Mary Locker Robert Sherrane Michael Hoffman James C. Nissen Scott Jensen James C. Nissen Ben Cohen Jean Ronald LaFond Ben Cohen Claire Levacher Ben Cohen Tim Hoover Tim Hoover Tim Hoover Mitch Williams Steve Bizub Mitch Williams By opera, the count is: Mikado Pinafore Pirates Yeomen Patience Iolanthe Gondoliers Ruddigore Ida Sorcerer Trial Cox de Box Grand Duke Utopia Thespis Oliver! Paint Your Wagon Richley Rewarded 11 11 10 10 10 10 9 9 8 7 6 5 3 2 1 1 1 1 (Not included: informal variety shows and the Small Company's Thespis and Haste to the Wedding.) 279 A Pudding Full of Plums 280 Epilogue 1rew crank (Don't look for this in the table of contents) Eglg fakte ontest Rules 1. The subject of the cake should have some connection with the current show, although this will not constitute grounds for disqualification. The judge may, however, take this into consideration at the time of judging. 2. All parts of the cake must be edible, although it may not be the most desirable thing to do. A one-minute gag rule will be enforced: the creator(s) of the cake must be able to keep any pan of the cake in his (her, its, their) stomach(s) for at least one minute when so directed by the judge. In addition, entries in category 4 (worst smelling cake) must be able to be tolerated by their creators for five minutes when locked together in a closet (the creator and his creation, that is). 3. The judge for the Ugly Cake Contest will be the cur- rent president of the society. All decisions of the judge will be final. The judge is required to provide one cake that would finish favorably in category 7 (best tasting cake) if so entered, although the judge is prohibited from entering any cake into the actual contest. 4. A person may enter more than one cake, and more than one person may work on a single cake. A cake may qualify for more than one category, and win in more than one category. 5. The rules may be modified in any way by a majority vote of the UMGASS board except where such actions will be of direct benefit to the entry or entries of the board members. 6. If the judging of any event should fall to the vice-pres- ident, any entry of the vice-president's in that category shall be disqualified. If the vice-president should be unable to take over any duties as stated in categories #2 and #4, then the line of succession shall be Pooh-Bah, treasurer, secretary, company promoter and Pish- Tush. All rules pertaining to the conduct of the presi- dent shall pertain to whomever takes over. 7. UMGASS shall not be responsible for any injuries or health problems caused or aggravated by the Ugly Cake Contest. .Zations 1. UGLIEST CAKE: Ugliness, of course, is in the mind of the beholder (in this case, the judge), however, this category also covers such qualities as grossness. This could be the rendition of something that is not neces- sarily ugly but of such a nature as to be wholly inap- propriate for a mixed group or to be expressed in such a medium as cake. 2. MOST OFFENSIVE USE OF COLOR: If the pres- ident should be color-blind, judging of this event shall pass to the vice-president. 3. WORST TASTING: In order to judge this event, the president must actually taste the entries. The one- minute gag rule will be strictly enforced on the creators of the entries, but not on the judge. 4. WORST SMELLING: If the president should lack the sense of smell, either naturally or through the agent of a severe cold, the judging shall be done by the vice- president. The five minute closet rule (see rule #2 above) will be strictly enforced. 5. BEST REPRODUCTION OF SOMETHING OTHER THAN A CAKE IN THE MEDIUM OF CAKE: The title of this category is more than suffi- cient to explain the category. 6. BEST PUN: Although the title appears to be a con- tradiction in terms, the pun must be taken from the current show, either from the text or from the inevitable "inside" jokes of the cast. 281 A Pudding Full of Plums 7. BEST TASTING CAKE: This category is only to be used for persons with no imagination, whose house burned down just before the contest, or whose dog ate their entry to the other categories. UMGASS will not be held responsible for the loss of any pets. 8. BEST PERFORMING CAKE: This category is left to speak for itself. 282