ï¿¼ANN ARBOR CIVIC THEATRE • PRESENTS
Book and Lyrics by TOM JONES Music by HARVEY SCHMIDT
With permission of MUSIC THEATRE INTERNATIONAL, INC.
ï¿¼ï¿¼ï¿¼ï¿¼Set Designer . . Set Construction
Stage Manager Props . .
Light Designer Crew
. . . . Bettie Seeman . Bob Seeman, Chr. Master Carpenter AI Podewil, Paul Gray, Joe Medrano .............Judy Riecker . . . . . Alisande Staples, Chairman Trudy Maglott, Kay Wilkinson, Terri Deniston, Kathy Deniston, Pleasance Crawford . . . . . . . Dave Mohler Debbie Jones . Dottie 6arnes, Chairman Revella Woodson . . . . . . Bettie Seeman Mary King, Mary Douglas, Janet Pooley Virginia Hayes, Sally Springett, Cora Greenberg, John Rae . . Fred Beutler . Ruth Johnson . Carol Deniston
. . .
Costume Designer Crew
Programs . . . . .
Publicity Photography Rehearsal Accompanist Production Co-ordinator
BOARD OF DIRECTORS 1969-70
Dwight W. Stevenson, President Carol Deniston, Vice President Donald G. Stewart, Vice President Sunny LaFave, Secretary
Jerome Patterson, Treasurer Jerry M. Scofield
James A. Jones Judy Riecker Burnette Staebler Zeke Jabbour Charles Stallman John Stevens
PRODUCTION FOR THIS SHOW
The BALDWIN piano used is made available by KING'S KEYBOARD HOUSE (see Patrons)
ï¿¼The Mute El Gallo Luisa . . Matt . . Hucklebee Bellany . Henry Mortimer
Musical Numbers Act One
Try to Remember
Never say "No"
It depends on what you Pay Soon it's Gonna Rain
The Rape Ballet
.Alice Borushko . . . Jack Harris . . Ginger Myers
.Michael Reinhart . Zeke Jabbour .David Harbison
.Bob Wilcox . ...JimKane
IN THE SUNLIGHT
The Piano The Harp . The Bass . The Drums
This Plum is too Ripe
I can see it.
Plant a Radish
Round and Round
They were you
Try to Remember (Reprise)
Matt and Luisa El Gallo and Matt Hucklebee and Bellamy El Gallo and Company Matt and Luisa El Gallo
Ruth Johnson Lin Hathaway . .Kay Honey
Book and Lyrics by Tom Jones Music by Harvey Schmidt
IN THE MOONLIGHT
The Company El Gallo Luisa Matt and Luisa Hucklebee and Bellamy El Gallo, Bellamy, Hucklebee Matt and Luisa The Company Matt, Luisa, Hucklebee, Bellamy
ï¿¼CAST NOTES INTRODUCING
JERRY H. BILIK (Director) is a free lance composer/arranger who has vast experience both as a director and an actor. He directed "Kiss Me Kate" for AACT and appeared in major roles in "Liliom," "Command Decision," "Midsummer Night's Dream," and "Beggar on Horseback." A former director of the Gilbert and Sullivan Society, he has done scores for many TV and Hollywood films, including "The Pat Boone Show" and "The Best Man." He has won an ASCAP award for the past three years.
BETfiE SEEMAN (Set and Costume Design) is currently a teaching fellow and Ph.D. candidate in theatrical design at the University of Michigan. In addition to her work for AACT, Mrs. Seeman has designed for the University of Michigan, Eastern Michigan University, Ann Arbor Dance Theatre, Jackson Gilbert and Sullivan Society, Drama Season, and Junior Theatre.
FRAN STEWART (Assistant Director) is well-known to AACT audiences. She played the Strega in "Rose Tattoo." She has also worked on crew for "Night of the Iguana," "Never Too Late," "Mouse Trap," and "South Pacific." Before coming to Ann Arbor she was active with Wayne Civic Players, appearing in two award plays at Detroit's Van Guard Theatre.
JACK HARRIS (El Gallo) is an Assistant Professor of English at Eastern Michigan University. He appeared in "Bus Stop," "Fashion," and "Saginaw" with the Saginaw Civic TI1eatre and "Twelfth Night" at the University of Colorado. A Ford Foundation Fellowship enabled him to spend four years at the Shakespeare Institute in Stratford-upon-Avon, where he wrote a dissertation on "King Lear."
GINGER MYERS (Luisa) is a newcomer to the AACT boards. She began acting in her home town, Lincoln Park, Michigan, where she appeared as Eliza in "My Fair Lady" as well as "Sound of Music" and "The Man Who Came to Dinner." Since coming to Ann Arbor and the University of Michigan, where she is a senior in speech and theatre, Ginger has appeared in MUSKET'S "Sweet Charity." She was an exchange student at the University of Sheffield, England.
MJCHAEL REINHART (Matt) is a student at the University of Michigan, where he was seen in "The Gondoliers," "Iolanthe," and "H.M.S. Pinafore." He was Lancelot in "Camefot" and most recently John the Witch Boy in University Players "Dark of the Moon." He worked a season of professional stock at the St. Louis Municipal Opera. He will be entering the Academy of Dramatic Art in the fall.
ALICE BORUSHKO (The Mute) is currently appearing in her second show with AACT. A member of the ensemble in "Marne," her casting in the role of the Mute presents an innovation by the director, as this role is traditionally played by a male. A graduate student at the U-M. Alice has had dance experience.
ZEKE JABBOUR (Hucklebee) has appeared in numerous AACT productions, including "Diary of Anne Frank," "Becket" and "Guys and Dolls." Presently on the AACT Board of Directors he has also been on the Board of the A.P.A. in New York, and of the Ypsilanti Greek Theatre. He was active in the A.P.A. production of "Merchant of Venice," and co-directed "View from the Bridge." A man of many interests, when not acting or directing, Zeke is engaged in building houses.
DAVID HARBISON (Bellamy) has appeared in many AACT productions. A sales representative for Central Steel and Wire Company, he was seen in "South Pacific," "Mary, Mary," "The Devil's Deciple," "A Man for All Seasons," and "Mr. Roberts."
BOB WILCOX (Henry Albertson) works for the Ann Arbor Bank and has appeared in "Guys and Dolls," and "Finian's Rainbow" for AACT. He also worked as a crew member on "Rhinoceros" and "A Man for All Seasons." lie was in "Camelot" with the Denver Post Opera and "The Fantasticks" with the Third Eye Theatre in Denver.
JIM KANE (Mortimer) is County-Farm Editor of the Ann Arbor News. He has appeared in many AACT productions, including "Rhinoceros," "The Mousetrap," "The Visit," and "Rose Tattoo." He worked for nine years with the Cleveland Playhouse and has appeared with the Black River Playhouse in Elyria, Ohio.
RUTH JOHNSON (orchestra) teaches in Wayne. She accompanied all rehearsals in addition to working with the orchestra.
Earlier in the year, a friend of mine, looking at the line of twenty people queued up at
our box office waiting for ticket cancellations, said, "Boy, you people are really cleaning up on Mame, aren't you?"
My friend's na'1vete about the business aspect of Ann Arbor Civic Theatre got me to thinking that perhaps sometime this year I ought to use the President's Message to clear up some possible misconceptions about how Ann Arbor Civic Theatre finances itself. So this is it. Let me address myself to three questions: Who pays the bills? What happens to the profits') And how much does it cost Civic Theatre to stage a show?
To the first question- who pays the bills?-the answer is essentially very simple. We pay them ourselves, or more accurately, our audiences pay them. Ann Arbor Civic Theatre, unlike many community theatres, is entirely selt~supporting. In fact, we are-as far as I know- the only entirely unsubsidized theatre group in Ann Arbor. The money we spend, or at least the greater portion of it, comes from ticket sales. (A very small part of our income is derived from membership dues, rentals, etc.) In short, if we can't sell you tickets, we're out of business.
In answer to the second question- what happens to the profits?- I've got a one word answer. Nothing. Nothing happens to them because there really aren't any. Oh, in the short run we might make some profit, but in the long run we don't. We are in both a literal and figurative sense a "non-profit" organization. We strive to do the best shows we can and still to break even, to end up the season "in the black." If we are ahead on one show, chances are we'll spend it on the next. In short, we aim to finish the season sufficiently in the black to allow us to get through the summer and to start a new season. We're not in theatre to make money; in fact, if we did we would lose our non-profit corporation status.
The answer to the last question- how much does it cost to stage a show'?-no doubt explains both why we are a "non-profit" organization and why our unsubsidized status is so very remarkable. The sell-out performances of Mame, the ones my friend thought were making a killing for us, simply enabled us to break even on the show. We spent just under $8,000 to stage the show, and we sold just over $8,075 worth of tickets. In other words, we had exactly estimated what we could afford to spend to produce the show, and we spent it- all of it. And bear in mind that none of that money went into salaries, save for the small salary we pay our directors. (Honorariums, really.) Then, how much does it cost us to do a show? Well, in 1970 it will average out to something like $5,000 a show. In 1956 it was $1,200 a show. Some of the increase is, of course, inf1ation, but most of it represents our spending more as we make more. I'll finish with a promise. Whatever money comes in at our boxoffice you'll later see on our stage.
Dwight W. Stevenson
WE INVITE YOUR MEMBERSHIP at $10 and up as a Patron, or at $3.00 as a Regular, or at $5.00 for Husband and wife, or at $1.00 for Junior (through High School)
Name._________________________________________ Address~--------------------- Phone _ _ _ _ __
You will be mailed the regular AACT publication as a member.
Mail to: Ann Arbor Civic Theatre, Box 1993, Ann Arbor, Mich. 48106
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