Debbie Does Dallas, The Musical

Conceived by/Book by:  Susan L. Schwartz

Music by:  Andrew Sherman

Additional lyrics by:  Tom Kitt and Jonathan Callicutt

Company:  Equinox Theatre Company

Venue:  The Bug Theatre, 3654 Navajo Street, Denver, CO 80211.

Running Time:  1 hour, 45 minutes (includes15 minute intermission).

Date of Performance:  Friday, February 27, 2015.  

I think it best to begin here with a description of what you will not see at Debbie Does Dallas The Musical (hereafter DDDM):

1.  There is no actual sex.

2.  There is no nudity.

Although I have not seen the original 1978 adult film of the same name, the two productions share only a title and script elements.  If you were hoping that DDDM would be a pornographic recreation of the original, I have one piece of advice for you:  rent or download the film.  DDDM is not what you’re looking for. 

The original film was a highly successful if controversial “adult” full length feature that generated a lot of sequels.  Ticket sales numbers are hard to come by (pun intended) for the adult industry, but Debbie Does Dallas is said to be in the top 5 highest grossing films of the genre.  

As mentioned above, DDDM and the film share plot elements, but one must keep in mind that plots in adult films are best considered as a means to string together erotic encounters.  Few fans are ever drawn into adult feature length films by the plot intrigue; I’m told that’s what the Fast Forward button is for on your VHS device.  That said, here’s a brief description of the plot of DDDM (no spoilers here).  

1.  High school girl cheerleader (Debbie) gets accepted to join the squad of the Texas Cowgirl Cheerleaders, but she needs bus fare to Dallas. 

2.  Debbie and her cheerleader girl friends get jobs to chip in for the bus fare.  

3.  The girls learn that they can make a LOT of money quickly without doing much actual work.

And that’s it.  Seriously.

Given that DDDM has no actual sex acts nor any nudity, you should expect a lot of strutting, preening, and teasing.  If you’re looking sexy cheerleader outfits, DDDM is for you.  If you might enjoy tastefully staged simulations of intimate encounters, DDDM is definitely for you.  If you are looking for a fun, raunchy, campy send up of a porn classic, do not miss DDDM.   If you’re looking for a musical like Mary Poppins, keep looking.  DDDM is NOT for you.

Deb Flomberg directs here, and that’s important.  She has put together a sexy show that values the cheerleaders as much as the male fantasies the film focused on.  These girls are naive, but they’re not the empty headed sex objects of classic porn.  They have dreams, and they have attitude.  DDDM in the hands of a male director would probably have looked different; Flomberg, to her credit, gives us DDDM tease without all the sleaze.  

Valerie Igoe (center) as Debby.

Valerie Igoe does Debbie here, and she’s a capable, convincing teen cheerleader with a big dream.  She cleverly moves from naive to naughty in the tune $10.00 Closer (as in $10 closer to her dream), discovering the power she has to separate men from their money.  Danielle Hawkins (Donna) has a hilarious scene where she takes money to spank her boss.  It seems weird to her at first, but after about 30 seconds of figuring it out, she becomes a dominatrix before our eyes, punishing her naughty boy with gusto.

Danielle Hawkins (Donna), Joseph Graves (Biddle).  "You want me to do what?"

The music in DDDM substitutes for graphic sex, and with titles like Wick Dippin, The Locker Room Orgy, and The Banana Blow, I found the music a good tradeoff.  Imagination is usually much more interesting than the graphic reality.  Christian Munck’s choreography is spot on, both for the cheerleading squad and for the dance numbers.  

DDDM is NOT for everybody; it's strictly entertainment for adults.  It doesn’t pretend to be high brow, although there is a reference to Hester Prynne, for all you fans of 19th century American literature.  The music is catchy, the humor is naughty, and the plot is silly.  In other words, DDDM is all fun with no pretense.  The goal here is campy, raunchy adult entertainment.  Equinox Theatre Company hits that goal, and hits it hard (again…pun intended).  DDDM  delivers a guilty pleasure, but with minimum guilt and maximum pleasure.  Even your mother might enjoy it.

Debbie. Good girl gone naughty, with Devin Bustamante, Joseph Graves, Chris Arneson.

NOTES:

This script is, in its entirety, an adult situation.  Equinox Theatre Company welcomes adults, ages 18 and up, to Debbie Does Dallas The Musical.

There is ample parking at the theater in the surface lot at 37th and Navajo, as well as on surrounding streets (no parking meters).

I considered watching the original film as research for this post, but decided against it. DDDM stands on its own two feet, needing no support from its cinematic predecessor.  There is another benefit to that decision, as no husbands were harmed in the writing of this review.

This production closes on March 7, 2015.  

Pre or Post Show Dining Suggestion:  

There are several Italian restaurants near the Bug Theater, but we decided to stop at one further west.  Amici’s Pizzeria and Italian Restaurant, 4300 Wadsworth Boulevard, Wheatridge, is a family owned favorite on the west side.  It’s about a 15 minute drive from The Bug in good weather and traffic.

The house salad is simple; chilled iceberg lettuce with shredded cheese and pepperoni.  Try it with the House Italian dressing.  Reasonably priced, with big portions, Amici’s is winner every time.  

MENU HERE.

PHOTO CREDITS:  EquinoxTheatre Company.

TICKETS HERE:  

CREATIVE TEAM:

Director:  Deb Flomberg

Assistant Director/Choreograph:  Christian Munck   

Music Director:  Colin Roybal

Set/Light Design:  Colin Roybal

Sound Design:  Robert Harbour

Costume Design:  Valerye Jeffries

Stage Manager:  Christian Munck

CAST:

Debbie:  Valerie Igoe

Lisa:  Terra Leann Salazar

Roberta:  Stephanie Hesse

Donna:  Danielle Hawkins

Tammy:  Kerri Emswiller

Rick/Hamilton:  Chris Arneson

Kevin/Mr. Biddle:  Joseph Graves

Johnny/Mr. Bradley/Ashley/Nick/Tim:  Devin Bustamante

Mr. Greenfelt/Chester:  David Ballew

Mr. Hardwick/Roustabout:  Eddie Schumacher

Benediction

Playwright:  Eric Schmiedl, based on the novel by Kent Haruf

Company:  Denver Center Theatre Company

Venue:  The Stage Theatre, 427 Denver Center for the Performing Arts, 1101 13th Street, Denver, CO 80202.

Running Time:  3 hours, 10 minutes (includes two 10 minute intermissions).

Date of Performance:  Tuesday, February 24, 2015.  (World premiere production.)

A benediction is, literally, a blessing.  The Denver Center Theatre Company’s (DCTC) production of Eric Schmidel’s script (adapted from Kent Haruf’s 2013 novel Benediction) is a blessing as well.  It’s a sensitive but intense retelling of Haruf’s story of life and death in Holt, Colorado.

Haruf penned a triology about Holt, a fictional small town on the plains east of Denver based on Haruf’s experiences living in Yuma Colorado in the 1980s.  For fans of Haruf’s novels, and for the many fans of the DCTC adaptations (Plainsong in 2008, followed by Eventide in 2010), Benediction is a fitting if challenging finale.  For those who may be thinking that Benediction might not work if you’ve missed the first two parts of the trilogy, let me put your worries to rest.  Benediction can stand alone as a play without seeing either of the earlier shows.

Holt is the small town location where the story takes place.  It's a story where 77 year old Dad Lewis, longtime owner of the local hardware store, goes from terminal diagnosis of cancer to his death in bed at home.  Haruf’s telling of the story is not one of impersonal, clinical hospital death.  Rather, it is highly personal, with family present, and a cloud of grief hanging just above the heads of actors and audience alike.

Haruf’s tale is taut, folksy, and relentlessly realistic.  We see real people, with real problems, and with real dilemmas.  Dad and his wife Mary have “lost” a son.  Their daughter, Lorraine, has lost her daughter in a car crash.  The pastor and his wife have had marital problems; he has been “reassigned” for creating controversy in his Denver flock.  Alene, a retired teacher, regrets her only passable long term relationship was with a married man.  These characters bear a cross of heavy baggage, and yet they are palpably real.

Mike Hartman plays Dad Lewis with a cranky but pragmatic approach to his demise.  The show opens with him telling us of his approaching death:

Well, that’s it.  That’s the deal now.  Isn’t it?

He’s resigned to his diagnosis, but not overcome by it.  He has unfinished business, and Hartman squeezes the most he can out of the time available to his character.  Hartman lovingly transfers his hardware store to his daughter.  He forgives a debt for a mentally ill customer, and has his staff look after her.  Hartman is at his best, though, when he confronts his past, especially about his son Frank.  Hartman breaks our hearts, telling the story of finding his teenage son crossing dressing with another boy.  He breaks our hearts again, when he confronts that son, now in his 50s, in a vision on his deathbed.  When his daughter asks him why he never wanted to touch and caress her face as a child, his answer is stunning:

I was too busy. I wasn’t paying attention.

Hartman’s performance is a gem of the first order, giving voice to our own fears of accounting for our past sins.  

Joyce Cohen (Mary Lewis) & Mike Hartman (Dad Lewis).

Joyce Cohen’s Mary is a strong match for Dad’s crankiness.  Cohen’s a wispy little woman with a big heart; she makes Mary a loving and incredibly strong person.  Cohen takes no back seat to Dad, but she never comes off as pushy or witchy.  She’s a lady.  She’s a wife. And she dignifies the role as she is defining it.  

Haruf’s female characters are all strong, determined women; Cohen is a perfect choice for that club.  The other women of the cast bring that same feminine strength to the spotlight as well.  Nancy Lemenager (Beverly Lyle) has baggage; she cheated on her spouse, and he’s a pastor.  Lemenager puts him in his place for creating a living hell for their son and for pretending to forgive her past.  Lyle shows all of us the strength it takes to stand up to a spouse and say “enough.”  

Katleen McCall as Lorraine, daughter of Dad and Mary Lewis, is also a woman to make us proud.  She has an on and off affair with a guy who her parents rightly think a loser, and she grieves for her dead daughter.  McCall pulls off the despair and the grief with dignity.  Her burden is heavy, but she soldiers on, taking over the family business when she could just as easily say “no thanks.”

Frankly, every performance here is memorable.  There’s a quiet simplicity and a profound sincerity displayed by everyone on the stage.  I get the sense that while this is a “performance,” it’s one that the cast has a deep personal connection with. They all seem engaged personally as well as professionally.

Haruf is intent on making the point that it is often the women who are the strongest among us.  They have the capacity to suffer, the determination to press on, and the dignity to do it without whining about it.  The point is well taken.  Women in general are often overburdened and undervalued. Watching the women of Benediction carry off the wake after Dad’s death is telling.  They simultaneously grieve and push on, as they must.

Lisa Orzolek’s set design works in concert with Dan Darnutzer’s lighting design.  They have projected sky and clouds in 360 degrees around the theater, delicately lit to suggest the season and the time of day.  I presume that Orzolek is responsible for the scenic design that has four women cooling off on a hot day.  It’s a remarkable scene, one for which she deserves abundant credit.  Likewise, the set and lighting designs in the garage scene with young John Wesley is both brilliant and terrifying.  

Director Kent Thompson (who also directed Plainsong and Eventide) has paced the three plus hour show well.  The time goes by quickly, never dragging.  Thompson has put exactly the right touch on the script to emphasize Haruf’s themes of morality, faith, life, and death.

Benediction has the added drama that novelist Kent Haruf died on November 30 2014 of lung disease, two months before Benediction opened its World Premiere.   There is absolutely no doubt in my mind.  He would have been very proud of this show.

There’s a line from the play that sticks with me (I think it was Mary/Joyce Cohen who said it), as it seems to summarize what Haruf has to say in Benediction:

“All life is moving through some kind of unhappiness. . . . But there’s some good too. . . . I insist on that.” 

The things we don’t have time to do may become our burdens in our final hours.  It will be too late to fully redeem ourselves.  We will all have unfinished business in the end.  We can reconcile ourselves to that harsh reality now, or we can reconcile ourselves to it on our deathbeds.  But we can’t avoid it.  No one gets to “finish” life without the pain, the unhappiness, and the broken dreams we started with.  There IS some good too; without that good the rest would be unbearable.  But we don’t get the good without the bad, and that is an universal truth that Haruf has made abundantly clear.

For all its strengths, Benediction gave me some pause as well.  Staging it in the round is difficult, and at times frustrating for the audience.  The deathbed scene is critical; I could only see the back of Dad Lewis’ head.  I feel I missed Mike Hartman’s best moments on stage.  

I haven’t read the novel, but the title “Benediction” would imply that the blessing is an important part of the work.  The “benediction” in the play is a rather minor event as the family gathers around Dad’s deathbed.  The actual “benediction” here is more implied than expressed.  Perhaps that’s how Haruf meant it to be, but if so, the title would seem misplaced.

Although the pace never dragged, at longer than three hours, Benediction challenges audiences.  Even with two intermissions, there is a danger that some portion of the audience will tune out as attention spans reach their limits.  Some trimming of the script could be helpful.  The script contains at least three major story lines:  1) Dad Lewis dying of cancer, 2) Alice, a young girl whose mother has died, and 3) a minister’s family struggling with relocating to Holt.  Of the three story lines, it is the first, the end of life story, that you will remember when you leave the theater.  A focus on just one of the secondary story lines would streamline the show greatly without diminishing Haruf’s central message.

Benediction is a marvelous achievement for the Denver Center Theatre Company, one for which it can be justifiably proud.  

NOTES:

This show is not suitable for all ages.  The script contains adult situations, and a disturbing scene involving a teenager.  It is suitable for ages 16 and up.

There is ample parking at the theater parking ramp ($10-12) and metered parking neighboring streets. I know…it sounds expensive.  However, if you can’t find a meter, the other parking facilities in the immediate area are comparable in price but not as convenient.

As this production neared its opening, Kent Haruf died on November 30, 2014.  He did an extended interview with John Moore, DCPA Senior Arts Journalist.  It’s a remarkable interview, and if you haven’t read it, you can find it HERE.

This production closes on March 1, 2015.  

Pre or Post Show Dining Suggestion:

There are numerous restaurants in easy walking distance of the DCPA.  We tried the Dorchester Social Eatery at 1448 Market Street.  It was during Denver Restaurant Week, so there were $30  specials at the Dorchester.  We arrived for a 5:00 reservation, and were immediately seated.  I notified our waitress that we had a 6:30 curtain and needed to be finished and checked out by 6:00 PM.  She fully accommodated our schedule, even having the kitchen get dessert ready before we finished our entrees.

I had the Wagyu burger ($14) and Roxie had the Restaurant Week special ($30).  The special was an appetizer (in Roxie’s case, the French Onion Soup), an entree (Shrimp Pasta) and dessert (Creme Brulee).  All were well prepared, tasty, and served with panache.  Happy Hour is 3:00-6:00 PM.

PHOTO CREDITS:  Denver Center Theatre Company.

TICKETS HERE:  

CREATIVE TEAM:

Director:  Kent Thompson

Assistant Director:  James Will McBride   

Fight Coordinator:  Geoffrey Kent

Director of Production:  Jeff Gifford

Scenic Deisgn:   Lisa Orzolek

Sound Design:  Craig Breitenbach

Lighting Design:  Don Darnutzer

Dramaturgy:   Allison Horsely

Costume Design:  Wade Laboissonniere 

Casting:  Elissa Myers Casting/Paul Foquet, CSA

Voice and Dialect Coaching:  Kathryn G. Maes, Ph.D

Stage Manager:  Kurt Van Raden

CAST:

Dad Lewis:  Mike Hartman

Mary Lewis:  Joyce Cohen

Reverend Rob Lyle:  Ed F. Martin

Beverly Lyle:  Nancy Lemenager

John Wesley:  Nick Lamedica

Alene Johnson:  Nance Williamson

Willa Johnson:  Billie McBride

Lorraine Lewis:  Kathleen McCall

Genevieve Larson/Wanda:  Amelia Marie Corrada

Alice:  Zoe Delaney Stahlhut

Berta May:  Leslie O’Carroll

Luann/Marlene/Janine:  Tracy Shaffer

Rudy/Wayne:  James Newcomb

Bob/Ed:  Lawrence Hecht

Ronald Dean Walker:  Benjamin Bonenfant

Laurie Wheeler:  Adrian Egolf

Richard/Policeman:  Jonathan Crombie

Fiddler on the Roof

Book By:  Joseph Stein, based on Sholem Aleichem’s stories.

Music by:  Jerry Bock

Lyrics by:  Sheldon Harnick

Company:  BDT Stage

Venue:  BDT Stage, 5501 Arapahoe Avenue, Boulder, CO 

Running Time:  3 hours, 10 minutes (includes 20 minutes intermission, but does not include dinner).

Date of Performance:  Tuesday, February 17, 2015.  (Benefit performance for the Denver Actor’s Fund.)

You may be asking yourself…”What?  Another review of Fiddler on the Roof at BDT Stage?”  

I wouldn’t blame you for asking.  It’s been reviewed by some of the best critics in Colorado, to unanimous acclaim.  See here, here, and here.  They’re right.  This is a Fiddler on the Roof for the ages.

I’m not writing this review just to confirm my colleagues’ conclusions.  Nor am I writing in the hope that BDT Stage sells more tickets; the rest of the run is sold out.  I am not just looking to add to BDT’s pile of praise; they have plenty already.

I would write this review even if no one were ever to see it.  I could bury it in my filing cabinet, never to see the light of day, but I cannot resist putting my thoughts in writing after such an unforgettable experience.  Fiddler on the Roof at BDT Stage is exactly that.  It’s unforgettable.

If you are getting the sense that this is not a typical review for Theater Colorado, you are correct.  Rather than an analysis of the show, this post focuses on just two subjects that make BDT Stage's Fiddler on the Roof an extraordinary event.

It was a long drive home after the show.  The performance ended at 10:10 PM, and it’s nearly 100 miles from Boulder to our home in Colorado Springs.  We didn’t get home until nearly midnight.  Roxie slept most of the way, which gave me a lot of time to think about what I had seen and experienced at Arapahoe and 55th in Boulder.  I kept rerunning the show in my head, trying to understand why it had such an impact on me.  Sure, the production values are top shelf.  The performances were all professional.  The music, the lights, the sound, the set, everything, really, was of the highest quality.  The highest quality for productions is a trademark of BDT Stage.

I decided there are two reasons why the BDT Stage Fiddler on the Roof stayed with me long after the show is over.  

Here are those two reasons.

1.  Wayne Kennedy as Tevye

I don’t know Wayne Kennedy (Tevye) personally, but I shook his hand after the show and said “thanks.”  By that, I meant thanks for his marvelous performance, and thanks for donating his wages to the Denver Actor’s Fund that night.  

The impact of Fiddler on the Roof starts (but doesn’t end) with Kennedy, and the Tevye he becomes for three hours.  He’s a Tevye with a heart and a soul.  Kennedy’s Tevye is a father with a deep love for his children and for Golde, his wife.  

Kennedy gives us a Tevye who is devoted to the “traditions” that make him a Jew, but wise enough to break with tradition for those he loves.  He's devoted, determined, and sometimes angry, but also given to thoughtful reflection and changing his mind occasionally.  

Kennedy is a husband and father.  I suspect that, when he’s offstage, he is perhaps a great deal like Tevye.  Wise.  Loving.  And with a huge heart and soul.

There’s a critical moment in the first act, where Kennedy explains Tevye's Jewish traditions:

“Because of our traditions, we've kept our balance for many, many years. Here in Anatevka, 

we have traditions for everything: how to sleep, how to eat... how to work... how to wear clothes. 

For instance, we always keep our heads covered, and always wear a little prayer shawl that 

shows our constant devotion to God. You may ask, "How did this tradition get started?" 

I'll tell you!”

Kennedy walks downstage, and leans over to make eye contact with one person in the first row.  Inches from that person’s face, he answers his own question with this aside:

“I don't know.” 

That is a defining moment for me.  Kennedy makes direct contact with the audience.  He admits that he doesn’t know how his traditions began.  That’s important, because Tevye is called on by his daughters to break with those traditions.  When faced with making his daughters happy or adhering to a tradition, he will choose to make his daughters happy if he can.

Kennedy’s Tevye is the reason Fiddler on the Roof works so well.  He speaks to us, literally, in asides.  He shows us the qualities we aspire to, even if we don’t always achieve those qualities.  At the outset, he considers love to be a radical concept; at the finish, he embodies it.  He has learned life's hardest lessons, some at a great personal cost.

Kennedy's performance is sometimes subtle, sometimes harsh, and always endearing. He is reason enough to buy a ticket.

2.  The relevance of Fiddler on the Roof after 50 years.

There is a second reason why Fiddler on the Roof had a huge impact on me.  It is surprisingly relevant, given that it debuted on Broadway in 1964.

The first act of Fiddler includes the familiar song Tradition.  Kennedy doesn’t belt it out like a lot of Tevyes.  Rather, his Tradition is a simple statement of who he is and what he believes.  

Who, day and night, must scramble for a living,

Feed a wife and children, say his daily prayers?

And who has the right, as master of the house,

To have the final word at home?

The Papa, the Papa! Tradition.

The Papa, the Papa! Tradition.

Traditions aside, Tevye is a pensive but loving father when two of his daughters choose to marry someone not to his liking.  They reject the matchmaker, and they reject the tradition of the patriarch giving permission to marry.  He wisely relents and gives Hodel and Tzeitel his permission to marry the ones they love:

On the other hand, did Adam and Eve have a matchmaker?... Well, yes, they did. And it 

seems these two have the same Matchmaker!

Unfortunately for Tevye's daughter Chava, one tradition could not be overcome.  Marrying outside the faith was a bridge too far for Tevye.  

There are some American families today reliving Tevye's conflicts when a son or daughter announces who he or she intends to marry.  Same sex marriage is a bridge too far for many parents, and no permission or blessing will be given to their children.  The result will often be a fractured family and life long damage.

Tevye knows something that the “traditional marriage” advocates have yet to learn.  After refusing to grant a blessing or permission to his daughter Chava, she married Fyedka anyway.  Tradition cost Tevye a daughter.  People in love will do what they must to be together, and that’s a lesson that is still lost on the “traditional marriage” proponents.  Our children will marry whomever they please, with or without our permission.

Beyond Tevye's fragmented marriage traditions, Fiddler on the Roof is also relevant today because it reminds us how Jews could be made homeless, or worse, simply because of their religion.  The rise of ISIS in the last few years presents an existential threat to Israel, and to Jews world wide.  Jews have recently been targets of attacks in Paris, Copenhagen, and elsewhere.  Antisemitism is on the rise all over the world.  It seems only a matter of time before radical Islamists target Israel.  The Holocaust is not just a painful memory, but sadly, still a goal of the most despicable among us.  Fiddler on the Roof reminds us of the painful history of jews, and of the dangers they still face daily. 

I can't help but mention that the February 17th performance of Fiddler was especially relevant because it was a benefit for the Denver Actor’s Fund.  The cast and crew donated their wages to the Colorado theater community.  They made themselves relevant by giving their time, their talent, and their compensation to those in need.  Sometimes a show changes lives.  This one set out to do exactly that.  Theater doesn’t get any more relevant than that.

Although I have only addressed two thoughts about Fiddler here, that does not in any way diminish the outstanding work of all the rest of the cast and crew.  It takes a lot of people to put together a great production, and BDT Stage demonstrates excellence at every level and in every detail.  My extended praise here for Wayne Kennedy simply recognizes that he is Tevye, and Fiddler on the Roof is, at its core, about that lead character and his values.  However, every single person, and every single part of BDT Stage’s Fiddler on the Roof is praiseworthy.  My hat is off to Michael J. Duran, Director and Producer, and to all his talented cast and crew, for bringing this gem to the BDT Stage.

Don’t take my word for it.  Ask anyone who has seen Fiddler on the Roof.  Or ask those who still have tickets to see it.  It’s sold out, so you can’t judge it for yourself.  You’ll have to count on those of us who did.

It was spectacular.

NOTES:

This show is suitable for all ages. 

There is ample free parking in the lot at the theater and on neighboring streets. 

This production closes on February 28, 2015.  

If you’re unaware of the good work being done by the Denver Actor’s Fund (DAF), you can learn more here.  Fiddler on the Roof on Tuesday, February 17, 2015 was a benefit for the DAF.  In a relatively short time (about a year and half), they have grown from a concept to a viable, living, breathing testament to the character of the Colorado theater community.  The fund raiser is over, but they’re still accepting donations here.  

Pre or Post Show Dining Suggestion:

Dinner is included in your ticket price.  

PHOTO CREDITS:  BDT Stage/Glenn Ross Photography.

TICKETS HERE:  Sorry.  The remainder of the run of Fiddler on the Roof has sold out. 

CREATIVE TEAM:

Director/Producer:  Michael J. Duran

Musical Director/Conductor:  Neal Dunfee

Technical Director:  Jared Williams

Choreographer:  Alicia Dunfee

Scenic Design:  Amy Campion

Sound Design: Wayne Kennedy

Lighting Design:  Brett Maughan

Hair/Wig Design:  Debbie Spaur

Costumes: Linda Morken

Stage Manager:  Seamus McDonough

CAST:

Tevye:  Wayne Kennedy

Golde:  Shelly Cox-Robie

Tzeitel:  Jessica Hindsley

Hodel:  Rebekah Ortiz

Chava:  Sarah Grover

Motel:  Brett Ambler

Perchik:  Burke Walton

Fyedka:  Matt LaFontaine

Lazar Wolf:  Scott Beyette

Mordcha:  Bob Hoppe

Sasha:  Jason Vargas

Yente:  Barb Reeves

Rabbi:  Brian Burron

Avrahm:  Matthew D. Peters

Constable:  Scott Severtson

Mendel:  Brian Cronan

The Fiddler:  Tracy Warren

Grandma Tzeitel:  Joanie Brousseau

Fruma-Sarah:  Amanda Earl

Shaindel/Motel’s Mother:  Bren. Eyestone Burron

Young Students:  Carter Hanson, Matt Reichen, Ethan Leland, Thomas Russo

ORCHESTRA:  

Piano/Conductor:  Neal Dunfee

Violin:  Jean Denney, Leah Mohling, Morgan Denney

Reeds:  Nick Vocatura, April Johanessen

Trumpet:  Rob Reynolds, Rich Dustin

Trombone:  Michael Hilton, Gail Harris

Bass:  Carlton Bacon, Jon Stubbs

Drums:  Nick Gnojek, Dean Vlachos