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The Muhlenberg College experience offers a direct learning partnership among faculty and
students in the classroom, laboratory and performance studio. Muhlenberg offers students
opportunities to foster the most important goal of the liberal arts education—education of
the whole person.
In Theatre and Dance, faculty and staff have developed a multi-faceted approach to
education that combines exciting creative experience with rigorous professional standards.
The production program reinforces the belief that as academic disciplines, theatre and dance
must be intellectual and practical. Serious training and intense interaction between faculty
and students provide a collaborative rather than competitive atmosphere in the department.
Students are challenged as artists in the studio and classroom, working closely with
distinguished faculty and nationally recognized guest artists to achieve a conceptual
understanding and a practical working knowledge of the arts and the profession. Stage
experience is considered one of the most important elements in the training process for
actors and dancers, directors and choreographers, production stage managers, designers and
technicians. Students provide considerable talent and leadership in the staging of both main
stage and studio projects.
Performing Arts graduates of Muhlenberg College are prepared for study at the graduate
level, pursue lives as professional artists, and contribute creative leadership in many other
careers. The blend of academic work in the liberal arts with a professional level of training
in theatre and dance has prepared them to work as actors, directors, designers and stage
managers, choreographers, dancers, and dance educators, and production assistants and arts
administrators on Broadway, in film and television, and in major regional and educational
theatres across the nation.
Muhlenberg College has the number one ranked undergraduate theatre program in the
United States, according to The Princeton Review 2012. The 2010 edition of The Fiske Guide
to Colleges ranks Muhlenberg among the top 20 small college programs in the nation in
both theatre and dance—one of only eight schools in the country to appear on both lists.
Muhlenberg College is one of only 30 schools from across the nation selected to perform at
the 2010 National American College Dance Festival in New York City.
For more information, visit our website at
www.muhlenberg.edu/theatre&dance
The Muhlenberg College
Department of Theatre & Dance
presents
Music and Lyrics by
Book by
Stephen Sondheim
George Furth
Based on the Original Play by George S. Kaufman and Moss Hart
Orchestrations by Jonathan Tunick
Originally Directed on Broadway by Harold Prince
Originally produced on Broadway by Lord Grade, Martin Starger, Robert Fryer
and Harold Prince in association with Ruth Mitchell and Howard Haines
Director
James Peck
Musical Director
Choreographer
Ken Butler
Jeremy Arnold
Set Designer
Lighting Designer
John McKernon
David Meyer
Conductor
Costume Designer
Constance Case
Vincent Trovato
Production Stage Manager
Jessielyn Kreitzer
Merrily We Roll Along is presented through special arrangement with Musical Theatre International (MTI)
All authorized performance materials are also supplied by MTI. 421 West 54th Street, New York, NY 10019
Tel.: (212) 541-4684 Fax: (212) 397-4684 www.MTIShows.com
October 28 – November 6, 2011
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Merrily We Roll Along
October 2011
Cast
Franklin Shepard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Felix Mayes
Charley Kringas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Andrew Clark
Mary Flynn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Brooke Benedetto
Gussie Carnegie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Rachel Clausen
Beth Spencer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Leah Holleran
Joe Josephson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . James McMaster
K.T. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Emily Spadaford
Jerome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Michael Barthel
Scotty . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Daniel Farley
Tyler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kelly Kirkley
Meg . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Emily Phillips
Terry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . George Primavera
Dory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Molly Israel
Ru . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Will Kellogg
Bunker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Michael Walsh
Make-up Artist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jennifer Weeks
Stage Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Naomi Leslie
Frank Jr.
Oct. 29, 2 p.m.; Oct. 30; Nov. 3, 5, 6 . . . . . . . . Mason Rodriguez
Oct. 28; Oct. 29, 8 p.m.; Nov. 2, 4 . . . . . . . . . . . Marcus Yearwood
Photographer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Benjamin Raffalli
Mr. Spencer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . John Bennett
Mrs. Spencer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Allison Bloechl
Pianist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Wesley MacBeth
Pitch-Challenged Girl . . . . . . . . . . . . . . . . . . . . . . . . . . Danni Schwartz
Evelyn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Stefanie Goldberg
Other roles played by members of the Ensemble
October 2011
Merrily We Roll Along
3
lvpa_muhlenberg ad:Layout 1
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LVPA offers a rigorous academic approach to
learning that is commingled with an extraordinary
pre-professional arts education.
Open House Dates
Audition Dates
Wednesday, November 2, 2011
Monday, November 7, 2011
Wednesday, January 18, 2012
Monday, January 23, 2012
7:00 pm
7:00 pm
7:00 pm
7:00 pm
Saturday, February 4th, 2012
Saturday, February 11th, 2012
For more information, go to www.lvpa.org
4
Merrily We Roll Along
October 2011
P r o d u c t i o n S ta f f
General Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jessica Bien
Technical Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Damon Gelb
Master Electrician and Audio Engineer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Paul E. Theisen, Jr.
Assistant Technical Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Eric Covell
Costume Shop Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Caroline La Porta
Props Coordinator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Cheryl Soper Christensen
Assistant Directors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Matt Dicken, Aly Trombitas
Assistant Stage Managers . . . . . . . . . . . . . . . . . . . . . . . . . Hannah Cook, Denali Elliott, Christine O’Connell
Rehearsal Accompanist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Nancianne Metz
Assistant to the Lighting Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jon Goldman
Master Carpenter and Light Board Programmer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Evan Hershman
Scenic Assistant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Carolyn Mraz
Scenic Running Crew . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Erica Allen, Hayley Cooke, Julia Garber
Light Board Operator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Julia Schneiderman
Follow Spot Operators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Marissa Cutrona, David Forbes
Sound Console Programmer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Joe Livezey
Sound Assistant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . James “Doc” Hayman
Sound Board Operators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ben Burwell, Matt Horn
Child Wranglers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tess Dul, Molly Israel
Hair & Makeup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Arielle Baumgarten, Nicole Del Cioppio, Megan Lennon
Wardrobe Head . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Seana Benz
Wardrobe Crew . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Steph Lerch, Kimberly Sehn, Kristen Sehn,
Kylie Sickler, Caitlin Sing, Chelsea Thompson
Staff Stitchers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Lex Gurst, Marilyn Mazsa
Work Study Stitchers . . . . . . . . . . . Seana Benz, Ian Curtis, Elizabeth Earle, Kelsey Gamble, Dayna Kline,
Sarah Ochocki, Sarah Wanger, Elizabeth Spilsbury, Nicolette Strobing
Stagecraft Stitchers . . . . . . . . . . . . . . . . . . . Krista Bacchieri, Lydia Baxter, Allison Berger, Leigh Boorstein,
Leigh Ann Cannon, Kasey Celona, Jennifer Goss, Julianna Katz,
Lane Miller, Nina Moshman, Christine O’Connell, Katerina Pham,
Samantha Ramos, Sarah Scuteri, Tasmi Siddiqua, Caitlin Sing,
Lana Slater, Leah Trank, Mardi Robinson
Staff Carpenter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Rob Bergenstock
Carpenters . . . . . . . . . . . . . . . . . . . Samantha Bernstein, Andrew Clark, Alexandra Donnelly, Sarah Franzel,
Eric Hedden, Rebecca Hernandez, Alyssa Kevelson, Kathryn Kooistra,
Daniel Langenbacher, Alex McKhann, Nicki McVinua, Harry Merck,
Alexander Michaels, Kelsey O’Keefe, Amy Osika, MariAnne Skolnik,
Aly Trombitas, Will Truscott, Clay Westman
Student Electricians . . . . . . . . . . . . . . . Doug Bucci, Benjamin Burwell, Mathew Caraway, Hannah Cascio,
David Forbes, Evan Hershman, Ryan Killeen, Sasha Kimaitek,
Matthew Lebron, Jared Loeb, Andrew Zepp
Box Office Managers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Stephanie Bell, Christine DeLuca, Sara Grasberg,
Rachel Larkey, Casey Moser, Hannah Zucker
Box Office Associates . . . . . . . . . . . . . . . . . . . . . . . . . . . . Gianna Beleno, Hannah Gross, Jackie Schwighardt,
Meghan Sullivan, Kristen Wendt
House Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Casey Moser, Caitlin O’Meally
Marketing Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Scott Snyder
Poster Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Joshua Tewell
Playbill Production . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kelsey Metz, Scott Snyder
Marketing & Publicity . . . . . . . . . . . . . . . . . . . . . . . . Jess Altman, Briana Boche, Kaitie Burger, Kelsey Metz
October 2011
Merrily We Roll Along
5
Sc e n e s & S o n g s
Act 1
Prologue
Overture. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Orchestra
Merrily We Roll Along. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Company
Scene One: Bel Air, California — 1976
That Frank. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Company
Transition 1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Company
Scene Two: NBC Studio, New York City — 1973
Old Friends — Like It Was. . . . . . . . . . . . . . . . . . . . . . . . . . . . . Mary, Charley
Franklin Shepard, Inc.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Charley
Transition 2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Company
Scene Three: Frank’s Apartment, New York City — 1968
Old Friends. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Mary, Frank, Charley
Growing Up, Part 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Franklin
Growing Up, Part 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Gussie
Transition 3. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Company
Scene Four: Manhattan Courthouse, New York City — 1967
Not a Day Goes By. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Beth
Now You Know. . . . . . . . . . . . . . . . . . . . . . . . . . Scotty, Mary, Tyler, Charley,
Frank, Joe, Jerome, K.T., Bunker, Company
Act 2
Entr’acte . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Orchestra
Scene One: Alvin Theatre, New York City — 1964
Act 2 Opening. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Gussie
It’s a Hit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Joe, Frank, Mary, Beth, Charley
Transition 4. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Company
The videotaping or other video or audio recording of this
production is strictly prohibited.
6
Merrily We Roll Along
October 2011
Scene Two: Gussie and Joe’s Brownstone, New York City — 1962
The Blob, Part 1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Company
The Blob, Part 2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Company, Gussie
Growing Up. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Gussie
The Blob, Part 3. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Company
Good Thing Going. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Charley, Frank
The Blob, Part 4. . . . . . . . . . . . . . . . . . . . . . Charley, Frank, Dory, Joe, Guests
Transition 5. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Company
Scene Three: The Downtown Club, New York City — 1960
Bobby and Jackie and Jack. . . . . . . . . . . . . . . . .Charley, Frank, Beth, Pianist
Not a Day Goes By — Act 2. . . . . . . . . . . . . . . . . . . . . . . . . Beth, Mary, Frank
Transition 6. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Company
Scene Four: New York City — 1957-59
Opening Doors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . Charley, Frank, Mary, Joe,
Pitch-Challenged Girl, Beth
Transition 7. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Company
Scene Five: A Rooftop on 110th Street, New York City — 1957
Our Time, Part 1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Frank, Charley
Our Time, Part 2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Frank, Charley
Our Time, Part 3. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Company
Orchestra
Alto Saxophone, Clarinet, Flute, Piccolo . . . . . . . . . . . . . . . . . . . . .Michael Trach
Alto Saxophone, Clarinet, Flute . . . . . . . . . . . . . . . . . . . . . . . . . . . Mark Rabenold
Clarinet, English Horn, Oboe, Tenor Saxophone . . . . . . . . . . . . Gregory Hulse
Baritone Saxophone, Bass Clarinet, Bassoon, Clarinet . . . . . . . . Linda Bolasky
Trumpet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Gregory Seifert,
Donald Hughes, Keith Beyer
Trombone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ralph Brodt III
Bass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tynan Hooker-Haring
Piano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Nancianne Metz
Synthesizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Patricia O’Connell
Percussion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Robert Stevens
October 2011
Merrily We Roll Along
7
Muhlenberg College
2011-2012 Piano Plus Chamber Music
Alon
Goldstein
Jamie Laredo &
Leon Fisher
Friday, Nov. 11, 2011 Friday, March 2, 2012
8 p.m.
8 p.m.
Adults $25.00
Seniors (65+) $17.00
Musicians from
Marlboro
Friday, Apr. 13, 2012
8 p.m.
Students (7+) $12.00
Purchase tickets by phone at 484-664-3333 with your American Express,
MasterCard or Visa. The Box Office is open Monday through Friday, noon to 6 p.m.
For additional information call 484-664-3363
DOROTHY & DEXTER BAKER CENTER FOR THE ARTS
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Merrily We Roll Along
October 2011
D i r e c to r ’ s N o t e
One of my favorite ideas of twentieth-century theatre comes from the
playwright and director Bertolt Brecht. It’s called “Fixing the Not/But.” Brecht
enjoins the actors to show not just what their characters do, but also what
they don’t do. The audience should notice that the characters do “not this, but
that.” So a production must not only tell the story. It should also make visible
other stories that could have unfolded but didn’t, alternate destinies that didn’t
come to pass. In this, Brecht wants to call attention to the element of choice in
all our lives—the privilege and responsibility we share to make ourselves the
people we want to be and the world a place we’d want to dwell.
“How did you get there from here?” asks the Ensemble in the opening number of Merrily We Roll Along. “What was the moment?” As the play
barrels into the past, it burrows into the moments that made Frank (and
Charley, and Mary, and Gussie, and Beth, and Joe, and…) the people they
became. We know from the beginning where the characters end up, but we
get to see in each scene something else they might have chosen, other lives
they might have lived. Given that their relationships are in a shambles by the
end of Scene I, it could be an entirely desolate vision.
But then there’s the music. Considering just the book, this would be an
acerbic, heartbreaking play about ambition, betrayal, and loss. And it is that.
But of course it isn’t just the book. It also contains some of the most beautiful music ever written for the American Musical Theatre. Sondheim’s score
confers a sense of grace on these talented, flawed, and all too recognizable
people. Given another crack at life, the music suggests, even these people
might get it right next time. And mercifully, it augurs, none of them are
beyond redeeming. The play ends, after all, in youth—the characters’ dreams
awakened, their lives ahead of them, and the future not yet written.
Thanks for coming. Enjoy the show.
— James Peck, Director
special Thanks
Deborah Busch Matt Faragasso Anne Kitch
Marilyn Mazsa Gary Minyard
William Sanders
City Theatrical Inc. Event Staging
The families of Mason Rodriguez and Marcus Yearwood
October 2011
Merrily We Roll Along
9
Complimentary Workshop
for your organization!
Campus to
Conference
Room
The Wescoe School of
Muhlenberg College offers
informative, interactive
workshops on a variety of
timely, interesting topics.
Presentations can be held at
your site or on the beautiful Muhlenberg
College campus in Allentown, PA. This
could be your organization’s answer to
providing free training or a meeting
activity for your school, business, club,
or team.
Choose from a wide variety
of topics including:
• Tips for Coping with Stress • The 5 Steps of Making Effective Decisions
• Leadership Strategies • Creating a Motivational Climate • Understanding
the 23 Dimensions of Diversity • Or request a topic of relevance to your
organization’s needs.
Presenters are members of The Wescoe School faculty and/or active
community leaders.
Campus to Conference Room programs traditionally include a 40-minute
presentation followed by a 20-minute question and answer period.
For more information, contact Samantha Anglestein at 484-664-3029
or [email protected].
muhlenberg.edu/wescoe
10
Merrily We Roll Along
October 2011
Composer Profile
“Art, in itself, is an attempt to make order out of chaos.”
— Stephen Sondheim
His name itself has become a presiding standard of excellence, a
lofty bar reached for by several generations of theatre-makers: Stephen
Sondheim. Since his first Broadway credit as both composer and lyricist in 1962, Sondheim has reshaped the course of the American musical theatre and has continued to blaze into daring new territory, leaving
many iconic classics of the stage in his wake. While not every show was
a critical or commercial success, Sondheim shifted the focus away from
the traditional comfort of big box office spectacles and toward writing
that breathed with sophistication, heart, and humanity.
Sondheim’s sustained and prolific career has led him to being
recognized with an unprecedented collection of honors, including an Academy Award, a Kennedy Center Honor, eight Grammy
Awards, eight Tony Awards (includes a special recognition for Lifetime Achievement in the Theatre), and the Pulitzer Prize. Sondheim’s
characteristic complexity of vocal harmony and counterpoint is noted
October 2011
Merrily We Roll Along
11
for its ability to capture the psychology of his intricate characters. A
great lover of word puzzles, Sondheim creates layered lyrical webs that
dazzle with elaborate rhymes, witty puns, and diverse socio-cultural
references.
At an early age, Sondheim moved with his mother from the Upper
West Side of Manhattan to a farm in rural Pennsylvania, where neighbor Oscar Hammerstein II mentored him throughout his early theatrical writing as a teenager. Sondheim went on to extended collaborations with such theatre luminaries as Arthur Laurents (West Side Story;
Gypsy; Anyone Can Whistle), Harold “Hal” Prince (Company; Follies;
Pacific Overtures; Sweeney Todd; Merrily We Roll Along), and James
Lapine (Sunday in the Park with George; Into the Woods). His particular
style and consistent artistic integrity have made Sondheim an innovator and an icon of the musical theatre form.
—Matt Dicken
Image and quote from Academy of Achievement: A Museum of Living History
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12
Merrily We Roll Along
October 2011
Content
D i c tat e s F o r m
Selections from Sondheim’s autobiographical collection, Finishing The Hat
“What we envisioned [with Merrily We Roll Along] was a cautionary tale in
which actors in their late teens and early twenties would begin disguised as
middle-aged sophisticates and gradually become their innocent young selves
as the evening progressed.”
“Merrily We Roll Along was written in 1980, but the story, which is about the
souring of ideals and the erosion of friendships, concerns two songwriters
who came into maturity in the 1950s, when traditional song forms still ruled
the stage; it seemed appropriate, therefore, that it should be told as much as
possible in a series of 32-bar songs. I knew this would make the score sound
anachronistic; in fact, I hoped it would.”
“I’m attracted to volatile characters because they’re the stuff of drama, and
when they explode in song, it allows the songwriter to veer off unexpectedly
in many directions, echoing the disorder in the character’s mind.”
“The structure of Merrily We Roll Along suggested to me that the reprises
could come first: the songs that had been important in the lives of the
characters when they were younger would have different resonances as they
aged.”
“Metaphorically, the old tunes linger, even if in fragmented forms, and if you
tell a story backwards in order to make such a point (among others), the
music should not merely reflect but embody it.”
“…I once had a Franklin Shepard moment myself. It was when I agreed to
write Do I Hear A Waltz? I took the job out of expedience and greed, and
although I didn’t pay for it as heavily as Frank does, it taught me a lesson—I
never again wrote anything that wasn’t for love. And it had a silver lining: the
experience helped me write Merrily We Roll Along. It was a show I adored
and a deep disappointment in the first outing, and it marked an important
period in my professional life.”
n
October 2011
Merrily We Roll Along
13
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Program for Young Dancers
Classes for children and teens in ballet, modern, tap, jazz, pointe,
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Pilates & Fitness Classes
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Adult Ballet
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14
Merrily We Roll Along
October 2011
Production History
When Merrily We Roll Along was written in 1980, Sondheim had just come
off of Marry Me A Little, a revue of discarded Sondheim songs. West Side Story,
which opened in 1957, was preparing for its first revival. This was the second
and last show on which Sondheim collaborated with George Furth. The first,
Company, had a year-and-a-half run ten years earlier. Furth changed the central
characters of the original 1934 Kaufman and Hart play from a playwright and
a painter into a composer and a librettist who write musical comedies together.
While Sondheim has denied that any of his work is autobiographical, it is evident that the milieu of young New York professionals featured in Merrily We Roll
Along must have been familiar territory for him.
The first production of the show ran for just 16 performances, with 52 previews. Sondheim’s original plan to cast actors who were in their late teens didn’t
play out as romantically as he’d originally hoped, and many members of the cast
did not have the experience to carry the show. In fact, the actor cast as Frank was
replaced during previews. The one exception to that rule was Jason Alexander,
playing the role of Joe, with whom Sondheim expressed extreme satisfaction.
Besides just the age of the cast, the show had massive technical problems.
Harold Prince was so dissatisfied with the costumes come dress rehearsals that
he got rid of them all together, and characters instead wore t-shirts bearing their
relationships to Frank: “Ex-wife,” “Lawyer,” etc.
The initial failure of Merrily prompted Sondheim and Furth to make a series
of rewrites and edits. In 1985, they met director James Lapine, who suggested
further revisions and directed the La Jolla revival in California, which also only
ran for 24 performances. The two men continued to make revisions to the show
until the 1992 revival in Leicester, England. In 2000, the final script was produced
in London and won the Laurence Olivier Award for Best Musical of the Year.
One of their goals was to make Frank a more sympathetic character during
the first half of the show. One strategy for doing so was to add the song “Growing Up” in Scene 3 of Act 1—a tender song about a man torn between fame and
friends. It gave the audience affection for a character they otherwise wouldn’t
discover until Act 2.
The final script had a more sculpted approach to success. The initial thought
was that the entire beginning of the play should be presented the way a teenager
would imagine Hollywood to be like, and as it moved back in time it would
slowly give way to reality. The final product, however, is a mature view of the
dangers and lures of success that hover over all of us—but the Merrily audience
is able to see how those choices have impact. —Aly Trombitas
October 2011
Merrily We Roll Along
15
16
Merrily We Roll Along
October 2011
S o n d h e i m ’ s a nomaly
I s M e r r i ly a S t y l i s t i c Ra r i t y ?
“Of all the shows I’ve worked on, Merrily was, with [one] possible
exception… the most difficult score to write.”
— Stephen Sondheim
True to form, Sondheim created, with Merrily We Roll Along, a show that
pushed him artistically, tested its audiences’ willingness to divert from old forms,
and flipped the convention on its head—literally. While the show is certainly distinct from the rest of Sondheim’s work, in that its story is told in reverse order, this
was not the primary challenge that the work presented to the composer, or what
makes it stand out among his musicals, particularly of this period. Before Merrily
was Sweeney Todd, a murderous epic of operatic scale that is still performed in music
halls internationally; after Merrily came Sunday in the Park with George, whose achingly beautiful score is perhaps exemplified by the first act’s final number, “Sunday,”
which flows forward to a fusion of harmonies that practically soars. How does that
same composer bring us “Now You Know,” Merrily’s superb yet in-your-face punch
of an Act 1 closer, with dance beats and musical comedy flare packed inside?
In many ways, Merrily We Roll Along follows the structure of a traditional book
musical more than any other individual piece in Sondheim’s canon. Songs in this
musical are just as likely to serve as a break from the dramatic action as they are to
propel it forward—the latter convention (song as plot-driving force) one that Sondheim himself ensured would keep its place in the musical theatre form.
Yet, in Finishing the Hat, Sondheim’s first volume of essays and commentary
on his own work, he suggests that not only was he aware that the songs of Merrily
followed an atypically commonplace structure (32-bar songs with an “immediately
recognizable” pattern of verse and refrain), but he chose to construct the musical in
this way quite purposefully. For Sondheim, “the story … concerns two songwriters
who came to their maturity in the 1950s, when traditional song forms still ruled the
stage; it seemed appropriate, therefore, that it should be told as much as possible”
in a similar style. “As always [in Sondheim’s work], Content Dictated Form,” and it
treats the audience with a few hummable melodies to boot.
— Matt Dicken
Sondheim, Stephen. Finishing the Hat: Collected Lyrics (1954-1981) with Attendant Comments, Principles, Heresies, Grudges, Whines
and Anecdotes. New York: Knopf, 2010. Print.
Sondheim, Stephen. “Stephen Sondheim Interview—Academy of Achievement.” Stephen Sondheim: Master of the Musical. The
Academy of Achievement: A Museum of Living History, 2005. Web. www.achievement.org/autodoc/page/son0int-1
October 2011
Merrily We Roll Along
17
Fa c u lt y & G u e s t
A rt i s t P r o f i l e s
Ken Butler (Musical Director) has served
as executive assistant to Muhlenberg
College President Randy Helm for eight
years, following 10 years as a lead administrator in the Department of Theatre &
Dance. He is a member of the board of
directors of the National Association of
Presidential Assistants in Higher Education,
as well as a presenter at their annual conference. Selected Department Mainstage
theatre credits over his 15-year artistic career at Muhlenberg include Urinetown: The
Musical, A Chorus Line (1995), Little Shop
of Horrors, Blood Brothers, Wonderful Town
and Into the Woods. Favorite Summer Music
Theatre projects include The 25th Annual
Putnam County Spelling Bee, Forever Plaid,
The Taffetas, and The Who’s Tommy. He has
also appeared onstage in productions of
Damn Yankees, Ruddigore and Of Thee I Sing;
provided vocal arrangements and orchestrations for the Department’s Cloud Nine
and Our Town and SMT’s Schoolhouse Rock
Live; and wrote a new book and lyrics for
an adaptation of Humperdinck’s Hänsel and
Gretel. Elsewhere, he has directed productions of Tintypes and Funny Girl, provided
musical direction for You’re a Good Man,
Charlie Brown, The Great American Backstage
Musical, and Cabaret, and appeared in
Sweeney Todd, Evita, Mack & Mabel, Mame,
The Secret Garden, The Star-Spangled Girl
and Jesus Christ Superstar.
Constance Case (Costume Designer) has
designed costumes, hair, and makeup for
the Kennedy Center for the Performing
Arts, the National Archives, the Washington
Opera, the Woolly Mammoth Theatre, the
Harmonie Park Playhouse, East Stroudsburg
University, the Hilberry Theatre, the
October 2011
Michigan Opera, and Wolf Trap. Some
of the costume designs she has created
at Muhlenberg include Cabaret, Pippin,
Pentecost, The Beggar’s Opera, The Seagull,
Godspell, Urinetown: The Musical, and the
Master Choreographers concert. Please visit
her website for more information and images at www.constancecase.com
Cheryl Soper Christensen (Props
Coordinator) has coordinated props for all
of the Department’s Mainstage productions
since The Crucible in spring of 2001 and for
the Muhlenberg Summer Music Theatre
starting with You’re A Good, Man Charlie
Brown in the summer of 2001. Previously,
Cheryl was prop coordinator, then production manager, for The Whole Theatre in
Montclair, N.J., where, alongside artistic
director Olympia Dukakis, she worked with
renowned talents including director Susan
Strohman, playwright Romulus Linney, and
many others. She then served as production
manager at her alma mater, Upsala College.
The productions Cheryl is most proud of
are her sons, Kramer, Alex, and Ethan.
John McKernon (Lighting Designer)
has designed the lighting for a variety of
Muhlenberg shows, including La Dispute,
An American Tragedy, Orpheus Descending,
Life’s a Dream, and SMT’s Music Man,
Godspell, Spelling Bee, The Mikado, The Who’s
Tommy, The Sound of Music and Forever
Plaid. His other credits include many
Broadway and Off-Broadway productions,
his favorites being One Mo’ Time and the acclaimed Signature Theatre production of The
Trip to Bountiful. John has also has designed
lighting for numerous restaurants, clubs,
operas, dance companies, and regional
Merrily We Roll Along
19
theatres, and is the author of Lightwright,
the software used by lighting designers and
electricians around the world. He teaches in
the graduate design department at NYU’s
Tisch School of the Arts.
David Meyer (Scenic Design) is thrilled to
finally be designing for Muhlenberg. He is
currently working in NYC designing sets for
the musical numbers that will be featured
in the NBC television show, SMASH,
starring Debra Messing. This summer he
worked in Philadelphia on the next M. Night
Shyamalan film, starring Will Smith. David
has been designing sets for theatre for about
10 years. Design highlights include: Tongue
of a Bird, STRINDBERGstrindberg, Hedwig
and the Angry Inch, Little Shop of Horrors, Kiss
Me, Kate, One Flew Over the Cuckoo’s Nest,
Kiss of the Spider Woman and Bat Boy: The
Musical. David has designed commercials for
Kenneth Cole and Vita Coco as well as the
short film Love, Lots of It, starring Campbell
Scott (official selection for Tribeca Film
Festival 2011). He welcomes you to visit his
website: www.davidmeyerdesign.com.
James Peck (Director) holds a Bachelor
of Arts degree in religion from Carleton
College, an MFA in theatre (directing) from
the University of California at San Diego,
and a Ph.D. in performance studies from
New York University. He is the chair of
the Department of Theatre & Dance. Jim
has directed more than 50 plays, operas,
and musicals at theatres throughout the
United States; he received the Drama
League Director’s Project Award. Recent
Muhlenberg productions include Sarah
Ruhl’s adaptation of Virginia Woolf ’s
Orlando, Gao Xingjian’s The Other Shore and
Howard Barker’s The Possibilities. He is a
co-founder and member of the performance
laboratory Parade Ground Unit, with whom
he created the new work Judith/Dresses/
Joe with text from Bertolt Brecht, Gertrude
Stein, and Samuel Beckett. He has published
numerous articles in leading academic
journals and in books from major university
presses. He is the editor of Theatre Topics.
In addition to Muhlenberg, he has taught
at the Yale School of Drama, the New York
University Tisch School of the Arts, and the
Playwrights Horizons Theatre School.
Vincent Trovato (Conductor) has worked
on several Muhlenberg Summer Music
Theatre productions, including The Mikado,
A Chorus Line, Into the Woods, Once Upon
a Time in New Jersey, Evita, Anything Goes,
and Crazy for You. He has also worked on
productions of Jesus Christ Superstar, The
King and I, Oliver!, Footloose, Annie, The
World Goes Round, Once on This Island, Closer
Than Ever, Forbidden Broadway, Arthur:
The Musical, A Tale of Two Cities, Little By
Little, and the New York City revival of Rags.
Vincent also orchestrated Muhlenberg’s
production of Charles Strouse’s new musical,
n
An American Tragedy.
Allentown Academy of the Arts Alliance
invites you to help support
the Arts Academy at William Allen High School
Bid on original 8” x 8” works of art by William Allen students,
faculty, alumni, & supporters, starting at just $50!
+
20
Thursday, Nov. 17, 4–7 p.m.
At William Allen High School’s Newly Renovated Art Center
17th and Linden Streets, Allentown
Checks should be made out to Allentown Academy of the Arts Alliance – AAAA is a 501(c)3
Merrily We Roll Along
October 2011
October 2011
Merrily We Roll Along
21
Cedar Crest Performing Arts Presents
Nordost
(Northeast)
Artistic Direction by Michelle Munno Jacobs
Written by Torsten Buchsteiner
Translated by Jan Caspers
Directed by Tim Brown
Nov. 3, 4 & 5
at 8 p.m.
Nov. 6 at 2 p.m.
December 1, 2 & 3 at 8 p.m.
www.cedarcrest.edu/stage
Samuels Theatre
Tompkins College Center
The Muhlenberg Fund
Annual gifts of all sizes help Muhlenberg produce
top-notch theatre productions each and every
year. Your gift to The Muhlenberg Fund will make
an immediate impact on campus and shape the
experience of every Muhlenberg student.
Please make an
annual gift today.
Checks should be made payable to Muhlenberg College and sent to The Muhlenberg Fund Office;
or make a credit card gift via Visa, MasterCard or American Express by phone at 1-800-859-2243
or online at www.muhlenberg.edu (click on “Give to ’Berg”). Thank you!
22
Merrily We Roll Along
October 2011
C o m pa n y P r o f i l e s
Jeremy Arnold (Choreographer), a
senior at Muhlenberg, was a member of
the Tap City Youth Ensemble under the
direction of the American Tap Dance
Foundation. He appeared on the sixth
season of FOX’s hit television show,
So You Think You Can Dance, where he
advanced to the Las Vegas callbacks.
He was the featured dancer in the
Philadelphia Orchestra’s tribute to Gene
Kelly, under the direction of Marvin
Hamlisch. Jeremy is also a current cast
member in Mike Wittmers’ production
of Scuff’d Up!. He serves on the guest
faculty of Encore Performance Company
in Vestivia Hills, Ala., Rockford School of
Dance in Rockford, Mich., and LaPierre
School of Dance in North Reading, Mass.
Most recently, Jeremy spend a semester
studying dance at the Accademia dell’Arte
in Arezzo, Italy. In his time there, Jeremy
performed as the guest artist in the
Tuscan talent show, Talenti alla Ribalta,
airing on Teletruria.
Michael Barthel ( Jerome) is a sophomore pursuing a double major in theatre
and English. Michael first appeared on
the Mainstage last year in The Pajama
Game as Max. Michael has also been seen
in the Studio Productions of Dog Sees
God as Pigpen and Indian Wants the Bronx
as Joey. Michael has also been in Kiss Me
Kate as Fred Graham and Beauty and the
Beast as the Beast. He is a resident advisor
in Prosser Annex.
Brooke Benedetto (Mary Flynn) has
previously appeared on the Mainstage
in Orlando (Euphrosyne), An American
October 2011
Tragedy ( Julia), and the Studio
Production of Assassins. Brooke has also
been in the Summer Music Theatre productions of Godspell (“Bless the Lord”)
and The Mikado. She is a member of
NoteWorthy a cappella group, a student
greeter in the Admissions Office, and the
vice president of programs for Delta Zeta
Sorority.
John Bennett (Mr. Spencer) is a freshman at Muhlenberg who, being a huge
fan of Stephen Sondheim, is very excited
to be in Merrily We Roll Along, his first
Mainstage production. He is honored to
work with an amazing cast and crew as a
freshman. John intends to major in film
studies.
Allison Bloechl (Mrs. Spencer) is a
sophomore theatre and environmental
science double major making her second
appearance in a Mainstage production.
Previous Muhlenberg credits include
La Dispute, The Library, and The Vagina
Monologues. Allison is an alumnus of
Geva Theatre Academy, where she studied for three years, and a member of the
Muhlenberg College Choir.
Andrew Clark (Charley Kringas) is
a member of the Class of 2012 and a
theatre and dance double major. He
has previously appeared in Muhlenberg
Mainstage productions of The Tempest,
Polaroid Stories, The Other Shore,
Ouroboros… (New Voices 2009), The
Possibilities, and Twelfth Night. He has also
appeared in the dance concerts Master
Choreographers (2010, 2011) and Moving
Merrily We Roll Along
23
Stories (2010), and has choreographed
twice for the informal dance concerts. On
campus he has performed as a member of
the College Choir, the Chamber Singers,
and Shelley Oliver’s Tap Ensemble, and
currently works as a carpenter in the
Theatre & Dance Department scene shop.
Rachel Clausen (Gussie Carnegie) has
admired the work of Stephen Sondheim
since she was 9, so she is beyond thrilled
to finally be here today. Rachel appeared
on the Mainstage in The Last Days of Judas
Iscariot as Judge Littlefield and Caiaphus
the Elder, and in An American Tragedy as
Leslie Cranston. She was also a part of
Summer Music Theatre’s The Mikado and
a member of the Muhlenberg Dynamics,
and was named a Presidential Scholar in
the Arts in the year 2009.
Hannah Cook (Assistant Stage Manager)
is a sophomore theatre major (design
and performance studies) and art minor.
Muhlenberg: Dog Sees God (2010 Third
Tier, SM), The Tempest (2011 Mainstage,
ASM), An Artist Collective (Muhlenberg
Theatre Association sponsored performance ensemble). Hannah spent part of
this past summer studying at the Prague
Quadrennial, an international exhibition and symposium for scenography.
Previous work includes 40+ productions
with STAGES Children’s Theatre, Mulford
Farm Repertory, and Bay Street Theatre,
among others.
Matt Dicken (Assistant Director),
sophomore, worked on the Mainstage productions of The Last Days of Judas Iscariot
(dramaturg) and Orlando (Archduke/
Archduchess). He directed Dog Sees God
(2010 Third Tier) and The Misanthrope at
Round House Theatre. He has studied at
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October
We Roll Along
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25
Signature Theatre and Folger Shakespeare
Library. This summer he interned in
downtown NYC with Incubator Arts
Project, Banana Bag & Bodice, and
NTUSA. Matt is a Dana Scholar, a writing
assistant, and the founder of An Artist
Collective.
of this production of Merrily We Roll
Along. Other Muhlenberg credits include
Oklahoma!, A Flea in Her Ear, An American
Tragedy, Assassins, and The Mikado. He is
a member of the Muhlenberg Dynamics
a cappella group and is also a brother of
Alpha Tau Omega fraternity.
Denali Elliott (Assistant Stage Manager)
recently stage-managed Crazy For You,
co-directed a series of one-act plays
called Life, Love, and Other Games, and
directed Fiddler on the Roof (Harbor High
School). Denali also appeared in Rumors
and Beauty and the Beast (Harbor High
School). She now works as a community
liaison for the Office of Community
Service and Engagement.
Stefanie Goldberg (Evelyn), a member of
the Class of 2014, is a theatre and communications double major. Past credits
include Muhlenberg Summer Music
Theatre’s production of The Music Man
(Teen Dance Ensemble), the Muhlenberg
Mainstage The Pajama Game, and the
Muhlenberg Studio Production of As
Thousands Cheer, as well as appearances
elsewhere in Urinetown: The Musical
(Hope Cladwell), The Producers (Ulla),
and Hamlet (Laertes) at Ardsley High
School, and Anything Goes and Aida at
Interlochen Arts Camp.
Daniel Farley (Scotty) is a senior
member of the Muhlenberg Theatre
Association and is thrilled to be a part
26
Merrily We Roll Along
October 2011
Leah Holleran (Beth Spencer) is a senior
theatre major with a double minor in music
and creative writing, who studied theatre
abroad in London at Goldsmith’s College.
She has recently appeared in Muhlenberg
Summer Music Theatre’s Godspell,
and MSMT & Enchantment Theatre
Company’s Cinderella. Other Mainstage
credits include Blood Wedding and Bat
Boy, and Studio Productions include The
Moustache and Assassins. On campus Leah
has been seen as a member of Six Meters,
is a co-artistic director and member of An
Artist Collective, and is a Dana Scholar.
Molly Israel (Dory) is extremely proud
and grateful to be working with the
outstanding company of Merrily. She is
a sophomore double majoring in theatre
and communications. Molly made her
Mainstage debut last year in The Pajama
Game as Poopsie/Babe understudy and
performed in the Studio Production of
Woyzeck. Other favorite roles include
Beatrice in Much Ado About Nothing and
Little Red in Into the Woods at Shaker
Heights High School. Molly is a member
of the Muhlenberg Theatre Association, a
resident advisor, and a Dean’s List student.
Will Kellogg (Ru) is a sophomore making
his Mainstage debut. He has previously
appeared at Muhlenberg in the Institute
for Jewish-Christian Understanding
production of The Library, as well as the
Special Productions of Dog Sees God and
Generations. Other credits include Smokey
Joe’s Café, Thoroughly Modern Millie, How to
Succeed in Business Without Really Trying,
Beauty and the Beast, and Les Misérables.
Kelly Kirkley (Tyler) has previously
appeared in Mainstage productions of La
Dispute and The Last Days of Judas Iscariot.
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Merrily We Roll Along
27
Don’t miss out on the rest of
the 2011-2012 season
Moving Stories
November 17 – 19, 2011
Curse of the Starving Class
November 30 – December 4, 2011
Master Choreographers
February 9 – 11, 2012
Stop Kiss
February 22 – 26, 2012
A Midsummer Night’s Dream
March 28 – April 1, 2012
Dance Emerge
April 18 – 21, 2012
Three Sisters
April 26 – 29, 2012
484.664.3333
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|
muhlenberg.edu/Theatre&Dance
Merrily We Roll Along
October 2011
Muhlenberg Summer Music Theatre
credits include Godspell and The Mikado.
On campus, he is the co-president of the
Black Student Association and a member
of Chamber Singers and the Cardinal Key
Society.
Jessielyn Kreitzer (Production Stage
Manager) — Jessielyn’s past credits
include stage managing Dance Emerge
(spring 2011) and the studio production As Thousands Cheer (spring 2011).
She assistant stage managed The Pajama
Game (fall 2010) here at Muhlenberg, and
The Government Inspector (fall 2009) at
Ramapo College. Jessielyn is a sophomore
theater major and business minor here at
Muhlenberg. She serves as a tour guide, a
member of the Cardinal Key Society, and
the business manager for the Muhlenberg
Theatre Association.
Naomi Leslie (Stage Manager) is making
her Mainstage debut in Merrily We Roll
Along. She has also appeared in the Special
Productions of Dog Sees God, Speed the
Play, Don’t Share the Wealth, and The
Bald Soprano. Naomi is a member of the
Muhlenberg Dynamics.
Wesley MacBeth (Pianist) is excited to
be in his second Mainstage, following
The Pajama Game. He also appeared in
Summer Music Theatre’s recent production of The Music Man. Wesley was also
the pianist for the Studio Production of As
Thousands Cheer and SongSycle’s special
production of Edges. He is a sophomore
working on a theatre and math double
major and is a member of the a cappella
group InAcchord.
Felix Mayes (Franklin Shepard) has been
on the Muhlenberg Mainstage in The
October 2011
Tempest (Ariel), Bat Boy (Edgar), Polaroid
Stories (D), and Caw (Michael Darling).
He also performed in children’s productions of Summer Music Theatre’s School
House Rock Live! ( Joe) and the touring
production of Goldilocks and Jane (Baby
Bear). He recently starred in the Civic
Theatre of Allentown’s Rent as Angel,
Insomniak Theatre’s Pippin as Leading
Player, and Rainbow Players’ Q as Miss
Tipsy. Dance credits include dancing in
Muhlenberg’s Master Choreographers, and
choreographing for the informal concert.
Felix is co-president of the Muhlenberg
Gay-Straight Alliance.
James McMaster ( Joe Josephson) has
appeared in the Mainstage productions of
The Tempest, The Other Shore, Bat Boy, and
Twelfth Night. Other credits include the
The Music Man and The Mikado (Summer
Music Theatre), Rent (Civic Theatre),
and, at Muhlenberg, The Naked I, Love
Is Merely A Madness, the 2010 Showcase
Revue, and The Sedehi Diversity Project
(ensemble 2009, director 2010, facilitator
2011). In fall 2010 James studied theatre
abroad at Goldsmith’s College, University
of London. On campus, James is a cofounder of the SongSycle performance
ensemble, a member of the Muhlenberg
AcaFellas, and a brother of The Phi Kappa
Tau fraternity.
Christine O’Connell (Assistant Stage
Manager) is a sophomore double majoring in stage management and political
science. She assistant stage managed the
Mainstage production of The Tempest last
semester. Christine was also on running
crew for The Pajama Game last November.
Other credits include Twelve Angry Jurors
and Little Shop of Horrors at Boston Latin
Academy.
Merrily We Roll Along
29
Emily Phillips (Meg) is a sophomore
and declared business and theatre double
major. She is a resident advisor in East
Hall and is also a tutor on campus. Past
Muhlenberg productions include The
Pajama Game, Moving Stories, Dance
Emerge, and Master Choreographers. Other
favorite roles and shows include: Penny
Pingleton, Mrs. Lovett, Lucy Harris,
Thoroughly Modern Millie, Beauty and
the Beast, All Shook Up, and High School
Musical. Emily is an active member of
the Muhlenberg Theatre Association and
Muhlenberg Dance Association.
George Primavera (Terry) is performing in his Muhlenberg debut in Merrily
We Roll Along. Previous credits include
Les Misérables ( Jean Valjean) at Sabrina’s
Encore Productions and Joseph and the
Amazing Technicolor Dreamcoat ( Joseph)
at Newtown High School. He plans to
double major in theatre and political
science.
Benjamin Raffalli (Photographer) is
a freshman and is thrilled to be making his Mainstage debut. He has been
seen as a performer in the 2010 Macy’s
Thanksgiving Day Parade and in New
England’s premiere of High School Musical
2 at North Shore Music Theatre. Recent
October 2011
credits include The Wild Party (Burrs)
and Rent (Roger) at Stagedoor Manor
Performing Arts Training Center. Ben is
pursuing a double major in theatre and
music performance with a minor in dance.
Mason Rodriguez (Frank Jr.—Oct. 29, 2
p.m.; Oct. 30; Nov. 3, 5, 6) is a third grader
at Lehigh Valley Academy and currently
attends the Civic Theatre School. Previous
credits included The Christmas Doll at
Pennsylvania Youth Theatre and Green
Eggs and Ham at Civic Theatre.
Danni Schwartz (Pitch-Challenged
Girl) previously appeared as Brenda in
The Pajama Game. Other credits include
Bye Bye, Birdie, You’re A Good Man,
Charlie Brown, Captain Louie, and High
School Musical 2 Jr. at Upper Darby High
School. She placed first in talent for 2009’s
National American Miss Pageant, attended Carnegie Mellon University and
the University of the Arts pre-college
drama conservatory training programs,
and studied under producer Peter Sklar in
London and New York, performing in an
Off-Broadway showcase. Danni has also
interned on and Off-Broadway in NYC.
Emily Spadaford (K.T.) last appeared
in Summer Music Theatre’s Cinderella
Merrily We Roll Along
31
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Merrily We Roll Along / 4.75” x 7.625”
PA2526 / Muhlenberg Program Ad October 2011
(Stepmother/Fairy Godmother) and
Godspell. Other SMT credits include
The 25th Annual Putnam County Spelling
Bee (Olive) and The Sound of Music.
Her Mainstage credits include Caw,
Bat Boy, An American Tragedy, and La
Dispute (Eglea). Emily is a member of
the Muhlenberg Theatre Association,
the Muhlenberg Dance Association, and
UiP. She studied physical theatre at the
Accademia dell’Arte in Arezzo, Italy, in
2010. Emily is a double major in theatre
and communications and a Dean’s List
student in the Class of 2012.
Aly Trombitas (Assistant Director) is
a sophmore theatre major focusing in
directing with a public health/sustainability minor. Last semester she directed
Arabian Nights and Speed-the-Play, and
her original play GRA-167 was read in
the New Voices festival. She is involved in
College Choir, the Muhlenberg Dance
Association, and EnAct, and has worked
as a shop carpenter during both the
school year and summer. Tech credits include Master Choreographers and Polaroid
Stories.
Michael Walsh (Bunker), a sophomore
and a double major in theatre (acting)
and computer science, is thrilled to be
a part of his second Mainstage production. Credits include Muhlenberg’s
The Pajama Game (company), the
Muhlenberg Summer Music Theatre
production of Godspell (“We Beseech
Thee”), Cedar Crest College’s Moby
Dick: The Musical (Pip), and the Civic
Theatre of Allentown production of Rent
(Roger). When he isn’t in rehearsal,
Michael spends his time singing with
Muhlenberg’s Broadway-based a cappella
group Noteworthy.
Jennifer Weeks (Make-up Artist) is
very excited to be making her Mainstage
debut at Muhlenberg in the ensemble of
Merrily We Roll Along. As a freshman and
intended biology major in the Class of
2015, she is very happy to be part of this
production.
Marcus Yearwood (Frank Jr.—Oct. 28;
Oct. 29, 8 p.m.; Nov. 2, 4) is a student at
Pennsylvania Youth Theatre, Bethlehem,
where he is studying drama, voice and
movement techniques. Merrily is Marcus’s
debut performance at Muhlenberg. He
has performed previously in Odyssey of
the Mind competitions for Springfield
Elementary School (Palisades School
District).He loves to sing and is learning
to play guitar.
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October 2011
Merrily We Roll Along
33
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October 2011
Muhlenberg College
Department of Theatre & Dance
Theatre Faculty
James Peck – Department Chair; Associate
Professor: Directing, Performance Studies,
Theatre History
Charles Richter – Director of Theatre;
Professor: Directing, Theatre History ,
Theory
Curtis Dretsch – Director of Design and
Technical Theatre; Professor: Scenic,
Costume, and Lighting Design
Timothy Averill – Professor:
Scenography
Constance Case – Lecturer: Costume
Design, Stage Makeup, Stagecraft
Holly Cate – Assistant Professor: Acting
Michael Chin – PT Lecturer: Acting,
Stage Combat
Karen Connell – PT Lecturer: Voice &
Speech
Troy Dwyer – Assistant Professor:
Acting, Voice & Speech
Mark McKenna – PT Lecturer: Acting
Francine Roussel – Associate Professor:
Acting
Beth Schachter – Director of Women’s
Studies; Associate Professor: Acting,
Directing, History & Theory
Larry Singer – Visiting Assistant
Professor: Directing, Acting
Dance Faculty
Karen Dearborn – Director of Dance;
Professor: Ballet, Composition,
Dance History
Pattie Bostick – PT Lecturer: Jazz, Ballet
Lisa Bottitta-Busfield – PT Lecturer: Modern,
Dance Education
Sarah Carlson – PT Lecturer: Modern
Marisa Cerveris – Guest Artist: Ballet
Corrie Franz Cowart – Assistant Professor:
Modern, Ballroom, Composition, Dance
on Camera
October 2011
Susan Creitz – PT Lecturer: Improvisation,
Movement for Actors and Dancers
Heidi Cruz-Austin – P
­­ T Lecturer: Ballet
Olase Freeman – Visiting Lecturer: Modern
Gayanne Grossman – Dance Clinic Director;
PT Lecturer: Anatomy and Kinesiology for
Dancers
Ellen Troy Mulcahy – PT Lecturer: Pilates,
Ballet
Shelley Oliver – Director of the Muhlenberg
Tap Ensemble; Lecturer: Tap
Tara Repsher – Director of the Muhlenberg
Community Dance Center youth classes;
PT Lecturer: Ballet, Jazz
Sammy Reyes – Guest Artist: Hip Hop
Magira Ross – Guest Artist: African Dance
Sydney Skybetter – Guest Artist:
Contemporary Dance
Teresa VanDenend Sorge – Lecturer: Modern,
Dance Education, Dance & Society
Lynn Wiener – PT Lecturer: Ballet, Jazz,
Horton Technique
Dance Musicians
Jeff Arnal • Paul Fejko • Jon Verbalis
Professional Staff
Jessica Bien – General Manager
Damon Gelb – Technical Director
Caroline La Porta – Costume Shop Manager
Scott Snyder – Marketing and Development
Manager
Paul E. Theisen, Jr. – Theatre Technician
Eric Covell – Assistant Technical Director
Alexis Gurst & Marilyn Mazsa – Staff Stitchers
Tracy C. Kline – Department Secretary
Kaitie Burger – Presidential Assistant for
Marketing & Development
Theatre & Dance Department Offices:
Trexler Pavilion for Theatre & Dance
484-664-3335
Box office: 484-664-3333
Merrily We Roll Along
35
The Kennedy Center American College Theater Festival
The Kennedy Center American
XLIII College Theater Festival
XLIV
™
sponsored in part by
sponsored in part by
Stephen and
Stephen
and Christine
Christine Schwarzman
Schwarzman
The
Kennedy
Center
Corporate
The Kennedy Center CorporateFund
Fund
U.S. Department of Education
U.S. Department of Education
The National Committee for the Performing Arts
The
National Committee for the Performing Arts
Dr. Gerald and Paula McNichols Foundation
Dr. Gerald and Paula McNichols Foundation
This production is entered in the Kennedy Center American College Theater
Festival (KCACTF). The aims of this national theater education program are to identify
promote
This production
is entered in theater
the Kennedy
CenterTo
American
Theater
and
quality in college-level
production.
this end, College
each production
Festival
(KCACTF).
The
aims
of
this
national
theater
education
program
are
to
entered is eligible for a response by a regional KCACTF representative, and selected
identifyand
andfaculty
promote
in participate
college-level
theater production.
this end, each
students
are quality
invited to
in KCACTF
programs To
involving
production internships,
entered is eligible
for aawards
response
a regional
KCACTF
representative,
scholarships,
grants and
for by
actors,
directors,
dramaturgs,
and selected
students stage
and faculty
are and
invited
to participate
in KCACTF
programs
playwrights,
designers,
managers
critics
at both the regional
and national
levels.
involving scholarships, internships, grants and awards for actors, directors, dramaturges, playwrights, designers, stage managers and critics at both the regional and
entered on the Participating level are eligible for inclusion at the
nationalProductions
levels.
KCACTF regional festival and can also be considered for invitation to the KCACTF
national
festival at the
John F.
Center for
the are
Performing
Artsinclusion
in Washington,
Productions
entered
onKennedy
the Participating
level
eligible for
at the
DC
in the spring
of 2011.
KCACTF
regional
festival and can also be considered for invitation to the KCACTF
national festival at the John F. Kennedy Center for the Performing Arts in WashingLast year more than 1,300 productions were entered in the KCACTF involving
ton, DC in the spring of 2012.
more than 200,000 students nationwide. By entering this production, our theater
department is sharing in the KCACTF goals to recognize, reward, and celebrate the
Last year more than 1,300 productions were entered in the KCACTF involving
exemplary work produced in college and university theaters across the nation.
more than 200,000 students nationwide. By entering this production, our theater
department is sharing in the KCACTF goals to recognize, reward, and celebrate the
exemplary work produced in college and university theaters across the nation.
36
Merrily We Roll Along
October 2011
Muhlenberg Theatre Association
- Executive Board -
President . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jeffrey Brancato
Vice President . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jimmy Morgan
Business Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jessielyn Kreitzer
Executive Secretary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Danielle Barlow
Historian . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Angela DeAngelo
- Advisory Board -
Fundraising Coordinator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Laura Betz
Assistant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Casey Moser
Publicity Coordinator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jerald Kaplan
Studio Productions Coordinator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Hannah Zucker
Assistant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Molly Eisen
Special Productions Coordinator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jeffrey Robb
Student Master Carpenter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Emily Baldasarra
Student Master Electrician . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Doug Bucci
Assistant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Evan Hershman
Social Coordinator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Molly Gervis
Concessions Coordinator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Charlie Killoran
Community Outreach Coordinator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Hannah Miller
MTA/MDA Liaison . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sari Weinerman
Muhlenberg Dance Association
- Executive Board -
President . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . AlexJo Natale
Vice President . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Laura Baehr
Secretary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Krista Basshieri
Treasurer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Emily Ancona, Jaclyn Birkner
Public Relations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kaitie Burger
Community Service . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Rebecca Glassman
MTA/MDA Liaison . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sari Wienerman
Class Representative 2012 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Andrew Clark
Class Representative 2013 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Meredith Stapleton
Class Representative 2014 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Brittany Van Natta
Muhlenberg Theatre Association & Muhlenberg Dance Association
are supported by funds provided by Student Government
and the Department of Theatre and Dance.
October 2011
Merrily We Roll Along
37
Life.
Read all about it.
The message is simple. Its meaning
is clear. We’re all connected by the
sharing of stories that shape the
very fabric of our society. They are
unique in every way; a narrative
quilt showcasing the diversity of
our culture and its citizens.
Each and every day we produce
a collection of stories to inform,
inspire, enlighten and entertain.
They represent the colorful palette
of people, places and issues within
our communities. These are the
pages of life – read all about it.
Everyone has a story. What’s yours?
www.useitforlife.com