Download Fantasticks Production Concept Package

Production Concept Package
Prepared for The Fantasticks
Book and Lyrics by Tom Jones
Music by Harvey Schmidt
Based on Les Romanesques by Edmond Rostand
Produced by
Blackfriars of Agnes Scott College
Department of Theatre and Dance
Department of Music
Millennium Events Series
Directed by
David S. Thompson
Scenic, Lighting and Costume Designs by
Dudley Sanders
Music Directed by
Lyn Schenbeck
Performance dates
October 26-28 and November 2-4, 2002
Prepared by
David S. Thompson, Ph.D.
Thompson, The Fantasticks
2
DIRECTORIAL NARRATIVE
Background
For several years, Agnes Scott students have discussed the possibility of staging a
musical as part of the theatre season. The notion seems sound on at least one count. A
solid theatrical education demands a variety of experiences, both in the classroom setting
and in the production arena. Since the last musical staging in Winter Theatre was a
production of Godspell in the 1980s, an obvious portion of that variety was missing.
On the other side of the coin lies the notion that staging a full production in a
particular style for the sake of a well-rounded education makes sense in theory, but may
not recognize certain practicalities. Just as we have not mounted a musical in several
years, it has been some time since we have thought about attempting a medieval passion
play, a nineteenth-century melodrama, a classical Japanese Noh cycle, a Yoruba opera, or
a shadow puppet performance. Obviously, some forms are beyond our expertise and
desire. Thus, variety is not the only consideration.
For theatre students in the United States, it makes sense that they should have
experience in musical theatre. The musical as we consider it in this country—not simply
a play with music, an interlude or a momentary waltz, but as a non-operatic package of
song and story—is an American invention. It is one of the categories of consideration for
major awards including the Tony Awards and the Drama Desk Awards. Most significant
regional theatre companies stage a musical once every two years, some more often than
that. Musicals remain popular with audiences. With the notable exception of The
Mousetrap, the longest running productions in major theatre capitals are musicals.
Certainly The Fantasticks with its incredible 40-year run makes the point: for most of the
world and certain for America, one simply cannot ignore musical theatre.
While the reasons for attempting a musical are many, so are the reasons for
avoiding them. First, the musical theatre production requires enormous skill from its
performers. Audiences simply will not accept an actor who cannot render the character
through dialogue, song and dance. Lucky producers find such talent. Educators must
teach such skills. Yet, just as it is difficult to find the student who can attain proficiency
in math and science and literature, it is difficult enough for students to master a single
performing art, not to mention mastering three simultaneously. Second, the increased
demands on the performers mean that the production team must have the level of training
necessary to interpret the material, teach the students, and stage the performance.
Typically, producers will call upon the talents of a director, a choreographer, a musical
director, an arranger, and a conductor. In addition the contributions of an assistant
director, a stage manager, an assistant choreographer, a dance captain, a rehearsal pianist
and, potentially, an entire orchestra. This does not take into account the designers,
technicians, assistants and crews required to execute scenery, lighting, sound, costumes,
hair, makeup and special effects. From the beginning of the process, musicals require a
great many people on the production team or a small team of versatile, talented and
energetic artists. Third, musicals typically have large casts. Primarily the reason has to
do with placing enough performers onstage to create pleasing dance numbers and strong
vocal harmonies. The added performers place increased organizational burdens on
producers, not to mention the cost of personal items such as costumes and makeup.
Thompson, The Fantasticks
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Fourth, and potentially most important, is the enormous cost associated with a musical.
Even with a cast of students or amateurs, paying the production team has the potential to
sink a budget. And as previously noted, the typically large cast means greater expenses.
On top of the physical expenses, initial costs associated with scripts and scores (rented
rather than purchased as with a play) and royalties are significantly higher. As a point of
comparison, such basic costs for a play at Agnes Scott run $350-400; for The Fantasticks,
the initial outlay will be $1900. It is a daunting reality.
A couple of years ago, Blackfriars, the Theatre Program and the Music
Department set into motion exploratory plans to determine the possibility of mounting a
musical. To address the issue of performers and personnel, the theatre faculty suggested
that students interested such a venture take at least one basic acting class. Theatre
students were encouraged to take classes in vocal music. In response, Lyn Schenbeck,
who has performance experience and research interests in musical theatre initiated a class
titled Musical Theatre Workshop. Both constituencies were encouraged to continue to
explore music, theatre, and if possible dance to prepare for a production. While the
response was far from universal, many did make an enthusiastic effort to work across
disciplines.
To address the issue of complexity and expense, the faculty has explored
musicals with relatively small casts. As is the case with all productions on our campus,
we looked for works that allowed us to use our population to our advantage. Therefore,
we hoped to find a musical that de-emphasized choral music in favor of individual
characters and favored intimate exchanges over crowds. The Fantasticks allows us to use
our women creatively while still maintaining the artistic integrity of the work. Although
hiring two men will be necessary, it is something that we must do on occasion and is,
therefore, not unusual. To further assist in our effort, the primary collaborators on the
production team have agreed to take on as many tasks as possible. Dudley Sanders will
design and execute set, lights and costumes. Lyn Schenbeck will direct music and serve
as conductor. I will direct and choreograph (which means, of course, that the
choreography will be quite simple). For ease of rehearsing, we have agreed that we will
need to hire a rehearsal pianist. Dr. Schenbeck has assured us that one of the contacts in
the Music Department will be able to play rehearsals and performances at a reasonable
price.
Concept and Approach
One of the most difficult challenges in producing an established and well-loved
script lies in balancing expectation and innovation. When that script is the longest
running musical in the world, the challenge intensifies considerably. Audiences will
come to the theatre expecting that our production will have some resemblance to the OffBroadway version or to some other production that they might have seen. Even those
who have never seen The Fantasticks in performance will have expectations based upon
the elegance of the songs or what they have heard. For our part, no theatre artist worth
working with wishes to lift the essentials from one production and recreate them in his or
her own theatre. Theatre, particularly directing, is about interpretation. Therefore, it is a
personal and often intimate pursuit.
Thompson, The Fantasticks
4
The successful work at the Sullivan Street Theatre is well documented. However,
even the authors, Tom Jones and Harvey Schmidt, write frequently that producers and
directors approaching The Fantasticks should do what works for the particular theatre and
personnel involved. I hope to take their advice to heart. Even if I could I would not want
to recreate their production, or even try. At the same time, I want to benefit from the
lessons they learned. In no way do I wish to reinvent the wheel with our production.
How, then, should we approach the play?
Above all I want to emphasize theatricality. The consideration of many different
theatrical styles is a hallmark of this musical. In order to make use of our students, I will
have the fathers, Hucklebee and Bellomy, the old actors, Henry and Mortimer, and The
Mute played by women. All five of these roles are traditionally played by men. The
licensing agreement prevents us from altering the script, including the gender of the
characters. Even if we could make such a change, it would not be advisable because of
the potential domino effect throughout the book. I am not interested in presenting a drag
show, something that is difficult to do well and of little consequence in this instance. The
artificiality must work in our favor and we must present the women as actors playing a
character or series of characters. Therefore, we must make certain that the play is
presented like a play in progress, one being created before the eyes of the audience.
One chief means of establishing such an attitude involves using the overture and
first appearance of the company as a framing device. I plan to stage the overture in a way
that suggests a company of actors preparing for performance. They will greet one
another, study lines, and set props. Of equal importance, they will acknowledge the
audience. In so doing they should immediately establish that these are performers who
love to perform and love to greet the crowd. Simultaneously, the company should also be
able to focus within the scene. In other words, the fourth wall will rise and fall as
necessary to make a point. However, the main point is that the audience will receive
several reminders that they are watching a play, ranging from the overture, through El
Gallo’s narration, to the introductions of the families and the shtick of the old actors, to
the direct address of the final scene.
While adding women as players may seem like a departure from the script, I feel
that it is actually in keeping with its spirit. Of all the elements I want to maintain, it is
that spirit. The simplicity, the charm, the elegance, and above all, the magic of the
imagination must shine through. As with the original production, I hope to keep set
pieces to a minimum, costumes to involve layer pieces, and lighting to follow the broad
sweep of the action when necessary, but remain unobtrusive for most of the time.
Whenever possible I would like the feel to be rustic or primitive (in the painterly sense),
but not rough or coarse.
To further emphasize the magic, all staging devices should be fairly simple and
straight-forward. Things will happen because the audience will allow their collective
imagination to take them on the journey. For example, if El Gallo needs to freeze Matt or
change the lighting, he simply waves his hand. If the audience needs to be let in on the
action, then we will play the scene in the house if necessary. Staging will seem simple
and reserved on one hand because it will allow a framework for seemingly complicated
interplay to transpire. And yet, the simplest gesture in the world will carry the greatest
import because we attach significance to it—and because we must use imagination to
complete the picture.
Thompson, The Fantasticks
5
The magic will suggest a corequisite element, that of the presentation of a fable.
The story is sweet and sentimental. What keeps it from crossing the line into something
unacceptable is that it never forgets its humanity. Within that humanity are simple, yet
profound concepts—love, trust, loyalty, loss, family, support, happiness. Like any fable
it involves life, both as it is and as it might be.
Accomplishing such stage magic will require strong technique. The most
deceptive aspect of The Fantasticks rests with its appearance of simplicity. Even after 40
years, the book is tremendously clever in its approach and the music is very sophisticated,
devilishly so in places. Each actor must understand characters and situation as second
nature. In addition, the camaraderie of the company must be in evidence. All members
of the cast must appear to have solid relationships with each other. When pairings exist,
either temporarily or through the arc of the action, the attachment must be particularly
strong. Matt and Luisa, Hucklebee and Bellomy, Henry and Mortimer, El Gallo and The
Mute must function as teams. In addition, El Gallo must be able to work with each of the
other teams and even make the audience a teammate. Each actor must be able to act the
scenes, the song and the spaces in between. This is not Brechtian epic theatre, it is a
theatrical fable, one in which both the fable and theatricality become strands to weave
into the performance fabric.
Thompson, The Fantasticks
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CHARACTER DESCRIPTIONS
GENERAL
Actors should bear in mind two key premises to the approach to this production. Each
carries both a practical and a philosophical or aesthetic component. First, as an
educational endeavor at a women’s college, our first responsibility is to our students.
This not only includes the performers onstage, but also extends to the entire company and
those who attend performances as members of the audience. Second, The Fantasticks is
about theatricality, not literalism. Therefore, the framing device of our production is the
world of the theatre and performance. This device, one inherent in the script and the
original production, allows us to present the concept of actors assuming a variety of roles.
In our case women will assume the roles of the fathers, the old actors and the mute. Once
the actors assume their roles a further layer is added as some characters operate within
the story (Matt, Luisa, Hucklebee, Bellomy) and the rest serve as agents to the play
within the play (El Gallo, Mute, Henry, Mortimer).
MEN
El Gallo
As the narrator of the piece, he is the liaison between the audience and the action onstage.
As a function of the character rather than through good performing instincts, El Gallo
anticipates any slack moments and adjusts rhythms and tempos. He is warm, cordial, and
inviting to the audience, yet with darker moments. His attitude toward the rest of the cast
reveals a decidedly mysterious side. Above all he is grand and must command attention.
Matt
As a young lover, he is deeply in love, particularly with the idea of being in love. He
lacks experience in the world so, while not stupid, he is naïve and perhaps even foolish at
times. His image of a young man in love is one of a gallant protector, meaning that he
approaches some decisions with a falsified bravery that is little more than bravado.
Thompson, The Fantasticks
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WOMEN
Luisa
As a young lover, she is in love. She is in love with love, the idea of love, the idea of
being in love and indeed everything remotely romantic. Her dreams are more fanciful
than those of Matt. Because of her particular vision of romance, she deals with the world
on a particularly naïve level. Although she is responsible for some overly sweet
moments in the show, she must remain tender and honest in her portrayal. She must
remain honest and not ironic or self-referential.
Hucklebee and Bellomy
The authors have described the fathers as clown, not in the Ringling Brothers sense, but
in the tradition of blustery comic characters whose comedy comes from exploiting a grain
of truth. Thinking of them as burlesque or vaudeville sketch comics or commedia
dell’arte stock characters approximates the feeling. Although each has a distinct
character, they often function as a duo or team. In many ways Hucklebee, Matt’s father,
is the more boisterous of the two while Bellomy, Luisa’s father, is more fastidious. So
one could think of them as part of a line of famous pairings—Laurel and Hardy, Abbot
and Costello, Jackie Gleason and Art Carney, Walter Matthau and Jack Lemmon. (There
are exceptions, of course; these are generalities.)
Henry and Mortimer
These old actors function as another pair of clowns, yet of a slightly different type. They
belong to the family of foolish comic servants who move the action while not seeming to
contribute anything of substance. As performers their day has long past. Henry can play
grand characters and recite Shakespeare, but with very little success these days.
Mortimer’s specialty is dying on stage in the manner of great adventures and
melodramas. They function as a unit and rarely appear apart from each other. They are
entirely theatrical and theirs is the world of the stage.
The Mute
The Mute is described as borrowing from the “invisible” stage assistant found in some
Asian theatrical styles. The Mute serves many functions—setting props as characters
need them, assisting El Gallo, and becoming the wall separating the families. While
omnipresent the character must also have the ability to fade into the background. This is
a functional character that sometimes interacts with the others. Above all, this is not an
elf, sprite or fairy, so overt cuteness should be avoided.
Thompson, The Fantasticks
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AUDITIONS
The Blackfriars of Agnes Scott College announce auditions for men for their
forthcoming production of The Fantasticks by Tom Jones and Harvey Schmidt.
Auditions will take place September 4 and 5 at 7:00 p.m. in the Winter Theatre in the
Dana Fine Arts Building (corner of S. McDonough St. and E. Dougherty St.) on the
Agnes Scott Campus. Callbacks will be held on September 6 at 7:00. Two male roles, El
Gallo and Matt, are available. No specific appointment time is necessary. A stipend of
$500 is available for each actor.
Performances are scheduled for October 26-28 and November 2-4. Rehearsals are
scheduled for 7:00-11:00 p.m., Monday through Friday evenings during September and
October. For more information please contact David Thompson at 404-471-6250.
Thompson, The Fantasticks
AUDITION MATERIAL
Pages
Description
7-9
Plot Synopsis (from MTI Study Guide, for posting)
X
Character Description (provided by David, for posting)
3
El Gallo’s introduction—“Let me tell you a few things …”
5
Luisa’s introduction—“This morning a bird woke me up.”
7-8
Matt’s introduction—“There is this girl. I’ve studied Biology.”
17
Hucklebee’s introduction—“There are a great many things …”
22
Bellomy’s introduction—“I’m her father.”
38
Henry: “Don’t look at us like we are, sir.”
II-1
El Gallo: “Their moon was cardboard, fragile.”
CALLBACK MATERIAL
II-31-34
Hucklebee and Bellomy
II-39-44
El Gallo and Luisa
II-59-60
Matt and Luisa
13-16
Matt and Luisa
38-43
El Gallo, Mortimer, Henry
9
Thompson, The Fantasticks
CALLBACK LIST
WOMEN
Alison Trendell
Ann Willard
Anna Schanche
Christina Dresser
Jamaiya Havel
Kecia Jones
Kelli Murgado
Kenner Barnes
Kristen McElveen
Meghan Hammiller
Nicole Kennedy
MEN
Brandon Sauvé
Bruce Paulsen
Chris Bouchard
Joshua Morgan
Michael Strelecki
10
Thompson, The Fantasticks
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CALLBACK POSSIBILITIES
NOTE: This is an eyes-only list intended for the sole use of the members of the
production team (director, music director, designer, assistant director/stage manager) for
The Fantasticks.
EL GALLO
Bruce Paulsen / Chris Bouchard / Michael Strelecki /
MATT
Joshua Morgan / Michael Strelecki / Brandon Sauvé /
LUISA
Kelli Murgado / Jamaiya Havel / Kecia Jones /
HUCKLEBEE
Kenner Barnes / Kristen McElveen / Nicole Kennedy /
BELLOMY
Anna Schanche / Nicole Kennedy /
HENRY
Kristen McElveen / Chistina Dresser /
Kenner Barnes / Kecia Jones /
MORTIMER
Meghan Hammiller / Alison Trendell / Anna Schanche /
Christina Dresser / Kecia Jones /
MUTE
Christina Dresser / Ann Willard / Kecia Jones /
Thompson, The Fantasticks
DRAFT
DRAFT
DRAFT
12
DRAFT
REHEARSAL SCHEDULE
SEPTEMBER (“Try to remember”)
M3
T4
W5
TH 6
F7
Labor Day
Auditions
Auditions
Callbacks
Vocal Music
(David in Charlotte)
This gives us a running start on the process and
allows Lyn to offer musical homework for the
weekend.
M 10 Vocal Music (sequence TBA)
T 11
Vocal Music
W 12 Vocal Music
TH 13 Vocal Music
F 14
Vocal Music
Lyn has carte blanche to do as she sees fit during
the first week. If the cast can learn their parts
during this week we’re flying. Even if they only
get comfortable with the score, we’re in good
shape.
SU 16
M 17
T 18
W 19
TH 20
F 21
TBA if necessary
Read-through
Block Act I
Block Act I/II
Block Act II/Stumble-through
Stumble-through (Time TBA)
(“A Night Under the Moon”)
Since the blocking rehearsals provide only rough
movement to assist in physical association and
memorization, I think that three nights should do
it. It may only take two nights. “Choreography”
and more complex staging will take place during
the working rehearsals next week. It would be
nice if I could accept the invitation to MC the
Friday Millennium event given their financial
and PR support. However, I would still like to
rehearse on Friday, possibly at 9:00 following
the event or early afternoon (in Presser if Dudley
needs Winter).
SU 23 Work Act I music
M 24 Work Act I staging
T 25
Work Act II music
W 26 Work Act II staging
TH 27 Work-through
F 28
Work/Run-through
Lyn’s request to work music on Sunday suggests
that an alternating music/staging format may
work for us. This arrangement would give us a
couple of run-through opportunities, allowing us
to catch up if we lose ground on the 21st.
OCTOBER (“and the sky grows grey”)
SU 30 Work Act I music
M1
Work/Run Act I
T2
Work Act II music
W3
Work/Run Act II
TH 4
Run-through
F5
Black Cat
As with the previous week, the additional
Sunday rehearsal allows us to work music then
staging and still have a run-through prior to
Black Cat, a lost day no matter how we slice it.
SU 7
TBA if necessary
M8
Work-through
T9
Work-through
W 10 Work problem scenes
TH 11 Work/Run (Stop/Start)
F 12
Run-through
I’m going to hold off on scheduling the Sunday
rehearsal right now. I will make sure that
everyone knows that we will use it if we need it.
Thompson, The Fantasticks
SU 14 TBA (Run-through)
M 15 Run-through; work problems
T 16
Run-through; work problems
W 17 Run-through; work problems
TH 18 Fall Break
F 19
Fall Break
Whether we need a Sunday rehearsal this week
depends on the progress made on the 11th and
12th. Regardless of student travel plans, we must
have a rehearsal on the 17th.
SU 21
M 22
T 23
W 24
TH 25
F 26
SA 27
Run-through
First Tech
First Dress
Full Dress
Final Dress
Performance
Performance
(David in Carrollton?)
First, although I have indicated that a rehearsal
on the 17th is a must, I fear the worst (judging
from the past). I think we should schedule a runthrough on Sunday. Second, the GTC
convention begins Thursday night and I will stay
in Carrollton following the final dress. I’ll be
back for opening night and Saturday depends on
how it all looks. The only reason that I may be
at the convention banquet on Saturday is that the
nominating committee is considering me for
president. My first duty is here, however.
SU 28
Performance (matinee; “fall back” to
standard time)
NOVEMBER (“It’s a little bit colder”)
TH 1
Pick-up rehearsal
F2
Performance
SA 3
Performance
SU 4
Performance (matinee + strike)
The exact nature of activities associated with
each performance will be determined along with
the tech/dress schedule. One factor is the
availability of a KC/ACTF respondent. Another
is when we can schedule photo call. My jaunt to
GTC may have to fall by the wayside.
13
Thompson, The Fantasticks
REHEARSAL SCHEDULE
SEPTEMBER (“Try to remember”)
M3
T4
W5
TH 6
F7
Labor Day
Auditions
Auditions
Callbacks
Vocal Music or Read-through
(David in Charlotte)
M 10
T 11
W 12
TH 13
F 14
Vocal Music or TBA
Vocal Music
Vocal Music
Vocal Music
Vocal Music
SU 16
M 17
T 18
W 19
TH 20
F 21
TBA if necessary
Read-through or Block Act I
Block Act I
Block Act I/II
Block Act II/Stumble-through
Night Off (“A Night Under the Moon”)
SU 23
M 24
T 25
W 26
TH 27
F 28
Work Act I music
Work Act I staging
Work Act II music
Work Act II staging
Work-through
Work/Run-through
OCTOBER (“and the sky grows grey”)
SU 30
M1
T2
W3
TH 4
F5
Work Act I music
Work/Run Act I
Work Act II music
Work/Run Act II
Run-through
Black Cat
SU 7
M8
T9
W 10
TH 11
F 12
TBA if necessary
Work-through
Work-through
Work problem scenes
Work/Run (Stop/Start)
Run-through
SU 14
M 15
T 16
W 17
TH 18
F 19
TBA (Run-through)
Run-through; work problems
Run-through; work problems
Run-through; work problems
Fall Break
Fall Break
SU 21
M 22
T 23
W 24
TH 25
F 26
SA 27
Run-through
First Tech
First Dress
Full Dress
Final Dress
Performance
Performance
(David in Carrollton?)
SU 28
Performance (matinee; “fall back” to
standard time)
NOVEMBER (“It’s a little bit colder”)
TH 1
F2
SA 3
SU 4
Pick-up rehearsal
Performance
Performance
Performance (matinee + strike)
14
Thompson, The Fantasticks
15
“A few thoughts from your director . . .”
1.
First and foremost, thank you for being here and my apologies that I cannot attend. One of the best
things about theatre in general and this production in particular is the collaboration. I can assure each
of you that in this collaboration, we all share the same vision. So I’m sure that Lyn and Amber can
more than make up for my absence.
2.
Concerning rehearsals, our basic schedule is Monday through Friday, 7:00 to 11:00. A few times we
will have an evening off and it will be necessary to make up the missed rehearsal on Sunday. The time
frame does not mean that we should be here until the early morning hours. Amber will have the
authority to stop anyone else in the company at 10:45. At that time we will pack up and leave. My
ideal is for us to be home or well on our way by 11:00. (The only exception to the time frame will
happen during tech week when we will adjust rehearsal times and expectations.) Amber will now
distribute the rehearsal schedule.
3.
Each of you will receive a libretto/vocal score. These are rented materials and must be returned in
good condition after we perform. You will be responsible for any materials and must pay for
replacement of lost items. If you must mark blocking and cues, do so lightly in pencil. Erase all marks
before returning your script. The publisher is very particular about these points and we must be
particular as well.
4.
I assume that you are here because you want to be here. I expect to see each of you here promptly at
7:00 for warm ups. If you are not onstage, I expect you to be working on some aspect of your role. I
also expect you to do your homework, meaning that you should look review what we have done
between rehearsals. We cannot tell you everything, nor would you want us to. You must contribute as
artists.
5.
Try to take care of yourself. Try to avoid colds, eat well, drink lots of water and get plenty of rest. In
other words, don’t look to your director as an example. Let’s try to take care of ourselves and each
other.
6.
Concerning the read-through, use it as a time of discovery. If you have ideas you want to try—do it.
Don’t worry about perfection and don’t push. However, do try to approximate your vision of the role
as it stands right now. Don’t get silly or try things that you would never include in performance.
7.
Finally, like many of you, I got into theatre because I love it. I can’t think of a better job in the world.
Remember that joy, it will serve you well. In short, have fun!
Best wishes,
David
Thompson, The Fantasticks
16
PROPS LIST
All properties are listed according to first usage, even though some may require a preset
prior to the opening curtain or during intermission. Page numbers correspond to the MTI
libretto.
ACT I
1
1
1
1
1
1
2
Gallo
2
5
7
8
17
18
22
37
37
37
43
44
46
49
48
50
51
50
ACT II
rose
hand mirror (?)
bench
act drape
ladder back chair
Mute’s bag
paper squares, many colors, El
3 oranges/juggling balls
clear glass necklace
biology book
1 wall stick
metal hedge clippers
daisy
watering can
toy drum
multicolored “old actor” confetti
2 drumsticks
moon/sun
Glen drape
“leaf” paper squares, “Soon It’s
Gonna Rain”
blue & green “rain” confetti
2 branches
woodblock + striker
El Gallo red paper “death”
squares
4 wooden swords
II-1
II-1
II-10
II-17
II-27
II-30
II-31
II-32
II-38
II-46
II-46
II-46
II-46
II-63
3 plums
El Gallo’s bill
red ribbon (Luisa’s wrist)
rapier sword
tambourine
Mute’s gray silk for wall
winter clothes for Fathers
scarf
step stool
Luisa’s mask
“whips” of colored ribbons
“puppet drape” for “Round &
Round”
4 “flames” streamers
white “snow” confetti
Thompson, The Fantasticks
The Blackfriars of Agnes Scott College
The Department of Theatre and Dance
The Department of Music and
The Millennium Events Committee
invite you
to join us
for our production
of the world’s longest running musical
October 26-27 & November 2-3, 2001 at 8:00 pm
October 28 & November 4, 2001 at 2:00 pm
17
Thompson, The Fantasticks
18
As previously announced, we would like you to be our guest
at a performance of The Fantasticks. Each student will
receive a complimentary ticket. Each member of the faculty
and staff will receive two complimentary tickets—bring a
friend! Additional tickets are available as follows:
General Public: $10
Faculty, Staff, Seniors, Non-ASC Students: $5
All seating in the Winter Theatre is general admission on a
first-come basis. All tickets are treated as will call and
are available at box office just prior to the performance.
For tickets call the Blackfriars Box Office at x6248.