<?xml-stylesheet type="text/xsl" href="show.xsl" ?>
<show id="s1973a">

<performing_organization> Actorsingers </performing_organization>
<title>Oklahoma</title>
<year>1973</year>
<dates>May 11-13</dates>
<times>  </times>
<price>  </price>
<venue id="Elm"> Elm Street Auditorium </venue>

<related_shows>
  <prior id="s1972b" />
  <next  id="s1973b" />
  <same  id="s1990a" name="Oklahoma 1990" />
</related_shows>

<art>
  <program_cover src="pix/s1973ac.gif" />
</art>

<credits>
</credits>

<cast title="The Company" sub="In Order of Appearance">
  <R> <ch name="Aunt Eller" /> <w>Fran Peterson</w> </R>
  <R> <ch name="Curly" /> <w>Frank Harvey</w> </R>
  <R> <ch name="Laurey" /> <w>Michelle Cote</w> </R>
  <R> <ch name="Ike Skidmore" /> <w>Bob Frey</w> </R>
  <R> <ch name="Will Parker" /> <w x="graham-f">Frank Graham</w> </R>
  <R> <ch name="Jud Fry" /> <w>Warren Liberty</w> </R>
  <R> <ch name="Ado Annie Carnes" /> <w>Diane Lavoie</w> </R>
  <R> <ch name="Ali Hakim" /> <w>Al Bedard</w> </R>
  <R> <ch name="Gertie Cummings" /> <w>Carol Croatti</w> </R>
  <R> <ch name="Andrew Carnes" /> <w>Timothy P. Myette</w> </R>
  <R> <ch name="Slim" /> <w>Myron Kandra</w> </R>
  <R> <ch name="Chorus" />
    <w>Carol Goss</w>,
    <w>Linda Annis</w>,
    <w>Gary Griggs</w>,
    <w>Myron Kandra</w>,
    <w x="bosowski-f">Fran Bosowski</w>,
    <w>Lucien Gagnon</w>,
    <w>Janice Rockwell</w>,
    <w>Diane LaFrance</w>,
    <w>Sylvia Dobrowolski</w>,
    <w>Bob Frey</w>,
    <w>Ann Murray</w>,
    <w>Jim Murphy</w>,
    <w>Cheryl Powers</w>,
    <w>Dick Fontaine</w>,
    <w>Charles Ivanow</w>,
    <w>Carlene Walters</w>,
    <w>Gisele LaFrance</w>,
    <w>Collette Oldham</w>,
    <w>Jim Frost</w>,
    <w>George Szok</w>,
    <w>Dennis Carta</w>,
    <w>Eliese Atkins</w>,
    <w>Royce Johnson</w>,
    <w x="graham-l">Lorraine Graham</w>,
    <w>Lenny LeClerc</w>,
    <w>Francis Brunelle</w>,
    <w x="andruskevich-c">Cathy Andruskevich</w>
  </R>
  <R> <ch name="Dancers" />
    <w>Patricia Allard</w>,
    <w>Connie Hayward</w>,
    <w>Steve Ducharme</w>,
    <w>Royce Johnson</w>,
    <w>Marilyn Araldi</w>,
    <w>Patricia Mayo</w>,
    <w>Dick Fontaine</w>,
    <w>Myron Kandra</w>,
    <w>Susan Dumont</w>,
    <w>Missy Roberts</w>,
    <w>Jim Frost</w>,
    <w>James Murphy</w>,
    <w>Patricia Florio</w>,
    <w x="mcallister-l">Linnea Strickland</w>,
    <w>Gary Griggs</w>,
    <w>George Szok</w>
  </R>
</cast>

<orchestra title="Orchestra">
  <R i="Flute and Piccolo"> <w>Jill Gidge</w> </R>
  <R i="Clarinet"> <w>Andrew Ventura</w>, <w>Joanne Milat</w> </R>
  <R i="Oboe and English Horn"> <w>Brian Ventura</w> </R>
  <R i="Bassoon"> <w>David Hebert</w> </R>
  <R i="Trumpet"> <w>Cheryl Allen</w>, <w>Edward Morassi</w> </R>
  <R i="Horn"> <w>Ashley Howard</w>, <w>Alan Ventura</w> </R>
  <R i="Trombone"> <w>Patricia Charron</w> </R>
  <R i="Violin"> <w>Audrey Sutherland</w> </R>
  <R i="Cello"> <w>Rowena Carr</w> </R>
  <R i="Percussion"> <w>Dennis Sullivan</w> </R>
</orchestra>	

<staff title="Production Staff">
  <R j="Production Co-ordinator"> <w>Irene D. Batch</w>, assisted by <w>Eileen Duhamel</w> </R>
  <R j="Production Secretary"> <w>Claire Anderson</w> </R>
  <R j="Dramatic Director"> <w x="liljeberg-j">John Liljeberg</w>, assisted by <w>Joan Frey</w> </R>
  <R j="Music Director"> <w>Donna Conway</w>, assisted by <w>Kay Goranson</w> </R>
  <R j="Choreographer"> <w>Laura Winslow</w> </R>
  <R j="Orchestral Co-ordinator"> <w>Jill Gidge</w> </R>
  <R j="Stage Manager"> <w>Harry Strickland</w> </R>
  <R j="Assistant Stage Manager"> <w x="tomasian-w">Warren Tomasian</w> </R>
  <R j="Stage Crew">
    <w>Millie Wright</w>,
    <w>Irene D. Batch</w>,
    <w x="pelletier-d">Daniel Pelletier</w>
  </R>
  <R j="Lighting"> <w>Harry Strickland</w> </R>
  <R j="Sound"> <w>George King</w> </R>
  <R j="Set Design"> <w>Kay Kandra</w> </R>
  <R j="Set Construction">
    <w>Kay</w> and <w>Myron Kandra</w>,
    <w>Harry Strickland</w>,
    <w x="tomasian-w">Warren Tomasian</w>
  </R>
  <R j="Costumes">
    <w>Dorothy Fontaine</w>, assisted by
    <w>Marjorie Thompson</w>,
    <w>Claire Anderson</w>,
    <w>Terry Turner</w>,
    <w x="tamulonis-p">Penny Tamulonis</w>,
    <w x="liljeberg-r">Raelene Harris</w>,
    <w>Myra Florio</w>,
    <w>Irene D. Batch</w>,
    <w>Pat Archambeault</w>,
    <w>Lorraine Laroche</w>,
    <w>Diane Lavoie</w>,
    <w>May Kingman</w>,
    <w>Arlene Annis</w>
  </R>
  <R j="Make-up"> <w>Claire Anderson</w>, assisted by <w>Pearl Ware</w> </R>
  <R j="Program">
    <w x="pelletier-d"> Daniel Pelletier</w>, assisted by
    <w x="graham-l">Lorraine Graham</w>,
    <w>Missy Clemons</w>,
    <w>Claire Anderson</w>,
    <w x="liljeberg-r">Raelene Harris</w>
  </R>
  <R j="Program Ads"> <w>Shirley Santerre</w>, assisted by <w>Shirley Liberty</w> </R>
  <R j="Program Photos, Collage"> <w>Joel P. Saren</w> </R>
  <R j="House Chairmen">
    <w>Richard</w> and <w>Carol Poole</w>, assisted by
    <w>Al Miller</w>,
    <w>Connie Patti</w>,
    <w>Nancy Laudien</w>,
    <w>Ann Borski</w>,
    <w>Ginny Mammone</w>,
    <w>Betty Callahan</w>,
    <w>Elaine Bosowski</w>,
    <w>Ernie Peterson</w>,
    <w>Dan</w> and <w>Dot Marcek</w>,
    <w x="harvey-a">Anne S. Harvey</w>,
    <w>Dick LaCasse</w>,
    <w>Joan Frey</w>,
    <w>Irene Archambeault</w>,
    <w>Charles Kowalski</w>,
    <w>Shirley Santerre</w>
  </R>
  <R j="Concessions">
    <w x="badeau-b">Betty Badeau</w>, assisted by
    <w>Kay</w> and <w>Ed Goranson</w>,
    <w>Bob Callahan</w>
  </R>
  <R j="Tickets">
    <w>Pauline Gill</w> and <w>Judy Bausha</w>, assisted by
    <w>Angela Tomasian</w>,
    <w>Claire Anderson</w>,
    <w>Eileen Duhamel</w>
  </R>
  <R j="Publicity"> <w>Joel P. Saren</w> </R>
  <R j="Properties">
    <w>Kathy Griggs</w>, assisted by
    <w>Joanne Saren</w>,
    <w>Gary Griggs</w>,
    <w>Linda Annis</w>,
    <w>Kathy Cullen</w>
  </R>
  <R j="Auditions">
    <w>Irene D. Batch</w>,
    <w x="bolen-g">Grace Bolen</w>,
    <w x="liljeberg-j">John Liljeberg</w>,
    <w>Ferma Perulo</w>,
    <w>Al Miller</w>,
    <w>Donna Conway</w>,
    <w>Laura Winslow</w>
  </R>
  <R j="Patrons"> <w>Richard Conner</w> </R>
  <R j="Membership"> <w>Millie Wright</w> </R>
  <R j="Rehearsal Pianist"> <w>David A. Gidge</w> </R>
  <R j="Cast Party">
    <w>Bud</w> and <w>Arlene Annis</w>,
    <w x="marineau-c">Carolyn Marineau</w>
  </R>
  <R j="Photographer"> <w>Dan Marcek</w> </R>
  <R j="Bank Window Display"> <w>Linda Tamulonis</w>, <w>Jim Johanannsen</w> </R>
</staff>

<para>
<p> <b> The Actorsingers </b>
  <br/> Member of the Arts and Science Center
  <br/> Welcome you to
  <br/>
  <br/> <b> OKLAHOMA </b>
  <br/>
  <br/> <b> The Play </b>
  <br/>
  <br/>
    Set in the Midwestern Indian country, at the turn of the century,
    the musical presents two sets of lovers. It's a yarn that features
    a villainous character, Jud, (which opened musical comedy to a new
    aspect), who comes between a cowhand known as Curly and a pretty
    girl called Laurey. A love triangle between Ado Annie, an Oriental
    pedlar, and a cowhand named Will provides sticky humorous situations.
    With an unusual auction, enchanting ballet, and a sad murder, there
    is, in all the romance, tensions, laughter and drama, the melodic
    tunes which create OKLAHOMA!
  <br/>
  <br/> <b> Rodgers and Hammerstein </b>
  <br/>
  <br/>
    Oklahoma was a direct result of Rodgers and Hammerstein becoming a
    team. Rodgers had been approached by The Theatre Guild of New York,
    which was suffering a succession of theatrical failures that was bringing
    their famous producing organization to death, about creating a musical
    based on Novelist Lynn Riggs' "Green Grow the Lilacs," but Lorenz Hart,
    Rodgers' partner at the time, felt sure that this particular novel
    didn't have the makings of a musical. The Theatre Guild's next play
    simply had to be a success. Rodgers new partner was Hammerstein.
  <br/><br/>
    Hammerstein had secretly wanted to convert "Green Grow the Lilacs"
    into a musical. He had approached Jerome Kern, who turned his request down with
    the reason that the novel didn't have the makings of a musical. Then
    Hammerstein found out that The Theatre Guild was negotiating with Rodgers
    and Hart; Rodgers remembered Hammerstein and Hammerstein remembered
    Rodgers at the same time. Rodgers paid Hammerstein a visit to his farm in
    Pennsylvania in 1941, and a "marriage" was performed -- a marriage of words
    and music.
</p>
</para>

<synopsis title="">
  <subtitle> TIME: Just After The Turn Of The Century </subtitle>
  <subtitle> PLACE: Indian Territory (Now Oklahoma) </subtitle>
  <act ix="Act One">
    <s ix="Scene I"> <set> The Front Of Laurey's Farmhouse </set>
      <n> <t> Oh, What A Beautiful Mornin' </t> <w>Curly, Laurey, Aunt Eller</w> </n>
      <n> <t> Kansas City </t> <w>Will, Aunt Eller and the Boys</w> </n>
      <n> <t> I Cain't Say No </t> <w>Ado Annie</w> </n>
      <n> <t> Many A New Day </t> <w>Laurey and the Girls</w> </n>
      <n> <t> It's A Scandal! It's An Outrage! </t> <w>Curly and Laurey <!-- I doubt it! -jed --></w> </n>
    </s>
    <s ix="Scene II"> <set> The Smoke House </set>
      <n> <t> Pore Jud </t> <w>Curly and Jud</w> </n>
      <n> <t> Lonely Room </t> <w>Jud</w> </n>
    </s>
    <s ix="Scene III"> <set> A Grove on Laurey's Farm </set>
      <n> <t> Out of My Dreams </t> <w>Laurey and the Girls</w> </n>
    </s>
  </act>

  <act ix="Act Two">
    <s ix="Scene I"> <set> The Skidmore Ranch </set>
      <n> <t> The Farmer And The Cowman </t> <w>Carnes, Aunt Eller, Curly, Will, Ado Annie, Slim and Ensemble</w> </n>
      <n> <t> All Er Nuthin' </t> <w>Ado Annie, Will and Two Dancing Girls</w> </n>
    </s>
    <s ix="Scene II"> <set> Skidmore's Kitchen Porch </set>
      <n> <t> People Will Say We're In Love (reprise) </t> <w>Curly and Laurey</w> </n>
    </s>
    <s ix="Scene III"> <set> The Back of Laurey's Farmhouse </set>
      <n> <t> Oklahoma </t> <w>Curly, Aunt Eller, Ike, Fred and Ensemble</w> </n>
      <n> <t> Oh, What A Beautiful Mornin' (reprise) </t> <w>Laurey, Curly and Ensemble</w> </n>
      <n> <t> Finale </t> <w>Entire Company</w> </n>
    </s>
  </act>
</synopsis>

</show>

<!-- Jed, there's a great ad for Hampshire music in the program book -->

<!-- Jed ... following material from program book should be restored to web page -->

<!--



</td>
<td width=60% valign=top>
<h4> Thirty Years of Oklahoma </h4>
<p class=headline> The New York Times &#151; April 1, 1943, by Lewis Nichols </p>
<p>
  Wonderful is the nearest adjective, for this excursion of the Guild combines a
  fresh and infectious gayety, a charm of manner, beautiful acting, singing and
  dancing, and a score by Richard Rodgers and Oscar Hammerstein, which doesn't
  do any harm either, since it is their first and one of Rodgers' best.
</p>

<p class=headline> The New York Times &#151; February 15, 1953 </p>
<p>
  The tenth anniversary of the Broadway opening of Oklahoma will be celebrated
  on March 31 in Washington, where the Theatre Guild's touring company of the
  phenomenal musical will be playing at that time. The event also will
  commemorate another significatn occasion: The tenth year of the collaborative
  partnership of Oscar Hammerstine 2nd and Richard Rodgers, whose inspiration
  for Oklahoma came from Lynn Riggs' play "Green Grow the Lilacs."
</p>

<p class=headline> The New York Times &#151; February 28, 1963, by Howard Taubman </p>
<p>
  A good many of these young people probably were seeing Oklahoma in the flesh
  for the first time. But don't think it was new to them. One of my young
  neighbors happily hummed through most of the score in company with the
  performers. His humming was so discreet and he seemed so contented, I could
  not find it in my heart to be annoyed.
</p>

<h4> Oklahoma: New Life for the N.Y. Theatre Guild </h4>
<p>
  Theresa Helburn, the New York Theatre Guild executive who had
  conceived the project in the first place, because of possible bankruptcy, thought
  the musical idea might become excellent art, but also had fears that it could also
  be a financial calamity. All around Broadway, the new Theatre Guild musical
  was known as "Helburn's Folly."
  <br><br>
  However, the play was the start of stardom, after a time, for then
  unknowns; for example: Celeste Holm (Ado Annie), Shelly Winters (dream
  dancer), Joan Roberts (Laurey), Betty Garde (Aunt Eller), Howard da Silva
  (Jud), and Owen Martin (Cord Elam).
</p>

<h4> Oklahoma &#151; A Financial Legend </h4>
<p>
  The obtaining of the needed capital ($83,000.00) for Oklahoma became a
  theatre legend. Most of those who did make a financial investment did so out of
  friendship for Miss Helburn, or, out of indebtedness to the Theatre Guild
  because they had either participated in it or belonged to it. It was discovered
  afterwards that after they had given the money, they felt they were "throwing
  their money to the wind."
  <br><br>
  In 1955, a Todd Screen Production of Oklahoma was released and grossed
  about $8,000,000.00 in the United States. Oklahoma yielded a profit of over
  five million dollars on its original investment of $83,000.00. Each reluctant
  investor of $1,500.00 was compensated with a return of more than $50,000.00.
  <br><br>
  Oklahoma received a special award from the Pulitzer Prize Committee,
  because this musical introduced to the recording industry the now standard
  practice of issuing an entire score of a musical success on phonograph records - -
  the old 78's. Over amillion such albums were marketed in one year.
-->