Oklahoma (1973)

[Oklahoma 1990]
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Elm Street Auditorium
May 11-13, 1973

The Company

In Order of Appearance

Aunt Eller Fran Peterson

Curly Frank Harvey

Laurey Michelle Cote

Ike Skidmore Bob Frey

Will Parker Frank Graham

Jud Fry Warren Liberty

Ado Annie Carnes Diane Lavoie

Ali Hakim Al Bedard

Gertie Cummings Carol Croatti

Andrew Carnes Timothy P. Myette

Slim Myron Kandra

Chorus Carol Goss,
Linda Annis,
Gary Griggs,
Myron Kandra,
Fran Bosowski,
Lucien Gagnon,
Janice Rockwell,
Diane LaFrance,
Sylvia Dobrowolski,
Bob Frey,
Ann Murray,
Jim Murphy,
Cheryl Powers,
Dick Fontaine,
Charles Ivanow,
Carlene Walters,
Gisele LaFrance,
Collette Oldham,
Jim Frost,
George Szok,
Dennis Carta,
Eliese Atkins,
Royce Johnson,
Lorraine Graham,
Lenny LeClerc,
Francis Brunelle,
Cathy Andruskevich

Dancers Patricia Allard,
Connie Hayward,
Steve Ducharme,
Royce Johnson,
Marilyn Araldi,
Patricia Mayo,
Dick Fontaine,
Myron Kandra,
Susan Dumont,
Missy Roberts,
Jim Frost,
James Murphy,
Patricia Florio,
Linnea Strickland,
Gary Griggs,
George Szok

Orchestra

Flute and Piccolo Jill Gidge

Clarinet Andrew Ventura, Joanne Milat

Oboe and English Horn Brian Ventura

Bassoon David Hebert

Trumpet Cheryl Allen, Edward Morassi

Horn Ashley Howard, Alan Ventura

Trombone Patricia Charron

Violin Audrey Sutherland

Cello Rowena Carr

Percussion Dennis Sullivan

Production Staff

Production Co-ordinator Irene D. Batch, assisted by Eileen Duhamel

Production Secretary Claire Anderson

Dramatic Director John Liljeberg, assisted by Joan Frey

Music Director Donna Conway, assisted by Kay Goranson

Choreographer Laura Winslow

Orchestral Co-ordinator Jill Gidge

Stage Manager Harry Strickland

Assistant Stage Manager Warren Tomasian

Stage Crew Millie Wright,
Irene D. Batch,
Daniel Pelletier

Lighting Harry Strickland

Sound George King

Set Design Kay Kandra

Set Construction Kay and Myron Kandra,
Harry Strickland,
Warren Tomasian

Costumes Dorothy Fontaine, assisted by
Marjorie Thompson,
Claire Anderson,
Terry Turner,
Penny Tamulonis,
Raelene Harris,
Myra Florio,
Irene D. Batch,
Pat Archambeault,
Lorraine Laroche,
Diane Lavoie,
May Kingman,
Arlene Annis

Make-up Claire Anderson, assisted by Pearl Ware

Program Daniel Pelletier, assisted by
Lorraine Graham,
Missy Clemons,
Claire Anderson,
Raelene Harris

Program Ads Shirley Santerre, assisted by Shirley Liberty

Program Photos, Collage Joel P. Saren

House Chairmen Richard and Carol Poole, assisted by
Al Miller,
Connie Patti,
Nancy Laudien,
Ann Borski,
Ginny Mammone,
Betty Callahan,
Elaine Bosowski,
Ernie Peterson,
Dan and Dot Marcek,
Anne S. Harvey,
Dick LaCasse,
Joan Frey,
Irene Archambeault,
Charles Kowalski,
Shirley Santerre

Concessions Betty Badeau, assisted by
Kay and Ed Goranson,
Bob Callahan

Tickets Pauline Gill and Judy Bausha, assisted by
Angela Tomasian,
Claire Anderson,
Eileen Duhamel

Publicity Joel P. Saren

Properties Kathy Griggs, assisted by
Joanne Saren,
Gary Griggs,
Linda Annis,
Kathy Cullen

Auditions Irene D. Batch,
Grace Bolen,
John Liljeberg,
Ferma Perulo,
Al Miller,
Donna Conway,
Laura Winslow

Patrons Richard Conner

Membership Millie Wright

Rehearsal Pianist David A. Gidge

Cast Party Bud and Arlene Annis,
Carolyn Marineau

Photographer Dan Marcek

Bank Window Display Linda Tamulonis, Jim Johanannsen

The Actorsingers
Member of the Arts and Science Center

Welcome you to

OKLAHOMA

The Play

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!

Rodgers and Hammerstein

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.

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.

TIME: Just After The Turn Of The Century

PLACE: Indian Territory (Now Oklahoma)

Act One

Scene I The Front Of Laurey’s Farmhouse

Oh, What A Beautiful Mornin’ Curly, Laurey, Aunt Eller

Kansas City Will, Aunt Eller and the Boys

I Cain’t Say No Ado Annie

Many A New Day Laurey and the Girls

It’s A Scandal! It’s An Outrage! Curly and Laurey

Scene II The Smoke House

Pore Jud Curly and Jud

Lonely Room Jud

Scene III A Grove on Laurey’s Farm

Out of My Dreams Laurey and the Girls

Act Two

Scene I The Skidmore Ranch

The Farmer And The Cowman Carnes, Aunt Eller, Curly, Will, Ado Annie, Slim and Ensemble

All Er Nuthin’ Ado Annie, Will and Two Dancing Girls

Scene II Skidmore’s Kitchen Porch

People Will Say We’re In Love (reprise) Curly and Laurey

Scene III The Back of Laurey’s Farmhouse

Oklahoma Curly, Aunt Eller, Ike, Fred and Ensemble

Oh, What A Beautiful Mornin’ (reprise) Laurey, Curly and Ensemble

Finale Entire Company