Depot Theater

Lucky Stiff
1995-10-12 - 1995-11-04
A mild-mannered English shoe clerk named Harry Witherspoon gets mixed up with his murdered croupier uncle (Anthony Hendon) from Atlantic City and the lunacy that surrounded him. Harry will inherit $6M on the condition that he take his dead uncle’s corpse on one last vacation to Monte Carlo. If he doesn’t fulfill this requirement, the inheritance reverts to the Universal Dogs Home of Brooklyn – and Harry hates dogs! His uncle’s legally blind girlfriend, Rita, tells her optometrist brother, Vinnie, that she accidentally murdered her lover while not wearing her glasses. She also informs him that the $6M she & Uncle Anthony embezzled from her former gangster boyfriend is now on its way to Monte Carlo. Oh, and one other detail, they blamed the embezzlement on Vinnie so now there’s a hit out on him! A great score and well-lubricated plot takes the audience to the ultimate happy ending.
PERFORMANCE DATES: October 12 – November 4, 1995
CAST: Harry Witherspoon – Kyle Hager, Uncle Tony – Jason Keezer, Dr. Vinnie DiRuzzio – Greg White, Rita La Porta – Mischel Miller, Luigi Gaudi – Kelly Carroll, Annabel Glick – Penny Cox, Landlady, etc. – Valisa Oldham, Boarder, etc. – Jennifer White, Lorry Drive, etc. – Steve Morgan
CREW: Director – Don Steele, Stage Manager/Running Crew – Connie Penick, Assistant Stage Manager – Liz Riegel, Set Design – Darleen Clifton Smith, Claudia Pyle, Paul D. Marshall, Running Crew – Jim Johnson, Greg White, Jason Keezer, Angie Frans, Lise Sinclair, Robert Sinclair, Carolyn Johnson, Barry Metcalf, Costume Design – Dee Miller, Dog Heads – Linda Connelly, Hair/Make up – Johnny Martinez (House of Beauty)
MENU: Salad, roast beef, mashed potatoes, green beans, French bread, jello parisianne. Catering provided by Brona Love, Darleen Smith, Paul Marshall, Dynette Brumit, Barry Metcalf, Linda Owens, Joanne Welchel, Pete Bethke, Lise Sinclair, Claudia Pyle, Linda Bethke, Dee Miller, members of the Company

Songs for Dodge City
1995-04-06
A celebration of the Company’s first twelve seasons of musicals.
PERFORMANCE DATES: April 6 – May 6, 1995
CAST: Karen Carroll, Penny K. Cox, Kyle Hager, Adriane Hall, Amy Reinert, Greg White
CREW: Director – Don Steele, Stage Manager – Deana Johnston, Costumes – Deedee Miller, Tech – Keith Reimer, Lights & Sound – Chris Pyle
MENU: Cole slaw, baked Swiss steak, oven rice, carrots, French bread, peach crumble

Run for Your Wife
1995-01-19 - 1995-02-11
This British farce tells the story of London cab driver John Smith, a man with two wives, two lives and a very precise schedule for juggling them both. With one wife at home in Streatham and another at home in Wimbledon, and with occupants of the flat upstairs at the latter location. Trouble brews when Smith is mugged and ends up in hospital, where both of his addresses surface, causing both the Streatham and Wimbledon police to investigate. Having upset his schedule, Smith becomes hopelessly entangled in his attempts with his lazy neighbor upstairs in Wimbledon, to explain himself to his wives and two suspicious police officers.
PERFORMANCE DATES: January 19 – February 11, 1995
CAST: Mary Smith – Darleen Clifton Smith, Barbara Smith – Marilyn Black, John Smith – Kent Ross, Sgt. Troughton – Paul D. Marshall, Stanley Gardner – Kelly Carroll, Reporter/Bobby Franklyn – Kyle Hager, Sgt. Porterhouse – Pete Bethke
CREW: Director – Don Steele, Stage Manager/Set Design – Monica Mills, Set Design – Barry Metcalf, Kyle Hager, Jim Johnson, Lise Sinclair
MENU: Mrs. Smith’s veggie soup, roast pork tenderloin, scalloped potatoes, green beans, Cyril’s hot rolls, The Queen’s coconut squares. Catering provided by Brona Love, Amy Reinert, Milly White, Dynette Brumit, Barry Metcalf, Linda Owens, Joanne Welchel, cast of Run for Your Wife.

Only Kidding!
1994-10-06 - 1994-10-29
Only Kidding! by Jim Geoghan takes the audience through the business of “show business” where a booking on the “The Buddy King Show” (think Johnny Carson) is the ultimate achievement. The play follows five characters over a three-year period. Jackie Dwayne is a fading comic whose claim to fame is 31 appearances on Ed Sullivan – but he still yearns to be booked on Buddy King. Sadly though, his selection of Polish & mother-in-law jokes are faded at best. In the first scene, Jackie’s agent sends another of his clients (Sheldon) to Jackie’s Catskills home in hopes of rescuing the outdated act. In scene two, Tom & Jerry, a younger, hipper team of improvisational comics seem to come apart after a good evening performance. Jerry, with his bent toward booze & drugs, is the hothead of the pair who jumps at the chance for an appearance on Buddy King when offered the gig by Sal, the mob-connected proprietor of the club. Tom, however, backs away. The destinies of all five characters come together in scene three when they are arrive in the green room of Buddy King’s show three years later.
PERFORMANCE DATES: October 6-29, 1994
CAST: Jackie Dwayne – Jim Johnson, Sheldon Kelinski – Kyle Hager, Tom Kelly – Jared Adams, Jerry Goldstein – Jason keezer, Sal D’Angelo – Joe Walker
CREW: Director – Don Steele, Stage Manager – Connie Penick, Light Board Operator/Sound Board Operator – Chris Pyle, Costume Design – Dee Miller, Set Design – Jared Adams, Jason Keezer, Joe Walker, Josh Bemiss, Mike Paget
MENU: Tossed salad, baked chicken breast marinara, pasta primavera alfredo, Italian bread and herb butter, tapioca. Catering provided by Brona Love, Milly White, Lori Reetz, Darleen Smith, Pete Bethke, Monica Mills, Barry metcalf, Linda Owens, Pam Neely, Marilyn Black, Dynette Brummit, Joanne Welchel, Staci Kuhlman, members of the Company.

Assassins
1994-03-31 - 1994-04-23
In this darkly humorous musical revue, Stephen Sondheim (music and lyrics) and John Weidman (book) depict nine misfit men and women who set out to assassinate American Presidents. Though only some were successful, all left their mark on American history. While every nation has its assassins and would-be assassins, only in America, the authors suggest, do disturbed and disturbing individuals act not because they hope to influence national politics, but because they are wrapped up in a malignant sense of entitlement. Feeling betrayed by the failed promise of American democracy and the American Dream, they strike out at the symbol for America: the American President. Assassins spans several musical styles and many decades in a dizzying series of musical and theatrical inventions that culminate in the assassination of John F. Kennedy.
PERFORMANCE DATES: March 31 – April 23, 1994
CAST: John Wilkes Booth – Jeff Dary, Charles Guiteau – Greg White, Leon Czolgosz – Kent Ross, Guiseppe Zangara – Ray Mettling, Samuel Byck – Kelly Carroll, Lynette “Squeaky” Fromme – Adriane Hall, John Hinckley – Joey Walker, Lee Harvey Oswald – Trent Cott, The Balladeer – Kyle Hager, Bystanders – Linda Jackson, Steve Letro, Barry Metcalf, Darleen Clifton Smith, Claudia Pyle, Casey Ross
ORCHESTRA/BAND: Music Director/Keyboard – Don Steele, Keyboard – Kathy Asher, “Contractor” – Bill Thomas, Flute/Piccolo -Jean Smoot, Reeds – Dan Nemeth and H.D. McCosh, Trumpet – Bill Jenkins, Trombone – Charlie Day, Electric Bass – Dynette Brumit, Percussion – Andy Miller
CREW: Director – Don Steele, Stage Manager – Deena Johnston, Costume Design – Dee Miller, Light Board Operator – Connie Penick, Sound Board Operator/Video Operator/Set Design – Keith Reimer, Set Deisgn – Darleen Smith, Claudia Pyle, Trenton Cott, Barry Metcalf, Jim Johnson, Raymond Mettling, Greg White, Andy Speakar, Poppet Construction – Linda Connelly
MENU: Tossed salad, baked marinated brisket, baked potato, corn, fresh roll, brownie pudding cake. Catering provided by Brona Love, Milly White, Lori Reetz, Pete Bethke, Linda Bethke, Jennifer Johnson, Monica Mills, Jared Adams, Jill Smith, Matt Cole

The Crucible
1994-01-27 - 1994-02-19
In the insular, Puritan community of 1692 Salem, Massachusetts, a group of young girls are found dancing in the woods, and immediately fall ill. When no earthly cause can be determined, the citizens of Salem suspect that some more sinister force may be at hand. As long-held grudges turn to violent disputes, humiliating secrets are exposed and disseminated, and the line between truth and pretense becomes increasingly blurry, the citizens’ dogged determination to root out evil becomes more dangerous than the evil itself. When the burden of proof is invisible and the crime too terrible to name, everyone becomes a suspect and no one is safe. The Crucible, Arthur Miller’s remarkable 1953 play, remains as relevant as ever, and carries with it a stern warning: in every community torn by suspicion, the most dangerous threat may be the community itself.
PERFORMANCE DATES: January 27 – February 19, 1994
CAST: Betty Parris – Haley Ross, Reverend Samuel Parris – Steve Ltro, Tituba – Chasni Briggans, Abigail Williams – Adrianne Hall, Susanna Wallcott – Molly Black, Mrs. Ann Putnam – Claudia Pyle, Thomas Putnam – Chris Holt, Mercy Lewis – Robin Magouirk, Mary Warren, – Angela Frans, John Proctor – Kelly Carroll, Rebecca Nurse – Joanne Welchel, Giles Corey – Pete Bethke, Reverend John Hale – Kyle Hager, Elizabeth Proctor – Elizabeth Leigh Dary, Francis Nurse – Mark Mahieu, Ezekiel Cheever – Jared Adams, John Willard – Eric J. Reid, Judge Hathorne – Jeff Dary, Martha Corey – Linda Jackson, Deputy Governor Danforth – Jim Johnson, Sarah Good – Deanan Johnston, Hopkins – Barry Metcalf
CREW: Director – Don Steele, Costume Design – Dee Miller, Linda Connelly, Joanne Welchel, Jana Ross, Stage Manager – Connie Penick, Light Board Operator/Set Design – Dynette Brumit, Set Design -Keith Reimer, Kyle Hager, Barry Metcalf, Andy Speakar, Blacksmithing – Pete Bethke
MENU: Vegetable soup, turkey and dressing, parsley potatoes, carrots, apple crisp. Catering provided by Brona Love, Milly White, Lori Reetz, Darleen Smith, Karen Koontz, Matt Cole, Jennifer Johnson, Linda Bethke, Stacy Cross, members of the Company.

Black Comedy
1993-10-14 - 1993-11-06
Black Comedy studies the effect of loss of light would have on a group of people who hold things from each other. Set in London during an electrical blackout and opening with a dinner party on a dark stage, the play is written to be staged in reversed lighting – so when the blackout occurs, the lights actually come up and the characters are seen floundering about appearing to be invisible to each other. Hence the “pun” title – Black Comedy.
PERFORMANCE DATES: October 14 – November 6, 1993
CAST: Brindsley Miller – Kent Ross, Carol Melkett – Chris Keehn, Miss Furnival – Sarah Simpson, Colonel Melkett – Jim Johnson, Harold Gorringe – Chris Pyle, Clea – Mischel Miller, Schuppanzigh – Kyle Hager, Georg Bamberger – Mike Hall
CREW: Director – Don Steele, Stage Manager/Sound Design – Keith Reimer, Light Board Operator/Set Design – Elizabeth Marcrum, Metalwork – Jared Adams and Jason Keezer, Special Paintings – Courtney Simpson, Set Design – Jim Johnson, Darleen Smith, Claudia Pyle, Sarah Simpson, Barry Metcalf, Ray Mettling, Andy Speaker
MENU: Pepper hash, corny macaroni, green beans, ham loaf, roll, jello cake. Catering provided by Brona Love, Milly White, Lori Reetz, Darleen Smith, Pete Bethke, Karen Koontz, Barry Metcalf, Matt COle, Dynette Brummit, Joanne Welchel, Staci Kuhlman, members of the Company.

Insight
1993-08-12 - 1993-08-14
The Boot Hill Museum Repertory Company Student Division will present “Insight: and evening of monologues and scenes.” This intriguing collection of theatrical pieces was created by the Walden Theater Playwright in Residence program in Louisville, KY. The playwright conducted a workshop for young writers which followed the dramatic process from the first idea through readings and discussion to a finished production. The resulting collection of material covers a wide range of topics of interest and importance to young people.
PERFORMANCE DATES: August 12-14, 1993
CAST and CREW: Includes 11 students, ages 12-18, who have been rehearsing since min-July. Members of the production staff, including the director, stage manager, sound board operator, light board operator, props, tickets, and graphics, are also students. Directing the production is Jason Hart, a sophomore at KU.
Performed in the Old House Saloon on the Boot Hill Museum complex.

Man of La Mancha
1993-04-01 - 1993-04-24
Man of La Mancha, based on Cervantes’ epic 17th-century novel, Don Quixote, is a remarkable, poignant, moving musical that was one of the first shows to musicalize a piece of historical literature. Set in the context of the Spanish Inquisition, Man of La Mancha is presented as a play-within-a-play. We encounter historical author Miguel de Cervantes in prison, awaiting trial by the Inquisition. When his fellow prisoners try to take Cervantes’ belongings from him, including his manuscript, Cervantes proposes a trial in which he proves the merit of the manuscript through a reenactment, enlisting his fellow prisoners as characters in his play. Together, they tell the story of the aged Alonso Quijana who believes himself to be a knight errant, names himself Don Quixote, and pursues an obsessive quest to attain an impossible dream. Against all odds, Quixote and his trusty squire Sancho Panza take to the road in a quest to chivalry, and seek out the good and innocent in a world filled with darkness and despair. Through the story, all the prisoners – at least for a moment – are transformed. The mad Don Quixote may think a windmill to be a giant and a tavern to be a castle, but along the way he also transforms a wretched woman into a beautiful lady – and proves that an old man’s belief can truly make him a knight. Man of La Mancha features such stirring songs as “Dulcinea” and the now-famous standard, “Quest” – more famously known as “The Impossible Dream.”
PERFORMANCE DATES: April 1-24, 1993
CAST: Cervantes/Don Quixote – Kelly Carroll, Aldonza – Kasren Warshaw, Sancho – Kyle Hager, The Goernor/Innkeeper – Greg White, Antonia – Mischel Miller, The Duke/Dr. Sanson Carrasco -Steve Letro, Padre – Roger Maas, Housekeeper – Connie Penick, Pedro – Mark Mahieu, Anselmo – Jeff Dary, Jose – Jason Keezer, Paco – Jared Adams, Juan – Chris Holt, Tenorio – Pete Bethke, Ramon – Barry Metcalf, Maria – Deana Reimer, Fermina/Moorish Dancer – Elizabeth Marcrum, Barber – Mike Hall, Captain of the Inquisition – Raymond Mettling
ORCHESTRA/BAND: Flute/Piccolo -Betty Douglas and Nicki Homeier, Clarinet – David Kirby and Joanne Welchel, Oboe – Alejandra Garcia Trabucco, Bassoon – Denise Forbes, French Horn – Katie Humble and Marjorie Nazarenus, Trumpet – Bill Jenkins and Dan Nemeth, Trombone – Everett Mills, Guitar – Jim Johnson, Keyboard – Karla Kolenda, Percussion – Andy Miller and Jana Ross
CREW: Director – Don Steele, Stage Manager – Connie Penick, Costume Design – Dee Miller, Light Board Operator – Chris Keehn, Sound Design/Set Design – Keith Reimer, Set Design – Darleen Smith, Steve Letro, Barry Metcalf, Jared Adams, Jason Keezer, Lyn Yost, Sarah Simpson, Kirk Anderson, Hair/Make up – Johnny Martinez and Greg White, Properties Master – Marcia McVay and Linda Connelly
MENU: Tossed salad, grilled steak, baked potato, carrots, French bread, lemon tart. Catering provided by Brona Love, Milly White, Darleen Smith, Lori Reetz, Claudia Pyle, Chris Pyle, Matt Cole, Karen Koontz, Dynette Brummit, Kathy Konrade, members of the Company.

Don't Drink the Water
1993-01-28 - 1993-02-20
This farce takes place inside an American Embassy behind the Iron Curtain. Returning from a European tour, Newark, New Jersey, caterer Walter Hollander, wife Marion, and daughter Susan, accidentally wander into a restricted area and take photos for Walter’s new hobby of photography and are caught by Krojack, the head of the secret police, who suspects espionage and attempts to arrest them. The tourists, however, are granted asylum in the American Embassy, temporarily supervised by Axel Magee, son of the ambassador. There the Hollanders meet mad Father Drobney, who for six years has enjoyed sanctuary within the embassy’s confines. Although the United States attempts to rescue the family by repatriating Vulgarian agent Grey Fox, he commits suicide before an exchange can be negotiated. When middle-aged student agitators picket and bomb the embassy, Magee accidentally thinks up an escape plan that Susan forces him to share with the rest of the family. The Hollanders dress up as dignitaries and attempt an escape when the escape fails, Walter and Marion don the robes of a visiting sultan and his harem and rush out of the embassy. Susan happily bids her parents farewell and secures diplomatic immunity by marrying Magee.
PERFORMANCE DATES: January 28 – February 20, 1993
CAST: Father Drobney – Ken Dean, Ambassador Magee/Sultan of Bashir – Greg White, Kilroy – Kent Ross, Axel Magee – Chris Pyle, Walter Hollander – Jim Johnson, Marion Hollander – Joanne Welchel, Susan Hollander – Chris Keehn, Krojack – Steve Letro, Guard/Sultan’s First Wife – Michelle Drenth, Guard/Countess Bordoni – Darleen Clifton Smith, Burns – Roger Maas, Chef – Kent Ross, Kasnar – Roger Maas
CREW: Director – Don Steele, Stage Manager – Michelle Drenth, Costumes – Connie Hudnett, Props – Roger Maas, Lights – Connie Penick, Sound – Keith Reimer
MENU: Coleslaw, scalloped potatoes, green beans, BBQ pork chops, corn bread, coconut custard squares. Catering provided by Brona Love, Milly White, Lori Reetz, Pete Bethke, Karen Koontz, Barry Metcalf, Matt Cole, members of the Company.

The Taffetas
1992-10-08 - 1992-10-31
The play, written by Rick Lewis, is a tribute to the great girl groups of the 1950’s. Set in 1950-something, three singing sisters – Peggy, Cheryl, & Donna – from Muncie, Indiana are making their national television singing debut. This nostalgic piece pays homage to the harmony of The Maguire Sisters, The Fontane Sisters, the Chordettes, and the Lennon Sisters. The Taffetas make their appearance on “Spotlight on Music” – a fictitious weekly TV show on the real-life Dumont Television Network and the audience is swept away to a by-gone era where music had real harmony and the world came to life on a 12-inch black & white television set.
PERFORMANCE DATES: October 8-31, 1992
CAST: Cheryl – Jill Austen, Peggy – Connie Penick, Donna – Dee Dee Royle, The “Jivemasters” – Susan Robinson, Dynette Brumit, Jared Adams
CREW: Director – Don Steele, Costume Design – Dee Miller, Hair/Make up – Johnny Martinez, Stage Manager/Set Design – Roger Maas, Running Crew – Brent McKinley, Jason Keezer, Faye Adams, Light Board Operator – Chris Keene, Sound Design/Set Design – Keith Reimer, Set Design – Darleen Smith, Claudia Pyle, Jared Adams, Kason Keever, Dynette Brumit, Faye Adams, Greg White
MENU: Cream of broccoli soup, oven baked chicken, corn, French bread, Barry’s mom’s dessert. Catering provided by Brona Love, Milly White, Staci Kulhman, Joanne Welchel, Darleen Smith, Claudia Pyle, Barry Metcalf, Matt COle, Lori Reetaz, Dana Wilkening.

Glimpses
1992-07-09 - 1992-07-12
The Boot Hill Museum Repertory Company Student Division presents an evening of monologues and scenes. This intriguing collection of theatrical pieces was created by the Walden Theater Playwright in Residence program in Louisville, KY. The playwright conducted a workshop for young writers which followed the dramatic process from the first idea through readings and discussion to a finished production.
PERFORMANCE DATES: July 9-12, 1992
CAST: Mandy Pankratz, Jessica Reinert, Keri Duree, Dallas Hardy, Donelle Bergeson, Adriane Hall, Ann Jambor, Robin Magouirk, Jill Stopple, Jennifer Meyer, Trenton Cott, Ozzie Rodriguez, Chris Holt, Jared Kitselman, Theresa Klunk, Shane Keck, Christina Lingard, Stephany Rosenholtz, Keena Reimer, Stephanie Schuette, Angela Zimmerman, Jill Stopple
CREW: Director – Connie Penick, Stage Manager – Carol Woydziak
MENU: Chuckwagon dinner prepared by the Boot Hill Museum Kitchen
Performed in the Old House Saloon on the Boot Hill Museum complex.

The Cardigans
1992-03-27 - 1992-04-18
The play, written by Rick Lewis, is the male version of his earlier piece – The Taffetas. At the time it was selected by the Repertory Company, it was as yet unpublished and still in development. The company had hoped to produce a similar boy-group piece but it was not available for community theater yet (that production came later!). Special arrangements were made with Mr. Lewis for the Repertory Company to be the first group outside of New York to produce The Cardigans. The show was chock-full of great 1950’s music and with the great group of musically talented actors to play The Cardigans, the audience was treated to a “swell” evening of nostalgia and harmony with “those Swingin’ Singin’ Guys From Alpha Mu Phi Pi.”
PERFORMANCE DATES: March 27 – April 18, 1992
CAST: Buddy – Jim Johnson, Frankie – Greg White, Chuck – Billy Thomas, Johnny – Ken Pervenanze
ORCHESTRA/BAND: Piano – Susan Robinson, Bass – Dynette Brumit, Drums – Jared Adams
CREW: Director – Don Steele, Costume Design – Dee Miller, Hair/Make up – Johnny Martinez, Stage Manager/Set Design – Connie Hudnett Penick, Running Crew – Cyndi Hudnett, Running Crew/Set Design – Greg Smith, Running Crew/Spot Operator – Brent McKinley, Greg Smith, Light Board Operator/Set Design – Lyn Yost, Spot Operator – Greg “Sparky” Smith, Sound Design/Set Design – Keith Reimer, Set Design – Darleen Smith, Claudia Pyle, Jared Adams, Jason Keever, Dynette Brumit
MENU: Tossed salad, baked Swiss steak, carrots, rice, rolls, cake and ice cream. Catering provided by Brona Love, Stacy Cross, Milly White, Pat King, Barbara Woodall, Darleen Smith, Claudia Pyle, Barry Metcalf, Karen Koontz, Ruby Kellogg, Mary Beth Riege, Jeanette Magouirk, Dana Wilkening, Charlene Elyea

It Runs in the Family
1992-01-23 - 1992-02-15
“If you’re going to tell a lie, tell a whopper,” yells Dr. Mortimore as events begin to spin deliriously out of control. Inadvertently, he’s identifying, in the midst of his panic, the motor that propels all the best farces. Deception, mistaken identities, double-entendres, puns and flapping doors fuel this high octane comedy. Set in the doctor’s lounge of a London hospital three days before Christmas, the staff is preparing the annual holiday show. But that is only the sideshow. The real business is a conference of neurosurgeons. As Dr. David Mortimore is preparing his lecture (that should guarantee him a knighthood and the hospital some badly needed funds), a former nurse bursts in with the news that their fling some 18 years and 9 months ago made Mortimore a father. The boy (emotionally high strung and under arrest for driving under the influence) is downstairs, desperate to meet his long lost Dad. Now the good doctor really practices what he preaches. Lies pile on lies, as he enlists his colleagues to deceive his wife, his boss, a police sergeant and even his newfound son. Sharp syringes, crashing wheelchairs, squirting seltzer bottles, doctors in nurse drag, and window ledge wrestling matches gear the farce into overdrive.
PERFORMANCE DATES: January 23 – February 15, 1992
CAST: Dr. David Mortimer – Greg Smith, Dr. Mike Connolly – Chris Pyle, Rosemary Mortimer – Darleen Clifton Smith, Dr. Hubert Bonney – Kent Ross, Matron – Joanne Welchel, Dr. Willoughby Drake – Roger Maas, Sister – Claudia Pyle, Jane Tate – Jill Austen, Leslie – Brent McKinley, Police Sergeant – Jim Johnson, Bill Lesley – Kelly Carroll, Mother – Jeanette Magouirk
CREW: Director – Don Steele, Stage Manager – Roger Maas, Assistant Stage Manager/Set Design – Claudia Pyle, Light Board Operator/Set Design – Lyn Yost, Sound Board Operator/Set Design – Keith Reimer, Costume Design – Joanne Welchel and Connie Hudnett, Set Design – Darleen Smith and Claudia Pyle
MENU: Lime jello with grapes and mandarin oranges, baked ham, scalloped potatoes, corn, hot roll, pumpkin supreme. Catering provided by Stacy Cross, Brona Love, Milly White, Pat King, Barbara Woodall, Barry Metcalf, Karen Koontz, Ken Pervenanze, members of the Company.

The Cemetary Club
1991-10-09 - 1991-11-02
The play centers on the lives of three Jewish widows. Lifetime friends – Ida, Doris and Lucille are part of a club, The Cemetery Club. Every month they meet at Ida’s house in New York for tea then trundle off to the cemetery to remember the good times and gossip with deceased husbands. Ida is sweet tempered and ready to begin a new life, Lucille is a feisty embodiment of the girl who just wants to have fun, and Doris is priggish and judgmental, particularly when Sam the butcher enters the scene. Sam meets the widows at the cemetery while visiting his late wife and changes their lives forever. A budding romance between Sam and Ida is squashed by Doris and Lucille (who later are guilt-stricken when their influence nearly breaks Ida’s heart).
PERFORMANCE DATES: October 9 – November 2, 1991
CAST: Ida – Jeanette Magouirk, Lucille – Mary Beth Riegel, Doris – Sarah Simpson/Brown, Sam – Steve Letro, Mildred – Carol Woydziak
CREW: Director – Don Steele, Stage Manager – Jill Austen, Assistant Stage Manager – Roger Maas, Light Board Operator – Chris Pyle, Costume Design – Joanne Welchel, Set Design – Darleen Smith, Claudia Pyle, Sarah Simpson/Brown, Courtney Simpson, Jim Brown, Light Board Operator – Greg Smith and Jim Johsnon, Hair/Make up – Johnny Martinez
MENU: Cream of broccoli soup, roast beef, parsley buttered potatoes, mixed vegetables, dinner roll, peach cobbler. Catering provided by Faye Trent, Brona Love, Stacy Cross, Milly White, Darleen Clifton Smith, Claudia Pyle, Barry Metcalf, Ken Pervenanze, Dana Wilkening, members of the Company.

Sunshine Boys
1991-03-26 - 1991-04-14
The play focuses on aging Al Lewis and Willy Clark, a one-time vaudevillian team known as “Lewis and Clark” who, over the course of forty-odd years, not only grew to hate each other but never spoke to each other off-stage throughout the final year of their act. The stubborn Clark, who was not ready for retirement, resented the wiser Lewis for breaking up the act when he opted to leave show business. CBS invited the team to reunite for a special on the history of comedy, with the pair representing the vaudeville era at its best. Clark is convinced by his nephew Ben to revive one of the old routines one last time. Much of the humor is derived from efforts to get the two cantankerous actors into the same room for a rehearsal, their differences of opinion once they reunite, and their shenanigans on the actual broadcast.
PERFORMANCE DATES: March 26 – April 14, 1991
CAST: Willie Clark – Jim Johnson, Ben Silverman (Willie’s nephew) – Ken Dean, Al Lewis (Willie’s former partner) – Greg Smith, Sketch Patient – Ken Pervenanze, Voice of TV Director – Miek Hansen, Eddie (TV Stage Manager) – Osbaldo Rodriguez, Sketch Nurse – Michelle Drenth, Nurse O’Neil – Darleen C. Smith
CREW: Director – Don Steele, Stage Manager/Set Design – Mike Hansen, Light Board Operator/Set Design – Lyn Yost, Sound Board Operator/Set Design – Keith Reimer, Costume Design – Dee Miller, Set Design – Darleen Smith, Claudia Pyle, Greg Smith, Ken Pervenanze, Ozzie Rodriguez, jJim Johnson
MENU: Vegetable soup, shishkabobs with baked rice, French bread, cherry crisp. Catering provided by Faye Trent, Brona Love, Doug Austen, Stacy Cross, Rick Matticks, Pat King, Barry Metcalf, Milly White, members of the Company.

Nunsense
1991-01-23 - 1991-02-16
The story follows five of the 19 surviving Little Sisters of Hoboken, a one-time missionary order that ran a leper colony on an island south of France, who discover that their cook, Sister Julia – Child of God, accidentally killed the other fifty-two residents of the convent with her tainted vichyssoise while they were off playing bingo with a group of Maryknolls. Upon discovering the disaster, Mother Superior had a vision in which she was told to start a greeting card company to raise funds for the burials. The greeting cards were an enormous success and, thinking there was plenty of money, the Reverend Mother bought a VCR for the convent, leaving her with no money in the kitty to pay for the last four burials. With the deceased nuns on ice in the deep freeze, they decide to stage a variety show in the Mount Saint Helen’s School auditorium to raise the necessary amount. Participating in the project are Mother Superior Mary Regina, a former circus performer who can not resist the spotlight; her competitive but dignified rival, second-in-command Sister Mary Hubert; Sister Robert Anne, a streetwise nun from Brooklyn; Sister Mary Leo, a novice who is determined to be the world’s first ballerina nun; and wacky, childlike Sister Mary Amnesia, who lost her memory when a crucifix fell on her head. The entertainment that they present includes solo star turns, madcap dance routines, and an audience quiz.
PERFORMANCE DATES: January 23 – February 16, 1991
CAST: Sr. Mary Regina – Connie Penick, Sr. Mary Hubert – Karen Warshaw, Sr. Mary Leo – Jill Austen, Sr. Robert Anne – Jana Ross, Sr. Mary Amnesia – Mischel Miller
ORCHESTRA/BAND: Keyboard – Doug Austen, Keyboard – Kent Ross, Percussion – Becky Matticks
CREW: Director – Don Steele, Costume Design – Dee Miller and Joanne Welchel, Choreography – Kara Lay, Stage Manager – Mike Hansen and Ken Pervenanze, Light Board Operator/Set Design – Lyn Yost, Sound Board Operator/Set Design – Keith Reimer, Set Design – Darleen Smith, Claudia Pyle, Greg Smith, KC Trauer, Ozzie Rodriguez, Mary Beth Riegel
MENU: Carrot jello salad, chicken and noodles, mashed potatoes, green beans, biscuit with honey butter, homemade zingers. Catering provided by Faye Trent, Brona Love, Darleen Smith, Stacy Cross, Rick Matticks, Pat King, Barry Metcalf, Milly White.

The Skin of our Teeth
1990-10-17 - 1990-11-10
The main characters of the play are George and Maggie Antrobus, their two children, Henry and Gladys, and Sabina, who appears as the family’s maid in the first and third acts, and as a beauty queen temptress in the second act. The play’s action takes place in a modern setting, but is full of anachronisms reaching back to prehistoric times. The characters’ roles as archetypes are emphasized by their identification with Biblical and classical personalities. While the Antrobus family remains constant throughout the play, the three acts do not form a continuous narrative. The first act takes place during an impending ice age, in the second act takes place on the boardwalk and the family circumstances have changed as George becomes president of the Fraternal Order of Mammals (apparent references to Sodom and Gommorah but also to the Roaring Twenties) and the end of the world approaches a second time; the third act opens with Maggie and Gladys emerging from a bunker at the end of a seven-year-long war. An additional layer of stylistic complexity is added by the occasional interruption of the narrative scene by actors directly addressing the audience. For instance, in the first scene, the actress playing Sabina reveals her misgivings to the audience about the play, in the second act she refuses to say lines in the play and tells the spectators things that cause a woman in the audience to run from the theatre sobbing, and, in the third act, the “stage manager” of the play interrupts to announce that several actors have taken ill.
PERFORMANCE DATES: October 17 – November 10, 1990
CAST: Announcer/Professor/Conveener/Defeated Official/Broadcast Official – Ken Pervenanze, Sabina – Michelle Drenth, Mr. Fitzpatrick – Doug Austen, Mrs. Antrobus – Jeanette Magouirk, Dinosaur – Haley Ross, Mammoth – Robin Magouirk, Telegraph Boy/Conveener – Jared Adams, Gladys – Joy Adams, Henry – Jason Hart, Mr. Antrobus – Kelly Carroll, Doctor/Conveener – Michael Hall, Judge/Conveener – Barry Metcalf, Miss E. Muse/Boardwalk Resident/Hester – Joanne Welchel, Miss T. Muse/Conveenette/Ivy – Jill AUsten, Miss M. Muse/Conveenette – Kara Lay, Fortune Teller – Sarah Simpson, Mr. Tremayne – Mike Hanseon, Fred Bailey – Keith Reimer
CREW: Director – Don Steele, Stage Manager – Doug Austen, Assistant Stage Manager – Mike Hanseon, Light Board Operator/Set Design – Lyn Yost, Sound Design/Set Design – Keith Reimer, Hair/Make up – Johnny Martinez, Costume Design – Joanne Welchel, Dee Miller, Jean Lantis, Set Design – Rich Sternadori, Greg Smith, Darleen Clifton Smith, Claudia Finley, Jim Brown, Greg White, Curtis Crosley, Courtney Simpson, Michelle Drenth, Sarah Simpson, Chris Pyle, Barry Metcalf
MENU: Coleslaw salad, grilled pork chops, baked beans scalloped potatoes, bread, pumpkin tarts. Catering provided by Faye Trent, Brona Love, Barbara Woodall, Deb Aistrup, Darleen Smith, Becky Matticks, Millie White, Stacy Cross, Pat King, Claudia Finley, members of the Company.

Angry Housewives
1990-04-12 - 1990-04-18
When four housewives are desperately seeking a change in their lives, what do they do? In the old days they used to get together and it was called kaffee-klatsch, in the 80’s they turn their lives around by forming a hard rock band and entering a talent contest! Angry Housewives was a big, fun splash of four bored women who broke out of their everyday drill with surprising results and hidden talents. This hilarious musical comedy, originally produced in Seattle, has developed a cult following with its witty lyrics, over-the-top costumes, and non-stop musical theater fun. And don’t forget to “Eat Your Friggin’ Cornflakes!”
PERFORMANCE DATES: April 12-18, 1990
CAST: Tim (a teenager) – Tim Archer, Bev (his mother) – Mischel Miller, Wendi – Susan O’Connor, Jetta – Frankie Smith, Carol – Karen Warshaw, Larry (Jetta’s husband – Greg Smith, Wallace (Wendi’s boyfriend) – Greg White, Lewd Fingers (punk club owner) – Rick Matticks
CREW: Director – Don Steele, Stage Manager – Mary Beth Riegel, Assistant Stage Manager – Roger Maas, Set Design – Jim Johnson, Greg Smith, Tim Riekenberg, Scott Miller, Greg White, Chris Welchel, Deana Reimer, Deena Reimer, Tyson Reimer, Darleen Clifton Smith, Claudia Finley, Jim Brown, Sarah Simpson, Courtney Simpson, Costume Design – Carolyn Johnson, Hair/Make up – Johnny Martinez, Sound Design/Set Design – Keith Reimer, Light Board Operator/Set Design – Lyn Yost
MENU: Catering provided by Faye Trent, Brona Love, Barbara Woodall, Deb Aistrup, Darleen Smith, Ellen Ellis, Milly White, Rogene Jenkinson, Chris Adams.

The Farndale Avenue Housing Estate Townswomen's Guild Dramatic Society Murder Mystery
1990-02-15 - 1990-03-03
What do you get when you take five women with nothing better to do than put on a show, combine that with murder mystery, and add in an over-abundance of errors and missed cues? You get a play that required five of the company’s seasoned veterans to put on a show that looked like an accident but was just a series improvisations rehearsed to make it look like they screwed up. This production was dedicated to anyone who ever said – “Golly, let’s put on a show!” And this group of actresses lived up to the company’s reputation and never forgot “the show must go on!”
PERFORMANCE DATES: February 15 – March 3, 1990.
CAST: Mrs. Reece/Clarissa Rook (Lady Bishop’s sister)/Regine (the French maid)/Patricia Bishop (Lady Bishop’/s niece)/Letitia Bishop (Lady Bishop’s sister)/Mr. Goodbody (a solicitor) – Sarah Simpson, Thelma/Daphne Bishop (Lady Bishop’s daughter)/Rose Bishop (Lady Bishop’s spinster aunt) – Deana Reimer, Felicity/Pawn (the butler)/Col. King (Lady Bishop’s brother-in-law) – Jana Ross, Audrey/Lady Doreen Bishop (a widow)/Joan Bishop (Lady Bishop’s cousin)/Violet Bishop (Lady Bishop’s spinster aunt)/Mrs. King (Col. King’s wife) – Jeanette Magouirk, Sylvia/Inspector O’Reilly – Mary Beth Riegel
CREW: Director – Don Steele, Stage Manager – Doug Austen, Assistant Stage Manager/Properties Master – Jill Austen, Technical Director/Set Design – Lyn Yost, Sound Design/Set Design – Keith Reimer, Costume Design – Carolyn Johnson, Joanne Welchel, Jean Lantis, Set Design – Jim Johnson, Darleen Smith, Claudia Finley
MENU: Farndale tea sandwiches, sweet and sour chicken, rice a ala Reece, oriental mixed vegetables, Thelma’s tea rolls, Lady Bishop’s favorite dessert. Catering provided by Faye Trent, Brona Love, Barbara Woodall, Deb Aistrup, Darleen Smith, Becky Matticks, Ellen Ellis, volunteers of the Depot Theater.

Some Things You Need to Know Before the World Ends
1990-01-11 - 1990-01-27
Some Things You Need to Know Before the World Ends explored issues of blind faith and organized religion through the characters of Reverend Eddie and Brother Lawrence, survivors of an apocalypse who have taken shelter in their church. As Reverend Eddie prepares his final sermon, his grip on reality and his faith are challenged by the unseen presence of the Illuminati. The action of the play takes place in The Church of the Holy Station, an edifice done in garage grunge at some unspecified time and place. There are hints that Rev. Eddie and Brother Lawrence may be the two final survivors of a sort of Armageddon. But the audience becomes part of the play, being drawn in as Rev. Eddie’s congregation, and they are often pulled into the action. Therefore, the oblique comments about a nerve gas attack killing off the entire congregation seem a bit odd and difficult to relate to Reverend Eddie’s fear that the Illuminati are about to take over the world.
PERFORMANCE DATES: January 11-27, 1990
CAST: Rev. Eddie – Jim Johnson and Bro. Lawrence – Ken Dean
CREW: Director – Don Steele, Stage Manager/Properties Master – Roger Maas, Assistant Stage Manager – Bill Thomas, Sound Design/Light Design – Mike Nelson, Technical Director/Set Design – Lyn Yost, Sound Board Operator/Light Board Operator/Set Design – Keith Reimer, Costume Design – Carolyn Johnson, Set Design – Greg Smith, Jim Brown, Emily Ogle, KC Trauer
MENU: French onion soup, baked meatballs in mushroom sauce, carrots, scalloped potatoes, French bread, butterscotch torte. Catering provided by Faye Trent, Brona Love, Barbara Woodall, Deb Aistrup, Darleen Smith, Sara McFarland, Becky Matticks, Ellen Ellis, volunteers of the Depot Theater.

Charlie Sent Me
1989-10-26 - 1989-11-11
It was an unpublished musical written especially for radio that was found in a record bin in New York City. The authors agreed that the Museum Repertory Company should perform it.
PERFORMANCE DATES: October 26 – November 11, 1989
CAST: Daisy Durant – Karen Warshaw, Myrna – Amy Reinert, Marshall Heatherington Asbury – Ken Dean, Skeets – Kent Ross, Harrison Heatherington Asbury – Kyle Hager, Charlie LaRok – Jim Johnson, Chauncey – Roger Maas, The Whoopee Girls – Tami Greenberg, Joy Jenkins, Sherry Polkinghorn, Deana Reimer, Frankie Smith
ORCHESTRA/BAND: Music Director – Don Steele, Assistant Music Director – Doug Austen, Percussion – Becky Matticks, Banjo – Sara McFarland, Violin – Mark Choti, Alto Saxophone – Chris Welchel, Clarinet – Joanne Welchel, Trombone – Bill Thomas
CREW: Director – Don Steele, Sound Effects Man – Keith Reimer, Hair/Make up – Johnny Martinez, Costume Design – Carolyn Johnson, Spot Operator – Tyson Reimer, Set Design – Darleen Clifton Smith and Claudia Finley, Light Board Operator – Lyn Yost
MENU: Autumn apple salad, roast beef, mashed potatos & gravy, green beans, pound cake with blueberry sauce

Greater Tuna
1989-04-13 - 1989-04-29
This play is set in the fictional town of Tuna, Texas, the “third-smallest” town in the state. It is at once an affectionate comment on small-town, Southern life and attitudes but also a withering satire of same. The play is notable in that three men play the entire cast of over twenty eccentric characters of both genders and various ages.
PERFORMANCE DATES: April 13-29, 1989
CAST: Thurston Wheelis/Petey Fisk/Stanley Bumiller/Charlene Bumiller/Phinas Blye/Vera Carp/Hank Bumiller – Greg Smith, Arles Struvie/Bertha Bumiller/Leonard Childres/Pearl Burras/Rev. Spikes – Kent Ross, Ronnie/Didi Snavely/Harold Dean Lattimer/Elmer Watkins/Jody Bumiller/Chad Hartford/Yippy/R.R. Snavely/Coach Raymond Chassie/Sheriff Givens – Ken Dean
CREW: Director – Don Steele, Stage Manager – Doug Austen, Assistant Stage Director – Mary Beth Riegel, Technical Director – Lyn Yost, Sound Design/Set Design – Jim Johnson, “Jingles R Us” – Kelly Carooll, Karen Warshaw, Rick Matticks, Becky Matticks, Sound Board Operator/Slide Operator – Keith Reimer, Costume Design – Carolyn Johnson and Rhoberta Wegner, Hair/Make up – Johnny Martinez, Set Design – Lyn Yost, Keith Reimer, Darleen Smith, Claudia Finley
MENU: Tossed salad, grilled steak, baked potato, corn, Texas toast, lemon tart. Catering provided by Faye Trent, Brona Love, Barbara Woodall, Deb White, Darleen Smith, Claudia Finley, Becky Matticks, Ellen Ellis, Sara McFarland, Millly White, cast of Greater Tuna.

Steel Magnolias
1989-02-07 - 1989-02-19
The action centers around Truvy’s beauty parlor and some women who regularly gather there. The drama begins on the morning of Shelby’s wedding to Jackson and covers events over the next three years, including Shelby’s decision to have a child despite having diabetes and the complications that result from the decision. We also get a glimpse of the unlikely friendship between Clairee and Ouiser; Annelle’s transformation from a shy, anxious newcomer in town, to a partying woman, then to a religious fundamentalist; and Truvy’s relationships with the men in her family. Although the main storyline involves Shelby, her mother, and Shelby’s medical battles, the underlying group-friendship among all six women is prominent throughout the drama.
PERFORMANCE DATES: February 7 – 19, 1989
CAST: Truvy – Mary Beth Riegel, Annelle – Jill AUsten, Clairee – Carolyn Johnson, Shelby – Mischel Miller, M’Lynn – Frankie Smith, Ouiser – Sarah Simpson
CREW: Director – Don Steele, Stage Manager – Doug Austen, Assistant Stage Manager – Sara McFarland, Technical Director – Lyn Yost, Sound Design – KC Trauer, Costume Design – Jean Lantis, Set Design – Lyn Yost, KC Trauer, Keith Reimer, Jim Johnson
MENU: Relish plate, smother pork chops, scalloped potatoes, vegetable, bread with butter, red velvet cake. Catering provided by Faye Trent, Brona Love, Barbara Woodall, Deb White, Darleen Smith, Claudia Finley, Becky Matticks, Ellen Ellis.

Olympus On My Mind
1988-10-13 - 1988-10-29
This musical comedy spoof about the mythical god Jupiter relates the story of his transformation from a “wild and crazy god” into a deity of love and compassion. The setting is ancient Greece in the city of Thebes. The Chorus introduces itself with “Welcome to Greece” and Jupiter arrives, weary of life on Mount Olympus, and determined to have an affair with a beautiful mortal woman, the virtuous Alcmene, wife of General Amphitryon who has been away fighting the Spartans. Jupiter, with some help from his son Mercury, disguises himself as Amphitryon and has a romantic involvement with Alcmene. The following day, Amphitryon returns, singing of what a wonderful welcome he is expecting from his wife. When she does see him, the confusion begins.
PERFORMANCE DATES: October 13-29, 1988
CAST: Jupiter (Ruler of the Univers) – Kelly Carroll, Mercury (His son) – KC Trauer, General Amphytrion – George Spelvin, Sosia (Slave to Amphytrion) – Ken Dean, Alcmene (Amphytrion’s wife) – Sara McFarland, Charis (Alcmene’s handmaidern) – Deana Reimer, Delores – Karen Warshaw, Tom – Jim Johnson, Dick – Roger Maas, Horace – Greg Smith, Maxine – Jana Ross, Laverne – Jill Austen, Floris – Amy Reinert
ORCHESTRA/BAND: Music Director/Piano – Kent Ross, Keyboard – Doug Austen, Percussion – Rick Matticks
CREW: Director – Don Steele, Stage Manager – Keith Reimer and Mary Beth Riegel, Set Design – Lyn Yost, Keith Reimer, KC Trauer, Cliff Clifton,Carleen Clifton Smith, Claudia Finley, Costume Design -Carolyn Johnson, Naomi Fenton, Jana Ross, Jim Johnson, Light Board Operator – Lyn Yost
MENU: Greek egg and lemon soup, baked chicken and dressing, green beans, roll with butter, apple cobbler. Catering provided by: Faye Trent, Brona Love, Barbara Woodall, Deb White, Darleen Smith, Claudia Finley, Carolyn Smith, Becky Matticks, Barry Metcalf.

The Foreigner
1988-02-18 - 1988-02-28
The scene is set in a resort-style fishing lodge in rural Georgia. This comedy revolves around two of its guests, Charlie Baker and Englishman Staff Sergeant Froggy LeSueur. Charlie is so pathologically shy that he is unable to speak. As way of explanation, Froggy claims his companion is the native of an exotic country who did not understand a word of English. Before long, Charlie finds himself privy to assorted secrets and scandals freely discussed in front of him by the other visitors. These include a spoiled but introspective heiress and Southern belle Catherine Simms and the man to whom she is somewhat reluctantly engaged (and pregnant by) the Reverend David Lee, a seemingly humble preacher with a dark underside. Her younger brother, Ellard, a chubby and somewhat “slow” boy (often thought of as a young Forrest Gump) was a simpleton who tried to teach Charlie how to speak English. Owen Musser, the racist county property inspector, planned to oust property owner Betty Meeks and convert the lodge into a meeting place for the Ku Klux Klan.
PERFORMANCE DATES: February 18 – 28, 1988
CAST: S/Sgt. Froggy LeSueur – Jim Johnson, Charlie Baker – Kelly Carroll, Betty Meeks – Carolyn Johnson, Rev. David Marshall Lee – Ricky Matticks, Catherine Simms – Jill Austen, Ellard Simms – KC Trauer, Owen Musser – Greg Smith
CREW: Director – Don Steele, Stage Manager/Set Design – Doug Austen, Technical Director/Set Design – Lyn Yost, Costume Design – Dee Miller, Set Design – KC Trauer, Jim Johnson, Barry Metcalf, Jill Austen
MENU: Catering provided by Faye Trent, Brona Love, Barbara Woodall, Deb White, Darleen Smith, Claudia Finley, Beckty Matticks, Kim Masters, cast of The Foreigner.

Baby
1987-10-22 - 1987-11-01
Baby was a musical with a book by Sybille Pearson, music by David Shire, and lyrics by Richard Maltby, Jr. The plot focused on three couples—each newly expecting a child, and each with different but familiar reactions. Liz and Danny were university juniors who had just moved in together. Athletic Pam and her husband, Nick, a sports instructor, had some trouble conceiving. Arlene, already the mother of three grown daughters, is unsure of what to do, contemplating abortion while her husband Alan is thrilled with the thought of a new baby. Throughout the show, these characters experience the emotional stresses and triumphs, the desperate lows and the comic highs, that accompany the anticipation and arrival of a baby.
PERFORMANCE DATES: October 22 – November 1, 1987
CAST: Danny – Brett Reinert, Lizzie – Julie Stapleton, Arlene – Frankie Smith, Alan – Jim Johnson, Pam – Karen Warshaw, Nick – Kelly Carroll, Nurse/2nd Lady – Jill Austen, Doctor/Dean Webber – Ken Dean, Prof. Weiss – Jim Keldsen, Mr. Hart – Roger Maas, 1st Lady – Deana Reimer, 3rd Lady – Mischel Raney
ORCHESTRA/BAND: Music Director/Keyboard – Kent Ross, Keyboard – Doug Austen, Percussion – Ricky A. Matticks
CREW: Director – Don Steele, Stage Manager – Jill Austen, Stage Manager/Set Design/Properties Master – KC Trauer, Set Design/Light Board Operator – Lyn Yost, Set Deisgn – Roger Maas, Barry Metcalf, Sound Design – Mike Nelson, Darleen Smith, Claudia Finley, Costume Design – Dee Miller and Carolyn Johnson
MENU: Catering provided by Faye Trent, Brona Love, Barbara Woodall, Deb White, Darleen SMith, Becky Matticks.

Noises Off
1987-02-26 - 1987-03-08
In his plot for Noises Off, Michael Frayn played on the concept of a play within a play, in this case a parodically dreadful sex comedy titled Nothing On—the type of play in which young girls run about in their underwear, old men drop their trousers, and many doors continually open and shut. Nothing On is set in “a delightful 16th-century posset mil” that has been converted to a modern dwelling for which renters are solicited; the fictional playwright is appropriately named Robin Housemonger. Each of the three acts of Noises Off contains a performance of the first act of Nothing On. Act One is set at the dress rehearsal, the night before opening at the (fictional) Grand Theatre in Weston-super-Mare, with the cast still fumbling with entrances and exits, missed cues, misspoken lines, and bothersome props, most notably several plates of sardines. Then the entire set was rotated to show the backstage area for Act Two. Act Two portrays a Wednesday matinee performance one month later, at the (again fictional) Theatre Royal in Ashton-under-Lyne. In this act, the play is seen from backstage, providing a view that reveals the deteriorating personal relationships among the cast that have led to offstage shenanigans and onstage bedlam. The set is then rotated back for the onstage side for Act Three. In Act Three, we see a performance near the end of the ten-week run, at the (still fictional) Municipal Theatre in Stockton-on-Tees, when personal friction has continued to increase and everyone is bored and anxious to be done with the play. The actors attempt to cover up a series of mishaps but only compound the problems and draw attention to the bungling performance. Much of the comedy emerges from the subtle variations in each version as off-stage chaos affects on-stage performance, with a great deal of slapstick. The contrast between players’ on-stage and off-stage personalities is also a source of comic dissonance.
PERFORMANCE DATES: February 26 – March 8, 1987
CAST: Dotty Otley – Karen Warshaw, Lloyd Dallas – Ken Dean, Garry Lejeune – Kelly Carroll, Brooke Ashton – Mischel Raney, Poppy Norton Taylor – Jill Austen, Frederick Fellowes – Kent Ross, Belinda Blair – Sara McFarland, Tim Allgood – Greg Smith, Selsdon Mowbray – Jim Johnson
CREW: Director – Don Steele, Stage Manager – Doug Autssen, Set Design/Light Design – Lyn Yost, Properties Master/Costume Design – Carolyn Johnson and Anita Adams, Dialogue Coach – Lise O’Neal
MENU: Catering provided by F;aye Trent, Brona Love, Barbara Woodall, Deb White, Carolyn Friess, Mary Nemec, Robert Scott.

Little Shop of Horrors
1986-10-30 - 1986-11-09
Little Shop of Horrors is a rock musical by composer Alan Menken and writer Howard Ashman, about a nerdy florist shop worker who raises a plant that feeds on human blood. The musical is based on the low-budget 1960 black comedy film The Little Shop of Horrors, directed by Roger Corman.
PERFORMANCE DATES: October 30 – November 9, 1986
CAST: Chiffon – Jill Austen, Crystal – Julie Stapleton, Ronnette – Kim Hager, Van Della – Deborah Eades, Mushnik – Jim Johnson, Audrey – Mischel Raney, Seymour – Brian Richardson, Orin – Greg Smith, Everybody Else – Ken Dean, Audrey II Voice – Dean Freeman, Audrey II Manipulation – Richard Guillen
CREW: Director/Choreographer – Don Steele

A Day in Hollywood - A Night in the Ukraine
1986-02-20 - 1986-03-02
This musical comedy was essentially two independent one-act plays, with a book and lyrics by Dick Vosburgh and music by Frank Lazarus. Additionally, songs by other composers were incorporated into the score. The first act – A Day in Hollywood, is a revue of classic Hollywood songs of the 1930s performed by singers and dancers representing ushers from Grauman’s Chinese Theatre, (the lobby even had concrete slabs with the cast & crews feet & handprints!). The second act – A Night in the Ukraine, is loosely based on Anton Chekhov’s one-act play The Bear, and was presented in the style of a Marx Brothers movie.
PERFORMANCE DATES: February 20 – March 2, 1986
CAST: A DAY IN HOLLYWOOD: Ushers – Brian Richardson, Roberta Scott, Mischel Raney, Greg Smith, Karen Warshaw, Jill Austen, Tania Hopkins, Jana Ross, A NIGHT IN THE UKRAINE: Samovar (Groucho) A Moscow Lawyer – Greg Smith, Carlo (Chico) The Italian Footman – Brian Richardson, Gino (Harpo) The Gardner – Karen Warshaw, Mrs. Pavlenko – Roberta Scott, Nina (Her daughter) – Mischel Raney, Constantine (A Coachman) – Ken Dean, Olga (The Cook) – Jana Ross, Sascha (A Maid) – Jill Austen, Masha (A Maid) – Tania Hopkins
ORCHESTRA/BAND: Music Director – Kent Ross, Piano – Sara McFarland, Percussion – Dean Freeman
CREW: Director/Choreographer – Don Steele, Stage Manager – Doug Austen, Properties Master/Light Design – Lyn Yost, Costume Design – Jana Ross, Jill Austen, Tania Hopkins, Set Design – McFarland Inc, Hair/Make up – Johnny Martinez
MENU: Catering provided by Faye Trent, Brona Love, Barbara Wilburn, Kathy Hensley.
