

Spring 2007: Cabaret
Music and Lyrics by: John Kander and Fred Ebb,Book by: Joe MasteroffBased on the play by John van Druten, Based on stories by Christopher Isherwood.
Cabaret was, and still remains, one of the most daringly modern of Broadway musicals; with its overall style and the seediness of the Berlin night-club in which it is set. The goings on at the Kit Kat Klub appear typical of Berlin nightlife in the late 1930's, but they also serve as a metaphor for the chaotic world outside, and the rise of Nazism. Cabaret's director wanted to "present a challenge to audiences conditioned to the jolly predictability of musical theatre". The musical is set in pre-Second World War Berlin. Based on the diaries of Christopher Isherwood, it tells the story of Cliff, a writer, and his acquaintance with a cabaret performer, Sally Bowles, whom he meets in the sordid 'Kit Kat Klub'. It has a sub-plot of a Jewish couple Fraulein Schneider, and Herr Schultz, who have to come to terms with the uncertainty of their future together. The story is emphasized throughout by the eccentric and sometimes camp 'Emcee', played superbly in the film version by Joel Gray.
Master of Ceremonies
Kit Kat Girl
Kit Kat Girl
Kit Kat Girl
Kit Kat Girl
Kit Kat Girl
Kit Kat Girl
Kit Kat Girl
Kit Kat Girl
Waiter
Waiter
Waiter
Waiter
Waiter
Waiter
Waiter
Clifford Bradshaw
Ernst Ludwig
Customs Officer
Fraulein Schneider
Fraulein Kost
Herr Schultz
Sally Bowles
Sailor
Sailor
Sailor
Sailor
Sailor
Telephone Girl
Max
Lady
Lady
Tenor Soloist
Gorilla
Brute
Brute
Tré Tennyson
Forrest Gladstone
Leah Goldman
Tucker Harris
Kathleen Laird
Leigh Rossi
Peyton Rothwell
Ashley Tucker
Carol Anna Van Deventer
Brendt Harris
David Leon
Chris Moneymaker
Justin Paxton
Nathan Rogers
Malcolm Stevenson
Mark Williams
Danny Cackley
Sam Rabinovitz
Chris Moneymaker
Caroline Ryon
Carol Ann Van Deventer
Jordan Yonce
Anne Larimer Hart
Brendt Harris
David Leon
Justin Paxton
Nathan Rogers
Mark Williams
Peyton Rothwell
Mark Williams
Tucker Harris
Malcolm Stevenson
Nathan Rogers
Brendt Harris
Christ Moneymaker
Nathan Rogers
Cast
Pit
Music Director
Piano
Trumpet
Trumpet
Alto Sax
Tenor Sax
Flute
Flute
Clarinet
Percussion
Bass
Joe Hodge
Renee Gruber
Joey Wyatt
Ben Holmes
Josh Dugat
Rachel Brown
Allison Sheaver
Christina Joo
Brynn Ritchie
Mark Benson
Matt Shuster
Tech Staff
Asst. Technical Director
Asst. Technical Director
Asst. Technical Director
Stage Manager
Stage Manager
Set Designer
Asst. Set Designer
Master Carpenter
Asst. Carpenter
Lighting Designer
Master Electrician
Asst. Electrician
Props Mistress
Sound Designer
Sound Manager
Costume Designer
Hair/Make-Up Designer
Co-Painter
Co-Painter
Run Crew Chief
Run Crew Chief
Tech Crew Member
Tech Crew Member
Tech Crew Member
Tech Crew Member
Tech Crew Member
Tech Crew Member
Tech Crew Member
Tech Crew Member
Tech Crew Member
Tech Crew Member
Tech Crew Member
Tech Crew Member
Tech Crew Member
Tech Crew Member
Tech Crew Member
Tech Crew Member
Tech Crew Member
Tech Crew Member
Tech Crew Member
Tech Crew Member
Tech Crew Member
Tech Crew Member
Tech Crew Member
Tech Crew Member
Tech Crew Member
Tech Crew Member
Tech Crew Member
Tech Crew Member
Tech Crew Member
Tech Crew Member
Jimmy Bishop
Bryce Griffler
Rebecca Mahon
Lauren Davis
Lauren Paullin
Mary Becica
Miles Morrison
Caleb Erikson
John Pappas
Wes Young
Katherine Pfister
Lisa Harbin
Kate Resta
Jamie Coupar
Kate Howling
Erin Moran
Sarah Edwards
Laura Fakhry
Erika Atzl
Sarah Morgan
Adam Smith
David Barnes
Christine Conners
Bailey Disselkoen
Nicole Fields
Susan Fisher
Jimmy Gross
Megan Hanrahan
Laura Harris
Russ Hicks
AJ Johnson
Rebecca Koslover
Jessie Lawler
Ryan Logue
Julia Moonves
Desiré Moses
Kelsey Mosley
Sydney Provence
Janice Reade
Joey Romeo
Jenn Root
Sarah Rosenthal
Sean Rowan
Chris Shuptrine
Will Slusher
David Solomon
Kimberly Steimel
Casey Stein
Laura Wagner
Kate Welch
Liz Zipperle
Director
Asst. Director
Asst. Director
Vocal Director
Asst. Vocal Director
Choreographer
Asst. Choreographer
Asst. Choreographer
Asst. Choreographer
Music Director
Mark Gray-Mendes
Harrison Gibbons
Erin Lynn Heath
Mike Wilber
Sara Dougadir
Monica Talley
Matt Baer
Lee Kelly
Katie Smith
Joseph Hodge
Artistic Staff
Production Staff
Producer
Asst. Producer
Business Manager
Asst. Business Manager
Technical Director
Fundraising Chair
Publicity Chair
Social Chair
Social Chair
Social Chair
Historian
Historian
Historian
James Villarrubia
Meghan Knoll
Emily Riggs
Adam Smith
Laura Beauchesne
Suzanne Casey
Laura Fakhry
Jeremy Arthur
Colleen Berry
Matt Fletcher
Ryan Cleary
Matthew Lukens
Jamie McCelland
Director's Notes
Welcome one and all to tonight’s performance of CABARET! Before I get started here, I’d like to thank each and every one of you sitting in the audience this evening simply for choosing to be here tonight. What you see before you tonight is the product of the hard work of twenty-one exceptionally talented cast members, ten devoted and committed artistic staffers, a diligent and hard-working technical staff, a melodious orchestra, and an entire organization uniting in the pursuit of one goal: to bring you this show on this night. Without an audience, what we do tonight is not theatre, and so you are just as much as a part of this experience as any of us.
Many people approach me asking me exactly what CABARET is about. Chances are they’ve heard of it, and some of them have heard a few of the songs from the show. However, I don’t believe that it’s possible to do justice to what CABARET is about in a space such as this. For one thing, I would be arrogant if I claimed to understand the show fully and completely. I’ve been studying this show for over three years now, having performed in it during my freshman year at Virginia Tech, and to this day I still discover nuances and themes that I’d never encountered before.
I believe that, more than anything else, this show speaks to the theme of avoidance. We as University students enwrap ourselves in the safety blanket of college life on a daily basis, finding comfort in the things that we do to avoid the realities of the world outside Grounds. In much the same way, people like you and me go to the theatre to engage ourselves in a world that is not our own; a world outside Grounds. In much the same way, people like you and me go to the theatre to engage ourselves in a world that is not our own; a world absent of the troubles that we face every day. I encourage you, for this reason, to allow yourself to be enveloped by the illusion of the Kit Kat Klub, for “in here, life is beautiful – the girls are beautiful – even the orchestra is beautiful”. Forget your exams, your readings, your papers, and enjoy the show.
As a graduating fourth-year student, this show essentially represents my swan song, my goodbye to the University of Virginia. I have been lucky enough in my brief three-year career here to be affiliated with some tremendous organizations: the Virginia Glee Club, whom I thank for teaching me the value of unconditional brotherhood; the University Singers, whom I thank for showing me the power of horal excellence; Spectrum Theatre, whom I thank for the opportunity to direct The Fantasticks last fall; and Shakespeare on the Law, whom I thank for introducing me to one of the most powerful pieces of theatre to ever grace the stage.
It is appropriate, however, that I should end my career here with this group, this marvelous organization committed to a set of goals that I believe in with all of my heart. First Year Players isn’t just about putting together a spectacular show. More importantly, it is about the formation of a community of individuals, dependent upon each other from start to finish, to create something in which the group as a whole can take collective pride. It’s about extending an open hand to anyone who wants to be a part of the group, regardless of talent or experience or social skills. It’s about taking what the group has to offer and then giving back to it, something which I hope that I’ve been able ot do with this endeavor. Most of all, it’s about having fun, and tonight you have the opportunity to experience the fun that we have in creating this show.
To that end, there are countless individuals who deserve thanks for their contributions to this show and to making it happen. I can’t get to everyone in this space, but I will do the best that I can.
First and foremost, I thank First Year Players as an organization for giving me the opportunity to bring this show to the University community, and for everything that it has given me throughout my three years here. I thank the Production Staff for everything that they have done to make this show a possibility and for the support that they have given to every aspect of the show.
I owe a tremendous debt of gratitude to my supremely talented Artistic Staff. Most of what you see onstage tonight is the direct result of their tireless effort in teaching the nuts and bolts of the songs, dances, and scenes to the cast. You all never cease to amaze me.
I thank the cast for the relationships that I’ve build with many of them and for the countless hours of hard work learning and putting together this show. I sincerely hope that this has been an experience that you will be able to take pride in for the rest of your life. I also hope that you have, through the vehicle of this process, made a few friendships that will last a lifetime.
I also would like to thank the technical Staff – words cannot express the amount of gratitude that I have for the work that you’ve put into this show. Lighting, sound, costumes, woodwork, makeup, set design, paint, and a million other things that perhaps even I don’t know about… you all are the people who have made the magic happen, and for that I am eternally grateful. It has been truly a pleasure to work so closely with you all.
A few individual people worth special note:
My best friend, Brian Bartoldus, for making me realize that I’m worth something.
My partner in crime, AJ Johnson, for following his dream and helping me follow mine.
My producer, James Villarrubia, for helping me through every crisis that has come along,
My girlfriend, Jamie Coupar, for believing in me and for always being there for me.
My brother, John Rogers, for teaching me the value of faith.
My inspiration, Walt McGough, for encouraging me to try again.
My teacher, Kathie West, who forced me to audition for TJ Drama and who taught me how to keep the faith and take care of each other.
And most importantly, my parents, for their constant and unwavering support throughout all my endeavors in my twenty-one years on this Earth. Thank you and I love you.
So now I’m finally finished…except for a few things. I ask that you be honest with us about this show. If you loved it, tell the cast how much you loved them. If you hated it, tell me about why. If you didn’t get it, feel free to ask me anything about it. A group will never get any better at what it does unless it is honest with itself about what it does. And also… many of you in the audience have been affiliated with this organization in the past. Come back. We miss you.
And now I’m really finished…except… just kidding. Enjoy the show!
--Mark Gray-Mendes
Producer's Notes
FYP is an organization that was founded out of a love for theatre, but continued on by our love for each other. Cabaret marks the 48th production in FYP’s long history: such is the strength of our love and our friendship. I am very proud o associate myself with such a wonderful group of people, and I am very proud of this year’s spring production.
But love and friendship will only go so far. Dedication, hard work, and leadership are cultivated in this organization as much as anything else. Without strong student leaders to direct, design, and plan every aspect of our shows, we would fall apart. I cannot possibly name every person who has contributed to this show, but there are a few people that deserve particular recognition. Our director, Mark Gray-Mendes, with his talented staff, has made a beautiful, inspiring, polished, final product. Our Business manager, Emily Riggs, has applied a new vigor and professionalism to the position and has prepared the organization, not only for the next semester, but for years to come. Our Assistant Producer, Meghan Knoll, has confidently led the group through several difficult situations. Our Technical Director, Laura Beachesne, has handled new technical challenges with strength and grace. And I finally must recognize the FYP elders of “358,” who have been superb resources and support this entire semester.
Finally, I must recognize the first years – ultimately Cabaret is their show. They are all so very talented, and I expect great things from each and every one of them for years to come.
Thank you, all for coming and supporting FYP. Please, enjoy the show!
--James Villarrubia, Producer