Brecht-Fest with Weill
Interterm, 2003
Director
Steven Kent

Scenic Designer
Dr. David Flaten

Musical Director
Dr. Scott Farthing

Costume Designer
Maro Parian

Assistant Director
Ivica Bojcic

Acting Coach
Jane Dibbell

Lighting Designer and Choreographer
Jessica Wotherspoon
Stage Managers
Anthony Guerrero
Margaret Tipton

Cast of Characters
Mack
Sharlene “Shar” Church
Celia Jo Price
Raoul
Simone Sinclair
Angela C. Swallows
Lou
Schroeder Munro
Guido Sticks
Katherine “Kat” Brodie
Colin Hunter
Clive Dextrous
Mattie Lynn “Peaches” Tucker
Bebe Chiffon
Deja
Elysse Dupris
Gaby Leigh
Ashton Lundia
Claudia Mayfair
Tuesday Parker
Francesca Yalanna
Tyler Zuckerman

Chris Smith
Christina Massengale
Margaret Tipton
Eli Hernandez
Samantha Chung
Jonathan Serret
Nicholas Pulido
Scott Farthing
Steve Biondo
Jessica Wotherspoon
James Darrah
Anthony Guerrero
Siddeeqah Shabazz
Adrianna Ortega
Ayanna Moultrie
Sarah Morales
Brianna Roth
Bjana Washington
Melissa Stahly
Sylvia Alheli Torres
Whitney Wickham
Scott Alley
Support Staff
Technical Director
Light Board Operator
Followspot Operators
Projections
Lighting Crew



Construction Crew
Elizabeth Pietrzak
Melissa Lau
Rebecca Campana and Sylvia Alheli Torres
James Darrah
Rebecca Campana, Jonathan Serret, Chris Smith, Melissa Lau, Sylvia Alheli Torres, Brianna Roth, Melissa Stahly, Sarah
Morales
Rebecca Campana, Mary Himes, Mike Harrington, Melissa Lau, and the Company


A Letter from Mack...

Why Cabaret? Why not travel on an "emotional journey" with characters who are nothing like the people you see outside of a 4,000 seat theatre? Why not be spoon-fed chewed-up emotion from second-rate actors? I think my point is clear. For years I failed to see the value of theatre performances turned into a mush that barely slid down an intelligent observer's throat, yet rested comfortably in those who adhered to the common day "theatre etiquette"; leaving their logic in the coat room, tucked neatly inside their expensive jacket. What makes those actors think their audience has no ability to reason? They cry to show the audience that they can cry, they laugh on cue to show that they have a sense of humor, and they tighten their muscles to show that they are angry.

What's worse is the audience. The audience cries because the actor is crying, with no regard for the injustice the playwright intended to be realized; therefore, nothing gets done. They laugh because the actors laugh, without regard for the satirical tone, thus turning a mirror into a window. Again, nothing gets done. Their calves tighten as they slide to the edge of their seats in perception of a character's anger; hoping that if they are close enough they will understand what causes anger.
The audience thinks that because the events are presented to them, they aren't supposed to think - all interpretation has been done for them. To this, I ask, has a man the right to offer others a plate that he has already eaten himself?
I already know that everyone will enjoy our performances, but I challenge every person who steps in the door to analyze everything they hear at my club; not the performer's ability as a performer, but as a messenger.
The writing is insightful, yet so beautiful that I challenge everyone to appreciate the beauty without floating over the insight. Don't forget that you are allowed to have an opinion!But also don't forget to have fun. If you know the songs, sing with us. If you find the rhythm, clap to it. Cheer, snap, clap, and smile, just make sure you are thinking all the while.

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