WIZARDLe Magicien d’Oz

The

OFOZ

WWW.GAOS.CH

2017Friday

1 December at 20.00

Saturday2 December at 14.00 & 18.30

Sunday3 December at 15.00

THE WIZARD OF OZis presented by

arrangement withTAMS-WITMARK

MUSIC LIBRARY, INC.560 Lexington Avenue

New York 10022United States of America

MUSIC & LYRICS FROM THE MGM MOTION PICTURE THÉÂTRE DU LÉMAN

19 Quai du Mont-Blanc1201 Geneva

GENEVA AMATEUR OPERATIC SOCIETY

SCORE BY HAROLD ARLEN AND E.Y. HARBURG BACKGROUND MUSIC BY HERBERT STOTHARTBY L. FRANK BAUM ADAPTED BY FRANK GABRIELSON

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On behalf of the Society it gives me great pleasure welcoming you back to the splendour of the Théâtre du Léman for the timeless classic The Wizard of Oz. This year, instead of our traditional pantomime, we have chosen The Wizard of Oz due to its overwhelming appeal to the young and not so young, be they Anglophone or Francophone.

Frank Baum wrote the children’s classic The Wonderful Wizard of Oz in 1900, and in 1939 Metro-Goldwyn-Mayer cast Judy Garland as Dorothy Gale, a young girl from Kansas, who with her dog Toto, become lost during a tornado, and end up in a world of magical fantasy. Immediately following the end of the Second World War,

The Wizard of Oz opened in the West End in 1946. Like the film, the theatre production was a huge success and after two years, went on to tour the United Kingdom. Dorothy was played by a young actress named Diana Yardley. It just so happens that Diana’s niece is a member of GAOS, so when Diana heard that we were producing “her show”, she wanted to come over to Geneva to support us and to meet “our Dorothy” and the cast. Thank you, Diana - we are honoured to have you with us on Saturday as our very special VIP guest, and we are all looking forward to hearing your anecdotes of the challenges of touring the UK with over 100 people in the 1940s.

Since then scholars of many disciplines have given their views what Baum was trying to say through the characters and scenery used in his story. But whichever theory you find the most convincing, I hope you share our view that it is story to capture the imagination, and transporting us to a land far away from our own particular reality.

Our Directors, together with a talented cast of adults and over 20 children, have been working hard over the past few months to bring you tonight’s performance. They are supported by equally talented musicians, back stage crew, light and sound teams, costume designers and fitters, make-up teams, the list just goes on – reaching in excess of 100 people off stage (not forgetting our front of house team) - who together are in our minds when we applaud the cast and orchestra on the final curtain call.

It always makes be feel proud when people come up to congratulate GAOS on yet another professional production. That’s been our aim since our foundation in 1971 – and as amateurs, which simply means we’re not paid for what we do, we’re keenly aware of the many choices people have in spending their time and money.

So before you sit back to enjoy the show, I would like to conclude by extending the Society’s warm wishes to you all for a Merry Christmas and a Healthy New Year, and we look forward to seeing you again for our production of South Pacific at the Casino Theatre in May 2018.

Edward BrownChairman

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THE DIRECTORS

Liz Williams, Di Brown and Carolyn Hornfeld at the Théâtre du Léman.

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KATIE JOHNSON - Musical DirectorKatie is a choral director and accompanist from Houston, Texas. Prior to moving to Geneva, she directed choirs at St. Luke’s United Methodist Church and Cypress Falls High School in her home town. She holds a Bachelor of Music Education degree, as well as a Master of Arts in Teaching and a Master of Music in Choral Conducting. This is her fifth GAOS production, having most recently musically directed Legally Blonde (August 2017).

Currently, she is the choir director at the Church of Scotland and a singer for the band The Nyon Lights, and she also appears daily at her home performing a variety of nursery rhymes, musical theater tunes, and the latest pop hits for her one-year-old daughter. She would first like to thank her wonderful husband whom she has ignored to focus on the show. She thanks the director trio, the production team, and the cast for all their hard work and dedication. She would especially like to thank the orchestra for lending their talents and time to help make The Wizard of Oz a success. And finally, she is forever in the debt of her Assistant Musical Director, Keith, for all of his advice, support and piano-playing over the last three months.

KEITH HAYWARD Assistant Musical DirectorOriginally from the UK, Keith has been involved in musical theatre for many years. Having moved to Geneva in 2016 (via Iceland and France) and played in the band for Puss in Boots and Let’s Face the Music, this is his first GAOS show as part of the production team. Previous experience includes: musical director of Little Shop of Horrors (Edinburgh University Footlights/

Pleasance Theatre), The Pirates of Penzance (Newcastle University Gilbert & Sullivan), West Side Story, Incognito, Pantivity and The Wizard of OZbornes (Newcastle University Theatre Society); assistant musical director of Cabaret, Chicago, Hot Mikado and The Pirates of Penzance; conductor of Edinburgh University Wind Band for tours of Scotland and Germany/Czech Republic. Keith has also played as a pit musician in over thirty shows for various theatre companies on either clarinets/saxes or keyboards including: 42nd Street, Avenue Q, Bugsy Malone, Company, Evita, Guys & Dolls, Legally Blonde, Les Misérables, Some Like it Hot, The 25th Annual Putnam County Spelling Bee and The Threepenny Opera.

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BINDU KAPUR - Children’s choreographerTwenty years ago, Di and Carolyn cast Bindu in her first GAOS show as an “Angel” in Anything Goes and shortly after that as a “Hot-Box Girl” in Guys & Dolls. After a long break from GAOS and Switzerland, Bindu was thrilled (and quite surprised) when in 2013 the Di, Liz & Carolyn trio cast her as “a murderess” in Chicago (one of her dream roles). Since then, Bindu has been

active in GAOS, appearing in CATS, Cabaret and as a snooty “Snow White” in Once Upon a Time. Recently she has enjoyed various off-stage roles, including choreographer and as one of the directors for last year’s panto, Puss in Boots. Bindu was honored when the trio asked her to be the children’s choreographer for The Wizard of Oz. She would like to thank her daughter Brielle for having helped create the dances, Cheryl and Lauren for all their support and input and, of course, the fabulous cast of kids for working so hard. Bindu is also grateful to her husband, Bryce, and son, Bryden, for putting up with all her absences so that she could be part of The Wizard of Oz cast and production team.

Three of the stage managers—David Wrigley, Norman Beveridge and Rodney Gill with the chief set painter, John Fox (in cap).

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WHO WAS L. FRANK BAUM?L. Frank Baum (1856–1919) was an American author chiefly famous for The Wonderful Wizard of Oz and its sequels. He wrote a total of fourteen novels in the Oz series, plus many other novels, short stories, poems and stage scripts. He made numerous attempts to turn his works into film. After his death, the 1939 adaptation of his book for the cinema would become a landmark.

Baum grew up in Mattyville, a suburb of Syracuse, New York, on his parents’ expansive estate called Rose Lawn, which he fondly recalled as a sort of paradise. Frank was a sickly, dreamy child, tutored at home with his siblings. From the age of 12, he spent two miserable years at a military academy but, after being severely disciplined for daydreaming, was allowed to return home. Baum started writing early in life, and in 1886, when he was 30 years old, published his first book. He had a lifetime infatuation—and wavering financial success—with the theatre. In 1880, his father built him a theatre in Richburg, New York, and Baum set about writing plays and creating a company to act in them. While he was touring with one of his plays, the theatre in Richburg caught fire during a production of his ironically titled drama Matches, destroying the theatre, many of Baum’s scripts (including Matches), as well as costumes. In 1882 Baum married Maud Gage. In 1888, they moved to Aberdeen, Dakota Territory (not yet a state) where he opened a store called “Baum’s Bazaar”. His rash habit of giving credit led to bankruptcy. He then turned to editing the local newspaper, which also failed in 1891. Baum, Maud and their four sons then moved to Chicago, where he took a job reporting for the Evening Post. He also worked as a traveling salesman. In 1897, he wrote and published Mother Goose in Prose, which was a moderate success and allowed him to quit his jobs. In 1899, Baum partnered with illustrator W.W. Denslow to publish Father Goose, His Book, a collection of nonsense poetry. The book became the best-selling children’s book of the year. In 1900, Baum and Denslow (with whom he shared the copyright) published The Wonderful Wizard of Oz with great financial success. The book was the best-selling children’s book for two years. Baum went on to write thirteen more novels based on the places and people of the Land of Oz. He dedicated the book “to my good friend & comrade, My Wife, Maud Gage Baum”. In January 1901, a total of 10,000 copies of the first edition were printed, which quickly sold out. By the time it entered the public domain in 1956, this book had sold three million copies. Baum suffered a stroke and died on 6 May 1919 in Hollywood, California. His final Oz book, Glinda of Oz, was published posthumously in 1920. The Oz series was continued long after his death by other authors, notably Ruth Plumly Thompson, who wrote an additional nineteen Oz books.

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THE WIZARD OF OZ: THE BOOKThe Wonderful Wizard of Oz is one of the best-known stories in American literature and has been widely translated. The Library of Congress has declared it “America’s greatest and best-loved homegrown fairy tale”. Baum’s avowed intentions with the Oz books and other fairy tales was to retell stories like those found in the works of the Brothers Grimm and Hans Christian Andersen, to situate them in an American vein, to update them, avoid stereotypical characters such as dwarfs or genies, and remove the association of violence and moral teachings. Another traditional element that Baum intentionally omitted was the emphasis on romance. He considered romantic love to be uninteresting as well as largely incomprehensible for young children.

The Wonderful Wizard of Oz was illustrated by Baum’s friend and collaborator W.W. Denslow, who also co-held the copyright. The design was lavish for the time, with illustrations on many pages, backgrounds in different colours, and several colour plate illustrations. In September 1900, The Grand Rapids Herald wrote that Denslow’s illustrations are “quite as much of the story as in the writing”. In the newspaper’s opinion, had it not been for Denslow’s illustrations, the readers would be unable to imagine the figures in the story.

Political interpretations of The Wonderful Wizard of Oz include treatments of the modern fairy tale as an allegory or metaphor for the political, economic, and social events of America in the 1890s, and emphasize the close relationship between the visual images and the story line to the political interests of the day. In a 1964 article, educator and historian Henry Littlefield outlined an allegory in the book of the late nineteenth-century debate regarding monetary policy. According to this view, for instance, the Yellow Brick Road represents the gold standard, and the silver slippers (ruby in the 1939 film version) represent the Silverite sixteen-to-one silver ratio!

Historian Quentin Taylor claimed that Dorothy—naïve, young and simple—represents the American people. She is Everyman, led astray and seeking the way back home. Moreover, following the road of gold leads eventually only to the Emerald City, which may symbolize the fraudulent world of greenback paper money that only pretends to have value. It is ruled by a scheming politician (the Wizard) who uses publicity devices and tricks to fool the people (and even the Good Witch) into believing he is benevolent, wise, and powerful when, in reality, he is a selfish, evil humbug. Taylor sees additional metaphors, including the Scarecrow as a representation of American farmers and their troubles in the late nineteenth century, the Tin Woodman representing the industrial workers, especially those of American steel industries, and the Cowardly Lion as a metaphor for William Jennings Bryan, a U.S. politician who was Secretary of State from 1912 to 1915.

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Geneva English Drama Society presents

THE IMPORTANCE OF BEING EARNESTby Oscar Wildedirected by Jenny Buf�e

27 February- 3 March, 2018Théâtre de l’Espérance, Geneva

Tuesday to Friday 8 p.m. - Saturday 7 p.m.

www.theatreinenglish.ch www.geds.ch

THE WIZARD OF OZ: THE STAGE SHOWTwo years after the first publication of The Wonderful Wizard of Oz as a book, Baum and Denslow teamed up with composer Paul Tietjens and director Julian Mitchell in 1902 to produce a musical stage version directed by Fred R. Hamlin. Hamlin, producer of the Grand Opera House in Chicago, is said to have taken on the play because the word “Wizard” was in the title. Apparently, his family made a fortune with the medical tonic, Hamlin’s Wizard Oil.

This stage version opened in Chicago in 1902 (the first to use the shortened title The Wizard of Oz), then ran on Broadway from January to October 1903. It returned to Broadway in 1904 and successfully toured the United States with much of the same cast until 1911.

This stage version differed quite a bit from the book. It was revised to suit adult preferences and was crafted as a “musical extravaganza”, with the costumes modeled after Denslow’s drawings. Toto was replaced with Imogene the Cow, the Wicked Witch of the West was eliminated entirely in the script, and the plot became about how the four friends were allied with the usurping Wizard and were hunted as traitors to the rightful King of Oz. It appears that many of the changes to the script were written by Baum against his wishes due to contractual requirements with Hamlin. Jokes in the script called for explicit references to President Theodore Roosevelt, and oil magnate John D. Rockefeller. For example, the Tin Woodman wonders what he would do if he ran out of oil. “You wouldn’t be as badly off as John D. Rockefeller“, the Scarecrow responds, “He’d lose 6,000 dollars a minute if that happened.”

Among the many musical theatre adaptations based on the book, two have used the songs from the 1939 film version. In 1945, the St. Louis Municipal Opera (MUNY) created a version with a script adapted by Frank Gabrielson from the novel, but it is influenced by the motion picture screenplay. It uses most of the songs from the film. This was followed, in 1987, by a Royal Shakespeare Company (RSC) adaptation designed to recreate the film version. The script closely follows the film’s screenplay, and it uses nearly all of the film’s music. Both the MUNY and RSC adaptations have been revived numerous times in the U.S. and U.K.

A 1965 stage version was a collaboration of Tim Rice with Andrew Lloyd Webber. Rice and Lloyd Webber added several new songs to the film’s score. In 2010, Lloyd Webber told the Daily Mail, “The fact is that The Wizard of Oz has never really worked in the theatre. The film has one or two holes where in the theatre you need a song. For example, there’s nothing for either of the two witches to sing. Tim and I are doing quite a specific thing, because we know what’s missing.”

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PLOT SUMMARYDorothy returns late from school with her dog Toto to the Kansas farm where she lives with her strict but loving Aunt Em and preoccupied Uncle Henry, who today is worried about an approaching tornado (a “twister”). The twister arrives and sweeps Dorothy and Toto away in the farmhouse.

The farmhouse slides down the rainbow and lands in Munchkinland, crushing the Wicked Witch of the East. The Mayor and villagers discover the farmhouse with Dorothy and Toto inside. The good Sorceress of the North meets Dorothy, while the Munchkins celebrate that the Wicked Witch is dead. Dorothy wants to go home to Kansas, but the Sorceress explains that only the Great Oz, who lives in the Emerald City, can grant her wish. She bestows on Dorothy the ruby slippers to protect her on her way. The Wicked Witch of the West appears, and vows to avenge the death of her sister, the Witch of the East, and to foil Dorothy’s plan to reach the Emerald City. Dorothy sets out and meets the Scarecrow in a cornfield, who joins her to ask the Great Oz for a brain.

Together they discover the rusting Tin Woodman in an apple orchard, who wants to go along to ask the Great Oz for a heart. The trio pass through a scary forest, where they meet the Cowardly Lion. They convince him to come along and ask the Great Oz for courage. The four friends are attacked by the Jitterbugs and only escape when Dorothy summons the Sorceress to their aid.

They reach the Emerald City and request to see the Wizard who demands that they kill the Wicked Witch of the West before he will grant their wishes.

The magic screen of the Wicked Witch of the West reveals the four companions approaching. The Witch has her ghost-henchmen spirit Dorothy away and plots her revenge. The Scarecrow, Tin Woodman and Lion enter the castle searching for Dorothy and are likewise abducted. The plot thickens as the Witch shows Dorothy her planned demise in the cauldron. The three friends, having escaped from captivity, appear disguised as ghosts and surprise the Witch; they maneuver her into the cauldron where she shrinks away.

Back in Emerald City, the friends are dismayed that the Great Wizard won’t meet them after their triumph. Their vehement demands result in the Wizard’s arrival. His frightening visage is revealed to be an illusion: he turns out to be a kindly old con man — in fact, a “humbug”! He duly rewards the Scarecrow, Tinman and Lion, and agrees to take Dorothy back to Kansas in his “magical travel machine”! Dorothy says goodbye to her new friends as she leaves with the Wizard.

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RESUMETante Em et oncle Henry sont inquiets, Dorothée tarde à rentrer de l’école alors qu’un cyclone menace. La voilà enfin. Tout le monde se met à l’abri mais Dorothée veut vite récupérer son chien dans la maison.

La tornade emporte la ferme qui atterrit au pied d’un arc-en-ciel dans le pays des microsiens écrasant du même coup la méchante sorcière de l’Est. Le maire et les villageois découvrent la ferme avec Dorothée endormie à l’intérieur. La gentille sorcière du Nord vient faire la connaissance de cette étrangère alors que les villageois fêtent la mort de la méchante sorcière. Dorothée aimerait rentrer à la maison mais la sorcière lui explique que seul le Grand Oz peut réaliser son vœu et que pour le trouver, il lui faut aller à la Cité d’Emeraude. Puis elle lui donne les chaussures ruby pour la protéger. Apparaît la méchante sorcière de l’Ouest qui ne l’entend pas de cette oreille, bien décidée qu’elle est à venger sa sœur en faisant échouer les plans de Dorothée. Dorothée se met en route et rencontre l’Epouvantail qui se joint à elle pour demander un cerveau au Grand Oz.

Ensemble, ils découvrent un Homme de Fer rouillé dans un verger qui veut les accompagner pour obtenir un cœur. Le trio traverse une forêt effrayante et y rencontre le Lion sans Courage. Les trois amis le convainquent de les suivre pour demander du courage au Grand Oz. Une attaque de drôles d’insectes les surprend. Ils sont sauvés par Dorothée qui cliquent ses chaussures ruby.

Enfin, ils atteignent Emerald City où ils demandent une audience au Grand Oz. Celui-ci leur promet son aide à la condition qu’ils tuent la sorcière de l’Ouest.

Sur son écran magique, la sorcière de l’Ouest voit les quatre compagnons qui s’approchent. Elle enlève Dorothée et prépare sa vengeance. L’Homme de Fer, l’Epouvantail et le Lion sans Courage sont à leur tour enlevés mais ils réussissent à s’échapper. Déguisés en fantôme, ils retrouvent Dorothée et ensemble, ils déjouent les plans de la Sorcière. Tel est pris qui croyait prendre.

De retour à la Cité d’Emeraude, les quatre amis sont consternés par le refus du Grand Oz de les recevoir. Ils protestent tant et si bien qu’il finit quand même par se montrer. Son apparence effrayante se révèle n’être qu’une simple illusion. Pourtant, il va donner à chacun ce qu’il a demandé et va ramener Dorothée au Kansas dans sa machine magique.

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THE CAST

Dorothy NOA COHEN-DUMANISorceress of the North GENEVA HOLLOMAN

Wicked Witch of the West GEN STEELEWizard of Oz DAVID PITTUCK

Scarecrow PATRICK McDONALDTin Woodman DANIEL BAKERCowardly Lion LARRY WAGNER

Aunt Em CHRISTINA CONTI*Uncle Henry STANLEY TAYLOR*

Gloria WENONA ARNDTLord Growlie STUART RIGBY*

Joe THIBAUT SCHAERERZeke ALEXANDRE VERNACCHIO*

Hickory BÉAT ZUMBACH*Munchkin Mayor/Tibia SUNIL CHAKO

Munchkin Farmer MARK CLAYTONMunchkin Coroner ERIC RICHARDSON

Mombi BINDU KAPURSarah CHRISTINE BLOM*

First General DEYAN MARINOVToto PUDSEY

* Understudying a principal role

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ENSEMBLEJamel Abidallah, Lamia Al-Saud, Stephen Anderson, Wenona Arndt, Kathrin Baetschmann, Christine Blom, Cloda Boyle, Sunil Chacko, Mark Clayton, Manuela Consoli, Christina Conti, Ciara Goldstein,

Maria Jensen*, Karin Kaminker, Bindu Kapur, Deyan Marinov, Penny Morris, Céline Peiretti, Nicki Power, Eric Richardson, Stuart Rigby, Thibault

Schaerer, Annie Schmid, Lynda Shaw, Stanley Taylor, Alexandre Vernacchio, Helen Weir, Maureen Wittig-Judge, Béat Zumbach

CHILDREN’S ENSEMBLEPola Aleksandrowicz, Liam Arndt, Kathrin Atner, Majken Bridges,

Brielle Campbell, Ella Campbell, Thea Cartwright, Amélie Christie, Max Clark, Sophia Conti, Iris de Boer, Myriam de Martel, Olivia Doebeli,

Léonie Glege, Elizabeth Lally, Alice Meyerhans-Brown, Juliette Rigby, Anna Sanchez, Andrea Schmidt, Aurore Stamatiadis, Maxwell Wagner, Zane Wagner

THE BAND

Back row: Daniele Fiori (Cello); Patrice Piguet (Flute); Steve Pavis (Trumpet 1); Keith Hayward (Keyboard); Allan Hopper (Trombone);

Pedro Marques (Violin); Kathryn Watson (Bassoon); Katie Johnson (Conductor); Massimiliano La Marca (Bass).

Front row: Miriam Blumenschein (Oboe); Kirby Bivans (Percussion); Bryce Campbell (Trumpet 2); Kate McCullough (Violin);

Sian Humphreys (Clarinet); Chris Garland (Horn).

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DIANA YARDLEYAmong our audience for the evening performance on Saturday, 2 December will be Diana Yardley, a sprightly 94-year-old. She played the role of “Dorothy” on the London stage from 1946 to 1949 in The Wizard of Oz. This was the first West End production based on the film starring Judy Garland, with a company of over 100. The production toured all over the United Kingdom through to 1949, when it returned to London. In those days there were two performances a day and no individual microphones.

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THE PRINCIPALSNOA COHEN-DUMANI – DorothyNoa is 16 years old and studies at Collège du Léman international school. She discovered her passion for musical theatre when she was a little girl, having been a member of the Simply Theatre academy to this day. She has appeared in several musicals such as Hairspray, Barnum, Bugsy Malone, Pirates of Penzance, Shrek and was recently “Elle Woods” in GAOS’s youth show Legally Blonde. She is absolutely honoured to take part in this production as “Dorothy”, and hopes that you enjoy the show!

DAVID PITTUCK – The Wizard of OzAt the end of this show, “The Wizard” teaches several characters that they have what they seek within themselves. In real life, David thought he couldn’t do theatre, until he was dragged into a G&S production (“we need more men”) and GAOS taught him otherwise. Since those early days, he has performed in about seventy stage productions, ranging from major roles to “The Corpse” in The Real Inspector Hound (he was very good at that). Notable recent appearances include “Old Deuteronomy” (GAOS Cats), “Jean Valjean” and “Sweeney Todd”.

GENEVA HOLLOMAN – The Sorceress of the NorthBefore moving to France, Geneva lived in California and received her B.A. in English Literature and Theater from SFSU. She has training in Meisner, Shakespeare, Suzuki and Beijing Opera. Past performances include: “Emily Webb” in Our Town (GEDS), “Princess Alice” in Puss in Boots (GAOS), “Miranda” in The Tempest (Silicon Valley Shakespeare Co), “Kate Monster” in Avenue Q (Brown Bag), and “Mme Poulet” in Edward Gant’s Amazing Feats of Loneliness (99 Stock) at The Cherry Lane Theater Off Broadway. Special thanks to Christophe, Beth, Lupe, the Carr-Harris family and “Minou”.

GEN STEELE– The Wicked Witch of The WestGen has been chomping at the bit to play a baddie for some years now and is delighted to have finally been given the chance to flaunt her “dark side”. She has enjoyed it so much, she will make no promises that the dark side will go back in the box come January. When not being green, she spends her days catering to the whims of a small, irrational person. She is also, with her assistant “The Wizard”, responsible for handling GAOS’s money.

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PATRICK McDONALD – The ScarecrowPaddy is thrilled to be back on stage after two years working as musical director and/or pianist for GAOS shows. Especially exciting is to be involved in The Wizard of Oz, a favourite show, and one in which he has already appeared at the age of 11 as the “Munchkin Mayor”. Paddy is a busy singer, pianist and trombonist and, in his spare time, a researcher and Ph.D. candidate at the University of Lausanne. His thanks to go to the whole WoZ team for such a great experience, and to Karoline for putting up with more extended absences.

DANIEL ARI BAKER – The Tin WoodmanDaniel was born and raised in Melbourne, Australia. A lawyer by trade, he currently works for the World Trade Organization. This is his first GAOS production, and he is delighted to be part of this exciting show.

LARRY WAGNER – The Cowardly LionLarry has performed in professional and non-professional theater productions since age 9. Notable roles include “Dame Hettie Quette” in Puss in Boots, “Baron Bomburst” in Chitty Chitty Bang Bang, “Harold Hill” in The Music Man, “Senex” in AFTHOTWTT…Forum, “Harry MacAfee” in Bye Bye Birdie, “Herr Schultz” in Cabaret, “Moonface Martin” in Anything Goes, “Carne” in Biloxi Blues, “Tibercé” in A Frog in His Throat and “Simon Stimson” in GEDS’ Our Town. In addition to writing, directing and producing, he has worked backstage and behind the scenes. Recently, Larry has been teaching theatrical improvisation to professional organizations, children and adults. Besides the fun aspect, the focus of Larry’s workshops is to develop intuitive skills in performance and presentation, mental agility, team-building and innovation. Join him at impromind.ch

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Jamel Abidallah Lamia Al-Saud Stephen Anderson Wenona Arndt

Kathrin Baetschmann Christine Blom Cloda Boyle Sunil Chako

Mark Clayton Manuela Consoli Christina Conti Ciara Goldstein

Maria Jensen Karin Kaminker Bindu Kapur Deyan Marinov

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Penny Morris Céline Peiretti Nicki Power Eric Richardson

Stuart Rigby Thibault Schaerer Annie Schmid Lznda Shaw

Stanley Taylor Alexandre Vernacchio Helen Weir Maureen Wittig-Judge

Béat Zumbach

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JANE EASTON & JOHN NEWSOME – Lighting and projectionsJane and John have been lighting shows for GAOS and GEDS for a number of years. Jane was part of the panto lighting team for some twenty years up until about 1999. The last time Jane trod the GAOS stage was as Cinderella’s stepmother in 1997 and before that had played good (Sinbad) and bad (Sleeping Beauty) fairies. Jane and John have over thirty GEDS shows to their lighting credit, as well as A Funny Thing Happened on the Way to the Forum, Wind in the Willows, Aladdin, Babes in the Wood, Cinderella, H.M.S. Pinafore, Cabaret and Chitty Chitty Bang Bang for GAOS. John has now branched out into projection, firstly adding it to his lighting plot for Goldilocks and the Three Bears and then using it to great effect in Chitty Chitty Bang Bang. In the rest of his spare time he is one of the lead set builders for GEDS and also runs the Theatre in English booking site.

OWEN BOYLE – Sound effects

THE SOUND TEAM

Amy Brown, Steve Pavis, Jon James Nixon, Timothy Mottram

24

THE PROPS TEAM

THE COSTUMES TEAM

Sue Bergomi, Sandy Cunningham, Beryl Allardyce, Jeannie Taylor, Nancy Gill

Linda Greenwood, Catherine Peiretti, Susan Mutti, Maureen Goodman

25

THE MAKE-UP TEAM

Back row: Sharon Gill, Hattie Lilburn; Middle: Maria Jensen, Lamia Al-Saud, Carolyn Hornfeld, Jasmyne Granberg, Ulrike Richardson; Front: Chloe McSorley

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THE

ENTIR

E CO

MPAN

Y

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THE WIZARD OF OZ: THE FILM

The Wizard of Oz is an American musical fantasy film produced by Metro-Goldwyn-Mayer in August 1939. It is widely considered to be one of the greatest films in American history, starring Judy Garland as “Dorothy Gale”, alongside Ray Bolger, Jack Haley and Bert Lahr. In January 1938, MGM bought the rights to the hugely popular novel from Samuel Goldwyn. Goldwyn had wanted to cast Eddie Cantor as “The Scarecrow”. The script went through a number of revisions before the final draft was completed in October 1938—a mish-mash of many creative minds. Filming commenced on the MGM lot in Culver City, California. After a brief but creative directorial stint by George Cukor, who left to work on Gone with the Wind in November 1938, Victor Fleming assumed directorial responsibility and remained until the end. Notable for its early use of Technicolor, the film became an icon of American popular culture. It was nominated for six Academy Awards, including Best Picture, but lost out to Gone with the Wind. It did, however, win the Best Original Song with “Over the Rainbow” and Best Original Score by Herbert Stothart. The film failed to generate a significant profit.Production on the bulk of the Technicolor sequences was a long and cumbersome process that ran until March 1939. Complicated make-up and costumes were made even more uncomfortable by the bright lighting required for Technicolor. Ray Bolger (The Scarecrow) later said that the intimidating nature of the costumes and make-up meant that most of the Oz principals were forbidden from eating in the studio canteen Over 100 little people were recruited to play the Munchkins. The 1990 documentary The Making of the Wizard of Oz revealed that each Munchkin had an individual costume, which caused problems when it was necessary to recreate the same image for each day’s production. The film is widely noted for its music and soundtrack. One song that was almost deleted from the film was “Over the Rainbow”. The directorial team insisted on keeping it. The song went on to be identified strongly with Garland. In 2004, the song was ranked No. 1 by the American Film Institute on its “100 Years...100 Songs” list. The film received much critical acclaim upon its release. Much later, film critic Roger Ebert chose it as one of his Great Films, writing that The Wizard of Oz presents wonderful comedy and music, special effects and excitement. We still watch it eight decades later because its underlying story penetrates straight to the deepest insecurities of childhood, stirs them up and then reassures them.

28

THE TECHNICAL TEAMDIRECTORS, CHOREOGRAPHERS AND SET DESIGNERS

Di Brown, Carolyn Hornfeld & Liz Williams

MUSICAL DIRECTORKatie Johnson

ASSISTANT MUSICAL DIRECTOR & REHEARSAL PIANISTKeith Hayward

CHILDREN’S CHOREOGRAPHYBindu Kapur, Brielle Campbell, Cheryl Rooney, Lauren Rooney

STAGE MANAGERSJo Beveridge, Norman Beveridge, Rodney Gill, Martin Shaw, Alydia Seidell,

David Wrigley

SET CONSTRUCTION & PAINTING TEAMStephen Anderson, Emilie Beaupère, Jo Beveridge, Norman Beveridge, Di Brown,

Edward Brown, Robin Brown, Mark Clayton, Christina Conti, Sophia Conti, John Fox, Sara Fox, Rodney Gill, Carolyn Hornfeld, Clea Karmiloff-Flynn, Robert McKenzie, Alice Meyerhans-Brown, Penny Morris, Celine Peiretti,

Annie Schmid, Alydia Seidell, Michael Sell, Lynda Shaw, Martin Shaw, Alydia Seidell, David Steiber, Brian Thomas, Anne Tschopp, Mats Wilhelmsson,

Elizabeth Williams, David Wrigley

APPLE-TREE BUILDERSLarry Wagner, Noah Campbell, Zane Wagner

LIGHTING TEAMJane Easton, John Newsome, Robin Brown, Tim Hancox, Steve Toynbee

COSTUME TEAMLinda Greenwood, Beryl Allardyce, Susan Bergomi, Margaret De Marchi,

Svetlana Frank, Maureen Goodman,Susan Mutti, Catherine Peiretti, Catherine Perring, Diana Ratcliff, Judy Richards, Lynda Shaw

RAINBOW CREATORSSue Bergomi, Howard Hornfeld, Stephen Anderson, Anne Bagwell, Di Brown,

Robin Brown, Carolyn Hornfeld, Nancy Gill, Penny Morris, Karin Kaminker, Mand Kirkus-Vacic, Eric Richardson, Maureen Wittig, Liz Williams

29

SOUND TEAMSteve Pavis, Amy Brown, Jon James Nixon, Timothy Mottram, Frou-Frou

SOUND EFFECTSOwen Boyle

PROPS TEAMBeryl Allardyce, Brian Allardyce, Susan Bergomi, Sandy Cunningham,

Nancy Gill, Jeannie Taylor

MAKE-UP TEAMCarolyn Hornfeld & Ulrike Richardson, Lamia Al-Saud, Cloda Boyle, Sharon Gill, Jasmyne Granberg Cauchi, Maria Jensen, Hattie Lilburn, Chloe McSorley,

Annie Schmid

CHILDREN’S COORDINATORSMachlien Minderhoud & Corina Baumann Doebeli

FRONT-OF-HOUSE TEAMJohn Fox, Sara Fox, Mike Hart, Amy Lally, Sue Tyrrell, Mark Tyrrell

PHOTOGRAPHY/VIDEOMarie Christie, Brian Thomas

POSTERMark Clayton

PROGRAMMEJohn Fox

THEATRE IN ENGLISH TICKET SALES COORDINATORSue Bergomi

We also wish to thank all those members of GAOS who contributed to this show but cannot be named here due to the printer’s deadline.

30

C W O R C E R A C S H S

M O Y E L L O W B C R Y

U D W R O A D R T E T T

N O I A O Z I I P I S I

C R Z X R C W P C S M N

H O A T K D I D E G E W

K T R O E L L R X L T O

I H D K S A E Y C O N O

N Y C Y R C R N L R U D

S I B E R N U T O I A M

W U M O E L O R D A O A

R E S H G R O W L I E N

Aunt EmCowardly Lion

DorothyEmerald City

GloriaLord Growlie

MunchkinsOz

Ruby SlippersScarecrowSorceress

Tin WoodmanUncle … HenryWicked Witch

WizardYellow … Brick … Road

The letters left over will spell another name

Library in EnglishFor children of all ages:

fantasy, easy reader, picture books, comics, nonfiction, the

most popular latest books

For adults: Fiction, nonfiction,the latest bestsellers

3 Rue de M onthoux, 1201 G eneva 022 732 80 97 www.thelibrary.ch library@ thelibrary.ch

Story hour every Wednesday, open to all

See the website for more information

WORD GAME

31

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32

INTERESTED IN JOINING US?Did you enjoy this show? We had a great time preparing it and we hope you appreciated being a member of our audience! We believe that not only should we produce and perform to the very best of our abilities, but we should also have fun doing it. We depend entirely on the unpaid spare time of our members to create the magic of theatre. Every one of us contributes talents and knowledge in a specific area of expertise: directing, playing musical instruments, or acting, singing and dancing on stage, while others take responsibility for all the technical areas of theatre, such as lighting, costumes, set design and construction, props and sound amplification. Others look after the sale of tickets and programmes, while a committee coordinates the whole enterprise. GAOS is mostly English-speaking, but does boast a large number of nationalities. We need artists, photographers and graphic designers, and are always keen to find fresh approaches to publicity. Would you like to participate? Don’t hesitate to get in touch with any of the Committee members above. Watch out for auditions on www.gaos.ch.

If you want to join GAOS, contact Bill Heckel.If you want to help backstage, contact Robert Boyle.If you want to advertise in our programmes, contact John Fox.If you want to sing in the Choral Group, contact Carolyn Hornfeld.

Chairman Edward Brown chairman@gaos.chVice-Chairman Steve Pavis social@gaos.ch

Treasurer Genevieve Steele treasurer@gaos.chSecretary Patrick McDonald secretary@gaos.ch

Membership Bill Heckel membership@gaos.chBusiness Manager Christophe Lerche business@gaos.ch

Assistant Business Manager Sharon Gill assistant_business@gaos.chPublicity Manager John Fox publicity@gaos.ch

Assistant Publicity Manager Christina Conti assistant_publicity@gaos.chTechnical Manager Robert Boyle technical@gaos.ch

Webmaster Norman Beveridge webmaster@gaos.chOFF COMMITTEE

Assistant to the Treasurer David Pittuck assistant_treasurer@gaos.chMusical Evenings Sue Lloyd lloydsue33@gmail.com

Choral Group Carolyn Hornfeld c-hornfeld@bluewin.chGAOS Memories memories@gaos.ch

THE GAOS COMMITTEE RODGERS AND HAMMERSTEIN’S

AUDITIONS

GAOS PREMISES10, rue du Pré de la Fontaine, 1217 Meyrin13 & 14 January 2018 from 14.00 to 18.00

15 January 2018 from 18.00 to 21.00For further information:

• Sue Lloyd +33.450.94.28.44• John Fox +33.450.04.42.02

See also: www.gaos.ch

CASINO THĖÂTRERue de Carouge, 42, 1205 GENEVA

5 - 13 May 2018

OUR NEXT SHOW

33

RODGERS AND HAMMERSTEIN’S

AUDITIONS

GAOS PREMISES10, rue du Pré de la Fontaine, 1217 Meyrin13 & 14 January 2018 from 14.00 to 18.00

15 January 2018 from 18.00 to 21.00For further information:

• Sue Lloyd +33.450.94.28.44• John Fox +33.450.04.42.02

See also: www.gaos.ch

CASINO THĖÂTRERue de Carouge, 42, 1205 GENEVA

5 - 13 May 2018

OUR NEXT SHOW

Av. de Châtelaine 95A • 1219 Châtelaine • +41 22 795 75 10

www.britishschoolgeneva.ch

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