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The Geneva Amateur Operatic Society presents

40 ODUC YEARS PR ER HE A NEW MUSICAL ! S Hilarious Hit T Musical Comedy from and Broadway

Book by Mel Brooks & Music & lyrics by Mel Brooks

Nyon Marens Theatre 7 rue du Stand, Nyon From 13 to 21 May 2011 Friday 13 & Saturday 14 May at 8 pm Sunday 15 May at 7 pm Thursday 19, Friday 20 & Saturday 21 at 8 pm

Online bookings from Tuesday 26 April on www.theatreinenglish.ch ; telephone bookings from Tuesday 3 May on +41 22 341 51 90, 10h30 - 12h30 Monday to Friday.

www.gaos.chTHE PRODUCERS is presented by special arrangement with Music Theater International (MTI, NY) Mermod © Yvan OD E PR UCER TH S

GENEVA AMATEUR OPERATIC SOCIETY PRESENTS

PRODUCE HE RS T A NEW MEL BROOKS MUSICAL! BOOK BY MEL BROOKS & THOMAS MEEHAN MUSIC & LYRICS BY MEL BROOKS DIRECTED BY DI BROWN, CAROLYN HORNFELD & LIZ WILLIAMS MUSICAL DIRECTOR: ALLARDYCE MALLON

NYON MARENS THEATRE 13 TO 21 MAY 2011

The Producers is presented by special arrangement with Music Theater International (MTI, NY)

www.gaos.ch GAOS AT 40

In 1971, some like-minded people from the Geneva area got together and decided it would be a great idea to produce some English-language together. This year, the Geneva Amateur Operatic Society (GAOS) is still going strong as we celebrate the fortieth anniversary of this endeavour. I wasn’t there to witness the founding of GAOS. On the other hand, I am here today to witness what this society has become. To me, it is a tribute to what can be achieved with and will-power, and it seems fitting to celebrate it with the various activities and events that have been (and will be) organized throughout the year 2011. These include the fabulous sell-out Gala Evening that took place in February, the Murder Mystery that was played out in April and, still to come, the Dragon-Boat Race for charity in which GAOS will enter a craft (with willing members to row of course!). Also, GAOS is putting on a repeat of its first ever production, Trial by Jury, as part of the FEATS Fringe at Meyrin in June (see page 31). Alongside all these activities, we have had the pleasure to read, every month in our newsletter Curtain Up, an interview with a long-standing member, telling part of the story of what the Society was like in its early days, and how they’ve found it’s changed, for better or for worse, over the years. Finally, we have produced special anniversary T-shirts and glasses to commemorate this momentous occasion in the society’s history. Although these activities are often for the benefit of our members, we hope these celebrations will convey the spirit of GAOS. For now, it’s time to enjoy what GAOS does best. Because musical shows are, in the end, what it’s all about. MATTI LINDUP Fortieth Anniversary Co-ordinator

Score of Trial by Jury, the first show ever put on by GAOS. This year, it will be presented as part of the FEATS Fringe in June, as well as in September.

2 A WELCOME FROM THE GAOS CHAIRMAN

During 2011 the Geneva Amateur Operatic Society (GAOS) is proudly celebrating forty years of successful musical entertainment to the English-speaking community of the Geneva region. I, on behalf of GAOS members and our directors, welcome you to this performance of our 2011 Spring offering — . The Producers musical has been adapted by Mel Brooks and Thomas Meehan from Brooks’ 1968 movie with lyrics written by Brooks and music composed by Brooks, and . Two New York theatrical producers scheme to get rich by overselling interests in a Broadway flop. The hilarity of the script draws on ridiculous accents, caricatures of actors, directors and authors, and contains many show-biz in-jokes, all delivered with “tongue in cheek”. This year’s GAOS Spring Show follows hard on the heels of our 2010 stunning success with . The Producers provides yet another dimension of musical theatre with a superb script, and a highly competent cast, combined with an exhilarating orchestration and some very memorable tunes, “” being the most well- known. The Producers presents the theatre-goer with a never-ending stream of gags and, above all, some magnificent dance routines. Not surprisingly, all three of our directors are themselves dance experts. The Producers is proudly brought to the Théâtre Marens Nyon by our Directors, Carolyn Hornfeld, Di Brown, Liz Williams, and Musical Director Allardyce Mallon. We are again pleased to be producing a GAOS show at the Théâtre Marens Nyon. This traditional GAOS venue has had a facelift in recent years and now provides more comfortable seating and many technical improvements. again, we enjoy the support of the theatre management and particularly wish to thank Cédric Jaccard for all his help. Our warmest thanks to all our advertisers for their generous support. GAOS is fortunate to have important sponsors for this year’s productions to whom we are deeply grateful: the British Secondary School, Off-the-Shelf, The Summer Music Programme, Hyundai and Guardian Wealth Management. We would also like to thank the following for the use of their premises for rehearsals: the municipal authorities of the commune of Chavannes de Bogis, the Collège du Léman and the Institut International de Lancy. Last, but not least, we express our gratitude to Graham Butcher of RMS for the loan of Zimmer frames. If you would like to know more about our forthcoming productions, please me personally or at: [email protected]. So now, please sit back, relax and allow us to transport you to New York and the thrills and spills of a Broadway Flop ... Mike Sell Chairman

3 summer music program Two weeks of Music, Art, Dance, Drama, and Fun! 4 -15 July • Monday to Friday • 9:00 to 15:00 Since 1995 For students 4–16 years of age Campus des Nations The International School of Geneva

www.julie-music.com Grand-Saconnex, Switzerland A NOTE ABOUT THE PRODUCERS FROM THE PRODUCERS

What a show! We saw it (individually) on the West End stage, where it played from 2004 to 2007, and it immediately stood out as one of the funniest musicals we’d seen (and we’ve seen a few!). So when casting about last autumn for a Spring Show for the Fortieth Anniversary Year of GAOS, The Producers leaped to mind for all three of us and, as they say, the rest is history ... In fact, the history of the show is worth looking at—this “new” musical is based on the 1968 film, and opened in 2001 ; the 2005 film is based on the Broadway show. It won a record-breaking twelve , and confirmed Mel Brooks’ talent as an author of musical comedy. And it’s an old-fashioned traditional musical comedy, which is nowadays a rare find indeed, including a sympathetic “hero”, romance, glamorous chorus girls, upbeat witty songs, and a story line with modern irreverent twists which will have you belly-laughing all evening. However, trying to adapt this fantastic piece to the needs of GAOS—its members, our capabilities and our resources—and also to you our audience, has proved a gargantuan task! We are extremely blessed with a talented, devoted cast and backstage team leaders, all of whom have taken large chunks of time from their busy lives to work together to present this evening’s entertainment for you. Have a look at the set and as the show progresses you will note that there are no less than seventeen scene changes! This must be a GAOS first! And the music, which seems so straight-forward, catchy and upbeat, has been a diabolical challenge for our skilled rehearsal pianists. That GAOS has managed to stage this show is a feat in itself! But the rewards are great—working as a team, making new friends and renewing old ties, stretching the imagination and meeting challenges to upgrade skills or solve problems. And yes, we are THREE producers, and yes, we are still great friends! We’ve enjoyed working together before ( and Hello Dolly), and have so again despite resorting to our blue blankets (you’ll meet Leo’s in Scene 2) from time to time! What’s kept us going on this show? The delight of the show itself and our dedication to GAOS and its ideals. To quote from a show programme, this musical comedy “does not simply invite the audience to have a good time, it endorses the idea of having a good time; it embraces it, and celebrates it, so that the idea of letting yourself go in laughter, without restraint, with no holds barred, with no limits and no rules, without a net, becomes more than just a way to have fun, it becomes wise information about how to live your life.”

The Producers Di, Liz and Carolyn

5 English books for adults and children Children's Morning last Saturday of the month

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15 bvd Georges Favon 1204 Geneva OffTheShelf tel. 022 311 1090 [email protected] The English Bookshop www.offtheshelf.ch

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6 MEL BROOKS Mel Brooks is internationally renowned as the short, funny, Jewish guy who created The Producers. He has never been afraid of lampooning sensitive subjects and said: “Rhetoric does not get you anywhere, because Hitler and Mussolini are just as good at rhetoric. But if you can bring these people down with comedy, they stand no chance”. Hitler and Mussolini were violently brought down long ago, but truth does not date—mockery of them and their ilk can only be good. Brooks—film director, screenwriter, composer, lyricist, comedian, actor and producer—did not have a show business background. Born Melvin Kaminsky in 1926 in Brooklyn, New York, his father was a process server, his mother a sweatshop seamstress. Although he was a small, sickly boy and often picked on by his classmates, Brooks never lacked ambition. The 1944 high school yearbook featured the future Mel Brooks stating that his goal was to become President of the . Somewhere along the line he changed his mind, possibly because he felt that “if presidents can’t do it to their wives, they do it to their country”. Brooks joined the Army when he was 17, became a combat engineer and spent the Second World War defusing landmines. After completing his military service, he began working as a stand-up comedian in a string of resorts in the Catskill Mountains in New York State, and changed his name to avoid confusion with the musician Max Kaminsky. Next he tried television, and also wrote for the stage before moving on to film, but neither the box office nor critics were enthusiastic. His view that “bad taste is simply saying the truth before it should be said” may explain why his films won an Emmy and a Grammy but little acclaim. Meanwhile, the 1968 film of The Producers won an Oscar for best screenplay. After several years of disappointment, success came when Brooks convinced Warner Brothers to finance an uproariously tasteless comedy about a black western sheriff. Directed, co-written and co-starring Brooks, was one of the biggest money-makers of 1974, and twenty-seven years later his stage adaptation of The Producers opened on Broadway and won twelve Tony Awards, the most ever given to one show. Brooks married in 1964. They met on the set of a TV talk show, and Mel later paid a woman who worked on the show to tell him which restaurant Bancroft was going to eat at that night so he could “accidentally” bump into her again and strike up a conversation. The conversation must have gone well, since he and Bancroft subsequently married at New York City Hall, where a passer-by served as their witness. “He who hesitates is poor” — and maybe single too.

7 R M S Living Aids for your Daily Independence

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Romeo Medical Services Tél.: 022 362 80 89 295, rte de St Cergue Fax: 022 362 80 90 1260 Nyon E-mail: [email protected]

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Tel. 078 707 22 83 - [email protected] - facebook:theheidibakery Visit our Cupcake Stall at Nyon market on Saturday mornings www.heidibakery.com SYNOPSIS

ACT I - Scene 1 – Outside the Shubert Theater The time — very long ago, in 1959! The place — Broadway. The event — the of Max Bialystock’s Funny Boy — A New Musical of Hamlet. The Usherettes are wondering whether this “Opening Night” will reveal a smash hit or a flop. The First Nighters leave the theatre all abuzz — it’s a disaster! Max Bialystock is dismayed and remembers how he used to be “The King of Old Broadway”. Scene 2 – The office of Max Bialystock, a few weeks later In his office, Max is visited by the very timid Leo Bloom, an accountant with Whitehall & Marks, who has come to check his books. They are interrupted by Hold-Me-Touch-Me, one of Max’s elderly financial backers, who comes looking for the expected compensation for her contribution to Max’s production funds. He sends her away with relief. Max’s brash personality initially terrifies Leo, who admits to a secret desire to be a Broadway producer. Looking over Max’s books, Leo muses that a flop on Broadway could make more money than a hit, and Max gets excited by a new idea: “Step one: We find the worst play ever written. Step two: We hire the worst director in town. Step Three: I raise two million dollars. Step Four: We hire the worst actors in New York and open on Broadway. And before you can say Step Five we close on Broadway, take our two million, and go to Rio.” He tries to convince Leo to join him, singing “We Can Do It”. Scene 3 – The office of Whitehall & Marks, Accountants, later the same day Back with his colleagues at Whitehall & Marks, Leo starts to dream “I Wanna be a Producer” and decides to quit accountancy and go into show business. Scene 4 – The office of Max Bialystock, a little while later Leo returns to tell Max “We Can Do It”. Scene 5 – The office of Max Bialystock, early the next morning After a sleepless night spent reading scripts, Max and Leo are still looking for the worst show ever written. Suddenly, Max finds it and they decide to go in search of the author of “Springtime for Hitler”. Scene 6 – The rooftop at 61 Jane Street, later that morning On a rooftop in , author Franz Liebkind is tending his pigeons and reminiscing about the past “In Old Bavaria”. When Max and Leo appear he decides that if they can sing and dance the “Der Guten Tag Hop-Clop” and swear the Siegfried Oath, he will let them produce his play. Scene 7 – The elegant foyer of Roger de Bris, later the same day Next, Max and Leo call on Roger de Bris, the famous Broadway director, who lives with Carmen Ghia, his “common-law assistant”, and his artistic team. Roger, Carmen and the team agree that the director of a show should always “Keep It Gay”. In the end Roger signs the contract.

9

LA CÔTE SPRING FAIR Saturday 21 May 2011 10.00 – 16.00 GINGINS SALLE COMMUNALE

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More info from La Côte Anglican Church at www.lacotechurch.ch or contact the Chaplain, Revd Carolyn Cooke: [email protected] or tel: 022 364 00 30

Shakespeare’s

Much

Ado About Nothing

www.howardprod.ch 16-18 June 2011 at 20h Outdoors in the courtyard of the Professional theatre Thursday, Friday and Saturday Château de Prangins, between brought to Geneva by Performed by TNT Theatre Britain Nyon and Gland HOWARD PRODUCTIONS Scene 8 – The office of Max Bialystock, later the same afternoon Back in Max’s office, the gorgeous Swedish Ulla appears, wanting to audition for their next show. Although there’s no show yet, they let her sing and dance, and she overwhelms them with “When You Got It, Flaunt It”. They take her on as “secretary-slash-receptionist”. Now it’s time for Max to go out and court his Little Old Lady backers in “Along Came Bialy”, so they have enough cash to finance the biggest flop on Broadway. Max gets the money and the whole cast join him for the Finale of Act I. ACT II - Scene 1 – The office of Max Bialystock, a few days later Leo and Ulla are left alone in Max’s office, and Leo ponders on “That Face” which has turned his life upside-down. Scene 2 – A bare stage of a , later the same day Max, Leo, Franz, Roger and Carmen hold auditions with a crowd of wanna-be Hitlers. Franz amazes them with his rendition of “Have You Ever Heard the German Band” and they give him the role instead. Scene 3 – Outside the Shubert Theater, early evening several weeks later The Usherettes are back for another “Opening Night”, and wonder if Springtime for Hitler will be a smash hit or a flop. Everyone arrives at the theatre and Leo starts wishing people good luck. He is told “It’s Bad Luck to say Good Luck on Opening Night”. Franz has an accident rushing into the theatre, and Roger is persuaded to take his place as Hitler. Scene 4 – Inside the , that evening Springtime for Hitler, the show. Scene 5 – The office of Max Bialystock, that night around midnight Max and Leo can’t believe it — the show’s a hit. “Where Did We Go Right?” they wonder. Roger and Carmen arrive — thrilled at the success. Franz arrives — furious that they made fun of his hero Hitler. The police arrive — and find the incriminating account books of Max and Leo. Franz is caught trying to flee, and Max is taken off to jail. Leo hides and is later discovered by Ulla. They plan their get-away together. Scene 6 – A holding cell, afternoon a few weeks later Max, in a holding cell, receives a postcard from Leo who is in Rio with Ulla. He feels “Betrayed”. Scene 7 – A New York City courtroom, a few days later Max is taken before the Judge. A repentant Leo enters with Ulla. Leo admits he never had a friend “‘Til Him” and has come back to take his penalty with Max. They are sentenced to five years in prison. Scene 8 – Sing Sing prison In Sing Sing prison, the prisoners under Max and Leo’s direction have to “Sing, Sing”. Max, Leo and Franz receive a pardon from the Prison Governor for bringing joy to the hearts of the prisoners. Their new show Prisoners of Love, inspired by Sing Sing, opens on Broadway and is another hit for Bialystock and Bloom. From now on our heroes are “The Producers, Leo and Max”.

11 English Section following the English National Curriculum & IB Diploma programme Primary : Nursery to Year 6 with French taught as a Foreign Language Secondary : KS3 and KS4, Cambridge IGCSE exams, IB Diploma Programme (16-18 years) French Section Nursery, Primary, Secondary French Baccalaureat L, ES, S English from the age of 3 Bilingual programme French-English

24, avenue Eugène-Lance CH-1212 Grand-Lancy, Genève Tél. + 41 22 794 26 20 Fax + 41 22 794 51 13 www.iil.ch - [email protected]

12 RÉSUMÉ ACTE I - Scène 1 – Devant le Théâtre Shubert Il y a très longtemps, en 1959 à Broadway. Un événement: la première de Funny Boy- de Hamlet produit par Max Bialystock. Les ouvreuses se demandent si ce spectacle sera un succès ou un fiasco. Les premiers spectateurs quittent le théâtre abasourdis — c’est un désastre! Max Bialystock est consterné et se souvient du temps où il était “The King of Old Broadway” (“le Roi du vieux Broadway”). Scène 2 – Le bureau de Max Bialystock, quelques semaines plus tard Max reçoit la visite du très timide Leo Bloom, comptable chez Whitehall & Marks, venu pour vérifier ses comptes. Ils sont interrompus par Hold-Me-Touch-Me, une des bienfaitrices de Max qui vient chercher la compensation attendue pour sa contribution financière. Il la renvoie avec soulagement. La personnalité présomptueuse de Max terrifie Leo qui admet son désir secret d’être producteur à Broadway. En passant en revue les livres de comptes de Max, Leo laisse libre cours à ses pensées: un fiasco à Broadway pourrait rapporter plus qu’un succès. Ce qui n’échappe pas à Max, lui vient alors une idée: “De un: trouver la plus mauvaise pièce jamais écrite. De deux: engager le plus mauvais directeur de la ville. De trois: trouver deux millions de dollars. De quatre: engager les pires acteurs de New York et ouvrir à Broadway. Et avant d’arriver à cinq, on ferme, prend les deux millions et bonjour Rio.” Il essaie de convaincre Leo en chantant “We Can Do It” (“Nous pouvons le faire”). Scène 3 – L’agence Whitehall & Marks, Comptables, un peu plus tard le même jour De retour parmi ses collègues chez Whitehall & Marks, Leo se met à rêver “I wanna be a Producer” (“J’aimerais être un producteur”) et décide de tout quitter pour entrer dans le show biz. Scène 4 – Le bureau de Max Bialystock, un peu plus tard Leo vient annoncer à Max “We Can Do It”. Scène 5 – Le bureau de Max Bialystock, tôt le lendemain matin Après une nuit à lire des scénarios, Max et Leo cherchent encore la plus mauvaise pièce jamais écrite. Soudain, Max la trouve et décide d’aller à la recherche de l’auteur de Springtime for Hitler (Printemps pour Hitler). Scène 6 – Le toit au 61 Jane Street, plus tard ce matin-là Sur un toit à Greenwich Village, Franz Liebkind s’occupe de ses pigeons et se souvient de son passé “In Old Bavaria” (dans la “Vieille Bavière”). Quand Max et Leo se présentent, il décide que si les deux sont capables de chanter et danser le “Guten Tag Hop-Clop” et jurent le Siegfried Oath, il les laissera produire sa pièce. Scène 7 – L’élégant foyer de Roger de Bris, plus tard dans la journée Max et Leo appellent Roger de Bris, le célèbre directeur de Broadway, qui habite avec Carmen Ghia, son “assistant homme de loi”, et son équipe artistique. Roger, Carmen et leur équipe s’accordent que le directeur d’un show doit toujours “rester gay” (“Keep it Gay”). Finalement, Roger signe le contrat.

13 danstoutes cesfilières permettent ou International (BI), à la Maturité Maturité la à (BI), International ou cursus internationaux ou nationaux aux étudiants d’accéder aux plus plus aux d’accéder étudiants aux au « High School diploma » (AP’s). (AP’s). » diploma School High « au prestigieuses universités dans le le dans universités prestigieuses possibilité de suivre différents différents suivre de possibilité monde entier. monde eat u acluét Français Baccalauréat au menant Suisse, notamment bilingue, ou ou bilingue, notamment Suisse, e eclet rslas obtenus résultats excellents Les la offre Léman du Collège Le danstoutes cesfilières permettent ou International (BI), à la Maturité Maturité la à (BI), International ou cursus internationaux ou nationaux aux étudiants d’accéder aux plus plus aux d’accéder étudiants aux au « High School diploma » (AP’s). (AP’s). » diploma School High « au prestigieuses universités dans le le dans universités prestigieuses possibilité de suivre différents différents suivre de possibilité monde entier. monde eat u acluét Français Baccalauréat au menant Suisse, notamment bilingue, ou ou bilingue, notamment Suisse, e eclet rslas obtenus résultats excellents Les la offre Léman du Collège Le In French orEnglish, In French orEnglish, it’s uptoyou. it’s uptoyou. www.cdl.ch ·+ www.cdl.ch www.cdl.ch ·+ www.cdl.ch Collège duLéman Collège duLéman Genève, Suisse Genève, Suisse 41 22 775 55 55 55 775 41 22 41 22 775 55 55 55 775 41 22 Thanks to our varied academic academic varied our to Thanks opportunity to follow an education can choose international or or international choose students Léman, can du Collège At and enter the most prestigious of of prestigious most the enter and program, each student has the the has student each program, universities worldwide. national courses to obtain the IB IB the obtain to courses national Swiss Maturité. Maturité. Swiss that meets their unique needs needs unique their meets that acluet o te Bi-lingual the or Baccalaureate French the (US), AP the Diploma, Thanks to our varied academic academic varied our to Thanks opportunity to follow an education can choose international or or international choose students Léman, can du Collège At and enter the most prestigious of of prestigious most the enter and program, each student has the the has student each program, universities worldwide. national courses to obtain the IB IB the obtain to courses national Swiss Maturité. Maturité. Swiss that meets their unique needs needs unique their meets that acluet o te Bi-lingual the or Baccalaureate French the (US), AP the Diploma,

cuckoocom.com cuckoocom.com Scène 8 – Le bureau de Max Bialystock, plus tard dans l’après-midi Une superbe suédoise, Ulla, se présente au bureau pour une audition. Même s’il n’y a pas encore de show, ils la laissent chanter et danser et sont subjugués par “When You Got It, Flaunt It” (“Montre ce que tu as”). Ils l’engagent comme “secrétaire - tiret - réceptionniste”. Maintenant, il est temps pour Max d’aller faire la cour à ses Petites Vieilles dans “Along Came Bialy” (“Et Voici Bialy”), afin qu’elles aient assez d’argent liquide pour financer le plus grand fiasco de Broadway. Max reçoit l’argent et tous se joignent à lui pour le final du premier acte. ACTE II - Scène 1 – Le bureau de Max Bialystock, quelques jours plus tard Leo et Ulla se retrouvent seuls et Leo réfléchit sur “That Face” (“Ce Visage”) qui a chamboulé sa vie. Scène 2 – Une scène vide dans un théâtre de Broadway, le même jour Une foule est venue pour auditionner pour le rôle de Hitler. Franz surprend Max, Leo, Roger et Carmen avec son “Have You Ever Heard the German Band” (“Avez-vous jamais entendu l’orchestre allemand”) et ils lui donnent le rôle. Scène 3 – Devant le Théâtre Shubert, en début de soirée quelques semaines plus tard Les ouvreuses sont de retour pour une nouvelle première et se demandent si Springtime for Hitler sera succès ou un nouveau fiasco. Leo se met à souhaiter bonne chance à tout le monde. On lui apprend que ça porte malheur ( “It’s Bad Luck to say Good Luck on Opening Night”). Franz a un accident en se précipitant au théâtre ; on persuade Roger de prendre sa place. Scène 4 - Dans le théâtre, ce soir-là Springtime for Hitler, le show. Scène 5 – Le bureau de Max Bialystock vers minuit Max et Leo n’en reviennent pas, le show est un triomphe. “Where Did We Go Right?” (“Qu’avons-nous fait juste ?”) se demandent-ils. Roger et Carmen arrivent enthousiasmés par le succès. Entre Franz, furieux qu’on se soit moqué de son héros Hitler. La police vient perquisitionner et trouve les livres de comptes. Franz est pris en essayant de fuir et Max est emmené en prison. Leo a réussi à se cacher, il est trouvé par Ulla. Ils décident de fuir ensemble. Scène 6 - Un après-midi dans une cellule quelques semaines plus tard Max reçoit une carte postale de Leo et Ulla en provenance de Rio. Il se sent trahi (“Betrayed”). Scène 7 – New York, au tribunal quelques jours plus tard Max est présenté au juge. Un Leo repentant arrive avec Ulla. Il admet qu’il n’a pas eu d’ami “ ’Til Him” (“Avant lui”) et il est revenu pour payer sa dette avec Max. Ils sont condamnés à cinq ans de prison. Scène 8 – La prison de Sing Sing A Sing Sing, les prisonniers, sous la direction de Max et Leo, se mettent à “Sing Sing”! Max, Leo et Franz sont grâciés pour la joie qu’ils ont apportée aux prisonniers. Leur nouveau spectacle Prisoners of Love (“Prisonniers de l’Amour”) inspiré de Sing Sing, débute à Broadway et c’est un nouveau succès pour Bialystock et Bloom. Nos héros: les “Producers, Leo and Max”.

15 CAST

PRINCIPALS Martin Jennings Max Bialystock Casper Edmonds Leo Bloom Majbritt Byskov Bridges Ulla Barrie Duggan Franz Liebkind Stephen Ash Roger de Bris Angus MacDonald Carmen Ghia

GENTLEMEN OF THE CHORUS Robin Brown Jack/O’Riley/Chorus Mark Clayton O’Rourke/Chorus John Freestone* Gunter/Chorus Bill Heckel* Mr Marks/Solo Storm Trooper/Tapper/Chorus Guy Hutton Solo accountant/Bryan/Chorus David Manson* Kevin/Chorus Robin Martini Blind beggar/Jason/Chorus David Stieber Workman/Sabu/Chorus Alex Thomas* Scott/Chorus (David Pittuck* understudying Roger de Bris)

LADIES OF THE CHORUS Rachel Ash* Usherette/Dancer/Tapper/Chorus Jennie Klein Usherette/Dancer/Tapper/Chorus Gen Steele Usherette/Dancer/Tapper/Chorus Anabel Suter Usherette/Dancer/Chorus

* = understudying a major role

16 Sue Lake Shirley/Jury foreman/Chorus Kathrin Baetschmann Kiss Me-Feel Me/Pigeon operator/Tapper/Chorus Maggie Holme Hold Me-Touch Me/Dancer/Tapper/Chorus Susan Piazza Lick Me-Bite Me/Judge/Dancer/Chorus

Rebecca Broere Dancer/Tapper/Chorus Karolien Kerssen Dancer/Chorus Sandi Maylor Dancer/Chorus Céline Peiretti Dancer/Tapper/Chorus Elena Trinquart Dancer/Chorus Andrea Waterson Ticket taker/Dancer/Tapper/Chorus

Janice Cook-Robbins Tapper/Chorus Susanne Del Vecchio “not you”/Chorus Birgitta Lindup Pigeon operator/Chorus Katti Ooms Suter Chorus Mena Sauvagnat Chorus Sally Wattiaux Pigeon operator/Chorus Maureen Wittig Chorus

THE ORCHESTRA Violins Chiori Suzuki (Leader), Baptiste Chaillot, Patricia Giannetti, Xenia Marolf, Ann Maurer, Martina Neiss, Léa Valentin ’Cellos Raphael Abeille, Daniel Fiori Double Bass José-Angel Toyo-Gilson Woodwind Veronique Aeschlimann, Andrew Close, Christine Guignard, Otilia Mignotte, Virginie Olsson Trumpets Samuel Gaille, Eric Urfer, Lionel Walter Horn Jacques Van der Walle Trombones Maxime Chevrot, Jean-Paul Papilloud, Jean-Daniel Vera Percussion Nicolas Curti Keyboard Lin Hui-hsuan

We express our thanks to BLANC MUSIQUE, Thonon-les-Bains (04.50.26.61.60) for the kind loan of the alto flute being played in the orchestra.

17 Transport - Levage Manutention - Entreposage

www.friderici.com 18 DIRECTORS’ (AND CHOREOGRAPHERS’) JOINT BIOS

Di, Liz and Carolyn — three directors, three GAOS devotees, and three lovely ladies, all in one biography! Now you’ve met us, step back and admire our figures (!?). We’ve been members of GAOS for a total of 101 years. Carolyn joined in 1972, Di in 1973 and Liz in 1983. During those years we reckon we’ve worked, either on-stage, back-stage, front-of-house (you name it, one of us has definitely done it, either leading or helping a team) at least 163 times on GAOS shows, and served on the GAOS Committee a total of thirteen years. If you add our ages you get to 204 (we know you can hardly believe it!). But the years have been well spent when you consider that we have produced six children and six grandchildren … as well as GAOS shows. We all used to go out to regular places of employment, but that’s a distant memory since we total twenty-two years of retirement. One statistic that should not go unmentioned is that we have spent eighty-eight years tap dancing, one way or another! In addition to gracing the stage of GAOS shows, Liz and Carolyn appeared in the GEDS production of Stepping Out in 1995, while Di started tap at the age of 4 and taught tap and modern dance at the Conservatoire Populaire de Musique de Genève for twenty+ years. When it comes to participation in GAOS Choral Group concerts or Musical Evenings (Carolyn takes the lead as she’s been a member of the Choral Group since it started in 1985), we must have totalled at least eighty of these events. What else? Well, we regularly join a loyal group of GAOS friends for lunch, during which we consume immoderate quantities of bubbly beverages— the three of us alone must have got through 600 bottles in the last thirty years (since Brigadoon in 1980, which Di directed). Though the sands of our hourglass figures have shifted slightly with time (current combined waistlines measure 272cm), there’s no counting our continued enthusiasm for GAOS. We hope you have as many laughs this evening as we’ve shared preparing the show for you!

19 ALLARDYCE MALLON - Musical Director Originally from Scotland, but often based in Switzerland where he is very active, Allardyce Mallon gained his degree (BMusHons 1st class) in musicology, history and composition at the University of Edinburgh. He went on to study for his Masters (MMus) in composition at the University of Surrey, England, and then to Geneva where he earned his Diploma in conducting and the Prix du Conservatoire for composition. He became very active in several musical ventures in the Geneva area, but also worked as assistant conductor at the Grand Théâtre de Genève (Billy Budd by Britten) and with the (Pelléas et Melisande by Debussy). Holder of the Walter Susskind Scholarship, he spent time at the Royal Scottish Academy of Music & Drama in Glasgow where he gained experience as a repetiteur and conductor of opera. He has given recitals with singers on Radio Suisse Romande- Espace 2 and during the Settimani Musicali in Lugano. More recent engagements include work as repetiteur and assistant conductor at the Teatro Massimo in Palermo, at the Teatro Regio in Turin and several seasons at the Festival International d’Art Lyrique d’Aix-en-Provence. He was in charge of music for the Swiss Fête des Vignerons in 1999, as well as for the Opening Ceremony of the Expo.02 in Neuchâtel. For the last four years he has worked with the Opera in Meiningen (Das Meininger Theater), and most recently with the Utah Symphony & Opera in Salt Lake City, USA, and the Grand Théâtre de Luxembourg. In addition to his work as a composer, Allardyce Mallon is much sought-after as an arranger and orchestrator.

PHILIP THOMAS - Assistant Musical Director Philip has been bumming around the stage and the concert platform for donkey’s years. In Geneva he has sung roles for GAOS and other Geneva choirs as kings and lords, prophets and bishops, fishermen and vikings, pirates and gangsters. Before The Producers, he waved his hands around in rough time with the music at GAOS rehearsals of Oliver and The Sound of Music. Philip likes smoked salmon and roast lamb. He intends, when he grows up, to open a restaurant called Simply Offal, and believes passionately in the curative and regenerative powers of gin and tonic.

20 HOWARD HORNFELD Stage Manager Howard’s experience in theatre ranges from the superstar (“George” in Who’s Afraid of Virginia Woolf and “Pizzaro” in Royal Hunt of the Sun), to choreographer of early GAOS pantomimes, to destroying a couple of Europcar vans moving sets for GEDS. He has also directed Death of a Salesman … and the members of the GEDS Committee as its erstwhile chairman. His non-singing GAOS stage exposure has been bartending in Brigadoon, dancing in The Sound of Music, and other silly things. More recent foolishness includes stage- managing and set constructing this GAOS production of The Producers, during which he broke his ankle in the call of duty. In his spare time, he founded Howard Productions, which brings professional English theatre to the Geneva area twice a year. Being retired means he has no free time to do other things he likes doing, such as skiing and walking in the great outdoors

MARTIN LEU - Lighting Design Although Martin has been lighting shows for over thirty years, he joined GAOS in 1993 and realized that he knew nothing about it! He became really passionate about lighting and has been part of almost every GAOS show since then. He began designing lighting with Guys and Dolls in 2000 and reluctantly in 2001 accepted to light A Slice of , which became one of his favourite shows. It even featured at the Festival of Light Opera in Waterford, Ireland. He then designed lighting for High Society (2003), Oliver! (2004), Old Time Music Hall (2005), To Hell with Opera (2006), Up the Empire! (2007), Snow White (2007) and finally Chess (2009). He has also designed lighting for two GEDS plays — Art and The Three Sisters. Since 2007 Martin is also lighting professional productions for Simply Theatre. In 2010 he was responsible for lighting La R’vue, the satiric must-see for the “Genevois”.

21 LINDA GREENWOOD - Costumes The Blue Bag Lady strikes again. Watch out for the pins! Linda is adding another show to her list that includes , Hello Dolly, a couple of Youth Productions as Godmother; and the Pantomimes Aladdin and Cinderella, etc.

MARGARET DE MARCHI - Costumes Margaret started making costumes for GAOS way back in ???? (too long to remember) with The Frog Prince. Since then she has dressed many shows, including Sinbad the Sailor, The Merry Widow, Jack and the Beanstalk, The Ice Maiden, Snow White, etc. Over the years she has also turned her hand to Props, Choreography, Production Secretary and Committee Member. Margaret loves glitz and glamour and The Producers has given her the opportunity once again to seek out the glittery fabric, the sequins and the strass. In fact, both the Blue Bag Lady and the Glitter Lady strike again. SÉBASTIEN TAVEL - Sound Sébastien is studying to be a sound engineer at the CFMS in Lausanne. But he is also a musician, playing the saxophone for the “Harmonie de Coppet” and the “Harmonie de Nyon” for the last seven years, as well as playing drums for a rock band. He has already worked with the GAOS Really Youthful Group on Thoroughly Modern Millie and Beauty and the Beast, and is already reserved for Mulan next August. He is also involved with the Association des Trois Arbres, which aims to develop cultural activities in the Nyon region and promote Swiss artists. He has even appeared on stage in La Vie Parisienne for the French-speaking group Vivre et Chanter. STEVE PAVIS - Sound effects Steve arrived in Geneva ten years ago to begin working as an engineer at CERN, and has settled here now having married and started a family with two beautiful girls. He has worked on sound and lighting for about twenty productions with GAOS and other local societies in the area over the past seven years. In particular Steve absolutely loves creating sound effects and knows that he has an envious role as he gets to ring bells, smash glass, crash any number of things and invoke all types of atmospheric phenomena from wind and rain to severe thunderstorms — all in the name of amateur dramatics!

22 ALYDIA SEIDELL SUE BERGOMI SUZANNE DEL VECCHIO Props Pigeon-maker Theatre Liaison

SUE LLOYD ANTHEA ROTH JOHN FOX Orchestra Secretary Orchestra Secretary Principal painter

23 PRINCIPALS

BARRIE DUGGAN - Franz Liebkind Arriving in Geneva more years ago than he cares to remember for a two-year stint, he has been involved with GAOS, GEDS and LTG both on stage and backstage and has played many differing roles, among which are: a sailor, a very active dead body, an ugly sister, Aladdin’s brother and a singing gangster. So happily and with lots of encouragement is the challenge now of the: “nutty interesting character of Liebkind and his idiosyncratic manically ideological style sense” uniquely adding to his initial theatrical experiences. The embarrassment of his two sons is offset by his enjoyment of being involved once again in live theatre.

CASPER NICHOLAS EDMONDS - Leo Bloom Casper has played such lead roles as: the Polish immigrant “Leon Czolgosz”, who shot U.S. President William McKinley in 1901, in the murderous musical by ; the corrupt celebrity lawyer “Billy Flynn” in the musical by and ; and the vacillating chess champion “Anatoly Sergievsky” in the rock musical Chess by Björn Ulvaeus and Benny Andersson, formerly of ABBA. Casper recently played the lead role in the GAOS 2010 Summer Show A Grand Night For Singing and was once the lead singer in Cambridge University’s Fitz’ Swing Band. He has sung rock, pop and jazz with the PARIS Big Band and other Danish bands and has made selected appearances on children’s TV shows in Denmark.

MAJBRITT BYSKOV-BRIDGES - Ulla Majbritt is delighted to have been given the challenge of playing a Swede! Majbritt is Danish but grew up in Quito and Geneva. After her Masters in Management, she worked in different places from Ethiopia to , , London, Monaco, Paris and came back to Geneva when offered the position of Senior Financial Consultant at Guardian Wealth Management. Majbritt also holds a Masters in Music from the Royal Scottish Academy of Music and Drama. She has performed throughout Europe, in Tunisia and the USA. Majbritt started her passion for theatre and music at age 12, when she joined GAOS. Her first main role was as “Hodel” in and she appeared recently as “Kate” in Kiss Me, Kate.

24 ANGUS MACDONALD - Carmen Ghia Growing up in Wales, Angus’ first choral experiences were in chapel and on the stands of Cardiff Arms Park. Once boy soprano parts were no longer an option, he did most of his singing after leading teams to victory on the rugby field, and his dancing to classic ’80s pop. The risqué nature of his repertoire prepared him well for the libretto of this piece. In fact, one of his earliest memories is of his father singing ‘Springtime for Hitler’, but that’s another story. Bringing energy and inexperience in equal parts to the role of “Carmen”, Angus has enjoyed the whole The Producers experience and is looking forward to appearing on stage again in future productions.

MARTIN JENNINGS - Max Bialystock Martin was born four years before Mel Brooks brought out The Producers. No, not the stage show as that would make him 12, and though he would like to be that age again, unfortunately it would mean not being able to play “Max”. No, Martin is talking about the original film, so if you know the date that came out, then you will know how old he is — because he is not going to tell you (but see page 7). People say that Martin is perfect for “Max”, but he does not resembles the character in any way, I mean just because Martin is middle-aged, overweight, balding and ... all right, no need to rub it in! In his spare time, Martin works with computers, does not run after little old ladies, unless they want to be run after, is planning on taking over the world and hates writing bios.

STEPHEN ASH - Roger de Bris Described in a review as “an emerging sex symbol” for his portrayal of “Billy Marlowe” in The Dream Palace, Steve has never looked back, exploring such roles as “Dr. Wackoff” in Saucy Jack and the Space Vixens, “Dr Frank n’ Furter” in The Rocky Horror Picture Show, and “Jesus” in Godspell. He is delighted to add the role of “Roger de Bris” to his library of pivotal male leads in contemporary theatre of the twentieth century, although sometimes, he finds himself wondering what playing a completely straight character would be like.

25 TECHNICAL TEAM DIRECTORS Di Brown, Carolyn Hornfeld and Liz Williams MUSICAL DIRECTOR Allardyce Mallon ASSISTANT MUSICAL DIRECTOR Phil Thomas ORCHESTRA SECRETARIES Sue Lloyd and Anthea Roth CHOREOGRAPHERS Di Brown, Carolyn Hornfeld and Liz Williams STAGE MANAGER Howard Hornfeld ASSISTANT STAGE MANAGER Arni Dinius LIGHTING DESIGN Martin Leu COSTUME DESIGN Linda Greenwood and Margaret De Marchi SET CONSTRUCTION AND PAINTING Howard Hornfeld, Arni Dinius, John Fox (principal painter), Danny Benjamin, Mark Clayton, Bill Lloyd, John Newsome, David Pittuck, Michael Smith, David Stieber, Nathalie Stump, Anne Tschopp and Mats Wilhelmsson Di Brown, Christine Clayton, Sandy Cunningham, James Fox, John Freestone, Marina Gratry, Carolyn Hornfeld, Jennie Klein, Angus MacDonald, Callum MacDonald, Eve MacDonald, Alydia Seidell, Mike Sell, Nicole Stump and Liz Williams LIGHTING TEAM Martin Leu, Dan Boyle, Edward Brett, Peggy Brett, Emmert Clevenstine, Benjamin Roth, Katy Scott, Peter Scott and Simon Elphinstone SEWERS Linda Greenwood, Margaret De Marchi, Beryl Allardyce, Di Brown, Susanne Del Vecchio, Clare Fenner-Evans, Maureen Goodman, Carolyn Hornfeld, Susan Mutti, Sylvie Plan, Judy Richards and Jenny West. PROPS Alydia Seidell, Sandy Cunningham, Nancy Gill, Pam Pamer, Jeannie Taylor and Debbie Steel BACKSTAGE CREW Beryl Allardyce, Brian Allardyce, Robert Boyle, Christine Clayton, Tim Goodyear, Kristian Maylor, John Newsome, David Pittuck, Anne Tschopp and Mats Wilhelmsson

26 MAKE-UP Carolyn Hornfeld, Sonny Dame, Maureen Goodman, Pauline Goodyear, Frédérique Harmes, Veronica Hanmer, Helen Kespy-Taylor, Ulrike Richardson and Joy Waelchli SOUND Sebastien Tavel SOUND EFFECTS Steve Pavis PIGEON-MAKER Sue Bergomi REHEARSAL PIANISTS Lin Hui-hsuan, Joan Cambitsis and Rebecca MacDonald REHEARSAL TECHNICAL AIDS Peter Scott and Hugh Webster PROMPT Anthea Roth and Di Klein CALLERS Juanita Sbrissa and Deborah Vohries FRONT-OF-HOUSE MANAGER Mark Tyrrell FRONT-OF-HOUSE BAR MANAGER Danny Benjamin BACKSTAGE BAR Pam Scott and Ginny Rogers THEATRE LIAISON Anthea Roth and Susanne Del Vecchio PHOTOGRAPHY David Pittuck and Brian Thomas TRANSLATION Kathrin Baetschmann TICKET SALES Theatre in English POSTER Yvan Mermoud PROGRAMME John Fox

We also wish to thank all those who helped with this production but who cannot be named here due to the printer’s deadline.

27 THE CHORUS

28 WHO IS WHO? Rachel Ash, Kathrin Baetschmann, Rebecca Broere, Janice Cook-Robbins, Susanne Del Vecchio, Maggie Holme, Karolien Kerssen, Jennie Klein, Birgitta Lindup, Sandi Maylor, Celine Peiretti, Susan Piazza, Mena Sauvagnat, Gen Steele, Anabel Suter, Katti Ooms Suter, Elena Trinquart, Andrea Waterson, Sally Wattiaux, Maureen Wittig

29 AUDITION DATES : 4, 7 and 9 June - Contact : [email protected] 30 European Theatre Festival Hosted by the Geneva English Drama Society www.geds.ch Friday - Monday 10-13 June 2011 Forum Theatre Meyrin 19h30 • Four evenings of great entertainment • Three competing one-act plays each evening • Performed in English by European theatre companies

Tickets: • www.theatreinenglish.ch • Tel: 022 341 51 90 • At the box office for the night of the performance

FEATS2011 Festival of European Anglophone Theatrical Societies • Geneva 31 THE GAOS COMMITTEE Chairman Mike Sell [email protected] Vice-Chairman Sue Sell [email protected] Secretary Liz Williams [email protected] Assistant Secretary Susan Mutti-Grandchamp [email protected] Business Manager Suzanne Del Vecchio [email protected] Ass. Bus. Manager Anthea Roth [email protected] Manager John Fox [email protected] Ass. Pub. Manager Matti Lindup [email protected] Technical Manager Arni Dinius [email protected] Treasurer David Pittuck [email protected] Webmaster Peter Bell [email protected] Assistant Treasurer Brian Allardyce [email protected] OFF COMMITTEE Musical Evenings Sue Lloyd [email protected] Choral Group Carolyn Hornfeld [email protected] The History of GAOS Memories [email protected] If you want to join GAOS on stage, contact Susan Mutti. If you want to advertise in our programmes, contact John Fox. If you want to help backstage, contact Arni Dinius. If you want to sing in the Choral Group, contact Carolyn Hornfeld.

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Advice today. Nyon Marens Theatre 7 rue du Stand, Nyon Planning for tomorrow. From 13 to 21 May 2011 Service for a lifetime. Friday 13 & Saturday 14 May at 8 pm Sunday 15 May at 7 pm www.gwm-intl.com Thursday 19, Friday 20 & Saturday 21 at 8 pm email [email protected] Online bookings from Tuesday 26 April on www.theatreinenglish.ch ; telephone bookings from Tuesday 3 May 022 710 7864 on +41 22 341 51 90, 10h30 - 12h30 Monday to Friday.

www.gaos.chTHE PRODUCERS is presented by special arrangement with Music Theater International (MTI, NY) Mermod © Yvan