Casino Theatre

GENEVA AMATEUR OPERATIC SOCIETY CHICAGOCHICAGO

• Music by John Kander • Lyrics by Fred Ebb • Book by Fred Ebb and Bob Fosse CASINO THEATRE 42 rue de Carouge, 1205 Geneva Friday 26 April 2013 at 8 pm Saturday 27 April at 3 & 8 pm www.gaos.ch Sunday 28 April at 3 pm An amateur production by arrangement with Samuel French Limited

GENEVA AMATEUR OPERATIC SOCIETY PRESENTS CHICAGCHICAGOO Music by John Kander Lyrics by Fred Ebb Book by Fred Ebb and Bob Fosse

Directed by Di Brown, Carolyn Hornfeld and Liz Williams Musical Director: Andrew Close

Casino-Théâtre, Geneva 26-28 April 2013

www.gaos .ch An amateur production by arrangement with Samuel French Limited. Florimont : The school

Catholic co-educational francophone day school, open to all faiths, Institut Florimont offers general education based on both the French (baccalauréat sections ES, L, S) and the Swiss systems (Swiss maturité and with option bilingual).

Full programme of extra-curricular activities. School transportation and restaurant.

37, av. du Petit-Lancy – 1213 Petit-Lancy, Genève Tél. : +41 (0) 22 879 00 00 – www.florimont.ch A WELCOME FROM THE CHAIRMAN

Welcome to this lovely theatre in central Geneva. GAOS wishes to thank the management of the Casino Theatre for their warm welcome and efficient help, particularly the theatre staff: Jacques Burger, Jacques Stoeckli and Olivier Ding. For this relatively modern show (read pages 11 and 13) we have been lucky enough to attract on stage a number of new dynamic members who we hope will continue to be active in GAOS in the years to come. My personal involvement as one of the Co-Directors of this show as well as Chairman of the Society has stretched my resources to their limit over the last three months, but I can happily say that I have been able to count on the total dedication of the other Committee members who are constantly working to keep GAOS running smoothly; my grateful thanks to all of them. Directing a GAOS show is a huge challenge and a lot of work but I know my fellow Directors and Musical Director join me in saying that it has been a lot of fun! One of the young dynamic cast of Chicago will be directing our summer Café- Théâtre show, I Love You, You’re Perfect, Now Change, on 13-15 June 2013 (see page 14). I know you will enjoy (or enjoy again) the performances of the superbly talented cast (all of whom are appearing in Chicago). The combination of food and fabulous entertainment should make a wonderful evening out. The GAOS Really Youthful Group has taken on an ambitious task for the Autumn Show ― West Side Story (see audition notice on page 32). This will take place at the Théâtre de Marens, Nyon, on 30-31 August and 1 September 2013 ― after the cast has spent their summer holidays rehearsing! I hope you will all be there to see it as the youngsters always put on a terrific show. For all these shows, we are very lucky to be able to rehearse at the Institut Florimont. Our sincere thanks go to the Director of the school who made this possible for us, and to the Technical Manager of the school who has been extremely helpful. We must also thank the Institut International de Lancy which also placed rehearsal space at our disposal, as well as the International School of Geneva ― La Grande Boissière. We would also like to express special thanks to our sponsors: Guardian Wealth Management; The British School of Geneva; Alcadis; and Luker Bros. So I do hope that you enjoy this tale of “murder, greed, corruption, violence, exploitation, adultery and treachery”, but hope that you don’t hold all these things “near and dear to your hearts”. However, they make for a very entertaining show! Liz Williams, Chairman

3 www.iil.ch INSTITUT INTERNATIONAL DE LANCY

1ST ONE TO ONE IPAD SChOOL IN SwITzERLAND

Institut International de Lancy Avenue Eugène-Lance 24, 1212 Grand-Lancy Case postale 1810, CH-1211 Genève 26 Tél. + 41 (0) 22 794 26 20 | [email protected] | www.iil.ch Institut International de Lancy Travailler et réussir ensemble THE CO-DIRECTORS Time went by and the little girls grew And they dreamed their dreams as little girls do. They dreamed of the ballet, they dreamed of the Long ago in the mists of time stage, When love was in the air, They sang the pop songs that were all the rage. Three handsome young men set out to win Liz went on stage at the age of five The love of their maidens fair. And thought “This is really being alive”. Dame fortune smiled on the handsome young Di was four when she learned to dance men And kept on performing at every chance. (That’s Geisler, Cousins and Marks). Carolyn laughed and studied and played The three young couples decided to wed, A happy all-rounder was that young maid. They’d all be happy as larks. They went to school and they learned a lot They settled down and the world rolled round (Though to tell the truth it’s now mostly forgot). And the seasons passed in turn, They came to Geneva, hometowns were no loss ’Til three young mothers were brought to bed Because finally they could say “Hello GAOS”. With three girl babies of whom it was said, They acted and danced and sang and toiled “They are pretty as pictures and chubby and Front of house and back stage, keeping GAOS’ sweet!” wheels oiled. And nobody knew they were destined to meet They made many friends including each other, ’Cos from Wokingham to Hackensack Tried direction à trois without too much bother. And then to Taunton there’s no clear track, And the team of Carolyn, Di and Liz, (The Atlantic’s not much of a street.) Go on happily spending time on Show Biz.

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GENEVA ENGLISH SCHOOL wishes GAOS all the best for tonight’s performance

• Excellent academic standards and expectations. • Wonderful ‘family’ atmosphere. • Individual pupil development only a small school can offer. • Current development to enhance educational experience. GENEVA ENGLISH SCHOOL • Inspirational learning environment. • English National Curriculum with strong French Department. [email protected] 0041 (0)22 755 18 55 • Appropriate fluency in English required. • Co-education age 4-11. Why not come and see for yourself? ANDREW CLOSE – Musical Director Andrew has musically directed many shows, both here in Geneva and in his native Australia, and is excited about leading a wonderful cast in Chicago. Born in the U.K., but educated in Australia, he completed a Masters’ degree in Music Performance, followed by a separate degree in conducting. He began his professional career as the solo clarinettist with the Band of the South Australia Police, before moving into teaching music. Prior to his move to Geneva, Andrew was the Director of Music at Wesley College, Australia’s largest private school. He has also taught performance, composition and conducting in several Australian universities and the Damascus Higher Institute, Syria. Active as a composer and arranger, Andrew has written many works, in particular for choirs, and arranged for both classical and jazz ensembles. His new work for children’s choir, Distant Star, will be premiered on Tuesday 30 April at Victoria Hall by over 350 students. Andrew has conducted a number of works for Genevox, a Genevan-based opera company, including Jeptha, Così fan tutte, Die Zauberflöte, Don Giovanni and Sweeney Todd. This is Andrew’s first spring show for GAOS, although he has conducted the GAOS Choral Group in a number of concerts, including Thomas Tallis’s forty-part Spem in Alium, Orff’s Carmina Burana, Stravinsky’s Symphony of Psalms and Lauridsen’s Lux Aeterna. Andrew currently teaches at the International School of Geneva, including the direction and production of large-scale musicals for students. He is also trying to finish a Doctorate in Education.

YVES GARNIER – Tap Choreographer Yves initially studied tap, jazz and sport dance at the Martin School in Lausanne. He continued to study tap in London with Derek Hartley and then in Paris with Pascal Hulin and Victor Cuno. He also attended many workshops with teachers such as Gillian Gregory, Jerry Ames, Jimmy Slide, Steven Harper and Barbara Duffy. He is a former Latin American dance competitor, and went on to be dancer and percussionist in “Clak-Son” with the Martins’ Tap Company, directed by Fabrice Martin. He also appeared in a Cotton Club Show as choreographer and dancer. Yves has been teaching since 1983 in Lausanne and Paris, and now Geneva where he has been giving courses since 2001 at Dance Area. He regularly appears with various jazz orchestras in the Lake Geneva region performing his own choreography and improvisations.

7 Julie’s Summer Music Program ■ music ■ dance ■ art ■ drama ■ fun since 1995 — for students 4 -16 1 - 12 July 2013 Geneva English School, Genthod Bringing Young Musicians Together Julie-Music.com The Geneva Youth Ensemble for instrumentalists 10-18 rehearsals Thursdays 17h-18h Tannay Concert 6 December at 17h

Gymboree offers a graded progression of Play & Learn, Music, Art and Sport classes for parents and children aged 0 to 5 years as well as School Skills classes for 2 – 3 and 3-5 year olds. Call now for your free trial class Rue Sonnex 23, 1218 Grand-Saconnex Tel. 0041 (0)22 920 9200 - [email protected] - www.gymboree.ch THE REAL STORY BEHIND CHICAGO

Chicago is a musical set in the mid-1920s Prohibition-era Chicago. It is “a story of murder, greed, corruption, violence, exploitation, adultery and treachery — all those things we hold near and dear to our heart”, as the Master of Ceremonies gloats. It is jurisprudence-as-show-business and trial-by-publicity. The songs are presented as vaudeville acts, which highlights the intended satire and provides a means to set the characters in the sleazy Chicago of the times: plenty of bootleg liquor (see Glossary, page 28), jazz and sex, with an undercurrent of violence. The show is based on a 1926 play of the same name by reporter Maurine Dallas Watkins about actual criminals and crimes on which she reported. Watkins led a unique life in the American popular culture of the first half of the twentieth century. Her fascination with crime, celebrity and image fabrication led to the primary theme of her major works — how the media can be manipulated to both create and destroy celebrity, a subject that remains highly relevant and contemporary. Joining the Chicago Tribune newspaper in her mid-20s, Watkins became one of the first female crime reporters in the United States and used her talents to get the scoop on the infamous Leopold-Loeb murder case (see Glossary), one of the first cases to be labeled “Trial of the Century” and the source material of numerous film and stage adaptations. That same year, Watkins covered the sensational Chicago murder trials of Beulah Annan, a bookkeeper, and Belva Gaertner, a twice-divorced cabaret singer. Her newspaper articles served as the basis for a play that she wrote three years later at Yale University’s renowned playwriting workshop as a class assignment. The play, initially entitled A Brave Little Woman, then Play Ball, and finally Chicago, was acquired by Sam H. Harris. Harris, in turn, hired George Abbott to direct Chicago on Broadway, where it ran for 172 performances during the 1926/27 season (with a then-unknown Clark Gable appearing in a Los Angeles production as “Amos Hart”) and was listed as one of the Top Ten Plays by leading critic Burns Mantle. Watkins transformed Beulah Annan, the “beauty of the cell block” and Belva Gaertner, the “most stylish of Murderess’ Row” into the indelible characters of Roxie Hart and Velma Kelly. Covering the Annan and Gaertner murder cases from the moment they were reported by Chicago police only three weeks apart, Watkins cleverly twinned the two murders together. Under a picture of the pair of the accused murderesses captioned “Killers of Men”, Watkins wrote that “as yet the two have not talked over their common interests: a man, a woman, liquor and a gun”. The supposed pregnancy used to speed up the trial, the sleek lawyer who helped define the media frenzy, and the acquittal of both women sounded like a page out 9 Education Guide Switzerland A comprehensive THE WEBSITE catalog of all English-language schools and academic programs in Switzerland 1st edition 2012/2014 on sale now — local news 270+ pages NEW® Know-it-all passport — classifieds The ultimate guide for residents living in — event calendar Geneva, Vaud, and neighboring France Get to know your area! You won’t need anything else. — activities

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— and more! www.knowitall.ch of Hollywood, but were in fact real-life incidents covered by Watkins as a young reporter. T.H. Pauly, in his 1997 book Chicago, wrote, “Watkins’ play offers a bracing reminder that lurid crimes were as aggressively commercialized seventy years ago as they are today. Her comic depiction of a woman groping towards liberation and the future foresees the pressures women still face, but it is downright uncanny in its anticipation of today’s news-as-entertainment culture.” Chicago went on to tour successfully for two years after its initial Broadway run and was adapted for a feature film, first as a silent film,Chicago (1927), and then as Roxie Hart (1942), starring Ginger Rogers. Watkins wrote about twenty plays, but Chicago was her most successful, and she faded into obscurity in the 1940s. She developed a disfiguring facial cancer, and by 1968 Watkins was reclusive, leaving her apartment only when heavily veiled. She had been a lifelong Christian and left her fortune of over $2,300,000 for the purpose of Biblical studies at some twenty universities, including Princeton. In the 1960s, Watkins was approached by Bob Fosse, who sought the rights to Chicago for a musical adaptation, but she resisted his offers. Following her death in 1969, her estate sold him the rights, leading to the development of Chicago: A Musical Vaudeville with a score by John Kander and Fred Ebb. It was first produced in 1975, ran for 936 performances and received eleven Tony Award nominations. In 1996, Chicago was revived on Broadway (and won six Tony Awards), and a year later in the West End. The Broadway revival holds the record for the longest-running musical revival and the longest-running American musical in Broadway history, and is the third longest- running show in Broadway history, having played more than 6,700 performances as of December 2012. The London revival ran for nearly fifteen years, becoming the longest-running American musical in West End history, and it has continued as a hugely successful touring show that has been staged in sixteen countries, 250 cities and in eleven languages. The 2002 film musical adaptation starring Catherine Zeta- Jones, Renée Zellweger and Richard Gere won six Oscar Awards, including Best Picture, and grossed over $300 million worldwide.

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ACT I Velma Kelly, a vaudevillian turned murderess, introduces the audience to her 1920’s Chicago (″All That Jazz″). Meanwhile, we see chorus girl Roxie Hart’s murder of her lover, Fred Casely. Roxie convinces husband Amos that the victim was a burglar, and Amos cheerfully takes the blame. Roxie praises her dimwitted husband (″Funny Honey″) until Amos belatedly puts two and two together, the truth comes out, and Roxie is arrested. She joins the women’s block of Cook County Jail, inhabited by Velma and other murderesses (″Cell Block Tango″), and presided over by Matron Mama Morton, whose system of mutual aid (″When You’re Good to Mama″) perfectly suits her clientele. Velma complains that Roxie is stealing both her headlines and her hot-shot lawyer, Billy Flynn. Roxie convinces Amos to pay Billy’s fee. Billy enters, with admirers (″All I Care About is Love″). Billy takes Roxie’s case and rearranges her story for sympathetic tabloid columnist Mary Sunshine (″A Little Bit of Good″). Roxie’s press conference becomes a ventriloquist act with Billy, via dummy Roxie, dictating a new version of the truth (″We Both Reached for the Gun″). Roxie is the hit of Chicago media, and plans her future career in vaudeville (″Roxie″). Velma’s notoriety is now history, and in desperation she tries to talk Roxie into recreating the sister act (″I Can’t Do It Alone″). Roxie refuses, only to find her own headlines replaced by the latest sensational crime. Individually, Roxie and Velma realize ″I am my Own Best Friend″, and Roxie resourcefully decides a pregnancy would restore her to the front page.

ACT II Velma bemoans Roxie’s continual run of luck (″I Know a Girl″) despite Roxie’s obvious falsehoods (″Me and My Baby″). Hoodwinked, Amos proudly claims paternity, and still remains unnoticed (″Mr. Cellophane″). Velma shows Billy the tricks she’s planned for her trial (″When Velma Takes The Stand″). Arrogantly, Roxie argues with Billy and fires him. She is shaken to learn that a fellow inmate was hanged. The trial date arrives, and Billy encourages Roxie to make a show of it (″Razzle Dazzle″). Roxie uses all Velma’s courtoom tricks, to the dismay of Mama and Velma (″Class″). Roxie is acquitted but, just as the verdict is given, an even more sensational crime pulls the press away. Billy leaves, done with the case. Amos still loves Roxie, but she confesses there’s no baby and Amos finally leaves her. Alone now, Roxie pulls herself up and extols the good life (″Nowadays″). She joins Velma in a new act (″Hot Honey Rag″) and the entire company unites with them (″Finale″).

13 GENEVA AMATEUR OPERATIC SOCIETY PRESENTS u, e Yo v You’r o e P L e I r fe c t ,

NO W CHANGE Book by Joe DiPetro Salle de Spectacle de Founex Music by Jimmy Roberts Route de Châtaigneriaz 3 Thursday, 13 June 2013 at 8 p.m. Tickets prices: Friday, 14 June 2013 at 8 p.m. Parterre (includes meal): CHF 45 Saturday, 15 June 2013 at 8 p.m. Balcony (no meal): CHF 25 Doors open at 6:30 p.m. Information: www.gaos.ch Tickets: www.theatreinenglish.ch Since 1971 I LOVE YOU, YOU’RE PERFECT, NOW CHANGE is presented through special arrangement with R&H Theatricals Europe GmbH on behalf of RODGERS & HAMMERSTEIN: An Imagem Company, www.rnh.com GENEVA AMATEUR OPERATIC SOCIETY PRESENTS RÉSUMÉ ou, ACTE I Y Velma Kelly, une star de vaudeville devenue meurtrière, initie le public à son Chicago ve You des années 1920 (″All That Jazz″). Pendant ce temps, Roxie Hart, une fille qui fait ’re partie du chœur, tue son amant Fred Casely. Roxie arrive à convaincre son mari o P Amos que la victime est un cambrioleur. Par amour pour Roxie, Amos est ravi de L e se faire passer pour le coupable du meurtre. Roxie fait les louanges de son niais de r mari (″Funny Honey″) jusqu’à ce qu’Amos comprenne ce qui s’est réellement passé I et dise la vérité à la police, menant à l’arrestation de Roxie. Elle se retrouve alors fe dans la prison des femmes du comté de Cook, où elle rencontre Velma et d’autres meurtrières (″Cell Block Tango″). Cette section est sous l’emprise de Matron Mama c Morton, dont le système corrompu d’aide mutuelle (″When You’re Good to Mama″) t convient parfaitement à sa clientèle. , Velma se plaint que Roxie lui pique à la fois la une des journaux et son excellent avocat, Billy Flynn. Roxie parvient à convaincre Amos de payer les honoraires de Billy Flynn. Billy entre, suivi par ses admiratrices (″All I Care About is Love″). Billy accepte de défendre Roxie et réécrit son histoire afin de gagner la sympathie de la journaliste Mary Sunshine (″A Little Bit of Good″). La conférence de presse de Roxie devient un spectacle de ventriloquisme avec Billy, à travers la marionnette Roxie, à qui il dicte une nouvelle version de la vérité (″We Both Reached for the Gun″). Roxie est la star des médias de Chicago et rêve d’une grande carrière à vaudeville (″Roxie″). La célébrité de Velma appartient maintenant au passé et, désespérée, elle essaye de convaincre Roxie de jouer ensemble le numéro qu’elle jouait auparavant avec sa soeur (″I Can’t Do It Alone″), ce que Roxie refuse. Les médias, attirés par un nouveau crime sensationnel, se désintéressent alors de Roxie. Chacune de leur côté, Roxie et Velma se rendent compte qu’elles ne peuvent compter que sur elles- mêmes (″I am my Own Best Friend″). Roxie a alors l’idée de se faire passer pour N enceinte, afin de regagner l’intérêt des médias. O ACTE II W GE Velma est très agacée par la chance de Roxie (″I Know a Girl″) qui fait toujours C AN semblant d’être enceinte (″Me and My Baby″). Amos, ému, annonce fièrement être H le père, mais personne ne le remarque (″Mr. Cellophane″). Velma montre à Billy ce Book by Joe DiPetro Salle de Spectacle de Founex qu’elle a prévu de faire au tribunal afin de conquérir les jurés (″When Velma Takes Music by Jimmy Roberts the Stand″). Roxie, arrogante, s’énerve contre Billy et le renvoie, décision qu’elle Route de Châtaigneriaz 3 regrette lorsqu’elle apprend que l’une de ses compatriotes de prison a été pendue. Thursday, 13 June 2013 at 8 p.m. Tickets prices: La date du procès de Roxie arrive et Billy l’encourage à en faire un spectacle Friday, 14 June 2013 at 8 p.m. Parterre (includes meal): CHF 45 (″Razzle Dazzle″). Roxie utilise toutes les astuces que Velma avait prévu de montrer Saturday, 15 June 2013 at 8 p.m. aux jurés, ce qui désole Mama et Velma (″Class″). Roxie est acquittée, mais, juste Balcony (no meal): CHF 25 après que le verdict ait été prononcé, un crime encore plus sensationnel attire toute Doors open at 6:30 p.m. la presse. Billy part, il en a fini avec Roxie. Amos l’aime toujours, mais une fois qu’elle lui annonce qu’il n’y a pas de bébé, il part. Seule, Roxie parle de la belle vie Information: www.gaos.ch que l’on peut vivre de nos jours (″Nowadays″). Elle rejoint Velma dans un nouveau Tickets: www.theatreinenglish.ch Since 1971 spectacle (″Hot Honey Rag″) et toute la compagnie s’unit à eux (″Finale″). I LOVE YOU, YOU’RE PERFECT, NOW CHANGE is presented through special arrangement with R&H Theatricals 15 Europe GmbH on behalf of RODGERS & HAMMERSTEIN: An Imagem Company, www.rnh.com PRINCIPALS in order of appearance

Master of Ceremonies DAVID PITTUCK Velma Kelly JENNIE KLEIN Roxie Hart MICHELLE SCHULER Fred Casely BARRIE DUGGAN Amos Hart STEPHEN A. ASH Sergeant Fogarty STANLEY TAYLOR Liz SARAH PARKER Annie ANNA LUNDBERG June RACHEL ASH Hunyak JENNY DEMPSEY Mona BINDU KAPUR Matron Mama Morton BECCI STEEN Billy Flynn ANGUS MACDONALD Mary Sunshine MAJBRITT BYSKOV-BRIDGES Go-to-Hell Kitty GEMMA PARKES Aaron PHIL TUFFS

No flash photography please or filming. The Theatre Bar will be open after the show where you can meet the cast and team.

16 LADIES OF THE COMPANY ENSEMBLE Rachel Ash, Emanita Bailey, Karen Ball, Marie-Laure Del Vecchio, Jenny Dempsey, Stéphanie Erlanger, Aline Grangier, Olivia Grobety, Caroline Jauch, Bindu Kapur, Irina Kirkman, Anna Lundberg, Catherine Monagle, Sarah Parker, Céline Peiretti, Joanna Pardo, Gemma Parkes, Gen Steele

GENTLEMEN OF THE COMPANY ENSEMBLE Nicolas Bourdillon, Mark Clayton, Frank Doppenberg, Barrie Duggan, Kieren Duggan, Yves Garnier, Dagoberto Linhares, Robin Martini, Michael Roth, Stanley Taylor, Phil Tuffs, Marc Turcotte

THE ORCHESTRA Musical Director, Clarinet and Soprano Sax: Andrew Close Alto Sax: Manuel Gesseney Tenor Sax: Basile Rosselet Trumpet: 1. Adrien Léger; 2. Raphaël Hugon Trombone: Jean-Paul Papilloud Violin: Patricia Giannetti Banjo: Bernard Schwenter Piano: Shauna Beesley Double Bass: Hélène Hérengt Drums: Yorick-Yann Hossfeld

PRINCIPALS MICHELLE SCHULER ROXIE HART Originally from the United States, Michelle currently resides in Lausanne, teaching secondary Humanities and History at the International School of Lausanne. This is her first GAOS show although not her first stage experience. Previously, she has both stunned and amazed audiences as a tap-dancing napkin and sausage-curl girl, to name a few. Michelle would like to thank her very supportive cast members, co-workers, students, friends, and family (including her mom and sister who have traveled all the way from the real Chicago)! She has truly felt like a “star” throughout this unforgettable adventure but according to Roxie, “That’s show biz, kid.” JENNIE KLEIN VELMA KELLY At the age of 4, Jennie started ballet at the Conservatoire Populaire in Geneva. She would specifically like to thank Diana Ratcliffe for playing such an important role in her discovery of dance. Huge thanks also to Di Brown, Grainne Lowe and Sergio Briceno. From school choir to rock singing lessons in London, she is now coached by Speech-Level Singing teacher Krizia Bassanini whose talent and encouragement have been very inspiring. With the support of Voice and Drama coach Judi Hall, Jennie was accepted at The Bridge Theatre Company (London) and her continued support has been much appreciated. Previous roles include “Penny” in A Slice of Saturday Night, “Titania” in A Midsummer Night’s Dream, “Lazarus” in The Mystery Plays. She teaches Hip Hop and Relaxation classes. Well-being is her passion and she is motivated by personal development through movement. Playing Velma Kelly is a dream come true! Her boyfriend, family and friends have been wonderfully supportive in these past few months.

ABOUT GAOS GAOS is the acronym for the Geneva Amateur Operatic Society, a non-profit association that has existed in the Geneva area since 1971. With its 500 members, GAOS produces three or four English-language musical shows in the region every year. The Society depends entirely on the unpaid spare time of its members, each contributing talents and knowledge in their area of expertise. They direct, act, play a musical instrument, or sing and dance on stage, but they also take responsibility for all the technical areas of theatre, such as lighting, set design and construction, props, sound amplification, makeup and the creation of original costumes.

19 ANGUS MACDONALD BILLY FLYNN A relative late-comer to the stage, Angus has squeezed in roles as “Carmen Ghia” (The Producers), “Shirley Bassey” (From Flappers to Rappers) and “Orlando” (As You Like It) in the last couple of years. “Billy Flynn” is a completely different challenge, mostly not letting the adulation of a dozen fan-dancers distract him from the serious business of the pursuit of justice …and five thousand dollars!

STEPHEN A. ASH AMOS Singing and performing on stage and TV since he was 7, favourite previous roles include “Roger” In The Producers, “Freddie” in Chess, “Joseph” in Joseph and his Amazing Technicolor Dreamcoat, and “Dr. Wackoff” in the critically acclaimed world-wide amateur premiere of Saucy Jack and the Space Vixens. He is delighted to be playing the part of “Amos”, his favourite character from the show Chicago which he first saw at the Edinburgh Fringe Festival in 1995. See Steve onstage again next June reprising another favourite role of “Man 1” in I Love You, You’re Perfect, Now Change.

DAVID PITTUCK MASTER OF CEREMONIES David has played a great variety of parts on the Geneva stage, ranging from one with no lines or moves (the body in The Real Inspector Hound) to major roles such as “Iago”, “Scrooge” and “Jean Valjean”. In Chicago he is presented with a new challenge: more stage directions than lines! In what passes for real life, David is GAOS Treasurer, a role with limited scope for improvisation.

If you would like to join GAOS, contact Birgitta Lindup. If you would like to help backstage, contact Arni Dinius. If you would like to advertise in our programmes, contact John Fox. If you would like to sing in the Choral Group, contact Carolyn Hornfeld.

20 BECCI STEEN MATRON MAMA MORTON Becci has performed in an array of musical theatre productions from an early age, and studied Performing Arts at college. Some of her favourite roles to date include “Audrey” (Little Shop of Horrors); “Ado Annie” (Oklahoma); “Urleen” (Footloose); “Ilse” (Spring Awakening); “Dionne” (Hair) and “Lucille Frank” (Parade). Having moved to Geneva eight months ago, Becci is delighted to have discovered GAOS and to have been given the opportunity and challenge of playing “Mama Morton” in this wonderfully infectious musical. She would like to take this opportunity to thank her friends and family for their constant love and support and hopes you enjoy the performance. MAJBRITT BYSKOV-BRIDGES MARY SUNSHINE Majbritt is delighted to be back on stage in a Di, Carolyn and Liz trio show again. Majbritt holds a Masters in Music from the Royal Scottish Academy of Music and Drama and has performed throughout Europe. Her first main role with GAOS was as “Hodel” in Fiddler on the Roof, and more recently as “Ulla” in The Producers and as “Kate” in Kiss Me Kate. After her Masters in Business Management and working in several different countries, Majbritt came back to Geneva when offered the position of Senior Financial Consultant at Guardian Wealth Management.

THE GAOS COMMITTEE Chairman Liz Williams [email protected] Vice-Chairman Deborah Vorhies [email protected] Treasurer David Pittuck [email protected] Secretary Susan Mutti [email protected] Membership Birgitta Lindup [email protected] Business Manager Susanne Del Vecchio [email protected] Assistant Business Manager Anthea Roth [email protected] Publicity Manager John Fox [email protected] Assistant Publicity Manager David Manson [email protected] Technical Manager Arni Dinius [email protected] Webmaster Iris Hariz [email protected] OFF COMMITTEE Assistant to the Treasurer Brian Allardyce [email protected] Musical Evenings Sue Lloyd [email protected] Choral Group Carolyn Hornfeld [email protected] GAOS Memories Nic Sommer [email protected]

21 RACHEL ASH JUNE Rachel’s stage debut was at the age of 9, playing “Kim” in Showboat at the Buxton Opera House. She achieved a B.A. (Hons) in Performing Arts, majoring in music and voice at Hertfordshire University and then moved to Surrey playing many roles in all genres. Favourite roles include “Irene Malloy” in Hello Dolly, “Lois Lane” in Kiss me Kate, “Florence Vassy” in Chess and recently “Josephine” in H.M.S. Pinafore. She is currently teaching for Simply Theatre. JENNY DEMPSEY HUNYAK Jenny is British and Swiss and has lived in Switzerland most of her life. She trained as a professional dancer at the Hammond School of Performing Arts in Chester and later obtained a B.A. in Dance Education. She currently works for Simply Theatre, teaching, coaching behind the scenes and being involved in the creative process. She has really enjoyed being part of Chicago and being on stage again. BINDU KAPUR MONA Bindu has been involved in Geneva`s English theatre community since 1994, appearing in Lend Me a Tenor, Play It Again Sam, Anything Goes and Guys & Dolls. Having returned to Switzerland after ten years overseas, she could not resist auditioning when she saw that GAOS was doing Chicago. Bindu is American, Canadian, Swiss and has Indian origins. Married with two children, she is an HR professional in her day job. ANNA LUNDBERG ANNIE Anna has been in a number of GAOS shows ― Chess, A Grand Night for Singing, the fairy in Jack and the Beanstalk ― as well as getting a taste for directing with a musical evening of Starlight Express. She’s thrilled to play a murderess and be part of the fabulous Cell Block Tango, though slightly concerned that the directors’ casting so closely matched her own personality ... SARAH PARKER LIZ Sarah joined GAOS in 2006 after following her heart (and her career) to Geneva from Sydney. She has sung in the chorus of several shows including: Hello Dolly, Follies and Kiss Me Kate; played the Principal Girl in the pantomime Ali Baba and the Forty Thieves in 2006; and was one of the four cast members in the 2008 summer show – I Love You, You’re Perfect, Now Change (see page 14). She also wrote and starred in Forbidden GAOS in 2009.

22 HOWARD HORNFELD STAGE MANAGER How many times has he said “Screw this ― together!” and still went on to build another set, drive another truck, cajole another neophyte to help a show get on the boards. Usually behind the GAOS scene (only his wife knows his wonderful baritone range, from the shower), he is also associated with sister society GEDS (as former chairman as you read these lines) where he does similar things as well as prancing around the stage ― most recently in Arthur Miller’s View from the Bridge. Chicago being a minor image of his home town of New York, he felt he had to help make Chicago into a big boy, so with the encouragement of said wife (who did the same thing to him a couple of years ago when they both did the GAOS production of The Producers) he screwed it up again, with a few helpers from the ranks of the society ― to whom he gives his thanks.

LINDA GREENWOOD COSTUME MISTRESS For Linda there are no signs of retirement yet, although the sewing machine is showing signs of fatigue. I wonder why? So Chicago gets added to the list of other shows like Anything Goes, Hello Dolly, Daisy, Cinderella and Aladdin, with Mulan and Beauty and the Beast as costume godmother and Michel Servet for Genevox. They say “black is beautiful”! Try sewing black on black at night and hundreds of sequins by hand. Fortunately every show is different.

LIGHTING DESIGN

MARTIN DAVID SALLY LEU MANSON WATTIAUX If you want to know more about us, let’s meet at the bar after the show, along with all the cast and crew!

23 DEBBIE STEEL PROPERTIES Debbie came to Geneva in 1980 and has always supported the three English-speaking amateur theatrical groups: GAOS, GEDS and LTG (now disbanded). She first became involved on stage in the chorus of the Ice Maiden in 1991 and was so nervous that her legs would shake every night. So she decided to help out back-stage with make- up for Salad Days in 1992. She was a “wench” at various Music Halls over the years and helped with front-of-house a few times. Headed up the costume team for Grease (1992) and Little Shop of Horrors (1994) and various other small plays for LTG and served on the LTG Committee for a couple of years. After many years of absence, she helped with props for The Producers in May 2011.

SAMMIE CLARE HAIR/MAKE-UP Since joining GAOS in 2003, Sammie has graced a score (!) of shows from sound to stage and much betwixt. Currently a dive guide in Dahab, Egypt, she returns bi-annually to help with shows and catch up with some very old friends! Meeting eighteen years ago in Geneva, Sammie discovered she’d lived yards from Annie (below) in the U.K., but never met! Now misspent hours with straighteners and curlers have brought them all the way from Chancy to Chicago. Favourite role to date: “Hattie” in Kiss Me Kate (2008). Greatest theatrical challenge to date: choreographer for Mother Goose (Pulham Players, 2012).

ANNE DOW HAIR/MAKE-UP Annie has lived in Geneva since 1994 and has always enjoyed going to see the shows put on by GAOS. She works full time at the Institut International de Lancy. After helping with make-up during last year’s pantomime and thoroughly enjoying working backstage, she decided to join Sammie Clare as head of hair and make-up for Chicago. She is looking forward to the challenge of working on this fabulous production.

24 BIRGITTA LINDUP STEVE PAVIS ARNIE DINIUS ANTHEA ROTH Assistant Stage Manager Sound Effects Sound Orchestra Admin.

DI KLEIN JOHN FOX JANE DEL POZO SUSANNE DEL Line Coach Chief Painter Photographer VECCHIO Theatre Liaison

GEDS%is%proud%to%present%the%smash%hit% !

! C a l e n da r Girl s by#Tim#Firth###+##directed#by#Neil+Jon#Morphy# Théâtre#Pitoëff,##Geneva# www.geds.ch) 18th#+22nd#June,#2013 !

25 PRODUCTION TEAM

CO-DIRECTORS: DIANA BROWN, CAROLYN HORNFELD, LIZ WILLIAMS MUSICAL DIRECTOR: ANDREW CLOSE REHEARSAL PIANISTS: SHAUNA BEASLEY & ALLARDYCE MALLON CHOREOGRAPHY: THE CO-DIRECTORS TAP CHOREOGRAPHY: YVES GARNIER DANCE CAPTAIN: RACHEL ASH SET DESIGN: THE CO-DIRECTORS STAGE MANAGER AND SET CONSTRUCTION: HOWARD HORNFELD ASSISTANT STAGE MANAGER: BIRGITTA LINDUP SET PAINTING: JOHN FOX CONSTRUCTION AND STAGE CREW: Stephen Anderson, Danny Benjamin, Robin Brown, Christine Clayton, Des George, Rob Mackenzie, Penny Morris, Annie Schmid, Alydia Seidell, Debbie Steel, David Stieber, Jeannie Taylor, Brian Thomas, David Wrigley COSTUME TEAM: LINDA GREENWOOD, Beryl Allardyce, Susan Bergomi, Margaret De Marchi, Claire Fenner, Maureen Goodman, Maureen Wittig-Judge LIGHTING DESIGN: MARTIN LEU, DAVID MANSON, SALLY WATTIAUX FOLLOW-SPOT OPERATORS: Edward Brown, Edward Brett, Sally Wattiaux SOUND AMPLIFICATION: ARNI DINIUS, Han Broere, Iris Hariz, Vince Cobham SOUND EFFECTS: STEVE PAVIS PROPERTIES: DEBBIE STEEL, Alydia Seidell, Jeannie Taylor MAKE-UP AND HAIR STYLES: ANNE DOW AND SAMMIE CLARE, Sharon Gill, Jess Hill, Rosemary Hopkin, Claire Joia, Sue Lloyd, Jo Marceau, Zara Plummer, Veronica Reimer, Annie Schmid, Harmonie Hairstylists of Bernex especially Marie and Diana ORCHESTRA ADMINISTRATION: ANTHEA ROTH FRONT-OF-HOUSE: SUE AND MARK TYRRELL, Des George, Nina Mattock, Pamela Dullaghan, Paul Dullaghan, Susan Mutti, Yvette Callier PROMPT AND LINE COACH: DI KLEIN HUNGARIAN COACH: MARGIT DOPPENBERG PROMPTS: TIM HANCOX & MAUREEN WITTIG BACKSTAGE REFRESHMENTS: SUE & MIKE SELL THEATRE LIAISON: SUSANNE DEL VECCHIO POSTER DESIGN: MARK CLAYTON PHOTOGRAPHY AND VISUALS: JANE DEL POZO & BRIAN THOMAS PROGRAMME: JOHN FOX TRANSLATION: MARIE-LAURE DEL VECCHIO TICKET SALES: THEATRE IN ENGLISH

26 THE COMPLETE CAST

27 GLOSSARY OF 1920’s CHICAGO TERMS

Many references are made in the CHICAGO stage instructions, score and libretto to personalities from the world of entertainment and notoriety in the 1920s. This includes how to play instruments and sing the songs “in the style of…”. To add to your pleasure and understanding, we provide this glossary explaining terms that might be new to you.

Amos ’n’ Andy: a situation comedy, set in the black community, very popular in the United States from the 1920s to the 1950s on both radio and television. In Chicago, Billy Flynn purposefully and repeatedly calls Amos “Andy”. Amos ‘n Andy began as one of the first radio comedy series, written and voiced by Freeman Gosden and Charles Correl, originating in Chicago. The creators later said they named the characters Amos and Andy after hearing two elderly African-Americans greet each other in an elevator. Big Jim Colosimo: Giacomo Colosimo (1878–1920), better known as “Big Jim” Colosimo, was an Italian-American Mafia crime boss who built an empire in Chicago based on prostitution, gambling and racketeering. Emigrating from Italy in 1895, he gained power through petty crime and heading a chain of brothels. He would lead what would become the Chicago Outfit from about 1902 until his assassination in 1920. Johnny Torrio, an enforcer Colosimo imported in 1909 from New York, would then seize control. Al Capone, a Torrio henchman, was alleged to be directly involved in the murder. bootlegging: illegal traffic in alcohol in violation of legislative restrictions on its manufacture, sale or transportation. The word apparently came into general use in the 1880s to denote the practice of concealing flasks of illicit liquor in boot tops when trading with Indians. It became part of the American vocabulary when the Eighteenth Amendment to the U.S. Constitution prohibited alcohol from 1920 until its repeal in 1933 (the “Prohibition” era). Bootlegging was widespread in the United States during Prohibition. Even though the law prohibited the manufacture and sale of alcoholic beverages, it was widely disobeyed by the public and even by government officials. Bootlegging became an organized business run by crime families and gangsters (e.g. Al Capone). Cicero: town in Cook County, Illinois, and a suburb on the South Side of Chicago (the more industrial sleazy side, as opposed to the fashionable North Side). In the show, it is mentioned as the place where Velma committed her crime. Al Capone built his criminal empire in Chicago before moving his headquarters to Cicero in 1924 to escape the reach of the Chicago police. Since Capone, Cicero has maintained a reputation of being a corrupt town (according to one website).

28 Eddie Cantor [mentioned in libretto directions as a model for singing of “Me and My Baby”]: Eddie Cantor (1892–1964), born Edward Israel Iskowitz, was an American “illustrated song” performer, comedian, dancer, singer, actor and songwriter. Familiar to Broadway, radio, movie and early television audiences, this “Apostle of Pep” was regarded almost as a family member by millions because his top-rated radio shows revealed intimate stories and amusing anecdotes about his wife Ida and five daughters. Some of his hits include “Makin’ Whoopee,” “Ida,” “If You Knew Susie,” “Ma! He’s Makin’ Eyes at Me,” “Margie” and “How Ya Gonna Keep ’Em Down on the Farm (After They’ve Seen Paree?)”. Cantor soon became the world’s highest-paid radio star. His shows began with a crowd chanting “We want Can-tor! We want Can-tor!,” a phrase said to have originated in vaudeville when the audience chanted to chase off an act on the bill before Cantor. This tactic is used here in Act 1 Scene 7 before Billy’s first entrance. In 1944, a Philadelphia television station presented a special telecast featuring Eddie Cantor, which was also fed to the NBC television station in New York City, WNBT. Cantor, one of the first major stars to agree to appear on television, was to sing “We’re Havin’ a Baby, My Baby and Me”. Arriving shortly before airtime at the Philadelphia studios, Cantor was reportedly told to cut the song because the NBC New York censors considered some of the lyrics too risqué. Cantor refused, claiming no time to prepare an alternative number. NBC relented, but the sound was cut and the picture blurred on certain lines in the song. This is considered the first instance of television censorship. finagle: fi-na-gle ( ) v.tr.: 1. To obtain or achieve by indirect, usually deceitful methods: finagle a day off from work. 2. To cheat; swindle: shady stockbrokers who finagle their clients out of fortunes. v.intr.: To use crafty, deceitful methods. lavaliere: (North American pronunciation lav-a-leer): item of jewelry, consisting of a pendant, sometimes with one stone, suspended from a necklace. After the Duchess of La Vallière, a mistress of King Louis XIV. Leopold and Loeb [Velma says “Can you imagine Roxie Hart a mother? That’s like making Leopold and Loeb Scout Masters.”] Nathan Freudenthal Leopold, Jr. and Richard Albert Loeb, more commonly known as “Leopold and Loeb”, were two wealthy University of Chicago law students who murdered 14-year-old Robert “Bobby” Franks in 1924 and were sentenced to life imprisonment. Leopold was aged 19 at the time of the murder and Loeb 18. They believed themselves to be Nietzschean supermen who could commit a “perfect crime” (in this case, a kidnapping and murder). Both admitted that they were driven by the thrill of the kill and the desire to commit the “perfect crime”. Leopold and Loeb have been the inspiration for several works in film, theater and fiction, such as the 1929 play Rope by Patrick Hamilton and Alfred Hitchcock’s 1948 film of the same name. 29 Lucky Lindy: Nickname of Charles Lindberg, the first American pilot to fly solo non-stop across the Atlantic in 1927. A multitude of songs with “Lucky Lindy” in the title were released in the aftermath of Lindberg’s Atlantic crossing. The dance craze the “Lindy Hop” became popular after his flight, and was named after him. In March 1932, his infant son, Charles, Jr., was kidnapped and murdered in what was soon dubbed the ″Crime of the Century″. Marshall Field: Marshall Field & Company was a department store in Chicago, Illinois, that grew to become a major chain before being acquired by Macy’s, Inc., in 2005. The company started out as a dry goods store in 1852 and was later bought by Marshall Field, a young entrepreneur from Massachusetts who eventually transformed it into a plush shopping experience fit for the Gilded Age. Chicago’s location at the center of the country’s railroads and Great Lakes shipping made it the center of the dry goods wholesaling business by the 1870s. It was the profits generated by the wholesale division during this time that made Marshall Field the richest man in Chicago and one of the richest in the country. In 1887, Harry Gordon Selfridge was appointed to lead the retail store as it evolved into a modern department store. Selfridge later went on to establish Selfridges in London. A new South State Street building opened in 1907, which included a Tiffany ceiling that was both the first and largest ceiling ever built in favrile glass, containing over 1.6 million pieces. With the completion of this building, Marshall Field’s momentarily claimed the title of the “world’s largest department store” over John Wanamaker in Philadelphia and R.H. Macy in New York. “par for the course”: typical; what should be expected based on past experience. Based on the literal meaning of “par for the course” (the expected number of times a good golf player will hit the ball to complete that course). Sophie Tucker: a Russian/Ukrainian-born American singer and actress. Known for her stentorian delivery of comical and risqué songs, she was one of the most popular entertainers in America during the first half of the twentieth century. She was widely known by the nickname “The Last of the Red Hot Mamas”. Tucker played piano and sang burlesque and vaudeville tunes, at first in blackface. She later said that this was at the insistence of theatre managers, who said she was “too fat and ugly” to be accepted by an audience in any other context. She even sang songs that acknowledged her weight, such as “Nobody Loves a Fat Girl, But Oh How a Fat Girl Can Love”. Texas Guinan [mentioned in libretto directions as a model for singing of “I Know a Girl”]: One of the first female emcees. Upon the introduction of Prohibition, she opened a speakeasy in New York City. The club became famous for its troupe of forty scantily-clad fan dancers and for Guinan’s distinctive aplomb, which made her a celebrity. Arrested several times for serving alcohol and providing entertainment, she always claimed that her patrons had brought the liquor with them, and the club was so small that the girls were obliged to dance close to the customers. Guinan maintained that she had never sold an alcoholic drink in her life. Her club became a hangout of the wealthy elite, and she capitalized on her notoriety, earning $700,000 30 in ten months in 1926, while her clubs were routinely being raided by the police. Guinan has been credited with coining a number of phrases. ″Butter and egg men″ referred to her well-off patrons; she often demanded that the audience “give the little ladies a great big hand”. She traditionally greeted her patrons with “Hello, suckers!”, the phrase used by Velma to open Act II. to “do it up brown”: to spare no pains or expense in an endeavor or undertaking; to go all out. According to the OED, “to do brown” may derive from roasting, since meat is brown when thoroughly cooked. Current use of this expression plays on an extended meaning of thorough—not just complete but more than complete, without scrimping. vaudeville: theatrical entertainment consisting of a number of individual performances, acts, or mixed numbers, as by comedians, singers, dancers, acrobats and magicians. Popular especially in the early twentieth century; British name: Music Hall. American vaudeville, more so than any other mass entertainment, grew out of the culture that followed the Civil War. The development of vaudeville marked the beginning of popular entertainment as big business, dependent on the growing number of white-collar workers and the increased leisure time, spending power and changing tastes of an urban middle-class audience. More than 25,000 people performed in vaudeville over its fifty-plus years of existence, working their way through the three levels defined by the trade newspaperVariety : “Small time” – small-town theaters and cheaper theaters in larger towns. Performers made as little as $15 a week in the early years, closer to $75 over time. These often crude theatres were the training ground for new performers, or the place for old-timers to eke out a few final seasons. “Medium time” — good theaters in a wide range of cities, offering salaries of up to a few hundred dollars a week. Performers seen here were either on the way up or on the way down. “Big time” — the finest theaters in the best cities, using a two-performance-a-day format. Most big-time acts earned hundreds of dollars per week, and headliners could command $1,000 a week — or more. By the early 1930s, the one-two punch of talking film and the Great Depression wiped away the last vestiges of vaudeville. William Morris: a theatrical agent and manager who opposed the attempted monopoly of vaudeville talent. He founded the William Morris Agency — still in business today — which represents actors. Early in the twentieth century, his agency dominated the field of theatrical representation. By the 1920s, his roster included Scottish bagpiper and comic Harry Lauder, once reputed to be the highest paid entertainer in the world, and comedians Will Rogers and Charlie Chaplin. When the emergence of radio and movies spelled the end of vaudeville, Morris successfully moved his artists, including Eddie Cantor, Amos ’n’ Andy, and the Marx Brothers, to the new media.

31 GENEVA AMATEUR OPERATIC SOCIETY REALLY YOUTHFUL GROUP PROUDLY PRESENTS Based on a Conception of JEROME ROBBINS Book by ARTHUR LAURENTS Music by LEONARD BERNSTEIN Lyrics by STEPHEN SONDHEIM

AUDITIONS!

Where: Institut Florimont Avenue du Petit-Lancy 37

When: 29, 31 May, 1 June 2013

For information and audition pack visit www.westsidestory2013.net Entire Original Production Directed and Choreographed by JEROME ROBBINS Friday 30 August at 8 p.m. Saturday 31 August at 3 p.m. Saturday 31 August at 8 p.m. Sunday 1 September at 3 p.m. Théâtre de Marens Rue du Stand 7 Ticket price: CHF 20 1260 NYON

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• Music by John Kander • Lyrics by Fred Ebb • Book by Fred Ebb and Bob Fosse CASINO THEATRE 42 rue de Carouge, 1205 Geneva Friday 26 April 2013 at 8 pm Saturday 27 April at 3 & 8 pm Sunday 28 April at 3 pm An amateur production by arrangement with Samuel French Limited