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July 8-13

Souvenir Program 25c

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HILTON U. BROWN TH

DRAWING C (BUTLER BOWLJ LENNOX & MATTHE 5.. INC. ASCHlTCCl. BUTLER UNIVERSITY GUARANTORS STARLIGHT MUSICALS 1958

(Guarantors give nothing unless there is an operational loss at the end of a season, in which event they are assessed on a pro rata basis to the limit of their guaranties. Individuals, and organizations of all kinds, who are interested in joining the list of civic-minded people and organizations printed below, are invited to call any officer of the Board of Directors for particulars.)

Advertising Letter Service, Inc. Mr. and Mrs. Edward P. Gallagher Mr. Richard L. Munday Mr. Cornelius O. Alig, Jr. Mr. Charles J. Gisler Merrill Lynch, Pierce, Fenner & Allison Division, General Motors Corp. Mrs. Jack A. Goodman Smith Milk Foundation of Indianapolis American States Insurance Company Mr. L. L. Goodman Mr. and Mrs. Murray H. Morris Mr. Frederick D. Anderson Mr. Morris Goodman Mr. and Mrs. L. G. Gordner Mr. William B. Ansted, Jr. Mr. and Mrs. Neal Grider Mr. Ralph L. Nessler Arlington-Tenth Shopping Plaza Mr. C. Perry Griffith Mr. James Newcomb Mr. Robert D. Armstrong Mr. E. B. Newill Mr. William A. Atkins Mr. and Mrs. Hubert Hickam Mr. and Mrs. Nicholas H. Noyes Mr. James A. Hogshire Mr. Perry E. O'Neal Mrs. Hugh J. Baker, Sr. Holcolmb & Hoke Manufacturing Co. Mr. and Mrs. George S. Olive Mr. and Mrs. Hugh J. Baker, Jr. J. I. Holcomb Manufacturing Company Mr. and Mrs. J. D. Baker Mi-, and Mrs. Kurt F. Pantzer Mr. Henry Holt Mr. Earl B. Barnes Pitman-Moore Company Mr. Walter H. Huehl Mr. and Mrs. Noble L. Biddinger Mr. Harry T. Pritchard Mr. and Mrs. Carl S. Hulen Mr. Joseph M. Bloch Mr. and Mrs. William H. Book Mr. Ralph W. Reid Mr. and Mrs. Harry T. Ice Mi-. Alan C. Boyd Mr. and Mrs. W. Henry Roberts Indianapolis Power and Light Mr. and Mrs. Melvin T. Ross Mr. Alan W. Boyd Company Mr. P. Waldo Ross W. C. Brass and Associates Indianapolis Retail Dry Cleaners Mr. Paul N. Rowe Mr. and Mrs. W. B. Brass Institute Mr. and Mrs. W. C. Brass Mr. and Mrs. Charles C. Saville Arthur Jordan Foundation Mr. H. Prentice Browning Mr. W. J. Schatz Burnet-Binford Lumber Company Mr. John Iden Kautz Mr. William L. Schloss Mr. Dean T. Burns W. D. Kibler Trucking Company Mr. Bernard W. Schotters Mr. and Mrs. L. W. Klein Mr. and Mrs. William J. Schumacher Mr. John E. Cady Miss Dorothy Knisely Mr. Victor C. Seiter Mr. and Mrs. James H. Carnine Mr. Samuel Kroot Mr. I. H. Small Mr. E. L. Cassidy Mr. Walter W. Kuhn, Jr. Stark-Wetzel and Company, Inc. Mr. and Mrs. Alvin L. Cohen Mr. and Mrs. George A. Kuhn Mr. and Mrs. Paul R. Summers Mr. Marshall P. Crabill Mr. Ralph L. Swingley Mr. Raymond F. Crom Lilly Endowment, Inc. Mr. and Mrs. Frank S. Crowder Mr. Clarence W. Long U. S. Corrugated Fibre Box Company Mr. and Mrs. W. I. Longsworth Davidson's Indiana Fur Company Mr. and Mrs. Charles Lord Mr. and Mrs. Edward L. VanRiper Mrs. H. R. Duckwall Mr. and Mrs. Charles J. Lynn Mr. C. B. Dutton Wm. Lynn Chemical Company, Inc. Mr. Evan B. Walker Mr. W. A. Dyer, Jr. Mr. H. D. Wallace Mr. J. Kurt Mahrdt Mr. and Mrs. Allan H. Warne Mr. and Mrs. Clarence F. Elber P. R. Mallory and Company, Inc. Mr. and Mrs. J. O. Waymire Mr. Edwin McClure Mr. and Mrs. Carl J. Weinhardt Mr. and Mrs. Hugh D. Fatout Mr. and Mrs. Raymond F. Mead Mr. Charles M. Wells Mr. and Mrs. J. Ralph Fenstermaker Mr. Tom L. Melven Margaret and Clark Wheeler Mr. and Mrs. John R. Fenstermaker Mr. Norman Metzgcr Mr. Edward J. Wiest Mr. and Mrs. Dayton D. Fertig Mr. Frank M. Moore Mr. Howard S. Wilcox Mr. Ottis T. Fitzwater Mr. Daniel P. Morse Mr. and Mrs. Adrian E. Wilhoite Mr. William P. Flynn Mr. Thomas W. Moses Mr. W. Taylor Wilson Mr. Otto N. Frenzel Mr. Wilson Mothershcad Mr. Willard C. Worcester STARLIGHT MUSICALS A Non-Profit Corporation Directed by Ci vie Leaders of the City of Indianapolis GENERAL OFFICES COLISEUM—INDIANA ST-XTE FAIR GROUNDS—IND ANAPOLIS 5, IND.—WALNUT 3-1545

OFFICERS Dear Friends of Starlight Musicals: H. T. PRITCHARD You will be interested to know that during our first year of operation in the Thea­ Chairman of the Board tron, 1955, we had only one performance which was a complete sell-out; in 1956, two L. G. GORDNER nights were sold out; last year, 1957, we played four performances to Standing Room President Only. This, we believe, is a most encouraging indication that Indiana likes Starlight Musi­ JOHN I. KAUTZ cals. First Vice-President On the page opposite this letter you will see a list of the individuals and organizations NOBLE L. BIDDINGER who are guarantors of our summer series. A guarantor makes a commitment in any multi­ Second Vica-President ple of one hundred dollars; if there is an operating loss at the end of a season, he agrees ALAN C. BOYD to pay his pro rata proportion of it. Secretary In our three years of operation at the Theatron we have called upon our guaran­ ADRIAN E. WILHOITE Treasurer tors only once—and then for only a small proportion of their guaranties. Friends of Starlight Musicals are continuously coming forward to add their names DIRECTORS to this list; if your name does not appear with theirs, we would be happy to have you join Mrs. William B. Ansted, Jr. them. *Noble L. Biddinger To change the subject: 'Joseph M. Bloch William H. Book There are available only a few more than one hundred shows which can be success­ *Alan C. Boyd fully produced in outdoor arenas such as ours. At the end of the 1958 season we will have H. Prentice Browning produced twenty-eight of the available repertoire, and we have already been asked to re­ Alex M. Clark peat several of them. We are delighted to have this evidence of interest from our audi­ Roger C. Fleming- ences, and would be glad to know your preference of shows to be re-produced. George Fotheringham "Edward P. Gallagher In past seasons we have been fortunate enough to bring to Indianapolis a number Charles Gisler of personalities who have gone on to make enviable reputations for themselves—and, in-' James A. Gloin cidentally, for Starlight Musicals—in the theatrical world. Many of them have returned *Mrs. Jack A. Goodman to Indianapolis with New York touring companies; a number have since appeared in ori­ Morris L. Goodman ginal Broadway productions. Outstanding among these have been Gordon Dillsworth, who *L. G. Gordner was with us in "South Pacific" in 1955 and later appeared in the original Broadway pro­ Henry Holt duction of "My Fair Lady;" Marguerite Piazza, who after appearing here in Carl S. Hulen in 19 , further enhanced her reputation with the Metropolitan Opera Company; *John I. Kautz W. D. Kibler and Indianapolis' own Pete Kelly, who appeared here in "South Pacific" in 1955 and in * Claude Koontz in 19 , and later played the leading role in the original New York Miss Louise C Lage company of "Wish You Were Here." W. I. Longsworth This year we are gratified to present , as the male lead in "Oklahoma!", "Murray H. Morris another home-town boy, Bill Shirley, who has already made his mark in motion pictures Thomas W. Moses and on the national stage; and Betty Oakes, returning to us for the second time, who Kurt F. Pantzer *H. T. Pritchard has established herself solidly in Broadway musical productions. Melvin T. Ross As we grow, we hope to bring you more and more outstanding personalities. We be­ * William J. Schumacher lieve you will agree with us that our casts have added to the lustre of Starlight Musi­ A. J. Thatcher cals, and we would like to have your opinions as to whom, of this year's players, are most Harry V. Wade likely to grow in their professional stature. Evan Walker Howard S. Wilcox Sincerely yours, *A. E. Wilhoite Ralph W. Wright LeRoy George Gordner *Member. Executive Committee President

Only the STEINWAY sounds like a STEINWAY . . . exclusive with WILKING music company Page one IN THE FRONT OFFICE

Now starting" his twelfth season as General Manager of Indianapolis summer al fresco musical productions, Melvin T. Ross has at last the well-deserved satisfaction of seeing his labors come to fruition in the present splendid series of Starlight Musicals, with a "plant" the equal of any in the nation, and with a production stan­ dard acknowledged to rank with the top few of this type entertainment. Mr. Ross' theatrical-management career started in Boston many years ago. He came to Indianapolis in 1942 with a background as road manager for some of the country's leading attractions, and as personal manager for many famed theatrical figures. During all these years he has been a dominant figure in other entertainment fields in Indianapolis. He is Manager of Theatre Productions, Inc., responsible for "legit" bookings at the Murat, and holder of the United Booking Office franchise. He is Manager of the Coliseum on the State Fair Grounds and impresario of such out­ standing attractions as the great ice shows and extrav­ aganzas which appear there. He is President of the MELVIN T. ROSS Ross and Babcock Travel Bureau. General Manager

STARLIGHT STAFF — 1958 MELVIN T. ROSS General Manager Dorothy Knisely Public Relations Director Charles Stadfeldt Ticket Sales Manager Myers ("Mike") Moranz Advertising Manager PRODUCTIONS STAFF RUDULF O. BROOKS Producer John Charles Sacco Musical Director George Eckert Stage Director Edwin Biltcliffe Choral Director Ronald Field Choreographer Robert Bruce Holley General Stage Manager Frederic Rhoades Artistic Director William J. Schumacher Orchestra Manager Claude Koontz Technical Director Don Bailey Master Carpenter H. L. Tepee Master Electrician Joe Quinn Property Master William Webb Sound Technician Pearl Haines - Wardrobe Mistress Martha Stadfeldt First Aid Attendant

Page two Choose an EVERETT dyna-tension spinet piano, enjoy the tone of a grand! WILKING music company Cfej

HILTON U. BROWN THEATRON (BUTLER BOWL) BUTLER UNIVERSITY, INDIANAPOLIS OPERATED BY STARLIGHT MUSICALS, INC. THE HON. HAROLD W. HANDLEY (A Ncn-Prcfit Organization) THE HON. PHILLIP L, BAYT Honorary Chairman, Indiana Honorary Chairman, Marion County OFFICERS 1958

H. T. PRITCHARD L. G. GORDNER JOHN I. KAUTZ Chairman of the Board President First Vice-President

NOBLE L. BIDDINGER ALAN C. BOYD ADRIAN E. WILHOITE Second Vice-President Secretary Treasurer DIRECTORS Mrs. William B. Ansted, Jr. Roger C. Fleming L. G. Gordner W. I. Longswoi'th A. J. Thatcher Noble L. Biddinger George Fotheringham Henry Holt Murray H. Morris Harry V. Wade J. M. Bloch Edward P. Gallagher Carl S. Hulen Thomas W. Moses Evan B. Walker William H. Book Charles Gisler John I. Kautz Kurt F. Pantzer Howard S. Wilcox Alan C. Boyd James A. Gloin W. D. Kibler H. T. Pritchard Adrian E. Wilhoite H. Prentice Browning Mrs. Jack A. Goodman Claude Koontz Melvin T. Ross Ralph W. Wright Alex M. Clark Morris L. Goodman Miss Louise C. Lage William J. Schumacher Address all correspondence to STARLIGHT MUSICALS, INC.—COLISEUM—INDIANA STATE FAIR GROUNDS—INDIANAPOLIS 5, IND. CABLE-NELSON fine pianos are exclusive with WILKING music company. BUDGET TERMS. Page three 1958 STARLIGHT

Rudulf 0. Brooks, for the fourth season Producer of Star­ light Musicals, is by now almost as familiar a figure in Indianapolis as on Broadway and throughout the theatrical world. He is a personal and professional friend of the Theatre's top talent and, I with thespians everywhere, his word is as good as his bond— no small tribute! His theatrical background includes six seasons on the pro­ duction staff of the St. Louis Municipal Opera, and other seasons with Louisville and Cleveland-light opera. He achieved honors as Stage Director of the New Opera Company of New York, and has been associated with such outstanding Broadway productions as Billy Rose's "Seven Lively Arts," with Bea Lillie; the George M. Cohan hit "I'd Rather Be Right," and "The Chocolate Soldier." During this past winter he has been busy filling demands from television and stage companies for his talents as a production man.

RUDULF O. BROOKS

John Charles Sacco is again, for the third successive year, Musical Director for Starlight Musicals. At one time or another, most of the leading performers in the operetta field have appeared under his baton. Acknowledged as an authority in this field, Mr. Sacco has guided well over three thousand musical performances during the past twelve years. As a composer, Mr. Sacco's songs have been recorded and programmed by leading concert artists. His musical works have been broadcast over the Bell Telephone and Firestone hours, as well as heard in concert with the Milwaukee, Toronto, El Paso, Houston, Tulsa and Dallas symphony orchestras. A former member of the editorial staff of G. Schirmer music publishers, Mr. Sacco continues to do special arrangements for this company between his conducting engagements. His services as a pianist and as conductor-composer are also in demand by a number of training and industrial film companies. He has recently been engaged to do the score for the independently produced "Shadow of Love," by Lee Muiron Rousseau. Mr. Sacco's early training in musical show business was re­ ceived at the St. Louis Municipal Opera, where he was Associate Conductor, and at New Jersey's famed Paper Mill Playhouse, where he served for a number of years as Musical Director. During World War II Mr. Sacco served as Captain in the Special Service Division of the U.S. Army Air Force. JOHN CHARLES SACCO

Page four MUSICALS STAFF

George Eckert returns to Starlight Musicals for his second season as Stage Director. In the interim he has journeyed to Australia where he produced and directed the J. C. Williamson presentation of "Damn Yankees," which is currently delighting audiences at the Empire Theatre in Sydney. His other activities for the 1957-58 season included industrial shows for Chevrolet, Hotpoint, Standard Oil, and Columbia Phonographs. From 1955 to 1957 he toured as Production Stage Manager of the National Company of "Damn Yankees," which starred Bobby..Clark.;, and he was Production Stage Manager at New Jerseyis-famous-Paper Mill Playhouse for three years. His earlier dramatic- credits in­ clude appearances with such stars as Gene Raymond; Ethel Waters, Billie Burke, Barry Sullivan, Viveca Lindfors, -Jeffrey. Lynn, Franchot Tone, Victor Jory, Uta Hagen, and Conrad Nagel. He is a graduate of Brown University, and he served in the United States Army during World War II and the Korean War.

GEORGE ECKERT

Edwin Biltcliffe, like Melvin Ross, came to Indianapolis from Boston. A thorough musician, he has established himself as an integral part of the cultural life of our city; in the winter season he is Music Director and Conductor of the Indianapolis Symphonic Choir and the Scottish Rite Chorus; he is Organist and Music Director at the Second Presbyterian Church; he is a professional Coach of singers, teacher of piano, and has conducted various amateur shows. As a pianist, he is internationally known and acclaimed. He has been soloist with the Indianapolis and Detroit symphony orchestras, and with the Boston Pops Orchestra; he has for many years been assisting Artist for Metropolitan Opera soprano Eleanor Steber on all her concert tours in this country, on the Continent and throughout the Far- and Middle-East. Mr. Biltcliffe has been Choral Director of Starlight Musicals since its beginning.

EDWIN BILTCLIFFE

Page five STAFF — Continued

Ronald Field, Starlight Choreographer, was a Starlight "im­ port" last season: he was brought from New York as leading dancer for three of our biggest hits: "Carousel," "Gentlemen Prefer Blondes" and "Damn Yankees." Through a combination of circumstances, he choreographed "Gentlemen Prefer Blondes," and now—he is our Choreographer. It's as simple as that. Born in New York City, Mr. Field started dancing at the age of six, and he says that right then he knew that dancing was his way of saying things, his best way of expressing himself. He graduated with the first class (1951) of the then new High School of Performing Arts in New York, and at the same time was studying hard at the Estelle School of the Dance there. To re-trace the chronology of his short (he is only twenty-four years old) but colorful career: his first professional engagement on Broadway was with the late Gertrude Lawrence in "Lady in the Dark," when he was eight years old. When he was seventeen, he appeared on Broadway in "Seventeen," and soon afterward, also on Broadway, played in "Gentlemen Prefer Blondes." A subsequent season found him dancing in the TV "Cavalcade of Stars," the old Jackie Gleason show, and, following that full season's engagement, he spent a winter in Florida dancing in a leading night club act. Mr. Field's first leading role on Broadway was in "Kismet," with Alfred Drake and Doretta Morrow, and he followed this up with a featured part in "Boy Friend." Last summer, in addition to his work here, he played in stock on Cape Cod; last winter his activities ranged from a long en­ \' gagement in Cuba with Jack Cole's notable act to appearances in three TV "spectaculars" and on the Patti Page TV show. RONALD FIELD U Although he is undoubtedly the youngest choreographer in ^the country, of an operation of Starlight's magnitude, his past per- BIformance promises a standard which we know he will maintain.

Starting his acting career in childhood, Robert Bruce Holley, now in his third year as Stage Manager for Starlight Musicals, has appeared as male lead, character actor and singer in such shows as "Vagabond King," "On the Town," "Annie Get Your Gun," "Brigadoon," "Carousel," "Kismet" and numerous dramas. This past season he produced and directed for the Jerome H. Cargill Organization, who do the "Christamore Follies" here in Indianapolis yearly. Holley was born in Dover, New Jersey; for a time he taught Drama and Speech at Marlboro College in Marlboro, Vermont, and the University of North Carolina. He has appeared in several movies—"Back From Eternity," for instance—and his TV appearances include many of the top- ranking network shows. He has also been Story and Script Edi­ tor for CBS-TV. His own translation of Ibsen's "Hedda Gabler" has been published, and presented at the University of North Carolina. At the same university he directed productions of "Call Me Madam," and "Gramercy Ghost." ROBERT BRUCE HOLLEY

Page six Stony o£ "OKLAHOMA!" " 'Oklahoma!' is a little more than a musical comedy, without being pretentiously so," wrote Louis Kronenberger in the New York newspaper PM. "It is a folk musical laid at the turn of the century, for which Richard Rodgers has written one of his most charming scores .... It tells of the trouble a couple of nice guys in cowboy boots have in winning a couple of pretty farm girls. A comic peddler and a villainous hired man provide the competition, and dutifully scram at the stroke of 11. For regional color, there's a box social and backgrounds out of Grant Wood's studio." And that's essentially all there is to the story of "Oklahoma!"—except simpli­ city, sincerity and gaiety! Although almost everyone in our audiences is familiar with the "plot" and music of "Oklahoma!", some people may not be aware of some of the interesting statistics about the show, and about its early history. This is the longest-running, most-widely-produced-around-the-world musical show in theatrical history. It opened as "Away We Go" in New Haven, Conn., on March 11, 1943. Its recep­ tion was mild, to say the best for it. Under the same title, it went from New Haven to Boston, where the insistent ap­ plause after the song "Oklahoma!" persuaded its producers to adopt the only logical title—"Oklahoma!"—with the addition of an exclamation point, as it has remained ever since. The New York opening was in the St. James Theatre on March 31, 1943. It was an historical event in the theatre-world: the show's success was electrifying. The original cast listed Joan Roberts as "Laurey;" Alfred Drake as "Curly;" Howard De Silva as "Jud Fry;" Betty Garde as Aunt Eller; Joseph Buloff as "Ali Hakim;" Katherine Sergava as "Ellen;" Bambi Linn as "Aggie;" Lee Dixon as "Will;" Celeste Holm as "Ado Annie;" Jane Laurence as "Gertie;" Joan McCracken as "Sylvie" and Ralph Riggs as "Andrew Carnes." Direction was under Reuben Mamoulian; setting by Lemuel Ayres; dances by Agnes De Mille and costumes by Miles White. "Oklahoma!" ran in New York without a break from its opening to May 29, 1948: 2,202 performances—the longest run ever scored by a musical comedy. In addition to its five-year run on Broadway, it was toured by professional touring companies for a total of ten years. Runs in cities were long, and many-times repeated. "Oklahoma!" played four runs in seven years in Chicago; nine runs in Toronto; seven in Boston and Cleveland; six in Baltimore, Montreal and Pittsburgh. It was acted in towns that had not seen any other professional touring show for twenty years. It was produced with equal success all over the world, winning particular glory in Great Britain, where it played 1,653 performances in London alone. In 1953 the U.S. State Department sent the show to the Berlin Arts Festival to im­ press Germany with American cultural accomplishments. In the summer of 1955, thir­ teen years after its first production, "Oklahoma!" was still considered the best represen­ tative of the American stage for presentation at the International Theatre Festival in Paris. It was not until 1955 that a film version of "Oklahoma!" was shown—produced in a new wide-screen process called "Todd-AO." The film was every bit as great a success as the stage edition had been. There seems to be no record of the number of times "Oklahoma!" has been pro­ duced by such organizations as Starlight Musicals. But—no matter how many times it has been staged—no matter how many cities, towns, villages and hamlets have seen it—we still think that "Oklahoma!" is the best curtain-raiser for what we confidently believe will be our most successful season to date.

Choose the CHICKERING piano for a lifetime of pride and satisfaction. WILKING music company. Page seven STARLIGHT MUSICALS ' JULY 8 through JULY 13,1958 By Arrangement with Rodgers and Hammerstein presents "OKLAHOMA!" A musical play based on the play "Green Grow the Lilacs" by Lynn Riggs Both originally produced by the Theatre Guild Music by Richard Rodgers Book & Lyrics by Oscai r Hammerstein , 2nd

Musical Director: John Charles Sacco Staged by Artistic Director Choral Director George Eckert Frederic Rhoades Edwin Biltcliffe Choreography by Entire production under the personal direction of Technical Director Ronald Field R. 0. BROOKS Claude Koontz Costumes by Van Horn and Son, Philadelphia Ballet shoes by Pels Store Sound by William Webb Surrey by Courtesy of Sheraton-French Lick Hotel Pianos from WILKING music company used exclusively by STARLIGHT MUSICALS

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Page eight Famous HAMMOND Chord, Spinet, Church and Concert organs . . . exclusively at WILKING music company "OKLAHOMA/ ff

(Cast of Characters — In Order of Appearance)

AUNT ELLER Vera Walton CURLY Bill Shirley LAUREY Grace Olsen IKE SKIDMORE ' " Phil Olson FRED Charles Moore SLIM Carl Bond WILL PARKER Will B. Able JUD FRY Rowan Tudor ADO ANNIE CARNES Joan Kibrig-Bentley ALI HAKIM Eniile Renan GERTIE CUMMINGS Graziella AGGIE Nan Courtney CURLY (in the ballet) James Smock LAUREY (in the ballet) Sherry McCutcheon JUD (in the ballet) Ronald Field ANDREW CARNES Melton Moore CORD ELAM Don Coffin

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Buy a WEBER grand or spinet piano for better quality at a lower price. WILKING music company Page nine SYNOPSIS OF SCENES "OKLAHOMA!" THE TIME: Just after the Turn of the Century. THE PLACE: Indian Territory (now Oklahoma).

ACT I SCENE 1. The front of Laurey's Farmhouse. SCENE 2. The Smoke House. SCENE 3. A Grove on Laurey's Farm.

ACT II SCENE 1. The Skidmore Ranch. SCENE 2. Skidmore's Kitchen Porch. SCENE 3. The Back of Laurey's Farmhouse.

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Page ten STEINWAY . . . the most economical piano investment you can make. WILKING music company MUSICAL NUMBERS ACT I Scene 1 Oh, What a Beautiful Mornin' Curly The Surrey with the Fringe on Top Curly, Laurey, Aunt Eller Kansas City Will, Aunt Eller and Boys I Cain't Say No Ado Annie Many a New Day .. Laurey and the Girls It's a Scandal! It's an Outrage! — ...Ali and the Ensemble People Will Say We're in Love Curly and Laurey Scene 2 Pore Jud Curly and Jud Lonely Room Jud Scene 3 Out of My Dreams Laurey and the Girls Laurey Makes Up Her Mind Danced by Sherry McCutchen, James Smock, Ronald Field Jud's Post Cards: Nan Courtney, Graziella Laurey's Friends: Suanne Shirley, Lynnette Jordan, Arlene Tarlow, Belle Romaine Cowboys: Stuart Dunsmore, William Merrill, Thomas Ribbink ACT II Scene 1 The Farmer and the Plowman - Carnes, Aunt Eller, Curly, Will, Ado Annie, Fred and the Ensemble All 'er Nuthin' Ado Annie, Will Parker, Belle Romaine and Lynette Jordan Scene 2 Reprise: People Will Say We're in Love Curly and Laurey Scene 3 Oklahoma Curly, Aunt Eller, Ike, Fred and Ensemble Oh, What a Beautiful Mornin' — - Laurey, Curly and Ensemble Finale — The Entire Company

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Bill Shirley, singing his first role ("Curly") with Starlight Musicals, is a "native son" who has made good in all phases of show business. A Shortridge High School graduate, he took part in local musical activities from the time he was five years old—when he started an eight-year career as boy-soprano soloist for the Easter Sunrise services on the Circle. He received his first practical theatre training at our own Indianapolis Civic Theatre, now the Booth Tarkington Civic Theatre, by playing leading roles in such productions as "Oliver Twist," "Jack and the Beanstalk," "The Prince and The Pauper" and so forth. He had the leading role in the great Stephen Foster movie "I Dream of Jeanie," and has recently completed work on a five-year production schedule with the Walt Disney studios, recording the singing and speaking voice for "Prince Charming" in "The Sleeping Beauty." He has been engaged by many of the great supper clubs in the country, and is a nationally known TV and recording artist. For the past five summers his time has been entirely spoken for by the other great BILL SHIRLEY summer stock companies which rank with Starlight. "OKLAI

Joan Kibrig-Bentley, well-known comedienne, is new to Star­ light Musicals, but her role as the argumentative Ado Annie Carnes in "Oklahoma!" will undoubtedly establish her in the city's heart. She is billed as "Singer, Dancer, Comedienne—Dialects— . Trick Voices," and her talents have been displayed on the stages of the St. Louis Municipal Opera, Kansas City Starlight Opera, Louisville Iroquois Amphitheatre, Pittsburgh Civic Light Opera, Cleveland Musicarnival and other leading summer stock com­ panies. Her repertoire includes, besides Ado Annie, Ruth in "Wonderful Town," Carrie in "Carousel," Hilda in "Plain and Fancy," Bianca in "Kiss Me Kate," Lady Mary in "Vagabond King," the dancing lead in "Cat and the Fiddle" and others too numerous to list here. She has appeared as Annie in "A Tree Grows in Brooklyn," on Broadway, and in other Broadway productions, and has appeared many times at famous supper clubs and on television network shows.

, JOAN KIBRIG-BENTLEY

Page twelve THE CAST

Grace Olsen ("Laurey" in "Oklahoma!" and "Hilda" in "Plain and Fancy") returns to Starlight Musicals following her great success last summer as "Carrie" in "Carousel." She brings with her a long and varied list of credits in almost every medium of the theatre. After graduating from the Eastman Conservatory of Music in Rochester, N.Y., she went to New York City and was im­ mediately engaged for "Brigadoon." Next came a role in the Billy Rose-Oscar Hammerstein success "Music in the Air," and then a part opposite Burl Ives as "Jennifer" in "Paint Your Wagon." And so things have run ever since: success after success! In the field of concert and opera, Miss Olsen has been symphony orches­ tra soloist, operatic star, recitalist. She is also an accomplished instrumentalist: she has played first viola with the famed Roch­ ester Philharmonic, the Eastman and Madison (Wis.) symphony orchestras.

GRACE OLSEN

Long, lean, lanky and entirely captivating, Will B. Able has added zest to Starlight performances for the past two seasons—in 1956 in "Where's Charley?" and last summer in "Rosalie." His is one of the most versatile talents on the musical comedy scene. He adds to his great gift for fun-making the sincerity and the quality of pathos which goes with all good comedy. In his dancing roles he has perhaps specialized in the "eccentric," but he is equally versed in Ballet, Modern, Oriental and Spanish styles. He has played featured roles in "Oklahoma!" (he portrays "Will Parker" in the current production) and in "Hit the Deck," in which he also appears with us this year. He is playing "Will Parker"—as we say in the theatre world—"straight." But watch out for him in "Hit the Deck."

WILL B. ABLE

Page thirteen BITS ABOUT

Rowan Tudor has returned for his second season as a mem­ ber of the Starlight Musicals resident company. He is a versatile actor of wide experience on Broadway, on tour and in stock. Although he was born in San Francisco in 1905, he denies that his birth had anything to do with the great earthquake. One of the most stimulating theatrical experiences of his life was a sea­ son of Victor Herbert revivals in New York, and a tour in "Mile Modiste" with the great Fritzi Scheff. He has also appeared on Broadway in "Revenge With Music," "Up In Central Park," "Miss Liberty" and "Flahooley." In musical stock companies such as ours, he has had seasons with the Louisville Ampitheatre, St. John Terrell's Musical Circus, the Cleveland Musicarnival, and he was Director of the Detroit Melody Circus. His television credits in­ clude "Ellery Queen," "Suspense," "Studio One" and others.

ROWAN TUDOR

Melton Moore's talent is familiar and popular in Indianapolis; as a member of our resident company in 1957—as he is again this season—he played in all of last summer's productions. He has acted with nearly all the summer stock companies, and has played leading or featured roles in at least 86 operettas and musi­ cal comedies. Some of you may have heard him with the New York company of "Rosalinda" when it played in the late-lamented English Opera House in 1945. He is at present Associate Professor of Music at Pembroke State College, Pembroke N. Carolina. He is a graduate of the Cincinnati Conservatory of Music, holds a Master's degree in Music Education from New York University, and held a graduate Fellowship at the great Juilliard School of Music. He plays the role of "Andrew Carnes" in "Oklahoma!"

MELTON MOORE

Page fourteen THE CAST

Vera Walton's parents were actors, and she vows she was "practically born in a trunk while parents were acting" and pro­ ducing their own stock company in St. Louis, Mo." She played childs' parts at the famous Irving Theatre in New York, which imported European stars, but in spite of her obvious theatrical talent, her parents wanted her to study to become a concert artist—because she evinced pianistic talents, too. But on one tour with a Shakespearian company in which her parents were acting, illness in the cast gave Miss Walton a chance to step in as "Jessica" in "The Merchant of Venice"—and that was the end of a not-yet- started concert career. Her vast experience on the stage since that time also includes television, radio, drama and summer stock. Last season she was with Starlight as resident character actress; this season she is the much-loved "Aunt Eller" in "Oklahoma!".

VERA WALTON

A member of Starlight's resident company in 1957, and a distinguished member of the casts of three productions here in 1956, Emile Renan is welcome to a Starlight season again as "Ali Hakim" in "Oklahoma!". Widely, and justifiably, acclaimed as opera and operetta singer, he made his debut twelve years ago with the New York City Center Opera Company. Since then, he has sung more than ninety different roles—a repertoire equalled by few singers. In addition to appearances with the New York Center Opera Company, he has also sung with the Central City Opera, the Connecticut Opera Company and the Miami Opera Guild. In musical comedy he has been engaged by the St. Louis Munici­ pal Opera, Kansas City Starlight Theatre, Cape Cod Melody Tent and other outstanding organizations. Like most bass baritones, he likes to relax his voice singing folk music, for which he plays his own guitar accompaniments.

EMILE RENAN

Page fifteen ^r^^'OKLAHOMAr "OH, WHAT A BEAUTIFUL MORNING" "MANY A NEW DAY" Many a new face will please my eye There's a bright, golden haze on the meadow, Many a new love will find me There's a bright, golden haze on the meadow, Never've I once looked back to sigh The corn is as high as an elephant's eye— Over the romance behind me, An' it looks like it's climbin' clear up to the sky. Many a new day will dawn before I do! Many a light lad may kiss and fly, Oh, what a beautiful mornin' A kiss gone by is bygone, Oh, what a beautiful day ! Never've I asked an August sky. I got a beautiful feelin' "Where has last July gone?" Ev'rythin's goin' my way. Never've I wandered through the rye, Wonderin' where has some guy gone-— All the cattle are standin' like statues, Many a new day will dawn before I do! All the cattle are standin' like statues, They don't turn their heads as they see me ride by, "PEOPLE WILL SAY WE'RE IN LOVE" But a little brown mav'rick is winkin' her eye. Don't throw bouquets at me — Oh, what a beautiful mornin' Don't please my folks too much, Oh, what a beautiful day ! Don't laugh at my jokes too much — I got a beautiful feelin', People will say we're in love! Ev'rythin's goin' my way. Don't sigh and gaze at me, Your sighs are so like mine, All che sounds of the earth are like music — Your eyes musn't glow like mine — All the sounds of the earth are like music. People will say we're in love! The breeze is so busy it don't miss a tree, Don't start collecting things — And an o\' weepin' wilier is laughin' at me! Give me my rose and my glove. Sweetheart, they're suspecting things — Oh, what a beautiful mornin' People will say we're in love! Oh, what a beautiful day ! I got a beautiful feelin' "OUT OF MY DREAMS" Ev'rythin's goin' my way . . . Out of my dreams and into his arms you long to fly. Oh, what a beautiful day ! I will come as evening comes to woo a waiting sky. Out of my dreams and into the hush of falling shadows, When the mist is low, and stars are breaking through, Then out of my dreams I'll go, "THE SURREY WITH THE FRINGE ON TOP" Into a dream with you. Chicks and ducks and geese better scurry "THE FARMER AND THE COWMAN" When I take you out in the surrey, When I take you out in the surrey with the fringe on toil! The farmer and the cowman should be friends. Watch that fringe and see how it nutters, Oh, the farmer and the cowman should be friends. When I drive them high-steppin' strutters! One man likes to push a plough, Nosey-pokes'11 peek thru' their shutters, and their eyes will pop! The other likes to chase a cow, The wheels are yeller, the upholstery's brown, But that's no reason why they cain't be friends. The dashboard's genuine leather, Territory folks should stick together, With isinglass curtains y'can roll right down Territory folks should all be pals, In case there's a change in the weather— Cowboys, dance with the farmer's daughters! Two bright side-lights, winkin' and blinkin', Farmers, dance with the rancher's gals! Ain't no finer rig, I'm a thinkin'! "OKLAHOMA" You c'n keep yer rig if you're thinkin' 'at I'd keer to swop Oklahoma, For that shiny little surrey with the fringe on the top! Where the wind comes sweepin' down the plain, And the wavin' wheat Can sure smell sweet "KANSAS CITY" When the wind comes right behind the rain. Oklahoma, Ev'rythin's up to date in Kansas City. Every night my honey lamb and I They've gone about as fur as they c'n go! Sit alone and talk They went and built a skyscraper seven stories high— And watch a hawk About as high as a buildin' orta grow. Makin' lazy circles in the sky. Ev'rythin's like a dream in Kansas City. We know we belong to the land It's better than a magic lantern show! And the land we belong to is grand ! Y' c'n turn the radiator on whenever you want some heat. And when we say ! With ev'ry kind o' comfort ev'ry house is all complete. Yeow! a-yip-i-o-ee-ay! You c'n walk to privies in the rain an' never wet yer feet! We're only sayin', They've gone about as fur as they c'n go! "You're doin' fine, Oklahoma! Yes, sir! They've gone about as fur as they c'n go! Oklahoma, O. K. !"

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Page seventeen STARLIGHT MUSICALS 1958 PERSONNEL ENSEMBLE EDWIN BILTCLIFFE, Choral Director

LADIES: Rita Ashby, Mary Louise Farr, Marilyn Ruth John, Jayne Knoerzer, Joan Knoerzer, Jo Ann Moore, Gretchen Ann Scheerer, Mariellen F. Scott, Barbara Setters, Grace Trester.

GENTLEMEN: William Arnholt, Blaine O. Ballard, Carl W. Bond, Billy Joe Harrod, Edward Johnston, Charles Moore, Phillip S. Olson, Lawrence H. Pierce, Peter Van Arsdale, Dean Williams.

CORPS de BALLET RONALD FIELD, Choreographer

LADIES: Lynnette Jordan, Belle Romaine, Suanne Shirley, Arlene Tarlow.

GENTLEMEN: Richard Anderson, Stuart G. Dunsmore, William E. Merrill, Thomas Ribbink.

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Page eighteen Folks from 7 to 70 can play the HAMMOND Chord Organ in 30 minutes. WILKING music company ORCHESTRA

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VIOLINS FLUTES AND PICCOLO FRENCH HORNS Renato Pacini Francis Fitzgerald Harry Michels Edamay McCulley George Nicoloff Phillip Huffman Sidney Szathmary Paul Saunders Robert Marsh Charlotte Reeves Kirke Walker CLARINETS AND BASS TRUMPETS Kenneth Glass CLARINET Gerald Knipfel Werner Taube Rosemary Lang Robert Day Mildred Stubblefield Harald Hansen Harry Wiliford William Schumacher VIOLAS TROMBONES Herbert Congdon OBOES Lester Slezak Ruth Thrasher Ruth Schumacher Donald Rodenbeck Rosemary Lang John Wilson VIOLONCELLI Gilbert Reese BASSOON PERCUSSION George Flexman William Schumacher Ray Laffin

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TICKET INFORMATION Reserved seats are now on sale at the Ross and Babcock Travel Bureau Ticket Office, Claypool Hotel, for any performance of the season. Reserved seat prices are $1.50, $2.00, $2.50, and $3.00. Box office hours at the Claypool are from 9:30 a.m. to 5:30 p.m. daily except Sunday. Box office hours at the Theatron are from 5:00 p.m. on week days (Monday through Saturday), and from 1:00 p.m. on Sunday. General admission seats (not reserved), at $1.00, are on sale at the Theatron box offices only. They are not sold in advance. Script tickets may be used for General Admission without exchanging for regular tickets. Present script tickets to the gate men for general admission. Script holders who want reserved seats must exchange the script for regular tickets at the box offices. MAIL ORDERS Mail orders will receive prompt attention, and will be filled in the order in which they are received. They must include full remittance; must specify the night, the date and the name of the show wanted. They should be addressed to the Ross and Babcock Travel Bureau Ticket Office, Claypool Hotel, Indianapolis 4, Indiana, and should contain a self-addressed, stamped envelope for return of the tickets. Mail orders will not be filled without full remittance. Mail orders with remittance which arrive too late for safe return of the tickets will be filled and held in the owner's name at the box office. RAIN CHECK INFORMATION 1. Official curtain time is 8:30 p.m. In the event of rain, or for other reasons beyond its control, the Manage­ ment is authorized by the Board of Directors to delay the curtain for a reasonable length of time, not to exceed one hour. 2. If it is still raining at 9:31 p.m., the show will be cancelled and rainchecks (which are attached to each ticket) will be honored for a subsequent performance of the current show, or the show immediately following. If there are no tickets available for the current show, or for the show immediately following, tickets will be issued for another show, as desired by the patron. 3. If, after a performance has started, rain should fall heavily enough to stop the show before one hour of performance—or one act—has been given, and if it seems unlikely that the show can continue to completion, the procedure outlined in paragraph 2 will prevail. 4. If—after rain has ceased and the show has begun—it should begin to rain again, but, in the opinion of the Management, the show might still be completed, the Management may again delay the show. The term "one hour's performance" does not mean a continuous hour.

Page twenty WILKING music co. guarantees: in 60 days you play 3 pieces with both hands or your money back STARLIGHT CORPS de BALLET 1958 RONALD FIELD, Choreographer

Mr. Field (far right) puts his young- dancers through their paces in preparation for one of the show routines. Dancers are (front row, left to right) : Thomas Ribbink, Richard Anderson, Stuart Dunsmore, William Merrill (second row, left to right): Belle Romaine, Lynnette Jordan, Suanne Shirley, Arlene Tarlow.

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Starlight Musicals is a non-profit civic enterprise. Page twenty-one STARLIGHT VOCAL CHORUS 1958 EDWIN BILTCLIFFE, Choral Director

Starlight is proud of its vocal chorus—the twenty young women and young men who, under the direction of Edwin Biltcliffe, comprise an important part of the foundation upon which every production rests. Chorus members are (front row, left to right) : Barbara Setters, Grace Trester, Mariellen Scott, Mary Louise Farr, Joan Knoerzer, Mr. Biltcliffe, Jayne Knoerzer, Marilyn John, Gretchen Scheerer, Rita Ashby and Jo Ann Moore; (back row, left to right) : Dean Williams, Charles Moore, Edward Johnston, William Harrod, Phillip Olson, Blaine Ballard, Carl Bond, Peter Van Arsdale, William Arnholt, Lawrence Pierce.

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Page twenty-two Starlight Musicals is a non-profit civic enterprise. Don't Buy We Supply - ~ - * Rent * Coveralls * Coats * Aprons * Shirts * Trousers

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All musicians employed at Butler Theatron are members of Indianapolis Musicians, Local 3, WE WELCOME YOUR INQUIRIES A. F. of M.

Starlight Musicals is a non-profit civic enterprise. Page twenty-three THE 1958 STARLIGHT GROUP-TICKET COMMITTEE

These few civic-minded women, headed by Mrs. Billiard Williams, have given countless hours of volunteer time to working- with groups and organizations in Indianapolis which wanted to earn money for their treasuries by taking advantage of our Tuesday or Wednesday night discount offer, or which simply wanted to sit together for an evening's entertainment. Their efforts will continue throughout the season, and we owe them a debt of gratitude. They are (seated, left to right) Mrs. Lowell Parker, Mrs. Holt Lockwood, Mrs. Billiard Williams, Mrs. Duane Williams, Mrs. Frederick G. Anderson; (standing, left to right) : Mrs. Frank Rehling, Mrs. Rafia Miller, Mrs. C. Jackson Clarke, Mrs. Ray C. Fatout, Mrs. Gerald DeWitt, Mrs. Arthur Armstrong, Mrs. Merl Wall.

ADVISORY COMMITTEE 1958

Cornelius O. Alig, Jr. Mrs. Paul J. DeVault Walter W. Kuhn, Jr. Rodney C. Anderson George S. Diener Mrs. George H. Lewis John C. Appel William L. Elder Daniel P. Morse Howard Bash Mrs. George T. Finney David Moxley John Benedict Philip W. Freiberger Arthur Rogers Thomas W. Binford John C. Geupel Mrs. Joseph A. Rothbard Clifford H. Bingham Mrs. Richard Glasser Carl F. Spickelmier Norman R. Bryant C. Perry Griffith King R. Traub Mrs. Ralph M. Cole Eugene Harlan Russell E. Westfall Mrs. Frank S. Crowder Mrs. J. William Julian Mrs. Billiard Williams Mrs. Fred W. Dennerline James M. McDaniel Russell Williams, Jr. E. Kirk McKinney, Jr.

BOXHOLDERS 1958

Miss Gladys Alwes Mr. Henry Holt Mr. and Mrs. Kurt F. Pantzer Mr. and Mrs. William B. Ansted, Jr. Hotel Severin Ross McCord Ice & Miller Mr. and Mrs. Noble L. Biddinger Indianapolis Power & Light Company Mr. Harry Stewart Mr. and Mrs. Edward P. Gallagher Mr. C. B. Kendall

Page twenty-f'our Starlight Musicals is a non-profit civic enterprise. Allison is best known for its leadership in the starters, and air driven generators and pumps. design, development and production of gas tur­ All of this diversified activity, along with bine aircraft engines. But that's only part of the the advanced engineering and modern manu­ Allison story. facturing methods, is reflected in the Allison Other Allison products include Torqmatic POWERAMA. The POWERAMA represents what Al­ Drives for heavy-duty ordnance and commercial lison is . . . what Allison does. It's a permanent, vehicles . . . Powermatic transmissions for high­ but ever-changing exhibit demonstrating in ani­ way trucks . . . Diesel locomotive parts . . . and mated and dramatic fashion, the contributions the world's finest sleeve-type, precision bearings your friends and neighbors are making to the for a variety of commercial and military appli­ production and application of horsepower. VISIT cations. Too, the Aeroproducts Operations, in THE POWERAMA—It's a wonderful opportunity Dayton, Ohio, which is a part of the Allison to see the many products and achievements of Division, produces propellers, actuators, Hydro- one of Indiana's principal industries.

Requests for available dates for group visits should be in writing to POWERAMA, Allison Division, Gen­ eral Motors Corporation, Indianapolis 6, Indiana. Or, phone Chapel 4-1511 and ask for extension 3307. 1958 SUMMER SEASON Starlight Musicals rf Sea&wt tyoct'M Tteveti ^(n^et

TRULY 7 WONDERFUL SHOWS

£ OKLAHOMA & ROSALINDA JULY 8 THROUGH 13 JULY 29 THROUGH AUGUST 3 "Oklahoma" is too familiar to need introduction. Set "Rosalinda" is a "period piece" — an American adaptation of the Johann Strauss opera "Die Fleder- on a farm in what would later become the State of maus" ("The Bat"). Its setting is a resort town Oklahoma, it carries wholesome fun and "whistling near Vienna about 1900. Its costuming is gorgeous. music" in one glorious show package. Everyone Its Strauss music is as tuneful as music can be: knows and loves "Oh, What a Beautiful Morning," "Serenade," "Drinking Song," "Each Man to His "The Surrey with the Fringe on Top," "People Will Own Taste," 'The Country Maid," and so on. Say We're in Love," and so forth. The final curtain on "Oklahoma" comes much too soon. BLOOMER GIRL AUGUST 5 THROUGH iO # PLAIN AND FANCY "Bloomer Girl" is set in 1861 in Yankee-land. Aunt JULY 15 THROUGH 20 Dolly Bloomer is an ardent suffragette and originator of that female garment—not worn nowadays, we "Plain and Fancy" is a charming musical in which believe — the "bloomer." Her niece Evalina, daugh­ sophisticated New Yorkers match wits with perhaps ter of a prominent hoopskirt manufacturer (who of unsophisticated, but very far from witless Amish course loathes bloomers) , wears the hideous gar­ folk who are settled in Pennsylvania. Customs, ments and is in every respect an "emancipated attitudes and language of "city" vs. "country" are woman" until she falls in love with a southern guy played off against each other with great good humor, to whom hoopskirts are what every young girl should to the delight of all who watch and listen. Musical wear. Back to skirts and femininity for Evalina! Some of the biggest musical numbers in "Bloomer numbers include such hits as "It Wonders Me," Girl" are: "When the Boys Come Home," "Right "Young and Foolish" and "Plain We Live." as Rain," "Evalina," and "Sunday in Cicero Falls." * HIT THE DECK * NAUGHTY MARIETTA JULY 22 THROUGH 27 AUGUST 12 THROUGH 17 "Hit the Deck" is a pre-World War II "Nautical "Naughty Marietta" is a perennial favorite. It has Musical Comedy in Two Acts." Looloo loves Bilge, everything! A run-away Countess; a handsome pirate, who is also the son of the French governor of New matrimony-wary gob, but Bilge doesn't love Looloo Orleans in the 17th century; an American frontiers­ until the end of the show, when he discovers she has man— everything! Color, gorgeous costumes, side­ inherited money. "Hit the Deck" is hilarious, riotous splitting comedy and, above all, one of the classic fun! The Vincent Youmans score provides such love stories, set off by such songs as "Falling in Love rollicking hits as "Hallelujah," "Sometimes I'm with Someone," "Italian Street Song," and ' 'Neath Happy," etc. the Southern Moon." iVCAN CAN AUGUST 19 THROUGH 24 The title of "Can Can" tells the story. The setting is Paris in 1893—Paris, where the once-shocking dance, the Can Can, originated. The Cole Porter music is sensational: "I Love Paris," "Allez-vous-En," "I Am in Love," "Montmart."