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GSU Digital Collections THANKS TO THESE SPONSORS FULTo n counTY BASS ~DELTA ..d~ y an counciL u •Yl'AJIOfAJr ~.:!: .•. Arts • Cool Dc!9 (~~ ~ --- ~ .. SiiNn.uPAPI<II ~ ~ LOFTS 7 STAGES 7 Stages is a professional, non-profit theatre company devoted to engag­ ing artists and audiences by focusing on the social, political, and spiritual MISSION values of contemporary culture. We give primary emphasis to international work and the support and development of new plays, new playwrights, and new methods of collaboration. 7 STAGES Del Hamilton Artistic Director STAFF Faye Allen Producing Director Sydney Ellis Director of Marketing Mack Headrick Director of Finance and Operations Heidi Howard Production Stage Manager I Education Director Candace McWhirter Director of Development Corrie Haislip Box Office Manager Box Office Staff: Alex Edwards, Nate Devoll, Mama Yeye Artistic Associates: Walter Asmus, Philip Boehm, Jessica Coale, lsma'il ibn Conner, Karen Finley, Alex Greenfield, Jim Grimsley, Steven Kent, Dijana Milosevic, Robert Earl Price, Scott Turner Schofield Admin Interns: Christy Page, Edi Henry-Tingle, Luke Wertz 7 STAGES Anne Yates Adorno and Voss board chair BOARD David Cartee Delta co-vice-chair Angela Walton The oneCARE Company co-vice-chair Joe Gfaller Alliance Theatre secretary Gregory Pierce Atlanta Convention and Visitors Bureau treasurer Faye Allen 7 Stages Co-Founder Jennifer Garey The Atlanta School D'Asla Hailey Alston and Bird Del Hamilton 7 Stages Co-Founder Andjela Kessler Incentive Travel & Meetings Kristen Melton Alston and Bird Lynn Meyer Arts Advocate and Public History Consultant Allison Walker GE Money 7 STAGES Roger Brown Cool Dog Interactive Cathy Byrd Georgia State University RESOURCE JoAnn Haden-Miller Atlanta Convention and Visitors Bureau COUNCIL Rob Kennedy Coalition Society Liz Lapidus Liz Lapidus PR Elizabeth Musick Musick Design Amanda Lester Trevelino ALTPR Bill Sutton UBS Will Terpening Shumaker, Loop & Kendrick Pamela Turner Ben Franklin Academy I multiShades.atlanta 7 STAGES THEATRE DEL HAMILTON FAYE ALLEN Artistic Director Producing Director presents CREATED BY: JAMES RADO & GEROME RAGNI (BOOK/LYRICS) GALT MACDERMOT (MUSIC) Director: Del Hamilton Choreographer: Hylan Scott Tech Director: Mack Headrick Production Manager: Heidi Howard Assistant Stage Manager: Lisa Green Sound Engineer: Jed Drummond Light Design: Jessica Coale Costume Design: Nyrobi Moss Props Design: Corrie Haislip Dramaturg: Renee Pattillo Production Assistants: lza Gustin & Josh Wright TRIBE MEMBERS Berger: Warren E. Ullom IV Sheila: Naomi Lavender Claude: Jacob Wood Theo: Theodus X. Crane II Crissy: Christie Lee Fisher Woof: Jason Royal Hubert/Dad: Doug Graham Dionne: Dorothy Victoria Bell Music Director/Guitarist: Jeanie: Jenna Tamisiea Rob Thompson Hud: Chris Love Music Director/Guitarist: Margaret Mead/Mom: Sam McPherson Christine Verderese Bassist: Steve McPeeks Ronny: Fracena Byrd Drummer: David Miksch Production Notes In 1964 Gerome Ragni and James Rado conceived Hair as a response to their own East Village anti-establishment environment. According to Ragni, these char­ acters of flower power children were drawn from "a combination of some charac­ ters we met in the streets, people we knew and our own imaginations. There was so much excitement in the streets and the parks and the hippie areas, and we thought if we could transmit this excitement to the stage it would be wonderful... n The Vietnam War undeniably had an enormous influence on Hair. The United States came to the aid of South Vietnam in 1954 in order to try to keep the south liberated from the communist North Vietnamese government. It was a popular opinion that the United States had no business being in Vietnam and lost support of much of the American population. As the war continued the casualties rose and it was the lives of the civilians who suffered the most throughout the combat. During this time the draft, having been instated by Roosevelt in 1940, was at the height of controversy and one common form of protest was burning one's draft card. This was considered a federal offense. Anti-racism also plays a prominent role in Hair. Up until1967 miscegenation (co­ habitating, marriage, or sex of different racial groups) was still illegal. Sex, for the hippie generation, was one avenue of abolishing racism and the idea of a "norrnar heterosexual relationship. Among youth, the late sixties were characterized by free love between men with women, men with men, women with women, and with little to no regard for racial or biological differences. The body was viewed as a sexual gift. This tribe of the hippie counterculture divorced itself from the social reality by way of free love, drugs, and peaceful protest in a time of horrific warfare. Hair made its debut at the Public Theater Off Broadway in 1967 with Ragni por­ traying Berger and Rado portraying Claude. After only running for six weeks a Chicago businessman, Michael Butler purchased the rights and moved the musi­ cal to the Cheetah where it ran for forty-five performances. In January 1968 Hair underwent several changes, including the use of nudity, and hit Broadway in April 1968 at the Biltmore Theatre. "It was very important historically, and if we hadn't written it, there'd not be any examples. You could read about it and see film clips, but you'd never experience it. We thought, 'This is happening in the streets,' and we wanted to bring it to the stage. n -James Rado Renee Pattillo, Drarnatu,~ge 7 Stages wishes to give special thanks to Horizon Theatre, Greg Hofer, Brett "Blonde Giant" Mertins, Amy and Phil with Sound Associates, Rosalie with RSI , Judy Cole, Charles Gooch, Jackson Braddy, Amanda Wilborn, Kade Haislip, Jim and Nancy Coale, Aurura Theatre, Reece Harris, King Gorilla, Java Lords, Rob, Sam and the awesome band for their ongoing genious and dedication, Rob and Naomi for set painting, George Nikas for video work, The Atlanta School, Jen Brown, Anthony Marzetti, Jen Hayes, The HAQQ Sisters, Vintage Soul, B & W Wig LSP, Neil's Sewing Machine Repair and Synchronicity. Sunday performances will feature Steve Mayes on bass. Major funding for this organization is provided by the Fulton County Board of Commissioners under the guidance of the Fulton County Arts Council. Dorothy Victoria Bell (Dionne/Tribe) is from Detroit, Ml and now resides in Atlanta. She discovered theatre under the tutelage of the great Carol Mitchell Leon. She earned her MFA in Theatre at the University of Louisville. After graduating she taught and directed the­ atre and speech for 5 years at Clark Atlanta University. Most recently she has appeared as Addie in GIAHA (Brunswick, GA) production of Little Foxes, Angela in PushPush Theater's movieplay Intersections of Dreams, as Irene in Horizon Theatre's production Three Sistas, and as an ensemble player in Middle Passage at the Grahmstown Arts Festival in South Africa. She has also released two albums as one half the soulful group Venus 7: "Primer'' released in 2006 and "Venuseven: This is a LIVE CD. Fracena Byrd (Ronny/Tribe) is a metro-Atlanta based performer. Some of her recent credits include Veranda 2 at Ansley Park Play­ house, The True Story of the Three Little Pigs at Theatre In The Square, and A. .. My Name Is Alice at Theatre Decatur. She has also worked extensively with Kaiser Permanente's Educational Theatre Program, in shows such as Secrets (on HIV/AIDS awareness), Give Peas a Chance (nutrition for young audiences), and Fragments (grief and loss). She has performed in Smokey Joe's Cafe at the Springer Opera House, and she was Evillene in The Wiz produced by True Colors Theatre. Jessica Coale (Light Design) has enjoyed working with the fabulous artists, actors, technicians and staff here at 7 Stages since the dark ages of 1991 . This space does not allow the room to list the numer­ ous productions and world premieres that Jessica has lit, built or sent on tour. She is an Artistic Associate with 7 Stages, Synchronicity Performance Group and Theatre du Reve. Thank you for attending live theater. Help us keep it alive and thriving, there is a donation box in the lobby :) Theodus X Crane II (Theo/Tribe) was born and raised in Atlanta, Ga. He was introduced to the arts at an early age and found himself involved with many facets of the arts. Thea got his first taste of acting as a teenager but did not fully pursue it as a passion until recently when he began working with the Little 5 Points Rockstar Orchestra in Jesus Christ Superstar. He is also a member of Big City Burlesque and Vaudeville, and is open to all new adventures. Jed Drummond (Sound Design) hails from Pensacola, Florida, but has called Atlanta home since 1999. He earned a certificate in studio engineering from Chillicothe, Ohio's Recording Workshop in 2005. Upon his return to Atlanta, his live sound career began at Midtown favorite Loca Luna, where he mixed the city's best Latin musical acts for over two years. Since then, he has diversified his experience by working at many of.the city's best-regarded venues, including the EARL, the Drunken Unicorn, and Smith's Olde Bar. In addition to his technological skills with sound, Jed also is an accomplished vocalist, pianist, guitarist, and songwriter. Music is the primary motivating force in his life, and he is thrilled to have the opportunity to share his talents with the cast, crew, and audience of HAIR. Christie Lee Fisher (Crissy/Tribe) is living a dream come true play­ ing Crissy in this production of HAIR! She is a student at Gainesville State College where she is a member of the Gainesville Theatre Alli­ ance. Christie has been seen onstage recently as Aysha in Children of Eden, Alcyone in Metamorphoses, Juliet in Romeo and Juliet, Au­ drey in Little Shop of Horrors, and Ado Annie in Oklahoma for which she won Big Top Theatre's Best Supporting Actress of Year Award.
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