Casino Théâtre 42, rue de Carouge, 1205 Geneva GENEVA AMATEUR OPERATIC SOCIETY PRESENTS Book by Joe Masteroff Music by John Kander Lyrics by Fred Ebb

Based on the book by

Friday, 17 April 2015 at 20h00 Saturday, 18 April at 20h00 Sunday, 19 April at 20h00 Thursday, 23 April at 20h00 Friday, 24 April at 20h00 Saturday, 25 April at 20h00 Sunday, 26 April at 15h00

CABARET is presented under the license of Felix Bloch Erben Agency, Berlin, Germany with kind permission by International Creative Management, : New York, USA.

www.gaos.ch Geneva Amateur Operatic Society Really Youthful Group Presents

Book Composer Marshall Brickman Andrew Lippa Rick Elice

CASINO THEATRE 28, 29, 30 August For more information visit: www.gaos.ch Based on characters created by Charles Addams GENEVA AMATEUR OPERATIC SOCIETY PRESENTS CABARET Book by JOE MASTEROFF Based on the play by John Van Druten And stories by Christopher Isherwood Music by JOHN KANDER Lyrics by FRED EBB Reduced orchestration by Chris Walker

Director: Sue Lloyd Assistant Director: Sharon Gill Musical Director: Allardyce Mallon Choreographers: Maria Anderson and Elizabeth Heard www.gaos.ch

CABARET is presented under the license of Felix Bloch Erben Agency, Berlin, Germany with kind permission by International Creative, Management, New York, USA. FROM KINDERGARTEN TO UNIVERSITY

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

Europe is in turmoil. Banks are failing. Your money is almost worthless. Millions are unemployed. Bully boy politicians are seizing power. Religious intolerance and racial prejudice are in the air and violence is on your doorstep. We are in Berlin; it’s 1931. What would you do? Well, no matter what, there are always places to find pleasure, gratification and entertainment. You may, of course, enjoy the risqué dancing and music of the Kit Kat Klub, a shady den where all manner of intriguing characters party into the early hours. Otherwise there is the Casino Theatre where GAOS is currently performing that very modern, magnificent and dramatic musical extravaganzaCABARET ! Thankyou for joining us. Cabaret follows in the footsteps of some remarkable GAOS musical theatre productions, which include Cats, Chicago, The Producers and The Sound of Music. You may have enjoyed one or more of those shows with us and we feel confident that you will be just as well entertained by this production. If this is your first GAOS show, then you are in for a real treat. Cabaret is proudly brought to the Casino Théâtre stage by Sue Lloyd, our Director, and Sharon Gill, Assistant Director; Allardyce Mallon is our Musical Director. This experienced and talented team has gathered together an amazing cast and crew who have created this wonderful show which we know will thrill and delight you. We have once again received excellent and outstanding support from the management and staff of the Casino Théâtre. Their professionalism and goodwill are essential to this and all the other productions we perform in this wonderful theatre. Our thanks go especially to all our advertisers and sponsors for their generosity. Their continued financial contributions are essential in maintaining the quality of your theatrical experience with GAOS. So now, please sit back, relax and permit yourself a little escapism. Willkommen, bienvenue, welcome Fremde, étranger, stranger Glucklich zu sehen Je suis enchanté Happy to see you

MIKE SELL, Chairman

If you would like to know more about our forthcoming productions or to express an opinion about any of our activities please contact me personally or at [email protected]. Alternatively just have a word with one of the many “Ask Me About GAOS” people at the theatre today. 3 www.iil.ch INSTITUT INTERNATIONAL DE LANCY

1ST ONE TO ONE IPAD SChOOL IN SwITzERLAND

English Section | French Section Nursery | Primary | Secondary Checkpoint | IGCSE Examinations | IB Diploma Brevet des Collèges | French Baccalaureate Bilingual Programme French-English

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 SUE LLOYD – THE DIRECTOR

Sue Lloyd can truly be called a GAOS icon. Over the past forty years she has not only served on the Committee in various capacities but also performed in over twenty GAOS shows and produced at least sixteen more of them. She is one of the founders of the GAOS Choral Group, and as an organizer of the Society’s Musical Evenings has helped GAOS in raising over 130,000 Swiss francs for charity. As a producer she has been known chiefly for her pantomimes (including Aladdin, Ali Baba, Babes in the Wood, Little Red Riding Hood, Robinson Crusoe and Sinbad the Sailor – twice!), operettas (The Merry Widow, The White Horse Inn) and the works of Gilbert and Sullivan (Princess Ida, The Mikado, The Gondoliers, Iolanthe, Trial by Jury). Now, with Cabaret, Sue has chosen to focus her directorial skills on a high-profile Broadway musical. With typical thoroughness, she has investigated the historical period and social context of the story as well as the show’s literary antecedents (the works of Christopher Isherwood dealing with life in Berlin in the 1920s and 30s – see page 28), and this informed approach, combined with her usual high standards and masterful staging, is sure to result in yet another triumph for GAOS.

5 Weekly removals to Switzerland?

Just get on the blower.

The Switzerland specialists T: +44 (0)1865 740700 or call free from Switzerland: 0800 000 126 F: +44 (0)1865 750625 Email: [email protected] www.lukerbros.com Memb No. L031 SHARON GILL – THE ASSISTANT DIRECTOR

After the curtain closed onCats last year, rather than breathing a sigh of relief and putting her feet up for a summer of relaxation, Sharon looked towards her next project and when Sue Lloyd asked her to help out with Cabaret there was no real decision to take. When Sharon made her GAOS stage debut as a butterfly inSnow White and the Seven Dwarfs, Sue was playing the role of Principal Boy and then many years later it was Sue who cast Sharon in her first role as Principal Boy. So, keeping the tradition going and being in a position to learn from the GAOS Gem that is Sue whilst putting on Cabaret was just too amazing an opportunity to pass by. Sharon thanks Sue for thinking of her. Sharon would like to send a special thanks out to her Dad (Rodney) for coming out of “retirement” a second time to stage manage this show. Working with Sue on Directing and being Rodney’s Assistant Stage Manager is like taking a GAOS Masterclass in Production. Lastly, but by no means least, a massive thank you to all the cast and everyone involved on the production team for making this a fun and enjoyable experience.

7

ALLARDYCE MALLON – THE MUSICAL DIRECTOR

Originally from Scotland, Allardyce gained his degree in musicology, history and composition at the University of Edinburgh. He went on to study for his Masters in composition at the University of Surrey, England, and then to Geneva where he gained his diploma in conducting and the Prix du Conservatoire for composition. He became very active in several musical ventures in the Geneva area, including the GAOS productions of The Producers, Chess, Iolanthe and Oliver! He also worked as assistant conductor at the Grand Théâtre de Genève Billy( Budd by Britten) and with the San Francisco Opera (Pelléas et Melisande by Debussy). Holder of the Walter Susskind Scholarship, he spent time at the Royal Scottish Academy of Music & Drama in Glasgow where he gained experience as a repetiteur and conductor. From 2003 to 2007 he was repetiteur and assistant conductor at the Meiningen Theater in Germany, which was followed by an engagement in Weimar at the Deutsches Nationaltheater und Staatskapelle. Further engagements included the Grand Théatre de Luxembourg Le( Nozze di Figaro), the Utah Symphony and Opera in Salt Lake City (Cenerentola), the Sondsershausen Schlossfestpiele in Germany (Die Zauberflöte) and several seasons at the Festival International d’Art Lyrique at Aix-en- Provence. Often based in Switzerland, he was in charge of music for the Swiss Fête des Vignerons in 1999, as well as for the Opening Ceremony of the Expo.02 in Neuchâtel. He works a lot with young musicians all over Switzerland, training players for the national brass championships, preparing and accompanying students for exams at various conservatoires, as well as coaching singers.

9 From 3-11 years old

Where life-long learning begins Geneva English School | Route de Malagny 36, CP 40 1294 Genthod | Geneva, Switzerland Tel: +41 22 775 04 40 | [email protected] | www.geschool.ch THE CHOREOGRAPHERS

MARIA ANDERSON Born and bred in the U.K. Trained in London. Moved to Switzerland in 1968. Taught classical ballet and was a pregnant wolf and alligator in a Player’s Theatre pantomime. After a year in Spain under Franco, Maria arrived back in Geneva gasping to dance and paint again. She taught at the Migros Club (in terrible French), did shows, painted and started a dance school, which she ran for thirty years. This explains, she hastens to add, why she is so old! By chance, her neighbour persuaded her to audition for tap dancing at the GAOS Music Hall in 1988. She went, met Bill Nuttall the “chairman”, and got landed with arranging the dancing for the chorus medleys! She was in! She juggled with dance shows and GAOS for years, learning a lot on the way – having forgotten lots – and having fun through involvement in many shows (West Side Story, Sinbad, Flappers, etc.). Her first pantomime was King Arthur with Sue Lloyd directing, and the two of them are here yet again with Cabaret. Both of them older … but wiser? Maria loves Cabaret; having danced in “Mein Herr” in the 1980s so she knows what fun it is to be a Kit-Kat girl. Now she enjoys watching the girls doing their stuff. And don’t forget the splendid music too, thanks to Allardyce & Co.

ELIZABETH HEARD This is Elizabeth’s second production with GAOS. She began dancing and performing when she was 7 years old. She trained in Modern and Contemporary Dance, choreography and improvization and earned her B.A. in Dance (and Biology) from Oberlin College in the United States. She has always wanted to dance in a musical (as singing is not one of her specialties) and her wish came true when she appeared as a dancer in the GAOS production of Cats in 2014. She has taught dance to young children as well as choreographed for a variety of ages. Originally from Seattle, Elizabeth has lived in Shanghai, Hong Kong and Tokyo (in that order) before she moved to Switzerland in 2013. She is the curriculum coordinator at GWA-Etoy and when she isn’t dancing with GAOS she is reading good books, travelling, cycling, hiking and cooking. 11 Join

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12 SYNOPSIS ACT 1 Clifford Bradshaw, an aspiring young American writer roaming Europe looking for inspiration for his second novel, is on a train to Berlin on New Year’s Eve, 1930. He is joined by Ernst Ludwig who, it appears, is smuggling baubles into Germany. When Cliff unwittingly helps him, Ernst enthusiastically becomes his first friend in Berlin. Fräulein Schneider rents Cliff a room in her boarding house for half its usual price – So What? Cliff sets to work on his novel, but distracted by the lure of the Kit Kat Klub he heads out to celebrate New Year’s Eve. As Cliff arrives the Emcee introduces . Sally is intrigued by Cliff and despite the disapproval of Max, the club’s owner, strikes up a conversation. Cliff is attracted to Sally but she spurns his advances. The next day, Sally appears in Cliff ’s room with her baggage – Max has thrown her out. She skillfully talks her way into moving in – Perfectly Marvelous. Meanwhile, Fräulein Schneider is being courted by Herr Schultz, a fruit-shop proprietor, who brings her exotic gifts – It Couldn’t Please Me More. Months pass and Cliff is enjoying life with Sally –Why Should I Wake Up? Sally announces she is pregnant and with perfect timing Ernst arrives to offer Cliff a lucrative job smuggling a briefcase into Germany. Cliff accepts. Fräulein Kost, a prostitute, discovers the relationship between her landlady and Herr Schultz and, to remain respectable, Herr Schultz proposes – Married. Sally arranges an engagement party at the fruit shop. Cliff arrives back from Paris with the briefcase, but upon seeing Ernst wearing a swastika arm-band, their friendship cools. Herr Schultz, rather drunk, entertains with a Yiddish song – Meeskite. Ernst is incensed and makes to leave. He is stopped by Fräulein Kost who lures him back with a patriotic rendition of Tomorrow Belongs to Me. The guests join in and the atmosphere sours.

ACT II Following the kerfuffle at the party, Fräulein Schneider breaks off her engagement to Herr Schultz – What Would You Do? Unable to find a job in crumbling Berlin, Cliff decides to take Sally to America. Sally refuses. She loves Berlin and her life there – Cabaret. After a row, Sally makes a devastating choice and a heartbroken Cliff leaves Berlin. On the train back to Paris Cliff finally begins to write … about Sally Bowles, the Kit Kat Klub, and a city called Berlin in a country called Germany … it was the end of the world. 13 Geneva English Drama Society presents

16–20 June 2015 (Tue–Fri 20:00, Sat 19:00)

Théâtre Pitoëff Geneva

www.geds.ch by Ben Elton www.theatreinenglish.ch

2nd

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14 RÉSUMÉ ACTE I Clifford Bradshaw, un jeune écrivain américain ambitieux errant à travers l’Europe en cherchant de l’inspiration pour son deuxième roman, voyage vers Berlin le soir du 31 décembre 1930. Dans le train il rencontre Ernst Ludwig qui, apparemment, trafic des objets de valeur et les importe en Allemagne. Quand Cliff l’aide sans le savoir, Ernst, avec enthousiasme, devient son premier ami à Berlin. Fräulein Schneider, propriétaire d’une pension, loue une chambre à Cliff pour la moitié du prix habituel – So What ? Cliff commence à écrire son roman, mais succombe à la tentation de se rendre au Kit Kat Klub le soir du Nouvel An. Au moment de passer la porte, le majordome annonce l’entrée sur scène de Sally Bowles. Sally est intriguée par Cliff et, en dépit de la désapprobation de Max, le propriétaire du club, entre en conversation avec lui. Cliff trouve Sally séduisante, mais elle rejette ses avances. Le lendemain, Sally arrive à l’improviste dans la chambre de Cliff avec ses baggages – Max l’a largué. Avec finesse, elle le persuade de partager sa chambre avec elle –Perfectly Marvelous. Pendant ce temps-là, Herr Schultz, le propriétaire d’un magasin de fruits, paie la cour à Fräulein Schneider en amenant des cadeaux éxotiques – It Couldn’t Please Me More. Quelques mois plus tard, Cliff et Sally partagent le bonheur –Why Should I Wake Up? Sally déclare qu’elle est enceinte et, à un moment opportun, Ernst arrive avec la proposition d’un travail lucratif pour Cliff – de faire passer une mallette en Allemagne en contrebande. Cliff accepte. Fräulein Kost, une prostituée, découvre le lien entre sa patronne et Herr Schultz et, pour maintenir les apparences, Herr Schultz demande Fräulein Schneider en mariage – Married. Sally organise une fête de fiançailles dans le magasin de fruits. Cliff revient de Paris avec la mallette, mais en découvrant Ernst portant un brassard avec une croix gammée, leur amitié se détente brusquement. Un peu soule, Herr Schultz chante une chanson en Yiddish – Meeskite. Ernst est furibond et se lance vers la porte. Mais Fräulein Kost réussi à l’arrêter et le persuade de rester pendant qu’elle interprète une chanson patriotique – Tomorrow Belongs to Me. Les autres invités participent, mais l’atmosphère tourne au vinaigre. ACT II A la suite du trouble aux festivités, Fräulein Schneider rompe ses fiançailles avec Herr Schultz – What Would You Do ? Incapable de trouver un emploi dans un Berlin en désagrégation, Cliff décide d’emmener Sally aux Etats-Unis, mais elle refuse. Elle adore Berlin et sa vie dans la ville – Cabaret. Suite à une dispute, elle fait un choix dévastateur et, le cœur brisé, Cliff quitte Berlin. Dans le train de retour à Paris, Cliff commence à écrire son roman… c’est l’histoire de Sally Bowles, le Kit Kat Klub et une cité qui s’appelait Berlin dans un pays qui s’appelait l’Allemagne… c’était la fin du monde. 15 CABARET Cast in order of appearance

Emcee Stephen A. Ash Cliff Bradshaw Phil Tuffs Ernst Ludwig Patrick McDonald Customs Officer Béat Zumbach Fräulein Schneider Liz Williams Fräulein Kost Sammie Clare Fritz Sunil Chacko Rudi Njabulo Mendlula Otto Tyrell Brown Herr Schultz Eric Richardson Sally Bowles Rachel Ash Taxi Driver David Stieber Head Waiter David Pittuck Max Stanley Taylor Gorilla William Heckel* 16 TWO LADIES Leilia Dore* Leela Wendler

KIT KAT GIRLS Nataliya Domnina Ciara Goldstein Elizabeth Heard Bindu Kapur Aurélie Laporte Gen Steele

CHORUS Stephen Anderson Penny-Claire Morris Tyrell Brown Sunil Chacko Jade Chakowa David Pittuck Christina Conti Annie Schmid Leilia Dore David Stieber* Robin Martini Stanley Taylor David Mason* Leela Wendler Njabulo Mendlula Béat Zumbach * = Understudying a major role ORCHESTRA Double Bass Samuel Ramos Escobar Clarinet Bflat/Alto Sax Diego Sossa Clarinet Bflat/Tenor Sax Jean Samuel Racine Bass Clarinet/Alto Sax/ Andrew Close Tenor Sax/Baritone Sax Trumpet Simon Pellaux Horn I Jacques Van de Walle Horn II Clément Guignard – 17, 18 & 19 April Jean-Michel Vailloud – 23, 24, 25 & 26 April Trombone Jean-Paul Papilloud Percussion Nicolas Curti Lucas Genas – 23 and 25 April Drums Yorick-Yann Hossfeld Guitar/Banjo David McDonald Piano/synthesiser Shauna Beesley

17 What’s On Property Classifieds Music Local & Chat Info Local WRS News DO CLUB

worldradio.ch #WRS PRINCIPALS

STEPHEN A. ASH – The Emcee Steve has been singing and performing on stage and TV since he was 7. His favourite previous roles include “Roger” in The Producers, “Freddie” in Chess, “Joseph” in Joseph and his Amazing Technicolor Dreamcoat, “Amos” in Chicago, “Munkustrap” in Cats and “Dr. Wackoff ” in the critically acclaimed, world-wide amateur premiere of Saucy Jack and the Space Vixens. Steve is delighted to be playing the part of “The Emcee” inCabaret , a role he has wanted to play ever since seeing it performed by the Youth Connection Theatre Company at the Edinburgh Fringe in 1996 (who, incidentally, introduced Steve to another of his favourite musicals City of Angels in 1994, in the same theatre as he was performing as “Nicely-Nicely” in Guys and Dolls. Small world!).

RACHEL ASH – Sally Bowles Rachel’s stage debut was at the age of 9, playing “Kim” in Showboat at the Buxton Opera House in England. From then she continued to spend her youth appearing in many productions, first as a dancer in the chorus and then taking on principal roles. She achieved a B.A. (Hons) in Performing Arts, majoring in music and dance, and then moved to Surrey to continue enjoying many roles in all genres from Opera to Musical Theatre. Rachel has worked for Simply Theatre since 2006, and is currently teaching Voice for the Performing Arts. She moved to Geneva in 2005 and immediately got involved with GAOS. Rachel directed and starred in I Love You, You’re Perfect, Now Change, other favourites include “Florence Vassy” in Chess and “Josephine” in H.M.S. Pinafore. “Sally Bowles” is a dream role.

PHIL TUFFS – Cliff Bradshaw Phil, born and bred in the U.K., was interested in music from a young age, torturing his family with the recorder age 6. His teens were spent playing bassoon in several orchestras and bands, through which he was fortunate to travel to a number of European countries on tour and even appeared on BBC1’s That’s Life! Since transferring to Geneva with work in 2000, Phil has appeared in seventeen GAOS productions, notably: “Rick”, A Slice of Saturday Night (2001 & 2004); “Mike”, High Society (2003); “Strephon”, Iolanthe (2005); “Ambrose”, Hello Dolly (2006); “Aaron”, Chicago (2013); and “Man 2”, I Love You, You’re Perfect, Now Change (2008 & 2013). Phil has also co-directed several GAOS shows including Oliver (2004). 19 PATRICK MCDONALD – Ernst Ludwig After over twenty shows playing a good guy, Paddy is thoroughly enjoying – perhaps a bit too much – grappling with a character with a bit of a mean streak. Since moving to Geneva from Australia in 2013, he has become as involved in GAOS as he could, and is very grateful for all the fun and friends it provides. His last appearance as “Jack” in Once Upon a Time also saw him playing trombone in the pit and assistant Musical Director, a wonderful experience, but he is nonetheless glad for a change of pace. In “real life”, he is nearly finished with his Masters thesis in Socio-Economics. He owes huge thanks to Karoline for her patience in supporting his musical pursuits.

SAMMIE CLARE – Fräulein Kost Sammie first appeared on stage ten years ago inIolanthe , also directed by Sue Lloyd, and last trod the boards as “Hattie” in GAOS’ production of Kiss Me Kate (2008). Seven years later, she is having fun returning to the stage as “Fräulein Kost”, who, whilst “not in the first flush of youth, makes a living as best she can entertaining sailors!” Sammie lives a nomadic lifestyle and is currently a Scuba diving instructor, splitting her time between the balmy, crystalline waters of the Red Sea and the cold, murky quarries of the UK! Thus far she has never been known to entertain sailors in either location – other than by occasionally falling over putting her fins on!

LIZ WILLIAMS – Fräulein Schneider

Liz stepped down from the GAOS Committee last September having worked on it for ten years – seven years as Secretary and three as Chairman. So, she wondered, what now? Well auditioning for Cabaret seemed like a good idea and she is absolutely delighted to be playing the role of “Fräulein Schneider”. The last time Liz was on stage was as “Queen Inebria” in the 2010 pantomime Cinderella, but she has also been in, or co-directed, or done the choreography, for more shows than she now cares to remember.

BEAT ZUMBACH – Customs Officer Béat joined GAOS five years ago and has played mainly in pantomimes. Cabaret is his first try at a Spring Show. Singing, acting, dancing and talking are Béat’s favourite activities. He also skis (cross country), cycles and hikes and sews some of his own clothes. Having worked in the travel industry for nearly forty years, Béat has toured the world. His favourite continent? Definitely Europe! 20 ERIC RICHARDSON – Herr Schultz Eric Richardson has performed in musicals and singing groups on three continents over four decades. These includeLady in the Dark (Beijing), Jesus Christ Superstar (California), Chicago and Spoon River Anthology (Michigan), the Capitol Hill Chorale, the Grand Rapids Symphony Choir, and his GAOS premier last year as “Skimbleshanks” in Cats. He thanks his performing children (Siena, Maya and Zac), his wife Maureen, his co-workers, directors and cast for their support and patience. Thanks also to the audience for your patience with the LOONG first act and here’s hoping we don’t makeMeeskites of ourselves.

WILLIAM HECKEL – The Gorilla William is worried that performing in high heels in two GAOS shows in a row may lead him to be typecast in the future — although as what, he’s not sure! (He also played a singing elephant in Up the Empire a few years back.) Last seen as “Gertie, the Dame” in Once Upon A Time, Bill has also been featured in shows including Trial by Jury, The Producers, H.M.S. Pinafore and Follies. He looks forward to singing the role of “Fredrik” in this summer’s A Little Night Music – hopefully in flat shoes!

21 THE KIT KAT KLUB GIRLS

THE THREE SAILORS

SUNIL CHACKO NJABULO MENDLULA TYRELL BROWN Fritz Rudi Otto

22 THE CHORUS

23 RODNEY GILL – Stage Manager Twelve months ago Rodney declared that Cats would be his last show as Stage Manager, although imprudently he did leave the door open for a possible return. Little did he know that the door would open extremely quickly and that one year later he would again be Stage Manager for GAOS. He believes that being responsible for set construction and being Stage Manager is one of the most rewarding aspects of a show. What appears on stage starts as a vision which is converted into reality. Despite the responsibility involved, working with a variety of people and finding ways to make the seemingly impossible happen is fun – albeit at times rather stressful. However, he now feels that younger people should take over – this really is his final show! He thanks all the GAOS members who have put their trust in him over the past thirty odd (!) years.

Sue BERGOMI – Costume Mistress Sue joined GAOS in 1985 when she played the soubrette in The White Horse Inn. It was not long before she tried her hand at costumes. She did this in 1986 when she helped Sue Lloyd to dress the panto Little Miss Muffet. Twenty-nine years later she is still at it, occasionally setting her thimble aside to tread the boards again, or to direct a show. No, actually, she can’t use a thimble. As soon as she puts one on, she automatically uses a different finger for pushing the needle. But she is the proud owner of no less than three sewing machines, on which she sometimes even finds time to do a little sewing for herself and her family. Rarely, though!

PHILIP THOMAS – Assistant Musical Director Philip Thomas has appeared in concert, in church and on the boards, in choirs and choruses, and in singing roles as king, lord and prophet, fisherman, pirate and gangster. He once saw himself as a dancer, but his dancing was described as evoking a tarantula trapped in wet cement. His attempts at musical instruments gave rise to more lawsuits by the neighbours than musical gigs. As to singing – that great medium of human self-expression – one connoisseur, after hearing Phil, was heard to mutter the words of William Byrd, “Since singing is so great a thing, I wish all men would learn to sing!” In Cabaret he has been privileged to step occasionally at rehearsals into the formidable shoes of Musical Director, Allardyce Mallon.

24 SHARON GILL JOHN FOX JOHN NEWSOME JANE EASTON Assistant Set Design Lighting Design Lighting Design Stage Manager

STEVE PAVIS ARNI DINIUS BERYL ALLARDYCE NANCY GILL Sound Effects Sound Amplification Props Props

SAMMIE CLARE JO MARCEAU ANTHEA ROTH CAROLYN HORNFELD Make-up Production Secretary Orchestra Prompt Administrator

25 TECHNICAL TEAM DIRECTOR Sue Lloyd ASSISTANT DIRECTOR Sharon Gill MUSICAL DIRECTOR Allardyce Mallon ASSISTANT MUSICAL DIRECTOR Philip Thomas PRODUCTION SECRETARY Jo Marceau ORCHESTRA ADMINISTRATOR Anthea Roth REHEARSAL PIANISTS Joan Cambitsis and Graham Hobbs CHOREOGRAPHY Maria Anderson and Elizabeth Heard FIGHT CHOREOGRAPHY Sharon Gill and Claire Richardson SET DESIGN John Fox STAGE MANAGER AND SET CONSTRUCTION Rodney Gill ASSISTANT STAGE MANAGER Sharon Gill SET CONSTRUCTION/STAGE CREW Stephen Anderson, David Ball, Norman Beveridge, Robert Boyle, Yvette Callier, Christine Clayton, Mark Clayton, John Fox, Des George, Sharon Gill, Howard Hornfeld, Birgitta Lindup, Robert Mackenzie, Alydia Seidell, Mike Sell, David Stieber, Brian Thomas, Trevor Thomas, David Wrigley

26 LIGHTING DESIGN John Newsome and Jane Easton LIGHTING TEAM Tim Hancox, Jérémy Bauchet, Robin Brown SOUND EFFECTS Steve Pavis SOUND AMPLIFICATION Arni Dinius, Han Broere, Daniel Calcoen, Paulo Camaddo, Iris Hariz PROPS Beryl Allardyce, Nancy Gill, Karen Ball, Sandy Cunningham, Jeannie Taylor, Marie-Pascale Teti MAKE-UP Sammie Clare, Anne Dow, Pat Agnew, Emanita Bailey, Christina Conti, Helen Curley, Tyrell Brown, Carolyn Hornfeld, Maï-Ly Rochette, Emma Sajben and Annie Schmid COSTUMES Sue Bergomi, Christiane Abb, Pat Agnew, Emanita Bailey, Nadia Circelli, Sammie Clare, Christine Clayton, Margaret De Marchi, Barbara Dudek, Svetlana Frank, Maureen Goodman, Linda Greenwood, Carolyn Hornfeld, Edwina Jarrell, Birgitta Lindup, Maria Mastrangelo, Penny Morris, Marina Muraviev, Mariam Naoui, Judy Richards, Annie Schmid, Lynda Shaw, Luminita Stanescu, Debbie Steel, Leela Wendler, Maureen Wittig PROMPTS Carolyn Hornfeld and Anthea Roth FRONT-OF-HOUSE MANAGERS Susan Mutti and Jessica Wegmann BACK-STAGE BAR Luke Vorhies and Len Everett PHOTOGRAPHY Jane Del Pozo and Brian Thomas TICKET SALES Theatre in English POSTER DESIGN Iris Hariz/John Fox PROGRAMME John Fox We would also like to thank all those GAOS members who contributed to the success of this show but cannot be named here due to the printer’s deadline.

27 CHRISTOPHER ISHERWOOD

Christopher William Bradshaw Isherwood (1904-1986) was an English novelist who wrote Goodbye to Berlin, a 1939 novel set in Weimar Germany. It is often published together with Mr Norris Changes Trains in a collection called . Arriving in Berlin in 1929 to join W.H. Auden for a few weeks, Isherwood had recently published a not very successful novel and had given up on his medical studies. He was attracted by the city’s reputation for sexual freedom. He declared: “Berlin meant boys.” He stayed almost four years and never really lived in the United Kingdom again. Goodbye to Berlin is a fictionalized memoir of his stay, where he earned a precarious living teaching English. In the 1930s, Isherwood couldn’t write openly about his own homosexuality, so the stories are told by a narrator, with readers left to draw their own conclusions. Although Isherwood was living more or less openly as a homosexual, he balked at making Bradshaw homosexual as well. He had no desire to cause a scandal and feared that – should he cause one – his uncle, who was financially supporting him, would cut him off. With the consummate flair of the storyteller, Isherwood captures the spirit of the city with great liveliness, wit and apparently without judgement: “ with its shutter open, quite passive, recording, not thinking.” The book focuses on daily life in the building on Nollendorfstrasse where he rents a room from the caring landlady, the fat and middle-aged Fräulein Schroeder [sic]. In 1931 he met , the inspiration for his fictional character, the “divinely decadent” English upper- class expatriate Sally Bowles. Nineteen and barely out of school, Sally is a minimally talented English nightclub singer. Wearing emerald green nail varnish and black silk, she affects an artless manner combining the naiveté of extreme youth with the ennui of the jaded demimondaine. She believes that if she sleeps with every man she meets, she will one day meet a wealthy patron who will turn her into a Hollywood actress. It was said about Jean Ross, a political radical who died in 1973, that: “She probably found the portrait painted by Isherwood rather irritating.” However, Isherwood had found the material to make his name as a writer. In the 1930s, Hitler-run Germany entered a new and darker era. Violence escalated as nazis marched through the streets smashing shop windows and beating up passers- by. The momentum of the novel accelerates and becomes a condemnation of Hitler: “It is indeed tragic to see how, even in these days, a clever and unscrupulous liar can deceive millions.” The Berlin he knew – cosmopolitan, decadent, alternately glamorous and sleazy, and endlessly entertaining – is all but gone and it is time to move on. 28 In 1939, Isherwood set sail for the United States on a temporary visa, later regarded by some as a flight from war in Europe. He became an American citizen on 8 November 1946. While living in California, on Valentine’s Day 1953, at the age of 48, he met teenager Don Bachardy on the beach at Santa Monica. Despite the 30-year age difference between Isherwood and Bachardy, they became a well-known and well-established couple in Southern Californian society. In the opinion of many reviewers, Isherwood’s finest achievement was his 1964 novelA Single Man depicting a day in the life of George, a middle-aged, gay Englishman who is a professor at a Los Angeles university. His semi-autobiographical stories of pre-Hitler Berlin have been influential, firstly as the stories themselves and then reworked by others. The novel was adapted into a Broadway play I Am a Camera by John Van Druten (1951) in which a suddenly heterosexual Isherwood has a relationship with Sally Bowles. It earned the infamous review by Walter Kerr: “Me no Leica.” The book was then adapted into the award- winning musical (1966) and filmCabaret (1972) for which Liza Minnelli won an Academy Award for playing Sally. These successes meant that Isherwood now lost control of his own creation, but the regular arrival of cheques soothed his wounded pride. The house at Nollendorfstrasse 17 in the Schöneberg district of Berlin bears a memorial plaque to mark Isherwood’s stay there between 1929 and 1933.

The verse of the poem from which Cliff recites to Sally in the Kit Kat Klub comes from Dover Beach by Matthew Arnold (1822-1888) The sea is calm tonight. The tide is full, the moon lies fair Upon the straits; on the French coast the light Gleams and is gone; the cliffs of England stand, Glimmering and vast, out in the tranquil bay. Come to the window, sweet is the night-air! Only, from the long line of spray Where the sea meets the moon-blanched land, Listen! you hear the grating roar Of pebbles which the waves draw back, and fling, At their return, up the high strand, Begin, and cease, and then again begin, With tremulous cadence slow, and bring Theeternal note of sadness in.

29 CABARETin rehearsal CABARET THE GAOS COMMITTEE Geneva Amateur Operatic Society presents Chairman Mike Sell [email protected] Dinner Vice-Chairman Annie Schmid [email protected] followed by Treasurer David Pittuck [email protected] Secretary Susan Mutti [email protected] entertainment A Little Membership Jo Marceau [email protected] Business Manager Anthea Roth [email protected] Assistant Business Manager Luke Vorhies [email protected] Publicity Manager John Fox [email protected] Night Music Assistant Publicity Manager [email protected] Technical Manager Arni Dinius [email protected] Webmaster Iris Hariz [email protected] Music and lyrics by Stephen Sondheim • Book by Hugh Wheeler OFF COMMITTEE Orchestrations by Jonathan Tunick • Suggested by a Film by Ingmar Bergman Assistant to the Treasurer Brian Allardyce [email protected] s û Originally Produced and Directed on Broadway by Harold Prince

Musical Evenings Sue Lloyd [email protected] È ã Choral Group Carolyn Hornfeld [email protected] Ë æ ï GAOS Memories Nic Sommer [email protected] q û ç R : N If you want to join GAOS, contact Jo Marceau. G ã ç If you want to help backstage, contact Arni Dinius. d ñ If you want to advertise in our programmes, contact John Fox. s If you want to sing in the Choral Group, contact Carolyn Hornfeld. ï h f h O s D INTERESTED IN JOINING US? û Ë Did you enjoy this show? We had a great time, and we hope you did, too! Here at GAOS, we believe ã q ï æ that not only should we produce and perform to the very best of our abilities, we should also have fun doing it. We are powered by voluntary work, and depend entirely on the unpaid spare time of our R members. Every one of us contributes talents and knowledge in a specific area of expertise, creating Salle Des Fêtes De Founex 11, 12 and 13 June 2015 the magic of theatre in an easy-going and genial atmosphere. Some of us direct, act, play musical Route de Chataigneriaz 2, CH-1297 Founex instruments, or sing and dance on stage, while others take responsibility for all the technical areas of theatre, such as lighting, set design and construction, props and sound amplification. There is also a whole group of people who sell tickets and another team that shows you to your seat. We need artists, Tickets available on www.theatreinenglish.ch photographers and graphic designers, and are always keen to find fresh approaches to publicity and Dinner from 19h00 to 19h45 - Show at 20h00 - Dessert served during interval new ideas for creating a welcoming atmosphere from the moment the audience enters the theatre foyer. Beverages may be purchased separately While GAOS is mostly English-speaking, it does boast a large number of nationalities. Tickets for the Balcony available on the night (without dinner) Sounds like fun? Don’t hesitate to get in touch with any of the Committee members at the above A LITTLE NIGHT MUSIC is presented through special arrangement with Music addresses, or join us by going to www.gaos.ch Theatre International. All authorized performance materials are also supplied by MTI, 421 West 54th Street, New York, 10019 New York, USA. www.mtishows.com www.gaos.ch 32 Geneva Amateur Operatic Society presents Dinner followed by entertainment A Little Night Music Music and lyrics by Stephen Sondheim • Book by Hugh Wheeler Orchestrations by Jonathan Tunick • Suggested by a Film by Ingmar Bergman s û Originally Produced and Directed on Broadway by Harold Prince

È ã Ë æ ï q û ç R : N G ã ç

d ñ s ï h f h O s û Ë D

ã q ï æ Salle Des Fêtes De Founex 11, 12 and 13 June 2015 R Route de Chataigneriaz 2, CH-1297 Founex

Tickets available on www.theatreinenglish.ch Dinner from 19h00 to 19h45 - Show at 20h00 - Dessert served during interval Beverages may be purchased separately Tickets for the Balcony available on the night (without dinner)

A LITTLE NIGHT MUSIC is presented through special arrangement with Music Theatre International. All authorized performance materials are also supplied by MTI, 421 West 54th Street, New York, 10019 New York, USA. www.mtishows.com www.gaos.ch International English Affordable school curriculum fees

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