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Fond du Lac Community Theatre
presented Andrew Lloyd Webber's hit musical

based on the
life of Eva Duarte de Peron, was staged with six performances on February 27
& 28,
and March 1, 6, 7, & 8, 1997 at 8:00 P. M. at the Goodrich High School Little
Theater.
Lyrics
by Tim Rice. Music by Andrew Lloyd Webber.
| Cast
of Characters |
| "Che" |
Tim Roltgen |
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"Eva
Duarte de Peron" |
Pam Stansbury |
| "Peron" |
Larry Goebel |
| "Magaldi" |
John Newman |
| Mistress |
Kim Schultz |
| "Young
Eva" |
Georgia Schoenknecht |
| Youth
Chorus (listed in alphabetical order) |
| Theresa Goebel |
Tony Goebel |
John Lanari |
| Janis Manthey |
Jolene Manthey |
Elise Thelen |
| Chorus (listed in alphabetical order) |
| Emily Ahrens |
George Armstrong |
Shane Barber |
John Bollig |
| John Bollino |
Tony Casetta |
Dan Derge |
Shirley Gedlinske |
| Katherine Gilliland |
Judy Goebel |
Shane Haensgen |
Kerry Henschel |
| Sara La Feber |
Jerry Martin |
Dena Meyst |
Will Meyst |
| Bryan Michaels |
Jason Nett |
Hans Obma |
Ben Overlein |
| Sue Pilsl |
Alysha Rosenthal |
Bruce Seibel |
Jim Strasser |
| Pat Teofilo-Moser |
Ward Trastek |
Kim Uecker |
Ann Yockey |
| Dan Zeleske |
Patty Zielieke |
| Behind
the Scenes - Our Production
Staff |
| Director |
Jan Stoegbauer |
| Producer |
Debi Debbert |
| Choral Director |
Judy Sengstock |
| Music Director |
Tess Flaherty |
| Orchestra
(listed in alphabetical order) |
Jim Arthur, Jennifer Brady, Cindy Chang,
Jason Ehlert, Kari Foster, Becky Heider, J. R. Julka, Mary Liz Julka, Joe
Mitchell, Angie Myreshuck, Paul Phelen, Sarah Radke, Robin Speidel, Steve Speidel and Dale Shipe |
| Choreography |
Kim Uecker, Ann DeWilde and Lisa Weinshrott |
| Stage Managers |
Claudia Winland and Mary Runde |
| Stage Crew (listed
in alphabetical order) |
Beth Debbert, Debi Debbert, Emily Haskins,
Elizabeth Konen, Tom Lanari, Megan Meilahn and Sara Winland |
| Set Provided by |
Midwest Scenic Supply |
| Poster Artwork |
Dik Butler |
| Poster Design |
John Silah |
| Properties |
Claudia Winland |
| Make-Up |
Kathy Hilbert |
| Make-Up Crew (listed
in alphabetical order) |
Kay Conrad, Dan Derge, Linda Gappa, Lucy
LeMieux, John Nonesteid and Betty Trent |
| Costumes |
Karen Kelm |
| Technical Work |
Fondy
Tech Crew |
| Technical Director |
John Silah |
| Lighting Designer |
Bill Leisses |
| Light Board Operator |
April Steffes |
| Sound Consultants |
Dave Weiss and Jody Werzinske |
| Sound Board Operator |
Dean Baus |
| House |
Debi Debbert |
| Tickets |
Ann Yockey |
| Publicity |
Tammy Eichhorn |
| Programs |
Judy Theis |
| Publicity
Photographs |
Studio One |
Based
on Broadway by Robert Stigwood in association with David Land.
Directed on Broadway by Harold Prince.
"Evita" was presented by a special
arrangement with, and all authorized materials were supplied by Music Theater
International, 545 Eighth Avenue, New York, New York 10018.
History: "Evita" was made into a major motion picture starring Madonna as "Evita Peron" and Antonio Banderas as "Che."
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Don't Cry for Me, Argentina -- a reminisce by John Silah
In 1997 FdLCT performed “Evita.” It was a great show. Although it is an Andrew Lloyd Webber, it is darker than most of his. But this show would prove particularly memorable.
A lady with a wonderful voice, Pam Stansbury, played its title character. Pam sang her heart out for many performances. On the evening of her final performance, she came down with laryngitis.
Even though she had an understudy, she went on. Many FdLCT members have that kind of determination. The soundman gave her a headset mic - one on a rounded stem that put the tiny mic right in front of her mouth. It would pick more sound
than any other mic available. Whatever amount of sound she could make, the audience would hear it.
We were rear-projecting slides onto a scrim during the show. Towards the end of the show, the remote focus wasn’t working. It would have to be adjusted manually. The slide projector was up high, perched on scaffolding at the back of the stage.
My crew was trained well enough to continue without me, so I went backstage and climbed up the scaffolding in the dark while the show was still going on. As I climbed, I had to be careful not to shake the scaffold so that the picture would not move. I reached the top, corrected the focus, and then decided to stay up there until the end, rather than climbing back down in the dark and risk shaking the picture. So I wound up watching the ending of the show from a unique point of view, looking down at the actors from a perspective above and behind them.
At the curtain call, the audience gave a rousing ovation, and the rest of the cast onstage gave a special round of applause to Pam. There were tears flowing as Pam’s fellow cast members showed their appreciation for her extraordinary efforts.
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