The Stories Behind the Stories

an introduction, written by John Silah

     Fond du Lac Community Theatre puts on shows that tell stories.  And for every show we do, there is a story behind that story.  Often many stories.  Some are comical, some sad, and some poignant.  Many are unforgettable.

     Fond du Lac Community Theatre is an organization like no other in our area.  We put together professional-quality shows the old-fashioned way.  Starting with just the script, we fashion a complete theatrical experience – actors, make-up, props, costumes, sets, lighting and sound – all to tell a story that tickles the funny bone and touches the heart.

     There is nothing like a live show.  Unlike film and TV, there are no second takes, no second chances.  What you see is what you get.       

     This creates a level of tension for everyone involved in the production.  Blood, sweat, tears - and adrenaline.  It’s a volatile mix.

     A lot can go wrong in a live performance, and frequently does.  The behind-the-scenes stories of live stage shows can be as comedic, dramatic, full of surprises and as suspenseful as the story unfolding on the stage.

     The articles on this page tell some of those stories.  They are all a part of FdLCT's colorful history.

     There are many reasons for attending the local live shows that our own local troupe puts on.  It’s a great chance to expose yourself to culture, and have some fun at the same time.  It’s an opportunity to see your colleagues, neighbors, friends and relatives "strut their stuff" on the stage.  It’s live, anything-can-happen theatre.

From There to Here

written by George and Elizabeth Caldwell

     You might wonder how we got to where we are.  It wasn't easy.  In 1958 some very brave, anxious and, might we say, talented people got together and started Fond du Lac Community Theatre.  They had no organization, no money, and no place to perform.  What they did have was a burning desire to present the finest theatre experience to the people of Fond du Lac that they could.

     The first thing they did was elect officers and a board of directors.  They were Albert J. Jaggald, President, Rose Mishlove, Vice President, Joan Perizzo, Secretary, F. G. Kiefer, Treasurer, followed by directors Dr. Frank Collins, Faith Sweet, Herb Williams, Eleanor Sussex, Edna Collins, Lois Caird, and Pat Hallott.

     The first play chosen was "Anastasia," which was presented at Roosevelt Auditorium on March 17^th and 18^th 1958.  The director was James Schroom.  The ticket prices were $1.50 reserved seating, $1.00 general admission, 50 cents for students.  The group was sponsored by the Fond du Lac Recreation Department.  The budget per show was $150.00.

     From 1958 through 1962, there were seventeen plays directed by James Schroom or his wife Mary Kay.  That's over four plays per year for the fledgling theatre company, a backbreaking undertaking.  But they did it.

     There were many talented, committed people working backstage on set construction, costumes, makeup, and publicity.  So much was accomplished with so little they could very well have been called the Stone Soup Theatre.  It was beg and borrow, do with or do without.  But they did it.

     They did it well enough to attract larger audiences and in the process made enough money to build an inventory of set pieces, costumes, make-up and attract a growing company of dedicated "theatre people," including directors, actors, set construction, stage crew, and make-up people, many of whom wore more than one hat in many of the productions.

     The productions remained at Roosevelt, with rehearsal, storage, and set construction taking place in as many as three separate buildings, with the Recreation Department continuing their support.

     In 1969, we moved to the new Goodrich Little Theatre with "Guys & Dolls."  On opening night we almost didn't because the curtain wouldn't.  It was supposed to run by an electric motor as opposed to the manual curtain at the old Roosevelt, but it malfunctioned.  Jim Nelson, the Principal at Goodrich, God rest his soul, pulled the curtain by hand for the entire show.  Rest assured it was working for the next night's performance!

An Award-Winning Troupe

     1969 was the year that we started entering one-act play competitions.  The criteria for one-act play competition is they can be no longer that an hour in length.  This is one of the more difficult formats of theatre.  FdLCT won every state competition we entered, and three of those plays won at the regional level, and then went on to compete at the national level.  For details, see the Awards article below.

     We began to have more success in our shows and were able to support ourselves and not need the money from the Recreation Department.  We still enjoyed their help with rehearsal, set construction, and storage space.

Our Own Building

     That was until June 29, 1995, when, through the generosity of the City, we were able to purchase the former Ninth Street Fire Station building.  Clean-up took place in July and August. In September we moved in, not lock, stock, and barrel, but flats, props, and costumes.

     Since moving, we have continued to adapt it until it's now the envy of most community theaters in the State.  Through the dedication and hard work of our entire membership, we were able to pay off the mortgage in 2003.  We would like to invite everyone to come to our annual meeting on July 17 at 7:00 P.M., and see the facility and learn more about our operation.

     We have done several dinner theatres and now we stage our shows in at least three different venues: the newly refurbished Goodrich Little Theatre, The Prairie Theatre at UW-FdL, and the new Fond du Lac High School PAC.

     Over the past fifty years, in the more than 200 shows we have done, we have experienced the comedy and tragedy masks of theatre, not only on the stage with our productions, but personally in our lives.

The Show Must Go On

     During our first production of "Guys & Dolls" in 1969 there was a Fireman backstage, because in those days it was required.  One of the stage crew, thinking he was a member of "the Salvation Army Band," pushed him on stage, and he had a brief but exciting "show biz" career marching around the stage one time before making a hurried exit!

     During "1776," one of the actors, Jim Luby, broke a leg (literally).  His cast was painted brown to match his other stocking and he limped along.

     During "Mame," one or our actors died, but we followed the old show business axiom and went on with the show.  During two of our productions, two of our actors' father's died the day before opening night but they both dedicated their performance in their memory and went on with the show.

     After "Fiddler On the Roof" closed we were taking Tevye's house to Sheboygan where it was going to be used in another production of "Fiddler," and it fell off the back of the truck.  A car coming over a hill going in the opposite direction ran right through it completely destroying it.  No one was injured but "Tevye's" heart was broken.

     We have established the Dave Jones Memorial Scholarship, which is awarded annually to a student going on to further education in the theatre arts.

Award Winners

written by George and Elizabeth Caldwell

     Fond du Lac Community Theatre has had a record of producing winning shows for the past fifty years.  A lesser-known, but still impressive, part of our history is the number of award-winning plays we have performed.

     Starting in 1964 with "The Miracle Worker," we won our first Wisconsin One-Act Play Festival, which we won again with "A Majority Of One." .  This was followed in 1967 with "The Dirty Old Man," and in 1970 with "The Indian Wants The Bronx," both State winners.

     In 1971 we not only won the State competition with "The Zoo Story," but also won the regional as well, and went to Western Springs, Illinois and competed in the national competition against the regional winners from all over the country.  The acclaimed actor, Henry Fonda was one of the judges.  "The Zoo Story" was a featured play at the Omaha, Nebraska play festival, where it was 

performed before Lee Strasberg and his actress wife, Anna.

     In 1973 we were back at the national competition with "The Cage."  All of the aforementioned plays were directed by Lorrie Hull.  In 1979, we won the State and regional competitions with "Eris," which was directed by Helen Blumer.

     This record of award-winning plays has not been equaled by any other community theatre group in Wisconsin.

     In recent years, FdLCT has not been competing in play contests, but our fine tradition of producing plays and musicals of award-winning caliber continues to this day.  We have fun creating great theatre, but that doesn't mean we are willing to produce anything but quality.  We always feel we owe it to our audience to do our best.

A Treasure of Hidden Talents

written by John Silah

     Hidden talents.  That’s what surprises us the most when we go to see a local theatre production.  We have no idea that our friends, relatives, neighbors, church members and co-workers have those kinds of talents.

     But there they are, right up on the stage, acting, singing and even sometimes dancing, right in their own hometown.  (After six weeks or more of hard work, of course.)  Sometimes we wonder why Hollywood hasn’t discovered them!

     One hidden talent discovery occurred when a young man decided he wanted to sing on the stage.  He wasn’t sure he could act, but he wanted to try anyway.  He auditioned for a part in “The Fantasticks,” (1967) Fond du Lac Community Theatre’s first musical, and won a lead role.

     That young man was George “Bud” Caldwell. Bud went on to critical acclaim in many roles over the years, and became one of Fond du Lac’s finest actors.  One of his directors, Joan Mark, once said, “Discovering Bud was my gift to Fond du Lac.”

     Bud says the key to his success is simple enough.  Don’t let your own ego get in the way.  “Let the character dominate you,” he explains, “Be faithful to the character.”

     Any yet there are other talents in community theatre and other fine arts groups that are just as amazing. And these abilities are more difficult to see, if not downright invisible.  These are the talents behind-the-scenes.  And those talents encompass a wide variety of disciplines.

     These are the people who create the costumes, design and build the sets, draw the posters, write the publicity, print the programs, find the props, design the lighting, develop the sound plan, apply the make-up, play the music, choreograph the dances, manage the backstage and direct the actors.

     What is so invisible about it?  Well, for one thing, if they do our jobs right, no one notices.

     That costume just looks right for that part.  Who knows how many hours went into finding just the right look for that character in that period in that scene?  That prop is just what you would expect for that period.  But where do you find a “candlestick” style telephone today?  That light is perfect for that time of day – slightly dimmer than the last scene, with perhaps a subtle reddish hue to indicate the sunset.  But without making it so dark that you can’t see the actors’ faces.  How many hours of work did it take to develop that effect?  They never know until we’re done, and they don’t count the hours.

     And the audience rarely notices.  But they know when it works well, and helps to tell the story.

of that?”

     The surprising answer is, “No, they don’t.”  The company from whom one buys the rights provides only the script.  Everything else has to be designed, developed, drawn, built, painted, fastened, sewn and/or cobbled together by local volunteers.

     Sounds like a lot of trouble, and it is.  And very expensive, too.  Wouldn’t it be easier to hire a traveling troupe to come in, set up their sets, and perform the show?  They would bring their own costumes, make-up, props, and everything else they need.  All we would have to do is arrange for the theatre and sell the tickets.

     The answer is yes, it would be easier.  Perhaps even more profitable.  But Fond du Lac Community Theatre has never done that.

     The people who work with our local theatre troupe enjoy having that creative outlet.  They work many hours, and they work hard, but they love it.  They can explore their own hidden talents, and create something beautiful that they can be proud of.  Most of them find talents they never knew they had.  It’s like finding a buried treasure – except that this kind of treasure is hidden inside themselves!

The Talent Treasure Hunt

     Every time Fond du Lac Community Theatre holds auditions, they find new talent.  In almost all of their plays and especially musicals, there are people cast in roles who are new to FdLCT, and some who are new to theatre entirely.

     The same thing happens behind-the-scenes.  They are always recruiting new talents.  They look for artists, costumers, make-up artists, technicians, directors - anyone who can help.

     And then there are the multi-talented individuals.  Many who start out as actors have become directors.  Those include Charlie Beardsley, Bud Caldwell, John Newman, John Nonestied, Nathan Wessel and Todd Whittaker, to name but a few.

     Props people become set designers.  Costume sewers can become make-up artists.  Anyone can become anything.  Theatre is full of opportunity!  There is always someone around who can show someone how to do new things.  As they say, you never know what you can be good at until you try.

The Love of Theatre

     Community Theatre members also love the friends they meet and get to know in theatre.  They feel fortunate to work with many unique individuals, each with their own interests, passions and points-of-view.   All of them creating, sharing, teaching and learning.  And each sharing the one common thread – the love of theatre.

     Fond du Lac Community Theatre has been discovering hidden talents for fifty years.  And the community of Fond du Lac is all the richer for it.

Our Fiftieth Season

written by George and Elizabeth Caldwell

     Our Fall show, "The Fantasticks," which happens to be the first musical ever done by Fond du Lac Community Theatre, is a prime example of how parents can get their children to do what they want them to do by telling them they can't do it.  The fathers want their children to marry, and so they put all kinds of obstacles in their way, until true love wins out.  Songs from the show include "Try To Remember," "Soon It's Gonna Rain," "Plant a Radish," "Beyond that Road," and "They Did It Cause We Said No."  It hit the stage in October.

    Our Winter show was Charles Dickens' classic "A Christmas Carol."  "Tiny Tim" and "Scrooge," along with the three Christmas ghosts, will warm your heart as the innocence of "Tiny Tim" finally 

makes "Scrooge" realize that there is such a thing as a Merry Christmas.  Our Christmas gift to Fond du Lac arrived on December 6,7,8, and 9, 2007.

     Our Spring show, "Golden Musical Memories," was a revue of some of the songs from some of the 37 musicals that Fond du Lac Community Theatre has done since 1967.  Songs such as "Hello Dolly," "If I Were A Rich Man," "Mame," "The Impossible Dream," and "You'll Never Walk Alone," should bring back memories for most of us.  The revue hit the boards on April 10, 11,12, and 18, 19 & 20, 2008

     Our Summer show, "Cinderella," tells the fairy tale of the wicked step mother, two nasty stepsisters and, of course, "Cinderella" and the handsome "Prince Charming."  Let yourself get caught up in the ageless story of how a poor orphan girl from the village meets, falls in love with, and marries her true love, with the help of her fairy godmother and a glass slipper.  The fairy tale comes to life on our stage in July 2008.

a reminisce by Charlie Beardsley

     It was opening night of "Guys & Dolls" in 1969 at the Goodrich theatre.  Evelyn Carlson was in the orchestra pit playing the overture.  "Guys & Dolls" was a real fun musical to produce and we had a wonderful cast and crew that could not wait to get started.

     Goodrich Little Theatre had just installed a brand-new main curtain that was electronically operated, and at the end of the overture the curtain was supposed to open, and the show begin.  This fancy, electronically operated curtain would not open.     

custodians, and members of the crew, or anyone around at that time, but no one had a clue.

     Evelyn was still playing the overture, which she had started over, not knowing what was wrong.  I had never seen so much commotion in my life.

     Ayers McGrew, who was the drama professor at the University branch campus (UW-FdL) at that time, and was a member of the cast, was sitting next to me waiting for this curtain to open.  He turned to me and said, "I feel just like they did on the Titanic."

     They decided to detach the controls of the curtain from the electrical power and operate the curtain manually.  There was a huge sigh of relief from everyone and we went on to have a wonderful production.  We never tried to use the electronic curtain again,

Singing in the Shower

a reminisce by George “Bud” Caldwell

     In 1967 I was reading The Reporter at home and saw an audition announcement for a play the Fond du Lac Community Theatre was doing called “The Fantasticks.”  I told Betty that I thought I’d go and try out, as I loved singing in the shower.

      I was lucky and got a part, and I’ve been lucky at getting parts for the past forty years.  The things I remember most are the people I’ve met, the moments of elation and despair, the places that my involvement with theater has allowed me to go, and the love I’ve felt from the audiences when I’ve been on stage.

      My favorite fictional role would, of course, be “Tevye” in “A Fiddler On the Roof” and my two favorite historical roles are “John Adams” in “1776" and “Harry Truman” in “Give “Em Hell Harry.”

      I’ve been blessed to have had many other roles and to work with many great actors and to be directed by truly gifted directors. Joan Perrizo-Mark who gave me my first role, Lorrie Hull who directed me in “Fiddler” and “1776,” Sister Imogene Gigure who directed me in “My Fair Lady,” and many others who directed and taught me along the way.

      Some of the actors, many of who could be  

professional if they chose; Howard Mauthe, Sharon Klein-King-Steger, Charlie Beardsley, Loula Beckman, John Newman, Kathy Peters, and the list goes on…

      I’ve performed before Lee Strassberg and Henry Fonda but the people I’m most proud of performing for are my family.  My wife Betty, my Mother and Mother-in-law, my children and now their children, and all the friends I’ve met through the years in Fond du Lac.

      There have been calamities, when Jim Luby broke his leg during “1776" and his cast was painted brow to match the other stocking, near disasters, when “Tevye’s” house fell off Dave Tack’s truck on the way to Sheboygan, and a car coming the other way drove through it, and tragedies, when one of my actors died between weekends of “Mame” There have been heartaches, when both Dick Thomas’s and Dick Hutchison’s fathers died the day before opening night on two different shows.

      When these and other things happened that might have ground production to a halt the old show biz slogan, “the Show Must Go On” came into play and we did.

A Turning Point

a reminisce by Evelyn Carlson

of them being “Guys & Dolls” (1969), “1776" (1976), “Carousel" (1978), “Fiddler On The Roof” (1973), “Kiss Me, Kate" (1968), “The Sound of Music” (1970), “The King & I,” (1972) “South Pacific” (1991) and many others.

     During those years I formed a new family with the people in Community Theater.  Rehearsals with the actors/actresses provided wonderful humorous moments - some I’ll never forget.

a reminisce by Cheryl DuBrava

     My first show for FdLCT was "Oklahoma" in 1986.  I was in the chorus and helped Joyce Jones with the costumes.  I helped Joyce with costumes for "Camelot" and when she retired I did costumes for "Mousetrap" and "Something’s Afoot," I became involved with stage crew, set crew, house, box office, ushering, Board of Directors, you name it, I’ve probably done it, at least once.  I was in the chorus for "Oliver," "South Pacific" and "Annie."

realized it was a great thing, because it was my character being booed, not me.  I was booed every night but I smiled through it as I realized it was a compliment.

     Since 2003 I’ve been doing costumes for FdLCT among other things and have made from scratch "Anna’s" ball gown, two other costumes for her character and three different king’s costumes.  (For "The King and I.")   

     Hearing the audience gasp when the curtain opened for the "Ascot Opening Day" number with everyone in black and white in "My Fair Lady" was my greatest feeling of accomplishment.

     Trying to get actors to hang up their costumes for the next performance is the most frustrating part of working costumes for a show.

Fond Memories

a reminisce by Lorrie Hull-Smithers

     I began as one of the founding members of Fond du Lac Community Theatre in 1958 doing make-up for the first show.  From that date on, I acted in at least one production a year-first directed by Mary Kaye Schroom in a one act, then directed by the fine director Jim Schroom.  From 1963 to 1977, I also directed a show per year and sometimes more.

      Dianne, Don, and I are so grateful for being part of Community Theatre’s productions, and for the many old and new friends that we have and had in this group and in the entire city of Fond du Lac.  I have fond feelings for everyone involved with this fabulous group-past and present.  Two past articles in “The Reporter” quote me as saying, “I owe everything to Fond du Lac Community Theatre. Enough can’t be said about it--there are so many talented people involved with it.”

      Some humorous and not so humorous anecdotes -- My dear friend and fine actress, Sarah Locke told me that when Rose Mishlove saw me coming to the 1967 State competition in Racine with Howard Mauthe, Dianne Hull and Don Hull in tow, Rose and the Milwaukee competition declared they might as well go home!  Our play “The Dirty Old Man” did win and in 1969 we revived it for the first National Play Festival in Omaha.

any more children at home when I told them "no," there was a big sigh of relief!

      In 1971 after winning the Regional one act play competition in Columbus Ohio with Howard Mauthe and Bud Caldwell in “The Zoo Story,” I remember grown men coming backstage in tears saying they had never been affected so much by a play.

      For “1776" I remember real whiskey being served members of Congress, with me being unaware until actors started being ill or feeling faint under the hot lights and heavy costumes.  That was one of the first times I lost my temper.

      After “Fiddler On The Roof,” I remember Bud Caldwell coming back from Sheboygan looking like someone had died, and telling me that Tevye’s house had been destroyed in an accident.

      I have fond memories of the musicals I directed.  Because of the large dedicated casts “South Pacific,” “Fiddler On The Roof” and “1776" stand out in my recollections.

      Now to Bud Caldwell, Howard Mauthe, Sharon Klein/King/Steger, Charlie Beardsley, Joan Perrizo/Mark, and Hub King. (I probably forgot many people here.)  You are six of the most talented people it has been my pleasure to direct or teach.  There are many talented people in Fond du Lac, too numerous to mention, but you six stand out in my memories as being more talented than most Hollywood actors whom I have taught, directed and/or coached.

a reminisce by Hub King

     My involvement with FdLCT began in the fall of 1960 after receiving a phone call from Jerry Quimby, a high school classmate. We had acted together in the senior class play. "Time Out for Ginger."  Jerry encouraged me to try out and told me what a great time they had.  It was then I appeared in my first show, "Desk Set" as the office boy.

"1776," and "Big Julie" in "Guys & Dolls."

     I worked with so many talented actors including Charlie Beardsley, Bud Caldwell, Howard Mauthe, John Newman, Sarah Manis Locke, and directors Lorrie and Jim Schroom. In addition, great people worked equally hard backstage to ensure the shows success.

     With a full-time job and a lead in a show, I sometimes wondered how it all came together but it did!  Community theater was an experience I will never forget and I value the friendships I developed over the years.

Thrills and Hisses

 a reminisce by Dr. Howard Mauthe

     I just can’t begin to tell how much Fond du Lac Community Theatre meant and means to me.

      I always remember the organist I knew who told me what his teacher had told him: “If you want to be an organist you have to determine whether you like practicing,  That is much more important than whether you like performing, because you have to do a lot more of it.”  I had a few of the biggest thrills of my life on the stage, but the part that I really enjoyed was rehearsing.  I would rather go to a play rehearsal than do anything else in the world.

 "Reverend Hale" (Wendell Butler) to falsely confess to being a witch because that would spare his life, "Proctor" confesses, but when the Deputy Governor (this writer, Howard Mauthe) requires that he sign his name to the confession, "Proctor" refuses because, he says, “Because it is my name.  I will not put my name to a lie!”  Whereupon the Deputy Governor turns away toward the audience, making a gesture with his arm and saying loudly, “Hang them high!”  

     There was dead silence as I gazed out over the audience and a low hissing sound rose up to fill that old Roosevelt Auditorium, and the air just seemed to vibrate with hatred.  I never had such an experience in my life.  I remember thinking “My God, I’ll never get elected to anything in this town!”

Turning Up the Heat

a reminisce by Jim Nintzel

     I became active in Fond du Lac Community Theatre in 1957.  Served as Business Manager from 1964 to 1985.  In 1974 I was elected President.

 Roosevelt Theater in February.  It was very cold outside and in the building. During the first intermission they sold none!  I asked the janitor, “Rosy,” to turn the thermostat up to 90.  During the second intermission there was a rush to buy soda.  The actors sweat ran off their heads, make-up ran off their faces.  When they found out what I did they were very mad at me, but the Boy Scouts sold all their soda!

FdLCT Enriched My Life

a reminisce by Sharon Steger

     Regarding my FdLCT memories...they’re all good!  Most of them involve the funny things that happened on stage that were unscripted, or offstage antics during a production...too numerous to mention.  Mostly I remember the love we all shared as we gave of ourselves to bring a production together for the enjoyment of our audience and our own personal growth.  If we could make just one someone in that audience forget some sadness in their life for just a few minutes...what a blessing...what a service we provided!

     Being involved In so many productions in one capacity or another from 1967 to 1985, I guess I most enjoyed my parts as “Nellie” in “South Pacific” (1971),”Mame” (1977), and “Dolly” in “Hello Dolly” (1984).

happened but I was dying on the inside.

     I have fond memories of the exquisite production “1776" (1976) directed by Lorrie Hull.  I believe it was the most artistically directed, staged, and performed production in all my years with FdLCT.  I recall the devastating ice storm that nearly canceled opening weekend, the sparse audience of those who braved the roads to get there, the flickering lights during the performance, the “Declaration of Independence” scrim that wouldn’t fall correctly at the end of one performance...and was eventually knocked loose by the cane of Howard Mauthe as “Benjamin Franklin” from his frozen position and the outstanding performance of Bud Caldwell as “John Adams.”

     Further growth came with my directorial debut of “Carousel” (1978).  I tried to apply all the things I had learned over the years from the wonderful directors under whom I had worked.  My cast and crew will always be in my heart for their artistic work during that production.

Thanks to the Fond du Lac Community

by John Silah

     Some folks might say that "Fond du Lac Community Theatre" is too long to be our name.  It is true that it doesn't exactly trip lightly over the tongue.  More often the tongue trips over the name.

     It would be easier to have a shorter name.  A shorter, jazzier one or two-word name would be easier to say, easier to remember, and easier to market.

     One way to shorten it would be to take out the word "Community," but I don't think that should ever happen.  Community is not just part of our name.  It is an important part of who we are, and what we are all about.

     Our FdLCT members, the people who make up our troupe, all come from our community.  The audience members all come from our community.   

    Those who support us come from our community.  This support comes in many forms, and from businesses, organizations and individuals..

     It comes from our "Angels," who donate money to help us make ends meet.  It comes from our advertisers who buy ads in our programs, even

when they might not always reach the most people per dollar.

     It also comes from those who provide special services to us for little or no cost, just to help the cause.  There are many examples of this generosity.

     The Fond du Lac City Council let us buy our building at far less than the price they could have gotten, to show their appreciation and support.  Dotnet allows us the space on their server for this website in exchange for an ad in our programs.  Fond du Lac Express helps us transport our sets to the venues where we perform.     

     Others donate or loan us props, costumes and set pieces.  We mention their names in our programs in the acknowledgement portion, with the request that our audience members do business with them if they can.

     The truth is that Fond du Lac Community Theatre could not exist without our community.  We are a part of them and they are a part of us.  They have supported us for the past half century, and we look forward to many more years of this mutually beneficial collaboration.  So, to the people of the Fond du Lac area, we give a resounding round of applause, a standing ovation to you, our community.  Thank you for everything.  Take a bow!