Staff for Pretty Woman

PRETTY WOMAN TOUR STAFF Broadway Opening Night: August 16, 2018 Nederlander Theatre Tour Opening Night: October 12, 2021 Providence Performing Arts Center, Providence, RI CHESTNUT RIDGE PRODUCTIONS Paula Wagner Assistant to the Producer..................................... Suzy Yaako NICE PRODUCTIONS Barbara Marshall Kathleen Marshall LaGambina Heather Hall Cathy Berry LPO Paola Gambino Lawton GENERAL MANAGEMENT 101 PRODUCTIONS, LTD. Wendy Orshan Jeffrey M. Wilson Ron Gubin Chris Morey Jeff Klein Beth Blitzer Bobby Driggers Kathy Kim Ed Nelson Robert Nolan Rachel Roberson Christine Stump Steve Supeck Christopher Taggart COMPANY MANAGER Candace Hemphill Assistant Company Manager........................Stephanie Smith TOUR MARKETING AND PRESS ALLIED GLOBAL MARKETING Andrew Damer Jennifer Gallagher Scott Praefke Hayden Anderson Jessica Cary Amenkha Sembenu alliedglobalmarketing.com TOUR BOOKING AGENCY THE BOOKING GROUP Meredith Blair Kara Gebhart Stephanie Ditman Laura Kolarik thebookinggroup.com CASTING THE TELSEY OFFICE Craig Burns, CSA Rashad Naylor

Associate General Manager............................Bobby Driggers Assistant General Manager....................................Kathy Kim Production Supervisor .......................... Thomas Recktenwald Production Stage Manager................................. Jack McLeod Stage Manager...................................................RL Campbell Assistant Stage Manager ............................................Leslie S. Allen Engagement Management ........................................Ron Gubin Ticketing & Analytics............................Tanna, Inc/Gregg Arst Tour Management Support ............................ Hilary Hamilton Associate Scenic Designers..............Dick Jaris, T.J. Greenway Associate Costume Designer..................................Mark Koss Associate Lighting Designer............................... Kirk Fitzgerald Assistant Lighting Designer................................ Paige Seber Costume Assistant .......................................Heather Freedman Costume Intern.........................................................MJ Stone Copyist..........................................................Emily Grishman Assistant to the Technical Supervisor....................Adam First Production Assistant.......................Brandon Allmon-Jackson Music Assistant........................................... Terence Odonkor Director/Choreographer Apprentice .............. Deborah Wilson NY Covid Safety Manager..........................Flora Stamatiades Touring Covid Safety Manager............................Adam Dooley EDI Facilitator ......................................................... ReadySet

TOURING CREW

Head Carpenter........................................... Kaitlin Ciccarelli Assistant Carpenter .................................... Casandra Maher Flyman ..............................................................Dylan Dineen Production Electricians ....... James Fedigan/Patrick Johnston Moving Light Programmer......................................Alex Fogel Head Electrician................................................... Eric Briggs Deck Electrician ..................................................Adam Grant Follow Spot.....................................................Dirk Van Pernis Ableton Programmer..................................Sammy Merendino Associate Keyboard Programmer...................... Sam Starobin Assistant Sound Designer .............................. David Patridge Advance Sound Engineer................................... Steven Zeller Production Sound............................................Kevin Kennedy Head Sound Engineer........................................... Matt Davis Assistant Sound Engineer ............................... Maddy Herwig Props Supervisor ................................ Kathy Fabian/Propstar Associate Props Supervisor ...................................John Estep Head Props................................................. David A. Summey Assistant Props................................................. Sean Jenkins Crew Swing ........................................................... Tim Jarrell Wardrobe Supervisor ..........................................Élisè Packee Assistant Wardrobe Supervisor.....................Soon Vander Velde Star Dresser ............................................. Charlynn Knighton Hair Supervisor......................................................Debra Parr Assistant Hair Supervisor.....................................Megan Holl Company Management Apprentice................. Frank Wright II Accountant...................................Withum Smith + Brown,PC Robert Fried, CPA; Karen Kowgios, CPA; Anthony W. Moore, CPA Controller ................................... Galbraith & Co./Jill Johnson Tour Marketing & Press ....................Allied Global Marketing/ Andrew Damer, Jennifer Gallagher, Jessica Cary Social Media...............................................Marathon Digital/ Mike Karns, Melanie Pateiro, Ava Koploff Banking................................................... City National Bank/ Anne McSweeney, Erik Piecuch Insurance.........................................DeWitt Stern Group, Inc. Legal...........................................................Loeb & Loeb LLP/ Stefan Schick, Rachel Kiwi, Brittany Berckes Housing...................................... Road Concierge/Lisa Morris Travel ................................................................... Tzell Travel Production Photographer............................. Matthew Murphy Payroll Services.......................................Checks + Balances Physical Therapy....................Neurosport Physical Therapy, Inc Merchandise....................... Creative Goods Merchandise LLC Trucking .......................................................... Clark Transfer Mascots..............................................Ralphie, Butler, Harper

CREDITS

Scenery and scenic effects built, painted and electrified by Show Motion, Inc, Milford CT. Lighting equipment from PRG. Sound equipment from Masque Sound. Props Artisans: John Ruegsegger, Jon Knust, Emily Baldassara, Kate Lundell, and Mary Wilson. Custom upholstery by J. Jammal Upholstery & Décor. Flame treatment by Turning Star Inc. Specialty props by Tom Carroll Scenery Inc. Special thanks to Bren Bri Properties. Costumes constructed by Arel Studios, Lynne Baccus, By Barak and Cygnet Studios. Custom tailoring by Giliberto Designs. Custom millinery by Ann Claire Millinery NYC, Lynne Mackey Studio. Custom beading by Polly Kinney. Custom painting by Jeff Fender Studios. Custom printing by SKY NYC. Undergarments provided by Bra Tenders. Custom shoes by LaDuca, T.O. DEY. Custom Jewelry by Chris Crouch. Props by Kathy Fabian.

SPECIAL THANKS The team at Atlantic Records, Pete Ganbarg, Mikey Parker, Kellie Gentry. The Pretty Woman Chicago Team, the Pretty Woman London team, the Pretty Woman Stage Hamburg team, and Jamal Davis at Magic Bootcamp. With love and appreciation to Seth Gelblum.

Makeup Provided By M·A·C

With grateful acknowledgement to the State of Rhode Island and Steven Feinberg, the Rhode Island Film & Television Office.

To learn more about the production, please visit

prettywomanthemusical.com

Follow us on Twitter, Facebook and Instagram: @PrettyWoman The use of cell phones during the performance is prohibited by law.

The actors and stage managers employed in this production are members of Actors’ Equity Association, the union of professional actors and stage managers in the United States.

The Press Agents and Company Managers employed in this production are represented by the Association of Theatrical Press Agents & Managers.

Backstage and Front of the House Employees are represented by the International Alliance of Theatrical Stage Employees (or I.A.T.S.E.).

The musicians employed in this production are members of the American Federation of Musicians.

The Director and Choreographer are members of the Society of Stage Directors and Choreographers, Inc., an independent national labor union.

United Scenic Artists represents the designers and scenic painters for the American Theatre.

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What Would It Cost to Build Them Today? Even though the Connor Palace is not the largest of the Playhouse Square venues, it was the most costly to build ($3.5 million) by the time it premiered on Nov. 6, 1922. The largest theater, the State, (opened Feb. 5, 1921) was built at a cost of $2 million; the Ohio (Feb. 14, 1921) also cost $2 million, and the Allen’s costs totaled $1.9 million when it opened April 1, 1921. (Exact building costs for the Hanna Theatre — which opened March 28, 1921 — have yet to be uncovered.)

A Phoenix from the Ashes In 1964, the Mimi Ohio Theatre lobby and auditorium were destroyed by fire. When the fledgling Playhouse Square organization restored the spaces in 1982, funding and time constraints made it possible only for the auditorium to be fully restored. Thanks to a gift from the George Gund Foundation, the lobby was re-created in its original splendor in 2016. You can watch a documentary about the project, “Restoring the Legacy,” on Playhouse Square’s YouTube channel.

Re-Creating History We call the completed Mimi Ohio Theatre George Gund Foundation Lobby project a “re-creation” rather than a restoration. Why? There was nothing left to restore after a 1964 fire destroyed the space. To reproduce the lobby’s original 1921 splendor, architects, restoration specialists and Playhouse Square staff conducted exhaustive research of the original drawings by architect Thomas Lamb, photo archives and a few remaining bits of ornamental plaster detail to gain a thorough understanding of the space and inform the plans for re-creating the lobby.

Broadway to Buildings Where do the arts and real estate go hand-inhand? At Playhouse Square, of course! As the theaters began to be restored in the early 1980s, it was thought that developers would step in to build and open businesses around them. When that didn’t happen, Playhouse Square began to steward development of the surrounding neighborhood. In 1999, Playhouse Square became the first performing arts center with a real estate services division, which manages the one million square feet of property owned by the organization and another 1.5 million square feet outside the theater district. Other performing arts centers have since looked to our expertise as a model.

YPs Take the Lead Best known as the masterminds behind the annual Jump Back Ball benefit, Playhouse Square’s young professionals group – Partners – was formed in 1991. Since then, hundreds of young professionals engage with Playhouse Square each year to build leadership skills, raise funds and volunteer in support of our not-for-profit mission, enjoy shows together, network and have fun!

Keeping Up the KeyBank State Theatre First restored more than 30 years ago, the KeyBank State Theatre was repainted from the street to the proscenium in 2015. The new, cohesive color palette showcases the beauty and craftsmanship of the nearly 100-year-old theater. It took 25 painters 12,500 hours and 595 gallons of paint in 15 different colors to complete the project, which also included 6000 sheets of new metal leafing in the auditorium dome and the application of a historically accurate wall-covering design. While the theater was dark, its lighting fixtures and restrooms received major upgrades.

What’s in a Logo? The Playhouse Square logo we use today – a tilted burgundy square with a capital P in its center – was introduced in 2008 to capture the enduring spirit of entertainment and excitement. Each of the logo’s graphic elements has meaning: the exclamation point with a star in the “P” symbolizes excitement and innovation; the swirl in the “P” represents creativity and forward motion; the tilted square symbolizes Playhouse Square as a destination; and the burgundy color gives nod to the color scheme of our historic theaters.

Patterns in Plaster As you walk through the theaters, you may notice

various patterns within the plaster decoration. Common are dentil, lamb tongue, rope and rosettes. Other patterns you may see have been associated with certain meanings since they were first used hundreds or even thousands of years ago, such as the acanthus leaf (immortality), egg and dart (life and death), and the palm leaf, first used in ancient Egypt as a reference to the Nile River. In the KeyBank State Theatre, if you look closely and carefully, you can find ox skulls, which were believed to offer protection from natural elements. And throughout the theaters, you will find griffins, mythical creatures thought of as guardians.

Say Goodnight, Gracie Legendary comedy duo George Burns and Gracie Allen were married in Cleveland January 7, 1926 during their Playhouse Square booking. A brief, early-morning ceremony was performed by a Justice of the Peace, after which the newlyweds checked into the Statler Hotel. George’s older brother and his family (who lived in Akron) came up to Cleveland that afternoon to celebrate with the couple before George and Gracie returned to their room to honeymoon.

At 2 a.m. the phone rang. It was fellow comedian Jack Benny calling from Omaha. Immediately recognizing Jack’s voice, George cut him off saying, “Send up two orders of ham and eggs,” then hung up.

Ten minutes later the phone rang. It was Benny again. This time George interrupted his friend with, “You forgot the ketchup!” and hung up on Benny a second time. Half an hour later came a knock at the door. It was a waiter with two orders of ham and eggs. Trying to keep a straight face the waiter announced, “Compliments of Mr. Jack Benny from Omaha!”

As George liked to tell it, the newlyweds ate their Benny breakfast at 2:30 a.m., and, when they were done, Gracie said, “George, this was the high point of the night!”

The KeyBank State Theatre Murals The four murals on the walls of the KeyBank State Theatre lobby were painted by American Modernist James Daugherty (1890-1974), whose work hangs in the Museum of Modern Art, the Whitney Museum and the Smithsonian. One of the murals, The Spirit of Cinema, was featured on the cover of Life magazine on February 20, 1970. It was that national attention that became the convincing argument to save the venue from the wrecking ball. Destruction of the State would also have meant the loss of the original historic Daugherty murals, since they are painted directly on the walls. Today they are the only Daugherty works which remain at the original site where they were painted.

A Change in History? One of many fascinating items to be found in the book Playhouse Square: An Entertaining History deals with the infamous John Wilkes Booth. Booth performed locally at the old Academy of Music, which was one of the first drama schools in the country and was located at 1371 W. 6th Street.

It was at that Cleveland Academy where he would play his last role prior to performing at Washington D.C.’s Ford Theatre where he would assassinate President Lincoln. (Might history have been changed if the Academy had held over Booth’s play for an extended run?)

Connor Palace Trivia Before the days of clothes dryers, touring performers were often forced to pull still-damp clothes off the drying line when it was time to pack and leave. During the vaudeville era, the Connor Palace (known then as the Palace) became known as one of the most performer-friendly venues in the country because of its many backstage amenities, one of which included a drying room. In this large room, wet clothes could be hung and hot air was continuously blown into the area to hasten the drying time.

The GE Chandelier Officially the world’s largest outdoor chandelier, the 20-foot tall GE Chandelier is adorned with 4200 crystals. To find out how it was made, visit the Playhouse Square YouTube channel.

Singers’ Secrets Repeat three times: Performer packs pickle for perfect pipes. Singer Anita Baker surprised backstage workers during her sold out shows by keeping an ample supply of pickle juice in her dressing room — using it to gargle! (No report as to whether Anita acquired the pickle practice during her two pregnancies.) Likewise, another unusual gargling agent was the preference of singer Millie

Jackson who required a certain imported beer as her gargle-of-choice.

Going Green While red is the color most often associated with theaters, Playhouse Square is making efforts to go “green.” You will find receptacles for recycling paper, plastic and cans, along with those designated specifically for the program you’re currently reading, throughout the complex. Lighting fixtures are being switched to LED for increased energy efficiency. And the Playhouse Square administrative office is making strides towards going paperless.

There Goes the Neighborhood! The 1870s ushered in the golden age for Euclid Avenue as the street became a stretch of grand mansions, with grounds often extending as far as Lake Erie, and stately elm trees arching over the avenue. Called Millionaire’s Row, it was the address where all the best families lived.

But by Cleveland’s Centennial in 1896, Euclid Avenue residents were likely muttering, Well, there goes the neighborhood! as the dirt street was paved with sandstone, and businessmen began to buy up and tear down the mansions and towering elms to make way for commercial ventures.

Streetcar lines on the once totally residential stretch hastened the creation of a commercial district, forcing wealthy families to move even farther east on Euclid Avenue. In another 30 years, the district would see the birth of the five main theaters that would eventually become Playhouse Square.

KeyBank State Theatre Trivia The stage of the KeyBank State Theatre is so large that a typical high school gymnasium (complete with basketball court and bleachers) could easily fit on stage. As another point of comparison, three of the Mimi Ohio Theatre stages could fit onto the State’s stage.

Hanna Theatre Trivia Since its opening in 1921, the Hanna Theatre has been the site of two world premieres: Rodgers and Hammerstein’s Me and Juliette in 1953 and, in 1974, Odyssey by Michel Legrand starring Yul Brynner. Another first occurred in 1937, when Gilbert and Sullivan’s first Cleveland-staged opera was performed at the Hanna by the D’Oyly Carte Company from London.

Kennedy’s Cabaret Trivia The bar in Kennedy’s (the lower level cabaret space accessed by way of the Mimi Ohio Theatre lobby), might be familiar to Cleveland oldtimers. The former home of the bar was the Elegant Hog Saloon when the tavern was located on Buckeye Road.

Connor Palace: A Three Stooges Favorite In his biography, Moe Howard & The Three Stooges, Moe Howard wrote about the plight of dressing rooms on the road. Although dressing rooms were usually spartan at best and a hovel at worst, Howard had nothing but praise for the Connor Palace (known then as the Palace Theatre): “This theater was built without missing a thought for the actors’ comfort. The Palace was beautiful not only outside and in the auditorium, but also backstage. Most impressive was the second floor, which sported a regulation-size pool table, chess tables, comfortable chairs, an ice machine and soft drinks, playing cards, cigars — it had all the facilities of a private club. In the basement was a laundry room. There was even a nursery for youngsters.

Best of all were the dressing rooms, heavily carpeted with mirrored walls and make-up tables. They had everything in them, right down to padded coat hangers.”

Performers Help Restore Playhouse Square During her 1996 run of Kiss of the Spider Woman, legendary Broadway star Chita Rivera was given a guided tour of Playhouse Square. As she followed her tour guide into the State auditorium, an excited Chita pointed to the mezzanine railing and proudly exclaimed, I helped paint that! Indeed, she had. In 1984, Chita had last played Playhouse Square when much restoration remained, and during her free time willingly added her brush strokes to the history of the State.

Likewise, Mary Travers of Peter, Paul & Mary fame also performed at the KeyBank State Theatre several times during its early restoration. She became so enthusiastic over the restoration process that she would climb the scaffolding and help paint the ceiling. Like Chita, on a return visit, Mary pointed out the ceiling area that she had helped paint (just-above-and-to-the-left of the Men’s Room doorway on the mezzanine).