Properties Design & Set Dressing
Hair & Make-up Design
Production Stage Manager
Light Board Operator
A. Jeffrey Schoenberg
Jared A. Sayeg
Robert T. Kyle
A.C. Bradshaw, Sean Kozma, Cuyler Perry,
Christopher Rivera, Chris Tucker, Heather Waters
Andrea Dean, M.E. McElveney, Travis Moscinski,
Owen Panno, Brie Quinn, Christopher Rivera,
Chris Tucker, Heather Waters
(in order of appearance)
|Dean Mora & Brent Crayon
"That Mister Man of Mine"
"Choo Choo Honeymoon"
"The Sailor of My Dreams"
"Good Times are Here to Stay"
Ruby & Dick
Mona & "Chorus"
Joan & Lucky
Lucky & Dick, Mona, Joan , Hennesey
"Dames at Sea"
"Raining In My Heart"
"Sometihng About You"
"Raining in My Heart" (Reprise)
"The Echo Waltz"
"Let's Have a Simple Wedding"
Lucky, Dick, Captain & Girls
Mona & Captain
Ruby & "Chorus"
Ruby & Dick
Mona, Joan & Ruby
Ruby & "Chorus"
The early thirties
A Theatre on 42nd Street
On the battleship
Approximately 2 hours, 15 minutes
There will be one
fifteen minute intermission
Busby Berkeley created some of the most lavish and instantly recognizable stage and screen choreography of the 20th Century.
career as a choreographer began during World War I, when he served as a
Field Artillery Lieutenant and directed parades and staged camp shows.
After the war, he began a career as an actor and assistant director,
but his talent for staging large musical numbers soon found him working
for Florence Ziegfeld on the Rodgers and Hart musical A Connecticut Yankee.
Eddie Cantor persuaded Berkeley to make his way to Hollywood where the two collaborated on a number of films.
signature style included elaborate dances with large casts filmed from
above, creating a kaleidoscopic effect with the performers arrayed in
intricate geometric patterns. Berkeley’s "Parade of Faces"
is another signature approach, in which he would give each member of
the chorus line a close-up. One of the most famous examples of this
being "We’re in the Money" with Ginger Rogers from The Gold Diggers of 1933
When Dames at Sea
writers George Haimsohn, Robin Miller, and composer Jim Wise met in New
York in the early 1950’s, they learned that they shared a great love
for all things Busby Berkeley. And so, this show was born originally as
a shorter sketch called Golddiggers Afloat
, a take-off of the great Gold Diggers series of films. As the show grew, they tipped their hats to such Berkeley gems as Dames, Babes on Broadway,
and Romance on the High Seas
with plucky producers and starry-eyed chorus girls. They lovingly spoof
the extravagant song and dance numbers with their own versions,
designed for a small cast and small stage.
Busby Berkeley was
Hollywood and Broadway royalty, and some of his most beloved work
includes Judy Garland performing "I Got Rhythm" in Girl Crazy, "Shuffle
Off to Buffalo" in 42nd Street, and "Lullaby of Broadway" from Gold Diggers of 1935
. In 1971, at the age of 75, he returned to Broadway to supervise the smash No, No Nanette
. He died in 1976, and was inducted into the National Museum of Dance C.V. Whitney Hall of Fame in 1988.
FROM THE ARTISTIC DIRECTOR
There is a mystique about
California that has fascinated the country and the world for many
decades. In 1924, Al Jolsen sang "California, here I come." I’m of the
generation that remembers the cold, grey days on the east coast,
listening to the Mamas and the Papas sing of "California Dreaming." In
1986, Tom Shales wrote in The Washington Post "There’s only one season
in California: the eternal Spring of hope." And it’s been said that
California is the place where the future happens first.
dump on other states, but no one would ever sing "Michigan, here I
come" or "Arizona Dreaming" or talk about "Idaho, where the future
happens first." Drop in the word "California" and it works. But now
that’s changed. Our state is in deep trouble, and we are viewed by the
rest of the country with scorn and, even worse, pity. How did this
I have a theory.
In 2003 the state legislature
decimated the arts budget by 97%, making us second only to Mississippi
in support of the arts. California used to be about dreaming, and
making dreams reality. It used to be about hope. It used to be about
creating the future. And that’s exactly what artists are about --
dreaming, hoping, creating the future.
There was a time when we
Californians routinely astonished the world with our ability to come
back from catastrophes, from crippling recession, from earthquakes,
from fires. Some years ago, The Economist, a highly respected British
weekly, carried an editorial about LA’s response to a devastating
earthquake. They might have been speaking for all of California in
saying "Los Angeles fails only when it forgets what it is; when it
loses heart, and looks backward. At its best, looking forward, there is
no more inspiring city in America."
Nine years ago the State of
California looked backward when it stopped supporting artists. And now
we’re in deep trouble. Coincidence? I don’t think so. That’s my theory.
Brad Brown Judy Claverie
Linda Kavalsky Phil Torf & House of Props
Wadler Data Systems