01/26/2025
***VALEDICTORY***
(warning: LONG post ahead, friends - but definitely worth the read!)
Some Reflections on SummerStage at Leonia:
It is difficult to put into a short paragraph all that SummerStage meant to us during its 20 year “life span.” We started it in 1999 as a continuance of the most enjoyable experiences we had with our involvement with the Summer Plays-In-The-Park series presented by the historic (oldest continuously running community theater group in the State of NJ, and 3rd oldest in the Nation) Players Guild of Leonia. When they ended their summer shows in 1999, we picked up the torch and ran with it. Thanks to our brisk ticket sales and very generous donors, we were able not only to produce extremely high-quality shows, but also to donate our annual net proceeds back to the Leonia school system to support their programs in the arts – to the cumulative tune of ~$120,000. On a personal level, we always so enjoyed our interaction with “theater people” – creative, exciting, energized, enthusiastic, whimsical, incredibly talented, etc., etc. – a very different milieu from the discipline of medicine.
We shall miss the whole SummerStage world ... all those production meetings, auditions, rehearsals, all that glorious music, gorgeous costumes, “works-of-art” sets, spectacular singing and dancing and acting – and all the theater friends we made. All those post-rehearsal and post-show good times together when we would "take over" TGI Fridays, 4-West, Chit-Chat, Houlihan's ... such great camaraderie ... such happy memories. They will always indelibly remain with us. It was 20 of some of the happiest years of our lives. As put by an unknown author: "There are friends, there is family, and then there are friends who become family" - our SummerStage Family. We feel privileged to have experienced – due to your participation – 20 summers of Brigadoon. And for this we are eternally grateful.
Please email me with your reflections on SummerStage in general, or any show in particular; I would love to hear them.
Thank you, Frank Livelli, MD ([email protected]) Founder and President, SummerStage at Leonia
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Some Reflections on The Wizard of Oz (2000): The Wizard of Oz was our very first show. I had recruited Jim Avidon to be our Director at a chance meeting at Brooks Brothers in the Fall of 1999. We knew Jim as a summer show Director for The Players Guild. Some random memories … I remember sitting on the floor of The Little Theater at Leonia High School gluing together huge sections of green indoor-outdoor carpet that would cover the stage at the opening, before being rolled up and carried off by the Munchkins to reveal the Yellow Brick Road painted on sheets of Masonite on the floor. The Tin Man’s costume (inhabited by Dan Giordano) was made of actual metal – the whole thing. I recall so many tiny-tot Munchkins, some of whom – now a quarter century later – have gone on into the professional entertainment world. And I remember our daughters’ roles as Glinda, and in the Ensemble. A great family time!
Some Reflections on Peter Pan (2001): Peter Pan was our second show. I was excited to hire the same company used on Broadway for their flying in Peter Pan: "Flying by Foy." I remember the great care we had to take with the harnesses to guarantee safety, and the practice over and over that the Flight Crew had to do to get all the aerial acrobatics precise and on target with the various set pieces. But what a great effect it was! The audiences loved it. I remember Joe Riley's large dog costume as Nana - such fun. I recall spending hours on a high ladder, safety-pinning strands of tiny lights to the back curtain to create a "star curtain;" made a great effect when the boys were flying in front of it. And what a whimsical, imaginative, lovely story, which is treasured by generations and never grows old - like Peter himself!
Some Reflections on Carnival! (2002): Carnival! was our third show. I remember borrowing long strings of amber lights from New York City Center (which had used them in their recent production) and devising a pulley system that allowed the Roustabouts to hoist the center of the criss-crossed light stings to the ceiling, creating an instant "circus tent" look and feel. Two of the four absolutely beautiful puppets (works of art unto themselves) were made for us by a famous puppet-maker in he mid-West; we still have them. It was a beautiful show with that unforgettable theme: "Love makes the world go round."
Some Reflections on Joseph and the Amazing Technicolor Dreamcoat (2003): Joseph was our fourth show. It was a hoot! Upbeat, fast-paced, tuneful music, funny characters, topped off by a Mega-Mix and a cameo by Jerry Garcia. Audiences loved it! They always left the theater smiling and animated. What a success. The Dreamcoat that my mother created was a work of art; she was deservedly very proud of it. The performances were short enough to always leave plenty of time for nightly cast parties at various diners. Such great fun; such happy memories.
Some Reflections on Oliver! (2004): Oliver! was our fifth show. Many aspects stand out in my mind. We had such a number of Orphans that we had to divide them into two different groups, each playing a different night - very good for ticket sales! The set was a complex construction: on the pit floor was a platform surrounded by a catwalk with the space in between filled with dry ice fog, looking like a mysterious, bubbling moat; on-stage was a superstructure which needed a "breakable" railing for Bill Sykes to fall through and land on a mattress. Tom Sullivan, a Broadway set builder, fellow Leonian, and the father of our Oliver (Sean Sullivan), was kind enough to craft this for us. Oliver! marked the first appearance on our stage of Jim Lesko; his portrayal of Fagin was so extraordinary that he was subsequently invited to London to audition for the British revival! (For various reasons he chose not to pursue this.) Oliver! was the first of the Players Guild summer shows that got Joanne and I hooked on community theater. That was in 1993 - 11 years before our SummerStage production. I remember every minute of that first Oliver! as well as I remember our own.
Some Reflections on The Sound of Music (2005): The Sound of Music was our sixth show. It was a beautiful show in every way. The Cast was fabulous. The music so glorious, so perfect that another musical director whom I knew in the audience at one performance refused to believe that it was not pre-recorded; I remember having to bring him around back to the orchestra pit to convince him it was, indeed, live. I spent an entire weekend personally wallpapering (a skill my father had taught me) the extensive, two-story set. But it was worth it; at every performance at its dramatic reveal the audience audibly gasped, then broke out into applause. And to this day, the Nuns' chorus still stands out in my mind as sublimely heavenly.
Some Reflections on The Music Man (2006): The Music Man was our seventh show. What a great and fun tale wrapped up in Americana. Such memorable songs. And what a great Cast we had singing them. I remember borrowing a large carton full of used musical instruments from O. DiBella that the crew spent days and days polishing so they would be gleaming on-stage. The red-white-and-blue set pieces were so appropriate. This was Jim Avidon's fifth and last time he directed for us. Great job on all, Jim! I remember the fun Cast Party at the end of the run held in our backyard. What a fantastic summer!
Some Reflections on Oklahoma! (2007): Oklahoma! was our eighth show. It marked the directorial debut of who would become - for good reason - our "Director in residence" - Ray Yucis. It was also the first of eight shows designed by Frank Desmond, a perfectionist artist of incredible talent. I recall the story when Frank initially told Ray he couldn't figure out how to design the set for Oklahoma! in the peculiar space of The Little Theater at LHS; then, he awoke one night at 3 AM from a dream where he envisioned the entire set - and it turned out to be an ingenious work of art unto itself! I remember ordering genuine large wagon wheels, and driving over to the horse stables in Leonia's Overpeck Park to borrow several bales of hay--much heavier than they look!
Some Reflections on Carousel (2008): Carousel was our ninth show. It was a moving, wonderful production. What great pains Frank Desmond, our Set Designer, took to create the working carousel at the top of the show - just beautiful, and so complimented the memorable and sweeping overture; he had hand-carved, painted, and festooned each of the four horses. The Cast was stellar, the scenes iconic, the audience thrilled. Carousel is said to have been Rodgers and Hammerstein's favorite of all their musicals. Our production made it plain why.
Some Reflections on Annie Get Your Gun (2009): Annie Get Your Gun was our tenth show - a whole decade of SummerStage! I recall that I wound up nixing all the pyrotechnic effects because the Leonia Fire Marshall imposed "safety" requirements that the show budget would not allow. Despite that, the various "thrills and spills" that were a part of Annie Oakley's roadshow were thrilling as they were. And what unforgettable numbers: "Anything You Can Do," "I Got the Sun in the Morning," and, of course, SummerStage's theme song: "There's No Business Like Show Business." The singing, dancing, and acting were superlative. And for this show our Choreographer, Inga Thrasher, invented "hatography" for a full stage feature utilizing cowboy hats. All such great and memorable fun. Our audiences just loved this show; they always left the theater smiling and humming.
Some Reflections on A Grand Night for Singing (2010): A Grand Night for Singing was our eleventh show. It was very different from all the previous. First, the venue was changed from the LHS Little Theater to the Payers Guild Drill Hall - a fraction of the size. The Cast was also a fraction of the usual size, but each singer was a soloist, exquisite. And the "book" was the on-the-spot creation of our Director, Ray Yucis. And it was brilliant: a skillful weaving together of the disparate R&H songs into a cohesive story with plausible characters. One SummerStage patron, who is a Broadway producer, thought it was so good it should be presented to the R&H Organization. The icing on the cake was the professional studio recording of a Cast Album under the aegis of our fabulous Musical Director, Gina Masland.
Some Reflections on Bye Bye Birdie (2011): It's 2011 and we're back in The Little Theater with our twelfth show, Bye Bye Birdie. That show was sooo much fun! I recall walking up an aisle during intermission at our Showcase, and one little kid stopped me, quite puzzled: "I thought Elvis was dead." I had to explain to one of the cast that Kim's phone number, "Capitol 7-8820," did not mean upper case 7. I included a glossary in the Program to explain all the 1950's references, such as "The Ed Sullivan Show," "The Shadow," Murads, etc. I remember driving 80 miles to Anything But Costumes to rent a 1950's refrigerator, stove, table and chairs for the set. That was the summer Joanne and I were interviewed for an article in "Leonia Life" about SummerStage. Many nights at TGI Friday's with the Cast. Lived and loved every minute of it. And kept singing in my head one of my favorite songs, ever, with these lyrics:
There's music to play / Places to go, people to see! / Everything for you and me! // Life's a ball, if only you know it / And it's all just waiting for you / You're alive, so come on and show it / Yeah, we got a lot of livin' to do
Some Reflections on Annie (2012): 2012 marked the end of SummerStage's run at the LHS Little Theater venue. And we made the most of it with a blockbuster: Annie. There were so many superlatives about this show, it's hard to know where to begin. First, the book and score were terrific, with many iconic characters, scenes, and songs (think "Tomorrow," and "It's a Hard Knock Life"). The costumes were gorgeous, as was our set. As our laconic Scenic Designer, Frank Desmond, put it one night, while admiring one particular tableau, "This is a Broadway-worthy moment." And, of course, there was the fabulous Cast, with its unforgettable singing, acting, and dancing. On top of all that was our Sandy! Played by Macy - a "professional" provided by the most venerated theatrical animal trainer/handler in the country (probably the world), William Berloni himself. I mean, how could you top that? Well, we went over-the-top with a live, on-stage marriage proposal during the final curtain call!! (Tim Larsen & Megan Taylor - Here's the link which has garnered >15,000 views): Final Curtain Call "Annie"
Some Reflections on South Pacific (2013): It's 2013 and we're back at the Drill Hall, now our home for our remaining run. It meant certainly smaller size Casts, on the order of a couple of dozen vs the 80-90 at the Little Theater. It also meant a smaller audience size: ~90 vs 250. But there were also many positives: excellent un-amplified acoustics, a better ability to tailor the lighting effects, and especially a much more intimate experience for the audience. South Pacific has always been one of my favorite R&H shows. I was determined to do it. Ray, our Director, had his trepidations: "Where are we going to get all those singing men?" Well, it was a "build it and they will come" story. This show, in my opinion, was the easiest of them all to cast. We had exactly who we needed for every role. A completely fabulous Cast, top to bottom. I remember Mike Smith's "portable, working shower" as an ingenious marvel - real water and real suds every night. The set was versatile and beautiful. At the end of our Showcase performance, one of the kids from the group of invited underprivileged youngsters, said to me: "I never knew you could be so many different places in one room." So touching and gratifying to hear how we expanded his world.
Some Reflections on Les Miserables (2014): "Let's start at the very beginning, a very good place to start." Les Miserables. My personal show of shows. I first saw it on Broadway sometime in the '80's or '90's. I was absolutely blown away. It wasn't a show; it was a life experience. Since then, Joanne and I have seen it more than a dozen times at venues as far north as Maine, as far south as D.C., and as far east as London. So, when Ray, our Director, called me one morning in the Fall of 2012 to inform me that the amateur rights to Les Mis had just been released, I jumped at the chance. "Maybe we should do it next summer [July 2013], otherwise every community theater will have already done it by the time we get around to it [July 2014]." I responded, "We're going to need all that time to do it right. I'm not interested in being the first, only in being the best." (More on that later.) We anticipated that auditioners would come out of the woodwork - and they did. Instead of the typical 60-80 auditioners for a typical cast (at the Drill Hall) of ~25 or so, we got >300 actors vying for 31 roles. Auditions were by appointment in 5-minute slots. The one particular audition session that stands out in my mind is when Phil Alongi auditioned for Valjean. After he sang "Who Am I," we all sat in stunned silence, in disbelief, until Frank Desmond picked his head up and said, "Holy sh--!".
At our very first rehearsal after handing out the scripts, Carolyn, our Musical Director, had the entire company sing "One Day More." At the end of the song, everyone felt what she uttered, "My God! That was astounding!" Every rehearsal was an astounding vocal concert. While that was going on, I was busy acquiring some of our props, which included exact copies (on parchment) of all the ephemera (money, letters, etc.) used on Broadway. The gun battle soundtrack was from the International Tour, acquired by one of our Cast members. The rifles were period-correct. The costuming all correct. Our Frank Desmond-designed set was nearly identical to the then-still-running Broadway production - which the entire Cast and Production Team attended as part of our collective research. At that performance, Carolyn turned to me and said, "They have nothing on us." And she was so right. Sixteen performances (including a packed Showcase) were all oversold, and garnered 16 standing ovations. One well known actor/director said to me, "I've been in community theater for 40 or 50 years, and I've never seen anything like this."
As I said above, I was only interested in our production being the best - and, by God, it was. Here's how I know: One Sunday afternoon a lady came into the lobby early, as she had come over from NYC. Laurette Miller, our costumer extraordinaire, happened to be there doing tickets. The lady said to her, "I've come over from NY because I love this show, so much so that I have seen it all over the world. But I don't think I'm going to stay because I can't see how you can do that show in this space." Laurette replied, "Look, you've taken the trouble to come all the way over here from NY, so, let's make a deal. Buy a ticket and stay for the first act. If you don't like it, come see me at intermission and I'll give you your money back." The lady agreed. At intermission she found Laurette, threw her arms around her, and said just three words: "The best yet!" So, there you have it. As I said at the Cast Party, "For our Les Mis all the stars were aligned - and on our stage."
In a post-show email to one of our actors, I said what I believe applies to all of us: "Our production of Les Mis was, indeed, very special. As we all advance in age, I believe we will all look back on this Show, this whole summer, as one of life's treasurable moments." As a final thought, here is the poem that I delivered to the company at our Cast Party:
Ode to Les Miserables I once dreamed a dream ‘Twas of Les Mis I dreamed of a great Cast But never in my wildest like this I dreamed of a Team that could pull it all off Well, they did much more, they sent us aloft Les Mis for you is whatever it may be But for me it is all of life—in a minor key So drink with me of days come and gone And let’s raise a glass to our fabulous run! -Frank Livelli, MD -August 3, 2014
Some Reflections on Let's R***e! (2015): Whew! Time to take a breather after the tour de force of Les Mis. So ... let's do a r***e. Yeah, that's it. Let's select a few of our favorite songs from all the prior shows and put them together for everyone to enjoy all over again. No problem. Easy peasy. WRONG. For me this was the hardest show we have ever done. You see, when you get the rights to a musical, they deliver to your doorstep a large box. In that box is an entire show: all the scripts with the characters and plot, all the songs and music, all the orchestral instrumentation and orchestrations. We quickly realized we were starting with an empty box and had to fill it with all those things. So, on the spot and on the fly, Ray had to create a storyline, plot, characters, and scenes that would be a cohesive framework onto which to hang all those disparate songs. Which of the hundreds of songs should be included? In his Director's Note in the Program, Ray put it well: “The task was formidable. What would be the overall concept? How many singers would we use? And with so very many great songs to choose from, what songs would make the final 'cut'? (That last question alone resulted in many sleepless nights … and several empty bottles of Tanqueray!) But we persevered, and the result is tonight’s production of “Let’s R***e!”
We settled on 50 songs. And the story was a series of themes that were plausible vehicles for sets of similar songs. It was orchestrated beautifully by our musicians. The Cast represented la creme de la creme from our previous Casts. Ultimately, the whole show came together and worked! My near nervous breakdown was worth it. But I came away with one lesson: never again! From now on I want a "show in a box!"
Some Reflections on My Fair Lady (2016): Thank God! A "show in a box!" (All the ingredients delivered to our doorstep - as opposed to last year's stress of having to "make it up as we go along.") And what a beautiful, iconic show. Urbane. Sophisticated. British. And sooo humorous. It had a great book - a bit talky, but great - based upon George Bernard Shaw's 1912 play, Pygmalian. The set for this show was unique: essentially suggesting a birdcage resting on a shallow platform. It worked very well with the play's themes. Being in that intimate Drill Hall space, one patron, who is a dramatic arts teacher at a local private school, commented, "I felt as if I were sitting right in their living room with them." Needless to say, he loved the show - as did every audience. I could never tire of those immortal songs. Each one a "stand alone" with an unforgettable melody: "Wouldn't It Be Loverly," "With a Little Bit of Luck," "I Could Have Danced All Night," and practically every other song in the show. The costumes were luscious. The lighting stunning. The acting and singing and dancing absolutely fabulous - what a stellar Cast!
Some Reflections on How to Succeed in Business Without Really Trying (2017): This show was a hoot - so so funny. The premise itself is amusing, and how J. Pierrepont Finch actually pulls it off, step by step, inch by inch, is hilarious. The spectacular momentary lighting effect on him every time he gets another ladder-climbing idea was hysterical. Frank Desmond's cartoony set was the perfect setting for this story. The Cast could not possibly have been better. As usual the costuming was spot-on period perfect. The score had many catchy tunes, and allowed for great choreography by Inga Thrasher. A special shout out to one of our ensemble members, Clayton Matthews, who sustained a knee dislocation during the production number, "Brotherhood of Man" during our Showcase performance. He was treated at the Emergency Room and made a good recovery - rejoining the show using crutches; a real trooper! Overall, it was a wonderful show, very memorable.
Some Reflections on West Side Story (2018): I had wanted to do West Side Story forever. After our first show together in 2007, while driving back from dropping off borrowed Oklahoma! props, our Director, Ray, turned to me and asked, "So what show would you like to do next?" (me:) "West Side Story." (Ray:) "Oh, Jesus!!"
Ray always believed that WSS should be restricted to professional groups, because its complex choreography and difficult music could only be properly performed by professionals. And he was exactly right. That's why, when we finally agreed to do it, we strove to cast it with essentially professional dancers. Hence, this was the first show for which we held auditions in NYC (Ripley-Grier Studios). We were also fortunate enough to recruit the outstanding Choreographer, Michael Jablonski, who had been intimately connected with WSS on Broadway and on tour for several years. In fact, he was a swing in the Broadway revival in 2009, directed by Arthur Laurents himself (who wrote the book). Joanne and I became aware of Michael when we went up to see WSS the year before at the New London Barn summer stock theater in NH, where he was choreographing. Their stage was even smaller than the Drill Hall's. Yet I recognized that they were bringing to life the original Jerome Robbins choreography on that tiny stage. And, I thought, if they could pull this off there, there's no reason why we couldn't do the same at the Drill Hall. I found Michael's name in their program, contacted him, and the rest, as they say, is history. What a godsend! Between his choreographic perfection, the outstanding direction of our two co- directors, the unbelievable virtuosity of our musicians, the professional set design, perfect costuming, dramatic lighting, and, of course the absolutely over-the-top level of singing, acting, and dancing of our astounding Cast, SummerStage was able to present the best West Side Story that any community theater could possibly produce. The result was beyond my wildest dreams. Our audiences couldn't get enough - for the first time in our history we had to add a sixteenth show!
But that was only half the magic. The icing on the cake, and what I shall NEVER forget, were the choreography rehearsals with Michael - seven hours every Saturday and every Sunday for weeks. During these sessions he would not only teach the dances, but more importantly, the meaning, the symbolism behind every step, every hand gesture, every body movement. I and the Cast were spellbound. It was profound. I understood why Ray felt as he did.
Producing West Side Story fulfilled a dream for me, as much as did Les Miserables. I regard both of them as the greatest productions SummerStage ever gave the world.
Some Reflections on Anything Goes (2019): In 2019 the state of the country and the world was topsy turvy. What better musical to reflect the times, and inject some laughter, than Anything Goes? It turned out to be a great choice, because little did we know that right around the corner was even more mayhem.
I've always found Cole Porter's music very tuneful, lyrics very clever. Anything Goes includes some of his most iconic songs, starting, of course, with "Anything Goes." There's also "I Get a Kick Out of You," "It's De-Lovely," "Friendship," and many more. Fortunately, our Cast was absolutely stellar, and made the most of the score. The choreography, especially the tap dancing numbers, was fabulous. The costumes were grand, the set amazing, the lighting spectacular; the whole show was just perfect - and raucously funny. It was the perfect show to cap a two-decade run.
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THANK YOUS and ACKNOWLEDGEMENTS
A Final Salute to …
Our Donors: Without whom there would be no SummerStage Our Audiences: Without whom there would be no reason for SummerStage Our Actors and Actresses: Who graced our summer stage and brought the musicals to life Our Board of Directors: Current: Frank Livelli, MD, Joanne Livelli, Robert Pacicco, Robert Meyer, Joseph Riley, Bunny Giordano, Jill Kantor, Carol Karels, Johan de Kruif, Glenda de Kruif, Tim Larsen, Steve Taylor Past: Georgette Planow, Julie Diemer, Ann Sullivan, Judah Zeigler, Julia Venusti, Vince Parrillo
Our Producers: Frank Livelli, MD, Joanne Livelli, Bunny Giordano, Jill Kantor, Glenda de Kruif, Julia Venusti Our Directors ( # shows): Raymond Yucis (13), James Avidon (5), Michael Wurl Larsen (1), Tony Frangipane (1), Vince Parrillo (1)
Our Musical Directors: Carolyn Russo (15), Michael Holak (1), Gina Masland (1), Ed Feldman (1), Jason Brown (1), Karen Greenstein (1), Doug Maxwell (1)
Our Musicians: Carolyn Russo, Michael Holak, Duke Lukic, Russ DiBona, Caroline Parody, Jamie West, Dave Walsh, Richard Summers, Peter Hyde, Matt Bilyk, William Smollen, Elizabeth Moulthrop, Phil Chester, James Carucci, Ilya Maslov, Gary Hamm, Lee Ann Newland, Jennifer Gravenstein, John Czolaz, Joseph Livelli, Kevin Livelli, Christina Livelli, Knarik Yremian, Andrew Jaworski, Alan Buxbaum, Gina Masland, Mark Thrasher, Jeffrey Rubin, Beth Robin, Luke Short, George Harvilla, Danny Hall, Matt Muscari, Wendy Kosakoff, David Barnhart, Andrew Rosciszewski, Douglas Maxwell, Rich Accocella, John Chorazy, Ed Feldman, Jennifer Kang, Paul Scott, John Wilder, Heather Dziczek, Jason Brown, Byron Yount, Barry Sachais, Larry Silverman, Karen Greenstein, Scott Avidon, Jim Conwin, Edward Greenstein, Bruce Van Hoven
Our Choreographers: Inga Thrasher, Michael Jablonski, Tabitha Boulding, Marc Leland, Melanie-Amber Diaz, Beth Parrillo, Julia Heaney
Our Scenic Designers: Frank Desmond, James Avidon, Michael Moat, Todd Potter, Joey Mendoza, Mike Smith, Ron Neu, Tony Frangipane
Our Stage Managers: Emma Iacometta, Brooke Feldman, Geri Berhain, Glenda de Kruif, Josh Galitzer, Ron Neu, Sarah Hogan-DePaul, Alexandra Garbeck, Emily Donegan, Sarah Biery
Our Lighting Designers: Coby Chasman-Beck, Timothy Meola, Joe Lanteri, Michael Boris, Matt Luciano, Johan de Kruif, Tony Frangipane, Josh Galitzer, Amanda Ellison, David de Kruif
Our Sound Designers: Chris Thorn, Frank Livelli, MD, Nick Barter, John Viar, Benjamin Wolf
Our Costumers: Laurette Miller, Christine Livelli, Joanne Livelli Assisted by: Diane Arabella, Beth Parrillo, Caitlin Schirro, Diane Watler, Mary Hogan, Janet Bastar, Allison Galland
Our Wig & Hair Designer: Inga Thrasher
Our Technical Director: Johan de Kruif
Our Properties Master: Michael Telposky (Assisted by all the Producers and others)
Our Assistant Directors: Geri Berhain, Chris Corbo, Linda Taub, Michael Boris, Julia Heaney, Jade Post, Ann Sullivan, Jeff McCartney
Our Asst Musical Directors: Michael Holak, Gina Masland, Beth Robin
Our Set Constructors: Michael Moat, Ron Neu, David Zanko, Mark Watson, Steve Taylor, Ron Rosario, Michael Telposky, Rob Ward, Aaron Dobbin, Mike Smith, Dan Giordano, Frank Desmond, James Avidon, Michael Boris, Johan de Kruif, John Stendor, Ben de Kruif, David Knoller, the Birchwale family, Geri Berhain, Tom Sullivan, Warren Feirer, Nicholas Taylor, Christian Spinella, Carole Regan, Frank Cirillo, Hannah Atlas, Melanie Albeen, Jeff Pieper, Larry Planow, Georgette Planow, Brooke Feldman, Megan Taylor, Nicole Parente, Samantha Silver, Tina Castiblanco, Kathy Chong, Harold Delmonte, Kyu Lee, Hannah Ravid, Tim Regan, Fabio Castiblanco, Chris Thorn, Jose Stephen, Frank Livelli, MD, Nolan Stendor, Chloe de Kruif, David de Kruif, Rachael Kantor, Sudip Saha, Matt Luciano, Benjamin Wolf, Egon Klohe, Josh Galitzer, Sean Feirer, Ken Feirer, Lisa Reyes, Jessica De Steffano, Lee Valens, Heather Cunningham, Aldin Adilovic, Matthew Insler, Matt Neu
Our Stage Crew: David Zanko, Steven Taylor, Ron Neu, Mikoto Ozawa, Alisa Chen, David Kim, James Alton, Tiggy Morley, Geraldine White, Jason Gambo, Nicholas Taylor, Olivia Thrasher, Will Van Sickel, Steven P. Taylor, Theresa Taylor, Gemma Taylor, Viki Leibow, Emily Donegan, Mikaela Springsteen, Greg Taylor, Patrick Korkuch, Chris Russo, Michael Birchwale, Steven H. Taylor, Walter Pita, Emily Joashi, Jason Kooistra, Eugene Romanschuk, Larissa Schumylowych, Melanie Albeen, Andres Acosta, Charlotte Morisset, James Masland, Kyu Lee, Alejandro Acosta, Tim Regan, Chris Thorn, Aaron Attles, Christina Cumberbatch, Sarah Hogan-DePaul, Eric Moreno, Nolan Stendor, Brooke Feldman, Ben de Kruif, Chris de Kruif, Eric McGurty, Chris Piano, Sean Sullivan, Rachael Kantor, Harold DelMonte, Rebecca Klohe, Michael Boris, Anthony DelMonte, Richard Lurie, Kip Potharas, Sudip Saha, Heather Cunningham, Dan Cunning, Glenda de Kruif, Jason Foca, Samantha Caloz, Matt von der Hyde, Shirath Abraham, Ben Bogert, Paul Klohe, Jessica De Stefano, Eduardo Cordero, Dan O’Keefe
Our Logo Designers: Wayne Spector, Tim Larsen, Frank Livelli, MD, James Avidon, Mark Montalbano
And many, many more who helped with …
Lighting Board operation Sound Board operation Set Painting and Décor Publicity Photography Program Tickets House Management Ushering Hospitality
THANK YOU, ALL!
Frank Livelli, M.D. Founder and President, SummerStage at Leonia
