Production Credits
Director, Jack Phillips
Technical Director, Thad Hallstein
Stage Manager, Darla Goudeau
Assistant Stage Managers:
Dennis Hudson, Bill Love
Costume Designers:
Debbie Phillips, Julie Suarez
Costume Crew:
Susan Cardamone, Peggy Carlson, Lori D'Asta, Chris Galvin, Karla Hudson, Rick Kabialis, Marcia Kelleher, Susan Maurer, Stacy McCargo, Julie Mueller, Martha Niles, Patty Roeder, Mary Van Nest, Nancy Whitlock
Dramaturg, Dave Bremer
Hospitality Chair, Carol Clarke
Hospitality Crew :
Dorothy Attermeyer, Cindy Blaczak, Ann Baker, Rachel and Vicki Blair, Carole Borg, Hedy Bosch, Ruth Cekal, Philip Conway, Judy Divita, Bill and Terry Fanning, Bonnie Hilton, C. C. and Karen Holbert, Ann Marie, Elyse and Harry Hultgren, Bill Hurley, Heinz Karplus, Kelli Kopp, Joyce Love, Rick Pavia, Katie Pecis, Sandra Rasnak, Adam and Margo Rickert, Joan Roeder, Pat Rotz, Donna Sauers, Debbie Sampson, Jane Stacy, Chloe Tausk, Charron and Dick Traut, Gregg Valek, Susan Waldschmidt, Marilyn Weiher, Mark and Sue Wisthuff
Lighting Designer, Cal Turner
Lighting Crew:
Linda Bugielski, Art Kelly, Paul Roach
Makeup and Wig Designer, Ginny Richardson
Makeup and Wig Crew :
Karen Bellovich, Eileen Crow, Carol Dapogny, Charlie Egan, Darla Goudeau, Ann Marie Hultgren, Andrea Imes, Julie Knoch, Jan Mahlstedt, Carolyn Redding, Jackie Schwab-Raschke, Mary Van Nest
Properties Designers: Bob Erck, Patricia Huth
Properties Crew:
Andy Belda, Ed Belda, Mike Huth, Mike Mallon, Donna Sauers
Set Construction Chair, Michael Huth
Set Construction Crew:
Grace Abrahamson, Anne Cahill, George Dempsey, Robert Erck, Mark Favoino, Art Kelly, John Mueller, Paul Roach, Bill Rotz, Fred Sauers, Peter Sonnenberg, Rob Snyder
Set Designers Art Kelly, Mari Lamp
Set Painting Chairs:
Ann Marie Hultgren, Kathleen Kusper
Set Painting Crew:
Peggy Carlson, Tom Frohnapfel, Bonnie Hilton, John Mueller, Laura Leonardo Ownby, Rob Pold, Charron Traut and Sue Wisthuff
Sound Designer, Peggy Solick
Sound Crew, Ed Barrow
Sandwich Sunday Crew:
Dorothy Attermeyer, Cindy Blaszak, Heinz Karplus
Box Office Chair, Mary Ellen Schutt
Box Office Crew:
Ed Barrow, Linda Bremer, Gary Davidoff, Terry Fanning, Sue Wisthuff
House Manager Chair Bill Wilson
House Managers:
Megan Bourke, Dave Bremer, Penny Choice, Donna Kanak, Mike Mallon, Bill Rotz, Marilyn Weiher, Denny Wise
Promotional Graphics, Joe Petrolis
Group Sales Chairs:
Mary Ellen Schutt, Terri Smartz
Poster Distribution, Kathleen Kusper
Production Coordinator, Jon Mills
Program Advertising, Peggy Carlson
Program Production: Ed Barrow, Marion J. Reis
Publicity Chair, Ginny Richardson
Actives Website, Judy DiVita

Dramaturg’s Diary
By Dave Bremer

Night Music, Mozart and Hedy Lamarr

You are listening to the radio. You could be in your home or in your car. You are listening to Mozart; maybe to his Requiem Mass, maybe to his Eine Kleine Nachtmusik. Today, it is more than likely you are listening to a digitally recorded disc being broadcast on a digital signal, possibly being beamed from a satellite. Possibly it is a rerecording of music originally done years ago but now digitally enhanced. You hear the great complexities and beauty as clearly as if you were standing at the conductor’s podium in Orchestra Hall. It is the genius of science and technology.

You find yourself listening to the work of a genius offered to you by the fruit of the labor of Genius. When you look up the word, “genius,” you will find several definitions. Here are two from Webster’s Collegiate Dictionary: “A particular, distinctive, or identifying character or spirit; an extraordinary intellectual power, especially as manifested in creative activity.” As you watch the story that we share with you today, you will see how these two ideas will be played out in the life of Wolfgang Amadeus Mozart. As you listen to your radio, it will be the product principally of three persons, all Austrians by either nationality or birth, all geniuses. There is, of course, Mozart and his timeless music. Yet the other two may not have come to mind.

The first one is Nikola Tesla. Today, most of us are only just getting reacquainted with this man and his work. He was born in Croatia in 1856. Croatia was then under Austrian control and part of her empire. He would become an electrical engineer and inventor. Alternating current, the fluorescent light, the transmission of xrays, microwaves, and all areas of the wireless transmission of energy including radio, television, radar, and lasers are possible because of the devices he designed and the research he conducted. He would make Westinghouse’s AC electrical transmission marketable. His designs, working devices and ideas would be ”borrowed“ by Marconi for Marconi’s wireless transmission inventions. Ultimately, in the 1980’s, Tesla would be recognized as the legitimate father of wireless transmission and radio transmission. Even today, his work is being again utilized in our efforts to deal with our current energy issues.

Unlike his fellow Austrian, Mozart, Tesla led an austere life. He abstained from heavy use of alcohol. He practiced celibacy. He had few if any social interests, had a small circle of friends and enjoyed solitude. In his later years, he would focus his energies on an introspective and intense spirituality. His friends remarked that he lived a monastic life in his New York hotel rooms. Like Mozart, he was not very careful with his finances and would die in debt, his funeral paid for by friends.

The other person making your musical interlude possible is Hedy Lamarr. Yes, THAT Hedy Lamarr. She was born Hedwig Eva Maria Kiesler in 1914 in Vienna. While she would become an internationally renowned actor, and was one of the most beautiful women in the world, she had a private side. She had a genius IQ and an advanced education in engineering and physics. During WW II, she would design and invent processes and equipment which would become the basis for secure military communications. She worked with the support of avant-garde composer and pianist George Antheil. The two would present equipment for a patent which operated on principles that today we call “frequency hopping,” or broad-spectrum transmission. Cell phones, garage door openers, car remotes, computer transmissions and secure signals, microwave transmission, satellite communication are all possible because of Lamarr’s work. Today, the military of this country and countless others have secure communication because of her designs.

Mozart created music, which amazed his audiences. To see copies of his work sheets used for composing is to see work with no erasures or cross outs. His music came to the paper whole. As he reminds us in Amadeus, these works came straight out of “his noodle.”

Hedy Lamarr used the piano keyboard as her inspiration, both the playing of chords and all 88 keys for the technology, which she designed. Antheil would play and she would conceive and design. The drawings of her working schematics are as clean as Mozart’s work sheets, and the technical notes are all in her handwriting. All three composed in complete manuscripts.

So as you watch our story or as you later listen to your radio, please remember the interweaving of the work of these three geniuses. It is a reminder of the thoughts of another genius, Albert Einstein. He once mused that we all live one life, part of a collective whole, that our actions and our lives are all intertwined at some level, and if we look closely, we all complement each other.