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Interim Chancellor:: Interim Provost: College of Arts & Communication Dean: Associate Dean:

Director: Development Director/Assistant Director Technical Director: Audience Services Manager: Marketing Director: Coordinator of Education & Outreach: Office Manager:

Beverly Kopper Mary Pinkerton Mark McPhail Robert Mertens

Ken Kohberger Keir R. Johnson J.D. David Nees Michael Morrissey Stacy Sherman Shannon Dozoryst Malinda Hunter

Mission Statement Young Auditorium serves as a presenting organization for the performing arts and as an educational and cultural center enriching the lives of the campus and regional communities. Vision Statement Young Auditorium: Artstanding in Creativity, Artstanding in Collaboration, Artstanding in Education, Artstanding in its Field. Non-Profit Status Young Auditorium is a non-profit organization under Section 115 of the Internal Revenue Code. A Note To Our Patrons: • Latecomers will be seated at the first convenient interval at the discretion of the audience services staff. • Patrons are requested to turn off pagers, cellular telephones, and hourly signaling watches during the performances. • Photography or video/audio recording of the performance is strictly prohibited. • No smoking or food allowed in the theater. Only beverages purchased in the reusable cups available in the lobby will be allowed. • Personal hearing enhancement devices are available at the guest services desk. • No state tax revenue supported the printing of this program. Ordering Tickets UW-Whitewater Ticket Services Voice & TTY: 262-472-2222 Fax: 262-472-1329

Group Ticket Sales Groups of 10-24 = 10% discount Groups of 25+ = 20% discount For more information call 262-472-5705.

Purchase tickets in person at two locations Greenhill Center of the Arts Box Office M-F 9:30 am – 5:00 pm (Short term, metered parking at this location)

Facility Rental Young Auditorium facilities are available for banquets, receptions, concerts, meetings and dances. For information call 262-472-4444. Facilities include the Auditorium, Kachel Center, Main Lobby and the Fern Young Terrace.

University Center- Information Services Desk UC 159 on the main floor lobby of the University Center. M-F: 9:30 am – 5:00 pm Young Auditorium Lobby at 5:00 pm prior to performances. Contact Us Young Auditorium 930 West Main Street • Whitewater, WI 53190-1790 Phone: 262-472-4444 www.uww.edu/youngauditorium E-mail: youngaud@uww.edu

Accessibility Features The Young Auditorium strives to make our facility accessible and inviting to all of our patrons. A variety of services are offered to compliment the theater experience. Please alert our staff at least three weeks before you plan on attending a performance to any requests for handicapped access or other services such as wheelchair accessible parking and/or seating, patron drop off, sign language interpretation, audio amplification needs, foreign language interpretation, or Braille and large print materials. If you require any of these services, please contact Ticket Services, 262472-2222, or Michael Morrissey, Audience Services Manager at morrissm@uww.edu or 262-472-1487. Young Auditorium

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FRIDAY, FEBRUARY 28, 2014 • 7:30 PM

and Cultural Affairs present Artistic Director and Founder Mark Howard Associate Artistic Director Ellen G. Waller Rehearsal Director Carly Haslee Assistant Rehearsal Director MacKenzie Holland Celebrating 30 years of excellence! Kelly Dalton Kiernan Donahue Peter Dziak Daniel Fain Erin Gentile Erin Gradus Olivia Hare Carly Haslee MacKenzie Holland

PERFORMERS Chelsea Hoy Meghan Kehoe Shannon Kehoe Moira Kramp Danae Luetkehans Mary Claire McDonnell Sydney Niewedzial Maggie Nowakowski Megan Oblein

Emily Phelan Grace Reif Ian Schwartz Tyler Schwartz Rachel Sitter Shannan Stallman Myah Trilling Susanne Wiecek Marisa Wurster

WITH SPECIAL GUESTS Brendan O’Shea...............................................................Guitar & Vocals Barret Harvey.................................................................................Drums Brian Holleran..................................................................Flute & Whistle

PRODUCTION STAFF Dustin Derry...................................................Production Stage Manager Jake Reich......................................................Production Sound Engineer

The taking of pictures and/or making of visual or sound recordings are expressly forbidden. Program subject to change. THANK YOU TO OUR MEDIA SPONSORS:

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PROGR A M

Out of the Woods Beannacht/Blessing By John O’Donohue On the day when the weight deadens on your shoulders and you stumble, may the clay dance to balance you. And when your eyes freeze behind the grey window and the ghost of loss gets in to you, may a flock of colours, indigo, red, green, and azure blue come to awaken in you a meadow of delight. When the canvas frays in the currach of thought and a stain of ocean blackens beneath you, may there come across the waters a path of yellow moonlight to bring you safely home. May the nourishment of the earth be yours, may the clarity of light be yours, may the fluency of the ocean be yours, may the protection of the ancestors be yours. And so may a slow wind work these words of love around you, an invisible cloak to mind your life. 4

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OUT OF THE WOODS (2010) Choreography by Mark Howard, Deirdre Vrbancic & Ashley Phelan Music by Different Drums of Ireland Lighting Design by Stan Pressner Costumes by Gregory Slawko SONG Original music by Brendan O’Shea STEP ABOUT (2010) Choreography by Mark Howard Music by Different Drums of Ireland Lighting Design by Dustin Derry Costumes by Rie McGarry NINA – No Irish Need Apply (2012) Choreography by Mark Howard Music by Mike Kirkpatrick Lighting by Dustin Derry Costumes by Birgit Rattenborg Wise The strength of the dancer’s heartbeat and rhythm is felt as it was during times of anti-Irish sentiment where they were told, “No Irish Need Apply.” JOHNNY (1990) Choreography by Mark Howard Original Music by Mike Kirkpatrick Vocals by Yvonne Bruner Lighting Design by Rebecca Hibbs Costumes by Birgit Rattenborg Wise Created for, and premiered by, Trinity Irish Dance, on NBC’s “The Tonight Show” with Johnny Carson, NBC Studios, Burbank, California, on March 15, 1991. At this time, “The Tonight Show” had the largest viewing audience in television. INSTRUMENTAL CURRAN EVENT (2000) Choreography by Séan Curran in collaboration with the dancers Original Music by Kila Body Percussion Originally Developed with Tigger Benford Lighting Design by Joel Silver Costumes by Séan Curran and Rose Marie McGarry Soloist: Carly Haslee

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Using techniques from the post-modern choreographer’s toolbox, Curran has added arm movements and body percussion rhythms for hands (slapping, clapping, and snapping) to Celtic fleet footwork. SYDNEY (2014) Choreography by Mark Howard and Dolores Taafe Music by Mike Kirkpatrick Lighting by Dustin Derry Costumes by Shamrock Stitchery Soloist: Sydney Niewedzial One of the most innovative young dancers in Trinity’s 30-year history, Sydney Niewedzial has pushed the boundaries in both the competitive and performance dance circuit.

-INTERMISSIONHOOLEY HUSTLE (2013) Choreography by Séan Curran Music by Kila Lighting by Dustin Derry Costumes by Séan Curran INSTRUMENTAL TREBLE JIG (1995 – Original choreography; 2014 – Re-choreographed) Choreography by Mark Howard and Delores Taafe in collaboration with the dancers Lighting Design by Dustin Derry Costumes by Rie McGarry Treble Jigs are played in the 6/8 time signature and performed in “jig shoes,” which were the precursor to American tap shoes. Historically, when the British tried to Anglicize Ireland by wiping out Gaelic traditions, Irish tunes were kept alive by teaching the youth to tap out the rhythms in the privacy of the home. Through adversity, a beautiful art form flourished.

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PROGR A M

CHALLENGE (2012) Choreography by Mark Howard, Ellen G. Waller, Garrett Coleman, Billy Donahue, Darrin Smith, Tyler Schwartz and Kieran Coleman Music by Different Drums of Ireland Lighting Design by Dustin Derry In the late 1800s, African boot dancers and Irish step dancers collaborated in the Vaudevillian phase of Broadway. Their amalgamation lead to the new American tradition of tap dance and hoofing. The hoofing tradition dictates that a dancer cannot back down from a “challenge.” A NEW DAWN (1997 – Original choreography; 2012 – Re-choreographed) Choreography by Mark Howard and Richard Griffin with additional movement by Anne McCarthy and Michelle McNamara Music by Stone and Liz Carroll Lighting Design by Joel Silver Costumes by Birgit Rattenborg Wise At the dawn of May, a platoon of tall, beautiful women landed on Irish shores. Warriors all, they had come from Spain. Trinity has won the gold medal for the United States at the World Championships of Irish Dance four times with their performance of this piece. DRUM SOLO Original Music by Barret Harvey BLACK ROSE (2004) Choreography by Mark Howard Drum sequences by Stephen Matier Music by Stone, Liz Carroll and Different Drums of Ireland Lighting by Dustin Derry Costumes by Birgit Rattenborg Wise INSTRUMENTAL ROY (2012) Choreography by Mark Howard and Ellen G. Waller in collaboration with the dancers Music by Different Drums of Ireland Lighting by Dustin Derry Costumes by Birgit Rattenborg Wise All of us impact some of the world. Some impact all of it. Young Auditorium

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A B O U T T H E T R I N I T Y I R I S H DA N C E R S The Trinity Irish Dancers quickly dispel whatever notions you may have about Irish dance. Founded in 1981 by Artistic Director Mark Howard, this innovative dance group is constantly searching for original means of expression while maintaining a high regard for old traditions. Trinity, a uniquely Irish-American group, was the birthplace of progressive Irish dance which opened new avenues of artistic expression that led directly to commercial productions such as “Riverdance.” A majority of Trinity’s dancers came through the ranks of the prestigious Trinity Academy of Irish Dance, the Chicago/Milwaukee-based school that has garnered an unprecedented 37 team world titles for the United States at the World Championships of Irish Dance. Many of them have danced together since they were children; building an instinctual bond that allows them to take risks no other dance group would dare attempt. Their years of rigorous training are evident in every perfectly paced spin, leap and click, making them a lethal powerhouse of speed and sound that has electrified audiences around the world. Not content to be simply the world’s best however, Founding Artistic Director and Emmy Award-winning choreographer Mark Howard has moved outside the framework of ethnicity, expanding Trinity’s range and repertoire in a host of imaginative and new directions. By using Irish dance as an instrument and a metaphor, Trinity crosses both cultural and disciplinary boundaries in important ways. The result is a thoroughly fresh and engaging artistic vision that goes beyond the source without losing touch with its essence. Over the past several years, Trinity has also collaborated with many noted contemporary choreographers which have led them to an increased vocabulary of 8

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movement. Two of Mr. Howard’s students, Deirdre Mahoney Vrbancic and Ellen G. Waller, were named as Associate Artistic Directors of the group in 2003 and 2005, respectively. Deirdre and Ellen are the first of many young choreographers that will emerge from the bridges built by the unique Trinity program. The Trinity Irish Dancers, made up of dancers between the ages of 16 and 26, have performed to great critical and popular acclaim on stages throughout the world, with sold-out tours in Europe and Asia and appearances in such distinguished venues as Washington’s Kennedy Center, New York’s Joyce and New Victory Theatres, and Los Angeles’s Royce Hall. Trinity has appeared in feature films by Disney, Dream Works, Touchstone and Universal, including “Backdraft” and “The Road to Perdition,” and on countless National television programs including “The Tonight Show” with Johnny Carson and Jay Leno, “Late Night with Conan O’Brien,” “CBS This Morning,” “Live with Regis,” “Good Morning America,” and the “Martha Stewart Show.” The group has toured internationally as invited guests for dignitaries as varied as the Royal Family in Monaco, Ireland’s President Mary Robinson, and Indian meditation master Gurumayi Chidvilasananda. Trinity has appeared on the PBS Television Specials “One Step Beyond” and “World Stage,” and was featured in the ABC special “Dignity of Children,” hosted by Oprah Winfrey. Trinity holds a unique place in the dance world, offering both a highly skilled presentation of traditional Irish step dance and a brilliantly engaging interpretation of contemporary world vision.


M A R K H OWA R D (A R T I S T I C D I R E C TO R / F O U N D E R ) For the past 30 years, this Emmy Award-winning choreographer has been striving for and achieving that which is profoundly significant and equally difficult to attain – the transcendence of craft to art and the synthesis of forms to create something that is forwardlooking and new. His work maintains integrity while simultaneously going beyond the framework of ethnicity to carve new traditions. Born in Yorkshire, England, and raised in Chicago, Mr. Howard began his dancing career at age nine. A North American Champion Irish dancer himself, he launched the Trinity Academy of Irish Dance at age 17, subsequently leading them to an unprecedented 37 World Championship titles for the United States the first when he was only 23 years of age. Since its inception 30 years ago, the Trinity Academy has grown from a dozen students practicing in a church basement to the largest Irish dance program in the world.

Touchstone, Universal and Dream Works, working with the likes of directors Ron Howard (Backdraft) and Sam Mendes (American Beauty). Lara Flynn Boyle (Twin Peaks) and Kate Hudson (Almost Famous) are among the celebrities who have been his students. He also became the personal dance coach for actor Tom Hanks over a two month period while working on the film, Road to Perdition. Mr. Howard was a regular guest on “The Johnny Carson Show” from 1988 until 1990, has accumulated a multitude of national television credits and has worked in a variety of stages from commercials to theatre and being awarded numerous choreographer fellowships and grants in the arts.

Mr. Howard continues to choreograph new works as well as expanding his independent career to work in theatre, television, concert and film. In 1994 and 2001, he was named one of Irish American Magazine’s “Top 100 Irish-Americans” for his innovative work in Irish dance. In 1991, his PBS production of “Green Fire and Ice” aired nationally, and in 2002, PBS began airing “One Step Beyond.” Mr. Howard’s early work found a common rhythm and movement between African and Celtic dance, which was an integral part of the 1993 Emmy Award-winning PBS special “World Stage.” In 1995, his choreography was presented in the ABC special “About Us: The Dignity of Children,” hosted by Oprah Winfrey. Mr. Howard has done extensive film work for Disney, Young Auditorium

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A B R I E F H I S TO R Y O F I R I S H DA N C E Traditional Irish dancing is tightly choreographed and all attention is directed to the speed and accuracy of the footwork, the spacing of the ensemble, and the precision of the dancers’ movements. The dancers’ arms are held tightly to their sides. Dances are performed in hard shoes (jig shoes) and soft shoes (ghillies) with steps set to traditional reels, jigs and hornpipes. Hard shoe dances, or step dances, are noted for the thunderous beat from the tap-like shoes. In soft-shoe dances, the dancers execute small jumps, quick beats and ankle-twisting crossover steps. These dances are traditionally performed wearing wool costumes adorned with handmade lace and Celtic embroidery. Irish dance dates back to historical references of ethnic traditions in 16th century Ireland. It is synonymous with Irish independence and cultural identity. Throughout history, these ancient dances were never documented nor recorded due to Ireland’s occupation by England, which controlled the history’s documentation. In Ireland, the British banned all Gaelic cultural traditions during the 400-year period known as the Penal Days. Through this adversity, a beautiful art form was born. Despite England’s attempt to Anglicize the children of Ireland, step dancing evolved behind closed doors. Irish musical instruments were forbidden. Therefore, parents taught children Gaelic tunes with rhythms tapped out by their feet in front of the hearth. Irish music also survived through mouth music, or “lilting,” an art form similar to the African American tradition of “scatting.” Some historians believe that the stiff upper body seen in Irish dancing today came as a result of children being taught the footwork without moving their upper bodies so they couldn’t be seen through the windows while they practiced. At family gatherings, a sort of “oneupmanship” took place between family members. If the grandpa performed one 10

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click, the niece or nephew might show off a double click, and so on. The father and son would often try to out-step each other through a series of complex steps and rhythms. This tradition evolved into what is well known as a challenge in tap and hoofing circles. It was the competitive nature innate in the Irish people that allowed Irish step dance to evolve and survive. After the Penal Laws were lifted in late 1800s, inspiring the Great Gaelic Revival, Irish dancing gained momentum. The 18th and 19th centuries saw the rise of the dancing masters, who traveled from town to town, teaching Irish dance for about six weeks in one place. Sometimes these masters competed for a teaching spot in a town. The dancer knowing the most dance steps won the position. They often used small spaces, such as the top halves of doors, as their dancing surfaces, frequently soaping the surfaces to make it more challenging. Most likely, these dancing masters were responsible for developing the ceili dances and the set dances. The Potato Famine of 1845-1850 sent millions of Irish people to America in search of a place where they could make a better life for their families. As they began emigrating from Ireland to the United States, they experienced employment discrimination, meeting “No Irish Need Apply” signs on the doors of most businesses. Many resorted to careers in show business. On Broadway during the days of Vaudeville, the African American boot dancers met Irish step dancers, creating what we now call American tap dancing or “hoofing.” Many of Vaudeville’s earliest starts were Irish step dancers whose lineage ended with performers like James Cagney and Grace Kelly. Cagney’s low-heel, grinding style had much to do with the basics he learned from the Irish step dance tradition.


T H A N K YO U

Thank you to all of our sponsors and supporters for the 2013-14 Season! SEASON SPONSORS

CORPORATE SPONSORS

MEDIA SPONSORS

GRANTS

PREFERRED LODGING

PREFERRED CATERING Young Auditorium

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SATURDAY, MARCH 8, 2014 • 2:00 PM Horizons Family Series Presents

Conceived and Written by

Jim Caron

Music and Lyrics by

Michael McGill, Bob Hubley and David W. Simmons Copyright © 1983, 2005 Jim Caron, Michael McGill & MCT, Inc. MISSOULA CHILDREN’S THEATRE (MCT, INC) 200 North Adams Missoula, Montana 59802-4718 Phone 406-728-1911 Fax 406-721-0637 All Rights Reserved There should be no flash photography during the performance. There will be a time for photos immediately following the show. Please check the houseboard for any program changes. Please observe the following video courtesies: • Keep the aisles clear and stay in one place while videotaping • Use only battery operated cameras and cover the video camera’s power light with dark tape. • Please silence all cell phones.

Estimated run time: 60 minutes Supported in part by a grant from the Montana Arts Council, an agency of the State Government, and the National Endowment for the Arts.

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A B O U T T H E S H OW The story is as familiar as it is beloved. That nasty tornado carries Dorothy and her canine pal Toto from the friendly confines of her Kansas home to a fabled fantasy of mystery in the land of Oz. With the help of the Munchkins and Glinda herself, our young Miss Gale and her loyal pooch join forces with the dancing Scarecrow, the romantic Tin Man and, of course, the everpopular Cowardly Lion. Off they go down the Yellow Brick Road – side-stepping Winkies and a Wicked Witch – on their perilous journey to find the Wizard and ask for his help. For they are sure his Wizness will grant their wishes and send Dorothy and Toto back to their home – or will he? We’ll never tell. Come see for yourself.

Throughout its 40 year existence, the Missoula Children’s Theatre International Tour has fostered developmental life skills in more than a million kids.  Just this year, we will work with 65,000 children in more than 1,200 communities in all 50 states and 17 countries.  The Missoula Children’s Theatre relies on your generosity to close the gap between low tour fees and the actual cost of touring.  If our program has had a positive impact on you or a family member, and you would like to help ensure this experience for future generations, please contact Development Director, Cate Sundeen at csundeen@mctinc.org.

MEET THE TEA M CJ BONDE CJ is excited to tour with the Missoula Children’s Theatre. After growing up in Cleveland, Ohio, she earned her BFA in theatre with an emphasis in acting from West Virginia University. Her favorite roles include “Ado Annie” in Oklahoma; “Kate” in Old Times, and “Dorothy” in The Wizard of Oz. In her spare time, she enjoys music, reading, and the outdoors! CJ thanks her directors and teachers for all they have taught her, as well as her family for their love and support.

ELIZABETH BEHNKE Elizabeth began acting, dancing and singing at a young age in Hastings, Minnesota. She graduated from Augsburg College with a BA in theater with concentrations in performance and directing/dramaturgy and a minor in musical theater. Favorite productions include “Luisa” in The Fantastiks; “Charity” in Anything Goes; and “Henriette” in The Learned Ladies. Huge thanks to Mom and Dad for their unending support!

Federal employees now contribute through the Combined Federal Campaign using CFC code #20396.

Missoula Children’s Theatre 200 N. Adams, Missoula, MT 59802-4718 www.MCTinc.org 406-728-1911 tour@MCTinc.org

Join us on Facebook! http://www. facebook.com/MissoulaChildrensTheatre Young Auditorium

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M I S S O U L A C H I L D R E N ’ S T H E AT R E It was the summer of 1970. Jim Caron, unemployed and searching for a mission in life, was on his way from Chicago to a friend’s wedding in Oregon when his aging Volkswagen van broke down. The nearest service station was—fortunately and fatefully—in Missoula, Montana. While waiting for the van to be patched together, Jim noticed an audition poster for Man of La Mancha. Just for fun, he auditioned and was cast in the role of “Sancho.” An instant and lasting friendship was developed with Don Collins, the actor playing “Don Quixote.” Along with Don, Jim organized a company of adults who performed plays for children on a make-shift stage in a local movie theatre. The plays—as well as the idea of developing live theatre for kids— were well received in Missoula, and soon nearby Montana and Idaho communities requested performances of their own.

During the early seventies, the company began to cast kids when it seemed appropriate such as in Hansel and Gretel or Snow White and the Seven Dwarfs. In 1972, when February performances of Snow White were booked into Miles City, a small Montana community located an icy 500 miles from Missoula, Jim and the other directors weren’t excited about the responsibility of traveling with seven children across the state, so they decided to take a radical step; they would attempt to cast the dwarfs from children in Miles City. The directors traveled across the state a week before the rest of the company, a bit skeptical about finding seven kids who might be interested in being in the play. When 450 children arrived, the astonished team auditioned the huge group and cast the seven roles. The success of that week—obvious major interest among kids, parents, teachers, and even the press as well as an excellent production and sold out audiences—opened the eyes of the MCT staff and the doors to the future. The lessons learned in those early days, especially the rewards of involving children as cast members, set the stage for today’s International Tour, Performing Arts Camps, a strong local children’s season, Missoula Community Theatre, and the magnificent home base facility which opened its doors in 1998. As for the future, MCT continues to reach for the stars.

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@FOOTLIGHTScom For obvious reasons, you should not tweet while the performers are on stage.

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SATURDAY, MARCH 15, 2014 • 7:30 PM

AND

Cultural Affairs Present

All of the performers in “The Highwaymen – A Musical Tribute” deliver an earnest tribute to these country music superstars. Each song, one hit after another, is sung as if it were the original band performing with the friendship and camaraderie that existed between these legends. PERFORMERS Waylon Jennings..................................................................................................................................Bob Gill Willie Nelson........................................................................................................................... Michael Moore Johnny Cash................................................................................................................................. Philip Bauer Kris Kristofferson.........................................................................................................................Justin Curtis Estimated run time: Two 45-minute sets and an intermission. The taking of pictures and/or making of visual or sound recordings are expressly forbidden. Please check the houseboard for any program changes.

THANK YOU TO OUR MEDIA SPONSORS:

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T H E H I G H WA Y M E N - A M U S I C A L T R I B U T E Good Men, Country Men….. The Highwaymen A Musical Tribute Perhaps the greatest super group in country music history, the original Highwaymen, formed in 1985, consisted of Waylon Jennings, Willie Nelson, Johnny Cash and Kris Kristofferson. Combining their unique approaches to life and recording, they traveled the world performing traditional country music to millions of fans. With a youthful fervor that equaled their younger contemporaries, the original Highwaymen entertained their audiences far and wide performing many of their biggest hits to sold-out audiences around the world. This recreation of that amazing, never-to-be-seen-again band continues that legacy.

All of the performers in “The Highwaymen – A Musical Tribute” deliver an earnest tribute to each of these world famous country music superstars. Watch in amazement as each hit is sung just as if they were seeing the original band perform in 1985. Witness first-hand the friendship and camaraderie that existed between these legends, reliving one of the greatest moments in country music history. This show is full of the upbeat, honky-tonk hits you know and love. Go back in time when country music represented the true America we all knew and loved. When a man’s word was his bond and a woman’s honor was something to fight for. Relive the glory days of the American frontier when country music was made by Good Men, Country Men, The Highwaymen.

BIOGR APHIES Bob Gill as Waylon Jennings Bob has been singing since his preschool years and has performed in phases from a one man band incorporating floor bass, guitar and beat box, to a six piece cover country band. He has performed in Nashville and across North America and has several albums to his credit. He became interested in Waylon’s music when he heard him in the early seventies and has amassed a repertoire of most of Waylon’s songs. During his travels, he increasingly became compared to Waylon in both appearance and vocal style. Since Waylon’s death in 2002, Bob turned his focus exclusively to preserving Waylon’s music. When you hear Bob sing Waylon’s music and close your eyes, you are there, in the midst of fans at any one of the late performer’s concerts. Bob, like Waylon, 16

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sings with a style that comes from the soul and reflects both the joy and pain of a man who has experienced each. Michael Moore as Willie Nelson Michael was born and raised in McKinney, Texas, and his passion for Willie Nelson’s music came at an early age. Even then, Michael knew that there was something unique about Willie’s voice; an unusual style and phrasing that was hard to match. Through many years of study and about a million “Whiskey Rivers” later, Michael’s unique ability to capture the country music legend’s voice and style are considered by many to be the best in the world. Michael is also an accomplished guitar player and performs all of the guitar parts played by Willie in his shows. Michael has performed his Willie Nelson tribute


BIOGR APHIES show throughout the United States and as a solo artist and also with several top tribute shows including “Cavalcade of Stars,” “Mirror Image,” “Memories Theatre” and “Superstars Live in Concert.” Philip Bauer as Johnny Cash Entertaining people is all Philip Bauer ever wanted to do! His dynamic stage presence, quality and impressive vocal range has been thrilling audiences for many years. Philip started his musical path in Minneapolis, Minnesota where he started thrilling audiences with his quality performances and competing in and winning many talent contests. In 1996 Philip auditioned and was immediately asked to perform on the “Charlie Daniels Talent Round Up” on TNN. In 1997 at Johnnie Highs Country Music Revue, Philip left the stage with a Standing Ovation as the warm up act for superstar Leann Rimes. A songwriter in his own right, Philip has had his own original music played on over 300 radio stations across Europe. Selective Records out of Nashville marketed his songs to the European market. Listeners and station managers all across Europe faxed enthusiastic reviews to the Nashville label. Philip currently travels across the United States, Canada, and Mexico performing ”The Legend of Johnny Cash Show” to sold out audiences in theatres, casinos, fairs and festivals.

Justin Curtis as Kris Kristofferson Justin Curtis was born in Manitoba, Canada during the time when the Bee Gees, Donna Summer and Earth Wind and Fire ruled Billboards Top 40 charts.  From an early age Justin found himself musically isolated in a sea of disco and dance.  He was drawn to more human emotions not popular on the radio.  Love, spiritual birth and a desire for what it means to have and lost or sacrificed everything.  Yearning for more he found it in the music of a lost era.  Country, Folk, Bluegrass and Gospel found fertile ground in the ears and mind of this young Canadian.  He submerged himself in the music of the true greats; Patsy Cline, The Carter Family, Woody Guthrie, Bill Monroe. After high school Justin attended Belmont University in the country music capital of the world, Nashville, TN.  Studying arts and humanities he was exposed to some of greatest musicians in the world who challenged him to be the best.  He quickly became an accomplished rhythm guitarist but also became and outstanding vocalist, bass, harmonica and piano player.  After he signed a record deal with Reptile Records he evolved in the Nashville “scene” and began to appreciate more and more the quick wit of the old school country classics and the performers who sang them.  Among all of the country music greats, Kris Kristofferson is the one he identified most with.  Justin now lives in Los Angeles, CA.

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M E M B E R S 2 013 -14 Director’s Council James R. Connor Lolita Kachel Michael Ross Director’s Circle Ron & Ann Abele James & Julie Caldwell Robert & Yvonne Fiskum David & Kathy Granum H. Gaylon & Hannah Greenhill John & Sandra Heyer Dr. Beverly Kopper Mark McPhail Kenneth & Dorothy Otting Francine L. Pease Julian & Anne Stinson Chuck & Barb Taylor Richard & Veronica Telfer Ambassador Craig & Bonnie Anderson Richard & Kathy Haven Dawn & Lyle Hunter Mitzi Joseph Ken & Susie Kidd James E Killian & Roberta Rohdin Killian Ken Kohberger Everett & Ellen Long Craig & Amy Matzinger Dennis & Margaret Rohrs Carole Scharinger Betty Schoonover Richard & Judy Triebold Elmer Werhane Patron Bill & Karen Bohn Benjamin Strand & Kari Borne Robert & Marion Burrows Winona Campbell James Carlson Jo Coulthart Donna G. Fox Ginny Hall Glenn & Christine Hayes John & Nancy Hoffmann John Hunter

Geraldine Jennings Keir & Barbara Johnson Orville & Carol Larson Nels & Gloria Madsen Connie & Alan Marshall Rowland & Audrey McClellan Michael & Jean Morrissey Margaret Mueller Terry & Arlene Ostermeier Jan Palzkill Mary Hill-Roth & Ted Roth Dennis & Mary Salverson Jim & Sue Schlough Jerry & Bunny Schoen Lewis & Kathleen Scott Cynthia Smith Charles Taggart Dean & Shirley Taylor Donald & Marjorie Triebold Pamela & David Van Doren Robert Wright & Elizabeth Asher Karl & Doris Zahn Supporter Curtis & Diane Abendroth Helmut & Martha Ajango Stanley & Ann Alger Jackie Amundson & Dean Zweifel Rod Anderson Julia & Robert Armstrong Michael & Karen Atwood Patricia & Thomas Bauhs Thomas & Christine E. Beckman Dale Benson James & Ginger Best Lynn & Cheryl Binnie Ron & Marilyn Binning Bryan & Rose Ann Bishop Elizabeth Blumberg Forrest Bright Susan Burkhardt Mary Beth Byrne Gerald & Lois Caslavka Mr. & Mrs. Cohen Antionette Czebotar Dean & Bonnie Dahnert Jack & Betty Frawley Deb & Dave Gamble

Audrey & Christian Gatz Nancy & Leo Geidel Barry & Margo Goldberg Karla Goodman Kathy & Jim Gross Carol Guequierre Mark Gustafson & Su Ash Gustafson Hans Hahn & Carla Cheek Margaret Hancock Diane Hanson John & Jean Henderson Mark Hildebrand Lloyd & Daphne Holterman Gene & Charlotte Huntley Helene Hurdis Richard & Susan Kaja Mary Kenne Mary & Steven Kennedy Debra & Ken Kirkeby Sharon & Jeff Knight Bob & Gloria Knipschild Leota & Steve Larson Leece & Phillips Law Office Gregg & Laura Lester Dr. Steven & Larissa Lyon Sandra Matson Don McComb Barbara McGlynn Mary Kaye Merwin Jim & Carol Miller Dr. Hank Mol John & Arlene Newhouse Lois O’Brien Tom & Mary Oehler Kim & Denise O’Keefe Michael & Marie Olson Richard & Judy Owens Mark & Terrie Parenteau Larry & Mary Peiffer Kirke & Elaine Plank Stephen & Diane Raebel Rauland Realtors Dale & Colleen Riggs Janet M. and Robert Rortvedt Dick & Julie Ruhe Daniel Sable Kathleen Salzwedel Doug & Karen Saubert Alice Scherer Young Auditorium

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M E M B E R S 2 013 -14 Ervin Schlepp Dennis & Evelyn Schulz Robert & Sharon Schweitzer William & Marlyne Seymour Roger & Helen Shimon Larry & Edie Simons Patrick & Luly Snyder Barbara Stallman Dave & Bonnie Stanley David & Cheryl Stedman Ann & Howie Stiff Lee Stoneking Michael & Heidi Swerdlow Richard & Arlene Trewyn Karolyn & Hugo Tscharnack Ron & Sandra Van Able Carleen & Arthur VanderKoy John & Darlene Varnes David F. Veith Mary Lynn & Dennis Vogel Marge Ware Vivian & Fred Welch Estelle Wiesmann Eda Wilson

20

Young Auditorium

Richard & Margaret Winz Carole & Monte Witkowski Rod & LaVonne Wittwer Mark & Peggy Wuenstel Contributor Mary Adams Chris & Kristine Cameron George & Harriet Christopherson Janice Evans John Finney Margaret & Dale Fose Carol Grulich Jean & Wayne Hartwig Eleonora Jedrysek Kristin Koeffler Carole Koehler Dr. & Mrs. Robert Koenitzer Paul & Sue Kremer Fred Aschmann & Diane LaFontaine-Aschmann Steven Landfried Mary Lawrence Tammy McElwee Susan Mealy

Rosemary Metzdorff Bob Mischka Barry Mullen Thelma Robbins James & Cheral Sadler Merle & Mary Lou Schinke Alice & Curt Schwarz Thomas & Patricia Spiegelhof Steve & Linda Steinhoff Miles A. & Nancy Stejskal Gayle & Dale Stettler Robert Taylor Patricia Wales Doris & Alphonse Zimmerman David Zittnan Student Joseph Berman Owen Kirkeby Gerald Roche Lisa Tessene-Martin Matching Gifts USG Foundation, Inc.


Young Auditorium - BOOK 9 - Trinity/Oz/Highwaymen