Program Guide - Miami University School of Fine Arts

Program Guide - Miami University School of Fine Arts




Book and Lyrics by Gerome Ragni & James Rado

Music by Galt MacDermot

Directed by Bekka Eaton

Jack Liles, Musical Director

Tamara L. Honesty, Scenic Designer

Lin Conaway, Costume Designer

assisted by Trisha Hoffman

Jay Rozema, Lighting & Sound Designer

Jessica Basista & Robert Deason, Make-up Designers

Stacy Gear-Schindel, Choreographer

Steven R. Pauna, Technical Director

Kathleen Petroziello, Stage Manager

Produced by special arrangement with, and the music and dialogue

material furnished by TAMS-WITMARK MUSIC LIBRARY, INC., 560

Lexington Avenue, New York, NY 10022


(What’s So Funny ‘Bout)Peace, Love

And Understanding Lyrics

written by Nick Lowe

As I walk through

This wicked world

Searchin’ for light in the darkness of


I ask myself

Is all hope lost?

Is there only pain and hatred, and misery?

And each time I feel like this inside,

There’s one thing I wanna know:

What’s so funny ‘bout peace love &

understanding? Ohhhh

What’s so funny ‘bout peace love &


And as I walked on

Through troubled times

My spirit gets so downhearted sometimes

So where are the strong

And who are the trusted?

And where is the harmony?

Sweet harmony.

‘Cause each time I feel it slippin’ away, just

makes me wanna cry.

What’s so funny ‘bout peace love &

understanding? Ohhhh

What’s so funny ‘bout peace love &


So where are the strong?

And who are the trusted?

And where is the harmony?

Sweet harmony.

‘Cause each time I feel it slippin’ away,

just makes me wanna cry.

What’s so funny ‘bout peace love &

understanding? Ohhhh

What’s so funny ‘bout peace love &

understanding? Ohhhh

What’s so funny ‘bout peace love &



Ann Elizabeth Armstrong for overseeing the content and organization of the

dramaturgy for this Program Guide

Performance Guide Editor

Lisa A. Campbell


Amy Foster

Dr. Jeffrey Kimball

Jene Shaw


• Please turn off all cell phones and pagers.

• The taking of photographs or use of recording devices is strictly prohibited.

• If you have candy to unwrap, kindly do so now.

• Please note the closest exit in case of an emergency.

• Smoking is not permitted in the Center for Performing Arts.

• Please discard all food and drinks before entering the theatre.

• As a courtesy to the audience and performers, all latecomers will not be seated

until an appropriate break in the performance.


Please join us for an Opening Night reception, immediately following the

show on November 18, in the Gates-Abegglen Theatre Lobby.


Performance Guide CONTENTS

Director’s Notes 4

The Vietnam War 5

Suggested Readings 7

Synopsis/Musical Numbers 8

Who’s Who in the Company 9

Beware of Rules: A Look at the 60’s 13

Designers Notes 15

Company Credits 16



Youth has its own system of sifting through the noise of life to reveal some neglected truths. Youth will rise

to find itself and express that unique self…and this is the enduring strength of Hair. Throughout the history

of mankind, it has taken an immense amount of courage to point out the inconsistencies and hypocrisies of

each age—and courageous young people so often are on the front lines of that call-to-courage, both figuratively

and literally. Upon receiving the assignment of directing Hair, I wondered how I might be able to impart these

notions of truth and courage to a cast of college kids assembled in 2004. I feel a bit embarrassed about my

concerns as I write this today.

I am both astonished and humbled at the passion and care with which this cast has approached this play. They

have managed to take on the causes and concerns of the late sixties with compassion and a deep desire to “get

it right.” Further, they have made their own connections between the very specific issues of the late sixties and

those in their own lives; Vietnam and Iraq, relationships with parents—when world-views collide, consumerism,

stereotyping, censorship, sex pre-AIDS and post-AIDS, race relations—both hidden and overtly ugly prejudices,

the power and toxicity of language, the status of women at home and in society at large, leadership and being

lead, and the funky little big issue – freedom: what is it really, and what does it cost? We have posited the idea

throughout our rehearsal process that maybe—just maybe—what could fix a lot of these and other ill’s of society is

a whole lot more peace, love and understanding.

Why are these three concepts so often dismissed as nice, but ultimately ineffective and unrealistic remedies?

Does it seem too simple? What is simple about loving one’s enemies? About giving up blood-won territory to

accomplish peace? About striving to understand the motivations of someone whose actions seem abhorrent to

us? Yet are our customary alternative measures working? It takes a massive amount of courage and will to live

by a credo embracing peace, love and understanding.

John Lennon said, “War is over if you want it.” It’s just that simple. Children and young people know this

intuitively. Thank God for them. Maybe our younger generation can fix some of the mess we’ve left them with.

In any case, I’m proud to be the director of this lovely batch of young folk and proud for my part in presenting

to you this evening a vision of the American Dream that has nothing to do with picket fences, college educations

and bank accounts, but rather the soul of America.


Bekka Eaton (Director) teaches and directs theatre at Miami-Hamilton. Most recently, she directed Miami University

Hamilton Theatre’s productions of The Fantastiks and Summertree. Bekka is also a professional actor. After living lots of

other places for over 20 years, she once again calls Fairfield, Ohio home. Her acting history includes stage, television, and

film credits. She began her professional career as a resident company member in Chicago’s famed The Second City. Then

she enjoyed a long stage career as a performance artist, artistic director, and writer. Bekka also has logged over 2000 hours

in recording studios as both a singer and producer. Bekka wishes to thank her family, without whom a career in theatre

would be impossible – especially Jorni whose mama keeps crazy hours.


The creation, staging, and Broadway run of the countercultural, antiwar, rock musical Hair from 1965 to 1972 spanned the

period that most Americans remember as the time of America’s war in the tropical jungles and rice paddies of Vietnam.

These years, however, encompass only the peak period of fighting and dying by Americans, their allies, and the Indochinese

people. America’s involvement in what we in the United States commonly know as the Vietnam War actually began

twenty years before 1965 and finally ended almost three years after 1972. The appellation “Vietnam War” can be thought

of as either the generic name for the sum of two wars or as the name of one war with two major phases, with a brief

hiatus between them: the “First Indochina War” (1946 - 1954) and the “Second Indochina War” (circa 1957 - 1975). The

Vietnamese remember these as the “French War” and the “American War.”

This thirty-year conflict embroiled not only the prime combatants – Vietnam, France, and the United States – but also

Laos, Cambodia, the Soviet Union, China, and allies and clients in both Cold War blocs. It was rooted in Vietnamese

resistance to Western and Japanese imperialism, the global struggle between capitalism and Communism, the Cold War,

and social, political, and economic developments within the belligerent nations themselves. In the worldview of American

policymakers, the Vietnam War was the symbolic centerpiece of their effort to maintain their credibility as guarantors of

client regimes against revolutionary upheaval in the “Third World,” which they publicly justified as “fighting aggression.”

The way in which the United States became entangled in the conflict stands to this day as the prime historical example of

a “quicksand war.” With each step that U.S. administrations took by committing money, troops, or prestige to win the war

or to avoid defeat, the American nation walked more deeply into a quagmire of escalating conflict, from which escape with

honor became increasingly difficult.

The acquiescence of President Harry S. Truman’s administration (1945 - 1950) in the return of French forces to Vietnam in

1945 – after the Japanese had displaced them in 1941 – soon evolved into an American-supported war between colonial

France and the Vietminh, an indigenous, nationalist, Communist-led movement for independence and modernization.

Considering the high level of American aid to French forces after 1950, France fought, in effect, a proxy war on behalf of the

United States.

At the Geneva Conference in 1954, France, exhausted by the war, and the Vietminh, pressured by the Soviet Union and

China to compromise, concluded an internationally sanctioned agreement that provided for a cease-fire, the withdrawal of

French forces from Indochina, the temporary division of Vietnam into North and South, and a national reunification election

in 1956. Unhappy with the settlement, the administration of President Dwight D. Eisenhower (1953 - 1960) installed Ngo

Dinh Diem as America’s strongman in Saigon. Eisenhower supplied Diem with crucial economic support, civilian and

military advisers, and diplomatic backing in an effort to preserve the southern half of Vietnam as an anti-Communist bastion.

But fighting in the South between Diem’s U.S.-supported army and the Hanoi-supported southern National Liberation Front

(aka “Vietcong”) grew in intensity after Diem refused to participate in the 1956 election and then set about arresting and

executing his political opponents.

As the Vietcong’s political and military strength grew, President John F. Kennedy (1961 - 1963), like Eisenhower before him,

took steps to shore up Diem’s government. To this end, he increased the number of American military advisers from 950 to

16,000 over the course of three years. Many of these “advisers” were killed or wounded while bombing targets from the air

or patrolling on the ground.

Up to this point, most Americans had taken little notice of their government’s involvement in the Indochina conflict. The

American role in Vietnam was mainly of interest to a relatively small group of policymakers, lobbyists for President Diem,



and a few journalists and novelists. Among the latter was Graham Greene, author of The Quiet American (1955), and

William J. Lederer and Eugene Burdick, authors of The Ugly American (1958). By 1963, however, the sharp rise in casualties

among U.S. advisers fighting rebel guerrillas in the countryside and the dramatic protests of Buddhists in the cities against

Diem’s religious oppression had captured the attention of the American press and public and opened rifts in the national

consensus supporting U.S. foreign policy. Small groups of young and old antiwar activists, authors, Indochina experts, and

others spoke out against the war. Antiwar “doves” and pro-war “hawks” increasingly quarreled about the causes of the

conflict, the wisdom of fighting, and the morality and effectiveness of the manner in which their government was conducting

the war.

In early November 1963, South Vietnamese army generals assassinated Diem during a U.S.-sanctioned coup. Diem’s

violent removal did little, however, to stabilize the deteriorating political and military situation, as the Vietcong continued to

score significant gains in the countryside and army coup followed army coup in Saigon through the year 1964. Lyndon B.

Johnson, who had ascended to the presidency in late November 1963 upon Kennedy’s assassination, found himself faced

with the real possibility of losing a client government in Saigon to political instability and Vietcong advances. Alarmed, he

took steps to prop up the Saigon regime by dramatically Americanizing the war.

In early August 1964, Johnson manipulated a naval incident off the coast of North Vietnam to win congressional approval

of the open-ended Tonkin Gulf Resolution, which authorized him “to take all necessary measures . . . to prevent further

aggression.” After his election landslide in November, he and his advisers met to plan escalations in Vietnam. In late

February 1965, Johnson launched a massive and sustained bombing campaign against targets in South Vietnam, North

Vietnam, and Laos. In early March, he landed combat units near Danang. By year’s end, over 180,000 American troops,

airmen, and sailors were deployed throughout South Vietnam, with more on the way. In late 1968, American troop strength

reached 550,000. Most were draftees.

By 1965, meanwhile, a large antiwar movement had emerged in the United States, as had a “counterculture” movement.

The two were not the same. The antiwar movement was unconventional but “mainstream” in the sense that its adherents

believed in the value of taking political steps to bring about political change. They challenged the foreign policy orthodoxy

that had justified military intervention in Third-World revolutions and offered proposals for a way out of the quagmire of

Vietnam. The counterculture movement was counter-mainstream in its rebellion against cultural norms, including the norm

of political participation. Their rebellion focused instead on alternative hair, apparel, and musical styles, less restrictive

attitudes toward sexual customs and drug use, and the creation of small, non-hierarchical communities.

By 1967, however, both movements had adopted selected elements from one another. Some in the counterculture became

more politically active, and some in the antiwar movement, as well as in the general public, absorbed styles and behaviors

from the counterculture. James Rado and Gerome Ragni conceived Hair in this historical context.

The year 1968 was the time of the Tet Offensive in Vietnam and deep crisis at home. American military personnel and their

Saigon army allies engaged in bloody battle with Vietcong guerrillas and North Vietnamese regulars. Casualties continued

to mount on both sides, and they included great numbers of Vietnamese civilians. Johnson decided he would not run for

reelection, Martin Luther King and Robert F. Kennedy were murdered, cities once more erupted in race-related violence,

families and friends became even more divided, and advocates for peace and reform despaired.

Richard M. Nixon was elected president (1969 - 1974) in this context. He had promised during the presidential campaign to

bring about “law and order” at home and “peace with honor” in Vietnam. But in Vietnam his secret plan was to implement

new military strategies to force the other side to accept his peace. The plan included carrot-and-stick diplomacy with Hanoi,

Moscow, and Beijing, secret and dire threats to destroy North Vietnam, continued military operations on the ground, and

the expansion of the bombing of Cambodia, Laos, and North Vietnam. When his plan failed to force concessions, he

put greater emphasis than before upon withdrawing American troops (to signal that the war was “winding down”) and

“Vietnamization” in Vietnam (the accelerated training and equipping of the South Vietnamese army to compensate for

gradual U.S. withdrawals).


In the end, in January 1973, persistent deadlock in Vietnam and declining support for the war at home forced Nixon to

accept a compromise solution, which left the Saigon government in power but also left the North Vietnamese army in

place in South Vietnam, while granting tacit political recognition to the National Liberation Front. After U.S. forces withdrew,

renewed fighting broke out between Vietnamese adversaries, and in late April 1975, Saigon fell. Vietnam was reunited

under a Communist government. Although Nixon had privately anticipated this outcome, he, Henry Kissinger, and President

Gerald R. Ford (1974 - 1976) falsely blamed opponents of the war for the collapse of South Vietnam and the defeat of

American policy, thus helping to perpetuate division and bitterness.

By the time the Vietnam War came to an end, it had caused the death and wounding of millions, retarded Indochina’s

economic development, set in motion profound social and political changes within the main belligerent nations, and

contributed to a realignment in international relations. In America, the war both slowed and accelerated domestic reform

legislation, and it helped trigger inflation, “stagflation,” social division, political upheaval, a generation gap, and dissent within

and without the government. Policymakers drew conflicting lessons. Some saw the war as a tragic mistake; thus, future

wars like it should be avoided. Others saw the war as one in which defeat had been snatched from the jaws of victory; thus,

future wars like it could be won with better methods. The

war in Vietnam had served as a powerful catalyst for change

and conflict during the “Long Sixties” (circa 1956 - 1975). Its

legacy endures.

Jeffrey Kimball is a professor at Miami University

and the contributing editor of To Reason Why: The

Debate About the Causes of American Involvement

in the Vietnam War (New York: McGraw-Hill, and

Philadelphia: Temple University Press,1990) and

the author of Nixon’s Vietnam War (Lawrence:

University Press of Kansas, 1998), which won the

Ohio Academy of History Book Award and the Robert

Ferrell Book Prize. His latest book is The Vietnam

War Files: Uncovering the Secret History of Nixon-

Era Strategy (Lawrence: University Press of Kansas,

2004). He is also the author of numerous articles

and book chapters on diplomacy, war, peace, and

historiography, the former president of the Peace

History Society, a former Nobel Institute Senior

Fellow, and a former Woodrow Wilson International

Center Public Policy Scholar.

Hair - Musical Numbers & Synopsis

Musical Numbers - Act I

Aquarius - Ronny & Tribe

Donna - Berger & Tribe

Hashish - Tribe

Sodomy - Woof & Tribe

Colored Spade - Hud & Tribe

Manchester, England - Claude & Tribe

I’m Black - Hud, Woof, Berger, Claude & Tribe

Ain’t Got No - Woof, Hud, Dionne & Tribe

Dead End - Quartet

I Believe In Love - Sheila & Trio

Ain’t Got No Grass - Tribe

Air - Jeanie, Dionne, Crissy

Initials - Tribe

Kama Sutra - Orchestra

1930’s - Berger

Manchester II - Claude & Tribe

I Got Life - Claude & Tribe

Going Down - Berger & Tribe

Freak Out - Orchestra

Hair - Claude, Berger & Tribe

My Conviction - Margaret Mead

Sheila Franklin - Tribe

Easy To Be Hard - Sheila

Hung Up - Tribe

Don’t Put It Down - Woof, Berger, Steve

Frank Mills - Crissy

Be-In “Hare Krishna” - Tribe

Where Do I Go - Claude & Tribe

Musical Numbers - Act II

Electric Blues - Quartet

Oh Great God of Power - Tribe

Manchester III - Tribe

Black Boys - White Girls Trio

White Boys - Black Girls Trio

Walking in Space - Dionne, Steve, Leata, Jeanie,

Sheila & Tribe

General Washington - Orchestra

Indian Music - Orchestra

Minuet - Orchestra

African Drums - Percussion

Abie, Baby - Hud & Others

The War - Monks, Nuns, Tribe

Three-Five-Zero-Zero - Tribe

What a Piece of Work is Man - Ronny & Walter

How Dare They Try - Tribe

Good Morning Starshine - Sheila & Tribe

The Bed - Tribe

Reprise: Ain’t Got No - Claude & Tribe

The Flesh Failures (Let the Sun Shine In) - Tribe

Eyes, Look Your Last - Claude, Sheila, Dionne &


The American Tribal Love-Rock Musical HAIR is a stage work in two acts. There are no specific

scenes. The setting indicates the fluid-abstract world of the 1960’s as seen by, for and about

“The Flower Children” of the period.

There will be one 15-minute intermission between Act I and Act II.



Jack Liles, Conductor

Trumpet - Alex Nauth and Creel O’Neil

Trombone - Darren Ling

Baritone Saxophone - Jeremy Dewinter

Keyboard - Brian Hoffman

Guitar I - Jay Brunner

Guitar II - Adrian Martin

Bass - Steven S. Myers

Percussion I - T.J. Hartman

Percussion II - Thomas Sparling

Rehearsal Pianists: Brian Hoffman and Beth Chapman-Broyles

Portia Alves (Hud) is a sophomore Family Studies major who enjoys and appreciates the performing arts. This is her first theater

experience here at Miami University, but she has played Mary Magdalene (Jesus Christ Superstar) and Scarecrow (The Wiz) in high school

productions. Portia would like to thank her friends for being supportive of her endeavors and the cast for being so extra random. She

would also like to state for the record that she dislikes black eye peas and loathes chitterlings, but loves collard greens. Also, while she

does admire the groovyness of White boys, Black boys ARE delicious.

Lisa Jean Baldwin (Jeanie) is a first year Music Education major at Miami. She was last seen as Rosemary Pilkington in the Lakota East

production of How to Succeed in Business Without Really Trying. In her free time she enjoys writing music, playing piano, and riding

roller coasters. You might have heard her at your local church, as she sings at weddings on the weekends. She would like to thank: God

for all His blessings, her family for all their love and support, her friends at Collins Hall, the cast and crew of Hair, and her friends and

family from Westchester and Wisconsin.

Jessica Basista (Make Up Designer) is excited to be a sophomore Theater major here at Miami, and is even more thrilled to get to work

on her second show for hair and make up. She was fortunate to design the hair for last years Genesis Project, and hopes everyone likes

the hair and makeup Robert and she designed for this cracked out rock musical Hair.

Jon Corvin-Blackburn (Woof) is a first-year here at Miami University. He plans to major in Integrated English Education with a minor in

Theatre. With his free time, Jon enjoys watching movies, shopping, and playing Super Nintendo with his Collin’s buddies. Jon wants to

wish everyone in the cast and crew good luck and he hopes that you will enjoy the show.

Pocha Carter (Hiram) was born in Peoria, Illinois and was raised right outside Chicago. He is a first year Political Science major. He is

excited to be part of one of Miami’s renowned productions. His past productions include The Wiz and Scrooge Has Left the Building. He

would like to thank “Stage Mom” Kathleen, his secret crush/director Bekka and the entire cast., a.k.a. the Hair family. Oh yeah, he wants to

thank his real family; Mom, Dad and Baby Bro. He dedicates this performance to his grandmother “Miko”.

William Doan (Producer/Chair) holds a BA from Gannon University, and MFA from Virginia Commonwealth University and a Ph.D.

from Case Western Reserve University. He served eleven years as the Director of Theatre at Gannon, then as Director of Liberal Studies,

Associate Provost for Academic Affairs and Dean of the College of Humanities, Business and Education. Dr. Doan is known nationally in

professional theatre in higher education organizations, currently serving as National Treasurer for the Association for Theatre in Higher


Education. His theatre productions have been recognized with numerous certificates of merit by the Kennedy Center/American College

Theatre Festival, and he has been honored for outstanding teaching. In addition to creative work, Dr. Doan maintains a commitment to

published scholarship. Dr. Doan co-authored Prophecy, Power and Performance for Trinity Press, scheduled to be released in spring


Tya Sharel Dawson (Dionne) is a junior at Miami, majoring in English Literature. Hair is Tya’s first performance, however as a former

interior design major, she has worked with Miami’s Department of Theatre in the area of set design. In the spring, she will be a set design

assistant for Miami’s production of Pentecost. Tya would like to thank all of those who have supported her in this endeavor. To my family,

thank you for always believing in me. Special thanks to Dylan, Erica, Majida, Megan, and Shiree for giving me the confidence to go for it!

And to Miami’s Department of Theatre and the cast and crew of Hair, thank you for all of your hard work, talent, patience, friendship, and

love. Peace.

Gion DeFrancesco (Production Manager) joined the faculty of Miami University in the fall of 2001 and teaches courses in scene design,

design communication skills, scene painting and American musical theatre. He also designs scenery and serves as scenic charge artist for

MU Theatre productions. Recent designs at Miami include The Boys from Syracuse, Anowa, As Bees in Honey Drown, Green Gables, and

Venus. Regionally he has designed and painted at a number of theatres across the country including Big River at the Gallery Players of

Brooklyn, I Love You! You’re Perfect! Now Change! at the Florida Repertory Theatre, and The Magic Flute at the Illinois Opera Theatre.

Tom Featherstone (Scene Shop Supervisor) has managed the Scenic Studio since August of 1995. He teaches laboratory courses for

the Theatre Department in set construction. He is a former Technical Director at Miami University Theatre, Evansville Dance Theatre and

Indianapolis Civic Theatre.

Austin Frazee (Margaret Mead) is a junior Interdisciplinary Studies major with a focus in design for theater. His earlier roles at Miami

University include Mannoury in The Devils and Three in The Successful Life of Three. He comes to Miami from Newark Ohio where he

studied mainly theater, art and music. He would like to thank his friends and castmates for living the hippie life in Hair for the last few

months with him and hopes that they remain as close as they are now.

Renee Gorka (Crissy) is a senior Theatre major from Madison, Ohio. She has also been seen in Six Characters in Search of an Author,

Boys From Syracuse, and Birds. She is currently directing Icarus’s Mother by Sam Shepard for the 600 festival. Renee is also a member of

the Misfitz, a student run all girls a cappella group. She would like to thank Caroline, Drew, and her parents.

Julia Guichard (Vocal Coach) is an Assistant Professor of Theatre at Miami. In addition to serving as vocal coach during the production

season, Julia teaches voice, speech and acting and is a certified teacher of the Alexander Technique. She is also an actress; recent roles

include Clara in Hay Fever for MU Summer Theatre and Gertrude in Hamlet for Stage First Cincinnati. Julia holds a BFA in acting from the

Goodman School at DePaul University and an MFA from Penn State.

Chris Heaton (Walter) Chris is a first year Theater major. This is his first production at Miami University. In high school, he was a part of

four musicals including Oklahoma! and Fiddler on the Roof. He would like to thank all the people in the cast, Bekka and stage managers,

and his multiple roommates that have helped with his work. He would also like to thank his family, especially his parents.

Brian Hoffman (Pianist) is a graduate of the University of Michigan where he received a B.M. in Music Theory. While attending, he

performed with many area groups including Ann Arbor Civic Theatre and served as the Music Director for The Secret Garden on campus.

In addition, he arranged and composed music for the University of Michigan Jazz Lab Ensemble, Latin Jazz Ensemble, and Pops Orchestra.

This June, Brian will receive his Master’s Degree in Music Theory from the College Conservatory of Music at University of Cincinnati where

he is currently an instructor of music theory for freshman musical theatre majors. He would like to thank Jack for the opportunity to play

with the Miami University Theatre Department and, as always, looks forward to a long career of writing about himself in the third person.

Tamara L. Honesty (Scenic Designer) is pleased to return to Miami University (after several seasons with Miami University Summer

Theater). Currently freelancing as primarily a scenic designer and/or scenic artist, her painting work can be seen on cruise ships sailing

around the world while her designs are appearing on stages throughout the region. Recent projects have been seen locally with the

Cincinnati Playhouse in the Park’s Skilken-Brown Touring Company (Twelfth Night, Lives Worth Living) and at Xavier University (Music


Man, King Stag, and the regional premiere of Dead Man Walking), other projects include Baby (Cornell University), the 2003 Summerfest

season at University of Illinois Urbana-Champaign, Ghosts for Oberon Theatre Company (Off-Off Broadway) in NYC. The Human Race

Theatre Company enlisted Tammy’s talents as a Prop Master for The Odd Couple; the Playhouse in the Park recruited her as a design

assistant for The Love Story of J. Robert Oppenheimer. She held the positions of Resident Charge Artist and the Props Coordinator at

Cornell University. Tammy earned her MFA at West Virginia University.

Natalie Nicole Lanni (Sheila) is a junior Theatre major here at Miami University. Previously at Miami she was seen in The Boys from

Syracuse and also in the Stage Left productions of Footloose and Into the Woods. Recently she joined as a member of the Thrall

Children’s Theatre. She would like to thank Bekka Eaton for her wonderful enthusiasm and guidance; the whole cast for a truly amazing

trip (no pun intended); and of course, the constant love and support of her wonderful family and friends. Natalie’s performance is

dedicated in loving memory of her Nonna. To Everyone: “I do believe in love.”

Christopher Ledermeier (Steve) is a junior Mass Communications major and is ready to groove in Hair, his fifth production at Miami

University. No need to wig out, you’ve seen him before! His past credits include Execution of Justice (Sister Boom Boom), As Bees in

Honey Drown (Skunk), Birds (Hoopoe), and The Devils (Fr. Barré). Christopher would like to send out peace and love to his friends and

to his family. Most of all, he would like to thank Aunt Meme, that out of sight chick who has always supported everything he’s done. Now

let’s wail, baby!

Mark Levy (Ronny) is a freshmen Voice Performance major. Some previous productions include: A Funny Thing Happened on the

Way to the Forum (Erronious and Hysterium with Mariemont Players), Noises Off (Garry/Roger), Into the Woods (Cinderella’s Prince),

and seven operas with the Orlando Opera Company’s children chorus. He recently received second place “best male freshmen”at NATS

singing competition in Ann Arbor, Michigan. Mark would like to thank his amazing Mother and Lizzy Loo, Ben Smolder, Lynne Miller, his

amazing friends and family, and, of course, Barbra Streisand.

Jack Liles (Music Director/Conductor) is a professor of Music at Miami University and the former director of the Miami Marching and

Symphonic Bands. He has served as Musical Director for numerous main stage musicals and summer theatre productions. He is a

frequent guest conductor and clinician/adjudicator throughout the Midwest and South.

Suzanne E. Maier (Linda) is a third year student at Miami and this is her first MU Theater production. Originally from Wilmette, a suburb

of Chicago, she is completing her studies in Speech Pathology with a minor in Spanish. Some of her past roles include Chava in Fiddler

on the Roof and Vibrata in Stage Left’s A Funny Thing Happened On the Way to the Forum. She is also a member of the MU Collegiate

Chorale. Suzanne would like to thank her friends and family for their endless support in all her performing endeavors, especially her

mother who has been a continuous and immeasurable inspiration in her life.

Cecilia “Cece” Miller (Diane) is a junior double majoring in Theatre and Environmental Science. She’s previously been in The Execution

of Justice, Boys From Syracuse, The Genesis Project and has had the privilege of touring with Thrall Children’s Theatre this past year. She

would like to thank her parents for their continuing love and support “3 C legacy!”, her three fabulous roomies for putting up with her

late night rantings and overblown dreams, and everyone who has kept her smiling from day to day. Peace and Love to all who are open

enough to accept it!

Steven R. Pauna (Technical Director/Properties Master) begins his fifth year as Assistant Professor of Theatre Technology and faculty

technical director. He has also provided technical direction and scenic design for Michigan State University, Kent State University, Bemidji

State University (Bemidji, MN.) and Luther College (Decorah, IA). Professional credits include technical direction at the Cincinnati

Playhouse in the Park and three years of technical direction and scenic design for The Porthouse Theatre Company on the grounds of the

Blossom Music Center near Cleveland.

Meggan Peters (Costume Shop Supervisor) is in her tenth year as Costume Studio Supervisor. Design credits at Miami include:

Bourbon at the Border, The Devils, Green Gables, The Fourth Wall, Execution of Justice, Hay Fever, Joseph and the Amazing Technicolor

Dreamcoat, Lady in the Dark, The Triumph of Love, The Drinking Gourd, The Imaginary Invalid, Glass Menagerie, Our Country’s Good

and Romeo and Juliet. She is a member of USITT, and has created costumes for numerous operas, musicals, and plays for area theatres.

Last Summer, she was a Costume Assistant at Kent State’s Porthouse Theatre. She resides in Oxford, and is the mother of two sons, Jake

and Nathan.


Kathleen Petroziello (Stage Manager) is a senior Theatre major with focus in both stage management and scene design. At Miami, she

has stage managed Anowa, Birds, and The Little Clay Cart. She has also served as assistant scene designer for The Boys from Syracuse

and The Devils. This spring, she is excited and quite scared to be the scene designer for The Memorandum. She plans on continuing

stage management in Chicago after graduation and is grateful to the faculty for preparing her for the real world (she hopes). Kathleen

would like to say that she hearts Bekka, her ASMs, her cast, and her crew.

Jay S. Rozema (Lighting/Sound Designer) is very pleased to be returning to the faculty at Miami University teaching courses in lighting

design, sound design, stage management, and fundamentals of lighting. Jay previously served as the Scenic and Lighting Designer at

Northwest Missouri State University and has also taught at The University of North Carolina at Pembroke. Beyond teaching he has held

the positions of Production Manager or Technical Director for the Peterborough Players, Interlochen Arts Academy (National Music Camp),

Givens Performing Arts Center, and the Freed Center for the Performing Arts at Ohio Northern University. Recent lighting designs include

The Devils, Genesis Project, Dancing at Lughnasa, School for Scandal, Guys and Dolls, and Picnic. Jay has also designed sound for

performing acts that include Shirley Jones, The Glenn Miller Orchestra, and The Kingston Trio as well as last year’s Miami productions of

The Birds, and The Devils. Jay holds a BFA degree in technical production from the University of Arizona and an MFA in Lighting Design

from the School of Theatre at Florida State University.

Sami Schalk (Natalie) is a first year Creative Writing major from Southgate, Kentucky. Hair is her first Miami production and she is very

excited to be a part of the cast, playing the tribe member Natalie. Sami would like to thank her friends at home for encouraging her to

audition, and her friends at Miami (especially Kavi and Justin) for taking such good care of her. Sami also wants to express the most

sincere gratitude to her mother for all her love and support and Ms. Alison Williams for giving her confidence in her abilities. Sami wishes

the best of luck to the amazing cast members who have been so friendly and helpful since day one and hopes that everyone enjoys the


Stacy Gear-Schindel (Choreographer) has over 20 years of teaching and performance experience. Past productions for Miami include

Joseph and the Amazing Technicolor Dreamcoat and State Fair, both MUST productions. Stacy earned her BFA in Dance from Wright

State University and has been a member of Dayton Ballet II and DCDC II. Stacy choreographs for a local theatre in Dayton and is also

the Dance Area Coordinator for WTRC. Stacy has had the opportunity of studying Luigi jazz technique from the innovator himself, Luigi,

in New York City and studied at the Alvin Ailey Dance Center as well as Steps On Broadway, both in NYC, opportunities to study dance

in London, England as well. Stacy has danced all her life and was also Dance Captain and a performer for La Comedia Dinner Theatre in

Springboro, Ohio. Stacy is also enjoying married life, still a newlywed, was married this past July. To our cast: “Love and Peace. Have


Lauren Shiveley (Leata) is in her fourth year at Miami as a Theatre major/Vocal Performance minor. Recently, she spent the summer

in Cape Cod performing in musicals such as Sweeney Todd, Crazy for You, and Guys and Dolls. During her years at Miami, she has

played Luciana in Boys from Syracuse, the Devil in A Soldier’s Tale and has enjoyed traveling the world with the Thrall Children’s Theatre.

“Thanks to God for all His blessings and for the people who put up with me daily. I love you.”

Tim Simeone (Claude) completes his 4th performance at Miami with Hair. He was last seen in The Devils. He thanks: God for all the

blessings given to him, his family for their love and support, the Hair production team and cast for all their hard work, JT, RJ, Will, Chump,

JZ, Chad, Langhals for their priceless friendship and constant support, the Outdoor Pursuit Center for their friendship, flexibility, and

support and for giving him some of the best experiences of his life. He dedicates his performance to Lee, Gail, Peter, Jo, Grandpa, and a

very special lady watching from heaven. “Trust in the Lord with all your heart and lean not on your own understanding; in all your ways

acknowledge him and he will make your path straight.” (Proverbs 5-6).

Ben Smith (Assistant Stage Manager) is a senior Mass Communication major. He has no affiliation with the Theater Department other

than he thinks the students and faculty are awesome. Ben has worked on lighting for The Devils, and has also done some lighting/sound

design for EXPO. When not taking theater classes, he enjoys making short films and documentaries, and producing news packages for

MUTV. Ben would like to thank Jay Rozema, Kathleen Petroziello, Andrew Beal, Emily Pucell, Phil Asta and any other theater faculty/

student who has ever taken time to help this non-major out.

Nate Swinehart (Assistant Stage Manager) is a Theatre major finishing his last semester at Miami and is happy to be going out with such


a bang. Nate enjoys drawing, writing, watching movies and not playing soccer. Also a Japanese minor, he is currently applying to Grad

school and trying to survive the ordeal. He would like to thank his family, the folks of Unisix, his Japanese-y friends and a certain Canadian

for their constant love and support.

Molly Thomas (Emmaretta) is a freshman Theatre major from little ole Oxford, OH, and is loving her debut into shows at Miami. Having

been involved in over 20 shows, she has fallen in love with musical theatre, and intends to pursue it as her career and will hopefully reach

her “cliché” goal of the Broadway stage. I’d like to thank Ryan and Marie Steffen for helping me find my love of performing; my family for

their consistent craziness and support; Cameron for his life-changing love and laughter; and the cast for the amazing bond we’ve made

through this show. You all mean the world to me!

Caroline Willoughby (Mary) is a senior Theatre major from North Canton, OH, previously seen in Birds and Execution of Justice on the

main stage, and Feeding the Moonfish for TRIO. Caroline is also a member of the Misfitz, Collegiate Chorale, and Kappa Delta sorority.

Much thanks to my family for their unyielding love and support, and to Gorka for keeping me sane!

Clinton Wright (Berger) is a Choral Music Education major with a Theater minor from Williamsport, Ohio. He is proud to be making

his main stage debut with the cast of Hair. Clinton was last seen in the Miami University Opera Production of La Perichole in Fall 2003.

Before transferring to Miami, Clinton attended The American Musical and Dramatic Academy where he studied musical theater. While at

AMDA, Clinton studied with NYC famous Linda Glick, Virginia Sandifur, and Lindsay Chambers. Clinton has also worked as assistant casting

director for the Roundtown Players Community Theater of Circleville, Ohio. Clinton would like to give a special thanks to Berger for the

daily reminders of what is truly important, to Bill’s Goat’s, and to Kathy for more love than one guy ever deserves.

Beware of Rules: A brief look at the 60’s from the point of view of two

of its biggest icons - Abbie Hoffman and Timothy Leary by Jene Rebbin Shaw

Beware of structure freaks

Beware of rules

--Abbie Hoffman, Revolution for the Hell of It, 1968

The 60’s counterculture evolved as a reaction to the current society, particularly the confidence of the white American

middle class: after all, they “won two wars and put a man in space…..yet this very faith in progress and rationality

produced a counterculture that licked at its foundations” (Bromell 64).

Just what are “hippies?” If you ask Abbie Hoffman he would tell you that they’re a “myth….there is no definition,

there is no organized conspiracy” (26). What were the 60’s all about? Timothy Leary would tell you they were about

“attempting to raise consciousness and encourage and empower people, particularly young people, to think for

yourselves and question authority” (qtd. in Law 108). What was the cultural revolution? Leary says that he, Hoffman,

and others “were trying to perform a cultural revolution without price and politics, or without guns, or without any of

the trapping of power. It was being done with intelligence and heightened consciousness” (qtd. in Law 108).

If there’s an example of the fusion of the counterculture and the political (or anti-political) activism, it would have

to be Abbie Hoffman (1936-1989): he looked like a hippy, took LSD, went to Be-ins, was active in civil rights and

environmentalism, and led non-violent protests (including “the charge of the flower brigade”). After moving to New

York, Hoffman helped form the Yippies (Youth International Party). His idea of activism was always theatrical, and

aimed at drawing lots of attention: in his own words, “Media is free. Use it. Don’t pay for it. Don’t buy ads. Make news”

(44). Hoffman originally stood trial with Black Panther Bobby Seale as one of the “Chicago 8” after a demonstrationturned-riot

at the Democratic National Convention in 1968. One of Hoffman’s most infamous media stunts was his


“Exorcism of the Pentagon.” He and his followers surrounded the Pentagon with the aim of causing it to levitate in

order to exorcise the evil from it.

Timothy Leary (1920-1996), who was a friend of Abbie Hoffman, is known for his leadership of the Psychedelic

Movement. Leary (who held a PhD in Psychology) was a lecturer at Harvard University before he and Harvard

colleague Richard Alpert founded the IFIF (International Foundation to Internal Freedom) to promote the freedom to

use LSD and other similar drugs. Leary viewed his work as religious, and in 1965 (after visiting India) he converted to


The recurring theme of the movements of the 60’s, from the civil rights movement and the anti-war movement to the

counterculture movement and the psychedelic movement, is freedom. The counterculture particularly emphasizes

intellectual freedom: freedom from the constraints of society and the dominant culture. Leary advocated “loosen[ing]

up the shackles that keep all of our minds from being free, the shackles that are laid upon us by society, by organized

religions, and of course by most politicians” (qtd. in Law 109).

Why mind-altering drugs? Why psychedelics? For ages, in many cultures and religions, altered states of consciousness

(whether achieved through drugs, meditation, or other means) have been an important part of getting in touch with

some higher power, with one’s inner self, or with others. Psychedelics were used as a way to escape from the present

dimension of reality, and to discover new dimensions. “The power of psychedelics to release users from….their

inherited history and their cultural training is why they appealed with such force to the youth of the 60’s” (Bromell 72).

A well-know phrase popularized by Leary (although he did not originate it) is “turn on, tune in, and drop out” What

exactly does this mean? As Leary explained it years later:

“Turn on” means activate the divinity or the great spirit inside you…And “Tune in” means once you’ve done that,

to go back to society and tell everybody else about it…. And “Drop out” doesn’t mean drop out and spend the

rest of your life smoking marijuana and listening to Beatles records. “Drop out” means change. “Drop out” means

drop in and drop out (qtd. in Law 118).

What was accomplished by the activism of the 60’s? How does it pertain to where we are now? Timothy Leary says

that “the 60’s are happening wherever young people begin thinking for themselves and do something to make it a

better world” (qtd. in Law 118). In 1989 Leary quoted Abbie Hoffman:

We did not end racism, but we ended legalized apartheid in this country. And they will never go back

on that…We did not end militarism in this country, in the world, but never again will the American

people allow a military clique in the Pentagon to send a million American young people nine thousand

miles across the globe to fight a war that the people do not want (qtd. in Law 111).

Jene Rebbin Shaw (Dramaturge) is a first year Graduate Assistant in the Theatre Department. She received her

BA in Theatre at Miami University. She has directed children’s theatre productions and taught classes including

working for The Human Race Theatre.



“Abbie Hoffman.” Encyclopedia of World Biography. 2 nd ed. Gale Research, 1998.

Bromell, Nick. Tomorrow Never Knows: Rock and Psychedelics in the 1960s. Chicago:

University of Chicago P, 2000.

Hoffman, Abbie. Revolution for the Hell of It. New York: Dial Press, 1968.

Law, Lisa “Timothy Leary.” Interviews With Icons: Flashing on the Sixties. Santa Fe: Lumen

Books, 2000. 107-118.

“Timothy Leary.” St. James Encyclopedia of Popular Culture. St. James Press, 2000.

Scene Design by Tamara L. Honesty

Peace. Love. Happiness. Those are words that people of my generation associate with the hippie movement in the 1960’s.

In truth, that point in history wasn’t filled with peace, love, and happiness; there was a tremendous amount of conflict in the

world and amongst Americans here at home. Although the world was not filled with peace and love, many people were

seeking a way to bring them into their daily lives.

As we began this journey, Bekka was adamant that the Sixties not be caricaturized. The initial images that flashed in our

brains of the sixties weren’t on the path we wanted to travel. Gigantic peace signs, psychedelic colors, flowers, and other

iconographic images, which have become nostalgic images of the era were not where we wanted to go. Instead, we chose

to approach the show by creating an environment in which this tumultuous era could live. Our environment was to be

organic embracing the elements of earth, water, and fire within it. An urban park provided a place where groups of young

people could gather. People from different backgrounds but similar ideas about the events happening in the world could

join together and share their journey.

My research led me on quite a wild ride of visual images. There were a couple of images from Central Park in NYC that

grabbed me. One was of a bridge with hillsides meeting each end. This spoke to me as a metaphoric bridge between the

stereotypes we have of the time period as well as between the conflicting ideas of the era. Also, the arch itself seemed to

embody the qualities of the script. Hair is not a conventional, linear, plot-driven musical. Instead it is series of moments,

each standing by itself yet connected by our ideas, hopes and dreams. Another image was of steps descending into an area

near Bethesda Fountain. This was an excellent way of creating a bridge between the audience and the cast for the many

moments of interaction encouraged by the text. The research into the artists of the era like Peter Max was not wasted either;

we found ways to integrate the pop art of the time into the show without making it the dominant element.

We are happy to have you with us on journey back to the sixties in our continuing search for love and happiness. Peace.



For this Production

Stage Manager Kathleen Petroziello

Assistant Stage Managers Kat Paddock, Ben Smith, Nathan Swinehart

Master Electrician Abby Workman

Production Dramaturg Jene Shaw

Running Crews

Rail Supervisor

Props Supervisor

Costume Supervisor

Light Board Operator

Followspot Operator

Sound Operator

Deck/Fly Crew

Deck Electrician

Wardrobe Crew

Makeup Crew

Darren Bailey

Katie Peyton, Ryan Trembley

Sara Dominguez

Bryan Schmidt

Jessica Trantisook, Ryan Yates

Drew Dorner

Justin Baldwin, Whitney Flight, Justine Kammer

John Palman, Annie Perry

Laura Kick, Julia Martin, Rose Reynolds

Kerri Duncan

MU Theatre


William J. Doan

Production Manager Gion DeFrancesco

Technical Director Steven Pauna

Scene Shop Supervisor Tom Featherstone

Scene Shop Staff Andrew Beal, Laura Brant, April Cook, Tim Hawkins, Jessica Jewell,

Kathleen Petroziello, Clara Smith, Eryn Whistler

Scenery Construction THE 103 & THE 204

Electrics Staff

Brian Alexander, Vonzell Carter, Brian Farkas

Electrics Crew Philip Parli-Horne, THE 103, THE 254

Property Master Steven Pauna

Scenic Charge Artist Gion DeFrancesco

Paint Crew

Rachel Bailey, Paul Morrow

Costume Shop Sup. Meggan Peters

Costume Shop Staff Hannah Bystrom, Kim Cheng, Marion Lytle, Lucy MacDonald, Shannon

McGill, Erin Moody, Rose Reynolds, Clinton Wright

Costume Construction THE 103

Audience Development Lisa A. Campbell

Audience Dev. Asst. Emily Rose Goss

House Manager Judy Hsu

Audience Dev. Crew THE 103

Administrative Asst. Karen Smith

Senior Account Exec. Jeanne Johnston

Vocal Coach

Julia Guichard

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