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BAY CITY LIGHTS Adapted and Directed DEBRA GWI SDALLA Assistant Directed ANN ELA INE COBB Musical Direction CHARICE C. SHIANNA Setting Designed STEPHEN A. SCHERER (under the supervision of C.P. Blanchette) Costumes Designed LISA BLAYLOCK Lighting Designed ADAM S. RAPPAPORT Technical Direction KURT CHRISTENSEN ENSEMBLE Bob.................................. Joe Jahraus PRODUCTION ST AFF Second Assistant Director... Charice C. Shianna. Assistant to the Lighting Designer.. Paul Handzik Costume Mistresses... Sheryl Ritter, Lisa Werth Properties... Thomas Kee, Charice C. Shianna Promotion & Management... J. Sain Ticket Office Staff... J. Sain, Becky Ochs, K.K. Davis House Management... Julie Miller Ushers... Shannon Shaw, Michael O'Brien, Lana Shaw, Lisa Werth Make-up & Hair Design... Pamela Wood,. John Salamone, Karla Williams Board Operators... Michael Ries, Karla Williams ' Stage Manager... Ann Elaine Cobb PRODUCTION CREWS Set Construction... Andy Biel, Denise Carnes, Bea Cessna, Kurt Christensen, Chris Clevidence, Ann Elaine Cobb, Andre Copeland, Paul Handzik, Diana Hopkins, Milton Hudson, Joe Jahraus, Tom Kee, Dean Leitzen, Anne Ostrander, Michael Ries, Jim Romanovich, Stephen A. Scherer, Charice C. Shianna, Kathy Sorensen, Lisa Werth, Karla Williams Costumes... Sheryl Ritter, Pamela Wood, Denise Carnes, Lisa Werth, Lisa Blaylock Publicity... Andrew R. Biel, Mark Chiappetta, Glenn Davis, Steve Golding, Bill Siegel Beth.............................. Ji11 M. Taylor Quenton............................ Mil ton Hudson Randy............................. Andrew R. Biel Jane... Chris Clevidence Geoff................................. T.J. Estep Breeze... Andre Copeland Red................................ Denise Carnes MUSICIANS Sax............................... Mark Bugielski Bass Guitar... AndrewR. Biel Drums... Benjamin J. Livingston Trumpet............................. Dean Lei tzen Piano... Stephen A. Scherer ACKNOWLEDGEMENTS Nancy Paule Larry Newman University Board Pickles Deli Mark Haines Fire laws prohibit audience members smoking during performances in this theatre.
Scene: 1936, San Francisco Coffee House SELECTIONS ACT I "Autobiography" Lawrence Ferlinghetti...... Ensemble "Starting From San Francisco" Lawrence Ferlinghetti.... Bob & Ensemble from On the Road Jack Kerouac... Randy, Red, & Geoff from "The Origin of the Beat Generation" Jack Kerouac... Breeze "JunJanan's Obbl iga to" Lawrence Ferlinghetti.... Quenton & Ensemble "The Green Automobile" Allen Ginsberg... Randy "A Meeting of Eyes in Mexico" Lawrence Ferlinghetti... Beth "I Am You" Lawrence Ferlinghetti... Red & Breeze "Ccme Live With Me and Be My Love" Lawrence Ferlinghetti........... Geoff "Funny Fantasies" Lawrence Ferlinghetti.... Randy from On the Road Jack Kerouac... Geoff A G,Ltt6 bells V 1...6:w n.......... Bo b "Transformation and Escape" Gregory Corso... Breeze "Scmetime During EternHy" Lawrence Ferlinghetti.. Jane "I Am Waiting" and ''The World Is A Beautiful Place" Lawrence Ferlinghettj....... Bob, Red, & Ensemble FIFTEEN-MlNU1E INTERMISSION ACT II "Hey Listen" Jack Kerouac...... Quenton ''Underwear'' Lawrence Ferlinghetti......... Beth "The American Way" Gregory Corso...... Ensemble "How To Meditate" Jack Kerouac......... Jane "Writ on the Eve of My 32nd Birthday" Gregory Corso... Geoff "Howl" Allen Ginsberg......... Bob & Ensemble from "The Origin of the Beat Generation" Jack Kerouac...... Geoff Coffee and Herbal Teas..... 35 Ptlnch... 30
DIRECTOR'S NOTE It ~~s in the 1950's at City Lights, (the La"Tence Ferlinghetti bookstore), and at the North Beach coffee houses of San Francisco where a group of writers - the Beat Poets - met to exchange ideas. Allen Ginsberg, Lawrence Ferlinghetti, Jack Kerouac, Gregory Corso, Neal Cassady, and others were a part of this San Franc isco Renaissance. They were outspoken and freespirited, but not without values. The fact that the sincere Beatnik often disregarded conventional behavior, not dressing neatly, loving promiscuously, experimenting with drugs, writing poetry and taking it seriously, maintainhlg a studied disinterestedness in the face of society's demands - was their way of demonstrating the hypocrisy and artificiality of accepted social values. It was their way of rehumanizing themselves through a total re-examinat:ion of what it means to live. Their views on America, religion, love, sex, and what j t means to be "bea til, refl ect the ir time and perhaps have something to say to us today. ---DJG
". The taking of photographs or the operating of any recording device during a performance III the theatre is strictly forbidden. Eastern Illinois University Theatre is a member of the American College Theatre Association and the Illinois Theatre Association.