Charity Hope Valentine	Sierra Bogges
Helene	Kelley Bray
Nickie	Lauren Gire
Herman	Garrett L. Taylor
Ursula March	Sara Bauer
Vittorio Vidal	Andrew J. Martinez
Oscar Lindquist	Drew Nellessen
Daddy Brubeck	Andy Bero
Carmen	Lauran Stanis
Alice	Ann Ehnes
Betsy	Jaclyn Siebers
Suzanne	Angie Smith
Elaine, Second Woman	Penny Shayna Shack
Frenchy, Married Woman	Julie Nagy
Rosie	Kara Guy
Charlie Dark Glasses	Charles Robison
Second Young Man	Tyler Albright
Passerby, First Cop, Marvin	Ian Liberto
Second Cop, Panhandler, Carrie	David Geinosky
Married Man, Doorman	Alex Jorth
Man with Dog	Anthony J. Majewski
Ice Cream Vendor, Manfred	Adam Stachowiak
Girl, Panhandler, Daddy's Asst.	Kelly Carruth
Hippie, Peanut Vendor	Bryan Lefeber
Swings	Kyle Fowler Jamie Greenberg

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Stage Manager	Mary Reed
Assistant Stage Manager	Dawn Kenseth
Assistant Stage Manager	Laura Smith
Assistant Choreographer	Lauran Stanis
Assistant Scene Designer	Brian Marshall
Assistant Costume Designer	Lauren Dowd
Assistant Lighting Designer	Andy Seleen
Dance Captain	Ann Ehnes
Dialect Coach	Laura Ledford-Pearson
Technical Director	Charles E. Chapman
Production Manager	Merel G. Ray
Shop Foreman	David Whitcomb
Properties Master	Matt Willer
Paint Charge	Erin Hoffman
Head Flyman	Zach Johnson-Dunlop
Deck Chief	Dawn Kenseth
Costume Director	Jana Henry
Assistant Costumer	Glenda Richardson
Cutter/Draper	T.J. WIlliamson
Costume Crafts	Stephanie Paradiso
Hair/Makeup Designer	Christy Bowers
Wardrobe Supervisor	Andrew Fay
Master Electrician	Ali Bayer
Asst. Master Electrician	Charles Purnell
Sound Engineer	Jason Hauslein
Rehearsal Pianists	Michael Ehsign, Tiffany Ogdon

Tender and poignant, Sweet Charity is a consistently funny look at the adventures, actually misadventures of the gullible and guileless Charity Hope Valentine, a dance hostess who always gives her heart and her dreams to the wrong man. This wonderful musical ultimately question s the limitations of the American dream and the ideals of fairy-tale romances.

Songs include:
Big Spender, Too Many Tomorrows, There's Gotta Be Something Better Than This, I'm A Brass Band, I Love To Cry At Weddings, You Should See Yourself, Rich Man's Frug, If My Friends Could See Me Now, I'm the Bravest Individual, Baby, Dream Your Dream, Where Am I Going?

“It’s show time, folks.” That line is heard again and again in the movie, All That Jazz, in which Roy Scheider plays a character named Joe Giddeon, a pill popping, booze swigging, philandering, Broadway director/choreographer whose obsession with perfection leads him to an early grave. This autobiographical film was directed and choreographed by Bob Fosse, a Broadway legend responsible for such hits as Pippin, Damn Yankees, How To Succeed in Business Without Really Trying, Dancin’ and Chicago.

Fosse is noted for redefining the art of Theatre Dance with a seemingly timeless style that mixes an androgynous sexuality with a sensual aloofness. His choreography ranges from the masterfully understated to the excitingly athletic and has wowed audiences since 1954 with the musical hit, The Pajama Game. In 1966 he unveiled a star vehicle created for his wife, Gwen Verdon, called Sweet Charity, which, along with his film version of Cabaret, has become one of his most wildly recognized works.

While doing research for this production of Sweet Charity, I had hoped, as all directors and choreographers do, to make this production my own. I wanted to put my stamp on it and give it a new look. However, the more I read the play and studied the script and score, the more I realized it would be a huge mistake to remove “the Fosse” from the show. Fosse was so much a part of the writing of the show that his quirky directing and choreographic style is woven right into its structure. Without it, the show crumbles. But I’m not an expert on Fosse so what do I do? How do I un-ring the Fosse Bell? I’m stuck.

Well, as it turns out, I’m not so stuck. While I never worked with Fosse, nor have I ever formally studied his techniques with the “Fosse Gurus,” Chet Walker, Gwen Verdon, and Ann Reinking, I have been so influenced by his style that it has become a huge part of my own. I decided to take a deep breath, take a risk, and go for broke. This production of Sweet Charity is not a recreation of Bob Fosse’s work, but my humble attempt to emulate a style that I have long admired and respected.

Although Bob Fosse has been dead since 1987, his works live on, enduring the test of time, and inspiring new generations of theatre lovers to strive for excellence. I have had a wonderful time working with this cast on this production and I hope you find it worthy.
Enjoy!
-Sean T. Morrissey