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Page 33 text:
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Meanwhile, backstage, the lighting technician, John Macala, is having troubles with the main flood light, while his able assistant, Tom Novak, is struggling to replace it. The scenery is being rearranged by Chick Chafee, Chuck Ferrara, Janet Day, Gladys Kelsey, Ray Linehan, and Mary Ann Kuiaski. The costume designer is rushing around attending to last minute details on the costumes of actresses Louise Landell, Elinor Brown, Marie Brainard, and Carol Bishop. Make-up is being repaired by Lorraine Wolen- ski, head cosmetician, and her assistants, Vickie Wolak, Carole Bengtson, Regina Zawisa, and Chris Brannack. The curtain rises on the second act and the eerie music of the Snake Charmer, Harvey Reed, enchants the First Nighter . His performance is followed by a piano duet by Stan The Man Sadinsky and Phyllis Levin. The hot jazz music of the Fire House Five plus One, Kangaroo Kid Caz Pieta, Swinging Jack King, Stosh Kokaszka; Zuggy Zagoren; Butch Rau, and Jiving Jerry Butterworth, rock the joint with Big John's Special. Now comes the comedy act by the duos Peter Brodeur and Carolyn Bielifleld and Bill Brown and Cyn Moline. Before the final scene of the second act comes the great dancing team of Solek and Colman— Handsome Henry and Merry Mary.” The second act reaches its climax with the Trampling Trampolinists”: Nancy Abraham, Charlotte Carlson, Eileen Barry, Anna Cohen, Eleanor Donahue, and Carol Eddy. Before the second and third acts, the First Nighter notices the people in the Famous Front Row of the Hippodrome. There is Judith. Cornwall, who lectures on The Sex Life of an Australian Grasshopper ; Eileen Prue, noted astronomer; Robert Steinkamp, an eminent authority on How to Get a Bang Out of Cleaning a Rifle ; Evelyn Thompson, a second Jacques Faths; Betty Trepanier, A Temperamental Typist for the firm of Teeter Totter; Judith LeMontagne, the Rage of the Age; Patricia McCue, the plugging pianist; Ann Mrozowski, shortstop for the Louisiana Bells; Stanley Casper, author of Cut the Corn ; Jean Hickinbottom, owner of the Santa Maria race track; and Milt Johnson, attendance officer at Jerkwater Teck. As the First Nighter settles back in his seat, the third and last act begins. The scene is the fabulous apartment of the elusive bachelor, Donnie Pehota, who is throwing a gigantic party. His guests of honor are the famous radio team of Corneroli and Annino, and Bob Jagoda and Pat Defrance, a second Kiner and Chaffee combination. Standing in the hall are Joan Calhoun, Diane Daniels, Gail Dittman, Bette Dyer, Carol Fredricks, and Rosamond Harvey surrounded by a bevy of male admirers. Petite Dotty Kowalski passes the luscious hor-d'oavres created by Cooking Caroline Kutzner. Out on the terrace is the adonis of American stage, Dave Conroy, and Marge Rusconi, Venus of Modern Times, in an explosive love scene. Peering around the corner at them is Joan Peryam, Hedda Hopper II, looking for a juicy tidbit. The audience sees to the left the upstairs maid, Pat Kavanagh, being chased downstairs by the butler, Bill Crusberg. Yes, there is much talent in this act. The Wilson Follies come to a close as Ruth Wrubel, Lois Martin, Elaine Wilson, Joan Messick, and Peter Malek appear on stage to serenade the audience with Till We Meet Again as the First Nighter works his way through the crowd to summon another taxicab. By: Ruth Wrubel Diane Daniels Dave Conroy Betty Mi lardo 29
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Page 32 text:
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CLASS PROPHECY THE WILSON FOLLIES As the taxicab winds its way through the traffic jammed streets to the Hippodrome Theatre, the First Nighter impatiently leans forward and tries to hurry the cab driver, Big Ben Patten, who listens with an air of indifference, which he acquired through ten strenuous years of contending with the idiosyncracies of New York drivers. The cab comes to a screeching stop and the doorman, Old Joe Wojtowicz, opens the door with a flourish and the First Nighter hastily enters the crowded lobby of the Hippodrome. Head usher, Ray Sienkiewicz takes his ticket and gives it to pert Ona Gustafson, who in turn leads him to the third row center. There is a scintillating array of stars here tonight. As he glances around the fast filling theatre, he sees the Marilyn Monroe of '63 , Dot Kowal, escorted by the debonair Joe Lomastro, the men’s millinery mogul. Elbowing his way through the crowd is Witty Wiliam Daley editor of the Daley Daily. He is accompanied by his ace photographer, Steve G'Burr Jecusco, who has recently become famous for the photos of underwater life, including the most exotic mermaid of all times, Betty Treat. The house lights dim—there is a tapping of baton and nonchalantly Stan Czuba the musical maestro, rises to conduct his orchestra. An expectant hush comes over the audience as the triple-tongued trumpeteers, Joe Petrus and Dick Magnano, begin the overture. The saxophone section, led by Pete Mascaro, rises and harmoniously joins in with the piccolos, played by those versatile Roberts boys, Ray and Roily. The roar of the drums swells and the First Nighter finds Mel Wickham laboriously beating away. The curtain parts and the M. C. Doc Unger, is greeted by a burst of applause. The most severe critics of the world, Marianne Carbo of the London Daily ; Steve Gunter of the Moscow Mule ; and Betty Milardo of the Singapore Sun ; poise their pens. The script was written by that feminine fury, Claire Sherry; music was composed by talented Don Wilson. The Wilson Follies is now ready to begin the first act. The chorus daintily trips out led by Amiable A1 Mancarella and Vivacious Vin Munno. Following them are the dynamic red head from Wyoming, Jane Story; Sinuous Sue Hecker from Kalamazoo; that blond bombshell, Hclge Burke; Jumping Joe Beneszewski; Rockin' Mary Ann Robinson; Bouncing Bob Baisslait; Beaming Bea Lattrell; Elite Elaine Mergel, Happy Harold Plum; Galloping Gerry Russell; Gorgeous Glad Etheridge, Fun- lovin' Frannie Edwards; Kute Kay Mayer, Ever-lovin' Ed Levitsky; Wild Bill Kaczenski; Terrific Terry Skarb; Irresistable Irene Sajek; and Darling Dave Thrall. The chorus line, having aroused the interest of everyone, then trips off the stage. The first scene opens as twilight casts its magic spell over the two young lovers, Chris Manning and Don Stokes, sitting on a park bench. In the background Richard Caruso Seagrave sings Hello, Young Lovers. Next a beautiful ballet is done by captivating Camille Salonia. Flashbulbs pop and Ron Burleson with his 4800xxx speed camera steps forth to snap the prima ballerina’s photo. As this scene fades the First Nighter finds himself captured by the strains of the Barber Shop Quartet of Ron Feitel, Bernie Dudek, Joe Kaliz and John Lesse. Jugglin' Joe Jay then performs with his forty-eight baseballs. The lights now soften and the mixed chorus conducted by Mary Ann Ogorzalek and including Joan Bernstein, Roy Kreiger, Vernon Burr, Janet Lis, Jean Macala, Bill Szewczyk, Frances Maleszewski, Lois Weber, Gene Tuttle and Rosemarie Wickham rise and sing the beauti- ful ballad, Remember Me. INTERMISSION The First Nighter mingles with the enthused theater goers and enters the lobby to purchase cigarettes from the cigarette girl, Anna Mae Siecienski. He starts back for his seat, but is jostled by Texas Rancher, Tall Tom Markoski. Tom's brother, George, now a professional football player for the Georgia Peaches, is there with the Marvelous Marcia Hofher, whose recent novel, Love Affairs on the Moon was published by the Millard Collins' Book Company. Finally he reaches his seat and finds Lorraine Parmelee sitting there, reading a book on How To Control Your Appetite . 28
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