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| Directed by Susan McCandless |
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Sponsored by
Frank Halvorson Family Dealerships
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Prospect Motors, Amador Motors, and Amador Toyota |
| Produced by special arrangement with Dramatists Play Service, Inc. |
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The Amador Ledger-Dispatch, by Eloise Snyder: " Driving Miss Daisy . . . introduced Main Street Theatre Works 'dinner theatre' with skill and style at the Daffodils Restaurant opener in Sutter Creek . . . The set is spare but clever. The talent is gilt-edged with the capacity to evoke gentle laughter and an occasional tear . . . Johnson burrows into the independent spirit of Miss Daisy with extraordinary skill and compassion . . . West as Hoke matches her in professionalism and excellence . . .Clark is an expert at portraying the bealeaguered Boolie . . . Cheers to Susan McCandless, not only for her fine directing skills for 'Miss Daisy' but for an ability to package a new venue with a new presentation and come out with a successful show." |
| Read the complete review of Driving Miss Daisy |
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Elly Award
Best Overall Production, Comedy |
Elly Award Nominations:
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Having recently demolished another car, Daisy Werthan, a rich, sharp-tongued Jewish widow of seventy-two, is informed by her son Boolie that she must henceforth rely on the services of a chauffeur. Enter Hoke Coleburn, a thoughtful, unemployed black man whom Miss Daisy immediately regards with disdain and who, in turn, is not impressed with his employer's patronizing tone and, he believes, latent prejudice. In a series of absorbing scenes spanning twenty-five years, the two, despite their mutual differences, grow to be like a couple. They come to realize that they have more in common than they ever believed possible--and that times and circumstances would ever allow them to publicly admit. The play takes place from 1948 to 1973, mostly in Atlanta, Georgia. There are many locales. The scenery is representational. Driving Miss Daisy was first presented at the Playwrights Horizons in New York City on April 15, 1987. It subsequently became a movie starring Jessica Tandy, Morgan Freeman, and Dan Ackroyd. Variety writes about this Pulitzer Prize winning play: ". . . gives off a warm glow of humane affirmation." Here is a play that resonates as much today as it did in 1987 when it was first produced. |
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in order of appearance |
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Daisy Boolie Hoke |
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| Director | Susan McCandless |
| Stage Managers |
Joanne Shugart
Marlene Linn |
| Production Managers |
Margo Carr
Cathy McClelland |
| Set Design |
Susan McCandless
Ken Stefferud |
| Set Construction and Painting | Ken Stefferud, Dori Andersen, Magnus Berglund, Jim & Margo Carr, Mike Koepke, Marlene Linn, Cathy McClelland, Ken McCandless, Jerry Melnick, Greg Motch, Jill North, Graham Paul, Carol Sethre, Steve Wright, Art Wright, and Connie Wright |
| Sound Design |
Allen Pontes
Chris Lawson |
| Sound/Light Operation |
Chris Lawson
Susan McCandless |
| Costume Design | Cathy McClelland |
| Props | Marlene Linn |
| Lighting Design | Ken Stefferud |
| Window Display |
Greg Motch
Carol Sethre |
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Amador High School Drama Dori Andersen Bobbie Brubaker Barbara Canada Paula Davis Giles Turner Barry & Sue Duncan Judi Parkinson Mike & Lorraine Phalen Curt Sathre Doy Seng Muriel Thebaut Tom Kelly - Thistle Dew Theatre Volcano Theatre Company Volcano Telephone |
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This show has been quite a departure for MSTW and a challenge for all involved. We have learned to build sets off site and have had to utilize multiple rehearsal venues . . . not to mention performing in a totally different environment and adapting to a much smaller stage! I would particularly like to thank the cast for their patience and skill at adapting to their changing environment. It is a testimony to their talents that they have been able to work in so many places with so few props for most of this rehearsal schedule. Driving Miss Daisy has also been a personal reminder for me, of how easy it is to forget where we were as a country 30 or 40 years ago. We must continue to remember and work at fulfilling this country's commitment to the fact that "all men are created equal." The journey that Daisy and Hoke take is one that all human beings take in developing personal relationships. It was made harder by the times they lived in, but in the end, they learned that their humanness was more important than their cultural and racial differences, and that friendships are made through compassion and understanding. Sometimes this has to be done one person at a time--but we must do it! -- Susan McCandless # # # |