General Meeting

The General Meeting this month will be on Wednesday, February 21, 2007, 8:00 PM at the theater, Westchester Playhouse, 8301 Hindry Avenue, Los Angeles, CA 90045.

Hospitality

Hospitality will be a surprise this month, so stick around after the meeting, enjoy the goodies and join us for a great workshop.

Workshop

1776—Our Founding Fathers voices will be heard in song and dance at the Workshop following the General Meeting. 1776 the Musical tells the story of our brave founding fathers and the difficulties of getting all the colonies to agree to fight for independence as they dealt with issues of freedom, war, and slavery. It’s an inspiring, witty and fascinating look into the characters of Adams, Franklin, Jefferson and more.

There is a fantastic cast—

John Adams – Ben Lupejkis
Abigail Adams – Catherine Rahm
Benjamin Franklin – Ed Cotter
Thomas Jefferson – TL Kolman
Edward Rutledge – August Vivirito

The accompanist is Caroline Benzon and the workshop is directed by Susan Weisbarth. Mark your Calendars and plan on attending this exciting performance!

To direct a workshop at Kentwood, contact Workshop Chairperson Gert Nord.

Steve Allen’s The Wake

January/February Production
Playing dates: January 12, 2007 through February 18, 2007.

Our January/February Production for 2007, STEVE ALLEN’S THE WAKE, directed by Sheldon Metz and produced by Calia Mintzer, closed this past weekend. I hope everyone had a chance to see this great production!

Congratulations to Director, Producer, Cast and Crew!

Josephine Scanlon By Valerie Ruel
Margaret Scanlon By Susie McCarthy
John O ' Toole By Tim Forsyth
Tommy Monaghan By Jeffrey Culp
David Considine.. By Elliot Kang
Mike Scanlon By Ted Pitsis
Mary McCaffrey By Christy Engels
Sarah McCaffrey By Barbara Haberman
Rose Scanlon Obrien By Maria Pavone
Father Morrisey By Daniel Farber
Jack Scanlon By Joseph Buttler
Belle Scanlon Considine By Davina Turnbull
Nellie Riley By Jenny Boone
Frank Riley Split By Jonathan & Christopher Retzak
Theresa Riley By Ritsa Gountoumas

PRODUCTION STAFF

Director Sheldon Metz, Assistant Director Jen Fox, Producer Calia Mintzer, Stage Manager Shari Barrett, Script Supervisor Hilary Fitzsimmons, Light Design Tom Brophey, Set Design Scot Renfro & Sheldon Metz, Sound Design Susan Stangl, Costume Design Barbara Haberman
Set Decoration Scot Renfro, Master Builders Frank Olivadoti, Grant Francis, Tony Pereslete, Russell Ham & Michael Allen, Properties Judy Polak, Publicity Photos Hal Fisher, Graphics and Lobby Design Sheldon Metz, Light Booth Paul Croft, Daniel Bergher, Russell Ham.

Director Sheldon Metz wants to thank everyone who worked on, helped with or saw the show!
Sheldon says, “Thanks!”

March/April Production

Our March/April Production will be Neil Simon’s BILOXI BLUES, directed by Larry Jones and produced by Jim Crawford. The show opens March 9, 2007 and closes April 14, 2007.

Work Sunday was February 18 and I am sure we had a wonderful turnout. Thanks to all of you who came down and helped out. We will officially thank everyone by name in the March Bulletin.

Our extremely talented and lovely cast consists of:

Daniel Farber as Eugene Morris Jerome
Bradley Jennings as Arnold Epstein
Michael Allen as Sgt. Merwin J. Toomey
Katrina Straub as Daisy Hannigan
Matthew Artson as Joseph Wykowski
Drew Fitzsimmons as Roy Selridge
D.L. Corrigan as Donald J. Carney
Jerod Callen as James Hennesey
Lana Ford as Rowena Morrison.

Our fabulous crew consists of:

Producer – Jim Crawford, Assistant Director – Tiffany Towers, Stage Manager – Trenekia Danielle, Set Design – Sheldon Metz, Lighting Design – Tom Brophey, Sound Design – Richard Potthoff, Costumes – Sheridan Cole, Properties – Russell Ham, Script – Charlotte Schildkret
Accent Coach – Gail Bernardi, Vocal Coach – Cathrine Rahm and Graphic & Lobby Design – DJ Carlile.

Anyone with a larger size 48 star American Flay, please contact us. We need two of them, 4x6 feet.

Follies, Book by James Goldman, Music & Lyrics by Stephen Sondheim

May/June Production

Our May/June Production will be FOLLIES, to be directed by Ed Cotter and produced by De Cotter. Director Ed Cotter has posted a request for Evening Gowns for Follies and asks anyone, with a gown to lend, contact Costumer Maria Cohen.

Auditions for the Kentwood Players production of "Follies"
Director Ed Cotter
Producer De Cotter
March 10, Saturday 10am to 3pm and
March 11, Sunday 6pm to 10pm

At Westchester Playhouse
8301 Hindry Avenue
Westchester, CA 90045
"Follies" performances on Friday, Saturday at 8pm and Sunday 2pm
May 4 to June 16, 2007
No performance Sunday, May 13 (Mother's Day)

CHARACTER BREAKDOWNS

3 Statuesque "Follies" Girls
to parade in 3 foot high headdresses

Benjamin Stone 50-55 Lead
A successful politician, has been involved with the U.N.
Must be an excellent singer

Young Ben 20's Lead
He's a memory of Ben 30 years ago
Sings

Phyllis Rogers Stone 50-55 Lead
Ben's wife. Sophisticated. She comes off a bit queenly; it's a defense mechanism
She sings two big numbers

Young Phyllis
20's
She's a memory of Phyllis 30 years ago
Sings

Buddy Palmer 50-55 Lead
Married to Sally. Salesman on the road
Excellent singer

Young Buddy 20's
He's a memory of Buddy 30 years ago
Sings

Sally Durant Plummer 50-55 Lead
Genuinely vivacious. Married to Buddy but still in love with Ben
Must be an excellent singer

Young Sally 20's
She's a memory of Salley 30 years ago
Sings

Major Domo
Age open
Officious. In charge of setting up party. An opportunity to create a unique character

Dimitri Weisman 70's, looks 60
Impressive man. This is his theater. These were his follies.
This is his Party

Roscoe 60 and up
Socko tenor
Sings "Beautiful Girls"

Four to six girls
20's
To dance and sing in "Who's that woman" and waitresses

Four to six guys 20's
To sing backup in "Lucy & Jessie" and "Live, Love, Laugh" and as waiters

Heidi Schiller 70 and up
Viennese accent. Opera singer. Franz Lehar wrote a waltz for her. She has a few lines.

Chauffeur Age Open
Escorts Heidi, No lines

Emily Whitman
50 and up
Sings duet "Rain on the Roof"

Theodore Whitman 50 and up
Sings duet "Rain on the Roof"

Hattie Walker 60's, 70's or 80's
Sings "Broadway Baby"

Solange Lafitte 50 and up
Glamorous. French accent.
Excellent singer. Sings "Ah, Paris"

Stella Deems 50-55
Excellent singer. Sings "Who's that Woman?". Some Tap.

Christine Donovan 50-55
Deedee West 50-55
Meredith Lane 50-55
All sing "Who's that Woman?". Some Tap.

Carlotta Campion 50's and 60's
A former movie star. Sings "I', Still Here".

Kevin 20-35
Waiter. Necks briefly with older Phyllis. Standout role.

Vincent & Vinessa
Excellent ballroom dance team. Dance to "Bolero D'Amour"

Party Guests
No lines excellent opportunity to create unique characterizations


The Constant Wife, by Somerset Maugham

July/August Production

The Kentwood Board has approved THE CONSTANT WIFE, by Somerset Maugham, for the July/August 2007 time slot, to be directed by Gail Bernardi. The show was moved from the March/April slot due to problems with getting the Rights.

The Mystery of Edwin Drood, by Rupert Holmes

September/October Production

The Board has approved THE MYSTERY OF EDWIN DROOD, by Rupert Homes, to be our September/October 2007 Production. The show will be directed by Cathrine Rahm.

A Celebration of Life

Dassa Kalmanson
1916 – 2007
Sheldon Metz

On Monday evening, February 6, the Grand Dame of Kentwood Players, our aunt, our mother, our voice of reason, our leader, our history, our friend, Dassa Kalmanson, was cast in a much grander production than we could ever conceive of here on material earth, co-starring with those who have preceded her. They’ve now formed Kentwood Above.

During the years we were privileged to know her, Dassa touched our lives with dignity, grace, strength, sensitivity and caring. The best anyone could say about her, other than she was a great actress, mother, grandmother, great grandmother and friend, not necessarily in that order, was that she had grace and dignity. Her family must have been jealous of the many hours she gave to the theatre. But to us, she was a gracious soul.

She could also be contradictory and impatient. But she always acted out of love. Her passing is a great loss to all of us at Kentwood and the greater community at large.

Dassa was always generous with her suggestions and ideas, but respectful of the other person. When cornered, she had a way of dismissing or avoiding an argument with a raise of her eyebrows and a shrug of her shoulders.

We will ever be grateful that Dassa always took the time to share with us her feelings of love and respect for the theatre and people in general. Her sense of tact was well appreciated as well. How many times would we see Dassa avoid a direct criticism of an actor or director or play with that shrug? Yes, she was a lady.

Dassa actually convinced me to return to Kentwood after a 4-year absence. It was her elegance that made me feel that this was a classy place. How could anyone belong to a group that wasn’t exactly like her?

Many years ago, I was privileged to work with Dassa and the late Conny Sless on Gin Game, directed by Michelle Rosen. I was a makeup artist at the time, so I did the makeup, which was needed. It seems Dassa didn’t look old enough to play the character. To repeat a line I just used last Sunday at the memorial for Ray Dannis, who was a great old friend of Dassa’s, to Dassa, old was always fifteen years from now. Anyway, when Conny saw I was aging Dassa, he demanded to be aged (he didn’t need it)

Now, Dassa had trouble with some of the language used in modern plays. She herself never used such words. Well, in this play, Gin Game, she had to say the F-word. She couldn’t say it. It wouldn’t come out. She wouldn’t even refer to it as the F-word. To Dassa, it was the K-word. Well, she practiced and practiced, rehearsed and rehearsed. When it came time to perform the scene, she let through with the thunder of the character until that word came up. Then she whispered the word and went on as though nothing had changed. She was a lady. Even when she had to say Tough T….., well, you get the idea, rhymes with kitty(?), it was barely audible. She’d have a tough time in today’s theatre.

Dassa starred in over 40 roles at KP, and an unknown number at other theatres. Some of those roles were: The Octet Bridge Club, Legends, A View From the Bridge, Social Security, A Trip to Bountiful, A Man For All Seasons, Death of a Salesman, Cat on a Hot Tin Roof, Anastasia, Anna Lucasta, Devil’s Advocate and Follies, to name a few.

She won numerous acting awards, including a Best Actress Award at The Pasadena Playhouse. I was privileged to direct her twice. She was always a star. Tall and proud in whatever role she was performing. She served on the boards of several theatres and was a Past-President at Kentwood. She gave her time, her home and many meals to the volunteers who serve on these boards.

Were I to recommend anything to you, I would suggest dwelling on what she created during her life - the people whose lives she touched, changed, the happiness - all the emotions she brought to the surface, the things she said. But think about the lives she touched and changed that she didn’t even know about. The chance meeting, the casual remark, the smile, the things done in passing for someone that significantly was felt. We all do it through our lives. And we never know it. So, I suggest you think of them now, and the way she touched you.

A Standing Ovation

New Schedule

The Board has decided to make all shows at Kentwood a six week run, including musicals. The new plan will take affect as of January 2008.

Lobby Committee

President Sheldon Metz has asked Charlotte Lee Scheldkret to chair a new committee formed to explore remodeling the lobby at The Westchester Theater!

Marcom Masque Awards Dinner

Mark Your Calendars!!

The 2006/2007 Marcom Masque Awards Dinner will be at the theater on Sunday, July 8 at 6 PM. 6 to 7 PM Happy Hour, Drinks $2 and Soft Drinks $1.
7 to 8:30 Dinner, 8:30 to 10:30 Awards Show, 10:30 on Dessert and Coffee.
Cost: $25.00 per person.

Theater Parties

Calia Mintzer, Theater Parties Chairperson, would like to remind all members to please refer Kentwood Players and our fund raising theater parties to all the organizations you belong to. Theater Parties are a great way for your organizations to raise funds, see friends, have a good time and see a GREAT show!

Points

Please recall it is important to your membership status, as in continuing your membership, to obtain 6 points throughout the year and Hospitality Chairperson Vada Foster would like to remind everyone those all important points are available to members who sign up for and do hospitality. Come on down, pour some coffee and get points!!

Announcements

Barbara Boone wrote to let us know about the VERDI CHORUS CONCERTS – April 14th and 15th, 2007. She said the Verdi Chorus, a sixty member Southern California tradition since 1983, performing great opera chorus repertoire in concert, will present its 23rd annual Spring concert Saturday, April 14th at 7:30 p.m. and Sunday, April 15th at 4:30 p.m. at the First United Methodist Church, 1008 11th Street, Santa Monica. The program will feature “Va Pensiero” from Nabucco by Verdi, Russian Opera with excerpts from Eugene Onegin and Pique Dame by Tchaikovsky and Boris Godunov by Mussorgsky. Also included will be a set of Verismo Opera selections and choruses from Kismet by Wright and Forrest based on music by Borodin.
Outstanding soloists will perform with the Chorus. The Chorus Director is Anne Marie Ketchum, Associate Professor of Music at Pasadena City College. Laraine Stivers-Madden, Assistant Professor of Music at Pasadena City College, where she directs the Accompanying Program, is the group’s accompanist. The church is located two blocks north of Wilshire Blvd., with free parking available across the street. A reception is held after each concert where refreshments are served and the audience may meet the guest artists and chorus members.
Tickets prices are $30 for general seating, $25 for seniors (60 years and older), $10 for students (25 years and under with student ID) and $35 for reserved seating. For tickets and information, call 310-826-8309 or go to www.verdichorus.org.

Shari Barrett wrote to let us know the person taking all the nice publicity photos seen on the publicity board in the lobby and in many local newspapers is Ken Shoufer, son of Kentwood member Marlene Grinde. Shari said Ken’s goal is to deliver high-quality photography with an emphasis on personal service. He can be reached by phone at 562 607 5493 or at www.PicturesByKen.com.

Phil Brickey wrote to let us know he underwent tonsil surgery on January 12. Give him a call!

Kirk Larson is directing ANNIE GET YOUR GUN at the Westminster Community Theatre with Alison Mattiza – Choreographer, Stephen Julsey – Music Director and Jon Sparks – Costumes/Set Design. Elizabeth Bouton is Annie Oakley, Rocky Miller is Frank Butler and Greg Abbott is Charlie. Show dates are March 9 to March 31 (Friday/Sat/Sun). For reservations, please call 714 527 5546 or go to the website www,wctstage.org for more info!

August Vivirito is directing DIVERSIONS AND DELIGHTS at the Complex in Hollywood, playing March 2 – April 8. The show is a recreation of one of Oscar Wilde’s last speaking engagements before he died following his release from prison where he had been serving time for gross indecency.

Mary Steelsmith was recently interviewed on the web in a chat room about her prestigious Helford Prize and its 10K purse! Here is a complete printing of the interview:

Mary Steelsmith is the 2006 winner of the prestigious Helford Prize and its 10K purse.

While still in high school, Mary wrote THIS ISN'T EXACTLY HOW I EXPECTED IT, winning First Place in the DRAMATICS MAGAZINE Playwriting Contest and published by Pioneer Publishing.

Her short work, THE OLD MAN AND THE SEED, won First Prize in the Hewlett Packard 10 Minute Play Contest and was produced at the Action Theatre in Singapore, fall 2002. First prize included a trip to Singapore where she saw her play produced.

“THE MIRACULOUS DAY QUARTET” her short play about the after effects of 9/11, has received successful productions in Southern California, Chicago and New York. It recently finished a run in the Second Annual Chester Horn Short Play Festival in New York City and will soon be published by Players Press.

"Isaac, I am,” Mary’s full length play about life, death and AOL, was selected as the winner from more than 300 original plays submitted to the Helford Prize national playwriting contest officiated by Jacksonville University in Jacksonville, Florida. It was chosen by Bruce Helford, the creative force behind “George Lopez,” “The Drew Carey Show,” “Roseanne” and other successful sitcoms. Helford said, "I chose Isaac, I am because it is sharp, relevant and disturbing."

Mary can be seen on film in such “B” classics as RABBIT TEST, H.O.T.S., WEIRD SCIENCE and DEATH VALLEY. Mary appeared as a ‘Merciful Sister’ and sang about putting “the Devil in a Bulgarian headlock” on an episode of the original WKRP IN CINCINNATI.

Mary recently completed “The Sunday Man,” a short film directed by Dany Shamash and produced by Rebecca Rankin, as part of American Film Institute’s directing workshop for women.

Paddy: Nice and impressive, Mary.

edd: Mary, tell us about winning an award and getting published while still in high school.

marys: Thanks Paddy -- sure thing Edd.

marys: I was always writing as a kid, sending off poems to GOOD HOUSEKEEPING, trying to make my mom proud of me - and getting a very nice printed rejection card - what I wrote didn't suit their needs at that time, etc.... But through smaller magazines, I started to see my short stores and poetry get published. What a beautiful sight, seeing one's name in PRINT.

Then in high school I wrote a play for directing class, angst-filled and totally in verse (show off)... and something clicked inside when the audience responded to it. I knew I was on to something really wonderful... and terribly scary.

A contest came up through DRAMATICS MAGAZINE for student written one act plays. Sitting down in front of the typewriter and watching conversations pour out on the page was such an amazing feeling. The play was called THIS ISN'T EXACTLY HOW I EXPECTED IT, about a man sitting in a reception room with people he didn't help in life... his discovery at the end, yep, he's dead and doomed to repeat the reception room experience over and over... very Twilight Zone...

Paddy: Nice concept.

marys: Thanks, Paddy

marys: I don't know how many of you were influenced by television. There wasn't a great deal of theater being done in Boise Idaho at the time, except for the community theatre's 3 shows a year. TV was my contact to drama and thank goodness for Rod Serling and repeats. The ending surprised me. I had no idea how it would go until I got there.

I'm such an admirer of those who write with full outlines, plotting each moment on the stage. Me, I'm just the first audience member to see the play, it seems. The ones I've outlined never quite go anywhere... and oh, do I have a lot of those sitting in the desk drawer.

thain: What was "disturbing" about Isaac, I am? The title suggests AI (Artificial Intelligence) to me and a possible allusion to Ray Bradbury ...

marys: Ohhhh Mister Bradbury! He's a playwright too, you know... has his shows done regularly at Theatre West in Los Angeles. I saw him at a couple of his shows.... okay, disturbing . . . Isaac, I am is the tale of a woman who finds herself having to choose between a real life relationship vs. one with a family online that seems to need her desperately. What works better, real life, and risking being touched or hurt, or staying online where it's all safe and distant and in the end, who is she talking to online?

I'd love to know what Bruce Helford specifically found disturbing about it. It's kinda exciting to hear that from him. I hope to meet him someday.

edd: Mary, after winning competitions that have taken you to China and lots of money, have you an agent?

marys: No, I don't have an agent yet. My little play, THE OLD MAN AND THE SEED won me a trip to Singapore a couple years back. Considering it was a very short one act, it took me a long way. The contest was held by the Action Theatre supported by Hewlett Packard. I entered thinking maybe I'd win some toner for my printer. Instead, I found myself alone in a city with people hungry for theatre. It was an amazing experience -- especially being there one year after 9/11.

About agents -- I'd love to have one, but here in Los Angeles, the business is about writing for TV and film. Playwriting is often seen as the stepping stone to one of those careers. Sure I have screenplays at the ready, but keep being a playwright. Strange, I know...

edd: At this point in your career how do you measure success?

marys: Considering the pay scale for playwrights? I measure success in the little sounds an audience member makes when realizing something going on in the play, the lack of shifting around in seats --- and if no one checks his/her blackberry or cell phone during the performance, it's a triumph.

Paddy: Mary, like you, I tend to write more organically, and although it's lovely to respect other people's ways of getting there, have you considered, aside from the fact that it is simply your style of writing, that perhaps, you allow yourself a little more freedom and creativity with less guidelines?

marys: Good question, Paddy. I love the freedom and creativity --- Isaac, I am is a challenge to those who like tons of stage directions and scenery -- most of the play is done in a chat room or IM'ing -- yes it can be staged and successfully so, if the director knows the online territory. My double edge on the freedom sword, is having so many possibilities, it's easy to lose focus in the work. The best I can do in situations like that is to list all the many ideas that come out and choose what best fits the characters in the play. But I keep the notes for future plays.

Paddy: Thanks...interesting answer.

edd: Mary, Paul touched upon titles which reminded me that when I first learned of Isaac I am I thought it a religious play by it's title. How do you find titles? Do you start with one or do you find the title in the body of the work?

marys: The title usually comes along toward the end of the writing. Sometimes there are several titles as the play develops itself. In this care, there are little jokes I play in the title (which several people have BEGGED me to change) -- Isaac was the child nearly sacrificed to God in the old testament, and was later deceived by one of his own children when it came to naming an heir. Also, if you say "Isaac, I am" over and over very fast, it comes out "How sick I am" -referring to the title character, not necessarily the playwright. LOL

It's fun when a cast or audience member figures this out and gets a giggle of insight. But yes, I tend to work off themes from the Bible... maybe it was being brought up in a denomination that frowned on theatre as the devil's playroom. Yeah, I'm sure that's part of it.

thain: How did you make the chat room "theatrical" - was there any/much physical action?

marys: There sure was --- my stage directions had people moving around the stage, jumping into little groups and popping out with certain phrases or physically pushing one another around and fighting (just like the flaring you see in certain chat rooms-- NOT this one). Also, I encouraged the cast to come up with phrases of their own, which the students at Jacksonville University did with delight.

DWolfman: Thanks for the insights first. Without outline, how often do you find yourself rewriting, polishing, having to get back to your original focus?

marys: Ah yes, sometimes I don't get back there. That can be troublesome or lead to a major revelation. One thing that helps me is the staged reading process. It's really useful to sit without a script in hand and listening to the work being read by others. I listen for stumbles over certain words or phrases. If I hear that, I know I need to look at certain sections and rework them.

scenedreamer: edd Please explain what you regard as 'organic' writing? I hear the term, but don't really understand what it means.

marys: Hi scene -- I think there are lots of ways to interpret Organic Writing. It may have something to do with sprouts.

scenedreamer: Mary. Hmm. Sprouts huh? I knew it was complex. I can't grow sprouts either.....

marys: Actually, it has a lot to do with growing something and seeing where the piece goes. When the writing process is very good (which means I've turned the TV off), I get into a 'zone' where I feel I'm there with the characters, feeling their feelings... it becomes a pleasure just taking transcription from them. The story more often than not comes from the characters and I feel I'm along for the ride - sprout growing is strange - Ask my cats and my attempts to grow kitty grass for them. And me, coming from a farm in Idaho. Shame.

edd: Mary, I understand about being along for the ride. What question that wasn't asked would you like to answer?

marys: Wow, I feel like I'm competing for Miss America all of a sudden... of course, I want world peace... with a little drama thrown in now and again.

Paddy: ~laugh~

scenedreamer: Hey, I can do this organic thing then. Sounds like growing weeds. (not weed) Weeds you perverts you.

marys: This is such a great forum -- Edd and Paddy (and the originator - sorry can't remember the name) have made a pretty unique and safe place for us to play.

edd: Paul Thain.

marys: oops -- sorry, thanks Paul.

thain: No problem.

Paddy: Paul is the writer of this place. Edd and I are just organic characters.

marys: The best part is finding common ground with other playwrights, which I do so often here.

edd: :)

marys: Oh so you and Edd Sprouted ... wow.

Paddy: Yes...add enough manure...and voila!

marys: LOL!!

thain: Figments of my imagination ...

marys: LOL by the way is one of the funniest lines in "Isaac, I am."

edd: What are you working on now?

Paddy: Oh, Paul...I was wondering why my breasts were large. ~smile~

marys: I've been trying to better my craft at the 10 minute play genre. It's a tough one for me, since I seem to stuff my work like a Thanksgiving Turkey. There are so many competitions I enter that I don't get into, but keep trying because ...well… they're there. Also I'm always doing notes of one type or another, trying to catch a wave.

My little play TRUE BLUE will be done in Baltimore in a couple of weeks... just got the final details and will post them. How about you folks?

edd: Mary, we seem to have run out of time. Will you stick around and chat with our members?

marys: I'll be honored. Thanks for having me here today and putting up with my slow typing skills.

Paddy: Thanks so much, Mary. Very gracious and informative.

edd: Thank you, Mary! And thank you for a fabulous interview.

February Birthdays

Edie Sills Fahrenger 2/3, Frank Roys 2/12, Marlene Grinde 2/12, Arnold Schildkret 2/14, James Manley Green 2/15, Jeanne Spain 2/16.

February Anniversaries

David & Estelle Abrams 2/21

New Members

Membership Chairperson and Vice President Gail Bernardi forwarded the following New Member info:

Tiffany Towers

Welcome new member. Tiffany is working as assistant director for Biloxi Blues.

Respectfully Submitted

Larry Jones