Story by e.b. lee
Developed for the stage by Spencer Liff
Music Arrangements and Orchestrations by David Abbinanti
Produced by special arrangement with Broadway Licensing
The videotaping or making of electronic or other audio and/or visual recordings of this production and distributing recordings or streams in any medium, including the internet, is strictly prohibited, a violation of the author(s)’s rights and actionable under United States copyright law.
Bill Martin Bob Hunter
Loretta Martin Emily Russel
Rita Martin Brianna Ortiz
Lucy Martin Vienna Moura
Desmond Jones Greg Weaver
Molly Jones Malie Louise Grasmere
Jude Jones Ben Dressel
JoJo Jones Molly Crossley
Grandpa Jones Steve Sorriero
Grandma Jones Christine Flynn
The Politician Wayne Crow
Sgt. Pepper Bandit Hunter
Hippie Guide/Mary Martin Dani Kay
Ensemble Aric Martin Calabrese, Jenna Garraffo, North Holt, Bill Knight, Azayda Lynt, Austin Martin, Caitlyn McSherry, Aubrae O’Porto, Raelin O’Porto, Alex Roper, Tyler Violette, & John Zimmerman
PRODUCER
Jeffrey Dunn
PRODUCTION MANAGER
Andrea Bingham
DIRECTOR
Jonathan Zalaski
MUSIC DIRECTOR
Meg Markwith
STAGE MANAGER
Morgan Griffin
CHOREOGRAPHER
Shelby Griffin
COSTUME DESIGNER
Kate Kovacs
LIGHTING DESIGN
Tori Campbell
TECHNICAL DIRECTOR & SOUND DESIGN
Ian Jones
SOUND BOARD OPERATOR & VIDEO CONTENT
Michael Gonsalves
PROPS MASTER
Sydney Wyatt
PRODUCTION CREW
Maddison Mcwilliams, Nicole Mcwilliams,
Taryn mcwilliams, Jack morgan, Lucas Peck, Mirena Sylan, & Harrison Woodworth
SET BUILDERS
Bob Breen & Ian Jones
SET PAINTERS
Kylie Bernier, Bob Brophy,
Pat Piscopo, & David Verdosci
PHOTOGRAPHER
Aaron Westcott
OPERA HOUSE ORGANIST
Juan Cardona, Jr.
Waterbury Roller Magic
Mattatuck Drum Core
Special acknowledgement to the cast, crew, & volunteers for donating their time towards all aspects of this theatrical production and anyone who jumped on board after this playbill went to print.
On February 9, 1964 The Ed Sullivan Show earned the largest audience in its twenty-three year run when the world’s latest rock and roll sensation made their television debut. 73 million viewers tuned in to see The Beatles’ first televised appearance. John Lennon, Paul McCartney, George Harrison, and Ringo Starr were graciously ushered into American culture, thus solidifying their place in music history.
With a range of styles and sounds encompassed in their eight years of famed musicianship, The Beatles challenged the norm, served as commentators of current events, and caused their fair share of controversy.
Let It Be: A Celebration of the Music of The Beatles, features songs we all know and love such as: “I Want To Hold Your Hand,” “Yesterday,” “In My Life,” “Hey Jude,” and of course, “Let It Be”. The heart of these pieces, amongst others, are brought to the forefront when applied to a story about the struggles of two families surviving 1960s America. Civil unrest, political corruption, and the devastation caused by the Military Draft all contributed to rising tensions and a society on the verge of collapse. Perhaps unsurprisingly, our musical could be set in 2022 just as easily as it is set in 1960, drawing several parallels decades apart.
Does this make the words of the “Fab Four” timeless? Or does it raise concern for the future? Our show invites us into a world of chaos in which we are given the choice to raise our voice, or simply say “let it be.”
Through the lens of The Beatles’ commentary, we are reminded of the dangers that come along with navigating unfamiliar territory. Over the last two years, the absence of things we take for granted hurt the most when they were suddenly taken away from us. What we so desperately needed at times felt the farthest away. For many of us on stage, the absence of theatre left us longing for the excitement of rehearsals, the glow of the spotlight, the sweep of the curtain, and the audience that makes it all worthwhile.
If there is anything for us to take away from this story it is that: the struggles we face will not last forever; although history repeats itself, we prove ourselves as worthy opponents; tomorrow may rain, so follow the sun.
Jonathan Zalaski