Starring Nathan Lane (Prologus an actor / Pseudolus slave to Hero – Mar 18, 1996 – Feb 09, 1997), Jessica Boevers (Philia a virgin), William Duell (Erronius a citizen of Rome), Cris Groenendaal (Miles Gloriosus a warrior), Mark Linn-Baker (Hysterium slave to Senex & Domina), Ernie Sabella (Lycusa buyer & seller of courtesans), Lewis J. Stadlen (Senex a citizen of Rome), Jim Stanek (Hero son of Senex and Domina), Mary Testa (Domina wife of Senex), Brad Aspel (Protean), Cory English (Protean), Pamela Everett (Tintinabula a courtesan), Mary Ann Lamb (Vibrata a courtesan), Susan Misner (Geminae a courtesan, one of a pair), Stephanie Pope (Gymnasia a courtesan), Ray Roderick (Protean), Lori Werner (Geminae a courtesan, one of a pair) and Leigh Zimmerman (Panacea a courtesan).
Swings: Michael Arnold, Kevin Kraft and Kristin Willit.
Standby: Bob Amaral (Pseudolus, Prologus).
Assistant Director: B.T. McNicholl; Associate Choreographer: Sarah Miles; Associate Scenic Design: Larry Gruber; Assistant Scenic Design: Mike Fagin; Assistant to Mr. Walton: Ann Keehbaugh; Associate Costume Design: Sharon Sprague; Assistant Costume Design: Mirena Rada and Nan Young; Associate Lighting Design: David Weiner; Assistant Lighting Design: Julie Duro; Associate Sound Design: Marie Renee Foucher.
General Manager: Dodger Productions; Associate General Manager: Joshua Rosenblum; Company Manager: Marcia Goldberg; Assistant Company Manager: Kimberly Kelley; Production Manager: Peter Fulbright; Production Stage Manager: Arthur Gaffin; Stage Manager: Michael Pule; Assistant Stage Manager: John F. Sullivan.
Musical Supervisor: Edward Strauss; Musical Coordinator: Seymour ‘Red’ Press; Conducted by Edward Strauss; Associate Conductor: Lawrence Yurman; Woodwind: Les Scott, Seymour ‘Red’ Press, Virgil Blackwell, Edward Zuhlke and John Winder; Trumpet: Stu Satalof, Larry Lunetta and Kamau Adilifu; Trombone: Bruce Bonvissuto and Jack Schatz; French Horn: Paul Riggio; Percussion: Glenn Rhian and Rick Kivnick; Bass: Lou Bruno; Keyboard: Lawrence Yurman; Harp: Beth Robinson; Violin: Ronald Oakland, Alexander Vselensky, Katsuko Esaki, Maura Giannini and Melanie Baker; Cello: Scott Ballantyne and Jeffrey Szabo.
Casting: Johnson-Liff Associates; Press Representative: Boneau / Bryan-Brown; Marketing Consultant: Margery Singer; Internet Marketing by Toby Simkin; Dance Captain: Michael Arnold; Advertising: Serino Coyne, Inc.; Press Associate: Amy Jacobs, Stephen Pitalo and Stefanie Kastel.
Understudies: Bob Amaral (Hysterium, Lycus), MacIntyre Dixon (Senex, Erronius), Cory English (Hero), Patrick Garner (Hysterium, Lycus, Erronius), Ruth Gottschall (Domina), Kenneth Kantor (Senex, Lycus, Miles Gloriosus), Kevin Kraft (Hero), Jennifer Rosin (Philia) and Leigh Zimmerman (Gymnasia).
Replacements: Bob Amaral (Pseudolus / Prologus – Dec 02, 1997 – Jan 04, 1998), Whoopi Goldberg (Pseudolus / Prologus – Feb 11, 1997 – Jul 13, 1997), David Alan Grier (Pseudolus / Prologusan – Jul 15, 1997 – Nov 30, 1997), Mary Testa (Domina), Bob Amaral (Lycus), Holly Cruikshank (Panacea), Kena Tangi Dorsey ( Gymnasia), Pascale Faye (Vibrata), Gina Ferrall (Domin), Robert Fitch (Senex), JoAnn M. Hunter (Vibrata), Dick Latessa (Senex), Ross Lehman (Hysterium), Carol Lee Meadows (Vibrata), Tara Nicole (Geminae), Don Stitt (Lycus), Kristin Willits (Geminae).
Replacement Swings: Shannon Hammons, George Smyros and Amiee Turner.
Replacement Understudies: Holly Cruikshank (Gymnasia), Gina Ferrall (Domina), Robert Fitch (Senex, Erronius), Kenneth Kantor (Pseudolus), David Rogers (Senex, Erronius), Don Stitt (Lycus), Kristin Willits (Vibrata) and Jessica-Snow Wilson (Philia).
As Founder and CEO of Theatre.com and BuyBroadway.com. The pioneer in moving the Broadway industry onto the internet. Press branded me as “Toby is the man pushing theatre, kicking and screaming, into cyberspace.” What started in 1989 as a Broadway industry service called ShowCall via dialup BBS for members of the League of American Theatre Producers evolved onto the world wide web in 1993, and shortly after this, the vast majority of Broadway shows (starting with my production of Victor/Victoria) and theatrical organizations followed. Described by Variety Magazine as a “marketing powerhouse“, it was the single largest theatre community in the world with over 180,000 active members.