Call Me Madam
Book: Howard Lindsay and Russel Crouse; Music and lyrics: Irving Berlin
Opening Date:
April 7, 1989
Closing Date:
April 23, 1989
When outspoken American socialite Sally Adams becomes ambassador to a tiny European nation, her unconventional approach sparks diplomatic confusion and unexpected romance. Irving Berlin’s musical comedy blends political satire, culture clashes, and memorable songs in a lively adventure where love refuses to follow protocol.
Cast & Crew
Sally Adams — Pat Tweed
Dean Acheson — Louis Green
Congressman Wilkins — Randy Bumgarner
Henry Gibson / Court Chamberlain — Jack Clifford
Kenneth Gibson — John Weissert
Miss Phillips — Lana Henson
Senator Brockbank — Jim Rogers
Senator Gallagher — David Swanner
Cosmo Constantine — Bill Davidson
Pemberton Maxwell — Kingsley Adams
Clerk — Anita Witt
Hugo Tantannin — Terry Medley
Sebastian Sebastian — Terry Veal
Princess Maria — Tracy Nelson
Grand Duchess Sophie — Izella Brindley Smith
Grand Duke Otto — Norman Fogel
Chorus — Jo Hunter, Courtney Powell, Barbara Graham, Barbara Hadin Giager, Jim Foster
Champion — Grant Abshure
CREW
Director / Scenic Design / Logo Design — David Shuler
Choreographer — Cheryl Varnell
Music Director — David Neighbors
Assistant Director — Michelle DeLong
Assistant Choreographer — Hilda Metscher
Stage Manager — Michael Cregan
Pianist — David Hargis
Costumes — Christina Rich
Set Design — Jim Osterlund
Costume Construction — Christina Rich, Pat Abney, Hilda Metscher, Anita Witt, Barbara Graham, David Shuler
Pat Tweed Costume Design — David Shuler and Christina Rich
Pat Tweed Hairstyle — Gary Bates
Pat Tweed Jewelry — Collectibles
Production Notes
Oklahoma Connection
Sally Adams was inspired by Oklahoma-born diplomat Perle Mesta. Supplemental newspaper research connects David Shuler’s advocacy for the production with Oklahoma’s 1989 centennial observances.
Director’s Note & Dedication
In his surviving director’s note, Shuler celebrates the escapist charm of 1950s musicals and dedicates the production to his mother.
Press Coverage
A contemporary review appeared in The Oklahoman on April 12, 1989.