| Assistant stage manager | Jennifer Matan |
| Costume coordinator | Eddie Schroeder |
| Light Crew | Marshall Starkenburg |
| Light Crew | Michael Arthur |
| Light Crew | Phil Welch |
| Light Crew | Christopher Kain |
| Light design | James McIntyre |
| Prop coordinator | Sally Richardson |
| Set construction | Larry Adams |
| Set construction | George Wakeling |
| Set construction | Greg Williams |
| Set design | Gary McCurdy |
| Set painter | Gary McCurdy |
| Set painter | Stan Creswell |
| Set painter | Cindy Littlefield |
| Stage Crew | Greg Williams |
| Stage Crew | Larry Adams |
| Stage Crew | Marlene Nance |
| Piano | Gwen Adams |
| Bell | Lisa Kostelac |
| Flute | Lisa Kostelac |
| Clarinet | Nick Pitcher |
| Clarinet | Sarah Rowley |
| Clarinet | Amanda Lehman |
| Clarinet | Kevin Sampson |
| Saxophone | Amanda Lehman |
| Saxophone | Aaron Jenkins |
| Trumpet | Allan Anderson |
| Trumpet | Mark Williams |
| Trumpet | Keith Baggerly |
| Trombone | Jason Wage |
| Tuba | Craig White |
| Drums | Brian Marrs |
A matchmaker named Dolly Levi takes a trip to Yonkers, New York to see the "well-known unmarried half-a-millionaire," Horace Vandergelder. While there, she convinces him, his two stock clerks and his niece and her beau to go to New York City. In New York, she fixes Vandergelder's clerks up with the woman Vandergelder had been courting, and her shop assistant (Dolly has designs of her own on Mr. Vandergelder, you see).