The Cast

Good Ol' Girls

Pamela Bob - Kendra Goehring - Libby Seymour - Gina Stewart - Cassandra Vallery - Liza Vann

Pamela Bob

BobPamela Bob is a New York based actor and singer who has played various roles in New York and regional theatres across the country. Her style ranges from standards and contemporary musical theater to bluegrass, swing, blues and folk, comedies, dramas and everything in between.

New York theatre includes How To Save the World and Find True Love...(New World Stages), People Like Us and Neo (the York Theatre), as well as various workshops and readings. Regional favorites include the Cincinnati Playhouse, Alpine Theatre Project, NJ Rep., Peterborough Players, Capital Rep., Arts Center of Coastal Carolina, Asolo Theatre, Barter Theatre, Riverside Theatre, Barrington Stage Co., and more!

Talkin' Broadway named her Best Actress in a Musical for her performance in People Like Us. She won the Metrolina Theatre Award for Best Actress in a Musical for her portrayal of June Carter in Wildwood Flowers: the June Carter Cash Story.
Pamela's newest project is a concert series singing the Mandel & Lydon Songbook, which opened at the Cornelia St. Cafe in New York City this year. More concert dates and CD to come! Pamela is a graduate of the University of Cincinnati, College-Conservatory of Music and a proud member of Actors Equity Association.

For more information, contact:
Bobbie Merritt, Manager--The Entertainment Group
Annette Paparelle, Mary Haggery--Artists Entertainment Agency

About Good Ol' Girls, Pamela Bob says:
When I was asked to be a part of Good Old Girls by director Bo Thorp in 2008, I did not know what I was getting myself into. I had been directed by Bo previously in another production in which I had portrayed a Southern character, so I trusted that she knew I could handle the show. I hadn't received the script and music until the day before I arrived in North Carolina, and read it for the first time while on the plane. To my amazement and delight, I immediately knew, just a few pages into the script, that I was about to be a part of something truly unique. The writing was intricate yet simple, multi-layered, rich, funny, sad--an actor's playground! The music was beautiful, fun, diverse and didn't follow the typical "mold"--a singer's dream! But more than that, I had the great good fortune to be able to create, play, trust and become "family" with this amazing group of women. We were all so....different! But we all loved and respected each other for those differences. And I guess, that's what a Good Ol' Girl really does! One more notable thing: Good Ol' Girls are NOT just from the South! Although the writers and composers have written material that are distinctly Southern, Good Ol' Girls are EVERYWHERE! I've seen them in the woods of New Hampshire to the mountains of Montana to the streets of New York City.. We all can see ourselves and each other in these wonderful characters, which is why it is such a universally appealing show. I am a lucky Good Ol' Girl!

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Kendra Goehring

Goehring

Kendra Goehring calls Wilmington, NC, home, where she teaches preschool at St. John's Episcopal Church. She also teaches classes in dance and musical theatre at On Broadway.

Kendra’s past credits for CFRT include Steel Magnolias (Shelby), Sweet Charity (Charity), Peter Pan (Peter) and Thoroughly Modern Millie (Millie).

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Libby Seymour

Seymour

Libby McNeill Seymour is a theatre graduate of Queens University in Charlotte, NC, and holds certification from the Arts Management Institute at UNC-Chapel Hill. Her theatre credits include work for Charlotte Repertory Theatre, Flat Rock Playhouse, American Stage Company, and Cape Fear Regional Theatre.

A former educator and arts administrator, she has served on state and national arts panels and Boards.

Fond of musician's theatre, Libby plays piano, string bassand the spoons. Performances include: Company, Smoke on the Mountain, Anything Goes, Ragtime, The Robber Bridegroom, The Music Man, Something's Afoot, A Day in Hollywood - A Night in the Ukraine, My Name is Alice, State Fair, Cinderella, Baby, Thoroughly Modern Millie, Steel Magnolias, Rumors, Walking Across Egypt, Lunch at the Picadilly, Sabrina Fair, Picnic, Lu Ann Hampton Laverty Oberlander (Texas Trilogy), Vanities, The Shadow Box, Equus, A Midsummer Night's Dream, and The Tempest.

About Good Ol' Girls, Libby Seymour says:
Who wouldn't want to be a part of bringing to life the 'down-home' words of Lee Smith and Jill McCorkle? And singing the wonderful tunes of Matraca Berg and Marshall Chapman? Good Ol' Girls offers a sweet, sometimes painful, always touching, glimpse into the diverse lives ofwomen we've all known. As a southern woman, I found the words slippedoff my tongue like the molasses we used to sop up with beaten buttermilk biscuits.

There's a certain challenge to creating a character in just a few phrases. But knowing that a good ol' girl will always tell you the truth gives you the sensibility and voice to bring it on home. And I do mean those familiar and indelible voices forever imprinted in your mind--mama, grandmother, a favored aunt or teacher, that high school chum, a college roommate...I guess there's alittle good ol' girl inside most of us.

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Gina Stewart

Stewart

Gina Stewart is a North Carolina actress and singer/songwriter with an eclectic performance background. She was the original bassist of Fetchin Bones, one of the most innovative bands to emerge from the North Carolina Music Scene in the 1980s. Then she formed The Blind Dates, Doubting Thomas and Volatile Baby, three vastly different, and yet, equally ground-breaking bands. She has also toured with the Tarradiddle Players, The North Carolina Shakespeare Festival, The Charlotte Shakespeare Festival, and Charlotte Repertory Theatre.

In Charlotte, she co-founded the award-winning Innovative Theatre Company and Stage Door Touring Repertory. Audiences remember most her portrayal of Emily Dickinson in the one-woman show The Belle of Amherst, her subsequent performance in the one-woman show The Search for Signs of Intelligent Life in the Universe, as well as her outlandish performance as a guest star in the Broadway Touring Production of The Vagina Monologues with Ronda Ross and Glynnis Johns.

Gina's favorite performing moments include a stint as Maybelle Carter in the new musical Wildwood Flowers: The June Carter-Cash Story, which she performed at the Roy Acuff Theatre in Nashville, TN, at Cape Fear Regional Theatre in Fayetteville and at the Blumenthal Performing Arts Center in Charlotte, and her performances at the Grand Ole Opry alongside country music legend Carlene Carter.

If you watch closely and don't blink, you can also catch Gina in countless made for television movies, on Walker, Texas Ranger, Dawson's Creek and as "Teapot," the gravedigger's daughter in Shaun Cassidy's cult classic CBS series, American Gothic.

Click here to visit volatilebaby.com, the official website of Gina Stewart's band, containing tour information, videos, member blogs, and more.

About Good Ol' Girls, Gina Stewart says:
Good Ol' Girls is my favorite show. Ever. The opportunity to work on such incredible dialogue combined with such stellar songwriting, and then, top that off with getting to work with so many artists that I love and respect...just takes the cake! I am proud of this one...real proud.

I did this show because Bo Thorpe had talked about wanting to do this forever! And I would do just about anything she wanted me to do because everything she does is just wonderful and I just love her. I did this show because Marshall Chapman was my idol when I was 13 years old and got my first Fender Stratocaster. And because I think Lee Smith and Jill McCorkle are the best. And because I really wanted to hang out with my buddy Pamela Bob again and because I thought I might actually get to meet Matraca Berg...which...I did!

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Cassandra Vallery

ValleryCassandra Vallery is a graduate of the University of North Carolina at Chapel Hill and is proud to call Fayetteville, NC, her home. In addition to performing, she teaches musical theatre to children, volunteers for many non-profits in Eastern North Carolina and substitute teaches in the Cumberland County school system (theatre of course!).

Credits include: Lunch at the Picadilly, Closer Than Ever, My Way, Death Trap, The Miss Firecracker Contest, Some Enchanted Evening and 42nd Street.

Favorite roles include: Nancy, Oliver!, Judy Denmark, Ruthless, Lizzie, The Rainmaker, Marian, The Music Man, The Narrator, Joseph and The Technicolor Dreamcoat, Ida in Honk and Mother in Ragtime. However, her true favorite role will always be as mother to her son, MacRae, and daughter, Mary Mattison, and as wife to her husband of 19 years, Colton.

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Liza Vann

VannLiza Vann is a North Carolina native who lives in New York. From her early days at LaMama, favorite New York credits include Sybil in Teasers, Mary Shelley in The Frankenstein Affair, and her much acclaimed portrayal of Marietta Corsini in Richard Vetere's Machiavelli.

A recipient of the Clarence Ross Fellowship from the American Theatre Wing, she has performed extensively in regional theatre, most recently as Nicky in The Smell of the Kill and Edna in Lying in State, with appearances at Cape Fear Rregional Theatre as M'Lynn in Steel Magnolias, Myrtle Brown in Morning's at Seven, and Miss Maudie in the beloved To Kill A Mockingbird. Liza's award-winning one-woman show, The Top of the Bottom Half, has crisscrossed the U.S. and Canada, making stops at a variety of venues, and she continues to accept limited engagements nationwide. Also a keynote speaker for breast cancer awareness, her next engagement is with the Winchester Medical Center Foundation, appearing at its annual Pink Ribbons Luncheon in April. And absolutely, without a doubt, Liza is proud to be a good ol' girl!

Click here to visit lizvann.com, Liza Vann's personal multimedia website containing clips, clippings, and contacts for this one-woman performance dynamo.

About Good Ol’ Girls, Liza Vann says:
As I left the theatre one night, a woman grabbed my arm, hugged my neck, and whispered in my ear, "This is my life." Make no mistake--it doesn't get better than that.

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