The Gilbert and Sullivan Newsletter Archive
The Trumpet Bray
NEGASS
New England Gilbert and Sullivan Society
P. O. Box 367, Arlington, MA 02174-0004
"Ye torrents roar! Ye tempests howl!"
Vol. XX, No. 1
July/August, 1995
Renewal/Picnic Issue
Over the bright blue sea....
August OSLO/Picnic Meeting: On Sunday, August 27 at 2 PM NEGASSers will meet once more to enjoy an OSLO performance (PINAFORE this year), and then gather at about 5 PM to picnic at the glorious seaside home of the glorious Mrs. Shepherd. This is the most relaxed, joyous meeting of the year, and the only time that NEGASSers get to splash each other with salt water. OSLO is saving only one row for us (26 seats), so call President Dick to reserve your seat early! Then bring your bathing suits and towels (Mrs. Shepherd will provide the ocean, changing rooms and showers), main courses for your own dinner and desserts/salads/drinks to share (as well as beach chairs and blankets to dine upon Mrs. Shepherd will provide the grills and a couple of setup tables), and your scores for a singthrough of SORCERER (Mrs. Shepherd will provide the piano).
HOW TO GET THERE: OSLO performs at the Wheeler School Theater at the corner of Angell and Hope Streets (216 Hope St.) on the east side of Providence, RI. Given the elves who have tweaked the directions every year We've tried this, We no longer give directions to OSLO We recommend that you get a (current!) map of Providence. (The last directions We published began: "Take I95 to the downtown Providence exit, which places you at Kennedy Plaza, facing a stop light, with City Hall in view". They went on to discuss detour signs which made no sense when We tried to follow them, and which, We assume, are no longer there anyway!)
THE NEXT LEG: HOW TO GET TO MRS. SHEPHERD'S HOME: Mrs. Shepherd lives on Monkey Wrench Lane in Bristol, MA. Using your current map of RI, either find your way from OSLO to Interstate 195, or take Interstate 95 from the Boston area to Providence, where you can pick up Interstate 195. Take Interstate 195 east to State 136 south (which you'll hit in the Swansea area of MA). Just before the Mt. Hope bridge on 136 there is a small street off to the right, Low Lane, which enables you to avoid the Mt. Hope Bridge toll booth. (If you find yourself paying a toll, you've gone too far!) Take Low Lane, not because you're cheap, but because not far down Low Lane is the first of two entrances to Monkey Wrench Lane (it's a loop), and not far down Monkey Wrench Lane is the Shepherd's home. Park on the side of the Lane.
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Election Meeting: After a bit of a delay to allow for people caught in rush hour traffic (Is the practice of having election meetings on a Friday night a tradition worth preserving, or is it only an accident of convenience?) president Dick Freedman led the assembled throng downstairs to his basement. He proudly pointed out the mural that graced a wall that had been bare for the last meeting that had been held there, the showing of THE FOUNDLING.
New members present were Dave and Donna Marshall, whom Dick had recruited from his bridge circles, where Dave is a director; and Al Lewis, who had posted to SavoyNet a query as to where one can find G&S around Boston and had been pounced upon by Dick. Lamenting his inability to follow tradition and turn over the meeting to the Vice President for the election of the president, he offered the chair to Program Chair Patricia Brewer (next in line of succession?), but then invited and encouraged any other candidate to appear. Finding none, he accepted a motion to elect by acclamation, which passed. He then proposed Patricia for the oneyear term remaining to the vice presidency, praising her good record as Program Chair. She was nominated, seconded, and acclaimed without opposition. Dick described having approached a few people for the Program Chair position, and strongly invited anyone to volunteer. He then announced that Sheldon Hochman had not firmly declined when approached, and Sheldon was quickly elected in absentia. Teach you to miss a meeting, Sheldon!
Carl Weggel, Member at Large, who has been acting Treasurer for the last year, became Treasurer. There were now three MatL seats to fill, with Peter Cameron's term expiring, and Carl Weggel's and Sheldon Hochman's positions being vacated. One of the open seats was a oneyearremaining, the other two were full twoyear terms. Peter Cameron was willing to serve again. J. Donald Smith had expressed willingness when approached previously by the president. Janice Dallas volunteered, with some reservations regarding her ability to commit. In a single unanimous vote, Donald and Peter were acclaimed to the twoyear seats, and Janice to the oneyear seat.
Dick announced that the membership forms, at his suggestion, will this year contain two new queries: "What is your email address, if you have one;" and, "Are you willing to receive routine issues of The Trumpet Bray by email?" Be reassured that you can provide us an email address and still receive The Bray in printed form if you prefer. Some present indicated they clearly did so prefer. But it is hoped that there will be enough others to save us something on printing and mailing, our greatest expenses.
The parent society in England, the Gilbert and Sullivan Society, has begun a fund drive to establish a marker for the grave of Rutland Barrington, one of the original Savoyards. It was suggested that the board should decide whether NEGASS should make a contribution. It was pointed out that almost the entire board was present. It was moved, and carried, to defer the decision to the board meeting. [The Board later convened, and agreed to make a contribution, since NEGASS is quite flush at the moment mlc] As President Dick has a chequing account at Barclays Bank for just such purposes, any who wish to make individual contributions can send them to him in dollars, and he can forward them in sterling with no conversion charges.
There being no objection, the president then declared the meeting adjourned and started the video of GONDOLIERS. HILDEBRAND
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BrayStuffing: A small group of "Old Faithfuls" showed up for the May BrayStuffing. We continued the new plan of doing something other than a singthrough of a G&S opera, this time reading a Gilbert play, Rosencrantz and Guildenstern. At the last minute the meeting had been moved to Marion Carroll's house, and Marion, Bill Mahoney, Sheldon Hochman, Carl Weggel and Peter Cameron alternated reading parts while folding, stuffing, etc. A pleasant way to spend an afternoon more members should take part. PUBLIUS
Tentative 199596 Meeting Schedule:
8/27 OSLO/Picnic meeting
10/15 TBA
11/19 TBA
12/17 Possible Performance:
A G&S Christmas Carol
1/21 G&S Collecting (Hosted by J. Don Smith)
2/25 LMLO GONDOLIERS (Produced by
Patricia Brewer)
3/31 TBA
5/5 Sudbury Retrospective (PRINCESS IDA)
6/9 Election/Business meeting
Details will be published as they solidify. We expect a good year ('though conscripted Program Chair Sheldon Hochman expresses reservations about his abilities, and would appreciate help!) There's been talk of usual and unusual invited performers (e.g. Royal Vic, NSLO, and even our old friends Juliet Cunningham & crew), in addition to Fantasy Day, lectures (more potential invitees, e.g. Jonathan Strong), and who knows how much more! Respond on the enclosed renewal form, to let those of us on the Board know what YOU want at meetings this year!
mlc
~ NEXT BRAY COPY DEADLINE: September 9~
Next BrayStuffing: On Saturday, September 16 at 3 PM we'll meet at Our new home 13 Cottage Avenue, Arlington, MA to fold & stuff the Bray and to read through a Gilbert play to be announced probably, Engaged. Call Us at (617) 6469115 for directions and further information. mlc
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Welcome. Welcome, Welcome We new members Theresa R. Feeley, Dale Hall, Debra Hanggeli, Ruth Roper, and Eileen St. David. Theresa asked to be put on our "mailing list to receive...[our] production schedule for future performances" (hope she's satisfied by the Calendar!). Dale describes himself as a Musician and a member of the Sudbury Savoyards since 1987. Debra writes that she "does lovely hair and makeup and butchers piano accompaniments" [she also sings beautifully, as those who heard her as Saphir and PittiSing in Sudbury productions well know!]. Ruth saw our newsletter at the Longy School of Music and wants More! More! More! And Eileen teaches singing and directs notably, she directed the HRG&SP production of PATIENCE which is glowingly reviewed later in this issue, and is about to direct YEOMEN for them this fall. Hearty Greetings Offer We!
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And now, M'Luds, to the business of the day
(by all means!):
It's time to renew your membership!
Please note the new questions on the membership form: What's your email address, if you have one? And, Are you interested in receiving the Bray by email?
The Board's decision three years ago to create extra categories of membership is still in effect please bear in mind that the majority of our members are still "Yeomen", but that those who wish to contribute more to NEGASS have the opportunity to do so, in the following increments:
$ 15 Yeomen (basic membership)
25 Daughters of the Plough
50 Bucks and Blades
100 Flowers of Progress
(On the other hand, if even the $15 basic membership is a problem, please contact Membership Chair Bill Mahoney)
Part of the deal was that We would print a list of Members Extraordinary those who chose a category higher than Yeomen for the previous year. So here's the list of 199495 Extraordinary Memberships (Bow, bow, ye Lower Middle Classes):
Daughters of the Plow
Patricia Brewer Bob Manninen
Christopher Burkhart Neil McCormick
Peter Cameron Michael McGuire
Judith Chasin Bruce Miller
R.E. Colson Mr. & Mrs. Erwin Miller
Charles Coolong Mr. & Mrs. Les Moore
Philip Drew Michael D. O'Connor
Thomas Drucker Jim & Beth Parmentier
Barry Garden Marcy & Marc Shepherd
Alexander & Helen Gerli Jonathan Strong
Sheldon Hochman Tim Szczesuil
Charlee Hutton Dr. & Mrs Charles Wilder
Alessandra Kingsford Phyllis Wilner
Richard & Joan Knox Wilbraham United Players
Kathy Lague Jane Young
Bucks and Blades
Dean Edmonds Jr. Miles Carey Leahey
Richard Freedman Mr. & Mrs. Larry Littlefield
John N. Howard Barry Singer
Fred Hughes
Flowers of Progress
Bill, Nancy, & Carol Burdine Walt Howe/Hope Tillman
Joseph Adam Cherepon, PhD
(How shall I express the allabsorbing gratitude )
Membership Chair Bill Mahoney also lists two Honorary Memberships (folks who'll keep getting the Bray, whether they want to or not, for the rest of their lives because of some remarkable thing they've done in the past); 17 Exchange Memberships (They get our newsletter, and We get theirs which We try to bring to meetings and, when there's room, quote in Brays); and two Hardship Memberships (talk to Bill if you want to be a member, but just can't swing the fee, and he'll work out a deal). Bill's grand total for 1994/95: 194 members, up from 182 in 1993/94.
Whatever category suits you please send the enclosed Renewal Form, with its attendant Questionnaire, to Membership Chair Bill Mahoney with what dispatch ye may!
mlc
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Careful readers of the Bray may be wondering, "What's A G&S Christmas Carol?" It's the Dickens story, made into a play and set to Sullivan's music. It features such delights as Ebenezer Scrooge, Bob Cratchit & Tiny Tim singing the Big Black Block trio from MIKADO; the Ghosts of Christmas Past, Present & To Come singing Three Little Maids From School, and Jacob Marley's Ghost singing the MajorGeneral's song from PIRATES. We'll need a Casting Director at least, to choose the members of the large cast anyone up for the job? Beyond that the question becomes, Shall there be serious rehearsals led by a Stage Director & Conductor (who would have to volunteer for the jobs) or nonserious rehearsals led by the participants or a standupandwingit attempt? Contact President Dick, who has a copy of the script, with ideas or to volunteer for any positions.
mlc
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Dear Ms. LeedsCarroll: For years there has been a hollowness in my heart resulting from my failure to secure video copies of a 1950's TV production of MIKADO featuring Groucho Marx as the Lord High Executioner, and of the PBS series of G&S performances first shown on WGBH five to ten years ago. For this latter series, RUDDIGORE featured Vincent Price and YEOMEN, Joel Gray. I was wondering whether you might publish this letter in the next newsletter with the hope that some NEGASS member might have information as to the whereabouts of any, or all, of the above.
Sincerely THEODORE J. KOBAN [Can anyone give the poor hollow fellow a hand? He lists his address as 1031 High Street, Westwood, MA 02090, and his phone numbers as (508) 2220700 (days) and (617) 3298039 (eves). mlc]
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REVIEWS
MIKADO, a 2 CD recording, with libretto. C&B Productions, PO Box 26334, Tampa, FL 33623, $24.95 + $3.00 s&h (1995)
Several months ago I reviewed the first compact disk produced by this group: a complete version of COX & BOX. I have now received a 2 CD set of their version of MIKADO, their first venture into the full length G&S repertory. The earlier effort had only required three singers, and was accompanied by a string quartet, harpsichord, harp and mandolin. MIKADO requires a cast of nine soloists plus chorus and a reasonably full orchestra (the libretto thanks 28 who participated in the production.). The stated goal of C&B Productions is to produce a series as faithful to the original productions as possible, and with all the cuts in dialog or lost songs restored. From that point of view MIKADO is not a particularly good example; there are no "lost songs", and the dialog of this "original version" is remarkably similar to today's version. The principal changes are that two songs occur in different places, and the 2nd Act Finale is slightly shortened. YumYum's The sun, whose rays now occurs in the 1st Act just before Were you not to KoKo plighted, which is soon followed by KoKo's little list of society offenders. (These switches also require slight changes in the adjacent dialog.) The Mikado still sings his own little list, but in a less bloodthirsty vein: according to the liner notes, his shrieks of glee did not appear until performances of the 1920s. There are a halfdozen brief lines of dialog included that were not in Gilbert's original libretto, but were ad libs in the first performance by Rutland Barrington, who played PoohBah. (Gilbert excised most of these when he supervised a revival in 1907. Gilbert let remain Barrington's "I don't want any lunch" after the Mikado asked "Will after luncheon suit you? Can you wait till then?") But an average Savoyard would not notice most of these slight changes.
The singers and orchestra are all reasonably acceptable. (PishTush is sung by John Ambler, a NEGASSer gone south.) There is no GoTo, who, according to Bradley's "Annotated Gilbert & Sullivan," substituted for PishTush in the madrigal, as the low notes were below the range of the original PishTush. The principal attraction of this "Collector's Version" MIKADO is that it comes complete with dialog. The total playing time is 130 minutes, compared to about 80 minutes for the usual CD of musical numbers only, and the price is about the same. We look forward to this group tackling one of the operas where there really were lost songs, or more substantial changes in text. But this is still a useful addition to the G&S literature.
JOHN N. HOWARD
C&B Productions published further info on SavoyNet in addition to the above address, tel: (813) 5366250). As with their first release, COX & BOX, MIKADO was digitally recorded, mixed, and mastered at Southern Sound Recording... those that still wish to purchase the first in the series, COX & BOX, can do so at $14.95, plus $2.50 for shipping and handling. Additional librettos for either show may be purchased at $3.00 each.
HARVARDRADCLIFF G&SP's PATIENCE, Saturday Matinee, April 15, 1995: Eileen St. David, Director, proudly presented a polished, professional production of PATIENCE. Her traditionalyetimaginative staging, nighflawless direction, and meticulous dramatic and diction coaching yielded a memorable show which featured novel, clever stage business and sparkled with impeccable, lively, and natural dialogue from the principals and choruses alike. Alas, despite these sterling attributes, on balance the show was, "Not supremely, perhaps, but oh, so all but!"
Gilbert himself revealed that the idea for PATIENCE was inspired by The Golden Stairs, a monumental painting (18721880) by Sir Edward BurneJones, the leader of the Aesthetic Movement. Ms. St. David stated that her staging, costumes, archaic musical instruments, and the poses of the Lovesick Maidens in PATIENCE were based on this and other wellknown paintings by BurneJones, Gabriel Rossetti, and Botticelli. The attempted aesthetic poses which the Dragoon Officers assume in Act II to impress the Lovesick Maidens were likewise modeled after famous works of Botticelli, including Primavera and The Birth of Venus.
As the Act I curtain rose, the magnificent set elicited welldeserved applause. Celeste Young, the Set Designer, and Rob Jacoby, the Technical Director, skillfully crafted an idyllic pastoral scene "a la Watteau," depicting the gardens surrounding Castle Bunthorne. Dave Feldman, Hydromechanist, designed a marvelous miniature mechanical waterfall to highlight the scene; Mr. Jacoby constructed an elaborate pergola which dominated stage left. Have no doubts, Rob, the audience heartily appreciated your efforts. Your set is "precious" and "consummately utter," surely at least as effective as the one specified in the Schirmer PATIENCE score. [Note: The original production of PATIENCE at the Opera Comique featured a similar "narcissus pool."]
Hannah Wunsch, the Costume Designer, appropriately "fleshed out" the "fleshly" poet, Reginald Bunthorne, and did a "dandy" job of costuming his idyllic rival, Archibald Grosvenor. I even endorse the pastel shades of the dresses of the Twenty Lovesick Maidens, even though Gilbert's dialogue for Lady Jane suggests that an EarlyEnglish "cobwebby grey velvet, with a tender bloom like cold gravy" might, in fact, have been more appropriate.
Throughout the show, the Ladies Chorus was effectively affective (Twenty Lovesick Maidens We and In a Doleful Train, etc.), emanating their "conversion to the principles of Aesthetic Art in its highest development." Tori Jueds, The Lady Saphir, was by far the finest of the Three Rapturous Maidens. If only Ms. Jueds had been cast as Patience!!! Much as Ms. Jueds's acting and vocal talents were appreciated in the role of Lady Saphir, they were even more essential for Patience. [Hello, all reviewers! please note that someone who can sing the role of Saphir probably can't sing the role of Patience and viceversa since one is a mezzo, the other a high coloratura! mlc]
The 35th Dragoon Guards, led by Darin Goulet (Colonel Calverley), Erik Hanson (Major Murgatroyd), and Jerry Shuman (Lieutenant The Duke of Dunstable) entered to a rousing rendition of The Soldiers of Our Queen, leading into the Colonel's If You Want a Receipt for that Popular Mystery, and followed shortly thereafter by When I First Put This Uniform On. All were supremely well done, although one or two more high tenors would have been welcome, especially in the Duke's touching solo, Your Maiden Hearts. This lapse is forgiven, however, with the cast's moving rendition of I Hear the Soft Note, especially the a cappella opening. A comic bit of stage business during Archibald Grosvenor's first entrance: the dragoons vainly strive to block their fickle sweethearts' view of the hypnoticallyfascinating, aloof Grosvenor.
Doug Miller highlighted the production with a nighperfect portrayal of the fleshly poet, Reginald Bunthorne. Mr. Miller, "oozing [art] from every pore, . . . oiled his way around the floor," featuring insouciant poses dripping with fleshly aesthetic affectations. His grandiose, emotional composition and recitation of Oh, Hollow! Hollow! Hollow! reeked welldone ham. Even his somewhat "campy" pregnant pause between the second and third "Hollow!"s of the poem's title (to consult his justcompleted manuscript) was "nonsense, yes, perhaps, but oh, what precious nonsense!" He delivered a fabulous Am I Alone and Unobserved (If You're Anxious for to Shine).
Brian DeVries, as his narcissistic "idyllic" aesthetic rival, Archibald Grosvenor, provided a fitting egotistical foil. I suspect that his humorous "bio" (". . . typecast, Brian finds the role of a man loved by all women . . .") was, in fact, accurate!
The ingenious duet between Patience and Angela, Long Years Ago however, flopped. Despite instructive italics in the score, neither Patience nor Angela sufficiently emphasized "He," "was," "little," or "boy." Consequently, the entire raison d'être of the song sexual innuendo was lost.
Catherine Ingman, as a rathertoobeautiful Lady Jane, played her part to the hilt, such as her "and I cling!!!" accompanied by a grand gesture involving a lily. Her beauty does, however, make the Duke's selection of her vastly more credible. Lady Jane should, however, gray her hair for Sad Is that Woman's Lot (Silvered Is the Raven Hair). Her archaic miniature cymbals during Let the Merry Cymbals Sound were not only immensely amusing, but also historically authentic.
Second, midway through the absolutely crucial dialogue which followed the Dragoon Officers' trio It's Clear that Mediaeval Art, their artistic muse deserted them: Their final Botticellian pose was a grotesque parody of the "stiff, constrained, and angular attitudes . . .. adopted by Bunthorne and the young Ladies in Act I." The three officers acted not like military men trying vainly to mimic aesthetic postures (or even like soldiers grimly enduring the agonies of cramps), but rather like ludicrous caricatures with clamped thighs, embarrassed and embarrassing bloatedbladder buffoons in desperate need of a privy.
Lastly, Catherine deLima, a talented singer and actress (her "Quite!"s were masterfully delivered), was inexplicably unconscionably miscast as Patience: For Patience's absurd behavior (I Cannot Tell What This Love May Be, True Love Must SingleHearted Be, and Love is a Plaintive Song, etc.) to be at all credible, Patience must be ludicrously naive. Ms. deLima, unfortunately, appeared, acted, and sounded far too mature, intelligent, and "streetwise" for the role. She would be far more appropriate as several other G & S heroines, such as the worldlywise, manipulative Angelina in TRIAL. Furthermore, the poignancy of Love Is a Plaintive Song was severely impaired by its presentation as an opera diva's "art" song rushed and "campy", with its superfluous, operaticspoof cadenza.
The orchestra, under the skillful direction of Benjamin DiScipio, Music Director, equaled or surpassed its customary excellent standard. Cindy Hayne, French Horn, deserves special mention for her mellifluous performance. An added treat emanated from the orchestra pit: Shana Ellenberg, CoOrchestra Manager and one of the talented flautists, enhanced our delight with her contagious, uninhibited enjoyment of the show even though from her location in the pit she herself could not see the stage! I always admire anyone in the orchestra who obviously enjoys performing, and is not (like the Romangalley oarsman in the famous Far Side cartoon) "just in it for the money." CARL WEGGEL
[One of the advantages of being a newsletter editor is that one's friends write such lovely reviews of one's productions. mlc] IOLANTHE AT MIT: Why is it death to marry a mortal? I have seen and participated in more productions of IOLANTHE than I can count, without ever having given this question more than passing thought. It is a great credit to Marion Leeds Carroll's direction, and to Neal Addicott's wonderfully human portrayal of Strephon, that this question was seriously raised and answered. Delivering Strephon's speech about the disadvantages of his hybrid status with earnestness and simplicity, Mr. Addicott made it clear that there was a breach in the order of things: a person that we cared about existed, whose upper half was immortal but whose lower half grew older every day. Fans of Tolkien's Silmarillion will recognize the problem: when mortals marry immortals, the offspring are a dangerous anomaly whose place in the universe poses a problem for gods and men. And throughout the first act, Mr. Addicott presented a delightfully balanced realization of his ethereal nature, as shown in his pure pleasure in meeting his fairy relatives, and his earthy side, as shown in the warm physicality of his scenes with Phyllis (Emily Browder).
Marion's productions, at their best, are like a novel by Trollope: every person on stage has a fully developed human character which informs all their gestures and reactions, and outofcharacter "bits" for a laugh are almost unknown. Complete personalities emerge even among the chorus; and in this smallish production it was almost possible to follow all the subtexts. Notable among the ensemble were Ms. Browder, a naive and robust Phyllis with a glorious voice; Meg Christian as an affectionately maternal Iolanthe; and Grace Colon as a remarkably natural Fairy Queen. The chorus of fairies gave a unanimous impression of petiteness and grace, in marked contrast to the hulking Peers, whose famous March came across as a stern debate between the forces of "Tantantara" and "Tzing Boom", respectively. Among the distinctive touches were wreathes of Christmas tree lights in the fairies' hair, looking like clouds of fireflies when they entered the darkened stage, and the thunder clap that accompanied each of Ms. Colon's entrances. Wayne Vargas as the Lord Chancellor took ownership of his patter songs most impressively (although the extreme dryness of his interpretation left his love for Phyllis and Iolanthe's love for him to the audience's imagination), while Bob Grady and Aaron Sompong as Mountararat and Tolloller provided a fine blend of comedy and dignity. The one disappointment was Robert Morrison's Private Willis: his excessive hamming was a reminder of what this production otherwise nearly completely avoided.
Music direction was provided by David Grunberg, and the excellent lighting design was by Stuart Levine NANCY BURSTEIN
MIKADO at Sherborn: I was pleasantly surprised when I attended G&S in an unaccustomed venue recently, as the Sherborn Players presented MIKADO. My surprise was not at the ability of their strong NankiPoo, for a couple of months earlier I had gotten a "Lend me a tenor" phone call and had referred Lonnie Powell to them. But at the ability of all this was no mediocre smalltown community theater! And also at their history: the bios in the program indicated that their recent productions have included TRIAL and PINAFORE. An established, experienced group has been performing G&S practically in our midst, and I had been unaware of them. Clearly we need to establish better communication with this group, which I welcome to the New England G&S Community, even if they only do G&S occasionally.
The set was minimal, but effective, with trees painted in various places on the set and the traditional Japanese arch in the center, through which a distant mountain could be seen. The performance was traditional, although Jeffrey Davis was a slightly unconventional PoohBah in ways that I have trouble describing. A companion said that his style suggested Country and Western to her. His "As you're already under sentence of death, everything seems to point to ... you!" line had the flavor of SNL's Church Lady.
Katisha (Marianne Orlando) was excellent, although I thought her voice was more robust in the higher part of her range. (Does that mean she was really a soprano?) I was not surprised to read in the program that she had extensive G&S experience, having started with UMGASS. Her entrance was very dramatic, as she was preceded up the aisle by two very young bodyguards, who peered fiercely through huge fu masks that were almost as big as they were. These same youngsters accompanied the Mikado's entrance as tumblers, cartwheeling down the aisle.
"The sun, whose rays" was very effectively accompanied by the appearance of a huge Japanese paper lantern suspended from a pole, to be replaced for the second verse by a smaller, dimmer one, from the other side of the stage. It was more proof that good ideas are more effective than big budgets in staging. DICK FREEDMAN
RUDDIGORE at OSLO: Opening on June 29 for a two week stint, the Ocean State Light Opera presented RUDDIGORE (or The Witch's Curse) to an enthusiastic audience. It was nice to note that as time goes on, this company keeps getting better. When they started out two or three seasons ago, there was a very nice piano accompanist. Now there is an (estimated) ten or eleven piece orchestra that played very well indeed. [NB: OSLO did not exactly spring into being out of Zeus's head a couple of years ago it was a continuation of the late Cabot Street Playhouse, also originally led by Ted Tuttle, which was, in its turn, a continuation of yet another RI G&S group mlc] In a bit of a departure, the costuming was in the roaring twenties mode and it worked very well, especially with the bridesmaids doing the Charleston to "Hail the Bridegroom, Hail the Bride."
Some of the original version was returned to this production. For example, Act II's opening duet "I once was as meek as a newborn lamb" included the second verse, beginning "My face is the index to my mind," which is very rarely performed.
The cast was uniformly excellent, as the reviewer from the Providence Journal stated. Especially noteworthy were Robert Lieberman (Robin), Fredric Scheff (Richard), Julie Anne Fay (Rose Maybud), and Mary Beth McGrath (Mad Margaret). The chorus was excellent, and helped round out a fine performance.
All in all, it added up to a most enjoyable evening, and I look forward to seeing PINAFORE in August in conjunction with our annual picnic outing in Bristol. ALAN HOFFENBERG
MIKADO at CLOC: I feel that standing ovations have been cheapened by the modern practice of giving one for just about anything, and I usually hold out. But I had no hesitation in joining the S.O. when KoKo (Nick Paone) took his bows at the College Light Opera Company's MIKADO.
I had misgivings a couple of times during the overture, when sections went slightly and momentarily out of sync.. My expectations had been extremely high, because this group had always played so flawlessly in the past. But I quickly forgot my misgivings when the cast came on, and no further anomalies struck my ear.
None, that is, except those which were intended, and the direction of this show obviously intended several nontraditional interpretations. As usual, some I liked and some I did not, but overall I was well pleased by a director (Jim Ellington) who obviously understood tradition even where not bound by it.
The setting was a simple one, with broad steps leading to a pair of sliding doors upstage left which proved useful for a variety of entrances and exits. The chorus of nobles entered, after the overture, and got into gameplaying activities more reminiscent of Barataria than of Titipu. PishTush entered, and frantically got them up and into serried ranks in time for the opening We are gentlemen of Japan. The men, about a dozen in number, were extremely well synchronized in their fan work. NankiPoo (Adam Burdick) was strong and sweet even in the higher parts of the tenor range. The chorus responses to NankiPoo's A wand'ring minstrel, I were cleverly done, culminating in solicitous care for the one of their number who was put to sleep by the lullaby.
PoohBah (David Schmidt) was very effective throughout. He was especially amusing at being conscripted into the dancing "train of little ladies" exiting after So please you sir, we much regret.
If I may digress for a moment, I recall my pleasure at reviewing two excellent, but very different, productions of YEOMEN a couple of years ago. Among other differences, North Shore Light Opera Company had a portrayal of a Jack Point who got by on his wits, without a whole lot of physical talent, while CLOC's jester was extremely talented physically. Well, the latter jester was Nick Paone, playing KoKo this time, and was again superb. His "little list" mentioned "the pol who waffles back and forth, and can't make up his mind". The "who shall be executed" scene leading up to "To sit in solemn silence" used desperate handoffs of the letter from the Mikado, suggestive of the unpleasant fate awaiting someone. KoKo's best scene may have been with Katisha, just before Titwillow, in which he literally climbed the walls (by means of convenientlyplaced trellises) to say "Shrink not from me" as he cowered above her!
Katisha (Barbara Sigrid Allen) presented a different problem, which I have criticized previously when groups failed to solve it: she was too pretty! But I knew that only from the photographs outside the theater. A very simple whiteface with red accents (Makeup Design by Kristy Reynolds), along with her excellent acting and singing, was sufficient to convey that marriage to her was a ghastly fate for anyone.
YumYum (Robin Korsin) presented a different approach in Were you not to KoKo plighted, as she coaxed extra demonstrations from a notverydemonstrative NankiPoo of what he'd never do. And the Mikado (Ben Hellman) enjoyed the fear he inspired, occasionally surprising the townspeople in their recovery from his threatening glance and forcing them to cower again.
I have many times expressed my fondness for CLOC performances. This MIKADO will not cure me of my love. DICK FREEDMAN
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And more SavoyNettings from Dick: Helga Perry (helga@grhlib.demon.co.uk) has posted the D'Oyly Carte English tour dates for Autumn 1995 to Savoynet. Shows are MIKADO and La Vie Parisienne [yes We know it isn't, but it's D'Oyly Carte, so what can We say?] Dates:
September 19 23 ; 25 30
BIRMINGHAM Alexandra Theatre
Box Office +44 121 643 1231
October 2 7
DARLINGTON Civic Theatre
Box Office +44 1325 486555
October 9 14
NOTTINGHAM Theatre Royal
Box Office +44 115 948 2626
October 16 21 (MIKADO only)
NORWICH Theatre Royal
Box Office +44 1603 630000
October 30 November 4
SHEFFIELD Lyceum Theatre
Box Office +44 114 276 9922
November 6 11
LEEDS Grand Theatre
Box Office +44 113 245 9351
November 13 18
MANCHESTER Palace Theatre
Box Office +44 161 228 6255
November 20 25
WOKING New Victoria
Box Office +44 1483 761144
November 27 December 2
HIGH WYCOMBE Wycombe Swan
Box Office +44 1494 512000
*************************************************ROCKS REQUESTED: President Dick recently received a call from Jane Cormier, representing a Derry, NH group called Operafest. They plan to perform PIRATES at the end of this month, but have lost their set designer. They're seeking a rental source for practical set pieces representing rocks as in Climbing over rocky mountain. Call Jane at 6034252848, or President Dick, if you have any leads or ideas.
ARMOR REQUESTED: [For some reason, We have only part of this posting from the 'Net must have dropped something somewhere mlc] The last time the Valley Light Opera did IDA was 14 years ago. We rented costume armor from a source in CornwallonHudson, NY, at considerable expense. At a meeting of the Board yesterday evening, the producers talked about renting armor from a firm with which we have dealt in the past with varying success, and I suggested that I would ask S'Netters about their experience. Does anyone have a contact with a performing company which has costume armor... [We assume the people to call with offers of help would be Prod Staff PoohBahs Steve Morgan at (413) 5488119 and/or Elaine Walker at (413) 2539662. Their production goes up in early November, so don't wait!]
COSTUMES AVAILABLE: The Sudbury Savoyards have a collection of excellent costumes, designed and executed by such talents as Janice Dallas and the late Sally Osborn, sufficient to clothe a very large cast (they have as many as 60 on stage at one time), which they are willing to rent at a very low figure. Call (508) 4438811 or email savoyard@sudbury.ultranet.com for more info. Sudbury is an allvolunteer organization; all proceeds will benefit the United Methodist Church's Fund for World Hunger.
CONTACTS AVAILABLE: NEED (The New England Entertainment Digest) has published a blurb about NEGASS in its 8/95 issue. NEED is currently edited by JulieAnn Charest, who seems, at a glance, to be doing a very nice job of publishing information of value to the NE theatrical community. (For instance: We didn't know you could get gaffer tape at TrueValue Hardware on Tremont St. in Boston!) For subscription info, call (617) 2722066.
The New York Society's newsletter, The Palace Peeper, tells Us: "Vince Lanza informs us of a new double cassette version of THE CHIEFTAIN by David Eden and Martin Yates [sic] recorded live in 1994 by a group called "Generally G&S." Available for $15 from Mr. R. Hoggard, 2 Richmond Rd., Retford, Notts, DN22 6SJ, UK. Libretto can be obtained for $8 from Peter Gibbons, 71 Hockley Lane, Eastern Green, Coventry, CV5 7FS, UK."
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CALENDAR:
Correction: We seem to have published an incorrect number for Glimmerglass Opera in last month's Bray. Nancy Burdine discovered that (607) 5476090 is the number for the Glimmerglass Flower Shop. The correct #, in case you what to check out their YEOMEN (8/3, 8, & 14), is (607) 5475704.
The New Bedford Festival Theatre presents PIRATES August 1012 and 1819 at 8:00 PM, August 13 at 3:00 PM. Tickets are $19, $17, and $15 for the evening performances, $4 less for the matinee, with a $2 discount for Seniors and Students, and children $10 at all times. Information at Zeiterion Theatre Box Office (5089942900). Tickets at Ticketmaster (5089312000 or 4013312211). From I195 take exit 15 onto Route 18 South; Rt 18S to School St. exit (1st right after traffic light). Zeiterion Theatre is three blocks up School St. on right (Purchase St.); plenty of convenient free parking.
If you can't join NEGASS on Aug 27, you can still catch Ocean State Light Opera Company's PINAFORE Aug. 24 Sept. 3. For more info, call 4013316060 .
Methuen Young People's Theater, at the Methuen Memorial Music Hall, plans GONDOLIERS for 9/9 at 2 & 7 PM, and 9/10 at 3 PM. Tix at the door: $5 Adults, $2.50 Children. Peter Cameron provides directions: Take I 93 North to Rt. 213 East; at the end of the ramp, turn right (South) on Rt 28 (Broadway).. As you come down the hill to the intersection of Rt. 113, you can see the tower of the brick music hall beyond the bottom of the hill on your right. Park on the street [Broadway] or in the lot next to the Hall.
Auditions for MITG&SP's fall production, SORCERER, will be held in early September. Stage Director is Wayne Vargas, Music Director is Bruce Miller, and producer is NEGASS's own Dick Freedman. Performances will be held in midNovember. The group is still seeking Production Staff: Tech Dir, Stage Manager, Orchestra Manager, Lighting Designer, Costume Coordinator, etc.. Call MITG&SP at (617) 2530190, send email to savoyardsrequest@mit.edu or get in touch with President/Producer Dick (numbers/email below)!
HRG&SS has been rehearsing TRIAL all summer, We hear, with performances planned for Sept 29 & 30 and Oct 57. Meanwhile, auditions for their Fall show, YEOMEN, will be held in early September, with performances planned for 11/3012/9. Eileen St. David, new NEGASS member and lauded director of Harvard's recent PATIENCE, will be directing YEOMEN as well. Call (617) 4964747 for more info.
If you happen to be in Western Australia in September, catch the G&S Soc of WA's spring production, MIKADO. Call 484 1133 in WA for more info.
The Savoyard Light Opera Co. will perform Romberg & Hammerstein's operetta, The New Moon [Yes We know it isn't] on November 10, 11, 12, 17, 18 & 19. Call (508) 3717562 for more info.
The longstanding and excellent Amherst, MA, group, Valley Light Opera, plans PRINCESS IDA on 11/35 and 10 & 11. Call (413) 5488119 or 2539662 for more info. [Perhaps a group of potential Sudbury Savoyard auditionees ought to plan to attend together...]
Auditions for the Sudbury Savoyards' March '96 production, PRINCESS IDA, will be held in late November/early December. Directors for this year's production are Jim Ravan (Music) and Marion Leeds Carroll (Staging). As usual, all proceeds will benefit the United Methodist Church's Fund for World Hunger. Call (508) 4438811 or email savoyard@sudbury.ultranet.com for more info.
If you're in England, trot over to Grim's Dyke some time to enjoy a G&S Cream Tea (8/27) or a G&S Dinner (8/27 or 12/31). There are other special occasions throughout the year. These are splendid concerts in fancy Victorian dress; former President Nancy Burstein attended one several years ago, and loved it! (Grim's Dyke, NEGASSers all know, was Gilbert's final home, and the place where he lost his life as a result of an attempt to rescue a girl from drowning.) Phone 081 954 4227 for more info.
We're told that the Huntington Theater Co. of BU will definitely produce IOLANTHE, dates being Jan 5 Feb. 4, 1996.
Dame Rumour Whispers that Curtain Call Theater in Braintree is seeking directors for its March '96 production of MIKADO. We called (617) 3565113 for further info, & got a tape but no human reply does anyone know more? More rumours: The Sudbury Savoyards are planning to launch their own onepage, as yet unnamed, newsletter, and are talking about a small, nonmusical summer production in '96... more news as it breaks!
A June issue of Dance Magazine featured a fullpage ad, which Marc Kenig posted to Savoynet. Shall we all audition?
* AUDITIONS *
Jean Ann Ryan Productions
Coming Soon To a Location Near You!
*THE PIRATES OF PENZANCE *
premiering onboard NCL's [Norwegian Cruise Line] newest luxury liner, the M/S Leeward
PERFORM WITH THE BEST!
New York City, Vancouver, Los Angeles, Miami, San Juan and Ft. Lauderdale are the gateways to a world of exotic, exciting destinations, including Curacao, Glacier Bay, British Virgin Islands, Antigua, the Mexican Riviera, and St Barts! Sail the seas and explore the mystique of Martinique, watch the sun set in Key West, and savor the island flavors of Barbados, Bermuda and the Bahamas! Come on and get your "Sea Legs" with Jean Ann Ryan Productions!
Jean Ann Ryan Productions, USA TODAY's Producer of "Best Cruise Ship Entertainment," hires yearround. We are looking for trained dancers with strong ballet, tap and jazz background. Also hiring strong acrobats and experienced adagio teams. Principal VOCALISTS are hired for our Broadway Musicals, Las Vegas Revues and contemporary Production Shows. Also accepting resumes for Full Technical Personnel.
We are currently casting by video tape submission. Please include photo and resume. 1995 AUDITION TOUR: Call for details.
*Competitive Salaries * Paid Rehearsal * Transportation * Housing *
Jean Ann Ryan Productions
308 SE 14th St.
Ft. Lauderdale, FL 33316
(305) 523641
THE NEW ENGLAND GILBERT AND SULLIVAN SOCIETY
PO Box 367, Arlington, MA 021740004
President RICHARD FREEDMAN
(617) 6309525 ~ wk/voice mail: (508) 8804032
email freedman.richard@mail.ndhm.gtegsc.com
Vice President PATRICIA BREWER: (617) 3233480
Secretary CAROL MAHONEY: (617) 6481720 Membership Officer BILL MAHONEY: (617) 6481720
Treasurer CARL WEGGEL: (508) 4740396 Program Chair SHELDON HOCHMAN: (508) 8427617 Editor MARION LEEDS CARROLL: (617) 6469115
email: mlcar@ibm.net
NEGASS membership dues are $15 and up. Please send membership inquiries to Bill Mahoney at NEGASS, P.O. Box 367, Arlington, MA 021740004.
Marion
Page created 28 Nov 1996