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Advance Program Notes New York Gilbert & Sullivan Players H.M.S
Advance Program Notes New York Gilbert & Sullivan Players H.M.S. Pinafore Friday, May 5, 2017, 7:30 PM These Advance Program Notes are provided online for our patrons who like to read about performances ahead of time. Printed programs will be provided to patrons at the performances. Programs are subject to change. Albert Bergeret, artistic director in H.M.S. Pinafore or The Lass that Loved a Sailor Libretto by Sir William S. Gilbert | Music by Sir Arthur Sullivan First performed at the Opera Comique, London, on May 25, 1878 Directed and conducted by Albert Bergeret Choreography by Bill Fabis Scenic design by Albère | Costume design by Gail Wofford Lighting design by Benjamin Weill Production Stage Manager: Emily C. Rolston* Assistant Stage Manager: Annette Dieli DRAMATIS PERSONAE The Rt. Hon. Sir Joseph Porter, K.C.B. (First Lord of the Admiralty) James Mills* Captain Corcoran (Commanding H.M.S. Pinafore) David Auxier* Ralph Rackstraw (Able Seaman) Daniel Greenwood* Dick Deadeye (Able Seaman) Louis Dall’Ava* Bill Bobstay (Boatswain’s Mate) David Wannen* Bob Becket (Carpenter’s Mate) Jason Whitfield Josephine (The Captain’s Daughter) Kate Bass* Cousin Hebe Victoria Devany* Little Buttercup (Mrs. Cripps, a Portsmouth Bumboat Woman) Angela Christine Smith* Sergeant of Marines Michael Connolly* ENSEMBLE OF SAILORS, FIRST LORD’S SISTERS, COUSINS, AND AUNTS Brooke Collins*, Michael Galante, Merrill Grant*, Andy Herr*, Sarah Hutchison*, Hannah Kurth*, Lance Olds*, Jennifer Piacenti*, Chris-Ian Sanchez*, Cameron Smith, Sarah Caldwell Smith*, Laura Sudduth*, and Matthew Wages* Scene: Quarterdeck of H.M.S. Pinafore *The actors and stage managers employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. -
The Fortune Teller the OHIO LIGHT OPERA STEVEN BYESS STEVEN DAIGLE Conductor Artistic Director the Fortune Teller
VICTOR HERBERT The Fortune Teller THE OHIO LIGHT OPERA STEVEN BYESS STEVEN DAIGLE Conductor Artistic Director The Fortune Teller Music......................................Victor Herbert ENSEMBLE: Book and Lyrics......................Harry B. Smith Jacob Allen, Natalie Ballenger, Sarah Best, Lori Birrer, John Vocal Score Reconstruction........Adam Aceto Callison, Ashley Close, Christopher Cobbett, Mary Griffin, Anna-Lisa Hackett, Geoffrey Kannerberg, Andy Maughan, Ohio Light Opera Olivia Maughan, Evan McCormack, Geoffrey Penar, Will Perkins, Madeline Piscetta, Zachary Rusk, Mark Snyder, Raina Thorne, Artistic Director........................Steven Daigle Angela Vågenes, Joey Wilgenbusch. Conductor.................................Steven Byess Stage Director.......................Ted Christopher Sound Designer..........................Brian Rudell PROGRAM NOTES ...............................Michael D. Miller Choreographer.....................Carol Hageman Victor Herbert, acknowledged as Costume Designer.................Whitney Locher the Father of American Operetta, Scenic Designer...............................Erich Keil was born in Dublin in 1859, the Lighting Designer.....................Krystal Kennel grandson of Irish novelist-artist- Production Stage Manager...Katie Humphrey composer Samuel Lover. The family eventually moved to Stuttgart where CAST: Victor’s initial studies toward a Musette / Irma...........................Amy Maples career in medicine or law were soon Sandor...........................David Kelleher-Flight replaced -
PINAFORE BOOK.Pmd
GILBERT SULLIVAN H.M.S. Pinafore THE OHIO LIGHT OPERA J. Lynn Thompson Steven Daigle CONDUCTOR ARTISTIC DIRECTOR H.M.S. PINAFORE Music...............................Sir Arthur Sullivan PROGRAM NOTES ...................Raymond McCall Libretto.....................................W.S. Gilbert H.M.S. Pinafore has been the most frequently OHIO LIGHT OPERA performed work at The Ohio Light Opera and an audience favorite on both sides of the Atlantic Artistic Director....................Steven A. Daigle Conductor.........................J. Lynn Thompson since 1878. Its initial run in London prompted Stage Director..................Julie Wright Costa numerous unauthorized productions in this Choreographer.................... Carol Hageman country where Sullivan’s melodies were played by Costume Designer................Adrienne Jones organ grinders and Gilbert’s lyrics became tag lines Scenic Designer...............Kimberly V. Powers for would-be comedians. Meanwhile, the creators Lighting Designer...................Michael Banks earned not one penny in royalties! Sound Designer..........................Andy Kauff To counter this piracy and to demonstrate Production Stage Manager..Katie Humphrey the superiority of the authentic version, London CAST: producer Richard D’Oyly Carte decided to bring a Sir Joseph Porter..................Ted Christopher company to New York. On December 1, 1879, at Ralph Rackstraw.....................Stephen Faulk the Fifth Avenue Theatre, Sullivan conducted the Josephine...........................Natalie Ballenger score -
HOT MIKADO MAR 10-11 Shoe Confesions • • Mar
2014 • 2015 SEASON CT3PEOPLE C ON OTHER STAGES BOARD OF DIRECTORS CIRCLE THEATRE CHAIR David G. Luther APR 30 -MAY 28 I and Lev LIAISON, CITY OF DALLAS CULTURAL COMMISSION DALLAS CHILDREN'S THEATRE Lark Montgomery MAR 13 -APR S The Ta le of Peter Rabbit BOARD MEMBERS Jac Alder, Marion L. Brockette, Jr., APR 10- 19 Balloonacy Suzanne Burkhead, Raymond J. Clark, Katherine C. Eberhardt, Laura V. Estrada, Sally Hansen, DALLAS SUMMER MUSICALS Victoria McGrath, David M. May, Margie J. Reese, FEB 24 -MAR 8 Kinky Boots Dana W. Rigg, Elizabeth Rivera, Eileen Rosenblum, MAR 20- APR 5 The King«[I Ph.D., Scott Williams APR 7- 19 The Illusionists HONORARY BOARD MEMBERS Virginia Dykes, Gary W. Grubbs, John & Bonnie Strauss DALLAS THEATER CENTER NORMA YOUNG ARENA STAGE 201 FEB 19 - MAR 29 Medea ADMINISTRATION FEB 20 - MAR 29 The School for Wives EXECUTIVE PRODUCER Jac Alder CANDY BARR'S LAST DANCE APR 2 -MAY 3 Colossal DIRECTOR OF PUBLICATIONS a[COMMUNICATIONS > Aug. 7 - 31 Kimberly Richard EISEMANN CENTER FOR THE e::::: a world premiere comedy by Ronnie Claire Edwards IT MANAGER Nick Rushing PERFORMING ARTS LJ.J CPA Ron King MAR 12 - 15 The Church Basement Ladies in "The Last <:( IN-HOUSE ACCOUNTANT Linda Harris Potluck Supper" U HANDS ON A HARDBODY EXECUTIVE ADMINSTRATIVE ASSISTANT MAR 20 4 Girs 4 Sept. 25 -Oct. 19 Kat Edwards JUBILEE THEATRE HOUSEKEEPING Kevin Spurrier z a musical by Doug Wright, Amanda Green, & Trey Anastasio APR 3 - MAY 3 Don't BotherMe, I Can't Cope - Z PRODUCTION KITCHEN DOG THEATRE TECHNICAL DIRECTOR Dane Tuttle MAR 13 -APR 18 Wilde/Earnest 0 � A CIVIL WAR CHRISTMAS: ASSISTANT TECHNICAL DIRECTOR Sydnee Scott POCKET SANDWICH THEATRE L.. -
Curriculum Vitae 1744 Ridgewood Dr
Scene Designer/Educator KIRK A. DOMER Curriculum Vitae 1744 Ridgewood Dr. East Lansing, MI 48823 517.256.0912 [email protected] www.kirkdomer.com E DUCATION University of Wisconsin-Madison (Madison, WI) Master of Fine Arts in Theatre: Scenic Design | 2002 Ashland University (Ashland, OH) Bachelor of Arts in Theatre with a Concentration in Scenic Design, Magna Cum Laude | 1999 Minor in Music with a Concentration in Vocal Performance A CADEMIC E XPERIENCE Michigan State University, Department of Theatre (East Lansing, MI) Professor of Scene Design | 2017 – PRESENT Associate Professor of Scene Design | 2010 – 2017 Assistant Professor of Scene Design | 2006 – 2010 Visiting Assistant Professor of Scene Design | 2002 – 2006 Instructor, MSU Evening College | 2006, 2007, 2008, 2012 Brush Up and Brunch Series: “The Creation of a Play,” “Cutting Edge Classics,” “Eye of the Beholder,” and “Creativity Wow” Hannah Community Center, Prime Time Seniors’ Program (East Lansing, MI) Guest Instructor – Friends of Theatre Scripts Class | 2014 – 2019 BoarsHead Professional Theater (Lansing, MI) Guest Instructor – Summer Design Conservatory | JULY 2004 University of Wisconsin-Madison, Department of Theatre & Drama (Madison, WI) Graduate Teaching Assistant | 1999 – 2002 Richland Academy for the Arts (Mansfield, OH) Guest Instructor | 1997 – 1998 A DMINISTRATIVE E XPERIENCE Michigan State University (East Lansing, MI) Chairperson of Department of Theatre | 2011 – 2020 Collaborated in Creating: o College of Arts & Letters Graduate Certificate in College Teaching -
Stompin' on the Savoy? in Madison, Wisconsin in 2015, Gilbert
Stompin’ on the Savoy? In Madison, Wisconsin in 2015, Gilbert & Sullivan’s The Mikado was staged with the look of Japanese anime. The same year, in a Gananoque, Ontario staging of The Pirates of Penzance set in the 1920s, the song “Poor Wand’ring One” segued into “Makin’ Whoopee.” Such nontraditional incarnations of G & S works are hardly isolated incidents. Just as theatre companies have looked for novel concepts for Shakespearean productions, so they’ve sought new approaches for the Savoy operas. Yeomen of the Guard director Sean Graney’s innovative takes for The Hypocrites company in Chicago are among the most striking recent examples, but such experimentation has been going on for a long time. But not always—not in Great Britain, anyway. From 1875 until 1961, the D’Oyly Carte Opera Company maintained a strict monopoly on professional U.K. productions of the operas. Amateurs were obligated to receive permission from D’Oyly Carte for their versions—agreeing to pay the company a royalty and to follow sanctioned scripts and scores to the letter. Things were different in America, where, according to writer Ian Bradley, a cross- dressing rendition of H.M.S. Pinafore appeared as early as 1888. In 1939, two updates of The Mikado, both with African-American casts, were staged in New York City: The Hot Mikado and The Swing Mikado. In the same year, the Labor Stage mounted The Red Mikado. Later years saw The Cool Mikado (a film), The Mod Mikado (set in a topless bar) and The Incommunicado Mikado (a spoof on the Watergate scandal). -
Joel Andrew Weiss
OperaManager.com - Joel Andrew Weiss JOEL ANDREW WEISS Tenor This season tenor JOEL ANDREW WEISS made his international debut as Alredo in LA TRAVIATA with Polish National Opera conducted by Jacek Kaspszyk. He also sang his first Edgardo in LUCIA DI LAMMERMOOR with the Vermont International Opera Festival, and Eisenstein in DIE FLEDERMAUS with Maine Grand Opera. Upcoming performances include Don Ottavio in DON GIOVANNI and Rev. Parris in THE CRUCIBLE with Opera Company of North Carolina, Nemorino in L'ELISIR D'AMORE, DON GIOVANNI with Cedar Rapids Opera Theater, and Handel's Messiah at St. John's Lutheran in New York. Previous seasons have included THE MIKADO and Beppe in PAGLIACCI with Eugene Opera, IL RE PASTORE with New York Chamber Opera, LA BOHEME with Opera Shawnee and Maine Grand Opera, AMAHL and the NIGHT VISITORS with Lyric Opera of New York as well as performances of ELIJAH and Rossini's STABAT MATER at St. John's. Hailed by Opera News as having "a commanding presence and a powerful voice," Joel's work in contemporary opera includes ALBERT HERRING, THE SEAGULL, STREET SCENE, THE BALLAD OF BABY DOE, SUSANNAH and Louis Gruenberg's one-man opera THE CREATION. Joel also created the role of Tameem in the world premier of Martin Halpern's THE SATIN CLOAK. Early in his career Joel performed leading roles in lighter repertoire including PIRATES OF PENZANCE, EILEEN, THE GRAND DUKE and ROSE MARIE with Ohio Light Opera, Opera Theater of Northern Virginia, and Liederkranz Opera. Having grown up on the musical theater stage, Joel appeared in regional theaters in THE FANTASTICKS, KISMET, GEORGE M! and ONCE UPON A MATTRESS, as well as the hit off-Broadway musical MANY A GOOD HANGING PREVENTS A BAD MARRIAGE at the Manhattan Playhouse. -
Emily Hagens
Emily Hagens Emily Hagens AEA (EMC) Height: 5 ft. 4½ in. www.emily.hagens.com Hair: Strawberry Blonde 214.207.0182 Eyes: Green [email protected] THEATRE OH, KAY! Kay The Ohio Light Opera | dir. Ted Christopher THE DANCING YEARS Grete Schöne The Ohio Light Opera | dir. Steven Daigle BRIGADOON Jean MacLaren (Fiona u/s) The Ohio Light Opera | dir. Jacob Allen THE MIKADO Yum-Yum The Ohio Light Opera | dir. Ted Christopher HAVE A HEART Lizzie O’Brien The Ohio Light Opera | dir. Steven Daigle CARMEN Frasquita Knoxville Opera | dir. Chuck Hudson THE ELIXIR OF LOVE Giannetta Knoxville Opera | dir. Brian Deedrick CANDIDE Waltzing Couple/Ensemble Aspen Opera Theater | dir. Ed Berkeley CAN-CAN Model/Ensemble The Ohio Light Opera | dir. Steven Daigle ONE TOUCH OF VENUS Mystery Girl/Ensemble The Ohio Light Opera | dir. Steven Daigle JESUS CHRIST SUPERSTAR Ensemble (Mary u/s) The Secret Theatre | dir. Namiko Wada RUDDIGORE Ensemble (Rose u/s) The Ohio Light Opera | dir. Steven Daigle THE NEW MOON: IN CONCERT Ensemble Lyric Stage Inc. | dir. Andy Baldwin H.M.S. PINAFORE Ensemble Knoxville Opera | dir. Brian Deedrick THE MIKADO Ensemble Fort Worth Opera | dir. John De Los Santos LEHÁR/STOLZ CONCERT Soloist AIMS Festival Orchestra (Graz, Austria) AMERICAN MUSICAL THEATRE Soloist LA Operetta Foundation | dir. Michael Miller … A CENTURY AGO (1915)^ FILM IF I ONLY HAD AMNESIA (Short) Lead Dir. Andrew Scontrino COMMERCIAL Conflicts Upon Request ENTERTAINMENT AIDA CRUISES Lead Soloist AIDA Entertainment (Hamburg, Germany) TRAINING Voice: Matt Farnsworth, -
Repertoire and Performance History Virginia Opera Repertoire 1974-2020
Repertoire and Performance History Virginia Opera Repertoire 1974-2020 1974–1975 Initial Projects LA BOHÈME – January 1975 N LA TRAVIATA – June 1975 N 1975–1976 Inaugural Subscription Season TOSCA – October/November 1975 N LUCIA DI LAMMERMOOR – January 1976 N THE BARBER OF SEVILLE – March/April 1976 N 1976–1977 RIGOLETTO – October/November 1976 N IL TROVATORE – January 1977 N THE IMPRESARIO/I PAGLIACCI – March/April 1977 N 1977–1978 MADAMA BUTTERFLY – October/November 1977 N COSÌ FAN TUTTE – January/February 1978 N MARY, QUEEN OF SCOTS – American Premiere– April 1978 N 1978–1979 CARMEN – October/November 1978 N THE DAUGHTER OF THE REGIMENT – January 1979 N DON GIOVANNI – March/April 1979 N 1979–1980 LA BOHÈME – October/November 1979 N A CHRISTMAS CAROL – World Premiere – December 1979 N DON PASQUALE – January/February 1980 N THE TALES OF HOFFMAN – March 1980 N 1980–1981 PORGY AND BESS – October/November 1980 N, R HANSEL AND GRETEL – December 1980 N WERTHER – January/February 1981 N I CAPULETI E I MONTECCHI – March/April 1981 N 1981–1982 FAUST – October/November 1981 N CINDERELLA – December 1981 N LA TRAVIATA – January 1982 N THE MAGIC FLUTE – March 1982 N 1982–1983 DIE FLEDERMAUS – October/November 1982 N, R AMAHAL AND THE NIGHT VISITORS – December 1982 N MACBETH – January 1983 N THE ELIXIR OF LOVE – March 1983 N 1983–1984–Inaugural Subscription Season Richmond NORMA – October 1983 R GIANNI SCHICCHI/SUOR ANGELICA – December 1983 R RIGOLETTO – January 1984 N, R THE GIRL OF THE GOLDEN WEST – February/March 1984 N 1984–1985 THE MARRIAGE -
Precious Nonsense
Precious Nonsense NEWSLETTER OF THE MIDWESTERN GILBERT AND SULLIVAN SOCIETY June 2001 -- Issue 63 Of course, you will understand that, as Chancellor of the Exchequer, I am bound to see that due economy is observed. There's nothing like a bargain. W ith the postal rate on letters weighing more than an ounce going up on July 1, it seemed like a good idea to try to get a "fat" newsletter out before the change. So here we are. Although we're lacking any play synopses this time around, we do have the answers to last year's Big Quiz, plenty of news of G&S productions, and some interesting insights from Arthur Robinson. So let's see how it goes. Oh, Members, How Say You, What is it You've Light Opera at (330) 263-2345 / www.wooster.edu/OHIOLIGHTOPERA/ . Or e-mail Done? [email protected]. And their address is The We were saddened and pleased to learn that MGS College of Wooster, Wooster, OH 44691. member and frequent G&S lead performer David Michaels is leaving the Chicago area for Seattle. Sad because he’s Although Light Opera Works isn't presenting any G&S going, and glad because he’ll be seeing more of his family this season, they do have an interesting program for youth, (and able to report on G&S activity in Washington State)! featuring, among other things, an opportunity to work on a Best wishes for his move and his future! production of The Pirates of Penzance. Their Musical Theater Summer Workshops (“for kids 8 to 18") this year By the way, someone asked what our membership include Annie (July 9-14, 2001), Pirates of Penzance (July statistics are, after the renewals were returned. -
Comparison of the Original Operetta Arizona Lady, by Emmerich Kálmán
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ASU Digital Repository Comparison of the Original Operetta Arizona Lady, by Emmerich Kálmán, with its 2015 Adaptation Performed by Arizona Opera by Elizabeth Lynette Leyva A Research Paper Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Approved April 2019 by the Graduate Supervisory Committee: Amy K. Holbrook, Chair Dale Dreyfoos Anne Elgar Kopta ARIZONA STATE UNIVERSITY May 2019 ©2019 Elizabeth Lynette Leyva All Rights Reserved ABSTRACT Emmerich Kálmán (1882-1953) was a leading composer during the Silver Age of Viennese operetta. His final work, Arizona Lady (1954), premiered posthumously, on Bavarian Radio, January 1, 1954. The stage premiere followed on February 14, 1954, at the Stadttheater in Bern, Switzerland. It is his only operetta that is set entirely in the United States, in Tucson, Arizona. Arizona Opera commissioned and produced a new adaptation of Arizona Lady, which was performed in October 2015, in both Tucson, Arizona, and Phoenix, Arizona. The libretto was heavily revised, as well as translated, primarily into English with some sections in Spanish and German. Through comparison of the original and adaptation, this study examines the artistic decisions regarding which materials, both musical and dramatic, were kept, removed, or added, as well as the rationale behind those decisions. The changes reflect differences between an Arizonan audience in 2015 and the European audience of the early 1950s. These differences include ideas of geographical identity from a native versus a foreign perspective; tolerance for nationalistic or racial stereotypes; cultural norms for gender and multiculturalism; and cultural or political agendas. -
Contemporary Productions of Gilbert & Sullivan's the Pirates of Penzance
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2007 Food For Joyous Laughter: Contemporary Productions Of Gilbert & Sullivan's The Pirates Of Penzance Julia Winstead University of Central Florida Part of the Theatre and Performance Studies Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Winstead, Julia, "Food For Joyous Laughter: Contemporary Productions Of Gilbert & Sullivan's The Pirates Of Penzance" (2007). Electronic Theses and Dissertations, 2004-2019. 3414. https://stars.library.ucf.edu/etd/3414 FOOD FOR JOYOUS LAUGHTER: CONTEMPORARY PRODUCTIONS OF GILBERT & SULLIVAN’S THE PIRATES OF PENZANCE. by JULIA COURTNEY WINSTEAD B.A. Murray State University, 2004 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in the Department of Theatre in the College of Arts & Humanities at the University of Central Florida Orlando, Florida Summer Term 2007 ABSTRACT The operetta, The Pirates of Penzance, is a classic work by Gilbert and Sullivan, a work that continues to be produced frequently despite its Victorian setting and operatic style. For many years the standard performance style of all the operettas by Gilbert and Sullivan was upheld by the D‟Oyly Carte Opera Company, who attempted to perform the operettas as they had originally been done.