DOCSLIB.ORG

Musicale 17-03-04-05 Cox and Box.Indd

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Musicale 17-03-04-05 Cox and Box.Indd Upcoming Events Gilbert & Sullivan Austin presents The Pirates of Penzance Preview Musicale Sunday, May 21, 3 pm Summer 2017 Grand Production cox and box Artistic & Stage Director: Ralph MacPhail, Jr. Music Director: Jeffrey Jones-Ragona 9 Performances Worley Barton Theater at Brentwood Christian School June 15–25 Austin, Texas For more information on these and other GSA activities, please visit www.gilbertsullivan.org March 4 and 5, 2017 ank You! e Cast We are particularly grateful to the following for their valued assistance with this production of Cox and Box: (Cox) (Box) Russell Barr and Crestview United Gary Hallock for helping to move and haul Andy is delighted to Methodist Church for providing Julius joined GSA in heavy objects return for his 14th season rehearsal space Bill Hatcher and Libby Weed for helping 2014 as the Bo’s’n in Ron Bell and the Church of Christ in with Gilbert and Sullivan to gather props H.M.S. Pinafore and Austin! After climbing Hyde Park for providing rehearsal Ralph MacPhail, Jr., for providing unique space played Dr. Daly the following year out of a pit as Æsculapius Carboy ( e props from his personal collection Amy Chidester for lending the antique hall in e Sorcerer. He was introduced Zoo), he was recently seen climbing R. B. Rudy for lending a car to our Artistic tree to G&S with the role of the Judge in back in to conduct a performance of e Director Diff erent Stages for lending chairs Southwestern University’s performance Gondoliers. Andy has performed roles Russell and Kay Gregory for providing e Vortex eatre for their support with of Trial by Jury. Other comic roles with Spotlight on Opera (Hansel and lodging for our Artistic Director set construction Gretel, Die Zauber öte, Così fan tutte), include Belcore in L’Elisir d’amore and and One Ounce Opera ( ere’s Beauty e Gilbert & Sullivan Society of Austin Guglielmo in Così fan tutte. Julius is a in the Beast, Love After the Collapse of Since 1976, we have been spreading the joys of G&S through member of the Austin Saengerrunde, a Civilization), and can be seen in the Annual Grand Productions 138-year-old club dedicated to German upcoming 2nd Fresh Squeezed Ounce Educational/Community Outreach singing and Gemütlichkeit in Austin. of Opera showcase. Andy completed his Musicales Whether onstage or at the table, Julius Masters degree in Vocal Performance at is happy to share in Austin’s music. the University of Texas Butler School of Musical Scholarships Music in 2015. Newsletters Holiday Season Shows e Society holds nonpro t status under 501(c)(3) of the IRS code. Mailing Address: P. O. Box 684542, Austin, TX 78768-4542 Phone: (512) 472-4772 (GSA-GSSA) (Bouncer) Our web site: www.gilbertsullivan.org David has had the E-mail: [email protected] good fortune to have Artistic Director Ralph MacPhail, Jr. performed at least once Music Director Jeff rey Jones-Ragona in eleven of the fourteen canonical Board of Directors Gilbert and Sullivan operas, but this Libby Weed President Diane Radin Vice President is his rst foray into the Sullivan- Dave Wieckowski Treasurer and CFO without-Gilbert oeuvre. Favorite roles Michael Meigs Secretary and Bursar (among those he has portrayed) include David Little Publicist and Webmaster Rosa Mondragon Harris Scholarship Coordinator Wilfred Shadbolt in e Yeomen of the June Julian Musicale Coordinator Guard, e Pirate King in e Pirates Allan Longacre Community Relations of Penzance, Sir Roderic Murgatroyd Robert L. Schneider Wand’ring Minstrels Coordinator in Ruddigore, and Dick Deadeye in Sarah Slaughter Volunteer Coordinator Charles Smaistrla Legal Counsel H.M.S. Pinafore. David is the proud David Treadwell Historian father of Katy, herself a veteran of the Illustration by D’Oyly Carte Opera is project is funded and supported in part by a grant from the Texas GSA. Commission on the Arts and in part by the City of Austin Economic Company tenor Geoff rey Shovelton Development Department/Cultural Arts Division, believing that an investment in the Arts is an investment in Austin’s future. (from Harry Benford’s Visit Austin at NowPlayingAustin.com e Gilbert and Sullivan Lexicon) 2 7 e Production Team Gilbert & Sullivan Austin presents (Artistic & Stage Director) (Music Director) Rafe has directed most Dr. Jones-Ragona has cox and box of the GSA grand served as GSA Music productions since joining Director since 2003. He Worley Barton eater at Brentwood Christian School the company in 1998, and, for the has been associated with the Society past three Februarys, GSA’s mid-season since 1993. In 2003 he was awarded the March 4, 2017, at 7:30 pm productions of Trial by Jury, e Zoo, B. Iden Payne award for Outstanding March 5, 2017, at 3:00 pm and Very Truly Yours, Gilbert & Sullivan. Musical Direction for his work on e In April he will give two lectures on G&S Pirates of Penzance, and was named Written by Composed by at George Mason University in his home to GSA’s Hall of Fame in 2011. Jeff rey F. C. Burnand Arthur Sullivan state of Virginia, and then return to serves as Director for other notable Austin to stage e Pirates of Penzance ensembles, including e Capital City based on Box and Cox: A Romance of Real Life in June. He and his wife Alice treasure Men’s Chorus, and regularly performs by John Maddison Morton their Austin friendships! with the Texas Early Music Project. Artistic and Stage Director Music Director Ralph MacPhail, Jr. Jeff rey Jones-Ragona (Production Manager) (Stage Manager) Production Manager Bill Hatcher Bill joined GSA in Callie recently earned her Stage Manager Callie Stribling 1985 and has served as BA in eatre Arts from Set Designer Ann Marie Gordon Production Manager St. Edward’s University Lighting Designer & Operator Jillian Hamilton since 2009. He enjoys the excitement, and is proud to say that she is in fact challenges and rewards of managing these actually employed with such a degree. Sound Designer & Operator Travis Pollard shows. Bill has also served as President She’s incredibly excited to be back with Costume Designer Talena Martinez and Treasurer, acted on stage (appearing Gilbert and Sullivan Austin, where she Costume Assistant Su San Cournoyer in H.M.S. Pinafore, e Gondoliers, and has previously worked on e Sorcerer, Supertitles Preparation Ralph MacPhail, Jr. e Pirates of Penzance), and played in H.M.S. Pinafore, and Princess Ida. Other Captioning Operator Jayda Maret the orchestra. Bill had a 37-year career in credits include Hamlet, Misalliance, House Manager (March 4) Rosa Mondragon Harris e Government Inspector To Kill data processing with the U.S. Veterans , and House Manager (March 5) Allan Longacre Administration, and is now a self- a Mockingbird at the Mary Moody employed bookkeeper. Northen eater. Playbill Cover Design David Little Playbill Editor Sue Ricket Caldwell Special Thanks to Our Sponsors for Cox and Box: Pianist Jeanne Sasaki Allan and Jacqueline Adams Stanley Bullard and Patti Riley-Brown Jerry and Bonnie Claiborne Russell and Kay Gregory R. B. Rudy F. C. Burnand Arthur Sullivan John Maddison Morton 6 3 Must Have a Beginning, You Know! cox and box Cox and Box was written within a decade of Sullivan’s return as a young man from musical studies in Germany and several years before he met W. S. Gilbert. It’s only one-act long (lasting a little over an hour), but it is lled with the sorts Dramatis Personæ of delights he would bring to his collaboration with Gilbert: a rousing march, James John Cox (A journeyman hatter) ......................... Julius Young mock-operatic pyrotechnics, and super-silliness all the more amusing when sung John James Box (A journeyman printer) ..................... Andy Fleming with a straight face. Sergeant Bouncer (Late of the Dampshire Yeomanry, Perhaps its most important in uence was on the composer himself. During his decades-long career, he aspired to write in higher spheres, notably oratorio and with Military Reminiscences) ................. David Fontenot grand opera. Posterity has, however, affi rmed his true calling, which was evident in 1866 when he composed his rst comic opera, Cox and Box. Musical Numbers At the end of his career, after the artistic success but limited run of his grand “Rataplan” ............................................................................................... Bouncer opera Ivanhoe and the waning popularity of a handful of oratorios that he hoped “Stay, Bouncer, stay” ..................................................................... Cox & Bouncer would be his enduring contributions to English music, he sighed, “A cobbler “Hush-a-bye, bacon” ...................................................................................... Box should stick to his last.” “My master is punctual” ................................................................................. Cox I’ve always found this a profoundly sad statement, for “cobbler” suggests “Who are you, Sir?” ............................................................. Cox, Box, & Bouncer something “thrown together,” and his light-operatic scores are anything but. “ e Buttercup” .................................................................................. Cox & Box Musical historians have affi rmed that Sullivan lavished all of his considerable talent on his lighter works, and contemporary musical scholarship is beginning “Not long ago” .................................................................................... Cox & Box to give him his due. “Sixes” ................................................................................................
Load more

Recommended publications
  • SIR ARTHUR SULLIVAN: Life-Story, Letters, and Reminiscences
    This is a reproduction of a library book that was digitized by Google as part of an ongoing effort to preserve the information in books and make it universally accessible. https://books.google.com SirArthurSullivan ArthurLawrence,BenjaminWilliamFindon,WilfredBendall \ SIR ARTHUR SULLIVAN: Life-Story, Letters, and Reminiscences. From the Portrait Pruntfd w 1888 hv Sir John Millais. !\i;tn;;;i*(.vnce$. i-\ !i. W. i ind- i a. 1 V/:!f ;d B'-:.!.i;:. SIR ARTHUR SULLIVAN : Life-Story, Letters, and Reminiscences. By Arthur Lawrence. With Critique by B. W. Findon, and Bibliography by Wilfrid Bendall. London James Bowden 10 Henrietta Street, Covent Garden, W.C. 1899 /^HARVARD^ UNIVERSITY LIBRARY NOV 5 1956 PREFACE It is of importance to Sir Arthur Sullivan and myself that I should explain how this book came to be written. Averse as Sir Arthur is to the " interview " in journalism, I could not resist the temptation to ask him to let me do something of the sort when I first had the pleasure of meeting ^ him — not in regard to journalistic matters — some years ago. That permission was most genially , granted, and the little chat which I had with J him then, in regard to the opera which he was writing, appeared in The World. Subsequent conversations which I was privileged to have with Sir Arthur, and the fact that there was nothing procurable in book form concerning our greatest and most popular composer — save an interesting little monograph which formed part of a small volume published some years ago on English viii PREFACE Musicians by Mr.
    [Show full text]
  • The Mikado Program
    GENEVA CONCERTS presents TheThe MikadoMikado Albert Bergeret, Artistic Director Saturday, September 24, 2011 • 7:30 p.m. Smith Opera House 1 GENEVA CONCERTS, INC. 2011-2012 SEASON Saturday, 24 September 2011, 7:30 p.m. New York Gilbert & Sullivan Players The Mikado Sunday, 11 December 2011, 3:00 p.m. Imani Winds A Christmas Concert This tour engagement of Imani Winds is funded through the Mid Atlantic Tours program of Mid Atlantic Arts Foundation with support from the National Endowment for the Arts. Friday, 2 March 2012, 7:30 p.m. Rochester Philharmonic Orchestra Christoph Campestrini, conductor Juliana Athayde, violin Music of Barber and Brahms Friday, 30 March 2012, 7:30 p.m. Brian Sanders’ JUNK Patio Plastico Plus Saturday, 28 April 2012, 7:30 p.m. Cantus On the Shoulders of Giants Performed at the Smith Opera House, 82 Seneca Street, Geneva, New York These concerts are made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature, and a continuing subscription from Hobart and William Smith Colleges. 2 GENEVA CONCERTS, INC. Saturday, September 24, 2011 at 7:30 p.m. The Mikado or, The Town of Titipu Libretto by Sir William S. Gilbert Music by Sir Arthur Sullivan First Performed at the Savoy Theatre, London, England, March 14, 1885 Stage Direction: Albert Bergeret & David Auxier Music Director: Albert Bergeret; Asst. Music Director: Andrea Stryker-Rodda Conductor: Albert Bergeret Scenic Design: Albère Costume Design: Gail J. Wofford & Kayko Nakamura Lighting Design: Brian Presti Production Stage Manager: David Sigafoose* Assistant Stage Manager: Annette Dieli DRAMATIS PERSONAE The Mikado of Japan .....................................................................Quinto Ott* Nanki-Poo (His son, disguised as a wandering minstrel) .
    [Show full text]
  • Trial by Jury [Operetta, in One Act; Text by Gilbert. First Produced at The
    Trial by Jury [Operetta, in one act; text by Gilbert. First produced at the Royalty Theatre, London, March 25, 1875.] PERSONAGES. Learned Judge. Plaintiff. Defendant. Counsel for the Plaintiff. Usher. Foreman of the Jury. Associate. First Bridesmaid. [Barristers, attorneys, journeymen, and bridesmaids.] The scene is laid in a London Court of Justice; time, the nineteenth century. The little operetta, "Trial by Jury," was the first result of the successful collaboration of Gilbert and Sullivan, though it gave little hint of the extraordinary excellence as well as popularity of the long list which followed it. "The words and music were written and all the rehearsals completed within three weeks, and all London went to see it," says Sullivan's biographer. It was produced March 25, 1875, and had quite a run, Frederick Sullivan, Sir Arthur's brother, appearing in the rôle of the judge and contributing much to its success. The story is a satire upon the English courts, the incident being a breach of promise case. Edwin is sued by Angelina. The usher impresses upon the jury its duty to divest itself of prejudice in one breath, and in the next seeks to prejudice it against the defendant by most violent denunciations of him. When Edwin enters he is at once requested by the jury to "dread our damages." He tells them how he became "the lovesick boy" first of one and then of another. The jurymen in chorus, while admitting that they were fickle when young, declare that they are now respectable and have no sympathy with him. The judge enters, and after informing the audience how he came to the bench, announces he is ready to try the breach of promise case.
    [Show full text]
  • Krantz [email protected] Phi Mu Alpha Sinfonia + Delta Omicron = Sinfonicron G&S Works, with Date and Length of Original London Run • Thespis 1871 (63)
    Sinfonicron Light Opera presents Ruddigore, or The Witch’s Curse January 23-26, 2020 Kimball Theatre Osher Lifelong Learning Institute November 15, 2019 Ken Krantz [email protected] Phi Mu Alpha Sinfonia + Delta Omicron = Sinfonicron G&S Works, with date and length of original London run • Thespis 1871 (63) • Trial by Jury 1875 (131) • The Sorcerer 1877 (178) • HMS Pinafore 1878 (571) • The Pirates of Penzance 1879 (363) • Patience 1881 (578) • Iolanthe 1882 (398) G&S Works, Continued • Princess Ida 1884 (246) • The Mikado 1885 (672) • Ruddigore 1887 (288) • The Yeomen of the Guard 1888 (423) • The Gondoliers 1889 (554) • Utopia, Limited 1893 (245) • The Grand Duke 1896 (123) Elements of Gilbert’s stagecraft • Topsy-Turvydom (a/k/a Gilbertian logic) • Firm directorial control • The typical issue: Who will marry the soprano? • The typical competition: tenor vs. patter baritone • The Lozenge Plot • Literal lozenge: Used in The Sorcerer and never again • Virtual Lozenge: Used almost constantly Ruddigore: A “problem” opera • The horror show plot • The original spelling of the title: “Ruddygore” • Whatever opera followed The Mikado was likely to suffer by comparison Ruddigore Time: Early 19th Century Place: Cornwall, England Act 1: The village of Rederring Act 2: The picture gallery of Ruddigore Castle, one week later Ruddigore Dramatis Personae Mortals: •Sir Ruthven Murgatroyd, Baronet, disguised as Robin Oakapple (Patter Baritone) •Richard Dauntless, his foster brother, a sailor (Tenor) •Sir Despard Murgatroyd, Sir Ruthven’s younger brother
    [Show full text]
  • The Mikado the Articles in This Study Guide Are Not Meant to Mirror Or Interpret Any Productions at the Utah Shakespeare Festival
    Insights A Study Guide to the Utah Shakespeare Festival The Mikado The articles in this study guide are not meant to mirror or interpret any productions at the Utah Shakespeare Festival. They are meant, instead, to be an educational jumping-off point to understanding and enjoying the plays (in any production at any theatre) a bit more thoroughly. Therefore the stories of the plays and the interpretative articles (and even characters, at times) may differ dramatically from what is ultimately produced on the Festival’s stages. Insights is published by the Utah Shakespeare Festival, 351 West Center Street; Cedar City, UT 84720. Bruce C. Lee, communications director and editor; Phil Hermansen, art director. Copyright © 2011, Utah Shakespeare Festival. Please feel free to download and print Insights, as long as you do not remove any identifying mark of the Utah Shakespeare Festival. For more information about Festival education programs: Utah Shakespeare Festival 351 West Center Street Cedar City, Utah 84720 435-586-7880 www.bard.org. Cover photo: Erin Annarella (top), Carol Johnson, and Sarah Dammann in The Mikado, 1996 Contents Information on the Play Synopsis 4 CharactersThe Mikado 5 About the Playwright 6 Scholarly Articles on the Play Mere Pish-Posh 8 Utah Shakespeare Festival 3 351 West Center Street • Cedar City, Utah 84720 • 435-586-7880 Synopsis: The Mikado Nanki-Poo, the son of the royal mikado, arrives in Titipu disguised as a peasant and looking for Yum- Yum. Without telling the truth about who he is, Nanki-Poo explains that several months earlier he had fallen in love with Yum-Yum; however she was already betrothed to Ko-Ko, a cheap tailor, and he saw that his suit was hopeless.
    [Show full text]
  • Social Discourse in the Savoy Theatre's
    SOCIAL DISCOURSE IN THE SAVOY THEATRE’S PRODUCTIONS OF THE NAUTCH GIRL (1891) AND UTOPIA LIMITED (1893): EXOTICISM AND VICTORIAN SELF-REFLECTION William L. Hicks, B.M. Thesis Prepared for the Degree of MASTER OF MUSIC UNIVERSITY OF NORTH TEXAS August 2003 APPROVED: John Michael Cooper, Major Professor Margaret Notley, Committee Member Mark McKnight, Committee Member James C. Scott, Dean of the College of Music C. Neal Tate, Dean of the Robert B. Toulouse School of Graduate Studies Hicks, William L, Social Discourse in the Savoy Theatre’s Productions of The Nautch Girl (1891) and Utopia Limited (1893): Exoticism and Victorian Self-Reflection. Master of Music (Musicology), August 2003, 107 pp., 4 illustrations, 12 musical examples, references, 91 titles. As a consequence to Gilbert and Sullivan’s famed Carpet Quarrel, two operettas with decidedly “exotic” themes, The Nautch Girl; or, The Rajah of Chutneypore, and Utopia Limited; or, The Flowers of Progress were presented to London audiences. Neither has been accepted as part of the larger Savoy canon. This thesis considers the conspicuous business atmosphere of their originally performed contexts to understand why this situation arose. Critical social theory makes it possible to read the two documents as overt reflections on British imperialism. Examined more closely, however, the operettas reveal a great deal more about the highly introverted nature of exotic representation and the ambiguous dialogue between race and class hierarchies in late nineteenth-century British society. Copyright, 2003 by William L. Hicks ii ACKNOWLEDGEMENTS Because of the obscurity of The Nautch Girl and Utopia Limited, I am greatly indebted to the booksellers Christopher Browne and Wilfred M.
    [Show full text]
  • Trial by Jury W: S
    Trial by Jury W: S. Gilbert Arthur Sullivan Scene: A court of 'rwshce' rhe Bench faces thb rturlienee, and eatends along the baek court. ?he Judgels desk c., with canopg of the ooerhead.' ,rury-boa 8., counselb seati ,t. Barristers, Attorneys, ,furgmen, and public discoaered. Itlo. 1. "Hark, the hour of ten is sound.ing,, Opening Chorus and. Solo Ensemble and Usher Piano Printed 30209 r in the U.S.A. by G. Schirmer, Inc - (Curtain) Ch o rus SOPRANO and ALTO Hark, the hour of ten is sound Hearts with anx TENOR and BASS L_--',,...--- 1',: - C u-: --:---- fears are bound Hall of Jus - crou'ds sur - round t----- 39209 39209 Breath- ing hope a An- ge- li - na, Short- ly will ap - pear. For day flft, Sum- moned stern d;Ly 1n this sub 1l&, fe 11&, sum- moned by Alternative Parts na, Short- lY - na, Short- Hark, the is sound - Hearts with anx ious fears are bound - Hal1 Jus - tice Breath-ing hope and For to-day this a- re- na, 6 fTeqor may double Bass here 39200 8 Morlerato Noui Ju - ry - men, hear my ad - vul-gar pre- mind, From . bi - as free of ev 'ry tri - al 39?00 f r-- s----1 Si - lence! From bi- as free of ev-'rv kind.This lis - ten to the plain- tiff's case: ob - serve the fea- tures of her face- The bro - ken- heart - ed kind, This 39209 Cho rus Unison the plain-tiff's shrieks, The ruf- fian - ly de - fen- dant speaks-L'p- .------.
    [Show full text]
  • The Farces of John Maddison Morton
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1971 The aF rces of John Maddison Morton. Billy Dean Parsons Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Parsons, Billy Dean, "The aF rces of John Maddison Morton." (1971). LSU Historical Dissertations and Theses. 1940. https://digitalcommons.lsu.edu/gradschool_disstheses/1940 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. PARSONS, Billy Dean, 1930- THE FARCES OF JOHN MADDISON MORTON. The Louisiana State University and Agricultural and Mechanical College, Ph.D., 1971 Speech-Theater University Microfilms, A XEROX Company, Ann Arbor, Michigan © 1971 BILLY DEAN PARSONS ALL RIGHTS RESERVED THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED THE FAECES OF JOHN MADDISON MORTON A DISSERTATION Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Speech / by Billy Dean Parsons B.A., Georgetown College, 1955 M.A., Louisiana State University, 1958 January, 1971 ACKNOWLEDGMENTS The writer wishes to express his deep appreciation to Dr•Claude L« Shaver for his guidance and encourage­ ment in the writing of this dissertation and through years of graduate study• He would also like to express his gratitude to Dr.
    [Show full text]
  • GILBERT and SULLIVAN: Part 1
    GILBERT AND SULLIVAN: Part 1 GILBERT AND SULLIVAN Part 1: The Correspondence, Diaries, Literary Manuscripts and Prompt Copies of W. S. Gilbert (1836-1911) from the British Library, London Contents listing PUBLISHER'S NOTE CONTENTS OF REELS CHRONOLOGY 1836-1911 DETAILED LISTING GILBERT AND SULLIVAN: Part 1 Publisher's Note "The world will be a long while forgetting Gilbert and Sullivan. Every Spring their great works will be revived. … They made enormous contributions to the pleasure of the race. They left the world merrier than they found it. They were men whose lives were rich with honest striving and high achievement and useful service." H L Mencken Baltimore Evening Sun, 30 May 1911 If you want to understand Victorian culture and society, then the Gilbert and Sullivan operas are an obvious starting point. They simultaneously epitomised and lampooned the spirit of the age. Their productions were massively successful in their own day, filling theatres all over Britain. They were also a major Victorian cultural export. A new show in New York raised a frenzy at the box office and Harper's New Monthly Magazine (Feb 1886) stated that the "two men have the power of attracting thousands and thousands of people daily for months to be entertained”. H L Mencken's comments of 1911 have proved true. Gilbert & Sullivan societies thrive all over the world and new productions continue to spring up in the West End and on Broadway, in Buxton and Harrogate, in Cape Town and Sydney, in Tokyo and Hong Kong, in Ottawa and Philadelphia. Some of the topical references may now be lost, but the basis of the stories in universal myths and the attack of broad targets such as class, bureaucracy, the legal system, horror and the abuse of power are as relevant today as they ever were.
    [Show full text]
  • Precious Nonsense NEWSLETTER of the MIDWESTERN GILBERT and SULLIVAN SOCIETY November 1995 -- Issue 46
    Precious Nonsense NEWSLETTER OF THE MIDWESTERN GILBERT AND SULLIVAN SOCIETY November 1995 -- Issue 46 As is invariably the case, it's been one thing after another lately. Thanks to Michaem Miano and Carol Lee Cole, we have something ready-made to put in the Nonsense. Once things cool slow down at work, S/A Cole will have time to go through the piles of material, and put out a full-blown issue. Michael Miano and Carol Lee Cole both submitted their pieces in computer-readable form, and they appear here as they were submitted (I may spell-check them, but that'll be about it). While the Nonsense doesn't necessarily stand for an unrestricted press, its editorial staff certainly believes in letting people express their opinions. And if readers want to debate points, that's great. S/A Cole will be happy to forward messages. Anyway, it ought to make for interesting reading. Sarah Cole thanks all the membership of the Midwestern Gilbert and Sullivan Society for their patience over the last two years; and especially thanks the other G&S societies, who have been tremendously indulgent with the MGS's difficulties. We hope to return the kindness some day. In the meantime, here's what we've got. Oh Members, How Say You, What Is it You've The 1995 MGS Big Quiz Answers Done? At first, these weren't going to be included. As you may recall, Earlier this year, in which the Fiftieth the quiz came from the book Guess Again (James Monahan and Tom anniversary of the end of World War II was Davin.
    [Show full text]
  • Social Studies: Timeline
    Social Studies: Timeline Students Will Read Our Composer: Sir Arthur Seymour Sullivan. Read the information sheets containing historical facts included with the lesson. Select and combine information to create a timeline containing events from the composer’s life, the life of Queen Victoria, and events from U.S. History from the same century. Before the Lesson Print/provide copies for each student of the article Our Composer: Sir Arthur Seymour Sullivan and the information sheets included with the lesson. Decide what materials students will use to create their timeline. It is possible to use regular paper, sentence strips, butcher paper, or electronic media. Prepare internet access for additional research as needed. Gather pens, pencils, scissors, glue, tape, and timeline paper as needed for your group. Introduction Have your students read Our Composer: Sir Arthur Seymour Sullivan and the information sheets included with the lesson. Discuss how you would like students to build their timeline. They can be written onto selected paper or students may cut the information statements apart and glue or tape them to their project. Electronic timelines may also be an option for your classroom. Guided/Independent Practice Depending on your grade level, the ability of your students, and time constraints, you may choose to have students work as a whole class, in small groups, with a partner, or individually. Discuss your expectations for student products. Direct the students on how many items from each information list you expect them to include in their timeline. If students are working with a partner or in small groups, give them time to discuss their choices.
    [Show full text]
  • Midwestern Gilbert and Sullivan Society
    NEWSLETTER OF THE MIDWESTERN GILBERT AND SULLIVAN SOCIETY September 1990 -- Issue 27 But the night has been long, Ditto, Ditto my song, And thank goodness they're both of 'em over! It isn't so much that the night was long, but that the Summer was (or wasn't, as the case may be). This was not one of S/A Cole's better seasons: in June, her family moved to Central Illinois; in July, the computer had a head crash that took until August to fix, and in that month, she was tired and sick from all the summer excitement. But, tush, I am puling. Now that Autumn is nearly here, things are getting back to normal (such as that is). Since there was no summer Nonsense, there is all kinds of stuff in this issue, including the answers to the Big Quiz, an extended "Where Can it Be?/The G&S Shopper", reports on the Sullivan Festival and MGS Annual Outing, and an analysis of Thomas Stone's The Savoyards' Patience. Let's see what's new. First of all, we owe the Savoy-Aires an apology. Oh, Members, How Say You, S/A Cole had sincerely believed that an issue of the What is it You've Done? Nonsense would be out in time to promote their summer production of Yeomen. As we know now, Member David Michaels appeared as the "First no Nonsense came out, and the May one didn't even Yeomen" in the Savoy-Aires' recent production of mention their address. Well, we're going to start to The Yeomen of the Guard.
    [Show full text]