DOCSLIB.ORG

Negass Events G&S Events Recent

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Negass Events G&S Events Recent The Quintet will be performing with piano NEGASS EVENTS accompaniment in Gordon Hall, 225 Music Mountain Rd, Falls Village, CT. Further NEGASS annual meeting on Sunday, information can be obtained by calling Music June 23 Mountain at (860) 824-7126 or emailing [email protected]. The annual meeting of NEGASS will be held on Sunday, June 23, 2019 at the Park Ave RECENT PRODUCTIONS Congregational Church in Arlington MA beginning at 2 pm. The church is located at 50 Paul Revere Road. Ruddigore began slowly but became quicker and more enjoyable G&S EVENTS By John E. Dreslin, D.M.D. Connecticut’s Troupers Light Opera Company, NYGASP ensemble will foray into now in its 74th season, presented Ruddigore at the Connecticut in June Norwalk Concert Hall the first two Saturdays of April. The principal cast was uniformly first rate. Among the notable standouts was Brett Kroeger as Rose Maybud, looking especially stunning in her wedding gown at the end of act 1. Her wonderful soprano voice and acting ability has won her lead parts for the past five seasons. Opposite her, Robin Oakapple was portrayed by Michael Costantino with a wonderful sense of comic timing. New comer Erick Sanchez-Canahuate had all the “bumptious self-assurance” that the part of Richard Dauntless calls for. He possesses a booming tenor IN THIS ISSUE Do You Have The “Wan’dring Minstrels Quintet.” 1 NEGASS Events a Tale to Tell-O? 1 G&S Events The "Wand’ ring Minstrels Quintet” of the New You are invited to share your 1 Recent Productions York Gilbert and Sullivan Players will be feature article of 750 words or 7 Cast Spotlight performing various G&S selections and audience so on any G&S related topic. 8 Remembrances requests at Music Mountain in Falls Village, Send to [email protected] 8 Communications Connecticut at 5 pm on June 22, 2019. 9 Calendar Volume XXXXIII No. 6 ≈ O Joy, O Rapture unforeseen! The clouded sky is now serene. ≈ June 2019 voice and dancing skills which were shown off in the 1st act Hornpipe. Rounding out the cast were Ben Hoyer as Sir Despard, having great fun manipulating his “evil baronet” cape, the always reliable veteran G&S’er Wendy Falconer as Dame Hannah, Marian Shulman as Mad Margaret, Chris Heatherington as Old Adam, and John Matilaine as Sir Roderic. All was under the able direction of Kevin Miller, with very effective Volume XXXXIII No. 6 June 2019 choreography by Tiffany Williams, who also EDITOR-IN-CHIEF appeared onstage as one of the featured dancers. David DeVries — [email protected] The choruses, although consisting of only five ORGANIZATIONAL STAFF women and nine men, had a very nice and robust Martha Birnbaum, webmistress — [email protected] sound and were very effective. The sizeable Martha Birnbaum, membership - [email protected] orchestra was conducted by music director Eric Angela Jajko, NEGASS ensemble director – [email protected] Kramer. There was once again, as last year, no 2nd Susan Larson, education outreach - [email protected] trombone, and also no percussionist, though NEGASS BOARD OF DIRECTORS occasionally the lead trumpet player would put Elaine Crane, president — [email protected] down his instrument and play some timpani notes tba, vice president — [email protected] Ann Ferentz, secretary — [email protected] where solos were called for, as in the beginning of Brad Amidon, treasurer — [email protected] the overture. Jacqueline Haney, program chair — [email protected] Martha Birnbaum, member-at-large – [email protected] Jacqueline Haney, member-at-large – [email protected] Tom Frates, member-at-large – [email protected] Ben Morse, member-at-large - [email protected] Christine Petkus, member-at-large - [email protected] Carolyn Schwartz, member-at-large and publicity chair — [email protected] Angela Jajko – president emerita – [email protected] THE TRUMPET BRAY is published six times a year on the 1st day of February, April, June, August, October, and December by the New England Gilbert and Sullivan Society (NEGASS), PO Box 118, Arlington MA 02476. The Ghosts in the 1961-62 D’Oyly Carte production. GENERAL NEWSLETTER CONTRIBUTIONS AND REVIEWS may be sent to [email protected] . On the subject of the overture, Mr. Kramer elected to do the original Hamilton Clarke version, unlike MEMBERSHIP NEGASS membership dues are $25. Please join NEGASS online at www.negass.org, or contact [email protected]. the revised one by Geoffrey Toye which is used in most performances these days. I find the Toye THE TRUMPET BRAY Members receive the Bray as a PDF email version much superior, but this is a matter of attachment. All editions including the current one are available at www.negass.org. personal taste. Moreover, the tempos used in the overture, opening chorus, and Rose’s “If DEADLINES FOR SUBMISSION OF MATERIAL: 15th of the months of somebody there chanced to be” seemed very January, March, May, July, September, and November. slow. This got things off to a rather difficult start. www.negass.org Fortunately, from the time of Robin’s entrance on, the pace picked up and the show became much more enjoyable. One other problem was that some of the dialogue from where I was sitting was unintelligible; amplification seemed to be from just a couple of onstage microphones. The acoustics of the rather large theater are not the best in any case. This was especially troublesome in the “abduction scene” Volume XXXXIII No. 6 2 June 2019 between Robin and Dame Hannah, which was adapted from one of the best-known comic operas delivered over the busy string underscoring. ever written, but not directly. There was a 1939 Of interest also was the inclusion of the often Broadway adaptation titled The Hot Mikado which omitted Away, remorse! by Robin in Act II. There featured an African-American cast -- and Bill were also some other incidents in the score where “Bojangles” Robinson in the title role! The Hot original versions of the musical numbers were Mikado was, in turn, a reworking of The Swing restored, which differ from those found in the Mikado from 1938. Bell and Bowman were Schirmer scores that many productions use, but disappointed in the surviving material they could these were minor changes. find from the 1939 version and instead created this new adaptation. Gilbert’s story is basically There were some really deft comedic touches unchanged, though many of the lyrics are updated, throughout. One of my favorites was the way that and Sullivan’s music remains familiar, performed Robin and Despard were made to look very much in 1940s popular music styles. alike, and could certainly have passed for real brothers. Both were of similar stature and had matching goatees. However, in the first act Despard’s was black and Robin’s grey. But once Robin resumed as the evil baronet in Act II, his goatee was now black, and when Despard appeared, his had suddenly become grey. The haunting scene, complete with the administration of the “agonies” by the ghostly ancestors was very well staged. The portraits themselves were created from actual photos of the cast members. I also want to give credit to the program design which featured individual photos of all the cast photoshopped into classic portraits, so that they all looked like the works of “old masters.” The period costumes by Lea Kessler Shaw and Marian Shulman (who was also credited for the program design) were very nicely done. In all this Hot Mikado poster for the 1939 Broadway production. production made for a most pleasant evening’s entertainment. In her directing debut with Belmont Dramatic Club, Amelia Boyce Munson set the action at Club Hot Mikado: a great take on a classic light Titipu, a nightclub decorated in Asian motifs. Pacing was brisk throughout, and the opera choreography was well-planned and well-executed, with many really wonderful individual By Jacqueline Haney performances. The cast of 13 was uniformly The Belmont Dramatic Club is the second-longest excellent, with a number of professionals and continuously producing community theatre group seasoned amateurs appearing. in the US, having done 262 productions since rd 1903. The 263 , Hot Mikado, was a terrific addition The “Gentlemen of Japan” were each attired in a to their history. Performances were April 27 & 28 three-piece suit and tie of a VIVID solid color – and May 4 & 5, 2019, at Payson Park Church in bright red, acid green, electric blue, hot pink, and Belmont, Massachusetts. The church hall was a fine so forth. When the ladies appeared, they were in a space, with a nice little stage, an arched ceiling, and range of solid colors as well, in 1940s’ dresses that better-than-average padded folding chairs. The 6- were both attractive and flattering. Elliot Raff, as piece orchestra was to one side of the audience, Ko-Ko, was the only one somberly attired, in a mostly behind a simple pipe-and-drape divider. black suit, though his performance was not somber at all. Gabriela Manuell Barrera as Yum-Yum Hot Mikado was originally produced at Ford’s wore a particularly fetching frock of very bright Theatre in Washington, D.C., in 1986, with book & yellow. lyrics adapted by David H. Bell and music adapted and arranged by Rob Bowman. It is, obviously, Volume XXXXIII No. 6 3 June 2019 Peter Cavicchio gave us a Pooh-Bah who was “the Simsbury’s Patience was patience coolest cat in Titipu”, and, backed by Sebastian rewarded Espinosa as Pish-Tush, helped carry the story-line along. Along with Ko-Ko, they presented the trio By John E. Dreslin, D.M.D. “I am so proud” in a jazzed-up style that was quite Simsbury Light Opera presented Patience as its 74th wonderful.
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]
  • 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..
    [Show full text]
  • Precious Nonsense
    Precious Nonsense NEWSLETTER OF THE MIDWESTERN GILBERT AND SULLIVAN SOCIETY June 2002 -- Issue 64 When but a maid of fifteen year, Unsought -- unplighted-- Short-petticoated -- and, I fear, Still shorter--sighted My, that sounds ominous! It isn't meant to be, any more than the use of plain return address labels, instead of the usual M GS heading. (I just w ound up with a stack of them, and hated to let them go to waste. We'll probably have another mailing with them: there's still a big stack!) No, it just means that seventeen years ago, when the Midwestern Gilbert and Sullivan Society started, I didn't realize putting together a newsletter could take so long. (It also means that about twelve years of yard work and house repair are catching up with me: thank you, as always, for your patience! And does anyone know any quick and effective way to clean a wooden deck that doesn't require renting a pressure sprayer? I shou ldn't be sorry to learn it!) Let me know if you're interested: I'll be glad to write you a Christmas letter about what all's been going on (a Christmas-in-July letter, maybe). And if you aren't, I don't blame you. But before we go further, have we (or more accurately, The American Concert Band / Detroit Concert Band) got something for you (if you have a record player)! Several months ago, Mary Lou Hornberger of the Concert Band sent the MGS a boxful of LP recordings of their album Through the Years with Sousa, Volume 10 of their series of recordings of all the marches of John Philip Sousa.
    [Show full text]
  • 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).
    [Show full text]
  • 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.
    [Show full text]
  • Operametro.Com
    OPERAMETRO.COM THE DESTINATION FOR OPERA LOVERS Reviews, previews, alternate views of opera onstage at the Metropolitan Opera, interviews with today's artists, and chat about recorded opera today and yesterday... • OPERAMETRO.COM • WHAT'S NEW A revised Mikado a la Troupers MARCH 09, 2018 IN REGIONAL SEVENTEEN EIGHTE The Troupers Light Opera Company performs Gilbert and Sullivan’s The Mikado on the stage of the Norwalk Concert Hall on consecutive Saturdays, April 14 and 21, @ 2:30 and 7:30 p.m. It’s a nod to the Company’s long and fabled history in these parts: their first production was The Mikado, performed in 1946. To date, the Company has performed The Mikado eight more times, the last being in 2012. Yes, Il Mikado... But this season, 2018, brace yourselves, O faithful G & S fans: The Mikado has been, shall we say, transformed, politically corrected in the face of a rising objection to the opera’s ‘negative stereotypes’ by members of the Japanese-American community on the West Coast. Taking the lead, the Lamplighters Music Theater of San Francisco created a version of The Mikado, catchingly titled “Il Mikado,” set in Milan during the Renaissance, thus cleansing it of any reference to Japan or to the Japanese people; no snap-opening fluttering fans, no three little kimonoed girls from school; similarly, the character names have been transformed to ”Italian” spelling equivalents to maintain the Gilbert’s rhyming patterns. Yum Yum is now Amiam, Katisha is now Catiscia, Ko Ko is Coco, and so on…you’d never know most of the changes unless you looked at the program.
    [Show full text]
  • GILBERT and SULLIVAN PAMPHLETS† Number Two
    1 GILBERT AND SULLIVAN PAMPHLETS † Number Two CURTAIN RAISERS A Compilation by Michael Walters and George Low First published October 1990 Slightly revised edition May 1996 Reprinted May 1998. Reformatted and repaginated, but not otherwise altered. INTRODUCTION Very little information is available on the non Gilbert and Sullivan curtain raisers and other companion pieces used at the Savoy and by the D’Oyly Carte Opera Company on tour in their early years. Rollins and Witts give a brief list at the back of their compilation, and there are passing references to some of the pieces by Adair-Fitz- gerald and others. This pamphlet is intended to give some more data which may be of use and interest to the G&S fraternity. It is not intended to be the last word on the subject, but rather the first, and it is hoped that it will provoke further investigation. Perhaps it may inspire others to make exhaustive searches in libraries for the missing scores and libretti. Sources: Cyril Rollins & R. John Witts: 1962. The D’Oyly Carte Opera Company in Gilbert and Sullivan Operas. Cyril Rollins & R. John Witts: 1971. The D’Oyly Carte Opera Company in Gilbert and Sullivan Operas. Second Supplement. Privately printed. p. 19. J.P. Wearing: 1976. The London Stage, 1890-1899. 2 vols. J.P. Wearing: 1981. The London Stage, 1900-1909. 2 vols. Allardyce Nicoll: A History of English Drama 1660-1900, vol. 5. (1959) Late Nineteenth Century Drama 1850-1900. Kurt Ganzl: 1986. The British Musical Theatre. 2 vols. S.J. Adair-Fitzgerald: 1924.
    [Show full text]
  • 20Th Anniversary Celebration
    THE AFRICAN AMERICAN ART SONG ALLIANCE CONFERENCE 20th Anniversary Celebration February 9 – 12, 2017 Claire Trevor School of the Arts – Music The University of California, Irvine In collaboration with Christ Our Redeemer AME Church 45 Tesla, Irvine, Rev. Mark E. Whitlock, Jr., Pastor Host Hotel Transportation provided by COR AME Church Radisson Hotel Newport Beach via DMCLS, Inc. a minority-owned VIP transportation co. 4545 MacArthur Boulevard Mathurin Daniel, CEO Newport Beach, CA 92660 37 Rincon Way, Aliso Viejo, CA 92656 The African American Art Song Alliance artsongalliance.org Funding for this conference generously provided by: UCI Office of Inclusive Excellence Spirit Award Program; Christ Our Redeemer AME Church, 45 Tesla, Irvine, Rev. Mark E. Whitlock., Pastor; UCI Illuminations, the Chancellor’s Art & Culture Initiative; Hampsong Foundation; UC Consortium for Black Studies in California; COR Community Development Corporation (CORCDC); Chair’s Endowment, UCI Music Department; UCI African American Studies Department CONFERENCE PARTICIPANTS COMPOSERS SINGERS (cont) H. Leslie Adams, Cleveland, OH Kisma Jordan Hunter, University of Michigan, Flint, MI Judith Baity, Los Angeles, CA Albert R. Lee, University of Nevada, Reno, NV Brittney Elizabeth Boykin, Spelman College, Atlanta, GA Marquita Lister, Morgan State University, Baltimore, MD Maria Thompson Corley, Franklin & Marshall Coll., Lancaster, PA Leberta Lorál, Los Angeles, CA Marquez L.A. Garrett, Florida State University, Tallahassee, FL Jennifer Lindsay, Long Beach, CA Adolphus C. Hailstork, Old Dominion University, Norfolk, VA Oral Moses, Kennesaw State University, Kennesaw, GA Lori Celeste Hicks, Claflin University, Orangeburg, SC Marlaina Owens, Los Angeles, CA Charles Ingram, Los Angeles Southwest College, Los Angeles, CA Miranda Paulos, University of California, Irvine, CA Roy Jennings, New York, NY Willis C.
    [Show full text]
  • HOT MIKADO Education Pack
    HOT MIKADO Education Pack Contents Introduction ................................................................................................................3 The Musical: a history ...............................................................................................4 Famous Musicals: A Selective Chronology ........................................................6 Hot Mikado: a history ...............................................................................................8 Kabuki ........................................................................................................................10 Interview with Diego Pitarch ................................................................................13 Interview with Sarah Travis ...................................................................................15 Credits ........................................................................................................................16 This Education Pack was designed & written by Beth Flintoff, with additional material by Matthew Dewsbury and Nick Hobbes . Photographs by Robert Day 2 Introduction This pack has been designed to complement your visit to see Hot Mikado at The Watermill Theatre and on tour. Most of the pack is aimed at drama students and anyone with an interest in the subjects raised by the play. While there are some images, the pack has been deliberately kept simple from a graphic point of view so that most pages can easily be photocopied for use in the classroom. Your feedback is most
    [Show full text]
  • Precious Nonsense
    Precious Nonsense NEWSLETTER OF THE MIDWESTERN GILBERT AND SULLIVAN SOCIETY January 1993 -- Issue 36 ------------ Best Wishes for the Coming Year from The Midwestern Gilbert and Sullivan Society! Every season has its cheer, Life is lovely all the year! Yes, you're right, S/A Cole fouled up again. The November issue is coming out in January, and we didn't get any holiday cards put together this year, either. (Believe it or not, she really did start working on the November issue as soon as the October one was finished, then ended up spending November fighting mystery stomach trouble. It's better now, thank you, and let's hope we can get the MGS back in the pink as well.) As has been commented in earlier issues, 1992 has been the most annoying year of Sarah Cole's life, she has fallen terribly behind (as some of you waiting for her to cash checks know), but she's juggling as fast as she can. Before too long, things should be in their proper places, and the Nonsense can come out in a far more timely fashion than it has. By the way, S/A Cole's loss is your gain: she hasn't even begun to think about sending out the renewal notices (they'll probably be ready in time for the next issue). In the meantime, there is some old business to wrap up (a report on winners of the last two drawings the MGS has had, and the winners of the Big Quiz), some new business (a synopsis of Foggerty's Fairy), and some other things that happened to be passing.
    [Show full text]
  • Audienc E G Uide
    AUDIENCE GUIDE 2017 - 2018 | Our 58th Season 1 2018 | Issue For our production of Hot Mikado, the Hot Mikado takes place in the Cabot Theatre is transformed into a Japanese town of Titipu, where a 1940s Harlem nightclub. Back then, young woman, (Yum-Yum), a you could expect to see top stars of wandering trumpeter, (Nanki-Poo) and the day, like Duke Ellington, Cab the Lord High Executioner, (Ko-Ko) Calloway and the Nicholas Brothers find themselves in a preposterous love with their dazzling tap routines. triangle. To add to the nonsense, Featured in our fictional nightclub is Katisha, the older fianceé of Hot Mikado, a cultural collision Nanki-Poo, is determined to between East and West with hip ‘40s re-capture him with the help of the IN THIS ISSUE American fashion blended with the Mikado. What ensues is a tangled web style and culture of old Japan. of typical Gilbert and Sullivan topsy-turvy confusion that will keep Hot Mikado History Hot Mikado is David H. Bell’s 1986 you wondering what’s next. adaptation of Gilbert and Sullivan’s Harlem classic operetta, which retains the Sullivan's great music is jazzed up in original's daffy plot and incisive 1940s style by arranger Rob Bowman. Synopsis political satire. “I think Skylight On stage, our Titipu Town Band keeps audiences will be thrilled by this the joint jumping with a sizzling score Gilbert and Sullivan updated version of Gilbert and that features jazz, swing, gospel, Glossary Sullivan’s comic masterpiece. It Be-Bop and blues. The action is remains true to their wonderful music nonstop with an energetic cast that and harmonies, but takes a fresh doesn't miss a beat in knockout approach to address some of the jitterbug, swing and foot stomping outdated dialog and stereotyping,” gospel dance routines that raise the said director Austene Van.
    [Show full text]
  • Performing Masculinity in Johann Strauss's Die
    PERFORMING MASCULINITY IN JOHANN STRAUSS’S DIE FLEDERMAUS BY CORRINA JULIET CONNOR A thesis submitted to Victoria University of Wellington in fulfilment of the requirements for the degree of Doctor of Philosophy New Zealand School of Music | Te Kōkī Victoria University of Wellington Te Whare Wānanga o te Ūpoko o te Ika a Māui 2019 Table of Contents Table of Contents ..................................................................................................................... 1 Table of Musical Examples ..................................................................................................... 2 Table of Figures ....................................................................................................................... 3 Abstract .................................................................................................................................... 4 Acknowledgements .................................................................................................................. 6 Introduction. ............................................................................................................................ 7 Chapter 1: Masculinity and the performance of honour in Die Fledermaus. .................. 39 Chapter 2: Orlofski’s Russian and Viennese masculinities. .............................................. 60 Chapter 3: Orlofski as a travesti role. ................................................................................ 100 Chapter 4: Die Fledermaus in a different context: London
    [Show full text]