  NEGASS EVENTS  The Quintet will be performing with piano 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. 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

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 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 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 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,

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Peter Cavicchio gave us a Pooh-Bah who was “the Simsbury’s 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. The three were in constant motion, annual production for four performances over the handing off focus to one another, in a really terrific last weekend in April and first weekend in May at number. the Eno Memorial Hall in Simsbury, CT. Surprisingly, they had not presented this staple Jordan Potash as Nanki-Poo was also notable for since 1990, a full 29 years ago! One can forgive this his physicality – young, enthusiastic, and though, when this revival was presented so nicely. romantic. He and Yum-Yum made a lovely Veteran performer Renee Haines made her musical-theatre couple. The re-arranged “This is directorial debut with this production, and what I’ll never do” was sweet and funny. Both demonstrated her understanding about how have lovely voices, and are well-matched vocally. Gilbert and Sullivan works should be staged. All Laura Gosenca and Chelsea Zable as Pitti-Sing and the humor and characterizations were presented Peep-Bo were clearly having fun. Along with The tastefully, intelligently, and effectively. Dialogues Lady in Red and The Lady in Navy, Aurora La and musical numbers were delivered downstage Veglia and Abigail Bowling, they brought a great deal to their numbers. “Braid the raven hair” in this version is actually sung by Pish-Tush, backed up by the women; initially a bit startling, it does work. “Swing a merry madrigal” was particularly fun, and has been particularly stuck in the head of this reviewer.

The Gentleman in Green and The Gentleman in Red, Bill Barnert and Jeremy White, were solid backing in all the chorus numbers. Dorian Burks, The Gentleman in Pink, was notable for his for maximum effect, although the odd acoustics of exuberant, gymnastic dancing. Chantel Deane was the venue still worked against the cast. The chorus both fierce and affecting as Katisha, in a silvery was animated and engaging, their movements spangled dress. It might have been more 1920s effective without being overly complicated. Music than 1940s, but then she’s supposed to be an older direction was once again ably provided by woman, misconstruing Nanki-Poo’s customary Nathaniel Baker. The 13-piece orchestra played affability. She was very strong vocally. Jeremy with enviable precision, with always appropriate White, as the Mikado, was cheerfully tempi. The single set, mainly a colorful backdrop menacing. His voice and demeanor were well- and some decorated “Grecian” pillars was pleasing suited to the role. to the eye, and Kari Mackey’s costumes were also most effective. The only significant issue with the production was the sound balance. Singers were not mic’ed, and Of course, having a great cast is always good in a shouldn’t need to be in a space that size. The production, and this year’s featured some truly orchestra, though, was too loud. There seemed to outstanding performances. As the title character, be a lot of clever re-writing of lyrics, but they were Sierra Manning was absolutely delightful, and completely lost under the volume of the gave one of the best versions of her signature 1st ensemble. Musical Director Isaiah Evans, directing Act aria “I Cannot Tell What This Love May Be” from the piano, had done an excellent job of that it has ever been my privilege to hear. preparing the musicians, but the balance could Certainly, Patience has got to be one of the most have been better. Over all, Hot Mikado is a great clueless heroines in the entire canon, but Ms. take on the classic light opera and Belmont Manning made her extremely sympathetic in her Dramatic Club can be proud of their production. innocence. As her male foils, Jay Marshall Wolman (Bunthorne) and Ralph Sherman (Grosvenor) were more than up for the task. Their

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second act duet “When I Go Out the Door” (done at A Trial of Patience an extremely break-neck tempo) was a highlight that was rewarded by an encore. Another standout By Mike Reynolds was Armen Kevorkian as a very animated Lady Eno Memorial Hall in Simsbury is, to put it nicely, Jane. Another veteran performer, Mark McNally, quaint. It’s small, cozy and attractively old was very effective as Colonel Calverley and rattled fashioned – a delectable little neoclassical doll off his popular tune “If You Want a Receipt” with house of an auditorium set in a picturesque little extreme precision (in my humble opinion, one of nook of a valley. Yet theatrically there is simply the most difficult patter songs in the whole not enough of it to accommodate a full large-scale repertoire). Making her debut with SLOCO, production, particularly one as elaborate as even soprano Lindsay Ryan made a strong showing as the simplest Gilbert and Sullivan. Its uneven Lady Angela. Her duet with Patience “Long Years acoustics, 10’x17’ stage, and few ways of accessing Ago” was absolutely lovely. Siobhan Marie was the stage render it a space whose limitations far also lovely as Lady Saphir. Rounding out the outweigh its advantages, men’s parts, SLOCO returning veterans Jeffrey Schwartz and Richard Kelpen portrayed the Duke of Dunstable and Major Murgatroyd respectively, and were a particular delight in the ever popular quirky trio “It’s Clear that Medieval Art” in Act II.

As previously mentioned, the chorus work, especially by the ladies, was very well done. As is often the case, the men’s chorus was a little on the thin side. Though the Major and Duke always sang with them, and the colonel often as well, there were only three male choristers, one of which did double duty in the non-speaking role of Bunthorne’s

solicitor. Fortunately, in Patience you can sort of get The Eno Memorial Hall in Simsbury. away with that, as there are not any big men’s chorus numbers to speak of, and they don’t appear Last night I attended SLOCO’s production at all in Act II until the finale. It would be a much of Patience. After having directed their previous bigger problem in or Ruddigore. All in all, three productions, I still, quite frankly, did not there was little to quibble about in this production. know what to expect. Renee Haines, who I’ve Some amplification of the stage sound might help. worked with extensively as a singer-actor, had been The person I was with, not as familiar with the chosen by SLOCO to direct – without previous work as I, said he missed many lyrics and even directing experience or specific training, the least some dialogue. But for a group that only a few produced and most conceptually difficult show in years ago seemed to be on the verge of extinction, the G&S cannon. SLOCO has made a remarkable comeback, and I will be looking forward to their next production. There are as many ways of approaching the works of Gilbert and Sullivan as there are actors, directors  and audience members to creatively interpret and  enjoy them. Among most G&S companies, there  seem to be two going production philosophies-  they either attempt to reconstruct Gilbert’s or the  D’Oyly Carte’s original production style, or they take Gilbert’s satirical intent and find a more  contemporary or more relevant scenic metaphor to  house it in. Both are equally valid theatrically and  both can make for an exciting and enjoyable  evening’s theatre, but the director must commit to  their chosen approach. In this production, Ms. Haines definitely needed to make up her  mind. She seemed to promise the second, (in her  program note and in much of her staging), but Volume XXXXIII No. 6 5 June 2019 deliver an under-researched yet well-integrated for a much richer and livelier performance. Having version of the first. directed her before, I know she can do this given the right road map. To produce Patience in its original environment, most directors go back to the Pre-Raphaelite The women’s chorus was a joy to watch as they Aesthetic movement which Gilbert is mocking - carefully managed their love for their fiancés with borrowing the production’s overall stage look from their devotion to Bunthorne. Haines’ staging the paintings of Edward Byrne-Jones or D.G. allowed them to do this beautifully, (indeed her Rosetti. Ms. Haines borrowed heavily from these staging of the opening number was one of the most images in her very adept staging of the women’s elegant I’ve seen), In the First Act finale, though, chorus, yet design-wise she chose to set the entire we do need to see them affected by the alternate action of the play within the solid furniture and “love spells” given them by Bunthorne, Grosvenor, greenery of Grecian neoclassical garden and the Grenadiers, especially in the moments surrounding an elaborate but distinctly immediate before the musically luscious sextet, “I Impressionist-Beaux Arts painted backdrop of the Hear the Soft Note.” same. Perhaps augmented by something Japanese, it matters not what, this could at least be The Grenadier Guards though, will have to be considered early English, but it was not Pre- contented with my heartfelt sympathy. Gilbert Raphaelite. What was it? presents them to us as soldiers whose spit, polish, and military precision would be the highlight of In any production, the wise choice is to go with any Queen’s Birthday parade. Indeed it is the Gilbert. If you do what he says, you have an parallel between their very precision and that of the excellent framework from which to build characters affected maidens in performing their Bunthorne- and scenes that an audience will find funny, worship rituals which tell the audience that they poignant and relatable. This production succeeded are indeed made for each other. As before – it is by this measure in many places, but fell short of always best to go with Gilbert. this mark far too often. Ralph Sherman gave a Small as it is, Eno does provide more stage than beautifully understated and solidly “in-each Ms. Haines chose to use. This was evident in the moment” performance as the narcissistic poet very crowded large group scenes. Archibald Grosvenor. On the other hand Jay Wolman, charged by Gilbert with a character that In the future there are, I believe, a few things for is wild, weird, and highly-spiced, instead chose to Haines and SLOCO to consider… Most of play his Reginald Bunthorne as detached, her Patience was blocked in straight lines and dispassionate, and seemingly effeminate – in all, moving circles, and presented directly to the more fop than fury. audience. This deprived actors of the chance to listen, react and develop their scenes moment by Armen Kevorkian’s Lady Jane captured her as the moment. It also broke down much chance of visual fading rose she laments being very powerfully, and variety as the show progressed, and grew visually could have made for a performance that was both repetitive by the middle of Act 2. poignant and very funny. Yet for some reason, she allowed her characterization at the end of “Silvered Like any audience member, I look at the characters is the Raven to Hair” to degenerate quickly into a presented and ask myself “Why should I care about series of awkward sexual displays, forgetting the these people?” “What do their triumphs, tragedies rule that funny is funnier when it’s appropriate to and foibles have to do with me and my little life?” character and the play. When these questions answered completely by a production, these can be exciting and Sierra Manning’s Patience, although vocally unforgettable. When left unasked, not even superb, (as were all of the women in the show), calomel can set things right. seldom ventured into the character’s internal conflicts and complexities, opting instead for her safer veneer of optimism and chirpiness. Had she explored the character’s conflict between her strong How did you first get introduced to the fun of yet long-denied attachment to Grosvenor with her Gilbert and Sullivan? Share your recollections with other readers of new devotion to the Aesthetic idea that love has to The Trumpet Bray by emailing: be painful and sacrificial, she would have had fuel [email protected] Thank-you.

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 singing character in the canon and is the closest to my own personality, so that was my #1 dream role Reviewers Rewarded from the very beginning. But, Sir Richard Have you ever wanted to comment on your colleagues’ hard work somewhere other than Facebook? Now is your Cholmondeley from Yeomen is an often-overlooked chance! The Trumpet Bray seeks peer reviewers for local role that was a surprising joy to play for its G&S productions. Plus, write a review that goes to dramatic range. I have yet to play the Lord publication, and we’ll refund up to $25 towards your Chancellor (Iolanthe) or Major-General Stanley ticket cost. Send copy of ticket stub for reimbursement. (Pirates), both of which I'm very keen to do at some Contact [email protected] for more info. The Trumpet point. Bray welcomes reviews of recent G & S shows. The editor reserves the right to amend submissions to TTB: What Companies have you been a part of? adhere to publication requirements. NK: The Harvard-Radcliffe Gilbert & Sullivan  Players (HRG&SP) and the MIT Gilbert & Sullivan  CAST SPOTLIGHT  Players (MITG&SP).

A conversation with Nathaniel Koven, TTB: If G&S be your avocation, what is your occupation? founding board member of Savoyards of NK: I'm a Program Manager in the Executive Boston Education department at Harvard Business School - which is to say, I'm an event planner.

TTB: List any G&S achievements honors or awards NK: None (other than some nice reviews!)

TTB: Any anecdotes you care to share?

NK: When I was in my college's Madrigal Singers

group, I began collecting prop swords, and we

started using them as noncombat props in our

Yuletide Revels performances. I've been the sort of

unofficial-official swordmaster of many Nathaniel Koven productions since then, including many of my G&S shows. I'm not a real fight choreographer, but I've TTB: How did you get involved with G&S? instructed castmates in how to brandish some of NK: My father is a big G&S fan (Vance Koven, who my small collection of swords safely and has written reviews for The Trumpet Bray), and my dramatically on stage in productions mother is a professional musician who sometimes like Yeomen and Pirates. I donated a couple of my plays in the pit orchestra of professional G&S swords to HRG&SP when I left that organization, productions, so I was indoctrinated early. and I've noticed them turn up in some of their productions since, which is fun to pick out from the TTB: How long have you been involved with audience. G&S? NK: For almost 25 years, since middle school. For nearly all of my shows with HRG&SP, I was the only non-Harvard person in the cast. Although I TTB: What roles have you played? was relatively recently out of college when I started NK: John Wellington Wells (Sorcerer '09), Sir performing with them, the group was (and still is) Richard Cholmondeley (Yeomen '11), the Pirate overwhelmingly undergrads, and I left after 6 King (Pirates '12), Lord Mountararat (Iolanthe '13), shows because I didn't want to stay around long Robin Oakapple (Ruddigore '14), Don Alhambra enough to become That Creepy Old Guy. My friend (Gondoliers '15), and many chorus and minor roles and first HRG&SP stage director, Ben Morris, besides. (Below I've included a link to a folder that persuaded me to jump ship to MITG&SP, which contains, among other things, a theatrical resume, if was mostly community members rather than you want to pull any details out of it.) students. That eventually came around to bite us, TTB: Which one(s) do you enjoy the most? as just this year MIT de-recognized MITG&SP for NK: John Wellington Wells has my favorite patter-

Volume XXXXIII No. 6 7 June 2019 having too few students to be a student both the 1971 and 1980 productions of The organization. Gondoliers. TTB: Anything else you care to share? NK: In addition to being a performer, I took an interest in other production roles while with MITG&SP, where I stepped up to be a stage director (of Pinafore '13), a producer (of Mikado '14, Utopia '15, and Gondoliers '15), a set designer (of Pinafore '13 and 18), Ruddigore '14, Gondoliers '15, Patience '16, and Yeomen '17), and a poster designer (of too many to count). Now that I have a baby at home I find that late night rehearsals really aren't going to be possible for a while, so I likely won't be acting, directing, or producing in the immediate future - but I do really enjoy designing sets and posters, Yeomen of Regard 2005: Roy and Bev Paro with Dick which I can do on my own time fairly easily. It's a Sewell (right) great way to stay involved. For much of his tenure Dick also contributed his TTB: Any other memberships? efforts with playbill ad solicitation and ticket sales NK: I am a founding board member of the and, in 1987, assumed the role of “Tickets Chief” Savoyards of Boston! We're in the process of until 1995 for his last production with the formation following MIT's regretful decision to company in The Mikado. In 2005, Dick was disband MITG&SP for having too few actual awarded “Yeoman of Regard” for his lifetime students. Many of the army of MITG&SP non- contributions to the Savoyards. Before retiring to student regulars are hoping to create a new home Maine, Dick lived in Sudbury and worked for for themselves and for other G&S and theatre fans Raytheon in the Boston area for 39 years. In from the Boston community. Watch for more info Maine, he sang with the Colby College chorus. on the Savoyards of Boston, and hopefully an inaugural production in 2019. We don't have a  COMMUNICATIONS  website or anything yet, but you can like and  follow us on Facebook for more information: April issue omitted a key bit of https://www.facebook.com/BostonSavoyards information in NY G&S Society article I feel I should note one omitted piece of We Have a Little List  information. The paragraph about NEGASS We wish to thank those who contributed in any members invited to attend NY G&S Meetings lists way to this issue of The Trumpet Bray including the dates and locations of the remaining meetings Dr. John Dreslin, Jacqueline Haney, Mike but fails to note that EVERY person seeking to enter Reynolds, Peter Zavon and Troupers Light the building where the meetings are held MUST Opera. (Please forgive any omissions!) present a government photo ID. Some members of  a party seeking to attend might come without such  REMEMBRANCES  an ID and be prevented from entering, thus messing up (at the least) a visit to Manhattan. Richard Sewell, a Sudbury “Yeoman of Every announcement to their members by NYG&S Regard” Society of their meetings includes this caution, but the paragraph in Trumpet Bray does not.  Dick Sewell, 88, passed away on April 10, 2019 in That could be an omission of the NY message to Waterville, Maine. Dick was a member of the NEGASS, of course, but I thought I should mention Sudbury United Methodist Church and joined The it. Sudbury Savoyards in 1966 as the First Yeoman in . He appeared on-stage Peter Zavon in every production for 30 consecutive years as a Penfield, NY tenor in the chorus and in the role of Francesco in

Volume XXXXIII No. 6 8 June 2019

G&S Events

Calliope Theatre The Mikado June 7, 8 & 9, 2019 150 Main Street (Route 140) Greater Worcester Opera greaterworcesteropera.com Boylston MA 01505

An Evening of Gilbert & Gordon Hall June 22, 2019 5pm Sullivan Music Mountain nygasp.org The Gilbert & Sullivan Falls Village CT 06031 email: [email protected] Society of NY

H.M.S. Pinafore June 25-29, 2019 Highfield Theatre Ruddigore August 6-10, 2019 Depot Street (off Rt. 28) College Light Opera Company Collegelightoperacompany.com Falmouth MA 02541

Thespis October 12-13, 2019 The Santo Fragillo Performing CT G&S Society ctgands.org Arts Center, Middletown H.S. 200 LaRosa Lane Middletown CT

The Community House of Night (G&S) July 17. 2019 Hamilton & Wenham New England Light Opera newenglandlight opera.org 284 Bay Road Hamilton MA 01982

Volume XXXXIII No. 6 9 June 2019