Copyright 2013 by The University of Iowa Division of Performing Arts

· The University Pcrformi11g Arts playbills arc a publication of the Division of Performitl"g Aris (DPA) at The University of Iowa. Establisl;ecl in July :woo. the DPA incluclcs the lkparlmcnt of Dance. Department of Thea Ire Arts. the School of Music. Arts Share. ancl the Performing July 11-14, 2013 Arts Procluction Unit. Coralville Center Dean. College of Liberal for the Performing Arts Arts & Sciences Chaden Djalali

Director. DPA Chair. Theatre Arts Alan MacVey ARTISTIC STAFF

l)ircctor. DirectorI Choreographer...... Nicholas Wuehrmann School of Music David Gier Conductor...... William LaRue Jones Chair. Dance George dC' la PC'fia Scenery Designer...... Margaret Wenk-Kuchlbauer Lighting Designer...... Bryon Winn DPA Aclministrator Kayt Conrad Stage Manager...... Briana Maxwell The University of Iowa prohibits Assistant Stage Manager...... Jordan Andrews cliscrimination in employment. cclucational Asst Conductor/ Orchestra Manager.. .. Benjamin Nadel programs, ancl activities on the basis Vocal Coach ...... Wayne Wyman of race. national origin. color, crcccl, religion. sex, age, clisability. vdcran status. sexual orientation, gcnclcr iclentity. or Reduced orchestration provided by associational preference. The University PJ Music Works. also aflirms its commitment to provicling equal opportunities ancl equal alTcss to University facilities. For aclclitional Costumes supplied by information contact the Office of Equal Harlequin Costume Company. Opportunity ancl Diversity. (:-nm :-t1 S-070S.

The Division of Performing Arts is part of Please be advised that this production uses strobe the College of Liberal Arts ancl Sciences at light, dry ice, smoke, and haze. The University of Iowa.

Please remember to turn off all cell phones and pagers before ente1ing the concert hall.

Photo,14raphs ancl recordings may not be taken during a performance. CAST (in order of appearance)

Fleta, Iolanthe Cover...... Amy Toruno Celia, Phyllis Cover...... Alexandra Walsh Leila ...... Rose wne Fairy...... Sarah Graf Fairy...... wurie Thomas Fairy...... Janet Brehm Ziegler Queen of the Fairies ...... ]essica Saunders Iolanthe ...... Sarah J.,ovell Strephon ...... Felipe Carrasco Phyllis ...... ]essica Pray George, Earl ofMountararat...... ]oey Bateman Thomas, Earl of Tolloller...... Nicholas Harbeck Peer...... Zachery Arellano Peer...... ]osh Atcher Peer, Strephon Cover...... Chris Dockum Peer, Mountararat Cover...... Mitchell Widmer The Lord Chancellor...... Steven Jepson Private Willis ...... George McTyre

ORCHESTRA

VIOLIN I BASS TRUMPET Alan Ohmes Wayne Thelander Steve Wheeler AndrewUhe DawnOhmes FLUTE/PICCOLO TROMBONE Nora Epping Jonathan Allen VIOLIN II William Gentzsch OBOE PERCUSSION Colleen Ferguson Elliot Czaplewski Virginia Armstrong Timothy Hsu CLARINET VIOLA Christine Bellomy Nathalie Cruden Jessica Altfillisch BASSOON Marcia Martin CELLO Amy Phelps HORN EunkyunSon Kristin Thelander MUSICAL NUMBERS

Overture

ACTI

'Tripping hither, trippingthither" ...... Celia, Leila, and Fairies "Invocation: Iolanthe! from thy dark exile" ...... Queen, Iolanthe, Celia, Leila, Fairies "Good morrow, good mother" ...... Strephon and Fairies "Fare thee well" ...... Queen and Fairies "Good morrow, good lover" ...... Phyllis and Strep hon "None shall part us from each other" ...... Phyllis and Strephon "Entrance and March of Peers: Loudly let the trumpet bray" .....Peers 'The Law is the true embodiment" ...... Lord Chancellor and Peers "My well-loved lord and guardian dear" ...... Phyllis, Lord Tolloller, Lord Mountararat, Peers "Nay, tempt me not" ...... Phyllis and Peers "Spurn not the nobly born" ...... Lord Tolloller and Peers "My Lords, it may not be"...... Phyllis, Lord Tolloller, Lord Mountararat, Strephon, Lord Chancellor, Peers "When I went to the Bar as a very young man" ...... Lord Chancellor "When darkly looms the day" ...... Ensemble

ACT II

''When all night long a chap remains" ...... Private Willis "Strephon's a Member of Parliament" ...... Fairies and Peers ''When Britain really ruled the waves" ...... Lord Mountararat, Fairies and Peers "In vain to us you plead" ...... Lelia, Celia, Fairies, Lord Mountararat, Lord Tolloller, Peers "Oh, foolish fay" ...... Queen and Fairies 'Though p'rhaps I may incur your blame" ...... Phyllis, Lord Tolloller, Lord Mountararat, Private Willis "Love, unrequited, robs me of my rest" ...... Lord Chancellor "He who shies at such a prize" ...... Lord Tolloller, Lord Mountararat, Lord Chancellor "Fold your flapping wings" ...... Strephon "If we're weak enough to tarry'' ...... Phyllis and Strephon "My lord, a suppliant at your feet" ...... Iolanthe "It may not be" ...... Iolanthe, Lord Chancellor, Queen, Fairies "Soon as we may, off and away" ...... Ensemble SETTING AND SYNOPSIS

England, Summer of 1882.

ACT 1 - Dawn. A magical, Arcadian forest on the outskirts of London

We are introduced to the magical forest where the fairies dwell, and discover that Iolanthe has been liv­ ing in banishment for 25 years with the frogs at the bottom of a stream . Her crime? Marrying a mortal. She is soon pardoned by the Fairy Queen. We then meet Iolanthe's son, Strephon, and learn of his chal­ lenges living a life as half-fairy, half-mortal. He's betrothed to Phyllis, a Ward of Chancery, but has yet to gain the blessings of the Lord Chancellor, who is himself enamored of Phyllis. As the act progresses, we are introduced to several members of the House of Peers, who have secretly gathered in the forest to determine which among them should take Phyllis's hand in marriage, chief among them Lords Tolloller and Mountararat. Though they are all of noble birth, they find a way to wrestle their lineage down in order to accept the more lowly-born shepherdess. Trouble for the Peers begins when they discover that Phyllis's heart belongs to Strephon, and trouble for Strephon ensues when he is discovered with Iolanthe, who appears to be the same age as her son (fairies don't age, of course ... ). Phyllis renounces Strephon, and the Fairy Queen uses her magical powers to make Strephon a member of Parliament.

ACT 2 - Midnight and beyond, several weeks later. Outside the Palace of Westminster (aka the Houses of Parliament)

We meet Private Willis, standing sentry all night outside of Parliament, and discover what wanders through the mind of a Palace Guard. The Peers confront the Fairies again and bemoan the bill which Strephon has introduced in Parliament wh ich will throw the Peerage open to Competitive Examination, thus endangering their "blue blood" right to sit in the House of Lords. The Fairies find their attraction to the Peers growing , but the Fairy Queen gives them a lesson in subduing their inclinations. Meanwhile, the Lord Chancellor is having nightmares, struggling with his feelings for Phyllis and the proper legali­ ties of such a thing. Toi loller and Mountararat, not wishing to jeopardize their friendship by fighting over Phyllis, encourage the Lord Chancellor to pursue Phyllis. Meanwh ile, Strephon wrestles with his predicament as a child of nature being thrust into governmental society, and with the loss of Phyllis's love. Who will win Phyllis's heart? Who is Strephon's father? Will Iolanthe be banished once again, or even worse, incur death for going against strict Fairy laws? Will the Fairies overcome their attraction for the Peers? Will there be a "happily ever after" ending? This synopsis declines to give away the ending. No spoiler alerts here!

- Nicholas Wuehrmann NOTES FROM THE DIRECTOR

elcome to the magical world of Iolanthe, the seventh of the great operettas penned by Sir William S. Gilbert and Sir Arthur Sullivan. Iolanthe premiered on November 25, 1882 with the WO'Oyly Carte Opera Company at the Savoy Theatre, and was notable not only for its charming and hilarious script and soaring score, but for being the first production which used electricity in a London theater. Sullivan's score is among his finest, interweaving various trends of the era to create his own ingenious operetta style. You'll not only hear influences of his German training, but also his knack for rhythm and melody charmingly portrayed in British folk tunes and parlor songs. Gilbert's text and lyrics are among his wittiest, poking fun at the class system, the foibles of a government run by those who inherit their positions through their "blue blood", and the challenges met when persons from different stations in life fall in love. The overture is one of Sullivan's very finest, and the breathtaking Act 1 finale shows the duo's genius at deftly building drama through music, humor and action .

The suspension of disbelief is important when taking in a production of Iolanthe. Fairies exist and magic is real. From that point of view, it's .easier to empathize with the very human emotions and conflicts that arise in this story, from forbidden love, to the loss of a loved one, to the suppression of feelings, to loss of sleep over life-changing decisions. Iolanthe is certainly a comedy, but some of the best humor comes from the deepest truths.

My own association with Gilbert & Sullivan began as a student studying theater in London where I had the privilege of seeing several productions of the last season of the original O'Oyly Carte Company. I've loved Iolanthe since my first production of it as a Peer with Ohio Light Opera, and since then went on to play Lord Toi loller in several regional productions around the country. My mentor, James Stuart, had a direct line to the D'Oyly Carte through his association with the Martyn Green G& S Company and Dorothy Raedler's American Savoyards, and I had the pleasure of working several times with Sir John Reed, one of the last great comics of the D'Oyly Carte. Through these influential connections, my approach to G&S has always been traditional, yet I always try to bring my own experiences and wacky sensibilities to my productions.

I've thoroughly enjoyed working with this delightful, talented and adventurous cast, and this clever, creative and accomplished production team. I extend huge thanks to the Coralville Center for the Performing Arts, The Grant Wood Art Colony, and to John Muriello and the University of Iowa's School of Music and Studio Arts for bringing me to Iowa for this grand adventure!

-Nicholas Wuehrmann PRODUCTION STAFF

Production Manager...... Richard Loula Production Stage Manager...... Briana Maxwell Production and Facilities Specialist...... Jennifer Hall Production Office Assistants ...... Jacqueline Lang,]essica Saunders Rehearsal Accompanist...... Jonathan Tauscheck Fairy Dance Captain ...... Janet Brehm Ziegler Peer Dance Captain ...... Christopher Dockum

SCENERY AND PROPS STAFF Technical Director...... Donald Ladd Scene Shop Supervisor...... Michael Nolte Master Carpenter...... Kenneth Keith Carpenters ...... Claire Barrett Adam Crossett, Mike Tabor, Riley Ubben, John Venckus Scenic Charge Artist...... Tina Yager Scenic Artists ...... Stephanie Abresch Josh Christoffersen, Sara Herman, Lauren Nigri, Paige Wilson Props Artisan ...... Leslie Delavan

COSTUME STAFF Costume Shop Supervisor...... Cindy Kubu Costume Tailor...... Joyce McKinley Costume Assistants...... Juliana Waechter Andrea Wright

ELECTRICS STAFF Electrics Supervisor...... Shawn Maxwell Electricians ...... Gabi Vanek Kyle Lefeber, Matt Carney, LeeAnn Yeckley, Kathleen Hains

AUDIONIDEO STAFF Audio/Video Supervisor...... Brent Garrett Audio Engineer...... James Edel Audio/Video Assistant...... Kelley Pfeiler Supertitles Operator ...... Jacqueline Lang

PRODUCTION CREW Light Board Operator...... Gabi Vanek Deck Electrician ...... Kyle Lefeber Follow Spot Operators ...... Lee Ann Yeckley Kathleen Hains, Matt Carney Fly Rail Operator...... Adam Crossett Elevator Operator...... Ken Keith Deck Crew ...... Aaron Weiner Claire Barrett, Josh Venckus, Mike Tabor, and Riley Ubben WATCHOUT Operator ...... Kelley P/eiler Sound Board Operator and Mic Mbcer ...... Jeff Crone ARTISTIC STAFF AND CAST

NICHOIAS WUEHRMANN has directed Countess Maritza, The Merry Widow, Utopia Limited and The Pirates ofPenzance for Ohio Light Opera and his productions of Die Zauberjlote and Hansel und Gretel have been touring around Europe for three years under the auspices of Great Performances in Germany. He has also directed Romance/Romance, You're Gonna Love Tomorrow, Starting Here Starting Now, The World Goes 'Round andjimmyfor Seaside MusicTheater/UCF. His production of Baby earned him a Kennedy Center Award for outstanding direction. When not directing, Nicholas spends most of his time performing. He performed this past March with the Tupelo Symphony Orchestra as Ko-Ko in The Mikado (and was also their stage director), and was the Dialect Coach for Eastman School of Music's production of Street Scene. He has performed with Glimmerglass Opera (Ralph inH.M.S. Pinafore), Cleveland Opera (Albert in Albert Herring, Nanki-Poo in The Mikado, Lord Tolloller in Iolanthe), Salt Lake Acting Company (Ralph Waldo Emerson in the world premiere of the Pulitzer Prize winning play, Charm) and many other companies, including the London Symphony Orchestra, Santa Fe Opera, Virginia Opera, Sarasota Opera, Toledo Opera, Nevada Opera, Baton Rouge Symphony, Seaside Music Theater, Mill Mountain Theater, Liederkranz Opera Theatre, l.aMama E.T.C., and in 70 productions with Ohio Light Opera. His legit and musical theatre roles range from Malvolio in Twelfth Night and Jaques in As You Like It to The Chairman in The Mystery ofEdwin Drood, Fredrik in A Little Night Music, Major-General Stanley in The Pirates of Penzance, Herbie in Gypsy, The Beadle in Sweeney Todd and Gus/Growltiger in Cats. Living in New York City has provided Nicholas with the opportunity to jump into the world of TV and film, landing him roles on Redrum and Scorned: Love Kills (both on the Investigation Discovery Channel), and Mysteries at the Museum (fravel Channel). This summer, he will appear as Bruce Davison in an episode of Celebrity Ghost Stories (Biography Channel) and as surfer Stephen Schafer in the premiere of a new show on NatGeo Wild, When Sharks Attack. He can be heard on Albany Records recordings as the title role in El Capitan, Falsacappa in The Brigands, Major­ General Stanley in The Pirates of Penzance, and The Notary in The Grand Duke, and on PS Classics in Sweet Bye and Bye. In late July, he will appear as the title role in a NYC workshop production of victor, a new play by Amy E. Witting.

WILLIAM IARUE JONES is one of the most active and versatile symphonic conductors in America today, possessing a unique ability to work effectively with musicians at all levels. His recent engagements include return performances in Kuala Lumpur and Penang (Malaysia), Singapore, Brazil, Lioning Symphony (China), plus concerts in Wisconsin, Minnesota, Iowa, Kentucky, New York, Florida, Arizona, and Illinois. He is presently serving as Honorable Visiting Professor and guest conductor at Shenyang Normal University (China). Jones served as conductor of the International String Orchestra and is the founding artistic director of the critically acclaimed Conductors Workshop of America. In ARTISTIC STAFF AND CAST

addition, Jones serves as a guest clinician for numerous conducting seminars for professional and educational associations internationally. Jones is currently Director of Orchestral Studies and Graduate Conducting and a Collegiate Fellow at The University of Iowa, and the Artistic Director of the Conductors Workshop of America. A Texas native, Dr. Jones holds degrees from the University of Wisconsin, University of Iowa and Kansas State University, with additional studies at The Juilliard School of Music and the University of North Texas.

MARGAREf WENK-KUCHLBAUER is the costume and scenery designer for the UI Division of Performing Arts Production Unit. Some of her latest designs for the Martha Ellen Tye Opera Theater include La, clemenza di Tito, Amelia Goes to the Ball and Trouble in Tahiti, H.M.S. Pinafore, Romeo et Juliette, and The Mikado. Recent design contributions for Dance Gala 2012 include the reconstruction of Jennifer Muller's Speeds, celebrating the spirit of change, Armando Duarte's Noiva, Jennifer Kayle's in three easy steps, and Charlotte Adams' Beyond Anatomy. She also designed Nicholas Leichter's Bliss(Re)Visited (2002/2013) for Dancers in Company 2013.

BRYON WINN (Lighting Designer) is a professor of design and Director of Theatre for the Department of Theatre Arts at The University of Iowa. His design work has been seen at Portland Stage Company, Trinity Rep, Theatre de la Jeune Lune, Axis Theatre, Florida Studio Theatre, Intersection for the Arts, Miranda Theatre Company, Utah Musical Theatre, Cornell College, Middlebury College, Riverside Theatre, and Iowa Summer Rep.

ZAC AREU.ANO is beginning his second year of studies under John Muriello.

JOSH ATCHER is a graduate student in the higher education/student affairs master's program at the University of Iowa. He graduated from Cornell Collegein spring 2012 with a bachelor of music education.

JOEY BATEMAN is pursuing a bachelor of music degree in vocal performance with John Muriello. His favorite roles at Iowa include Trouble in Tahiti (frio), H.M.S. Pinafore (Boatswain), and White Christmas (Chorus).

FEI1PE CARRASCO has previously appeared in UI Theatre Arts productions lady M, MOLD, and the 2012 New Play Festival's Collective Amnesia. He has been an intern with the Iowa Theater Artist Company, and will be taking the role of Lord Farquaad in Way Off Broadway's production of Shrek: The Musical in August Felipe will be graduating in Spring with a bachelor of arts in Theater Arts. ARTISTIC STAFF AND CAST

CHRIS DOCKUM recently finished his second year at the University of Iowa. He is studying vocal performance with Rachel J oselson. He most recently performed in Amelia Goes to the Ball.

SARAH GRAF is pursuing a bachelors in vocal performance and music education. She will complete her studies in the Spring of 2014 and plans to teach vocal music in the area starting in the fall. She previously performed in the choruses of Gounod's Romeo et Juliette and Menotti's Amelia Goes to the Ball.

NICHOIAS HARBECK has performed as Aminta in Peri's Euridice, Peter Quint in Britten's The Turn of the Screw, Benvolio in Gounod's Romeo et Juliette, The Lover in Menotti's Amelia Goes to the Ball, Trio Tenor in Bernstein's Trouble in Tahiti. Nicholas is a recipient of the Bob Swisher Memorial Scholarship.

STEVEN JEPSON, a doctoral student at Iowa, has performed as Escamillo in Carmen (his signature role), and toured in Japan and Europe. As singer and director, his Gilbert and Sullivan experience includes The Mikado, H.M.S. Pinafore, and Pirates ofPenzance.

ROSE JANE is currently pursuing a doctor of musical arts in voice. She has a master of music in voice performance from the University of Hawai'i and a bachelor of arts in music education and vocal performance from Bethel College.

SARAH LOVEU is an undergraduate pursuing a bachelor of arts in theater and music, studying voice with John Muriello. Iolanthe marks as her second performance at the University of Iowa.

GEORGE MCIYRE has appeared in UI productions of Gianni Schicchi, The Gondoliers, The Elixir ofLove, The Yeomen of the Guard, Cinderella, The Mikado, and Orpheus in the Underworld.

JESSICA PRAY is a senior studying vocal performance and ethics and public policy. Previous performances include the Elixir of Love and Servilia in La Clemenza di Tito. Jessica studies with Rachel Joselson.

JESSICA SAUNDERS is currently working on her DMA in vocal performance, studying under Rachel J oselson. She recently appeared as a soprano soloist for the Southeast Iowa Symphony's Messiah. Saunders will be performing a show of musical theatre favorites at the Iowa State Fair in August and teaches private voice at West Music in Coralville ARTISTIC STAFF AND CAST

JONATHAN TAUSCHECK earned bachelor's and master's degrees from the University of Minnesota and a doctorate from the University of Iowa. He serves as adjunct professor and accompanist at Kirkwood Community College.

!AURIE THOMAS graduated from Simpson College with a bachelor's degree in music education and a masters degree in vocal performance from the University of Northern Iowa. She splits her time between teaching and singing.

AMY TORUNO is a Nicaraguan native raised in Miami. She was a Sondheim Superstars 2nd place national champion and finalist in Univision's Su Majestad La Voz. Her favorite credits include Trio in Trouble in Tahiti, Dr. Wink in Pinkalicious, Miss Jessel in Turn of the Screw, and Helga in Cabaret. She plans on furthering her career in New York City upon earning her bachelor's degree.

ALEXANDRA WALSH is finishing her degree in music, and has studied voice with Susan Sondrol Jones. She has previously been on the University of Iowa stage in Elixir ofLove as Dulcamara's Assistant.

MITCHELL WIDMER is a sophomore studying with John Muriello. He last performed as Dick Deadeye in HM.S. Pinafore.

JANEi' BREHM ZIEGLER, soprano, is a second year DMA student studying with Susan Sondrol Jones. In January of 2012 Janet had her debut with UI opera as The Governess in Benjamin Britten's Turn of the Screw. Janet is co-founder of the PRIZM duo, with her husband Aaron Ziegler, which performs new music composed primarily by composition students of mid-western universities.

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