DOCSLIB.ORG

1988-Ruddigore.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
1988-Ruddigore.Pdf THE STORY IN BRIEF et in the Cornish fishing vil- and the wedding of Robin and Slage of Reddering, Act I Rose is rudely interrupted. Sir opens with Dame Hannah nar- Despard, now a virtuous person, GREG STEWART Robin Oakapple rating to a chorus of professional declares that he will be true to Greg was a soloist with The Proclaimers Gospel bridesmaids the legend of the bad Mad Margaret, despite Rose's Group before moving into pubs and clubs with Baronets of Ruddigore - doomed offer to wed him. She then, not middle of the road band 'Loose Arrangement'. by a witch's curse to commit at at all abashed, falls back upon His excursions into theatre since this time have least one crime each day, or suf- Richard. included roles in local productions of THE PIRA TES OF PENZANCE, THE GONDOLIERS and fer an agonising death. ct 2 takes place in the picture OKLAHOMA Greg is currently teaching English Upon this scene enters Rose Agallery of Ruddigore Castle, (Literature) at Warrandyte High School. Maybud, an attractive damsel with the portraits of his ancestors who has not yet found a husband. looking grimly down upon a She is drawn to Robin Oakap- sadly changed Robin. pie, a young farmer, but manners After reluctantly giving his con- and modesty prevent her from sent to the marriage of Rose and making this apparent. Robin Richard, Robin makes an impas- secretly returns her regard, but is sioned plea to his ancestors to too bashful to declare his passion. help him. Led by his Uncle We learn that Robin is really Sir Roderick, they step down from Ruthven Murgatroyd, Baronet their picture frames, accusing JENNI WILLIAMS Rose Maybud of Ruddigore, who has fled from him of evading the terms of the This is Jenni's first G & S production. She has the title and the curse, leaving curse and order him to carry off a played the lead in the musical GREASE (Sandy) both to be borne by his young maiden. After suffering a sample and played second female lead in SHEER LUCK brother Despard. Robin's true of the agonies they can inflict, HOLMES (Cynthia Huntington Smythe). Jenni identity is known only to his Robin agrees, and sends Adam to has also sung in the Macleod High Madri}Jal Choir and other small choirs. She has studied faithful retainer, Adam, and his bring him a maiden. dancing Oazzand ballet) and has studied sing- foster brother, Richard Daunt- A reformed Despard and Mar- ing for four years under Mavis Ford. less. garet now appear, to beg Robin to Richard, a sailor returning from forswear his wicked ways. He the sea, volunteers to resolve the declares that he will do so, when deadlock between the young Adam enters with his abducted lovers, but upon meeting Rose maiden - the redoubtable Dame falls in love with her himself, Hannah. She proves so capable JOHN TACEY RichardDauntless proposes and is accepted. of protecting herself that Robin John has a vast and varied musical experience. However, Rose then learns of calls upon Roderick for help, As a member of the Melbourne Youth Choir, he Robin's love for her, and trans- resulting in the sentimental has performed before the Prince and Princess fers her affection to one who is reunion of a pair of past lovers. of Wales backing Marcia Hines and has also clearly a better prospect. Robin interrupts their reverie sung with Bar/)' Manilow. He currently sings with The Faye Dumont Singers of which he IS Mad Margaret enters. She has with the solution to the problem. also the manager. As well as singing, John also been in love with Despard, the Since refusal to commit a crime Rlays the Clan net and Bass Clarinet with the present bad Baronet. Interrupt- is tantamount to suicide, which is Croydon Concert Band, and has conducted the mg the chorus, Despard tells of in itself a crime, the curse is in- band on numerous occasions. , his infamous deeds, but points operative. Sir Roderick must , John has performed in FIDDLER ON THE ROOF out also his attempts to atone for therefore still be alive and Rose and with the Victorian State Opera Youth Com- them. Richard, dnven by the dic- marries a reformed Robin amid pany THE RIME OF THE ANCIENT MARINER. Last tates of his heart, reveals to general rejoicing. year he played Nanki-Poo in our production of Despard Robin's true identity, THE MIKADO. BERYL NICHOLS Dame Hannah A "dramatic mezzo soprano", Beryl competed successfully in eisteddfods, reaching the semi- PETER HEATH Sir Despard Murgatroyd finals of the Sun Aria. Her stage experience Peter is a man of wide and varied theatrical ex- began with White Orchid Ensemble, and con- perience with roles in Jack Hibberd's STRETCH tinued with the Regent Dramatic Society. As OF THE IMAGINATION, CYRANO DE BERGERAC well as being Musical Director and Stage (Melbourne Theatre Company), Moliere's TAR- Manager, she played roles in OKLAHOMA, TUFFE(Anthili Theatre Comp~myl, UBU THE KING SOUTH PACIFIC, CAROUSEL, PAINT YOUR WAGON (Universal Theatre), to mention Just a few. and BRIGADOON. More recently she has taken Rart in the musical productions of the Eltham Peter has also had many guest appearances in Singers, an adult singing group associated with television productions such as CARSON'S LAW, Eltham College. Beryl played Katisha in THE COP SHOP, PRISONER, NEIGHBOURS, PRIME TIME, MIKADO last year. HENDERSON KIDS and FL YING DOCTORS. FIONA WAKE Mad Margaret Eighteen rear old Fiona !s a first year N~Jrs!ng Student a P.I.T. While Fiona has been singing ROD GORFINE Sir Roderick with Reflection Youth Choir for the past ttlree Rod has been a G & S slJecialist since his first years and performing solo in churches, she has role in high school, as Ko-Ko in THE MIKADO. also participated in school and church plays and Last year, in our MIKADO, he played Pooh Bah. musicals such as CAROLINE CHISHOLM, SOUTH He has worked for seven seasons with the SEC PACIFIC and THE VICTOR. After successfully G & S Company, taking principal roles in PRIN- completing V.C.E. at Ivanhoe Girls Gramm?r CESS IDA, THE PIRA TES OF PENZANCE, THE SOR- School last year, Fionajoined the Ashton-Smith CERER, THE YEOMAN OF THE GUARD and HMS Singers Christmas 1987. PINAFORE. Fiona is currently taking singing lessons from Mavis Ford. CHRIS LIVINGSTONE Old Adam Despite his claim to being the only cast mem- ber to have sung at Covent Garden (in the Gents' at interval), Chri~'s nar:ne remains littl.e known in Eltham theatncal Circles. Few will LADIES AND GENTLEMEN OF THE CHORUS remember his performances in the Eltham Col- (Diamond Valley Singers) lege staff productions of THE REAL INSPECTOR HOUND and HARLEQUINADE and hopefully fewer still will remember his earlier appearance as the Christmas Fairy, dressed in tou-tou and football Paula Arnold, Janine Bardwell, Marilyn Billing, Betty Chetcuti, Nancy Cornwal- boots. lis, Rena Douglas, Andrea Fitzgerald, Irene Hayes, Merrill Hogan, Annette Jackson, Sue Kleins, Lorraine Knuckey, Margaret Milne, Judith O'Shea, Gael Chris's public singing appearances were mer- Shearer, Rhonda Webb, Helen Werner, Cathy Williams. cifully few until his appearance in the chorus of THE MIKADO last y~ar. This year ~e W?S in- Bert Aperloo, Les Bardwell, Jo Bourke, Don Douglas, James Douglas, Michael veigled into appeanng at the Bendigo Eisted- Knuckey, Allan Luke, David Manzoney, Brent Reichenbach, Neil Tupper. dfod, which rath~r upset th~ atmospher~ of solemnity and senousness which had prevailed until then. RUDDIGORE OVERTURE (or The Witch's Curse) ACT ONE Music by: Sir Arthur Sullivan 1. FAIR IS ROSE Bridesmaids and Zorah Text by: Sir William Gilbert 2. SIR RUPERT MURGA TROYD Hannah and Bridesmaids Director: Graham Ford 3. IF SOMEBODY THERE CHANCED TO BE Rose Producer: Dianne Richter 4. I KNOW A YOUTH Robin and Rose Conductor: Ian Lowe 5. FROM THE BRINY SEA Bridesmaids Choreographer: Rhonda Webb 6. WE SHIPPED D'YE SEE Richard and Bridesmads Orchestra Leader: Mary Wright Rehearsal Pianists: Roger Peck, Ian Lowe, Lois 7. MY BOY, YOU MAY TAKE IT FROM ME Robin and Richard Goodin, Kenneth Peard, Pam 8. THE BATILE'S ROAR IS OVER Richard and Rose Milikan 9. IF WELL HIS SUIT HAS SPED Bridesmaids Stage Manager: Robert Alves Lighting: Alfred Lee 10. IN SAILING O'ER LIFE'S OCEAN WIDE Props: Richard Hayes Rose, Richard and Robin Makeup: Symone Wilson 11. CHEERILY CAROLS THE LARK Margaret Front of House: Peter Cornwallis 12. WELCOME, GENTRY Bridesmaids and Gentry Ticket Sales: Lynne Stevens 13. OH, WHY AM I MOODY AND SAD? Sir Despard and Chorus 14. YOU UNDERSTAND? Richard and Sir Despard CAST 15. HAIL THE BRIDE Ensemble IN ORDER OF APPEARANCE ZORAH (Chief Bridesmaid) Nancy Cornwallis There will be an interval of twenty minutes RUTH (Assistant Bridesmaid) Merrill Hogan DAME HANNAH (Rose's Aunt) Beryl Nichols ROSEMAYBUD Jenni Williams ACT TWO (a Village Maiden) 16. I ONCE WAS AS MEEK Robin and Adam SIR RUTHVEN MURGA TROYD Greg Stewart 17. HAPPILY COUPLED ARE WE Richard, Rose and Bridesmaids (disguised as Robin Oakapple) f 18. IN BYGONE DAYS Rose, Bridesmaids, Robin and Richard OLD ADAM GOODHEART Chris Livingstone (Robin's faithful servant) 19. PAINTED EMBLEMS OF A RACE Ghosts, Robin and Sir Roderick RICHARD DAUNTLESS John Tacey (Robin's foster brother) 20. WHEN THE NIGHT WIND HOWLS Sir Roderick and Ghosts MAD MARGARET Fiona Wake 21. HE YIELDS! Ghosts SIR DESPARD MURGATROYD Peter Heath 23. I ONCE WAS A VERY ABANDONED PERSON (a wicked Baronet) Despard and Margaret SIR RODERICK MURGA TROYD Rod Gorfine 24.
Load more

Recommended publications
  • 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]
  • THE MIKADO Gilbert & Sullivan
    THE MIKADO Gilbert & Sullivan FESTIVAL THEATRE STATE OPERA SOUTH AUSTRALIA THE MIKADO A Comedic Opera in two acts Gilbert & Sullivan by Gilbert & Sullivan Orchestration by Eric Wetherell A Comedic Opera in two acts Orchestration by Eric Wetherell CREATIVES CAST Conductor - Simon Kenway Mikado - Pelham Andrews Director - Stuart Maunder Nanki Poo- Dominic J. Walsh Design - Simone Romaniuk Ko-Ko - Byron Coll Lighting Designer - Donn Byrnes Pooh-Bah - Andrew Collis Choreography - Siobhan Ginty Pish-Tush - Nicholas Cannon Associate Choreographer - Penny Martin Yum-Yum - Amelia Berry Repetiteur - Andrew George Pitti-Sing - Bethany Hill Peep-Bo - Charlotte Kelso Katisha - Elizabeth Campbell 9-23 NOVEMBER ADELAIDE FESTIVAL THEATRE STATE OPERA CHORUS The Mikado is an original ADELAIDE SYMPHONY ORCHESTRA production by Opera Queensland. Director’s Note There is no theatrical phenomenon in the Antipodes The G&S operetta’s durability is extraordinary but with the staying power of Gilbert and Sullivan. not unexplainable. After all, Gilbert’s dramatic situations are still funny, and Sullivan’s music Our love affair with G&S (and let’s face it, how succeeds in providing a kind of romantic foil to many creators are instantly recognised by their Gilbert’s pervasive drollery and cynicism. This kind initials alone?) is almost as enduring as the works of friction was very much at the heart of Gilbert themselves. In the 1870s, when policing copyright and Sullivan’s creative relationship and the gentle was much trickier than it is now, two rival “pirate” satire alternating with genuine heartfelt emotion is productions of H.M.S. Pinafore were playing across a combination that never ages – indeed, perhaps it’s the street from one another in Melbourne.
    [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]
  • Style in the Music of Arthur Sullivan: an Investigation
    Open Research Online The Open University’s repository of research publications and other research outputs Style in the Music of Arthur Sullivan: An Investigation Thesis How to cite: Strachan, Martyn Paul Lambert (2018). Style in the Music of Arthur Sullivan: An Investigation. PhD thesis The Open University. For guidance on citations see FAQs. c 2017 The Author https://creativecommons.org/licenses/by-nc-nd/4.0/ Version: Version of Record Link(s) to article on publisher’s website: http://dx.doi.org/doi:10.21954/ou.ro.0000e13e Copyright and Moral Rights for the articles on this site are retained by the individual authors and/or other copyright owners. For more information on Open Research Online’s data policy on reuse of materials please consult the policies page. oro.open.ac.uk STYLE IN THE MUSIC OF ARTHUR SULLIVAN: AN INVESTIGATION BY Martyn Paul Lambert Strachan MA (Music, St Andrews University, 1983) ALCM (Piano, 1979) Submitted 30th September 2017 for the degree of Doctor of Philosophy Faculty of Arts and Social Sciences Open University 1 Abstract ABSTRACT Style in the Music of Arthur Sullivan: An Investigation Martyn Strachan This thesis examines Sullivan’s output of music in all genres and assesses the place of musical style within them. Of interest is the case of the comic operas where the composer uses parody and allusion to create a persuasive counterpart to the libretto. The thesis attempts to place Sullivan in the context of his time, the conditions under which he worked and to give due weight to the fact that economic necessity often required him to meet the demands of the market.
    [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]
  • Essgee's H.M.S. Pinafore 100%
    License Rider SHOW: Essgee’s HMS Pinafore Credit Rider 1. You agree to bill the Play and the Author(s) and all other parties specified below in all programs, houseboards, displays, and in all advertising, and all paid publicity, specified below as follows: CREDIT SIZE TYPE ESSGEE’S H.M.S. PINAFORE 100% Based on the operetta by W.S. Gilbert and Arthur Sullivan 50% Additional Lyrics by Melvyn Morrow New Orchestrations by Kevin Hocking Original Production Director and Choreographer Craig Shaefer Conceived and Produced by Simon Gallaher 25% 2. You agree to include the following billing on the title page of all playbills and programs, separated by a line from other staff, as follows: Essgee’s HMS Pinafore, Gilbert and Sullivan for the 21st Century, presented by arrangement with Steele Spring Stage Rights, www.stagerights.com, on behalf of David Spicer Productions, representing Simon Gallaher and Essgee Entertainment. 3. In addition, the Author(s) biography (attached RIDER EXHIBIT “A”) must appear in all programs of the Play: The most recent version of the Author’s bio can be found on our website at www.stagerights.com or obtained by request from Stage Rights. 4. You must include the following warning in your program: "The videotaping or other video or audio recording of this production is strictly prohibited." 5. Logos: You may not use the copyrighted logo of the Play, unless you pay Stage Rights the applicable fee prior to use. 6. Merchandise: You may not create merchandise based on the play, whether for sale or distribution, without written permission from Stage Rights acting on behalf of the Copyright Owner(s) or their duly authorized representatives.
    [Show full text]
  • Princess Ida
    Princess Ida LET’S STUDY A PLAY TOGETHER Summer 2012 Princess Ida CONTENT PLANNED FOR TODAY’S CLASS: • William Schenk Gilbert • Arthur Sullivan • G&S Collaboration • D’Oyly Carte’s role • Savoy Theater • G&S – output 2 Princess Ida TODAY’S CLASS CONTENT (cont.) • Topsy Turvy trailer • Class discussion • Update on where our characters are now (Act II, start of Scene 4) • Read Act II, III to end 3 Princess Ida William Schwenk Gilbert (1836 -1911 ): • Gifted writer and librettist • Came from a nautical family • Educated as a lawyer, but unsuccessful in that field • Wrote satires, short stories, humorous poetry before meeting Sullivan • Wrote an earlier “Princess Ida” 4 Princess Ida • Gilbert (1879) 5 Princess Ida Sir W. Schwenk Gilbert 6 Princess Ida Arthur Sullivan (1842 -1900): • Gifted musician • Classically trained • Studied in Germany and Austria and held a Doctorate in Music • Was a well-regarded conductor • Wrote oratorios, operas, ballads, hymns, ballets, songs • Wrote the music for “Onward, Christian Soldiers” and “The Lost Chord” • A well-known Sullivan grand opera is “Ivanhoe” • Considered possibly “the best English composer of the 19th century” 7 Princess Ida • Sullivan (1870) 8 Princess Ida Sir Arthur Sullivan 9 Princess Ida Richard D’Oyle Carte (1844 – 1901): • Musician, ran a theatrical management company • Desired to start a light opera company in London • Had produced Sullivan’s “Cox and Box” • Introduced Gilbert to Sullivan – result “Trial by Jury” and twelve more 10 Princess Ida Richard D’Oyly Carte (Cont.) • Opened the
    [Show full text]
  • A Walking Tour of Sir Arthur Sullivan's London
    A Walking Tour of Sir Arthur Sullivan’s London AUTHORS: Theodore C. Armstrong 2015 Connor M. Haley 2015 Nicolás R. Hewgley 2015 Gregory G. Karp-Neufeld 2014 James L. Megin III 2015 Evan J. Richard 2015 Jason V. Rosenman 2014 ADVISOR: Professor John Delorey, WPI SPONSORS: Sir Arthur Sullivan Society Robin Gordon-Powell, Liaison DATE SUBMITTED: 20 June 2013 A Walking Tour of Sir Arthur Sullivan’s London INTERACTIVE QUALIFYING PROJECT WORCESTER POLYTECHNIC INSTITUTE AUTHORS: Theodore C. Armstrong (CS) 2015 Connor M. Haley (BME) 2015 Nicolás R. Hewgley (BBT/TH) 2015 Gregory G. Karp-Neufeld (MIS) 2014 James L. Megin III (CS) 2015 Evan J. Richard (RBE/ME) 2015 Jason V. Rosenman (ECE) 2014 ADVISOR: Professor John Delorey, WPI SPONSORS: Sir Arthur Sullivan Society Robin Gordon-Powell, Liaison DATE SUBMITTED: 20 June 2013 Abstract The Sir Arthur Sullivan Society seeks to educate the public on the life and works of Sir Arthur Sullivan, a 19th-century composer. This project researched the ideal components of, and implemented, a brochure based walking tour of Sir Arthur Sullivan’s London. Additional research into other walking tour formats was conducted. Additionally cultural research of London was also conducted. i Table of Contents Introduction ..................................................................................................................................... 1 Background ..................................................................................................................................... 3 The Sir Arthur Sullivan
    [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]
  • The British Invasion a Festival of English Musical Dramas May–June 2015 the British Invasion: a Festival of English Musical Dramas 1
    the british are coming THE BRITISH INVASION A FESTIVAL OF ENGLISH MUSICAL DRAMAS MAY–JUNE 2015 THE BRITISH INVASION: A FESTIVAL OF ENGLISH MUSICAL DRAMAS 1 THE BRITISH INVASION A FESTIVAL OF ENGLISH MUSICAL DRAMAS RALPH VAUGHAN WILLIAMS: P. 6 SIR JOHN IN LOVE Sunday, May 17 at 3pm Wednesday, May 20 at 7:30pm Saturday, May 23 at 7:30pm Boston University Theatre ARTHUR SULLIVAN: THE ZOO P. 20 WILLIAM WALTON: THE BEAR Friday, May 22 at 7:30pm Sunday, May 24 at 3pm Boston University Theatre KINGS, QUEENS, SAINTS & SINNERS P. 30 FIVE MONODRAMAS Saturday, May 30 at 7:30pm Boston University Theatre THOMAS ADÈS: P. 44 POWDER HER FACE Thursday, June 18 at 7:30pm Friday, June 19 at 7:30pm Saturday, June 20 at 7:30pm The Boston Conservatory Theater Gil Rose, Artistic and General Director Randolph J. Fuller, Festival Underwriter ODYSSEYOPERA.ORG THE BRITISH INVASION: A FESTIVAL OF ENGLISH MUSICAL DRAMAS 1 DAS LAND OHNE OPER—NEIN! BY RANDOLPH J. FULLER Of all the worn-out bromides Still it was unquestionably relentlessly repeated by self-styled Sullivan’s success in the field that eminent musicologists, perhaps the convinced other English composers most infuriating is the old canard to pursue careers in opera. What that England, indeed Britain could be more tempting, after as a whole, has never produced all, than to follow Sir Arthur’s anything of lasting interest, much commercial and artistic triumph of less quality, in the realm of opera. Ivanhoe (1891) with operas of their Even today you read in endless own? program notes that nothing but a musical wasteland exists between Ivanhoe was the score that opened Purcell’s Dido and Aeneas and Richard D’Oyly Carte’s magnificent the appearance of Britten’s Peter new Royal English Opera House Grimes.
    [Show full text]
  • Iolanthe & Orpheus in the Underworld (March 2004)
    TheGilbert & Sullivan Society of Edinburgh presents Iolanthe or The Peer And The Peri Libretto By Music By W.S. Gilbert Arthur Sullivan and Orpheus In The Underworld By J. Offenbach Director Alan Borthwick Musical Director David Lyle Assistant Director Liz Landsman CHARITY NUMBER: SC027486 http://www.edgas.org/ W e l c o m e ood evening, Ladies and Gentlemen, and a warm welcome to the King's Theatre and to our week of musical extravaganza. GTwo complete shows on alternate nights! Whether you are settling down to a 'spell' in Fairyland with Iolanthe, or getting ready to party the night away with Orpheus in Hades, you are certainly in for a musical treat. After our resounding success with Ruddygore in 2003, we decided that a double production would be appropriate in 2004. Consequently, after a year of very hard work under our talented production team, we have both shows in one week at the King's. Alongside our rehearsals, Society members have been busy with our programme of concerts in aid of good causes, and these are tak- ing us from Stranraer to Dunkeld this season, with many places in between. 2003 drew to a close with the huge success of our Usher Hall concert with the Band of HM Royal Marines in aid of the King George's Fund for Sailors, and we hope to join the Band there again in November 2004. By that time, we will also be well into rehearsals for our next production, The Yeomen of the Guard, due at the King's in March 2005.
    [Show full text]
  • Snurkël Music with Samples
    Gilbert and Sullivan Society Library At the Barbican Music Library Over 250 books for reference The Library of the Gilbert and Sullivan Society is housed in the Music Library at the Barbican Centre, London. Books include recent publications, standard references, works from earlier generations and a comprehensive range of libretti and scores. The works are available for reference only. They are accessed on request from a member of staff. Getting there The Barbican Complex is housed in the heart of the City of London. Moorgate and Barbican Underground stations are within close walking distance. The Society’s Library is located in the Barbican Music Library, downstairs from the Main Library. The address is Silk Street, EC2 8DS. Music enquiries: 020 7638 0672 Text Phone: 020 7332 3803 E mail: [email protected] Opening Hours Monday and Wednesday 9.30 am – 5.30 pm Tuesday and Thursday 9.30 am – 7.30 pm Friday 9.30 am – 2 pm Saturday 9.30 am –4 pm The library is closed on Sunday and Bank Holidays The Gilbert and Sullivan Society Founded 1924 Registered Charity no. 1062970 CATALOGUE Author Title Ainger, Michael Gilbert and Sullivan: a dual biography Allen, Reginald An Anniversary Survey and Exhibition Checklist 1963 Allen, Reginald Sir Arthur Sullivan, Composer and Personage Allen, Reginald The First Night Gilbert and Sullivan, Centennial 1975 Archer, Frank An Actor’s Notebook Ayre, Leslie The Gilbert and Sullivan Companion Baily, Leslie Gilbert and Sullivan and Their World 1 Baily, Leslie The Gilbert and Sullivan Book Bancroft, Squire Empty Chairs Barrington, Rutland More Rutland Barrington By Himself Barrington, Rutland Rutland Barrington by Himself Bathurst, David Here’s a pretty mess! : a new guide to Gilbert & Sullivan opera for the amateur performer and enthusiast BBC (libretto and vocal A G.
    [Show full text]