PINAFORE BOOK.Pmd

GILBERT SULLIVAN H.M.S. Pinafore THE OHIO LIGHT OPERA J. Lynn Thompson Steven Daigle CONDUCTOR ARTISTIC DIRECTOR H.M.S. PINAFORE Music...............................Sir Arthur Sullivan PROGRAM NOTES ...................Raymond McCall Libretto.....................................W.S. Gilbert H.M.S. Pinafore has been the most frequently OHIO LIGHT OPERA performed work at The Ohio Light Opera and an audience favorite on both sides of the Atlantic Artistic Director....................Steven A. Daigle Conductor.........................J. Lynn Thompson since 1878. Its initial run in London prompted Stage Director..................Julie Wright Costa numerous unauthorized productions in this Choreographer.................... Carol Hageman country where Sullivan’s melodies were played by Costume Designer................Adrienne Jones organ grinders and Gilbert’s lyrics became tag lines Scenic Designer...............Kimberly V. Powers for would-be comedians. Meanwhile, the creators Lighting Designer...................Michael Banks earned not one penny in royalties! Sound Designer..........................Andy Kauff To counter this piracy and to demonstrate Production Stage Manager..Katie Humphrey the superiority of the authentic version, London CAST: producer Richard D’Oyly Carte decided to bring a Sir Joseph Porter..................Ted Christopher company to New York. On December 1, 1879, at Ralph Rackstraw.....................Stephen Faulk the Fifth Avenue Theatre, Sullivan conducted the Josephine...........................Natalie Ballenger score as he intended it to be heard and Gilbert, on Captain Corcoran..................Stefan Gordon stage in a sailor’s costume, made sure the chorus Dick Deadeye.......................Edward Hanlon moved properly. The packed house roared its ap- Little Buttercup..........................Alexa Devlin proval and Carte boasted in newspaper ads the Boatswain.............................Ezra Bershatsky next day: “New life given to the merry opera.” Mate........................................Nathan Brian Cousin Hebe........................Olivia Maughan Yet, in fact, Pinafore almost sank after its British launching in May of the previous year. The ENSEMBLE: Tara Austin, Ezra Bershatsky, Nathan reviews were condescending—”A frothy pro- Brian, Alexia Butler, Janie Crick, Sarah Diller, Nadia Fayad, Luke Hefner, Hannah Kurth, Gregory duction destined soon to subside into nothing- LaMontagne, Andrew Maughan, Olivia Maughan, ness,” wrote The Daily Telegraph. Wendy Muir, Christopher Nelson, Garrett Obrycki, Sullivan, however, stirred up interest by con- Tanya Roberts, Tara Sperry, Clark Sturdevant, ducting a medley of Pinafore extracts at a Covent Alexander Turpin. Garden Promenade Concert. Indeed, the box . ❦ 2 ❦ office soon prospered to such an extent that some of Carte’s originally-nervous investors attempted a bizaare act of piracy by hiring thugs to steal the show’s set during a run of performances, for use in a rival production! Gilbert’s satire is fun, but his jabs at glib, hypocritical egalitarianism strike home even today. Sir Joseph proclaims the principle that “a British sailor is any man’s equal—excepting mine,” but Dick Deadeye may be more on the mark with his reply: “When people have to Sir Arthur Sullivan (left) and W.S. Gilbert obey other people’s orders, equality is out of the question. ”No matter: Sullivan’s wonderful score guarantees a voyage without the dangers of wrecks or sea-sickness. Whether in “We Sail the Ocean Blue,” the opening chorus that rhyth- mically invites the listener to come on board; the Mozartean eloquence of Josephine’s “Sorry Her Lot;” the mock heroics of “For He is an Englishman;” or the infectious gaiety of ”Never Mind the Why and Wherefore,” the music retains its freshness after thousands of performances. PRODUCER’S NOTE: For seventeen seasons—nearly half OLO’s thirty-five year history—I’ve looked forward to making my annual trip out to Wooster to record their wonderful productions. With Pinafore, we are nearing the completion of the entire G&S repertoire. It wasn’t our intention to record them all when we started in the 90s with Princess Ida (featuring Julie Wright and Ted Christopher in the lead roles), but it has happily worked out that way. Because of the fine precision of these productions and the talent onstage and in the pit, for me, arriving toward the end of the summer, putting these things onto disc is both joyful and straight-forward. Steve Daigle and J. Lynn Thompson make all OLO’s resources available; the sessions tend to go like clockwork. Indeed, we “run” the music onstage, usually in a single take, and in that sense the results are “live” recording. It’s a stimulating undertaking and Albany Records is proud of our ever-growing Ohio Light Opera oeuvre. John Ostendorf ❦ 3 ❦ PLOT SYNOPSIS is any man’s equal (except his Captain is led off in disgrace and ACT I. own) and should be treated with matters are only made worse Aboard the deck of the H.M.S. politeness and without recourse when Ralph declares his love for Pinafore, anchored off Ports- to bad language or abuse. This Josephine—Sir Joseph’s own mouth, Little Buttercup sells inspires Ralph to declare his love intended. The day is saved when sweets and tobacco to the high- for Josephine, who, after Ralph Little Buttercup confesses that spirited crew. Seaman Ralph threatens to do himself in, re- years ago she fostered two Rackstraw alone is moody, hope- turns his feeling. The couple youths from vastly different lessly attracted to the Captain’s determine to elope that very social backgrounds. In caring daughter Josephine. She knows night. Things seem rosy. for them, she mixed the babies of his affections, but pride and ACT II. up. She reveals that these two the difference in their rank pre- The treacherous Dick Deadeye (the lowly Ralph and the priv- vents her from revealing this. betrays the couple’s intentions ileged Captain) have reversed Meanwhile, Josephine’s hand is to the Captain who catches identities. Learning that Joseph- sought in marriage by the First them before they can carry out ine is actually the daughter of a Lord of the Admiralty, Sir Joseph their plan. Furious at Ralph, humble seaman, Sir Joseph now Porter who arrives with his troop Captain Corcoran utters a swear gladly allows Ralph—Captain of female relatives in tow. Sir word which is unfortunately Rackstraw—to wed her. All Joseph feels that a British sailor overheard by Sir Joseph. The ends happily. FROM THE ARTISTIC DIRECTOR For 35 years The Ohio Light everything: a well-known and Wooster, its community and Opera has been dedicated to lesser-known Gilbert and Sulli- nearly 700,000 patrons who producing, promoting and pre- van, a Viennese operetta, a have championed the company's serving the best of the traditional French operetta, an American dedication to operetta have given operetta repertoire. In any sum- operetta and a revival of a long- OLO a reputation that reaches mer season, 20,000 patrons forgotten work that is given a internationally. In no small way, come to hear and see more than much-deserved rebirth for an Albany Records has added to the sixty performances of seven appreciative audience. This CD company’s success. The company productions on the beautiful set will hopefully give the oper- and the operetta art form are campus of The College of etta aficionado a taste of what indebted to John Ostendorf and Wooster in Ohio. These shows makes this company unique. Albany for their commitment. offer the operetta fan a little of The support of the College of Steven Daigle ❦ 4 ❦ H.M.S. PINAFORE I’ve snuff and tobaccy, DIALOGUE Track 4 And excellent jacky, Boatswain, Sailors OVERTURE Track 1 I’ve scissors and watches and knives. Aye, Little Buttercup, and well ACT I I’ve ribbons and laces called, for you’re the rosiest, the Quarter-deck of H.M.S. Pinafore, To set off the faces of roundest, and the reddest beauty off Portsmouth. Pretty young sweethearts and wives. in all Spithead. Aye...! OPENING Track 2 I’ve treacle and toffee, Buttercup Sailors I’ve tea and I’ve coffee, Red, am I? and round, and rosy! We sail the ocean blue, Soft tommy and succulent chops. Maybe, for I have dissembled well! And our saucy ship’s a beauty. I’ve chickens and conies, But hark ye, my merry friend. Hast We’re sober men and true, And pretty polonies, ever thought that beneath a gay And attentive to our duty. And excellent peppermint drops. and frivolous exterior there may When the balls whistle free Then buy of your Buttercup, lurk a canker-worm which is slowly O’er the bright blue sea, Dear Little Buttercup. but surely eating its way into one’s We stand to our guns all day. Sailors should never be shy. very heart? When at anchor we ride So, buy of your Buttercup, Boatswain On the Portsmouth tide, Poor Little Buttercup. No, my lass, I can’t say I ever We’ve plenty of time to play. Ahoy! Come, of your Buttercup buy! thought that. We sail the ocean blue... Dick Deadeye (entering) I’ve thought it often. SCENE Track 3 Buttercup Buttercup (enters, with a basket Yes, you look like it! What’s the on her arm) matter with the man? Isn’t he well? Hail, men-o’-war’s men, safe-guards Boatswain of your nation. Here is an end at last Don’t take no heed of him; that’s of all privation: you’ve got your pay, only poor Dick Deadeye. spare all you can afford to welcome Dick Deadeye Little Buttercup on board. I say, it’s a beast of a name, ain’t it: I’m called Little Buttercup, Dick Deadeye? Dear Little Buttercup, Buttercup Though I could never tell why. It’s not a nice name. But still I’m called Buttercup, Dick Deadeye Poor little Buttercup, And I’m ugly too, ain’t I? Sweet Little Buttercup, I.

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