AND STEVEN MALER FOUNDING ARTISTIC DIRECTOR PRESENT Rodgers and Hart's The Boys from Syracuse August 31, 2016 7 pm at the DCR’s Hatch Shell Boston Landmarks Orchestra VIOLIN I BASSOON Gregory Vitale, concertmaster Donald Bravo, principal Christine Vitale Gregory Newton Pattison Story Rebecca Katsenes HORN Tera Gorsett Kevin Owen, principal Stacey Alden TRUMPET VIOLIN II Dana Oakes, principal Paula Oakes, principal Jesse Levine Melissa Howe Robert Curtis TROMBONE Maynard Goldman Robert Couture, principal VIOLA HARP Kenneth Stalberg, principal Ina Zdorovetchi, principal Abigail Cross PERCUSSION Donna Jerome Robert Schulz, principal Jean Haig CELLO Maynard Goldman, Aron Zelkowicz, principal Personnel Manager Melanie Dyball Jolene Kessler Kristo Kondakci, Assistant Conductor BASS Robert Lynam, principal Barry Boettger FLUTE. PICCOLO Lisa Hennessy, principal OBOE, ENGLISH HORN Andrew Price, principal CLARINET, ALTO SAX Steven Jackson, principal CLARINET, BASS CLARINET, ALTO SAX Ryan Yuré TENOR SAX, BARITONE SAX, CLARINET, BASS CLARINET Brent Beech Boston Landmarks Orchestra Commonwealth Shakespeare Company present The Boys from Syracuse (1938) based on The Comedy of Errors by William Shakespeare Music by Richard Rodgers Lyrics by Lorenz Hart Book by George Abbott+ Orchestration by Hans Spialek Cast (in order of appearance) Sergeant Leo Pierre Roy Antipholus of Ephesus Andy McLeavey* Dromio of Ephesus Larry Coen* Antipholus of Syracuse Justin Blanchard* Dromio of Syracuse Remo Airaldi* Duke of Ephesus Jerry Goodwin Aegeon Mark W. Soucy Luce Liliane Klein* Adriana Jennifer Ellis* Luciana Jenna Augen* Seeress Ramona Lisa Alexander* Citizens, Merchants, Policemen, Ladies of the Evening: Leah Carnow, Brittany Martel, Kate Penner, Suzi Weisberg Serge Clivio*, Steven Del Col, Brad Foster Reinking, Jacob Rosenbaum Conductor: Christopher Wilkins Stage Manager: Amy Witherby* Director: Steven Maler Asst. Stage Manager: Marcie Ann Friedman* Co-Director: Adam Sanders Vocal Sound Mix: Brian McCoy Choreographer: Peter DiMuro Sound Design & Audio Mix: Steve Colby Musical Preparation: Justin Blackwell Production Manager: Renee E. Yancey Costume Designer: Brooke Stanton Asst. Production Manager: Marisa Brink CSC Artistic Programs Coordinator: Victoria Townsend *Members of Actors' Equity Association +new adaptation of the George Abbott book by Larry and Jennifer Hart, with consultation by Thomas Meehan Special thanks to Matthew Peter Donoghue and Nick Paleologos for their efforts to make this event possible. Act I Overture Scene 1: A public square in Ephesus, before the Temple of Justice. He Had Twins (Sergeant, Ensemble) Fanfare for the Entrance of the Duke Dear Old Syracuse—Dance (Antipholus of Syracuse) What Can You Do With a Man? (Luce, Dromio of Ephesus) Scene 2: Inside the house of Antipholus of Ephesus. Falling in Love With Love (Adriana, Female Ensemble) Falling in Love Reprise (Adriana) Falling in Love Instrumental Scene 3: The square again. The Shortest Day of the Year (Antipholus of Ephesus, Sergeant, Assistant Courtesan) Scene 4: Inside the house again. The Shortest Day of the Year Reprise (Adriana) This Can’t Be Love (Antipholus of Syracuse, Luciana) This Can’t Be Love Reprise (Luciana) Scene 5: A street before the house. Finale Act I (Company) Intermission Act II Scene 1: The street. Sunrise Music—Ladies of the Evening—Dance (Courtesans, Sergeant, Company) He and She (Luce, Dromio of Syracuse) He and She Reprise (Luce, Dromio of Syracuse) You Have Cast Your Shadow on the Sea (Antipholus of Syracuse, Luciana) Scene 2: The square. Come With Me (Sergeant, Angelo, Antipholus of Ephesus, Male Ensemble) Scene 3: Inside the house. Sing for Your Supper (Adriana, Luciana, Luce) Sing for Your Supper Dance (Adriana, Luciana, Luce) Scene 4: The square. Oh, Diogenes!—Dance (Luce, Ensemble) Scene 5: The Temple. Finale Ultimo (This Can’t Be Love) This concert is presented by arrangement with Rodgers & Hammerstein: An Imagem Company. From the Artistic Directors Dear Friends, Welcome to the fourth co-production of the Boston Landmarks Orchestra and Commonwealth Shakespeare Company. The Boys from Syracuse has long been on our wish list. We relish the opportunity to work together on every project, but this show is especially well-suited to this orchestra, this company, and our long-term partnership. Boys was the first Shakespeare-based Broadway musical. It opened in 1938, a full decade before Kiss Me, Kate. The production boasted the era’s most successful creative team: composer Richard Rodgers, lyricist Lorenz Hart, and librettist and director George Abbott. The score includes several Rodgers and Hart hits, as well as exhilarating dance numbers originally choreographed by George Balanchine. For these reasons, it serves first as a splendid vehicle for our remarkable singing-acting-dancing cast. This production has also given our creative team a rare opportunity to contribute to the Broadway legacy. The script of Boys pleads for “freshening up,” adjustments to make it more coherent to a contemporary audience. We have been blessed by the contributions of Larry Hart—the lyricist’s nephew and son of the original Dromio of Ephesus—and his wife Jennifer Hart. They have suggested numerous revisions improving the book’s clarity, conciseness, and humor. Also advising on the project has been 3-time Tony Award winning librettist, Thomas Meehan. The original orchestrations for The Boys from Syracuse were by another leading figure of the age, Hans Spialek. His ingenious use of woodwinds, sumptuous string writing, and idiomatic Swing Band styling mark this score as a classic of the age. Yet tonight this version receives only its second professional performance since the original production closed in 1939. The Spialek materials had become such a hodge-podge of edits, over-markings, and rewrites that they had been declared unusable. With the encouragement of Rodgers & Hammerstein: An Imagem Company, David Kempers has fully restored the original score for this performance, publishing it on modern software and producing a beautiful new set of orchestral parts. In doing so, he has single-handedly resurrected an historic work of American musical theater. Part of the fun of the Boys book is its patchwork of references to time and place, which in our production includes: present-day Boston; Broadway in the thirties; Elizabethan England; and ancient Greece. The name of the show adds a further twist: theatergoers of the thirties would have understood the show’s title as an inside joke referring to the Shubert Brothers—originally from Syracuse, New York—who owned most of the theaters on Broadway. They also owned the Shubert Theatre in Boston, where The Boys from Syracuse had pre-Broadway tryouts. We imagine our production taking place in a 1930s radio studio, with the Boston Landmarks Orchestra as the dance band behind Peter DiMuro’s wonderful choreography. We may well revisit The Boys from Syracuse in future seasons. Additional adjustments to the book may prove helpful in revealing the show’s eighty-year-old charms to contemporary audiences. It would also be of enormous practical value to create a version of the original orchestration employing fewer players, more in line with the financial realities of modern-day Broadway. Tonight, however, we can revel in the ‘extravagance’ of Hans Spialek’s lush textures as they pour forth from the thirty musicians who make up tonight’s orchestra. We are thrilled you are here to be a part of this notable, memorable, and immensely enjoyable occasion. With warmest wishes, Christopher Wilkins Steven Maler Music Director Founding Artistic Director Boston Landmarks Orchestra Commonwealth Shakespeare Company The BOSTON LANDMARKS ORCHESTRA performs free outdoor concerts in Boston throughout the summer, delighting thousands on a weekly basis. The Orchestra—made up of some of Boston’s most accomplished professional musicians—uses great symphonic music as a means of gathering together people of all backgrounds and ages in joyful collaboration. The Orchestra partners with a range of cultural and social service organizations to ensure participation across ethnic, economic, and cultural divides. www.landmarksorchestra.org CHRISTOPHER WILKINS was appointed Music Director of the Boston Landmarks Orchestra in the spring of 2011. Since then he has reaffirmed founder Charles Ansbacher’s vision of making great music accessible to the whole community, emphasizing inclusive programming and collaborative work. Mr. Wilkins also serves as Music Director of the Akron Symphony. As a guest conductor, he has appeared with many of the leading orchestras of the United States. Previously he served as Music Director of the San Antonio Symphony and the Colorado Springs Symphony. He also served as Resident Conductor of the Youth Orchestra of the Americas, assisting in the formation of the orchestra in its inaugural season, and leading it on tours throughout the Americas. Born in Boston, Mr. Wilkins earned his bachelor's degree from Harvard College in 1978 and his master’s from the Yale School of Music in 1981. COMMONWEALTH SHAKESPEARE COMPANY is dedicated to bringing the works of William Shakespeare in vital and contemporary productions to the people of Boston and to exploring Shakespeare’s plays with local youth in innovative and creative ways. Best known for its annual free performances on Boston Common, CSC also presents several free play reading events during the year, including Theatre in the Rough and Shakespeare & Leadership. The Company fulfills its educational