NEGASS AT THE MOVIES: On January 15 at 3:00 PM, we'll bring our popcorn to MIT Room 6120 (that is, for nonMITtypes: Building 6, Room 120) to enjoy a screening of the classic film, "The Gilbert and Sullivan Story" Yes, this is the one that makes such a dramatic story out of the Carpet Quarrel. It's a movie every Savoyard should see at least once which means, if you've already seen it once, that's no excuse for not coming to see it again!
HOW TO GET THERE: MIT is easily accessible by T: take the Red Line to the Kendall stop and walk west through the campus, or to Central, and walk south down Mass. Ave. (Or take the #1 bus.) If you're driving, take Mass. Ave. from anywhere to about a block north of where it meets the Cambridge side of the Charles, and find a parking space. (MIT parking lots, although posted "restricted," are actually free and open to all comers on Sundays, as are the parking meters on Mass. Ave.) Enter the main doors at the top of the big, impressive staircase (the official address is 77 Mass. Ave.), and walk through the big lobby and along the "Infinite Corridor" until the corridor ends. Then turn right. Congratulations! you're in Building 6, and the rest is easy. (Of course, from Kendall, you're approaching from the opposite direction: walk west on Main St. to Ames St., south on Ames to Amherst, then walk west on the sidewalk across the street from Amherst, past the tennis courts, Walker, and the Library building, and you'll bump into Building 6 without hardly trying.)
SULLIVAN SANS GILBERT: OUR NOVEMBER 20 MEETING IN WATERTOWN. No, it was not as the title might suggest, bits and pieces of THE ZOO, IVANHOE and THE CONTRABANDISTA, but an interesting and insightful review by Jonathan Strong of Sullivan's largely postGilbert efforts, such as HADDON HALL, THE CHIEFTAIN, THE BEAUTY STONE and THE ROSE OF PERSIA, illustrated by copious recorded samples. This was mostly the Sullivan of the 1890's, Jonathan noted; he wrote six operatic works after IVANHOE (1891), of which two were with Gilbert (UTOPIA and GRAND DUKE), and a changing social climate made it more difficult than before to succeed with light opera. Sullivan's other librettists, Jonathan observed, generally lacked one or more of Gilbert's strengths. Sydney Grundy, for instance (HADDON HALL), lacked Gilbert's sense of irony. F. C. Burnand (THE CHIEFTAIN adapted from their earlier CONTRABANDISTA) was not good at constructing a libretto. J. Comyns Carr and Arthur Pinero, who wrote THE BEAUTY STONE, were described by Sullivan himself as "Gifted and brilliant men, with no experience in writing for music, and yet obstinately declining to accept any suggestions from me ...." And it showed: BEAUTY STONE died after 50 performances, thereby failing Sullivan's hope that it would raise the level of English operatic fare from music hall to "New English Opera." Basil Hood (THE ROSE OF PERSIA, THE EMERALD ISLE) was, Jonathan thought, not bad, though he lacked the kind of "world view" that Gilbert commanded. Jonathan suggested that Sullivan sans Gilbert had a hard time finding suitable libretti, but always set them well. (Not everyone would agree. One Sullivan biographer describes ROSE as "a sad parody of Gilbert by Hood, and of Sullivan by Sullivan." This observer would say the same of most of Sullivan's nonGilbert operatic music; the symbiosis ain't there.) The session concluded with a song from THE CHIEFTAIN, sung with gusto by Marion Leeds Carroll, ably accompanied by Eric Schwartz as the Orchestra and the Audience as Chorus.
Not on the agenda, but present in order to respond to the many questions generated by recent Bray articles, was Steven Ledbetter of Broude Brothers Limited, who described the birthpangs of a new "First Critical Edition" of the G&S operas, presenting "responsible texts for each of the 13 collaborations for which complete music & libretto survive" (meaning that THESPIS didn't make the cut). Mr. Ledbetter, a musicologist, is the editor of TRIAL BY JURY, the first volume of the thirteen to appear, as well as General Editor for the series. His coGeneral Editor is Percy M. Young (who happens to be the Sullivan biographer quoted above). Mr. Ledbetter discussed the many reasons why no critical edition has been available before now. For instance, because this was the popular music of its time, there was little concern about preserving material for archival purposes. Another reason: Sullivan, since he or someone who knew him would be conducting his work, left a lot of detail out of his autograph scores. Scores and authoritative texts are scattered in many repositories, and, Mr. Ledbetter noted, editors have gotten precious little cooperation from the reincarnated D'Oyly Carte Co.
This project started in 1976 [during the period when serious musicologists began critical editions of other 19thcentury operatic composers, such as Verdi mlc]; the first volume has just appeared. Each volume will contain a historical introduction, describing the opera's creation, reception, and stage history, and copiously annotated critical editions of libretto and score. The price for the first volume, TRIAL, is $200 ($175 prepublication). [It is also possible to enter a standing order for the entire series at the lower rate the suggestion was made that NEGASS might want to do so, as a keystone of our projected library mlc]. An informative brochure is available from Broude Brothers Ltd., 141 White Oaks Road, Williamstown, MA 01267 [(800)5258559].
The meeting concluded with an IOLANTHE singalong, truncated, because of the program's length, to a choral rendition of "When Britain Really Ruled The Waves."
SHELDON HOCHMAN
[We would like to thank Peter Cameron, Bruce Miller, Ralph MacPhail and Marc Shepherd for sending Broude information during the past month We'll print a few excerpts in the next Bray mlc]
Oct/Nov Bray Stuffing: At 7 PM on Nov. 6, Nancy Burstein, Marion Carroll, Bill and Carol Mahoney and Carl Weggel gathered at Nancy's house to polish off PRINCESS IDA as well as some tasty refreshments. The usual singers took their expected roles, with the exception of the role of Gama, which was taken by a modest fellow who usually doesn't sing, and who prefers to remain nameless (though he has no reason to be modest he did it very well!) Jean Monroe and her husband, Jay Lane, showed up late, whereupon Jay was dragged over to the piano and forced to play the finale. He proved to be an excellent pianist (as well as having a very nice tenor voice) I hope to hear more from both Jean and Jay in the future! SACHARISSA
Tentative Meeting Schedule, 199495:
February 12: NEGASS RUDDIGORE
March or April: NSLO meeting
(Later meetings tba)
~ NEXT BRAY COPY DEADLINE: Wednesday, Jan. 18 ~
Next BrayStuffing: Since We intend to be travelling just when the next Bray should be going out, We will have to forego a regular Braystuffing before the February meeting We'll just do it Ourself, like the Little Red Hen! Watch this space for future Braystuffing plans mlc
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Welcome, Welcome, Welcome We new members Sheldon C. Brown, Michael A. Halperson, Randi Kestin and Ezra Peisach. Sheldon (an excellent professional photographer) and his daughter Tova enlivened MITG&SP's MIKADO choruses this fall; Ezra, a MITG&SP techie for the past several years, not only cotechdirected MIKADO, but also loaned his bride, former Barnard G&S Society President Randi, to the cast, where she shone as PittiSing. We're afraid all We know about Michael is that he calls himself "an Enthusiastic Audience" and that he lives in Canton Tell Us, tell Us all about it, Michael ! Hearty Greetings Offer We!
NEWS BULLETIN from LMLOC: Just like Brigadoon (yes, I know it isn't), the LastMinute Light Opera Company comes to life every year or so for one glorious performance only, and then quietly strikes itself into oblivion until the next endeavor.
On Sunday, February 12, under the auspices of NEGASS, Program Chair Patricia Brewer will be producing G&S's RUDDIGORE, or, The Witch's Curse. And who will be performing? Why, YOU!
The artistic philosophy of LMLOC is to perform for the greatest enjoyment of the players, including as many people as possible in the cast. Performing is done with all players holding scores, and blocking is improvised on the spot. Auditions are accomplished by calling Patricia at (617) 3233480 between now and the end of January, or sending a note to her at 111 Spring Street, West Roxbury, MA 02132. Additional information may also be relayed through Richard Freedman's email account (see his address on the masthead, page 6). Give a brief summary of any performing experience, and, more importantly, describe why you would like to play a particular role. Intensity of desire is more important than talent.
When casting is completed we will send a cast list to all participants, and if there are any ensembles that wish to rehearse we will not forbid it if the players arrange it among themselves. However, neither memorization nor rehearsal is encouraged, as they tend to raise the production standards higher than we desire them to be, thereby intimidating future auditioners.
RUDDIGORE is not one of the simpler G&S operettas to produce, and we are hoping that many of you will come forth to audition. This is a wonderful showcase for those who do not have the polish or the time to perform with the formal theatrical companies, and it is our goal to feature as many people in this category as possible, although this may be at the expense of the more experienced performers. This would be a wonderful opportunity for them to come forth goodheartedly and perform in our chorus. [We would like to suggest that it's also a wonderful opportunity for experienced performers to try for a role they could never do on a real stage, for reasons of voice type, appearance, gender, etc... mlc] Everyone who shows up will be welcomed. Costumes and props are up to the players talk with your Producer if you wish inspiration or assistance.
The performance will begin at 3:00 PM at the Universalist Unitarian Church in Watertown. Accompaniment will be provided by Eric Schwartz. (My only regret will be that this will preclude his auditioning for a role alas!)
LATE FLASH: An artist who is a close personal friend of the Producer has volunteered to create portraits for the second act Ghost Scene. Any male auditioner who would be willing to participate as an ancestor and who supplies a clear snapshot by February 1st (sooner is preferable) will have a portrait created which he may keep as a souvenir of the occasion. LMLOC
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CD REVIEW: COX AND BOX, or, The Long Lost Brothers by F.C. Burnand and Arthur Sullivan.
This CD appears to be the first release of "The Collector's Gilbert and Sullivan," a project intended to record the entire G&S series, as well as some of the lesserknown works of Gilbert and/or Sullivan. Furthermore, the producers intend to include complete dialog and as many "cut" or "altered" songs as they can uncover. COX AND BOX makes a good beginning: in the days of LPs C&B was always presented in a shortened version trimming it to about 30 minutes, so that it would fit on one side of an LP. This CD uncut version, with full dialog, lasts 63 minutes. A libretto is also provided, with both the fulllength (38 pp) version of the dialog and the shortened (19pp) version. On the recording the "Scenes" (the dialog between musical numbers) are recorded on separate tracks, so that one could, if one wished, omit the dialog.
This reviewer has an ancient Oliver Ditson vocal score, and, sure enough, the dialog in this CD seems to be complete. (The eight scenes of dialog account for some 22 minutes of the recording.) Furthermore, Bouncer's song "Rataplan" and Box's "HushaBye, Bacon" each have two verses in this recording, but only one in the shortened version. The Gambling Duet "Sixes" is usually omitted in the short version. We have seen three or four staged versions of C&B, and we recall a British TV version about 15 years ago, and some of these have included the gambling duet, but even those shortened some of the dialog, as we recall. The musical accompaniment of the present recording includes a string quartet, harpsichord, mandolin and harp, which is intended to suggest a drawing room entertainment, The three singers (Jamie Bierchen, Cox; Robert Godfrey, Bouncer; and Thomas Godfrey, Box) all have good voices and clear enunciation. This reviewer feels that this recording is a competent and useful addition to the recorded G&S literature and we look forward to many more uncut recordings with complete dialog. (They say MIKADO will be next, with full orchestra.) JOHN N. HOWARD
&&&...It is a recording no serious Sullivanite will want to be without... [Box and Bouncer] have fine amateur singing voices, but [Cox] is uncomfortable with [the] high baritone tessitura. All three act well, although the dialog is far too underplayed. Still, the performance bounces along brightly. This is a recording I'll enjoy again and again... COX & BOX is available for $14.95 plus $2.50 shipping and handling from C&B Productions, PO Box 26334, Tampa, FL 33623. You can also preorder THE MIKADO, the next entry in C&B's series (due out in March), for $27.95 plus $2.50 s&h. Judging from what I've heard so far, C&B's efforts deserve the G&S community's strongest support.
MARC SHEPHERD
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Opening Night at MITG&SP's MIKADO: The MIT Gilbert & Sullivan Players starred in a thoroughly delightful production of MIKADO!!! Everyone involved should be justifiably proud.
Orchestra: I mention the orchestra first, only because it is invariably acknowledged last. Aaron Cohen and Chad Musser (French horns yes, there were TWO of them)were both superb. The remaining brass and the woodwinds were commendable. The remainder of the orchestra, in truth, was only adequate, but we, audience and singers alike, owe our unflagging support and gratitude to all of the musicians for their selfless, invaluable contribution to this fine production. My eternal thanks to all of you for what is too often a thankless job. "Those who can, do. Those of us who cannot, become critics."
Performers: Michael McGuire (PoohBah) was the standout performer of the show, followed closely by Cara Foss (Katisha), Walt Howe (The Mikado), and David C. Jedlinsky (KoKo). PoohBah's acting and singing were both impeccable, especially the clever, varied stage business of appearing á dejeuner at all plausible times. (Rice bowl and chopsticks, drooling Chinese noodles, slice of pizza, wine, etc.). Throughout, his singing was as pleasant and polished as was his acting.
Walt Howe (the Mikado)of naturally imperious stature, augmented by "sacrificedinthenameofart" shaved scalp and obviouslyfalse, GrouchoMarx eyebrowsstole the stageexcept whenever Cara Foss (Katisha) decided it was rightfully HERS, (which, appropriately, was most of the time). His voice and physique were both ideal for the role. His maniacal laugh was perfect terrifying, but not ludicrously overdone, as so often is the case.
Katisha was everything a Katisha should be domineering, but pathetic and pitiable, too. Fittingly, KoKo's ultimate fate was "no such ill plunge in Fortune's lucky bag! [He] might have fared worse with [his] eyes open!" Katisha delivered some VERY fine singing for someone who, I learned afterwards, is actually a soprano. Her acting was similarly skilled and effective.
Like "The Phantom of the Opera's" Christine Daae, David C. Jedlinsky (KoKo) "has been well taught." His stage directions were masterful, starting with our first glimpse of him as a humble tailor still plying his craft. His recent promotion to the exalted position of Lord High Executioner has not yet fully registered A fitting, sublime touch. When the chorus sings "Defer! Defer! to the Lord High Executioner!" KoKo, out of lifelong habit, immediately bows abjectly, forgetting that HE is now the object of deference. [Inside info: it should be noted that the cleverest of Dave's stage business, as well as the rewrite of the Little List, were all his own he deserves full credit for an excellent job! mlc]
The Chorus of Schoolgirls, for once, actually LOOKED, BEHAVED, and SOUNDED like a chorus of schoolgirls. The giggling was excessive, perhaps, but thus it is with REAL schoolgirls, too. One of the most captivating pixies was Tova Brown, whose youthful exuberance animated the stage. Afterwards, I learned that Tova is all of thirteen, so that her youthful energy may be the result not only of skillful stage direction, but also of hormones, as well.
All of The Three Little Maids were pleasant, with Randi Kestin (PittiSing) distinctly the finest of the three, both vocally and acting.
Lyrics: The slight rewrites of "My Object All Sublime" by the Mikado, and the major updating of "I've Got a Little List" by KoKo were both brilliant improvements. Gilbert's texts were topical in HIS day; there is no reason that the baseball strike and the O. J. Simpson trial should not receive mention in a current production.
Staging: Marion Leeds Carroll staged a winner. As elaborated above, her interpretation of MIKADO combined the best of traditional G&S productions with a number of clever insights that would be welcome improvements to any MIKADO.
Costumes, Makeup, and Hair: Cara Foss's costumes were fully appropriate, although I might have wished the kimonos to be more heavily starched and worn more meticulously (especially the sometimesdisheveled bows in the back). The women's lipstick, hair treatments, and eye makeup were little short of miraculous: Cara Foss succeeded in transforming nondescript Americans into credible Japanese citizens. The "sweetheart" lips deserve especial mention.
In summary, fine, fine entertainment, at a very affordable price. CARL F. WEGGEL
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RUDDIGORE at Harvard: I have previously described my objections to staging during an overture, but I have to admit that the lowkey wandering of Mad Margaret about the proscenium, and wideeyed "where am I, and who are all you people?" amazement was cute, and not deleterious to the story. Nor was it a serious distraction from the orchestra, which was correct and precise throughout.
The curtain opened on a simple but effective set, with what seemed to be a stonepaved courtyard, a stonelined well, and a short stone wall at the shoreline. The wall provided entrances for Richard and Margaret, and the well a later entrance for Margaret. Otherwise the director was generally a bit weak in providing for entrances and exits, admittedly a difficult problem in Agassiz Theater; too often the action stopped while cast members came on or off or got into position.
The movement of characters already involved in the action was so much better that I was not surprised to see a choreographer (Doug Miller) listed on the program.
I had a bit of trouble evaluating some of the leads, who for reasons I don't understand seemed to clash with my images of the characters. Their performances overcame my feeling of "wrongness", except for Richard, who looked too much like someone I know. Since that person is a jerk, and Richard is supposed to be a jerk too, it worked out all right. At any rate, I thought all the leads were better than competent, Sir Despard (Danton Char) very good, and Mad Margaret (Jill Weitzner) maybe the best I have seen. Her delivery carried a very convincing flavor of unreflective spontaneity.
Other thoughts: good chorus diction, good Music Director (Joshua Hauser), very effective twostory second act set (Set Designer Amy Briggs), good low bass by Old Adam/Gideon Crawle (Darin Goulet). Costume and makeup unconvincing, especially in aging Adam and Dame Hannah. Most of the restored material is worth restoring, but I found tedious the extra lines spoken by the ancestors. Overall a very enjoyable show. DICK FREEDMAN
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YEOMEN at SLOC: One of the reliable delights of the Savoyard Light Opera Company is the strong orchestra. The Concord Hill Musicians, conducted by Willis Traphagan, were up to the challenge of filling the large Corey Auditorium. Only a nitpicker could fault the production musically, and even such an one might have missed the couple of times when a small ensemble got slightly ahead of the orchestra.
The rest of the performance was equally strong, but easier to fault not through shortcomings of the performers, all of whom were technically very good, but over matters of interpretation or style. My main objection was playing "The Pris'ner Comes" scene for laughs. (The lights were faded very slowly instead of suddenly, and the women's chorus entered doing a gag bit with their veils, puffing the veils out with a synchronized exhalation at each step.) The initial relationship between Phoebe and Wilfred was a little too distant, too cold, which made their subsequent scenes a little too implausible. The scenes between Elsie and Fairfaxindisguise were a little wooden. And the yeomen lacked the dignity worthy of their positions, being part of the "rabble" they were called upon to clear. Still, it was a wonderful show unless you are the staunchest of traditionalists. DICK FREEDMAN
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NEWS FROM SAVOYNET: The Bel Canto Society has a catalog which lists the video, The Story of G&S. The price listed is $29.95 (plus NYS sales taxes; $4.50 shipping). Call 18003475056 (8:30 AM 6 PM EST, MonFri) or send checks payable to Bel Canto Society, Inc., 11 Riverside Drive, NY NY 10023.
It's best to call, though, because it's been out of stock for at least a month. If they get enough inquiries, it may cause them to hasten their restocking. I haven't seen this tape can't vouch for completeness, color or sound/picture quality...
FRANCES YASPRIKA (am350@freenet.buffalo.edu)
BOOKS FROM THE NET: The Complete Savoy Operas, Introduced by Fredric Woodbridge Wilson, Published by The Folio Society (London, 1994), Two Volumes, 704 pages, Thirtytwo illustrations (13 color).
In a word: gorgeous. No other adjective comes close to describing the new Folio Society edition of The Complete Savoy Operas. For this reason alone, the Folio edition belongs in your collection, no matter how many versions of the libretti you already have. Gilbert's immortal operas have never been out of print, but they have never been printed as lovingly as this.
The set comes in two hardbound volumes, held in a lovely slipcase bearing color reproductions of cigarette card illustrations from six of the operas. The frontispiece to volume one bears a handsome photograph of Gilbert, while that to volume two bears a matching photograph of Sullivan.
Inside, you'll find thirty more fullpage illustrations on glossy paper, thirteen of them in color. The color illustrations are mostly reproductions of sheet music covers or publicity posters, while the black & whites are mostly of vintage Savoyards like Barrington, Grossmith and Fred Sullivan.
The excellent thirteenpage introduction by Fredric Woodbridge Wilson puts the operas in their historical context, though knowledgeable readers will not learn anything new. The text is mostly verbatim from the first chapter of Wilson's earlier monograph, "An Introduction to the Gilbert and Sullivan Operas" (The Pierpont Morgan Library: New York, 1989).
A note in the front of the edition reads, "The copy text for this edition was Gilbert's Original Plays, which have been edited against the original vocal scores. Minor stylistic emendations have been made." This statement deserves further inquiry.
Gilbert's Original Plays refers to the four little volumes published by Chatto & Windus, long out of print, containing the Savoy Operas and most of Gilbert's other major plays and opera libretti. This was the only edition Gilbert authorized in his lifetime, but it represents an intermediate state between the firstnight libretti and the operas we know.
Gilbert was working on a revised edition late in life, but his last thoughts went with him to an early grave. The Original Plays are probably as good an edition as any to use as a starting point, but they contain numerous errors that Gilbert surely would have corrected, if he'd had the time. This explains why the Folio Edition is "edited against the original vocal scores" (which, for the musical numbers, are a far more dependable source), but where does this leave us?
In Trial By Jury, after the jury is sworn, Original Plays (OP) has a twoline recitative for the Usher that Sullivan never set:
This blind devotion is indeed a crusher!
Pardon the teardrop of the simple Usher!
The next line, for the Counsel, is "Call the Plaintiff!"; the Usher's reply is "Oh, Angelina! Angelina!! Come thou into Court." The Folio edition eliminates the recitative, corrects the Counsel's line to "Where is the Plaintiff? / Let her now be brought," and eliminates the extra "Angelina!" from the Usher's line. This is an example of editing "against the original vocal scores."
Yet, some other errors go uncorrected. For example, the Defendant's second line is given both by Folio and OP as: "Be firm, my moral pecker," even though the "original score" has the morefamiliar, "Be firm, be firm, my pecker."
As another example, in Ruddigore, OP has an extra verse for the ladies in "Welcome, gentry":
Your exceeding
Easy breeding
Just the thing our hearts to pillage
Cheers us, charms us,
Quite disarms us:
Welcome, welcome to our village;
To our village welcome be!
Folio correctly omits this, since it isn't in any vocal score. But, Folio retains an aside for Robin, "Ah, lost one," found in the Act I finale after Despard's "I claim young Robin as my elder brother!" This line doesn't appear in any score, either. For the Act I finale, Folio gives the shortened "Oh, happy the lily," which is certainly reflective of some modern vocal scores, but not the "original" one.
So, rather than a reprinting of Gilbert's Original Plays, this set is more properly regarded as a brand new edition, considerably more accurate than OP, yet unaccountably retaining many of OP's errors. Nonetheless, as there is no edition of the G&S libretti that comes close to authentic, the Folio Edition's attractive presentation gives it the nod over all the competition.
On Savoynet, there has been an ongoing debate over the copyright status of the G&S operas. Everyone agrees that the operas themselves are in the public domain, but some netters believe that particular editions of the operas may still enjoy copyright protection. I note that the Folio Edition specifically claims copyright only for Fredric Woodbridge Wilson's introduction. Folio's editors obviously put many hundreds of hours into this edition, and I assume they would have claimed copyright on the whole thing if they'd believed they were entitled to it.
You can get the Folio Edition of The Complete Savoy Operas from The Morgan Library Book Shop, 29 East 36th Street, New York, New York, 10016, or by calling 18008610001. The price is $109.95 plus $10.95 shipping and handling.
MARC SHEPHERD (mshepherd@mhfl.sbi.com)
MORE NETTINGS: UMGASS's newsletter, GASBAG, tells Us that Savoynet is now an Official Listserver (whatever that means). To join now, you email the message SUBSCRIBE SAVOYNET to listserv@bridgewater.edu, after which you'll get all the Savoy stuff you want. To send messages to the net, email to savoynet@bridgewater.edu. The latest project: "Very soon now, all fourteen of the G&S operettas will be available online for downloading." This is apparently text, not music, and who knows whose version probably not the Folio Edition text but it's certainly nice to know where you can find a line or a scene when you need it! mlc
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President Dick Freedman's longawaited BUXTON DIARY, at length continued (in part yet more next month, including his impressions as they occurred of the prizewinning Hancock County UTOPIA! mlc)
Tuesday, 8/2. After breakfast I saw John Reed in the hotel lobby in conversation, and waited for an opening. I told him that he probably wouldn't remember having been in a show with me, although I would always remember being in a show with him. Then I reminded him of the GONDOLIERS in the summer of '85 at the Berkshire Choral Institute (he was the Duke, I sang in the chorus). He was very friendly, and we chatted for a good twenty minutes before he and his friends had to leave.
The Savoy Company of Philadelphia, with a history dating back to a 1904 letter of encouragement and thanks from Gilbert himself, acquitted themselves proudly with a superb production of THE GRAND DUKE. Not an expert in DUKE, I was unable to tell where they had made cuts, but I felt I saw a seamless production which made the plot clear (despite the adjudicator's hints to the contrary). The words were enunciated extremely well (so important in an unfamiliar show), the chorus numbers effective, and all the principals quite strong. I especially liked the Baroness's delivery of the champagne song. The set was simple, consisting primarily of a backdrop depicting a Bavarian street scene, and the chorus in Bavarian garb (lederhosen?) presented a very attractive opening picture. I was vicariously proud to think that an American group might win the Festival competition.
Wednesday, 8/3. A Master Class was given by Geoffrey Shovelton in the afternoon, for the extremely reasonable rate of five pounds. I sat up front, wearing a NEGASS tshirt, and had the chance for a brief conversation with Mr.. Shovelton while they were setting up. (He had known Warren Colson, and expressed his sorrow at having heard of Warren's demise.) Then he gave advice on staging, attitude, approach, and delivery for four scenes, one or two performers each, and produced remarkable improvement in each of what started out as strong performances. I had only signed up for the Shovelton and Sandford/Morrell Master Classes, but decided to try to get in on the two Reed Master Classes as well.
The evening performance was IOLANTHE. The group that had originally planned to come to the festival and perform IOLANTHE had cancelled, and this group filled in on short notice. Under the circumstances, I will withhold my criticism.
I returned to my hotel to find very pleasant news. The Palace [his hotel mlc], in a very classy move, had decided to set up a meeting room for the videotape showing [of THE FOUNDLING mlc], without charge.
Thursday, 8/4. A disappointing turnout for the showing of THE FOUNDLING only eight. [Dick had brought along a rather fuzzy video of the Finn & Weinberg G&S parody mlc] Most enjoyed it, but had some trouble understanding the words. It did give me a chance to become better acquainted with, and buy a fair amount from, Peter and Pat Gibbons, the couple that represent the Sir Arthur Sullivan Society.
I was prepared, on seeing the set, to write off THE GONDOLIERS, by the almostlocal St. Mary's High School, as a lost cause. The floor consisted of squares in a black and white checkerboard pattern, with a few squiggles on the downstage rows to suggest canals. The sides and back were almost as stark, but with abstract suggestions of other shapes as well, presumably to suggest turrets and columns of palaces. The orchestra pit was occupied by a piano, so placed that the pianist could see the performers and direct them. The girls' chorus entered, attractive in white shifts with simple belts, and the boys chorus, less attractive (but who would expect anything else?) in jeans and baseball caps. Eventually the principals entered, Marco and Giuseppe with skateboards and wearing gondolashaped swim floats around their waists, and Tessa and Gianetta as lowerclass floozies. But the class distinctions, including accents, were carried out well in the dialogue (and not, thank heavens, in the singing!) and some of the staging was quite clever. (The skateboards and gondolas were quickly discarded.) The chorus of fifty rather filled the stage, but Gianetta and Tessa managed to cordon off a huge space in the middle, separating their intended mates from the other available women. Once M&G were blindfolded, though, G&T caught them easily. Marco's "I've at length achieved a capture!", while being crushed in Tessa's embrace, was just as uproarious as KoKo's "Shrink not from me!" in the TitWillow scene.
The rest of the staging was just as clever, while faithful to the meaning of the play. The strange set opened in myriad places, allowing very fast chorus exits. The chorus was the best synchronized in their gestures that I've ever seen, and that includes in the comparison choruses of four. The Spaniards adopted a strange accent, pronouncing every leading "h" like a "ch", but I guess that's no worse than other affectations I've seen. The singing was strong, the acting good. I had the good luck to be seated high up, and enjoyed a good view of the choreography. I ended up joining in the thunderous applause. I judged this show second to THE GRAND DUKE, but very close. [History proved Dick wrong, as we know this show placed second to UTOPIA, with DUKE out of the running! mlc]
The youngsters continued to show their talents in the afterhours cabaret. Quite a number of them took very impressive turns as lead singer (with, in each case, an obviously wellrehearsed chorus of backup singers) in songs from Jesus Christ Superstar, Cabaret, and others.
DICK FREEDMAN
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CALENDAR:
Last Minute Light Opera Co,, the performing wing of NEGASS, announces silent auditions for RUDDIGORE, to be performed at 3 PM on February 12. Call Program Chair Patricia Brewer, or email President Dick Freedman (see number/address on masthead below) for more info, and/or read the article above.
MITG&SP is planning IOLANTHE for the spring. For info call (617) 2530190, or email: savoyardsrequest@mit.edu
The Sudbury Savoyards will perform MIKADO on March 2325. Walt Howe will be the eponymous protagonist, with Bill Kuhlman as NankiPoo, Stephen Hird as KoKo, Dennis O'Brien as PoohBah, Paul Lemieux as PishTush, Mary Whallon, Debra Hanggeli and Christine Larsen as Yum, Pitti & Peep, and Paula Moravek as Katisha. The chorus, as always, remains open to all without audition until January. As everyone knows, Sudbury's thoroughly professional productions donate all proceeds to the relief of world hunger via the United Methodist Church's Committee on Relief. Call Producer John Covert at (508) 2635433 for further info.
Alternate College Theater at College of the Holy Cross in Worcester will present a scholarly production of IOLANTHE, based on research in Broude Brothers' Critical Edition discussed above, January 2629 at 8 PM plus 2829 at 2 PM. Director: Bruce I. Miller; Associate Dir. & Choreographer: Michael Allosso. For tix and info, call (508) 7932430, or email to choir@hcacad.holycross.edu.
The dates for the celebrated Hancock County G&SS's 1995 production of IOLANTHE will be February 3, 4, 5 (matinee only), 10, 11, and 12 (matinee only). The show will be repeated during the third week in July for the summer folk. The venue is the Grand Auditorium, Main Street, Ellsworth, ME. Call 207/3745859 to reserve tickets.
The New York City G&S Sunday Group (which has been singing entire shows in people's living rooms for over 40 years, We believe) is planning a double bill of TRIAL and Offenbach's THE ISLE OF TULIPATAN in January call Jerry March at 5162481265 to be cast in the Offenbach/G&S program.
Montreal West Operatic Soc. will present IOLANTHE April 5 8 at Royal Vale Theatre, 5851 Somerled in NotreDamedeGrace (Montreal). Later performances are planned for Quebec City (4/22) and Knowlton, PQ (5/6). Curtain time for all shows is 8:00 p.m.. For tix & info, call (514) 4887629, write to P.O. Box 1091, Station "B", Montreal, PQ, H3B 3K9, or send email to Shaun G. Lynch (s_lynch@cam.org).
Light Opera Works of Evanston, IL plans PIRATES June 311. The biggest boast on their flyer: The theater in which they perform has been renovated it has 6 new mens' rooms and THIRTEEN new women's rooms! Now, this is worth a trip to IL! Call (708) 8696300 for more info.
John Ambler of the Suncoast Savoyards is always uptodate: He reports that the Second Annual Gilbert & Sullivan Music Festival will be held in Buxton, England from July 30August 11, 1995. Contact ISM, Ltd., The Old Vicarage, Haley Hill, Halifax, England HX3 6DR for more info.
THE NEW ENGLAND GILBERT AND SULLIVAN SOCIETY
PO Box 367, Arlington, MA 021740004
President RICHARD FREEDMAN
(617) 6309525 ~ wk/voice mail: (508) 8804032
email freedman.richard@mail.ndhm.gtegsc.com
Secretary CAROL MAHONEY: (617) 6481720 Membership Officer BILL MAHONEY: (617) 6481720
Acting Treasurer CARL WEGGEL: (508) 4740396 Program Chair PATRICIA BREWER: (617) 3233480 Editor MARION LEEDS CARROLL: (617) 6469115
NEGASS membership dues are $15 and up. Please send membership inquiries to:
Bill Mahoney, 111 Jason Street, Arlington, MA 02174