The Gilbert and Sullivan Newsletter Archive

The Trumpet Bray

NEGASS
New England Gilbert and Sullivan Society
P. O. Box 367, Arlington, MA 02174-0004

"Ye torrents roar! Ye tempests howl!"

Vol. XX, No. 7
March/April, 1996


When the buds are blossoming


On April 14 at 2:00 PM we'll meet at the First Parish Church in Watertown to enjoy EYES AND NO EYES, or The Art of Seeing, presented by former NEGASS president Chuck Berney and his Royal Victorian Opera Co. This is Gilbert's version of The Emperor's New Clothes, in which the two mischievous nieces of a stern older gentleman convince him that the suit he has ordered for his approaching wedding is made of magic cloth, and can only be seen by but we all know the story.

Gilbert wrote this play in 1875, it was set to music by GermanReed, and, sad to say, it closed after only a month. The libretto was reset in 1895 by Florian Pascal, who published his version, but never performed it. We're afraid it has not been made clear to Us which version is to be presented; we'll all just have to go and find out, won't we?

Chuck's direction is always sprightly and fun, and his casting is always excellent, so we can be sure we'll enjoy Candace Zaiden and Carol Mastrodomenico as the nieces Clochette and Colombine, Erik Steigen and Gerhard Teggeder II as their suitors Pierrot and Arlequin, Stuart Rubinow as Cassandre, the uncle, and Joanne Messier as his fiancee, Nicolette. Music direction and accompaniment will be by Wayne Ward. Dame Rumour whispers that two benefit performances will be held in Watertown, on April 26 and May 4, so if you miss the meeting you can still see the show or you can make it to the meeting, and see it twice!



HOW TO GET THERE: First Parish Church is located near Watertown Square, the intersection of Mt. Auburn, Galen, Arsenal and Main St. (Rt. 20) in Watertown. From the Square take Main St. one block west to Church St. (at the traffic light), then travel north one block on Church. You'll find the church on a hill overlooking a parking lot (yes you can part there on a Sunday!) adjacent to the Registry of Motor Vehicles. Public transportation IS available: take the #71 bus from Harvard Square to Watertown Square the church is within easy walking distance.
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LMLO GONDOLIERS. At 2 PM on Sunday, February 25, a large group gathered in charming Eliot Hall, a renovated theater in Jamaica Plain, to enjoy the Last Minute Light Opera Company (as former Program Chair Patricia Brewer likes to call what used to be known as DoYourOwn Opera) in a production of GONDOLIERS. With the excellent Eric Schwartz at the piano, we were introduced to a crowd of contadine dancing and singing, as Patricia's program noted, in "A hotel suite near the Piazetta, Venice." In other words, we performed on the set of the show which was in rehearsal in the theater that weekend! Fitting both the plot of the opera and the lastminute quality of the production, it was uncertain up until the opening measures who was to play which role. As we sang, Sally Powers emerged as Fiametta, Nancy and Rebecca Burstein became Vittoria and Giulia, Debra Hangelli bloomed as Tessa, and Marion Leeds Carroll was discovered to be Gianetta. The gondolieri, including Francesco (Marc Woodruff) and Georgio (Rick Powers) arrived next, along with a graceful, buxom and redhaired Antonio (yes, it was Patricia herself!). These were quickly thrust into the shade by the arrival of Giuseppe (Steve Levine) and Marco (Lee Patterson, star of the stellar Hancock County G&S Society welcome wand'rer from a mighty State!).

After a quick game of "My Papa, he keeps three horses", the engaged couples wove past the furniture into the wings in company with the rest of the Italians, making way for a shipload of Spaniards: Peter Cameron as the Duke of PlazaToro, with suite: his Duchess (Betsy Webb), his daughter Casilda (Randi Kestin), and his drummer, Luiz (Donald Carr). They were joined by Colin Edwards as Don Alhambra, who then broke the news of their imminent royalty to the recently married Gondoliers. After tearful goodbyes, we went downstairs to a spacious meetingroom, where we were greeted by genuine North End Italian Pastries provided by Carol Mahoney, and then returned to draw for the door prize (an oversized, G&Sdecorated umbrella, won by Betsy Webb) and Act II.

According to the program, Act II took place in "A hotel suite near the pavilion in the Palace of Barataria" (which looked remarkably like the hotel suite in Venice!). There we met Annibale, played by Robert B. Casey, who kindly arranged for Marco and Giuseppe to have double rations for tea. Everyone else arrived in due course, except that the Duchess, no doubt as a result of her recent access of unaccustomed pocketmoney, had grown much younger. In fact, she appeared young enough to be her own daughter! A quick examination of the program revealed that Betsy had in fact been replaced by Jen Webb for Act II.

There were no further surprises for those of us who knew the plot, until the arrival of Inez. Inez, in spite of her long black hair and flowing dress, was quite as manly as Antonio had been feminine. When the wig finally slipped, we discovered Bob Casey in his second role of the day. This was actually a casting coup Inez worked quite as well as a male part as, for instance, Hebe had in the Harvard production of PINAFORE several years ago. This ought to be explored by future directors!

This was a very enjoyable gathering, in a very pleasant space. There was some worry among the organizers that NEGASSers would not want to travel as far as Jamaica Plain for this meeting, but I believe this was the bestattended meeting we've had in a long time. Perhaps more meetings should be planned for Eliot Hall. As an alternative, perhaps Patricia should be begged to return as Program Chair! PRUDENCE, WHO DICTATES

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BrayStuffing: We have no real news concerning this or the last BrayStuffing. These gatherings have, alas, degenerated into Board Meetings, since it is usually Members of the Board who attend. Come next month and get us back on track let's read a play!




Tentative 199596 Meeting Schedule:

5/5 Sudbury Retrospective (PRINCESS IDA)
6/9 Election/Business meeting AND G&S
Collecting (Hosted by J. Donald Smith at the
Newton library)


~ NEXT BRAY COPY DEADLINE: April 14 ~

Next BrayStuffing: On Sunday, April 21 at 3 PM we'll meet at 13 Cottage Ave., Arlington, MA to fold & stuff the Bray and, if we can avoid another Board Meeting, to read through a Gilbert play perhaps Sweethearts, finally. If you're planning to come, please call Us at (617) 6469115 within a week of the stuffing, as this may be a bringyourownchair function: We're moving again!!!
mlc
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Welcome, Welcome, Welcome We new members Peter and Joyce Carroll Grace of Boston, Bill Hoermann of Mendon, Dr. Andre Moul Ross of Stone Ridge, NY, and Tom Weber of Lexington and Welcome to Our Hearts Again to Jim D'Attilio, stage director for the upcoming FRCPA PIRATES (see Calendar for details). Tom was King Hildebrand in the recent Sudbury Savoyards IDA. We know nothing more concerning Andre, but Peter and Joyce cleverly set up their membership through a billpaying service, and Bill asks "that I may be enrolled in the ranks of Bucks And Blades. It is my fondest wish." Your wish is our command, Bill! Hearty Greetings Offer We!

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I'll read it all in rays that fall on the lagoon: Phil and Carlena Young send greetings from Santa Clara, CA, where they moved "to be pampered by our fosterdaughter." They miss NEGASS, and ask specifically if anyone has news of a similar organization in their neighborhood something "active but not buried in a metropolis."
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NOW, WOULDN'T YOU LIKE TO RULE THE ROAST? President Dick, looking ahead, reminds us all that it's not too soon to start thinking about the Election Meeting in June! There are several offices for which the incumbents, though willing to accept a draft, would be quite happy to step down if another showed interest in taking on the functions of the office. It's none too early to speak about your interests and availability to the president or to one of the other officers (see the list on the masthead). You might think yourself insufficiently capable or experienced, but you might discover on inquiry that the incumbent is not all that capable or experienced I mean, that another position might be perfectly appropriate to your capability and experience. But the best way to find out is to discuss the possibility with one of us. Don't feel, just because you're satisfied with the job that's being done at present, that you've nothing to offer, or that you don't want to risk offending. You can never offend by offering to help, and just because our offices are never contested well, hardly ever doesn't mean a contest, if it should come to that, would cause hard feelings. But lightening a load that someone has been finding more and more a burden is certain to cause grateful feelings. So speak up, and volunteer. DICK FREEDMAN

The offices available for a new twoyear term this year are the Vice President, Secretary, and three Members at Large, as well as the Program Chair, who is up for reelection annually. (And of course, although the position of Bray Editor is not an elected office, it is always available to anyone who's longing to try it!) It has been suggested that one of the Members at Large might like to create the role of Company Promoter, or Publicist, handling such matters as the placement of ads in local playbills and of notices of meetings in local papers. Anyone interested? Let one of us know! mlc

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RESONATING RIDDLE: Lee Patterson, who traveled all the way from Maine to play Marco in the LMLO GONDOLIERS, handed Us a card containing a riddle of which, We confess, We can make neither head nor tail. It runs somewhat thus:

Perfidious Paladin Plazatoro Possesses & Pickles Puccinian Panjandrum.

We know what "pickles" means. We know who "Puccini" was. In fact, We understand most of the words without even having to look them up. But can anyone tell Us what it means?

Lee, from whose Buxton diary We quoted last month, has agreed to make the rest of said diary available to any who ask. To ask, write to him at P.O. Box 200, Mt. Desert, ME 04660.
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PRINCESS IDA seems to be emerging as the show for 1996. The Sudbury Savoyards have just finished their performances; HarvardRadcliffe G&S will perform their version in April, and Oberlin, having presented their fascinating 3 Princesses Project earlier this year (see the 2/96 Bray for details), will repeat it for the Philadelphia leg of the International G&S Festival. SavoyNet has been busy with an inquiry into a key point in this controversial opera: the pronunciation of the name Mistress Lalage, spoken by Cyril at luncheon, just before his kissing song. Several clues have emerged:

I noted Ron Orenstein's recent posting that there was a beautiful woman named "Lalage" beloved of Horace.

Given that information, and knowing Gilbert was grounded in the Classics, I think it reasonable to suppose that "Lalage" ought to get a Latin rather than a French pronunciation.

My question is: How would a Gilbertera Victorian have been taught to pronounce his Latin? Would he indeed, as Ron surmises, have been taught "lalagay" that is, hard "g," and last syllable rhyming with "play"? And where would the stress be placed perhaps "LAlagay," with emphasis on the first syllable?

(I'm told that Classical Latin relies on "quantity" rather than stress, but I suspect that English schoolboys, and the theater audience into which they grew, would have stressed one syllable or the other.) WILLIAM S. KELLY

To which MEREDITH DIXON replied:

In Kipling's poem "Rimini", the accent is obviously on the first syllable:

"And I've tramped Britain and I've tramped Gaul
And the Pontic shore where the snowflakes fall
As white as the neck of Lalage,
As cold as the heart of Lalage....

But whether the Eagles obey us,
Or we go to the Ravens alone,
I'd sooner be Lalage's lover
Than sit on an Emperor's throne!"

And WILL LINDEN caps the discussion:

I note that in HeathStubbs' Artorius, we find the Chorus of Frogs croaking:
Lalage, O Lalage,
Our love is like an allergy.

So How would you pronounce it? mlc

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Buxton/Philadelphia:

We printed the full schedule for the Philadelphia leg (July 2028) of this year's International G&S Festival last month. With your forbearance, We will skip a month before printing the schedule of the Buxton leg, which will take place in August. But here's another taste of Don Smith's diary from last year at Buxton:

Wednesday, 2 August

For me the biggest disappointment of the Festival was the performance of Sullivan and Burnand's THE CHIEFTAIN by the Dagger Lane Operatic Society of Hull. This is by far the weakest of Sullivan's nonGilbert works and the rewrite of the libretto by David Eden did not really make any difference. It is still thirdrate Burnand. (I know that sentence is redundant there is no first or secondrate Burnand. His one theatrical 'success' Cox and Box was taken so much from John Madison Morton's play "Box and Cox" that when Burnand and Sullivan 'went commercial' with "Cox and Box," they had to pay Morton onethird of the royalties. But I digress.) The real problem with the work is not the libretto but the songs. Burnand, as an editor, quipster and raconteur, simply had no feel for the kind of rhythmic and melodic line which so characterizes Gilbert's work. Many of the songs start strongly, then fall flat because a couplet or quatrain is rhythmically incomplete. What one misses in this work is the detailed work for chorus, including the double choruses, which characterizes the best of Sullivan. Burnand never gave him the opportunity.

A great company might have been able to make more of the work but this was not the group to do so. Whatever their individual limitations, their efforts were undercut by stage direction which did not make as much of the strengths as could have been done. Two examples will suffice. Simply because the play takes place in Spain and features a group of Spanish brigands, the use of fake Spanish accents absolutely killed most chances for making an unfamiliar work comprehensible. Secondly, while there were twice as many women as men instead of emphasizing the bit of dialog where it is explained that many brigands have more than one wife, it was glossed over.

Some of the music was familiar, as anyone acquainted with Sullivan's habit of borrowing from himself might have expected. "Let All Your Doubt Take Wing" from his previous opera UTOPIA reappears here as "Tis Very Hard to Choose," while another bit from CHIEFTAIN reappears in the subsequent opera THE GRAND DUKE as "Your Highness There's a Party at the Door."

While it is very worthwhile to include unfamiliar works in the festival, a more judicious screening beforehand would have alleviated this particular problem. Ultimately, this is probably not a group which could do any G&S very well at this level of competition. One solution to unfamiliar works is to do what was done during the original performances of the Gilbert and Sullivan and later Savoy operas: leave the lights up and sell libretti so that the audience can follow the works as if presented for the first time (which in a sense, they are).

Thursday, 3 August

Today brought David Turner, the Festival Adjudicator, for Morning Coffee and an afternoon talk entitled "Speaking Personally." He is an amusing raconteur, full of theatrical anecdotes. He spoke about his own background, how he became an adjudicator and how he became (and still is) the producer of The Mousetrap. The questions on everyone's minds seemed to relate to professionals in an amateur festival. He indicated the he was very much in favor of amateur companies being able to work, at least occasionally, with professional directors, as did four of the companies in this year's festival. Obviously, the question of professionals performing with an amateur company in a competitive festival went unanswered.

This evening's production was the first PIRATES, presented by the Manx G&S Society, Douglas, Isle of Man, of which John Reed was the Producer. The opening scene included what now seems to be established practice: singing "Happy Birthday" to Frederic. Unfortunately, it occurred after the first chorus and before Samuel's solo, breaking up the rhythm of the piece. A unique interpolation occurred when the Major General, stuck for the rhyme for 'strategy' exclaimed "Oh, God" and was answered! He and God, who sounded like Mel Brooks, then had a dialog leading to "satagee." Properly quaint and amusing and different. The company took advantage of the shortage of men . . . by introducing into the Policemen's chorus the first two WPCs (Women Police Constables) that I have seen. Unfortunately they couldn't sing in tune. Overall, an enjoyable performance led by the awardwinning performance (Best Character Actor) of John Craige as MajorGeneral Stanley. DON SMITH

Don continues: I have (been) volunteered to COLLECT names of NEGASSers who are planning to attend the G&S Festival (either in Philadelphia or Buxton or both). Once we see how many are attending, the Board will decide what kind of transportation arrangements to make (if any). Individuals are responsible for making their OWN hotel and tickets arrangements (see addresses below). Phone (5088235110) or email (dsmith@umassd .edu) to JDS giving names, numbers in party and planned dates of attendance. J. Don Smith

For ticket and hotel information, Email the Festival Organizers at 100665.3250@compuserve.com , or reach them via:
Ian Smith, The Old Vicarage, Haley Hill, Halifax , HX3 6DR England. fax Int +44 1422 355604 or phone Int + 44 1422 539161

Or: The Lamplighters has agreed to mail, (within the US), festival newsletters, order forms, etc... A very large shipment of these items arrived at my office today. If you would like any of this info mailed to you directly from San Francisco, please let me know...I'll mail out that day..... JOHN ALECCA
[Reach John at <lampliters@aol.com>, or fax (415) 2270332 but he requests NO CALLS TO THE OFFICE, so don't try to find out his phone number!

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JENNY, WHERE ARE YOU? We received the following email message from Jenny <milnes@nwu.edu>, but Our reply to her bounced. Does anyone know her, or know anything about FCSOW? mlc

I just wanted to tell you how excited I was about the dedication your group shows towards G & S. As a fellow Savoyard, I am always glad to see other people who enjoy it as much as I do. Though this message is coming from Northwestern in Illinois, I am a fulltime resident of Connecticut and wanted to inform you of a small group there. It's called the Fairfield County Student Operetta Workshop (FCSOW to the loyal members). They are a group made up of high school and college students who perform every summer in late July. This summer in 1996 will be their 17th production. It is because of this group that I became a G&S fan. As a voice student and hopeful opera singer, this group also gave me invaluable training that wouldn't have been possible doing the average "teen theatre" productions that are so common in the summer. I am writing you this quick note to inform you of this little gem that's tucked in southwestern CT, to make people aware that G&S is being introduced to a new generation of performers who love and respect their every line of verse and measure of song. If you would like more information about this group write me back. I can get you the address of the group and its president.
Thank You JENNY




We've missed Winnepeg G&SS's lateMarch RUDDIGORE but they have a funding idea We won't let pass: They ask contributors to "sponsor" a character either a lead or chorister in each production. In return for their contributions, the sponsors are invited to attend the Dress Rehearsal, where they are introduced to the cast. Nice thought Do other groups have similar programs?
mlc




PATIENCE Review leads to Controversy: A NEGASSER We'll call Major Murgatroyd wrote in early March, objecting to Our treatment of President Dick Freedman's review of the Longy PATIENCE in the last Bray. MM seems to feel that We embarrass Dick, and other contributors, by criticizing them publicly. Specifically, "You interrupt reviews in order to correct, question, or ridicule the writers." In response to this charge, here is something approaching an explanation of Our Editorial Policy:

Unless specifically requested to print a piece as offered, We edit each contribution for length, grammar and spelling. We often edit a piece to improve the impression given by an unskillful writer, usually by the specific request of the writer. Having done so, if We happen to have personal knowledge unavailable to the writer, We add it in italics, in square brackets, for the enjoyment and delectation of Our fellow NEGASSers. [Special note to MM: We avoid commenting on subjects upon which We do not have personal knowledge or expertise. We often do comment on Our own ignorance, and request clarification when We are at a loss, or when We find Ourself in the wrong.] We have been thanked and praised frequently for these editorial comments, and complimented for the style in which they are expressed.

Perhaps it would be more polite to discuss these editorial comments with Our contributors before printing an article. However, We are a mere unpaid drudge, fitting this task in between many other tasks in Our life, and We don't have a lot of time to track down Our contributors to hash out editorial improvements. Consequently, We tend to treat articles not like contributions to scholarly journals, which must be rigorously verified but rather like Letters to the Editor of a standard newspaper, which are edited as We described, then printed with editorial comments, also as described. We are sorry that We can't find the time for more scholarly editorial behaviour but We can't.

We continue to welcome nay, plead for articles and reviews. As a Director Ourself, We prefer not to risk the appearance of conflict of interest by acting as Reviewer for this newsletter but We would certainly not want to do without reviews! So please send Us articles, with the understanding that, unless you specifically request otherwise, they will be edited and commented upon. mlc

Speaking of Reviews: We've been promised a glowing review of the Sudbury IDA, singling out, among others, the outstanding performances of NEGASSer Ellen Spear as Ida and new NEGASSer Tom Weber as Hildebrand likewise a review of Thomas Lawlor's recent concert but neither has yet arrived, alas. Next month, We hope.
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Dave Jedlinsky gleaned the following from SavoyNet, and sent it to MITG&SP's online discussion group, whence We snatched it:

<Was Gilbert the first (and possibly, the only) stage director to use 2" and 3" blocks as standins (or dummies) for his characters when designing his staging?>

Possibly. Modern directors of amateur G&S societies often use a similar technique, utilizing 5' and 6' blocks of wood known as "chorus" to design their staging...

(I'm now off for a week to avoid all those howls of protest from chorus actors out there :))

Richard Blight (rblight@fs2.ge.man.ac.uk), Secretary of Manchester University G&S


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We frequently steal from SavoyNet but it has come to Our attention that some NEGASSers don't know what We're stealing from! To quote its introductory email message, "SavoyNet is a public, unmoderated mailing list for discussion of Gilbert and/or Sullivan and related matters." Savoynet was founded by Bill Venman of Vally Light Opera, but is maintained by Ralph MacPhail of Bridgewater, VA.

Ralph instructs Us:

To subscribe to SavoyNet, send this message (without a "Subject:" line):
subscribe savoynet <Your Full Name>
For instance:
subscribe savoynet Josephine Corcoran
to this address:
listserv@bridgewater.edu
and instructions will be forthcoming.


President Dick tells Us that SavoyNet has been discussing SORCERER. We're not quite sure who perpetrated this one it may have been Dick himself: I've come to the conclusion that SORCERER would get far more respect if, like all of the other fulllength G&S operas, it had a subtitle. Wouldn't more people be attracted to a showed billed as, say:

T H E S O R C E R E R
or
Four Weddings and a Funeral
To which Mark Kenig added:

T H E S O R C E R E R
or
All's Well That Ends Wells

Ronald I. Orenstein continued with subtitles:

or, Wells Farrago
or, Scenes from the Class Struggle in Ploverleigh
or, One Touch of Teaness
or, Exorcist IV: The Prequel

OR, of course, given the source of the potion, we could retitle the whole opera as The CupandSorcerer.

Another, expressing fondness for Deborah Kerr, suggested the subtitle: Tea and Sorcery.

DICK FREEDMAN

And Randi Kestin sent Us the following additions:

THE SORCERER or Don't DillyDaly On The Way

THE SORCERER or No Hex Please, We're British

THE SORCERER or JWW's This Time It's Really Personal

or (for those who don't like the show)

THE SORCERER or We're Doing Yeomen Next Year, We Promise

or (for those who love it)

THE SORCERER or A Wizard Show

or (for Queen/Freddie Mercury fans)

THE SORCERER or It's A Kinda Magic

or (if you're a lover of old hitech junk)

THE SORCERER or Speak And Spell

Mike Nash. (mike@convent.demon.co.uk)

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HOLD! There are other discussion groups on the 'Net! In fact, We know one of them: MITG&SP's private cast discussion group. The cast of the upcoming UTOPIA recently spend a week collecting phrases which follow the word "Hold" in G&S, and trying to match them to their appropriate opera. Can you name that show?

Hold, pretty one!
Hold! Stay your hand!
Hold! Stay your hands!
Hold, monsters!
Hold! Be just!
Hold! Pretty daughter of mine
Hold we are prepared for this!
And, of course:
Hold! If Iolanthe must die (well, that was easy!)


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CALENDAR:

UMGASS (U Michigan G&S Soc.) plans IOLANTHE 4/1114. In Michigan, call 7617855 for more info.

The HarvardRadcliffe Gilbert & Sullivan Players' production of IDA will be performed on 4/1113 & 1820 at 8 PM, and on 4/13, 14 & 20 at 2 PM. IDA is being directed by Joel Derfner, with music direction by Bradford Chase, and produced by Ezra Reese and Erica Silverstein. We're told to expect "an informed revisioning of Ida as less of a fanatic and more of a misunderstood visionary..." [We only know of one interpreter Gayden Wren, quoted last month who thinks of Ida as a fanatic but thus traditions grow! mlc] "...it will be an unconventional production, but an intelligent one that sticks close to the joy and energy of the show." Opening night will be HRG&S's traditional Black Tie performance followed by reception; closing night will be their traditional Hack Night; and (happy thought!) the 4/13 2 PM show will be a Children's Matinee, with milk and cookies, and a chance to tour the stage and meet the performers. For more info, call HRG&SP at (617) 496HRGS (4747).

MITG&SP's UTOPIA LTD will be presented on 4/12, 13, 18, 19 & 20 at 8 PM, and 4/14 at 2 PM, with Music Direction by Jay Lane and Stage Direction by Joe Sweeney. For more information please call (617) 2530190. Or send email to savoyardsrequest@mit.edu or check out their World Wide Web page: http://www.mit.edu:8001/activities/gsp/home.html

Boston College plans PIRATES for 4/2327 at 8 PM, and 4/28 at 2 PM at the handicappedaccessible Robsham Theater Arts Center on the Green Line. Director: BC Professor Howard Enoch. Tickets are $7$8, with $3 discounts for seniors & students. For information and tickets, call (617)5524800 between noon and 6 PM.

The First Parish Church, at the corner of Rt. 123 and River St. in Norwell, MA, plans an audience participation PIRATES on Saturday, 4/27 at 7:30 PM. Music Director Eric Light will introduce the music to the audience at the start of the concert, and then soloists will get up to perform a semistaged, costumed concert, while the audience sings the chorus parts. The $10 ticket price includes refreshments. Call (617) 6596122 for more info.

Bill Kelly writes: The New York Gilbert & Sullivan Players will be on tour, presenting PINAFORE in two performances May 11 at 2 and 8 PM at the Shubert Performing Arts Center, 247 College Street, New Haven, CT. Tickets are available for both performances in the following price ranges: $27 orchestra or mezzanine; $20 first rows of second balcony; $12 later rows of second balcony. The box office number is 203 562 5666; it is open 105 weekdays and 113 weekends.

OSLO (Ocean State Light Opera) plans a busy summer. June 7 & 8 at 8:00 PM, and 8 & 9 at 2:00, catch their PINAFORE on board the schooner Coronet at Bowen's Wharf, Newport, RI call (401) 8492120 for tix & info. Or wait for their IOLANTHE on 7/3, 5, 6, 1113 at 8 PM, and 7/6, 7, 13 & 14 at 2 PM; or their Midsummer Cabaret on 8/3 at 8 PM, or their SORCERER on 8/2224 & 2931 at 8 PM, and 8/24, 25, 31, & 9/1 at 2 PM all at the Wheeler School Theater in Providence, RI. Call (401) 3316060 for more information about the Wheeler School performances.

Beavertail Productions, the new company founded by former D'Oyly Carte baritone Thomas Lawlor, is planning a repeat of Gilbert and Sullivan, A Life, the original work by Mr. Lawlor which was presented in early March in East Greenwich, RI. You can catch it at Sayles Hall, Brown University on April 13 & 14 at 2:30 & 8 PM on both days. Call Mr. Lawlor at (401) 3311402 for more info.

Irv Hodgkin writes: The A la Carte group of the Gilbert and Sullivan Society of Hancock County (GSSHC) will be giving a concert presentation of THE GRAND DUKE on Sunday, June 2nd @ 2 PM, at The Grand Auditorium in Ellsworth, Maine. The performance will include all the music from the opera and a brief narration tying the numbers together. This presentation will be given to celebrate the 100th anniversary of this, the last of the G&S operas.

To find The Grand Auditorium:

From the south, follow Rt. 95 to Augusta, Rt. 3 to Belfast, then 38 miles on Rt. 1 & 3 to Ellsworth. Follow this route into downtown Ellsworth, which is Main Street. The Grand Auditorium is located on Main St., on the right, two blocks after the first traffic light. A marquee with GRAND distinguishes the theater.

From the north, follow Rt. 95 to Bangor, then Rt. 395 around Bangor and Brewer to Rt 1A and follow this for 24 miles to Ellsworth. Take a right at the first RED light (not the yellow blinker) onto Main Street and follow for one block to The Grand marquee on the left.

For further information, contact either Irv Hodgkin at 2076677235 (email: IHodgkin@aol.com) or Lee Patterson at 2072444044. Tickets may be purchased at the door or ordered in advance by calling The Grand Auditorium at 2076679500.

FRTPA (Foxboro Regional Theater for the Performing Arts) will perform PIRATES, directed by James D'Attilio, with music direction by David Larrick, on June 7, 8, 9, 14 & 15. Call (508) 6982787 for more info.

News from Savoynet: The OHIO LIGHT OPERA are planning a production of THESPIS with a musical score composed by Quaid Winter, paired with Sullivan and Burnand's COX & BOX. Performance dates: July 16, 20, 24, and 27; Aug. 2, 4, and 8. The group also plans SORCERER June 27 Aug 6 and GONDOLIERS July 5 Aug 10. For info call (216) 2632345.

NEGASS is affiliated with The Gilbert & Sullivan Society, based in London. If NEGASS members plan to visit England and would like to attend a G&SS meeting, they can contact Sue Cross, 8 Seafield Road, Arnos Grove, London N11 2AS for details concerning upcoming meetings, which are planned this season for 4/17, 5/30, and 6/19.

NEGASS's sister society in NYC is, of course, NYGASS. It holds meetings at CAMI call, 165 West 57th Street in Manhattan, starting with a social gettogether at 7:30, going on to the formal meeting at 8:00, and ending with another informal gettogether at a local coffee shop. Their meeting dates for the rest of the year: Tuesday, 4/16; Friday, 5/17; and Saturday, 6/22. Drop by if you're in town!

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NEGASS now has its own Web Page, thanks to President Dick and Jim Farron of Springfield, VA, who administers The G&S Archive Web Server. Our URL (Universal Resource Locator, i.e. address) is:

http://www.negass.org

The G&S Archive Web Server's address is:

http://diamond.idbsu.edu/GaS/GaS.html



THE NEW ENGLAND GILBERT AND SULLIVAN SOCIETY
PO Box 367, Arlington, MA 021740004

President RICHARD FREEDMAN
(617) 6309525 email: rnf@gis.net
Vice President PATRICIA BREWER: (617) 3233480
Secretary CAROL MAHONEY: (617) 6481720 Treasurer CARL WEGGEL: (508) 4740396 Program Chair SHELDON HOCHMAN: (508) 8427617
Members at Large:
Membership Officer BILL MAHONEY: (617) 6481720
J. DONALD SMITH:
(508) 8235110; email: DSMITH@UMASSD.EDU
PETER CAMERON: (508) 9750405
JANICE DALLAS: (617) 2757412
The Trumpet Bray Editor MARION LEEDS CARROLL:
(617) 6469115; email: mlcar@ibm.net

NEGASS membership dues are $15 and up. Please send membership inquiries to Bill Mahoney at NEGASS, PO. Box 367, Arlington, MA 021740004

Page created 28 Nov 1996