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. 9
June 1996



JUNE DEDICATION/ COLLECTION/ TRIAL/ ELECTION MEETING AT THE NEWTON FREE LIBRARY. On Sunday, June 9 at 2 PM we'll meet at the Newton Free Library for a multipurpose afternoon.

We'll start with a short ceremony in which the Warren Colson Memorial Collection of Gilbert and SullivanRelated Materials, located in the library, will be formally dedicated. Material already in the collection will be on exhibit. Ruth Colson will be present, and Chuck Berney and John Howard will speak.

AND THEN WE'LL ENJOY Collecting Gilbert and Sullivan Memorabilia: An introduction to the delights and frustrations of collecting items related to Gilbert and Sullivan and their operas. J. Donald Smith will present a brief lecture illustrated by slides showing examples from his collection of paper, porcelain and paraphernalia and other assorted media, particularly focusing on items from the PINAFORE and MIKADO crazes in America. He may reveal all of his helpful hints (and even the sources from which he gets them).

AND THEN THE TRIAL: Then we'll sing through TRIAL BY JURY. Yes, we will. If you'd like to



HOW TO GET THERE: The Newton Free Library is located at 330 Homer Street, Newton Centre, across from City Hall. (There's a nice big parking lot belonging to the library.) From Rt. 128, take Rt. 30 (Commonwealth Ave.) to the central Newton intersection of Commonwealth Ave., Lowell St., North St., and Homer, which angles off Commonwealth to the right. The library is about 2 blocks down Homer, on your right. >From Boston, take Commonwealth Avenue west into Newton. Make a leftonto Walnut Street, a right onto Homer, and you'll find the library about a block away, on your left.

volunteer for a lead in this very short work, call Dick Freedman at (617) 6309525, or email him at rnf@ctcne.com and he'll plug you into a part. (We understand that Don Smith has already requested the role of Edwin in Act II.) Or else just show up with your score, and join the chorus. We expect to see a number of Newton Library regulars among the crowd, and we certainly hope they'll do their share of singing!

FINALLY, we'll polish off some batches of political er that is, we'll refresh our Board by electing a new Program Chair, Vice President, Secretary, and three new MembersAtLarge. Since our current VP, Patricia Brewer and our current Secretary, Carol Mahoney, as well as the three current MembersAtLarge in question, all seem willing to remain in their offices, and since no one has stepped forward with an offer to unseat any of them, We expect that this portion of the meeting will be very brief.

We are in suspense over only one office: PROGRAM CHAIR. We really don't need someone who has new, creative ideas on new types of programs, or someone who can invent and run a program him/herself. As it happens, the current Board has a great set of potential meetings lined up for next year, including a concert/lecture on the influence of G&S on American popular composers of the 20th century (e.g. George Gershwin and E.Y. Harburg); and a joint meeting with the Massachusetts Organ Society, in which works by Sullivan would be played; in addition to the usual LMLO and Fantasy meetings, the usual Sudbury Savoyards retrospective in the spring, and possible performances by groups like Chuck Berney's Royal Victorian Opera Co. and/or Juliet Cunningham's Janus Opera. So we have the programs mostly planned. We just need someone willing to coordinate programs that other people are arranging to make sure that the meeting space is available at the right time, and that we have an accompanist if we need one, and that someone is bringing refreshments and that the Bray editor has all the facts in time to put them into the appropriate issue of the Bray. The current Board members are flatout busy, and can't do it all themselves.

So please: If you're capable of picking up a phone and calling a secretary to ask about available times at a possible meeting space, pick up your phone and call a member of the current board (see the Masthead on the last page) to volunteer for the position of Program Chair.

The meeting will end before 5 (when the library closes) and you'll note, no refreshments have been mentioned. That's because the folks at the Newton Library anticipate such a large turnout of their own regulars that they feel there won't be room to serve refreshments. However, We understand that there are some pleasant restaurants, as well as a cool ice cream parlor, not far from the library. If you'd like to get together for dinner or a snack after the meeting, give President Dick a call at (617) 6309525, or email him at rnf@ctcne.com, and he'll coordinate.

MAY MEETING: SUDBURY RETROSPECTIVE. On Sunday, May 5, about 25 hardy members of NEGASS and the Sudbury Savoyards braved what seemed like the first very nice Sunday in a very long while to meet indoors at the Sudbury United Methodist Church for a retrospective of the Sudbury Savoyards' recent, successful production of PRINCESS IDA. As it happened, the afternoon became not so much a Sudbury Retrospective as a combination of the Sudbury Savoyards plus the LastMinute Light Opera Company, which filled in many of the roles which were uncovered in a very abbreviated version.

Sudbury President Larry Seiler performed Hilarion and Cyril in addition to his own original role, Florian (not simultaneously), while Ellen Spear was again spectacular as Princess Ida. NEGASSer Sheldon Hochman covered King Gama (his hero, Sheldon says), while Dick Freedman filled in for the missing King Hildebrand. Amy Allen performed her own role of Melissa, while Debra Hangelli covered Lady Blanche. The three hulking brothers were performed in the first act by Dick Freedman, Sheldon Hochman and Peter Cameron and in the second act, as trouser roles, by Debra Hangelli, Amy Allen and Zo Daniel. Everyone not doing a solo made up the chorus.

The absence of so many of the Sudbury soloists, while understandable, together with the fact that all of the NEGASSers present had attended one of the regular performances, suggests that this particular event may have outlived its usefulness in the NEGASS Calendar of Events. J. DONALD SMITH

Do the readers of the Bray want to respond to that suggestion? As it happens, the annual Retrospective for NEGASS is written into the Sudbury constitution, and would have to be formally removed if we chose not to continue the tradition. Most years, Sudbury folks enjoy this opportunity to get together again after the show ends, and the meeting has been valuable to NEGASS in years when not a lot else has been going on. This year, an awkward correspondence of conflicts and lack of information spoiled the Sudbury reunion but the meeting was certainly fun for those who got an unexpected chance to sing! Perhaps future "Retrospectives" should be billed instead as "Sing Along with the Sudbury Savoyards!" mlc.

199697 Meeting Schedule:

8/25 OSLO SORCERER/ Annual Picnic Meeting in Rhode Island

(More meetings will be announced in the next Bray)

~ NEXT BRAY COPY DEADLINE: July 28~

Next BrayStuffing: On Sunday, August 4 at 3 PM we'll meet at Our New Home: 111 Fairmont Street, Arlington, MA, to fold & stuff the Bray. We'll also get to enjoy a treat: Fred Hughes has promised to arrive with his boom box and a recording of The Chieftain to play for the assembled multitudes. This should make the stuffing go fast! Call Us at (617) 6469115 for directions. mlc

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Welcome, Welcome, Welcome We new members Barbara J. Mraz of Chelsea, Vermont, and Howard E. Norris and Tom Weber, both of Lexington, MA. Barbara and Howard describe themselves as Enthusiastic Audience and Tom doesn't have to describe himself: Anyone who saw him as King Hildebrand in Sudbury's IDA knows that he's a Very Fine Singer and Actor! Hearty Greetings Offer We!

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Sing Hey! LackaDay! Former D'Oyly Carte star bassbaritone Donald Adams died on April 8, at the age of 67. He was born in Bristol on December 20, 1928. A detailed obituary and career description was published in The London Times of April 16 1996. J. DONALD SMITH

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DONATIONS TO THE COLSON MEMORIAL ARCHIVE We published a note last month that read, in part: A number of donations of books and scores have already been received and will be on display for the occasion [i.e., the dedication}. The Library can accept books, scores, longplaying records and compact discs but is unable accommodate 78 rpm records, programs, newsletters or other items of ephemera. Donations may be made at any time and can be sent to: Newton Free Library, 330 Homer Street, Newton Centre, MA 02159; attn: Ms. K. GlickWeil, Library Director. For tax purposes your donation should be accompanied by a letter itemizing your contributions. Please indicate if any item should be part of a noncirculating reference collection rather than being available for circulation. NOTE THIS CHANGE! The following note from the Newton Library was received recently by President Dick: Regarding the Gilbert and Sullivan Collection, please don't bring us any more long playing records, as we no longer maintain a record collection. Please also let people know that we cannot take items that are extensively underlined or have notes written on them. Kathy GlickWeil.

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Judith Chasin has just sent Us a page from what looks like an Emerson College newsletter, Inside Emerson. It describes at length the recent donation of a large collection of G&S memorabilia to the Emerson College Archives by author and former teacher Sigmund A. Lavine. The article runs, in part: "The donated material includes nine 'grangerized' volumes of Gilbert and Sullivan memorabilia; approximately 100 books; more than 200 photographs; and countless posters, programs, press releases, librettos, scores, sheet music, trading cards, and newspaper and magazine clippings. ('Grangerize' means to illustrate with drawings, prints or engravings taken from other books.) The collection includes not only items from and about actual performances, but also material related to the impact that Gilbert and Sullivan and their works had on society."

Judith asks, "Would this be a better place for Warren Colson's collection?" We hasten to respond, first, that the Warren Colson Memorial Collection isn't his collection, which now belongs to Ruth Colson to do with as she chooses but rather a collection of G&S Stuff in his memory. Seeing as how Emerson seems willing and able to handle material that the Newton Library can't touch, maybe the answer may turn out to be an additional archive at Emerson if Emerson is willing to host such a collection. The New Board will have to look into this, won't it? Any NEGASSers willing to take part in this exploration? Get in touch with the Board! mlc

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Dear Ms Carroll: Occasionally you get a word from an old charter member of NEGASS. Unfortunately, my schedule these days keeps me close to home, and the only contact I have with G&S is through my tapes and records. On the subject of records, I received a phone call the other day from an old associate with whom I worked when directing the Neponset Choral Society. She says she has at least four albums of G&S on 78 RPM records. The performers include Martyn Green.

She would like to have them placed in the hands of someone who would appreciate them... Do you know of anyone who would like to have these albums?... I can contact that person directly or have him/her contact the owner.

She seems to be in a bit of a hurry to clear the shelves of these records, so I would appreciate hearing from you soon. Sincerely, LEONARD W. WEAVER

Cut out the middleperson: Write directly to Leonard at 1135 Washington St., Walpole, MA 02081 if you're interested! mlc ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Olly Burton Postcards: We are in receipt of a flyer offering "Full colour, high quality 10 X 14 cms of favorite G&S characters created by a well known North Eastern artist. Commissioned by D'Oyly Carte. 60p each. Please include 1.00 p&p for up to 50 cards. Apply to O. Burton, 26 St. John's Rd., Durham. DH1 4NU. England, or phone 01913848329." Sample illustrations, although too small to examine closely, seem to resemble the artwork of Ron Searle. mlc



Beavertail Productions' GILBERT AND SULLIVAN A LIFE! in Rhode Island. Former D'Oyly Carte bassbaritone Thomas Lawlor has devised a program outlining the lives of Gilbert and Sullivan, as illustrated by excerpts from their joint works and linked by dialog taken from their known letters and diaries, contemporary theatrical reviews as well as anecdotal (and apocryphal) stories. Besides Mr. Lawlor, the cast featured tenor Frederick Scheff, wellknown to the New England G&S community as one of the stalwarts of the Ocean State Light Opera Company; soprano Sharon Nordmeyer Key; mezzosoprano Jill Rogers; and pianist Dale Munschy. During the dialog Mr. Lawlor boomed as Gilbert, Mr. Scheff read Sullivan, Mr. Munschy filled in as D'Oyly Carte as well as Frederic Clay in introducing the two collaborators to each other in their first meeting. The ladies filled in by reading newspaper accounts and other indirect anecdotes. The musical selections, in some cases preceded by the introductory dialogue, ranged from the Judge's Song from TRIAL, the Act II finale of PINAFORE (managed by the cast of 4), through the finale of GONDOLIERS, with all of the operas in between represented. Mr. Lawlor was, naturally, featured in many selections as the Judge, the Pirate King, KoKo, Sir Despard, Sir Joseph Porter, in solos and group numbers. He still has a marvelously strong voice; in some cases too strong, as he occasionally drowned his colleagues in ensemble numbers as well as blasting the audience in a relatively small auditorium (400+ seats).

Ms. Kay is that rarest of G&S performers a soprano with an excellent voice and superb diction. Her every word was clear and a delight. Mr. Scheff performed in his usual workmanlike fashion, providing excellent singing and decent acting. He and Ms. Kay worked very well together and clearly enjoyed all of their love duets together, particularly "Were you not to KoKo plighted." Ms. Rogers has a very nice mezzo voice and made a superb Mad Margaret one could imagine the straws coming out of her hair. Unfortunately, she had less to do than the other performers, and was given several heavy contralto numbers which are really out of her range. "Oh foolish fay" is a difficult enough number when done in the context of IOLANTHE. When done as an isolated song, even with the introductory dialog, it really didn't work. The only justification for its inclusion seemed to be so that Mr. Lawlor could make nasty and inaccurate remarks about Captain Shaw. While it is true that Captain Shaw was a corespondent in a particularly prominent and nasty divorce case ("Oh Captain Shaw, type of true love kept under"), that didn't happen until nearly three years after the premier of IOLANTHE, and Captain Shaw didn't storm out of the premiere of IOLANTHE, as Mr. Lawlor had it.

If there was a weakness in the structure of the program, it was that there was too much emphasis on the strengths of the performers and not enough on what would work theatrically in the context of this type of entertainment. While those in the audience who clearly had a knowledge of the G&S repertoire enjoyed themselves, there really seemed to be a lack of connection with most of the audience, at least at the Sunday matinee which I attended.

The set a Victorian parlor was excellent, but seemed to be designed for as brilliantly devised a method of scene stealing as any I have ever seen: When Mr. Lawlor was performing, his colleagues were, naturally, seated quietly observing the occasion, but when one or another (or several) others were performing, Mr. Lawlor was roaming in the background, distracting the audience.

Mr. Lawlor also seemed to have some difficulty connecting with the accompanist, which the others did not have. Mr. Lawlor, as the much more experienced G&S performer, seemed to expect the pianist to flow with changes in rhythm and tempo than he was given, thus throwing him off. The others played their roles straight and did not have this particular problem. If nothing else, the accompanist should be given a pageturner so he could look up and interact with the performers.

Overall, it was a decent production and performance. But for a longterm endeavor, Mr. Lawlor needs to rethink some of what he has put together in terms of connecting with the audience, in promoting himself at the expense of his colleagues and in using some numbers which simply do not work well when taken out of context. J. DONALD SMITH


IDA IN SUDBURY After attending the Friday night performance of the Sudbury Savoyards' PRINCESS IDA, I sent a hurried email praising the cast, stating that I, a confirmed nitpicker, had nothing whatever to grumble at. That wasn't precisely true. "Search throughout the panorama" had the cast, each with a telescope, emphasizing the rhythm of the music with a slight bob at each beat; I'm not convinced that added anything. But that's the extent of my faultfinding.

The scenery was magnificent, and more utilitarian than I at first realized, when I saw pieces moved to produce a cleverly different castle setting for the second act. As is suitable, almost required, for their large stage and large cast, the action was enhanced by multiple levels. Another opening impression, before the singing even began, was the attractive, colorful, and appropriate costuming. Lighting pretty much escaped my attention, it being one of those factors that really only draws attention when done badly. Lighting, set and costume design were all handled by the talented Ron and Janice Dallas.

The depth of talent showed through all the leads. It's unfortunately common to see the soldier brothers a little sloppy with matters like entrances, pitch, and rhythm. David Larrick showed us how delightfully even the role of Arac can be enhanced by having a real musician in the part. Hilarion and his friends were very effective, with Lonnie Powell, as Cyril, an especially convincing ape. Ellen Spear, as Ida, gave us a wonderful regal demeanor as well as exquisite singing. Tom Weber, as King Hildebrand, the same.

A couple of concepts of the talented director (our Bray editor, Marion Leeds Carroll), were very well conveyed by the cast. The relationship between Hilarion and Princess Ida is a tricky thing to handle, lest an implausibly drastic change be required at the end. Here, despite finding themselves in opposition, an immediate and gradually growing affection and respect was evident between the two, which made the ending satisfying. The second concept is one I have learned to notice explicitly, where I used to just feel dissatisfied when it was absent and appreciative when it was present, but without knowing why: "Making the music happen". For some productions, almost every musical cue has the singers obviously getting into position to sing, and then waiting for the last bar or two of introduction. In Marion's shows, the singers go about their natural business, and just "happen" to be placed right, and to have appropriate music, when they have reached the point in their business where it is appropriate to sing. Thanks, Marion, for having educated me to this, and for evidently having conveyed it well to the Sudbury cast.

The music was well handled, including a few tricky choral entrances, showing able music direction by Jim Ravan. DICK FREEDMAN


UTOPIA AT MIT: UTOPIA, Ltd. is a strange and disturbing play, apparently written by Gilbert in an extremely bitter mood. He ridicules the contralto even more cruelly than usual; he gives the Girtoneducated Princess Zara an appalling closing speech which shows her to be even more bubbleheaded than her fellow bluestocking Ida; and in Mr. Goldbury he creates a morally ambiguous character who oddly woos a Utopian maiden by singing a mocking song praising English girls, and cynically introduces fraudulent business practices to the Utopian people.

But mirabile dictu, MITG&SP's recent production, with stage direction by Joe Sweeney and musical direction by Jay Lane, provided a thoroughly enjoyable evening! The credit was largely due to Mr. Sweeney, who cut the most gruesome song ("First you're born"), and underplayed many of the most offensive lines. For example, on opening night (although not in a later performance that I also saw), Lady Sophy's line about European monarchs begging her to leave their court with tears in their eyes escaped without a laugh. And David Jedlinsky as Mr. Goldbury sang both his songs simply and pleasantly, without a hint of sleaziness.

The outstanding performance of the evening was given by Anita Costanzo as Lady Sophy, the epitome of a gracious English lady, with a lovely rich contralto voice. Dan Kamalic (last season's Sorcerer) was excellent as Scaphio; his diction is impeccable. I hope to hear Ilena Wadler, who was successfully crosscast as "Miss" Blushington (the County Councillor), in a larger role someday. And David Jedlinsky and Kevin Mitchell (Lord Dramaleigh), as the twins' suitors, were completely charming. Mr. Mitchell has a disconcerting habit of raising his hand every time he has a line, and seemed afraid to touch his young lady, but he's "quite young", and no doubt "that will wear off".

Mike Bromberg did impressive double duty as Tarara and lighting designer. The live volcano was an excellent and memorable effect. I could have done without the black light in the "Minstrel" number, however.
The musical weak spots in the cast were Sheldon Brown, as King Paramount, and Leslie Corn, as Captain Corcoran. Mr. Brown created such a wonderful character that I, at least, readily forgave him his many outoftune notes. Not so Mr. Corn. He mercilessly hammed up and dragged out his brief number, so bogging down the Act I finale that I was afraid it would never get moving again. I loved the look Lord Dramaleigh gave him when he was done.

The cast also included Robert Morrison as Phantis, Joseph Kaye as Calynx, splendid singers Mario Sengco and Holly Teichholtz as the lovers Zara and Fitzbattleaxe, Jeff Bigler as Sir Bailey Barre, Andrea Humez and Lya Ana Batlle as the twins Nekaya and Kalyba, Rebecca Consentino as Phylla, Lucy Lim as the extraordinarily graceful Salata, and Tova Brown as Melene. Mention should also be made of Brenda Winston's choreography, including a lovely hula dance during "Quaff the nectar" and a spirited Tarantella; and the fine orchestra under Jay Lane's skillful baton. NANCY BURSTEIN

&&& UTOPIA AT MIT: I had worries, before going to the MIT G&SP UTOPIA, LTD., about the quality of show I was going to see. They have on various occasions had problems in recruiting, costumes, weak choruses, or the like; and this show requires an exceptionally large cast. My fears would have been even worse if I had read the review they got in The Tech [the MIT student paper]. But they would have been groundless. MITG&SP produced an excellent production with a full cast, strong, well staged, well costumed, well directed. The choreography, though not complex, was extremely appropriate and well executed.

New to me was their Zara, Holly Teichholtz, sweetvoiced and effective. Also especially effective were Mr. Goldbury (David Jedlinsky) and Scaphio (Daniel Kamalic), in roles in which their clarity of diction was especially appreciated. Lady Sophy (Anita Costanzo) was impeccably proper. Chorus member Tova Brown was unusually convincing in conveying her character, which she may have learned from her father, an engaging and facially expressive King Paramount (Sheldon Brown).

I enjoyed several minor bits of staging. "In lazy languor motionless" included a change of shifts which drew a laugh. "Boldfaced ranger" recruited different chorus members to demonstrate each "scene", or verse, and the onlooking chorus was obviously learning from each demonstration. In "Some seven men form an association", Mr. Goldbury showed "If you come to grief" explicitly, with emptied pockets turned insideout. The lovely twins Kalyba (Lya Ana Batlle) and Nekaya (Andrea Humez), when coaxed out of their demureness, each in turn let down their hair and "It's all her own and it's worth the showing!" The set seemed simple and effective, but revealed a hidden complexity when the background peak turned into a volcano for the ScaphioPhantis "With fury deep we burn" duet. The rebellion had the Flowers of Progress bound and helpless, except for the appearance of Captain Fitzbattleaxe and the First Life Guards lending authority to King Paramount's casting about for a solution.

I had with me a friend new to G&S, and expected that she might have to be coaxed to see G&S again. Happily, that extremity will not be required. DICK FREEDMAN

John Morrison of MITG&SP asks, following their recent UTOPIA: How many Gilbert and Sullivan Players does it take to change a lightbulb? And answers himself: 31 One to change the lightbulb, and eighteen leads plus chorus to sing a rousing finale about the accomplishment of this deed.

Janice Dallas sends Us a review, gleaned from Savoynet, of IDA as performed by the Blue Hill Troupe in NY. (IDA has certainly had a busy year, hasn't she!) Over the weekend I had the distinct pleasure of attending the Blue Hill Troupe's production of IDA. It was lively, imaginative and almost seamlessly performed, and a real joy to behold. The story was updated to the 1950's, with Hilarion as a political power, surrounded by secret service types. Gama, a rich unsavory dude with a Southern drawl, arrives on stage in a bigfinned pink Cadillac. Fittingly his three sons are bikers or greasers, in motorcycle garb, all with Elvis wigs and dark "shades." [Classic shades? mlc] The opening act is a parody of a cocktail party (with a lot of great busy work for the chorus), with a live jazz combo of piano and drums, tinkling background music throughout the usually deadly blank verse dialog. This was a two act IDA, with two scenes in each act. During the quick change which transformed the cocktail party into the grounds of Castle Adamant, the jazz combo, now playing quite audibly, performed a marvelous invention of PIRATE tunes, until they also were pushed off the stage.

The audience approbation was genuine and loud.

Among the visual images that remain in my mind: A trio of bimbos in high heels, slinky dresses and Dolly Parton wigs follow Gama about and are his shrill chorus, accompanying the music with the stereotypic dance steps and gestures of the 50's backup groups. Psyche wows the three collegiate interlopers during her "A lady fair" number by shedding her academic robe, revealing an Annette Funicellostyle 50's red bathing suit, and some suggestive hip swiveling. It seemed highly appropriate, and was great fun.

There were numerous lyric updates as well:

..Cursed with an appetite keen I am, And I'll subdue it with cold roast Spam

(cans of which were prominent at the luncheon)... Years ago, if I had been asked which of the canon was not susceptible to updating, IDA might have been at the top of the list. Now, after first witnessing Nathan Hull's VLOG [Village Light Opera Group, in NYC] "Star Trek" version, and this current Blue Hill Troupe production, it seems the most suitable candidate, blank verse and all! CHRIS PAPA

How do NEGASSers in general feel about updating? We Ourself tend to take Our G&S very seriously We think it's funnier that way but others like it with as much added silliness as possible. How do YOU like your G&S performed? mlc

We still haven't received a review of the HarvardRadcliffe G&SS IDA. Comments, anyone?! mlc



EMAIL FROM THE FESTIVAL DIRECTOR: Today I have the good news and I have the bad news! The bad news is that for "economical reasons" the Washington Savoyards have had to withdraw from the festival programme in Philadelphia. The good news is that the winners of the First International Festival in 1994, Hancock County Gilbert and Sullivan Society in Maine, volunteered to fill the breach and will travel to Philadelphia with their current performance of GONDOLIERS. IAN SMITH

Further details were filled in by Lee Patterson of HCG&S: Washington had been planning to perform a centennial production of GRAND DUKE on Friday, July 26. Their absence meant that no GRAND DUKE would appear in this season's Festival a grave oversight! So the Thursday, July 26 Pot Luck Performance will be GRAND DUKE get in touch with the Festival Folks if you'd like a role! You can 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

More email from Ian Smith: Last week five thousand brochures were distributed to audiences attending the ballet at the Merriam Theatre. Two thousand were inserted in programmes of The Savoy Company's production of PATIENCE. Promotions are currently being finalised with magazines such as Severn Arts; Playbill; Spotlight; and local radio. Contact has been made with all the major radio and television stations. It is true, we missed Opera News we won't next year! With eight and a half weeks to go, I am satisfied that plans have been put in place to ensure a massive marketing promotion which will concentrate on a two hundred mile radius around Philadelphia. ..

There are plenty of beds left in Philadelphia... If you want a hostel we can arrange it. We have rooms at airport hotels at $53.00 per night plus tax, and there is still availability at both The Holiday Inn and The Warwick, at $85.00 per night plus tax.
Seats will go on general sale from the Box Office as from June 3rd. The Merriam report inquiries coming in daily from all around the States. They are "surprised" at the interest already created.

Of course, this does not mean that there is not a mountain still to climb. The Merriam seats 1,800 people per performance. There are hundreds of tickets left for each show as I would have expected. Equally, however, as I would expect, these will start to go in earnest from June 3rd. IAN SMITH

Tickets for the Festival: As of June 3, ticket orders will be taken directly through the box office of the Merriam Theater call (215) 7325446 or (215) 7321366. Single tickets may be ordered through the Philadelphia Ticketmaster office: (215) 3362000 or (609) 3389000, but Gold and Silver Passes as well as group discounts (15% for a group of 20 or more for a single show) may be obtained only through the theater box office.


ALL THE KNOWLEDGE WE POSSESS WE MUTUALLY IMPART: Lessons and workshops are available for NEGASSers interested in improving their performing skills this summer. Specifically:

NEGASSer Eileen St. David, who has done such a great job directing for HarvardRadcliffe G&S, is looking for students this summer. She tells Us: I teach vocal technique and the interpretation of vocal literature, including art song, Broadway repertoire and Gilbert & Sullivan. My area of special interest and expertise is preparing singers for roles in the lyric theatre. This includes singing, role interpretation and stage movement. What I'm offering this summer are private lessons and small classes for singers.

I want to tell the Bray readers because I'm a specialist in G&S. My students performed over 100 roles in the San Francisco Bay Area, and at least 1/3 of these were roles in G&S. I went on stage with the Lamplighters in 1971, and sent students to the Lamps later. Almost all of my stage directing experience has been with G&S.

(She adds: Tori Jueds, my Lady Saphir in last spring's PATIENCE (HRG&SP), has located in Seattle, joined the Seattle G&S Society, and will perform in their PINAFORE at Buxton this August. I'm proud to know her.)

Email Eileen at EileenStD@aol.com; write to her at 14 Follen Street [accessible via the Orange Line (Back Bay Station or Mass Ave. Station) and the Green Line (Copley or Prudential)], Boston, MA 02116+6477; or call her at (617) 4377582.

And Boston Globe music critic and voice teacher Susan Larsen called the Sudbury Savoyards to say that she is organizing an aria & opera workshop this summer at Performing Arts Center MetroWest, in Framingham. (Susan played a footballuniform clad Cherubino in Peter Sellars' moderndress version of The Marriage of Figaro.) She is looking for students and for groups through which to find students. This is also an opportunity for inexpensive voice lessons. If you are interested, or if you can give her the name of another group to contact, please call 5083587261.

All of which makes Our little summer opera workshop, Opera Lirica del Soggiorno (LivingRoom Opera), seem tame. However, Jim and Marion Leeds Carroll are once again holding our lowstress staging, music and language workshop, rehearsing scenes by Bellini, Mozart and Weber, among others. It's too late to join the class this year, but, having Our own access to Publicity, We'll be sure to announce the workshop performance date in the Calendar so that you can, for instance, see what happens when Larry Seiler tries to jilt Janice Dallas for Debra Hanggeli in a scene from NORMA. We're also available for private voice lessons any old time just call Us at (617)6469115, and arrange to visit Us at Our New House at 111 Fairmont St. in Arlington, within walking distance of the Alewife T station.



MITG&SP will hold interviews July 1221 for Producer, Stage Director and Music Director for their fall show, PINAFORE. For more info, call (617) 2530190, email: savoyardsrequest@mit.edu, or check their World Wide Web page: http://www.mit.edu:8001/activities/gsp/home.html

The HarvardRadcliffe Gilbert & Sullivan Players are seeking stage and music directors for their fall production, PIRATES, which will be performed in December in the Agassiz theatre in Radcliffe. Rehearsals will begin in September. For more info, get in touch with David A. Feldman by email at hrgsplist@fas.harvard.edu, or by phone at 6174964747.

CLOC (College Light Opera Co.) will present PINAFORE 6/2529 and IOLANTHE 7/2327. Perfs are at 8:30 PM, with 2:30 Thursday Matinees. Other shows presented this season include Anything Goes, Fiddler On the Roof, Kiss Me Kate, My Fair Lady, The Desert Song, Hello, Dolly, and A Funny Thing Happened On the Way to the Forum. Call (508) 5480668 for tix and info.

The Sudbury Savoyards (who expect to produce YEOMEN next spring) are trying an experiment: A smallscale, nonmusical, non G&S summer show. Brandon Thomas' Charley's Aunt, produced by David Larrick and directed by Michael Cashman, will be performed at the Sudbury United Methodist Church on 6/28 & 29 & 7/5, 6, 12 & 13 at 8:30 PM, with a 7/14 matinee at 2:30 PM. For info, call Dave at (508) 4438811, or email him at dcl@ties.org.

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.

The Hancock company will also reprise February's full production of GONDOLIERS July 18, 19 & 20 at 8 PM, also at the Grand Auditorium in Ellsworth. By special invitation, this production will also be presented on July 26 during the Philadelphia leg of the International G&S Festival see article above for details. AND this busy group plans a 20th Anniversary Retrospective at 2 PM on July 21, with scenes from all the shows they've performed over that period.

To find The Grand Auditorium:

>From the south, follow Rt.. 95 to Augusta, Rt.. 3 to Belfast, then 38miles 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 Bangorand 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.

Imitation is the sincerest form of flattery: Lee Patterson of Hancock C G&S so much enjoyed playing Marco in NEGASS's LMLO GONDOLIERS that he's planning a PickUp Light Opera production of YEOMEN for June 9 on the same principles: You audition by calling to request a role; desire for a part counts more than talent, and no rehearsals are expected. This will be followed by a potluck dinner and a general singalong, so it sounds like a fun day! Call Lee at (207) 2444044 for more information.

OSLO (Ocean State Light Opera) has a busy summer planned. First: PINAFORE, June 7, 8 p.m. at Bowen's Wharf, Newport, RI. Then IOLANTHE at the Wheeler School in Providence, on July 3, 5, 6, 11, 12, 13 at 8 p.m., and July 6, 7, 13, 14 at 2 p.m. Next, a MIDSUMMER CABARET on August 3 at 8 p.m. and Aug. 4 at 2 PM. at the Wheeler School. Then a reprise of PINAFORE, 8/9, 10 at 8 PM at The Tabernacle at Oak Bluffs on Martha's Vineyard. Finally, SORCERER at the Wheeler School, August 22, 23, 24, 29, 30, 31 at 8 p.m. and August 24, 25 (NEGASS meeting date!), 31, Sept. 1 at 2 p.m. Tickets are $15 or $12. Call 4013316060 for more information.

News from Savoynet: The OHIO LIGHT OPERA is 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.

Yes, We know it isn't but We have connections, so We get to publish this: Opera Lirica del Soggiorno will hold its workshop performance on Sunday, July 28 at Eliot Hall in Jamaica Plain. Call Us at (617) 6469115 or send email to mlcar@ibm.net for more info.

The North Shore Light Opera Co. plans MIKADO on August 811 and 1518 (Sundays are matinees) at the Firehouse Center in Newburyport. The stage director is Selena Sky April; music director is Dirk Hillyer. Call NSLOC president Melody Scheiner at (617) 5244386 for more info.

Mes Amis Productions, a new group operating at the newly renovated Regent Theater in Arlington, plans PIRATES for August 911 and 1618, with direction by Lora Chase. Call 6420401 or 6437525 for more info.

Visitors to Illinois may wish to catch the Light Opera Works production of RUDDIGORE, 8/1725. Call (708) 8696300 for tix & info.

SUNY at Purchase plans IOLANTHE on 9/1920, with direction by Ted Pappas, accompanied by the Westchester Philharmonic conducted by Paul Lustig Dunkel. For more info, write to The Performing Arts Center, MPO Box 150, Purchase, NY 10577, or call 9142516222, or fax 9142516171.

The Savoyard Light Opera Co. plans RUDDIGORE on November 1, 2, 3, 8, 9, & 10. Call (508) 371SLOC (7562) for more info.

Valley Light Opera of Amherst has just held auditions for their fall show, MIKADO, which will run 11/13, 8 & 9. Clever idea: They held an Audition Workshop about a week before auditions, at which potential auditioners had a chance to practice their pieces with accompaniment, and to receive helpful suggestions from experienced company members. For more info about the company, call (413) 5488119 or (413)6658668.

Moreover: VLO plans The Foundling, or, A Basket of Ham, the excellent G&S parody with lyrics and music by, respectively, Mary Finn and Bob Weingart, as their spring 1997 show. This will be only the second production of this fine work, which had its premier under the authors' direction a couple of years ago at MITG&SP. Matt Kimmel will direct the VLO production. More news as it breaks!

Bill Kelly tells Us that The Connecticut Gilbert & Sullivan Society plans PATIENCE in October. More news as it breaks!

He adds: The New York Gilbert & Sullivan Players, who are presenting PINAFORE this May at the Shubert in New Haven, will perform PIRATES at the Shubert in Spring '97.

:) :) :o :) ;o :) :o :) ;o :) :o :) ;o :) :o :)

The First Ever WEB OPERA: Jim Farron, Lord High Everything of The Gilbert and Sullivan Archive, has announced (via email, of course): A Full Gilbert and Sullivan Opera on the World Wide Web, With Nearly 1 1/2 Hours of Music and Complete, Illustrated Libretto.

The show is PIRATES. The music, which is in MIDI files, can be found via: http://diamond.idbsu.edu/GaS/pirates/html/pirates_home.html

Jim concludes: Visit the Gilbert and Sullivan Archive at: http://diamond.idbsu.edu/GaS/GaS.html

The NEGASS Web Page is located at: http://www.negass.org




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

President RICHARD FREEDMAN (617) 6309525 email: rnf@ctcne.com (NOTE NEW ADDRESS!) 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: PETER CAMERON: (508) 9750405 JANICE DALLAS: (617) 2757412; email: JaniceDals@aol.com J. DONALD SMITH: (508) 8235110; email: DSMITH@UMASSD.EDU Membership Officer BILL MAHONEY: (617) 6481720 Newsletter 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