The Trumpet Bray

~ NEXT BRAY COPY DEADLINE: November 22 ~

Next Bray Stuffing: Monday, November 30 at 7:30 PM. (Let’s get home from Thanksgiving Weekend before gathering to stuff the Bray!) Call Us at (617) 258-5810 during the day, at (781) 646-9115 evenings and weekends, or email mlcar@mit.edu at any time, for directions to Our slightly drier home. -- mlc

Welcome, Welcome, Welcome We New Member Stephen M. Zykofsky of Lynn, MA, who describes himself as an Enthusiastic Audience Member. Hearty Greetings Offer We!

Tell Us, Tell Us All About It! Tom Drucker writes: I'm sorry that you did not have more to say about Emily Burt-Hedrick [a new member as of last month] for the last Bray. Let me just note that she is perhaps the second most devoted admirer of G&S in Carlisle [PA] [Tom is clearly the most devoted! - mlc] and that her one ambition is to put on a production of Patience here. She grew up going to Savoy Company productions in Philadelphia and noted the absence of Savoy performances in central Pennsylvania.

-- Thomas Drucker

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Harry Benford of UMGASS tells Us that Liza Wirtz, one of his erstwhile favorite UMGASS contraltos, has recently moved to Cambridge, MA. Has anyone met her? Is she going to join our crew?

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A VISIT TO GILBERT'S HOME: ...I finally made it over to England this past May and made a pilgrimage to Grim's Dyke. It was a VERY thrilling afternoon. I had tea on Lady Gilbert's terrace, and was allowed by the kind concierge to go into the Gilbert Suite and the Sullivan Suite. It was a very emotional experience to wander the grounds and to sit in Gilbert's library.

-- Ellen Spear

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December 13: Gayden Wren’s A G&S Christmas Carol. December’s meeting will feature a sing-through of a version of Dickens’ classic Christmas story, set to the music of Sullivan. NEGASS sang through this a couple of years ago, with great success, and the plan to repeat the experience was welcomed when it was proposed. President Dick is the person to reach if you want a role - see his contact info on the last page of the Bray. Call him soon, so that he can send you your music!

Bob Cratchit's relatives: Children Belinda, Martha, and Peter; Aunt Nellie

Chorus of Ghosts, Chorus of Party Guests, Scrooge's Relatives, etc.

Casting Note (apparently by the author): The structure of the Dickensian original unfortunately requires that most of the roles be played by men. It is advised that, whenever possible, women be cast in such roles as the Balladeer, Narrator, Tiny Tim, the Gossips or the Three Ghosts. [We note that the musical numbers, which include pieces from Cox & Box, Sorcerer, Pinafore, Pirates, Patience, Mikado, Ruddigore, Gondoliers, and Grand Duke, seem to be weighted heavily towards the baritonal, with the exception of numbers such as "Three little ghosts are we" and the soprano/tenor "Voice from the tomb" duet. Speak to Dick about the best role for you. Further note: Rebecca Consentino has already requested the role of the Ghost of Christmas Present!]

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G&S VIDEO: In response to a query in last month's Bray, Don Smith writes: Since most of your readers either really don't read the Bray or keep it to refer to [don’t be embarrassed - We never read it, Ourself! - mlc], here is AGAIN, the source of the videotape of The Gilbert and Sullivan Story (A.K.A. The Great Gilbert and Sullivan or The Story of Gilbert and Sullivan")

Musical Collectibles
The Old Vicarage
Haley Hill
Halifax, HX3 6DR England

Tel: 44-1422-323252
FAX: 44-1422-355604

They take credit cards. Price: £19.99 GBP. Specify NTSC, for the American videosystem.

Don Smith

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G&S Libretti: We are in receipt of a handsomely bound hard-cover volume with the title The Complete Gilbert and Sullivan, published this fall by Black Dog & Leventhal, 151 W. 19^th St., NY, NY 10011. In addition to the unabridged standard-edition text of all 14 of the operettas, generously sprinkled with the familiar Bab sketches, the book includes a 50-page preface by the late Deems Taylor. This appears to be a reprint of a 1932 Random House edition of the plays - in fact, the preface is dated 1931. This book is available from the publisher for $14.98. However, the accompanying publicity letter’s comment that "when purchased as a premium or incentive for members or subscribers, discounts of up to 52% are available on orders as low as 10 copies" suggests an alternate source for copies of this volume. Would NEGASSers like a chance to win a copy of The Complete G&S as a Door Prize at some of our meetings? Let Us know! -- mlc

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G&S Libretti plus: We’ve received notice of a new book:Here’s a Pretty Mess, published in paperback by Romansmead Publications, 46 Mosse Gardens, Fishbourne, Chichester PO19 3PQ, UK. The notice (which does not mention an author or editor) states: "Enhanced by specially commissioned illustrations, the book contains a full historical introduction to, and journey through, all 14 G&S operas, highlighting features of each opera that will provide particular challenge, enjoyment or hilarity for the amateur performer. An appendix covers… Cox and Box and The Zoo… Packed with interesting information, anecdotes and advice…It would make an ideal Christmas gift!" The price is listed as £7.50, with discounts of as much as 40% for purchases of 6 or more. Is this a volume NEGASSers would like to receive in their Christmas stockings - or as a Door Prize at a NEGASS meeting?

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Wildgoose Publications, The Reading Room, Dennis Street, Hugglescote, Leics. LE67 2FP, UK has sent Us a glossy publicity sheet full of beautiful examples of "fine art prints, faithfully reproduced from original posters, playbills and song sheets." These are classic G&S prints, in sizes ranging from 4 ½" x 6 ½" (greeting cards) to 50 x 70 cm (posters), at prices from £1.25 (cards) to £6.95. Write to them at the above address for a catalog and order form, or email Laura@wgoos.demon.co.uk.

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Melissa Hirshon writes: I’ve always been fascinated with the personal biographies of G&S, and want to read more about them, but everything is out of print. If NEGASS could loan/assist me in finding such works, I’d be happy to write "tidbits" or something for the Bray. Sounds good! - and We know the NEGASS membership includes collectors with unusual volumes which may interest Melissa. E-mail Melissa at lissa@world.std.com, or send her a note c/o the NEGASS PO Box, and We’ll see what she comes up with! - mlc

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We’d like to remind folks: To subscribe to SavoyNet, the G&S chat line, send the message Subscribe SavoyNet (your full name) to the address listserv@bridgewater.edu - and you’ll be sent all the information you need.

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One of only two corrections of Our painful error: I can't resist writing to point out an error in the September Trumpet Bray. On page 7, at the bottom of the first column, there is a reference to Cole Porter's Bittersweet. This would come as a great surprise to Cole Porter, since Bittersweet was written by Noel Coward….

By the way, I will be playing Pish-Tush in Mikado with the Village Light Opera Group in New York at Fashion Institute Theater (27th Street between 7th and 8th Avenues) on November 14, 15, 19, 20, 21, 22. If anyone is in New York, I'd love to see them. [An excellent company! We’d better plan to go, since We’ll be going to NY to sing at the NYGASS meeting on November 13! -- mlc] -- Best Wishes -- Jeff Kurnit

[We received the same correction from David Stieber, NEGASS’s European connection - thank you both for keeping Us honest! - mlc]

Mikado IN NEW HAMPSHIRE: American Stage Festival, Milford, NH, August 30, 1998: There was a lot to like about ASF’s Mikado: a lovely set with a charming Japanese bridge that occasionally moved forward or back and an interesting half curtain across the lower half of the set at the opening; uniformly strong leads; gorgeous costumes, with one exception; and interesting and occasionally inspired dances.

The set, a Japanese village with tall pines, remained the same from first to second acts. The only disconcerting element was a pair of benches for the actors to sit on in some scenes which did not seem organically connected to the set or the action and were moved at awkward times by actors.

Costumes were appropriately Japanese: pastel, and pretty, with an imposing red for Katisha. The women wore their hair in long braids or tails, as proper Japanese women would. Nanki-Poo was the exception, in a costume that made the very tall actor look a little bizarre, and led one to look at his legs. Fans were used well and sparingly.

Yum-Yum and Nanki-Poo were a handsome young pair, fresh and strong voiced. Yum-Yum’s rendition of The sun whose rays was simple and beautiful. The kissing duet was charming, but its charm could have been taken up a notch.

Pitti-Sing sang strongly, but at times with a Broadway belt that was both harsh and out of place. The actress had played a strong Mrs. Danvers in ASF’s Rebecca earlier in the season, and it was a little unsettling to see her as Pitti-Sing. Peep-Bo held up her end admirably.

Ko-Ko was played by a tall, slender actor who gave a well-rounded characterization of a small businessman who has risen beyond his capacity. His Ko-Ko was affecting and funny and he was believably menaced by Katisha in their scenes together.

Katisha and Ko-Ko were funny together. Katisha muffed a lot of lines, but otherwise was strong and imposing.

The only objectionable element of Ko-Ko’s performance (and I don’t know whether the actor had a hand in it) was the rewriting of almost the entire Little List song with too much of the current Washington situation. This reviewer prefers to hear the song as written with changes only in the one or two places where Gilbert made later changes.

Pooh-Bah was tall, self-important, and comically obnoxious. The actor handled physical comedy well (though I sigh for Kenneth Sanford in the role).

The Mikado was a big immovable object. He was absolutely frightening chatting matter-of-factly about melted lead and boiling oil.

Pish-Tush was a commendable actor and singer who gave weight to the role. Our great Mikado, virtuous man was a highlight of the show.

At several points throughout the show, I wished the director had done something differently. But overall this was a good production with a reverence for the show and its tradition.

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TRIAL AND PIRATES IN NEW HAMPSHIRE: August saw the return of the Opera Comique, a company based in Hampshire, England, to the Prescott Park Arts Festival in Portsmouth, NH, and the Joseph Conrad at Mystic Seaport, CT.

Audiences at Prescott Park were treated to performances of TRIAL and PIRATES in perfect outdoor conditions. Although the stage set was Cinderella’s Castle, the enthusiasm of the players left no doubt that we were in a court-room, on a rocky shore, or by a ruined chapel as the occasion demanded.

Jurymen were rather scarce and the audience responded willingly to Musical Director Kevin Sivyer’s invitation to jury duty on stage. Great fun for those volunteers! More practiced vocal support was provided by members of the Portsmouth Women’s Chorus.

At Mystic, PIRATES was performed on the wooden landing stage alongside the venerable square rigger Joseph Conrad - pirates’ entrances and exits being particularly effective up and down the ship’s gangways. The setting was more atmospheric, especially at sunset and moonrise, than Gilbert’s original rocky sea shore - and the sea gulls were real!

Again, local support, well organized and practiced, came from the ladies and gentlemen of the East Lyme Arts Council, adding numbers and volume to the chorus numbers on stage.

NEGASS members would appreciate that on the second evening the company received a special encore request for Hail, Poetry.

Opera Comique’s members are all experienced and enthusiastic Savoyards - many of whom perform with other groups - who come together under the Opera Comique banner three or four times a year.

Any future return visit of this company should not be missed.

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LOCOS PIRATES: Every time we hear reports of the diminishing appeal of G&S in our modern musical world of Cats & Lions, I am reminded of the premature rumors of Mark Twain’s demise -- they are greatly exaggerated. Let me explain: Bobbie and I learned of a newly formed G&S troupe called LOCOS (Light Opera Company of Salisbury) in northwestern Connecticut that was about to put on its first production, PIRATES. It would be a full production but they couldn’t yet afford an orchestra. As a devout lover of Sir Arthur’s music I was reluctant to go -- a piano accompaniment thrills me only during rehearsals and sing-alongs, but Bobbie was adamant and threatened to go alone. So, off we trudged a hundred miles northward last Saturday night to the beautiful foothills of the Berkshire mountains for lord-knows-what entertainment -- yet another PIRATES after having recently seen two of them at Buxton?? [He refers, of course, to the International G&S Festival - mlc] Well, rapturous surprise!! The Hotchkiss auditorium was a gem -- comfortable stadium seats, good acoustics, and a full-house turnout that would have warmed the cockles of Ian Smith’s heart. Still, there was that lone piano in the pit…

My fears were groundless. Once the curtain went up, we were swept away by the infectious enthusiasm of the new Company and a very merry evening of G&S ensued. The guiding light behind LOCOS is Georgia McEver, (doubling as Mabel and Director) who was leading soprano with The Light Opera Company of Manhattan for a number of years. For this premier performance she was fortunate to conscript friends like William J. Brooke (Major-General) and Keith Jurosko of NYGASP, who made a splendid Pirate King.

The production style was conventional G&S, with an occasional line change to add a colloquial fillip here and there. The only zinger was the Papp-inspired insertion of My eyes are fully open -- an addition that we still find superfluous and, in Ruth’s part of the trio, simply non sequitur. In retaliation, why doesn’t someone have those borrowed ancestors of Major General Stanley rise up and dance around him while he sings of the "sighing of the breeze?"

There were naturally some seams and rough edges in this mostly volunteer, amateur production. The policemen were short of personnel. The four who did back up the excellent Sgt. played by Louis Dall-Ava, while on the weak side for volume and diction, were the funniest looking constabulary heroes in our experience. They were either very tall or very short and their costumes looked as though they had tumbled in the drier far too long.

The audience -- a full house, we repeat -- loved it and gave these troupers a very big send-off. This was a PIRATES that Ian Smith would have been pleased to present at Buxton.

Afterthought -- One of the unexpected pleasures of this piano-accompanied production was being able to hear every word sung with such clarity. Too often the voices are muffled, even drowned by a full orchestra.

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TRIAL IN PENNSYLVANIA. A distant NEGASSer sent Us his recent SavoyNet review, from which We excerpt: Last night the Harrisburg Opera Association performed Trial at the old Cumberland County Courthouse. In view of recent discussions [on SavoyNet] of the effectiveness of Trial, I can report in brief that it succeeded quite well with the primarily non-Savoyard audience.

To describe the play it is perhaps best to start with a few lists. Here are the roles in addition to the standard ones: Lady Justice, Court Jester, Servant, Clerk, Maid, Angelina's Mother, Butler, Edwin's Girlfriend, Court Housekeeper, Wife of the Foreman, and Two Townspeople. The scenes were 'Courtroom', 'Judge's Home', 'Angelina's Home', 'Edwin's Home', a repetition of the last three, 'Church', and 'A Telephone Chain'. All of these came before the start of the action, rather in the spirit of the Walker video (which may not be a recommendation). Typical perhaps was the opening scene in which the Court Jester took off the blindfold from the statue of Lady Justice and then chased her from the court.

In general, it seemed that the use of a 'Court Jester' involved a dumbing-down of the production. He was on stage essentially throughout… he played one of the bridesmaids in drag and also acted simultaneously as the rich attorney and his elderly daughter. Had he been doing something useful like signing the words I could have better understood his function. As it was, his somersaults may have been an impressive display of gymnastics but varied between the distracting and the annoying.

The various scenes that preceded the arrival of the jurymen were accompanied by Prithee, pretty maiden, A magnet hung in a hardware shop, Silvered is the raven hair, Love is a plaintive song, I cannot tell what this love may be, and a similar set of selections from Iolanthe. One could be excused for thinking that the first few were designed to try the audience's patience. [Groan! - mlc]

Edwin entered the scene with his girl-friend, and she was carrying the guitar. The accompanist alternated between piano and electronic keyboard, using the latter, for example, to simulate the guitar. No one was actually seen playing the guitar during the defendant's first solo.

The scenes at the Judge's home before the start of the action had shown him getting started on the bottle before coming into court. This presumably was intended to make more plausible his suggestion that Edwin be made tipsy as a means of coming to a decision. The bridesmaids who had been on stage at the beginning of the show were taken off for the Judge's song, which he divested himself of his robes and wig to perform. His effusive manner won the first applause from the audience during the play.

The wife of the foreman came on during the scene in which the plaintiff was reeling and served to recall him to the path of rectitude and the jurybox. Angelina's mother was on stage when her daughter was. There were not quite twelve jurymen, the remainder being made up of dummies who were carried by those on either side.

A Nice Dilemma received a fair amount of applause, although it was not staged in as Donizettian a fashion as it might have been. The defendant's second solo had received rather less. The duet between plaintiff and defendant also was warmly received, as it was sung with a good deal of vigour on both sides.

The audience applauded warmly at the conclusion. The production had been advertised especially to the legal profession, which was well represented. I did not hear anyone's observing how closely the action followed legal procedure.

[Tom added in a later note: It is not that the performance was entirely without merit. It was just that almost all the innovations must have seemed like better ideas to the director than to the audience. However, the audience seems to have enjoyed the show. So what can purists like Tom and Us do, but cringe and shrug our shoulders?! - mlc]

CASTING FOR THE HUNTINGTON’S SPRING ’99 MIKADO: Wondering how NEGASS could help publicize auditions for The Huntington Theatre’s planned May 21 - June 26, 1999 production of Mikado, President Dick reached a representative of The Huntington, who explained that the company doesn't do "casting call" auditions, preferring to invite people to audition by appointment based on the company’s needs. Although the company’s original plan - to hold all auditions in NYC - has been modified, so that Boston-based artists will be considered for roles, the Huntington representative apparently still preferred not to allow Us to publish his own name and address, suggesting instead that NEGASS-connected singers interested in auditioning put together resumes and pictures and send them to Dick (Richard Freedman, 89 Staniford St Apt 7, Auburndale MA 02466-1128), who can forward them, in a body, to the Huntington. Rehearsals will not begin until May, so there’s probably plenty of time; auditions will probably occur sometime around early April.

Instrumentalists, on the other hand, are hired by the General Manager, Jill Pearson. Prospective orchestra members are welcome to send resumes directly to her, at The Huntington Theatre Company, 264 Huntington Avenue, Boston, MA 02115-4606.

Dick also comments: The Huntington holds open-to-the-public preview lectures as each of their shows open. The Preview Lecture for Mikado will be given at the Museum of Fine Arts on May 23rd, 3 PM, by the erudite and entertaining Steve Ledbetter. But there will not be a performance on that day, so we will not be able to combine the lecture with our (prospective) group attendance at the show.

Troupers Light Opera Company will be conducting auditions on November 9 and 11 in New Canaan, CT for their Spring production of Yeomen. All voices, principals and chorus. Performances will be May 8, 9, 14 and 15, 1999 in New Canaan High School. For further information or to schedule an audition time please call Christine Zaremba at 203-847-8778.

THE Gilbert & Sullivan Society (of England) 1998-99 meeting plans include the dates Nov. 10, Dec. 8, Feb. 24, April 9, and May 5 -- if you’re on that side of the pond, give them a look-in! Write to Honorary Secretary Margaret Bowden, 1 Nethercourt Avenue, Finchley, London, N3 1PS for more info.

NYGASS (the New York society) will hold its next meeting at 8 PM on Friday, Nov. 13, presenting a concert performance of RUDDIGORE featuring Sam Silvers (Robin), Larry Raikin (Richard), and Us (Rose). Further meetings will be held Wed., 12/16; Sat., 1/9; Wed., 2/10; Fri., 3/19; Thurs., 4/15; Fri., 5/14 and Sat., 6/12. All meetings are at CAMI Hall, 165 W. 57th St., NYC. Doors open at 7:30; the meeting starts at 8, and the Inner Brotherhood go out for coffee afterwards.

Savoyard Light Opera Co's fall production, GONDOLIERS, will be performed Nov. 13-15 and 21-22. See the front page of this rag for more details about the production. NEGASS plans to attend the 11/22 matinee, but this does not mean that you can’t attend a different -- or an additional - performance! Or if you’d rather sit at home and listen: On Saturday, Nov. 7 at 11 a.m., members of the Gondoliers cast will be singing live on WGBH. For more info about the show, call (978) 371-SLOC, e-mail sloc@tiac.net, or check their web page: http://www.tiac.net/users/sloc.

MITG&SP’s MIKADO will be performed November 5-8. Stage direction is by Andrew Sweet, music direction by John McKay and Alan Yost. The company has managed to find a crop of very talented, mostly unknown students to fill the lead roles, and has filled out its chorus with experienced soloists (e.g. Nathan Handspicker, Ryan Caveney, and Us!), for a nicely-balanced show. For more info, contact MITG&SP via e-mail at savoyards-request@mit.edu, call (617) 253-0190, or visit http://www.mit.edu/activities/gsp/home.html. Their spring ’99 show will be YEOMEN. More news as it breaks!

BAM (The Boston Academy of Music) will perform Pinafore at 3 PM and 8 PM on November 27-29 at the Emerson Majestic Theatre. Tickets are $18, $33, and $47.50. For more info, phone: 617-824-8000; e-mail:majestic@emerson.edu; WWW: www.emerson.edu/majestic.

Valley Light Opera of Amherst, MA is planning Patience for November 6, 7, 8, 13, and 14, 1998. Direction is by Jim Ellis (stage) and Michael Greenbaum (music). Check the VLO web page for further info: http://www.vlo.org

Connecticut G&S Society's Bob Cumming sends news of their upcoming show: YEOMEN, performed 8 PM Friday & Saturday, Nov. 13,14; 2 PM Sunday Nov. 15; at Middletown High School. Call 1 (800) 866-1606 for more information, or write to CG&SS, Box 2152, Middletown, CT 06457-2152.

The Footlight Club of Jamaica Plain plans Pirates, directed by Richard Repetta, for November 6, 7, 13, 14, 20, and 21. For more information, call Jim Ansart at (617) 277-4740

Harvard-Radcliffe G&S plans Gondoliers (directed by Frank Habit '92-'93 and Logan McCarty '96) in December: 12/3, 4, 5, 11 and 12 at 8 PM, and 12/5, 6 and 12 at 2 PM. Opening night is Black Tie, followed by a company/audience reception; while the closing performance will be HRG&S’s traditional "Hack Night." For more info, contact tmoore@fas.harvard.edu or phone 617- 496-4747 - or visit their Web page: http://www.hcs. harvard.edu/~hrgsp/

The Nashua Symphony is advertising the North American Premier of the Sullivan Cello Concerto, planned for Saturday, January 9, 1999, 8:15 p.m. For more info, check their website http://newww.com/org/nso/intro.html, or phone 603.595.9156 or 800.639.3101.

Hancock County G&S Society will perform Trial/Pinafore February 5, 6, 7, 12, 13, 14. July 15, 16, 17, 1999 at the Grand Auditorium in Ellsworth, Maine. To reserve tickets, call the Grand Box Office at (207) 667-9500 weekdays 10-4. For more info try calling Lee Patterson at (207) 244-4044.

The Sudbury Savoyards plan IOLANTHE as their spring '99 show. Both stage and music direction will be by Kathy Lague. Visit their Web site at http://www.sudburysavoyards.org/ or call 508 443-8811 for more information.

The New England Opera Club newsletter informs Us that Simsbury (CT) Light Opera plans YEOMEN in April: 4/10, 11, 17, 18, & 24. Call (860) 658-9824 for more info.

The Huntington Theater's run of Mikado will be May 21-June 20, 1999. The Huntington now has a web site at http://www.bu.edu/HUNTINGTON. See the article above for President Dick’s info about auditions.

The Valley Light Opera plans to present a double bill of TRIAL and The Foundling (libretto by Mary Finn, music by Bob Weingart) in the fall of the year 2000. We’re looking forward to it - it’ll be the first time this very deserving little Finn/Weingart opus will be staged since its debut several years ago.

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Visit the Metropolitan Museum of Art NYC this winter for a celebration in honor of the 75^th anniversary of the founding if The Blue Hill Troupe. Sat., Dec. 12 at 4 PM will feature a panel discussion on Sullivan led by F. Woodbridge Wilson, followed at 7 PM by a concert featuring 4 NYC groups (The Village Light Opera Group, The Bronx Opera, the NY G&S Players, and Theatre Ten Ten). And On Sat., Feb 27, Ralph MacPhail will lead a panel discussion on the partnership among G, S, and D’Oyly Carte, which will be followed by a concert at 7 PM by The Blue Hill Troupe.

HTML by rnf@null.net November 22, 1998