LIMITED RUN--UNLIMITED JOY

 

New York Gilbert & Sullivan Players' production of Utopia, Limited

We had high expectations of last night's performance of New York Gilbert & Sullivan Players' production of Utopia, Limited and these expectations were actually exceeded. Utopia, Limited was the penultimate creation of that brilliant writing team and has been given a lavish production with some truly splendid performances. One wonders why it is so rarely performed.

The themes are familiar. Gilbert loved to skewer the British government and, although their institutions are not the same as ours, loopholes and corruption abound everywhere and are always ripe for mocking. In this work, colonialism also gets a good kick in the pants since The Flowers of Progress (the alternate title of the work) have been brought back to this island nation of Utopia by The Princess Zara (played by the sweet-voiced soprano Sophie Thompson) who just returned from being educated in England. The work would seem to have been inspired by a contemporaneous event; Hawaiian Princess Kaiulani had been educated in England and there was much speculation as to how her contact with English "civilization" would affect her homeland.

There were other topical references the contemporary viewer may not be aware of.  A woman named Anna Leonowens had written a book about her six year employment as governess to the children of the King of Siam.  (No doubt you have heard of a Broadway show entitled  The King and I, which was developed from her book.) In Utopia, Limited  there is a governess named Lady Sophy (played by the marvelous contralto Hannah Holmes) who had been hired by King Paramount (the very funny Matthew Wages) to instruct his two younger daughters (Laura Sudduth and Alexandra Imbrosci-Viera--both adorable). The British audience of the 1890's would have caught the reference

The "flowers of progress" comprised six English gentlemen of the military and government, including Princess Zara's love interest Captain Fitzbattleaxe (!) performed by tenor Cameron Smith who had the funniest song in the show.  He opened Act II with "Oh, Zara, my beloved one, bear with me!" including  some very funny lyrics about tenors having vocal difficulties when in love; this was illustrated vocally, a moment we truly loved.

Much of the King's interaction took place with his two Supreme Court judges (Vince Gover and Lance Olds) who added a great deal to the humor, as did Sam Balzac who portrayed the Chief Exploder--a role for which we have many mental pictures but for which we cannot find words--and we are rarely at a loss for words.

Not only are British political institutions mocked but also courtship rituals when two of the visiting "flowers of progress" proceed to instruct the two younger sisters in the behavior of English girls in "Then I may sing and play?"

As far as the visiting English "flowers of progress" we were particularly delighted by David Auxier as Captain Sir Edward Corcoran who seemed to be visiting from H.M.S. Pinafore, complete with his "Never! Well, hardly ever". There is great satisfaction in getting an inside joke! Notably, Mr. Auxier was also responsible for the excellent choreography which added a great deal to the performance.

The visiting "flowers of progress" bring English institutions to the supposedly benighted Utopians, including the concept of a "limited company" which I guess we Yankees would call "incorporation", thereby solving a multitude of problems and much irony as other problems are created. Ultimately those very problems are solved by the institution of a two-party system. Lest we laugh too heartily at the British let us remember what happens to the pot that calls the kettle black.

Let us give due credit to the remaining "flowers of progress"--Jack F. Murphy portrayed Lord Chamberlain Dramaleigh; Logan Pitts took the role of Mr. Goldbury, Company Promoter;  James LaRosa performed Sir Bailey Barre; Pru Lord Remmert enacted Mr. Blushington.

Although political satire is the major focus, the work includes, of course, two romances--one obvious and one a surprise revelation.  Guess which!

Under the baton of Maestro Joseph Rubin, Sullivan's music sounded absolutely delightful with sparkling melodies and toe-tapping rhythms. 

Although the set design by Joshua Warner was minimalistic, the colorful costume design by Quinto Ott delighted the eye. We wondered why the chorus of local island women were dressed in high British fashion of the period and then we surmised that it was done that way in Savoy Theater time. When the island women became "anglicized", the lines of the dresses remained the same but the colors were subdued. At the outset, the colors were bright and varied.

The direction by James Mills was above and beyond. There was plenty of physical comedy to delight the eye when the ear might have missed some of Gilbert's witty rhymes. And that brings us to our one complaint. The voices are excellent and the Kaye Playhouse is of modest size. We object to amplification as we usually do. These works were presented in the 1890's without amplification. Does anyone think that microphones add to the experience?

What would add to the experience would be projected titles. The dialogue is so witty and the rhymes so pungent that it is a pity to miss them.

Dear Reader, you may have to wait at least two years for an opportunity to enjoy this gem. The 2026-2027 season has already been announced with the popular The Mikado and The Pirates of Penzance being joined by The Gondoliers which we have never seen but are very much looking forward to.

© Meche Kroop

MAKE AMERICA GREAT (BRITAIN) AGAIN

 New York Gilbert&Sullivan Players' production of H.M.S. Pinafore

We wish the title of this review had been our own creation but it is not. It is just an example of the clever approach taken by New York Gilbert&Sullivan Players in adapting a Victorian work of quintessential British flavor to the tastes of 21st century New Yorkers.  W.S.Gilbert's clever lyrics may contain a few words that are outside of our vocabulary but the rhymes tickle our brain whilst Arthur Sullivan's memorable tunes tickle our ears to the point that we are suffering from what is known as "ear worms". If we are going to endure this malady it may just as well be caused by good tunes as by boring jingles.

Contributing to the rapturous response of the appreciative audience were a number of contemporary interpolations, not so very different from the liberties taken in The Mikado with "I've got a little list". Lest we deprive you of the surprise effect of these liberties, we will confine our mention to just one. Dear Reader, you must be aware of the nonsensical meme of "6-7" and you will enjoy a good laugh as the cast drives that one into the ground. The schtick were abundant in this iteration of the company's frequent revival; if some were groan worthy, let us not be the one to say so. We smirked, chuckled, and guffawed right along with the rest of the audience. That the gloom of this rainy evening failed to dampen the high spirits of the audience was obvious.

To those readers who have never seen this delightfully entertaining show, we will tell you that Gilbert and Sullivan made their reputation in Victorian England by skewering British society, especially politics and class structure. In the case of H.M.S Pinafore, the exalted reputation of the British navy and the limitations of class structure are the butt of their humor.

A "lowly" British seaman (Cameron Smith) falls in love with the Captain's daughter (Michelle Seipel). The Captain (David Auxier) hopes she will wed the aging and awkward First Lord of the Admiralty (James Mills) who boards the ship with his very controlling Cousin Hebe (Victoria Devany) as well as a singing and dancing chorus of "Sisters, Cousins, and Aunts". Not exactly the villain of the piece is one Dick Deadeye (Matthew Wages) who brings a very funny negativity on board. The denouement rests upon the shoulders of the (not so) Little Buttercup (Angela Christine Smith). Filling out the cast are David Wannen and Quinto Ott.

Maestro Albert Bergeret conducted the orchestra and it is they whom we blame for the "ear worm"; we cannot get those tunes out of our head, nor do we wish to.  Listed as Director was Mr. Mills himself with Mr. Auxier listed as Co-

director and Choreographer. The production moved swiftly and the stage business, which was abundant and bordering upon excessive, never interfered with the singing. We also enjoyed the choreography (originally by Bill Fabris) which involved lots of hornpipes for the crew and some delicate dancing by the Sisters, Cousins, and Aunts. Indeed the production is a beautiful one with a most realistic set (the Quarterdeck) by Albère and sensitive lighting by Benjamin Weill.

Although this work premiered in 1876, it has held up as well as those by the contemporaneous Verdi, although the comic style reminded us more of Rossini. Now here's the anticipated quibble. Although theater goers of today are accustomed to amplified voices, this opera lover is not. Whilst enjoying the performances, the acting, the directing, and the libretto, we feel unable to comment on the voices. Not one stood out as remarkably good or bad, just serviceable.  With comprehension varying from one performer to the next, and from one moment to the next, some of Gilbert's clever dialogue did not come across. Subtitles would have been welcome.

The performances of the romantic couple were overshadowed by the larger than life performances of the rest of the cast who are company regulars. We have come to expect these winning performances and would settle for no less. We had a marvelously entertaining evening and we hope you will too, if you are able to secure tickets. The show runs through the weekend and continues next weekend at The Kaye Playhouse of Hunter College. 

We are already anticipating the company's production of Utopia, Limited in April.

© meche kroop

THE MERRYMAN AND HIS MAID

 Curtain Call at New York Gilbert & Sullivan Players' production of Yeomen of the Guard

New York Gilbert and Sullivan Players have been delighting NYC audiences for half a century and we have witnessed their growth in artistry and audience size at least for the latter portion of this period. Their professionalism makes them one of the Big Apple's premier performing companies. We have always enjoyed their musical values as well as their production values. Last night's performance manifested their importance on the NYC cultural scene.

So curious were we about the difference between Yeomen of the Guard and the trio of Gilbert and Sullivan operettas most commonly produced (The Mikado,  H.M.S. Pinafore, and Pirate of Penzance) that we did an online search to learn the details, as you, Dear Reader, may also choose to do. We will focus on a few interesting details before relating our experience with this delightful production.

The first thing we noticed was that the overture was not merely a collection of tunes but was composed in sonata form. Speaking of the excellent NYG&S Players Orchestra, helmed by Maestro Joseph Rubin, we were particularly delighted by the way the winds highlighted Sullivan's themes. The next thing that differentiated this work from other G&S works is the lack of institutional satire. There are no sendups of the judiciary, the navy, or the police. As a matter of fact, the Yeomen are a particularly normal bunch, gorgeously decked out in Beefeater's garb.

And finally, the ending is not a tidy resolution with everyone happy. Rather, it is bittersweet with the Merryman (the jester or fool, as it were) collapsed in a heap on the floor as the Maid, his theatrical partner, weds another man. Even sadder, the lovesick Phoebe has lost the object of her affection and is bound to a man she doesn't love--the Jailer Wilfred Shadbolt, in order to keep him quiet about a risky plot. Similarly, Sergeant Meryll, Phoebe's father, is obliged to wed Dame Carruthers whom he has been avoiding for years, all to keep the same secret. We will say no more about the plot but hope that you, Dear Reader. will catch the final performance tonight and see for yourself.

We don't want to convey the impression that the work is completely serious. As in Shakespeare, there are more than enough moments of levity and sufficient plot twists to tease your brain. As a matter of fact, the opening aria, sung by Phoebe (marvelous mezzo Amy Maude Helfer) "When maiden loves, she sits and sighs" led us to believe that she would be the one to enjoy a happy ending. 

The one who does enjoy the happy ending is Elsie Maynard, a strolling singer portrayed by the winsome soprano Natalia Hulse who weds a condemned prisoner (terrific tenor Thomas Valenti) in order to save his inheritance.  Have we aroused your interest yet?  The heartbroken Merryman, as performed by James Mills, not only touched our heart but also dazzled our ears with patter song.

The closest role to a villain (but not really) is that of the Jailer turned Jester who in spite of constant rejection by Phoebe may eventually wed the woman who has been fighting him off. Matthew Wages imbued the role with a great deal of humor in the effective manner in which he spoke his lines, accompanied by perfect facial expression and gesture.

We also enjoyed the performances of Andrew Martens, Sergeant of the Guards and Phoebe's father. He lent stature and honor to his role, even as he connives and plots to save his friend's life. His Lieutenant was effectively portrayed by the well known David Auxier who so successfully co-directed the work, along with the afore-mentioned Mr. Mills.  Phoebe's brother was played by Cameron Smith and Sarah Hutchinson played the part of Dame Carruthers niece, both necessary to move the plot forward. It is always a pleasure to hear the striking contralto voice of Angela Christine Smith as Dame Carruthers;  we have enjoyed her performances in every one of the company's productions.

We would like to commend the production values.  The set by Richard Manfredi and Albère does evoke the Tower of London, or at least the way we imagine it in the 16th century. Phoebe's home, or at least the room where she spins, occupies a corner of the stage. No more is needed. Costumes by Gail J. Wofford and Jan Holland are resplendent.

We generally have a quibble and here it is. The sound was muddy at times. We cannot tell whether it was a flaw in the electronics or careless diction on the part of the singers but we did understand every word sang and spoken by Mr. Valenti. We considered that our spotty comprehension had to do with our lack of experience with miked voices,  but our companion confirmed our opinion. The well chosen singers could probably be well heard without amplification. Or perhaps subtitles might be provided as they are by Utopia Opera's productions of G&S operettas.  Just sayin'.

© meche kroop

A MEMORABLE IOLANTHE

David Wannen, Angela Christine Smith, Claire Leyden, and David Macaluso

Although not as frequently produced as The Mikado and Pirates of Penzance, lovers of Gilbert and Sullivan's works must count Iolanthe as one of their masterpieces. It was a fine selection to celebrate the 50th Anniversary of New York Gilbert & Sullivan Players. Although we were not here 50 Years ago, throughout  our theater going days we have watched this venerable company increase in artistry and prestige until last night when we watched enthusiastic fans filling the Gerald W. Lynch Theater at John Jay College, a sizable and comfortable venue with (thankfully below ground level) orchestra pit, well filled by Maestro Albert Bergeret and his superb orchestra. 

As a matter of fact the first thing we noticed was the sparkling overture. Once the action started one's attention became riveted upon W.S. Gilbert's lyrics which are so clever that they take one's full attention; one might miss just how skillfully the music establishes both situation and character. Focusing on the overture with its alternation between the lyrical and the pompous, the romantic and the official, informs us of Sullivan's mastery of tunefulness and orchestral colors.

The plot has something for everyone. The story, like most of those by G&S, focuses on satire of British institutions, in this case the British Parliament and its  self serving custom of the Lords marrying off their wards to the highest political bidder, so to speak. If the theme of political corruption and the emotional tendency for self-justification are insufficient to entertain you, there is always a love story between a beautiful soprano (in this case, the wildly talented and operatically trained Claire Leyden) and a tenor who must overcome obstacles to win her love--in this case the tenorrific David Macaluso.

Opera lovers may catch bits and pieces the Savoyards borrowed from the world of opera and ballet, bits both musical and physical.  For example, during the patter song "When you're lying awake" (sung by the marvelous James Mills as The Lord Chancellor), Maestro Bergeret, who also directed, kept bidding the increasingly exhausted Mr. Mills for encore verses until the poor singer was on the verge of collapse, only to be wound up again just like Olympia, the mechanical doll in Offenbach's Les Contes d'Hoffman. Ballet lovers may have noticed reflections of the "Dance of the Cygnets" in Swan Lake as the fairies danced in Act I.

The story is a charming one in which the fairy Iolanthe (portrayed by Amy Maude Helfer)  had escaped the death sentence reserved for fairies who marry mortals by the leniency of the Fairy Queen (played by contralto Angela Christine Smith, so amply of body and voice). She had born a son Strephon (Mr. Macaluso) in her forbidden marriage with the Lord Chancellor (Mr. Mills).

Strephon has become a shepherd and has fallen in love with a charming girl who is a ward in Chancery of The Lord Chancellor who does not accept his suit. Strephon is overheard speaking affectionately with his mother who, as a fairy, has not aged and appears to be romantically involved with Strephon, sending poor Phyllis into a fit of anger and determination to marry one of the Lords, never mind which. Both The Earl of Mountararat (marvelous Matthew Wages, with resonant low tones and exquisite comic timing) and The Earl of Tolloller (tenor Daniel Greenwood, with similar comic talent) vie for her hand in a delightful duet. 

Let us not forget the similarly superb comic chops of David Wannen whose huge bass tones were just perfect for Private Willis of The Grenadier Guards whose "When all night long a chap remains" struck us as perfect political commentary.

If we have said very little about the voices, it is because amplification never gives us a true picture of the singers' instruments.  However, the only one in the cast whom we have often heard unamplified on the opera stage is Ms. Leyden and to her vocal gifts we can attest.  Everyone else is in the cast sounded just fine but simply not describable. The acting was flawless as was Bergeret's direction.

Gail J. Wofford's costumes were marvelously colorful and period apropos (1885). Jack Garver's set design was simple but effective. David Auxier's choreography was well suited to the fairies and to the Lords who somehow reminded us of the Rockettes.

I was an extraordinarily satisfying lighthearted evening at a time when our own nation is ripe and ready for political satire. Unfortunately, all we get are memes and cartoons on FaceBook and on Instagram. We wish we had a team as clever as Gilbert and Sullivan to write something pertaining to contemporary times.

Since we always have a minor quibble, let us just suggest that titles be provided. We spent some time reading the libretto and marveled at Gilbert's skills with wordplay and rhyming. That much of the words were lost during the performance seemed particularly unfortunate. Naturally, low voices are more easily understood so Mr. Wannen and Ms. Smith were always clearly understood. The female chorus, whilst charming, was the least comprehensible.

© meche kroop

SINGING PIRATES AND DANCING COPS

                                                       Those kindly thoughtful pirates

"No, Frederic, it cannot be. I don’t think much of our profession, but, contrasted with respectability, it is comparatively honest." Thus spake The Pirate King to his apprentice Frederic revealing to an ever enthusiastic audience the hypocrisy of the respectable. In the present day, news sources are full of tales about genuine and very scary pirates who attack merchant ships for political causes or for economic benefit. Not so the pirates of Gilbert and Sullivan's masterwork The Pirates of Penzance.

Spoiler Alert! One doesn't find out until the final scene that the pirates are all nobleman gone astray, fine fellows all with a soft spot for orphans, and eligible to wed the numerous wards of Major-General Stanley, whose patter song "I am a Model of a Modern Major-General" is a model of clever rhymes that tickle the ear. W. S. Gilbert was a whiz of a wordsmith indeed.

The beloved Savoyards skewered British social customs and legal systems to the delight of their Victorian audience and continue to delight modern audiences, even though there are words that are somewhat unfamiliar. We read the libretto in advance and were obliged to look up such words as "costermonger" and such terms as "a Ward in Chancery" but one can enjoy the story, the tunes, and the sound of the rhymes and rhythms even if one does not understand every word.

Still, there are a plethora of couplets that one can appreciate such as our favorite: "You shall quickly be parsonified, Conjugally matrimonified, By a doctor of divinity, Who resides in this vicinity". That Arthur Sullivan's melodies amplify Gilbert's wordsmithery does not make it a periphery, but it does make us so dithery.  Oh dear!  Their wit is contagious and a bit outrageous. (No more, we promise!)

Although we have been fortunate enough to have seen the D'Oyly Carte Opera Company when they toured the United States some time ago, we prefer the performances of New York Gilbert and Sullivan Players who always deliver a performance that is dramatically valid and musically rewarding. We've never been disappointed by the artists who seem to enjoy being onstage as much as we enjoy being in the audience.

2025 marks their 50th season and last night we were thrilled to be in the audience for opening night of The Pirates of Penzance. Directed by Albert Bergeret, the performance was full of wit and over-the- top shenanigans. We would hate to spoil it for you! David Auxier's  witty choreography added greatly to the fun and, in a highly amusing modernizing twist, employed some choreography suggestive of Bob Fosse with appropriate use of headgear. 

Joseph Rubin's conducting made every sparkling tune come to life and the melodies are still ringing in our ears. Even the lighting by Benjamin Weill added to the fun; in a clever bit, the  Sergeant of Police, played by the loose limbed Mr. Auxier himself, interacted with the person handling the spotlight, motioning for it to be directed towards himself. This was only one of several inventive and amusing moments.

But we are talking about musical theater (operetta?) so let us concern ourselves with the voices. Regrettably amplified (my companion and I both found the sound a bit muddy at times with some artists sounding clearer than others), it is difficult to evaluate vocal quality with the exception of that of soprano Claire Leyden. Her coloratura was crisply and musically rendered, with Sullivan's writing sending up Lucia's mad scene from Donizetti's Lucia de Lamermoor. 

The acting was superb all around with Alex Corson portraying the innocent Frederic about to "graduate" from his apprenticeship with a pirate band, due to the disarticulation of the word "pilot".  He has never seen a woman except for his nursemaid Ruth who would like to marry him. These days, everyone is butt-hurt about something or other and protests abound from those experiencing racism in the theater. As a middle-aged woman, we personally object to the ageism in this work, since Ruth is discarded as being too old for Frederic! We are laughing up our sleeve since we wouldn't change a word of this delightful piece.

The loyal Ruth was wonderfully performed by Angela Christine Smith. The aforementioned Ms. Leyden was charming as Mabel, the only one of Major-General Stanley's passel of wards willing to show interest and affection for the "Poor Wand'ring One" whose profession as a pirate was deemed unacceptable for respectable young ladies. 

The role of Major-General Stanley was taken by James Mills who dazzled us with his rapid-fire patter song "I am the very model of a modern Major-General" in which he pretended to be groping for Gilbert's clever rhymes.

Matthew Wages made a marvelous Pirate King and convinced us that "it is indeed a glorious thing to be a Pirate King"! As his Lieutenant Samuel, Adam Hirama Wells had just the right spirit.

Three of Stanley's wards were named in the program -- Hannah Holmes, Alexandra Imbrosci-Viera, and Laura Sudduth but there was no way to tell which artist played which girl.. Well, one of them performed some lovely ballet moves.

We will repeat how excellent was the direction and staging. Among the  numerous sight gags we particularly enjoyed the one in which the gaggle of girls created a train with twirling parasols as wheels. Their beautiful and most apropos costumes were created by Quinto Ott and Gail Wofford, whose artistry most radical made sense of  costuming piratical (Oh, stop us before we begin speaking like Gilbert!)

We cannot keep from mentioning how successful this company is at attracting audiences without directorial co-opting. We are in Victorian England where duty is a major value as is love of The Queen. Thanks for honoring the time and place without attempts to make the work "relevant".

By the end of the performance, our face was sore from smiling. Dear Reader, next weekend offers more opportunities to enjoy this experience and you should make sure that you do!

This review was NOT written by AI. We take full responsibility for it, errors and all.

©meche kroop

 

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