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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TOYS FOR GROWNUPS

 Matthew Wages,  Alexa Devlin and. Ryan Allais

(photo by meche kroop)

We have no idea who was the intended audience for Victor Herbert's turn-of-the-20th c. hit musical Babes in Toyland nor are we experts in what is suitable for children these days.  All we can say is that we spent a most delightful hour with VHRPLive! which, regular readers will know, stands for Victor Herbert Renaissance Project Live. We wish that this magical musical hour  had gone on longer!

Let us mention that there is nothing "naughty" that is unsuitable for children and, if you have any, it might be fun to bring them along. Of course, today's children are accustomed to snark and smarm so we dare not predict the extent of their interest.  But for those of us of the adult persuasion, it is very refreshing to watch a work so charming and innocent, played without a shred of condescension. What fun to awaken the child in oneself!

The main attraction is Mr. Herbert's memorable melodies. Contemporary composers could use a lesson from the prolific Mr. Herbert who penned enough operettas to keep VHRPLive! (celebrating its tenth anniversary) going for at least another decade. When is the last time you left a theater smiling and humming? We want to give credit to the late Dino Anagnost for compiling the score some three decades ago.

What is also quite wonderful is the manner in which Founder and Artistic Director Alyce Mott has revised the libretto to bring the story to its charming peak, as she usually does. Furthermore she has tinkered with Glen MacDonough's lyrics to great advantage, with contributions from Craig Timberlake and Mr. Anagnost.  We take umbrage when an opera director alters the original intent and setting of our beloved classic tragedies such that they make no sense. This is a completely different "story", so to speak. We sincerely believe that if Mr. Herbert had been in the audience he would have shared our delight.

The "book" is nothing like Pixar's film Toy Story. The characters are not toys, they are nursery rhyme characters that most of us recall from childhood. Here they are all assembled in an imaginary place called Toyland, under the supervisory eye of Mother Goose, portrayed by mezzo-soprano Alexa Devlin who was costumed exactly as we might have imagined her (no credit for costuming in the program).  Her warm sound introduced us to "Toyland" which is probably one of Herbert's more familiar songs.

The romantic couple comprised BoPeep andTom, Tom, the Piper's Son. Soprano Joanie Brittingham, a VHRPL regular, was adorable in the role which had her being both tearful and fearful, as she searched for her missing sheep. New to the company is tenor Ryan Allais as Tom, as wonderful a romantic lead as we could have hoped for. His singing and dancing were completely on point and we don't mean on point shoes!

The villain of the piece was an almost unrecognizable Matthew Wages whose mellow baritone was twisted into a nasty snarl as he portrayed Silas Barnaby, waving a foreclosing mortgage that threatens to put an end to Toyland. He was accompanied by two henchmen, the brainy Rodrigo, played by tenor Chaz Peacock and the brawny Gonzorgo, played by tenor Andrew Buck. 

Mr. Barnaby wants to marry BoPeep but...(we are not going to give away the plot but we were thinking of the last act of Falstaff).  Does the villain twirl his mustache?  Does he get his just desserts? You are going to have to find out for yourself. We hope you can snag tickets for the two remaining performances and you can thank us later.

You will enjoy the company of Humpty Dumpty (mezzo-soprano Sarah Bleasdale, Wee Willie (baritone Keith Broughton), Mary Mary Quite Contrary, doubling as a gorgeous butterfly  (soprano Gabriella Giangreco), Little Miss Muffet (Maggie Langhorne), tenor Joe Marx and soprano Kathleen Raab (both making their debuts with the company) as Jack and Jill, soprano Mariah Mueller as Curly Locks, baritone Zachary Wobensmith as Simple Simon, tenor Matthew Youngblood as Little Boy Blue, and the familiar veteran baritone David Seatter as Old King Cole. Mr. Seatter is a founding artist of the company and has never missed a performance. We always await his presence with anticipation.

As far as the music is concerned we delighted in the live orchestra under the baton of Maestro Michael Thomas. We might add that The Theatre at St. Jean's is a rare find, a mid-sized theatre with an orchestra pit and raked seating. Everyone gets an unobstructed view and perfect sound. There is some voluntary audience participation in the finale and if you want to participate, learn the words to "Toyland". In terms of clever lyrics, we were particularly fond of "I Can't Do the Sum".

The choreography by Christine Hall was simple and stylish, adding a great deal of interest, as did the colorful but uncredited costuming. 

© meche kroop

WE'VE GOT A LITTLE LIST

 The Gilbert and Sullivan Players presents THE MIKADO

Dank was the night and gloomy were our spirits; but three minutes of Arthur Sullivan's tunes and our smile might have lit up the stage of The Kaye Playhouse. For three hours we were transported to the Japan of Victorian Era England. It hadn't been long since Japan had become open to the West and the English were fascinated by Japanese artifacts.

Indeed, in the clever prologue devised by David Auxier-Loyola, we get to see an imagined scene in the offices of the D'Oyly Carte Company in which W.S. Gilbert (played by Mr. Auxier himself) gets his idea for The Mikado from examining a selection of Japanese objets d'art. Gilbert and his composer partner Arthur Sullivan (played by David Macaluso) had just premiered a hit and were looking for inspiration for their next creation.

Perhaps Mr. Auxier was inspired by Mike Leigh's 1999 film Topsy-Turvy which we highly recommend to all lovers of Gilbert and Sullivan since their tempestuous but artistically rewarding partnership was given a most satisfying treatment.

Getting back to the music that so rapidly changed our mood, Maestro Joseph Rubin put his orchestra through their lively paces with conductorial glee. We have been humming the tunes all night and those ear-worms have sustained that smile we spoke of. There is a reason why certain works of art become classics; in the case of music theater, the public wants tunes and rhythm, married to an engaging story with lyrics that fit the music, just as "the punishment fits the crime".

Although we despair of attempts by narcissistic directors to make their mark on the classics and thereby wind up destroying them (i.e. the current production of Bizet's Carmen at the Metropolitan Opera), we have no objection to the little touches employed in this production to bring the work into the 21st century. Do not worry, Dear Reader, Nanki-Poo does not carry a cell phone. We do believe it is customary for the director of this operetta to update The Mikado's hit number (which we call "I've Got a Little List") to include contemporary references to politics and social customs. We are not going to spoil it for you, Dear Reader; you will have to go and hear for yourself, be you lucky enough to get a ticket.

David Wannen made a fine, funny, and arrogant Mikado and his excellent performance was matched by the entire cast. We particularly enjoyed the Nanki-Poo of tenor John Charles McLaughlin who was more than commonly affecting in his creation of a young innocent Candide type youth. His "A Wand'ring Minstrel I" was sung with pure tone, lovely phrasing, and dramatic conviction.

As his beloved Yum-Yum, Rebecca L. Hargrove delivered one of the best ever examples of female vanity in her major aria "The Sun Whose Rays are All Ablaze". She provided plenty of humor in her off-again on-again intention to wed our hero, dependent upon whether she would be buried alive, a situation handled with dry British humor.

The part of Koko, Lord High Executioner of Titipu, was portrayed by Mr. Macaluso with admirable physicality that garnered much laughter from the audience. His desperate courtship of Katisha could be considered a lesson in clowning. This made his tender aria "Willow, Tit-Willow" even more soulful by contrast.

The character of Pooh-Bah is a matchless vehicle for comic acting and Matthew Wages more than lived up to the challenge with physical humor to spare. Just look at the gestures he employs as he describes his multiple offices and his greedy eyes as he extracts bribes without compunction.

None of these characters could be considered evil, just opportunistic. The character who comes closest to evil is the unpleasant Katisha (played by Hannah Holmes), the "Daughter-in-law Elect", but even she has a softer side. It was fun watching her melt to Koko's love song in contrast with her customary rage. This reminds us that miserable people are most often suffering from a lack of love. When she interrupts The Mikado's entrance with her insistent "daughter-in-law elect" we see the attention-seeking as an attempt to compensate for being rejected earlier by Nanki-Poo. She knows she is unattractive and therefore shows excessive pride in her shoulder and elbow. Her costume reminded us of that of Carabosse, the evil fairy in the ballet Sleeping Beauty.

Which reminds us to credit Quinto Ott for the colorful and apt Costume Design. The blend of Victorian fashion with Japanese elements is most successful. The female chorus is decked out in high Victorian style with bustles and exposed crinolettes. The male chorus ("We are Gentlemen of Japan") is dressed in typical Victorian gentlemen fashion with some Japanese decoration.

Anshuman Bhatia designed the simple but effective set with Koko's tailor shop stage right and the Titipu railway station stage left, lent verisimiltude by the sound effect of the approaching train, heralding the arrival of the "Three Little Maids from School" and later The Mikado and Katisha.

Elizabeth Cernadas had the role of Pitti-Sing and Peep-Bo was played by Sarah Hutchison.

Mr. Auxier did a fine job directing and choreographing, and Maestro Albert Bergeret served as Music Director. Kudos to all!

Since we always need some minor detail to grumble about, it would be some ineffective enunciation on the part of the chorus and some of the female performers. Surtitles would have been welcome since Gilbert's text is so very clever. It seems a shame to miss a word of it.

© meche kroop

CYRANO DE BERGERAC

 Curtain call for Cyrano de Bergerac

We take the label "fan" to have derived from the word "fanatic". We have further observed that the happiest most productive people are those who immerse themselves in their passions. Alyce Mott, Founder and Artistic Directof of VHRPL!  must be one of the happiest people in New York. She has devoted most of her professional life to championing the works of Victor Herbert, the late 19th c. composer--so well known in his day and becoming more and more renowned since Ms. Mott established the Victor Herbert Renaissance Project Live!

This is their 10th Anniversary Season and we have watched the audience grow from a small group of devotees at the sanctuary of a small church on the Upper 

West Side to a packed house in the far more commodious Theater at St. Jean's on the Upper East Side. The new home has a real proscenium stage and orchestra pit and gives these works the setting they deserve.

Last night we saw a work that, like most great works, produces both laughter and tears. It is difficult to imagine that the score to Herbert's Cyrano de Bergerac lay dormant for a century until Dino Anagnost of the Little Orchestra Society of New York joined forces with Ms. Mott for a rebirth of this neglected work. The most fascinating part of the story is that there was no libretto; but our intrepid Ms. Mott rose to the occasion and created one!  And that is what we saw and heard last night. This is only the second time the work has been performed.

Mr. Herbert's music is always delightful to the ear, but in this case he outdid himself and one sensed from the overture, replete with waltzes and marches, that we were in the hands of a musical genius. What we didn't expect was the felicitous marriage of music and lyrics--lyrics that rival those of W.S.Gilbert--but American in style. This delightful music was performed by a chamber group of musicians comprising the piano of William Hicks, augmented by violin, cello, string bass, flute, clarinet, and percussion--all brought together by Maestro Michael Thomas.

The work was effectively cast with singers who could act; they succeeded at drawing out the pathos of the story, leaving us with abundant thoughts about not being fooled by the surface of people but rather being open to perceiving their inner beauty.

As the swashbuckling arrogant Cyrano we heard VHRPL! LIVE regular Matthew Wages whose deeply resonant baritone and body language allowed us to see the sensitive insecure soul underneath. He carefully allowed us to see how he lived vicariously through the handsome Christian. There was no need for a fake nose! As his beloved cousin and childhood chum Roxane, we heard the lovely soprano Hannah Holmes who allows herself to be deceived by appearances until the final moment when we weep for her because it is too late and Cyrano is dying.

The role of narrator Comte de Guiche, a "frenemy" and rival to Cyrano we heard Jack Cotterell who inhabited the role with Gallic pomposity. As Roxane's beloved Baron Christian de Nuevillette we heard lyric tenor Ai Ra who created a character of meager verbal skills who can only win Roxanne with the soulful words of the poet Cyrano.

It is always a joy to see the veteran David Seatter as a baker and as the monk who is tricked into marrying Roxanne to Christian instead of to Comte de Guiche. New to the company and most welcome was Jesse Pimpinella as Montfleury. The chorus of cadets was excellent as were the ladies, although the women's chorus did not enunciate as clearly.  Of course we acknowledge that lyrics are more difficult to understand in the upper register.

Christine Hall's choreography was terrific, especially for the Musketeers. No one was credited for costuming which was minimal but not missed. The headgear, a few ruffles around the neck, some boots, and some swords were sufficient.

As far as the gorgeous musical numbers, we mostly enjoyed those with harmonizing voices--"Let the Sun of Thine Eyes" for Cyrano, Christian, and Roxanne; "Since I Am Not For Thee" for the same voices with considerable overlapping; and "The Call to Arms" for the entire company, at the end of which we heard the effective lower register of Mr. Wages' voice.

The final number "Those Were the Good Old Times" for Cyrano and Roxane was quite moving with the orchestra syncopated like a faltering heart. Music Director Michael Thomas did his customary excellent job conducting.

We admit that we enjoyed the work more than Alfano's opera, also written based on the same play by Rostand!

© meche kroop

INNOCENT MERRIMENT

Rebecca Hargrove, David Wannen, John Charles McLaughlin, Sarah Caldwell Smith, David Auxier, David Macaluso, Cáitlin Burke, Matthew Wages, and Amy Maude Helfer

Delighting audiences since 1885, W.S.Gilbert and Arthur Sullivan's comic operetta The Mikado has been brought up to speed by an inventive framing device. Possibly borrowing a page from Mike Leigh's 1999 film Topsy Turvy, the New York Gilbert and Sullivan Players' Director and Choreographer David Auxier-Loyola has written a prologue hinting at how G&S came up with the idea for The Mikado. In this prologue, he himself portrayed the dour Gilbert with David Macaluso taking the role of the genial Sullivan. 

At an impasse, their producer Richard D'Oyly Carte opens a trunk of mementos redolent of the Victorian obsession with japonaiserie. Meanwhile, members of the D'Oyly Carte Company invade the space with their varied complaints. Making a big splash was the powerfully voiced Cáitlin Burke who would play Katisha, the "daughter-in-law elect" of the Mikado. We had the same thrill of recognition that we experienced seeing the film, as words were tossed about that would make their way into the operetta.

The device added a great deal to our appreciation although it did make for a long evening. Yet we were never bored and the three hours sped by. We have nothing but good things to say about the cast, the orchestra conducted by Joseph Rubin, and the production values.

Why has this operetta endured since Victorian days? One had only to look around the Kaye Playhouse to see heads wagging in time with the music and arms subtly waving back and forth; one had only to listen to the crowd emerging at the end humming the tunes. Good music will do that! Furthermore, Gilbert's lyrics are not only hilarious and clever but responsive to the rhythms of the English language in a way that very few lyricists have managed to achieve.

The more you hear Sullivan's music the more you appreciate it. Last night we were particularly taken with his complex writing for ensembles, particularly in the madrigal "Brightly Dawns Our Wedding Day".

We also enjoyed the contemporary updating of "I've Got a Little List", sung by Ko-Ko, the tailor who has been given the role of Lord High Executioner. Similarly we got a big kick out of "Let the Punishment Fit the Crime" sung by the Mikado himself. These are not the actual titles of the songs but rather how they are commonly known.

Nanki-Poo, son of the Mikado in the disguise of "A Wand'ring Minstrel" was sung by the sweet voiced tenor John Charles McLaughlin who gave a sympathetic and engaging performance.

His self-absorbed beloved Yum-Yum was adorably realized by the superb soprano Sarah Caldwell Smith who is well known to us from the Victor Herbert Renaissance Project Live. "The Sun, Whose Rays are All Ablaze" was beautifully rendered.

Impressing us with his comic chops was David Macaluso who kept the audience in stitches with his physical humor, accompanied by generous facial expressiveness. In the prologue, he portrayed Arthur Sullivan.

Matthew Wages, who is well known to us from several performances with Victor Herbert Renaissance Project Live, made a very humorous Pooh-Bah adopting different expressions, different vocal colors, and different gestures for each of his many occupations, from solicitor to Chancellor of the Exchequer to Bishop of Titipu.

David Wannen made a regal Mikado and clearly enunciated all of the miscreants of society on his list--and the appropriate punishments for each. We wondered whether the updatings were written by Mr. Auxier who portrayed Mr. Gilbert in the Prologue and Pish-Tush in the operetta itself.

We enjoyed Amy Maude Helfer as Pitti-Sing as much as we enjoyed her recent performance as Ruth in Utopia Opera's Pirates of Penzance. She has a great flair for G&S. 

Almost stealing the show as the vengeful Katisha was the sonorous voice of Cáitlin Burke. Her final scene with Ko-Ko was a marvel of actors working off one another. He cannot stand her but must marry her so that Nanki-Poo can wed Yum-Yum. He serenades her with "Willow, Tit-Willow" so successfully that her rage melts and she becomes an almost-nice person.

Adding to the success of this production is a wonderful set by Anshuman Bhatia. A railway station stage left bearing the sign"Town of Titipu" and a tailor shop stage right appear before a painted backdrop looking a bit like a Japanese woodcut of mountains. A few branches of flowering trees and a bench provide a place for wooing.

Benjamin Weill's lighting was exemplary. When Yum-Yum sings about the sun's glory, the stage is warmly lit with golden tones. When she comes to the verse about the moon, the lighting becomes dark and tinged with cool blues.

Quinto Ott's costumes were colorful and playful. The women's Victorian gowns revealed the armature underneath that served to create the shape that was popular in that era. Those of the Mikado and Pooh-Bah were appropriately over embellished.

Much work had been done to appease the Asian community's objections and the production managed to be politically correct whilst holding to the intent of the piece. We have no idea what the cast wore in 1865 but this reminder that the work is about Victorian England and not about Japan made it seem just right.

Victorians needed to see their hypocrisies, bureaucracies, sexual repression, and political chicaneries exposed and ridiculed. Perhaps today we need a work that ridicules political correctness! But where could we find another Gilbert and Sullivan?

© meche kroop

SWEETHEARTS

Sweethearts by Victor Herbert, brought to you by Victor Herbert Renaissance Project LIVE!

At the beginning of the 20th century, when modernism began to undermine the basic grammar of music, some of the principles that underpinned the workings of opera inevitably came under attack, too. Those of us who have sat through some pretty tedious atonal bores find relief in the music of Victor Herbert who kept audiences entertained and delighted with silly stories and melodious music. Last night's Sweethearts was the perfect antidote to works liked only by academia.

His Sweethearts premiered in 1913, just before The Great War, with a libretto by Fred DeGresac and Harry B. Smith. As is usually the case, Artistic and Stage Director Alyce Mott has rewritten the libretto to make the story flow smoothly and to appeal to modern taste. Happily, she has not attempted to change the period and we are left free to form our own associations to today's mating behavior and romantic (mis)adventures. Even more happily, Herbert's engaging music has been preserved and given over to the New Victor Herbert Orchestra, conducted by Maestro Michael Thomas with the superb William Hicks at the piano.

The ensemble nature of the company allows us to appreciate the same voices at every production with some new ones thrown into the mix for good measure. Soprano Claire Leyden has a remarkable voice and charming onstage presence that made her performance of the lead role a true delight. The large voiced Vira Slywotzky, generally cast in matronly roles, always tickles us with her humorous delivery. In this case, the excellent Joanie Brittingham played the "bad girl" part whilst the fine soprano Sarah Caldwell Smith was joined by Caitlin Ruddy, JoAnna Geffert, and Emily Geller; they made excellent music together as Dame Paula's four daughters.

They open the story and set the stage right after Dame Paula's narration. You see, Dame Paula, also called Mother Goose, owns a laundry in Bruge where the sisters complain about ironing all day. They are always flirting with soldiers who soon appear--Al-Jabril Muhammad, Drew Bolander, Jonathan Hare, and Keith Broughton.

Adopted daughter Sylvia is in love with a rake, Lieutenant Karl (played to the hilt by Jack Cotterell), who is having a flirtation (one among many) with Liane, a millinery girl played by Ms. Brittingham. Dame Paula warns Sylvia about this rascal but, just like girls of today, she loves him anyway.

Meanwhile, the Prince of Zilania (the fine Jovani Demetrie) falls for Sylvia, not knowing that she is really the heir to his throne, something of which she is ignorant as well.

The story concerns the machinations and manipulations of all the people who would stand in her way--the hypocritical and grasping Mikel, a diplomat of Zilania (played by the very funny Jonathan Fluck); von Tromp, a German diplomat (portrayed by Matthew Wages) who wants to grab the land to build a casino; and Algernon Percival Cuthbert Slingsby (the superb veteran operetta performer David Seatter) who wants to marry the lost princess, whomever she may be, to impress his father.

Liane, a thoroughly nasty girl, is co-opted into the plan but gets what she deserves. The message is of course that the kindhearted folk win in the end and the grasping nasty folk lose out.  Order is restored, romance wins, and we leave with a smile. Of course. Balm for the spirits.

Ms. Mott directed with her customary astuteness and Susanna Organik contributed some delightful choreography, particularly the waltzes and the opening song "Iron Iron, Iron".  The hit tune of Act I "Sweethearts" became so famous that it led to Herbert fighting all the way to the Supreme Court to establish ASCAP!

Beside those, there were so many other delightful numbers. "Mother Goose" was filled with humor, sung by Sylvia and the other four daughters. Von Tromp led the men in singing "Pretty as a Picture" about how women enhance their appearance, a song just as relevant today as a century ago.

Dame Paula, Mikel, and the daughters were engaging in the humorous "What She Wanted..And What She Got". Mr. Seatter delivered the spoken dialogue of "I Don't Know How I Do It, But I Do" in the first example of a number spoken over an instrumental score. 

Ms. Leyden's gorgeous voice maximized the impact of "The Angelus", a tender prayer for guidance. When Prince Franz joins her you just know things will work out for them in the end.

Everything about the music and its performance was topnotch and we loved the combination of instruments in the New Victor Herbert Orchestra. Not only did we have Mr. Hicks' wonderful piano but violin, cello, string bass, flute, harp, and percussion.

This is the end of the fifth season of VHRPL during which 10 staged productions and five concerts have been offered. We are very gratified to have seen the audience swell to capacity. New Yorkers know a good thing when they see/hear it. 

We got a peek at next season's productions and are giving you fair warning, dear readers. If you hope to see what this wonderful company can accomplish, be prepared to get your tickets in advance. It would be a shame to be shut out of such glorious glee!

(c) meche kroop

FALLING IN LOVE WITH VICTOR HERBERT

Matthew Wages, Alexa Devlin, Jovani Demetrie, Claire Leyden, Andrew Klima, Sarah Caldwell Smith, David Seatter, and Joanie Brittingham

The world needs people with obsessions, people who care deeply about something and want to share it with others. Alyce Mott is just such a person. As Founder and Artistic Director of Victor Herbert Renaissance Project Live! , she is making sure that Victor Herbert's substantial legacy will not be forgotten. His music is timeless and melodic, having provided inspiration for composers such as Irving Berlin and Jerome Kern. If only contemporary composers would listen and be inspired!

Last night's program was a compilation of his love songs; the air in Christ and St. Stephen's sanctuary was filled with romance. The superb performer and baritone David Seatter served as narrator, wittily introducing the various sections about longing for love, missing love, awakening love, and curiosity about love. What other composer wrote enough love songs to fill an entire evening!

Music Director Michael Thomas provided the excellent accompaniment for the evening and the singers included the dapper David Seatter himself as well as sopranos Sarah Caldwell Smith, Joanie Brittingham, and Claire Leyden; mezzo-soprano Alexa Devlin; tenor Andrew Klima (new to VHRPL); baritone Jovani Demetrie; and bass Matthew Wages. They sang in various combinations and maintained a true ensemble feeling throughout.

Every song was a gem and no doubt every member of the packed house had his/her own favorites. We will mention a few of ours.

Mr. Klima was at his best in "Mary Came Over to Me" and we found our heart touched by the story of a young man from Ireland who was finally able to bring his sweetheart over to join him. There must have been many stories like that one and probably other songs but this was one that stayed with us.

The last time we heard Ms. Smith and Ms. Leyden sing "For Better or for Worse" in a performance of Princess Pat, we thought the harmonies rivaled those of Délibes in "Dôme épais", a real treat. We were thrilled to revisit it.

Ms. Leyden gave a beautiful performance of "The Angelus" from Sweethearts which will be presented April 30 and May 1, with orchestra. We can scarcely wait for it! She was joined by Mr. Demetrie and the entire company, giving us a great taste of what we can look forward to.

We didn't know that Herbert wrote a show about Cyrano de Bergerac with lyrics by Harry B. Smith, but the excerpt we heard "Let the Sun of Thine Eyes" was filled with humor as Mr. Wages as Cyrano sang a line beautifully  and Mr. Klima as Christian repeated it as unartistically as possible, trying to impress Ms. Leyden. 

Ms. Smith had a lovely solo in "Where the Fairest Flow'rs are Blooming" from Babette, which allowed her to show off her gorgeous coloratura in a prolonged vocalise. From the same show Ms. Devlin and Mr. Wages had a clever duet in which he was arrogant and she was resistant.

From The Debutante, Ms. Leyden and Mr. Demetrie had a cute duet "Never Mention Love When We're Alone", enhanced by some of Susanna Organek's graceful choreography.

From The Wizard of the Nile, Harry B. Smith's clever lyrics for "What is Love?" were given a sprightly melody by Mr. Herbert; Ms. Leyden portrayed the innocent girl questioning the wise senior of Mr. Seatter.

The four men created a delightful ensemble for "My Fair Unknown" from Miss Dolly Dollars. Again we found Mr. Smith's lyrics clever and charming.

Ms. Brittingham had several lovely solos which showed off her bright resonant sound but we favored "When Love Awakes" from Eileen.

Ms. Devlin's superb solo involved some reading of the cards in " 'Neath the Southern Moon" from Naughty Marietta.

The program closed with "Ah! Sweet Mystery of Life" with the entire company filling the sanctuary with joyous sound.

With our focus so heavily on opera, we might never have discovered this treasure trove of tunes from the turn of the 20th c. and for this we are extremely grateful to Ms. Mott. Long live Victor Herbert!

(c) meche kroop

LADIES FIRST

Matthew Wages, Richard Holmes, David Seatter, Sarah Caldwell Smith, Daniel Greenwood, Natalie Ballenger, Joanie Brittingham, Alexa Devlin, Anthony Maida, and Tanya Roberts

Think of a string of beautiful colorful beads, gathered from many forgotten pieces of jewelry and strung together to create something novel. That was the image we got while enjoying Victor Herbert Renaissance Project LIVE! last night. 

Instead of presenting another complete operetta by this most prolific composer, Artistic Director Alyce Mott decided to create an evening of rarely heard gems extracted from a number of his operettas, written with a variety of librettists, including Henry Blossom, Gene Buck, Buddy De Sylva, Glen MacDonough, Harry B. Smith, and Robert B. Smith.

As usual, Ms. Mott supplied the libretto; the performers--gifted vocally and dramatically in equal measure--brought the songs to vivid life, under the direction of Emily Cornelius with charming choreography by Susanna Organic. Michael Thomas ably filled the job of Music Director and pianist.

Over the past couple of years attending these performances, we have developed an affection for what appears to be a repertory company. We can almost predict what roles each performer will play. There is a similarity to Herbert's "ladies" and he loves putting them in ridiculous situations. 

We saw scenes extracted from ten of his lesser known operettas dating from The Idol's Eye in 1897 to his very last one, the 1922 Orange Blossom. Herbert dominated Broadway for a quarter of a century and did not alter his style very much. He had a clear opinion of what his audience wanted and he gave it to them--interesting characters dealing with preposterous situations in a light-hearted manner.

We are glad that Ms. Mott compared Herbert to Sondheim. What other American composer beside Sondheim has ever managed to marry word and musical phrase in such an engaging manner! If only we had clever lyrics like that to listen to today! Which brings us to our only criticism--the clever lyrics were not always clear. But that happened only about 10% of the time and only bothered us because the rhymes were so darned clever.

Tanya Roberts and Anthony Maida did a swell job as narrators, establishing the background of each scene. Ms. Roberts was hilarious as "the 5' lady with the 8' kick". David Seatter delighted us as a hot air balloonist who "just dropped in" as he circumnavigated the world. And Mr. Seatter enunciated each word clearly. Alexa Devlin made use of the lower end of her register in "Song of the Priestess". These three songs from the 1897 The Idol's Eye made us want to see the entire work.

The complex overlapping vocal lines for the Ensemble in "The Face Behind the Mask" was the standout number from the 1914 The Debutante. It revealed Herbert as the gifted composer he was.

From the 1905 Mlle. Modiste, our favorite number was the marvelous satire involving a girl from Iowa--"The Keokuk Culture Club", sensationally performed by Ms. Devlin. It seemed very au courant.

Another sensational performance was that of Natalie Ballenger who portrayed a very catty woman in "She's a Very Dear Friend of Mine" from the 1904 It Happened in Nordland.

Tenor Daniel Greenwood paid vocal tribute to women in "The Century Girl", the hit number from the 1916 show of the same name.

Mr. Maida filled a similar role as he idealized "The Princess of My Dreams" from Ziegfield Follies of 1921. 

The 1922 Orange Blossoms contained two numbers that scored. In "New York is the Same Old Place", Ms. Roberts and Mr. Seatter had complaints about our fair city that seemed not to have changed in almost a century! But the very funny "Way Out West in Jersey" had Ms. Devlin and bass-baritone  Matthew Wages contemplating a move to the wild west across the Hudson River. Richard Holmes was absolutely charming as a former roué in "This Time It's Love".

Joanie Brittingham had fun portraying a woman whose education was deficient in "Professor Cupid" from The Debutante of 1914 and a sadder girl indeed in "The Lonely Nest" (from Orange Blossoms), in which Michael Thomas' piano stood out.

Sarah Caldwell Smith made the perfect ingenue in "If I Were on the Stage" from Mlle. Modiste.

The ensemble work showed evidence of a great team spirit in this company.  The entire evening was sheer delight.

Upcoming in April will be The Enchantress, from which we heard two numbers; but in April we will get to hear them with an orchestra. Yay!

Ms. Mott asked the audience which Herbert operetta they would like to see.  What a difficult choice! Based on what we most enjoyed last night, we would vote for Orange Blossoms. 

(c) meche kroop

THE RED MILL

Alyce Mott and the cast of Victor Herbert's The Red Mill

The Red Mill has turned and as it turned it changed a very cranky reviewer into a smiling member of a joyful audience.  Such is the power of art.  We do believe that "entertainment" and "art" can be synonymous. Today's audience might not consider an operetta from a hundred years ago to be a form of entertainment but, dear reader, trust us on this one.

We were transported back in time to an era when telegrams were novel and were called "magic letters". How welcome this was when our day was spent dealing with a recalcitrant printer and unhelpful tech support. For two hours we were immersed in good humor, romantic longings, and ultimate fulfillment. What could be more soothing!

The enormous popularity of Victor Herbert's musical entertainments can be attributed to his gift for melody and his astute choice of librettist. Henry Blossom provided an enchanting story and wrote dialogue and lyrics that fit the music like glove to hand. Somewhere in between the late 19th c. association between Gilbert and Sullivan and the mid 20th c. Rogers and Hammerstein, we have an artistic partnership that delighted early 20th c. audiences in similar fashion.

The work premiered in 1906 on Broadway and was revived in 1946. Alyce Mott, Founder and Artistic Director of Victor Herbert Renaissance Project LIVE! has tweaked the operetta with some seamless writing and the insertion of some reprises which were not in the original.  Extraneous characters were removed to good advantage.

The charming story will be familiar to those who recall the pre-feminist era. A father is marrying his daughter off to a man who will enhance the father's position. She is in love with a ship's captain and is determined to undermine her father's intentions.  In this she is supported by her widowed aunt and aided by the ridiculous rascals Kid Conner and Con Kidder, who supply much of the comic relief, especially when convincing Papa that they are Sherlock Holmes and Mr. Watson!

Regular audience members, such as we are, are delighted to see the same beautiful faces and hear the same beautiful voices in each production.  This consistency attests to successful casting. As Gretchen, the lovelorn daughter, we heard the scintillating soprano Sarah Caldwell Smith; as the helpful Aunt Berta, we heard soprano Vira Slywotzky, whose generous soprano made a lovely contrast with Ms. Smith's. We adored their duet "I'm Always Doing Something I Don't Want to Do" which speaks volumes about female subjugation.

The male leads were just as well cast and performed.  Tenor Christopher Robin Sapp lent his sweet tone and fine phrasing to the role of Dori van Damm, the sea captain loved by Gretchen. As the conniving pair of swindlers we had the very funny Drew Bolander and Matthew Wages.  We loved their duet "Always Go While the Goin' is Good".

As the controlling Burgomaster of Katwyk-ann-Zee, Gretchen's father, we heard the fine Anthony Maida with Shane Brown portraying the sneaky Sheriff who wants to do Aunt Berta the favor of marrying her.  That was a "no go"!

The brilliant veteran performer David Seatter delighted us as the very nice Governor whom Gretchen doesn't marry, and if you can guess whom he does want to marry, we will invite you to VHRPL!'s next show.

The smaller role of British Solicitor Joshua Pennyfeather was taken by Brian Kilday with much humor spent on his vain attempt to relate his mission, an attempt which was ignored until the very end, lending a delightful twist. Alexa Devlin portrayed a French Noblewoman with a French accent as silly as Mr. Kilday's British accent.

No Victor Herbert musical would be complete without a chorus and what a well-rehearsed chorus we had last night, with every word clear to the ear.  That was most fortunate because the words are so clever! The female chorus was meant to be "models"--Joanie Brittingham, Tanya Roberts, and Hannah Kurth. The male chorus was meant to be "artists"--Jonathan Fox Powers, Daniel Greenwood, and Jonathan Heller.

Highlights of the evening included (but were not limited to) Gretchen's aria "If He Loved But Me" and her duets with the Captain "I Want You to Marry Me" and "The Isle of Our Dreams". Ms. Smith and Mr. Sapp sounded sensational together. The other hit was "Because You're You", sung by Berta and The Governor.  Uh-oh!  We have given it away.  We should have included a "spoiler alert"!

Ms. Mott directed with her customary excellent taste whilst Music Director Maestro Michael Thomas did his fine work with baton in hand. William Hicks played the piano reduction with panache. Emily Cornelius' choreography was charming and period appropriate. 

We would like to point out that the company will perform "The Enchantress" in April with a live orchestra! You can even make a donation to sponsor one of the musicians.

But you don't have to wait until Spring. You can enjoy Ladies First, a concert honoring Victor Herbert's leading ladies, in February.  Even better, you can catch tonight's performance of The Red Mill at Christ and St. Stephen's Church. Even if you didn't have a stressful day you will have a great time!

(c) meche kroop

A PC MIKADO

W.S. Gilbert (Joshua Miller), Richard D'Oyly Carte (Matthew Wages), and Arthur Sullivan (David Macaluso)
(photo by Carol Rosegg)

For us, art and music of quality are what it's all about; we confess to care not a whit for political correctness and we resent tampering with the classics.  We approached New York Gilbert & Sullivan Players' new production of The Mikado with a great deal of trepidation.

We need not have worried. Whatever offensive material that was extirpated from the original "really won't be missed". This version succeeded on every level and can be recommended without reservation. Director David Auxier's concept is a framing device that brought to mind Mike Leigh's fascinating film from 1999--Topsy Turvy--which showed the trials and tribulations that underpinned the seemingly effortless oeuvre of Gilbert and Sullivan.

Today, in similar fashion, a full year of labor and much consulting and compromising with a mostly Asian advisory board were not visible in the finished product. What the audience gets is a lengthy evening of effervescent entertainment that flew by in double time. Part of the credit goes to the prodigious talents of composer Arthur Sullivan and librettist W.S. Sullivan. The rest goes to Mr. Auxier's concept and a lot of hard, but invisible, work.

In a clever framing device, we get a glimpse of the interaction among Gilbert, Sullivan, and impresario Richard D'Oyly Carte. There are petty squabbles and negotiations plus various complaints from the members of the D'Oyly Carte company. A case of writer's block is solved when Gilbert gets knocked out by a falling sword which D'Oyly Carte has brought back from a London exhibit of Japanalia. As we recall, in the Victorian period, Great Britain was fascinated by the recent opening of trade with Japan.

The blow to Gilbert's head leads him to imagining all of the cultural inconsistencies of his own nation grafted onto a mythic Japan. The Mikado is the result. Gilbert's skill always lay in satirizing the ridiculous bureaucracy, sexual prudery and cultural inconsistencies of his time and place. Moreover he did so by skillfully using his native language in a manner that has never been equalled.

Sullivan brought to the table a banquet of musical gifts. The tunes are infinitely hummable and we dare anyone to attend without humming a few of them all the way home and on into the night and next day. His rhythms are infectious and, to appreciate his consummate compositional skills, we recommend listening to the harmonies and overlapping voices of "Young Man Despair" sung in Act I by Pooh-Bah, Nanki-Poo, and Pish-Tush--or the "merry madrigal" of Act II.

Once the prologue ends, the opera begins and scenic elements and characters from the Prologue are transformed. D'Oyly Carte becomes the ambitious Pooh-Bah (sung by baritone Matthew Wages). Sullivan becomes Lord High Executioner Ko-Ko (sung by baritone David Macaluso), and Gilbert becomes Pish-Tush (sung by baritone Joshua Miller).  The men are dressed in Victorian fashion but with Japanese fabrics and accoutrements. Gilbert carries a notebook and we are never allowed to forget that he is writing his libretto in his head.  This work, like others of Gilbert and Sullivan, examines British mores and institutions and ridicules them. It is not at all unusual in the world of opera for plots to be transposed to other countries or other epochs. It is easier to look at oneself from afar!

Tenor Daniel Greenwood made a splendid Nanki-Poo and impressed with his delivery of "A Wondering Minstrel I";  soprano Sarah Caldwell Smith made a winsome Yum-Yum, his love interest. We enjoyed her aria "The Sun Whose Rays Are All Ablaze".  It was a memorable performance, both vocally and dramatically.

The "Three Little Maids From School" trio is always a delight. Ms. Smith was joined by the lovely soprano Alexandra Haines as Peep-Bo and mezzo-soprano Amy Maude Helfer as Pitti-Sing who contributed greatly to the complicated execution plot, balancing the male voices.

Caitlin Burke brought the house down as the angry and violent Katisha, chiming in with her "daughter-in-law elect", infuriating the Mikado. There was something very touching about her softening when Ko-Ko wins her hand by singing "Willow, Tit-Willow".

Chris White electrified the proceedings with large booming tones as he related ways to "let the punishment fit the crime". He had suitably magisterial presence while keeping the humor going.

All of the singers seem to have experience in opera as well as musical theater and brought both excellent voices and convincing acting skills to the production. Mr. Auxier's direction and choreography could not have been better. The sets by Anshuman Bhatia were simple (a mountainous scene as backdrop and two shoji-screened rooms); the lighting by Benjamin Weill was dramatic.