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

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

OPERA INDEX WINNERS

Michael Fennelly, Leo Radosavljevic, Emily Pogorelc, Jane Shaulis, Andres Benavides Cascante, and Jaeman Yoon

Last night was the Opera Index annual membership party which consisted of some exciting entertainment and a buffet supplied by the members, who, we might add, are all given to l'abbondanza. We love great food to go along with great singing.

And great singing was definitely on the menu. Five splendid singers entertained us royally in between les hors d'oeuvres and le grand buffet.

Soprano Hayan Kim performed first since she was on her way to an audition. With a crystalline soprano at her disposal she performed "Je veux vivre" from Charles Gounod's Roméo et Juliette. We were impressed by her ability to engage the audience with her charming stage presence and involvement with the text. She conveyed all the youthful passion required by the role. A fine vibrato ensured that the molecules of air danced around the hall.

Gounod was not the only composer to have tackled Shakespeare's tale of young love. Vincenzo Bellini took a different tack and we were fortunate to hear soprano Emily Pogorelc sing "O quante volte" from I Capuleti e i Montecchi. This aria comes along later in the plot when Juliette has already fallen for Romeo and we had the impression that Ms. Pogorelc knew exactly what she was singing and sang it in beautiful bel canto style.  We liked her phrasing of Bellini's long lines and use of dynamic variation.  And we loved the way pianist Michael Fennelly played Bellini's arpeggi.

Bass-baritone Leo Radosavljevic employed perfect French in his performance of "Riez Allez" from Jules Massenet's Don Quichotte. In this aria Sancho Panza is scolding the people who made fun of his master Don Q. We particularly enjoyed the texture of Mr. Radosavljevic's instrument and his expansive delivery.

Baritone Andres Benavides Cascante evinced a great deal of vocal flexibility in his portrayal of Count Almaviva in "Hai gia vinta la causa" from Mozart's Le nozze di Figaro. The poor Count is clueless and covers it up by being indignant.  All this was conveyed to the audience because Mr. Cascante knew the text and knew it well. 

Baritone Jaeman Yoon wowed the audience with his big round sound and pleasing vibrato as he performed an emotionally intense "Nemico della patria",  Gerard's aria from Umberto Giordano's verismo opera Andrea Chénier.

Three of the artists graciously provided encores of a lighter nature. Ms. Pogorelc performed "Kiss Me Again" from Victor Herbert's comic operetta Mademoiselle Modiste. This is a lovely tuneful song which Ms. Pogorelc graced with some divine portamenti.

Mr. Radosavljevic performed William Bolcom's "Black Max" (our all time favorite Bolcom song). Not since we heard cabaret artist Kim Smith's interpretation have we truly enjoyed this song which requires an enormous amount of dramatic interpretation. We were very impressed by Mr. Radosavljevic's ability to paint a picture with his voice.

And finally, Mr. Cascante sang "Mi Aldea" the opening aria of Jacinto Guerreros' zarzuela Los Gavilanes.  In this opening scene, Juan returns to his village from a long sojourn in Peru. The delivery was delightful and readers may recall how greatly we treasure zarzuelas.

This year Opera Index has awarded $55,000. to 16 singers.  Judging by tonight's sampling, the judges of the competition did a great job winnowing from a large field of applicants. There will be a gala on January 21, 2018, at which we will hear more of the winners.

Opera lovers who have not yet joined Opera Index are encouraged to do so at the modest membership cost of $45. There will be many opportunities to meet fellow opera lovers and help young singers. The list of winners from bygone years is astounding and includes so many of the greatest names in opera.

(c) meche kroop

BABES IN TOYLAND

Christopher Fitzgerald and Lauren Worsham (photo by Erin Baiano)

What a coinkydink to have Victor Herbert in our  musical life two nights in a row! I was wondering whether the decision of MasterVoices to tackle this work was in any way affected by the success of Alyce Mott’s three-year-old Victor Herbert Renaissance Project Live!  What MasterVoices attempted was very similar to what Ms. Mott does. There was an ambitious rewriting and adapting of the libretto to make sense to a 21st c. audience.

With Ted Sperling as Conductor and Director, last night’s production of Herbert’s unwieldy 1903 Babes in Toyland at Carnegie Hall was a huge buffet of musical and dramatic delicacies. Whether you left elated or disappointed was largely determined by your tastes and appetites. If you came for Herbert’s music, you would have been thrilled by the massive Orchestra of St.Luke’s and the marvelous choristers of MasterVoices, formerly known as The Collegiate Chorale).

If you came for fun, there were plenty of sight gags by the talented cast. Bill Irwin with his rubber body and keen instinct for humor nearly stole the show as The Toymaker who hates children and wants to destroy them with dangerously evil toys. Evil characters are ever so much fun and the lecherous Uncle Barnaby (Jonathan Freeman) tries to get rid of his adorable niece Jane and nephew Alan (the adorable Lauren Worsham and the equally adorable Christopher Fitzgerald) to get their inheritance.

In this he is aided and abetted by two henchmen—Roderigo (Jeffrey Schecter) and Gonzorgo (Chris Sullivan), neither of whom is adorable, but both of whom are very funny.

Jane is beloved by Tom Tom the Piper’s Son (Jay Armstrong Johnson) who dances as well as he sings, and Alan has romantic designs on pert Contrary Mary (the wonderful Kelli O’Hara) who must cleverly outwit Uncle Barnaby.

Tom’s mother The Widow Piper was portrayed by the fine Nina Hennesy.

The bizarre plot of the 1903 production involved a shipwreck and a volcano but we were urged by the narrator to use our imagination. Indeed, Herbert’s superlative orchestral writing evoked a mighty storm in the orchestra. We confess to being entranced by the percussionist who played the kettle drums, usually hidden in the back of the orchestra— but here, right in front for our visual delight. Herbert’s evocation of sunrise rivaled Beethoven’s depiction of moonlight in his appropriately named Moonlight Sonata.

Now here comes the less tasty part of the buffet. Both orchestra and chorus were onstage, not in the pit. For much of the performance, the clever words of the dialogue and lyrics were drowned out. Narrator Blair Brown, who had some apparently clever tongue-in-cheek comments, suffered the most. We cannot deny that there were some folks in the audience who did succeed in understanding the jokes because we heard laughter. We thought we were losing our hearing until we convened with other people in various parts of Carnegie Hall who shared our difficulty.

Glen McDonough’s original book and libretto created a spectacle of visual effects and music hall type numbers, many of which had nothing to do with the inconsequential and convoluted plot. It lasted four hours and audiences loved it! Last night’s production was trimmed to a bit over two hours an was adapted by Joe Keenan and Ted Sperling with script and some additional lyrics by Joe Keenan. There was something about Trump in the number “If I Were a Man Like That” which we could not hear enough to understand. We would have wished to have heard it.

The voices were amplified and the singers were on the book. We sense that part of the incomprehensibility was related to the situation of narrators and singers moving their heads to look down at the score and up at the audience, thereby not always getting consistent amplification.

The problem could have been ameliorated by the use of titles. We desperately wanted to get the jokes and felt alienated when we couldn’t hear them. Still, it was pleasure enough to listen to Herbert’s infectious music. Although the most famous numbers from the show are “Toyland” and “March of the Toys”, we had our own favorites: Tom’s song “Never Mind, Bo-Peep, We Will Find Your Sheep” , Jane’s song “Can’t Do the Sum”, Alan’s song “Song of the Poet” (in which Mr. Fitzgerald succeeded in making the words clear!), and the clever duet about marriage “Before and After”, sung by Ms. O’Hara and Mr. Fitzgerald.

All in all, a worthwhile evening that offered much but could have been better.

(c) meche kroop

MEET EILEEN--OUR NEW BEST FRIEND

Joanie Brittingham, Tom Carle,  and Tanya Roberts

A century ago, eager theatergoers packed into the Schubert Theater to enjoy Victor Herbert's tuneful operetta Eileen.  Last night another generation of theatergoers packed into Christ and St. Stephens church to enjoy a reincarnation of this enchanting work, thanks to Alyce Mott and the Victor Herbert Renaissance Project Live!

What we saw and enjoyed last night is not exactly what the 1917 audience saw. Alyce Mott has made a name for herself by reworking Herbert's oeuvre to improve upon and enhance the relevancy of the stories.  In this case Henry Blossom's original libretto was rewritten, whilst preserving every note of the original score, which was compiled by the late Dino Anagnost. The 1917 audience relished relief from the threat of war hanging over their heads.  Hmmm!  Plus ca change, plus c'est la meme chose!

VHRPL! has been growing by leaps and bounds.  This is only their third season and nine of Herbert's operettas have already been performed, to the delight of an ever-growing audience. This was the first time a show was presented with the New Victor Herbert Orchestra and it certainly added a great deal.

The story takes place at the end of the 18th c. and  concerns the Irish quest for freedom from Great Britain. Lady Maude's late husband was unsympathetic to the cause and also toward her niece Eileen who was shipped off to a convent in France where she has fallen in love with "a fine Irish rebel" named Barry O'Day. Lady Maude lives in Castle Sligo  which was seized, along with its land, by her husband Lord Estabrooke, in the name of the British King.

Lady Maude Estabrooke is sympathetic to the Irish cause and would be happy to relinquish the land as long as she can live in the castle. The charming Barry is irresistible to women, apparently!

Of course there are obstacles. The local British authority Colonel Lester is out to get Mr. O'Day, and Mr. O'Day's "best friend" Sean Regan plans to betray him as well.  Of course, there needs to be a happy ending so, not to worry, the guy gets the girl and escapes from the clutches of Lester in a ruse involving false identities and a pawn named Sir Reginald Stribling, In point of fact Stribling is a British Knight, but he is used as a pawn.

As one would expect there are songs both romantic and patriotic, and they were performed with verve and enthusiasm. Some of the ensemble have been there from the start, notably David Seatter who performed the role of Sir Reginald with humor and panache. Others are enjoying their first season with VHRPL! and have already established a fine ensemble feeling.

Soprano Joanie Brittingham, well remembered from Chelsea Opera, appeared in the title role and delighted us with her "Reveries" and harmonized beautifully with tenor Tom Carle who performed the role of Barry O'Day. Their duet "Thine Alone" was a surefire hit.  Mr. Carle's solo "When Shall I Again See Ireland" was sung with deep feeling. We particularly loved "The Irish Have a Great Day Tonight".

Tanya Roberts created the character of Lady Maude who faced life with grace and good will. Her acting was impeccable but we missed some words here and there.  Fortunately, there was a libretto to fill in the gaps.

Jovani McCleary played the traitorous Sean Regan who led his men in a rousing "Free Trade and a Misty Moon", the lyrics of which reminded us of W.S. Gilbert's clever wordplay. Although he was the bad guy, his wonderful singing and acting made us like him very very much.

Another artist we liked very very much was newcomer Christopher Robin Sapp who took the role of Dinny and deserved the big hand he got for "She's Sweet as Any Flower".

Coloratura soprano Haley Marie Vick had a lovely number as well--"Too Re Loo Re" and filled it out with winsome embellishments.

Colonel Lester was portrayed by the excellent Richard Holmes who we have enjoyed on countless occasions with the New York Gilbert and Sullivan Players.  His duet with Ms. Roberts "Life is but a Game" had them sparring but, well, you know, love conquers all.

Ms. Mott's direction was effective and moved the action right along, augmented by Emily Cornelius' fine choreography.

Music Director Michael Thomas conducted the chamber orchestra comprising Philip Wharton (violin), Scott Ballantyne (cello), Judy Sugarman (bass), Sheryl Henze (flute/piccolo) and William Hicks (piano). Significantly, the music was not given a new arrangement.  Parts were assigned as they were a hundred years ago, with the piano playing remaining parts.

The fourth season has already been planned and available on www.vhrplive.org. However, one needn't wait until next November because something special is happening at Opera America on June 6th--vocal excerpts from Herbert's Nahoma along with revelations about the politics of American Grand Opera. Plenty of intrigue occurred between Oscar Hammerstein and the Metropolitan Opera.  Listen and learn!  Sounds like our cuppa!

(c) meche kroop

GETTIN' YER IRISH UP

The lassies: Joanie Brittingham, Vira Slywotzky, and Katherine Corle
The lads: Jason Robinette, Ross Brown, Anthony Maida, David Seatter, Richard Holmes and Jovani McCleary

No, no, no, we are not angry.  Au contraire, we are absolutely tickled with our evening spent with Victor Herbert Renaissance Project LIVE! about whom we have written before.  VHRPL is celebrated for bringing the works of this early 20th c. composer to lively life. Last night's concert, in anticipation of St. Patrick's Day, presented a selection of his songs celebrating his Irish heritage.  Imagine the shock of finding out that Mr. Herbert probably never set foot in Ireland, a rather new discovery!

Still, he had an Irish soul, thanks to his mother and maternal grandfather with whom he lived for a period in England. As a matter of fact, he set some of his grandfather's poetry and we were fortunate to hear some of Samuel Lover's text, one of which was sung by the excellent and versatile soprano Vira Slywotzky (one of the founding members of VHRPL) who also narrated the evening with great style and dulcet tone. The song, entitled "Angel's Whisper" was based on the legend that when a baby smiles in his/her sleep it's because of conversation with an angel.  In the song, which touched our heart, a mother is reassured about the safety of her mariner husband when her baby smiles.  Awwww!

Mr. Lover also wrote humorous songs and we just loved "The Birth of St. Patrick" which described the embattled Irish temperament with two camps disagreeing about the date St. Patrick was born. A diplomatic priest added the two dates together and came up with the 17th, thus solving the problem. Too bad "the troubles" could not have been so easily sorted out! The song was performed by tenor Anthony Maida and baritones Jovani McCleary and David Seatter.

Another favorite of ours involving the grandfather's poetry was the romantic "Live in My Heart and Pay No Rent", for which the versatile fellow also wrote the music. Mr. Maida gave it a fine performance.

Of all the gentlemen, the one whose timbre was closest to what one expects in an Irish tenor was Jason Robinette, whose delivery of "Mary Came Over to Me" touched the heart with the joy of a reunion of two lovers when the woman finally arrives in America.

Tenor Ross Brown shone as the Irish Don Juan in "Barney Maguire" from Mr. Herbert's 1906 show "Miss Dolly Dollars". The charming choreography by Director/Choreographer Emily Cornelius brought in the lovely sopranos Joanie Brittingham and Katherine Corle.

The ensemble work was in every instance delightful, particularly when all six men joined in for the drinking song "The Cruiskeen Lawn" which was performed a cappella. The admirably crisp enunciation we had enjoyed in solo pieces carried over and we understood every rowdy word of this folk song arranged by Mr. Herbert.

We wish to alert our readers to the upcoming performance of Herbert's 1917 operetta Eileen on April 25th and 26th because the songs on last night's program taken from that show were so special. If you've never heard "My Little Irish Rose", you will be enchanted. Ms. Corle sang it beautifully. There were three other songs from the show on the program, all memorably melodic. Notably, Eileen will have an orchestra!

Some of the songs were about Ireland's struggle for freedom from oppression and some were about the contributions of the Irish to America's cause in The Great War.

There was still more to interest the listener. Adding to Herbert's Irish heart were the skills of composition that he learned growing up in his father's Germany. Ireland had never produced a song cycle before and Mr. Herbert wrote one entitled The Bards of Ireland which was performed in 1908 for the Society of Friends of the Sons of Ireland. Thomas Moore's lyrics to Old Irish Airs were arranged by Mr. Herbert. We make no claims that this cycle rivals those of Schubert and Schumann but it was surely a treat to hear a work that was never published.  Leave it to Artistic Director Alyce Mott!

Strangely, however, our favorite part of this song cycle was the piano solo "Lament for Owen Roe O'Neill" played on the piano by Music Director Michael Thomas. Sometimes words are superfluous. Baritone Richard Holmes gave a lovely performance of "Remember the Glories of Brien the Brave".

We believe it is important, particularly at this time in our history, to acknowledge the contributions made to the USA by the Irish. Every ethnic group that has come to our great nation has been at first despised, later accepted, and eventually celebrated.  Let us not forget that!  It's time to make America great again!  Yes, by welcoming immigrants.  And you can quote us on that one!

(c) meche kroop

THE ONLY GIRL

Kyle Erdos-Knapp and Antoni Mendezona

Ian McEuen, Adam Cannedy, and Cameron Smith

Sarah Best, Natalie Ballenger and Sarah Mossman

 Light Opera of New York is presenting Victor Herbert's The Only Girl at the Thalia Theater of Symphony Space this weekend.  The size and enthusiasm of the audience last night testifies to the viability of LOONY's mission.

Victor Herbert was a seminal figure in the world of music in the 20th c. He not only composed but also conducted, wrote lyrics and played the cello.  Moreover, he founded ASCAP with John Philip Sousa.  He deserves to be remembered!

The Only Girl debuted on Broadway in 1914 when Europe was at war. Escapist musical comedies were all the rage. Director Michael Phillips has adapted the work, whose original book and lyrics were by Henry Blossom, based on a Frank Mandel play Our Wives.

Possibly because costumes from 100 years ago might be too costly to construct or rent, or because the goal was to make the show more relevant, the period has been updated to the 1950's. Costume Designer Bettina Bierly has given the work a spiffy look and the set (no credit in program) looks the way one would expect a lyricist's New York apartment to look.

The plot reminds one of a showbiz comedy of days of yore. A lyricist cannot find a composer with whom to work on his next show. He hears wonderful music coming from next door and learns that it was composed by a woman. The two are wary of one another; he has contempt for women and she is feisty-- and in no way willing to be subservient. Eventually they come to appreciate each other after a showdown.

Tenor Kyle Erdos-Knapp made a fine Kim, the lyricist, especially when he sat at the piano and sang a song interpolated from Herbert's 1905 musical Miss Dolly Dollars, in which he compares women to cigars. As Ruth, the composer next door, Antoni Mendezona used her fine soprano in a winning way, making us cheer for her taming of Kim.

Auxiliary characters included Kim's friends and associates--the agent Martin who seems not to get the jokes, portrayed by tenor Ian McEuen; the philandering producer Blake, portrayed by baritone Adam Cannedy; and scenic designer Andrew, portrayed by tenor Cameron Smith. Their trio "When You're Wearing the Ball and Chain" was amusing.

On the female side we had the very funny loud-mouth Patsy (soprano Natalie Ballenger), the sardonic chorine Jane (mezzo Sarah Best) and aspiring actress Renée (soprano Sarah Mossman). The three women delighted us with "Why Should We Stay at Home and Sew". All the voices were good and the roles well-cast. Happily, they were unamplified.

Gerald Steichen conducted from the keyboard and the chamber orchestra comprised a string quartet, augmented by bass, percussion, flute, clarinet, oboe and French horn. They handled the spritely tunes with panache.

LOONY fortunately records their productions, with a little help from their friends.  So, if you can't snag a ticket for today's two performances (2:00 and 7:30) you may be able to get a CD in the future.

(c) meche kroop

NAUGHTY NAUGHTY

The cast of Naughty Marietta

Over the past few years we have been made aware of a couple small companies in New York City that present operettas; thankfully Victor Herbert Renaissance Project Live! (VHRP LIVE!) has just crossed our radar screen.  We say "thankfully" because we just passed a completely delightful evening with them getting acquainted with a very naughty girl named Marietta who first delighted audiences in 1910.

We are not a member of the group that finds these works outmoded, any more than we would call a Renoir "outdated". We can only express our joy that the ambitious Alyce Mott has seen fit to share the works of Mr. Herbert with present day audiences.

Ms. Mott is the Founder and Artistic Director of VHRP LIVE! and has also written a new pocket libretto for Mr. Herbert's tuneful operetta. The story was narrated by Georga Osborne who appeared in the speaking role of Marie Le Valleau, a voodoo queen of late 18th c. New Orleans. Ms. Mott's libretto has made some nips and tucks that serve to move the story along and eliminate unnecessary distractions.

Musical values were grand all around with conductor Michael Thomas moving things along and pianist Wilson Southerland excellently playing the overture and intermezzo, as well as supporting the superb singers.

Soprano Sarah Caldwell Smith excelled as the eponymous Marietta, a runaway Italian contessa, recently escaped from a French convent.  Her sparkly bright instrument was perfect for the role and she effectively portrayed a spunky young woman who was going to create her own future.

Tenor Glenn Seven Allen sang beautifully as Captain Richard Warrington, leader of a group of rangers sent by General George Washington to arrest a pirate plaguing the territory.  He was most effective as Marietta's love interest.

His competition was Etienne Grandet, the son of the Lieutenant Governor, actually none other than the pirate himself, sharing his booty with his father. Baritone Justin Ryan sang and acted up a storm.

His quadroon mistress Adah was wonderfully played by soprano Vira Slywotzky whose larger darker soprano lent itself to the role and gave gravitas to her fear of being sold when Etienne tired of her.

Comic relief was provided by David Seatter whose song "Sweet By and By" reminded us of a Gilbert and Sullivan number. Further comic relief was on hand courtesy of Stephen Faulk who portrayed the Captain's aide Simon O'Hara with a brogue as thick as molasses. Nathan Brian was amusing as Rudolfo who owned the marionette theater and gave disguise and employment to Marietta, pretending she was his long-lost son.

If the plot sounds confusing, rest assured that in the performance everything was made clear. Although we were fascinated by the politics of the period, one didn't need to be in order to appreciate the fun and the music. In fact, this is very close to the period in history John Guare illuminated in his play A Free Man of Color, which we saw half a dozen times!  

New Orleans changed hands a couple times before the Louisiana Purchase and at this time it was owned by Spain but dominated by the French. It was a free-wheeling time with ample sophistication and wealth. But it was also a time when people of color were bought and sold. A beautiful quadroon like Adah could expect to be set up in a house with beautiful clothes and jewelry. Just this little bit of knowledge served to enhance our appreciation.

Some musical highlights were "Taisez Vous" sung by the Rangers and the "casquette girls", women given dowries by the King of France so they could come to the New World and find husbands--(Natalie Ballenger, Katherine Corle, Mitchell Roe, and Matthew Wages).

Ms. Caldwell Smith led the company in "Italian Street Song" filled with coloratura fireworks. Her duet with Mr. Allen "It Never, Never Can Be Love" was outstanding. Ms. Slywotzky had a delightful duet with Mr. Faulk --"If I Were Anybody Else But Me". Mr. Ryan's solo "You Marry A Marionette" was deliciously witty.

Of course the finale was the peak of the evening--"Ah Sweet Mystery of Life". Captain Dick has helped Marietta finish her unfinished song and the couple who tried hard not to fall in love has been united. Adah has been purchased by Captain Dick and freed. And now the audience can leave the theater feeling really really good.

(c) meche kroop