And Now for A Couple of Pictures

They're not great pictures - they take in large sections of the stage and don't do much toward telling the story. But they all have the advantage of including me. Sort of like Waldo - where's Fr. John

Here are two more shots - that thing that looks like a flower growing out of my hat onto my face - well, that was a flower. And the picture of the gorgeous young lady - I got to spend most of my time on stage in the second act cuddling and schmoozing with her. One of the highlights of my theatrical career - second perhaps only to I DO, I DO when I actually got to kiss a girl on stage (other than on the forehead or the cheek or the hand). And she was a very good actress - she pretended she liked it every single night.

ANOTHER REVIEW

I attended opening weekend of the Blue Hill Troupe's production of The Sorcerer. I enjoyed both 'opening performances' as the shows are double-cast.

Savoynetters in the show:
Rich Miller - Closing cast Alexis
Dan Rous - Closing cast Marmaduke
Carol Davis, Eric Peterson, Katie Holler and Matt Hughes, chorus.
Gary Slavin - Stage Director

I enjoyed viewing two slightly different interpretations of the characters in ways that all worked beautifully. Gary Slavin is open minded when he works with the principals, enabling them to develop their own subtle character interpretations, while maintaining continuity in the
characterizations to fit his vision for this opera.

I too was leery about the contemporary vision (for me, part of the fun of G&S is seeing or getting to wear 19th Century costumes, traditional appearances, etc.), but in this case I was very pleasantly surprised. The Sorcerer's plot is the kind that can work in any time frame.

I do not want to give too much more away, with the hopes that I can entice folks to attend one of the six remaining performances in New York City but here are highlights of the principals and chorus:

I have to repeat Jim's note about the chorus. I have NEVER (well hardly ever) heard an amateur chorus use so much diction. I heard and understood every word which is really important when performing a G&S that is not as well known to the general public. The vocal blending and
quality was outstanding.

In addition to Jim Cooper's positives about Craig Burmeister's excellent tenor voice and strong acting as Alexis, I equally enjoyed Rich Miller's realistic and energetic interpretation of the character and strong vocal quality. While Amanda Smith had a sweet, tender voice and truly delicate features that epitomizes Aline, I also thoroughly enjoyed Elizabeth Sanders' command of the role with her strong, glorious voice and her strength of character that worked well against Rich's Alexis. I laughed at the Aline's text messaging during Alexis' Act I monologue.

I particularly enjoyed both of the J.W. Wells – David Pasteelnick and Kevin Murray. Both used excellent diction during the patter and exhibited very believeable characterizations. I also liked the genuine displays of remorse in Act II generated by them both.

Both Constances - Kathleen Stetson and Dena Cubbin have outstanding voices and rather different, but equally effective interpretations of their characters. Both had me laughing out loud. Ditto with the Partlets - Lesley Berry and Suzanne Taylor. Both are strong actresses and I loved what Gary did with their characters, expanding their roles.

Now on to the 'parents'. The Sir Marmadukes - were played effectively, yet differently by Dan Rous and Alan Abrams. I love Dan's deep voice and his depiction of someone with a truly aristocratic nature. Alan Abrams exhibited a believeable character and several times had me laughing in the right places. The Sangazures were handled with aplomb by Leslie Middlebrook and Cornelia Iredell, both nailing their two intense and lengthy duets that round out their characters. The staging for both numbers with Marmaduke and Wells is exceedingly
clever.

Dr. Daly is one of my favorite characters (after Captain Corcoran, of course), and I had the pleasure of watching two wonderful actors, Win Rutherfurd and Ron Madden who brought such a genuine sensitivity to this character. The singing of Daly's two notable songs were beautifully done.

I was intrigued by the staging coordinated for the quintet. (Most of the time the actors are kept standing in a static group - which I gladly did not see in this case).

The principal parts are rounded out by a seemingly cold-ridden snuffy (but not so poorly dressed) Notary played by William Tost. He had me in stitches every time he was featured. The Hercules was played most effectively by Julian Rosenberg. I think this was his first on-stage
performance, but he had full command of the stage. His part was increased but I will not give away what his unique and engaging activities entailed.

The chorus members each developed a unique character in great detail (some of these characters are famous today). I was glad to see the show more than once to get to watch how all the chorus members were intricately intermingled. The Sorcerer is one of the best operas for chorus because it really gives each person a chance to do his or her own thing and make it work within the confines of the plot.

The orchestra was excellent and Music Director Zachary Schwartzman expertly kept everyone together, utilizing solid, realistic tempi (which is something I always notice) and kept the pace moving briskly.

The set and lighting are incredible. How so? Buy a ticket and find out!

I strongly encourage anyone available to be in NYC next week to attend a performance. The production benefits Inwood House, a charitable NYC organization that helps troubled teens.

For more information and to order tickets, go to:
www.BHT.org.


Wendy Falconer
Stamford, CT

THE SORCERER - A review

I am currently appearing as a humble chorus member (OK, a chorus member - I don't really "do" humble) in the Blue Hill Troupe production of THE SORCERER. I don't usually go out of my way to promote shows in which I am movable scenery - but this is a really good production, and the chorus has an unusual role in a most unusual staging. we opened on the 17th, and below is a review that appeared from the Savoynet, a group of folks interested in (fanatic about?) Gilbert and Sullivan. Better to let another voice to the talking:

THE REVIEW
Last night I went to see the Blue Hill Troupe's Sorcerer production with several friends, including Wendy Falconer, Vikki Willoughby, and 2 non-Savoynetters whom I've done G&S with for too many years (Rick Churchill and Marianne Barcellona).

Despite my misgivings about a version set in 2009 New York, it was a marvelous production: the sets were stunning, the lighting magnificently creative and the performances top drawer. Gilbert's lines take on different shades of meaning when done with intentionally American cadences. I saw the Opening Cast (they double cast their shows). I was particularly impressed with David Pasteelnick's JW Wells: I got every single word, and he delivered much of it while moving about with a hat and cane.

The set was mostly white with some black trim, and decorated with various Gobos and projected patterns during different scenes. The Teapot Brindisi was particularly effective with every cast member having a translucent teacup with dry ice steaming away, along with little electronic sparklers that appeared to be inside the cups.

The chorus diction was superb, and Craig Burmeister's Alexis lovely. I really enjoyed Aline's 21st century sensibility, she really stood up to Alexis and walked off stage in disgust during the 2nd verse of "Thou has the power" after refusing to take the potion. (He sang the second verse to a scarf she dropped) I think it makes the characters more believable.

They perform twice more this weekend and 5 more times next week. If in the NYC area, this is definitely worth seeing.

-- Jim Cooper
Webmaster and Past President, Troupers Light Opera

For a link to see more about the show and order tickets online
http://www.bht.org/download/emailinvite.html