New England G&S Society|
[Most Recent Entries]
Below are the 20 most recent journal entries recorded in
New England Gilbert & Sullivan Society's LiveJournal:
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|Saturday, March 8th, 2008|
Casting open for "Ruddigore", March 16
The New England Gilbert and Sullivan Society will present our annual Last Minute Light Opera: a public sing-through of "Ruddigore" on March 16, at 2:00 p.m. No rehearsals are needed; just show up and perform. Please contact our Program Chair at email@example.com if you would like to request a part.
ROLES IN RUDDIGORE:
Sir Despard Murgatroyd
Old Adam Goodheart
Sir Roderic Murgatroyd
Can be played by either men or women:
Ghost #1, Ghost #2, Ghost #3, Ghost#4
|Thursday, August 23rd, 2007|
|Friday, June 29th, 2007|
Casting open for "Princess Ida" sing-through
Roles are now available in NEGASS and Longwood Opera's sing-through of Princess Ida on August 26. The sing will begin at 2:00 p.m., at Christ Episcopal Church, Needham, MA. Afterwards there will be a potluck supper. We will perform the whole show, including all the dialogue. Please contact our program chair at firstname.lastname@example.org
and let her know which role(s) you would like and whether you belong to NEGASS, Longwood, or both. We look forward to hearing from you.
ROLES IN PRINCESS IDA:
King Hildebrand, baritone
Cyril, tenor (taken)
King Gama, baritone (taken)
Arac, bass (taken)
Princess Ida, soprano (taken)
Lady Psyche, soprano (taken)
Lady Blanche, contralto (taken)
Melissa, mezzo-soprano (taken)
Chloe, sings with chorus
Ada, sings with chorus (taken)
|Saturday, April 7th, 2007|
Trumpet Bray seeks editor
NEGASS is in need of a new editor for the Trumpet Bray. The job involves assembling the newsletter about six times a year and attending the group's sings and occasional board meetings. It's easy, fun, and can be done by anybody with their own computer and a free evening every couple of months. NEGASS will reimburse the editor for printing and computer expenses. Interested parties are invited to leave a comment to this entry, or contact our Program Chair and current editor April Grant at aprilcath at yahoo dot com.
|Thursday, March 1st, 2007|
Tenor sought for "Patience"
NEGASS is in need of a tenor to play the Duke of Dunstable in "Patience", for our annual Last Minute Light Opera. As always, there will be no rehearsal. Performers learn their parts ahead of time, and then come in and sing/read through them on the day.
The LMLO takes place on Sunday, March 18, at 2:00 p.m., at the Park Street Church in Arlington. If you are interested, leave a comment here or e-mail our Program Chair at aprilcath at yahoo dot com.
|Saturday, December 2nd, 2006|
The MIT Gilbert and Sullivan Players will host a joint meeting with NEGASS on Saturday, Dec. 9, at 2:00 p.m., in Twenty Chimneys, on the third floor of the MIT Student Center. We'll sing through a series of finales together. Our program:
Act 1 finale of Ruddigore
Act 1 finale of Iolanthe
Act 1 finale of Patience
(interval for rest and refreshment)
Act 1 finale of H. M. S. Pinafore
Act 2 finale of Pirates of Penzance
Afterwards, the floor will be open for any other G&S singing. Mike Bromberg will be our accompanist.
There are many small solos available, so it's a great time to try out a role if you've never done one before. Everyone's invited; you don't have to be a NEGASS member to ask for a role, although we'll do our best to get you to join up when you're there. Our Company Promoter will tell you more about that.
We recently suffered a sad loss in the death of T. Skyler Wrench, longtime newsletter editor and NEGASS board member, who sang in several MIT shows. A favorite chorus of his was "Sighing softly to the river", so we'll sing the Pirates finale in his honor.
Ethan Tyndall, of the MIT G&S Players, is in charge of casting the Ruddigore and Patience finales. Perhaps MITG&SP could post here to let everyone know how their casting is coming. There are still several roles available in the Iolanthe and H. M. S. Pinafore finales:
Phyllis (taken)Tolloller (available; tenor role)
The Lord Chancellor (taken)The Fairy Queen (available; contralto role)
Leila (available; soprano or mezzo role)
Celia (available; soprano or mezzo role)
In H. M. S. Pinafore:
Ralph (taken)Josephine (available; soprano role)
Dick Deadeye (taken)Cousin Hebe (available; mezzo role)
Little Buttercup (available; contralto role)
Boatswain (available; baritone or bass)
Solos in The Pirates of Penzance will be divided between MITG&SP and NEGASS. Here are the roles NEGASS still needs to fill:Ruth (available; contralto role)
Major-General (available; baritone role)
The street address of the MIT Student Center is:
84 Massachusetts Avenue
Twenty Chimneys is on the third floor of the building. We will post signs at the door. For more directions, role requests, or other questions, leave a comment here or e-mail our program chair, April Grant, at aprilcath (at) yahoo (dot) com.
|Thursday, September 7th, 2006|
Salem Witch QWERT
Greetings, NEGASS members!
You are invited to participate in a SALEM WITCH QWERT, a Halloween-themed Singalong to be held in Peabody on Saturday, October 21, 2006.
What is a QWERT?
A QWERT is a G&S singalong, without dialog. Members of the Savoynet listserv often host QWERTs, and they're really fun!
Why a Salem Witch QWERT?
My husband Tyler and I recently moved back to the area (and rejoined NEGASS) after spending four years in Philadelphia. We are now living in Peabody, and I am teaching at Salem State College. We thought it would be fun to hold a "theme QWERT" in honor of our new location and the Halloween season!
What shows will we sing through?
All the supernatural shows, of course: Sorcerer, Iolanthe, and Ruddigore! We will also sing through Trial By Jury, which will serve as our Salem Witch Trial. ;-) We may also make time for some or all of The Grand Duke. After all, it does feature a spooky ghost or two!
Where will the QWERT take place?
At present, we plan to spend most of the day at the Peabody Institute, our local library. (This location may change, but at present, it is our plan.) At the Peabody Institute, we will sing the "supernatural" operas. Fair warning: The event will be listed on the library's calendar, so we may have some local walk-ins listening to us!
Then, in the evening, we will return with a smaller group of "pre-registered" attendees to our new home in Peabody, where space is limited. (More details to come later.) There, we will sing through Trial by Jury and, depending on interest, some or all of The Grand Duke.
Role requests and casting
I am now accepting role requests for Sorcerer, Iolanthe, Ruddigore, and Trial By Jury. All roles are open. Please send a message with the subject line "Witch QWERT role requests" to me at email@example.com . In your message, please list your role requests in order of preference. Also mention whether or not you are interested in singing through at least some of The Grand Duke in the evening, and if so, which roles you are able to perform.
The deadline for role requests is Friday, September 15. I will begin casting the shows as I receive requests, so consider making your requests as early as possible.
Chorus only / listener only registration
If you plan to attend this QWERT but do not want to sing anything solo, please send a message with the subject line "Witch QWERT registration" to me at rchains (at) gmail (dot) com. If you are interested in attending the evening program, please let me know. Space is limited.
Florrie Marks of PA and Debbie Jacobson of MD have graciously agreed to accompany us. If any other pianists would also like to accompany any of the shows listed above, please send a message with the subject line "Witch QWERT accompanist" to me at rchains (at) gmail (dot) com.
Thank you for your interest!
|Thursday, July 6th, 2006|
August GONDOLIERS casting
"Gondoliers" sing-through, August 27th
Longwood Opera and the New England Gilbert and Sullivan Society will hold their second annual summer collaboration on Sunday, August 27th, at 2:00 p.m., at Christ Episcopal Church, Needham, MA. We'll sing and read through "The Gondoliers". David Larrick will conduct, with Juliet Cunningham on piano. Afterwards, there will be a potluck supper.
Casting opens today (July 5), for both Longwood and NEGASS singers. Please e-mail me with your role requests, and let me know whether you belong to Longwood, NEGASS, or both. If you would be happy with any one of several roles, just list them all in order of preference. I'll try to divide the casting evenly between the two groups. People who are members of both groups will get first consideration; otherwise, I'll give out the roles in the order in which requests reach me.
Parts in "The Gondoliers":
Men:The Duke of Plaza-Toro
(baritone), a Grandee of SpainLuiz
(tenor or baritone), his attendantDon Alhambra
(baritone or bass), the Grand InquisitorMarco Palmieri
(tenor), Venetian gondolierGiuseppi Palmieri
(baritone), Venetian gondolier Antonio
(baritone), gondolier, solo in first scene, sings w/chorusFrancesco
(tenor) gondolier, small solo and sings w/chorusGiorgio
(speaking lines, no solos, sings w/chorus)
Women:The Duchess of Plaza-Toro
(contralto), the Duke's domineering wifeCasilda
(soprano), daughter of the Duke and Duchess, secretly in love with LuizTessa
(mezzo-soprano), a peasant girlGianetta
(soprano), a peasant girl Fiametta
(soprano), a peasant girl (has small solo and sings w/chorus)Vittoria
(soprano or mezzo), dittoGiulia
(soprano or mezzo), dittoInez
(contralto), the King of Barataria's foster-mother
We'll also need all voice parts for the chorus. Some loaner scores will be available. For directions or more information, reply to firstname.lastname@example.org, or call (413) 584-7725.
I look forward to hearing from you.
Program chair, NEGASS
|Friday, April 21st, 2006|
Recommendation: PATIENCE at MIT
(Cross-posted to mixedborder
Like other G&S purists, I was (*gasp*) horrified when I heard MIT G&S Players' Patience
was being set at a modern high school, with the Aesthetes as Goths and the Dragoons as a sports team.
But I just saw it--and by Jupiter, they made it work!! It's entirely faithful to the spirit of the original. The characters are the same (David Daly's Bunthorne is worth the price of admission alone!) and hardly a word has been changed--and it's well acted and directed and VERY funny. Go see it!
Remaining shows are:
Friday, April 21, 8pm
Saturday, April 22, 2pm matinee
Saturday, April 22, 8pm
Sunday, April 23, 2pm matinee
For more details go tohttp://web.mit.edu/gsp/www/Archive/2006spring_patience/ Current Mood: pleased
|Tuesday, March 21st, 2006|
Harvard-Radcliffe needs orchestra players
Spread the word!
From Margaret Maloney <email@example.com>
Believe it or not the Harvard-Radcliffe Gilbert and Sullivan Players
still have slots we are looking to fill in our pit orchestra. The
orchestra is about 20 people, and the shows are always a lot of fun. And, the
commitment is not very large at all. [There is rotation so you don't
play every show or every dress rehearsal; see below.]
3/19 8:00pm First rehearsal with the cast
4/2-4/5 6:00pm Dress rehearsals
4/6-4/8 8:00pm performances
4/8 2:00pm milk and cookies matinee
4/9 2:00pm matinee show
4/13-14 8:00pm performances
4/15 2:00pm matinee show
4/15 8:00pm hack night
So, that may sound like a lot, but obviously every orchestra member
does not play every show; there is some rotation. Coming to 2 dress
rehearsals is preferred, and then as many shows as you are interested in that
are not already filled with players.
The show is coming up fast (April 6-15), so if you are interested
please respond quickly with any questions or the shows that you would like
to play. Hope to hear from you soon!
Please reply according to your instrument:
Nora firstname.lastname@example.org upper strings
Nandini email@example.com lower strings
Allen firstname.lastname@example.org woodwinds
Tegan email@example.com brass
(cross-posted to mitgsp)
|Thursday, March 16th, 2006|
Sopranos! O, hear me!
The woman who was cast as Phyllis in this Sunday's Last Minute Light
Opera has had to cancel.
Edit: Phyllis found!
|Sunday, March 12th, 2006|
To the Editor of the Trumpet Bray
At your insistence, and in response to a complaint by Christopher Porth regarding my review of the Savoyard Light Opera Company's H.M.S. Pinafore
, I submitted the correction that you published on page 4 of the current Bray
. I am appalled by your editorial statement following the correction: "The Trumpet Bray
regrets that the review's wording seemed to imply that the song was transposed for Mr. Porth."
Let's be clear here. The review never "seemed to imply" that at all — it stated it outright: "Christopher Porth
, as Captain Corcoran, had a light and pleasant voice, well-suited to the upper parts of his role (though I wonder, then, why 'Fair Moon' was transposed down for him)." (November 2005 Bray
, page 4)
Moreover, what is there to regret? It was a simple factual error regarding a single, small detail of a performance. And understandable; it is after all, a long-standing tradition in Pinafore
that if the vocal register the actor playing the Captain is too low to be comfortable with "Fair Moon" in its original key of D, then the song gets transposed down to C — and there was no question Porth was singing it in C. I made no personal attack of any kind. If Porth chooses to take offense at what I wrote, that's his
issue, and irrelevant to my review or to the Bray.
This is now the third time in the past year that you have sacrificed editorial protocol in order to appease someone. First, Carl Weggel's June 2005 "review" of the MITG&SP Yeomen
was replete with uncorrected factual errors, and had already been submitted to the cast and crew of the production for their input — which, as you noted at the time, made it cease to be a review — yet you published it anyway
Second, following my review of the SLOC Pinafore
, you forwarded me a complaint you received about my review — after removing the identity of the sender. What was your purpose in this? I wrote a balanced review. I carefully selected which aspects to include, and I gave credit where I thought credit was due. The complaint had nothing to do with the content of my review, and you never gave any indication that you meant to publish it, so why send me an unsigned attack on my writing style?
Which brings us back to issue at hand. What I wrote in the correction was all that was required; suffixing that little editorial grovel to it demeans me, you, the Bray
, and, by association, all of NEGASS.
The Trumpet Bray
is the public face of the Society, and therefore it must be above such petty politics, not a forum for them. This means that the Editor must have the integrity to ignore the nonsense and edit the Bray
Dafydd Mac an Leigh— Current Mood: annoyed
|Tuesday, March 7th, 2006|
Lend MIT a tenor!
The MIT Gilbert & Sullivan Players are urgently seeking a tenor for the
chorus of our upcoming production of PATIENCE. (One had to drop out.)
Performances are April 20-23. More information about the production is
available at http://www.mit.edu
, and interested parties should contact
|Sunday, March 5th, 2006|
Review of Sudbury's GRAND DUKE, from The Trumpet Bray
The Sudbury Savoyards presented an attractive, enthusiastic production, their first-ever take on GRAND DUKE. A company doing a little-known Gilbert and Sullivan opera is freed from a lot of the tradition and audience expectations that are attached to, say, PIRATES. “Everybody knows” how PIRATES ought to look and sound, and there are stock characterizations. GRAND DUKE is what you make it, and my fellow theater-goers and I were ready to be surprised. My primary reaction was: “What a fun show!” The evening went by so quickly that I was surprised, after the curtain calls, to find that two and a half hours had passed. Afterwards, though, I thought: “They could have done more with the show.”
The company has a good chorus, of all ages. Their acting and facial expressions were fun to watch, and when they were given interesting stuff to do, they did it well. At the beginning of the show, however, they had to spend a lot of time standing still, in straight lines. A short waltz sequence was pretty, but then it was back to the lines. The chorus would have seemed more natural and unobtrusive if they’d been allowed to relate to one another, characterize themselves a little more, and perhaps sit down on the steps of Dave Kay’s good-looking set. And to my relief, this was what happened. As the act went on, the choristers got more involved in the action, showed individuality (though not to the point of upstaging the principals) and generally became interesting. They really got into the violent sequence after “Ten minutes since”, jostling Ludwig and in one case hitting him with a cane. In the finale and second act they were even better. I was especially charmed by the gestures and laughter of three young female choristers, dressed in yellow, purple and blue, who got drunk on the Baroness’s champagne.
The leads were a mixed bunch. All the acting was good, and some was excellent. Most of the characters are written as two-dimensional, but when presented well, they can be a very engaging two dimensions. The singing was also up to a high standard. The female soloists had pretty voices, and Stephanie Mann was particularly fine as Lisa. The difficulty was that a lot of the lead actors were hard to hear, a lot of the time. It wasn’t for want of amplification; the theatre was miked. It was simply that they weren’t enunciating clearly. Sometimes they’d also been blocked with their backs to the audience, making the problem worse. And in a show like GRAND DUKE, where plot points fly thick and fast, this meant that a good bit of the story was hard to take in for people who didn’t know the show. The pacing also got better as the show went on; cues were slow at the beginning, but they’d sharpened up by the scene between Rudolph and the Baroness.
Michael Belle, as Ernest, was the first character to really take my interest. He had a likable persona, good facial expressions, and a fine strong voice. (Also, I could hear everything he said or sang.) We really felt for poor Ernest as he pursued Julia Jellicoe (Kathy Lague), a hard-edged prima donna. Ms. Lague, by the way, sang a lovely “So ends my dream”, in which she was so sympathetic that I had a certain feeling of “Wait a minute, I’m liking Julia! This must not be!”
Tony Parkes as Grand Duke Rudolph was wonderful. I confess I was expecting the character of Rudolph to be Scrooge-like and completely nasty. Mr. Parkes played him as a very haughty person who at the same time was insecure and childish enough to be likable (floofy wig and all). It was a nice touch when he drooped and looked unwell, in a pointed way, so that the Baroness (Tambre Tarleton Knox) would fuss over him. Mr. Parkes’s diction was also great. He and Ms. Knox did a cute love-scene, duet and dance, and the two of them made such a fun couple that I was sorry to see them matched up with different people at the end of the show.
The Act 1 finale, with the Statutory Duel, was excellent all around: good staging, good soloists, lots of fun with the chorus, good pace, and nice clear diction. Ed Fell was jolly yet sinister as the Notary, and a fine touch was to have the duelists take off their coats and ceremoniously smack each other in the face, before announcing “He has insulted me…” After the duel, there was a lovely little scene where several of the actresses place lilies in Rudolph’s hands, plunk a funereal wreath over his head, kiss him and pretend to mourn. The poor Grand Duke takes it seriously till they all burst out laughing.
The Princess of Monte Carlo was played by Elaine Crane, an avid G&S performer whose career I’ve followed with interest. She was charming, as always, and so appealing that I wished we could have seen more of her character. That’s the opera’s trouble — it introduces you to fun people who then disappear for most of an act, or only get fifteen minutes of stage time. When Rudolph, Ernest, and the Notary reappeared at the end, they had a great menacing moment where they all stalked across the stage to threaten Ludwig.
The costuming was excellent. The Supernumeraries and the Prince and Princess of Monte Carlo all looked glorious. Ludwig and Rudolph and the rest of the men appeared perfectly natural and comfortable wearing knee-breeches, stockings and buckled shoes, and everybody seemed at home in their clothes. I liked the Agamemnon costume for Ludwig in Act 2: glitter wig, breastplate, leather kilt, no pants, gilded Birkenstocks, and gold shin pieces (I quite forget their name). The can-can was danced by women still dressed in Greek costumes — an odd but fun combination.
|Saturday, March 4th, 2006|
Casting now open for IOLANTHE: Last-Minute Light Opera
LAST MINUTE LIGHT OPERA: IOLANTHE, March 19.
It’s almost time for that marquee event of NEGASS’s year: the Last Minute Light Opera! Join us at the Park Street Congregational Church, on Sunday, March 19, at 2:00, to sing in IOLANTHE; OR, THE PEER AND THE PERI. Casting is now open.
Everyone who’d like to request a lead part is welcome to e-mail me at firstname.lastname@example.org. If you don’t have e-mail, you can reach me at (413) 584-7725.
All are invited to sing in the chorus. Please bring a score, if you have one; we’ll also have a small number of loaner scores available. David Goldhirsch will accompany us on piano. Musicians are also welcome to play in the orchestra.
David Larrick will conduct, and he has kindly offered to provide band parts. Musicians, if you’d like to join us, please contact me beforehand, so we’ll know how many band parts we need. –APRIL GRANT
Roles in Iolanthe:
The Lord Chancellor, baritone
Earl of Mountararat, bass-baritone
Earl Tolloller, tenor
Private Willis, bass
Queen of the Fairies, contralto
Fleta (speaking part)
REFRESHMENTS: Carol Mahoney will be organizing refreshments for LMLO. A non-singing volunteer is needed to be assistant refreshment organizer for this event: contact Carol at email@example.com.
A generous refreshment table is wanted, to reward the volunteer musicians—plus, this event attracts many members of the public, and these “guests have such appetites hearty.” So you are encouraged to bring goodies, such as deviled eggs, hummus and chips, crackers and cheese, coffeecake, desserts, etc.
Carol Mahoney brings the soda, juice, cups, tablecloth, and napkins. The church supplies platters and bowls.
HOW TO GET THERE: The Park Avenue Congregational Church, 50 Paul Revere Road in Arlington is located at the corner of Park Avenue and Paul Revere Road, on Park Avenue one block south of Massachusetts Avenue in Arlington.
Local route: Drive or take the #77
Arlington Heights bus along Massachusetts Avenue to Park Avenue, at the far west end of town (there is a traffic light), and then travel one block south (uphill). The church is on your right.
From a distance: Take Route 2 to the Park Avenue-Arlington exit, and drive north along Park Avenue until Massachusetts Avenue is in sight. You will be going down a long hill at that point, and see shops ahead; the church will be on your left. Free parking is available on both Park Avenue and Paul Revere Road.
|Wednesday, March 1st, 2006|
Pirates needs women!
I'm in a production of Pirates of Penzance
down in Randolph, MA, and a few of General Stanley's Daughters — including Kate, I believe — have gone AWOL. The opera goes up at the end of the month (!), so we're really hurtin'.
What we got is:
Rehearsals from 6:30-9:00pm on Tuesdays, Wednesdays and Thursdays
Performances at 7:30pm on March 31, and April 1, 7, and 8
Performace at 2:00pm on April 2.
What we need is:
2 women to sing in the Chorus of General Stanley's Daughters
Good singing voices and familiarity with the music a must
If necessary, I can provide transportation to and from the T.
If anyone can help us out, please let me know and soon.
(also posted in my own LJ)
|Tuesday, February 28th, 2006|
At the suggestion of the lovely chanaleh
, I am posting the following call for crew here. If you know of anyone who fits this bill, by all means let me know! the ballad of burd janet
is a jazz-age retelling of the celtic ballad "tam lin". i'm looking for someone with a strong background in victorian and art deco aesthetics to help me decorate the set and/or find and make props. we have strong ties with a few local theatre companies (most notably revels), vintage car clubs, and antique dealers, so i'm looking for someone who can also act professional and play nice with others.
we will mostly be shooting at a fabulous old mansion in medford, massachusetts. the shoots will take place on weekends (not every weekend, obviously), but i will also have periodic meetings to discuss what will go on at the shoots. as previously stated, this is a non-paid position. this is a great opportunity for someone who has had fun working with local shakespearean/g&s productions to expand upon their knowledge!
if this would interest you, please let me know. if you know of someone, please pass this message along to them. i can be reached at ogygia.ave (at) gmail.com.
|Monday, February 20th, 2006|
The Picture Gallery
I have found a nifty icon maker, and have been making icons from Gilbert's drawings and other G&S illustrations! I uploaded one to this community. A bunch more can be found on my own icon page, http://www.livejournal.com/allpics.bml?user=mixedborder
They are free for taking, but I'd like it if you'd credit me in your Comment. I'm adding more all the time, so keep checking. I'm also starting on a Mood Icon set from the Bab drawings! Current Mood: accomplished
|Thursday, February 16th, 2006|
|Friday, February 10th, 2006|
Providence (R.I.) G&S sing
(x-posted: negass, mitgsp and gilbertsullivan)
Brown University Gilbert & Sullivan will host a sing-in in Providence, Rhode Island on April 29. Registration and role requests are now open!
We'll be singing:
Act I Finale of IOLANTHE
Opening of GONDOLIERS
Order to be determined.
Register for the sing-in and request roles here:http://www.brown.edu/Students/BUGS/events/sing-in/register
If you have questions, email Jonathan Ichikawa, (ichikawa at gmail dot com).
Please widely circulate this announcement around the G&S circles in
the northeastern U.S.