Sat 6/13-Sat 8/8
Steven R. Daigle, artistic director of Ohio Light Opera, based in Wooster, is a master at selecting ‘three from column A, one from column B; and two from column C and maybe one from column S.’ In this instance, the categories (not necessarily in this order) may mean Gilbert & Sullivan operettas, classic works of American lyrical theater, Viennese-style operetta or any other category that specializes in costume dramas set to music.
There are any number of such categories from which he may choose, but he always manages to pull out an unheralded plum or two from the pages of musical history. This season, OLO’s 37th at Wooster, is no exception. One absolute from which he never deviates is bringing the story (or book of the piece) into today’s world, moving away from the intentions of the original creative team. As he says, “For Gilbert and Sullivan and Broadway musicals, both words and music are ‘off-limits’ to adjustments.” No, the language and the behavior of the characters must remain as they were created in the first place.
Another unique contribution to the success of OLO’s offerings is the resident orchestra. It’s the real thing, with 34 musicians providing the full orchestral background necessary to the proper period sound. While some members return year after year, there are always new musicians to fill the unoccupied chairs. Continuity is achieved through music director J. Lynn Thompson, returning this year for his 26th season, while associate music director Steven Byess is in year 17, whereas Wilson Southerland joins the conducting staff this year. Of course, he spent a previous summer or two here as rehearsal pianist.
Three of the first four presentations this summer are Ohio Light Opera premieres. Can-Can (opening June 18) by Cole Porter (who has a Cleveland connection, having spent summers here, staying with several mutual friends); One Touch of Venus (opening June 25) by the brilliant German composer Kurt Weill, and Oh, Kay! (opening June 30) by the fabulous Gershwin brothers. The season opener (June 13), Brigadoon, features music of Frederick Loewe with book & lyrics by Alan Jay Lerner. These two went on to create My Fair Lady.
The resident company of actors and singers, who will also be able to move well on stage by the end of the season, is usually chosen based on the repertoire for the coming season. They revolve through six of the seven plays, one day perhaps being a scullery maid, and the next a Royal Highness. Considering that all seven shows are blocked out, rehearsed, opened and then play throughout the nine weeks of the season, audience members begin to watch for a returning favorite from past years, or may find a new star on their horizon.
The current record for most active years belongs to Spiro Matsos, tenor and waiter extraordinaire who will celebrate his 34th year on stage in Friederike (opening July 15.) Next is baritone Boyd Mackus who is returning for his 29th season, soprano/associate artistic director Julie Wright Costa for her 24th and baritone/principal guest director Ted Christopher for his 17th. The latter two are also stage directors (Wright Costa for Yeoman of the Guard opening July 22) and Christopher for Oh, Kay! (opening June 30). This season he also appears in Brigadoon, Can-Can, Ruddigore and Yeoman of the Guard.
The fourth stage director for this season is Jacob Allen who created an exquisite Brigadoon (pictured above; see review here). Audience members were heard humming two of the greatest love songs ever as they left the theater on Saturday evening: “Come to Me, Bend to Me” and “Almost like Being in Love”.
Can-Can is a totally different sort of musical theater piece. Cole Porter was nothing if not sophisticated, and he used his beloved Paris in 1893 as the setting for the ubiquitous dancers who habitually have difficulties with the law, never long term but aggravating none the less. When a new judge visits to see for himself, he falls for one of the dancers. Three of the best-known songs are “C’est Magnifique,” “Allez-Vous En,” and “I Love Paris.” Choreographer Carol Hageman, whose work will be on vivid display in this production, is without doubt one of the best in the business. She creates charming and yet vigorous (when need be) movements for the acting singers, who may have had little exposure to dance. Considering the size of the stage in which they maneuver, you’ll be impressed by the ease in which they whirl and leap about.
One Touch of Venus has a score by the noted German composer of opera and other theatrical works Kurt Weill. He became enchanted by a short story and decided that the actress Marlene Dietrich, whom Weill knew from his Berlin days and for whom he had penned a song in the early 1930s, would be the perfect Venus. Sadly, she disagreed, and instead, the show went up in 1943 with Mary Martin as Venus, the statue who comes to life when a ring is placed on her finger. She is a tad mischievous. “I Am a Stranger Here Myself,” and “Speak Low” are two of the marvelous creations by Weill with lyrics by Ogden Nash.
Oh, Kay! was but one of a string of Broadway hits by the Gershwin brothers in the 1920s and 1930s. Not only was it written with the great Gertrude Lawrence in mind as Kay!, but the major element of the plot line was a major topic of the times: boot-legging. Why not, if you have an empty (for the winter) Long Island home and a wandering duke and revenue officers. Among the hummable songs are “Do, Do, Do,” and the ravishing “Someone to Watch Over Me”.
For ticket information, visit Ohio Light Opera’s website or call the box office at 330.263.2345.
Wooster is about 75 miles slightly southwest of Cleveland, and easily accessible by I-71. (If you plan to take 585 south from Route 21, be advised portions of it are closed, but detours are clearly marked.)
For an additional treat, to read more about and hear clips of some of the music for each of the above mentioned shows, go here.
[Written by Kelly Ferjutz]Wooster, OH 44691