Though Wed 8/7
Having never before heard of a work of musical theater that was devoted to the concept of almost-but-not-quite-time-travel, I was determined not to miss this one.
Furthermore, this particular theater piece with music was all created and written by the same person. The British genius, Ivor Novello, is not the only such multi-talented creator of book, lyrics and music we’ve ever known: think of George M. Cohan, Noel Coward, Meredith Willson and Jonathan Larson. There are others, but these names are at least somewhat familiar.
But still, the concept of such a thing is almost overwhelming, until you see it brought to life in the next few weeks as the final production of the 2019 season of Ohio Light Opera. It sparkles and glitters and will not easily be banished from your memory bank. Trust me on that one. However, Londoners do know good theater when they see it — this one ran for 1020 performances, roughly 2½ years after opening on April 21, 1945.
The setting is the same for the entire piece: a slightly Gothic appearing mansion named Huntersmoon, designed by Daniel Hobbs. The lighting by Daniel Huston helps to determine if daylight or evening, as well as the various times in which the house is the basic scenery. Huntersmoon is owned by Sir Graham Rodney, and we meet him as the play opens in 1818. There are three main characters who will reappear in the second act (set in 1843) and yet again in the final scene set in the 1930s. Eventually, Sir Graham will return as Valentine, the son of his nephew William, and finally as Bay, the grandson of Valentine. Jacob Allen does a terrific job of portraying all three men, related to each other, but vastly different all the same.
Sarah Best portrays his love interests: Lydia, then Veronica, and finally Iris. Although we’ve seen her several times this season as singer, dancer and comedienne/goofball, this time around her fabulous voice will definitely make an impression. Her considerable acting skills are also on display as she portrays three very different women during the three different eras. She does full justice to the three most romantic pieces in this production: “Love Is My Reason” in the first act in the guise of Lydia; “A Woman’s Heart” plus “We’ll Gather Lilacs” as Veronica in Act II and a reprise of the former in the final scene when she is Iris.
Chelsea Miller is totally believable as the other member of the reoccurring trio: Melinda, Melanie and Melody. Melinda is the daughter of Lady Charlotte Fayre, Sir Graham’s aunt, perfectly enacted by Julie Wright Costa, whose other child is the above-mentioned William — given life by the dignified Tim McGowan. Their entrance is accompanied by the news that their coach was held up en route, and a valuable diamond necklace was stolen. Undercurrents flash between Melinda and Sir Rodney, and he assures her that he will rescue and return the necklace before her 21st birthday which will happen during the next week.
Yvonne Trobe has two turns in the spotlight: as Ernestine (and a terrific solo spot) in ActI and as Mrs. Bridport in Act II. Kyle Yampiro also has double parts: as Mazelli in Act I, and the vicar in Act II.
Act II opens in 1843, with Huntersmoon now in the hands of William’s son Valentine, a musician and chorus master. When Veronica (the love child of Lydia and Graham) applies to his chorus, it is love at first sight, and they marry. Graham’s niece Melanie arrives and immediately creates confusion and tension among the others by her planned seduction of Valentine. However, Valentine is off to a command performance at Windsor Castle. There appears to be an extrasensory connection between Valentine and Melanie. But Veronica has news of her own that will bear on the family for years to come. She also has the big hits of the second act “We’ll Gather Lilacs” and “A Woman’s Heart.”
The final scene takes place some 83 years later, when the house is owned by Bay, the grandson of Valentine and Veronica. Numerous paintings decorate the gallery, portraying the characters who lived in the house in earlier years.
The production team, as always, provides a steady hand and voluminous knowledge to provide authenticity. Steven Daigle directs as though he’d lived through all three eras in the house. The splendid OLO orchestra is conducted by Steven Byess. Charlene Gross created fabulous costumes in varying shades of the time, that lend an authenticity not always seen. Sound was by Tyler Quinn. However, it is the gorgeous set by Daniel Hobbs, that makes Huntersmoon seem the idyllic place it needs to be to cast its charm over the people who gather there.
Choreographer Spencer Reese totally outdid himself this time, and deserves several gold stars for his efforts. There is a large party scene at the end of Act I, that involves the entire ensemble, but with ample solo opportunities for dancers — “The Triumphs of Spring: Singing Ballet.” I would imagine that few operetta companies have two male dancers as qualified for the spotlight as Adam Wells who wore gold trim as Autumn, and Austin Rubinosky as Spring. They were terrific, and their strong leaps and spins made the stage appear to be much smaller than it really is. The ladies of Summer were Abby Kurth and Michelle Pedersen, while Winter had a mixed pair: Teryn Kuzma and Benjamin Dutton. What a fabulous way to end the act!
All in all, this is a splendid production, and deserves a run of full houses. It runs in repertory through Wed 8/7 at the Freedlander Theatre at the College of Wooster. For tickets, call 330-263-2345 or go to ohiolightopera.org.
[Written by Kelly Ferjutz]
Wooster, OH 44691