The Ohio Light Opera 2022 Season Program

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TABLE OF CONTENTS Welcome..........................................................................5 Annual Fund Donors...................................................6 Endowment Gifts..........................................................9 The James F. Stuart Legacy.................................... 11 Our Mission................................................................... 16 Cinderella...................................................................... 18 Cast, Musical Numbers, Argument, & Background Hello, Dolly!................................................................. 22 Cast, Musical Numbers, Argument, & Background The Student Prince................................................... 26 Cast, Musical Numbers, Argument, & Background The Pirates of Penzance.........................................30 Cast, Musical Numbers, Argument, & Background The Mock Marriage................................................... 34 Cast, Musical Numbers, Argument, & Background The Fantasticks.......................................................... 38 Cast, Musical Numbers, Argument, & Background Administrative, Artistic, and Technical Leadership Team................................... 42 Festival Cast................................................................ 48

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Festival Orchestra..................................................... 54 Technical and Front of House Team.................. 58 OLO “Lagniappe”...................................................... 68 The College of Wooster......................................... 69 Dining, Accommodations & Shopping............. 70 DVDs Available........................................................... 72 CDs Available.............................................................. 73 Acknowledgments.................................................... 75 Complete Repertoire............................................... 76 2022 Schedule............................................................ 78 Ticket Information & Prices................................... 79 “God Save the Queen”.......................... Back Cover

S Out of respect to the performers, the use of cell phones, cameras, or any other electronic device is prohibited in the theater. We ask that you please turn all these devices off completely for the duration of the performance, so that you and those around you can enjoy the show.

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Wayne County Ohio Kick back and relax in part of the world’s largest Amish community.

We are home to Lehman’s, P. Graham Dunn, The J.M. Smucker Co. Store and Café, The Ohio Light Opera, E & H Hardware Flagship Store, Secrest Arboretum and more!

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THE OHIO LIGHT OPERA WELCOME Dear Friends of Ohio Light Opera,

Steven A. Daigle Artistic Director

Laura Neill Executive Director

Julie Wright Costa Associate Artistic Director

A

s OLO heads into its 43rd festival season, the future of the company looks as bright as ever. Last summer’s outdoor and virtual festival (2021 OLO Light!) was hugely successful, and we thank you, again, for making it possible.

In transitioning back to a regular festival format, OLO’s 2022 season will look very much like a traditional one. We will be presenting six full productions: five on the main stage of Freedlander Theatre and the sixth at an outdoor venue. The titles and composers are what our patrons expect from America’s Premier Lyric Theater Festival. Rodgers and Hammerstein’s Cinderella, Jerry Herman’s Hello, Dolly!, Sigmund Romberg’s The Student Prince, Gilbert and Sullivan’s The Pirates of Penzance, Franz Lehár’s The Mock Marriage, and Schmidt and Jones’ The Fantasticks represent the very best of the lyric theater tradition.

We are excited to welcome back Michael Borowitz as musical director.

Michael brings to OLO’s unique repertoire years of musical expertise, leadership, and knowledge.

Please take the time to read our mission statement on page 16. As you do, reflect on this company’s accomplishments through more than four decades. OLO’s mission—which continues to expand and evolve—is unique, relevant, and exceptional. In no small way, our patrons share in our success.

We look forward to seeing you this summer in Freedlander Theatre— to celebrate, escape, laugh, and once again experience a full slate of live music and theater!

Warm regards,

Michael Borowitz

Artistic Director

Executive Director

Music Director

THE OHIO LIGHT OPERA BOARD OF DIRECTORS Wilson Southerland Associate Music Director

Michael Miller, Chair Steven A. Daigle, Artistic Director and Vice Chair Marlene Kanipe, Treasurer, ex officio Nan Miller, Secretary Ronald Holtman Ambassador John Ong Sara L. Patton John Schambach Richard N. Seaman Laura M. Neill, Executive Director

Honorary Members Bill & Marilyn Blanchard Jean W. Knorr Boyd & Eloise Mackus Barbara Robinson

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THE OHIO LIGHT OPERA 2022 ANNUAL FUND We are grateful for the generosity of the following donors to the 2022 Ohio Light Opera Annual Fund.

Lord Chancellors ($10,000 and above) Brad Bennett Norman Keller Live Publishing Company

Joseph E. Loewenstein, M.D. Michael & Nan Miller Burton D. Morgan Foundation

The Hon. John D. Ong Seaman Corporation Dee & Mary Vaidya

Robert & Elizabeth Hooker Ralph R. & Grace B. Jones Foundation David Knapp J.D. & Arlene Milliken

Sara L. Patton Tim & Jenny Smucker Mary Alice Streeter Joseph & Marlene Toot

Mikados ($5,000 to $9,999) Anonymous Carol Briggs Ann Fox Heuer Foundation Ron & Prue Holtman Sorcerers ($2,500 to $4,999) Clarence & Connie Drennon Glen & Lisa Grumbling

Michael & Linda Kennedy Jean Knorr & Family

Pirate Kings ($1,250 to $2,499) Bob Baer & Judy Cohen-Baer Briggs Financial Group Evan & Terry Buck Robert & Virginia Cassady Clarence & Connie Drennon Lee Ann & John Eyre Stephen & Nancy McGraw Gfell, in memory of William R. & Barbara Ward McGraw Stan & Diane Hales Jim & Mary Anne Jicha Bruce Kinsel

Kevin & Anne Kurth Dick & Mimi Lewellen Steve & Chris Matthew Dwight & Christina McCawley Steve Miles, in memory of Karl Warner Bill & Jane Miller Gordon Musch Patricia O’Connor, in memory of Dr. William R. Meyers Ward Randol Robert & Christine Rosenow

John Schambach The Sherman Family Trust, in memory of Geri & Alex Sherman Richard Springman & Pamela Elsass Lowell & Janice Steinbrenner Andrea Traubner, in memory of Richard Traubner Mary Renkert Wendling Dr. Lynn & Cyndy Willett Jean Wingate

Marvin Fletcher Mya L. Gosling Robert Goss, in memory of Margaret L. Goss LeRoy & Ruth Haynes Joseph & Eleanor Hingtgen Gail Jones-Nemeth Thomas A. Jorgensen & Jocelyn Ruf Elizabeth T. Mitchell, in memory of Joan Strope Elizabeth T. Mitchell, in honor of Patrick & Casey Rowe Roy & Cindy Moore Jonathan Orser

Mr. & Mrs. Leroy Parks Stanley Ransom Dr. Martin Saltzman Kenneth Shafer Cheryl & Steve Shapiro Talia Starr Carol V. Stewart Mary Stockton & Jeff Perkins Timothy Strope Sheldon & Rebecca Taft Miro & Maria Vida John & Linda Zimmermann

Englishmen ($600 to $1,249) Michael Acree Michele Anderson, in memory of Elsa Anderson Robert M. Baer Dr. Ted R. Bromund, in memory of Linda Bromund Lynn Catlos Eugene L. Cox Marian Taylor Cropp David & Sally Cureton, in memory of Charles L. Cureton Bedouin & Randall Dennison Tom & Patsy Doak Bill & Claudette Finke

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Peers or Peris ($350 to $599) Mary Abbott Bruce Altieri, in memory of Lois Freedlander Robert C. Anderson Anonymous Elaine Arnold & Barbara Adams Warren & Ellen Ashburn Victor C. Bastron Mr. & Mrs. Brian W. Bishop Bill & Pauline Bittner Robert & Constance Bouchard Lucille Bowers J. Alan Crittenden Tim Crump Emily A. Curie Robert DeCoursey Joe & Mary Dulle Dee Durbin

Linda Earley Howard & Terry Epstein Kurt Erichsen & John Widmer Bob & Lori Everett Phyllis Gallo Richard Gillmore Dave & Pam Grant Mary Ann Grumbling Louise E. Hamel Martha Hancock Rogert & Sheila Hollenbaugh Dr. Dianne Kauffman Byron & Sue Kentner Richard LeSueur Stanley & Joan Levy Joan Long Dawn McCaghy Bob McInnes Elaine & Gregory Mersol

Emily Kramer Neill Jeffrey & Jackie Nicholls David Porter & Margaret Poutasse Linn & Jo Ann Raney Joseph & Laura Rushton Dr. James Rybak A.V. Shirk Jean Soper Mr. & Mrs. Vernon Sponseller Fred & Betsy Stueber Bonnie Thurston David & Luisa Westfall Tom Woodward W. Steven Woodward Julie & Jerry Yaffee J. Rufener & J. Young Harry & Kathy Zink

Yeomen ($250 to $349) Anonymous Bob & Dee Aufuldish Glenn & Jenny Brown Roy & Joan Burgess, in honor of Kathleen Kapp Bill & Janet Burkholder Lois Clemmer Paul & Ruth Crowley David Dalrymple Mrs. Herbert C. Douglas Judith Driskell John & Adriana Dryer William R. Fenner Rachel Feola Edward Giannino Richard & Patricia Gordon

Catherine & Tom Graves Ray & Marge Gunther Nancy Harmelink Malinda Heineking, in memory of Janice M. Ladd Lee Helsby Roger & Sheila Hollenbaugh Karen Hollo, in memory of Elaine Bielniak Edward & Pamela Jajko Rolland & Anne King Mary Knox Steve & Carolyn Kuerbitz Oliver & Patricia Lugibihl Judy Penn Mallonn Julie Mennes Robert Mindek, in memory of Susan Mindek

Lynn Moomaw Karen & Randall Moore Dr. Mike Nichols, in memory of Susan Davis Nichols Stephen Orphanos Dr. Richard & Nadine Osborn Don & Pam Peterman Ilona Pinzke Jean E. Pollock John Pyle Byron & Carol Rose Chris Saylor J. Lynn & Adelia Thompson Mr. & Mrs. Charles D. Weller Judy Van Wie Linda Wilcox

Flowers of Progress ($125 to $249) Kenneth Acuff Shirley M. Ashby Mr. & Mrs. Jack Balogh Barbara & Wayne Beimesch Dorothy & Tom Bier Alison Brown, in memory of John C. Schmidt & Siegmund Haider Edward Budworth Robert Burger Richard & Susanne Campbell Sara Charleston Wendell & Ruth Cole Mr. & Mrs. Peter Danford Anne Dunipace Dr. & Mrs. Howard Eagle, in memory of Alex & Geri Sherman Karen Goshen-Schmid & Jeanne Ebie Anthony & Sarah Efremoff Mr. & Mrs. Harold Elliott Jon & Mary Fancher Carl Fiora Dr. Ronald Fleming Nancy K. Hachtel Dennis & Kathy Helmuth Doug & Suzanne Hicks

Richard & Heidi Hillson Stefani Koorhan & Ira Hinden, M.D. Dr. & Mrs M.C. Hokenstad & Dr. & Mrs. Richard Boettchev Evelyn Howell Katherine M. Hull Willard H. Johnson Steve K. Lauer & Marilyn F. Klar Charles & Connie Lepold Anne R. Lewellen Dick & Mimi Lewellen, in memory of Courtney Kenney W. Berry Lyons & Anne E. Carey Don & Charlotte Mason Catherine McGraw Robert J. Michel Antoinette S. Miller Marc Miller Jane Moore Martha Jane Moore Laura & Ted Motter Daniel Neer James & Nancy Norton John B. Noyd Joanne Poderis David Pozorski & Anna Romanski

Dr. Judit Puskas & Dr. Gabor Kaszas Betty Raber Patricia Radigan Kevin Reeks & Cathy Woodward Dr. & Mrs. David B. Reynolds Patricia A. Rodgers & David H. Cullis John & Rebecca Schmidt, in memory of Charles & Mary Cureton Rose Ella Sears Michael Seider Mark Shalonis Suzette D. Shelmire Jack Shepherd Hiram Lee Smith Kent & Judy Smith Robin Smith Terry & Maria Snoddy Gordon & Esther Start Alan Steffen Richard & Claire Troha Martina Veigl & David Sedwick Jeff Wanser & Linda Spear Timothy & Lani Wood Elizabeth A. Young Richard W. Zellers

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Additional Gifts Anonymous Robert Banashek Donald Beane Lisa Berglund B. J. Bett Anne & Glenn Billington David Brittain Bill & Lael Carter Cindy Clapham, in memory of Jack Meinke Jack Shepherd Richard & Emilia Deffenbaugh Andrew Elbogen Dr. & Mrs. Charles Faiman Suzanne Fligiel Janice Fox Ben & Karen Freudenreich Frank & Linda Gollinger

Stephanie Hart Tom & Iris Harvie Don Hauptman Jonathan Helmreich Susan E. Hodge & David A. Greenberg Barb Hoffmann Doug & Joan Hoover Frank Jones Don Julian Paul & Emily Klarreich Steve & Kay Layten Dick & Mimi Lewellen, in memory of Lily Azouz Dick & Mimi Lewellen, in memory of Jack Meinke Helen & James Louttit Constance Mathers Frederick McGuire Peggy Pedersen

Larry & Susan Rakow Carol Gill & Michael Salkind, in honor of Laura Neill Ellen Saltz Dr. & Mrs. Steven Schildcrout Barbara Sharp Danielle Shepherd Carter & Ruth Siegfried Mark Silbersack & Ruth Schwallie Robert L. Smith Marilyn Spence Sheldon & Rebecca Taft Dorothy Tomsic John Tyznik Kathleen Waits Larry Wallerstein Nancy Young, in memory of Betty Shull Gerald Zaidman

Memorial Gifts in Memory of Julius Amling Kimberly Anderson Kathy Brett Sandra & Larry Carpenter Kevin & Kate Diday Anjali Haury Lori Kaiser

Gail Kaye Jill Kerns Anita Kirksey Michelle Lindsey Edward & Linda Macklin Angela McDermott

Angie Miller Katharine Moore Elizabeth Ruppert Julie Schulte The Whaley Family Joan Snyder

Mr. & Mrs. William Taymans John W. Tyznik Jean & James Woisin

Corporate Matching Gifts

Battelle Memorial Institute

Robert Half Management

The Ohio Light Opera Annual Fund provides essential financing for each OLO season, and we are grateful for the loyal support of so many donors through the years. If you want to help ensure that the unique mission of The Ohio Light Opera continues, we ask that you make a gift to the 2022 Ohio Light Opera Fund. Please contact: Laura Neill at 330-263-2090, lneill@wooster. edu for information on how to make a gift to The Ohio Light Opera Annual Fund.

The donor list includes gifts received prior to June 6th. Please let us know if your name has been inadvertently omitted or incorrectly listed.

The Ohio Arts Council helped fund this program with state tax dollars to encourage economic growth, educational excellence, and cultural enrichment for all Ohioans. The Ohio Arts Council is committed to the economic, educational, and cultural development of the state. The Council believes the arts should be shared by the people of Ohio. The arts arise from public, individual, and organizational efforts. The OAC supports and encourages these efforts.

Production Sponsors The Ohio Light Opera appreciates the generous support from the following corporations, foundations, and individuals who have helped underwrite production costs for the 2022 season:

Carol Briggs Briggs Financial Group Stan & Diane Hales Ron & Prue Holtman Ralph R. & Grace B. Jones Foundation Live Publishing Company Joseph E. Loewenstein, M.D.

Michael & Nan Miller J. D. & Arlene Milliken Burton D. Morgan Foundation The Hon. John D. Ong Sara L. Patton Seaman Corporation Dee & Mary Vaidya

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THE OHIO LIGHT OPERA ENDOWMENT The Ohio Light Opera Endowment was established in 1993 by a generous gift from founding Artistic Director James F. Stuart. Additional gifts have helped ensure the current and future financial stability of the Company. A restricted fund in The College of Wooster’s endowment, the Ohio Light Opera Endowment is managed professionally and provides support for a portion of annual OLO expenses. We encourage you to consider making a gift or estate commitment to the Ohio Light Opera Endowment. Please contact Laura Neill at 330-263-2090, lneill@wooster.edu to receive information on how to make an endowment gift.

The Brian Woods Award Seventeen years ago, the Ohio Light Opera lost one of its most talented and supportive young company members. Tenor Brian Woods exemplified in so many ways the best that OLO has to offer. To honor his legacy, the company—along with his widow, Jessie Wright Martin—established an endowment to support an annual award to an outstanding company member. Because of season cutbacks due to COVID, no award was issued for either the 2020 or 2021 season.

During OLO’s 2020 Virtual Festival season, dedicated company members (originally intended to be paid) volunteered their time and prepared material remotely for our virtual programs. In addition, company members from the past 40 years committed time and energy to keep the company’s mission visible and active.

In the summer of 2021, OLO presented a shortened season in Wooster titled 2021 OLO Light! Twenty company members presented live performances, streamed events, and community outreach programs for eager patrons.

This year, as we move toward a more normal performance season, we find ourselves at a pivotal time. We are grateful to the many donors who have provided strong financial support for OLO as we weathered this difficult two-year period and head toward a promising future.

Brian Woods believed in the mission of this company, the art form that we present, the importance of live collaboration, and the special community of Wooster. We thought it best to honor our dear friend Brian by dedicating the 2022 Brian Woods Award to the 2020 Virtual Festival company, the 2021 OLO Light! company, the 2022 OLO company, and the audience members and donors who have continued to support us as we resume our journey.

Past Recipients of The Brian Woods Award: ’07 Peter Nathan Foltz—singer ’08 Todd Strange—singer ’09 Stephen Carr—stage director ’10 Boyd Mackus—singer ’11 Ted Christopher—singer and stage director

’12 Nathan Brian—singer ’17 John Schuesselin—trumpet and ’13 Benjamin Krumreig—singer orchestra personnel manager ’14 Stephen Faulk—singer ’18 Katie Humphrey—stage manager ’15 Eric Andries—coach/ ’19 Mark Snyder-Schulte— accompanist wardrobe master/tenor ’16 Jacob Allen—performer/director

Monday – Thursday 3 – 10 p.m.

Friday – Saturday 3 – 11 p.m. • Sunday 10 a.m. – 9 p.m.

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PRESENTS

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TAKING LIGHT OPERA SERIOUSLY!

THE LEGACY OF OLO FOUNDER

S JAMES F. STUART S

“I had long realized that operetta requires no less a commitment to quality than does grand opera, both in front of and behind the curtain. My objective from the beginning with OLO was to return artistic integrity to operetta. Through coaching on the importance of taking light opera seriously, the company has nurtured an audience that has itself gained a new appreciation for a once seemingly moribund art form.”

James F. Stuart

James F. Stuart Founding Artistic Director 1928-2005

When James Stuart, in 1979, began The Ohio Light Opera at The College of Wooster, he had already built a successful career as a musical and theatrical educator, producer, director, and performing artist. Born in Baton Rouge in 1928, he studied at LSU and earned a doctor of musical arts degree at the Eastman School of Music. For seven seasons, he performed the principal tenor roles with Dorothy Raedler’s American Savoyards and the Martyn Green Gilbert and Sullivan Company. Over several decades, he appeared with opera companies in New York, Boston, Cleveland, Chautauqua, Atlanta, and New Orleans. He sang the Husband in the world premiere of Raffaelo de Banfield’s Lord Byron’s Love Letter, opposite Patricia Neway, and performed the title role in the American premiere of Rameau’s Platée. Among the distinguished musical artists with whom Stuart performed are singers Beverly Sills, Joan Sutherland, Richard Tucker, and Robert Merrill; and conductors Franz Allers, Richard Bonynge, Boris Goldovsky, Louis Lane, Julius Rudel, and Robert Shaw.

Under Stuart’s vision and guidance, The Ohio Light Opera evolved into the nation’s premier venue for the presentation of both the masterworks and forgotten gems of the lyric theater repertoire. His translations for the Company include those for Auber’s Fra Diavolo, Lecocq’s La fille de Madame Angot, Hahn’s Ciboulette, Kálmán’s Die Bajadere and Der Zigeunerprimás, Strauss’ Der lustige Krieg, and Offenbach’s Monsieur Choufleuri.

In recognition of his contributions to lyric theater, he was awarded an honorary doctorate by The College of Wooster, and was invested in the College of Fellows of the American Theatre in a ceremony at the Kennedy Center in Washington, DC. Stuart was further honored by his inclusion in several standard biographical works: Dictionary of International Biography, International Who’s Who in Music, Who’s Who in America, and International Who’s Who of Intellectuals.

James Stuart in The Gondoliers, 1996

S To make a lasting gift to The Ohio Light Opera, contact Executive Director Laura Neill at 330-263-2090.

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J

A Standing Ovation for Three Paragons of Operetta and The Ohio Light Opera!

ulie Wright Costa, J. Lynn Thompson, and John Schuesselin have each given more than 30 years of service to the mission of this unique company. In no small way, they have championed and contributed to the growth of both OLO and the lyric theater art form that it embraces, and, in so doing, have engaged and entertained tens of thousands of patrons. Their formidable artistry, creativity, and dedication have set a high bar for defining performance standards as OLO moves forward. As they take their final bows from their leadership roles with the company and set off on new life adventures, we celebrate their talent, friendship, collegial spirit, and love for OLO and the Wooster community. When the curtain goes up on future seasons, the contributions of Julie, Lynn, and John will continue to echo through the music heard in Freedlander Theatre.

S I wish to express my sincere gratitude and thanks to all mentors and colleagues at OLO, past and present. Of especial note are Doc (James Stuart), Steven Daigle, Laura Neill, J. Lynn Thompson, and Steven Byess. What I have learned from you and experienced with you has been immeasurably significant to my life and career. I am deeply blessed to have formed numerous lifelong friendships with colleagues throughout the three decades (32 years to be exact) of my work here, and I look forward to future opportunities to connect with the company and all those in Wooster who have become so dear to my life.

It is difficult to distill a singular moment in time at OLO. The sheer number of roles and performances (and rehearsals!) I have been fortunate to participate in is staggering, and each is special in its own way. From my first-ever role with the company (Nadina in The Chocolate Soldier) to the last (what I lovingly call OLO’s “boutique” season last summer), each experience

has offered artistic and personal growth that is invaluable to the entirety of my work, and my service to all those around me. The mission of OLO is vitally relevant today, as music continues to elevate life, break down barriers, and bring people together.

While I am stepping down as Ohio Light Opera’s Associate Artistic Director, I am not retiring!! My husband John and I look forward to spending more summers together but I will never stop supporting this truly outstanding company or this wonderful community. So, it is not goodbye, just, “until next time!” My heart still resounds “I have a song to sing, O!” Julie Wright Costa Associate Artistic Director

S It will be difficult not to see John’s smiling face and positive attitude and hear his exceptional trumpet playing in the orchestra pit within Freedlander Theatre. His contributions to OLO have been limitless. As personnel manager, John was responsible for assembling OLO’s orchestra each summer—more than 1000 instrumentalists over 30 years. With John’s strong connections to Wooster and his friendship with founding artistic director James Stuart, he understood the entertainment and educational value of OLO

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and how this company enriches the community.

The company will miss his leadership, steadfast dedication, collegial attitude, and talent. We wish John, his wife Nancy María, and their family all our best as they continue their journey.

JOHN SCHUESSELIN, trumpet / orchestra personnel manager, has since 1999 been on the faculty of the University of Mississippi, where he teaches trumpet and performs with the University of Mississippi Faculty Brass Quintet.

He earned degrees in trumpet performance from the Eastman School of Music, Kent State University, and LSU. His orchestral experience includes performing with the North

Mississippi Symphony, Charleston Symphony, Chicago Sinfonietta, Memphis Symphony, Meridian Symphony, New World Symphony, and Rochester Philharmonic Orchestra. He has presented at the Hawaii International Conference on Arts and Humanities in Honolulu, the College Music Society’s Southern Regional Conference in Memphis, and the College Music Society’s National Conference in Richmond, VA.

S My OLO Family, It is with a heavy but deeply grateful heart that I am making the decision to step down as Music Director for the Ohio Light Opera. For more than 30 years, this wonderful company has been my second family, and my home. What a blessing it has been to be part of the OLO community of artists.

I love the Ohio Light Opera. I will forever be grateful to my core that Doc Stuart invited me into the fold and allowed me to grow, make mistakes, and hopefully in the end, to make a positive difference. Laura, Steven—you and John Schuesselin and Julie Wright are some of the people I treasure most in my life. There are friends who are family, and family who are friends and you are certainly precious members of the former. It was such an honor to launch world premieres and the July 4th concerts tradition, J. LYNN THOMPSON, music director, has a successful career that includes more than 40 years as conductor, artistic leader, recording artist, performer, and educator. With The Ohio Light Opera, he led over 1000 performances of more than 120 different productions, including two world premieres and several American premieres. Additionally, Thompson and OLO have recorded 18 full-length CDs on the Newport Classic and Albany Records labels. In 2007, Thompson was named Artistic Director Emeritus of Atlanta Lyric Theatre, a company he assisted in founding in 1980 and for which he has served as music director, conductor, and artistic director. He has collaborated with conductors Louis Lane and Robert Spano; singers Michael Hume, Peter Harrower, and Victoria Mallory; and pianist Paul Ford, accompanist for

watch young talent mature into seasoned professionals before our eyes, savor emotional and powerful moments in show after show that changed the lives of the performers and audiences alike.

I will miss you with my whole heart. But it is time for me to give up something that I love, for something that I love more which is my wife Adelia and our families.

Thank you for the gift of your friendship, and for the chance of a lifetime as your music director at the Ohio Light Opera.

Lynn Thompson Stephen Sondheim for over 20 years. Composers Robert Wright and George Forrest consulted on Thompson’s 1998 production of Kismet in Atlanta, and he worked closely with the Kurt Weill Foundation in the remounting of the rarely performed The Firebrand of Florence with OLO in 1999. Thompson has served as principal guest conductor with Pensacola Opera and as guest conductor with the Akron Symphony, Theatre of the Stars in Atlanta, Empire State Orchestra in Schenectady, and recently made his Virginia Symphony debut conducting the works of Drew Gasparini. J. Lynn and his wife Adelia, along with their two golden retrievers, Buck and Maggie, currently reside in Newport News, VA, where, at Christopher Newport University, he serves as director for the University Orchestra and music director for Theatre CNU and Opera CNU.

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The Devil’s Rider 2019

Music in the Air 2019

South Pacific 2019

The Daring of Diane 2021

Into the Woods 2019

The Devil’s Rider 2019

2019 and 2021 season photos

by Matt Dilyard

The Fantasticks 2021

The Daring of Diane 2021

Trial by Jury 2021

Perchance to Dream 2019

The Fantasticks 2021

Trial by Jury 2021

The Pirates of Penzance 2019

Into the Woods 2019

Music in the Air 2019

AMERICA’S PREMIER LYRIC THEATER FESTIVAL

The Student Prince 2017

OUR MISSION

F

or 43 seasons, The Ohio Light Opera has dedicated itself to the exploration and production of the best of traditional operetta and musical theater. Founded by James Stuart as a Gilbert and Sullivan repertory summer festival, the company has grown to encompass all forms in the light opera canon. This includes the complete Gilbert and Sullivan repertoire, as well as the recognized treasures from the Viennese, French, Hungarian, German, British, and American repertoire. In recent years, the company has expanded its offerings to include traditional musical theater—rare musical gems as well as popular works that are nevertheless being produced less often today. Composers represented include Adler and Ross, Berlin, Bernstein, Bock and Harnick, Gershwin, Herman, Kern, Leigh, Lerner and Loewe, Loesser, Porter, Rodgers and Hammerstein, Rodgers and Hart, Schmidt and Jones, Sondheim, Styne, and Willson. Along with this unique mission, the company also reconstructs and produces those rare operetta titles of artistic value that were popular in their own times but have long since been forgotten.

The historical performance practices of each work premiered are delicately balanced with the resources of a state-of-the-art theater and engaging and entertaining performance values.

Each summer—although 2022 differs because of Covid-dictated restrictions—between seven and nine titles are presented in a revolving format of approximately 60 performances over an eight-week period. Nearly 20,000 patrons each season see productions in The College of Wooster’s intimate Freedlander Theatre. Over 120 company members from around the United 16 Box Office: 330.263.2345

States are selected each year to become a part of our residency program. The 40 performing artists who make up the vocal ensemble are chosen for their abilities to perform and work at the highest level in all disciplines demanded by the company’s specialized repertoire: singing, acting, and dancing. With 151 titles produced, more than 2500 performances, and over 750,000 patrons watching, The Ohio Light Opera has become the forerunner in promoting the lyric theater genre. The company’s contribution to the preservation and promotion of traditional lyric theater has received recognition in prominent national and international publications and its work is frequently cited by leading scholars of operetta and light opera. In residency on The College of Wooster campus, the summer festival offers a country setting with an inviting community that is proud of the unique service this company has given to its many patrons and to the art form.

The Ohio Light Opera produces historical titles in the spirit of being faithful to the original material. This tradition has successfully brought patrons to our festival for over 40 years. We make every effort to balance the artistic traditions of the past with the sensitivities expected from our present society. Although words may be omitted and stereotypes softened, OLO performance editions sometimes contain prejudices that were prevalent at the time of a work’s creation. To completely ignore these prejudices, or change the creation entirely, would be the same as not acknowledging or recognizing that they existed.

—Steven A. Daigle

THE OHIO LIGHT OPERA 2022 FESTIVAL COMPANY ADMINISTRATIVE, ARTISTIC, AND TECHNICAL LEADERSHIP TEAM JACOB ALLEN, stage director JENNIFER AMMONS, costume designer ERIC ANDRIES, pianist MICHAEL BOROWITZ, music director

CAST

CHEUK CHI MOK, horn

SARAH BEST, mezzo-soprano

ELAINA PALADA, flute

EDWARD FERRAN, tenor

STEPHEN STAVNICKY, trumpet

VINCENT GOVER, baritone

BONNIE VIGIL, violin

LILY GRAHAM, soprano

SPENCER WILSON, bassoon

JONATHAN HELLER, baritenor MARK HOSSEINI, baritone

JULIE WRIGHT COSTA, associate artistic director

MARCUS HUBER, tenor

STEVEN A. DAIGLE, artistic director

BEN KRUMREIG, tenor

MICHELLE FRAZIER, business and box office manager DANIEL HOBBS, scenic designer and properties master

SCOTT JOHNSON, tenor ABBY KURTH, mezzo-soprano JOELLE LaCHANCE, mezzosoprano

TECHNICAL AND FRONT OF HOUSE TEAM RACHEL AHO, assistant lighting designer ALLIANCE AKINS, assistant t echnical director and master carpenter KYLEN BAILY, lead stitcher

ALEXA LOWREY, soprano

SAPH BEERS, prop fabricator

DANIEL HUSTON, production m anager and resident lighting designer

JAMES McCARTHY, baritone

KATHERINE BURNS, painter

MICHELLE PEDERSEN, soprano

SAVANNAH BROOKS, wardrobe

KIAH KAISER, set designer and scenic charge artist

EMILIA PERROTTA, soprano

KATHRYN CARRION, stitcher and first hand

LAURA KELLOGG, orchestra personnel manager and flute

NOAH ROGERS, baritone

JAMES MITCHELL, tenor and assistant stage director CINDY MOON, costume designer, wigs & crafts LAURA NEILL, executive director CHRISTOPHER PLUMMER, sound designer SPENCER REESE, director, choreographer, and tenor SUWATANA (PLA) ROCKLAND, costume designer ABBY SCHNECK, production stage manager

MATTHEW REYNOLDS, baritone LAUREN NASH SILBERSTEIN, soprano SADIE SPIVEY, soprano LINDSAY UHRICH, mezzo-soprano GILLIAN WEATHERFORD, mezzosoprano ORCHESTRA RONDA MAY HEROLD, concertmaster LEV ROSHAL, assistant concertmaster JEFFREY ANDERSON, clarinet

CODY CRANE, carpenter NIKKI DONLEY, carpenter MARSHALL DONN, carpenter ERICA FELTON, assistant stage manager KATHLEEN GRIFFITH, stitcher SAMI HANSEN, assistant stage manager JACOB HARRIS, wardrobe KATE JOSEPH, box office associate BRITTANY KUGLAR, wardrobe supervisor BRIAN LUCK, prop artisan

DONOVAN BEER, cello

ELI OLDT, assistant sound designer

JACOB CLARK, violin

MAYA RICKARD, prop artisan

ALEXANDER DEGOEY, bass

MATTIE ROOS, painter

WILSON SOUTHERLAND, associate music director

ABRIL CELESTE NUNEZ GADALETA, violin

RACHEL SEMEL, box office associate

LEIGHA SWEIGER, house manager/box office associate

EMILY GRISSING, cello

STEPHANIE VALDES, stitcher

STEPHEN TOMLIN, technical director

BENJAMIN GUEGOLD, trumpet SAMUEL HIMES, horn

MASON WALDRIP, assistant sound designer

BRITTANY SHEMUGA, lighting designer KELLEY SHEPHARD, draper and assistant shop supervisor

BENJAMIN KERGER, percussion JANGHYUN KIM, clarinet LEO ERNEST GARCIAS LEITE, trombone INA McCORMACK, harp MAXXWELL MEJIA, oboe

ohiolightopera.org 17

PREMIERE Rodgers & Hammerstein's

CINDERELLA (1957) Music by............................................................... Richard Rodgers Lyrics by.................................................... Oscar Hammerstein II Adapted for the stage by......................................... Tom Briggs From the teleplay by............................... Robert L. Freedman Conductor.......................................................... Michael Borowitz Director & Choreographer................................ Spencer Reese Scene Designer........................................................ Daniel Hobbs Costume Designer..................................... Suwatana Rockland Lighting Designer..................................................Daniel Huston Sound Designer.......................................Christopher Plummer Assistant Director................................................ James Mitchell Cinderella*................................................................................ Alexa Lowrey Fairy Godmother.............................................. Lauren Nash Silberstein Stepmother....................................................................Michelle Pedersen Grace................................................................................................ Sarah Best Joy.................................................................................................. Abby Kurth Christopher......................................................................... Jonathan Heller Lionel............................................................................. Benjamin Krumreig Queen Constantina...................................................Gillian Weatherford King Maximillian.................................................................... Mark Hosseini Four White Horses......................................Sadie Spivey, Lily Graham, .....................................................Emilia Perrotta, Joelle LaChance Young Girl..................................................................................Sadie Spivey Older Sister........................................................................... Emilia Perrotta Younger Sister........................................................................... Lily Graham Younger Sister.......................................................................Scott Johnson Butcher............................................................................ Matthew Reynolds Fruit Seller......................................................................... Joelle LaChance Flower Girl...............................................................................Lindsay Ulrich Cheese Merchant............................................................. James McCarthy Baker..........................................................................................Marcus Huber Footmen................................................... Marcus Huber, Scott Johnson Ensemble Lily Graham, Mark Hosseini, Marcus Huber, Scott Johnson, Benjamin Krumreig, Joelle LaChance, James McCarthy, Emilia Perrotta, Matthew Reynolds, Sadie Spivey, Lindsay Uhrich, Gillian Weatherford *Understudy: Lily Graham CINDERELLA is presented by arrangement with Concord Theatricals on behalf of The Rodgers & Hammerstein Organization.www.concordtheatricals.com 18 Box Office: 330.263.2345

This production has been partially underwritten by gifts from: Carol Briggs Briggs Financial Group Ron & Prue Holtman

SETTING Once upon a time …

Act I Prologue...................................... The pumpkin patch Scene 1.............................................The village square Scene 2..........................Stepmother’s manor house Scene 3............................ Royal parlor of the palace Scene 4......................... The pumpkin patch behind ............................................................. the manor house Scene 5.......................... The pumpkin patch behind ............................................................. the manor house Scene 6.............................. Outside the royal palace

Act II Scene Scene Scene Scene Scene Scene Scene

1................ The ballroom of the royal palace 2............................................ The royal gardens 3............................... Outside the royal palace 4............................................ The manor house 5..............................Throughout the kingdom 6............................................ The manor house 7.......................................... The wedding finale

15 minute Intermission

MUSICAL NUMBERS ACT I Prologue.......................................................................................................................................... Godmother, Chorus The Village The Sweetest Sounds...........................................................................................................Cinderella, Christopher The Prince Is Giving a Ball...................................... Lionel, Christopher, Grace, Joy, Stepmother, Villagers In My Own Little Corner..................................................................................................................................Cinderella Boys and Girls Like You and Me............................................................................................................ King, Queen The Sweetest Sounds (reprise)......................................................................................... Christopher, Cinderella In My Own Little Corner (reprise)...............................................................................................................Cinderella Fol-De-Rol......................................................................................................................................................... Godmother Impossible................................................................................................................................... Godmother, Cinderella The Transformation Finale: It’s Possible...................................................... Cinderella, Godmother, Horses, Footman, Ensemble ACT II Entr’acte and Gavotte Loneliness of Evening................................................................................................................................. Christopher Cinderella Entrance and Waltz Ten Minutes Ago............................................................................................... Christopher, Cinderella, Ensemble Stepsisters’ Lament..........................................................................................................................................Joy, Grace Do I Love You Because You’re Beautiful?..................................................................... Christopher, Cinderella Twelve O’Clock Do I Love You Because You’re Beautiful? (reprise)....................... Christopher, King, Queen, Cinderella When You’re Driving Through the Moonlight..................................... Cinderella, Grace, Joy, Stepmother A Lovely Night................................................................................................ Cinderella, Grace, Joy, Stepmother The Search The Slipper Fits......................................................................................................................... Christopher, Cinderella There’s Music in You............................................................................................................... Godmother, Ensemble

S “Love is the song you will sing your whole life through.”

S ohiolightopera.org 19

ARGUMENT

ACT I: In a pumpkin patch under a full moon, the Fairy Godmother relates the story of how a happy child named Cinderella lost both her mother and father, but can still be whatever she wants to be. On the village square, badgered by her stepmother and bickering stepsisters Grace and Joy, Cinderella knows that—someday, somewhere—love is waiting for her. She crosses paths with a handsome commoner, really the incognito Prince Christopher. Face-to-face, both are instantly mesmerized. Christopher’s steward Lionel passes out fliers and announces that “the Prince is giving a ball.” This is news to Christopher, who soon deduces that it is his mother’s attempt to win for him a bride.

Grace and Joy waste no time in setting their sights on winning over the Prince. Back home, the stepmother makes sure that her daughters understand the importance of snagging the Prince and securing for them a better life. Left alone in her own little corner, Cinderella dreams of a fanciful life of love and adventure. A dove brings one of the fliers to Cinderella, who revels in the opportunity to don some nice clothes and attend the ball. In the royal palace, the King and Queen chide their son Christopher for failing thus far to secure a bride. Between them, and with a little encouragement from Lionel, Christopher agrees to the ball and to welcoming the bevy of young maidens who will there be vying for his favor.

At home, just hours before the ball, Cinderella presents herself to her family, who mock her, her dress, and any thought that she has of attending the ball. Relegated to her house duties, Cinderella watches Grace and Joy and her stepmother depart in a coach. Responding to Cinderella’s pleas to her late mother to somehow get her to the ball, the Fairy Godmother appears, works her magic, and, before they know it, she and Cinderella are greeted by a footman at the royal palace.

ACT II: At the ball, Christopher exercises his perfunctory obligation to dance with each young maiden. The stepmother tries to bribe Lionel— even throwing herself at him—to stack the Prince’s deck in favor of one of her daughters.

Just as the Prince is lamenting his loneliness, Cinderella—resplendent in her ball gown— appears at the top of the stairs and is invited to dance. The Prince cannot shake the feeling that he has previously met this girl. As they 20 Box Office: 330.263.2345

head off for a walk in the garden, Grace and Joy cannot understand how the Prince could ignore their charms and fall for this mysterious interloper. Just as the young couple confess their mutual love, the midnight chimes ring out and Cinderella—remembering the Fairy Godmother’s warning to leave by then—dashes out, of course losing along the way one of her glass slippers.

The Prince vows to find its owner, even if he has to try it on the foot of every girl in the kingdom.

Back home, a buoyant Cinderella sings of what it must be like to be swept across the dance floor by a prince, as the stepfamily, one-by-one, inserts themselves into her story. The sudden arrival of the Prince and Lionel catch the household by surprise. It’s time for a shoe-fitting …

BACKGROUND

When Richard Rodgers, following his 1942 breakup with lyricist Lorenz Hart and Hart’s death the following year, teamed with Oscar Hammerstein II on a show originally titled Away We Go! it was with a sense that they were writing, as Rodgers put it, “a different kind of musical.” There was hardly an expectation, however, that they would revolutionize the American musical and dominate Broadway for the next two decades. Beginning in 1943 with the (retitled) Oklahoma! the team cranked out— at precise two-year intervals—Carousel, Allegro, South Pacific, The King and I, Me and Juliet, and Pipe Dream. The last two were received less than favorably by both the press and public.

But it wasn’t long after Pipe Dream closed in June, 1956 that Julie Andrews’ agent contacted Rodgers to inquire whether he and Oscar might be interested in crafting for her a television version of the Cinderella story. They knew that Andrews, about six months into her acclaimed portrayal of Eliza Doolittle in My Fair Lady, was now “hot property” and thus they jumped at the opportunity. A few years before, she had actually auditioned for, but failed to secure, a role in Pipe Dream, although Rodgers had taken positive note of her singing.

CBS, in a complex arrangement with Rodgers and Hammerstein, secured the right to broadcast the show, which they saw as a chance to one-up NBC, which had scored big with live broadcasts, in 1955 and 1956, of Peter Pan with Mary Martin.

Making his television debut, Jon Cypher—a quarter-century later assuming the role of Police

Chief Fletcher Daniels on Hill Street Blues—was cast as the Prince. Howard Lindsay—co-librettist a few years later of The Sound of Music—played the King; his wife Dorothy Stickney, the Queen; Edie Adams, the Fairy Godmother; Ilka Chase, the stepmother; and Kaye Ballard and Alice Ghostley, the stepsisters. Rehearsals began on February 24, 1957, with Andrews available only on days and afternoons when My Fair Lady was not playing. Without the benefit, as was common for Broadway shows, of an out-of-town tryout, the cast ran through two fully-staged performances, on March 17 and 24, which were recorded as private black-and-white kinescopes.

The live one-time-only public broadcast, in color, on Sunday evening, March 31, was reputedly seen by a staggering 107 million viewers, the most watched program in television history. To be more precise, the eastern part of the country saw the show in color, whereas the West—on onehour delay—had to make do with a black and white kinescope taken from the color broadcast.

This performance date was—coincidentally or not—the 14th anniversary of the opening of Oklahoma! which would have had to play 130 years to draw the audience that Cinderella did

in one evening. The program preempted the ever-popular Ed Sullivan Show, which, the week before, had featured Rodgers and Hammerstein as guests.

In 1965, five years after Hammerstein’s death, Rodgers commissioned a new Cinderella teleplay, hired 18-year-old Lesley Ann Warren for the title role, and surrounded her with a starstudded cast, including Ginger Rogers, Walter Pidgeon, and Celeste Holm, with Stuart Damon (later of General Hospital fame) as the Prince.

A third television version appeared in 1997 and featured Brandy, Whitney Houston, Jason Alexander, Whoopi Goldberg, Bernadette Peters, and Victor Garber. It is this version that inspired Ohio Light Opera’s current production, which features virtually all the songs from the original 1957 broadcast, in addition to two interpolated numbers from the Rodgers musical canon: “The Sweetest Sounds” from the 1962 musical No Strings and “There’s Music in You,” written for the 1953 film Main Street to Broadway, and performed there by Rodgers and Hammerstein themselves, assisted by Mary Martin.

Michael Miller

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PREMIERE OHIO LIGHT OPERA’S 150TH SHOW TITLE

HELLO, DOLLY! (1964) Music and Lyrics by................................................Jerry Herman Book by..................................................................Michael Stewart Based on the play The Matchmaker by....Thornton Wilder Conductor..................................................... Wilson Southerland Director.......................................................................... Jacob Allen Choreographer...................................................... Spencer Reese Scene Designer........................................................... Kiah Kayser Costume Designer..................................................... Cindy Moon Lighting Designer..........................................Brittany Shemuga Sound Designer.......................................Christopher Plummer Assistant Director................................................ James Mitchell Mrs. Dolly Gallagher Levi...........................................Michelle Pedersen Ernestina Money........................................................................ Abby Kurth Ambrose Kemper...................................................... Benjamin Krumreig Horace Vandergelder..........................................................Vincent Gover Ermengarde.................................................................Gillian Weatherford Cornelius Hackl....................................................................Spencer Reese Barnaby Tucker................................................................. Jonathan Heller Irene Malloy................................................................................... Sarah Best Minnie Fay.......................................................................... Joelle LaChance Mrs. Rose............................................................. Lauren Nash Silberstein Rudolph.............................................................................. James McCarthy Judge........................................................................................ Mark Hosseini Court Clerk............................................................................James Mitchell Stanley...................................................................................... Marcus Huber Ensemble Edward Ferran, Mark Hosseini, Marcus Huber, Scott Johnson, Abby Kurth, Alexa Lowrey, James McCarthy, James Mitchell, Emilia Perrotta, Noah Rogers, Lauren Nash Silberstein, Sadie Spivey, Lindsay Uhrich, Gillian Weatherford

This production has been partially underwritten by gifts from:

HELLO, DOLLY! is presented by arrangement with TAMSWITMARK, a Concord Theatricals Company www.concordtheatricals.com 22 Box Office: 330.263.2345

Seaman Corporation Burton D. Morgan Foundation Dee & Mary Vaidya

SETTING Time: 1890s Act I Scene Scene Scene Scene

1............................................................................................................ Along Fourth Avenue, New York City 2.............................................................................................. Vandergelder’s hay and feed store, Yonkers 3............................................................................Mrs. Molloy’s hat shop – Water Street, New York City 4.......................................................................................................... Along Fourth Avenue, New York City

15 minute Intermission Act II Scene Scene Scene Scene

1.............................................................................In front of the Hoffman House Hotel on Fifth Avenue 2................................................................................................................The Harmonia Gardens Restaurant 3......................................................................................................................... A courtroom on Centre Street 4.................................................................................................................... The hay and feed store, Yonkers

MUSICAL NUMBERS Overture ACT I Call on Dolly................................................................................................................................................Townspeople I Put My Hand In........................................................................................................................................................ Dolly Yonkers March It Takes a Woman................................................................................... Horace, Cornelius, Barnaby, Men, Dolly Put on Your Sunday Clothes......................... Cornelius, Barnaby, Dolly, Ermengarde, Ambrose, Chorus Ribbons Down My Back..............................................................................................................................Mrs. Molloy Dancing.........................................................................................................Dolly, Cornelius, Barnaby, Mrs. Molloy Motherhood March...........................................................................................................................Dolly, Mrs. Molloy Before the Parade Passes By................................................................................................................Dolly, Chorus Finale............................................................................................................................................................................. Dolly ACT II Entr’acte Elegance....................................................................................................Cornelius, Barnaby, Mrs. Molloy, Minnie March to Harmonia Gardens.........................................................................................................................Ernestina Waiters’ Galop Hello, Dolly.........................................................................................................................................................Dolly, Men Polka It Takes Only a Moment........................................................................................ Cornelius, Chorus, Mrs. Molloy So Long, Dearie......................................................................................................................................................... Dolly Finale Ultimo......................................................................................................................................................Ensemble

S “It’s so nice to have you back where you belong.”

S

ohiolightopera.org 23

ARGUMENT

ACT I: Widowed matchmaker Dolly Levi has been engaged by widowed half-millionaire—and hay and feed store owner—Horace Vandergelder of Yonkers to secure for him a new wife. She also seeks his approval of a marriage between his niece Ermengarde and the struggling artist Ambrose. New Yorkers believe that Horace will soon propose to the pretty widow, milliner Irene Molloy, but Dolly, after “seeking the opinion” of her late husband Ephraim, sets her own sights on Horace and his fortune. Upon arriving in Yonkers, Dolly begins to sow distrust of Irene in Horace’s mind and tries to direct his attention toward the wealthy, but plain, Ernestina Money. After Horace has set off for the city, his employees Cornelius and Barnaby decide to slip away from work and enjoy the glories of New York City, vowing to not return until they have each kissed a girl. The pair wind up at Irene’s hat shop, but have to go into hiding when Horace arrives to rendezvous with Irene. Dolly appears and, through her slick wiles, ensures that Horace not only does not see the two boys, but becomes convinced that Irene is hiding a shop full of male admirers. Horace storms out in search of Ernestina, as Dolly further encourages the romantic pursuits of Cornelius and Barnaby. She calls again on her late husband to assure her that her pursuit of a happy life, rather than securing one for others, meets his approval. Frustrated in his pursuit of Ernestina, Horace sacks Dolly as his marriage broker and tells her that she is now “just a woman like anyone else.” Dolly “informs” Ephraim that Horace is as good as hers.

ACT II: Cornelius and Barnaby have been showing Irene and her shop assistant Minnie Fay the highlights of the town, but without revealing that they are near-penniless. Along with Ermengarde and Ambrose, they wind up at the ritzy Harmonia Gardens, where also Horace has arrived to meet Ernestina. When both he and Barnaby try to tip the bandleader to play their favorite music, they drop their wallets, which get mixed up by the time they are returned to their owners. Barnaby and Cornelius, with their newfound wealth, can now live it up in entertaining their girls. Suddenly, the establishment takes on an added glow when Dolly—a recognized regular customer—appears 24 Box Office: 330.263.2345

and is duly greeted by the staff. Horace chides Dolly for her recommendation of Ernestina, who has not turned out to be the gem whom he imagined. He and Dolly wind up at a table adjacent to the dance floor, as Dolly slyly lures Horace into a discussion of marriage. When Horace discovers Cornelius and Barnaby, and his niece Ermengarde, he flies into a rage, with utter mayhem ensuing. They all wind up in court, but are all acquitted except Horace, who refuses to marry Dolly, even to get himself out of this mess. Dolly, ever scheming, issues him a “goodbye, dearie” wish. Eventually back in Yonkers, Cornelius is threatening to set up a competitive shop just opposite Horace’s business, Barnaby demands from Horace his back wages, and Ermengarde wants from him the money her mother left her. As Dolly sweeps in, the muddled Horace has no choice but to listen, for the last time, to yet another of her matchmaking recommendations.

BACKGROUND

“My most beloved show—Hello, Dolly!—was a horrendous experience.” “It was nothing but headache.” “I have horror stories about that show that would curl your hair.” “The Dolly! period was the most difficult time of my life.”

“It took me 30 years before I could feel absolute joy and pleasure in having written Hello, Dolly!”

Hardly the words you would expect to hear from the composer/lyricist of the show that became the longest-running in Broadway history. It all started when Jerry Herman was summoned to the office of legendary Broadway producer David Merrick, who was seeking a composer/lyricist to team with librettist Michael Stewart on a musical version, featuring Ethel Merman, of Thornton Wilder’s play The Matchmaker, which Merrick had produced on Broadway in 1955. Herman, in his autobiography, recounts his knee-buckling experience in coming face-to-face with the producer about whom he had heard “all those terrifying stories about what a monster” he was.

Merrick provided Herman with a draft script of the show, and gave the composer three days to create some sample tunes. Merrick had been duly impressed with Herman’s 1961 hit show Milk and Honey—then still running on Broadway— and was even more impressed when Herman returned after a frantic weekend with four songs: “Call on Dolly,” “I Put My Hand In,” “Put On

Your Sunday Clothes,” and “Dancing.” Joined by actress Alice Borden, Herman regaled Merrick with the four tunes, and encores of each, to which the “producer from hell” replied: “Kid, the show is yours.” So far … so good.

Six months later, in the summer of 1963, with the show then titled Dolly: A Damned Exasperating Woman, Merrick contacted Ethel Merman to set up a meeting for her to hear the score. The reigning queen of Broadway flatly refused the offer—she had tired of the eight-shows-a-week grind and wanted “to have some fun.” Herman and Stewart were utterly distraught—they had crafted the show for Merman’s stage persona and voice. At this point, however, there was no turning back.

Dolly! director Gower Champion first suggested established star Nanette Fabray, but eventually the production team settled on Carol Channing, who had shot to fame in the 1948 Broadway revue Lend an Ear and in the 1949 musical Gentlemen Prefer Blondes. Herman had some serious music rewriting to do, for as Channing reminded him: “I sing lower than most of the men in your show.” But Channing and Herman hit it off splendidly and became lifelong friends. Hello, Dolly! opened in Detroit, in a pre-Broadway tryout, on November 18, 1963. “We thought we had a hit—and the Detroit critics killed us,” relates Herman. Merrick, fearing a costly flop

when (or if) the show made it to Broadway, blamed Herman for “this awful, embarrassing show,” completely contradicting his earlier enthusiasm for the musical score. To further add to the insult, and as a scare tactic, Merrick brought in other composers and lyricists to work with Herman, including Bob Merrill (composer/ lyricist of Carnival) and Charles Strouse and Lee Adams (composer and lyricist, respectively, of Bye, Bye, Birdie). After collaborations on a few songs, they all left and calm was restored among the team.

Herman saw the show’s title song—for many, Broadway’s quintessential show anthem—as “the moment when this lady … finally gets the guts … to face the world again.” Six weeks before the show opened on Broadway, and as a promotional device, Louis Armstrong recorded the tune and created a sensation. It reached Number 1 on the Billboard charts, nudging out the Beatles’ 14week hold on that coveted position, and became the best-selling single of Armstrong’s career, to say nothing of boosting ticket sales for the approaching Broadway run (premiere: January 16, 1964), which garnered very positive, but not unanimously rave, reviews. But the 2844 performances and lasting popularity speak for themselves.

Michael Miller

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ohiolightopera.org 25

THE STUDENT PRINCE (1924) Music by........................................................... Sigmund Romberg Book & Lyrics by............................................. Dorothy Donnelly Based on the play Old Heidelberg by........Wilhelm Meyer-Förster

Conductor.......................................................... Michael Borowitz Director.......................................................................... Jacob Allen Choreographer...................................................... Spencer Reese Scene Designer........................................................ Daniel Hobbs Costume Designer......................................... Jennifer Ammons Lighting Designer..........................................Brittany Shemuga Sound Designer.......................................Christopher Plummer Assistant Director......................................... Michelle Pedersen Four Lackeys........................................Edward Ferran, Scott Johnson, ........................................................ Noah Rogers, James McCarthy Prime Minister von Mark................................................ Jonathan Heller Doctor Engel.......................................................................... Mark Hosseini Prince Karl Franz*..................................................... Benjamin Krumreig Gretchen.......................................................................Gillian Weatherford Ruder.......................................................................................James Mitchell Toni...............................................................................................Spiro Matsos Lutz............................................................................................Vincent Gover Hubert........................................................................................ Noah Rogers Count Hugo Detlef**............................................................Marcus Huber Von Asterberg***.................................................................Edward Ferran Lucas.................................................................................... James McCarthy Kathie****............................................................. Lauren Nash Silberstein Grand Duchess Anastasia.........................................Michelle Pedersen Princess Margaret....................................................................... Sarah Best Captain Tarnitz............................................................. Matthew Reynolds Baron Arnheim......................................................................Scott Johnson Countess Leyden....................................................................... Abby Kurth Ensemble Sarah Best, Edward Ferran, Lily Graham, Jonathan Heller, Marcus Huber, Scott Johnson, Abby Kurth, Joelle LaChance, Alexa Lowrey, James McCarthy, James Mitchell, Michelle Pedersen, Emilia Perrotta, Matthew Reynolds, Noah Rogers, Lindsay Uhrich, Gillian Weatherford * Understudy: Marcus Huber ** Understudy: Edward Ferran *** Understudy: Scott Johnson **** Understudy: Emilia Perrotta

This production has been partially underwritten by gifts from: Stan & Diane Hales The Hon. John D. Ong

THE STUDENT PRINCE is presented by arrangement with Concord Theatricals on behalf of Tams-Witmark LLC. www.concordtheatricals.com 26 Box Office: 330.263.2345

SETTING Time: Spring, 1860 Prologue:................................................................................................ Antechamber in the palace at Karlsberg Act I................................Garden of the Inn of the Three Golden Apples at the University of Heidelberg Act II.........................................................................Sitting-room of Prince Karl, at the inn, four months later Act III.........................................................A room of state in the royal palace at Karlsberg, two years later Act IV................................................................................................................................. Same as Act 1, the next day

MUSICAL NUMBERS Overture PROLOGUE

By Our Bearing So Sedate................................................................................................................................Lackeys Golden Days.................................................................................................................................. Karl Franz, Dr. Engel ACT I Garlands Bright with Glowing Flowers............................................................................Girls, Gretchen, Ruder To the Inn We’re Marching..................................................................Students, Von Asterberg, Lucas, Detlef Drink! Drink! Drink!................................................................................ Detlef, Students, Von Asterberg, Lucas Come Boys, Let’s All Be Gay, Boys.......................................Kathie, Detlef, Von Asterberg, Lucas, Chorus Heidelberg, Beloved Vision.............................Dr. Engel, Karl Franz, Ruder, Kathie, Lutz, Gretchen, Girls Gaudeamus Igitur..................................................................................................................................................Chorus Golden Days (reprise)......................................................................................................................................Dr. Engel Deep in My Heart, Dear.................................................................................................................. Kathie, Karl Franz Finale.................................................................................................................................................................... Ensemble Come, Sir, Will You Join Our Noble Saxon Corps?

Drinking Song (reprise) Serenade: Overhead the Moon Is Beaming When the Spring Wakens Ev’rything Come Boys, Let’s All Be Gay, Boys ACT II Introduction Student Life........................................................................................................................................................ Ensemble Thoughts Will Come to Me.......................................................................................Karl Franz, Dr. Engel, Kathie 15 minute Intermission ACT III Ballet Just We Two.......................................................................................... Princess Margaret, Capt. Tarnitz, Chorus What Memories, Sweet Rose...............................................................Karl Franz, Dr. Engel, Students, Kathie ACT IV Serenade Intermezzo Let Us Sing a Song............................................................................................................................................Students Finale Ultimo...................................................................................................................................................... Ensemble

S “Golden days … days of youth and love.”

S

ohiolightopera.org 27

ARGUMENT

ACT I: Prince Karl Franz, grandson of the aging King of Karlsberg, has left his restricted life and, accompanied by his tutor Dr. Engel and pompous valet Lutz, begins a year of study at Heidelberg University. Upon his arrival, he is instantly charmed by the sights and sounds of student revelry, and is invited by Detlef, the student leader of the Saxon Corps, to join their ranks. Just as quickly, he becomes smitten with the waitress Kathie, niece of the proprietor of the Inn of the Three Golden Apples.

ACT II: A visit from Karlsberg’s Princess Margaret, to whom he is betrothed by decree of his dynastically-minded grandfather, convinces Karl Franz that he and Kathie, now deeply in love, must escape together to Paris. News arrives, however, that the King is dying and that Karl Franz must return to Karlsberg. He promises Kathie that he will return, but she has her doubts. Two years pass, and Karl Franz is now king, although he has managed to delay his marriage to Margaret, who, much to the chagrin of the ministers, has responded favorably to the attentions of the dashing Captain Tarnitz.

When word reaches Karl Franz that Kathie, still in Heidelberg, spends all her time weeping in her room, he decides to return ... just this one time. His arrival, however, is preceded by that of Princess Margaret, who has a heart-to-heart with Kathie.

BACKGROUND

When The Student Prince opened at Jolson’s 59th Street Theatre on December 2, 1924, Will Rogers was starring in the Ziegfeld Follies, Fred and Adele Astaire in Lady, Be Good!, Ethel Barrymore in The Second Mrs. Tanqueray, Lunt and Fontanne in The Guardsman, Marilyn Miller in Peter Pan, and the Marx Brothers in I’ll Say She Is. Irving Berlin was presenting the fourth annual Music Box Revue, Rose Marie was going strong, and Abie’s Irish Rose was in its third year. This partial roster of stars and hit shows recalls one of the liveliest periods in the history of Broadway. Prosperity stimulated box office sales; the Depression and competition from talkies were several years in the future, and the sun never set on the Shubert theatrical empire. That empire was expanded by the prolific Sigmund Romberg (1887–1951). A student of civil engineering and 28 Box Office: 330.263.2345

music in Vienna, he chose the latter for a career in spite of parental objections. Emigrating from his native Hungary to New York in 1909, he scratched out a living as a pianist and orchestra leader in various restaurants. Some of his piano compositions came to the attention of J. J. Shubert, who hired him as a staff composer.

As such, he contributed to other composers’ shows (for example, Kálmán’s 1916 Her Soldier Boy) and to revues. Between 1914 and 1917, Romberg wrote 275 numbers for 17 Broadway shows. Maytime (1917), an adaptation of a German operetta, had a run of 492 performances and enhanced Romberg’s prestige. Blossom Time (1921), a reworking of a Viennese operetta (with a score based on familiar themes by Franz Schubert), had an even longer run and confirmed his status as the Shubert Brothers’ star composer.

The Shuberts, nevertheless, were unhappy with Romberg during the run-up to The Student Prince. As historian Gerald Bordman puts it, they were “aghast at what they considered Romberg’s operatic music, appalled at the unhappy ending, and utterly bewildered by Romberg’s demand for a large, strong-voiced male chorus rather than a long line of feminine beauties.” At one point they removed his name from the billing, but Romberg sued successfully to have it restored before the premiere. The producers’ worries vanished with the rave notices the show received. The New York Times, for example, headlined its review: “Prodigious operetta ... magnificently sung.”

It ran for 608 performances, and nine touring companies took it across the country. In 1927, Ernst Lubitsch directed a silent film version, starring Ramon Novarro, Norma Shearer, and Jean Hersholt. Mario Lanza’s voice was heard on the soundtrack of the 1954 version, which featured Edmund Purdom and Ann Blyth.

Dorothy Donnelly, an actress-turned-writer who had adapted the book for Blossom Time, based the text on Old Heidelberg, a play popularized in this country at the turn of the century by actor Richard Mansfield, a matinee idol of the time.

An earlier musical version of the story was heard in Milan in 1908: Eidelberga mia! The soldout houses for Ohio Light Opera’s six previous productions of The Student Prince attest to its enduring appeal. The story of a young prince who chooses duty over love triggers recollections for most adults of difficult choices made when young, and prompts musings of what might have

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ohiolightopera.org 29

THE PIRATES OF PENZANCE (1879) Music by...................................................................Arthur Sullivan Libretto by............................................................. William Gilbert Conductor..................................................... Wilson Southerland Director...................................................................... Steven Daigle Choreographer...................................................... Spencer Reese Scene Designer........................................................... Kiah Kayser Costume Designer..................................................... Cindy Moon Lighting Designer................ Daniel Huston and Rachel Aho Sound Designer................................................................... Eli Oldt Assistant Director................................................ James Mitchell Major-General Stanley.......................................................Vincent Gover The Pirate King*....................................................................Mark Hosseini Samuel..................................................................................Jonathan Heller Frederic**..............................................................................Spencer Reese Sergeant of Police.......................................................... James McCarthy Mabel ***......................................................................................Sadie Spivey Edith....................................................................................... Emilia Perrotta Kate........................................................................................ Lindsay Uhrich Isabel............................................................................................ Lily Graham Ruth............................................................................................... Abby Kurth Ensemble Sarah Best, Edward Ferran, Lily Graham, Jonathan Heller, Marcus Huber, Scott Johnson, Benjamin Krumreig, Alexa Lowrey, James McCarthy, James Mitchell, Emilia Perrotta, Matthew Reynolds, Noah Rogers, Lauren Nash Silberstein, Lindsay Uhrich, Gillian Weatherford * Understudy: Matthew Reynolds ** Understudy: Marcus Huber *** Understudy: Lily Graham

This production has been partially underwritten by gifts from: Ralph R. & Grace B. Jones Foundation J. D. & Arlene Milliken

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SETTING

Act I....................................................................................................A rocky sea-shore on the coast of Cornwall Act II.............................................................................................................................A ruined chapel by moonlight

MUSICAL NUMBERS Overture ACT I Pour, Oh Pour the Pirate Sherry...................................................................................................... Pirates, Samuel When Frederic Was a Little Lad........................................................................................................................... Ruth Oh, Better Far to Live and Die..................................................................................................Pirate King, Pirates Oh, False One, You Have Deceived Me!.......................................................................................... Frederic, Ruth Climbing over Rocky Mountain......................................................................................................Girls, Edith, Kate Stop, Ladies, Pray! A Man!............................................................................................Frederic, Girls, Edith, Kate Oh, Is There Not One Maiden Breast?................................................................................Frederic, Girls, Mabel Poor Wandering One!..................................................................................................................................Mabel, Girls What Ought We to Do?....................................................................................................................Edith, Kate, Girls How Beautifully Blue the Sky................................................................................................Girls, Mabel, Frederic Stay, We Must Not Lose Our Senses................................................................................Frederic, Girls, Pirates Here’s a First-Rate Opportunity............................................................................................................ Pirates, Girls Hold, Monsters!..............................................................................Mabel, Samuel, Girls, Major-General, Pirates I Am the Very Model of a Modern Major-General............................................ Major-General, Girls, Pirates Finale: Oh, Men of Dark and Dismal Fate................................................................................................ Ensemble 15-minute Intermission ACT II Oh, Dry the Glist’ning Tear........................................................................................................................Girls, Mabel Then, Frederic, Let Your Escort Lion-Hearted.......................................................... Major-General, Frederic When the Foeman Bares His Steel...............Sergeant, Police, Mabel, Edith, Girls, Kate, Major-General Now for the Pirates’ Lair...............................................................................................Frederic, Pirate King, Ruth When You Had Left Our Pirate Fold........................................................................Ruth, Frederic, Pirate King Away, Away! My Heart’s on Fire...............................................................................Ruth, Pirate King, Frederic All Is Prepared........................................................................................................................................Mabel, Frederic Stay, Frederic, Stay...............................................................................................................................Mabel, Frederic No, I Am Brave!...................................................................................................................... Mabel, Sergeant, Police When a Felon’s Not Engaged in His Employment................................................................. Sergeant, Police A Rollicking Band of Pirates We................................................................................... Pirates, Sergeant, Police With Cat-Like Tread...............................................................................................................Pirates, Police, Samuel Hush, Hush! Not a Word..................................................................... Frederic, Pirates, Police, Major-General Sighing Softly to the River.............................................................................................Major-General, Ensemble Finale: Poor Wandering Ones! (reprise)....................................................................................Mabel, Ensemble

S “Fair days will shine … take heart.”

S

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ARGUMENT

Because his hard-of-hearing nursemaid Ruth misunderstood his father’s request that his son become an apprentice to a pilot, Frederic has spent his childhood years as apprentice to a pirate. He will soon come of age and, although he dearly loves his shipmates, finds their profession atrocious and will devote his adult life to their extermination. Although he has never seen a woman other than Ruth, he has a hard time believing that he couldn’t do better with someone 30 years younger. He finds that someone in Mabel, the daughter of Major-General Stanley.

Just as Frederic is about to lead a mission to bring down the pirates, it is revealed that, because he was born on February 29, he is really only five years old and must remain loyal to the pirates, much to the dismay of Mabel, whose father is under siege by the pirate crew. Only when the local police request that the pirates yield in the name of Queen Victoria do we learn the true background of the swashbucklers.

BACKGROUND

The Pirates of Penzance originated as part of the strategy devised by Gilbert, Sullivan, and D’Oyly Carte to retaliate against unauthorized American productions of H.M.S. Pinafore. Resolving to bring their own Pinafore company to New York—confident that it would drive shabby imitations off the market—the trio also planned to give the premiere of a new comic opera, thereby trying to establish a legal claim for its royalties in this country. Before departing for New York, Sullivan had completed sketches for the first act, but on arrival discovered that he had left them at home. Rehearsals began while he was completing the second act and reconstructing the first in a series of all-nighters. He did not finish the overture until 5:00 a.m. the day of the premiere; Gilbert, among others, assisted in the copying of parts.

The first performance at W.T. Ford’s Fifth Avenue Theatre on December 31, 1879 was a grand suc-

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cess. Sullivan wrote to his mother: “The laughter and applause continued through the whole piece until the very end, and then there were thunder calls for Gilbert and myself.” The day before, on December 30, a bizarre production of Pirates had been mounted at the Royal Bijou Theatre in Paignton, Devonshire to establish the British copyright. A touring Pinafore company managed

by Helen Lenoir (who later married Carte), using an incomplete version, Pinafore costumes, and piano accompaniment, gave what the poster misleadingly proclaimed as the first performance “in any country.” The young Richard Mansfield, later to star in Old Heidelberg, played the Major-General. Carte’s New York production of Pinafore had disappointing box office returns (perhaps the Pinafore mania that had swept the country had peaked), but Pirates was a winner.

While the show was still running at the Fifth Avenue Theatre, Carte organized three touring companies; Sullivan conducted the opening nights in Philadelphia, Newark, and Buffalo. The Third Company performed in Cleveland, Akron, and Columbus in May 1880. Wooster audiences first heard it in a town-grown production at the City Opera House in February 1890.

Gilbert and Sullivan returned to England in March 1880 and immediately began rehearsals for the London premiere, which took place at the Opera Comique on April 3, with a revised overture and act-two finale (a reprise of “Poor Wand’ring One” replaced a variation of the Major-General’s patter song heard in New York).

The audience demanded encores of nearly every number, and the partners were called before the curtain at the end of each act. Like H.M.S. Pinafore and The Mikado, The Pirates of Penzance has undergone a variety of adaptations over the years. Kevin Kline and Linda Ronstadt romped through a tongue-in-cheek version in 1980 that ran for 787 performances, the longest run ever of a G & S operetta. In 2006, a Yiddish-language Pirates in New York City had the gang requesting not pirate sherry, but bagels and seltzer. That same year, at Connecticut’s Goodspeed Opera House, a free-wheeling production that shamelessly stole from Pirates of the Caribbean had a Pirate King who seemed “to be dipped in Depp,” according to Variety.

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Adapted from the original of Raymond McCall

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PREMIERE

THE MOCK MARRIAGE (Die Juxheirat) (1904) Music by..........................................................................Franz Lehár Original German Libretto by..................................Julius Bauer English Lyrics by..................................................... Gregg Opelka English Dialogue by...............................................Steven Daigle Conductor...........................................................Michael Borowitz Director.......................................................................Steven Daigle Choreographer.......................................................Spencer Reese Scene Designer........................................................ Daniel Hobbs Costume Designer..................................................... Cindy Moon Lighting Designer........................................................Rachel Aho Sound Designer.................................................... Mason Waldrip Thomas Brockwiller.........................................................James McCarthy Selma, Baroness von Wilfort.........................Lauren Nash Silberstein Captain Arthur*..................................................................... Scott Johnson Miss Phoebe.......................................................................Joelle LaChance Miss Edith................................................................................... Sadie Spivey Miss Euphrasia............................................................... Michelle Pedersen Harold von Reckenburg...........................................Benjamin Krumreig Juliane von Reckenburg............................................................Sarah Best Philly Kaps........................................................................... Jonathan Heller Roger Huckland, sheriff.............................................Matthew Reynolds Col. Summer........................................................................... Vincent Gover General...................................................................................... Marcus Huber Butler...........................................................................................Noah Rogers Officer of the Court............................................................ Edward Ferran Ensemble Edward Ferran, Vincent Gover, Lily Graham, Marcus Huber, Scott Johnson, Abby Kurth, Alexa Lowrey, Emilia Perrotta, Matthew Reynolds, Noah Rogers, Lindsay Uhrich, Gillian Weatherford * Understudy: Edward Ferran

This production has been partially underwritten by gifts from:

By arrangement with Boosey & Hawkes, Inc., Agent in the USA for Josef Weinberger, Ltd., London, publisher, and copyright owner.

34 Box Office: 330.263.2345

Joseph E. Loewenstein, M.D. Michael & Nan Miller

SETTING Time: 1904 Act I...................................................................The Rhode Island mansion of billionaire Thomas Brockwiller Act II............................................................................................................................................................. Same as Act 1 Act III............................................................... A hunting lodge along the Hudson River, three months later

MUSICAL NUMBERS ACT I Three Cheers for Thomas Brockwiller........................................................ Col. Summer, Brockwiller, Chorus Down with Men: Our Battle Cry of Freedom............................ Selma, Phoebe, Edith, Juliane, Euphrasia Castle Walls, Ancient Halls.................................................................................................................................. Harold Dear Man in the Photo before Me.................................................................................... Selma, Phoebe, Juliane I’m a High-Speed Kind of Guy...............................................................................................................................Philly Down the Road of Life We Rumble.................................................................................................. Phoebe, Philly Finale.....................................................................................................................................................................Ensemble 15 minute Intermission ACT II Ever He and She.....................................................................................................................Arthur, Juliane, Phoebe The Man for Me Will Be the Artist Kind.................................................................................... Edith, Brockwiller You’re Like Some Silly Hero from a Wagner Opera...................................................................... Philly, Harold That Girl Tried to Pull Rank on Us..................................................................Selma, Phoebe, Edith, Euphrasia Heart, How You Rejoice........................................................................................................................................ Arthur Give This Little Lady Hand a Kiss.......................................................................................................Selma, Chorus Days of Old … We Used to Dance with People....................................................... Philly, Phoebe, Euphrasia Finale.....................................................................................................................................................................Ensemble ACT III I Cherish and Polish Each Fingernail................................................................................................ Phoebe, Philly I Don’t Want to Defeat Him............................................................................................................................... Phoebe In the Silv’ry Moonlit Air..........................................................................................................................................Philly Finale Ultimo.......................................................................................................................................................Ensemble

S “Love is sport. Life is short. So enjoy the play.”

S

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ARGUMENT

ACT I: Selma, daughter of billionaire businessman Thomas Brockwiller, and frustrated by her recent marriage to now-deceased Baron Wilfort, vows to never marry again and, with her friends Edith, Phoebe, and Euphrasia, starts an organization called WHAM! (Women Hate All Men!) Brockwiller would like to see Selma marry racecar driver Count Harold von Reckenburg, the son of a business associate. Selma will have nothing to do with such an idea. Harold’s sister, Juliane von Reckenburg, who was once engaged to Baron Wilfort, who left her for Selma, wants revenge. Under the false name Miss Grant, Juliane joins WHAM! and immediately falls under the romantic eye of Selma’s brother Arthur. Supported by Phoebe, Juliane hatches her revenge plot and informs Selma that Harold’s sister has been known to dress up as a man and impersonate her brother. The WHAM! ladies find this highly amusing and very emancipated.

Selma decides to receive Harold—believing him to be Juliane. Meanwhile, Phoebe and Euphrasia have crossed paths with the dashing chauffeur and speed demon Philly Kaps, who had promised them both marriage in the past. Philly smooths out things with Phoebe, but the furious Euphrasia has him arrested for breach of promise. When Selma and Harold do finally come face-toface, the clueless Brockwiller is delighted that his daughter is meeting the man whom he has selected for her.

ACT II: Euphrasia, with a change of heart, has bribed a policeman and got Philly out of jail.

Harold, with his heart set on Selma, is given lessons by Philly on how best to win a lady’s love.

Selma’s brother Arthur, meanwhile, is relentless in his pursuit of Miss Grant. As part of her game-playing, Selma invites Harold to kiss her in public. Her scheming father, feigning shock at this display, declares that this better be an engagement kiss. Selma, still reveling in the folly of the whole affair and still believing Harold to be a woman, agrees and, with Brockwiller’s friend Sheriff Huckland doing the honors, Harold and Selma become man and wife. At the subsequent party, Juliane appears as herself—Countess von Reckenburg—as Selma, to her great dismay, is informed of the true gender of her husband.

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ACT III: Love has won out, as WHAM! has been dissolved: Arthur has married Juliane, Edith has wed Brockwiller’s nephew, and Philly and Phoebe are engaged. Selma is still a holdout, but Phoebe reveals that Selma—seeing her brother and Juliane so happy—finally realizes that she loves Harold. But when he arrives with annulment papers and declares that their “mock marriage” is unworthy of a gentleman, Selma has second thoughts .…

BACKGROUND

Franz Lehár was born on April 30, 1870 in Komárom, Hungary, on the south bank of the Danube, just across the river from Slovakia.

Following in his father’s footsteps, he studied music and began his career as an orchestral musician and then bandmaster. As with so many operetta composers, Lehár tried his hand—in the 1890s—at opera, but with little success.

He next took up a post as theater conductor in Trieste and, upon his father’s death in 1898, assumed the elder’s position as a bandmaster in Budapest. After a couple of misfires (the incomplete Arabella and The Club Baby) in an attempt to break into the operetta world, he finally made it onto the Vienna stage with his 1902 operetta Wiener Frauen (Vienna Women), which enjoyed a reasonable 50-performance run at the Theater an der Wien. This reception was fueled, undoubtedly, by the appearance earlier that year of Lehár’s orchestral waltz Gold and Silver, which circulated the composer’s name internationally and remains, to this day, a prime example of musical elegance in fin-de-siècle Vienna.

In March of 1904, after only 37 performances, the Carltheater in Vienna shut down its production of Lehár’s latest operetta, Der Göttergatte (The God Husband). The show had opened on January 20 as a successor to the composer’s previous show, Der Rastelbinder (The Tinkerer), which had an admirable run of over 225 performances. Whereas the earlier show, folksy in nature, had taken place in current times, addressed contemporary social and cultural issues, and mirrored in its plotline Lehár’s own rise from humble beginnings, Der Göttergatte dealt with intrigues among the Greek gods and was crafted in the style of Offenbach.

The differences in the two works, both in style and in critical and popular reception, left him

searching for the right composing “formula.”

Lehár saw his ignorance of the genre as an “advantage, because it enabled me to form my own operetta style.” The last five years of the 19th century had seen the deaths of the four giants of Viennese operetta: Johann Strauss, Franz von Suppé, Karl Zeller, and Karl Millöcker. Lehár “felt a calling to redeem the genre that had been languishing for years.”

Die Juxheirat (The Mock Marriage), which opened on December 22, 1904 at the Theater an der Wien, fulfilled that calling. Although a succès d’estime at best—and virtually unknown today—the show paved the way for Lehár’s next operetta, Die lustige Witwe (The Merry Widow), and the subsequent development in Vienna of a 20th-century operettic paradigm. In no other fulllength work did the composer, as he did with The Mock Marriage, so deliberately draw on the burlesque traditions of operetta. This drama of mistaken identity—centering on Selma, an American billionaire’s daughter and president of the anti-male society WHAM! (Women Hate All Men!)—is full of topical allusions. It is set in America, the land of technical and social progress, where, even then, all future trends were anticipated. The show deals in women’s emancipation, gender exchange, and social inequality. It channels Nietzsche, Schopenhauer, Mirza Schaffy, and Wagner (including musical quotations from Tristan und Isolde and Lohengrin, and a Meistersinger waltz).

The climax of the plot, however, is the “marriage of convenience” into which the misandrist Selma enters only because she believes the groom to be a woman disguised as a man, namely the sister of her shy admirer Harold. This same-sex marriage exists only in Selma’s imagination, because the woman disguised as a man is really a man: the shy Harold, whom Selma has so far brusquely rejected. His sister, in turn, has not only arranged this “mock marriage” in order to get her brother married, but also to take revenge on Selma for having once snatched her lover away from her.

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THE FANTASTICKS (1960) Music by.................................................................Harvey Schmidt Book & Lyrics by........................................................... Tom Jones Suggested by the play Les Romanesques by..... Edmond Rostand Conductor & Piano....................................Wilson Southerland Director......................................................................Steven Daigle Choreographer......................................................Spencer Reese Scene Designer........................................................... Kiah Kayser Costume Designer.............................................. Charlene Gross Sound Designer...................................... Christopher Plummer Assistant Director................................................James Mitchell El Gallo*...................................................................................Mark Hosseini Matt......................................................................................... Spencer Reese Luisa............................................................................................ Sadie Spivey Hucklebee, Matt’s father.................................................. James Mitchell Bellomy, Luisa’s mother.............................................. Joelle LaChance Henry....................................................................................... Vincent Gover Mortimer................................................................................ Edward Ferran The Mute......................................................................................Lily Graham * Understudy: Noah Rogers

This production has been partially underwritten by gifts from: THE FANTASTICKS is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI. www.mtishows.com 38 Box Office: 330.263.2345

Live Publishing Company Sara L. Patton

SETTING Time: Then Act I.......................................................................................................................................................... In the moonlight Act II......................................................................................................................................................................In the sun

MUSICAL NUMBERS Overture ACT I Try to Remember.......................................................................................... El Gallo, Luisa, Matt, Father, Mother Much More.................................................................................................................................................................... Luisa Metaphor........................................................................................................................................... Matt, Luisa, Chorus I’ll Marry.......................................................................................................................................................................... Matt Never Say No............................................................................................................................................ Mother, Father It Depends on What You Pay............................................................................................El Gallo, Father, Mother Moonlight Soon It’s Gonna Rain.....................................................................................................................................Luisa, Matt Abduction Ballet Happy Ending...................................................................................................Father, Mother, Luisa, Matt, Chorus 15 minute Intermission ACT II The Plum Is Too Ripe.....................................................................................Luisa, Matt, Mother, Father, Chorus I Can See It...................................................................................................................................................Matt, El Gallo An Episode............................................................................................................................................. Mortimer, Henry Plant a Radish........................................................................................................................................... Father, Mother Much More (reprise).................................................................................................................................................. Luisa Round and Round....................................................................................................................El Gallo, Luisa, Chorus Beyond That Road.....................................................................................................................................El Gallo, Matt They Were You................................................................................................................................................Matt, Luisa, Metaphor (reprise)..........................................................................................................................................Matt, Luisa Try to Remember (reprise).......................................................................................................... El Gallo, Ensemble

S “Try to remember, and if you remember, then follow.”

S ohiolightopera.org 39

ARGUMENT*

As related by a singing storyteller, two young neighbors, Matt and Luisa, for years nearly oblivious to each other, have grown up and fallen in love. Their feuding parents—Matt’s father and Luisa’s mother—do not approve of this relationship and have constructed a wall between their properties. The young couple have had to conduct their romance in secret. Matt’s father, despite his son’s pleas of independence, has, in fact, chosen a wife for him. Luisa’s mother intends to supplement the wall with a fence.

In truth, this is all part of the parents’ plan to bring them together: forbid children from doing something, and they will do it. Matt’s father hatches a plan to end the fabricated “feud” and hasten the children’s relationship. He has hired a professional abductor, El Gallo, who will carry Luisa off. She will be gallantly rescued by Matt, with the parents so pleased that all can end happily. The scheme goes according to plan—the wall eventually comes down and all seems to be going swimmingly for both children and parents.

But without the previous sense of adventure and forbidden romance, life has become too easy. Matt and Luisa want something more: he ventures out to validate his heroism and she becomes obsessed with the handsome and alluring El Gallo. It takes a full dose of the “real world” to finally convince the couple of what really matters. * In response to COVID-19 constraints, and with the permission of the music publisher, slight changes in character assignments have been made.

BACKGROUND

Bring up The Fantasticks in discussion and most people will comment on either its remarkable 42year (17,162-performance) off-Broadway run, or on its irresistible, and instantly memorable, opening tune, “Try to Remember.” But—as with virtually all theatrical works—there was a long road that led to its opening on May 3, 1960 at Manhattan’s Sullivan Street Playhouse in Greenwich Village. In 1894, three years before his play Cyrano de Bergerac premiered in Paris and elicited more than one hour of post-final-curtain applause, Marseille-born Edmond Rostand penned a three-act play titled Les Romanesques.

Written in Alexandrine verse (12-syllable lines, with stresses on the sixth and last syllables), it 40 Box Office: 330.263.2345

opened at the Comédie-Française and served as the author’s breakthrough work. In 1899, the play was translated into English, under the title The Romancers, by Mary Hendee, but drew little attention. The following year, George Fleming— pen name of Julia Constance Fletcher—crafted a second translation, but under the title The Fantasticks. Her version starred George Arliss, Gerald du Maurier, and Mrs. Patrick Campbell— all notable English actors of the day. The title apparently derives from an archaic noun form of the word “fantastic,” meaning “eccentric.”

In their 1991 book on the musical, Donald C. Farber and Robert Viagas report that the “k” was added to the name “in a flight of pure whimsy.”

Fast forward half a century to about 1950 and the University of Texas at Austin, where graduate drama student, and future Fantasticks lyricist, Tom Jones was given an assignment to stage a scene from Fleming’s version of the play.

A few years later, he teamed with composer Donald Robb to create a musical version of the show, titled Joy Comes to Deadhorse, which premiered in 1956 at the University of New Mexico. Although it was greeted positively, Jones and Robb totally disagreed on its merits and decided to split up. Eventually, Jones joined with composer Harvey Schmidt and stage director Word Baker, with whom he had earlier produced musicals at the University. Working with the seemingly de rigueur Rodgers and Hammerstein model for writing successful musicals, the JonesSchmidt team labored on their version of The Fantasticks for three years, generating material for a show, but nothing that really satisfied the pair. They finally realized that the Rostand play—a parody of the Romeo and Juliet story— did not lend itself to the R&H model. As Jones related: “We threw away the entire script and score, except for a couple of songs. We decided to break all the rules. We didn’t understand them anyway.”

In 1959, the Jones-Schmidt-Baker team was invited to present their newly-crafted musical at Barnard College in Manhattan. As part of a triple bill, the show had to be cut to a single act.

Future Broadway star Susan Watson was engaged for the role of Luisa. Present, serendipitously, at one of the rehearsals was a gentleman named Lore Noto, who not only agreed to help raise financing for the show, but wanted it expanded to full-length and was willing—as the show’s

producer—to give the trio virtually complete artistic control. The “serendipity” lies in the trio’s willingness to accept Noto’s offer over those of two other interested producers, both with better track records: Noto’s only experience as a producer had been a one-performance failure titled The Failures.

The Fantasticks opened to mixed reviews, lukewarm from the critical Times and Tribune, but glowing from the magazines and weekly periodicals. More serendipity … a month after the opening, Broadway actors went on strike for 11 days. That left off-Broadway as the prime entertainment in town. Business increased and continued to do so after the strike ended, aided— as Jones points out—by the presence in the audience of the likes of Richard Rodgers, Jerome Robbins, Gower Champion, David Selznick, Vivien Leigh, and Sir John Gielgud.

Finally … it is worth taking note of Tom Jones’ recollection of composer Harvey Schmidt’s creation of “Try to Remember”: “He … was trying to compose something … complex….

Finally, he decided to stop and give himself a rest…. He sat at the piano and played ‘Try to Remember’—the complete melody and all of the chords…. It just poured out, a gift from some mysterious muse of music. And he thought, ‘My God, that’s pretty.’”

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ADMINISTRATIVE, ARTISTIC, AND TECHNICAL LEADERSHIP TEAM Listed alphabetically … respectful of the ensemble spirit that has characterized OLO since its founding.

JACOB ALLEN, stage director, returns for a 15th season with OLO as director of Hello, Dolly! and The Student Prince. Other OLO directing credits include South Pacific, The Pajama Game, Brigadoon, My Fair Lady, The King and I, Guys and Dolls, and 2011’s “Triple Bill.” OLO veterans may remember Jacob as Frosch in Die Fledermaus, Hale Underwood in Oh, Lady! Lady!!, Mordred in Camelot, The Prince in Jubilee, Horace Gripps in The Cabaret Girl, Benny in The Desert Song, and Jimmy Jack John Bondy in The Duchess of Chicago. Jacob, a native of Oxford, ME, serves as professor and chair of the Department of Theatre & Dance at the University of Memphis.

He holds performance degrees in acting and voice from Lawrence University in Appleton, WI, and his graduate degree in stage direction from the Eastman School of Music, where he studied under OLO artistic director Steven Daigle. As a director and performer, Jacob has worked extensively throughout the Midwest and New England.

Recent productions include The Wedding Singer, West Side Story, Oklahoma!, Titanic, Chess, Fiddler on the Roof, Children of Eden, Phantom of the Opera, The 25th Annual Putnam County Spelling Bee, Bat Boy, The Winter’s Tale, and She Loves Me. As a teacher, he is fascinated by the challenges faced by young singers in their development as theatrical performers, and is dedicated to the integration of acting and singing.

JENNIFER AMMONS, costume designer, is a costume designer/bed & breakfast manager, currently residing in Asheville, NC. Some prepandemic design credits include The Devil’s Rider, Cloclo, The Pirates of Penzance, and Iolanthe (Ohio Light Opera); The Gondoliers (Memphis Light Opera); Albert Herring (University of Memphis Opera); The Romeo and Juliet Project and Julius Caesar (Tennessee Shakespeare Company). While completing her MFA at the University of Memphis, Jennifer also designed The Servant of Two Masters, Nine, Measure for Measure, and the world premiere of Empires of Eternal Void. Thank you to the costume shop for making it easy and possible for me to come in and out this season.

Omaha Opera, Des Moines Opera, Amarillo Opera, Shreveport Opera, Mobile Opera, Syracuse Opera, Indianapolis Opera, Ashlawn Music Festival, and Opera Idaho. Eric has been the musical director for touring educational opera troupes with Opera Iowa, Portland Opera, and Nashville Opera. In addition, he is an avid jazz pianist and has worked with Princess Cruise Line as piano player for the showband. He was also the keyboardist/arranger for a local salsa music group that was featured at the New Orleans Jazz and Heritage Festival. Eric has been band leader and pianist for several musical shows as well. A native of Baton Rouge, he holds degrees from LSU in piano performance and has studied abroad in France and Austria.

MICHAEL BOROWITZ, music director, is currently in his 13th year as associate professor and music director of the Turner-Fischer Center for Opera at LSU, where this season he conducted performances of Mozart’s Così fan tutte, Hagen’s Orson Rehearsed, and Glass’ Orphée.

As artistic director with Opéra Louisiane, he led performances of Bolcom/Campbell’s Lucrezia, Menotti’s Amahl and the Night Visitors, and Offenbach’s Les contes d’Hoffmann.

His recordings include Offenbach’s Bluebeard, Kern’s The Cabaret Girl, Herbert’s Mlle. Modiste (also released on DVD), Gilbert and Sullivan’s Ruddigore and Patience, a DVD of Kálmán’s The Duchess of Chicago, and with soprano Lisette Oropesa, a recital entitled Aux filles du désert.

He was artistic director of Nevada Opera for nine years and music director for Ohio Light Opera for five.

JULIE WRIGHT COSTA, associate artistic director, is held in high regard as an interpreter and director of operetta, singing numerous leading roles nationally. Julie is honored to celebrate her 32nd season with the Ohio Light Opera and overjoyed to return to the Wooster community, her second home, albeit in an abbreviated format.

With the Ohio Light Opera, she has sung in over 100 different productions, performed over 80 roles, and directed more than 20 of OLO’s season titles. Last year, she staged The Light on the ERIC ANDRIES, pianist, is pleased to return to Horizon (filmed for live-stream) for Utah Opera Ohio Light Opera for a 12th year. He has a wide and created a virtual recital of British art song range of musical experience in several genres. for Opéra Louisiane with collaborative pianist/ Over the past few years, he has been the rehearsal conductor Michael Borowitz. This year she pianist for several opera companies, including looks forward to directing Die Fledermaus with 42 Box Office: 330.263.2345

Western Plains Opera, in addition to performing a solo recital next spring.

In charge of the casting process for OLO, Julie usually travels to seven cities, auditioning over 300 singers from across the country throughout November and December. Though auditions for the past two years have been conducted digitally, this season’s cast is of the highest quality and talent.

Career highlights include performances with the opera companies of Nevada, Chautauqua, Cleveland, Michigan, Carolina, and Utah, as well as performances with the symphonies of Charlotte, Illinois, Utah, and Detroit. Favorite performances include leading roles in productions of La bohème, The Marriage of Figaro, Don Giovanni, The Turn of the Screw, Bitter Sweet, La Rondine, Countess Maritza, Giuditta, Camelot, Carousel, and the title role in Hello, Dolly!

As stage director, she has collaborated in productions for the Moab Music Festival, Nevada Opera, Opera Southwest, The Eastman School of Music, The University of Utah, Utah Opera, Opéra Louisiane, Western Plains Opera, and The Ohio Light Opera, among others.

She can be heard on compact disc recordings for the Newport Classic, Albany Records, and Operetta Archives labels.

Julie resides in Salt Lake City with her husband, composer John Vasconcelos Costa, and their dachshunds, Freddie, Rose, and Timmy. She is a tenured professor of voice and voice area head at the University of Utah School of Music.

STEVEN A. DAIGLE, artistic director, is professor of opera and artistic director the Eastman Opera Theatre program at The Eastman School of Music. He has served as part of the artistic staff for more than 300 lyric theater productions, along with calling over 400 professional operatic performances as a production stage manager. Daigle’s experience as a stage director encompasses over 150 titles and a wide range of lyric theater repertoire.

Productions and projects include collaborations with legendary Broadway composer Charles Strouse, Pulitzer Prize-winning composer Robert Ward, Carlisle Floyd, Jake Heggie, Gene Shear, Ricky Ian Gordon, Lori Laitman, and conductors Louis Lane, Robert Spano, and Evan Whallon.

Reviews and articles of Daigle’s work have been published in Opera News, Opera London, American Record Guide, Gramophone, Fanfare, Classical Singer, and Opera Now. As a champion of early American operetta and musical theater, he continues to pursue the preservation of the art form and has received critical acclaim for

his commitment to research, reconstruct, and produce neglected musicals of early Broadway.

With Ohio Light Opera, he served as stage manager, assistant director, and general manager under the guidance of company founder James Stuart, and in 1999 was appointed artistic director.

His first year with the company was in 1990. At OLO he has called over 300 performances as a stage manager, served on the technical or artistic staff for over 150 productions, and directed over 100 titles, including many American premieres in original versions: Lehár’s Der Zarewitsch (The Zarevitch), Künneke’s Der Vetter aus Dingsda (The Cousin from Batavia), and Kálmán’s Der Zigeunerprimás (Sari), Ein Herbstmanöver (Autumn Maneuvers), Das Veilchen vom Montmartre (The Violet of Montmartre), Der gute Kamerad (A Soldier’s Promise), Marinka, Die Faschingsfee (Miss Springtime), and Der kleine König (The Little King). As artistic director, he has created five performance translations for Kálmán operettas, expanded OLO offerings to include traditional musicals (including those of Kern, Gershwin, Porter, Berlin, Rodgers and Hart, Lerner and Loewe, and Rodgers and Hammerstein), and introduced over 50 new titles to the company’s vast and unique repertoire, including works of Benatzky and Stolz, Bock and Harnick, Friml, Leigh, Loesser, Schubert and Berté, Sousa, Styne, Sondheim, and Willson.

The company’s unique mission and service to the traditional lyric art form (Viennese, French, and German operetta; Edwardian musicals and Gilbert and Sullivan; early American operetta and musical theater) has been recognized internationally through scholarly publications.

In the past eight years, Eastman Opera Theatre has engaged ten living composers to participate in projects and productions within the program.

Composers include: Anthony Davis, Ricky Ian Gordon, Adam Guetell, Jake Heggie, Lori Laitman, Missy Mazzoli, Ben Moore, Kevin Puts, Kate Soper, and Errollyn Wallen.

Steve served on the faculty of Kent State University, and as assistant director and acting director of the Opera Theater program at the Oberlin Conservatory. In the summer of 1998, he served on the faculty of the Oberlin in Italy program in Urbania, Italy. In September 2003, The Ohio Light Opera was given an Award of Achievement by Northern Ohio Live for its role in preserving operetta for the past 25 years. In the spring of 2006, he received the Outstanding Alumnus award from Southeastern Louisiana University. From 2009-13 and 2017-19, he served as chair of the voice and opera department at the Eastman School of Music. Future directing ohiolightopera.org 43

engagements include Anthony Davis’ Lear on the 2nd Floor for Eastman Opera Theatre.

In May of 2015, Steve received the Eisenhart Award for Excellence in Teaching from the Eastman School of Music and the University of Rochester. In the summer of 2023, Steve will retire from his position at the Eastman School of Music.

Le nozze di Figaro at Manhattan School of Music, and A Class Act, A Day in Hollywood/A Night in the Ukraine, and The Baker’s Wife (in collaboration with Stephen Schwartz) offBroadway at The J2 Spotlight Musical Theatre Company. In addition to his design work, Daniel has also taught lighting design and technology at multiple universities, most recently at the College of Wooster this fall. Since 2016, he has also MICHELLE FRAZIER, business and box office been designing retail and display lighting around manager, is excited to be back at OLO for her New York City. His work can be seen annually seventh season. Michelle is a 1994 graduate in the Christmas displays at Bloomingdales, of Mount Union College, where she studied Bergdorf Goodman, and Sak’s Fifth Ave. accounting and business administration. She has www.DanielHuston.com spent the majority of her professional career in the consumer packaged goods industry in various KIAH KAISER, set designer and scenic charge capacities. During those years, Michelle worked artist, is a freelance scenic designer/artist in sales and marketing with Kraft Foods, Inc. originally hailing from Minnesota. This is Kiah’s and The J.M. Smucker Company, where she sixth summer working at Ohio Light Opera was manager, category development. Michelle’s as a scenic designer/paint charge. Some of her hobbies are working out and flipping houses. favorite shows she has designed for OLO are: Working as business and box office manager for Candide, Girl Crazy, and La Périchole. Her OLO not only allows Michelle to work in a field recent design credits at other locations include: that she loves, but it also allows her to utilize her Romeo and Juliet, Eurydice (Albion College), previous business experience. Michelle lives in Decision Height, Curious Incident (Hollins Wooster with her English bulldog Benson Butch University), A Doll’s House, The Taming, Peter Barkeley Frazier, while her son Mason Frazier Pan, Ain’t Misbehavin’, and School House golfs for Cleveland State University and her Rock Live! (Playhouse on the Square), As Is daughter Maddie Rae Frazier will attend Kent (Regeneration Theatre), and It’s a Wonderful Life State University in the fall.

(TheatreSquared). She received her MFA in scenic design from University of Arkansas. In addition DANIEL HOBBS, scenic designer and properties to her design work, Kiah has also worked as a master, is a scenic, projection, and costume scenic artist for Irish Repertory Theatre, Infinite designer and professor, working most recently Scenic, Variety 57, Opera Memphis, Repertory as instructor of scenic design at the University Theatre of Iowa, Prairie Repertory Theatre, and of South Florida. He is excited to return for Cedar Rapids Opera. his seventh season with the Ohio Light Opera, designing for Cinderella, The Student Prince, LAURA KELLOGG, orchestra personnel and The Mock Marriage, as well as heading the manager and flute, is thrilled to be returning properties department for the full season. Past to OLO for a seventh season. This is her first shows with OLO include recent titles such as Into season as the personnel manager of the orchestra. the Woods, Perchance to Dream, and Anything Despite hating the cold and snow, Laura lives Goes. His recent regional credits include L’Amant in Fargo, ND. She teaches applied flute and Anonyme in Rochester, NY; She Kills Monsters chamber music at North Dakota State University in Ashland, OH; and Ordinary Days in Tampa. and Minnesota State University Moorhead. She is the director of the NDSU Music Academy DANIEL HUSTON, production manager and and the interim executive director of the Fargoresident lighting designer, is delighted to return Moorhead Area Youth Symphonies. Laura has for his 12th consecutive season with the Ohio performed with various orchestras in North Light Opera, where he will be lighting Cinderella Dakota, Michigan, and Indiana. Laura’s flute and The Pirates of Penzance. Some of his mentors are Richard Sherman, Christopher favorite recent work at OLO includes Perchance Chaffee, Valerie Watts, Amanda Blaikie, Jeff to Dream, Candide, lolanthe, and Countess Zook, and Sharon Sparrow. She has a BM from Maritza. Daniel is a New York City-based, Michigan State University, an MM from Wright freelance lighting designer, production manager, State University, and a DMA from The University and educator. Some recent work in NYC includes of Oklahoma. She looks forward to the OLO Into the Woods at the New York Film Academy, performances this summer, reading non-academic 44 Box Office: 330.263.2345

books, and hiking at Spangler Park in Wooster. www.laurakelloggflutist.com CINDY MOON, costumer designer, wigs & crafts, is a freelance costume designer throughout the Chicagoland area. Her most recent work includes She Loves Me, Shout! The Mod Musical, and Picasso at the Lapine Agile. When not fully tangled in yards of fabric and trim, she enjoys walks with her dog Aurora and stress baking.

She received her BFA from the Maryland Institute College of Art in fiber arts, and her MFA in costume design and technology from Virginia Tech.

SPENCER REESE, director, choreographer, tenor, is over-the-moon to return to his Wooster home for an eighth season. This summer he will celebrate working on his 50th OLO production!

Having always been a man of many hats (and shoes… and bow ties…), Spencer is making his OLO mainstage directorial debut with this season’s Cinderella. He is excited to bring fairy tale magic to the OLO stage, with a beautiful Rodgers and Hammerstein show that believes in the power of possibility. Spencer earned an MM in opera stage directing at the Eastman School of Music, where he first began his collaboration

with Steven Daigle. He went on to earn a DMA at the University of Connecticut. Spencer now serves as the artistic director of the Connecticut Gilbert and Sullivan Society, stage director of UConn Opera Theater, and resident teaching artist for Goodspeed Musicals. This is Spencer’s sixth season as OLO’s choreographer. His own personal theme song may just be captured by a delightful Hello, Dolly! lyric: “And now that we’re dancing, who cares if we ever stop?” And yes, he has a shirt with this quote. He always looks forward to the exciting opportunity to create numbers in numerous styles within a single season—from ballet to ballroom, tap to folk, and everything in between. Recent favorite choreography projects on the OLO stage include 2019’s Girl Crazy and Perchance to Dream; Babes in Arms and The Pajama Game from 2018 (the summer of the dream ballet); and OLO’s first all-tapping, all-nautical spectacle, 2017’s Anything Goes. Spencer will appear in three shows this summer, including getting to sing his favorite song in the world (“Put on Your Sunday Clothes”) in his favorite musical in the world (Hello, Dolly!) as Cornelius Hackl. He is also excited to return to the roles of Matt in The Fantasticks (first performed at OLO in 2021) and Frederic in The Pirates of Penzance (OLO 2019).

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Other recent favorites include Danny Churchill in Girl Crazy (OLO 2019), Jack in Into the Woods (OLO 2019), and Georg Nowack in She Loves Me (UConn).

SUWATANA (PLA) ROCKLAND, costume designer, is delighted to join Ohio Light Opera as a costume designer for Cinderella. She is currently resident costume designer, professor, and costume shop supervisor at The College of Wooster. Suwatana is originally from Thailand.

In addition to her full-time employment, she finds time to freelance as a costume designer and guest lecturer for universities and theaters in the United States and Thailand. Her credits included Emilie: La Marquise Du Châtelet (2019 costume design winner of the Regional Awards for Broadway World), All Shook Up (Kent State), The Nerd (Kent State-Stark Campus), Shrek the Musical, Sister Act, Joseph and the Amazing Technicolor Dreamcoat, Rock of Ages, and A Christmas Carol for The Players Guild Theatre, BKLYN the Musical for Porthouse Theatre, and The Member of the Wedding and The Legend of Georgia McBride (Beck Center of The Arts).

ABBY SCHNECK, production stage manager, is ecstatic to be returning to OLO this season.

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Recently, she has worked with Big League Productions, Norwegian Cruise Line, Opera Orlando, and The Virginia Opera. Productions include, but are not limited to: Six the Musical (Norwegian Bliss), A Christmas Story national tour, La Traviata (Opera Orlando), The Marriage of Figaro (Virginia Opera), South Pacific (Ohio Light Opera), Into the Woods (Ohio Light Opera), The Fantasticks (Ohio Light Opera), Shrek the Musical (Cape Fear Regional Theatre), Mountaintop (The Garden Theatre, FL), A Chorus Line (The Wick Theatre, FL), and Downstairs (Dorset Theatre Festival). Abby holds a bachelors in theatre stage management from Northern Michigan University and is currently traveling across the United States. A stage managing for multiple companies.

BRITTANY SHEMUGA, resident lighting designer, is excited to return to OLO for her sixth season. Her recent designs include the 2019 season’s South Pacific, Into the Woods, Music in the Air, and The Devils Rider. She also designs at various theaters in the Washington DC area, including for Second City, Mosaic Theater of DC, and Nextstop Theatre. Brittany has assisted on numerous productions, including Fish in the Dark on Broadway and Mary Poppins at Olney

Theatre Center. Originally from Akron, Brittany received her MFA in lighting from the University of Maryland and is the owner of Casey Electrical Contracting.

KELLEY SHEPHARD, costume shop supervisor/ draper, has recently graduated with her MFA in costume design and technology from Kent State University this past May. She finished her work at KSU with a culminating project of designing and creating 18th-century costumes for four characters from Tartuffe—two of these characters were fabricated to be 36-inch tall marionettes!

Kelley is a lifelong enthusiast of creating magic with fabric and is excited to create her first Cinderella transformation dress with OLO, based on Rockland’s beautiful design. Outside of sewing, she enjoys hiking with her dogs, being a Dungeons and Dragon’s Game Master for her friends, and spending time at the beach with her family. Kelley is unsure where her MFA will bring her after the summer with OLO, but she is sure she will be creating magic with fabric wherever she goes.

WILSON SOUTHERLAND, associate music director, is in demand throughout the United States, Africa, Europe, and the Middle East.

He made his conducting debut to high acclaim with Philip Glass’ Les enfants terribles at North Carolina Opera in 2012, and was the principal conductor for Eastman Opera Theater’s production of She Loves Me in 2013. After first appearing as rehearsal pianist at OLO from 2006-08, Wilson has traveled the world: he served as a pianist, coach, assistant conductor, and recitalist at Opera Africa in Pretoria, South Africa, the New Israeli Opera in Tel Aviv, Les Azuriales Opera in France, AIMS Graz in Austria, Si parla, Si canta in Italy, and The Royal Opera House in Muscat, Oman. He was one of 24 singer/pianist duos worldwide chosen to compete in the Wigmore Hall International Art Song Competition in London. Stateside, Wilson was a principal coach for Seattle Opera’s Young Artist Program, as well as an associate conductor/ pianist at Opera Omaha, Des Moines Metro Opera, Opera Birmingham, Opera Memphis, Spoleto USA, and the Mark Morris Dance

Group. For six years Wilson was the senior coach and primary pianist under Lorin Maazel at the Castleton Festival, and he went on to accompany the esteemed conductor-violinist in recital at the Kennedy Center. A former faculty member of Vanderbilt University, Wilson was chosen to perform on Juilliard’s Vocal Arts Honors Recital in Alice Tully Hall. He was the associate conductor, head coach, and language specialist for La rondine, featuring Angela Gheorghiu, at The New Israeli Opera. In 2016 Wilson joined the faculty of the Eastman School of Music as assistant professor of opera, where he conducted the revised world premiere of Jake Heggie’s Out of Darkness in 2017. Beginning in 2019, Wilson has led the Rochester Gay Men’s Chorus as artistic director. He holds degrees in piano from Vanderbilt University and The Juilliard School.

LEIGHA SWEIGER, front of house, is overwhelmed with gratitude to be working with Ohio Light Opera for the first time this summer.

Even though she grew up in Florida, her family is from northeast Ohio and she would vacation in Wooster frequently as a child. She now resides in Wooster with her outgoing daughter Lilly, her amazing partner Tony, and two photogenic cats.

She has been a part-time server and assistant manager at a local restaurant for the past four years and is slowly pursuing her degree in social work at Wayne College. She is looking forward to using her organizational skills and customer service expertise to make the front of house experience an exceptional one this season.

STEPHEN TOMLIN, technical director, is joining Ohio Light Opera for his fourth season as a member of the technical direction team. Stephen is an assistant professor at the University of New Mexico, where he functions as the technical director/production manager. Stephen received his MFA from the University of Memphis in technical direction. Originally from central Texas, he received his BFA from Texas State University under the tutelage of Shane Smith and Dwight Marcus. As well as working with the technical direction team for the 2017-19 seasons of Ohio Light Opera, he has also recently worked with Santa Fe Opera for their 2021 season as a member of the stage crew department.

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FESTIVAL CAST SARAH BEST, mezzosoprano, comes “tripping hither, tripping thither” from a diverse background in performance and teaching artistry. Her versatility within her field has allowed her to garner a career involving numerous creative projects with organizations throughout the United States, including the American Symphony Orchestra, Ash Lawn Opera, Bard Music Festival, The New York Gilbert and Sullivan Players, Opéra Louisiane, Saginaw Bay Symphony Orchestra, St. Petersburg Opera, and The Virginia Consort.

At OLO, Sarah is often remembered for her physical comedy, playing characters like Mad Margaret (Ruddigore), Morgan le Fay (A Connecticut Yankee), and Eva Standing (Jubilee).

Other personal favorites: Nellie Forbush (South Pacific), Marian Paroo (The Music Man), Maria Ziegler (The Dancing Years), and Venus (One Touch of Venus). This season’s roles include: Grace (Cinderella), Irene Molloy (Hello, Dolly!), Princess Margaret (The Student Prince), and Juliane von Reckenburg (The Mock Marriage). A graduate of the University of Michigan (DMA), the University of Maryland (MM), and Mansfield University (BM), Sarah has studied with fiercely talented teachers: Freda Herseth, Delores Ziegler, Linda Mabbs, Dorothy Stone, and Jean-Anne Teal. Grateful for a tenth season with her talented colleagues at OLO, Sarah enjoys her summers spent on the College of Wooster campus, where, in the 2022-23 academic year, she will serve as a visiting assistant professor of music.

EDWARD FERRAN, tenor, is excited to be joining the cast of OLO for his first season, playing the role of Count Von Asterburg in The Student Prince. He recently completed his third year of vocal studies at the New England Conservatory of Music in Boston.

While at NEC, Edward has performed as a main tenor soloist in their chamber singers ensemble, as well as their undergraduate opera studio in the roles of Eisenstein in Die Fledermaus and King Kaspar in Amahl and the Night Visitors. In 2021 Edward appeared as chorus with the American Pops Orchestra in two specials for PBS (WICKED: In Concert and United in Song: Celebrating the American Dream). A native of Kalamazoo, MI, he was also recently a guest performer with the Kalamazoo Bach Festival in Haydn’s The Creation.

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VINCENT GOVER, baritone, is pleased as punch to be returning to OLO for a fourth season as Major-General Stanley in The Pirates of Penzance, Horace Vandergelder in Hello, Dolly!, Lutz in The Student Prince, and Henry (once again) in The Fantasticks. Previously at OLO, Vince has appeared as Cmdr. Harbison in South Pacific, Sir Amyas Wendell in Perchance to Dream, and the Learned Judge in Trial by Jury, and he can be seen as Bunthorne in an excerpt from Patience in the OLO 2020 Virtual Summer Festival. He has also performed roles with Sarasota Opera, Cedar Rapids Opera Theatre, Landlocked Opera, and the Victor Herbert Renaissance Project. A native of Clarksville, MD, he has earned BM and MM degrees from Southern Methodist University in Dallas and has studied composition and vocal performance at the University of MissouriKansas City. He now lives in New York City, where he is pursuing a career as a performer in opera and musical theater. Additionally a composer and librettist, a video production of his most recent work, Lend Me a Roll, a comic operetta that pokes fun at life at the beginning of the COVID-19 quarantine, can be found on YouTube.

LILY GRAHAM, soprano, is delighted to be performing in her first season with OLO. Lily is a recent graduate from the University of Utah, where she received a BA in vocal performance. Some of her previous roles include Johanna in Sweeney Todd, Amahl in Amahl and the Night Visitors, and Cosette in Les Misérables.

She has also recently been featured as a soloist in concerts with the Salt Lake Choral Artists.

In the fall, Lily will be moving from Utah to Kansas to begin her MM in vocal performance at Wichita State University. Aside from performing, Lily loves any time she gets to spend outdoors, especially hiking. One day she hopes to hike the Appalachian Trail, but for now is happy to be “Climbing over Rocky Mountains” with OLO. JONATHAN HELLER, baritenor, is thrilled to be back for his third season with OLO as Prince Christopher in Cinderella, Barnaby Tucker in Hello, Dolly!, Philly Kaps in The Mock Marriage, and Samuel in The Pirates of Penzance. He is an NYC-based actor, singer, dancer, and teaching

artist who has also performed with the College Light Opera Company, VHRP LIVE!, and internationally at the Theatre Orb in Tokyo. Some of his favorite roles include Billy Baxter in Fifty Million Frenchmen (OLO), Frid in A Little Night Music (CLOC), and Manfred Lewin in the collegiate premiere of Jake Heggie and Gene Scheer’s Out of Darkness (Eastman School of Music). In 2019, he was a finalist in the prestigious Lotte Lenya Competition. Jonathan holds a BM in vocal performance from the Eastman School of Music, and an MM from NYU Steinhardt in vocal performance (musical theater concentration) and vocal pedagogy. www.jonathanheller.me @ jonathanhellerj MARK HOSSEINI, baritone, is very excited to return to OLO for a second season as the Pirate King in The Pirates of Penzance, El Gallo in The Fantasticks, Dr. Engel in The Student Prince, and the King in Cinderella. Last summer at OLO, Mark portrayed the roles of El Gallo in The Fantasticks, the Foreman of the Jury in Trial by Jury, and was featured in the revues Operetta: Rare and Well Done and The Musical Magic of OLO. Mark has also performed the roles of Papageno in The Magic Flute with OPERA Iowa, Melchior in Amahl and the Night Visitors with Opéra Louisiane, and Jim in The Gift of the Magi with Delaware Valley Opera. Mark has attended young artist training programs at Des Moines Metro Opera, Opera Delaware, and College Light Opera Company. He holds a bachelor of music degree from Oakland University in Rochester Hills, MI and a master of music degree from the Eastman School of Music in Rochester, NY. Mark currently lives in Philadelphia.

of Temple University, and a current graduate student at Boston University, where he is a student of Penelope Bitzas.

SCOTT JOHNSON, tenor, is a rising senior at Furman University in Greenville, SC, where he is a student of Grant Knox. This is Scott’s first season with OLO. His most recent roles include Don Ottavio in Furman Lyric Theater’s production of Don Giovanni and Cinderella’s Prince/the Wolf in Into the Woods.

Scott is an Atlanta native, where his parents, two younger brothers, and a badly-behaved golden doodle named Theo live. scottjohnsontenor.com, Soli deo gloria BEN KRUMREIG, tenor, is excited to be returning to OLO for his eighth festival season.

Originally from Cleveland, Benjamin received his BM from the Baldwin Wallace University Conservatory of Music. He then earned his MM from the University of Illinois School of Music. A versatile performer, Benjamin is well-versed in opera, operetta, and musical theater. Some of Benjamin’s previous roles include Arcadio in Daniel Catán’s Florencia en el Amazonas, Marco in The Gondoliers, Freddy EynsfordHill in My Fair Lady, Fenton in Verdi’s Falstaff, Ralph Rackstraw in H.M.S. Pinafore, Pluto in Orpheus in the Underworld, and the title role in Bernstein’s Candide. This past year, Benjamin ventured outside the world of musical theater, performing in Sean Adams’ adaptation of Alice’s Adventures in Wonderland and Through the Looking Glass, and Sarah Ruhl’s Orlando, both with the Gamut Theatre Group in Harrisburg, PA. This fall, Benjamin will take on a new role as public relations manager for the Gamut Theatre Group. At Gamut, this November, Benjamin will also conceive and direct a new G&S revue titled Innocent Merriment; or, an Evening with Gilbert and Sullivan! Benjamin lives in Harrisburg with his partner Eric and their retired racing greyhound, Jasper.

MARCUS HUBER, tenor, is thrilled to be making his OLO debut this season. Recent credits include David in If I Were You and William in The Infinite Energy of Ada Lovelace with the ABBY KURTH, mezzo-soprano, Boston University Opera Institute, is excited to be returning to OLO and Dr. Blind in Die Fledermaus for her third summer. She was with Temple University Opera Theater. This previously on the OLO stage spring, Marcus was named a winner in the in 2018 and 2019, performing Rhode Island Civic Chorale and Orchestra Voice roles such as Edith in The Pirates Competition. Last summer, Marcus appeared in of Penzance, Patsy West in Girl concert with Delaware Valley Opera performing Crazy, and Florinda (another selections from The Student Prince, The Pirates beautiful stepsister role!) in Into the Woods. She of Penzance, and Candide. Marcus is an alumnus ohiolightopera.org 49

recently made her NYC stage debut with the New York Gilbert & Sullivan Players’ The Pirates of Penzance and in 2019 she spent the holiday season on a national tour with Cirque Dreams Holidaze as a singing elf/angel. Other favorite roles include the title role in Violet, Pisandro/ Love/Juno in The Return of Ulysses, Amy’s spirit in Adamo’s Little Women, and Alice Nutting/ Edwin Drood in The Mystery of Edwin Drood.

She is a 2019 graduate from the University of Nebraska-Lincoln and currently resides in New York City. Tune in to her latest adventures on Instagram or YouTube @abby.kurth.

thankful for the love and support given by her family and everyone in the NYU community.

SPIRO MATSOS, tenor, Wooster’s Escoffier, celebrates his 39th season with the Ohio Light Opera. Spiro has been recorded singing professionally in both his native Greece and in this country. OLO fans have learned to look forward to his carefully crafted comic cameos and to enjoy the food and atmosphere in his restaurant on Liberty Street in downtown Wooster. There the walls are covered JOELLE LaCHANCE, mezzo- with OLO production photographs from seasons soprano, is thrilled to be returning past, and the booths are often occupied by to OLO for her fifth season as company members. Spiro would like to dedicate Minnie Fay in Hello, Dolly!, Miss this season to his family, and his OLO family. You Phoebe in The Mock Marriage, don’t have to be a superstar, just be a happy star. and Bellomy in The Fantasticks. In JAMES KENON MITCHELL, seasons past, the audience watched tenor/assistant director, is Joelle perform as Carolie in The pleased to make his debut with Daring of Diane, Clorinda in Into the Woods, Ohio Light Opera as Hucklebee Flora James in Girl Crazy, Joyce Wheeler in Fifty in The Fantasticks and Ruder Million Frenchmen, and virtually as Tessa in The in The Student Prince. James Gondoliers and Trixie Flynn in Let ’Em Eat Cake. was director of opera theater Recent roles include Julie in The Ship’s Captain, at West Virginia University in Mrs. Ott in Susannah, Ernesto in The Three Billy Morgantown, WV for six years. His favorite Goats Gruff, Hansel in Hansel and Gretel, and roles include Henrik in A Little Night Music, First Spirit or Third Lady in various productions Phil in The Wild Party, and Black Stache in Peter of The Magic Flute. Joelle received her BM in and the Starcatcher. James holds a bachelors music education and MS in music education degree in music theory from the Eastman School from Nazareth College in Rochester, NY before of Music and a master of music in collaborative receiving an MM in historical performance from piano and opera coaching from Westminster Boston University. When not singing, she enjoys Choir College. He is currently pursuing a master Marvel superhero movies, pub trivia nights, of music in opera stage directing at the Eastman reading copious books, and spending time with School of Music. her family. She will begin pursuing her DMA in MICHELLE PEDERSEN, vocal performance and pedagogy at the Eastman soprano, is delighted to be School of Music this fall. returning for her third season ALEXA LOWREY, soprano, with the Ohio Light Opera as is ecstatic to join the OLO Mrs. Dolly Levi in Hello, Dolly! family. This fall, she will be a and the Stepmother in Cinderella. senior in the vocal performance In previous seasons at OLO, musical theater program at NYU Michelle has enjoyed playing Steinhardt, achieving her bachelor various character roles such as Bloody Mary in of music. She is often referred to South Pacific, Granny in Into the Woods, and as the darling of the program, Babcock Bellomy in The Fantasticks. Michelle’s contradicting many of the non-darling characters stage work not only covers her love of musical she’s been cast as. Some of her favorite roles theater and operetta but extends to the operatic include Bonnie in Bonnie and Clyde, Alice in The stage as well. Other recent roles include Lucy Addams Family, Millie in Thoroughly Modern the Beggar Woman in Sweeney Todd, Gilda Millie, and Eve in Applause. She also performs as in Rigoletto, Musetta in La bohème, Lucia in a recurring soloist with the Northport Symphony Lucia di Lammermoor, and Donna Anna in Don in Northport, FL. Alexa is a Tampa native and Giovanni. Ms. Pedersen holds a BA in both enjoys coming home to relax with her musician vocal performance and music education from parents and three dogs: Buddy, Toto, and Cami. Oregon State University, and an MM in vocal Alexa is a student of Devon Meddock. She is 50 Box Office: 330.263.2345

performance from the University of Utah, where she is also currently seeking her DMA in vocal performance and stage directing.

EMILIA PERROTTA, soprano, is an Orlando native making her professional debut at OLO this summer singing Edith in The Pirates of Penzance and covering Kathie in The Student Prince. Emilia recently finished her sophomore year at the San Francisco Conservatory of Music (SFCM), where she performed opera scenes as Marzelline in Fidelio and Krysia in Out of Darkness: Two Remain

by Jake Heggie, as well as a soloist in a Women in Song recital and the 9th Biennial Art Song Competition concert. An avid lover of musical theater, she recently performed selections from Little Women, Assassins, and 35mm: A Musical Exhibition in the SFCM Spring Musical Cabaret.

Emilia is a professional photographer and is the head student photographer at SFCM. Her works are featured in articles published by SFCM, and in online newspapers across the Bay Area. She is unbelievably excited to be joining OLO after watching her older sister, Teresa Perrotta, perform in the 2017 season—a family tradition. Emilia is a student of Catherine Cook, another OLO alum.

MATTHEW REYNOLDS, baritone, is delighted to perform with OLO for the first time in the roles of Captain Tarnitz in The Student Prince, Roger Huckland in The Mock Marriage, and the Pirate King understudy in The Pirates of Penzance. A dynamic and versatile vocalist with a captivating stage presence, Matthew made his professional debut last year in Opera NexGen’s inaugural production, playing Guglielmo in Così fan tutte.

He recently completed dual master of music degrees at the University of Oklahoma, where he performed the roles of Roger Chillingworth in Lori Laitman’s The Scarlet Letter, Zurga in Bizet’s Les pêcheurs de perles, Aeneas in Purcell’s Dido and Aeneas, and Afron in Rimsky-Korsakov’s The Golden Cockerel. Equally at home on the concert stage, Matthew was featured as the baritone soloist in the 2022 Messiah Festival of the Arts performance of Bach’s St. Matthew Passion. A native of Waco, TX, Matthew plans to move to Houston following the conclusion of OLO’s season, where he hopes to work whatever necessary odd jobs while pursuing any performance opportunities he can find.

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NOAH ROGERS, baritone, is a current master’s student in voice performance at the University of Michigan. The Missouri native completed his bachelor of arts degree in music (trombone) at Truman State University in 2021. During his tenure there, he performed numerous roles with the TSU Opera Theatre, including Doctor Gregg in Douglas Moore’s Gallantry, King Balthazar in Menotti’s Amahl and the Night Visitors, and Quinn in Michael Ching’s Speed Dating Tonight! As a 2021 studio artist with Opera in the Ozarks, Mr. Rogers sang the role of Papageno in The Magic Flute, as well as Le Surintendant des plaisirs in Massenet’s Cendrillon. Most recently, he revived the lead role of Bob in UM Opera Theatre’s production of William Grant Still’s one-act opera Highway 1, USA. Equally comfortable on the musical theater stage as he is in the opera hall, Mr. Rogers starred as David Koresh in the world premiere of Charles Gran’s 2019 musical End Times, as well as The Beast in the University of Missouri Summer Repertory Theatre’s 2020 production of Beauty and the Beast.

SADIE SPIVEY, soprano, is excited to be returning to OLO for a third season as Mabel in The Pirates of Penzance, Luisa in The Fantasticks, and Edith in The Mock Marriage. In previous OLO seasons, Sadie appeared as Little Red in Into the Woods, Sieglinde in Music in the Air, and Anina in The Devil’s Rider. Sadie began the 2022 season singing the Vixen in Janáček’s The Cunning Little Vixen with the Bard Graduate Vocal Arts Program, where she is currently pursuing her graduate studies. A graduate of Penn State, Sadie received a BM in voice performance as well as a BFA in acting. At Penn State, she appeared in more than a dozen productions, splitting her time equally between the theatrical and the operatic stage. Sadie was named an Encouragement Award Winner of the 2020 Metropolitan Opera National Council Auditions. That same year, she received an Emerging Artist Award from the International Lotte Lenya Competition, a competition recognizing singer/actors who are dramatically and musically convincing in repertoire ranging from contemporary Broadway scores to opera LAUREN NASH SILBER- and operetta. For more information, see STEIN, soprano, is thrilled to be www.sadiespivey.com. a resident artist and returning to LINDSAY UHRICH, mezzoOLO for a third season as Kathie soprano, is thrilled to be joining in The Student Prince, Fairy GodOLO in her first season as Kate in mother in Cinderella, and Selma The Pirates of Penzance, as well in The Mock Marriage. Lauren as an ensemble member. A native joined Winter Opera St. Louis for of Westerville, OH, she is a rising their 2022 season, singing Gianetta in The Gonsenior at DePauw University, and doliers. Professional engagements with other oris pursuing a BA and a BM. Her ganizations include Opera Connecticut, Tri-Cit- prior roles at DePauw have included the Second ies Opera, Harold Haugh Light Opera Guild, Witch in Dido and Aeneas, Operator #1 in Sorry and Opera Saratoga. Lauren was soloist in con- Wrong Number, and La Fata Verde in La bella cert with The Monadnock Chorus and Orchestra dormente nel bosco. Additionally, she’s had and a semi-finalist in both the 2022 Giulio Gari the opportunity to be the cover for roles such and Jensen Foundation Competitions in NYC. as Ellen in Three Sisters Who Are Not Sisters, She received the Artistic Director’s Award at and Orfeo in Orfeo ed Euridice. She’s also had Opera Connecticut’s Vocal Competition in 2021 experience in roles in musical theater, with her and was the 2021 Annual Donor Recitalist for most recent being Olivia in Theory of Relativity/ The Rochester Opera Guild. Some favorites as Edges. She is a student of André Campelo. When the soprano soloist with orchestra include Han- not performing, she enjoys spending time with del’s Messiah, Mendelssohn’s Elijah, and both her friends and family, watching movies (albeit the Fauré and Rutter Requiems. She holds a mas- to a slightly unhealthy amount), reading, and ter’s degree from The Eastman School of Music, listening to true crime podcasts. where her thesis focused on the works of Polish GILLIAN WEATHERFORD, mezzo-soprano, is composer Stanisław Moniuszko. During corona- thrilled to be making her OLO debut this summer virus quarantine months, with the troupe Where as Queen Constantina in Cinderella, Ermengarde the Good Songs Go, Lauren virtually made the in Hello, Dolly!, and Gretchen in The Student first recordings of four early American musicals. Prince. She is a senior (soon to be super senior) Upcoming events can be viewed at www.lauren- at NYU Steinhardt and recent roles include nashsilberstein.com.

52 Box Office: 330.263.2345

Public Opinion in Orpheus in the Underworld and Saundra in the off-Broadway premiere of Damnation! The Musical. She also recently completed a season at College Light Opera Company, where she was seen as Dinah in Trouble in Tahiti, Woman 1 in A

Gentleman’s Guide to Love and Murder, Lady Sangazure in The Sorcerer, and Edith in the show that no one at OLO has ever heard of before: The Pirates of Penzance. She is a recipient of a 2022 Emerging Talent award from the Lotte Lenya Competition, and when not on stage, Gillian can be found with her nose in a book, or off gallivanting in some patch of nature.

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2022 FESTIVAL ORCHESTRA

Ronda Herold concertmaster

Lev Roshal assistant concertmaster

Jeffrey Anderson clarinet

Jacob Clark violin

Alexander Degoey bass

Abril Celeste Nunez Gadaleta violin

Emily Grissing cello

Benjamin Guegold trumpet

Samuel Himes horn

Laura Kellogg flute

Benjamin Kerger percussion

Janghyun Kim clarinet

Leo Ernest Garcias Leite trombone

Ina McCormack harp

Maxx Mejia oboe

Cheuk Chi Mok horn

Elaina Palada flute

Bonnie Vigil violin

Spencer Wilson bassoon

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RONDA MAY HEROLD, concertmaster, is returning for her third season at OLO. Ronda has spent most of her professional career on the high seas performing on both violin and cello for various cruise lines. When not sailing, she regularly performs with symphony orchestras in Texas, Arkansas, and Louisiana. In addition to her musical pursuits, Ronda is a published writer and certified Wix developer. She is also an uncertified Insanity workout coach. Ronda has lived and performed around the world in Asia, Europe, and the Americas. She currently hails from Guadalajara, Mexico. Saludos a todos y gracias por venir a OLO.

Jeffrey received his DMA in clarinet performance with a cognate in piano performance from the University of Cincinnati College-Conservatory of Music. He received his master’s in clarinet performance from Bowling Green State University and his bachelor’s in music education from Michigan State University. Favorite shows of past OLO seasons include Dream City and the Magic Knight, Ruddigore, and Kiss Me, Kate. jeffreyandersonmusic.com.

DONOVAN BEER, cello, is excited for his first year at OLO. In his high school years he took lessons with Brian Thornton of The Cleveland Orchestra and played in the Akron Youth LEV ROSHAL, assistant concertmaster, began Symphony. Since then he is now attending KSU his violin studies at age four at the David with a focus in cello performance. He also works Hochstein Music School in his hometown currently with Si-Yan Darren Li at CIM and of Rochester, NY. He has never looked back participated in the Aronson Cello Festival this since. Lev later returned to Rochester for his year. undergraduate studies—completing degrees CLARK, violin, was recently in violin performance, music theory, and JACOB mathematics as a dual-degree student at the concertmaster for the U.S. premiere of Farinelli Eastman School of Music and the University of and the King, and his involvement with the Rochester, working with Mikhail Kopelman. theater puts him well on his way to being able to Lev is currently a masters student pursuing “whistle all the airs from that infernal nonsense degrees in violin performance and music theory Pinafore,” and much, much more. Having at the Indiana University Jacobs School of Music, grown up not far from Wooster, Jacob is pleased studying with Austin Hartman. At IU, he also to return to this part of the country in between has served as an associate instructor in music semesters of his MM in violin performance at theory and has been awarded a coordinating Arizona State University. Well known for his instructor position for the next academic year. thoughtful and passionate approach to music He has also served in various principal roles and life, Jacob has been awarded the Eagle Scout with IU’s orchestral ensembles. Lev has given award from the Boy Scouts of America, studied performances in such venues as Weill Recital classical piano with Margreet Francis at the Hall at Carnegie Hall, Kodak Hall and Kilbourn Hartt School, and served on a volunteer full-time Recital Halls at Eastman Theatre, Edmonds two-year mission for the Church of Jesus Christ Performing Arts Center, and recently gave his of Latter-day Saints—assigned to southern Italy. masters recital at Ford-Crawford Hall. Lev made his orchestral solo debut at age 15 with the ALEXANDER DEGOEY, bass, is from Toms Ars Viva Chamber Orchestra, and has performed River, NJ and is currently pursuing a double in master classes led by, among others, artists bass performance degree, studying under Derek such as Lewis Kaplan, Miriam Fried, the Danish Zadinsky of The Cleveland Orchestra at the Cleveland Institute of Music. Xander started String Quartet, and the Ying String Quartet. playing bass at the age of nine and studied with Rex JEFFREY ANDERSON, clarinet, is pleased Surany of The Metropolitan Opera for four years to be returning to the OLO pit orchestra for in high school. Two years later, Xander joined the a seventh season. While serving there, he has Philadelphia Youth Orchestra, and would win the played clarinet, bass clarinet, alto and tenor assistant principal position after a year of being in saxophones, synthesizer, and piano. Jeffrey has the section. Xander was also principal bass of the been a music instructor at Allen Community Garden State Philharmonic Youth Orchestra for College in Iola, KS for five years, where he wears three years. He has participated in festivals such many hats teaching music classes, giving applied as Orford Musique (Quebec), Curtis Summerfest, lessons, and directing ensembles. Allen presents Philadelphia International Music Festival, and an annual musical for which Jeffrey serves as Rutgers Chamber Music Institute. Outside of music director. He conducted the Iola Area classical music, Xander enjoys sailing, exotic Symphony Orchestra for the 2020-21 season. foods, and funk music. ohiolightopera.org 55

ABRIL CELESTE NUNEZ GADALETA, violin, started violin at the age of seven in her hometown of San Felipe, Yaracuy State, Venezuela as a part of the National Network of Youth and Children Orchestras of Venezuela, better known as “El Sistema.” She received lessons from many professors, including Samuel Parra and Gerónimo Isturiz, and a few years later, when she started her bachelor’s degree in 2007 at the Universidad Nacional Experimental de las ARTES in Caracas, she had lessons under Edgar Aponte (student of Margaret Pardee of The Juilliard School). Having a passion for chamber music, she has played in several string quartets, including the Aurora Quartet, for which she became first violin. She has been a part of or collaborated with orchestras from Venezuela and the United States, including the Yaracuy State Symphony Orchestra (VE), Caracas Municipal Symphony Orchestra (VE), Altoona Symphony Orchestra (USA), and the Erie Philharmonic (USA), as well as the Westmoreland Symphony Orchestra (USA), with which she won a first violin position in January 2022. Abril is currently pursuing a master’s degree in music performance at the Duquesne University of the Holy Spirit, under the violin direction of Charles Stegeman.

Orchestral Institute. Close to Emily’s heart is sharing music with others through performance, mentoring, and teaching

EMILY GRISSING, cello, is thrilled to be returning for her fifth season with OLO. Emily was captivated by live classical professional orchestral music at age two, and immediately dove into a life dedicated to in-depth study and performance of music. While other children played in sandboxes, Emily practiced piano, composed music, listened to opera, jazz, and more. She has studied cello, conducting, free improv, flute, voice, viola, double bass, musical theater, music theory, early music, and more, while establishing herself as an accomplished, collaborative musician. Currently based in Winston-Salem, NC, she is a cellist in the Winston-Salem and Greensboro Symphonies, and is a freelance (sub) cellist with other regional orchestras. Emily has participated in prestigious music festivals, including the Aspen Music Festival, the National Repertory Orchestra, the Eastern Music Festival, and the National

SAMUEL HIMES, horn, is thrilled to return to the Ohio Light Opera orchestra for his second season. Originally from Fort Worth, Sam is a recent graduate from the University of Michigan, with degrees in horn performance and music education. In addition to the University of Michigan bands and orchestras, Sam has been hired for performances with the Adrian Symphony, Michigan Philharmonic, and the Conservatory of Music at Brooklyn College orchestra. During the pandemic, Sam stayed active with music by creating arrangements, recording them in his home studio, mixing and mastering them himself, and posting them on TikTok, where he has reached over 20,000 followers and accumulated millions of views on his musical projects (@samthehorn). Upon the summer’s end, Sam will continue his education by pursuing a master’s degree in horn performance at the University of North Texas, where he has accepted a TA position with the college’s Center Woodwind Quintet.

BENJAMIN GUEGOLD, trumpet, is currently pursuing a master of music from the Ohio State University, while freelancing around the Columbus area. In the fall, he will serve as the teaching assistant for the trumpet studio at OSU. Ben lives in Columbus, OH, where he also maintains a private studio teaching younger musicians. Ben currently performs with the Ohio State University Wind Symphony and Symphony Orchestra. In the past year, he has premiered three new works, including Julia Wolfe’s Zigzag and Samantha Burgess’ arrangement of Mahler’s First Symphony for chamber ensemble, and Viet Cuong’s Full Circle. Ben also performed with the Dublin Silver Brass Band at the 2020 Butlins International Brass Band Competition in England and at the Sewanee Summer Music Festival in 2018 and 2019. Ben has studied with Timothy Leasure, Byron Stripling, Tom Hooten, Jack Sutte, Jack Brndiar, Peter Bond, and Robert Parton. He currently holds a bachelor of music performance from the Baldwin Wallace University Conservatory of Music.

BENJAMIN KERGER, percussion, is excited to be performing with OLO for his first season. From Toledo, and currently a student at the Ohio State University, he is expected to receive his bachelor of music in May of 2024. With over a decade of performing experience with various orchestras, 56 Box Office: 330.263.2345

ensembles, and jazz groups across multiple continents (South America, Europe), countries, and states, he looks forward to highlighting and performing alongside his peers this summer.

Recently, he’s served as the percussionist with the Toledo School for the Art’s production of Catch Me If You Can, and Hamilton Township High School’s production of The Wizard of Oz. Ben is a student of Susan Powell.

LEO ERNEST GARCIAS LEITE, trombone, was born in São Paulo, Brazil and began his music studies at the age of nine, but only started playing the trombone when he was 14 at the São Paulo School of Music. At the age of 16, Leo won the audition for a trainee orchestra at the São Paulo Opera House called “Orquestra Experimental de Repertório,” which he left to attend Ohio University as a student of Lucas Borges in 2021.

Throughout his career, he won the São Paulo Youth Orchestra Concerto Competition, Audience Prize in the Swisstbone Competition, Third Prize in the Charleston Contemporary Music Competition, OU High school concerto competition, and the OU Concerto Competition 2021.

High School Symphonic Band, Jazz Band, and Pit Orchestra. In the future, Maxx hopes to win a 1st chair oboe position in a major symphony, while becoming a master of yoga.

ELAINA PALADA, flute, recently graduated from Northwestern University with her master’s degree in performance. She is excited to start her first season with OLO this summer. This past May, Elaina played principal flute for Northwestern University’s production of La bohème. She also performed with the Chicago Lyric Opera Orchestra in a “We Stand with Ukraine” Benefit Concert in April, which raised over $48,000. During past summers, Elaina taught English and music at Sommerschule Wust in Germany, where she was also a featured soloist in a Baroque concert performing works

by Bach, Handel, and Telemann with organist Anne Laver. A native of rural Central New York, Elaina received her BM degree in music education from Syracuse University. She looks forward to pursuing a music career that combines all of her passions for performing, teaching, and traveling.

SPENCER WILSON, bassoon, is delighted to be returning to Wooster for his fourth season with OLO. Originally from Chesapeake, VA, Spencer now makes his home in Dallas. Since 2016 he has served as bassoon teacher for Dallas College as well as local middle and high schools throughout the metroplex. Spencer has additionally taught as a regular guest clinician for the University of Texas at Arlington and for The Dallas Winds Honor Band. In 2021 Mr. Wilson worked on the Texas University Interscholastic League bassoon prescribed music list committee with the responsibility to shape and expand the curriculum of music all high school bassoonists throughout Texas use today.

As a performer, Spencer often plays with The Dallas Winds during both their regular season and extra events. He has additionally worked with the Rapides Symphony and the Shreveport Symphony. Beyond these roles, Spencer spends much of his time as a professional bassoon reed MAXXWELL MEJIA, oboe, is excited to be maker, crafting reeds by hand for himself, his making his debut playing in the Ohio Light students, and clients throughout the country.

Opera this summer. He is currently studying oboe performance at the Eastman School of Music under the instruction of Richard Killmer. At school, Maxx performs with the Wind Ensemble, Philharmonia, and the Music Nova ensemble.

Originally from New Jersey, he has played oboe throughout his school years and has been involved in numerous ensembles, including the New Jersey Youth Symphony and the Mahwah INA McCORMACK, harp, is currently pursuing dual DMA and Ph.D. degrees in harp performance and historical musicology at the Cleveland Institute of Music and Case Western Reserve University. She is a graduate of Interlochen Arts Academy and received her BM from the Oberlin Conservatory, where she began studying with Yolanda Kondonassis. A passionate ensemble musician, Ina is thrilled to be joining the OLO orchestra this season. She routinely performs with regional orchestras and holds a substitute position with the New World Symphony, located in Miami, FL. Ina has also attended numerous summer festivals, including the National Repertory Orchestra. When she is not behind the harp, Ina is probably cooking or outside enjoying the two weeks of nice weather that northeast Ohio gets each year. Raised in Dallas, Ina is happy to call Cleveland her home.

ohiolightopera.org 57

TECHNICAL AND FRONT OF HOUSE TEAM SCENE SHOP AND STAGE CREW ALLIANCE AKINS, assistant technical director & carpenter, is excited to be back at OLO for her second season. A graduate of the University of Arkansas, and definitely not three ghosts in a trench coat, Alliance has been using her BA to decorate cakes at a grocery store in Tulsa and to bartend at the Castle of Muskogee. She has recently opened herself up to new experiences by working in the film industry in Fayetteville, AR. She is also expanding her artistic horizons by learning the art of blowing glass. She is ready and excited to be coming back to the world of theater and can’t wait to see what it has in store.

has built sets for shows like Guys and Dolls and Seussical. He was also the head of the lighting crew during his junior and senior years of high school. Some of Marshall’s hobbies include chess, speed-solving Rubik’s cubes, and procrastination.

He is very enthusiastic about OLO this summer and can’t wait to be a part of the show.

ERICA FELTON, assistant stage manager, is excited to be spending the summer with Ohio Light Opera. She started her theater career as a scenic carpenter and prop builder, apprenticing at Hartford Stage and working at Goodspeed Musicals before returning to central Florida and CODY CRANE, carpenter, is excited for his working in theater as a freelance assistant stage first season at OLO and in the theater scene in manager, props master, and master carpenter the general. As a computer science graduate of the last two and a half years.

University of New Mexico, he did not expect his first job out of college to be as a theater tech. SAMI HANSEN, stage manager, is ecstatic to join His interest in carpentry was passed down as a Ohio Light Opera for their 2022 season as part hobby from his father and regularly practiced of the stage management team. Currently based alongside his other hobbies including Magic the in Southern California, Sami is working towards Gathering and Destiny 2. His interest in theater her MFA in stage management at the California was sparked after working tech for the faculty Institute of the Arts, after having earned her BFA dance concert for UNM as part of his stagecraft in directing at Belmont University in Nashville. class taught by one Stephen Tomlin. As a native Most recently Sami was the cover ASM for the New Mexican, he feels a bit like a fish out of Calarts Center of New Performance’s workshop of Etta and Ella and is slated as the stage water up here in all this humidity. manager for Calarts’ 2022-23 season production MARSHALL DONN, carpenter, is working at of El Misterio de Elche. A Boston native, Sami OLO for the first time this season. He is a native enjoys trips to New York City to see Broadway of North Little Rock, and is currently a freshman productions, as well as the occasional Newport, pursuing a degree in mathematics from the RI excursion to tour the Newport Mansions and University of Arkansas in Fayetteville. Through dream of living in the Gilded Age. his high school theater department, Marshall

SCENIC ARTIST MATTIE ROOS, painter, is currently a junior at the University of New Mexico, majoring in design and technology for performance. She is new to the Ohio Light Opera this year, as well as this being her first summer stock. She is excited for the experience and the opportunity to meet new people. The latest production that Mattie worked on was Last Dream, for which she painted many things but mostly flags.

58 Box Office: 330.263.2345

COSTUMES AND WARDROBE SAVANNAH BROOKS, wardrobe, is excited to be spending her very first summer with OLO. She has been doing theatre for over ten years (which makes her feel very old). Although originally from Dallas, she is currently earning her BFA in costume design and technology at the University of Cincinnati College-Conservatory of Music. Savannah has worked on a variety of productions such as Le nozze di Figaro, Xanadu, Tartuffe, and Broadway Dallas’ award-winning best musical Bullets over Broadway. Savannah also works part-time in a bridal shop, doing alterations on wedding gowns and other special occasion garments.

JACOB HARRIS, wardrobe, is from Indianapolis, is 20 years old, and is going into his junior year at Marian University as a theater major with a music minor. He hopes to make a career in music, writing his own musicals and plays after he graduates. Jacob has done Newsies in high school and made some of his own costume pieces. He has also done scenic designs for various shows and worked tech for many different high school and college shows. During the 2021 season, Jacob worked a summer job in the costume department at the Indianapolis Shakespeare Company. He has loved theater since he was a freshman in high school, crediting KATHRYN CONNAIR, wardrobe, is ecstatic it with making him who he is and knowing that to be working as first hand at the Ohio Light he wanted to do it for the rest of his life. This Opera. She has been working both backstage is his first season working with OLO and he is and onstage since 2016 at various theaters in excited to work in the wardrobe department. the Northeast Ohio area. Recent costume design BRITTANY KUGLAR, wardrobe supervisor, credits include Once at Kent State Stark (April is pleased to be working with OLO for the first 2022) and Charlotte’s Web at the Players Guild time. Based in Indianapolis, she teaches costume of Canton (February 2022). She is currently construction skills at Cathedral High School and studying costume design at Kent State University Marian University. She also designs regionally, (junior standing), but she also house manages including the last of her bumped 2020 shows, at Akron Civic Theatre during her free time. The Rocky Horror Show with Zach and Zack Instagram: @kathryn_connair_seamstressing_ Productions this fall.

Facebook: Kathryn’s Stiches and Fabric STEPHANIE VALDES, stitcher, is a first time Website: kathrynconnair.weeblysite.com Ohio Light Opera stitcher and is very excited KATHLEEN GRIFFITH, stitcher, is thrilled to join OLO for their first season. They are a Bowling Green, OH native who is a student of Penn State University’s BFA technical theater program. Their recent productions include The Curious Incident of the Dog in the Night-Time as an assistant costume designer, and Nostalgia Nights and Brigadoon as a first hand. Their other recent productions include Midsummer Night’s Dream, The Wild Party, and Blood at the Root.

to be a part of the costume department. She has recently graduated from the University of South Florida with a bachelor degree in Sociology and a minor in theatre. She has worked on the Spring Dance concert at USF and the play The Dutchman Calls/The Owl Answers where she helped construct the costumes and was a part of wardrobe crew.

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Visit us on Facebook ohiolightopera.org 59

PROPERTIES SAPH BEERS, prop fabricator, is ecstatic to be joining OLO for their first season in the prop department. Their talents were amassed through 15-plus years of being a nerdy costumer and general craft gremlin, as well as getting their BA in theater tech and design at the University of Florida. In the few days before arriving at OLO, they were working on near-body-sized puppets for a production of Everybody, and before that created items such as faux stained glass (that could break on stage) for a combined production of Dutchman/The Owl Answers. Outside of the summer, Saph works for USF as prop master and paints and props lab supervisor, sharing their strange array of talents and techniques with the students willing to give the wonderfully weird world of props a shot.

BRIAN LUCK, props artisan, is excited to experience his first season at OLO. This spring, he graduated from the College of Wooster as an English and theatre double major with an education minor. Brian recently directed a production of I and You by Lauren Gunderson and has appeared on the Freedlander stage as Christopher in The Curious Incident of the Dog in the Night-Time, Tommy in The Normal Heart, and the shipmaster in The Tempest. He also enjoyed his time offstage as a scene shop assistant, wardrobe crew supervisor, and running crew member. Brian is traveling to London this summer to study theater spectatorship and performance. When he returns, he plans on pursuing careers in college admissions and high school education.

ELECTRICS & SOUND RACHEL AHO, lighting designer, is returning for a second season with OLO. Rachel is currently pursuing an MFA in Design at Texas State University. She recently graduated with a BFA in Design from Michigan State University.

This season, she will be designing The Pirates of Penzance and The Mock Marriage. Recent designs for TXST include: Significant Other, El Nogalar, and Gloria. In the upcoming season at TXST, she will finish out her degree with designing Into the Woods.

ELI OLDT, assistant sound designer, is in his first year at OLO and is very excited to be apart of the productions. He is attending Michigan Technological University for a degree in audio production and technology. He will be helping set up the sound system as well as doing sound design for one of the shows.

ADMINISTRATIVE/FRONT OF HOUSE STAFF KATE JOSEPH, box office assistant, is pleased as punch to be back at the Ohio Light Opera for her second summer. Besides her work in the OLO box office, she was an assistant in the College of Wooster costume shop. Kate is a recent graduate of the college, with a degree in English and theater. In July, she will be continuing her theater education in London for a month before returning to Ohio to settle down. Besides theater, Kate is passionate about coffee, poetry, and puppetry.

RACHEL SEMEL, box office assistant, is over the moon to be spending her first summer at the Ohio Light Opera after working in the box office since her freshman year. She is a recent graduate of the College of Wooster, where she majored in communication sciences and disorders, with an education minor. After this season, Rachel will be heading back home to Massachusetts to work in the vocational development field. She has had an amazing four years with her OLO family.

Advertise with The Ohio Light Opera Call Ruth Krise 330.714.2704 60 Box Office: 330.263.2345

Opening in 2023!

365 E Liberty St Wooster, OH 44691

Carovilli, Italy is the town that Felix Mariola - our Founder Mike Mariola's grandfather - immigrated from in 1915. Many years have passed, but the family legacy of creating and enjoying classic, Italian comfort food lives on generations later within the Mariola Family.

Carovilli

The patron saint of Carovilli was Santo Stefano del Lupo (lupo means "wolf" in Italian). Legend has it that there was a wolf in the area that was disturbing his herd of sheep. He prayed that the wolf would be friendly to the herd which ended up happening, hence the name Santo Stefano del Lupo.

We look forward to serving you at Mariola Italian in 2023, where friendliness is alive and Italian classics have been revived.

ohiolightopera.org 61

The Lady of the Slipper

The Student Prince

HMS Pinafore

Primrose

Anything Goes

The Student Prince

HMS Pinafore

The Music Man

Anything Goes 62 Box Office: 330.263.2345

Countess Maritza

The Music Man

HMS Pinafore

2017 Season Photos by Matt Dilyard

The Student Prince

The Lady of the Slipper

Primrose

Countess Maritza

Primrose ohiolightopera.org 63

The Dancing Years

La Vie Parisienne

Kiss Me, Kate

The Mikado

Have a Heart

The Little Dutch Girl

Kiss Me, Kate

The Music Man

La Vie Parisienne 64 Box Office: 330.263.2345

The Dancing Years

Annie Get Your Gun

The Mikado

2016 Season Photos by Matt Dilyard

Annie Get Your Gun

Kiss Me, Kate

The Dancing Years

The Little Dutch Girl

Kiss Me, Kate ohiolightopera.org 65

Welcome Welcome Welcome Ohio Light Opera!

Welcome

Ohio OhioLight LightOpera!

Opera!

Ohio Light Opera!

• NEWEST HOTEL IN WOOSTER!

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128OH Riffel Rd. Wooster 44691 Wooster OH 44691 330-601-1221 330-601-1221 www.ihg.com/holidayinnexpress www.ihg.com/holidayinnexpress

Oh, Lady! Lady!!

The Pirates of Penzance

Call Me Madam

2014 Season Photos by Matt Dilyard

Die Fledermaus

ohiolightopera.org 67

OLO Lagniappe July 20 - July 23 Lagniappe – lan’yap – something offered as a bonus As the title suggests, and in appreciation of more than 40 years of audience support, the Ohio Light Opera will be providing its OLO family with four days of special events during the 2022 festival season. From July 20th to July 23rd, the company will be presenting lectures, musical concerts, and video presentations—all celebrating our 43rd season and our unique mission. In the true spirit of a festival, these extra events make a wonderful addition to a week during which patrons can see and hear all six shows.

Special Events JULY 20 – JULY 23: LECTURES OLO’s traditional slate of Friday and Saturday evening pre-show lectures will be expanded— during this four-day period—to include preshow talks on all six 2022 productions. Company members will provide both historical insights and their own experiences in bringing these show gems to life on stage.

JULY 21 (morning): TREASURES FROM THE “MERRY VIDEO VAULTS” A 75-minute film presentation, drawn from the world of operetta and musical theater, that will be such a surprise to our patrons that we don’t even know what it is ourselves at the moment.

JULY 21 (evening): AGED TO PERFECTION: OPERETTAS AND MUSICALS OF A CENTURY AGO Through 43 seasons, the Ohio Light Opera has “turned back the clock” in presenting— through 151 show titles—both the recognized

masterpieces and forgotten gems of days gone by. For this concert, featuring the OLO cast and piano accompaniment, we will set the time machine to precisely 100 years and present an intriguing selection of songs from operettas and musicals that played Broadway in 1922.

Composers represented include—among many others—Emmerich Kálmán, Victor Herbert, Leo Fall, Jerome Kern, George Gershwin, and Jean Gilbert.

JULY 22 (morning): SONGS FROM THE CUTTING-ROOM FLOOR The path from conception to opening night of an operetta or musical was typically a long one, with songs reworked, reassigned, deleted, or added to fit the evolving demands of the show and its stars. This concert, presented by members of the OLO cast with piano accompaniment, will feature discussion and performance of songs that were originally cut from or added to shows of this season’s repertoire, as well as from selected shows from past seasons.

Registration Fee for Four Days of Lagniappe Events: $50 Please e-mail ohiolightopera@wooster.edu or phone 330.263.2345 for more information.

WEDNESDAY JULY 20 10 a.m. 11:15 a.m.

THURSDAY JULY 21

FRIDAY JULY 22

TREASURES FROM THE “MERRY VIDEO VAULTS”

SONGS FROM THE CUTTING-ROOM FLOOR (concert)

SATURDAY JULY 23

1 p.m.

LECTURE

LECTURE

LECTURE

LECTURE

2 p.m.

THE FANTASTICKS*

THE PIRATES OF PENZANCE*

THE MOCK MARRIAGE*

HELLO, DOLLY!*

LECTURE

LECTURE

THE STUDENT PRINCE*

CINDERELLA*

6:30 p.m.

7:30 p.m.

AGED TO PERFECTION (8 p.m. concert)

*Indicates a paid performance. Please call the box office to purchase your tickets.

68 Box Office: 330.263.2345

THE COLLEGE OF WOOSTER A proud history with an international reputation for excellence

T

he College of Wooster is the nation’s premier college for mentored undergraduate research and the most internationalized campus in Ohio.

Since 2002, U.S. News has asked college presidents, chief academic officers, and deans which colleges provide the best undergraduate research opportunities and senior capstone experiences. Only two have made both lists every year: Wooster and Princeton.

Wooster offers an excellent, comprehensive liberal arts education in a spirited residential setting, culminating in every student creating new knowledge through a rigorous, in-depth project of inquiry or creative expression. Working in partnership with a faculty mentor to conceive, organize, and complete a significant project on a topic of the student’s own choosing, every Wooster graduate develops abilities valued by employers and graduate schools alike: initiative, collaboration, self-confidence, independent judgment, creative problem solving, and strong written and oral communication skills.

Wooster is a vibrant, diverse, unpretentious community of learners with a strong commitment to diversity, equity, and inclusion. Students can be themselves at Wooster, discover and pursue their passions, connect learning in the classroom to the real world through paid internships, research fellowships, and other experiential opportunities, and forge lifelong bonds with faculty, coaches, and staff.

New York Times columnist Ron Lieber praises Wooster for its exceptional combination of quality faculty, affordability, and undergraduate research in his new book, The Price You Pay for College. Lieber devotes an entire chapter to answering How the College of Wooster Puts It All Together, highlighting Wooster’s upfront attitude in helping prospective students understand the financial package they will receive and the satisfaction students get from faculty mentorship.

Academics, research, experiential learning, community service, social activism, athletics, the arts, environmental sustainability, and diversity and inclusion all play an important role in a Wooster student’s life.

ohiolightopera.org 69

DINING, ACCOMMODATIONS & SHOPPING Dining Bay Lobsters Cafe & Fish Market.......................... 330-601-1200 Broken Rocks Café & Bakery...... 330-263-2949 City Square Steakhouse................ 330-262-2489 Matsos......................................... 330-264-8800 Olde Jaol Steakhouse & Tavern.................................. 330-262-3333 Pine Tree Barn.............................. 330-264-1014 TJ’s Restaurants........................... 330-264-6263 Undergrounds Café & Coffee House....................... 330-804-8400 Accommodations Bed & Breakfast Black Squirrel Inn......................... 330-317-6627 Market Street Inn......................... 330-262-4085 Mirabelle Bed & Breakfast........... 330-264-6006 Cabins/Campgrounds Meadow Lake Park...................... 330-435-6652 Hotel/Motel Best Western Plus Wooster Hotel & Conference Center............... 330-264-7750 Hilton Garden Inn Wooster.......... 330-202-7701 Holiday Inn Express & Suites...... 330-601-1221 Quality Inn................................... 330-262-5008 St. Paul Hotel............................... 330-601-1900 Entertainment/Attractions Ashland Symphony...................... 419-289-5115 Canton Symphony Orchestra....... 330-452-2094 The Cleveland Orchestra.............. 216-231-7300 Lakeside Chautauqua................... 419-798-4461 Main Street Wooster.................... 330-262-6222 Meadow Lake Park...................... 330-435-6652 The National First Ladies’ Library .................................... 330-452-0876

Porthouse Theater........................ 330-672-3884 Wayne Center for the Arts............ 330-264-2787 Wayne County Convention and Visitors Bureau................... 330-264-1800 Wooster Country Club................. 330-263-1890 Shopping Books in Stock............................. 330-262-2665 Coblentz Chocolates.................... 800-338-9341 Friendtique................................... 330-262-2012 Graham and Burns....................... 330-804-0400 JK Gift Shop................................. 330-725-7623 Journey In Time........................... 330-465-6709 Local Roots ................................. 330-263-5336 Motts Oils & More...................... 330-601-1645 Nest by Friendtique...................... 330-804-0096 Roomscapes................................. 330-262-1088 VHSource LLC............................. 917-815-8899 Wooster Gift Corner.................... 330-264-6117 World Crafts................................ 330-857-0590 Services/Manufacturing Kendal at Oberlin......................... 800-548-9469 Seaman Corporation.................... 330-262-1111 United Titanium........................... 330-264-2111 Wooster Eye Center...................... 330-345-7200 Banking/Financial Briggs Financial Group................. 330-264-2811 Commercial & Savings Bank........ 330-263-1955 Critchfield, Critchfield & Johnston, Ltd........................ 330-264-4444 Edward Jones (Portage Rd.)......... 330-264-2168 Edward Jones (Riffel Rd.)............ 330-262-3572 Farmer’s Trust Company.............. 330-439-4495 Huntington Bank......................... 330-262-3676

Meadow Lake Park Family Campground and RV Park

Wooded & waterfront campsites in a peaceful rural setting.

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330-435-6652

Only 10 minutes from Freedlander Theatre!

70 Box Office: 330.263.2345

131 S. Market Street Wooster, Ohio 44691 (330) 264-6117

Distinctive Gifts & Clothing

Experience international Lyric Theater classics in the charming atmosphere of Wooster, Ohio “Renowned summer festivals within driving distance once didn’t seem so far away. Shaw and Stratford in Canada, and even Ravinia in Chicago, remain magnets for those who are high on theater and music ....

It’s a relief to know that a day trip to seek artistic replenishment need not crush the budget. One of the most reasonable and delightful destinations is Wooster, where The Ohio Light Opera is in its 30th season of operetta merriment.”

Donald Rosenberg, The Plain Dealer

“It’s nothing less than remarkable that ... [The Ohio Light Opera] singers and instrumentalists gather from around the country to arrange a seasonal platter of rotating repertory — Viennese operetta, Gilbert & Sullivan shows, classic American musicals — that these indefatigable performers serve with style through the months of June, July and August.”

Elaine Guregian, The Beacon Journal

ohiolightopera.org 71

8 COMPLETE PERFORMANCES

AVAILABLE ON DVD

These DVDs, recorded live during our summer festivals, are available in the lobby during the season. Patrons may also call The Ohio Light Opera at 330-263-2345 to purchase DVDs, or visit www.ohiolightopera.org to view DVDs and order online.

Kálmán: A Soldier’s Promise • The Duchess of Chicago • The Little King • The Little Dutch Girl Herbert: Mlle. Modiste • Dream City and the Magic Knight • Lehár: Cloclo • Kern: Have a Heart

72 Box Office: 330.263.2345

GILBERT & SULLIVAN

H.M.S. Pinafore THE OHIO LIGHT OPERA J. Lynn Thompson CONDUCTOR

Steven Daigle ARTISTIC DIRECTOR

43 COMPLETE RECORDINGS

AVAILABLE ON CD

Tomás Bretón La Verbena de la Paloma

André Messager Véronique

Reginald De Koven Robin Hood

Lionel Monckton The Arcadians

Rudolf Friml The Vagabond King • The Firefly

Jacques Offenbach The Brigands • Bluebeard

Gilbert & Sullivan Utopia Limited • Patience • Princess Ida The Grand Duke • The Gondoliers The Mikado • Ruddigore • The Sorcerer The Yeomen of the Guard The Pirates of Penzance • H.M.S. Pinafore

Sigmund Romberg Maytime • Blossom Time

Victor Herbert Dream City and the Magic Knight Eileen • Mlle. Modiste Naughty Marietta • The Red Mill Sweethearts • The Fortune Teller Emmerich Kálmán The Bayadere • Sari • Autumn Maneuvers Countess Maritza • The Violet of Montmartre A Soldier’s Promise • Miss Springtime Jerome Kern The Cabaret Girl

Franz Schubert Das Dreimäderlhaus John Philip Sousa El Capitan Oscar Straus The Chocolate Soldier Johann Strauss A Night in Venice Carl Zeller Der Vogelhändler Compilations Gems from The Ohio Light Opera, Vol. 1 Gold and Silver

These recordings are mastered and adapted from our summer productions. Most are released as two-CD sets and are available in the lobby during the season and in finer book and music stores. Patrons may also call The Ohio Light Opera at 330-263-2345 to purchase compact discs or visit www.ohiolightopera.org to view CDs and to order online.

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A Thank You Note from the Entire Ohio Light Opera Company Resident Professional Company of the College of Wooster

S

ince March 2020, when the world’s activities were turned upside down because of the Covid-19 outbreak, we at OLO persevered, working tirelessly to communicate with our patrons, letting you know how we would prevail in this unprecedented time. We have been overwhelmed by the generous support of our devoted donors and audiences.

During the summer of 2020, we produced 15 virtual programs that were not only well-received, but lifted many up during a very uncertain time. Our artists offered testimonials, interviews, and archival video presentations—both excerpts and full shows—from over 50 OLO productions. We even shared selections from the seven titles of what was to have been our inperson 2020 season. Our artists performed energetically from their homes, and it was clear that we could adapt and prevail, particularly with the strong support from all those who love what we do. Over 20,000 people viewed these special offerings, many of which are still on our website.

In 2021, we produced a hybrid (virtual and inperson) season entitled 2021 Ohio Light! Twenty-two company members “pulled it off” and you, our devoted fans, were delighted. To those who attended, we are grateful. We launched our season on the square in downtown Wooster with a show entitled The Musical Magic of OLO. Then, under the shade of the trees on the lawn of Wayne Center for the Arts, The Fantasticks and Trial by Jury were brought to life. We partnered with local businesses downtown to offer complimentary in-house performances by our beautiful cast of singers.

Our streamed productions of The Daring of Diane and Operetta: Rare and Well Done proved, once again, that our unique place in the lyric theater world was stronger than ever. We ended our season with a special event on the Freedlander stage: Musical Magic: An Evening of Celebration. We offer our gratitude to all those who made our 2021 season possible.

BOOKS IN STOCK DOWNTOWN WOOSTER · OHIO

In 2022, as we return to in-person performances on campus in Freedlander Theatre, please know that we would not have been able to succeed in this journey over the last two years without your steadfast support and unbridled enthusiasm for our work. While this summer’s festival season will return us to a more normal array of productions, it does make us happy to know that we never had to “leave” you at any time.

Our commitment to the art form and our audience proved that we have what it takes to bring joy, no matter the circumstances.

We look forward to seeing you again at Freedlander Theatre for five fully-staged productions, while partnering again with Wayne Center for the Arts for an outdoor reprise of The Fantasticks. This booklet outlines all that we are presenting. Please do not hesitate to give us a call at 330.263.2345. We do love hearing your voices, taking your ticket orders, and counting down the days until we are together again.

We look towards future years with cheerful optimism and music in our hearts.

See you soon!

Proud supporters of The Ohio Light Opera www.ccj.com

74 Box Office: 330.263.2345

2022 ACKNOWLEDGMENTS Over the last 43 years, the staff at the College of Wooster has been instrumental in Ohio Light Opera’s success. Without their enthusiasm and support of our endeavors, the Company would not function as seamlessly as it does. The “in kind” services and “hidden assets” over the years have made it possible for OLO to exist as a unique part of the educational mission at Wooster.

We acknowledge them with grateful hearts for their support and assistance.

HEARTFELT THANKS go out to: Ben Small, Gail Smith, and John Schambach for your tireless work on behalf of the company all year around.

S Dave Griffith of Lowe’s Home Improvement store in Wooster for your tremendous support of the company.

S Michael and Nan Miller for your never-ending commitment to the company.

S Spiro Matsos for being our #1 patron and supporter.

S Staff of the College of Wooster for 43 years of supporting the OLO company.

S Damien Highfield at Stage Center in Akron for your generous support.

S Ron Holtman for your advice and hard work on behalf of the company.

S Joyce Heitger for your year-round help with photocopying and enthusiastic support.

S Mark Houser, Technical Director of Eastman Opera Theatre, for your generous time.

S Seán Gray of Josef Weinberger, Ltd., London.

S Kent State University S Eastman Opera Theatre S Rochester Ballet S Charlene Gross

ohiolightopera.org 75

COMPLETE REPERTOIRE 1979-2022

THE OHIO LIGHT OPERA S STEVEN A. DAIGLE, ARTISTIC DIRECTOR Richard Adler & Jerry Ross The Pajama Game...........................................’18 Daniel Auber Fra Diavolo.....................................................’88 Lindsay Warren Baker & Amanda Jacobs Pride & Prejudice............................................’06 Ralph Benatzky & Robert Stolz White Horse Inn..............................................’05 Irving Berlin Call Me Madam..............................................’14 Annie Get Your Gun.......................................’16 Leonard Bernstein Candide...........................................................’18 Jerry Bock & Sheldon Harnick Fiddler on the Roof.........................................’09 Tomás Bretón La verbena de la paloma.................................’99 Emmanuel Chabrier L’étoile.....................................................’91, ’08 Federico Chueca & Joaquín Valverde La gran vía......................................................’99 Noël Coward Bitter Sweet..............................................’93, ’98 Reginald De Koven Robin Hood....................................................’04 Leo Fall The Dollar Princess.........................................’95 Madame Pompadour.......................................’11 Rudolf Friml The Vagabond King..................................’87, ’04 Rose Marie......................................................’03 The Firefly.......................................................’06 Edward German Merrie England...............................................’84 Tom Jones.......................................................’92 George & Ira Gershwin Of Thee I Sing.................................................’09 Lady, Be Good!...............................................’13 Oh, Kay!.........................................................’15 Primrose..........................................................’17 Girl Crazy.......................................................’19 William Gilbert & Arthur Sullivan The Gondoliers....’79, ’82, ’85, ’88, ’92, ’96, ’01, ’06, ’13 H.M.S. Pinafore...’79, ’80, ’81, ’82, ’83, ’84, ’85, ’87, ’90, ’93, ’98, ’02, ’06, ’09, ’13, ’17 Iolanthe...’79, ’81, ’84, ’87, ’91, ’98, ’05, ’10, ’18 The Mikado...’79, ’80, ’81, ’82, ’84, ’85, ’88, ’92, ’95, ’00, ’04, ’08, ’12, ’16 The Pirates of Penzance......’79, ’80, ’81, ’83, ’84, ’86, ’89, ’94, ’99, ’03, ’07, ’11, ’14, ’19, ’22 Ruddigore......’79, ’82, ’85, ’88, ’95, ’02, ’09, ’15 Trial by Jury.........’79, ’80, ’81, ’84, ’86, ’89, ’98, ’11,’21 76 Box Office: 330.263.2345

The Yeomen of the Guard.........’79, ’81, ’84, ’86, ’90,’97, ’01, ’08, ’15 Patience.................’80, ’83, ’86, ’91, ’97, ’04, ’10 Princess Ida.........................’80, ’85, ’94, ’99, ’07 The Sorcerer.................’80, ’82, ’86, ’89, ’96, ’05 Utopia Limited.............’80, ’83, ’87, ’93, ’00, ’12 The Grand Duke...............................’81, ’95, ’03 Reynaldo Hahn Ciboulette........................................................’90 Victor Herbert Naughty Marietta ....................................’89, ’00 Eileen..............................................................’97 The Red Mill...................................................’01 Sweethearts.....................................................’02 Mlle. Modiste..................................................’09 The Fortune Teller...........................................’11 Dream City and The Magic Knight.....................’14 The Lady of the Slipper.....................................’17 Jerry Herman Hello, Dolly!...................................................’22 Richard Heuberger The Opera Ball................................................’90 Emmerich Kálmán Countess Maritza................’85, ’89, ’94, ’03, ’17 The Gypsy Princess...........................’86, ’93, ’10 The Bayadere..................................................’98 Sari/Der Zigeunerprimás.................................’01 Autumn Maneuvers ........................................’02 The Violet of Montmartre...............................’04 A Soldier’s Promise/Der gute Kamerad............’05 The Duchess of Chicago..................................’07 Marinka: The Mayerling Story........................’08 Miss Springtime...............................................’12 The Little King................................................’14 The Little Dutch Girl......................................’16 The Devil’s Rider.............................................’19 Jerome Kern The Cabaret Girl.............................................’08 Oh, Lady! Lady!!............................................’14 Have a Heart...................................................’16 Music in the Air...............................................’19 Eduard Künneke The Cousin from Batavia.........................’00, ’02 Charles Lecocq Clairette/La fille de Madame Angot.................’89 Le petit duc.....................................................’00 Franz Lehár The Merry Widow................’83, ’90, ’96, ’04, ’11 The Count of Luxembourg................’88, ’97, ’10 The Land of Smiles...................................’90, ’03 Giuditta...........................................................’94 Gypsy Love.....................................................’95 The Czarevitch................................................’08 Friederike........................................................’15

Cloclo.............................................................’18 The Mock Marriage.........................................’22 Mitch Leigh Man of La Mancha..........................................’05 Alan Jay Lerner & Frederick Loewe Camelot....................................................’00, ’11 Brigadoon................................................’02, ’15 My Fair Lady...........................................’03, ’14 Frank Loesser Guys and Dolls...............................................’12 André Messager Véronique........................................................’97 Karl Millöcker The Beggar Student..................................’87, ’96 Lionel Monckton The Arcadians.................................................’98 Otto Nicolai The Merry Wives of Windsor..........................’95 Ivor Novello The Dancing Years..........................................’16 Perchance to Dream........................................’19 Jacques Offenbach The Brigands.....................................’83, ’92, ’03 La Périchole......................................’84, ’93, ’18 La vie parisienne...............................’85, ’99, ’16 La belle Hélène..................................’86, ’94, ’09 Bluebeard.................................................’87, ’07 Orpheus in the Underworld..............’88, ’91, ’01 The Grand Duchess of Gerolstein............. ’89, ’13 Christopher Columbus....................................’95 Robinson Crusoe.............................................’96 Regrets Only/M. Choufleuri.....................’96, ’98 The Island of Tulipatan...................................’05 Evening Wind..................................................’11 Cole Porter Jubilee.............................................................’11 Silk Stockings..................................................’13 Can-Can..........................................................’15 Kiss Me, Kate..................................................’16 Anything Goes................................................’17 Fifty Million Frenchmen..................................’18 Heinrich Reinhardt The Daring of Diane.......................................’21 Richard Rodgers & Oscar Hammerstein II Carousel..........................................................’01 South Pacific.............................................’04, ’19 The Sound of Music........................................’07 Oklahoma!......................................................’08 The King and I................................................’13 Cinderella........................................................’22 Richard Rodgers & Lorenz Hart A Connecticut Yankee.....................................’12 Babes in Arms.................................................’18 Sigmund Romberg The Student Prince.......’82, ’85, ’92, ’99, ’07, ’17, ’22 The Desert Song................................’86, ’95, ’08

The New Moon.................................’91, ’97, ’06 Maytime..........................................................’05 Blossom Time..................................................’12 Harvey Schmidt & Tom Jones The Fantasticks........................................’21, ’22 Franz Schubert & Heinrich Berté Das Dreimäderlhaus........................................’02 Stephen Sondheim Into the Woods................................................’19 John Philip Sousa El Capitan.......................................................’10 Oscar Straus The Chocolate Soldier.......................’88, ’98, ’12 A Waltz Dream...............................................’91 Johann Strauss A Night in Venice.......................’81, ’91, ’99, ’09 The Gypsy Baron.......................’82, ’89, ’00, ’13 Die Fledermaus...................’86, ’92, ’97, ’05, ’14 Wiener Blut.......................................’87, ’93, ’98 The Merry War................................................’01 The Queen’s Lace Handkerchief......................’06 Jule Styne & Stephen Sondheim Gypsy..............................................................’10 Arthur Sullivan & F.C. Burnand Cox and Box........’79, ’80, ’81, ’84, ’89, ’96, ’99, ’11 Arthur Sullivan & B.C. Stephenson The Zoo..........................................................’99 Franz Von Suppé Boccaccio.................................................’83, ’02 My Fair Galatea..............................................’90 Heitor Villa-Lobos Magdalena.......................................................’92 Robert Ward Lady Kate........................................................’94 Robert Ward & James Stuart A Friend of Napoleon......................................’05 Kurt Weill Street Scene.....................................................’90 Kurt Weill & Ira Gershwin The Firebrand of Florence...............................’99 Kurt Weill & Ogden Nash One Touch of Venus........................................’15 Meredith Willson The Music Man........................................’06, ’17 Quade Winter & William Gilbert Thespis............................................................’96 Quade Winter & Frank Desprez The Carp.........................................................’99 Robert Wright & George Forrest The Great Waltz..............................................’94 Song of Norway..............................................’96 Kismet.............................................................’10 Carl Zeller Der Vogelhändler..............................’93, ’94, ’07

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THE OHIO LIGHT OPERA 2022 PERFORMANCE CALENDAR SUNDAY

MON

2PM

TUESDAY

WEDNESDAY

2PM

2PM

THURSDAY

7:30PM

2PM

7:30PM

FRIDAY 2PM

7:30PM

SATURDAY 2PM

7:30PM

June 18

June 19 June 20 June 21

★ Cinderella* June 22

June 23

Cinderella June 26 June 27 June 28

June 29

July 4 POPS

CONCERT

July 10

July 11

Hello, Dolly!

July 17

The FantasticksC

July 6

The Cinderella Student Prince July 12

July 18

★ Pirates of Penzance

July 19

July 14 ★ The Mock Marriage

Pirates of Penzance July 20

★

July 26

July 21 Pirates of Penzance

The The FantasticksC FantasticksC

July 25

July 7

July 13

Hello, Dolly!

The Mock Marriage July 24

July 5

June 30 ★ The Student Prince

Hello, Dolly!

July 3

July 27

Cinderella

The FantasticksC

June 24

★ Hello, Dolly!

July 28

Pirates of The Mock Cinderella Penzance Marriage

July 31

June 25 Hello, Dolly!

July 1

July 2 The Student Prince

Cinderella July 8

Hello, Dolly!*

July 9 The Student Cinderella* Prince

Hello, Dolly!

July 15

July 16

The Pirates of Cinderella* Student Penzance Prince July 22 The The Mock Student Marriage Prince* July 29 The Student Prince

Cinderella*

Hello, Dolly!*

Hello, Dolly!*

July 23 Hello, Dolly!

Cinderella*

July 30 Pirates of Cinderella* Penzance

The FantasticksC

★ Indicates an Opening Performance * Indicates a Pre-Performance Lecture at 6:30 p.m. prior to Friday & Saturday evening performances. Informative & Free!

C The Fantasticks will be performed outdoors at The Wayne Center for the Arts. In the event of inclement weather, The Fantasticks will be performed at Freedlander Theatre.

Freedlander Theatre, 329 East University Street, Wooster, OH 44691

OLO 2022 FESTIVAL SPECIAL EVENTS June 18 Opening Night Gala The audience is invited to celebrate the opening of our 43rd Summer Season by attending our Opening Reception in Freedlander lobby following the 7:30pm performance of Cinderella.

July 4 Pops Concert 7-8 p.m. Downtown Wooster

78 Box Office: 330.263.2345

July 13 Kids Day Pirates of Penzance, 1-2p.m.

Lean Lecture Room (adjacent to Freedlander Theatre). Ahoy mateys! Join us for Pirate Day and get a backstage tour of the theatre, meet cast members, make a pirate craft, and learn a song from the show!

July 20-July 23 Lagniappe $50 registration fee for Lagniappe events. Please call 330-2632345 for more information.

TICKET INFORMATION & PRICES Season Subscriptions: Subscribe for the Season! Ticket Exchanges: You have the privilege of Choose four or five performances at a discount exchanging tickets, subject to availability, within the from individual ticket prices.

2022 season.

Individual Ticket Pricing (Musicals/Operettas) Single Tickets.....................................................$56/$52 Students (ages: 16-23).............................................$20 Children (ages: 3-15)..................................................$10 Outdoor Performance General Adm..................$20 Subscription Rates (Musicals/Operettas— Price Per Ticket) 5 Different Performances.............................. $52/$48 4 Different Performances.............................$54/$50

Tickets being exchanged must be RECEIVED in the ticket office no later than 48 hours prior to the performance date on the original tickets. Exchanges may be made in person or by mail. There is a $3.00 PER TICKET charge for exchanges. No other exchanges are possible.

Unused Tickets: Ticket holders unable to use or exchange their tickets may notify the ticket office so that those tickets can be resold. These “turnbacks” make seats available to other music lovers and can provide additional income to OLO.

Ordering Tickets: The Ohio Light Opera accepts Lost Tickets: If you lose your original tickets, Visa, MasterCard, and Discover Card. You may call duplicates can be made for you.

330.263.2345, order tickets online at ohiolightopera.

Parking Information: Parking is FREE in all College org, or mail your order to the box office at: of Wooster signed lots. Spaces fill up quickly so The Ohio Light Opera please plan to arrive early. Visit the website for more The College of Wooster information on parking at Freedlander Theatre, as 716 Beall Avenue well as directions to the theatre and any known Wooster, OH 44691 road construction.

If you have requested your tickets to be mailed, you Air Conditioning: Freedlander Theatre is air will receive them at least one month prior to the conditioned. Some Ohio Light Opera patrons might performance. NO REFUNDS. NO CANCELLATIONS. like to bring a sweater or jacket to wear during the performance.

Box Office Location & Hours: (Please note the locations of our winter & summer Decorum Reminder: Freedlander Theatre is an offices) intimate space. Please keep in mind that talking during the overture and/or throughout the January 19-May 18, 2022: performance is distracting to fellow audience The Ohio Light Opera members as well as to the performing company.

The College of Wooster Also, please refrain from opening noisy candy or Westminster Church House gum wrappers during the show. Please turn off all 353 East Pine Street noise-emitting devices before entering the theater.

(Corner of College Ave and E. Pine St.) Photography and recordings of any kind are Wooster, OH 44691 prohibited.

May 19-July 31, 2022: Late Seating: All performances begin promptly at 2 Freedlander Theatre p.m. for matinees and 7:30 p.m. for evening shows.

329 East University Street In deference to the comfort and listening pleasure of Wooster, OH 44691 the audience in the house, late-arriving patrons will Monday-Friday...................................... 9:30am-4:30pm not be seated while the performance is in progress.

Saturday (beginning June 18).............12noon-4:30pm Latecomers are asked to wait quietly until the first Sunday (beginning July 10)........................ 12:30-4pm convenient break in the program, when ushers will assist you into the theatre. These arrangements are at 24-Hour Order Online: Visit our secure website, the discretion of the house manager in consultation ohiolightopera.org, to view available seats, order, with the artistic director and performing artists. and pay for your tickets.

Thank you for your cooperation.

Group Discounts: Last year, more than 2,000 people saw Ohio Light Opera performances with our group Pre-Performance Talks Friday and Saturday Evenings at 6:30 p.m.: Enhance your enjoyment of discount plan. (Musicals/Operettas) the evening’s performance by learning lesser-known 20-46 people....................................$53/$49 per ticket facts about the show’s history and tips to recognize 47-100 people...................... $52.50/$48.50 per ticket the unique special pleasures of each show. We over 100 people...............................$52/$48 per ticket feature lecturers seasoned in the experience and Put together a group of people and come to Wooster study of operetta. No reservations are necessary. for an afternoon or evening of operetta—a joy for all at Lectures begin promptly at 6:30 p.m. and are held wonderful savings! Call the Box Office at 330.263.2345 in the Lean Lecture Room, down the hall from or 330.263.2329 to order tickets for your group. Our Freedlander Theatre Lobby. Check for signs in the group sales coordinator will be glad to assist you with lobby for the location of these informative and free gatherings! your plans.

ohiolightopera.org 79

God Save The Queen In keeping with the tradition established at the Savoy Theatre in London, we will sing God Save the Queen before each Gilbert & Sullivan performance.

S

God save our gracious Queen, Long live our noble Queen, God save the Queen: Send her victorious, Happy and glorious, Long to reign over us: God save the Queen.

S Queen Victoria attending a performance of The Mikado.

Photo by Matt Dilyard, from the 2012 Ohio Light Opera production.