Johann Strauss, Jr.'s
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Cast
Gabriel von Eisenstein - G. Stephen Stokes
Rosalinda, Eisenstein’s wife - Melissa Chavez (2/23, 2/24, 2/26, 3/3), Patricia Portillo (2/26, 3/2, 3/4) Adele, Rosalinda's maid - Alexandra Boulé-Buckley (2/26, 3/2, 3/4), Courtney Kalbacker (2/23, 2/24, 2/26, 3/3) Sally, Adele's sister - Alexandra August Alfred, an opera singer - David Merrill Dr. Falke, a notary - Rameen Chaharbaghi Dr. Blind, a lawyer - Timothy Ziese Frank, a prison governor - Bennet Umhau Prince Orlovsky - Carla Rountree (2/23, 2/24, 2/26, 3/3, 3/4), Emma Jensen (2/26, 3/2) Ivan, the prince's valet - Carlton Maryott Ensemble: Felicity Ann Brown, Blair Eig, Mary Ellen Hood, Rand Huntzinger, Ralph Johnson, Casey Keeler, Stu Knazik, Erik Kreil, Kellie McHugh, Debbie Peetz, Barbara Semiatin, Brittany Stranathan, Rusty Suter, Genevieve Tokarski, Maria Wilson Orchestra
Violin 1 - Steve Natrella (CM), Bonnie Barrows, David Friedlander, Peter Mignerey
Violin 2 -Martin Brown, Carolyn Larson, Edwin Schneider, Grace Brigham Viola - Amanda Laudwein Cello - Michael Stein, Tom Zebovitz Bass - Pete Gallanis, Alice Mignerey Flute - Jackie Miller, Louise Hill Oboe - Gwen Earle, Ava Oaxaca Clarinet - Laura Langbein, Laura Bornhoeft, James Bensinger Bassoon - Steve Rennings, Steve Wechsler Horn - Joe Cross, Lora Katz Trumpet - Curt Anstine, Tom Gleason Trombone - Steve Ward, Frank Eliot, Al Potter Percussion - George Huttlin, Glenn Scimonelli Harp - Meredith Mancini |
Production Staff
Producer - Denise Young
Stage Manager - T. Tamura Gardner Set Designer - Anna Britton Set Dressing - Anna Britton, Lois Britton Costume Designer - Denise Young Lighting Designer - Joe Palamara Makeup/Hair Design - Renee Silverstone Makeup Assistants -Jennifer Rutherford, Alice Drew Master Carpenter - William Kolodrubetz Senior Carpenters - Peter Finkel, David Kaysen Set Construction - Peter Krueger, Les Elkins, Rebecca Meyerson,Tony Dwyer, Devin Work Scenic Artist - Rebecca Meushaw Set Painting - Lois Britton, Bob Dennis, Peggy Dennis, Rand Huntzinger, Doug Maryott Upholstery - Lois Britton Audition Pianist - Jenny Craley Bland Rehearsal Pianists - Jenny Craley Bland, Addie Edelson, Judy Gardner Props - Carlton & Jane Maryott Photography - Harvey Levine Program - Denise Young, Laura Hubbard Surtitles - Douglas Maryott Cover & Poster Art - Erika White Abrams Publicity - Ed Vilade House Management - Cassandra Stevens Set Storage - Rockville Civic Center |
Director's Note
Die Fledermaus (“The Bat”) has the distinction of being one of the silliest pieces of fluff in operatic history. Still, it contains some of the most engaging music ever to flow from the pen of that master of engaging music, Johann Strauss, Jr. “The Waltz King.” Each of the three acts offers waltzes (of course) and polkas (naturally) along with ensembles rivaling those in the grandest of grand opera.
The subject matter is Animal House set to music: flirting with the wrong people, drinking too much, telling lies, pretending to be someone you are not, avoiding what you should be doing in favor of what you want to be doing – what’s not to like, right? Yet along the way, the opera manages to satirize upper class idleness, bourgeois pretensions, and the knack of all classes for self-deception. It’s hard to believe Mr. Gilbert didn’t have a hand in the writing of it . . .
In researching for this production, I discovered that Johann Strauss, Jr. was a wildman: he rebelled against his composer father in order to be a musician himself (Dad wanted Jr. to be a banker – is that why Gabriel von Eisenstein is a banker?) was a revolutionary (arrested for performing La Marseilles,) and travelled the world (touring Russia in the 1850s and the United States in the 1870s.) He married three times. He was much admired by other composers, and counted among his personal friends the great Johannes Brahms. In Strauss’s honor, we offer what we hope is a wilder than usual Fledermaus.
In rehearsing this production, we have had far too much fun with the silliness, and taken great joy in the beauty of the music. This present company is blessed with gifted actors, screwball comedians, sparkling dancers, and so, so many wonderful singers. We are also blessed by the talents of brilliant and devoted theater techs, and by an orchestra that just keeps sounding better and better each time I hear them. It is to this company I dedicate my participation in this production; I offer special thanks to Joe, to Denise, to Tammi, to William, Anna, and Becky, to Carl and Jane, to Jenny, Addy, and Judy, to Felicity and Christine, to the good people of Holy Redeemer and All Saints’, and most of all to the cast, crew, and orchestra of Die Fledermaus: what a marvelous group of people you are! In memory of Ed, Al, and Gordon, all of whom are probably singing along. (Gordon, we’re using your benches - again!) And in memory of Randy Mauldin, who showed me what is possible.
And to you, our audience - Thank you for coming out for this performance, for sharing the champagne and sparkle of New Year’s Eve with us during the late winter dark: A toast! A toast! A toast!
The subject matter is Animal House set to music: flirting with the wrong people, drinking too much, telling lies, pretending to be someone you are not, avoiding what you should be doing in favor of what you want to be doing – what’s not to like, right? Yet along the way, the opera manages to satirize upper class idleness, bourgeois pretensions, and the knack of all classes for self-deception. It’s hard to believe Mr. Gilbert didn’t have a hand in the writing of it . . .
In researching for this production, I discovered that Johann Strauss, Jr. was a wildman: he rebelled against his composer father in order to be a musician himself (Dad wanted Jr. to be a banker – is that why Gabriel von Eisenstein is a banker?) was a revolutionary (arrested for performing La Marseilles,) and travelled the world (touring Russia in the 1850s and the United States in the 1870s.) He married three times. He was much admired by other composers, and counted among his personal friends the great Johannes Brahms. In Strauss’s honor, we offer what we hope is a wilder than usual Fledermaus.
In rehearsing this production, we have had far too much fun with the silliness, and taken great joy in the beauty of the music. This present company is blessed with gifted actors, screwball comedians, sparkling dancers, and so, so many wonderful singers. We are also blessed by the talents of brilliant and devoted theater techs, and by an orchestra that just keeps sounding better and better each time I hear them. It is to this company I dedicate my participation in this production; I offer special thanks to Joe, to Denise, to Tammi, to William, Anna, and Becky, to Carl and Jane, to Jenny, Addy, and Judy, to Felicity and Christine, to the good people of Holy Redeemer and All Saints’, and most of all to the cast, crew, and orchestra of Die Fledermaus: what a marvelous group of people you are! In memory of Ed, Al, and Gordon, all of whom are probably singing along. (Gordon, we’re using your benches - again!) And in memory of Randy Mauldin, who showed me what is possible.
And to you, our audience - Thank you for coming out for this performance, for sharing the champagne and sparkle of New Year’s Eve with us during the late winter dark: A toast! A toast! A toast!
