Gilbert & Sullivan's
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Cast
The Lord Chancellor - Gordon Brigham
Lord Mountararat - Jim Felten Lord Tolloller - Elwood Zimmerman Private Willis, of the Grenadier Guards - Barry Grinnell Strephon, an Arcadian shepherd - Daryl Landis Queen of the Fairies - Rosalie Santilhano (Jan. 12, 13 [eve.], 20 [mat.]), Linda Lynch (Jan. 13 [mat.], 19, 20 [eve.]) Iolanthe, a Fairy, Strephon's mother - Lucy Greene Phyllis, a shepherdess and Ward in Chancery - Linda Kirk Celia, a Fairy - Ann Beer (Jan. 12, 13), Sheryl Ruppert (Jan. 19, 20) Leila, a Fairy - Shirley Friedman (Jan. 12, 13), Syril Kline (Jan. 19, 20) Fleta, a Fairy - Kathy Scott Lord DeBelville - Charles Sens Train Bearer - Victor Hugo Porras Ladies of the Chorus, Fairies - Ann Beer, Stephanie Brigham, Fran Fleming, Shirley Friedman, Donna Jaffe, Kate Lawniczak, Syril L. Kline, Edith Livingstone, Sheryl Ruppert, Rusty Suter Gentlemen of the Chorus, Peers - John Austen, Barry Grinnell, Warren Houghteling, Jim Hummel, Robert Jacobson, Lyle Jaffe, Erik Kreil, Kent Woods Orchestra
Violin - Bonnie Barrows*, Carolyn Larson, Don Johnson, Maurine Beasley, Winnie Palmer
Viola - Amanda Laudwein, Andy Bursten Cello - Liz Luck, Sol Feldman Bass - Dave Ross, Cyndy Elliott Oboe - Carl Gardner Flute - Pauline Summers, Louise Hill Clarinet - Gene Sober, Susan Braun Bassoon - Nancy Switkes French Horn - Don Hunter, Lorin Krusberg Trombone - Earl Zastrow Trumpet - Tom Gleason, Bernie Rappaport Percussion - Tom Christy, Bonny Hilditch *Concertmistress |
Production Staff
Producer - Tim Briceland-Betts
Stage Manager - Pam Hodges Set Construction - Tim Briceland-Betts, Deb Briceland-Betts, Gordon Brigham, Stephanie Brigham, Warren Houghteling, Erik Kreil, Donna Jaffe, Lyle Jaffe, Jonathan Lawniczak, Gina Nowacki, Ed Wiot, Lou Wiot Technical Director (Rockville Civic Center) - Kim Haug Lighting Design - Jonathan Lawniczak Lighting Board - Joy Adler Costume Design - Laura Hubbard, Edith Livingstone, Mary Sue Merritt, Marion Scodari Costume Construction - Ann Beer, Edith Livingstone, Mary Sue Merritt, Marion Scodari, Kathy Scott Make-up Design - Lora Sullivan Properties - Jim Parker Assistant to the Director - Lou Wiot Assistant to the Producer and Set Designer - Ed Wiot Rehearsal Pianist - Judy Gardner Tickets - Caroline Hummel House Manager - Mary Sue Merritt Publicity/Public Relations - Deb Briceland-Betts Program - Pam Hodges Photography - Deb Briceland-Betts Special Acknowledgments
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A Note on This Edition
Those familiar with Iolanthe, will notice that the edition used tonight is in certain important respects different from the standard edition usually performed.
On the first night, two numbers were included that have, since, been cut. One of them, a song for Strephon, was Dickensian in its social criticism, which unfortunately rings as bitingly true today as when it was written. The other, a recitation for Mountararat, though sometimes thought to have been a song, was never intended to be on. These are performed tonight.
ln addition, one, of the two surviving numbers from Thespis, the original collaboration of Gilbert and Sullivan, proves quite relevant to the second act of Iolanthe. You will hear it as a solo for Tolloller, thus evening up the imbalance that would have been created had Mountararat been given a moment in the limelight not balanced by an equivalent on from his fellow MP.
In case you think that Gilbert always knew what he was doing when he shortened his libretti, reflect that he tried to cut "My Object All Sublime' from The Mikado on opening night and was only dissuaded from doing so by Richard Temple, the soloist, who didn't want his chief chance to shine omitted from the production.
The Victorian Lyric Opera Company would like to take this opportunity to thank Matthew Cunitz for orchestrating the additional music used in this performance and Peter Kline for the additional lyrics and continuity.
On the first night, two numbers were included that have, since, been cut. One of them, a song for Strephon, was Dickensian in its social criticism, which unfortunately rings as bitingly true today as when it was written. The other, a recitation for Mountararat, though sometimes thought to have been a song, was never intended to be on. These are performed tonight.
ln addition, one, of the two surviving numbers from Thespis, the original collaboration of Gilbert and Sullivan, proves quite relevant to the second act of Iolanthe. You will hear it as a solo for Tolloller, thus evening up the imbalance that would have been created had Mountararat been given a moment in the limelight not balanced by an equivalent on from his fellow MP.
In case you think that Gilbert always knew what he was doing when he shortened his libretti, reflect that he tried to cut "My Object All Sublime' from The Mikado on opening night and was only dissuaded from doing so by Richard Temple, the soloist, who didn't want his chief chance to shine omitted from the production.
The Victorian Lyric Opera Company would like to take this opportunity to thank Matthew Cunitz for orchestrating the additional music used in this performance and Peter Kline for the additional lyrics and continuity.
