Gilbert & Sullivan's
|
|
Cast
King Hildebrand - Michael Galizia
Hilarion, his son - Peter Krueger Cyril - Clyde Wright Florian - Ryan Power King Gama - Peter Kline Arac - Blair Eig Guron - Don Mitchell Scynthius - Tom Goode Princess Ida - Sarah Minckler Lady Blanche - Karen Fleming Lady Psyche - Daniele Lorio Melissa - Patricia Portillo Sacharissa - Deborah Jacobson Chloe - Cara Salvatore Ada - Gaye Freese Ensemble - Jaime Atteniese, Ed Byrdy, Rick Dupuy, Fran Fleming, Wanda Flinn, Annie Gribben, Lucy Hellerman, Rand Huntzinger, Sarah Huntzinger, Ralph Johnson, Frank Kesterman, Marianna Martindale, Carlton Maryott, Jane Maryott, Sherry Mitchell, Amy Rauch Supernumeraries - Grace Emily Brigham, Kenny Maryott Orchestra
Violin 1 - Steve Natrella (CM), Bonnie Barrows, Carolyn Larson, Irv Berner
Violin 2 -Martin Brown, Edwin Schneider, Andrew Nixon Viola - Amanda Laudwein, Victor Ontiveros Cello - Andrew Schneider, Laurie Brown, Rachel Jayson Bass - Pete Gallanis Flute - Jackie Miller, Louise Hill Oboe - Lori Guess Clarinet - Laura Langbein, Laura Bornhoeft, Jim Bensinger Bassoon - Richard Sargeant Horn - Kristin Zempolich, James Kocsis, Deborah Kline Trumpet - Curt Anstine, Bernie Rappaport Trombone - Steve Ward, Alan Potter, Frank Eliot Percussion - George Huttlin, Glenn Scimonelli |
Production Staff
Producer - Denise Young
Stage Manager - Guillaume Tourniaire Assistant Director - Madeleine Smith Assistant Stage Manager - Tony Dwyer Lighting Designer - Andrew Griffin Set Designer - Andrew Berry Scenic Artist - Becky Meushaw Costume Designer - Andrea Schewe Asst. Costume Designer - Gaye Freese Costume Construction - Andrea Schewe. Gaye Freese, Debbie Jacobson, Maureen Roult, Donna Jaffe, Lisa Freese, Sherry Mitchell, Sandra & Sarah Huntzinger. Jaime Atteniese, Clyde Wright, Rick Dupuy, Karen Fleming, Todd Fleming, Debbie Peetz Master Carpenters - William Kolodrubetz, Ed Byrdy Set Construction & Painting - Tony Dwyer, Dave Kaysen, Peter Finkel, Debbie Peetz Rehearsal Pianists - Jennifer Craley Bland, Judy Gardner, Caroline Lichtenstein Program - Denise Young Graphic Design - John Boulanger Publicity - Sandy Rovner Properties - Jane & Carlton Maryott, Alicia Oliver, Blair Eig, Don Mitchell, Tom Goode Educational Outreach Programs - Debbie Niezgoda, Kiersten Whitehead Technical Director (Rockville Civic Center) - Kim Haug Theater Management - Joseph Palamara House Management - Merle Haber Set Storage - Rockville Civic Center Special Thanks to: Bethesda Presbyterian Church, City of Rockville, Grace Episcopal Church, Holy Redeemer Catholic Church, Rockville Little Theater, Simplicity Pattern Co. |
Director's Note
When Princess Ida first graced the stage in 1884, higher education for women was a novel idea in England. Most Victorians believed women did not need a college education, and some even believed university studies could make women ill. The idea was ripe for satire, as was the work of rising star Charles Darwin. Today, we can appreciate Princess Ida not so much as a satire on feminism and Darwinism, but as a commentary of the folly of extremism in any form.
At the heart of this battle of extremes is a love story. Critics sometimes grumble that Princess Ida wraps up too suddenly and tidily at the end, with everyone paired up happily ever after. Yet in any clash of extremes lies a yearning for balance, which we see played out in three romances. In their partners, the young lovers find their perfect match and the complement to his or her own strengths and foibles. Florian, an accomplished flatterer and flirt, falls for the sincere and guileless Melissa. Cyril’s hare-brained enthusiasm is balanced by Psyche’s stern intellectualism. One can imagine that Cyril keeps Psyche out of the convent, while Psyche keeps Cyril out of jail. And idealistic Ida finds her grounding in the good-natured Hilarion. Hilarion saves Ida from maturing into another Blanche—humorless, rigid, cloistered from the world she sought to save. Ida inspires light-hearted Hilarion to set aside the childishness of youth to become the man who can be her counterpart and equal.
At the heart of this battle of extremes is a love story. Critics sometimes grumble that Princess Ida wraps up too suddenly and tidily at the end, with everyone paired up happily ever after. Yet in any clash of extremes lies a yearning for balance, which we see played out in three romances. In their partners, the young lovers find their perfect match and the complement to his or her own strengths and foibles. Florian, an accomplished flatterer and flirt, falls for the sincere and guileless Melissa. Cyril’s hare-brained enthusiasm is balanced by Psyche’s stern intellectualism. One can imagine that Cyril keeps Psyche out of the convent, while Psyche keeps Cyril out of jail. And idealistic Ida finds her grounding in the good-natured Hilarion. Hilarion saves Ida from maturing into another Blanche—humorless, rigid, cloistered from the world she sought to save. Ida inspires light-hearted Hilarion to set aside the childishness of youth to become the man who can be her counterpart and equal.
