John Philip Sousa's
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Cast
Jack Bartlett - Patrick Philip Becker
The Duke of Branford - Sean Pflueger Silas Pompton - Blair Eig Stumpy - Thomas Mirenda Col. Vandeveer - Shawn Perry Annabelle Vandeveer - Shelby Claire Geraldine Pompton - Melissa Chavez Mrs. Vandeveer - Denise Young Mrs. Pompton - Joanna Thursby Rose Green - Laura Whittenberger Gladys - Sarah Martin Gawkins - Joshua Milton Lefty - Rand Huntzinger Hans - Kent Woods Nuttini - Ed Vilade Orderly - Erik Kreil Ensemble - Felicity Ann Brown, Joy Foust Colburn, Peggy Dennis, Robert Dennis, Julia Frank, Marianna Martindale, Stevie Miller, Francisca Moreno, Debbie Peetz, Julie Repeta, Barbara Semiatin, Mary Stokes, Brittany Stranathan, Rusty Suter, Allison Williams, Hyonchu Maria Wilson |
Production Staff
Producer - Denise Young
Stage Manager - T. Tamura Gardner Lighting Designer - City of Rockville Staff Audition Accompanist - Jenny Craley Bland Rehearsal Accompanist - Raymond Bradley Rinaldo Dialect Coach - Joanna Thursby Props - The Company Photography - Harvey Levine Program - Denise Young Surtitles - Douglas Maryott Projections - Alice Drew Projections design - Felicity Ann Brown Graphic Design - Erika White Abrams Publicity - Ed Vilade House Management - Cassandra Stevens Special thanks to: City of Rockville & Holy Redeemer Catholic Church |
Orchestra
Violin 1 - Steve Natrella (CM), Bonnie Barrows, Irve Berner, Carolyn Larson
Violin 2 - Peter Mignerey, Cathy Thompson, Martin Brown, Virak Pich
Viola - Amanda Laudwein, Jennifer Steele
Cello - Michael Stein, Tom Zebovitz
Bass - Pete Gallanis
Flute - Jackie Miller, Louise Hill
Oboe - Gwen Earle, Ava Oaxaca
Clarinet - Laura Langbein, Laura Bornhoeft
Bassoon - Steve Rennings, Steve Wechsler
Horn - Lora Katz, Kathy Bartolomeo, Joe Cross
Trumpet - Tom Gleason, Curt Anstine
Trombone - Steve Ward, Frank Eliot, Al Potter
Percussion - George Huttlin, Janet Thompson
Harp - Meghan Gwyer
Violin 2 - Peter Mignerey, Cathy Thompson, Martin Brown, Virak Pich
Viola - Amanda Laudwein, Jennifer Steele
Cello - Michael Stein, Tom Zebovitz
Bass - Pete Gallanis
Flute - Jackie Miller, Louise Hill
Oboe - Gwen Earle, Ava Oaxaca
Clarinet - Laura Langbein, Laura Bornhoeft
Bassoon - Steve Rennings, Steve Wechsler
Horn - Lora Katz, Kathy Bartolomeo, Joe Cross
Trumpet - Tom Gleason, Curt Anstine
Trombone - Steve Ward, Frank Eliot, Al Potter
Percussion - George Huttlin, Janet Thompson
Harp - Meghan Gwyer
Directors' Notes
Since being appointed VLOC’s music director in 2003 and artistic director in 2008, it has been my great pleasure to find and present a number of rarely performed works in this annual September concert format. The list includes a Sigmund Romberg operetta (The Desert Song), two operettas by Victor Herbert (Naughty Marietta and Mlle. Modiste), and two works by John Philip Sousa (Désirée and El Capitan). Now, we give you a third operetta by Sousa, The American Maid (alternate title The Glassblowers). Completed in 1909, but not produced until 1913, it is one of 15 operettas (six of them unfinished) that were composed by Sousa. We have William Martin and Jerrold Fisher to thank for finding and restoring the libretto and music that had been virtually lost for over 90 years.
Upon first hearing Sousa’s The American Maid, you may think that it is some long lost, early operetta by Sir Arthur Sullivan. The tip-off, of course, would be the numerous march themes that Sousa incorporated in his operetta. In addition to Sullivan, it’s hard not to imagine that Sousa was influenced by other great composers of the late 19th century, such as Offenbach and Verdi...and throw in a little Rossini for good measure. Of course, Sousa could also write a darn good waltz, and you’ll hear numerous examples of that in this production.
We will continue to bring these neglected gems to the attention of our loyal patrons, in addition to our usual fare of G&S operettas, which we take great pride in doing well. We hope you enjoy our presentation of The American Maid. ~Joseph Sorge, Artistic Director
Today’s performance, one of Sousa’s 9-12 theatre compositions that reached production, is known as his last completed and most elaborate operetta. After its 1913 Broadway opening and 16-performance run, Sousa revised this show to suit requirements of the theaters where it was produced while it toured four weeks through the Midwest and Southeast. And then it disappeared for more than 90 years! The Glassblowers or The American Maid, as it was then known, was restored and later published by Lyric Theatre International. Sousa called his The Glassblowers the “first melodramatic light opera ever written.”
As I directed the cast, developing our VLOC concert-staged version of his operatic work, I had a real blast! It was an adventuresome experience as I studied, worked, played and enjoyed Sousa’s truly American operetta. ~Elaine Kass, Director
Upon first hearing Sousa’s The American Maid, you may think that it is some long lost, early operetta by Sir Arthur Sullivan. The tip-off, of course, would be the numerous march themes that Sousa incorporated in his operetta. In addition to Sullivan, it’s hard not to imagine that Sousa was influenced by other great composers of the late 19th century, such as Offenbach and Verdi...and throw in a little Rossini for good measure. Of course, Sousa could also write a darn good waltz, and you’ll hear numerous examples of that in this production.
We will continue to bring these neglected gems to the attention of our loyal patrons, in addition to our usual fare of G&S operettas, which we take great pride in doing well. We hope you enjoy our presentation of The American Maid. ~Joseph Sorge, Artistic Director
Today’s performance, one of Sousa’s 9-12 theatre compositions that reached production, is known as his last completed and most elaborate operetta. After its 1913 Broadway opening and 16-performance run, Sousa revised this show to suit requirements of the theaters where it was produced while it toured four weeks through the Midwest and Southeast. And then it disappeared for more than 90 years! The Glassblowers or The American Maid, as it was then known, was restored and later published by Lyric Theatre International. Sousa called his The Glassblowers the “first melodramatic light opera ever written.”
As I directed the cast, developing our VLOC concert-staged version of his operatic work, I had a real blast! It was an adventuresome experience as I studied, worked, played and enjoyed Sousa’s truly American operetta. ~Elaine Kass, Director
SYNOPSIS
Act I
At the Vandeveers’ Fifth Avenue mansion, a reception is taking place. The honoree is the Duke of Branford, an English bachelor, the apple of everyone’s eyes – especially the social-climbing mothers and their debutante daughters at the party. Annabelle, the Vandeveers’ daughter, rebels at her social upbringing. She rejects a proposal from Jack Bartlett, a young dilettante millionaire. To prove his worthiness, Jack promises Annabelle that he will get a real job as a common laborer. He persuades Silas Pompton to hire him in his Consolidated Glass Works. Pompton and his wife meanwhile are in pursuit of the Duke for marriage to their daughter, Geraldine. Through a misunderstanding, the Duke is romantically involved with Annabelle. Bartlett and Geraldine, hurt and angry, on impulse announce their own engagement. In the midst of all of the romantic entanglements, word arrives that Vandeveer’s investments in the Cuban-American Iron Mining Company have been lost, wiping out all of Vandeveer’s money. Unknown to anyone, the financial collapse was engineered by Pompton. Annabelle, in an attempt to help her father convinces Pompton to hire her at his glassworks. Both she and Jack are to report the following morning.
Act II
Two weeks later at the Consolidated Glass Works, Annabelle and Jack are at work. Jack has made great strides in winning-over his beloved by starting at the very bottom and working his way up. She is, however, still engaged to the Duke and Jack to Geraldine. Bartlett’s idea is to improve working conditions at the factory. This has made him very popular with the other laborers. Pompton fires Jack and Annabelle as troublemakers and the workers revolt. They are about to riot and bring harm on Pompton when Vandeveer enters with news that war has been declared against Spain and volunteers are needed. Everyone immediately and enthusiastically joins the movement to fight in Cuba.
Act III
Several weeks later near Santiago, Cuba, the factory workers are now soldiers, the women are in the Nurses Corps. Bartlett is the officer in charge and Annabelle leads the force of Red Cross nurses. Bartlett leads a victorious charge on Santiago and the troops return as heroes. Jack also uncovers Pompton’s financial skullduggery and outsmarts him on Wall Street. The Vandeveers’ wealth is restored and all the romances get untangled and are resolved to everyone’s satisfaction
At the Vandeveers’ Fifth Avenue mansion, a reception is taking place. The honoree is the Duke of Branford, an English bachelor, the apple of everyone’s eyes – especially the social-climbing mothers and their debutante daughters at the party. Annabelle, the Vandeveers’ daughter, rebels at her social upbringing. She rejects a proposal from Jack Bartlett, a young dilettante millionaire. To prove his worthiness, Jack promises Annabelle that he will get a real job as a common laborer. He persuades Silas Pompton to hire him in his Consolidated Glass Works. Pompton and his wife meanwhile are in pursuit of the Duke for marriage to their daughter, Geraldine. Through a misunderstanding, the Duke is romantically involved with Annabelle. Bartlett and Geraldine, hurt and angry, on impulse announce their own engagement. In the midst of all of the romantic entanglements, word arrives that Vandeveer’s investments in the Cuban-American Iron Mining Company have been lost, wiping out all of Vandeveer’s money. Unknown to anyone, the financial collapse was engineered by Pompton. Annabelle, in an attempt to help her father convinces Pompton to hire her at his glassworks. Both she and Jack are to report the following morning.
Act II
Two weeks later at the Consolidated Glass Works, Annabelle and Jack are at work. Jack has made great strides in winning-over his beloved by starting at the very bottom and working his way up. She is, however, still engaged to the Duke and Jack to Geraldine. Bartlett’s idea is to improve working conditions at the factory. This has made him very popular with the other laborers. Pompton fires Jack and Annabelle as troublemakers and the workers revolt. They are about to riot and bring harm on Pompton when Vandeveer enters with news that war has been declared against Spain and volunteers are needed. Everyone immediately and enthusiastically joins the movement to fight in Cuba.
Act III
Several weeks later near Santiago, Cuba, the factory workers are now soldiers, the women are in the Nurses Corps. Bartlett is the officer in charge and Annabelle leads the force of Red Cross nurses. Bartlett leads a victorious charge on Santiago and the troops return as heroes. Jack also uncovers Pompton’s financial skullduggery and outsmarts him on Wall Street. The Vandeveers’ wealth is restored and all the romances get untangled and are resolved to everyone’s satisfaction
Musical Selections
Act I
- Little Miss Muffet - Not for your darling daughter - In days of old - With foes 'round them pressing
- By the stars - My son, my blessings - A duchess so grand - We have waited six months |
Act II
- Annabelle is our sister - From Maine to Oregon Act III
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