Gibert & Sullivan's
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Cast
Mabel - Sarah Minckler
Frederic - Matthew Heil Major General - Gary Sullivan Pirate King - Ryan Power Sergeant of Police - Blair Eig Ruth - Karen Fleming Samuel - David Dubov Edith - Patricia Portillo Kate - Ashley Bibby Isabel - Madeleine Smith Boy - Noah Friedlander (6/8, 6/10, 6/16), Alex Desjardins (6/9, 6/15, 6/17) Girl - Rebecca Sullivan (6/8, 6/10, 6/16), Grace Brigham (6/9, 6/15, 6/17) Ensemble - Meredith Beringer, Felicity Ann Brown, Ed Byrdy, Tony Dwyer, Wanda Flinn, Annie Gribbin, Lucy Hellerman, Tara Hockensmith, Rand Huntzinger, Adam Jackson, Donna Jaffe, Lyle Jaffe, Ralph Johnson, Marianna Martindale, Carlton Maryott, Jane Maryott, Kenny Maryott, Alexandra Morton, Heather Sperry Orchestra
Violin 1 - Steve Natrella (CM), Bonnie Barrows, Carolyn Larson David Friedlander
Violin 2 -Martin Brown, Peter Mignerey, Irv Berner, Edwin Schneider, Erin Grace Viola - Amanda Laudwein, Victor Ontiveros Cello - Andrew Schneider, Laurie Brown, Michael Stein Bass - Pete Gallanis, Alice Mignerey Flute - Jackie Miller, Louise Hill Oboe - Lori Guess Clarinet - Laura Langbein, Laura Bornhoeft, James Bensinger Bassoon - Richard Sargeant, Susan Reynolds Horn - James Kocsis, Deb Kline, Kathleen Bartolomeo Trumpet - Curt Anstine, Bernie Rappaport Trombone - Steve Ward, Alan Potter, Frank Eliot Percussion - George Huttlin |
Production Staff
Producers - Felicity Ann Brown, Denise Young
Assistant Music Director - Jenny Craley Bland Choreography - Guillaume Tourniaire, Felicity Ann Brown, Jane Maryott, Carl Maryott, Lucy Hellerman, Annie Gribbin, Alexandra Morton Assistant to the Director - Julie Stevens Stage Manager - Kiersten Whitehead Assistant Stage Manager - Tony Dwyer Lighting Designer - Robert Wilson Timmerman Scenic Design Artist - Varvara Tourniaire Set Design Consultant - James Douglass Costume Designer - Jennifer Gavin Costume Construction -Hannah Whitney, Deborah Peetz, Sarah Huntzinger Master Carpenter - William Kolodrubetz Set Construction - Ed Byrdy, Tony Dwyer, Dave Kaysem, Rick Albani, Les Elkins, Peter Oliver-Krueger Set Painting - Felicity Ann Brown, Tara Hockensmith, Sandra Huntzinger, Rand Huntzinger, Sarah Huntzinger, Lyle Jaffe, Donna Jaffe, Marianna Martindale, Carl Maryott Doug Maryott, Kenny Maryott, Jane Maryott, Alexandra Morton, Patricia Portillo, Marina Ruiz, Madeleine Smith, Heather Sperry, Gary Sullivan, Rebecca Sullivan, Robert Timmerman, Guillaume Tourniaire Program - Ali Oliver-Krueger Publicity - Sandy Rovner Properties - Carlton Maryott, Jane Maryott Educational Outreach programs - Debbie Niezgoda, Kiersten Whitehead Technical Director (Rockville Civic Center) - Kim Haug Theater Supervisor - Joseph Palamara House Management - Merle Haber Set Storage - Rockville Civic Center Special Thanks to: City of Rockville, Grace Episcopal Church, Holy Redeemer Catholic Church, Pete Silvia Luis Yliquin and the Bethesda North Marriott Hotel, & The Willard Intercontinental Hotel |
Director's Note
“A rollicking band of pirates we”
My interest in pirates is long-standing. In Brittany, across the Channel from Penzance, stands my mother’s hometown of St. Malo. As I child, I ranged along its fortified rampart walls, which in the 18th century protected massive wealth accumulated partially by trade, but mostly by privateering. The gentlemen of St. Malo would close their respectable shops at week’s end, and go to sea with Letters of Marque: permission to raid foreign ships. They amassed fortunes, cementing their position and building palatial homes. One of them, Robert Surcouf, even earned the title “Le Roi des Corsaires” (The Pirate King) for the millions of francs he captured in gold, goods, and ships.
“As a child, I was regularly apprenticed to your band”
One of the highlights of working with VLOC is the family aspect of our shows, sometimes encompassing three generations of performers. In considering the silliness and exuberance of Pirates, and the many threads tying it to Peter Pan, Treasure Island, and other tales, I decided to tell it as a children’s story – seen from their perspective. Boy and Girl represent the children in the audience, and in us. Not allowed to stay up for the party, they go to sleep, imagining what the adults must be doing. This is their dream, where they are a part of the story, skipping and marching alongside sisters, pirates, and policemen.
“Yes, yes, let’s talk about the weather”
Although I understand the conceit of Frederic being born in leap year, how can one explain the lovely spring-like weather at the English seaside in late winter? Consulting the almanac (for both 1873 and 1877) does not reveal a particularly warm February 28th, near noon. The Scottish touch added to the Major General and his family is purely hypothetical, but all things being relative, who else might consider Penzance’s climate in late February to be so agreeable?
“They are all noblemen who have gone wrong”
At the end, are the pirates confessing who they really are, or is this simply a ruse to escape the law? Most productions portray them as pirates pretending to be gentlemen, but I began tinkering with the idea of gentlemen playing at pirates. This brings us to the setting of our production, set in the late Victorian, early Edwardian year of 1897. A century and a half after the Golden Age of Piracy. The members of the Penzance Boat Club gather once again to escape their lives of respectability and domesticity, and indulge in a bit of unbounded felicity.
“Let’s vary piracy …”
Some lines peppered throughout this production have been restored from early versions of the libretto, from the premieres in New York, Paignton, and London.
“… with a little burglaree”
Regarding the Overture, my apologies to Tchaikovsky. But if Gilbert might have stolen from Offenbach’s Les Brigands, I can borrow from The Nutcracker.
My interest in pirates is long-standing. In Brittany, across the Channel from Penzance, stands my mother’s hometown of St. Malo. As I child, I ranged along its fortified rampart walls, which in the 18th century protected massive wealth accumulated partially by trade, but mostly by privateering. The gentlemen of St. Malo would close their respectable shops at week’s end, and go to sea with Letters of Marque: permission to raid foreign ships. They amassed fortunes, cementing their position and building palatial homes. One of them, Robert Surcouf, even earned the title “Le Roi des Corsaires” (The Pirate King) for the millions of francs he captured in gold, goods, and ships.
“As a child, I was regularly apprenticed to your band”
One of the highlights of working with VLOC is the family aspect of our shows, sometimes encompassing three generations of performers. In considering the silliness and exuberance of Pirates, and the many threads tying it to Peter Pan, Treasure Island, and other tales, I decided to tell it as a children’s story – seen from their perspective. Boy and Girl represent the children in the audience, and in us. Not allowed to stay up for the party, they go to sleep, imagining what the adults must be doing. This is their dream, where they are a part of the story, skipping and marching alongside sisters, pirates, and policemen.
“Yes, yes, let’s talk about the weather”
Although I understand the conceit of Frederic being born in leap year, how can one explain the lovely spring-like weather at the English seaside in late winter? Consulting the almanac (for both 1873 and 1877) does not reveal a particularly warm February 28th, near noon. The Scottish touch added to the Major General and his family is purely hypothetical, but all things being relative, who else might consider Penzance’s climate in late February to be so agreeable?
“They are all noblemen who have gone wrong”
At the end, are the pirates confessing who they really are, or is this simply a ruse to escape the law? Most productions portray them as pirates pretending to be gentlemen, but I began tinkering with the idea of gentlemen playing at pirates. This brings us to the setting of our production, set in the late Victorian, early Edwardian year of 1897. A century and a half after the Golden Age of Piracy. The members of the Penzance Boat Club gather once again to escape their lives of respectability and domesticity, and indulge in a bit of unbounded felicity.
“Let’s vary piracy …”
Some lines peppered throughout this production have been restored from early versions of the libretto, from the premieres in New York, Paignton, and London.
“… with a little burglaree”
Regarding the Overture, my apologies to Tchaikovsky. But if Gilbert might have stolen from Offenbach’s Les Brigands, I can borrow from The Nutcracker.
