Like pretty much everybody else Toronto Operetta Theatre has chosen to go virtual for their latest offering. It’s a production of Gilbert and Sullivan’s The Gondoliers filmed at the Edward Jackman Centre. It’s very much a “bare bones” production. The cast is reduced to nine roles and the chorus is gone. Accompaniment is piano and accordion. The Jackman Centre is a rehearsal space and looks like one. The film appears to havebeen filmed with a single camera, in one take with minimal post processing though, despite which the audio and video quality is excellent.
Toronto Operetta Theatre’s production of Gilbert and Sullivan’s HMS Pinafore opened last night. Director Guillermo Silva-Marin has chosen to translate the piece to a cruise ship in the 1920s which has its incongruities but they aren’t particularly disturbing (except perhaps for Sir Joseph Porter’s shoes!). In fact what we get is basically a crisp, well paced and idiomatic Pinafore which is what I want in G&S. It’s also genuinely funny, though some jokes age better than others, and occasionally even quite moving.
Toronto Operetta Theatre opened a run of Strauss’ Die Fledermaus at the St. Lawrence Centre last night. It’s a will crafted production; basically traditional as to costumes and sets and with a generous amount of more topical jokes added to the dialogue (both dialogue and musical numbers are performed in English). The one thing about it that is a bit different and much to be praised is that the jailer Frosch, played by director Bill Silva-Marin, is actually funny and sings pretty well for a guy who doesn’t sing a lot anymore. The schtick is that he is obsessed with singing and insists on singing lessons from Alfred (or here Alfredo) when he appears in the jail in place of Eisenstein. The singing lessons are kind of a parody with plenty of jokes about vocal production and a fair bit of physical humour. All this is actually set up from the beginning by making Alfred a rather larger role than usual with a fair amount of interpolated snatches of Verdi and Puccini. It may not sound that radical but it does liven up the third act which all too often can be pretty dull and anti-climactic.
I’ve been familiar with Voltaire’s satirical novella since I was a teenager and have reread it many times but I’d not seen the Bernstein operetta/musical version until last night when it opened at Toronto Operetta Theatre with, I think, the original Lillian Hellman 1956 book though a later reduced orchestration (I’m guessing on that). I was very curious because it’s not obvious how one might turn Voltaire’s sequence of drily narrated, utterly absurd scenes into drama. The answer turns out to be to insert the author as a spoken word narrator linking scenes and play it straight though the two mile high cliffs and sheep get lost in the wash. Fair enough. It works pretty well. The whole thing is reasonably true to the spirit of the original though in places, especially in the musical number, it’s definitely tailored to a 1950s Broadway sensibility.
Elizabeth Beeler with company and Tonatiuh Abrego as Candide
Toronto Operetta Theatre and Toronto Masque Theatre have announced their respective 2014/15 season line ups. TOT will present three shows. The first is a zarzuela; Federico Chueca’s La gran via. Jose Hernandez conducts and the cast includes Margie Bernal, Fabian Arciniegas, Pablo Benitez and Diego Catala. There’s one performance on November 2nd. The Christmas show will be Gilbert and Sullivan’s The Mikado. Singers include Lucia Cesaroni, Mia Lennox, David Ludwig and Giles Tomkins with Derek Bate conducting. There are six performances scheduled between December 27th and January 4th. Finally, and perhaps most exciting, is a revival of Victor Davies’ 2008 piece Ernest, the Importance of Being. It’s based on the Wilde play and will star Jean Stilwell as Lady Bracknell. Larry Beckwith conducts. There will be four performances on April 29th and May 1st to 3rd. All three shows will be directed by Guillermo Silva-Marin and will be staged at the St. Lawrence Centre for the Arts. (www.stlc.com)
Lehár’s Das Land des Lächelns must have seemed old fashioned even when it opened in 1929 in a Berlin that had already seen Wozzeck and Die Dreigroschenoper. With its waltzes and gentle chinoiserie it looks back rather than forward musically and makes few demands on its listeners. Similarly, the plot; a bittersweet romance between an Austrian aristocrat and a Chinese prince had nothing in it to disturb contemporaries though modern audiences might find the cultural appropriation a bit hard to take. However, if Turandot doesn’t bother you this likely won’t either.