The Csárdás Princess

Toronto Operetta Theatre’s latest offering is a webstream of Emmerich Kálmán’s 1915 operetta The Csárdás Princess (Die Csárdásfürstin) presented here in English with the usual minor tweaks to the dialogue including obligatory Rob Ford jokes, which have become something of a TOT tradition.  The plot turns on the fact that an Austro-Hungarian aristo, let alone a second cousin of the Emperor, can’t marry someone with fewer than 64 quarterings on their coat of arms, let alone a cabaret singer.  Implausible impersonations etc abound and love triumphs in the end.  It’s all entirely harmless for heaven forfend that anything satirical might have made it past the Vienna censorship, especially in wartime.  And there’s no sex because this isn’t France.  The humour mostly turns on Hungarian antipathy for their Austrian masters.  It’s light hearted and very tuneful fun.

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TOT’s streamed The Csardas Princess

lmargisonToronto Operetta Theatre are offering a streamed performance of Emmerich Kálmán’s The Csardas Princess.  It’s another film made in the Edward Jackman Studio and with TOT’s usual team in charge.  The cast includes Lauren Margison in the title role with Michael Barrett as Prince Edwin.  The cast also includes TOT regulars Caitlin Wood as Countess Stasi, Ryan Downey as Boni and Gregory Finney as Feri, Rosalind McArthur and Sean Curran appear as Edwin’s  parents Anhilte and Leopold Maria.

The stream will be available from July 9th to 23rd and an access code is $20 plus fees and can be purchased here.

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Get your TOT fix

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.

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Pinafore at TOT

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.

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Figaro’s Wedding at the Enoch Turner Schoolhouse

Last night saw the first performance of a run of eleven in Against the Grain Theatre’s revival of their 2013 hit Figaro’s Wedding.  It’s essentially the same show.  Director/librettist Joel Ivany has made a number of tweaks and updates but the main differences lie in what the singers bring to their characters.

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Beautiful Helen

Offenbach’s La belle Hélène, given in English translation, opened at Toronto Operetta Theatre last night.  The production by Guillermo Silva-Marin is an uncomplicated and fast paced romp.  There a few cuts.  The scene with Orestes and his girls for instance is gone and the dialogue, as is the norm, is gently updated with a Facebook reference and an allusion to a certain orange real estate magnate.

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Christmas improv

Wednesday evening saw the last Whose Opera is it Anyway? of the year in the new digs at Bad Dog Comedy Club.  Last month’s line up of singers; Rachel Krehm, Michael York, Gillian Grossman and Amanda Kogan, were joined by Adanya Dunn and an elf.  Natasha Fransblow was at the keyboard again.  Greg Finney; the thinking man’s Don Cherry, MC’d.  The format was as ever; a line up of improv games with audience input.  Highlights included the Three Minute Messiah, Adanya giving her mum a dildo and the deep, dark depths of Keith Lam’s Instagram account.  And beer.  And Greg’s suit.

The news is that LooseTEA now has a regular slot for WOIIA.  In the new year you will be able to catch them at Bad Dog on the third Sunday of the month at 9.30pm.  It’s a better venue than the old place and it’s a fun way to spend an hour and a half or so.

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The Widow

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Lynn Isnar – wearing one of the dresses she wore yesterday

Calixa Lavallée’s main, perhaps only, claim to fame is that he wrote the music for O Canada!  He also wrote an operetta, The Widow.  Yesterday I saw it at Toronto Operetta Theatre in a production by Guillermo Silva-Marin.  It’s pretty silly.  The plot turns on a scheming widow who pretends to drown herself while most of the rest of the characters pretend either to be someone else, or to be married to someone else, or both.  Still, it’s fast paced and quite funny and the various sillinesses work out more or less logically.  The music is pleasant and well crafted but not strikingly original.  I don’t think I actually recall a single tune.  So, a worthwhile enough piece but hardly an undiscovered masterpiece.

The production, in variations on concert wear for the most part, was quite kinetic with lots of rushing about and some dance elements.  There are probably more entrances and exits than a Brian Rix farce (and for much the same reasons) so that helps.  Performances were pretty good.  Julie Nesrallah struck the right note as the somewhat overripe Spanish widow Donna Paquita de something-something-something.  She sang well and her knowing, almost wink-at-the-audience, approach was just shy of over the top.  It made a good anchor.  The vocal star was Lynn Isnar as Nanine.  It’s classic operetta soubrette territory and her bright tone, easy top and controlled coloratura were just right.  She has a nice sense of timing too.  Her aria which opened the second act was the vocal highlight of the afternoon.  The rest of the cast was made up of TOT regulars and young singers.  Everyone sang well and the acting was also good.  The young lovers, of both flavours, were appropriately decorative and there was a bumbling ineffectual aristo for Greg Finney to play.  Michael Rose accompanied perfectly competently at the piano.  So, basically, all operetta boxes ticked.

All in all, a pleasant enough way to spend a really gloomy November Sunday afternoon.

AtG’s La Bohème six years on

Six years ago a bunch of unknowns calling themselves “Against the Grain Theatre” put on Joel Ivany’s English language, updated version of Puccini’s La Bohème in the back room of the Tranzac club.  I was there.  I reviewed it on my LiveJournal because it would be another six months before I started this blog.  There’s been a lot of water under the bridge since then.  The Tranzac has been tarted up quite a bit since La Bohème 1.0, though even by 2011 it had become a lot smarter than when the Nomads hung out there and the wall featured a photo of Sorbie with the McCormick cup.  Lets face it anywhere would be more sedate without Neil (RIP mate).  Oh yeah, and the original AtG crowd have become quite respectable, even famous perhaps.  The singers are all Equity members and get paid properly.  There are sets and props that weren’t borrowed from Topher’s mum.  Topher and Joel have done the conducting and directing thing for major companies in real opera houses.  And I’ve been writing this stuff most every day for six years.

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The Chocolate Soldier

Toronto Operetta Theatre’s current production is Oscar Straus’ The Chocolate Soldier in the English version.  It’s based on Shaw’s Arms and the Man but, as is usually the case with musical adaptations of Shaw, it’s rather less acerbic than the original.  In fact, it comes over as a somewhat farcical love story with a few gentle pot shots at the military and militarism.  There are some good comic lines and the music is tuneful and well crafted.

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