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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Perchance to Dream

Ivor Novello’s Perchance to Dream opened in London in April 1945.  It’s fluffy, romantic and nostalgic.  It has a ridiculous plot, some great tunes (A Woman’s Heart, We’ll Gather Lilacs etc) and lots of eye candy.  It’s probably exactly what people needed after nearly six years of an exceptionally weary, dreary war.  It ran for a thousand performances.  Approached in the right frame of mind it’s still a very enjoyable, escapist way of spending a couple of hours.

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Who knew Frosch could be funny?

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.

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SOLT and Classical Pursuits

soltSummer Opera Lyric Theatre has announced its 2018 season.  There are three shows.  Massenet’s Manon plays July 27th (8pm) and 29th (2pm) and August 1st (2pm) and 4th (8pm).  Handel’s Semele plays July 28th (8pm) and August 1st (8pm), 3rd (8pm) and 4th (2pm).  Mozart’s Così fan tutte plays July 28th (2pm) and 31st (8pm) and August 2nd (8pm) and 5th (2pm).  Guillermo Silva-Marin directs the young artists of SOLT and all performances are at the Robert Gill Theatre, University of Toronto, 214 College St. (entrance on St. George).  Subscription packages for $60 are available. Single tickets are $28, ($22 for students and seniors).  For subscription and single tickets call 416-366-7723 (Mondays to Fridays from 12 pm to 6 pm), at the door 2 hours prior to performances, or online at www.ticketmaster.ca.

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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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Victor Davies’ Rita Joe

Victor Davies’ The Ecstasy of Rita Joe opened last night in a production by Guillermo Silva-Marin at the Jane Mallett Theatre.  It’s based on the play by George Ryga that caused a stir when it opened in Vancouver in 1967.  The play was described as indirect and allusive with no clear narrative thread by the critics back then and was praised perhaps more for tackling the subject than for its intrinsic merits which were far from universally appreciated.  Interestingly, as is so often the case in Canada, although rarely performed it has attained “classic” status.  One word Victor Davies uses to describe the play is “expressionistic” but curiously rather than taking that as a jumping off point for the music (as Strauss and Berg did) he decides it’s an inappropriate idiom for “the lyric approach needed for the melody to unfold”.  Why one needs “melody to unfold” in a disturbing tale of a young native woman’s descent into a hell of sexual abuse, alcohol, drugs, prison and, ultimately, her murder and why that melody should be couched in 1940s jazz/swing terms wasn’t obvious to me.

Marion Newman and Michelle Lafferty

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Toronto Operetta Theatre’s Candide

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.

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Elizabeth Beeler with company and Tonatiuh Abrego as Candide

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