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Vol. XXV No. 4 
  ... a blazing Tuesday in July...

SUNDAY, January 28 at 2:00 PM
THESPIS at the Newton Free Library

 In This Issue: 

Articles

Political commentary

Reviews 

 

 

 

 

 

 


THESPIS
AT THE NEWTON FREE LIBRARY
(How to get there
)

Sunday, January 28 at 2:00 PM 

How many times have you seen THESPIS? Of course you’ve heard the surviving music that was recycled as the girls’ chorus entrance in PIRATES – and perhaps you’ve heard Little Maid of Arcadee – and maybe even the relatively recently re-discovered Ballet Music.  But for a complete production, we need to turn to someone like NEGASSer Jonathan Strong, who set Gilbert’s words to other music by Sullivan a few years ago – or to a composer who’s willing to recompose the show from scratch. That’s what Bruce Montgomery of PA’s G&S Society of Chester County has done – apparently so successfully that a production of his version of the opera won acclaim, and a prize for Best Supporting Actor (Brendan O’Brien) at last summer’s International G&S Festival in Buxton, England.

Don Smith, who declares “In my opinion, it's probably the best of the six or so versions of THESPIS which have been created over the past 50 years,” has brought home a videotape of the Buxton production (which features a composite view of Buxton during the overture), and is ready to share it with us at our January 28 meeting at the Newton Free Library in Newton Center, MA.

The library opens at noon on Sundays, so you can arrive early for the meeting, explore the library – including material donated by NEGASS which forms the Warren Colson Memorial Collection – and be in your seat before 2:00, ready to enjoy the show.

Refreshments are not allowed in the library, unfortunately – and since the library closes at 5:00, we’d have no time to stay and snack anyway.  However, NEGASS members been very happy in the past to follow meetings in Newton with a visit to Cabot's Ice Cream, a pleasant spot for warm as well as cool treats – plan to join us after the show!

-- mlc 

  

CASTING CALL: LAST MINUTE LIGHT OPERA IDAChoose your role now for our March 25 LMLO production, when the rules, as usual, will be “No rehearsals, no auditions, no pre-determined casting types.” If you are a baritone who thinks he could make a splash in the title role – why not?  If you’re a soprano who wants to show the guys how Arac ought to be played – here’s your chance.  (However, a soprano Ida or a bass Arac would be quite welcome.)  If you think you’re only ready for part of a role in this three-act opera, that’s okay – we should be able to find others  to help you out.

We will once again be singing with a full Last-Minute Orchestra, which will be conducted by David Larrick, using his own edition of the orchestra parts and full score.  (Last years’ Last-Minute PIRATES orchestra was a wonderful experience for everyone!)  Orchestra manager Vic Godin  tells Us he only needs strings to complete the band he’s been gathering – if you’re interested, contact him (he only responds to e-mail) at vicgodin@neu.edu.

Roles:

King Hildebrand

Bass-Baritone

Hilarion (his son)

Romantic/dramatic tenor

Cyril (Hilarion’s friend)

High lyric/comic tenor

Florian (Hilarion’s friend)

Lyric baritone

King Gama

Patter baritone

Arac, Guron and Scynthius (Gama’s sons)

Basses - Arac sings the solos in the famous strip-tease number.

Princess Ida (Gama’s daughter)

Dramatic/romantic soprano

Lady Blanche (Professor of Abstract Science)

Contralto

Lady Psyche (Professor of Humanities)

Lyric soprano

Melissa (Blanche’s daughter)

Mezzo

Sacharissa, Chloe, Ada  (students)

Soprano or mezzo -  Ada is dialog-only.

To claim your role, contact Rebecca Consentino at rconsentino@mediaone.net or Carl Weggel at (978) 474-0396
   

Tentative Meeting Schedule, 2000-2001 

1/28, 2 PM

Video viewing, Newton Free Library, THESPIS
3/25 at 2:00 PM Last Minute Light Opera/Orchestra IDA Park Avenue Congregational Church, Arlington, MA
5/6 Master Class with Eileen St David
6/? Elections/Fantasy Day

Next Bray Copy Deadline: March 4, 2001

Next Bray Stuffing: Sunday, March 11at 3:00 PM at 111 Fairmont St, Arlington, MA. Call Us at (781) 646-9115 evenings and weekends, or send email to Marion@leedscarroll.com for directions to Our snug and easy-to-get-to home. -mlc

Welcome, Welcome, Welcome We New Members Richard J. Monroe and Martha Simon. Martha writes: I have been told that your newsletter will keep me informed of various Gilbert and Sullivan productions around the Greater Boston (and So. New England?( Area.  Martha, you have heard aright!  We hope to hear more about you.  Richard writes: I am the Co-Director of Salisbury Lyric Opera in Worcester [MA]. As a performing tenor I have sung the roles of Frederic in PIRATES and Alexis in SORCERER. As a musical director I have worked on productions of PIRATES and MIKADO.  My appreciation for the work of Gilbert and Sullivan grows each time I am involved with a G&S production. I just e-mailed information about an upcoming production of TRIAL and SORCERER which we will be presenting in March 2001. [See calendar for more info!] I look forward to seeing other members of NEGASS at that production. I will be conducting a small orchestral ensemble, and I feel that we have superior cast lined up for the production. My best wishes go out to others engaged in this same sort of venture. [Thank’ye, Richard! And Our best wishes to you and your productions!] - Hearty Greeting Offer We!

-- mlc 

ABOUT CONTRIBUTING TO THE TRUMPET BRAY:

All contributions are welcome, of course - but, strictly speaking, only activities and articles relating to G&S ought to be published. (…although an occasional Yes We Know It's Not slips by when the subject relates to a promising activity presented by long-standing and active member of NEGASS.)

  1. E-mail is the best way to send things! - marion@leedscarroll.com or negass@iname.com will get to Us equally well.
  2. The US Postal Service (aka "snail mail") is fine, too - send letters, preferably typed, or hand-written very clearly so that We can read and correctly reproduce names, dates, etc. - to NEGASS, PO Box 367, Arlington, MA 02476-0004.
  3. The Telephone is a very last choice. We do have an answering machine, but spellings of names and specifics of dates are awfully hard to be sure of when delivered by Word of Mouth (Oricular or otherwise), and We rarely have time to phone people back to check details. Please use the phone only if you have no other choice!
 -- mlc   

SUDBURY SAVOYARDS CASTING  Since the last Bray, the Sudbury, MA’s auditions for this winter’s GONDOLIERS  have passed – successfully for many NEGASSers. NEGASSers within the ranks of the Italians include Todd Allen Long as Giuseppe, Jon Saul as Francesco, and Tony Parkes as Annibale.  The Spanish party includes Ted Koban as Don Alhambra, Laura Gouillart as the Duchess of Plaza-Toro and Ben Stevens as Luiz. And, of course, NEGASSer Steve Malionek is Music Director. 

Kathy Lague, who isn’t a NEGASS member this year, is Stage Director.  Other non-NEGASS cast members (including many names familiar to NEGASSers) include Dennis O'Brien as the Duke; Colleen O'Shaughnessy as his daughter Casilda; Ephram Herrera as Marco; Amy Allen as Gianetta; Deirdre Hatch (repeating her role from Sudbury’s last GONDOLIERS production) as Tessa; Kris Maples, Kathryn Denny and Keiko Clark as Fiametta, Vittoria and Guilia; Ed Fell and Mike Lague as Antonio and  Giorgio; and Sara Ballard solving the complicated plot as Inez.

 

G&S EXHIBIT AT HARVARD An exhibition of Gilbert and Sullivan Memorabilia opened at the Harvard College Theatre Collection on Wednesday, November 22 (the centennial of Sullivan's death) and runs through April 13. The exhibition features some 200 items from the Theatre Collection as well as items from various private collections.  Having seen a bit of a preview, I can say that there are quite a number of spectacular items (particularly posters) which have never been seen or reprinted before.

The official opening, on Wednesday, November 29, featured a lecture by the museum's curator, Fredric Woodbridge Wilson, entitled Arthur Sullivan and the Times.  Further lectures will be held on February 13 [note: this is a correction to the printed Bray! - mlc] (W.S. Gilbert and the Past) and April 3 (Richard D'Oyly Carte and the Future), both at 4 pm in the Forum Room on the fifth floor of the Lamont Library.

--  DON SMITH 

[Dane Rumour whispers, via SavoyNet, that the Harvard library somewhere includes a collection of press clippings about G&S performances in the US during the first half of the 20th century – can this be possible?  - has anyone seen the microfilmed records that are said to survive?  --  mlc]

WSJ LAUDS AS: Karen Traub sent Us a copy of a Wall Street Journal article by Barrymore Laurence Scherer, published on November 22, 2000, the centenary of Sir Arthur’s death.  “In a way,” the article explains to WSJ’s businessman audience, “Sullivan was the Leonard Bernstein of the Victorian world… [he] aimed to succeed in composing both popular and serious music.  And like Bernstein he was plagued by doubts about this dichotomy…” 

Mr. Scherer goes on into a fascinating discussion of Sullivan’s music: “On the one hand, Sullivan wrote some of the most recognizably ‘English’ sounding music between Henry Purcell and Sir Edward Elgar…Yet he was an eclectic. When he was not satirizing Handelian counterpoint or the operas of Verdi and Bellini, Sullivan was primarily influenced by three earlier composers.”  Mr. Scherer notes “a vein of [Schubertian] melodiousness” in favorite songs like I built upon a rock (IDA) and Ah, leave me not to pine (PIRATES); lists numerous examples of “the spaciousness of Sullivan’s choral writing” as a response to the works of Mendelssohn, and finally points to “the sensuousness of Gounod, underscored with warm instrumentation” which colors such pieces as Comes a train of little ladies (MIKADO). 

We wish we had the room – and the willingness to risk copyright infringement! – to print more of this article, which goes on to praise many of Sullivan’s non-Savoy works, has some good things to say about the revived D’Oyly Carte company, and ends with an expressed longing for professional recordings of The Golden Legend and  Ivanhoe.  Look for the article in your library’s Wall Street Journal archive.  (And thank you, Karen Traub, for sending it to Us!)

-- mlc 

CD TRANSFERS FROM ELECTRIC HMV RECORDINGS. [Gleaned from SavoyNet by Janice Dallas] I'm pleased to announce the availability of my new transfers of two early electric HMV recordings. They are the 1929/30 IOLANTHE, my catalog number  GS14, a two-CD set at $24.00 and the 1930 PINAFORE, my catalog number GS15 at $19.00.

I've had both these projects on the back burner... IOLANTHE came to the fore as a result of a gift from my good friend and G&S enthusiast Marc Lewis, owner of the Gryphon Record Shop in New York City. Marc gave me what is arguably better than new vinyls pressed from old masters -- a beautifully preserved, high-quality pressing from what were then new masters.

If my PINAFORE transfer is not up to the same standard as IOLANTHE, it is very close -- the product of numerous on-line auctions that I've pursued until I could finally put together 18 very good sides from about four different sets.

These CDs come with my unqualified recommendation to anyone who has stayed away from vintage recordings for fear of a substandard listening experience. And, like all my CDs, they come with my "You don't even need a reason!" money-back guarantee.

New Secure On-line Payment Option--While my preferred method of accepting payment remains direct processing of your credit card (MC, VISA, and now Discover) sent by FAX to 619-698-4882 or post to PO Box 19173, San Diego, CA 92159-0173, I am now pleased to offer the option of on-line payments via Billpoint. Folks who use eB** may be familiar with this service, which provides all the advantages of normal credit card purchases, does not require the buyer to register for the service, and is paid for entirely by the seller (me). The way it works is you send me an email indicating what you want to buy and I request an invoice be sent to your email address, which you pay on line on a secure web site. That done, I receive payment confirmation and ship within 48 hours. This service is available internationally. The only information I need other than the list of items ordered is whether I'm shipping to California and need to charge sales tax.

…check my web site (http://members.home.net/78s2cd/) or email me privately () for further information about my growing catalog of G&S recordings.                           

-- JAMES LOCKWOOD 

 

G&S BOOKS, PROGRAMMES, IMAGES, ETC – NEGASSer Wilfrid de Freitas is a bookseller who, as he explains on his web site, deals in “antiquarian and out-of-print books with a few specialties in subjects / authors which are of particular interest to us…” - one specialty, of course, being G&S.  For a hard-copy catalog, send ordinary mail to Wilfrid M. de Freitas – Bookseller, P.O. Box 883, Stock Exchange Tower, Montreal, Canada H4Z 1K2

G&S ON VIDEO: The bookseller writes: “…we just watched The Talented Mr. Ripley and, right near the end of the film, two of the characters sing We're Called Gondolieri while standing on a terrace in Venice!”

WILFRID DE FREITAS 

CD REVIEW:  D’Oyly Carte’s Restored PINAFORE. [A cut-for-space version of a fine review Janice Dallas found for Us on SavoyNet] Through the kind offices of Bobbie Herman, who picked up a copy for me while on holiday in London, I am now a proud possessor of the new (as of this year) D'OC PINAFORE CD (CDTER2 1259)… 

..this is overall an excellent version of the opera.  The sound is quite good (at least as far as I can judge when listening on headphones), the orchestra and chorus provide very strong support, and it contains complete dialogue including many restorations of deleted dialogue…, as well as a couple of musical restorations. Reflect, My Child is included at the end as a bonus track…

The Restored Dialogue & Music: I hadn't quite realized the extent of how much material for Hebe had been cut from this show.  The biggest restored cut is in the scene between Things Are Seldom What They Seem and The Hours Creep On Apace.  In this version, Hebe enters with Sir Joseph, and makes constant interjections during his dialogue with Captain Corcoran; several times Sir Joseph tells her to be quiet, to which she responds "crushed!" (as has been discussed previously on the SavoyNet, this is the origin of the usage of "crushed" in Lady Jane's dialogue with Bunthorne in PATIENCE).  Eventually Sir Joseph completely loses patience (sorry!) with Hebe and irately orders Captain Corcoran to take her on a tour of the forecastle; this ends the scene.  While I enjoyed hearing the restored dialogue from a historical perspective, I think the scene flows much better without it.

More added dialogue is scattered throughout the piece; much of this is additional exchanges between Dick Deadeye and the other characters, and is pretty much in the same vein as his surviving dialogue.  For example, at the end of the scene prior to Captain Corcoran's first entrance, after the Boatswain's line which now ends the scene, Deadeye has a line in which he basically echoes what the Boatswain said, only to be "Shame, Shame"'d again by the crew and reprimanded again by the Boatswain.  Again, this restored dialogue is interesting from a historical perspective, but I think the opera is stronger without it…

My Overall View: This is a very worthwhile recording to own (if you can find it - it has yet to be released outside the UK), if only to have the restored dialogue and a professional (and nicely done) rendition of Reflect, My Child.  All of the performances are at least satisfactory, and a few - particularly Gordon Sandison (Sir Joseph) and Tom McVeigh (Captain Corcoran) - are standouts.  I'm glad to have added it to my collection.

    --  DAVID MICHAELS 

CONTRADICTION REVIEWED: Marc Shepherd’s review of Contradiction Contradicted: The plays of W. S. Gilbert By Andrew Crowther, Associated University Presses, 2000, 223 pages  In a December SavoyNet posting, Marc writes: Most criticism of W. S. Gilbert has considered him as the author of the Savoy Operas, the Bab Ballads, and little else. His dozens of other plays are either ignored or dismissed as mere sidelights to his main career. In the opening pages of Contradiction Contradicted, Andrew Crowther argues that  "Gilbert's stage works are all of a piece and deserve to be examined on more or less equal terms with each other."  [Marc wrote a rather long review which We, Alas, do not have room to publish in full – it may appear in a future issue of GASBAG, the U. Michigan G&S Society newsletter. His article describes a valuable work of Gilbert scholarship, and concludes] Contradiction Contradicted is available at and .  By all means get it, and read it.                                

--  MARC SHEPHERD     

Political commentary courtesy of Ric Wilson
– forwarded by Don Smith

PIRATES AT HARVARD  From November 30 to December 10, the Harvard-Radcliffe G&S Players performed PIRATES to nine packed houses at the Agassiz Theatre. The cast, led by music director Jonathan Russell and first-time stage director John Driscoll, performed very well as an ensemble, giving an almost uniformly solid and entertaining performance. Sam Perwin combined his excellent vocal skills with an appropriate blend of confidence and naiveté in his portrayal of Frederic. Lara Hirner, as Mabel, had an exceedingly pretty voice whose lack of power was not a liability in the friendly confines of the Agassiz, and, in a role with few speaking parts, did a fine job of combining singing with characterization. I could not disagree with the audience member who murmured "perfect" after her opening cadenza, done just right to insipidly annoy the sisters while seductively enchanting Frederic. Susan Long, as Ruth, deserves special commendation for her comedic skill and for her successful transformation from subservience in Act I to assertiveness in Act II. Jeff Dubner entertained as an exaggeratedly buffoonish and cowardly major-general, generally succeeding in the difficult task of not being upstaged by his delightfully clownish costume. Pirate King Ari Appel managed to be fierce, sensitive, dignified, and gullible without seeming inconsistent.

In general, the traditional-style costumes, designed by Abigail Joseph, successfully contributed to the atmosphere of the show. The orchestra was impeccable, and the choruses did a fine job, excepting occasional disjointedness in the difficult women’s patter chorus, and some glaringly poor tuning in the a cappella "Hail, poetry" section of the Act I finale. Taryn Arthurs’ choreography was highly polished, and the "signature moves" of each group (pirate fist-pump, maiden umbrella-twirl, policeman baton-twirl) contributed to an impression of unity in the ensemble.

In general the production exaggerated the farcical elements of the show. The self-aware, over-the-top comedic style was highly successful in inducing peals of laughter throughout the audience (myself included). Lost, though, was the more subtle dramatic irony that occurs when the characters are blissfully unaware of the absurdity of their words and actions. I have a feeling I might have felt this lack more acutely if, like most NEGASS members, I had seen PIRATES more than a handful of times. As it was, I, along with the rest of the audience, thoroughly enjoyed myself at this delightful production. 

JONATHAN WEINSTEIN    

~~ SORCERER AT MIT Following the set crisis during last fall’s IOLANTHE, it was good to walk into La Sala da Puerto Rico and see Jean Kanjanavaikoon’s handsome multi-leveled country estate set for this fall’s SORCERER.  And following the updated and not always flattering costumes for last spring’s IDA, it was a relief to see that the updating chosen for this production included Felix Rivera and Sarah Ellis’s tastefully attractive and appropriate costumes, which provided clear indications of very different personality types and social strata among the matched and mis-matched denizens of, and visitors to, Ploverleigh.  Despite my misgivings, this was an updating that remained respectful and made sense while allowing for plenty of comedy.

 I knew we’d be in good hands with the musical direction of Alan Yost, and was not disappointed. I’d been warned that the stage director was inexperienced – this was his first go at directing a full-length production, after directing a short non-musical one-act last summer.  I think Brian Bermack is a promising new addition to the directorial pool, and look forward to seeing more of his unusual, intelligent and thoughtful choices. That said, I wish he did not go in for the “stand-and-sing” view of aria singing --  one soloist after another stepped up to the plate, as it were, and delivered his or her aria straight to the audience, avoiding all interaction with fellow performers.  This can get pretty boring, and misses a lot of opportunity for character development.

One notable exception to that “stand-and-sing” delivery was J. W. Wells (the talented Jonathan Weinstein), who gave his opening speech as a sales pitch over a cell phone to a client other than Alexis, and delivered his patter song as a magic-powered Power Point presentation, his small assistant Hercules having lugged in and set up the screen.  That cell phone came back in the second act, when Wells called upon Ahrimanes – over the phone – and proceeded to perform the often-reconstructed duet as dialog spoke over Sullivan’s Act I incantation music – which worked very nicely.

Constance (Kate Torbert) and Aline (Ann Rhodes) were both lovely girls with lovely voices, who drew layers of characterization and growth out of their roles.  (I enjoyed Constance’s obvious interest in Dr. Daly’s reading material during their opening dialog – here was a girl who would clearly make a good wife for this studious man!  And Aline, although towering in her high heels over her suitor, the charming Brendan O’Brine, showed a fondness for her fiancé which clearly leveled all differences.) Randi Kestin, usually an unmistakably sparkling presence on the stage, was such a staid and elegant middle-aged Lady Sangazure that I did not recognize her at first glance.  Mary Finn, as Mrs. Partlett, was hysterical and very much a 3D character.  She chose to sing, however, in a voice which was admittedly very funny, but was very ugly  – I hope she has not ruined her voice forever! 

David Daley is a low baritone with a remarkable high extension – I prefer his low notes, but he used his attractive voice well in this high baritone role, and as a characterization his Dr Daly could not be faulted.  And how could he be blamed for taking a role that he was obviously born to perform?   Sir Marmaduke (Evan Xenakis) was excellent all around – I hope to see and hear more of him. 

The chorus was lively & full of individuals – a great strength of most MITG&SP shows.  It is delightful to watch young folks discovering these wonderful operettas and falling in love with them, as old fogies like me did in bygone days.

For pictures of the production, visit:

http://sheldonbrown.net/sorceror00/ [And for another review, visit http://www.iolanthe.cjb.net/ - mlc]

--  LADY POINTDEXTRE     

~~ RUDDIGORE AT THE CONNECTICUT G&S SOCIETY  I saw the final performance last Sunday, and, even though I fully expected a polished performance, was completely unprepared for the production I saw.

The set, devised by Bill Sorenson and his crew (Bill often does the lyric tenor parts) was a miniature of the village square, with Rose's cottage as well as a tavern, and a seawall up; a backdrop of TomTit at anchor under

a blue and sunny sky set the opening scene and evoked spontaneous applause from the capacity house.  There was not a single vacant seat !

The chorus was perfect in diction and music, and the choreography was better than I have seen in any amateur production.  Kathleen Thompson was winningly innocent as Rose; it would be hard to imagine a better.  John Knudsen as Robin matched her charm with his own, and both were accurate and melodious as one could wish.   Susan Wrosek, as Mad Margaret, was suitably certifiable, and sang and acted the part beautifully.  Greg Shafer as Richard Dauntless was alternately hearty, simply honest, and greasily sneaky, as he sang his way through all the opera without missing a word or a note. [Jonathan Strong commented in his own review, “If I had to pick a star out of the seamless ensemble, it would be Greg Shafer for his cheerfully annoying sailor Dick Dauntless.”]  Carol Connolly gave us a great interpretation of Dame Hannah, and awoke widdershins in the audience with her opening aria.  Jerry Palmer (Despard) was in great voice and superbly villainous, as well as haughtily noble.  Laurie Weisbrot arose from his bier and majestically captivated the audience with Ghosts' High Noon.  [Jonathan’s review comments, “Her scene with her long-lost love, Sir Roderic Murgatroyd, was delightfully risqué, and Laurie Weissbrot’s ghost impersonation was grim and tender by turns.] Alan Church,  as Old Adam and Gideon Crawle, split his personality accurately, while his singing and acting were, as usual, outstanding.

The second act set was, if anything, even more striking than the first, and the costuming, by Pat Austin and her crew was impressive, even to the jaded eye.  The orchestra, under the seasoned baton of Dr John Dreslin, musical half of the Jonathan Strong/John Dreslin THESPIS, performed faultlessly from first to last.

Bob Cumming, and the entire Connecticut Gilbert and Sullivan Society are to be congratulated on a truly great performance.  I heard several comments about "sending the show to Broadway" and "I thought this was supposed to be an amateur performance!"  More than one person felt that this was far and away the best they had seen.  My wife, who usually attends a G&S performance under protest, was enthusiastic.  And I, having seen three Broadway shows and a couple at Goodspeed since the first of the year, have to declare this one as unquestionably the best!             

--  TED RICE  

~~ GONDOLIERS AT BAM  Lloyd Schwartz gave the Boston Academy of Music’s recent production a mixed review in the 12/8 Boston Phoenix.  Several of the performers won praise (notably Keith Jurasko and Daniel Lockwood) – but the overall production earned the comment, “I don’t want the BAM folks to give up on G&S – but they desperately need a fresh approach.”  His complaint:  “…the broad, clumsy coarsening of the old D’Oyly Carte style, where characters are cardboard caricatures and every punch line is punched up with a verbal elbow to the ribs.”  Mr. Schwartz calls for a professional company to arise, producing more tasteful and satisfying productions – We wish he’d visit some of the amateur companies around town, to see what can be and is being done! 

--  mlc     

LOCOS FOUNDERS  [Bobbie Herman posted an obituary on SavoyNet, from which We excerpt] Georgia McEver, the founder and Artistic Director of the Light Opera Company of Salisbury (CT), died suddenly in mid-December as the result of an aneurysm.

Previous to forming LOCOS, Georgia had performed with LOOM, and also with many opera companies around the country.  She formed LOCOS three years ago for the purpose of raising money for worthy causes, while bringing G&S to many of those who would not otherwise have the opportunity to experience it.  All proceeds from her shows went to such charities as Habitat for Humanity, Breast Cancer Research and Abused and Battered Women and Children.

…she used local people for the choruses while importing such luminaries as Bill Brooke, Keith Jurasko, Steve Quint, Louis Dall'Ava and Lynne Greene-Brooke.  In her three productions she played Josephine, Mabel and Phyllis.  Her voice was as fresh and clear as a twenty-year-old, and her movements as graceful.  Her productions were delightful!  Paul and I were fortunate to have seen all three…

  --  BOBBIE HERMAN

[What a wonderful person Georgia must have been!  Let us hope that LOCOS will not end with her! – mlc]

Note: Very old issues of The Trumpet Bray are still available in The G & S Archives. We hope to create a more nearly complete archive of the Bray in the future.

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