Light Opera of New York

Light Opera of New York
2013-2014 Season Contributors
as of the date of printing of this program
Jane Brendler Büchi
Ralph MacPhail
Samantha Britt
AnneMarie Meulendyke
Anthony Cockcroft
New York City Department of
Carol Davis
Cultural Affairs
Dorsey Gray
Ron Romaine
Exxon Mobil Corporation
Frederick Rosoff
Thomas Hendrickson
Howard Samara
Paul Hopper
Jay Sherwood
IBM Corporation
Thaw Charitable Trust
Cornelia and Jim Iredell
Charles Vaughn
Norm Keller
Victor Herbert Foundation
Kaarel Laev
Jerold Zeiselman
Brian Long
Anonymous (3)
Special thanks to the following individuals and organzations that
helped make this production possible:
Corporation for Supportive Housing, Norm Keller, Amore Opera
Ripley Grier Studios, Yeoryia Studios, Rutgers University,
Alexandria Hoffman, Bruce Greengart, Bill Reynolds, Brooke Schooley,
Elizabeth Hastings
Board of Directors
Carol Davis, President
David Kelleher-Flight, Vice President
Matthew Hughes, Treasurer; Brian Long, Secretary
Samantha Britt, Director-Development
Thomas Hendrickson, Director- Social Media Outreach
Jane Brendler Büchi, Elizabeth Hastings, Paul Hopper,
Norman K. Keller, Brooke Schooley, John Elliot Yates
John Behonek, In Memoriam
Advisory Board
Kathryn Bedke, Judith Clurman, Gerald Martin Moore, Michael Miller,
Leslie Middlebrook Moore, Bruce Pomahac,
Thomas Z. Shepard, Joseph Smith, Julie Wright-Costa
Sigmund Romberg:
The Man & His Music
by Jack Behonek
This master of American operetta created
five of the greatest hits of his era! With
an initial run of 2,600 performances, the
music of these shows is saturated with unforgettable waltzes, marches and gorgeous
melodies including “Sweetheart, Sweetheart” (Maytime, 1917); Blossom Time
with songs adapted from themes of Franz
Schubert, 1921; “Serenade” (The Student
Prince, 1924); “One Alone” (The Desert
Song, 1926) and “Lover, Come Back to Me”
(The New Moon, 1928.)
Trained in both music and engineering,
Romberg (1887 – 1951) arrived in New
York from his native Hungary in 1909. He
supported himself by playing piano (often
including his own compositions), in various local restaurants, until the legendary
Broadway impresario and producer J. J.
Schubert included a Romberg piece in his
1914 review, The Whirl of the World. Few
would have predicted the tremendous
impact this composition would have on
the American musical scene. For the next
thirty-five years, Romberg was to compose
more than 60 works for the stage containing a total of over 800 individual songs.
His last major hit was Up in Central Park
(1945), which ran for 504 performances.
His tremendous musical accomplishments
were three-fold. First, the composition
of the many classic and unforgettable
songs as noted above; second and third,
the establishment of not one but two
distinct models for the many American operettas to follow – those with a
waltz-centered, bittersweet ending of
works like Blossom Time or The Student
Prince to the duple-meter creations
whose happy endings were laden with
the sentiment and nostalgia seen in The
Desert Song and The New Moon.
By all accounts jovial and fun-loving,
Romberg was the very essence of traditional Viennese Gemültlichkeit, treasuring good food, good wine, good friends
and solid conversation. He also loved
deep-sea fishing and driving at very
high speeds. He was almost as famous
for his humorous malapropisms
or “Rommyisms,” as his friends called
them, as he was for his music. To Jerome
Kern, wearing a yachting cap at Belmont
Park, he remarked, “You look like a
race trout.” When Irving Caesar rose to
speak at a function, Romberg quipped,
“One word from you and you’re out the
window.”
With new stage productions and the
ever increasing availability of CD and
DVD recordings, his legacy is receiving
a much-deserved renaissance and continues to shine on in the 21st Century awaiting discovery by future generations
of those who love the special magic of
lyric theater.
References:
William A. Everett, Sigmund
Romberg, Yale Press 2007
Richard Traubner, Operetta
– A Theatrical History, Rev. Ed.
Routledge 2003, NY & London
About The New Moon
The New Moon opened on Broadway and was the last in a string
of Broadway successes of Romberg before he moved on to Hollywood. Opening in 1928, it’s also is near the end of the reign of
the operetta on Broadway as the American musical started to take
hold (Showboat premiered on Broadway one year prior in 1927).
In many ways, is similar to Herbert’s Naughty Marietta in setting
(New Orleans on the eve of the French Revolution) and plot devices (disguises, fugitive from justice and an illicit romance to name
a few).
The original version was tried out in Philadelphia and was not
very well received. Romberg and a crew of writers, which included
Oscar Hammerstein II (who had just written the book for
Showboat and wrote most of the song lyrics for The New Moon), Laurence Schwab, and
Frank Mandel, worked to create a more effective piece. They added several new numbers,
so that by the time of the second opening in Cleveland on August 27, 1928, the score was
saturated with fine music and delightful songs. The highly romantic plot resulted in many
new popular numbers, such as “Marianne” and “Lover, Come Back to Me.” It was smash
hit on Broadway, opening at the Imperial Theater and running for 509 performances, and
traveled internationally as well.
The New Moon was also filmed twice. A 1930 version starring Lawrence Tibbett bore only
a passing resemblance to the operetta’s plot, but the 1940 film, entitled New Moon and starring Nelson Eddy and Jeanette MacDonald, was closer to the original.
Reference: The New Moon, operetta, Allmusic, accessed Janaury 30, 2014
About Light Opera of New York
Light Opera of New York, affectionately known
as LOONY, was founded in 2006 as a professional, not-for-profit company devoted to the
performance of staged operettas and operetta
concerts. LOONY is committed to sustaining
and expanding the appreciation of operetta by
producing live performances that provide the
community with the musical, cultural and
educational benefits of the art form.
Over the past seven years we celebrated the 150th anniversary of Victor Herbert’s birth
with productions of Naughty Marietta, Mlle Modiste, The Red Mill, The Magic Knight and
Sweethearts as well as other classic American Operettas like The Desert Song, The Vagabond
King and The Student Prince.
Book & Lyrics by
Oscar Hammerstein II, Frank Mandel, and Laurence Schwab
Music by
Sigmund Romberg
Director Gary Slavin
Music Director Michael Thomas
Stage Manager
Kasey Burgess
Costume Design
Stefanie Genda
Costume Intern
Katherine Laforestrie
Lighting
Lauren Bremen
Rehearsal Pianist
Elizabeth Hastings
Marianne
Julie
Lombaste
Robert
Duval
Phillipe
Alexander
Besac
Beaunoir/Dejean
Ribaud
The Cast
Sarah Callinan
Christina Hager
Amy Maude Helfer
Michael Binkowski
David Macaluso
Chad Cygan
Christopher Nelson
Zach Appel
David Seatter
Richard Holmes
Ensemble
Samantha Britt*, Daniel Byerly,
Katherine Corle**, Eva Giorgi , Gillian Hassert,
Mitchell Roe, Christian Smythe, Kyle Torrence
* cover - Julie
** cover - Marianne
Orchestra
Violin I: Claire Smith Bermingham
Violin II: Ellen Gronningen
Cello: Anneke Schaul-Yoder
Bass: Mark Wade
Percussion: Ed Gonzales
Piano: Elizabeth Hastings
The New Moon is presented with special permission of
Tams Witmark Music Library, Inc.
Musical Numbers
Overture
Act I
Dainty Wisp of Thistledown (Ensemble)
Marianne (Robert)
Marianne’s Entrance (Marianne & Ensemble)
The Girl on The Prow (Marianne, Besac & Ensemble)
Gorgeous Alexander (Julie, Alexander & Girls)
Interrupted Trio (Capt George Duval, Marianne & Robert)
Tavern Song (Flower Girl & Ensemble)
Softly, As in a Morning Sunrise (Philippe & Ensemble)
Stouthearted Men (Robert, Philippe & Men)
One Kiss (Marianne & Girls)
The Trial (Alexander, Julie, Lombaste & Ensemble)
Wanting You (Marianne, Robert & Company)
Act II
A Chanty (Besac & Men)
Funny Little Sailor Man (Lombaste, Besac & Ensemble)
Lover, Come Back to Me (Marianne & Robert)
Try Her Out at Dances (Alexander, Julie & Ensemble)
Never for You (Marianne)
Reprise: Lover, Come Back to Me (Robert & Men)
Finale Ultimo (Company)
Synopsis
Robert is a young French aristocrat whose revolutionist inclinations force him to flee
his country. Under an assumed name, he sells himself as a bond-servant to planter and
ship-owner Monsieur Beaunoir and his family in New Orleans. Because the Paris police are
looking everywhere for him, Robert cannot tell Beaunoir or Beaunoir’s daughter Marianne,
with whom he has fallen in love, that he is of noble blood. Eventually he is tracked down
by Vicomte Ribaud, a detective, and put aboard a ship, the New Moon, so that he can be
returned to France. Robert thinks he has been betrayed by Marianne, who has gained her
father’s consent to travel on the same ship, pretending that she is in love with the ship’s captain, Duval. A mutiny occurs, and Robert and the bond-servants come into power. Everyone goes ashore on the Isle of Pines, and a new republic is founded.
The republic flourishes under Robert’s guidance, but Marianne, her pride hurt, at first refuses to marry Robert. French ships arrive, apparently to reclaim the island. Vicomte Ribaud
expects them to conquer the island for the King of France. But the French Commander
reveals that there has been a revolution in France, and that all aristocrats like himself must
die unless they renounce their titles. Ribaud, a Royalist, heads for execution, but republican
Robert renounces his title. All ends happily for him and Marianne.
Gary Slavin (Stage Director) has directed and choreographed for the better part of
20 years, including helming nine productions for LOONY: Naughty Marietta, Rose
Marie, The Student Prince, The Vagabond King, The Desert Song, The Red Mill, Bittersweet, and last season’s acclaimed production Sweethearts. He is the resident director/choreographer for the Blue Hill Troupe, for whom he has staged nine Gilbert
& Sullivan operettas. Currently he is preparing to direct his tenth, Ruddigore, this
spring. Additional credits include the New York Fringe Festival (Show Choir! the
Musical and The Irreplaceable Commodity), the New York Music Theatre Festival
(The Pirates of Finance), Off- and Off-Off-Broadway (Inside Out and Area 51), and
many years of stock and regional theatre as well as work in Europe and on television.
Michael Thomas (Music Director) conducted LOONY’s productions of Eileen
and Sweethearts. He recently music directed the VHRP Live! production of Victor
Herbert’s Cyrano de Bergerac. Other credits include work with Village Light Opera
Group, Light Opera of Manhattan, National Musical Theatre Network, Jekyll Island
Musical Comedy Festival and the Clarence Brown Company.
Kasey Burgess (Stage Manager) a California native, she has stage- and productionmanaged shows with companies such as Amore Opera, Santa Fe Opera and Pocket
Opera New York. Past performances have included Pagliacci, Maometto, Faust,
The Pearl Fishers and Alcina. She also works with dance festivals and theater
companies. She is pleased to be working in her first LOONY production.
Stefanie Genda (Costume Designer) Professional and Regional credits: Othello
(American Shakespeare Center), Sweethearts (LOONY), The Pavilion (Mile Square
Theater), and Alone Together (Florida Repertory Theater). University credits:
Barnum (The Hartt School), Life is A Dream (The College of Wooster), and Much
Ado about Nothing (Rutgers Theater Company). Stefanie has also worked on several
productions for Lincoln Center Theater, the Manhattan Theatre Club, and the Public
Theater. Stefanie holds a BA from the College of Wooster and an MFA from Rutgers
University.
Lauren Bremen (Lighting) has a BA from Yale University. Recent Credits: Marisol
(Bedlam Ensemble), Abstract Nude (VirtualArtsTV), La bohème (Amore Opera),
Huis Clos, The Austerity of Hope, Olivo e Pasquale (Amore Opera), The Assistant,
Love in Pine, La Traviata (Amore Opera), A Funny Thing Happened on the Way
to the Forum (Blue Hill Troupe), Proof, Fit (fringeNYC) and The Three Times She
Knocked (fringeNYC).
Zach Appel (Besac) is a NYC based baritone and is very excited to be making his
LOONY debut. Previous roles include Guglielmo (Così fan tutte), Giuseppe (The
Gondoliers), Ben (The Telephone), Dr. Gregg (Gallantry). Zach is a graduate of
NYU Steinhardt, where he was a recipient of the New York University Outstanding
Achievement Award.
Michael Binkowski (Robert) Michael Binkowski is a versatile baritone whose
recent performances include Guglielmo (Così fan tutte), Marco (Gianni Schicchi),
and Father (Hansel and Gretel). Binowski’s latest performance was Don Giovanni
(Don Giovanni) with Manhattan Opera Studio. Binkowski would like to thank Janie
and Ione for their undying love and support.
Samantha Britt (Tavern Girl/Julie-cover/Ensemble) is delighted to be performing
in her first Romberg operetta. Samantha was recently in two Victor Herbert shows
with LOONY: Lisette in Sweethearts and Elsa in The Magic Knight. Opera News
described Samantha as “sparkling, playful...remarkable, fully capturing the audience’s love and empathy” in her lead roles in Chelsea Opera’s latest double bill. She
earned her Bachelors of Fine Arts in Vocal Performance from Carnegie Mellon University and her Master’s in Music from Manhattan School of Music.
Daniel Byerly (Ensemble) has performed the roles of Alfredo in Verdi’s La Traviata,
Nemorino in Donizetti’s L’Elisir D’Amore, Don Ottavio in Mozart’s Don Giovanni
and Choni in Bekku’s A Story of Three Women. He has sung Handel’s MESSIAH in
Pittsburgh and in Phialdelphia, with members of the Philadelphia Orchestra.
Sarah Callinan (Marianne) Praised for her “pure, lustrous voice” and “Lucille
Ball-like energy,” Sarah is delighted to be making her LOONY debut! Recent
performances: Veronique (Hotel Casablanca) with Abilene Opera; Despina (Così fan
tutte) at Opera Carolina; Gilda (Rigoletto) and Amina (Sonnambula) with Salt Marsh
Opera. Other favorite roles include Rosina (Il barbiere di Siviglia), Marie (La Fille du
Régiment), Valencienne (The Merry Widow), Adele (Fledermaus), Mabel (Pirates of
Penzance) and Josephine (H.M.S. Pinafore).
Katherine Corle (Marianne-cover/Ensemble) has appeared in five previous LOONY productions, most recently as Manette in Sweethearts. Other credits: First Lady
(Die Zauberflöte) and Echo (Ariadne auf Naxos), Manhattan Opera Studio; Fiordiligi (Così fan tutte), Metropolitan Opera Guild/Sing Though Central; Suor Angelica (Suor Angelica), Trinity Opera; Contessa (Le nozze di Figaro) and Mimì (cover)
(La bohème), Burgas, Bulgaria; Frasquita and Micaëla (cover) (Carmen), Hradec
Králové, Czech Republic. BFA with honors, NYU/Tisch, voice with Dorothy Stone.
Chad Cygan (Philippe) A Chicago native, Chad has sung with the Metropolitan
Opera, the Oratorio Society of New York and recently portrayed Jasper Vanderbilt
in The Rivals with Bronx Opera. He will sing the role of Fenton with Utopia Opera
in Verdi’s Falstaff this spring.
Eva Giorgi (Ensemble) is thrilled to be working again with LOONY in another wonderful production! Eva made her LOONY debut last season in Sweethearts. Native to IN, Eva is a graduate of Indiana University and sang with the
Indianapolis Opera for five seasons prior to relocating to the NYC area.
Christina Hager (Julie) Career highlights include Sadie in the world premiere
of Ricky Ian Gordon’s Morning Star, Countess in Le Nozze di Figaro, Nedda in
Pagliacci, Santuzza in Cavalleria Rusticana, and title roles in Evita, Kiss Me Kate,
and Carmen. She has appeared with Lyric Opera of Kansas City, Opera New
Jersey, Wichita Grand Opera, Light Opera Oklahoma, Shreveport Opera, ALT,
and as a soloist at Epcot Center, Disneyworld. www.ChristinaHager.com
Gillian Hassert (Ensemble) is thrilled to be returning to LOONY for her third
production. This summer she performed with the Mac-Haydn Theatre in
Chatham, NY and played roles like Doatsey-Mae (Best Little Whorehouse in
Texas) and Matilda (All Shook Up). For more info, visit gillianhassert.com
Amy Maude Helfer (Clotilde Lombaste) With LOONY: Susan (Desert Song),
Ethel Brander (Rose-Marie). Recently: Phoebe (Yeomen of the Guard) at City
Center, Pitti-Sing (Mikado), Kate (Pirates of Penzance), Lady Saphir (Patience),
Leila (Iolanthe), Princess Kalyba (Utopia, Ltd.), Gretchen (The Grand Duke), all
with NYGASP. Regional: Cherubino (Le Nozze di Figaro) & Artist-in-Residence
at Dayton Opera, Ruth (Pirates of Penzance), Angelina (La Cenerentola), Hansel
(Hansel and Gretel) at Boston Lyric Opera. www.amyhelfer.com
Richard Holmes (Ribaud) Principal baritone: Glimmerglass, Virginia Opera,
Opera Saratoga, Columbus, Delaware, El Paso, San Antonio, Natchez Opera
Festival; guest artist, Metropolitan Opera. 33 seasons New York Gilbert & Sullivan
Players. Soloist, Amor Artis, Dessoff Choirs. Philharmonia Virtuosi, Canterbury
Choral Society, Avignon and Aix-en-Provence Festivals, Czech Philharmonic.
Recordings: Naxos, Albany, Vox, Newport Classics. And LOONY from Season 1!
David Macaluso (Duval) was last seen as Grosvenor in NYGASP’s Patience and
has performed as Ko-Ko in Mikado and Robin in Ruddigore at City Center. He
simultaneously sang the roles of Sir Joe/Buttercup in the Drama Desk Award-nominated Pinafore! Recently, he was featured in The Pirates of Finance and various
workshops of the new musicals Warsaw and Miracolo. Other roles: Molina (Kiss of the
Spiderwoman), Hard Boiled Herman (Rose Marie), Falke (Fledermaus), Seymour
(Little Shop of Horrors). David graduated from Manhattan School of Music, and
received NYGASP’s Isaac Asimov Award for artistic excellence. Member of AEA.
Christopher Nelson (Alexander) was most recently seen as Lun Tha in Ohio Light
Opera’s 2013 production of The King and I. He made his debut with Light Opera
of New York as Karl in Victor Herbert’s Sweethearts. In 2012 he sang Alfredo in
Verdi’s Traviata with Amore Opera as well as Ernesto in Don Pasquale. Apprentice
Artist with Des Moines Metro Opera in 2011 and with Opera Santa Barbara in 2010.
Christopher received his Masters from Indiana University as a student of Carol Vaness and is currently a student of Ruth Golden.
Mitchell Roe (Ensemble), tenor, is a graduate of the Master’s degree program from
Manhattan School of Music. Performance highlights: Verdi’s Aida (Messenger),
Wolf-Ferrari’s Cenerentola (Prince), Gilbert and Sullivan’s Patience (Duke) and Mozart’s Magic Flute (Monostatos). In addition to opera, Mr. Roe has performed as the
tenor soloist in Mozart’s Mass in C and Regina Coeli K. 276, Britten’s Rejoice in the
lamb, and most recently Handel’s L’allegro il penseroso, ed il moderato.
David Seatter (Beaunoir/DeJean) has appeared in over 150 roles ranging from
children’s theatre to grand opera. For LOONY- General (Desert Song), Sir Reggie
(Eileen), Slingsby (Sweethearts). Companies worked with include Opera Northeast,
Opera Delaware, Opera Naples, Augusta Opera, Columbia Artists CAMI Tours.
Favorite roles include Ko-Ko (Mikado), Viceroy (La Perichole) and Capt. Andy
(Showboat).
Christian Smythe (Ensemble) stays active as church singer, oboist and instructor
at Talent Unlimited High School, where he teaches song repertoire and musically
directs, currently working on Nine. He has appeared in many Blue Hill Troupe
productions, most recently as a Gangster in The Drowsy Chaperone. Other favorite
roles include the Bellhop (Lend Me a Tenor), The Boy (Fantasticks) and Boatswain
(H.M.S. Pinafore).
Kyle Torrence (Ensemble) Originally from Maryland, Kyle is an up and coming
performer in musical theatre and opera. He has performed leading roles with CT
Concert Opera, Cape Cod Opera, College Light Opera Company, Salisbury Light
Opera, Commonwealth Opera and many other regional theatres. He has been a
national winner of Classical Singer Magazine and N.A.T.S competitions. He is a
recent graduate of the Hartt School of Music.