2016 Season

Kiss Me Kate

(1948) Music and Lyrics by Cole Porter, Book by Sam and Bella Spewack

“Another op’nin’, another show.” If ever a musical dispelled persistent rumors that its composer was “washed up,” it was Cole Porter’s Kiss Me, Kate. Not only the crowning achievement of his remarkable Broadway career, but one of the supreme glories of American musical theater, the show bristles with captivating “Top 40” tunes in a dazzling variety of musical styles, all set, as an extra bonus, to Shakespeare’s comedy of the sexes The Taming of the Shrew. Stage stars Fred Graham and Lilli Vanessi are divorced, but nevertheless still working together in a Baltimore stage production of the Bard’s comedy. Complications arise when Fred hires a perky cabaret performer Lois Lane to perform the role of Bianca, Fred winds up on the wrong side of two gangsters trying to collect a gambling debt, and Lilli hits the ceiling when she is mistakenly delivered flowers from Fred that he intended for Lois. Virtually every song in the score became a hit: “So in Love,” “Why Can’t You Behave?” “Always True to You in My Fashion,” “I Hate Men,” and “Brush Up Your Shakespeare,” to name just a few. Join us in celebrating Cole Porter’s 125th birthday in the season-opening production of Kiss Me, Kate. Wunderbar!

Music & Lyrics by……………………..Cole Porter
Book by……………..Bella and Samuel Spewack
Conductor……………………………..Steven Byess
Stage Director……………………….Stephen Carr
Choreographer…………………….Spencer Reese
Set Designer…………………………….Ken Martin
Costume Designer……………….Stefanie Genda
Lighting Designer…………………..Kent Sprague
Fred Graham……….
……………………..Ted Christopher, Brad Baron
Lilli Vanessi………Sarah Best, Tanya Roberts
Lois Lane……………………………Hannah Kurth
Bill Calhoun………………………..Stephen Faulk
Harrison Howell………………Clark Sturdevant
First Man (Gangster)……………Kyle Yampiro
Second Man (Gangster)…………Royce Strider
Harry Trevor…………………….Samus Haddad
Hattie…………………………………. Alexa Devlin
Ralph…………………………………….David Geist
Stage Doorman…………….. Bailey Cummings
Paul…………………………………..Spencer Reese
Gremio………………………..Cameron Brownell
Hortensio………………………………. Isaac Assor
Haberdasher………………. Benjamin Krumreig
Nathaniel……………………….Matthew Brennan
Gregory……………………………………Matt Kelly
Phillip……………………………………….Tom Carle
Lilli Vanessi (cover)…………Hilary Koolhoven
Paul (cover)…………………Cameron Brownell

Ensemble

Jessamyn Anderson, Isaac Assor, Matthew Brennan, Cameron Brownell, Alexandra Camastro, Tom Carle, Jacob Clanton, Katherine Corle, Bailey Cummings, Alexa Devlin, Hannah Gauthier, David Geist, Samus Haddad, Matt Kelly, Hilary Koolhoven, Benjamin Krumreig, Amy Livingston, Hannah Miller, Emily Nelson, Katharine Nunn, Spencer Reese, Meagan Sill, Gretchen Windt

Annie Get Your Gun

(1946) Music and Lyrics by Irving Berlin, Book by Herbert and Dorothy Fields

“Irving Berlin has no place in American music. HE IS AMERICAN MUSIC.” With these words, penned in 1924, Broadway composer Jerome Kern captured the essence of the Russian-born immigrant who wrote words and music to some of our most touchingly eloquent song classics, including “God Bless America,” “Always,” “Easter Parade,” and “White Christmas.” But he could let his hair down, too . . . and in 1946 Berlin wrote music and lyrics to a humorous, homespun tale—yet another battle of the sexes—of American folk hero Annie Oakley. Naïve as they come, but a whiz with a rifle, Annie wins a job with Buffalo Bill’s Wild West Show and falls hard for its handsome shooting star, Frank Butler. When he feels upstaged by her shooting antics and higher marquee billing, he leaves the show and joins a rival company. Attempts at a merger fail and it remains for Chief Sitting Bull to give Annie a lesson on how to win herself an obstinate man. Berlin churned out one winsome song after another, including “Doin’ What Comes Natur’lly,” “You Can’t Get a Man with a Gun,” “The Girl that I Marry,” “Anything You Can Do,” and what became the unofficial entertainment anthem, “There’s No Business like Show Business.”

Music & Lyrics by…………………………..Irving Berlin
Book by……………………Herbert and Dorothy Fields
Conductor…………………………….J. Lynn Thompson
Stage Director………………………………….Jacob Allen
Choreographer……………………………..Spencer Reese
Set Designer…………………………………….Kim Powers
Costume Designer…………………………..Myron Elliott
Lighting Designer…………………….Brittany Shemuga
Annie Oakl………………………………………Alexa Devlin
Frank Butler…………………………………..Nathan Brian
Mr. Clay…………………………………Cameron Brownell
Minnie…………………………………………..Emily Hagens
Dolly Tate……………………………….Julie Wright Costa
Buffalo Bill Cody………………………………..Brad Baron
Charlie Davenport……………………………Kyle Yampiro
Chief Sitting Bull…………………………..Samus Haddad
Pawnee Bill………………………………..Clark Sturdevant
Mac………………………………………………Jacob Clanton
Foster Wilson……………………………………..Matt Kelly
Conductor………………………………………….Tom Carle
Porters…………………………………..Matthew Brennan,
………………………..Christopher Sapp, Jacob Clanton
Mrs. Potter-Porter………………………………Sarah Best
Mr. Schuyler Adams…………………………….Tom Carle
Mrs. Schuyler Adams……………..Jessamyn Anderson
Mr. Percy Ferguson……………………Bailey Cummings
Mrs. Percy Ferguson………………………..Emily Nelson
Mr. Henderson………………………………..Royce Strider
Mrs. Henderson……………………………Katherine Corle
Messenger…………………………………………David Geist
Little Jake………………………………… Madi Christopher
Mary…………………………………………Anna Christopher
Jessie………………………………………. Madison Mitchell
Nellie………………………………………..Elizabeth Perkins
Annie Oakley (cover)…………………….Katharine Nunn

Ensemble

Jessamyn Anderson, Sarah Best, Matthew Brennan, Alexandra Camastro, Tom Carle, Jacob Clanton, Katherine Corle, Bailey Cummings, Hannah Gauthier, David Geist, Matt Kelly, Adam Kirk, Hannah Kurth, Audrey Lee, Amy Livingston, Hannah Miller, Emily Nelson, Spencer Reese, Christopher Sapp, Meagan Sill, Royce Strider, Kyle Yampiro

The Mikado

(1885) Music by Arthur Sullivan, Libretto by William Gilbert
More than 130 years after its premiere, The Mikado—in the timelessness of its characters and situations, its witty lyrics, and succession of engaging tunes—remains a wonder of lyric theater. Tailor Ko-Ko, condemned to death for flirting, is reprieved and appointed Lord High Executioner of Titipu. He is betrothed to his ward Yum-Yum, but she has fallen in love with the Mikado’s son Nanki-Poo. Displeased with the lack of executions in Titipu, the Mikado orders that the situation be rectified. Nanki-Poo, distraught because he cannot marry Yum-Yum, agrees to be executed in a month, provided that he can marry her in the meantime. When the Mikado sees Nanki-Poo’s name on Ko-Ko’s falsified execution affidavit, he condemns Ko-Ko to death for compassing the death of the heir-apparent. “A Wand’ring Minstrel I,” “I’ve Got a Little List,” “Three Little Maids from School,” “The Flowers that Bloom in the Spring,” and “Tit-Willow” are but a few of the song gems that have made this the most popular of the G&S shows.

Music by………………………………………Arthur Sullivan
Libretto by………………………………………..W.S. Gilbert
Conductor………………………………..J. Lynn Thompson
Stage Director………………………………Ted Christopher
Choreographer………………………………..Spencer Reese
Set Designer…………………………………. Charlene Gross
Costume Designer…………………………. Charlene Gross
Lighting Designer…………………………….Daniel Huston
The Mikado of Japan……………………….Samus Haddad
Nanki-Poo…………Benjamin Krumreig, Stephen Faulk
A Noble…………………………………………….Royce Strider
Ko-Ko……………………………………………….Nathan Brian
Pooh-Bah……………………………………………..Brad Baron
Pish-Tush……………………………………………..Isaac Assor
Yum-Yum…………………….Emily Nelson, Emily Hagens
Pitti-Sing………………………………………..Gretchen Windt
Peep-Bo……………………………………….Hilary Koolhoven
Katisha………………………………………………. Alexa Devlin
Nanki-Poo (cover)……………………………………Matt Kelly
Pish-Tush (cover)………………………………..Royce Strider

Ensemble

Jessamyn Anderson, Isaac Assor, Matthew Brennan, Cameron Brownell, Tom Carle, Katherine Corle, Bailey Cummings, Hannah Gauthier, Matt Kelly, Hilary Koolhoven, Audrey Lee, Amy Livingston, Katharine Nunn, Tanya Roberts, Christopher Sapp, Meagan Sill, Mark Snyder, Royce Strider, Clark Sturdevant, Gretchen Windt

Have A Heart

(1917) Music by Jerome Kern, Book and Lyrics by Guy Bolton and P. G. Wodehouse

Following on the heels of The Cabaret Girl and Oh, Lady! Lady!!, the Ohio Light Opera continues its survey of Jerome Kern’s early groundbreaking musicals with his 1917 Have a Heart. In addition to its predictably enchanting Kern score—one of his most tuneful—the show features book and lyrics by Guy Bolton and master British humorist P. G. Wodehouse (whose wit won over audiences last season in Gershwin’s Oh, Kay!), marking his Broadway full-score debut. The story centers on department store owner Ruddy Schoonmaker and his estranged wife Peggy, who try to salvage their marriage by spending a night at a Rhode Island beach resort. Their reconciliation efforts seem doomed by the appearance there of Ruddy’s recent paramour, movie actress Dolly Brabazon, and of Peggy’s recent wooer, the counterfeiter Capt. Charles Owen. Only at the intervention of elevator boy Henry—whose lines throughout the show, according to Wodehouse and Bolton, had the customers rolling in the aisles—do the romantic entanglements get resolved. Hit songs include the irresistibly catchy “You Said Something,” Henry’s comical “Napoleon,” and the sublime “And I Am All Alone.”

Music by…………………………………… Jerome Kern
Book and Lyrics by
…………………….Guy Bolton and P. G. Wodehouse
Conductor………………………….J. Lynn Thompson
Stage Director…………………………….Steven Daigle
Choreographer………………………….Spencer Reese
Set Designer………………………………Daniel Hobbs
Costume Designer……………………Hali Hutchison
Lighting Designer………………..Brittany Shemuga
Rutherford “Ruddy” Schoonmaker
…………………………………………………Nathan Brian
Peggy…………………………………………….Sarah Best
Dolly Brabazon………………………..Tanya Roberts
Henry……………………………………….Kyle Yampiro
Lizzie………………………………………Emily Hagens
Ted…………………………………………Stephen Faulk
Mrs. Pyne (Aunt)………………Julie Wright Costa
Matthew Pyne (Uncle)………………. Mark Snyder
Chick Owen……………………………. Spencer Reese
Detective Baker…………………………Royce Strider
Maitre d’Hotel……………………………..David Geist
The Turk…………………………………….. Isaac Assor
Floor Walker…………………………………Matt Kelly
Man of Quartette……………………. Jacob Clanton
Sales Girls……………Katherine Corle, Meagan Sill,
Hannah Kurth, Amy Livingston, Katharine Nunn

Women Shoppers……………….Hilary Koolhoven,
……………….Hannah Miller, Alexandra Camastro

Waitresses………….. Hannah Kurth, Meagan Sill
Bell Boys………………..Matt Kelly, Daniel Huston

Ensemble
Isaac Assor, Cameron Brownell, Alexandra Camastro, Jacob Clanton, Katherine Corle, Bailey Cummings, David Geist, Daniel Huston, Matt Kelly, Adam Kirk, Hilary Koolhoven, Hannah Kurth, Amy Livingston, Hannah Miller, Katharine Nunn, Christopher Sapp, Meagan Sill

La Vie Parisienne

(1866) Music by Jacques Offenbach, Original French Libretto by Henri Meilhac and Ludovic Halévy, English Translation by Richard Traubner

Few artists stand as tall above their field as does Jacques Offenbach above French operetta. Following his ground-breaking Orpheus in the Underworld in 1858, he teamed in the mid-1860s with librettists Henri Meilhac and Ludovic Halévy to produce six shows—La belle Hélène, Bluebeard, La vie parisienne, The Grand Duchess of Gerolstein, La Périchole, and The Brigands—that remain among the greatest of all French operettas. La vie parisienne, featuring Offenbach at his most effervescent, is the zany tale of a pair of Parisian wannabe bon vivants Gardefeu and Bobinet, who, having failed in their attempts to woo the cocotte Métella, turn their attentions to the visiting Swedish Baroness de Gondremarck. Her husband, the Baron, seeking a fun Parisian holiday, arrives with a letter of introduction to Métella. All wind up at a jolly party at Gardefeu’s home, which the naïve visiting royalty have been led to believe is a hotel. Offenbach’s first attempt at a full-length domestic operetta comedy, the score teems with waltzes, patter songs, ensembles, and a most recognizable can-can.

Music by………………………………..Jacques Offenbach
Libretto by……..Henri Meilhac and Ludovic Halévy
English Translation by……………. Richard Traubner
Conductor……………………………Wilson Southerland
Stage Director………………………..Julie Wright Costa
Choreographer……………………………..Spencer Reese
Set Designer………………………………….Daniel Hobbs
Costume Designer…………………………Stefanie Genda
Lighting Designer…………………………..Daniel Huston
Bobinet………………………………………….Kyle Yampiro
Un Employé (Porter)……………….. Bailey Cummings
Raoul De Gardefeu………………….. Benjamin Krumreig
Métella…………………………………………..Gretchen Windt
Gontran………………………………………………….Matt Kelly
Joseph…………………………………………….. Jacob Clanton
Le Baron de Gondremarck……………….Ted Christopher
La Baronne de Gondremarck…………………. Meagan Sill
Le Brésilien…………………………………… Clark Sturdevant
Alphonse………………………………………………….Tom Carle
Frick…………………………………………………. Spencer Reese
Gabrielle…………………………………………….Tanya Roberts
Pauline………………………………………….Hilary Koolhoven
Prosper…………………………………………Matthew Brennan
Urbain………………………………………………….. Isaac Assor
Clara………………………………………………..Katherine Corle
Léonie……………………………………………..Katharine Nunn
Louise……………………………………….Alexandra Camastro
Gardefeu (cover)……………………………………….Tom Carle

Ensemble

Jessamyn Anderson, Isaac Assor, Brad Baron, Sarah Best, Matthew Brennan, Alexandra Camastro, Tom Carle, Jacob Clanton, Katherine Corle, Bailey Cummings, Alexa Devlin, Hannah Gauthier, David Geist, Emily Hagens, Matt Kelly, Hilary Koolhoven, Hannah Kurth, Audrey Lee, Hannah Miller, Emily Nelson, Katharine Nunn, Christopher Sapp, Royce Strider, Clark Sturdevant

The Dancing Years

(1939) Music and Book by Ivor Novello, Lyrics by Christopher Hassall
OLO has had request after request over the years . . . finally, here it is: the first American stage production in almost 70 years of Welsh-born Ivor Novello’s The Dancing Years. Novello had a remarkable career: as songwriter (“Keep the Home Fires Burning”), as silent film matinée idol (Alfred Hitchcock’s The Lodger), as Hollywood scriptwriter (credited with the lines “Me Tarzan, You Jane”), as playwright, and as a composer who virtually single-handedly brought romantic musicals (operettas . . . if you like!) back to life in Britain in the 1930s, 40s, and early 50s. The Dancing Years is the tear-jerking story of an opera diva, Maria Ziegler, who befriends and encourages aspiring operetta composer Rudi Kleber. When she misunderstandingly overhears Rudi making a mock marriage proposal to a young woman to whom, years before, he had playfully promised “right of first refusal,” Maria leaves her lover, marries her old admirer, Prince Metterling, and loses all touch with Rudi. Some 12 years later, Rudi and Maria meet again and passions flare . . . but she is accompanied by her 12-year-old son. Song gems include “I Can Give You the Starlight,” “My Dearest Dear,” “Primrose,” and “Waltz of My Heart.”

Devised, Written and Composed by….. Ivor Novello
Lyrics by…………………………….. Christopher Hassall
Conductor…………………………………….. Steven Byess
Stage Director………………………………..Steven Daigle
Choreographer……………………………..Spencer Reese
Set Designer……………………………………..Ken Martin
Costume Designer………………………..Charlene Gross
Lighting Designer…………………… Brittany Shemuga
Maria Ziegler………. Sarah Best | Julie Wright Costa
Cacille Kurt…………………………………. Hannah Kurth
Grete Schone……………………………….. Emily Hagens
Ceruti…………………………………..Benjamin Krumreig
Hattie Watney…………………………………Alexa Devlin
Countess Lotte…………………………..Gretchen Windt
Rudi Kleber………..Nathan Brian | Ted Christopher
Prince Charles Metterling…………….Samus Haddad
Franzel…………………………………………….Isaac Assor
Carl………………………………………..Madi Christopher
Madame Pelotti……………………………Tanya Roberts
Sadun………………………………… Jessamyn Anderson
Lilli……………………………………. Jessamyn Anderson
1st Officer……………………………… Matthew Brennan
2nd Officer…………………………… Cameron Brownell
Elizabeth……………………………………… Emily Nelson
Sonia……………………………………….Hannah Gauthier
Wanda……………………………………………..Audrey Lee
Sari……………………………………… Hilary Koolhoven
Mitzi………………………………………..Amy Livingston
Hilde…………………………………Alexandra Camastro
Emmy………………………………………..Tanya Roberts
Footman…………………………………….Jacob Clanton
Kathie………………………………..Alexandra Camastro
Lorelei……………………………………. Katharine Nunn
Signor Valdo…………………………………….Matt Kelly
The Night Watchman……………. Christopher Sapp
Echo……………………………………………….Matt Kelly
Otto…………………………………..Bryson Christopher
Oscar………………………………….. Matthew Brennan
Schani………………………………………. Royce Strider
Goetzer………………………………………….Matt Kelly
Poldi…………………………………………Spencer Reese
Young Maria Ziegler (cover)……. Jessamyn Anderson

Ensemble

Jessamyn Anderson, Isaac Assor, Matthew Brennan, Cameron Brownell, Alexandra Camastro, Tom Carle, Jacob Clanton, Bailey Cummings, Stephen Faulk, Hannah Gauthier, David Geist, Matt Kelly, Hilary Koolhoven, Audrey Lee, Amy Livingston, Hannah Miller, Emily Neill, Emily Nelson, Katharine Nunn, Spencer Reese, Tanya Roberts, Christopher Sapp, Royce Strider

The Little Dutch Girl

(1920) Music by Emmerich Kálmán, Original German Libretto by Leo Stein and Béla Jenbach English Translation by Steven A. Daigle

The year 2015 marked the 100th anniversary of Hungarian-born Emmerich Kálmán’s operetta Die Csárdásfürstin (The Gypsy Princess). With this work, the composer began a remarkable—and virtually unprecedented—string of eight consecutive operetta masterpieces for the Vienna stage, all achieving great international popularity. In the third of these, Das Hollandweibchen (The Little Dutch Girl), Kálmán set out to “scale back the . . . modern dance genre and . . . assign a larger role to the chorus . . . modeled on our grand classical operettas.” German Princess Jutta is stood up at her arranged royal wedding by groom Prince Paul, whom she has never met, but who prefers to spend the day sailing on a lake in Holland. Through the machinations of her prime minister, she is nevertheless married by proxy to the absent Prince. She seeks revenge and travels to Holland, disguises herself as “a little Dutch girl” Bella, and gets the unsuspecting Prince to fall hard for her—she then reveals her identity and dumps him. The lovesick Paul follows her back to Germany, but to no avail . . . or so it seems. Kálmán’s musical score is masterful, highlighted by a most fiery Hungarian quartet and frenzied dance sequence.
New Performance Edition and English Translation
by Steven Daigle
Music by…………………………………. Emmerich Kálmán
Libretto by………………………Leo Stein and Béla Jenbach
Conductor………………………………… Steven Byess
Stage Director……………………………Steven Daigle
Choreographer…………………………….Spencer Reese
Set Designer…………………….. Tymberley Whitesel
Costume Designer………………………..Stefanie Genda
Lighting Designer………………………..Daniel Huston
Princess Jutta……………………………Meagan Sill
Baroness Elly, from the Weyde, first maid of honor
Jessamyn Anderson

Chatelaine Sallina Frelln Webel Horst…….Gretchen Windt
Marshal of Eberius………………………..David Geist
Von Stopp, lord chamberlain…………..Benjamin Krumreig
Prince Adalbert, Jutta’s uncle…………….. Brad Baron
Paul Roderich, crown prince of Usingen….Clark Sturdevant
Dr. Udo von Sterzel, extraordinary ambassador of Usingen
Samus Haddad

Von Oppel, minister of Usingen………….Spiro Matsos
Von Seydenhecht, minister of Usingen………Nathan Brian
Von Trockenrodt, minister of Usingen………Stephen Faulk
Four newlyweds
Emily Nelson, Tanya Roberts, Alexandra Camastro, Hannah Kurth

Von Tiedemann, president…… Matthew Brennan
Baron Seeborg……………….Tom Carle
Von Melow……………..Kyle Yampiro
Von Wetterling……….Spencer Reese
Klaas, host…………………Isaac Assor
Coachman…………. Cameron Brownell
Princess Jutta (cover)…..Katherine Corle

Ensemble

Isaac Assor, Brad Baron, Matthew Brennan, Nathan Brian, Cameron Brownell,
Alexandra Camastro, Tom Carle, Jacob Clanton, Katherine Corle, Stephen Faulk,
Hannah Gauthier, David Geist, Emily Hagens, Hilary Koolhoven, Hannah Kurth, Audrey Lee, Amy Livingston, Spiro Matsos, Hannah Miller, Emily Neill, Emily Nelson, Katharine Nunn, Spencer Reese, Tanya Roberts, Christopher Sapp, Kyle Yampiro

2015 Season

Brigadoon

(1947) Music by Frederick Loewe, Lyrics and Book by Alan Jay Lerner
One of the most beloved American musicals, Lerner and Loewe’s 1947 Brigadoon not only propelled its composer and lyricist toward the front ranks of Broadway, as rivals to Rodgers and Hammerstein, but also introduced to musical theater a new type of other-worldly romanticism. Americans Tommy and Jeff, while on a hunting trip in Scotland, stumble on an unmapped village, whose citizens are in the midst of a fair and also celebrating the impending marriage of Charlie and Jean. Jean’s older sister Fiona and Tommy take an immediate liking to one another, while the brazen village lass Meg wastes no time in pursuing Jeff. When Tommy notes that the locals have never heard of a telephone and that Charlie has attached the date 1746 to his bible signature, he questions Fiona on the strange goings-on. She leads him to the local schoolmaster, Mr. Lundie, who explains that Brigadoon appears only one day every hundred years. Disenchanted by local events, Tommy and Jeff return to New York, but are soon drawn back to the Highlands. But Brigadoon has vanished … or has it? Song hits include Jean’s “Waitin’ for My Dearie,” Tommy’s “Almost Like Being in Love” and “There But for You Go I,” Charlie’s “Come to Me, Bend to Me,” and Meg’s show-stopping “The Love of My Life.”
Music by………. Frederick Loewe
Book & Lyrics by……….. Alan Jay Lerner
Stage Director…………. Jacob Allen
Conductor………….J. Lynn Thompson
Choreographer………..Carol Hageman
Set Designer………. Michael Benson
Costume Designer……… Charlene Gross
Lighting Designer……….Erich Keil
Dialect Design…….Paul Meir Dialect Services, LLC
Tommy Albright, a well-to-do New Yorker….Nathan Brian
Jeff Douglas, Tommy’s friend………Brad Baron
Maggie Anderson………. Holly Flack
Archie Beaton, Harry’s father…Kyle Yampiro
Angus MacGuffie, head of his clan…. Mark Snyder
Meg Brockie…… Olivia Maughan, Gretchen Windt
Stuart Dalrymple……….. Jaron Putnam
Sandy Dean …………..Paul Holmes
Harry Beaton, Archie’s son….. Spencer Reese
Andrew MacLaren, father to Fiona and Jean
Clark Sturdevant

Fiona MacLaren, Andrew’s eldest daughter
Katherine Polit

Jean MacLaren, Andrew’s youngest daughter, engaged to Charlie
Emily Hagens

Charlie Dalrymple, engaged to Jean
Stephen Faulk, Benjamin Krumreig

Fishmonger……….Andrew Zapata
Mr. Lundie, schoolmaster of Brigadoon….Ted Christopher
Ian MacGregor, head of his clan…….Samus Haddad

Sword Dancers
Brad Karel, C.J. David, Kyle Yampiro, Spencer Reese

Bagpiper………Victor Welsch
Frank, a bartender in New York………C.J. David
Jane Ashton, Tommy’s fiancée in New York….. Caitlin Ruddy

Ensemble

Townsfolk of Brigadoon Jessamyn Anderson, Ted Christopher, Katherine Corle, C.J. David, Holly Flack, Samus Haddad, Paul Holmes, Adrienne Jones, Bradley Karel, Hannah Kurth, Audrey Lee, Emily Nelson, Jaron Putnam, Spencer Reese, Sarah Roth, Caitlin Ruddy, Ashley Shamy, Meagan Sill, Mark Snyder, Royce Strider, Clark Sturdevant, Amelia Sutherland, Alexandra Vecchio, Kyle Yampiro, Andrew Zapata

Cole Porter’s Can-Can

(1953) Music and Lyrics by Cole Porter, Book by Abe Burrows
For many theater historians and Broadway enthusiasts, the greatest of all American song composers, Cole Porter brought more of himself, his extraordinary life, and his times to his stage works than any of his contemporaries. The Ohio Light Opera, following in the footsteps of its recently acclaimed productions of Porter’s rarely staged Jubilee and Silk Stockings, turns its attention this season to the ever-engaging Can-Can, set in 1893 in Porter’s beloved Paris, and featuring one of the composer’s most glorious scores. Can-can dancers at La Môme Pistache’s Montmartre nightclub are constantly arrested, and then acquitted, on morals charges. A new, upright judge, Aristide, pays a visit to the club to see for himself – he is determined to enforce the law and get results. Instead, he is enchanted by the dance and falls hard for Pistache, eventually gets disbarred, and joins with his paramour in getting arrested so that he can have his own day in court and, with Pistache, refute the obscenity charges. Few shows have contributed more tunes to the Top 40 charts: “C’est Magnifique,” “Live and Let Live,” “Allez-Vous En,” “It’s All Right with Me,” and the haunting “I Love Paris.”

Music & Lyrics by……………………….Cole Porter
Book by………………………………….Abe Burrows
Stage Director……………………….. Steven Daigle
Conductor………………………………….Steven Byess
Choreographer……………………….Carol Hageman
Set Designer……………………………. Cassie King
Costume Designer………………. Charlene Gross
Lighting Designer………………………. Erich Keil
Assistant Stage Director…………….Spencer Reese
Bailiff ……………….. Jaron Putnam
Court President, Henri Marceaux ………..Brad Baron
Judge Paul Barriere …………………Kyle Yampiro
Judge Aristide Forestier………………Ted Christopher
Gabrielle …………………………… Holly Flack
Marie…………………… Caitlin Ruddy
Celestine…………………….. Hannah Kurth
Girl…………………………. Alexandra Vecchio
Claudine……………………. Jessamyn Anderson
Policeman…………………….. Royce Strider
Second Policeman…………… Bradley Karel
Hilaire Jussac, art critic………….. Boyd Mackus
Boris Adzinidzinadze, Bulgarian sculptor…….Stephen Faulk
Waiter………………. Spencer Reese
Second Waiter…………… Jaron Putnam
La Môme Pistache, owner of the Bal du Paradis………. Sarah Best
Hercule…………………………….C.J. David
Étienne……………….. Clark Sturdevant
Théophile………………… Andrew Gilstrap
Photographer…………………… Andrew Zapata
Nun…………………………………….. Sarah Diller
Model………………………. Emily Hagens
Jailor………………………………… Paul Holmes
Rainbow…………………………… Brad Baron
Mimi…………………… Katherine Corle
Tabac Waiter………………… Royce Strider
Monarchist……………………..Kyle Yampiro
Doctor…………………….. Jaron Putnam
Turnkey………………………Paul Homes
Prosecutor…………………. Matt Kelly
Man…………………………….Brad Baron
Woman………………….. Sarah Diller
Second…………………….Brad Baron

Ensemble

Brad Baron, Katherine Corle, C.J. David, Sarah Diller, Holly Flack, Andrew Gilstrap, Emily Hagens, Paul Holmes, Bradley Karel, Matt Kelly, Hannah Kurth, Jaron Putnam, Spencer Reese, Caitlin Ruddy, Laura Schneider, Ashley Shamy, Meagan Sill, Royce Strider, Clark Sturdevant, Amelia Sutherland, Alexandra Vechhio, Kyle Yampiro, Andrew Zapata

One Touch Of Venus

(1943) Music by Kurt Weill, Lyrics by Ogden Nash, Book by Ogden Nash and S.J. Perelman
A most intriguing combination indeed: the comical and romantic lyrics of America’s master of light verse, Ogden Nash; the witty and stylish dialogue of humorist S. J. Perelman; and the captivating musical score of Kurt Weill. One Touch of Venus exploits that ever-popular premise of a statue of Venus that comes to life, but can’t quite adapt to the real world. Art aficionado Whitelaw Savory has installed in his museum a statue of Venus that bears a resemblance to a former girlfriend. The statue comes to life, but takes a liking not to its owner, but rather to Savory’s barber Rodney Hatch, from Ozone Heights. Rodney’s fiancée Gloria is furious, Savory is despondent over his unrequited love for Venus, and Venus has her hands full in winning over the reticent Rodney. This show is perhaps the closest that Weill ever came to pure musical comedy – but with an obvious debt to operetta. Song hits include Venus’ “I’m a Stranger Here Myself,” Savory’s “West Wind,” and the irresistibly seductive “Speak Low,” with which Venus tries to ensnare Rodney after she has whisked Gloria off to the North Pole. One Touch of Venus has been one of OLO’s most requested titles, and Kurt Weill, not heard at OLO since last century, remains one of musical theater’s greatest ambassadors.

Music by………………………………………………. Kurt Weill
Lyrics by………………………………………….. Ogden Nash
Book by………………. Ogden Nash and S. J. Perelman
Stage Director…………………………………………. Steven Daigle
Conductor………………………………………………..Steven Byess
Choreographer………………………………………Carol Hageman
Set Designer……………………………………………..Daniel Hobbs
Costume Designer…………………………………. Stefanie Genda
Lighting Designer……………………………………………. Erich Keil
Assistant Stage Director………………………….Spencer Reese
Whitelaw Savory, multi-millionaire art collector…………….. Brad Baron
Molly Grant, his assistant………………………………………Hannah Kurth
Rodney Hatch, a barber……………………………….Benjamin Krumreig
Venus, a goddess…………………………………………………….Sarah Best
Gloria Kramer, Rodney’s fiancée………………………….Gretchen Windt
Mrs. Kramer, her mother…………………………………………Sandra Ross
Zuvetli, an Anatolian…………………………………………Clark Sturdevant
Taxi Black, a private detective………………………………… Kyle Yampiro
Stanley, his assistant…………………………………………Andrew Gilstrap
First Student……………………………………………………….Ashley Shamy
Second Student………………………………………….. Amelia Sutherland
Dr. Crippen……………………………………………………….Spencer Reese
Truckmen………………………………………Paul Holmes, Royce Strider
Woman Welder…………………………………………………. Katherine Polit
Bus Starter…………………………………………………………..Paul Holmes
Mrs. Moats, a landlady……………………………………… Olivia Maughan
Rose…………………………………………………………..Alexandra Vecchio
Dr. Rook…………………………………………………………….Jaron Putnam
Sam………………………………………………………………. Samus Haddad
Store Manager…………………………………………………………. C.J. David
Salesgirl…………………………………………………………..Adrienne Jones
Men………………………………………. Spencer Reese, Andrew Zapata
Police Lieutenant……………………………………………………… Matt Kelly
Policeman…………………………………………………………. Royce Strider
Attendant…………………………………………………………. Jaron Putnam
Another Student………………………………………………..Spencer Reese
Matron………………………………………………………………..Caitlin Ruddy

Ensemble
Jessamyn Anderson, C.J. David, Sarah Diller, Andrew Gilstrap, Samus Haddad, Emily Hagens, Paul Holmes, Adrienne Jones, Bradley Karel, Matt Kelly, Olivia Maughan, Emily Nelson, Katherine Polit, Jaron Putnam, Spencer Reese, Caitlin Ruddy, Laura Schneider, Ashley Shamy, Meagan Sill, Royce Strider, Amelia Sutherland, Alexandra Vecchio, Andrew Zapata

Oh, Kay!

(1926) Music by George Gershwin, Lyrics by Ira Gershwin, Book by Guy Bolton and P. G. Wodehouse
If there were any doubts about the impact that George and Ira Gershwin would have on Broadway following their groundbreaking Lady, Be Good! in 1924, they were quickly dispelled two years later when Oh, Kay! opened to near-unanimous rave reviews and produced a handful of tunes that soon became standards. Written as a vehicle for Gertrude Lawrence, the comical plotline invoked a hot topic of the day: bootlegging. The book by Guy Bolton and master of comic fantasy P. G. Wodehouse concerns a rum-running operation, clandestinely based in the Long Island home of out-of-town Jimmy Winter, and run by the aristocratic Duke of Durham and his sister Lady Kay. Jimmy returns with a caustic new bride Constance, who, because of a question over the legality of the marriage, has to spend the night away from the house. Kay, to escape bad weather, blunders into the house and, to avoid detection by an inquisitive revenue officer, is sequestered in the bedroom by Jimmy, eventually posing as both Mrs. Winter and Jimmy’s maid to escape the prying eyes of Constance and her father. “Clap Yo’ Hands,” “Fidgety Feet,” “Do, Do, Do,” and the incomparable “Someone to Watch Over Me” are but a sampling of the tunes in this top-notch Gershwin score.

Music by…………………………………… George Gershwin
Lyrics by………………………………………….. Ira Gershwin
Additional Lyrics by …………………………..Howard Dietz
Book by…………….. Guy Bolton and P. G. Wodehouse
Stage Director……………………………………… Ted Christopher
Conductor……………………………………….. J. Lynn Thompson
Choreographer………………………………………Carol Hageman
Set Designer………………………………………………. Cassie King
Costume Designer…………………………………. Stefanie Genda
Lighting Designer……………………………………………. Erich Keil
Molly Morse……………………………………………………….. Caitlin Ruddy
Peggy……………………………………………………………. Katherine Corle
The Duke of Durham, an English bootlegger……………..Kyle Yampiro
Lady Kay, his sister ……………………………………………..Emily Hagens
Larry Potter, a bootlegger………………………………….. Spencer Reese
“Shorty” McGee, a bootlegger…………………………….Samus Haddad
Phillipa “Phil” Ruxton, twin to Dolly…………………………….. Sarah Best
Dolly Ruxton, twin to Phillipa…………………………. Alexandra Vecchio
Jimmy Winters…………………………………………………… Nathan Brian
Constance Appleton, Jimmy’s bride……………. Jessamyn Anderson
Judge, her father…………………………………………………Boyd Mackus
Revenue Officer Jansen………………………………. Benjamin Krumreig
Assistant Revenue Officer………………………………….Andrew Gilstrap
Mae……………………………………………………………………… Holly Flack
Daisy…………………………………………………………………Hannah Kurth
Pinkham………………………………………………………….Gretchen Windt
Wally………………………………………………………………… Jaron Putnam
Chauffeur………………………………………………………… Andrew Zapata

Ensemble

Katherine Corle, Holly Flack, Andrew Gilstrap, Paul Holmes, Bradley Karel, Matt Kelly, Hannah Kurth, Emily Nelson, Katherine Polit, Jaron Putnam, Sarah Roth, Caitlin Ruddy, Laura Schneider, Ashley Shamy, Meagan Sill, Mark Snyder, Amelia Sutherland, Gretchen Windt, Kyle Yampiro, Andrew Zapata

Ruddigore

(1887) Music by Arthur Sullivan, Libretto by W. S. Gilbert

Although audience reaction at its 1887 premiere, just a few days following the end of the long run of The Mikado, was lukewarm, Ruddigore has since fought its way back in the hearts of Gilbert and Sullivan lovers and is now recognized as one of their most inspired creations. Gilbert designed the plot – featuring witches, curses, ghosts, crime, and a madwoman – as a parody of old-fashioned melodramas. The plot centers on Ruthven Murgatroyd, who has abandoned his position as baronet and its curse-induced obligation to commit a crime every day, and is now living a simple, carefree life as villager Robin Oakapple. That is … until he falls in love with Rose Maybud, his jealous foster brother Richard Dauntless reveals his true identity, and he is forced to resume his baronet position. Musical highlights include the ghostly “When the Night Wind Howls,” sung by chief ancestor Roderic Murgatroyd as he descends from his portrait; the catchy, tongue-twisting patter trio, “My Eyes Are Fully Open”; “I Was Once a Very Abandoned Person,” intoned by the reformed Despard and Mad Margaret; and Roderic and Dame Hannah’s exquisite duet, “There Grew a Little Flower.”
Music by……………………………………….. Arthur Sullivan
Libretto by………………………………….William S. Gilbert
Stage Director…………………………………………. Steven Daigle
Conductor………………………………………………..Steven Byess
Choreographer……………………………………….Spencer Reese
Set Designer………………………………………… Michael Benson
Costume Designer………………………………….Adrienne Jones
Lighting Designer……………………………………………. Erich Keil
Assistant Stage Director………………………….Spencer Reese
Sir Ruthven Murgatroyd (disguised as young farmer Robin Oakapple)………… Nathan Brian
Richard Dauntless, his foster-brother…………………..Stephen Faulk
Sir Despard Murgatroyd, a wicked baronet………..Ted Christopher
Old Adam Goodheart, Robin’s faithful servant……Andrew Gilstrap
Rose Maybud, a village maiden………………………… Katherine Polit
Dame Hannah, Roses’ Aunt……………………….. Julie Wright Costa
Mad Margaret……………………………………………………….Sarah Best
Zorah, professional bridesmaid……………………………….Sarah Diller
Ruth, professional bridesmaid………………………….Katherine Corle
Sir Roderic Murgatroyd, the 21st baronet…………………Brad Baron
Ghost 1…………………………………………………………….Mark Snyder
Ghost 2…………………………………………………………….Paul Holmes
Ghost 3……………………………………………………………….. C.J. David
Ghost 4……………………………………………………….. Samus Haddad

Ensemble

Brad Baron, Katherine Corle, C.J. David, Holly Flack, Samus Haddad, Emily Hagens, Paul Holmes, Matt Kelly, Hannah Kurth, Olivia Maughan, Emily Nelson, Jaron Putnam, Spencer Reese, Caitlin Ruddy, Laura Schneider, Ashley Shamy, Mark Snyder, Royce Strider, Amelia Sutherland, Alexandra Vecchio, Andrew Zapata

Friederike

(1928) Music by Franz Lehár, English Libretto by Adrian Ross and Harry S. Pepper
Few, if any, German cultural figures are revered as much as poet/playwright/novelist Johann Wolfgang von Goethe. It was thus quite a daring step when famed composer Franz Lehár and his librettists chose to write an operetta about his early days as a struggling poet and his love affair with Friederike Brion, daughter of an Alsacian village parson. The operetta’s plot centers on Goethe’s sought-after appointment as court poet in Weimar, which, because of past court experiences, will be approved by the reigning Duke only if Goethe remains a bachelor. Intent on marrying Friederike, he refuses the post. Recognizing the importance of the opportunity to her beloved’s career, she begins flirting with his best friend Lenz. Thinking her unfaithful, Goethe accepts the court position, bids Friederike a cold farewell, and heads for Weimar. Years later, he passes through her home town again and only then learns the truth. But is it too late? Lehár poured out his heart in writing one of his most beautiful scores. Operetta lovers will most certainly recognize several tunes, including “Oh, Maiden, My Maiden,” sung by Goethe as he revels in his court poet offer and the belief, at that moment, that he will be enjoying it with the love of his life, and Friederike’s “Why Did You Kiss My Heart Awake?” as she struggles with the heartwrenching decision that she feels obligated to make.
English version by Adrian Ross and Harry S. Pepper Used by arrangement with European American Music Distributors Company, U.S. and Canadian agent for Glocken Verlag Ltd., London, publisher and copyright owner.

Music by………………………………………………………….Franz Lehár
Book and lyrics by………………………….. Ludwig Herzer and Fritz Löhner-Beda
Stage Director……………………………………….. Steven Daigle
Conductor…………………………………….Wilson Southerland
Choreographer…………………………………… Carol Hageman
Set Designer……………………………………………..Cassie King
Costume Designer………………………………..Charlene Gross
Lighting Designer…………………………. Shannon Schweitzer
Assistant Stage Director…………………………. Michael Lucas
Karl August, Grand Duke of Saxe-Weimar…………..Samus Haddad
Johann Jakob Brion, pastor of Sesenheim……………..Kyle Yampiro
Magdalena, his wife………………………………………. Olivia Maughan
Salomea, their daughter…………………………………. Gretchen Windt
Friederike, their daughter……………………………………….Meagan Sill
Johann Wolfgang von Goethe, law student………. Clark Sturdevant
Jakob Lenz, a theological student………………………..Stephen Faulk
Friedrich Weyland, medical student………………….. Andrew Gilstrap
Franz Lerse……………………………………………………………. Matt Kelly
Georg Engelbach………………………………………………Royce Strider
Johann Heinrich Jung-Stilling……………………………………. C.J. David
John Meyer…………………………………………….. Benjamin Krumreig
Captain Karl Ludwig von Knebel,tutor at the Court of Weimar………………………….Samus Haddad
Madame Schöll………………………………………… Julie Wright Costa
Hortense, her daughter…………………………………….Katherine Polit
Madame Hahn……………………………………………………. Sarah Best
Liselotte……………………………………………………………Emily Hagens
Dorothée…………………………………………………………Caitlin Ruddy
Annette………………………………………………………….. Hannah Kurth
Babette……………………………………………………………… Holly Flack
Christel……………………………………………………….Laura Schneider
Clarrie……………………………………………………………..Emily Nelson
Lottie…………………………………………………………. Katherine Corle
Babbie………………………………………………… Jessamyn Anderson
Mollie……………………………………………………………. Ashley Shamy
A Postilion……………………………………………………….Nathan Brian
Schöpflin……………………………………………………….. Spiro Matsos
A Peasant………………………………………………………….Alexandra Vecchio
Another Peasant…………………………………………………………..Sarah Best
Servant…………………………………………………………….Alexandra Vecchio
Servant……………………………………………………………………Nate Brian

Ensemble

Jessamyn Anderson, Sarah Best, Nathan Brian, Katherine Corle, C.J. David, Holly Flack, Andrew Gilstrap, Samus Haddad, Emily Hagens, Bradley Karel, Matt Kelly, Benjamin Krumreig, Hannah Kurth, Spiro Matsos, Emily Nelson, Katherine Polit, Caitlin Ruddy, Laura Schneider, Ashley Shamy, Royce Strider, Alexandra Vecchio, Andrew Zapata

The Yeomen Of The Guard

(1888) Music by Arthur Sullivan, Libretto by W. S. Gilbert
In its combination of comedy and pathos, and the human, rather than farcical, qualities of its characters, The Yeomen of the Guard holds a unique place among the Gilbert and Sullivan operettas. In an inheritance scam by a scheming relative, the bearded Colonel Fairfax has been condemned to death and is to be executed at the Tower of London. Sergeant Meryll, of the Yeomen of the Guard, concocts a plan whereby his son Leonard, arriving to join the Yeomen, will go into hiding and be impersonated by a beardless, unrecognizable Fairfax, thus providing time to seek a pardon. In order to thwart his unscrupulous kinsman, Fairfax begs the Tower Lieutenant to find him a wife. Meanwhile, jester Jack Point and his intended bride, the strolling singer Elsie Maynard, have arrived in town. The Lieutenant confronts Elsie and, with the promise of 100 crowns and an assurance to Jack that her new husband will soon be dead, Elsie is blindfolded, whisked away, and married to Fairfax. But the plan goes awry… Both Gilbert and Sullivan felt that Yeomen was their finest collaboration. There are few, if any, songs in the operetta repertoire as sincere and emotionally grabbing as Jack and Elsie’s “I Have a Song to Sing, O!”
Music by……………………………………….. Arthur Sullivan
Libretto by………………………………….William S. Gilbert
Stage Director………………………………….. Julie Wright Costa
Conductor……………………………………….. J. Lynn Thompson
Choreographer……………………………………….Spencer Reese
Set Designer…………………………………… Tymberley Whitesel
Costume Designer…………………………………. Stefanie Genda
Lighting Designer…………………………… Shannon Schweitzer
Sir Richard Cholmondeley, Lieutenant of the Tower……Kyle Yampiro
Colonel Fairfax, under sentence of death…………… Clark Sturdevant
Sergeant Meryll, of the Yeomen of the Guard……………Boyd Mackus
Leonard Meryll, his son………………………………………..Stephen Faulk
Jack Point, a strolling jester……………………………….Ted Christopher
Wilfred Shadbolt, head jailer and assistant tormenter…….Brad Baron
The Headsman…………………………………………………Samus Haddad
First Yeoman…………………………………………….. Benjamin Krumreig
Second Yeoman……………………………………………………Paul Holmes
First Citizen………………………………………………………… Royce Strider
Second Citizen…………………………………………………. Michael Lucas
Elsie Maynard, a strolling singer………………………………Emily Nelson
Phoebe Meryll, Sergeant Meryll’s daughter……………Olivia Maughan
Dame Carruthers, housekeeper to the Tower……………. Sandra Ross
Kate, her niece……………………………………………………… Sarah Diller

Ensemble

Jessamyn Anderson, Nathan Brian, Katherine Corle, C.J. David, Holly Flack, Andrew Gilstrap, Samus Haddad, Paul Holmes, Bradley Karel, Matt Kelly, Benjamin Krumreig, Michael Lucas, Katherine Polit, Jaron Putnam, Spencer Reese, Sarah Roth, Laura Schneider, Meagan Sill, Royce Strider, Amelia Sutherland, Lauren Vanden Broeck, Gretchen Windt

2014 Season

My Fair Lady

(1956) Music by Frederick Loewe, Book and Lyrics by Alan Jay Lerner
Its literary source, setting, and original stars were thoroughly British, its composer was born in Germany, its librettist educated in England – and yet My Fair Lady could only have been a creation of Broadway. From its 1956 opening to its close more than six years later as the longest-running musical in Broadway history, the show captured the hearts of theater-goers as no musical before or since. Phonetics professor Henry Higgins accepts a bet from his friend, Colonel Pickering, that he cannot groom a bedraggled Covent Garden flower girl, Eliza Doolittle, and pass her off to his society friends as a lady. When, after months of coaching, “the rain in Spain” falls eloquently off her tongue, the transformation is complete, as Eliza impresses Higgins’ socialite friends at Ascot and at the Embassy Ball. But she rails against her mentor for turning her into something that she is not. She returns to Covent Garden, unrecognized by her friends and thoroughly disenchanted. Only now does Higgins realize his true feelings for her. But maybe too late – Freddy Eynsford-Hill has asked for her hand … Almost every song achieved hit status: “Wouldn’t It Be Loverly,” “With a Little Bit of Luck,” “I Could Have Danced All Night,” “On the Street Where You Live,” “Get Me to the Church on Time,” and “I’ve Grown Accustomed to Her Face.”

Adapted from George Bernard Shaw’s Play and Gabriel Pascal’s motion picture Pygmalion

Book & Lyrics by………………………….Alan Jay Lerner
Music by……………………………………Frederick Loewe
Stage Director:……………………………………………Jacob Allen
Conductor:………………………………………… Lynn Thompson
Choreographer:……………………………………Carol Hageman
Assistant Director:………………………………….Spencer Reese
Set Designer:…………………………………………….Kim Powers
Costume Designer:………………………………. Stefanie Genda
Lighting Designer:……………………………..Weston Wilkerson
Sound Designer:…………………………………………………………….Andy Kauff
Dialect Design:……………………………………..Paul Meier Dialect Services, LC
Eliza Doolittle……………………………….Natalie Ballenger, Tanya Roberts
Henry Higgins………………………………………………………Ted Christopher
Mrs. Pearce………………………………………………………….Olivia Maughan
Zoltan Karpathy…………………………………………………….. Stefan Gordon
Alfred P. Doolittle……………………………………………………….. Daniel Neer
Freddy Eynsford-Hill………………………………………………. Stephen Faulk
…………………………………………………………………… Andrew Maughan
Colonel Pickering……………………………………………………Anthony Maida
Mrs. Higgins ……………………………………………………Julie Wright Costa
Mrs. Eynsford-Hill……………………………………………………… Alexa Devlin
Lady Boxington……………………………………………………..Gretchen Windt
Lord Boxington………………………………………………………….Mark Snyder
Mrs. Hopkins…………………………………………………………… Emily Nelson
Jamie………………………………………………………………..Clark Sturdevant
Harry…………………………………………………………………… Stefan Gordon
Cockney Quartet………………………………..C.J. David, Jayson Lebaron, Christopher Calderazzo, Paul Holmes
Higgins’ Servants………………Wendy Marck, Tara Sperry, Janie Crick, Hannah Kurth, Jayson Lebaron, Michael Lucas
Selsey Man……………………………………………………….. Colin Commager
Hoxton Man…………………………………………………………Andrew Gilstrap
Bartender…………………………………………………….Christopher Oglesby
Policeman…………………………………………………………..Andrew Gilstrap
Footman………………………………………………………………………C.J. David
Queen of Transylvania…………………………………………….Gretchen Windt

Dialect samples courtesy of the International Database of English Accents

Ensemble

Servants, Cockneys, Opera-Goers, Ascot Racetrack Devotees, Embassy Ball Patrons, Street Buskers Christopher Calderazzo, Grace Caudle, Colin Commager, Janie Crick, C.J. David, Alexa Devlin, Chelsea Friedlander, Andrew Gilstrap, Stefan Gordon, Paul Holmes, Hannah Kurth, Jayson Lebaron, Michael Lucas, Wendy Marck, Emily Nelson, Christopher Oglesby, Arielle Schmidt, Mark Snyder, Tara Sperry, Clark Sturdevant, Gretchen Windt

Call Me Madam

(1950) Music and Lyrics by Irving Berlin, Book by Howard Lindsay and Russel Crouse
“Irving Berlin has no place in American music. HE IS AMERICAN MUSIC.” This observation, by no less than Jerome Kern, was offered even years before Berlin wrote “Easter Parade,” “There’s No Business Like Show Business,” “White Christmas,” and hundreds of other songs that only further solidified his position as America’s favorite songwriter. Although he contributed a few hundred songs to Broadway musical revues, he wrote the scores for only seven book musicals, including Annie Get Your Gun and, in 1950, the engaging Call Me Madam, based on episodes in the life of Washington socialite Perle Mesta. In the show, Sally Adams, the “Hostess with the Mostes’ on the Ball,” has been appointed ambassador to the Grand Duchy of Lichtenburg. Upon her arrival, she becomes entangled with Cosmo Constantine, head of the Conservative Radical party – too proud to accept an American loan to bail out his bankrupt country, but unable to refuse her own offer to save the 300-year-old Lichtenburg fair from cancellation. Sparks fly between Sally and Cosmo – romantic and otherwise. But her interference in the local politics triggers her recall to Washington. Berlin’s remarkable score includes “It’s a Lovely Day Today,” “The Best Thing for You,” “The Ocarina,” and a Berlin counterpoint specialty: the incomparable duet “You’re Just in Love” (“I Hear Singing and There’s No One There”) – try, if you can, to get this tune out of your head!

Lyrics & Music by………………………………Irving Berlin
Book by………..Howard Lindsay and Russel Crouse
Stage Director:……………………………………….. Steven Daigle
Conductor:……………………………………………..Steven Byess
Choreographer:……………………………………Carol Hageman
Dance Captain and Assistant Director:……………………Spencer Reese
Set Designer:…………………………………………….Kim Powers
Costume Designer:………………………………. Charlene Gross
Lighting Designer:…………………………………………. Erich Keil
Sound Designer:………………………………………….Andy Kauff
Mrs. Sally Adams……………………………………….Alexa Devlin, Olivia Maughan
Kenneth Gibson………………………………………………………Stephen Faulk
Princess Maria……………………………………………………………Tara Sperry
Cosmo Constantine………………………………………………Ted Christopher
Sebastian Sebastian………………………………………………. Stefan Gordon
Pemberton Maxwell…………………………………………………Michael Lucas
Senator Gallagher Acheson……………………………………..Anthony Maida
Senator Brockbank…………………………………………………….. Jacob Allen
Congressman Bill Wilkins………………………………………Clark Sturdevant
Congressman Harry Gibson…………………………………….. Aidan Smerud
Miss Philips……………………………………………………………….. Janie Crick
Clerk………………………………………………………………… Jayson Lebaron
Court Chamberlain………………………………………..Christopher Oglesby
Grand Duke (Otto) of Lichtenburg ………………………………Boyd Mackus
Grand Duchess (Sophie) of Lichtenburg………………..Julie Wright Costa

Ensemble

Various Senators, Townspeople of Lichtenburg, Socialites, Politicians Jacob Allen, Natalie Ballenger, Grace Caudle, Colin Commager, Julie Wright Costa, Chelsea Friedlander, Andrew Gilstrap, Stefan Gordon, Hannah Kurth, Jayson Lebaron, Michael Lucas, Anthony Maida, Wendy Marck, Andrew Maughan, Olivia Maughan, Emily Nelson, Christopher Oglesby, Jamie Rappaport, Sarah Roth, Arielle Schmidt, Aidan Smerud, Clark Sturdevant, Gretchen Windt

Die Fledermaus

(1874) Music by Johann Strauss II, Libretto by Richard Genée, and Carl Haffner, Translation by Ruth and Thomas Martin
No stage work so magically evokes the elegance and effervescence of life in Vienna as does Johann Strauss’ Die Fledermaus. Its 1874 premiere ushered in the Golden Age of Viennese Operetta – within a few years, Vienna had supplanted Paris as the operetta capital of the world. Based on German and French farces, the story unfolds as a plot by Dr. Falke to avenge his earlier embarrassment on being dumped in a park, drunk and wearing a bat costume, by the well-to-do Gabriel Eisenstein following a masked ball. Falke invites Eisenstein, his wife Rosalinda, and their chambermaid Adele to a party thrown by the perpetually bored Prince Orlofsky. None of the three knows of the other invitations and, as part of Falke’s scheme, each arrives at the party in disguise. Add to the mix an operatic tenor and former suitor of Rosalinda, a determined prison warden, an incompetent lawyer, and a drunken jailer … and you have the ingredients for operetta at its best. The amusing interplay of the characters is supported by a dizzying array of Strauss tunes: a drinking song by Rosalinda’s suitor Alfred, a tribute to champagne, Rosalinda’s famous csardas, coloratura flights by Adele, and, of course, the expected selection of Strauss waltzes, polkas, and marches.

Music by………………………………………………Johann Strauss, Jr.
Original German Libretto by……………. Richard Genée and Karl Haffner
English Translation by……….Ruth and Thomas Martin
Stage Director:……………………………………. Ted Christopher
Conductor:………………………………………… Jonathan Girard
Choreographer:……………………………………Carol Hageman
Set Designer:……………………………………….Murdock Lucas
Costume Designer:………………………………. Stefanie Genda
Lighting Designer:……………………………..Weston Wilkerson
Sound Designer:………………………………………….Andy Kauff
Gabriel von Eisenstein………………………………………………..Daniel Neer
…………………………………………………………………………Stefan Gordon
Rosalinda………………………………………………………………… Tara Sperry, Tanya Roberts
Alfred………………………………………………………………Andrew Maughan, Anthony Maida
Adele……………………………………………………………………… Emily Nelson
Dr. Blind…………………………………………………………………Michael Lucas
Dr. Falke………………………………………………………………..Boyd Mackus
…………………………………………………………………………..Nathan Brian
Frank………………………………………………………………….Jayson Lebaron
Sally…………………………………………………………………… Arielle Schmidt
Frosch……………………………………………………………………… Jacob Allen
Prince Orlofsky…………………………………………………… Olivia Maughan, Gretchen Windt
Ivan………………………………………………………………………..Spiro Matsos

Ensemble

Guests at Orlofsky’s Party Grace Caudle, Christopher Calderazzo, Colin Commager, Janie Crick, C.J. David, Sarah Diller, Chelsea Friedlander, Andrew Gilstrap, Paul Holmes, Adrienne Jones, Hannah Kurth, Michael Lucas, Wendy Marck, Spiro Matsos, Christopher Oglesby, Jamie Rappaport, Sarah Roth, Arielle Schmidt, Aidan Smerud, Mark Snyder

The Pirates Of Penzance (The Slave of Duty)

(1879) Music by Arthur Sullivan, Libretto by William Gilbert
No Gilbert and Sullivan stage work boasts as many walk-away tunes as their 1879 The Pirates of Penzance, whose official world premiere took place in New York City under the supervision of G&S themselves. Building on the success of the previous year’s H.M.S. Pinafore, but trading – as their satirical focus – the rigors of naval discipline for the obligations of duty, G&S manage to burlesque their normal share of popular institutions, including the army, the police, and operatic sopranos. Pirate apprentice Frederic, at age 21, has faithfully served out his indentures and, replete with a sense of duty, joins the police force, determined to exterminate his old mates. He falls in love with Mabel, the first girl he sees, but the daughter of Major-General Stanley, who himself is the target of a pirate revenge plot. Plans go awry when it is revealed that, thanks to a leap-day birth, Frederic is really only five and one-quarter years old. The engaging musical score includes some of the catchiest music in operetta: Mabel’s pyrotechnic “Poor Wandering One!;” the tongue-twisting patter song “I Am the Very Model of a Modern Major-General;” “A Policeman’s Lot;” “Climbing over Rocky Mountain” – a survivor from Thespis, G&S’s lost first stage work; and “With Catlike Tread,” which, more than a quarter-century later, was given new words as “Hail, Hail, the Gang’s All Here.”

Music by……………………………………… Arthur Sullivan
Libretto by…………………………………… William Gilbert
Stage Director:……………………………………….. Steven Daigle
Conductor:………………………………………… Lynn Thompson
Choreographer:……………………………………Carol Hageman
Dance Captain, Choreographer and Assistant Director:……….Spencer Reese
Set Designer:……………………………………….Murdock Lucas
Costume Designer:……………………………….Adrienne Jones
Lighting Designer:…………………………………………. Erich Keil
Sound Designer:………………………………………….Andy Kauff
Major-General Stanley………………………………………………Boyd Mackus
The Pirate King………………………Aidan Smerud, Ted Christopher, Stefan Gordon
Frederic……………………………………….Andrew Maughan, Clark Sturdevant
Sergeant of Police……………………………………………..Andrew Gilstrap
Mabel……………………………………………………….Chelsea Friedlander
Ruth…………………………………………………………..Julie Wright Costa
Edith……………………………………………………………… Sarah Diller
Kate…………………………………………………………………Hannah Kurth
Isabel…………………………………………………………….Janie Crick

Ensemble

Chorus of Pirates, General Stanley’s Daughters, Policemen Nathan Brian, Christopher Calderazzo, Grace Caudle, Colin Commager, Janie Crick, C.J. David, Sarah Diller, Stephen Faulk, Stefan Gordon, Paul Holmes, Hannah Kurth, Jayson Lebaron, Wendy Marck, Emily Nelson, Christopher Oglesby, Jamie Rappaport, Spencer Reese, Tanya Roberts, Sarah Roth, Mark Snyder, Tara Sperry, Gretchen Windt

Oh, Lady! Lady!

(1918) Music by Jerome Kern, Lyrics by P. G. Wodehouse, Book by Guy Bolton and P. G. Wodehouse
Between 1915 and 1924, composer Jerome Kern teamed with librettists/lyricists Guy Bolton and famed British author/humorist P. G. Wodehouse on a series of intimate musical comedies – the so-called Princess shows (four of the shows opened at Broadway’s 299-seat Princess Theatre). They featured not the exotic locales and the dukes and duchesses of operetta, nor the lavish spectacle of the Ziegfeld Follies, but rather the romantic and comic entanglements of everyday Americans, in current dress and modern dialogue. These shows forever changed the landscape of Broadway; Richard Rodgers, Cole Porter, George Gershwin, and numerous others credited these musicals with inspiring their own development and quest for a theatrical style. Among American songwriters, Kern was the supreme melodist – no more convincingly showcased than in his 1918 Princess musical Oh, Lady! Lady!! The story focuses on wedding plans of Mollie Farrington and Willoughby “Bill” Finch, which are temporarily derailed by the objections of Mollie’s mother, the arrival of Bill’s old flame May, and the heist of the Farrington family jewels by the ex-girlfriend of Bill’s valet Spike. Wodehouse was at his wittiest and most playful, introducing characters named May Ann Ayes, Lettice Romayne, and Cassie Roll. And Kern’s score bristles from beginning to end with catchy, sentimental tunes, including the song “Bill,” which was eventually dropped from the score, but resurfaced a decade later in Show Boat.

Music by…………………………………………………. Jerome Kern
Book & Lyrics by………….Guy Bolton and P. G. Wodehouse
Stage Director:……………………………………….. Steven Daigle
Conductor:…………………………………………. Lynn Thompson
Choreographer:……………………………………..Carol Hageman
Dance Captain and Assistant Director:……….Spencer Reese
Set Designer:………………………………………….Murdock Lucas
Costume Designer:………………………………… Charlene Gross
Lighting Designer:…………………………………………. Erich Keil
Sound Designer:………………………………………….Andy Kauff
Mollie Farringdon…………………………………….Wendy Marck
Mrs. Farringdon…………………………………Julie Wright Costa
Willoughby “Bill” Finch……………………………….Nathan Brian
Hale Underwood………………………………………….. Jacob Allen
Spike Hudgins…………………………………………….. Daniel Neer
Fanny Welch……………………………………………… Alexa Devlin
May Barber…………………………………………………..Tara Sperry
Cyril Twombly………………………………………….Michael Lucas
William Watty…………………………………………….Mark Snyder
Parker………………………………………………………… Sarah Diller
Fisher………………………………………………………Hannah Kurth
Whitney……………………………………………… Natalie Ballenger
Brewster……………………………………………………… Emily Neill
Elsie………………………………………………….. Natalie Ballenger
Miss Clarette Cup…………………………………Jamie Rappaport
Miss Cassie Roll…………………………………….. Arielle Schmidt
Miss Miss Lotta Pommery…………………………Hannah Kurth
Miss Hallie Butt……………………………………..Olivia Maughan
Miss May Anne Ayes…………………………………..Grace Caudle
Miss Sal Munn…………………………………………Tanya Roberts
Mr. Artie C. Hoke……………………………………. Spencer Reese

Ensemble

Bridesmaids, Friends of Mollie’s and Willoughby’s Natalie Ballenger, Christopher Calderazzo, Grace Caudle, Colin Commager, C.J. David, Sarah Diller, Andrew Gilstrap, Paul Holmes, Hannah Kurth, Michael Lucas, Olivia Maughan, Emily Neill, Jamie Rappaport, Spencer Reese, Tanya Roberts, Arielle Schmidt, Aidan Smerud, Mark Snyder

Dream City and The Magic Knight

(1906) Music by Victor Herbert, Libretto by Edgar Smith, New Performance Edition by Steven Daigle
“A hit from start to finish,” “A new type of popular entertainment,” “A lift or two higher than anything of the kind.” These words, from the New York Times opening-night review of Victor Herbert’s Dream City and The Magic Knight, only begin to capture the ecstatic response of the New York press to one of the most remarkable shows to grace the early-20th-century Broadway stage. Herbert wrote the show, billed as “a dramatic pipe in two puffs,” to accommodate the desire of show producer Joe Weber (of Weber and Fields music hall fame) to create a “higher level of entertainment.” Farmer Wilhelm Dinglebender of Malaria Center, Long Island is offered a 25-percent stake in a Dream City to be built on Dinglebender’s property by fast-talking real estate con artist J. Bilkington Holmes, who promises the farmer that he will soon be richer than John E. Rockefeller. Dinglebender ponders the offer, falls asleep, and dreams that the city has been built. Rich beyond measure, he has been appointed mayor and must, among his responsibilities, attend the opera. So horrible an experience is it that he has Dream City dynamited, only then awakening from his dream. Herbert’s score is a revelatory amalgam of diverse musical styles: ragtime, vaudeville, country music, musical comedy, operetta, opera, music hall – unlike anything that Herbert wrote before or after. The composer’s spoof of Wagner’s Lohengrin during the second-act sequence within the Dream City opera house is absolutely hilarious – “a triumph of musical fooling,” as reported by the New York Tribune.

Music by……………………………………………………………………… Victor Herbert
Book & Lyrics by……………………………………………………………… Edgar Smith
New Performance Edition by………………………………………. Steven A. Daigle
Additional Orchestrations and Reconstructions by…………….. Steven Byess
Stage Director:……………………………………………………………….. Steven Daigle
Conductor:……………………………………………………………………….Steven Byess
Choreographer:……………………………………………………………..Carol Hageman
Assistant Director:…………………………………………………………..Spencer Reese
Set Designer:……………………………………………………………………… Cassie King
Costume Designer:………………………………………………………… Stefanie Genda
Lighting Designer:……………………………………………………………. Eric Norbury
Sound Designer:…………………………………………………………………..Andy Kauff

DREAM CITY
Wilhelm Dinglebender…………………………………………………………. Daniel Neer

A Long Island truck farmer with a dreamy disposition and a chronic distaste for labor
Maria Dinglebender………………………………………………………..Julie Wright Costa

His wife, with energy enough for two and a bossy disposition
Nancy Dinglebender……………………………………………………….. Natalie Ballenger

The Dinglebender’s daughter and the belle of Malaria Center
Amanda Boggs……………………………………………………………………….. Alexa Devlin

The ‘help’ for the Dinglebenders
J. Bilkington Holmes……………………………………………………………….Nathan Brian

A real estate boomer, with the plans for an ideal city
Seth Hubbs………………………………………………………………………. Andrew Maughan

Village hackman, and the oracle of Malaria Center
Henri d’Absinthe……………………………………………………………………..Stephen Faulk

An artist in search of atmosphere
Henry Peck……………………………………………………………………………Anthony Maida

A city flat dweller, spending the weekend with his family in the country
Mrs. Henry Peck…………………………………………………………………….Olivia Maughan

His wife, with alleged society connections in the metropolis

The Peck Daughters:
Mabel………………………………………………………………………………………..Wendy Marck
Maude………………………………………………………………………………………Tanya Roberts
Gladys………………………………………………………………………………………Hannah Kurth

Willie, A kid from Malaria Center………………………………………………..Michael Lucas
Old Man Platt, A relic……………………………………………………………………Mark Snyder
Joe Snediker, Village Romeo…………………………………………………………. Jacob Allen
Hank Schudder, Village Romeo………………………………………………. Jayson Lebaron
Hen Conklin, Village Romeo…………………………………………………………….C.J. David
Rembrandt, A footman……………………………………………………. Christopher Oglesby
Messenger Boy……………………………………………………………..Christopher Calderazzo
Policeman…………………………………………………………………………………Hannah Kurth

THE MAGIC KNIGHT (30-minute burlesque in the second act)

Elsa, A typical grand operatic maiden in the usual distressing predicament………………….. Emily Nelson
Ortrud, Her contralto aunt, given to dabbling in the art of magic……………..Julie Wright, Costa Frederick
Her hen-pecked uncle…………………………………………………………………………………………….. Aidan Smerud
The King, A base monarch………………………………………………………………………Ted Christopher Lohengrin
A professional rescuer of distressed maidens…………………………………………………………..Clark Sturdevant
The Swan/Godfrey, An item in a foul conspiracy…………………………………………………………Michael Lucas

First Knight…………………………………………………………………………………………………………….Stefan Gordon

Three Knights
Lastnite…………………………………………………………………………………………………………………Stefan Gordon
Tunite…………………………………………………………………………………………………………..Christopher Oglesby
Tumaronite……………………………………………………………………………………………………….. Andrew Gilstrap

Ensemble

Citizens of Malaria Center, Knights, Maidens, Men-At-Arms, Pages, Vassals Jacob Allen, Natalie Ballenger, Christopher Calderazzo, Grace Caudle, Colin Commager, Janie Crick, Sarah Diller, C.J. David, Chelsea Friedlander, Andrew Gilstrap, Stefan Gordon, Paul Holmes, Hannah Kurth, Jayson Lebaron, Michael Lucas, Anthony Maida, Wendy Marck, Olivia Maughan, Emily Nelson, Christopher Oglesby, Jamie Rappaport, Tanya Roberts, Arielle Schmidt, Mark Snyder, Clark Sturdevant, Gretchen Windt

The Yeomen Of The Guard

(1912) Music by Emmerich Kálmán Libretto by Robert Bodanzky, Karl von Bakonyi and Franz Martos, New Performance Edition and Translation by Steven Daigle
Hungarian-born composer Emmerich Kálmán has, in recent years, reassumed the position that he held almost a century ago as the world’s most performed operetta composer. His shows are perpetual staples in virtually all of Central and Eastern Europe and Russia. But no company in the world has championed his works with greater dedication than The Ohio Light Opera. In 2014, continuing its survey of the composer’s complete stage works, OLO presents its eleventh Kálmán title – the rarely performed 1912 operetta The Little King (originally Der kleine König). Inspired by the love affair of famed French singer-actress Gaby Deslys and Portugal’s King Manuel II, who at age 20 was forced into exile, the plotline concerns a boyish monarch who falls hard for a visiting opera singer, unaware that she is the daughter of a revolutionary plotting his assassination. During her visit to his palace, she has a bomb implanted in a bouquet of roses that she has ordered for the king. Only at the last second, when she can no longer resist his charms, does she discreetly defuse the bomb. Their almost-explosive love affair blossoms … until he learns of her revolutionary connections, shuns her, and is forced into exile by the Republican uprising. Some time later, on the French coast, surrounded in exile by only his loyal followers, the King welcomes a visitor …. The musical score features Kálmán’s ever-captivating blend of Viennese waltzes and haunting Hungarian harmonies and rhythms, as well as the first-ever use of a tango in a Viennese stage work.

Music by…………………………………………………………………………….Emmerich Kálmán
Original Libretto by………..Karl von Bakonyí, Franz Martos, and Robert Bodanzky
Translation & English Performance Edition by………………………….Steven A. Daigle
Literal English Translation by……………………………………………..Alexander Butziger
Stage Director:…………………………………………………………………………. Steven Daigle
Conductor:…………………………………………………………………………………Steven Byess
Choreographer:………………………………………………………………………Carol Hageman
Dance Captain:………………………………………………………………………..Spencer Reese
Set Designer:……………………………………………………………………………… Cassie King
Costume Designer:………………………………………………………………… Charlene Gross
Lighting Designer:…………………………………………………………………….. Eric Norbury
Sound Designer:…………………………………………………………………………..Andy Kauff
The King ………………………………………………………………………………Clark Sturdevant
Field Marshal General Lincoln……………………………………………Christopher Oglesby
Admiral Montbrison ……………………………………………………………………. Daniel Neer
A Chief of Police………………………………………………………………………Jayson Lebaron
The Lord Chamberlain ………………………………………………………………Michael Lucas
The Colonel………………………………………………………………………………..Nathan Brian
The Lieutenant………………………………………………………………………… Aidan Smerud
Lieutenant Lancelot ………………………………………………………………….Stephen Faulk
Anetta Montarini ………………………………………………………………… Natalie Ballenger
Huck ………………………………………………………………………………………Anthony Maida
Zaza ……………………………………………………………………………………….Gretchen Windt
Daisy………………………………………………………………………………………. Arielle Schmidt
Fifi ………………………………………………………………………………………..Jamie Rappaport
Hedy …………………………………………………………………………….Christopher Calderazzo
Doltschi ……………………………………………………………………………………. Spencer Reese
An Old Lackey……………………………………………………………………………..Michael Lucas
A Petty Officer…………………………………………………………………………………..C.J. David
“My Darling”………………………………………………………………… Bonnie, The Greyhound

Ensemble

Soldiers, Maids, Members of the Court, Navy Officers Christopher Calderazzo, Janie Crick, C.J. David, Sarah Diller, Alexa Devlin, Chelsea Friedlander, Stefan Gordon, Paul Holmes, Adrienne Jones, Jayson Lebaron, Michael Lucas, Olivia Maughan, Daniel Neer, Emily Nelson, Christopher Oglesby, Jamie Rappaport, Spencer Reese, Tanya Roberts, Arielle Schmidt, Aiden Smerud, Tara Sperry