Wooster has become a vibrant “micro-city” in its own right, with a thriving culture and diverse economic opportunities. Read more.
Writing these annual roundups of Ohio Light Opera’s summer festival – run with consistent panache by Artistic Director Steven Daigle and Executive Director Laura Neill – is becoming increasingly challenging in terms of avoiding the same old superlatives, particularly when the week attended includes a four-day symposium (that excellent feature now in its fourth year). This year’s was no exception as all of this company’s customary virtues were undiminished: the extraordinarily versatile players, the fine musicianship, the scholarship that goes into each revival, and above all, the overwhelming sense of dedication to the cause of musical theater and especially operetta. The catnip for buffs this season was threefold: George Gershwin’s 1924 English musical Primrose; Victor Herbert’s 1912 super-rare Cinderella musical The Lady of the Slipper; and the original 1934 version of Cole Porter’s Anything Goes minus all the extraneous interpolations of later years. Matching these titles in delectability, if not necessarily rarity, were Emmerich Kalman’s glorious 1924 classic Countess Maritza and Sigmund Romberg’s still [...]
WCLV's Jacqueline Gerber and Ohio Light Opera's Steven Daigle discuss the 2017 OLO productions.
Be sure to scroll down to the year 1979, when The Ohio Light Opera became the resident professional company on campus, one of only a handful of companies in the country still performing the genre. View the full College of Wooster Timeline here.
It’s a typical, busy summer day for Ohio Light Opera Artistic Director Steven Daigle. “We staged 'Ruddigore' in the morning, (the) afternoon was a production of 'Brigadoon,' and we’re about to move into a dress rehearsal of 'One Touch of Venus.'” Daigle says about 20,000 flock each year to the eight-week festival at the College of Wooster. “A die-hard patron can come in and see all seven of the shows. You can come in and see within a two-day period even a Gershwin, Porter, Lerner and Loewe, and Gilbert and Sullivan title.” Read the full article and hear audio on the WKSU site.
OCT 12, 2015 | By TED BROMUND Wooster, Ohio No works of the late Victorian age are remembered with more affection than those of Gilbert and Sullivan. Yet it’s not been easy to keep those masters of light opera on the professional stage. Since it closed in 1982, the D’Oyly Carte Company, the legendary troupe that staged Gilbert and Sullivan’s Savoy operas, was revived in 1988, and again in 2013—each time to limited success. Today, there is no Mikado, and certainly no Ruddigore, on or off Broadway, or playing in London’s West End. In addition to other challenges, the Victorian bards now face the perils of political correctness: Just a few weeks ago, the New York Gilbert and Sullivan Players canceled their planned production of The Mikado after accusations of racism. Yet here in Wooster, Ohio, a small college town an hour south of Cleveland, the Ohio Light Opera (OLO) just completed its 37th summer season, offering not just Ruddigore, but The Yeomen of [...]