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 highly potent 1924 The Student Prince, which has the distinction of being the longest-running musical of the 1920’s, besting Gershwin, Porter, Rodgers & Hart, and everyone else. Rounding out the season were decent mountings of H.M.S. Pinafore and The Music Man. READ MORE