The Ohio Light Opera's 37th season runs June 13 through August 8 at the College of Wooster. Director Steven Daigle stopped by to chat with Jacqueline Gerber about the three shows opening in July.
Ruddigore, running July 8 through August 6
(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."
Friederike, running July 14 through August 6
(1928)
Music by Franz Lehár
Lyrics and Book by Ludwig Herzer and Fritz Lohner
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 Lehar 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? Lehar 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.
The Yeomen of the Guard, running July 22 through August 5
(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!"
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