Lynn Isnar – wearing one of the dresses she wore yesterday
Calixa Lavallée’s main, perhaps only, claim to fame is that he wrote the music for O Canada! He also wrote an operetta, The Widow. Yesterday I saw it at Toronto Operetta Theatre in a production by Guillermo Silva-Marin. It’s pretty silly. The plot turns on a scheming widow who pretends to drown herself while most of the rest of the characters pretend either to be someone else, or to be married to someone else, or both. Still, it’s fast paced and quite funny and the various sillinesses work out more or less logically. The music is pleasant and well crafted but not strikingly original. I don’t think I actually recall a single tune. So, a worthwhile enough piece but hardly an undiscovered masterpiece.
The production, in variations on concert wear for the most part, was quite kinetic with lots of rushing about and some dance elements. There are probably more entrances and exits than a Brian Rix farce (and for much the same reasons) so that helps. Performances were pretty good. Julie Nesrallah struck the right note as the somewhat overripe Spanish widow Donna Paquita de something-something-something. She sang well and her knowing, almost wink-at-the-audience, approach was just shy of over the top. It made a good anchor. The vocal star was Lynn Isnar as Nanine. It’s classic operetta soubrette territory and her bright tone, easy top and controlled coloratura were just right. She has a nice sense of timing too. Her aria which opened the second act was the vocal highlight of the afternoon. The rest of the cast was made up of TOT regulars and young singers. Everyone sang well and the acting was also good. The young lovers, of both flavours, were appropriately decorative and there was a bumbling ineffectual aristo for Greg Finney to play. Michael Rose accompanied perfectly competently at the piano. So, basically, all operetta boxes ticked.
All in all, a pleasant enough way to spend a really gloomy November Sunday afternoon.
Toronto Operetta Theatre’s current production is Oscar Straus’ The Chocolate Soldier in the English version. It’s based on Shaw’s Arms and the Man but, as is usually the case with musical adaptations of Shaw, it’s rather less acerbic than the original. In fact, it comes over as a somewhat farcical love story with a few gentle pot shots at the military and militarism. There are some good comic lines and the music is tuneful and well crafted.
Toronto Operetta Theatre opened a run of Gilbert and Sullivan’s The Pirates of Penzance at the Jane Mallett Theatre last night. Bill Siva-Marin’s production is competent and very traditional with some strong performers in the key roles. It won’t leave you with any new insights into the piece but it’s a well executed production which is lots of fun and very funny in places. When I say traditional I mean pirates in pantomime pirate dress, maidens in some stereotypically Victorian maiden garb and a Major General in a cod colonial uniform. Tnere are the traditional mild updatings to the libretto including a couple of rather well crafted verses in the MG’s patter song that reference the Glorious Leader of our neighbour to the south. There are also a few nice touches. In the second act the MG spends much of the time clutching a bust of one of his purchased ancestors and the “catlike tread” scene is noisily anything but. That said, the choreography and blocking are pretty formulaic though there are some deft touches in the Personenregie. Mabel’s body language in Oh! Is there not one maiden breast? is worth a look.
By an odd coincidence two season announcement pressers hit my in box today; Toronto Operetta Theatre and Les Ballets Trockadero de Monte Carlo. Toronto Operetta Theatre have four shows:
The Waltz Rivals (November 6th at 3pm) is a Léhar and Kálmán greatest hits show featuring Lucia Cesaroni, Adrian Kramer, Holly Chaplin, Stefan Fehr and Greg Finney with Michael Rose at the piano.
Gilbert and Sullivan’s The Pirates of Penzance runs from December 27th to January 8th, 2017. Colin Ainsworth sings Frederic, Vania Chan is Mabel and Curtis Sullivan is the Major General. Derek Bate conducts and Guillermo Silva-Marin directs.
Oscar Straus’ The Chocolate Soldier, based on George Bernard Shaw’s Arms and the Man, runs on April 26th, 28th, 29th and 30th, 2017. Peter Tiefenbach leads the orchestra and the cast includes Jennifer Taverner, Anna Macdonald, Michael Nyby and Stefan Fehr.
Finally there’s an Offenbach tribute concert on June 4th 2017.
All performances are at the St. Lawrence Centre for the Arts.
There’s not a lot of opera in Toronto in the summer but Summer Opera Lyric Theatrehas announced it’s 29th season of performances by young and emerging artists in Toronto. This season there are three offerings:
First up is Marschner’s Der Vampyr. There are four performances on July 31st (8pm), August 2nd (2pm), 5th (2pm) and 8th (8pm).
Ambitiously enough, this is followed by Strauss’ Ariadne auf Naxos on August 1st (2pm), 4th (8pm), 6th (8pm) and 8th (2pm).
And finally, another rarity, von Flotow’s Martha. Again four performances on August 1st (8pm), 5th (8pm), 7th (8pm) and 9th (2pm).
All three shows are directed by Bill Silva-Marin and will be performed in the Robert Gill Theatre at the University of Toronto. Single tickets are $28 ($22 students/seniors) or $60 for the lot. Tickets are available by phone at 416-366-7723 or online at www.stlc.com.
One probably can’t go far wrong with an adaptation of Wilde’s The Importance of Being Earnest and the operetta, Earnest,The Importance of Being by Victor Davies and Eugene Benson doesn’t. In fact it doesn’t go far from Wilde at all following the plot of the original faithfully and containing all the well known lines. It means too, of course, that it has the flaws as well as the virtues of the original. The first act can drag a bit as Wilde gets a bit too clever but t builds to a very effective second half which flies by. The duet for the girls, To Speak With Perfect Candour is probably the best number in the piece. Davies’ music too does not try to be too portentous. It’s a bit of a pot pourri of styles with, at least, big band music, classical operetta, popular song of the period and what seems to be a nod to Andrew Lloyd-Webber. It’s perfectly consistent with the text. I don’t think though that there’s a single number that one would call truly hummable.
Gilbert and Sullivan operettas are such a stock staple of amateur dramatic societies in the English speaking world that one might think they were easy to stage. They are not. They are a tricky genre; entirely sui generic and strewn with as many pitfalls as the field at Bannockburn. The first and greatest is the primacy of the text and, embedded in that, W.S. Gilbert’s relentless guying of English Victorian society. A director really has to choose to go with that or come up with something really rather different. In Toronto Operetta Theatre’s new production of The Mikado director Guillermo Silva-Marin hasn’t really done either. There’s nothing very new in this production which seems to focus mostly on the visuals; streamer twirling and fancy fan work. One senses the mostly young cast have been left to develop their own characters without a whole lot of help. It’s a big ask and the result is that much of the time, even when the words are fully audible, one senses the players aren’t really aware of what and where the joke is. It’s no surprise then that it’s the veterans of the cast who get closest to the essence of the piece. Both David Ludwig as Pooh-Bah and Giles Tomkins as The Mikado perform with sly wit and excellent diction. The Katisha of Mia Lennox is quite idiomatic too but perhaps lacking a bit of bite.