It is therefore entirely appropriate that the musical version of Pride and Prejudice which was given its World Premiere last week at Ohio Light Opera begins with those words. Lindsay Baker and Amanda Jacobs worked so closely together on this project that each of them is credited with book, music and lyrics. And that doesn’t happen all too often, these days!
A great proportion of the words spoken or sung in this production are from the original book, carefully excised from the full text and worked into this new version. There are a few more, perhaps, that might also be excised in the opposite direction back to the book, but perhaps not. This was only the first public performance, after all, and with time and repetition, it may well settle in to be ‘just right’. Nevertheless, it is a very handsome production with absolutely awe-inspiring costumes and wigs, as well, although rather more of the former than the latter.
Jane Austen herself is our guide to this, her most famous work, in the person of Jill Anna Ponasik. Veterans Ted Christopher and Julie Wright are Mr. and Mrs. Bennet, respectively, and their experience enables them to provide fully-fleshed characterizations, not always present in some of the younger artists. The Bennet daughters, especially flighty Lydia (Karla Hughes) are exactly as we imagine them from the book or even the various film versions. Jane is indeed calm and beautiful as portrayed by Sarah Asmar, and Sara Gartland uses her ‘fine eyes’ very well as Elizabeth, the female half of the title duo.
Joseph Valone was suitably stiff as Mr. Darcy, while Adam Lloyd was the slightly more exuberant Mr. Bingley. Patrick Howle was rakish as Mr. Wickham. Elizabeth Mitchell made Charlotte Lucas into a warm and loving woman, who, although she knew her worth, could easily see herself as wife to Mr. Collins. Tyler Nelson, as that erstwhile clergyman could steal the show if he tried. As it was, he nearly brought down the house with I Aim to Please.
Almost everyone from the pages of the book was represented on stage, making for a rather full house, at times. Kirk Domer designed a functional, if simple set, multi-leveled, with a bridge across the upper rear portion. It was here that the desk of Jane was placed, so that she could easily watch her characters come to life.
Steven Daigle managed his large cast admirably, even appearing on stage infrequently as Mr. Gardiner. (Robin DeLeon was his Mrs.) Choreographer Carol Hageman devised authentic-looking dances, which were a popular pastime in that period. Lighting by Krystal Kennel greatly enhanced the production, changing day to night and back again. But it was the excellent costumes of Charlene Gross that brought this production its very Regency look. It was easy to see why young ladies were so entranced by a man in uniform. They did indeed, look splendid!
The music was tuneful and lyrical, as befits a story set in the early 1800s. It didn’t challenge any of the singers by going far out of the required range. Conductor J. Lynn Thompson kept everything together with a steady hand. Bravo to all the participants, especially the young composers who saw their dream—the one that has occupied them for the last six years—come vividly to life on the stage at Freedlander Theatre.
That evening (one of the nice things about Ohio Light Opera is that careful planning can allow you to see two different productions on the same day) The Firefly of Rudolf Friml was presented, with many of the same singers. It’s always fun to see the changes that occur—or don’t—as the case may be. Apparently not seen on any stage since 1931, a partial version was filmed in 1937. Libretto and lyrics are by Otto Harbach.
The story line is similar to many of that era, except that this operetta takes place almost entirely in America, with the second act set on Bermuda. Nina, a young Italian singer, disguises herself as a cabin boy to escape a cruel master. The yacht belongs to a wealthy socialite Mrs. Van Dare, who is in love with Mr. Thurston, while her niece Geraldine is in love with Thurston’s nephew Jack Travers. Geraldine’s maid Suzette and Thurston’s valet, Pietro, provide comic relief. An undelivered letter, mistaken identity and false accusations round out the plot. Act III falls some three years later, giving Nina time to mature as an operatic diva, who is booked to sing at a gala planned by Mrs. Van Dare. All the mis-matched parties end up appropriately.
There are some charming songs, well done, and the orchestra, conducted by Jason Altieri, has the sound of a 20s jazz orchestra down pat. Colorful sets by Tymberley Wittrig provide a suitable background for the equally colorful and snazzy costumes of Charlene Gross. Lighting by Krystal Kennel adds to the ambiance. Carol Hageman puts her troops through effective choreography, reminiscent of the Charleston, etc.
Some of the leads were double-cast. We saw Jill Anna Ponasik as Suzette, who was French to her toenails! Every movement she made had a Gallic influence! Her foil, Pietro, was marvelously brought to life by the comic talents of Tyler Nelson. Danielle McCormick was the sometimes fickle Geraldine, while Grant Knox was the suave Jack. Donata Cucinotta was marvelously versatile as Nina, whether in pants or skirts. Jacob Allen was the pill-popping secretary Jenkins, and Joseph Valone was Herr Franz, the choirmaster, who ends up as Nina’s manager.
Elizabeth Mitchell was wonderful as Mrs. Van Dare, even though, at times, the dear lady was dense as a post! Holding it all together was the veteran Boyd Mackus as the sophisticated Uncle John, a romantic, if slightly older--but still sexy--gentleman.
For more information or to order tickets for these or other productions, call (330) 263-2345 or visit the web-site at: http://www.OhioLightOpera.org
From Cool Cleveland contributor Kelly Ferjutz artswriterATadelphia.net (:divend:)