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Musical and theatrical magic! Ohio Light Opera July 24, 2009

If you like operetta (and if not, why not?) you can give yourself a major treat by attending any of the performances presented by Ohio Light Opera, on the campus of Wooster College, some 70 or so miles more or less south of Cleveland. If you plan ahead, and carefully, it is sometimes quite possible to see two different productions on the same day. You will absolutely double your pleasure!

This double bill consisted of two somewhat early works; the first by Johann Strauss -- A Night in Venice, dating from 1864, and then, capping off the evening in fine style was Mlle. Modiste, by the American composer/cellist/conductor Victor Herbert. It would be impossible to choose between them on any account whatever. They were each entirely delectable in their own way, and each was lighter than air!

A Night in Venice is set during Carnevale—a huge celebration in Europe—which provides all sorts of excuses for masquerades and parties, which of course, provide for even more occasions to flirt and set up amorous dalliances, with—or without—one’s spouse or current sweetheart. In the manner of some operettas, there were a goodly number of solo parts here, and while all were done extremely well, so many characters can be confusing. Eventually, however, all the disguises were cast off and revelations abounded. There was no confusion, however, about the routinely excellent singing, acting and dancing throughout.

Of course, in the manner of most theatrical productions, some performers were more equal than others, and the highest ranking character here was also, to me, the most outstanding. Kyle Knapp, as the Duke of Urbino, absolutely lit up the stage whenever he was on it. In addition to a gorgeous tenor voice with great security on the highest notes, he is also an exceptional dancer. This was amply evidenced by the second-act waltz with soprano Chelsea Basler as Annina, the fisher-girl pretending to be Barbara, wife of Senator Delacqua, who was otherwise engaged in a dalliance with Enrico, a Naval officer. (Knapp was also charming as a chorus member in the evening production, and seemed to be having more fun than anyone in both performances.)

Annina is in love with Caramello, the Duke’s barber, who is disguised as the gondolier on the fateful evening. It all does come right, but not without a good bit of dashing here and dashing there, creating general hilarity and plentiful occasions for wonderful Straussian tunes and marvelous jokes.

Baritone Boyd Mackus was wonderfully self-important and stodgy as the Senator, while soprano Tania Mandzy was his reluctant wife, Barbara. Her avid lover, Enrico was tenor Anthony Buck. Caramello was well-acted and sung by tenor Todd Strange. Pappacoda, the macaroni cook with aspirations to be the Duke’s private cook was well-served by baritone Gary Moss. For some reason, he was entranced by the gawky ding-bat Ciboletta, done almost-but-not-quite-over-the-top by soprano Ashly Evans, who could have doubled as a trumpet or a loud-speaker. (She was properly charming and lady-like as one of the sisters in Mlle. Modiste. Amazing variety!)

All of the wackiness onstage was superbly crafted by Director Ted Christopher, who was aided immensely by choreographer-miracle worker, Carol Hageman. The versatile set was designed by Kimberly Cox and the warm lighting by Shannon Schweitzer. Charlene Gross created lavish and/or homespun costumes that were not only appropriate to the action, but gorgeous to look at. Conductor Michael Borowitz set a brisk (but not overly so) pace, and kept to it throughout. The orchestra sounded fabulous!

Mlle. Modiste, on the other hand, composed in 1905, by Victor Herbert, featured book and lyrics by Henry Blossom. Written in English, the jokes fly fast and furious—and are surprisingly current, dealing as they do with politics and smoking, among other topics. One of the more popular songs from the first half of the 20th Century came from this score – Kiss Me Again. Herbert boldly led the way for such subsequent American operetta composers as Friml, Romberg, Kern and even Gershwin.

The Parisian Hat Shop of Madame Cécile (the setting for the first act) is the current employment of Fifi, a would-be musical stage star, who with her winsome personality and lithe figure, is the star salesclerk of the shop. Madame Cécile decides to have her son Gaston marry Fifi, thus keeping her talent in the family. Fifi, of course, disagrees with this notion, being in love with Etienne, a dashing Captain in the French army. Etienne’s uncle, the Count of St. Mar, threatens to disinherit the young man, should he persist in marrying Fifi. However, after meeting the American financier, Mr. Bent, who encourages her to seek her dream, Fifi leaves the hat shop. Forever.

The second act is another masquerade—this one a benefit, for which the reigning diva has been engaged to sing. Poor Fifi! When the Count discovers her identity, she is forbidden the premises, but thanks to the efforts of Mr. Bent, and a few other brave souls, the Count is made to see the error of his ways and all ends well.

Soprano Sara Ann Mitchell nearly brings down the house with her all-around excellence as Fifi, and we have no reason not to believe she’ll have her great success at the Opera Comique!. Her Etienne was well-served by tenor Todd Strange. Two OLO veterans feature strongly in this production: soprano Julie Wright is wonderful as Madame Cécile, while the Count is a real dandy in this version by Boyd Mackus. Baritone Jason Allen’s Gaston had a dandy patter song in act II’s Ze English Language, which was truly hilarious! Mr. & Mrs. Bent were entrusted to the very capable Dennis Jesse and Jessie Wright Martin, respectively.

Steven Daigle directed with a light touch, adding to the general hilarity of the work, while Ms. Hageman again did her choreographic magic with both wayward and very educated feet. Ms. Gross again created beautifully appropriate costumes, especially for the second act masquerade. Ms. Cox repeated her stage magic with the delightful hat shop set, as well as the Count’s courtyard scene. Lighting, including the ever-present moon was by Dave Stoughton. Michael Borowitz kept the musical French pastry floating through space.

What a delightful day this proved to be – and it could be the same for you, if you hurry! The OLO’s 31st season ends on Saturday August 8. For ticket availability or to reserve your seats, call 1.330.263.2345 or visit the web-site: www.ohiolightopera.org Do not delay! Unless you’ve already been to a performance of OLO, you shouldn’t just take my word for it – go see and hear for yourself. While every season seems to have a stage full of talented young singers, this season OLO is singularly blessed with a raft of especially good male singers, not always the easiest of categories to fill. And that’s not to put down the young women, either. They were ALL fabulous!

- Kelly Ferjutz

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