Ladies of the Court, Students of Castle Adamant

Joan Brown, Cathy Copp, Dale Davis, Lois Finlay, Ann–Marie Flack, Barbara Gilmour, Diane Grell, Muriel Hay, Mita Hoffer, Maura Kuhn, Heidi Linley, Jo Medicoff, Jane Milligan, Wendy Milton, Sharon Morley, Trish Parker, Jo–Ann Ras, Pamela Rudd, Sheryl Wright

Courtiers, Soldiers

David Alexander, Adrian Adamson, Allen Baldwin, Frank Cairns, Ollie Crockford, Merfyn David, Don Foston, Andy Hoffer, Gareth Jacobs, Jack Jacobson, Dick Jones, Doug McIntosh, Cyril Olsson, William Power, Derek Shaw, Robert Shirer, Don Taylor, George Taylor, Jim Welch

The Scenes

It was early January in 1884. The partnership of librettist William S. Gilbert and composer Arthur Sullivan was truly at its peak. Their first success Trial by Jury, was nine years behind them. The Sorcerer (1877) – the first two–act collaboration (other than the long–vanished Thespis) – set the pattern for most of the productions to follow, and the ensuing four operas were the ones that established the Victorian pair as the unrivalled masters of the English stage. They were:

• HMS Pinafore – 1878 – 571 performances

• The Pirates of Penzance – 1879/80 – 463 performances (New York and London)

• Patience – 1881 – 578 performances

• Iolanthe – 1882 – 389 performances

Over this five–year span, the partnership – along with theatrical entrepreneur and business manager Richard D’Oyly Carte – produced successes so compatible with the voracious British public, that it might have given the appearance to being somewhat mechanical.

The word “mechanical” was, by this time, beginning to creep into Sullivan’s mind. In May 1883, Queen Victoria honoured the composer with a knighthood in recognition of his “distinguished talents”. This endorsement naturally furthered Sullivan’s ambitions to be remembered as a composer of “serious music”. When he was first introduced to Gilbert fourteen years earlier, Sullivan was already considered Britain’s foremost composer and worthy successor to Mendelssohn and Handel. Gilbert, on the other hand, although a recognized and published satirist, dramatist and humourist was still developing his keen wit and sharp tongue.

Throughout their relationship, Gilbert & Sullivan, as individuals, were by no means as compatible as their comic operas were with their audiences. Gilbert was going from strength to strength, with the outline of Princess Ida already completed. The libretto was based upon Tennyson’s poem The Princess, which Gilbert had previously dramatized in 1870. In February 1883, Sullivan gave his approval to Gilbert’s revised Act 1, or Prologue as it was originally called.

Sullivan’s health was always a negative factor during the 25–year collaboration, but the winter of 1883/84 was particularly bad. Princess Ida opened at Carte’s two–year–old Savoy Theatre on January 5th, and the first five days of the new year were, to say the least, a test of courage and fortitude for Sullivan:

Tuesday, January 1^st: “Dress Rehearsal at the Savoy. Two songs, ‘I Built Upon a Rock’ and ‘Nothing Whatever To Grumble At’, still to be written.”

Wednesday, January 2^nd: “Both songs composed overnight, after having walked home in a snowstorm (no taxis available). Collapsed at full rehearsal during the day.”

Thursday, January 3^rd: “Opera now complete. Doctor summoned. Suffering from ‘acute muscular rheumatism of head and neck’.”

Friday, January 4^th: “Full–dress rehearsal lasted until 2:30 am.

Saturday, January 5^th: “Doctor summoned again. Strong advice given to stay in bed. Resolved to conduct the first performance of the new Opera Princess Ida at night, but from the state I was in it seemed hopeless. At 7 p.m. had another strong hypodermic injection to ease the pain, and a strong cup of black coffee to keep me awake. Managed to get up and dress, and drove to the theatre more dead than alive – went into the Orchestra at 8:10. Tremendous house – usual reception. Very fine performance – not a hitch. Brilliant success. After the performance I turned very faint and could not stand.”

As Sullivan’s diary reveals, the opera was a success, and a unique milestone among the works of Gilbert & Sullivan. It is the only opera to be written in three acts. It is also the only opera with dialogue written in blank verse, and it represents Sullivan’s first venture into what can be called the grand opera idiom, as magnificently exampled in Ida’s aria, ‘Minerva...O, Goddess Wise’. Gilbert also excelled. George Grossmith, the original King Gama, declared that Gama’s opening solo was one of the best Gilbert ever wrote. It is also said that the opening of Princess Ida was the only time Gilbert stayed in the theatre for a premiere of a new work. On all other first nights, he could be seen pensively pacing up and down the Embankment until the time came to take his bows.

Princess Ida ran for over ten months and 246 performances, and although a moderate showing when compared to the other successes, it still remains a favourite among ‘Savoyards’ everywhere.

Princess Ida tells of the efforts of a prince to win the hand – and heart – of a bride betrothed to him in infancy – a princess, in fact, who prefers the security of castle walls to that of blissful married life. Within those walls, our heroine, with a university full of women, sets out to prove women’s superiority over man. Our hero, on the other hand, sets out to prove otherwise, and to win his bride.

Princess Ida might be a century old, but its sentiments are as fresh today as they were in January 1884. Gilbert & Sullivan’s greatest triumph, The Mikado, followed in 1885, and the Gilbert & Sullivan Society of Toronto is proud to announce a Centenary Production of The Mikado in 1985.

© Gareth Jacobs 1984

TOM TROUTEN – “King Hildebrand”

Scottish–born Torn Trouten is a bass–baritone who sang his first Gilbert & Sullivan role as the Sgt. of Police in “The Pirates of Penzance”. He has performed with the Winnipeg Philharmonic Choir & Orchestra, the Bach–Elgar Choir and is a long–time member of the Hamilton Theatre Company; not only as a singer, but also producer and public relations manager. Mr. Trouten has portrayed Baron von Trapp in “The Sound of Music”, the King of Siam in “The King & I”, Professor Higgins in “My Fair Lady”, King Arthur in “Camelot” and Don Quixote in “Man of La Mancha”. He made his debut with the Toronto Gilbert & Sullivan Society last year as Sir Despard Murgatroyd in “Ruddigore”.

ROBERT HANKS – “Prince Hilarion”

Mr. Hanks is in his first year with the Faculty of Music’s Opera Division at the University of Toronto, under the tutelage of Patricia Kern. Recent performances at the Opera School include Alcino in “The Prima Donna” and Sir Hugh Evans in Vaughan Williams’ “Sir John in Love”. During the summer of 1983, he portrayed Scaramuccio in Richard Strauss’s “Ariadne auf Naxos” at the Banff Festival. Mr. Hanks made his debut with the Toronto Gilbert & Sullivan Society last spring as Richard Dauntless in “Ruddigore”.

EDWARD FRANKO – “Cyril”

A pupil of Madame Irene Jessner, Mr. Franko is a first year student with the Faculty of Music’s Opera Division at the University of Toronto. He recently portrayed the role of Bardolph in Vaughan Williams’ “Sir John in Love”. This summer, Mr. Franko will be performing the role of Don Curzio in Mozart’s “The Marriage of Figaro” in Courtney, British Columbia. The role of Cyril marks his debut with the Toronto Gilbert & Sullivan Society.

EMILIO ROMAN – “Florian”

Baritone Emilio Roman has had extensive choral experience as a member of the Ontario Youth Choir and the Mendelssohn Youth Choir. He was the baritone soloist in the University of Toronto concert choir performance of the Schutz Requiem, and is currently in his graduating year of the Artist Diploma Programme. Mr. Roman pursues vocal studies with Mark Pedrotti and is a member of the Canadian Opera Company chorus. The role of Florian marks his debut with the Toronto Gilbert & Sullivan Society.

HOWARD MAWSON – “King Gama”

Toronto born Howard Mawson has performed in all types of theatrical endeavours over the past 50 years; light and grand opera, musical comedy, drama and comedy. He has a special place in his heart for the comic operas of Gilbert & Sullivan, in which he has portrayed some 28 different characters. He recently portrayed Thomas Brown in Sir Arthur Sullivan’s long lost “The Zoo”, in December 1983. Mr. Mawson has also appeared with the Stratford Light Opera Company, the Canadian Opera Company, the Canadian Players, and on the stages of the St. Lawrence Centre and the Charlottetown Summer Festival.

RICHARD LINLEY – “Arac”

A graduate of York University and presently working in the microcomputer field, Mr. Linley is the co–founder of the Stong Tit–Willow Ensemble at York and a director of the Gilbert & Sullivan concert group. He sang in the chorus of “Ruddigore” last year, and recently portrayed Captain Corcoran in “HMS Pinafore” with the St. Anne’s Music & Drama Society. Other principal roles have included the Earl of Mountararat and Private Willis in “Iolanthe” and Sir Joseph Porter in “HMS Pinafore”. Mr. Linley makes his debut with the Toronto Gilbert & Sullivan Society in a principal role as Arac.

RANDALL SMITH – “Guron”

Randall Smith made his baritone debut at the age of 12 singing the role of the Usher in “Trial By Jury”. Vocal studies augmented by theatre pursuits at Brock University have made him at home in both musical and dramatic roles. He recently performed “An Evening of Tennessee Williams” at the Pauline McGibbon Cultural Centre. The role of Guron marks Mr. Smith’s debut with the Toronto Gilbert & Sullivan Society.

DONALD DEVENNEY – “Scynthius”

A French lecturer at the University of Toronto before becoming a criminal lawyer, Mr. Devenney made his debut with the Toronto Gilbert & Sullivan Society as the Notary in “The Sorcerer” in 1982. An avid opera devotee, he returns to Hart House to portray Scynthius in “Princess Ida”.

ELIZABETH ROTHWELL – “Princess Ida”

Miss Rothwell began her singing career in England at the age of 11 and performed in her first Gilbert & Sullivan opera at 19; and has since played all of the soubrette roles. She is a principal performer with the Scarborough Choral Society and past performances have included Rosalinda in “Die Fledermaus” and Anna Glawari in “The Merry Widow”. Concert performance work has included the Bach–Elgar Choir and the Hamilton Philharmonic under the direction of Boris Brott. Miss Rothwell has also appeared on the stages of the O’Keefe Centre and at Ontario Place. Her most recent role was the Mother in “Amahl and the Night Visitors” in December 1983. She was last seen at Hart House as Mad Margaret in the 1983 production of “Ruddigore”.

ELIZABETH MAWSON – “Lady Blanche”

Toronto–born Elizabeth Mawson has played many of the soubrette roles in the Gilbert & Sullivan operas. Lady Blanche will be the third role Miss Mawson has portrayed in “Princess Ida”, the other two being Princess Ida and Melissa. Her most recent Hart House appearance was Lady Sangazure in “The Sorcerer” in 1982. Last December, she sang the role of Eliza in the Toronto Gilbert & Sullivan Society’s premiere of “The Zoo” This summer Miss Mawson returns to the Charlottetown Summer Festival for her 17th season as Marilla in Anne of Green Gables and will appear there in a new musical comedy, “Ye Gods”.

LAURIE BASSETT – “Lady Psyche”

A graduate of the Faculty of Music’s Opera Division at the University of Toronto, soprano Laurie Bassett has appeared in “Gianni Schicchi”, “The Dialogues of the Carmelites” and the premiere work “The Canon’s Cure” by Toronto composer Derek Holman, with libretto by Robertson Davies. She has appeared in concerts with the Sudbury Symphony Orchestra and made her Gilbert & Sullivan debut in her native Kirkland Lake in “The Gondoliers”. Miss Bassett sang the role of Eliza in the centenary production of “Patience” at the University of Toronto’s Opera Division in 1981. Her debut with the Toronto Gilbert & Sullivan Society was in 1982 as Constance in “The Sorcerer”.

DEBRA SELIG – “Melissa”

Miss Selig is in her second year with the Faculty of Music’s Opera Division at the University of Toronto where she recently performed the role of Bellina in Benjamin’s “The Prima Donna”. Other roles have included Miss Pinkerton in “The Old Maid and the Thief”, and Nora in “Riders to the Sea”. Miss Selig also appeared in “The Beggar’s Opera”, under the direction of Robin Phillips, at the Stratford Festival in 1980. The role of Melissa marks Miss Selig’s debut with Toronto Gilbert & Sullivan Society.

CELIA TAYLOR – “Sacharissa”

A D’Oyly Carte Opera fan since the age of 7, Miss Taylor pursued this interest when she came to Canada in 1966. She has appeared in 27 Gilbert & Sullivan productions since 1977, her most recent being “HMS Pinafore” with the St. Anne’s Music & Drama Society in January of this year. The role of Sacharissa marks Miss Taylor’s debut in a principal role with the Toronto Gilbert & Sullivan Society.

ELIZABETH THOMSON – “Chloe”

A devotee of Gilbert & Sullivan in her native Scotland, Miss Thomson came to Canada in 1969. A registered nurse by profession, she sang many chorus roles with the Gilbert & Sullivan Society, St. Anne’s Music & Drama Society, Scarborough Choral Society and the Gilbert & Sullivan Concert Group. “Chloe” marks Miss Thomson’s debut in a principal role.

JOAN WOODLAND – Producer

Co–Producer of “The Gondoliers”, “The Pirates of Penzance”, “The Sorcerer” and producer of “Ruddigore” last year. Miss Woodland is a past president of the Toronto Gilbert & Sullivan Society and has performed in many of the Society’s productions and has also been their Business Manager. She is Executive Director of the Girl Guides of Canada, Ontario Council.

MICHAEL ALBANO – Stage Director

Following directing credits for the University of Windsor Drama Society, the University of Western Ontario Player’s Guild and Theatre London, Michael Albano was awarded a Theatre Ontario Director’s Training Grant in 1974 to study with Herman Geiger–Torel. Subsequently, he was invited to join the stage director’s staff of the University of Toronto where he now holds a full–time position as Chairman of the Opera Division. His credits there include: “The Prima Donna”, “The Secret Of Susanna”, “The Barber Of Seville”, “The Rape Of Lucretia”, “The Prodigal Son”, “Gianni Schicchi”, “Amelia Goes To The Ball”, “Riders To The Sea”, “Dido And Aenas” and “L’Heure Espagnole”. Certainly no stranger to Gilbert & Sullivan, he directed the Toronto Symphony’s “Salute to Gilbert & Sullivan” (an event which heralded the singing debut of Maestro Andrew Davis) and recently staged “An Evening of Gilbert & Sullivan” for CentreStage – which was broadcast as part of CBC’s Arts National. Last season, Mr. Albano staged Britten’s “Noah’s Flood” for the inaugural season of Roy Thomson Hall. At Hart House Theatre, he has directed “The Gondoliers”, “The Pirates of Penzance” and “The Sorcerer” for the Toronto Gilbert & Sullivan Society. In 1981 he also directed the centenary production of “Patience” for the University of Toronto’s Opera Division.

JOHN GREER – Music Director

John Greer graduated from the School of Music at the University of Manitoba and continued his musical studies at the University of Southern California where he studied with pianists Gwendolyn Koldofsky and Brooks Smith and with harpsichordist Malcolm Hamilton. There he began opera coaching under the supervision of Natalie Limonick. After earning a M. Mus. degree in Performance, he moved to Toronto where he is presently a full–time faculty member of the Opera Division at the University of Toronto. There under the supervision of Music Director James Craig, he began conducting and made his debut last fall with Respighi’s one–act opera “Maria Egiziaca”. He also works for the Canadian Opera Company as an active recital accompanist. Mr. Greer was Music Director and Conductor for the recent productions of “The Sorcerer” and “Ruddigore” with the Toronto Gilbert & Sullivan Society.

Special Thanks Discerned

The Gilbert & Sullivan Society and the Production Committee wish to extend our warmest thanks and appreciation to:

• Canon R.R. Davidson and staff of Christ Church Deer Park

• Fr. Warren Eling and staff of St. Anne’s Anglican Church

• Staff of Hart House Theatre

• Numerous members and friends of the Society

We’ve years and years of afternoon!

The next four years hold much significance in the world of Gilbert and Sullivan. No less than three of the operas will celebrate centenaries. Princess Ida* opened at the Savoy Theatre on January 5, 1884. The Toronto Society will perform the other two, Mikado and Yeomen of the Guard, during their anniversary year. We are pleased to announce that our next four productions will be: