May 21 - June 8, 2008
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
| Music from ALEXANDER BORODIN Adaption and Lyrics by ROBERT WRIGHT and GEORGE FORREST |
| Musical Director Production Stage Manager Production Staged by Costumes |
| CAST |
JOE CASCONE
ELIZABETH MORRISS
J.P. GEDEON
STEPHANIE DOUGLAS
DAVID HAINES
CATHERINE UY
GORDON ELKIN
LARRY GIBBS
SUSAN SANDERS
ANDREA STRAYER
ASHLEY GIBSON
ROGER LARIOS
JACK LY
ASHLEY MEDEIROS-FELIX
STEPHEN MONK
GARY PRUDENCE
JAMIE WAGG
ELIZABETH MORRISS
J.P. GEDEON
STEPHANIE DOUGLAS
DAVID HAINES
CATHERINE UY
GORDON ELKIN
LARRY GIBBS
SUSAN SANDERS
ANDREA STRAYER
ASHLEY GIBSON
ROGER LARIOS
JACK LY
ASHLEY MEDEIROS-FELIX
STEPHEN MONK
GARY PRUDENCE
JAMIE WAGG
| Hajj The Poet Marsinah The Caliph Lalume The Wazir Princess Ababu Jawan/Omar Policeman Widow Yussef Featuring |
| (left to right) Stephanie Douglas, David Haines and Joe Cascone |
May 28 2008
“No man may avoid his fate. That is Kismet.”
Well, as fate would have it, Kismet is the Civic Light Opera Company’s final production of the season. This
musical Arabian Night, first seen on Broadway in 1953, is beautifully sung and played, but also very, very funny.
By streamlining the script, artistic director Joe Cascone has created a tight, fast-moving production that is easily the
most satisfying presentation of this show that I have ever seen.
The story tells of a penniless poet who in one single miraculous day, through a series of fantastic events (and more
than a little of his own guile), obtains wealth, position, and romance for both himself and his beloved daughter.
J.P. Gedeon, playing the noble Caliph, joins her in the latter number. His voice blends smoothly with hers and his
expressive acting makes for a nicely nuanced performance. Watching his eyes cloud with sorrow at the moment
when he believes he has lost her forever for a lesson in method acting. It communicates the emotion effectively and
subtly.
In a complete contrast there is David Haines’ deliciously dastardly performance as the wicked Wazir. It’s exactly
the kind of broad performance that the role calls for. He is matched by Stephanie Douglas as the lusty Lalume, his
wife of wives with roving eyes. These two comic performances provide a perfect counterpoint to the romance of
Marsinah and The Caliph.
Then there’s Catherine Uy’s knife-wielding turn as the Princess of Ababu, and Gordon Elkin’s double performance
as Jawan in the first half and Omar Kayyam in the second. In fact all of the supporting roles are well played,
accompanied by the small but sinuous orchestra directed by Keith Bohlender.
The colourful costumes by Sheila Lacasse and Kristine Johnson’s detailed lighting add immeasurably to the
performance. The set by David Haines offers a backdrop with both an exterior and interior feel that can transform
from a public square to the Wazir’s chambers in a heartbeat.
At the centre of all of this wonderful pageantry is Joe Cascone’s mesmerizing star performance as the poet/beggar
who acts as a puppet master, guiding each of the principals to their proper endings. The same way Cascone,
working with Lesley Ansell, has guided the performers to give such a thoroughly entertaining reproduction of this
exotic tale. Don’t allow fate to intervene. See this Kismet!
“No man may avoid his fate. That is Kismet.”
Well, as fate would have it, Kismet is the Civic Light Opera Company’s final production of the season. This
musical Arabian Night, first seen on Broadway in 1953, is beautifully sung and played, but also very, very funny.
By streamlining the script, artistic director Joe Cascone has created a tight, fast-moving production that is easily the
most satisfying presentation of this show that I have ever seen.
The story tells of a penniless poet who in one single miraculous day, through a series of fantastic events (and more
than a little of his own guile), obtains wealth, position, and romance for both himself and his beloved daughter.
J.P. Gedeon, playing the noble Caliph, joins her in the latter number. His voice blends smoothly with hers and his
expressive acting makes for a nicely nuanced performance. Watching his eyes cloud with sorrow at the moment
when he believes he has lost her forever for a lesson in method acting. It communicates the emotion effectively and
subtly.
In a complete contrast there is David Haines’ deliciously dastardly performance as the wicked Wazir. It’s exactly
the kind of broad performance that the role calls for. He is matched by Stephanie Douglas as the lusty Lalume, his
wife of wives with roving eyes. These two comic performances provide a perfect counterpoint to the romance of
Marsinah and The Caliph.
Then there’s Catherine Uy’s knife-wielding turn as the Princess of Ababu, and Gordon Elkin’s double performance
as Jawan in the first half and Omar Kayyam in the second. In fact all of the supporting roles are well played,
accompanied by the small but sinuous orchestra directed by Keith Bohlender.
The colourful costumes by Sheila Lacasse and Kristine Johnson’s detailed lighting add immeasurably to the
performance. The set by David Haines offers a backdrop with both an exterior and interior feel that can transform
from a public square to the Wazir’s chambers in a heartbeat.
At the centre of all of this wonderful pageantry is Joe Cascone’s mesmerizing star performance as the poet/beggar
who acts as a puppet master, guiding each of the principals to their proper endings. The same way Cascone,
working with Lesley Ansell, has guided the performers to give such a thoroughly entertaining reproduction of this
exotic tale. Don’t allow fate to intervene. See this Kismet!