Kiss Me Kate - May 2004
Kiss Me Kate
June 2, 2004
By Mark Lawrence, The North York Mirror
This is shaping up to be a Cole Porter summer. A
new movie biography starring Kevin Kline as the
composer will open later this month, and the
Stratford festival is presenting a summer season
ANYTHING GOES. Add to this The Civic Light
Opera Company’s production of Porter’s best
musical, Kiss Me Kate that opened last Thursday at
Fairview Library Theatre.
June 2, 2004
By Mark Lawrence, The North York Mirror
This is shaping up to be a Cole Porter summer. A
new movie biography starring Kevin Kline as the
composer will open later this month, and the
Stratford festival is presenting a summer season
ANYTHING GOES. Add to this The Civic Light
Opera Company’s production of Porter’s best
musical, Kiss Me Kate that opened last Thursday at
Fairview Library Theatre.
Director Joe Cascone understands the need for pacing in reviving classic musical comedies. He has skilfully trimmed
every extraneous dance, lyric or bit of dialogue from the script, invisibly tightening the musical down to a crisp two
hours and fifteen minutes. Working with his design team, he has created scenes that cinematically dissolve from one
to the next. The backstage drop, painted by Blain Berdan immediately conjures up the bare bricks and dressing room
doors that one might see in one of the older Broadway theatres. This opens to reveal a unit street scene set which
becomes the centerpiece for the on-stage musical version of THE TAMING OF THE SHREW while at the same
time implying the rather desperate financial situation of this troupe of strolling players.
Heading this troupe are Fred Graham and Lilli Vanessi (played by Mr. Cascone and Joanne Kennedy.) Formerly
married, this couple delight in sniping at each other. The show’s juvenile, has signed a $10,000.00 I.O.U. using
Fred's name. Enter two gangsters seeking payment of the debt, and the fun begins.
As the feuding co-stars, Cascone and Kennedy shine when their anger erupts in the middle of a performance and it
turns into slapstick comedy but done with enough restraint to make it believable. As Petruchio in THE TAMING
OF THE SHREW, Cascone sings “Where is the Life that Late I Led” using his huge voice to fill the theatre but
without letting a single word escape his lips in less than understandable form. Both music and lyrics are also
showcased when Kennedy takes the stage to sing Kate’s hilarious soliloquy “I Hate Men!”
The show is very nearly stolen from underneath them by David Haines and Christopher McKinnon as the two
tough-talking gangsters. Inspired by their look at the Classic Bard himself, they stop the show with their second act
number “Brush Up Your Shakespeare” milking every laugh from Porter’s sly lyrics. The audience clearly loved
these two cut-ups from their first entrance.
Cameron McKinnon plays the hapless stage manager desperately trying to keep the performance together as
backstage squabbles threaten to tear it apart. Though still a relatively young actor, he understands the character
perfectly and even dresses and moves in ways totally different from the members of the troupe.
In keeping with the production’s intimacy, the troupe itself is a rather small, tight ensemble – as would befit a cost-
cutting producer. On balance, the four-piece band was tight and the mandolin used in the Shrew scenes was
extremely effective and the sound was generally good. The lighting design by Marc Siversky clearly delineates the
on-stage and backstage scenes. Overall, though, it is a glorious crowd-pleasing production of Cole Porter’s
masterpiece, Kiss Me Kate.
Performances of Kiss Me Kate continue at the Fairview Library Theatre through Sunday June 6. For
tickets/information call the box office at (416) 755-1717 or go to www.CivicLightOperaCompany.com
every extraneous dance, lyric or bit of dialogue from the script, invisibly tightening the musical down to a crisp two
hours and fifteen minutes. Working with his design team, he has created scenes that cinematically dissolve from one
to the next. The backstage drop, painted by Blain Berdan immediately conjures up the bare bricks and dressing room
doors that one might see in one of the older Broadway theatres. This opens to reveal a unit street scene set which
becomes the centerpiece for the on-stage musical version of THE TAMING OF THE SHREW while at the same
time implying the rather desperate financial situation of this troupe of strolling players.
Heading this troupe are Fred Graham and Lilli Vanessi (played by Mr. Cascone and Joanne Kennedy.) Formerly
married, this couple delight in sniping at each other. The show’s juvenile, has signed a $10,000.00 I.O.U. using
Fred's name. Enter two gangsters seeking payment of the debt, and the fun begins.
As the feuding co-stars, Cascone and Kennedy shine when their anger erupts in the middle of a performance and it
turns into slapstick comedy but done with enough restraint to make it believable. As Petruchio in THE TAMING
OF THE SHREW, Cascone sings “Where is the Life that Late I Led” using his huge voice to fill the theatre but
without letting a single word escape his lips in less than understandable form. Both music and lyrics are also
showcased when Kennedy takes the stage to sing Kate’s hilarious soliloquy “I Hate Men!”
The show is very nearly stolen from underneath them by David Haines and Christopher McKinnon as the two
tough-talking gangsters. Inspired by their look at the Classic Bard himself, they stop the show with their second act
number “Brush Up Your Shakespeare” milking every laugh from Porter’s sly lyrics. The audience clearly loved
these two cut-ups from their first entrance.
Cameron McKinnon plays the hapless stage manager desperately trying to keep the performance together as
backstage squabbles threaten to tear it apart. Though still a relatively young actor, he understands the character
perfectly and even dresses and moves in ways totally different from the members of the troupe.
In keeping with the production’s intimacy, the troupe itself is a rather small, tight ensemble – as would befit a cost-
cutting producer. On balance, the four-piece band was tight and the mandolin used in the Shrew scenes was
extremely effective and the sound was generally good. The lighting design by Marc Siversky clearly delineates the
on-stage and backstage scenes. Overall, though, it is a glorious crowd-pleasing production of Cole Porter’s
masterpiece, Kiss Me Kate.
Performances of Kiss Me Kate continue at the Fairview Library Theatre through Sunday June 6. For
tickets/information call the box office at (416) 755-1717 or go to www.CivicLightOperaCompany.com
Civic Light Opera brings
Broadway musical to Fairview
A Day in Hollywood/A Night in the
Ukraine
Wed., May 28, 2003
By David Silverberg
Special to the Mirror
Picture tap-dancing, the Marx Brothers, Bob Hope’s “Thanks for
the Memory” and a Katherine Hepburn impersonation in one
evening. If that sounds like a delicious blast from the past, then
you’ll enjoy A Day in Hollywood/A Night in the Ukraine, staged
by the Civic Light Opera Company and running until June 1 at
the Fairview Library Theatre.
The two unrelated musical acts are familiar to the company –
they staged it in 1986 and 1993 – and audiences may once again
revel in the 1930’s-era musical revue (A Day in Hollywood) along
with a Marx Brothers’ musical comedy (A Night in the Ukraine).
Broadway musical to Fairview
A Day in Hollywood/A Night in the
Ukraine
Wed., May 28, 2003
By David Silverberg
Special to the Mirror
Picture tap-dancing, the Marx Brothers, Bob Hope’s “Thanks for
the Memory” and a Katherine Hepburn impersonation in one
evening. If that sounds like a delicious blast from the past, then
you’ll enjoy A Day in Hollywood/A Night in the Ukraine, staged
by the Civic Light Opera Company and running until June 1 at
the Fairview Library Theatre.
The two unrelated musical acts are familiar to the company –
they staged it in 1986 and 1993 – and audiences may once again
revel in the 1930’s-era musical revue (A Day in Hollywood) along
with a Marx Brothers’ musical comedy (A Night in the Ukraine).
The show first appeared onstage in 1980, conceived by librettist Dick Vosburgh and pianist Frank Lazarus for 588 performances, the unlikely Broadway hit
was nominated for nine Tony Awards, thanks to the contributions of veteran songwriter Jerry Herman (of Hello Dolly!).
In the first half, six ushers at Grauman’s Chinese theatre in Hollywood prance and sing 19 classics from and about films. “I Love a Film Cliché” features
those movie lines we recognize as predictable tools in a scriptwriter’s arsenal: “Blackmail is such an ugly word.” Mary Elizabeth Niec parodies actress
Jeanette MacDonald in “Nelson,” questioning the manhood of, yes, you guessed it, Nelson Eddy.
The first half’s highlight is the musical pouring out of Joe Cascone, the director, principal actor and pianist behind the company. His finger-dancing does
more than tickle those ivories; he massages them.
After Peter Loucas saunters on stage to the swaggering “Thanks for the Memory” (Hope’s signature song), the company taps their toes to the delightful
“Doin’ the Production Code.” Who thought reciting the ancient film censorship code could look like so much fun? (And who thought kissing scenes had to
be no more than six seconds?)
The act’s overall feel is half-parody, half-tribute… The company succeeds in recreating Hollywoods’ golden age.
An hour of straight songs is a risky venture, considering the first half has no plot or suspenseful arch. Credit the second half (A Night in the Ukraine) for
entertaining a dialogue-hungry audience. Loosely based on Anton Chekhov’s The Bear, the second d half is dotted with a comedy styling the Russian
playwright never envisioned.
Dubbed as “the funniest musical the Marx Brothers never made,” A Night in the Ukraine features Chico, Harpo and Groucho doing their slapstick schtick in a
living room interior set.
Mrs. Pavlenko (Carol Kugler) is a wealthy widow who is visited by a lawyer (David Haines) insisting on being paid 1200 rubles the late Mr. Pavelnko owes
him.
Diving into the Groucho character like a man literally possessed, Haines provides most of the droll (but corny) humour, especially in song form during
“Samovar the Lawyer.” Impersonating Chico Marx, Cascone’s Carlo the Italian servant is the most facially expressive of the bunch, even interrupting some
of the more tedious jokes Groucho churns out.
Susan Sanders as the mute Harpo (playing Gino the gardener) is smart casting; the result works wonders because Sanders’ doe-eyed innocence excellently
balances beside Harpo’s goofiness.
A Day in Hollywood/A Night in the Ukraine runs until June 1 at 8 p.m. nightly, and Sunday at 2 p.m. at the Fairview Library Theatre, 35 Fairview Mall Drive.
was nominated for nine Tony Awards, thanks to the contributions of veteran songwriter Jerry Herman (of Hello Dolly!).
In the first half, six ushers at Grauman’s Chinese theatre in Hollywood prance and sing 19 classics from and about films. “I Love a Film Cliché” features
those movie lines we recognize as predictable tools in a scriptwriter’s arsenal: “Blackmail is such an ugly word.” Mary Elizabeth Niec parodies actress
Jeanette MacDonald in “Nelson,” questioning the manhood of, yes, you guessed it, Nelson Eddy.
The first half’s highlight is the musical pouring out of Joe Cascone, the director, principal actor and pianist behind the company. His finger-dancing does
more than tickle those ivories; he massages them.
After Peter Loucas saunters on stage to the swaggering “Thanks for the Memory” (Hope’s signature song), the company taps their toes to the delightful
“Doin’ the Production Code.” Who thought reciting the ancient film censorship code could look like so much fun? (And who thought kissing scenes had to
be no more than six seconds?)
The act’s overall feel is half-parody, half-tribute… The company succeeds in recreating Hollywoods’ golden age.
An hour of straight songs is a risky venture, considering the first half has no plot or suspenseful arch. Credit the second half (A Night in the Ukraine) for
entertaining a dialogue-hungry audience. Loosely based on Anton Chekhov’s The Bear, the second d half is dotted with a comedy styling the Russian
playwright never envisioned.
Dubbed as “the funniest musical the Marx Brothers never made,” A Night in the Ukraine features Chico, Harpo and Groucho doing their slapstick schtick in a
living room interior set.
Mrs. Pavlenko (Carol Kugler) is a wealthy widow who is visited by a lawyer (David Haines) insisting on being paid 1200 rubles the late Mr. Pavelnko owes
him.
Diving into the Groucho character like a man literally possessed, Haines provides most of the droll (but corny) humour, especially in song form during
“Samovar the Lawyer.” Impersonating Chico Marx, Cascone’s Carlo the Italian servant is the most facially expressive of the bunch, even interrupting some
of the more tedious jokes Groucho churns out.
Susan Sanders as the mute Harpo (playing Gino the gardener) is smart casting; the result works wonders because Sanders’ doe-eyed innocence excellently
balances beside Harpo’s goofiness.
A Day in Hollywood/A Night in the Ukraine runs until June 1 at 8 p.m. nightly, and Sunday at 2 p.m. at the Fairview Library Theatre, 35 Fairview Mall Drive.
Wonderful Wizard of Oz - December 2002
This Wizard worth going off to see
North York Mirror, December 18, 2002
By Clarie Martin
Special to the Mirror
The Civic Light Opera Company is marvelously inventive in bringing about
musical version of L. Frank Baum’s “The Wonderful Wizard of Oz” to the
Fairview Library Theatre.
Director Joe Cascone and cast give us a group of delightfully pint-sized
Munchkins, a nest of very helpful mice (who might be expected to live in the
field behind Auntie En’s farm, but were never, ever seen) and all the old
familiar characters.
Cascone worked on this “new musical” with composed and fellow Oz-fancier
James P. Doyle (now deceased) and first presented it in December 2000.
North York Mirror, December 18, 2002
By Clarie Martin
Special to the Mirror
The Civic Light Opera Company is marvelously inventive in bringing about
musical version of L. Frank Baum’s “The Wonderful Wizard of Oz” to the
Fairview Library Theatre.
Director Joe Cascone and cast give us a group of delightfully pint-sized
Munchkins, a nest of very helpful mice (who might be expected to live in the
field behind Auntie En’s farm, but were never, ever seen) and all the old
familiar characters.
Cascone worked on this “new musical” with composed and fellow Oz-fancier
James P. Doyle (now deceased) and first presented it in December 2000.
Unless you saw that show, you will not recognize the songs and music.
Unless you read Baum’s first book on Oz, even parts of the story (what are “Kalidahs” and “Hammerheads?”) are unfamiliar.
Cascone has been loyal to Baum in writing the script for this production and Doyle has been wonderfully disloyal to the MGM movie musical (starring
Judy Garland as Dorothy) in composing a collection of very different songs. The sentiments, however, remain the same” a young girl, tossed about by the
elements, takes the yellow brick road to wisdom – mind, body and soul.
Cascone represents Baum on stage as narrator (and often as prop man) and also operates as the Wizard himself. This is a nice effect since Baum is the
wizard behind the many productions and offshoot performances of this uncanny tale, which has amazed and informed young and old for more than 100
years. Doyle’s lyrics never mention “rainbows.” They don’t’ seem to be as memorable or hummable, but that may possibly be because they are unfamiliar
in the Land of Oz.. I did, however, find myself rehearsing lines like “just a touch of humbug” from the song of the same name.
The sentiments of “Pull Together,” sung by the Mouse Queen (Carol Kugler) and her field mice friends, tickle the heartstrings. A rather vampish Wicked
Witch of the West, played by Julie Lennick, belts out “Wicked is What I Do” and I applaud her for it.
“Further Along the Way,” a tune that Baum and “the four friends” sing together at each juncture of their later travels made me wish the way was not quite
as long. It takes a little more brainwork (even for scarecrows in the audience) to assimilate a rafting trip down a raging river or an assortment of newfangled
alien to our concept of Oz.
Twelve year-old Kelly Sanders, who could make a career of The Wizard of Oz (at least until she grows up) plays Dorothy and hers is a role amply carried
out.
Cameron McKinnon’s Scarecrow is as gangly as Ray Bolger’s in the MGM musical, Bryan Chamberlain’s Tin Woodman as stalwart as Jack Haley’s and
David Haines’ Cowardly Lion as comic as Bert Lahr’s / Joanne Kennedy’s Glinda sparkles like a movie gem. Storks, crows, monkeys and tigers flutter and
prowl without incident.
Even Jesse, as Toto the dog, does not mess up.
Unless you read Baum’s first book on Oz, even parts of the story (what are “Kalidahs” and “Hammerheads?”) are unfamiliar.
Cascone has been loyal to Baum in writing the script for this production and Doyle has been wonderfully disloyal to the MGM movie musical (starring
Judy Garland as Dorothy) in composing a collection of very different songs. The sentiments, however, remain the same” a young girl, tossed about by the
elements, takes the yellow brick road to wisdom – mind, body and soul.
Cascone represents Baum on stage as narrator (and often as prop man) and also operates as the Wizard himself. This is a nice effect since Baum is the
wizard behind the many productions and offshoot performances of this uncanny tale, which has amazed and informed young and old for more than 100
years. Doyle’s lyrics never mention “rainbows.” They don’t’ seem to be as memorable or hummable, but that may possibly be because they are unfamiliar
in the Land of Oz.. I did, however, find myself rehearsing lines like “just a touch of humbug” from the song of the same name.
The sentiments of “Pull Together,” sung by the Mouse Queen (Carol Kugler) and her field mice friends, tickle the heartstrings. A rather vampish Wicked
Witch of the West, played by Julie Lennick, belts out “Wicked is What I Do” and I applaud her for it.
“Further Along the Way,” a tune that Baum and “the four friends” sing together at each juncture of their later travels made me wish the way was not quite
as long. It takes a little more brainwork (even for scarecrows in the audience) to assimilate a rafting trip down a raging river or an assortment of newfangled
alien to our concept of Oz.
Twelve year-old Kelly Sanders, who could make a career of The Wizard of Oz (at least until she grows up) plays Dorothy and hers is a role amply carried
out.
Cameron McKinnon’s Scarecrow is as gangly as Ray Bolger’s in the MGM musical, Bryan Chamberlain’s Tin Woodman as stalwart as Jack Haley’s and
David Haines’ Cowardly Lion as comic as Bert Lahr’s / Joanne Kennedy’s Glinda sparkles like a movie gem. Storks, crows, monkeys and tigers flutter and
prowl without incident.
Even Jesse, as Toto the dog, does not mess up.
Stop the World - February 2001
All the world’s a circus in this
production
Stop the World, I Want to Get Off
North York Mirror, Sunday, Feb. 24, 2002
By Maria Tzavaras
Special to the Mirror
When the lights go up to reveal a circus setting in The Civic Light Opera
Company’s latest production, Stop the World, I Want to Get Off, the last thing
you’d expect to see is a musical comedy about a power hungry, cheating
husband.
But the circus setting, much like the play, is full of symbolism about the
absurdities of human nature and how our lives often parallel the craziness of a
three-ring circus. If nothing else, the trapeze on the ceiling seemed to symbolize
the main character’s swinging from woman to woman.
production
Stop the World, I Want to Get Off
North York Mirror, Sunday, Feb. 24, 2002
By Maria Tzavaras
Special to the Mirror
When the lights go up to reveal a circus setting in The Civic Light Opera
Company’s latest production, Stop the World, I Want to Get Off, the last thing
you’d expect to see is a musical comedy about a power hungry, cheating
husband.
But the circus setting, much like the play, is full of symbolism about the
absurdities of human nature and how our lives often parallel the craziness of a
three-ring circus. If nothing else, the trapeze on the ceiling seemed to symbolize
the main character’s swinging from woman to woman.
Stop the World, I Want to Get Off by Anthony Newley and Leslie Bricusse is a musical comedy that follows the entire life of Littlechap (Joe Cascone) and
all his escapades. We see from the time Littlechap was young, he had a healthy appetite for the ladies. One day at a disco, he meets his match in Evie (Julie
Lennick), who turns out to be his boss’ daughter, and after an accidental pregnancy, his wife.
As Littlechap becomes a father and gets a promotion from his crummy job, he also gets antsy with his predicament, resenting he has to stick with one
woman forever. As his life travels farther away from what he thought it would be, Littlechap faces his life the only way he can – with humour.
Throughout the play, eight chorus ladies decked out in different clown suits, wonderfully add to the atmosphere by assuming numerous roles in each of
Littlechap’s predicament. As Littlechap is continually promoted, he begins traveling on business trips, which becomes his outlet to fulfill his one-woman
man dilemma. In Russia, he pursues Anya, in Japan, Ara, in New York, Lorene. He even tries with his German nanny, Ilse. All these characters were
impressively played by Lennick, who sang and spoke in different accents appropriate to each country.
Cascone made a notable performance as Littlechap, and although he spends most of his time climbing the corporate ladder and cheating on his wife, he
somehow wins your approval with his candid sense of humour and honesty in how he feels.
Whether you enjoy Stop the World I Want to Get Off for its plot or not, you most likely will enjoy the music throughout, which includes well-known tunes
like, “Gonna Build a Mountain” and “What Kind of Fool am I?”
As there are laughs to be had throughout, the show is quick-paced with a constant change of scenery. That, coupled with going through a man’s entire life
in two hours, the show becomes confusing at times, and you may find yourself following the program that describes every scene. Otherwise, Stop the
World, I Want to Get Off is an entertaining evening.
Stop the World, I Want to Get Off runs until March 2 at the Fairview Library Theatre.
all his escapades. We see from the time Littlechap was young, he had a healthy appetite for the ladies. One day at a disco, he meets his match in Evie (Julie
Lennick), who turns out to be his boss’ daughter, and after an accidental pregnancy, his wife.
As Littlechap becomes a father and gets a promotion from his crummy job, he also gets antsy with his predicament, resenting he has to stick with one
woman forever. As his life travels farther away from what he thought it would be, Littlechap faces his life the only way he can – with humour.
Throughout the play, eight chorus ladies decked out in different clown suits, wonderfully add to the atmosphere by assuming numerous roles in each of
Littlechap’s predicament. As Littlechap is continually promoted, he begins traveling on business trips, which becomes his outlet to fulfill his one-woman
man dilemma. In Russia, he pursues Anya, in Japan, Ara, in New York, Lorene. He even tries with his German nanny, Ilse. All these characters were
impressively played by Lennick, who sang and spoke in different accents appropriate to each country.
Cascone made a notable performance as Littlechap, and although he spends most of his time climbing the corporate ladder and cheating on his wife, he
somehow wins your approval with his candid sense of humour and honesty in how he feels.
Whether you enjoy Stop the World I Want to Get Off for its plot or not, you most likely will enjoy the music throughout, which includes well-known tunes
like, “Gonna Build a Mountain” and “What Kind of Fool am I?”
As there are laughs to be had throughout, the show is quick-paced with a constant change of scenery. That, coupled with going through a man’s entire life
in two hours, the show becomes confusing at times, and you may find yourself following the program that describes every scene. Otherwise, Stop the
World, I Want to Get Off is an entertaining evening.
Stop the World, I Want to Get Off runs until March 2 at the Fairview Library Theatre.
Some Enchanted Evening (return engagement) - August 2004
Front Row Centre: The Sounds of
Rodgers & Hammerstein
By Mark Lawrence
The songs of Rodgers and Hammerstein seem to have been with us forever.
From 1943 to 1959 the team created nine Broadway shows, plus one film and
one television musical. As both producers and songwriters, their names became
synonymous with Broadway. It was a time when theatre music fed the hit
parade and recordings of their shows sold millions of copies. Less than ten
years after their final Broadway production opened, the divorce between
popular music and theatre music would be final. So, as they defined an era they
also closed the book on it.
The Civic Light Opera Company pays tribute to the team with a revival of their
popular revue SOME ENCHANTED EVENING at the Fairview Library
Theatre.
Rodgers & Hammerstein
By Mark Lawrence
The songs of Rodgers and Hammerstein seem to have been with us forever.
From 1943 to 1959 the team created nine Broadway shows, plus one film and
one television musical. As both producers and songwriters, their names became
synonymous with Broadway. It was a time when theatre music fed the hit
parade and recordings of their shows sold millions of copies. Less than ten
years after their final Broadway production opened, the divorce between
popular music and theatre music would be final. So, as they defined an era they
also closed the book on it.
The Civic Light Opera Company pays tribute to the team with a revival of their
popular revue SOME ENCHANTED EVENING at the Fairview Library
Theatre.
The six performers are all very much at home with the material having all played in previous productions of the shows. The staging is simple and effective,
always visually interesting while allowing the songs their chance to shine.
Not all of the songs are well known. Early in proceedings Carol Kugler offers a beautiful reading rendition of “Boys and Girls Like You and Me” – a song cut
from OKLAHOMA! during try-outs. It may not have worked in the story, but Richard Rodgers’ melody deserves to be heard.
We tend to think of Hammerstein as the original cockeyed optimist, offering simple romantic statements. Think of “If I Loved You” from CAROUSEL, set to
one of Richard Rodgers’ most haunting melodies, and beautifully sung here by Catherine Uy. But Hammerstein could be witty and ironic at times. Susan
Sanders makes the case in Act One with “The Gentleman is a Dope” from ALLEGRO and David Haines reminds us in Act Two with “Don’t Marry Me” a
comic reverse proposal written for FLOWER DRUM SONG.
Every contemporary theatre lyricist owes a huge debt to Hammerstein, who learned early on the importance of structuring songs to tell stories and communicate
feelings. The “Soliloquy” from CAROUSEL is still a model of theatre writing at its finest, and Joe Cascone offers a true show-stopping moment with the piece,
navigating the sudden shifts in mood and bringing out the subtle nuances of the character.
At the other end of the subtlety spectrum is “A Lovely Night” from the television musical CINDERELLA. Here the number is played for laughs with Susan
Sanders and David Haines as the two ugly stepsisters mocking the heroine. It is a far cry from the solemnity of “Climb Every Mountain.”
Near the end of SOME ENCHANTED EVENING Bob Deutsch offers a simple, straightforward performance of “Edelweiss” from THE SOUND OF MUSIC.
The song is intended to sound like an Austrian folksong, but the nationalist pride transcends boundaries. And, fittingly, the last word is “forever.”
For information on SOME ENCHANTED EVENING and the Civic Light Opera Company’s upcoming season which includes GYPSY; YOURS, ANNE; BABES IN
ARMS and MY FAIR LADY visit www.CivicLightOperaCompany.com or call (416) 755-1717.
always visually interesting while allowing the songs their chance to shine.
Not all of the songs are well known. Early in proceedings Carol Kugler offers a beautiful reading rendition of “Boys and Girls Like You and Me” – a song cut
from OKLAHOMA! during try-outs. It may not have worked in the story, but Richard Rodgers’ melody deserves to be heard.
We tend to think of Hammerstein as the original cockeyed optimist, offering simple romantic statements. Think of “If I Loved You” from CAROUSEL, set to
one of Richard Rodgers’ most haunting melodies, and beautifully sung here by Catherine Uy. But Hammerstein could be witty and ironic at times. Susan
Sanders makes the case in Act One with “The Gentleman is a Dope” from ALLEGRO and David Haines reminds us in Act Two with “Don’t Marry Me” a
comic reverse proposal written for FLOWER DRUM SONG.
Every contemporary theatre lyricist owes a huge debt to Hammerstein, who learned early on the importance of structuring songs to tell stories and communicate
feelings. The “Soliloquy” from CAROUSEL is still a model of theatre writing at its finest, and Joe Cascone offers a true show-stopping moment with the piece,
navigating the sudden shifts in mood and bringing out the subtle nuances of the character.
At the other end of the subtlety spectrum is “A Lovely Night” from the television musical CINDERELLA. Here the number is played for laughs with Susan
Sanders and David Haines as the two ugly stepsisters mocking the heroine. It is a far cry from the solemnity of “Climb Every Mountain.”
Near the end of SOME ENCHANTED EVENING Bob Deutsch offers a simple, straightforward performance of “Edelweiss” from THE SOUND OF MUSIC.
The song is intended to sound like an Austrian folksong, but the nationalist pride transcends boundaries. And, fittingly, the last word is “forever.”
For information on SOME ENCHANTED EVENING and the Civic Light Opera Company’s upcoming season which includes GYPSY; YOURS, ANNE; BABES IN
ARMS and MY FAIR LADY visit www.CivicLightOperaCompany.com or call (416) 755-1717.
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Day in Hollywood / Night in the Ukraine - May 2003
