Cher Public

Mage of all work

Nothing daunted by the postage-stamp-stage of Lang Recital Hall at Hunter, half of which must be ceded to the orchestra, Utopia Opera has spent most of a decade staging Gilbert & Sullivan and a great deal else (Douglas Moore, Philip Glass, Thea Musgrove) with admirable wit, invention and musicality. Read more »

Virgin territory

When Arthur Sullivan (not yet Sir Arthur) composed his “dramatic oratorio” The Martyr of Antioch for the Leeds Music Festival, of which he was director, in 1880, he had just completed The Pirates of Penzance, his fifth operetta with W.S. Gilbert, and it was to Gilbert he turned for assistance with the libretto.  Read more »

The last ruse of summer

“Ladies, this is where we turn and sell it with a look!”

“It’s an unjust world, and virtue is triumphant only in theatrical performances.”* One injustice is the oblivion to which whole genres of once-popular theater pieces have been consigned. Have them out! Perform them, by all, by any, means!  Read more »

Matchless!

You may have missed the announcement—because there hasn’t been one—but this is John Latouche Week in New York.  Read more »

The Importance of Being Rudolph

Since Gilbert and Sullivan remain constant in the light-opera repertory, somewhere between Fledermaus and Les Mis in popular esteem, there must be good reasons their final collaboration, The Grand Duke, is seldom revived.

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