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Ohio Light Opera: The Cousin from Batavia (July 23)

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by Kevin McLaughlin

Last seen in Wooster in 2002, The Cousin from Batavia (1921) — with its tangle of mistaken identities, impromptu romance, and Southeast Asian impostures — may be less familiar to English-speaking audiences than other Golden Age operettas. But Ohio Light Opera’s sweet-tempered, farcical revival at Freedlander Theatre on July 23 proved charming enough to win over even the staunchest devotees of the present-day and plausible. The late operetta scholar Richard Traubner rendered the text into vivid English.

Composed by Eduard Künneke with a witty libretto by Hermann Haller and “Rideamus” — “Let us laugh,” the Latin pseudonym of German-Jewish satirist and lawyer Fritz Oliven — Batavia blends the lyricism of Viennese operetta with the slapstick of farce. Wilson Southerland’s crisp conducting and the orchestra’s fine playing brought out all the color and buoyancy in Künneke’s sparkling score. [Read more…]

Ohio Light Opera: Noël Coward’s Bitter Sweet (July 17)

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by Kevin McLaughlin

Noël Coward’s Bitter Sweet was a grand hit in 1929, but its large cast, relatively complex plot, and throwback operetta format have kept it out of the regular repertoire in recent years.

Thank goodness for Ohio Light Opera’s polished new staging, seen on July 17 at The College of Wooster’s Freedlander Theatre. This elegant — and yes, bittersweet — tale of love, loss, and the passage of time was elevated by superb singing, splendid orchestral playing under Michael Borowitz’s baton, and all the wit, warmth, and visual splendor one hopes to find at the theater.

Structured as a memory play, Bitter Sweet is a deeply personal work. According to biographers, the love story — particularly as expressed through the character of Carl Linden — puts Coward’s romantic ideals on full display.

[Read more…]

Ohio Light Opera: Patience, or Bunthorne’s Bride (July 2)

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by Daniel Hathaway

Of all the sacred Victorian oxen William Shenk Gilbert and Arthur Seymour Sullivan set out to gore in their fourteen Savoy Operas, their satire of the Aesthetic Movement and its medieval values is one of their cleverest.

Patience (1890) lampoons the literary excesses of the aesthetes and their followers with similar affectations of its own, and the G&S veterans of Ohio Light Opera miss few opportunities to demonstrate their individual virtuosity.

I saw the opening performance, a matinee, at Freedlander Theater at The College of Wooster on July 2. The production was expertly directed by veteran company member Julie Wright Costa, and choreographed by Spencer Reese, with Wilson Southerland conducting the fine-sounding OLO Orchestra. [Read more…]

Ohio Light Opera: George & Ira Gershwin’s Tip-Toes (June 26)

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by Kevin McLaughlin

On a sunny Thursday afternoon in Wooster on June 26, Ohio Light Opera’s revival of the Gershwin brothers’ Tip-Toes (1925) made its premiere during a carefree two hours at the College of Wooster’s Freedlander Theatre.

Director Jacob Allen embraced the show’s silliness — mistaken identities, romantic mix-ups, and a heroine with amnesia — while keeping the action kinetic and the comedy light on its feetThe production succeeds due to excellent staging and choreography, but also thanks to sharp acting, nimble dancing, heartfelt singing, and general razzle-dazzle. Proof that even the more neglected musicals of the Jazz Age can still charm a modern audience. [Read more…]

Ohio Light Opera: Lerner & Loewe’s Brigadoon (June 19)

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by Daniel Hathaway

Alan J. Lerner and Frederick Loewe’s 1947 Brigadoon owes much of its popularity to the familiarity of its music — and people who have never seen the show can find themselves carrying tunes like “The Heather on the Hill,” “Come to Me, Bend to me, ”and “Almost Like Being in Love” around in their ears, not knowing where they came from.

Equally as compelling are its Scottish Highland dances, which are numerous,  authentic, and as one commentator noted in a review of Brigadoon’s debut, so well-integrated into the plot that ‘it is impossible to say where the music and dancing leave off and the story begins.’

Engagingly directed by Jacob Allen, with lively choreography by Spencer Reese, and Wilson Southerland leading the excellent OLO Orchestra, Ohio Light Opera’s alluring production of Brigadoon opened on June 19 in Freedlander Theater at the College of Wooster. [Read more…]

Ohio Light Opera: three key players discuss this season’s repertoire and some bittersweet changes ahead

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by Stephanie Manning

This summer, Ohio Light Opera artistic director Steven Daigle is crossing not one, but two shows off his bucket list.

“ I would’ve loved to direct all six of the shows this summer,” he said. But after dividing up assignments between him and his three fellow directors, eventually he had to choose.

So what drew him to Rodgers & Hammerstein’s Carousel and Noël Coward’s Bitter Sweet?  These shows aren’t just visual and musical spectacles — they also grapple with some complicated emotions. [Read more…]

Ohio Light Opera: a group chat about Brigadoon

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by Daniel Hathaway & Mike Telin

Immediately following Ohio Light Opera’s wonderful opening performance of Alan J. Lerner and Frederick Loewe’s Brigadoon on June 19, we had the opportunity to sit down at The College of Wooster’s Freedlander Theatre with director Jacob Allen, conductor Wilson Southerland, choreographer and cast member Spencer Reese, and cast members Maggie Langhorne and Jack Murphy to talk about the production.

CC: Great job, everyone! Jacob, please share your thoughts about the show.  [Read more…]

Ohio Light Opera embraces the nuances of Rodgers & Hammerstein’s Carousel (June 14)

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by Stephanie Manning

If you’ve never seen Rodgers and Hammerstein’s Carousel, don’t let the title fool you. Although the carousel in question is literal, it’s also a metaphor — for cycles of unhealthy relationships, social ostracization, and abuse.

Eighty years on from its Broadway debut, Carousel finds itself in a tricky position in the musical theater canon. Featuring some of Rodgers and Hammerstein’s most beautiful songs, the work is so beloved that TIME Magazine named it the best musical of the 20th century. But it’s also faced criticism for its portrayal of domestic violence.

Deftly directed by Steven Daigle and unafraid to face some thorny topics head on, Ohio Light Opera’s Carousel made for a compelling start to the company’s 46th season at The College of Wooster’s Freedlander Theatre on June 14. [Read more…]

June festivals get up to speed this week in Northeast Ohio

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by Daniel Hathaway

June has become the unofficial summer festivals month in Northeast Ohio, with ChamberFest Cleveland, the ENCORE Music & Ideas Festival, and the Ohio Light Opera summer season all beginning at once — and with more to come. Here’s what they’re offering just this week (in alphabetical order):

ChamberFest Cleveland continues its thirteenth season on Friday, June 13 with “Reflections.” Ten artists perform music by Arvo Pärt, Anton Arensky, and Camille Saint-Saëns (7:30 at the Church of the Saviour in Cleveland Heights).

ChamberFest offers two events on Saturday, June 14: “Rhythm & Clues,” a free, family-friendly concert by the Nate’s World Trio including a scavenger hunt (11:00 am in the Friends Pavilion at the Nature Center at Shaker Lakes), and “A Musical Feast” featuring a new work by Errollyn Wallen in a “chamber cabaret” performance from Nate’s World — the fertile imagination of bassist Nathan Farrington (7:30 at Heights Theater in Cleveland Heights). [Read more…]

Ohio Light Opera’s The Arcadians: all upbeat, all the time (July 18)

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by Peter Feher

The Ohio Light Opera is traveling to a world terrifically out of time in The Arcadians, the company’s sixth and final production of the summer.

No, not Arcadia, the mythical realm where shepherds and nymphs always tell the truth and, as a result, never grow old. That vision of utopia lasts for only one act of Lionel Monckton, Howard Talbot, and Arthur Wimperis’ 1909 musical comedy. For the remainder of the show, we’re whisked to what would have been familiar territory for the three songwriters but what, in 2024, might seem like an even more fantastical setting: Edwardian England.

The delightful sense of dislocation owes a little to OLO’s staging and a lot to the inevitable reality that The Arcadians has aged. Like much turn-of-the-20th-century musical theater, the story here — by librettists Mark Ambient and Alexander M. Thompson — comes second to the songs. [Read more…]

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