by Timothy Robson
Ohio Light Opera’s production of Leonard Bernstein’s Candide is in the midst of a repertory run through early August in the Friedlander Theatre at the College of Wooster. It is a splendid affair in every regard, and I can recommend it without reservation. The principal roles are double-cast — I saw it with the July 11 ensemble. [Read more…]
by Kelly Ferjutz
Special to ClevelandClassical.com
There should be something for every taste in Ohio Light Opera’s premiere production of Anything Goes currently on the boards at Freedlander Theater at the College of Wooster.
Screwball comedy? Check.
Scintillating songs? Check.
Fantabulous tap-dancing? Double check! [Read more…]
by Kelly Ferjutz
Special to ClevelandClassical.com
Steven Daigle is the mixmaster-in-chief at Ohio Light Opera, which takes up residence each summer at the College of Wooster. Running a residential repertory company makes things both easier and, at times, more difficult for the Artistic Director, now in his 18th season in that position. He’s an expert at picking one show from column A, and maybe two from B, or three from C, and then building on those choices. Still, no matter how astutely he picks performance possibilities, in the end, the success of a season all comes down to the performers onstage — and in the orchestra pit.
For the vocal part of that process, Daigle primarily relies on associate artistic director Julie Wright Costa, who, in her other life is head of the voice area at the University of Utah School of Music. After winnowing through the myriad applications and videotapes, Julie travels the country holding auditions. This year she visited seven different regions in her ever-elusive search for that perfect candidate. [Read more…]
by Kelly Ferjutz
Special to ClevelandClassical.com
Most people attending operettas don’t expect the plot to make much sense, thus avoiding a fair amount of confusion. A perfect example is The Little Dutch Girl, a delightful work by Emmerich Kálmán — and the final show in Ohio Light Opera’s seven-production schedule to open the season. [Read more…]
by Kelly Ferjutz
Special to ClevelandClassical.com
The Dancing Years, an OLO premiere this season, first appeared in the UK in 1939, and ran for 1150 performances, well into the beginning of WWII. Ivor Novello wrote the book and the music, while the lyrics are by Christopher Hassall. Novello was heavily influenced by the approaching war and the situation he had encountered in Vienna shortly before beginning this work. [Read more…]
by Kelly Ferjutz
Special to ClevelandClassical.com
For Wooster’s Ohio Light Opera, it isn’t enough simply to choose seven great examples of lyric theater to comprise a season. No, it takes months, sometimes years to pull together all the pieces of the puzzle in order to put the very best production of each show on the stage of Freedlander Theater.
Cole Porter’s 1948 masterpiece Kiss Me, Kate will open OLO’s 38th season on Saturday, June 18 at 7:30 pm. As a play within a play, it looks back to Shakespeare, of course, and to The Taming of the Shrew. But it also looks forward to more modern days, with its consideration of women’s lib — recognizing Lilli as an equal participant in the story. First seen in the 1940s, it was Porter’s love letter to the theater, not only to the actors, dancers, and musicians, but also to the audiences who came to see it. [Read more…]
by J.D. Goddard
On Friday, July 10, after the customary singing of God Save the Queen, the curtain went up on the second performance of Ohio Light Opera’s Ruddigore in Freedlander Theater at the College of Wooster, and the audience was immediately swept into the action in the Cornish town of Rederring. Gilbert and Sullivan’s 1887 operetta has a rather baffling story line and a whimsical musical style. [Read more…]
by Kelly Ferjutz, Special to ClevelandClassical
It’s a little bit sassy, a little bit bawdy, and a whole lot of musical fun! What is it, you ask? Why, it’s One Touch of Venus, now onstage in repertory through August 8 at the Ohio Light Opera in Wooster. It’s totally fabulous. One Touch of Venus is one of half-a-dozen or so musicals written by the eminent classical composer Kurt Weill, but the music is anything but strictly classical in orientation. There’s jazz, boogie-woogie, and jitterbug, in addition to beautiful melodies such as “Speak Low,” and “I’m a stranger here myself.” [Read more…]
by Kelly Ferjutz, Special to ClevelandClassical
If you’re among the millions who love Paris, whether it drizzles or sizzles — or even if you’re not — you’re bound to love the new production of Can-Can at the Ohio Light Opera. It’s bright and colorful, and, with the witty lyrics of Cole Porter, it’s totally sassy as well. It’s also a huge show, technically, as nearly everyone other than the principals plays double and triple roles, complete with numerous costume changes. This energetic production, helmed by artistic director Steven Daigle, never missed a beat. Act One has ten scenes, while Act Two has seven — daunting indeed. The colorful, bright costumes were designed by Charlene Gross, and the multi-purpose set and picturesque scrim by Cassie King. Lighting design is by Erich Keil. [Read more…]
by Kelly Ferjutz, Special to ClevelandClassical
Steven Daigle (left) has been at the helm of Ohio Light Opera since 1999. But not even a Superman could successfully choose and direct all seven full-scale productions in the eight-week summer season at The College of Wooster. This season, Daigle will be in charge of four of the seven shows, and three members of his company will each direct one.
I sat down with Daigle, associate director Julie Wright Costa, principal guest director Ted Christopher, and Jacob Allen — all four of whom are teachers specializing in the lyric theater tradition — to ask questions about their careers and their lives at OLO.
Kelly Ferjutz: Could you each share your thoughts about shows you’re directing this season?
Steven Daigle: I’m directing four of the seven productions. Our repertory is shifting in the direction of a musical theater, which has a different emphasis than operetta. They all have their difficulties, but the biggest one is time constraints — there’s a lot to do after choosing a piece before you present it to the audience. Building sets is time-consuming and expensive. We’re trying to economize where possible, without hurting our quality. Maybe we build less complex sets at times. [Read more…]