Skip to main content

Dulcamara? No, John Wellington Wells!

Backstage during Gilbert & Sullivan's time,
the singers find out that the manager's wife is in labor.
Herbst Theatre 1:45.

As the musicians review their parts, people gather to their seats. Musicians are hardly seen, for they are behind the stage. A cloth hanger is in the middle of the stage. To the left and front of it stands an alla antique table and chair. To the right of the cloth hanger stands another table with a piece of cloth on it.
Chris Uzulac and Megan Stetson as JohnWellington Wells and Lady Sanagzure. 


A couple sits in the front row. They don't seem excited. People are still walking around. some can't find their seat and are distressed. Others have taken a seat that doesn't exactly belong to them. Others are just plainly waiting for a friend or family member to come. They were sold out for that performance, the last one.

The musicians continue to play. They stop. The light become dimmer. The show begins. You're probably wondering what I'm talking about right now. Well, this is the scenery of Gilbert & Sullivan's The Sorcerer. I watched a movie in which this lady said,
Robby Stafford and Megan Stetson as
Sir Marmaduke and Lady Sangazure
        "It would have been much better if they had never met."
I agree with her to some degree. But to the other... First of all, let me tell you that William Gilbert and Arthur Sullivan didn't actually write the music together. Sullivan wrote the music and Gilbert wrote the libretto. It has always bugged me so much when people say something like,
         "Oh, Gilbert & Sullivan's opera is so awesome! Oh!" That's like saying that Le Nozze di Figaro is Da Ponte and Mozart's opera. It's so nice!

Chris Uzelac as John Wellington Wells
Anyways, the twenty minute intermission has begun. This is the most awkward story. It's similar to Elexir d'Amour, but has some differences. During the overture, the stage was set up as if backstage during Gilbert & Sullivan's time. They receive a note that the manager's wife is going into labor. (The audience laughs for ten or so seconds.) The costumes, by Melissa Wortman, were gorgeous. Wide skirts, yellow breeches over white stockings. Don't know about you but I love this kind of productions.

Lindsay Thompson Roush, Robert Vann, and Chris Uzelac
as Aline, Alexis, and John Wellington Wells
If you don't know the summary, click on this link!


The stunning cast included Lindsay Thompson Roush as the faithful Aline, Robert Vann as her spouse, Rose Frazier as Constance, Megan Stetson as the lustful Lady Sangazure, Robby Stafford as her admirer Sir Marmaduke, Chris Uzelac as the cunning John Wellington Wells, Kelly Powers as Mrs. Partlet, Baker Peeples as Dr. Daly, James MacIvaine as the notary, and Jeffrey Beaudoin as Hercules.


The manager (Chris Uzelac) himself finds out about
his wife going through labor. 
Lindsay Thompson Roush's acting and vocal texture were the best for this role. Robert Vann's alluring voice and aura fit perfectly to the character Alexis. Rose Frazier was able to manifest suffering and rejoicing wonderfully. Megan Stetson's charismatic presence on the stage left the audience with their jaws to the ground. Robby Stafford's acting skills and singing skills were perfect for the comedic character, Sir Marmaduke. Chris Uzelac was able to create the suspense and tension necessary for the role of John Wellington Wells (also known as the sorcerer).

Overall, the whole performance was very entertaining. The cast worked well together and their voices sounded great.




Written by: Rubina Mazurka


Comments

Popular posts from this blog

Opera gala time: Armenian National Philharmonic Orchestra under Eduard Topchjan

The Armenian National Philharmonic Orchestra, performing at the Aram Khachaturian Concert Hall, under the baton and artistic direction of Maestro Eduard Topchjan, never ceases to impress its summer audiences with the exceptionally entertaining and high-quality performances given. Featuring baritone David Babayants, soprano Ani Yorentz, tenor Liparit Avetisyan, soprano Hasmik Torosyan, bass Vazgen Gazaryan, and baritone Gianpiero Ruggeri, the Opera Gala produced an unforgettable effect upon the audience.
The program included selections from Leoncavallo, Gounod, Tchaikovsky, Mascagni, Puccini, Verdi, Mozart, Rossini, and Donizetti.

The spectacular gala opened with Gianpiero Ruggeri’s stunning performanc of Si puo? Si puo? Signore! Signori!, Tonio’s prologue from Ruggero Leoncavallo’s Pagliacci. Not only was the actual content of Tonio’s Prologue an ideal stage-warming number, it also manifested Ruggeri’s intriguing acting and smooth vocal production.

Next on the program was Ani Yorentz…

The Last Judgement: Verdi's Masterful Requiem and Michelangelo's Sistine Chapel

On September 14, 2017, the Armenian National Academic Theater of Opera and Ballet after A. Spendiarian performed Giuseppe Verdi's Requiem, but with a visual twist of murals from the Sistine Chapel, done by Michelangelo. The pictures were projected by "innovative technologies of the future" which allowed to create a "three-dimensional reproduction of the images of Michelangelo's masterpieces". Conducted by San Francisco-born conductor Konstantin Orbelyan Jr. (nephew of the famous Armenian conductor Konstantin Orbelyan), soloists soprano Marine Deinyan, guest mezzo-soprano from the USA Eleni Matos, bass Hayk Tigranyan, and tenor Sargis Aghamalyan performed Verdi's Requiem in this new realization of the stunning centerpiece of classical music. The visual effects were created by Italian stage and visual director Paolo Micciche. In Micciche's own words, "[t]he music of Verdi's Requiem has the same dramaturgy and rhythm as the great frescos by M…

Pianist Hrant Bagrazyan in Concert: In Memory of Professor Igor Yavryan

On July 19, accomplished classical pianist Hrant Bagrazyan gave a summer piano recital at the beautiful venue of the Komitas Museum-Institute, a "museum in Yerevan, Armenia, devoted to the renowned Armenian musicologist and composer Komitas", in memory of Professor Igor Yavryan, who passed away earlier this summer on June 16. Professor Yavryan was Bagrazyan's teacher and mentor.

"He helped me love and appreciate classical music and shaped me as a musician", wrote Bagrazyan. "Without him I wouldn't become a pianist."


The house was completely full, even with the necessity of adding several extra chairs to the rows in order to fit everyone who showed up for the performance. This is not surprising considering the high quality of the performance given.

The stunning program consisted of Komitas'  Six Dances, Johannes Brahms' Sonata No. 3 Op. 5 in f minor, Arno Babajanian's Six Pictures, and Maurice Ravel's Reflections. 


Komitas wrote th…