Word: libretti
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...alternate world, where identities are often mistaken and endings rarely make sense.The history of the Harvard-Radcliffe Gilbert and Sullivan Players (HRG&SP) has often unfolded in a manner as quirky and topsy-turvy as the comedies themselves. The kings and controversies of Gilbert and Sullivan’s libretti seem to jump from the stage into the group’s past.THE MONARCHY PERIODThe Crimson obtained a letter from HRG&SP historian Ben T. Morris ’09, sent from Jack A. Marshall ’72 to Matthew R. Saunders ’97, then president...
...movie business? (It ran briefly on Broadway in 1946 and was not heard again until it surfaced six years ago in Discover the Lost Musicals.) Those Kern musicals that McGlinn put in Carnegie Hall nearly 20 years ago: they have beautiful scores and the sort of silly-funny libretti dear to the Encores! audience. Bring 'em back alive! And for a more modern piece, I recommend the 1961 "Kean," with a sumptuous score by Robert Wright and Chet Forrest of "Kismet"fame and a luminous title role (originally played by Alfred Drake) that would be perfect for Encores!' signature male...
...form that uses the little comix as a lens to examine everything from Latin-American history to the different uses of irony across cultures. In particular Raeburn uses the historietas to get at the Mexican way of life. For example, though sold openly on every street corner, these "ghetto libretti" are technically illegal, defying Mexico's obscenity laws. This way the government can be seen as opposed to them while still letting people make money. It works out well...
After enjoying a fine opening from especially impressive celli, the audience was temporarily blinded by the bright, glassy, modern set, and seemed surprised by the English-language production. It's usually a bad idea to translate German libretti. It's also risky to tamper with the original setting of a staged work of art. Why, then, did this "Fledermaus" come off so well? Because it was damn funny...
...kept apart until the end by some silly rule, he filled the stage with fairies, half-fairies and mortals, aimed his barbed burlesque at the House of Lords and, through the character of the Lord Chancellor, at the legal profession (of which Gilbert himself was a member). Although his libretti were largely drawn from ideas in his earlier Bab Ballads, they show a greater infusion of dazzling wit and a range of metrical experimentation that was positively Aristophanic...