Gilbert & Sullivan's
Iolanthe
or, The Peer and the Peri

Jan. 12, 13, 19 & 20, 1990 at 8pm
Jan. 13 & 20, 1990 at 2pm

Directed by Marion Scodari
Music Directed by Barry Morley

Cast

The Lord Chancellor -  Gordon Brigham
Lord Mountararat - Jim Felten
Lord Tolloller - Elwood Zimmerman
Private Willis, of the Grenadier Guards - Barry Grinnell
Strephon, an Arcadian shepherd - Daryl Landis
Queen of the Fairies - Rosalie Santilhano (Jan. 12, 13 [eve.], 20 [mat.]),  Linda Lynch (Jan. 13 [mat.], 19, 20 [eve.])
Iolanthe, a Fairy, Strephon's mother - Lucy Greene
Phyllis, a shepherdess and Ward in Chancery - Linda Kirk
Celia, a Fairy - Ann Beer (Jan. 12, 13), Sheryl Ruppert (Jan. 19, 20)
Leila, a Fairy - Shirley Friedman (Jan. 12, 13), Syril Kline (Jan. 19, 20)
Fleta, a Fairy -  Kathy Scott
Lord DeBelville - Charles Sens
Train Bearer - Victor Hugo Porras

Ladies of the Chorus, Fairies - Ann Beer, Stephanie Brigham, Fran Fleming, Shirley Friedman, Donna Jaffe, Kate Lawniczak, Syril L. Kline, Edith Livingstone, Sheryl Ruppert, Rusty Suter

Gentlemen of the Chorus, Peers - John Austen, Barry Grinnell, Warren Houghteling, Jim Hummel, Robert Jacobson, Lyle Jaffe, Erik Kreil, Kent Woods

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Orchestra

Violin - Bonnie Barrows*, Carolyn Larson, Don Johnson, Maurine Beasley, Winnie Palmer
Viola - Amanda Laudwein, Andy Bursten
Cello - Liz Luck, Sol Feldman
Bass - Dave Ross, Cyndy Elliott
Oboe - Carl Gardner
Flute - Pauline Summers, Louise Hill
Clarinet - Gene Sober, Susan Braun
Bassoon - Nancy Switkes
French Horn - Don Hunter, Lorin Krusberg
Trombone - Earl Zastrow
Trumpet -  Tom Gleason, Bernie Rappaport
Percussion - Tom Christy, Bonny Hilditch

*Concertmistress

Production Staff

Producer - Tim Briceland-Betts
Stage Manager -  Pam Hodges
Set Construction - Tim Briceland-Betts, Deb Briceland-Betts, Gordon Brigham, Stephanie Brigham, Warren Houghteling, Erik Kreil, Donna Jaffe, Lyle Jaffe, Jonathan Lawniczak, Gina Nowacki, Ed Wiot, Lou Wiot
Technical Director (Rockville Civic Center) - Kim Haug
Lighting Design - Jonathan Lawniczak
Lighting Board - Joy Adler
Costume Design - Laura Hubbard, Edith Livingstone, Mary Sue Merritt, Marion Scodari
Costume Construction - Ann Beer, Edith Livingstone, Mary Sue Merritt, Marion Scodari, Kathy Scott
Make-up Design - Lora Sullivan
Properties - Jim Parker
Assistant to the Director - Lou Wiot
Assistant to the Producer and Set Designer - Ed Wiot
Rehearsal Pianist - Judy Gardner
Tickets - Caroline Hummel
House Manager - Mary Sue Merritt
Publicity/Public Relations - Deb Briceland-Betts
Program -  Pam Hodges
Photography - Deb Briceland-Betts

Special Acknowledgments

• Ms. Santilhano's gown courtesy of The Washington Savoyards, Ltd.

• Illustrations from Victorian Pictorial Borders and Treasury of Victorian Printers' Frames, Ornaments and Initials, Carole Belanger Grafton, ed.; Dover Publications, Inc., NY.
• Music stands and lights courtesy of Rockville Musical Theatre.
• Christ Congregational Church, for the use of its rooms for our rehearsals.

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A Note on This Edition

Those familiar with Iolanthe, will notice that the edition used tonight is in certain important respects different from the standard edition usually performed.

On the first night, two numbers were included that have, since, been cut. One of them, a song for Strephon, was Dickensian in its social criticism, which unfortunately rings as bitingly true today as when it was written. The other, a recitation for Mountararat, though sometimes thought to have been a song, was never intended to be on. These are performed tonight.

ln addition, one, of the two surviving numbers from Thespis, the original collaboration of Gilbert and Sullivan, proves quite relevant to the second act of Iolanthe. You will hear it as a solo for Tolloller, thus evening up the imbalance that would have been created had Mountararat been given a moment in the limelight not balanced by an equivalent on from his fellow MP.

In case you think that Gilbert always knew what he was doing when he shortened his libretti, reflect that he tried to cut "My Object All Sublime' from The Mikado on opening night and was only dissuaded from doing so by Richard Temple, the soloist, who didn't want his chief chance to shine omitted from the production.

The Victorian Lyric Opera Company would like to take this opportunity to thank Matthew Cunitz for orchestrating the additional music used in this performance and Peter Kline for the additional lyrics and continuity.