Lyric at the Birchpresents

Book and Lyrics by

W. S. GILBERT

featuring

Music by

ARTHUR SULLIVAN

BENJAMIN ROBINSON

JORDAN MILLER

CAROLINE NELMS

LAURA BUENO

Directed byLEON NATKER and J. SHERWOOD MONTGOMERY

Costume and Makeup DesignPAM STOMPOLY-ERICSON

Scenic DesignJ. SHERWOOD MONTGOMERY

Lighting DesignMICHELLE CARON

Production Stage ManagerAMANDA SALMONS

Conducted byLEON NATKER

Musical PreparationJANIE PRIM

Orchestraion for ''The Gondoliers" by James Newby of Bradford, EnglandCourtesy of Opus 1 Music, Vancouver, British Columbia

2 3CAST

(In order of appearance)

Fiametta Sarah Eve BrandFrancesco Rafi CedenoGiulia ·.··· .. ·Claire KennellyG i0 rg io Joe H. Zi IvinskisAntonio · William HenryVittoria Natasha V. GrachMarco ·.······· Benjamin RobinsonGiuseppe Jordan MillerTessa ·.. ·················· Laura BuenoGianetta · Caroline NelmsThe Duke of Plaza-Toro Brian ImotoThe Duchess of Plaza-Toro (His wife) Pamela LaurentCasilda (Their daughter, recently return from school abroad) Shelly Hart BrenemanLuiz (Their attendant) Christian SandersDon Alhambra (The Papal Nuncio) Steven JensenHis Body Guards Scott Barnard, Richard HerringInez Martha Jane Weaver

Venetians

Alan Alpert, Michael Cullen, Larissa M. Garcia+, Jacob Gardenswarz+,Sunny Gold, Stephanie Michelle Hester, Devon Hollingsworth+,

Thomas Lokensgard, Linda McCue, Donald McKee, Denise McMillan+,Kit Medina, Tyson Schmidt, Tzytle Steinman, Anna Strickland,

Joe H. Zilvinskis

+Lyric Opera Summer Academy Alumni

ORCHESTRA

CO NCERTMASTE R Mary Karo*VIOLIN 1 Mary Karo*, Natalka Kytasty*, Robie Evans*,

Laura Wanek*, Steve Ball*VIOLIN 2 Lee Wolfe*, Jorge Soto, *Ken Jerahian, Mastaneh NikraveshViOLA Roger Pine, Francesca Savage*, Paul Grant,CELLO Yuri Kytasty*, Gordon Grubbs*, Lori Kirkell*BASS Erik Johnson*FI.UTE/P ICC 0 LO Adan Provencio*()130 F. Electra O'Mara*CI.I\I·~INF.T 1 Bob Barnhart*CI.Alll NET 2 Katrina SchnorrTRUMPET. Jonathan Ingber*HORN John Lorge*TROMBONE Louise Titlow*PERCUSSiON Steve Karo*

*Members of Musicians' Union, Local 325, by Special Arrangement

MUSICAL NUMBERSTime: Post World War II

ACT I

Fantasy VeniceOve rtu re OrchestraList and learn ··· ..·············· .. ·.. ··· .. ··· ···· VenetiansWe're called gondolieri Marco & GiuseppeFrom the sunny Spanish shore Duke, Duchess, Casilda & LuizIn enterprise of martial kind Duke, Duchess, Casilda & Luizo rapture, when alone together Luiz & CasildaThere was a time ·.·· ·.. · ·.. · · Casilda & LuizI stole the prince Don Alhambra, Casilda, Duches, Luiz & DukeBut, bless my heart.. ··· Casilda & Don AlhambraTry we life-long Casilda, Duchess, Luiz, Duke & Don AlhambraBridegroon and bride Venetians & TessaKind sir, you cannot have the heart (Finale, Act 1) Venetians

ACT II

Barataria - A Mythical Island Somewhere in the Carribbean

Of happiness the very pith Men, Marco & GiuseppeRising early in the morning Giuseppe & MenTake a pair of sparkling eyes MarcoHere we are, at the risk · · ·VenetiansDance a cachucha · VenetiansThere lived a king Don Alhambra, Marco & GiuseppeIn a contemplative fashion Gianetta, Tessa, Marco & GiuseppeWith ducal pomp · · Men, Duke & DuchessOn the day when I was wedded DuchessTo help unhappy commoners Duke & DuchessI am a courtier. Duke, Marco, Giuseppe, Casilda & DuchessHere is a ase unprecendented (Finale, Act II) Venetians

SYNOPSIS

ACT I. The scene opens in fantasy Venice with young girls declaring their passionatelove for a pair of gondoliers, Marco and Giuseppe Palmieri. These two gondoliers areso gallant and peerless in their manly beauty that the girls are waiting for them toselect brides before they can consider other suitors. The male chorus of gondoliersenters, saying that they adore the young ladies, but the ladies explain that the twobrothers must choose first. When the Palmieri brothers enter, the ladies presentthem with flowers. The two gondoliers amiably offer to pick their two brides in agame of blind man's buff. "As all are young and fair, and amiable besides," they feelit would be unfair to show any favoritism. Eventually from the crowd, Giuseppepicks Tessa, and Marco picks Gianetta - "Just the very girl I wanted!" (although thetwo then politely offer to switch girls). All leave to go for the double wedding.

His Grace the Duke of Plaza-Toro, Her Grace the Duchess, their beautiful daughterCasilda, and their drummer boy, Luiz, now arrive in Venice from Spain. They havecome to meet Don Alhambra, a representative of the Vatican bank, who has

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summoned them to Venice. As Luiz goes to announce the Duke's presence, theDuke and Duchess tell their daughter a secret that they have kept for twenty years- when she was only six months old, she was married to the infant son and heir ofthe King of Barataria (a fictional island kingdom). She is indignant, since the unionwas conducted without her knowledge. Also, as we soon discover, she is secretly inlove with Luiz. However, the infant prince was stolen from his home by the GrandInquisitor after the king of Barataria became a Wesleyan Methodist "of the mostbigoted and persecuting type," and taken to Venice. The King of Barataria was recentlykilled in an insurrection, and the lost prince is now king. As the wife of the new king,Casilda is now the reigning queen of Barataria, and her parents have brought her tomeet with Don Alhambra to be introduced to her husband. Left alone together, Casildabreaks this news to Luiz, and they resign themselves to a life forever apart, withonly their happy memories to comfort them.

Don Alhambra explains that the prince was raised incognito by Baptisto Palmieri, ahumble gondolier, who had a young son of his own about the same age. The gondolierwas a drunkard and eventually forgot which boy was his own son and which boy wasthe prince of Barataria. The two boys (Marco and Giuseppe) grew up and now areboth gondoliers themselves. Fortunately, the nurse who took care of the infant prince(and who happens to be Luiz's mother), is now living in the mountains, married to "ahighly respectable brigand." Don Alhambra says that he has located her and thatshe will be able to reveal which of the two gondoliers is the lost prince. If not, hesays, "then the persuasive influence of the torture chamber will jog her memory."

In the next scene, the two gondoliers have married Tessa and Gianetta, and as theyare extolling the virtues of marriage, Don Alhambra arrives and informs them thatone of them is the King of Barataria, but no one knows which. Despite beingRepublicans, the gondoliers and their new wives are delighted, and agree to go toBarataria at once, acting as one individual until the actual king is identified. DonAlhambra tells them, however, that ladies are not admitted until the actual king isidentified, and then each couple can be reunited. He neglects to mention that theKing is married to Casilda, fearing that it would cause the men to refuse to leavetheir new wives. As the two wives are imagining what it will be like to be a queen,their friends enter, and Marco and Giuseppe announce their discovery and promiseto reign in a Republican fashion. They announce that in their kingdom, "All shallequal be." All the men then set sail for Barataria, leaving their wives behind inVenice.

ACT II. In Barataria, the chorus of gondoliers is enjoying living under "a monarchythat's tempered with Republican equality." It turns out that Marco and Giuseppehave in fact been doing all the work around the palace for the past three months - itis the privilege of royalty! They are happy enough with this arrangement, except thatthey are worried about having to share a single portion of rations between the two ofthem, and they miss their wives. Soon, however, all the ladies arrive, having riskedthe long sea voyage from Venice - they could no longer stand the separation. Indelight, the reunited couples have a magnificent banquet and a dance (a cachucha).Don Alhambra arrives at the ball and inquires why he saw unimportant servants(jancing. Realizing that the Republican gondoliers have promoted everyone to thenobility, he explains that there must be a distinction between commoners and those

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of rank, because "when everyone is somebody, then no-one's anybody." He thenbreaks the news that one of the gondoliers had married Casilda when a baby andtherefore is an unintentional bigamist. The gondoliers attempt to console their wives,who are distraught to discover that neither one will be queen, and that one is marriedto someone who was already married.

The Duke and Duchess of Plaza- Toro soon arrive with the beautiful Casilda. Theyare now dressed in style, and the Duke explains how he has become the Duke ofPlaza- Toro.com, and how they now earn a very good living. After a lesson in etiquette,the two Palmieri brothers are left alone with Casilda. She agrees to be an obedientwife, but warns them that she is "head over heels in love with someone else." Seizingthis opportunity, the two men introduce their wives. The three ladies and two mensing a quintet about their unprecedented predicament.

Don Alhambra brings in the nurse who had tended the infant prince of Baratariatwenty years ago. She reveals that when the Don Alhambra came to steal the prince,she had loyally hidden him away, and given Don Alhambra her own young soninstead. Thus, the king is neither Marco nor Giuseppe, but Luiz. This resolves theromantic entanglements to everyone's satisfaction. Casilda finds that she is alreadymarried to the man she loves, Luiz. The two gondoliers surrender their crown to Luizand, though a bit disappointed that neither will be a king, they can return happily toVenice with their wives. There is a final dance for the full company, reprising thegondoliers' Act I duet and the cachucha.

DIRECTOR NOTES

After 122 years, it's time to take Gilbert and Sullivan seriously. The Gondoliers isthe last great masterwork of the collaboration of these two giants of the English­speaking theater. In this performance, you will hear the text and the score fullyrealized but in a different time period than the original 1889 production. This is toinspire you to think in a new way about this delightful gem of a show, and how livelyit still is.

Producers always ponder, "How do we keep these old works fresh?" In Gilbert &Sullivan's own day, the topicality was an important part of their huge success.Everyone went to hear Gilbert's clever use of words and to see what the great manhad satirized this time, and those in the know went to hear Sullivan's tongue-in­cheek homage to the great operas being staged at Covent Garden. The Britishaudiences knew about this mental cleverness, and the satire was an importantreason for the great financial gold mine Gilbert and Sullivan enjoyed. But how doyou keep this kind of topicality communicating without flashing footnotes instead ofsupertitles? How can we keep the old show engaging to people who have eithernever seen it, or have seen & heard it many times?

In 1956, Sir Tyrone Guthrie directed a new production of Shakespeare's Troilus andCressida. This was a play that was obscure and which had never held the stage.Guthrie was a genius director and he looked at the play and saw that it was an anti­war play that was set in the ancient time of Homer's Troy. Looking into the text,Guthrie saw that it could be made new-and almost topical-if the time period of the

WILLIAM HENRY (Antonio) is grateful for the privilege ofperforming with Lyric at the Birch. He has been performing withthe company since 2001's The Gypsy Princess. Notableappearances include the telephone installer in last fall's Gigi,Anselmo in Man of La Mancha, and Birko in The CountessMaritza. He also appeared as Dick in Lamplighter CommunityTheatre's production of Dames At Sea and as Constantine inPremiere Production's A Day in Hollywood ...A Night in the Ukraine.

Other appearances include San Diego Opera chorus, San Diego Master Chorale,and Starlight Musical Theatre. He attended UCSD, graduating with a degree in Biology

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SHELLY HART BRENEMAN (Casilda) is a San Diego-basedsinger and Arts Educator with a broad range of performancecredits in both Musical Theater and Opera. She has performedlocally with Lyric at the Birch, San Diego Opera, and CygnetTheatre, and is a Resident Artist with the Broadway Theater.Outside of San Diego she has worked with Pensacola Opera,Victorian Lyric Opera, and Hawaii Opera Theater. She receivedher Bachelor of Arts degree in Music from California State

University Fullerton, and her Master of Music degree from University of Hawaii.Favorite roles include Violet in Side Show, Guide 1 in Rumplestiltskin, Mrs. Nordstromin A Little Night Music, Ms. Silverpeal in Impressa rio, and Nina in A Day inHollywood ...A Night in the Ukraine. She is currently the Executive Director for theActors Alliance of San Diego and has worked as a teaching artist for San DiegoOpera, Lyric at the Birch, and La Jolla Playhouse.

LAURA BUENO (Tessa) is thrilled to be returning to the stage atLyric; She was most recently seen as Gigi in Lyric at the Birch'sproduction of Gigi. Earlier in 2010 she was Petra in A LittleNight Music and in 2009 was Hope in Anything Goes. She alsowas seen as Iolanthe in Lyric's 2007 production of Gilbert andSullivan's Iolanthe. Other local credits include Peep Bo inStarlight Musical Theatre's production of Hot Mikado, Peep Bo inLyric's 2005 production of The Mikado and Molly Brazen in The

Beggar's Opera. Regional credits include Wendy in Peter Pan, The Secretary inMenotti's The Consul, Dorothy in The Wizard of Oz, Zaneeta in The Music Man,Chava in Fiddler on the Roof, Margy in State Fair, and Nanette in No, No, Nanette.She has also performed extensively with the San Diego Opera chorus. She waspleased to be part of the 2003 world premiere opera, Corps of Discovery-A MusicalJourney about the Lewis and Clark expedition, working closely with composer MichaelChing and librettist Hugh Moffat. She portrayed six different roles, including LostHer Moccasins and Dancing Fish, with performances at Carnegie Hall, The KennedyCenter, off-Broadway at The York Theater (in NYC) and the Missouri Governor'sMansion. Laura has directed/choreographed such shows as Honk, Jr.!, Beauty andthe Beast, Once on This Island, Jr., Into the Woods, Jr., Willy Wonka, Jr. and ByeBye Birdie. Laura has been involved in dance for 23 years and currently teachesballroom dance to children throughout San Diego County with Edudance-Classroomsin Motion. Laura has a Bachelor of Science in Music Education from the Universityof Missouri-Columbia and currently studies voice with Dianna Ruggiero.

With a simple modification of the locations, a modern electrically lit Venice, and aBarataria that Gilbert fantasized as the home of Jean Lafitte (the Pirate King), weare able to let you look at this great work in a new light. It is a delight to see howpointed the satire still is musically and verbally; by seeing it in new clothes, we areable to make the 112 years a much shorter distance to our own time. The songsand the wit are all as crafted by G&S; the time is Lyric's new lens on the high jinx,all there to make you think and hear the work anew in all its genius, and full of theantic greatness that has to be taken seriously. Please take the journey and see howmuch this old work has to say to us in 2011. Enjoy!

PRINCIPAL PHOTOS AND BIOS

SARAH EVE BRAND (Fiametta) has recently been describedas a "vocal standout" by SanDiegoUptownNews.com. She wasthe winner of the Robert Faulk Encouragement Award at theMetropolitan Opera National Council Auditions, San Diego Districtin 2008. Sarah Eve has appeared as a soloist with the La JollaSymphony and Chorus, the Big Bear Lake Song Festival, OperaUnleashed, and the St. Elizabeth Seton Concert Series. Someof her recent operatic performances include Mother in Amahl

and the Night Visitors with Inland Valley Opera, both Mother and Witch in Hanseland Gretel with Inland Valley Opera, and Edith in Lyric at the Birch's production ofThe Pirates of Penzance. Sarah Eve is a Resident Artist with Riverside Lyric Operafor their 2011 and 2012 seasons, and will perform the role of Fox in The CunningLittle Vixen in June 2011. Additional operas as a Resident Artist are A FloweringTree, Elektra, and Giulio Cesare in Egitto. She holds a Bachelor of Music in VoicePerformance from the University of Colorado at Boulder.

In our production, we use the same kind of thinking, to create a new vision of an oldwork. Looking at the text, it says a great deal about politics as usual and thedecline of petty European royals being replaced by parliamentary democracies. Italso says a good deal about how high-minded "republican" principles can be boughtfor the right amount of money and a title. Gilbert set his comedy in two mythicalplaces, the republic of Venice and the tropical kingdom of Barataria. In the 1880s,Europe's centuries-old monarchies were giving way to parliamentary rule. This processcontinued into our century until very recently. The post World War II changes of theworld order made 1948 into a perfect fit for the fun. In that era, we had the whole ofthe British Empire and Europe changing. Europe's royals were scrambling to getback on thrones while the newly created countries were fighting to elect parliamentarygovernments. Princes were incorporating and becoming fashion designers, orendorsing luxury products in order to create an income that had once been guaranteedby their title.

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play was changed from an ancient Greek era to the era of 1913 just before WorldWar One. The British audience went into the Old Vic and saw themselves in a way

they never had, and the production truly revived Shakespeare's old play. The playwas newly discovered and a hit it had never been before; it was made clear to a newaudience, by changing the time it was set in. A different viewpoint made the playlive anew; rethinking refreshed it.

BENJAMIN ROBINSON (Marco), tenor, is happy to be returningto Lyric at the Birch and is especially excited to be singingMarco, the role that marked his professional debut. He openedthe Lyric's season as Gaston in Gigi before appearing with formerLyric co-star Megan Weston in an all-operetta concert with Jung­Ho Pak and the Cape Cod Symphony. Benjamin next performsLieutenant Joe Cable in South Pacific with Anchorage Operaand then finishes the season as Peter Quint in The Turn of the

Screw with North Carolina Opera. The Raleigh, North Carolina, native hasperformed with Michigan Opera Theatre (Mr. Erlanson in A Little NightMusic and Abdallo in Nabucco); St. Petersburg Opera (St. Brioche (cover) in TheMerry Widow and Alfredo (cover) in La Traviata); Sugar Creek Symphony and Song(Mr. Splinters in The Tender Land and Beppe (cover) in Pagliacc/), and Des MoinesMetro Opera (Little Bat (cover) in Susannah). A frequent performer of the works ofGilbert and Sullivan, Benjamin made his debut at Lyric at the Birch as Fredericin The Pirates of Penzance. He has a long association with the Ohio Light Operawhere he performed Nanki-Poo in The Mikado and Marco in The Gondoliers. Otherhighlights from that company include Will Parker in Oklahoma!, Rolf in The Sound ofMusic, and Marquis Harrogate in the United States premiere of Jerome Kern's TheCabaret Girl. On the concert stage, Benjamin has been heard as the tenor soloistfor such eclectic works as Carmina Burana, Rossini's Petite Messe Solenelle (bothwith the University of Houston), Brahms' Liebeslieder Waltzes (Houston Ballet II)

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JORDAN MILLER (Guiseppi) is pleased to return to Lyric atthe Birch after spending several months at sea starring in Hoi­land America Cruiselines' The Showroom At Sea. Other Lyriccredits include A Little Night Music (Liebeslieder) and AnythingGoes! (Billy). Other San Diego credits include the Old Globe's2009 production of Dr. Seuss' How The Grinch Stole Christmaswhere he covered and performed the role of The Grinch, andCygnet Theatre's revival of Bed and Sofa for which he won a

Craig Noel Award. Jordan has starred in regional productions of Oklahoma! (Curly),Annie Get Your Gun (Frank Butler), Oliver! (Fullerton CLO), and A Playhouse Christ­mas (Hunterdon Hills Playhouse, NJ). Jordan has a BFA in Acting from the NorthCarolina School of the Arts

CAROLINE NELMS (Gianetta) is a soprano from SouthernCalifornia. She earned her Bachelor of Arts degree fromPepperdine University and Master's degree in vocal performancefrom UCLA, where she performed roles such as Gretel in Hanseland Gretel, Susanna in The Marriage of Figaro, Adele in DieFledermaus, and Serpetta in La Finta Giardiniera. Uponcompleting her degrees, Caroline sang with Los Angeles Opera,Opera Pacific, San Diego Opera, and Lyric at the Birch, where

she sang The Dew Fairy in Hansel and Gretel and Anne Egerman in A Little NightMusic. She most recently sang the role of Gretel with Inland Valley Opera in Temecula.She has been a frequent church soloist and has taught both voice and piano. Caroline'svoice can be heard on a commercial for Target and on the soundtrack of the 2002film Entre Llamas.

STEVEN JENSEN (Don Alhambra) has appeared as a chorusmember in Lyric at the Birch's productions of Die FIederma us,Princess Ida, The Mikado, Countess Maritza, Cinderella, TheMerry Widow, and Candide. Some other recent productionsinclude Macbeth at Southwestern College, The Importance ofBeing Earnest and Cinderella at Coronado Playhouse, King Learat Vanguard, The Oresteia and Medea at Sixth @ Penn, JuliusCaesar at New Village Arts, and The Tempest at Poor Players.

Steve has also done many staged play readings with local theaters and with theSan Diego Shakespeare Society.

PAMELA LAURENT (The Duchess of Plaza-Taro) is delightedto return to Lyric at the Birch after singing the roles of Fredericain The Waltz Dream and Tisbe in Cinderella. Ms. Laurent hassung leading roles with Lyric Opera of Chicago, Whitewater Opera,National Opera Company, and Seattle Opera. In Chicago, shesang a wide variety of roles on the main stage, including roles inKatya Kabanova, The Magic Flute, Gianni Schicchi, Rigoletto,Lulu, and Philip Glass' Satyagraha. She later reprised her role of

Mrs. Alexander in Satyagraha for Seattle Opera. She has sung the title role inCarmen, as well as leading roles in Hansel and Gretel, The Marriage of Figaro, LaCenerentola, The Tales of Hoffmann, and The Merry Widow. Abroad, Ms Laurentperformed the role of Madame Giry in the German production of Andrew LloydWebber's The Phantom of the Opera. Ms. Laurent has also been a soloist with theSan Diego Symphony. Originally from Illinois, Pamela received her B.A. in Theatreand Music from MacMurray College in Jacksonville, Illinois, and continued withMasters work at the University of Illinois in Champagne/Urbana. She is co-founder,with her husband Scott Gregory, of North County School of the Arts in Encinitas.They run a thriving program for youth, which embraces musical theatre and alsoproduces full-scale productions for the community. Their website is www.ncsarts.org.

8with a minor in Theatre Performance. He enjoys spending his free time working inthe yard of his North Park home. He is most excited about his planned trip to Londonto watch Take That performed at Wembley Stadium this summer. He gives thanks tofriends, family, Az, and CTG for all of their support.

BRIAN IMOTO (The Duke of Plaza-Taro) made his Gilbert andSullivan debut in Lyric at the Birch's 2009 production of Trial ByJury as The Counsel. His other Lyric appearances include Alastairin Rumpelstiltskin and The Barber in Man of La Mancha. Brian'sregional credits include A Little Night Music as Mr. Erlanson(Patte Award - Outstanding Ensemble) for Cygnet TheatreCompany, and Man of La Mancha as the Barber (SO PlaybillAward - Outstanding Ensemble) for North Coast Repertory

Theatre. Starlight Theatre appearances include Jesus Christ Superstar, Miss Saigon,Jekyll & Hyde, Evita, Fiddler on the Roof, Sweeney Todd (San Diego Critics CircleAward), My One and Only, The Music Man, and Scarlet Pimpernel (San Diego CriticsCircle Award). Moonlight Stage Productions include Lucky Stiff, The Goodbye Girl,Mame, Fiddler on the Roof, Me and My Girl, Grease, and Unsinkable Molly Brown.

10 11SUPPORTING CAST PHOTOS

and Bach's Christmas Oratorio (Christ Church Grosse Pointe, Michigan. He currentlyresides in Boston, Massachusetts.

MARTHA JANE WEAVER (Inez) is an extremely versatile singer,with repertoire ranging from Bach to Verdi to Argento, Broadway,Gospel, and Spirituals. Equally at home in the wacky world ofGilbert and Sullivan and the realm of major dramatic oratorioand concert repertoire, her versatility includes such uniqueexperiences as concert and touring performances of Copland'sIn The Beginning with Cappella Gloriana, conjuring up a characterin The Great Broadcast of 1926 (a mock Vintage Radio Showcelebrating the San Diego Museum of Art's 80th Birthday,) and

recording the voice of BrOnnhilde for an episode of the Nickelodeon cartoon Ah!Real Monsters, which was distributed worldwide and is now available on DVD! Atthe Spreckels Organ Pavilion in Balboa Park, with former civic organist RobertPlimpton, she sang An Evening with Madame Schumann-Heink to commemoratethe world renowned contralto's many appearances there in popular concerts. MarthaJane is a soloist and section leader at St. James by-the-Sea Episcopal Church, LaJolla, and a frequent guest recitalist at many San Diego area churches and concertvenues. She has also, in recent years, become a noted vocal coach and choralworkshop director; currently maintaining a private voice studio and a part-time facultyposition at the Bishop's School in La Jolla. Ms. Weaver is delighted to announce herrecent collaboration with Carol Williams, San Diego Civic Organist to provide lessonsin voice, organ, piano, music history and theory to the Greater San Diego Area!

CHRISTIAN SANDERS (Luiz) is a senior at Point LomaNazarene University in San Diego, where he is studying Musicand Cell and Molecular Biology. He has sung the leading roles ofTamino in Die Zauberf/6te, Rinuccio in Gianni Schicchi, andPrince Charmant in Cendrilllon with Point Loma Opera Theater

and has been the tenor soloist in Handel's Messiah, Bach's i)Magnificat, Beethoven's Choral Fantasie, and Bruckner's TeDeum •

with the Point Lorna Choral Union. Additionally, he has appeared Ias guest soloist for the San Diego Mormon Choir and Orchestra and tenor soloist in 'Mozart's Coronation Mass with the San Diego Festival Chorus, a televised concert.A member of the American Guild of Musical Artists, Christian has appeared withthe San Diego Opera in the chorus of Rigoletto, Madama Butterfly, and La traviata,and will be appearing in their upcoming season in Faust and Der Rosenkavalier.Christian has also appeared in the fall showcase of Opera Buffs Inc., in Los Angeles.He is currently the tenor soloist/section leader at La Jolla Presbyterian Church inSan Diego. A first-place winner in the lower-collegiate division of the NationalAssociation of Teachers of Singing Young Artist Competition and finalist in the 2010­2011 Classical Singer Magazine National Competition, Christian is also the recipientof the Robert Faulk Encouragement Award and the D. Greiner Encouragement Awardfrom the Metropolitan Opera National Council Auditions.

PAM STOMPOL Y-ERICSON (Costumes I Makeup Design) has been resident cos- 'tume designer / coordinator and makeup artist with the Lyric since it was Gilbertand Sullivan Repertory Theatre, oh so many moons ago ... Along with her work atLyric, Pam freelances as a costume designer around San Diego. She is also aprincipal make-up artist with San Diego Opera, and designs make-up with La JollaPlayhouse. She designed the make-up for The Wiz, Memphis, and Third Story, thelast of which gave her her first Broadway credit when it went to New York with herdesigns. She would, as always, like to thank the "backstage posse," Eva, Melissaand Erin, who help make the shows happen, and Barbara, for giving her time off andsupport and "mom advice," and Paul, for putting up with the long hours and needlessdrama, and always knowing how to make things right.

J. SHERWOOD MONTGOMERY (Co-Director I Scenic DesignI Artistic Director) is glad to return to designing and directing aLyric at the Birch production. He has acted, designed, and directedthroughout the U.S., including Alliance Theatre (Atlanta), TheShawnee Festival (Indiana), Missouri Repertory Theatre (KansasCity), The Drama Division of Julliard School (N.Y.C), Starlight(San Diego), Welk Resort Theatre, and San Diego Opera (DieFledermaus and The Barber of Seville). He has performed awide range of roles, from Wolsey in A Man for All Seasons to

The Man Who Came to Dinner in straight plays, to Schultz in Cabaret, to the LordCancellor in Iolanthe. He is listed in "Who's Who in America" and "Who's Who in theAmerican Arts." Recently, along with Leon Natker, he received the Shiley LifetimeAchievement in Theater Award for the body of his work. He collects masks, Acomapots, and great meals-a hint to the wise gift giver.

LEON NATKER (Conductor I Co-Director I General Director)is in his 22nd year at the helm of Lyric at the Birch and his sixthas manager of the Stephen and Mary Birch North Park Theatre.He made his stage directing debut at 16, when he formed hisown theater group and directed Albee's The American Dream.He made his professional directing debut at 24 with a productionof Britten's The Beggar's Opera. Since then he has directed pro­ductions ranging from Purcell's Dido and Aeneas to Gershwin'sLady Be Good, and the now infamous "Venice Beach" Gondo­

liers. He has directed for such companies as Oak Park Civic Opera, DuPage OperaTheater, Quicksilver Theater, San Diego Opera Outreach, Chamber Opera of Chi­cago, and Shawnee Festival Theater. He was a founder of Chicago Opera Theater,where he sang in more than a dozen productions. For Lyric he has directed andconducted over 30 productions. Leon will reprise one of his favorite roles, Tevye, inour spring production of Fiddler on the Roof.

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Design from San Diego State University and a BA in Theatre Studies from EmersonCollege. Her work has been featured at the United States Institute of TheatreTechnology's Young Designer's Forum in Kansas City, MO and at Design WestShowcase in Los Angeles, CA.

LYRIC AT THE BIRCH BOARD OF DIRECTORS

AMANDA SALMONS (Production Stage Manager) is thrilled to be back withLyric at the Birch. In past seasons she has been a part of The Pirates of Penzance,Rumpelstiltskin, Trial by Jury, and Candide. Most recently she worked on How theGrinch Stole Christmas and Welcome to Arroyo's at The Old Globe. Her creditsinclude productions with The Old Globe, Lambs Player's Theatre, La Jolla MusicSociety, and Sacramento Music Circus. Ms. Salmons graduated with a degree inTheatre from UC San Diego.

JANIE PRIM (Musical Preparation) is currently in her sixteenth year asChorusmistress / Rehearsal Pianist for Lyric Opera San Diego, and is in demand forrecitals and auditions throughout the West Coast. She is a principal ballet pianist forSan Diego Opera, and has served as Musical Director for the San Diego OperaEnsemble, as well as ballet rehearsal pianist for past San Diego Opera productions,most recently Aida, Romeo et Juliette and La Traviate.. She is official pianist for theMetropolitan Opera Auditions, and organizes and plays for the Winners' Concert eachyear. A versatile performer, she has worked with the Old Globe Theater (Paramour),the San Diego Repertory Theater (Burning Dreams), the Old Town Theater (Side bySide by Sondheim), and frequently organizes private musical events for specialoccasions. In addition to her performing commitments, Ms. Prim maintains a privatecoaching studio, and is organist at St. Bartholomew's Church in Poway.

DIANA VASSALL-DUMELLE (Production Manager) is thrilled to return to Lyric atthe Birch after ten years working professionally in NYC. Most recent credits include:Production Manager & Education Co-Director for New York City's critically acclaimedGotham Chamber Opera. She also served as Production Stage Manager forcompanies across the U.S., including Lincoln Center Festival, Caramoor MusicFestival, Bard Music Festival, Orlando Opera, Connecticut Opera, Augusta Opera,Dicapo Opera, and LOSD. Diana has had the honor of working with many leadingopera and musical theater legends, including Regina Resnick, Martina Arroyo, ReneeFleming, and composer/arranger Jonathan Tunick. Diana graduated with degrees inKeyboard Performance and Music Education from UCLA, with further studies at TheRoyal College of Music, London.

STAFF BIOS12

MICHELLE CARON (Lighting Design) is pleased to make her Lyric at the Birchdebut. Her recent local work includes Malashock/RAWand Surface Tension withMalashock Dance, It's a Wonderful Life '09 and '10 and The Norman Conquests(Cygnet Theatre), Anita Bryant Died for Your Sins and Santa Claus is Coming Out(Diversionary Theatre), and A Midsummer Night's Dream, Die Fledermaus, A ClassAct and Hamlet: Blood in the Brain (SDSU). Michelle holds a MFA in Theatrical

President James Rouse, J.D. Vice President Roberto Cueva, M.D.Secretary J. Alex Tiscareno Treasurer Rodney Whitlow, C.P.A.

W. Patrick Edwards, Merle Fischlowitz, Ph.D., Dale A. Fisher, C.P.A.Loretta S. Godfrey, J.D., Leonard Gosink, M.D.

David D. Lynn, Ph.D., Peter Manes, Peter Polgar, Linda P. Spuck, C.T.F.A.

14ADMINISTRATIVE STAFF

General Director. Leon NatkerArtistic Director / Outreach Coordinator J. Sherwood MontgomeryAssistant to the General Director Fran Hartshorn

Theatre Manager Stacie ShelbyTheatre Representative Deanna AllisonMarketing Director Kathleen SwitzerDirector of Ticketing Services .Therese ManessTicketing Serivces Deanna Allison, Kris LangAccounting Denise OlivasFaci Iiti es Engineer Chad Tausch

PRODUCTION STAFF

Co-Director / Conductor Leon Natker

Co-Director / Scenic Design J. Sherwood MontgomeryMusic Preparation Jan ie Pri m

Lighting Designer. Michelle CaronCostumes / Makeup Design Pam Stompoly-EricsonWardrobe Mistress Eva Ramos

Makeup Artist. Melissa FlemingProduction Manager / Lyric at the Birch Diana Vassall-DuMelleProduction Manager / Birch North Park Theatre Elvira PerezStage Manager Amanda Salmons1st Assistant Stage Manager Megan Danielson2nd Assistant Stage Manager Clare MoranMaster Carpenter / Steward James Fogarty*Master Electrician Kat Makarushka*Head Audio Michael Gustafson*Prop Maste r Marcus Polk*Deck Crew Adam Torpey*Super Captain Robert BorntragerHouse Manager Elizabeth BurressUsher Captains Vann Hurst, Kate Bowers, Jackie Stetter,

Janice Vanderford, Bruce BowersMarketing Consultant. J. Alex TiscarenoProgram Editor Joseph GrienenbergerAiry Persiflage Editor Susan AbernethyOrchestra Contractor Mary Karo

f#.T. * "Crew members provided by agreement with the International Alliance ofTheatrical Stage

'Ir f'. \S\ Employees, Moving Picture Technicians, Artists and Allied Crafts

'. ~ of the U.S., its Territories and Canada, AFL-CIO, Local 122"

SPECIAL ACKNOWLEDGMENTS

Erin Cullen, Barry Steinman, Barbara Stompoly andThe Costume Shop

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