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Shanghai issues tickets to garbage-sorting violators on the first day of regulation. What was originally color was only available in black and white, and featured a no-name but not untalented cast, and the musical within the film was fun.
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The piece rather echoes Ruddigore in its conceit of a portrait gallery coming to life. The work itself was a revelation, genuinely funny and with a score of some distinction. Composer Frederic Clay was, in fact, a friend of Sullivan.
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There were some interesting Gilbertian conceits such as the propriety of falling in love with your ancestor and other head-scratching complications. Gilbert and Frederic Clay. The play was presented as one of the German Reed Entertainments at the Gallery of Illustration, This was not the only treasurable concert of the week. There was also a nighttime Lehar concert, comprised almost entirely of lesser-known numbers.
Here was an opportunity for several members of the ensemble to shine, as they did. Most of the numbers were given in English which added interest. Wilson Southerland accompanied all with deft sensitivity. Daigle directed, and was credited with concept and script, while Michael Miller did the musical programming.
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Ted Christopher provided the droll narration as if it were an old-time radio broadcast. Daigle was also the knowledgeable emcee for that concert and most of the others, though the cut songs narrating chores were shared with Laura Neill, J. The musical programming and sharp script were courtesy of OLO board chair Michael Miller whose expert hand was evident throughout all the Symposium events.
On the last day of Symposium, there were two delightful concerts back to back. Again, Southerland accompanied, while Miller narrated his predictably informative script.
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