Vol. XXIV No. 7
It's too much happiness!
Sunday, March 26: LMLO PIRATES

Sunday, April 9: SUDBURY Retrospective

Tentative Meeting Schedule, 1999-2000

Sunday, March 26


Sunday, April 9


Sunday, May 21

A G&S Masterclass, led by Eileen St. David

Sunday, June 18

Election Meeting plus Fantasy performances



SUNDAY, MARCH 26 AT 2:00 PM AT THE PARK AVENUE CONGREGATIONAL CHURCH IN ARLINGTON, MA Well be celebrating Frederics 36th birthday nearly a month late but with great festivity: This years Last Minute Light Opera will feature not only unrehearsed singers, but a Last-Minute Orchestra as well, conducted by Jerry Weene.

President and casting director Patricia Brewer writes: Im looking forward to a wonderful production of PIRATES at our new location in Arlington. Casting is going smoothly but I do have a couple of major openings.

Originally Matt Oliva was going to be our Ruth, a real casting coup as far as I was concerned, but, alas, things have arisen that now make that impossible. I would play this part in desperation but I would much rather play Samuel this year, so I am hoping someone will come forth to play Ruth. Someone to play the Sergeant of Police for one or both acts is also needed. I would be delighted to hear from anyone interested in these specific roles. Please call ASAP (617) 323-3480


[Please remember what is generally known as suitability for a role is not a criterion for the casting of a LMLO show, nor is the ability to sing the part off book only desire counts! mlc]

And orchestra manager Victor Godin writes: We are going to have an A+ orchestra for PIRATES! Lots of interest out there -- people like me who don't want to do whole shows day after day but love G&S.  (Of course some "show" people too.)




SUNDAY, APRIL 9: Just two weeks after our LMLO PIRATES, NEGASSers will gather at the rehearsal space of the Sudbury Savoyards to enjoy our annual Retrospective of this years performance. Weve heard great things about the production (see review later in this rag), and are looking forward to enjoying NEGASSs private showing.


Next Bray Stuffing: Sunday, May 7, 2000 at 3:00 PM. Call Us at (781) 646-9115 evenings and weekends, or send email to Our newest address: Marion@leedscarroll.com, for directions to Our snug and easy-to-get-to home. mlc
Welcome, Welcome, Welcome We New Members Nathan and Zelda Sokal of Lexington, MA. Zelda writes, Enjoyed RUDDIGORE with the Sudbury Savoyards. Please add our name for info on any upcoming G&S productions. Happy to do so! Glad to know you enjoyed RUDDIGORE! Tell Us, Tell Us All About It!


Susan M. Mitton of Brookline, MA wrote in an e-mail: I attended opening night of Sudbury Savoyard's recent production of Ruddigore, and I was thoroughly impressed.  I don't know what your policy is on posting reviews on your respective websites or in your newsletters, but feel free to use the review below that I have written if you so desire!  I have been reviewing theater for thirty years, and do a lot of work with many theatrical groups in the New England Area from a production standpoint and a behind-the-scenes standpoint. I was thoroughly entertained and would recommend the show to anyone!!!! [Thank you, Susan! Our policy is to welcome reviews with joyous shout and ringing cheer! - mlc]

Sudbury Savoyards Ruddigore a "Tight Little Craft" of a Show! Gilbert & Sullivan's operetta RUDDIGORE, all about ghosts, curses, and etiquette, is often underappreciated in light of other shows in the canon that are far more popular (e.g. Pirates, Mikado, Pinafore).  But the recent production of Ruddigore put on by the ambitious Sudbury Savoyards is stunningly done and a credit to this group whose participants all volunteer their time and proceeds to the relief of World Hunger in conjunction with the Sudbury United Methodist Church.

From the second the bridesmaids walk on stage to the final chord, this show is excitement, color and talent.  The costumes, cleverly and professionally designed by Terri Meehan, and the sets, amazingly detailed and intricately painted due to the creativity of set designer Dave Kay and the expertise of long-time member & Technical Director Tom Powers help to make this production the success that it is. 

Kathy Lague, stage director for the past three years, has reached a new high showing us that the text is funny enough without over-the-top schtick that some groups rely upon for their productions.

The show is well cast and the actors and singers do just that: act and sing superbly!  Rose Maybud is cleverly and coquettishly portrayed by the talented Zoe Daniel.  Ms. Daniel is a new leading lady to the group, but someone we certainly hope to see more of in future productions.  Todd Allen Long portrays the whiny Robin Oakapple (aka Ruthven Murgatroyd), the central character of the show.  Long's voice is strong and clear and his acting is top-notch. His interactions with Rose Maybud and Richard Dauntless (portrayed by the talented and funny Dana Merrill) are some of the highlights of the show.  I would be remiss without mentioning the stellar performance of Amy E. Allen in the role of Mad Margaret.  Allen has been seen for the past several years in leading roles with the Savoyards, but this portrayal is by far one of her best. Not only is her gorgeous, soaring voice suited to the music she sings, but her interpretation of the role is one of the best this long-time G&S fan has seen.  Stealing the show with her rubber-faced expressions and contagious cackling, Allen's Mad Margaret is lovable and amusing. Peter Stark as Despard Murgatroyd is perfectly cast.  Stark's deliberation and flare for the melodramatic make him a pleasure to listen to and watch on stage.  Laura Gouillart portrays a frisky and doting Dame Hannah, and her duet with Tom Weber (Roderic Murgatroyd) is beautifully done.  Their voices blend wonderfully and their repartee on stage is delightful.  Tony Parkes sings strongly and acts appropriately as the manservant Old Adam, and newcomer to the group Mary Bulger portrays a bossy but in-control Zorah and sings her solos with precision and talent.  Overall, this show couldn't have been cast better, and high praise is due Steven Malionek. Having played for years in the pit for Sudbury, Malionek has taken the podium with force and confidence.  The chorus is quite strong, with flawless diction and wonderful intonation.  The leads are, as mentioned above, strong and talented.  Bravo, Sudbury Savoyards!



Sign up now to take part in a Gilbert & Sullivan Master Class! People whod like to work on solos or duets are urged to e-mail Rebecca Consentino or phone mlc at (781) 646-9115 to sign up by April 23rd for one of the limited time slots (please let us know what you plan to sing) and people who just want to listen and learn are urged to attend the May meeting.

What in the world is a Master Class? Eileen elucidates:

If you want a receipt for a popular master class


A courageous performer

A collaborative pianist

A master teacher

A supportive audience

A bit of G&S repertoire

A timer

Be sure to use a master teacherone who knows the G&S canon, has performed, and can offer suggestions.

Combine these ingredients.  Courageous Performer performs.  Master Teacher and Courageous Performer dare new ideas, consider possibilities, and risk success.

Cook for 20 minutes.  Serve with relish.

In other words: Eileen invites all performers of whatever level to come singly or in pairs, bringing solos or duets theyd like to improve with her help. Shell spend 20 minutes with each performer or pair, exploring singing, acting and musical details, with the help of Eric Schwartz (at the piano) and mlc (watching the clock so nobody gets shorted.) Non-performers are very welcome to attend, to learn by watching, or just to enjoy the performances! One caveat from Eileen: I request that no one wear perfume, mousse, or other kind of scent...This includes performers and audience...we must ask everyone to COME CLEAN [The reason? even singers who are not aware of allergies may be badly affected by fragrance. Lets not make it hard for each other!]

How do we know Eileen is a Master Teacher? Come gather round me and Ill tell you: Eileen has taught vocal technique, role interpretation and stage movement since 1979.  Her students have performed G&S roles with the Lamplighters of San Francisco, Gilbert and Sullivan Society of San Jose, Yale University, Harvard, MITGASP, Sudbury Savoyards, The Footlight Club, and "Three's A Charm," an SF-East Bay touring ensemble for which she was artistic director, stage director and choreographer. She has served as an instructor at Lamplighters performing workshops, and has led many master classes on both coasts. 

She herself performed G&S and other light opera (e.g., Die Fledermaus) with The Lamplighters for about 15 years. 

Eileen holds a Masters degree in Vocal Pedagogy, and has served on the voice faculty of Holy Names College, Oakland, CA, where she taught masters candidates to be teachers of singing. Her undergraduate degree, from Barnard College, was in British Civilization, specializing in Victorian social history and, she comments, that before I had ever seen a G&S operetta.

Perhaps The Only Riddle That We Shrink From Giving Up:


!!!!!!! NEGASS IS DYING !!!!!!!!

(and its such a stuffy death)

Our Company Promoter, Program Chair, Secretary, Membership Chair, Vice President, and Newsletter Editor are all up for re-election this year.

Of that six, only the Vice President and Newsletter Editor have expressed willingness to continue in their positions.

What will happen if we find no replacement for our Company Promoter, Katherine Bryant [whos leaving to concentrate on a new job?] NEGASS will not receive the publicity it deserves unless another of the overworked members of the Board takes up the slack.

What if theres no new Secretary? When Carol Mahoney [whos held the post for about ten years and is just plain tired] leaves, the Board will be crippled in its functioning.

What if theres no new Program Chair? If we dont find a replacement for Rebecca Consentino [who not only has a new job, but is planning her own wedding congratulations!], NEGASS will not hold any meetings next year.

And if we find no Membership Chair to replace Bill Mahoney [whos in the same exhausted situation as his wife, Carol] well it will be nice at first. Nobody will have to pay dues, because there wont be anybody to keep track of who has paid. Nobody will receive membership cards but that hardly matters, does it? we really dont use them for anything. If Bill will do us a favor and print out a lot of mailing labels before walking away, everybody already on the list of members will keep receiving the newsletter as long as the labels hold out until NEGASS runs out of money to print the Bray and to buy envelopes, because nobody has paid their dues!


NEGASS must have a Membership Chair. We need someone who can manipulate a database to keep accurate records of current members, who can print out mailing labels for each issue of the Bray, and who can make up membership cards. (We happen to think that it would not be difficult to create a membership-card screen in the database, link the members names to the card, and print them out pre-signed, so that nobody would ever again have to sit for hours scrawling 200+ names onto little cards. There may be other clever innovations a database expert might come up with!) Other duties for instance, soliciting new members would be nice but are not as specialized, and could be shared by other people on the Board, or even by members of NEGASS who have no desire to be active in any other way.

The NEGASS mailing list currently resides on a Mac in an old version of FileMaker. People who know about these things have assured Us that it would not be difficult to import the data to any modern database. So Database experts take this opportunity to use your skills!

NEGASS must have a Program Chair unless we can be satisfied without meetings. A Program Chair really does not have to do anything creative. In fact, one of NEGASSs problems in recent years has been that our Program Chairs have provided innovative and interesting programs which members have not attended. Our Program Chair does have to decide how many meetings to hold (almost certainly fewer than weve been holding in recent years!), what will happen at those meetings, when to hold them, and where to hold them, and then has to make sure that all the logistics of the meeting are set up: space in which to meet, an accompanist if needed, refreshments if appropriate, the presence of tickets for the usual door prize raffle (and the presence of a prize!) Oh and s/he has to coordinate with the Bray Editor and Company Promoter, to ensure timely publicity! These things do not all need to be done by the Program Chair him/herself, but s/he is responsible for making sure that they actually occur.

A new position Hospitality Chair has been proposed, to take on one of the jobs that Carol Mahoney has been performing: providing refreshments at meetings. This could be a Member-at-Large position or it could just belong to a helpful member of NEGASS.

Our most successful Program Chair in recent memory, Patricia Brewer, claimed that for her the job felt like an opportunity to hold a big party for all her friends every month or so, at NEGASSs expense. So Party-lovers take this opportunity to party!

NEGASS must have a Secretary. We need someone to take notes at Board meetings, and to send copies of those notes to the Board members after the meeting, to remind us all of what we had agreed to do. Such an one might also like to attend NEGASS meetings and write up reviews of the meetings for publication in the Bray. There are other similar duties which call for someone who enjoys recording information and sharing facts. So People who like to record facts accurately take this opportunity to inform people who need facts!

NEGASS ought to have a Company Promoter. This is not an official Board position, but rather one that can be filled by a Member at Large. We need someone to publicize NEGASS activities by placing announcements in The Boston Globe Calendar Section, and to publicize our existence by placing ads in the programs of local performing groups. (Ad copy exists if you have Web access, visit examples of a business-card sized and a program half-page-sized ad to see whats available - if you want to take the current graphic and change it in any way, ask Us and Well provide you with a copy in Illustrator.) It would be nice if someone could institute other types of publicity ideas suggested in the past have included NEGASS book plates placed in the books weve donated to the Warren Colson Memorial Collection in the Newton Free Library, NEGASS cards left in G&S books in other libraries, and NEGASS information sheets (like the ones Bill Mahoney has provided for many years) left at performances of G&S-related shows (e.g., at showings of Topsy-Turvy). These are all print ideas a publicist-at-heart might have other thoughts. So Communications experts take this opportunity to communicate with the media!

The flowers that bloom (early) in the spring bring promise of well Elections. Elections will be held in June. Get in touch with current members of the Board soon, to let us know if youd like to stand for any of these open positions. -- mlc


Hi from New York! The recording mentioned on page 4 of the February Newsletter, Sullivan & Co.:  the Operas That Got Away, is on the Jay label, CDJAY 1302.  It is readily available in New York record stores, and I have seen it listed with internet vendors.  It is highly recommended, and I hear that a second volume is in the works.



A member of The American Magic-Lantern Theater writes: Your members would be interested in seeing our shows, and we'd be interested in attracting them.  We are a professional theater troupe recreating Victorian Magic-Lantern Shows, a close cousin of G&S.  We include some AS pieces (Lost Chord, Nancy Belle) in our repertoire.  For more information, see our web site, www.magiclanternshows.com.




PRINCESS IDA appeared four times on recordings--acoustic (1925), electric (1932), mono LP (1955), and stereo (1965)--all featuring the D'Oyly Carte Company and all of them very good, but none of them absolutely complete. Only the first contains Come, mighty Must but drops the last stanza of Whom thou has chained to make room for it. The second restores that stanza but in abbreviated form. And none of them contain the dialogue.

To cut to the chase, there is at last a professional recording that is absolutely complete, down to the last line of dialogue and with reasonably good voices to boot! IDA is now available on the Newport Classic label (NPD 85675/2) and joins its Ohio Light Opera companions (Eileen, The Arcadians, The Chocolate Soldier, and Veronique) on my operetta-in-English shelf.

First the quibbles. I spotted three tiny flubs in the lyrics (you listen and see if you can find more), which are doubtless a function of this being a live performance (without any obtrusive applause until the very end). In the first act, Hildebrand (Daniel Neer) tends to read his dialogue in that lilting voice that implies "this is supposed to be terribly funny." But he does remind me a bit of Leo Sheffield, who plays the part on the acoustic recording, and that is a good thing. John Bernard's Hilarion is a bit strident at times--indeed in his stanza of the Act III finale, he seems on the verge of being in trouble--and one misses the creamy tenor of Derek Oldham on the first two recordings. Still in all, he is serviceable and not at all bad.

Lady Blanche (Elaine Fox) has a nice mezzo, but when she speaks she sounds as young as her daughter Melissa (Sandra Piques Eddy). And finally the chorus sounds a little too thin to me after having grown used to D'Oyly Carte sets. But none of these factors detract very much from the general excellence of the production.

It is good to hear a King Gama (Ted Christopher) without the grating "old man" voice that John Reed so overdoes on the first stereo version. And while Peter Castaldi's Arac is not quite in the class of the earlier interpreters of that role--Darrell Fancourt and Donald Adams--he is just fine on his own terms. Of course any production of this play rests heavily on the title role. Here Julie Wright does nothing wrong vocally--and I do wish that the other characters emulated her slightly upper-class British nasalized "O"; but I have to get used to American accents in G&S and stop being such an Anglophile.

Finally a good word about the orchestra and Resident Professional Company of The College of Wooster under the baton of J. Lynn Thompson. I did not expect the sonic impact of the Decca stereo recording, but what I heard was good enough. Perhaps I have never heard Expressive glances taken at quite so slow a tempo, but it is beautiful enough to linger over a bit longer than usual.

The dialogue is given separate cut-numbers and can be programmed out. However, for some reason much of the dialogue begins as the last notes of the music before are fading away (to discourage applause during the performance?); so such programming might make for a slight musical messiness.

All things considered, I am going to give this a "Grabbit" rating and urge you to get a copy to enjoy once and many times after. It will not replace either of the earlier two sets in style and polish, but it is just fine on its own terms--and it does have the dialogue.



Ellen Spear shared this, which she received from Sydney Keegan: Are you taking contributions to your archive of mondegreens? Here's one that will appeal to all fans of Gilbert and Sullivan, and there are many out there! In the first act of MIKADO, Pish-Tush addresses a song, "Young man, despair," to the young hero, Nanki-Poo, telling him that he must give up his desire to wed Yum-Yum because she is now betrothed to her guardian, Ko-Ko, Lord High Executioner of Titipu. The second verse includes this line: "She'll toddle away, as all aver, with the Lord High Executioner."

Any number of Gilbert and Sullivan lovers have told me that, like me, they were puzzled for years by the reference to a mysterious character named Oliver who never appears in the story. When I was quite little, I was convinced that the song did indeed refer to someone named Oliver, and later decided that the line meant "As all of her," meaning with her head still attached to her shoulders. It was only when I was an adult and actually read that part of the score that I discovered "all aver."




Apparently the G&S sensation has been nominated for Oscars in the categories of Art Direction, Costume Design, Makeup, and Screenplay Written Directly for the Screen

Janice Dallas found this comment on SavoyNet: I've just done a search on amazon.com for Topsy-Turvy, and they list a video - but it's not released yet. However, they invite you to enter your e-mail address so they can let you know when it is released. And they stress that the more people who register an interest, the more likely it is to get released on video. So off you all go and register!




Last month, John Bennet asked for help in creating a non-demanding 30-minute G&S program for a company meeting. Heres a reply: In line with the suggestion made by Marion, you might see if you can find a copy of Ian Taylor's book How to Produce Concert Versions of Gilbert and Sullivan Operas.  This may not be the exact title, but I've just done a quick look at the places where my G&S books reside and can't lay my hands on it.  At any rate, it is just what Marion described -- that is, a book which gives the texts of each opera to a narrator, generally one of the main characters (the narrator in Sorcerer, for instance, is Dr. Daly).  All of the music, or as much of it as will fit your time slot, is sung.  We did Sorcerer this way in 1984 for our annual meeting, and gussied it up a bit with costumes and movement, but it's actually designed for stand-up-and-sing-the-music productions. Another good prospect for selective compression is The Zoo, which we've also done several times.  A couple of judicious cuts and you've got it.  And then there's Cox and Box, which is a bit longer, but still very possible. [and only contains three characters!- mlc] -- Good luck.


: - ) : - ( : - o : - / : - < : - ) : - ( : - o : - / : - < : - ( : - )


Gleaned from SavoyNet by Janice Dallas: The Music Director, Stage Director and Producer of the Seattle Gilbert & Sullivan Society struggled for months with the discrepancies and missing items in the available piano/vocal scores and orchestrations.

We finally took the extreme measure of re-orchestrating the whole thing based on material contemporary with the opening night.  This was all put on the "Finale" score-printing software and looks and plays very well indeed.

We also produced our own piano/vocal scores so we could include the dialogue.  In doing this we noticed many of the discrepancies between the Piano/vocal and orchestra scores that others have mentioned recently.

We had intended to make all of the above available to other performing companies at the first of the year, however it has taken somewhat longer due to the tedious checking.  We are also annotating the changes we made (i.e. three acts instead of two) so that other companies can perform it either way... You won't have to worry about marking them up because they will be offered for sale rather than for hire.

Please contact me privately for details. 

Of course, we can also provide videos, CDs, and libretti of the show as we performed it.


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Wed like to remind folks: To subscribe to SavoyNet, the G&S mailing list, send the message Subscribe SavoyNet (your full name) to the address listserv@bridgewater.edu - and youll be sent all the information you need.

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Seventh International Gilbert and Sullivan Festival

Buxton, England. July 29 - August 20, 2000.

For more information about the Festival visit the Buxton Festival Site

The SavoyNet production planned for the next International G&S Festival in Buxton, England, will be YEOMEN, and will take place on Monday, August 7, 2000. Join SavoyNet to ask for more details!


The Sudbury Savoyards has a Ruddigore Act 2 drop for sale Contact Tom Powers (tech director)for details. View photos of the drop here and of the show here and here.

 Although it looks 3 dimensional, it is really flat.

Technical details (from Tom Powers):

42 feet wide by 18+ feet tall perspective rendering of the inside of a castle gallery, painted in earth tones, with gold-rimmed portrait frames enclosing non-photorealistic full-body renderings of the ancestors; portraits are overlaid in fluorescent paint that shine white-ish under black light; 4' by 6' hearth opening cut out of the center of the piece (allows entrance through the fireplace); face material is cloth adhered to a non-woven backing - the material does not wrinkle when hung, and apparently can be rolled without damage to the painted surface; the piece is top-grommetted and reinforced for hanging; total weight is approximately 100 pounds; it has been flameproofed.


\\  Salisbury Lyric Opera will present Mikado on Friday, March 17 at 8PM, and Sunday, March 19, in the newly renovated Tuckerman Hall on Salisbury Street in Worcester, in a fully staged production with piano accompaniment. For more info call (508)799-3848.  Tickets are $15 for adults, $10 for seniors and students.

\\ The Simsbury (CT) G&S Society will perform MIKADO, with stage direction by Ron Luchsinger and music direction by John Eells, on April 1, 8, & 15 at 8 PM and April 2, 9 & 16 at 2:15 PM. For more info, call (860) 521-8076, or visit their web site at http://www.sloco.org/.

\\ NYGASS will hold its next meeting on Wed. April 2, presenting the Penn Singers in PATIENCE. Future meetings will take place Fri. 5/ 19 and Sat. 6/24 [these dates have changes since the last Bray!]. Since their old home, CAMI Hall, is being renovated, theyve had to move around a bit - as of April, they relocate (again!) to the Friends Meeting House near Union Square. The address is on Rutherford Place (it's between 2nd & 3rd Avenue, near 15th St.) Doors open at 7:30; the meeting starts at 8:00, and the Inner Brotherhood go out for coffee afterwards.

\\ Fiddlehead Theatre of Norwood, MA will perform PIRATES, directed by Todd Allen Long, with music direction by Jay Lane, on April 7-9 and 14-16. For more information, contact: Fiddlehead Theatre Company, 109 Central Street, Norwood, MA 02062 or phone (781) 762-4060.

\\ The Harvard-Radcliffe G&S Society plans RUDDIGORE, directed by Sarah Meyers and Jonathan Girard. Performances are planned for April 6- 8 and 13-15 at 8pm, and April 8, 9, and 15 at 2pm. For more info, e-mail Lane Shadgett or phone 617- 496-4747 - or visit the HRG&SS Web page.

\\ MITG&SP will present IDA,, directed by Erik Lars Myers, with music direction by Jennifer Hazel and orchestral direction by David Larrick, on April 7, 8, 13-15 at 8 PM and April 9 and 16 at 2 PM. Call MITG&SP at (617) 253-0190, contact them via e-mail at savoyards-request@mit.edu, or visit http://www.mit.edu/activities/gsp/home.html for more info.

The New England Chapter of Victorian Society in America will present a lecture, Gilbert and Sullivan in Boston, by Fredric W. Wilson (the former curator of the G&S Archives at NYCs Morgan Library) on Tuesday, April 18:  Reception at 5:45pm; lecture starting at 6:15pm; location: Gibson House Museum, 137 Beacon Street, Boston. For more info, call (617) 267-6338

\\ The Actorsingers of Nashua, NH, will perform PIRATES, directed by Kathy Lovering (stage), Jed Holland (music) and Donna O'Bryant (choreography) on May 5, 6 and 7 at the Edmund Keefe Auditorium in Nashua. For more info, visit http://www.actorsingers.org/ , or e-mail actorsingers@juno.com - or phone 603-882-0029.

\\ Troupers Light Opera Company will perform GONDOLIERS May 13, 14, 19 and 20 in New Canaan High School, New Canaan, CT. For further info call Bobbie Herman at (203) 255-1577

\\ The College Light Opera Co. (CLOC) 32nd season will include two G&S works: Pirates June 27-July 1 and Utopia July 25-29.  Performances Tuesday-Saturday at 8:30 PM and Thursday at 2:30 PM at the newly-renovated Highfield Theatre in Falmouth, MA.  Inquiries prior to June 1 can go to Ursula R. Haslun, 162 S. Cedar St., Oberlin, OH 44074.

\\ SLOC (The Savoyard Light Opera Co.) of Carlisle, MA plans PIRATES in November, 2000. For more info, call 978-371-7562 or visit their web site at http://www.tiac.net/users/sloc/.

\\ Valley Light Opera of Amherst, MA plans IOLANTHE in November, 2000. For more info, contact producer Cami Elbow at (413) 549-0024, e-mail her at celbow@external.umass.edu, or visit their web site at http://www.vlo.org/

\\ UMGASS (The U. Michigan G&S Society) will present MIKADO April 6-9 if youre planning to be in Ann Arbor, call (734-647-8436 for more info.

\\ If you're planning to be in Illinois in June, call (847) 869-6300 for tickets to Light Opera Works production of GONDOLIERS, June 3-11.

\\ Were looking forward to THE MILLENNIUM SINGOUT, to be held in Toronto, Ontario, Canada, August 18-20, 2000 to sign up, contact Ori Siegel at oris@interlog.com or Herschel Rosen at torontosingout@home.com - or write to: G & S T2K Singout, 22 Royal Street, Oshawa, Ontario, Canada L1H 2T6.


PO Box 367, Arlington, MA 02476-0004

Send electronic contributions to our e-mail address:

President Patricia Brewer: (617) 323-3480
Vice-President J. Donald Smith: (508) 823-5110
Secretary Carol Mahoney: (781) 648-1720
Treasurer Philip Burstein: (781)646-3698
Program Chair Rebecca Consentino: (781) 642-6569 and http://people.bu.edu/rac
Members at Large:
Company Promoter Katherine Bryant: (617) 491-0373
Sheldon Hochman: (508) 842-7617
Membership Officer: BILL MAHONEY: (781) 648-1720
Newsletter Editor: MARION LEEDS CARROLL: (781) 646-9115 and

NEGASS membership dues are $15 and up. Please send membership inquiries to Bill Mahoney C/O the above address.

For more about NEGASS, visit the NEGASS Web Site

For much more about Gilbert and Sullivan, visit the Gilbert and Sullivan Archive