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presents

Artistic Director ALBERT BERGERET

in

H.M.S. PINAFORE THE LASS THAT LOvEd A SAILOR

Libretto by Music by SIR WILLIAM S. GILBERT SIR ARTHUR SULLIVAN

First Performed at the Opera Comique, London, on May 25, 1878

Directed and Conducted by ALBERT BERGERET

Choreography by BILL FABRIS

Costume DesignGAIL J. WOFFORD

Production Stage Manager Assistant Stage Manager DAVID SIGAFOOSE* ANNETTE DIELI

Friday, April 30, 2010, 8:00 PMSaturday, May 1, 2010, 8:00 PM

There will be one 20-minute intermission.The taking of photographs or use of recording devices is strictly prohibited.

Lighting DesignBRIAN PRESTI

Scenic DesignALBERE

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CAST

The Rt. Hon. Sir Joseph Porter, K.C.B. (First Lord of the Admiralty) ... STEPHEN QUINT*

Captain Corcoran (Commanding of H.M.S. Pinafore) …..….....………. KEITH JUROSKO*

Ralph Rackstraw (Able Seaman) ………………………......……….. COLM FITZMAURICE

Dick Deadeye (Able Seaman) …………………………..………........… LOUIS DALL’AVA*

Bill Bobstay (Boatswain’s Mate) …………………………........… WILLIAM WHITEFIELD*

Bob Becket (Carpenter’s Mate) ……………………………….....……..…... QUINTO OTT*

Josephine (The Captain’s Daughter) ………………......… LAURELYN WATSON CHASE*

Cousin Hebe ……………………………………………......……..… VICTORIA DEVANY*

Little Buttercup (Mrs. Cripps, a Portsmouth Bumboat Woman) ……...... ANGELA SMITH*

Sergeant of Marines …………………………………………….........…….. PAUL SIGRIST*

Ensemble of Sailors, First Lord’s Sisters, Cousins, and Aunts

DAVID AUXIER*, JONATHAN CABLE*, BROOKE COLLINS*, MICHAEL GALANTE, DAN GREENWOOD*, KATIE HALL,

AMY MAUDE HELFER*, ALAN HILL*, DAVID MACALUSO*, REBECCA O’SULLIVAN*, MONIQUE PELLETIER*, NATALIE ROSS*,

PAUL SIGRIST*, and SARAH CALDWELL SMITH*

Dance CaptainDAVID AUXIER*

Scene Quarterdeck of H.M.S. Pinafore

*The actors and stage managers employed in this production are members of Actors’ Equity Association.

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COMPANY AND PRODUCTION STAFF

General Manager ……….….……………………….……………………. Albert BergeretManaging Director …………..….………………………………………... David WannenAdministrative Assistant ……..….………………………………..…. Amy Maude HelferTechnical Director …………………………………...………………….. David SigafooseMusical Associate …………………………………………..…….. Andrea Stryker-RoddaWardrobe ………………………..…………..……..… Gail J. Wofford and Annette DieliOrchestra Contractor …………………………………...………………….… Gary LasleyGeneral Counsel ………………………………...……………………… Bonnie PodolskyCompany Photographer ………………………………...……… Lee Snider/Photo ImagesMarketing Photographers ……………………..…….. Carol Rosegg and Michael NemethTravel Agent ……………………………………………….. Tour Resources International

SYNOPSIS

High spirits seem to be the order of the day aboard Her Majesty’s Ship, H.M.S. Pinafore, in anticipation of the visit from Sir Joseph Porter, First Lord of the Admiralty. The crew is busy preparing the ship, stopping only to make purchases from Little Buttercup, a peddler, and to exchange compliments with their well-mannered Captain. The only sad note is struck by Ralph Rackstraw, one of the sailors, who is hopelessly in love with Josephine, the Captain’s daughter. Not only is her social position far above his, but her hand has been promised by her father to Sir Joseph. When Sir Joseph arrives with his female entourage, professing some decidedly eccentric ideas about naval discipline, Ralph is inspired to press his suit with the lady. At first she refuses him, but when he threatens suicide, she admits her love for him and agrees to elope. That night, Captain Corcoran learns that he, too, has a secret admirer, Little Buttercup, but he puts her off because of the difference in their social positions. Meanwhile, Sir Joseph has come to the conclusion that a similar difference is keeping Josephine from accepting his proposal. Sir Joseph tells Josephine that “love levels all ranks,” which she takes as an endorse-ment of her love for Ralph. Upon learning of her true plans, Josephine’s father halts the elopement. His furious outburst is overheard by Sir Joseph, who banishes the Captain to his cabin. Sir Joseph is even more outraged when he hears the reason for the Captain’s anger. He orders Ralph imprisoned and is about to turn on Josephine when Little Buttercup makes an extraordinary confession: Ralph and the Captain, entrusted to her care as babies, were somehow exchanged. The improbability of the revelation proves no obstacle to its immediate acceptance by all concerned and Ralph and the Captain assume each other’s places. Their new stations enable them to marry Josephine and Little Buttercup, and Sir Joseph is claimed by his Cousin Hebe.

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MUSICAL NUMBERS

OVERTURE

ACT I

We Sail the Ocean Blue (Introduction and Opening Chorus) .......................................... Sailors

I’m Called Little Buttercup (Recitative and Aria) ...…………........…………... Little Buttercup

But Tell Me Who’s the Youth (Recitative) …………...........… Little Buttercup and Bill Bobstay

The Nightingale (Madrigal) ………………................... Ralph Rackstraw and Chorus of Sailors

A Maiden Fair to See (Ballad) .………………..……... Ralph Rackstraw and Chorus of Sailors

My Gallant Crew (Recitative and Song) ................... Captain Corcoran and Chorus of Sailors

Sir, You Are Sad (Recitative) ………………......……. Little Buttercup and Captain Corcoran

Sorry Her Lot (Ballad) ................................................................................................. Josephine

Over the Bright Blue Sea (Barcarolle - Off Stage) ......................... Sir Joseph’s Female Relatives

Sir Joseph’s Barge Is Seen ............................ Chorus of Sailors and Sir Joseph’s Female Relatives

Now Give Three Cheers .................... Captain Corcoran, Sir Joseph, Cousin Hebe, and Chorus

When I Was a Lad (Song) ....................................................................... Sir Joseph and Chorus

For I Hold That on the Seas ................. Sir Joseph, Cousin Hebe, Female Relatives, and Sailors

A British Tar (Glee) …....... Ralph Rackstraw, Bill Bobstay, Bob Becket, and Chorus of Sailors

Refrain, Audacious Tar (Duet) ……………………….…….... Josephine and Ralph Rackstraw

Can I Survive This Overbearing (Finale of Act I) ......................................................... Ensemble

INTERMISSION

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ACT IIEntr’acte

Fair Moon, to Thee I Sing (Song) .................................................. Captain Corcoran

Things Are Seldom What They Seem (Duet) ……….... Little Buttercup and Captain Corcoran

The Hours Creep on Apace (Scena) ……………………………………………....... Josephine

Never Mind the Why and Wherefore (Trio) ….... Josephine, Captain Corcoran, and Sir Joseph

Kind Captain, I’ve Important Information (Duet) ……... Captain Corcoran and Dick Deadeye

Carefully on Tiptoe Stealing ............................................................ Soli and Chorus

Farewell, My Own! ................................................................... Octet and Chorus

A Many Years Ago (Song) ……………….……………………... Little Buttercup and Chorus

Oh Joy, Oh Rapture Unforeseen! (Finale of Act II) ........................................ Ensemble

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BIOGRAPHIESNEW YORK GILBERT & SULLIVAN PLAYERS

(NYGASP) is a preeminent professional repertory ensemble that specializes in Gilbert and Sullivan Operas. Founded in 1971, the simple street theater company presented Gilbert and Sullivan productions at block parties and out of a truck. Since those humble beginnings, NYGASP has become a steady force in the cultural circle, presenting more than 2,000 performances of Gilbert and Sullivan masterpieces throughout the United States and Canada. While the group exudes contemporary energy in its updated productions, it stays true to Gilbert’s satire of human foibles and Sullivan’s evocative scores.

DAVID AUXIER’s (Dance Captain and Ensemble) favorite roles include Sergeant of Police (The Pirates of Pen-zance), Grand Vizier (The Rose of Persia), and Pooh-Bah (The Mikado). Auxier wrote, directed, and serves as emcee for the critically acclaimed Cabaret show I’ve Got a Little Twist! He has choreographed benefits and revues, as well as South Pa-cific; Hello, Dolly!; A Funny Thing Happened on the Way to the Forum; Anything Goes; and Ziegfeld’s Midnight Frolic of 2007 and 2008. Auxier is an award-nominated songwriter. He has been a member of NYGASP since 1992. For more informa-tion, visit www.davidauxier.com.

JONATHAN CABLE (Ensemble) performed as the Wrenchman in Little Orchestra Society’s Babes in Toyland in 2008 at Avery Fisher Hall. His regional credits include Maine State Music Theatre, the Ogunquit Playhouse, Arrow Rock Lyceum Theatre, Beef and Boards Dinner Theatre, Seaside Music Theatre, and Festival 56. He is a graduate of Illinois Wesleyan University. Cable is making his NYGASP and City Center debut. Eternal thanks to Mom and Dad.

LAURELYN WATSON CHASE (Josephine), a long-time leading lady, has appeared in 10 principal roles with NYGASP. She has many regional credits and a recital debut in Weill Recital Hall at Carnegie Hall. Chase has performed George Frideric Handel’s Messiah as soprano and cellist. She graduated from the University of Texas, the Manhattan School of Music, and Bel Canto Institute. Chase won the National Arts Club Voice Competition, was a finalist in the Baltimore Opera Vocal Competition, and won NYGASP’s Isaac Asimov Award for “Artistic Achievement.” Love to David and our little outlaw Lochlan. For more information, visit www.lissemoremusicstudios.com.

BROOKE COLLINS’ (Ensemble) Gilbert and Sulli-van credits include Josephine (H.M.S. Pinafore) and An-gelina (Trial by Jury). Collins’ other credits include Alcina, Cendrillon, Manon, Don Giovanni, La Bohème, Le Nozze di Figaro, and Così Fan Tutte. She has received awards from the Commission on Presidential Scholars in the Arts, the National Foundation for Advancement in the Arts, and the National Association of Teachers of Singing.

LOUIS DALL’AVA (Dick Deadeye) has performed 24 principal Gilbert and Sullivan roles, 17 of those with NYGASP. His credits include Pooh-Bah (The Mikado), Don Alahambra (The Gondoliers), Pirate King (The Pirates of Penzance), and Dick Deadeye (H.M.S. Pinafore). Dall’Ava’s directing credits include The Theatre at Monmouth, Op-era Naples, and First Coast Opera Northeast. He is the 2005-2006 recipient of NYGASP’s Isaac Asimov Award for “Artistic Achievement.” His other roles include Charles and the Count de Chagny (The Phantom of the Opera), Luther Billis (South Pacific), Olin Britt (The Music Man), and Alfred Doolittle (My Fair Lady). In 2000, Dall’Ava was named “Best Actor in a Musical” by Bravo Pix for his portrayal of Fagin in Oliver! with Commonwealth Opera.

VICTORIA (VICKY) DEVANY’s (Cousin Hebe) NYGASP credits include Mad Margaret (Ruddigore), Pitti-Sing and Peep-Bo (The Mikado), Edith (The Pirates of Penzance), and Mrs. Partlett (The Sorcerer). Devany has performed at Carnegie Hall, Wolf Trap, Symphony Space, Resorts International, Westbury Music Fair, and Paper Mill Playhouse. She has appeared in Cabaret acts in New York and Japan. She is a Virginia native and a member of the Dramatists Guild.

COLM FITZMAURICE’s (Ralph Rackstraw) NYGASP credits include Frederic (The Pirates of Penzance), Hilarion (Princess Ida), Ralph Rackstraw (H.M.S. Pinafore), Nanki-Poo (The Mikado), and Marco (The Gondoliers). Fitzmaurice has performed with the Dayton Opera, Virginia Opera, Kentucky Opera, Opera Naples, Indianapolis Opera, and Pittsburg Opera. Fitzmaurice made his European debut in Paris as Tamino (Die Zauberflöte) and later toured Germany as Tony (West Side Story). For more information, visit www.colmfitzmaurice.com.

MICHAEL GALANTE (Ensemble) has been a mem-ber of NYGASP since 1987 and has performed the entire

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Gilbert and Sullivan canon. His other theater credits include Flute (A Midsummer Night’s Dream), Fenton (The Merry Wives of Windsor), Lennie (Of Mice and Men), and Moonface (Anything Goes). Galante is the 2008-2009 recipient of NYGASP’s Isaac Asimov Award for “Artistic Achievement.”

DAN GREENWOOD (Ensemble) is making his NYGASP debut. His Opera credits include La Finta Giar-diniera, Acis and Galatea, The Merry Widow, Carmen, and Madama Butterfly. Greenwood’s regional credits include My Fair Lady, Ragtime, Dirty Blonde, A Funny Thing Happened on the Way to the Forum, and The Cure (New York). He gradu-ated from Ithaca College with a bachelor of fine arts degree.

KATIE HALL (Ensemble) joined NYGASP in 2002. She has appeared in The Pirates of Penzance, The Mikado, H.M.S. Pinafore, Ruddigore, and The Rose of Persia. Hall’s favorite roles include Anna (The King and I), Julie Jordan (Carousel), and Lola (Damn Yankees). Hall is an executive assistant at Lazard Frères & Co.

AMY MAUDE HELFER (Ensemble) has been a mem-ber of NYGASP since 2008. Her credits include Kate (The Pirates of Penzance) at City Center and the Missouri Sym-phony Orchestra, Hansel (Hansel and Gretel) with the Boston Lyric Opera, Stephano (Roméo et Juliette), Pinocchio (The Adventure of Pinocchio), Cherubino (The Marriage of Figaro), Kathy (Company), and Tiger Lily (Peter Pan). Helfer’s under-study roles include Pitti-Sing (The Mikado), Melissa (Princess Ida), Tessa (The Gondoliers), and Mad Margaret (Ruddigore). For more information, visit www.amyhelfer.com.

ALAN HILL (Ensemble) has been performing with NYGASP since 1983. He won the 2004-2005 Isaac Asimov Award for “Artistic Achievement.” Hill’s credits include Alexander Throttlebottom (Of Thee I Sing), Samuel (The Pirates of Penzance), The Notary (The Grand Duke), Foreman (Trial by Jury), Lord Dramaleigh (Utopia Limited), and An-nibale (The Gondoliers).

KEITH JUROSKO (Captain Corcoran) celebrates his 30th season with NYGASP where he has sung nearly 800 performances in more than 12 roles. His regional credits include Chautauqua Opera, Virginia Opera, Anchorage Opera, Mobile Opera, Gold Coast Opera, Boston Academy of Music, and Cortland Repertory Theatre. Jurosko is a founding member of the La Gran Scena Opera Company. He has per-formed in Opera, Operetta, and musical comedy throughout the United States, Canada, Europe, South America, and Australia.

DAVID MACALUSO (Ensemble) recently performed as Dr. Falke (Die Fledermaus) and simultaneously sang the roles of Sir Joseph and Little Buttercup (H.M.S. Pinafore) at the Vortex Theater Company. Macaluso also co-directed a student production of Ruddigore at Lake George Opera and is scheduled to choreograph The Pirates of Penzance for Boheme Opera NJ. He has performed Off-Broadway and nationally in many roles including Molina (Kiss of the Spider Woman), Che (Evita), Seymour (The Little Shop of Horrors), Rooster (Annie), Frankie and Sparky (Forever Plaid), Frank (The Rocky Horror Picture Show), and Motel (Fiddler on the Roof). Macaluso graduated from the Manhattan School of Music.

REBECCA O’SULLIVAN (Ensemble) has been a member of NYGASP since 2004. Her credits include Iolanthe, The Pirates of Penzance, Princess Ida, The Mikado, H.M.S. Pinafore, Ruddigore, The Gondoliers, and The Rose of Persia. O’Sullivan has performed at Maine State Music Theatre, the Allenberry Playhouse, and Bucks County Play-house. Her favorite roles include Tuptim (The King and I), Leisl (The Sound of Music), Chava (Fiddler on the Roof), and Belladova (The Phantom of the Opera). O’Sullivan is a gradu-ate of the Boston Conservatory. Thanks to her parents and family for their ongoing support.

QUINTO OTT’s (Bob Becket) credits include Cogs-worth (Beauty and the Beast), Alonso Smith (Meet Me in St. Louis), Eugene Fodor (Crazy for You), Rudolph Reisnweber (Hello, Dolly!), Marcus Lycus (A Funny Thing Happened on the Way to the Forum), General Genghis Khan Schmitz (Seussical the Musical), Louis (Pal Joey), Dottore Grenvil (La Traviata), Le Duc (Roméo et Juliette), and Ambrogio (Il Barbiere di Siviglia). Ott graduated from Indiana University Bloomington.

MONIQUE PELLETIER’s (Ensemble) NYGASP credits include The Mikado, The Pirates of Penzance, H.M.S. Pinafore, The Yeomen of the Guard, Patience, Princess Ida, The Rose of Persia, and Trial by Jury. Pelletier’s regional credits include Ruth (The Pirates of Penzance), Lady Jane (Patience), Phoebe (The Yeomen of the Guard), Tessa (The Gondoliers), Pitti-Sing (The Mikado), Cherubino (Le Nozze di Figaro), Hansel (Hansel and Gretel), Mercedes (Carmen), Flora (La Traviata), Lola (Cavalleria Rusticana), and Principessa (Suor Angelica). Pelletier has performed as a concert soloist with the Vermont Mozart Festival, Honolulu Symphony, and the New Sigmund Romberg Orchestra.

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STEPHEN QUINT (The Rt. Hon. Sir Joseph Porter,

K.C.B.) grew up in Maine and majored in French horn at the New England Conservatory. He began his career with NYGASP in the orchestra before moving to the stage. Quint has performed the Gilbert and Sullivan comedy “patter” roles in its 13 Operas with Anchorage Opera, Boston Academy of Music, Mobile Opera, New York Grand Opera, Skylight Opera, and the International Gilbert and Sullivan Festival in Buxton, England. In 2002, he won NYGASP’s Isaac Asimov Award. For more information, visit www.zombiemikado.com.

NATALIE ROSS (Ensemble) is in her fourth season with NYGASP, appearing in The Mikado, The Pirates of Pen-zance, and H.M.S. Pinafore. Her favorite credits include Evita (U.S. and Europe tours), Broadway Tonite (U.S. and Euro-pean companies), the first regional premiere of Les Miserables (Sacramento Music Circus), and Offenbach!!! (Bard Sum-merscape Music Festival). Ross received a bachelor of fine arts degree from the University of Michigan School of Music. Much love to my new husband.

PAUL SIGRIST (Sergeant of Marines and Ensemble) sang the role of Bill Bobstay (H.M.S. Pinafore) at the Vortex Theater Company. Sigrist’s NYGASP Operetta roles include Richard Auntless (Ruddigore), Major-General (The Pirates of Penzance), Physician-in-Chief (The Rose of Persia), Defen-dant (Trial by Jury), Duke (Patience), Earl Tolloller (Iolanthe), and Oswald (Haddon Hall). This year, Sigrist will co-direct Utopia Limited at the Lake George Opera Festival.

ANGELA SMITH (Little Buttercup) is the proud recipient of NYGASP’s 2009-2010 Isaac Asimov Award. Her NYGASP roles include The Duchess (The Gondoliers), Dame Carruthers (The Yeomen of the Guard), Dancing Sunbeam (The Rose of Persia), Little Buttercup (H.M.S. Pinafore), Ruth (The Pirates of Penzance), Katisha (The Mikado), and Queen of the Fairies (Iolanthe). Smith performs regularly with the NYGASP Wand’ring Minstrels and the Light Opera of New York. Her other credits include performances with The Vocal Arts Symposium in Colorado Springs, Colorado; Lake George Opera; St. Bonaventure Quick Center for the Arts; Pine Mountain Music Festival; South Carolina Opera; Dela-ware Opera; Caramoor Opera; New York Vocal Artists; and Liederkranz Opera. Smith’s upcoming performances include a tour with NYGASP’s Cabaret act I’ve Got a Little Twist.

SARAH CALDWELL SMITH’s (Ensemble) NYGASP credits include Mabel (The Pirates of Penzance),

Rose Maybud (Ruddigore), Gianetta understudy (The Gondo-liers), The Mikado, Trial by Jury, and H.M.S. Pinafore. Smith’s regional credits include Music in the Air at New York City Center, Phyllis (Iolanthe), Papagena (Die Zauberflöte), Barbarina (Le Nozze di Figaro), Lucy (The Telephone), and Atalanta (Serse). Smith earned a master of music degree from the Manhattan School of Music and bachelor’s degrees from New England Conservatory and Tufts University.

WILLIAM WHITEFIELD (Bill Bobstay) joined NY-GASP in 1997 and has performed in The Gondoliers, H.M.S. Pinafore, Princess Ida, The Pirates of Penzance, The Mikado, Trial by Jury, The Yeoman of the Guard, and Ruddigore. His other theater credits include The Presidents starring Rich Little, The Student Prince, Rags, and Shenandoah. Whitefield appeared in The Presidents on PBS. He is the composer for Ray Bradbury’s The Day it Rained Forever and is the director of Algonquin Arts Theatre in Manasquan, New Jersey.

ALBERT BERGERET (Artistic Director and General Manager) is a career-long specialist in the works of Gilbert and Sullivan, having performed, staged, conducted, and designed every Opera in the repertoire for 40 years. He has directed Gilbert and Sullivan productions for university stu-dents and residency programs for elementary schools. Berg-eret has been hailed as “the leading custodian of the Gilbert and Sullivan classics” by New York magazine and his work as stage and musical director has been widely acclaimed in the United States, Canada, and the United Kingdom. Bergeret founded NYGASP in 1974 and has served as artistic director and general manager since its inception. He has conducted and staged 13 works in the Gilbert and Sullivan canon as well as the company’s smash hit production of George Gershwin’s Of Thee I Sing. He has conducted programs with the Buffalo Philharmonic, Orchestra London, Northwest Indiana Symphony Orchestra, and the Erie Philharmonic in a program featuring Metropolitan Opera baritone Robert Goodloe. He has conducted and directed Hal Linden, Steve Allen, John Astin, Pat Carroll, Noel Harrison, John Ruben-stein, Louis Quilico, Lando Bartolini, and John Reed.

ANNETTE DIELI’s (Assistant Stage Manager) cred-its include Hartford Stage (backstage crew), The Bronx Op-era Company (props and costume assistant), artistic director of her touring puppet company, and wardrobe for NYGASP at New York City Center. In 2009, she was venue director for the New School for Drama as part of the Fringe Festival in

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New York City. Dieli holds a bachelor of fine arts degree in theater from the University of Connecticut.

BRIAN PRESTI (Lighting Designer) has worked in the industry throughout the United States, Europe, and the Caribbean. He designed Gilbert and Sullivan Operas with Opera Naples before joining NYGASP’s production team. Currently, Presti is the lighting and audio engineer with Har-lem Stage and is working at MTV studios and other venues in New York. Presti majored in lighting and sound design at the University of Florida.

DAVID SIGAFOOSE (Stage Manager and Techni-cal Director) has been working in theater for more than 25 years. He began with NYGASP as master electrician for The Mikado (1981); H.M.S. Pinafore (1981 and 1982); Trial by Jury (1982); and The Gondoliers (1983). Sigafoose was also the lighting designer, assistant lighting designer, and assistant stage manager for NYGASP between 1982 and 1985. Since his return to NYGASP in 2000, he has been technical direc-tor, stage manager, and assistant stage manager for all of the company’s productions at New York City Center and on tour. This is his 30th year with NYGASP.

GAIL J. WOFFORD (Costume Designer and Co-Founder of NYGASP) has designed and constructed cos-tumes for The Mikado, The Pirates of Penzance, H.M.S. Pinafore, The Yeoman of the Guard, Iolanthe, and Trial by Jury. Wofford was costume coordinator for New Jersey State Opera for 12 years and head of wardrobe for the New York Grand Opera. She has executed projects for WNET, Channel 13, the Dreamgirls national tour, and the film Mission Apollo, and has worked with several Opera companies throughout the United States. n

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If you need to buy anything, it’s a good bet you’ll find it in Cerritos. Our City is home to nearly every store you could wish for, from the finest department stores, discount and home-improvement centers, to interesting specialty shops and the famous Cerritos Auto Square.

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presents

JOHN PIZZARELLI WITH BIG BANDTHE FRANK SINATRA SONGBOOK

Sunday, May 2, 2010, 3:00 PM

There will be one 20-minute intermission.The taking of photographs or use of recording devices is strictly prohibited.

BIOGRAPHYJOHN PIZZARELLI has cultivated a successful,

award-winning international career as a contemporary inter-preter of classic American standards and ballads. The host of the nationally syndicated program Radio Deluxe With John Pizzarelli, the Jazz guitarist delights audiences with songs from his tribute album Dear Mr. Sinatra, including I’ve Got You Under My Skin, Ring-a-Ding Ding, and Nice’n Easy. There is “an irresistible buoyancy that springs from Mr. Pizzarelli’s gui-tar and his ebullient personality. The music doesn’t merely swing, it bounces, and happiness reigns,” hailed The New York Times.

At age 6, Pizzarelli began playing the guitar, following in the footsteps of his father, guitar legend Bucky Pizzarelli. In 1993, he struck out on his own with the John Pizzarelli Trio, which opened for Sinatra’s international tour and performed at Sinatra’s 80th-birthday celebration at Carnegie

Hall. In 2003, Pizzarelli led a 40-member live orchestra at Radio City Music Hall in the tribute Sinatra: His Voice, His World, His Way. Pizzarelli received the 2007 Night-life Award, which honors the best in New York Cabaret, comedy, and Jazz. The Boston Globe heralded: “Pizzarelli is a Jazzman for all seasons. His singing is light, assured and flavorful. He also is a quick-witted funny guy.”

Pizzarelli has recorded for some of music’s top figures, including James Taylor, Natalie Cole, Rickie Lee Jones, Rosemary Clooney, and Buddy DeFranco. He collaborated with Donna Summer, Jon Secada, and Roberta Flack on the Grammy-winning album Songs From the Neighborhood: The Music of Mr. Rogers. Pizzarelli’s other acclaimed albums include 2005’s Knowing You, 2004’s Bossa Nova, and 2003’s Live at Birdland, which commemorated the 10th anniversary of his trio. n

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presents

ROB KAPILOW’SWHAT MAKES IT GREAT?

THE MuSIc OF cOLE PORTER

ROB KAPILOW, PIANIST AND COMMENTATORSALLY WILFERT, SOPRANOMICHAEL WINTHER, TENOR

Wednesday, May 5, 2010, 7:30 PM

There will be one 20-minute intermission.The taking of photographs or use of recording devices is strictly prohibited.

PROGRAM

You’re the Top from Anything Goes (1934)All Through the Night from Anything Goes (1934)

Begin the Beguine from Jubilee (1935)Night and Day from Gay Divorcee (1932)

From This Moment On from Out of This World (1951)

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Haven’s Schubert Theatre, Barrington Stage Company, Hart-ford Theatreworks, The Fulton Opera House, and Connecticut Grand Opera, and in such shows as Marry Me a Little, Elegies, Les Miserables, The Last Five Years, Amadeus, Into the Woods, and The Threepenny Opera. Wilfert has appeared with Kapilow in What Makes It Great? in venues throughout the country, celebrating the songs of George Gershwin, Cole Porter, and Leonard Bernstein. Wilfert recently appeared in concert at Avery Fisher Hall, Merkin Hall, Lincoln Center, Symphony Space, Joe’s Pub, Birdland, Wil-liamstown’s 62 Center, and The Metropolitan Room.

Acclaimed byThe New York Times as “a theater singer of unusual refinement” and “impeccable taste” with “a voice that traverses genres,” MICHAEL WINTHER is active and passion-ate about the development of new American musical theater. The Village Voice described Winther as “an exciting voice doing exciting new voices. Like Audra McDonald, he loves plucking selections from the new writer’s bumper crop.” He received Drama Desk and Drama League nominations for his critically acclaimed solo performance in Songs From an Unmade Bed at New York Theater Workshop with lyrics by Mark Campbell and music by 18 composers. The world premiere recording is available on Sh-K-Boom Records/ Ghostlight Records.

Recently, Winther discussed the upcoming James Lap-ine and William Finn musical adaptation of the film Little Miss Sunshine at the Sundance Theatre Lab. In 2007, Winther joined Jazz pianist/composer Fred Hersch for The Songs of Fred Hersch as part of Lincoln Center’s acclaimed American Songbook series. He made his Lincoln Center solo concert debut at the American Songbook series with an evening of new theater songs featuring the works of contemporary composers such as Jeff Blumenkranz, Jenny Giering, Peter Golub, Ricky Ian Gordon, Adam Guettel, Marcus Hummon, Michael John LaChiusa, Brendan Milburn, Steve Marzullo, Jeanine Tesori, and Duncan Sheik.

Winther has appeared with Kapilow in What Makes It Great? for Lincoln Center’s Great Performers series and in other venues across the country, celebrating the songs of Leonard Bernstein, George Gershwin, Cole Porter, and Stephen Sond-heim. Winther’s theater credits include Broadway’s 33 Variations, Mamma Mia!, 1776, The Crucible, Artist Descending a Staircase, and Damn Yankees. He has worked extensively Off-Broadway and in regional theater, television, and film. Winther is a graduate of Williams College. n

BIOGRAPHIESFor more than 15 years, ROB KAPILOW has brought

the joy and wonders of Classical music – and unraveled some of its mysteries – to audiences of all ages and backgrounds. Characterized by his unique ability to create an “aha” mo-ment for his audiences and collaborators, whatever their level of musical sophistication, Kapilow’s work brings music into people’s lives – opening new ears to musical experiences and helping people to listen actively rather than just hear.

Kapilow’s range of activities is impressively broad, including his What Makes It Great? presentations, his family compositions and FamilyMusik events, and his Citypieces. The reach of his interactive events and activities is wide, both geographically and culturally – from Native American tribal communities in Montana and inner-city high school students in Louisiana to wine-tasters in the Napa Valley. From tots barely out of diapers to musicologists hailed from Ivy League programs, his audiences are diverse and unexpected, but invariably rapt and keen to come back for more.

Kapilow’s popularity and appeal are reflected in no-table invitations and achievements. He appeared on NBC’s Today Show in conversation with then-host Katie Couric; he presented a special What Makes It Great? event for broadcast on PBS’ Live From Lincoln Center in January 2008; and he has written a book, All You Have to Do Is Listen, which was published by the new alliance between Wiley and Lincoln Center and won a PSP Prose Award for “Best Book in Music and the Performing Arts” in 2008. A documentary film, Summer Sun, Winter Moon, named after Kapilow’s choral and symphonic work of the same title, airs on PBS nationwide.

SALLY WILFERT has appeared on Broadway in Assas-sins, The Adventures of Tom Sawyer, and Walt Disney’s King David. She performed in the first national tour of the Tony award-winning The 25th Annual Putnam County Spelling Bee. Wilfert’s Off-Broadway credits include The Lady in Penthouse B (opposite Nancy Dussault); Make Me a Song: The Music of William Finn; The Mistress Cycle; and The Prince and the Pauper. At Carnegie Hall she has appeared in Cole Porter’s Jubilee; South Pacific in Concert (featuring Reba McEntire); and Sondheim: A Tribute. As a soloist performing with the New York City Ballet at Lincoln Center, Wilfert was featured singing Somewhere for the company’s perfor-mances of West Side Story Suite.

She has performed at Cincinnati Playhouse in the Park, Baltimore Center Stage, Pittsburgh Civic Light Opera, New

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presents

DULSORI

Friday, May 7, 2010, 8:00 PM

There will be one 20-minute intermission.The taking of photographs or use of recording devices is strictly prohibited.

This performance is supported in part by a grant from the National Endowment for the Arts.

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PROGRAM

Gil-no-riThe performers approach the stage from the audience as a sign of good luck.

It is customary for the Korean community to mingle with each other to create harmony.

Seol-jang-goThree janggu players show their fully-trained janggu skills. From the beginning, with slow breathing,

they drive the audience into the rapid harmony of Korean percussion.

Ta-jingLike the short moment of the tranquil dawn full of serenity, three jings (gongs)

wake up all lives on earth as they start their busy day in harmony. Drawing performance – an artist shows the music on the canvas in rhythm and melody.

BinanioEvery mother’s wish for her family has the great power to move the world. In ancient Korea,

mothers often kneeled outdoors in prayer with a bowl of water before gods of heaven and earth at night or early dawn. Binanio is an aria worshiping the mothers’ lofty mind in the whole world.

Pan-gutPan-gut is a Korean Folk music tradition that includes drumming, dancing, and singing.

It takes place at the village square, kitchen, gate, or home garage to wish good luck to the village and the family.

INTERMISSION

Opening DrumWhen the dynamic beat of large drums fills the universe, it quickens one’s pulse

and awakens nature. The entrance to the marvelous world is opened at the moment when everything is perfectly united.

Sa-ba-haSa-ba-ha in Sanskrit means “make a wish.” The solemn yet enthusiastic melody

reveals Dulsori’s willingness and effort given toward music.

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Drum Si-na-weBig drums awaken everything all over the place to let people see the truth.

Various stringed and wind instruments harmonize with grand play of the drums, and the magnificent harmony leads people to Nirvana.

A Sailor’s SongA sailor’s song and a typical work song of Korea was renewed by Dulsori.

It shows Koreans’ positive view of life while they discover hope and amusement even through tough labor.

Drum DanceMusicians play three to five drums.

Dulsori adds powerful drum skills to a graceful dance.

The BeatVarious percussion instruments create powerful energy to help people harmonize.

Although the world is filled with many disturbances caused by greed, we could live in peace if we communicate well and harmonize with others. The music expresses the

future dream of harmony and a happy life.

Eo-heo-yeopIt is not only a kind of ad-lib to elate the climax of the performance, but also the exclamation of the singer while leading

the drums to a powerful crescendo. When the powerful shouting with energetic drum beats and the chorus eo-heo-yeop are at fever pitch, all the people are united and exchange eo-heo-yeop with the performer.

BIOGRAPHYDULSORI has toured to wide acclaim in Hong Kong,

Singapore, Australia, Israel, Africa, and Europe, introducing global audiences to the rich history, spirit, and customs of Korea. With exuberant energy and frenetic drumming that employs a broad range of traditional instruments – the janggu (hourglass drum), buk (barrel drum), and jing (gong) – the world-class ensemble produces infectious rhythms that Vari-ety magazine has called “relevatory.”

Dulsori, which means “Heartbeat of the Land,” was founded in 1984 and has garnered headlines and praise for its dramatic drumming and songs that are inspired by nature

and the time-honored customs of farmers. By tapping into intrinsic human emotions with singing and dancing and the powerful sounds of the drum, Dulsori rekindles the spirit of the Korean community where everyone’s energies mingle to create collective pleasure, unity, and harmony.

It’s a successful approach that has garnered acclaim and honors for the ensemble. “Traditionalism and spectacle merged in Dulsori. … They set up deep, pounding rhythms that could probably be heard in the next village,” exalted The New York Times. n

19

presents

KARTIK SESHADRI

Saturday, May 8, 2010, 8:00 PM

There will be one 20-minute intermission.The taking of photographs or use of recording devices is strictly prohibited.

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BIOGRAPHIESKARTIK SESHADRI attracted widespread at-

tention when he began performing full-length solos at

age 6 in India. The child prodigy has blossomed into an

“amazingly accomplished” musical powerhouse noted for

his music’s expressive beauty, rich tonal sensibility, and

rhythmic intricacy, praised The Washington Post.

The prestigious British magazine SongLines declared,

Seshadri “stands out amongst sitarists for his clarity and

intricate rhythmic sensibility.” The publication selected

the sitar guru’s 2004 Raga: Rasa – That Which Colors the

Mind album for its World Music’s Top 10 list and cited his

2006 Illuminations record as “sitar at its lyrical best.”

Seshadri has trained with Grammy-winning compos-

er and sitar maestro Pandit Ravi Shankar, one of the most

well-known contemporary Indian musicians. In 2004,

Seshadri collaborated with prominent composer Philip

Glass and the Brazilian instrumental group Uakti on the

critically acclaimed The Orion Project. Seshadri performs

extensively in his homeland and around the world,

including the United States, Canada, Europe, Japan,

Mexico, and the Middle East. He has played at prestigious

venues and events such as Carnegie Hall, the Kennedy

Center, the Melbourne International Arts Festival in

Australia, the Ravinia Festival in Illinois, and the 2002

Winter Olympics in Salt Lake City, Utah.

ARUP CHATTOPADHYAY is recognized today as

one of the outstanding and most sought after tabla musi-

cians of the younger generations. As a premier disciple of

the world- renowned maestro Pandit Shankar Ghosh of

the Farukabadh Gharana (style) of tabla, Chattopadhyay is

well-established as an accompanist and soloist.

Chattopadhyay began training in tabla at age 6 from

his father, Shri Pankaj Chatterjee, the eminent tabla

player, and later came under the tutelage of Ghosh, with

whom he continues to train. An affiliated tabla musician

with All India Radio station and Doordarshan television

network, Chattopadhyay records and performs frequently.

He regularly accompanies some of the leading musicians

of India such as Pandit Ravi Shankar, Rajan and Sajan

Mishra, Pandit V.G. Jog, Ashish Khan, Ajay Chakra-

varty, Vishwa Mohan Bhatt, and Deepak Choudhury. For

the past 12 years, Chattopadhyay has toured extensively

with Seshadri throughout the United States, Canada,

India, and Australia. Chattopadhyay serves as a visiting

guest lecturer of tabla at the University of California, San

Diego.

NOTES ON INDIAN MUSIC

By KartiK SeShadri

Indian Classical music (Raga Sangeeth) is based on

two distinct ideas of the raga and tala. Raga(s) are the

precise melodic forms that serve as the tonal basis for

improvisation. The Indian tonal system is rooted in 22

microtones (shruti) and each raga has a very precise gram-

mar of progression based on its ascending and descending:

the microtonal inflections, the emphasis of particular

notes within the scheme (vadi/samavadi), and the specific

ornamentation particular to each raga. Each raga is said to

exemplify one of the nine rasa(s) noted in Indian aes-

thetic theory: erotic, laughter, pathos, anger, heroic, fear,

disgust, wonder, and peace. Tala(s) refers to the rhythmic

framework and is conceived in cycles of beats ranging

from a simple three beat to a 108-beat cycle.

A raga is introduced with a slow, non-metric, open-

ing movement alap and is followed by two freer move-

ments, the jor and jhala, wherein a pulse is discernible.

The tala (beat cycle) is typically introduced in the fourth

movement when the tabla joins the main soloist (sitar).

The accompanying drone instrument, tanpura, serves a

melodic role in acting as a continuo to the melodic basis

of the tradition. The hallmark of Indian Classical mu-

sic is the spontaneity and rapport of the improvisatory

process. n

21

presents

THE uLTIMATE dOO WOP SHOWFeaturing

JIMMY BEAUMONT & THE SKYLINERSJIMMY CLANTON

THE FLEETWOODS FEATURING GARY TROXELTHE PENGUINS/CLEVE DUNCAN

THE EDSELSTHE REFLECTIONS

THE SHADES OF BLUEDODIE STEVENS

RAMA LAMA BIG BAND

Friday, May 14, 2010, 8:00 PM

There will be one 20-minute intermission.The taking of photographs or use of recording devices is strictly prohibited.

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BIOGRAPHIESGet ready to party with some of the genre’s best in

THE ULTIMATE DOO WOP SHOW. The exciting lineup kicks off with JIMMY BEAUMONT & THE SKYLINERS, the mastermind behind the No. One single Since I Don’t Have You. The song is considered the quintessential 1950s standard Pop ballad. Inducted into the Vocal Group Hall of Fame in 2002, the award-winning band delivered other hits, including Pennies From Heaven and the Top 40 This I Swear.

Variety magazine hailed JIMMY CLANTON, saying, “This ageless entertainer sings as if he were a universe of mu-sic.” The man who belted out hits such as Another Sleepless Night, Venus in Blue Jeans, and the Top 10 Go Jimmy Go was declared “truly a star in any era” by The Hollywood Reporter. Clanton was inducted into the Louisiana Music Hall of Fame in 2007.

THE FLEETWOODS FEATURING GARY TROXEL shot to fame with the No. One hits Come Softly to Me and Mr. Blue. The group produced nine Top 40 hits, including Runaround, Outside My Window, You Mean Everything to Me, and the Top 10 single Tragedy.

The quartet THE PENGUINS/CLEVE DUNCAN landed in the spotlight and on the Pop and R&B charts with the Top 40 smash hit Earth Angel (Will You Be Mine). The band earned recognition with a performance on The Ed Sul-livan Show, leading to work with music industry greats like Louis Jordan, Ella Fitzgerald, and Dinah Washington. The band was inducted into the Vocal Group Hall of Fame in 2004.

THE EDSELS, named after the Ford automobile, is re-nowned for its classic hit song Rama Lama Ding Dong. Origi-nally released in 1959, the Doo Wop masterpiece became a national hit three years after its initial release, peaking at No. 21 on the Pop charts. A mainstay on Dick Clark’s American Bandstand, The Edsels also released the hits What Brought Us Together, Bone Shaker Joe, and Do You Love Me.

THE REFLECTIONS hailed from Michigan to dominate national music charts with a sequence of singles, including Like Romeo & Juliet, Shabby Little Hut, Poor Man’s Son, and Like Columbus Did.

In 1966, a Detroit, Michigan, vocal quartet, THE SHADES OF BLUE, skyrocketed to fame with Oh How Happy. The single was deemed an overnight sensation, soaring to No. 12 on the Pop charts and the Top 10 on the

R&B list. The group encountered success again with the tune Greetings (This Is Uncle Sam). A Billboard magazine review of the 1966 Happiness Is the Shades of Blue proclaimed the album “a well-performed, sure-fire winner.”

Thanks to the hit Tan Shoes & Pink Shoelaces, DODIE STEVENS became a national sensation when she was only 13 years old. The song climbed to No. Three on the Billboard Hot 100 chart, making Stevens the youngest female ever to sell a million copies of a single. The songstress has worked with many of music’s heavyweights, including Sergio Men-des, Loretta Lynn, Frankie Avalon, Boz Scaggs, and Fabian.

RAMA LAMA BIG BAND rounds out the lineup with its version of the Billboard-charting Jazz standard Harlem Nocturne. n

On StageAdvertising Opportunity

The Cerritos Center for the Performing Arts (CCPA) is now accepting advertising space reservations for the On Stage program.

Each issue of the program is distributed to approximately 15,000 patrons. Placing an advertisement in On Stage for the entire season provides an opportunity to reach more than 135,000 theater patrons.

The CCPA attracts patrons from throughout Orange, Los Angeles, and Riverside counties. Patrons have the discretionary income to enjoy dining and shopping excursions before and after attending performances.

For more information about advertising in On Stage, please call Account Executive Anna Jones at (562) 916-8510, extension 2520.

23

presents

BILL COSBY

Sunday, May 16, 2010, 3:00 PM and 7:00 PM

This performance will not include an intermission.The taking of photographs or use of recording devices is strictly prohibited.

BIOGRAPHYOne of America’s most prolific comedians of all time,

BILL COSBY has dazzled generations of fans with his com-edy routines, also captured on his iconic albums and best-selling books such as Fatherhood and the ground-breaking The Cosby Show. His comedy transcends age, gender, and cultural barriers without adopting profanity.

Cosby broke television’s racial barrier with a role in I Spy, becoming the first African American to costar and win three consecutive Emmys for “Outstanding Lead Ac-tor” in the dramatic series. The veteran comic hosted the Emmy-winning cartoon Fat Albert and the Cosby Kids, which began airing in the 1970s and was made into a film in 2004. The show, based on Cosby’s childhood in Philadelphia, was designed to educate and entertain.

The former Navy serviceman’s illustrious list of accom-plishments includes roles on the children’s educational show Electric Company, and creating and producing the children’s program Little Bill, which is based on his best-selling book series.

Perhaps Cosby’s greatest contribution to American entertainment and culture is The Cosby Show, about a close-knit, upper-class black family. Cosby said his intent was to portray an American family. Time magazine called the show “an encouraging sign of maturity in matters of race.” The Cosby Show dominated the No. One spot for years, earning nearly unanimous critical praise. Life magazine described the program as “a gentle, whimsical, warmhearted” show whose “delicious ordinariness of its pleasures and tribulations has given millions a fresh, laughter-splashed perspective on their own domestic lives.”

For his philanthropic efforts and positive influence as a performer and author, Cosby was honored with a 1998 Kennedy Center Honors Award. In 2002, he received the Presidential Medal of Freedom, America’s highest civilian honor. In 2009, he was honored with The Kennedy Center “Mark Twain Prize for American Humor.” He currently produces the popular children’s animated series Little Bill on Nickelodeon and CBS. n

THE TICKET OFFICE is open 10 AM to 6 PM Monday through Friday and 12 Noon to 4 PM on Saturday. Hours are extended until one-half hour past curtain on performance days.

TICKETS can be charged to Visa, MasterCard, Discover or American Express by phoning (800) 300-4345 or (562) 916-8500, or online at www.cerritoscenter.com. Mail orders are processed as they are received. Tickets cannot be reserved without payment.

LOST TICKET AND TICKET EXCHANGE policies vary; however, there are no refunds. Call (800) 300-4345 for information.

GROUPS of 20 or more may purchase tickets at a 10% discount. Call (800) 300-4345.

CHILDREN’S PRICES apply to children twelve (12) years of age and under. Regardless of age, everyone must have a ticket, sit in a seat, and be able to sit quietly throughout the performance. We do not recommend children under the age of six (6) attend unless an event is specifically described as suited to that age.

FREE PUBLIC TOURS are conducted by appointment only. Special tours can be arranged by calling (562) 916-8530.

PARKING is always free in the spacious lots adjacent to the Cerritos Center for the Performing Arts.

FULL-SERVICE BARS are located in the Grand Lobby on the Orchestra level and at the Gold Circle level. Refreshments are not allowed in the Auditorium.

SMOKING IS NOT PERMITTED in any City facility.

EMERGENCY MEDICAL technicians are on duty at all performances. If you need first aid, contact an usher for assistance.

RESTROOMS are located behind the Grand Staircase on the Orchestra level and at the Grand Staircase Landing on the Gold Circle level.

Out of courtesy to the performers and fellow patrons, CELLULAR PHONES, PAGERS, AND ALARM WATCHES should be disconnected before the start of the performance.

DOCTORS AND PARENTS should leave their seating locations with exchanges or sitters and have them call (562) 916-8508 in case of an emergency.

THE COAT ROOM is located behind the Grand Staircase.

CAMERAS AND RECORDING EQUIPMENT ARE NOT PERMITTED in the Auditorium and must be checked at the Coat Room.

LOST ARTICLES can be claimed by calling (562) 916-8510.

ELEVATORS are located near the Grand Staircase and access each level of the Lobby.

PAY PHONES are located on the Orchestra level behind the Grand Staircase and near the restrooms on the Gold Circle level.

PHONIC EAR LIGHTWEIGHT WIRELESS HEADSETS for the hearing impaired are available in the Coat Room at no cost. To obtain a headset, a driver’s license or major credit card is required and is returned upon receipt of the equipment at the close of the performance.

WHEELCHAIR locations are available in various areas of the Auditorium. Please contact the Ticket Office at (800) 300-4345.

LATECOMERS will be seated at the discretion of the house staff at an appropriate pause in the program.

CLOSED-CIRCUIT TELEVISION VIEWING is available in the Lobby of each seating level and at the Lobby bar.

THE CERRITOS CENTER FOR THE PERFORMING ARTS’ Auditorium and Sierra Room are available for special events on a rental basis. For more information, please call Special Event Services at (562) 916-8510, ext. 2827.

BE THE FIRSTLEARN about upcoming events and other important information about the Cerritos Center for the Performing Arts (CCPA). Don’t spend time looking for CCPA news; let it come right to you as it happens! To be in-the-know, just fill out this form and hand it to any of our ushers at intermission or following the performance.

NAME E-MAIL

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