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Gail J. Wofford

H.M.S. Pinafore (NYGASP)

December 30, 2017

Along with some contemporary updating which always gets a laugh, Albert Bergeret’s direction is sharp and shrewd and his conducting of Sullivan’s sprightly and animated score is equally assured as well. The diction is crystal clear, a must for Gilbert’s intricate and clever lyrics. With an attractive and realistic setting by Albère and pleasingly color-coordinated costumes in blue, white and red (the colors of the Union Jack) by Gail J. Wofford, this is a delectable and entertaining revival for both those familiar with it and others discovering its pleasures for the first time. [more]

The Sorcerer (New York Gilbert & Sullivan Players)

September 17, 2017

This 1877 operetta, now celebrating its 140th anniversary, has been reduced to the nine major roles and the chorus has been eliminated. The result is a streamlined version that moves along at a steady pace under Albert Bergeret’s music and stage direction. The problem with the production is that although this is listed as a comedy, the new NYGASP revival wasn’t very funny except for several contemporary references such as “Amazon Prime” and the “changes at the White House.” [more]

Princess Ida (2016)

May 28, 2016

Completing New York Gilbert & Sullivan Players’ 40th Season was a rare revival of 1884 "Princess Ida," the team’s eighth operetta and the only one in which the dialogue is in blank verse, it is presented in three acts, and it is based on a previous play by Gilbert. In the playwright/librettist’s second parody of Tennyson’s book-length poem "The Princess," the themes include feminism, education for women, Darwinism and the Battle of the Sexes. While the operetta still displays its relevance and timeliness, the NYG&SP production proved to be uneven in several categories. [more]

The Pirates of Penzance

December 30, 2015

The cast includes beloved NYGASP favorites as well as some less familiar faces. Coloratura soprano Sarah Caldwell Smith’s Mabel wins a justly earned ovation signing her aria, “Poor Wandering One!,” declaring her love for Frederic. He is played with cheerful restraint by tenor Carter Lynch (alternating with Daniel Greenwood). Bass-baritone David Wannen has a fine swashbuckling time as The Pirate King. Contralto Angela Christine-Smith as Ruth gives a memorable rendition of her aria, “When Frederic Was A Little Lad.” Bass David Auxier as the Sergeant of Police deals delightfully with his band of bumbling officers. [more]