Come and check out Peter Pan – The Panto in Playboard Magazine
….or better yet, come see Peter Pan – The Panto at the Surrey Arts Centre
Come and check out Peter Pan – The Panto in The Surrey Now-Leader
….or better yet, come see Peter Pan – The Panto at the Surrey Arts Centre
Iolanthe, a fairy, has married a mortal. Horror! For this crime she was exiled
by the Queen of the Fairies, and has lived at the bottom of a pond for 20
years. Her son Strephon, who is half fairy and half mortal, has grown up as a
shepherd. He wants to marry Phyllis, a Ward in Chancery. She loves him, but
does not know he is half fairy. Of course the Lords of Chancery all love Phyllis and
want to have her for themselves. Does Iolanthe get released from her exile?
Does Strephon tell the truth about his family history? Who gets Phyllis?
Surrey Now-Leader by Melanie Minty, arts columnist
Incompetence. Snobbery. Witless bureaucracy. Some things never go out of style.
While the obvious hilarity of fairies rubbing elbows with ineffective politicians doesn’t necessarily resonate with contemporary audiences the way it did in Victorian times, Gilbert & Sullivan (G&S) shows carry themes that still resonate today. G&S comedic operas have great fun with the idea of people who rise to power who are untrained and incompetent, and control everyone else. That’s a joke that never dies.
President Barbie Warwick of FVGSS – A Musical Theatre Company (Formerly the Fraser Valley Gilbert and Sullivan Society) believes in preserving the cultural history G&S brought to the world of theatre, despite the challenges: “One of the greatest struggles in mounting a Gilbert and Sullivan show in 2018 is the fact that the popularity has waned over the past few generations.” Warwick explains, “People who recognize the name G&S are either over 70 years old or ‘music geeks’. The majority of the population isn’t familiar with them. This is a shame because Gilbert and Sullivan were so ahead of their time and their shows are very relevant to today’s society. They push against cultural mores and they use their wit to take the establishment and politicians to task.”
FVGSS is a Surrey-based non-profit organization, committed to producing amateur shows to a professional standard, and keeping the Gilbert & Sullivan shows alive and relevant to today’s audiences. They produce Pantomimes each Holiday Season, and bring the topsy turvy world of G&S to the stage in the spring. Since 1982 many members of FVGSS return year-after-year to bring the works of G&S to life. Lyn Verra-Lay was a fairy in the society’s 1996 mount of Iolanthe, and will return behind the scenes as co-producer for the 2018 production.
Verra-Lay started as a musician with FVGSS in 1988, but moved to the stage by the end of that year. “The family atmosphere led to me to recruit my husband and children; they’ve been involved in many of the productions on and off-stage. I’m thrilled to still be involved 29 years later.” Verra-Lay’s daughter Elisabeth co-choreographed her first FVGSS pantomime in 2017, with Verra-Lay as a chorus member.
This season, FVGSS is producing Iolanthe, the fantasy tale that, bizarrely, brings together fairies and the House of Lords. Directed by Jacqollyne Keath, with music direction by John Arsenault and choreography by Tamara Jaune, love, treachery and death lie at the heart of the tale of Iolanthe. It tells the story of a fairy who fell in love with a mortal. Their son has fallen in love with a ward of the Lord Chancellor. Unfortunately, the path of true love rarely runs smoothly and fairy intervention in the House of Lords causes chaos, as it would.
FVGSS’s Iolanthe ran May 16 to 20 2018 at the Anvil Centre (777 Columbia Street) in New Westminster.
The fifth annual fund raising Ceilidh supporting FVGSS, A Musical Theatre Company was held at the Rose Room at Valleyview Funeral Home in Surrey, on March 10, 2018. The evening featured a live band comprised of long-time Society favourites including Adrian Duncan, “Dangerous” Mary Brunner, Tim Tucker, Adam “Boomer” LaRusic, Mike Balser and several other surprise guests.
The well attended event was a fun evening of Rock n Roll tributes to some of the great Rock legends. Beer was supplied by Good Company Brewing , a fabulous micro brewery near Gastown.
Written By Mike Balser & Barbie Warwick
Adapted from original script by Peter Zednik
Artistic Director: Mike Balser
Musical Director: Timothy Tucker
Choreographers: Tamara Jaune & Elisabeth Lay
The 2017 recipient of the CTC Lifetime Achievement Award is our very own Carol Seitz!
One of the best things that has happened to the FVGSS is a vibrant, talented woman by the name of Carol Seitz. Carol has brought a level of excellence to our shows and has been nominated and received numerous awards for her choreography over the years.
She has influenced not only our society but many other community theatre groups, her Alma Mater Earl Marriot Secondary, her own dance company, Classic Steps, and hundreds of dancers, from toddlers to seniors.
We are so pleased that the Community Theatre Coalition honoured her this year with this award. The award was presented to her by Dann Wilhelm, James Walker and Keri Minty. Past President, Mike Balser, was unable to attend so Dann read a poem that Mike wrote for Carol. Here it is, for your enjoyment:
The Chorus and The Choreographer
(or Them and Her)
Giggles from the chorus, the choreographer grows dark
This distracting silliness is sure to make her bark .
But with amazing self control from both them and her
Calm is once again restored; the growl turns to a purr.
That last attempt was awful. Still, ‘twas just their third.
With 27 further tries, they’ll fly through it like birds.
She’s spent a month creating this, using all her expertise
To make a bunch of stumblebums look like the touring cast of ‘Grease’.
Amateur theatrics go best with grains of salt
When twinkletoes’ with two left feet turn a polka to a waltz.
She struggles to coordinate the movement with the scene.
The stress has made it difficult to break from nicotine.
For 3 long months she drives them, till most can get it right.
Yet she yearns for one more week before the opening night.
At last the dances have been learned, the words are off the page.
Then the whole thing goes to pieces when they move on to the stage.
But now the show has opened, glowing faces all about,
Some exuding confidence, many racked with doubt.
She walks into the green room, they surround her, pleading, piteous.
She gives her highest accolade, “You know, it wasn’t hideous.”
Cheers erupt throughout the room, it makes a joyful noise.
She flits about ecstatically, hugging all the girls and boys.
Her skill and her encouragement get them through the run.
They forget the sweat and tedium, remember just the fun.
It’s good that humans have a way to block remembered pain,
So next year she and all of them can do it once again.
Song and dance, comedy and heartbreak, a little historical documentary thrown in for good measure… A Day in Hollywood, a Night in the Ukraine was the perfect double feature, encompassing real pathos and perfectly ridiculous entertainment in its wide scope.
In the first act, an intrepid team of ushers and usherettes at the historic Grauman’s Chinese Theatre act as hosts and narrators, leading the audience through origin stories, song history, backstage gossip, and stern warnings set to militant tap-dance. In the second act, the audience enters the Theatre itself, and enjoys a deliciously absurd Marx Brothers comedy, complete with piano solos, screaming blondes, an obligatory love plot, patter songs, and the “gookie” face.
This clever, heart-felt pastiche of 1930s Hollywood glory is a fantastic showcase for a small, triple-threat ensemble. The “Marx Brothers” movie “A Night in the Ukraine” is a clever reworking of Chekhov’s The Bear by Dick Vosburgh, and the score by Frank Lazarus, Dick Vosburgh, and Jerry Herman features Jeanette MacDonald mocking “Nelson,” the terrific Groucho number “Samovar, the Lawyer,” and the tarnished gold of broken Hollywood dreams in “The Best in the World.”