Cyrano de Bergerac (Victor Herbert Renaissance Project Live!)

By Harry Forbes

“You’re about to see a flop,” VHRP Artistic Director Alyce Mott impishly teased the packed house a few moments before the curtain parted for Victor Herbert’s 1899 adaptation of Rostand’s great play. Rostand’s original had been written a mere two years earlier, and was well known to American audiences from both Richard Mansfield’s authorized production, and various burlesque adaptations.

Adapting the play on this occasion was the brainchild of noted comic opera star Francis Wilson, who was also producing. He apparently hoped to combine his much praised buffoonery with something classier. But book writer Stuart Reed, by all accounts, failed to find a balance between the serious and the lowdown comic elements. Herbert, for his part, wrote a score in keeping of Rostand. The result was an uneasy mix, and the piece did indeed shutter after a mere 28 performances. (A subsequent tour was no more successful.) Mixed reviews acknowledged the quality of the music, but felt Wilson’s comic antics were discordantly out of place.

As the original book is now lost (or at least unavailable), Mott had no choice but to write her own libretto based on Rostand, restoring a tragic ending (unlike Reed’s version) and shoehorning Herbert’s tunes to fit. 

Mott’s version was first heard in a 1999 concert with the Little Orchestra Society at Lincoln Center. The late Dino Anagnost conducted his large orchestra and New Yorkers experienced the score for the first time in a century. A piano-only version production with a cast of five with her brand new VHRP group followed in 2013. The current performance expands those editions to something approaching full-length, though three acts have been condensed to two, there’s been some shuffling of song order to accommodate the new book, and some verses of individual songs have been cut. (Some of those were so tuneful, I regretted not hearing the second verse.) As far as I can judge, only two songs have been cut completely: the Chorus of Poets, and Cyrano’s “Diplomacy” number. 

The well-known plot follows its usual course: poet/soldier Cyrano (Matthew Wages) loves Roxane (Hannah Holmes), his distant cousin, but presumes she couldn’t love him because of his large nose. (We have to take that on faith, as there are no prosthetics used here). She, in turn, falls for the handsome but inarticulate cadet Christian (Ai Ra). Out of love for Roxane, Cyrano agrees to equip Christian with the eloquent words he needs for wooing.

What is evident -- as was the case with Mott’s prior productions -- is that the work is a piece of quality, and one can empathize with the reaction of those 19th century critics who recognized it as such, but bemoaned the lack of voices to do the score justice. Though praising the chorus and orchestra, the Times wrote, “So far as the solo numbers went, one had to guess what most of them would sound like if they were well sung.”

Such was decidedly not the case with VHRP’s current cast. Wages’ Cyrano was strongly sung and authoritatively acted with no silly clowning. He nailed his numbers like “Song of the Nose” and his duets with Roxane with rich tone and sincere feeling.  

And Holmes’ Roxane sang with firm voice and, like Wages, exemplary diction, no doubt trumping the role’s originator, one Lulu Glaser. “I Am a Court Coquette,” the waltz “I Wonder,” and “Over the Mountains” were beautifully vocalized. 

Jonathan Hare was outstanding as Le Bret leading a rousing “Cadets of Gascony” and, later, as the Minstrel, excelled in “‘Neath Thy Window.”

Wages, Holmes, and Ra had two exceptionally lovely trios: “Let the Sun of Thine Eyes” and “Since I Am Not For Thee.” (Ra led the men in “The King’s Musketeers” song but had no other solo moments.) And mention must be made of a truly luscious a cappella male chorus, “In Bivouac Reposing.” Jesse Pimpinella, who doubled as Montfluery, the actor whom Cyrano runs off the stage in the opening scene, had a lovely solo part in this. Jack Cotterell played Cyrano’s nemesis, Comte de Guiche, and capably served as the evening’s narrator. looking back on the play’s events of 1640. 

Company veteran David Seatter -- 2013’s narrator -- brought his seasoned expertise to poetry-loving cook Ragueneau, and the befuddled Capuchin monk who is tricked into performing the marriage ceremony for Roxane and Christian. The strong voiced ensemble -- including Sarah Beasdale, Alexa Rosenberg, Joanie Brittingham, Justin Daley, Andrew Buck, Karen Mason, Josaphat Contreras, and Keith Broughton -- impressed from the show’s first moments, and made all the choral numbers count. 

Michael Thomas led a superlative performance in the pit from the catchy overture onwards, with William Hicks at piano and the New Victor Herbert Orchestra, a very welcome expansion from the piano only version in 2013. Viva la Difference!

Mott’s stage direction, abetted by choreographer Christine Hall, visualized the story clearly and filled the fairly wide St. Jean’s stage most effectively.

One might say that Rostand’s play, so perfect in itself, needs no music, but that hasn’t stopped composers from trying including operatic versions by Walter Damrosch and Franco Alfano, and several successful musical theater adaptations. But in Mott’s edition, Herbert’s largely forgotten work emerges as a strong contender.

(The Theater at St. Jeans, 170 E. 76th Street; www.vhrplive.org; April 25-27)

Production photos by Jill LeVine

Top to Bottom:  

“Cyrano de Bergerac” company

(L-R) Matthew Wages, Ai Ra, Hannah Holmes

(L-R) Matthew Wages, Hannah Holmes

(L-R)  Justin Daley, Josaphat Contreras, Hannah Holmes, Keith Broughton, Andrew Buck

(L.-R) Jack Cotterell, Matthew Wages

(L-R)  Josaphat Contreras, Alexa Rosenberg, Andrew Buck, Karen Mason, Justin Daley, Joanie Brittingham, Sarah Bleasdale, Keith Broughton, Jesse Pimpinella

The VHRP LIVE! Company of Cyrano de Bergerac

The Red Mill (Victor Herbert Renaissance Project Live!)

By Harry Forbes

This is VHRP Artistic Director Alyce Mott’s fourth go-round with Victor Herbert’s popular musical comedy -- originally a vehicle for the great vaudeville team of Montgomery & Stone -- and why not? It is, after all, the longest running of all Herbert’s shows. It ran for an impressive 318 performances back in 1906, and the 1945 revival ran even longer tallying 531 performances.

Even now, it’s still mightily entertaining, with showstoppers like “The Streets of New York” and “Every Day is Ladies’ Day with Me” as potent as ever. 

Mott’s version is a streamlined one. At the late Dino Anagnost’s Little Orchestra Society production (2007), it was basically a concert version with narration; Light Opera of New York’s expanded that edition in 2010; and her two with VHRP (the last in 2017 and now this) showed further refinements. Unlike the last, this one has orchestral accompaniment, a huge plus. Seven fine instrumentalists, including the superb William Hicks on piano, played a stylish reduction of the original orchestrations under the commanding leadership of the company’s musical director Michael Thomas. The tuneful overture set the apt period spirit, and was all the more charming for its chamber-like quality.

Mott’s libretto makes concessions to modern sensibilities and the size of the company, 16 in all. As before, the characters of soubrette Tina and innkeeper Willem are gone. Tina’s songs were delivered by the romantic lead Gretchen (Sarah Caldwell Smith, repeating her 2017 role) and Berta (formerly Bertha), Gretchen’s aunt (Alexa Devlin). 

The basic storyline remained intact. The setting is Holland. Gretchen loves sailor Dori (originally called Doris)(Andrew Klima), but her father, the Burgomaster (solid David Seatter, a VHRP founding artist) insists on an advantageous marriage to the Governor of Zeeland (Colin Safley). Two penniless Americans, Con Kidder (Vince Gover)  and Kid Conner (Andrew Buck), assisted by Berta, try to assist the lovers, especially after Gretchen is locked in the eponymous mill and Dori is tossed into jail by the Burgomaster. Eventually, the comic duo saves the day by impersonating Sherlock Holmes and Dr. Watson. An auto accident involving a French noblewoman (impressively authentic Sarah Bleasdale) and a British solicitor (well cast Jonathan Fox Powers) add a bit more subplot. 

The plot machinations are pretty silly, even in this condensed form, but musically, the show offers one catchy tune after another without a weak link. Some songs lost a verse or two, and a couple were missing altogether, but only real buffs would notice, and it was still a satisfyingly full evening of music which generated warm audience response throughout. 

I couldn't help but recall late Herbert champion Frederick Roffman’s memorable production which not only included every number of the published score, but also cut ones like Willem’s “I Ring the Bell,” and even a couple of rare interpolations from other works. For all of Roffman’s genuine scholarship, he was no purist and employed a revised script with some new lyrics and, like Mott, changed the order of the songs, and distribution among characters to suit those revisions. 

In Mott’s rewrite, the female characters are given more agency than previously, and the male side suffers a bit. Dori, ostensibly the romantic hero, is fairly ineffectual. But Klima’s vocals were ringingly strong and impressive. 

Devlin’s rich vocals, incisive diction, and dramatic prowess were impressively on display. She set the evening’s tone with her authoritative delivery of the opening “Legend of Mill,” originally a second act number, but then reprised it in the second act anyway. She also duetted delightfully with Smith on the rarely done “I’m Always Doing Something I Don’t Want to Do.” But it’s a pity “A Widow Has Ways” has been cut, as she would no doubt have sung it superbly. 

The VHRP audience may not have been exactly "convulsed with laughter " as the 1906 audiences were said to have been by Montgomery and Stone, but Gover and Buck were likable and amusing as the comic leads, and their joyous “Streets of New York” number was infectiously performed (in tandem with Smith and Klima). The show-stopping “Good-a-Bye John,” a huge hit in the original production, was missing, perhaps as much for today’s ethnic sensitivities as for its complicated authorship. Herbert was virtually duped into writing the tune hummed to him by Montgomery & Stone, who wanted another number “similar” to something they had done before. The team didn’t reveal to Herbert that what they were quoting to him was, in fact, an existing piece.  

Smith, pretty in pink, sweetly vocalized the score’s famous “Moonbeams,” pairing nicely with Klima there and elsewhere.

Safley, a much younger Governor than usually the case, delivered his “Every Day is Ladies Day” entrance number with firm voice and great panache, while Alonso Jordan Lopez, Justin Chandler Baptista, and Keith Broughton camped it up jovially as the “ladies.” Safley's subsequent duet with Devlin was another highlight.

Veterans David Seatter and tenor John Nelson as sheriff Franz -- each with impressive and lengthy operetta credits in their CVs -- strutted across the stage like the seasoned pros they are in a delightful vaudeville turn for “You Never Can Tell About a Woman.” 

The ensemble of six (Sophie Thompson, Paige Cutrona, and Annie Heartney along with Lopez, Baptista, and Broughton) were an invaluable asset throughout, providing strong choral support, while playing the inn’s artists and models and other characters along the way. 

Mott directed her cast very capably, and this production was, in fact, her best staged of the three productions VHRP has done at its new larger venue. Christine Hall devised some cute choreography for the numbers that required it such as “Always Go While the Goin’ is Good.” 

Back in 1906, the New York Dramatic Mirror In its review declared, "there is nothing dull about it, not a moment when the audience shows weariness, not a song or a tune that will not bear repetition…it is a steady, satisfying work. "

As delightfully shown by VHRP’s small-scale but accomplished revival 117 years later, that assessment still holds resoundingly true..

Coming up next: an expanded version of Herbert’s very rare ‘Cyrano de Bergerac” (April 25-27).

(The Theater at St. Jeans, 170 E. 76th Street; www.vhrplive.org; February 21-23)

Production photos by Jill DeVine

Archival photos from the Collection of John Guidinger

(Top to bottom)

"Whistle It" with Andrew Buck (Kid), Sarah Caldwell Smith (Gretchen), Vince Gover (Con)

David C. Montgomery and Fred A. Stone

The New Victor Herbert Orchestra and Maestro Michael Thomas, 2nd from bottom on the Left

Scene from “The Red Mill” 1906

"The Legend of the Mill" related by Alexa Devlin (jBerta) to the Villagers

"The Streets of New York" with Andrew Buck (Kid) & Sarah Caldwell Smith (Gretchen);  Andrew Klima (Dori) and Vince Glover (Con)

Andrew Klima (Dori) surprises Sarah Caldwell Smith (Gretchen) with his return

"Everyday Is Ladies Day With Me" with L-R: Keith Broughton, Colin Safley as Governor, Alonso Jordan Lopez, Justin Chandler Baptista

"You Never Can Tell About A Woman" with L-R:  David Seatter as the Burgomaster and John Nelson as the Sherriff

The Company