“Golden days, in a sunshine of a happy youth”
With 26-piece orchestra!
Book and lyrics by Dorothy Donnelly Book adaptation by Hugh Wheeler Music by Sigmund Romberg
August 18–28, 2011
Young love blossoms in Old Heidelberg as the betrothed heir to the throne goes off to university, only to fall for a beautiful waitress in the beer garden. Their romance turns bittersweet when he is called home to succeed his grandfather as king.
The score overflows with melody, all with full orchestra, of course:
• Drinking Song • Deep in My Heart, Dear
Ages 10 and older
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A prince of a show
From time to time, Mr. J. J. Shubert liked to lead excursions to a very unique location in New York City. From the outside, 3 West Sixty-first Street wouldn’t strike you as the sort of place likely to be filled with fabulous treasures, but then, Mr. J. J. didn’t much look like a king. But he was; he and his brother Lee were the legendary “Messrs. Shubert,” whose names graced the stagebills (and the deeds) of half the theaters in New York City. They were truly the kings of Broadway, and that building on Sixty-first Street housed the storerooms of the Shubert theatrical empire.
The courtiers who accompanied His Majesty Mr. J. J. to this treasure trove of make-believe were likely to be chorus girls from current Shubert productions. They delighted in trying on the elaborate old costumes from past Shubert extravaganzas; some of these feathered and sequined wonders pre-dated the First World War. It would seem that the Shuberts never threw anything away.
If one were to excuse oneself from the king and his court of giggling showgirls for a moment, to take a better look around the staggering collection of Broadway flotsam and jetsam, one would be likely to run into a particularly large section, devoted to one single production. Thousands of well-maintained costumes hung in row upon row; you’d find ballgowns, barmaid’s aprons, and above all, the student uniforms of nineteenth-century Heidelberg, caps and all. Not too much here that Mr. J. J.’s little party would be interested in modeling, but here were all the fittings for what was perhaps the Shuberts’ most valuable property, The Student Prince.
Costume cache
Why so many costumes? We know that the Broadway shows of yore boasted casts of a size unheard-of today, but 500 students? Even the expansive stage of the Shuberts’ Winter Garden couldn’t accommodate that many male choristers. The fact is that the Shuberts had costumes and properties on hand for ten full-scale productions of The Student Prince. At the height of its popularity in the winter of 1925-26, ten road companies of the unprecedentedly successful operetta criss-crossed the country (with one more servicing the entire continent of Australia), all for the glory of the house of Shubert.
It was wishful thinking on a grand scale to think that such golden days might come again, and that all those costumes might be pressed into service once more. All the same, the Shuberts kept them on hand, just in case. Remember, they never seemed to throw anything away.
They certainly never discarded the bitter-sweet story of the love-struck prince, even long after most producers would have assumed they had gotten all the mileage they possibly could out of that particular vehicle. The Shuberts first presented the story to New York in 1902. It was then called When All the World Was Young, already had an impressive track record across the Atlantic, first in Germany, and then in London under the title Old Heidelberg.
Three for one
Mr. Lee Shubert explained the wisdom of backing Continental successes: “The advantage of a play that you bought in Paris was that it was usually a German play that had been translated into French, so that by the time you had it translated into English, you got the services of three great authors on one script.” In this case, what had been a hit abroad did not take New York by storm, and before too long the Shuberts closed the show.
But the producers were not deterred. They knew a good thing when they saw it, and some months later re-opened the show, with a new leading man and yet another new title. Prince Karl was a hit on Broadway, and its star Richard Mansfield toured in the part for years after. No one seemed to mind that the teen-age prince was played by a man born before the start of the Civil War.
Add music, and voilá
The Shuberts’ instinct on a theatrical property was once again proven correct. After Prince Karl’s run, they retained the rights to the play, and bided their time until the world was again ready for it. That time came in 1924. They had just had a great success with an Old World laughter-and-tears operetta, Blossom Time, with a score by Sigmund Romberg, who had come to New York from Vienna ten years earlier, armed with a letter of recommendation from Franz Lehar himself. He went to work for the Shuberts almost immediately and quickly became a favorite house composer.
Blossom Time’s popularity prompted the Shuberts to revive Prince Karl, this time as a grand romantic operetta with a score by Romberg. Re-christened The Student Prince, it opened in December of 1924, and the rest is history. The Kings of Broadway had a new jewel in their crown, one to outshine all the others. It pays to have a big attic.
Student Prince "Balcony Talk"
Join LIGHT OPERA WORKS business manager Mike Kotze for a free discussion about The Student Prince.
This free event is offered prior to The Student Prince at Cahn Auditorium in Evanston on these dates:
• Sunday, August 21, 12:45 pm (doors open 12:30) • Saturday, August 27, 6:45 pm (doors open 6:30) • Sunday, August 28, 12:45 pm (doors open 12:30)
No RSVP needed; just attend any talk date of your choice
Press Release
Contact: Christopher A. Riley Director of Audience and Press Services (847) 920-5354 ext. 10 (press only) christopher@light-opera-works.org
FOR IMMEDIATE RELEASE July 21, 2011
LIGHT OPERA WORKS presents THE STUDENT PRINCE August 18-28, 2011
Evanston, IL: In THE STUDENT PRINCE, young love blossoms in Old Heidelberg as the betrothed heir to the throne goes off to university, only to fall for a beautiful waitress in the beer garden.
THE STUDENT PRINCE is directed and choreographed by Light Opera Works artistic director, Rudy Hogenmiller and conducted by Light Opera Works music director Roger L. Bingaman.
Casting for THE STUDENT PRINCE includes William Bennett (Karl Franz), Danielle Knox (Kathie), Bill Stone (Dr. Engel), and Dale Benson (Lutz).
The design/production team for THE STUDENT PRINCE includes Tom Burch (Scenic), Jeff Hendry (Costume), Sienna Macedon- Kusek (Hair and Make-Up), Andrew Meyers (Lighting), David Lee Bradke (Sound), Anders Jacobson and Judy Radovsky (Properties), Katie Beeks (Stage Manager) and Paige Keedy (Production Manager).
The Opening Reception for THE STUDENT PRINCE is sponsored by Campagnola.
THE STUDENT PRINCE is Light Opera Works' second production of 2011. The season will continue with RODGERS & HART: A CELEBRATION (October 2-November 6) and Tony Award winner THE SECRET GARDEN (December 26-January 1).
Discounted season ticket packages are still available.
Ticket prices for THE STUDENT PRINCE range from $32 to $92. Ages 21 and younger are half price. To order tickets, or for more information, call the Light Opera Works box office at (847) 920-5360 or order 24 hours a day online at www.lightoperaworks.com
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Director/Music Director Biographies
Rudy Hogenmiller (Director and Choreographer) has directed and choreographed many productions for the company including BRIGADOON, HELLO, DOLLY!, MY FAIR LADY, THE YEOMEN OF THE GUARD, A LITTLE NIGHT MUSIC, THE PIRATES OF PENZANCE, KISS ME, KATE, SOUTH PACIFIC, THE MIKADO and THE SOUND OF MUSIC. He has been recognized with six Joseph Jefferson Awards and 17 nominations for best direction and choreography in Chicago. Hogenmiller has been a member of the Society of Stage Directors and Choreographers for more than 25 years.
Roger L. Bingaman (Music Director) conducts the 26-piece orchestra. Bingaman made his first appearance on the Light Opera Works podium in 1997, conducting THE MERRY WIDOW. Since then he has conducted many Light Opera Works productions, including BRIGADOON, HELLO, DOLLY! CAROUSEL, THE YEOMEN OF THE GUARD and I DO! I DO!, as well as BEAUTIFUL HELEN OF TROY, THE STUDENT PRINCE, SWEETHEARTS, NO WAY TO TREAT A LADY, SOUTH PACIFIC, 110 IN THE SHADE, KISS ME, KATE, BITTER SWEET, OKLAHOMA!, GIGI, IOLANTHE,THE MUSIC MAN, A LITTLE NIGHT MUSIC, MY FAIR LADY, and THE PIRATES OF PENZANCE. Bingaman has been director of the apprentice program and chorus master for the Sarasota Opera since 1998.
Cast Biographies
William Bennett (Karl Franz) makes his Light Opera Works debut in THE STUDENT PRINCE. He has performed solo roles with Lyric Opera of Chicago’s “Opera in the Neighborhoods” program, Chicago Symphony Kraft Series, Chicago Opera Theater Young Artist Program, Ash Lawn Opera, Sugar Creek Symphony & Song, Cedar Rapids Opera, Elgin Opera and DuPage Opera Theater. This year he covered the role of Horatio in LÉLIO (Berlioz) and the tenor soloist in Janá?ek’s GLAGOLITIC MASS, both with the Chicago Symphony Orchestra. Following his graduate work at DePaul University, Bennett spent three summers at the prestigious Chautauqua Institute Voice Program. He is also the founder and president of Velvet Singer LLC, a professional services firm for classical singers, through which he has presented over thirty seminars at music schools and opera companies throughout the US.
Danielle Knox (Kathie), a native of Long Island, New York, enjoys a varied career that includes opera, musical theater, and oratorio. Danielle has performed as a leading soprano with the Tri-Cities Opera, Ohio Light Opera, Atlanta Lyric Theater, and Chamber Opera of Chicago. She has been featured on several compact disc recordings with the Albany Records Label, including such works as Sullivan' THE SORCERER, De Koven's ROBIN HOOD, and Romberg's MAYTIME. Danielle received her Bachelors Degree in Vocal Performance with High Distinction from the Eastman School of Music and a Masters Degree in Opera from Binghamton University. Last summer, she performed the roles of Betty Doxy in THE BEGGAR’S OPERA and Sr. Dolcina in SUOR ANGELICA at the Castleton Festival in Virginia under the baton of Maestro Lorin Maazel. Danielle is excited to make her Light Opera Works debut in the role of Kathie in THE STUDENT PRINCE.
Bill Stone (Dr. Engel) began his professional music theatre career starring in THE STUDENT PRINCE at the relaunch of the historic Woodstock Opera House, followed by concert appearances with the legendary Fred Waring. This is his Light Opera Works debut. Recently he appeared as Larry in the Village Theatre Guild production of COMPANY. His featured musical theatre roles with the St. Louis Municipal Opera and The Little Theatre-On-The-Square include: ANNIE GET YOUR GUN, GEORGE M, THE MUSIC MAN, GUYS AND DOLLS, OKLAHOMA!, PAL JOEY, THE SOUND OF MUSIC, DO I HEAR A WALTZ?, KISS ME, KATE, FUNNY GIRL, SUPERMAN and THE UNSINKABLE MOLLY BROWN. He is a long time voice student of Dr. Ronald Combs.
Dale Benson (Lutz) has appeared in hundreds of productions during his long career as a member of Actors' Equity Association. He has "trod the boards" in Chicago, across the United States and the Royal Shakespeare Company at Stratford-upon-Avon in the United Kingdom, performing with many luminaries of stage and screen. He is proud to add Light Opera Works to the roster with his company debut. Awards include Joseph Jefferson and eight nominations, After Dark, Chicago Drama League, DAR, The Ford Foundation, Distinguished Alumni-De Paul University, The Art Institute of Chicago and the National Career Award-The National Society of Arts and Letters. Dale is a veteran of the United States Air Force.
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Light Opera Works is a resident professional not-for-profit theater in Evanston, founded in 1980. The company's mission is to produce and present musical theater from a variety of world traditions. All productions are presented in English, with foreign works done in carefully edited modern translations. Maximum scholarship is employed to preserve the original vocal and orchestral material as well as the spirit of the original text whenever possible. Audiences have come to know that at Light Opera Works they will experience repertoire often unavailable on the stages of commercial theaters and opera houses, in modern productions with professional artists and full orchestra.
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Light Opera Works’ mission is to produce musical theater from a variety of world traditions, to engage the community through educational and outreach programs, and to train artists in musical theater.
# # # Chicago Stage Style August 21, 2011 By Lawrence Bommer
A songfest to sweeten the last days of summer, Light Opera Works’ fourth revival of Sigmund Romberg’s evergreen operetta about spring and love feels as fresh as this delightful diversion did almost a century ago. A huge success in 1924 (it ran longer than “Show Boat”!), “The Student Prince,” an unabashedly romantic, melodically intoxicating romp, depicts a bittersweet, ultimately doomed, romance. It’s meant to be fallen in love with.
The affair depicted flourishes -- too briefly -- between Prince Karl Franz, heir to the throne of Karlsberg (one of those many German duchies that seems to have outlasted German unification), and Kathie (no last name as befits a memory), comely waitress at the Inn of the Three Golden Apples. The rose-colored setting: the university town of Old Heidelberg on the Necker River where, accompanied by his nostalgic old schoolmaster Dr. Engel, Karl Franz has gone to matriculate and to escape the hothouse of the royal palace.
Despite their disparate origins, Karl and Kathie are parentless dreamers untested in love and ripe for romance. Unfettered by court protocol, Karl quickly gets drawn into the hard-drinking students’ Saxon Corps where boozing yourself to sleep is a nightly ritual. He soon enjoys a freedom he never had before -- or ever will again. Imagine how the glorious chorus “Drink. Drink, Drink!” must have sounded to Prohibition audiences 87 years ago!
But, alas, Kathie is promised to a livery stable keeper in Vienna, while Karl Franz, who can choose his future even less, is engaged to his childhood sweetheart (and second cousin) Princess Margaret, daughter of the duchess of Saxony (who also loves him for what that’s worth). The beer garden was a trick of the light, an enchanted amalgam of “smoke and mirrors,” as much a lost fantasy as Mimi and Violetta’s hapless ardor for Rodolfo and Alfredo -- meant to be but not to last.
But before the summer idyll is over Romberg has treated us to such delicious ballads as “Deep in My Heart, Dear,” “Golden Days,” “The Students’ Serenade,” and “How in the Waltz We Woo,” as well as the rousing numbers “Student Life” and “Come Boys, Let’s All Be Gay, Boys” -- a simpler era in every way and with much better music. Interestingly, you’d never guess that the new adaptation of the book by lyricist Dorothy Donnelly is by Hugh Wheeler, Sondheim’s collaborator in the diametrically different “Sweeney Todd.”
Rudy Hogenmiller’s enchanting staging brings Romberg’s perfect songs to tender life. These enticing tunes glow with the retrospection of an old monarch’s youthful memories of spring, infatuation, and the first 500 beers. William Bennett brings a sweetly soaring tenor to Karl Franz, reveling in the resilient immediacy of the prince’s once but never future love for an uncommon commoner. Equally captivating, Danielle M. Knox’ lovely Kathie earns every song she sings or hears. Recalling the late Princess Diana, Stephanie Stockstill is wonderfully typecast as Karl Franz’ fashionable fiancée.
A crowd pleaser from his entrance, the irascible Chicago stage veteran Dale Benson lavishes his hilariously dithering quaver to fussbudget Lutz, the prince’s imperious valet. Providing the female comic relief, Elizabeth Haley contrasts with this German version of the snobbish Touchstone, playing a proud peasant, head waitress at the Inn run by her future hubby (hearty Chuck Sisson). Bill Stone anchors the nostalgia as the touchingly reminiscent Dr. Engel, the schoolmaster who refuses to spy on his royal pupil.
Appropriately young and very game, the chorus are both pitch and picture perfect, students and barmaids to make the show’s Northwestern University locale doubly apt. Jeff Hendry costumes them precisely and elegantly for the turn-of-the-(last)-century setting, while Tom Burch’s disparate settings chart the distance from court to college. Finally, Roger L. Bingaman conducts an orchestra as rich as the score. “The Student Prince,” alas, plays as briefly as does Karl Franz' spring fling. It’s Chicago theater’s last rose of summer.
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Pioneer Press August 23, 2011 By Dorothy Andries
Sublime music, strong singers trump dated tale
What can be done with “The Student Prince?” If you play it straight it seems hopelessly dated. But you can’t make fun of it either, as Sigmund Romberg’s music is so sublime that any mockery would fall flat.
Besides, it is a bittersweet story about a young man going away to college, leaving home for the first time. He falls in love before the first semester even begins. Who can’t relate to that?
But the youth is a prince, so the tale soon reveals the conflict between romantic love and civic duty, a theme as old as time.
Light Opera Works opened its production of this beloved 1924 operetta at Cahn Auditorium Saturday, August 20, and at first it appears stilted and stiff. The palace lackeys and assorted aides are cliches, with the exception of Lutz, the prince’s valet, played by Dale Benson, who turns the role into a comic tour de force.
Under the direction of Light Opera Works’ artistic director Rudy Hogenmiller, however, the story finally blossoms and superior voices emerge.
Tenor William Bennett is cast as Prince Karl Franz, and everything about him is right. He has a strong, sweet voice, no more so than in “Overhead the Moon is Beaming,” and brings veracity to his part as the young prince.
Danielle M. Knox is Kathie, the waitress at the inn where the Heidelberg students come to drink, and she is the heart of this production. A fine actress, she navigates her role deftly and never yields to the melodrama lurking close to the surface of this story. Her glorious soprano voice soars in the lively, “Come Boys.”
Her duet with Bennett “Deep in my Heart, Dear” is warm and touching. It contains the line, “Our paths may sever, but I will love you forever,” which portends the fate of their romance.
Bill Stone plays the prince’s tutor and friend, and is a sympathetic character throughout. He recalls his own student years in the song “Golden Days,” which he sings with shining clarity.
Three young men, Jon Landvik, John B Leen and Rob Riddle, stand out among the throng of students, lending some fun to the endless marching, singing and drinking.
The sets by Tom Burch are lovely, especially the rustic exterior of the Inn of the Three Golden Apples in Heidelberg. But the opening dance of the waitresses was predictable.
We should never take for granted the contribution of the live orchestra in the pit at Cahn Auditorium, under the able direction of Roger L. Bingaman.
Princess Margaret, to whom the prince is betrothed for the good of their kingdoms, is portrayed gracefully by Stephanie Stockstill, who is not afraid to give her character some dimension. For example, even though she had loved the prince since she was a child, she is not above enjoying a flirtation with her devoted valet.
Today, of course, a prince can marry a commoner, as the recent marriage between Prince William of England and Kate Middleton happily attests.
Today, also, we can enjoy a seemingly dated operetta, when it has timeless music, a handsome production and a cast of strong singing actors.
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New City August 23, 2011 By Dennis Polkow
The Student Prince/Light Opera Works
RECOMMENDED
Light Opera Works actually giving us—well, light opera works, is always a special treat, given how much emphasis the company has come to place on musicals in recent years. And the only operetta offering of the season is tailor-made for the resources of the Evanston-based company: Sigmund Romberg’s delightful “The Student Prince,” which has not been done at Light Opera Works in a decade.
Part “Prisoner of Zenda,” part “Wuthering Heights” set to waltz music and frothy melodies, it is easy to forget that the work is a thoroughly twentieth-century confection that began life on the Broadway stage. It was, in fact, the longest-running show of the 1920s, with more performances during that decade than the far more forward-looking work now so indelibly associated with that time, “Show Boat.” By contrast, “The Student Prince” has taken its place as a neo-nineteenth-century operetta and there is little in the piece itself -- save for its sad ending, at least by operetta standards -- to suggest how recent a creation it really is.
And some things that the work chose to spotlight, notably “Drink! Drink! Drink!” during the depths of American prohibition, really were quite ironic if not downright cruel. Watching this show always makes you want to have some beers, even if you rarely have beers, and Light Opera Works could have made a fortune had it been able to sell the stuff during the intermissions. Given the work’s setting in “Old Heidelberg,” the name of the book that inspired it, and despite having been written in English, the piece forms the centerpiece of an annual festival at Heidelberg Castle.
Although director and choreographer Rudy Hogenmiller admits in the program that he had never even seen the work before directing this production, he sets the perfect tone for the piece. The sets and costumes are traditional as befits such a nostalgic work, and the energy and the enthusiasm contagious. Most significantly, the romantic leads -- tenor William Bennett and soprano Danielle M. Knox, both making their company debuts -- can both sing the piece’s glorious and familiar melodies like a dream, but also look their parts and have credible romantic chemistry between them. Dale Benson’s Lutz is a constant comic reminder of arrogant aristocracy while Bill Stone’s Dr. Engel tries to bring the prince down to earth. And the male chorus of students are a sheer joy, as is the fine orchestra led by Roger L. Bingaman.
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Chicago Critic August 21, 2011 By Tom Williams
Fun, nostalgic and musically enchanting production of the classic – The Student Prince
Highly Recommended
Sigmund Romberg (1887 – 1951) was an American composer deeply into the European tradition of operetta as in the Viennese operettas of Franz Lehár. Among his works that were filmed by MGM with Nelson Eddy and Jeanette MacDonald – The Desert Song and The New Moon. His 1924, The Student Prince running for 608 performances, was the longest-running Broadway show of the 1920s. Even the classic Show Boat, the most enduring musical of the 1920s, did not play as long – it ran for 572 performances! This wonderful, endearing, even nostalgic, operetta is in good hands with Rudy Hogenmiller and the creative team at Light Opera Works.
Featuring the golden tenor from William Bennett as the Prince and the fine soprano from Danielle M. Knox, as Kathie, Light Opera Works’ production of the classic 20th Century Romberg gem is spirited, glamorous looking and stunningly well-sung affair. The fun begins as Karl Franz, (William Bennett) the prince of the (fictitious) German kingdom of Karlsberg heads to University of Heidelberg for an education and to experience the ‘real world’ filled with male bonding and a few beers. Romberg’s “Drinking Song” was a Prohibition 1924 hit song!
Filled with sentimental ballads, toe-tapping marches, beer-mug swinging pub songs and sweeping waltzes as well as stirringly nostalgic love songs, The Student Prince is sweetly light fare with terrific comic relief by the venerable Dale Benson as the goofy Lutz, the Prince’s valet. Victorian Central Europe looks so romantic with all the colorful military uniforms and lush gowns that one yearns back to the those innocent times.
Romberg’s music ambitiously captures the era as it fills the auditorium with a fine variety of European melodies with hints of Bavarian drinking tunes as well as heart-wrenching nostalgic harmonies. The voices as strong, the ensemble is first-class and the charm exudes as Karl Franz moves from boy to man. He learns that love must come after responsibility to the state. Along the way, we are enchanted with his charming world.
Light Opera Works’ entertaining 2 hour, 45 minute production soars with the 26 member orchestra conducted deftly by Roger L. Bingaman. It is so refreshing to witness classic operettas and musicals performed exactly as the originals! Light Opera Works proudly cherishes and respects these works -- and it shows! Take your teens to see this wonderful look back into the world of early 20th Century operetta. They’ll experience something they’ll remember. It is important that we continue to expose each generation to the gems of the past. This production is worthy of that honor.
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Around the Town Chicago August 21, 2011 By Alan Bresloff
Three stars
The mission statement for Light Opera Works, a resident professional Evanston based organization, is “to produce musical theater from a variety of world traditions, to engage the community through educational and outreach programs and to train artists in musical theater.” Each year (since 1980), they have strived to make sure that the theater-goers attending their productions get a proper mix of full scale musicals on their main stage (with full orchestra) and small “cabaret” type shows on their second stag -- and this they continue to do marvelously. Their current production, “The Student Prince” with a book and lyrics by Dorothy Donnelly and the book adaptation by Hugh Wheeler, features the music of Sigmund Romberg, telling us the story of a young man, heir to the throne of his country, goes to the university in order to learn about life outside of the Kingdom (which very soon will be his). As he enjoys his days at the university, he meets and falls in love with a waitress/barmaid -- a love that, as a Prince, he knows will not be allowed. His Grandfather the King is aging and ill and in just a matter of time, he will be betrothed to his cousin, who also loves another. Is love, true love, strong enough to change the rules of the royal world?
This is a very large and energetic production with voices that are pure and singers who are able to make sure that every word is heard, clearly! Even with the 26-piece orchestra in the pit, led as always to perfection by Roger L. Bingaman, we are treated to musical theater as it should be done -- with clarity and love, and this cast, under the skillful direction and choreography of Rudy Hogenmiller, shows their love for the work they are performing. The sets by Tom Burch fill the stage and the wonderful costumes by Jeff Handry are equal to any major theater in town. Andrew Meyers’ lighting and David Lee Bradke’s sound make it all clear and the prop people Anders Jacobson and Judy Radovsky handled a lot of small items without a hitch. Light Opera Works knows how to do it right.
The cast of talented actors/singers does a great job with some complicated music -- a great ensemble! The Prince, young William Bennett, has a truly amazing voice and a wonderful stage presence. While he was not what I had anticipated from his first entrance, he soon changed my opinion of what Prince Karl Franz should look like. The love of his life, the girl he could never have, Kathie (the lovely and talented Danielle M. Knox) was a delight to watch and his betrothed, Princess Margaret (Stephanie Stockstill) was also beautiful in face and voice. This is a very winning cast with the ever popular, always funny Dale Benson handling the comic role of Lutz, the Prince’s Valet. Benson, as I have said many times over the years, can take a word and make it into a skit. In one scene, his exit alone was a 15 second laugh. The young members of this cast are lucky to work with one of the true masters of Chicago’s theater scene, and audiences are always fortunate to have the experience of watching him work.
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