Interviews with Iolanthe principals

It's been insanely busy with rehearsals. They've been going on for a few months in full force for our cast. First, their music rehearsals, now, blocking and actual directing rehearsals. As the train bearer's parent, I've been having to take him to the rehearsals over the past 2 weeks and have come to appreciate even more, how much time and dedication these professionals in two fields (their day jobs which 'pays their bills' AND their musical careers) have and are putting into this production. For our Gilbert and Sullivan Society of Austin's newsletter, I got a few interview Q & A's from a few our principals in Iolanthe who somehow found the time in their truly very busy lives.

Here goes:

#1 When did you discover you could sing and/or what got you into Opera music?

Lisa Alexander (Queen of the fairies):

I have been singing since birth, according to my mother. Opera is something I've come to appreciate more as I've gotten older.

June Julian (Iolanthe) :
I've been singing since I was at least five years old; I discovered soon afterward that I could harmonize to just about anything, and I thought that everyone could do that! My first solo was when I was about seven years old: I sang Brahms' Bethelehem Lullaby in church, complete with rocking chair and Baby Jesus, and I still remember it to this day! But I only learned to really love opera once I got into college and sang my first major role as Cherubino in Mozart's Marriage of Figaro.

Patricia Combs (Leila): I was very blessed. Both my parents were singers (not professionally) and made sure I got a good education. I learned how to read music in the first grade and sang in choirs all the way up to middle school, when I switched to band (long story). I really didn't get into opera until college. The first opera I ever saw was the El Paso Opera production of Carmen from the nosebleed section. I was hooked from then on.

Andy Fleming (Earl Tolloller):
I've been singing since I was in the 4th grade, and have always loved musical theater. Opera was a natural fit.

Derek Smootz (Strephon): From 6th-9th grade, I played saxaphone in Band. After the Freshman experience of marching (through Middle School, it had been a purely Concert Band), I decided it wasn't for me, and so had to look for a new elective. I intended to join a Tech Support class, but it was an interview-only affair, and I had to pick an elective in the interim until I was accepted. I somewhat arbitrarily chose an entry-level Theater class, and ended up finding a new home. As I made friends in the theater crowd, I quickly discovered that many of them were also in choir, which gave them a leg up when auditioning for the annual high school Musical. When I mentioned auditioning for Choir, my parents were reserved - they had only heard me fumbling through Elton John songs at the piano, which were and are far too above my range, and so had a rather dim view of my singing potential. Fortunately, they didn't directly discourage me, and upon auditioning I found that I was, by High School standards, a Bass. After attending Choir Camp and taking a few lessons with Claire Vangelisti (no stranger to the established GSSA audience), I made UIL Region Choir on my first attempt, and landed a principal role in the first school Musical I auditioned for (Motel in Fiddler on the Roof). I stayed on that path, and here I am.

Arthur DiBianca (Lord High Chancellor):
I listened to some opera recordings in high school, and I played in the pit orchestra for HMS Pinafore in college.

Katherine Wiggins (Fleta):
I sang Somewhere Over the Rainbow to rave reviews when I was five. :) I started singing opera stuffs when I got into college...In high school I only listened to country and hip-hop.

#2 Who was your most influential music/voice teacher?

Lisa Alexander: Rose Taylor, who showed me I could be a Valkyrie.

June Julian: My current voice teacher, Juli Wood, is definitely my most influential voice teacher of all time. I have been studying with her for about 6 years now and will continue to do so!

Patricia Combs: I have three. My first voice teacher was my church choir director, Marjorie Johnston. She offered to give me voice lessons for free since I was in the choir. She told me I should be a music major. Around that time, my father passed away suddenly, and that seemed to be a catalyst for me to go to school for voice. We moved back to my hometown right after that and that is where I met my next teacher, Dr. Hugh Cardon. He was like a grandfather to me. He was very encouraging and knew both my parents when they went to college there. He convinced me that I was good enough to go to graduate school for voice and told me I should study with Rose Taylor if I decided to go to UT. I took the plunge and moved here to get my Masters in Voice Performance. She is a fantastic woman and a fantastic teacher. I couldn't pick just one teacher beacause each one led me to the next one.

Andy Fleming: Probably Dr. Robert Page. He was very good at getting the best out of you, and always very encouraging to me.

Derek Smootz: I can't pick one - I studied for multiple years with Linda Dogherty, Peggy Brunner, and Bill Parcher, and all three greatly helped me to develop my technique and musicality.

Arthur DiBianca: My clarinet teacher in Chapel Hill, N.C.

Katherine Wiggins: Two-pronged answer: Claire Vangelisti convinced me that I was good enough to major in music, and also suggested I audition for my first GSSA show, H.M.S. Pinafore in 2006.
Carol Kreuscher coached and instructed me all through college, and as my current private instructor she has continued to nurture my voice as it has grown, and is currently helping me prepare for grad school auditions


#3 Who is your particular Opera singer ‘idol’?

Lisa Alexander: Lorraine Hunt-Lieberson. I like anyone who marches to the beat of their own drum.

June Julian: That's a little harder to pinpoint, but of the current day opera singers, my favorites are Renee Fleming, Samuel Ramey, Placido Domingo and Luciano Pavarotti (recently deceased); additionally, Natalie Dessaye is perhaps one of the most amazing actresses/singers on the operatic stage today. From the "golden age of opera," my favorites are Renata Tebaldi, Maria Callas, Leontyne Price, Joan Sutherland, Jussi Bjorling, Franco Corelli, Enrico Caruso -- to name a few.

Patricia Combs: There would be a tie between Denyce Graves and Susan Graham.

Andy Fleming: I'm a fan of Mandy Patinkin and Placido Domingo

Derek Smootz: I'm afraid I'm completely out of the loop in terms of the current opera world. So, allow me to bend the question into something that I can answer, and speak my admiration for Richard Wagner. I know his Ring Cycle is held up as the quintessence of "boring old Opera" by the public at large, but I have found Wagner productions to be absolutlely the most engaging operas I've seen. This ties in with our performance, as the Ring Cycle premiered earlier in the same year as Iolanthe, and Sullivan was apparently influenced by it; Leitmotifs are integrated into the score, and much of the fairy music bears a striking resemblance to Wagner's style.

Arthur DiBianca: I'm much more interested in the material than the performers.

Katherine Wiggins: Susan Graham and Joyce DiDonato

#4 Is this your first lead part in one of our Gilbert and Sullivan productions? If not, please tell us which other Gilbert and Sullivan leads you played before.

Lisa Alexander: My first was last year's Pirates of Penzance -- I played Kate, a minor principal.

June Julian: I played Edith in the 2003 production of The Pirates of Penzance; and also played Pitti-Sing in the 2005 production of The Mikado.

Patricia Combs: No. My first lead part was Ruth in Pirates at the University of Texas at El Paso in 1998 with David Fontenot as my Pirate King. I did not do any more G & S until I moved here to Austin. Then, I was Vittoria in The Gondoliers in 2004, Dame Hannah in Ruddigore in 2007, and Edith in Pirates in 2008.

Andy Fleming: Technically, my first lead was as the Counsel for one of two performances of Trial by Jury a few years ago, but this is my first in a full staged production.

Derek Smootz: This is my first principal role in a Summer Production, but I played the same role in our Concert Production of Iolanthe, and Archibald Grosvenor in the Concert Production of Patience (also with Art DiBianca as my rival for Meredith [Groechel at the time] the object of our affection).

Arthur DiBianca: Dr Daly (Sorcerer 2001), Pish-Tush (Mikado 2005), Major-General Stanley (Pirates of Penzance 2008)

Katherine Wiggins: Yes, this is my first lead with the GSSA.

#5 How many Gilbert and Sullivan productions (of our organization) have you been in? (just number, include chorus roles)

Lisa Alexander: : My first was last year's Pirates of Penzance -- I played Kate, a minor principal.

June Julian: 2 summer productions, and numerous other musicales... I am also on the Board and served as the Board President from 2007-2008.

Patricia Combs: Four, including Iolanthe.

Andy Fleming: 6 (7 if we count Trial by Jury)

Derek Smootz: I believe 7, if you only count our Summer Productions, 9 if you include Concert Productions as well.

Arthur DiBianca: 12 including this one.

Katherine Wiggins: 4


#6 What, in your other life, do you do for a living? (or as Janette Jones would say:” This is my real life. But to pay the bills, I do.._”

Lisa Alexander: I write training manuals for a large software company to support my music habit.

June Julian: Sit at a desk and push paper!

Patricia Combs: In my other life, I am a clerk with the Department of Public Safety. It is my dream life. I wake up when I go to sing. That is my real life

Andy Fleming: I write system software for Freescale Semiconductor.

Derek Smootz: I'm a Software QA (i.e., tester) for BMC Software.

Arthur DiBianca: I work in Libertarian politics.

Katherine Wiggins: My answer is that my life is that of a starving musician. I teach piano and voice, sing, coach and do any number of music-related things to stay afloat. I quite literally "sing for my supper". Which is, for me, a tremendous improvement from last summer, when I was a professional temp.

#7 What do you like in particular about the character that you play?

Lisa Alexander: The Queen of the Fairies is such a larger-than-life figure, which is so totally not like me. It is so fun to play such a powerful and forbidding female character!

June Julian: What I really like about Iolanthe is that she is a genuine person who truly cares for her son, Strephon, and his well-being, so much so that she is willing to sacrifice her life for his happiness. In fact, she wants happiness for everyone -- she is all about love and joy and life!

Patricia Combs: She gets some nice zingers. She seems to be the most grounded, ie. practical of the fairies. I like that she has some influence with the Queen. But mainly, I like her zingers.

Andy Fleming: He values family traditions, and is a stickler for good grammar. But, he'll overlook bad grammar, low birth, or even non-humanity for the sake of love.

Derek Smootz: I love the naivitee of G&S characters in general, but in particular Strephon's conviction that being part-fairy is a frightenting idea. He is absolutley convinced that, should Phyllis find out, the marriage will be off. I don't know if he intends for her to never find out, or to spring it on her after they're married, so she can't change her mind.

Arthur DiBianca: The Lord Chancellor is dealing with a serious case of conflict of interest, and I like the way Gilbert plays with that issue. Plus he's a clean old gentleman.

Katherine Wiggins: There is a dumb blonde that lives inside of me--I hide her most of the time mainly to preserve the sanity of others. In this role, the dumb blonde gets to come out and say "hello!"







When every blessed thing you hold
Is made of silver, or of gold,
You long for simple pewter (The Gondoliers)

Today was the deadline for the First Night Austin proposal

Today was the deadline for the First Night Austin proposal (on New Year's eve). I got it all done and delivered it this afternoon. What a relief! And what a learning curve. It was challenging getting information from people who had knowledge that I did not have and needed. Then, someone stepped up to the plate and helped me with pricing (for the budget proposal) and other, performer-specific insights. Apparently, First Night Austin has been getting more and more applicants every year, as they should. It is a great showcase of all the diverse cultural events and artists who call Austin their home. One of the biggest attraction to this affair; it is a family friendly event with no boozing. A big plus for a city that has a lot of families. These types of events are memories in the making. Now let's cross our fingers and hope we get invited to participate.

Now it's back to the continuous publicity work for our summer production, Iolanthe.

Russell Gregory and Lisa Alexander









4 weeks to go before opening night (June 11th)! Blocking sequence rehearsals are in full force and all will be ready come showtime.


When every blessed thing you hold
Is made of silver, or of gold,
You long for simple pewter (The Gondoliers)

Box and Cox, GSSA's May Musicale

The Gilbert and Sullivan Society of Austin will have a staged reading of Box and Cox, an one-act play written by John Maddison Morton. This will happen Monday May 11th, at 7:30pm at the Genesis Presbytarian Church. This play was first produced in London in 1847 at the Royal Lyceum Theatre and interestingly enough, 'box and cox' has become to mean to take turns. The reason being is that this play, very simply, is about two lodgers who shared their rooms at alternate times. One would be there by day, and the other would be there by night.

Interesting also is the fact that 'Box and Cox' was the inspiration behind 'Cox and Box', written by F.C. Burnand and music written by Arthur Sullivan;

"Cox and Box; or, The Long-Lost Brothers, is a one-act comic opera with a libretto by F. C. Burnand and music by Arthur Sullivan, based on the 1847 farce Box and Cox by John Maddison Morton. It was Sullivan's first successful comic opera. The story concerns a landlord who lets a room to two lodgers, one who works at night and one who works during the day. When one of them has the day off, they meet each other in the room and tempers flare.

The piece premiered in 1866 and was seen a few times in 1867. Once given a professional production in 1869, it became popular, running for 264 performances and enjoying many revivals and charity performances. During the 20th century it was frequently played by the D'Oyly Carte Opera Company in a shorter format, as a curtain-raiser for the shorter Gilbert and Sullivan operas. It has been played by numerous professional and amateur companies throughout the world and continues to be frequently produced."

Cox and Box

Apparently, mr. Burnand was jealous of Gilbert's collaboration with Sullivan and since he was editor of Punch at the time, he refused to write reviews of their work. Artists, I tell ya.



"Buttercup" from Cox and Box - Not by GSSA but a recognizable 'flavour' of Arthur Sullivan.


When every blessed thing you hold
Is made of silver, or of gold,
You long for simple pewter (The Gondoliers)

Richard Miller, vocal pedagogy pioneer passes away

Richard Miller , Chevalier/Officier, L'ordre des arts et des lettres









From the Collaborative Piano Blog;

Richard Miller, one of the most important pioneers in the field of vocal pedagogy and Professor Emeritus at Oberlin College, passed away Tuesday at the age of 83. This message by Marvin Krislov, president of Oberlin College, was forwarded to me this morning: read the rest of the story

To understand better as to why his passing was met with so much sadness, and how important his contribution to vocal pedagogy was;

"[Perhaps] his most significant contribution is that he made us rethink the way we evaluate singing. Traditionally singers and teachers have listened to the sound and made decisions about the voice based almost entirely on whether they like the sound or not. Richard has asked us to consider the function first, assuring us that a voice that is functioning well will indeed produce the best possible sound."

Read the rest by Paul Kiesgen (Journal of Singing)



The Structure of Singing - Richard Miller


Brief overview of Richard Miller's life




When every blessed thing you hold
Is made of silver, or of gold,
You long for simple pewter (The Gondoliers)

Gilbert and Sullivan Society of Austin's "Iolanthe" preview

David Little is our master of publicity, a wonder with the camera and a great designer of all things publicity. I jokingly call him my 'padawan' which I'm not sure he understands (after all, it's not a Gilbert and Sullivan reference now is it??). I'll be tagging along when he'll shoot scenes from the costumed rehearsal for our local television spot. Channel 8 is our wonderful sponsor. I'll be sure to show that as well when the time comes.



Iolanthe, June 11-21





When every blessed thing you hold
Is made of silver, or of gold,
You long for simple pewter (The Gondoliers)

What is The Savoyard's Mission Statement?

I signed up to the Probloggers' 31 days to build a better blog earlier this month. I have been a blogger for my own person for several years now and actually have more than one. So when I joined the Gilbert and Sullivan Society of Austin, it was only natural for me to extend their presence online by way of having a separate blog (as opposed to their website which is a beaut I've got to say).




Not only that, I added us to Twitter (see the sidebar on the right, do come follow 'me') and am working on the Facebook page. The latter is a bit delayed but I do 'own' the page it's just not officially 'published' yet.




Many other Gilbert and Sullivan organizations are on Facebook though. It is the way of the 21st Century which is all about social media (aka "word of mouth marketing"). The global, virtual version of the porch front where people like to pass by, have a nice (usually quick) visit only to mosy on to the next 'porch'.

The sad fact is that our membership is not a very young one. I will define young as being younger than 35. And as with many cultural influences, they usually get passed on by parents and other significant people in one's life. These days however, the media focusses on the much younger and not as culturally attuned crowd who get used to watching the same formulaic, dumbed-down shows that feature their peers as some kind of hero 'know it all', 'up yours to authority' or 'come on grandpa/ma-rolling of the eyes' mentality. Intelligent writing and actually relatable writing gets pushed over for the thing that makes money; shows that appeal to the lowest common denominator. (exceptions notwithstanding)

So how, with those mostly television type cultural influences do we as a music society (GSSA), and we, as Savoyards in general, counter that? How do we rope in people who've had no exposure to intelligent (Brit) wit or even opera? Plus at the same time, how do we build community with Savoyards local and beyond to keep the flames of Gilbert and Sullivan burning?

This is my part in trying to reach out via the social media tools and there might be a few more I could use but this is how I'll start.

So The Savoyard's Mission for now (missions can change)is to reach out to those who are unfamiliar with Gilbert and Sullivan combining efforts to reach their opposites of those who love Gilbert and Sullivan. Hopefully a few of them local so they can come and enjoy our performances, our bread and butter as a non profit. It's an online world these days and it runs paralel to the one where people read newspapers and listen to the radio and watch tv.

People are social animals and if they see that a particular brand sells, or a particular restaurant always seems full (even though the food sucks, I know a few places in town but 'the flock keeps flocking'), or 'something' seems to strike people's fancy (like say those Gilbert and Sullivan operas, 'how funny, how hilarious'), they (let's hope a royally 'they' at that) will follow suit.

The Board and volunteers at the Gilbert and Sullivan Society of Austin are just gagga over anything G&S. The very seasoned amongst us can regale you with quotes and chuckle and laugh at the smartness of it all. This newbie G&S'er sometimes feels like an out of place Trekkie but no matter! After all, I'm intelligent and I can take a good joke right? RIGHT!

That said, I'll be mulling this over. Having a mission statement for any organization and enterprise is a smart thing to do. It keeps you focussed and sharp and you'll have to slash things out of your program if it doesn't meet the mission criteria.

Do you have any suggestions?


When every blessed thing you hold
Is made of silver, or of gold,
You long for simple pewter (The Gondoliers)

The International Gilbert and Sullivan Festival

The International Gilbert and Sullivan Festival in Buxton Derbyshire UK is in its 16th year this year and oh how I wish we (using the royal 'we') could attend and participate someday. What started out humbly in 1994 has grown solely because of the passion of its founders Ian and Neil Smith.

Ian Smith


Of course, being in the birth country of the Gilbert and Sullivan operas doesn't hurt. After all, it is part of their heritage moreso than ours. Still, like many other operas that do not only originate in the US, let alone are sung in english, the Savoy operas do have their loyal following. So if you need an excuse to visit the UK say in August, check out what is on their programme (note proper spelling ehem).

If you cannot go, your best option is to join us for our Iolanthe run, June 11 till the 21st.


48 days till show time!



When every blessed thing you hold
Is made of silver, or of gold,
You long for simple pewter (The Gondoliers)