Callander Amateur Operatic Society

Our first production .... this operetta, with music by Franz Lehar, is set in 1912.  In Act I, set in Vienna, the wedding takes place of Lisa, the heroine and a countess, and a Chinese prince, Sou Chong. He returns with her to China, although her family and friends have voiced their concerns.

Act II is set in Beijing. Lisa has difficulty adjusting to the Prince’s culture and traditions – especially the one that says that he should take several wives – and although she is told that this is a formality (rather than a matter of the heart), difficulty develops in the relationship, and resentment in her attitude, resulting in her being locked into the palace.

In Act III, Lisa leaves the Prince and returns to her homeland. The Prince’s sister had developed a relationship with a Viennese official, making the ending exceptionally unhappy. The Prince however falls back on one of his local traditions: always smile.

Probably the best know number from this show was 'You Are My Heart's Delight', a song that we still occasionally sing at our annual concerts.

CAST

 CHORUS OF GUESTS, SERVANTS, MANDARINS, PRIESTS, BRIDES ETC

DANCERS

Musical Director - Ian Milligan
Producer - Neil McNaught

More about this show can be found by clicking here.

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The White Horse Inn is a holiday hotel in the Salzkammergut area of Austria.  Leopold, the head waiter, fancies Josepha, the owner of the hotel, a widow, but receives no encouragement.  Grinkle, a clothing manufacturer from Oldham, arrives with his daughter Ottoline, followed by Sutton, a lawyer.  Leopold, sensing a possible romance between Sutton and Ottoline, starts to organise things.

At the beginning of Act II, Leopold, making no progress with Josepha, declares that he is going off to join the Foreign Legion.  More guests arrive: Sigismund Smith, son of Grinkle’s great business rival, and Professor Hinzel and his daughter, Gretel.  In the town hall, the Mayor announces that the Emperor is coming to visit. Leopold rushes back to tell Josepha.

In Act III, the Emperor departs, and Leopold says goodbye again.  Sutton tries to get Ottoline engaged to Sigismund, whose father is a millionaire.  Leopold returns and gets an unexpected reference from Josepha.  The show ends with a triple engagement party.

Well known numbers included  'White Horse Inn' and 'Goodbye'.  For the first (and so far only) time we featured an animal in the  cast - a goat.  More tails about the goat to come.

CAST

VILLAGERS, CHAMBERMAIDS, ALPINE GUIDES, TOURISTS, HOTEL GUESTS, PORTERS, DAIRYMAIDS, WAITERS, GAMEKEEPERS, ETC

DANCERS

Musical Director - Ian Milligan
Producer - Neil McNaught

More about this show can be found by clicking here.

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Ricardo returns to the little town of Santa Lucienda in South America and meets Juanita, his sweetheart of former days.  Manucho, a wealthy local man, is also in love with Juanita, but his affection is not returned.  Don Miguel, the great impresario, is in town and Ricardo asks him to hear Juanita sing.  Miguel is sufficiently impressed with her voice to agree to train her, but Juanita cannot possibly raise the 10,000 pesetas it will cost for training. 

When the mighty matador “El Tigre” cannot appear at the fiesta bull fight, the promoter offers 10,000 pesetas to anyone who will successfully take his place.  Ricardo’s father was killed in the bull-ring and Ricardo made a vow to his mother never to enter the ring again.  When he refuses to accept the challenge to win the money, he is branded a coward.  Manuelo accepts the challenge on condition that Juanita accepts the prize money as a betrothal gift.  She agrees but Manuelo is gored.  The hero of the bull-fight is the “unknown” masked matador Mario.

The comedy element is very strong and is supplied by, among others,  Sam Tipple, the new proprietor of the local newspaper, and his assistant Sally.

Well known numbers included 'March, March Mighty Matador' and 'Come to Romero's'.  An animal did feature in this show - a bull.  However, it was played by two of the cast.

CAST

CHORUS

DANCERS

CHILD DANCERS

Musical Director - Ian Milligan
Producer - Emma McClements

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Time has stood still for hundreds of years in Arcady – and the Arcadians live together in perfect harmony.  In Act I, an aeroplane comes into their midst bringing a strange being from a far away land.  This person, otherwise James Smith, a caterer from London, is just as surprised as the strangely clad Arcadians.  Smith finds Sombra easy prey for a flirtation and tells her a few lies.  He is thrown into the “Well of Truth” and emerges dressed as an Arcadian. They christen him “Simplicitas” and he returns to England with Sombra and Chrysaea on a mission to convert others to tell the truth.

Act II sees their crusade begin at Ascot races where their presence causes considerable curiosity.  Simplicitas meets his wife, Maria Smith, who doesn’t recognise her husband and starts a flirtation with him.  Peter Doody, a mournful jockey, who has never won a race, is engaged to ride “The Deuce”, the favourite in the principal race.  Unfortunately the horse objects.  Doody suffers in the conflict, and the horse is left without a rider.  Sombra arranges for Simplicitas to take his place, and The Deuce wins in an exciting finish.

In Act III, the suggestion that the Arcadians are part of an advertising scheme gives Maria the idea to turn one of Smith’s white elephant hotels into an Arcadian restaurant, which becomes all the rage in London.  It is designed on the lines of an Arcadian glade and includes the “Well of Truth”.  Simplicitas is having a grand time until he tells another lie!  He falls in to the well and emerges as his former self to the astonishment (and confusion) of his wife!

'The Pipes of Pan' is probably the best know number from this musical.

CAST

DANCERS

Musical Director - Ian Milligan
Produce - Emma McClements

More about this show can be found by clicking here.

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The show is set in Oklahoma territory, USA, in 1906 (by the end of the show, it is about to become a State).  As Act I opens, cowboy Curly McLain comes into Laurey Williams’s yard to invite her to come with him to the social dance that night.  She refuses, even when he offers high-quality transport.  In order to spite or tease Curly, she accepts an invitation to attend the dance with Jud Fry, a gloomy farm worker.

Meantime, Ado Annie confides to Laurey that she cannot choose between cowboy Will Parker and a Persian pedlar Ali Hakim.  Her father discovers her with Hakim, and forces him to agree to marry her.  Curly tries to persuade Laurey to come to the social with him, but, when she teasingly makes him keep his distance, he goes to see Jud in the smokehouse where Jud lives, and suggests to Jud that he (Jud) would be better appreciated if dead.  Laurey dreams about her feelings and about Curly, realising that he is the man for her.

In Act II, the rivalry between farmers and cowboys flares up at the dance, until Aunt Eller succeeds in getting them to make peace.  Curly sells all his key possessions and outbids Jud in an auction to win Laurey’s lunch basket. Ali Hakim outbids Will for Ado Annie’s basket, which happily leaves Will with the bounty which Annie’s father requires for his daughter’s hand.  Jud and Laurey fall out.  Laurey sacks him, and seeks moral support from Curly.

Three weeks later, at Laurey and Curly’s wedding, there is a fight between Jud and Curly, and Jud dies by falling accidentally on his own knife.  Curly is agreed not to be guilty of murder, and the honeymoon can begin.

Great numbers abound in this one and include 'Oh, What a Beautiful Mornin’, 'The Surrey With the Fringe on Top', 'I Cain’t Say No', 'Many a New Day', 'People Will Say We’re in Love', 'The Farmer and the Cowman' and of course “Oklahoma!”

CAST

CHORUS

DANCERS

Musical Director - Ian Milligan
Producer - Emma McClements

More about this show can be found by clicking here.

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The story opens with the Sheriff of Rainbow Valley, Missitucky, and Buzz Collins attempting to begin a sale of land, up for sale because of non payment of taxes. They try to rush the sale through so that Senator Rawkins can buy up all of Rainbow Valley.  The sharecroppers anxiously await the arrival of Woody Mahoney, who they hope will have made enough money to save their shares going to the much disliked Senator.

Meanwhile Finian McLonergan, a whimsically naive Irish immigrant and his daughter Sharon arrive in the Valley, which is near Fort Knox.  He argues that America’s riches have increased as a result of the country’s gold being buried underground at Fort Knox and decides to reap the same benefit by “planting” a crock of gold he has stolen from a leprechaun.  This leprechaun, Og, follows the Irishman, trying to find his crock of gold, as he will eventually turn into a mortal without it. Complications arise as he becomes susceptible to the charms of Sharon and Woody’s sister Susan.

To add to the confusion, three wishes are granted to anyone standing above the buried crock of gold, and the racist and greedy Senator Rawkins is dramatically changed by one of the wishes.  This and the changing fortunes of the sharecroppers help point the moral of the tale: “that gold is a base metal and people constitute a country’s true wealth”.

Songs to remember from this show include 'How Are Things in Glocca Morra?' and 'Old Devil Moon'.

CAST

WHITE CHORUS

Musical Director - Ian Milligan
Producer - Mhairi Stewart

More about this show can be found by clicking here.

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Tom Jones, a west country lad and the adopted son of Mr Alworthy, a magistrate, falls in love with Sophia who is the daughter of the ambitious Squire Western.  Squire Western and Alworthy decide that Tom is not suitable material to be a member of the family of the Squire, owing to his questionable birth history, and they make strenuous efforts to have Sophia marry Mr Alworthy’s nephew, Blifil.  Sophia, being not the least interested in Blifil, protests and begs her father to let her marry Tom who is the only real love in her life.

Apparently unperturbed at this state of affairs, Tom turns his attentions to other local attractions and is flattered when Lady Bellaston, cunning, devious and malicious, takes an interest in him.  However, things turn out to show that it is not Tom’s birth which is not wholly within the law but Blifil’s, and in fact Tom is Blifil’s elder brother, which leaves the way open for Tom to marry Sophia after all.

The comedy in the show is provided by Benjamin Partridge, a local quack doctor and barber, Honour, who is the maid to Sophia, Gregory the servant to Squire Western, and Miss Western who is the Squire’s sister.

The plot complex and generally considered to be the most difficult to follow.  The best known number is probably 'Dream O’Day Jill'.

CAST

CHORUS

Musical Director - Ian Milligan
Producer - Emma McClements

More about this show can be found by clicking here. 

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A brand new show commissioned by the Society.  Written by Ian Ross and Ian Milligan, it is set in modern times, the show depicts life in a village which is adjusting to the recent construction of the by-pass.

The curtain rises at a meeting on the eve of the annual Village Fair to make last minute arrangements.  At the Fair next day – complete with the Queen of the Fair and her attendants - , everyone is in a happy mood, when Max McLintock, property developer, accompanied by his laddie (and a minder), appear with big ideas of how to inject new life into the community.  Not everyone is enamoured of his proposals, but he tries to show them what life could be like if they fell in with his wishes.

The prospect of “a big night out”, courtesy of Max, might be a bit of excitement – and oil the wheels.  Will he get his way or will he have to compromise? There are congratulations all round, at the end, so the outcome is not a disaster.

The show gained the Society lots of publicity and thanks to BBC TV, nationwide coverage.  We went on to produce the show again, this time for charitable purposes, at the MacRobert Arts Centre in Stirling.  As a result we raised £2,500 and were invited to participate in a big charity show at the Theatre Royal in Glasgow.  Peter Macdonald made his debut in this show.

CAST

CHORUS

Musical Director - Ian Milligan
Producer - Ian Ross

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Our first shot at Gilbert & Sullivan.  The scene for Act I is the courtyard of Ko-Ko’s palace in the town of Titipu, in Japan.  Nanki Poo, the Mikado’s son, disguised as a wandering minstrel, arrives looking for Yum Yum, one of Ko-Ko’s wards, with whom he fell in love whilst playing in the town band.  Unfortunately, Yum Yum is betrothed to Ko-Ko, and Nanki Poo is in despair.  However, after speaking to Yum Yum he discovers that she does not love Ko-Ko, but he will not allow her to marry anyone else, and that a “wandering minstrel” is hardly a suitable husband for a ward of the Lord High Executioner.  Nanki Poo then reveals his true identity and the reasons for his disguise. As the course of true love never runs smooth, complications arise, none more so than with the arrival of Katisha (unprepossessing, influential and unattached).

As Act II begins, we are in the garden of Ko-Ko’s palace where Yum Yum is preparing for her wedding.  However Ko-Ko reveals some startling news which places everyone in a dilemma, which is not helped by the arrival of the Mikado, who is looking for his son, with the inevitable Katisha in tow.  But, as in all good stories, once the deceit and lies have been ironed out, all is well and a happy ending follows.

As with all G&S works, great fun and lots of catchy songs including - 'A Wandering Minstrel I', 'Three Little Maids',  'Tit Willow', 'As Some Day' and 'The Flowers that Bloom in the Spring'.

CAST

CHORUS

Musical Director - Ian Milligan
Producer - Emma McClements

More about this show can be found by clicking here.

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Serious students of Greek mythology will squirm in their seats at this lot, but there can be no money-back guarantee just because the storyline is a bit hard to believe.  You see, there’s this fellow Orpheus who’s something of a music teacher.  His wife, Eurydice, has gone off him and fallen for a shepherd called Aristaeus – except the shepherd is actually one King Pluto, King of Hades, which is the hot place down below.

Eurydice’s mother–in-law, Calliope, is less than happy when Pluto decides to fix it for Eurydice to pass over into another world (he wants her back at his place).  Calliope insists that Orpheus should be outraged, which is difficult for him since he’s delighted at the prospect of never seeing his wife again.  Only one thing for it.  They decide to travel by balloon to Mount Olympus and ask Jupiter, King of all the Gods, to insist that Pluto sends Eurydice home.
 
Word of these goings-on on earth reaches Jupiter & Co., before Calliope and Orpheus get there.  (Mercury the messenger is the source of all the interesting information).  Pluto is sent for and duly arrives, denying the allegations.

Meantime, Jupiter has a few domestic problems as a result of his family and relatives becoming bored with the good life – all that nectar and ambrosia.  Things in fact become very personal when he has to listen to a catalogue of his iniquities hurled at him in song, but he is saved further embarassment by the arrival of Orpheus and mother. The finale of Act II finds Pluto guilty as charged and Jupiter instructs him to return Eurydice to her husband.
 
To make sure Pluto does as he’s been told, Jupiter decides to supervise things, so in Act III he decides to take everyone with him on a journey to the Underworld - to have a good time.  In Hades, Eurydice is unhappy and her predicament is not helped all that much by amorous advances from Jupiter.  Now she has the King of Hades AND the King of the Gods both after her.  Whom should she choose?  Should she return to her husband Orpheus? What with all the singing and dancing and riotous behaviour and more singing and dancing – it’s difficult for a girl to know what to do. But fun for us all to watch and hear them trying to work it all out.

The number you may remember from the show include 'Mortals Below, Gods Up Above'.

CAST

CHORUS

DANCERS

Musical Director - Ia Milligan
Producer - Ian Ross

More about this show can be found by clicking here.

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This was the second show specially written for the Society by Ian Ross and Ian Milligan. 

Janice Galbraith and her friends (from a small town in Scotland) are on holiday in Paris, are having a happy time, singing about it,  and romance is in the air.  Back home, her father Peter is in the pub putting on a brave face at the prospect of having a French visitor later in the year.  Peter is a father of strong prejudice which borders occasionally on the outrageous, and his wife Mary clearly has a lot to put up with.

The girls leave for home with promises of a reunion back in Scotland at their Friendship Festival, where their new French friends will join in the entertainment.  We learn that between the holiday in Paris and the Festival Mary has been seriously ill.

In Act II, on the day of the Festival, British, French, Germans and others mix freely. But what about Peter Galbraith?  “Some change in a man” says the postman.  What has brought about an apparent shift from sexist, racist bigot to a man of bonhomie?  There are romances on the go, and possibly engagements in prospect. All is revealed at the Ball in Act III.  But what about Peter: can he sustain his new image or will he falter in the end?

CAST

CHORUS

DANCERS

Musical Director - Ian Milligan
Producer - Ian Ross

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Our second foray into Gilbert and Sullivan.  The story begins with Frederic, a fine young man, on the day he becomes 21, celebrating the end of his apprenticeship with the Pirates. To their dismay, Frederic tells them that he is leaving them to lead an honest life henceforth.  He points out how unsuccessful they are at making piracy pay.  They have too many scruples and, being orphans themselves, will not attack anyone who is an orphan.  The result is that all their victims claim to be orphans and are released at once.

Ruth, Frederic’s old nurse, reveals that Frederic was apprenticed to the PIRATES by mistake.  She misheard Frederic’s father instructing her to apprentice him to a river PILOT.  Frederic has been at sea since he was eight years old and has seen no woman but Ruth.  Consequently he has not only been persuaded that she is beautiful but also that he should take her with him.  Frederic however on seeing the Major-General’s ten daughters realises that Ruth is old and ugly.  He falls in love with Mabel and she with him.

The pirates want to marry the other daughters but when their father, the Major-General,  persuades them that he is an orphan they reluctantly agree not to do so.  Out of a strong sense of duty, Frederic feels bound to attack the pirates and enlists the help of the police. It is revealed however that Frederic was born on the 29th February in a leap year, and is only 5 ½  years old, still apprenticed to the pirates and cannot leave them.

A fight ensues between the pirates and the police but eventually peace is restored and all ends happily.

CAST

CHAPERONES AND GENERAL STANLEY'S DAUGHTERS

PIRATES

POLICEMEN

Musical Director - Ian Milligan
Producer - Eslyn Craven

More about this show can be found by clicking here.

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The great Cole Porter poured a huge amount of his best music into Kiss Me Kate.  The score scintillates with hits like 'Wunderbar', 'So in Love', 'Always True to You in My Fashion', 'Why Can’t You Behave?', 'Too Darned Hot' ... a great stream of lovely melodies allied to words by the wittiest lyricist America ever produced.

A musical version of 'The Taming of the Shrew' is about to open in Baltimore.  In the show with producer-actor Fred Graham are his former wife Lilli, Lois – a singer in whom he is interested – and Bill Calhoun – in whom Lois is very interested.  The irresponsible Bill informs Lois that he has signed Fred’s name to a $10,000 IOU for gambling debts.  She begs him to reform.  Fred and Lilli patch up their differences as they reminisce nostalgically about other shows in which they have appeared together.  Fred sends a bouquet to Lois, which is delivered in error to Lilli.  On stage as Katherine, Lilli discovers that the bouquet is for Lois and threatens to leave the show.  Her departure is prevented by two gangsters who have come to collect the IOU with Fred’s signature.  As the first Act ends she is raging, both in character and reality.

Petruchio (played by Fred Graham) although just married to Katherine, and beginning his tempestuous wedded life, begins to yearn for his life as a single man.  Because of a sudden change in gang administration the gangsters tear up the now worthless IOU, and Lilli prepares to walk out on the show as Fred muses on his love for her.  The gangsters sing the always show-stopping 'Brush Up Your Shakespeare'.  As the show comes to a close, Lilli unexpectedly returns and in Katherine’s words expresses her intention of returning to her husband.

CAST

CHORUS

DANCING ENSEMBLE - TAMING OF THE SHREW

Musical Director - Linda McCombe
Producer - Eslyn Craven

More about this show can be found by clicking here.

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The Operetta opens with Alfredo, an opera singer and old flame of Rosalinda, serenading from the street below, causing great amusement among the servants.  As it is Rosalinda and Gabriel’s wedding anniversary, Rosalinda has arranged a celebration meal at home, much to the annoyance of Adele, who wants the evening off to attend the Pink Champagne Ball given by a rich young Russian eccentric, Prince Orlofsky, who is Vienna’s latest host.  Rosalinda soon discovers that her husband has been having “high jinks” with his friend, Dr Falke, resulting in Falke being thrown into a fountain by Gabriel.  Falke wants his revenge and invites both Rosalinda and Gabriel to Orlofsky’s party without the other’s knowledge...Gabriel leaves home, supposedly to go to prison (the sentence incurred for his high jinks) but really to go to the Ball.

No sooner has Gabriel left than Alfredo assumes the role of the missing husband!  Frank, the new prison governor, arrives to escort “Mr Eisenstein” to prison and naturally assumes Alfredo is Eisenstein and hauls him off, before going to the Ball himself.

In Act II, Rosalinda arrives at the Ball posing as a Hungarian countess, Gabriel disguised as the Marquis Renard and Frank under the disguise of Chavalier Chagrin.  In true operatic fashion, no one is aware of the other’s identity and much hilarity follows.

For the beginning of Act III, as if summoned by magic, the entire cast turns up at the prison which is being run by the inebriated Sgt Frosch.  All is sorted out satisfactorily and all join in praising the reconciling power of King Champagne.

Well known numbers include 'Springtime in Vienna' and 'Chacun a son Gout'.

Pink Champagne was an adaptation by Eric Maschwitz of Johann Strauss II's 'Die Fledermaus', about which more can be found by clicking here.  Eric Maschwitz specifically created 'Pink Champagne' for amateur companies to perform.

CAST

WARDERS

CHORUS

DANCERS

Musical Director - Ian Milligan
Producer - Anne Ballantyne

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A show which is dear to our hearts as we've now done it twice, with both times proving to be huge successes.

Fiddler on the Roof is set in Anatevka, a small peasant village in Tsarist Russia in the year 1905 on the eve of the Russian revolutionary period. The Jews of Anatevka were poor in money terms, fundamentalists, superstitious, and strong in traditional ideals.  What were these traditions? – piety, learning, charity, moderation, peace, religious observation, holiness of the Sabbath, the wedding canopy.... to name but a few.  These traditions dictate the way they dress, eat, pray, and perhaps above all, the way they “befriend” God; this is no hypocrisy, no gimmick.  They worked as dairymen, butchers, bakers, candlestick makers, cobblers, tailors, street sweepers – no family event was ever private – joys and sorrows were shared in a society which afforded the poorest man his dignity – the community was an extended family – certainly no “one parent” family in Anatevka!

Why is this unique “musical” called “Fiddler on the Roof”? It is quite simple, as Tevye our milkman says, “Without our traditions our lives would be as shaky as .... a fiddler on the roof”.

We suggest the two most important people in the village would be the rabbi (a learned man) and Yente (the matchmaker), the marriages often being arranged as early as primary school age.  Yente arranges a marriage between Tevye’s eldest daughter Tzeitel and old Lazar Wolf, the butcher.  But Tzeitel is in love with Motel and convinces her father that Motel is the bridegroom for her.  Tevye does not want to admit to his wife that the wedding bargain with Lazar is broken so he “invents” a dream in which he says Golde’s dead grandmother appears giving her blessing to the young couple – so Golde is content.

Hodel the second daughter also falls in love with a young Jewish student boy who later is sent to prison for his revolutionary activities against the Tsar.

Alas, Chava, the third daughter (and maybe Tevye’s favourite) breaks Tevye’s heart by marrying outside the faith – a non-Jew, a Russian – no matter that he is a kind, caring lad – he is still a non-Jew!! And therefore Chava is banished.

Tsarist oppression of the Jews worsens (even in this little out-of-the-way Jewish community).  The whole village is given three days to leave their beloved Anatevka, and make new lives in other lands.  Tevye, Golde and the two remaining daughters leave for America.  Tzeitel, Motel and the baby to Warsaw, Chava and Fyedka to Krakow. Yente to the Holy Land....? has it a sad ending?  We think NOT!  As Yente says, “well, Anatevka hasn’t exactly been the Garden of Eden!”

There are lots of casting parallels between this first production of 'Fiddler' and our 2009 show and these are mentioned in more detail in the 2009 piece. 

CAST

THE JEWISH FAMILIES

THE RUSSIANS

Musical Director - Ian Milligan
Producer - Anne Ballantyne

More about this show can be found by clicking here.

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The curtain opens on a beauty contest.  Jupiter, King of the Gods, sends Paris to award the “golden apple” to the fairest of them all.  He chooses Venus, who in return promises Paris that he shall be loved by the divinest woman on earth, namely beautiful Helene.  Helene is married to the dim witted Menelaus.  When Paris arrives in Sparta, he and Helene fall madly in love.  The Kings of Greece and the citizens compete in an intelligence test which Paris easily wins.  Calchas (a priest and prophet) stages a thunder storm and declares to Menelaus that it is the wish of the Gods that he should be sent to Crete, thus leaving the young lovers free for their hanky-panky .....

Menelaus unexpectedly returns home to find he has been betrayed.  (Helene’s excuse is that she was only in a dream with Paris???).  Menelaus calls for everyone to witness how he has been deceived.  The citizens’ loyalties are divided, causing much argument and bickering, and so to cool tempers they all take themselves off to the seaside.  Everybody manages to relax except the feuding monarchs.  Calchas again takes over and announces that Venus’s high priest will arrive and sort things out.  A stately bearded figure arrives and takes Helene on board his ship and they sail off to Cythera.  Whilst waving from the ship to the assembled crowd the high priest removes his beard and reveals himself as Paris....

As they sail off into the sunset, is old Menelaus distraught?? Or is he glad to see the back of her??? Time will tell.

Numbers to remember include 'The Judgement of Paris', 'To Be a Grecian King' and 'Two Mighty Men at Arms'. 

CAST

BEAUTY COMPETITION

THE CITIZENS OF SPARTA

Musical Director - Ian Milligan
Producer - Anne Ballantyne

More about this show can be found by clicking here.

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 Gilbert and Sullivan again and a double helping into the bargain.

HMS Pinafore - on the quarter-deck the sailors are discovered hard at work.  Presently their work is interrupted by Little Buttercup selling snuff, tobacco, scissors, knives etc.  The smartest lad in all the fleet, Ralph Rackstraw, and Josephine have fallen in love; but sadly Josephine is sought in marriage by no less a celebrity than Sir Joseph Porter K.C.B.  A barge is seen approaching; from it arrives Sir Joseph, accompanied by his sisters, cousins, & aunts who accompany him wherever he goes.  Poor Ralph, in despair, decides to end his life if he cannot have the girl of his dreams.  With the help of the ship’s company, the couple plan to elope that very night.  Dick Deadeye warns the Captain of the intended elopement, but just as it seems all is lost Buttercup intervenes with a truly remarkable story: as a foster mother she had inadvertently mixed-up two babies in her charge, and the curtain falls on general rejoicing, as the mix-up proves to be a very fortunate one.

As ever G&S provide us with great musical numbers - 'We Sail the Ocean Blue', 'A British Tar' and 'Fair Moon, To Thee I Sing'.

Trial by Jury -  after the opening chorus, the judge introduces himself, and outlines his career to date – a useful marriage, later dissolved, and accumulation of wealth.  The usher addresses the jury on the conduct of the case – a breach of promise of marriage.  He stresses the importance of preserving complete impartiality of outlook, and proceeds to insist that they must show every sympathy with the broken-hearted bride.  The defendant arrives and the jury take an instant dislike to him.  He pleads for fair consideration; after all, he tells them, he has done no worse than any other man planning to marry a girl, then finding things change – as is true throughout nature – and marrying another.  He also points out that he is not worthy of the plaintiff, and hence no loss.  The jury finds the case most puzzling and apply to the learned judge for guidance.  After a bit of equivocation, the judge decides to solve the problem, by marrying the girl himself.

The nonsense is complemented by songs such as 'When I, Good Friends', sung by the Judge.

CAST OF HMS PINAFORE

* Angela played Josephine on Wednesday and Friday, while Vivien played her on Thursday and Saturday

CAST OF TRIAL BY JURY

FULL LIST OF MEMBERS APPEARING ON STAGE

Musical Director - Ian Milligan
Producer - Anne Ballantyne

To find out more about each of the operettas click on HMS Pinafore and Trial by Jury

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Two Americans, Tommy and Jeff, chance upon a small Scottish village in a highland mist.  They discover, mainly from the village schoolmaster, Mr Murdoch, that Brigadoon is an enchanted place that only comes to life one day every hundred years.  We follow the villagers through a day that includes a wedding, and learn that if any one of the inhabitants should leave Brigadoon the spell will be broken for ever.

Tommy and Jeff befriend Fiona and Meg.  Fiona’s sister Jean is being married that day to Charlie, much to the chagrin of Harry who is in love with Jean.  Harry vows to leave Brigadoon.  The villagers give chase and Harry is accidentally killed.

Back in New York, Tommy finds that the vision of Fiona and the village calls too strongly and decides to return to Scotland.

Probably our only show where a member of the cast had an arm broken on stage during a performance.

Memorable numbers include 'The Heather on the Hill' and 'Almost Like Being in Love'.

CAST

VILLAGERS

Musical Director - Ian Milligan
Producer - Anne Ballantyne

More about this show can be found by clicking here.

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“Calam” dresses like a man, totes a gun, and drives the Deadwood stage coach whilst dodgin’ Injun arrows thicker than porcupine quills – “Calam” likes to exaggerate!!!  Miss Frances Fryer has been engaged to appear at the thirst quenching rendezvous “The Golden Garter”, much to the delight of the cowpunchers and gamblers, but all is not quite what it seems.

Our little disaster-prone heroine tries to help the proprietor out of a jam by promising to fetch the celebrated Chicago music hall star Miss Adelaide Adams, whose picture the Deadwood Dudes are always hoping to find in their cigarette packets, but, again, all is not quite what it seems.

Wild Bill Hickock, our good natured, laid back gambler, finds great pleasure in taunting our green-eyed, spittin’ female.  He tells her, “You’re a fake, Calam, you dress, talk, ride and shoot like a man, but you think like a FEMALE!!”  Our well-meaning little spitfire, what does she do?  As we say in Scotland – she has a really good “bubble”.

Vivien Pope played "Calam" the first of two gun totin' Western characters she has played over the years.

This is another show with great numbers of which are 'The Deadwood Stage', 'Windy City', 'My Secret Love' and a great favourite of the Society's -  'The Black Hills of Dakota'.

CAST

THE GOLDEN GIRLS

THE CAN-CAN GIRLS

COWGIRLS

LADIES OF THE TOWN

STAGE COACH PASSENGERS

COWPUNCHERS AND GAMBLERS

Musical Director - Ian Milligan
Producer - Anne Ballantyne

More about this show can be found by clicking here.

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“A Tale of Upstairs and Downstairs”.  Originally written for Tommy Steele, it is an adaptation of H G Wells' novel 'Kipps'.

The tyrannical Mr Shalford, who owns a drapery emporium in Folkestone, employs nine of a staff.  Arthur Kipps, one of the staff members, is an orphan who resides in the shop basement with his loving cat “Edwin”.  Kipps falls hopelessly in love with Ann Pornick, a domestic servant.  Into his life comes the lovely socialite Helen Walsingham who, after learning our likeable leading man has inherited a fortune, sees poor Kipps in a different light and very soon Kipps is introduced to the ranks of the nouveau-riche.  With great difficulty the Walsingham family conspires to turn Kipps into a “gentleman”.

We follow the topsy-turvy entanglements of our appealing and congenial young draper from apprenticeship through to fatherhood.

The song everyone always remembers from this show is 'Flash, Bang, Wallop'.

CAST

CHORUS

Musical Director - Ian Milligan
Producer - Anne Ballantyne

More about this show can be found by clicking here.

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The scene and tone are set at the very beginning of Act I, set in the Gare de L’Ouest, where large numbers of people are arriving for a good time in Gay Paree.  Two men about town, Raoul and Bobinet, compare notes about their recent and unsatisfactory liaisons, and decide to stick to the pursuit of aristocratic girls in future.  Bobinet seems to have a countess in his sights, and Raoul is awaiting the arrival of a Swedish baroness, who turns out to be accompanied by her Swedish baron.  The two men set up a series of strategems to help to assure their planned conquests, including putting the baron and baroness up (in separate rooms) at a private house presented as a hotel. 

Events are made easier by the Baron’s infatuation with Metella (known to Bobinet and Raoul, and possibly to many others), and complicated by the arrival of Brazil, a colourful character who  falls for Gabrielle, a glove-maker known to Raoul and Bobinet, and offers to assist with a further ploy, to create a fake reception to keep the baron temporarily out of circulation.

In Act II, the conspirators are at the Villa Fontenue, planning the evening, Brazil even more exotic dressed up as the Oblong of Skwairut, and exuding joie de vie.  A host of friends and staff dress as aristocratic guests, the baron and baroness are skillfully kept separate, the celebration is perhaps insincere but is certainly energetic, and the baron ends the evening prostrate with tiredness and emotion.

Act III is set in the Cafe des Anglais, where the maitre d’hotel, obviously on the side of the conspirators, arranges a private room for the Baron and Metella.  She however rediscovers her affection for Raoul, and gets the baron interested in a mystery stranger – his wife, of course, in disguise.  It all unravels, but the baron is obliged to confess that a great time has been had, and all ends untidily but happily.

The musical numbers included 'No, No, No' and 'Joie de Vie'.

CAST

PARISIANS, RAILWAY STAFF, TOURISTS, GUESTS AND SERVANTS

Musical Director - Ian Milligan
Producer - Anne Ballantyne

More about this show can be found by clicking here.

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Parchester, the family solicitor, has discovered that the 13th Earl of Hareford secretly married a working class girl who died shortly after giving birth.  The heir to the Hareford millions must be found.

Our story begins in the late 1930s with a group of London’s high society arriving at Hareford Hall for a whoopee weekend hosted by the elegant Duchess of Dene and her “friend” of many years, Sir John Tremayne.  The Duchess’s daughter, Lady Jacqueline, has her eye on the Hareford millions and the 14th Earl, despite being engaged to golly gumdrops Gerald.

The new heir, a likeable Cockney costermonger, goes by the name of Bill Snibson. His manners leave a lot to be desired and oh horror!, he eats peas with a knife.  The Duchess likes a challenge and wants new blood in the family, so sets about introducing Bill to elocution and etiquette lessons.  The only fly in the ointment is Sally – Bill’s level headed, down to earth Cockney girlfriend.  Sally does not remotely figure in the Duchess’s scheme – she must be removed.

Who comes to the rescue? You can’t beat experience! Sir John knows all the answers. He’s been there, done it and although we can hardly say “got the tee shirt”, we will say, “got the pearly waistcoat”.

A happy ever after show!!  And great songs including 'Me and My Girl', 'Lambeth Walk', 'The Sun Has Got His Hat On' and 'Leaning on a Lamp Post'.

CAST

ANCESTORS

CHORUS

Musical Director - Ian Milligan
Producer - Anne Ballantyne

More about this show can be found by clicking here.

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The first of two compilations which have showcased the scope of the Society - a musical celebration of the most popular songs from many of everyone's favourite shows -  The King and I, Oklahoma, South Pacific, Carousel, The Sound of Music, State Fair and many more.

The show was Introduced by a grandad (Bill Ballantyne) and granddaughter (Emma Milligan), with themed sections of Music Hall, Gilbert and Sullivan, Wild West, Richard Rodgers, and Partisan.

Numbers included 'Tell Me, Pretty Maiden', 'When a Felon’s Not Engaged', 'Many a New Day', 'Getting to Know You' and 'Va Pensiero'.

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Antonio, a handsome and passionate young gypsy, is in love with Miranda, daughter of Sir Peregrine Plomley and engaged to Lawrence, son of Lord Lyell, the Lord Lieutenant.  As Act I opens, we find the gypsies camped in Sir Peregrine's estate.  Lord Lyell arrives to complain and is diverted by Sir Peregrine, who meantime has been joined by Lady Pheobe, on whom he intends to use his charm.  Lucinda, Peregrine's younger daughter, arrives with her ineffectual boyfriend Oswald; this relationship does not have Peregrine's blessing.  Peregrine meets Antonio and thy talk civilly.  Antonio sings for the entire company, about Romany life.  Shortly thereafter, Antonio and Miranda elope, to mixed reactions.

Act II is set outside a local tavern where the gypsies are clearly welcome.  They sing songs of gypsy love and Dilaia, a gypsy girl who had thought Antonio was for her, wonders if she has now lost him.  Antonio tries to calm Miranda's misgivings about the gypsy life she has chosen.  They join to sing about a gypsy wedding day.  When Miranda makes it clear she would like a traditional wedding, Antonio says he cannot see why she cannot have both.  Miranda and Dilaia, despite their uncomfortable relationship, do talk and sing the freedom of Romany life,

Peregrine and entourage arrive looking for Miranda.  They do however accept Peregrine's points that it is her decision and also that there are attractions in the sypsy style; 'Wild, Wild' they agree and approve of in song.  Ria, Queen of the Gypsies, arrives.  She and Lord Lyell do not agree, but they do develop mutual respect.  Ria goes off to speak to Antonio and wedding preparations continue.

In Act III we are in the ballroom of Plomley Place,which has been got ready for the wedding of Miranda and Lawrence.  Meantime, Peregrine has proposed to Pheobe and Oswald to Lucinda; 'Lucky Us' they sing.  Antonio eneters and approaches Lawrence.  A crisis does not develop, although Antonio makes it clear that he has been warned off by Queen Ria, in the interest of the Romany people.  The show ends happily with a waltz.

Musical numbers include 'Gypsy Love', 'Waltzing With You' and 'I've Got Something'.

CAST

CHORUS

Musical Director - Ian Milligan
Producer - James Cassidy

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In Act I, set outside El Rancho Grande, which pretends to be a guest-ranch, we see Mama (who runs it), local folk, bandits, and, among the latter, Ramon, who almost everyone realises to be also “Zorro”, the masked bandit.  On the orders of Mendoza, the bandit-in-chief, the bandits have pillaged a coach which was carrying funds from America to El Presidente.  Lopez, the hated chief of police, is hanging around, and has his eye on Raquelita, who is in love with Ramon (and he with her).  We are introduced to the Rancho’s incompetent (and comic) assistants, Pablo and Pepe, and to Sergeant Bernardo, Lopez’s unfortunate subordinate. 

The luggage-less travellers from the coach, Senator Vanders and his daughter Lucille, are directed to the Rancho for accommodation.  Lucille lets Ramon know that she recognises him from the robbery, and Ramon is clearly attracted to her, to the annoyance of Raquelita’s friend Lola. Mendoza, a caricature of a revolutionary and bandit, stumbles on the gathering, but his identity is protected. The locals devise a flea circus as a cover for searching the Senator’s clothes for the cash.

In Act II, Lucille addresses a song to Zorro (“O, Foolish Moon”).  Lopez tries to persuade Lola to betray the bandits.  At the ceremony, held in the ruins of the ancient Aztec temple, Mendoza enters and clumsily signals to Ramon.  This is noticed by Lopez, hiding in the shadows.  Lola jumps to her feet, there is a gun-shot and Lola falls.  It turns out to be no worse than a graze and the fiesta goes ahead, “Hat Dance” and all.

The scene for the start of Act III is the market place on market day.  Entertainment is provided by two toreadors, who turn out to be Pablo and Pepe.  Mendoza arrives and announces that the revolution is over and a new presidente installed.  He has found the funds – which were in the form of a bank draft – and hands it back to the Senator.  Ramon and Raquelita are fully reconciled.  Lola’s bravery in putting herself between Lopez’s gun and Ramon is recognised.  All is not quite over and happy ever after.  Lopez, dismissed from his post as part of the coup, appears and threatens to shoot Lucille.  He is however overpowered.  Ramon surely no longer needs to be Zorro; he can busy himself at the Rancho. His reaction is not recorded as the show ends.

Notable musical numbers include 'La Cucuracha', 'The Toreadors’ Song' and 'O Foolish Moon” and top of that there is of course 'The Mexican Ha Dance'.

CAST

CHORUS

Musical Director - Ian Milligan
Producer - James Cassidy

More about this show can be found by clicking here.

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Triumph out of adversity.  For family reasons our original producer had had to withdraw from the show, so the Society decided to present its second compilation - a celebration of the many wonderful songs they ha performed over the previous 25 years. 

The late Sarah Beaney stepped in as Producer and she together with Ian Milligan and two stalwarts of the Society, Helen Millar and Olga Watkins, created a wonderful musical experience.  Five scenes, a spanking pace, witty introductions, a selection of well known show stoppers and a good number of songs from past performances by CAOS, from the solemnity of Sabbath Prayer (Fiddler on the Roof) to the outrageous Jemima Shine (By-Passed).

THE COMPANY

Musical Director - Ia Milligan
Produce - Sarah Beaney

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In 1949, the musical South Pacific opened to rave reviews from the critics.  Once again Rodgers and Hammerstein had a hit musical on their hands, this time with a story taken from the prize-winning novel Tales of the South Pacific, which they had set to music.  The theme of the show was thought to be very controversial, dealing as it does with relationships between people of different races and backgrounds.

The story takes place during World War II on a French colonial island recently taken over by the Americans, who are trying to clear all the surrounding islands of Japanese.  The hero, Emile de Becque, a French planter, falls in love with Nellie Forbush, an unsophisticated girl from the “sticks” and while she returns his love, she is horrified when she finds out that he has two children from a relationship he has had with a Polynesian woman, now dead.

We are introduced to the amusing characters of the “Seabees” – the American sailors of the construction battalion (hence the acronym) led by Billis, who are running a nice black market line in grass skirts and shrunken heads. The sailors are bored because they are far removed from the front lines and have no female company.  There is a group of nurses on the island, but they are “spoken for” by the officers.  The sailors long to visit the island of Bali Ha’i which is out of bounds. Their only contact is through Bloody Mary, a Tonkinese woman who trades with them.

A new officer appears on the scene – Lieutenant Cable.  When Bloody Mary sees him she decides to introduce him to her daughter Liat.  Cable falls in love with Liat, contrary to everything he has been taught to believe.  The sailors and nurses are preparing a show for Thanksgiving Day.  Emile arrives to speak to Nellie, but she is unwilling to listen to him.  He and Cable leave on a dangerous mission; they are to be dropped on a Japanese-held island to set up a reconnaissance post.  Nellie is devastated when she discovers Emile is gone .....

The dramatic conclusion to the story proves to be entertaining and emotional for audience and cast alike.

Great songs absolutely abound with the pick of them being 'Some Enchanted Evening', 'There is Nothing Like a Dame', 'Bali Ha’i', 'I’m Gonna Wash That Man', '’m in Love with a Wonderful Guy', 'Younger than Springtime' and 'This Nearly Was Mine”.

CAST

ENSIGNS, ISLANDERS, NUNS, NURSES, SAILORS, MARINES AND SOLDIERS

Musical Director - Ian Milligan
Producer - Iain Fraser

More about this show can be found by clicking here.

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It is Paris about 1900 and we find ourselves in the ballroom of the Pontevedrian Embassy.  The Ambassador, Baron Zeta, has a problem on his mind.  He must find a way to save his country from bankruptcy.  One solution is to prevent the rich and beautiful heiress Anna Glavari from marrying a foreigner.  He has decided that Count Danilo, an embassy attache would be the ideal bridegroom and the purpose of the party we are witnessing is to bring the two together; but all is not going to plan.  Danilo, irresponsible and light-hearted, has not yet arrived at the party and cannot be found anywhere.  Immersed in match-making, Baron Zeta has failed to observe that his wife Valencienne is engaged in a passionate flirtation with a French officer, Camille, the Count de Rosillon. 

At last Anna arrives, escorted by a crowd of hopeful suitors and the party adjourns for supper.  Meanwhile Danilo arrives exhausted, direct from Maxim’s – his favourite haunt, and promptly falls asleep.  He is soon awakened by Anna.  They discover they are old “acquaintances”, parted long since by Danilo’s rich uncle.  Anna reminds Danilo of their past affair, but he declares that he will never marry her now because of her fortune.  Further complications arise because of Valencienne’s lost fan.  Anna chooses Danilo for her partner in “Ladies’ Choice” and as she does so, realises her attraction to him is still alive in her heart.

Anna throws a party in the gardens of her house. All are in national dress and Anna sings a national folksong, the famous “Vilia” [which is one of Lehar’s greatest successes].  Zeta and Danilo try to find out who Camille’s lady friend can be.  Meanwhile Valencienne and Camille appear and the pair retire to the summerhouse.  Now horrors!  Baron Zeta has called a meeting of his staff at that very summerhouse.  He finds the door locked and through the keyhole he believes he sees his wife and Camille.  Furiously he tries to break down the door, but Valencienne escapes by another way and Anna takes her place.  As Camille and Anna come out of the summerhouse, Anna announces their engagement.  She is delighted by Danilo’s reaction to the announcement.  He is madly jealous and she interprets this as a sign of true love.

We find ourselves again in the garden of Anna’s house, this time decorated as “Chez Maxim’s”. Danilo is delighted to learn from Anna the truth of the summerhouse episode, but he still cannot declare himself.  Only when she tells him that by the terms of her late husband’s will, she will lose her millions upon remarriage, does he propose, and she gladly accepts, telling him then that the money goes to whoever becomes her new husband.

 Musical numbers to remember include 'Merry Widow Waltz', 'Vilia' (another favourite of the Society's) and 'Driving in the Park With You'

CAST

CHORUS

Musical Director - Ian Milligan
Producer - Iain Fraser

More about this show can be found by clicking here.

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Annie Get Your Gun opened at the Imperial Theatre, New York on May 16, 1946.  It had been written specifically for Ethel Merman. P laywright Dorothy Fields had felt that casting Merman as Annie Oakley would guarantee a sure-fire hit.  The New York production of Annie Get Your Gun ran for 1,147 performances and was the third longest running musical of the 1940s.  It was the biggest Broadway hit of Merman’s career.  The 1950s screen adaptation starred Betty Hutton and Howard Keel.

The 1999 Broadway revival showcased Bernadette Peters – probably the prettiest and sexiest Annie to date, not to mention probably the greatest singer of the bunch.  The show was somewhat updated for modern times.  Not only did Peter Stone make revisions to Herbert and Dorothy Fields’ original book (the story is now a show within a show, namely Buffalo Bill’s Wild West Show), but there have been revisions to Berlin’s original score as well.  This is the version of the show which CAOS  presented and despite the updated script and reworking of some of the music, it has not lost its innate charm and simplicity.  All the favourite musical numbers are still as lively and vibrant as they were in 1946.

The story revolves around Annie Oakley, an illiterate hillbilly with a knack for shooting guns. Persuaded to join Buffalo Bill’s travelling Wild West Show, she soon falls helplessly in love with Frank Butler, the show’s featured shooting ace.  However, when Annie eclipses Frank as the show’s main attraction, she realises she’ll have to make some hard choices if she wants to win the man she loves.  On the advice of her “adoptive father”, Chief Sitting Bull, Annie realises that to win Frank she must lose the final shooting match and finally accepts the fact that she “Can’t Get a Man With a Gun”.

This show has so many wonderful songs including 'There’s No Business Like Show Business', 'Doin’ What Comes Natur’lly', 'The Girl That I Marry', 'You Can’t Get a Man With a Gun' and 'Anything You Can Do'.

CAST

CHORUS

Musical Director - Ian Milligan
Producer - Iain Fraser

More about this show can be found by clicking here.

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The first show ever to have been repeated by the Society, 'Fiddler on the Roof' is surely one of the great musicals - comedy, drama, tragedy - all rolled into one to depict the sweep of history, great movements of people, the importance of tradition and the outside influences threatening to tear it apart.  In 1994 many said then that it was the best show ever produced by the Sociey and now in 2009 people in the community are once again saying that this was our best show ever.  It's not really possible to make comparisons between shows over such a span of time, but clearly the community and the cast enjoy 'Fiddler'.  Certainly it was rewarding to rehearse and perform and each show was a tour de force.  

Many of the cast in this year's show also appeared in 1994 aqnd there were some amazing casting parallels between the shows ....... in 1994 Peter Macdonald (this year's Tevye) played Perchick and this year that part was played by Peter's second cousing Mark MacDonald; 1994.s Hodel was played by Angela Dickinson, second cousing to Emma Milligan who played Hodel this year; Chava, this year, was played by Donna Milligan whose mum Julie played Chava in 1994 and of course Angela, who played Golde this year, is neice to 1994's Golde, Margaret Milligan ........... TRADITION!!

CAST

VILLAGERS

VILLAGERS' CHILDREN

Musical Director - Ian Milligan
Producer - Iain Fraser

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For the second year in succession the Society decided to repeat a previously presented show and it was a good decision.  The show, one of Gilbert and Sullivan's Savoy operas, proved to be a resounding success.  The Pirates of Penzance is pure entertainment, with many memorable songs and characters.

The alternative name for the operetta is 'The Slave of Duty' and as the play unfolds it soon becomes apparent that this refers to Frederic's obsession to always 'do his duty'. On becoming 21 years old, Frederic is awarded his indentures by the Pirate King. However, the original indentureship stated that on achieving his 21st birthday, Frederic could leave the pirates. This he chooses to do, but his 'sense of duty' not only leads him to inform the Pirate King of his decision to leave but also compels him to inform the pirates that he will, from now on, do his utmost to ensure their extemination.

The pirates, being a band of tender-hearted orphans accept that this is indeed Frederic's duty and take no steps to prevent him from leaving or carrying out his duty. In the meantime the Major-General's many daughters turn up at the Pirate's Cove, believing it to be deserted and proceed to cavort about. Frederic, who until that moment, had only set eyes on one woman - Ruth, his nurse - immediately falls in love with the eldest sister - Mabel. The pirates return and decide they are each going to marry one of the sisters and go looking for the local padre. In the nick of time however, the Major-General turns up to rescue his daughters. He achieves this by taking advantage of the pirates' well-known habit of releasing captives who claim to be orphans. Like so many before him, the Major-General pretends to be an orphan and the pirates set free he and all of his daughters.

The pirates, being a band of tender-hearted orphans accept that this is indeed Frederic's duty and take no steps to prevent him from leaving or carrying out his duty. In the meantime the Major-General's many daughters turn up at the Pirate's Cove, believing it to be deserted and proceed to cavort about. Frederic, who until that moment, had only set eyes on one woman - Ruth, his nurse - immediately falls in love with the eldest sister - Mabel. The pirates return and decide they are each going to marry one of the sisters and go looking for the local padre. In the nick of time however, the Major-General turns up to rescue his daughters. He achieves this by taking advantage of the pirates' well-known habit of releasing captives who claim to be orphans. Like so many before him, the Major-General pretends to be an orphan and the pirates set free he and all of his daughters.

CAST (In Order of Appearance)

Musical Director - Ian Milligan
Producer - James Cassidy