MWOS was founded in 1939 by a group of citizens of the Town of Montreal West eager to perform the works of Gilbert and Sullivan. Harry Norris, a conductor of the D’Oyly Carte Opera Company, the parent Gilbert & Sullivan Production Company in England, along with his wife Doris, a former performer with the Company, were the original Music and Stage Directors. Their first production, The Pirates of Penzance, took place in the spring of 1940 and annual productions, encompassing all the Gilbert and Sullivan Operettas (with the exception of The Grand Duke and Thespis) have entertained audiences throughout Montreal and southern Quebec ever since. Offstage, MWOS members engage in an annual evening of singing Christmas Carols in the streets of Montreal West, a Christmas concert in the Montreal West United Church, and concerts for the Rotary Club, the Montreal West Travel Club, and others. A highlight is the annual visit to the historic Haskell Opera House which sits on the border at Stanstead, Quebec, and Derby Line, Vermont
MWOS's membership is diverse in terms of age, cultural background and occupation. Love of singing and working together on the show’s sets, costumes and staging contributes to a joy and “esprit de corps” that all agree is unique. Performers, backstage crew and administrators are all volunteers; only the music and stage directors are professionals. MWOS's focus on Community Theatre gives newcomers training with workshops in costume creation, stage movement, diction, and voice. New members are always welcome; whatever you can do, MWOS can probably use!
In addition to providing enjoyable theatre, MWOS has a commitment to contribute to the community. Each year the society makes a donation to The Montreal Children’s Hospital. As of last year this amount had reached just over $75,000, enabling the hospital to purchase badly needed equipment.
Website: www.mwos.org
Email: info@mwos.org
This time around the MWOS is tackling Princess Ida, which is considered difficult. It is the only G&S work that was “adapted from another medium,” namely The Princess by Alfred Tennyson, an 1847 narrative poem satirizing the idea of higher education for women. William S Gilbert turned the poem into a play of the same name (much to Tennyson’s disgust) in 1870, and then recast it as an opera fourteen years later, by which time women’s education was no longer such an unusual idea. Even so, modern productions have to contend with certain elements in the plot that could seem in poor taste; like The Taming of the Shrew, it can be read as a tale of a strong woman getting a much-needed comeuppance. The trick is to do as Gilbert did and see every character and situation as funny, and not be afraid of being at times just a little bit corny.
For Gilbert, both play and opera were exercises in writing blank verse, another unique and challenging feature within the G&S canon, as well as an opportunity for first-class farce. Political correctness was apparently as laughable then as now: all the students at Castle Adamant – indeed, all the animals – are female, and punishments are given out for such horrors as playing with chessmen and making drawings of baby carriages. As a counterpart, we also laugh at the pathetic attempts by men to enter the university by dressing up and passing themselves off as women in hopes of gaining brides. Ida, who was betrothed to a prince at the “extremely early age of one,” has sought refuge from this unwanted match in the all-female enclave, and as such wins modern audiences’ sympathies despite her militant views of men. Her eleventh-hour surrender to the charms of the prince (even though he is still in drag) could seem contrived; in this production it is clear early on that she is actually quite taken with the prince and at one point seems to be seriously reconsidering her take on the world – only to be interrupted by the prince’s father’s army who choose that moment to lay siege to the castle. It may be a man’s world, but that doesn’t mean men have the slightest idea what to do with it.
Princess Ida is also difficult because it has three acts and a great many Princess Ida is also difficult because it has three acts and a great many characters. Three acts means three changes of scenery and in some cases three changes of costumes – given the size of the company, people have to double or triple as students, courtiers, guards, etc. Lots of characters is no problem if enough people want medium-to-small roles. The role of Ida is one of the most demanding in the G&S canon, involving two moving arias, a quartet, and a stirring call to arms. Prince Hilarion and his two friends who sneak into the castle must be skilled tenors/baritones as well as comedians. Princess Ida also features several parts for professors (including the villainous Lady Blanche, the contralto role) and students, as well as Ida’s three hilariously stupid brothers who feel it necessary to tell everyone they are “masculine in sex” and opt to strip off their armour (much to the delight of nearby ladies) before the battle. Finally, there are the two kings: the stuffy and bloodthirsty Hildebrand and – one of Gilbert’s choicest and perhaps self-deprecating creations – Gama, who makes nasty fun of everybody in sight and ends up in leather chains yanked about the stage like a dog. For a “difficult” play, it is great fun to perform and will be a delight to see. Princess Ida will run at the Parkhaven Auditorium, 5785 Parkhaven, Cote St-Luc. April 23, 24 & 25 at 7:30 p.m, May 1 & 2 at 7:30 p.m, and May 3 at 1:30 p.m. The “road show” will be at the Haskell Opera House, 1 Church Street, Stanstead, QC. May 17 at 7:30 p.m. Ticket information: (514) 486-5918.
