Princess Ida

Lyrics by W.S. Gilbert
Music by Arthur Sullivan

September 20, 21, 27, 28, 2022, 7:00 P.M.
September 22 & 29, 2:00 P.M.

Alpenrose Opera House
6149 SW Shattuck Road
Portland, Oregon

Cast and Crew

King Hildebrand
Laurence Cox

Hilarion (King Hildebrand’s son)
Aaron Lange

Cyril (Hilarion’s friend)
Carl Dahlquist

Florian (Hildbrand’s friend)
David Ridley

King Gama (Ida’s father)
Ken Malucelli

Arac (Gama’s son)
James Montgomery

Guron (Gama’s son)
Lincoln Thomas

Scynthius (Gama’s son)
Marcos Galvez

Princess Ida (Gama’s daughter)
Gabrielle Widman

Lady Blanche (Professor of Abstract Science)
Beatriz Abella

Lady Psyche (Professor of Humanities)
Lindsey Lefler

Melissa (Girl graduate)
Mandee Light

Sacharissa (Girl graduate)
Viveka Stuhlbarg

Chloe (Girl graduate)
Marianne Sadée

Ada (Girl graduate)
Bryna Montgomery

Queen (Hildebrand’s wife)
Beth Kahlen

Chorus

Anne Kolibaba Larkin, Beatriz Abella, Viveka Stuhlbarg, Beth Kahlen, Bryna Montgomery, Cathrine Huard, Jan Rosenthal, Jaymie Sanfilippo-Sherrard, Lindsey Lefler, Mandee Light, Marianne Sadeé

Bill Wuertz, Carl Dahlquist, David Ridley, Dennis Kelly, Harold Williams, James Montgomery, Lincoln Thomas, Marcos Galvez, Michael McGee, Thomas McAulay

Director
Dennis Britten

Assistant Directors
Beth Kahlen & Laurence Cox

Music Director
Linda Smith

Producer
David Smith

Stage Manager & Prop Master
Amy Barnhart

Dance Captain
Catherine Huard

Lighting Design
Dennis Britten

Lighting Manager
Ian McCarthy

House Manager
Chuck Weed

Accompanist
Yvette Starkey

Costume Designer
Lucy Tait

Set Designer
Dennis Britten

Publicity
Laurence Cox

Outreach
Gabrielle Widman

Membership
Linda Smith

Program and Website
Sheryl Wood

Posters
David Smith

Logo
Tony Smith

SUmmary


Princess Ida, or Castle Adamant, was produced at the Savoy Theatre on 5 January 1884, but for some reason it never attained the success of the other operas. Yet when it was revived at the Princes Theatre on 24 January 1922, after a lapse of thirty-eight years, it was received throughout with the thunderous applause it so richly deserves, for it is full of true Gilbertian humour, and contains also some of Sullivan’s most delightful music.

It is perhaps the least known of the operas now regularly performed, but not necessarily therefore the least interesting, and is the only one of the series written in three acts. (G&S Archive)