Donata Cucinotta, soprano, as Evangeline, "our heroine," a creature of impulse and an impetuous pet, pursued through love's impatient prompting, by Gabriel, and, with a view to edacious contingencies—by a whale.
Kaitlyn Costello, mezzo-soprano, as Gabriel, "our hero," a fascinating and perambulating young lover— in point of fact, a roaming Romeo.
The Beautiful Heifer, as played by
Jennifer Jones and Amelia Bielen (from Portland Ballet), Evangeline's friend and pet cow, specially imported from Cowes, and featured in the celebrated Heifer Dance.
Ringbolt and Deadshake, as played by
Jennifer Jones and Amelia Bielen (from Portland Ballet), a brace of conscientious objectors, who left their ship simply because they couldn't take it with them.
Antonio Rocha, mime artist, as the Lone Fisherman, a patient and singularly taciturn toiler of the sea, with a natural tendency to hook whatever comes within his reach.
Patrick Dailey, countertenor, as Catherine, Gabriel's aunt, the very mildest type of anti-nuptial mother-in-law—but wait.
Adam Cannedy, baritone, as Le Blanc, a lawyer with a will and a way.
Victor Khodadad, tenor, as Captain Dietrich, a Dutch mercenary in the British ranks, who shows no mercy, being a mercynary cuss.
Mark Williams, tenor, as Basil, Evangeline's sire, whose vacillating mind is divided between the rental of her prospective husband and his own parental affection.
Mark Hanke, tenor, as Felician, Gabriel's friend and Eulalie's adorer.
Nora Graham-Smith, mezzo-soprano, as Eulalie, Evangeline's confidante, confidently hoping for Women's Rights.
Andy Papas, baritone, as Hans Wagner, a spiritual corporal with undue corporeal proportions, —a softy for Mary-Ann.
Rachele Schmiege, soprano, as Mary-Ann, Evangeline's waiting maid.
Stefan Barner, tenor, as Rudolph, a soldier lately fallen—for Rose.
Abigail Krawson, soprano, as Marie, with Rose, a girlfriend of Evangeline.
Ryne Cherry, baritone, as Fritz, Rudolph's fellow marine, negligent at standing guard, but dutifully attentive where it concerns Marie.
Scott Ballantine, baritone, as Policeman No. 1, who has been shipped because he's good in voice, also Headsman, a Fisherman, a Ruffian, a Soldier, a Farmer.
Eduardo Ramos, tenor, as Policeman No. 2, who has been shipped because he's good in voice, also Jailor, a Fisherman, a Ruffian, a Soldier, a Farmer.
Daniel Noel as King Boorioboola Gha, a suffering sovereign, the story of whose rule is a reign of peace.
Patrice Tiedemann, soprano, as Queen Boorioboola Gha, the King's much better adviser and supervisor of his whole conduct.
Tyler Putnam, bass, as Chief of Police, —called by some a peeler— possibly because he was never known to heed any appeal a prisoner might make. "Lucas a non," and all that sort of thing.
2016 EVANGELINE PRODUCTION TEAM
Christopher R. Mirto, Stage Director, our visionary Dionysian, without whom our dithyrambs would dither.
Nicole Slaven, Director of Design, the muscle behind our form following our function. Or is it function that follows form? This is a chicken or egg thing—you'll see for yourself.
Charles Kaufmann, Artistic Director, the conductor—though given to much punching, better acquainted with P. R. than the U. P. R. R.
The Evangeline $10 bill
The Longfellow Chorus Portland, Maine, U.S.A.
Rice's Evangeline
On April 2 & 3, 2016, The Orchestra of The Longfellow Chorus, in collaboration with Portland Ballet and Woodside One Wheelers, will present two historic productions of Edward E. Rice's 1874 burlesque, Evangeline, or The Belle of Acadia, in John Ford Theatre at Portland High School, 284 Cumberland Avenue, Portland, Maine.
First produced in Niblo's Garden in New York City in 1874, and then with great acclaim in 1875 at Globe Theatre in Boston, Rice's Evangeline was produced thousands of times across the country from 1875 until the mid-1890s and is considered the prototype of today's Broadway-style musical comedy. Our 2016 Evangeline—a major production—will bring together a large company of talented directors, cast and orchestral musicians from near and far.
ABOUT OUR 2016 EVANGELINE PRODUCTION
ARGUMENT
(Synopsis from a Boston Museum program booklet, January 29, 1877)
As a rule we dislike to get into an argument with anybody, but for the benefit of those who, having left their spectacles at home, are unable to see the plot of "Evangeline," we have waived all personal feelings and consented to explain a few intricacies which may not be apparent at first sight.
Some years before the curtain rises,—that is to say, looking back before the action of the piece begins,—what we mean is, some time previous to the date of the play's commencement—
On second thoughts, we will begin this argument differently.
Evangeline, the heroine, is Basil's daughter and in love with Gabriel, who reciprocates her affection. They are to be betrothed to each other, and to the great joy of Le Blanc, the officiating notary, who alone knows the fact that an uncle of Evangeline, who died some years before the rising of the curtain, left his money to her on condition that she never betrothed Gabriel, whom he hated, because he (Gabriel) had once shouted out, "There goes old Skeesicks!" at him (the uncle) when he (Gabriel) was a boy, and he (the uncle) was going along the street in front of (Gabriel's) house.
This, it will be perceived, is ingenious, as it gives a motive for introducing a will, without which no modern piece can very well get along. It also exemplifies the old proverb, "Where there's a will, there's a way."
If she betroths Gabriel the money is to go to Le Blanc, this being a provision of the will; and as Le Blanc has the will, all he wants to find is the way to get the young couple betrothed, so he can come into possession of the large fortune.
By this, it will be naturally inferred that Le Blanc is a villain.
Do not let it be thought for an instant that his motives are mercenary,—far from it! He is in love with Catherine, Gabriel's mother, and fears she will reject him unless he is wealthy, which he is not, yet.
If he marries her, and her son marries Evangeline, and he has obtained Evangeline's money, and Catherine's son has become his son, and his money goes to his son, and his son naturally settles some of it on his son's wife, who is Evangeline,—perhaps we had better get on with the argument,—but anyway, the money will be in the family just the same.
This is somewhat confusing at first sight, but it will well repay study.
Evangeline is rather romantic, loving to get into exciting situations, because she is a heroine. So she hides two sailors, who have deserted from a man-of-war lying in the bay near Basil's house.
Just as a lot of guests have assembled at Basil's house to see his daughter betroth Gabriel, and just as she has signed "Eva—" and is going to write "—ngeline," the captain of the man-of-war enters the house with a file of soldiers, searches the premises, finds the deserters, and arrests Evangeline for abetting them.
He says she must go to England to be tried by a court-martial, and Gabriel volunteers to go too. Le Blanc, anxious to get the rest of her name signed to the contract, says he will also go, and Catherine, in a truly noble spirit and one worthy of imitation, decides to become the chaperone of the party.
The ship starts for England, but meets with a storm, and is shipwrecked on the coast of Africa, and our party of friends are forced to become African explorers.
They come across the diamond fields, and are arrested by the policemen of the African monarch, Boorioboola Gha, on the charge of stealing jewels which belong to the crown. They are tried, convicted, and sentenced to be beheaded; but it being desirable not to have the play end at this point, Le Blanc luckily recognizes the king as a mason,—having once carried a hod on the same ladder with him,—and owing to this unexpected fortuitous combination of circumstances, the king pardons them all.
A balloon is furnished them to leave Africa with. [Some may argue that there is no need of a balloon, as they would have to leave Africa any way, it being too large to take with them; but this is our argument, not theirs.]
They depart in the balloon, and they are blown to Arizona, where they meet with various exciting adventures, which must be seen to be appreciated. Finally, they find the Union Pacific Rail Road, and get home.
The Captain obtains Evangeline's pardon, and she is betrothed to Gabriel, to Le Blanc's intense delight. A little breeze of excitement which springs up at the last moment is allayed, and the curtain falls on a happy and re-united Republic.
We candidly admit that we have not given all the incidents of the play with the minuteness we could have wished; but the fact is, something must be left to the imagination of an intellectual public, and we, desiring to be on the right side, have left considerable; at least, we hope so.
Perhaps we have done wrong; but nothing is exactly as it should be, and a great deal that shouldn't be, is. If we have firmly impressed this fact upon the general mind, it will alone be worth the price of admission, and nobody will have any reasonable excuse for dissatisfaction.
—J. Cheever Goodwin, Boston, January 29, 1877
ETCETERAS
(A note to the audience from a Boston Museum program booklet, July 7, 1876)
Owing to the present and growing taste for villains (stage villains are meant), the management has, at great expense, engaged the most blood-thirsty ruffians that could be found in the country—or city either; and all persons intending to purchase curls or wigs soon, are advised to do so at once, as hair will certainly rise during the atrocities these ruffians will commit on the stage, if they have previously committed their parts.
An interval of two hundred and seventy five days and four hours is supposed to have elapsed between the first and second acts, and sixty hours and twelve and a half seconds between the second and third scenes of the last act. Still, the authors' watches are not infallible, and it might be as well to keep account for yourselves.
LIST OF ORIGINAL MUSIC
Composed expressly for the Extravaganza by Mr. EDWARD E. RICE
Orchestrated impressley for this Production by Mr. CHARLES KAUFMANN
