Once again, CG&SS proved the versatility of the group by pulling together a very entertaining "variety show/pops concert" as a fund-raiser for our upcoming production of "Iolanthe."  Many CG&SS performers, past and present, offered up an impressive collection of opera, operetta (both G&S and "non"), Broadway, and comic songs.  The performance was given at Guilford's lovely First Church of Christ, Scientist, which is not only a terrific performing space, but also boasts great acoustics.  The duties of "M.C/Narrator" were ably performed by our director/cum "fearless leader"/cum "driving force," Bob Cumming. Excellent piano accompaniment was offered by our favorite, Deborah Lyon.  Our superb music director, John Dreslin, also contributed his talents and leadership, and will be mentioned again later.
    We started off with the opening chorus, "Ring forth, ye bells," from "The Sorcerer," our production 2 years ago.  This was sung by the entire ensemble, under the direction of John Dreslin.  Two more favorites from "The Sorcerer" followed.  Bill Sorensen sang "It is not love" (Boy, does he have a beautiful voice - and he's been at this for a long time!).  Then Kathleen Thompson sang "O happy young heart;" her voice is even more beautiful, and her performance style more polished than when she sang it a few years back.
    Next came a real change of pace:  Don Shirer singing "They're Moving Father's Grave," by that ever-popular composer, "Anonymous."  He was a real character - gruff, funny, with a strong voice and presence.  And speaking of "Popular," Teresa Hollo reprised that number, from "Wicked," ably assisted by Carol Connolly.  If anything, Teresa was even more adorable ... and ingratiating ... than last year ... and she sang well, too.
    Next came another well-loved reprise from last year's Middletown benefit: the duet "It never can be love" from "Naughty Marietta," performed by Bob Cumming and Marilyn Cone.  Their easy rapport was again very enjoyable, as was their singing.  And what came to my mind was that old Shakespeare quote: "Methinks thou dost protest too much!"
    Carol Connolly then took over with "Children of the Wind" from "Rags."  She has a beautiful voice, good stage presence, and a heck of a vocal range!  But even these strengths couldn't completely protect her from the antics of her "assistants" during her second number,  "I Want Them Bald" by Goldrich & Heisler.  Julie Church, Teresa Hollo and Pat Sloane "helped out" with maracas, and a few choice chorus words, and that was silly enough.  But when John Swanson and Bill Ziegler came racing out to celebrate baldness, and do back-up dancing, things really got funny!  Sorry, Carol - good as you are, you ALMOST weren't upstaged by those two maniacs!
    Karl Stofko changed the mood with a beautiful rendition of "This Nearly Was Mine" from "South Pacific."  He was able to "sell" the song by just performing it straight, and sounding very good.  More Rodgers & Hammerstein followed, with Renee Molnar Haines, singing "What's the Use of Wonderin' " and "If I Loved You," from "Carousel."  Her voice is warm and rich, and she was able to show vulnerability on stage, which is always hard.  Hard on her heels was - funnily enough - Bill Molnar, singing "Restless Heart" from "Fanny."  He had a strong voice and presence, although there seemed to be some question as to whether he was a tenor.  (Yes, he was.)
    Another of our leading ladies, Deanna Swanson,  took the stage next, with "Art is Calling for Me" from "The Enchantress."  I was surprised to find that I knew it as "I Want to be a Prima-Donna" - and that's what she was - cute, perky, and with a soaring voice.  Her husband, John, continued with the "classic" "Groucho Marx" song, "Lydia, the Tattooed Lady" from "At the Circus" - performed with Groucho-style glasses and nose.  And when John forgot his words, and ad-libbed that it was a "secret word," those of us who remembered Groucho's TV show, "You Bet Your Life" - or had seen it in re-runs - laughed very hard!  The Swansons continued, with a medley from "Cabaret."  John sang "Wilkommen, Bienvenue, Welcome;" I'd love to see him perform the entire role of the "M.C."!  An almost unrecognizable Deanna joined him for "Money Makes the World Go Around," and then continued solo with the title song - and nailed it!
    Lisa Zolkiewicz Ives offered a fascinating performance of "Stars and the Moon" from "Songs for a New World."  She has a strong, straightforward, Broadway style, and her low range is particularly rich. Next, we had a mother-son performance, by Gina Lombardo and Joe Heitman, in a tap-dance rendition of Sinatra's "You Make Me Feel so Young."  This was another encore from last year, but this year, it had even more pizzazz.
    Next, a special guest, Bob Alexander, favored us with a performance of two of his songs from "Come Morning" - "July" and "Star Song."  The combination of his piano playing and singing gave the performance a more intimate quality.  The first half of the program ended with Melanie Silvernail singing "The Doll Song" from "Tales of Hoffman" - assisted by Leighton Phraner, who kept winding her up when she ran down.  She showed good control of voice and body, and what an amazing coloratura she has - and she's only sixteen!
    The second half of the program was all Gilbert & Sullivan ... except for the very end, which will come later.  First off, Bill Ziegler offered "The Sentry's Song" from "Iolanthe," our next production. He did a very nice job, displaying the political satire that permeates the show.  Next, Lee Jones performed "Spurn not the nobly born", with help from Kathleen Thompson and a small ensemble.  Lee showed vocal strength, and versatility, in directing the song to Kathleen, and incorporating a few new "bits of business."  Then Allan Church, a real stalwart of the company, undertook "The Law is the true embodiment."  He showed style and panache, in a song that is both clever and difficult.
    Next, Kathleen reprised a delightful song from "Ruddigore" - "If somebody there chanced to be."  She was charming, but also precise, and of course, sounded wonderful.  Bill Ziegler returned to sing "A more humane Mikado" from "The Mikado," and sang with appropriate glee.  His dirty look at the chorus to stop them from laughing was priceless.  Leighton Phraner sang "O willow, tit willow," and proved that a very funny performer can still sing with sentiment. Finally, Bill and Kathleen returned to sing the duet, "Were you not to Ko-Ko plighted;" they really seemed to be having a good time.
    Proving once more what a family-oriented group we are, Allan and Julie Church did a father and daughter performance of "Things are seldom what they seem" from "HMS Pinafore."  Allan again proved what a pro he is, and Julie sang very well, showing more and more maturity in her performance.  Leighton returned to perform another of his "greatest hits":  "When I was a lad," also from "Pinafore."  His delivery is always right on the money, and his reactions to his chorus were great  We then had a treat, in the piano four-hands rendition of the overture to "Iolanthe," played by John Dreslin and Deb Lyon.  It's one of the best overtures - probably because Sullivan actually wrote it, instead of handing off notes to be worked out by an assistant, as he did in some other cases.  The piano reduction was effective, and was played very well.
    The program ended with a vocal rendition of "Stars and Stripes Forever" - who knew there were words? - by John Dreslin and a "Surprise Septet."  As far as I was concerned, it sounded like a lot more than seven voices!  It was a very successful program, and we were grateful to all who came. This all bodes well for our upcoming efforts on "Iolanthe." And don't forget, as they say in that show:  "Up in the sky, ever so high, pleasures come in endless series!"

                                                                                Respectfully submitted,
                                                                                Liz Rodie Jones