Orpheus started in 1906 long before the first modern style Broadway show, Showboat (1927) hit the stage. In the early years Orpheus put on concerts and did Gilbert & Sullivan shows and other shows like G&S that were popular at the turn of the century. Showboat was the first real 'musical' as we define it today, an integration of music, dance and dialogue. However, no one else really followed the path of Jerome Kern and Oscar Hammerstein who wrote Showboat, until 1943, then Richard Rodgers and Oscar Hammerstein wrote Oklahoma!
Oklahoma! was Rodgers and Hammerstein's first musical. Carousel, our upcoming show (May 31 - June 9), was their second.
1943 - 1957 is considered the golden era of musical theatre and it was during the end of this period that Orpheus joined in. Here is an excerpt from '100 Years of History' a book written by Orpheans for the 100th anniversary of Orpheus.
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The 50th Anniversary Brings a New Direction
Orpheus continued to follow its successful pattern of staging old favourite operettas such as The Vagabond King, Merrie England, The Chocolate Soldier, and Rose Marie, but the Society's 50th anniversary was approaching and, with Mark Brooks now President, the group looked for something special for its 1955-1956 anniversary season. The musical show Oklahoma! had been a turning point in the history of musical theatre when it was first presented on Broadway in 1947 and Orpheus decided that this was the time to be daring and tackle it. The budget was set at $6,000.00.It would be the first time Oklahoma! had been produced in Canada.
Traditional operas had no spoken words, but the familiar light operas or operettas, such as Orpheus had been presenting, did. They typically had an extremely thin plot, with dialogue interrupted by musical numbers which were there for musical value alone, since they did not advance the plot. The acting was by nature static and the choreography – since the stage was filled with a chorus of 50 or 60 singers – consisted mainly of arms waving to music. "A magic scene contrived to please the eyes and the ears at the expense of the understanding," wrote Lord Chesterfield, referring to this kind of show.
In this first of the modern musicals, dialogue, songs, dance, and orchestral work all played a part in an integrated whole. Not only the script, but the words of the songs and the dances advanced the substantial plot and this required more complicated staging, more elaborate sets, and complex rehearsal schedules. It also required real acting and skilled manipulation of a chorus. To handle the music, the Society turned to Robert Fleming, well-known musician and composer for the National Film Board. He had often been a member of the Orpheus orchestra and so was familiar with the level of vocal expertise with which he had to work. A choreographer with ballet background was needed and Nesta Toumine, organizer and head teacher of the Classic Ballet of Ottawa, signed on. Winifred Canty accepted the challenge of Accompanist. Still needed was an Artistic Director.
Orpheus took a giant leap of faith and entrusted the show to Bill Glenn, a young man who had never directed for them. At 22 years of age, six foot seven and with a booming voice, Bill was hard to miss. For such a young man, his theatre experience was impressive. Amelia Hall, his former English teacher in high school, hired him in 1951 as assistant stage manager for the Canadian Repertory Theatre Company and the next season he became its lighting director. In the summer of 1953, he had the thrill of participating in the opening performance of Richard III in the first Stratford Festival, in the original tent theatre. The late Tyrone Guthrie, also very tall, advised him to take up directing because he was too tall to be an actor. Bill then had returned to Ottawa to be director of the theatre classes and plays for children offered by the Ottawa Little Theatre. He was enthusiastic to help Orpheus break new ground, bringing to the show his energy, his creativity, and his skill at drawing out his performers' talents.
For the first time, the Society held formal auditions and many well-known Orpheus stage performers were cast: Ralph Roose as Curley, Esther Henry as Laurie, William Dunning as Will Parker, and Des Gibson as Jud. Freda Lyon (later Blain) played Ado Annie. The directors opted for a chorus of 30 singers, including Mary Allen, Jean Halley, Charlotte Ireland (later Stewart), Jean Wheeler, Lois Wright, Lloyd Burton, and Bill Murray.
Lauretta Thistle reviewed the show for the Ottawa Citizen (November 30, 1955) and the headline of her article said it all: "Oklahoma! By Orpheus. Excellent. All Sold Out."
