Pasadena Playhouse is proud to present Theatre 360’s production of
BABES IN TOYLAND

By William Mount-Burke & Alice Hammerstein Mathias
Based on the operetta by Victor Herbert
December 12 – 21, 2008

Bring the whole family and celebrate at Pasadena Playhouse! In a unique collaboration, Pasadena Playhouse presents the Theatre 360 production of Babes in Toyland.

Victor Herbert's timeless musical adventure follows young Alan and Jane as they run away from rules and chores to the magical land of Toyland, a beguiling world of walking and talking toys. As their journey continues they are introduced to the wonderful dolls of Toyland and a place where anything can happen. Even a little evil and greediness, as Pete Pinkerton tries to steal the magic of Toyland by escaping with the Toymaker's plans of the famous Toy Soldiers. Alan, Jane and all the Toy's help teach Pete Pinkerton about the meaning of Christmas and giving as the young children themselves learn a valuable lesson about love and respect.

This newly updated version will delight the whole family as fantasy comes to life as only the magic of theatre can do. Don't forget to put this on your holiday list of things to do!

Starring:
Theatre 360 Actors

Quotes and Reviews
Related Links

More about the creative team
William Mount-Burke
Alice Hammerstein Mathias
Victor Herbert
Babes in Toyland Bonus Features!

Quotes and Reviews

"Delightful! A polished exhibit of remarkable young performers!"
While visions of nutcrackers and Victorian misers dance through the Yuletide entertainment listings, this production offers a delightful alternative. Forty kids, age 9 to 19 romp through Alice Hammerstein-Mathias and William Mount-Burke's contemporary version of Victor Herbert's this is no kiddie pageant designed for parents to gush at their children on stage; rather, it is a polished exhibit of remarkable young performers. Director-choreographer Devon Yates, founder of Theatre 360 (a serious training ground for young performers), demands precision, timing and stage presence from her charges. Musical director Ryan Cantwell and his small orchestra provide excellent accompaniment. Highly impressive are some of the older students, particularly Samuel Lopez, who impresses with his bizarre physicality and fine vocal work as the play's Snideley villain, Pinkerton. Perhaps the finest moments comes with a pair of brand new "toys" in the shape of ballet dancers Alex Hurren and Maxine Hillman, whose pas de deux give hope to the future of American dance. Scores of costumes are meticulously created by Erin Augustine, keeping the production values as strong as those afforded by host Pasadena Playhouse's lighting and sound. 
                 - Tom Provenzano, LA Weekly

Related Links*
Theatre 360
William Mount-Burke on Broadway World
Alice Hammerstein Mathias on Broadway World
Victor Herbert on Wikipedia
Babes in Toyland on the Internet Movie Database

Bonus Features
Facebook Page
MySpace Page


William Mount-Burke (Book): In the fall of 1968, William Mount-Burke, the former director of The Miami Light Opera and The Stamford Symphony, took steps to start an Off-Broadway company specializing in the comic operas of Gilbert and Sullivan. He first presented a free showcase performance of The Pirates of Penzance at his apartment in New York City. The success of this performance encouraged Mount-Burke to move forward with his plan. Mount-Burke formed a non-profit organization, The Light Opera of Manhattan, which came to be known as LOOM. The producer and his company next offered a number of free performances at St. Michael's Church on East 99th Street, in Manhattan. Soon, LOOM moved into the basement gymnasium of The Jan Hus House on East 74th Street, previously the home of Dorothy Raedler's American Savoyards, intending to play a limited engagement. However, the company stayed at the Jan Hus for almost seven years, performing predominantly the Savoy operas Gilbert and Sullivan, such as Pirates, The Mikado and H.M.S. Pinafore. He wrote the book for A Night in Venice (1982) and Babes in Toyland (1986).

Alice Hammerstein Mathias (Book and Lyrics): Alice Hammerstein Mathias, a daughter of Oscar Hammerstein II, is the Hammerstein family representative to The Rodgers & Hammerstein Organization. The recipient of several ASCAP Awards, she is the lyricist and co-author of Babes in Toyland, an adaptation of the Victor Herbert operetta, and she also wrote English lyrics to versions of Franz Lehar's The Merry Widow and Johann Strauss' A Night in Venice, all of which were presented in the repertory of the Light Opera of Manhattan (LOOM). She was also associated with conductor Thomas Scherman and his Little Orchestra Society, for whom she translated lyrics for the American premiere of Richard Strauss' Intermezzo and adapted Mozart's The Magic Flute for presentation by puppets, both of which were performed at Lincoln Center for the Performing Arts. Mrs. Mathias created a revue, Something Wonderful, based on the songs of her father, and with her late husband Phil Mathias, she wrote and produced a Centennial tribute to Jerome Kern.

Victor Hubert (Composer)**: Composer, conductor and cellist, Victor August Herbert was born in Dublin, Ireland on February 1, 1859. After the death of his father, he studied with Max Seifriz at the conservatory in Stuttgart, where he also participated in the court orchestra and performed as a solosist.

Victor Herbert composed in every style of music but he is perhaps best remembered today as the creator of delightful and elegant songs. His wife to be, Therese Foster, was already and established soprano in Germany in 1885 when Herbert, a cellist of the orchestra at Stuttgart’s Royal Court, first met her. In 1896, Therese was discovered by Frank Damrosch, who was touring Europe to find fresh talent for the Metropolitan Opera. Therese refused a contract unless Herbert was also offered a position in the Metropolitan Opera Orchestra and Damrosch. They were married in August 1896, and came to America that autumn. Therese was scheduled for many major performances. She was an immediate success, and although she shortly retired from singing, it is not surprising, given Herbert’s prolific gifts as a composer and arranger, that many of his finest efforts were the result of his collaborations with her and, by extension, for the soprano voice. As he began writing for the musical theatre - some forty operettas and two operas - a variety of other well-known sopranos became the vehicles for Herbert’s gifts.

On arrival in New York, Herbert, with his usual zeal, set about all kinds of activities. In addition to his opera duties, he became active in chamber music and shortly established himself as a major solo cellist, appearing first with the New York Philharmonic in 1887 and numerous times thereafter. He even founded his own orchestra which was probably modeled on his experiences in Vienna with the Eduard Strauss orchestra. The Victor Herbert Orchestra performed a mixture of classics and other light music. As the years passed, perhaps also in the manner of the Strauss family, he created innumerable light compositions for the concerts of his orchestra. His hand-picked ensemble soon achieved great fame and began touring about the country.
**Biographical Information courtesy of Naxos.com.

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