The curtain rises on the men's chorus, reassuring us that they are Gentlemen of Japan and setting the stage for the beginning of our story. Into the town of Titipu wanders the minstrel Nanki-Poo, who, despite his humble appearance (in one of those unexpected complications which G&S audiences have learned to expect), is really the son of the Mikado, Emperor of Japan. He has fled his father's court, to escape an arranged marriage with the persistent lady Katisha, and has fallen in love with Yum-Yum. Yum-Yum, however, is betrothed to her guardian, Ko-Ko. Now, having heard that Ko-Ko has been condemned to death, Nanki-Poo arrives to claim Yum-Yum for his bride.

Imagine Nanki-Poo's consternation when he learns from the noble Pish-Tush and the haughty Pooh-Bah that, not only has Ko-Ko been reprieved, but he has been elevated to the rank of Lord High Executioner of Titipu and is preparing to marry Yum-Yum that very afternoon. Ko-Ko arrives in triumphal array to confirm this arrangement. Yum-Yum appears, accompanied by her sisters Pitti-Sing and Peep-Bo, and by the rest of her schoolmates (the women's chorus). Still, Yum-Yum and Nanki-Poo manage to find a quiet moment together, where he reveals his lineage to her and they reflect on what might have been, were she not to Ko-Ko plighted.

Tension mounts when a letter arrives from the Mikado, noting the lack of executions in Titipu since Ko-Ko took office and ordering an urgent remedy to this situation. While Ko-Ko (who has never even killed a fly) agonizes over how to comply with the Mikado's decree, Nanki-Poo reappears, deeply despondent about his loss of Yum-Yum and intent upon committing suicide. Ko-Ko strikes a bargain with Nanki-Poo: he will let Nanki-Poo marry Yum-Yum, but, at the end of one month, Nanki-Poo will let Ko-Ko officially behead him. They announce their pact to general rejoicing, which is cut short by the entrance of Katisha, intent upon imposing her affections on Nanki-Poo. The Titiputians manage to drive Katisha from the scene, but she vows to return--with the Mikado. (Ominous chord here for full effect.)

In Act II, we find Yum-Yum preparing for her wedding with Nanki-Poo. After they sing a merry madrigal to console themselves over the brevity of their marriage-to-be, Ko-Ko rushes in to announce another complication. He has discovered a little-known law which states that, when a married man is executed, his wife must be buried alive. Yum-Yum, understandably, calls off the engagement. Nanki-Poo proposes that Ko-Ko execute him immediately, but Ko-Ko cannot bring himself to do so, concocting instead a ruse of a fictional execution, supported by all the legal documents and affidavits, to be obtained by bribing Pooh-Bah. This ruse will allow the lovers to marry, but they must flee the country, as the Mikado is about to arrive.

Pomp and ceremony attend the Mikado's entrance. Ko-Ko, believing the purpose of the visit is to verify that an execution has taken place, produces the affidavit and enthusiastically describes the fictional event, with Pitti-Sing and Pooh-Bah providing corroborative detail. But Katisha notices Nanki-Poo's name on the document, and the Mikado declares the three accomplices guilty of "compassing the death of the Heir Apparent," condemning them to death by boiling oil (or perhaps melted lead). The trio's only hope is to admit their lie and produce the living heir. But, since Nanki-Poo has already married Yum-Yum, Katisha is certain to insist upon their executions anyway.

Under the circumstances, how else can Ko-Ko save his skin except by convincing Katisha to marry him instead of Nanki-Poo? He woos her touchingly, tunefully, and, in the end, successfully. All the residents of Titipu--and all the members of the audience--can breathe a collective sigh of relief and let the curtain fall on another triumph of reason and wit over the forces of darkness and confusion.

-- Kurtiss Gordon

Overture

Act I:

1.	If you want to know who we are	Nanki-Poo and Men
2.	A wand'ring minstrel I	Nanki-Poo and Men
3.	Our great Mikado, virtuous man	Pish-Tush and Men
4.	Young man, despair	Pooh-Bah, Nanki-Poo, and Pish-Tush
	And have I journeyed for a month	Nanki-Poo and Pooh-Bah
5.	Behold the Lord High Executioner	Ko-Ko and Men
	As some day it may happen	Ko-Ko and Men
6.	Comes a train of little ladies	Women
7.	Three little maids from school are we	Yum-Yum, Peep-Bo, Pitti-Sing, and Women
8.	So please you, Sir, we much regret	Yum-Yum, Peep-Bo, Pitti-Sing, Pooh-Bah, and Women
9.	Were I not to Ko-Ko plighted	Yum-Yum and Nanki-Poo
10.	I am so proud	Pooh-Bah, Ko-Ko, and Pish-Tush
11.	With aspect stern and gloomy stride	Ensemble
	The threatened cloud has passed away	Nanki-Poo, Yum-Yum, Pooh-Bah, and Ensemble
	Your revels cease!	Katisha, Nanki-Poo, and Ensemble
	For he's going to marry Yum-Yum	Pitti-Sing and Ensemble
	The hour of gladness is dead and gone	Katisha and Ensemble

Act II:

12.	Braid the raven hair	Pitti-Sing and Women
13.	The sun, whose rays are all ablaze	Yum-Yum
14.	Brightly dawns our wedding day	Yum-Yum, Pitti-Sing, Nanki-Poo, and Pish-Tush
15.	Here's a how-de-do!	Yum-Yum, Nanki-Poo, and Ko-Ko
16.	Mi-ya sa-ma	Mikado, Katisha, and Chorus
17.	A more humane Mikado	Mikado and Chorus
18.	The criminal cried as he dropped him down	Ko-Ko, Pitti-Sing, and Pooh-Bah
19.	See how the Fates their gifts allot	Mikado, Pitti-Sing, Pooh-Bah, Ko-Ko, and Katisha
20.	The flowers that bloom in the spring	Nanki-Poo, Ko-Ko, Yum-Yum, Pitti-Sing, and Pooh-Bah
21.	Alone, and yet alive!	Katisha
22.	On a tree by a river	Ko-Ko
23.	There is beauty in the bellow of the blast	Katisha and Ko-Ko
24.	For he's gone and married Yum-Yum	Ensemble

COSTUMES--Sandra Burgess, Phyllis Jordan, Diane Kelton, and Elaine Walker, co-heads;

Grace Albert, Bryar Albert-Loftfield, Jane Balis, Nick Baskin, Kathy Blaisdell, Esta Busi, Cathy Butterfield, Beverly Fuller, Judy Gatlin, Fran Goodwin, Kate Green, Laura Green, Jordan Helzer, Phil Helzer, Virginia Holmes, Marese Hutchinson, Wendy Larsen, Louise MacDonald, Adele Mack, Marcy Melcher, Pat Olanyk, Nina Pollard, Lucy Robinson, Emily Rosenberg, Mary Ellen Sailer, Carolyn Samonds, Ken Samonds, Ann Steinhauser, Bill Venman, Diana Venman, Sally Venman, Judy Wightman

ARMOR FABRICATION

Paul Hamel, Ken Samonds

WIG STYLIST

Ann Steinhauser

MAKE-UP

Melanie R. Donovan, Jenn Gagné, Caylin Lee, Laura Markiss, Shirley Pérez, Barbara Rose Speier, Linda Stark

SET CONSTRUTION and PAINTING--Bob Graham, head; Jeremiah Patterson, Linda Stark, scenic artists;

Allison Colbert, Jonathan Evans, John Foster, Gordon Freed, Martha Hanner, Kevin Hutchinson, Pam Isabelle, Lew Jordan, Jon Lord, Kyle Meservey, Lee Pershyn, Judi Pierce, Nina Pollard, Jonathan Simonds, Marinko Sremac, Jim Walker, Roy Williams

LIGHTING--Steve Morgan, head;

Ben Blier, Austin Federa, Galen Knowles, Artemis Roehrig, Aline Roy

PROPERTIES--Marese Dolan Hutchinson, head;

Catherine Butterfield, Nicholas Dahlman, John Foster, Melissa Gordon, Nakamura, Judy Pistrang, Linda Stark, Jim Walker, Yasuko Watanabe, and the costume crew

PROGRAM--Kurtiss Gordon, head;

Joseph Donohue, Jonathan Evans, Paul E. Peelle, Roy Williams, Fred Zinn

PUBLICITY--Carol Rogers, head;

Glen Gordon, Kevin Hutchinson, Nina Pollard, Ilene Roizman, Jim Walker

TICKETS

Town of Amherst Leisure Services staff

BANNER PAINTING--Judi Pierce, head;

Allison Colbert, Martha Hanner, Pam Isabelle, Marinko Sremac, Linda Stark

USHERS

Allison Colbert, Carla Cooke, Caitlynn Devine, Meghan Devine, John Diggs, Kimaya Diggs, Makeda Diggs, Sarita Diggs, Jay Elliott, Rebecca Freed, Pam Isabelle, Maud Kulp, Michael Kulp, Avery Low, Alyssa Pandolfi, Jeffrey Pandolfi, Linda Roghaar, Jessica Swiercz, Zazie Tobey, Allen Vance, Mira Vance, Killian Venman, Eleanor Warnock, the Weber family

COMPANY PHOTOGRAPHY

Gigi Kaeser

GIFT SHOP

Mimi Cary, Lee Pershyn

COMMISSARY--Esta Busi and Mimi Cary, co-heads;

Paul E. Peelle, and cast

PERFORMANCE REFRESHMENTS--Amherst Regional High School Theatre Company

Kathy Blaisdell -- Katisha -- debuted at VLO as Inez last fall, finally getting back onstage with her husband, Ted, for only the third time since they met performing in an opera in college, though they have often sung together in choirs and as soloists. She has appeared as Buttercup (H.M.S. Pinafore), Meg (Brigadoon) and Marcelena (Figaro) with Opera North in Vermont, and Ma Moss (Tenderland) with Lancaster Opera Company in Pennsylvania. Kathy is Director of Student Financial Services at Mount Holyoke College. Kathy, Ted, and their two daughters live in South Hadley.

Theodore Blaisdell -- Nanki-Poo -- is enjoying his fourth season with VLO. He and his wife Kathy have enjoyed performing together in opera, oratorio, and choral venues throughout their marriage. Ted's first G&S stint was as Ralph Rackstraw in a Dartmouth College production, but he has been a Savoyard at heart since age 10 when he found his parents' recording of The Mikado. When he is not singing, Ted is rampaging through the lab at the Michael E. Smith Middle School in South Hadley as an 8th grade science teacher.

Heather Davies -- Pitti-Sing -- is pleased to be performing in her third fall production with Valley Light Opera. She was previously in The Gondoliers and The Merry Widow and currently serves on the VLO board of directors. Heather works as a legal assistant in Northampton focusing on telecommunications and is also the Minister of Music at the Village Church in Cummington. She thanks her family for introducing her to the VLO in 1984, when she saw her first Gilbert and Sullivan, H.M.S. Pinafore.

Joseph Donohue -- The Mikado -- has been letting the punishment fit the crime ever since the first VLO Pinafore, in which he played the Captain. Since then he has preferred the heavier G&S bass-baritone roles--Dick Deadeye, Wilfred Shadbolt, Pooh-Bah, and, for the first time, the emperor of Japan. Meanwhile, he has directed three shows for VLO: The Pirates of Penzance and, more recently, H.M.S. Pinafore and Ruddigore. When not being thrilled by the prospect of an execution, he contents himself, like a good retired samurai, with tending his Easthampton garden and avoiding painting his house.

Fran Goodwin -- Peep-Bo -- is excited about making her VLO debut. She's been involved in the area's theatre scene for many years, serving on the board of Amherst's LSSE Community Theatre and appearing in several shows. Her previous roles in the valley include Rose in The Secret Garden and Maria in The Sound of Music. Fran lives in Amherst and makes her living as Director of Finance and Human Resources at WFCR.

Phil Helzer -- Pish-Tush -- is the principal cello of the Pioneer Valley Symphony. A professional cellist by day, his last G&S role was as Sir Joseph Porter in H.M.S. Pinafore, 36 years ago in middle school. He thinks this is a great way to celebrate turning fifty and thanks his wife, Kate, and children, Jordan and Abby, for encouraging his return to singing in public.

Jonathan Klate -- Ko-Ko -- feels like he has G&S in his DNA. His grandparents, Louis and Kate Jaffe, toured the country nearly 100 years ago with the DeWolf Hopper G&S Opera Company, and lulled him to sleep with Tit-willow! First performing G&S at age four, he has appeared locally as John Styx in VLO's 1994 Orpheus in the Underworld and as Herr Silberhaus in Pioneer Valley Ballet's Nutcracker. As a singer/songwriter Jonathan has performed in clubs in NY, Boston, Nashville, Aspen and locally, and has recorded two albums of original music.

Libby Maxey -- Yum-Yum -- is a stay-at-home mom and truant grad student, currently on leave from Cornell's Medieval Studies program. While in Ithaca, she was an active recitalist and voice teacher. She now lives in Conway with her husband and son, and is a chorister and soloist at Grace Church in Amherst. She is delighted to make her G&S debut, having been a die-hard fan since discovering H.M.S. Pinafore in the fifth grade.

Matthew Roehrig -- Pooh-Bah -- began his association with VLO 30 years ago as Pish-Tush in the company's first production of The Mikado. This year marks his twenty-third principal role on our stage. Audiences will remember him as Despard in Ruddigore, Capt. Corcoran in H.M.S. Pinafore, Danilo in The Merry Widow, and Guiseppe in last year's The Gondoliers. His other Pioneer Valley performances include Petruchio in The Taming of the Shrew, Benedick in Much Ado About Nothing, and El Gallo in The Fantasticks. He appears regularly as a recitalist. Matt is a sixth grade teacher in Belchertown.

Catharine Butterfield -- Stage Manager -- first appeared in the VLO chorus in The Pirates of Penzance (1979). She has worked in many productions since, both onstage and off (chorus, VLO Board member, usher coordinator, costume crew, house manager). Having retired from two careers, elementary school music teacher and ESL teacher, Cathy lives with her husband, Tony, in Amherst. They have three children, Matthew, Andrea, and Margaret.

Nicholas Dahlman -- Stage Director -- premiered with VLO as Private Willis in 2000's Iolanthe; this is his seventh production with the company and his first foray as stage director. He was seen last year on the VLO stage as Antonio in The Gondoliers. Since then, he was Cogsworth in ALSCT's Beauty and the Beast, as well as Salieri in Amadeus and the Inspector in Cinders, both at Smith College. He also fixes computers at Amherst College.

Glen Gordon -- Producer -- is one of the original members of VLO, having appeared in every fall production but one (he was on sabbatical). He has had the occasional small part, but basically he is one of the stalwarts of the tenor chorus as well as part-time accompanist. He has also written and narrated a number of the VLO spring shows, most recently last spring's Parody of Parodies. In real life, Glen is a retired political scientist who served in a variety of administrative roles during his 38-year career at UMass, including department chair, Dean of the College of Social Sciences, and Provost.

Kurtiss Gordon -- Producer -- has sung in the chorus or, occasionally, had a minor lead role in more than two dozen VLO shows since 1976. He also sings with Hampshire Choral Society and the choir of the Unitarian Universalist Society of Amherst. He has composed a few short pieces for the UU choir and three piano rags. Kurt also serves VLO as Webmaster and as Clerk of the Board. He retired this spring from managing databases at UMass. He and his wife, Courtney, live in Amherst.

Robert Graham -- Technical Director -- returns for his seventeenth year with VLO. He has been a technical director for eleven shows, a producer for five shows, and is in the last year of his second three-year term as a VLO Board member. A central Michigan native, he began his theatrical career as the production assistant and stage manager for the University of Michigan Student Players. While stationed with the U. S. Army in Tokyo, he was stage manager for the Ernie Pyle Players as well as playing The Monk in The Lady's Not for Burning. In his other life, he is Professor Emeritus of Computer Science at UMass.

Michael Greenebaum -- Music Director -- has been with VLO since its inception in 1975 and conducted its first The Mikado in 1977. He has also conducted H.M.S. Pinafore, The Yeomen of the Guard, Ruddigore, Princess Ida, Orpheus in the Underworld, and Patience. He has staged Iolanthe, The Gondoliers, Princess Ida, H.M.S. Pinafore, The Vagabond King and The Merry Widow for the company. Over the years he was music director for nine musicals at Amherst Regional High School and two at Pioneer Valley Performing Arts Charter High School. From 1977 to 1986 he conducted the Western Massachusetts Young People's Philharmonia. He was principal of Mark's Meadow School for twenty-one years.

Richard Gregory -- Costume Designer -- joins us for his twenty-first VLO production. He has designed costumes for most of VLO's shows since 1985. He also directed one of them (Utopia, Ltd.) and designed sets for three others. Dick has been seen on the boards as Cupid in Thespis and the Duke of Plaza Toro in The Gondoliers. He has designed sets and costumes for several Commonwealth Opera productions and for dozens of Williston Theatre productions, many of which he directed. Now retired from The Williston-Northampton School, he has joined the faculty of The Northampton Community Music Center.

Marese Dolan Hutchinson -- Properties Coordinator -- hails from Ireland, where for many years she was the harpist at the Mediæval Banquets at Bunratty Castle. She has been involved with Valley Light Opera since 1986 both on stage and as Board member and president. By day she teaches at The Common School and is a member of the Celtic music group Tir na nog.

Jeff Lord -- Choreographer -- choreographed the men's swordwork. He has been practicing and teaching various martial arts disciplines for more than 20 years, including over 15 years as a Head Fencing Coach at Amherst, Hampshire, and Smith Colleges. He has provided instruction in stage combat at numerous theaters and schools throughout New England, and is a member of the Society of American Fight Directors. Jeff spent two years in Japan studying Japanese sword arts, earning the shodan (first degree) rank in both Kendo and Iaido.

Ritsuka Mastroianni -- Choreographer -- choreographed the women's movements. She is new to VLO, but has danced in a few of Alicia Morton's productions. Ricci lives in Amherst with her husband, David, and two daughters, Sasha and Kailina. She says she gets to do two of her most favorite jobs every day: a mom and a paraprofessional in a kindergarten classroom at Crocker Farm School.

Steve Morgan -- Lighting Designer -- started with VLO in year 3 with VLO's first The Mikado. He fondly remembers listening to madrigals being rehearsed onstage as he set lights above the audience section of the auditorium. He has produced and been onstage in a number of roles including the Lord Chancellor in Iolanthe, the Major General in The Pirates of Penzance, and Bunthorne in Patience. He's an empty nester out in Leverett, recently mostly retired from Hampshire Shakespeare Company and other worthy theatrical endeavors.

Jeremiah Patterson -- Set Designer -- lives in South Deerfield, MA. His paintings are represented by the Sherry French Gallery in New York City, and locally at William Baczek Fine Arts in Northampton. His work has gained national attention, having been included in numerous museum and gallery exhibitions and in magazine articles published in American Artist, Watercolor Magazine, and American Art Collector. Jeremiah recreated his watercolor titled "Venice Morning" as the backdrop for last year's The Gondoliers. He teaches painting and drawing at the Hartford Art School.

Lee Pershyn -- Producer -- has been active offstage (set crew, costumes, gift shop, programs) in VLO fall shows since 2001. She produces and sings in VLO spring shows, and sings in the choir of the Unitarian Universalist Society of Amherst. This is her third time producing a major show. She has performed in the All Souls Players in New York City. Lee is a postpartum doula, working with newborns and their families.

Nina Levin Pollard -- Producer -- has been singing with VLO since 2002, often masquerading as a young man. Offstage she builds sets, paints scenery, sews buttons, rips seams, and upholsters furniture--whatever is needed to put on the show. In life she is a massage therapist, mom, and an advocate for AT research (ATCP.org).

Lucy Robinson -- Producer -- is playing the role of producer for the first time in her long history with VLO. Also a chorus member, she has enjoyed main roles such as Juno in Orpheus in the Underworld, Mrs. Partlett in The Sorcerer, and Lady Blanche in Princess Ida. On to her second career, Lucy can now claim 'actor' as her profession, not just avocation: look for her in indie films and on stage. She loves her loyal fan base: John, Caitlin, Alex, Jane, and grandbaby Catherine!

Linda Stark -- Set designer -- has designed sets for three VLO productions and make-up for eight others. Linda studied fine art at the University of Connecticut and painting in Italy. Linda has lived in Amherst for 36 years. She is the mother of four and grandmother of eight.

Elaine Walker -- Producer and Costume Coordinator -- has been involved in VLO productions every year since 1980, first as a soprano in the chorus. She soon took on duties in the costume shop and has been a producer on and off for several years. She also co-founded and co-produced several musical shows with the St. Brigid's Players. In "real" life, Elaine recently retired from Hampshire College, where she supervised the costume shop. The extra time allows her to spend more time with her family, especially her six grandchildren.

Jim Walker -- Producer -- played third trombone in the orchestra of VLO's 1980 production of The Gondoliers. He also plays trombone with several bands in the Pioneer Valley. From 1981 through 2006, he was on stage in the tenor section of the chorus. This year Jim is devoting more time to his duties as a VLO producer, and he also serves VLO as treasurer (since 1996). He retired in 2003 from a 35-year career at UMass as a faculty member in physics, Associate Dean for Undergraduate Advising, and Acting Dean of the Graduate School.

Thanks to the movie Topsy-Turvy, even those who don't consider themselves "G&Sers" may know The Mikado's storied origin: W. S. Gilbert, casting about for a new plot that would satisfy his partner Arthur Sullivan, was suddenly inspired when a Japanese sword mounted on his wall fell to the floor; the original Ko-Ko later wore this sword on opening night. I believe that sword inspired the play in two major respects.

Most obviously, this sword was an authentic Japanese artifact decorating an English household. The land of Japan similarly sets Gilbert's plot into high (comic) relief. Gilbert ensured the original production incorporated authentic Japanese elements in costume, props, set, make-up, and even in the poise and movement of the performers. But under this mask of authenticity, the show sported such warm whimsy and sly satire that none could argue it was really about Japan; the audience knew this the moment they opened their programs and read the names of Yum-Yum and Pish-Tush. Japan allows The Mikado to transcend its time and place. Pooh-Bah walks like a Japanese noble, and he has a long string of British governmental positions, but his sense of entitlement, like Nanki-Poo's overgrand passion, and Katisha's conflicting desires to rule and to be loved, and really all the characters' foibles, are found in every society and part of every person. Did Gilbert know that his young lovers' plight parodies the "Double Suicide" kabuki plays popular in 1800s Japan? Or was his model Romeo and Juliet? Perhaps Gilbert recognized that we are all attracted to the sentiment of dying for love, yet unwilling to suffer its consequences.

More subtly, Gilbert's sword was a weapon, designed to kill. Violence may appear a vestige of a barbaric earlier time in polite Victorian (and Valley) society, but the power to take life remains in the hands of the citizens, the courts, and the military. A fantastic feudal Japan allows us to see the violence at the edges of our civilized existence. The threat of death hangs over The Mikado, propelling the characters desperately forward right up to the Mikado's last word. Somehow everyone emerges unscathed, albeit married. And Ko-Ko, an executioner terrified of violence, survives his own death sentence by realizing that killing an abstraction can be just as effective as (and much more agreeable than) killing a person.

Our fascination with Japan continues today, as Americans old and young find temporary escape in Kurosawa, Miyazaki, anime and manga. The Pioneer Valley and Japan have been deeply connected since 1867, when Joseph Hardy Neesima arrived at Amherst College and soon became the first Japanese person to graduate from a western school. I'm privileged to have drawn on a wealth of local resources: the hundreds of nineteenth-century Japanese woodblock prints in Five College library books and in the collection of the Mead Art Museum; local scholars of Japanese art and history such as Sam Morse; the Japanese gardens and tea houses of the Five Colleges; and, most of all, our experts, Jeff Lord and Ritsuka Mastroianni, whose first-hand experience of Japan has proven invaluable time and again. I want to especially thank Michael Greenebaum, the VLO's astounding production team, and the cast and crew who have poured so much of themselves into this production.

I hope you'll forgive the anachronisms and inauthenticities in this show, as well as the attempts to satirize our era as Gilbert did his. But most of all, I hope you'll enjoy our production of this most fantastic of Gilbert and Sullivan's works.

-- Nicholas Dahlman

Valley Light Opera expresses thanks to the following for helping to make this production possible: the Amherst-Pelham Regional Schools staff, especially the staff of the Superintendent's Office, the music and theater faculty, and the custodial staff, particularly Mike Riley and Maryellen Biso, for their good nature, flexibility, and unstinting support; the Town of Amherst Department of Public Works for hanging the banner; Sondra Radosh and the staff of the Jones Library Children's Room for serving as an alternative ticket-sales site; Amherst Community Television (ACTV) staff, especially Sean Kinlin, for producing the "Making of . . ." segment shown on ACTV; Benjamin Craig of WWLP-TV for alerting the newsroom of our upcoming production; Claudia VanderHeuvel for sharing the fruits of her experience with ads in the program; Sunraise for help with publicity and other printing; and Sally and Bill Venman for caring for the VLO year-round and always being there when we sought advice.

Valley Light Opera is on the World Wide Web at http://www.vlo.org/. We express our gratitude and appreciation to BerkshireNet for hosting our site. BerkshireNet (http://www.berkshire.net/) provides Internet service to Massachusetts, New Hampshire, and Vermont.

Valley Light Opera, Inc., is a nonprofit Massachusetts corporation founded in 1975 by a group of Gilbert and Sullivan devotees. Over the years, VLO has been guided by two principles--to promote broad community participation and to produce fine entertainment. The company has produced all fourteen of the G&S operas as well as Cox and Box, The Zoo, The Chieftain, The Rose of Persia, and Sullivan's oratorio The Prodigal Son. In addition, VLO has performed Rudolf Friml's The Vagabond King, Franz Lehár's The Merry Widow, Jacques Offenbach's Orpheus in the Underworld, John Philip Sousa's El Capitan, Warren Martin's The True Story of Cinderella, and several of Peter Schickele's P.D.Q. Bach works.

The affairs of VLO are in the hands of a Board of Directors elected by the membership at the Annual Meeting in February or March. Officers of the Board this year are Connie Cappelli (President), Kevin Hutchinson (President Elect), Kurtiss Gordon (Clerk), and Jim Walker (Treasurer). Members of the Board are Kathy Blaisdell, Sandra Burgess, Catharine Butterfield, Nicholas Dahlman, Heather Davies, Patricia Devine, John Foster, Bob Graham, Nina Pollard, and Lucy Robinson.

Donations to Valley Light Opera are tax deductible to the extent permitted by law.

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