652:, Gilbert and Sullivan's last two G&S operas, were given rare New York professional revivals, although the American Savoyards had performed them two decades earlier, and LOOM had premiered them earlier. Both shows played strongly and were given more extended runs the following season. During "The Festival Year", student tickets were available for $ 4.00. However, the strain of rehearsing and mounting a new production every week for so many weeks in a row took its toll on the cast.
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560:, which had not been given a professional New York production in many years. Her original story centered on two unhappy children who run away to Toyland but are eventually reconciled with their parents. Children were invited onstage from the audience to "wind up" the choristers who played toys in the "March of the Wooden Soldiers."
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had blinded
William Mount-Burke, but he continued to conduct and even to direct new productions. The company remained strong until 1984, when Mount-Burke died and the company's playhouse was closed and subsequently demolished. After this, led by Allen and Gotham, with music director Todd Ellison,
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revivals in the 1950s, who had been involved for many years in fundraising for the company, became president of LOOM and produced the shows, which continued uninterrupted, 52 weeks per year. But the company almost immediately ran into a number of misfortunes and costs, perhaps most importantly the
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In 1975, the company moved out of the Jan Hus to the legitimate Off-Broadway
Eastside Playhouse, just across E. 74th Street. This 284-seat house was still intimate, but the company could generate substantially more revenues than it could in the Jan Hus basement. In addition, the theatre had better
365:
LOOM initially bought a number of its costumes and stage properties from the
American Savoyards. It designed its own sets and other costumes, seeking to achieve a professional appearance in a small space on a small budget. The orchestra consisted of two players: pianist Brian Molloy, a graduate of
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union contract, casting consisted of seven union principals and over twenty non-union actors who could receive their Equity membership after an apprenticeship with the company. This arrangement was unique among full-time theatre companies in New York. The pay for the non-union actors was nominal,
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and a balcony. All the sight-lines were good, whereas in the Jan Hus there were vertical poles interfering with some views. At Jan Hus, the company's staging had been designed to refer to the positions of these poles, and even after the company moved to the
Eastside Playhouse, choreographer Jerry
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was too small. Although the company's ticket sales improved there, even sellout crowds were insufficient to generate sufficient revenues to stay ahead of the expenses of paying the large casts needed for light opera. Nevertheless, LOOM continued to introduce new productions, including
Herbert's
682:, repeating the triple bill the following year. During these seasons, despite Mount-Burke's declining health, the company attracted high-quality professional singers for their casts, generally improved costumes and sets, earned good reviews and enjoyed a seemingly secure financial future.
810:. The show involved more tap dancing than any other show Off-Broadway and revived the company's popularity. Despite good box office performance, the company continued to suffer from debts and old tax problems. LOOM closed permanently in August 1989, after a run of
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had blinded
William Mount-Burke. He nevertheless continued to conduct performances from memory, to plan LOOM's future, and even to stage new shows after losing his sight completely. For example, in 1980 Mount-Burke directed the first professional production of
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Gotham (a former
Broadway dancer) taught the staging of the shows in the repertory by reference to the imaginary positions of the poles, as they had existed at Jan Hus. While at the Eastside Playhouse, LOOM published a music book containing an introduction by
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After more fundraising, Jean
Dalrymple brought the company back together in 1987, and LOOM resumed its full-time production schedule at the 299-seat Playhouse 91, returning to the Upper East Side. The artistic team created an adaptation of
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neighborhood where it had built its reputation. Its reduced audiences were dwarfed by the large auditorium. It also had scheduling problems for the company. Next, from
February 1985 to October 1986, LOOM performed at the
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Mount-Burke finally succumbed to his diabetes and died in 1984. Gotham and Allen took over as joint artistic directors to oversee the productions, and assistant music director Todd
Ellison was promoted to music director.
814:– the company's first opera. After 1989, there were discussions about reviving the company, and one or two brief New York City productions used the LOOM name, but they were not by the same company.
418:, with guest artist Joan Sena-Grande in the title role, to open its tenure at the Eastside Playhouse in 1975. Larry Raiken played Captain Dick Warrington. The next operetta with a guest star was
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At the end of its tenth year (1978–79), from January to May 1979, LOOM staged all 13 extant works of Gilbert and Sullivan consecutively in a "festival" season, one opera per week (except that
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at his apartment in New York City. The success of this performance encouraged Mount-Burke to move forward with his plan. The producer and his company offered a number of free performances at
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but many young actor/singers who aspired to be full-time professionals were able to receive training and could work their way up from the ensemble to featured roles in the course of a year.
696:) ...will be done in the best Savoyard tradition. Do not expect a fully mounted D'Oyly Carte theatrical version.... Expect, however, to hear some fine voices and to be entertained."
219:, The Light Opera of Manhattan, which came to be known as LOOM; by 1974, the company was playing 9 of the Gilbert and Sullivan operas in repertory and soon added two more.
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in 1974. The book includes many photographs of LOOM productions and states that LOOM's year-round performing season was the longest of any company in the United States.
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461:. The translation is lighter and focuses more on the humorous aspects of the show than some of the standard translations. With Jeanne Beauvais again in the lead,
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In the fall of 1968, William Mount-Burke (1936–1984), the former director of The Miami Light Opera and The Stamford Symphony, took steps to start an
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loss of the Eastside Playhouse. The building was scheduled to be demolished to make way for an apartment building, and LOOM was forced to leave.
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LOOM transferred first to The Norman Thomas High School Auditorium, which was too large for its intimate productions and too distant from the
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Enjoying good ticket sales and hoping to ensure its future, LOOM sought to raise funds to purchase the Eastside Playhouse. However, by 1979,
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audience, and it was forced constantly to raise funds. In 1986, the company closed, opening for its final seasons from 1987 to 1989.
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Gilbert & Sullivan Company, was the leading comic actor for most of the company's performances. Allen wrote an introduction to
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and choreographer/stage manager Jerry Gotham, the company mentored many young actors and singers who went on to careers on
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788:. The Eastside Playhouse, as it turned out, was not immediately demolished, and the company briefly returned there in for
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theatre, the Eastside Playhouse. There it expanded its repertoire beyond Gilbert and Sullivan to American and continental
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Raymond Allen died in January 1994, and Jerry Gotham in July of the same year, ending any possibility of a LOOM revival.
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784:. Despite constant fundraising, LOOM fell further into debt and ceased performing in October 1986 with a matinee of
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568:'s annual Christmas show, and Victor Herbert's beloved tunes delighted older audience members. LOOM played
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Book designed by Lee Snider. Introduction, photos of Light Opera of Manhattan/First Night programmes.
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were played for two weeks each). It was the first company in the world to attempt this schedule (the
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to its roster, eventually carrying over 30 shows in its repertory. Its first non-G&S show was
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the company played in a series of theatres around New York that challenged its ability to keep its
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In the 1970s, LOOM also presented a series of September concerts at the Naumburg Bandshell, in
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Alice Hammerstein Mathias was then asked to prepare a new book and lyrics for Victor Herbert's
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played all 13 operas consecutively in its 1975 centenary season, but their performance of
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from the late 1960s to 1975, where it succeeded another small light opera company, the
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was a success that increased LOOM's audiences and received positive reviews. Friml's
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The Best of Gilbert & Sullivan: 42 Favorite Songs from the G&S Repertoire.
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The Best of Gilbert & Sullivan: 42 Favorite Songs from the G&S Repertoire
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The Best of Gilbert & Sullivan: 42 Favorite Songs from the G&S Repertoire
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The Best of Gilbert & Sullivan: 42 Favorite Songs from the G&S Repertoire
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921:. Introduction by Raymond Allen. Book design by Lee Snider. Distributed by
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Beginning in 1975 and through the 1980s, LOOM added American and continental
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and many photographs of the company in its Gilbert and Sullivan productions.
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of Gilbert and Sullivan. He first presented a free showcase performance of
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This period in the company's history is lampooned in the 2003 comic novel,
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953:, Internet Broadway database, accessed July 30, 2019; and Dale, Michael.
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887:"Gilbert & Sullivan in a Church Basement/Light Opera of Manhattan",
302:); Stephen O'Mara, opera singer; Penny Orloff, City Opera and Broadway;
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Founded by William Mount-Burke, LOOM's first long-term home was in the
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1035:"Tony Winner Sutton Foster Reacts to Six YouTube Videos From Her Past"
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wrote, in its preview of LOOM's 1981 spring season, "The three works (
183:. In 1969, the company moved into the 247-seat basement gymnasium of
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Scan of Raymond Allen's obituary in the NY Times, February 3, 1994
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was a perennial hit for LOOM, offering parents an alternative to
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LOOM homepage at the Musicals101 website with photos and history
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1155:. Rodgers & Hammerstein Organization, accessed May 10, 2011
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In the mid-1970s, the company asked Alice Hammerstein Mathias (
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was only a concert staging). In the last two of these weeks,
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professionals started out at LOOM, including writer/director
92:
In 1975, the company moved across the street to a legitimate
81:. Led by conductor-director Mount-Burke, principal comedian
48:, 52 weeks per year, in New York City between 1968 and 1989.
1511:
Jewish Thighs on Broadway: Misadventures of a Little Trouper
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Jewish Thighs on Broadway: Misadventures of a Little Trouper
701:
Jewish Thighs on Broadway: Misadventures of a Little Trouper
961:, BroadwayWorld.com, March 22, 2005, accessed July 30, 2019
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Photographs of LOOM productions at the Eastside Playhouse
22:
William Mount-Burke, LOOM's founder and artistic director
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NY Times Critics' Choice piece on LOOM's production of
891:, Vol. 8, No. 2 (March/April 1974), pp. 18–19 and 33–35
833:"William Mount-Burke, Head of Light Opera of Manhattan"
1120:, Internet Broadway Database, accessed August 18, 2015
1010:"2016 Tony Honors for Excellence in Theatre Announced"
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given anywhere in the world since 1879, together with
1416:
magazine, July 11, 1988, p. 19, accessed May 11. 2011
310:, recording artist and songwriter; Michael Connolly (
985:, Internet Broadway database, accessed July 30, 2019
973:, Internet Broadway database, accessed July 30, 2019
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became showcases for Georgia McEver, LOOM's leading
59:. At the Jan Hus, LOOM performed predominantly the
1658:
Links to LOOM history, photos and other information
1132:Chappell Music Company, c. 1975. Introduction by
1107:1981 NY Times preview of LOOM's 1981 spring season
878:, Musicals101.com, 2002, accessed October 26, 2013
358:played Tom Tucker (the juvenile "midshipmite") in
1228:, Vol. 20, No.4, p. 40, accessed January 24, 2014
1212:, Vol. 20, No.4, p. 49, accessed January 24, 2014
572:each year from Thanksgiving through New Year's.
342:and vocal coach to numerous performers, such as
1340:Article about LOOM's closing at the Cherry Lane
1296:"Light Opera Company, in Debt, to Close Sunday"
539:, and others became favorites of the company.
1448:Curtain Times: The New York Theater, 1965–1987
1163:
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583:radio. The company was also featured on NBC's
1642:1989 NY Times review of LOOM's production of
925:, HL00312177. Re-issued by Chappell in 1991.
8:
1365:
1363:
1244:, March 20, 1981, accessed February 28, 2014
451:'s daughter) to create a new translation of
1371:"A Light Opera Troupe Rises from the Ashes"
191:, previously the home of Dorothy Raedler's
1540:Costume designs for LOOM by George Stinson
1524:) Contains several chapters spoofing LOOM.
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1535:1970s Naumberg Bandshell concert schedule
1188:1970s Naumberg Bandshell concert schedule
941:, YouTube: PolyphonicOrg atEastman (2013)
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732:wrote the songs in LOOM's last premiere,
703:by Penny Orloff, who played Josephine in
1615:NY Times review of LOOM's production of
1606:NY Times review of LOOM's production of
1597:NY Times review of LOOM's production of
1579:NY Times review of LOOM's production of
1570:NY Times review of LOOM's production of
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1288:
1024:, February 2, 2006, accessed May 4, 2016
839:, July 11, 1984, accessed April 18, 2011
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1678:Gilbert and Sullivan performing groups
1056:, September 30, 2005, November 7, 2021
589:program, as well as numerous times on
1558:discussion of LOOM's shutdown in 1986
939:"On and Off Broadway: Craig Schulman"
340:Tony Honors for Excellence in Theatre
7:
215:. By 1970, Mount-Burke had formed a
792:over the 1986–1987 holiday season.
379:Moving up to the Eastside Playhouse
157:was LOOM's first production in 1968
1688:Musical groups established in 1968
923:Hal Leonard Publishing Corporation
601:The Festival Year and bright hopes
89:or elsewhere in theatre or music.
14:
1037:, BroadwayBox.com, August 5, 2015
579:, which were broadcast live over
199:of Gilbert and Sullivan, such as
63:of Gilbert and Sullivan, such as
1550:Off Broadway Musicals, 1910–2007
1012:, TonyAwards.com, April 14, 2016
1008:, December 11, 1975, p. 58; and
392:stage facilities, good seating,
1633:1988 NY Times review of a LOOM
1624:1988 NY Times review of a LOOM
1066:Information about LOOM costumes
526:The Grand Duchess of Gerolstein
1238:"Where to Find Offbeat Operas"
1226:Central Opera Service Bulletin
1210:Central Opera Service Bulletin
1092:Archive of Donadio's home page
144:Beginning years at the Jan Hus
124:. LOOM was often featured on
36:theatre company that produced
1:
1683:New York City opera companies
1545:Interview with Craig Schulman
1498:obituary at NY Times archive
1136:; book design by Lee Snider.
165:company specializing in the
1451:. Hal Leonard Corporation.
1146:"Alice Hammerstein Mathias"
1094:, accessed January 24, 2014
906:September 27, 2007, at the
808:Give My Regards to Broadway
734:Give My Regards to Broadway
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1445:Guernsey, Otis L. (1987).
1357:, November 15, 1986, p. 14
634:D'Oyly Carte Opera Company
253:, a songbook published by
44:and European and American
1477:. Chappell Music Company.
957:Jewish Thighs on Broadway
876:"A Brief History of LOOM"
721:After Mount-Burke's death
609:LOOM frequently produced
40:, including the works of
711:, and the title role in
428:, with Broadway veteran
338:, recipient of the 2016
29:, known as LOOM, was an
27:Light Opera of Manhattan
1483:Obituary: Raymond Allen
1351:"Light Opera to Reopen"
1275:. Authorhouse (2003).
935:Interview with Schulman
812:The Pirates of Penzance
780:and William H. Smith's
717:in the summer of 1980.
217:non-profit organization
179:on West 99th Street in
172:The Pirates of Penzance
154:The Pirates of Penzance
66:The Pirates of Penzance
1387:1988 review of a LOOM
1071:March 1, 2005, at the
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255:Chappell Music Company
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551:for several seasons.
439:LOOM revived several
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1663:Numerous photographs
1151:May 1, 2011, at the
996:"Light Opera Stages
449:Oscar Hammerstein II
306:, recording artist;
177:St. Michael's Church
42:Gilbert and Sullivan
1391:at the Playhouse 91
1326:NY Times review of
1312:NY Times review of
1178:, December 17, 1987
1167:Crutchfield, Will.
803:Little Johnny Jones
763:Cherry Lane Theatre
352:Frederica von Stade
286:); Craig Schulman (
278:Gerard Alessandrini
270:New York City Opera
243:New York City Opera
100:, such as those of
1652:Photos and history
1644:The Student Prince
1490:, February 3, 1994
1397:The Student Prince
1375:The New York Times
1369:Blandford, Linda.
1355:The New York Times
1300:The New York Times
1242:The New York Times
1206:"1978–1979 Season"
1176:The New York Times
1086:Donadio, Michael.
1005:The New York Times
971:"Michael Connolly"
837:The New York Times
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685:The New York Times
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595:The Listening Room
541:The Student Prince
516:The Fortune Teller
482:The Student Prince
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283:Forbidden Broadway
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193:American Savoyards
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57:American Savoyards
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1410:"Ruth Recommends"
1302:, October 9, 1986
1000:With a Royal Air"
786:The Vagabond King
771:black box theatre
767:Greenwich Village
690:Pinafore, Pirates
536:A Night in Venice
531:Johann Strauss II
521:Jacques Offenbach
467:The Vagabond King
425:The Vagabond King
319:Woman of the Year
316:); Larry Raiken (
299:Jekyll & Hyde
229:as Sir Joseph in
185:The Jan Hus House
122:Johann Strauss II
118:Jacques Offenbach
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1599:Naughty Marietta
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1494:Text of Allen's
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38:light operas
31:off-Broadway
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1314:Sweethearts
1294:Page, Tim.
1169:"Operetta:
777:Sweethearts
769:, but this
746:City Center
707:, Mabel in
676:Cox and Box
453:Franz Lehár
247:City Center
110:Franz Lehár
1672:Categories
1608:Sweethears
1439:References
1395:review of
694:The Mikado
611:The Mikado
566:Radio City
472:Rose-Marie
336:Joan Lader
206:The Mikado
72:The Mikado
1619:from 1986
1610:from 1985
1601:from 1985
1592:from 1981
1590:Ruddigore
1583:from 1981
1574:from 1981
806:, called
406:operettas
368:Juilliard
325:Big River
181:Manhattan
131:By 1979,
98:operettas
46:operettas
34:repertory
1572:Patience
1556:NY Times
1496:NY Times
1430:obituary
1426:Allen's
1414:New York
1256:Patience
1191:Archived
1149:Archived
1069:Archived
904:Archived
714:Iolanthe
705:Pinafore
657:diabetes
618:Pinafore
274:Broadway
245:and the
133:diabetes
87:Broadway
1626:Pirates
1564:Reviews
1389:Pirates
709:Pirates
671:The Zoo
622:Pirates
549:soprano
344:Madonna
334:); and
331:Follies
313:Amadeus
201:Pirates
128:radio.
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630:Yeomen
626:Mikado
529:; and
328:, and
262:Equity
1254:1981
821:Notes
730:Cohan
586:Today
562:Babes
443:works
227:Allen
1518:ISBN
1464:ISBN
1453:ISBN
1277:ISBN
692:and
678:and
664:and
648:and
628:and
591:WQXR
581:WNYC
543:and
513:and
469:and
350:and
272:and
209:and
126:WQXR
120:and
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765:in
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