The Pajama Game

(1954)
Music and Lyrics by Richard Adler and Jerry Ross
Book by George Abbott and Richard Bissell

“Irresistible,” “bright, brassy, and jubilantly sassy,” “raucous, rollicking, and fast.” These are just some of the accolades that greeted the Broadway opening in 1954 of Adler and Ross’ The Pajama Game, which ran more than 1000 performances. Few shows have produced a more dizzying array of bright, catchy, and spirited tunes: “I’m Not at All in Love,” “Once a Year Day,” “Hey There,” “Steam Heat,” “Small Talk,” “There Once Was a Man,” and the unforgettable “Hernando’s Hideaway.”

Candide

(1956)
Music by Leonard Bernstein
Lyrics by Richard Wilbur
Additional Lyrics by John Latouche and Dorothy Parker
Book by Lillian Hellman

In commemorating the 2018 centenary of Leonard Bernstein, Ohio Light Opera welcomes into the repertoire his 1956 comic operetta Candide, based on the classic 1759 satire of Voltaire. Westphalian philosopher Dr. Pangloss has imparted to Candide, his bride Cunegonde, and her brother Maximillian the belief that all is for the best in this best of all possible worlds. In addition to the world-famous overture, the captivating musical score includes “The Best of All Possible Worlds,” “Oh, Happy We,” “Make Our Garden Grow,” and the ever-popular coloratura dazzler “Glitter and Be Gay.”

La Périchole 

(1868)
Music by Jacques Offenbach
Original French Libretto by Henri Meilhac and Ludovic Halévy

With its setting in exotic Peru, a zany but affecting plotline, and a truly scintillating musical score, Offenbach’s La Périchole has stood the test of time as one of the composer’s most beloved works. Musical highlights include Périchole’s poignant and heartfelt “Letter Song,” her tipsy waltz, and the viceroy’s banishment of Piquillo to the dungeon that is reserved for recalcitrant husbands.

Cloclo 

(1924)
Music by Franz Lehár
Original German Libretto by Béla Jenbach

Before embarking on a series of heavier, tear-jerking, lushly romantic operettas, composer Franz Lehár, with his 1924 Cloclo, took one last fling at the carefree, lighthearted operetta style of his pre-war Merry Widow days. The musical score, orchestrally and vocally rich, is a delight from start to finish. Take Merry Widow (waltzes and marches), add jazz (foxtrots and blues), throw in a tango and a champagne-fueled jail scene à la Fledermaus—and mix!