Frederick Reeder
Baritone
A bit of history was probably made in the Chicago debut of Frederick Reeder as KoKo. Reeder clearly is at the forefront of today’s interpreters of G&S’ near-impossible ‘patter roles.”
—Chicago Sun-Times
Frederick Reeder received training for the classical stage at The Drama Studio in London, England. He has made his career mainly on the musical stage, both as actor and director, and has become well known for his characterizations in the operas of Gilbert and Sullivan. Northern Ohio Live magazine called him “one of the best Gilbert and Sullivan patter-singer/actors anywhere.” His performances have been referred to as definitive,” and critic Donald Rosenberg proclaimed him as “a singing actor of genius . . . he can play virtually anything.”
Mr. Reeder has performed regularly with Cleveland Opera, playing the “patter” part in Gilbert and Sullivan productions, as well as numerous other character roles in opera, light opera and musical comedy. He was seen as Jack Point, the hapless jester of The Yeomen of the Guard, a part passed on to him by director John Reed, the last great comedian of the D’Oyly Carte Opera Company in London. Mr. Reeder toured with New York City Opera as Lutz in the highly successful production of Romberg’s The Student Prince. He appeared at Carnegie Hall in the premiere of a new American opera, Monéta, and with the Cleveland Orchestra at Blossom Music Center as Sir Joseph Porter in H.M.S. Pinafore. He also staged and performed highly acclaimed Gilbert & Sullivan productions for the Grant Park Festival in Chicago.
Mr. Reeder toured Europe with the original Broadway production of Andrew Lloyd Webber’s Evita. In the National Tour of the 35th Anniversary Production of My Fair Lady, Mr. Reeder played Zoltan Karpathy and served as understudy to John Neville’s “Henry Higgins.” He first came to wider attention during his five years as principal comic baritone with the Ohio Light Opera. During this period he played roles in more than 300 performances in rotating repertory ranging from Kalman Zsupan, the unscrupulous pig farmer in Strauss’ The Gypsy Baron to The Pirate King in The Pirates of Penzanceto Despard in Ruddigore. One season he played both Ko-Ko and Pooh-Bah in The Mikado, alternating the roles night to night. He also served as the company’s dialogue coach, and produced its popular “Festival Encores” recordings
He has delighted audiences throughout the country with his Pops Concert “The Best of Gilbert & Sullivan” performed with orchestras in many cities, including Minneapolis, St. Louis, Knoxville, Richmond (VA), Omaha, Memphis, Jacksonville, Duluth, New Mexico, Rockford, Cedar Rapids, Colorado Springs and Calgary. His performance invariably elicits cheers from audiences and critics alike: “It was baritone Frederick Reeder, who also acted as stage director, who stole the show. . . impeccable enunciation and bravado were matched with the proper stuffiness and silliness that these roles demand. He lit up the stage with every entrance.” He recently entertained Canada’s political elite in Ottawa with Opera Lyra’s “Black and White Opera Soiree.”
As guest-artist, Mr. Reeder has worked as resident actor and director with university music and theatre departments conducting workshops and master-classes dealing with the problems of the singer as actor, recently at Southeast Missouri State, Wright State, and Northwestern Universities.
In recent seasons Mr. Reeder was seen as Jack Point in Ohio Light Opera’s production of Yeomen of the Guard, Sir Joseph in Opera Naples’ H.M.S. Pinafore, and Ko-Ko in Nevada Opera’s Mikado. Albany Records released a recording of Reeder’s production of the complete MIKADOwith Frederick Reeder as Ko-Ko – the production he directed for Ohio Light Opera. In spring, 2011 he will direct and star in Louisiana Philharmonic’s production of H.M.S Pinafore.
As stage director Mr. Reeder has garnered reviews of “Brilliant” - “darling, delicious, delectable and delirious. . .Perfection. . . .”withproductions for Cleveland Lyric Opera, Chicago’s Grant Park Concerts, Ohio Light Opera (Pirates of Penzance), Madison Opera (The Fantasticks), Eugene Opera (Mikado, Pirates, Trial By Jury), Toledo Opera (Mikado, Pirates), Pamiro Opera(Tosca), Akron Lyric Opera (Elixir of Love, Pirates, Mikado). He often plays the “patter” role in Gilbert & Sullivan productions he directs. He frequently serves as stage and/or music director for Ashland University Theatre in his home town of Ashland, Ohio.
Frederick Reeder
Comic Baritone & Director
PERFORMANCE
Gilbert & Sullivan
The Mikado
Ko-Ko
Ohio Light Opera, 1982, 1984, 2004,
2008 (stage director)
Nevada Opera, 2008
Pittsburgh Public Theater, 2003
Eugene Opera, 2001 (stage director)
SUNY Performing Arts Center,
Purchase, NY, 1998
Cleveland Opera, 1985, 1997
Toledo Opera, 1984, 1995
(stage director)
Gold Coast Opera, Florida, 1994
Grant Park, Chicago, 1992
Light Opera of Manhattan, 1985
Pooh-Bah
Ohio Light Opera, 1982 – 1985
Mikado
Missouri State University, 2011
Pirates of Penzance
Major General Stanley
Ohio Light Opera, 2007 (stage director)
Cleveland Opera, 1979, 1989, 2001
Pittsburgh Public Theatre, 2000
Grant Park, Chicago, 1998
(stage director)
Eugene Opera, 1995 (stage director)
Chatauqua Opera. 1990
Toledo Opera, 1987
Pirate King
Ohio Light Opera, 1983 - 1986
H.M.S. Pinafore
Sir Joseph Porter
Ohio Light Opera, 2009
Opera Naples, 2008
Eugene Opera, 2004 (stage director)
Grant Park, Chicago, 1998
(stage director)
Toledo Opera, 1985
Cleveland Orchestra, 1993
Cleveland Opera, 1987
Captain Corcoran
Ohio Light Opera, 1982
Trial By Jury
The Judge, Eugene Opera, 1996
(stage director)
Usher, Ohio Light Opera, 1984
The Gondoliers
Duke of Plaza-Toro, Light Opera Works,
Chicago, 2000
Don Alhambra, Ohio Light Opera,
1982, 1985
Iolanthe
Lord Chancellor, Cleveland Opera, 2003
Private Willis, Ohio Light Opera, 1984
Patience
Bunthorne, Ohio Light Opera, 2004
Grosvenor, Ohio Light Opera, 1986
Col. Calverly, Ohio Light Opera, 1983
Yeomen of the Guard
Ohio Light Opera, 2008
Jack Point, Cleveland Opera, 1992
The Sorcerer
John Wellington Wells, Ohio Light
Opera, 1986
Princess Ida
Gama, Ohio Light Opera, 1985
Ruddigore
Despard, Ohio Light Opera, 1982, 1985
Utopia Limited
Goldbury, Ohio Light Opera, 1983
“The Best of Gilbert & Sullivan”(Pops Concert)
Jacksonville Symphony Orchestra
Duluth Philharmonic
Erie Symphony Orchestra
Evansville Symphony Orchestra
Omaha Symphony Orchestra
Calgary Symphony Orchestra
Minnesota Orchestra
Rockford (IL) Orchestra
Memphis Symphony
St. Louis Orchestra
Richmond Orchestra (twice)
Sioux City Orchestra
Cedar Rapids Orchestra
Colorado Springs Orchestra
The Merry Widow,
Zeta, Madison Opera, 1996
Zeta, Ohio Light Opera, 1983
Cascada, Cleveland Opera, 1986
The Student Prince, Lutz
New York City Opera, 1988
Ohio Light Opera, 2007
Die Fledermaus
Falke, Ohio Light Opera, 1986
Frosch, Cleveland Opera, 1984
The Gypsy Baron
Zsupan, Ohio Light Opera, 1982
Boccaccio(Von Suppé)
Scalza, Ohio Light Opera, 1983
Robin Hood (DeKoven)
Sheriff of Nottingham, Ohio Light Opera, 2004
La Belle Hélène (Offenbach)
Achilles, Ohio Light Opera, 1986
La Vie Parisienne (Offenbach)
Baron Gondremark, Ohio Light Opera, 1985
Merrie England (Hood/German)
Walter Wilkins, Ohio Light Opera, 1984
My Fair Lady, Henry Higgins
Mississippi Opera, 1996
35th Anniversary National Tour (Understudy), 1991
Cleveland Opera (Understudy), 1989
Man of La Mancha, Don Quixote
Whitewater Opera, 1994
Cain Park Theatre, Cleveland, 1981, 1992
Barn Theatre, Michigan, 1978
The Fantasticks
The Old Actor, Madison Opera, 1998 (stage director)
Mortimer, Cleveland Opera, 1982
Sweeney Todd, Judge Turpin
Opera Roanoke, 1993
Naughty Marietta
Lieut, Governor, Cleveland Opera, 1981
Amahl and the Night Visitors
Melchior, Cleveland Opera Theatre (Menotti, dir.), 1982
Shenandoah, Charlie
Miami University, Oxford, Ohio, Guest Artist-in-Residence,
The Medium, Mr. Gobineau
Cleveland Opera, 1980
Monéta, Paul Atra/Phil
Carnegie Hall [composer's showcase], 1990
Evita - World Tour, 1989-90 Original Broadway Production
Various roles
Frederick Reeder
Comic Baritone & Director
DIRECTOR
Ohio Light Opera, Wooster, OH
H.M.S. Pinafore, Director, 2009
The Mikado, Director, 2008
The Pirates of Penzance, Director, 2007
Drama Coach,1983-'86.
Coached and directed casts in scene work,
dialects, and movement for all productions
Lyric Opera Cleveland,Cleveland, OH:
The Pirates of Penzance, Director, 2006
Akron Lyric Opera Theatre,Akron OH:
The Mikado, Director, 2003
The Pirates of Penzance, Director, 2000
Elixir of Love, Director, 1999
Madison Opera, Madison, WI:
The Fantasticks, Director, 1998
Grant Park Concerts,Chicago, IL:
The Pirates of Penzance, Director, 1998
Pamiro Opera, Green Bay, WI:
Tosca, Director, 1996
Eugene Opera, Eugene, OR:
H.M.S. Pinafore, Director, 2004
The Mikado, Director, 2001
Trial By Jury / G&S Excerpts, Director, 1996
The Pirates of Penzance, Director, 1995
North Carolina School of the Arts
La Périchole, Director, 1996
Ashland University Summer Theater, Ashland, OH:
1776, Stage Director, 2003
Robert and Elizabeth
Music Director & Conductor, 1993
Ashland University Summer Theater(continued)
Once Upon a Mattress, Music Director, 1993
Anything Goes, Stage/Music Director &
Conductor, 1992
Oklahoma! Stage/Music Director &
Conductor, 1991
Guys and Dolls
Stage/Music Director & Conductor, 1987
A Chorus Line
Stage/Music Director & Conductor, 1987
Ashland University, Ashland, OH:
La Vie Parisienne, Director, 2004
The Pirates of Penzance, Director, 1999
Grease, Music Director, 1990
Beck Center, Lakewood, OH:
H.M.S. Pinafore, Director, 1990
The Mikado, Director & Conductor, 1988
Arranged score for 11-piece wind ensemble
Cleveland Opera, Cleveland, OH:
H. M. S. Pinafore (Tour), Director, 2005
The Mikado (Tour), Director, 2001
Hänsel und Gretel, Assistant Director, 1988
Toledo Opera, Toledo, OH:
The Mikado, Director, 1996
The Pirates of Penzance, Director, 1987
Clague Playhouse, Cleveland, Ohio:
The Mikado, Director
Arranged score for chamber ensemble, 1978
Cabaret Dinner Theater, Cleveland, Ohio:
Let Me Hear You Smile, Director, 1977
Bad Habits, Director, 1976
Frederick Reeder
CRITICAL COMMENT
“Many. . . smiles are aimed at Frederick Reeder, a Gilbert and Sullivan performer of almost blinding brilliance. Reeder takes hold of the role of Ko-Ko, the Lord High Executioner, and squeezes every ounce of daffy juice possible. He is nimble and sweet, rubber-faced and resilient. Few Ko-Kos come close to Reeder in blending the grace of a silent-film comic with the antics of a music-hall clown. Not only that, he claims a voice of sonorous appeal and a crystalline sense of words. He is a kingly Ko-Ko.[The Mikado]
Cleveland Plain Dealer
Frederick Reederwas a spectacular Ko-Ko. He has an excellent voice which he used to much advantage - such a pleasure to hear the role actually sung instead of being rasped through. The characterization was somewhat different than what one is used to. I have seen too many patter parts ruined by a director trying to have a tall man do all the mannerisms typical of the fussy little man; they don't work. Here Ko-Ko was much put upon, as always, but reacted with a dignity which he usually does not maintain. It was a characterization which worked and one which I for one would gladly see more of. [The Mikado]
The Trumpet Bray
The director was John Reed, who was the leading comedian of the D’Oyly Carte Opera Company for almost three decades. In one respect, he has had success. A former Jack Point himself, Reed has passed the role here to Frederick Reeder, who lights up the stage whenever he is around. Reeder knows how to extract the meaning from a line, whether it be witty or tender, and his baritone is a luxurious instrument in this music. He was very funny when describing the jester’s philosophy, and at the opera’s end he used a disembodied voice brilliantly to convey the man’s pain at losing the girl he loves. [Yeomen of the Guard]
Cleveland Plain Dealer
In Frederick Reeder, the company possesses a singing actor of genius. His baritone invariably sounds sonorous, and he can play virtually anything. . . . [La Belle Héléne]
The Beacon Journal, Akron
“Frederick Reeder. . .was a definitive Don Alhambra — I don’t imagine that the role can be done better.”
[The Gondoliers]
Gasbag, Friends of the University of Michigan G&S Society
It was baritone Frederick Reeder, who also acted as stage director, who stole the show. When he pranced onstage as Sir Joseph Porter, the “Monarch of the Sea” who never set foot aboard a ship, he showed his special flair for comic opera. His skipping, cavorting, too precious Porter was hysterical, especially in the narrative “When I was a Lad.”
His real tour-de-force, however, is the patter-song, “I Am the Very
Model of a Modern Major General” from “Pirates” was wonderful. Words poured so rapidly out of his mouth, it was hard to believe he could do it even faster, as he did at the end. Underlying the veneer of humor, however, was solid musicianship and a nicely flexible baritone voice.[The Best of Gilbert & Sullivan]
Rockford Register Star
Reeder stole the show. . . impeccable enunciation and bravado were matched with the proper stuffiness and silliness that these roles demand. He lit up the stage with every entrance. [The Best of Gilbert & Sullivan]
Cedar Rapids Gazette
Things improved sonically and stylistically with the arrival of the grandee Duke, played by Frederick Reeder. . . Reeder combined the humor and singing most idiomatically, with a wonderful nimble agility in his patter songs.[GONDOLIERS]
Chicago Tribune
“... and a bit of history was probably made in the Chicago debut of Frederick Reeder as Ko-Ko, the ever-incompetent Lord High Executioner of Titipu. The Anglo-American Reeder clearly is at the forefront of today’s interpreters of G & S’ near-impossible ‘patter’ roles.”[TheMikado]
—Andrew Patner, Chicago Sun-times
“At the top of the list must go Frederick Reeder, whose Ko-Ko is as cuckoo as it is endearing. Reeder is a powerhouse of a performer, with a physical agility that is matched by a baritone of golden qualities. His Lord High Executioner has no spine (in every sense), and he seems to be working on high-wattage at every moment. Reeder would steal the show whenever he’s on stage if it weren’t for his obvious concern for dramatic truth. A real triumph.”[TheMikado]
The Beacon Journal, Akron
“Frederick Reeder. . . has emerged as one of the best Gilbert and Sullivan patter-singer/actors anywhere. . . .”
—Northern Ohio Live
“Frederick Reeder[’s] Ko-Ko was full of comic bits, all perfectly timed and appropriately executed, the words bright and clear and with a trace of a British accent, which adds the necessary flavor to the patter songs and dialogue. . . . There are many good tunes in the show, but none was done with greater sensitivity than Ko-Ko’s ‘Tit-Willow’.” [TheMikado]
The Blade, Toledo
“The singing and acting honors go to Frederick Reeder, who plays and sings the pompous admiralty lord, Sir Joseph Porter. Reeder looks like Joe E. Brown, moves and talks with Cyril Ritchard’s clipped British accent, and has a booming baritone voice which he uses well. . . .he is a superb Porter.” [H.M.S. Pinafore]
The Blade, Toledo
“Frederick Reeder dominates whenever he scrambles on the stage as the scrawny, ornery Gama. While other actors given the assignment to bring to life grotesque characters usually have to rely on their makeup and costume to carry it off, Reeder simply appears to have disappeared into his character, right down to the bandy legs.” [Princess Ida]
The Daily Record, Wooster
“There are some fine performances in... this Offenbach rarity. Take baritone Frederick Reeder as the oafish Baron von Gondremarck from Stockholm. Reeder is wonderfully ponderous and foolish, and he sings and dances well too. They have made him up to look like William Howard Taft— can this possibly be the same chap who sang the querulous King Gama in ‘Princess Ida’ on the previous night and looked so thin and spindly? Even the voice sounded totally different. Gondremarck is a fool, but Reeder makes him somehow lovable.”
[La Vie Parisienne]
The Plain Dealer, Cleveland
Stage Direction Reviews
Frederick Reeder
The stage direction was fabulous. Its creator was the amazing Frederick Reeder who also played Ko-Ko, the Lord High Executioner in a most agile and endearing rendering. The "property" of choice for everyone was a large Japanese fan. The performers all learned to flip and flare them with military precision. Reeder's choreography was masterful, always moving, always clean, every gesture plotted for continual entertainment. He began and ended acts with strong and striking tableaus.
As performer, Reeder danced, pranced and jumped about the stage bowing, kneeling and falling down, adeptly using all levels and areas. Yum-Yum and Nanki-Poo, the young couple in love, were played by Julia Hunt and Joel Weiss. They both portrayed their characters convincingly, spoke and sang well with excellent diction. Exaggerated characterization was the norm in this performance... [The Mikado]
Eugene Weekly
*****Medical attention has been ordered for the smiling victims of Eugene Opera’s “Pirates of Penzance” who suffered cracked ribs and broken funnybones at Hult Center for the Performing Arts over the weekend. Here was Gilbert and Sullivan done to the nines and assaulting the audience with everything shy of rubber mallets and seltzer bottles. It was darling, delicious, delectable and delirious. Perfection. Well, almost. One thing wrong is, it didn’t have a long enough run. A production this wonderful deserved to be seen by as many people as possible. As it was, it was witnessed by two capacity audiences, who languished in the glow of the glorious music and laughed nonstop at inspired hijinks. This giddy production was Gilbert and Sullivan at its best—light, bright, whimsical, exemplary. Other productions may be truer to Gilbert and Sullivan’s original spirit but it is hard to imagine one that could be better sung or acted for a contemporary audience. Frederick Reeder’s opulent and teasing production proved why “The Pirates of Penzance” is one of Gilbert and Sullivan’s most adored operettas.
Never shy, Reeder let it all hang out as he took the audience to a magical land where people act and talk funny but appear perfectly natural doing it. Never shy, Reeder’s shtick-per-second count broke the barometer. The uproarious bits provided an intoxicating air. Reeder himself was at the busy center of firestorm lobbing, funny faces at the audience like hand grenades, while at the same time nimbly racing his way through Major-General Stanley’s precarious “patter” songs with uncommon clarity, tone and inflection. And Reeder surrounded himself with a marvelous company that was strong down to the very last chorus member. . . . one of those rare productions where all the pieces come together so wonderfully you wish it would never end. [Pirates of Penzance]