Contact us at +1 626-840-4532 or

Amahl and the Night Visitors 1998

A Celebration for Epiphany

Amahl and the Night Visitors 1998
Sunday, January 4, 1998 James Walker
photo of Cast of Amahl and the Night Visitors, 1998Cast of Amahl and the Night Visitors, 1998

It was a wild idea and huge project to produce Amahl at All Saints. There was an amazing young boy soprano in the children's choir program at the time, Theo Lebow, and that fact rather became the clincher in the decision to move forward.

Of course, this was not the simple production of my youth, using piano accompaniment only, played by the director. We had an actual director, a choreographer, lavish set and costumes, an instrumental ensemble. And the place was packed to the rafters for both performances.

Theo now has an active opera career, and it is fun to remind him from whence he came.

And we did use most of the historic 1969 props, most notably the revered crutch. It was a fantastic project for Canterbury and a big hit.

Date & Time Sunday, January 04, 1998
at 5:00 PM
Location All Saints Church
132 N. Euclid Avenue
Pasadena, California 91101
OrganSchlicker Organ, 1962
Event typetheater piece
  • James Walker
    James Walkermusic director
  • Theo Lebow, Amahl
  • Elizabeth Tatum, The Mother
  • Christopher Gambol, King Kaspar
  • Thomas Burns, King Melchior
  • Jim Campbell, King Balthazar
  • Michael Taylor, The Page
  • Katie Anawalt, dancer
  • Marike Schultz-​Meyer, dancer
  • Chamber Orchestra
  • Russell Werkman, director
  • Jamie Nichols, choreographer
  • Gian-​Carlo MenottiAmahl and the Night Visitors

1 Comment

  1. Russell Werkman 7 months ago

    This is one of my favorite memories from my time in LA. James approached me about directing this because he knew I was an actor and was interested in directing. This was my first paid directing gig!

    It was a project dear to his heart because he had played Amahl when he was young. He had the crutch he had used and gave it to Theo for the production. He took a huge leap of faith in hiring me, as I had never directed an opera before! I wonder if what he thought when I presented my vision of “Olives and Quinces” as a sort of Rube Goldberg machine. He was encouraging and patient and supportive. Given the amazing artists and musicians on stage and the incredible costumes, even I couldn’t screw it up! I remember sitting up in the balcony at All Saints watching the performance and bursting with pride at the world the actors and singers and James were creating.

    I have directed a number of musicals since that time. This was the first, however. The memory of this production and the confidence that James had in me is a touchstone. I hope I have the same impact on other actors and artists that he had on me.

    Thank you, James!

Add a Comment

Required fields are marked *
Your email address will not be published.