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| The Cast of Patience |
Of the fourteen operas penned by Gilbert and Sullivan, The Pirates of Penzance, H.M.S. Pinafore, and The Mikado seem to be the most popular, judging by the number of times they’re staged. However, I recently discovered, for the first time, Patience, the collaborative duo’s sixth opera which left me wondering why this sweet and entertaining bon-bon isn’t staged much more often than it is.
With a little research, I discovered that Patience ran for a total of 578 performances, seven more than the authors' earlier work, H.M.S. Pinafore, and the second longest run of any work of musical theatre up to that time. Some critics also give it high scores and consider it the best of the G & S oeuvre. Incidentally, it was also the first theatrical work in which both the stage and audience areas were entirely lit by electric light.
I got my first taste of Patience at a Friday evening staging of the comic opera at the Greater Pittsburgh Masonic Center in Ross, one of three venues for the Pittsburgh Savoyards’ current 87th season.
Like all G & S operas, Patience opens with a sprightly overture that immediately chases away any individual residual blues with its frolicsome music. Under the baton of music director Guy Russo, the roughly 30-piece orchestra sounded a notch or two better than usual. Whether it be the acoustics of the hall or the particular assemblage of volunteer semi-professional and professional musicians, I’m not sure. Throughout the performance Larry Conway on trumpet made a very positive impression for his proficiency.
The opera opens with a splash of color coming from both Robert Hockenberrys’ stunning castle with balcony and courtyard and the costumes gracing the twenty love-sick maidens ogling over a pretentious poet and his penchant for ostentatious aestheticism.
Gilbert and Sullivan are known for their satirical skewering of people, society and movements popular in their day, and Patience wastes no time taking on the foibles of the Aesthetic movement of the 1870s and '80s in England, which put an emphasis on aesthetic values over moral or social themes.
The focus of the ladies’ adoration is Reginald Bunthorne, a sham who enjoys neither poetry or the aesthetes of his era, basks in the adoration of the maidens but is enamored by a common dairymaid, Patience (Kate Manuel), who seems immune to amorous inclinations, despite her physical desirability. As an expression of her obliviousness to romance she sings “I cannot tell what this love may be,” just one of the songs that makes her the vocal star of the show.
As Bunthorne, Corey Nile Wingard takes narcissism almost as far as does rival poet, a prosaic poseur named Archibald Grosvenor (Jordan Speranzo). Both poets take flamboyance and flash over the top, which create some of the opera’s most humorous moments
Complicating matters even more are a squadron of Dragoon Guards who come marching into the courtyard. Dressed in eye-catching red, black and yellow uniforms, the soldiers had been betrothed to the maidens and are now chagrinned to see their fiancées’ attention transferred to other suitors.
Later, in Act Two, a trio of Dragoons, Colonel Calverly (Andrew Mours), Lieut. The Duke of Dunstable (Zhen Yu Ding) and Major Murgatroyd (Don Gudenburr) ring out “It’s clear that mediaeval art alone retains its zest” in an attempt to win back the hearts of their betrothed by adopting the trappings of their rival aesthetes.
Archibald, too, is in love with Patience, and the two suitors wrangle for her hand. As might be expected from a G& S opera, comedy, conflict and confutation unfold in a series of solos, duets, patter songs and some gorgeous sounds from the chorus.
To help the audience better understand the sung lyrics, the Savoyards have mounted video screens on either side of the stage. Unfortunately, some of the spoken narrative is lost because some of the actors’ voices don’t carry far into the theater, which is one reason why I wish the troupe would wear microphones to increase the volume of the dialogue.
Worthy of special mention are Katie Kirby as Lady Jane, who brings with her some finely honed comedic skills, Jessica McGunigle as Lady Angela, Leah Huber as Lady Saphir, Brienne Sharo as Lady Ella choreographers Caitlin Kapoor and Patrick Daniels and lighting designer, Garth Schafer.
Patrick Daniels direction is inventive and designed to move everything along at a crisp but lucid pace.
If you, like me, had never before seen Patience, now’s your chance to see this praiseworthy piece of Gilbert & Sullivan chicanery
Patience, a production of the Pittsburgh Savoyards, is at
the Greater Pittsburgh Masonic Center., 3579 Masonic Way in Ross (Pittsburgh).
Through October 13. For tickets, go to pittsburghsavoyards.org. Livestream
tickets are also available.
Note: In an ongoing effort towards making theatre accessible to all, the Pittsburgh Savoyards are launching a new program for their 87th season. ACCESS Cardholders, Pennsylvania residents who monitor their government-issued cash, food, or medical benefits with an EBT card, are invited to attend any of the Pittsburgh Savoyards shows or special events for only $5 at the door. One (1) ACCESS Card admits the cardholder and up to three (3) additional people at a rate of $5 per person (subject to availability). Please direct any comments or questions to information@pittsburghsavoyards.com.
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