Summertime in Seattle. Time for the Gilbert & Sullivan Society once more to spread their "innocent merriment" over our fair city. In this, their 51st year, the Society opens with a production of "Patience" on Friday, July 15, at 7:30 p.m. at Seattle Center's Bag-ley Wright Theatre.
"Patience" is a spoof of the "aesthetic movement" and its devotees that took England by storm in the latter half of the 19th century. First produced in April 1881 at the Opéra Comique, the opera was later transferred to open the new Savoy Theatre, that momentous occasion when electricity was first introduced into theater in Great Britain.
It is an exaggerated burlesque on a cult that began, probably, as a reaction to strict Victorianism and had for its supporters many who are now famous names in the literary and artistic worlds - Oscar Wilde, Whistler and Walter Crane. W.S. Gilbert's irony is directed against those who carried the fashion to an extreme.
Sir Arthur Sullivan's music for this opera is some of the best he ever wrote, and the work will live as a perfect caricature of the Pre- Raphaelite movement. To quote a circular issued by Richard D'Oyly Carte in 1881: "In satirizing the excesses of these (so-called) aesthetes, the authors of 'Patience' have not desired to cast ridicule on the true aesthetic spirit, but only to attack the unmanly oddities which masquerade in its likeness. In doing so, they have succeeded in producing one of the prettiest and most diverting musical pleasantries of the day."
The operettas of Gilbert and Sullivan are as English as tea and crumpets, a humorous satirical kaleidoscope of Victorian life.
But there is so much more. Gilbert and Sullivan are part of the fabric of English life. When I was growing up, there were always numerous cousins, uncles and aunts involved in college and amateur productions, while my own school and college days had their full share of G&S operettas. I was involved - though not in the singing capacity, because I couldn't and still can't carry a tune in the proverbial basket. My contribution was in the costume department. Many of my family's bedspreads and curtains were sacrificed to this cause - not to mention the miles of lace off grandma's frilly underwear!
On arriving in Seattle in 1963, my husband and I quickly found the local Gilbert & Sullivan Society, the same company that is still flourishing, bless them. We also produced and broadcast the Gilbert & Sullivan operettas on KPLU radio in Tacoma for two years, having a great time cutting them down into half-hour segments while I unraveled the complicated stories, identifying the good and the bad guys. It was difficult to know which parts to cut and which to leave, but over the years we managed to do justice to them all. We did the complete canon over the years.
I have many fond memories of Gilbert & Sullivan productions, which always raise the spirits. I remember on one occasion, while the British cast of Wagner's Ring Cycle was rehearsing at the opera house, Paul Crook, who was playing Mime, was having a particularly difficult time rehearsing with the director. We whisked him away and took him next door to a G&S production, which greatly improved his health and temper.
On another occasion, we escorted a group of young people from the Britannia club to a G&S production of "Patience," many of them wearing velvet jackets or aesthetic robes and carrying huge sunflowers, tulips and lilies while skipping up and down the aisles during intermission.
"Patience" is one of the happiest and silliest of the Gilbert and Sullivan collaborations, and remains as popular today because of the ecstatic rapture of the followers of certain fads is a continuing theme in the world of art. "Patience" is wonderful entertainment for the whole family.
Producer Mike Storie, director Christine Goff and music director Bernard Kwiram have brought together a very talented cast, including some of the Society's favorites from past productions as well as several outstanding newcomers. The principals include Dave Ross (back from his adventures in politics) as Bunthorne, Alyce Rogers, William J. Darkow, Scott Rittenhouse, Scott Bessho and John Brookes. A first-timer with the Society, soprano Cristina Villareale, appears in the title role. Kwiram will conduct the Society's 27-piece orchestra and the cast of 10 principals backed by a 28-member chorus. Scenic designer Nathan Rodda's sets promise to be as spectacular as usual.
The performances - July 15-16, July 21-23 and July 28-30 - include three discounted family nights and three Saturday matinees. Tickets are $29 for the general public, $25 for senior citizens and $12 for students. Evening performances start at 7:30 p.m.; matinees, at 2 p.m. For tickets, call the Society at 341-9612 or Ticketmaster at 292-ARTS, or visit the Society's Web site at www. pattersong.org for more information.
See you there. TTFN.
[[In-content Ad]]
