Review: PATIENCE, Wilton’s Music Hall
Craig Fuller
Gilbert and Sullivan’s comic operas have proved to be long-term survivors on the theatrical scene, and the fantastical setting of many of them makes them ideal for endless reinvention and alternative versions, but Patience is not at first such a likely contender. It was a contemporary satire of the aesthetic movement, set in the time in which it was written, and therefore seems all the more distant to us now.
In their revival of their production of Patience, the always enterprising and inventive Charles Court Opera have set the piece in a London pub. Patience is transformed from a simple milkmaid to a warm-hearted barmaid, while the rapturous maidens are all leather-wearing Goths. The officers of the Dragoon Guards still feature however, as do the two poets: the slightly ridiculous Grosvenor and the comic chancer Bunthorne.
As always, CCO act as their own chorus and have made some very sensible cuts and edits to the script, particularly for the Lady Jane who is more of an agent of her own destiny rather than the usual figure of fun that Gilbert tended to write. Catrine Kirkman makes the most of the part and is very funny, and as the other two Goth customers, Meriel Cunningham and Jennie Jacobs make the most of every opportunity as well as looking absolutely the part.
The three officers appear suitably military in bearing at first but really blossom in the second act when they attempt to rival the poets in dress and demeanour. David Menezes, Dominic Bowe and Matthew Palmer are all strong performers, and we enjoy following their pursuit of the female trio, who also get their own makeover, most amusingly.
Matthew Siveter is a wonderful self-satisfied and preening Grosvenor, never happier than when being admired, whether by himself or others. He is nicely contrasted with Bunthorne, the latest in a line of comedy roles at CCO for the admirable Matthew Kellett. Always looking for an opportunity of any kind, he gives us the desperation and determination of Bunthorne in a high energy performance that the audience adores.
CCO Artistic Director John Savournin is a greatly experienced director and performer but is in his element here creating another boutique opera for the company. He even popped up on stage at the beginning to welcome us all and thank us for battling our way through the Tube strike. CCO Musical Director David Eaton is on board too, accompanying the whole performance on piano with his usual verve and energy, and even managing to slip in a quick prompt at one point. The warm applause for him showed how much he is appreciated.
As always, the welcoming Wilton’s is an excellent home for this type of performance and Charles Court Opera always offer well-sung and original takes on familiar productions. They also navigate the tricky two-level stage with aplomb, nimbly rushing up and down the steps that have challenged many a performer. Look out for their production of The Mikado this Autumn as well.
**** Four Stars
Reviewed by Chris Abbott
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