Patience

To modern audiences Patience is a bit of anathema, as the story line is basically a satirical comic look at the ‘aesthetic movement’ of the 1870’s, which focused on art being beautiful rather than ‘art for art’s sake.’ A concept which in today’s terms would be hard for modern audiences to understand. SAODS however came up with the ingenious idea of setting the operetta in the ‘flower power’ era of the late 1960’s. A period of equal pretentiousness and aesthetic values, whilst having its own whole vibrant colourful look. And visually how well it worked.

Musical Director Alana Thackray had once again put together a top draw 14-piece orchestra, which was the backbone of the show from 1st violin to 2nd trombone. If there was a note out of place it certainly didn’t show amongst this first-rate outfit.

After the very long but very well played overture the curtains opened to a wonderful collage of characters adorning the stage. It was sight to behold, every character in their own unique pose and brightly dressed in the clashing colours of the hippy era. A spectacular and memorable opening! And we were off into the very well-rehearsed opening number of ‘Twenty love-sick maidens we.’ This is a very small stage for what is a large all-inclusive society, so my hat goes off to Director, Gordon Hodges for the way in which he blocked his characters, not a sight line obscured or a character upstaged throughout.

When the stage finally cleared of the large chorus we were able to feast our eyes on the splendid set by John and Hazel Daniels of a painting of the grounds of Castle Bunthorne with a centrepiece of a 1960’s VW camper van complete with flower power hippy regalia. Even the wings were painted to align with the centre backdrop. Everything complimented with a well-lit set by Richard Hull. Very well done indeed.

The story, which takes place entirely in the grounds of Bunthorne Castle, centres around a pretentious poet, Reginald Bunthorne, played superbly tongue in cheek by Colin Jones, who has gathered a cult following of adoring maidens to listen to his scribblings. Bunthorne however, far from taking advantage of and to the disappointment of the love-sick maidens, has his heart set on a simple milk-maid, Patience.

Bex Badham as Patience is a wonderful new find for this society, with a voice to die for! I noted in the programme and was not surprised to learn that she had studied classical voice at university. This lady has a serious future in whatever direction she takes in the world of musical theatre. And at the risk of upsetting some of the older stagers of G&S, how brilliant to welcome younger blood to the ranks to play the young leads. I hope to see much more of her in the future. Her entrance from the back of the theatre was a particularly effective way to get heads to turn at the arrival of such a powerful voice.

Enter the wonderful baritone voice of David Crew as Colonel Calverley, together with John Epton as Major Murgatroyd, Charles Mills as The Duke of Dunstable and the colourful troop of Dragoon Guards to a wonderful rendition of ‘The Soldiers of Our Queen.’ These three complimented each other well throughout and the provided some wonder lovesick comic moments. This was highlighted in their performance of ‘It’s clear that Mediaeval Art,’ dressed in those bizarre blue uniforms in the 2nd act.

Bunthorne, having taken his eye off the ball in his pursuit of Patience, finds himself upstaged by another aesthetic poet, Archibald Grosvenor and Bunthorne’s following deserts itself to Grosvenor’s.’ Played by Stephen Hoath whose comic timing and not to forget his singing voice, were spot on, with a laidback approach in stark contrast to the more intense Bunthorne, which put their contrasting stories across perfectly.

Finally, for the men we concluded with an excellent little cameo by Peter Stevens as Bunthorne’s solicitor.

For the ladies, who will forget the fabulous sheepskin boots and colourful hippy tops of Linda Bowen as Lady Jane or indeed her rendition of ‘Sad is that Woman’s Lot.’ I was however always under the illusion that Lady Jane was supposed to be ‘plain’ Jane! Obviously not in this production?

Carol Urwin and Margaret Snape showed their class and experience with, ‘If Saphir I Choose to Marry’ and the chorus of rapturous maidens was in fine voice throughout.

The last word about the stage must however go to the ladies of the wardrobe department, Hazel Daniels and Doreen Hunter. Where on earth did they manage to source all those wonderful hippy outfits? I have already mentioned Lady Jane but the real star costumes must surely belong to Bunthorne and Grosvenor. Sadly, showing my age, I’m sure I’ve seen them many times before but not since the 1960s – Brilliant ladies, in every sense of the word!

If I can hypercritical for moment, I liked the idea of the hippy theme, but I’m not over convinced it always worked with Gilbert’s 19th century dialogue. I know the G&S Society would have us all burned as heretics, but a change or two to some of it might have worked a little better. That said I reiterate what I said last year; what a pleasure to hear a real orchestra with real projected voices producing such harmonious music! I look forward to Iolanthe next year. Thank you Stewartby for your hospitality and a thoroughly enjoyable evening. And thank you Alana for the additional concert after the curtain had long since closed – Splendid stuff!

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