Odyssey Opera's "Patience": Hey Willow Waly O!

Paul Max Tipton & Sarah Heaton in "Patience"
(photo: Kathy Wittman)

Farce is perhaps the most difficult form of theater to pull off, and so easy to overdo. It's a credit to Odyssey Opera, especially with regard to the choice of Stage Director Frank Kelley and Choreographer Larry Sousa, that they have produced such a faultless winner with Patience, or Bunthorne's Bride, with Music by Sir W. S. Gilbert and Libretto by Sir Arthur Sullivan. This is the the sixth of a dozen operettas by the duo. First performed in 1881, it pits Victorian straight-laced ideals against the passions and indulgences of the 1870's Aesthetic Movement. Thus it makes perfect sense, as all Gilbert and Sullivan works of course do, with their inherent logic intact, for Odyssey Opera to offer this as the final piece in its season of (Oscar) Wilde Nights. Be forewarned, however, that this is no trifle of the “easy listening” sort; as with much of Gilbert and Sullivan, there is a lot of complicated music to be sung and played (at least at one point requiring contrapuntal music at alarmingly differing tempi, rather like listening to two LPs, one at 78 rpm and the other at 45 rpm). One thing that's not particularly complicated is the plot.

All of the village maidens, especially Lady Jane (mezzo-soprano Janna Baty) and her cohorts Lady Angela (mezzo-soprano Jaime Korkos), Lady Ella (Sara Womble) and Lady Saphir (Heather Gallagher), are rapturously in love with local handsome poet Reginald Bunthorne (baritone Aaron Engebreth), who only has eyes for the simple milkmaid Patience (soprano Sara Heaton). In fact, he actually hates poetry. Patience in turn is in love with her childhood sweetheart, a real poet, Archibald Grosvenor (bass-baritone Paul Max Tipton), but feels she cannot marry him as he is too perfect. Meanwhile the serious and decidedly non-poetic Heavy Dragoon Guards, led by Colonel Calverley (baritone James Maddalena), Lt. The Duke of Dunstable (tenor Steven Goldstein) and Major Murgatroyd (Sumner Thompson), hoping to marry those rapturous maidens, find themselves with no likely prospects. In any case, since this is Gilbert and Sullivan after all, in the end (almost) everyone is suitably coupled. Only Bunthorne himself remains single, and so he must live and die, contented with a tulip or a lily.

Janna Baty in "Patience"
(photo: Kathy Wittman)
There is magnificent choral singing throughout, and some real standout solos, duets and even a lovely sextet. It was great fun to see and hear Engebreth and Tipton out-fop one another, Heaton portray the perfect G & S ingenue, and Baty attack her cello, all four with their singing gloriously intact. It was also a treat to have longtime local favorite James Maddalena sail through his two patter songs. The Scenic Design by Dan Daly, Costume Design by Amanda Mujica and Lighting Design by Christopher Ostrom were impeccable from the first tableau vivant to the finale. This Odyssey Opera production, performed in English with fang in cheek vivacity and with the orchestra wonderfully led by Conductor Gil Rose, is a perfect capstone for its current season. So do not thou hesitate; go and get thee Wilde. Or, as Archibald might put it, Hey willow waly O!

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