Gilbert & Sullivan's
|
|
Cast
Patience - Marilyn Macy
Colonel Calverley - Gordon Brigham Major Murgatroyd - Barry Grinnell Lieutenant, The Duke of Dunstable - Elwood E. Zimmerman Reginald Bunthorne - John Perine Archibald Grosvenor - Chris Corbliss Lady Angela - Elizabeth Ziese Lady Saphir - Syril Lessans Lady Ella - Lucy Greene Lady Jane - Linda Lynch Rapturous Maidens - Petra DeBruin, Fran Fleming, Stephanie Kline, Eliza Lansdale, Edith Livingstone, Bridget Mackillop, Mary Sue Merritt, Gina Nowacki, Jenny Ryan, Mary Salander, Rusty Suter Officers of the Dragoon Guards - John Austen, Tim Briceland-Betts, Tom Fuchs, Lyle Jaffe, Donna Jaffe, Clayton Kaufman, Mike Kostrzewa, Erik Kreil, Joseph Monto, Toby Odenheim, Kent Woods Orchestra
Violin - Bonnie Barrows (CM), Dieter Brill, Carolyn Larson, Valerie McWhorter, Winne Palmer, Rosemary Zschunke
Viola - Lynn Allen, Mike Kligerman Cello - Liz Luck, Nancy Pax Bass - Dave Ross, William Zschunke Oboe - Cari Gardner Bassoon - Bob Rusk Flute - Louise Hill, Pauline Summers Clarinet - Susan Braun, Gene Sober Trumpet - Thomas Gleason, Bernard Rappaport French Horn - Don Hunter, Lorin Krusberg Trombone - Don Allen, Earl Zastrow Percussion - Tom Christy, Randy Reed |
Production Staff
Producer - Helene Kram
Dialogue Coach - Peter Kline Set Design - Dennis Jelalian Costume Design - Laurie Hubbard, Mary Sue Merritt Lighting Design - Dennis Jelalian Assistant to the Director -Peter Kline Assistant to the Producer - The Board of Directors Rehearsal Pianists - Judy Gardner, Melanie Smith, AI Neumann Costume Construction - Mary Sue Merritt, Edith Livingstone Set Construction - Gordan Brigham, Tim Briceland-Betts, Barry Grinnell, Donna & Lyle Jaffe, Dennis Jelalian, Mike Kostrzewa, Syril Lessans, Marilyn Macy, Marion Scodari, Ed Wiot Lighting Execution - Martin Blumseck, Shaun Doherty, Warren Houghteling Orchestra Manager - Gene Sober Graphics for Fliers - Dot Laoang Program Cover Design - Steve Behrens Hair and Make-up Design - Judy Burke Helmets - James Hummel, Marion Scodari Properties - Tim Briceland-Betts Refreshments - AI Santilhano Tickets - Donna and Lyle Jaffe Publicity, Public Relations - Deb Briceland-Betts, Ruth Burdette, Marion Scodari Program - Marion Scodari, Gary Pricer, Melanie Smith, Helene Kram House Manager - Susan Frampton Set & Costume Storage - Mr. & Mrs. AI Rupel, Sandy Spring Friends School Special Acknowledgements - Rainie Broad, Robert Giesy, Greenbelt Arts Center, David Lashof, Mary Sue Merritt, Omar Pancoast, Rockville Music Theatre, Sidwell Friends School, Bob Smith, Gil Thompson, Thornton Friends School, Wooden Shoe Bakery Our very special thanks goes to Ms. Renee Popkin of the Children's Learning Center, whose generosity in providing us with rehearsal facilities made it possible to mount this production. |
Program Notes
Patience is a satire on the flurry of aestheticism a century ago that nowadays is associated with the era of Art Nouveau. In that context, names such as Burne-Janes, Oscar Wilde and Whistler come to mind. The libretto of Patience depicts the fashion of London life at that time. The aesthetic set, for instance, would appear somewhat beyond the bounds of reality. They might be seen carrying a drooping flower, looking very forlorn and dressed in extravagant clothes of faded colors. To quote a circular issued by impresario 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 t he day."
It is interesting to know that when Gilbert first started work on the plot, Bunthorne and Grosvenor were no t described as poets, but as clerics. It was felt, however, that such a satire might well cause offense, so Gilbert changed the vocation of his principals. Patience has always been a great success . The first performance given at the Opera Comique in London on April 23, 1881, had no fewer than eight encores. The success of Patience and the inadequate capacity of the Opera Comique for the large audiences the opera was drawing persuaded Carte to go ahead and build he now-famous Savoy Theatre. That in itself was an historical event because the Savoy was the f irst theater in London to be lit entirely by electricity.
It is interesting to know that when Gilbert first started work on the plot, Bunthorne and Grosvenor were no t described as poets, but as clerics. It was felt, however, that such a satire might well cause offense, so Gilbert changed the vocation of his principals. Patience has always been a great success . The first performance given at the Opera Comique in London on April 23, 1881, had no fewer than eight encores. The success of Patience and the inadequate capacity of the Opera Comique for the large audiences the opera was drawing persuaded Carte to go ahead and build he now-famous Savoy Theatre. That in itself was an historical event because the Savoy was the f irst theater in London to be lit entirely by electricity.
