Gilbert & Sullivan's
Patience
(or Bunthorne's Bride)

June 17, 18, 24 & 25, 1988 at 8pm
June 19, 1988 at 3pm

Directed by Marion Scodari
Music Directed by Barry Morley

In memory of our colleagues Fred Houghteling and David Jackson.

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.