Gilbert & Sullivan's
|
|
Cast
Patience - Stacey Mastrian
Lady Jane - Melissa Kornacki Lady Angela - Patricia Portillo Lady Saphir - Wanda Flinn Lady Ella - Gayle Gillespie Reginald Bunthorne - Gary Sullivan Archibald Grosvenor - Harv Lester Colonel Calverley - Thomas Goode Major Murgatroyd - Blair Eig Lieut. The Duke of Dunstable - Pablo Zylberglait Chorus of Rapturous Maidens and Dragoon Guards - David Bradley, Grace Brigham, Katie Caughlan, Alex Desjardins, Rick DuPuy, Noah Friedlander, Stefanie Garcia, Annie Gribben, Dardi Harrison, Lucy Hellerman, Rand Huntzinger, Donna Jaffe, Lyle Jaffe, Carlton Maryott, Jane Maryott, Jim Noone, Pamela Sears-Rogan, Madeleine Smith, Julie Stevens, Ed Vilade, Clyde Wright, Ann Yu Orchestra
Violin 1 - Steve Natrella (CM), Bonnie Barrows, Carolyn Larson, Irv Berner
Violin 2 -Martin Brown, Peter Mignery, Edwin Schneider, Andrew Nixon Viola - Amanda Laudwein, Victor Ontiveros Cello - Sheryl Friedlander, David Dubov, Andrew Schneider Bass - Pete Gallanis Flute - Jackie Miller, Louise Hill Oboe - Gwen Earle Clarinet - Laura Langbein, Laura Bornhoeft, James Bensinger Bassoon - Richard Sargeant Horn - Kathleen Bartolomeo, Lora Katz, Deborah Kline Trumpet - Curt Anstine, Bernie Rappaport Trombone - Steve Ward, Al Potter, Frank Eliot Percussion - George Huttlin |
Production Staff
Producer - Denise Young
Assistant Music Director - Jenny Craley Bland Choreographer - Felicity Ann Brown Stage Manager - Felicity Ann Brown Assistant Stage Manager - Tony Dwyer, Ezra Schatz Lighting Designer - Ayun Fedorcha Set Designer - David Kaysen Costumes - Denise Young Stage Crew - Michael Rogan Master Carpenter - William Kolodrubetz, Ed Byrdy Scenic Artist - Rebecca Meushaw Set Construction - Ed Byrdy, Hank Drahos,Tony Dwyer, Les Elkins, Peter Finkel, Ernst Harmse, Dave Kaysen, Deborah Peetz Rehearsal Pianist - Jenifer Craley Bland Program - Denise Young Graphic Design - John Boulanger, Patricia Portillo Publicity - Sandy Rovner Properties - Guillaume Tourniaire & cast Surtitles - Denise Young, Douglas Maryott Educational Outreach programs - Debbie Niezgoda, Kiersten Whitehead House Management - Merle Haber Set Storage - Rockville Civic Center |
Director's Note
“Parody is by its nature ephemeral. It relies on recognition, and the specific objects of parody seldom have lasting recognition. In 1881, when George Grossmith played Bunthorne wearing an eyeglass like Swinburne’s, a lily like Wilde’s, and a silver streak in his hair like Whistler’s, he entered to a prolonged ovation; in the 1970’s, a similarly made-up John Reed got only mild chuckles at his eccentric appearance. Parody doesn’t last, and Patience is no exception.”
~A Most Ingenious Paradox: The Art of Gilbert and Sullivan by Gayden Wren
In changing midstream from a play about two rival curates to one about two rival poets (and leaving some traces of the earlier work along the way), Gilbert aimed his skewering pen at the overblown figures and followers of the aesthetic movement of the day. While this made the operetta all the more popular for its timeliness, it did create a problem for later productions. For starters, the purists out there can breathe a sigh of relief: I did not choose to update the play, setting it in the era of Flower Power or in a modern-day spa.
By the same token, however, I also chose not to include the affected poses that are such a well-known part of Patience, but seem anachronistic to the uninitiated. I felt that including the traditional aesthetic poses for their own sake would be a bit like telling a private joke for only part of the audience, or a public joke that requires an explanation – one seems rude, and the other simply isn’t funny. Instead, the cast and I have taken great delight in interpreting for ourselves the sparkling dialogue and music that make the operetta such a pleasure to revisit. Our goal was to offer a Patience that would make sense to an audience seeing it for the first time.
As an American opera company presenting an emblematically British art form, we drew inspiration from Whistler’s contemporary, Thomas Wilmer Dewing, whose works hang in the Smithsonian’s American Art Museum and Freer Gallery. Dewing’s Tonalist paintings were the American nod to English aestheticism, and were praised for their reminiscence of Botticelli. My first image of Lady Jane was his Lady Playing the Violoncello (1908). The backdrop of the stage is an homage to his Summer (1890), and the ladies’ aesthetic garb picks up the drape and hues of this and other paintings in the season series. The set resembles the setting in his In the Garden (1894), and the lighting attempts to capture the suffusion of color in his backdrops, out of which his figures seem to grow in The Lute (1904).
In several of his books, Gilbert wrote about the quest to know what love is; also, that clothes do not make the man. To me, Patience in this regard is chiefly about selflessness: selflessness as the loss of identity in a regimented organization or wholly engrossing movement; selflessness as the abandonment of individuality in the pursuit of an ideal or single-minded goal; as well as the selflessness of giving oneself freely for love. Some characters in the play give up their ego for the uniform of a soldier or the cause of a poet; others embrace and espouse aestheticism as one might a philosophy or religion. Although Patience herself professes that she “cannot tell what this love may be,” she does seem surer of her own self than the interchangeable ladies, dragoons, and poets .
~A Most Ingenious Paradox: The Art of Gilbert and Sullivan by Gayden Wren
In changing midstream from a play about two rival curates to one about two rival poets (and leaving some traces of the earlier work along the way), Gilbert aimed his skewering pen at the overblown figures and followers of the aesthetic movement of the day. While this made the operetta all the more popular for its timeliness, it did create a problem for later productions. For starters, the purists out there can breathe a sigh of relief: I did not choose to update the play, setting it in the era of Flower Power or in a modern-day spa.
By the same token, however, I also chose not to include the affected poses that are such a well-known part of Patience, but seem anachronistic to the uninitiated. I felt that including the traditional aesthetic poses for their own sake would be a bit like telling a private joke for only part of the audience, or a public joke that requires an explanation – one seems rude, and the other simply isn’t funny. Instead, the cast and I have taken great delight in interpreting for ourselves the sparkling dialogue and music that make the operetta such a pleasure to revisit. Our goal was to offer a Patience that would make sense to an audience seeing it for the first time.
As an American opera company presenting an emblematically British art form, we drew inspiration from Whistler’s contemporary, Thomas Wilmer Dewing, whose works hang in the Smithsonian’s American Art Museum and Freer Gallery. Dewing’s Tonalist paintings were the American nod to English aestheticism, and were praised for their reminiscence of Botticelli. My first image of Lady Jane was his Lady Playing the Violoncello (1908). The backdrop of the stage is an homage to his Summer (1890), and the ladies’ aesthetic garb picks up the drape and hues of this and other paintings in the season series. The set resembles the setting in his In the Garden (1894), and the lighting attempts to capture the suffusion of color in his backdrops, out of which his figures seem to grow in The Lute (1904).
In several of his books, Gilbert wrote about the quest to know what love is; also, that clothes do not make the man. To me, Patience in this regard is chiefly about selflessness: selflessness as the loss of identity in a regimented organization or wholly engrossing movement; selflessness as the abandonment of individuality in the pursuit of an ideal or single-minded goal; as well as the selflessness of giving oneself freely for love. Some characters in the play give up their ego for the uniform of a soldier or the cause of a poet; others embrace and espouse aestheticism as one might a philosophy or religion. Although Patience herself professes that she “cannot tell what this love may be,” she does seem surer of her own self than the interchangeable ladies, dragoons, and poets .
