Patient G & S fans treated to pattering feast

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This article was published 30/04/2010 (5959 days ago), so information in it may no longer be current.

FOR Gilbert and Sullivan devotees, there’s nothing like the sound of a pattering feast.

The Gilbert and Sullivan Society of Winnipeg’s annual rite of spring celebrates the tongue-twisting satires of Victorian librettist W.S. Gilbert and composer Arthur Sullivan, alternating a lesser-known work with one that is more popular. Patience or Bunthorne’s Bride? marks the society’s 20th anniversary and follows last year’s lively hit The Pirates of Penzance.

The two-act operetta skewers the lofty Aesthetic Movement that was sweeping Britain during the late 19th century. Two velvety poets, Reginald Bunthorne (performed by Derek Leenhouts) and Archibald Grosvenor (Benjamin Campbell) postulate on the virtues of artful self-expression while vying for the affections of sweet milkmaid Patience (Caitlin Wood). Enter 20 lovesick maidens in various states of despair, a chorus of bold dragoons and a bass-playing Lady Jane (Nicki Kirton) and you get an evening of campy wit with a beating heart of gold.

Alberta-born soprano Wood makes this production sing. Her coquettish portrayal of the title role brims with fresh youthfulness and a colouratura voice that sparkles like a jewel. Wood is a fine actress as well, possessing both a knack for characterization as well as a natural gift for spontaneity with her fellow actors. Her classic Act 2 aria Love is a Plaintive Song was a standout.

Reid Harrison’s sensitive direction knew just when less is more and when to ratchet up the shtick. The production also includes several unique touches such as a Mi-Ya Sa-Ma snippet from The Mikado at the top of Act 2, clever Canadian political references in the Colonel’s If you want a receipt for that popular mystery and most effectively, a (mostly) a cappella chorus I hear the soft note of the echoing voice that was stirring.

Music director John Standing kept the 22-piece orchestra moving briskly throughout the evening. Sheldon Johnson’s effectively tiered set design provided clear sight lines on the relatively small stage area lit by Jason Robbins.

Special mention must be made of G & S newcomer Nelson Bettencourt (Duke of Dunstable) for his keen comedic skills and priceless facial expressions of mock horror. Seeing G & S founding artistic director Glen Harrison (and father to Reid) in his cameo role as the Solicitor and veteran performer Fred Cross as Colonel Calverley spoke volumes as to the level of life-long commitment these performers have to their art.

It’s no secret that there are many die-hard G & S fans in the city. So it’s a mystery why only 216 of the most faithful attended opening night, making the grand old Pantages Playhouse Theatre feel uncomfortably empty. Nevertheless, those who were there clearly had a grand old time, confident that — well over 100 years later — the sun still burns brightly on the ever popular, still going strong G & S empire.

holly.harris@shaw.ca