Patience

In Gilbertian terms, the object of the Winthrop House Music Society is sublime. And this year the production matches the goal; for with their performance of Patience, the Winthrop group has overcome with case the difficulties of piano accompaniment and crowded common room. It has collected the voices and the actors, often lacking in the past, to preserve the luster of Gilbert's lyrics and the sprightliness of Sullivan's music.

The selection of Patience was a fortunate choice, for although the Sullivan music is not so easily remembered, Gilbert's libretto is one of his most amusing. Abandoning the broader styles of Pinafore, Gilbert chose to satirize the aesthetes of the 1880's, characterized best by Oscar Wilde and his inevitable vest-pocket lily. With a sophisticated and satiric type of humor, the opera affords opportunities, if well handled, for superb comedy.

The cast, decked in outlandish costumes mocking the artistic craze of the period, is usually equal to the quick-witted and congenial pace set by the authors. Though no strong voices emerged, the singing bubbles smoothly over Gilbert's patter, and the evening's few sour measures are easily obscured by the humor of the lyric or the cleverness of the stage business.

Two members of the company, Fred Koch and Diana Frothingham, are especially imaginative and adept at fitting actions to their parts. As the most Wilde character, Koch minces and skips his way effectively through such numbers as "If You Want a Receipt," proving himself worthy as Gilbert's "ultra poetical, super aesthetical, out-of-the-way young man." Miss Frothingham, as the imposing spinster, Lady Jane, combines husky voice and long arms in an admirable mimic of the decaying but determined old maid.

Though their parts afford less opportunity for satire, William White as the rival poet, and Sara-Jane Smith, as the milk-maid Patience, add some clever acting to the production. Along with excellent leads, Patience is served by a chorus of British soldiers and love-sick maidens who enthusiastically catch the G & S flavor. Adele Hugo's choreography and the direction of John Benedict keeps this cast moving through well-timed routines. In the past, disappointing performances have made the Winthrop opera a risky luxury for Gilbert and Sullivan fans. This year, Patience is a necessity.