The infinite charms of Gilbert & Sullivan’s clever combination of sharp lyrics and lush melodies have continued to peep through Melbourne’s cultural life ever since the duo’s 14 comic operas premiered in the late 19th century.
Victorian Opera presented a new production of The Pirates of Penzance earlier in the year. Opera Australia’s recent Gilbert and Sullivan: A Musical Celebration followed. And now, Gilbert & Sullivan Opera Victoria (GSOV) is offering a beautiful, vibrantly staged production of Patience to titillate the mind and tickle the funny bone.
Judiciously directed by Robert Ray with copious comic detail and flair, the pace is brisk, while the transitions between dialogue and music are neatly executed. Ray’s depth of artistic influence reaches into jolly, eye-catching choreography and, with a third hat as designer, the creator of a setting that speaks of eloquent simplicity.
Together with Francis Croese’s glowing lighting design and costumes by Ray, in collaboration with Janice Donnelly, the sensuality, symbolism and vivid colours of Pre-Raphaelite art during the Victorian period are referenced. That beauty is perfectly aligned with the duo’s satirical voice directed at Aestheticism – a movement that trumpeted Life needing to imitate Art.
Within this framework the satire extends to perplexing fads which highlight the superficial. In this instance, the target is the self-described ‘aesthetes’ and ‘poets,’ originally modelled after the young Oscar Wilde and his ‘rival,’ Algernon Charles Swinburne.
No apology is made for its “more traditional” approach, with a clever introduction to the work by a carefully spoken Bridget D’Oyly Carte (intriguingly credited as Herself), granddaughter of theatrical impresario Richard D’Oyly Carte, who was credited in forming the G&S partnership.
Next, the overture plays alongside a slide show of cascading-haired Pre-Raphaelite young women and chiselled youthful males, giving way to a stage of similarly dressed lovesick maidens yearning for their ‘aesthete’ idol, the peacock-feather-quill-scribbler and lily-bearing Reginald Bunthorne (James Douglas).
However, it is the young, innocent milkmaid Patience (Renée Mohring) – who, when asked if she has ever yearned, naively replies that she yearns a living – who is the true object of Bunthorne’s desire. Subsequently, through a series of curious encounters, Patience’s childhood affection for Archibald Grosvenor (John Parncutt) is rekindled when he reappears as a self-absorbed poet.
Nevertheless, her romantic enlightenment only occurs when he becomes completely ordinary – localised in this comic iteration as an ocker St Kilda footballer – a hilarious transformation that finally frees her to understand that genuine love has no connection to dramatic fads.
Under the musical direction of Trevor Henley, Sullivan’s score is rendered at its most effective as the music propels the action forward through the fast-paced narrative. Fine musicianship in the pit from an orchestra of more than 20 affords the production much richness.
Cellist Nicholas Branson deserves a special mention, anchoring the Act 2 scene as a fanatical, sorceress-like Lady Jane (Lynlee Williams) fakes it playing her double bass through a Sad is that woman’s lot. The woodwind section, too, provided memorable support.
Williams is one of several standouts in a cast tireless in their efforts to nail every comic opportunity. At times, the vocal quality in solo arias could do with richer, more robust voices, but the key ingredients – tunefulness, smoothness and expressivity – shine through to deliver more than enough entertainment value.
Mohring is suitably sweet in voice, with a rustic innocence that sets her apart from the surrounding fakery, her Act 2 solo, Love is a plaintive song, a particularly affecting moment of melancholy as she sings of loving someone you shouldn’t while giving up the one you should.
As Bunthorne, Douglas is an uproarious floral delight as he skips and prances with musical precision, exercising good control of Act 1’s patter song, Am I alone and unobserved? (If you’re anxious for to shine), and teeing up with Parncutt’s vainglorious Grosvenor for Act 2’s crackerjack When I go out of door.
Juxtapositions are skilfully crafted, with Ian Woodford in excellent command of red-blooded masculinity as Colonel Calverley of the 35th Dragoon Guards. Terence MacManus is a charming caricature of aristocrat breeding as Lieutenant the Duke of Dunstable, while Geoff Dawes slots in firmly as the trusty Major Murgatroyd.
In Act 2’s trio, It’s clear that medieval art, as a trio, the men’s broad visual humour in mocking the aesthetes, combined with their tactical move to win back their former fiancées, is brilliantly performed.
Swooning and singing to their hearts’ content as leaders of the “Rapturous Maidens,” Ladies Angela, Saphir, and Ella are brought to life by Naomi Tooby, Stephanna Betts, and Marisa Panzarin respectively.
Certainly, the chorus cannot be forgotten, and sometimes the best is saved for last. Kudos to the men of the 35th Dragoon Guards and “Rapturous Maidens” for the comical finesse, entertaining enthusiasm, and wonderfully sung, indispensable part they all played.
GSOV’s Patience might suffer from a short season but it has a long list of sparkling attributes keeping up the inimitable G&S spirit – and it is entirely worth getting in quickly to chuckle along with it.
Patience
Alexander Theatre – Monash University, 48 Exhibition Walk, Clayton
Performance: Friday 19 July 2026
Season: 10 – 12 July 2026
Information: www.gsov.org.au
Queenscliff Town Hall, 50 Learmonth Street, Queenscliff
Performance: 18 – 19 July 2026
Bookings: www.trybooking.com
Moe Plaza, 22 Moore Street, Moe
Performance: Saturday 26 July 2026
Bookings: www.trybooking.com
For more information, visit: www.gsov.org.au for details.
Images: Gilbert and Sullivan Opera Victoria presents Patience – photos by Robin Halls
Review: Paul Selar