Reviews
Seattle Weekly Review July 27, 2005
Seattle Times Review July 26, 2005
Seattle PI Review July 19, 2005
Review reprinted from
savoynet listserv
July 18, 2005
Which of Gilbert's female leads
has the most "babe" potential? Without a doubt it's Patience. Is that why
Patience is my favorite of the fabulous 14? Hard to say. What I do know is
that, when I see a performance of Patience, the first thing I look
forward to is her entrance. Will the person playing the part do her
justice? This current production of Patience by the Seattle Gilbert and
Sullivan Society is the best I have seen yet - and that is saying
something. The level of professionalism that this group exhibits
seems to be growing exponentially with each production.
And Patience herself? Her name is
Cristina Villareale, who literally blew me away with her flawless
performance. Ms. Villareale IS Patience. There's no higher
compliment I could pay her. Her voice is beautiful, her "north end"
accent perfect, her stage presence nothing short of commanding. I
understand this is her first season with the company. We
should all hope for many more.
The rest of the cast was nearly
flawless as well. The technical abilities in singing and acting were
more than admirable - even "lesser" parts were performed beautifully. Of
course technical perfection is a
good goal, but as anyone knows, there must be personality in the mix as
well. Well, we aren't disappointed there either. Dave Ross's Bunthorne, I
would say, is almost Ross at his best so far. As the "Grossmith" of this
company for a number of years, I've enjoyed every part he's played, but I
think he is just a little bit more magnificent in this production.
Mr. Ross recent ran for and lost a bid for the US House. Had I been a
resident of Washington I would have had to vote against him myself - not
for political reasons necessarily, but only to keep him at G&S.
The dependable Alyce Rogers did a
bang-up Lady Jane. I 've looked over her credits and it reads like a
"who's who" of musical and operatic theater. The Society is lucky to have
her as well. She brings just the right amount of pathos without forgetting
that it's certainly a comedy role.
Col. Calverley is played by the
venerable William Darkow, another top rate Society regular who's previous
credits included The Duke of Plaza Toro, Dr. Tannehauser and Sir Marmaduke
Pointdexter (to name just a few) Scott Bessho as the Major, Scott
Rittenhouse as the Duke, Tessa Studebaker as Lady Anglela, Annette Dennis
as Lady Ella and Hollis Heron as lady Saphir, all played their parts with
great talent, precision and energy. Who's to complain?
There was one remaining
performance that caught me a little off guard. Having being raised
on Alan Styler's Grosvenor I was a little startled by John Brookes' tenor
interpretation. But lest you think I have a complaint I will say without
hesitation, that once I got over the original shock, I totally enjoyed his
Grosvenor. He approached the part with a twerpy giddiness that was simply
delightful. From now on I can't think of a better standard for the
"Idyllic" poet.
Now I have always been impressed
by the Society's male and female choruses. Those that were fortunate
enough to see their Gondoliers saw an opening with the female chorus that
simply blew me away with its beauty and precision (The rest of that
production was durn good too).
Last, but of course not least,
it's worth mentioning that the orchestra, under the brilliant leadership
of Kim Douglas* has always been a strong foundation of the
productions. As they say, rarely a sour note. This group really has it
together. The costumes were first rate, the scenery (thanks to Nathan
Rodda's usual genius) always receive a much deserved applause when the
curtain lifts. This company literally oozes talent. I suppose at this
point I'll have to mention Mike Storie, producer par excellent. He once
told me that he thought "People think we sometimes take this a bit too
seriously". Not at all Mike - someone has to. And I count myself as the
blessed to have this in my own "back yard". I've been a Gilbert and
Sullivan fanatic since I was 12, searching out all the recordings,
books and assorted research I could dig up. Until Savoynet I
probably would have bragged that I knew more about the dynamic duo than
anyone else in the state of Oregon. Because the Seattle folks are only
about 200 miles north of me (yes - it IS a nasty drive - but I do it
on compulsion) I have had the pleasure of "filling in" the blanks when it
comes to the operettas I hadn't previously been able to see live. It all
began with me and the Society in 1999 with The Grande Duke, and I've been
hooked ever since. How could I be so fortunate to be so close to
this wonder of institutions? I'll tell you that if I lived 3000
miles away I would still make the trek every year just to see what
first class - professional level performance they would be doing.
Put Seattle Gilbert and Sullivan Society on your schedule and tell your
friends. Thanks Mike and crew!
And you've got two more weekends to catch Patience. She really IS a babe
in this production!
Lon Wall
The Great Quack
* The orchestra is conducted by
Bernie Kwiram. -Cristina |
