The idea of “art for art’s sake” emerged in the 19th century, spawning the Aesthetic movement, which valued outwardly beautiful, but sometimes superficial, art. In other words, a work’s beauty was more important than its meaning. That’s the backdrop of Gilbert and Sullivan’s 1881 Patience, or Bunthorne’s Bride, which questions the utility of that premise.
Madison Savoyards’ current production of Patience, running at the Bartell Theatre through Aug. 11, features a dynamic cast led by Cat Richmond as the titular milkmaid, Patience. The narrative delves into the imprudence of two poets, Reginald Bunthorne (Roland Beach) and Archibald Grosvenor (Mike Brady), and their flighty admirers.
With great wit, Patience critiques the 19th-century Aesthetic movement, highlighting the absurd pretentiousness of its followers. Bunthorne, who adopts an exaggerated devotion to aestheticism to win over local women, finds himself at a crossroads when Grosvenor, a genuinely charismatic poet, arrives. The shift in female adoration from Bunthorne to Grosvenor introduces comedic tension as Bunthorne strives to reclaim his followers’ affections, and Patience wrestles with her notions of love.
Under the adept direction of Michael Bruno, the production excels in asking what is more important, meaning or beauty? — while delivering Gilbert and Sullivan’s signature satire. The staging is lively and the narrative’s irony is sharply conveyed through engaging musical numbers and clever dialogue.
The operetta’s themes of authenticity and mindless devotion to fads are still relevant. Take, for instance, the elevation of today’s largely superficial social media culture, which prompts some of the same questions about the purpose of art.
As the title character, Cat Richmond makes fantastic comical use of her petite stature. Her vocal performance is particularly noteworthy, especially during her rendition of “Love is a Plaintive Song.”
As Jane, Brendin Larson steals the second act. Larson’s singing is consistent and potent. Her voice purrs like a tiger, and she gets the full value of each and every note. Her scenes are hilarious, too.
But not all the vocal performances were as strong, with some uneven and pitchy, with performers failing to sing through the full value of each note.
Rebecca Stanley’s imaginative costume design and Michael Stanek’s spirited choreography add depth and vibrancy to the performance, enhancing the overall visual and artistic appeal of the operetta.
Despite some uneven singing, the production impresses with its thematic depth, engaging performances, and clever interpretation that should resonate with contemporary audiences. Patience is a testament to the enduring power of Gilbert and Sullivan’s sharp-witted musical theater.
