First of all, Patience is hilarious – no, I mean that – so I suggest that you skip reading my review and just book tickets – tube strikes or not! Bus 343 takes you to within 5 minutes of Wilton’s, and the Overground to Shadwell is only slightly further. But, for those of you who wish to know more, read on!
Charles Court Opera has been described as one of the leading and most versatile chamber music theatre companies in the UK and the “masters of G&S in small spaces”, according to their programme. The artistic director is John Savournin, also responsible for the revival of this 2014 Goth production. Originally a skit on the “aestheticism” of Oscar Wilde, Whistler and others, Patience can seem outdated today, but not here. Savournin has slightly updated the original, setting it in a public house, The Castle, with Patience (Catriona Hewitson) as a barmaid rather than a dairymaid! On the whole, this works very well, especially as Hewitson is superb in role, not just singing the music but making the most of Gilbert’s lyrics, which are crystal clear, as is her dialogue.
Reginald Bunthorne, about whom the plot revolves, is in the highly experienced hands of Matthew Kellett, CCO’s Papageno in its recent staging of The Magic Flute at Wilton’s. He has the knack of having a great rapport with an audience and relishes every syllable of Gilbert’s humour as well as being a great comedian. His Act Two scene with ageing spinster Lady Jane (Catrine Kirkman) is one of the many highlights of the show, especially as Kirkman’s portrayal is beautifully tongue-in-cheek and very funny, especially when knocking back copious quantities of alcohol from the bar! Her wig (I assume!) is a wonderful creation, clearly showing grey hair growing out from the roots where it has not been recently dyed! The two make a superb double act, each being very generous in allowing the other to get as many “laughs” as possible whilst still maintaining the pace of Savournin’s inventive production.
The remainder of the cast uses the split-level stage at Wilton’s Music Hall imaginatively. Meriel Cunningham (Lady Angela) and Jennie Jacobs (Lady Saphir) are enabled, because there is no chorus as such, to make much more of their roles than is usually possible. Cunningham, especially, is lustfully sexy, and enjoys it.
Colonel Calverly (Matthew Palmer), Major Murgatroyd (Dominic Bowe), and The Duke of Dunstable (David Menezes) are amusingly portrayed as ‘posh’ stereotypes, each possessing attractive voices and singing off the words with superb diction.
Matthew Siveter revels in the role of Archibald Grosvenor. As well as a powerful, attractive voice, he is a consummate actor who instinctively knows the style that Gilbert and Sullivan need, and, as so often in the past, almost succeeds in stealing the show towards the end when he momentarily forgets his lines! Whether this is rehearsed or not, it is most amusing and just adds to the “Topsy-Turvy” nature of the entire evening.
In fact, what really strikes one is that, unlike ENO’s recent productions of Gilbert and Sullivan, Charles Court really appreciates how to make Gilbert and Sullivan work. The dialogue is beautifully spoken and often very funny, and the whole production has energy and that elusive quality: style! John Savournin should be warmly congratulated on keeping “G&S” alive and demonstrating how it can not only be relevant to a modern audience without any gimmicks, but also highly entertaining.
Design is by Simon Bejer: perhaps the Goth costumes and make-up could be more extreme? and very effective lighting is by Aaron J Dootson. However, the highest praise of the evening must go to David Eaton, the musical director, who makes the rather weak-toned grand piano sound as much like a full orchestra as possible! Chatting with him before the performance, he said that future plans for CCO were fluid – no pantomime for the first time in seventeen years, but the possibility of reviving Iolanthe, and perhaps a new production of a Donizetti or Rossini opera. I just hope that I am invited! (hint!)
Very highly recommended, and only at Wilton’s this week!
Review by John Groves
Charles Court Opera are well known for presenting witty, exquisite G&S productions, and Patience is no exception. Directed by John Savournin, musically directed by David Eaton (the team behind the smash hit The Yeomen of the Guard at Opera Holland Park) and designed by Simon Bejer (winner of Best Opera at the Offies), audiences can expect first class performances from a terrific young cast, led by Catriona Hewitson in the title role (recently starring in Scottish Opera’s The Gondoliers), and a host of beloved CCO regulars.
Gilbert’s pen was rarely sharper than when he wrote this delicious satire on artistic movements, hero-worship and meaningless fads. Patience brims with biting humour, over the top characters, and music that is by turns toe-tapping and sumptuous. It is a satire of the aesthetic movement that gained the support of Oscar Wilde, which CCO brings into the 21st century in this inventive reimagining.
Cast:
Patience – Catriona Hewitson
Bunthorne – Matthew Kellett
Grosvenor – Matthew Siveter
Lady Jane – Catrine Kirkman
Lady Angela – Meriel Cunningham
Lady Saphir – Jennie Jacobs
Colonel – Matthew Palmer
Duke – David Menezes
Major – Dominic Bowe
Creatives:
Director – John Savournin
Musical Director – David Eaton
Choreographer – Damian Czarnecki
Design – Simon Bejer
PATIENCE
Wilton’s Music Hall
9 to 13 September 2025
