I was absolutely willing to pass on seeing Gilbert and Sullivan’s Patience at the King’s Head Theater, despite it being the one I can sing along to all of the songs, because, well, I just didn’t have much faith in it not being … well, stodgy. I loved the Union theater’s all-male Patience in 2012, but that was just Sasha’s magic at work, right? The last thing I wanted was some historically pure production that sent me off to nap land, no matter how much dragoon guards and aesthetes make me giggle.
But then I heard it was a Goth Patience. And suddenly, it seemed so much more relevant to not just my life but to modernity. The whole “twenty lovesick maidens” who go around being woeful and in love with a total loser poet seemed so absolutely right for this script. And Goth has a lot in common with the aesthetes, especially if you feel like poking a bit of fun at people who take what they wear a bit too seriously. I wasn’t sure how they were going to work in the whole “Patience is a milkmaid” thing but it all seemed very promising and I scooted out and got tickets for my next available free night.
As it turns out, this was a very appropriate adaptation that took the characters of the shallow, fashionable women (and men) and found a perfectly reasonable excuse for them to be among us for, surely, people who value looking a certain way over personal accomplishments are just as present in modern society as they were in Oscar Wilde’s time. It was all set at the Castle pub (a Camden Goth hangout), and Patience herself had changed from a lowly milkmaid to a tan, outdoorsy barmaid … exactly the kind of person Goths would snub. The only clash was the Dragoon guards … I found it hard to believe a bunch of soldiers would ever be the sweethearts of a pack of Goth chicks, but, well, disbelief must be suspended: however, when they came back all in their best version of Goth garb (so to better woo the ladies), the one dressed as a mime had just so clearly got the whole thing wrong that I burst out laughing. Yes, it seems mostly right, just using black and white face paint does not a Goth make.
The singing was very good, with the performers uniformly seeming to have operatically trained voices. However, I got the feeling that maybe Gilbert and Sullivan wasn’t their forte – the songs, to me, would have benefitted from a bit less vibrato and a bit more patter practice. That said, the words were mostly clear, and the “updates” (such as referencing Frank Sinatra, Primark, and Nietzche) made the show even funnier.
Overall this was a very lively evening and well worth the small investment in time (just over two hours with a 7:15 start ensuring I got home at a decent time), especially at the affordable ticket price. Thank you for a fleshly show, of full comedy!
(This review is for a performance that took place on Thursday, June 19th, 2014. It continues through June 28th.)