Word: loved
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Dates: during 1970-1979
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...LOVE IS a plaintive song, and its object in Patience is the aesthete. A band of smitten maidens troops around the stage, fluttering their arms, striking desolate poses and sighing for one Reginald Bunthorne: poet and poseurpar excellence. Bunthorne's dedication, you see, is not so much to his art as to himself. His aestheticism, which issues in a poetry devoted to colocynth and calomel, is mere affectation, a ploy designed to elicit the admiration of his gullible Victorian public...
...this spoof on late Victorian aestheticism and its pretentiously empyrean devotees is not sterling Gilbert & Sullivan. Patiencedoes have its share of Gilbertian humor, mostly deriving from the parody of aesthetic attitudinizing, and its plot is powered by the usual sort of Gilbertian paradox--in this case, an identification of love with duty which brands the love of anything worth loving as undutiful. But it lacks the consistently memorable score that distinguishes Pirates of Penzance, for example, or the brilliant comic sequences which make Iolanthea favorite...
Reginald's antics appear strained largely in contrast to the effortlessness which seems to mark Seltzer's characterization of Reginald's rival in love, the more spiritual Archibald. When he glides on stage to declare his affections for Patience, his infanthood sweetheart, Seltzer makes us keenly aware of what most of the other actors have been doing wrong. With a remarkable economy of movement and gesture, he skillfully conveys the fundamental absurdity of Archibald's unhappy narcissism, evoking laughs simply by a raised eyebrow or changed inflection...
...designed for a person who has nothing to do. Rooms not filled with games (pool, pong, pinball) are studded with dials, toggles and buttons of the "Koopertronics" recording system. Says he: "I built it all myself. It's a ludicrous house for a ludicrous person. But I love...
...instant replay she becomes a whore. Ill (the wages of sin), she returns to her father's barge. There she meets the Irish stoker Mat Burke, who is played by John Lithgow like a brain-numbed victim of killer bees. Naturally, these two crippled creatures fall in love. Anna confesses her past. Since Mat is a pre-ecumenical Roman Catholic, he is appalled that he has fallen for an unclean woman. But she tells him that true love has washed away her sins and the pure and simple stupe embraces...