Auditions are Closed!

Thank you to all who auditioned!

Rehearsal Information:
Rehearsals begin mid-January, 2018
Sunday afternoons & 2 weekday evenings (more for principals), on the University of Chicago campus

Tech Week:
March 4 – 8, 2018

Show Dates:
March 9 – 11, 2018 at
Mandel Hall – University of Chicago campus
1131 E. 57th St., Chicago IL 60637

If you have additional questions about your audition, please contact the Patience production team via email:

The Opera:
Like the boy band wars of the 1990s and the infatuation with vampires and werewolves during the popularity of the Twilight saga, Patience is Gilbert’s send-up of romantic sex symbols – and the public’s infatuation with them.  Instead of musicians or mythical characters, though, Gilbert’s sex symbols are poets: Reginald Bunthorne, a fleshly, decadent, brooding figure, and Archibald Grosvenor, a rustic, pastoral Adonis that unwittingly steals the affections of Bunthorne’s coterie of adoring female admirers. Featuring a particularly witty book by Gilbert, a delightful soprano ingenue, and some of the most tender musical moments in the canon, Patience is a brilliant showcase of both Gilbert and Sullivan at the height of their creative powers.

Patience Character Descriptions:
Patience (soprano) – Naïve, innocent, and curious, Patience is immune to the temptations of both fads and, it seems, “love” itself.  Though she initially inspires a combination of jealousy and curiosity from the women, her earnest, endearing nature wins over everyone she meets, and her journey to discovering love provides the audience with at least one character to root for throughout the piece.  Unlike most of the other G&S operettas named after characters, the eponymous Patience does actually appear throughout the entirety of the show.  Brilliant singing, youthful vigor, and a casual, almost Lolita-like innocence that captivates both Bunthorne and Grosvenor in equal measure.

Reginald Bunthorne (comic baritone) – Bunthorne is a real piece of work.  Cynical, affected, pretending to be a tortured artist in order to receive the adulation of women, Bunthorne is a complex, overwrought figure more obsessed with admiration than anything else, including love. A practiced character actor with tremendous comic timing and experience with G&S is necessary for the role.  Moderate stage movement required.

Archibald Grosvenor (baritone) – The cover of a cheap romance novel come to life, Grosvenor isn’t much of a poet, Grosvenor replaces Bunthorne’s doleful cynicism with wistful, lovesick moralizing.  Not lacking in self-confidence, Grosvenor’s tragic flaw, in his own mind, is his utter physical and moral perfection.  Much funnier than most of the other romantic leads in the G&S canon, Grosvenor is a role that requires a superb baritone voice, good looks, good comic acting, and some light stage movement.

Lady Jane (contralto) – Far too old to be one of Bunthorne’s fangirls, Lady Jane nevertheless remains Bunthorne’s most ardent admirer.  An outstanding comedic actress able to command the stage is required for the role.  As the Lady Jane/Bunthorne duet is the traditional “encore” number of the show, energetic stage movement skills are essential for the role.

Colonel Calverly (bass-baritone) – A stuffy, brusque mountain of a man, he is the embodiment of every aging, out-of-touch adult for whom the fickle fads of the time are a complete mystery.  A delightfully fun and rangy role, the Colonel sings the “traditional” patter song of the show – the only pure patter song in the G&S canon given to a character who is NOT the patter baritone.  As such, the role requires experience and capability with G&S-style patter, along with a trained sound, some light movement skills, and solid character acting chops.  The Colonel will sing with the male chorus in all but the first two numbers.

Lieutenant the Duke of Dunstable (tenor) – A foppish, goofy example of nepotistic, sheltered royalty, the Duke is tremendously good-natured, but a bit of a fool, with next to no real world skills or competencies.  The Duke sings with the men’s chorus throughout, and requires an excellent comic actor who can lend his own bit of weirdness to the role.  Some stage movement skills required.

Lady Angela (mezzo-soprano) – the matriarch and leader of the Bunthorne/Grosvenor fan club, Lady Angela is the only one of the women to take Patience under her wing and school her in the way of love.  Lady Angela sings with the women’s chorus throughout.  Good acting range and stage movement skills required.

Lady Saphir (alto) – a leader of the Bunthorne/Grosvenor fan club, Lady Saphir is eloquent, overly affected, and hopelessly lovesick.   Lady Saphir sings with the women’s chorus throughout.  Solid comic acting and stage movement skills required.

Major Murgatroyd (baritone) – Energetic and dutiful, the Major acts as a capable leader of the men’s chorus and a friend and partner to his superior officer, the Colonel.  The Major sings with the men’s chorus, and requires a singer who is very comfortable with dance and/or movement.

Lady Ella (soprano) – Innocent and overly emotional, Lady Ella is one of Bunthorne’s most ardent admirers.  A comprimario role, Lady Ella sings with the women’s chorus as well.

Women’s Chorus – Lovesick maidens, all, the women are doleful fangirls of Bunthorne and, later, Grosvenor.  Unabashed groupies, the women shift from a (Victorian era) gothic/emo aesthetic to a rustic romance novel aesthetic, as their slavish attentions shift from Bunthorne to Grosvenor.

Men’s Chorus – A second-class cavalry regiment of dragoon guards, the men’s chorus is enormously proud of their military status, yet exceptionally “uncool,” stiff, out of touch, and befuddled by their betrotheds’ fascination with the foppish poets.