Berkshire Theatre Group, Stockbridge & Pittsfield, MA
by Shera Cohen
I never enjoyed the music of Gilbert & Sullivan, or so I
thought. You might feel the same? After last summer’s hit of Barrington Stage
Company’s “The Pirates of Penzance,” and this season’s enormously fun Meredith
Willson’s “The Music Man” at Berkshire Theatre Group, I have become a convert
to the unique and quirky collaborative style created by G&S and later
replicated by Willson.
What do these two productions have in common other than the
many obvious elements of this genre of music? Answer: The Patter Song. We have
all heard it, maybe you have even sung it. For today’s generation, the tunes
are like Rap. For Baby Boomers, remember Shirley Ellis’ “The Name Game”? For
opera aficionados, think of Rossini’s “Barber of Seville.” And, Broadway lovers
can attempt to sing Professor Harold Hill’s signature piece, “Ya’ Got Trouble.”
More difficult yet from the same musical is “The Music Man’s” opening number
“Rock Island” (aka “Ya’ Don’t Know the Territory”).
Patter is a song on speed; one that starts with fast music
and lyrics, then notches it up even faster, eventually at lightning speed (yet
never losing the quality of the fine music). The requirement of all light
opera, like those typified by Gilbert & Sullivan, is the inclusion of at
least one Patter Song. It is a feat of musical prowess and tongue twisting that
challenges even the best (and fastest) of singers. Key to the Patter Song, and
a component that makes it even more difficult, if that is possible, is precise
articulation of the lyrics.
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The Pirates of Penzance |