The key to any good performance of a Gilbert and Sullivan operetta in that the performers enjoy themselves. The Canterbury players who gave "Patience" at the Christ Church Parish House last night, and who will repeat tonight, had a better time by far acting than the audience had listening. The result was a great show.

Rarely have such a collection of wits gotten together at one time to give "Patience." Their singing, their acting, and even their facial expressions put it across in a manner that had the audience rearing with laughter all night.

Great credit is due to Sam V. K. Willson who leaned back in his seat throughout, directing both the onstage and pit choruses. The stage being very small, he found it necessary to keep a majority of the dragoons and rapturous maidens seated in the pit. The idea was a great success. It not only left the stage uncluttered, but it provided the necessary volume for the chorus parts.

Both Reginald Bunthrone and Archibaid Grosvenor, the Fleshy and the Idyllic Poets, played by Bradley M. Walls and Richard M. Murphy fitted about the stage with true aestheticism. Walls' face was a delight to behold as it changed to meet the mood. But credit for the best single performance from a list of many excellent ones must go to Elizabeth Spencer, who was suitably padded with pillows to play Lady Jane. Her aria in the beginning of the second act-done with a bass fiddle-brought down the house.

The dragoon guards, resplendent in red and yellow costumes, never let themselves show the strain of an opening night, nor the boredom of singing something that they had done hundreds of times before in rehearsal. Their antics onstage frequently left the pit dragoons laughing so much they were incapable of singing.

It is nothing short of amazing that Katherino Griffith, who played as Patience, was able to sing at all, let alone in the remarkably clear and beautiful way that she did, for only two nights ago she finished singing the soprano part in Hamlel's "Messiah."

The scenery, costuming, and especially the casting for the production were all good. Everyone was perfect for the part to the point where it seemed that the part was created for him.

"Patience" has a great deal of very light and tuneful music. It demands the light touch to put it across with the zeat required to create and enjoyable performance. I have infrequently soon so much zest and life put into anything, and I have never seen a more enjoyable presentation of "Patience."

Gilbert and Sullivan operettas rarely come to Harvard. When one does, and when it is as well executed as this one, it should not be missed.