The Yeoman of the Guard

There was a buzz of excited anticipation within the hall I observed, packed full of a very loyal and supportive audience seated in readiness for this semi-staged G and S operetta performance. Under the baton of Music Director, Peter Smith, there was some fine music played superbly in the overture from the quintet; such imposing music appreciated by so many in the hall from the start.

This was a polished performance of a story with a complex plot delivered by a solid cast of singers and actors; where the music was treated with seriousness and care; and where there was no shortage of vocal splendour. The director, Julian Souter, ensured an evening of well-rehearsed opera which had pace, as well as strong characterisations, and included just the right degree of humour and silliness one can expect in a G and S production.

This operetta is set at the Tower of London. In Act 1 we learn that Colonel Fairfax ( Adrian Peakman), is to be beheaded the next day for sorcery. Sergeant Meryll, (Mac Hammond), Yeoman of the Guard, lives with his daughter, Phoebe (Jane Souter), who has her eye on Fairfax, who twice saved her father’s life. She and her father are awaiting the arrival of Leonard, Phoebe’s brother, who they hope will bring a reprieve for Fairfax. Sergeant Meryll suggests as no one has seen him, Fairfax could swap places with him if Phoebe can get the keys to his cell from Wilfred, the Assistant tormentor ( Julian Souter). Phoebe has gained the eye of Wilfred, but she ridicules him. Once freed, Fairfax asks his friend, Sir Richard (Mick Branaghan), to find him a bride who would be paid a hundred crowns, to thwart a kinsman who has accused him of sorcery, to inherit his estate so long as he dies unmarried. Elsie Maynard, a travelling player(Sheila Smith), agrees to marry him for the money to buy medicine for her sick mother on the assumption he will be executed, and she will become a widow. She is taken blindfolded to the cell where they are married. As Fairfax’s execution is heralded, it is Fairfax posing as Leonard, who announces Fairfax has escaped! In Act 2 Fairfax is still free. Point, another travelling companion (Rob Mead), who is in love with Elsie, is sad. He and Wilfred plot to make a claim that Wilfred has shot Fairfax while he was trying to escape, in return for which Point will teach Wilfred how to be a jester. Dame Carruthers (Janette Clough), has been looking after Elsie, and she has moved into Sergeant Meryll’s place. She has discovered that Elsie had been moaning in her sleep about her wedding to Fairfax. Fairfax learns then who he has married. When Wilfred is acclaimed a hero for killing Fairfax, Point thinks he can have Elsie back but Elsie has fallen for Leonard, (who is Fairfax really). Phoebe is distraught at the news of Fairfax’s death but when Wilfred realises that Leonard has been Fairfax all along Phoebe agrees to marry him to keep his silence. When the real Leonard appears with the reprieve for Fairfax, Phoebe and Sergeant Meryl are overjoyed. A distressed Elsie is told her husband lives on. Everyone gathers for the wedding of Elsie and Fairfax, but Elsie does not know what Fairfax looks like Now out of his Yeoman’s uniform, Fairfax enters, Elsie is overjoyed. Point is distraught.

Sheila Smith was a delight and confident in the role as Elsie. She sang magnificently with diamond clarity, gleaming through ensemble numbers, some complex and dazzling us with top notes reached with ease. Adrian Peakman as Fairfax, sang with bright ardour and perfect diction, oozing charm with his lyric tenor voice and adopting effective gestures. Jane Souter, as Phoebe, was vocally warm and witty. She sang with notable passion, ’Were I thy bride.’ Mac Hammond seemed comfortable and at ease in his role as Sergeant Meryll and gave a polished well projected delivery, maintaining his ability to command the stage with his superb voice. Rob Mead’s portrayal of Jack Point, suitably cast as the roving performer both convincing and comical. He was energetic in this part, very jolly and entertaining. He held our attention by bringing real humour and pathos to the role. His diction was excellent. Wilfred Shadboult was characterised most effectively by Julian Souter presenting a strong, well defined creepy Assistant Tormentor. He played this with appropriate cheeky zest entertaining us with his facial expressions and body language. Janette Clough was well suited to the part of Dame Carruthers; her contribution enhanced the beautiful harmony achieved by a quartet, in ’Strange Adventure!” Other members of the cast, including Gary Gentle as Leonard Meryll; Christina Clifton as Kate, Mick Branaghan as Sir Richard; Steve Robotham as First Yeoman and Greg Instone as Second Yeoman were equally deserving credit for their contributions and hard work. It was indeed a large cast with challenging roles sung by fine operatic voices.

The chorus was very involved and animated, relishing their set pieces with strong, bold sounds. With rousing effort, they sang with precision and articulation adding to the overall wonderous effect of the performance. The colourful costumes, the uniforms especially enhanced the production. Lighting and scenery were appropriate and fitting. Choreography was thoughtful.

Peter Smith kept the musicians under his baton in his confident control throughout the performance and ensured the singing was quality, filling the hall with brilliant singing. This was a production, under the direction of Julian Souter, which confirms the high standards of Tettenhall Operatic Company, the quality of its soloists and the strength of its chorus.

Congratulations to cast and crew. Thank you for inviting me.

 

 

 

 

 

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