The Yeoman of the Guard

Yeoman of the Guard   By W.S Gilbert and Arthur Sullivan

Performed by St David’s Players

On Thursday 24th October at 7.30pm at The Barnfield Theatre, Exeter

Directed by Chloe Faine

Assistant Director – Amelia Hall

Musical Director- Luke Stevenson

As the audience took their seat, they were greeted with an open set consisting of a cobblestone painted floor with black pavement areas and a raised plinth, centre stage with steps up.  A raised terrace at the rear of the stage, with two further raised areas situated at the front of the pros on stage left and right, designed to give the idea of the battlements of the Tower of London.  Stage left being used as a mess hall and hospital during the performance and stage right as Sergeant Meryll’s office, cleverly designed by Chloe Faine, the director, built by Andy Swift and Ali Kidd and painted by Jackie Turner and Melly Hendy. This set provided the cast with six entrances and exits, enabling them to move around the stage freely.  All of which was lit with muted oranges and blues, including the cyclorama, as the overture started and the performance began.

An overture from an orchestra of nine, under the expertly controlled baton of the MD, Luke Stevenson started as the cast entered dressed as either Yeoman of the Guard, land army girls, nurses, WRAF’s, Wren’s, working women in boiler suits, army uniforms and female mechanics. I must make immediate mention of the quality of the costumes in this production. I am aware the director, Chloe Faine, made the beautiful dark blue with red piping ‘daily undress’ uniforms of the guards including their caps, each and every one to fit the actor performing. Care was taken with each uniform of the ensemble to look completely authentic with special touches such as the hair scarfs tied at the front for the lady mechanic with the fag hanging out of her mouth throughout, the jailor in a similar ‘Yeoman’ style tunic but all black, the women’s hair styles exactly right for the time and clever use of costume characterisation from the actors throughout, added so much to the production. Jack Point’s jacket resembling that of a jester with coloured diamonds sewn into it, with his pink flower and burgundy cravat. The firing squad in their log trench coats and berets, reminding me a little of ‘allo allo’.

Phoebe Meryll began to sing ‘When a maiden loves she sits and sighs’ and that lovely mezzo soprano voice of hers simply filled the auditorium. This actor has expert comic timing, delightfully flirtatious and wickedly naughty with the Gaoler, Wilfred Shadbolt in every scene together. They worked perfectly in these roles. Wilfred, with a gorgeous baritone voice and a cockney twang, is portrayed as a narcissistic bully, totally devoid of any empathy and yet, easily manipulated by his beloved Phoebe, who he loves from afar. His naivety gave him the redeeming qualities needed for the audience to like him.  ‘When jealous torments rack my soul’ during which Wilfred makes love to a candelabra with a black stuffed raven on top, was hilarious. And the stuffed cat on wheels controlled from backstage…well what can I say!

Phoebe’s father, Sergeant Meryl, northern to a tee and with a lovely baritone/bass voice and good stage presence, was enjoyable to watch especially during his reluctant dalliance with Dame Carruthers who is passionate for him and when crawling along the floor to ascertain the keys to free Fairfax. Dame Carruthers was played as a strong, no-nonsense task master and housekeeper and sang this part well. As was the Lieutenant of the Tower, Sir Richard Cholmondeley (a character based on the real Sir Richard Cholmeley c.1420-1521). Sir Richard was played by an actor of great experience who commanded respect and showed real empathy for the plight of Colonel Fairfax, currently doomed to die.

Beautifully sung by a stunning lyrical tenor and acted expertly with sarcasm and wit, Fairfax was superb. This actor produced a performance of real quality and hilarity especially when, disguised as a Yeoman, he adds the fake medals to his chest with some fervour and when unknowingly is pretending to be Phoebe’s brother, Leonard Merryll “Oh, your brother!”  I particularly enjoyed ‘A man who would woo a fair maid’ sung by Phoebe, Fairfax and Elsie. There were numerous examples of superb harmony singing throughout from many members of the cast, one of which was ‘Strange adventure’ performed by Sgt Merryll, Dame Carruthers, Fairfax and Kate. The young actor playing Kate is certainly one to watch with a delightful tone to her soprano voice.

Elsie Maynard, again, a voice of incredible flexibility, a high soprano who effortlessly soars over the notes, was simply lovely in this role. Her interaction with Jack Point, a fellow travelling entertainer was acted well and believable. I enjoyed their version of ‘I have a song to sing oh’ and the choreographed movements. Jack Point, using a homegrown Scottish accent, performed the role energetically and sang it well, his despair at losing Elsie to Fairfax was sympathetically acted. A memorable performance.

A lovely cameo role performed by a young actor was that of Leonard Merryll who gave a confident portrayal. I also enjoyed the portrayal of the Second Yeoman, who was a strong presence within the chorus of Yeo-persons.  The Tower Warders Chorus, all of which had individual characters with their own frailties or strengths, were very funny and made a fabulous sound individually and together. As did the chorus of townspeople who produced a harmonious sound and clear diction too, allowing the audience to follow the story.

Gorgeous lighting as previously mentioned with the oranges and blues of the dawn, the use of red and blue downlights as the death knell sounds for Fairfax to be executed, use of a star cloth and individual lamps at the beginning of Act 2 and plenty of mood lighting throughout, well designed by Dominic Jeffries. The cast were not mic-ed and it is no simple task to be heard over the orchestra however the MD, Luke Stevenson, controlled the orchestra well and must have worked his actors hard to project their voices, as every word, even when there was underscore, was heard and annunciation was well disciplined too.

Coming off of the back of the company’s success with The Sorcerer, awarded the NODA South West Awards 2023 – Best Gilbert & Sullivan Production, I certainly had high expectations of this production and I was not disappointed. This was produced and directed well with a great concept of bringing G & S into the 20th century. It was performed by a very talented cast who handled the script and score with much expertise. I thoroughly enjoyed this production and look forward to ‘Pirates’ in 2025.

Lyn Burgoyne - Noda representative for South West District 5 (Mid and East Devon)­

© NODA CIO. All rights reserved.