The Yeomen of the Guard

Gilbert and Sullivan's most serious comic opera, set in Henry V111's time in the  Tower of London boasts some of Sullivan's finest music.

In an ideal world a full orchestra would add so much to the effect and enjoyment but, as we know, in amateur theatre we have to live within our means.    In consequence, BLOS had only a pianist for accompanist, albeit an extremely able one in David Mortimer, who provided sterling support.

Musical Director and conductor Roger Wilman had drilled the company well and generally the singing was tuneful and of a good standard.

The main problem  for BLOS is having to fit their company onto the very small stage whilst leaving room for company movement.   Undoubtedly, there was a lack of movement generally when the full company were onstage.     Strong principal performances compensated in large measure though.

Tessa Lawn was a flirty and determined Phoebe Meryll singing nicely and delightfully leading on the dim witted and unlovable Head Jailor, Wilfred Shadbolt, skilfully portrayed by Ian Stone. His duets with Point, "Like a stone his vigil keeping" and "Hereupon we're both agreed"  were comically powerful   Gill Eve was a stern Dame Carruthers, coyly showing her feminine wiles in the duet Rapture, Rapture with Sergeant Meryll.    Myra Gillies as her niece Kate sang well in the beautiful Quartet Strange Adventure.

I much enjoyed the gruff portrayal that Mike Ayres gave Sergeant Meryll, his voice and makeup convincingly ageing him.    His woe when forced to woo Dame Carruthers was nicely pitched. Leonard Meryll, his son, was played by Lloyd Walsh with suitable bravado.

Kevin Wood was an heroic, bordering on arrogant, leading man giving Colonel Fairfax a pleasing singing voice and clear diction.   This is one of the better lead tenor roles in the G&S repertoire and Kevin took full advantage.

Peter Grove has natural bearing and authority together with a resonant voice.    Just the right qualities for Sir Richard Cholmondeley, Lieutenant of the Tower.

The key part of the jester Jack Point, a pivotal character, was played with world weary cynicism by a gifted actor in Stephen Taylor.   He is a little older than most Points and, in consequence, more experienced.   He gave Point a depth only rarely seen on the amateur stage, with clear diction and wonderful facial expressions.   A most enjoyable performance of a complex character!

He was nicely complemented by a prettily played but serious maid Elsie Maynard taking her marriage vows seriously.   She sang beautifully and imbued the character with the vital gravitas in contrast to the antics of Point.

Sid Dolbear and Nigel Hendley were suitable first and second Yeomen and the company acted their hearts out.   It was not their fault that movement was limited.

A nice touch was the Tower raven, appearing throughout, asleep in Act two, the night scene.   The chorus acting with lanterns in Night has Spread her Pall once more together with clever lighting by Tony and Dee Bowdery made this scene really powerful.

Costumes, though far from fabulous, were of the required standard and well fitted.   I did feel, however, that the Yeomen's costumes were a little modern looking and a hat or head covering for Wilfred would have been more suitable too.

Director Jackie Shearer assisted by choreographer Gill Eve ensured the all important sombreness of this opera was maintained and that the moments of contrast between comedy and  pathos were well brought out.

The final scene with Point dying from a broken heart, always a melodramatic end, was sensitively handled.

All in all it was an enjoyable production with an enthusiastic and committed cast amply backing up some top rate principals.   All it needed was for a larger stage and orchestra, but we live in the real world of amateur theatre and BLOS may feel satisfied with the fare they provided.

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