The Yeomen of the Guard

The Yeomen of the Guard or The Merryman and His Maid premiered at the Savoy Theatre on 03 October 1888. It was the eleventh collaboration out of the fourteen pieces between W.S Gilbert and Sir Arthur Sullivan.

Set in The Tower of London the score is considered by many to be Sullivan’s finest. The plot would require a lengthy explanation, but one most of the audience may already be familiar with. The principals were well cast and all need to be congratulated. I know for some; it was not the first time they had performed the role. What was evident was the cast having a good understanding of their roles and knowing how to extract the most of their individual characters.

The role of Sergeant Meryll was in the safe hands of Paul Thompson, a staunch Gilbert and Sullivan performer and who holds a rich voice one does not tire of with good stage presence. Similarly, the voice and performance of Mike Faulkner as Colonel Fairfax, the condemned prisoner who takes on an alternative identity. Mike as always was clear and crisp both in vocal and dialogue.

Equally in good voice was Becky Fearnley as the formidable Dame Carruthers who carried the role with strength and control especially in her vocals. Lisa Adams as Elsie Maynard was convincing in character. Special mention must be extended to Rachael Hall as Phoebe Meryll who not only played the role well but in true theatrical tradition ensured the show must go on. Despite a continual cough leading up to and including ‘Were I thy Bride’ Rachael was determined to carry on and deliver the song.

Extracting every ounce of humour and with great timing from both libretto and score were John Clay as Wilfred Shadbolt and Andrew Rawle as Jack Point. The parts were portrayed excellently whether individually or when working together. John’s facial expressions, ad libs and description of heads rolling at execution were memorable. Andrew was a delight with good pathos and most likely the nimblest Jack Point I have seen. He portrayed great energy throughout especially in musical numbers such as ‘Hereupon we are Both Agreed’ and ‘Hark! What was that Sir’ while tenderness during ‘When a Wooer Goes a Wooing’. The final scene of Jack Point’s death was well done with great feeling and understanding of the tortured broken-hearted jester.

The main principals were well supported by Colin Wilks as the Lieutenant, Mark Tooby as Leonard Meryll, Tim Goodall and Mike Pugh as first and second Yeoman and Mary Dhonau as Kate.

The set was designed and built by members of the society as well as members of the Norbury Theatre. It was extremely effective, well-constructed and a good representation of The Tower of London. The central raised stage as well as the back walkway and entrances worked well and added to the dramatic final scene and tableau. The Halberd’s carried by the Yeomen just about missed the theatre celling!

Worcester Gilbert and Sullivan continue to perform without the aid of radio microphones. I congratulate them for continuing to perform without this level of amplification as it most certainly is more in line with the original Savoy operas. There were times, however, when the dialogue was lost by some whether due to the score or not. However, this did not detract greatly for me in the standard of the performance.

The costumes were of a high quality, this is always the case with this society. The Yeomen costumes are clearly pivotal and crucial to this show and did not disappoint. Neither did those worn by the whole cast but in particular Fairfax, Shadbolt, Jack Point, Elsie, the Lieutenant and Dame Carruthers. There was attention to detail with suitable footwear including matching bows.

Congratulations to Christine Davies as director and all involved in bringing this well-rehearsed fine piece of work along with the Tower of London to Droitwich Spa.

I look forward to seeing Worcester Gilbert and Sullivan again during 2020 initially with ‘The Ultimate Secret’ and ‘A Viennese Whirl’. This is followed by the ever popular. HMS Pinafore.’

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