The Yeomen of the Guard

The Yeomen of the Guard, a tragic comic opera, was considered by Gilbert and Sullivan to be their best work and it is certainly one of my favourites, Sullivan’s score is arguably considered by many to be his finest score.

The stirring overture was superbly played by the very large, well controlled orchestra who immediately settled the audience. So often an audience talks over an overture but not in this case.

This purpose built open set built specifically for the large Festival Theatre stage was most impressive giving an excellent representation of Tower Green. The many levels, heights and entrances gave scope for movement and picturesque well spaced groupings and were used to advantage.

The chorus as always with E.D.G.A.S were strong and powerful this large cast making a glorious sound. The production was well staged with the company constantly moving to create effective tableaux. The double chorus ‘Tower warders under orders’ with it’s first class harmonious singing was wonderful to listen to. As was the finale of Act1 with it’s sense of urgency, clamour and foreboding at the realisation of Colonel Fairfax escape from the tower. Thunder, lightning, flashing lights and the ghostly silhouette of the executioner were most effective and very much brought the scene alive. The complete change of lighting at the beginning of Act 2 created a totally different ambience and calmness with the company in fine voice singing ‘Night has spread her pall once more.’

Leah Kincer-Christie gave a coquettish, flirtatious performance as Phoebe in love with Colonel Fairfax who is locked up in the tower. She uses her charm and wit teasing Wilfred Shadbolt the jailer in order to get his keys to free Fairfax in the cheeky ‘Were I thy bride’. Nathan Auerbach came over well as the gormless, clumsy Wilfred easily taken in by Phoebe’s charms extracting the comedy from his role in a bumbling manner.

This is not a ‘happy ever after’ story but one of confusion and heartache. Lorna Murray who played the part of Elsie Maynard at the performance I attended (the role was shared with Gillian Robertson) has a wonderful soprano voice which had the audience captivated as she soared to her top notes in the number ‘Tis done I am a bride’ when she has secretly married Fairfax. Elsie’s strolling jester partner Jack Point lives in the hope that he will gain Elsie’s love. Chris Cotter portrayed Jack Point admirably. Agile and nimble, he was energetic throughout. His patter songs were excellently articulated. Alas all is not well for poor Jack Point and Chris successfully developed the character from the lively jester through his many mixed emotions to the pathetic, tragic ending portraying absolute anguish and gaining real sympathy.

Colonel Fairfax, the condemned prisoner who takes on the identity of Leonard Meryll in order to escape his execution, was very well played by Sebastian Davidson who charmed Elsie but perhaps he wasn’t such a good guy as he scoffed and sneered at Jack Point ! Craig Macbeth was an imposing Lieutenant of the Tower with his fine voice and grand stature.

Brian Boardman, Sergeant Meryll, was another strong performer with an excellent stage presence and rich voice. He paired well with Mairi Coyle a formidable Dame, the housekeeper of the tower, who has her eye on Sergeant Meryll. These two revelled in the duet, ’Rapture rapture’ with Meryll eventually succumbing to Dame Carruther’s charms. Arielle Firestone has a most natural soprano voice and was perfectly suited to the cameo role of Kate, Dame Carruthers niece. All of the other named Yeomen, Citizens and supporting roles were in fine voice and portrayed believable characters

As well as gutsy choral singing and some superb solo numbers there were some particularly memorable ensemble pieces. The acapella ‘Strange adventure’ had a true blend of voices and the quartet ‘When a wooer goes a-wooing’ with the forlorn image of Jack Point sitting in his corner was particularly emotive. The finale when Jack Point eventually comes to terms with his fate as others rejoice was another heart wrenching moment..

The bright red resplendent uniforms of the Yeomen combined with colourful villagers costumes and striking lighting resulted in a production with a real visual impact

I admire the fact that this company perform without the use of radio mics. It is so refreshing not to hear over amplification which so often is the case with more modern shows. I attended the opening performance and there were a few occasions when the dialogue or singing was lost when principals were right at the back or at the sides of the stage but generally the cast projected very well indeed and made a wonderful sound.

This was yet another polished, slick, note worthy production with superb singing and a magnificent orchestra which I enjoyed immensely and was much appreciated by the audience.

 

 

 

 

 

 

 

 

 

 

 

 

 

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