The Yeomen of the Guard

The Yeomen of the Guard is a Savoy Opera, with music by Arthur Sullivan and libretto by W.S. Gilbert. It is set in the Tower of London during the 16th. Century where Colonel Fairfax is wrongly accused of sorcery and sentenced to death within the hour. Fairfax hatches a plan to avoid letting his estate fall into the hands of his scheming cousin (incidentally, his accuser) by secretly marrying Elsie Maynard, a strolling singer. She agrees to be blindfolded during the ceremony and expects to be a wealthy widow upon Fairfax’s imminent demise, leaving her free to marry the jester, Jack Point. However, Fairfax is freed with the help from Phoebe and her father, Sergeant Meryll and now disguised as a Yeoman, he woos Elsie and after a number of plot complications are resolved, she falls in love with him.

The group are putting on the production for one night each at two different venues so consequently, the set had to be quite simple. On either side of the small performing area was a flat painted with a castle turret and a number of black screens concealed exits and entrances. Two columns, set at the back, were either side of a small raised platform with a large banner above them.

Following a short intro. from accompanist, James Gillett, we meet Phoebe with her white cat as sits and so beautifully sings ‘When maiden loves she sits and sighs.’ Liddy Buswell was terrific as Phoebe Meryll, she was so animated with super facial expressions and she portrayed the character with such mischievous feistiness, especially in the interaction with Wilfred Shadbolt. But, this wasn’t to last as she so heartbreakingly showed her dismay at losing her true love, Colonel Fairfax, to Elsie. How brilliant was James Sweetman as Wilfred Shadbolt. He most definitely was not a ‘sweet-man’ (sorry), far from it, he was truly lecherously creepy in the most fantastic way, his bodily gestures, his facial expressions and as for those staring eyes, well, it was an outstanding portrayal. Another outstanding performance came from Jamie Benson as jester, Jack Point. He managed to bring out every ounce of humour in the role with such energetic frivolity and his singing of ‘Oh! a private buffoon is a light-hearted loon’ was superb followed by an equally impressive duet with Shadbolt - loved the quirky moves! The anguish he showed in his final emotional outpourings was just heart-rending. The jester’s partner, Elsie Maynard, was played to perfection by Jennifer Jones. She was so delightfully endearing and her singing was just stunning none more so than when she gloriously and effortlessly reached those very high notes. Benedict Parkin was ideally suited to the role of Sergeant Meryll bringing out the underlying roguishness of the character superbly. Oliver Jenning’s wonderful and impressive tenor voice was just tailor-made for the role of the arrogant and dashing Colonel Fairfax and Michael Beale was first-rate as he commanded the stage in the role of Sir Richard Cholmondely. Lou-Anne Binns has a truly wonderful singing voice and she was was just so elegant as the tenacious and haughty Dame Carruthers. Excellent support came from Ben Parrott as Leonard Meryll, from Olivia Irving-Wilson as First Citizen, from Hannah Green as Kate, from Patrick Sharman as First Yeoman, from George Taylor as Second Yeoman and James Baker as The Headsman and a Yeoman. The fourth Yeoman was played by Alan Bamber and what a magnificent and resplendent quartet they were. They were so well disciplined and added that extra touch of pageantry to the whole proceedings. The Citizens, played by Katy Beale, Lauren May-Lomas, Lie Jennings, Rihannah May-Lomas, Esther Coombes, Sophie Cooke and Emily Higginbottom were all splendid. 

The singing throughout by the soloists was exceptional as was that when they were part of a duet, a trio or quartet and the whole harmonious ensemble singing was just top-notch. The costumes were sumptuous, the lighting plot was fine and the simple set did not deter in anyway from what was a most ‘rapturous’ production. I must add that the whole endeavour from auditioning to putting on the final performance is unbelievably achieved in just over one week. It is totally an incredible accomplishment. Congratulations must go to Director Pamela Leighton-Bilik, to Musical Director Rebecca Anderson and her Assistant Martin Thiselton, to the excellent Accompanist James Gillett, to the Production Coordinator Jamie Benson and to the most amazing cast. Thanks also for the warm welcome that I received.

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