The Yeomen of the Guard

100 years and counting, such an epic milestone and with last nights performance your forefathers would be delighted with the continued standard being set. I have to say that G&S isn’t my first love but with continued invites to your special society I leave each time looking forward to the next. A learning process it certainly is but one where I totally appreciate the level of rehearsal undertaken to achieve the continuing results. The Yeomen of the Guard is set in the era of Henry VIII and takes place at The Tower of London. The set simplistic but in the comparative tight performance space works well, differing levels, steps either side of the raised central section, a hidden door to the rear allows a further entrance /exit. Flats depicting the building along with Ivy clad walls and the added projection of The Tower all provided the backdrop to the production. Your Director and MD, Jo and Gwen must be complemented for their direction and time spent to achieve this excellent result. Entrances to either side of the audience provided surround sound effect as the ensemble took up areas to stage left and right, the grouping effect provided an excellent wall of vocals showing off all the parts to great effect. The main principals whilst confined to tight areas certainly made use of every inch of the raised platform and surround steps.

The story centering around Fairfax being wrongly accused then hatching a plan to marry Elsie, but theatre is never as it seems. Elsie has desires on the Jester Jack Point, twists and turns ensue, woman gets wrong man and the poor Jester, distraught by the outcome takes the potion with an inevitable outcome. The strength of the company not simply relying on a group of principals is totally enhanced by the committed ensemble. The lantern opening to Act 2 is very moving,

Performances throughout deserve mention Tim Whitehead as Jack Point, the jester along with Loren Parker as the Strolling Singer Elsie Maynard. Seargent Meryll by Steve Hibbert and his daughter Phoebe Meryll by Ruth Spear along with her Brother Leonard Meryll by Michael Dempsey. Both first and second Yeomen by Brian Hirst and Richard Cotton. Sir Richard by Mike Willis and Colonel Fairfax by Richard Nortcliffe. Dame Carruthers by Jenny Nortcliffe and her niece Kate by Charlotte Waring and the jailor and Tormentor Wilfred Shadbolt by Michael Bond. Between the aforementioned we experienced so many twists and turns, really comedic moments along with passionate asides. Many solos and duets and small group numbers all delivered with poise expression and voices to be proud of. Musical numbers propel the story from scene to scene, many as storytelling including ‘I Have a Song to Sing’ When Maiden Loves, She Sits and Sings’ ‘Were I The Bride’ ‘Oh! A Private Buffoon ‘and many more. I could say much more about individuals but as the strength and differences moving  from serious to intrigue, comedy to devilment, humour to emotion. All these played to a high standard.

The ensemble delivered every number with wonderful harmony along with various actors taking small cameo scenes all delivered with clarity and meaning. The whole production delivered without microphones and really not needed as the whole society clearly know how to project whether singing out loud but also at more sensual moments but still totally clear.

The costumes were a joy to see and were cleverly thought out reminding us of the Tudor styles of centuries ago.

Lighting subtly changing through the scenes with the eerie red, pre the beheading.

The enormity and complexity of the music wonderfully played by Peter Waring.

Complements to your two young cast members Bella and Tom Waring who remained in character with a competent assurance throughout.

Thank you to all the unseen members and to all the FOH who once again made us very welcome.

Finally to your silent cast member …. Bob … The Raven. Perched above the action, emotionless but taking in all the performance.

Philip Smith

Noda NE District 6 Regional Rep.

 

 

© NODA CIO. All rights reserved.