Yeomen of the Guard

The Yeomen of the Guard is one of the most intense of the Savoy Operas with music by Arthur Sullivan and libretto by W.S. Gilbert. It premiered at the Savoy Theatre on 3 October 1888, and ran for 423 performances. This was the eleventh collaboration of fourteen between Gilbert and Sullivan  When Sullivan was first shown the script he was said to be "immensely pleased" and writing in his diary, "Pretty story, no topsy turvydom, very human, & funny also".   The opera is set in the Tower of London during the 16th century; the story ends with a broken-hearted Jack Point and two very reluctant engagements, rather than the usual numerous marriages.  The score is scored for a larger than usual orchestra and the overture and the operatic style was very ambitious.

The open stage gave the audience a focal point upon arrival with its three levels on the diagonal and varied entrances.    The well-designed set was used very effectively throughout the production particularly for the final tableau.  The costumes were delightful and went a long way to create the period atmosphere and clearly defined all the characters.  The chorus had a selection of costumes defining their role in society which created interest in them as individuals rather than a block. The show came to life particularly during the subtle, well-rehearsed duets and trios.  Solos sometimes appeared hesitant – which may have been exacerbated by the balance of the microphones.  The principals were very well cast and achieved a balance between them which is rare in amateur shows.  The large orchestra was well-directed and the score was interpreted sensitively. 

Together with the top quality musical input from Diana Vivian and her orchestra, Margaret Walker’s direction was exceptional and the execution by the strong principal line-up was of a very high standard.  All aspects of choreography, especially the conscious use of the young jugglers and children, truly enhanced the large ensemble numbers.  The enactment of putting out the fire in the tower during the overture was inspired. Each of the principals had worked hard on their characterisation, learnt their music and absorbed themselves in their roles.  In particular, Sergeant Meryll, played by Geoff Vivian, demonstrated great control over his lyrics and his libretto was delivered in a very Gilbertian style.  When Meryll was on stage the show took on an extra dimension.  Similarly Jack Point, played by Alastair Douglas, created just the right amount of pathos and depth of character whenever he was on stage.  He very ably created a link between the various factions in the story.

Overall the production was first-class I hope I have the chance to see this talented group again in future.

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