Yeomen of the Guard

The Yeomen of the Guard premiered in London at the Savoy Theatre in 1888, the 11th G and S collaboration. Less openly comic than other G and S favourites, it is still peppered with wit. It is sadder, has a more thoughtful and melancholic tale to tell, and is thought by many to be Sullivan’s operatic masterpiece. It certainly was his most ambitious to date, both in terms of its drama and musicality. It seems to have been a favourite of Gilbert and Sullivan themselves. Its other title is ‘The Merryman and his Maid’, and Jack Point certainly has become one of their best loved characters.

Gilbert was extremely worried that the work was too serious, that they had overdone the sad story of Jack Point, he thought the audience might be disappointed. He worried needlessly, as it turned out, and it ran for 423 performances, and is now one of their most popular works.

Incidentally, the accompanist at rehearsals was a young Henry J Wood, who later became the founder of the Proms.

The programme was well-designed and interesting, with Chairman and Director’s notes, a list of musical numbers, synopsis and historical notes, and good cast profiles.

The Tower of London backdrop was impressive, and there was a raised platform on which were placed a bloody block. Behind at each corner were a head on one stick, and a raven perching on another. Good use was made of the Nomad Theatre balcony to the left of the stage, both as Fairfax’s cell, and for Jack Point’s doleful final rendering of ‘I have a song to sing, O’. Similarly, the descending stairs of the auditorium were used at dramatic points in the story. Lanterns were used in the atmospheric nighttime scene. Elsie’s tambourine played a poignant role as she left it behind when she and Fairfax sped happily together to start their married life.

Costumes were obviously red Yeomen uniforms for the men, and a blue one for Sergeant Meryll. The other gentlemen were dressed in Tudor tunics and caps. Fairfax as prisoner was in white loose shirt, kneelength hose, his hands chained loosely together. The ladies of the chorus wore white caps, brown tunics over their skirts. Dame Carruthers wore a rather good green Tudor headdress and gown. Phoebe looked pretty in a pink Dirndl type dress with laced top. Jack Point wore a marvellously colourful jester’s motley outfit, bedecked with ribbons, and he carried an intriguing marotte with strings and beads attached, which he would shake and twist around to great effect. His shoes were gaily decorated. Elsie wore a black dress pinned with colourful ribbons over a white blouse, and brandished her tambourine. Later, after he was appointed Jester to Sir Richard Cholmondeley, Jack wore a finer quartered outfit of gold and a darker colour, green, purple or maybe black? This reflected his rising status, but also his darker mood, as he realised his plans for the lovely Elsie were in jeopardy.

As the execution drew near, a hooded black figure descended the auditorium stairs bearing a long, bloodied axe – very threatening!

Selena Edney is to be praised for her musical direction, and the singers for their good diction – so important to be able to follow those clever and beautiful G and S lyrics.

The production opened with Phoebe (Tessa Lawn) singing of love ‘When a maiden loves she sits and sighs’. She had fallen in love with Colonel Fairfax, a prisoner at the Tower, from afar, she had never spoken to him but just seen him taking his daily exercise. Wilfred Shadbolt, Head Jailer and Assistant Tormentor, a rough fellow indeed (Andy Strivens) was sweet on her, much to her disgust. These two played their parts very well, one didn’t know who to feel more sorry for! Wilfred could not hide his jealousy, whilst the feisty, scornful Phoebe dismissed him out of hand.

Dame Carruthers (Gill Eve – who was also the choreographer) and the Yeomen gave a rousing rendition of ‘When our gallant Norman foes’. The Meryll family plot was hatched to free the gallant Fairfax by Sergeant Meryll (Mark Cartwright), Phoebe and Leonard, her brother (Kevin Wood), so Phoebe flirted brazenly with Shadbolt, poor confused fellow, in order that her father could steal the keys to Fairfax’s cell. The calm Fairfax seemed quietly resigned to his fate as he sang ‘Is life a boon?’. Oskar Brown played his role well, making Fairfax a real person.

Onto the scene then burst our Merryman, Jack Point, and his vivacious companion Elsie, greeted with glee by the chorus ‘Here’s a man of jollity’. Here we first heard the deliciously haunting ballad ‘I have a song to sing, O’ sung so wonderfully by Lee Power and Katherine Winfield. Katherine made a brilliant Elsie, energetic, lively, in fine voice, so full of life – we could quite understand why Jack was so smitten with her. Lee Power gave a masterful performance as Jack Point and a fabulous rendering of ‘I’ve jibe and joke and quip and crank’. He simply IS Jack Point for me, (this being the second time I’ve seen him in the role). He is lively and quick, sparkling eyes, great diction, gestures, movement, fine acting. Perfect!

Elsie was approached by Sir Richard Cholmondeley, as a bride was needed urgently for Fairfax in order to prevent a relative who had betrayed him from gaining his estate on his death. Bride for an hour for 100 crowns – money which Elsie could desperately do with, as her mother was very sick.

Phoebe made us thoughtful as she  sang ‘Were I thy bride’, a good performance from Tessa Lawn, and although ostensibly a comic song, I felt sad for her.

Of course, the plot succeeds, Fairfax escapes and becomes the warder and Phoebe’s brother Leonard. Elsie is still married, frenzied confusion. Point rushes away in despair, Elsie collapses in shock.

The second half opened in a moonlit scene, many handheld lanterns appeared. The prisoner was still free. Dame Carruthers sternly chided the warders for their neglect of their duties ‘Night has spread her pall’. Gill Eve came into her own here, and was quite forbidding. Disappointed Jack Point, whose intended was still married to the escapee, and dejected Shadbolt, who was unable to understand how his prisoner had been able to escape, his key having been quickly restored to his belt, hatched another plot. Shadbolt would swear that he had shot the prisoner he espied trying to escape across the river, Point would act as his witness. Point would also teach Shadbolt to be a jester. Lee Power delighted us again with ‘Oh a private buffoon is a light-hearted loon’ and the pair of them were excellent in ‘Hereupon we’re both agreed’ with some jolly dancing and larking about.

Fairfax, disguised of course as the Yeoman Leonard, gave us a fine ‘Free from his fetters grim’. The plot raced along, Fairfax discovered that the beautiful Elsie was his bride, and tested her strength of character, successfully. Point was taught to woo, 3 marriages occurred, but dear Jack Point is left alone. Lee Power’s final rendering of ‘I have a song to sing, O’ was very powerful indeed, it could not have been done better, I feel.

Director Eleanor Hegarty had assembled a good cast, and she and Musical Director Selena Edney got the most out of the smallish chorus.

A lovely evening indeed!

 

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