Yeomen of the Guard

For their annual foray into the world of Gilbert and Sullivan, Astwood Bank Operatic Society this year chose The Yeomen of the Guard, a tale that follows the fortunes of a certain Colonel Fairfax, unjustly sentenced to execution on charges of espionage.  Help is at hand, though, from his friend Sgt Meryll, who concocts a plan to free him by disguising him as his son, Leonard.  Meanwhile, Fairfax seeks a bride, any bride, on whom he can bestow his inheritance in spite of his grasping cousin.

The curtains opened onto a good, multi-level set, representing the Tower of London, which was used well throughout the show.  The first indication that this show was going to be a little bit different from a classic G&S was in the appearance of a young passer-by holding a decidedly modern mobile phone.  For this production, ABOS decided to update the show to relatively modern times, including modern dress and props, with the updating of some lines to reflect this change. 

The Yeomen themselves were updated by means of an ‘E:R’ insignia replacing the ‘H:R’ of the Tudor times in which the play was originally set (apparently going all the way to ‘C:R’ was discounted, so we are not quite in modern times!)  We were also treated to Dame Carruthers (Roz Chalk) singing ‘When our gallant Norman foes’ accompanied by a Powerpoint presentation on a TV wheeled onto the stage for the purpose – a very clever and effective touch.  Electronic tablets were also in evidence replacing paper documents, although the modern touches didn’t extend to getting rid of the death penalty, as this would have derailed the plot somewhat!

As the story began, we met the lovestruck Phoebe Meryll (Jennifer Nunn), who had her eye on the ill-fated Fairfax (Ben Moore).   Strong performances from both of this reliable pair of actors provided a solid core to the production.  Phoebe’s father, the lugubrious Sgt Meryll (John Reeves) set his plan to rescue Fairfax in action by convincing the earnest Leonard (Matt Brown) to swap places with Fairfax.  For their plot to succeed, Phoebe was required to distract the enthusiastic jailer Shadbolt (Michael Treagust), which she successfully did in an entertaining scene via the song ‘Were I Thy Bride’ (little did she know…) 

Meanwhile, there were more good performances on display as travelling player Elsie Maynard (Jo Hargreaves) was approached on Fairfax’s behalf by Lt. Cholmondeley (Kai Bates) to be his secret bride, a plan to which she agreed following a consultation with her companion, the restless jester Jack Point (Tom Mullins).  The marriage went ahead in secret, leaving Fairfax – remarkably sanguine in the face of his impending death – and Elsie coupled without ever actually seeing each other! 

The second half of the show began with a couple of good double-act scenes, as first Jack Point schooled Shadbolt in the art of comedy, after which Elsie and Fairfax verbally sparred with one another.  Good humour was also found in the pairing of Phoebe and Shadbolt, as she desperately worked to keep him onside.

All of the principals acted and sung well as the central plot unfolded, with Fairfax eventually exonerated and happy with his mystery wife, leaving Phoebe lumbered with the oafish Shadbolt (albeit with a long engagement!), and poor Jack Point bereft on the ground.  It’s a strangely downbeat ending, especially for Gilbert and Sullivan where the protagonists are usually all happily married by the end, but the performers pulled off the contrasting emotions effectively.

Completing the principal cast were Immie Chalk as Kate – wielding her iPad to good effect, and James Nunn and Marcus Brampton as the First and Second Yeomen respectively.  Supporting the principals was a sizeable ensemble of Yeomen, Staff of the Tower, and other bystanders.  They added considerable colour and a stately presence to the performance, especially when in the massed ranks of Yeomen.  There wasn’t a huge amount of dancing in this show, but the movement that was included was neatly executed. 

The show was well directed by Jean Chalk, who also had two generations of her family on stage!  Perhaps there could have been a little more energy on display from time to time, with the apparent desire for stateliness sometimes slowing things down a little.  Musical Director Adam Place led an impeccable nine-piece band, who provided excellent musical accompaniment for the songs, which were well sung by principals and ensemble alike. 

It’s always a pleasure to visit ABOS for a dose of G&S, and the modernised interpretation this time around added a nice twist.  My congratulations to all involved, and I hope to see you again next year.

Chris Davies, Regional Representative District 5

It was a total joy to join ABOS albeit on a different performance to Chris Davies. As an avid Gilbert and Sullivan fan I appreciated the updated interpretation presented under the direction of Jean Chalk particular the IT on display.  The set was impressive so well done to the designers and builders. The lighting was equally good especially depicting the fire. The search of the tower which including the auditorium was effective and made me think of the Yeomen searching Parliament!

Congratulations from me also.

Andy Brown, Regional Councillor NODA West Midlands

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