Yeomen of the Guard

The venue is considerably smaller than Camberley Theatre and with the band positioned on stage the depth available for the cast was reduced. It didn’t appear to be a problem and the cast were able to keep an eye on the conductor seated on the front row of the auditorium. The seating was well-raked and the audience would have a good view of the happenings on stage. My view was more restricted as the camera was set up centrally, but as most important action tends to be centre stage I was able to see it. Facial expressions were difficult to read but what I lost visually the cast more than made up for with their first rate vocal ability.

This operetta is set in the 16th Century and is noted for its darker and more emotionally engaging tone than other G and S’ stories.  The attractive stone walls set to create pathways - which made entrances and exits far more interesting than just straight on from the wings - and also flats of large arched windows stage left and right set the scene.

The overture was beautifully played by the orchestra and under the direction of Simon Lindley the volume was well controlled throughout.

Quite often Gilbert and Sullivan’s Operettas start with a rousing chorus number which serves to involve the audience right from the opening, but in this one it is down to the character of Phoebe to capture the attention of the audience. Johanna Chambers sang ‘When Maiden Loves’ so beautifully, she did just that. Her acting was good.

During her song there was quite a lot of to-ing and fro-ing from the ladies’ chorus - they’d no sooner walked off than they came back on again. Standing in groups together would have dressed the stage without the movement whilst Phoebe sang her song.

Phoebe is in love with Colonel Fairfax, a prisoner in the tower, and in that role Gary Rushton gave a masterly performance.

Her father, Sergeant Merryl, was played convincingly by Ian Henderson and as Leonard Meryll, Alexander S Roberts was most impressive. His diction is first class. Both men had superb voices.

There isn’t as much comedy in this particular G and S as in others and so the role of the jester, Jack Point, is the one with the opportunity to play to the audience and deliver the comedy. Joel Parkinson was youthful and gave a lively performance. I liked the idea of Jack marking out the stage with bunting for his and Elsie’s very first number and in the second act the scene with Shadbolt was most entertaining. Jack’s patter song was good and his every word could be heard.

Helen Clutterbuck was excellent as Elsie Maynard, the strolling singer and companion to Jack, and their duet ‘I Have a Song To Sing O’ was a highlight. She showed a more fiery side to her personality in the second act, when with Fairfax and trying to explain her marital status.

A commanding performance was from Mariken Van Dolen in the role of the Housekeeper to the Tower, Dame Carruthers.

Unsavoury Wilfred Shadbolt had absolutely no hopes of winning Phoebe but that didn’t stop him from trying and Liam Geogeghan gave a very good performance in the role.

As Kate Carruthers, Kiera Nettelbladt was praiseworthy and I loved the quartet, ‘Strange Adventure’ in the second Act.

Other named smaller roles all contributed greatly to the production.

The chorus singing was strong and they backed the soloists admirably. There were two people who by their movements were rather a distraction to the central action on stage.They were obviously given those roles and were acting on instruction, but it just didn’t work.

From what I could discern the costumes were appropriate for the characters and the Yeomen’s uniforms added greatly to the pageantry and colour of the piece.

Properties were good and appeared suitable for the period.

Lighting was good, again difficult to tell in much detail from the recording.

The chorus used the available space on stage very well throughout so that it didn’t look too crowded.

Ian Henderson’s direction produced a good traditional G and S and he managed to play a role as well! I know how difficult it is to be in a show and direct it too – I said ‘never again’–but his biog reads as though he thrives on such situations! He and Simon, in fact the whole company, did brilliantly to put on such a good production after all the setbacks in the months leading up to the staging.

Your programme is well set out and with plenty of information. The style reflects the production and the photographs are of good quality. Have you thought to enter it into the NODA Poster/Programme competition for the coming year?

Operetta is very much The Savoy Singers forte and I really look forward to seeing your next production in person. I do hope that this view of the production has something of value.

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