SEEN AND HEARD INTERNATIONAL

SEEN AND HEARD UK OPERA  REVIEW


Buxton International Gilbert and Sullivan Festival 2010 (3) - The Yeomen of the Guard:  Soloists, National Festival Orchestra and Chorus /John Owen Edwards, Directed by Jeff Clarke, Buxton Opera House 13/14.8.2010 (RJW)

Cast:
Nicholas Warden - Sir Richard Cholmondeley

Oliver White - Lord Fairfax

Bruce Graham -  Sergeant Meryll

Richard Gauntlett - Jack Point

Philip Cox -  Shadbolt

Charlotte Page - Elsie

Ciara Hendrick  -  Phoebe

Jill Pert - Dame Carruthers

Matthew Kimble - Leonard Meryll

Jennifer France -  Kate

This new professional Gilbert and Sullivan production opened last Friday night at the Buxton’s annual International Gilbert & Sullivan Festival. Directed by Jeff Clarke, it is a sequel to his excellent production of Princess Ida staged at last year’s Festival.

The Yeomen is the only tragedy in  Gilbert and Sullivan opera. Its libretto is absent of its usual topsy-turviness and takes a believable glimpse of 16^th Century life. Consequently, a director is clearly limited when taking a new interpretation if he is to convey the action convincingly. In Jeff Clarke’s production he is sensitive to the retention of plot detail and focuses on a high standard of acting to provide good characterizations. This production is outstanding with all actors giving polished performances and convincing portrayals of their characters. It is  fresh interpretations like this that will help G and S survive for another 100 years.

The charismatic Richard Gauntlett was superb with his extrovert and cheeky portrayal of Jack Point. His entry of juggling and acrobatic cartwheels were as impressive as his singing and clear diction. His partner, strolling player, Elsie Maynard, (Charlotte Page) gave a heart-wrenching performance, and delivered a suitable level of pathos to the fate that eventually befalls Point. Her expressiveness and timing both in the Act I and Act II finale, where she consoles Jack Point with ‘I have a song to sing O’, were faultless and  her singing was as delightful as her confident acting. Old D’Oyly Carte productions used to make little of the role of Phoebe until the Act I finale but here, from the start, Ciara Hendrick’s convincing spinning and coquettish interaction with Shadbolt lifted the character considerably. Philip Cox’s Shadbolt was magnificent and provided the animated, grisly that animal Gilbert needed to contrast with the more elegant characters. To reinstate his lost song, ‘Jealous Torments’ to just before ‘Were I thy Bride’ fitted the plot well and allowed more time for delivery of the stolen cell key: its removal with a fishing net and its return by fishing rod brought an unscripted moment of amusement. Oliver White as Fairfax also sang well and carried that aloof authority expected of the Colonel. However, his mood swings seemed exaggerated and his haughty approach to Elsie rather harsh, considering that she had favoured him in marriage.

Good support was provided by Nicholas Warden as the resplendently dressed Lieutenant and Bruce Graham gave a believable performance as Sergeant Meryll trying to duck the persistent approaches of Dame Carruthers. Jill Pert as the Dame sang ‘When our gallant Norman foes’ with majestic pride and later rightly revealed her authority to some incompetent Warders. The interaction between this domineering Dame and a meek Sergeant was excellent. Matthew Kimble made as much as he could of the shallow character of Leonard Meryll yet contributed significantly in the delightful trio, ‘Alas, I waver’.

The chorus contributed considerably to the success of the opera with their strong singing and convincing acting. The orchestra under John Owen Edwards were faultless and gave a lovely rendering of the Overture. The pace was energetic and held one’s attention and a good performance was given of the difficult ‘Strange Adventure’, notorious for losing pitch. The addition of one of the two lost ‘Yeomen’ songs was also a bonus.

Jeff Clarke used all of his skills in providing new stage directions and actions: the provision of a purse of coins for Elsie was meaningful when it appeared twice and the couplets for the Act I finale, usually condensed, were heard complete. A bleak angular set with unusual perspective was  a bold experiment  used for both Acts but with changing lighting and chorus groupings, it  became perfectly acceptable. To lower a backdrop, chandelier and table with chairs for interior inset scenes in both Acts was a fresh touch which worked a treat,  giving a greater feeling of intimacy that married nicely with the libretto. I liked the freezing of crowd, yeomen and characters when the soloists were involved in intimate engagement or when they soliloquized.

This brilliant Savoy opera is being taking to Oxford to be played against the appropriate backdrop of Oxford Castle for a week from August 30th- September 5th. Anyone who missed it at Buxton has an unusual chance to pick up this excellent Festival production.

Raymond J Walker

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