A typically amusing tale of love and hidden identities
Yeoman of the Guard, Woodley Light Operatic Society, December 2nd 2017
MORE than a century after their deaths, the operatic works of Gilbert and Sullivan are still alive and well, as demonstrated by the recent sell-out performances of Yeoman of the Guard by Woodley Light Operatic Society at the Oakwood Centre.
A typically amusing tale of love, jealousy and hidden identities, combined with singing, dancing and humour; although times may change, the subjects remain ever topical.
Accompanied by a small orchestra which rarely overpowered the cast, most of the lyrics and dialogue were clearly heard with appropriate pauses for appreciative chuckles from the audience.
The scenery was a simple yet effective castle courtyard and the costumes were outstanding, providing a blaze of colour from the cheerful Yeomen to the immaculately dressed women.
Among the principal characters, several stole the show; Phoebe, in love with Fairfax who is due to be executed later that day but, unknown to her, has secretly married to prevent his estate falling into the hands of a greedy cousin, was superbly played by Julie Easton who displayed a variety of emotions as she flirted with Shadbolt, the jailer, with amusing effect, and spent a large amount of time weeping with sadness, jealousy or frustration, never once lapsing out of character.
Jasper McGuire as Fairfax gave a convincing portrayal, in turns mischievous, charming and devious, and sported the most incredible comedy beard – until removing it made him apparently unrecognisable.
His eventual wife and soprano lead Elsie Maynard was played by Laura CurtisDagg whose pure high notes made her the ideal choice for the character.
The character of Jack
Point, the jester, was brilliantly played by Chris Wakelin whose impeccably delivered patter, reminiscent of Ronnie Barker at his best, brought enthusiastic applause from the packed house. His on-stage rapport and banter with Shadbolt produced some of the show’s most amusing scenes.
The music of Act 2 contained a number of trios and quartets with the beautifully blended voices providing some high-quality harmony which the singers should be proud of.
Supported by a small but enthusiastic chorus this was a well-performed, well-produced, well-received show by the Society which celebrates its 50th anniversary next year.