Christchurch G&S Society 
Regent Centre, Christchurch 
KD Johnson 
25 September 2025
Compared to this Society’s recent productions of The Pirates Of Penzance and HMS Pinafore, The Yeomen Of The Guard is one of the Savoy Operas that gets performed less often. However, this comic opera of 1888 is regarded as one of Sir Arthur Sullivan’s best scores and the libretto by WS Gilbert is slightly less nonsensical than usual. It certainly went down well with tonight’s audience.
When so many amateur societies are stuck with no live musicians and having to perform from relentless backing tracks (I write from experience), Christchurch G&S somehow manages to field up to 18 live musicians under the direction of Musical Director Ieuan Davies. The sumptuous sound is apparent from the Overture, with the brass section and woodwind foremost. Sir Arthur would have been pleased.
I read the libretto in advance of tonight’s performance but, for those who don’t know the story, the opera is set in the Tower of London during the 16th century. Colonel Fairfax is imprisoned in the Tower under sentence of execution on a trumped-up charge of being an alchemist and sorcerer. The action takes place on the scheduled date of his execution and for a few days following.
The curtains open to reveal a static set of The Tower on the backcloth, a town gate to the right, and another building and door to the left. For a reason which also escaped me in the libretto, there is a spinning wheel on stage, which appears briefly in the opening scene and then is seen no more. Top marks to whoever created that excellent prop.
The principals in this production are very good indeed; they include regulars: Mark Ward as the gaoler and Assistant Tormentor (read torturer), Wilfred Shadbolt, and Susy Davies as Pheobe Meryll, daughter of the Sergeant of the Guard. Both Mark and Suzy’s comic expressions and movements are a joy to behold – not necessarily easy to achieve while singing. I particularly enjoyed the moment when Wilfred appears to catch his finger in his own thumbscrew. But Suzy’s wincing, squirming and retching, while cosying up to Wilfred in order to steal the keys to the cells, is also noteworthy.
Alan Ponting plays a convincingly authoritarian part as Sir Richard Cholmondeley (pronounced “Chumlee”), the Lieutenant of the Tower, but new to the company in a leading role is Antony Marquis, playing the condemned man, Colonel Fairfax. He has an excellent tenor singing voice, and I hope to see (and hear) more of him in future productions.
Familiar face, Adam Davis, plays the role of Jack Point, a strolling jester who is reminiscent of several of Shakespeare’s tragi-comic fools. There is a fine piece of slapstick as he attempts to teach Wilfred how to be a jester, but he also evokes pathos as his romantic plans are thwarted. I do really want to know what the difference is between a cook’s brainpan and an overwound clock – but I think it is intended to remain unanswered.
The subtitle of the piece is The Merryman and His Maid and, if Point is the ‘Merryman’, then Catherine Smith, as the strolling singer Elsie Maynard, is ‘His Maid’ … at least at the start. Catherine’s stunning soprano voice and personality really lights up this part. Also notable are the performances of Mike Billington as Sergeant Meryll and Julie Gower as Dame Carruthers, but mention must go to the amusing cameo played (in this performance) by Helen Wright, as Dame Carruthers’ niece, Kate.
Musically at least, Act I is largely procedural; the best numbers are in Act II. Probably my favourite is a very fine performance of ‘Strange Adventure!’, sung in four parts between Sergeant Meryll, Kate, Fairfax and Dame Carruthers. Another great song is ‘A Man Who Would Woo a Fair Maid’, sung between Elsie, Fairfax and Phoebe, while ‘Hereupon We’re Both Agreed’ (appearing in my notes as “A Tale of Cock and Bull”), between Point and Wilfred, is lots of fun.
Although there are some good performers among the minor parts and chorus, compared to the principals, they appear under-rehearsed and are occasionally slow and lacklustre to come in at the start of their songs – this is, of course, opening night, so perhaps it will pick up. A shame though this is, it doesn’t detract much from what is an entertaining and well produced show, with some top-flight acting and singing.
The Yeomen Of The Guard are on parade again twice more on Saturday 27 September at 2:30 pm and 7:30 pm.
