“YEOMEN OF THE GUARD”

Sun (Auckland), Volume I, Issue 220, 6 December 1927, Page 17

“YEOMEN OF THE GUARD”

WILLIAMSON COMPANY’S SUCCESS “The Yeomen of the Guard,” a comic opera in two acts by Sir W. S. Gilbert and Sir Arthur Sullivan, was presented at His Majesty’s Theatre last evening by the J. C. Williamson Opera Company. CAST Six* Richard Cholmondeley . Lionel Fairfax Colonel Fairfax James Hay Sergeant Meryll Bernard Manning Leonard Meryll Leo Darn ton Jack Point .. .. .. .. Charles Walenn Wilfred Shadbolt John Ralston Phoebe Meryll Mabel Gibson Dame Carruthers . Winifred Williamson Elsie Maynard Strella Wilson It might be argued that “The Yeomen of the Guard” is the best of all the brilliant light opera work of Gilbert and Sullivan. The theme is a human story and natural enongh to be like a piece of history. It creates the laughter that is near to tears. The burlesque is subdued and is grotesque only in the character of a love-sick gaoler and tormentor with some enthusiasm for the rack and the thumb-screw. But the story is so well-known as to require no detailed outline. Enough to say that still another triumph was achieved by the competent company, whose presentation of the melodious opera satisfied an eager audience. By far the easiest way to record the appreciation of the full house would be to say that the final curtain was a thrice-repeated joy for the players, although (as it ought to be noted) the happiness of the audience was tinged with regret that such a good thing had been given so brief a revival. Another presentation would not do anybody any harm. After a momentary stiffness in the initial stages of the beautiful musical play, the whole thing moved forward smoothly in a charming atmosphere. A word of the highest praise is due to tho manner in which the opera was staged. Everything was perfect. And the lilting melodies were sung with the joyous spirit of Shelley’s soaring lark. It is scarcely necessary to individualise, but it would seem churlishness not to emphasise the excellent work of Miss Strella Wilson, as the strolling player, Mr. James Hay, whose rendering of “Is Life a Boon?” was the best he has given for many a night. Miss Gibson, as a roguish maid, Mr. Charles Walenn, as poor Jack Point, the jester, and Mr. Lance Fairfax, an impressive lieutenant of the Tower, whose rich yoiee was heard too rarely in a part that calls for strutting* rather than for singing. To-night, “lolanthe” will give pleasure to discriminating Aucklanders. Excepting lolanthe’s affecting appeal to the Chancellor in the closing scene there is not a sombre note in the whole opera—it is something from the land of Arcady and faery, with perhaps a touch of things relating to “this mundane sphere.” The cast of characters is a particularly strong one, and includes some of the most capable and experienced exponents of the Gilbert and Sullivan art ever gathered together by the firm of J. C. Williamson. These include Chas. Walenn (Lord Chancellor), Bernard Manning (Earl Mountararat), Leo JDarnton (Eai*l Toilollei'}, John Ralston (Private Willis), Lance Fairfax (Strephon), Patti Russell (Phyllis), Eifie Armstrong (lolanthe), Beatrice Kendrick (Fairy Queen), Lilian Crisp (Fleta), Violet Jackson (Celia), and Diana Belmont (Leila).

It has been said of the production of “lolanthe” by the present company that the highest standard is reached in this delightful conception. As for the vocal gems, as long as the heart is young (no matter how old the body), “Good Morrow, Good Lover,” “Said I to Myself. Said I,” “In Good King George’s Glorious Days,” “In Friendship’s Name,” “Faint Heart Never Won Fair Lady,” will bring delightful refreshment and a delightful optimism to many. In the hands of such a talented company “lolanthe” will assurely provide a rare musical and artistic feast.