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 Martins
Bank Operatic Society in Yeomen of the Guard by Gilbert and Sullivan
Staged:
22 to 26 March 1960 at the Crane Theatre Liverpool
The Yeoman of the Guard is
everything you would expect in a light opera from Gilbert and Sullivan. Bright and colourful setting, colourful
characterisations too - and those all important “sing along” songs that the audience
loves and knows by heart. The Operatic Society is becoming confident, by 1960
it has many productions under its belt, and it has also made a name for
itself in the world of amateur operatic and dramatic societies. According to Martins Bank Magazine, who as
usual are there to provide a critique of the show, the group has been itching
to perform The Yeoman of the Guard for some time, and at last, having
assembled a cast of strong voices, feels able to do it justice. However, the
incredible balance of the Magazine’s writer points out that in his opinion -
and despite a good number of voices to the contrary - this is NOT the
Society’s best performance to date!
The point is made that whilst “Yeomen” IS good, it does not deserve
single-handedly to put previous offerings by the Society into the shade. Our
hard working band of players, singers, musicians and production staff perform
five evening and one matinee performance at their spiritual home, Liverpool’s
intimate Crane Theatre…
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 Ever since the Society was formed after
the last war its members have looked forward to the day when they would be
able to stage 'The Yeomen of the Guard'. 'The Gondoliers' and 'The Mikado'
they have produced twice, but not until this year has it been possible to
meet the requirements of 'The Yeomen' —
a strong male chorus and six male principals. In assessing the result of amateur
performances of such well-known operas one has to bear in mind the
ever-present comparison of the professional production and the past
performances of the Society. It seemed to be the general opinion that the
present production which was presented at the Crane Theatre for five
nights, March 22nd to 26th, with a matinee on the Saturday afternoon, was
their best production to date, but we do not share this view.
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Shadbolt (Bill Morris) is taken away following the escape of Fairfax
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The production was a great improvement
in many ways over last year's show and was altogether excellent, but it
would be wrong and unjust to the many fine singers and performers of past
years, to place this show unreservedly at the top of the list. Among the
best, certainly, but we must keep a sense of proportion. Having said this,
let us say straight away that there were several very fine individual performances.
The most technically perfect, in the true Gilbertian tradition, was Bill
Morris's Shadbolt. His magnificent bass voice and his sense of theatre
combined to make it an outstanding performance.
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Mary Nelson, Peter Woodhead, and William
Lawler
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Chorus of Yeomen and Citizens
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Next must be placed Mary Nelson's
portrayal of Elsie Maynard, the strolling singer. Her voice has steadily
improved in power and quality over the past few years and her acting
ability has improved with experience, so that her portrayal of the part was
mature, natural and altogether charming. The part of Phoebe Meryll was in entirely
safe keeping with Val Tilley. Her voice was sweet and clear, her
enunciation very good, and her acting portrayed just the right degree of
mischief and romanticism. Her charming personality rendered her songs and
performance one of the highlights of the show. Peter Woodhead made a very
handsome and dignified Lieutenant of the Tower and the part of Colonel
Fairfax was played by Clive S. Jones. His voice is of fine quality and his
songs were beautifully rendered. He is a great asset to the Society.
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Mary Nelson and Clive S Jones
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Val Tilley and Jack Holroyd
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J Robertshaw and Phyllis Ritchie
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Phyllis Ritchie took the part of Dame
Carruthers. Of recent years it has become inevitable that she should be
given these exacting parts which are such a characteristic feature of the
operas. The Society contains no more ardent lover of Gilbert and Sullivan
than Phyllis and she sings and plays these parts with a devotion which is
most admirable. We have no one else to touch her. This is one of the operas
in which it is difficult to find parts for all the good female singers who
are usually in the majority in an amateur society, and the only part
suitable for Pamela Rooke, who has delighted us in the past, was that of
Dame Carruthers' niece. Her singing in the quartet was beautiful and made
us long for more. Jack Point was played by William Lawler. It is the most
difficult part in the opera and while he gave a bright and lively
performance, the sheer brilliance and above all the pathos of the part,
were beyond him. It must be said, however, that no one else could have done
it better and the Society is very grateful to him for his services as a
guest star. Sergeant Meryll was played by Jas. Robertshaw, and we thought
that of all the performances he has given us this was quite his best. Jack
Holroyd played Sergeant Meryl’s son, and gave a pleasing and talented portrayal.
Bill Maylor made a most impressive headsman while the minor parts of first
and second yeomen and first and second citizens were adequately played by
Edward D. White, W. E. Dean, T. G. Gilkes and Elwyn Williams respectively.
T. Turton played the friar. The Musical Director was Donald H. Gilroy
and the opera was produced by May Collins. Both are to be thanked and
congratulated on the result of their efforts as also are the small army of
ladies and gentlemen who worked behind the scenes to make this production
possible.
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