WWOS attracts the cream of amateurs, enticing people back, even after long absences, because a part ideally suits them. Such performers, added to the undeniably excellent regulars, bring such professionalism to this production it is difficult to remember it is at Bromley's Churchill Theatre, rather than the West End.
Safe in the knowledge that performers, choreographer and musical director could manage Yeomen's demands with ease, director Terry Gauntlett brings in spectacle and movement to add to the musical feast.
The scene is interestingly set during the overture with the bustle of 16th century life on Tower Green within the Tower of London. The constantly moving picture contrasts every-day locals with the colourful impact of the resplendent Yeomen marching through, barrels being delivered the ceremony of the keys, the lighting of realistic lamps and the dark message of the erection of staging for a beheading. A combination of lighting and feeding the birds symbolises the breaking of a new day. Sustained throughout the show, such attention to detail combined with vocal excellence puts the show into merit.
Each of the principal ladies establishes their differences in character - Phoebe (Kerry Bott) the gung-ho daughter of the Yeomen's sergeant, Elsie Maynard (Karma Sundermann) the gentle strolling singer who breaks Jack Point's heart, Dame Carruthers (Alison Rich) the strident Tower housekeeper with marital designs on the Sergeant and her niece, Kate (Alice Carter) who follows her aunt docilely but comes into her own as part of the quartet Strange Adventure.
Lovelorn men abound in Yeomen, each dealing with his affection differently. David Hodgson uses dog-like devotion in his amusing scenes with Phoebe; Georg Tormann flutters two hearts with combined gallantry and sophistication in his pivotal role as Colonel Fairfax, Chris Arden as Sergeant Meryll evades Dame Carruthers but could not escape and Kevin Gauntlett, whose antics as Jack Point light up the production, dies spectacularly of a broken heart.
Keeping order in Adrian Pope's grandly designed Tower means no love interest for the stern Sir Richard Cholmondeley (Philip Netscher). Choreographer Zoe Ellen contrasts marching Yeomen with fluidity and music director Robyn Sevastos brings Sullivan's soaring score to life.
Theo Spring
Croydon Advertiser, 21 May 2004
Commitment Pays Off
'This was a sumptuous revival'
GILBERT & Sullivan wrote around 13 operettas during their remarkable partnership which brought a knighthood to Arthur Sullivan from one of his greatest admirers, Queen Victoria. But the award was for his classical music and not for light operatic ditties. Sadly, his librettist W.S. Gilbert remained a plain 'Mr'.
It is said that many of the socalled Savoy Operas were created in a matter of hours rather than weeks which might explain my belief that they all seem to use the same plot - it is just the characters and their surroundings that change.
However, The Yeomen of the Guard is markedly different to the others in both the structure of its plot and its very sad ending. The West Wickham Operatic Society seized on this fact when they staged a new production of the operetta at the Churchill Theatre last week. This was a sumptuous revival with an imposing creation of a part of the Tower of London from set designer Adrian Pope and a host of very impressive costumes which included the bright red regalia of at least 15 of the Tower's Yeomen. Add to this a cast of more than 50 actors and singers and an orchestra of 20 musicians, conducted by Robyn Sevastos, it represented an enormous commitment by the company.
Following the initial power of the symphonic and very imperialistic overture, the first act took a while to make a real impact and the principals tended to look almost isolated on the large stage. This was despite the quality of the chorus and the excellent singing of Kerry Bott as Phoebe, the daughter of the Sergeant of the Yeomen. David Hodgson, too, gave a glimpse of the better things to come in his role as the head jailer and assistant torturer.
But when two strolling entertainers arrived on the Tower Green, the show suddenly began to sparkle and flow. Good performers like Chris Arden as the sergeant and George Torman, playing an army officer under sentence of death, suddenly found an extra dimension to their roles and they just got better and better. It would be easy to put this down to the quality of the performances of the strolling players but, in the early stages, they were good but not outstanding. Instead, they seemed to act as the catalysts that brought everything and everyone together.
As the interval approached. however. it became obvious that the pairing of Kevin Gauntlett as a fester and Karma Sundermann as a singer was a stroke of genius. They were opposites in every way - the loving jester like a short and rather sad clown and the kindly soprano with a voice that is normally found only in great operas. It was obviously fated to be a doomed partnership and their parting in the final scene was as emotional and traumatic as the closing scene of Pagliacci. Kevin Gauntlett was superb.
The director Terry Gauntlett is to be congratulated.
Roy Atterbury
Kentish Times, 27 May 2004
An Ideal Balance
West Wickham achieved an ideal balance between the show's humorous and dramatic elements (well, as far as any G&S can be seen as 'dramatic'). The opening showed the creative team's imagination as the curtain rose during the overture revealing aspects of life at The Tower from dusk to dawn.
Enter Phoebe, with her wistful "When maiden loves". Kerry Bott did not always project fully here but, possibly with some help from the sound desk, came through clearly in all her later numbers. Then we met the Yeomen. What a showcase for the more mature men in the team. They looked totally credible, many with their own beards to add realism. They and, indeed, the rest of the ensemble, harmonised perfectly throughout in set pieces like "Night has spread her pall".
Allison Rich, assertive as Dame Carruthers, led "When our gallent Norman foes" with patriotic fervour. She was, later, joined by Alice Carter who mada a brief but telling appearance as Kate for "Strange Adventure". Georg Tormann, Fairfax, had considerable stage presence. He demonstrated an excellent singing voice with "Is life a boon" and added strength in all his group numbers. David Hodgson brought Shadbolt vividly to life - at one time repugnant, then evoking sympathy when Phoebe toyed with his emotions.
The strolling players burst onto the scene with their keynote "I have a song t sing, O!", in which they interacted well, drawing the ensemble in for a perfectly coordinated dance at its climax. Kevin Gauntlett was not as nimble as his role, Jack Point, ideally calls for but compensated for this with his lively repartee with Cholmondeley and Shadbolt. Karma Sundermann, Elsie, underwent transformations; initially fresh-faced and bright, then anxious at her blindfold marriage and, finally, radiant. The high standard ofher singing matched the quality of her acting. Robyn Sevastos thoroughly deserved the applause she she took from the stage on behalf of her orchestra.
Words and Music, July/August 2004
NODA London Area Review
Director Terry Gauntlet made full use of the overture to set the scene for this well loved Gilbert and Sullivan operetta, including a very realistic fire in the Beauchamp! It gave a positive flavour of what was to come, and also enhanced Phoebe’s opening solo. I particularly liked the use of the raised section in the centre of the stage; it is always good to have different levels available in a production. My one criticism (and this is purely personal taste) was that after that wonderful final scene, and the picture that was created, that to have curtain calls breaks the spell. I like Point to stay dead! Musical Director Robyn Sevastos led a nicely balanced orchestra, who were sympathetic to the needs of the singers.
Kerry Bott as Phoebe Meryll acted and sang well, and in Act 2 her facial expressions were very good indeed. David Hodgson as Shadbolt was suitably lumbering, and I particularly enjoyed his duet with Point. This was a good characterization, and he used the stage well.
Dame Carruthers was excellently acted and sung by Alison Rich, and her commanding stage presence was reminiscent of Gillian Knight. Sergeant Meryll, Chris Arden was another strong principal, who clearly showed the different facets of his character. What a shame that these two actors were not permitted to give us Rapture, Rapture, which was sadly missed by the audience. The part of Leonard Meryll, Richard Rook was a lovely cameo role. Sir Richard Cholmondeley, Philip Netscher took a little time to settle into the role, but by Act 2 was secure, and gave a pleasing performance. Georg Tormann as Colonel Fairfax had a lovely rounded tenor voice, and I enjoyed his good use of facial expression.
Karma Sundermann as Elsie Maynard sang well, but her real strength was her acting, and she managed to convey a real range of emotions. Her ensemble singing was well balanced. Kevin Gauntlett was a truly excellent Jack Point. Not only sung very well, but here is an actor with a wonderful sense of timing which gave the humour an added quality. There was great energy and he was both funny and poignant, and developed the pathos very subtly during Act 2, culminating in a very emotional “death” at the end. He is to be congratulated.
Kate, played by Alice Carter, gave a rather studied performance. She could have enhanced her role with a more active involvement and response to the action on the stage. A pleasant singing voice, but she does need to be careful in ensemble work that she listens to the other singers.
Howard James as second Yeoman sang well, and the other cameo roles were fine. The chorus looked and moved well, especially The Yeoman, who had been well “drilled”. I would have liked the chorus entries to have been a little more secure, as considering the large numbers of them on the stage; I felt they could have made more dynamic sound. However the diction was good, and there were some good interactions, the majority really worked hard at being citizens of the tower. The set was fine, although “daylight” could be seen through some of the flats. Lighting was effective, particularly in the overture, and was used to good effect throughout. I really liked the torches on stage. Mostly sound was very good, but principals whether miked or not, do need to direct dialogue toward the audience. Costumes were spectacular, the Yeoman making a wonderful sight.
My only negative thought was regarding the use of crocheted and knitted shawls in the finale. These looked out of place in Tudor England, as did the handfuls of plastic flowers. However, a minor point.
The company is to be congratulated on a very enjoyable production, which was much appreciated by the audience. Thank you for inviting me, and for your hospitality
Sandra Vamplew
NODA London Area
June 2004
