The Yeomen of the Guard

⭐⭐⭐

10 August 2024, Artscape Opera House, CPT.

“Yeomen” is set in the Tower of London in the 16th Century. It is G & S’s most dramatic opera which has a believable story line with well-drawn characters. Intrigue, comedy and a “tragic” ending make up the dramatic plot. This opera contains Sullivan’s most profound and beautiful music. Being in English, it is easy to understand and to follow the story-line. All in all, it is a very fine example of English Romantic Opera.

I have a few problems with the above - "believable story-line", for one. "Well-drawn characters", for another. After sitting through this G&S production, the overwhelming feeling was one of sadness, that I can never have these 3 hours of my life back. It was more like "Yawnmen" of the Guard.

The story outline is confusing, and completely ridiculous, as many G&S shows are - and this is none the fault other than the original writers. Critiquing them is pointless - they're dead. Their music is a very acquired taste, though, and even with all the support I have for the amateur companies in Cape Town, this show was difficult to watch.

The costumes were gaudy, and didn't fit many people very well; there were multiple instances of cast members tripping over their own skirts.They decided to stick to period costumes, which was commendable, considering the size of the cast with the ensemble. It was a pity, though, since that seems to have blown the budget (the part the orchestra didn't use) because it left no money for a functioning set or any inspiration for the lighting designer.

Faheem Bardien, usually on point with impactful lighting, disappointed in this version of Yeoman. Some simple textures and movements on the floor were about it. Cast faces were not even always visible, which is difficult in any show, but it's not like this theatre has a lack of fixtures. It seemed like they only had one follow-spot, and it was focused (rightly so) on the only good thing about this show - Regina Malan.

Special effects were non-existent, which is OK for a show where it's not really required. There was nothing though - not even a projection on the cyc to indicate time of day or year - it was just white. And empty. Like someone forgot to plug in the projector. We the audience know, however, that there was a projector, because during the drawn-out overture, and upon return from interval, we had to read the entire story as it was displayed on the closed curtain for the full 5 minutes. I was advised this was a direction compromise as the musical director, Alistair Cockburn, insisted on playing the full piece. It's a lovely piece, but don't distract me by making me read the story at the same time. Just let the music be music.

Which bring me to the music -

G&S and difficult to process on the best of days (for me, anyway) as operettas fell out of fashion for a reason. If you have an inclination for the classical, it's a lovely show - but I really need to be in the mood for it, and then in small doses.

The CPO accompanied the cast, and it's always lovely to hear them. I'm not sure if they had opening night jitters, or just didn't feel the mood, but there wasn't enough 'oomphh' in anything I heard.

Individual performances varied greatly. Nick Plummer as The Jester - fabulous. Regina Malan as Elsie - fabulous. They were by miles the highlight of the show, albeit that Malan had to sing with reduced capacity due to illness. Sian Atterbury as Phoebe, very good. This is a role that suits Atterbury's soprano nature perfectly. The only other memorable performance was David Bolton as Shacklebolt - great comic timing, and with an animated face, funny, even when silent. The rest of the cast were above average, at best, which is a pity, since the G&S Cape Town company historically has an excellent source of singers. It's like only the very loyal stayed behind and stuck it out for this one.