Curtain Call at New York Gilbert & Sullivan Players' production of Yeomen of the Guard
New York Gilbert and Sullivan Players have been delighting NYC audiences for half a century and we have witnessed their growth in artistry and audience size at least for the latter portion of this period. Their professionalism makes them one of the Big Apple's premier performing companies. We have always enjoyed their musical values as well as their production values. Last night's performance manifested their importance on the NYC cultural scene.
So curious were we about the difference between Yeomen of the Guard and the trio of Gilbert and Sullivan operettas most commonly produced (The Mikado, H.M.S. Pinafore, and Pirate of Penzance) that we did an online search to learn the details, as you, Dear Reader, may also choose to do. We will focus on a few interesting details before relating our experience with this delightful production.
The first thing we noticed was that the overture was not merely a collection of tunes but was composed in sonata form. Speaking of the excellent NYG&S Players Orchestra, helmed by Maestro Joseph Rubin, we were particularly delighted by the way the winds highlighted Sullivan's themes. The next thing that differentiated this work from other G&S works is the lack of institutional satire. There are no sendups of the judiciary, the navy, or the police. As a matter of fact, the Yeomen are a particularly normal bunch, gorgeously decked out in Beefeater's garb.
And finally, the ending is not a tidy resolution with everyone happy. Rather, it is bittersweet with the Merryman (the jester or fool, as it were) collapsed in a heap on the floor as the Maid, his theatrical partner, weds another man. Even sadder, the lovesick Phoebe has lost the object of her affection and is bound to a man she doesn't love--the Jailer Wilfred Shadbolt, in order to keep him quiet about a risky plot. Similarly, Sergeant Meryll, Phoebe's father, is obliged to wed Dame Carruthers whom he has been avoiding for years, all to keep the same secret. We will say no more about the plot but hope that you, Dear Reader. will catch the final performance tonight and see for yourself.
We don't want to convey the impression that the work is completely serious. As in Shakespeare, there are more than enough moments of levity and sufficient plot twists to tease your brain. As a matter of fact, the opening aria, sung by Phoebe (marvelous mezzo Amy Maude Helfer) "When maiden loves, she sits and sighs" led us to believe that she would be the one to enjoy a happy ending.
The one who does enjoy the happy ending is Elsie Maynard, a strolling singer portrayed by the winsome soprano Natalia Hulse who weds a condemned prisoner (terrific tenor Thomas Valenti) in order to save his inheritance. Have we aroused your interest yet? The heartbroken Merryman, as performed by James Mills, not only touched our heart but also dazzled our ears with patter song.
The closest role to a villain (but not really) is that of the Jailer turned Jester who in spite of constant rejection by Phoebe may eventually wed the woman who has been fighting him off. Matthew Wages imbued the role with a great deal of humor in the effective manner in which he spoke his lines, accompanied by perfect facial expression and gesture.
We also enjoyed the performances of Andrew Martens, Sergeant of the Guards and Phoebe's father. He lent stature and honor to his role, even as he connives and plots to save his friend's life. His Lieutenant was effectively portrayed by the well known David Auxier who so successfully co-directed the work, along with the afore-mentioned Mr. Mills. Phoebe's brother was played by Cameron Smith and Sarah Hutchinson played the part of Dame Carruthers niece, both necessary to move the plot forward. It is always a pleasure to hear the striking contralto voice of Angela Christine Smith as Dame Carruthers; we have enjoyed her performances in every one of the company's productions.
We would like to commend the production values. The set by Richard Manfredi and Albère does evoke the Tower of London, or at least the way we imagine it in the 16th century. Phoebe's home, or at least the room where she spins, occupies a corner of the stage. No more is needed. Costumes by Gail J. Wofford and Jan Holland are resplendent.
We generally have a quibble and here it is. The sound was muddy at times. We cannot tell whether it was a flaw in the electronics or careless diction on the part of the singers but we did understand every word sang and spoken by Mr. Valenti. We considered that our spotty comprehension had to do with our lack of experience with miked voices, but our companion confirmed our opinion. The well chosen singers could probably be well heard without amplification. Or perhaps subtitles might be provided as they are by Utopia Opera's productions of G&S operettas. Just sayin'.
© meche kroop
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