(Photo: Ellie Kurttz)
John Savournin returned with Charles Court Opera for their fourth collaboration with Opera Holland Park, following the lively “Ruddigore” in 2023. In 2024, they have chosen one of Gilbert and Sullivan’s most musically intricate works, “The Yeomen of the Guard”. This opera is distinguished by its darker tone and complex dramaturgy, balancing clever humour with more serious, almost Verdian moments, all presented through Gilbert’s pseudo-Shakespearean dialogue.
Savournin and his team have steered clear of the more conventional choices like “The Mikado” or “The Gondoliers”, opting instead for a production that incorporates traditional elements and subtle, knowing references, always treating the material with great respect. David Eaton, Music Director of CCO, conducted the City of London Sinfonia.
The plot of “The Yeomen” centres on Colonel Fairfax, who is imprisoned in the Tower of London on false charges of witchcraft. He captures the interest of Sergeant Meryll’s daughter, Phoebe, who conspires with him to escape, enlisting Meryll’s son. Complications arise when Fairfax is quickly married to Elsie, a member of a comic duo with the deadpan Jack Point.
Wilfred Shadbolt, the envious “assistant tormentor” and also a suitor of Phoebe, attempts to uncover the escape plot with Point for his own purposes, but fails. This leads to a series of reluctant marriages intended to conceal secrets and preserve appearances, culminating in a tragic end for Point, which tests the emotional scope of operetta. The opera features Sullivan’s most ambitious and harmonically inventive music, demanding both technical skill and emotional depth from the performers.
Holland House’s facade, positioned upstage, was constructed in 1605 and reflects the era of the opera’s setting, evoking a grand Jacobean manor. Alyson Cummins’ set preserves this period aesthetic, featuring a backdrop of a 17th-century map of east London, including the Tower and gaol, with the front apron serving as a space for dialogue scenes. Jake Wiltshire’s lighting enhances the opera’s sombre mood, particularly as twilight descends over the park after the interval. Costumes adhere to traditional styles, including Beefeaters and Elizabethan attire.
Savournin adds a layer of directorial framing with a character dressed in Victorian attire, representing Gilbert himself, who introduces the characters and later appears in the background. This meta-theatrical element, along with visible properties boxes and backstage signage, hints at Gilbert & Sullivan’s theatrical ingenuity, though its purpose remained somewhat unclear and did not significantly affect the narrative. Expectations for Gilbert’s intervention or further development of the framing elements were not realised, as they remained static.
Despite this, Savournin’s traditional approach to the story remains engaging. In contrast, ENO’s 2022 production updated the setting to the 1950s and incorporated material from other operettas. Matthew Kellett, a CCO favourite, delivers a powerful performance as Jack Point, characterised by acrobatic physicality and intense energy driven by spite and insecurity, although some of the humour takes time to develop. A challenge arose from the use of amplification in dialogue, which, while necessary for the acoustically variable space, was inconsistently applied and occasionally problematic; it is likely these issues were addressed throughout the run.
In a bold interpretation, Savournin’s production concludes with Point drinking poison after his final rejection by Elsie, offering a stark and impactful portrayal of the character’s despair. This choice highlights the emotional depth Savournin brings to the material. His portrayal of Shadbolt is effectively drawn, balancing pathos and a hint of the grotesque without tipping into caricature. William Morgan’s Fairfax adds light-hearted charm to the role, navigating the paradoxes and mischief of Gilbert’s character with a supple and rich voice.
Charles Court Opera matched their dramatic commitment with impressive vocal performances. Matthew Kellett, known for combining acrobatic flair with technical precision, stood out. Unlike many comic baritones in G&S roles, Kellett demonstrated both technical skill and substantial stage presence. This was crucial for his emotionally charged lament, ‘I have a song to sing, O,’ which he delivered with poignant sincerity. His diction was clear and vibrant, maintaining an engaging and resilient voice throughout. Savournin’s rich, sonorous voice also added depth to his role, while bass-baritone Stephen Gadd brought a heroic quality to Sir Richard Cholmondeley, aligning well with the opera’s grander aspects.
Llio Evans portrayed Elsie Maynard, with Ellie Laugharne providing vocals from the pit. This daring arrangement worked well, with each performer complementing the other. Laugharne’s voice was a highlight of the evening, with a crystalline quality and expressive lyrical performance, while Evans provided energetic support. Samantha Price’s Phoebe Meryll was another vocal standout, offering a richer and more tender sound compared to Laugharne. Amy J Payne’s Dame Carruthers was less convincing, with uneven registration in her introductory aria, though she, like her colleagues, acted with dedication.
The City of London Sinfonia’s performance was somewhat uneven, particularly during a challenging overture where intricate string passages lacked brilliance, and there were moments of ensemble instability and tuning issues. The reduced orchestration, arranged by Richard Balcombe, did not fully support Sullivan’s score, which, with its Wagnerian elements, requires a richer orchestral texture. The limited brass and strings struggled to capture the score’s full grandeur.
However, the Act One finale, with its Verdi-like intensity, eventually gained considerable power and presence once the music settled. David Eaton’s conducting was sharp and dynamic, effectively building tension as the final scenes progressed and managing the chorus and orchestra well. The OHP Chorus impressed with their excellent diction and lively performances, continuing their tradition of high standards in summer productions. While this show was less consistent than some of Charles Court Opera’s previous productions, their creative approach remained commendable.
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