"The Yeoman of the Guard" by The Gilbert and Sullivan Very Light Opera Company at the Conn Theater

After 10+ years of seeing Gilbert and Sulivan operettas by The Gilbert and Sullivan Very Light Opera Company (GSVLOC, which has been around for over 40 years), I thought I knew what a G&S show was - a silly fantastical story, over the top characters, social commentary conveyed through comedy, ending with happily ever after (usually via a wedding or two). But then I saw The Yeoman of the Guard (their current show continuing through March 29), which does not fit the usual model. Yes, there is still some comedy, and fast patter songs, and a bit of silliness. But overall, it's a much more somber story, one that does not end happily for everyone, and in fact ends on a tragic note. But I loved it all the more for that, and for showing me that I didn't know everything G&S was or could be. But like all G&S shows done by GSVLOC, it's musically gorgeous, performed by an ensemble of 30-some singers, with a backstage orchestra of about that size. If you enjoy G&S, there is much to love here, and if you think you know them, there is much to surprise and endear you even more to them.

Unlike most Gilbert and Sullivan stories, this one does not take place is some faraway fictional land. It takes place right in London, where they lived and worked and where most of their shows premiered. Set in the 16th Century during Henry VIII's reign (who was fond of beheading wives and other people he didn't like), the plot concerns a scientist named Fairfax who is soon to be beheaded on a false claim of sorcery (a government that doesn't believe in science - can you imagine?!). The claim was made by Fairfax' cousin, who is set to inherit everything he owns. Not wanting to give him the satisfaction, Fairfax convinces a Lieutenant of the Tower to find him a woman to marry, who will shortly become a widow and receive the inheritance. The Lieutenant convinces the poor traveling singer Elsie to do just that, to the dismay of her companion, the jester Jack, who loves her. The plan goes off without a hitch, until it is discovered that Fairfax has escaped, aided by Sergeant Meryll, a sympathetic Yeoman of the Guard (aka Beefeater, aka guard at the Tower of London, still an exclusive and respected service in the British military). With the aid of his daughter Phoebe, who finds Fairfax very handsome, and his son, who is about to join the Yeoman service, they spring Fairfax from the Tower and disguise him as Meryll's son the Yeoman - hiding in plain sight. In the meantime, Elsie thinks she's married and unable to marry either Jack, who she's relatively indifferent towards, or Meryll's "son" who she quickly falls in love with. A happy ending is not possible for everyone in this situation, and poor Jack becomes the saddest jester you've ever seen.

a happy ending for some is not so happy for others
(Charlotte Smith as Pheobe, Mary Kettlewell as Elsie, Graham Remple
as Fairfax, and Sam Vinitsky as Jack, photo courtesy of GSVLOC) 

Stage director Gary Briggle very quickly establishes and maintains this serious tone, while still allowing for moments of humor (particularly with the jester and the head jailor, who's himself in love with Meryll's daughter). All of the leads and the entire ensemble are fantastic; it's so fun to watch everyone in the cast because they're always engaged and expressive and in the moment, even if in the back row on the side of the stage. Highlights in the cast include Graham Remple as Fairfax, with a noble demeanor and lovely voice; Charlotte Smith and Trevor Woggon as Pheobe and her admirer, providing some nuanced humor; Eric Sorum as the powerful and imposing Lieutenant; Mary Kettlewell as the reluctant bride Elsie; and Sam Vinitsky, stealing scenes and tugging at heartstrings as the sad jester, alternately comically clever, and tragically heartbroken.

the resplendent Yeomans of the Guard (photo courtesy of GSVLOC)

The beautiful set (designed by Michael Hoover) consists of painted stone floors and stairs, framed by an iron gate with birds and other figurines, and an image of the Tower of London as backdrop, which is lit in different shades and brightnesses depending on the story or the lyrics, including the ominous "green Tower Hill" (lighting design by Carl Schoenborn). Just the sheer number of costumes (designed by Bronson Talcott) is impressive, as is the attention to detail. The Beefeaters are in the traditional red and gold uniforms, with white tights, black shoes, and red and white shoe ornaments. The Lieutenant is trimmed in royal 16th Century garb, the common folk in varied costumes that show their rank - two different household servant uniforms worn by half a dozen each, some more well-to-do ladies, working class men, etc.

As always, Randal A. Buikema conducts the backstage orchestra, and they sound rich and full and gorgeous (if only we could see them!). The score is really beautiful, with some of the typical fast patter G&S songs but also some lovely plaintive songs, and a couple of a capella moments of stunning harmonies by these unmiked singers. (For obvious reasons, I was particularly charmed by the lyric "But every Jack, He must study the knack, If he wants to make sure of his Jill!" in a song about learning the skills of wooing.)

The Gilbert and Sullivan Very Light Opera Company does one thing, and they do it very well. One would think that after 40 years, they'd run out of shows to produce, but Gilbert and Sullivan left such a treasure trove of work that is endlessly adaptable and producible in new ways. The last time they did Yeoman was in 2013, a couple years before I "discovered" them, so I'm happy they cycled back around to it. It's a gorgeous piece and shows that G&S did more than just silly comedies (although even their silly comedies are richer and deeper than that). I've now seen 10 of the 14 G&S operas, since first falling in love with The Pirates of Penzance my first season as a Guthrie subscriber in 2004. They're remounting it next summer, which I'm sure will be great fun, but for consistent and consistently excellent productions of G&S that go beyond the big hits to the deep cuts, like the gem that is The Yeoman of the Guard, GSVLOC is the company to see.

a real-life modern-day Yeoman of the Guard, whose duties include
leading tourists around the Tower of London, as seen on my visit there in 2024
(luckily I left with my head still attached to my body)