No 39 -- Winter 1992–3 Edited by Michael Walters
The piece was set, not in the time of King Henry VIII, but in that of Queen Elizabeth I. Although the outline of the set was the same as that of THE MIKADO, the Company costumed this production with Nadine Bayliss' designs, first used in 1988. There was much extra chorus work, indeed there is scarcely a moment in either opera when there is not a member of the chorus onstage. Unlike Christopher Renshaw's production, Andrew Wickes does not require Phoebe (Janine Roebuck) to speak with a cockney accent. Gary Montaine's Shadbolt was strong in acting and singing. Jill Pert brought her usual self–assurance to the role of Dame Carruthers, a role she understudied in 1988. "A laughing boy" was included, but "Rapture rapture" was dropped, because of the change in the order of dialogue in Act 2. Will there ever be a production of YEOMEN which includes "When jealous torments" and Sullivan's original arrangement of "Is life a boon"? [I hope not. Ed.] Sergeant Meryll (Terence Sharpe) sang "This the autumn of our life" – more dramatically convincing. David Fieldsend's Fairfax was a joy. Fenton Gray played Jack Point with a cockney accent. He is a first rate actor and singer and I hope his contract with the Company will be extended beyond this season. Leslie Echo–Ross played Elsie Maynard most movingly. John Rath has a rasping speaking voice which suits the parts of Don Alhambra and the Mikado, but not that of Sir Richard Cholmondeley. The Shadbolt–Point scene was magic. This production was highly satisfactory. DAVID SKELLY
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