"the tensions in an amateur theatre group during a production of ""Yeomen"", particularly the casting of the part of Jack Point. ""Perish in July"", a 1989 novel by Mollie Hardwick, part of her Doran Fairweather series, involves a backstage murder of the actress playing Elsie. The Yeomen of the Guard The Yeomen of the Guard; or, The Merryman and His Maid, is a Savoy Opera, with music by Arthur Sullivan and libretto by W. S. Gilbert. It premiered at the Savoy Theatre on 3 October 1888, and ran for 423 performances. This was the eleventh collaboration of fourteen between Gilbert"
"opera actually concerns Yeomen Warders, who are guardians of the Tower of London (and the crown jewels) and are selected for this position as a reward for long and meritorious service to the crown. Today, they act as tour guides at the Tower of London. The Yeomen Warders are often incorrectly referred to as Yeomen of the Guard, which is actually a distinct corps of royal bodyguards. Gilbert shared this confusion (or didn't care to be precise in the matter) by naming the opera ""The Yeomen of the Guard"". However, Gilbert and Sullivan were careful to replicate the historical Tower"
"(1913) and Gilbert and Sullivan's ""The Yeoman of the Guard"" (1914). The Society gone silence again since 1914 because of the First World War. In 1923, the Society reactivated again. After two concerts, the Society gave a new trial on comic opera. The Society staged Gilbert and Sullivan's The Yeoman of te Guard in 1924 and got a great success, it motivated the members of the Society to concentrate on English comic operas. Since 1924, they produced 19 operas before the World War II. Below is a list of opera productions by the Society since 1924: Though the repertoire of"
"and must be former warrant officers with at least 22 years of service. They must also hold the Long Service and Good Conduct medal. The Yeomen Warders are often incorrectly referred to as Yeomen of the Guard, which is actually a distinct corps of Royal Bodyguards. Although the Yeomen Warders are often referred to as Yeomen of the Guard, which is a distinct corps of Royal Bodyguards of the British monarch, they are in fact a separate entity within this guard. Gilbert and Sullivan's opera, ""The Yeomen of the Guard"" (1888), is set in the 16th century, an earlier era"
"in January 1887. The piece, though a financial success, was a relative disappointment after the extraordinary run of ""The Mikado"". When ""Ruddigore"" closed after nine months, Carte mounted revivals of earlier Gilbert and Sullivan operas at the Savoy for almost a year. After another attempt by Gilbert to persuade Sullivan to set a ""lozenge plot"", Gilbert met his collaborator half way by writing a serio-comic plot for ""The Yeomen of the Guard"", which premiered in October 1888. The opera ran for over a year, with strong New York and touring productions. This was a happy time for Carte, with a"
"after a run of only nine months, the company mounted revivals of earlier Gilbert and Sullivan operas for almost a year. After another attempt by Gilbert to persuade Sullivan to set a ""lozenge plot"", Gilbert met his collaborator half way by writing a serio-comic plot for ""The Yeomen of the Guard"", which premiered in October 1888. The opera was a success, running for over a year, with strong New York and touring productions. During the run, in March 1889, Sullivan again expressed reluctance to write another comic opera, asking if Gilbert would write a ""dramatic work on a larger musical"
"Gilbert & Sullivan Players The Yeomen of the Guard First Yeoman<BR> 1/18/2013 New York City Center New York Gilbert & Sullivan Players The Yeomen of the Guard First Yeoman<BR> 11/13/2011 Symphony Space New York Gilbert & Sullivan Players The Grand Duke Ensemble<BR> 11/21/2010 Symphony Space New York Gilbert & Sullivan Players Utopia, Limited Ensemble<BR> 5/22/2010 Wolf Trap Filene Center New York Gilbert & Sullivan Players The Mikado Coolie<BR> 5/21/2010 Wolf Trap Filene Center New York Gilbert & Sullivan Players The Mikado Coolie<BR> 5/15/2010 Dayton Opera New York Gilbert & Sullivan Players The Mikado Coolie<BR> 5/14/2010 Dayton Opera New York Gilbert"
"intended to supplant the French operettas (usually performed in bad translations) that had dominated the London stage from the mid-19th century into the 1870s. London's ""Daily Telegraph"" agreed, describing ""The Yeomen of the Guard"" as ""a genuine English opera, forerunner of many others, let us hope, and possibly significant of an advance towards a national lyric stage"". Sullivan produced a few light operas in the 1890s that were of a more serious nature than those in the G&S series, including ""Haddon Hall"" and ""The Beauty Stone"", but ""Ivanhoe"" (which ran for 155 consecutive performances, using alternating casts—a record until Broadway's"
"are active on some 30 occasions yearly, so each division appears for some 6–8 days a year. The Yeomen of the Guard are often confused with the Yeomen Warders of Her Majesty's Royal Palace and Fortress the Tower of London, popularly known as ""Beefeaters"", a similar but distinct body. Gilbert and Sullivan's operetta, ""The Yeomen of the Guard"" (1888), is set in the 16th century, an earlier era before the two corps were split apart; it concerns what are today the Yeomen Warders. Both bodies wear identical dress uniforms, consisting of a royal red tunic with purple facings and stripes"
"Gilbert & Sullivan Players Yeoman of the Guard First Yeoman<BR> 5/3/2003 Symphony Space New York Gilbert & Sullivan Players Yeoman of the Guard First Yeoman<BR> 5/3/2003 Symphony Space New York Gilbert & Sullivan Players Yeoman of the Guard First Yeoman<BR> 5/2/2003 Symphony Space New York Gilbert & Sullivan Players Yeoman of the Guard First Yeoman<BR> 5/1/2003 Symphony Space New York Gilbert & Sullivan Players Yeoman of the Guard First Yeoman<BR> 4/26/2003 John Harms Center New York Gilbert & Sullivan Players The Pirates of Penzance Frederic (Understudy) & Ensemble<BR> 4/25/2003 State Theatre New York Gilbert & Sullivan Players The Pirates of"
"in 1901 leaving the management of the D'Oyly Carte Opera Company and the Savoy Theatre in the hands of his widow, Helen. After a successful repertory season at the Savoy ending in March 1909, the now-frail Helen leased the theatre to actor Charles H. Workman, who had been a long-time principal performer with the D'Oyly Carte Opera Company. Encouraged by the success of the Gilbert and Sullivan seasons, Workman decided to produce his own season of light opera. He continued the run of ""The Yeomen of the Guard"" until the end of March and then closed the theatre until he"
"ancestor and the device of the ghostly ancestors stepping out of their portraits. When ""Ruddigore"" closed, no new opera was ready. Gilbert again proposed a version of the ""lozenge"" plot for their next opera, and Sullivan reiterated his reluctance to set it. While the two men worked out their artistic differences, and Sullivan finished other obligations, Carte produced revivals of such old favourites as ""H.M.S. Pinafore"", ""The Pirates of Penzance"", and ""The Mikado"". ""The Yeomen of the Guard"" (1888), their only joint work with a serious ending, concerns a pair of strolling players—a jester and a singing girl—who are caught"
"widely for EMI and Lyrita, especially choral works, songs and opera. One of his early performances was in EMI’s recording of Gilbert and Sullivan's opera ""The Yeomen of the Guard"", in the small role of Second Yeoman, conducted by Sir Malcolm Sargent. His choral recordings include solo parts in Bach’s St Matthew Passion (with both Vaughan Williams and Otto Klemperer), Fauré’s Requiem and numerous works by Elgar and Vaughan Williams. Among his opera performances is as the Evangelist in Sir Adrian Boult’s recording of Vaughan Williams’s The Pilgrim’s Progress. His English song recordings include the works of Gerald Finzi, notably"
"Sullivan opera, ""The Yeomen of the Guard"", on Christmas Eve 1932, relayed live from the Savoy Theatre by the BBC. Godfrey conducted all the Gilbert and Sullivan operas plus ""Cox and Box"", in performance and for recordings, except ""Utopia Limited"" and ""The Grand Duke"", though he recorded excerpts from the former. (Rupert D'Oyly Carte had considered reviving ""Utopia"" in the 1920s, but abandoned the idea as too expensive.) Godfrey conducted most of the company's performances during his four decades as musical director, except for a few London seasons, when Malcolm Sargent was guest conductor, and brief periods in the summers"
"August and September 2010, the G&S Opera Company presented its first production outside of the festival, ""The Yeomen of the Guard"", at Oxford Castle. Two of its 2012 productions were repeated in Harrogate late in August, and all three of its 2013 productions transferred there in late August. The company toured three of its 2014 productions in repertory from June to August 2014, giving seven performances in each of six cities. Since 2015, besides Harrogate, the company has toured its productions to several cities and towns in the UK, including the Festival's previous home, Buxton. ""Sky Arts"" called the Gilbert"
"Sullivan opera given complete at the Proms. In 1980 he joined the D'Oyly Carte Opera Trust and later its Board of Trustees. In the early 1980s he conducted two New Year's Eve broadcasts of Savoy operas for the BBC, and his recordings of eight of the operas were broadcast in 1989 by BBC Radio 2 as part of a complete Gilbert and Sullivan series. He also conducted a centennial performance of Sullivan's ""The Golden Legend"" in Leeds and the first staging of a complete Gilbert and Sullivan opera at the Royal Opera House, ""The Yeomen of the Guard"", with Welsh"
"Symphony Orchestra (LSO), the New Symphony Orchestra of London, the Philharmonia Orchestra and the Royal Philharmonic Orchestra (RPO). Sargent conducted Gilbert and Sullivan recordings in four different decades. His early recordings with the D'Oyly Carte Opera Company for HMV included ""The Yeomen of the Guard"" (1928), ""The Pirates of Penzance"" (1929), ""Iolanthe"" (1930), ""H.M.S. Pinafore"" (1930), ""Patience"" (1930), ""Yeomen"" (excerpts 1931), ""Pirates"" (excerpts 1931), ""The Gondoliers"" (excerpts 1931), ""Ruddigore"" (1932) and ""Princess Ida"" (1932). More than 30 years later, for Decca, he recorded ""Yeomen"" (1964) and ""Princess Ida"" (1965) with the D'Oyly Carte company. In addition, between 1957 and 1963,"
"in Gilbert and Sullivan operas before commencing his professional singing career with the D'Oyly Carte Opera Company, with whom he appeared from 1971 to 1982. There, he began in the chorus and then played small roles and understudied all the principal Gilbert and Sullivan tenor roles. His first roles were the First Yeoman in ""The Yeomen of the Guard"", which he played from 1974 until the company closed in 1982. In 1975, he began to play Francesco in ""The Gondoliers"" and the leading role of the Defendant in ""Trial by Jury"". As understudy, he occasionally played the principal tenor roles"
"had developed an enthusiastic following among the audiences at the Savoy Theatre. Between Savoy shows, Bond was able to appear in ""To the Death"" by fellow savoyard Rutland Barrington (1888) and ""Locked In"" (1889). After this, Bond's next role was Phœbe Meryll in ""The Yeomen of the Guard"" (1888–89). Of this role, Bond wrote, ""My share in the most beautiful of all the Gilbert and Sullivan operas was delightfully easy and natural. When Gilbert gave it to me at the first reading he said, 'Here you are, Jessie, you needn't act this, it's you.'"" Gilbert was even more nervous than"
"by W. S. Gilbert, in performances of their one-act comic opera ""Trial by Jury"". Impressed, they engaged him to play the comic lead in their new, full-length work, ""The Sorcerer"". Thereafter, Grossmith created the leading comic role in each of Gilbert and Sullivan's long-running comic operas until ""The Yeomen of the Guard"", which closed in 1889. While appearing in the operas, Grossmith continued his piano entertainment career at private parties and matinees, writing and composing his own material. He became the most successful comic entertainer of his day, writing numerous operettas, around 100 piano sketches, some 600 songs and short"
"not available. At Richard Watson's suggestion Clifford auditioned for the vacancy and was engaged to play Green's roles in the Gilbert and Sullivan operas, which were produced in repertory by the company. He was coached by the company's director, J. M. Gordon, who had worked with W.S. Gilbert, but Carte encouraged Clifford to recreate all his characters afresh. ""The Times"" said of his performance in ""The Yeomen of the Guard"", ""the final moments in which the heartbroken merryman struggles to hide his grief are played with real beauty. Mr Clifford makes no attempt to imitate his predecessors in the part,"
"The ""Daily Telegraph""'s review of ""Yeomen"" was very admiring of Sullivan's efforts: ""The Times"" noted, ""It should... be acknowledged that Mr. Gilbert has earnestly endeavoured to leave familiar grooves and rise to higher things."" Some reviewers, however, suggested that Gilbert took too much of his story from William Vincent Wallace's 1845 opera, ""Maritana"", in which a street singer is married in secret to a gentleman. Another antecedent of ""Yeomen"" is Gilbert's 1875 tragedy, ""Broken Hearts"". There, the love triangle among Prince Florian, Lady Vavir and the hunchbacked servant Mousta parallels the triangle in ""Yeomen"" among Fairfax, Elsie and Point. The"
"of each one. I myself will make an attempt to produce a grand opera of this new school. ... Yes, it will be an historical work, and it is the dream of my life."" After ""The Yeomen of the Guard"" opened, Sullivan turned again to Shakespeare, composing incidental music for Henry Irving's Lyceum Theatre production of ""Macbeth"" (1888). Sullivan wished to produce further serious works with Gilbert. He had collaborated with no other librettist since 1875. But Gilbert felt that the reaction to ""The Yeomen of the Guard"" had ""not been so convincing as to warrant us in assuming that"
"for many years. Original, bold, inspired, grand in conception, in execution, in treatment, it is a composition which will make an 'epoch' and which will carry the name of its composer higher on the wings of fame and glory. ... The effect of the public performance was unprecedented."" Hopes for a new departure were expressed in ""The Daily Telegraph's"" review of ""The Yeomen of the Guard"" (1888), Sullivan's most serious opera to that point: ""[T]he music follows the book to a higher plane, and we have a genuine English opera, forerunner of many others, let us hope, and possibly significant"
"to make it to the theatre to conduct. He goes on a holiday to Continental Europe hoping that the rest will improve his health. While he is away, ticket sales and audiences at the Savoy Theatre wilt in the hot summer weather. Producer Richard D'Oyly Carte (Ron Cook) has called on Sullivan and the playwright W. S. Gilbert (Jim Broadbent) to create a new piece for the Savoy, but it is not ready when ""Ida"" closes. Until a new piece can be prepared, Carte revives an earlier Gilbert and Sullivan work, ""The Sorcerer"". Gilbert's idea for their next opera features"
"did. Historian Jane Stedman speculates that the failure of this play (produced soon after ""The Yeomen of the Guard"", which increased Arthur Sullivan's desire to turn to more serious operas), and Gilbert's subsequent aversion at this time to writing serious drama, may have hurt Gilbert's partnership with Sullivan, since Gilbert declined to write any more serious librettos for Sullivan. However, this conclusion is dubious, since Gilbert and Sullivan soon collaborated on the comic and lively (and very successful) ""The Gondoliers"" (1889). Moreover, though Gilbert declined to write the libretto to Sullivan's grand opera, ""Ivanhoe"" (1891), it was he who recommended"
"is essential, taking part in the action and often acting as an important character in its own right. ""The Sorcerer"" also confirms a pattern that had been introduced in the earlier collaborations and would be repeated in the other Savoy operas, except for ""The Yeomen of the Guard"", to begin with a chorus number and end with a relatively short finale consisting of solos and chorus music. Sullivan later told his biographer, ""Until Gilbert took the matter in hand choruses were dummy concerns, and were practically nothing more than a part of the stage setting."" Another Gilbert innovation, following the"
"at Windsor Castle but astonishes Sullivan by choosing to hear ""The Gondoliers"". Apart from Gilbert, Sullivan comes to realise that his true gifts lie with light music. Richard and Helen Carte toast the arrival of the twentieth century, hoping for a revival of the Gilbert and Sullivan partnership. Stopping by at a rehearsal for a revival of ""The Yeomen of the Guard"", Gilbert runs into Sullivan, after having been apart for years. Sullivan is ill and using a wheelchair. The two men make up and propose taking a curtain call together with Carte, all three of them in wheelchairs. During"
"find other partners. He wrote ""The Mountebanks"" with Alfred Cellier, and then turned to George Grossmith, the comic baritone of the Gilbert and Sullivan pieces from ""The Sorcerer"" (1877) through to ""The Yeomen of the Guard"" (1888). Grossmith had composed hundreds of songs and duets for his own private drawing-room entertainments, as well as a few short comic operas, but never a full-length work as ambitious as ""Haste to the Wedding"". By opening night, 27 July 1892, Gilbert was approaching a reconciliation with Sullivan, who was in attendance. Notable among the cast were Frank Wyatt as Woodpecker Tapping, veteran actor"
"The effect it produced at rehearsal was enormous. The effect of the public performance was unprecedented."" Hopes for a new departure were evident in the ""Daily Telegraph""'s review of ""The Yeomen of the Guard"", Sullivan's most serious opera to that point: The advance that the ""Daily Telegraph"" was looking for would come with Sullivan's only grand opera, ""Ivanhoe"" (1891), which opened to largely favourable reviews, but attracted some significant negative ones. For instance, J. A. Fuller Maitland wrote in ""The Times"" that the opera's ""best portions rise so far above anything else that Sir Arthur Sullivan has given to the"
"submitted another version of the magic lozenge plot, which Sullivan again rejected. Gilbert finally proposed a comparatively serious opera, to which Sullivan agreed. Although it was not a grand opera, ""The Yeomen of the Guard"" (1888) provided him with the opportunity to compose his most ambitious stage work to date. As early as 1883 Sullivan had been under pressure from the musical establishment to write a grand opera. In 1885 he told an interviewer, ""The opera of the future is a compromise [among the French, German and Italian schools] – a sort of eclectic school, a selection of the merits"
"in ""Pirates of Penzance"", and 1st Yeoman in ""Yeomen of the Guard"". He has also appeared in ""Rose of Persia"", ""Utopia, Limited"", ""Trial by Jury"", and ""The Grand Duke"". date venue company program role<BR> 6/15/2013 Tarrytown Music Hall New York Gilbert & Sullivan Players The Mikado Coolie<BR> 6/1/2013 Wolf Trap Filene Center New York Gilbert & Sullivan Players The Mikado Coolie<BR> 5/31/2013 Wolf Trap Filene Center New York Gilbert & Sullivan Players The Mikado Coolie<BR> 1/20/2013 New York City Center New York Gilbert & Sullivan Players The Yeomen of the Guard First Yeoman<BR> 1/19/2013 New York City Center New York"
"the two men never collaborated again. In 1894, Carte had hired his son, Rupert, as an assistant. Rupert assisted Mrs. Carte and W. S. Gilbert with the first revival of ""The Yeomen of the Guard"" at the Savoy in May 1897. Throughout the later 1890s, Carte's health was declining, and Mrs. Carte assumed more and more of the responsibilities of running the opera company. She profitably managed the theatre and the provincial touring companies. The Savoy's shows during this period received comparatively short runs, including ""His Majesty"" (1897), ""The Grand Duchess of Gerolstein"" (1897), ""The Beauty Stone"" (1898) and ""The"