Showcased young talent and delighted audiences.
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artistic director's thoughts:
This was my initiation into directing community theatre. I was in tears at the first stage orchestral, distressed at the lack of rehearsal and embarrassed by what I was seeing and hearing. I knew my cast were capable but it just wasn’t coming together.
I asked a few friends to come to the final dress rehearsal to sing in the pit and support the chorus – including Peter Alexander. I received a phone call on the day before opening – our music director had been rushed to hospital.
My dear friend and talented musician Prue Gibbs was flying in that night from Brisbane. She called from the airport to say her plane was delayed. I asked, ‘Do you know Yeomen of the Guard?’ She replied – ‘No – you might find some information on Wikipedia.’ Little did she know what I had in store for her. Peter came that night with score in hand and they played it through. The next night Prue conducted the show and created miracles. Peter was a reluctant starter but Prue said if she could do it – so could he.
Peter took over for the rest of the season and continued the transformation. Luckily, he quite enjoyed the experience! So did Ruth Brent who assisted and Sandy Gray who designed our sets then took over singing in the chorus for the final shows – well, miming really! (You’ll see her in the video clips).
Endangered Productions was born!
"If ever our company of 43 years needed miracles it was for this show, a jewel in the G&S crown, demanding a strong male cast to bring it alive.
It has taken two years of hunting, and many miracles have happened along the way, including snagging the directorship of Christine Logan, who has brought high standards from her time singing with Opera Australia. She has shown us how to work hard while having a great deal of fun.
As usual we have the benefit of years of experience in our cast and hard-working committee, as well as some stunning young talent. Sullivan’s rich musical score never flags and Gilbert will amuse with wit and clever satire."
Message from the president of FAMS in the program.
words and music
The Yeomen of the Guard or The Merryman and His Maid opened on October 3, 1888 at the Savoy Theatre and ran for 423 performances. It uses dialogue which is quasi-Shakespearean or early modern English in style and has a lush overture and features beautiful ballads and choruses.
While the it is the darkest of their operettas, critics consider the score to be Sullivan's finest.
The Daily Telegraph’s review was very admiring: "Schubert himself could hardly have handled those instruments more deftly, written for them more lovingly ... the music flows to a higher plane and we have a genuine English opera.’
It is 1897, W.S. Gilbert and Arthur Sullivan had collaborated on eleven very successful ‘topsy turvy’ operas, but Sullivan was becoming restless. He wanted to leave the partnership in order to write grand opera and other serious works. Gilbert had tried unsuccessfully to get him interested in a variety of plots. While waiting for a train, Gilbert spotted an advertisement for The Tower Furnishing and Finance Company, illustrated with a Beefeater.
On Christmas Day 1887, Gilbert read to Sullivan his plot sketch for an opera set at the Tower of London. Sullivan was ‘immensely pleased’ and accepted it, writing in his diary, ‘Pretty story, no topsy, turvydom, very human and funny also.’
Want to be involved next time?
We welcome all kinds of volunteers. There are opportunities for volunteers to learn and share skills our upcoming production of Peer Gynt. We particularly welcome skilled creative, perhaps retired, Super Citizens who are willing to act as mentors.
Our productions will also provide work opportunities for professional musicians, singers, and actors.
We love sponsors. By becoming a private or corporate sponsor you will contribute to the creation of quality, accessible music theatre in Sydney. Contact us and we will get back to you directly about our upcoming production of Peer Gynt.