The Daily Free Press--Thursday, November 19, 1970

Savoyard'sYeoman Opens Light Comedy, Fine Acting by Carol Springer, Film Critic

The Boston University Savoyards opened their first production of the year this past weekend The Yeomen of the Guard. This Gilbert and Sullivan operetta is similar to other G&S works in that its plot is quite complex, often trivial, and tirelessly romantic. The principal theme is that of a bachelor, unjustly sentenced to death so that his heirs can inherit his rich estate, who marries a total stranger to foil his greedy family's plans. At the eleventh hour he escapes from his prison, only to realize that he now has a wife. Complications arise, leading to five sometimes conflicting romantic situations gravitating around the basic one of the escaped prisoner. The show is definitely a woman's show, or the women's show, as the case proves to be. Noreen Tuross completely wins over the audience with her marvelously comic portrayal of Phoebe, the unmarried daughter of a Yeoman of the Guard. Linda Haupt(sic), playing the new bride of the condemned soldier, is also a joy on the stage. Her voice is clear and strong, and lends an aura of professionalism to the production. Unfortunately, however, it is of such a high quality that it often makes the rest of the cast pale in comparison. When he is acting, Lee E. Wolloff, as Colonial(sic) Fairfax, acts admirably well. But when he is singing, he should be acting. Due to a recent illness, his voice waivers and seems to search for the melody, and sometimes is so soft that it is difficult to ascertain whether he really is singing. Alan Abrams is undoubtedly the best male actor in the BU company, and also has the strongest and clearest voice. It seems a shame that he was delegated to only a supporting role in this production, since neither of the two male leads approaches his talents. On the whole, the choral numbers were well executed. There was no indication of the Busby Berkley choreography that marked the G&S productions of only a few years ago. Although double choruses were used, with the townspeople lending vocal support to the half dozen Yeomen who were too weak to adequately sing their parts, this doctoring up of the Gilbert and Sullivan score appeared to pass by unnoticed by the majority of the audience. The play, directed by Connie Miller, will also be performed next weekend.

The Jewish Advocate--Thursday, November 19, 1970

Your World of Opera by William D. Miranda B.U. Savoyards

This seems to be a good year for vintage as far as the B.U. Savoyards are concerned. Last week and this week they are presenting one of the finest Yeomen of the Guard productions it has been your reviewer's privilege to see in a decade of G. & S. reviewing. Director Constance Miller deserves much credit for pulling together the many elements in the only non-satiric savoy operetta and doing it with style, pace and many original bits of business. Conductor George Fulginiti kept in stride though there was some lamentably thin playing, particularly during the overture to hamper his efforts. A splendid, full-bodied chorus was the considerable contribution of choral director Juliet Cunningham. With only one exception each player was better than the next. One of the finest consistent achievements was the balance of the Wilfred of Alan Abrams, never overdone as this role is wont to be, but always human and likeable. He was a fine foil for the delightful Phoebe Merrill of Noreen Tuross, who made up for a smallish voice with a distinctive and amusing interpretation. Linda Houpt's rich-voiced Elsie Maynard was a mainstay of the evening and she was most sincere in the part of the noble heroine. Karl Deirup was a finely chiseled Jack Point, balancing sarcasm, wit and melancholy perfectly, and tumbling and juggling as well. He wisely resisted the urge this character suggests to steal scenes wholesale. Christine Robbins' well-projected contralto made a believable Dame Carruthers. In the pivotal role of Colonel Fairfax, Lee Wolloff used a basically non-singing voice with care and intelligence, projecting a stalwart character for the amusing hero. James Finder was most serviceable as Lieutenant Cholmondely and Paul Seltzer was outstanding in the ungrateful role of Leonard. Even Sheila-Gail Schneider in the tiny part of Kate was unforgettable. Bill Malik was alone among the cast being able neither to sing nor act at all passably. Good costumes and simple sets were quite satisfactory, if not outstanding. All in all this is a most entertaining and agreeable production of far better calibre than most produced at the college level.

The Boston Globe--Friday, November 20, 1970

Yeoman service from Sullivan by Melvin Johnson, Globe Staff

Gilbert without Sullivan is lemon without sugar -- a sour squirt of acid wit that makes one squirm with discomfort. But ah! The music of Sullivan -- the very confection of humor, producing a lightweight Puccini of an evening at B.U. Concert Center. There, at 8:30 tonight and tomorrow the university's Savoyards will be giving their final performances of The Yeomen of the Guard. Worth seeing -- with reservations. Noreen Tuross is rotundly solid as Phoebe, the sergeant's daughter; Christine Robbins is primly grim as the housekeeper of the tower; but Bill Malik as the bearded sergeant cannot conceal the impression that he came to London by way of Minnesota. Alan Abrams overacts as the jailer and assistant tormenter, but he is far less painful to behold than Lee Wolloff as the condemned Fairfax. Wolloff makes one beg for the pleasure of solitary confinement with his silly grin, cracking voice and lack of insight into character. But ah! The voice of Linda Houpt in the role of the strolling Elsie -- she sweetens the evening with audible tones and laudable interpretations. Keep your ear on Miss Houpt, and your eye peeled for an unknown chorus girl -- between the two, they carry the show through many a stilted stanza. Final advice: The Savoyards should practice their G. & S. diction -- poor Sir Gilbert at least deserves the charity of clarity.

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