Yeomen transcends typical Gilbert and Sullivan. It has the usual brilliance, flow of endearing melodies, store of comic characters, pair of young lovers, and twisting, turning plot. But it goes a step further with a fool in the Shakespearean sense.

Jack Point is a jester who manages to bring an element of tragedy into this otherwise jovial story. He loses his love, but must still laugh to entertain his master. True pathos is created as the final curtain falls, leaving Jack alone and heartbroken amidst the rejoicing of the other characters.

He is a key component of the story and must be well-played. Norman S. George pulled every trick he knew from his bag of tricks to create a lively, endearing clown. He jumped, danced, and clowned with a phenomenal energy and never let his portrayal lag for a moment. George would have created a near-perfect portrayal if only a little bit of that energy had been directed toward better enunciation as he sang.

The best vocal work of the evening came from the hero of the work. Thomas Alan Rowe sang beautifully as Colonel Fairfax with a sweet tone and elegant line in a class of its own. Unfortunately, his acting did not measure up to his high vocal achievement.

Good singing came from Rina van Rensburg, the Colonel's lover Elsie, and from Kathleen Jennings, his spurned lover Phoebe Meryll. Jennings created one of the liveliest figures on stage and was ably matched by Thomas Ricento as the comically endearing jailor.

The rest of the cast worked very well with the key characters to provide an evening of close ensemble work, lending vitality and believability to this enjoyable piece.

Suzanne Goddard and Dianne Marr designed the attractive costumes, balancing the bright reds of the yeomen with the warm pastel shades of the peasants.

Paul Molinelli and Scott Pinkney designed the black and gray stone towers and arches, which formed the story's setting, the Tower of London.

Stage director Sully Bonn effectively moved the cast and chorus from level to level, and provided some amusing moments of stage business.

David Gaylin provided excellent direction of the orchestra, maintaining an appropriate balance between the bouyant and the lyric. The orchestra played well, but the weak moments of the evening came from the strings and, occasionally, the brass.

The Savoyards provided an evening of great vitality consistent with their standard of thoroughly enjoyable comic operetta.

There will be additional performances at 8 p.m. in Hayden Hall on April 25, 26 and 27.