The Yeomen of the Guard, or the Merryman and his Maid, which was produced for the first time in Shanghai on Friday evening by the Stanley Opera Company at the Lyceum Theatre, is the last but one of the series of comic operas with which Sir Arthur Sullivan and Mr. W. S. Gilbert have for the past fifteen years delighted the public. That the partnership which has produced such happy results has now been dissolved atter for general regret. Althou ill assuredly be of interest to see what kind of work can be 2) produced by the accomplished librettist and still more accomplished musician when no longer working together, it is impossible to suppress a feeling of disappointment that the piquant humane of the one will no longer be united to the equally hum-19' erous, refined and thoroughly graceful music of the other. Whether these characteristics mark the last of the series, The Gondoliers, now being played at the Savoy Theatre, the Shanghai public has of yet had an opportunity of judging. The Yeomen of the Gnard, however, was ived on Friday evening, although the composition of the cast was such that three effective numbers which form part of the original version had to be omitted.
The opera in question is in some sense a departure from the previous traditions of the Gilbert-Sullivan school. In the earlier productions, especially the Pirates of Pen-sauce, Mr. Gilbert's peculiar topsy-turvydom was allowed full scope, to the destruction of anything like a recognised plot; but in the Yeomen of the Guard the action is allowed to develop self in accordance with accepted methods. The scene is laid in the Tower of London, during the sixteenth century. 'The chief interest is centred on the fate of Colonel Fairfax, a gallant and handsome young mau. He, through the machinations of a wicked' relation who will succeed to the estates of the colonel if the latter dies unmarried) has been convicted of sorcery and sentenced to be beheaded on Tower Green. Sergeant Meryll, of the Yeomen of the Guard stationed at the Tower, has formerly served under the Colonel, and is eager to rescue him if such a feat' be possible; while the Sergeant's pretty daughter, Phoebe, is willing-and ready to help, for a different reason. The return of the Sergeant's son (Leonard) from the wars, to join the cor of warders at the Tower, suggests to the Sergeant the idea that if Fairfax can once be liberated from his cell he can assume the dress and character of Leonard, and thus escape recapture, Leonard in the meanwhile keeping out of the way. To do this it is necessary to obtain the keys of the cell from Wilfred Shadbolt, the head jailer and assistant tormentor, a morose individual who labours under the delusion that he is rather a jovial fellow than otherwise, and who isin love with Phoebe. That youn; lady, who remarks, "I think—Isay T think—I can do anything I like with Wilfred,"
m succeeds in taking the keys from Wilfred's belt and handing them to her father, who liberates the prisoner, the Keys being replaced without attracting Wilred's attention. In the meantime, Fairfax, who has not been aware of the plans being carried on to effect his escape, has conceived the idea of thwarting his relation by marrying, he cares not whom, before his execution. Jack Point, a strolling ger, and his companion, Elsie Maynard, a ig at this time in the hope of earning a little silver to alleviate the needs of Elsie's mother, who is at the point of death, it occurs fo the Lieutenant of the Tower (who, san old friend of the prisoner, is willing to aid him in his design) that Elsie may be tempted to become Fairfax's bride for a money consideration and on the promise that she will be allowed to depart directly the ceremony sover, with every prospect of becoming a widow in another hour, Elsie consents, is led away blindfolded, and married wi ing her husband, who, in view of aching doom, dues nut look at his bride. When the prisoner's escape isannouneed, Elsie is in a consternation only equalled by that of Point, the Merryman, who was in, hopes of marrying her himself. Inthis situation the first act closes. In tha second we find Point and Wilfred agreeing to conevet a story for their mutual benefit, Wilfred being anxious to receive which will fit him to become a jeste Point desiring ain. To this end Wilfred agrees fare, and. Voust to support the story
has discovered Fairfax in the act of escupkind of circumstantial detail, that he ing and has shot him through the lead, the body sinking to the bottom of the river, This declaration is duly made by the pair, and creates " great effect, though not entirely in the direction contemplated by the plotters. Faitfas, who is still in the guise of Leonard, experiences the unique sensations of hearing an elaborate description of his oath-struggles, and of woving his 0 wife, as he discovers Elsie to be. She, who has loved him us Leonard, but cannot listen to him as long as she believes herself to be the wife of the escaped prisoner, is overjoyed to tind that the bullet frum Wilfred's wtquebuss has set her free again; and the two pair off together, Bhosbe, who tne played hor part of sister to reatly to the disgust of Puint and of
the disguised Fairfax decidedly con wore. The preparations for the marriage are in full swing, and Elsie has entered in her wedding dress, when she is once more plunged into the depths of despair by the announcement that Fairfax is actually and bout to claim her as his bride. Her temporary distress is soon effaced by the appearance of the supposed Leonard us Fairfax; and all ends eppily except for the disappointed jester and two of the plotters, Phabe and her father, who pay the price of the discovery of their treasonable plan by Wilfred and Dame Carruthers, the elderly and unat= tractive housekeeper at the Tower). Phoebe is left the prospect of marrying no une but Wilfred, while the Sergeant has to pair off with Dame Carruthers, who has set her cap at him.
the most noticeable feature about Sit Arthur Sulu 's music in the Yeomen of the Guard is that for the first time in his comic operas the composer has employed a distinct theme, which recurs at intervals throughout the opera. It is of course specially marked in the overture, which is a far more elaborate piece of ing than the overture of any one of the earlier operas. In songs and choruses alike the composer's refined style is as noticeable as ever. The gem of the work is an unaccompanied quartette in the second act, omitted on Friday; two exceedingly pretty ballads are allotted to the tenor, and there is a fine double chorus with baritone solu in the first act. Perhaps the most "catching" of all the numbers is the duet for Elsie and Point, in which a drone Bas running through the accompaniment produces delightful effect. The dialogue
Text read from the printed page and cleaned; old type leaves the occasional error.