The Yeomen of the Guard - Gilb [DVD] - Very Good

Very Good - USED - Very Good: A well-maintained video game, CD, or DVD that has been played but remains in excellent condition. The disc is fully functional, plays without interruptions, and does not skip. The box or jewel case, along with the cover art, liner notes, and other inclusions, may show only minor signs of wear. Please note that any included digital codes (if applicable) are not guaranteed to work. USED BOOK: This book is in very good condition, showing only minimal signs of wear. The pages are clean with no markings, and the cover may have slight shelf wear. The spine remains uncreased, and the book appears well cared for. It is a solid copy that presents well and is enjoyable to read. Please note that any included access codes (if applicable) are not guaranteed to work.

Amazon.ca The Yeomen of the Guard, one of Gilbert and Sullivan's least satiric and most charming works, largely stars its rich, operatic score. The story, set at the Tower of London during Tudor times, is also beautifully constructed, with terrific pseudo-Shakespearean language. For such a vibrant piece, this video (part of the Opera World series of Gilbert and Sullivan works, made for the BBC in 1982) is strangely drab. The weakest element is Joel Grey as the melancholy clown Jack Point. The series mixes musical-comedy performers with opera singers, Americans with Brits. Grey's Broadway background isn't a drawback; in fact, some show-biz sparkle might have done him good. His sour, lethargic performance misses the potential for sunshine at the character's heart. Even his singing is doubtful--he has a hard time staying on key. Other actors are equally lackluster. David Hillman as Colonel Fairfax, around whom the plot's twists (and the two leading ladies) revolve, is fatally without charm. One redeeming presence is Alfred Marks as the dimwitted jailer Wilfred Shadbolt. Preposterously sure of himself, with a marvelous deadpan, this Wilfred comes to life more than anyone else on screen. For television, the operas in this series were restricted to a two-hour length. Most easily met that limit, but Yeomen underwent deep cuts. The result is both disappointing and confusing, with some major plot developments excised. And the film has been sloppily edited: dead moments mark a couple of junctures where songs, no doubt previously filmed, were snipped out. --David Olivenbaum

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