The Edinburgh Gilbert & Sullivan Societypresents

Director ................................................. Alan BorthwickMusical Director ............................................David LyleAssistant Musical Director ............. Margaret Donaldson

The Edinburgh Gilbert & Sullivan Society is registered as a charity and limited companyin Scotland (company number SC356199) (charity number SC027486)

Registered office: 27 Rosslyn Crescent, Edinburgh EH6 5AT

www.edgas.org

Words by Music by W. S. Gilbert Arthur Sullivan

The Merryman andhis Maid

or

The Yeomen of the Guard

13/29 NICOLSON ST EH8 9FT*Booking fees. Registered charity SC018605.

Tue 28, Thu 30, Fri 31 May & Sat 1 June 2013

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edtheatres.com*

The Pirates of Penzance

Gilbert and Sullivan

DOYLYCARTE

O p e r a C o m p a n y

Welcome

Good evening ladies and gentlemen, and a warm welcome to the newly refurbished King’s Theatre, Edinburgh, and to our 2013 production of The Yeomen of the Guard.

We are delighted that we are back in this wonderful theatre, home to many of our greatest triumphs over the past forty years since we moved from Leith Town Hall.

I must take this opportunity to thank Duncan Hendry and the theatre management and staff for their warm welcome and assistance over the past twelve months, especially during our visit to the Festival Theatre last year.

In November, the Society returned to the Usher Hall where we celebrated the Queen’s Diamond Jubilee in a successful concert with the Band of Her Majesty’s Royal Marines, Scotland. We will once again be joining forces with the Band on Tuesday 19 November 2013, and I hope you will be able join us in what is always a fabulous occasion.

For those of you who love to see the Savoy Operas, we have decided to perform two full-scale operas in the next twelve months. Not only will we be back in the King’s Theatre in April 2014 with Princess Ida, what Gilbert called his “respectful operatic per-version of Tennyson’s Princess”, but we will also be performing The Sorcerer in the Church Hill Theatre in October/November this year. I hope you will be able to join us for these excit-ing productions.

Auditions for The Sorcerer and Princess Ida will take place on 13th & 14th April 2013. If you are interested in auditioning for a principal part or appearing as a member of the chorus, please contact our secretary, Maggie Cormack on 07811 505 953 or secretary@edgas.org for further information.

Meanwhile the curtain is about to rise to take you back to the 16th century and the Tower of London. I hope you enjoy the show.

Andrew Crawford(President)

Synopsis

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The Yeomen of the Guard is the love story of Colonel Fairfax and Elsie Maynard, a strolling player. Colonel Fairfax, having been accused of sorcery, is in the Tower under sentence of death. The charge has been made against him by a kinsman who will inherit the Fairfax estates if the Colonel dies unmarried. In order to thwart the scurvy trick of his kinsman, Fairfax begs his old friend the Lieutenant of the Tower to find him a bride, no matter who, as he only has an hour to live. Her dower shall be a hundred crowns – “no such poor dower for an hour of matrimony”.

Two strolling players, Jack Point and Elsie Maynard, arrive on the scene, and the Lieutenant persuades Elsie to consent to a blindfold marriage with the condemned man in order to obtain help for her seriously ill mother. Jack Point, deeply in love with Elsie, gives his consent only when assured that within the hour the unknown bridegroom will be beheaded and Elsie free to marry again. And so she is led out blindfolded to the wedding.

But there is a plot afoot to secure the release of the Colonel! Sergeant Meryll, whose life the Colonel has twice saved, and his daughter Phœbe cunningly contrive to secure the keys of the cell from Shadbolt, Phœbe’s sour-faced lover and Head Jailer to the Tower.

Now Meryll’s son Leonard, who was to have joined the Yeomen of the Guard that very day and who is quite unknown to anybody, consents to provide a Yeoman’s uniform. In this disguise, the Colonel, now happily released, mas-querades amongst his comrades as Leonard Meryll and is one of the party detailed to bring the prisoner to execution.

Consternation prevails when it is discovered that the prisoner’s cell is empty, but Fairfax enjoys his freedom undiscovered and unsuspected. Indeed, on meeting his unknown bride, he falls in love with her and she with him.

A fitting sequel occurs in the form of a reprieve, so Fairfax is now free to disclose his identity and claim his bride. And thus matters end happily for everyone – with one exception.

About The OperaThank heavens for the Tower Furnishing Company and its advertising policy of 1887! By this date most of the Gilbert & Sullivan operas had been written and the partnership was in serious trouble. Sir Arthur Sullivan had always considered himself to be a com-poser worthy of higher goals than the writing of comic operas, and had tired of working with William Gilbert. The immense success of his oratorio, The Golden Legend, first performed in 1886, and the relative failure of the partnership’s recent opera Ruddigore, had persuaded him that he should abandon comic opera for loftier aims. Unfortunately, his bank balance and social lifestyle decreed otherwise, and an ultimatum was issued to Gilbert. If he was to write a libretto with plenty of human interest then the composer would be prepared to set it to music.

W. S. Gilbert was the more realistic and business-like of the two collaborators. He rec-ognised the worth, both aesthetic and monetary, of their joint work and he wanted the partnership to continue. At the same time, he was unsure of the advisability of producing a serious opera at the Savoy Theatre. History proved him right when, in 1898, Sullivan’s opera The Beauty Stone was presented there and ran for only fifty performances. Gilbert toyed with many ideas, and the press releases of the day speculated on various subjects for the next opera, including “a piece based on Buffalo Bill’s Wild West Show” – just think, Gilbert & Sullivan’s, Annie Get Your Gun! It is at this stage that the Tower Furnishing Company enters our story. In October 1887, while waiting for a train in Uxbridge station, Gilbert noticed the advertisement which featured a beefeater and the Tower of London. His imagination was fired and the result was the opera we present to you today.

Sullivan, relishing the musical opportunities afforded by Gilbert’s libretto, recorded in his diary a punishing schedule of work. Considering his almost perpetual ill-health, and his musical commitments other than those to the Savoy, it is all the more remarkable that the quality of his music is so high. His use of rhythm, melody, word-setting, harmony and orchestration all combine to produce a score of great power and feeling. Sullivan never reverts to a mere orchestral “accompaniment”. The orchestral part-writing works alongside Gilbert’s lyrics as an equal partner, underpinning the action and complement-ing the characters and their emotions. The martial, fanfare-like opening to the overture, for example, is used in the manner of a motif, reappearing with great effect in Carruthers’ atmospheric song “When our gallant Norman foes”, and again at the beginning of the Act I finale. The sombre brass and wind resonance conveys great dignity to the music, with

brilliant string passages, as in the overture, providing bursts of colour. The Tudor feel of the plot brought out Sullivan’s love for the old English manner, as the exquisite quartet, “Strange adventure”, beautifully demonstrates. Likewise, the drone accompaniment to the duet “I have a song to sing, O” in Act I, and the modal, Slavonic quality of the entrance of the strolling players impart an antique flavour. These are merely a few items plucked from a score which brims with writing of a consistently inspired quality in which Sullivan demonstrates his complete mastery of the genre.

Gilbert worked hard to please his partner by ensuring that the libretto was filled with the requested human interest, but at the same time he wisely retained the essence of his previous works – patter songs, comedy duets and some tongue-twisting dialogue. Audiences hailed the piece as another triumph for its talented creators and all the critics praised Sullivan’s contribution as being of the very highest quality. Ironically, after all his efforts, Gilbert’s book was not as universally praised, and many critics pointed out its similarity to the plot of Maritana, a popular opera of the time.

And so to the production you will see today. In the early revivals of this work, indeed until relatively recent times, some of the lighter musical numbers, namely the duet “Rapture, rapture!” for Carruthers and Meryll, plus a section of the finale to the first act, were delet-ed from professional performances, presumably so as not to interfere with the prevailing serious mood. These items are reinstated here and we are convinced that the flow of the opera gains as a result. Recent professional productions reinstated a splendid song for Meryll entitled “A laughing boy”, and there is also in existence a song for Shadbolt. The latter song was never performed in the original production, and the former caused Gilbert such concern that he wrote to Sullivan expressing his conviction that, unless the song was cut, he could not guarantee the success of the opera. The song was duly cut, by mutual agreement. Both of these songs are included in our production – just to please the G&S connoisseur!

Both Gilbert and Sullivan considered The Yeomen of the Guard to be their best work, and who are we to disagree. We trust that our performances will help you to appreciate a work that is one of the true masterpieces of British musical theatre.

Alan Borthwick & David Lyle(Directors)

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David Lyle was born and educated in Edinburgh and is prominent in the musical life of the city, being well known as a conductor, accompanist, arranger and orchestral timpa-nist. His services are constantly in demand and this year will be his 36th as Musical Director of EDGAS. He has led them in concerts in and outwith Scotland, including gala evenings with The Band of H.M. Royal Marines in Edinburgh’s Usher Hall and invita-tion concerts at the Buxton, Stranraer and Dunkeld festivals. His specialist field is the music of Sullivan and he has now conducted commercial recordings of all the composer’s non-Gilbert works, including the first ever of Sullivan’s only grand opera, Ivanhoe. His per-formance, in Edinburgh, of Sullivan’s cantata, The Golden Legend, won first prize in the Choral Music for the Millennium Competition, organized by the British Music Association. He recently conducted a concert including Sullivan’s Symphony in E (the “Irish”) and a rare performance of his comic opera, The Zoo, in Edinburgh’s Greyfriars Kirk. Future plans include an orchestral and choral concert featuring Sullivan’s ‘Cello Concerto, which has never been performed in Edinburgh, and his “Boer War” Te Deum.

Alan has sung leading tenor roles in operas ranging from Poulenc to Puccini as guest artiste for companies throughout Scotland. He is the only singer ever to have performed all the tenor roles in Sullivan operas, includ-ing those written without Gilbert, and he has recorded many of these roles for leading record companies. For 18 consecutive sum-mer seasons he hosted Hail Caledonia, a highly successful Scottish show designed to offer the best of Scottish entertainment to visiting tourists. For some years now, Alan has been in great demand as a professional direc-tor and has directed shows annually in the King’s Theatre, Edinburgh. His own company presents concerts and other highly successful musical productions in aid of charity. Most recently he directed performances of Stephen Sondheim’s A Funny Thing Happened on the Way to the Forum in the Church Hill Theatre. Alan holds a first-class honours degree in Mathematics and Natural Philosophy and is an Associate Lecturer and PGDE tutor for the Open University, tutoring prospective school Mathematics teachers and lecturing in the subject to degree level. He has recorded a series of mathematical videos with the BBC.

Musical DirectorDavid L

yleAlan Borthwick

Director

Musical NumbersOverture ...............................................................................................The Orchestra

Act 1 - Tower Green

“When maiden loves she sits and sighs” ........................................................ Phœbe“When jealous torments rack my soul” ............................................................Wilfred“Tower warders under orders” .......................................................... Meryll & Chorus“When our gallant Norman foes” ...................................Dame Carruthers & Yeomen“A laughing boy, but yesterday” ........................................................................ Meryll“Alas! I waver to and fro” ....................................................Phœbe, Leonard & Meryll“Is life a boon?” ................................................................................................Fairfax“Here’s a man of jollity” .............................................................. Crowd, Elsie & Point“I have a song to sing, O” .......................................................................Elsie & Point“How say you, maiden, will you wed” .................................. Elsie, Point & Lieutenant“I’ve jibe and joke and quip and crank” ...............................................................Point“’Tis done! I am a bride” ..................................................................................... Elsie“Were I thy bride” ............................................................................................ Phœbe“Oh, Sergeant Meryll, is it true” (Finale, Act I) ............................................ Ensemble

Act 2

“Night has spread her pall once more” .......................... Dame Carruthers & Chorus“Oh! a private buffoon is a light-hearted loon” ....................................................Point“Hereupon we’re both agreed” ............................................................ Point & Wilfred“Free from his fetters grim” ..............................................................................Fairfax“Strange adventure!” ...................................Kate, Dame Carruthers, Fairfax & Meryll“Hark! What was that sir?” .......................................................................... Ensemble“A man who would woo a fair maid” ......................................Elsie, Phœbe & Fairfax“When a wooer goes a-wooing” ..................................Elsie, Phœbe, Fairfax & Point“Rapture, rapture!” ............................................................ Dame Carruthers & Meryll“Comes the pretty young bride” (Finale, Act II) ........................................... Ensemble

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Cast

Sir Richard Cholmondeley (Lieutenant of the Tower)..................... Mike TowersColonel Fairfax (under sentence of death) ...................................... Chris CotterSergeant Meryll (of the Yeomen of the Guard) ...........................Craig MacbethLeonard Meryll (his son) ................................................... Andrew EdmonstoneJack Point (a Strolling Jester) ............................................................ Geoff LeeWilfred Shadbolt (Head Jailor and Assistant Tormentor) .......Simon G. BoothroydThe Headsman ........................................................................... Farlane WhittyFirst Yeoman ..............................................................................Nick TemperleySecond Yeoman .....................................................................Andrew CrawfordThird Yeoman ............................................................................Ritchie TurnbullFourth Yeoman ............................................................................ David McBainFirst Citizen .................................................................................Gareth JacobsSecond Citizen ................................................................................ Ian LawsonElsie Maynard (a Strolling Singer)...........................................Gillian RobertsonPhœbe Meryll (Sergeant Meryll’s Daughter) .....................................Fiona MainDame Carruthers (Housekeeper to the Tower) .......................... Barbara BrodieKate (her Niece) ................................................................................ Sarah Kim

Understudies

Sir Richard Cholmondeley ........................................................... David McBainLeonard Meryll ............................................................................ Gordon HornePhœbe Meryll ................................................................................... Sarah KimDame Carruthers ......................................................................... Liz Landsman

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LadiesRachel Allan

Judith AndersonKath Barbour

Judith BullMaggie CormackAntonia CrasterWendy Crawford

Peggy GibsonAlicia GlasgowShirley Glynn

Dorothy HardingSara Hopkins

Susanne Horsburgh

Caroline KerrAnne Laing

Rae LamondLiz Landsman

Norma MacdonaldLorraine McBain

Fiona MacphersonPauline More

Ana Perez PozaSusan RossGillian Tait

Liz Thomson

GentlemenHugh Craig

Andrew CrawfordAdam Cuerden

Mike HeadGordon Horne

Phil HoweTom Inglis

Gareth JacobsAndrew LaingCharles LaingIan LawsonBob Martin

David McBainCyril McLeodAlan Robson

Paul ShephardColin Smart

Keith StarsmeareNick TemperleyGeorge Todd

Ritchie TurnbullFarlane Whitty

Richard Wolseley

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Chorus

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Chris is delighted to be returning to EDGAS for a second time, after playing another military man, Lieutenant the Duke of Dunstable, in their 2009 production of Patience. Other G&S roles, during his time with the Edinburgh University Savoy Opera Group (EUSOG), include Robin Oakapple (Ruddigore), Captain Corcoran (H.M.S. Pinafore), Pish Tush (The Mikado), Earl Tolloller (Iolanthe), Cyril (Princess Ida) and Luiz (The Gondoliers). Chris regularly appears with other choirs and theatre companies around the city, and has particularly fond memories of playing the twisted detective Tupolski in Martin McDonagh’s gruesome play The Pillowman (2009). Originally from Belfast, Chris has lived in Edinburgh for eight years, and has recently started a PhD in Religious Studies at Lancaster University. He produces a weekly pod-cast on the academic study of religion in his ‘spare time’ (http://www.religiouss-tudiesproject.com), and regularly runs around Arthur’s Seat with ‘Jack Point’. He is also a vegetarian.

According to his mum, Simon started acting the day he was born. His first foray onto the stage was in a primary school show where he played one of The Beatles (he can’t remember which one) in the school panto-mime. He didn’t set foot on the stage again until the age of fifteen when he took the title role in a school production of The Mikado. Since then, he has appeared in over one hundred productions in theatres through Scotland and even a couple in England. Simon has sung most of the baritone roles in Gilbert and Sullivan. Other appearances include Shakespeare’s A Midsummer Night’s Dream and The Tempest. Musical performances include My Fair Lady, Assassins, Into The Woods, Sweeney Todd and Orpheus in The Underworld.

Barbara has played a wide range of Gilbert & Sullivan principal roles since she made her debut, long years ago, as Lady Ella in a school production of Patience in Hamilton Town Hall. Since then she has taken leading roles in most of the G&S operas, includ-ing The Mikado, The Pirates of Penzance, H.M.S. Pinafore, Iolanthe, The Yeomen of the Guard, The Grand Duke, The Gondoliers and Utopia Limited. She has sung with Scottish Opera, Glasgow Grand Opera and Opera on a Shoestring, and continues to perform as a solo-ist and in ensemble in concerts, opera and oratorio with a wide range of vocal groups, from Wardie Parish Church Choir to the Edinburgh Festival Chorus. This is her seventh show with the Society.

Andrew Crawford has been with the Society for over 18 years and has performed the roles of Mars in Orpheus in the Underworld, Antonio in The Gondoliers, Boatswain in H.M.S. Pinafore, Captain Corcoran in Utopia Limited, 2nd Yeoman in The Yeomen of the Guard and is delighted to be reprising this role again this year. No stranger to per-forming, he first appeared on the King’s Theatre stage at the age of 12 in The Edinburgh Gang Show, which also saw him appearing at the world famous London Palladium. He has performed in the King’s Theatre at least once every year since. As well as performing, Andrew is delighted to be the Society’s President this year for the third time! When time allows, he is a keen golfer, tuba player, train enthusiast & rugby sup-porter. Andrew is married to Wendy who is also in the company. They have two very lively young children!

Wilfred Shadbolt

Simon G. Boothroyd

Dame Carruthers

Barbara Brodie

Colonel Fair fax

Chris Cotter

2nd Yeoman

Andrew Crawford

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Originally from Northern Ireland, Sarah moved to Edinburgh to study for a degree in Japanese, and has been here ever since. She was introduced to the music of Gilbert and Sullivan in high school when she first took to the stage as one of Major General Stanley’s daughters. During her studies, she was involved with the Edinburgh University Savoy Opera Group, both as a performer and choreog-rapher (Salad Days, Me & My Girl). Previous roles include Josephine (H.M.S. Pinafore), Mabel (The Pirates of Penzance) and Aline (The Sorcerer). This is Sarah’s second show with EDGAS, hav-ing played the role of Leila in last season’s production of Iolanthe. When not on stage, she can be found singing with the St. Andrew Camerata under the direction of Vincent Wallace, or teaching Zumba with Fitness Soul.

Geoff debuted on the stage at a dis-tressingly early age, as an extra in various touring ballets. As a child he performed for many years with the Edinburgh Young Theatre Company and played assorted ‘small boy’ roles in touring professional productions. He appeared as Peter Cratchitt in Scrooge, and Gavroche in Les Miserables at the Edinburgh Playhouse. Branching out into radio, ‘wee Geoff’ also appeared in BBC adaptations of Ronald Frame’s The Lantern Bearers and Ray Bradbury’s The Man Upstairs. An ardent dedication to partying took Geoff away from the theatre for many years, but he returned with a vengeance in 2005 when he played Wayne in Ben Elton’s Popcorn and shortly afterward entered the world of G&S as Hildebrand in Princess Ida with the Edinburgh University Savoy Opera Group. In his second outing with EDGAS, Geoff is just about managing to juggle new-found fatherhood and the part of Jack Point.

Fiona has been treading the boards in Fife and Edinburgh for many years in musicals, opera, operetta and Gilbert and Sullivan and has played a wide variety of roles from Anna Leonowens in The King and I to Rosalinda in Die Fledermaus and Sarah Jane Moore in Stephen Sondheim’s Assassins. She has been singing Principal roles with the Edinburgh Gilbert & Sullivan Society for 17 years and is delight-ed this year to be playing Phœbe, one of her all-time favourites. As a fickle, stroppy young lady with a cheeky charm and a hint of devi-ousness, Phœbe is a gift of a part, and for some reason, Fiona hasn’t struggled to find a connection with the character! Despite her skill at manipulation, Phœbe doesn’t get things all her own way, which makes her even more fun to play. Fiona hopes you enjoy Phœbe’s journey as much as she has.

Andrew was dragged into ama-teur dramatics by his flatmates in 1998, performing in The Mikado with Manchester Universities’ Gilbert and Sullivan Society. On returning to Edinburgh, Andrew joined Edinburgh University Savoy Opera Group and filled various roles both on and off stage before joining EDGAS. This is his fourth production with the society, having debuted in Utopia Limited, as well as making the most of other performance opportunities with the com-pany, appearing regularly with the concert party. The Yeomen of the Guard will involve the most costume changes Andrew has ever had to complete in the course of a performance. Andrew works as a mental health nurse and hopes that his profes-sional skills are not required in the course of the production.

Leonard Mer yll

Andrew Edmonstone

Kate

Sarah Kim

Jack Point

Geoff Lee

Phoebe

Fiona Main

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Once upon a time, this lady com-menced her career in the rather small town of Renfrew, where she started off as a mere youngster singing in a hum-ble church choir. Decades later, she is still singing in front of a similar audi-ence (the choir director will be in the stalls!) and since then, has acquired roles in numerous shows: from sing-ing her heart out – metaphorically – as Phyllis in the G&S production of Iolanthe at the Festival Theatre, to play-ing the title role in The Merry Widow. Her solo highlights include singing for the Heads of the Commonwealth at the Edinburgh Meeting in 1997 – an experience which has clearly had a perpetual effect on her, for she can distinctly recall making eye contact with Nelson Mandela – and she is delighted to have grappled with count-less roles in several other productions, including Carmen, Die Fledermaus and Cosi Fan Tutte. Sadly, she has not yet had another encounter with President Mandela.

This is Craig’s eighth show with EDGAS, having returned to the fold last year after a 10 year break. Within the Society, Craig has played roles such as Antonio in The Gondoliers, Lucas de Beaumanoir in Ivanhoe and Guron in Princess Ida. With other companies he has appeared as Don Alhambra in The Gondoliers, Old Adam in Ruddigore, Arthur Kipps in Half a Sixpence, Bud Frump in How to Succeed in Business Without Really Trying and Big Jule and Sky Masterson in Guys & Dolls (not at the same time). Craig has been on the stage almost every year since he was 14 – more years than he cares to think about. In addition to acting, singing and (ahem!) dancing, he has recently taken up a role as drummer in a church band – a position in which he gets a lot of stick... Craig’s children, Charlie and Merrilie, are really look-ing forward to watching their dad on stage again, but most of all, to the ice creams at the interval.

Ian has worked as a Scenographer and light-ing designer for over twenty years in the UK and around the world. He has designed and/or lit over 100 productions and has been involved in creat-ing many events. Companies he has worked with include English National Opera, Scottish Opera, Opera North, Der Vlaamse Opera, Goteborg Opera, Opera Di Monte Carlo, The Royal Court, The Almeida and several West End produc-tions. Future projects include designing A Midsummer Night’s Dream as part of the Britten Centennial, and an appoint-ment as Project Technical Director for Disney Hong Kong.

Lighting Designer

Mike Towers made his debut with the Edinburgh Gilbert & Sullivan Society in the King’s Theatre as Marco in The Gondoliers, fol-lowed by Hilarion in Princess Ida and then Box in Cox and Box, before taking a short break of 25 years. Most of that time has been occupied with opera in Edinburgh Grand, Fife Opera, Opera Camerata and Perth Festival Opera and roles includ-ing Radames in Aida, Don Jose in Carmen and the title role in Pagliacci, and with oratorio on the concert platform in Scotland and abroad including the 400th anni-versary celebrations for Giovanni Gabrielli in Venice last October. He also sings in the St Giles Choir and the Edinburgh Festival Chorus. His spare time is taken up running an architects’ practice in Edinburgh and Perth.

Sergeant Mer yll

Craig Macbeth

Elsie Maynard

Gillian Robertson

Lieutenant

Mike Towers

OrchestraVIOLIN

Alison Rushworth (Leader)Helen Curtis

Alison GalbraithJonathan LawAlison Lucas

Susan MatasovskaFiona Morison

Andrew Rushworth

VIOLAHilary TurbayneSusan Donlevy

’CELLOGeorge Reid

Natalie Poyser

DOUBLE BASSFiona Donaldson

FLUTEDavid MorrowDavid Leslie

OBOECharles Dodds

CLARINETHilary Saunders

Calum Robertson

BASSOONAlison BardgettRainer Tonnes

HORNDavid Rimer

David Holman

CORNETGraeme WilliamsonAndrew Williamson

TROMBONENeil Short

Daniel RichardsBill Giles

PERCUSSIONJake Perry

The SocietyFounded in 1924 to foster the love and appreciation of the works of W. S. Gilbert and Arthur Sullivan, EDGAS is well-known in Edinburgh, Scotland and beyond as one of the UK’s fin-est amateur operatic societies. It strives for high performance standards and manages to keep the well-loved works of Gilbert and Sullivan fresh and entertaining, with its fabulously lavish productions in top Edinburgh theatres.In past years, the Society has been invited a number of times to perform in the Usher Hall with the Band of H.M. Royal Marines and has also toured its productions of The Yeomen of the Guard, The Pirates of Penzance and The Mikado to Buxton as part of The International Gilbert and Sullivan Festival.We are always happy to welcome new members to the society, and if you are interested in joining us, please visit our website at www.edgas.org for details, or contact our secretary, Maggie Cormack, whose contact details appear in the EDGAS Directors section of this programme.

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Production Manager Gordon Blackburn Set supplied by Border Studios Lighting Design Ian Sommerville Deputy Stage Manager Alan Thomson Wardrobe Jane Borthwick Wendy Crawford Costumes Utopia Costumes Jane Borthwick Properties Mary Scott Denise Boulton Mickey York Prompters Jon Best Margaret Robinson Stage Crew G. Murray Bald John Allan

Programme Ross Main Fiona Main Publicity Design Fiona Main Photographs Ross Main Marketing and Publicity Andrew Crawford Mike Head David McBain Alan Borthwick David Lyle Ian Lawson Ticket Sales Alan Borthwick Theatre Liaison Andrew Crawford Front of House Ross Main Stewart Coghill Jane Smart David Lamb Jane Hutchison

Technical Staff

A c k n ow l e d g e m e n t sThe Society would like to offer its sincere thanks to the Kirk Sessions of Murrayfield Parish Church and Inverleith Parish Church, the Church of the Good Shepherd, Burtons Foods Ltd., Bill Hume, Chris Allan, and to the many others who have helped, in some way, to make this production possible. Finally, we are also very grateful to Duncan Hendry, his management team and the staff of the Festival Theatre who do so much to make a visit to their theatre so enjoyable for both the audience and the performers alike.

The Edinburgh Gilbert & Sullivan Society is affiliated to the National Operatic and Dramatic Association

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The Concert PartyAs you can see tonight, we simply love singing Gilbert and Sullivan! Not just on the King’s Theatre stage but throughout Edinburgh and the Lothians. In fact, we’ll go anywhere within a reasonable distance of Edinburgh. The EDGAS Concert Party, which can consist of any-thing from a small group of soloists right up to a full chorus, is available to sing at all sorts of functions for churches, community groups, retirement homes and even private parties. How about inviting us to perform at your next fund-raising event?

Your audience will be treated to an enjoyable romp through Gilbert and Sullivan’s Savoy Operas featuring many favourite songs as well as some lesser-known gems, all presented by our entertaining compères and accompanied by our Musical Director, David Lyle. We can even bring our own piano.

For booking enquiries and further information please contact the Concert Party Convener:

Susanne Horsburgh,29/1 South Trinity Road, Edinburgh. EH5 3PNTel.: 07590 540 477 Email: susanne.horsburgh@edgas.org

EDGAS DirectorsPresident ..........................................................................................Andrew CrawfordVice President ........................................................................................... Mike HeadTreasurer .................................................................................................. Hugh CraigSecretary ......................................................................................... Maggie Cormack Directors .............................................. Ritchie Turnbull, Rae Lamond, David McBain

If you wish to contact the Society, please write to:

The Secretary,The Edinburgh Gilbert & Sullivan Society,32/2 Rankeillor StreetEdinburghEH8 9HZ

or send an email to: secretary@edgas.org

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He’s got ‘em on the listand they’ll none of ‘em be missed