IMDb > The Yeomen of the Guard (1982) (TV)

The Yeomen of the Guard (1982) (TV) More at IMDbPro »

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William S. Gilbert (operetta)
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Directed by
Dave Heather 
Writing credits
(in alphabetical order)
William S. Gilbert  operetta

Produced by
Judith de Paul .... producer
George Walker .... executive producer
Costume Design by
Jenny Beavan 
Music Department
Alexander Faris .... conductor
Other crew
Anthony Besch .... stage director: operetta

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Additional Details

Also Known As:
Aspect Ratio:
1.33 : 1 See more »
Sound Mix:

Did You Know?

In the first dance sequence Joel Grey gets accidentally hit in the mouth causing it to bleed. He carries on singing just wiping the blood away several times.See more »
Movie Connections:
Version of The Yeomen of the Guard (1978) (TV)See more »


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1 out of 1 people found the following review useful.
Full Marks!, 11 January 2007
Author: JohnHowardReid

A perfect cast in an almost perfect rendition of this masterpiece of tragi-comic operettas, does full vocal and histrionic justice to both Gilbert and Sullivan, with perhaps one exception: Joel Grey. I'm sure most fans would agree that Martyn Green's interpretation of Jack Point is definitive. Grey, wisely in my opinion, makes no attempt to imitate Green, but strikes out on his own — a decision that will please more people than it irritates — to give a far more subtle account of this sad, lonely, self-mocking clown.

However, it's Alfred Marks in the showy role of Wilfred Shadbolt, the assistant torturer, who walks away with both acting and singing honors, although Elizabeth Gale as the newlywed Elsie and Claire Powell as the passionate "sister" Phoebe, are not far behind. A few critics have quarreled with Elizabeth Bainbridge's more dignified Dame, but I thought she carried herself magnificently. To my mind, a panto Dame is out of place in the Tower of London. There is enough humor in the piece already — albeit humor of a cruel, sardonic, sarcastic and satirical sort.

Although intended primarily for television transmission, a great deal of money has been most creatively spent on this production. The costumes, the sets, the crowds of colorful extras constantly dazzle the eye, while Sullivan's captivating and rousing music was never more superbly rendered than it is here by the London Symphony Orchestra. Camera director Dave Heather is to be heartily commended for his excellent work in bringing the full resources at his disposal so persuasively to the small screen. Unlike the usual TV hacks, he uses close-ups sparingly to conserve their dramatic impact and smoothly allows the camera not only to focus on the wider scene but even to employ extended long shots (a double no-no on TV) when these are emotionally warranted.

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