Ruddigore

“Ruddigore” or “The Witch’s Curse” was my first introduction to G. and S. I watched it from the gallery of Wolverhampton Grand Theatre in 1961. It made a great impression on me and as I gradually discovered the other G.and S. operas down the years it has remained a favourite of mine. Three scenes, in particular, I remember clearly. Funnily enough two are next to each other, “I was once a very abandoned person” and “My eyes are fully open”. The third was the sheer spectacle and surprise of the ghosts leaving their frames. One can only be surprised by the same thing once regrettably. 
 The plot of “Ruddigore”  is typically bizarre centring around the need for Ruthven Murgatroyd to continue the deception that he is really Robin Oakapple while being enamoured of the chaste maid Rose Maybud. His younger brother, thinking him dead has succeeded to the baronetcy and has fallen under the witch’s curse which demands that every baronet performs one criminal act a day in perpetuity.  
This is all explained by Dame Hannah at the start. Heather Nicholas sang “Sir Rupert Murgatroyd” clearly. It has to be clear since anyone not already familiar with the plot needs to know the context of the story. Heather’s performance of this song and the others she participated in were first rate. Excuse the cliche but she held the stage.  
Rose Maybud’s affections tend to blow in the breeze being under thrall to her trusty book on etiquette. Deborah Thew played her part with assurance. John McNabb as Robin’s faithful friend and later steward utilised a wide range of appropriate facial expressions to complement his portrayal of Old Adam. John also made the most of the several comic moments handed to him later in the play.  The part of Richard Dauntless was in the safe hands of G. and S. stalwart Jim Lancaster. I have seen Jim in many a sailor’s outfit, some of them on stage even. What I had not realised was what a nimble fellow Jim is. Nelson himself would have approved of his hornpipe. The quartet of professional bridesmaids, Barbara Valentine, Irene Kennedy, Marion McCumskay and Jennifer Pollard decorated the stage, singing sweetly and looking good throughout and dressed oh so demurely. The wardrobe ably managed by June Parkington, was excellent and well up to the high standards established by this society. 
From out of the wild and wiley moors that divide Bolton and Blackburn came Hannah Carolan bringing with her Mad Margaret.. Hannah has an excellent voice with an enviable range. She skipped around the stage with grace. Margaret’s difficult song of introduction was illustrated by agitated hand movements and much leaping. I warmed to Hannah’s interpretation as it evolved. Her character is a slight dig at the Victorian preoccupation with Gothic literature. We don’t necessarily need to know that however to appreciate the role. In fact there are several other social comments much beloved of Gillbert scattered throughout. I am grateful to the director that he had not woven in some reference to that unmentionable current topic B*****. 
Tony Lewis is another firm favourite. His is another safe pair of hands. His Sir Despard was suitably “wicked” to start with and then gloriously upright when he became the ex baronet. He reminded me of the late great William Mervyn, sometime Bishop of St. Oggs in “All Gas And Gaiters”.  
Kath Rand and Amy Bell impressed as two bridesmaids. 
 And so now on to the master of the house, Robin Oakapple/Sir Ruthven Murgatroyd. What a delight. Full marks to David Kennedy. He never let the pace slip from his first entrance to his last exit. It was a performance packed to the brim with wit with confident unforced acting and clear diction. I understand you are a priest, David. If your sermons are as entertaining as your playing tonight you must consider selling tickets. Yours was a master class in how to hold the stage without upstaging anyone at any point. The ensemble of male citizens sang well displaying moments of panache in the chorus scenes and taking careful note of their positions on stage.  This brings me to the ghost episode. This simply was not menacing enough. I would have liked to have seen a change in lighting and more effects in general in this iconic G. and S. scene. The former baronets seemed to be to be an amiable bunch of gentlemen who I would be happy to leave my maiden great aunt with. A jolly crew maybe but not evil in any sense. In truth the merest hint of wickedness to my mind came courtesy of Philip Mawson’s medieval Smurf type bonnet. 
Yet “I Once Was A Very Abandoned Person” hit the mark, a palpable hit in fact. Delightfully executed; funny and delivered with aplomb. A treat worth waiting for. David Slater’s direction of this song was exemplary.  
“My Eyes Are Fully Open” demands absolute precision. Well it was nearly there and indeed entertained yet on this night it lacked the absolute clarity required to evince an encore or two. 
Close but no cigar.  
Chris Walker’s band performed with distinction. David Slater, the director, introduced many funny extras which were appreciated by the attentive audience. Overall David’s direction was tight. He used all his players to their best effect and produced a most satisfying production.  
 
I enjoyed my night at the Empire. Thank you for giving me another memorable “Ruddigore”  

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