Ruddigore

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received information in advance of the performance, and it is inevitable that his assessment will be effected by that knowledge.
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viewed. It should be remembered that any review of this nature can only be objective as far as the techniques used during the
performance observed. Any criticisms expressed may not have been valid at other performances, and are only made to encourage
higher standards in Amateur Theatre.
It is hoped that the audience’s appreciation of your efforts will have given everyone a lift and encouraged you to greater
achievements in the future and that the observations made by the reviewer will prove helpful in improving future productions.

Report by Angus Sheppard-Hughes SW Regional Representative District 16

Before I start, I would like to say a big thank you for inviting me to this performance of Ruddigore. I haven’t seen much
G&S as a performance, only as a concert. So to see a full performance, with all the trimmings, was an incredible
moment for me, and especially a reimagined version with a 50’s/60’s inspired theme. The FOH team were very helpful
and a pleasure to talk to.
Once the curtain opened, the set was dressed with a seaside scene, with a promenade gazebo with the word
“REDERRING” at the bottom. A painted landscape with a castle and helter-skelter on a cliffside was a lovely motif to
show where we were set, and a hut on the side of stage which looked like a beach hut, along with a deckchair DSL
painted a wonderful picture.
Spoiler Alert, but Robin Oakapplewas Sir Ruthven Murgatroyd in disguise, hiding away to avoid his fate of becoming the cursed baronet Ruddigore. Robin showed his progression really well from a timid, shy & lovesick man to his real fate of Baronet Ruddigore, this gentleman with a heritage to live up to. My favourite moment
of his were the quotes, “I know I am a bad bart, but I’m not a bad a bart as all ‘thart’.” And, “FOILED, and by union jack!”
From the moment Rose walked on stage, her presence spoke to the whole audience. From the incredible singing to the fabulous acting, it was a wonderful performance. Her articulacy set the pace for the whole performance and was a part of the reason why I was able to keep up with the plot. Her comedic timing, using her little black book to refer to what a “proper” woman should do, was top notch and the relationship with every man she was “engaged” to (albeit for a short amount of time each) was faultless.
I laughed so loudly the members of the audience were confused with what I was doing every time Mad Margaret  came on stage. The amount of notes I made throughout was at point illegible as I didn’t want to stop watching. She had me looking for the imaginary birds that weren’t there, and the fact she was dressed like acleaner was the icing on the cake. My reference for this character was Victoria Wood’s dinner lady and it gave me the fantasy I didn’t know I needed, and I am a huge fan of Victoria Wood and her comedy style.

Sir Despard Mugatroyd from his first appearance was like a mob boss, I imagined the soprano’s with his black outfit and demanding demeanour. My highlight from this performance was “my eyes are fully open” withthe other two members. It sent me back to my days of playing Trevor Grayden in Thoroughly Modern Millie, the pattersong is near impossible to get your mouth round the words and all 3 did well.
Dame Hannah opened the show, and from the off I was brought into the world we were about to be immersed in. A very lovely voice and a wonderful partnership with Roderick and the both of them together sang the penultimate song which had me so calm and relaxed with their voices and relationship on stage creating beautiful chemistry.
The Elvis impression given by Richard Dauntless was hilarious, I guffawed with laughter every time he did his little leg dance. He played the part of a sailor well, and when he started to dance it made the dancing chorus girls (played by the wonderful dancers from the Estelle School of Dance) look like they wanted to take over immediately. They waited patiently whilst he decided to dance a little jig, which gave them an opportunity to show off their well-trained skills.
Adam Goodheart, Zorah and Ruth gave good supporting comedic roles in their own right, with some hilarious moments interacting with other members of the cast and the leads they were connected to. Well done all.
To everybody else involved in the chorus the way that you presented on stage really made the performance what it
was. Which was amazing. Amdram wouldn’t be possible without the chorus members who give the leads and supporting
characters the interactions they need to bring out the best performance possible.
The direction by Rob Burbidge was thought-through and purposeful, and the choices made with set, lighting and sound
design was fitting with the 50’s and 60’s theme and brought meaning to the piece giving the audience a physical nod to
the concept. My only small issue that I had at the time was with the balance of sound, but with the amount of band parts,
along with the chorus members, some sound issues are to be expected. The musical direction by Richard Abrams
was phenomenal, I was astounded at the amount of band members you could fit in such a small spot. The sound they
made was beautiful and well conducted by Richard.
Lastly, I would like to give note to the amazing costumes, as it is a challenge to go through the era’s with the right
costumes but the way it was done really deserves the credit. So very well done.
Well done to everybody involved in the production and I cannot wait to see what you do next!

These comments solely reflect the view of the representative and can only relate to the performance seen.

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