Ruddigore

I love Halloween. Have I mentioned this before? I don’t like all the horror and gore and scary stuff, but I do whole-heartedly enjoy the camp, spooky, flamboyant part of the celebration. So, the Players’ offering of Ruddigore, or The Witch’s Curse, was a treat I was really looking forward to. I was joined for the evening by my good friend, Abby Johnson, who served as a member of the D’Oyly Carte Opera Company from 1963 to 1971 (as Abby Hadfield), a perfect companion to enjoy an evening of Gilbert and Sullivan.

I think it’s fair to say that the storyline is rather flimsy, or as Abby put it, ‘It’s fluffy nonsense really, but isn’t it fun!’ And fun it was. Gilbert’s witty libretto and colourful characters, entwined with Sullivan’s sharp and playful music, make for a wonderful evening’s entertainment, and this Stamford-based company brought their version to the Corn Exchange Theatre’s stage with skill and flair.

Act One is set in the Cornish village of Rederring and begins with a chorus of professional bridesmaids lamenting that local beauty, Rose Maybud, shows no signs of marrying. In ‘Fair is Rose’, the female performers showcased their choral singing with Heather Moores impressing with her soprano solo. Nor can the bridesmaids persuade Dame Hannah, Rose’s Aunt, to matrimony. Margaret Wainwright, in the role of Hannah, brought gravitas and maturity as she sang of the curse placed, many years ago, on Sir Rupert Murgatoyd and all his successors; each must commit a crime a day or die.

Enter Rose Maybud, played by Julia Salmon, an orphan who puts all her trust in a book of etiquette, denying her the pleasures of courtship. Julia was very good in this role, bringing earnestness and humour to her performance as the character’s prim decorum battled with her simmering passions within. Julia has a beautiful soprano voice, and I look forward to seeing this blossom as her enunciation develops and grows.

Matthew Clayton played Robin Oakapple, the bashful farmer Rose is in love with, and the delightfully awkward duet they sing when he first enters was brilliantly acted and directed. Matthew gave a wonderfully subtle comic performance, maintaining his characterisation throughout; his warmth and energy as an actor lighting up the stage.

In contrast to Matthew’s subtlety, Alex Moores as Old Adam Goodheart brought broad, laugh-out-loud comedy to the show. He reminded me of Peter Butterworth who could steal any scene in a ‘Carry On’ film with his buffoonery and bemused facial expressions. In Act Two, when Adam takes on the persona of Gideon Crawle, Alex hobbled around the stage as an Igor-like servant, leaving the audience guffawing with his perfectly timed physical clowning and nods to Eric Morecombe.

Next to arrive on the scene was Richard Dauntless, foster-brother to Robin, and one of the few people who know Robin’s secret - he is in fact Sir Ruthven Murgatoyd and ought to be committing a crime every day. Dauntless was played with enthusiasm and sincerity by Zach Clayton who had a lovely onstage rapport with Matthew. His performance was highly enjoyable, and he gave some lovely moments. I particularly liked the use of the telescope when he first set eyes on Rose (only a few feet away).

Richard was supported by a group of sailors which featured a fun cameo in the form of David Turner, the harmonica player from the original 1980s Ska band, Bad Manners. This sailor ensemble also included a new addition to the character list, Herbert Halyard, created by the director and played with confidence and dexterity by Harry Simmons.

The audience are then introduced to Mad Margaret, complete with grass in her hair and a wild look in her eyes. This character was played by Ash Shaw who was clearly having great fun in the role. She had superb projection, and her physicality was excellent as she gleefully skipped around the stage. Her pleasant mezzo voice was perfectly suited to her opening number, ‘Cheerily carols the lark’ where she declared her romantic feelings for Sir Despard Murgatoyd.

This role was taken by James Turner, and he was a tour de force. From the moment he entered, James had the audience eating out of his hand. His camp, melodramatic portrayal, complete with Count Dracula-style cape, was rich and joyful. He cackled and snarled his way through the proceedings with a manic twinkle and undeniable stage presence. The curtain closes on Act One when Sir Despard, having discovered from a jealous Richard Dauntless that Robin is in fact a Murgatoyd, passes the curse on to his brother who is transformed into the ‘bad baronet’.

Act Two is set in the picture gallery of Ruddigore Castle and it is here the audience meet a final group of characters – the ghostly ancestors of the Murgatoyd family - who step out of their relevant portraits to taunt the newly cursed Sir Ruthven. These spooky apparitions were played by the male ensemble to great effect, each bringing their own indubitable style to their deceased relation. Ken Wainwright took on the role of ‘head ghoul’, Sir Roderic Murgatoyd, infusing the character with humour and integrity. A special mention must be made to the haunted suit of armour which contained Dai Rees and brought some delightful comedy to the proceedings.

Speaking of delights, it was an absolute joy listening to the wonderful sixteen-piece orchestra, masterfully conducted by musical director, Gavin Ashley-Cooper. These talented musicians enriched the production, skilfully enhancing the performers voices without dominating. Gavin, and his assistant, Christine Bullough, had obviously worked very hard to bring out the best in his singers, showcasing their varied vocal ranges. A highlight for me was the rendition of the patter song ‘My eyes are fully open’ by Matthew Clayton, Ash Shaw and James Turner, it was crisp, exhilarating and very funny.

Also, enabling her actors to reach their full potential was director, Ruth Palmer. Her production was sharp and fast-paced, full of gleeful eccentricity and clever, thoughtful touches which lifted the show to another level. Ruth managed to celebrate the traditions of Gilbert and Sullivan whilst still injecting a freshness which made it more relatable to a contemporary audition. She should also be commended for nurturing a cast of predominantly young performers and, as she and Gavin continue to mentor their actors in diction and enunciation, I am sure they will continue to flourish. Not only is the pace and slickness of a production a testament to skilled directors, it is often an indication of a strong stage manager and backstage crew so a big congratulations to Trevor French and his team.

Although both sets looked a little tired and creased (I was quite close to the front of the auditorium), they provided interest and depth and, on the whole, were well-lit. There were some very good sound effects, but I did feel the production may have benefitted from more. For example, the ‘Young Frankenstein’ inspired lightning flash which happened every time the curse was mentioned may have been more effective with a crack of thunder.

Costumes were effective and complimented the characterisations appropriately; the bridesmaids’ dresses were especially eye-catching, as were the ancestors’ outfits. I would have like to have seen more made of Mad Margaret’s first costume, I felt it needed to be tattier and more scuffed to match her grubby face and tousled hair. Although one or two of the bridesmaids needed to tone down their application, the make-up was generally good with the villains and ghosts liberally doused in white face paint to give an added spookiness.

Abby and I were invited backstage to meet the cast and crew moments after the curtains had closed, and the thrill and excitement emanating from all involved was tangible. They justifiably felt an incredible sense of pride at their achievement and their passion and joy for Gilbert and Sullivan was undeniable. This pride, passion and joy is infectious and ensures their audience are treated to a high-quality and uplifting production. I am so excited to see what next year holds for this wonderful society.

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