Ruddigore

My first time ever visiting the Bath Gilbert & Sullivan Society was their 2013 production of Ruddigore and any trip to see them since for me has always become something to really look forward to. 2024’s version of Ruddigore, as part of the Society’s 80th Birthday celebrations certainly followed that trend and was a real triumph.

To confirm some context, Ruddigore is Gilbert and Sullivan’s 10th (of 14) comic opera collaborations and is a parody of the more blood thirsty melodramas of the time. But Gilbert, in his customary topsy-turvy fashion, turns the moral absolutes of melodrama upside down - the hero becomes evil, the villain becomes good, and the virtuous maiden changes fiancés at the drop of a hat! The ghostly ancestors come back to life, foiling the curse, and all ends happily!

The traditional setting of the production is Regency Cornwall, though this show was wisely set in Regency Bath. This tied events into a local setting that most of the audience would be aware of - Act 1 at the entrance of Royal Victoria Bath on a hot Summer’s day, and Act 2 as inside Prior Park Mansion.

The setting of the show was as smart as always in the Mission Theatre – with the audience on two opposite sides of the performing space, with performers cleverly choreographed to perform equally to both sides. The detailed blocking involved here always impresses me (even down to the timing in the bows) and I love the fact that this set-up allows all of the audience to be so close to the action. The band were based on the raised section of the staging as the rear of the hall. The Victorian bandstand looked excellent in Act 1 – the book flats around them in Act 2 probably weren’t needed. The set in this configuration always looks relatively simple – but in reality it is anything but. The central raised area was particularly well-used and setting a Christmas tree in it for Act 2 was a nice touch. The ‘award-winning’ pictures frames (I have seen them before!) looked great and were well-used. I guess space and transition time prevented all of the ancestors getting one. On the subject of scene transitions, they were excellent and well thought-out for the whole production. Entrance and exits made a good use of curtains on the way in and the two points at the rear of the hall.

The Regency costumes used were excellent – really appropriate for the period and of a great quality for everyone on stage – both principals and ensemble. The dresses for the Bridesmaids worked really well. I understand these costumes were expensive to hire but did enhance the visual effect of the show and the general ‘wow’ factor created. Hair, wigs and make-up worked well and were in keeping with the period. Mad Margaret looked suitably mad! Props were where they should be at the right time and were in keeping with the period.

The lighting added to the atmosphere of the production. There wasn’t too much to create for the Summer’s Day in Act 1, but some great atmosphere was created for the ghostly ancestors in Act 2, with a good use of low-level smoke too. Cueing was well-controlled. The projection worked well too in Act 2 with Sir Roderic disappearing out of the photo, though was less obvious to spot straight away with the audience sitting 90 degrees to it and with everything else going on in-front of them. In terms of the sound, there was a great balance of band to ensemble and principals without amplification. This really works well in this venue.

The overall stage direction was excellent – thoughtful, detailed and consistent. In terms of the principal performances:

Sir Ruthven Murgatroyd / Robin Oakapple. Your performance was an absolute delight. You were charming, vulnerable and a complete gentleman and had the whole audience on your side. Your comic timing was spot on. You sang and performed your numbers too - with your lovely duet with Rose ‘I know a youth’ and your solo ‘Away, remorse!’ particular highlights.

Richard Dauntless. You gave a terrific vocal performance, with some lovely movement (your hornpipe was a show-stopper) and a terrific seafarer’s accent. ‘My boy, you may take it from me’ was performed well with some lovely movement with Robin.

Sir Despard Murgatroyd. You played the villain part of this role brilliantly in both your acting and your singing and looking older than your younger brother actually worked in the performance’s favour! ‘Your cloak swirls were a triumph! ‘Oh, why am I moody and sad’ was performed very well.  You formed a great relationship with Mad Margaret and really made the most of the ‘Basingstoke’ running gag. Well done.

Old Adam Goodheart. This was very well-performed. You enjoyed a nice duet with Sir Ruthven in ‘I once was a meek’ at the start of Act 2 and you played the part of Robin’s faithful servant most convincingly.

Rose Maybud. You gave a lovely performance. Your singing was quite wonderful, with some excellent power and control. Well-acted too – really enjoyed your Act 1 scene literally ‘doing’ romance by the book and showed a lot of detail with facial expressions and mannerisms throughout. Your trio with Richard and Robin ‘’In sailing o’er life’s ocean wide’ was one of my highlights.

Mad Margaret. This is a really difficult part to play, but I thought you performed her madness really well, both verbally and physically. ’Cheerily carols the lark’ was your introduction to the audience and this was excellently done with both conviction and humour. Lovely singing voice too – I particularly enjoyed the trio in ‘My eyes are full open’. Very well done.

Dame Hannah.  This was very well-portrayed as Rose’s Aunt and put across with style. You told the story expertly in ‘Sir Rupert Murgatroyd’ and formed a lovely partnership with Sir Roderic.

Zorah and Ruth. Both parts were very nicely sung and performed.

Sir Roderic Murgatroyd.  This was well-played too once you appeared in Act 2. Your duet with Dame Hannah ‘There grew a little lower’ worked very well.

The choreography was a real feature of this production. There was appropriate energy and attention to each musical number – nothing was left static for convenience with suitable movement to always ensure equal viewing to both sides of the audience.  This was from the opening of ‘Fair is Rose’ and ‘Welcome Gentry’ all the way through to the impressive Act 1 Finale (choreographed by Delia Lee). You made good use of those with the strongest dance abilities, but ensured that everyone was involved in the main chorus sections to ensure a very impressive result.

Musically, the show was exceptionally well sung – it was some of the best chorus singing I have heard for a while. Being so close to the cast you could hear those closest individually, but it all blended so well with everyone else at the same time – very well done. The orchestra was sympathetic to this and played very well – their sound balance was excellent (we could hear every word said or sung with the music) and the musicians were well-paced and accurate under Peter Blackwood’s controlled stewardship. The band make up felt deliberately ‘trebly’ without an underpinning bass, which was unusual but may have been to support this. Regardless, the music overall was quite lovely and very impressive.

Congratulations to everyone at Bath Gilbert & Sullivan Society on another quite excellent production, bringing Gilbert and Sullivan’s work to life again in such an immersive and engaging style. It was a wonderful evening’s entertainment. Thank you for the invitation.

­­I would also like to mention that your publicity material and your programme for this production, which are again some of the best in terms of concept and design that I have seen recently and really enhanced the overall feel of the show. Very well done to all involved on and off-stage.

PLEASE NOTE:

Any observation made by the reviewer can only be based on what he sees at the performance in question.  The reviewer may have received information in advance of the performance and it is inevitable that his assessment will be effected by that knowledge.

The N.O.D.A. Representative’s intention is to give an objective critique of the overall production and in particular the performance 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.

 

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