Ruddigore

For their 2025 production,The Hornby Occasionals delivered an enjoyable and well-crafted production of Ruddigore, one of Gilbert and Sullivan’s more macabre and mischievous operettas.

From the outset, it was clear that the director had a strong vision for the piece, combining traditional staging with light comic touches that kept the action brisk and engaging. The gothic melodrama of the tale — cursed baronets, haunted portraits, and moral dilemmas — was brought to life with warmth and wit.

Robin Oakapple (Matthew Bradley), the timorous farmer hiding a dark family secret, was portrayed with confidence, allowing the audience to root for him even as his past catches up with him. Matthew gave strong vocal performances in his numbers. The transformation from timid suitor to tortured villain — and back again — was well handled.

Richard Dauntless, the sailor with a twinkle in his eye and a tendency to complicate matters with good intentions, was played with swagger and comic timing by Colin Belsey. His scenes brought an injection of energy and physicality, and his patter song “My boy, you may take it from me” was delivered with confidence. The contrast between his confident exterior and the muddle he creates added humour to the performance.

Rose Maybud, the ever-proper heroine governed entirely by etiquette books, was given a delightfully crisp and precise performance by Leigh Rhiannon Coggins. Her bright soprano and expressive manner brought humour to the role, particularly in scenes where her moral strictness meets the absurdity of her suitors.

Sir Despard Murgatroyd, Robin’s villainous alter ego, was played with relish. Brian Lancaster gave an assured performance that balanced melodrama and self-awareness — his transformation in Act II into a reformed man of virtue was enjoyable. His duet “I once was a very abandoned person” with Mad Margaret was a highlight.

Mad Margaret was a true standout. Vanessa Edwards offered a captivating portrayal, switching deftly between unhinged energy and sudden moments of poignancy. Her interpretation was both entertaining and layered — a memorable performance that rightly drew audience appreciation.

Dame Hannah, the wise elder of the village, was played with warmth and strength by Jo Worton, whose clear vocals and calm presence anchored several key scenes. Her duet with Sir Roderic was tenderly handled.

Old Adam served as a steady comic foil, with Geof McHugh making the most of the physical humour in the script. His loyalty to Robin — and reluctance to embrace villainy — provided a nice running gag throughout. Sir Roderic Murgatroyd, the ghostly ancestor who steps out of his portrait to chastise Robin, was suitably haunting and imperious. Graham Beevers brought his usual gravitas and dry humour to the role, and the ghost scene — always a centrepiece of Ruddigore — was effective.

The other named characters and the chorus were great – well drilled in their roles and sang and performed nicely, giving assured performances.

The staging was effective, with some nice visual touches and a good eye for scene composition. The ancestral portraits — a central plot device — were well-realised. While the transition from still portrait to ghostly presence did feel a little clunky at moments, this was an ambitious effect given the constraints of the venue. The set team are to be congratulated for their creative work. The lighting was simple and did the job. Costumes were simple, effective and appropriate.

The only thing that really jarred with me, were bringing in local references. It probably is just me, but it takes me out of the story when this happens, because I start to think… “Oh – what’s going on now? Does the story still work? What have they done and where are they going with this?” Even when it’s just a one-off mention. That’s not to say it’s the wrong thing to do, but I do notice it as it’s just not something I expect to happen.

The production also deserves praise for encouraging younger members to take part. Their presence in the chorus added energy and continuity to the future of the group — a heartening sign for any local company staging a G&S.

The choreography is no mean feat for this show and was well drilled, under the Vanesssa Edward's keen eye- how one plays a leading role and choreographs is beyond me . There are clearly a wide range of skills across the cast but it all looked appropriate and in keeping with the show.

Musically, the show was a delight. Under the baton of Richard Bromley, the orchestra delivered a lively, well-balanced performance that never overwhelmed the singers. The musical direction kept the pace buoyant and the tone crisp, allowing both patter songs and ensemble numbers to land effectively.

John Reid as Director, showed flair and affection for the piece- the show was confident, musically assured, and filled with the kind of characterful performances that make G&S such a pleasure to watch.  

In all, this was a warm, funny, and finely judged production that showcased the talents of the Hornby Occasionals both on and off stage. The story was easy to follow, with clear diction and well enunciated singing (not always the case for a Gilbert and Sullivan production, or even a modern musical theatre production), and the audience followed it and enjoyed it. A charming evening full of music and theatrical spirit.

Thank you Hornby, for your hospitality and invitation.

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