Ruddigore

On Friday 23rd May, I was very pleased to attend what was only my second ever Gilbert & Sullivan show, which was presented by St Leonard’s G&S Group.

Ruddigore is Gilbert & Sullivan at their most playfully macabre — a topsy-turvy tale of curses, ghosts, and mistaken identities, wrapped in the duo’s trademark wit and wordplay. The story centres on the seemingly mild-mannered farmer Robin Oakapple, who is hiding a dark secret: he is actually Sir Ruthven Murgatroyd, the rightful Baronet of Ruddigore. Unfortunately, the title comes with a hereditary curse — he must commit a crime every day or die in agony.

When his true identity is exposed, Robin reluctantly assumes his sinister duties, much to the horror of his beloved Rose Maybud. Alongside ghostly ancestors who emerge from their portraits to keep him in line, there are thwarted romances, melodramatic villains, and a chorus of professional bridesmaids determined to see someone married off.

With its send-up of Victorian melodrama, memorable patter songs, and gloriously absurd twists, Ruddigore delivers a gleeful mix of the spooky and the silly. Beneath the farce lies a sly satire on duty, morality, and the gap between public respectability and private truth — all served with Sullivan’s sparkling score and Gilbert’s razor-sharp humour.

This production was directed by Lucy Bunce, whose confidence in the source material, her cast, and the staging concept shone through the entire evening. Wherever possible, proceedings were kept simple, and this proved to be hugely effective — Bunce can be justly proud of her achievements with this production.

Similarly, I wrote in my notes on the night that Musical Director Margot Wright was “surely some sort of magician.” The depth and intricacy of the vocal performance in this show was genuinely staggering, and supported by the beautiful acoustics at St Leonard’s Church, Wright crafted a truly impressive wall of sound — without microphones. There was barely a note out of place in the whole evening, and Wright’s attention to detail was, quite frankly, staggering.

Rather than a band or orchestra, the music for Ruddigore was provided by virtuoso pianist Robin Stopford, who was astonishing throughout and offered wonderful accompaniment for the performers on stage.

I really loved how this show was staged and felt that it created a quite wonderful atmosphere. Lighting was used minimally — in fact, not at all until Act 2, when the ancient spirits made their first appearance. The set was beautifully designed and multi-functional: bright and visually appealing, but most impressive of all, accessible for all performers. Some members of the cast had age-related physical limitations, and I was so impressed to see a set with built-in seating and ramps instead of steps, ensuring that every performer could get onto the stage comfortably and showcase their outstanding talents.

In the central role of Sir Ruthven Murgatroyd, Christopher Matthew delivered a performance that demonstrated both talent and potential. It’s a demanding part, requiring a balance of charm, humour, and a certain gothic gravitas, and Matthew approached it with commitment. He possesses a fine singing voice, well-suited to the score, though there were moments where greater projection would have helped it carry more decisively across the auditorium. Similarly, while his characterisation was clear and engaging, an extra measure of confidence in delivery — that final layer of cutting-edge assurance — would have sharpened his stage presence further. Even so, his work in the role showed considerable ability, and with time and experience, he has every opportunity to develop into a truly commanding performer in parts of this scale.

As Sir Despard Murgatroyd, Carl Donohoe made an immediate impact, his entrance injecting a welcome surge of energy into the production. He attacked his opening number with gusto and confidence, filling the space with a rich and pleasing vocal tone that was a delight to hear. Donohoe’s performance had a sense of authority and presence that served the role well, and his strong delivery ensured that his scenes carried both dramatic weight and a touch of playful flair. It was clear from the outset that he was thoroughly enjoying the part, and that enthusiasm was infectious, drawing the audience further into the action. A well-judged and thoroughly engaging portrayal.

Chris Dodd was an absolute delight as Richard Dauntless, delivering a performance brimming with charisma and vitality. His punchy, well-projected vocals cut cleanly through the space, making each musical moment both engaging and memorable. Dodd brought a fantastic energy to the role, keeping the pace lively and the audience firmly on side from his first appearance to his last. His playful charm and assured stagecraft made Richard a joy to watch, while the addition of tattoo sleeves to his costume was a witty and distinctive touch that added to the character’s roguish appeal. This was a confident, polished, and thoroughly enjoyable performance that stood out as one of the evening’s highlights.

Amy Hardy was superb as Mad Margaret, delivering a powerful soprano performance that filled the space with ease and clarity. She held the stage with impressive confidence, making Margaret’s eccentricities both believable and hugely entertaining. Hardy’s comic timing was excellent throughout, allowing her to land every humorous beat while still maintaining the musical and dramatic integrity of the role. Her portrayal struck a perfect balance between the character’s chaotic energy and her moments of sincerity, resulting in a performance that was both delightfully funny and musically assured.

Becky Kay gave a strong and assured performance as Rose Maybud, speaking with excellent clarity and diction that ensured every word was clearly understood. Her impressive soprano voice was crystal clear, carrying easily across the room with a resonance that hinted at considerable underlying power. Kay’s vocal control and precision brought real polish to her musical numbers, while her poised stage presence gave Rose the charm and composure the role demands. It was a confident and well-rounded portrayal that anchored many of the production’s key moments.

Angela Lea gave a poised and dependable performance as Dame Hannah, bringing warmth and assurance to the role. Her presence on stage felt grounded, and she contributed with clarity and consistency throughout. Mike Bridges took on the role of Old Adam with commitment, ensuring his scenes flowed smoothly and supporting the action effectively. Together, they formed a solid pairing that helped maintain the rhythm and balance of the production.

The ensemble of Ghosts — Gerry Cox, Philip Walsh, David Maddocks, Peter Wright, and Harry Challoner — delivered their roles with charm and cohesion, ensuring that this memorable group was both visually striking and theatrically engaging. There were no weak links to be found; each performer committed fully to the moment, contributing to the atmosphere and humour of the piece. One of my favourite moments of the entire production was their reveal from behind the beautifully painted portraits — a clever and visually delightful staging choice that was met with well-deserved appreciation from the audience.

One of the standout moments for me came during the wedding scene, when a beautifully handled a cappella section filled the hall with perfect clarity and balance. The sheer wall of sound created by the company throughout the performance was nothing short of thrilling, combining power with pinpoint accuracy. There was a clarity and confidence to their vocal delivery that some shows can lack, and it’s fair to say that St Leonard’s G&S Group could teach others a thing or two about the art of vocal blending. It was ensemble singing of the highest order, and a joy to experience.

St Leonard’s G&S Group delivered a Ruddigore that was full of charm, humour, and vocal excellence, proving once again that their reputation for quality is well earned. With a cast spanning a wide range of ages and experience, the production was a testament to the enduring joy and inclusivity of community theatre. From the smallest role to the largest, every performer contributed to a show that was clearly crafted with care, dedication, and a shared love for the work of Gilbert & Sullivan. It was an evening that left me smiling, and I look forward to seeing what this talented company will bring to the stage next.

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