Ruddigore

Last year, Birmingham Savoyards performed The Mikado. To follow that show with Ruddigore is therefore a repeat of history. When The Mikado closed at the Savoy Theatre in London, it was replaced on 22 January 1887 by Ruddigore (then titled Ruddygore). The Mikado had been a great success; Ruddygore—the tenth collaboration by the duo—was not, with reported cries of “Bring back The Mikado!” after opening night.

Eager to satisfy my appetite for Gilbert and Sullivan, I joined the Regional Representative at The Old Rep in Birmingham, a theatre steeped in history. The usual warm welcome awaited us before we took our seats.

The plot is not an easy one to summarise, so I won’t attempt it in detail—those involved in the production will already know it well. As with much of Gilbert’s writing, it centres on mistaken identity and characters not being who they claim to be, alongside plenty of delightful absurdity.

The opening scene is set in a Cornish fishing village, with a full stage and a backcloth depicting Tudor galleons. The female ensemble skip on as “professional bridesmaids,” on duty daily from ten until four, asking if anyone is to be married—there having been no weddings in six months. This musical number becomes a running gag throughout and contributes greatly to the humour.

Janet James gave a strong performance as Dame Hannah, as did Nora Abbassi-Stewart as Rose Maybud, who instructs us in etiquette while singing “If somebody there chanced to be.” The moral: don’t speak until you’re spoken to—what a dilemma!

Enter Robin Oakapple, played by Shelden Mathieson. Shelden’s superb stage presence was matched by a truly wonderful voice. His duet with Rose, “I know a youth,” was one of many highlights—his vocals were outstanding.

Why haven’t we heard of Shelden before? Possibly because he and his wife Louise have travelled from Brisbane, Queensland, to tour the UK, even living on a barge along the way. Hopefully, we’ll hear more about their adventure in a future edition of NODA Today.

Robin harbours a dark secret: he is in fact the rightful Bad Baron of Ruddigore, a truth known only to his manservant, Old Adam, played by Adrian Edmonds. Adam proudly announces him as Sir Ruthven Murgatroyd.

We are then introduced to Richard Dauntless—Robin’s foster brother (are you keeping up?)—complete with a lively hornpipe full of Sullivan’s flair. Richard is somewhat vain but portrayed well by James Dooley. He soon falls in love with Rose, despite promising to help Robin declare his own feelings. The trio deliver “In sailing o’er life’s ocean wide” effectively.

Katherine Cooper threw herself wholeheartedly into the role of Mad Margaret from her first entrance, driven to madness by her love for Sir Despard Murgatroyd—Robin’s brother and the current Bad Baron. Sir Despard, played by Paul Wozniak, gave a solid rendition of “Oh, why am I moody and sad,” announcing his daily crimes as required by the family curse. Both performers sustained strong character work throughout.

As secrets unravel, it seems weddings may finally take place.

The Act Two set—Ruddigore Castle’s picture gallery—can be challenging but was cleverly realised by the society by using framed portraits placed downstage. The scene in which the portraits come to life was well staged (one wonders if this inspired a similar moment in Me and My Girl?).

“When the night wind howls” was delivered effectively by Bill Rogers as Sir Roderick Murgatroyd, supported well by the chorus of ancestors. I particularly enjoyed “I once was a very abandoned person,” sung by Mad Margaret and Sir Despard—now married for a week!

This leads to the famous Basingstoke reference used to calm Margaret: “Basingstoke it is—then make it so!” Even for those less familiar with Gilbert and Sullivan, the absurdity of this moment (and the subsequent Birmingham mix-up) was well conveyed.

The customary patter song, “My eyes are fully open” (“So, it really doesn’t matter”), was well worth the wait—it wouldn’t be Gilbert and Sullivan without one.

Some may argue that Gilbert and Sullivan’s works have had their day. Yet, despite being over 150 years old, they remain a cornerstone of musical theatre history. I, for one, hope they endure for many years to come.

Looking ahead, Iolanthe is already in the diary for 2027 at this wonderful venue in the heart of our second city. Before then, this production can still be seen on 26 April 2026 at The Memorial Hall in Henley-in-Arden.

Thank you, Birmingham Savoyards, for a splendid evening watching my favourite work by W. S. Gilbert and Arthur Sullivan—Ruddigore, or The Witch’s Curse. I say: give us Ruddigore! I wish the company every success as they continue to keep this remarkable repertoire alive.

Andy Brown, Regional Councillor NODA West Midland

Additional comment from Joyce Eyre.

 I believe Andy has covered everything. However, I would also like to extend my congratulations to the behind-the-scenes crew, especially the costume department, who consistently amaze us with their quality, design and period style. We had a wonderful evening and as always, appreciate the invitation.

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