Ruddigore

Apparently, shortly after “The Mikado” became the greatest hit of their career, Gilbert and Sullivan took on a Halloween-esque story to make fun of melodrama: “Ruddigore.” Though this work was allegedly one of Gilbert’s favourites, the show laid a comparative egg, yet surprisingly, given it’s rough start, “Ruddigore” seems to have stood the test of time. It may be one of the lesser-known scores but its mockery of the over-the-top characters of melodrama, and its use of ghosts and curses makes it fun to watch.

The play tells the story of the house of Ruddigore, a family of Baronets whose eldest son is cursed to commit a daily crime or else die horribly. The latest first-born disguises himself in order to win the hand of the pretty yet social-etiquette ridden maiden of the village, and hilarity ensues along the familiar lines of hidden identity and misplaced affections, with a chorus of professional bridesmaids and singing ghosts thrown in.

The ensemble of Professional Bridesmaids were excellent they sang and danced their way through the show with enjoyment and commitment even giving out their ‘business cards’ to the onlookers.  This was one of many humorous touches sprinkled through the show.  Loved the red telephone box library, very topical.

Maggie Phillips was all innocence and naiveté as Rose, consulting her book of etiquette at every turn. 
George Thorpe playing against age as Robin Oakapple was, I felt, at times ill at ease particularly with the dialogue.  He was much happier when singing. 
As the Man-o’-War-man with a talkative heart Richard Dauntless, Steven Aronson was rather pedestrian in his delivery and much of the humour the character brings to the tale was unfortunately lost.
Jerry Harrison didn’t quite give Despard the essence of villainy we were led to expect, in fact I rather liked him, but he was good.
Nor, as Despard’s former love and eventual wife Mad Margaret, was Helen Wilson quite as manic as she is usually depicted.
Glynis Ellis gave us a strong Dame Hannah whose scene with Øistein Andersen as her long-dead fiancée Sir Roderic Murgatroyd was great.   
Able support was given by Andy Rose as Old Adam Goodheart Robin's faithful servant and Lian Na Rose and Clare Richards as Zorah and Ruth respectively, two of the chief bridesmaids.  

Of course it wouldn’t be G&S without a large chorus and this was no exception, all playing officers, ancestors, villagers and professional bridesmaids.  All the singing was good and we heard every word the performers sang without electronic enhancement.  

Under the musical direction of Jo Blakeman the orchestra were first-class. However, at ten minutes I thought the overture was unusually long.

The scenery was exceptional.  The first-rate Cornish village backdrop of the first act gave way to the superb picture gallery in Ruddigore Castle for act two. Congratulations to designer Helen Wilson and the members of the cast, orchestra and production team who contributed to the artwork.  The costumes also were very good.  I am not au fait with the facilities at Girton Glebe school but despite the numerous lanterns there did appear to be problems with the lighting.  There was definitely a dark patch downstage right which was a shame and the spots seemed to be set rather low which often missed the upper part of singers. 

On the debit side, the show suffered rather from slow cue bite at times. Pace is all, particularly with G&S and I am afraid it did flag on several occasions.

It would be good to see a few younger members join Girton Operatic’s ranks.  This is obviously a totally committed and friendly society but an injection of youth in addition to the talent and experience already there would enhance things no end.This was an colourful and interesting evening but I felt I didn’t see Girton Operatic at the top of their usual form. 

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