Ruddigore or The Witch’s Curse

Twelve months ago, I attended a performance of The Gondoliers by the Hereford Gilbert and Sullivan Society. I always enjoy reading the programme for every show, and to my delight, the society announced in the programme their upcoming production for March 2025 – Ruddigore, or The Witch’s Curse.

As a lifelong fan of the works of Gilbert and Sullivan, I have a particular fondness for the music in their tenth collaboration, Ruddigore. Originally spelled Ruddygore, Ruddigore opened at the Savoy Theatre on 22 January 1887. It is reported that it was not an immediate success; in fact, there were calls for the previous show, The Mikado, to be brought back.

Looking at this year’s programme, I noted that this production marked only the fifth time since the society’s formation in 1948 that they have performed this work.

With an orchestra of 17, the full richness of Sullivan’s score was evident. The overture was wonderful in sound, and I particularly enjoyed the howls interwoven into it. Under the direction of Musical Director Colin Hales, the orchestra was balanced throughout the performance, never overpowering the vocals.

The plot of Ruddigore is not easy to describe, but unsurprisingly, from the pen of W.S. Gilbert, it involves confusion around identity and a happy-ever-after, with what seems to be the whole cast getting married.

The show opens with a multitude of ‘professional’ bridesmaids, but the main problem is that no one is getting married. The opening number set the tone for the rest of the performance, introducing the comedic elements that would unfold. It is difficult to mention the entire female ensemble, but I must highlight two very young stars who were superb throughout—Freya Harrison and Niamh Jones. I hope their enjoyment of Gilbert and Sullivan continues for many years to come. The bridesmaids appeared continually throughout the show and never failed to break into song and dance.

Gill Haslam portrayed a reliable Dame Hannah, telling us about the Witch’s Curse and how, as a result, she did not marry Sir Roderic Murgatroyd.

Her niece, Rose Maybud, was played with great strength by Angelina Gill. Not only did Angelina have a good singing voice, but she was also an accomplished actor. I particularly enjoyed the scene where she referred to her book of etiquette and the song "I Know a Youth," with Alan Durman as Robin Oakapple. They both played and sang well together, with good use of the stage and lighting.

Alan brought out great comic timing as Robin, who, unbeknown to others, is Sir Ruthven, the current Baronet of Ruddigore. However, he avoids inheriting the title and its curse by hiding in the village as Robin. Alan was a joy every time he was on stage. His secret was known only to his manservant, Old Adam Goodheart (the Baldrick of the Victorian period), otherwise known as Ed Boreham who played the role convincingly.

Next on the scene, after ten years at sea, is Richard Dauntless, foster brother to Sir Ruthven. Another notable and strong performance came from Chris Morgan, who embodied the typical Gilbert and Sullivan noble sailor.

One of my personal favourite songs in Ruddigore is ‘I Once Was a Very Abandoned Person’ Sung deadpan, this can and was a wonderful moment in the performance. It was performed just right by Peter Milin as Sir Despard Murgatroyd and Laura Harrison as Mad Margaret. The scene where Mad Margaret devises a method to stop her madness should she relapse, using the term "Basingstoke," was great fun—Basingstoke it is!

The portrait scene is a highlight of the whole show, and the Hereford Gilbert and Sullivan Society did not disappoint. Perhaps one of the most iconic songs in Sullivan’s repertoire is ‘When the Night Wind Howls’ sung by the late Sir Roderick Murgatroyd. This was outstandingly delivered by Robert Traynor.

The choreography throughout was well executed. The dances were well rehearsed and included some classic Gilbert and Sullivan routines.

I must also mention the costumes and give special credit to Elaine Williams for her outstanding work. The bridesmaid dresses for the ladies’ ensemble were stunning. But Elaine’s contributions didn’t end there; she also created the costumes for the male cast members and the ancestors who emerged from the paintings. The attention to detail, especially when compared to the ‘oil painting’ on the set, was exceptional—right down to the shoes and every intricate detail.

Now, it’s time to look forward to the next main show. In 2026, the society will perform another lesser-known work, Princess Ida, or Castle Adamant, first performed in 1884. Yes, you guessed it—I’m already looking forward to this one as well!

Thank you and congratulations to everyone involved.

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