Ruddigore or The Witch’s Curse

Gilbert and Sullivan have entertained audiences for countless years with their unique combination of wit, humour and musical excellence. Ruddigore, although perhaps not among their most frequently performed works, is one of their best, while its complex storyline, demanding music and distinctive style present a considerable challenge to any company. As with much of Gilbert's writing, it centres on mistaken identity and characters not necessarily being who they claim to be, alongside plenty of delightful absurdity.

For this young company to take on such a work was an achievement in itself. To rehearse and perform it in less than a week, however, made what was achieved all the more remarkable. The company successfully tackled H.M.S. Pinafore the previous year under similarly demanding circumstances, and I have little doubt that they will return to Gilbert and Sullivan again in the future.

The production opened with an imaginative picture-frame concept which immediately established a distinctive visual identity. The female ensemble's opening question of whether anyone was ever going to be married, there having been no weddings for six months, introduced a musical number which became a running gag throughout the production and contributed greatly to the humour.

Ellie Morris gave a confident and charming performance as Rose Maybud, her delightful soprano voice particularly enjoyable in the lesson in etiquette to Dame Hannah effectively played by Lex Freeth while singing If Somebody There Chanced to Be. The moral, "don't speak until you are spoken to", certainly presents Rose with something of a dilemma! Linus Hughes was excellent as Robin Oakapple, combining strong characterisation with an assured vocal performance. His duet with Rose, I Know a Youth, was one of several outstanding vocal moments.

The strength of the company was evident throughout. The duets and trios were particularly well sung and balanced, often combined with impressive comic timing and movement, while the chorus contributed greatly through its musicality, stagecraft and energy.

Robin's secret identity gradually emerges he is in fact Sir Ruthven Murgatroyd, the Baronet of Ruddigore, a truth known only to his faithful servant Old Adam, played by Diesel Wint, who proudly announces him by his full title.

Then comes Richard Dauntless, Robin's foster brother, played effectively by George Forsyth. Complete with a hornpipe full of Sullivan flair, his somewhat vain character quickly falls in love with Rose, despite having promised to help Robin declare his own feelings. The resulting trio, In Sailing O'er Life's Ocean Wide, was delivered with great style.

Whizz Byrne made the role of Mad Margaret very much her own from her first entrance. Driven to madness by her affection for Sir Despard Murgatroyd, Robin's brother and the current Baronet, she was a memorable and wonderfully eccentric character. Sir Despard, played by Cameron Morris, gave a strong rendition of Oh Why Am I Moody and Sad?, while also announcing the daily crimes demanded by the family curse. Both characters were convincing and contributed greatly to the comedy.

By Act Two, the prospect of weddings finally appears to be getting closer — although, as with everything in Ruddigore, nothing is ever quite as straightforward as it seems.

The picture gallery of the Ghosts of former Baronets in Act Two could easily have presented a considerable staging challenge but was handled exceptionally well. The frames had been made by the young performers themselves from papier mâché and were then used throughout the production with considerable theatrical imagination.

Robert Graham made an imposing Sir Roderic Murgatroyd, particularly in When the Night Wind Howls, ably supported by the chorus of ancestors. Rose again made a strong contribution, while I Once Was a Very Abandoned Person, performed by Mad Margaret and Sir Despard, now married for a week, was another particularly enjoyable musical moment.

The famous Basingstoke reference, used to calm Margaret — "Basingstoke it is — then make it so!" — was delivered with excellent comic timing, with the subsequent Birmingham mix-up adding to the Gilbertian absurdity. And, of course, it would not be Gilbert and Sullivan without a patter song. My Eyes Are Fully Open was well worth the wait, all delivered with considerable flair.

The musical accompaniment also is deserving of recognition. Pleasing and excellent piano and reeds accompaniment rather than a full orchestra, with Double Bass superbly well played by Diesel Wint for the ghosts’ scene created a production that achieved a convincing and highly enjoyable musical sound, and testament to the performers and Musical Director.

The costumes, all drawn from the company's own wardrobe, together with the imaginative staging, demonstrated what can be achieved through creativity rather than substantial resources. Credit must also go to the entire production and backstage team, whose contribution, although often unseen, was essential to the success of the evening.

And a special mention must surely go to the ice-cream van in the car park, which provided a welcome and clearly much-appreciated service to the audience and to the cast throughout their intensive rehearsal week!

 It was the outstanding young talent throughout the company which made this production particularly special. To see such a demanding Gilbert and Sullivan work performed with such enthusiasm, musicality, imagination and talent in a village hall was a genuine privilege. The standard achieved here would not have been out of place on any West End Stage.

This was Gilbert and Sullivan at its very best — witty, musical, imaginative and thoroughly entertaining. My warmest congratulations to everyone involved.

Ian G Cox, Life Member, Trustee and Former Chairman

My liking of the works of W. S. Gilbert and Sir Arthur Sullivan is no secret, nor perhaps is the fact that my favourite of their comic operas is Ruddigore, or The Witch's Curse. I was therefore delighted to be invited, as Regional Councillor, to see Wymsical Theatre tackle this wonderful piece.

How was a group of younger people, therefore without years of experience performing Gilbert and Sullivan comic operas, going to manage this, their tenth piece, in just one week? The answer was – head-on!

If I had been told that the company had spent four months working on the show, I would have believed it, such was the standard they produced in such a short period of time.

Ian has more than commented on the individual characters and performances, so I will not repeat what he has already said. As far as the music was concerned, the cast managed the demanding score with gusto.

It is almost impossible to highlight any one number, although I particularly enjoyed I Know a Youth, Oh! Why Am I Moody and Sad?, When the Night Wind Howls and I Once Was a Very Abandoned Person, the latter wonderfully deadpan, just as it needs to be. Then, of course, there was the obligatory patter of My Eyes Are Fully Open. This was superbly done and, importantly, every word was clear.

Lines throughout were equally well delivered and could be clearly heard, including those from the very young members of the cast playing the ancestral ghosts of the former Baronets.

Something else I noticed throughout the production, other than at those moments when it would clearly have been inappropriate, were the smiles. The enjoyment of those on stage was obvious and this, for me, lifted the show to another level. If those performing are clearly enjoying Gilbert and Sullivan, that enthusiasm very quickly reaches the audience.

All too sadly, we regularly hear today of appreciation for Gilbert and Sullivan declining. I therefore applaud everyone at Wymsical Theatre for wanting to perform these wonderful pieces and, importantly, for introducing them to another generation of performers.

Please keep the work of these masters of what we now know as musical theatre alive.

Congratulations to everyone involved. I look forward to seeing you all again very soon.

Andy Brown, Regional Councillor West Midlands

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