Ruddygore

Ruddygore may not generally be regarded as one of Gilbert and Sullivans most popular operettas but it has always been fairly high up in my list of favourites and I particularly enjoyed this version which incorporates some of the original score and script.

The audience sat in silence listening to the overture, a rare occasion these days, and a very striking set depicting the fishing village of Rederring was revealed. A chirpy, effervescent group of professional bridesmaids who are desperately waiting for employment got the show off to a bright, lively start and kept up the momentum and excitement whenever they anticipated a wedding.

Gillian Robertson was perfectly cast as Rose Maybud the sweet, innocent village maiden who constantly refers to her book of etiquette before making any decisions .I always enjoy listening to Gillian’s effortless singing and this coupled with neat comedy timing and humour resulted in a most convincing characterisation. Her suitor, Robin Oakapple who is concealing the fact that he is actually Sir Ruthven Murgatroyd, a bad baronet of Ruddygore was played sympathetically by Ian Lawson who has boundless energy and whose diction particularly in patter songs is immaculate Andrew Crawford gave a solid, believable performance as the somewhat gauche, bumbling loyal man servant Old Adam who knows the truth of his master’s identity. After 10 years at sea Richard Dauntless arrives on the scene and is persuaded to try to woo Rose on Robin’s behalf. Chris Cotter gave a spritely all singing all dancing performance but of course put a spanner in the works when he falls for Rose himself and confusion ensues.

Fiona Main has a strong stage presence and appeared to revel in her role as the manic, wild Mad Margaret bringing great depth to her character. She is madly in love with Sir Despard brilliantly played by a threatening, moody and sad Simon Boothroyd. The chemistry between these two characters was maintained in Act 2 when Margaret is subdued and the two marry. ‘I once was a very abandoned person’ was one of the highlights.

The second act, in complete contrast to the rural setting of Act 1 is ‘The Picture Gallery’ in Ruddygore castle. This was indeed a most impressive set. The atmospheric lighting created a ghostly almost frightening ambience. Flooding the auditorium with bright light was a clever concept allowing the ancestors to step out of their frames in the chilling ‘Painted Emblems of a Race’ where the 23 strong male chorus certainly came into their own. A rather austere Sir Roderic steps out from his frame and Farlane Whitty’s ‘When the Night Wind Howls’ was menacing both vocally and physically. It is in this act that the reinstated ‘For Thirty-Five Years I’ve been Sober and Wary’ is sung by Robin as he considers what he is about to do. Some of the lyrics had been skillfully updated to include topical issues with Trump and Brexit getting a mention.

As well as having an excellent group of principal players without exception, EDGAS is renowned for it’s wonderfully strong ensemble and choral singing. The end of Act 1 was a perfect example of this. ‘Hail the Bride of Seventeen Summers’ and ‘When the Buds are Blossoming ‘ was fabulous with the harmonies coming through strongly. The orchestra too was well balanced and supported the company very well indeed. Good diction is vital in G&S and this was impeccable throughout. Lavish costumes, a remote controlled chair and of course falling petals all enhanced this excellent production. Many congratulations to the cast, production team, technical and stage crew and all involved in making this such a professional production.

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