Ruddigore

Ruddigore, presented by the Gilbert and Sullivan Society of WA, is a good quality production that looks great and features some beautiful music. This less frequently performed operetta features a baronet faced with a terrible curse, a leading lady pursued by a trio of suitors, a chorus of professional bridesmaids and ghostly ancestors with a nasty streak.

Set here in the 1920s, wardrobe mistresses Gail Reading and Veronica Hudson have created some gorgeous twenties looks including the bridesmaids’ dresses in complimenting peaches and cream, and the gorgeous frocks worn by Rose Maybud, then have created fantastic costumes from diverse historical eras for the ancestors in Act II. Barry Boyd’s set design gives us a simple village in the first act, transforming (to applause) to an imposing hall with ancestral portraiture in the second half. Lighting is particularly impressive, with a top-notch design from Don Allen. Sound design includes some wonderful effects - although one of the most used sounds - a very imposing thunderclap, cuts off rather awkwardly.

The orchestra, as we expect from this company, was outstanding under the baton of Musical Director Michael Brett, with the 19-piece ensemble a pleasure to hear. Singing was as always, superb, although for the first time in this venue, I had trouble hearing some solo voices, especially early in the show. Hopefully a first night problem.

Leading lady Rose Maybud is played very sweetly and with excellent vocals by Nike Classen. Only in Year Eleven at school, she is impressive in her first leading role.  

Her suitors are a diverse group. Zac Porter has fun as Robin Oakapple, a baronet living in obscurity in the hope that he can escape the curse that makes inheritors of the title “Bad”. He transforms beautifully from shy awkward youth, to the tortured Sir Ruthven, reluctantly evil. Tim Longley transfigures in the opposite direction very well, as Sir Despaired Murgatroyd, and recovered well from a couple of line fumbles. Chad Anderson is good value as seaman Richard Dauntless, who is not the best of friends to have (stealing his best mate’s girl), but who somehow remains likeable throughout.

Belinda Butler, in her element in character roles, is a fabulous Mad Margaret, another character with a great journey, and a clear audience favourite. Michael Cummins is strong as the ghostly and imposing Sir Roderick Murgatroyd, while Sadé Stella-Joy ages up and brings maturity to his former love interest Dame Hannah - a lovely feisty portrayal. 

Stephen Hastings is delightful as Old Adam Goodheart, quietly stealing scenes. Leaders of the bevy of bridesmaids are Sienna Freeman, in her first adult role, beautiful as the sassy Zorah and Eilish Marie Blackmore strong as Ruth (and standing out as an Ancestor).

The ensemble work hard throughout, with their singing strong and reactions very nicely co-ordinated, although choreography can feel awkward, and confidence in this area seems lacking. Having said this, the movement of the ghosts was expertly executed.

An almost capacity audience on Opening Night adored this production - a fun show to watch. A beautifully presented operetta with excellent production values.

Kimberley Shaw