Ruddigore - Review

King's Head Theatre, London 

****

Music by Arthur Sullivan
Libretto by W. S. Gilbert
Directed by John Savournin

John Savournin

Charles Court Opera are one of the leading small companies, known for their innovative approach and described as “the masters of Gilbert & Sullivan in small places”. For their 10th Anniversary, the company have chosen the lesser known tenth of fourteen comic operas by Gilbert & Sullivan. In 1887 Ruddigore initially struggled following the huge success of The Mikado, but after a few re-writes and a re-spelt title (from the original Ruddygore) it was to triumph.

Ruddigore, or The Witch's Curse, has an unbelievable plot. A centuries old witch’s curse on the Baronetcy of Ruddigore condemns the eldest sons to commit a crime everyday on pain of death. Heirs understandably try to find ways around this, or abscond, with perilous and confusing results all round, driving fiancées to madness and bridesmaids to despair. 

It all makes for a fabulous frolic, executed at the King’s Head Theatre with fine singing, acting and an unrelenting energy. Gilbert’s loquacious lyrics are performed at a breakneck pace, yet the skill of John Savournin’s direction and indeed his performance as Sir Despard Murgatroyd is such that every word is savoured and heard and whats more, that it all seems so ridiculously plausible.

The Bridesmaids’ constant and very funny refrain ‘Hail the Bridegroom, Hail the Bride’ is a memorable air, made all the more remarkable by Susanna Buckle and Andrea Tweedale effectively emulating a chorus of 22 voices, whilst Cassandra McCowan makes more sense of Mad Margaret than is often to be found in Ruddigore productions.

The compact company of just eight sound tremendous, with both acts' finales sung with a gorgeous musicality and a remarkable attention to detail. David Eaton as Musical Director, accompanies with great dexterity and detail throughout as Philip Aiden’s choreography keeps the cast on their toes admirably and literally, given the speed at which they move and sing. James Perkins’ seaside pier design atmospherically enhanced by Nicholas Holdridge’s lighting becomes hysterically effective when we are introduced to the ghostly ancestors.

It is profoundly re-assuring to see that in 2014 the spirit of Gilbert & Sullivan is more than alive and well in London’s off-West End. With sparkling melodies, glorious singing and rich characterisation, The King’s Head's Ruddigore makes for a delightful evening of meticulously crafted madness.

Runs to 14th March 2015

Guest reviewer Catherine Françoise

Floyd Collins - Review

Southwark Playhouse , London

****

March 18 2012

Music and Lyrics: Adam Guettel

Book: Tina Landau

Director: Derek Bond

Deep below platform 1 of London Bridge Station, the Vault at the Southwark Playhouse, has again yawned open to reveal a theatrical gem. Floyd Collins tells the fascinating tale from 1925 of the caver of that name. Trapped underground following a rockfall, Collins could still be reached and contacted by those who climbed down to attempt his rescue. That connection provided a conduit for the caver’s hopes and fears to be brought to the surface, and as the days of his entrapment passed, so the media interest in him grew. Collins’ father's farm in Edmonson County , Kentucky, became the first ever site for a media “circus” as radio, press, and newsreel cameramen sought to broadcast the sensational events playing out deep underground. Such was the interest in Collins’ plight that President Coolidge himself was kept informed.

Tina Landau and Adam Guettel have set this slice of American history to music, where it was first performed off-Broadway in 1996. De-constructing the legendary tale of Collins, their musical is structured around a close observation of the people whose lives were caught up in these events.

As Collins, Glenn Carter clearly  has the physique and vigour of a man who earns his living exploring caves.  By simply climbing over, and  wriggling through and around, the simplest of ladders and boxes , he  transports us to the “Indiana Jones” type world, deep underground, that he loves. When the rock-fall occurs, staged by the use of sound and the clever movement of fellow cast members, it is quite simply Carter's exceptional acting that screams at us terrifyingly that here is a man, trapped,  quite possibly for life. Carter’s voice is also a delight, and his transition from youthful gusty optimism and vigour, to troubled fear and grim realisation, is beautifully performed.

Robyn North plays Nellie,  Floyd’s sister. A character that is complex and fragile, recently having been discharged from an asylum and whose love for her brother is clearly deep, possibly too deep. North’s performance is enchanting, and her performance of Through The Mountain is both moving and passionate. Her failure to comprehend the cynical media razzmatazz, when all that she simply wishes is her brother’s safe return, is touchingly performed.

Ryan Sampson also delivers a great performance. As Skeets Miller a local cub reporter, whose diminutive physique enables him to squeeze through the cave to bring succour and comfort to Collins, his reporting of the events were to win him a Pulitzer Prize. Sampson’s journey from intrusive hack to hero is well brought to life.

The show’s design by James Perkins fully exploits the depth and architecture of the Vault, the ancient railway arches almost naturally evoking the Kentucky catacombs.

The 8 piece band are excellent under Tim Jackson’s direction, with banjo and harmonica lending a subtle air of authenticity. A minor fault, but three weeks into the run and with the benefit of microphones and clever modern technology, the sound balance should by now be excellent. It was therefore frustrating that solo male voices were often inaudible above the music.

The show is unquestionably a triumph, and should be seen. A moving piece of theatre in which director Derek Bond has coaxed excellence from every member of his talented company. Oh, and in the opinion of the wives in our party, Glenn Carter is gorgeous!

Plays untlil March 31st