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

The Mikado - Review

Charing Cross Theatre, London

***

Music by Arthur Sullivan

Libretto by W.S. Gilbert

Directed by Thom Southerland

Leigh Coggins

It may not be a Christmas show, but there is still a seasonally comforting familiarity to the Gilbert and Sullivan gems that make up The Mikado. The comic opera's timeless wit alongside melodies hard wired into every educated English-person, make for a show that one cannot help but smile throughout. Thom Southerland has set the 19th century work firmly in the roaring 20's, with flappers and jazz-hands making it a Thoroughly Modern Mikado. Whilst the costumes may bizarrely range from spats and bowlers through to kimonos and a Juan Peron lookalike Mikado, everyone looks sumptuous.

Aside from costumes however there is an all-pervading air of budgetary restraint. This most clever of scores has been economically re-arranged for two pianos and notwithstanding the excellent ivory tinkling of Dean Austin and Noam Galperin, there is a timbre and a texture to Sullivan's tunes that is lost in the reduction. Vocally too and with no-one mic'd, there is an apparent gulf in ability between the actors who have an operatic background and those more usually reliant upon amplification. That Matthew Crowe's delightfully foppish Nanki-Poo is occasionally inaudible (and this from a front row seat) is unforgivable. Likewise Hugh Osborne's Ko-Ko is a treat of a characterisation, but far too often his tuneful voice lacks projection. Mark Heenehan however brings just the right amount of blustering buffoonery to the title role.

The performing excellence of this production lies with its women. Rebecca Caine's Katisha is a masterclass. Her vampish, vulnerable and (sometimes) baddy is a flawless display of perfection in her craft, her voice filling the auditorium and her presence, alongside hilarious poise and facial expression, stealing every scene. Credit too to Leigh Coggins whose Yum-Yum also belies a career history in opera and whose voice often soars (delightfully) above those of her singing partners.

There are moments of sweet genius in this Mikado. Make sure to sit near the front and revel in some wonderful songs you've known since childhood.

HMS Pinafore

Union Theatre, London

****

By W.S.Gilbert and A.S.Sullivan

Directed by Sasha Regan

Benjamin Vivian-Jones

As Sasha Regan notes in the programme, it is her memories of single-sex school day shows, that fuelled her desire to bring all-male productions back to the Union. Regan is a canny director who exploits the confines of the Union well. Her company of 16 are beautifully voiced and the ensemble numbers are thrilling on the ear. The wit of Gilbert and Sullivan whilst belonging to a bygione era, brings a delicious sense of British understated irony to affairs of the heart. Not even as remotely saucy as a seaside postcard, the Victorian writers’ libretti still make us chuckle at their faux-innocent doe-eyed wordplay.

A few notables amongst the cast. Benjamin Vivian-Jones is a delightfully clipped captain. On his toes with whistle around his neck, he is a leader of men whose stature visibly shrivels when his true lowly status is revealed. Newcomer Lee Van Geleen as the beautifully baritoned cynical shipmate Dick Deadeye puts in a masterful comic turn, whilst David McKechnie’s gartered Sir Joseph Porter KCB (a truly plausible ruler of the Queen’s Navy) stole every scene with his gloriously hammed up Whitehall mandarin. Amongst the “ladies”, a veritable assembly of sisters, cousins and aunts, Bex Roberts provides a sweetly sounding Josephine.

But in a week that has seen the equality/diversity arguments thrust into the spotlight, with the National Theatre (NT) criticised by some for a paucity of female playwrights, is it right that a show in London in 2013 should eschew female actors, celebrating the dressing up of men as girls, complete with corsetry and fascinators? Modern casting is increasingly moving away from being gender and race specific and at its 50th anniversary gala, the NT had Anna Maxwell-Martin play Horatio, whilst at the same event acknowledged on film Olivier’s 1963 “blackface” Othello, a makeup that would be abhorrent today. So if it is, rightly, not acceptable to paint a white person in a black skin and pretend that he is black, why is it acceptable to dress a man as a woman and have him pretend to be a show’s female lead? Is this diversity from modern theatre and its audiences, or is it hypocrisy? Stephen Schwartz was spot on when he wrote Wicked’s Wonderful. “It's all in which label, is able to persist”

At the Union Lizzi Gee’s choreography entertains with occasional moments of sparkling innovation, whilst Chris Mundy’s piano work is flawless to the point of almost suggesting a mini-orchestra is in the room. If you like your theatre well-sung and as camp as Christmas, then set sail for SE1 and HMS Pinafore where you’ll find the festive season has arrived two months early!

Runs until 30th November 2013