“A mixed bag, some ingredients working better than others. And the overall flavour is certainly enhanced in the magical surroundings of Wilton’s Music Hall.”
“Ruddigore” or “The Witch’s Curse” was originally spelled “Ruddygore”, but the title was changed because people (I’m guessing a small vocal minority) were offended by the use of the word ‘Ruddy’. And there we all were thinking that umbrage was a twenty-first century invention. Nevertheless, both Arthur Sullivan and William Gilbert were of the opinion that their ‘supernatural opera’ was not, perhaps, their finest hour. Despite a long hiatus – of over thirty years – between its premiere and its first revival, it has still managed to survive. Possibly the couple were too hard on themselves, for there is much to admire and savour in this madcap oddity of a comic opera.
It bears all the hall marks of the stock melodrama. The villain who carries off the maiden, the virtuous heroine, the hero in disguise, the snake in the grass, the wild and mad woman. And ghosts and their curses. It is certainly advisable to brush up on the basic plot before attending Peter Benedict’s current revival of the musical. The offbeat libretto isn’t only to blame – the delivery is often unclear, particularly during the ensemble moments and especially when Gilbert’s tricksy, ‘topsy-turvy’ lyrics launch into breakneck mode.
At the heart of the story is the curse of Ruddigore. Centuries before, the first Baronet of Ruddigore persecuted witches, one of whom placed the curse. All future Baronets must commit one crime every day, or die in agony. The current Baronet has faked his own death years before to avoid inheriting the curse, leaving his younger brother with the deadly burden. Returning to the scene under an alias he is soon rumbled. Well – with a posse of unemployed bridesmaids, loose-tongued confidants, long-lost brothers, and a love interest that re-defines the word ‘fickle’; what could possibly go wrong?
Joe Winter is charm personified as Robin Oakapple though really Ruthven Murgatroyd, the Baronet who has shirked his criminal responsibilities. It takes seconds for Madeline Robinson’s deliciously, innocent yet pragmatic Rose Maybud to fall for him. Seconds later she is betrothed to Robin’s long-lost, cocksure brother. When the other, younger brother appears and has his wrongfully placed curse lifted, Rose decides she’d actually prefer him as a husband. Yes – really! It is ridiculous, often funny, but could be much more fun if the pace were to keep up with the elements of farce surrounding the absurdity. There is an innovative, anachronistic opener which places the action in the present before being whisked into Victoriana, but bizarrely this is not followed through. Had it done so, the script’s rather abrupt ending could have been smoothed over.
It is a show of two halves. After interval, the tone darkens and allows for some technical trickery courtesy of video designer Tom Fitch. The spookiness is underplayed but the surrealism is cranked up somewhat, and the dead duet with the living. Musical Director Tom Noyes leads the musical accompaniment; an ensemble comprising some of the cast, a few click tracks and violinist Luca Kocsmárszky who plays on stage, perched on the fringe of the action, watching – and seemingly judging – throughout.
A mixed bag, some ingredients working better than others. And the overall flavour is certainly enhanced in the magical surroundings of Wilton’s Music Hall. You’re not quite sure what to expect. So, at least there aren’t expectations for it to live up to. Taken with a pinch of salt, there is plenty to enjoy and discover. It was written with tongue in cheek and, if viewed in the same way, it has great entertainment value. Not to mention the genius of Gilbert and Sullivan which informs this eccentric libretto and score.
“Content follows form in this beautifully created production”
Bee in my Beanie use puppetry, audience participation and multi-layered narrative to explore how relationships are governed by war in a splendid new work of immersive theatre – Aamira and Gad.
Upon entering the site, audience members are co-opted as new recruits to the Society of Archivists. The society leader – a mole-like puppet (embodied by the wonderful movement of Thomas Delacourt) – soon emerges to lay down the law. We are to observe, report on, but not interfere with the ensuing events.
Message understood, we move further into the space and to a second narrative layer. Now observers – we meet Aamira and Gad – two children on opposing sides of a conflict. Aamira (Demi Wilson-Smith) is a third-generation story teller searching for a key. Gad (Emma Zadow) is a young boy from a long line of soldiers who has found a key. As the two tell their own tales and tussle to understand each another we learn that their lives have been tragically intertwined. The question is – will we, as Junior Archivist, dare to ignore the Arch Archivist, interfere with events, and bring the tale to a different ending?
Each time the two children tell a story their words are brought to life by beautiful movement pieces performed by Delacourt, Alexandra Ewing and Lyla Schillinger. As Movement Director, Ewing has brought ample helpings of the spirited, child-like play that is at the heart of the company’s ethos. The production blends audience participation; layered, storytelling and movement pieces into a complex whole. Making direction as much about the finnicky world of event management as it is about artistic delivery. Co-Directors Tess Agus and Katherine Sturt-Scobie overcome each of these hurdles superbly to deliver a smooth production without ever losing the rich fantasy of the performance. Set consultant Charlotte Cross and Music Director Edward Watchman each bring additional layers of depth to the immersive experience.
Content follows form in this beautifully created production. The company worked with social psychologist, Dr. Smadar Cohen-Chen to understand how people relate to one another whilst living through war. What emerged was importance of hope and narrative in overcoming the barrier imposed by conflict. The use of audience participation to deliver this message is terrific. In weaving the audience into the story, the company help us to understand how we are each responsible for the narratives of the world and that we each have the power to change them.
