NODA Review of "Ruddigore" By Robin Hinton Brewer

Producer

Adrian Dobbs

Musical Director

Malcolm Crane

Choreographer

Catherine Barnett

Venue

Stantonbury Campus Theatre, Milton Keynes

The move to Stantonbury from Wilton Hall was I think one of the best things this society has done and this sparkling production of Ruddigore despite lower than usual audience numbers was the main beneficiary. In Wilton Hall evertything has to be played upon the additional apron staging in order that the sound reaches the audience; anything said or sung behind the proscenium arch was lost up into the fly tower. At Stantonbury the sounds flowed clearly and dialogue or lyrics were heard clearly even when performed at the back of the stage.

Adrian in his first production gave us a fairly traditional show with some nice new touches, the excellent sets enabled him to fill the stage with plenty to look at and the blocking was good. The characterisations well thought out by the company and him, none were too over-the-top or underplayed to the point of there being nothing there. Despite this being one of the shorter operettas it could at times have been taken a bit quicker, and the company could have waitied a little longer on some of the jokes before carrying on with their next line, but I appreciate no two audiences ever laugh at the same jokes in the same way so timing can be a problem.

Malcolm kept his strong orchestra nicely under the singers, supporting them, not overpowering them. The overture nicely shaded and well modulated, and having listened to a recording since, felt he kept the tempos somewhat slow during the performance, meaning the show lacked something. For instance the 'unseemly dances' would have been funnier if played just that little faster especially in the dance sequences. It was obvious however that Malcolm had drilled the company hard in rehearsals as the acapella singing in the finale of act one was quite stunning in its beauty.

Catherine devised some interesting and none too complicated routines for the company to execute, again though I would have liked to see a more 'unseemly' dance in the routine performed by Alan Bennett and Maren Geffert; it felt just a bit twee, or maybe I was missing the point. I hope Catherine will do more choreography in the future - she has a talent for it.

Steve Corcoran was at ease in his traditional interpretation in his "Sir Ruthven Murgatroyd". Dialogue clear, his singing steady, Steve knows how to point up the humour of G&S, also how to give their words and music a hint of drama when needed.

A newcomer who stepped in late in rehearsals, Graham Jackson, made his first entrance with gusto as "Richard Dauntless" and continued throughout the evening to give a strong performance. Every bit of humour in his character was found and played to the full - lots of facial expressions and a good singing vioce.

"Sir Despard Murgatroyd", Alan Bennett's first entrance reminded me of 'Fagin' from Oliver. This was good performance, not too melodramatic but nicely over-the-top in a quiet manner (if that makes sense). Alan's vocal power has increased. His scene and duet with Margaret in act two played skilfully.

Barry Bates stepping in at the last minute as "Old Adam Goodheart" the faithful old retainer did an execllent job, hamming it up like mad and getting all the laughs he was entitled to with his clever portrayal of this funny role.

Kim Bennett gave "rose Maybud" the heroine a steady, traditional interpretation with strong soprano singing. Kim continues to turn in good performances every time I see her.

Maren Geffert goes from strength to strength as she gains confidence in her acting and singing abilities. As "Mad Margaret" she showed a nice line in comic timing. Keep up the good work Maren.

Lesley Gray continues to show just how to put over a number and made the most of her small role as "Dame Hannah". Be it a leading role or supporting one Lesley can be relied upon to be good.

Special mention must be made of David Jenkins and Adran Dobbs as two of the ghostly Baronets - just how they kept so still for most of act two was unbelievable. (It was a good job they didn't get an itch in an unreachable spot!). Well done both of you.

Nick Hooker seemed more comfortable singing baritone as "Sir Roderic Murgatroyd" and it was nice to see him having fun on stage.

The chorus work in this production was much stronger than in previous shows. The men's chorus, despite being one of the smallest seen was very strong, I particularly enjoyed they work as they terrorised Ruthven. The ladies chorus looked and sounded good, giving support to the principals and each other equally.

The costumes were some of the best I've seen in MK for a G&S production. These along with a superb set (which must have cost a fortune) and discreet lighting all added up to a great night out and a fine debut production at Stantonbury Theatre.