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Ruddigore was the 24th show performed by the society. It was performed in Central Hall on 15th-17th February, 1996.
Programme
Directors
Director
Martin Atkins
Musical Director
Berry Hopkins
Cast
Principals
Sir Ruthven Murgatroyd- Robert Nightingale
Richard Dauntless- Anthony Gardner
Sir Despard Murgatroyd- Andy Gledhill
Old Adam Goodheart- John Gilchrist
Sir Roderic Murgatroyd- Philip Bloomfield
Rose Maybud- Donna Sharp
Mad Margaret- Mhairi Sheail
Dame Hannah- Cal Dollings
Zorah- Val Sim
Ruth- Joanna Howell
Chorus
David Bignell
Phil Bridgewater
Ian Hagen
Simon Offord
Toby “Duke” Sharp
John Stoneham
Sara Batty
Daniela Bayer
Helen Clark
Emma Collie
Joanna Dubé
Joanne Foxton
Melanie Grau
Lene Halgaard
Fiona Heathcote
Hannah Judson
Jessa Marshall
Laura Meuret
Becky Stokes
Philippa Wills
Isabelle Wyss
Orchestra
Leader- David Hodgson (matinee- Miranda Park)
Violin I- Miranda Park, Eva Fox
Violin II- Sean Hooper, Felicity Wheeler
Viola- Elizabeth Wheeler
Cello- Paula Smith
Double Bass- Kate Bishop
Flute- Anna Halls, Janine Hawkes, Melanie Barrand,
Oboe- Tony Fisher
Clarinet- Andrew Potts, Ross Kirk, Stephen Bignell, Rosamund Atkinson (Thursday)
Bassoon- Ruth David, Alice King
Horn- Dan Loveday, Heather Maclaren
Trumpet- Chris Parker
Trombone- Brian Parker, Bob Scott
Percussion- Kate Harrie
Repetiteur- Sean Hooper
Production Crew
Choreographer- Tara Smith
Choreographer (Hornpipe) - Val Sim
Set Designer- David Pumfrey
Set construction- Martin Atkins, Daniela Bayer, Stephen Cox, John Gilchrist, Ollie Nash, David Pumfrey, John Stoneham and other members of the cast
Lighting- Martin Atkins, Stephen Cox, Dominic Plunkett, David Pumfrey
Sound- Ollie Nash, Wim Roose
Stage Manager- Deborah Taylor
Properties- Liz Allen
Photography- Elia Stupka
Videos
He yields, he yields! ... Away, remorse!
The Chair Writes…
It has been another jam-packed year for the society. In the summer term we enjoyed performing Trial By Jury and a concert of highlights from the Savoy Operas at Osbaldwick Church. The autumn term saw our eager return to Goole Parish Church (which of course had nothing to do with the fantastic feast provided for us after the concert!). This year we made our first visit to Stamfod Bidge Methodist Church, where we received a very warm welcome. We now look forward to the forthcoming release of the Gilbert and Sullivan Society’s debut recording- watch this space!
I would like to take this opportunity to personally thank everyone in the Society for their commitment and hard work during the last year. I would especially like to thank Berry and Martin for all they have done, and a few special members of the committee (you know who you are) for all their help this yea. I have thoroughly enjoyed my time as chair and hope my successor has as good a time as I’ve had.
I hope you enjoy the show and will continue to support our Society.
Martin Atkins- Director
Fiding a computer scientist directing Gilbert and Sullivan is perhaps unusual, but after hiding away on the back pages of programmes under the heading of “lighting designer” for a decade and making occasional appearances at concerts- a common fate for technical crew- Martin thought it was time to see if directing is really as hard as it appears. He assures us it is. Ruddigore is (still) one of his favourite Savoy Operas, and the technically demanding second act seemed to provide an ideal opportunity to take the plunge. Martin has been rushing round ever since!
Berry Hopkins- Musical Director
Berry felt oddly compelled to stand for the post of musical director… in February 1992, for Princess Ida. She hasn’t quite managed to break away yet. Actually, she cannot think of anything more enjoyable than standing on her own, week after week, in front of about forty reluctant singers and shouting until they open their mouths wider to sing. In her “spare time” away from a very nice but awfully time-consuming job as a legal secretary, Berry teaches the piano, plays the organ and pretends to be a much better singer than she really is. By the way, anyone interested in lessons should see Berry after the show!
Choreographer- Tara Smith
Choreographer (Hornpipe) - Val Sim
Repetiteur- Sean Hooper
The Director Writes…
Ruddigore opened in January 1887 to mixed reviews- the first night audience greeting the performance with applause, as well as boos and hisses! Following the tradition set by the previous Savoy Opera, The Mikado, of causing international tension, Richard’s first solo caused some comment in Paris after Le Figaro published a translation that altogether missed the intended meaning. However, when it closed 288 performances later, Gilbert commented “I could do with a few more such failures”, and I hope you will agree with me that Ruddigore is a very fine operetta, with the added bonus that no babies are swapped at birth!
In spite of his confidence with the show, Gilbert made several changed as a result of the early criticism (including changing the name from Ruddygore), and we can now choose between two overtures, two finales for Act II and several musical numbers and verses. Of these, we have chosen to re-instate a solo for Robin in the second act, where he ponders his uncomfortable position.
Many people were involved in this production, some of whom you will see onstage, but many others work behind the scenes. I would like to take this opportunity to thank them all for their patience, and for helping me as I have taken my first step as a director. I would particularly like to thank Berry for looking after the music, and for backing me up through her more extensive experience. I have tried to involve members of the cast as much as possible in the direction: special thanks go to Val Sim, who set Richard’s entrance and the hornpipe, and was “practice-mistress” for all the dancing, and to all the principals for all their input during their rehearsals. Finally I would like to thank Dave Pumfrey for taking the worry of building a set off my shoulders, and looking after my previous role in the lighting box!
Production Crew
Set Designer- David Pumfrey
A familiar face the audience never (well, hardly ever) sees, David has been working backstage for the Society since its 1987 production of Iolanthe. As well as designing and building sets (including those for The Mikado 1989, The Yeomen of the Guard 1992 and Iolanthe 1994, he has worked on sound and lighting for shows ranging from Frankenstein to Shakespeare.
Itemised Expenditure List for “Ruddigore” 1995-96
Income: October 1995- April 1996
Membership money + Gondoliers video- £84.00
Takings from Show (inc. Sponsorship)- £2824.80
Coach money- £35.00
Sweatshirts- £178.00
Ice-cream- £15.70
Score deposit returned- £105.00
Video: E. Deveson- £7.00
Ticket sales in SU Shop- £182.00
Total- £3431.80
Expenditure: October 1995- April 1996
Central Hall (portering etc.)- £706.77
Orchestra (inc. scores, fee for musicians, etc.)- £507.50
Videos- £370.28
Costume hire (Homberg’s)- £354.27
Set (timber, scaffolding, paint etc.)- £341.87
Press and Publicity- £304.33
Tickets and Front of House- £298.01
Futurist Light & Sound- £248.63
Costumes (inc. makeup)- £220.47
Ice-cream- £208.36
Silver Screen Graphics- £197.39
Insurance- £194.19
Coach Fares- £185.00
Crash- £150.00
Sweatshirts- £109.10
Miscellaneous- £93.15
NODA membership- £44.00
Scaffolding Tower- £9.07
Total- 4542.39
According to this list, therefore, Ruddigore 96 made a loss of £1110.59.
See Also
The Jo Dubé Affair
