GILBERT AND SULLIVAN

Evening Star, Issue 19714, 15 November 1927, Page 3

GILBERT AND SULLIVAN

‘ RUDDIGOIiE' ' The production of ‘Ruddigorc ’_ in Dunedin perfects the Gilbert-Sulhvan circle in the view of our theatregoers. ‘Trial By Jury’ led the triumphant host. We saw tiiat burlesque in December of 187(3, the year alter its introduction in London. Lydia Howards and her company, which included R. W. Cary, Solange Novaro, Jenny Nye, and G. H. Herbert, presented it, and did it well. 1 Buddigore,’ the last ol the series to find its way here, is also a burlesque. The same description may bo applied to the whole iin mortal dozen, but the Alpha and the Omega in order of production in Dunedin arc specifically and entirely of that type. The subject that ‘ Ruddigorc ’ pokes fun at is the lurid melodrama that our grandfathers knew and loved in the Old Country. _ To some of the younger theatregoers in this part of the world that sort of play is not familiar, but that was no obstacle to their enjoyment of the performance last night. They joined heartily with the seniors in laughing at the “take off ” of characters that are still existent in current tales if not on the stage. ‘Ruddigorc’ brings to the eye the virtuous village maiden, the bad baronet, the jolly sailor, and many of their retinue. The key to the story is given at the outset:—

Sir Rupert Murgatroyd. His leisure and his riches, He ruthlessly employed In persecuting witches. One witch, agonising in her roasting at the stake, cursed the whole tribe of Murgatroyds, ‘dooming each successor to the baronetcy to commit a crime every day so long as he held the title, the alternative being that lie shall die in torture. To escape the curse one of the successors disappears and assumes the guise of a farmer under the name of Robin Oakapplc. So his younger brother becomes the baronet, and finds trouble to invent fresh crimes to commit. While almost on the verge of despair he discovers and recognises Robin, and forthwith transfers to Robin the position and its responsibilities. Robin embarks on his career of crime, and is sickening of it, when his ancestors stop out of their framed portraits and warn him of the consequence if he ceases to obey the terms. But whilst thus exhorting him the ancestors remember that they could only die if they failed in their daily criminality, and as they did not fail they did not die. Wherefore the curse must have gone wrong somehow and its spell is broken. Accordingly they decide to go on Jiving, and Robin is free to return to bis virtuous career and marry the village maiden. The idea is worked out with the Gilbcrtian whimsicality lhat_ never fails, and is as active to-dav as it was 50 years ago. Presumably some who attended 11 is Majesty’s Theatre last night spent a moment or two between whiles—in the few lulls—in wondering why ‘ Rnddigore ’ hung fire in England after its first successful production, and why it has been spoken of and written of as the failure of the series to which it belongs. If so, they would hardly be satisfied with the explanation, tendered semi-ofiicially, that this play is extremely cosily lo stage. I hero is no evidence „to justify that conclusion. Nor can it be affirmed that 1 Ruddigorc ’ is intrinsically unworthy of its lineage. Perhaps it'may ho sustainable in argument, if anyone is so nnthanklul as to put ‘ Ruddigorc ’ on its dclcncc, that it is not so ingenious as ‘ Pirates.’ not so original as * Patience,’ not so dramatic as Mikado,’ not so picturesque as 1 Gondoliers,’ lint all Ibis may be conceded, apart from the compensating considerations that a cross-examiner would bring forth, without damning ‘Ruddigorc’ as second class. If it could answer all sue!) accusations it would be established as the Gilbcrt-Sul-livan masterpiece. That claim cannot lie made for it. But, on_ the other hand, it is on its merits fairly in the brotherhood, and its revivals in these days, at Homo and in those parts means adding to the lame ol the collaborators and a leoling ol regret that they have left no successors. Sullivan’s share in the creation of ‘ Ruddigorc ’ is more distinctive than Gilbert’s. The libretto is on the familiar Gilbcrtian lines of clever topsytnrvcydom in verses that scan and rhyme perfectly, according to type. The music, on the other hand, refreshes the ear with its originality, it has the Sullivan wit in alternation with the Sullivan dignity and fitness, but only in the finale ci the first act, wherein an echo of the ‘Mikado’ madrigal is heard, can any trace of the other operas bo found. Apart from the avowal on the books, this music might be Irom a Sullivan If. as clever as Sullivan I. Of the performance given Inst night, to the pleasure of a very large audience, it is a duty to write appreciatively. The mounting and the dressing come right up to the'highest standard. Miss Strcda 'Wilson, as Rose Maybnd, surpassed expectations. She _ sang superbly, her rich and full voice as clear as a hell and produce)! splendidly. Only one bad note was beard from her all the evening. Her B Hat, to top the chorus to Rose’s big song in the second act, crumbled away in 'the making. it scorns unfair to mention this one fault, but Miss Wilson’s magnificent singing generally can stand that one spot, and_ still stand out as perhaps the finest display of soprano lead over heard in G. and S. opera in Dunedin. This lady’s sprightlv and intellectual acting was also" equal to the best .she has ever given ns. Not a point was missed. Mr John Ralston’s impersonation of the bad baronet wbo is transformed into a sort of Aminadab Sleek stands out as another feature of the. performance—quite masterly and thorough—and ins bio- bass voice was of immense service. Mr Ja mes Hay lias but few opportunities to display his tenor voice, but uses them with marked effect, and Ins impersonation of the man-o’-war’s man, Richard Dauntless, wan full of spontaneity and point. Just one suggestion, if Mr Hay will pardon it: he sang that good song about the fight witli the French ship so fast that the words did not come out clearly. Mr Charles Walcnn may take note of fhis. He, too, was given" in a rushing pace at times, thereby defeating himself; and this fault was the more noticeable because of the fact that in the dramatic work generally lie was one of the staying influences as the impersonator of Robin. Mr Bernard Manning’s finished vocalisation and acting lifted the part of Rodoric Murgatroyd to a very important position. Thanks are also due to Miss Winifred Williamson, Mr John Bvrno. Miss Patti Russell, Miss Violet Jackson, and Miss Lilian Crisp for very satisfactory work in support. The chorus is a strong section, very strong, a little given to a display ol power at the expense of tone, but delightfully accurate ami characteristic. The eight bridesmaids claim special thanks for their dutifulness. The orchestra played well, particularly in accompaniment, and perhaps would do even better if a couple more violins were added.

Mr Slapoffski conducted. 1 Tlnddigore ’ is in b© repealed ibis evening. We strongly recommend it.