Opera is not a subtle art; tending towards excess is a norm. When the genre moves to comedy, the results can be gloriously silly.
A group of professional bridesmaids (the mighty Opera North Chorus enjoying themselves immensely) face redundancy as prospective grooms are all daunted by the beauty of Rose Maybud (Amy Freston). Robin Oakapple (Dominic Sedgwick) shares this timidity but also has a dark secret: he is really Sir Ruthven Murgatroyd, owner of the gothic castle Ruddigore, but is denying his title as it carries a curse necessitating him undertaking a crime a day.
In his absence, the curse has fallen upon his younger brother, Sir Despard Murgatroyd (John Savournin), causing him to jilt his fiancée, Mad Margaret (Helen Évora), who, as her name suggests, became deranged as a result. When a love-rival reveals Robin’s true identity, chaos ensues and romantic partners are rapidly switched and spooky ancestors return from beyond the grave to make their displeasure known.
Ruddigore is a satire of the Gothic genre, but Sullivan’s score both pokes fun at and celebrates the genre; especially the gorgeously gloomy "When the Night Wind Howls" in act two. Likewise, the characters are sketched in broad strokes—villains dressed in dark clothing with capes and top hats and luxuriant moustaches—but allowed some complexity as they change opinions. Gilbert’s text is, in many ways, a ‘greatest hits’ featuring the tongue-twisters and patter songs for which he is famous. There is even a song poking fun at French people, and that is never a bad thing. Daringly, Opera North slips in an update from Richard Stilgoe mocking the current, and recent, Prime Ministers.
Making sense of Ruddigore is challenging as characters change motivation at the drop of a hat. Rose Maybud is introduced as living in accordance with strict rules of etiquette but rapidly begins offering herself as a bride to several suitors whether they are interested or not. Director Jo Davies cheerfully pushes the tone of the production right over the top. The opera opens with a scene of bridesmaids in full wedding finery behaving like hungry predators in their pursuit of possible brides. The pace never slows down, climaxing in a superb comic duet between John Savournin, playing the straight man, and Helen Évora, close to barking at the moon.
This is a large-scale, lush production complete with sailors dancing the hornpipe. Richard Hudson’s set is stunning. The gothic manor dominates the second act, the walls clogged with ancestral portraits seemingly reaching to the sky before the deceased take the opportunity to step forward and offer criticism of their descendant’s behaviour.
Opera North’s Ruddigore demonstrates how sometimes behaving without restraint can be hilarious.