The Birkenhead News and Wirral General Advertiser. — 1892-05-07 (Birkenhead, Merseyside, England)

ROCK FERRY AMATEUR OPERATIC SOCIETY. ..  PRODUCTION OF GILBERT AND SULLIVAN'S " RUDDIGORE." This admirable organization added another laurel to their wreath of fame on Monday and Teesday last, when tbay revived the above opera, which, probably, with the exception of "Princess Ids," is the least known of all the inimitable works of die greatest of our cynical writers and the moat tuneful of composers. Why " Ruddigore " failed to please the public taste, as it undoubtedly did to the same extent as the preceding and succeeding productions of the Gilbert and Sullivan series, it is difficult to say. It has wit and humour in Mr. Gilbert's happiest vein, the music is melodious and catchy, it has a picturesque setting, and its costuming is attractive, but still the fact remains that while the Mikado, Patience, and the Yeoman of the Guard seem to have in them the elements of continnoue success, " gore' never in the same way has caught the public ear. As a travestie of old fashioned melodrama of the most pronounced trios nothing could be more ridiculously conceived and carried out. The libretto is full of the wittiest suggestions. Each and all of the usual characters met with in this popular class of entertainment is held up to ridicule. The sailor hero becomes in the travestie what he often is when you look below the surface, nothing but an empty braggart, the simple country girl is simple presumably, but with an eye to her own well being, the villainous squire is cleverly made the at heart good man of the play, who is compelled to his numerous misdeeds by his wicked ancestors. The urinal "stick to his master through thick and thin," good old retainer is cleverly hit off and all is done without ever the writing stooping to mere burlesque. The opera abounds with whimsicalities. What could be funnier than a trained band of professional bridesnisids, always at hand to lend assistance to any unwary couples, who even suggest—if merely for one moment—matrimony; or of a troupe of ghostly ancestors seriously settling the daily crime of the living bearer of their iltstarred name. The alternative title of the opera—in all old fashioned dramas of the class travestied a double naming was necessary—is The Witch's Curse, and it is this curse that forme the motif The living Margatroyd's are bound in extenuation of the manifold sins of their ancestors to commit at least one crime per diem, the penalty for non performance of this duty being death in excruciating agony. Sir Ruthven Murgatroyd has disappeared, and his younger brother, Sir Despard, is at the time the opera opens much against his will fulfilling the curse and committing wholesale crimes. In order to evade the consequences of his crimes, he states that he does them early in the morning and for the rest of the day endeavours to make atonement by virtuous behaviour. Sir Ruthven really lives, and is known in the village of " Rederring," where the action is laid, as an exemplary villager, Robin Oakapple. He loves the village belle, Rose Maybud, but they are both so bashful and retiring that lie has never screwed up his courage to propose. Richard Dauntless, a brave dashing sailor, and foster brother of Robin, agrees to propose to Rose for Robin, bat unfortunately Lie falls in love with her himself, and being a ready slave to the dictates of his heart, pro. poses to her on his own behalf and is readily accepted. Robin accepts his explanations, but Rose throws Richard over from purely mercenary motives and accepts Robin in his place. Dick's heart prompts him to keep Robin's identity unknown no longer, and just as the marriage is to take place he informs Sir Despard that his elder brother lives and that the curse is Robin's rightful property. Sir Despard cheerfully resigns his title and Robin becomes Sir Rathven. This closes the first act. In the second we find Robin or Sir Ruthven already steeped iu crimes against which his soul revolts, but hie ancestors are unrelenting and start the torture when he refuses to carry on his nefarious career any longer. Sir Despard has become an altogether reformed character and dominie of a village school. By an ingenious argument, purely Gilbertian, Robin gets over the curse. He argues that if he refuses to commit a crime, the punishment will be death. The Ancestors agree. Therefore, hecontinnes, my refusal will be tantamount to committing suicide. The anceetors admit that. ' Further, continues Robin• suicide is itself a crime, and therefore my daily refusal is a daily crime. The ancestors give in after this and Robin is allowed to retura to his former blamelees life. Such shortly is the main idea of the story, and it gives ample opportunity to those taking part in its development. Under the more than able, in fact masterful, stage management of Mr. J. James Hewson, who had done wonders considering the limited space at his disposal, an all-round excellent performance was given. Every portion of the grouping, every movement betrayed careful and painstaking thought and dramatic knowledge. Everything was worked out with the precision of a machine, and what an amount of work this gratifying result most have entailed can only be understood by those whose knowledge penetrates behind the footlights. Floe costuming was also perfect, the light dresses of the 'bridesmaids harmonising with the brilliant uniforms of the officers in the one act, and the gorgeous robes of the ancestors in the other, while the scenery was as picturesque and ingenious as any one could imagine. The village set was a perfect gem, the back ground of open sea, with the jetty and lighthouse, and floating ships, the cottage on the right, and the village losing itself in the distance up a rouged headland on the left, was faithfully realistic. In the second set the picture gallery was another perfect and cleverly contrived scene in which the little space had been utilised to the utmost inch. Perhaps as a pleasant record, it would be as well for us to print the dramatis.persome