It was an experience – being surrounded by men jabbing fingers at me and generally tormenting me – that gave extra weight to what the show’s director, Lucy Thomson-Smith, later told me about how keen the Society is on including in their activities anybody who’s interested. ‘I feel like it’s always been quite a welcoming group. You know, if you can’t sing, you can’t dance, you can’t act – we don’t care, come and join us! We’ll just have fun with it.’

That’s not to say that the cast can’t sing, dance or act – just that it isn’t necessarily a priority of HUGSS. As Thomson-Smith says, ‘it’s always nice within the chorus that we have this interesting mix of people who are different ages and doing different courses and who have different abilities’, and one of the challenges of HUGSS is working with a cast that doesn’t necessarily have vast theatrical or musical experience.

The same is true of the show’s principal roles. One of the more experienced principals is Rory Oliver, the leader of those men doing the tormenting earlier on. Near the beginning of the second half, he belts out the song that Thomson-Smith regards as the script’s ‘high point’ – he certainly did it justice in the tiny rehearsal space in the Larkin building. ‘The Night’s High Noon is this fantastic song about the ghosts coming to life and enjoying themselves at night’, which is crucial to the plot of Ruddigore.

Oliver plays the leader of the ancestors of the new Baronet of Ruddigore, Ruthven Murgatroyd, whose family line is cursed in such a way that means he has to commit a crime every day or be subject to more of the torments I endured in rehearsal. Understandably, Murgatroyd isn’t happy about this family curse and does his best to get around it. This being a Gilbert & Sullivan show, there are several couples running around trying to get married to each other, before changing their minds and wanting to marry someone else. As Thomson-Smith explains the plot to me, I can see what she means when she says that this is ‘a parody of Victorian melodrama, and it’s Gilbert and Sullivan’s opportunity to poke fun at that’.

Unlike previous HUGSS shows Ruddigore is far from the most well-known of G&S works. In a way, that’s why Thomson-Smith has chosen to do it. ‘A lot of G&S societies’ she tells me, ‘tend to revolve around the same productions. That’s because everybody loves Pirates [HUGSS 2009 and 2005], Iolanthe [HUGSS 2008], HMS Pinafore [HUGSS 2007 and 2003] and The Mikado [HUGSS 2006].’ HUGSS last performed Ruddigore in 1997. Far from being daunted, Thomson-Smith is excited because, ‘it’s got two fantastic songs in it already, and the more I looked into it, I thought ‘this has got some really good songs in, it’s got some really good creative opportunities to run with’.

Among those opportunities is the style she’s chosen for Ruddigore. Following on from the last two HUGSS shows (‘very successful, innovative productions [that] decided to do something different and non-traditional’), Thomson-Smith has put her own mark on the show. Believing that ‘doing G&S as G&S doesn’t work any more; it doesn’t pull in an audience’, she has exploited the fact that Ruddigore is ‘quite gothic, it’s got a scary edge but it’s a dark comedy’ and has taken an appropriate inspiration: Tim Burton.

Burton’s work ties in especially well with the show’s professional bridesmaids (‘corpse bride figures…decaying and falling apart.’) and a ‘nervous and unassuming’ male lead. ‘Using a Tim Burton inspiration really, really works well with this and lends a modern edge to a traditional production’.

But above all, for Thomson-Smith ‘HUGSS has always been about enthusiasm and the passion; people always want to turn up and want to have fun and they enjoy doing it – and I think that really comes across in the production’.

Ruddigore; or, The Witch’s Curse ran in Middleton Hall on the 3rd, 5th and 6th of March at 7:30pm. Tickets were £6 for an adult, with £4 concessions.

Richard T. Watson

My sincerest apologies to Lucy, Richard, HUGGS, and Hullfire’s readers for the magazine’s lateness. Although at time of going to print the performance was two days away, the edition will not appear until the run has concluded.

—Ed.

Share on Facebook

A SHREWD INTERPRETATION

The R. S. C.’s The Taming of The Shrew is both hilarious and moving as it innovatively compares marriage and courtship in the Renaissance period to prostitution and ‘pulling’ in the twenty-first century.

The play begins in a modern strip club following men on a stag do and drunken Christopher Sly is persuaded to watch a Renaissance play. The play within the play then charts the reduction of Kate, the headstrong and undesired daughter of the rich Baptista. Her younger sister, Bianca, has many suitors but Baptista refuses to let Bianca marry until Kate marries. Bianca’s suitors plot to win her hand by introducing Kate to Petruchio, a penniless misogynist determined to marry her for her large dowry and break her stubborn disobedience. The sexual and psychological domestic violence she endures is accompanied by the comical disguises and misinterpretations of Bianca’s suitors, Lucentio, Hortensio and Gremio, who attempt to woo Bianca by trickery.

Director Conall Morrison’s return to the RSC explores the objectification of women both now and during the sixteenth century to consider the development of women’s rights and demonstrate second wave feminist theory in this poignant production of Shakespeare’s controversial illustration of misogyny. This is undoubtedly a shrewd interpretation that is unmissable!

SHAKESPEARE’S MERCHANT

The Merchant of Venice is Tim Carroll’s first RSC production and a comedic yet simplistic insight into capitalist society, its laws and the interaction between its diverse members.

Portia, a wealthy heiress, is obliged to marry the man who chooses the casket containing her picture from three gold, silver and lead caskets left in her father’s will. Bassanio borrows money from his merchant friend Antonio to travel to Belmont to woo Portia but Antonio has to borrow the money from Shylock, a Jewish moneylender, because his ships are at sea. He agrees to entitle Shylock to a pound of flesh if he fails to repay. Law and order then unravel as Antonio’s ships are lost at sea and Shylock’s daughter Jessica elopes stealing money and jewels from her father. Social stability cannot be restored until it’s turned on its head as women disguise themselves as men and lawyers to resolve the dispute.

The play stands alone as this narrative driven production seems shy of any religious, moral or racial interpretations, allowing the audience to decipher the play’s social implications and allocate sympathy and blame for themselves. Carroll plays it by the book, doing little with the script and treating the audience to a minimalist spectacle with few props. Although the play seems bereft of individuality, the enthusiastic actors nevertheless consciously interact with the audience, delivering an accurate and amusing performance of Shakespeare’s original Merchant which is useful for a beginner’s guide to the play or a newbie to the theatre looking for a basic production. So if you’re feeling up for the challenge this play is open both for your own reading or just a relaxing viewing since it relies on audience analysis.
The R.S.C Young Person’s tickets are available in limited numbers, twenty five in advance of each show, and twenty five to be sold at the venue on the day of the show. For more information, visit the R. S. C. website, at www.rsc.org.uk.

Julie Visgandis

Share on Facebook