SynopsisOverture – A vengeful witch curses Sir Rupert Murgatroyd, Baronet of Ruddigore, and his descendants to commit a crime every day – or die in agony and suffer a hideous transformation into a monster. One by one, the Baronets succumb to the curse, until we see the current Murgatroyd family: Sir Roderic in love with Dame Hannah, his nephews Ruthven and Despard, their foster-brother Richard Dauntless, and Despard’s new girlfriend, Margaret. The Witch finds Sir Roderic and kills him: Ruthven – the next in line – flees (presumed dead) leaving poor Despard to carry the curse.

Act 1 – In the village of Rederring, a corps of professional bridesmaids lament that the fair Rose Maybud is still not married. Dame Hannah tries to persuade Rose to marry, suggesting Robin Oakapple, a young farmer, but Rose explains that despite her feelings for him, she must obey her code of etiquette. Robin and Rose then have an awkward encounter in which neither of them feel able to express the love they feel for one another. Old Adam, Robin’s faithful servant, greets his master by his true name, Sir Ruthven Murgatroyd, and retells the story of how he fled. Robin’s foster-brother Richard Dauntless returns after ten years at sea and, on learning of Robin’s love for Rose, offers to woo her on his behalf. However, when he sees Rose, he promptly falls for her himself. Rose, having given up hope that Robin will ever propose, is taken by surprise and finds herself engaged to Richard, much to the bridesmaids’ delight. However, Robin finally reveals his own feelings for Rose and so she decides to marry him instead.

Meanwhile, Margaret (now mad and tormented by demons) explains that her madness is caused by her love for Sir Despard, who left her when he took up the curse. The townsmen trick the bridesmaids into believing they are wealthy gentry – only to be exposed by Dame Hannah. Sir Despard forms a cunning plan with Richard, hoping to estrange Rose and Robin by reveealing Robin’s true identity. Robin is then forced to accept his rightful place as Bad Baronet of Ruddigore. All the village prepares for Rose and Robin’s wedding, but Despard’s revelation disrupts the ceremony. Rose, horrified at the prospect of marrying a Bad Baronet, turns to Despard, but he is now determined to keep his vow to Margaret. With Richard the only suitor left, Rose resigns herself to marrying him and more celebrations ensue, while Robin (with Old Adam) is forced behind the gates of Castle Ruddigore.

Act 2 – In Castle Ruddigore, Robin (now Ruthven) bemoans the difficulties of fulfilling the curse’s requirement of committing a crime a day. Richard and Rose arrive to ask Ruthven’s permission to marry, which Ruthven grants for the sake of the old love between himself and Rose. The portraits of the cursed ancestors, led by Sir Roderic, come to life and descend from their frames to ensure that Ruthven obeys the dictates of the curse. They demand that he carry off a lady or die in agony, and in panic Ruthven sends Adam to kidnap the required lady. The recently married Despard and Margaret reflect on their new life, sending Margaret into frenzies of joy which Despard can only calm with the word ‘Basingstoke!’ They encourage Ruthven to defy the curse, to which he agrees, even though this will result in his death. Old Adam returns with a captive lady as ordered, who is revealed to be Dame Hannah and who objects strenuously to being kidnapped. Ruthven summons Roderic who, brought face to face with his long-lost love, sends Ruthven away in disgrace and a touching reunion takes place. Having established that failing to commit his daily crimes would be tantamount to suicide, Ruthven concludes that therefore refusing to commit a crime is in fact a crime in itself. By this logic, none of his ancestors should have died in the first place and so are brought back to life. to marry the ecstatic bridesmaid corps. Rose happily returns to Ruthven, now that he is free from the curse, while Richard settles for Zorah (the chief bridesmaid)

and Despard and Margaret anticipate a happy life together living in the town of Basingstoke.

Dramatis PersonaeRobin Oakapple/Sir Ruthven

Aled Walker

Freddie TapnerSir Despard

Stuart MooreProducer

Gordon Hodges Richard Dauntless

Janneke DupreMad Margaret

Dan SmithMusical Director

Francesca CostiganRose Maybud

Davina BarronDirector

Lauren Stokeld Dame HannahSir Roderick

Matt Elliot-Ripley

Alex BettsOld Adam

Rosie CornerWitch

Elizabeth MorlandRuth

Robbie CampbellSir Rupert Murgatroyd

David BooerElizabeth Schenk

Alex Palmer

Harley JonesFiona Allan

Dylan Morris

Elizabeth BlackmoreChris Nash

Kiki Betts-Dean

Chorus

Helen OxenhamZorah

Davina Barron (DB) – DirectorDan Smith (DS) – Musical DirectorHelen Bernacki (HB) – Choreographer

Why Ruddigore? DB. I saw an amateur production directed by our choreographer Helen, and was mesmerised by the ghost scenes and the idea of the ancestors leaving their portraits to interfere with the real world. The combination of the gothic melodrama and the Minack’s atmospheric setting proved too irresistible! DS. Ruddigore is one of the less frequently performed of Gilbert and Sullivan’s operettas, but has arguably one of the most stunning scores – it’s a wonderful mix of comic and melodramatic music: a fine array of orchestral colours. DB. And the Minack is the perfect setting for a show that’s an homage to the gothic: the moonlight, the architecture, the dramatic backdrop. I love Gothic literature and the idea of resurrecting the ancestors as recognisable gothic heroes (Dracula, Dr Frankenstein etc.) I also loved the idea of envisaging a gothic ‘dramedy’ in a theatre that appears to have been designed specifically for it.

How did you decide on the style of choreography?DB. It’s important that the choreography matches the mood of the scene and the style of the characters. Choreography works best when used primarily as a tool to enhance the atmosphere. HB. Ruddigore is exciting from a choreographer’s point of view because there are lots of different styles of music to set dance to. There are also actual scripted dances like the Hornpipe, which are great fun.

Tell us about the rehearsal process.BS. The advantage of an intensive two weeks of rehearsal before the show is that we can explore the characters and their interweaving stories in greater detail. DB. I favour a collaborative creative process, where character motivations and backstory are discovered by improvisation between actors, discussed as a group, and implemented in the scripted scenes. With such a talented and generous cast, the process has proven productive and extremely enjoyable. DC. Living for two weeks all under the same roof provides us with a fantastic way of producing a strong sense of camaraderie between all members of the company.

What is your vision for the ancestors?DB: I decided very early on that the ancestors would be resurrected as recognisably tragic gothic heroes – in part because the costumes and characterisations would add enjoyable spectacle, and in part because it was important for the audience to be able to connect with these tortured figures and feel sympathy for their plight. They also provide an undeniably comic element (three zombies hornpiping in the overture is a sight to behold) and help to provide that delicious mix of comedy, horror and drama that is so necessary to making Ruddigore work.

What are the challenges of performing at the Minack?DB: We are at the mercy of the elements (and dolphins) which don’t always follow their cue! DC: The conductor is to one side of the stage, out of sight of the cast. This means some poor

soul (me) is required on the balcony to mirror the conductor’s beat for the cast. This allows the conductor to concentrate on the orchestra, leaving his assistant to concentrate on the singers.

An Interview with the Production Team

Becky Shercliff (BS) – Assistant DirectorDeclan Corr (DC) – Associate Musical Director

What are the main elements of Ruddigore?DB. Ruddigore is primarily a comedy: there’s no denying that it’s written with wicked wit, and a sparkling score from Sullivan that aids in our appreciation of

Gilbert’s genius. There’s drama in the plight of the characters that makes us care about their journey, there’s horror and melodrama in a story of Bad Barons, and there is romance within the three lead pairs – and all these must come together to form the backbone of the story, with the comedy being the icing on the cake.

What do you like most about Ruddigore?HB. The variety of the show. It’s funny, it’s spooky, it’s moving, and the characters are really interesting. DS. For me, the orchestration is a real highlight. ‘The night wind howls’, for example, has sparkling chromatic woodwind lines and haunting brass motifs, which give the orchestra a real chance to shine.DC. Most G&S shows are almost pre-dictated by stereotypes; Ruddigore has a wonderful pallate of moods and gave us more chances to do something new. BS. The range of characters and emotions covered is quite extraordinary, so that we constantly move from the romantic to the tragic to the terrifying to the downright ridiculous, and back again! DB. It has remarkable depth: during the rehearsal process, we discovered how tragic Despard’s story really is, and how Rose and Robin have deep, genuine feelings for each other but are prevented from uniting time and time again by obstacles. The material may look on first viewing to be a collection of stunt songs, (the sheer volume of patter was initially alarming) but has proved to be a veritable feast of creative opportunities!

How close is your production to the original?DS. Ruddigore’s premiere in 1887 had a mixed reception, and was described by some as a “very stormy night.” The first act was well received, but enthusiasm faded in the second act. In response, Gilbert and Sullivan made some changes: a couple of verses were cut, and a considerable amount was removed from ‘Painted emblems’, including a lengthy Ancestor’s March. The musical text you’ll hear is largely what would have been heard at the Savoy a few weeks after the premiere, when the operetta had settled into a form with which Gilbert and Sullivan were both happy. There are two exceptions: we have preserved Robin’s patter song ‘For thirty-five years’ and we have used a later overture. Sullivan had been so busy at the time of the composition of the original production that he delegated the arrangement of an overture to the theatre composer Hamilton Clarke. When Geoffrey Toye conducted the D’Oyly Carte revival production in 1921, he arranged his own overture, which has become the standard for most subsequent productions. We have chosen Toye’s overture as it is darker, and opens with ‘The night wind howls’ which is particularly apt on the Minack stage.

What have you enjoyed most about this experience?BS. The rehearsal period has meant we’ve been able to really analyse the characters’ motivations, and the entire company has a great team spirit. DC. I like feeling part of the performances of a simply amazing company. Conducting from the balcony lets me feel like I’m part of the performance.HB. Everyone’s been so enthusiastic and full of ideas, and it’s been so much fun in and out of rehearsals. DB. Words cannot describe how amazing the experience of directing Ruddigore at the Minack has been! It has been an absolute joy to work with such a talented and generous cast, a gifted orchestra and technical team, and a ridiculously efficient and dedicated production team – and all to put on a production of something so beautifully written at a place so special: it’s been a dream.

History of RuddigoreIn January 1887 The Mikado, Gilbert and Sullivan’s biggest hit, ran at the Savoy Theatre for nearly two years and was as popular as ever. Gilbert, as usual, had started thinking of ideas for their next opera soon after The Mikado opened, but the latter’s success and Sullivan’s other commitments delayed the new production. At last, on 22nd January, Ruddygore; or, The Witch’s Curse opened.

The first night was not a success. The audience reacted badly – one person shouted, “Take off this rot!” and another, “Give us The Mikado!” Some newspaper reviews were enthusiastic; others were scathing, declaring that neither the words nor the music were up to the high standards the writers had set with their earlier works. The Victorian public was shocked by the ending and by the title, which was considered rude. A member of Gilbert’s club told him that he saw no difference between “Ruddygore” and “Bloodygore”; Gilbert testily invited him to contemplate the difference between “I admire your ruddy countenance,” and “I like your bloody cheek.”

In response to such criticism, Gilbert and Sullivan made various changes early in the run. The title was respelled as Ruddigore; the ending was changed; some songs lost a verse and one was entirely rewritten; an orchestral passage in the ghost scene was cut; the Act II finale was altered; some dialogues were shortened. These changes seemed to work, as the opera’s reception improved as the run went on. It eventually closed after 288 performances – a short run, but only compared with smash-hits like H.M.S. Pinafore and The Mikado. Gilbert remarked, “I could do with a few more such failures.”

Ruddigore was not revived professionally in its writers’ lifetimes. The D’Oyly Carte Opera Company revived it in 1920 but in a mutilated form – Sullivan’s orchestration was changed, two entire songs cut and the Act II finale reduced to almost nothing. A new overture by Geoffrey Toye replaced the original one by Sullivan’s assistant Hamilton Clarke. This version remained in the company’s repertoire for most seasons until the old D’Oyly Carte closed in 1982.

New Sadler’s Wells Opera staged a production in 1987 that restored much of the cut material, but after that, though Ruddigore remained popular with amateur performers, it was not performed professionally in Britain again (barring very short runs at the International Gilbert and Sullivan Festival) until 2010, when Leeds-based Opera North mounted a widely acclaimed production which continues to tour.

At least seven professional studio recordings of Ruddigore have been made, as well as an abridged cartoon version from Halas & Batchelor voiced by D’Oyly Carte stars of the 1960s, and a live-action TV version featuring some delightfully low-budget special effects and with Sir Despard played by Vincent Price (perhaps now most famous for providing the voiceover on Michael Jackson’s Thriller.)

Laurie Marks, Society Alumnus

Production TeamDirector

Musical Director Producer

Choreographer Assistant Director

Associate Musical DirectorAssistant Musical Director

Company ManagerTechnical Director

Assistant Technical DirectorsSet Designer

Lighting DesignerAssistant Lighting Designer

Chief ElectricianSound DesignerStage Manager

Deputy Stage ManagerCostume Designer

Publicity

Costume Team Set Team

Lighting CrewSound Crew

Lenka FilipkovaHelen Griffiths

Paul Gotch

Graham WebbRachel Chapman

Alistair CannonRachel Brown

Kat GriffithsJolanta Pilinkaite

Andy CooperTom Duncan

Ian LeithAli Hepburn

Carolyn Barker

Dominic PlunkettChris Taylor

Jacob LeverChristian Ashby

Ellis HowellsEmily Hodge

Andrew RyrieAlistair Cannon

Tom WhiteAlex Chan

Edward Louth

Davina BarronDan SmithStuart MooreHelen BernackiBecky Shercliff Declan CorrEmma GaitRosie CornerOllie DuffSarah Ward, Rachel CunliffeAndrew FeatherstoneVictoria GreenSam McDermottWill WykehamGraeme SneddonAdam SmithGeorgie HughesSophia GriffithsCraig Slade

1st Violin1st Violin

2nd Violin2nd Violin

ViolaViolaCello

Double BassFluteFluteOboe

Musical NumbersAct I

Act II

Chorus of Bridesmaids Dame Hannah and WitchRose MaybudRose Maybud & Robin Oakapple Chorus of Bridesmaids & Richard Dauntless Richard Dauntless & ChorusRobin Oakapple & Richard DauntlessRose Maybud & Richard DauntlessChorus of BridesmaidsRose Maybud, Richard Dauntless & Robin OakappleMad MargaretChorusSir DespardRichard Dauntless & Sir DespardFull Company

Sir Ruthven & Old AdamRose Maybud & Richard DauntlessRose MaybudChorus of AncestorsSir Roderic Chorus of AncestorsSir RuthvenMad Margaret & Sir Despard

Mad Margaret, Sir Ruthven & Sir Despard Dame HannahFull Company

Overture

Fair is RoseSir Rupert MurgatroydIf somebody there chanced to beI know a youthFrom the briny sea… I shipped, d’ye seeHornpipeMy boy you may take it from meThe battle’s roar is overIf well his suit is spedIn sailing o’er life’s ocean wide

Cheerily carols the larkWelcome, gentryOh, why am I moody and sad? You understand? — I think I doHail the bride of seventeen summers

I once was as meek as a newborn lambHappily coupled are weIn bygone daysPainted emblemsWhen the night wind howlsHe yields!Away, remorse… For thirty-five yearsI once was a very abandoned personMy eyes are fully openThere grew a little flowerWhen a man has been a naughty baronet

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OrchestraClarinetClarinetBassoonTrumpetTrumpet

Horn Horn

TromboneTrombone

Percussion & Timpani

1st Violin1st Violin

2nd Violin2nd Violin

ViolaViolaCello

Double BassFluteFluteOboe

David MearsJordan LamPeggy FooksNed BookerBenjamin NorrisRobert NewthKatie MoulangRobert BrooksTim HeleSami Alsindi

Emma GaitStephen BradshawCharlotte BentleyRobert BrocklehurstClare BlackmanEllis ThompsonMary HamiltonJack CherryKatie WaltonOctavia BoveyAngelika Stangl

Cambridge University Gilbert and Sullivan Society was founded in 1961, when schoolfriends Paul Welch and Chris Hogwood arrived at Cambridge amazed to find the universtiy had no light opera group. Pulling together everyone they knew, the pair began with The Mikado at the ADC Theatre. Hogwood, who would later go on to establish the Academy of Ancient Music with David Munrow, served as conductor. Welch took on the roles of Director, Producer, Ko-Ko, and Lord-high-almost-everything-else.

Over the following years the society expanded to become one of the most active theatre groups in Cambridge. The main show transferred to the prestigious Cambridge Arts Theatre, and from 1964 was joined by a summer concert performance. Nowadays the society puts on at least three shows in Cambridge per year, along with many more elsewhere. Recent notable projects include collaborations with Cambridge University Musical Theatre Society, trips to the Edinburgh Fringe, and performances at the International Gilbert and Sullivan Festival in Buxton. This December, the society is set to make a Christmas debut at the Quay Theatre in Sudbury.

The tradition of a September Minack show dates back to 1974 with The Pirates of Penzance. Originally staying in Newlyn school, (and, one year, the church) the group later migrated to Paul Village Hall, which has been our home from home for over three decades now.

One of the largest events in the Cambridge theatrical calendar, The Minack has long attracted some of the university’s most talented thespians, many of whom have gone on to pursue professional careers. Notable former directors include Andrew Wickes, Steven Charles Pimlott OBE and Griff Rhys Jones, while conductors include Martin Pickard, Gareth Morrell, Simon Halsey, Mark Dorrell and Stuart Stratford. In past casts we have also seen the likes of Susanna Spicer, Kit Harvey and Simon Butteriss.

History of Cambridge University G&S at the Minack

Cast and crew sleeping in Paul Church Hall, 1981.

Paul and I met as chorus members in Patience at Minack (1981) and went on to do Iolanthe (1982) and H.M.S. Pinafore (1983) Paul, studying Veterinary Medicine, also did The Mikado (1984). We collected a Ruddigore too, but in Cambridge rather than Cornwall.

The cast for that included Chris Purves, now an internationally renowned star, and Kevin McCloud, off the TV.

Paul and I were married in 1987, and still have a group of friends from the G&S society whom we see regularly.

Our Musical Director was Mark Dorrell, who was the organist at Sidney Sussex College, Cambridge, and went on to MD in the West End; he was at the helm for the UK premiere of Into the Woods, among other things.

It all seems to have changed remarkably little – but the shower is new! We used to have to go over the road! And we had a chef, rather than doing our own cooking.

Sandra BooerSandra and Paul’s son David is in the male chorus.

A Minack Love Story

Iolanthe; Sandra is singing Phyllis. David Lidington, now Minister for

Europe, is the peer 2nd from the right.

Rehearsing for Iolanthe in the car park.

Cast BIographies

Aled WalkerRobin Oakapple/Sir Ruthven

Aled, a third year studying Maths at Trinity College and former UK International Maths Olympiad team member, is delighted to be performing in this his 7th show with CU G&S Society. Previous roles include Strephon, (Iolanthe Buxton Opera House) Pish-Tush (The Mikado) and Boatswain (H.M.S. Pinafore – on Punts! – a unique production of the classic work performed whilst floating on the River Cam.) Other interests include jazz piano, juggling and the burgeoning field of mathematical stand-up comedy.

Francesca CostiganRose MaybudFrancesca graduated several years ago in Engineering from Emmanuel College. She is very excited about returning to the Minack for the sixth time. She has a Diploma in Opera Performance form the University of London, and studied post-graduate vocal studies at Birmingham Conservatoire, where she won the Mario Lanza Award and the Ashleyan Opera Prize. Previous G&S roles include Josephine, (H.M.S. Pinafore) Princess Ida, (Princess Ida) Princess Nekaya, (Utopia Unlimited) Celia, (Iolanthe) Vittoria, (The Gondoliers) and Laetitia (The Zoo).

Freddie TapnerSir DespardFreddie has been involved in theatre for as long as he can remember. After being tricked by his mother and teachers into doing a solo in the school nativity in front of 300 people at the age of five, he has never lost his love of the stage. Previous roles include Jerome, (Merrily We Roll Along) Sergeant of Police, (The Pirates of Penzance) Luther Billis, (South Pacific) Strephon, (Iolanthe) Dan Kaffee, (A Few Good Men) and Clarence (Richard III). After a recent foray into directing, (The Mikado, Mumford Theatre) he is thrilled to be back treading the slabs once more on his most favourite of outdoor stages.

Janneke DupréMad MargaretJanneke has just finished her first year studying Music at Homerton College. She sings with the Choir of Clare College, and University Chamber Choir. Janneke comes from Kent and whilst at school she played Nancy (Oliver!) and has been a soloist in various works including Mahler’s fourth symphony. Earlier this year Janneke performed as Soberness, (Far from the Madding Crowd, Blue Boar) as Calliope, (Orpheus in the Underworld, the Murray Edwards May-week operetta) and was part of the chorus in Die Fledermaus (Cambridge University Opera Society.)

Alex BettsOld Adam

This production marks Alex’s debut with the CU Gilbert and Sullivan Society, and his first foray into acting since secondary school. A third-year studying Maths at Trinity College, he spends his evenings singing with Christ’s College Chapel Choir, with whom he has toured Australia and recorded a CD. In his spare time he volunteers for the UK Mathematics Trust, and was involved in the coordination team for the inaugural European Girls’ Mathematical Olympiad this year.

Sir Roderic

Matt has just finished his third year studying Maths at Queens’ College, and is hugely excited to be returning to complete his undergraduate Minack hat-trick. He has been ‘dying’ to play a ghost since performing as Jack Point (Yeomen of the Guard) and The Dentist (Little Shop of Horrors) in shows earlier this year, both of whom met their untimely ends. Having recently acted opposite a sock, he is looking forward to performing alongside a cast of Gothic homages.

Gordon Hodges Richard DauntlessGordon is currently studying at the Royal Northern College of Music under the tutelage of Peter Wilson. Gordon has performed in many Gilbert and Sullivans, some of his favourite roles have included The Defendant, (Trial by Jury) Ralph Rackstraw (H.M.S. Pinafore) and Nanki-Poo (The Mikado). Gordon is also a keen dancer and is trained in ballet, tap, modern and contemporary dance. He has also appeared in many operas and musicals, including roles such as Basillio (The Marriage of Figaro) and Nicey Nicey Johnson (Guys and Dolls). Gordon has also been on the other side of the fence and has choreographed for shows incluring The Pirates of Penzance. He is thrilled to be performing with the CU G&S Society at the Minack.

Lauren StokeldDame Hannah

This is Lauren’s second Minack and eighth G&S production. She has previously been a drunk punk Fairy Queen (Iolanthe) and the middle little maid, (The Mikado) as well as co-directing Yeomen of the Guard last year with the inestimable Elizabeth Blackmore. She enjoyed a blessed and unexpected year as Chair of the society until February 2012, having only gone to the AGM on the promise of free food. True story. Sadly, she will be abandoning G&S for a while as the year abroad of her Languages degree takes her to Germany to work for a chamber music festival. She has spent the last couple of weeks meticulously researching her role as pub landlady in the King’s Arms at Paul.

Matt Elliot-Ripley

Robbie CampbellSir Rupert Murgatroyd

Robbie is ending his career with the Cambridge University G&S Society as he started it with Ruddigore, forming some sort of delicious operetta/musical sandwich containing such delights as Annie Get Your Gun, The Pirates of Penzance and Yeomen of the Guard at the Minack theatre in 2008. He is delighted that, with so many fine tenors in the cast, he finally has the chance to sing as a bass! Having graduated with a PhD in Physics in July he is now looking for a job - please contact him if you have anything going…

Elizabeth MorlandRuth

Having taken a gap year, Elizabeth is excited to be beginning a degree in Maths at Oxford in October. She has always enjoyed performing in both musicals and operas but this is her first G&S production. The youngest member of the cast, she felt very welcomed if a little mothered by the other performers.

Helen OxenhamZorah

This is Helen’s third show at the wonderful Minack (The Pirates of Penzance, 2011; The Gondoliers, 2010) and her ninth with the Cambridge University Gilbert and Sullivan Society (The Sorcerer 2012; The Mikado 2012; The Yeomen of the Guard 2011; Iolanthe 2010; The Grand Duke 2009; The Gondoliers 2009). Of all of these, her favourite review came from her role as Pitti-Sing in The Mikado, where it was said that “one could smell just a hint of psychosis as she bounced up and down beaming.” When not bounding around a stage, Helen is a PhD student in Medieval History at King’s College, learning about early medieval Irish women.

Rosie CornerWitch and Company ManagerRuddigore will mark Rosie’s third time being burnt at the stake. Previous fiery encounters have involved a run in with vampire hunters in the Normandy countryside in the amateur horror film Alucard’s Holiday and a stint as Joan of Arc in the self-penned one-woman show The Beginner’s Guide to the Opera. When not cackling wildly, Rosie has been feeding the ravenous hordes in Paul village hall and never, ever wants to see another ham. Rosie studied Geography at Churchill College, and dreams of one day running her own travelling opera company.

Alexander PalmerChorus

Alex is a Music student at St. John’s College. He likes to dabble in many pies, and with the G&S Society he produced the 2011 Freshers’ Show (The Yeomen of the Guard), and performed as Alexis in the 2012 May Week Show, (The Sorceror). He also directs the CU Show Choir, is the CUADC Publicist, is a tenor in Peterhouse Chapel Choir and plays the cello in various university orchestras. This coming term he is composing music for two plays and directing the CU Show Choir: Christmas Special.

Elizabeth SchenkChorus Elizabeth has just finished her first year at the University of Cambridge where she is studying Education with English and Drama. Throughout each term she has been as involved in as much theatre as possible, and has acted in seven shows including Bird Pie (Winner of the RSC/Marlowe Society ‘Other Prize’) by Simon Ryle. She also stage managed the Cambridge Footlights Spring Revue 2012: Donors, co-directed an adaptation of The Canterbury Tales and directed a devised show called Interruption which performed at the Edinburgh Festival Fringe this summer.

Elizabeth BlackmoreChorus

Elizabeth is about to go into her third year studying History at Trinity Hall, Cambridge, and has been involved with Gilbert and Sullivan since her first term at university. She is a keen performer, with credits including Iolanthe, Far from the Madding Crowd, Orpheus in The Underworld (Cupid), and a stint with the university’s Light Entertainment Society as a murderous schoolgirl. She also relishes getting involved behind the scenes, having produced The Mikado and H.M.S. Pinafore - On Punts! and co-directed The Yeomen of the Guard with fellow society member Lauren Stokeld. She sings in Trinity Hall choir, and is currently serving as chair of the society.

Harley JonesChorus

Harley is a Music student and choral scholar at Selwyn College. He performs regularly with the Cambridge University viol consort, recorder ensemble and concert band (baritone horn), and has conducted the Selwyn College Orchestra. His contributions to the G&S society have included répétiteuring, playing viola in the band, singing in the chorus of Iolanthe, (Buxton 2011) and recently was cast as Sir Marmaduke (The Sorceror). When not performing, Harley is a keen tiddlywinks player, competing in national tournaments and currently ranks 50th in the world.

Fiona AllanChorus

Fiona studied on a Bachelor of Music in her home town of Glasgow before moving to London to train in Music Theatre at The Central School of Speech and Drama. She recently returned from spending a year in Barcelona working for an English Theatre Company. Fiona is very excited to be involved in her first piece of G&S in such a beautiful setting.

Dylan MorrisChorus Dylan is a postgraduate student in History at Clare College. He has appeared with G&S as Sir Richard Cholmondeley, (Yeomen of the Guard) sings in the Choir of St Catharine’s College, and looks forward to directing this autumn’s Society production of Princess Ida. Dylan is thrilled to be making his Minack Theatre début. How thrilled? Well, do you know how happy the lily when kissed by the bee, the blossom that blooms on the lea, and likewise the opossum that sits on a tree are? He’s happier than any, a pound to a penny.

David BooerChorus

David has just finished his first year studying Maths at Selwyn College. He sings in Selwyn chapel choir, and this is his second show with CU G&S Society, having been in the chorus of The Mikado (Mumford Theatre) in spring this year. He has been excited about coming to Minack all year, his parents having done it before him. Other productions include Grease, Kiss me Kate, My Fair Lady, Annie Get Your Gun, and Godspell as Jesus.

Kiki Betts-DeanChorus

Kiki is currently studying History at Selwyn College, and she also sings with the Choir of Clare College. This is her first stage show and she is thoroughly excited to perform at the Minack. In her spare time, Kiki dabbles in amateur journalism and accordion-playing. She also enjoys long walks on the beach.

Chris NashChorus

Returning to the Minack for the third time, Chris cannot resist the draw of this picturesque spot. He is entering his final year of Engineering, and has been involved with several shows as either musical director or as cast. Recent roles include Leonard in Yeomen of the Guard, chorus in The Pirates of Penzance and AMD for The Gondoliers.

Crew Biographies

Davina BarronDirector

Davina is beginning her fourth decade as she spent the entirety of her third: embracing the ruddy-gorgeousness of G&S. She studied English at the University of Cambridge, trained in the creative arts at Central School of Speech and Drama in London, and has just graduated with a PGCE. Whilst at Cambridge, she was a choral scholar at Jesus College, Chair of the CU G&S Society and involved in many of their productions as both performer and production team. She is extremely excited to be returning to the Minack Theatre for lucky number six after appearing as the piratical maid-of-all-work, Ruth, in last year’s The Pirates of Penzance; as Psyche in Princess Ida (2006); and as chorus in Iolanthe (2005), H.M.S. Pinafore (2007) and The Gondoliers (2010).

Davina directed the Society’s Iolanthe (2006) and the sell-out run of The Pirates of Penzance at Cambridge Arts Theatre (2008). Her professional performance credits include My Fair Lady, (2009) Guys & Dolls (2010), and recent performances of Iolanthe (2011) and Ruddigore (2012) at the Buxton Opera House.

She is extremely grateful to be working with a truly exceptional team and company, and to

have the opportunity to return to the breathtaking Minack Theatre.

Dan SmithMusical Director

Dan received his early musical training as a chorister in Magdalen College Choir, Oxford, under the direction of former King’s Singer Bill Ives. There he sang on a number of professional recordings, including a Grammy-nominated disc of Orlando Gibbons’ music, and toured extensively. He was a junior at the Royal College of Music, and was Assistant Organist at Exeter College, Oxford, during his sixth form. Dan has just graduated from Sidney Sussex College, Cambridge, where he read Music, and was Organ Scholar and President of the Music Society. As a Musical Director, his theatre credits are diverse, including Pergolesi’s baroque opera La Serva Padrona (Cambridge University Opera Society), a new pantomime of Treasure Island (Cambridge Footlights), a staged performance of Bach’s Coffee Cantata (Trinity College Music Society), and incidental music for Shakespeare’s A Midsummer Night’s Dream (Cambridge Arts Theatre). Dan first came to the Minack Theatre as Associate Musical Director for The Pirates of Penzance in 2011, and he is delighted to be returning to conduct Ruddigore.

In October 2012 he will take up the post of Organist and Assistant Director of Traditional Music at the First United Methodist Church in Lubbock, Texas.

Becky ShercliffAssistant Director

Becky is going into third year studying Anglo-Saxon, Norse & Celtic at St. John’s College. She started Assistant Directing with last year’s production of The Pirates of Penzance at the Minack. This year she has Assistant Directed Die Fledermaus with CUOS and been Costume Mistress for The Yeomen of the Guard. She has also enjoyed performing in the chorus for Iolanthe, H.M.S. Pinafore – on Punts! and South Pacific. Becky feels very lucky to have the chance to work with such a talented, genuinely lovely company, and to become so involved with every aspect of the production. In fact, as you read this, Becky is probably backstage somewhere mending Matt Elliot-Ripley’s costume (again!)

Declan CorrAssociate Musical Director Declan has just finished his second year at Jesus College, where he is a choral scholar. As a pianist, Declan has been in demand as a recitalist, accompanist and répétiteur, and completed the DipABRSM in 2009. He has recently moved into Musical Direction, for which he owes a great deal to CU G&S for providing such fantastic opportunities. Previous roles include Ralph Rackstraw, (H.M.S. Pinafore – on Punts!) J.W. Wells, (The Sorceror) AMD (The Yeomen of the Guard); and Consultant MD (The Mikado). In his spare time, Declan pursues a keen interest in photography and is training to be a doctor.

Stuart MooreProducer Stuart arrived in Cambridge in 2001 and has somehow failed to leave; he’s currently finishing a PhD in teaching computers the art of English grammar. This is his 42nd (and final) student show; he can normally be found wielding power tools to build set, occasionally pretending to be a lighting designer, and on one occasion finding himself on stage at the Edinburgh Fringe after several cast went home. Davina introduced him to the G&S society and his first Minack, Iolanthe in 2005; he’s been down every year since, except 2009 when he was touring America with Two Gentlemen of Verona (but he still built the Minack set before leaving).

Helen BernackiChoreographer Helen’s first taste of Ruddigore was in 2007 when she directed it – the cast was double the size and the stage was ten times smaller, but she fell in love with the show and jumped at the chance to choreograph it at the Minack. Helen studied Achaeology at Cambridge but has been living in the real world for two years now; this show is a lovely way to escape for three weeks! Previous choreography experience includes: The Mikado, (2007) The Tempest, (2007) Ruddigore, (2007) Patience, (2008) Cox and Box (2009) and Gigi (2009).

Emma GaitAssistant Musical Director

Emma is a final year Music student and choral scholar at Selwyn College. She is vice-president of CU Chamber Orchestra, with which she has performed under such prestigious conductors as Sir Roger Norrington and Sir Mark Elder. As a soloist Emma has performed live on local radio and television. As AMD her duties include leading the orchestra, acting as rehearsal pianist for cast rehearsals, and putting together a 20-strong orchestra.

Graeme SneddonSound Designer

Graeme recently graduated from the University of Cambridge with a degree in Natural Sciences. He has just returned from the Edinburgh Fringe, where he worked as a venue technician for Pleasance. Recent Sound Design credits include Jerry Springer: The Opera, Highlight, Guido! The Gunpowder Treason Plot (ADC Theatre) and The Mikado (Mumford Theatre). Graeme is delighted to be returning to the Minack Theatre, having worked as Assistant Sound Designer on last year’s production, The Pirates of Penzance.

Ollie DuffTechnical Director Ollie got his start in theatre at school, poking around lights atop wobbly ladders, and hasn’t kicked the habit since coming to university; he’s previously worked as a carpenter on The Gondoliers and The Pirates of Penzance at the Minack Theatre, and over 20 shows around Cambridge. Ollie is a Chemistry graduate from Queens’ College.

Vicky GreenLighting Designer Vicky is a third year studying Politics, Psychology and Sociology at Selwyn College. Her first foray into the world of student theatre was as a member of the Stage Management team on The Duchess of Malfi (Howard Theatre) and The Lonesome West (ADC Theatre). However, after a few weeks galavanting around Europe as part of the European Theatre Group she made the transition to lighting, working on The Seventh Seal and The Hunchback of Notre Dame (Corpus Playroom). She sincerely hopes the actors will be visible in this production.

AndrewFeatherstoneSet Designer After visiting the Minack last year Andrew couldn’t resist being involved in this production. Usually you can find Andrew covered in sawdust and glue turning the set designer’s sketches into reality, but this year he’s let his creative side out. When Andrew’s not enjoying amateur theatre he’s slowly renovating his house, which is never quite as exciting as getting involved in the next show. Andrew would like to thank Davina for her creative input, and Ollie and his set construction crew for all their hard work.

Craig SladePublicity Craig studies English when he isn’t doing graphic design. He currently designs for amateur and professional clients including the Cambridge Union and Varsity and has just returned from the Edinburgh Festival Fringe where he was Design Co-Ordinator for C Venues. Spending most of his time designing (comparatively) straightforward booklets, the experience of publicising something as fun as Ruddigore (and with such an exceptional group of people) is one in which he is revelling.

Georgie HughesDeputy Stage Manager Georgie studies Astrophysics at St Catharine’s College. A keen flautist at school, she began Stage Managing at Cambridge, where past shows include The Lonesome West, The Sorceror, and Donors: The Footlights Spring Revue. She is looking forward to cueing her first show at the Minack.

Sophia GriffithsCostume Designer

Having previously costume designed Cardiff based plays and pantomimes Sophia is thrilled with the new challenge and great honour of designing at the Minack. She’s currently studying Fashion and Textiles at Cardiff Metropolitan University and looks forward to pursuing a bright future in costume, should she survive her encounter with the Bad Barons of Ruddigore.

Adam SmithStage manager Adam is a second year Maths student at Queens’ College. He is looking forward to his first encounter with Gilbert & Sullivan and outdoor theatre. Previous experience includes Stage Manager of Footloose, (ADC Theatre) Deputy Stage Manager of Burnt By the Sun and Richard II (ADC Theatre) Production Manager of As You Like It (C Venues, Edinburgh) and this winter’s European Tour of King Lear.

Will WykehamChief Electrician Will is here under the mistaken apprehension that doing theatre makes for a nice relaxing holiday. His theatre experience includes turning most of a forest into opera set (Marriage of Figaro, West Road Concert Hall Cambridge, February 2011), filling an auditorium with tentacles (Return to the Forbidden Planet, ADC Theatre Cambridge, March 2007), drinking lots of cider (HMS Pinafore, Minack September 2007) – and he once spotlit Rod Stewart at Windsor Castle.

Programme designed by Craig Sladecraig.slade@live.co.uk

ThanksThe company of Ruddigore would like to thank the following, whose help and support has been invaluable in bringing our production to the stage.

Ben Hosford, Stuart Webb, Giles Fleming, Sam Clear, Richard Bates, Florence Carr and Ingrid Jendrzejewski at the ADC Theatre, Cambridge, Phil Jackson and the staff of the Minack Theatre, Peter Hoyes, Mike Rudin, Duncan Wood, The Beast of Basingstoke, Doug Deboys, The SoD, Jon Rodda, The companies of Cambridge American Stage Tour and Pembroke Players’ Japan Tour, Morvah Stubbings and the staff of the King’s Arms in Paul, Gary and John at Jewsons in Penzance and anyone else who has helped us since this programme has gone to print.