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 Martins
Bank Operatic Society in Ruddigore by Gilbert and Sullivan
Staged:
25 to 29 March1958 at the Crane Theatre Liverpool
Under their new title of Martins
Bank Operatic Society, the group of players formerly known as the Society of
the Arts has already staged one production in 1957 – a reprise of their
popular version of “The Mikado” first offered some eight years earlier. The
Society of the Arts now encompasses the Argosy Players in Liverpool, the
Cicala Players in London, Martins Bank Players (North Eastern) in
Newcastle-upon-Tyne, and the Manchester Players. It seems astonishing today that one
organisation could have spawned and nurtured quite so much acting and singing
talent. Each performer gives of their
own free time to put on a show that will be remembered, and their legacy is
here amongst our “Song and Dance Pages” where we will bring you every one of
ther performances for which we have pictures and details. Every show depends on revenue from ticket
and programme sales, and formal audited accounts are kept to see which has
made a profit, and which has made a loss.
In 1958, Martins Bank Operatic Society chooses another Gilbert and
Sullivan opera – “Ruddigore”. The
ambition of the the production team knows no bounds this time, as there are
no less than SIX performances – five evenings and one matinée. Martins Bank Magazine gets in on the act,
rightly proud of ALL of the Bank’s amateur dramatic and operatic societies, it
gives over several pages and a number of pictures to “Ruddigore”. All this, when the opera itself is not even
considered to be a particular favourite with audiences!
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 FOR their
1958 production the Operatic Society chose the Gilbert and Sullivan opera
“Ruddigore”, production taking place from March 25th to 29th inclusive,
with a Saturday afternoon matinee as well. It was paradoxical that for the
production which in many ways was the most technically faultless of any
production yet the support accorded was so disappointing that a large loss
was incurred. The fact is, however, that “Ruddigore” has never been one of
the top favourites and two other factors also militated against the box
office—the
week chosen was that during which the Birkenhead Amateur Operatic Society
were at the Royal Court Theatre and the matinee clashed with the Grand
National.
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Chorus in the village
scene outside Rose Maybud’s cottage
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Nevertheless, the performance delighted
good audiences and the later performances were well attended. The producer,
May Collins, working with our Society for the first time, and the Musical
Ditector, Basil Williams, are greatly to be complimented on the very high
standard of the production. The
timing of the choruses, the quality of the acting—not
always remarkable in
amateur performances of Gilbert and Sullivan, and the beauty of the singing
in which particular attention had been paid to enunciation, all bore the
stamp of an exciting, enthusiastic and most patient team. We have never had a better.
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Chorus Scene in the
Ancestors’ Gallery
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The performances of the leading players
were without exception of a very high order, but, if there was an Oscar to
be awarded, we would have to give it to Denis Smerdon for his portrayal of
the nautical Richard Dauntless. He
was up to professional standard and his dancing was a delight to
watch. Jack Holroyd as Sir Ruthven
Murgatroyd has a tenor voice of most pleasing quality and rendered his
various numbers beautifully. We are most grateful to him and to Denis
Smerdon for helping us out with these two parts which we were unable to
cast ourselves. It is sheer delight
at any time to listen to the double bass of Bill Morris and he was
perfectly cast as Sir Despard Murgatroyd, the bad baronet. He enters with
complete abandon into parts such as this and never fails to carry his
audience away. Jill Winship is a
comparative newcomer to the Bank and this was her first appearance with the
Operatic Society.
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The Chorus of
the Professional Bridesmaids
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E Hilary Webster
and Joan Gilroy
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Jack Holroyd and
Mary Nelson
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Jill Winship and
Bill Morris
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For sheer brilliance of acting as
Mad Margaret her performance left nothing to be desired and the part is not
easy for an amateur. By contrast,
Mary Nelson as the artless and innocent Rose Maybud, has never sung better
and she seems to improve in '' carrying '' power and in clarity of diction
each year. It is a pleasure to be able to say that in our opinion Phyllis
Ritchie as Dame Hannah gave us the best performance she has yet given and
she reached the heights in her singing of " There grew a little flower."
The soft, sad cadences seemed to suit her voice perfectly and every word
was heard clearly. James Robertshaw
as Old Adam Goodheart gave us a little gem of portrayal and Don Gilroy as
the ghostly Sir Roderic Murgatroyd was most impressive. The professional
bridesmaids, E. Hilary Webster and Joan M. Gilroy, sisters, are talented
singers who can be relied upon to give an intelligent and attractive
performance: they did not disappoint us.
The chorus of fifteen girls was one of the strongest we have had and
included one or two singers, such as Pamela Rooke, who are solo singers in
their own right. The resulting team was beautiful to listen to, and certain
most beautiful to gaze upon. The
chorus of gentlemen, also, was a strong one and we are most grateful to
several outside friends who joined it to make up the required numbers.
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