Review: RUDDIGORE at Gilbert And Sullivan Society Of Houston

Boy, I wanted to enjoy this way more. I have been an ardent fan of the Gilbert and Sullivan Society of Houston since I moved to Houston in 2021, and their post-pandemic performance of HMS Pinafore left me excited for future G&S Society of Houston productions. In 2023, they followed up HMS with Pirates of Penzance (the first of what I hope are many showings of this production), and again, I was excited to see what 2024 would bring. Unfortunately, with a change of venue, while there were some incredible performances, much was left to be desired. 

In Gilbert and Sullivan's 'Ruddigore,' a unique twist unfolds as Robin Oakapple, a shy and virtuous gentleman, assumes the identity of the villainous Sir Ruthven Murgatroyd to escape a family curse. This curse, a Murgatroyd Baronet's daily crime or painful death, has been haunting Robin's ancestors, forcing them into a life of crime against their will. As the opera unfolds, Robin falls in love with Rose Maybud, a beautiful and virtuous maiden who only loves terrible men. Meanwhile, Robin's younger brother, Despard Murgatroyd, has been living as a villain to satisfy the curse's demands. Robin's true identity is eventually revealed, complicating matters further. Filled with Gilbert's witty satire and Sullivan's lively, engaging music, 'Ruddigore' explores morality, identity, and the absurdity of rigid social expectations. The opera culminates in a resolution that upends traditional operatic conventions, delivering a humorous and satisfying conclusion to its quirky tale.

The negatives of attending a performance for Ruddigore are genuinely fixable. Performances have changed from Zilkha Hall at the Hobby Center for the Performing Arts to the Cullen Performance Hall at the University of Houston - Main Campus. This venue change is detrimental as it is tough to attend. The parking garage is a little more than half a mile away, and while there is a valet, it is quite a hot commodity that results in long lines. Furthermore, the staff at Cullen Performance Hall are pretty rude. At my performance, I noticed several rude ushers and box office staff being belligerent with other customers. Be aware of this before attending a performance at the Cullen Performance Hall; it is not for the faint of heart. Dear Gilbert and Sullivan Society of Houston, please return to the Zilkha; you had sold-out performances and a magnificent atmosphere, unlike what I experienced at the Cullen. I am sure Houston audiences will appreciate the return, even if it means changing the dates in the summer. Let us know the dates as soon as you can so we can plan our vacations around it. 

Despite some low-energy moments in the first part of the show, there were still some exceptional performances. Two standouts were Dennis Arrowsmith as Sir Despard Murgatroyd and Lisa Borik Vickers as Rose Maybud. Borik Vickers, with her exceptional voice and presence, injected a new energy into the performance upon her entrance as Rose. However, with such a large cast, Vickers had a challenging task to keep the energy up, and she was greatly aided when Houston's audience favorite, Dennis Arrowsmith, graced the stage. Arrowsmith's presence changed the dynamic of the production, and the theater came alive once he entered with a Phantom of the Opera-like flare. Vickers and Arrowsmith on stage together was a force to be reckoned with, and I look forward to seeing them in future productions, especially while tackling a Gilbert and Sullivan score. 

Another highlight of the production was the exceptional performances from the Women's and Men's Chorus. Both groups, despite some low points in energy, managed to keep the charisma and comedy alive. They truly deserve to be acknowledged by name. The Women's Chorus, featuring Justine Ash, Tiffany Dawkins, Melisa Gultain, Lena Lowe, Whitney Wells, Tarryn Ballard, Giselle Bautista, Emma Hayden, and Samantha Taylor, and the Men's Chorus, featuring Zaccai Campos, Geoff Copper, Trey Fitzgerald, Joe Key, Benjamin Rorabaugh, Jadon Campos, Gage Campos, Zachary Frank, Mike McCarver, Joe White, and Martin Wolff, all made significant contributions to the production and exemplified the power of a fantastic chorus in enhancing a production. 

There are negatives design-wise, and I hope that in future productions, this will be improved. Stages' scenic superstar Jodi Bobrovsky is the scenic designer, and Bobrovsky was not given the tools to work with to create what were previously exceptional sets from these summer productions. The giant projection of a lighthouse is highly distracting and does a disservice to the production. I hope that Bobrovsky is given the proper tools to create compelling scenic elements in the future. Furthermore, it felt like I was attending a technical rehearsal rather than a finished product. The surtitles could not focus and kept being moved constantly. This annoyance only added insult to injury to these amazing Houston designers and their work. 

All this to say, I do hope that audiences will attend this year's production. I can't emphasize enough how much this organization means to the Houston community. The Board President makes a call to action in the Playbill for audiences to attend productions of the Gilbert and Sullivan Society of Houston. Mr. White, I implore you to aid the organization in helping keep audiences front of mind in the future. You are the president of a board that is a unique and historic organization. While I will always support this organization in any way I can, this year's production has a tremendous need for improvement, and I implore that the audience will be at the forefront of my mind in the future. 

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Audiences, I urge you to see this production and support this organization, whether by donating, attending the performance, or both. The show closes on Sunday, July 28, 2024, with only two performances left. Tickets can be bought at https://gilbertandsullivan.org/ruddigore or by calling their box office at 281-724-8363. Your support is crucial in keeping this unique and historic organization alive.

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