ALTHOUGH widely acknowledged as one of Gilbert & Sullivan less successful collaborations, Ruddigore nevertheless has enough substance to please the hard core of G & S cognoscente.

And the Society would be delighted to see so many them at the Lawrence Batley Theatre for the opening night of this season’s production.

The 10th of the 14 pieces of work from pen of W S Gilbert and Arthur Sullivan, Ruddigore relates the story of Sir Ruthven Murgatroyd, who disguises himself as a gentleman farmer, to escape the family curse which demands the present Baronet commits at least one deadly crime a day.

In his guise as Robin Oakapple, who falls madly in love with the village’s most eligible young lady, Rose Maybud, who in turn, flits between Robin and his returning mariner friend Dick Dauntless, played by Paul Richmond.

Throw in Sir Despard Murgatroyd, who has been carrying on the family’s curse in the supposition his elder brother is deceased, Mad Margaret a former flame of Sir Despard, a gaggle of professional bridesmaids and ‘paintings’ which come to life, and there is an ample recipe there for the usual comic opera confusion.

Ian Grange was the hard-working Sir Ruthven (alias Robin) who had the show’s best comedy lines (including a topical reference to ‘expense accounts’ which brought with it the best response of the night and a round of applause) while Elaine Clelland sang with great assurance as the virtuous maid Rose Maybud.

Society chairman Bruce Merlin as wicked Baronet Sir Despard, gave a perfect demonstration on how to enunciate every word, something some of his fellow principals never quite achieved, when, without amplification it was often difficult to pick up the dialogue, although he was not alone in rather drawn-out deliveries.

Becky Gregson-Flynn gave a super portrayal as Mad Margaret, revelling in the lunacy of the character, while there was a nice little cameo from G & S stalwart Richard Buxton as Robin’s old retainer Old Adam Goodheart, and John Ramsdin, as always, excelled vocally as Sir Roderic Murgatroyd, along with Celia Poole as the ‘village spinster’ Dame Hannah.

Musical director Simon Ackroyd drew some fine ensemble signing from the company in the first act finale, while the pick of the numbers for me, was the Patter trio (My eyes are fully open), although that of course was purloined from the earlier Pirates of Penzance.

The production runs until Saturday (7.30pm) when there is also a matinee at 2.30pm.