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Anglo-American Music Theater I

Summary: Gothic Nautical

MUSI 730 Anglo-American Operetta and Musical Theater I
Assignment 1: Chapter Summary by Felix Polendey

Williams, Carolyn. “Mixing it Up: Gothic and Nautical Melodrama in Ruddigore.” Chapter 10 (pp. 274-293) in Gilbert and Sullivan: Gender, Genre, Parody. Chicago: Northwestern University Press, 2008.
Summary.
Gilbert and Sullivan’s Ruddigore (1887) presents a genre clash between gothic and nautical idioms. Using those gothic and nautical ideas, G&S incorporate supernatural melodrama, village or seduction melodrama, and nautical melodrama. Some examples include: a witch’s curse on the Baronets of Ruddigore to coerce evil deeds (supernatural melodrama); a love triangle between the three main characters and the parody of marriage (village or seduction melodrama); and the plot of “bad Baronets” dastardly deeds, guilt, remorse, and reform (nautical melodrama).
The main plot point in Ruddigore is the love triangle between Rose, a village maiden; Sir Ruthven Murgatroyd, a baronet disguised as Robin Oakapple, a younger farmer; and Richard Dauntless, his foster-brother. Robin is in love with Rose, and Rose is in love with him. They are both reluctant to confess their love to each other; Robin is incredibly shy, and Rose, who takes her direction from an etiquette book, cannot profess her love until she has been spoken to. Richard goes to Rose on Robin’s behalf, but ends up falling in love with Rose, proposes, and she accepts. Robin, through his jealousy, begins to insult Richard, thus swaying Rose’s love toward him. Robin’s true identity is revealed when his younger brother, Sir Despard Murgatroyd, interrupts the wedding and announces that he is the new “Bad Baronet”, thus forcing Rose to change her mind again.
Key points in this chapter:

G&S use of live pictures, or tableaux, to further parody gothic melodrama is another device covered in this chapter. In the beginning of act two, the scene shifts from village to castle to set the stage for the family Portrait Gallery. This “gallery” comes to life to provide humor and to make sure the family curse is being executed by “Robin”. This theatrical device alludes to pictures hanging in gothic castles that suggest that the dead are still alive and always watching.
Williams discusses G&S treatment of madness, an allusion to the mad scenes found in bel canto opera. The character Mad Margaret has been characterized as dishevelled and crazed due to her love for Sir Despard Murgatroyd. In her madness aria, “Cheerily carols the lark…” Margaret laments her loneliness. This aria is reminiscent of the mad scene in Donizetti’s Lucia di Lammermoor.

Upon returning to the castle, Robin’s late uncle, Sir Roderic Murgatroyd, orders him to commit a crime, or perish in horrible agony. He orders him to abduct a girl which Robin reluctantly agrees. He puts this task in the hands of his servant Adam, who ends up capturing Dame Hannah, Sir Roderic’s former lover. During this chance reunion, Robin has an epiphany: If a baronet of Ruddigore who refuses to commit the daily crime must die, then that refusal is “tantamount to suicide”, which is a crime in itself. Due to this loophole, Rose changes her mind again and falls into the arms of Robin.
Sources.
William’s sources include the script and libretto of Ruddigore using direct quotations and stage directions from those sources. Secondary sources included other operettas by G&S and referencing other early 19th century works.

Summary: Gothic Nautical

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