Casting Talent for Production of "Ruddigore"

Singing Range: Light Baritone, low B flat (A if possible) to E above middle C. Character: Ruthven (pronounced “Rhiven”) starts the show as self-effacing “Robin”, a modest farmer. They are actually Sir Ruthven Murgatoyrd, heir to the Murgatroyd curse and a villain-in-waiting. Whilst their character switches from “good” to “evil” between acts, they manage to be remarkably unconvincing as “the bad guy”. The role requires excellent comic timing and some fast patter-singing.

Singing range: Lyric Soprano, 2 octaves to top B flat. Character: Guided in life, to an absurd degree, by a book of etiquette, Rose Maybud is a heroine in search of their hero. The only problem is that in this village, we can’t seem to figure out who the hero is. Rose wants to play by the rules, but the people around them keep eschewing clear guidelines. With their heart as the village’s most esteemed prize, what happens when there is no clear “winner”?

Singing Range: Tenor, up to a high B flat. Character: Richard (Dick) is a charming, flirtatious, larger-than-life sailor and spinner of tales who manages to look out for their own interests while playing the role of earnest wingman. They follow their heart, but their heart suspiciously leads them in the direction of whatever seems best for good ol’ Dick at that moment.

Singing Range: Baritone, low A to E above middle C. Character: The looming Bad Baronet of Act 1. An imposing villain with a soft, squishy interior. Despard was not born to inherit the Murgatroyd curse, but assumed the duty when their elder brother Ruthven was presumed dead. They undergo a substantial character transition when relieved of their villainous duties. They finally get to be good, but is being good actually really all it’s cracked up to be?

Singing Range: Mezzo, low A to F two above middle C. Character: A young woman who has lost their chance at love has no place in this village. So what else is there to do for a woman scorned but to go bananas? Mad Margaret leans into the “crazy” betrayed woman trope. But when presented with their opportunity to once again be a respectable lady, Mad Margaret reveals that maybe being a “mad woman” was actually a lot more fun.

Mezzo/Contralto, low A flat – E two above middle C. Character: Dame Hannah has a certain ‘panto dame’ style about them. A narrative lynch pin, Dame Hannah oversees the much discussed romantic pursuits of her charge, Rose, informs the village (and audience) about the villainous shadow of the Murgatroyd curse, and drives home the longheld impact of the curse on the village through the ill-fated, but longed for romance between with Ruthven’s uncle and former Bad Baronet, Sir Roderic.

Singing Range: Bass, Low E flat (below the bass stave) to D above middle C. Character: Loyal servant of Ruthven, all Old Adam wants is to be able to call their beloved charge by their true name. When their employer is called to villainy, they might take to the job with more zest than their sworn Baronet. With only the briefest of singing moments, this is a wonderful character role.

Singing Range: Bass-baritone, low A flat to D above middle C. Character: Provides humanity, humor, and empathy to the Murgatroyd curse. Leads one of the show’s key numbers “When the Night Wind Howls”. His tragic, unfulfilled romance with Dame Hannah demonstrates how the curse has impacted previous generations of Murgatroyds and the village.

Singing Range: Soprano, with easy G. Character: Professional bridesmaid. Has truly Had-it-Up-to-Here with Rose and Ruthven/Robin’s will they/won’t they romance. She can’t get married or fulfill her job bridesmaids duties until Rose gets married. Think less Bridesmaid and more Wedding General. She didn’t get to be head of the Bridesmaid’s union by sitting on her gown.

A group of 8 prior Bad Baronets/Baronesses. Small group singing opportunity. Will also be chorus members. (Please note that the inclusion of “Baronesses,” which diverges from the script, is dependent on audition turnout, chorus sign ups, and identifying/creating suitable choral arrangements and is not yet guaranteed.)

A core group of Bridesmaids. Small group singing opportunity. Depending on chorus size and make up, may be the sole bridesmaids. Will also be chorus members. (Please note that this is primarily for staging purposes, and that the full “women’s chorus” will still be singing the majority of parts labeled “Bridesmaids” in the score. This opportunity is not confirmed and will depend on audition turnout and chorus sign ups.)