FROM THE MOMENT the curtain opens on the fishing village of Rederring in Cornwall, the set stands out as the star of the Gilbert and Sullivan Players' latest production, the three hours operetta Ruddygore. Unfortunately, the cast has a difficult time living up to the set designer's stunning visualization of the tangled G & S plot. Whereas it is often difficult to hear the singers over the heavy-handed orchestra, the set, with its lovely panorama of country landscape in the first act, and its gloomy display of life-size portraits in the second, is always visible.

Nevertheless, Ruddygore is eminently entertaining, filled with the usual assortment of rapid-fire patter, romantic solos, and melodramatic ditties by the choruses. Perhaps one of the least known operettas, it has an intricately woven, often convoluted plot that contains more horror and violence than standard G & S fare such as the Mikado and H.M.S. Pinafore. This cast tackles the play admirably, cleverly filling the set with country dances, mystical developments, and mad cavorting by deranged characters.

While mocking popular melodramas of the late eighteenth and early nineteenth century England, Ruddygore is a melodrama in its own right. The plot revolves around a country gentleman Robin Oakapple (Phillip Resnick) who has run away from his position as the duke of Murgatroyd because in order to be duke, he must follow a long-standing family tradition and (of course) commit a crime a day. Oakapple falls in love with the beautiful village maiden Rose Maybud (Erika Fox Zabusky) who has a particular fetish with etiquette.

Wandering into the storyline are Richard Dauntless (Dan Hovey), an old friend of Robin who knows his true origins and fall in love with Rose; Sir Despard Murgatoyd (David Chase) Robin's younger brother who inherited the family curse after the supposed death of his brother and who plans to carry Rose off as one of his crimes, and Mad Margaret (Katherine Sommers), who is desperately in love with Sir Despard, Professional bridesmaids--frustrated country maids--and country gentlemen who later double as Murgatroyd ghosts provide delightful choruses and cavort and dance all over the stage.

THE PLAY is cleverly staged, with the actors taking full advantage of the set. When Mad Margaret enters at the end of the first act, she waltzes all over the stage, revealing her violent hatred of the goody-goody Rose Maybud. Sommers as Mad Margaret belts out her lines in a clear resounding voice and her chaotic motions brilliantly convey her characters madness. Also hysterical is the etiquette scene between Rose Maybud and the sailor Richard--known fondly as Dick--during which Dick proclaims his love for Rose and she responds by referring to her manners book. Their voices blend well in this scene and during other songs throughout the show.

Resnick, as Robin, is unfortunately the hardest to hear. He has occasion to sing numerous solos, most of which get drowned out by the frequently overpowering orchestra. Resnick has an excellent stage presence and he delivers his dramatic lines well, strongly conveying his character's unwillingness to accept his role as the crime-committing Duke of Murgatroyd. Yet he speaks his songs, and we never get a chance to hear his real voice.

Ruddygore is a visual feast; not only are the sets remarkable, but so are the colorful original costumes, and the varied lighting. The biggest surprise comes in the second act when the life-sized portraits turn into the living ghosts of Sir Murgatroyds' ancestors. The combination of stage trickery, thundering music, black and red lighting, and grayish make-up make the scene extraordinarily effective.

The show runs for three full hours, and perhaps could have been pared down to a more manageable two to two and a half. Many of the superfluous, though funny, moments come during non-musical scenes, with the extravagant gesticulations of the characters, especially the chorus. During last Friday's production, the show was unexpectedly halted in the middle of the first act by a fire caused by a faulty cable. After a 30-minute delay, with the smell of burnt wire filling the theater, the actors reconvened. The smooth continuation of the play is true credit to the cast and crew, who didn't let the fire break their concentration.

The cast's quick reaction to a near-tragedy erased the audience's concerns, and the play continued without a hitch. Audiences who will see the musical this weekend hopefully will not smell burnt wires and see flying sparks. The lively production of this clever, melodramatic score has plenty of sparks of its own.