cases Hulme was uncertain as to which conductor was responsible for which change. The most conspicuous changes were as follows: Geoffrey Toye, the D'Oyly Carte musical director for the first London revival in 1921, supplied a new overture to replace the original overture arranged by Hamilton Clarke. The playoffs to the Act I numbers "Sir Rupert Murgatroyd" (No. 2) and "If somebody there chanced to be" (No. 3) were shortened. In the Act I song "My boy, you may take it from me" (No. 7), the repetitions of the introduction were omitted, and only the last repeat with Richard was retained. The Act I duet "The battle's roar is over" (No. 8) was cut. Some cuts were made within the Act I finale (No. 15) to shorten transitions between sections. Drum rolls and other orchestral effects were added to the ghost scene in Act II (Nos. 19–20) The Act II recitative and patter song "Away, remorse" ... "Henceforth all the crimes" (No. 21a) was cut. The "Melodrame" (No. 24) was cut. The Act II finale was replaced. The finale as composed and revised by Sullivan had consisted of "When a man has been a naughty baronet," plus a modified reprise of "Oh, happy the lily" in 4/4 time. The replacement (ironically rather closer to Sullivan's discarded original) was a straight reprise of "Oh, happy the lily" in the form it had taken in the Act I finale, in 9/8 time. The standard Chappell vocal score was revised in the late 1920s to reflect these changes, except that the "Melodrame" and "The battle's roar is over" continued to be printed. The G. Schirmer vocal score published in America agreed with the revised Chappell score, except that it also included Robin's Act II recitative and patter song "Henceforth all the crimes" and both versions of the Act II finale. The publication of the Oxford University Press edition in 2000 made it easier to restore passages deleted from the opera. Due to the many different editions available and the work's complex textual history, there is no standard performing version of Ruddigore. Comparing the two extant overtures, Gervase Hughes wrote: [T]he original overture to Ruddigore ... is a crude "selection" hardly redeemed by its spirited ending. The final cadence is by no means typical of Sullivan. In this overture a "double chorus" ... is taken complete from the opera – an unsatisfactory move because