The Sorcerer

The Sorcerer is one of the lesser produced Gilbert & Sullivan operettas and in fact not presented by this Worcester Society since the year 2000. This production had been given a sympathetic make-over with modern dress, selfie-sticks and a reference to Merry Hill for starters, but this did not detract from its traditional roots, but rather added to the fun of the production.

The orchestra of nine players, albeit located on the stage which reduced the playing area, was led by the multi-talented Mike Dhonau and with the exception of one tiny moment during some dialogue, never overpowered and fully complimented the principals and excellent chorus.

‘Alexis’ and ‘Aline’ whose betrothal is being celebrated, are very well played by Samuel Taunton and Lisa Adams. Samuel’s uplifting personality and smile were engaging as ‘Alexis’ pursued the belief that men and women should be coupled in matrimony without distinction of rank. Lisa sang beautifully throughout, one highlight being ‘Oh happy young heart’.

One not so happy is ‘Constance’, acted and sang well by Catherine Dhonau, who falls for the local Vicar, ‘Dr Daly’ (Tim Goodall), but a suggestion by her mother ‘Mrs Partlet’ played convincingly by Christine Davies that he might still be lucky in marriage, were equally convincingly rejected by ‘Dr Daly’, announcing he would forever be a bachelor.

‘Alexis’ finds the solution to his dream of making the whole village happy, through a love-philtre prepared by ‘John Wellington Wells’ (the Sorcerer) played with total conviction by Jason Ford with support from his assistant ‘Hercules’ played by Ellen Fearnley. Ford’s number ‘My name is John Wellington Wells’ was expertly conveyed.

Great support was provided by the rich tones of Paul Thompson (‘Sir Marmaduke’) and Mary Dhonau (‘Lady Sangazure’), as they rekindled their love from younger days.

The chorus of friends, waiting staff, event staff, sprites and villagers all made a great contribution and their freeze (following consumption of the love –philtre via a cup of tea) was 100% motionless.

‘Alexis’ persuades’ Aline’ to drink the philtre to cement their relationship but this backfires and the only recourse is for ‘Alexis’ or ‘Wells, the sorcerer’ to sacrifice themselves and die and the latter suitably obliges. Meriel Ford is to be congratulated on her directorial debut and all involved should be very pleased with this production.

Bruce Wyatt

 

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