The Sorcerer

This semi-staged performance of The Sorcerer started with a rousing overture which successfully set the atmosphere. The joyous sound, from the five-piece ensemble, including Edd Caine on the keyboard, three gifted woodwind musicians and Jake Allen on the drums resonated throughout the hall.  

The experienced MD Peter Smith has happily returned to the company once again to lift his baton and create the high-quality sounds and perfect the duets and four part harmonies,so typical of G and S musical pieces that we have come accustomed to in these productions. Peter’s musical ideas arevisibly well communicated through his movement, directing the tempo, volume and pitch to achieve the desired performance of each musical piece. The outcome of weeks of hard work ensured that all the soloists in this opening performance delivered the opera's emotion effectively; while the orchestra and choir provided balanced, harmonious sound. Amplification throughout was consistent and despite the size of the hall the orchestra did not drown out the performers.

Julian Souter performed the title role, while as producer—assisted by Jane—he staged the opera and directed the portrayal of its characters and their emotions through music and song. A word of praise too for the set, though simple, this was a creative use of a relatively small stage and adequately represented a charming village setting, complete with a Victorian lamp post. Lighting and special effects were well coordinated, accredited to Mystical Productions Ltd. Costuming was fitting in all cases and reflected the Victorian era. Most notable was Mr Wells’ outfit; a purple, velvet jacket, a blue bowler hat, jazzy waistcoat and satin cravat, eye catching and as extraordinary as his character.

The plot itself is frivolous and chaotic at times with all the wrong people falling in love with each other because of a love potion. The story began when villagers of Ploverleigh were excited about the forthcoming marriage of Aline (PhaedraBrickwood) and Alexis (Stephen Harper). Constance (Christina Clifton) tells her mother, Mrs Partlet (NinaBranaghan) of her unrequited love for Mr Daley (Mick Branaghan), the local vicar who considers himself too old to marry. Sir Marmaduke (Gary Gentle) is proud of his son Alexis but disapproves of the way he is always singing ballads in praise of Aline’s beauty. We learn Sir Marmaduke once loved Alexis’ future mother-in-law, Lady Sangazure (Jane Souter). In a duet with her, they both reveal the suppressedpassion they have for each other. Once Aline and Alexis have signed the marriage contract Alexis plans to use a love potion to impact on the behaviour of the villagers without distinction of age/ rank or fortune. Despite Aline’s objectives, Alexis welcomes a sorcerer, John Wellington Wells (Julian Souter)and agrees to buy enough love potion to distribute to everyone in the village. The Sorcerer summons spirits to create the potion, with the help of his assistant, Shrimp (AndyCholerton). The love potion is distributed to all in the village. They are offered spiked tea, and they all fall insensible. In Act 2 as they awake, they fall in love with each other. Even Constance is now madly in love with Notary (Mac Hammond) who is old and deaf. Alexis demands Aline takes the potion,but she refuses. Dr Daley is confused as to why so many villagers want him to marry them, even Sir Marmaduke wants to get married to Mrs Partlet. The Sorcerer realises that his spells have caused much evil and regrets his actions, especially when Lady Sangazure falls in love with him too!Then, Aline falls in love with Dr Daley and this enrages Alexis who denounces his fiancé. John Wellington Wellsexplains the spell can only be broken if someone gives up his life to the devil. Everyone said it should be him, so he accepts his fate and disappears in a puff of smoke, and everyone is restored to their former love. A banquet follows to celebrate the return to normality in the village.

There were some complex characters in this opera as well asdelightful interactions to enjoy. The music was dramatic, songs were beautifully sung and perfect diction was sustained. Many key performers in this opera delivered their roles with remarkable energy. Steven Harper, resplendent in his red jacket, gave a faultless performance as Alexis, his smooth toned tenor voice filled the hall, a competent vocalist with skills that create delightful harmonies with others in this production, as well as deliver ballads with passion. He was well matched by Phaedra Brickwood’s strong soprano voice as Aline. There was emotional intensity reflected in Phaedra’sfacial expressions to convey her strong feelings, and her voicewas powerful enough to rise over both the small orchestra and chorus. She was impressive in this role. Mick Branaghanplayed the role of the confirmed bachelor, Dr Daley, with confidence and intonation. I enjoyed his melodious delivery of, ‘Engaged to so and so.’ Mac Hammond’s performance asthe very deaf Notary was first rate, his terrific bass voice as rich and powerful as ever. Julian Souter was totally convincing as the Sorcerer characterising the challenging role of the magician with quirky body movements and menacing expressions, well supported by special effects. His incantationat the end of Act 1, showcased Julian’s strong vocal skills,adopting a rich and powerful tone and singing rapid passages with precision, a challenge for so many. Andy Cholerton tookthe cameo role of Shrimp, the Sorcerer’s assistant. Whilst this was a supportive acting role, Andy’s presence on stage washilarious, suitably subservient and wide grins on his mischievous face. Jane Souter proudly represented Lady Sangazure. Jane enunciated every word she sang with perfect enunciation, the lyrics made so understandable. NinaBranaghan characterised the matronly part of Mrs Partlet with an appropriate air. When she performed, her vocal delivery was both refined and expertly controlled. Christina Clifton’s vocal performance as Constance was amazing. She captivated us with her effortless, melodious singing and her characterisation and stage presence endearing. Gary Gentleengaged us with his interpretation of Sir Marmaduke and his tunefulness. Congratulations to the ladies’  and men’s chorus for expressing the pieces’ nuances and emotions. They were well rehearsed and played a key role in the audience's theatrical experience.

This was a lovely evening, and it was a great pleasure to attend this first night.

Congratulations to all the cast and crew for a very successful run of performances and well done to Julian Souter and Peter Smith. Thank you for inviting me.

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