The Sorcerer

I was intending to begin this show report by stating that 'The Sorcerer' is an underrated and under-performed comic opera from the Gilbert and Sullivan catalogue but having seen several productions locally over the last twelve months (and having been involved with one myself!), it would appear that this overlooked G&S work is finally being recognised as the little gem it is. The problems with the show - such that they are - which have perhaps prevented it from being as well-known as most of the other Savoy Operas are perhaps due to the show being something of an apprentice piece from the G&S partnership: Act One is particularly stodgy, with too many meandering recitatives and a series of rather plodding character introductions holding up the action. With some interesting direction and players who are up for the challenge however, 'The Sorcerer' can come to life, revealing the racy narrative and the comic potential inherent in Gilbert's writing. The show also contains a wonderful score from Sullivan and a selection of comical characters who introduce some groundbreaking music: groundbreaking in that many of the songs set the mould for the rest of the G&S canon to follow, helping to ensure the outstandingfuture success the partnership would go on to achieve.

It's worth mentioning at the outset that all the music for this production - including the full overture - was provided by the tireless pianist for the evening, Anthony Hunt: to play the entire score singlehandedly is something of a mammoth task and Anthony did a sterling job.

The curtain opened on a rather good set designed and made by members of the society, giving a charming flavour of Sir Marmaduke's garden, and some rather charmingly costumed village folk too, all of whom were in fine voice. Mrs Partlet and her love-lorn daughter Constance were well drawn by Pauline Hurst and Kirsty Haugh respectively. There seemed to be a touch of the 'Hylda Baker' about Pauline's Mrs Partlet which was much appreciated by the audience - I for one would have liked to have seen her go even further with this aspect of her characterisation! The object of Constance's young affection is of course Dr Daly, the local vicar, here amusingly portrayed by local favourite David Halford. Sir Marmaduke and the handsome young Alexis Pointdextre are next to appear, performed by Peter Walker and Lawrence Shoebridge. Peter's fine bass-baritone voice was a highlight of the show for me: strong and clear and with excellent diction, Sir Marmaduke made a great impression. Lady Sangazure and her daughter Aline were both played with grace and charm by Andrea Marshall and Janet Marshall, both of whom were also in fine voice.

The opening section of the opera can drag a little if not handled carefully but fortunately, Christine Taylor kept things moving along at a nice pace in her production. There were one or two fluffed lines here and there and the need for some prompting but nothing too serious or which completely floored any of the performers. Given the undoubted limitations of the relatively confined performance space, chorus movement was thoughtfully arranged and with a feeling for the overall drive of the narrative and which suited individual characterisations. There were occasions when the stage did feel a little cluttered (and putting a stepped rake onto the fairly limited stage space probably didn't help) but on the whole, the space was managed well. A number of very well executed routines stood out (the Act Two quintet in particular looked very slick and impressive) making me wish that the same attention to detail had been paid to every musical number with regard to choreographed movement: much easier said than done of course but when the standard was so very good, you'll hopefully allow me this minor criticism!

The plot of 'The Sorcerer' only really fizzes into life towards the end of the first act upon the arrival of John Wellington Wells, the titular Sorcerer, as he is called upon by Alexis to distribute the love philtre amongst the villagers. George Smith brought a fantastically eerie touch to the role and was a real presence on stage. This was a very different interpretation of the character than I've seen in the past - touching on the darker, more malevolent side of JW Wells's personality which I believe Gilbert intended -  and was much appreciated. The summoning up of the demons and sprites needed to effect the philtre's power was well done, with some suitably ghoulish visitors to the rear of the stage during the incantation. I was less sure of the impact of the Act One finale however: rather too much aimless and noisy banging about from the villagers when the potion took hold for me! But then, the insensible villagers couldn't reasonably be held responsible for their bodily movements when they were under the influence I suppose...

Act Two of 'The Sorcerer' is probably one of the brightest and breeziest in the whole of G&S - and does make one wonder why the opera has fallen out of favour relatively speaking, certainly in comparison with other G&S titles - rattling along at a cracking pace, packed with humour. I did think Martin Luke was perhaps a little too young to pass for the ancient and decrepit Notary, so a little of the humour was lost here as Constance finds herself inexorably drawn to him but this was more than made up for as the rest of the comically mis-matched pairings gave excellent value. JW Wells and Lady Sangazure were particularly amusing as their one-sided romance blossomed, Sir Marmaduke and Mrs Partlet made for a similarly amusing couple (Alexis's shocked reaction to this disastrous outcome was very well done by Lawrence Shoebridge!) and of course, most comical of all, Dr Daly and Aline find themselves head over heels in love thanks to the pesky potion. Alexis's crackpot notions of equality and of 'love levelling all ranks' (explored again in the G&S opera which followed, 'HMS Pinafore') are soon shown to be found wanting when put into action. Gilbert's very clever - and actually quite thoughtful and intelligent - exploration of some interesting issues is often overlooked as his writing sparkles and shines: smuggling important themes in under the cover of comic opera is just one of the reasons the G&S canon soars above the stage musical entertainments which have followed in their wake.

Musically speaking, the cast had obviously been well schooled by MD Pat Jacques and were in good voice. Lawrence Shoebridge and Janet Marshall as Alexis and Aline actually seemed to get stronger vocally as the show progressed: I thought initially that Aline might have a bit too much in the way of vibrato - and Alexis was going to be a little too delicate at the upper register - for me, but both performers seemed to really settle into the music as the show went on and excelled during Act Two. I've already commented on Peter Walker's elegant vocals but also worthy of a special mention, Kirtsy Haugh as Constance stood out too. Anthony Hunt's terrific work on the piano also meant that when the odd word (or in some cases, half a verse!) went astray, he could help to make sure the performer in question wasn't left behind. Other than a little bit of 'la-la-ing' when the mind went blank, there wasn't a weak link vocally in the principal cast who were ably supported by a strong chorus.

Rather like some of the rather nifty routines (which stood out for both their intelligent imagination and their unfortunately all too infrequent visitation upon the stage) the atmospheric lighting worked so well when it was used to its full extent and all the costumes really were excellent: this, along with the thoughtfully designed set, made for a first class production, technically speaking.

This was a production full of great things and made for a most entertaining evening. There were several personal highlights for me: I enjoyed the wonderfully straight-faced way that the cast embraced the humour of the show with a definite 'tongue in cheek' flavour to most performances; singing of great quality sprinkled throughout the cast list; a thoughtful and intelligent production which made the most of the cast's abilities and the performance space; the way that the odd little mistake on stage here and there didn't faze any of the performers is to their credit (these things can happen and the mark of a capable performer is how he or she can ride out any little issues with confidence.) My congratulations go to everyone at Woodhouses for a memorable evening and many thanks also for making myself and Stuart so very welcome. I shall certainly make a point of attending the next production and wish the society all the best for the future.

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