The Sorcerer

I was thoroughly entertained by this production of The Sorcerer.  The singing was first rate, I laughed a lot, and I was very impressed with Jo Short’s direction.

Let’s start at the beginning.  The conceit of the production was that a Reader (Sarah Fulcher) was reading a novel, and the action was therefore taking place in her imagination.  She was a constant presence, joining the choruses and occasionally interacting with members of the cast.  So, in place of an overture, The Reader entered, picked-up a book and opened it, at which point the orchestra struck up, only to stop it abruptly as the book was shut - it was the wrong book, and the wrong overture: The Pirates of Penzance.  This was repeated with a snatch of HMS Pinafore before the right book was selected, The Sorcerer was introduced (in person) and then we were straight into the opening chorus.  (The five-piece orchestra provided an excellent accompaniment throughout, with a good balance of sound between pit and stage.  However, it lacked the range of instrumental colours to make the overture interesting, so cutting it was, in my view, entirely the right choice.  I have said more about overtures in general on as separate blog.)

The opening chorus was typical of the ensembles that followed, with lots of colour and movement, including lots of detail away from the main action.  The impression was of a chaotic panic (in preparation for the arrival of guests), but to achieve that chaos there had been a lot of detailed organisation and practice.

The production was set in the 1920s, brought out with colour and humour by the wardrobe department - uniformed servants, stripy blazers and some very fine hats.  The set was a free-standing three-panel flat centred on a double door - the house interior on one side and, reversed and with french doors, the exterior wall for the garden scenes.  This gave all that was needed, with one slight distraction as I kept thinking that Sir Marmaduke should have had his walls redecorated.

There was lots of great comedy acting from the whole company - starting with Abi Jeffery as the lachrymose Constance, pining for the clumsy, verbose vicar, Dr Daly (Paul Dawson-Plincke), and followed - with a slow and infirm gait - by the deaf old notary (Peter Hill).  There was a fine comedy of manners in the entrance of Mike Pavitt in the role of Mr Wells, the eponymous Sorcerer, quickly turning to the melodramatic as he donned his cloak and loomed over his clients, Alexis and Aline.  The comedy returned in the garden scene.  During a serious duet between Alexis (Matthew Pike) and Aline (Ellen Sly), Wells was in the background, helping himself to the contents of a cake stand.  Then, with the ensemble under the influence of his potion, he used one of the Guests as a puppet.  Another Guest (Mike Allum) was asleep next to one of the servants (Katy Lewis), and Wells chose to move the Guest’s arm.  This was a great piece of comic timing.  As soon as the arm was moved, the whole audience knew where the hand was going; the comedy was in the expectation, enhanced by the time it took to get there.

From the singing, I want to single-out Ellen Sly who sounded fabulous in the vocal show-case role of Aline.  But then I enjoyed everything else as well - April Luescher as the blue-blooded Lady Sangazure and Mark Allen as Sir Marmaduke switching from formal courtesy to excitement and back in Welcome Joy!  Adieu to Sadness, Mike Pavitt in the technically treacherous My Name is John Wellington Wells and Abi Jeffery in Dear friends, take pity on my lot.  The choruses were all well sung, but, as happens in such lush pieces, the words occasionally got lost in the musical textures, so my favourite ensemble piece was the quintet I rejoice that it’s decided sung with beautiful clarity by Ellen Sly, Jo Barnard, Matthew Pike, Paul Dawson-Plincke and Mark Allen.

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