‘The Sorcerer’ (Gilbert and Sullivan) Charles Court Opera: Ulverston Festival at The Victoria Hall, Grange Over Sands. Sunday 2nd June 2024.
‘The Sorcerer’ was Gilbert and Sullivan’s third collaboration (after ‘Thespis’ and ‘Trial by Jury’ and before ‘HMS Pinafore’). This was the first of their operas over which they had entire artistic control and, while it did not match the success of ‘Trial by Jury’, it ran for six months and received favourable reviews. It is now quite rarely performed, so the new production by Charles Court Opera is an occasion of some interest.
The good citizens of Grange Over Sands were certainly interested and filled the charming Victoria Hall for the single performance there as part of the Ulverston Festival. They were rewarded with a stylish, heart-warming evening which had all the hallmarks of this admirable, enterprising company.
Even by Gilbert’s topsy turvey standards, the plot of ‘The Sorcerer’ is best described as completely bonkers. A young man, Alexis, is obsessed with the idea of love levelling all ranks and social distinctions. To promote his beliefs, he invites the proprietor of J. W. Wells & Co., Family Sorcerers, to brew a love potion. This causes everyone in the village to fall in love with the first person they see and results in the pairing of comically mismatched couples. In the end, Wells must sacrifice his life to break the spell.
The main point of interest was the redoubtable Richard Suart assuming the ‘patter role’ of John Wellington Wells, Family Sorcerer, for the first time. With this performance, Suart completed his ‘full house’ of G and S operas, confirming him as the George Grossmith (Gilbert and Sullivan’s main comedian) de notre jours. In fact, the comparison is not entirely apt for although he is a consummate G and S performer and, like Grossmith, also an author, he is a ‘proper’ singer in the sense Grossmith never was. He has performed extensively outside the G and S canon, including (ahem) Junius to my Tarquinius in a production of Britten’s ‘The Rape of Lucretia’ on The Edinburgh Festival Fringe in 1979 (!) As J.W. Wells, Suart was totally in command, the years having dimmed his charisma, style and immaculate sense of timing not a jot. His rather devilish grin and sardonic click of the fingers on his final disappearance suggested to me that JWW might even have cheated death.
The rest of the cast formed a superb ensemble without a weak link. As Dr Daly, Matthew Kellett employed his warm, mahogany hued baritone to fine affect, particularly in the poignant ‘Time was when love and I were well acquainted’. His spoken dialogue, in common with the rest of the cast, was admirably fluent and convincing – a lovely performance by a sterling artist. As the young love interest, Alexis and Aline, Robin Bailey and Ellie Neate were suitably charming, he a shade raffish, she more prim and proper, as is appropriate. Both sang well with a sure sense of style, the touch of metal in Bailey’s tone suggesting a future in the Italian repertoire, while Ms Neate confirmed she has all the qualities needed for her upcoming roles of Tytania and Papagena. Matthew Palmer and Catrine Kirkman as the repressed and love-lorn Sir Marmaduke and Lady Sangazure managed to be both ridiculous and affecting – two admirable light comedy performances, most attractively sung. As hoi polloi, Rosie Strobel as Mrs Partlet displayed the sort of contralto profundo now all but extinct, allied to exemplary characterization, while her frumpy but passionate daughter Constance was given vibrant comedic expression by Meriel Cunningham, practically unrecognizable as the sex-pot Rosina from Charles Court Opera’s ‘The Barber of Seville’. She again proved herself a consummate comic actress. Hugo Herman-Wilson was luxury casting as the Notary, (and yes, he is my son. Always keep nepotism in the family…).
Above all though, this was a near flawless ensemble performance. John Savournin’s production was typically sure-footed, and the 1950’s setting, aided and abetted by Lucy Fowler’s evocative designs, particularly appropriate, given that the majority of the Grange audience, including your humble critic, would probably have remembered that decade very well! Talking of sure-footed, a special shout out is due to choreographer Merry Holden and the fleet moves she conjured from the cast.
Music Director and pianist David Eaton ensured that musical values were always at the highest level, so all in all, a splendid and uplifting evening.
‘The Sorcerer’ is at Wilton’s Music Hall from today until Saturday 15th June. Go and be spell bound!
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