Sorcerer performed
CHRISTCHURCH Gilbert and Sullivan Society performed The Sorcerer at Iveshead School Theatre last week.
The Sorcerer was Gilbert and Sullivan’s second collaboration under the stewardship of opera impresario Richard D’oyly Carte being the first full length production that began the development successive popular operettas.
Based on a short story by W.S. Gilbert, the plot centres around Alexis Pointdextre and his strong belief that love levels all rank so he employs the help of a sorcerer, a certain John Wellington Wells, to provide him with a philtre (love potion) to supply his whole village in the hope that after drinking this sleep inducing potion on waking each villager will fall in love with the first person of the opposite sex they see, note... shades of Shakespeare’s ‘A Midsummer Night’s Dream’ woven into the plot!
True to form, the ensuing events do not go according to plan. The 11 strong principals were supported by a large enthusiastic chorus with several members of the cast making their debut appearances with the society notably Mike Jones who as Sir Marmaduke Pointdextre succeeded in delivering a competent performance both with his vocals and comic acting role.
Seasoned Christchurch performer, the familiar face of experienced Adrian Dobson, as Alexis, was confident throughout as he made the part very much his own. He was equally matched in her stage presence and vocal ability by Alison Matthews as his wife Aline and their understated duet of the True Love song was delightful.
In the role of the ultimately doomed Sorcerer John Wellington Wells, Al Jordan proved to be strong performer in the comedic stakes, his delivery of the ‘patter songs’ that are always included in the Gilbert and Sullivan series, was superbly executed and hilarious Eddie Atkin playing the vicar Dr Daly with his part-duet in the second half with Aline in the song ‘Engaged to So &So’ proved to be a successful innovation by the production team.
Adding to the colourful show were the ever popular chorus numbers and much credit to the compact 12-piece orchestra under the direction of Kate King in ensuring this less regularly performed operetta made for an enjoyable evening’s entertainment. Review by Lynette Watson