Big Sing: The Sorcerer

What a splendid way to finish the G&S Fest. State Opera SA have done it again - The Sorcerer is a hit!

W S Gilbert and Arthur Sullivan’s third collaboration (if you count Thespis, rarely performed due to a large percentage of the work being lost), The Sorcerer had a small initial run of 175 performances and provided George Grossmith (the original G&S comedian) with a gift of a role, John Wellington Wells, the travelling sorcerer with a few tricks up his sleeve and one of the hardest patter songs in the repertoire.

The story contains some of the topsy turviness Gilbert & Sullivan are known for. Alexis, a young man of the village, is obsessed with the idea of love levelling all ranks and social distinctions. To further his beliefs, he invites the proprietor of J. W. Wells & Co., Family Sorcerers, to brew a love potion (or philtre) which causes everyone in the village to fall in love with the first person they see, resulting in the pairing of comically mismatched couples. In the end, Wells must sacrifice his life to break the spell.

This may sound like a heavy plotline but it is far from that thanks to director Stuart Maunder, who has accentuated the melodramatic tendencies of the libretto and invited 180 choristers  from the Vocalize Choir, Fleurieu Singers, La La Land and The Savoyardy Players to play the chorus. Maunder keeps the pace rapid, only pausing for dramatic or comedy effect.

The staging is simple but effective - the choristers on raked seating and a comparatively narrow corridor at the front for the ‘action’, which is highlighted with effective lighting. As curtain rose there was an audible gasp from the audience when greeted by the massed forces of such a large chorus.

John Longmuir excels as Alexis, a man tortured by his ideals and love for Aline. His voice is crystal clear, beautifully modulated and expressive. His arias ‘Love feeds on many foods’ and ‘Thou hast the pow’r thy vaulted love’ are major highlights.

Jessica Dean’s Aline is a woman with modern ideals stuck in the 19^th century. ‘Happy young heart’ was a joy for the eyes and ears. Dean and Longmuir work together well to bring maximum vocal quality and comedy to their roles.

Aidan Hodder’s John Wellington Wells is cheeky, funny and a consummate baritone with a rich timbre. His handling of the patter song ‘My name is John Wellington Wells’ is masterful as is his duet with Lady Sangazure (‘Oh, I have wrought much evil with my spells). He is everyman’s travelling salesman with a social conscience.

Jeremy Tatchell’s Sir Marmaduke Pointdextre is suitably stuffy and proper (until taking the love potion). His duet with Lady Sangazure, ‘Welcome joy’, is skilfully executed.

Cherie Boogaart as Lady Sangazure steals every scene (in a nicest way), looking like a madcap mixture of Princess Anne and the wicked witch in the mirror from Snow White. Her duet with Sir Marmaduke Pointdextre in Act 2 is a highlight! Well done!

Joshua Hillary gives Dr Daly, the Vicar of Ploverleigh depth and humour. He uses his height to advantage, particularly in his scenes with Aline. His aria ‘Time was when Love and I were well acquainted’ is well handled.

Alexandra Scott gives Constance, the daughter of Mrs Partlett, youth, innocence and energy (plus a wonderful voice). Her aria “When he is here” is one of the highlights of Act 1.

Meran Bow gives Mrs Partlett , mother of Constance, a delightful regional accent. Her rich alto voice adds gravitas to the Act 2 quintet, ‘I rejoice that it’s decided’.

Greg John is everyone’s doddery old notary, creating considerable humour in ‘Dear friends, take pity on my lot’.

Then there’s the chorus, and what a chorus, patiently sitting waiting for their turn to sing, dancing, sleeping and giving the chorus lines strength and power. I hope someone will continue this tradition, as the sound is incredibly satisfying particularly when Wellington Wells summons the sprites of earth and air in Act 1.

If I had one reservation it would be the occasional time lag in Act 1 between orchestra and chorus. This is understandable though, considering they were drilled by five conductors.

The State Opera of South Australia have breathed life into Gilbert and Sullivan and more importantly have introduced audience and performer newcomers to the dynamic duo of English operetta, and on behalf of South Australian audiences, I thank them for it!

Barry Hill OAM