Writers: Gilbert and Sullivan
Director: John Savournin
Musical Director: David Eaton
Gilbert and Sullivan’s beloved comedy comes to life in the classic gothic architecture of Wilton’s Music Hall and Charles Court Opera brilliantly achieves the pair’s aim of making opera more accessible and enjoyable for all in this new rendition.
Set on the day of Alexis and Alene’s wedding day, havoc ensues when Alexis decides to enlist the help of the local sorcerer to enchant the village with a love potion so all may feel the same love that this young couple feels. Unfortunately, the small catch in the potion is the villagers will fall in love with the first person they see after consumption, leading to chaos and antics that entertain the audience as it has done since the show’s release in 1877.
A simplistic set design by Lucy Fowler, featuring the tea van that plays a key role in the show, is decorated in retro 1960s style and is effective in creating the atmosphere and tone of the absurdity of the show. Similarly, Fowler has created thoughtful costume design, incorporating vivid and bright colours to match the eccentric nature of the opera.
The cast simultaneously delivers comedic physicality and excellent vocal skills. In particular, Ellie Neate portraying Aline expertly masters her arias, with a crystalline rendition of the soprano role’s cadenzas. Alexis played by Robin Bailey impresses in Act 2, with great range and command during his aria. There is a slight lack of chemistry between the young lovers Alexis and Alene, which means it is not as devastating as it could be when Alexis suddenly turns cold against Alene in Act 2 when she will not drink the love potion.
In an exceptional comedic performance as Constance, Meriel Cunningham is able to grasp attention both in her Act 1 aria and in each ensemble number. Her physical comedy is expertly crafted and she has incredible range throughout the show.
As Gilbert and Sullivan are traditionally renowned for their fast-paced alliterative lyrics, The Sorcerer is no different. These famously rap-like pieces have been an inspiration for many of the contemporary musicals of today. While many times this is impressively achieved, occasionally the alliterations are lost in a jumble to the audience but the cast does a great job with the difficult lyrical bends of this piece considering its technicality.
This production thrills and delights the audience, whether they are new to opera or avid fans.
Runs until 15th June 2024
The Reviews Hub Score
Delightful
