The Sorcerer

Just a note with regard to availability in 2017, this operetta is now available in a boxed set of twelve DVDs which includes all the titles mentioned in the previous reviews.

These DVDs are produced in the original 1982 video format of 4 x 3 aspect ratio. They have a foreword and inter-act comments by Douglas Fairbanks Jr. The video definition and sound track leave a lot to be desired by today's standards, but overall an enjoyable set of G&S works conveniently packaged, and reasonably priced.

Poppa Mintin.

A most entertaining adaptation of this rarely seen early collaboration between Gilbert and Sullivan, this entry features a superb performance by David Kernan who manages to hold up his solos with brilliant effect, despite being undermined by Dave Heather's undue fondness for close-ups. It should be noted that Mr Heather's skills improved enormously as the series progressed. The Yeomen of the Guard attains well-nigh perfection.

Stephen Pimlott's staging is not as fluidly imaginative yet dramatically unobtrusive as Mr Besch's brilliant work in Yeomen, though it too has its glorious moments and will delight those fans who dote on special effects.

I was not too happy with Nan Christie in Princess Ida. I found her voice on that occasion sometimes too shrill for comfort (although it did suit the role). But here, she records well.

As for Clive Revill, I must admit he handled the patter with surprising ease, although he did tend to make up for his late entrance by willful overacting and camera-hogging. He played the role far too broadly in my opinion. No subtlety. I always imagined Wells as being far more sly and devious. Take his answer to Aline's protest: "Many of the villagers are married people!" Wells could reply like this: "Madam, this philtre is compounded on the 'strictest' principles. On-'married'-people-it-has-no-effect-whatever. But are 'you' quite sure that you have nerve enough… to carry you through the 'fearful' ordeal?" The last word could come out as a whisper or a chuckle. You can almost see Wells rubbing his hands in glee. And this of course is just one of many ways the lines could be interpreted. But Revill makes virtually no attempt at all to play the lines. Instead he plays exclusively to the camera—and overplays at that.

As usual, the London Symphony Orchestra under the baton of Alexander Faris (a Gilbert and Sullivan expert who kept the orchestra entertained with a fund of amusing G&S stories during rehearsals) performs in absolutely magical fashion throughout.

First of all, this version seems absolutely complete in both songs and dialogue. It is ever so Victorian, as G&S should be for its fullest effect, done absolutely straight-faced, and has the best Sorcerer I have ever seen. The Chorus, at least, may be pre-dubbed, and may consist of dancers lip-synching the voices of unseen singers. With this BBC series it is hard to tell; but if lip-synched, it is done very well. Since there is only one available recording of this operetta on Decca label (and that might be fast going out of print), I made a cassette of the sound track of this video to play in my car. The overture is also given complete, though the Director decided to play it during the final credits--which, by the way, show Wells in heaven! Altogether a superior treatment of what might be the least known of the major Savoy works. Note: there will soon be a version of this very tape with sub-titles! Keep an eye open for that gem.

As I've said before, I find this series of Gilbert and Sullivan operettas rather hit and miss. Some are great like Cox and Box, Patience and Iolanthe, some are very good like The Mikado, Trial By Jury and Patience(Ruddigore was decent, if problematic, to me) and some are very disappointing like HMS Pinafore(which is by far the worst of the series), Pirates of Penzanze and Yeomen. The Sorcerer fortunately is one of the great one. Maybe there are too many close-ups, and some of the pacing is occasionally draggy, but a lot makes up for it. (the operetta itself is not one of G&S's best, with a slow beginning, silly story and not as many standouts musically, but there are enough glorious moments to enjoy). The production is handsome in how it looks, and the choreography is some of the most enthusiastic of any of the productions in the series. The music is stylishly played, buoyantly conducted and sung with good balance and musicality by the chorus. Of the performances, Donald Adams is not quite as good as he is in Ruddigore, but he is still excellent as Sir Marmaduke. I particularly enjoyed his nuanced minuet with Nuala Willis. I have a fondness for Clive Revill's KoKo, and he was one of the reasons why I saw this production in the first place. I found him wonderfully sly in the title role, and he manages the pattering with aplomb. Nan Christie was one of the best assets of Princess Ida, and she is just as charming here with a truly enchanting smile. Nuala Willis is a lot of fun as Lady Sangazure, with a firm contralto voice, especially in her duet with Revill in the second act. David Kernan's Dr Daly can also be seen as a success. Overall, one of the better productions of the series and a real gem. 9/10 Bethany Cox