A charming but risk averse production of one of the more flawed G&S operettas
The Sorcerer remains one of the middling Gilbert and Sullivan operettas, not necessarily in quality but in popularity. It sits neither on the fray, or as part of the more well known plays like the Mikado. There’s a lot of reasons for that but after seeing it for my first time – I understand why.
With a plot mostly revolving around one of G&S’ more frequently used tropes – love potions producing unexpected couples – it doesn’t reach the magical heights of Iolanthe or the hilariously devious contrivances of Pirates of Penzance. It instead feels a magnitude or two less clever, less funny and less memorable than other G&S plays, and as much as EDGAS try and provide their own little extra charms and jokes – these aren’t going to change that, despite the very mild laugh in seeing a couple dressed as Charlie Chaplin and Sherlock Holmes in the play.
The costumes are a highlight for me, just as they were in their previous production, showing creative charm on an amateur budget. The sorcerer for example dons an incredible black and silver pinstripe suit, giving this sleazy stylish outfit befitting of a cheeky, morally dubious salesman who isn’t particularly interested in the ethics of making an entire town drink love potions.
This isn’t to say lighting, choreography or other aspects of production is bad to say – but they’re less impressive even considering it’s an amateur production, and importantly less creative or risky. This seems a pattern for EDGAS and admittedly is more of a personal (and generational, judging by the age of the audience) taste that some people will care less about. EDGAS are risk averse compared to more contemporary (and usually younger) productions, for better or worse. I do prefer the latter but there is space for both, and the value in seeing a less transformative production is well appreciated by the regular crowds – but don’t go expecting anything but a by the book performance.
The Sorcerer was however no doubt a fun production and I’m happy for having seen a new G&S production as usual, no it’s not as funny or biting as the Mikado but the satire of Victorian attitudes to romance and polite society are still fun and sadly a little too relevant.
Theodore Rankine-Fourdraine’s singing was a highlight again, with a gorgeous tenor voice that really dominates the soundscape, although this doesn’t cover up his body language in scenes where his shoulders appear unable to move giving a far more wooden performance than his voice. In opposition to that Sebastion Davidson take’s his role as John Wellington Wells, the titular Sorcerer particularly well. He oozes a sleazy but charismatic vibe that lets him dance and dazzle in his solo, performing an array of tricks and illusions the whole time. I can’t help but root for him despite everything. Constance as played by Emma Lawson has my second favourite song, she seems to have picked up a lot from teaching children in her day job as she’s so believable acting as an infatuated teenager with unrequited love.
EDGAS provides a good standard for amateur production and despite this just being my second time seeing them I feel confident saying you’re not going to have a bad time seeing any of their future productions – but also you’re not going to be amazed by them and I don’t think they’ll make you fall in love with G&S the way I did when I was young (as much as a 24 year old can say that). The Sorcerer is one of the earlier and rougher G&S plays, and despite still being good there’s going to be a limit on how good it can be whether a professional or amateur production. Perhaps it’s too safe and tropey for me (even for as G&S fan who admittedly loves a good trope or very silly plot) but it’s a fun operetta just about worth the ticket price of 21 pounds – but nothing more.