Theater Review: THE SORCERER (Ventura County Gilbert & Sullivan Repertoire Company)

THE SORCERER TAKEN FROM THE SOURCE

This weekend, the Ventura County Gilbert & Sullivan Repertoire Company began its three-weekend run of The Sorcerer, a revival of their 2016 production. It is Gilbert and Sullivan’s first full-length opera and infrequently performed today. Subject to revisions since the opera’s 1877 premiere, this version reinstates the original Act I finale, Act II opening, and the Act II scene between John Wellington Wells and Ahrimanes.

Unlike later Gilbert and Sullivan operas, this one takes its time before turning completely bonkers. We meet a middle-aged vicar, who’s too absorbed in being old to notice the comely young woman who throws herself at him. There’s the two old aristocrats who are madly in love, but express their love via excessive politeness. Their children Alexis and Aline are engaged to be married and seem normal. However, after they formalize their engagement, Alexis reveals his plan to poison the town with a love-philtre — a drink with magical power that can make the one who  takes  it  love  the  one  who  gave it, so as to eliminate all distinctions of age, rank, and wealth. In this way W. S. Gilbert’s seemingly frivolous libretto plies us to swallow a series of bitter pills that arrive in Act II like a smack in the face. An unsettling but positive sensation.

The appealing cast of novices and professionals is uniformly good and well-rehearsed. Ryan Engstrom, who was delightful as Strephon in Iolanthe last year, returns as John Wellington Wells, the “dealer in magic and spells.” His distinctive voice and skill at navigating tricky lyrics makes him the focus of every scene he’s in. Also excellent is Leanna Crenshaw as Aline Sangazure, the rich and available direct descendant of Helen of Troy. These two performers stood out in their ability to project and make every word easy to hear.

Also notable are Joseph Bautista as Alexis, Tony Moresi as Dr. Daly, Jyla Bryant as Constance, and Ezra Reeves as Ahrimanes. Gary Saxer as Sir Marmaduke and Sydney Bowers as Lady Sangazure were charming as they sang “Welcome, joy!” Special dishonor goes to the woman seated in the center of the second row who took out her cell phone to record video of Engstrom during his patter song.

However, as good as the cast was overall, I frequently strained to hear them and would have liked them to be just a little bit louder.

Zach Spencer led a six-piece ensemble from the keyboard. The performance was a little rough during the overture, but was perfectly fine thereafter. Given the layout of the theater, the ensemble is amplified, but they never overwhelmed the unamplified singers. The choral work was lovely.

Director Rebecca Pillsbury kept this traditional production visually interesting throughout. Becky Castells’ choreography was natural. Laura Comstock’s costumes kept the mood of the late 1800s, save for a stray Dickie’s logo. Everyone’s costumes fit well, so I’ll choose to believe that pompous Alexis’s extremely ill-fitting uniform was an intentional piece of satire.

Greater Los Angeles has a dearth of Gilbert and Sullivan productions, especially ones that aren’t from the big three (though we really only ever get Pirates of Penzance). This small company in Ventura is the only one that stages the lesser-known works and has the guts to do them without needless updating. Judging by their performance history, it’ll be a long time before we get another chance to see a full staging of The Sorcerer.

photos by John Pillsbury

The Sorcerer
Ventura County Gilbert & Sullivan Repertoire Company
Theater on the Hill, 403 W. Hillcrest Dr. in Thousand Oaks
Thurs (Oct. 19) at 7:30; Fri and Sat at 7:30; Sun at 2
for tickets, call 805.381.1246 or visit VCGSRC