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Other details, like plot and character lines, are pending...
...only criticism of this episode is how Becky is introduced, and as usual, we feel a need to gripe about how fast some plots occur on this show. We meet her; then two scenes later she’s a plot point...
...think Monty Python’s about the plot...
This characteristically absurd plot requires an adroit handling of Sullivan’s appealing music, which Music Director Jesse C. Wong ’12 provides admirably. The orchestra plays with real verve, supporting the singers while maintaining a strong presence. The six-person chorus, too, sings well and energetically...
...success of a show like “The Sorcerer,” with a fundamentally weak plot only resolved by a deus ex machina, depends largely on its soloists, whom stage director Davida Fernandez-Barkan ’11 manages effectively. The role of Alexis is well handled by Nelson (in last Saturday’s matinee performance). His strong tenor and zestful portrayal of his foppish, affected character provides many of the performance’s most rewarding moments. In particular, his over-the-top exchanges with his father, played with great aplomb by Yashinsky, are delightful...