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The Sorcerer/Cox & Box
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Synopsis - The SorcererThis charming piece, Sullivan's first successful full-length work with Gilbert, takes place in the grounds of Sir Marmaduke Pointdextre's country mansion, where the scene is one of happiness as his son, Alexis, is to be betrothed to Aline, the only daughter of Lady Sangazure. Gilbert here indulges in a favorite theme of his, the "magic lozenge", by having Alexis (through his desire to have everyone as happily married as he is to be) invite John Wellington Wells, the noted necromancer from No 70 St. Mary Axe, to come to the village to bring this about. The potion is prepared with suitable incantations and is given to all and sundry in their tea. In Act II, the spell has worked but everyone has fallen in love with the first person they have set their eyes on, so matters become a little complicated. When Aline and Dr Daly, the elderly Vicar and Alexis's old tutor, fall in love Alexis asks Wells to remove the spell but this can only be achieved by the death of either Alexis or Wells. Everyone agrees that it must be Wells, who disappears in a cloud of smoke, after which there is general rejoicing and the village settles down once more with the right partners to a life of unimpaired happiness.
Brief Synopsis - Cox & BoxCox and Box; or, The Long-Lost Brothers, is a one-act comic opera with a libretto by F. C. Burnand and music by Arthur Sullivan, based on the 1847 farce Box and Cox by John Maddison Morton.It was Sullivan's first successful comic opera. The story concerns a landlord who lets a room to two lodgers, one who works at night and one who works during the day. When one of them has the day off, they meet each other in the room and tempers flare. Sullivan wrote this piece five years before his first opera with W. S. Gilbert, Thespis.
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Godspell
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Godspell - Brief SynopsisThe musical is a series of parables, based loosely on the Gospel according to St. Matthew (with three of the parables featured are in the Gospel of Luke). These are then interspersed with a variety of modern music set primarily to lyrics from traditional hymns, and it also touchingly presents the story of Jesus’ last moments beginning with the last supper. Set against a modern backdrop, Godspell was the brainchild of John-Michael Tebelak and upcoming composer-lyricist Stephen Schwartz. Schwartz has also written such hit musicals as Pippin, The Baker’s Wife, Children of Eden, and Wicked and collaborated on the Disney animated features Pocahontas and The hunchback of Notre Dame. Godspell opened off-Broadway on 17 May 1971, and instantly became the talk of the town; so much so, in fact, that it was moved to the larger Promenade theatre on August 10, 1971 to accommodate the demand for tickets. Five years later, it transferred again, this time to the Broadhurst Theatre on Broadway, where it arrived on 22 June 1976. By the time it closed after another nine years, the show had accumulated a total of 2645 performances. A London version, which came to the Wyndham’s Theatre on 17 November 1971, likewise enjoyed a long run of 1128 performances, staring David Essex as Jesus and Jeremy Irons as John the Baptist.
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