Cox and Box/ The Sorcerer

COX AND BOX, Curtain Warmer to The Sorcerer

(1866)

Music by Arthur Sullivan

Libretto by F. C. Burnand

Based on John Maddison Morton’s farce Box and Cox

Long before Arthur Sullivan joined William Gilbert in creating the Savoy operas, he collaborated with humorist F. C. Burnand on this ingenious “triumviretta.” Sergeant Bouncer has discovered a highly profitable arrangement: he rents the same room to two different tenants. Cox, a hatter, occupies it at night and works during the day; Box, a printer, works at night and occupies it during the day. Since each believes the other’s belongings belong to the landlord, Bouncer’s deception proceeds smoothly—until an unexpected holiday brings both tenants home at once.

The resulting confrontation over beds, bacon, and domestic territory takes an even more extraordinary turn when Cox and Box discover that they have both been romantically entangled with the same woman, the formidable Penelope Ann. A final revelation transforms rivals into something altogether unexpected. Sullivan’s buoyant score elevates Burnand’s farcical clockwork into one of the most enduring one-act works of Victorian musical theater.

Originally performed privately in 1866 and introduced to the public in 1867, Cox and Box serves as the perfect curtain warmer for the full-length Gilbert and Sullivan enchantment that follows.

THE SORCERER

(1877)

Music by Arthur Sullivan

Libretto by William Gilbert

Young Alexis Pointdextre has a theory: love alone should determine marriage, without interference from social rank, wealth, age, or circumstance. To prove it, he hires John Wellington Wells—of J. W. Wells & Co., Family Sorcerers—to brew a powerful love potion. Once slipped into the tea served at Alexis and Aline’s engagement celebration, it will cause everyone who drinks it to fall hopelessly in love with the first person they see upon awakening.

The potion works perfectly. Unfortunately, its victims awaken beside entirely unsuitable partners. Elderly aristocrats pursue youthful villagers, the village notary becomes infatuated with the pew-opener, and romantic chaos engulfs Ploverleigh. Even Alexis’ beloved Aline, initially reluctant to drink the potion, eventually succumbs and awakens to declare her devotion—not to Alexis, but to the melancholy vicar, Dr. Daly. Only Wells can undo the spell, but reversing the enchantment will demand a considerable sacrifice from the sorcerer himself.

The first full-length work created by Gilbert, Sullivan, and producer Richard D’Oyly Carte, The Sorcerer introduced many of the ingredients that would define their later masterpieces: mismatched lovers, topsy-turvy social hierarchies, a dexterous patter role, an active chorus, and music that treats even the most absurd situations with complete melodic sincerity. Its score includes Wells’ dazzling entrance, “My Name Is John Wellington Wells,” Dr. Daly’s wistful “Time Was, When Love and I Were Well Acquainted,” and the sublime ensemble “I Rejoice That It’s Decided.”