The last opera given to the world by Messrs. Gilbert and Sullivan did not follow the example of its forerunners, and make a fortune for all those who are pecuniarily interested in it; "Princess Ida" was attractive at the commencement of her career, but the public soon became indifferent to her; and when Mr. Carte found that "booking" got slack, that receipts at the doors were not what they should be, and that there was no necessity for practising the queue system – his specific for getting crowds past the pay-box into the theatres – he determined to withdraw "Princess Ida," and temporarily close the theatre. On Saturday night last, the Savoy made a change in its bill; but the event was not emphasized by the production of a novelty; the chief feature of the programme being formed of the revived "Sorcerer" – the first of the Gilbert and Sullivan series – supplemented by "Trial by Jury." "The Sorcerer" is, perhaps, not the weakest of the works which Messrs. Gilbert and Sullivan have given us; but if it should not prove attractive, it may possibly be attributed to the fact that it scarcely satirises any one existing institution sufficiently to please audiences that delight in personalities. The "Pinafore" had its little dig at the "ruler of the Queen's Navee;" "Patience" ridiculed the aesthetic craze most ably, while the House of Lords was supremely chaffed in "Iolanthe;" but "The Sorcerer" is more of a comic opera proper, and is independent of the topical element, a circumstance which may be all in its favour as a work of art, but which, in our humble opinion, makes it less likely to prosper. The performance of this work on Saturday was, in most respects, excellent. Mr. Grossmith, as John Wellington Wells, the dealer in love-potions, penny curses and blessings, made the most of Mr. Gilbert's lines – the funniest in the piece – and performed his work of incantation with admirable effect. Mr. Barrington was the vicar to the life, and every phrase he had to deliver was spoken in faultless fashion. It was as a vocalist that this gentleman held out signs of weakness. The same remark will apply to Miss Leonora Braham, whose intonation was at times very untrue. Miss Jessie Bond sang very well; Miss Dorée proved herself a fairly good successor to the late Miss Everard, and Miss Brandram as Lady Sangazure, took highest honours among the ladies. Mr. Richard Temple, as Sir Marmaduke, was admirably made up, and sang and acted capitally; as also did Mr. Durward Lely, who, as Alexis, is a great improvement on the original representative of this part. Mr. Lely sings effectively, while his acting is much above that of the average operatic tenor.
    "Trial by Jury" came too late to excite anything like a lively interest. It was fairly performed. Mr. Barrington, as the judge, was excellent; Miss Dysart, as the plaintiff, performed her task pleasantly enough; and Mr. Lely, as the defendant, introduced a whole lot of rollicking business which we should imagine could scarcely have been countenanced by the author. Gilbert was out-Gilberted on Saturday night in "Trial by Jury." Messrs. Gilbert and Sullivan were summoned to the footlights at the finish of "The Sorcerer," and received an ovation.
    The performance on Saturday commenced too late, it being past half-past-eight before the curtain rose on the first scene of "The Sorcerer."