D'Oyly Carte Opera Company

859: 2051: 2232: 906:, Gilbert discovered that maintenance expenses for the theatre, including a new £500 carpet for the front lobby of the theatre, were being charged to the partnership instead of borne by Carte. Gilbert confronted Carte, and Carte refused to reconsider the accounts: Even though the amount of the charge was not great, Gilbert felt it was a moral issue involving Carte's integrity, and he could not look past it. Gilbert wrote in a letter to Sullivan that "I left him with the remark that it was a mistake to kick down the ladder by which he had risen". Helen Carte wrote that Gilbert had addressed Carte "in a way that I should not have thought you would have used to an offending menial." Gilbert brought a lawsuit, but Sullivan sided with Carte, who was building the 738:, which opened in 1882. During its run, in February 1883, Carte signed a five-year partnership agreement with Gilbert and Sullivan, obligating them to create new operas for the company upon six months' notice. Sullivan had not intended immediately to write a new work with Gilbert, but he suffered a serious financial loss when his broker went bankrupt in November 1882 and must have felt the long-term contract necessary for his security. But he soon felt trapped. The Gilbert scholar Andrew Crowther comments, regarding the agreement: "Effectively, it made Carte's employees – a situation which created its own resentments." The partnership's next opera, 1230:, which underwent some cuts and received a new overture, very few changes were made to the text and music of the operas as Gilbert and Sullivan had produced them, and the company stayed true to Gilbert's period settings. Even after Gordon's death, many of Gilbert's directorial concepts survived, both in the stage directions printed in the libretti and as preserved in company prompt books. Original choreography was also maintained. Some of the company's staging became accepted as traditional by Gilbert and Sullivan fans, and many of these traditional stagings are still imitated today in productions by both amateur and professional companies. 696:, amateur actors were treated with contempt by professionals. After the formation of amateur Gilbert and Sullivan companies licensed to perform the operas, professionals recognised that the amateur societies "support the culture of music and the drama. They are now accepted as useful training schools for the legitimate stage, and from the volunteer ranks have sprung many present-day favourites." Cellier and Bridgeman attributed the rise in quality and reputation of the amateur groups largely to "the popularity of, and infectious craze for performing, the Gilbert and Sullivan operas". The 1773:'s Music Panel and Touring Committee recommended that the Arts Council make a grant to the company, but this idea was rejected. The company's fans made an effort to raise private funds, but these were insufficient to make up the accelerating losses. In 1981 the producer George Walker proposed to film the company performing all of the Gilbert and Sullivan operas but backed out. Bridget D'Oyly Carte was forced to close the company in 1982, after a final London season in which Reed and Masterson returned as guest artists. It gave its last performance on 27 February 1982, at the 475:. Carte then took a six-month personal lease on the theatre beginning on 1 February 1879. Carte persuaded Gilbert and Sullivan that when their original agreement with the Comedy Opera Company expired in July 1879, a business partnership among the three of them would be to their advantage. The three each put up £1,000 and formed a new partnership under the name "Mr Richard D'Oyly Carte's Opera Company". Under the partnership agreement, once the expenses of mounting the productions had been deducted, each of the three men was entitled to one third of the profits. 2127: 576:

when my mother came to see me in London, expecting to find me dwelling in haunts of gilded luxury, and far down the road to perdition, I took her behind the scenes and showed her the arrangements for the actors and actresses, conventual in their austerity. ... I think there never was a theatre run on lines of such strict propriety; no breath of scandal ever touched it in all the twenty years of my experience. Gilbert would suffer no loose word or gesture either behind the stage or on it, and watched over us young women like a dragon.

1295:, playing most of the Gilbert and Sullivan operas in repertory and showing off the new sets and costumes. The success of this season led to additional London seasons in 1921–22, 1924, and 1926; the company toured the rest of the year. Carte's first London season stimulated renewed interest in the operas, and by 1920 he had established a second, smaller company to tour smaller towns. It was disbanded in 1927, although the company often ran multiple tours simultaneously. For London seasons, Carte engaged guest conductors, first 716: 753: 843:, which premiered in October 1888. The opera was a success, running for over a year, with strong New York and touring productions. During the run, in March 1889, Sullivan again expressed reluctance to write another comic opera, asking if Gilbert would write a "dramatic work on a larger musical scale". Gilbert declined, but offered a compromise that Sullivan ultimately accepted: The two would write a light opera for the Savoy, and at the same time, Sullivan could work on a grand opera ( 960: 1387:, included summer seasons from 1935 to 1939, 1942, 1947 to 1950, 1953, 1971, 1975, 1977 and 1980; and winter seasons in 1956–57, 1958–59, 1960–61, 1963–64, 1965–66, 1967–68, and then every winter between 1969–70 and 1981–82. The company continued to tour the British provinces and abroad when it was not in London, and these tours also often included London suburbs. The company's musical director from 1929 (having been assistant musical director from 1925) was 6793: 1546:

charitable trust. She endowed the trust with the company's scenery, costumes, band parts and other assets, together with a cash endowment, and supervised the production of operas on behalf of the trust until economic necessity forced the closure of the company in 1982. As it turned out, competing professional productions of Gilbert and Sullivan did not harm the company. Beginning in 1959, the company re-recorded most of the operas with Pratt's successor,

581: 631:(later famous as manager of the Gaiety Theatre), introduced several innovations at the theatre, including numbered seating, free programme booklets, the "queue" system for the pit and gallery (an American idea) and a policy of no tipping for cloakroom or other services. Daily expenses at the theatre were about half the possible takings from ticket sales. The last eight of Gilbert and Sullivan's comic operas were premièred at the Savoy. 290: 1464: 184: 6803: 512: 1746:

behaviour on and off stage, and even a dress code. Soprano Cynthia Morey ascribed the strong affection that artists had for the company to "the unique family atmosphere engendered by the company's direct descent from its creators, Gilbert, Sullivan ... Richard D'Oyly Carte, followed by his widow, Helen, his son Rupert, and finally his granddaughter Bridget." The company also preserved, for over a century, what

170:. The company licensed the operas for performance in Australasia and to numerous amateur troupes in Britain and elsewhere, providing orchestra parts and prompt books for hire. The company kept the Savoy operas in the public eye for over a century and left an enduring legacy of production styles and stage business that continue to be emulated in new productions, as well as recordings. 1345: 1240:. According to H. M. Walbrook, "Through the years of the Great War continued to be on tour through the country, drawing large and grateful audiences everywhere. They helped to sustain the spirits of the people during that stern period, and by so doing they helped to win the victory." The company also toured in North America several times, beginning with a Canadian tour in 1927. 431: 1754: 1281: 22: 326:, wrote: "Her character exactly compensated for the deficiencies in his." She became intensely involved in all of his business affairs and soon managed many of the company's responsibilities, especially concerning touring. She travelled to America numerous times over the years to arrange the details of the company's New York engagements and American tours. 278:, who was fascinated by Carte's vision for establishing a company to promote English comic opera. Gunn later joined Carte's management team. Still, Carte continued to produce continental operetta, touring in the summer of 1876 with a repertoire consisting of three English adaptations of French opera bouffe and two one-act English curtain raisers ( 3936: 450:, opened in May 1878. The opera's initial slow business was generally ascribed to a heat wave that made the stuffy Opera Comique particularly uncomfortable. Carte's partners in the Comedy Opera Company lost confidence in the show and posted closing notices. After Carte made promotional efforts and Sullivan included some of the 1884:, which included a deeply corrugated stage floor, "startling", "surreal, primary coloured, starkly angled sets", gimmicky distracting business and generally staging that was considered "way over the top". It "was unveiled to storms of outraged booing". Most of the critics shared the public's disapproval of the production. 1769:, conducted by the company's new musical director, Fraser Goulding, was a success in 1979. After the 1979 tour, the rising costs of mounting year-round professional light opera without any government support, despite some generous private contributions, caused the company to accrue increasing losses. In 1980 the 1518:, however, was an example of the company's stage directors from 1949 to 1953 who were said to be reluctant to update and freshen stagings. In 1957 Goffin designed a unit set for the company to facilitate touring, reducing the number of vans required to carry the scenery from twenty to nine. A 1957 review of 253:, which received an 1874 London revival. In 1873 Gilbert had offered a libretto to Carte about an English courtroom, but at the time Carte knew of no composer available to set it to music. Carte remembered Gilbert's libretto and suggested to Gilbert that Sullivan write the music for a one-act comic opera, 638:, either as curtain-raisers to the Gilbert and Sullivan pieces, or as touring productions, as well as other works to fill the Savoy Theatre in between Savoy operas, and Carte also toured the Gilbert and Sullivan operas extensively. For example, a souvenir programme commemorating the 250th performance of 2495:, nevertheless added, "we cannot suppress a word of regret that the composer on whom before all others the chances of a national school of music depend should confine himself ... to a class of production which, however attractive, is hardly worthy of the efforts of an accomplished and serious artist". 1276:

in August 1919, Carte set out his policy for staging the operas: "They will be played precisely in their original form, without any alteration to the words, or any attempt to bring them up to date." This uncompromising declaration was modified in a later interview in which he said, "the plays are all

893:

in October 1893, commented, "Those who are old enough to compare the Savoy performances with those of the dark ages, taking into account the pictorial treatment of the fabrics and colours on the stage, the cultivation and intelligence of the choristers, the quality of the orchestra, and the degree of

622:

was the first production at the new theatre, transferring there on 10 October 1881. The first generator proved too small to power the whole building, and though the entire front-of-house was electrically lit, the stage was lit by gas until 28 December 1881. At that performance, Carte stepped on stage

390:

Knowing that Gilbert and Sullivan shared his vision of broadening the audience for British light opera by increasing its quality and respectability, Carte gave Gilbert wider authority as a director than was customary among Victorian producers, and Gilbert tightly controlled all aspects of production,

353:

theatres, Gilbert, Sullivan and Carte produced the show with their own financial support. They were therefore able to select their own cast of performers, rather than being obliged to use the actors already engaged at the theatre. They chose talented actors, most of whom were not well-known stars and

1974:

wrote, "The goings-on in the pit are dispiriting. Budgetary constraints have forced the company to re-write the score for a band of nine instrumentalists. They play well enough, but every one of Sullivan's parodies loses its clout." The company received a modest Arts Council grant in 1997 to keep it

1545:

With the approaching end of the D'Oyly Carte monopoly on Gilbert and Sullivan performances, when the copyright on Gilbert's words expired in 1961 (Sullivan's music had already come out of copyright at the end of 1950), Bridget D'Oyly Carte contributed the company and all its assets to an independent

1410:

On 3 September 1939, at the outbreak of World War II, the British government ordered the immediate and indefinite closure of all theatres. Carte cancelled the autumn tour and disbanded the company. Theatres were permitted to reopen from 9 September, but it took some weeks to reestablish the company.

763:

During this conflict and others during the 1880s, Carte and Helen Lenoir frequently had to smooth over the partners' differences with a mixture of friendship and business acumen. Sullivan asked to be released from the partnership on several occasions. Nevertheless, they coaxed eight comic operas out

748:

was running weakly at the box office and invoked the agreement to call upon his partners for a new opera to be written. Almost from the beginning of the partnership, the musical establishment put pressure on Sullivan to abandon comic opera, and he soon regretted having signed the five-year contract.

575:

No lingering about was allowed, no gossiping with the other actors; the women’s dressing-rooms were on one side of the stage, the men's on the other, and when we were not actually playing we had to mount at once our respective narrow staircases – sheep rigorously separated from the goats! Once,

490:

became so successful that the piano score sold 10,000 copies, and Carte soon sent two additional companies out to tour in the provinces. The opera ran for 571 performances in London, the second longest run in musical theatre history up to that time. More than 150 unauthorised productions sprang

3940: 2203:

From 1909 to 1934, the principal comedian was Henry Lytton, who had been playing a variety of roles with the company steadily since 1887. He received a knighthood for his performances during his long tenure with the company. Lytton's voice deteriorated during his later career, and when HMV embarked

1745:

married the company's principal flautist, Andrew March. She explained, "people didn't have flats or houses ... touring was your life." Throughout its history, the company maintained strict moral standards, and it was sometimes referred to as the "Savoy boarding school", enforcing policies regarding

1537:, which used some former members of the company in the cast. In 1955 the company gave a seven-month tour to the U.S. to celebrate the 75th anniversary of its first American productions. In 1959 the company began the tradition of holding a zany "last night" on the last evening of each London season. 1979:

for London seasons beginning in 1998. Despite the lean forces, the company received generally favourable reviews over the next five years under the management of Ian Martin. Some of its recordings have been well received. Many of these recordings also restore music that had been cut by Gilbert and

1897:

sense of slapstick comedy", noting that "The girls are pretty and the boys are handsome, and they sing and dance with a youthful freshness". Also in 1991, the company accepted an offer from the Alexandra Theatre, Birmingham, to make its base there, although its pattern of spring national tours and

483:

in London, but it was not as popular as the D'Oyly Carte production, and soon closed. Legal action over the ownership of the rights ended in victory for Carte, Gilbert and Sullivan. From 1 August 1879, the company, later called the D'Oyly Carte Opera Company, became the sole authorised producer of

478:

On 31 July 1879, the last day of their agreement with Gilbert and Sullivan, the directors of the Comedy Opera Company attempted to repossess the set by force during a performance, causing a celebrated fracas. Carte's stagehands managed to ward off their backstage attackers and protect the scenery.

2076:

in 1875, the unknown George Grossmith was recruited in 1877. Before Grossmith left the company in 1889, he created the principal comic roles in nine of the operas, and so the principal comedian parts in the operas are often referred to as the "Grossmith" roles. Other performers who created a long

1740:

Throughout the 20th century, until 1982, the company toured, on average, for 35 weeks per year (in addition to its 13-week London seasons), fostering a "strong family atmosphere, reinforced by the number of marriages in the company and the fact that so many people stayed with it for so long." The

700:

was founded in 1899. It reported, in 1914, that nearly 200 British societies were producing Gilbert and Sullivan operas that year. Carte insisted that amateur companies follow the D'Oyly Carte Opera Company staging, using its prompt books. Even after the copyrights expired at the end of 1961, the

794:

became the partnership's longest-running hit, enjoying 672 performances at the Savoy Theatre, the second longest run for any work of musical theatre up to that time, and it was extraordinarily popular in the U.S. and worldwide. It remains the most frequently performed Savoy opera. Beginning with

130:

as general manager. The company continued to tour for 35 weeks each year, issue new recordings and play London seasons of Gilbert and Sullivan. In 1961 the last copyright on the Gilbert and Sullivan operas expired, and Bridget set up and endowed a charitable trust that presented the operas until

768:

closed after a comparatively short run of nine months, for the first time in the partnership's history, the next opera was not ready. To make matters worse, Gilbert suggested a plot in which people fell in love against their wills after taking a magic lozenge – a scenario that Sullivan had

532:

was the only Gilbert and Sullivan opera to have its official premiere in America. Carte and his partners hoped to forestall further "piracy" by establishing the authorised production and tours in America before others could copy it and by delaying publication of the score and libretto. They did

1074:

at the Savoy in May 1897. Throughout the later 1890s, Carte's health was declining, and Mrs. Carte assumed more and more of the responsibilities of running the opera company. She profitably managed the theatre and the provincial touring companies. The Savoy's shows during this period received

691:

In the 1880s Carte also introduced the practice of licensing amateur theatrical societies to present works for which he held the rights, increasing their popularity and the sales of scores and libretti, as well as the rental of band parts. This had an important influence on amateur theatre in

1961:

Unlike its predecessor, the new company was not a permanent ensemble with a recognisable style. Some performers appeared in several productions, but each production was cast anew, often with guest stars from British television in leading roles, with varying degrees of success. The chorus and

1526:

praised the production and marvelled at "the continued vitality of the Savoy operas", noting: "The opera remains enchanting; the singing seems, on the whole, better and more musical than that which one used to hear, say, 30 years since; and though the acting lacks some of the richly crusted

1160:

closed at the Savoy, Mrs. Carte leased the theatre to other managements until 8 December 1906. The company's fortunes declined for a time, and by 1904 there was only a single touring company wending its way through the British provinces, when it took a seven-month South African tour.

403:

wrote: "we secretly marvelled at the naturalness and ease with which were said and done. For until then no living soul had seen upon the stage such weird, eccentric, yet intensely human beings .... conjured into existence a hitherto unknown comic world of sheer delight."

836:

closed after a run of only nine months, the company mounted revivals of earlier Gilbert and Sullivan operas for almost a year. After another attempt by Gilbert to persuade Sullivan to set a "lozenge plot", Gilbert met his collaborator half way by writing a serio-comic plot for

2071:

Gilbert and Sullivan aficionados frequently use the names of the principal comedians of the D'Oyly Carte Opera Company to refer to time periods of the company's history. Thus, after the sudden death of Sullivan's brother Fred, who had created the role of the Learned Judge in

2415:

depicting characters from the Savoy operas wearing the costumes used by the D'Oyly Carte Opera Company, and numerous postcards were published with photos or illustrations of D'Oyly Carte performers and scenes from the operas. A children's theatre company in London is called

866:

During these years, the company's high production values, and the quality of the operas, created a national and international taste for them, and the company mounted touring productions throughout the provinces, in America (generally managed by Helen), Europe and elsewhere.

1303:, who examined Sullivan's manuscript scores and purged the orchestral parts of accretions. So striking was the orchestral sound produced by Sargent that the press thought he had retouched the scores, and Carte had the pleasant duty of correcting their error. In a letter to 955:

then held the stage until April 1893. While the company presented new pieces and revivals at the Savoy, Carte's touring companies continued to play throughout Britain and in America. In 1894, for example, Carte had four companies touring Britain and one playing in America.

1277:

being restaged. ... Gilbert's words will be unaltered, though there will be some freshness in the method of rendering them. Artists must have scope for their individuality, and new singers cannot be tied down to imitate slavishly those who made successes in the old days."

316:, for a small role in a touring production. She soon left the tour and obtained a position in Carte's entertainment agency. Lenoir was well-educated, and her grasp of detail and diplomacy, as well as her organisational ability and business acumen, surpassed even Carte's. 308:, along with the works of other British lyricist/composer teams. With this theatre company, Carte finally had the financial resources, after many failed attempts, to produce a new full-length Gilbert and Sullivan opera. Carte leased the Opera Comique, a small theatre off 358:

style of performance than was commonly used at the time. Carte's talent agency provided many of the artists to perform in the new work. They then tailored their work to the particular abilities of these performers. Some of the cast members, including principal comedian

5289: 5246: 5226: 5197: 5176: 5159: 5117: 5109: 616:. The Savoy Theatre was a state-of-the-art facility, setting a new standard for technology, comfort and decor. It was the first public building in the world to be lit entirely by electric lights and seated nearly 1,300 people (compared to the Opera Comique's 862). 131:

mounting costs and a lack of public funding forced the closure of the company in 1982. It re-formed in 1988 with a legacy left by Bridget D'Oyly Carte, played short tours and London seasons, and issued some popular recordings. Denied significant funding from the

495:

protection to foreigners, Gilbert, Sullivan and Carte had no way to prevent them. To try to make some money from the popularity of their opera in America, Carte travelled to New York with Gilbert, Sullivan and the company to present an "authentic" production of

1415:

was engaged to play his roles. The company resumed touring, in Edinburgh, on Christmas Day 1939. The company continued to perform throughout the war, both on tour and in London, but in 1940 German bombing destroyed the sets and costumes for five of its shows:

571:, and interior design. From the beginning, the D'Oyly Carte Opera Company established strict rules for its actors and actresses, to avoid any hint of scandal such as performers were accused of in other companies. As Jessie Bond described in her autobiography: 1328:). Rupert D'Oyly Carte supervised the company's recordings, including eight more acoustic recordings by 1924, and a series of electrical recordings (without dialogue) in the late 1920s and early 1930s. There were additional recordings, in high fidelity, for 1880:(including a heavily pregnant Angelina) that were much criticised by the old company's fans, who complained that it was a betrayal of the legacy left by Bridget D'Oyly Carte. The next season departed further from earnest presentations in its production of 1225:

as stage manager. Gordon, who was promoted to stage director in 1922, had been a member of the company and a stage manager under Gilbert's direction, and he fiercely preserved the company's performing traditions in exacting detail for 28 years. Except for

537:

was an immediate hit in New York, and later London, becoming one of the most popular Gilbert and Sullivan operas. To secure the British copyright, there was a perfunctory performance the afternoon before the New York premiere, at the Royal Bijou Theatre,

980:

Gilbert's aggressive, though successful, legal action had embittered Sullivan and Carte, but the partnership had been so profitable that the Cartes eventually sought to reunite Gilbert and Sullivan. The reconciliation finally came through the efforts of

1888:

wrote, "The satiric point disappears in meretricious ado and humourless humour". Some critics, however, thought that it was time to sweep away "bad and lazy" traditions of the old company, calling the production "riotous, zany and subversive ... with a

94:

became an international sensation, Carte jettisoned his difficult investors and formed a new partnership with Gilbert and Sullivan that became the D'Oyly Carte Opera Company. The company produced the succeeding ten Gilbert and Sullivan operas and many

855:, which opened in December 1889 and became one of the partnership's greatest successes. After Carte's first wife died in 1885, Carte married Helen Lenoir in 1888, who was, by this time, nearly as important in managing the company as Carte himself. 790:, which opened in March 1885. The piece satirised British institutions by setting them in a fictional Japan. At the same time, it took advantage of the Victorian craze for the exotic Far East using the "picturesque" scenery and costumes of Japan. 2298:

From 1988, the revived company used guest artists for each production. The most regularly seen principal comedians were Eric Roberts and Richard Suart, both of whom also performed the "Grossmith" roles for other opera companies. Others included

462:

became a hit. The Opera Comique was required to close at Christmas 1878 for repairs to drainage and sewage under the Public Health Act of 1875. Carte used the enforced closure of the theatre to invoke a contract clause reverting the rights of

1829:. Unlike the original company, which had regularly performed up to a dozen operas each year, 48 weeks a year, the new company generally presented only one or two operas in shorter seasons. In the first season, in 1988, the operas played were 1527:

performances of those days, it is perhaps none the worse for that". In 1949 the company began a new series of recordings with Decca, featuring Green, who had returned to the company after the war, and continued the series with his successor,

1131:

Carte left his theatre, opera company and hotels to his wife, who assumed full control of the family businesses. Her London and touring companies continued to present the Savoy operas in Britain and overseas. She leased the Savoy Theatre to

1243:

Rupert D'Oyly Carte found the company's productions increasingly "dowdy", however, and on his return from the war, he determined to refresh them, bringing in new designers including W. Bridges-Adams for the sets, and, for the costumes,

1588:

In March and April 1975, after the regular London season at Sadler's Wells, the company moved to the Savoy Theatre for a fortnight's centennial performances, beginning on 25 March, the 100th anniversary of the first performance of

2263:

and contralto Ella Halman. Green was followed by Peter Pratt, who left the company in 1959, after more than eight years as principal comedian, still only 36 years old. During Pratt's years, principals included the bass-baritone

1915:

presented in 1992 and D'Oyly Carte toured in 1993 as part of its 35-week tour celebrating the 150th anniversary of Sullivan's birth. The innovation was welcomed, receiving an Arts Council Grant, and the company later presented

2380:

is a biographical film about Gilbert and Sullivan, and depicts Richard D'Oyly Carte and many members of the D'Oyly Carte Opera Company, as well as many of the company's productions from the 1870s and 1880s. The 1999 film

2914: 2663: 48:

nearly year-round in the UK and sometimes toured in Europe, North America and elsewhere. The company was revived for short seasons and tours from 1988 to 2003, and since 2013 it has co-produced four of the operas with

201:, had begun producing operettas in London. He announced his ambitions on the front of the programme for one of his productions that year: "It is my desire to establish in London a permanent abode for light opera." 122:, Carte ran the company for 35 years. He redesigned the Savoy Theatre in 1928 and sponsored a series of recordings over the years that helped to keep the operas popular. After Rupert's death in 1948, his daughter 5450: 555:, opened at the Opera Comique in April 1881 and was another big success, becoming the second longest-running piece in the series and enjoying numerous foreign productions. Patience satirised the self-indulgent 2246:

replaced him. Green's time with the company is remembered for the early Decca recordings of the operas. During Green's tenure, in addition to the long-serving Fancourt, principal players included the baritone

924:

closed in 1891, Gilbert withdrew the performance rights to his libretti and vowed to write no more operas for the Savoy. The D'Oyly Carte company turned to new writing teams for the Savoy, first producing

1980:

Sullivan or the company over the decades. Gubbay felt over-committed by 2003 and pulled out. After fifteen years, with no Arts Council funding forthcoming, the company suspended productions in May 2003.

1777:. A three-LP recording of this performance was released, which included songs from all of the Gilbert and Sullivan operas. The company had operated nearly continuously for 107 years since the opening of 1309:, he noted that "the details of the orchestration sounded so fresh that some of the critics thought them actually new... the opera was played last night exactly as written by Sullivan." Carte also hired 2027:

and Rebecca Bottone. On 26 November 2019, D’Oyly Carte presented an evening of Gilbert and Sullivan at the Grand Theatre, Wolverhampton. The company had opened the Grand in 1894 with a performance of

114:

inherited the company. Beginning in 1919, he mounted new seasons in London with new set and costume designs, while continuing the year-round tours in Britain and abroad. With the help of the director

2190:, and a young Henry Lytton. No complete recordings of the operas were made that included active members of the company until the 1920s. Workman and W. S. Gilbert quarrelled over their production of 207:

reported, "Mr D'Oyly Carte is not only a skilful manager, but a trained musician, and he appears to have grasped the fact that the public are beginning to become weary of what is known as a genuine

1448:

received a new production, planned by Carte but not seen until after his death. The other two operas took longer to rejoin the company's repertory. On the other hand, for the first wartime season,

103:

in London, which Carte built in 1881 for that purpose. The company also mounted tours in Britain, New York and elsewhere, usually running several companies simultaneously. Carte's able assistant,

627:

concluded that the theatre "is admirably adapted for its purpose, its acoustic qualities are excellent, and all reasonable demands of comfort and taste are complied with." Carte and his manager,

1962:

orchestra of the new company were much smaller than those of the old company: the chorus was reduced from 32 (or more) to 20, and the orchestra from 38 generally to 24. For a 1998 production of

107:, became his wife in 1888 and, after his death in 1901, she ran the company until her own death in 1913. By this time, it had become a year-round Gilbert and Sullivan touring repertory company. 1391:, who retained the position until 1968 and guest conducted the company in 1975, as part of the centenary season at the Savoy Theatre. Guest conductors during Godfrey's tenure were Sargent and 263:

and became the first great success of Carte's scheme to found his school of English comic opera, playing for 300 performances from 1875 to 1877, as well as touring and enjoying many revivals.

1017:

was the Savoy's most expensive production to date, but it ran for a comparatively disappointing 245 performances, until June 1894, turning a very modest profit. The company then played first

2047:

and conducted by Derek Clark, starring Suart, Yvonne Howard, William Morgan, Mark Nathan, Charlie Drummond, Ben McAteer, Sioned Gwen Davies, Arthur Bruce, Catriona Hewitson and Dan Shelvey.

2150:, who played the roles on tour with the company from 1897 and took over as principal comedian at the Savoy between 1906 and 1909. Both of these performers made recordings of songs from the 2469:

The question turned on whether the Company's agreement with the authors had expired along with the Company's lease of the Opera Comique on 31 July 1879. The courts decided that it did.

2283:, Donald Adams, Gillian Knight, Valerie Masterson and Kenneth Sandford, all of whom, except the last, left the company for the wider operatic stage of Covent Garden, Sadler's Wells, 533:

succeed in keeping for themselves the direct profits of the venture, but they tried without success for many years to control the American performance copyrights over their operas.

2319:

wrote a song called "In the D'Oyly Cart", a satire of the company and the rote "business" and gestures that it was accused of repeating. The song was first performed in the revue

1212: 1905:

Another initiative was to stage a foreign operetta for the first time since Richard D'Oyly Carte's day, in what would be D'Oyly Carte's first co-production. The work chosen was

1983:

The company was dormant from 2003 to 2012, but it successfully claimed reimbursement of VAT paid during the 1990s, which helped it return to production. From May to July 2013,

1478:

as general manager. Bridget and Lloyd also took steps to keep the productions fresh, engaging designers to redesign the costumes and scenery. Peter Goffin, who had redesigned

3800: 3248: 2196:

in 1909, and Gilbert banned Workman from appearing in his works in Britain. It is likely that, otherwise, Workman would have continued as principal comedian of the company.

1399:

retired in 1934 after a quarter century as the principal comedian, and the company made a highly successful eight-month North American tour with its new principal comedian,

211:, and are ready to welcome a musical entertainment of a higher order, such as a musician might produce with satisfaction". He wanted to establish a body of tasteful English 1872:, however, marked a break with traditional presentations, with the setting a giant toy-box and a collapsible toy boat. In 1990 the company presented campier versions of 1356:. The old house had three tiers; the new one had two. The seating capacity was increased from 986 to 1,158. The theatre reopened 135 days later on 21 October 1929, with 1857:

praised the musical standards, but added, "Gilbert and Sullivan is as much theatrical as musical entertainment and there remains a lot to be done on the visual side."

5864: 1352:

Rupert D'Oyly Carte also redesigned the Savoy Theatre. On 3 June 1929 the Savoy closed, and it was completely rebuilt to designs by Frank A. Tugwell with décor by

408:

ran for 178 performances, a healthy run at the time, making a profit, and Carte sent out a touring company in March 1878. Sheet music from the show sold well, and

858: 5557: 1853:

thought the productions "miles superior to the later work of the old D'Oyly Carte; better designed, better lit ... better played and better sung." A review in

1821:. From 1988 to 2003, the company mounted productions of the Gilbert and Sullivan operas on tour and in London, and it produced several operettas by Offenbach, 1789:

Dame Bridget D’Oyly Carte died in 1985, leaving in her will a £1 million legacy to enable the company to be revived. The company secured sponsorship from

6849: 6679: 917:, had a successful run, but Carte did not find suitable successors for the theatre, and it soon failed. He sold it, and it later became the Palace Theatre. 6669: 1383:

The Savoy also hosted London seasons for the company in 1930–31, 1933, 1941, 1951, 1954, 1961, 1963–64, and 1975. London seasons at other theatres, mostly

2978: 2792:, 29 March 1875, p. 10, quoted and discussed in Ainger, p. 109. See also Stedman, pp. 129–130; Ainger, pp. 111 and 117; and Rollins and Witts, pp. 1–18. 6844: 2478:

Bradley notes that royalties from British amateur companies were 10 per cent of the box office take plus hire costs for the band parts and prompt books

749:

In March 1884 Sullivan told Carte that "it is impossible for me to do another piece of the character of those already written by Gilbert and myself."

399:

to choreograph most of the Savoy operas. The skill with which Gilbert and Sullivan used their performers had an effect on the audience; as the critic

5467: 4311: 259:, which was quickly composed and added to the Royalty's bill in March 1875. The witty and "very English" little piece proved even more popular than 2242:

Lytton was succeeded in 1934 by Martyn Green, who played the principal comic parts until 1951, except for a gap from the end of 1939 to 1946, when

3560: 1332:, in the late 1940s and early 1950s and stereo recordings in the late 1950s and early 1960s, all supervised after Rupert's death by his daughter, 6834: 6684: 6411: 5308: 2204:

on a series of complete recordings of the operas after World War I, he was not invited to record most of his roles. Instead, the concert singer

6457: 3178:, 1 September 1879, reprinted at the Stage Beauty website, Don Gillan (ed.), accessed 7 July 2010. See also "The Fracas at the Opera Comique", 2353:. It was also broadcast by the BBC. It concerned a nightmare experienced by a D'Oyly Carte tenor. The company is mentioned in the 1937 musical 1898:

summer London seasons was not affected. In 1997, following cuts in the funding of the theatre at Birmingham, the company moved its base to the

1221:

After Gilbert's death in 1911, the company continued to produce productions of the operas in repertory until 1982. In 1911, Helen Carte hired

5016: 2814: 5573: 5824: 5516: 3270: 1991:

in partnership with the D'Oyly Carte Opera Company, although it was not reported what role the latter company took in the producing team.

769:

previously rejected, and he now rejected the "lozenge plot" again. Gilbert eventually came up with a new idea and began work in May 1884.

6642: 1849:

in July. The press notices were good, particularly about the musical aspects of the new company; opinion was divided about the staging.

6806: 6637: 910:, the inaugural production of which was to be Sullivan's forthcoming grand opera. Gilbert won the suit, but the partnership disbanded. 697: 985:, who published the sheet music to the Savoy operas. In 1893 the company produced the penultimate Gilbert and Sullivan collaboration, 894:

artistic good breeding, so to speak, expected from the principals, best know how great an advance has been made by Mr. D'Oyly Carte."

6674: 3360: 2050: 2231: 3857: 1164:

In 1906–07 Mrs. Carte staged a repertory season at the Savoy Theatre, with Gilbert returning to direct. The season, which included

784:

played by a cast of children, while waiting for the new work to be completed. This became the partnership's most successful opera,

6101: 3981: 3729: 3623: 3267:

Prestige, Colin. "D'Oyly Carte and the Pirates: The Original New York Productions of Gilbert and Sullivan", pp. 113–48 at p. 118,

6659: 3797: 3245: 1204:. Afterwards, however, Mrs. Carte's health prevented her from staging more London seasons. She retired and leased the theatre to 5797: 592:

With profits from the success of the Gilbert and Sullivan operas and his concert and lecture agency (his talent roster included

5777: 4554:

In addition to the Savoy and Sadler's Wells, London seasons were at the Prince's Theatre (1956–57, 1958–59, and 1960–61); the

4438: 2541:

Carte's older son, Lucas, was a barrister and took no part in the family businesses. He died of tuberculosis in 1907, aged 34.

6366: 6347: 6328: 6192: 4529: 4494: 4459: 3313: 4017: 349:, a friend of both Gilbert and Sullivan. Instead of writing a piece for production by a theatre proprietor, as was usual in 6652: 6392: 4906: 4763: 5846: 2550:

The recording was issued under the "D'Oyly Carte" name, but in fact none of the singers on it were members of the company.

1013:. Despite the popularity of Barrie and Conan Doyle, the show was a flop, closing in July 1893 after only 51 performances. 5187:. The Gilbert and Sullivan Newsletter, No. 38, Autumn 1992, accessed 7 June 2010 for a digest of other critical comment. 1765:

The company visited Denmark in 1970, Rome in 1974, and gave its last American tours in 1976 and 1978. Its last tour, in

6450: 3204:"Supreme Court of Judicature, August 1 – Court of Appeal – Gilbert v The Comedy Opera Company Limited", 1460:

debuted in 1948. A return to the U.S. in 1947 was very successful, and the company resumed frequent visits to America.

3167: 6296: 6277: 6255: 6212: 6177: 6157: 6136: 6090: 6049: 6028: 6007: 5971: 5890: 5554: 5533: 3822: 3449: 3340: 2376: 1661:, who was at the company's musical helm from 1971 to 1979, conducted most of the performances, with Isidore Godfrey ( 1533: 1781:

in 1875. Even after it closed, the company's productions continued to influence the productions of other companies.

6829: 2142:

After Grossmith left the company, the most notable players of his roles during the rest of Gilbert's lifetime were

3513:, Vol. 29, No. 3 (October 1977), pp. 320–332, The Johns Hopkins University Press (online by subscription to JSTOR) 2279:

Pratt's successor was John Reed, who served as principal comedian for two decades. Other stars from this era were

3502: 1894: 1083: 1208:, and the company did not perform in London again until 1919, although it continued to tour throughout Britain. 1113:, which ran for 213 performances. Neither Carte nor Sullivan lived to see the production of Sullivan and Hood's 2391:, also depicts the company, focusing on the events leading up to and through the composition and production of 2154:. During the Passmore era, principal players of the company included Brandram and Barrington, as well as tenor 162:

Some of the company's performers, over the decades, became stars of their day and often moved on to careers in

2974: 6796: 6443: 4875: 3816: 1770: 364: 132: 2031:

and had returned there throughout the theatre's 125-year history. In 2021 and 2022, the company co-produced

1256:

who had worked with Gilbert and Richard D'Oyly Carte on the original productions of the later Savoy operas.

222:

and adaptations of French operettas and opera bouffes that dominated the London musical stage at that time.

6265: 5479: 2205: 1924: 1899: 1790: 1236:

died in 1913, and Carte's son Rupert inherited the company. During World War I, he was away serving in the

670:

running at a New York theatre, a lecture tour by Archibald Forbes (a war correspondent) and productions of

2200:

wrote to Workman in 1919 asking him to return to the company as principal comedian, but Workman declined.

1750:

called a "unique performance style, which may be summarised as a combination of good taste and good fun".

5359:

See D'Oyly Carte programme booklets from Sadler's Wells 1977–78 season and the Savoy Theatre 2002 season.

5337: 4308: 2040: 1802: 1654: 1486:(1948) for the company, created new settings and costumes for Bridget for half a dozen more productions: 6416: 5491: 1156:(with music by German, libretto by Hood), which ran for four months in early 1903 and then toured. When 849:) for a new theatre that Carte was constructing to present British grand opera. The new comic opera was 6647: 6420: 3868:(London: 1964), reproduced at The Gilbert and Sullivan Archive, 9 January 2005 accessed 12 October 2009 3384: 2327:(1951). It was broadcast in 1974 and included as the first track on the 1975 Flanders and Swann album, 2107:

Richard Temple. In the original New York City productions and British touring productions, the soprano

608:), Carte bought property along the Strand with frontage onto the Thames Embankment, where he built the 528:, Carte and his partners opened it in New York on 31 December 1879, prior to its 1880 London premiere. 78:, became a success, Carte put together a syndicate to produce a full-length Gilbert and Sullivan work, 5341: 286:). Carte himself was the musical director of this travelling company, which disbanded after the tour. 5305: 2509: 2417: 1907: 1842: 1384: 1253: 1077: 945: 872: 275: 1637:, and Bridget D'Oyly Carte each gave a short speech. A highlight of the season was a new staging of 1313:, who started with the touring company, then was Toye's assistant before becoming musical director. 634:

During the years when the Gilbert and Sullivan operas were being written, the company also produced

6854: 6839: 5901: 4272:, p. 65 and 1974 images of the same scene on the sleeve of D'Oyly Carte recording, Decca SKL 5188/9 2811: 2288: 1360:

1344: 1310: 1152: 932: 623:

and broke a glowing lightbulb before the audience to demonstrate the safety of the new technology.

416:

showed Carte, Gilbert and Sullivan that there was a future in family-friendly English comic opera.

5762: 371:, stayed with the company for almost 15 years. Two other longstanding members of the company were 6632: 6574: 6532: 6487: 2248: 1930: 1333: 1055:, in 1896, which ran for 123 performances and was Gilbert and Sullivan's only financial failure. 1042: 967: 839: 828:. The piece, though profitable, was a relative disappointment after the extraordinary success of 657: 524: 194: 187: 137: 123: 57: 642:

in London and its 100th performance in New York shows that, aside from these two productions of

6627: 5817: 5644: 5511: 5369: 4741: 2447:(1871), was a Christmas entertainment for a different management and made only a modest impact. 2355: 2284: 2197: 2024: 1706: 1551: 1215: 1146: 1067: 907: 812: 392: 111: 5184: 6709: 6080: 5880: 3441: 2412: 2116: 1325: 1103:

ran for only 50 performances. In 1899 the Savoy finally had a new success, with Sullivan and

559:

of the 1870s and '80s in England, part of the 19th-century European movement that emphasised

5919: 1593:. All thirteen surviving Gilbert and Sullivan operas were performed in chronological order. 1569:(1967). During the 1960s, the company gave five North American tours. A new stage director, 939:, which ran for a satisfying 200 performances in 1891–92. Next was a revival of Solomon and 387:

at the Opera Comique in 1878. As Grossmith wrote in 1888, "We are all a very happy family."

6466: 3620: 3274: 1618: 1041:

closed, the company toured the London suburbs, while Carte leased the Savoy Theatre to the

662: 355: 305: 41: 3357: 2216:, who is estimated to have portrayed the Mikado of Japan more than 3,000 times, contralto 2208:

was brought in to substitute. Other performers from this period include the mezzo-soprano

635: 8: 6741: 6426: 4559: 2892: 1868:

The new company's first three productions were broadly traditional in their staging. The

1685:, the regular D'Oyly Carte chorus was augmented by fourteen former stars of the company: 1642: 1292: 1045:. The theatre was dark during the summer of 1895, reopening in November for a revival of 951: 889: 884: 701:

company continued to, and still does, rent out band parts to companies around the world.

322: 219: 4009:, 31 December 1892, p. 3; and "Palace Theatre as Cinema. Stage Plays also to be Given", 6765: 6717: 6107: 5774: 4346: 3978: 3726: 3008: 2404:

s 2008 list of the 500 greatest movies of all time, created by polling 10,000 readers.

2316: 2269: 2209: 2147: 2016: 1730: 1698: 1321: 1316:

In 1917 the company made the first complete recording of a Gilbert and Sullivan opera,

1109: 1006: 650:, two companies touring with other Gilbert and Sullivan operas, a company touring with 438: 368: 4679: 3851: 2126: 1474:

Rupert died in 1948, leaving a strong company to his daughter Bridget. She soon hired

1372:(1929, with other designs contributed by Rumbold), and he later designed costumes for 500:

on Broadway, beginning in December 1879, also mounting American tours. Beginning with

329:

The first comic opera produced by the Comedy Opera Company was Gilbert and Sullivan's

229:. Needing a short piece to round out an evening's entertainment featuring the popular 6362: 6343: 6324: 6292: 6273: 6251: 6234: 6208: 6188: 6173: 6153: 6147: 6132: 6086: 6064: 6045: 6039: 6024: 6018: 6003: 5997: 5967: 5945: 5906: 5886: 5794: 5748: 4234: 3445: 2600: 2397: 2364: 2360: 2343: 2292: 2167: 1996: 1846: 1826: 1742: 1666: 1547: 1245: 982: 455: 230: 1809:

was its first musical director. In succeeding seasons, the company's productions of

1024: 715: 6773: 6757: 6539: 4999: 4435: 3675: 2692: 2623: 2608: 2243: 2225: 2213: 2112: 2059: 2054: 1967: 1467: 1412: 1284: 1257: 1115: 1089: 963: 652: 551: 505: 360: 4519: 4498: 4463: 4401: 3743: 3310: 2677: 1291:

The main company made a triumphant return to London for the 1919–20 season at the

1070:

as an assistant. Rupert assisted Mrs. Carte and Gilbert with the first revival of

824:, which opened in January 1887. It satirised and used elements of Victorian stock 335:, about a tradesmanlike London sorcerer. It opened in November 1877 together with 6733: 6588: 6525: 6504: 6482: 6430: 6397: 5868: 5833: 5828: 5801: 5781: 5561: 5520: 5312: 4910: 4767: 4563: 4555: 4533: 4442: 4315: 4021: 4014: 3985: 3861: 3826: 3804: 3733: 3627: 3506: 3364: 3344: 3317: 3252: 3171: 2982: 2918: 2818: 2667: 2515: 2443: 2408: 2268:, tenor Leonard Osborn (who later directed the company's productions), contralto 2171: 2143: 2130: 2120: 2108: 1774: 1570: 1388: 1300: 1034: 1019: 987: 927: 845: 628: 568: 446: 396: 372: 337: 244: 226: 163: 155: 119: 86: 65: 4903: 4779: 4771: 4756: 1490:(1952; settings only, most of the celebrated Ricketts costumes being retained), 692:

general. Cellier and Bridgeman wrote in 1914 that, prior to the creation of the

522:

In an effort to head off unauthorised American productions of their next opera,

235: 6664: 6595: 6581: 5406:(1999), in which the company's new release is described as "the most important 5395: 4800: 4682:, Interview with Sandford, c. 1972, at the Memories of the D'Oyly Carte website 4436:

Links to detailed descriptions of the various series of D'Oyly Carte recordings

2911: 2660: 2596: 2592: 2304: 2192: 2135: 2089: 2044: 1984: 1976: 1918: 1838: 1818: 1806: 1718: 1714: 1475: 1411:

Some performers, including Martyn Green, were already committed elsewhere, and

1095: 1051: 972: 936: 880: 868: 851: 605: 597: 342: 309: 301: 149: 127: 50: 6402: 1822: 752: 247:

together. On tour in 1871, Carte had conducted Sullivan's one-act comic opera

6823: 6778: 6749: 6511: 6477: 6124: 6068: 5242: 4111: 3388: 2887: 2457: 2256: 2252: 2187: 2104: 2082: 1992: 1890: 1798: 1726: 1690: 1634: 1625:, was played by Peter Pratt as Richard D'Oyly Carte, Sandford as Gilbert and 1515: 1353: 1329: 1296: 1205: 1133: 1120: 1029: 940: 684: 609: 593: 585: 435: 409: 350: 317: 255: 240: 100: 74: 61: 6308:, vol. VII, p. 23 (May 1953), London: The Gilbert and Sullivan Society. 5932: 5922:, The Gilbert and Sullivan Archive, 19 January 2012, accessed 31 August 2020 5650:

at The Gilbert and Sullivan Archive, 19 March 2005, accessed 4 November 2009

3461: 3066: 2179: 6553: 6518: 6238: 5346: 3164: 2604: 2588: 2339: 2280: 2273: 2265: 2260: 2235: 2221: 2217: 2175: 2163: 2155: 2151: 2100: 2020: 1702: 1694: 1686: 1658: 1452:, a protégé of Carte's daughter, Bridget, had designed a new production of 1449: 1400: 1396: 1249: 1222: 1099:(1899), as well as revivals of the Gilbert and Sullivan operas. Sullivan's 1002: 959: 804: 800: 740: 613: 556: 400: 346: 331: 313: 293: 208: 203: 115: 104: 96: 80: 3819: 3337: 3279:, ed. James Helyar. Lawrence, Kansas: University of Kansas Libraries, 1971 2011:

each gave the production three out of five stars. The company co-produced

6701: 6622: 6612: 6076: 5993: 5935:, The Gilbert and Sullivan Archive, 24 June 2008, accessed 31 August 2020 4251: 2383: 1912: 1766: 1758: 1722: 1710: 1626: 1528: 1272:

were retained by all subsequent designers until 1982. In an interview in

1233: 1037:

and Sullivan. These ran for 102 and 97 performances, respectively. After

1010: 808: 693: 601: 380: 249: 212: 167: 69: 45: 37: 6387: 5858: 1573:, was hired in 1969, staying until 1978. Among his new productions were 135:, it suspended productions in 2003. With Scottish Opera, it co-produced 6560: 6435: 6270:

Gilbert & Sullivan – The Official D'Oyly Carte Picture History

4635: 4199:

Carte, Bridget D'Oyly. Foreword to Mander, Raymond and Joe Mitchenson,

3499: 2388: 2159: 2077:

series of roles in the original productions of the operas included the

1794: 1403:. In 1938 many company members participated in the Technicolor film of 1237: 1104: 997: 786: 688:

in association with J. C. Williamson in Australia, among other things.

198: 183: 143: 3007:

Biographical file for John D'Auban, list of productions and theatres,

2674:, Oxford University Press, September 2004, accessed 12 September 2008 216: 6567: 6407: 5706: 5438: 4320: 2925:, Oxford University Press, September 2004, accessed 12 September 2008 2788: 2368: 2300: 2183: 2093: 1392: 1305: 825: 820: 580: 560: 492: 304:

and formed the Comedy Opera Company in 1876 to produce more works by

289: 3480:, Volume XX no. 2, D'Oyly Carte Opera Trust, September 1981, pp. 4–6 1629:

as Sullivan, in which Gilbert, Sullivan and Carte plan the birth of

1211: 897: 6546: 6020:

Oh Joy! Oh Rapture! The Enduring Phenomenon of Gilbert and Sullivan

3381: 2714:

Ainger, pp. 108–109; Joseph (1994), p. 11; and Stedman, pp. 128–130

2505: 2078: 734: 721: 564: 539: 6204:

Shaw's Music – The Complete Musical Criticism of Bernard Shaw

5061:, 2 May 1988, p. 20; and Canning, Hugh. "Cambridge Theatre – 3740:, Oxford University Press, September 2004, accessed 11 April 2009 2291:

and elsewhere. When Reed left the company in 1979, his understudy

1557:

in 1966, and recorded for television broadcast its productions of

1463: 6725: 4309:"Patricia Leonard: principal contralto of the D’Oyly Carte opera" 3069:, John Lane, 1930, accessed 10 March 2009. But see Ainger, p. 160 2086: 1733:'s Jubilee Year, the company gave a Royal Command Performance of 1550:, and also recorded a number of other Sullivan pieces. It made a 949:, which played through the summer of 1892. Grundy and Sullivan's 6382: 6169:

The D'Oyly Carte Opera Company, 1875–1982: An Unofficial History

3866:

Tit-Willow; or Notes and Jottings on Gilbert and Sullivan Operas

3606: 3604: 3529:

Bettany, unnumbered page (there are no page numbers in the book)

3444:, Issue 1165, p. 38, Fairleigh Dickinson University Press, 2000 2975:"W. S. Gilbert: Antiquarian Authenticity and Artistic Autocracy" 2178:. During Workman's tenure, principal players included contralto 1280: 1059:

turned out to be Gilbert and Sullivan's last big hit, and after

646:, Carte was simultaneously producing two companies touring with 511: 5253:, 22 Monday, March 1993; and Sutcliffe, Tom. "Styx for Kicks", 4566:, 1981–82). See Rollins and Witts, pp. 180–186 and supplements. 3347:, The Wolanski Foundation, January 2000, accessed 11 April 2009 3182:, 10 August 1879, p. 5; and "The Fracas at the Opera Comique", 2015:

with Scottish Opera on tour from May to July 2016, directed by

1805:

was appointed the revived company's first general manager, and

1136:

in 1901 and oversaw his management of the company's revival of

430: 354:

did not command high fees, and to whom they could teach a more

267: 6408:

Ralph Horner's Reminiscences of the D'Oyly Carte Opera Company

4404:

at The Gilbert and Sullivan Archive, accessed 20 November 2009

1845:

on 29 April 1988, and, after touring, opened in London at the

1565:(1973). It also supplied the soundtrack for a cartoon film of 1531:. The company cooperated with the production of the 1953 film 491:

up in America alone, but because American law then offered no

270:, Ireland in September 1875, while managing the first tour of 6231:

The D'Oyly Carte Opera Company in Gilbert and Sullivan Operas

6041:

The New York Public Library Desk Reference – 3rd Edition

3601: 2347: 2097: 1753: 543: 21: 2513:, which held that position until the record-breaking run of 312:. In February 1877 Carte engaged a novice Scottish actress, 6058: 4536:, the Gilbert and Sullivan Archive, accessed 17 August 2019 508:

company to produce the works in Australia and New Zealand.

6388:

Official D'Oyly Carte Opera Company USA Foundation Website

5837:, issue 864, 19 April 1940, p. 18, accessed 10 August 2020 5538:

review at Theatre Royal, Glasgow – 'visually resplendent'"

4495:"Information about the 1929–20 season and the new designs" 4460:"Programme with photos of the new theatre and productions" 4024:

at the Arthur Lloyd theatre site, accessed 13 October 2009

3472: 3470: 1934:(1997). Of the Savoy operas, the new company never staged 1793:, who later became chairman of the board of trustees, the 1649:

was given as a concert performance, with narration by the

1180:, was a sensation and led to another in 1908–09 including 1140:

and the production of several new comic operas, including

391:

including staging, design and movement. Gilbert hired the

3311:"The J. C. Williamson Gilbert and Sullivan Opera Company" 1650: 454:

music in several promenade concerts that he conducted at

72:

to round out an evening's entertainment. When that work,

3442:"At the Temple of Art: the Grosvenor Gallery, 1877–1890" 2224:, soprano Elsie Griffin and baritones Leo Sheffield and 1801:

British Midland Airways (of which Bishop was chairman).

5948:, HealthyPages, 22 August 2004, accessed 10 August 2020 3467: 6403:

Links to the various series of D'Oyly Carte recordings

6340:

D'Oyly Carte: The Decline and Fall of an Opera Company

4284:

Bradley (2005), p. 30. See also chapters four and six.

3462:"The Life and Reminiscences of Jessie Bond", Chapter 6 3067:"The Life and Reminiscences of Jessie Bond", Chapter 4 479:

The Comedy Opera Company opened a rival production of

341:, a curtain-raiser with music by Sullivan's assistant 5564:, D'Oyly Carte Opera Company, accessed 10 August 2020 5441:, D'Oyly Carte Opera Company, accessed 10 August 2020 5177:"Too little bold and witty are we – Comic Opera" 5044:

Lisle, Nicola. "When the wheels came off the Carte",

4349:

Gilbert & Sullivan Opera, A History and a Comment

4264:

See, for instance, 1882 images of the Act II trio in

3926:, 11 October 1893, reprinted in Laurence, pp. 975–976 2504:

The longest-running piece of musical theatre was the

1677:) as guest conductors. Princes Philip and Andrew saw 375:, who started in D'Oyly Carte touring companies with 6264: 6248:

W. S. Gilbert, A Classic Victorian & His Theatre

6228: 6217: 5795:"Flanders & Swann's "In the D'Oyly Cart" (1974)" 3977:, p. vii, New York: Oakapple Press, 2009; linked at 3973:

Shepherd, Marc. "Introduction: Historical Context",

2441:

Gilbert and Sullivan's only previous collaboration,

2295:

took over until the closure of the company in 1982.

6291:. London: Chappell in association with A. Deutsch. 6289:

Final curtain: The last Gilbert and Sullivan Operas

5247:"All down to a hell of a good snigger – Opera" 5160:"Light-arted operatic fare a la Carte – Opera" 4989:

Joseph (1994), p. 358; and Wilson and Lloyd, p. 208

3371:(2000), Edwardsamuels.com, accessed 16 October 2009 2528:Craven had earlier designed the sets for Act II of 6398:Memories of the D'Oyly Carte Opera Company website 5784:, D'Oyly Carte Opera Company, accessed 6 June 2010 5555:"125th Anniversary of Wolverhampton Grand Theatre" 5315:. D'Oyly Carte Opera Company, accessed 7 June 2010 4005:, 12 December 1892, p. 7; "The Theatres in 1892", 2858:Ainger, pp. 110, 119–20 and 130–31; Jacobs, p. 109 563:values over moral or social themes in literature, 215:that would appeal to families, in contrast to the 4402:Information about the 1919–20 D'Oyly Carte season 2825:website, 27 August 2001, accessed 14 October 2009 2336:A "G. & S." Cocktail; or, A Mixed Savoy Grill 1958:, stating that they lacked box-office potential. 898:The Carpet Quarrel and the end of the partnership 815:, designed all the D'Oyly Carte sets until 1893. 471:to Gilbert and Sullivan after the initial run of 6821: 6059:Cellier, François; Cunningham Bridgeman (1914). 5592: 5590: 4255:was cut and arranged into a short curtain raiser 3271:Papers Presented at the International Conference 3255:, StageBeauty.net (2007), accessed 10 March 2009 2423: 2310: 40:company that, from the 1870s until 1982, staged 6412:New York Public Library for the Performing Arts 1613:. Before the first of the four performances of 5133:Kenyon, Nicholas. "Pulsating pirate version", 5078:Ratcliffe, Michael. "Through a glass darkly", 3798:"Longest Running Plays in London and New York" 3670: 3668: 3666: 3358:"International Copyright Relations: 1790–1891" 3246:"Longest Running Plays in London and New York" 744:, opened in January 1884. Carte soon saw that 6451: 6393:Who Was Who in the D'Oyly Carte Opera Company 6250:. Oxford; New York: Oxford University Press. 5587: 5323: 5321: 5290:"Joie de vivre falls in the pit – Opera" 5183:, 10 April 1991. See also, Walters, Michael. 5031: 5029: 4915:Who Was Who in the D'Oyly Carte Opera Company 4823: 4821: 4819: 4817: 4691:"The Lasting Charm of Gilbert and Sullivan", 4665: 4663: 4661: 4583: 4581: 4361: 4359: 4292: 4290: 4280: 4278: 4239:Who Was Who in the D'Oyly Carte Opera Company 4034: 4032: 4030: 2823:Who Was Who in the D'Oyly Carte Opera Company 1597:was given four times, as a curtain raiser to 704: 444:The next Gilbert and Sullivan collaboration, 6850:1982 disestablishments in the United Kingdom 6106:. Bristol/London: Arrowsmith. Archived from 5964:Gilbert and Sullivan – A Dual Biography 5763:"Obituary: Welsh Baritone Eric Roberts Dies" 5023:magazine, 8 March 1982, accessed 7 July 2010 5017:1982 "Music: Final Curtain for D'Oyly Carte" 4520:Illustrations of the Sheringham designs for 4484:Savoy Theatre programme note, September 2000 4376: 4374: 4097: 4095: 4093: 4091: 3656: 3654: 3585: 3583: 3581: 3393:Cardozo Arts & Entertainment Law Journal 3296: 3294: 2951: 2949: 2845: 2843: 612:in 1881. He chose the name in honour of the 6670:People associated with Gilbert and Sullivan 6643:International Gilbert and Sullivan Festival 6410:, held by the Billy Rose Theatre Division, 6383:Official D'Oyly Carte Opera Company Website 5999:The Complete Annotated Gilbert and Sullivan 5628:Lytton – Gilbert and Sullivan's Jester 5154: 5152: 4626:Rollins and Witts, pp. 171–179 and VII–VIII 4304: 4302: 3663: 3324:, 12 November 2001, accessed 2 October 2009 3263: 3261: 3124: 3122: 3120: 2906: 2904: 2902: 2587:Other singers in these recordings included 2146:(principal comedian from 1894 to 1903) and 764:of Gilbert and Sullivan in the 1880s. When 6638:Cultural influence of Gilbert and Sullivan 6458: 6444: 6152:. Waltham, MA: Brandeis University Press. 5946:"Theatre reaches out to autistic children" 5695:Rollins and Witts, pp. 159–163 and 171–175 5318: 5026: 4814: 4658: 4578: 4356: 4287: 4275: 4027: 3829:, Musicals101.com, accessed 8 October 2009 3525: 3523: 3521: 3519: 3500:"The London West End Theatre in the 1890s" 3395:, Vol. 24 (2007), accessed 16 October 2009 3332: 3330: 2874:Burgess, Michael. "Richard D'Oyly Carte", 2870: 2868: 2866: 2864: 2801:Ainger, pp. 111, 157, 169–171, 184 and 193 2035:and a staged but concert-dress version of 1975:afloat and turned to private funding from 1784: 1540: 1444:were recreated shortly after the war, and 772:The company produced the first revival of 698:National Operatic and Dramatic Association 225:In early 1875 Carte was managing London's 6845:1875 establishments in the United Kingdom 6221:A Picture History of Gilbert and Sullivan 6099: 5910:, 3 October 2008, accessed 10 August 2020 5091:Canning, Hugh. "Cambridge Theatre – 4371: 4353:(1920) London: F. V. White & Co. Ltd. 4201:A Picture History of Gilbert and Sullivan 4088: 3969: 3967: 3937:"Approximately £37,818.60 in 2006 prices" 3837: 3835: 3651: 3630:at the D'Oyly Carte Opera company website 3578: 3291: 2988: 2946: 2840: 1987:produced a British touring production of 1761:honouring the Carte family and colleagues 1633:in 1875; afterwards, the prime minister, 1407:produced and conducted by Geoffrey Toye. 1252:. He also commissioned new costumes from 995:was being prepared, the company produced 636:operas by other composer–librettist teams 6465: 6218:Mander, Raymond; Joe Mitchenson (1962). 6201: 6075: 5920:Player's Cigarette Cards (1925 and 1927) 5523:, Scottish Opera, accessed 22 March 2016 5299: 5149: 5118:"Back with a new-found zip – Opera" 5116:, 13 September 1989; and Higgins, John. 4299: 3768: 3619:Bradley (2005), pp. 30 and 68; see also 3258: 3117: 2899: 2338:, written by Lauri Wylie, with music by 2230: 2125: 2049: 1752: 1617:, a specially written curtain raiser by 1462: 1456:first seen in January 1940, and his new 1343: 1339: 1279: 1210: 1063:, the two men never collaborated again. 958: 857: 751: 714: 579: 510: 429: 288: 182: 20: 6660:List of compositions by Arthur Sullivan 6286: 6245: 6016: 5992: 5980: 5490:, 16 May 2013; and Jones, Sarah Urwin. 5275:Ratcliffe, Michael. "Operetta: Seeya", 4844: 4842: 3807:, Stage Beauty, accessed 30 August 2020 3738:Oxford Dictionary of National Biography 3686:, 28 June 1997, accessed 30 August 2020 3516: 3464:, John Lane, 1930, accessed 6 June 2010 3327: 2923:Oxford Dictionary of National Biography 2861: 2672:Oxford Dictionary of National Biography 2562:re-entered the repertory in July 1947, 2066: 1729:and Gillian Humphreys. In 1977, during 419: 6835:Gilbert and Sullivan performing groups 6822: 6356: 6337: 6229:Rollins, Cyril; R. John Witts (1961). 6182: 6166: 6123: 6037: 5961: 4904:Biographies of all of these performers 3964: 3832: 3783:Jones, Brian. "Japan in London 1885", 1860:The two operas presented in 1989 were 871:honoured the company by calling for a 6439: 6318: 6145: 6129:Arthur Sullivan: A Victorian Musician 6063:. Boston: Little, Brown and Company. 6061:Gilbert and Sullivan and Their Operas 6023:. New York: Oxford University Press. 6002:. New York: Oxford University Press. 5988:. London: D'Oyly Carte Opera Company. 5902:"The 500 Greatest Movies of All Time" 3820:"G&S101: G&S Story: Part III" 2655: 2653: 2651: 2649: 2647: 2645: 2643: 2420:, a play on the name of the company. 1645:), its first revival by the company. 1126: 549:The next Gilbert and Sullivan opera, 274:, Carte met an owner of the theatre, 5006:, 16 July 2005, accessed 7 July 2010 4839: 4558:(1963–64, 1965–66 and 1967–68); the 3787:, issue 22, Winter 2007, pp. 686–696 2977:, Winthrop University, October 2002 2881: 2731: 2729: 1841:. The company made its debut at the 1514:in 1954 was designed by James Wade. 1348:1921 cartoon: D'Oyly Carte audiences 1075:comparatively short runs, including 902:On 22 April 1890, during the run of 412:played the melodies. The success of 99:and companion pieces, mostly at the 6802: 6423:Theatre and Performance collections 6272:. London: Weidenfeld and Nicolson. 6131:. Oxford: Oxford University Press. 6082:W. S. Gilbert: His Life and Letters 5966:. Oxford: Oxford University Press. 5451:"Scottish Opera Sails into Town on 5350:, 2 July 2002, accessed 6 June 2010 3796:Traubner, p. 175; and Gillan, Don. 3382:"The Twilight of the Opera Pirates" 2943:Jacobs, p. 111; Ainger, pp. 133–134 2776:Nineteenth Century Theatre Research 2661:"Carte, Richard D'Oyly (1844–1901)" 2342:, premiered on 9 March 1925 at the 484:the works of Gilbert and Sullivan. 13: 6427:D'Oyly Carte Opera Company Archive 6312: 5933:"Gilbert & Sullivan Postcards" 5806:A Gilbert and Sullivan Discography 5404:A Gilbert and Sullivan Discography 5394:See, for example, Shepherd, Marc. 5110:"Mask well sustained – Opera" 5004:A Gilbert and Sullivan Discography 4809:A Gilbert and Sullivan Discography 4788:A Gilbert and Sullivan Discography 4447:A Gilbert and Sullivan Discography 4069:Tillett, Selwyn. "Jane Annie", in 3369:The Illustrated Story of Copyright 3322:A Gilbert and Sullivan Discography 3001: 2994:"Mr. D'Auban's 'Startrap' Jumps". 2705:The Observer, 23 August 1874, p. 3 2640: 1995:played Major-General Stanley, and 1970:, the orchestra was even smaller: 14: 6866: 6376: 6206:. vol. II, London: Max Reinhardt. 5584:, Scottish Opera, 13 January 2022 5472:, Theatre Royal, Glasgow, review" 5227:"Going down – Arts Briefing" 4704:Wilson and Lloyd, pp. 151 and 154 3165:"The Fracas at the Opera Comique" 2726: 2578:was not revived until April 1971. 2377:The Story of Gilbert and Sullivan 1534:The Story of Gilbert and Sullivan 1260:redesigned sets and costumes for 818:The partnership's next opera was 197:, a musician and ambitious young 6801: 6792: 6791: 6675:Works about Gilbert and Sullivan 5983:The D'Oyly Carte Centenary Book 5938: 5925: 5913: 5895: 5874: 5852: 5840: 5811: 5787: 5768: 5755: 5746:Jacobs, Arthur. "D'Oyly Carte", 5740: 5731: 5722: 5713: 5698: 5689: 5680: 5671: 5662: 5653: 5637: 5620: 5611: 5602: 5582:tours to London's Hackey Empire" 5567: 5547: 5526: 5505: 5460: 5444: 5431: 5422: 5413: 5388: 5379: 5362: 5353: 5330: 5282: 5269: 5260: 5236: 5220: 5207: 5190: 5169: 5140: 5127: 5102: 5085: 5072: 5051: 5038: 5035:Bradley (2005), pp. 53–54 and 63 5009: 4992: 4983: 4974: 4965: 4956: 4947: 4938: 4929: 4920: 4897: 4894:, Vol. 14, No. 2, September 1975 4885: 4868: 4851: 4830: 4793: 4749: 4734: 4725: 4716: 4707: 4698: 4685: 4672: 4649: 4629: 4620: 4611: 4599: 4590: 4569: 4548: 4539: 4513: 4487: 4478: 4452: 4429: 4420: 4407: 4395: 4383: 4340: 4333:Obituary of Lucas D'Oyly Carte, 4327: 4258: 4244: 4227: 4215: 4206: 4193: 4184: 4175: 4166: 4157: 4148: 4136: 4127: 4118: 4104: 4079: 4063: 4054: 4041: 3995: 3990:The Gilbert and Sullivan Archive 3955: 3929: 3922:"Utopian Gilbert and Sullivan", 3916: 3907: 3850:Walmisley, Guy H. and Claude A. 3684:The Gilbert and Sullivan Archive 2890:. "The Late Mrs. D'Oyly Carte", 2613: 2581: 2553: 2544: 2535: 2123:became particularly well known. 1066:In 1894 Carte had hired his son 126:inherited the company and hired 6233:. London: Michael Joseph, Ltd. 6044:. Macmillan General Reference. 5818:"Theatrical Memories including 5626:Murray, Roderick. "A review of 4545:Rollins and Witts, pp. VII–VIII 3898: 3889: 3880: 3871: 3844: 3810: 3790: 3777: 3759: 3750: 3719: 3710: 3698: 3689: 3642: 3633: 3613: 3592: 3569: 3554: 3545: 3532: 3492: 3483: 3454: 3434: 3425: 3416: 3407: 3398: 3374: 3350: 3303: 3282: 3238: 3229: 3220: 3211: 3198: 3189: 3158: 3149: 3140: 3131: 3108: 3099: 3090: 3081: 3072: 3059: 3050: 3041: 3032: 3023: 3014: 2967: 2958: 2937: 2928: 2852: 2828: 2804: 2795: 2781: 2760: 2751: 2622:had costume and set designs by 2522: 2498: 2481: 2472: 2463: 1609:and as an afterpiece following 1084:The Grand Duchess of Gerolstein 803:, the designer of the sets for 6342:. Abingdon, Oxion: Routledge. 6202:Laurence, Dan H., ed. (1989). 6103:A Society Clown: Reminiscences 5931:Cannon, John and Brian Jones. 5719:Rollins and Witts, pp. 176–183 5677:Rollins and Witts, pp. 164–170 5496:at the Theatre Royal, Glasgow" 5213:Maddocks, Fiona. "Classical", 5000:"D'Oyly Carte: The Last Night" 4575:Rollins and Witts, pp. 154–182 4212:Joseph (1994), pp. 138 and 186 4163:Rollins and Witts, pp. 111–127 2778:, 12, December 1984, pp. 39–54 2742: 2717: 2708: 2699: 2684: 2450: 2435: 2174:and his sister, mezzo-soprano 1681:. In the final performance of 862:Touring advertisement, c. 1890 1: 5849:, David B. Lovell, bookseller 5686:Rollins and Witts, pp. XIV–XV 5478:17 May 2013; Molleson, Kate. 4013:, 31 January 1921, p. 8; and 3785:W. S. Gilbert Society Journal 3610:Cellier and Bridgeman, p. 394 3598:Cellier and Bridgeman, p. 393 3575:Joseph (1994), pp. 81 and 163 2633: 2424:Notes, references and sources 2311:References in popular culture 2019:and starring Suart, Sharatt, 1506:(1961; ladies' costumes) and 546:, organised by Helen Lenoir. 178: 6323:. Unicorn Publishing Group. 6306:Gilbert and Sullivan Journal 5668:Wilson and Lloyd, pp. 90–112 5457:, Scottish Opera, April 2013 5370:"Tattered and tired Pirates" 5057:Kelly, Richard. "lolanthe", 4145:obituary, 4 April 1901, p. 8 4085:Rollins and Witts, pp. 14–15 3744:UK public library membership 2678:UK public library membership 1900:Grand Theatre, Wolverhampton 1510:(1961). A new production of 666:in America, a production of 7: 5765:, Opera Wire, 20 April 2021 5617:Wilson and Lloyd, pp. 59–87 5608:Wilson and Lloyd, pp. 19–46 4241:, accessed 21 December 2009 4203:, Vista Books, London, 1962 4190:Wilson and Lloyd, pp. 83–87 4051:, 13 June 1894, pp. 373–374 3511:Educational Theatre Journal 3422:Rollins and Witts, pp 16–19 2041:State Opera South Australia 515:1881 theatre programme for 10: 6871: 6648:W. S. Gilbert bibliography 6618:D'Oyly Carte Opera Company 6171:. London: Bunthorne Books. 6100:Grossmith, George (1888). 5981:Bettany, Clemence (1975). 5955: 5728:Joseph (1994), pp. 311–343 4655:Joseph (1994), pp. 273–274 4449:, accessed 10 January 2010 4073:, 1993 centenary issue on 3841:Rollins and Witts, p. VIII 3727:"Sullivan, Arthur Seymour" 3476:"100 Electrifying Years", 3338:"J. C. Williamson Limited" 2912:"Carte, Helen (1852–1913)" 2690:"Our Representative Man", 2413:Player's cigarette company 1641:(later given again at the 173: 68:to collaborate on a short 36:is a professional British 34:D'Oyly Carte Opera Company 6787: 6693: 6605: 6496: 6473: 6319:Kehoe, Elisabeth (2022). 6268:; Frederic Lloyd (1984). 6246:Stedman, Jane W. (1996). 6146:Jones, John Bush (2003). 5704:"Obituary: Peter Pratt", 5385:Bradley (2005), pp. 63–67 5266:Bradley (2005), pp. 59–60 5146:Bradley (2005), pp. 56–57 5048:, 17 February 2007, p. 12 4980:Bradley (2005), pp. 49–50 4944:Bradley (2005), pp. 31–34 4926:Bradley (2005), pp. 30–31 4876:Kenneth Sandford obituary 4801:"The Halas and Batchelor 4743:Decca Classical 1929–2009 4617:Rollins and Witts, p. 164 4562:(1971 and 1975); and the 4417:, 22 September 1926, p. 8 4314:15 September 2011 at the 4047:"The Savoyards on Tour", 3404:Bradley (1996), pp. 86–87 2696:, 10 October 1874, p. 151 2510:Les Cloches de Corneville 2395:. The film was ranked on 2334:A one-act parody, called 1908:Orpheus in the Underworld 1843:Sunderland Empire Theatre 1436:. The old productions of 1268:(1929). His costumes for 908:Royal English Opera House 873:Royal Command Performance 383:who joined the group for 266:At the Theatre Royal, in 6417:The D'Oyly Carte Archive 6079:; Grey, Rowland (1923). 5962:Ainger, Michael (2002). 5861:A "G. & S." Cocktail 5800:26 December 2008 at the 5752:, September 1988, p. 471 5737:Wilson and Lloyd, p. 213 5710:, 9 February 1995, p. 30 5659:Wilson and Lloyd, p. 125 5376:, 30 December 1998, p. 2 5311:7 September 2005 at the 4827:Wilson and Lloyd, p. 178 4746:. Retrieved 25 May 2020. 4713:Wilson and Lloyd, p. 175 4695:, 14 February 1957, p. 5 4669:Wilson and Lloyd, p. 154 4608:, 9 September 1939, p. 9 4587:Wilson and Lloyd, p. 128 4337:, 22 January 1907, p. 12 4133:Rollins and Witts, p. 18 4124:Rollins and Witts, p. 17 4071:Sullivan Society Journal 3756:Joseph (1994), pp. 18–19 3217:Ainger, pp. 171 and 175. 2985:, accessed 26 March 2008 2973:Vorder Bruegge, Andrew. 2878:, January 1975, pp. 7–11 2817:3 September 2006 at the 2766:McElroy, George. "Whose 2739:, 2 September 1871, p. 6 2428: 2039:with Scottish Opera and 1866:The Pirates of Penzance. 1757:Planter in front of the 1158:A Princess of Kensington 1153:A Princess of Kensington 6830:British opera companies 6575:The Yeomen of the Guard 6533:The Pirates of Penzance 5494:The Pirates of Penzance 5482:The Pirates of Penzance 5470:The Pirates of Penzance 5410:recording made to date" 5279:, 26 March 1995, p. C12 5217:, 5 October 1997, p. 73 5175:Nightingale, Benedict. 4780:"The 1965 D'Oyly Carte 4772:"The 1973 D'Oyly Carte 4757:"The 1966 D'Oyly Carte 4426:Rollins and Witts, p. X 4392:, 24 August 1919, p. 10 4380:Wilson and Lloyd, p. 90 4365:Joseph (1994), pp. 160 4101:Wilson and Lloyd, p. 52 4020:25 January 2010 at the 3774:Wilson and Lloyd, p. 13 3542:, 11 October 1881, p. 8 3363:28 October 2008 at the 3343:3 December 2008 at the 3316:25 January 2010 at the 3195:Rollins and Witts, p. 6 2566:in the 1947/48 season, 2491:, favourably reviewing 2456:The composer's brother 1989:The Pirates of Penzance 1931:The Count of Luxembourg 1835:The Yeomen of the Guard 1785:Revivals of the company 1541:Later years and closing 1454:The Yeomen of the Guard 1366:The Pirates of Penzance 1072:The Yeomen of the Guard 1049:. This was followed by 1043:Carl Rosa Opera Company 840:The Yeomen of the Guard 782:The Pirates of Penzance 732:, the company produced 584:Original facade of the 525:The Pirates of Penzance 138:The Pirates of Penzance 16:British theatre company 6287:Wolfson, John (1976). 6224:. London: Vista Books. 6149:Our Musicals Ourselves 5867:30 August 2020 at the 5827:30 August 2020 at the 5560:30 August 2020 at the 5396:"The New D'Oyly Carte 5198:"D'Oyly Carte to move" 5137:, 16 April 1989, p. 43 4680:"The Ones that I Like" 4413:Carte, Rupert D'Oyly. 4001:"The Palace Theatre", 3992:, accessed 7 July 2009 3860:1 October 2009 at the 3825:5 January 2010 at the 3186:, 13 August 1879, p. 8 3056:Bradley (1996), p. 116 2998:, 17 April 1922, p. 17 2917:30 August 2020 at the 2666:30 August 2020 at the 2570:in November 1948, and 2323:(1948) and revived in 2285:English National Opera 2239: 2139: 2063: 2025:Rebecca de Pont Davies 1762: 1707:Elizabeth Nickell-Lean 1471: 1349: 1288: 1218: 977: 863: 760: 725: 589: 578: 519: 441: 297: 190: 29: 6710:The Sapphire Necklace 6361:. London: Routledge. 6357:Seeley, Paul (2019). 6338:Seeley, Paul (2021). 6183:Joseph, Tony (2007). 6167:Joseph, Tony (1994). 6120:Accessed 9 March 2008 6038:Fargis, Paul (1998). 6017:Bradley, Ian (2005). 5780:26 April 2009 at the 5519:29 April 2016 at the 5428:Bradley (2005), p. 68 5419:Bradley (2005), p. 69 5327:Bradley (2005), p. 62 5099:, 14 July 1988, p. 17 5082:, 17 July 1988, p. 40 5069:, 14 July 1988, p. 17 4971:Bradley (2005), p. 45 4962:Bradley (2005), p. 42 4953:Bradley (2005), p. 52 4935:Bradley (2005), p. 31 4909:24 March 2019 at the 4865:, 5 March 1971, p. 10 4848:Bradley (2005), p. 40 4836:Joseph (2007), p. 129 4731:Bradley (2005), p. 38 4722:Bradley (2005), p. 29 4646:, 2 April 1971, p. 10 4596:Joseph (1994), p. 246 4296:Bradley (2005), p. 61 4181:Joseph (1994), p. 146 4172:Joseph (1994), p. 138 4154:Joseph (1994), p. 133 4038:Joseph (1994), p. 111 3626:17 April 2009 at the 3589:Bradley (2005), p. 25 3538:"The Savoy Theatre", 3269:Gilbert and Sullivan 3208:, 2 August 1879, p. 4 2964:Grossmith, Chapter VI 2735:"Public Amusements", 2307:and Simon Butteriss. 2234: 2129: 2053: 1756: 1667:Sir Charles Mackerras 1470:'s 1926 Mikado design 1466: 1347: 1340:The new Savoy Theatre 1287:cover, 1919–20 season 1283: 1214: 1123:completed the score. 962: 861: 755: 718: 583: 573: 514: 504:, Carte licensed the 433: 292: 186: 24: 6633:Bridget D'Oyly Carte 6488:Richard D'Oyly Carte 6467:Gilbert and Sullivan 6359:Richard D'Oyly Carte 5820:A 'G AND S' Cocktail 5761:Salazar, Francisco. 5257:21 April 1993, p. A6 4766:9 March 2019 at the 4441:4 March 2008 at the 4270:Mander and Michenson 3984:20 June 2009 at the 3803:13 June 2020 at the 3732:2 April 2013 at the 3716:Joseph (1994), p. 27 3676:"The Carpet Quarel ( 3551:Dark and Grey, p. 85 3489:Joseph (1994), p. 79 3275:University of Kansas 3251:13 June 2020 at the 3170:23 July 2011 at the 3128:Joseph (1994), p. 18 3087:Joseph (1994), p. 17 2896:, 10 May 1913, p. 19 2723:Joseph (1994), p. 11 2081:Rutland Barrington, 2067:Principal performers 1771:English Arts Council 1619:William Douglas-Home 1334:Bridget D'Oyly Carte 660:) a company touring 306:Gilbert and Sullivan 195:Richard D'Oyly Carte 188:Richard D'Oyly Carte 133:English Arts Council 84:(1877), followed by 60:asked the dramatist 58:Richard D'Oyly Carte 42:Gilbert and Sullivan 6628:Rupert D'Oyly Carte 6187:. Bunthorne Books. 6085:. Ayer Publishing. 5882:I'd Rather Be Right 5630:by Brian Jones" in 5476:The Daily Telegraph 5338:Billington, Michael 5296:, 21 September 1995 5185:"Gilbertian Gossip" 4882:, 23 September 2004 4874:Forbes, Elizabeth. 4560:Royal Festival Hall 4532:27 May 2008 at the 4233:Stone, David (ed). 3765:Ainger, pp. 230–233 3707:, 27 May 1878, p. 6 3695:Ainger, pp. 225–226 3648:Ainger, pp. 217–219 3505:9 June 2016 at the 3413:Ainger, pp. 180–181 3391:. Papers.ssrn.com, 3387:7 December 2013 at 3300:Ainger, pp. 182–183 3155:Stedman, pp. 170–71 3146:Ainger, pp. 170–172 3137:Ainger, pp. 162–167 3105:Ainger, pp. 165–167 3047:Ainger, pp. 141–148 3038:Jacobs, pp. 113–114 3029:Ainger, pp. 147–148 2981:10 May 2011 at the 2837:, 4 July 1876, p. 6 2770:; or, When Did the 2574:in September 1954. 2356:I'd Rather Be Right 2198:Rupert D'Oyly Carte 2001:The Daily Telegraph 1817:were nominated for 1737:at Windsor Castle. 1643:Royal Festival Hall 1216:Rupert D'Oyly Carte 811:productions at the 296:, later Helen Carte 25:Theatre poster for 6766:The Rose of Persia 6718:The Contrabandista 6321:Queen of the Savoy 5985:(souvenir booklet) 5885:, Libretto, p. 22 5596:Wilson and Lloyd, 5553:Pringle, Matthew. 5437:Pringle, Matthew. 5336:See, for example, 5124:, 7 September 1989 5108:Pettitt, Stephen. 4324:, 22 February 2010 4015:The Palace Theatre 3674:Crowther, Andrew. 3561:250th Anniversary 3309:Morrison, Robert. 3009:The Theatre Museum 2812:Biography of Carte 2361:Rodgers & Hart 2359:, with a score by 2321:Oranges and Lemons 2317:Flanders and Swann 2272:and mezzo-soprano 2270:Ann Drummond-Grant 2240: 2210:Nellie Briercliffe 2148:Charles H. Workman 2140: 2119:and bass-baritone 2064: 2017:Martin Lloyd-Evans 1791:Sir Michael Bishop 1763: 1741:principal soprano 1731:Queen Elizabeth II 1472: 1350: 1326:His Master's Voice 1322:Gramophone Company 1289: 1285:Souvenir programme 1219: 1127:Early 20th century 1119:(1901), for which 1110:The Rose of Persia 1007:Arthur Conan Doyle 978: 913:Sullivan's opera, 864: 780:, and matinees of 761: 726: 656:(co-produced with 590: 557:Aesthetic movement 520: 442: 439:souvenir programme 369:Rutland Barrington 298: 191: 118:and the conductor 30: 6815: 6814: 6685:Performing groups 6368:978-1-351-04589-6 6349:978-0-367-61049-4 6330:978-1-914-41418-3 6194:978-0-9507992-8-5 6110:on 1 October 2009 5847:Photo of libretto 5749:The Musical Times 5466:Nickalls, Susan. 5233:, 8 November 1991 4522:Pinafore, Pirates 4222:Rollins and Witts 3742:(subscription or 3621:the services page 3440:Denney, Colleen. 3356:Samuels, Edward. 3184:The Leeds Mercury 2910:Stedman, Jane W. 2835:Liverpool Mercury 2737:Liverpool Mercury 2676:(subscription or 2601:Valerie Masterson 2365:George S. Kaufman 2344:London Hippodrome 2329:And Then We Wrote 2293:James Conroy-Ward 2168:Florence St. John 2096:Rosina Brandram, 1999:played Frederic. 1997:Nicholas Sharratt 1925:La Vie parisienne 1847:Cambridge Theatre 1797:City Council and 1743:Valerie Masterson 1717:, Cynthia Morey, 1246:George Sheringham 970:after failure of 946:The Vicar of Bray 302:financial backers 300:Carte found four 64:and the composer 6862: 6805: 6804: 6795: 6794: 6774:The Emerald Isle 6758:The Beauty Stone 6460: 6453: 6446: 6437: 6436: 6372: 6353: 6334: 6302: 6283: 6261: 6242: 6225: 6207: 6198: 6172: 6163: 6142: 6119: 6117: 6115: 6096: 6072: 6055: 6034: 6013: 5989: 5977: 5949: 5944:Lewis, Barbara. 5942: 5936: 5929: 5923: 5917: 5911: 5899: 5893: 5878: 5872: 5856: 5850: 5844: 5838: 5815: 5809: 5793:Shepherd, Marc. 5791: 5785: 5772: 5766: 5759: 5753: 5744: 5738: 5735: 5729: 5726: 5720: 5717: 5711: 5702: 5696: 5693: 5687: 5684: 5678: 5675: 5669: 5666: 5660: 5657: 5651: 5648:cast information 5641: 5635: 5624: 5618: 5615: 5609: 5606: 5600: 5594: 5585: 5571: 5565: 5551: 5545: 5530: 5524: 5509: 5503: 5464: 5458: 5448: 5442: 5435: 5429: 5426: 5420: 5417: 5411: 5392: 5386: 5383: 5377: 5366: 5360: 5357: 5351: 5334: 5328: 5325: 5316: 5306:"Recent History" 5303: 5297: 5286: 5280: 5273: 5267: 5264: 5258: 5240: 5234: 5224: 5218: 5211: 5205: 5194: 5188: 5173: 5167: 5164:The Sunday Times 5156: 5147: 5144: 5138: 5131: 5125: 5106: 5100: 5089: 5083: 5076: 5070: 5055: 5049: 5042: 5036: 5033: 5024: 5013: 5007: 4998:Shepherd, Marc. 4996: 4990: 4987: 4981: 4978: 4972: 4969: 4963: 4960: 4954: 4951: 4945: 4942: 4936: 4933: 4927: 4924: 4918: 4901: 4895: 4889: 4883: 4872: 4866: 4861:to be revived", 4855: 4849: 4846: 4837: 4834: 4828: 4825: 4812: 4799:Shepherd, Mark. 4797: 4791: 4755:Shepherd, Mark. 4753: 4747: 4740:Stuart, Philip. 4738: 4732: 4729: 4723: 4720: 4714: 4711: 4705: 4702: 4696: 4689: 4683: 4676: 4670: 4667: 4656: 4653: 4647: 4633: 4627: 4624: 4618: 4615: 4609: 4603: 4597: 4594: 4588: 4585: 4576: 4573: 4567: 4552: 4546: 4543: 4537: 4517: 4511: 4510: 4508: 4506: 4497:. Archived from 4491: 4485: 4482: 4476: 4475: 4473: 4471: 4462:. Archived from 4456: 4450: 4433: 4427: 4424: 4418: 4411: 4405: 4399: 4393: 4387: 4381: 4378: 4369: 4363: 4354: 4347:Walbrook, H. M. 4344: 4338: 4331: 4325: 4306: 4297: 4294: 4285: 4282: 4273: 4262: 4256: 4248: 4242: 4231: 4225: 4219: 4213: 4210: 4204: 4197: 4191: 4188: 4182: 4179: 4173: 4170: 4164: 4161: 4155: 4152: 4146: 4140: 4134: 4131: 4125: 4122: 4116: 4115:, 7 January 1948 4108: 4102: 4099: 4086: 4083: 4077: 4067: 4061: 4058: 4052: 4045: 4039: 4036: 4025: 3999: 3993: 3979:"The Grand Duke" 3971: 3962: 3959: 3953: 3952: 3950: 3948: 3939:. Archived from 3933: 3927: 3920: 3914: 3911: 3905: 3902: 3896: 3893: 3887: 3884: 3878: 3875: 3869: 3848: 3842: 3839: 3830: 3814: 3808: 3794: 3788: 3781: 3775: 3772: 3766: 3763: 3757: 3754: 3748: 3747: 3725:Jacobs, Arthur. 3723: 3717: 3714: 3708: 3702: 3696: 3693: 3687: 3672: 3661: 3658: 3649: 3646: 3640: 3637: 3631: 3617: 3611: 3608: 3599: 3596: 3590: 3587: 3576: 3573: 3567: 3558: 3552: 3549: 3543: 3536: 3530: 3527: 3514: 3498:Wearing, J. P. ( 3496: 3490: 3487: 3481: 3474: 3465: 3458: 3452: 3438: 3432: 3429: 3423: 3420: 3414: 3411: 3405: 3402: 3396: 3378: 3372: 3354: 3348: 3334: 3325: 3307: 3301: 3298: 3289: 3286: 3280: 3265: 3256: 3242: 3236: 3233: 3227: 3224: 3218: 3215: 3209: 3202: 3196: 3193: 3187: 3162: 3156: 3153: 3147: 3144: 3138: 3135: 3129: 3126: 3115: 3112: 3106: 3103: 3097: 3094: 3088: 3085: 3079: 3076: 3070: 3063: 3057: 3054: 3048: 3045: 3039: 3036: 3030: 3027: 3021: 3018: 3012: 3005: 2999: 2992: 2986: 2971: 2965: 2962: 2956: 2953: 2944: 2941: 2935: 2932: 2926: 2908: 2897: 2885: 2879: 2872: 2859: 2856: 2850: 2847: 2838: 2832: 2826: 2808: 2802: 2799: 2793: 2785: 2779: 2764: 2758: 2755: 2749: 2746: 2740: 2733: 2724: 2721: 2715: 2712: 2706: 2703: 2697: 2688: 2682: 2681: 2659:Jacobs, Arthur. 2657: 2627: 2624:Osbert Lancaster 2617: 2611: 2609:Kenneth Sandford 2585: 2579: 2557: 2551: 2548: 2542: 2539: 2533: 2526: 2520: 2502: 2496: 2485: 2479: 2476: 2470: 2467: 2461: 2454: 2448: 2439: 2403: 2255:, mezzo-soprano 2244:Grahame Clifford 2226:Sydney Granville 2214:Darrell Fancourt 2212:, bass-baritone 2113:Signor Brocolini 2057:as Bunthorne in 2055:George Grossmith 1837:, both starring 1721:, Alan Barrett, 1623:Dramatic Licence 1413:Grahame Clifford 1324:(later known as 1293:Prince's Theatre 1258:Charles Ricketts 1142:The Emerald Isle 1116:The Emerald Isle 1101:The Beauty Stone 1090:The Beauty Stone 1009:, with music by 776:, together with 756:Lithograph from 506:J. C. Williamson 434:Scene from 1886 410:street musicians 393:Gaiety Theatre's 361:George Grossmith 320:, the editor of 6870: 6869: 6865: 6864: 6863: 6861: 6860: 6859: 6855:Touring theatre 6840:Opera in London 6820: 6819: 6816: 6811: 6783: 6694:Sullivan operas 6689: 6601: 6589:Utopia, Limited 6526:H.M.S. Pinafore 6492: 6483:Arthur Sullivan 6469: 6464: 6431:British Library 6379: 6369: 6350: 6331: 6315: 6313:Further reading 6299: 6280: 6258: 6195: 6160: 6139: 6113: 6111: 6093: 6052: 6031: 6010: 5974: 5958: 5953: 5952: 5943: 5939: 5930: 5926: 5918: 5914: 5900: 5896: 5879: 5875: 5871:at Open Library 5869:Wayback Machine 5857: 5853: 5845: 5841: 5834:The Radio Times 5829:Wayback Machine 5816: 5812: 5802:Wayback Machine 5792: 5788: 5782:Wayback Machine 5773: 5769: 5760: 5756: 5745: 5741: 5736: 5732: 5727: 5723: 5718: 5714: 5703: 5699: 5694: 5690: 5685: 5681: 5676: 5672: 5667: 5663: 5658: 5654: 5643:Howarth, Paul. 5642: 5638: 5625: 5621: 5616: 5612: 5607: 5603: 5595: 5588: 5580:Utopia, Limited 5572: 5568: 5562:Wayback Machine 5552: 5548: 5531: 5527: 5521:Wayback Machine 5510: 5506: 5465: 5461: 5449: 5445: 5436: 5432: 5427: 5423: 5418: 5414: 5393: 5389: 5384: 5380: 5367: 5363: 5358: 5354: 5335: 5331: 5326: 5319: 5313:Wayback Machine 5304: 5300: 5288:Finch, Hilary. 5287: 5283: 5274: 5270: 5265: 5261: 5241: 5237: 5225: 5221: 5212: 5208: 5195: 5191: 5174: 5170: 5158:Canning, Hugh. 5157: 5150: 5145: 5141: 5132: 5128: 5107: 5103: 5090: 5086: 5077: 5073: 5056: 5052: 5046:Classical Music 5043: 5039: 5034: 5027: 5014: 5010: 4997: 4993: 4988: 4984: 4979: 4975: 4970: 4966: 4961: 4957: 4952: 4948: 4943: 4939: 4934: 4930: 4925: 4921: 4911:Wayback Machine 4902: 4898: 4890: 4886: 4880:The Independent 4873: 4869: 4856: 4852: 4847: 4840: 4835: 4831: 4826: 4815: 4798: 4794: 4768:Wayback Machine 4754: 4750: 4739: 4735: 4730: 4726: 4721: 4717: 4712: 4708: 4703: 4699: 4690: 4686: 4677: 4673: 4668: 4659: 4654: 4650: 4634: 4630: 4625: 4621: 4616: 4612: 4604: 4600: 4595: 4591: 4586: 4579: 4574: 4570: 4564:Adelphi Theatre 4556:Saville Theatre 4553: 4549: 4544: 4540: 4534:Wayback Machine 4518: 4514: 4504: 4502: 4493: 4492: 4488: 4483: 4479: 4469: 4467: 4458: 4457: 4453: 4443:Wayback Machine 4434: 4430: 4425: 4421: 4412: 4408: 4400: 4396: 4388: 4384: 4379: 4372: 4364: 4357: 4345: 4341: 4332: 4328: 4316:Wayback Machine 4307: 4300: 4295: 4288: 4283: 4276: 4263: 4259: 4249: 4245: 4232: 4228: 4220: 4216: 4211: 4207: 4198: 4194: 4189: 4185: 4180: 4176: 4171: 4167: 4162: 4158: 4153: 4149: 4141: 4137: 4132: 4128: 4123: 4119: 4109: 4105: 4100: 4089: 4084: 4080: 4075:Utopia, Limited 4068: 4064: 4059: 4055: 4046: 4042: 4037: 4028: 4022:Wayback Machine 4000: 3996: 3986:Wayback Machine 3972: 3965: 3961:Stedman, p. 270 3960: 3956: 3946: 3944: 3943:on 14 July 2011 3935: 3934: 3930: 3921: 3917: 3912: 3908: 3903: 3899: 3894: 3890: 3885: 3881: 3876: 3872: 3862:Wayback Machine 3849: 3845: 3840: 3833: 3827:Wayback Machine 3815: 3811: 3805:Wayback Machine 3795: 3791: 3782: 3778: 3773: 3769: 3764: 3760: 3755: 3751: 3741: 3734:Wayback Machine 3724: 3720: 3715: 3711: 3703: 3699: 3694: 3690: 3673: 3664: 3659: 3652: 3647: 3643: 3638: 3634: 3628:Wayback Machine 3618: 3614: 3609: 3602: 3597: 3593: 3588: 3579: 3574: 3570: 3565:programme, 1881 3559: 3555: 3550: 3546: 3537: 3533: 3528: 3517: 3507:Wayback Machine 3497: 3493: 3488: 3484: 3475: 3468: 3459: 3455: 3439: 3435: 3430: 3426: 3421: 3417: 3412: 3408: 3403: 3399: 3379: 3375: 3365:Wayback Machine 3355: 3351: 3345:Wayback Machine 3336:Bentley, Paul. 3335: 3328: 3318:Wayback Machine 3308: 3304: 3299: 3292: 3287: 3283: 3266: 3259: 3253:Wayback Machine 3243: 3239: 3235:Stedman, p. 163 3234: 3230: 3225: 3221: 3216: 3212: 3203: 3199: 3194: 3190: 3172:Wayback Machine 3163: 3159: 3154: 3150: 3145: 3141: 3136: 3132: 3127: 3118: 3114:Stedman, p. 170 3113: 3109: 3104: 3100: 3095: 3091: 3086: 3082: 3077: 3073: 3064: 3060: 3055: 3051: 3046: 3042: 3037: 3033: 3028: 3024: 3019: 3015: 3011:, London (2009) 3006: 3002: 2993: 2989: 2983:Wayback Machine 2972: 2968: 2963: 2959: 2954: 2947: 2942: 2938: 2933: 2929: 2919:Wayback Machine 2909: 2900: 2886: 2882: 2873: 2862: 2857: 2853: 2848: 2841: 2833: 2829: 2819:Wayback Machine 2809: 2805: 2800: 2796: 2786: 2782: 2765: 2761: 2756: 2752: 2748:Stedman, p. 125 2747: 2743: 2734: 2727: 2722: 2718: 2713: 2709: 2704: 2700: 2689: 2685: 2675: 2668:Wayback Machine 2658: 2641: 2636: 2631: 2630: 2618: 2614: 2586: 2582: 2558: 2554: 2549: 2545: 2540: 2536: 2527: 2523: 2503: 2499: 2493:H.M.S. Pinafore 2486: 2482: 2477: 2473: 2468: 2464: 2455: 2451: 2440: 2436: 2431: 2426: 2411:were issued by 2409:cigarette cards 2401: 2346:as part of the 2313: 2289:Aix-en-Provence 2172:Courtice Pounds 2144:Walter Passmore 2121:Fred Billington 2109:Geraldine Ulmar 2069: 2037:Utopia, Limited 2029:Utopia, Limited 1968:Queen's Theatre 1815:H.M.S. Pinafore 1787: 1775:Adelphi Theatre 1579:Utopia, Limited 1571:Michael Heyland 1563:H.M.S. Pinafore 1552:cinema film of 1543: 1504:H.M.S. Pinafore 1426:H.M.S. Pinafore 1389:Isidore Godfrey 1362:H.M.S. Pinafore 1358:The Gondoliers, 1342: 1301:Malcolm Sargent 1129: 988:Utopia, Limited 928:The Nautch Girl 900: 807:'s spectacular 713: 658:Charles Wyndham 629:George Edwardes 569:decorative arts 481:H.M.S. Pinafore 473:H.M.S. Pinafore 447:H.M.S. Pinafore 428: 373:Rosina Brandram 280:Happy Hampstead 245:Arthur Sullivan 227:Royalty Theatre 181: 176: 164:musical theatre 156:Utopia, Limited 120:Isidore Godfrey 87:H.M.S. Pinafore 66:Arthur Sullivan 17: 12: 11: 5: 6868: 6858: 6857: 6852: 6847: 6842: 6837: 6832: 6813: 6812: 6810: 6809: 6799: 6788: 6785: 6784: 6782: 6781: 6770: 6762: 6754: 6746: 6738: 6730: 6722: 6714: 6706: 6697: 6695: 6691: 6690: 6688: 6687: 6682: 6677: 6672: 6667: 6662: 6657: 6656: 6655: 6653:dramatic works 6645: 6640: 6635: 6630: 6625: 6620: 6615: 6609: 6607: 6603: 6602: 6600: 6599: 6596:The Grand Duke 6592: 6585: 6582:The Gondoliers 6578: 6571: 6564: 6557: 6550: 6543: 6536: 6529: 6522: 6515: 6508: 6500: 6498: 6494: 6493: 6491: 6490: 6485: 6480: 6474: 6471: 6470: 6463: 6462: 6455: 6448: 6440: 6434: 6433: 6424: 6414: 6405: 6400: 6395: 6390: 6385: 6378: 6377:External links 6375: 6374: 6373: 6367: 6354: 6348: 6335: 6329: 6314: 6311: 6310: 6309: 6303: 6297: 6284: 6278: 6262: 6256: 6243: 6226: 6215: 6199: 6193: 6185:Leonard Osborn 6180: 6164: 6158: 6143: 6137: 6125:Jacobs, Arthur 6121: 6097: 6091: 6073: 6056: 6050: 6035: 6029: 6014: 6008: 5990: 5978: 5972: 5957: 5954: 5951: 5950: 5937: 5924: 5912: 5894: 5873: 5851: 5839: 5810: 5786: 5767: 5754: 5739: 5730: 5721: 5712: 5697: 5688: 5679: 5670: 5661: 5652: 5646:Fallen Fairies 5636: 5634:(Summer, 2006) 5619: 5610: 5601: 5586: 5576:The Gondoliers 5566: 5546: 5532:Hall, George. 5525: 5504: 5459: 5443: 5430: 5421: 5412: 5387: 5378: 5361: 5352: 5329: 5317: 5298: 5281: 5268: 5259: 5243:Milnes, Rodney 5235: 5219: 5206: 5196:Seton, Craig. 5189: 5168: 5166:, 7 April 1991 5148: 5139: 5126: 5101: 5084: 5071: 5050: 5037: 5025: 5008: 4991: 4982: 4973: 4964: 4955: 4946: 4937: 4928: 4919: 4896: 4884: 4867: 4850: 4838: 4829: 4813: 4792: 4748: 4733: 4724: 4715: 4706: 4697: 4684: 4671: 4657: 4648: 4628: 4619: 4610: 4598: 4589: 4577: 4568: 4547: 4538: 4512: 4501:on 27 May 2008 4486: 4477: 4466:on 27 May 2008 4451: 4428: 4419: 4406: 4394: 4382: 4370: 4355: 4339: 4326: 4298: 4286: 4274: 4257: 4243: 4226: 4214: 4205: 4192: 4183: 4174: 4165: 4156: 4147: 4135: 4126: 4117: 4103: 4087: 4078: 4062: 4053: 4040: 4026: 3994: 3975:The Grand Duke 3963: 3954: 3928: 3915: 3906: 3904:Jacobs, p. 288 3897: 3895:Jacobs, p. 287 3888: 3886:Ainger, p. 270 3879: 3877:Jacobs, p. 248 3870: 3852:Excerpt about 3843: 3831: 3817:Kenrick, John. 3809: 3789: 3776: 3767: 3758: 3749: 3718: 3709: 3697: 3688: 3662: 3660:Jacobs, p. 188 3650: 3641: 3632: 3612: 3600: 3591: 3577: 3568: 3553: 3544: 3531: 3515: 3491: 3482: 3466: 3460:Bond, Jessie. 3453: 3433: 3431:Fargis, p. 261 3424: 3415: 3406: 3397: 3380:Rosen, Zvi S. 3373: 3349: 3326: 3302: 3290: 3281: 3257: 3237: 3228: 3219: 3210: 3197: 3188: 3157: 3148: 3139: 3130: 3116: 3107: 3098: 3096:Ainger, p. 162 3089: 3080: 3078:Jacobs, p. 122 3071: 3065:Bond, Jessie. 3058: 3049: 3040: 3031: 3022: 3020:Jacobs, p. 113 3013: 3000: 2987: 2966: 2957: 2955:Ainger, p. 152 2945: 2936: 2934:Ainger, p. 140 2927: 2898: 2888:Desprez, Frank 2880: 2860: 2851: 2849:Ainger, p. 130 2839: 2827: 2810:Stone, David. 2803: 2794: 2780: 2759: 2757:Ainger, p. 108 2750: 2741: 2725: 2716: 2707: 2698: 2683: 2638: 2637: 2635: 2632: 2629: 2628: 2612: 2597:Gillian Knight 2593:Jean Hindmarsh 2580: 2552: 2543: 2534: 2521: 2497: 2480: 2471: 2462: 2449: 2433: 2432: 2430: 2427: 2425: 2422: 2387:, directed by 2374:The 1953 film 2363:and a book by 2312: 2309: 2305:Jasper Carrott 2249:Richard Walker 2193:Fallen Fairies 2136:The Grand Duke 2133:as Rudolph in 2090:Leonora Braham 2068: 2065: 2045:Stuart Maunder 2043:, directed by 2033:The Gondoliers 1985:Scottish Opera 1977:Raymond Gubbay 1956:The Grand Duke 1919:Die Fledermaus 1882:The Gondoliers 1839:Gillian Knight 1819:Olivier Awards 1807:Bramwell Tovey 1803:Richard Condon 1786: 1783: 1719:Jeffrey Skitch 1715:Leonard Osborn 1679:The Gondoliers 1647:The Grand Duke 1639:Utopia Limited 1611:The Grand Duke 1542: 1539: 1496:The Gondoliers 1476:Frederic Lloyd 1385:Sadler's Wells 1341: 1338: 1266:The Gondoliers 1254:Percy Anderson 1198:The Gondoliers 1170:The Gondoliers 1147:Merrie England 1128: 1125: 1096:The Lucky Star 1061:The Grand Duke 1057:The Gondoliers 1052:The Grand Duke 1025:André Messager 1023:, composed by 973:The Grand Duke 937:Edward Solomon 935:, Desprez and 922:The Gondoliers 904:The Gondoliers 899: 896: 881:Windsor Castle 877:The Gondoliers 869:Queen Victoria 852:The Gondoliers 813:Lyceum Theatre 712: 710:The Gondoliers 703: 606:Charles Gounod 598:Clara Schumann 427: 418: 395:ballet-master 365:Richard Temple 343:Alfred Cellier 180: 177: 175: 172: 150:The Gondoliers 128:Frederic Lloyd 90:(1878). After 51:Scottish Opera 15: 9: 6: 4: 3: 2: 6867: 6856: 6853: 6851: 6848: 6846: 6843: 6841: 6838: 6836: 6833: 6831: 6828: 6827: 6825: 6818: 6808: 6800: 6798: 6790: 6789: 6786: 6780: 6776: 6775: 6771: 6768: 6767: 6763: 6760: 6759: 6755: 6752: 6751: 6750:The Chieftain 6747: 6744: 6743: 6739: 6736: 6735: 6731: 6728: 6727: 6723: 6720: 6719: 6715: 6712: 6711: 6707: 6704: 6703: 6699: 6698: 6696: 6692: 6686: 6683: 6681: 6678: 6676: 6673: 6671: 6668: 6666: 6663: 6661: 6658: 6654: 6651: 6650: 6649: 6646: 6644: 6641: 6639: 6636: 6634: 6631: 6629: 6626: 6624: 6621: 6619: 6616: 6614: 6611: 6610: 6608: 6604: 6598: 6597: 6593: 6591: 6590: 6586: 6584: 6583: 6579: 6577: 6576: 6572: 6570: 6569: 6565: 6563: 6562: 6558: 6556: 6555: 6551: 6549: 6548: 6544: 6542: 6541: 6537: 6535: 6534: 6530: 6528: 6527: 6523: 6521: 6520: 6516: 6514: 6513: 6512:Trial by Jury 6509: 6507: 6506: 6502: 6501: 6499: 6495: 6489: 6486: 6484: 6481: 6479: 6478:W. S. Gilbert 6476: 6475: 6472: 6468: 6461: 6456: 6454: 6449: 6447: 6442: 6441: 6438: 6432: 6428: 6425: 6422: 6418: 6415: 6413: 6409: 6406: 6404: 6401: 6399: 6396: 6394: 6391: 6389: 6386: 6384: 6381: 6380: 6370: 6364: 6360: 6355: 6351: 6345: 6341: 6336: 6332: 6326: 6322: 6317: 6316: 6307: 6304: 6300: 6298:0-903443-12-0 6294: 6290: 6285: 6281: 6279:0-297-78505-2 6275: 6271: 6267: 6266:Wilson, Robin 6263: 6259: 6257:0-19-816174-3 6253: 6249: 6244: 6240: 6236: 6232: 6227: 6223: 6220: 6216: 6214: 6213:0-370-30249-4 6210: 6205: 6200: 6196: 6190: 6186: 6181: 6179: 6178:0-9507992-1-1 6175: 6170: 6165: 6161: 6159:1-58465-311-6 6155: 6151: 6150: 6144: 6140: 6138:0-19-282033-8 6134: 6130: 6126: 6122: 6109: 6105: 6104: 6098: 6094: 6092:0-405-08430-7 6088: 6084: 6083: 6078: 6074: 6070: 6066: 6062: 6057: 6053: 6051:0-02-862169-7 6047: 6043: 6042: 6036: 6032: 6030:0-19-516700-7 6026: 6022: 6021: 6015: 6011: 6009:0-19-816503-X 6005: 6001: 6000: 5995: 5991: 5987: 5984: 5979: 5975: 5973:0-19-514769-3 5969: 5965: 5960: 5959: 5947: 5941: 5934: 5928: 5921: 5916: 5909: 5908: 5903: 5898: 5892: 5891:1-4179-9228-X 5888: 5884: 5883: 5877: 5870: 5866: 5863: 5862: 5855: 5848: 5843: 5836: 5835: 5830: 5826: 5823: 5821: 5814: 5807: 5803: 5799: 5796: 5790: 5783: 5779: 5776: 5771: 5764: 5758: 5751: 5750: 5743: 5734: 5725: 5716: 5709: 5708: 5701: 5692: 5683: 5674: 5665: 5656: 5649: 5647: 5640: 5633: 5629: 5623: 5614: 5605: 5599: 5593: 5591: 5583: 5581: 5577: 5570: 5563: 5559: 5556: 5550: 5543: 5539: 5537: 5529: 5522: 5518: 5515: 5514: 5508: 5502:, 17 May 2013 5501: 5497: 5495: 5489: 5485: 5483: 5477: 5473: 5471: 5463: 5456: 5454: 5447: 5440: 5434: 5425: 5416: 5409: 5405: 5401: 5399: 5391: 5382: 5375: 5371: 5368:Ashley, Tim. 5365: 5356: 5349: 5348: 5343: 5339: 5333: 5324: 5322: 5314: 5310: 5307: 5302: 5295: 5291: 5285: 5278: 5272: 5263: 5256: 5252: 5248: 5244: 5239: 5232: 5228: 5223: 5216: 5215:The Observer 5210: 5203: 5199: 5193: 5186: 5182: 5178: 5172: 5165: 5161: 5155: 5153: 5143: 5136: 5130: 5123: 5119: 5115: 5111: 5105: 5098: 5094: 5088: 5081: 5075: 5068: 5064: 5060: 5054: 5047: 5041: 5032: 5030: 5022: 5018: 5012: 5005: 5001: 4995: 4986: 4977: 4968: 4959: 4950: 4941: 4932: 4923: 4916: 4912: 4908: 4905: 4900: 4893: 4888: 4881: 4877: 4871: 4864: 4860: 4854: 4845: 4843: 4833: 4824: 4822: 4820: 4818: 4810: 4806: 4804: 4796: 4789: 4785: 4783: 4777: 4775: 4769: 4765: 4762: 4760: 4752: 4745: 4744: 4737: 4728: 4719: 4710: 4701: 4694: 4688: 4681: 4675: 4666: 4664: 4662: 4652: 4645: 4641: 4637: 4632: 4623: 4614: 4607: 4602: 4593: 4584: 4582: 4572: 4565: 4561: 4557: 4551: 4542: 4535: 4531: 4528: 4527: 4523: 4516: 4500: 4496: 4490: 4481: 4465: 4461: 4455: 4448: 4444: 4440: 4437: 4432: 4423: 4416: 4410: 4403: 4398: 4391: 4386: 4377: 4375: 4368: 4362: 4360: 4352: 4351:, Chapter XVI 4350: 4343: 4336: 4330: 4323: 4322: 4317: 4313: 4310: 4305: 4303: 4293: 4291: 4281: 4279: 4271: 4267: 4261: 4254: 4253: 4247: 4240: 4236: 4230: 4223: 4218: 4209: 4202: 4196: 4187: 4178: 4169: 4160: 4151: 4144: 4139: 4130: 4121: 4114: 4113: 4112:New York Post 4107: 4098: 4096: 4094: 4092: 4082: 4076: 4072: 4066: 4060:Wolfson, p. 7 4057: 4050: 4044: 4035: 4033: 4031: 4023: 4019: 4016: 4012: 4008: 4004: 3998: 3991: 3987: 3983: 3980: 3976: 3970: 3968: 3958: 3942: 3938: 3932: 3925: 3919: 3913:Baily, p. 344 3910: 3901: 3892: 3883: 3874: 3867: 3863: 3859: 3856: 3855: 3847: 3838: 3836: 3828: 3824: 3821: 3818: 3813: 3806: 3802: 3799: 3793: 3786: 3780: 3771: 3762: 3753: 3745: 3739: 3735: 3731: 3728: 3722: 3713: 3706: 3701: 3692: 3685: 3681: 3679: 3671: 3669: 3667: 3657: 3655: 3645: 3639:Baily, p. 251 3636: 3629: 3625: 3622: 3616: 3607: 3605: 3595: 3586: 3584: 3582: 3572: 3566: 3564: 3557: 3548: 3541: 3535: 3526: 3524: 3522: 3520: 3512: 3508: 3504: 3501: 3495: 3486: 3479: 3473: 3471: 3463: 3457: 3451: 3450:0-8386-3850-3 3447: 3443: 3437: 3428: 3419: 3410: 3401: 3394: 3390: 3389:archive.today 3386: 3383: 3377: 3370: 3366: 3362: 3359: 3353: 3346: 3342: 3339: 3333: 3331: 3323: 3319: 3315: 3312: 3306: 3297: 3295: 3285: 3278: 3276: 3272: 3264: 3262: 3254: 3250: 3247: 3244:Gillan, Don. 3241: 3232: 3223: 3214: 3207: 3201: 3192: 3185: 3181: 3177: 3173: 3169: 3166: 3161: 3152: 3143: 3134: 3125: 3123: 3121: 3111: 3102: 3093: 3084: 3075: 3068: 3062: 3053: 3044: 3035: 3026: 3017: 3010: 3004: 2997: 2991: 2984: 2980: 2976: 2970: 2961: 2952: 2950: 2940: 2931: 2924: 2920: 2916: 2913: 2907: 2905: 2903: 2895: 2894: 2889: 2884: 2877: 2871: 2869: 2867: 2865: 2855: 2846: 2844: 2836: 2831: 2824: 2820: 2816: 2813: 2807: 2798: 2791: 2790: 2784: 2777: 2773: 2769: 2763: 2754: 2745: 2738: 2732: 2730: 2720: 2711: 2702: 2695: 2694: 2687: 2679: 2673: 2669: 2665: 2662: 2656: 2654: 2652: 2650: 2648: 2646: 2644: 2639: 2625: 2621: 2616: 2610: 2606: 2602: 2598: 2594: 2590: 2584: 2577: 2573: 2569: 2565: 2561: 2556: 2547: 2538: 2531: 2525: 2518: 2517: 2512: 2511: 2507: 2501: 2494: 2490: 2487:For example, 2484: 2475: 2466: 2459: 2458:Fred Sullivan 2453: 2446: 2445: 2438: 2434: 2421: 2419: 2414: 2410: 2405: 2400: 2399: 2394: 2390: 2386: 2385: 2379: 2378: 2372: 2370: 2366: 2362: 2358: 2357: 2352: 2349: 2345: 2341: 2337: 2332: 2330: 2326: 2322: 2318: 2308: 2306: 2302: 2296: 2294: 2290: 2286: 2282: 2277: 2275: 2271: 2267: 2262: 2258: 2257:Marjorie Eyre 2254: 2253:Helen Roberts 2250: 2245: 2237: 2233: 2229: 2227: 2223: 2219: 2215: 2211: 2207: 2201: 2199: 2195: 2194: 2189: 2188:Leo Sheffield 2185: 2181: 2177: 2173: 2169: 2165: 2161: 2157: 2153: 2149: 2145: 2138: 2137: 2132: 2128: 2124: 2122: 2118: 2117:George Thorne 2114: 2110: 2106: 2105:bass-baritone 2102: 2099: 2095: 2091: 2088: 2085:Jessie Bond, 2084: 2083:mezzo-soprano 2080: 2075: 2074:Trial by Jury 2062: 2061: 2056: 2052: 2048: 2046: 2042: 2038: 2034: 2030: 2026: 2022: 2018: 2014: 2010: 2006: 2002: 1998: 1994: 1993:Richard Suart 1990: 1986: 1981: 1978: 1973: 1969: 1965: 1959: 1957: 1953: 1949: 1945: 1941: 1937: 1933: 1932: 1927: 1926: 1921: 1920: 1914: 1910: 1909: 1903: 1901: 1896: 1892: 1887: 1883: 1879: 1875: 1871: 1867: 1863: 1858: 1856: 1852: 1848: 1844: 1840: 1836: 1832: 1828: 1824: 1820: 1816: 1812: 1808: 1804: 1800: 1796: 1792: 1782: 1780: 1779:Trial by Jury 1776: 1772: 1768: 1760: 1755: 1751: 1749: 1744: 1738: 1736: 1732: 1728: 1727:Philip Potter 1724: 1720: 1716: 1712: 1708: 1704: 1700: 1696: 1692: 1691:Elsie Griffin 1688: 1684: 1683:Trial by Jury 1680: 1676: 1672: 1668: 1664: 1660: 1656: 1655:Richard Baker 1652: 1648: 1644: 1640: 1636: 1635:Harold Wilson 1632: 1631:Trial by Jury 1628: 1624: 1620: 1616: 1612: 1608: 1604: 1600: 1596: 1595:Trial by Jury 1592: 1591:Trial by Jury 1586: 1584: 1580: 1576: 1572: 1568: 1564: 1560: 1556: 1555: 1549: 1538: 1536: 1535: 1530: 1525: 1521: 1517: 1516:Eleanor Evans 1513: 1509: 1505: 1501: 1500:Trial by Jury 1497: 1493: 1489: 1485: 1481: 1477: 1469: 1465: 1461: 1459: 1455: 1451: 1447: 1443: 1439: 1435: 1431: 1427: 1423: 1419: 1414: 1408: 1406: 1402: 1398: 1394: 1390: 1386: 1381: 1379: 1375: 1374:Trial by Jury 1371: 1367: 1363: 1359: 1355: 1354:Basil Ionides 1346: 1337: 1335: 1331: 1330:Decca Records 1327: 1323: 1319: 1314: 1312: 1308: 1307: 1302: 1298: 1297:Geoffrey Toye 1294: 1286: 1282: 1278: 1275: 1271: 1267: 1263: 1259: 1255: 1251: 1247: 1241: 1239: 1235: 1231: 1229: 1224: 1217: 1213: 1209: 1207: 1206:C. H. Workman 1203: 1199: 1195: 1191: 1187: 1183: 1179: 1175: 1171: 1167: 1162: 1159: 1155: 1154: 1149: 1148: 1143: 1139: 1135: 1134:William Greet 1124: 1122: 1121:Edward German 1118: 1117: 1112: 1111: 1106: 1102: 1098: 1097: 1092: 1091: 1086: 1085: 1080: 1079: 1073: 1069: 1064: 1062: 1058: 1054: 1053: 1048: 1044: 1040: 1039:The Chieftain 1036: 1035:F. C. Burnand 1032: 1031: 1030:The Chieftain 1026: 1022: 1021: 1016: 1012: 1008: 1004: 1000: 999: 994: 990: 989: 984: 975: 974: 969: 965: 961: 957: 954: 953: 948: 947: 942: 941:Sydney Grundy 938: 934: 930: 929: 923: 918: 916: 911: 909: 905: 895: 892: 891: 887:, writing in 886: 882: 878: 874: 870: 860: 856: 854: 853: 848: 847: 842: 841: 835: 831: 827: 823: 822: 816: 814: 810: 806: 802: 798: 793: 789: 788: 783: 779: 778:Trial by Jury 775: 770: 767: 759: 754: 750: 747: 743: 742: 737: 736: 731: 724: 723: 717: 711: 707: 702: 699: 695: 689: 687: 686: 685:Billee Taylor 681: 677: 673: 669: 665: 664: 659: 655: 654: 649: 645: 641: 637: 632: 630: 626: 621: 617: 615: 611: 610:Savoy Theatre 607: 603: 600:, Offenbach, 599: 595: 594:Adelina Patti 587: 586:Savoy Theatre 582: 577: 572: 570: 566: 562: 558: 554: 553: 547: 545: 541: 536: 531: 527: 526: 518: 513: 509: 507: 503: 499: 494: 489: 485: 482: 476: 474: 470: 466: 461: 457: 456:Covent Garden 453: 449: 448: 440: 437: 436:Savoy Theatre 432: 426: 422: 417: 415: 411: 407: 402: 398: 394: 388: 386: 382: 378: 374: 370: 366: 362: 357: 352: 348: 345:and words by 344: 340: 339: 334: 333: 327: 325: 324: 319: 318:Frank Desprez 315: 311: 307: 303: 295: 291: 287: 285: 284:Trial by Jury 281: 277: 273: 272:Trial by Jury 269: 264: 262: 258: 257: 256:Trial by Jury 252: 251: 246: 242: 241:W. S. Gilbert 238: 237: 232: 228: 223: 221: 218: 214: 210: 206: 205: 200: 196: 189: 185: 171: 169: 165: 160: 158: 157: 152: 151: 146: 145: 140: 139: 134: 129: 125: 121: 117: 113: 108: 106: 102: 101:Savoy Theatre 98: 93: 89: 88: 83: 82: 77: 76: 75:Trial by Jury 71: 67: 63: 62:W. S. Gilbert 59: 54: 52: 47: 43: 39: 35: 28: 23: 19: 6817: 6772: 6764: 6756: 6748: 6740: 6732: 6724: 6716: 6708: 6700: 6617: 6594: 6587: 6580: 6573: 6566: 6559: 6554:Princess Ida 6552: 6545: 6538: 6531: 6524: 6519:The Sorcerer 6517: 6510: 6503: 6358: 6339: 6320: 6305: 6288: 6269: 6247: 6230: 6222: 6219: 6203: 6184: 6168: 6148: 6128: 6114:21 September 6112:. Retrieved 6108:the original 6102: 6081: 6077:Dark, Sidney 6060: 6040: 6019: 5998: 5994:Bradley, Ian 5986: 5982: 5963: 5940: 5927: 5915: 5905: 5897: 5881: 5876: 5860: 5859:Listing for 5854: 5842: 5832: 5819: 5813: 5805: 5789: 5770: 5757: 5747: 5742: 5733: 5724: 5715: 5705: 5700: 5691: 5682: 5673: 5664: 5655: 5645: 5639: 5631: 5627: 5622: 5613: 5604: 5597: 5579: 5575: 5569: 5549: 5544:, 6 May 2016 5541: 5535: 5528: 5512: 5507: 5499: 5493: 5488:The Guardian 5487: 5481: 5475: 5469: 5462: 5452: 5446: 5433: 5424: 5415: 5407: 5403: 5397: 5390: 5381: 5374:The Guardian 5373: 5364: 5355: 5347:The Guardian 5345: 5342:"The Mikado" 5332: 5301: 5293: 5284: 5277:The Observer 5276: 5271: 5262: 5255:The Guardian 5254: 5250: 5238: 5230: 5222: 5214: 5209: 5204:, 9 May 1990 5201: 5192: 5180: 5171: 5163: 5142: 5135:The Observer 5134: 5129: 5121: 5113: 5104: 5097:The Guardian 5096: 5092: 5087: 5080:The Observer 5079: 5074: 5067:The Guardian 5066: 5062: 5059:The Guardian 5058: 5053: 5045: 5040: 5020: 5015:Skow, John. 5011: 5003: 4994: 4985: 4976: 4967: 4958: 4949: 4940: 4931: 4922: 4914: 4899: 4892:The Savoyard 4891: 4887: 4879: 4870: 4862: 4859:The Sorcerer 4858: 4853: 4832: 4808: 4802: 4795: 4787: 4781: 4773: 4758: 4751: 4742: 4736: 4727: 4718: 4709: 4700: 4692: 4687: 4678:Watt, John. 4674: 4651: 4643: 4640:The Sorcerer 4639: 4631: 4622: 4613: 4605: 4601: 4592: 4571: 4550: 4541: 4525: 4521: 4515: 4505:25 September 4503:. Retrieved 4499:the original 4489: 4480: 4468:. Retrieved 4464:the original 4454: 4446: 4431: 4422: 4414: 4409: 4397: 4390:The Observer 4389: 4385: 4366: 4348: 4342: 4334: 4329: 4319: 4269: 4265: 4260: 4250: 4246: 4238: 4229: 4221: 4217: 4208: 4200: 4195: 4186: 4177: 4168: 4159: 4150: 4142: 4138: 4129: 4120: 4110: 4106: 4081: 4074: 4070: 4065: 4056: 4048: 4043: 4010: 4006: 4002: 3997: 3989: 3974: 3957: 3945:. Retrieved 3941:the original 3931: 3923: 3918: 3909: 3900: 3891: 3882: 3873: 3865: 3853: 3846: 3812: 3792: 3784: 3779: 3770: 3761: 3752: 3737: 3721: 3712: 3704: 3700: 3691: 3683: 3680:) Explained" 3677: 3644: 3635: 3615: 3594: 3571: 3562: 3556: 3547: 3539: 3534: 3510: 3494: 3485: 3478:The Savoyard 3477: 3456: 3436: 3427: 3418: 3409: 3400: 3392: 3376: 3368: 3352: 3321: 3305: 3284: 3273:held at the 3268: 3240: 3231: 3222: 3213: 3205: 3200: 3191: 3183: 3179: 3175: 3160: 3151: 3142: 3133: 3110: 3101: 3092: 3083: 3074: 3061: 3052: 3043: 3034: 3025: 3016: 3003: 2995: 2990: 2969: 2960: 2939: 2930: 2922: 2891: 2883: 2876:The Savoyard 2875: 2854: 2834: 2830: 2822: 2806: 2797: 2787: 2783: 2775: 2771: 2767: 2762: 2753: 2744: 2736: 2719: 2710: 2701: 2691: 2686: 2671: 2620:The Sorcerer 2619: 2615: 2605:Thomas Round 2589:Donald Adams 2583: 2576:The Sorcerer 2575: 2572:Princess Ida 2571: 2567: 2563: 2559: 2555: 2546: 2537: 2530:Princess Ida 2529: 2524: 2514: 2508: 2500: 2492: 2488: 2483: 2474: 2465: 2452: 2442: 2437: 2406: 2396: 2392: 2382: 2375: 2373: 2354: 2350: 2340:Herman Finck 2335: 2333: 2328: 2324: 2320: 2314: 2297: 2281:Thomas Round 2278: 2274:Joyce Wright 2266:Donald Adams 2261:Leslie Rands 2241: 2236:Henry Lytton 2222:Derek Oldham 2218:Bertha Lewis 2206:George Baker 2202: 2191: 2176:Louie Pounds 2164:Ruth Vincent 2156:Robert Evett 2152:Savoy operas 2141: 2134: 2101:Durward Lely 2073: 2070: 2058: 2036: 2032: 2028: 2021:Andrew Shore 2012: 2008: 2005:The Guardian 2004: 2000: 1988: 1982: 1972:The Guardian 1971: 1963: 1960: 1955: 1951: 1947: 1944:Princess Ida 1943: 1939: 1936:The Sorcerer 1935: 1929: 1923: 1917: 1906: 1904: 1885: 1881: 1877: 1873: 1869: 1865: 1861: 1859: 1855:The Guardian 1854: 1851:The Observer 1850: 1834: 1830: 1814: 1810: 1788: 1778: 1764: 1747: 1739: 1734: 1703:Radley Flynn 1695:Ivan Menzies 1687:Sylvia Cecil 1682: 1678: 1674: 1670: 1662: 1659:Royston Nash 1646: 1638: 1630: 1622: 1614: 1610: 1606: 1602: 1599:The Sorcerer 1598: 1594: 1590: 1587: 1582: 1581:in 1975 and 1578: 1575:The Sorcerer 1574: 1566: 1562: 1558: 1553: 1544: 1532: 1523: 1519: 1512:Princess Ida 1511: 1507: 1503: 1499: 1495: 1491: 1487: 1483: 1479: 1473: 1457: 1453: 1450:Peter Goffin 1445: 1441: 1437: 1433: 1430:Princess Ida 1429: 1425: 1422:The Sorcerer 1421: 1417: 1409: 1404: 1401:Martyn Green 1397:Henry Lytton 1382: 1377: 1373: 1369: 1365: 1361: 1357: 1351: 1317: 1315: 1311:Harry Norris 1304: 1290: 1274:The Observer 1273: 1269: 1265: 1261: 1250:Hugo Rumbold 1242: 1232: 1227: 1223:J. M. Gordon 1220: 1201: 1197: 1193: 1189: 1185: 1181: 1177: 1173: 1169: 1165: 1163: 1157: 1151: 1145: 1141: 1137: 1130: 1114: 1108: 1100: 1094: 1088: 1082: 1076: 1071: 1065: 1060: 1056: 1050: 1046: 1038: 1028: 1018: 1014: 1003:J. M. Barrie 996: 992: 986: 983:Tom Chappell 979: 971: 950: 944: 933:George Dance 926: 921: 919: 914: 912: 903: 901: 888: 885:Bernard Shaw 876: 865: 850: 844: 838: 833: 829: 819: 817: 805:Henry Irving 801:Hawes Craven 796: 791: 785: 781: 777: 774:The Sorcerer 773: 771: 766:Princess Ida 765: 762: 757: 745: 741:Princess Ida 739: 733: 729: 727: 720: 709: 705: 694:Savoy operas 690: 683: 680:Claude Duval 679: 675: 671: 667: 663:Claude Duval 661: 651: 647: 643: 639: 633: 624: 619: 618: 614:Savoy Palace 591: 574: 550: 548: 534: 529: 523: 521: 516: 501: 497: 487: 486: 480: 477: 472: 468: 464: 459: 451: 445: 443: 424: 420: 414:The Sorcerer 413: 406:The Sorcerer 405: 401:Herman Klein 397:John D'Auban 389: 384: 377:The Sorcerer 376: 356:naturalistic 347:Arthur Cecil 338:Dora's Dream 336: 332:The Sorcerer 330: 328: 321: 314:Helen Lenoir 299: 294:Helen Lenoir 283: 279: 276:Michael Gunn 271: 265: 261:La Périchole 260: 254: 248: 236:La Périchole 234: 224: 209:opera bouffe 204:The Observer 202: 192: 161: 159:in 2021–22. 154: 148: 147:in 2016 and 142: 136: 116:J. M. Gordon 110:Carte's son 109: 105:Helen Lenoir 97:other operas 91: 85: 81:The Sorcerer 79: 73: 55: 46:Savoy operas 33: 31: 26: 18: 6807:WikiProject 6742:Haddon Hall 6702:Cox and Box 6680:Adaptations 6665:Grim's Dyke 6623:Helen Carte 6613:Savoy opera 4636:Blyth, Alan 4252:Cox and Box 3288:Jones, p. 7 3277:in May 1970 3226:Jones, p. 6 3176:The Theatre 2564:Cox and Box 2460:played Cox. 2418:"Oily Cart" 2384:Topsy-Turvy 2351:Better Days 2325:Penny Plain 2259:, baritone 2162:, sopranos 2111:, baritone 1928:(1995) and 1913:Opera North 1895:Pythonesque 1767:Australasia 1759:Savoy Hotel 1723:Mary Sansom 1711:Ella Halman 1627:John Ayldon 1561:(1965) and 1529:Peter Pratt 1482:(1939) and 1442:Cox and Box 1418:Cox and Box 1264:(1926) and 1234:Helen Carte 1150:(1902) and 1093:(1898) and 1078:His Majesty 1011:Ernest Ford 952:Haddon Hall 809:Shakespeare 719:Poster for 602:Oscar Wilde 381:Jessie Bond 250:Cox and Box 239:he brought 213:comic opera 168:grand opera 70:comic opera 38:light opera 6824:Categories 6777:(1901) w/ 6561:The Mikado 5632:The Gaiety 5536:The Mikado 5513:The Mikado 5455:Adventure" 4784:Broadcast" 4235:J M Gordon 4049:The Sketch 3947:19 October 2634:References 2407:Series of 2393:The Mikado 2389:Mike Leigh 2251:, soprano 2182:, soprano 2180:Louie René 2160:Isabel Jay 2158:, soprano 2013:The Mikado 1862:The Mikado 1811:The Mikado 1795:Birmingham 1653:presenter 1554:The Mikado 1488:The Mikado 1405:The Mikado 1320:, for the 1318:The Mikado 1270:The Mikado 1262:The Mikado 1238:Royal Navy 1182:The Mikado 1105:Basil Hood 1047:The Mikado 998:Jane Annie 830:The Mikado 797:The Mikado 792:The Mikado 787:The Mikado 758:The Mikado 310:The Strand 220:burlesques 199:impresario 179:Beginnings 144:The Mikado 27:The Mikado 6568:Ruddigore 6069:459156009 5775:"Reviews" 5707:The Stage 5542:The Stage 5500:The Times 5484:– review" 5294:The Times 5251:The Times 5231:The Times 5202:The Times 5181:The Times 5122:The Times 5114:The Times 4863:The Times 4803:Ruddigore 4693:The Times 4644:The Times 4606:The Times 4470:8 October 4415:The Times 4335:The Times 4321:The Times 4143:The Times 4011:The Times 4007:The Times 4003:The Times 3924:The World 3854:Ruddigore 3746:required) 3705:The Times 3540:The Times 3206:The Times 2996:The Times 2789:The Times 2774:Begin?", 2680:required) 2568:Ruddigore 2489:The Times 2369:Moss Hart 2301:Sam Kelly 2184:Clara Dow 2094:contralto 2009:The Times 1948:Ruddigore 1886:The Times 1748:The Times 1699:John Dean 1621:, called 1585:in 1977. 1577:in 1971, 1567:Ruddigore 1548:John Reed 1524:The Times 1484:Ruddigore 1458:Ruddigore 1446:Ruddigore 1434:Ruddigore 1393:Boyd Neel 1306:The Times 1228:Ruddigore 966:comforts 964:Grossmith 890:The World 883:in 1891. 834:Ruddigore 826:melodrama 821:Ruddigore 625:The Times 588:, c. 1881 561:aesthetic 493:copyright 351:Victorian 233:operetta 231:Offenbach 193:By 1874, 141:in 2013, 56:In 1875, 6797:Category 6547:Iolanthe 6540:Patience 6127:(1986). 5996:(1996). 5865:Archived 5825:Archived 5798:Archived 5778:Archived 5558:Archived 5517:Archived 5309:Archived 5093:Iolanthe 5063:Iolanthe 4907:Archived 4782:Patience 4774:Pinafore 4764:Archived 4530:Archived 4526:Patience 4439:Archived 4312:Archived 4266:Iolanthe 4018:Archived 3982:Archived 3858:Archived 3823:Archived 3801:Archived 3730:Archived 3624:Archived 3563:Patience 3503:Archived 3385:Archived 3361:Archived 3341:Archived 3314:Archived 3249:Archived 3168:Archived 2979:Archived 2915:Archived 2815:Archived 2664:Archived 2560:Pinafore 2519:in 1886. 2506:operetta 2315:In 1948 2220:, tenor 2170:, tenor 2131:Passmore 2115:, comic 2079:baritone 2060:Patience 1940:Patience 1922:(1994), 1911:, which 1874:Pinafore 1831:Iolanthe 1735:Pinafore 1663:Pinafore 1603:Pinafore 1583:Iolanthe 1559:Patience 1508:Iolanthe 1502:(1959), 1498:(1958), 1494:(1957), 1492:Patience 1468:Ricketts 1438:Pinafore 1378:Iolanthe 1370:Patience 1190:Iolanthe 1186:Pinafore 1178:Iolanthe 1174:Patience 1144:(1901), 1138:Iolanthe 1087:(1897), 1081:(1897), 991:. While 735:Iolanthe 730:Patience 722:Iolanthe 706:Iolanthe 672:Patience 653:Olivette 648:Patience 644:Patience 640:Patience 620:Patience 565:fine art 552:Patience 540:Paignton 517:Patience 502:Pinafore 498:Pinafore 488:Pinafore 469:Sorcerer 465:Pinafore 460:Pinafore 452:Pinafore 425:Patience 421:Pinafore 385:Pinafore 92:Pinafore 6734:Ivanhoe 6726:The Zoo 6606:Related 6505:Thespis 6429:at the 6421:V&A 6419:at the 6239:1317843 5956:Sources 5453:Pirates 5439:"About" 5400:(1993)" 4917:website 4913:at the 4805:(1967)" 4367:et seq. 4224:, p. ii 3180:The Era 2893:The Era 2821:at the 2516:Dorothy 2444:Thespis 2087:soprano 1966:at the 1964:Pirates 1891:Goonish 1870:Pirates 1827:Strauss 1671:Pirates 1607:Pirates 1299:, then 1194:Pirates 1027:, then 1020:Mirette 915:Ivanhoe 846:Ivanhoe 832:. When 676:Pirates 535:Pirates 530:Pirates 323:The Era 174:History 124:Bridget 6779:German 6769:(1899) 6761:(1898) 6753:(1894) 6745:(1892) 6737:(1891) 6729:(1875) 6721:(1867) 6713:(1867) 6705:(1866) 6497:Operas 6365: 6346: 6327: 6295: 6276: 6254: 6237: 6211: 6191: 6176: 6156: 6135: 6089: 6067: 6048: 6027: 6006: 5970: 5907:Empire 5889: 5808:(1999) 5598:passim 5408:Yeomen 5398:Yeomen 4811:(1999) 4790:(1999) 4778:, and 4776:Video" 4759:Mikado 3448: 2398:Empire 2238:, 1901 1952:Utopia 1675:Mikado 1665:) and 1520:Yeomen 1480:Yeomen 1202:Yeomen 1166:Yeomen 1068:Rupert 1015:Utopia 993:Utopia 920:After 728:After 567:, the 379:, and 268:Dublin 112:Rupert 4761:Film" 3864:from 2772:Trial 2693:Punch 2429:Notes 2402:' 2348:revue 2098:tenor 1878:Trial 1823:Lehár 1615:Trial 1033:, by 1001:, by 968:Carte 931:, by 668:Youth 544:Devon 217:bawdy 6363:ISBN 6344:ISBN 6325:ISBN 6293:ISBN 6274:ISBN 6252:ISBN 6235:OCLC 6209:ISBN 6189:ISBN 6174:ISBN 6154:ISBN 6133:ISBN 6116:2009 6087:ISBN 6065:OCLC 6046:ISBN 6025:ISBN 6004:ISBN 5968:ISBN 5887:ISBN 5578:and 5021:Time 4524:and 4507:2007 4472:2007 3949:2009 3446:ISBN 2607:and 2367:and 2166:and 2103:and 2007:and 1954:and 1876:and 1864:and 1833:and 1825:and 1813:and 1673:and 1605:and 1440:and 1432:and 1376:and 1368:and 1248:and 1200:and 1176:and 1005:and 682:and 604:and 467:and 367:and 282:and 243:and 153:and 32:The 5095:", 5065:", 4642:", 4638:, " 4268:in 4237:at 3678:sic 2768:Zoo 1893:or 1799:BMI 1651:BBC 1522:in 1107:'s 943:'s 879:at 875:of 746:Ida 708:to 423:to 166:or 44:'s 6826:: 5904:, 5831:, 5804:. 5589:^ 5540:, 5498:, 5486:, 5474:, 5402:. 5372:, 5344:. 5340:. 5320:^ 5292:. 5249:. 5245:. 5229:. 5200:. 5179:. 5162:. 5151:^ 5120:. 5112:. 5028:^ 5019:. 5002:. 4878:. 4841:^ 4816:^ 4807:. 4786:. 4770:, 4660:^ 4580:^ 4445:. 4373:^ 4358:^ 4318:. 4301:^ 4289:^ 4277:^ 4090:^ 4029:^ 3988:. 3966:^ 3834:^ 3736:. 3682:, 3665:^ 3653:^ 3603:^ 3580:^ 3518:^ 3509:. 3469:^ 3367:. 3329:^ 3320:. 3293:^ 3260:^ 3174:. 3119:^ 2948:^ 2921:. 2901:^ 2863:^ 2842:^ 2728:^ 2670:. 2642:^ 2603:, 2599:, 2595:, 2591:, 2371:. 2331:. 2303:, 2287:, 2276:. 2228:. 2186:, 2092:, 2023:, 2003:, 1950:, 1946:, 1942:, 1938:, 1902:. 1725:, 1713:, 1709:, 1705:, 1701:, 1697:, 1693:, 1689:, 1657:. 1601:, 1428:, 1424:, 1420:, 1395:. 1380:. 1364:, 1336:. 1196:, 1192:, 1188:, 1184:, 1172:, 1168:, 799:, 678:, 674:, 596:, 542:, 458:, 363:, 53:. 6459:e 6452:t 6445:v 6371:. 6352:. 6333:. 6301:. 6282:. 6260:. 6241:. 6197:. 6162:. 6141:. 6118:. 6095:. 6071:. 6054:. 6033:. 6012:. 5976:. 5822:" 5574:" 5534:" 5492:" 5480:" 5468:" 4857:" 4509:. 4474:. 3951:. 2626:. 2532:. 1669:( 976:.

Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.

Knowledge

D'Oyly Carte Opera Company

Index