767:. The inmates of Chanticleer-hall (among whom the female element appears to be in an immense preponderance) are aroused from their slumbers in the middle of the night, and troop upon the stage in their night dresses. A climax to this scene, however, is needed, and Mr. Stephenson finds it in the advent of a troop of scarlet clad huntsmen, with whom the ladies, forgetful of their attire, go off to the chase—an incident that supplies the composer with opportunity for a fine hunting chorus. The music is throughout by far the best feature of the piece. Miss Marion Hood plays with much sprightliness and considerable vocal ability the part of Dorothy, and is well supported by Miss Florence Dysart as Lydia. Mr. Redfern Rollins, who has a voice but no acting capacity, is young Wilder, and Mr. Hayden Coffin, who can both sing and act, but who unfortunately is not provided with a single song, is Sherwood. In other respects the rest is as good as need be.
155:, yet with a more modern style, suggesting its eighteenth-century setting lightly rather than with the archaic literary tone common in Victorian drama. The work was mounted in London in the absence of Cellier, who was then in Australia conducting Gilbert and Sullivan operas. In his absence it became clear that the opera needed a big romantic ballad, and Cellier's publisher Chappell suggested using one of his existing songs, "Old Dreams", which with new words as "Queen of my Heart" was interpolated into the piece and became a huge success. The sheet music sold over 40,000 copies, and the popularity of the song saved the opera from failure.
528:, the countryfolk of the neighbourhood of Chanticleer Hall, the property of Squire Bantam, are enjoying themselves on the morning of an autumn day in 1740. Dorothy Bantam, the Squire's daughter, and Lydia Hawthorne, his niece, take the opportunity to dress informally and join in the festivities. They find that Phyllis, Tuppitt's daughter, has promised to marry Tom Strutt, a local man. They try to dissuade her, believing that women should remain free from the fetters of matrimony. The Squire wants Dorothy to marry Geoffrey Wilder, his nephew and heir, whom she has never met and who has been leading a wild life in London.
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748:, seeing the piece well into its long run, wrote of his pity for the cast: "Here are several young persons doomed to spend the flower of their years in mechanically repeating the silliest libretto in modern theatrical literature, set to music which, pretty as it is, must pall somewhat on the seven hundred and eighty-eighth performance.... I did not wait for the third act. My companion had all but fallen into the pit from sleep and heaviness of spirit combined.... It is a criminal waste of young lives and young talents."
544:
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Dorcas and
Abigail. Wilder and Sherwood are smitten, and Wilder rapidly gives up the idea of marrying his cousin even at the risk of arrest for debt. The principal bailiff, Lurcher, catches up with Wilder, but is prevented from arresting him because he has infuriated the villagers by serving a writ on an old woman of the village. Wilder saves him from a ducking and persuades him to help in a scheme to pay off all Wilder's debts.
556:
Sherwood (Crinkletop) are welcomed by Bantam. Dorothy and Lydia enter, but the two men do not recognise them as the rustics who enchanted them in Act I. The women play on the susceptibilities of the men. Wilder becomes beguiled by Lydia and
Sherwood by Dorothy. Eventually the women succeed in persuading each man to give them the rings that "Abigail" and "Dorcas" gave the other at the inn.
19:
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uninteresting book and the latter a score which, although elegant, varied, and full of colour, consists almost entirely of concerted pieces, notwithstanding that there are some excellent singers in the cast.... As a desperate expedient in construction we have seen few situations to equal that at the close of the second act of
274:, where the show transferred in 1888. The success of the show also spurred revivals of some of Cellier's earlier works. Some critics reconsidered their earlier condemnation, the work became regarded as a classic Victorian piece, and the initially despised plot was traced seriously back to the Restoration playwrights
572:
The young women turn up disguised as men at the appointed site for the duel. They are pleased that Wilder and
Sherwood are so dedicated to "Dorcas" and "Abigail" that they will risk their lives in a duel for the sake of their devotion. On the other hand, the ladies are anxious that the duels should
568:
Dorothy and Lydia test the fidelity of their two admirers. The men have repented of their temporary infatuations of the previous night and have sent letters to
Dorothy and Lydia affirming that they remain devoted to Dorcas and Abigail. By return the men receive challenges to duels, ostensibly from
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The guests retire to rest, and in the dark, Wilder, Sherwood and
Lurcher carry out Wilder's scheme. Cloaked and masked, they capture Squire Bantam and tie him up. At the same time, Sherwood binds Wilder. The house is soon roused by the cries; but when the guests reappear they find that the robbers
75:
also toured in
Britain, America and Australia and enjoyed numerous revivals until at least 1908. The piece was popular with amateur theatre groups, particularly in Britain, until World War II. The show's hit songs included the ballad "Queen of My Heart", "Be Wise In Time", "Hark For'ard!", "With A
531:
Wilder, pursued by bailiffs, has fled London and is on his way to his uncle's house, driven by debt to comply with Squire Bantam's matrimonial plans for his daughter. Wilder and his friend
Sherwood pull up at Tuppitt's inn for refreshment. Dorothy and Lydia pass themselves off as village girls,
555:
Squire Bantam is entertaining guests when the arrival of a stranger is announced. This is
Lurcher passing himself off as secretary to the Duke of Berkshire. He asks for hospitality for the duke and his friend, Lord Crinkletop, whose carriage has broken down. Wilder (posing as the "duke") and
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remains. Gentility reigns supreme, and with it unfortunately also a good deal of the refined feebleness and the ineptitude which are the defects of that quality. Neither Mr. Stephenson nor Mr. Cellier has quite met the requirements of the occasion. The former has provided a disjointed and
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must have received instructions not to indulge in any of his old frivolous ways, but to conduct the music gravely and sedately – which he did. I was wondering whether he was awake all the time." Many of the critics complained that the libretto was derivative, primarily of
582:
783:. It belongs to the golden past; it is enshrined in memory; to hear it is to grow young again. To analyse it or criticize it would be to question the beauty of the ladies with whom we were then in love.... And the pleasantest feeling of all is the conviction that
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not go ahead. Squire Bantam arrives, having learned of the burglary plot from
Lurcher. He will forgive his errant nephew if he will consent to marry Dorothy. The ladies overlook the men's temporary wavering of the night before, and the couples are married.
560:
have taken none of Bantam's money, but have, it seems, robbed the "duke" of a large amount (coincidentally equalling the sum of Wilder's debts). Feeling responsible for this misfortune under his roof, Bantam insists on making good the "duke"'s loss.
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wrote, "Gentility reigns supreme, and with it unfortunately also a good deal of the refined feebleness and the ineptitude which are the defects of that quality." After a few months, Edwardes sold the production to his accountant, Henry J. Leslie.
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said, "The story is curiously devoid of any interest, the dialogue is of the weakest, the lyrics have no point.... Mr
Cellier's music is worthy a better fate." Other papers agreed: "To put it plainly, the libretto is not worthy of the music."
126:'s musical comedy hits of the 1890s and 1900s, and its remarkable success showed Edwardes and other theatre managers that audiences were ready for a shift towards the more topical pieces that soon dominated the musical theatre stage.
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in 1888, where it played until 1889. The piece had an initial run of 931 performances, breaking the record for the longest-running musical theatre production in history and holding this record until the run of the musical play
247:
became a great success at the box office and had an initial run of 931 performances, breaking the record for the longest-running musical theatre production in history and holding this record until the run of the musical play
266:
in the 1890s. The show's hit songs included the ballad "Queen of My Heart", "Be Wise In Time", "Hark For'ard!", "With A Welcome To All", and "The Time Has Come." Henry Leslie made so much money from
356:, a tale of two wealthy young ladies who dress as peasants to go to the fair, fall in love with two young farmers and, after exploits, identity-confusion and ring-exchanges, are reunited with them.
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reflects touches of cynicism, early feminism, and utilises plenty of mistaken-identity and social-class-distinction comic situations. Elements of the story are derived from the 1847 opera
147:, the music of which had been praised. Stephenson wrote new lyrics and a libretto to fit the music. He wrote a well-crafted play, with literary echoes of familiar themes reminiscent of
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Dorothy and Lydia, their insistence on permanent spinsterhood shaken by the attractions of Wilder and Sherwood, give the two men rings, making them promise never to part with them.
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also toured and enjoyed numerous revivals in Britain until at least 1908, with four or five separate and simultaneous companies during the early years.
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completely deserves the admiration we lavished on it. It is one of the most tuneful, most charming, and most shapely of English comic operas."
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as the title character, and the show was revived in America until about 1900. A successful tour of Australia also began in 1887, with
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The press praised the music and the original production but had mixed reactions to the performances; they disliked the libretto.
228:, who took over the title role from the ailing Hood and became one of musical theatre's biggest stars. The piece reopened at the
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style comic opera. The piece received lukewarm notices, and neither the music nor the libretto attracted critical praise.
118:'s satiric libretti, revolving around mistaken identities and topical humour instead of topsy-turvy plot absurdities.
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played Wilder on a 1900 provincial tour. There was also a New York run from 5 November 1887 to April 1888 starring
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two young gentlemen outraged at their conduct to the two young ladies, but in fact written by Dorothy and Lydia.
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In 1885, Cellier had composed a song, "There once was a time, my darling", for a piece produced by Edwardes,
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187:. This was the first production at the Gaiety by new managing director (and later owner) of the theatre,
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In 2019, Victorian Opera Northwest released the first professional recording of the piece, conducted by
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15. Septet and Chorus – "Now let's to bed" (Dorothy, Lydia, Wilder, Sherwood, Lurcher, and Bantam)
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in the early 1900s. It was also the second longest known run for a stage production of any kind, after
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5 Quintet – "A father's pride and joy they are" (Dorothy, Lydia, Wilder, Sherwood, and Tuppitt)
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wrote, "The music is much better than the plot – not that this is saying much.... I fancy that Herr
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18. Chorus with Dorothy, Lydia, Wilder, Sherwood, Bantam, and Lurcher – "What noise was that"
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1284:, a list of records listing the longest runs ever achieved by stage productions of any type
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6. Song and Trio – "I am the Sheriff's faithful man" (Lurcher, Wilder, and Sherwood)
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2. Song with Trio – "Be wise in time, Oh Phyllis mine" (Dorothy, Lydia, and Phyllis)
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7. Quartet – "You swear to be good and true" (Dorothy, Lydia, Wilder, and Sherwood)
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was produced.... Clearly, it is impossible to bring a cool mind to bear in judgment on
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17. Trio – "Are you sure that they are all in bed?" (Wilder, Sherwood, and Bantam)
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16a. Ballad – "I stand at your threshold sighing" ("Queen of my Heart") (Sherwood)
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16. Recit and Quartett – "One moment pray" (Dorothy, Lydia, Wilder, and Sherwood)
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3. Quartet – "We're sorry to delay you" (Dorothy, Lydia, Wilder, and Sherwood)
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1. Opening Chorus and Ballet – "Lads and lasses round about the hop-pole trip"
114:, bearing many of the attributes of that genre. Its libretto is more farcical than
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Links to synopsis, downloadable vocal score, midi files, cast lists and other info.
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Stephenson and Cellier revised the show, and Leslie added new stars, including
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in London in 1886. After a rocky start, it was revised and transferred to the
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with Majella Cullagh, Lucy Vallis, Stephanie Maitland, Matt Mears and the
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14. Song – "Contentment I give you and all that it brings" (Bantam)
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11. Song – "Though born a man of high degree" (Wilder and Chorus)
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Hood returned to the cast later at the Prince of Wales's Theatre. See
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4. Ballad – "With such a dainty dame none can compare" (Wilder)
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making her Australian debut, followed by an 1888 production starring
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made her London stage debut in 1887 in the role of Phyllis Tuppitt.
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No. 16a became a successful ballad standard, "Queen of My Heart."
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22. Ballad – "The time has come when I must yield" (Phyllis)
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23. Septet and Chorus – "What joy untold to feel at last"
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9. Act I Finale – "Now take your seats at table spread"
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Not a trace of the loudness and vulgarity of the old Gaiety
191:, who misjudged his audience. The Gaiety was then known for
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1289:
Longest Running Plays in London and New York, 1875 to 1920
1126:, 13 September 1889, reproduced in Laurence, Dan H. (ed),
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had a more favourable view: "It is twenty-one years since
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24. Act III Finale – "You swore to be good and true"
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Chorus of Hop-Pickers, Peasants, Guests, Bridesmaids, etc.
1168:(fifteenth ed.). London: Sir Isaac Pitman and Sons.
967:, The Cyber Encyclopedia of Musical Theatre, TV and Film
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from his unsuccessful comic opera of ten years earlier,
18:
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21. Chorus – "Dancing is not what it used to be"
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8. Chorus with Solo – "Under the pump" (Lurcher)
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on 17 December 1888, where it closed on 6 April 1889.
475:) – F. Lambeth; replaced by Grace Huntly and then by
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Sir John Bantam's nephew and heir, a London Gallant
26:s hit song, was very popular as a parlour ballad.
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469:The Landlord's Daughter, in love with Tom Strutt
335:choreographed a West End revival in 1892 at the
649:12. Music for the Entrance of Dorothy and Lydia
135:(1885). Cellier, who had been a lieutenant of
830:. St. David's Players, accessed 28 April 2015
106:operas on the London stage at the same time,
315:played the title role in the 1892 revival.
58:later that year and then transferred to the
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232:on 20 December 1886 and transferred to the
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76:Welcome To All", and "The Time Has Come."
1130:, Volume I, Max Reinhardt, London, 1989.
643:10. Act II Introduction and Country Dance
195:, and its audiences were not looking for
1277:at The Guide to Light Opera and Operetta
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673:19. Act II Finale – "Hark forward"
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1053:(Putnam, London 1935 edition, p. 559).
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331:and more revivals into the 1890s.
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1291:at the Stage Beauty website (2007)
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457:) – Florence Dysart; replaced by
387:) – Redfern Hollins; replaced by
167:on 25 September 1886. It starred
845:, 30 December 1891, p. 4, col. B
367:"The Squire" of Chanticleer Hall
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405:Landlord of the "Hop-Pole Inn"
270:that he was able to build the
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547:Poster for production at the
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50:It was first produced at the
1297:for the first production in
1216:Midkiff, Neil. "Discovering
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110:was a key forerunner of the
39:in three acts with music by
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714:as Dorothy, 1892–93 revival
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420:Tom Strutt (or Tom Grass),
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1164:Herbert, Ian, ed. (1972).
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1040:playbill, 26 November 1892
921:, 27 September 1886, p. 10
683:20. Act III – Ballet
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432:Sir John Bantam's Daughter
1072:Prince of Wales's Theatre
993:First Australian tour of
940:Prince of Wales's Theatre
901:A Dictionary of the Drama
880:, 22 December 1908, p. 11
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300:as William Lurcher, from
230:Prince of Wales's Theatre
1357:Operas by Alfred Cellier
1234:Degrees of Separation".
1166:Who's Who in the Theatre
1038:Trafalgar Square Theatre
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446:; Hood returned in 1887.
395:Geoffrey Wilder's friend
337:Trafalgar Square Theatre
163:The piece opened at the
159:Production and aftermath
112:Edwardian musical comedy
1372:Musicals set in England
1332:English-language operas
1051:The Complete Opera Book
1016:Australian revivals of
857:The Manchester Guardian
821:"Rarely Produced Shows"
56:Prince of Wales Theatre
1367:Musicals set in hotels
1304:Photo of the score of
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860:30 December 1891. p. 8
839:"Mr. Alfred Cellier",
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894:Cast information for
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1282:Long Runs in Theatre
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855:"Memorial Notices",
549:Royal Lyceum Theatre
354:Friedrich von Flotow
197:Gilbert and Sullivan
132:Little Jack Sheppard
104:Gilbert and Sullivan
69:in the early 1900s.
1318:, Edinburgh in 1887
1202:Walters, Michael. "
1146:Walker, Raymond J.
1110:"Comparing Notes",
1086:, 27 September 1886
414:(comic baritone) –
412:A Sheriff's Officer
251:A Chinese Honeymoon
102:" like the popular
66:A Chinese Honeymoon
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1025:2009-02-20 at the
1002:2008-02-03 at the
979:The Sporting Times
826:2014-03-11 at the
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652:13. Graceful Dance
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43:and a libretto by
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1192:Another photo of
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1062:Leslie, Henry J.
965:"Cellier, Alfred"
588:in the title role
551:, Edinburgh, 1887
520:as Harry Sherwood
467:Phyllis Tuppitt,
449:Lydia Hawthorne,
410:William Lurcher,
379:Geoffrey Wilder,
365:Sir John Bantam,
175:, with comedians
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1251:Midkiff, Neil.
1240:(pp. 43–44)
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1226:(pp. 38–42)
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45:B. C. Stephenson
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1128:Shaw's Music
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1347:1886 operas
1206:Sketches".
876:"Dorothy",
819:Bond, Ian.
463:Amy Augarde
440:Marion Hood
426:John Le Hay
288:Shakespeare
185:John Le Hay
169:Marion Hood
149:Jane Austen
145:Nell Gwynne
100:comic opera
37:comic opera
1326:Categories
1295:IBDB entry
1236:The Gaiety
1222:The Gaiety
1208:The Gaiety
1196:as Lurcher
1184:References
1049:G. Kobbé,
733:Meyer Lutz
483:A Spinster
451:Her Cousin
389:Ben Davies
302:The Sketch
280:Aphra Behn
222:Ben Davies
93:Stephenson
80:Background
1232:Dorothy's
997:described
919:The Times
878:The Times
842:The Times
791:Recording
773:The Times
760:burlesque
751:The Times
473:contralto
461:and also
286:and even
282:, and to
202:The Times
193:burlesque
1299:New York
1194:Williams
1124:The Star
1023:Archived
1000:Archived
824:Archived
754:wrote:
504:Synopsis
371:baritone
257:Our Boys
24:Dorothy'
1306:Dorothy
1275:Dorothy
1255:Dorothy
1245:Dorothy
1218:Dorothy
1204:Dorothy
1158:Sources
1148:Dorothy
1099:The Era
1066:Dorothy
1018:Dorothy
995:Dorothy
934:Dorothy
896:Dorothy
785:Dorothy
781:Dorothy
777:Dorothy
765:Dorothy
678:Act III
586:Tempest
564:Act III
494:A Widow
436:soprano
344:Dorothy
309:Dorothy
268:Dorothy
245:Dorothy
141:Dorothy
120:Dorothy
108:Dorothy
89:Cellier
73:Dorothy
32:Dorothy
1352:Operas
1172:
1134:
1074:(1887)
942:(1887)
638:Act II
597:Davies
539:Act II
518:Coffin
349:Martha
304:, 1894
1112:Punch
1020:noted
807:Notes
728:Punch
604:Act I
509:Act I
385:tenor
35:is a
1170:ISBN
1132:ISBN
526:Kent
438:) –
373:) –
278:and
224:and
183:and
153:Emma
1220:".
352:by
151:'s
1328::
1091:^
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485:–
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