Thespis (opera) - Knowledge

1904:, is mentioned in at least five reviews as stout, elderly, and heavily made-up; she does not appear in the libretto but was listed in the first night programme. Stage directions in the original are slip-shod: characters reappear without an entrance being noted, or enter twice in quick succession, without having exited. In addition, Sullivan told his mother that at least one song was cut after opening night, and there must certainly have been other cuts, given the undue length of the first performance. But the text of the libretto, as published, remained "virtually unchanged" between December 1871 and March 1872. 1466: 22: 1299: 217: 1590: 1813: 779:

difficult to realise that the idea of the chorus being anything more than a sort of stage audience was, at that time, a tremendous novelty. In consequence of this innovation, some of the incidents at the rehearsal of 'Thespis' were rather amusing. I remember that, on one occasion, one of the principals became quite indignant and said, 'Really, Mr. Gilbert, why should I stand here? I am not a chorus-girl!' to which Gilbert replied curtly, 'No, madam, your voice is not strong enough, or no doubt you would be.'

292: 168: 1892: 892:, was not so cordial as might have been expected. The story, written by Mr. W. S. Gilbert in his liveliest manner, is so original, and the music contributed by Mr. Arthur Sullivan so pretty and fascinating, that we are inclined to be disappointed when we find the applause fitful, the laughter scarcely spontaneous, and the curtain falling not without sounds of disapprobation. Such a fate as this was certainly not deserved, and the verdict of last evening cannot be taken as final. 1706: 4365: 1021:

the income (after expenses), and tickets were generally offered at "inflated prices". The actress was a Gaiety favourite, "not only in respect of her voice but also her delicious French accent and, of course, her figure." Others recalled "the charm of Mlle. Clary, with her pretty face and piquant broken English". She had been particularly successful as Sparkeion, and her song in Act II, "Little Maid of Arcadee", was the only one chosen for publication.

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Goldberg says that it is "dainty, simple and quite in the vein of Gilbert's words, to which, as in almost every later instance, Sullivan's setting provides an original rhythmic piquancy." Fitz-Gerald considers it "quite a forerunner of Gilbert at his easiest", while Dark and Gray call it "a typically dainty Gilbertian love-song worthy to be compared to the best that he ever wrote." Jacobs dissents: "As music it is as trivial as Sullivan ever wrote."

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badly, and the singer sang half a tone sharp, so that the enthusiasm of the audience did not sustain itself towards me. Last night I cut out the song, the music went very well, and consequently I had a hearty call before the curtain at the end of Act II." The piece eventually settled into a respectable state, and later critics were much more enthusiastic than those on opening night.

682:, and Hollingshead forthwith sent it to Sullivan to set." Gilbert generally sketched out his libretti some months in advance of a production but did not write a finished libretto until he had a firm commitment to produce it. At the very least, a "rough draft of the plot" must have existed by 30 October, in light of a letter on that date from Gilbert's agent to R. M. Field of the 1488:, "who was fond of running railway engines". Scott called the song a "ludicrous ballad", but "quite in the spirit of the well-known compositions of 'Bab,' and, as it has been fitted with a lively tune and a rattling chorus, a hearty encore was inevitable. Though the ditty was long, the audience would have been well content to hear it all over again." The 208:

They agree to invest the actors with their powers, as they take a merry holiday below on Earth. Thespis agrees that he and his company will keep things running on Mount Olympus during the gods' absence. Each actor takes the place of one of the gods, with Thespis himself replacing Jupiter. Mercury stays behind to offer any advice the actors may need.

1844:. The page numbering of the surviving three sections gave approximate lengths for the missing pieces, and a contemporary engraving, seen at left, along with other circumstantial evidence, allowed plausible identifications of the two remaining movements: a dragon costume, used nowhere in the libretto, is presumably from the ballet, and the 128:, who have grown elderly and ignored. The actors turn out to be comically inept rulers. Having seen the ensuing mayhem down below, the angry gods return, sending the actors back to Earth as "eminent tragedians, whom no one ever goes to see". Gilbert would return to this theme twenty-five years later in his last opera with Sullivan, 1461:

success of last evening fully justified.... Mr. Gilbert in 'Thespis' has happily provided the composer with everything he could desire, mastering the character of opera-extravaganza, which precludes the exercise of the highest flights of genius of which a musician is capable and sets a limit to the exercise of his talents.

526:. Hollingshead would later say that the piece was "too true to nature". By late September or early October 1871, Gaiety programmes announced that "The Christmas Operatic Extravaganza will be written by W. S. Gilbert, with original music by Arthur Sullivan." There would be prominent roles for the popular comedian 1030: 1899:

The surviving libretto is not the version heard by audiences at the Gaiety Theatre. There are numerous discrepancies between the original libretto and what was described as happening on stage, and reviewers repeatedly quoted dialogue that has no equivalent in the published libretto. At least one song

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found the opera "not marred by ambitious music". But he added, "Tuneful throughout, always pretty, frequently suggestive, the songs and dances are quite in character with the author's design.... Some of the numbers will certainly live, and the impression caused by the music as a whole is that it will

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Goldberg wrote in 1929 that the libretto "seems to have no specific ancestry.... neither in his burlesques nor in his ballads... had Gilbert played with the gods and goddesses of Greek mythology." However, Gilbert did write a series of humorous sketches parodying the Greek myths, mainly the heroes of

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I retain a dim recollection of witnessing the piece and being impressed with the freshness of Gilbert's libretto, especially as regards the lyrics, which were, indeed, a treat to read after the vapid, futile jingle of rhymes without reason which had hitherto passed muster on those degenerate days. To

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went unrevived are not known. Some commentators speculate that Sullivan used the music in his other operas. If this were true, then "for this reason alone a revival would have become impossible". However, evidence that Sullivan did so has eluded discovery. Another possible explanation is that Gilbert

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Until Gilbert took the matter in hand choruses were dummy concerns, and were practically nothing more than a part of the stage setting. It was in 'Thespis' that Gilbert began to carry out his expressed determination to get the chorus to play its proper part in the performance. At this moment it seems

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and nectar. Thespis's rule is very liberal, and he has advised his troupe not to "be hampered by routine and red tape and precedent". The celestial assignments, however, have caused some difficulties, as the romantic entanglements of the actors in real life conflict with those of the gods that they

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enter. All of the actors flee in terror, except for Thespis. Jupiter asks Thespis whether he is impressed with the father of the gods. Thespis replies that the gods are unimpressive and suggests that they go down to earth in disguise to "mingle" and judge for themselves what people think of them.

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wrote that the music "was arranged and composed by Mr A. S. Sullivan (the first verb was not in the bills as it ought to have been)". One critic thought that the duet for Sparkeion and Nicemis, "Here far away from all the world", was one of the "single best items of the piece". In 1873, the arranger

270:, that Calliope was married to Apollo. She points out that Apollo, played by Sparkeion, is the brother of Diana (played by Sparkeion's wife, Nicemis). Thespis decides that Sparkeion is married to Daphne while they are gods, but his marriage to Nicemis will resume when they are mortals once again. 1275:

wrote: "The dialogue throughout is superior in ability and point to that with which ordinary burlesque and extravaganza have familiarized us; so much so, in fact, that it was a daring experiment to produce such a piece on such a night. It met, however, with an excellent reception, and on any other

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closed. The final performance during the authors' lifetimes was given less than two months later, on 27 April, at a matinée for the benefit of Mlle. Clary, the original Sparkeion. On such an occasion, a performer would normally choose a piece likely to sell well, as the beneficiary was entitled to

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In a letter to Percy Strzelecki on 23 April 1890, Gilbert apologised for the condition of the libretto. He wrote, "I was in the United States when it was published & I had no opportunity of correcting proofs. This will explain the presence of innumerable typographical & other errors." But

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Mr. W. S. Gilbert and Mr. Arthur Sullivan have attempted, with not a little success, to imitate French comic opera, concerning which we have heard so much for the last half-dozen years.... In these days—when the French critics are savagely turning round on us, and calling us pickpockets—it is not

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developed a version of the libretto that attempts to correct the many errors noted in the surviving libretto. Rees also prepared a performance version, based on the libretto, which included a few interpolated lyrics from Gilbert's non-Sullivan operas in an attempt to replace the missing songs. A

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is well worth seeing; and when it has been corrected and attracts the proper Gaiety audience, it will hold its own bravely. It is a pity, indeed, that such a play, so rich in humour and so delicate in music, was produced for the edification of a Boxing-Night audience. Anything would have done for

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With the piece set to open on 26 December, Gilbert first read the libretto to the cast on 14 December, but Toole, who was playing the central role of Thespis, did not return from a tour of the British provinces until 18 December. He then appeared in nine performances at the Gaiety in the six days

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Mercury informs Thespis that the substitute gods have received many complaints from mortals because some are not performing their functions, and others' ill-judged experiments have wreaked havoc in the world below. For instance, Timidon, the replacement for Mars, is a pacifist and a coward; the

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will be best remembered by the exquisite musical setting to the simple little Gilbertian ballad". Several later commentators write favourably of the song. Walbrook finds it "one of the neatest of Gilbert's ditties, packed with cynicism and slyness, expressed in terms of sentimental tenderness."

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Mr. John Hollingshead... has judiciously called on Mr. W. S. Gilbert to furnish him with an original opera-extravaganza, and entrusted its musical setting to Mr. Arthur Sullivan. From the association of these two names the most pleasing result has for some weeks past been anticipated, which the

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As they would do with all their operas, Gilbert and Sullivan made cuts and alterations after the first performance. Two days after the opening, Sullivan wrote to his mother, "I have rarely seen anything so beautiful put upon the stage. The first night I had a great reception, but the music went

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Thespis's acting company enters for a picnic celebrating the marriage of two of its members, Sparkeion and Nicemis. The actors, being cheap, have failed to contribute substantial food items to the picnic. Sparkeion flirts with his former fiancée, Daphne, which annoys Nicemis. In retaliation,

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A five-movement ballet occurred somewhere in Act II, staged by W. H. Payne. A heading in the libretto, "Chorus and Ballet", attaches it to the last section of the finale but does not indicate how it figured in the plot. Most press accounts placed it at about this point, although some placed it

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Gilbert did, in fact, conclude an agreement with Field, and the first published libretto advised: "Caution to American Pirates.—The Copyright of the Dialogue and Music of this Piece, for the United States and Canada, has been assigned to Mr. Field, of the Boston Museum, by agreement, dated 7th

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When the gods return, they are furious and tell Thespis that he has "deranged the whole scheme of society". Thespis says that they should calm down, as the list of mortals' complaints is about to be read. The gods watch incognito as Mercury presents the complaints: The actors have ruined the

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found it "a dreary, tedious two-act rigmarole of a plot... grotesque without wit, and the music thin without liveliness... however, not entirely devoid of melody.... The curtain falls before a yawning and weary audience." But others found much to admire in the work, despite the poor opening

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I may state that "Thespis" was in no sense a failure although it achieved no considerable success. I believe it ran about seventy nights—a fair run in those days. The piece was produced under stress of tremendous hurry. It was invented, written, composed, rehearsed, and produced within five

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such an occasion.... Unless I am very much mistaken, and despite the hisses of Boxing-Night... the ballads and wit of Mr. Gilbert the pretty strains of Mr. Arthur Sullivan... will carry Thespis through and make it—as it deserves to be—the most praiseworthy piece of the Christmas season.

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once more emphasizes the fact that Gilbert's artistry was hardly affected with the passing of the years. Many of its songs might well have appeared in the later operas." They point out Mercury's "I'm the celestial drudge", which anticipates Giuseppe's "Rising early in the morning" in

463: 1353:, the great musician, in the centre; however, Gilbert's plot focuses on Thespis, the Father of the Drama. While this may be a coincidence, it could also be seen as a response to Offenbach, as his plot places music at the centre of his operetta, but Gilbert's elevates the dramatist. 993:, since London theatres refrained from presenting costumed performances out of respect for the religious holiday. Instead, a "miscellaneous entertainment" was given at the Gaiety, consisting of ventriloquists, performing dogs and, coincidentally, a sketch parodying a 108:

style, considerably different from Gilbert and Sullivan's later works. It was a success, for a Christmas entertainment of the time, and closed on 8 March 1872, after a run of 63 performances. It was advertised as "An entirely original Grotesque Opera in Two Acts".

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Possibly a holiday audience is disinclined to dive into the mysteries of heathen mythology, and does not care to exercise the requisite intellect to unravel an amusing, and by no means intricate, plot.... Certain it is, however, that the greeting which awaited

1733:. In 1902, Gilbert told a correspondent that this had happened accidentally. He and Sullivan had arrived in New York to produce the new opera, but the composer discovered that he had left his sketches behind in England. Fortunately, the entrance chorus from 652:

It was put together in less than three weeks, and was produced at the Gaiety theatre after a week's rehearsal. It ran eighty nights, but it was a crude and ineffective work, as might be expected, taking into consideration the circumstances of its rapid

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The production "aroused a great deal of interest and speculation". Ironically, it had "probably the largest audience" of any Gilbert and Sullivan première, as the Gaiety was the largest of the five London theatres at which their joint works premièred.

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between 1953 and 2002. About half of these use music adapted from Sullivan's other works; the others use new music for all but the surviving songs, or, in a few cases, re-compose those as well. No version has become predominant in recent productions.

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December, 1871." If Field mounted the work, however, the production has not been traced. Gilbert's concern about American copyright pirates foreshadowed the difficulties he and Sullivan would later encounter with unauthorised "pirated" productions of

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visible in the orchestra pit was an unusual instrument for the Gaiety's orchestra. Movements of appropriate length that made sense of these oddities were found in Sullivan's other ballets, and the reconstructed ballet has been recorded twice on CD.

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looks forward far more often than it glances backward: It forecasts the characteristic methods, and now and then a character, of the later series. Its dialogue is comical, and, if anything, somewhat above the heads of the Gaiety audiences of 1871."

520:, and Arthur Sullivan was in the audience on that opening night as one of Hollingshead's guests. It was a great success, "received with a storm of approbation". Less successfully, Gilbert had also written a play for the theatre in 1869 called 537:

is uncertain. Gilbert was a logical choice for the assignment. With seven operas and plays premièring that year and over a dozen other burlesques, farces and extravaganzas under his belt, he was well known to London theatregoers as a comic

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was not performed again during its creators' lifetimes. A renewed interest in the piece began in the 1950s, and numerous productions have been performed since, either with music taken from Sullivan's other works, or with original music.

1931:; a ballet also survives, but its location in the order of musical numbers is uncertain. Reviews of the opera hint at three additional numbers not in the libretto, but as their names and exact locations are unknown, they are not listed. 1608: 1852:

Sullivan tended to re-use his ballet music. Of the five movements that Tillett and Spencer identified, only one (the Waltz, No. 3) is not known to have been used in any other work. Three of the movements had previously been used in

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agreed that the song "...will cause most delight on account of the quaint simplicity and tenderness of the words, the charming singing of Mdlle. Clary, and the really exquisite setting by Mr. Sullivan.... This is a musical gem".

1081:. It is astonishing how quickly these capitalists dry up under the magic influence of the words 'cash down'." In 1895, with Richard D'Oyly Carte struggling to rediscover success at the Savoy, he once again proposed a revival of 2162: 1168:

appears to have remained unperformed until 1953, although an attempted reconstruction from the 1940s has been discovered. Tillett and Spencer, who discovered the ballet music, identified twenty separate reconstructions of

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is a teetotaller. After listening to these grievances, the gods angrily shed their disguises. The actors beg to stay on Olympus, but Jupiter punishes them for their folly by sending them back to earth cursed as "eminent

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occasion than Boxing Night the numerous merits of the piece cannot fail to secure for it in the public estimation a high place among the novelties of the season." Other reviews of the first night took up a similar theme:

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was written, it contains more than one unacknowledged borrowing from the unlucky firstling of the lucky pair." Reginald Allen says that "it seems certain" from its "rhythmic structure" that part of the Act I finale of

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on its own merits—merits of literary worth, merits of fun, merits of song writing deserves to succeed; but the management has crippled a good play by insufficiency of rehearsals and a want of that requisite polish and

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several scholars conclude that Gilbert must have been remembering a trip the following year, as in the fall of 1871 it "would have been impossible for Gilbert to travel to America and back in time for rehearsals of

1217:, England, the first professional British production since 1872. This was performed several times subsequently, including at the 2014 International Gilbert and Sullivan Festival. Also in 2008, an original score by 1113:, "Mr. Gilbert is somewhat severe on a style of burlesque which he did much to popularise in the old days before he invented what I may call burlesque in long clothes. … Mr Gilbert never objected to the dresses in 702:, and secondly to ask you—if you care and will cause the piece to be rightly protected—with a view to sale in all places possible in the United States. ... Messrs. G. & S. are now hard at work on said piece. 1494:

found the orchestration "very novel, including, as it does, the employment of a railway bell, a railway whistle, and some new instrument of music imitating the agreeable sound of a train in motion." Similarly

1912:." Even after the first printing, there does not seem to have been any effort to correct the errors: There were four separate issues of the libretto between December and March, but no corrections were made. 1669:

The separately published version had several significant wording differences from the theatrical version, owing to "the contrast between the Gaiety Theatre's suggestiveness and the prudery expected in the

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are known to survive: the ballad "Little maid of Arcadee", the chorus "Climbing over rocky mountain", and the ballet music. The fate of Sullivan's score has long been a subject for speculation. In 1978,

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Nicemis flirts with her old suitor, Thespis, but he declines to flirt back. Thespis explains to his troupe that a successful manager must be aloof from those he manages, or he will lose his authority.

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suggested that "It may be that they looked for something less polished than Mr. Gilbert's verse, and went for something broader and coarser than that delightful author's humour. It may be, too, that

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The première was under rehearsed, as several critics noted, and the work was also evidently in need of cutting: Gaiety management had advised that carriages should be called for 11:00 p.m., but

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says that matters have reached a crisis, but he is unsure what can be done about it. Just then, the gods see a swarm of mortals ascending the mountain and withdraw to observe them from a distance.

1832:. Two of the five movements, in the same hand that had copied the score of "Climbing over rocky mountain", were found together with the surviving performance materials for Sullivan's 1864 ballet, 1606: 923:

did. By its nature, the genre did not lend itself to long runs, and all nine had closed by the end of March. Moreover, the Gaiety normally only ran productions for two or three weeks; the run of

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thought that "There is an evident attempt to copy the creations of a foreign composer who is so popular at the present time, and who has written some charming music for the gods and goddesses

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is too good to be put on one side and cold-shouldered in this fashion: and we anticipate that judicious curtailment and constant rehearsal will enable us shortly to tell a very different tale.

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The libretto has been praised by several biographers and historians. One said that "The dialogue contains many an authentic Gilbertian touch." Another found it "a gay, sparkling libretto".

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disagreeable to find that we have authors and musicians quite as talented as our neighbours.... Mr. Sullivan has certainly persuaded us of one thing—that a musician can write to any metre.

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there. Indeed, Hollingshead "boasted that he kept alight 'the sacred lamp of burlesque.'" Gilbert and Sullivan were each well acquainted with the Gaiety and its house artistes. Gilbert's

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stated: "ot a single hitch in the performance is now to be perceived, and ... the applause and evident delight of the audience from beginning to end ... fully endorses the opinion of the

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ran only a month and was considered a failure. In fact, it remained open until 8 March. Of the nine London pantomimes that appeared during the 1871–72 holiday season, five closed before

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The length of the run is given as 64 performances in some sources. According to Rees (p. 78, n. 7), that is because they fail to take into account that there was no performance of

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is unquestionably funny. ... Mr. Arthur Sullivan has entered with heart into the spirit of Mr. Gilbert's fun, he has brightened it up with the most fanciful and delightful music".

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slightly earlier in the act. At some performances, the ballet was performed in Act I, but it was certainly in Act II on opening night, and it seems finally to have settled there.

1239: 931: 1418:", but it is "fundamentally a Gilbertian invasion plot in which outsiders penetrate and affect a given society, often for the worse." She compares the theatrical company in 1136:. Sullivan wrote to Hollingshead, saying: "You once settled a precedent for me which may just at present be of great importance to me. I asked you for the band parts of the 1073:

with a guarantee of 100 nights minimum. Does this meet your views, & if so, could you get it done in time. I am going to re-write a considerable portion of the dialogue.

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Several scholars have doubted that explanation. In Sullivan's autograph score for the later work, the first part of "Climbing over rocky mountain" is actually taken from a

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The song enjoyed long-standing popularity. Wyndham writes, "Little maid of Arcadee" was "popular for a quarter of a century". Sullivan's first biographer suggested that "

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ballet was almost certainly the music that Sullivan provided, given that it was the only ballet that he wrote for use in an opera, and that three weeks after producing

238:, played by Pretteia, is supposed to be married to Mars, but the actor playing Mars is her father. A possible solution is discovered in Venus having actually married 1016:... Sufficient opportunities have been given for music; and the music serves only to adorn the piece." Similar reports continued to appear through early March, when 1485: 1375:, and find the "real brand of Gilbertian topsy-turvydom" in the song about the former head of a railway company, "I once knew a chap who discharged a function". 1452:

Sullivan's score generally came in for praise, though critics carped—as they would throughout his life—that theatrical scores were beneath his ability. In the

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Many critics praised the originality of the title character's song in the first act about the head of a railway company, which may have been a joke about the

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score was supplied by Garth Morton, based on music from lesser-known Sullivan operas, and this version has been recorded. A version with an original score by

678:, wrote that the libretto was already in existence before his uncle became involved in the project: "Gilbert showed the libretto of an operatic Extravaganza 4251: 1065:, but they pressed me so much to give them an idea of what our terms would be likely to be that I suggested that possibly we might be disposed to accept two 1089:

exists since 1897, and scholars have searched for it among many of the extant collections. Except for two songs and some ballet music, it is presumed lost.

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Several critics suggested that the piece may have been too sophisticated for its audience—or at least, the audience that greeted its first performance on

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The proposed revival was mentioned in several more letters throughout the autumn of 1875, until on 23 November Gilbert wrote, "I have heard no more about

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Despite the short time available for rehearsals, Sullivan recalled that Gilbert insisted that the chorus play a major role, as it would do in their later

1101:, with its "brazen girls in tights and short skirts", and broad burlesque-style humour, as "the kind of work they wished to avoid". They later renounced 2039:

was issued on LP records, which included the original "Little maid of Arcadee" and "Climbing over rocky mountain": Spencer, Roderick, conductor (1972).

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before Sullivan could destroy it. But Sullivan is not known to have destroyed it, and the ballet, at least, was still available to be reused in 1897.

1919:. However, Gilbert died before he could correct proofs for that edition, and so it reprinted the 1871 text, correcting only a few spelling mistakes. 2952: 1501:

noted, "The entire company join in the chorus, the music of which admirably expresses the whirl and thunder of a railway train at express speed."

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at The Royal National Opera, but it failed abruptly, leaving him unexpectedly without commitments. Hollingshead's offer of a role to his brother,

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is lost, there is no complete recording of the original score. The ballet, as reconstructed by Spencer and Tillett, has been issued twice on CD:

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commented that "the acting, as well as the business, will want working up before it can be fairly criticized... the opera... was not ready". The

1638:", was the only number from the opera to achieve contemporaneous publication. It was one of four numbers to be encored on the first night. The 1263:

all play-goers it was a new "sensation" in musical plays. As for Arthur Sullivan's music, need I say how every number charmed and charmed again?

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wrote: "With the public no doubt the musical gem will be a ballad called 'Cousin Robin'—pathetic and tender words, with a dreamy and somewhat

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Payne was a well-known actor-dancer and the father of Harry and Fred Payne, regulars at the Gaiety who portrayed Preposteros and Stupidas in

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Wyndham, p. 119; Walbrook, p. 35; Dark & Grey, p. 63; Dunhill, p. 45; Fitz-Gerald, p. 2; Sullivan & Flower, p. 68; Pearson, p. 89.

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Clary (c. 1846 – 30 December 1930) was born and began her career in France, left the stage and married in 1875, and died in England. See

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immediately after his return, and other actors had similar commitments. In addition, Hollingshead had committed the company to perform a

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roles and revealing dresses on their actresses, and made publicly known their disapproval of them. In 1885, Hollingshead wrote to the

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suggested that "It is more satisfactory for many reasons to look upon the performance last evening as a full dress rehearsal.... When

4246: 1190:. An original 1982 score by Kingsley Day has been used in several Chicago-area stagings. In 1996, another version with new music, by 817:

ends at the orthodox Gaiety closing hour, and the opera has been energetically rehearsed, few happier entertainments will be found."

2501: 3990: 4399: 4231: 1788:, "At length we are provided with unusual felicity", which was later deleted. Tillett and Spencer propose that most of Act I of 512:

in the title role, and played successfully for over 100 nights. Constance Loseby and Annie Tremaine (both of whom had roles in

3060: 134:, in which a theatre company temporarily replaces the ruler of a small country and decides to "revive the classic memories of 4434: 3929: 2191: 2147: 1599: 1514:

thought that "the music in the piece itself is charming throughout, and promises for the first time a rival to Offenbach....

967: 577:(1867), but the latter was four years in the past and had been unsuccessful. In September 1871, Sullivan had been engaged to 542:. Sullivan, however, was at this point mainly known for his serious music. His completed music that year included the choral 2252: 220:

Thespis rules on whether Sparkeion is married to the woman that suits his mythological role, or the one he actually married.

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wrote a time travel story, "Fair Exchange?", which focused on a character travelling back to 1871 to rescue the score to

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complains that the older gods are lazy and leave all their duties to him, while he gets no credit for all his drudgery.

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Casting information from Rees, pp. 12–18 and 102. Crew and principal dancer information is from Rollins and Witts, p. 3

4022: 1444:(1896), where a theatre company replaces the ruler and decides to "revive the classic memories of Athens at its best". 181: 2207: 242:, but Vulcan is her grandfather. Sparkeion, who took on the role of Apollo, accompanies his wife, Nicemis, who plays 3859: 3804: 3744: 3716: 3695: 3663: 3342: 1278: 1895:

Even the version of the libretto printed in 1911 is not free of sloppy editing. Note the line "He's you're brother".

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and their other popular works. In any case, the libretto was "published and circulated" in London in mid-December.

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A Bibliography of Sir William Schwenck Gilbert with Bibliographical Adventures in the Gilbert & Sullivan Operas

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is not published but if you like I will send you the Full Score of the Duet in question", but nothing came of it.

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score for the piano) wrote to Sullivan, asking about the song, with a view to publication. The composer replied, "

2419: 767:, which shared many of its actors, including Toole and Fred Sullivan, and had to be rehearsed at the same time. 674:

Gilbert's five-week estimate is "in conflict with other apparently incontrovertible facts". Sullivan's nephew,

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commented that "Mr. Gilbert's Gaiety extravaganza grows in public favour and deservedly so". On 9 January, the

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for these suggestions. Except for "Climbing over rocky mountain", neither author admitted to borrowing from

1341:, the gods head to hell for a pleasant holiday away from boring perfection. Offenbach's plot – for although 3364:, that was a popular setting for writers of the 19th century. Gilbert, in 1872, would write a work called 1915:

Gilbert's final disposition of the libretto came in 1911, when it was included in the fourth volume of his

1544: 1402: 1205:

added), arranged by Timothy Henty, was first used with Gilbert's libretto adapted by Anthony Baker, at the

694:

in English, by W. S. Gilbert, Esq., & Arthur Sullivan, Esq. does the new music. It is expected to be a

611: 1315:, with its elderly gods tired of their life in Olympus, is similar to some of Offenbach's operas, notably 1290:

carried a similar sentiment: "In fact, both music and idea were somewhat over the heads of the audience."

1126:

In 1879, Sullivan, Gilbert and Carte were in the midst of a legal battle with the former directors of the

1840: 1820:

of a rehearsal that was used by Spencer and Tillett to help identify the missing movements of the ballet.

35: 1342: 1061:

They seem very anxious to have it and wanted me to name definite terms. Of course I couldn't answer for

4219: 698:—and the purport of my present letter to you is—first—to send you (this day) rough sketch of the piece 562: 498: 229:

Under Thespis's direction, Olympus has been restored to its former splendour, and the Thespians enjoy

1520: 1510: 3200: 1012:: "In almost all conjunctions of music and words, there is a sacrifice of one to the other; but in 1005: 504: 441:

The first performance was conducted by Arthur Sullivan. Subsequent performances were conducted by

4204: 4146: 4104: 4059: 3898: 3834:

The D'Oyly Carte Opera Company in Gilbert and Sullivan Operas: A Record of Productions, 1875–1961

2417:

Gilbert, W. S., letter to Percy Strzelecki (possibly sent privately in August 1902) published in

1834: 1797: 1729: 1711: 1186:(other than the two Sullivan numbers) has been performed several times, including in 2000 at the 1044: 1033: 958: 445:, the theatre's musical director. In addition to playing Tipseion, the theatre's stage manager, 84: 3032:

Smith, Ian. Festival Programme for 13 August 2014, International Gilbert and Sullivan Festival,

1465: 4199: 625: 557: 485: 101: 21: 2992: 1748:

words cancelled and the new words written in, which raises the question of why Sullivan had a

648:

I wrote the first of many libretti, in collaboration with Mr Arthur Sullivan. This was called

4281: 1763:. Goldberg suggests that "It is reasonable to believe that Sullivan made generous use of his 1066: 4429: 4419: 4038: 1724: 1206: 1053:

in 1875. When that work was a surprise success, there were discussions of quickly reviving

65: 1709:"Climbing over rocky mountain" was reused in Gilbert and Sullivan's fifth opera together, 1317: 1298: 8: 4313: 606: 489: 356: 303: 275: 189: 185: 146: 105: 2498: 1255: 216: 4337: 4289: 3755: 3684: 2245: 1103: 830: 744: 573: 239: 104:

on 26 December 1871. Like many productions at that theatre, it was written in a broad,

3841:

Spencer, Roderick; Selwyn Tillett (Summer 1990). "Victoria and the Enchanted Island".

2972: 1505:

called it "a screaming, whistling and shouting chorus fairly brings down the house".

1254:

was an advance on the types of burlesques to which Gaiety audiences were accustomed.

3925: 3855: 3800: 3740: 3712: 3706: 3691: 3659: 3338: 1901: 1490: 1218: 1202: 1109: 843:

It is terribly severe on Mr. W. S. Gilbert and Arthur Sullivan, the joint authors of

508:) had been on the programme on the theatre's opening night on 21 December 1868, with 481: 466: 346: 336: 255: 243: 235: 1891: 1867:. Sullivan was asked in 1889 to supply a ballet for a French-language production of 1646:

air. So sweetly was this sung by Mdlle. Clary that another encore was inevitable."

1346: 4345: 4329: 4111: 3357: 3331: 3056: 3042: 1635: 1497: 1410:, was a more serious treatment of Greek mythology. Jane W. Stedman points out that 1333:, classical mythology, particularly the Olympian gods, are ruthlessly parodied. In 1222: 1195: 1115: 1043:, Gilbert and Sullivan went their separate ways, reuniting three years later, with 998: 903:

commented: "e have authors and musicians quite as talented as . ... The subject of

675: 552: 547: 416: 326: 200: 135: 1828:

In 1990, Roderick Spencer and Selwyn Tillett discovered the ballet from Act II of

1225:

in New York City and was finally given a fully staged amateur production in 2014.

801:

reported that "scarcely one player... was more than 'rough perfect' in his part."

530:, as well as Farren, the theatre's star "principal boy" in all of its burlesques. 4414: 4305: 4160: 4097: 4054: 3940: 3064: 3003: 2505: 2166: 1812: 1469: 1430: 1132: 809: 709: 267: 121: 78: 57: 3728:

Gilbert, Sullivan and D'Oyly Carte: Reminiscences of the Savoy and the Savoyards

1302:

The first of Gilbert's "Comic Mythologist" articles in the illustrated magazine

691: 470: 291: 4236: 4167: 4153: 3974: 3783: 3361: 3206: 2936: 1879: 1440: 1424: 1396: 1376: 1371: 1304: 974:

noted that "a chance playgoer will certainly not find a seat at the Gaiety....

934:

Mlle. Clary, the original Sparkeion, for whose benefit the last performance of

407: 401: 263: 130: 117: 3998: 2443:, New York: Burt Franklin (1968), p. 6, quoting Gilbert's letter published in 1085:, but the idea was not pursued. No mention of the whereabouts of the music of 1001:, who, several years later, became Gilbert and Sullivan's principal comedian. 657:

By 1902, Gilbert's recollection of the time frame had expanded to five weeks:

167: 4393: 4350: 4321: 4083: 4049: 4002: 3640:, The Gilbert & Sullivan Discography, 24 June 2009, accessed 30 July 2016 3366: 2693: 2423:

on 9 January 1903, p. 3, responding to a letter from Strzelecki published in

2256: 2110: 1243: 1149: 1049: 994: 990: 948: 876: 870: 582: 509: 446: 394: 360: 321: 125: 69: 53: 30: 3982: 3633: 2400:

Gilbert, William Schwenck. 'William Schwenck Gilbert: an Autobiography' in

2203: 2187: 2143: 4125: 4090: 3312: 2920:, prepared by Ian Bond, noting Rees' additions for the performance version. 2915: 2772:

Ainger, p. 113, quoting a letter from Gilbert to Sullivan, 28 October 1875.

2170: 2052: 2015: 1671: 1571: 1191: 1178: 803: 771: 636:

was written in some haste. Sullivan recalled, simply, that "both music and

629:, for which he supplied incidental music, had its première on 9 September. 522: 49: 3428:, Vol. XX, No. 1 (March 1981), p. 25. Also cited in Stedman, p. 95, n. 52. 2716: 2173:

Harlequin and Clown of their day. The choreographer and ballet master for

1705: 856:

without which these merry operas are useless. I must state, however, that

4273: 4194: 4184: 1971:

Act I Finale: "So that's arranged – you take my place, my boy" (Ensemble)

1767:

music in other operettas: perhaps owing to the circumstances under which

1357: 847:, that their work was produced in such a crude and unsatisfactory state. 760: 731: 567: 527: 469:

had a lot of balls in the air: This engraving shows him juggling ballet,

378: 73: 68:

went on to become the most famous and successful artistic partnership in

2046:"Little maid of Arcadee" has been included in two Sullivan anthologies: 820:

Some critics could not see past the production's state of disarray. The

640:

were very hurriedly written". In his 1883 autobiography, Gilbert wrote:

4132: 4007: 1954:"Oh incident unprecedented" (Mercury, Mars, Apollo, Diana, and Jupiter) 1869: 1626: 1268: 1210: 1029: 982:

reported on 3 February that "Thespis is now in capital working order."

756: 715: 660: 620: 578: 477: 442: 90: 1948:"Throughout the night, the constellations" (Women's Chorus, with Solo) 1364:

is genuine Gilbert, the Gilbert whom nowadays all the world loves....

747:

on 21 December, which included many of the performers who would be in

609:, opening on 28 October 1871, while his most successful play to date, 274:

weather; caused strife among the nations; and there is no wine, since

4139: 3057:"Thespis, Lost G&S Operetta, Gets New Score by Thomas Z. Shepard" 3033: 2025:

Pryce-Jones, John, conductor (1991). "Thespis – Ballet in Act 2". On

1214: 740: 619:

were to begin. Sullivan, however, had more time on his hands after a

539: 493: 280: 251: 184:

complain of feeling old and lament their waning influence on Earth.

2402:

The Theatre: A Monthly Review of the Drama, Music, and the Fine Arts

2043:. Fulham Light Operatic Society. Rare Recorded Editions SRRE 132/3. 1939: 1737:

fitted the situation almost exactly, so it was substituted instead.

258:

is too tenderhearted to let anyone die. Daphne, who plays the muse

4118: 3708:

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

3372: 3038:"Lost music of the gods a Canadian first for Lakeshore Light Opera" 2408:, ed. Harold Orel, Iowa City: University of Iowa Press, 1994, p. 8. 2027: 1995:"Oh rage and fury, Oh shame and sorrow" (Jupiter, Apollo, and Mars) 1992:"You're Diana. I'm Apollo" (Sparkeion, Daphne, Nicemis and Thespis) 690:

At Xmas will be produced at the Gaiety Theatre, a new and original

259: 230: 412:

Sparkeion – Mlle. Clary (Real name: Jeanne-Marie-Madeleine-Poirel)

4297: 3360:

was a legendary site of rural perfection, first described by the

3085: 3081:"Gilbert and Sullivan Light Opera Company marks 60th anniversary" 1863: 1838:. Another section was found in the material for his 1897 ballet, 1781: 1654: 1422:

to the politicians that remodel fairyland in Gilbert's 1873 play

1350: 543: 370: 246:, on her nightly duties, so that the sun is up during the night. 113: 865: 432:

Principal dancers: Mlle. Esta, Misses Lizzie Wright and Smithers

39:, 1872, shows Apollo, Mars, Jupiter, Thespis and Mercury (right) 3896: 3873:. Bishop Auckland, Co. Durham, UK: Sir Arthur Sullivan Society. 1643: 915:

Many writers in the early 20th century perpetuated a myth that

683: 462: 313: 204: 3472:. See Stewart, Maurice. 'The spark that lit the bonfire', in 727: 615:, opened on 9 December, only a few days before rehearsals for 449:, stage managed the piece. The Ballet Master was W. H. Payne 2717:"Gilbert & Sullivan: A Selling Exhibition of Memorabilia" 1777: 1428:

and the Englishmen who reform the island nation of Utopia in

1390: 1238: 3788:

The Story of Gilbert and Sullivan or The 'Compleat' Savoyard

1719:"Climbing over rocky mountain" is the best known piece from 1337:, the gods swap places with actors and descend to Earth; in 1286:

was a little—I only say, just a little—'over their heads'."

437:

Chorus of aged deities and thespians; Gaiety Corps de Ballet

3816:

Sir Arthur Sullivan: Life-Story, Letters, and Reminiscences

3725: 2828:

Walbrook, p. 27; Fitz-Gerald, p. 2; Dunhill, p. 45; Allen (

2134:

Rees, pp. 42–43; Programme, 26 December 1871, Savoy Theatre

1845: 1674:". In the drawing room version, the song's little maid sat 1438:

also appear in Gilbert and Sullivan's last opera together,

930: 824:

captioned its review, "Thespis; or, the Gods Grown Old and

120:

father of the drama, who temporarily trade places with the

3319:, Davis Publications, Inc., Fall 1978, pp. 56–65. Also in 3167: 3165: 1957:"Here far away from all the world" (Sparkeion and Nicemis) 1873:

in Brussels, which he duly did. Tillett suggests that the

1857:. Two of those, and one other, were eventually re-used in 1148:, so that the directors shall not take them away from the 1057:

for the 1875 Christmas season. Gilbert wrote to Sullivan:

2460:), p. 2, who concludes that "these four or five weeks of 1508:

The similarity to French models was much commented upon.

64:

was ever published, and most of the music has been lost.

1968:"I once knew a chap who discharged a function" (Thespis) 978:

can, after all, boast the success which was predicted".

171:

Thespis meets the gods – detail from a larger engraving.

3737:

Contradiction Contradicted – The Plays of W. S. Gilbert

3681: 3162: 225:

The Same Scene, One Year Later, with the Ruins Restored

145:

were not normally expected to endure, and apart from a

3677:(Centennial ed.). London: Chappell & Co. Ltd. 1349:

wrote the libretto, the idea was Offenbach's – places

946:

Reporting on the opera's third night, a letter in the

3962:. London: Kegan Paul, Trench, Trubner & Co., Ltd. 3942:

Gilbert & Sullivan Opera: A History and A Comment

3878: 3840: 2473:

Sullivan & Flower, p. 68. Also, Goldberg, p. 143.

176:

Scene: A Ruined Temple on the Summit of Mount Olympus

3881:

Sir Arthur Sullivan: His Life, Letters & Diaries

3852:

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

3831: 3799:(Second ed.). Portland, Oregon: Amadeus Press. 3290: 3288: 3266: 3264: 1927:The music is known to survive for numbers shown in 1883:he is unlikely to have written something original. 52:that was the first collaboration between dramatist 3683: 3424:March, Jerry. "Part of Thespis Score Discovered", 3330: 2943:, Buxton Festivals archive, accessed 23 March 2023 2406:Gilbert and Sullivan: Interviews and Recollections 2404:, vol. 1 (2 April 1883), pp. 217–24, reprinted in 1961:"Climbing over rocky mountain" (Chorus with Solos) 1542:" Others accused Sullivan of blatant copying. The 1164:After its last performance at the Gaiety in 1872, 3376:, two of the characters are "arcadian shepherds". 3198:Stedman, p. 23; See also Gilbert, W. S., (1864): 2301:Good Old Gaiety: An Historiette & Remembrance 585:, may have encouraged him to write the music for 4391: 3767:Sullivan's Comic Operas: A Critical Appreciation 3753: 3726:Cellier, François; Cunningham Bridgeman (1927). 3596:, London: Chatto & Windus (1911), pp. 443–75 3285: 3261: 1998:Act II Finale: "We can't stand this" (Ensemble) 1233: 488:since 1868, had produced a number of successful 2841:Tillett & Spencer, p. 3; Stedman, pp. 95–96 2499:"Let’s vary piracee / With a little burglaree!" 2031:(CD). That's Entertainment Records CDTER2 1188. 1989:"Olympus is now in a terrible muddle" (Mercury) 1861:. One was also used in his incidental music to 1700: 1152:tomorrow, and I base my claim on the precedent 565:". He did have two comic operas to his credit, 3402: 3400: 2922:The interpolated songs do not appear in Rees' 2512:, Issue 227, Winter 2005, accessed 8 May 2012. 2148:"The Jollys: from Buck House to the Workhouse" 1201:In 2008, a Sullivan pastiche score (with some 4023: 3991:Programme from, and other information about, 3686:Sir Arthur Sullivan: Composer & Personage 3006:, BritishTheatreGuide, accessed 12 March 2008 2597: 2595: 2593: 1723:, as it was transplanted in 1879 into one of 533:How and when the pair came to collaborate on 112:The story follows an acting troupe headed by 3892:. Coventry, UK: Sir Arthur Sullivan Society. 2789: 2787: 2552: 2550: 2548: 1634:Sparkeion's song in Act II, "Little maid of 1549:Joseph Rummell (who had arranged Sullivan's 966:reported a visit by His Royal Highness, the 4242:People associated with Gilbert and Sullivan 4215:International Gilbert and Sullivan Festival 3999:Another version of "Little Maid of Arcadee" 3922:Gilbert and Sullivan: Gender, Genre, Parody 3773: 3730:. London: Sir Isaac Pitman & Sons, Ltd. 3562: 3560: 3558: 3397: 3317:Asimov's Science Fiction Adventure Magazine 3023:, vol. 3, issue 23, Summer 2008, pp. 731–32 2941:at the International G&S Festival, 2000 2853: 2851: 2849: 2847: 2801: 2799: 2493: 2491: 2338: 2336: 2130: 2128: 1614:Recording of "Little maid of Arcadee" from 1188:International Gilbert and Sullivan Festival 4210:Cultural influence of Gilbert and Sullivan 4030: 4016: 3897:Tillett, Selwyn; Roderick Spencer (2002). 2590: 2192:"Mademoiselle Clary: Sparkeion of Croydon" 2060:Benton, Jeffrey, singer (1992, cassette). 2035:A recording of the Rees/Morton version of 1144:also at once. I am detaining the parts of 910: 286: 262:, comes to Thespis and claims, based on a 16:1871 comic opera by Gilbert & Sullivan 3986:at The Gilbert & Sullivan Discography 3879:Sullivan, Herbert; Newman Flower (1927). 3825:Thespis – A Gilbert & Sullivan Enigma 3690:. New York: The Pierpont Morgan Library. 3278: 3276: 3245: 3243: 3119: 3117: 2815: 2813: 2811: 2784: 2661: 2659: 2627: 2625: 2623: 2621: 2619: 2545: 2538: 2536: 2522: 2520: 2518: 2481: 2479: 2435: 2433: 2303:, p. 16 (1903) London: Gaiety Theatre Co. 2096:, Vol. 4, part 3, Issue 29. Summer 2011. 2088: 2086: 1581: 1360:and Rowland Gray wrote that "the book of 4037: 3938: 3919: 3868: 3813: 3782: 3734: 3682:Allen, Reginald; Gale R. D'Luhy (1975). 3555: 2844: 2796: 2488: 2333: 2125: 2092:Walters, Michael. "Thespis: a reply", 1951:"Oh, I'm the celestial drudge" (Mercury) 1938: 1890: 1811: 1752:score to hand, if not for that purpose. 1704: 1481:have far more than a passing interest." 1464: 1297: 1237: 1028: 929: 864: 726: 659: 632:Both Gilbert and Sullivan recalled that 461: 290: 254:refuses to marry anyone; and the ersatz 215: 166: 20: 4232:List of compositions by Arthur Sullivan 3957: 3924:. New York: Columbia University Press. 3887: 3875:Arranged for piano by Roderick Spencer. 3849: 3827:. London: Dillon's University Bookshop. 3764: 3704: 3656:Gilbert and Sullivan – A Dual Biography 3431: 2277:Ainger, p. 80, quoting a review in the 1981:"Of all symposia" (Sillimon and Chorus) 1784:" became the original Act II finale in 295:First night programme, 26 December 1871 72:England, creating a string of enduring 4392: 3832:Rollins, Cyril; R. John Witts (1962). 3794: 3778:. London: Stanley Paul & Co., Ltd. 3653: 3328: 3320: 3273: 3240: 3114: 2924:Thespis, a Gilbert and Sullivan Enigma 2808: 2656: 2616: 2533: 2515: 2476: 2430: 2083: 1221:was first performed in concert by the 989:were interrupted on 14 February 1872, 375:Manager of a Travelling Theatrical Co. 4011: 3978:at The Gilbert & Sullivan Archive 3883:. London: Cassell & Company, Ltd. 3797:Arthur Sullivan: A Victorian Musician 3672: 3489:states "In Act First, A Grand Ballet" 3333:The Winds of Change and Other Stories 2299:Ainger, p. 82, quoting Hollingshead, 1900:is missing, and an entire character, 1159: 3843:Sir Arthur Sullivan Society Magazine 3822: 3675:The First Night Gilbert and Sullivan 2981:The Gilbert and Sullivan Discography 2709: 1985:"Little maid of Arcadee" (Sparkeion) 883:, had a mostly favourable reaction: 601:Gilbert had a busy autumn. His play 149:shortly after the original staging, 4374: 4001:sung by Richard Holmes, brother of 3945:. London: F. V. White & Co. Ltd 3757:W. S. Gilbert: His Life and Letters 3754:Dark, Sidney; Rowland Grey (1923). 3658:. Oxford: Oxford University Press. 3036:, England; and Greenaway, Kathryn. 1776:, "Here's a pretty tale for future 1755:Some suggest that other music from 927:was extraordinary for the theatre. 13: 2464:preparation were not consecutive." 2050:Adams, Donald, singer (1971, LP). 2020:Sir Arthur Sullivan – Ballet Music 2018:, conductor (1992). "Thespis". On 1922: 1653: 1588: 1560: 797:was still playing past midnight. 14: 4446: 4425:Operas set in mythological places 3968: 3774:Fitz-Gerald, S. J. Adair (1924). 3769:. London: Edward Arnold & Co. 3739:. Associated University Presses. 3623:Rees, p. 36 and footnote 3, p. 96 2456:Rees, pp. 23–24. See also Allen ( 2218:, Kurt of Gerolstein, 7 June 2018 2194:, Kurt of Gerolstein, 9 June 2018 2150:, Kurt of Gerolstein, 7 June 2018 1565:Only three musical passages from 938:with the original music was given 561:, and numerous hymns, including " 283:, whom no one ever goes to see". 4373: 4364: 4363: 4247:Works about Gilbert and Sullivan 3760:. London: Methuen & Co. Ltd. 3626: 3617: 3608: 3599: 3586: 3573: 3546: 3537: 3528: 3519: 3510: 3501: 3492: 3479: 3462: 3453: 3444: 3418: 3409: 3370:, and in Gilbert and Sullivan's 2674:Sullivan & Flower, pp. 68–69 2177:, W. H. Payne, was their father. 1625:Problems playing this file? See 1604: 1406:, which he produced just before 956:critic". On 6 January 1872, the 788: 650:Thespis; or, the Gods Grown Old. 3579:Ainger, p. 93; see also Allen ( 3388: 3379: 3351: 3306: 3297: 3252: 3231: 3222: 3213: 3192: 3183: 3174: 3153: 3144: 3135: 3126: 3101: 3098:Cellier & Bridgeman, p. 16. 3092: 3073: 3049: 3026: 3009: 2986: 2966: 2946: 2929: 2909: 2900: 2891: 2882: 2873: 2860: 2835: 2822: 2775: 2766: 2759:), p. 5; Walbrook, chapter II; 2749: 2740: 2731: 2722: 2700: 2677: 2668: 2647: 2638: 2607: 2577: 2568: 2559: 2467: 2450: 2411: 2394: 2385: 2376: 2367: 2354: 2345: 2324: 2315: 2306: 2293: 2284: 2271: 2262: 2239: 2230: 2221: 1394:, for the illustrated magazine 605:had an unsuccessful run at the 4400:Operas by Gilbert and Sullivan 3890:The Ballets of Arthur Sullivan 3871:Thespis – Ballet Suite: Act II 2995:Thespis: Or the Gods Grown Old 2197: 2180: 2153: 2137: 2116: 2099: 2074: 2057:, Brookledge Classics SM-GS-1. 2041:Thespis, or The Gods Grown Old 890:Thespis, or The Gods Grown Old 596: 180:On Mount Olympus, the elderly 45:Thespis, or The Gods Grown Old 1: 3845:. No. 30. pp. 5–15. 3646: 3594:Original Plays, Fourth Series 3450:Tillett & Spencer (2002). 3294:Tillett & Spencer, p. 14. 3021:W. S. Gilbert Society Journal 2094:W. S. Gilbert Society Journal 2002: 1943:Programme cover, January 1872 1234:More than the usual burlesque 1228: 1047:as their manager, to produce 722: 686:Museum Theatre, which reads: 644:Soon after the production of 452: 4435:Operas set in ancient Greece 3958:Wyndham, Henry Saxe (1926). 3776:The Story of the Savoy Opera 2897:Tillett & Spencer, p. 6. 2888:Tillett & Spencer, p. 4. 2805:Tillett & Spencer, p. 3. 1701:Climbing over rocky mountain 1447: 1097:and Sullivan came to regard 1024: 783: 664:Interior of the Gaiety, 1869 7: 3854:. Oxford University Press. 3765:Dunhill, Thomas F. (1928). 3711:. Oxford University Press. 3485:January 1872 programme for 1859:Victoria and Merrie England 1841:Victoria and Merrie England 1727:'s most successful operas, 1293: 516:) were also in the cast of 157: 100:premièred in London at the 36:The Illustrated London News 10: 4451: 4220:W. S. Gilbert bibliography 4190:D'Oyly Carte Opera Company 3920:Williams, Carolyn (2010). 3325:. New York: Targ Editions. 2719:, accessed 30 October 2007 2208:"Three times a star: from 2055:Sings Sullivan and Gilbert 2022:(CD). Marco Polo 8.223460. 1692:Cousin Richard came to woo 1688:fickle as the month of May 1414:"looks backward to French 563:Onward, Christian Soldiers 502:(a burlesque of the opera 457: 4359: 4265: 4177: 4068: 4045: 3869:Sullivan, Arthur (1996). 3850:Stedman, Jane W. (1996). 3836:. London: Michael Joseph. 3814:Lawrence, Arthur (1899). 3735:Crowther, Andrew (2000). 3583:), p. 26; Rees, pp. 90–91 3474:Gilbert and Sullivan News 3303:Allen & D'Luhy, p. 67 2983:, accessed 17 March 2010. 2080:Bradley (2005), Chapter 1 1807: 1796:. However, there is only 1696:till another came to woo. 1684:weary of his lover's play 1678:Cousin Robin's knee, not 1456:, A. E. T. Watson wrote: 1323:Orpheus in the Underworld 484:, the lessee of London's 397:(Nellie Farren's husband) 211: 3939:Walbrook, H. M. (1922). 3888:Tillett, Selwyn (1998). 3673:Allen, Reginald (1975). 3654:Ainger, Michael (2002). 3525:Tillett 1998, pp. 35–37. 3507:Tillett 1998, pp. 28–34. 3141:Crowther (2000) p. 71–72 2697:, 13 January 1872, p. 30 2504:18 December 2011 at the 2259:, accessed 30 March 2008 2068: 2007:As most of the music to 1759:could have been used in 1744:copyist score, with the 1039:After the production of 1006:Henry Sutherland Edwards 162: 4405:English-language operas 4147:The Yeomen of the Guard 4105:The Pirates of Penzance 3960:Arthur Seymour Sullivan 3818:. London: James Bowden. 3795:Jacobs, Arthur (1992). 3337:. New York: Doubleday. 3219:Crowther (2000), p. 165 3171:Dark & Gray, p. 65. 3063:14 January 2009 at the 2870:, 26 January 1885, p. 4 2427:on June 13, 1902, p. 10 2236:Dark & Grey, p. 63. 2165:12 January 2008 at the 2122:Rollins and Witts, p. 3 1886: 1798:circumstantial evidence 1769:The Pirates of Penzance 1730:The Pirates of Penzance 1712:The Pirates of Penzance 959:Penny Illustrated Paper 911:Subsequent performances 424:Daphne – Annie Tremaine 287:Roles and original cast 85:The Pirates of Penzance 60:. No musical score of 3823:Rees, Terence (1964). 3790:. London: John Murray. 3329:Asimov, Isaac (1983). 3321:Asimov, Isaac (1981). 2916:Annotated libretto to 1944: 1896: 1821: 1716: 1658: 1600:Little Maid of Arcadee 1593: 1582:Little maid of Arcadee 1532: 1473: 1463: 1308: 1265: 1248: 1194:, was produced by the 1138:Merry Wives of Windsor 1119:nor to the dresses in 1075: 1036: 939: 898: 873: 863: 781: 735: 704: 672: 665: 655: 626:The Merchant of Venice 558:The Merchant of Venice 474: 427:Cymon – Miss L. Wilson 421:Pretteia – Rose Berend 390:Timidon – Mr. Marshall 296: 221: 172: 40: 4282:The Sapphire Necklace 3705:Bradley, Ian (2005). 3476:(London) Spring 2003. 3228:Fitz-Gerald, pp. 6–7. 3201:The Comic Mythologist 2868:The Pall Mall Gazette 2255:12 September 2012 at 2250:(Jewry in Music site) 2169:were the most famous 1942: 1894: 1815: 1708: 1657: 1592: 1527: 1468: 1458: 1403:Pygmalion and Galatea 1301: 1260: 1258:recalled much later: 1241: 1130:, which had produced 1059: 1032: 970:. By 27 January, the 933: 885: 868: 841: 776: 730: 688: 667: 663: 646:Pygmalion and Galatea 642: 612:Pygmalion and Galatea 465: 361:Ellen "Nellie" Farren 294: 219: 170: 24: 4410:English comic operas 4205:Bridget D'Oyly Carte 4060:Richard D'Oyly Carte 4039:Gilbert and Sullivan 3516:Tillett 1998, p. 34. 3315:. "Fair Exchange?", 3002:10 June 2011 at the 2574:Lawrence, pp. 85–86. 2281:of 24 December 1868. 1725:Gilbert and Sullivan 1518:is quite as good as 1434:(1893). Elements of 1207:Normansfield Theatre 1128:Comedy Opera Company 1045:Richard D'Oyly Carte 1034:Richard D'Oyly Carte 700:for your own reading 141:Seasonal works like 66:Gilbert and Sullivan 4200:Rupert D'Oyly Carte 3459:Stedman, pp. 95–96. 3046:, 18 September 2018 3015:Crowther, Andrew. " 2687:: To the Editor of 2290:Stedman, pp. 73–74. 1478:The Daily Telegraph 755:was to play as the 147:benefit performance 4338:The Rose of Persia 4290:The Contrabandista 3415:Fitz-Gerald, p. 4. 3210:, 5 November 1864. 3019:at Normansfield", 2763:, 31 December 1871 2604:, 31 December 1871 2160:The Payne brothers 1945: 1897: 1822: 1816:An engraving from 1804:for later operas. 1717: 1690:. And rather than 1659: 1594: 1551:Merchant of Venice 1536:Morning Advertiser 1486:Duke of Sutherland 1474: 1309: 1249: 1177:Theatre historian 1160:Modern productions 1037: 940: 874: 831:Morning Advertiser 745:The Crystal Palace 736: 666: 574:The Contrabandista 555:for Shakespeare's 490:musical burlesques 475: 343:– Mrs. Henry Leigh 297: 222: 173: 41: 4387: 4386: 4257:Performing groups 3931:978-0-231-14804-7 3406:Goldberg, p. 151. 3237:Goldberg, p. 150. 3189:Goldberg, p. 146. 3180:Goldberg, p. 148. 3159:Goldberg, p. 152. 3055:Jones, Kenneth. 2953:"Missimi directs 2935:Sandham, David. 2321:Goldberg, p. 144. 2064:, Symposium 1124. 1609: 1525:" Another wrote: 1521:Orphée aux Enfers 1491:Pall Mall Gazette 1476:Clement Scott in 1318:Orphée aux Enfers 1219:Thomas Z. Shepard 1110:Pall Mall Gazette 972:Illustrated Times 968:Duke of Edinburgh 879:, writing in the 837:Illustrated Times 835:performance. The 827: 482:John Hollingshead 467:John Hollingshead 385:his Stage Manager 48:, is an operatic 4442: 4377: 4376: 4367: 4366: 4346:The Emerald Isle 4330:The Beauty Stone 4032: 4025: 4018: 4009: 4008: 3963: 3954: 3952: 3950: 3935: 3916: 3914: 3912: 3907: 3899:"Forty Years of 3893: 3884: 3874: 3865: 3846: 3837: 3828: 3819: 3810: 3791: 3779: 3770: 3761: 3750: 3731: 3722: 3701: 3689: 3678: 3669: 3641: 3630: 3624: 3621: 3615: 3612: 3606: 3603: 3597: 3590: 3584: 3577: 3571: 3564: 3553: 3550: 3544: 3541: 3535: 3532: 3526: 3523: 3517: 3514: 3508: 3505: 3499: 3496: 3490: 3483: 3477: 3466: 3460: 3457: 3451: 3448: 3442: 3435: 3429: 3422: 3416: 3413: 3407: 3404: 3395: 3394:Walbrook, p. 33. 3392: 3386: 3385:Wyndham, p. 119. 3383: 3377: 3355: 3349: 3348: 3336: 3326: 3310: 3304: 3301: 3295: 3292: 3283: 3280: 3271: 3270:Lawrence, p. 88. 3268: 3259: 3256: 3250: 3247: 3238: 3235: 3229: 3226: 3220: 3217: 3211: 3196: 3190: 3187: 3181: 3178: 3172: 3169: 3160: 3157: 3151: 3150:Walbrook, p. 31. 3148: 3142: 3139: 3133: 3130: 3124: 3121: 3112: 3105: 3099: 3096: 3090: 3077: 3071: 3053: 3047: 3043:Montreal Gazette 3030: 3024: 3013: 3007: 2990: 2984: 2970: 2964: 2963:, 4 October 2016 2950: 2944: 2933: 2927: 2913: 2907: 2904: 2898: 2895: 2889: 2886: 2880: 2877: 2871: 2866:Correspondence, 2864: 2858: 2855: 2842: 2839: 2833: 2826: 2820: 2817: 2806: 2803: 2794: 2791: 2782: 2779: 2773: 2770: 2764: 2753: 2747: 2746:Walbrook, p. 34. 2744: 2738: 2735: 2729: 2728:Rees, pp. 81–82. 2726: 2720: 2713: 2707: 2704: 2698: 2681: 2675: 2672: 2666: 2663: 2654: 2651: 2645: 2642: 2636: 2629: 2614: 2611: 2605: 2599: 2588: 2581: 2575: 2572: 2566: 2563: 2557: 2554: 2543: 2540: 2531: 2524: 2513: 2495: 2486: 2483: 2474: 2471: 2465: 2454: 2448: 2439:Townley Searle, 2437: 2428: 2415: 2409: 2398: 2392: 2391:Lawrence, p. 85. 2389: 2383: 2380: 2374: 2371: 2365: 2358: 2352: 2349: 2343: 2340: 2331: 2328: 2322: 2319: 2313: 2310: 2304: 2297: 2291: 2288: 2282: 2275: 2269: 2266: 2260: 2248:Robert the Devil 2243: 2237: 2234: 2228: 2225: 2219: 2201: 2195: 2184: 2178: 2157: 2151: 2141: 2135: 2132: 2123: 2120: 2114: 2103: 2097: 2090: 2081: 2078: 2062:If Doughty Deeds 1682:it. Rather than 1611: 1610: 1591: 1498:The Sunday Times 1256:François Cellier 1223:Blue Hill Troupe 1196:Ohio Light Opera 1184:Bruce Montgomery 1116:Robert the Devil 1092:The reasons why 1004:On 17 February, 999:George Grossmith 985:Performances of 825: 765:Dearer than Life 676:Herbert Sullivan 553:incidental music 548:On Shore and Sea 505:Robert le Diable 499:Robert the Devil 417:Constance Loseby 116:, the legendary 76:hits, including 25:Illustration of 4450: 4449: 4445: 4444: 4443: 4441: 4440: 4439: 4390: 4389: 4388: 4383: 4355: 4266:Sullivan operas 4261: 4173: 4161:Utopia, Limited 4098:H.M.S. Pinafore 4064: 4055:Arthur Sullivan 4041: 4036: 3971: 3966: 3948: 3946: 3932: 3910: 3908: 3905: 3862: 3807: 3784:Goldberg, Isaac 3747: 3719: 3698: 3666: 3649: 3644: 3634:"Recordings of 3632:Shepherd, Marc 3631: 3627: 3622: 3618: 3614:Rees, pp. 67–69 3613: 3609: 3605:Rees, pp. 90–94 3604: 3600: 3592:W. S. Gilbert, 3591: 3587: 3578: 3574: 3565: 3556: 3552:Rees, pp. 56–57 3551: 3547: 3542: 3538: 3534:Rees, pp. 67–68 3533: 3529: 3524: 3520: 3515: 3511: 3506: 3502: 3498:Rees, pp. 68–70 3497: 3493: 3484: 3480: 3467: 3463: 3458: 3454: 3449: 3445: 3436: 3432: 3423: 3419: 3414: 3410: 3405: 3398: 3393: 3389: 3384: 3380: 3356: 3352: 3345: 3323:Three by Asimov 3311: 3307: 3302: 3298: 3293: 3286: 3281: 3274: 3269: 3262: 3257: 3253: 3248: 3241: 3236: 3232: 3227: 3223: 3218: 3214: 3197: 3193: 3188: 3184: 3179: 3175: 3170: 3163: 3158: 3154: 3149: 3145: 3140: 3136: 3132:Williams, p. 44 3131: 3127: 3122: 3115: 3106: 3102: 3097: 3093: 3089:, 19 June 2014. 3078: 3074: 3065:Wayback Machine 3054: 3050: 3031: 3027: 3014: 3010: 3004:Wayback Machine 2991: 2987: 2971: 2967: 2957:for Savoyaires" 2951: 2947: 2934: 2930: 2914: 2910: 2906:Rees, p. 101-45 2905: 2901: 2896: 2892: 2887: 2883: 2878: 2874: 2865: 2861: 2856: 2845: 2840: 2836: 2827: 2823: 2818: 2809: 2804: 2797: 2793:Stedman, p. 95. 2792: 2785: 2781:Ainger, p. 114. 2780: 2776: 2771: 2767: 2754: 2750: 2745: 2741: 2736: 2732: 2727: 2723: 2714: 2710: 2705: 2701: 2682: 2678: 2673: 2669: 2664: 2657: 2652: 2648: 2643: 2639: 2630: 2617: 2612: 2608: 2600: 2591: 2582: 2578: 2573: 2569: 2565:Rees, pp. 19–21 2564: 2560: 2555: 2546: 2541: 2534: 2525: 2516: 2506:Wayback Machine 2496: 2489: 2484: 2477: 2472: 2468: 2455: 2451: 2438: 2431: 2416: 2412: 2399: 2395: 2390: 2386: 2381: 2377: 2372: 2368: 2359: 2355: 2350: 2346: 2341: 2334: 2329: 2325: 2320: 2316: 2311: 2307: 2298: 2294: 2289: 2285: 2276: 2272: 2267: 2263: 2244: 2240: 2235: 2231: 2226: 2222: 2202: 2198: 2185: 2181: 2167:Wayback Machine 2158: 2154: 2142: 2138: 2133: 2126: 2121: 2117: 2104: 2100: 2091: 2084: 2079: 2075: 2071: 2005: 1925: 1923:Musical numbers 1889: 1855:L'Île Enchantée 1835:L'Île Enchantée 1810: 1792:was taken from 1703: 1640:Daily Telegraph 1632: 1631: 1623: 1621: 1620: 1619: 1618: 1612: 1605: 1602: 1595: 1589: 1584: 1563: 1561:Surviving music 1470:Arthur Sullivan 1450: 1431:Utopia, Limited 1296: 1247: 1236: 1231: 1162: 1133:H.M.S. Pinafore 1027: 964:Daily Telegraph 913: 881:Daily Telegraph 810:Daily Telegraph 791: 786: 725: 710:H.M.S. Pinafore 599: 460: 455: 289: 266:edition of the 250:substitute for 214: 165: 160: 79:H.M.S. Pinafore 58:Arthur Sullivan 17: 12: 11: 5: 4448: 4438: 4437: 4432: 4427: 4422: 4417: 4412: 4407: 4402: 4385: 4384: 4382: 4381: 4371: 4360: 4357: 4356: 4354: 4353: 4342: 4334: 4326: 4318: 4310: 4302: 4294: 4286: 4278: 4269: 4267: 4263: 4262: 4260: 4259: 4254: 4249: 4244: 4239: 4234: 4229: 4228: 4227: 4225:dramatic works 4217: 4212: 4207: 4202: 4197: 4192: 4187: 4181: 4179: 4175: 4174: 4172: 4171: 4168:The Grand Duke 4164: 4157: 4154:The Gondoliers 4150: 4143: 4136: 4129: 4122: 4115: 4108: 4101: 4094: 4087: 4080: 4072: 4070: 4066: 4065: 4063: 4062: 4057: 4052: 4046: 4043: 4042: 4035: 4034: 4027: 4020: 4012: 4006: 4005: 3996: 3988: 3980: 3970: 3969:External links 3967: 3965: 3964: 3955: 3936: 3930: 3917: 3894: 3885: 3876: 3866: 3860: 3847: 3838: 3829: 3820: 3811: 3805: 3792: 3780: 3771: 3762: 3751: 3745: 3732: 3723: 3717: 3702: 3696: 3679: 3670: 3664: 3650: 3648: 3645: 3643: 3642: 3625: 3616: 3607: 3598: 3585: 3572: 3554: 3545: 3536: 3527: 3518: 3509: 3500: 3491: 3478: 3461: 3452: 3443: 3430: 3417: 3408: 3396: 3387: 3378: 3362:Ancient Greeks 3350: 3343: 3305: 3296: 3284: 3272: 3260: 3251: 3239: 3230: 3221: 3212: 3191: 3182: 3173: 3161: 3152: 3143: 3134: 3125: 3113: 3100: 3091: 3079:Parks, Steve. 3072: 3048: 3025: 3008: 2985: 2965: 2945: 2928: 2908: 2899: 2890: 2881: 2872: 2859: 2857:Jacobs, p. 73. 2843: 2834: 2821: 2807: 2795: 2783: 2774: 2765: 2748: 2739: 2730: 2721: 2708: 2699: 2676: 2667: 2655: 2646: 2637: 2615: 2606: 2589: 2576: 2567: 2558: 2556:Stedman, p. 94 2544: 2532: 2514: 2497:Wachs, Kevin. 2487: 2475: 2466: 2449: 2429: 2410: 2393: 2384: 2382:Ainger, p. 91. 2375: 2373:Ainger, p. 92. 2366: 2353: 2344: 2342:Ainger, p. 93. 2332: 2323: 2314: 2305: 2292: 2283: 2270: 2268:Ainger, p. 80. 2261: 2246:Article about 2238: 2229: 2220: 2196: 2179: 2152: 2136: 2124: 2115: 2098: 2082: 2072: 2070: 2067: 2066: 2065: 2058: 2033: 2032: 2023: 2004: 2001: 2000: 1999: 1996: 1993: 1990: 1987: 1982: 1978: 1977: 1973: 1972: 1969: 1966: 1963: 1958: 1955: 1952: 1949: 1937: 1936: 1924: 1921: 1917:Original Plays 1888: 1885: 1880:The Gondoliers 1809: 1806: 1702: 1699: 1622: 1613: 1603: 1598: 1597: 1596: 1587: 1586: 1585: 1583: 1580: 1562: 1559: 1449: 1446: 1441:The Grand Duke 1425:The Happy Land 1379:thought that " 1377:Isaac Goldberg 1372:The Gondoliers 1295: 1292: 1242: 1235: 1232: 1230: 1227: 1161: 1158: 1026: 1023: 980:Land and Water 912: 909: 790: 787: 785: 782: 724: 721: 623:production of 598: 595: 486:Gaiety Theatre 459: 456: 454: 451: 434: 433: 429: 428: 425: 422: 419: 413: 410: 404: 400:Preposteros – 398: 391: 388: 387:– J. G. Taylor 381: 368: 364: 363: 354: 353:– (Miss Jolly) 344: 334: 324: 311: 310:– John Maclean 301: 288: 285: 213: 210: 164: 161: 159: 156: 138:at its best". 131:The Grand Duke 102:Gaiety Theatre 15: 9: 6: 4: 3: 2: 4447: 4436: 4433: 4431: 4428: 4426: 4423: 4421: 4418: 4416: 4413: 4411: 4408: 4406: 4403: 4401: 4398: 4397: 4395: 4380: 4372: 4370: 4362: 4361: 4358: 4352: 4348: 4347: 4343: 4340: 4339: 4335: 4332: 4331: 4327: 4324: 4323: 4322:The Chieftain 4319: 4316: 4315: 4311: 4308: 4307: 4303: 4300: 4299: 4295: 4292: 4291: 4287: 4284: 4283: 4279: 4276: 4275: 4271: 4270: 4268: 4264: 4258: 4255: 4253: 4250: 4248: 4245: 4243: 4240: 4238: 4235: 4233: 4230: 4226: 4223: 4222: 4221: 4218: 4216: 4213: 4211: 4208: 4206: 4203: 4201: 4198: 4196: 4193: 4191: 4188: 4186: 4183: 4182: 4180: 4176: 4170: 4169: 4165: 4163: 4162: 4158: 4156: 4155: 4151: 4149: 4148: 4144: 4142: 4141: 4137: 4135: 4134: 4130: 4128: 4127: 4123: 4121: 4120: 4116: 4114: 4113: 4109: 4107: 4106: 4102: 4100: 4099: 4095: 4093: 4092: 4088: 4086: 4085: 4084:Trial by Jury 4081: 4079: 4078: 4074: 4073: 4071: 4067: 4061: 4058: 4056: 4053: 4051: 4050:W. S. Gilbert 4048: 4047: 4044: 4040: 4033: 4028: 4026: 4021: 4019: 4014: 4013: 4010: 4004: 4003:Rupert Holmes 4000: 3997: 3995: 3994: 3989: 3987: 3985: 3981: 3979: 3977: 3973: 3972: 3961: 3956: 3944: 3943: 3937: 3933: 3927: 3923: 3918: 3904: 3902: 3895: 3891: 3886: 3882: 3877: 3872: 3867: 3863: 3861:0-19-816174-3 3857: 3853: 3848: 3844: 3839: 3835: 3830: 3826: 3821: 3817: 3812: 3808: 3806:0-931340-51-9 3802: 3798: 3793: 3789: 3785: 3781: 3777: 3772: 3768: 3763: 3759: 3758: 3752: 3748: 3746:0-8386-3839-2 3742: 3738: 3733: 3729: 3724: 3720: 3718:0-19-516700-7 3714: 3710: 3709: 3703: 3699: 3697:9780875980492 3693: 3688: 3687: 3680: 3676: 3671: 3667: 3665:0-19-514769-3 3661: 3657: 3652: 3651: 3639: 3637: 3629: 3620: 3611: 3602: 3595: 3589: 3582: 3576: 3569: 3563: 3561: 3559: 3549: 3540: 3531: 3522: 3513: 3504: 3495: 3488: 3482: 3475: 3471: 3465: 3456: 3447: 3440: 3434: 3427: 3421: 3412: 3403: 3401: 3391: 3382: 3375: 3374: 3369: 3368: 3367:Happy Arcadia 3363: 3359: 3354: 3346: 3344:0-385-18099-3 3340: 3335: 3334: 3324: 3318: 3314: 3313:Asimov, Isaac 3309: 3300: 3291: 3289: 3279: 3277: 3267: 3265: 3255: 3246: 3244: 3234: 3225: 3216: 3209: 3208: 3203: 3202: 3195: 3186: 3177: 3168: 3166: 3156: 3147: 3138: 3129: 3120: 3118: 3110: 3104: 3095: 3088: 3087: 3082: 3076: 3069: 3066: 3062: 3058: 3052: 3045: 3044: 3039: 3035: 3029: 3022: 3018: 3012: 3005: 3001: 2998: 2996: 2989: 2982: 2978: 2976: 2969: 2962: 2958: 2956: 2949: 2942: 2940: 2932: 2925: 2921: 2919: 2912: 2903: 2894: 2885: 2876: 2869: 2863: 2854: 2852: 2850: 2848: 2838: 2831: 2825: 2816: 2814: 2812: 2802: 2800: 2790: 2788: 2778: 2769: 2762: 2758: 2752: 2743: 2734: 2725: 2718: 2715:Moss, Simon. 2712: 2703: 2696: 2695: 2694:London Figaro 2690: 2686: 2680: 2671: 2662: 2660: 2650: 2641: 2634: 2628: 2626: 2624: 2622: 2620: 2610: 2603: 2598: 2596: 2594: 2586: 2580: 2571: 2562: 2553: 2551: 2549: 2539: 2537: 2529: 2523: 2521: 2519: 2511: 2507: 2503: 2500: 2494: 2492: 2482: 2480: 2470: 2463: 2459: 2453: 2446: 2442: 2436: 2434: 2426: 2422: 2421: 2414: 2407: 2403: 2397: 2388: 2379: 2370: 2363: 2357: 2348: 2339: 2337: 2327: 2318: 2309: 2302: 2296: 2287: 2280: 2274: 2265: 2258: 2257:archive.today 2254: 2251: 2249: 2242: 2233: 2224: 2217: 2215: 2211: 2205: 2200: 2193: 2189: 2183: 2176: 2172: 2168: 2164: 2161: 2156: 2149: 2145: 2140: 2131: 2129: 2119: 2112: 2111:Ash Wednesday 2108: 2102: 2095: 2089: 2087: 2077: 2073: 2063: 2059: 2056: 2054: 2049: 2048: 2047: 2044: 2042: 2038: 2030: 2029: 2024: 2021: 2017: 2016:Penny, Andrew 2014: 2013: 2012: 2010: 1997: 1994: 1991: 1988: 1986: 1983: 1980: 1979: 1975: 1974: 1970: 1967: 1964: 1962: 1959: 1956: 1953: 1950: 1947: 1946: 1941: 1934: 1933: 1932: 1930: 1920: 1918: 1913: 1911: 1905: 1903: 1893: 1884: 1882: 1881: 1876: 1872: 1871: 1866: 1865: 1860: 1856: 1850: 1847: 1843: 1842: 1837: 1836: 1831: 1826: 1819: 1814: 1805: 1803: 1799: 1795: 1791: 1787: 1783: 1779: 1775: 1770: 1766: 1762: 1758: 1753: 1751: 1747: 1743: 1738: 1736: 1732: 1731: 1726: 1722: 1714: 1713: 1707: 1698: 1697: 1693: 1689: 1685: 1681: 1677: 1673: 1667: 1664: 1656: 1652: 1649: 1645: 1641: 1637: 1630: 1628: 1617: 1601: 1579: 1577: 1573: 1568: 1558: 1556: 1552: 1547: 1546: 1541: 1537: 1531: 1526: 1524: 1522: 1517: 1513: 1512: 1506: 1504: 1500: 1499: 1493: 1492: 1487: 1482: 1479: 1472:in about 1870 1471: 1467: 1462: 1457: 1455: 1445: 1443: 1442: 1437: 1433: 1432: 1427: 1426: 1421: 1417: 1413: 1409: 1405: 1404: 1400:in 1864, and 1399: 1398: 1393: 1392: 1385: 1382: 1378: 1374: 1373: 1367: 1363: 1359: 1354: 1352: 1348: 1344: 1340: 1336: 1332: 1328: 1324: 1320: 1319: 1314: 1307: 1306: 1300: 1291: 1289: 1288:The Orchestra 1285: 1281: 1280: 1279:Sporting Life 1274: 1270: 1264: 1259: 1257: 1253: 1246:in about 1871 1245: 1244:W. 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Gilbert 1240: 1226: 1224: 1220: 1216: 1212: 1208: 1204: 1199: 1197: 1193: 1189: 1185: 1180: 1175: 1172: 1167: 1157: 1155: 1151: 1147: 1143: 1139: 1135: 1134: 1129: 1124: 1122: 1118: 1117: 1112: 1111: 1106: 1105: 1100: 1095: 1090: 1088: 1084: 1080: 1074: 1072: 1068: 1064: 1058: 1056: 1052: 1051: 1050:Trial by Jury 1046: 1042: 1035: 1031: 1022: 1019: 1015: 1011: 1010:Musical World 1008:wrote in the 1007: 1002: 1000: 997:by the young 996: 995:penny reading 992: 991:Ash Wednesday 988: 983: 981: 977: 973: 969: 965: 961: 960: 955: 951: 950: 949:London Figaro 944: 937: 932: 928: 926: 922: 918: 908: 906: 902: 897: 895: 891: 884: 882: 878: 877:Clement Scott 872: 871:Clement Scott 867: 862: 859: 855: 850: 846: 840: 838: 833: 832: 823: 818: 816: 812: 811: 806: 805: 800: 799:The Orchestra 796: 789:Opening night 780: 775: 773: 768: 766: 762: 758: 754: 750: 746: 742: 733: 729: 720: 718: 717: 712: 711: 703: 701: 697: 693: 687: 685: 681: 677: 671: 662: 658: 654: 651: 647: 641: 639: 635: 630: 628: 627: 622: 618: 614: 613: 608: 607:Court Theatre 604: 594: 590: 588: 584: 583:Fred Sullivan 580: 576: 575: 570: 569: 564: 560: 559: 554: 551:, a suite of 550: 549: 545: 541: 536: 531: 529: 525: 524: 519: 515: 511: 510:Nellie Farren 507: 506: 501: 500: 495: 491: 487: 483: 479: 472: 468: 464: 450: 448: 447:Robert Soutar 444: 439: 438: 431: 430: 426: 423: 420: 418: 414: 411: 409: 405: 403: 399: 396: 395:Robert Soutar 392: 389: 386: 382: 380: 376: 372: 369: 366: 365: 362: 358: 355: 352: 348: 345: 342: 338: 335: 332: 328: 325: 323: 322:Fred Sullivan 319: 315: 312: 309: 305: 302: 299: 298: 293: 284: 282: 277: 271: 269: 265: 261: 257: 253: 247: 245: 241: 237: 234:are playing. 232: 227: 226: 218: 209: 206: 202: 197: 193: 191: 187: 183: 178: 177: 169: 155: 152: 148: 144: 139: 137: 133: 132: 127: 126:Mount Olympus 123: 119: 115: 110: 107: 103: 99: 95: 93: 92: 87: 86: 81: 80: 75: 71: 67: 63: 59: 56:and composer 55: 54:W. S. Gilbert 51: 47: 46: 38: 37: 32: 31:D. H. Friston 28: 23: 19: 4344: 4336: 4328: 4320: 4312: 4304: 4296: 4288: 4280: 4272: 4166: 4159: 4152: 4145: 4138: 4131: 4126:Princess Ida 4124: 4117: 4110: 4103: 4096: 4091:The Sorcerer 4089: 4082: 4076: 4075: 3992: 3983: 3975: 3959: 3947:. Retrieved 3941: 3921: 3909:. 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