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company at the
Milwaukee theatre. I was full of energy and enthusiasm, and did pretty well everything. My mornings were spent in learning fencing and dancing. In the afternoon I'd look after the box office, and at evening help the stage manager and take my part – sometimes three or four parts." The next year, he joined the Royal Lyceum Theatre in Toronto, Canada and then moved on to New York where he found work as a dialect comedian and then played for several years at
405:
33:
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749:, with a number of other D'Oyly Carte principals, sailed to Australia to join the J. C. Williamson Gilbert & Sullivan Opera Company for its 1926–28 tour of Australia and New Zealand, playing the "heavy" baritone G&S roles that he later played when he rejoined D'Oyly Carte in Britain. The G&S operas played in Australasia during that tour were mostly re-costumed in accordance with the D'Oyly Carte designs supplied by
653:, the J. C. Williamson G. & S. Opera Co. was not in continuous operation but was organised specifically to tour the operas for a duration of two or more years, depending on how popular the season was with audiences, after which it was disbanded. The company would then be re-formed, after a variable interval of years, for another tour in response to perceived audience demand. During the years of the
472:, at a cost of £14,000. With a running time of nearly four hours, the production contained huge choral numbers, marches and a spectacular chariot race, with horses galloping on a treadmill in front of a moving backdrop. The play had premiered on Broadway in 1899 and toured internationally; the Australian version remained popular for years.
796:
is a lifetime achievement award presented by Live
Performance Australia (LPA) since 1998 in recognition of "individuals who have made an outstanding contribution to the Australian live entertainment and performing arts industry and shaped the future of our industry for the better", and is the highest
657:
in the early 1930s, the popularity of the G&S company, in fact, helped to keep the firm financially viable when a number of their musical comedy productions lost money. The operas were directed and choreographed by
Melbourne-based Minnie Everett. She was believed to be the only woman director
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with D'Oyly Carte and had served as that company's stage director from 1947 to the spring of 1949. The former
Savoyards who participated in the Australia tour included Menzies, Gardiner, Dean, Rands and Eyre, and Walker and Roberts. This tour also marked the farewell appearance of Menzies, who had
284:
is but a poor play; but the acting of Mr. Williamson in the part of Stofel, the
Pennsylvanian Dutchman, exhibits genuine humour and pathos." Williamson and Moore later had a bitter divorce, and he tried unsuccessfully to stop her from appearing in the play, which she continued to revive throughout
128:
After 1907, Williamson moved his family to Europe and, his old partners having left, he hired capable managers and changed the theatre company's name to J. C. Williamson Ltd. Williamson died in 1913, but he left a strong theatrical empire that became the largest theatrical firm in the world, with
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Returning to his family in France via the United States, his heart condition worsened, and he died in Paris on 6 July 1913 at the age of 67. He was buried, contrary to his wishes, in the
Williamson section of Oak Woods cemetery, Chicago, Illinois. He left an elaborately divided estate, valued for
614:
from 1879 to 1963. J. C. Williamson Ltd. secured exclusive rights to stage professional productions of the
Gilbert and Sullivan (G&S) operas in Australia and New Zealand. The company continued this licensing arrangement with D'Oyly Carte family until the expiry of copyright to the operas in
641:
received its
Australian premiere at the Princess Theatre, Melbourne, on 20 January 1906. Williamsons toured the operas throughout both Australia and New Zealand in the years 1914–15, 1920–22, 1926–28, 1931–33, 1935–37, 1940–45, 1949–51 and 1956–58, with a final tour by the company in 1962–63.
180:
In 1861, Williamson worked for the local theatre company of Messrs. Hurd and
Perkins as call-boy, general assistant and scenery and props maker. There he made his official stage debut. He later recalled: "I used to act in amateur theatricals, and when I was sixteen I got an engagement with a
306:
noted that the production, though "abounding in fun", was dignified and precise, especially compared with a previous "boisterous" unauthorised production, and that many numbers were encored and the laughter and applause from the "immense audience ... was liberally bestowed".
145:, ballet seasons, and concert tours by visiting celebrity singers and musicians, at the many theatres that it owned or leased throughout Australia and New Zealand. It also toured and presented shows in London and elsewhere. In 1976, the company closed and leased out its name.
360:, which was newly renovated, introducing modern technical facilities and lavish sets. This transaction marked the beginning of Williamson's long career as Australia's foremost theatrical manager. After a tour of New Zealand that year, Williamson entered into partnership with
579:, ballet seasons, and concert tours by visiting celebrity singers and musicians, at the many theatres that it owned or leased throughout Australia and New Zealand until 1976, when the company closed and leased out its name. The company's activities even extended to London's
499:
From 1907, Williamson reduced his managerial work and spent more time with his wife and their daughters
Marjorie and Aimée, moving the family to France and spending most of his time in Europe. He also became involved in raising racehorses. In 1910, the company was renamed
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After Williamson died in 1913, his company – at one time the largest theatrical firm in the world – continued to operate under various managing directors. The firm began to make films and continued to present musical comedy and operetta, including the extremely successful
574:
In addition to operating its film company and its property and investments company, J. C. Williamson continued to produce seasons of the Gilbert and Sullivan operas, seasons of operetta, musical comedy, straight plays, pantomimes and occasional musical revues, and later
256:, which was an instant success. Its run of 43 nights was the longest yet known in the colonial theatre. It proved equally popular around the rest of the country. What was meant to be a 12-week tour of Australia ended up lasting for fifteen months (including
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and others. Although repertory seasons solely devoted to G&S had been staged at individual theatres throughout Australia from around 1885, the first specially organised G&S tour began in 1905 and played for a year, during which time
62:. His father died when he was eleven years old. He acted in amateur theatricals and joined a local theatre company as a call-boy at the age of 15, soon taking roles and eventually moving to New York where he played for several years at
185:. From his seven-year apprenticeship there, Williamson emerged with a thorough knowledge of acting, play production and stage management. He then played in a musical comedy at the Theatre Comique in New York under the management of
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Many members of the D'Oyly Carte, or former members, were engaged for Australasian G&S tours on the recommendation of the D'Oyly Carte management. Savoyards who toured Australia and New Zealand over the years included
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and other pieces) and netting Williamson £15,000. Williamson used this money to launch his career as a theatre manager, and Maggie Moore became one of the most popular performers on the Australian stage.
368:("W. G. and M."). This triumvirate was often criticised for creating a monopoly, crushing the old repertory system and discouraging local actors, but it brought to Australia such artists as
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and a stage manager. Bracy subsequently directed numerous comic opera productions for Williamson, also becoming Williamson's chief advisor on casting, working for the company until 1914.
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Williamson successfully opposed an application by Australian actors to form a union in 1913. In February 1913, Williamson performed in a benefit in Sydney for the widows of Captain
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who had toured with the Williamson company beginning in 1940, married Frank Tait, one of the company's managing directors, later becoming an artistic director of the company.
458:. Williamson married Mary Alice Weir, a dancer, in 1899, and his partnership with Musgrove dissolved that year unpleasantly. Among other ventures, in 1900 Williamson leased
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at the Theatre Royal, Sydney in November with great success, with the Williamsons playing Sir Joseph Porter and Josephine. Praising the production, Williamson and Moore, the
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in Melbourne, and began a series of extensive renovations and expansions to the theatre that became the flagship venue for Williamson in years to come. He also leased
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Initially the G&S operas were staged by Williamson amongst the repertoire of his Royal Comic Opera Companies, where they shared the bill with seasons of
192:
In 1871, Williamson was engaged as leading comedian at the California Theatre, in San Francisco, where he met comedian Margaret Virginia Sullivan (known as
642:
Williamsons also sent G&S touring companies to South Africa between 1913 and 1933 and to India and the Far East in 1922–23, headed on this occasion by
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760:, to Australia to direct its season of G&S operas, which then toured throughout Australasia for the next three years. Bethel was a former
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The W. G. and M. partnership was dissolved on 4 March 1890. Williamson and Garner formed Williamson, Garner & Co. Musgrove took the Sydney
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as legal adviser. Visually sensational shows were now 'the Firm's' speciality, and the organisation had grown to employ 650 people.
1646:
Profile of Minnie Everett, Historically important as one of the first professional woman choreographers and directors of an opera company
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In early 1880, Williamson formed his Royal Comic Opera Company. Williamson then acquired the Australian performing rights from the
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was a successor to J. C. Williamson's Royal Comic Opera Companies. The company staged touring seasons, initially in Australia, of
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in 1881. Between their appearances in Gilbert and Sullivan operas, James and Maggie Williamson continued to play engagements of
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of Gilbert and Sullivan at the time, and was one of the first female directors of professional theatre companies in the world.
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outbreak temporarily closed the theatre soon afterwards, and it was burnt down with huge losses. But Williamson organised a
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and rebuilt the theatre in 1903. The next year he entered partnership with George Tallis, his Melbourne manager, and with
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extensive film and property holdings. The company continued to produce seasons of Gilbert and Sullivan operas, operetta,
714:, Viola Hogg Wilson (who married Frank Tait, the youngest of the five Tait brothers who were then running the company),
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operas in Australia. He soon formed his Royal Comic Opera Company. In 1882, Williamson became the lessee of the Sydney
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196:) in 1872, whom he married at St. Mary's Cathedral on 2 February 1873. Later that month, they starred together in a
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to Australia in 1891. At the end of the year Williamson bought Garner out, but Maggie Moore left him for the actor
172:, where young James appeared in amateur theatricals beginning in 1857. That year, his father died in an accident.
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168:. He was the son of a doctor, James Hezlep Williamson, and his wife Selina. About 1856, the family moved to
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Williamson and Moore played seasons in Australia and toured extensively with several pieces, including
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The two found success touring in Australia, and then playing in London, the U.S. and elsewhere in a
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been principal comedian with the Williamson company for all of their G&S seasons since 1931.
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646:. It was on the return voyage to Australia from this tour that Workman died at the age of 49.
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936:, National Centre of Biography, Australian National University. Accessed 11 January 2012.
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in Australia and New Zealand for £300. They began their 1879–80 Australian season with
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Paul Bentley, Research Paper No. 5: J. C. Williamson Limited, The Wolanski Foundation
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43:(26 August 1845 – 6 July 1913) was an American actor and later Australia's foremost
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and then other New York theatres. In 1871, he became the leading comedian at the
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189:. Although Williamson was not a good singer, his talent for comedy carried him.
1571:
The London Stage 1920–1929: A Calendar of Plays and Players — Vol. II: 1925–1929
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210:. Williamson purchased the script for $ 100 and had it rewritten by his friend
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In 1896, they broke box-office records with an original Australian pantomime,
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832:. Vol. XXIII, no. 6, 702. South Australia. 27 April 1886. p. 2
1612:
1911 NY Times article about Willimson's choice of shows and business methods
761:
437:
222:
197:
134:
78:
1478:
J. C. Williamson Theatres Ltd. Gilbert & Sullivan Opera Season Souvenir
1302:, Gilbert & Sullivan Discography, Marc Shepherd (ed.), 12 November 2001
1289:, Gilbert & Sullivan Discography, Marc Shepherd (ed.), 12 November 2001
1601:
1149:
903:
268:, to India, the US, Europe, Britain and elsewhere. Everywhere they went,
1070:. No. 7979. New South Wales, Australia. 27 December 1892. p. 3
1559:
A Family of Brothers: The Taits and J. C. Williamson; a Theatre History
967:
564:
515:; the latter and Williamson earned £46,000 profit each from her tour.
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in Sydney, and in 1902 mounted the biggest production in its history,
1631:
Information about D'Oyly Carte members who performed with the company
773:
In 1989, Williamson was honoured, together with Nellie Stewart, on a
1257:. Australian Capital Territory, Australia. 14 June 1979. p. 15
288:
In 1879, Williamson acquired a one-year exclusive right to perform
1451:, Blackwell/Schirmer (1984) (2 vols, expanded in 2001 to 3 vols.)
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403:
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her career; she starred in the 1919 film version in her late 60s.
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31:
1626:
Information about the Tait brothers' association with the Company
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971:. No. 8284. Victoria, Australia. 2 September 1881. p. 3
1016:. No. 471. Victoria, Australia. 26 February 1890. p. 2
70:
in San Francisco and the next year married comedian and actress
1607:
The Williamsons and formation of the J. C. Williamson companies
242:
The Williamsons then visited Australia, travelling on the S.S.
125:, and becoming known for spectacular, large-scale productions.
113:
in 1886, and bringing famous performers to Australia, such as
1536:
The D'Oyly Carte Opera company in Gilbert and Sullivan Operas
352:
The beginning of the J. C. Williamson Ltd. theatrical empire
1476:
Murphy, Frank (1949). "Gilbert and Sullivan in Australia".
1312:$ 1 Australian postage stamp showing Williamson and Stewart
583:, where it produced, among others, seasons of the musicals
1280:"The J. C. Williamson Gilbert and Sullivan Opera Company"
756:
In 1949, J. C. Williamson Ltd. brought Granville's wife,
507:
The company achieved outstanding successes with tours by
356:
In July 1882, Williamson began the leasing the Melbourne
298:
and staged the first legitimate Australian production of
604:
The J. C. Williamson Gilbert and Sullivan Opera Company
563:(1917). In 1941, Viola Hogg Wilson, a former principal
272:
was a great success. When they opened the play at the
109:, expanding to own more theatres such as the Adelaide
1573:. Metuchen, New Jersey & London: Scarecrow Press.
87:. In 1879, Williamson obtained the right to present
1500:
The firm. The story of J. C. Williamson and his firm
1438:
Gilbert & Sullivan Opera in Australia, 1879–1935
906:, The Wolanski Foundation Paper No. 5, January 2000.
789:
recounting his life story on Australian television.
372:, as well as employing new and local talent such as
1544:
J. C. Williamson's Life-Story Told in His Own Words
997:, 3 February 1917, p. 8. Accessed 21 February 2010.
101:, and that year he entered into a partnership with
1388:"Spoonful of sugar leaves judges sweet on Poppins"
380:. In December 1886, they opened the luxurious new
1425:Cellier, François; Cunningham Bridgeman (1914).
1197:at Who Was Who in the D'Oyly Carte Opera Company
881:, Vol. XXXIV, Issue 10878, 23 January 1907, p. 5
598:
416:, while Williamson and Garner held Melbourne's
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599:Williamson's Gilbert and Sullivan productions
552:Williamson's props storage room, Sydney, 1941
428:. They had a major success when they brought
8:
1593:J. C. Williamson Theatres Limited Collection
1363:. Live Performance Australia. Archived from
1274:
1272:
1150:"The Firm is dead, long live the (new) Firm"
1685:People associated with Gilbert and Sullivan
1300:"Sydney Granville's 1926 Australasian Tour"
1490:: CS1 maint: location missing publisher (
1183:– via National Library of Australia.
1078:– via National Library of Australia.
1024:– via National Library of Australia.
979:– via National Library of Australia.
891:Frank Van Straten, "J. C. Williamson"
840:– via National Library of Australia.
384:in Melbourne with Gilbert and Sullivan's
504:, with Ramaciotti as managing director.
1449:The Encyclopedia of the Musical Theatre
1440:(13th ed.). Sydney: Whitmarks Ltd.
930:"Williamson, James Cassius (1845–1913)"
806:
328:along with similar popular favourites,
320:for £1,000 and opened that work at the
246:. In 1874, they opened a season at the
218:Visiting, and then moving to, Australia
1700:Gilbert and Sullivan performing groups
1656:J. C. Williamson Opera Programmes
1534:Rollins, Cyril; R. John Witts (1961).
1514:Who's Who in the Theatre: Volumes 1–15
1510:. Detroit, Michigan: Gale Research Co.
1483:
1145:
1143:
58:, Williamson moved with his family to
1508:Who Was Who in the Theatre: 1912–1976
1428:Gilbert and Sullivan and Their Operas
865:, ihug.co.nz. Accessed 4 August 2023.
408:Portrait of J. C. Williamson, c. 1900
27:Actor and theatre manager (1845–1913)
7:
1528:Stars of Australian Stage and Screen
1431:. Boston: Little, Brown and Company.
1175:. Adelaide. 4 March 1922. p. 13
51:theatrical and production company.
1651:Information about the 1949–50 tour
1621:Australian Dictionary of Biography
1523:, Currency Press, Australia, 1995.
1207:Papers of the Tate Family – MS 309
934:Australian Dictionary of Biography
893:, at Live Performance Hall of Fame
25:
1521:Companion To Theatre In Australia
1249:"Library gets theatrical records"
1089:Samantha Ellis (8 October 2003).
1638:organisational profile from the
1636:J. C. Williamson Ltd., 1881-1972
1557:Tait, Lady Viola Wilson (1971).
1561:. Melbourne: William Heinemann.
1386:Morgan, Clare (2 August 2011).
1333:National Film and Sound Archive
875:"Forty-five Years of the Stage"
1421:(Currency Press, Sydney, 1993)
1419:The Story of the Theatre Royal
1227:, Theatre Heritage Australia,
863:Down Under In The 19th Century
787:historical "interview" program
393:By 1890, Williamson had hired
1:
1660:National Library of Australia
1538:. London: Michael Joseph Ltd.
1328:episode 24, J. C. Williamson"
1154:The Australian Woman's Weekly
981:The lease was signed in 1881.
276:in London at Easter in 1876,
1670:Photos of Williamson players
1470:The Australian Theatre Story
1617:"Williamson, James Cassius"
1581:, Cassell, Australia, 1978.
1502:, Masque (Syd), 1969, no. 8
1463:J. C. W.: A Short Biography
946:"Amusements: Theatre Royal"
928:Poorten, Helen M. Van Der.
494:
1726:
1597:Performing Arts Collection
1506:Parker, John, ed. (1978).
651:D'Oyly Carte Opera Company
569:D'Oyly Carte Opera Company
533:
312:D'Oyly Carte Opera Company
1705:Musical theatre producers
1516:, edited by John Parker,
1436:de Loitte, Vinia (1935).
1393:The Sydney Morning Herald
1067:The Evening News (Sydney)
1042:. 6 June 1924. p. 10
1040:The Sydney Morning Herald
1013:The Sportsman (Melbourne)
995:The Sydney Morning Herald
829:The Express and Telegraph
560:The Maid of the Mountains
522:'s Antarctic expedition.
36:J. C. Williamson, c. 1890
1156:, 8 September 1976, p. 7
952:, 17 November 1879, p. 5
813:Gänzl, "Williamson, J C"
495:Williamson's later years
248:Theatre Royal, Melbourne
41:James Cassius Williamson
18:James Cassius Williamson
1285:25 January 2010 at the
1091:"Ben-Hur, London, 1902"
1008:"Whispers at the Wings"
919:, 22 April 1876, p. 390
853:at homepages.ihug.co.nz
536:J. C. Williamson's
317:The Pirates of Penzance
164:Williamson was born in
137:and occasional musical
1542:Stephens, A. G. (ed.)
1062:"The Lyceum Pantomime"
904:"J. C. Williamson Ltd"
781:. He was portrayed by
553:
545:
530:World War I and beyond
443:, which opened a new "
441:Little Red Riding Hood
409:
239:
161:
37:
1355:"JC Williamson Award"
1224:I Have a Song to Sing
950:Sydney Morning Herald
551:
543:
526:probate at £193,010.
502:J. C. Williamson Ltd.
464:Her Majesty's Theatre
460:Her Majesty's Theatre
407:
322:Theatre Royal, Sydney
304:Sydney Morning Herald
225:
156:
35:
1579:Theatre in Australia
608:Gilbert and Sullivan
208:Salt Lake City, Utah
170:Milwaukee, Wisconsin
166:Mercer, Pennsylvania
95:Gilbert and Sullivan
60:Milwaukee, Wisconsin
1231:, Victoria (2019),
1118:"Information about
1036:"Mr. Harry Roberts"
797:honour of the LPA.
794:JC Williamson Award
751:Rupert D'Oyly Carte
1665:Williamson posters
1519:Parsons, P (ed.),
1498:Newton, P. J. F.
1298:Morrison, Robert.
1278:Morrison, Robert.
1265:– via Trove.
1254:The Canberra Times
879:Poverty Bay Herald
684:Charles Kenningham
664:Frederick Federici
554:
546:
489:Gustave Ramaciotti
410:
382:Princess's Theatre
240:
162:
133:, straight plays,
68:California Theatre
49:J. C. Williamson's
38:
1640:Australia Dancing
1549:Stewart, Nellie.
1237:978-0-6484544-1-0
1128:on 24 August 2007
991:"Music and Drama"
963:"News of the Day"
632:Robert Planquette
620:Jacques Offenbach
424:, and Adelaide's
250:, beginning with
183:Wallack's Theatre
64:Wallack's Theatre
16:(Redirected from
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742:, among others.
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688:Wallace Brownlow
655:Great Depression
434:Harry R. Roberts
422:Princess Theatre
340:The Colleen Bawn
119:Catherine Bartho
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857:
849:
845:
835:
833:
824:"Theatre Royal"
822:
821:
817:
812:
808:
803:
771:
716:Evelyn Gardiner
708:Winifred Lawson
696:Frederick Hobbs
680:Courtice Pounds
638:Utopia, Limited
601:
589:(in 1916), and
544:1921 production
538:
532:
497:
483:company at the
430:Sarah Bernhardt
370:Dion Boucicault
366:George Musgrove
354:
291:H.M.S. Pinafore
274:Adelphi Theatre
220:
178:
151:
149:Life and career
115:Sarah Bernhardt
107:George Musgrove
93:and then other
90:H.M.S. Pinafore
47:, founding the
28:
23:
22:
15:
12:
11:
5:
1723:
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1712:
1710:Opera managers
1707:
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1587:
1586:External links
1584:
1583:
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1575:
1567:Wearing, J. P.
1563:
1554:
1553:(Sydney, 1923)
1547:
1546:(Sydney, 1913)
1540:
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1517:
1512:Compiled from
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1472:(Sydney, 1960)
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732:Richard Walker
712:Richard Watson
676:Leonora Braham
668:Frank Thornton
628:Charles Lecocq
624:Alfred Cellier
600:
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534:Main article:
531:
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477:bubonic plague
374:Nellie Stewart
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335:Arrah-na-Pogue
229:A Country Girl
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1367:on 1 May 2012
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485:Theatre Royal
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447:" theatre on
446:
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423:
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418:Theatre Royal
415:
414:Theatre Royal
406:
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400:
397:as a leading
396:
391:
389:
388:
383:
379:
378:Howard Vernon
375:
371:
367:
363:
362:Arthur Garner
359:
358:Theatre Royal
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1499:
1480:. Melbourne.
1477:
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1427:
1418:
1417:Bevan, Ian
1397:. Retrieved
1391:
1381:
1369:. Retrieved
1365:the original
1358:
1349:
1337:. Retrieved
1331:
1325:
1318:
1307:
1294:
1259:. Retrieved
1252:
1243:
1223:
1202:
1195:Viola Wilson
1189:
1177:. Retrieved
1170:
1161:
1153:
1130:. Retrieved
1126:the original
1119:
1112:
1100:. Retrieved
1096:The Guardian
1094:
1084:
1074:19 September
1072:. Retrieved
1065:
1056:
1044:. Retrieved
1039:
1030:
1018:. Retrieved
1011:
1002:
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986:
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966:
957:
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924:
916:
915:"Theatres",
911:
898:
886:
878:
870:
858:
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834:. Retrieved
827:
818:
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791:
772:
758:Anna Bethell
755:
744:
728:Leslie Rands
726:and husband
700:Ivan Menzies
660:
648:
636:
617:
612:comic operas
603:
602:
590:
584:
573:
558:
555:
524:
520:Robert Scott
517:
513:Nellie Melba
509:H. B. Irving
506:
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194:Maggie Moore
191:
179:
176:Early career
163:
160:in the 1870s
158:Maggie Moore
141:, and later
127:
123:H. B. Irving
88:
82:
76:
72:Maggie Moore
56:Pennsylvania
53:
40:
39:
29:
1695:1913 deaths
1690:1845 births
1526:Porter, H.
1445:Gänzl, Kurt
1229:Collingwood
1179:31 December
917:The Graphic
649:Unlike the
592:Mr. Cinders
577:grand opera
481:Shakespeare
449:Pitt Street
395:Henry Bracy
330:The Danites
278:The Graphic
235:La Mascotte
226:Poster for
143:grand opera
1679:Categories
1577:West, J.,
1468:Lauri, G.
1046:28 October
801:References
785:in a 1962
777:issued by
586:High Jinks
451:, Sydney.
387:The Mikado
326:Struck Oil
296:Struck Oil
282:Struck Oil
270:Struck Oil
266:Struck Oil
258:Struck Oil
253:Struck Oil
203:Struck Oil
135:pantomimes
84:Struck Oil
45:impresario
1486:cite book
1132:2 January
762:contralto
734:and wife
720:John Dean
702:and wife
567:with the
456:Djin Djin
438:pantomime
198:melodrama
79:melodrama
1642:website.
1569:(1984).
1399:30 April
1371:30 April
1339:22 March
1326:Time Out
1283:Archived
1020:17 March
975:17 March
745:In 1925
595:(1928).
581:West End
300:Pinafore
280:wrote, "
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1658:in the
1595:at the
1412:Sources
1261:1 March
1120:Ben-Hur
968:The Age
565:soprano
469:Ben-Hur
200:called
81:called
1455:
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1102:27 May
836:15 May
769:Legacy
738:, and
615:1961.
445:Lyceum
244:Mikado
238:, 1907
139:revues
399:tenor
1591:The
1492:link
1453:ISBN
1401:2012
1373:2012
1341:2024
1263:2020
1233:ISBN
1181:2015
1134:2008
1104:2010
1076:2021
1048:2020
1022:2022
977:2022
838:2017
792:The
511:and
420:and
376:and
364:and
342:and
314:for
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