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but suddenly
Sandford, who everyone supposed was devoured by cannibals, returns as an improved man – no longer pompous. Dorothy returns to her first love, but her father is adamant. The solicitor announces that the Vicar's High Church propensities have displeased his Bishop who has declared him defrocked, his living to be bestowed on Sandford. There is only one way out. The Vicar becomes Low Church again. He is now eligible to wed the wealthy Mrs. Merton, Sandford gets Dorothy, and Tommy goes off with the leading danseuse of the local theatre.
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The Rev. William Barlow, the Vicar of Bray, became Low Church to marry his rich wife who, now dead, has left him with a daughter, Dorothy. Dorothy is in love with her father's curate, Henry
Sandford, a priggish, pompous and verbose young man. The Vicar prefers that his daughter marry Sandford's old
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Now that the Vicar and all his students have become High Church they are doomed to celibacy, and the chorus of lady Sunday School teachers is distraught at the loss of their matrimonial prospects. So, too, is Mrs. Merton, who has had her eye on the Vicar. Tommy Merton is prepared to marry
Dorothy,
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The earliest version of the song's lyrics may have been written by "an officer in
Colonel Fuller's regiment," according to one source. The lyrics exist in various forms. However, the story of the vicar's cheerful reversals of principle remains the same in all circumstances. In the opera, the vicar
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schoolmate, Tommy Merton, son of a wealthy local landowner. To get
Sandford out of the way, the Vicar, on the advice of his family solicitor, Mr. Bedford Rowe, turns High Church. Aghast, Sandford flees to become a missionary in the Cassowary Isles.
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changed the views even of the most serious playgoers, and it may be remarked in passing that the clerical functions of the Rev. Robert
Spalding were judiciously kept altogether out of sight, as indeed they were in the case of
53:, in London, on 22 July 1882, for a run of only 69 performances. The public was not amused at a clergyman's being made the subject of ridicule, and the opera was regarded by some as scandalous. An 1892 revival at the
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found the plot "singularly deficient" in interest, but praised "the smartness of the dialogue" and the "easy and fluent" music, though judging it as having "but little originality."
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174:, received generally excellent notices. The work was produced in New York in October 1882, under Solomon's direction, but was a failure.
82:. The most familiar version of the lyrics recounts his adaptability (some would say amorality) over half a century, from the reigns of
273:. The opera was then played by several D'Oyly Carte companies on provincial tours in 1893–96 and 1898–99. The title role was played by
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During the decade since the piece had been first presented, the public had come to accept clergymen as comic characters. As
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In the list below, the name of the original cast member is followed by the name of the 1892 counterpart.
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The D'Oyly Carte Opera
Company in Gilbert and Sullivan Operas: A Record of Productions, 1875–1961
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said, "The music is light and tuneful, the plot is clever, and the dialogue can boast to be of the
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Concerted number: Tommy, Merton, Bedford, Rowe and
Huntsmen – Confidential family solicitor
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was more successful, lasting for 143 performances, after public perceptions had changed.
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The opera is based on the character described in a satirical 18th-century
English
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in the 1893–96 tours, with
Courtice Pounds repeating his role of the curate.
225:" in 1891. Sullivan was writing a new opera for the Savoy that would become
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74:, a series of 18th century moral tales. In the parlour song, the eponymous
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Students of Divinity, Ladies of the Ballet, Teachers, Huntsmen, Jockeys.
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Thomas Merton, Esq., of Bray Manor – H. Cooper Cliffe; Richard Green
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switches between "High" and "Low" Church, that is, from ritualistic
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Chorus of Huntsmen; and Solo, Tommy Martin – Jolly, jolly Huntsmen!
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Nelly Bly, of the Theatre Royal, Bray – Emma D'Auban; Mary Duggan
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Concerted number: Students, Teachers & Vicar – What is life?
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Dorothy, the Vicar's Daughter – Lizzie Beaumont; Leonore Snyder
150:'s method. This is to be regretted, for the peculiar humour of
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Mrs. Merton, widow of Thomas Merton, of Jamaica – Maria Davis;
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of the day to retain his position as vicar of Bray. See the
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reported, "The entire work is a close imitation of Messrs.
90:. Over this period he embraced whichever form of liturgy,
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Duet, Winifred and Sandford – Propriety, prisms and prunes
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Trio, Rowe, Vicar and Mrs Merton – Now if you'll excuse me
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Chorus of Students; and Solo Sandford – On, Students, on!
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order of writing." The influential theatrical newspaper
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The première was moderately well received by the press.
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Chorus of Lady Teachers – To a slow and stately measure
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Song and Chorus, Vicar and Students – The Jackson case
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closed after a modestly successful run, Carte revived
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Mr. Bedford Rowe, a Confidential Family Solicitor –
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cannot be successfully copied." The cast, including
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Trio, Sandford, Merton & Winifred – Just a word
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Chorus, Corps de Ballet – Please to make way for us
404:Ensemble and Entrance of Vicar – Hail to the Vicar
25:Scene from Act II: The "Pas de Cinq", 1892 at the
413:Song, Mr. Bedford Rose – I'm as sharp as a ferret
504:Chorus of Children – Lucky little boys and girls
432:Duet, Sandford and Winifred – Tell me true, love
207:was forced to find new works to present at the
459:Chorus of Teachers – Listen to the merry bells
197:partnership disbanded after the production of
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498:Chorus, Corps de Ballet – We no longer gyrate
474:Duet, Winifred and Sandford – Come back to me
468:Duet, Vicar and Mrs Merton – The Wily Widower
419:Entrance of Mrs Merton – Has anyone seen the
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429:Duet, Vicar and Mrs. Merton – The shy widow
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351:Mr. John Dory – R. R. Mason; W. S. Laidlaw
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301:Act 2: High Church. The Vicarage Grounds.
189:as the Vicar and Mary Duggan as Nelly Bly
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104:annotated lyrics to "The Vicar of Bray"
669:Historical background of the character
664:Programme from the original production
635:Rollins, Cyril; R. John Witts (1962).
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292:Act 1: Low Church. The Village Green.
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386:Chorus of Children – Hooray, hooray!
492:Exit of Vicar & Corps de Ballet
392:Song, Winifred – O, Why is my love?
78:was the clergyman of the parish of
501:Concerted piece – Se, see, we saw!
71:The History of Sandford and Merton
16:1882 comic opera by Edward Solomon
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779:Category:Operas by Edward Solomon
510:Finale – O William, sweet William
471:Solo, Mrs Merton – You ask me why
407:Song, Vicar – The Rev. Mr. Barlow
395:Chorus of Teachers – All the bold
239:at the Savoy on 28 January 1892.
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283:was played as a curtain raiser.
416:Exit – Good morning, dear Vicar
447:Finale – Back, Students, back!
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609:Rollins and Witts, pp. 25–27
444:Ensemble – O, shocking sight
410:Chorus – Bow, Students, bow!
98:, that was favoured by the
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507:Wedding chorus – Lady Fair
310:Roles and historical casts
178:1892 Savoy Theatre revival
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80:Bray-on-Thames, Berkshire
809:Operas by Edward Solomon
540:Rollins and Witts, p. 13
804:English-language operas
600:, 29 January 1892, p. 3
588:, 21 October 1882, p. 4
574:The Manchester Guardian
143:The Manchester Guardian
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114:ceremonies to austere
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659:Opening night review
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576:, 24 July 1882, p. 5
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248:wrote, "The run of
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205:Richard D'Oyly Carte
203:in 1889, impresario
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128:Reynolds's Newspaper
49:which opened at the
122:Original production
45:with a libretto by
728:Quite an Adventure
489:Dance, Pas de Cinq
324:Rutland Barrington
259:Rutland Barrington
217:was the first non-
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267:W. H. Denny
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223:Savoy Opera
116:evangelical
39:comic opera
793:Categories
629:References
320:W. J. Hill
164:W. J. Hill
132:Gilbertian
92:Protestant
84:Charles II
598:The Times
245:The Times
193:When the
62:folk song
287:Synopsis
159:Patience
96:Catholic
88:George I
619:The Era
586:The Era
562:The Era
137:The Era
100:monarch
819:Operas
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454:Act II
269:, and
712:Opera
523:Notes
381:Act I
76:vicar
37:is a
170:and
156:and
94:or
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41:by
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