W. S. Gilbert - Knowledge (XXG)

4780: 3072: 925:, the character Hamlet, in his speech to the players, sums up Gilbert's theory of comic acting: "I hold that there is no such antick fellow as your bombastical hero who doth so earnestly spout forth his folly as to make his hearers believe that he is unconscious of all incongruity". Robertson "introduced Gilbert both to the revolutionary notion of disciplined rehearsals and to mise-en-scène or unity of style in the whole presentation – direction, design, music, acting." Like Robertson, Gilbert demanded discipline in his actors. He required that his actors know their words perfectly, enunciate them clearly and obey his stage directions, ideas new to many actors of the day. A major innovation was the replacement of the star actor with the disciplined ensemble, "raising the director to a new position of dominance" in the theatre. "That Gilbert was a good director is not in doubt. He was able to extract from his actors natural, clear performances, which served the Gilbertian requirements of outrageousness delivered straight." 1942:

using the fleeting conventions and ways of thought of contemporary human society ... The neat articulation of incredibilities in Gilbert's plots is perfectly matched by his language ... His dialogue, with its primly mocking formality, satisfies both the ear and the intelligence. His verses show an unequalled and very delicate gift for creating a comic effect by the contrast between poetic form and prosaic thought and wording ... How deliciously prick the bubble of sentiment. Gilbert had many imitators, but no equals, at this sort of thing ... equal importance ... Gilbert's lyrics almost invariably take on extra point and sparkle when set to Sullivan's music ... The two men together remain endlessly and incomparably delightful ... Light, and even trifling, though may seem upon grave consideration, they yet have the shapeliness and elegance that can make a trifle into a work of art.

2119:, 21 February 1885, p. 14, in which he said: "In ... the dress circle on the rare occasion of the first performance of an original English play sits a young lady of fifteen. She is a very charming girl – gentle, modest, sensitive – carefully educated and delicately nurtured ... an excellent specimen of a well-bred young English gentlewoman; and it is with reference to its suitability to the eyes and ears of this young lady that the moral fitness of every original English play is gauged on the occasion of its production. It must contain no allusions that cannot be fully and satisfactorily explained to this young lady; it must contain no incident, no dialogue, that can, by any chance, summon a blush to this young lady's innocent face. ... I happen to know that, on no account whatever, would she be permitted to be present at a première of M. 617: 1700:, produced just four months before his death, is a study of a young condemned thug in a prison cell. Gilbert shows sympathy for his protagonist, the son of a thief who, brought up among thieves, kills his girlfriend. As in some earlier work, the playwright displays "his conviction that nurture rather than nature often accounted for criminal behaviour". The grim and powerful piece became one of Gilbert's most successful serious dramas, and experts conclude that, in those last months of Gilbert's life, he was developing a new style, a "mixture of irony, of social theme, and of grubby realism," to replace the old "Gilbertianism" of which he had grown weary. In these last years, Gilbert also wrote children's book versions of 1871:'s wit was innate, and his rapier-like retorts slipped out with instantaneous ease. His mind was naturally fastidious and clean; he never asserted himself, never tried to make an effect. He was great-hearted and most understanding, with an underlying poetry of fancy that made him the most delicious companion. They spoke of his quick temper, but that was entirely free from malice or guile. He was soft-hearted as a babe, but there was nothing of the hypocrite about him. What he thought he said on the instant, and though by people of sensitive vanity this might on occasion be resented, to a sensitiveness of a finer kind it was an added link, binding one to a faithful, valued friend. 700: 929:

autocrat, insisting that his words should be delivered, even to an inflection of the voice, as he dictates. He will stand on the stage beside the actor or actress, and repeat the words with appropriate action over and over again, until they are delivered as he desires them to be." Even during long runs and revivals, Gilbert closely supervised the performances of his plays, making sure that the actors did not make unauthorised additions, deletions or paraphrases. Gilbert was famous for demonstrating the action himself, even as he grew older. Gilbert himself went on stage occasionally, including several performances as the Associate in

280:, who later became a writer of novels and short stories, some of which his son illustrated. Gilbert's mother was the former Anne Mary Bye Morris (1812–1888), the daughter of Thomas Morris, an apothecary. Gilbert's parents were distant and stern, and he did not have a particularly close relationship with either of them. They quarrelled increasingly, and following the break-up of their marriage in 1876, his relationships with them, especially his mother, became even more strained. Gilbert had three younger sisters, two of whom were born outside England because of the family's travels during these years: Jane Morris (b. 1838 in 1607: 33: 1594:, in which a theatrical troupe, by means of a "statutory duel" and a conspiracy, takes political control of a grand duchy, was an outright failure. After that, the partnership ended for good. Sullivan continued to compose comic opera with other librettists but died four years later. In 1904, Gilbert would write, "... Savoy opera was snuffed out by the deplorable death of my distinguished collaborator, Sir Arthur Sullivan. When that event occurred, I saw no one with whom I felt that I could work with satisfaction and success, and so I discontinued to write 1094: 1017: 1489:, however, Gilbert challenged Carte over the expenses of the production. Among other items to which Gilbert objected, Carte had charged the cost of a new carpet for the Savoy Theatre lobby to the partnership. Gilbert believed that this was a maintenance expense that should be charged to Carte alone. Gilbert confronted Carte, who refused to reconsider the accounts. Gilbert stormed out and wrote to Sullivan that "I left him with the remark that it was a mistake to kick down the ladder by which he had risen". 498: 1443:

though given to acts of extraordinary kindness, while Sullivan eschewed conflict. Gilbert imbued his libretti with "topsy-turvy" situations in which the social order was turned upside down. After a time, these subjects were often at odds with Sullivan's desire for realism and emotional content. In addition, Gilbert's political satire often poked fun at those in the circles of privilege, while Sullivan was eager to socialise among the wealthy and titled people who would become his friends and patrons.

1201: 1340: 1716: 816:"It is absolutely essential to the success of this piece that it should be played with the most perfect earnestness and gravity throughout. There should be no exaggeration in costume, makeup or demeanour; and the characters, one and all, should appear to believe, throughout, in the perfect sincerity of their words and actions. Directly the actors show that they are conscious of the absurdity of their utterances the piece begins to drag." 1498:

the accounts, and at worst deliberately attempted to swindle the others. It is not easy to settle the rights and wrongs of the issue at this distance, but it does seem fairly clear that there was something very wrong with the accounts at this time. Gilbert wrote to Sullivan on 28 May 1891, a year after the end of the "Quarrel", that Carte had admitted "an unintentional overcharge of nearly £1,000 in the electric lighting accounts alone."

908: 1086:

unattractively published for the use of actors rather than the home reader. To help rectify this, at least for himself, Gilbert arranged in late 1875 for publishers Chatto and Windus to print a volume of his plays in a format designed to appeal to the general reader, with an attractive binding and clear type, containing Gilbert's most respectable plays, including his most serious works, but mischievously capped off with

1482:, Sullivan asked to leave the partnership, saying that he found Gilbert's plots repetitive and that the operas were not artistically satisfying to him. While the two artists worked out their differences, Carte kept the Savoy open with revivals of their earlier works. On each occasion, after a few months' pause, Gilbert responded with a libretto that met Sullivan's objections, and the partnership continued successfully. 5201: 1544: 1803: 292: 4229: 1876: 2006:. ... Its leading exponents lampoon and send up the major institutions and public figures of the day, wielding the weapon of grave and temperate irony with devastating effect, while themselves remaining firmly within the Establishment and displaying a deep underlying affection for the objects of their often merciless attacks. It is a combination that remains a continuing enigma. 4775: 5211: 806:(1875), did for Gilbert on the dramatic stage what the German Reed entertainments had done for him on the musical stage: they established that his capabilities extended far beyond burlesque, won him artistic credentials, and demonstrated that he was a writer of wide range, as comfortable with human drama as with farcical humour. The success of these plays, especially 1447: 898:. Gilbert attended rehearsals directed by Robertson to learn this art first-hand from the older director, and he began to apply it in some of his earliest plays. He sought realism in acting, settings, costumes, and movement, if not in content of his plays (although he did write a romantic comedy in the "naturalist" style, as a tribute to Robertson, 1901:(frequent guests at his home) vividly illustrate, Gilbert's relationships with women were generally more successful than his relationships with men. According to Grossmith, Gilbert "was to those who knew him a courteous and amiable gentleman – a gentleman without veneer." Grossmith and many others wrote of how Gilbert loved to amuse children: 765:

metamorphose into aesthetes, and so on, and nearly every opera is resolved by a deft moving of the goalposts ... His genius is to fuse opposites with an imperceptible sleight of hand, to blend the surreal with the real, and the caricature with the natural. In other words, to tell a perfectly outrageous story in a completely deadpan way."

1175:—with one character pledging his love, in the most poetic and romantic language, to every single woman in the play. The story portrays some "innocent" Scottish rustics making a living by throwing trains off the lines and then charging the passengers for services and, in parallel, romance being gladly thrown over in favour of monetary gain. A 4101: 1959:

developed, and in Gilbert's theories of acting and stage direction, directly influenced the development of the modern musical throughout the 20th century. Gilbert's lyrics employ punning, as well as complex internal and two and three-syllable rhyme schemes, and served as a model for such 20th century Broadway librettists and lyricists as

1905:

During my dangerous illness, Mr. Gilbert never failed a day to come up and enquire after me ... and kept me in roars of laughter the whole time ... But to see Gilbert at his best, is to see him at one of his juvenile parties. Though he has no children of his own, he loves them, and there is

1797:

His kindness was extraordinary. On wet nights and when rehearsals were late and the last buses were gone, he would pay the cab-fares of the girls whether they were pretty or not, instead of letting them trudge home on foot ... He was just as large-hearted when he was poor as when he was rich and

1497:

After all, the carpet was only one of a number of disputed items, and the real issue lay not in the mere money value of these things, but in whether Carte could be trusted with the financial affairs of Gilbert and Sullivan. Gilbert contended that Carte had at best made a series of serious blunders in

1236:

became a red-hot favourite by autumn. After a dispute with Carte over the division of profits, the other Comedy Opera Company partners hired thugs to storm the theatre one night to steal the sets and costumes, intending to mount a rival production. The attempt was repelled by stagehands and others at

676:

The environment of the German Reeds' intimate theatre allowed Gilbert quickly to develop a personal style and freedom to control all aspects of production, including set, costumes, direction and stage management. These works were a success, with Gilbert's first big hit at the Gallery of Illustration,

642:

vividly described it, "stilted tragedy and vulgar farce were all the would-be playgoer had to choose from, and the theatre had become a place of evil repute to the righteous British householder." Bond created the mezzo-soprano roles in most of the Gilbert and Sullivan operas, and is here leading into

358:

To supplement his income from 1861 on, Gilbert wrote a variety of stories, comic rants, grotesque illustrations, theatre reviews (many in the form of a parody of the play being reviewed), and, under the pseudonym "Bab" (his childhood nickname), illustrated poems for several comic magazines, primarily

187:

In 1890, after this long and profitable creative partnership, Gilbert quarrelled with Sullivan and Carte concerning expenses at the Savoy Theatre; the dispute is referred to as the "carpet quarrel". Gilbert won the ensuing lawsuit, but the argument caused hurt feelings among the partnership. Although

1735:

on 15 July 1907 in recognition of his contributions to drama. Sullivan had been knighted for his contributions to music almost a quarter of a century earlier, in 1883. Gilbert was, however, the first British writer ever to receive a knighthood for his plays alone – earlier dramatist knights, such as

2105:

and reads: "The satire is shrewd, but not profound; the young author is apt to sneer, and he has by no means learned to make the best use of his curiously logical fancy. That he occasionally degrades high and beautiful themes is not surprising. To do so had been the regular proceeding in burlesque,

1958:

and writing the Savoy Operas and other works that are still being performed or in print nearly 150 years after their creation, is felt perhaps most strongly today through his influence on the American and British musical theatre. The innovations in content and form of the works that he and Sullivan

1820:

I fancy that seldom was a man more generally given credit for a personality quite other than his own, than was the case with Sir W. S. Gilbert ... Till one actually came to know the man, one shared the opinion held by so many, that he was a gruff, disagreeable person; but nothing could be less

1429:

would have made of the character." Another member of the cast recalled that Gilbert was tirelessly enthusiastic about the piece and often invited the cast to his home for dinner and extra rehearsals. "A pleasanter, more genial, or agreeable companion than he was it would have been difficult, if not

1941:

hey were never really contemporary in their idiom ... Gilbert and Sullivan's , from the first moment was obviously not the audience's world, an artificial world, with a neatly controlled and shapely precision which has not gone out of fashion – because it was never in fashion in the sense of

2153:

Gilbert describes the effect of these demonstrations: "... when he endeavours to show what he wants his actors to do, he makes himself rather ridiculous, and there is a good deal of tittering at the wings; but he contrives, nevertheless, to make himself understood ..." See also Stedman

1442:

Gilbert's working relationship with Sullivan sometimes became strained, especially during their later operas, partly because each man saw himself as subjugating his work to the other's, and partly due to their opposing personalities. Gilbert was often confrontational and notoriously thin-skinned,

1181:

reviewer wrote in 1879, "Mr Gilbert, in his best work, has always shown a tendency to present improbabilities from a probable point of view, and in one sense, therefore, he can lay claim to originality; fortunately this merit in his case is supported by a really poetic imagination. In the author

658:

sought to regain some of theatre's lost respectability by offering family entertainments in London. So successful were they that by 1885 Gilbert stated that original British plays were appropriate for an innocent 15-year-old girl in the audience. Three months before the opening of Gilbert's last

242:"No sooner had the learned judge pronounced this sentence than the poor soul stooped down, and taking off a heavy boot, flung it at my head, as a reward for my eloquence on her behalf; accompanying the assault with a torrent of invective against my abilities as a counsel, and my line of defence." 1858:

turn bitter. However, Gilbert could be extraordinarily kind. During Scott's final illness in 1904, for instance, Gilbert donated to a fund for him, visited nearly every day, and assisted Scott's wife, despite having not been on friendly terms with him for the previous sixteen years. Similarly,

764:

describes the "Gilbertian" style as follows: "With great fluidity and freedom, continually challenges our natural expectations. First, within the framework of the story, he makes bizarre things happen, and turns the world on its head. Thus the Learned Judge marries the Plaintiff, the soldiers

601:

wrote that these pieces "reveal how a playwright may begin by making burlesque of opera and end by making opera of burlesque." Gilbert would depart even further from the burlesque style from about 1869 with plays containing original plots and fewer puns. His first full-length prose comedy was

928:

Gilbert prepared meticulously for each new work, making models of the stage, actors and set pieces, and designing every action and bit of business in advance. He would not work with actors who challenged his authority. George Grossmith wrote that, at least sometime, "Mr. Gilbert is a perfect

1085:

Gilbert continued his quest to gain respect in and respectability for his profession. One thing that may have been holding dramatists back from respectability was that plays were not published in a form suitable for a "gentleman's library", as, at the time, they were generally cheaply and

953: 1838:

that, although Gilbert had been described as an autocrat at rehearsals, "That was really only his manner when he was playing the part of stage director at rehearsals. As a matter of fact, he was a generous, kind true gentleman, and I use the word in the purest and original sense."

984:

outran five of its nine competitors for the 1871 holiday season, and its run was extended beyond the length of a normal run at the Gaiety. However, nothing more came of it at that point, and Gilbert and Sullivan went their separate ways. Gilbert worked again with Clay on

1257:

Carte later built to house them) were Gilbert's principal activity. The successful comic operas with Sullivan continued to appear every year or two, several of them being among the longest-running productions up to that point in the history of the musical stage. After

1657:, he and his wife developed an affection for her, and she eventually gained the status of an unofficially adopted daughter, moving to Grim's Dyke to live with them. She continued living there, even after Gilbert died, until Lady Gilbert's death in 1936. A statue of 873:(1874), however, Gilbert uses the freedom of the stage in a different way: to provide a tightly written critique of the contrasting ways that Victorian society treated men and women who had sex outside of marriage. These works anticipated the 'problem plays' of 188:

Gilbert and Sullivan were persuaded to collaborate on two last operas, they were not as successful as the previous ones. In later years, Gilbert wrote several plays, and a few operas with other collaborators. He retired, with his wife Lucy, and their ward,

889:

Once he became established, Gilbert was the stage director for his plays and operas and had strong opinions on how they should best be performed. He was strongly influenced by the innovations in "stagecraft", now called stage direction, by the playwrights

1947: 596:

In Victorian theatre, " high and beautiful themes ... had been the regular proceeding in burlesque, and the age almost expected it" However, Gilbert's burlesques were considered unusually tasteful compared to the others on the London stage.

1430:

impossible, to find." In 1882, Gilbert had a telephone installed in his home and at the prompt desk at the Savoy Theatre, so that he could monitor performances and rehearsals from his home study. Gilbert had referred to the new technology in

1821:

true of the really great humorist. He had rather a severe appearance ... and like many other clever people, he had precious little use for fools of either sex, but he was at heart as kindly and lovable a man as you could wish to meet.

418: 1910:

Gilbert's niece Mary Carter confirmed, "he loved children very much and lost no opportunity of making them happy ... the kindest and most human of uncles." Correspondence between Gilbert and Muriel Barnby, the young daughter of Sir

2173:

to him: "As soon as he had come to the last word he closed up the manuscript violently, apparently unconscious of the fact that he had achieved his purpose so far as I was concerned, in as much as I was screaming with laughter the whole

472:, Gilbert married Lucy Agnes Turner (1847–1936), whom he called "Kitty", in 1867; she was 11 years his junior. He wrote many affectionate letters to her over the years. Gilbert and Lucy were socially active both in London and later at 1136:(1876), his last and most ambitious work with Clay, a three-act comic opera with full orchestra, as opposed to the shorter works for much reduced accompaniment that came before. Gilbert also wrote two serious works during this time, 760:). During this time, Gilbert perfected the 'topsy-turvy' style that he had been developing in his Bab Ballads, where the humour was derived by setting up a ridiculous premise and working out its logical consequences, however absurd. 1986:", "What never? Well, hardly ever!", and "let the punishment fit the crime" arising from his pen. In addition, people continue to write biographies about Gilbert's life and career, and his work is not only performed, but frequently 288:, France – 1911); and Anne Maude (1845–1932). The younger two never married. Gilbert was nicknamed "Bab" as a baby, and then "Schwenck", after the surname of his great-aunt and great-uncle, who were also his father's godparents. 527:

premiered. His friend and mentor, Tom Robertson, was asked to write a pantomime but did not think he could do it in the two weeks available, and so he recommended Gilbert instead. Written and rushed to the stage in 10 days,

1245:

was so successful that over a hundred unauthorised productions sprang up in America alone. Gilbert, Sullivan and Carte tried for many years to control the American performance copyrights over their operas, without success.

1536:. Gilbert eventually won the lawsuit and felt vindicated, but his actions and statements had been hurtful to his partners. Nevertheless, the partnership had been so profitable that, after the financial failure of the 1560:, the music publisher responsible for printing the Gilbert and Sullivan operas, stepped in to mediate between two of his most profitable artists, and within two weeks had succeeded. Two more operas resulted: 695:

that Clay formally introduced Gilbert to his friend, Arthur Sullivan. The Bab Ballads and Gilbert's many early musical works gave him much practice as a lyricist even before his collaboration with Sullivan.

106:, and numerous short stories, poems and lyrics, both comic and serious. After brief careers as a government clerk and a lawyer, Gilbert began to focus, in the 1860s, on writing light verse, including his 1997:

There has been much discussion about Gilbert's proper place in British literary and dramatic history. Was he essentially a writer of burlesque, a satirist, or, as some have argued, the forerunner of the

1220:

Carte finally assembled a syndicate in 1877 and formed the Comedy Opera Company to launch a series of original English comic operas, beginning with a third collaboration between Gilbert and Sullivan,

1842:

Aside from his occasional creative disagreements with, and eventual rift from, Sullivan, Gilbert's temper sometimes led to the loss of friendships. For instance, he quarrelled with his old associate

5370: 3250: 1118:

was never published, and most of the music is now lost. It took some time for Carte to gather funds for another Gilbert and Sullivan opera, and in this gap Gilbert produced several works including

343:, a part-time volunteer force formed for the defence of Britain, which he served in until 1878 (in between writing and other work), reaching the rank of captain. In 1863, he received a bequest of 1362:

into a libretto suitable for the music, and it contains some original work. During this period, also, Gilbert occasionally wrote plays to be performed elsewhere–both serious dramas (for example

904:). He shunned self-conscious interaction with the audience, and insisted on a style of portrayal in which characters were never aware of their own absurdity, but were coherent internal wholes. 87:. The popularity of these works was supported for over a century by year-round performances of them, in Britain and abroad, by the repertory company that Gilbert, Sullivan and their producer 1906:

nothing he would not do to please them. I was never so astonished as when on one occasion he put off some of his own friends to come with Mrs. Gilbert to a juvenile party at my own house.

1755:, when Preece got into difficulties and called for help. Gilbert dived in to save her but suffered a heart attack in the middle of the lake and died at the age of 74. He was cremated at 593:, in 1868. The piece was Gilbert's biggest success to date, running for over 100 nights and being frequently revived and played continuously in the provinces for three years thereafter. 5375: 5320: 5270: 5265: 221: 5087: 5077: 3501: 1694:. Gilbert also continued to supervise the various revivals of his works by the D'Oyly Carte Opera Company, including its London Repertory seasons in 1906–09. His last play, 225:, Gilbert's "lyrical facility and his mastery of metre raised the poetical quality of comic opera to a position that it had never reached before and has not reached since". 5355: 5350: 1182:

gives full swing to his humor, and the result, although exceedingly ephemeral, is a very amusing combination of characters – or caricatures – and mock-heroic incidents."

5260: 2211:

each held the position of second longest-running musical theatre production in history for a time (after adjusting Pinafore's initial run down to 571 performances), and

2127:. ... the dramatists of France can only ring out threadbare variations of that dirty old theme – the cheated husband, the faithless wife, and the triumphant lover." 1789:, was a satiric self-reference, saying: "I thought it my duty to live up to my reputation." However, many people have defended him, often citing his generosity. Actress 530: 1493:

wrote that Gilbert had addressed Carte "in a way that I should not have thought you would have used to an offending menial." The scholar Andrew Crowther has commented:

5305: 2049:

He first joined the 5th West Yorkshire Militia, and later the Royal Aberdeenshire Highlanders. On leaving the Militia, Gilbert received an honorary promotion to Major.

1669:

to an island in the lake at Grim's Dyke, where it remained when Gilbert purchased the property. On Lady Gilbert's direction, it was restored to Soho Square in 1938.

772:. This series of plays was founded upon the idea of self-revelation by characters under the influence of some magic or some supernatural interference. The first was 5092: 303:

As a child, Gilbert travelled to Italy in 1838 and then France for two years with his parents, who finally returned to settle in London in 1847. He was educated at

4865: 5360: 1828:

wrote that Gilbert "was quick-tempered, often unreasonable, and he could not bear to be thwarted, but how anyone could call him unamiable I cannot understand."

616: 5214: 1005:, fairy comedies, adaptations from novels, translations from the French, and the dramas described above. Also in 1874, he published his last contribution for 556:(traditional in burlesques of the period), though showing, at times, signs of the satire that would later be a defining part of Gilbert's work. For instance: 5255: 5250: 722:

Many of the plot elements of the German Reed Entertainments (as well as some from his earlier plays and Bab Ballads) would be reused by Gilbert later in the

5285: 5050: 1378:, 1881). However, he no longer needed to turn out multiple plays each year, as he had done before. Indeed, during the more than nine years that separated 5045: 2965: 2021: 1928: 1455: 476:, often holding dinner parties and being invited to others' homes for dinner, in contrast to the picture painted by fictionalisations such as the film 5082: 5295: 122:

and his first comic plays, developing a unique absurdist, inverted style that would later be known as his "topsy-turvy" style. He also developed a

5067: 3797: 200:

in 1907. Gilbert died of a heart attack while attempting to rescue a young woman to whom he was giving a swimming lesson in the lake at his home.

1336:. He insisted on precise and authentic sets and costumes, which provided a foundation to ground and focus his absurd characters and situations. 2901: 1760: 921: 3418: 5275: 4730: 4690: 4659: 4636: 4598: 4575: 4539: 4484: 4422: 4347: 4328: 4309: 4290: 4250: 3881: 1054:, a childhood friend of Gilbert's, died after an illness in 1874 and Rosa dropped the project. Later in 1874 Gilbert offered the libretto to 788:, one of seven plays that he produced that year, Gilbert scored his greatest hit to date. Together, these plays and their successors such as 336: 1915:, shows his delight in their playful exchange of letters. Similarly, reflecting Gilbert's view on animals, Grossmith quoted him as saying, " 307:, France, from the age of seven (he later kept his diary in French so that the servants could not read it), then at Western Grammar School, 5335: 5060: 2026: 1982:

Gilbert's influence on the English language has also been marked, with well-known phrases such as "A policeman's lot is not a happy one", "

1425:

later remembered, "the gem of the performance was the grimly earnest and determined Harlequin of W. S. Gilbert. It gave me an idea of what

126:

method of stage direction and a reputation as a strict theatre director. In the 1870s, Gilbert wrote 40 plays and libretti, including his

5280: 3652: 5315: 5290: 4858: 1779:

Gilbert was known for being sometimes prickly. Aware of this general impression, he claimed that "If you give me your attention", the

3498: 2626: 1506:

closed in 1891, he withdrew the performance rights to his libretti, vowing to write no more operas for the Savoy. Gilbert next wrote

5365: 4829: 3150: 2488: 699: 1747:

On 29 May 1911, Gilbert was about to give a swimming lesson to two young women, Winifred Isabel Emery (1890–1972), and 17-year-old

3306: 3847: 4759: 3216: 1771:

in London reads: "His Foe was Folly, and his Weapon Wit". There is also a memorial plaque at All Saints' Church, Harrow Weald.

1163: 5380: 1885: 332: 3931: 2518: 1606: 1421:, who had arranged the dances for some of his plays and would choreograph most of the Gilbert and Sullivan operas. Producer 431:. He would later return to many of these as source material for his plays and comic operas. Gilbert and his colleagues from 3403: 5325: 5300: 5204: 5025: 4851: 1238: 92: 521:

Hush-a-Bye, Baby, On the Tree Top, or, Harlequin Fortunia, King Frog of Frog Island, and the Magic Toys of Lowther Arcade

2591: 2101: 784: 835:

During this period, Gilbert also pushed the boundaries of how far satire could go in the theatre. He collaborated with

5340: 5310: 1466:

Throughout their collaboration, Gilbert and Sullivan disagreed several times over the choice of a subject. After both

1072:. He contacted Gilbert, asked about the piece, and suggested Sullivan to set the work. Sullivan was enthusiastic, and 1026: 711: 836: 810:, gave Gilbert a prestige that would be crucial to his later collaboration with as respected a musician as Sullivan. 4395: 3173: 2002:? ... Perhaps he stands most clearly in that distinctively English satirical tradition which stretches back to 1798:

successful. For money as money he cared less than nothing. Gilbert was no plaster saint, but he was an ideal friend.

1016: 5055: 2585: 2016: 1144: 575: 265: 127: 1171:

is a parody of romantic drama written in the "topsy-turvy" satiric style of many of Gilbert's Bab Ballads and the

1093: 32: 5330: 2237:

Crowther (2011) contains numerous examples (including an entire chapter, 18) of Gilbert's friendships with women.

1756: 1537: 670: 655: 3633: 1684:, he produced at least three more plays over the last dozen years of his life, including an unsuccessful opera, 5345: 2115:

Gilbert gave a speech in 1885 at a dinner to benefit the Dramatic and Musical Sick Fund, which is reprinted in

1013:), after a gap of three years, then resigned due to disapproval of the new owner's other publishing interests. 895: 585: 436: 340: 273: 4147: 2969: 1038:

was produced before the two men worked together again. In 1868, Gilbert had published a short comic sketch in

425:

The poems, illustrated humorously by Gilbert, proved immensely popular and were reprinted in book form as the

316: 3292:"The Twilight of the Opera Pirates: A Prehistory of the Right of Public Performance for Musical Compositions" 3195: 1672:

Although Gilbert announced a retirement from the theatre after the short run of his last work with Sullivan,

130:, several blank-verse "fairy comedies", some serious plays, and his first five collaborations with Sullivan: 5040: 4982: 4940: 4895: 2943: 1508: 1306: 1264: 1055: 912: 850: 744: 174: 88: 77: 630:

Theatre, at the time Gilbert began writing, had fallen into disrepute. Badly translated and adapted French

5235: 5035: 2467: 2090:

1986) and Andrew Crowther both speculate that the play was written in collaboration with Gilbert's father.

1574: 1051: 977: 590: 548:, proved extremely popular. This led to a long series of further Gilbert opera burlesques, pantomimes and 497: 4512: 1316:(1889). Gilbert not only directed and oversaw all aspects of production for these works, but he actually 544: 315:, where he became head boy and wrote plays for school performances and painted scenery. He then attended 5117: 1999: 1658: 1354: 970:

In 1871, John Hollingshead commissioned Gilbert to work with Sullivan on a holiday piece for Christmas,

371: 4139: 3690: 2705: 1590:, concerning an attempt to "anglicise" a south Pacific island kingdom, was only a modest success, and 736:), a deaf nursemaid binding a respectable man's son to a "pirate" instead of to a "pilot" by mistake ( 5245: 5240: 4874: 1976: 1860: 1662: 1646: 1518: 1459: 1364: 1195: 723: 308: 58: 1434:

in 1878, only two years after the device was invented and before London even had telephone service.

1358:, premiered at the Leeds music festival in October 1880. Gilbert arranged the original epic poem by 1114:, but Gilbert and Sullivan were not able to agree on terms with Carte and his backers. The score to 1042:

magazine titled "Trial by Jury: An Operetta". In 1873, Gilbert was asked by the theatrical manager,

5149: 4805: 4181: 4048: 3966: 3937: 1834: 1720: 1528: 1374: 1288: 1206: 874: 774: 635: 535: 490:

Gilbert wrote and directed several plays at school, but his first professionally produced play was

411: 312: 208: 119: 4800: 2826: 2436: 5173: 5125: 4496:

New and original extravaganzas, by W. S. Gilbert, Esq., as first produced at the London playhouse

3390: 3255: 3178: 1983: 1867:. Gilbert purchased the play back from his grateful widow. According to one London society lady: 1680: 900: 796: 647: 2841: 327:, fewer recruits were needed, and the only commission available to Gilbert would have been in a 4609: 1990:, pastiched, quoted and imitated in comedy routines, film, television and other popular media. 1386:, he wrote just three plays outside of the partnership with Sullivan. Only one of these works, 1352:

During this time, Gilbert and Sullivan also collaborated on one other major work, the oratorio

1200: 4838: 4750: 4726: 4705: 4686: 4655: 4632: 4615: 4594: 4571: 4554: 4535: 4518: 4499: 4480: 4463: 4444: 4418: 4401: 4381: 4364: 4343: 4324: 4305: 4286: 4267: 4246: 4062: 3877: 3146: 2767: 2484: 2388:, Oxford University Press, September 2004, online edition, May 2008, accessed 10 January 2010 2357: 2106:

and the age almost expected it; but Gilbert's is not the then usual hearty cockney vulgarity."

1768: 1642: 1557: 1422: 1417:, partly written by himself. Gilbert trained for Harlequin's stylised dancing with his friend 1413: 1400: 1359: 1339: 1063: 952: 769: 580: 539: 469: 366: 4818: 4755: 4124: 3649: 3233: 3036: 3009: 2880: 2308: 2184: 1078:

was composed in a matter of weeks. The little piece was a runaway hit, outlasting the run of

284:, Italy – 1906), who married Alfred Weigall, a miniatures painter; Mary Florence (b. 1843 in 5181: 5165: 4947: 4784: 2947: 2120: 1898: 1851: 1829: 1808: 1737: 1615: 1523: 1270: 1126: 891: 864: 855: 790: 779: 750: 651: 509: 453: 304: 216: 158: 40: 3343: 1715: 5141: 4996: 4933: 4912: 4890: 4833: 4195: 3716: 3656: 3505: 3077: 2630: 2623: 2124: 1960: 1955: 1748: 1732: 1724: 1702: 1630: 1562: 1549: 1426: 1369: 1228: 1059: 972: 738: 355:

as a student). His legal practice was not successful, averaging just five clients a year.

320: 212: 197: 132: 71: 62: 4826: 4176: 1418: 1068: 859:(1873) was set in the lobby of a theatre performing a scandalous play (implied to be the 4457: 4263:

The Life and Reminiscences of Jessie Bond, the Old Savoyard (as told to Ethel MacGeorge)

3834: 3741: 1993:

Ian Bradley, in connection with the 100th anniversary of Gilbert's death in 2011 wrote:

1237:

the theatre loyal to Carte, and Carte continued as sole impresario of the newly renamed

1058:, but Carte could not use the piece at that time. By early 1875, Carte was managing the 907: 646:

From 1869 to 1875, Gilbert joined with one of the leading figures in theatrical reform,

5072: 5003: 4989: 4587: 4358: 4023: 3826: 3792: 3788: 3051: 2746: 2155: 2073: 2003: 1752: 1686: 1674: 1638: 1634: 1621: 1579: 1568: 1513: 1312: 1177: 1153: 1098: 997: 992: 869: 841: 825: 705: 598: 473: 361: 344: 269: 193: 189: 180: 123: 114: 4812: 4438: 4162: 3103:

Jones, John Bush, "W. S. Gilbert's Contributions to Fun, 1865–1874", published in the

2783: 1543: 5229: 5186: 5157: 4919: 4680: 4648: 4477:

The Realm of Joy: Being a Free and Easy Version of "Le roi candaule" by Henri Meilhac

4280: 3893: 3621: 2671: 1916: 1912: 1894: 1855: 1843: 1790: 1741: 1691: 1610: 1533: 1254: 1138: 1132: 1074: 987: 941: 931: 802: 716: 688: 448: 444: 328: 277: 138: 2999:

Stedman (1996), p. 269 (quoting a 30 April 1890 letter from Gilbert to D'Oyly Carte)

482:. The Gilberts had no children, but they had many pets, including some exotic ones. 4961: 4926: 4794: 3848:"Lives Laid Bare – The second wife of the British painter Stanley Spencer ..." 3451: 3055: 2732: 2169:

Richard Traubner quotes Sullivan's recollection of Gilbert reading the libretto of

1968: 1785: 1696: 1408: 1282: 1222: 1212: 1002: 936: 878: 604: 406: 352: 319:, graduating in 1856. He intended to take the examinations for a commission in the 144: 36: 3756: 3534: 2391: 1802: 291: 81:

and one of the most frequently performed works in the history of musical theatre,

17: 4261: 3640:

volumes 33 and 34 (1966) St Anne Soho, pp. 51–53. Date accessed: 12 January 2008.

3318: 3126: 2984: 1411:, which he did at the Gaiety Theatre as part of an amateur charity production of 5109: 5030: 5020: 4676: 4228: 3810: 2280: 1972: 1964: 1880: 1825: 1780: 1666: 1490: 1250: 1172: 1158: 639: 478: 458: 427: 324: 296: 211:, and his comic operas with Sullivan inspired the later development of American 204: 108: 96: 66: 3251:"Shaw Festival's Engaged is W. S. Gilbert alone, and still outrageously funny " 2934:, Vol. 24, No. 3, October 1972, pp. 289–301, The Johns Hopkins University Press 1875: 4968: 4746: 4722: 2381: 2225: 1946: 1708: 1451: 1345: 1294: 1232:

followed in May 1878. Despite a slow start, mainly due to a scorching summer,

761: 756: 691:

that would last seven years and produce four works. It was at a rehearsal for

461:, and especially Evans's café, where they had a table in competition with the 83: 54: 4558: 4503: 4448: 2884: 2650: 1404:, Stedman writes, "It was a failure, the worst failure of Gilbert's career." 911:"The Ironmaster at the Savoy" (1884): Gilbert with the mallet of discipline; 410:

newspaper in 1870 sent him to France as a war correspondent reporting on the

4975: 4467: 4078:"The Lasting Charm of Gilbert and Sullivan: Operas of an Artificial World", 1650: 1395: 1300: 1043: 732: 516: 505: 348: 347:

300 that he used to leave the civil service and take up a brief career as a

50: 4619: 4522: 4405: 4385: 4368: 4271: 3950: 3473: 3278: 3021: 2848:, The Gilbert and Sullivan Archive, 29 November 2009, accessed 4 April 2024 2542: 4709: 3062:

at the Gilbert and Sullivan Archive, 19 July 2004, accessed 4 January 2021

2831:, The Gilbert and Sullivan Archive, 2 February 1997, accessed 4 April 2024 2274: 417: 4954: 4769: 4233: 3346:, The Gilbert and Sullivan Archive, 29 August 2011, accessed 22 July 2016 2712:, The Gilbert and Sullivan Archive, 23 August 2011, accessed 4 April 2024 2622:

Crowther, Andrew. Introduction to script of "An Old Score", reprinted at

2364:, vol. 2, October 1891, pp. 330–341, via the Gilbert and Sullivan Archive 1764: 1276: 1120: 945:, and in charity matinees of his one-act plays, such as King Claudius in 679: 665: 631: 622: 440: 389: 285: 164: 103: 99:

are still frequently performed in the English-speaking world and beyond.

2439:, The Gilbert and Sullivan Archive, 2 August 2011, accessed 4 April 2024 2329: 1446: 5133: 4843: 4177:

Lawrence, Arthur H. "An illustrated interview with Sir Arthur Sullivan"

4028:, reproduced at Gilbert and Sullivan Discography, accessed 22 July 2016 3722:, The Gilbert and Sullivan Archive, 31 July 2011, accessed 22 July 2016 3454:, The Gilbert and Sullivan Archive, 28 June 1997, accessed 22 July 2016 2927: 849:), which was briefly banned because of its unflattering caricatures of 3389:

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

2541:

Ainger, p. 148 and Stedman (1996), pp. 318–20. See also Bond, Jessie.

2160:, reprinted at Gilbert and Sullivan Discography, accessed 22 July 2016 1186:

is still performed today, by both professional and amateur companies.

673:

for the German Reeds, some with music composed by Thomas German Reed.

2247: 2062:

etc., which details the history of the collections it was drawn from.

1987: 1712:

giving, in some cases, backstory that is not found in the librettos.

867:(the "Lord High Disinfectant", as he is referred to in the play). In 4815:, and information about them, at The Gilbert & Sullivan Archive 4390:(A collection of material from several books published previously.) 4282:

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

3291: 2224:

Stedman notes some of Sullivan's cuts to Gondoliers to remove anti-

1937:

explained "the continued vitality of the Savoy operas" as follows:

1863:. However, Sothern died before he could perform the last of these, 1641:

in 1890, which he purchased from Robert Heriot, to whom the artist

1556:

In 1891, after many failed attempts at reconciliation by the pair,

4765: 4227: 1945: 1874: 1801: 1714: 1605: 1542: 1445: 1338: 1199: 1092: 1015: 951: 906: 768:

At the same time, Gilbert created several "fairy comedies" at the

698: 615: 549: 515:

In 1865–66, Gilbert collaborated with Charles Millward on several

496: 416: 290: 281: 31: 4232:

Grave of W. S. Gilbert at the Church of St. John the Evangelist,

2928:"General Utility: Victorian Author-Actors from Knowles to Pinero" 1767:. The inscription on Gilbert's memorial on the south wall of the 643:

a description of Gilbert's role reforming the Victorian theatre.

4823:, by W. S. Gilbert, giving some of his philosophy of the theatre 2966:"W. S. Gilbert: Antiquarian Authenticity and Artistic Autocracy" 2545:

and McIntosh, Nancy. "The Late Sir W. S. Gilbert's Pets" in the

2077:, which fictionalised the evenings in Evans's café in one scene. 1540:, Carte and his wife sought to reunite the author and composer. 1046:, to write a work for his planned 1874 season. Gilbert expanded 369:. He published stories, articles, and reviews in papers such as 4847: 1859:

Gilbert had written several plays at the behest of comic actor

1394:

had a short run due to the lead actress refusing to act during

156:. In the 1880s, Gilbert focused on the Savoy operas, including 4789: 2549:, Brian Jones, ed. Vol. 2 No. 18: Winter 2005 (reprinted from 1645:

had sold the property in 1880. In 1891, Gilbert was appointed

1474:, which were less successful than the seven other operas from 1001:(1874), as well as writing several farces, operetta libretti, 553: 112:, short stories, theatre reviews and illustrations, often for 4152:

PBS.org, American Masters for Teachers, accessed 21 May 2007.

3622:

Who Was Who in The D'Oyly Carte Opera Company: Nancy McIntosh

612:

German Reed entertainments and other plays of the early 1870s

4378:

The Bab Ballads, with which are included Songs of a Savoyard

3472:

See, e.g. Jacobs (1992); Crowther (2011); and Bond, Jessie.

748:), and the forceful mature lady who is "an acquired taste" ( 687:

was also the beginning of a collaboration with the composer

663:), the first of his pieces for the Gallery of Illustration, 573:

This was followed by Gilbert's penultimate operatic parody,

4650:

A Most Ingenious Paradox: The Art of Gilbert & Sullivan

1846:, over the firing of Nancy McIntosh from the production of 1572:(1896). Gilbert also offered a third libretto to Sullivan ( 523:(1866). Gilbert's first solo success came a few days after 339:

Office for four years and hated it. In 1859, he joined the

3983:(c.1910). New York: Frederick A. Stokes Company. pp. 71–72 3476:, The Gilbert and Sullivan Archive, accessed 22 July 2016. 2154:(1996), p. 325; and Hicks, Seymour and Terriss, Ellaline. 1062:, and he needed a short opera to play as an afterpiece to 812: 237: 4340:

Gilbert of Gilbert & Sullivan: his Life and Character

3908:

Grossmith, George. "Recollections of Sir W. S. Gilbert",

2674:

at the Gilbert and Sullivan Archive, accessed 26 May 2009

845:(1873), a political satire (in part, a parody of his own 726:

operas. These elements include paintings coming to life (

4702:

Gilbert Before Sullivan–Six Comic Plays by W. S. Gilbert

3874:

Grim's Dyke: A Short History of the House and Its Owners

3321:, The Gilbert and Sullivan Archive, accessed 26 May 2009 2331:

The Cambridge History of English and American Literature

1226:, in November 1877. This work was a modest success, and 567:

That monkeys once were men, peers, statesmen, flunkies –

468:

After a relationship in the mid-1860s with the novelist

380:. In addition, Gilbert was the London correspondent for 222:

The Cambridge History of English and American Literature

4321:

Contradiction Contradicted – The Plays of W. S. Gilbert

4207:

e.g., Stedman (1996), Ainger (2002) and Crowther (2011)

3634:"Soho Square Area: Portland Estate: Soho Square Garden" 2191:, 27 April 2004: "Wilde pillaged this piece for ideas." 1919:

would be a very fine sport if only the deer had guns."

3933:

A Pelican's Tale, Fifty Years of London and Elsewhere

3541:, p. vii, New York: Oakapple Press, 2009. Linked at 256:(Gilbert claimed this incident was autobiographical.) 203:

Gilbert's plays inspired other dramatists, including

102:

Gilbert's creative output included over 75 plays and

49:(18 November 1836 – 29 May 1911) was an English 5371:

Military personnel from the London Borough of Harrow

4568:

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

3896:, Gilbert and Sullivan Archive, accessed 29 May 2011 3835:

Preece Family History and One Name Study (1894–1895)

2437:"The Controversies Surrounding Gilbert's Last Opera" 2058:

See also the introduction to Gilbert, W. S. (1908),

5101: 5013: 4904: 4813:

List of Gilbert's works, with links to most of them

4629:

Final Curtain: The Last Gilbert and Sullivan Operas

4198:, BBC, 20 September 2004, accessed 16 October 2006. 3499:"G&S: the Lennon/McCartney of the 19th century" 2968:. Boise, Idaho: Winthrop University. Archived from 1407:In 1878, Gilbert realised a lifelong dream to play 494:, which ran for seven weeks in the autumn of 1863. 27:

English dramatist, poet and illustrator (1836–1911)

4647: 4586: 2700: 2698: 2483:. London: The Society for Theatre Research, 2000. 2358:Illustrated Interviews No. IV. – Mr. W. S. Gilbert 2325: 2323: 2321: 1893:As the writings about Gilbert by husband and wife 1744:, were knighted for political and other services. 1398:, the play was revived regularly. With respect to 589:, which was part of a triple bill that opened the 3307:List of longest running London shows through 1920 3128:Gilbert and Sullivan Opera, a History and Comment 2744:Crowther (2000), p. 35. See also Gilbert's play, 2334:, Volume XIII, Chapter VIII, Section 15 (1907–21) 1854:. He also saw his friendship with theatre critic 531:Dulcamara, or the Little Duck and the Great Quack 4534:(Second ed.). Portland, OR: Amadeus Press. 2788:, 1883 January 23 32(9791): 5, col. 3 Amusements 2136:This rehearsal was probably for a second run of 1130:(1875, his last German Reed Entertainment), and 5376:Military personnel from the City of Westminster 5321:Freemasons of the United Grand Lodge of England 5271:20th-century English dramatists and playwrights 5266:19th-century English dramatists and playwrights 4827:Collection of Gilbert prefaces to various plays 4167:, Oxford University Press, accessed 21 May 2007 1995: 1939: 1903: 1869: 1818: 1678:(1896) and the poor reception of his 1897 play 558: 4717:Gilbert, W. S. (2018). Andrew Crowther (ed.). 4700:Gilbert, W. S. (1969). Jane W. Stedman (ed.). 4092: 4090: 4088: 3685: 3683: 3408:, vol 2, p. 124 (1895) S. Low, Marston: London 1050:into a one-act libretto. However, Rosa's wife 4859: 4494:Gilbert, W. S. (1931). Isaac Goldberg (ed.). 4013:1871–1935, p. 238, London: John Murray (1936) 2645: 2643: 2641: 2639: 2279:, accessed 13 October 2006; and Powell, Jim. 1578:, 1894), but Gilbert's insistence on casting 8: 4704:. Chicago: The University of Chicago Press. 4685:. Oxford, England: Oxford University Press. 4593:. London: The Society for Theatre Research. 4413:Gilbert, W. S. (1985). Peter Haining (ed.). 3817:, Methuen & Co Ltd, London (1923) p. 222 2762: 2760: 2758: 2756: 5078:People associated with Gilbert and Sullivan 5051:International Gilbert and Sullivan Festival 4682:The Complete Annotated Gilbert and Sullivan 3904: 3902: 2733:W. S. Gilbert's Operas for the German Reeds 2667: 2665: 2663: 2661: 2426:, p. 44, Sir Arthur Sullivan Society (2003) 2382:"Gilbert, Sir William Schwenck (1836–1911)" 2282:William S. Gilbert's Wicked Wit for Liberty 2088:Gilbert and Sullivan: The Creative Conflict 1438:Carpet quarrel and end of the collaboration 1253:(as the series came to be known, after the 565:I know one who's less man than monkey, now; 560:That men were monkeys once – to that I bow; 5046:Cultural influence of Gilbert and Sullivan 4866: 4852: 4844: 4475:Gilbert, W. S (1969). Terence Rees (ed.). 4100:, 18 October 2006. Available for a fee at 3960: 3958: 3463:See, e.g. Ainger, p. 288, or Wolfson, p. 3 3081:, 1 October 1904, accessed 1 November 2018 3073:"Behind the Footlights: Mrs. Alec-Tweedle" 2022:Cultural influence of Gilbert and Sullivan 1954:Gilbert's legacy, aside from building the 1929:Cultural influence of Gilbert and Sullivan 1759:and his ashes buried at the churchyard of 1110:, there were discussions towards reviving 569:That's rather hard on unoffending monkeys! 457:in 1862) frequented the Arundel Club, the 57:, poet and illustrator best known for his 5356:Writers from the London Borough of Harrow 5351:Writers who illustrated their own writing 3964:George Grossmith's tribute to Gilbert in 3446: 3444: 3442: 3440: 3302: 3300: 3094:, Vol. 4, part 3, Issue 29. Summer 2011. 2989:– via Gilbert and Sullivan Archive. 1286:(1884, based on Gilbert's earlier farce, 863:), with many jokes at the expense of the 5261:19th-century British short story writers 4096:Downs, Peter. "Actors Cast Away Cares". 3529: 3527: 3090:Walters, Michael. "Thespis: a reply", 2579: 2577: 2457:Stedman (1996) p. 157 and Ainger, p. 154 1372:, 1879) and humorous works (for example 1151:Also during this period, Gilbert wrote, 219:librettists and lyricists. According to 5306:English male dramatists and playwrights 5068:List of compositions by Arthur Sullivan 4243:Gilbert and Sullivan – A Dual Biography 4149:Lesson 35 – Cole Porter: You're the Top 3831:Oxford Dictionary of National Biography 3798:Oxford Dictionary of National Biography 3493: 3491: 3105:Bulletin of the New York Public Library 2964:Vorder Bruegge, Andrew (October 2002). 2386:Oxford Dictionary of National Biography 2266: 2042: 966:First collaborations amidst other works 295:One of Gilbert's illustrations for his 4532:Arthur Sullivan – A Victorian Musician 4266:. London: John Lane, The Bodley Head. 4069:, vol. 72, December. 1926, pp. 642–646 4063:"My Letters from Gilbert and Sullivan" 4046:Carter, Mary. Letter to the editor of 3992:See Stedman (1996), pp. 254–56, 323–24 3145:, p. 153, Taylor & Francis (2003) 2812:: its true and remarkable history" in 1082:and being revived at another theatre. 388:. In the 1860s he also contributed to 4719:The Triumph of Vice and Other Stories 4417:. London and New York: Robson Books. 4400:. London: George Routledge and Sons. 4129:guardian.co.uk, accessed 21 May 2007. 4022:Hicks, Seymour and Terriss, Ellaline 3912:, vol. 40, no. 238, July 1911, p. 162 3746:, London: George Bell and Sons (1908) 3691:"W. S. Gilbert: He was an Englishman" 2586:La Vivandière, or, True to the Corps! 2376: 2374: 2372: 2370: 2246:The last phrase is a satiric take on 7: 5361:Writers from the City of Westminster 4589:W. S. Gilbert's Theatrical Criticism 3854:, 19 July 1998, accessed 2 June 2011 3624:at the Gilbert and Sullivan Archive. 2481:W. S. Gilbert's Theatrical Criticism 2027:List of W. S. Gilbert dramatic works 1816:The journalist Frank M. Boyd wrote: 1619:(1873), which Gilbert reworked into 1034:It would be nearly four years after 669:, was produced. Gilbert created six 374:, London Society, Tinsley's Magazine 5256:19th-century British civil servants 5251:19th-century British Army personnel 5210: 4654:. Oxford: Oxford University Press. 4380:(6th ed.). London: Macmillan. 4360:W. S. Gilbert: His Life and Letters 4357:Dark, Sidney; Rowland Grey (1923). 4285:. Oxford: Oxford University Press. 4245:. Oxford: Oxford University Press. 4164:Ira Gershwin: The Art of a Lyricist 3815:W. S. Gilbert: His Life and Letters 3512:, Haymarket Media Ltd., 8 June 2011 778:(1870), based partly on a story by 421:Gilbert and his wife, Lucy, in 1867 335:: he was an assistant clerk in the 69:. The most famous of these include 4517:. Bristol and London: Arrowsmith. 4140:"Words Anent Music by Cole Porter" 3535:"Introduction: Historical Context" 3376:"Mr. D'Auban's 'Startrap' Jumps". 1653:. After casting Nancy McIntosh in 39:of W. S. Gilbert in about 1880 by 25: 4614:. New York: Frederick A. Stokes. 4415:The Lost Stories of W. S. Gilbert 4323:. Associated University Presses. 4185:, Vol. xiv, No.84 (December 1897) 3833:, accessed 2 June 2011; see also 3419:"The Amateur Pantomime of 1878", 3217:"W S Gilbert's original cynicism" 3107:, vol 73 (April 1969), pp. 253–66 2954:, W. Heinemann (1904), pp. 129–30 2413:Ainger, family tree and pp. 15–19 1485:In April 1890, during the run of 1204:Gilbert reworked his 1870 farce, 272:, London. His father, also named 118:magazine. He also began to write 5209: 5200: 5199: 5083:Works about Gilbert and Sullivan 4773: 4431:Foggerty's Fairy and Other Tales 4397:Foggerty's Fairy and Other Tales 3761:, London: Daniel O'Connor (1921) 3543:The Gilbert and Sullivan Archive 2816:vol. 1, no. 8 (1994), pp. 228–37 2345:Foggerty's Fairy and Other Tales 1665:in 1681, was moved in 1875 from 1502:Gilbert brought suit, and after 935:, as substitute for the injured 715:, 22 March 1873, illustrated by 502:Hush-a-Bye Baby, On the Tree Top 5296:Deputy lieutenants of Middlesex 5286:Alumni of King's College London 4839:Some of Gilbert's short stories 4781:Works by or about W. S. Gilbert 3894:"If you give me your attention" 3876:, Glittering Prizes, pp. 17–18 2553:, 3 June 1911), pp. 548–56 2424:Gilbert: Appearance and Reality 1633:in 1889. The Gilberts moved to 1164:The Importance of Being Earnest 638:dominated the London stage. As 4514:A Society Clown: Reminiscences 4429:(Contains mostly stories from 3892:Howarth, Paul and Feldman, A. 3452:"The Carpet Quarrel Explained" 3143:Operetta: A Theatrical History 2071:See also Tom Robertson's play 1390:, proved successful. Although 1011:"Rosencrantz and Guildenstern" 973:Thespis, or The Gods Grown Old 853:and his ministers. Similarly, 1: 4790:W. S. Gilbert Society website 4462:. London: Chatto and Windus. 4459:Original Plays: Second Series 4443:. London: Chatto and Windus. 4342:. London: The History Press. 4302:W. S. Gilbert: Stage Director 4196:"Ballads, songs and speeches" 3358:: Stedman (1996), pp. 204–05. 3092:W. S. Gilbert Society Journal 2814:W. S. Gilbert Society Journal 2547:W. S. Gilbert Society Journal 2033:Notes, references and sources 1719:Memorial to W. S. Gilbert on 1586:, led to Sullivan's refusal. 919:In Gilbert's 1874 burlesque, 634:and poorly written, prurient 5276:19th-century English lawyers 4551:Gilbert: His Life and Strife 4440:Original Plays: First Series 2902:Rosencrantz and Guildenstern 2784:"Miss Anderson as Galatea", 2592:The Daughter of the Regiment 2589:(a burlesque of Donizetti's 2392:UK public library membership 2183:See also Feingold, Michael, 1661:, carved by Danish sculptor 1547:The Drawing Room Scene from 947:Rosencrantz and Guildenstern 922:Rosencrantz and Guildenstern 351:(he had already entered the 47:Sir William Schwenck Gilbert 5336:Members of the Inner Temple 4772:(public domain audiobooks) 4611:Old Days in Bohemian London 4608:Scott, Mrs Clement (1918). 4570:. Oxford University Press. 3981:Old Days in Bohemian London 2932:Educational Theatre Journal 2879:. See also Gilbert, W. S., 2790:Downloaded 15 October 2006. 1462:' 1888 portrait of Sullivan 1027:The Illustrated London News 961:Collaboration with Sullivan 712:The Illustrated London News 384:and a drama critic for the 5397: 5281:19th-century English poets 5056:W. S. Gilbert bibliography 5026:D'Oyly Carte Opera Company 4511:Grossmith, George (1888). 3485:Stedman (1996), pp. 264–65 2828:The Realm of Joy: Synopsis 2692:Stedman (1996), pp. 69–80. 2683:Crowther (2011), pp. 82–83 2571:Stedman (1996), pp. 34–35. 2508:Stedman (1996), pp. 16–18. 2499:Stedman (1996), pp. 26–29. 2017:W. S. Gilbert bibliography 1926: 1879:Gilbert by the cartoonist 1239:D'Oyly Carte Opera Company 1193: 323:, but with the end of the 311:, London, and then at the 128:German Reed Entertainments 93:D'Oyly Carte Opera Company 65:, which produced fourteen 5316:English opera librettists 5291:British theatre directors 5195: 4881: 4795:The Life of W. S. Gilbert 4585:Stedman, Jane W. (2000). 4566:Stedman, Jane W. (1996). 4549:Pearson, Hesketh (1957). 4338:Crowther, Andrew (2011). 4319:Crowther, Andrew (2000). 4300:Cox-Ife, William (1978). 4216:Bradley (2005), Chapter 1 3921:Dark and Grey, pp. 157–58 3743:The Pinafore Picture Book 3182:, 18 February 1879, p. 5 3060:The Secrets of a Savoyard 2543:Reminiscences, Chapter 16 2285:accessed 13 October 2006. 2099:The full quote refers to 1751:in the lake of his home, 1538:Royal English Opera House 1456:National Portrait Gallery 1320:the costumes himself for 1249:For the next decade, the 1210:, illustrated here, into 1102:(1877) is still produced. 563:(looking at Lord Margate) 392:'s Christmas annuals, to 215:, especially influencing 5366:British Militia officers 4479:. London: Terence Rees. 4241:Ainger, Michael (2002). 4146:, 20 February 1955; and 4126:PG Wodehouse (1881–1975) 4082:, 14 February 1957, p. 5 3697:, Vol. 61, Issue 5, 2011 3504:15 February 2013 at the 3425:(1898) London: E. Arnold 3423:, Chapter VI, pp. 122–23 3421:Amateur Clubs and Actors 3417:Elliot, William Gerald. 3319:Profile of W. S. Gilbert 3196:"Stage: W. S. Gilbert's 3125:Walbrook, H. M. (1922), 2613:Goldberg (1931), p. xvii 1190:Peak collaborative years 939:in a charity matinee of 837:Gilbert Arthur à Beckett 386:Illustrated London Times 331:. Instead he joined the 4983:The Yeomen of the Guard 4941:The Pirates of Penzance 4530:Jacobs, Arthur (1992). 4456:Gilbert, W. S. (1908). 4437:Gilbert, W. S. (1911). 4394:Gilbert, W. S. (1892). 4376:Gilbert, W. S. (1908). 3852:San Francisco Chronicle 3779:Stedman (1996), p. 328. 3758:The Story of The Mikado 3706:Stedman (1996), p. 343. 3603:Stedman (1996), p. 278. 3545:, accessed 7 July 2009. 3184:(subscription required) 2672:List of Gilbert's Plays 2633:, accessed 21 July 2016 2624:the Haddon Hall website 2294:Bradley, Chapter 1 and 2276:G&S Story: Part III 1380:The Pirates of Penzance 1307:The Yeomen of the Guard 1265:The Pirates of Penzance 1157:(1877), which inspired 1145:Dan'l Druce, Blacksmith 745:The Pirates of Penzance 656:Gallery of Illustration 519:, including one called 264:Gilbert was born at 17 192:, to a country estate, 175:The Yeomen of the Guard 154:The Pirates of Penzance 78:The Pirates of Penzance 4766:Works by W. S. Gilbert 4756:Works by W. S. Gilbert 4747:Works by W. S. Gilbert 4627:Wolfson, John (1976). 4236: 4025:Views of W. S. Gilbert 3863:Stedman (1996), p. 346 3837:, accessed 2 June 2011 3827:"Spencer, Sir Stanley" 3801:, accessed 2 June 2011 3731:Stedman (1996), p. 331 3612:Stedman (1996) p. 281. 3594:Stedman (1996) p. 251. 3581:Letter to the Editor, 3380:, 17 April 1922, p. 17 3367:Stedman (1996), p. 254 3330:Stedman (1996), p. 155 3294:, accessed 26 May 2009 3174:"Dramatic and Musical" 2866:Crowther (2011), p. 74 2721:Crowther (2011), p. 84 2562:Crowther (2011), p. 45 2157:Views of W. S. Gilbert 2008: 1951: 1950:Gilbert in his library 1944: 1908: 1890: 1873: 1823: 1813: 1800: 1728: 1626: 1553: 1500: 1463: 1349: 1217: 1103: 1052:Euphrosyne Parepa-Rosa 1031: 957: 916: 719: 671:musical entertainments 627: 591:Gaiety Theatre, London 571: 512: 422: 300: 43: 5381:British Army soldiers 5118:The Sapphire Necklace 4646:Wren, Gayden (2006). 4279:Bradley, Ian (2005). 4260:Bond, Jessie (1930). 4231: 4102:courant.com archives. 3979:Scott, Mrs. Clement, 3585:, 12 March 1904; p. 9 2857:Stedman (1996), p. 39 2604:Stedman (1996), p. 62 2102:Pygmalion and Galatea 2000:theatre of the absurd 1949: 1933:In 1957, a review in 1927:Further information: 1878: 1805: 1795: 1718: 1613:'s illustration from 1609: 1546: 1526:, and Sullivan wrote 1495: 1449: 1355:The Martyr of Antioch 1342: 1203: 1106:After the success of 1096: 1019: 955: 910: 808:Pygmalion and Galatea 785:Pygmalion and Galatea 702: 619: 500: 420: 372:The Cornhill Magazine 365:, started in 1861 by 317:King's College London 294: 229:Early life and career 35: 5326:Gilbert and Sullivan 5301:English illustrators 5041:Bridget D'Oyly Carte 4896:Richard D'Oyly Carte 4875:Gilbert and Sullivan 4832:1 March 2012 at the 4801:Interview of Gilbert 4797:, by Andrew Crowther 4631:. London: Chappell. 4138:Millstein, Gilbert. 3668:Wolfson, pp. 102–03. 3655:5 April 2015 at the 3402:Hollingshead, John. 3344:"Foggerty's Failure" 3342:: Crowther, Andrew. 3249:Nestruck, J. Kelly. 2629:4 March 2016 at the 2149:In his short story, 1977:Oscar Hammerstein II 1663:Caius Gabriel Cibber 1647:Justice of the Peace 1582:, his protégée from 1519:Haste to the Wedding 1196:Gilbert and Sullivan 1056:Richard D'Oyly Carte 724:Gilbert and Sullivan 636:Victorian burlesques 299:"Gentle Alice Brown" 89:Richard D'Oyly Carte 5036:Rupert D'Oyly Carte 4806:The Strand Magazine 4553:. London: Methuen. 4363:. London: Methuen. 4182:The Strand Magazine 4049:The Daily Telegraph 4001:Ainger, pp. 193–94. 3967:The Daily Telegraph 3938:Herbert Jenkins Ltd 3659:at LondonRemembers. 3563:Wolfson, pp. 61–65. 3221:The Daily Telegraph 3141:Traubner, Richard. 3071:Jennett, Norman E. 2983:Grossmith, George. 2948:"Mr. W. S. Gilbert" 2905:, Tableau III, 1874 2466:Gilbert, W. S. ed. 2347:(1890), pp. 158–59. 2309:"Engaging the Past" 2307:Feingold, Michael, 2215:was not far behind. 2185:"Engaging the Past" 1850:, and with actress 1835:The Daily Telegraph 1721:Victoria Embankment 956:Sir Arthur Sullivan 775:The Palace of Truth 683:, opening in 1869. 661:The Pretty Druidess 412:Franco-Prussian War 313:Great Ealing School 209:George Bernard Shaw 5341:People from Pinner 5311:English male poets 5174:The Rose of Persia 5126:The Contrabandista 4304:. London: Dobson. 4237: 4144:The New York Times 3936:, p. 195, London: 3813:and Rowland Grey. 3770:Ainger, pp. 417–18 3715:Crowther, Andrew. 3510:Limelight Magazine 3450:Crowther, Andrew, 3391:The Theatre Museum 3356:Comedy and Tragedy 3268:Ainger, pp. 147–52 3256:The Globe and Mail 3215:Spencer, Charles. 3204:The New York Times 3179:The New York Times 3050:Morrison, Robert. 2952:Real Conversations 2883:and Bond, Jessie, 2840:Crowther, Andrew. 2825:Crowther, Andrew. 2786:The New-York Times 2730:Smith, J. Donald, 2704:Crowther, Andrew, 2435:Morrison, Robert, 2404:Pearson, pp. 16–17 1984:short, sharp shock 1952: 1891: 1814: 1729: 1681:The Fortune Hunter 1629:Gilbert built the 1627: 1554: 1464: 1458:, London, next to 1392:Comedy and Tragedy 1388:Comedy and Tragedy 1350: 1218: 1104: 1032: 958: 917: 754:, 1875, reused in 742:, 1870, reused in 720: 648:Thomas German Reed 628: 513: 423: 402:Savage Club Papers 301: 266:Southampton Street 44: 18:William S. Gilbert 5223: 5222: 5093:Performing groups 4751:Project Gutenberg 4732:978-1-84-749754-3 4692:978-0-19-816503-3 4661:978-0-19-514514-4 4638:978-0-903443-12-8 4600:978-0-85430-068-6 4577:978-0-19-816174-5 4541:978-0-931340-51-2 4486:978-0-9500108-1-6 4424:978-0-86051-337-7 4349:978-0-7524-5589-1 4330:978-0-8386-3839-2 4311:978-0-234-77206-5 4292:978-0-19-516700-9 4252:978-0-19-514769-8 4037:Grossmith, p. 190 3882:978-1-85811-550-4 3872:Goodman, Andrew. 3650:Charles II Statue 3240:, 2 December 2002 3223:, 4 December 2002 2926:Stedman, Jane W. 2774:, 3 November 2006 2768:"True anarchists" 2479:Stedman, Jane W. 2390:(subscription or 2380:Stedman, Jane W. 2313:The Village Voice 2189:The Village Voice 1769:Thames Embankment 1761:St. John's Church 1643:Frederick Goodall 1423:John Hollingshead 1414:The Forty Thieves 1401:Brantinghame Hall 1365:The Ne'er-Do-Weel 1360:Henry Hart Milman 991:(1872), and with 833: 832: 770:Haymarket Theatre 581:Giacomo Meyerbeer 579:, a burlesque of 540:Gaetano Donizetti 451:(who defected to 262: 261: 41:Elliott & Fry 16:(Redirected from 5388: 5331:Knights Bachelor 5213: 5212: 5203: 5202: 5182:The Emerald Isle 5166:The Beauty Stone 4868: 4861: 4854: 4845: 4803:by Harry How in 4785:Internet Archive 4777: 4776: 4736: 4713: 4696: 4665: 4653: 4642: 4623: 4604: 4592: 4581: 4562: 4545: 4526: 4507: 4498:. Boston: Luce. 4490: 4471: 4452: 4428: 4409: 4389: 4372: 4353: 4334: 4315: 4296: 4275: 4256: 4217: 4214: 4208: 4205: 4199: 4192: 4186: 4174: 4168: 4159: 4153: 4136: 4130: 4122: 4116: 4110: 4104: 4098:Hartford Courant 4094: 4083: 4076: 4070: 4061:Barnby, Muriel. 4059: 4053: 4052:, 6 January 1956 4044: 4038: 4035: 4029: 4020: 4014: 4008: 4002: 3999: 3993: 3990: 3984: 3977: 3971: 3962: 3953: 3947: 3941: 3928: 3922: 3919: 3913: 3906: 3897: 3890: 3884: 3870: 3864: 3861: 3855: 3846:Elliott, Vicky. 3844: 3838: 3824: 3818: 3808: 3802: 3786: 3780: 3777: 3771: 3768: 3762: 3753: 3747: 3738: 3732: 3729: 3723: 3713: 3707: 3704: 3698: 3687: 3678: 3677:Wolfson, p. 102. 3675: 3669: 3666: 3660: 3647: 3641: 3638:Survey of London 3631: 3625: 3619: 3613: 3610: 3604: 3601: 3595: 3592: 3586: 3579: 3573: 3570: 3564: 3561: 3555: 3552: 3546: 3533:Shepherd, Marc. 3531: 3522: 3519: 3513: 3495: 3486: 3483: 3477: 3470: 3464: 3461: 3455: 3448: 3435: 3434:Bradley, p. 176. 3432: 3426: 3415: 3409: 3400: 3394: 3387: 3381: 3374: 3368: 3365: 3359: 3353: 3347: 3340:Foggerty's Fairy 3337: 3331: 3328: 3322: 3316: 3310: 3304: 3295: 3288: 3282: 3275: 3269: 3266: 3260: 3247: 3241: 3230: 3224: 3213: 3207: 3192: 3186: 3185: 3171: 3165: 3161:Gilbert (1875), 3159: 3153: 3139: 3133: 3123: 3117: 3114: 3108: 3101: 3095: 3088: 3082: 3069: 3063: 3048: 3042: 3035:Gilbert, W. S.. 3033: 3027: 3018: 3012: 3008:Gilbert, W. S., 3006: 3000: 2997: 2991: 2990: 2980: 2974: 2973: 2961: 2955: 2941: 2935: 2924: 2918: 2912: 2906: 2897: 2891: 2873: 2867: 2864: 2858: 2855: 2849: 2838: 2832: 2823: 2817: 2808:Rees, Terence. " 2806: 2800: 2797: 2791: 2781: 2775: 2764: 2751: 2742: 2736: 2728: 2722: 2719: 2713: 2702: 2693: 2690: 2684: 2681: 2675: 2669: 2656: 2647: 2634: 2620: 2614: 2611: 2605: 2602: 2596: 2581: 2572: 2569: 2563: 2560: 2554: 2539: 2533: 2530: 2524: 2523:, Act 2, Scene 1 2517:Robertson, Tom. 2515: 2509: 2506: 2500: 2497: 2491: 2477: 2471: 2464: 2458: 2455: 2449: 2446: 2440: 2433: 2427: 2420: 2414: 2411: 2405: 2402: 2396: 2395: 2378: 2365: 2354: 2348: 2341: 2335: 2327: 2316: 2305: 2299: 2292: 2286: 2271: 2255: 2244: 2238: 2235: 2229: 2222: 2216: 2198: 2192: 2181: 2175: 2167: 2161: 2147: 2141: 2134: 2128: 2121:Victorien Sardou 2113: 2107: 2097: 2091: 2084: 2078: 2069: 2063: 2060:The Bab Ballads, 2056: 2050: 2047: 1899:Ellaline Terriss 1865:Foggerty's Fairy 1852:Henrietta Hodson 1830:George Grossmith 1806:Caricature from 1738:William Davenant 1616:The Wicked World 1524:George Grossmith 1375:Foggerty's Fairy 1343:Lithograph from 1127:Eyes and No Eyes 1030:, 6 January 1872 1020:Illustration of 865:Lord Chamberlain 856:The Realm of Joy 847:The Wicked World 813: 791:The Wicked World 782:. In 1871, with 780:Madame de Genlis 751:Eyes and No Eyes 730:, used again in 586:Robert le diable 576:Robert the Devil 552:, full of awful 545:L'elisir d'amore 510:Charles Millward 382:L'Invalide Russe 276:, was briefly a 238: 21: 5396: 5395: 5391: 5390: 5389: 5387: 5386: 5385: 5346:Victorian poets 5226: 5225: 5224: 5219: 5191: 5102:Sullivan operas 5097: 5009: 4997:Utopia, Limited 4934:H.M.S. Pinafore 4900: 4891:Arthur Sullivan 4877: 4872: 4834:Wayback Machine 4774: 4743: 4733: 4716: 4699: 4693: 4675: 4672: 4670:Further reading 4662: 4645: 4639: 4626: 4607: 4601: 4584: 4578: 4565: 4548: 4542: 4529: 4510: 4493: 4487: 4474: 4455: 4436: 4425: 4412: 4393: 4375: 4356: 4350: 4337: 4331: 4318: 4312: 4299: 4293: 4278: 4259: 4253: 4240: 4226: 4221: 4220: 4215: 4211: 4206: 4202: 4194:Green, Edward. 4193: 4189: 4179:, Part 3, from 4175: 4171: 4160: 4156: 4137: 4133: 4123: 4119: 4111: 4107: 4095: 4086: 4077: 4073: 4067:Strand Magazine 4060: 4056: 4045: 4041: 4036: 4032: 4021: 4017: 4009: 4005: 4000: 3996: 3991: 3987: 3978: 3974: 3963: 3956: 3948: 3944: 3930:Boyd, Frank M. 3929: 3925: 3920: 3916: 3907: 3900: 3891: 3887: 3871: 3867: 3862: 3858: 3845: 3841: 3825: 3821: 3809: 3805: 3787: 3783: 3778: 3774: 3769: 3765: 3755:Gilbert, W. S. 3754: 3750: 3740:Gilbert, W. S. 3739: 3735: 3730: 3726: 3714: 3710: 3705: 3701: 3688: 3681: 3676: 3672: 3667: 3663: 3657:Wayback Machine 3648: 3644: 3632: 3628: 3620: 3616: 3611: 3607: 3602: 3598: 3593: 3589: 3580: 3576: 3572:Wolfson, passim 3571: 3567: 3562: 3558: 3553: 3549: 3532: 3525: 3521:Stedman, p. 270 3520: 3516: 3506:Wayback Machine 3496: 3489: 3484: 3480: 3471: 3467: 3462: 3458: 3449: 3438: 3433: 3429: 3416: 3412: 3401: 3397: 3393:, London (2009) 3388: 3384: 3375: 3371: 3366: 3362: 3354: 3350: 3338: 3334: 3329: 3325: 3317: 3313: 3305: 3298: 3289: 3285: 3276: 3272: 3267: 3263: 3259:, 28 June 2016. 3248: 3244: 3231: 3227: 3214: 3210: 3206:, 30 April 1981 3193: 3189: 3183: 3172: 3168: 3160: 3156: 3140: 3136: 3124: 3120: 3116:Stedman, p. 121 3115: 3111: 3102: 3098: 3089: 3085: 3078:New York Herald 3070: 3066: 3052:Editorial Notes 3049: 3045: 3034: 3030: 3019: 3015: 3007: 3003: 2998: 2994: 2986:A Society Clown 2982: 2981: 2977: 2972:on 10 May 2011. 2963: 2962: 2958: 2944:Archer, William 2942: 2938: 2925: 2921: 2913: 2909: 2899:Gilbert, W. S. 2898: 2894: 2874: 2870: 2865: 2861: 2856: 2852: 2839: 2835: 2824: 2820: 2807: 2803: 2798: 2794: 2782: 2778: 2765: 2754: 2743: 2739: 2729: 2725: 2720: 2716: 2703: 2696: 2691: 2687: 2682: 2678: 2670: 2659: 2654:, Introduction. 2648: 2637: 2631:Wayback Machine 2621: 2617: 2612: 2608: 2603: 2599: 2583:Gilbert, W. S. 2582: 2575: 2570: 2566: 2561: 2557: 2540: 2536: 2531: 2527: 2516: 2512: 2507: 2503: 2498: 2494: 2478: 2474: 2465: 2461: 2456: 2452: 2448:Pearson, p. 16. 2447: 2443: 2434: 2430: 2421: 2417: 2412: 2408: 2403: 2399: 2389: 2379: 2368: 2362:Strand Magazine 2355: 2351: 2343:Gilbert, W. S. 2342: 2338: 2328: 2319: 2306: 2302: 2293: 2289: 2273:Kenrick, John. 2272: 2268: 2263: 2258: 2245: 2241: 2236: 2232: 2223: 2219: 2199: 2195: 2182: 2178: 2168: 2164: 2148: 2144: 2135: 2131: 2125:Alexandre Dumas 2114: 2110: 2098: 2094: 2086:David Eden (in 2085: 2081: 2070: 2066: 2057: 2053: 2048: 2044: 2040: 2035: 2013: 1961:P. G. Wodehouse 1956:Garrick Theatre 1931: 1925: 1777: 1725:George Frampton 1703:H.M.S. Pinafore 1655:Utopia, Limited 1631:Garrick Theatre 1604: 1563:Utopia, Limited 1550:Utopia, Limited 1509:The Mountebanks 1476:H.M.S. Pinafore 1440: 1427:Oliver Cromwell 1229:H.M.S. Pinafore 1198: 1192: 1060:Royalty Theatre 968: 963: 894:and especially 887: 739:Our Island Home 614: 568: 566: 561: 525:Hush-a-Bye Baby 508:by Gilbert and 488: 465:'Round table'. 321:Royal Artillery 251:My Maiden Brief 236: 231: 213:musical theatre 150:H.M.S. Pinafore 72:H.M.S. Pinafore 63:Arthur Sullivan 28: 23: 22: 15: 12: 11: 5: 5394: 5392: 5384: 5383: 5378: 5373: 5368: 5363: 5358: 5353: 5348: 5343: 5338: 5333: 5328: 5323: 5318: 5313: 5308: 5303: 5298: 5293: 5288: 5283: 5278: 5273: 5268: 5263: 5258: 5253: 5248: 5243: 5238: 5228: 5227: 5221: 5220: 5218: 5217: 5207: 5196: 5193: 5192: 5190: 5189: 5178: 5170: 5162: 5154: 5146: 5138: 5130: 5122: 5114: 5105: 5103: 5099: 5098: 5096: 5095: 5090: 5085: 5080: 5075: 5070: 5065: 5064: 5063: 5061:dramatic works 5053: 5048: 5043: 5038: 5033: 5028: 5023: 5017: 5015: 5011: 5010: 5008: 5007: 5004:The Grand Duke 5000: 4993: 4990:The Gondoliers 4986: 4979: 4972: 4965: 4958: 4951: 4944: 4937: 4930: 4923: 4916: 4908: 4906: 4902: 4901: 4899: 4898: 4893: 4888: 4882: 4879: 4878: 4873: 4871: 4870: 4863: 4856: 4848: 4842: 4841: 4836: 4824: 4816: 4810: 4798: 4792: 4787: 4778: 4763: 4753: 4742: 4741:External links 4739: 4738: 4737: 4731: 4714: 4697: 4691: 4671: 4668: 4667: 4666: 4660: 4643: 4637: 4624: 4605: 4599: 4582: 4576: 4563: 4546: 4540: 4527: 4508: 4491: 4485: 4472: 4453: 4434: 4423: 4410: 4391: 4373: 4354: 4348: 4335: 4329: 4316: 4310: 4297: 4291: 4276: 4257: 4251: 4225: 4222: 4219: 4218: 4209: 4200: 4187: 4169: 4161:Furia, Philip. 4154: 4131: 4117: 4105: 4084: 4071: 4054: 4039: 4030: 4015: 4003: 3994: 3985: 3972: 3954: 3949:Bond, Jessie, 3942: 3923: 3914: 3898: 3885: 3865: 3856: 3839: 3819: 3803: 3793:David Gascoyne 3781: 3772: 3763: 3748: 3733: 3724: 3708: 3699: 3689:Bradley, Ian. 3679: 3670: 3661: 3642: 3626: 3614: 3605: 3596: 3587: 3574: 3565: 3556: 3554:Wolfson, p. 7. 3547: 3539:The Grand Duke 3523: 3514: 3487: 3478: 3465: 3456: 3436: 3427: 3410: 3395: 3382: 3369: 3360: 3348: 3332: 3323: 3311: 3296: 3290:Rosen, Zvi S. 3283: 3277:Bond, Jessie, 3270: 3261: 3242: 3232:Gardner, Lyn, 3225: 3208: 3187: 3166: 3154: 3134: 3118: 3109: 3096: 3083: 3064: 3043: 3028: 3013: 3001: 2992: 2975: 2956: 2936: 2919: 2907: 2892: 2888:, Introduction 2881:"A Stage Play" 2868: 2859: 2850: 2833: 2818: 2810:The Happy Land 2801: 2792: 2776: 2752: 2747:Topsyturveydom 2737: 2723: 2714: 2694: 2685: 2676: 2657: 2649:Bond, Jessie, 2635: 2615: 2606: 2597: 2573: 2564: 2555: 2534: 2525: 2510: 2501: 2492: 2472: 2470:– Introduction 2459: 2450: 2441: 2428: 2415: 2406: 2397: 2366: 2349: 2336: 2317: 2300: 2287: 2265: 2264: 2262: 2259: 2257: 2256: 2239: 2230: 2217: 2213:The Gondoliers 2193: 2176: 2162: 2142: 2129: 2108: 2092: 2079: 2064: 2051: 2041: 2039: 2036: 2034: 2031: 2030: 2029: 2024: 2019: 2012: 2009: 2004:Jonathan Swift 1924: 1921: 1848:Fallen Fairies 1776: 1773: 1687:Fallen Fairies 1675:The Grand Duke 1622:Fallen Fairies 1603: 1600: 1592:The Grand Duke 1580:Nancy McIntosh 1575:His Excellency 1569:The Grand Duke 1514:Alfred Cellier 1504:The Gondoliers 1487:The Gondoliers 1480:The Gondoliers 1454:(1886) in the 1439: 1436: 1384:The Gondoliers 1313:The Gondoliers 1194:Main article: 1191: 1188: 1178:New York Times 998:Topsyturveydom 993:Alfred Cellier 978:Gaiety Theatre 967: 964: 962: 959: 886: 883: 842:The Happy Land 831: 830: 818: 817: 706:The Happy Land 650:(and his wife 613: 610: 599:Isaac Goldberg 487: 484: 394:Saturday Night 260: 259: 245: 244: 235: 232: 230: 227: 190:Nancy McIntosh 181:The Gondoliers 61:with composer 26: 24: 14: 13: 10: 9: 6: 4: 3: 2: 5393: 5382: 5379: 5377: 5374: 5372: 5369: 5367: 5364: 5362: 5359: 5357: 5354: 5352: 5349: 5347: 5344: 5342: 5339: 5337: 5334: 5332: 5329: 5327: 5324: 5322: 5319: 5317: 5314: 5312: 5309: 5307: 5304: 5302: 5299: 5297: 5294: 5292: 5289: 5287: 5284: 5282: 5279: 5277: 5274: 5272: 5269: 5267: 5264: 5262: 5259: 5257: 5254: 5252: 5249: 5247: 5244: 5242: 5239: 5237: 5236:W. S. Gilbert 5234: 5233: 5231: 5216: 5208: 5206: 5198: 5197: 5194: 5188: 5184: 5183: 5179: 5176: 5175: 5171: 5168: 5167: 5163: 5160: 5159: 5158:The Chieftain 5155: 5152: 5151: 5147: 5144: 5143: 5139: 5136: 5135: 5131: 5128: 5127: 5123: 5120: 5119: 5115: 5112: 5111: 5107: 5106: 5104: 5100: 5094: 5091: 5089: 5086: 5084: 5081: 5079: 5076: 5074: 5071: 5069: 5066: 5062: 5059: 5058: 5057: 5054: 5052: 5049: 5047: 5044: 5042: 5039: 5037: 5034: 5032: 5029: 5027: 5024: 5022: 5019: 5018: 5016: 5012: 5006: 5005: 5001: 4999: 4998: 4994: 4992: 4991: 4987: 4985: 4984: 4980: 4978: 4977: 4973: 4971: 4970: 4966: 4964: 4963: 4959: 4957: 4956: 4952: 4950: 4949: 4945: 4943: 4942: 4938: 4936: 4935: 4931: 4929: 4928: 4924: 4922: 4921: 4920:Trial by Jury 4917: 4915: 4914: 4910: 4909: 4907: 4903: 4897: 4894: 4892: 4889: 4887: 4886:W. S. Gilbert 4884: 4883: 4880: 4876: 4869: 4864: 4862: 4857: 4855: 4850: 4849: 4846: 4840: 4837: 4835: 4831: 4828: 4825: 4822: 4821: 4817: 4814: 4811: 4808: 4807: 4802: 4799: 4796: 4793: 4791: 4788: 4786: 4782: 4779: 4771: 4767: 4764: 4761: 4757: 4754: 4752: 4748: 4745: 4744: 4740: 4734: 4728: 4724: 4723:Alma Classics 4720: 4715: 4711: 4707: 4703: 4698: 4694: 4688: 4684: 4683: 4678: 4674: 4673: 4669: 4663: 4657: 4652: 4651: 4644: 4640: 4634: 4630: 4625: 4621: 4617: 4613: 4612: 4606: 4602: 4596: 4591: 4590: 4583: 4579: 4573: 4569: 4564: 4560: 4556: 4552: 4547: 4543: 4537: 4533: 4528: 4524: 4520: 4516: 4515: 4509: 4505: 4501: 4497: 4492: 4488: 4482: 4478: 4473: 4469: 4465: 4461: 4460: 4454: 4450: 4446: 4442: 4441: 4435: 4432: 4426: 4420: 4416: 4411: 4407: 4403: 4399: 4398: 4392: 4387: 4383: 4379: 4374: 4370: 4366: 4362: 4361: 4355: 4351: 4345: 4341: 4336: 4332: 4326: 4322: 4317: 4313: 4307: 4303: 4298: 4294: 4288: 4284: 4283: 4277: 4273: 4269: 4265: 4264: 4258: 4254: 4248: 4244: 4239: 4238: 4235: 4230: 4223: 4213: 4210: 4204: 4201: 4197: 4191: 4188: 4184: 4183: 4178: 4173: 4170: 4166: 4165: 4158: 4155: 4151: 4150: 4145: 4141: 4135: 4132: 4128: 4127: 4121: 4118: 4115: 4109: 4106: 4103: 4099: 4093: 4091: 4089: 4085: 4081: 4075: 4072: 4068: 4064: 4058: 4055: 4051: 4050: 4043: 4040: 4034: 4031: 4027: 4026: 4019: 4016: 4012: 4007: 4004: 3998: 3995: 3989: 3986: 3982: 3976: 3973: 3970:, 7 June 1911 3969: 3968: 3961: 3959: 3955: 3952: 3946: 3943: 3939: 3935: 3934: 3927: 3924: 3918: 3915: 3911: 3905: 3903: 3899: 3895: 3889: 3886: 3883: 3879: 3875: 3869: 3866: 3860: 3857: 3853: 3849: 3843: 3840: 3836: 3832: 3828: 3823: 3820: 3816: 3812: 3807: 3804: 3800: 3799: 3794: 3790: 3785: 3782: 3776: 3773: 3767: 3764: 3760: 3759: 3752: 3749: 3745: 3744: 3737: 3734: 3728: 3725: 3721: 3720: 3712: 3709: 3703: 3700: 3696: 3695:History Today 3692: 3686: 3684: 3680: 3674: 3671: 3665: 3662: 3658: 3654: 3651: 3646: 3643: 3639: 3635: 3630: 3627: 3623: 3618: 3615: 3609: 3606: 3600: 3597: 3591: 3588: 3584: 3578: 3575: 3569: 3566: 3560: 3557: 3551: 3548: 3544: 3540: 3536: 3530: 3528: 3524: 3518: 3515: 3511: 3507: 3503: 3500: 3494: 3492: 3488: 3482: 3479: 3475: 3469: 3466: 3460: 3457: 3453: 3447: 3445: 3443: 3441: 3437: 3431: 3428: 3424: 3422: 3414: 3411: 3407: 3406: 3399: 3396: 3392: 3386: 3383: 3379: 3373: 3370: 3364: 3361: 3357: 3352: 3349: 3345: 3341: 3336: 3333: 3327: 3324: 3320: 3315: 3312: 3308: 3303: 3301: 3297: 3293: 3287: 3284: 3280: 3274: 3271: 3265: 3262: 3258: 3257: 3252: 3246: 3243: 3239: 3235: 3229: 3226: 3222: 3218: 3212: 3209: 3205: 3201: 3199: 3194:Corry, John. 3191: 3188: 3181: 3180: 3175: 3170: 3167: 3164: 3158: 3155: 3152: 3151:0-203-50902-1 3148: 3144: 3138: 3135: 3131: 3129: 3122: 3119: 3113: 3110: 3106: 3100: 3097: 3093: 3087: 3084: 3080: 3079: 3074: 3068: 3065: 3061: 3057: 3053: 3047: 3044: 3040: 3039: 3032: 3029: 3026: 3024: 3023:Reminiscences 3020:Bond, Jessie, 3017: 3014: 3011: 3005: 3002: 2996: 2993: 2988: 2987: 2979: 2976: 2971: 2967: 2960: 2957: 2953: 2949: 2945: 2940: 2937: 2933: 2929: 2923: 2920: 2917: 2911: 2908: 2904: 2903: 2896: 2893: 2889: 2887: 2886:Reminiscences 2882: 2878: 2872: 2869: 2863: 2860: 2854: 2851: 2847: 2845: 2837: 2834: 2830: 2829: 2822: 2819: 2815: 2811: 2805: 2802: 2796: 2793: 2789: 2787: 2780: 2777: 2773: 2769: 2766:Leigh, Mike. 2763: 2761: 2759: 2757: 2753: 2749: 2748: 2741: 2738: 2735: 2734: 2727: 2724: 2718: 2715: 2711: 2710:– Early Days" 2709: 2701: 2699: 2695: 2689: 2686: 2680: 2677: 2673: 2668: 2666: 2664: 2662: 2658: 2655: 2653: 2652:Reminiscences 2646: 2644: 2642: 2640: 2636: 2632: 2628: 2625: 2619: 2616: 2610: 2607: 2601: 2598: 2594: 2593: 2588: 2587: 2580: 2578: 2574: 2568: 2565: 2559: 2556: 2552: 2548: 2544: 2538: 2535: 2532:Ainger, p. 52 2529: 2526: 2522: 2521: 2514: 2511: 2505: 2502: 2496: 2493: 2490: 2489:0-85430-068-6 2486: 2482: 2476: 2473: 2469: 2468:Peter Haining 2463: 2460: 2454: 2451: 2445: 2442: 2438: 2432: 2429: 2425: 2422:Eden, David. 2419: 2416: 2410: 2407: 2401: 2398: 2393: 2387: 2383: 2377: 2375: 2373: 2371: 2367: 2363: 2359: 2353: 2350: 2346: 2340: 2337: 2333: 2332: 2326: 2324: 2322: 2318: 2314: 2310: 2304: 2301: 2297: 2291: 2288: 2284: 2283: 2278: 2277: 2270: 2267: 2260: 2253: 2249: 2243: 2240: 2234: 2231: 2227: 2221: 2218: 2214: 2210: 2206: 2202: 2197: 2194: 2190: 2186: 2180: 2177: 2172: 2171:Trial by Jury 2166: 2163: 2159: 2158: 2152: 2146: 2143: 2139: 2133: 2130: 2126: 2122: 2118: 2112: 2109: 2104: 2103: 2096: 2093: 2089: 2083: 2080: 2076: 2075: 2068: 2065: 2061: 2055: 2052: 2046: 2043: 2037: 2032: 2028: 2025: 2023: 2020: 2018: 2015: 2014: 2010: 2007: 2005: 2001: 1994: 1991: 1989: 1985: 1980: 1978: 1974: 1970: 1966: 1962: 1957: 1948: 1943: 1938: 1936: 1930: 1922: 1920: 1918: 1917:Deer-stalking 1914: 1913:Joseph Barnby 1907: 1902: 1900: 1896: 1895:Seymour Hicks 1888: 1887: 1882: 1877: 1872: 1868: 1866: 1862: 1857: 1856:Clement Scott 1853: 1849: 1845: 1844:C. H. Workman 1840: 1837: 1836: 1831: 1827: 1822: 1817: 1811: 1810: 1804: 1799: 1794: 1792: 1791:May Fortescue 1788: 1787: 1783:'s song from 1782: 1774: 1772: 1770: 1766: 1762: 1758: 1757:Golders Green 1754: 1750: 1745: 1743: 1742:John Vanbrugh 1739: 1734: 1726: 1722: 1717: 1713: 1711: 1710: 1705: 1704: 1699: 1698: 1693: 1692:Edward German 1690:(1909), with 1689: 1688: 1683: 1682: 1677: 1676: 1670: 1668: 1664: 1660: 1656: 1652: 1648: 1644: 1640: 1636: 1632: 1624: 1623: 1618: 1617: 1612: 1611:D. H. Friston 1608: 1601: 1599: 1597: 1593: 1589: 1585: 1581: 1577: 1576: 1571: 1570: 1565: 1564: 1559: 1552: 1551: 1545: 1541: 1539: 1535: 1534:Sydney Grundy 1531: 1530: 1525: 1521: 1520: 1516:and the flop 1515: 1511: 1510: 1505: 1499: 1494: 1492: 1488: 1483: 1481: 1477: 1473: 1469: 1461: 1457: 1453: 1448: 1444: 1437: 1435: 1433: 1428: 1424: 1420: 1416: 1415: 1410: 1405: 1403: 1402: 1397: 1393: 1389: 1385: 1381: 1377: 1376: 1371: 1367: 1366: 1361: 1357: 1356: 1348: 1347: 1341: 1337: 1335: 1331: 1327: 1323: 1319: 1315: 1314: 1309: 1308: 1303: 1302: 1297: 1296: 1291: 1290: 1285: 1284: 1279: 1278: 1273: 1272: 1267: 1266: 1261: 1256: 1252: 1247: 1244: 1240: 1235: 1231: 1230: 1225: 1224: 1215: 1214: 1209: 1208: 1202: 1197: 1189: 1187: 1185: 1180: 1179: 1174: 1170: 1166: 1165: 1160: 1156: 1155: 1149: 1147: 1146: 1141: 1140: 1139:Broken Hearts 1135: 1134: 1133:Princess Toto 1129: 1128: 1123: 1122: 1117: 1113: 1109: 1108:Trial by Jury 1101: 1100: 1095: 1091: 1089: 1088:Trial by Jury 1083: 1081: 1077: 1076: 1075:Trial by Jury 1071: 1070: 1065: 1061: 1057: 1053: 1049: 1045: 1041: 1037: 1029: 1028: 1023: 1018: 1014: 1012: 1008: 1004: 1003:extravaganzas 1000: 999: 994: 990: 989: 988:Happy Arcadia 983: 979: 975: 974: 965: 960: 954: 950: 948: 944: 943: 942:Broken Hearts 938: 934: 933: 932:Trial by Jury 926: 924: 923: 914: 909: 905: 903: 902: 897: 896:Tom Robertson 893: 892:James Planché 884: 882: 880: 876: 872: 871: 866: 862: 858: 857: 852: 848: 844: 843: 838: 829: 828: 827: 820: 819: 815: 814: 811: 809: 805: 804: 803:Broken Hearts 799: 798: 793: 792: 787: 786: 781: 777: 776: 771: 766: 763: 759: 758: 753: 752: 747: 746: 741: 740: 735: 734: 729: 725: 718: 717:D. H. Friston 714: 713: 708: 707: 701: 697: 694: 690: 689:Frederic Clay 686: 682: 681: 674: 672: 668: 667: 662: 657: 653: 649: 644: 641: 637: 633: 625: 624: 618: 611: 609: 607: 606: 600: 594: 592: 588: 587: 582: 578: 577: 570: 564: 557: 555: 551: 547: 546: 541: 537: 533: 532: 526: 522: 518: 511: 507: 503: 499: 495: 493: 485: 483: 481: 480: 475: 471: 466: 464: 460: 456: 455: 450: 449:F. C. Burnand 446: 445:Clement Scott 442: 438: 437:Tom Robertson 434: 430: 429: 419: 415: 413: 409: 408: 403: 399: 395: 391: 387: 383: 379: 375: 373: 368: 364: 363: 356: 354: 350: 346: 342: 338: 337:Privy Council 334: 333:Civil Service 330: 329:line regiment 326: 322: 318: 314: 310: 306: 298: 293: 289: 287: 283: 279: 278:naval surgeon 275: 271: 267: 258: 257: 253: 252: 247: 246: 243: 240: 239: 233: 228: 226: 224: 223: 218: 214: 210: 206: 201: 199: 195: 191: 185: 183: 182: 177: 176: 171: 167: 166: 161: 160: 155: 151: 147: 146: 141: 140: 139:Trial by Jury 135: 134: 129: 125: 121: 117: 116: 111: 110: 105: 100: 98: 94: 91:founded, the 90: 86: 85: 80: 79: 74: 73: 68: 64: 60: 59:collaboration 56: 52: 48: 42: 38: 34: 30: 19: 5180: 5172: 5164: 5156: 5148: 5140: 5132: 5124: 5116: 5108: 5002: 4995: 4988: 4981: 4974: 4967: 4962:Princess Ida 4960: 4953: 4946: 4939: 4932: 4927:The Sorcerer 4925: 4918: 4911: 4885: 4820:A Stage Play 4819: 4804: 4718: 4701: 4681: 4677:Bradley, Ian 4649: 4628: 4610: 4588: 4567: 4550: 4531: 4513: 4495: 4476: 4458: 4439: 4430: 4414: 4396: 4377: 4359: 4339: 4320: 4301: 4281: 4262: 4242: 4212: 4203: 4190: 4180: 4172: 4163: 4157: 4148: 4143: 4134: 4125: 4120: 4113: 4108: 4097: 4079: 4074: 4066: 4057: 4047: 4042: 4033: 4024: 4018: 4010: 4006: 3997: 3988: 3980: 3975: 3965: 3945: 3932: 3926: 3917: 3909: 3888: 3873: 3868: 3859: 3851: 3842: 3830: 3822: 3814: 3811:Dark, Sidney 3806: 3796: 3784: 3775: 3766: 3757: 3751: 3742: 3736: 3727: 3719:The Hooligan 3718: 3711: 3702: 3694: 3673: 3664: 3645: 3637: 3629: 3617: 3608: 3599: 3590: 3582: 3577: 3568: 3559: 3550: 3542: 3538: 3517: 3509: 3481: 3468: 3459: 3430: 3420: 3413: 3404: 3398: 3385: 3377: 3372: 3363: 3355: 3351: 3339: 3335: 3326: 3314: 3286: 3273: 3264: 3254: 3245: 3238:The Guardian 3237: 3228: 3220: 3211: 3203: 3197: 3190: 3177: 3169: 3162: 3157: 3142: 3137: 3127: 3121: 3112: 3104: 3099: 3091: 3086: 3076: 3067: 3059: 3056:Henry Lytton 3046: 3038:A Stage Play 3037: 3031: 3022: 3016: 3010:A Stage Play 3004: 2995: 2985: 2978: 2970:the original 2959: 2951: 2939: 2931: 2922: 2915: 2910: 2900: 2895: 2885: 2876: 2871: 2862: 2853: 2843: 2836: 2827: 2821: 2813: 2809: 2804: 2799:Wren, p. 13. 2795: 2785: 2779: 2772:The Guardian 2771: 2745: 2740: 2731: 2726: 2717: 2707: 2688: 2679: 2651: 2618: 2609: 2600: 2590: 2584: 2567: 2558: 2551:Country Life 2550: 2546: 2537: 2528: 2519: 2513: 2504: 2495: 2480: 2475: 2462: 2453: 2444: 2431: 2423: 2418: 2409: 2400: 2385: 2361: 2356:How, Harry. 2352: 2344: 2339: 2330: 2315:, 4 May 2004 2312: 2303: 2295: 2290: 2281: 2275: 2269: 2251: 2242: 2233: 2220: 2212: 2208: 2204: 2200: 2196: 2188: 2179: 2170: 2165: 2156: 2151:A Stage Play 2150: 2145: 2137: 2132: 2116: 2111: 2100: 2095: 2087: 2082: 2072: 2067: 2059: 2054: 2045: 1996: 1992: 1981: 1969:Ira Gershwin 1953: 1940: 1934: 1932: 1909: 1904: 1892: 1884: 1870: 1864: 1847: 1841: 1833: 1824: 1819: 1815: 1807: 1796: 1786:Princess Ida 1784: 1778: 1746: 1731:Gilbert was 1730: 1723:, London by 1707: 1701: 1697:The Hooligan 1695: 1685: 1679: 1673: 1671: 1654: 1628: 1620: 1614: 1595: 1591: 1587: 1583: 1573: 1567: 1561: 1558:Tom Chappell 1555: 1548: 1527: 1517: 1507: 1503: 1501: 1496: 1486: 1484: 1479: 1475: 1471: 1468:Princess Ida 1467: 1465: 1450:Portrait by 1441: 1431: 1419:John D'Auban 1412: 1406: 1399: 1391: 1387: 1383: 1379: 1373: 1368:, 1878; and 1363: 1353: 1351: 1344: 1333: 1330:Princess Ida 1329: 1325: 1321: 1317: 1311: 1305: 1299: 1293: 1289:The Princess 1287: 1283:Princess Ida 1281: 1275: 1269: 1263: 1259: 1251:Savoy Operas 1248: 1242: 1233: 1227: 1223:The Sorcerer 1221: 1219: 1213:Princess Ida 1211: 1207:The Princess 1205: 1183: 1176: 1173:Savoy Operas 1168: 1162: 1152: 1150: 1143: 1137: 1131: 1125: 1119: 1115: 1111: 1107: 1105: 1097: 1087: 1084: 1080:La Périchole 1079: 1073: 1069:La Périchole 1067: 1047: 1039: 1035: 1033: 1025: 1021: 1010: 1006: 996: 986: 981: 971: 969: 946: 940: 937:Kyrle Bellew 930: 927: 920: 918: 899: 888: 868: 860: 854: 846: 840: 834: 824: 822: 807: 801: 800:(1874), and 795: 789: 783: 773: 767: 755: 749: 743: 737: 731: 727: 721: 710: 704: 692: 684: 678: 675: 664: 660: 645: 629: 621: 605:An Old Score 603: 595: 584: 574: 572: 562: 559: 543: 529: 524: 520: 514: 501: 491: 489: 477: 470:Annie Thomas 467: 462: 452: 435:, including 432: 426: 424: 407:The Observer 405: 401: 397: 393: 385: 381: 377: 370: 360: 357: 353:Inner Temple 302: 263: 255: 254: 250: 249: 241: 220: 202: 186: 179: 173: 169: 163: 157: 153: 149: 145:The Sorcerer 143: 137: 131: 113: 107: 101: 97:Savoy operas 82: 76: 70: 67:comic operas 46: 45: 37:Cabinet card 29: 5246:1911 deaths 5241:1836 births 5215:WikiProject 5150:Haddon Hall 5110:Cox and Box 5088:Adaptations 5073:Grim's Dyke 5031:Helen Carte 5021:Savoy opera 3910:The Bookman 3497:Ford, Tom. 3405:My Lifetime 3130:(Chapter 3) 3025:, Chapter 4 2846:: Synopsis" 2228:sentiments. 1973:Lorenz Hart 1965:Cole Porter 1886:Vanity Fair 1861:Ned Sothern 1826:Jessie Bond 1781:misanthrope 1775:Personality 1753:Grim's Dyke 1749:Ruby Preece 1667:Soho Square 1635:Grim's Dyke 1602:Later years 1566:(1893) and 1529:Haddon Hall 1491:Helen Carte 1310:(1888) and 1159:Oscar Wilde 1142:(1875) and 901:Sweethearts 885:As director 823:Preface to 797:Sweethearts 703:Scene from 659:burlesque ( 640:Jessie Bond 620:Poster for 486:First plays 479:Topsy-Turvy 474:Grim's Dyke 459:Savage Club 428:Bab Ballads 367:H. J. Byron 325:Crimean War 205:Oscar Wilde 194:Grim's Dyke 109:Bab Ballads 5230:Categories 5185:(1901) w/ 4969:The Mikado 4760:Faded Page 3951:Chapter 16 3474:Chapter 16 2261:References 2254:, 106 B.C. 2252:De Legibus 2226:monarchist 2209:The Mikado 1793:recalled, 1709:The Mikado 1659:Charles II 1452:Frank Holl 1346:The Mikado 1295:The Mikado 1241:. Indeed, 1009:magazine ( 861:Happy Land 762:Mike Leigh 757:The Mikado 583:'s opera, 517:pantomimes 504:– an 1866 492:Uncle Baby 398:Comic News 378:Temple Bar 297:Bab Ballad 234:Beginnings 170:The Mikado 120:burlesques 84:The Mikado 55:librettist 4976:Ruddigore 4559:771800508 4504:503311131 4449:436914141 4112:Cox-Ife, 4080:The Times 4011:Anonymous 3850:SF Gate, 3789:Biography 3717:Notes on 3583:The Times 3378:The Times 3279:Chapter 4 3234:"Engaged" 3058:'s book, 2914:Cox-Ife, 2875:Cox-Ife, 2394:required) 1935:The Times 1832:wrote to 1651:Middlesex 1472:Ruddigore 1409:Harlequin 1396:Holy Week 1334:Ruddigore 1301:Ruddigore 1064:Offenbach 1044:Carl Rosa 976:, at the 851:Gladstone 733:Ruddigore 654:), whose 652:Priscilla 632:operettas 536:burlesque 506:pantomime 349:barrister 196:. He was 124:realistic 51:dramatist 5205:Category 4955:Iolanthe 4948:Patience 4830:Archived 4770:LibriVox 4762:(Canada) 4679:(1996). 4468:19348369 4234:Stanmore 3653:Archived 3502:Archived 2916:foreword 2708:Ages Ago 2627:Archived 2205:Patience 2201:Pinafore 2140:in 1870. 2138:Ages Ago 2011:See also 1988:parodied 1765:Stanmore 1740:and Sir 1733:knighted 1596:libretti 1432:Pinafore 1370:Gretchen 1326:Iolanthe 1322:Patience 1318:designed 1304:(1887), 1298:(1885), 1280:(1882), 1277:Iolanthe 1274:(1881), 1271:Patience 1268:(1879), 1260:Pinafore 1243:Pinafore 1234:Pinafore 1148:(1876). 1124:(1875), 1121:Tom Cobb 794:(1873), 728:Ages Ago 693:Ages Ago 685:Ages Ago 680:Ages Ago 666:No Cards 623:Ages Ago 608:(1869). 441:Tom Hood 400:and the 390:Tom Hood 309:Brompton 305:Boulogne 286:Boulogne 217:Broadway 198:knighted 165:Iolanthe 159:Patience 104:libretti 95:. These 5142:Ivanhoe 5134:The Zoo 5014:Related 4913:Thespis 4783:at the 4620:1454858 4523:8060335 4406:3873303 4386:3160380 4369:3389751 4272:1941674 4224:Sources 3198:Engaged 2844:Charity 2520:Society 2117:The Era 2074:Society 1889:, 1880s 1460:Millais 1255:theatre 1216:(1884). 1184:Engaged 1169:Engaged 1154:Engaged 1116:Thespis 1112:Thespis 1099:Engaged 1036:Thespis 1022:Thespis 982:Thespis 915:reacts. 870:Charity 826:Engaged 341:Militia 274:William 133:Thespis 5187:German 5177:(1899) 5169:(1898) 5161:(1894) 5153:(1892) 5145:(1891) 5137:(1875) 5129:(1867) 5121:(1867) 5113:(1866) 4905:Operas 4809:(1891) 4729: 4710:597003 4708: 4689: 4658: 4635: 4618: 4597: 4574: 4557: 4538: 4521: 4502: 4483: 4466: 4447: 4421: 4404: 4384: 4367: 4346: 4327: 4308: 4289: 4270: 4249: 4114:passim 3940:(1919) 3880: 3163:passim 3149: 2877:passim 2487: 2296:passim 2248:Cicero 2174:time." 2123:or M. 1923:Legacy 1812:, 1881 1727:, 1914 1639:Harrow 1625:(1909) 1588:Utopia 1584:Utopia 1332:, and 626:, 1870 550:farces 396:, the 270:Strand 2038:Notes 1881:'Spy' 1809:Punch 1532:with 1522:with 1512:with 1262:came 1048:Trial 913:Carte 879:Ibsen 463:Punch 454:Punch 282:Milan 4727:ISBN 4706:OCLC 4687:ISBN 4656:ISBN 4633:ISBN 4616:OCLC 4595:ISBN 4572:ISBN 4555:OCLC 4536:ISBN 4519:OCLC 4500:OCLC 4481:ISBN 4464:OCLC 4445:OCLC 4419:ISBN 4402:OCLC 4382:OCLC 4365:OCLC 4344:ISBN 4325:ISBN 4306:ISBN 4287:ISBN 4268:OCLC 4247:ISBN 3878:ISBN 3147:ISBN 2485:ISBN 2207:and 1975:and 1897:and 1736:Sir 1706:and 1649:for 1470:and 1382:and 877:and 875:Shaw 554:puns 534:, a 447:and 376:and 207:and 178:and 152:and 4768:at 4758:at 4749:at 3791:of 3636:in 3054:to 2250:'s 1883:in 1637:in 1598:." 1478:to 1292:), 1161:'s 1066:'s 1040:Fun 1024:in 1007:Fun 995:on 839:on 542:'s 538:of 433:Fun 362:Fun 115:Fun 5232:: 4725:. 4721:. 4433:.) 4142:, 4087:^ 4065:, 3957:^ 3901:^ 3829:, 3795:, 3693:. 3682:^ 3537:, 3526:^ 3508:. 3490:^ 3439:^ 3299:^ 3253:, 3236:, 3219:, 3202:, 3176:, 3075:, 2950:, 2946:. 2930:, 2770:, 2755:^ 2697:^ 2660:^ 2638:^ 2576:^ 2384:, 2369:^ 2360:, 2320:^ 2311:, 2203:, 2187:, 1979:. 1971:, 1967:, 1963:, 1763:, 1328:, 1324:, 1167:. 1090:. 980:. 949:. 881:. 821:— 709:, 443:, 439:, 414:. 404:. 268:, 248:— 184:. 172:, 168:, 162:, 148:, 142:, 136:, 75:, 53:, 4867:e 4860:t 4853:v 4735:. 4712:. 4695:. 4664:. 4641:. 4622:. 4603:. 4580:. 4561:. 4544:. 4525:. 4506:. 4489:. 4470:. 4451:. 4427:. 4408:. 4388:. 4371:. 4352:. 4333:. 4314:. 4295:. 4274:. 4255:. 3309:. 3281:. 3200:" 3132:. 3041:. 2890:. 2842:" 2750:. 2706:" 2595:) 2298:. 345:£ 20:)

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

Index