The Gilbert and Sullivan Project
G&S Volumes 1-3 on DVD
Mike Leigh, Sir Charles Mackerras, Ken Russell, Todd Rundgren, D'Oyly Carters and more G&S!
The Gilbert and Sulllivan Project is pleased to offer this series of G&S DVDs containing a collection of fascinating, candid interviews with experts and luminaries about Britain's premier pair of light opera, Gilbert & Sullivan, otherwise known as G&S.
Mike Leigh
Each disc is more than two hours in length, and each G&S interview is contained in its entirety. So, rather than seeing only a few minutes of each G&S interview, as is usually the case with documentaries, here you are getting the whole thing.
The G&S interviewees include film directors Mike Leigh (Topsy-Turvy) and Ken Russell (Tommy, Altered States), rock star Todd Rundgren, conductor Sir Charles Mackerras, director Brian Macdonald of Toronto's Stratford Festival, G&S author Andrew Goodman (Gilbert and Sullivan's London), and former D'Oyly Carte G&S vocalists John Ayldon, Valerie Masterson, Michael Rayner, and Geoffrey Shovelton.
Todd Rundgren
All of the Gilbert and Sulllivan Project's G&S DVDs are in NTSC format, but are
region-free and should play anywhere in the world on a player that can play NTSC-formatted DVDs. (USA customers will have no problems whatsoever. UK customers need a player that can play NTSC discs — but we have been told that most UK players can handle NTSC discs. Consult your player's operating instructions if you are unsure.)
How to Buy
To purchase all three G&S discs, first click on the link for volume 1, found below. This will take you to the secure CreateSpace purchase page. At the CreateSpace page, add the G&S volume 1 disc to your CreateSpace shopping cart.
Then use your browser's back button to return to this site. Click the link for the second disc, which takes you to the CreateSpace purchase page for G&S volume 2. Add it to your cart, then return to this site, and follow the same procedure for G&S volume 3. After adding the third G&S disc to your CreateSpace shopping cart, you are ready to check out.
Sir Charles Mackerras
Purchase GASP G&S DVD Volume 1 (US $19.95)
Mike Leigh (32 min), Brian Macdonald (35 min), Michael Rayner (32 min), Ken Russell (23 min), plus the august University of Michigan Gilbert and Sullivan G&S Society (UMGASS) rehearsing
Princess Ida.
Purchase GASP G&S DVD Volume 2 (US $19.95)
Andrew Goodman (46 min), Sir Charles Mackerras (48 min), Valerie Masterston (21 min), plus the King's College London Gilbert and Sullivan Society having a rollicking good time rehearsing G&S's Pirates of Penzance.
Purchase GASP G&S DVD Volume 3 (US $19.95)
John Ayldon (46 min), Todd Rundgren (21 min), Geoffrey Shovelton (57 min), plus a whirlwind G&S sightseeing tour of London followed by a brief stop in Mikado, Michigan.
King's College Gilbert and Sullivan G&S Society
Samples from the G&S interviews can be viewed on YouTube:
Mike Leigh
Sir Charles Mackerras
Michael Rayner
Todd Rundgren
Ken Russell
Geoffrey Shovelton
As a bonus, purchasers of all three G&S DVDs will receive a free download of a 71-minute G&S interview with the late Jane Stedman (one of the world's foremost G&S Gilbert and Sullivan scholars) not included on the DVDs. This is one of the last interviews she gave before her death.
To get your free G&S download, first purchase all three discs using the links above.
Then send an e-mail to the following address:
domain: fastmail.fm
name: modernmajorfilms
assemble as name@domain
You will then be instructed on how to proceed. Please be patient — it may take a little while for you to receive your instructions for the free bonus G&S interview.
PLEASE tell your Gilbert & Sullivan G&S friends about this unique opportunity to own the recollections of some of the brightest and most interesting members of the G&S Savoy community, some for the very last time!
Remember — your purchase of these G&S DVDs will help keep the Gilbert and Sullivan G&S Project going!
Gilbert and Sullivan, also known as G&S, were the creators of a famous string of comic operas in late nineteenth-century England. Their works include such classics as The Pirates of Penzance, The Mikado, H.M.S. Pinafore, The Gondoliers, and The Yeomen of the Guard, among others. Today there are many Gilbert and Sullivan G&S performing groups around the world, and many Gilbert & Sullivan G&S appreciation societies. New audio and DVD recordings of Gilbert and Sullivan's G&S operas are produced every year and continue to be extremely popular. More than 100 years after their creation, the operas of Gilbert and Sullivan G&S remain very much alive and well.
Discover more about G&S Gilbert and Sullivan in the text below, from the book Gilbert and Sullivan and Their Operas; with Recollections and Anecdotes of D'Oyly Carte & Other Famous Savoyards, by Franois Cellier and Cunningham Bridgeman.
GILBERT & SULLIVAN
CHAPTER I
INTRODUCTORY
A Triangle The virtue of three The Three Musketeers and the Three
Savoyards Brotherhood of the Savoy Mrs. D'Oyly Carte
Dedication of this book.
It is a long time since I left school, and now all that I
can dimly recollect of Euclid's Elements is that, after
much vexation of spirit, they convinced me of the
sublime virtues of a Triangle.
I will not go so far as to say that I am indebted
to the famous Alexandrian Dry-as-dust, who flourished
some centuries B.C., for my first introduction to musical
instruments, but many a time when I have been seated
in the conductor's chair a tinkling sound proceeding
from the neighbourhood of the tympani has reminded
me of Problem V., that fatal Pans Asinarum which
I so painfully struggled to cross in the days of my
youth.
How thankful I was to arrive at that Q.E.D. ! I
grieved then to think of the precious hours wasted
over that unmelodious Triangle. How much more
profitably, I thought, might those hours have been
devoted to studying the bassoon or oboe. Once, in
cynical mood, I thought of asking Sir Arthur Sullivan
whether he had ever studied Euclid- s Elements at the
4 GILBERT AND SULLIVAN
Chapel Royal or Leipsic Conservatoire, and if he
would tell me the concert pitch of an isosceles triangle ;
but I refrained. I felt that it was not for me to at-
tempt a jest within the presence-chamber of Gilbert,
our Prince of Jesters.
But all such frivolous disquisition aside ; later
experience of life has fully confirmed those ancient
theorems which so vexed my boyish brain. I have
learnt what endless power exists in the conjunction
of any three units, be it of men or of sticks.
Perhaps it will be suggested that I should know
something about sticks, seeing that one sort or another,
either of ivory, bone, or painted pinewood (sometimes
with an electric star at its point for conduct during
dark scenes), has been my constant companion for the
greater part of my life. But, for the purpose now in
hand, let us hope to find no further occasion to allude
to sticks of any kind whatever, either on or off the
stage.
Laying aside the baton for a while, let me now, with
much temerity, take up the pen and try my 'prentice
hand in offering to the public a few personal remi-
niscences of three famous men of our period : Three
Savoyards.
Those of my readers who have made the acquaint-
ance of another Trio renowned in history to wit.
The Three Musketeers will endorse an argument I
here venture to advance concerning those indomit-
able heroes of Dumas' soul-stirring romance. The
argument is that, however brave, clever, and masterful
Messieurs Athos, Porthos, and Aramis may have been
THREE SAVOYARDS 5
individually, it was only the conjunction of forces
that enabled them to triumph, as it were, super-
humanly, over the strange vicissitudes of fortune
through which they were for ever cutting their way.
It was because they were three each one relying
on, and essential to, the other twain that these re-
markable French galants outlived so many anxious
chapters of their momentous history and eventually
made the fortune of their publishers. But, whilst
Dumas' heroes were mere men of fiction, the Three
Savoyards whose story we have to tell were men who
but a short while since lived and moved among us,
won the world's applause and won its laurels.
And they were Englishmen.
Nevertheless, between Dumas' three quarrelsome
musketeers and our brilliant triumvirate of peace a
parallel may be drawn. Just as in the case of Athos
and his comrades, so it was with our Savoyards,
William Schwenk Gilbert, Arthur Seymour Sullivan,
and Richard D'Oyly Carte ; each was gifted individu-
ally with genius that must have carried him to the front
under any circumstances. If, however, their brilliant
talents had never been combined, the history of the
Savoy in its associations with London would have
remained nothing more than a tradition of the ancient
Chapel Royal which yet stands beside the Thames,
sheltered and dwarfed now by the colossal hotel,
erected on the site of the Palace of Peter, Duke of
Savoy, and founded in the year 1881 mainly on the
fortunes derived from the Gilbert and Sullivan operas*
6 GILBERT AND SULLIVAN
Before bringing to a close this introductory pre-
amble, I would respectfully beg the indulgence of my
readers if, in the telling of my story, I am led to adopt
what may seem to some a too familiar strain in speak-
iiig of my honoured and deeply lamented chiefs.
Long and very happy years of uninterrupted inter-
course with Sir William Gilbert, Sir Arthur Sullivan,
and Mr. D'Oyly Carte established among us the
intimacy of close friendship. Although in business
relationship I was no more nor less to them than their
humble and obedient servant, it becomes my just
right and privilege to boast that not only in the ordin-
ary social intervals of life, but also during the hours
of duty in the theatre, our attitude, one towards the
other, was that of brotherhood.
Further and I am sure every individual man or
woman whose good fortune and honour it has been
to serve under the banner of the Savoy will endorse
the statement that every one, from Principal to Call-
boy, engaged in the theatre was at all times treated by
the management as a member of one family, and, with
only such slight intermission as is common to every
household, a very happy family we were.
Just a few more words by way of prologue words
indeed which, like the orthodox postscript of a lady's
letter, may, perhaps, appear to embrace one of the
most important points of this opening epistle.
Whilst in the present volume our main theme must
be the lives and works of the author, composer, and
manager of the Gilbert and Sullivan Opera Company,
DEDICATION 7
it must not here remain unrecorded how in the heart
of that great enterprise there existed, unseen, a Dea
ex machina one feels tempted rather to say, over
the destinies of the Savoy there presided a kind,
gentle, ever-watchful spirit in the form of a woman
a woman whose wisdom, tact, and energy did more to
enhance the fortunes of the Savoy than the greater
world can ever realize.
That woman was Mrs. D'Oyly Carte.
In the following pages that lady's cherished name
may only intermittently appear, but it is confidently
anticipated that the life-work of Helen Le Noir, wife
of Richard D'Oyly Carte, may yet form the subject of
a separate volume. Than that no prouder or more
powerful testimonial to a true woman's worth could
be given to the world.
It is only within the last twelve months that death
released Mrs. Carte from the managerial post which
she had filled so faithfully and with such extraordinary
skill and ability since the loss of her husband in 1901.
Upon the tombs of my departed friends and col-
leagues of the Savoy I humbly lay this poor tribute
of my deep affection and regard.
CHAPTER II
Conjunction of Gilbert, Sullivan, and D'Oyly Carte Gilbert's early
work Fairy comedies "Pygmalion and Galatea'* "Sweet-
hearts" "Bab Ballads "Sullivan at Chapel Royal His first
song Disciple of Mendelssohn At the R.A.M. Mendelssohn
scholarship Leipsic "Tempest" music D'Oyly Carte's early
career His musical agency Royalty Theatre" Thespis " First
night at Gaiety Theatre compared with Savoy premiere.
An expert forester will tell the approximate age of an
oak by its girth, the number of its branches, and other
indications recognized by his craft ; but concerning
the acorn from which sprang the tree, whether it
had been wind-sown or planted in the forest by some
feudal lord of a long-past century is beyond the art
and ken of forestry to divine.
In like manner it may be acknowledged that we,
whose lives have been closely associated with the
upshoot of the combined genius of Gilbert, Sullivan,
and D'Oyly Carte, can measure the circumference and
number the branches of the mighty tree which be-
neath their able husbandry took root, grew, and spread
until all other trees in England's lyric forest were
dwarfed. But who can tell of a surety how and in what
circumstances the seed was sown which was in later
years to bring forth such endless crop of rich fruit ?
The question has often been put to me a question
which I have never been able with sufficient confidence
a
FAIRY COMEDIES 9
or authority to answer: "Can you tell us by what
accident or stroke of good fortune the three famous
Savoyards were brought together ? "
This remains a mere matter of surmise, open, at
once, to assertion and contradiction. All that we are
able to chronicle is as follows :
Some few years before our author joined forces
with Arthur Sullivan, the name of W. S. Gilbert had
become familiar to play-goers as the writer of certain
burlesques and extravaganzas of that ultra-frivolous
type popular in " the sixties/' Among the best
remembered of these ephemeral pieces was " Dul-
camara/' a burlesque produced at St. James's Theatre
in 1866. In 1868 "Robert the Devil" and "La
Vivandtere" made successive appearance at the
Gaiety. These burlesques brought Gilbert into the
light of John Hollingshead's sacred lamp, which in
those dull, unelectric days burned brightly within the
Gaiety Theatre.
Then came a turn in the tide of Gilbert's ambition.
In 1870 there commenced a series of new-fashioned
plays invented by Gilbert and described by him as
"Fairy Comedies."
It was in these masterpieces of piquant wit and
mirthful satire that our author took a distinct de-
parture from the threadbare methods of Victorian
playwrights methods which, it must be admitted,
Gilbert himself followed in his embryo days. But
now he took the magic reins of his remarkable ability
firmly in hand, and drove his Pegasus by rapid strides
along the road to Fame.
io GILBERT AND SULLIVAN
First of the Fairy Comedies came " The Princess "
(founded on Tennyson's poem). This was produced
at the Olympic Theatre in 1870.
It may here be recalled how "The Princess" was
afterwards transformed by its author into the libretto
of the Savoy opera " Princess Ida." November of
the same year, 1870, witnessed the production of " The
Palace of Truth" at the Haymarket Theatre.
In 1871 followed, on the same stage, " Pygmalion
and Galatea," considered by some critics to be Gilbert's
masterpiece of versed plays without music. Those
who witnessed the original production will not have
forgotten how Mrs. Kendal, then in the prime of life
and fulness of her artistic power, charmed all hearts
by her exquisitely winsome impersonation of the
statue come to life, whilst her husband's Pygmalion was
proclaimed all worthy of such a stately Galatea. Then,
too, who shall ever forget J. C. Buckstone as the Art
Critic ? The veteran comedian's very senility added
point to his unctuous humour. The infirmities of
age, including deafness, seemed admirably fitted to
the part sustained. The Kendals' and Buckstone' s
characters in those Fairy Comedies at the Haymarket
are, indeed, amongst the most notable in the long
gallery of Gilbertian portraits.
Here one is tempted to linger amidst the delightful
memories awakened by the passing mention of each
famous play bequeathed to us by Sir William Gilbert.
One would wish to be able to describe the sentiments
that possessed the mind on witnessing the performance
of " Sweethearts," a life-sketch as perfect as any the
SULLIVAN'S FIRST SONG n
stage has ever given us. This miniature drama, which
enjoyed a long run at the Prince of Wales Theatre,
Tottenham Court Road, enriched the Gilbertian gallery
with yet another famous pair of character portraits,
the one that of Marie Wilton (now Lady Bancroft) as
Jenny Northcott, the other that of Squire Bancroft
as her devoted sweetheart, Harry Spreadbrow.
By the general non-theatrical public Gilbert's bril-
liant talents were first recognized through the publica-
tion in the pages of Fun, a weekly periodical, published
by Tom Hood, of " Bab Ballads." These diverting
conceits literally set the town roaring with laughter and
established their author as a wit of the first water.
As is well known, more than one of those quaint, topsy-
turvy lyrics were afterwards adapted by their author
as the foundation of his comic-opera libretti.
Arthur Sullivan, like his gifted confrere, had made a
name in the world some time before he became asso-
ciated with Gilbert. During his school-boy days at
St. James's Chapel Royal to be precise, it was in his
thirteenth year, 1855 his first composition was ac-
cepted and published by Novello. This was a sacred
song entitled, " O Israel." It was written during a
holiday spent in Devonshire at the home of a school-
chum and fellow-chorister.
As shown on its title-page, this embryo composition
was " dedicated to Mrs. Bridgeman of Parkwood,
Devon," the mother of Sullivan's school-fellow.
"O Israel," it must be admitted, gave but slight
indication of the budding composer's latent genius.
But it undoubtedly betrayed the extent to which
12 GILBERT AND SULLIVAN
Sullivan, at the outset of his career, had become imbued
with the spirit of Mendelssohn. Later and more
ambitious works proved the young British composer
to be a devoted worshipper and disciple of the great
German master of melody.
It was whilst a " child " at St. James's Chapel Royal
that Arthur Sullivan joined the Royal Academy of
Music, and studied harmony and composition under
John Goss at that time organist of the Chapel Royal
and pianoforte under Sterndale Bennett and Arthur
O'Leary.
In July 1856 the young student gained the Mendels-
sohn Scholarship, then for the first time awarded.
One of the stipulations of the scholarship was that it
should be available only to students of fourteen years
and over. Sullivan had only then become eligible. It
was a close race between Arthur Sullivan, the youngest,
and Joseph Barnby, the oldest of the seventeen com-
petitors for the coveted honour. It was, in fact, a
"tie" between the youthful rivals; but, after the
ordeal of further examination, Sullivan won the
scholarship and was thus enabled to pursue his studies
9 at the Academy under exceptional conditions.
Sullivan's remarkable triumph determined his father,
who held the post of bandmaster of the Royal Military
College at Sandhurst and a professorship at Kneller
Hall, to send Arthur to complete his studies at the
Leipsic Conservatoire. Accordingly in the autumn
of 1856 he went to Leipsic. Whilst a student at the
Conservatoire, Sullivan composed the work which was
to establish bis footing in the world of music. This
THE TEMPEST MUSIC 13
was his brilliant orchestral accompaniment to Shake-
speare's "Tempest."
The work was performed with great success at a
Gewandhaus Concert in Leipsic, in the presence of the
most noted Academicals and masters of music in
Germany, who discovered in the author of this com-
position that which hitherto they had held to be in-
conceivable an English musician.
With such a " send off " as that accorded him by
the Teuton savants, Arthur Sullivan's future was
assured. When performed for the first time in England
at a Crystal Palace Concert on April 5th, 1862, "The
Tempest" created a furore amongst the young com-
poser's compatriots.
There have been, and probably there still remain,
connoisseurs who rank Sullivan's "Tempest" music
as his magnum opus. Be this as it may, it remained
to the end of his days Sullivan's pet offspring,, possibly
because it was his first-born. Charles Dickens, after
hearing the " Tempest " music, shook Sullivan's hand
with an iron grip and said : " I don' t pretend to know
much about music, but I do know that I have been
listening to a very great work."
Countless reviews, essays, and critical analyses have
been from time to time devoted to the subject of
Sullivan as a composer. Admirable sketches in out-
line of the life of our English maestro have been pub-
lished at different periods from the able pens of Mr.
Arthur Lawrence and Mr. B. W. Findon ; but it still
remains to fill in the outline, a task which might well
be undertaken by some writer of eminence.
14 GILBERT AND SULLIVAN
And now a few words concerning the third of our
distinguished Savoyards before the formation of the
famous triumvirate.
D'Oyly Carte was the son of Richard Carte, partner
in the well-known firm of Rudall and Carte, musical
instrument makers of Charing Cross.
A pupil of University College School, Carte at an
early age developed a love of music so intense that, at
the outset of his career, he thought of adopting it as a
profession. Wiser counsels prevailed. Notwithstand-
ing that he possessed a pretty gift for the making of
melodies, and had mastered the theories and in-
tricacies of the art, he never seriously sat down to
composition.
With that keen judgment and foresight which
marked his character through life, he gauged the
measure of his musical ability and found it wanting.
He lacked the faith sufficient to move the mountains
of difficulty which he knew to beset the path of aspiring
British musicians. And so he abandoned all ambition
to seek distinction in the executive ranks of music,
and resolved to woo fortune by more commercial
means, yet maintaining close alliance with the art he
loved so well.
Thus, somewhere in the late " sixties/' D'Oyly
Carte started an operatic and concert agency with a
small office in Craig's Court, Charing Cross.
It was in that office that his lucky star guided him
to appoint as his secretary one who soon became not
only an invaluable help-mate, but, as he was always
glad to confess, an inspiring guide, philosopher, and
D'OYLY CARTE'S AGENCY 15
friend through the many vicissitudes of fortune and
momentous issues attending his profession. This was
Miss Cowper-Black, afterwards better known by the
assumed name of Lenoir. This talented lady, Helen
Lenoir, was destined in later days to become D'Oyly
Carte's devoted wife and ever-faithful partner for life.
It can hardly be doubted that Carte would have
made a big score off his own bat on any ground and
against any opposing team. He had set his mind
to it, and meant to carry out his bat. But it is certain
that the brilliant intellect, business acumen, and energy
of Helen Lenoir greatly aided in the making of the
remarkable runs that marked his managerial innings.
Immediate success attended the establishment of
the musical agency. To D'Oyly Carte was entrusted
the management of many important operatic, concert,
and lecture enterprises not only in the Umted Kingdom
but on the Continent and through the States of America.
The farewell tour of Mario, the great Italian tenor,
was entirely directed by Carte, and many another
brilliant Covent Garden star entrusted his or her
interests to the well-reputed Agency. Added to these,
such distinguished names as Matthew Arnold, Archi-
bald Forbes, Ballantyne (the renowned Sergeant-at-
law of the Victorian era), and Oscar Wilde may be
found in the list of clients entered in the books of
D'Oyly Carte in his secluded bureau at the back of
Craig's Court.
And so it was that Richard D'Oyly Carte, going out
into the field of labour, put his hand to the plough and
never turned back.
16 GILBERT AND SULLIVAN
It was at that period of his life to which we have
been just alluding that Carte was appointed business
manager to Kate Santley, at that time sole proprietor
of the Royalty Theatre in Dean Street, Soho.
Then followed incidents which, directly or indirectly,
pointed to the coming together or, rather, the
binding together of Gilbert, Sullivan, and D'Oyly
Carte.
In order to make this little moving history as conse-
cutive as may be possible and desirable, it is necessary
here to part company for a moment from D'Oyly
Carte and turn to the subject of our author and com-
poser's first collaborative work. This was a comic
opera called " Thespis, or the Gods grown Old," pro-
duced by John Hollingshead at the Gaiety Theatre,
on December 26th, 1871.
It is, perhaps, only by claiming a certain amount of
author's licence, and indulging in a slight stretch of
imagination that I am emboldened to include the
production of " Thespis " in the category of my per-
sonal reminiscences. Yet do I retain a dim recollec-
tion of witnessing the piece and being impressed with
the freshness and originality of Gilbert's libretto,
especially as regards the lyrics, which were, indeed, a
treat to read after the vapid, futile jingle of rhymes
without reason which had hitherto passed muster in
those degenerate days. To all play-goers it was a
new "sensation" in musical plays. As for Arthur
Sullivan's music, need I say how every number
charmed and charmed again? Little I dreamed in
that day how it would be my happy lot a few years
THESPIS 17
later to become closely associated with the work of
the author and composer.
"Thespis," I can remember, was a very funny play,
with very funny characters, admirably represented by
such very funny and clever artists as Johnny Toole,
J. G, Taylor, and Nellie Farren, the idol of her day. If
I remember rightly, the famous Drury Lane panto-
mimics, the Paynes, father and sons, were included
in the cast.
But, as I have before confessed, my recollections
of the piece are too dim to justify further personal
comment on " Thespis " or its exponents.
I have, however, found much interest in perusing
some of the critiques of that production and in com-
paring the conditions then existing with those that, as
I can bear witness, obtained in the Savoy productions
by the same author and composer. For instance, let
me quote one critic. He says :
" That the grotesque opera was sufficiently re-
hearsed cannot be allowed, and to this cause must be
ascribed the frequent waits, the dragging effect, and
the indisposition to take up points which, recurring
so frequently, marred the pleasant effect of Mr. Sulli-
van's music and destroyed the pungency of Mr. Gil-
bert's humour. . . . We anticipate that prodigious
curtailment and further rehearsal will enable us to
tell a different tale."
From such observations it is very obvious that
Gilbert and Sullivan had not yet come into their own.
How different how astoundingly different is all this
2
18 GILBERT AND SULLIVAN
from our own experience at the Savoy ! As every one can
testify, not even the profoundest cynic or hypercritic
had occasion to find fault with a Gilbert and Sullivan
opera, at least, on the score of unpreparedness. It
may, indeed, be justly boasted that, under our author
and composer's careful, astute, and determined super-
vision and control, rehearsals were brought to such a
pitch of perfection, the opera so thoroughly cut and
dried before offering to the public that seldom, if ever,
was it found necessary to "call " the company for "more
study " or for any revision of the work. But in 1871
Gilbert had not yet found his footing. Like every
other playwright, before or after him, he had to pay
for it* He was not permitted to usurp or interfere
with the authority of "the producer/' Hence the
injustice meted out to the hapless author.
Judging further from the press notices, " Thespis "
was by no means an unqualified success. We read
that
"The applause was fitful, the laughter scarcely
spontaneous, and the curtain fell, not without signs
of disapprobation/' But the same critic adds : " Such
a fate was certainly undeserved, and the verdict of
last evening cannot be taken as final."
Then, again, the writer remarks :
" A story so pointed and happy, music so satisfactory
and refined, a spectacle so beautiful and artists so
clever, deserved a better reward than a curtain falling
in silence and an absence of those familiar calls and
greetings which are so pleasant."
VICTORIAN BURLESQUE 19
Another critic endeavours to excuse the apathy of
the audience by the fact that it was Boxing Night. It
all sounds like damning with faint praise. It seems
to show that not even the leading critics proved them-
selves true prophets and foreseers of what would
result from the collaboration of Gilbert and Sullivan.
Moreover, it is quite clear that play-goers had not yet
been educated up to the standard of the new masters.
Hitherto they had been given simpler food for their
minds in the shape of rhymed burlesques spiced with
soul-wracking pirns which made the judicious weep,
whilst the musical setting of the lyrics (save the mark !)
was borrowed from the topical music-hall tunes of the
day, with here and there a bcmne-bouche from grand
opera, such as the Soldiers' Chorus from " Faust/'
with tit-bits from " Trovatore," " Traviata," etc.
I have ventured to wander thus far beyond the
special province of these personal reminiscences, think-
ing it may be interesting and instructive to my readers
to compare the first night of " Thespis" (Gilbert and
Sullivan's first conjoint work, be it remembered), as
viewed through the lorgnettes of the reporters of that
day, with those ever-memorable first nights at the
Savoy.
It affords a welcome opportunity to recall the
remarkable features of a Savoy premihe. The
theatre packed from pit to gallery with an audience
on the tenter-hooks of pleasurable anticipation. In
mental vision we see again, flocking into the stalls, all
the most distinguished personages of the day, men
and women, famous, not only in theatrical and musical
20 GILBERT AND SULLIVAN
circles, but in the wider world of literature, science,
art, law, and the stock exchange. The balcony and
upper circles illuminated with stars of only a shade
less lustre than those sparkling in the nearer firmament
below. We seem to hear again the volley of cheers
that greets the appearance of Sir Arthur Sullivan in
the conductor's seat, the hush that comes with the
first raising of his baton, the tempest of delight that
follows upon the final note of the overture. And
then the house settles down in full assurance to enjoy
the rich feast of mirth and melody prepared for them.
Then, as the play proceeds, we listen to the repeated
chorus of laughter and applause interluded with
moments of dense silence, strangely broken by a
frou-frou rustle, a whish, as the vast audience, greedy
to devour every morsel of our author's humour, turns
over the pages of the book of words, and then, last
of all, the curtain-fall, the loud, spontaneous call for
author and composer, and, with them, the third of
the trio of proud conquerors.
Not one syllable of a word of disapprobation mars
the effect of the reception ; not a unit in that huge
assembly worries about a train to catch the real
world is forgotten in the new and brilliantly fanciful
regions where they have passed such happy hours.
The only whisper of regret is that they have not had
enough of such delicious, appetizing fare. Gladly
would they remain to hear the opera right through
again. And could any one who once spent a " first-
night 91 with Gilbert and Sullivan ever forget the
scene?
A SAVOY "FIRST NIGHT" 21
As for my humble self, may I be pardoned if I refer
to my own sensations on those momentous occasions ?
Let me confess I felt as nervous as though I were
responsible for everything. It was, I suppose, through
some natural affinity that the souls of the author and
composer seemed to possess my unworthy body. My
nerves strained at the proud burthen. But I was never
for a moment anxious. For many a day past I had
been assisting in the rehearsals : I knew the opera
"by heart/' and was confident that there could be
only one verdict.
And yet, familiar as I had already become with the
construction of the work now launching, when from
some secluded nook in the auditorium I watched the
performance from " the front/ ' the opera was as fresh
and delightful to me as it was to any member of the
public, listening for the first time to Gilbert's latest
masterpiece of wit and humour and Sullivan's newly
cut gems of melody. I laughed aye, and more
sometimes forgetting the unwritten law of managerial
etiquette, I joined in the applause. Who could
help it ?
CHAPTER III
Trial by Jury " Fred Sullivan Nelly Bromley Penley Compton
Benefit Nellie Farren Benefits-Gilbert's appearance in " Trial
by Jury."
Let us now return to Mr. D'Oyly Carte,
In 1875 Miss Selina Dolaro, a favourite lyric actress
of that period, opened at the Royalty Theatre a season
of op6ra-comique with Offenbach's " Perichole," a
light and frothy work which had proved a great success
in Paris. Asa" curtain-raiser " a nonsensical hybrid
entertainment rejoicing in the tongue-torturing title
of Cryptochon no my memory fails to spell out the
monstrous name, as unpronounceable as any word in
the Welsh dictionary. This first piece did not prove
quite palatable to the gods, who liked to be played
in with more appetizing hots tfceuvre. And so Crypto
was taken off, and in its place, through the recom-
mendation of D'Oyly Carte, who was still acting-
manager of the Royalty, " a new and original dramatic
cantata called ' Trial by Jury/ by Mr. Arthur Sullivan
and Mr. W. S. Gilbert," was put on. This, by the way,
was the only occasion I can recollect on which the
composer's name appeared in front of the author's on
the bill of the play.
It may be interesting to relate how " Trial by Jury "
22
"TRIAL BY JURY" 23
came to be written. It occurred thus. One evening
Mr. Gilbert happened to visit the Royalty Theatre
where Mr. Carte, in course of conversation with him,
casually suggested that he should write a bright little
one-act trifle as a curtain-raiser and that Sullivan
should be invited to set it to music. Gilbert liked the
proposal, and before he left the theatre he told Carte
that an idea had just occurred to him. He proposed
to write something, the foundation of which should be
a breach of promise case, introducing judge, jury,
counsel, plaintiff and defendant, with all the charac-
teristics of a court of law. The suggestion appealed
to Carte, and the result was, in less than a month the
piece was completed and put in rehearsal, and on
Thursday, March 25th, 1875, without the flourish of
even a tin trumpet, " Trial by Jury " was for the first
time presented to the public.
Expert play-goers who had witnessed "Thespis"
at the Gaiety some four years previously doubtless
expected something above the average of front pieces,
but they wondered in their minds what fun could pos-
sibly be extracted from such a dry subject as a British
law-court. Probably they came prepared to scoff.
Be this as it may, they remained to praise in no qualified
manner the little surprise packet of sweets prepared
for them by the newly established firm of bon-bon
purveyors, Messrs. Sullivan, Gilbert, and D'Oyly
Carte. Although the press notices that appeared were
far from what is sometimes vulgarly called " gushing/ '
the record remains that " Trial by Jury " was received
with uproarious shouts of approbation.
24 GILBERT AND SULLIVAN
The part of the learned judge, now recognized as
an historic stage character, was " created" by the
composer's brother, Fred Sullivan, who at once showed
himself to be a singing actor of quaint and original
humour. In fact, it may be asserted that none of the
past masters of Gilbertian jurisprudence who have
succeeded Fred Sullivan on the bench has given a
more finished and humorous portrait of the love-
smitten judge than that of poor Fred Sullivan. His
premature death at the very threshold of fame was
widely lamented, and by none so deeply as by his de-
voted brother, who, it may be remembered, composed
his pathetic song, " Thou art passing hence, my
brother/' beside Fred's death-bed.
The original plaintiff was charming Nelly Bromley,
an actress of great personal attraction and winsome
manner which endeared her to the hearts of all play-
goers. The defendant was admirably impersonated
by Walter Fisher, the sweet-noted tenor who flourished
for too brief a day and vanished into oblivion.
To the present generation the names I have men-
tioned above are possibly unknown, but to those who,
like myself, recollect the production of " Trial by Jury/*
the leading members of the original cast are numbered
amongst pleasant reminiscences.
But we must not omit here to mention how the
foreman of the jury not in the original panel, but
only a short while later was represented by Arthur
Penley, who, although the part was a minor one, with
never a line to speak or sing save in chorus, made a
name for himself by the shall we call it ? originality
COMPTON BENEFIT 25
of his facial expression and his quaint antics in the
jury-box.
It should be recorded that it was D'Oyly Carte who
discovered Penley. Where and how he picked him up
matters not ; it must suffice that Penley proved a pearl
of great price, as all the theatre-going world knows.
Sullivan and Gilbert's " dramatic cantata/' so un-
ostentatiously brought to light in the little Soho
theatre, is now a classic.
In the Savoy bills many a first piece has come, and,
after a butterfly's existence of an hour, gone to the
scrap-heap; but "Trial by Jury" is a perennial, an
everlasting flower, blooming at all seasons and in all
places. It remains the stock-piece played in front
of the short operas of the D'Oyly Carte R6pertoire
Company on tour. I have failed to count the number
of times I have personally conducted " Trial by Jury,"
but, if intermittent performances were included, the
aggregate would represent an exceedingly lengthy, if
not a record, run. Apart from the Savoy and the
provincial tour, the popular Dramatic Cantata has
formed the leading attraction of nearly every big
" Benefit " performance during the past five-and-
thirty years, or more.
The earliest, and one of the most notable instances,
was that of the Benefit given at Drury Lane Theatre
on Thursday morning, March 1st, 1877, in aid of a
Testimonial Fund to the respected veteran comedian,
Mr. Compton father of the present well-known actor,
Edward Compton, and the favourite actress, Mrs.
R. Carton.
36 GILBERT AND SULLIVAN
The Benefit was under the immediate patronage
and presence of H.R.H. the Prince of Wales (after-
wards Edward VII.). A programme, remarkable alike
for its quantity and quality, was contributed to by all
the leading actors and actresses of the day. Seldom,
indeed, had such a brilliant galaxy of stars shed their
light at the same moment upon any stage as those
which irradiated " Trial by Jury."
Under the personal direction of the composer the
popular Dramatic Cantata was deemed the piice de
resistance of the matinde. Lengthy is the list of dis-
tinguished artists whose names appeared in the pro-
gramme, yet it may not be considered waste of space
if I here record them, one and all, in the order given
on the original bill of the play, thus :
The Dramatic Cantata by ARTHUR SULLIVAN and
W. S. GILBERT,
TRIAL BY JURY
The Learned Judge . Mr. George Honey
Counsel for the Plaintiff . Mr. George Fox
The Defendant . . Mr. W. H. Cummings
Usher Mr. Arthur Cecil
The Jury, etc. Messrs. Geo. Barrett, J. D. Beveridge,
Edgar Bruce, A. Bishop, Furneaux Cook, H. Cox,
F. G. Darrell Everill, J. Fernandez, W. H. Fisher,
G. Grossmith, Junr., Hallam, F. W. Irish, H. Jackson,
Kelleher, G. Loredan, J. Maclean, Marius, A. Matthi-
son, A. Malt by, E. Murray, Howard Paul, H. Paulton,
Penky, Harold Power, E. Rosenthal, Royce, J. D.
Stoyle, J. Sydney, J. G. Taylor, W. Terriss, W. H.
Vernon.
The Plaintiff . . . Madamb^Paulins Rita
NELLIE FARREN BENEFIT 27
Bridesmaids. Misses Carlotta Addison, Kate Bishop,
Lucy Buckstotne, Violet Cameron, Emily Cross, Ella
Dietz, Camille Dubois, Kate Field, Emily Fowler,
Maria Harris, Nelly Harris, Kathleen Irwin, Fanny
Josephs, Fanny Leslie, Kate Phillips, Emma Rita,
Rachel Sanger, Florence Terry, Marion Terry, Lottie
Venne,
The Orchestra under the direction of Mr. Arthur
Sullivan.
Instrumentalists. Messrs. Amor, Barrett, Betjemann,
Boatwright, Brodelet, Busdau, Chipp, Colchester,
Earnshaw, G. Lawrence, Gibson, Hann, Harper,
Hutchins, Jakeway, Lazarus, Lebon, A. J. Levey,
Markland, Matt, Morley, Neuzerling, H. Pheasant,
Radcliffe, W. H. Reed, Howard Reynolds, Ellis
Roberts, Scuderi, Shepherd, Snewing, Tull, Tyler,
Wallace, and White.
Equally memorable, and, perhaps, yet more interest-
ing to present day play-goers, was the great " Nellie
Farren Benefit/' which took place at Drury Lane
Theatre on Thursday, March 17th, 1898, just twenty-
one years later than the Compton Benefit.
Never in the annals of the stage was such a wonderful
programme provided, such a vast host of talent gathered
together as that which assembled at "old Drury"
to do homage and pay tribute of affection and sym-
pathy to their sister in distress, to Nellie Farren, the
idol of her day, whose brilliant career had been brought
to an untimely end by illness and suffering.
Once again did H.R.H. Edward, Prince qi Wales,
attest his personal interest in the dramatic profession
by bestowing his gracious patronage on the benefit
performance. But this is not the place to enlarge
28 GILBERT AND SULLIVAN
upon an event the manifold incidents and glories of
which will never be forgotten by those who were
present. It may, however, be of interest to recite
the names of the distinguished artists who crowded into
the most popular and unconventional of all courts
of law, there to witness " Trial by Jury " from the
Gilbertian point of view.
Accordingly let us here place on record an authentic
list of the persons who took part in " Trial by Jury "
at Nellie Farren's Benefit at Drury Lane, viz. :
The Learned Judge . Mr. Rutland Barrington
The Defendant . Mr. Courtice Pounds
Counsel for the Plaintiff . Mr. Eric Lewis
Usher .... Mr. Walter Passmore
The Associate . . . Mr. W. S. Gilbert
The Associate's Wife . . Lady Bancroft
The Plaintiff. . Miss Florence Perry
(Miss Florence St. John was to have played "The
Plaintiff/' but, as she was taken seriously ill before the
final rehearsal, Miss Florence Perry kindly took up the
part at very short notice.)
Bridesmaids. Miss Phyllis Br ought on, Miss Louie Pounds,
Miss Nellie Stewart, Miss Jessie Huddleston, Miss
Aida Jenoure, Miss Ellis Jeffreys, Miss Sybil Carlisle,
Miss Grace Palotte, Miss Violet Robinson, Miss Maud
Hobson, Miss Ina Repton, Miss Kate Cutler, Miss
Emmie Owen, Miss Maggie May, Miss Ruth Vincent,
Beatrice Ferrers.
Jurymen. Mr. Harry Lytton (Foreman), Mr. Willie
Edouin, Mr. Norman Salmond, Mr. John Coates, Mr.
E. J. Lonnen, Mr. Richard Green, Mr. W. Louis Brad-
field, Mr. Jones Hewson, Mr. W. H. Denny, Mr. W.
H. Seymour, Mr. Mark Kinghorne, Mr. Colin Coop,
A "BENEFIT" COMPANY 29
Mr. J. J. Dallas, Mr. William Elton, Mr. J. Furneaux
Cook, Mr. Scott Russell, Mr. Herbert Standing, Mr.
Arthur Roberts.
Counsel. Mr. J. Comyns Carr, Mr. Haddon Chambers,
Mr. Sydney Grundy, Mr. Lionel Monckton, Mr.
Edward Rose.
Scats on the Bench occupied by Miss Ellen Terry, Miss
Mary Moore, Miss Lydia Thompson, Mr. Charles
Wyndham.
Seats by Counsel. Miss Kate Santley, Miss Constance
Loseby, Miss Marion Hood, Miss Rose Leclercq, Miss
Kate Rorke, Mrs. Dion Boucicault, Miss Carlotta
Addison, Miss Fanny Brough, Mdlle Cornelie D'Anka.
Crowd in Court. Miss Compton, Miss Florence Young,
Miss Helena D'Acre, Miss Rosina Brandram, Mrs. H.
Leigh, Mrs. F. H. Macklin, Miss Kate Bishop, Miss
Maria Davis, Miss Helen Ferrers, Miss Florence
Gerrard, Miss Sarah Brooke, Miss Leonora Braham,
Miss Irene Vanbrugh, Miss Evelyn Fitzgerald, Miss
Beatrice Terry, Miss Nesbitt, Miss Lily Cellier, Miss
Louie Henri, Miss Jessie Rose, Miss Daisy Gilpin,
Miss Ethel Wilson, Miss Ada Newall, Miss Pattie
Reimers, Miss Dorothy Dene, Miss Hetty Dene, Miss
Mary C. Mackenzie, Miss Gertrude de Lacy, Miss
Valerie de Lacy, Miss Margery North cote, Miss Milli-
cent Baker, Miss Laurie Ellston, Miss Marguerite
Moyse, Miss Ethel Jackson, Miss Lily Twyman, Miss
Annie Russell, Mr. Chas. J. Fulton, Mr. Gillie Far-
quhar, Mr. Nut combe Gould, Mr. James Erskine,
Mr. W. T. Lovell, Mr. Tim Riley, Mr. J. D. Beveridge,
Mr. Chas. Sugden, Mr. Dion Boucicault, Mr. Cory
James, Mr. Chas. Childerstone, Mr. Joseph Ruff, Mr.
Charles Earldon, Mr. Cecil Castle, Mr. Avon Hastings,
Mr. Iago Lewys, Mr. Dudley Jepps, Mr. Edwin
Bryan, Mr. J. Ivimey, Mr. Leonard RusselL
Conductor . Mil Francois Cellier
30 GILBERT AND SULLIVAN
Often I have had the honour to conduct an orchestra
in the presence of a distinguished assembly upon
whom I have been compelled, through the exigencies
of my official post, to turn my back, but I may safely
assert that never before nor since have I raised the
b&ton before such a brilliant array of talent and beauty
as that which appeared at Nellie Farren's Benefit.
The performance of " Trial by Jury " on this occa-
sion was under the personal direction of the author,
who, it will be noted, appeared as " The Associate."
Gilbert, in wig and gown, seemed literally to revel
in playing at law. He was delighted at the oppor-
tunity afforded him of pointing the keen darts of his
satire, in full view of an audience, at the profession
which he had adorned for a brief while before abandon-
ing it for the more congenial calling of the stage.
And so, as we have seen, " Trial by Jury/ 1 described
by one critic of the day as " an unpretentious trifle,"
and as such treated by the press scribes in general,
has proved, comparatively in as great a measure as
the more ambitious works of Gilbert and Sullivan,
that our gifted author and composer were inspired
to write " not for an age, but for all time."
CHAPTER IV
"Trial by Jury" (continued) Comedy Opera Company Opera
Comique Theatre "The Sorcerer "Selecting first G. and S.
Company The old school and the new.
The triumph of " the unpretentious trifle " was followed
by results exceeding anything that its author and
composer could have conceived.
The public rose to the new and very taking bait pro-
vided, and " packed houses " was the order of things
at the Royalty Theatre from March to December 1875.
A musical play, absolutely pure and unadulterated
English, not only by parentage, but as regards char-
acterization and mise-en-sctne; was something to
rejoice at. Everybody was delighted. The most
confirmed ennuye could not fail to be exhilarated by
Gilbert' s pungent satire. His witticisms became house-
hold words. Sullivan's tuneful numbers were carried
away to be murdered and mutilated in every drawing-
room and every kitchen throughout the length and
breadth of town from Bow to Belgravia. The more
thoughtful began eagerly asking, "Why cannot we
now have English Comic Opera ? With such able and
witty librettists as F, C. Burnand, James Albery, and
W. S. Gilbert ; with such masters of melody as Arthur
Sullivan, Frederic Clay, and Alfred Cellier, to name
31
32 GILBERT AND SULLIVAN
only the best known, surely the time is come to take
up arms against the invasion of French authors and
composers, who have held us in subjection for too long
a time."
Thus spoke the cognoscenti of the musical and
dramatic world. But the suggestion was by no means
a new and original one to Mr. D'Oyly Carte. The
very same idea had been filtering through his mind
ever since the production of "Thespis." Long had
he been hatching plots for the establishment of English
Opera, and the great success of " Trial by Jury"
strengthened his resolution.
Eventually, in 1876,. on Carte's sole initiative, the
Comedy Opera Company was formed, and to the
promoter was entrusted the supreme management
and control.
There can be no question that the new manager
was counting upon Gilbert and Sullivan as prime
factors in the enterprise. At the same time, it was
not his intention to limit the repertoire of the Comedy
Opera Company to the works of the author and com-
poser of " Trial by Jury." Carte's scheme embraced,
notably, those leading musical and dramatic lights
whose names appear above.
Accordingly, F. C. Burnand and my brother Alfred
were invited to prepare an opera with a view to pro-
duction when occasion might arise. James Albery
and Frederic Clay, whose operetta " Oriana " had been
recently produced with success at the Globe Theatre,
were also asked to submit an opera. However, as
results proved, through one cause or another which it
OPERA COMIQUE THEATRE 33
is unnecessary here to explain, neither of these com-
missions was carried into effect.
For some time Carte could find no suitable theatre
available, but at length he secured a lease of the
Opera Comique. It was not the house he would have
chosen for his venture, but it was Hobson's choice,
and he made the best of it.
Old play-goers will not have forgotten the subter-
ranean theatre that lay hidden away beneath Holywell
and Wych Streets, those narrow, emaciated, grubby
thoroughfares devoted then, as they had been for a
century past, to bookworms.
The Auditorium of the Opera Comique was ap-
proached by a long tunnel opening from the Strand,
at a point which it is not easy for the inexpert passer-
by to-day to identify in that now truly rural-looking
waste in Aldwych, the " bank whereon the wild thyme
grows" as yet undisturbed by the ruthless builder of
shops, hotels, and theatres.
Access to the stage was through a narrow, dingy
doorway in Wych Street and thence direct by the
straightest and steepest flight of stone stairs it was
ever my task to climb. But I was a younger man in
those days than I am now, and I should probably have
forgotten so unimportant an item as a staircase but
for an incident that nearly became tragedy, but
fortunately ended in nothing more aggravating to the
persons concerned than an action at law. To this
incident we may have occasion to refer more parti-
cularly in a later chapter.
But whilst we have been here taxing the patience of
3
34 GILBERT AND SULLIVAN
our readers by showing them over the birthplace of
the Gilbert and Sullivan operas, our author and com-
poser have completed and brought to Manager Carte
an opera in two acts, entitled, " The Sorcerer."
On the recommendation of Mr. Carte, " The Sor-
cerer" was, as a matter of course, promptly accepted
by the Board of Directors mm. con.
Not having been appointed to the executive staff
until some time subsequently, I have no personal re-
collections of occurrences during the initial days of
the Comedy Opera Company beyond fragments col-
lected from time to time in the course of conversation
with the renowned Three who had now banded them-
selves together to take the town by storm.
I have often listened with great interest whilst they
have fought their early battles over again, and it may
not be without interest to the younger generations
of Savoy camp-followers to contemplate and compare
the very different and more difficult conditions attend-
ing the preparation for production of " The Sorcerer "
compared with those which obtained in connection with
Gilbert and Sullivan's later creations.
In the first place, here was a lyric work of a type
totally distinct from any the stage had hitherto pro-
duced. It was obvious that the lesson which both
Gilbert and Sullivan had come to teach would not
precisely suit the existing school of actors and singers.
There would be too much to unlearn, too much new-
fangled form of study to be graciously accepted by
the proud and jealous supporters and apostles of
ancient histrionic traditions. The Gilbertian methods
ACTORS, OLD AND NEW 35
appeared at once to be only adaptable to novices
in the school of acting. Then also, from the musical
point of view apart from all technical consideration
of Sullivan's music; the composer's latest score was
totally unlike that common to the stage at that or
any previous period of musical history. It certainly
was not suited to the attributes of Grand Opera
singers of either the intensely melodramatic or the
colatura class. To do adequate justice to the aim
and intention of both composer and author, beyond
all else distinct emphasis and phrasing, clear enuncia-
tion of every word, were absolutely essential, seeing that
beneath every bar of music there lay concealed humour
of such rich, rare, and refined quality as would prove
beyond the understanding and ability of the past-
masters of musical buffoonery. That they were clever
and accomplished actors and singers of their kind none
will deny, but they had become too saturated with
the obsolescent spirit of Victorian burlesque and extra-
vaganza ever to become capable exponents of a Gilbert
and Sullivan opera.
It is very easy to engage and pay a handsome salary
to a comedian to paint his nose red in order to make
people laugh, and gain a reputation for himself, but to
forbid the cleverest clown to decorate his nasal organ
that is where the fun goes out and poor clown finds
his occupation gone.
No man, be he actor, singer, penny whistler, ice-
cream merchant, or what not, is equal to two reputa-
tions.
Neither Gilbert, Sullivan, nor D'Oyly Carte wanted
36 GILBERT AND SULLIVAN
their comedians to paint their noses red. The neve
triumvirate had brought about a revolution. They
had devised other methods of convulsing the world with
laughter. In short, here was a new school founded
and to become established, and so, with these con-
ditions staring them in the face, our manager with his
author and composer set to work to cast " The Sorcerer/ '
They knew exactly the stuff they wanted to make
their new patent bricks of, and they commenced pro-
specting for the right quality of clay wherein to mould
the quaint and original creations of " The Sorcerer/ 1
The casting of parts in later operas was compara-
tively an easy task. Gilbert and Sullivan, having
got together and trained to their standard the nucleus
of a stage company, were afterwards able to build
a part to the model they possessed, instead of, as in
the first instance, having to search high and low for
the right artist to embody the part designed.
CHAPTER V
Selection of principal artists Gilbert's musical knowledge Bin.
Howard Paul George Grossmith Rutland Barrington Original
cast of Sorcerer " Press opinions " Dora's Dream " " The
Spectre Knight."
To those unversed in the inner workings of the operatic
stage it may sometimes be a subject of wonder how
it is, when the selection of principal artists takes place,
the author and composer do not find their personal
views running counter. Such an undesirable situation
may occasionally arise, but it is generally so when the
collaborators have not learnt to know each other
well enough to make it easy to dovetail their respective
interests and requirements, each giving and taking
for the sake of the ensemble.
But as regards Gilbert and Sullivan it may honestly
be affirmed that, from first to last, throughout their
long association, they seldom found occasion for any
serious controversy concerning the suitability of an
artist for the part to be assigned.
During the process of building, like wise architects,
our author and composer held continued conference
over every detail of the structure in hand. From
basement to roof every Sullivanesque bar and every
Gilbertian bolt was jointly tested and mutually ap-
proved, and then, they being of one and the same
37
38 GILBERT AND SULLIVAN
refined artistic taste, the style of decorations was
found easy to decide upon. Sullivan, perhaps, held
some advantage as a judge of the requisite maUriel.
He knew to what extent he could rely upon fiadr
ing actors and actresses who could at once be
depended upon to speak the lines to the author's
satisfaction, and, at the same time, be able to sing
effectively and at least without actually murdering the
music in short, be capable of satisfying librettist
and composer alike. Gilbert, on the other hand, con-
fessed to some lurking dread of singers as actors
especially so of tenors ; but then it was ever his boast
that he did not know a note of music, that he had not
the ear to distinguish " God save the King " from
" Rule Britannia." On this point, however, his
Savoy associates were inclined to accept this as half-
truth, seasoned with a considerable amount of Gilber-
tian sarcasm. Anyway, our unmusical genius, the
writer of lyrics that compelled melody, was often heard
during rehearsals humming to himself some of the
latest musical numbers. True, he generally jumbled
ballads, bravuras, and patter songs into a strange pot-
pourri wonderful to listen to, and in none of his render-
ings was he precise to Sullivan's original key ; never-
theless, it was not always impossible to identify the
tune or tunes intended, and certainly his efforts were
good enough to raise speculation as to the limit of
Gilbert's aural capacity.
This brief digression may, perhaps, help to throw
some light on the question how our author and com-
poser were guided in the selection of their company.
FORMING COMPANY 39
Piloted, then, by iyOyly Carte, Qilbert and Sullivan
exploited other lyric seas beyond that of the " legiti-
mate 11 stage. At that time there existed none of
those excellent, well organized, and drilled Amateur
Operatic Societies that now prevail and which have
become useful training-schools for the profession. But
there was the Royal Academy of Music, from which
"voices' 1 were obtainable, and there was strolling
about the kingdom a small army of quasi-theatrical
entertainers who had won reputations in town-halls,
mechanics 1 institutes, and other such places as might
aptly and without disrespect be styled chapels-of-ease
to the theatres. It was amongst the ranks of that
army that The Three made search and eventually
enlisted George Grossmith, Mrs. Howard Paul, and
Rutland Barrington to fill principal parts in "The
Sorcerer. 11
For leading baritone they appointed Mr. Richard
Temple, who had proved his quality as an actor and
singer in English opera of the Balfe school. For the
tenor role they engaged Mr. Bentham, until then
known only as a concert singer. The chorus was
selected mainly from students of the Royal Academy
and from other private sources. It was with more
than ordinary interest and curiosity that play-goers
anticipated the production of "The Sorcerer, 11
and accordingly, on the opening night, Saturday,
November 17th, 1877, all musical London flocked to
the Opera Comique. Every one was on the qui vive
of expectation, but none present on the occasion enter-
tained the idea that they were witnessing the laying
40 GILBERT AND SULLIVAN
of the foundation-stone of an art institution that would
in time become the delight of countless hearers and
spectators.
The following is the original cast of
THE SORCERER
Sir Marmaduke Pointdextre . . Mr. Temple
(An Elderly Baronet)
Alexis Mr. Bentham
(Of the Grenadier Guards his Son)
Dr. Daly Mr. Barrington
(Vicar of Ploverleigh)
Notary Mr. Clifton
John Wellington Wells . . Mr. Grossmith
(Of J. W. Wells & Co., Family Sorcerers)
Lady Sangazure . Mrs. Howard Paul
(A Lady Of Ancient Lineage)
Aline Miss Alice May
(Her Daughter betrothed to Alexis)
Mrs. Partlet Miss Everard
(A Pew-opener)
Constance .... Miss Giulia Warwick
(Her Daughter)
Chorus of Villagers
Stage Manager . . Mr. Charles Harris
Musical Director .... Mr. G. B. Allen
The Scenery by Mr. Beverley.
The Dresses by Mdme Auguste.
The Dances by Mr. D'Auban.
The libretto of " The Sorcerer " was founded on a
story which Gilbert had, a year previously, contributed
to the Christmas number of The Graphic. The story
set forth how a benevolently disposed and domestic-
3
i
it
THE SORCERER" 41
ally happy clergyman, convinced that in marriage lies
the secret of human bliss, administered a love-potion
to his entire parish with the utmost indiscriminateness.
The results did not turn out as anticipated. Every-
body became enamoured of the wrong person, and the
moral was that the principle of " natural selection/'
though it may not work with desirable activity, is the
safest in the end.
The leading idea of the plot the love-philtre busi-
ness was by no means novel. It had done service
again and again in song, story, and play. It was,
therefore, a severe tax on the ingenuity of our author to
put new life into such old bones. But Gilbert proved
equal to the task. His complete mastery of the art
of giving to the most incongruous ideas the semblance
of reason, his dialogue, rich in droll conceits and keen
but playful satire upon men and things, his admirably
turned lyrics brimming over with humour and often
reaching to heights of pure poetry in short, Gilbert' s
quaint original cut of new cloth succeeded in fitting
an old garment perfectly to the taste of his clients.
Even if it were within the province of this book, it
would be somewhat late in the day to enter into any
critical analysis of " The Sorcerer," either as regards the
libretto or the music. Nevertheless, readers may like
to learn something of what the press and public of
the period thought of Gilbert and Sullivan's earlier
works, and what promise they gave of things to
follow.
A glance through the press notices shows that the
only fault the critics could find with the book of " The
42 GILBERT AND SULLIVAN
Sorcerer" was that indicated above the stateness of
the joke attached to the love elixir, and the ultra-
supernatural incidents which, perhaps, tended to
make the play difficult of digestion.
Regarding the music let me quote one expert writer :
" Coming to Mr. Sullivan's music, we do not approach,
as in opera generally, the be-all and end-all of the
work. The ordinary libretto is scarcely more than
a peg on which the composer hangs this theme, but
here the importance of the playwright is at least as
great as that of the musician, which in strictness should
ever be the case. None the less do Mr. Sullivan's songs
and concerted pieces command attention as the pro-
duct of a cultivated, musical mind, and it is gratifying
to state that ' The Sorcerer ' contains some of his
best music. For the ballads we do not greatly care.
They by no means come up to the composer's usual
mark . . . but the musical charm of the opera lies in
its concerted pieces wherever, in point of fact, the
composer had a dramatic incident or situation to
illustrate."
Touching the acting and singing, the critics, without
discovering " talent of the highest order anywhere on
the stage," were yet generous enough in their praise
to encourage the leading recruits of the new regime,
and perfectly to justify the management in having
placed their faith in new blood to give life to Gilbert
and Sullivan's revolutionary creations.
The ultimate success of "The Sorcerer" may
be judged by the fact that its run extended from
November 17th, 1877, to May 22nd, 1878, comprising
"THE SPECTRE KNIGHT " 43
175 performances no slight achievement in those
days.
" The Sorcerer," on its first production, was pre-
ceded by a one-act operetta, " Dora's Dream," writ-
ten by Arthur Cecil and composed by Alfred Cellier.
The characters were played by Miss Giulia Warwick
and Mr. Richard Temple. This little piece was, on
February 9th, 1878, superseded by "The Spectre
Knight," a one-act opera, the libretto by James Albery
and the music again by my brother Alfred, who had
then succeeded Mr. G. B. Allen as Musical Director of
the Opera Comique.
I trust I may be forgiven if, in parenthesis, I here
note with pride that the overture to " The Spectre
Knight " remains a living work, and, if I may be
allowed to add, has proved worthy of the composer of
the cantata "Gray's Elegy," and the operas "Doro-
thy," " Doris," " The Mountebanks," etc.
CHAPTER VI
Building " H.M.S. Pinafore "Sullivan's versatility Production of
"H.M.S. Pinafore" Cast Gilbert as stage-manager Clever
draughtsman Rehearsals "Gagging" prohibited Sullivan at
rehearsals.
To find a foundation for the libretto of the next opera
to follow "The Sorcerer," Gilbert determined on
plagiarizing from his own past work. That is to
say, he turned to his " Bab Ballads/'
Readers of those irresponsible yet immortal rhymes
will not have forgotten
" . . . the worthy Captain Reece
Commanding of the Mantelpiece "
who was so devoted to his crew that there was no con-
ceivable luxury he did not provide for their comfort ;
for example :
" A feather bed had every man,
Warm slippers and hot-water can,
Brown Windsor from the Captain's store,
A valet, too, to every four."
It will be remembered how the Captain's coxswain,
William Lee, "the nervous, shy, low-spoken man,"
made so bold as to suggest to his commanding officer that
" it would be most friendly-like " if his (Captain Reece' s)
daughter, " ten female cousins and a niece, six sisters,
BUILDING "H.M.S. PINAFORE" 45
and an aunt or two/' might be united to the "un-
married members of the crew/ ' Further, how the kind-
hearted Captain, in order to oblige, consented to marry
his faithful coxswain's widowed mother, who took in
his washing.
Here, then, was a comic plot already cut and dried,
with ready-made dramatis personae. All that re-
mained to adapt the story to the stage was for our
author to embody his eccentric characters, add one
or two to their number, train them all to sing and
dance, and make them the mouthpieces of his playful,
up-to-date satire on sundry authorities and institu-
tions of the day.
Gilbert began, then, by renaming the " Mantel-
piece" "H.M.S. Pinafore." Captain Reece became
Captain Corcoran; William Lee, coxswain, was pro-
moted to the rank of boatswain's mate and given the
name of Bill Bobstay; the widowed laundress was
transformed into that " plump and pleasing person " to
be known henceforth and famed throughout Christen-
dom as " Little Buttercup/' the Portsmouth bumboat
woman, " the rosiest, the roundest, and the reddest
beauty in all S pithead" But the ship's complement
was not yet complete. There must be a sailor youth
upon whom the conventional love interest should
devolve ; and so Ralph Rackstraw, a leading A.B., was
duly appointed to that billet whilst, as a foil to the
handsome young hero, another able-bodied seaman,
a veritable anomaly, was brought to light in the ugly,
distorted form of Dick Deadeye, the one bete noire of
the Pinafore's jovial crew.
46 GILBERT AND SULLIVAN
But the most important addition that Gilbert made
to his dramatis personae was the Right Hon. Sir Joseph
Porter, K.C.B., First Lord of the Admiralty. To this
distinguished personage were bequeathed " the sisters
and cousins and aunts who, in the "Bab Ballad/'
had belonged to Captain Reece.
Thus, by a wave of his magic wand, Gilbert trans-
formed the stanzas of a humorous ballad into a still
more excruciatingly funny opera-libretto. To set to
music such a strange conglomeration of unreasonable
ideas and unrecognizable individuals as those com-
prised in Gilbert's book was severely to test the in-
genuity of any musician. Was it possible that the
composer of such profoundly ambitious works as
" The Tempest/' " The Light of the World," and " The
Prodigal Son" could descend from such lofty heights
to the depths of flaring frivolity ?
The weird, supernatural atmosphere of "The
Sorcerer " was not less calculated to afford inspiration
to Sullivan than "Tristan and Iseult" to inspire
Wagner, or "Elixir d'Amore" Donizetti.
There are no bounds to supernatural elements. The
poet or the musician can give loose rein to his imagina-
tion as he rides through Ideal-land and none may call
him " Halt ! " But the deck of H.M.S. Pinafore, if
not governed strictly by the customary discipline oi
the British man-of-war and manned, as it came to
be, by a caricature crew, nevertheless retained some
semblance of real life, and so required musical setting
in harmony with its environment. But Sullivan had
already, notably in " Trial by Jury," proved himself
LAUNCH OF "H.M.S. PINAFORE " 47
a born humorist, fully capable of entering into the
spirit and essence of his colleague's fun.
Such was his versatility that he was able to express
in tone-words of equal eloquence the Soliloquy of
Shakespeare's Prospero, the grunt of Caliban, the song
of Captain Corcoran, or the patter of Sir Joseph Porter.
Moreover, Gilbert's "Pinafore" was essentially
English, and Arthur Sullivan's natural tone was English
to his last demisemiquaver.
Musical London had learnt all this. The British
public now knew what they might reasonably expect
from the collaboration of Gilbert and Sullivan. Thus
it came to pass that on Saturday, May 25th, 1878,
three days after the withdrawal of " The Sorcerer," the
doors of the Opera Comique were besieged for many
hours by eager play-goers, pushing and praying for
seats or at least for standing-room.
One press critic, describing the opening night of
" H.M.S. Pinafore," wrote thus :
" Seldom, indeed, have we been in the company of
a more joyous audience, more confidently anticipating
an evenings amusement than that which filled the
Opera Comique in every corner. The expectation was
fulfilled completely. Those who believed in the power
of Mr. Gilbert to tickle the fancy with quaint sugges-
tions and unexpected forms of humour were more
than satisfied, and those who appreciated Mr. Arthur
Sullivan's inexhaustible gift of melody were equally
Satified. The result, therefore, was ' a hit, a palpable
t ' a success in fact, there could be no mistaking, and
which, great as it was on Saturday, will be even more
decided when the work has been played a few nights."
48
GILBERT AND SULLIVAN
The reception accorded Arthur Sullivan on his
appearing in the conductor's chair proved, more em-
phatically than ever before, in what high esteem the
English musician was held by his compatriots.
With a view to the record of interesting and authentic
data, it is proposed in this volume to republish the
cast of each of the Gilbert and Sullivan operas in
the chronological order of their production.
The following is the list of the original dramatis
personae of
H.M.S. PINAFORE, OR THE LASS THAT LOVED A
SAILOR
The Rt. Hon. Sir Joseph Porter, K.C.B.
(First Lord of the A imirdUy) Mr. George Grossmith
Captain Corcoran . . Mr. Rutland Harrington
(Commanding H.M.S. " Pinafore ")
Ralph Rackstraw
(Able Seaman)
Dick Deadeye
(Able Seaman)
Bill Bobstay
(Boatswain's Mate)
Bob Becket .
(Carpenter's Mate)
Josephine
(The Captain's Daughter)
Hebe ....
(Sir Joseph's First Cousin)
little Buttercup .
(A Portsmouth Bumboat Woman)
Mr. George Power
Mr. Richard Temple
Mr. F. Clifton
. Mr. Dymott
Miss Emma Howson
. Miss Jessie Bond
Miss Everard
In the above company notable new-comers were
Mr. (now Sir George) Power, Miss Emma Howson, an
r
GILBERT'S STAGECRAFT 49
1
American soprano whose d6but was pronounced " a
complete success/' and Miss Jessie Bond, the delightful
soubrette who afterwards became one of the most
popular of Savoyards.
George Grossmith, Rutland Barrington, Richard
Temple, and Miss Everard reappeared to add fresh
laurels to those earned in " The Sorcerer "
Author and composer alike, having taken the measure
of their respective capabilities and personal character-
istics, had succeeded in fitting each performer to a part
which was found to fit like a glove.
The perfect state of preparedness in which " H.M.S.
Pinafore " was launched showed Gilbert to be the
Master-absolute of stagecraft. From rise to fall of
curtain, there was evidence that every situation and
grouping, every entrance and exit, had been studied,
directed, and drilled to the minutest point.
Gilbert was a clever draughtsman, as witness his
delightful thumb-nail illustrations of " Bab Ballads "
and " The Songs of a Savoyard " ; and so he always
designed his own stage-scenes. For the purpose of
obtaining a perfectly correct model of a British man-
of-war, he, accompanied by Arthur Sullivan, paid a
visit to Portsmouth and went on board Nelson's
famous old flag-ship, the Victory. There, by permis-
sion of the naval authorities, he made sketches of every
detail of .the quarter-deck to the minutest ring, bolt,
thole-pin, or halyard. From these sketches he was
able to prepare a complete model of the Pinafore's
deck. With the aid of this model, with varied, coloured
blocks to represent principals and chorus, the author,
4
50 GILBERT AND SULLIVAN
like an experienced general, worked out his plan of
campaign in the retirement of his studio, and so came
to the theatre ready prepared to marshal his company.
Gilbert was by no means a severe martinet, but he
was at all times an extremely strict man of business
in all stage matters. His word was law. He never
for a moment adopted the methods and language of
a bullying taskmaster. Whenever any member of
the company, principal or chorister; either through
carelessness, inattention, or density of intellect, failed
to satisfy him, he vented his displeasure with the keen
shaft of satire which, whilst wounding where it fell,
invariably had the effect of driving home and impress-
ing the intended lesson. It was, in fact, a gilded pill
that our physician administered to his patients, for
his bitterest sarcasm was always wrapped in such rich
humour as to take the nasty taste away.
As an instance of Gilbert's humorous instinct, let
me recall how, during a rehearsal of " Pinafore," when
the piece was revived at the Savoy, our author was
instructing the crew and the visiting sisters, cousins, and
aunts as to their grouping in twos. When they had
paired off one sailor was found with two girls. Gilbert,
impatient at what he thought was some irregularity,
shouted out, "No no go back I said Twos* 9
They went back with the same result, simply because
one male chorister was absent from rehearsal. When,
accordingly, Gilbert discovered he had been too hasty,
he promptly turned the situation into a joke. Address-
ing the sailor with the two girls he said, " Ah, now I
see ; it is evident you have just come off a long voyage " ;
STAGE DISCIPLINE 51
then, turning to our stage-manager, remarked that if
the ship's crew remained incomplete the only thing to
do was to employ a press-gang.
Most remarkable was Gilbert's faculty for inventing
comic business. He would leave nothing to the
initiative care of the comedians. Not only was a
" gag " disallowed, being looked upon as profanation,
but the slightest sign of clowning was promptly nipped
in the bud, and the too daring actor was generally
made to look foolish under the lash of the author's
sarcasm.
At the same time, Gilbert was never above listening
to, and sometimes adopting, a suggestion for some
useful " bit of business " which any principal ventured
to whisper to him.
This " strict service " method was observed, not only
at rehearsal, but was religiously adhered to throughout
the run of the piece. The stage-manager was always
held responsible, and was required to report to head-
quarters any member of the company violating the
Gilbertian " articles of war." Most religiously did
Mr. Richard Barker carry out his chief's orders. In
evidence of the stage-manager's eagle-eyed watchful-
ness, Miss Julia Gwynne, who had not yet emerged from
the chorus, tells a true story. During a performance
of the "Pinafore " Barker called her up to him and said :
" Gwynne, I saw you laughing ! what have you got
to say ? " " Really Mr. Barker," replied Miss Gwynne,
" I assure you you must have been mistaken I was
not laughing it was only my natural amiable
expression that you saw." " Ye-es, I know that
52 GILBERT AND SULLIVAN
amiable expression I " Then, turning to the call-boy,
Barker pronounced sentence thus : " Gwynne fined
half-crown, for laughing 1"
Such was the undeviating discipline that marked
D'Oyly Carte's management throughout, and there
can be no question that without it the sterling value
of the Gilbert and Sullivan operas could never have
been so thoroughly tested and proved as it was.
Whilst on the subject of rehearsals, it must not be
supposed that an opera was presented to the. public
precisely in the state in which it was brought to the
theatre from the desks of the author and the composer.
Far from it. The main hull of the ship, so to speak,
was made ready for the launch, but there yet remained
the fitting and rigging to render it sea-worthy. Both
libretto and music were subjected to scissors and spoke-
shave until every rough edge had been removed.
When the opera was placed in rehearsal, after
Gilbert had read his book to the assembled company,
the teaching of the choral music was first taken in hand.
This occupied many days, after which came the prin-
cipal singers in concert with the chorus. The trial of
the solo numbers followed later in order. Then, if
any song appeared to the composer to miss fire, Sullivan
would never hesitate to rewrite it, and in some in-
stances an entirely new lyric was supplied by Gilbert.
The author invariably attended the music rehearsals,
in order to make mental notes of the style and rhythm
of the songs and concerted numbers to assist him in
the invention of the " stage-business " to accompany
each number.
SULLIVAN AT REHEARSALS 53
Like his colleague, Arthur Sullivan was most strict
and exacting as regards the rendering of his music*
There must be nothing slipshod about it. If an
individual departed from the vocal score to the point
of a demisemiquaver or chose his own tempo, the
chorus was at once pulled up and the defaulter brought
to book. It was sometimes ludicrous to see some
nervous chorister, whose ear was not sensitive and
whose reading ability was limited, called upon to
repeat again and again, as a solo, the note or two
upon which he had broken down. It was a trying
ordeal, but the desired end was always attained.
Thereupon the blushing chorister thanked the smiling
composer for having taken such pains to perfect his
singing.
Long and trying as were those rehearsals, there was
seldom a sign of tedium or impatience on the part of
any member of the company. They loved their work,
and, whenever Sullivan came to the theatre with a
fresh batch of music, every one appeared eager to hear
it and hungry for more study. As with the chorus, so
with the principals. There were occasions when a
singer would, with full assurance of his own perfection,
give forth some song hardly recognizable by the com-
poser, whereupon Sullivan would humorously com-
mend the singer on his capital tune and then he would
add- "and now, my friend, might I trouble you to
try mine ? "
I remember one instance when a tenor, as tenors
tte wont to do, lingered unconscionably on a high
note. Sullivan interrupted him with the remark
54 GILBERT AND SULLIVAN
" Yes, that's a fine note a very fine note but please
do not mistake your voice for my composition/'
" How rude ! " I fancy I hear some amateur remark.
Yes, but Arthur Sullivan' s rudeness was more winsome
than many a lesser man's courtesy. His reproach
was always so gentle that the most conceited, self-
opinionated artist could not but accept it with good
grace.
CHAPTER VII'
Francois Cellier succeeds his brother Alfred as Musical Director Comedy
Opera Company's quarrel with D'Oyly Carte In the law courts
Fracas at Opera Comique Richard Barker injured Directors
at Bow Street Police Court Gilbert, Sullivan, and D'Oyly Carte's
visit to America to secure dramatic rights Michael Gunn, locum
towns Richard Barker's Children's Company in " H.M.S. Pina-
fore."
In what I have written on the subject of stage re-
hearsals I may have somewhat anticipated my own
personal reminiscences in their proper chronological
sequence. But, it may be said, the managerial methods
of procedure, the " orders of the day " which governed
the early productions at the Opera Comique, continued
in force to the end of the history of the Savoy. Ac-
cordingly it may not appear premature to have offered
in an early chapter some description of Gilbert and
Sullivan opera-rehearsals which, in their main features,
were, from first to last, all alike.
It was in July 1878, whilst " H.M.S. Pinafore "
was in full sail on its prosperous voyage, that I was
appointed, on the nomination of Arthur Sullivan, to
succeed Alfred Cellier as Musical Director of the Opera
Comique, my brother having, for the time being,
vacated the post to join Sullivan in conducting a
season of Promenade Concerts at Covent Garden
55
56 GILBERT AND SULLIVAN
Opera-house, and subsequently to accompany D'Oyly
Carte to America.
In the summer of 1879 " H.M.S. Pinafore " found
itself in troubled waters. Affairs at the Opera Comique
took a very unhappy turn. The Agreement originally
entered into between the Comedy Opera Company
and Mr. D'Oyly Carte as manager and lessee of the
theatre terminated on July 31st, when Carte, having
arranged to carry on the concern on his own sole
account, secured a renewal of the sub-lease from the
Earl of Dunraven, the lessee of the Opera Comique,
his lordship's agent and holder of the Lord Chamber-
lain's licence being Mr. Richard Barker, who, at the
time, held the post of stage manager under D'Oyly
Carte. This departure created a serious casus belli
on the part of the Directors of the Comedy Opera
Company.
Mr. Carte had recently gone to America, and, by
consent of the Company, had appointed Mr. Michael
Gunn, by a power of attorney, to act as his substitute
in the management of the theatre.
In Carte's absence the Directors, on the ground of
dissatisfaction with Gunn's management, passed a
resolution dismissing him: A notice was also posted
in the theatre stating that Mr. D'Oyly Carte was no
longer manager, and on July 21st, 1879, a motion was
heard in the Chancery Division of the High Court of
Justice to restrain Mr. Michael Gunn from retaining
possession of the Opera Comique Theatre and from
receiving the moneys of the Company and otherwise
interfering with their management of the theatre.
TROUBLE AT OPERA COMIQUE 57
The motion failed, and Mr. Gnnn continued to act as
Mr. Carte's locum ten ens. Following this judgment, a
few evenings later, on Thursday, July 31st, the date
on which the company's tenure of the theatre expired,
the 374th representation of " H.M.S. Pinafore " was
disturbed by a disgraceful incident. As the perform-
ance of the opera was drawing to a close a cry of " Fire ! "
was raised by some one in the flies, followed by scuffling
and tumult. Several of the performers were alarmed,
and the feeling of insecurity rapidly spread through
the audience, who began hurriedly to leave the theatre.
My brother Alfred, who happened on that night to
be deputizing for me in the conductor's chair, turned
round to the occupants of the stalls and assured them
there was no cause for alarm, and begged them to
remain seated. But the uproar behind the scenes was
so great that it was impossible to continue the per-
formance ; so the band was stopped, and then George
Grossmith, with commendable presence of mind, ap-
peared before the curtain and announced that a deter-
mined attempt had been made by a large gang of
roughs, acting under the inspiration of the Directors,
to stop the performance and seize the scenery and
properties. Grossmith' s remarks, though scarcely
audible above the din of riot and disorder, had the
effect of restoring confidence in the auditorium. Be-
hind the curtain the battle continued to rage furiously.
The gallant crew of " H.M.S. Pinafore," assisted by
loyal stage hands, soon proved too much for the enemy,
tod the invaders were quickly driven off the premises.
During the engagement several of the First Lord's
58 GILBERT AND SULLIVAN
sisters and cousins and aunts had fallen in a swoon,
but "Little Buttercup," the stout-built Portsmouth
bumboat woman, distinguished herself greatly in
" repelling boarders/' Chief amongst numerous casu-
alties were the foreman fireman, who had been severely
bruised and trodden underfoot, and Mr. Richard
Barker, who was thrown violently down the steep
flight of stone steps before referred to. With the aid
of a strong force of police, order was at length com-
pletely restored and the programme brought to a
peaceful conclusion with the operetta " After All/ 1
As a result of this fracas the Directors of the Comedy
Opera Company were summoned to appear at Bow
Street Police Court to answer a charge of assaulting
Mr. Richard Barker and creating a disturbance at the
Opera Comique Theatre. In the end D' Oyly Carte and
Barker won the day and their actions at law, and
after Gilbert, Sullivan, and Carte had issued a mani-
festo, making known to the public all the facts of the
case, the whole lamentable affair was soon forgotten.
Seeing that the Directors of the Comedy Opera
Company had put down only 500 each and drew
500 weekly, the vanquished party had not done badly
over their deal in Gilbert and Sullivan operas.
And now to turn to more agreeable reminiscences.
Under the new regime of Carte's sole management,
"H.M.S. Pinafore" continued its successful course.
Our worthy chief, accompanied by Gilbert and Sullivan,
had gone to the United States with the special object
of countermining the plots of American pirates who
had been guilty of privateering the " Pinafore" and
AMERICAN PIRACY 59
who would be ready, if no preventive measures were
adopted, to steal in the same flagrant manner the next
Gilbert and Sullivan opera produced.
Such was the lawless state of affairs existing previous
to the passing of the International Copyright Act that,
so far as regards stage-plays, there was no distinction
recognized betwixt meum and tuum. But there was,
certainly, a vast distinction between " H.M.S. Pina-
fore" of England and the American pirate ship sailing
under its false title and colours. In order to make
this fact quite evident, our author, composer, and
manager staged the piece for a week's run in New
York on the orthodox lines of the Opera Comique pro-
duction. After that week the pirates happily found
but poor market for their contraband version of the
"Pinafore." With the further view of protecting
their interests by securing American copyright, the
Triumvirate produced in New York the new opera
which they had got ready for their next venture in
London. This was "The Pirates of Penzance, or
the Slave of Duty." A simultaneous representation
of the piece was given in England on December 31st,
1879, a* the Bijou Theatre, Paignton, Devon. Thus
the copyright in both the United Kingdom and America
was secured.
In the meantime, at the Opera Comique, " H.M.S.
Pinafore" continued to sail along briskly before the
favouring gales of public applause, and in due course
logged the 500th performance.
Familiarity, instead of staling, seemed to add to
the popularity of the piece. Hackneyed as its tunes
60 GILBERT AND SULLIVAN
became; they ceased not to arrest and delight the public
To Gilbert's play might have been applied the
remark of the novice theatre-goer who declared be
liked " Hamlet " chiefly because it contained so many
quotations. For instance, the phrase " What never ?
Hardly ever" became a British proverb more
familiar to all sorts and conditions of men and women
than the Prince of Denmark's famous " To be, or not
to be."
The jingo jingl<
" In spite of all temptations
To belong to other nations,
He remains an Englishman
a
may be declared to have rivalled in popularity, for the
time being, the National Anthem.
The success of " H.M.S. Pinafore " having proved
an established fact, it entered the mind of Richard
Barker that a performance of the opera by a com-
pany of children might prove attractive. The title
" Pinafore " may, probably, have first inspired this
novel idea. Be this as it may, the suggestion met
with the hearty approval of Gilbert, Sullivan, and
D'Oyly Carte, and with their full sanction Barker
made search for available juvenile talent, and even-
tually succeeded in forming a full company to man
the " Pinafore/ ' and selecting a bevy of charming
little ladies all under the age of sixteen to represent
the " sisters, cousins, and aunts."
Under a sullen, frowning exterior, Richard Barker
CHILDREN'S "PINAFORE" 61
hid a very kind heart. By some " grown-ups/' until
they came to know him, he was looked upon as a
harsh, bullying task-master, but in truth he was by
nature as by name a Barker not a biter. The little
ones learnt, by the instinct of youth, the true dis-
position of " Uncle Dick/ 9 and under his strict discip-
line became willing and happy pupils of a tutor whose
love of children was one of his chief characteristics.
It was raw and rough material to work upon ; at
the same time, since none of the juvenile corps could
boast of any stage experience, there was nothing for
them to unlearn.
As a matter of course, the vocal score had to be
re-orchestrated throughout to suit the vocal capa-
bilities of the youthful singers. This interesting task
was entrusted to my hands,, and, as it was necessary
that I should be in close and constant touch with Mr.
Barker during the rehearsals, Arthur Sullivan very
kindly placed his London residence at my disposal
whilst he was absent in America.
As may readily be imagined, it was no child's-play
to transpose the key of every song to fit each in-
dividual child's voice ; the choruses necessitated entire
rearrangement, especially of the string parts, and in
the unaccompanied numbers orchestral accompani-
ment had to be substituted for the support of male
voices. Nevertheless, despite all difficulties, the labour
involved was far from uncongenial, and, I would add,
was more than recompensed by the generous com-
mendation of the composer and the compliments of
the critics.
62 GILBERT AND SULLIVAN
The production of the children's "Pinafore" took
place at the Opera Comique on the' afternoon of Tues-
day, December 16th, 1879, an( i, after running con-
currently with the evening performances by the adult
company until February 20th, continued to hold the
boards until March 20th, when it was withdrawn in
order to clear the stage for the final rehearsals and
production of the new opera, "The Pirates of Pen-
zance."
Gilbert, Sullivan, and D'Oyly Carte, having returned
to England in time to witness the performance, were
so delighted with the children that they advised the
members of the elder company to go and take lessons
from their junior rivals.
Those of my readers who witnessed the children's
performance of "H.M.S. Pinafore" will, I am sure,
share with me the very delightful memories I cherish
of that remarkable exhibition of youthful talent.
To others who were not equally privileged it may be
interesting to learn what the press and public thought
of the performance. To enable them to do so, I
cannot do better than quote the words of a leading
critic, written after the first production. Thus some
knowledge may be gained of the triumph achieved
by Richard Barker and his clever little crew.
" Delighted as we were with the extraordinary
display of talent we witnessed on the occasion of the
rehearsal of the children's 'Pinafore,' at the Opera
Comique, our admiration was even increased when we
saw the actual performance on Tuesday last. We
have no hesitation in describing it aslthe most mar-
BARKER'S TRIUMPH 63
vdlous juvenile performance ever seen in the metro-
polis. So well have these children been taught, and
so thoroughly do they comprehend their characters,
that it becomes a source of the keenest enjoyment to
the spectator to follow their wonderfully attractive
performance. Many well-known members of the
theatrical world who saw them at the rehearsal de-
dared it to be the most remarkable performance they
have ever attended, and one and all expressed the
utmost astonishment at the marvellous talents of the
children. It was not merely that one or two were
possessed of unusual gifts ; the entire performance was
complete, finished, correct, and diverting in the ex-
treme. Anything more whimsically comic than the
Dick Deadeye of Master William Phillips could not
be easily imagined. But Master Pickering, as the
First Lord, was quite as funny in his way, and the
Captain of Master Harry Grattan was absolutely first-
rate. Other parts were equally well filled by the young
gentlemen, and the young ladies were in no respect
inferior. For example, the little Buttercup of Miss
Effie Mason completely took the house by storm. The
little lady was admirably made up, and was as excel-
lent in her singing as in her acting. Nothing could be
better, either, than the manner in which the difficult
text was delivered. Every word was clear and dis-
tinct, and, what rendered the representation more
amusing than all, was the original conceptions of
several of the characters. This gave the performance
a freshness and individuality of the rarest kind. The
choruses were sung with great precision, and it was
delightful to listen to the clear, bell-like voices. The
greatest praise is due to Mr. R. Barker, under whose
superintendence the children's ' Pinafore* was produced.
He taught the youthful artistes all their stage business,
and has spared no pains in order to make the ensemble
64 GILBERT AND SULLIVAN
us perfect as possible ; in teaching the little ones their
music, Mr. Francois Cellier has been singularly success-
ful. Finally, we may again declare that it is impos-
sible to praise too highly the children's ' Pinafore ' at
the Opera Comique ."
The following is the cast of the children's " Pina-
fore" :
CAST OF CHILDREN'S PINAFORE, 1879
Sir Joseph Porter
Captain Corcoran
Ralph Rackstraw
Dick Deadeye
Boatswain's mate
Carpenter's mate
Josephine .
Hebe .
Buttercup .
Master Edward Pickering
. Master Harry Grattan
Master Harry Eversfield
Master William Phillips
Master Edward Walsh
Master Charles Becker
Miss Emilie Grattan
Miss Louisa Gilbert
. Miss Ettie Mason
With the paying off of the juvenile crew, " H.M.S.
Pinafore " was put out of commission and laid up in
reserve ; but, unlike her prototypes, the old wooden
walls of England, the " Pinafore" was not condemned
as obsolete. The day would come when the gallant
" three-decker " would be recommissioned for another
cruise. And now, just five and thirty years after her
launch, "H.M.S. Pinafore" is as sea-worthy as ever,
and bids fair to rival in longevity her parent ship,
the old Victory, from which she was modelled.
CHAPTER VIII
" The Pirates of Penzance " in America Gilbertian darts " Pirates "
produced at Opera Comique The critics.
As mentioned in the last preceding chapter, the first
production in public of " The Pirates of Penzance, or
The Slave of Duty," took place at the Fifth Avenue
Theatre, New York, on New Year's Eve, 1879, a copy-
right performance being given at Paignton as nearly
simultaneously as difference in longitude allowed.
In America the new opera had been received with
extraordinary favour. Popular as " H.M.S. Pina-
fore" had been across the Atlantic, "The Pirates
of Penzance" was declared on all hands to be even
more attractive, both in its quaintness and originality
of subject and in its melodious flow of music. The
piece had, in fact, become the rage of the United
States.
The performance of the work at Paignton having
been merely to preserve the legal rights in this country,
not more than fifty persons had been privileged to
witness that tentative presentation, so that next to
nothing was known about " The Pirates " at the time
when the opera came to be introduced to the British
public at the Opera Comique Theatre on the evening
of Saturday, April 3rd, 1880. Consequently the eager-
5 s
66 GILBERT AND SULLIVAN
ness of Londoners to be present at the premiere was
intense.
In "Trial by Jury" Gilbert had chosen the Law
as the object of his playful satire ; in " The Sorcerer "
the parsons were caricatured in the person of the
sentimental Doctor of Divinity. Then came " H.M.S.
Pinafore/' to be made the vehicle of good-humoured
laughter at the expense of the British Navy and its
ruler-in-chief, the First Lord of the Admiralty. And
now our author turned the search-light of his brilliant
satire upon our Army and not less upon our gallant
guardians in blue, the Police. Here was another
huge, practical joke to be perpetrated. Most happily,
neither the military authorities nor those of Scotland
Yard found cause of offence in being held up to
playful ridicule that incited no semblance of scorn.
" In Queen Victoria's name," they accepted the unin-
tended affront in the same spirit of amiability as that
shown under similar conditions by the dignitaries of
the Law, the Church, and the Navy.
Gilbert's darts were sometimes as exceedingly keen-
pointed as they were irresistible ; but they were never
poisoned by any venom of bitterness, and, since no
distinguished personage ever found the jester's cap to
fit him, nobody was ever the worse for a dose of Gilbert's
strange concoction of knock-me-down pick-me-ups.
With the experience gained by familiarity with
Gilbert and Sullivan's previous operas, critics and
amateurs alike had been by this time fully educated
up to the new school of humour. All were now more
readily able to appreciate the essence of the fun
FAMILY LIKENESS 67
of our two humorists. The consequence was that
the applause on the opening night of "The Pirates
of Penzance" was more spontaneous than on any
previous occasion.
The Press, now quite assured that Gilbert and
Sullivan had come to stay, and were more than likely
to achieve yet further conquests, became less reserved
and more generous in their critical reviews. With
the general public it was a matter of individual opinion
which of the two was the more amusing piece, " Pina-
fore" or "The Pirates" ; but the general verdict of
the experts was that the last was the best production
of Gilbert and Sullivan and D'Oyly Carte.
It is true that amongst the dramatis personae of the
new opera were found characters that bore a certain
family likeness to others to whom we had been intro-
duced in "H.M.S. Pinafore." Notably a striking
resemblance was discovered between Sir Joseph Porter,
K.C.B., the First Lord of the Admiralty, and Major-
General Stanley. Beyond question the similarity was
intensified by the individuality of George Grossmith,
the impersonator of both those characters in turn.
Again, Ralph Rackstraw, A.B., of " H.M.S. Pinafore,"
and Frederic, the pirate 'prentice, were found to be as
like in features as twin brothers ; whilst Little Butter-
cup and Ruth, the piratical maid of all work, bore
strong evidence of the same parentage. But what
cared anybody ? They were all such delightful com-
panions that no one for a moment spurned them
because of their near relationship to former equally
delightful people,
68 GILBERT AND SULLIVAN
As regards the book, Gilbert had excelled his
previous efforts in the drollery of his conception.
For parodying, as he alone of all contemporary
humorists could do, in his own masterly way, the
extravagances and mock heroics of melodrama of the
Tom Cook type, Gilbert had hit on an idea, rich and
ripe in possibilities of mirth, and of these he availed
himself to the full.
Your recognized and responsible critic possesses,
or, anyway, is supposed to possess, the gift of pro-
phecy. He can distinguish, as a rule, fixed stars from
satellites and can sometimes correctly foretell the
fate of the author, not only as regards his work
under review, but what promise he gives of lasting
success.
In the light of after events, one finds it a particu-
larly interesting occupation to "turn up" old press
cuttings sere and yellow columns pasted in a guard-
book, now tumbling to bits, and therein to read what
"the malignant deities," as Pope called the critics,
had to say after each successive Gilbert and Sullivan
production. One will come now and then across
some note of observation which is calculated to throw
some doubt on the infallibility of press prognostication.
For instance, I find one critic a most worthy and
distinguished judge of the stage remarking:
" A question arises how soon these types of character,
and also Mr. Gilbert's set form of humour, will be
worked out. True, the machinery by which Mr. Gilbert
produces laughter is capable of very varied applica-
tion. The whole world with all that it contains lies
PRESS CRITICISM 69
before him, to be topsy-turvied at pleasure ; and he
need but avoid restriction to a limited range of char-
acter in order, it may be, to keep fast hold upon public
regard. In what his humour consists everybody
knows. One of the most prolific sources of laughter
is the unexpected association of incongruous ideas,
and Mr. Gilbert draws upon it in a manner peculiar
to himself. As a rule, humour of this kind is self-
conscious, not to say rollicking. Those concerned in
it have, so to speak, put on the livery and taken the
wages of Nonsense. But the drollery of Mr. Gilbert's
characters is the more mirth-provoking for the gravity
and apparent good faith with which they do and say
the wildest, and, as regards probability, most out-
rageous things. Our author carries us into what
looks like real life, to show its realism under the in-
fluence of pure phantasy, and it is the juxtaposition of
ordinary people and things with motives, speech, and
action, possible only on the assumption that the world
has turned upside down, which excites so keen a
sense of the ludicrous. At present all this is fresh, and
we should make much of it. More, we should encourage
it, because it gives pleasure of the finest and most
legitimate kind. There is nothing in Mr. Gilbert's
libretti to shock the most sensitive nature, and their
success demonstrates what, at one time, seemed
hardly credible that, outside its music, a comic opera
need not appeal to anything save a perception of
harmless and healthy fun."
All this is unquestionably legitimate criticism,
clever and admirable. None but the most captious
could take exception to it. Yet does it not seem
to indicate that the reviewer entertained, as yet,
but scant faith in the lasting quality of Gilbert's
70 GILBERT AND SULLIVAN
extravaganzas ? Does not his argument suggest the
ephemerality of such eccentric humour ?
Be this as it may, I, for one, find in such doubt-
raising disquisition and retrospective reading much to
interest. And, after all, it might be asked, who in
the theatrical and musical world could have foretold
that, in this year of grace, 1914, the Gilbert and
Sullivan operas would be drawing as crowded houses
as they did in Victorian days ? But it is a fact,
and, it may be added, "The Pirates of Penzance"
is at the present day as popular as any of the glorious
series.
Having thus far recalled to mind some of the expert
opinions expressed regarding Gilbert's libretto, let us
now turn again to our press cuttings to discover what
they had to say concerning Sullivan's share of the
opera.
We find the critics unanimous in extolling the music
in terms of praise beyond any they had yielded before.
For example :
" Mr. Sullivan has carried out more completely than
ever his original and fanciful idea of caricaturing
grand opera. The result is that we have music worthy
in its artistic qualities to rank with some of the best
efforts of the greatest composers, while it has a piquant
freshness and buoyancy such as no other modern
musician has equalled. Our English Auber has given
us melodies as novel in rhythm as the French com-
poser, while there is a geniality in them more welcome
even than the glitter and crisp accent of the Gallic
school. . . . Many of the musical numbers are abso-
lutely perfect examples of what such music should be."
t
" PIRATES OF PENZANCE " MUSIC 71
Another critic writes:
" Mr. Sullivan's share of the work has not been less
well done than that of his clever colleague. Indeed,
from a musical point of view ' The Pirates of Penzance '
is a distinct improvement upon both ' Trial by Jury
and ' The Pinafore.' There is scarcely a dull bar in
it, while every number not only pleases by its adapted-
ness to the theme and situation, but presents features
upon which the connoisseur who is not content with
ear-tickling melodies can dwell with satisfaction.
" It is hard to say whether Mr. Sullivan's humorous
or sentimental music carries off the palm in this case.
The composer has entered thoroughly into the spirit of
the dramatist so thoroughly that the result of their
joint labours is as though it were the product of only
one mind. With the utmost flexibility Mr. Sullivan
follows the turnings and windings of Mr. Gilbert's
eccentric fancy, and it can never be said that the one
is not as funny or as pathetic as the other.
" It will surprise us greatly if ' The Pirates of Pen-
zance ' be not strictly recognized as the most brilliant
specimen of the combined efforts to which we already
owe 'The Sorcerer' and 'H.M.S. Pinafore/ The
subject of the present opera enables both author and
composer to give greater breadth to their efforts."
Such words echoed from the past assist us in realizing
what measure of encouragement was meted out to our
author and composer as they passed each successive
milestone on the high road to fame.
CHAPTER IX
of Penzance" copyright performance Fred BilMngton
Richard Mansfield Federic* John Le Hay Cast of "The
Pirates " in New York American Musical Trades Union" U.S.S.
Pinafore " German " Pinafore " Marion Hood Sir George
Power Julia Gwynne Emily Cross.
Now perhaps it may interest some to learn how it
came to pass that the copyright performance of " The
Pirates of Penzance " was given in such an insignificant,
out-of-the-world locality as a seaside village in South
Devon. This was simply owing to the fact that
Mr. D'Oyly Carte's touring company happened at the
time to be playing " H.M.S. Pinafore " at Torquay, to
which town Paignton is closely adjacent. The Paign-
ton playhouse, although but a mere bandbox as to
size, was by no means the ordinary fit-up barn common
to small country towns. The Bijou Theatre was,
indeed, the pride and hobby of a local magnate, Mr.
William Dendy, a man of wealth and great artistic
taste.
The stage appointments and accessories were of
an up-to-date character, the auditorium was luxuri-
ously furnished, and its walls were hung with a fine
collection of pictures. The Bijou was, in brief, worthy
of its title, and so not unworthy the historic fame it
was destined to attain as the birthplace of the renowned
" Pirates of Penzance/'
72
t
"THE PIRATES " AT PAIGNTON 73
The following copy of the original play-bill of the
opera may be acceptable as a curiosity. Here it is
k exienso:
ROYAL BIJOU THEATRE, PAIGNTON
Tuesday, December 30, 1879
For one day only, at two o'clock, an entirely new and original
opera by Messrs. W. S. Gilbert and Arthur Sullivan, entitled :
THE PIRATES OF PENZANCE, OR LOVE AND
DUTY
Being its first production in any country
ICajor-General . , Mr. R. Mansfield
The Pirate King .... Mr. Federici
Frederic .... Mr. Cadwallader
(A Pirate)
Samuel Mr. Lacknor
James Mr. Le Hay
(Pirates)
Sergeant of Police . . Mr. Billington
Mabel Miss Petrelli
Edith Miss May
Isabel Miss K. Neville
Kate Miss Monmouth
Ruth Miss Fanny Harrison
SCENE. Act i. A Cavern by the sea-shore.
Act 2. A ruined Chapel by moonlight.
Doors open at half-past one. Commence at two.
Sofa Stalls, 3s., Second Seats, 2s., Area, is., Gallery, 6d.
Tickets to be had at the Gerston Hotel.
Conductor .... Mr. Ralph Horner
Acting Manager . Mr. Herbert Brook
74 GILBERT AND SULLIVAN
Most notable amongst the above names is that of
Mr. Fred Billington, who may thus rightly claim to
have created the part of the famous Sergeant of Police,
although that character must ever remain associated
in the mind of Londoners with the name of Rutland
Barrington.
Fred Billington is to-day the doyen of actors in
Gilbert and Sullivan operas. For thirty-five years
his talents have been faithfully devoted to the service
of his old friends, Mr. and Mrs. D'Oyly Carte. His
appearances at the Savoy Theatre have been brief
and intermittent, because, as the years have rolled
on, the comedian has so deeply ingratiated himself
into the hearts of play-goers through the length and
breadth of the United Kingdom that without the
name of Fred Billington on the bills no D'Oyly Carte
touring company has been considered fully complete
and welcome anywhere. His portly frame, his dry,
unctuous humour, and clear and incisive diction,
have transformed the popular actor into a veritable
Gilbertian creation, as it were. Veteran as he now
is, Fred Billington to the present day retains to a
remarkable degree all those individual attributes that
have made him so popular in the wider theatrical
world that lies beyond the inner walls of London.
The list of Paignton performers of " The Pirates "
included Mr. Richard Mansfield, an admirable singing
comedian, who, after serving for a while and obtaining
honours under the D'Oyly Carte management, quitted
England for America. In the States Dick Mansfield
became an established favourite, and his death, which
"THE PIRATES " IN AMERICA 75
occurred a few years ago, was lamented by a large
number of friends and professional colleagues on both
sides of the Atlantic.
Another to whom a note of remembrance may here
be given was Mr. Federici, the first impersonator of
the Pirate King, and one of the best baritone singers
and actors among past Savoyards. Poor Federici* s
tragic death whilst appearing as " Mephistopheles "
in Australia will not have been forgotten by any to
whom his name was once familiar in the theatrical
world.
Mr. John Le Hay will be remembered in association
with the Savoy Theatre as an occasional recruit in
the Gilbert and Sullivan ranks. In later years his
talents have been distributed over various theatrical
fields, and have earned for him in London and the
provinces a wide measure of popularity both as actor
and entertainer.
Touching for a moment the American production of
11 The Pirates of Penzance," it may be unnecessary here
to do more than place on record the original cast of
principals who presented the opera at the
FIFTH AVENUE THEATRE, NEW YORK
December 31st, 1879
Major-General Stanley . . Mr. J. H. Ryley
The Pirate King .... Mr. Brocolini
Samuel .... Mr. Furneaux Cook
(His lieutenant)
Frederic .... Mr. Hugh Talbot
(The pirate apprentice)
76 GILBERT AND SULLIVAN
Sergeant of Police . . Mr. F. Clifton
Mabel . Miss Blanche Roosevelt
Edith Miss Jessie Bond
Kate Miss Rosina Brandram
Isabel Miss Billie Barlow
{General Stanley's daughters)
Ruth Miss Alice Barnett
(Pirate maid of all work)
With one or two exceptions the artists included in
this cast had been brought from England by E^Oyly
Carte. Specially noteworthy are the names of Jessie
Bond, Rosina Brandram, and Alice Barnett, all of
whom, after a very successful season in America,
returned home further to establish their reputations
as leading lights of the Savoy.
The opera was rehearsed and produced in New York
under the personal supervision of author and composer.
Sullivan conducted on the opening night, after which
the musical direction was left in the hands of my
brother Alfred.
Arthur Sullivan had an amusing story to tell of his
experience in association with American bandsmen.
These gentlemen were all under the strict control
of a musical trade union. A scale of charges was
laid down for every kind of instrumentalist according
to the nature and degree of his professional engage-
ment. For example, a member of a Grand Opera
orchestra must demand higher pay than one who was
engaged for ordinary lyric work, such as Musical
Comedy, and so on, down to the humblest class of
musical entertainment. Accordingly, when the an-
AMERICAN BANDSMEN 77
nouncement went forth that the opening performance
of "The Pirates of Penzance" would be conducted
by Mr. Sullivan, and the manager of the theatre had
taken pains to impress upon his orchestra the greatness
of the honour that would be theirs of playing under
the baton of England's most famous composer, the
bandsmen showed their appreciation of such distinction
by demanding from the management increased salaries
on the Grand Opera scale. There seemed likely to be
"ructions." Whereupon, Arthur Sullivan, with char-
acteristic tact and sang froid, addressed the men in
modest terms. Disclaiming any title to the exalted
honours they would thrust upon him, he protested
that, on the contrary, he should esteem it a high
privilege to conduct such a fine body of instrumenta-
lists. At the same time, rather than become the cause
of any dispute or trouble among them, he was pre-
pared to cable home to England for his own orchestra,
which he had specially selected for the forthcoming
Leeds Festival. He hoped, however, that such a
course might be avoided. The Americans promptly
took the gentle hint, and agreed not to charge extra
for the honour of being conducted by Mr. Arthur
Sullivan.
Before leaving the subject of our Savoyards in
America, let me venture to relate a little story, for
the authenticity of which I cannot vouch
A certain American impresario, whose patriotism
excelled his judgment, suggested to Gilbert that,
*Wle ? H.M.S. Pinafore " had decidedly caught on
in New York, he guessed that they could heap up a
78 GILBERT AND SULLIVAN
bigger pile of dollars if an American version of the
piece were prepared.
" Say now, Mr. Gilbert," said our American friend,
" all you've got to do is first to change H.M.S. to U.S.S.,
pull down the British ensign and hoist the Stars and
Stripes, and anchor your ship off Jersey Beach. Then
in the place of your First Lord of Admiralty introduce
our Navy Boss. All the rewriting required would be
some new words to Bill Bobstay*s song just let him
remain an American instead of an Englishman. Now
ain't that a cute notion, sir ? "
Gilbert, pulling at his moustache, replied : " Well
yes perhaps your suggestion is a good one ; but I
see some difficulties in carrying it out. In the first
place, I am afraid I am not sufficiently versed in your
vernacular to translate my original English words.
The best I could do would be something like this
improvisation :
" He is Ameri-can.
Tho' he himself has said it,
Tis not much to his credit
That he is Ameri-can
For he might have been a Dutchman,
An Irish, Scotch, or such man,
Or perhaps an Englishman.
But, in spite of hanky-panky,
He remains a true-born Yankee,
A cute Ameri-can/'
The New York impresario was delighted vowed it
would save the situation and set New York ablaze.
Mr. Gilbert replied that, after two minutes 9 careful
GILBERT IN AMERICA 79
consideration, he didn't think it would do at all. He
was afraid that such words might disturb the friendly
relations existing between the United States of America
and the United Kingdom of Great Britain and Ireland.
" Besides, my friend/' Gilbert added, " you must
remember / remain an Englishman. No, sir, as long
as 'H.M.S. Pinafore' holds afloat she must keep the
Union Jack flying."
"Quite appreciate your patriotic sentiments, Mr.
Gilbert/' replied the American, " but say ain't it
c*rect that ' Pinafore ' was translated into German ? ' '
" Quite correct and played in Germany, but under
its Teutonic name ' Amor am Bord ' it was not easy for
any one to imagine that the ship had been taken from
ike English: 9
This sounds like a Transatlantic fairy-tale. But it
is repeated here for what it is worth.
Having seen their " Pirates" safely established in
America, our author and composer, with D'Oyly Carte,
returned to London and set to work on rehearsals of
the opera there. For the third time Gilbert had
created parts specially fitted to the peculiar talents
and characteristics of the three popular favourites,
Grossmith, Barrington, and Temple. George Power
*as re-engaged for the leading tenor role, and for
Prima-donna a new soprano had been unearthed in the
person of Miss Marion Hood, a young lady whose
d&ut was to prove one of the most brilliantly success*
hi ever witnessed under the D'Oyly Carte regime.
The music allotted to the part of Mabel in the
" Pirates of Penzance " is not only some of the daintiest,
80 GILBERT AND SULLIVAN
most graceful, and florid of any Sullivan wrote for light
opera, but is the most exacting to the vocal powers
and capabilities of the singer, notably Mabel's first song
"Poor Wandering One/' with its difficult staccato
passages, and again in the delightful duet with Frederic
in the second act, " O leave me not to pine alone and
desolate/ ' Marion Hood, however, proved equal to
all requirements, and her triumph was considered by
press and public to be one of the notable features of
the new opera.
In the small part of Edith, Miss Julia Gwynne, pro-
moted from the chorus, made a favourable impression
by her bright acting and fascinating personality.
Close following the young artiste's success in " The
Pirates" came two important offers of engagement.
The first was a professional one, which Miss Gwynne
accepted, from Mr. and Mrs. Bancroft to appear in
comedy wider their management at the Haymarket
Theatre. This proved in every way a success ; but it
was not so permanent or eventful as the other en-
gagement of a matrimonial kind which culminated
in Julia Gwynne becoming the partner for life of
Mr. George Edwardes, our future theatrical Kaiser.
Mr. Edwardes was at that time acting-manager to Mr.
D'Oyly Carte, an office which he continued to hold at
the Savoy for some years before joining Mr. John
Hollingshead in the management of the Gaiety.
Julia Gwynne was a general favourite with all her
" playmates" at the Opera Comique ; she was, indeed,
looked upon as the life and soul of our company.
Another lady member of the original " Pirates of
GILBERT AS UNDERSTUDY 81
Penzance " crew was that gifted artiste, Miss Emily
Cross. Owing to the sadden illness of Miss Everard,
who had been cast for the character of Ruth, the
piratical maid of all work, the part was undertaken
by Miss Cross at twenty-four hours' notice. This was
a remarkable instance of quick study. Such a task
as that set Miss Cross could have been successfully
fulfilled by none but an actress of great experience
and consummate ability. Miss Cross's success was
as marked as it was richly deserved.
An amusing incident occurred during rehearsal.
In Act II., where the Major-General and his daughter
Mabel are captured by the pirates, Frederic, who is
supposed to have appeared on the scene, neglected
his cue and was off the stage ; accordingly, when Mabel
sang
" Frederic, save us,"
Gilbert stood sponsor for the absent tenor, and, adopt-
ing his own tune, gave forth
" I'd sing if I could, but I am not able."
The Pirates, unchecked, sang :
" He would if he could, but he is not able."
Sullivan observed that it might be worse ; but, on his
part, he thought the character of Frederic wanted power.
Then, turning to the dilatory actor, added, " and strict
ka#o, if you please, Mr. Power."
And now to bring to a close our comments on " The
6
82 GILBERT AND SULLIVAN
Pirates of Penzance/' which ran for 363 nights at the
Opera Comique, we give hereunder the list of the
principals who presented the piece at the
OPERA COMIQUE
Saturday, April yd, 1880
Major-General Stanley . . Mr. George Grossmith
The Pirate King .... Mr. R. Temple
Samuel .... Mr. George Temple
(His lieutenant)
Frederic .... Mr. George Power
(The pirate apprentice)
Sergeant of Police . . Mr. Rutland Barrington
Mabel Miss Marion Hood
(General Stanley's daughter)
Edith Miss Julia Gwynne
Kate Miss Lilian La Rue
Isabel Miss Neva Bond
Ruth Miss Emily Cross
(A pirate maid of all work)
CHAPTER X
D'Oyty Carte plans new theatre The Aesthetic craze" Patience "
Bnrnand and Du Maurier's creations " The Colonel " Durward
Lely Frank Thornton Alice Barnett Leonora Braham " Pa-
tience " rehearsals and production British play-goer s Success
of " Patience " Lyric gems from " Patience."
Nearly three and a half years had now passed since
the production of "The Sorcerer/' Three Gilbert
and Sullivan operas had been brought to light and
passed to glory. "The Sorcerer " had numbered
l 75 performances ; " H.M.S. Pinafore " (including
the children's version) 700 ; and " The Pirates of
Penzance " 363 ; in all, 1,238 performances. Through-
out the whole period the tide of prosperity had never
ceased to flow. Fortune had been wooed and won
beyond the most flattering dreams.
The lease of the Opera Comique was soon to
expire, but, instead of seeking its renewal, D'Oyly
Carte, ever shrewd and adventurous, determined on
* more ambitious scheme. He would build his own
theatre. It should be one specially suited to the re-
quirements of the new school of comic opera, in the
^plotting and founding of which he had himself been
the prime mover and business factor. And so the
astute manager, confining his own counsel to his col-
feagues, Gilbert and Sullivan, sat down carefully to
84 GILBERT AND SULLIVAN
consider figures and to map out plans for his new
play-house. Then he began to search for a suitable
site.
Meanwhile, the fourth opera was placed in rehearsal.
Society for a few seasons past had been suffering
from an epidemic of hybrid aestheticism. Under the
apostleship of Oscar Wilde, "a passion for a lily"
had over-mastered the conventional Englishman's
love of the rose. Everybody and everything wore a
pewtery grey, " greenery-yallery " complexion. Bright
reds, scarlets, crimsons, and blues which had, before
that period, helped to dissipate the murk and fog of
town were now condemned as heresies against high
art. The adherents to primitive colours and natural
attitudes were looked upon as Philistines and excom-
municated from society. Few survivors of that bilious,
unbrawny age, would dare in these days to confess
ever having yielded to the craze of the early eighties,
for sorely were those preposterous, ape-like beings
smitten, hip and thigh, by the scourge of ridicule.
First of the Philistines to take up arms against the
mock aestheticism was our old friend Punch. Burnand
and Du Maurier by their memorable caricatures
" Postlethwaite Maudle," and the "Cimabue Browns,"
led the attack in the London Charivari. These first
awakened town to the absurdity of the new-fangled
fashion set by the Oscar Wilde tribe. At the little
Prince of Wales Theatre in Tottenham Court Road,
Burnand, in his comedy, " The Colonel," further lashed
out with the whip of scorn. But it was not likely
that Gilbert would let such a scope for justifiable satire
1
\
" PATIENCE " PRODUCED 85
escape his attention. Although his idea of a skit on
the aesthetic craze may have been anticipated by his
rival humorist, Gilbert, in the earliest days of the
epidemic, had set to work to dispense a bolus for the
cure of the evil. As a matter of fact, made clear at
the time, " Patience " was written in November 1880.
This was before the production of "The Colonel."
The success of " The Pirates of Penzance " had, how-
ever, precluded the earlier production of the aesthetic
opera, and it was not until April 23rd, 188 1, that
"Patience, or Bunt home's Bride," was presented to
the impatient public at the Opera Comique Theatre
by the following dramatis petsonae :
Colonel Calverley . . Mr. Richard Temple
Major Murgatroyd . . Mr. Frank Thornton
Lieut, the Duke of Dunstable Mr. Durward Lely
(Officers of Dragoon Guards)
Reginald Bunthorne . . Mr. George Grossmith
(A fleshly poet)
Archibald Grosvenor . . Mr. Rutland Barrington
(An idyllic poet)
Mr. Bunthorne 's Solicitor . . Mr. G. Bowley
Chorus of Officers of Dragoon Guards
The Lady Angela . . . Miss Jessie Bond
The Lady Saphir . . Miss Julia Gwynne
The Lady Ella .... Miss M. Fortescue
The Lady Jane . . . Miss Alice Barnett
(Rapturous Maidens)
Patience .... Miss Leonora Braham
(A Dairymaid) .
Chorus of Rapturous
The cast of the opera, as will be seen, comprised
86 GILBERT AND SULLIVAN
many of the old-established favourites. To their
number were now added some notable recruits, viz. :
Mr. Durward Lely, Mr. Frank Thornton, Miss Alice
Barnett, and last, not least, Miss Leonora Braham.
Each one and all of these artistes proved worthy of
their calling to the Gilbert and Sullivan colours, and
failed not later to win great popularity at the Savoy.
Among my reminiscences, none is more amusing
to my own mind, to-day, than the recollection of the
rehearsals of " Patience/' It will be easy for any one
to imagine the spirit of mirth and fun that pervaded
the company while Gilbert drilled each individual to
assume the eccentric " goose-step," and the stained-
glass attitude of mediaeval art, and taught them to
speak in the ultra-rapturous accents of the poetaster.
The " business* ' was all so novel and so excruciatingly
funny that the most sedate and strict stage discip-
linarian could not but hold his ribs with laughter.
Particularly ludicrous was the coaching of the Duke,
Colonel, and Major for their Trio and dance, after
these gallant officers of Horse Guards have trans-
formed themselves into aesthetic idiots in order to make
a lasting impression on the young ladies of their choice.
Nothing more comical was ever witnessed at stage-
rehearsal than the initiation of the three proud soldiers
into the mysterious antics of the " Inner Brotherhood/'
It is only just to mention here that, in the drilling
and fantastic dance-teaching of the company, Gilbert
was greatly assisted by Mr. John D'Auban, that clever
master of the terpsichorean art whose services were
called into requisition at the rehearsal of many of the
BRITISH PLAYGOERS 87
Gilbert and Sullivan operas. Would that I had jotted
down at the time the many amusing episodes and
verbal quips of both our author and composer that
accompanied the " Patience " rehearsals. I should
not have failed to take notes had I dreamed in those
days how it would ever fall to my lot to offer the
public my personal reminiscences.
As a matter of course, an enormous crowd assembled
for the first night of the new opera. Many quidnuncs
came prepared to be disappointed. Some thought
they had been satiated with aesthetic fare. They
doubted whether even Gilbert might not fail to extract
new fun out of the already much-discussed subject.
There are no play-goers in the world more appre-
ciative or lavish in their praise, when they get precisely
what they want, than the British. But they are not
always easy to please. They are fastidious and they
are fickle. They will follow like a flock of sheep when
the bell-wether leads them to new pastures. The
playwright they idolize to-day as a god they are ready
to pull down to-morrow if haply he fails for a moment
to fulfil early promise. Perhaps it is hardly just to
speak in these caustic terms of play-goers as a body.
Such remarks must be taken to apply more directly to
the cynical, quasi-critical, blasi individuals, of whom
there are too many, who, " fed up " with their own self-
conceit, come to the theatre with a jaded palate and
n <> appetite, ready to damn with faint praise, if not
utterly to scorn, the new work which the poor author
has devoted months upon months of anxious labour
to provide.
88 GILBERT AND SULLIVAN
The composer stands in the same condemnation
and equally at the mercy of these senseless croakers.
If, perchance, he be found to have, quite unconsciously,
repeated so much as a phrase even of his own music,
down they pounce on him either with a charge of
plagiarism or with a lack of originality.
Is it, then, to be wondered at that success on the
British stage is so difficult to achieve ?
Like every other author and composer, Gilbert and
Sullivan had to elbow their way through the crowd of
obstructionists who seem to take positive offence that
quaint wit and humour beyond their own dull minds
to understand is attracting crowds to the theatre.
Accordingly, although Gilbert and Sullivan had long
passed the Rubicon, amongst the vast audience that
packed the Opera Comique for the premiere of
" Patience " there were doubtless many of these
would-be wreckers. But their croaking was drowned
by the thunders of applause that accompanied the
opera from rise to fall of curtain.
Gilbert and Sullivan had scored another brilliant,
instantaneous success. Moreover, they had, on this
occasion, done something more than amuse the people ;
they had provided an object-lesson which would prove
useful as an antidote to the poison that was enervating
society.
" Postlethwaite " and "Maudle" had done much
to check the aesthetic impostors, but " Bunthorne, the
fleshly poet," and " Grosvenor, the idyllic poet/' now
came to discomfit and utterly rout the preposterous
mountebanks and false disciples of high art.
SULLIVAN'S HUMOUR 89
The shaft of Gilbert's ridicule was not launched
against pure aesthetic taste, which was, undoubtedly,
tending to raise and refine the tone of modern society,
bat, in opposing the sham affectation and folly then
rife, our author struck home with relentless force and
vigour.
Sullivan on his part, as usual, entered thoroughly
into the spirit of Gilbert's mood. The audience,
listening as attentively to every bar of the music as
to every witty word of the libretto, discovered how the
composer had made every instrument in the orchestra
seem to poke fun and ridicule at the objects of their
satire.
Seated as I was, night after night, week following
week, in the conductor's chair, literally saturated with
the opera, some new point of Sullivan's jocularity was
constantly awakened in my mind for the first time.
I might fill pages with a description of my own per-
sonal impressions, but, since these must have been
shared by all understanders of music, I refrain from
alluding to more than one or two of the multitude
of instances of the composer's remarkable power of
imagination.
For example, by what tone device could Bunthorne's
timorous confession of being a sham be more aptly
expressed than by the recitative accompanying the
words?
" Am I alone,
And unobserved ? I am.
Then let me own
I'm an aesthetic sham I
90 GILBERT AND SULLIVAN
This air severe
Is but a mere
Veneer !
This cynic smile
Is but a wile
Of guile !
This costume chaste
Is but good taste
Misplaced t
" A languid love of lilies does not blight me !
Lank limbs and haggard cheeks do not delight me !
I do not care for dirty greens
By any means ;
I do not long for all one sees
That's Japanese.
I am not fond of uttering platitudes
In stained-glass attitudes.
In short, my medievalism's affectation
Born of a morbid love for admiration t "
The chant-like tone of that recitative afforded
striking contrast and emphasis to Bunt home's
following song, the simple melody of which was
elaborated and enriched by its delightful orchestration.
Daintiest of dainty numbers to linger on the ear is the
duet between Patience and Grosvenor:
" Prithee pretty maiden, prithee tell me true/'
with its plaintive, old-world, madrigal style about it
which reminds the hearer of tunes popular a century
ago, and captivates present-day audiences more, per-
haps, than any other throughout the "Patience"
score.
Then, again, among the most popular songs of the
THE " PATIENCE " SESTETTE 91
opera, one in which Sullivan displayed his subtle
humour is Lady Jane's Recitative and Song, which
opens the second Act.
" Sad is that woman's lot, who, year by year.
Sees, one by one, her beauties disappear ;
When Time, grown weary of her heart-drawn sighs,
Impatiently begins to ' dim her eyes.' "
Gilbert's words, a mixture of pure poetry and chaff,
set to Sullivan's music as solemn as an oratorio by
Handel, produce an amazing effect upon an audience,
and succeed in dispersing the qualms of those who are
disposed to call Gilbert rude in causing a lady to make
fen of her own physical deformity.
But from a purely musical point of view I would
Qrtol, beyond all other numbers in the opera, the
sestette
" I hear the soft note of the echoing voice "
which occurs in the Finale of Act I.
Here the composer gives a remarkable exhibition of
his genius for adapting music to the occasion. More-
over, it was a striking instance of Gilbert's appreciation
of his colleague's music.
In order to give the best effect to the sestette, it
was sung by principals and chorus without the slightest
Movement or action on the stage. In other words.
Precisely as it might be rendered on a concert plat-
form, except that Gilbert took special pains as regards
the picturesque and most effective grouping of the
company.
92 GILBERT AND SULLIVAN
No more beautiful setting of beautiful words was
ever heard in comic opera. Would that it were prac-
ticable to enrich this volume with a copy in extenso of
that exquisite composition ; but it must suffice to adorn
a page with the poem that inspired Arthur Sullivan
to the loftiest height of melody.
The stage direction reads thus : " Angela, Saphir,
and Ella take Colonel, Duke, and Major down, while
girls gaze fondly at other officers/'
And these are Gilbert's words :
" I hear the soft note of the echoing voice
Of an old, old love, long dead
It whispers my sorrowing heart ' Rejoice '
For the last sad tear is shed
The pain that is all but a pleasure we'll change
For the pleasure that's all but vain,
And never, oh never, this heart will range
From that old, old love again."
CHAPTER XI
Building of the Savoy Testing fire-extinguishers "Star-Harden
Grenades " D'Oyly Carte's address to the public.
After much difficulty and prolonged search, D'Oyly
Carte succeeded in procuring a suitable site for his
new theatre. It was a very rough, sloping patch of
ground situated close by the Thames Embankment,
within the precincts of the ancient Savoy and ad-
jacent to the Chapel Royal. The approach from the
Strand was down the precipitous Beaufort Street, the
most fragrant thoroughfare in all London, for on its
east side stood the establishment of RimmeTs, the
famous perfumers.
Remembrance of the odour of Ess. Bouquet and of
patchouli, which in those days impregnated Society, is
somewhat acidulated by the recollection of other less
delectable scents that came wafted from Burgess's
noted fish-sauce shop, which flourished a few yards
farther eastward in the Strand.
Such reflections on scents and sauces must be
taken as reminiscences whispered " aside." They had
nothing whatever to do with D'Oyly Carte's selection
of a site. To the ordinary mind's purview, there ap-
peared little attractive in that wild and rugged waste-
plot to tempt one to build a home of pleasure upon
93
94 GILBERT AND SULLIVAN
it. But our far-seeing manager recognized advantages
in the situation. So dogged was Carte's energy and
determination that, the greater the difficulty that
faced him, the greater pleasure he found in the task
of making rough ways smooth.
The wild and flowery acres of Aldwych which to-day
offer themselves to the prospective builder were not,
unfortunately, available to Mr. Carte. The Opera
Comique was then occupying part of that ground. It
yet remained the home of Gilbert and Sullivan's
creations, pending the completion of their new play-
house. And so it was to the unkempt wilderness of
the ancient Savoy that Carte was driven with his plans
and designs, his bricks and mortar.
With such promptness and despatch was the work
of building carried out that, within the space of a
few months, the Savoy Theatre was completed and
ready for occupation.
Among my readers may be some who remember a
little incident that occurred dining the process of
raising the Savoy Theatre. A trifling incident, yet,
I think, not without sufficient interest to recall.
In order to test the efficacy of a new patent fire-
extinguisher called the "Star-Harden Grenade/' an
exhibition of its capabilities was given on a plot of
waste ground on which now stands the Savoy Hotel.
Among the select company of guests present was
H.R.H. the Duke of Edinburgh, who was much in-
terested in the experiments.
A wooden building, saturated with tar, was set fire to.
When it blazed, a number of the grenades globular
BUILDING THE SAVOY 95
glass bottles resembling liqueur flagons were hurled
and broken against the burning boards, with the result
that floods of magic lotion burst out upon and imme-
diately extinguished the flames. The experiment
was so successful that D'Oyly Carte added the Star-
Harden Grenades, to the number of novelties he in-
tended introducing for the first time in any theatre.
I have not forgotten how the proprietors of the
patent made me a timely present of a case of the
grenades, and thus enabled me personally further to
test their value in private by extinguishing a fire
which very shortly afterwards broke out in my home.
On the eve of the opening of the Savoy Theatre a
select number of friends, critics, managers, and others
interested in theatres were invited by Mr. Carte to in-
spect the house. Loud were the paeans of praise poured
upon the head of the proud manager by all present.
As a true and authentic record in detail of the mani-
fold pomps and glories of the new theatre, we cannot
do better than reproduce here Mr. D'Oyly Carte's
inaugural address.
TO THE PUBLIC
" Ladies and Gentlemen, I beg leave to lay
before you some details of a new theatre, which I have
caused to be built with the intention of devoting it
to the representation of the operas of Messrs. W. S.
Gilbert and Arthur Sullivan, with whose joint pro-
ductions I have, up to now, had the advantage of being
associated.
" The Savoy Theatre is placed between the Strand
v
96 GILBERT AND SULLIVAN
and the Victoria Embankment, on a plot of land of
which I have purchased the freehold, and is built on
a spot possessing many associations of historic interest,
being close to the Savoy Chapel and in the ' precinct
of the Savoy/ where stood formerly the Savoy Palace,
once inhabited by John of Gaunt and the Dukes of
Lancaster, and made memorable in the Wars of the
Roses. On the Savoy Manor there was formerly a
theatre. I have used the ancient name as an appro-
priate title for the present one.
" The new theatre has been erected from the designs
and under the superintendence of Mr. C. J. Phipps,
F.S.A., who has probably more experience in the build-
ing of such places than any architect of past or present
times, having put up, I believe, altogether thirty-
three or thirty-four theatres.
" The facade of the theatre towards the Embank-
ment, and that in Beaufort Buildings, are of red brick
and Portland stone. The theatre is large and com-
modious, but little smaller than the Gaiety, and will
seat 1,292 persons.
" I think I may claim to have carried out
some improvements deserving special notice. The
most important of these are in the lighting and
decoration.
" From the time, now some years since, that the
first electric lights in lamps were exhibited outside the
Paris Opera-house, I have been convinced that electric
light in some form is the light of the future for use in
theatres, not to go further. The peculiar steely blue
colour and the flicker which are inevitable in all systems
of ' arc ' lights, however, make them unsuitable for
use in any but very large buildings. The invention
of the ' incandescent lamp ' has now paved the way
for the application of electricity to lighting houses, and
consequently theatres.
ELECTRIC LIGHTING 97
"The 'arc' light is simply a continuous electric
spark, and is nearly the colour of lightning. The
incandescent light is produced by heating a filament
of carbon to a white heat, and is much the colour of
gas a little clearer. Thanks to an ingenious method
of * shunting ' it, the current is easily controllable, and
the lights can be raised or lowered at will. There are
several extremely good incandescent lamps, but I
finally decided to adopt that of Mr. J. W. Swan, the
well-known inventor, of Newcastle-on-Tyne. The
enterprise of Messrs. Siemens Bros. & Co. has enabled
me to try the experiment of exhibiting this light in
my theatre. About 1,200 lights are used, and the
power to generate a sufficient current for these is
obtained from large steam-engines, giving about 120
horse-power, placed on some open land near the theatre.
The new light is not only used in the audience part of
the theatre, but on the stage, for footlights, side and
top lights, etc., and (not of the least importance for
the comfort of the performers) in the dressing-rooms
in fact, in every part of the house. This is the first
time that it has been attempted to light any public
building entirely by electricity. What is being done
is an experiment, and may succeed or fail. It is not
possible, until the application of the accumulator or
secondary battery the reserve store of electric power
becomes practicable, to guarantee absolutely against
any breakdown of the electric light. To provide
against such a contingency, gas is laid on throughout
the building, and the ' pilot ' light of the central sun-
burner will always be kept alight, so that in case of
accident the theatre can be flooded with gas-light in a
few seconds. The greatest drawbacks to the enjoy-
ment of the theatrical performances are, undoubtedly,
the foul air and heat which pervade all theatres. As
every one knows, eachjjjas-burner consumes as much
98 GILBERT AND SULLIVAN
oxygen as many people, and causes great heat besides*
The incandescent lamps consume no oxygen, and cause
no perceptible heat. If the experiment of electric
lighting succeeds, there can be no question of the
enormous advantages to be gained in purity of air and
coolness advantages the value of which it is hardly
possible to over-estimate.
"The decorations of this theatre are by Messrs.
Collinson & Lock.
" I venture to think that, with some few exceptions,
the interiors of most theatres hitherto built have been
conceived with little, if any, artistic purpose, and
generally executed with little completeness, and in a
more or less garish manner. Without adopting either
the styles known as ' Queen Anne ' and ' Early English/
or entering upon the so-called ' aesthetic ' manner, a
result has now been produced which I feel sure will
be appreciated by all persons of taste. Paintings of
cherubim, muses, angels, and mythological deities
have been discarded, and the ornament consists
entirely of delicate plaster modelling, designed in the
manner of the Italian Renaissance. The main colour-
tones are white, pale yellow, and gold gold used only
for backgrounds or in large masses, and not following
what may be called, for want of a worse name, the
Gingerbread School of Decorative Art for gilding
relief-work or mouldings. The back walls of the boxes
and the corridors are in two tones of Venetian red.
No painted act-drop is used, but a curtain of creamy
satin, quilted, having a fringe at the bottom and a
valance of embroidery of the character of Spanish work,
keeps up the consistency of the colour-scheme. This
curtain is arranged to drape from the centre. The
stalls are covered with blue plush of an inky hue, and
the balcony seats are of stamped velvet of the same
tint, while the curtains of the boxes are of yellowish
NO FEES 99
silk, brocaded with a pattern of decorative flowers in
broken colour.
" To turn to a very different subject. I believe a
fertile source of annoyance to the public to be the de-
manding or expecting of fees and gratuities by attend-
ants. This system will, therefore, be discontinued.
Programmes will be furnished and wraps and umbrellas
taken charge of gratuitously. The attendants will be
paid fair wages, and any attendant detected in accepting
money from visitors will be instantly dismissed. I trust
that the public will co-operate with me to support this
reform (which already works so well at the Gaiety
Theatre) by not tempting the attendants by the offer
of gratuities. The showing-in of visitors and selling pro-
grammes will, therefore, not be sublet to a contractor,
who has to pay the manager a high rental, to recoup
which he is obliged to extract by his employes all he can
get out of the public ; nor will the refreshment saloons
be sublet, but they will be under the supervision of a
salaried manager, and the most careful attention will be
given to procuring everything of the very best quality.
" The theatre will be opened under my management
on Monday next, October ioth, and I have the satis-
faction to be able to announce that the opening
piece will be Messrs. W. S. Gilbert and Arthur Sulli-
van's opera ' Patience/ which, produced at the Opera
Comique on April 23rd, is still running with a success
beyond any precedent.
" The piece is mounted afresh with new scenery,
costumes, and increased chorus. It is being again
rehearsed under the personal direction of the author
and composer, and on the opening night the opera will
be conducted by the composer.
" I am, ladies and gentlemen, your obedient servant,
" R. D'Oyly Carte/'
B&aufokt House, Strand,
October 6ft, 1881.
CHAPTER XII
Opening of the Savoy False prophets Electric lighting No
Strike of incandescents A Gilbertian riddle" Patience " trans-
planted to Savoy Inexhaustible power of ** The Three " The or-
chestra The bandsmen and Gilbert's satire Renewed triumph
of "Patience."
Ever memorable in the annals of the theatrical world
will be the opening of the Savoy Theatre on Monday,
October ioth, 1881.
Apart from the reflection that this was to be the
future home of the Gilbert and Sullivan operas, the
various reforms and innovations introduced by D'Oyly
Carte, notably the installation of electric light, became
the talk of the town.
Men of the old school to whom progress spelt de-
secration shrugged their shoulders at the pioneer/ s new-
fangled notions. They prophesied all sorts of evils.
The "incandescent lamps/' they said not knowing
what they talked about " will never do." Not only
would they cast a ghostly glare upon the stage and
auditorium, but they would be playing all maimer of
uncanny tricks to upset the performances. As for the
quixotic idea of charging nothing for programmes and
cloak-rooms, and not sub-letting the refreshment
saloons at a high rental, as was the established custom,
what could be more suicidal ? How did the manager
zee
OPENING OF SAVQY THEATRE 101
*'
expect to raise revenue ? It was ecc6>trfcity of the mad-
dest type, and must eventually bring ftbout financial
ruin. Thus spoke the conservative savants. JBut the
prophets were put utterly to shame. * -*-/--
The first-night assemblage was prompt to recbgnise
and acclaim Carte's liberal policy. Never before had
an auditorium been more densely packed ! never before
had an audience sat so comfortably in an atmosphere
free from the foetid heat of gaslight. True, the in-
candescent lamps were now and then inclined to be
troublesome, causing a certain amount of momentary
anxiety. The electric light in its infancy betrayed
some weakness in its power. But this, perhaps, was
nothing more than the nervousness common to a first
appearance in any theatre; moreover, the inherent
brightness of the fairy lamps was now called upon to
enhance the lustre of the distinguished personages who
filled the boxes, stalls, and circles on this brilliant
occasion. On the whole, then, the d6but of the " In-
candescents " was a great success.
Mr. Carte, conscious of the difficulties besetting his
plucky experiment, issued a notice in advance, saying
that it had been impossible to complete all the arrange-
mentsnecessary for the perfect lighting of the auditorium
and stage by electric power, but that in a few days all
difficulties would be overcome and the first steps would
have been taken in a method of lighting which would
probably become useful ere long, owing to its many
advantages. Thereafter the incandescent lamps were
seldom known to fail. Yet I recollect how, on the
occasion of the first visit to the Savoy of the Prince of
102 GILBERT ND SULLIVAN
Wales (afterwards. Edward VII), the lights displayed
a very republican spirit by going out and leaving our
royal .guest, not in absolute darkness, but in the ob-
scurity .'of the gas sun-burner.
. (xilbert, having inquired into the cause of the break-
down, was informed by the engineer in charge that it
was "the bearins' 'ad got 'eated" ; whereupon Gilbert
propounded a riddle: "Why," he added, "is the
electric light like one of my old sows ? " " Because
they both 'eats their own bearins/ " l
With reference to the other reform above alluded to,
great was the satisfaction expressed in all parts of the
house when, in place of the cheap and common play-
bill for which, hitherto, a charge of sixpence had been
imposed, an artistic programme beautifully designed
in colour by Miss Alice Havers was presented to
every one, "free, gratis, and for nothing"; it was
amusing to observe the varying expressions of surprise
and gratification of men who, after following the
custom of tendering a silver coin in payment, were
politely informed by the attendant that there was
" no charge." To some minds this concession had
the effect of making the half-guinea stall appear cheap.
The reform of the refreshments was no less welcome ;
in place of the poisonous concoction of fusil-oil, excel-
lent whiskey was provided, and pure coffee took the
1 Whilst recording the first installation of electric lighting in a
theatre, it is interesting to reflect how the Greeks and our ancestors
were satisfied with daylight for their dramatic performances. Then
came a period of tallow candles and oil-floats. These, in the year
1765, sufficed to illuminate Garrick. In 1817 gas-light was first intro-
duced at Covent Garden Theatre.
"PATIENCE" TRANSPLANTED 103
place of the customary chicory and all at a reasonable
tariff.
It was under such auspices and agreeable circum-
stances as those I have endeavoured to outline that
"Patience/' transplanted from the Opera Comique,
was welcomed to her new abode by a host of fervent
admirers. Probably every person present on that
opening night had already witnessed the opera ; but
now, surrounded by such improved conditions of
comfort, all had come to renew acquaintance with
Gilbert and Sullivan's latest work with anticipation
of increased pleasure. Unprecedented was the 6clat,
and when Sullivan's form appeared in the conductor's
rostrum, silhouetted against the rich amber satin
curtains, the thunders of applause were such as to put
to severe test the walls and roof of the new building.
It may be recorded that the house shook for the first
time, yet held firm to withstand the many equally
severe, and ever-welcome earthquake shocks that
were to become familiar at every Savoy premiere.
The improvements behind the curtain were as
marked as those found in the front of the house.
The stage, considerably larger than that of the Opera
Comique, afforded scope for extending and elabor-
ating the groups of the " love-sick maidens " and heavy
dragoons of " Patience."
Brand-new scenery had been painted with special
regard to the exigencies of electric lighting. Scenic
artists alone can appreciate how greatly the new
system of stage illumination revolutionized the colour-
tones. The incandescent rays enabled them to produce
104 GILBERT AND SULLIVAN
a closer copy of natural daylight than had ever been
possible with gas-jets. Accordingly the "Patience"
scenes, notably the lovely Forest Glade, revealed
qualities far excelling in beauty those in which the
opera had been mounted at the old house. The
scenery reflected the highest credit on Mr. Hawes
Craven, the clever artist, who for many years remained
associated with the D'Oyly Carte management.
Thus " Patience " in the full tide of popularity was
transplanted in a day from the Opera Comique to the
Savoy, reappearing in all the glory of new costumes
to enter upon a new lease of life. The only notable
change in the company was the substitution of Mr.
Walter Brown for Mr. Richard Temple, who remained
at the Opera Comique, the sole management of which
had been taken over by Richard Barker for the pro-
duction of Fred Clay's opera, " Princess Toto."
A more brilliant audience than that which attended
the opening night of the Savoy has seldom been seen
in any theatre other than Covent Garden Opera-house.
" Patience " continued its successful course until
November 22nd, 1882. The opera had enjoyed a run
of 408 performances, and greatly enriched the coffers
of the proud Triumvirate. The powers of "The
Three" showed no signs of exhaustion. Prosperity,
indeed, seemed to yield fresh inspiration to their united
genius, which possessed what Coleridge described as
" the faculty of growth."
Gilbert's unrivalled humour and Sullivan's precious
gift of melody flourished beneath the sunshine of public
approbation, while Carte's master-hand had steered
SAVOY ORCHESTRA 105
the ship with its rich argosy of pleasure and profit on its
prosperous voyage across calm seas, and the Savoy
Theatre was now the Mecca of all pilgrims of the play.
Pausing thus to take stock, as it were, it may not
be out of place on this page to pay well-deserved praise
to the orchestra over which it was my privilege to
preside.
Like the stage-company, the instrumentalists, from
playing so long together, had ripened into a full, rich,
homogeneous band. Men more closely allied together
in friendly brotherhood, more loyal to their manager
and to their conductor, were never found in a theatre.
One and all took personal interest in the welfare of
the operas, thus serving to make their musical director's
burthen of responsibility light and his task at all times
a pleasant one. The effervescent spirit of Sullivan's
music had the effect of converting the most staid and
solemn member of the orchestra into a humorist.
Bassoon, clown of the orchestra, became, forsooth, a
first-class comedian, raising, on occasion, a round of
laughter from the audience.
Our band, be it said, was always in the picture : even
so when a leading character in "The Gondoliers"
described them as " sordid persons, who require to be
paid in advance."
This rather rude affront was accepted by the
orchestra with stoical unconcern. Had it been taken
seriously, the heir to the throne of Barataria, with his
own " delicately modulated instrument," might have
found himself drummed off the stage by the indignant
musicians below. But we had learnt our Gilbert by
106 GILBERT AND SULLIVAN
this time. We knew that, like most satirists and cynics,
our gifted author sometimes inadvertently allowed
his wit to outrun discretion, causing him occasionally,
yet very seldom, to err an inch from the canons of
good taste. Besides, did not every one know that a
fiddler, in truth, is no more sordid nor grasping than
the most hungry histrion who struts the boards from
Friday to Friday, patiently awaiting the dawn of
Treasury Day? And so no one was one whit the
worse.
Personally, however, I have always thought the
ungracious thrust at that harmless, but necessary body
the band one of the least funny of Gilbert's witti-
cisms; but then, of course, I may be prejudiced.
It might havebeen imagined that with the withdrawal
of " Patience " mock aestheticism having received its
quietus the subject was obsolete and done with for
ever. A satire launched specifically against the craze
and crank of a period could hardly be expected to
interest the people of future generations ! Yet what
have we seen ? Not only a successful revival of the
opera at the Savoy in 1900, but also to the present
day " Patience " is found as attractive as it was at the
time when Bunthorne and Grosverior were recognized
as prototypes of men and women actually living and
gracelessly moving in our midst. In fact, Gilbert and
Sullivan's aesthetic opera continues as popular on tour
as any of the famous series. I have heard it questioned,
would "Patience" have lived but for the music?
That remains a matter of opinion.
CHAPTER XIII
"Iolanthe" Peers delighted ALP.'s enthusiastic Captain Shaw-
Procession of Peers Gorgeous spectacle Sky-borders abolished
" Iolanthe " in America Carte's enterprise " Iolanthe " and
the " gods " Charles Manners as the Sentry Press notices
A unique criticism.
Continuing in chronological order the progress of
what we may now term the Savoy Operas, we come to
"Iolanthe, or The Peer and the Peri," which first
saw the footlights on Saturday, November 25th,
1882.
People wondered what phase of contemporary life,
what particular class of the community would nest
become the victims of Gilbert's humour. The doings
and undoings, the uses and abuses of the House of
Lords, were just then a subject of bitter controversy.
Peers were out of season and unpopular, at least with
the people. The Parliament Act had not then been
even drafted, and so " Down with the Lords 1 " was the
cry of the hour.
What wonder, then, that our author chose a theme
for his libretto that might please all parties of the
State ? The peers should be brought on the stage to
speak for themselves, make their own apologies, and
endeavour to persuade their detractors that they were
107
108 GILBERT AND SULLIVAN
not as black as they were painted, that " high rank
involves no shame/' that
" Hearts just as pore and fair
May beat in Belgrave Square
As in the lowly air
Of Seven Dials " ;
that even a Lord Chancellor is as susceptible to the
tender passion as the most amorous plebeian of the
slums, be he " either a little Liberal or else a little
Conservative/' And what more fascinating or per-
suasive mouthpieces for his saccharine satire could
our king of jesters have invented than a bevy of beauti-
ful Peris ? What elfish tricks would they not play
upon our hereditary peers ? Far better this than the
vulgar abuse of mere mortals. In brief, what better
peg whereon to hang Gilbertian squibs and crackers
could be conceived ?
But it was only a Gilbert who could dare tackle so
ticklish a subject without fear of offence. Need it be
recorded how our author used his materials with such
masterly tact and broadness of mind that the most
sensitive duke, marquis, or earl could never find a
coronet to fit his own noble head, amongst the brilliant
assortment displayed on the Savoy stage. Probably
those members of the Upper House who never came to
see " Iolanthe " were in a large minority. The
majority who did come were delighted and surprised
to find into what a glorious and harmless figure of fun
a Legislative Lord could be transmogrified by a past-
master of caricature.
it
IOLANTHE" PRODUCED 109
The first night of "Iolanthe" marked another
triumph for D'Oyly Carte's management.
All the familiar features of a Gilbert and Sullivan
PremUre were in evidence, only more so than ever.
The house, packed with an enormous audience, com-
prised a mixed assortment of patricians and plebeians.
Every shade of politics was represented, but, unlike
the assemblies in the greater play-house in Westminster,
here there was no spirit of controversy. Every Act
was passed without a division. M.P.'s Unionist and
Radical, Home Ruler and Socialist alike hailed the
appearance of the composer with far greater and more
spontaneous rapture than any with which they greet.
the rising of a distinguished Front-bench orator.
Sullivan's music soothed the angry breasts of poli-
ticians. And how those senators roared their ribs
to aching pitch as they listened, whilst the Sentry
poured forth his views and sentiments regarding the
modus operandi of the House of Commons, thus :
" When in that House M.P.'s divide,
If they've a brain or cerebellum, too,
They've got to leave that brain outside,
And vote just as their leaders tell 'em to.
And then the prospect of a lot
Of dull M.P.'s in close proximity,
All thinking for themselves, is what
No man can face with equanimity."
Once again a greedy appetite for Gilbert's " words"
*as proved by the frou-frou swish of book-leaves
turned over. Every pungent point of satire and
ridicule was the signal for a volley of laughter. Every
no GILBERT AND SULLIVAN
song was redemanded, everybody who had done any-
thing to help the play was called before the curtain,
and, in short, Gilbert and Sullivan had again captured
the town.
One incident attending the first night of " Iolanthe,"
remembered by all who were present, is worth recalling
here. Conspicuous in the centre of the stalls was the
well-known form of Captain (afterwards Sir Eyre
Massey) Shaw, the renowned and popular Chief of the
Fire Brigade. To him the Fairy Queen, with arms
outstretched across the footlights, appealed in tuneful
serenade :
" On fire that glows
With heat intense
I turn the hose
Of common sense,
And out it goes
At small expense.
We must maintain
Our fairy law ;
That is the main
On which to draw
In that we gain
A Captain Shaw I
" O Captain Shaw,
Type of true love kept under !
Could thy Brigade
With cold cascade
Quench my great love ? I wonder ! "
Spectacularly " Iolanthe " excelled any of the pre-
ceding operas. For the first time on any stage
NO SKY-BORDERS in
lamps were adopted as ornaments by the dramatis
ptrsanae. And so when the classically draped Peris
tripped on, each irradiated by a fairy-star in her hair,
and another at the point of her wand, the novel effect
caused a subdued murmur of wonder and applause to
spread through the auditorium. Emden's scenery,
especially that of the second act, depicting Palace Yard
and the Houses of Parliament, was pronounced a
masterpiece of scenic art.
In this connection we may mention the interesting
fact that, in the second act set of " Iolanthe," sky-
borders were discarded for the first time on any stage
either in London or on the Continent.
For the benefit of the uninitiated, it may be well to
explain that sky-borders are those flat lengths of
painted cloth, which, stretched overhead across the
stage from left to right, form, as it were, the upper
frame-work of the picture. They are intended to assist
perspective ; but sometimes the effect is not only to
narrow the view, but, worse, to destroy the illusion of
the scene. It certainly does not add to picturesque
beauty when we observe square yards of canvas once
coloured cerulean blue to harmonize with the black-
cloth firmament, but now sere and yellow with age,
their edges frayed and torn by the rough usage of
the scene-shifters, flapping ungracefully in the breeze
that blows perpetually on every stage. They look
more like giant scarecrows hung on lofty trees than
P^rts of the scenic artist's design. It will be easy,
then, to understand how the doing away with sky-
borders was one of the most notable improvements
H2 GILBERT AND SULLIVAN
adopted by the Savoy management. To the gallery-
ites the innovation was specially acceptable, since it
enabled them to command a full perspective view of
the Westminster scene, even to the summit of the
Victoria Tower.
Seldom had any more brilliant spectacle been wit-
nessed in a theatre than the Procession of Peers in
their full canonicals of coronets and robes, absolutely
correct to the gilt strawberry-leaves of high-born Duke
or the white satin rosette of belted Earl.
To the trumpet-bray and sounding brasses of the
Grenadier Guards Band entered these
" Noble peers of highest station,
Paragons of legislation.
Pillars of the British nation ! "
So thunderous was the applause, so emphatic the
demand for an encore that one wondered whether the
audience would have sufficient lung-power left where-
with to welcome the Lord Chancellor following close
upon the heels of the noble cort&ge. But we were not
long left in doubt. George Grossmith's appearance
was hailed with such a volley of cheers as to necessitate
a rest of many bars before the Lord Chancellor was
permitted to introduce himself in the quaintly dry
patter song :
" The Law is the true embodiment
Of everything that's excellent."
Never was an oration from the " woolsack "
to with such profound attention mingled with dis-
FAIRY QUEEN'S DANCING LESSON 113
respectful laughter half-suppressed, as that which
greeted the Lord Chancellor on this memorable occa-
sion.
Incidentally let me here recall how at the Dress
Rehearsal, whilst watching the Procession of Peers,
Gilbert remarked to me : " Some of our American
friends who will be seeing ' Iolanthe ' in New York to-
morrow will probably imagine that British lords are
to be seen walking about our streets garbed in this
fashion/ 1 Whether or not Gilbert's suggestion was
extravagant we have no evidence to show. One fact,
however, may be hinted at after the production of
" Iolanthe/' the demand for eligible earls by American
heiresses certainly seemed to increase.
An amusing incident occurred during the rehearsals
of " Iolanthe/' Gilbert took D' Auban aside and whis-
pered certain instructions to the dancing-master. The
author then approached Alice Barnett, the Fairy
Queen " Now, Miss Barnett," said Gilbert, " if you
are ready, Mr. D' Auban will teach you a few dance-steps
which we wish you to introduce in your part." " Oh,
thank you, Mr. Gilbert," replied the actress. D' Auban
then, taking the stage, executed some marvellous
gyrations which none but a past-master of the terp-
sichorean art could possibly attempt. Miss Barnett
stared aghast and then exclaimed, " Oh really Mr.
Gilbert I I don't think in fact, I'm sure I could
never learn that." Readers who may recollect the
Fairy Queen's #rtra-ordinary form and stature will
appreciate Gilbert's practical joke, which, needless to
say, caused a roar of laughter on the stage.
8
U4 GILBERT AND SULLIVAN
By the way, it may be worth mentioning that the
first presentation of " Iolanthe " in America was in-
tended to synchronize as nearly as possible with that
in London ; but, owing to difference in longitudinal time,
the curtain rose in New York some five hours later
than did ours. Accordingly, through the courtesy
of the Atlantic Cable authorities, D'Oyly Carte was
enabled to send a message across the seas describing
the enthusiastic reception of the opera at the Savoy.
This message, transcribed, was issued to the American
play-goers as they were entering the theatre for the
first performance of " Iolanthe " ; thus their appetite
for the feast was agreeably whetted.
Before leaving the subject of " Iolanthe' s " peers,
it may be remarked how the illustration of the manners
and customs of the British peerage provided an object-
lesson to the gallery-boys. One may not gravely
assert that any increased reverence for blue blood was
instilled into the minds of the hoi polloi who came to
the Savoy, not in battalions, but in single columns ;
yet the expression common to the vulgar herd " We'r
are you a'shovin' to, as if you was a bloomin' Lord ? "
was heard more than once as the crowd elbowed their
way through the cheap exit doors at the end of the
performance.
The only notable addition to the front ranks of
Savoyards taking part in " Iolanthe " was Mr. Charles
Manners, since become distinguished in the musical
world as a plucky and successful pioneer in the cause
of English Opera.
Manners gave an admirable impersonation of the
"IOLANTHE" CAST
"5
stolid Grenadier Guardsman, Private Willis, his fine
bass voice doing full justice to the famous Sentry's
Song, whilst his acting emphasized the drollery of the
character and situation.
The following is the complete cast of the original
" Iolanthe " company at the Savoy Theatre :
The Lord Chancellor
Eaxl of Mountararat
Earl of Tolloller
Private Willis .
Strephon
Queen of the Fairies
Iolanthe
Celia
Leila
Fleta
Phyllis
Mr. George Grossmith
Mr. Rutland Barrington
. Mr. Durward Lely
Mr. Charles Manners
Mr. R. Temple
Miss Alice Barnett
Miss Jessie Bond
Miss Fortescue
. Miss Julia Gwynne
Miss Sybil Grey
Miss Leonora Braham
Chorus of Dukes, Marquises, Earls, Viscounts, Barons,
and Fairies
Musical Director . . . Mr. Francois Cellier
Act I. An Arcadian Landscape
Act II. Palace Yard, Westminster
Date. Between 1700 and 1882
Turning once again to our press cuttings, we find
the critics were all but unanimous in profuse praise of
the new opera. But there was one remarkable excep-
tion a very negative report (it could not conscien-
tiously be called criticism), which, read by the light
of to-day, is so amusing in its depreciatory remarks
on " Iolanthe/' so rare as an expert's review, that I
n6 GILBERT AND SULLIVAN
cannot refrain from republishing it word for word. If
the writer of this precious damnatory article has been,
unhappily, spared to the journalistic world till now,
I trust he will fully appreciate the attention I very
humbly and gratuitously venture to direct towards
his far-seeing judgment.
This is what he wrote :
" I was present at the fourth representation of
* I ol an the ' [what a pity he was not invited to the
first !], and, though it was impossible not to be struck
with the startling ingenuity of many of the phrases, the
performance as a whole left me profoundly depressed !
melancholy ! miserable ! [oh ! shade of Jacques !]
The dirge-like music, sacred harmonics gone wrong
dragged and grated even upon my unmusical ear.
Where is this topsy-turvydom, this musical and
dramatic turning of ideas wrong side out, to end ?
Sitting at the play, constantly consulting my watch,
longing, hoping that the piece might come to an end
and that I for one [possibly the only one] might be
released from imprisonment in a narrow stall, I
amused myself with considering and endeavouring to
analyse Mr. Gilbert's methods."
This very captious critic then proceeds to pour
forth his venom against Gilbert and Sullivan alike.
"Gilbert," he says, "starts primarily with the
object of bringing Truth and Love and Friendship
into contempt, just as we are taught the devil does.
Mr. Gilbert tries to prove that there is no such thing
as virtue, but that we are all lying, selfish, vain, and
unworthy. In the Gilbertian world there are no
martyrs, no patriots, and no lovers/ 1
A CAPTIOUS CRITIC 117
After several paragraphs equally eloquent of a per-
verted mind, he concludes with the confession that
" Rather than take a stall at the Savoy [the question
arises, was or was not the gentleman on the Press
List ?] it would pay me better to stand at the corner
of a street and watch the coarse humours of the same
class, of a Punch and Judy show as a moral lesson
I prefer Punch and Judy to ' Iolanthe.' "
What are we to say to such " criticism" ? When
we disclose the fact that it came from the dramatic
and musical critic of a leading sporting periodical, it
may strike one that the prophetic scribe might
better have confined his talents to supplying Turf Tips
to punters, instead of pronouncing a favourite like
"Iolanthe" to be a certain non-stayer seeing that
our critic was inwardly convinced that the opera would
never run.
I wonder whether, if living, he has moderated his
views of Gilbert and Sullivan, since their works, in*
eluding " Iolanthe," have survived to be accepted by
an intelligent public as veritable classics.
CHAPTER XIV
" Princess Ida " Poet's imagination Solomon, Shakespeare, and
Shaw Tennyson's " Princess "Gilbert and old-fashioned bur-
lesques " The Princess " at Olympic A Yorkshire critic An old
lady's view of " H.M.S. Pinafore " Costumes and scenery
PremiitB of " Princess Ida " Sir Arthur Sullivan's illness
Leonora Braham's success Henry Bracey Times' critic on
" Princess Ida."
To analyse and define the psychological subtlety of
a poet's mind is beyond the reasoning power of the
present writer. An ordinary man's thoughts are
generally restricted to the consideration of what has
been or what is. The mists of the future are impene-
trable to his limited imagination. He marvels how
it is given to any of his fellow mortals to view the
" will be " beyond his own narrow span of life. He
wonders how the poet can compose epic verse, de-
scriptive of incidents and events of generations to come,
minutely etching the characteristics of people yet
unborn. And then, when it all comes true, how mira-
culous it appears to the view of the platitudinarian !
Yet, after all, when we come to reflect how Solomon
of old declared there was nothing new under the sun
even in his early epoch is there so much cause for
astonishment that Shakespeare was able, in the six-
teenth century, to picture the actions and revolutions,
the fashions and the follies or the wiser idiosyncrasies
iiS
" PRINCESS IDA" PRODUCED 119
of men and women too of this the twentieth cen-
tury ? The poet was conscious that whatever is has
been before and will be again.
" What then ? " you ask.
Well, then, the question is, if you and I possessed the
intuition of Solomon, or Shakespeare, might we not be
denied the privilege we now enjoy of sometimes finding
something that seems like new even in the works of
Mr. G. Bernard Shaw, or the doctrine of the Futurists ?
Happily, perhaps, for us, our mental visage is not so
keen.
Such is the spasmodic whiff of mock philosophy
that passes across the surface of one's mind on ap-
proaching the subject of " Princess Ida," a play whose
main theme was woman's attitude towards man from
a topsy-turvy point of view. Our observations may
appear somewhat involved, but the idea we would
convey is in brief that, whilst there were no Suffragettes
in Queen Victoria's reign or, if there were, they
were wisely latent, certainly they were not militant
yet did not Tennyson seriously, and, after him, Gilbert,
facetiously propound the doctrine that was eventually
to resolve itself into the present-day cry, " Votes for
Women " ?
Just fourteen years before the Savoy production
of " Princess Ida " (January 5th, 1884), the Olympic
Theatre, then under the management of Mr. W. H.
Liston, witnessed the performance of " The Princess ;
a whimsical parody (being a respectful perversion of
Mr. Tennyson's poem), by W. S. Gilbert." This was
in the days when the rhymed, punning burlesques of
120 GILBERT AND SULLIVAN
Planch6, Brough, Byron, Burnand, and other clever
playwrights, still flourished. It became Gilbert's
ambition to reform and raise the tone of musical plays,
to put an end to the ultra-frivolous stuff and non-
sense, some of which, Gilbert admitted in an address
to the public, had come from his own unbridled pen.
He believed the public taste to be ripe for entertain-
ment of a higher class. And so our author turned to
Tennyson, and borrowed the characters and theme
of the laureate's delightful poem. The outcome was
a clever, playful parody in blank verse, relieved by a
few light lyrics set to popular tunes from grand operas
by Donizetti, Verdi, Rossini, and other famous com-
posers, to whom, by the way, no fees were payable.
Gilbert's first edition of " The Princess " failed to
make much impression, chiefly because, as we have
previously argued, the public had not yet been educated
up to the Gilbertian standard of humour, which was
more refined and elegant than any they had been
accustomed to.
So the Olympic "Princess" was consigned to the
lumber-room of plays that have failed, there to rest
and rust for a dozen years and more, forgotten and
despised.
But Gilbert's faith in the true worth of his adopted
daughter remained unshaken. "The Princess" had
been condemned in 1870 ; but condemned by an
ignorant and misguided jury on the evidence of false
witnesses. Her illustrious Highness, and the authors
of her being, had hardly met with poetic justice in the
measure of her presentation. For instance, her music
it
PRINCESS IDA'S" WELCOME 121
second-hand grand-operatic music had not been
found in harmony with her peculiar court and surround-
ings. Further, her supporters may not have been
trained to speak in blank verse to the academical
standard of Girton or Castle Adamant. But Gilbert
believed that his fascinating, yet eccentric heroine, if
brought to new trial before the more enlightened tri-
bunal of a later generation, might upset the former
verdict. In this confidence the author was readily
supported by Sullivan and D'Oyly Carte. Conse-
quently the despised one of the Olympic Gods was
reclaimed from obscurity, to be reclothed in costly
raiments of " academic silks, in hue the lilac with a
silken hood to each/ 9
To the 4t Princess Ida " Gilbert gave new songs to
sing songs with words not unworthy the author of
" Sweet and low, sweet and low.
Wind of the western sea "
and Gilbert's lyrics were set to music as enchanting
to the ear as any that had been given to the world by
Sullivan.
The result more than justified the venture. Far
more indeed. " Princess Ida " was welcomed with
open arms by the Savoyards. The Press pronounced
the new opera to be a success as complete as any in
which the brilliant author and gifted composer had
been associated. The public, rising to the occasion,
once more metaphorically hoisted the conquering
Trio, Gilbert, Sullivan, and D'Oyly Carte, shoulder
high, and carried them triumphant round the town.
122 GILBERT AND SULLIVAN
In two notable respects " Princess Ida " marked a
departure from the author's usual methods. First,
the opera was in three acts instead of two ; second, it
was written in blank verse. Of the quality of the
verse it may be possible to judge by the following true
anecdote.
A play-goer from Yorkshire, after seeing "Prin-
cess Ida," was asked what he thought of the piece.
" Well/' he replied, " I do like t music well enow ; 't be
bang up to date and full o' tunes I can whistle ; but
f words sounds too much like Shakespeare for f likes o'
me to understand."
This reminds me of another story told concerning
an old lady in a Midland town, who, after a visit to
" H.M.S. Pinafore," declared it to be, in her estimation,
the next best play to " Hamlet " she had ever seen.
"First," she remarked, "it's so full of sayings I've
heard before it seemed like an old friend, you see.
And it's all so breezy, too ; it brings a sniff of the briny
ocean right away into this stuffy inland town. And
then that ship it's so life-like that I couldn't help
wondering if any of those sisters and cousins and
aunts ever felt sea-sick whilst acting on board. But
what I couldn't understand about ' H.M.S. Pinafore'
was that third act. How all the ship's crew and the
young ladies and all come to find themselves in a law-
court, dancing and singing and flirting with the judge
a man, I could have sworn, was the First Lord of the
Admiralty in Acts I. and II., I never could make out
that ending to the ' Pinafore.' "
But the wonder is why no one explained to the dear
A COSTLY PRODUCTION 123
old soul that what she took to be the third act of the
opera was, in fact, " Trial by Jury," which was played
as an afterpiece to " H.M.S. Pinafore."
Our Yorkshire friend's judgment of the music was
by no means too flattering. In " Princess Ida " Arthur
Sullivan gave us of his best songs full of grace, fancy,
delicious melody, and, as ever, brimming over with
rich humour ; choral and orchestral passages as novel,
quaint, and picturesque as any the master's mind had
ever conceived.
As regards the material " production," nothing that
care, liberal expenditure, and consummate taste could
do was left undone by D'Oyly Carte. The staging of
" Princess Ida, or Castle Adamant," as the opera was
entitled, marked the last phase of perfection. The
costumes were as gorgeous in effect as they were rich
in texture, exquisite in colour and design. The " girl
graduates," as they appeared on the Savoy stage, must
truly have been living realities of Tennyson's ideals.
The costly silver-gilt armour, specially designed and
manufactured in Paris by the famed firm of Le Grange
et Cie. , excelled in brilliancy anything of the sort ever
seen at Drury Lane.
The scenic sets, those of Acts I. and III. by Emden,
that of Act II. by Hawes Craven, were masterpieces of
those distinguished artists. In short, no previous
opera by Gilbert and Sullivan had involved such vast
outlay and been so sumptuously placed upon the stage
as " Princess Ida."
But, despite the skill and care of the stage-manage-
ment, one slight mishap occurred. Through some
124 GILBERT AND SULLIVAN
miscalculation of the master-carpenter, the " stage-
well " into which " Princess Ida " descends from be-
hind a flowery bank was of insufficient depth ; con-
sequently the gallery-gods were regaled with a gratui-
tous view of Miss Leonora Braham floundering on a
feather mattress spread to receive her.
The brilliant premUre of " Princess Ida " was, un-
known to the audience, dimmed by the shadow of a
very regrettable incident. When Sullivan arrived at
the theatre I noticed that he was looking haggard and
depressed. I inquired the reason. " Oh, nothing
particular/ 9 he replied; "I've had rather bad news
but I'll tell you all about it later." It was not until
the end of the opera, when Sir Arthur had taken his call
before the curtain, that he told me how, on his way to
the theatre, on opening an evening paper, he had read
that the Bank, in which the bulk of his money
was deposited, had stopped payment. His loss was
very heavy, and that he was able to conduct the opera
that night was evidence of his indomitable pluck and
self-abnegation.
In those minds which judge a stage-work on the main
standpoint of artistic merit, without reference to the
degree of popularity it may achieve, " Princess Ida"
strengthened faith in the ability of our author and
composer to produce together a work of more serious
import, one that should come under the category of
Grand Opera. It was a consummation devoutly to
be wished by all who professed an interest in British
music ; whether such hope was to be realized or dis-
appointed remained then in the lap of the gods.
.44
PRINCESS IDA" CAST 125
The following is the original cast of characters who,
at the Savoy Theatre on Saturday, January 5th, 1884,
presented
PRINCESS IDA, OR CASTLE ADAMANT
King Hildebrand . . Mr. Rutland Barrington
Hilarion (His Son) .... Mr. H. Bracey
Cyril \ /E7 ., . , p . , x . Mr. Durward Lely
_r . } (Htlarton's Friends) w n
Flonan J x ' Mr. Chas. Ryley
King Gama . . . Mr. George Grossmith
Arac 1 Mr. Richard Temple
Guron J- (His Sons) . . Mr. Warwick Gray
Scynthius J Mr. Lugg
Princess Ida . Miss Leonora Braham
(Gama's Daughter)
Lady Blanche .... Miss Brandram
(Professor of Abstract Science)
Lady Psyche . . . Miss Kate Chard
(Professor of Humanities)
Melissa Miss Jessie Bond
(Lady Blanche's Daughter)
Sacharissa .... Miss Sybil Grey
Chloe Miss Heathcote
Ada Miss Lilian Carr
(Girl Graduates)
Soldiers, Courtiers, " Girl Graduates," " Daughters of the
Plough," etc.
It is not for me to offer any critical remarks about
the performance. To express personal opinion on
any individual actor or actress would appear im-
pertinent. Yet I cannot refrain from placing on
record the excellent impression made by Miss Leonora
Braham in the title-role. Miss Braham' s rendering of
the by no means easy songs, and her admirable delivery
126 GILBERT AND SULLIVAN
of the famous speech addressing the ''Women of
Adamant, fair Neophytes" I number among my
pleasant reminiscences. Mr. Henry Bracey, whose
impersonation of Prince Hilarion will be favourably
remembered by Savoy patrons, has, for many years
past, held the post of Business Manager to the late
Mr. J. C. Williamson, the well-known Antipodean
impresario, who, until his death a year ago, leased the
Australasian "rights" in the Gilbert and Sullivan
operas.
To conclude these notes and reflections on " Princess
Ida," I cannot do better than quote a few remarks
from an able critical review which appeared in The
Times after the fiist performance of the opersy ;
" Whatever may be thought of the abstract value
of Messrs. Gilbert and Sullivan's work, it has the great
merit of putting every one in a good temper. It was
pleasant to watch the audience on Saturday. The
occupants of stalls and boxes, including many musicians
and literary men of note, the dress circle, and even the
unruly ' gods ' in the gallery, were equally delighted,
and expressed their delight after the manner of their
kind. To a poet and a musician who can achieve this
by morally harmless and artistically legitimate means
it would be unjust to judge the burst of applause which
at the end of the piece brought Mr. Gilbert and Sir
Arthur Sullivan and Mr. D'Oyly Carte, the energetic
manager of the Savoy Theatre, before the curtain. To
play the stern critic in such circumstances, one would
require the temper of the philanthropic King Gama
of the play."
CHAPTER XV
Theatrical first nights Professional play-goers Prtmiir* Savoyards
Establishment of the "queue " Refining influence of " Gilbert
and Sullivan" Taming of the Hooligan Gallery and pit con-
certs First nights behind the curtain Gilbert recalls first night
at the Olympic.
Like unto the stars, first nights at a West-end
London theatre differ, one from another, in glory.
Yet, in general aspect and incident there is, as a rule,
no marked distinction between them.
If the play to be produced is by a popular author,
with popular artists to support it, a spirit of confidence
pervades the house. The audience awaits curtain-
rise with the calm solemnity of a special jury, yet happy
in the anticipation of a " feast of reason and a flow of
soul/' They hope for the best. If, on the other
hand, a new dramatist is to be introduced to them, a
certain degree of apathy and indifference subdues the
excitement of the occasion. People speculate whether
or not they will " spot a winner." Past experience
guides them to lay odds against the desired issue.
Theatrical " first-nighters " are professional play-
goers ; each individual is a living encyclopaedia of the
drama. Every one of them has been a student of the
stage since his or her first visit to a theatre, and now,
gathered together, they constitute a body of amateur
1*7
128 GILBERT AND SULLIVAN
experts, unpaid critics responsible to no editor nor
censor for the opinions they form of their own free and
unfettered judgment. And these, unquestionably, are
the surest prophets, the most reliable arbiters of the
fate of all plays. Every u first-nighter " knows every
other one, though the great crowd of witnesses may be
ever so cosmopolitan. And so, when, after patiently
awaiting admission for many a weary hour, they at
length gain their seats, they pass the interval pending
the performance in their orthodox manner the men
of sober mien peruse the latest edition of the evening
paper ; the women turn over the leaves of a novelette,
or, more industriously, ply the knitting-needle ; whilst
more restless, youthful idlers engage in verbal platoon
firing with blank cartridge of chaff and repartee.
Anon the galleryites watch the dilatory, dawdling entry
of the " upper classes " to the stalls and boxes. Every-
body who is anybody is known to them. Recognizing
in turn each distinguished personage, statesman or
diplomat, hero or poet, millionaire or stock-broker,
peer or pet actress, they welcome each respectively
in such a manner as betrays their sentiments of esteem
or otherwise. Such is a brief outline sketch of an
ordinary London premibre ; but a Savoy " first-
night," it may be said, used, in the old days, to be a
thing of itself. The occasion was marked by features
distinct from any obtaining elsewhere.
Our faithful patrons and camp-followers formed a
corps, more or less independent of the general army
of play-goers. They might be described as Territorials.
They liked to call themselves "Savoyards/' These
THE QUEUE SYSTEM 129
never came prepared to scoff ; they were too well
assured that they would remain to praise the fare which
their generous host, Mr. D'Oyly Carte, had caused to
be provided for their delectation by those renowned
Escofiiers of the lyric kitchen Gilbert and Sullivan.
Here may fittingly be recalled another notable experi-
ment tried by D'Oyly Carte in the early days of his
Savoy regime. This was the institution of the Queue
System for the benefit of play-goers awaiting admis-
sion to the unreserved parts of the theatre. Once
again Carte's judgment was called into question by the
wise-heads who were over-faithful to past traditions.
"The public/ ' they vowed, "will never stand being
marshalled and driven like a flock of sheep into their
pens." Wrong again were those unreasoning prophets.
The crowd of pittites and gallery-gods assembled in
the early hours of the eventful day, and, extending down
the steep of Beaufort Buildings to the theatre doors,
readily accepted the new regulation, fell into the ranks
of the queue, and realized its advantages. Instead of
the old order of " might versus right," with its rough
and rude push and crush, the new rule was " first come
first served.' ' The experiment proved so successful
that the system was forthwith adopted by every
theatrical manager. Humble patrons of the Savoy
will ever gratefully remember how, through the kind
consideration of Mrs. D'Oyly Carte, on the occasion of
first-nights, the weary crowd was refreshed by the
management with tea and cake, before the perform-
ance began. It was a gracious act that did much to
add to the growing popularity of the Carte manage-
9
130 GILBERT AND SULLIVAN
ment and to increase the number of avowed Savoy
champions and apostles.
There was no " rag, tag, and bobtail " attached to a
Savoy crowd. If, perchance, there were present any
claqueurs of the rowdy class they were never in evi-
dence. The refining influence of Gilbert's wit and
Sullivan's convincing music sufficed to tame the wildest
Hooligan from Shoreditch and the East, and to compel
every man and woman entering the sanctum of the
Savoy to put on company manners.
The people, packed in close order in the gallery, re-
sembled a huge, well-dressed concert choir, not only in
the formation of their ranks, tier above tier, but in
the manner of their behaviour. As soon as they had
settled in their places, instead of reading books and
newspapers, our accomplished " gods " delighted the
house with a gratuitous recital of every favourite chorus
or part-song from the Gilbert and Sullivan repertoire.
A self-appointed conductor stationed in the centre of
the front row was readily accepted, and, responsive to
his beat, the amateur choir rendered in excellent tone
and tempo not only the breezy and easy times of
" Pinafore/ 1 but also such choice and delicate morceaux
as " Hail, Poetry ! " the unaccompanied chorus from
"The Pirates of Penzance," and the more exacting
sestette, " I hear the soft voice," from " Patience."
The improvised prefatory concerts which, by the
way, I am just reminded, were not confined to the
gallery, but were contributed to, in turn, by the Pit
choir, became such an important item of a Savoy
premi&re that they had the effect of attracting the early
BEHIND THE SCENES 131
attendance of the 61ite in the stalls and circles. Doubt-
less, the vocal ability of these fremibre choristers was
attributable to the fact that they comprised a large
number of members of suburban amateur societies to
whom the Savoy times were as familiar as the National
Anthem, " Rule Britannia/' or "Hymns, Ancient and
Modern"
So interesting and attractive was the performance
taking place "in front " that our author and com-
poser, with some of the principals, forgetting for a
moment the responsible parts they were themselves
about to play, listened from behind the curtain and
joined in the applause that followed each chorus.
Reference to this incident reawakens reminiscences
of the attitude of every one, the disposition of every-
thing pertaining to the stage and the orchestra on these
eventful occasions.
Whilst in front of the house under the able control,
courtesy, and tact of our Acting-manager, Mr. George
Edwardes, all went with the smoothness and decorum
of a private " At Home," behind the curtain every-
thing was marked by the quiet discipline of a regi-
mental camp or the deck of a battle-ship. Every man
was ready at his post, every rope was coiled, every
scene-baton was adjusted, every incandescent lamp
tested all was taut and trim arid ship-shape. Of all
"the hands" behind the scenes the call-boy alone
betrayed nervou9 anxiety " Shrimp/ ' as he was
familiarly called, was ubiquitous, literally "all over
the shop." Like all his colleagues, "Shrimp" was
impressed with the importance of the occasion. He
132 GILBERT AND SULLIVAN
appeared to entertain the idea that every lorgnette
in the wide world was now being focussed on the Savoy
stage, and so he, for one, was resolved to do his level
best to make the show a success. How far his efforts
succeeded he himself, looking back across the years,
can contemplate with supreme satisfaction.
Turning now to more important factors in the scene,
to wit, our manager, author, and composer, I trust
that the idle gossip I dare to convey touching their
demeanour on first nights may not disturb their
now resting and no longer anxious souls. When I
recall their restlessness and half-veiled anxiety on
these momentous nights I cannot forbear to smile.
First, I seem to see again D'Oyly Carte with all
the calm concern and forethought of a wise Commander-
in-Chief long before the doors are opened, beginning
his rounds of the theatre ; I watch him peeping into
every corner and crevice of the house as though he
should discover some lurking evil that might jeopardize
his venture. Inwardly satisfied that everything neces-
sary to success has been done, and well done, our chief
bestows placid smiles upon every faithful servant or
attach^ whom he meets. Now and again he pops his
head in at the door of my room " Everything all
right, Francois ? " Without awaiting my assurance
that all is well in my department, he is off again to
pursue another tour of inspection. :
Meanwhile Arthur Sullivan arrives ; I had left him
half an hour ago after a quiet dinner together. But
now he enters muffled against the night air. " Good
evening, Francis ; bitter cold outside." I help him
FIRST-NIGHT EXPERIENCES 133
off with his overcoat. He hangs it on a peg, warms his
hands at my stove, before enticing them into a pair of
white kids ; he lights a cigarette, adjusts his monocle,
and peeps into the special Evening Standard; the
next moment he asks me to give him a lift on with his
overcoat. This done, he lights another cigarette and
remarks, "Just going for a stroll round shan't be
long." He mounts the stairs to the stage-door,
where he exchanges a cheery word with Manton, our
worthy Cerberus. Two minutes later he reappears
in my room and goes through the same process of dis-
robing, etc. This accomplished, he asks me to accom-
pany him to the band-room. Here he cracks humorous
jokes which vastly amuse the gentlemen of the orchestra
placing them at perfect ease.
Thus the maestro was wont to kill the half-hour
preceding his appearance in the conductor's chair.
Gilbert's nervous devices for concealing nervousness
were very similar to those of his colleagues.
With nonchalant air, our author paces the stage.
With his hands deep in his pockets, he inspects the
set scene, occasionally passing a joke to the master-
carpenter. Proceeding thence to the corridors, he
knocks at the door of the prima donna's dressing-room
and asks, " All right, my dear ? " The lady, in reply,
shouts excitedly, " Oh is that you, Mr. Gilbert ? I
wanted to ask you if you would mind if I "
" My dear girl do just whatever you like / don't
mind the rehearsals are all over, and I am now at your
mercy."
Gilbert then passes along to have a word or two with
134 GILBERT AND SULLIVAN
Grossmith and Barrington. After this he disappears
through the stage-door to enjoy a quiet stroll on the
Victoria Embankment.
This relation brings to mind a story Gilbert used to
tell against himself concerning his experience on the
first night of " Gretchen," one of his early plays pro-
duced at the Olympic in 1879.
Suffering from an acute attack of nervous debility,
as he termed it, the author felt it impossible to remain
within the theatre. Accordingly, he spent the evening
patrolling up and down the Strand, wandering through
Covent Garden and Drury Lane. He continued his
peregrinations until he thought it was about time to
return to the Olympic to take his call before the curtain.
Arriving at the theatre, he discovered the last frag-
ments of the audience dispersing from the doors.
Whereupon he addressed an outside official to whom
he was unknown. " Is the play over ? " he timidly
inquired. " Over ! " exclaimed the man, " I should
rather say it was over over and done for. Never see'd
such a frost in all my bom days."
Gilbert thanked his lucky stars that he had absented
himself from such a d^bicle our author, be it observed,
was not accustomed to frosts.
CHAPTER XVI
Away from the Savoy Gilbert and Sullivan's leisure hours Disquisi-
tion, on their aims and achievements Town sparrows and eagles
Gilbert and Sullivan's loftiest productions Sullivan's devotion to
home and the country A " disciple of the beautiful " Sullivan's
highest inspirations Another type of English composer A Chapel-
Royal story Sullivan's music, sacred and secular Plagiarism
Sullivan's candour Comic song as church " Voluntary " Sulli-
van and his critics.
We have now arrived at October 1884, just nine
years after the production, at the Gaiety Theatre,
of " Thespis," the first joint work of Gilbert and
Sullivan.
Hexe the reader, having " sat out " a rough recital
of seven operas under my very erratic literary con*
duct, may be glad to indulge in a few bars 9 rest.
Let us then quit for a short while the Savoy Theatre,
where a revival of " The Sorcerer " is in rehearsal to
succeed " Princess Ida." Those who have followed the
many triumphs of our famous Savoyards may be in-
quisitive to learn something, be it ever so little, con-
cerning their private lives, and the manner in which our
author and composer filled in the gaps of leisure during
the lengthy runs of their operas.
Neither Gilbert nor Sullivan was ever an idler.
Each, according to his own individual taste or hobby,
was able to enjoy to his heart's content the pleasures
13s
136 GILBERT AND SULLIVAN
of life which are the fruits of successful effort. But
they never grew weary of work. Ambition was not
satiated by the luxury of attainment. Gilbert and
Sullivan had other fields to conquer beyond the walls
of the Savoy. And so, whilst the people were nightly
crowding to the theatre in holiday mood to revel in the
feast of mirth and melody, the men who had provided
the repast were busy with brain and pen preparing,
it might be, yet more substantial if not more tempting
fare.
There seems to be much nonsense talked about
what Gilbert and Sullivan might have done with the
talents they possessed. One might just as wisely
question why man, having learnt to fly, is content to
remain a citizen of the earth, when, if he liked, he could
soar away beyond the clouds to dwell in the higher and
brighter realms that are supposed to be located there.
There are people some cynics, some malcontents, and
some noodles ; all professing more or less admiration
of their gifted compatriots people who never cease
lamenting that neither Gilbert nor Sullivan aimed high
enough ; that they were satisfied to continue potting
at low-flying follies, mere town-sparrows, whilst, with
their skill, they might have brought to earth the Golden
Eagles of Parnassus to be stuffed and placed in the
British Museum.
These quidnuncs argue among themselves the causes
why our two great artists never soared to loftier
planes of art. "Was it shallowness of soul or con-
gested ambition ? " they ask. " Or was their motive-
power too purely mercenary and sordid ? "
THE COLLABORATOR'S AIMS 137
Such inquisitors might be reminded that Sheridan,
and, perhaps, even Shakespeare, were guilty of writing
"pot-boilers'' sometimes, and that Beethoven did
not continue composing Symphonies until he found a
demand for them. The great maestro was not above
composing a valse or a polka at a very low figure when
occasion offered.
If such a cause has to be tried in public, the present
writer, although he holds no brief for the defence,
firmly believes that wise counsel's opinion would .find
that, if any persons suffered through the default of
Gilbert and Sullivan, they were the indicted parties
themselves.
And what a multitude of witnesses might be called
to testify that no two Englishmen, ever before or since,
worked so hard and helped so much to make merry the
lives of their fellow countrymen and women as the
author and composer of the Savoy Operas !
But, after all has been said or suggested, did not both
Gilbert and Sullivan, each in his way, sometimes aim
higher than simply to hit the bull's-eye of popular
taste?
Gilbert may not have been another Sheridan ; Sulli-
van may have failed to reach the empyrean heights
gained by Beethoven. True ! yet will not their names
be handed down to posterity, to be cherished and
honoured from generation to generation by all the
English-speaking race ?
Of course, we should all have been proud if Sir William
had bequeathed us a dramatic work to be placed in
the category of "The School for Scandal." Still,
138 GILBERT AND SULLIVAN
although he scarcely succeeded in serious play-writing
of classic degree, Gilbert gave us " Sweethearts/ 9 and
" Pygmalion and Galatea/ 9 "Tragedy and Comedy/*
and, may we not add, " The Yeomen of the Guard' ' ?
for these alone we should be grateful.
Equally, of course, we, as a nation, would have been
prouder than ever had Sir Arthur, with some stupendous
magnum opus of musical art, succeeded in eclipsing
Beethoven's " Choral Symphony" ; but most of us are
perfectly content to have been given " The Tempest "
music, the " In Memoriam " overture, and " The
Golden Legend/' to say nothing of the thousand- and-
one lesser gems that have enriched our music libraries.
Here our thoughts must be allowed to digress from
the main route of these reminiscences to dedicate a
page or two specially to my old friend Arthur Sullivan,
not only in the character of composer, but also in that
of charming companion.
My earliest association, of a professional character,
with Sullivan was in the year 1867, when he was
organist of St. Peter's Church, Cranley Gardens, the
vicar being the Rev. Francis Byng (now the Earl of
Strafford), Chaplain to the Speaker. For a brief
period I acted as Sullivan's deputy. It was arranged
that I should receive a telegram on Saturday evening
whenever he required my services on the following day.
The consequence was that a telegram reached me punc-
tually on every Saturday eve, until eventually I took
it as a matter of course that I was wanted at the
church, and so never failed to attend. Sullivan would
pop in occasionally for part of the morning service,
EXPERIENCE AS ORGANIST 139
and then beat a retreat through the vestry door.
The choir were always on the qui vive for the appearance
in the organ-loft of their young curly-headed " chief,"
who at all times made his presence felt in their midst.
I was often reminded of this incident in after-years
at the Savoy. The effect produced on the stage com-
pany when, during the performance of an opera, the
composer's form suddenly appeared at the wings, was
similar to that felt by St. Peter's Choir of old. The
whisper passed through the ranks of the chorus,
" Look out : the Boss is here." Sir Arthur's shining
monocle certainly possessed the magic power of trans-
forming apathy into enthusiasm.
My deputizing at St. Peter's Church came to an
abrupt termination. A telegram from Sullivan asking
me to play at a wedding having miscarried, I was nan
est inventus at the ' appointed time. Whereupon the
reverend Vicar simply remarked, " Exit Mr. Franfois
CeUier."
It was not until twelve years later that I touched
an organ again, so that it was not without some
trepidation that I accepted the post of organist at a
Surbiton Church. Meeting Sullivan shortly after my
first Sunday on duty, I was asked, " Well, how did
you get on ? " I told him that the morning per-
formance had been a not very smooth rehearsal, but
that I was all right at night.
Sullivan then related how he had once had a similar
experience. After having given the organ a long rest,
he was asked to play at a nobleman's private chapel
in the country, " And how did you get on ? " I ion
140 GILBERT AND SULLIVAN
quired. Sullivan replied, "The psalms completely
flummox'd me. I had not the presence of mind to
change the stops all through it was a double chant
with strange ' pointing ' I was so overcome with
nervousness that my fingers became glued to the
key-board I could not remove them. The result was
that the choir went running about the city, whilst I sat
grinning like a dog, after the fashion of David and his
enemies as recorded in Psalm lix."
Such are some of my earlier reminiscences dated back
several years before I was appointed Musical Director
of the Opera Comique.
Sir Arthur Sullivan, as is well known, remained to
the end of his days a bachelor. His domestic joys and
cares were centred on his aged mother, to whom he
was deeply devoted. For a few years after the death
of her husband, Mrs. Sullivan shared with her widowed
daughter-in-law (Mrs. Fred Sullivan) and her children
a quaint old Georgian mansion named Northumberland
House, in Fulham. Here Arthur delighted to spend
his Sundays as often as he could escape from his
relentless pursuers. The quiet hours passed in that
old-world homestead, free from the turmoil of the
theatre and concert-hall, away from the pomp and
circumstance and the irksome idolatry of Society, were
to Sullivan the happiest of his life.
Arthur Sullivan has been described by one of his
biographers as " a disciple of the beautiful/' No
worthier monograph could be applied ! Loyal and
tried citizen of London as he was, in the country he
sought and found his loftiest inspiration. Accordingly
INSPIRATION 141
much of the spring and summer time was spent at
his delightful riverside home at Walton-on-Thames.
From the whispering trees, the sighing evening zephyrs
and the song-birds ; from the ripple of the stream, the
plash of oars in the water, and the merry laughter of
holiday-makers, he gathered fresh stores of melody,
and, weaving them into Nature's wondrous concord of
sweet sounds, created, it might be, a majestic chorus
or graceful dance, a plaintive ballad, or dreamy
lullaby.
" As effortless as woodland nooks
Send violets up and paint them blue/'
so did Sullivan's genius send forth flowers of melody
fragrant and everlasting.
I have known other species of composers, musicians
varying in degree of what is sometimes mis-called
genius ; mortals who are prone to boast that they
seek inspiration in day-dreams (judging from their
produce it might be imagined that they had been
inspired rather by night-mares).
" In order to compose divinely*' say these aesthetic
dreamers, "it is necessary to lose one's material self
in a trance/' Read what my friend Bridgeman has
to say on this subject.
" I remember once meeting a specimen of those
spirit-compelled musical Futurists in a secluded spot
on the north coast of Devon. In the twilight of a
lovely summer's evening I observed a form standing
erect on a cliff overhanging the Bristol Channel. At
first I took it to be a sign-post, for an arm was pointing
142 GILBERT AND SULLIVAN
horizontally across the purple main. On approaching
nearer I discovered it to be nothing more nor less than
a man a poet-musician, one whom I ha,d casually
met in the musical circles of London, and whose
acquaintance I might now claim.
" Addressing him by name, I extended my hand in
greeting. For a moment he did not stir : he was under
a spell. At length, with a sigh, in a voice which
groaned with emotion, he appealed to me thus:
' Friend, pray do not disturb me I am composing-
I am in the throes of a sea-symphony.' Of course I
was too polite to continue the conversation, but I
felt very tempted to inquire whether it was a Symphony
in C or an ode to the mud of the Bristol Channel that
was so monopolizing his mental faculties."
The poor fellow, I understand, long since passed
beyond the veil without bequeathing to the world that
work which he dreamed would be immortal, or leaving
behind him even his name and address in Who's Who.
Nevertheless he was, so I've been told, a man of
more than common musical ability, which, rightly
directed, might have brought him to the front. Un-
fortunately, he had fallen a victim to the mock aesthetic
craze of the " Patience " period !
Arthur Sullivan was a composer of a very different
type. It was my privilege to be his frequent com-
panion during his composing moods, but if I wanted
to speak to him I was never afraid of frightening
away the spirit of inspiration. Undoubtedly he,
being of poetic temperament, found a dim religious
light helpful to the composition of a sacred cantata ;
a quiet woodland nook might attune his lyre to a
A CHAPEL ROYAL STORY 143
love-song, or an infant's cradle might evoke a lullaby ;
bat Arthur never, so far as I know, found it necessary
to seek the seclusion of the cloisters or the woods or
the nursery for the purpose he had in hand.
Sullivan was a reincarnated Orpheus. Music was
to him the breath of life, not the painful spasm of
congested lungs. His disposition was so perpetually
brimming over with sympathetic humour that he
would take delight in discovering subjects for facetious
music in most unmusical sounds ; such, for instance,
as the monotonous notes of the cuckoo, the bray of
a donkey, the cry of an "old clo' " man, or the puff
and pulsation of a heavy railway train rumbling its
way up a steep incline. He preferred to laugh and
learn lessons from a broken-keyed hurdy-gurdy, rather
than rain anathemas on the poor Italian organ-grinder.
Sullivan's soul was so imbued with the joy of living
that it might well be wondered how he could ever
divert his thoughts to the musical setting of sacred
subjects. In this respect, without question, he owed
much to the associations of his boyhood.
At the Chapel Royal his mind was, to use a vulgar
phrase, " fed up " with hymns and chants, anthems
and ancient madrigals, which, morning, noon, and
night, constituted the chief mental food of "the
children" of St. James's. Reference to the Chapel
Royal reminds me, by the way, of a joke attributable
to Sullivan. It is a story which one might well blush
to relate ; but, being of that kind, it is all the more
likely to amuse.
During the Litany one of " the children " standing
144 GILBERT AND SULLIVAN
next to Arthur in the choir substituted for the proper
words of the Prayer-book the following very irre-
verent impromptu : " That little girl coming up the
aisle makes-my-mouth-water." To which Arthur re-
sponded : " Hold your tongue or you'll be hung, that
is the Bish-op's-daughter."
It is very wrong, we know, to tell tales out of school,
yet we all do it on occasion. The Rev. Thomas
Helmore, our much-respected pastor and master, has
passed away far out of hearing, and so nobody who
might be concerned in this exposure of past peccadilloes
will suffer for our gossip.
Cavillers are inclined to aver that Sullivan's sacred
music was, at times, too secular ; whilst, vice versd, his
opera-tunes were occasionally too sacred in character.
Alas, in this connection, we cannot forget that represen-
tative of a sporting journal to whom we have directed
attention in an earlier chapter, that remarkable critic
who described the music of Iolanthe as " sacred har-
monics gone wrong." Well, one cannot hold oneself
responsible for another man's aural instincts.
Again : honest and devout lovers of music with a
keen ear for time, but without any atom of technical
knowledge of the musical art, oftentimes remark,
" Oh I've heard that somewhere before I " " Very
likely, sir, you may have, but is it not equally possible
that you have heard it from the voice of Nature from
whence the notes were borrowed ? "
Let it not be supposed that friendship and intense
admiration blind us to any imperfections perceived by
others less prejudiced in the work of our composer.
BORROWING A THEME 145
Sullivan was not above suspicion of having stolen a bar
or two, here and there, from another musician. He
himself was ever the first to plead guilty to such soft
impeachment- But, it may be asked, is it a more
unpardonable offence to paraphrase a musical theme
than to parody a proverb ? Surely the composer of
" Princess Ida," when he played an occasional joke
at the expense of Handel, was guilty of no greater
fraud than the author who " respectfully " perverted
Tennyson. On one occasion, when accused of having
plagiarized Molloy's " Love's sweet Song " in his
"When a Maiden marries " in "The Gondoliers,"
Sullivan replied : " My good friend, as a matter of fact,
I don't happen ever to have heard the song you mention,
but if I had you must please remember that Mo Hoy
and I had only seven notes to work on between us" A
propos this subject, let me call on Cunningham Bridge-
man to give an instance of Arthur Sullivan's aptness
to appropriate a musical subject that had appealed
to his ear, and of his readiness to confess to having
done so.
" Being a very old friend of Sullivan's, I was
privileged to lunch with him on Sundays. This was
more particularly during a period when his mother
was ' keeping house ' for him in Victoria Street, West-
minster. On one occasion, faithful to my one par-
ticular virtue, arriving at the flat in punctual time, I
was, as usual, heartily welcomed by Mrs. Sullivan,
who made haste to inform me that Arthur might be a
little late in returning from a call he had to pay, but
that he had left word that I was to be sure to stay
10
146 GILBERT AND SULLIVAN
and lunch. My kind hostess, always bubbling over
with loving pride of her gifted son, once again, pour
passer le temps, invited me to inspect the collection of
valued treasures, comprising presentation gifts in
gold, souvenirs in silver, and other such choice and
interesting knick-knacks as are generally to be found in
the home of a celebrity. Lying in its open case upon
the grand piano was a violin. I was about to handle
it when the dear old lady exclaimed, in accents of
alarm, ' Oh please, please don't touch that ! You will
never guess who that violin belongs to ! ' Of course,
although I could not fail to notice a ducal coronet and
monogram on the case, I would not, for all the world,
venture to guess the owner's name. In a confidential
whisper Mrs. Sullivan informed me that it was the
Duke of Edinburgh's fiddle ; that His Royal Highness
had been having a run through some duets with ' dear
Arthur ' last evening, and would probably be round
again to-night.
" It was a delightful object-lesson in maternal pride
to watch the countenance of Arthur Sullivan's fond
mother as she let me into this profound state secret.
" But to come to the main point and purport of my
story. The moment Sullivan arrived and saw that I
was present, without waiting even to remove his over-
coat, he went straight to the piano, saying, ' What d'you
think of this for a time, Bridgeman ? ' To my amaze-
ment I recognized the refrain of a very unacademical
ditty called f Impecuniosity ' which, a year or two ago,
I had perpetrated and disposed of to the great lion
comique, G. H. Macdermott, who sang it as a duet
with Herbert Campbell in the Drury Lane Pantomime,
scoring, so I was assured, a big success. ' Where on
earth did you pick up that? 1 I asked Sullivan.
* Well, the fact is, I've just come from the organ-loft
of a church in Forest Hill where an old friend and
SULLIVAN'S CANDOUR 147
pupil of mine does duty. By way of a ''Voluntary/*
the organist played this. Never having heard it
before, and the theme appealing tome, I asked my friend
what it was and he told me it was a comic song by a man
called Bridgeman I wondered if you could be the
culprit, and now you stand confessed. Well, old
friend, don't be surprised or angry if you hear something
very like it in my next opera'
44 On the first night of the next opera, which was
'The Mikado/ I eagerly listened to each succeeding
musical number, hoping to catch the refrain of my
song inwardly resolved that, should it occur, I should
insist upon my name appearing as joint composer of
'The Mikado/ Alas, for my vaulting ambition
disappointment was my reward ; the subject of ' Im-
pecuniosity * was omitted, or, anyway, it was so dis-
guised in orchestration that I failed to identify my
progeny. Such an opportunity of achieving fame
never occurred to me again/ 1
The above is Cunningham Bridgeman 9 s reminiscence
not mine still, whilst we are impertinently debating
as to the originality of our composer, the anecdote
quoted may serve as an illustration of Sullivan's
unblushing candour. Yet Arthur Sullivan, Math all
his unconcern regarding minor responsibilities, was by
no means insensible to the dictum of honest criticism.
No man whose bread and butter is dependent upon
public suffrage was ever more anxious to learn the
judgment and verdict of the press. It was amusing
to witness his impatience to read the notices which
appeared in the papers the morning following the
production of a new work. Praise was, naturally,
148 GILBERT AND SULLIVAN
pleasant and grateful to him; but, if ever he had
just cause to complain of harsh or unjust critical
remarks, he simply smiled serenely and treated the
matter with apparent indifference, accepting the
" slings and arrows of outrageous " scribes as placidly
as Gulliver endured the teasings of the Lilliputians.
CHAPTER XVII
Arthur Sullivan in private life Alone with the compose!? His
leading characteristics Society's idol Sullivan's visit to the
Riviera His entourage Work and recreation in the sunny
South Sullivan's pets Parrot stories Arthur Sullivan knighted.
There is no memory I cherish more dearly than that
associated with the days spent alone with Arthur
Sullivan away from the turmoil of the town and the
petty cares and vexations of the theatre. To all who
knew him as intimately as I did, the place left vacant
by his death is one that can never be filled. Sir Arthur
was truly one of Nature's proudest handiworks.
Success and the flattery of the world left unsullied his
natural disposition, the key-note of which was modesty
modesty of that pure kind that strengthens and beau-
tifies true merit. If one was ever found ready to pick
a quarrel with him, with one soft word spoken in season
he turned away all thought of anger.
" Through every pulse his music stole
And held sublime communion with the soul.' 1
During the many years I had the honour of assisting
in the production of and conducting the Savoy operas,
I do not remember ever hearing a harsh word from Sir
Arthur Sullivan. His wonderful tact steered him
H9
150 GILBERT AND SULLIVAN
through all the shoals of dispute and controversy,
which with most men would have provoked enmity.
His every suggestion came with such grace and courtesy
as to still all idle argument.
One of the most remarkable gifts possessed by
Sullivan was his retentive memory. He could play
through on the pianoforte overtures and the most
intricate concerted numbers of a new opera of which
he had not, as yet, scored a single note, and at the same
time he carried in his mind the complete orchestration
of his work.
Another striking attribute was the care he took in
getting the effect he desired. This characteristic is
shown in the following letter which he wrote me whilst
on a visit to the South of France. It was concerning
a song in the opera " Haddon Hall/' written by Sydney
Grundy.
"Pear Frank. Herewith the song for Dorothy.
"Directions for use
" Take Dorcas and Oswald off the stage at the end
of l Rice or Rue/ and, Dorothy being left alone, begin
the recitative, she reading the letter to herself, and go
on to the end of song. I am writing to Grundy to
suggest that, after her song, the Puritan should come
on, and cut the scene with Manners altogether ballad,
duet, and dialogue. This will be in exact accordance
with what I have always desired.
" Now about song. Recit. ad Hb. and at the chord of
E major lento.
" Song. Light and delicate two in a bar, exactly
the same time as the Peers 1 March in Iolanthe (two
crotchets instead of minims, of course) ; this is still
the same beat two in a bar, the three quavers being
equal to the two quavers previously. The coda I want
a little quicker ; not much, but just a little faster than
the waltz measure. Get the accompaniment delicate
good accent and colla voce. If my ' forties ' swamp the
voice make them mezzo fortes, of course. I send this
to-day so that you may work at it Math Miss Hill.
The score will follow to-morrow ; I can't get it off by
post, although it is done. Give it to Baird at once, ana
get it all rehearsed and on the stage by Saturday if
you can, or else Monday. When you receive the score
just wire me as follows: 'Sullivan, Roquebrune,
France. All right. Francis/
" Yours ever,
" A. S."
Society idolized Sir Arthur Sullivan, not so much for
his world-fame as for the charm of his personality.
Welcome at Court, Sir Arthur was ever a polished and
gallant courtier ; but, if truth be told, far greater were
the pleasures he found amongst the small coterie of
boon companions, men after his own heart, whom he
delighted to meet either at his club or in his own
rooms for a rubber at whist or a round of poker.
Sullivan was a man of whom it might, with reverence,
be said, he minded not high things but condescended
to men of low estate.
Like most men of artistic temperament, our " chief"
possessed in no lean measure the gambling instinct.
The excitement of speculation unquestionably acts
as a sedative to the brain-fever that will attack the
over-wrought organ of Imagination. A game of chance
i
152 GILBERT AND SULLIVAN
restores the poet's mind to a sense of material things.
Costly, then, as such recreation will sometimes prove,
the player, provided his motive is not primarily lust
for "filthy lucre/' finds in le jeu an efficacious nerve-
tonic. So it was with Sullivan. There was nothing
he enjoyed more than a visit to the Riviera. Thither
S he went season after season, or whenever he was en-
gaged on any special work of composition. Nowhere
else could he find such rich streams of inspiration as
beside the blue waters of the Mediterranean, and
many of his finest creations owned Nice or Mentone as
their birthplace. Oftentimes during his sojourns in
the Sunny South he would send me a wire urging me
to come down and join him. His usual pretext was
that he desired to confer with me on certain points
of the new Savoy opera upon which he was engaged ;
but, entre nous, I had sometimes reason to suspect that
it was mainly a kindly excuse on his part to afford me
a holiday that prompted his invitation. Delightful
indeed were those holidays to me. Not that I mean
for a moment to imply that there was no business com-
bined with pleasure during these visits to the South.
It was, honestly, not all play and no work ; but in a
retrospect of those happy days I find it difficult to
determine which were the most enjoyable hours, those
devoted to the preliminary business of the new Savoy
opera, when the maestro, in the peaceful seclusion of
his sunny villa-residence gave me directions regarding
his " intention," with minute instructions touching the
intricacies of his score, or those later hours of the day
when together we sought brief relaxation at the tables
SULLIVAN'S PETS 153
of Monte Carlo. Which of the two distinct pastimes
proved, eventually, the more remunerative need not be
discussed in this place. I am quite sure our readers
will not be too inquisitive on such an extraneous point.
Jesting apart, and above all other considerations, it
is good now to reflect how those seasons spent in the
glorious climate of the Mediterranean served not only
to quicken Sullivan's mental faculties, but also
to renew the physical strength of a constitution
which, never too robust, was slowly but too surely
declining.
Sir Arthur's entourage, on his visits to the Riviera,
as indeed on all his wanderings from home, consisted
of Louis, his faithful valet ; Clotilde, his devoted house-
keeper ; " Tommy,' ' his collie friend, and Polly, his pet
parrot. The last, it might almost be said, played the
part of court jester, for Pretty Polly possessed an
endless store of humour, doubtless through infection
due to many years' close intercourse with her witty
friend and master.
Parrot stories, like fish tales, are as a rule boresome.
They generally bear too strong a family likeness to be
interesting to anybody but the narrator himself. But
Sullivan's " Polly " was such an exceedingly accom-
plished and original " wit " that some of her quaint
jests may be worth immortalizing in this book.
On introducing a guest Sullivan would ask his pet
to tell her name. " Polly, of course," was the prompt
reply. Then, to emphasize it, she started spelling it
" P-O-O-0 " ad lib. until her master bade her begin
again. After hesitating a moment, she recommenced :
154 GILBERT AND SULLIVAN
" P-0-0-0-0 ," ending it up with, " Oh, go to school,
Polly ! "
Clotilde, the housekeeper, who had a great affection
for Polly, was always proud to exhibit the bird's
accomplishments. One day, she asked her pet to show
Monsieur Cellier how much she loved Clotilde. The
good matron, placing her lips close to the cage, said,
" Polly, kiss her Clotilde" to which the reply, accom-
panied by a satirical screech, was " Ha-ha ! Clotilde
kiss her Louis ! " Clotilde lifted her apron to her face
and fled the room.
Polly naturally had a good ear for music, and when
asked if she could " whistle all the airs from that
infernal nonsense ' Pinafore ' ? " would give an ex-
cellent imitation of Little Buttercup's song. Sullivan
remarked that " It might not be a perfect rendering
of the music, but it was certainly quite as good as
Gilbert's attempts."
One day Sullivan, in private conference with me
with reference to Savoy affairs, said, " Ah, by the way,
Gilbert tells me that so-and-so happened at the theatre
last night." I found reason to reply, " Gilbert ought
not to have said that." " Of course not," was the
opinion volunteered by Polly.
Sir Frederick Gore Ouseley, lunching with Sullivan,
told his confrere that he had brought with him the
score of his latest work a commemoration ode
remarking, " My dear Arthur, I think you will say I
use the harp in a most novel fashion." " Really ! "
responded Sullivan, "do you play it with a bow?' 9
Polly, who was, as usual, listening intently, screeched
COMPOSERS KNIGHTED 155
out " Bow-o " continuing with a scream of mock-
laughter. Sullivan threw his serviette at his pet,
whilst Ouseley laughed almost as loudly as the parrot.
Thus, it will be seen, Polly was very observant, and
as inquisitive as Paul Pry. Whenever she was not
talking she was listening intently with head twisted
to right or left, she appeared to be making mental
notes of the current conversation. Great, then, was
Polly's concern when, one day, she heard people
addressing Sullivan as "Sir Arthur.' ' She couldn't
understand it at all. Was it a compliment she should
applaud or an insult she should resent ? But when
it was explained to her that her friend had been
Knighted by the Queen, her ladyship exclaimed with
a kind of chuckle, " Oh, all right ! Go home ! "
If Sullivan's pet could only recount the tales she
heard during the long years of their companionship,
they alone would suffice to fill a bulky and probably
a not uninteresting volume.
It was in May 1883, on the occasion of the opening
of the Royal College of Music, that Dr. Arthur Sullivan,
in company with Dr. Alexander Mackenzie and Dr.
George Grove, received the honour of knighthood at
the hands of H.R.H. the Prince of Wales (afterwards
Edward VII) on behalf of Queen Victoria. Seldom
has the bestowal of like distinction met with such
universal approbation and pleasure, never was knight-
hood more richly deserved for deeds well done in the
cause of English art.
CHAPTER XVIII
Revival of " The Sorcerer " Success exceeds that of original produc-
tion Rutland Barrington as a singer Paper battle between
Cellier and Barrington Changes in " Sorcerer " cast Revival of
" Trial by Jury " Durward Lely and Florence Dysart Altered
taste of play-goers.
" Princess Ida," having enjoyed a run of 246 per-
formances, was withdrawn from the Savoy stage on
October 9th, 1884. The new opera upon which
Gilbert and Sullivan were engaged not being ripe for
production, Mr. Carte decided on trying a revival of
" The Sorcerer."
Having regard to the fact that "The Sorcerer"
had proved the least successful of the series of operas
hitherto produced (at the Opera Comique it had run
tor 175 nights only) it was a bold experiment to
offer it to the public as a rSchauffi. The wisdom of
such policy was much debated. But seven years had
passed since the original production, and our astute
manager was of opinion that the public had, in the
interim, been educated up to an appreciation of
Gilbert and Sullivan. D'Oyly Carte knew the British
public, and felt confident that an appetite for the new
humour, which, in the beginning, was caviare to ordinary
play-goers, had ere this been acquired, and that it was
now in great demand by a more enlightened generation.
X5
" SORCERER " REVIVED 157
Accordingly, on October nth, 1884, " The Sorcerer/ '
very slightly revised, was reproduced at the Savoy
theatre with the following cast :
Sir Marmaduke Pointdextre
Alexis
Dr. Daly
Notary
John Wellington Wells
Lady Sangazure
Aline
Mrs. Partlet
Constance
Mr. R. Temple
Mr. Durward Lely
Mr. Barrington
. Mr. Lugg
. Mr. Grossmith
Miss Bran dram
Miss L. Braham
Miss Ada Dore
Miss Jessie Bond
The soundness of D'Oyly Carte's judgment was once
again fully established. The enthusiasm on the first
night of the revival far exceeded that which greeted
the original production. Points of humour that once
fell flat upon an apathetic audience now went home
with spontaneous effect. The jest which had before-
time appeared too deep for the ordinary mind to
fathom was recognized alike in stalls, pit, and gallery.
It was, forsooth, a remarkable reaction.
Probably no one in the theatre was more surprised
than the author and composer. They found them-
selves striking a balance in their favour when they
thought they had overdrawn from the bank of public
praise as far as touched "The Sorcerer " account.
Possibly Gilbert and Sullivan and Carte, too, began to
imagine themselves wiser in 1884 than they had been
in 1877, or, rather, that they had lived and laboured
before their time. More probably they marvelled
within themselves that it should have taken seven
158 GILBERT AND SULLIVAN
years for their subtle humour to soak into the brain-
cells of an intelligent public.
That the delayed triumph of " The Sorcerer " could
not be attributable to a more able representation than
that first given was obvious, seeing that, with one or
two notable exceptions, the leading parts were again
entrusted to the original exponents, viz. George Gros-
smith, Rutland Barrington, and Richard Temple.
Grossmith's " John Wellington Wells " had not grown
a day older or staler or less mercurial in seven years.
Richard Temple sang and acted as well as, but not
better than, he did of old. Barrington's " Vicar" was
a faithful replica of his own admirable caricature of a
country parson, and, if this clever comedian's tune-
fulness had not exactly improved with age, the im-
perturbability of his demeanour had so greatly
developed with experience, that any lapse from absolute
musical perfection came by courtesy to be regarded
as something like a virtue. The rendering of Dr.
Daly's famous ballad, "Time was when Love and
I were well acquainted/' may perhaps, to highly
critical ears have seemed to fall somewhat short of
the absolute standards of pitch, yet who in the
world cared one whit for that, when acting and
gesture were simply irresistibly diverting and con-
summately good ?
It may be added that the humour of Barrington's
vocal methods was intensified by the discovery that the
actor had failed to maintain that high proficiency as
a performer on the flageolet which, after much arduous
study, he had acquired in 1877. Then he had sue-
A PAPER BATTLE 159
oeeded in mastering the stave or two incidental to his
own accompaniment of the song, "I'm engaged to
So-and-so " ; but now, in 1884, the singer and the
reed instrument were no longer on speaking terms.
They were, in truth, at very striking variance. But
this was a detail which in no way affected the success
of Dr. Daly redivivus.
I sincerely trust that Rutland Barrington, who was
ever as ready to appreciate another man's joke as he
was to perpetrate his own, will not deem me unkind
to include in my reminiscences such amusing and
perfectly well-meant reflections on his peculiar artistic
idiosyncrasies. Barrington and I, throughout the long
course of our association, were always good friends and
loyal colleagues. At the same time I am bound to
confess that, on strictly musical problems, we were not
always precisely of like opinion. As a rule, it was simply
a question of Key, but there were occasions when more
important arguments arose between us.
For instance, in 1909 he and I were guilty of in-
dulging in a small and playful paper war. The casus
belli was Barrington 1 s public criticism of the Savoy
orchestra, and also the views he had expressed regard-
ing the expediency and right of accepting or declining
encores.
Vigorous was the fire we directed against each other,
but, as our cartridges were blank and our disposition
void of intent to wound, neither of us suffered from
the duel. Perhaps, also, neither of us succeeded in
convincing the other of mistaken judgment.
The subject of our controversy being one of more
160 GILBERT AND SULLIVAN
than personal concern, with all apologies to friend
Baxrington, I venture to reprint an article which
appeared at the time in the Westminster Gazette:
"TOO MUCH ORCHESTRA ! "
Mr. Cellier answers Mr. Barrington
" The breezy utterances of Mr. Rutland Barrington
on encores and orchestras the other night before the
Old Playgoers' Club have given rise to a good deal of
controversy.
" ' Whoever Mr. Rutland Barrington was aiming at
in his speech/ said Mr. Francis Cellier, the musical
director of the Savoy, to a Westminster representative,
1 1 am quite certain it was not me. Sir Arthur Sullivan
was a perfect master of the situation/
" ' Mr. Barrington suggests that the orchestra should
be as a lifeboat to the singer, and not a foaming wave
to drown him ? '
" ' I quite appreciate the metaphor/ Mr. Cellier
replied with a smile ; ' and it is scarcely necessary to
remind Mr. Barrington that Sir Arthur Sullivan was
often a good deal more than a lifeboat to him ! In-
deed, in one particular phrase in " Patience ' ' Sir Arthur
ut in a strenuous note for the sole purpose of saving
r. Barrington from falling overboard !
" f So far as the drowning of the singer is concerned,
that tragedy may come about from three causes, either
together or separately bad scoring, bad orchestra,
and bad singing ; but as a rule this difficulty is removed
during rehearsal/
"With respect to Mr. Barrington' s remark as to
whether the singer or the conductor should determine
&
ENCORES SYSTEM 161
the question of taking the encores, Mr. Cellier pointed
out that, so far as the Savoy was concerned, the matter
was settled by the management.
" ' Mrs. D'Oyly Carte/ he said, f has received many
letters complaining of encores, and they have been
stopped because it was found that the enthusiasm of
the people in the pit and gallery led to the annoyance
of the occupants of the stalls.
" ' Many things in relation to encores would probably
surprise the public if they were generally known. In
''The Yeomen of the Guard," for instance, we always
have a passionate demand for a repetition, which I
avoid with the utmost care. All lovers of this opera
will remember the quartette towards the end " When
a lover goes a-wooing " a very sad number for Phoebe
and Jack Point. The latter retires in distress at the
loss of Elsie, and Phoebe is left on the stage to mourn the
loss of Fairfax. Not only have Fairfax and Elsie to
change too quickly to allow of the encore being taken,
but Sir Arthur Sullivan expressly desired that a repeti-
tion should not be given, on the ground that the
dramatic effect would be utterly spoiled. And that is
why we always turn a deaf ear to the clamour of the
audience for a second performance of that quartette/
" A stout defence of the orchestra against the charge
of over-strenuousness was made by Mr. F. Orcherton,
the secretary of the Orchestral Association, who was
himself in the Savoy orchestra for fifteen years.
" ' You will never in any other orchestral perform-
ances get such pianissimos as are to be heard at the
Savoy/ he said. ' The question of volume is entirely
a matter for the conductor/ "
But now to return to our reminiscences of "The
Sorcerer's " revival. The new-comers, Durward Lely
ii
162 GILBERT. AND SULLIVAN
as Alexis, Rosina Brandram as Lady Sangazure, and
Leonora Braham as Aline, each by admirable per-
formance undoubtedly helped to lift the opera. They
all maintained the reputation they had already earned
as popular Savoyards. But in general acting and
singing ensemble the company, it cannot be said,
differed materially from the original.
No more could the superior mounting of the opera,
made possible by the greater capacity and modern
equipments of the Savoy stage, have accounted for the
increased favour extended to " The Sorcerer " by the
audience. No ! it was simply and purely that Gilbert
and Sullivan had come to be understood by the play-
going public, and that our brilliant author and com-
poser were now looked upon as the Castor and Pollux
of the lyric heavens, shining down in the full glory
of their magnitude through the theatrical firmament.
Twin-stars as they were in the brilliancy of their
natural wit and humour, it might be imagined that
Gilbert and Sullivan, like their mythological proto-
types, had been hatched from one egg brought forth
by a goddess.
As an after-piece to "The Sorcerer/' "Trial by
Jury" was revived, and, like the larger work, was
welcomed back with enthusiastic applause. Rutland
Barrington's Judge was as excellent a caricature por-
trait as was his Vicar. Durward Lel/s singing in the
part of the Defendant had been enough to win a
favourable verdict of a less irresponsible jury, and the
judgment of a less amorous judge, whilst Miss Florence
Dysaft, who as the Plaintiff now made her d6but at the
it
SORCERER" IN AMERICA 163
Savoy, charmed all hearts, not only in "The Court,"
but throughout the auditorium.
These, the first revivals of Gilbert and Sullivan's
earliest works, are more particularly memorable as the
initial evidence of the perennial attributes of the
Savoy operas. It was at least proved that "The
Sorcerer" and " Trial by Jury" were far from mori-
bund when withdrawn from the stage after their first
runs.
The revival of " The Sorcerer " in America furnished
a still more remarkable proof of the altered taste of
play-goers. When first produced in the States the opera
had been condemned as an utter failure ; when re-
produced a few years later its success equalled that
achieved in England.
INTERLUDE
Tuesday, Jan. 6th, 1914.
It is with great sorrow I have to record the death
of my friend and collaborator, Francis Cellier, who
passed away at his home in Surbiton last night.
For many weeks he had been in a weak but, seem-
ingly, not precarious state of health. His sufferings
were at times so acute that it was only by sheer pluck
that he summoned up energy to assist me in the com-
pilation of his personal reminiscences. But, despite
excruciating pain, he retained his mental vigour almost
to the end ; at intervals he was able to dictate a cheery
anecdote or happy memory, and generally to guide
my pen in describing his experiences of Thirty Years
at the Savoy. Gradually, however, the pages of the
past grew dim in his mind ; the light was failing ; life
was slowly ebbing, and the mirthful stories he was
wont to tell and with which it was hoped to brighten
this volume he had no longer strength to relate.
So now the task of completing these memoirs de-
volves upon myself alone.
When, at the outset, Cellier invited me to collaborate
with him on a book of the Savoy, I gladly accepted the
compliment his confidence implied. I felt sure that
the labour involved would be pleasant, seeing that it
164
[
DEATH OF FRANCOIS CELLIER 165
would embrace many happy memories of a common
interest. For, although my name is not widely known
in connection with the Savoy, I claim to be one of the
oldest and closest surviving associates and camp-
followers of the D'Oyly Carte Army Corps. I can
boast of having witnessed the original productions of
every Gilbert and Sullivan opera, including that of
" Trial by Jury " at the Royalty Theatre in 1875,
right down to what may be called the interregnum at
the Savoy in 1901, when Mr. Carte let the theatre to
Mr. William Greet, who then continued the run of the
Hood-Sullivan and German Opera, "The Emerald Isle."
I have enjoyed the personal acquaintance of leading
Savoyards with very few exceptions, and, further, I have
served as acting-manager of a D'Oyly Carte Touring
Company. Thus I am in an advantageous position
to speak of the Savoy and Savoyards in general, and,
perhaps, of Sir Arthur Sullivan in particular ; for, as
intimated in an early chapter of the present book, I
knew the composer long before he met the future part-
ner of his fame, Sir William Gilbert.
Arthur Sullivan and I met first when he was a
" child " of the Chapel Royal, and I only just escaping
from the nursery in my parents' home in Devon, and
it was there and then he composed his first song, and
dedicated it to my mother.
Such are the credentials I offer whilst venturing to
continue these memoirs of the Savoy.
. . . . .
On Friday, February 9th, 1914, Francois Arsdne
Cdlier was laid to rest in Brookwood Cemetery. As a
166 GILBERT AND SULLIVAN
token of respect to the memory of the old Chapel
Royal boy, the funeral service was conducted by Canon
Edgar Sheppard, Chaplain to the King, and Sub-dean
of the Royal Chapels.
" Is life a boon ?
If so, it must befal
That Death, whene'er he call,
Must call too soon."
Cunningham Bridgeman.
PART II
GILBERT, SULLIVAN, DOYLY CARTE, AND
CELLIER n
REMINISCENCES OF THE SAVOY
By Cunningham Bridgeman
*7
i
Pfmlt'iy Ellis &
CHAPTER I
FRANCOIS CELLIER
On the stage it sometimes happens happily not often
that a sudden attack of illness incapacitates an actor
from continuing his performance. In such event an
understudy takes his place to the end of the play. It
is a trying ordeal for the understudy, yet he is pleased
and proud of the opportunity afforded him to air his
ability. There have been previous occasions, too,
when, death having claimed an author or composer
ere the fulfilment of the work he was pursuing, its
completion has been entrusted to another's hand. One
memorable instance occurred when Edward German
undertook the task of finishing the musical score of
Basil Hood's Savoy Opera, "The Emerald Isle/' which
Sir Arthur Sullivan, at his death, had left incomplete
and here, let it be said, right well did German carry
out his difficult and most delicate task.
But the circumstances surrounding the compilation
of the present book are, I think, unique. Here was
a famous Savoyard who, having essayed to prepare a
volume of reminiscences of his departed colleagues,
is taken from the scene at a moment when his story
was but half told.. The singer is called away to the
land, there to rejoin the friends of whose deeds
169
170 GILBERT AND SULLIVAN
he had been singing songs of praise. Can the refrain
be taken up in precisely the same key and in perfect
harmony with the opening chords ? All that can be
hoped for from the understudy is that he shall do his
best to attune his mind to that of the principal whose
role he is called upon to take.
Francois Cellier has been, as it were, promoted
from the post of authorship to take the prouder place
of fourth hero of the life-romance which he, himself,
had attempted to relate. Another may speak of
him as he never could have spoken of himself. For
Frank, as his familiars used to call him, was not one
to " stir it and stump it and blow his own trumpet/'
I, who knew him well and greatly esteemed him, can
testify that a more unostentatious man never lived.
In these few personal notes I intend to speak of my
friend as I found him, without adding to or detracting
from his true merits.
His only enemy in the world, if he had one, was
himself. He was not, I think, his own best friend,
seeing that Cellier was possessed of talents which he
was too well content to hide beneath the bushel of his
obligations to the Savoy. This was the excuse he was
wont to make for not turning to account his own latent
musical ability. It might almost be said that his
good fortune was his misfortune. Yet it need not
have been so had he not made the Savoy his world.
That his post of Musical Director was a very responsible,
and, at times, arduous one may not be gainsaid, yet,
during the long and continuous runs of the Savoy
operas, he was not without leisure, there were hours
FRANCOIS CELLIER 171
and opportunities of which he might, had he so willed,
have advantageously availed himself. But if Frank
Cellier was a Savoyard of Savoyards, he was, at the
same time, a chief amongst Bohemians. There was
no recreation so pleasurable to him as to foregather
with kindred spirits, hour after hour, to recount, as
he alone could, stories spaced with wit and humour.
In his prime, Cellier was an acknowledged king of
raconteurs.
As a conductor of light opera, Franyois Cellier was,
generally, accepted as the beau-id6al. To quote the
words of "Lancelot," the esteemed musical critic of
the Referee:
" Mr. Cellier was connected with the D'Oyly Carte
Opera Company, directing performances of the Gilbert
and Sullivan operas, at home and abroad, for over
thirty-five years, during which time he maintained the
high standard set up by the librettist and composer
with whom his life was so closely identified. It was
while fulfilling these duties that Mr. Cellier gained the
esteem of musicians by the finish of the performances
under his direction and by his quiet and unostentatious
manner/ 1
It should be added that Cellier obtained the faculty
possessed by few conductors of controlling not only
his orchestra and the stage company, but also the
audience. If he thought an encore unreasonable or
inconsiderate, he had only to shake his uplifted hand,
when, lo ! as if by wireless telegraphy, the signal was
read, the meaning interpreted, and the loudest shouts
promptly subsided.
172 GILBERT AND SULLIVAN
Cellier's love of music was, seemingly, confined to
the compositions of Arthur Sullivan and his brother
Alfred. With* the natural predilection of blood re-
lationship, he esteemed the composer of "Dorothy"
and Gray's " Elegy " as facile princeps among con-
temporary English composers. Frank often argued
that, given the same conditions, and, especially, an
equally worthy librettist, his brother would never have
played, as it were, second fiddle to Sullivan in the
overture to Fame and Fortune. Be this as it may,
it is incontrovertible that the Cellier brothers, each
alike gifted with the genius of melody, were lacking
in ambition and aptitude to work out their own salva-
tion. Alfred, it has often been told, was so egregiously
inert that, on critical occasions, such as happened when
he was composing the music to Gilbert's " Mounte-
banks," he had to be locked in a room and not set free
until he had finished the required score. Frank, his
younger brother, was naturally of the same disposition.
In witness, let me give personal evidence.
Mrs. D'Oyly Carte having accepted an unpretentious
one-act piece of mine, called " Bob/' commissioned
Frank Cellier to write the music without delay, as she
wished to place it on the programme on the touring
R6pertoire Company. Despite entreaties, protesta-
tions, and threats from Mrs. Carte and myself, it was
months before his score of six musical numbers was
handed to the management. The music of " Bob,"
like that of other small pieces written by Mr. Frank
Desprez and by Mr. Harry Greenbank and produced
at the Savoy, was exceedingly graceful, pretty, and
FRANCOIS CELLIER 173
melodious, indicating that the composer might be
capable of bigger things if only he would sit down
and work. " Bob " proved so successful that Mrs.
Carte commissioned Cellier and myself to collaborate
on another " first piece."
I lost no time and prepared a libretto. With typed
copy I hastened to Cellier. He appeared much pleased
with it, in fact he said it was vastly superior to " Bob."
" Very well, Frank," said I ; " you remember it is a
fortnight to-day since you asked me to write a book !
Now, there are only seven lyrics to set ; will you let
Mrs. Carte have the music a fortnight hence ? "
Mrs. Cellier, who was present, smiled a questioning
smile ! She knew, as I did, Frank's vagaries. Never-
theless, within the fortnight Cellier had composed
every number, and much to my delight played them
through to me. But he had not put his compositions
down on paper.
Some weeks later, Mrs. Carte wrote to me asking if
I could not induce Cellier to let her have the music,
as she wished to produce the piece. But, since I could
not lock my colleague in a room until he finished his
task, we could never get the score, and so, alas ! the
little piece could not be produced. Mrs. Carte there-
upon revived " Trial by Jury " as a first piece. " Bun-
combe's Benefit," as my trifle was called, was shelved,
whilst Cellier* s seven charming songs were, for all I
know to the contrary, buried with the composer.
Such is the eccentricity of genius! Thus it will be
understood how I have ventured to suggest that my
old friend's self was his worst enemy.
174 GILBERT AND SULLIVAN
Like his brother Alfred, who composed music to
Gray's " Elegy/' Francois " wasted his fragrance on
the desert air." He took but the vaguest interest in
either drama or music apart from the Gilbert and
Sullivan operas. One day I begged him to come with
me to hear duck's " Orpheus," which, produced and
played by Madame Marie Brema, was drawing all
musical London to matin6es at the Savoy. I had
attended the performance several times and felt sure
that Cellier would enjoy it as much as I had done.
He promised to join me, but, much to my disappoint-
ment, he did not enter his stall until just as Orpheus
was beginning the glorious " Che Faro." He was
sufficiently pleased to remain to the end of the Act.
He then left me, saying he had to meet some one for
a moment in the Savoy Hotel, but would return in
good time for Act II. But he never came back. When
afterwards we met, Frank apologized and explained
how, in the first instance, he could not tear himself
away from a congenial party of story-telling friends,
and that afterwards, on entering the hotel, he was
again beset by friends that he had been telling
everybody all about " Orpheus," how much he had
enjoyed it, and advising them all not on any account
to miss such a treat. It was always the same;
if once a group of convivial acquaintances got hold
of Frank Cellier, they would never let him go
until they had extracted from him just one more
anecdote.
Mr. Joseph Ivimey, the well-known musical director
of the Strolling Players' Orchestra, and an old friend
A TRIP TO PARIS 175
of the Cellier family, tells some amusing tales con-
cerning Frank.
" He gave me my first lesson in conducting," says
Ivimey. " I was rehearsing some amateurs in ' Trial
by Jury/ which was to be performed in Surbiton, with
full orchestral accompaniment. Never having con-
ducted, I asked Cellier to give me a few hints. Frank
sat himself at a piano saying, ' Now, take the stick and
conduct me whilst I play " Trial by Jury." ' Before
I had beat many bars he stopped. * My good friend, /
am conducting you, and if I followed your beat Sullivan
would never know his own music/ That was a hint
I have never forgotten but," said Ivimey continuing,
" here's a real good story about our poor old friend.
One summer Cellier and his family were spending
their holidays at Folkestone, and I formed one of their
party. On a fine August morning Frank suggested
that he and I should make a day's excursion across
Channel ' just for the sake of a blow/ he said. Arrived
in Boulogne, we repaired to the Casino, where we in-
dulged in a mild game of Petits Chevaux. At length,
returning to the pier, we saw our boat a mile out of
harbour. What were we to do ? After much debate
we determined upon a visit to Paris. So Cellier wrote
out a telegram to his wife in Folkestone : ' Lost boat
going on to Paris home to-morrow/ At the same
time he prepared a wire to an hotel proprietor whom
he knew in Paris, engaging two rooms. These tele-
grams he entrusted to a commissionaire to despatch.
On arriving at the Hotel de Bade we found that our
rooms were reserved, but Monsieur rhdtelier, handing
176 GILBERT AND SULLIVAN
Cellier the telegram he had received, remarked that he
could not interpret it all. Following the order for
rooms were these words : ' Could not send Folkestone
message you gave me bad five-franc piece/ The
consequence was, poor Mrs. Cellier was kept in terrible
suspense until we turned up at Folkestone the following
night/'
Mr. Ivime/s description of his day in Paris with
Francis Cellier, with no clothes but those they stood
in) would form an interesting brochure ; but, as our
pages are limited, I may not here tell more of their
adventures. Let it suffice that Mr. Ivimey vows that,
although he did not know a word of French, he never
had such a delightful experience as during those few
hours spent in the gay city.
No cheerier or more intellectual holiday companion
than Frank Cellier could one desire. His charm of
manner, combined with infinite tact, ingratiated him
into the hearts of strangers, just as his humour and
bonhomie endeared him to his numberless friends who
deeply lament his loss.
Frank Cellier left a widow, three daughters, and a
son Francis (familiarly "Jack"), who adopted the
stage as a profession. After having served his ap-
prenticeship under the aegis of Mr. Edward Terry,
young Francois entered into a partnership, at first
commercial and afterwards matrimonial, with Miss
Glossop Harris (daughter of Sir Augustus Harris).
Together they manage a Shakespearean Touring
Company, which in due time has achieved high reputa-
tion throughout the provinces. Without hesitation I
FRANCOIS CELLIER JUNIOR 177
may affirm that, next to Sir Johnston Forbes Robert-
son's, young Cellier's Hamlet is the finest I have ever
seen. His exposition of Shakespearean text, rendered
in a rich, melodious voice, is most convincing, and
a treat to listen to. If I am not much mistaken,
Francis Cellier, fits, will, when the chance comes, be
found in the front rank of English actors.
Cellier' s second daughter, Marguerite, is also on
the stage and fast gaining popularity. At the time
of her father's death Miss Cellier was appearing as
leading lady in an English dramatic company touring
the United States.
There can be little doubt that the strenuous labour
attached to a musical directorship on tour was too
much for the veteran conductor. Not only did it
tell on his physical constitution, but the ungrateful
task of rehearsing a full repertoire of operas, week
after week, with local orchestras of varying quality,
grated on his sensitive nerves. He held on as long as
strength permitted, but it was too long. Nature at
length asserted its sway, and the worn-out conductor
was compelled to resign his b&ton to a younger man.
12
CHAPTER II
<< ~ n*> tt^tfTivr^M
THE JUVENILE " PIRATES OF PENZANCE
The unqualified success that had attended the chil-
dren's performance of "H.M.S. Pinafore" at the
Opera Comique in 1879 induced Mr. Carte to arrange
a similar juvenile production of "The Pirates of
Penzance/' to take place at the Savoy for a series of
Christmastide matinees.
To Richard Barker was again entrusted the stage-
drilling of the miniature company, whilst Francis
Cellier was a second time appointed music and singing
master to the little people.
Obedient to call, no fewer than 400 boys and girls,
of all sorts and sizes, mustered at the stage-door on
the appointed day in November. From that morning
onward until the production of the piece on Boxing
Day 1884, OT > * n * act to th e en <* of the holidays, neither
Barker nor Cellier had an hour they could call their
own. Their first task was to select from that swarm
of youthful histrionic aspirants twenty young ladies
and twenty-five young gentlemen who could not only
sing but speak. As regards their acting qualifica-
tions, that was a secondary consideration. Mr. Barker
would see to that ! When, in his later and lazier
period of life, Cellier looked back upon those auditions, he
178
JUVENILE "PIRATES" 179
marvelled how he could have summoned up the patience
and energy to listen for hours on end to the vocal
attempts of those four hundred untutored juveniles.
Yet, at the time, there was so much of the serio-comic
element in those trials of voices that the tedium of
the task was vastly relieved.
Notwithstanding the fact that it had been ad-
vertised that no girl or boy above the age of sixteen
need apply, it was easy to discover, on close inspection,
that a small percentage of the assembly, especially
amongst the young ladies, had arrived at years of
discretion ; at any rate, they were well out of their
teens. These, after severe cross-examination, were the
first to be politely weeded out. Then the concert began.
Each candidate was requested, in turn, to sing a scale.
Some did not know what a scale was. That did not
matter. If the voice showed promise of fertility,
master or miss was asked to sing a verse of a song
any song he or she knew. As a rule, the song chosen
was one of the latest music-hall ditties such, for
instance, as " Two lovely black eyes/' which was much
in vogue at that time.
There were comparatively few amongst the com-
petitors who had been taught a note of music, but,
generally, they displayed remarkably keen ears for
tune and time, whilst the voices were sweet enough to
justify their parents and guardians in offering the
services of their children. There were, of course, a
certain number who came of musical and dramatic
stock. These were ready to render a grand-operatic
aria, or to recite Shakespeare by the yard. They con-
180 GILBERT AND SULLIVAN
sidered themselves born actors or actresses. It was
from this rank that the final selections were made.
It was pathetic to witness the anxiety of each
little candidate to learn the verdict after trial ; the
smiles of the accepted ones, the tears of the rejected.
Very few of the warblers betrayed nervousness.
They had been accustomed to face an audience in the
Theatre Royal Back Parlour. The glare of the foot-
lights might, perhaps, dazzle them at first ; but there
was little cause to anticipate that they would suffer
from stage-fright a complaint that more generally
attacks experienced artistes who become self-conscious
that the issue of their performance means success or
failure, not only to themselves individually, but to all
concerned in the stage-production.
The auditions lasted for a week, or more, at the end
of which time the gallant 400 had been reduced to 100,
then further, it might be, to 60. From these were
chosen the principals, and from the residue the chorus
of 45. All that then remained for Barker and Cellier
to do was to transform the young people into singing
actors and actresses.
Fortunately, Cellier had had, before his theatrical
days, considerable experience in teaching children
music, so that the means and methods were no in-
superable problems for him to solve. The intelligence
of the little people was most remarkable, added to
which they one and all entered upon their studies
with splendid keenness, patient attention, and untiring
energy. The very thought of appearing in public,
and at the Savoy too, of all places, was to them a
JUVENILE "PIRATES" 181
dream of immeasurable glory. The boys had all
played at policemen before in their gardens or play-
grounds, but now they would be " real life-like Bobbies,
just like Mr. Rutland Barrington " ; and some of them
were to be bloodthirsty pirates, only with stupidly
tender hearts. Oh, what a spree they were going to
have, these holidays and just fancy ! going to be
paid for it ! Wasn't it all enough to incite the boys
to do their best ? " As to the spree," thought Barker,
" I'll see to that ! "
The little girls, in less demonstrative fashion, betrayed
becoming pride in their new and responsible vocation.
Probably they had all, at some time or other, heard
of Madame Patti " Patti had been next to nobody
when she was a child. Why shouldn't we become
stars of equal magnitude ? As for Leonora Braham,
and Jessie Bond, Rosina Brandram, and other popular
Savoy ladies, we have seen them often; but we are
not going to try and copy them they are all splendid
actresses and singers, of course, but then " argued the
juvenile ladies " they are not so young as we are,
and people like young very young persons on the
stage if they are not too precocious we don't intend
to be at all precocious" "No," thought Dick
Barker" not if I know it ! "
Naturally there were several well-meaning people
who once again must direct their pince-nez towards
the Savoy stage. They took exception to these per-
formances, fearing that the children's education would
be neglected, and that they would be first over-worked,
and then spoilt by adulation. The minds of these
182 GILBERT AND SULLIVAN
worthy people were, however, very soon set at ease,
when it became known that Mr. D'Oyly Carte and
his kind-hearted and ever-thoughtful managerial help-
mate, Miss Helen Le Noir, were making the welfare
and good conduct of the little company the object of
their special care. The Board of Education were more
than satisfied that every child would not only be well
looked after, but would also reap great benefit by the
tuition and discipline that would attend their pro-
fessional engagements at the Savoy Theatre.
Without pausing to gossip about the rehearsals
which, by the way, it was my privilege occasionally
to witness, let me now recall the cast of principals who
appeared in the children's " Pirates of Penzance " on
the afternoon of Boxing Day, 1884.
General Stanley
Pirate King
Samuel
Frederic
Police-Sergeant
Mabel
Master Edward Percy
Master Stephen Adeson
Master William Pickering
Master Henry Tebbutt
Master Charles Adeson
Miss Elsie Joel
Ruth . Miss Georgie Esmond
It would be a pleasure to record the names of all those
five-and-forty other children of the Company, seeing
that they, one and all, won butterfly fame during that
Christmas-time of 1884. But I should be sorry to
provoke, as I might by so doing, the jealousy of elder
Savoyards those who for many succeeding years
have done yeoman's service in the Chorus of the Gilbert
and Sullivan operas.
Thirty years have passed by since the juvenile
JUVENILE " PIRATES " 183
" Pirates " captured London. Those of the crew who
have survived have reached the prime of life, and,
may be, become proud parents of equally clever mites
of humanity. Some have continued to pursue the
theatrical career they started so auspiciously ; but
the majority have been swallowed up in the vortex
of London and been reduced to nobodies in particular.
Recalling to mind that bright and merry crowd
who gladdened us all by their sweet singing and
winsome acting, some of us may instinctively fed a
pang of regret that those delightful children should
ever have been forced to grow up into men and women
of every-day life.
But some of us say the same about kittens :
" Kittie, Kittie ! <-<.
What a pity
What a dreadful pity that
You, who are so pert and pretty.
Should become a nasty cat !
By way of a testimonial to the success of the chil-
dren's opera, I cannot do better than reprint an
extract from a notice of the first performance which
appeared in the Daily Telegraph. If I am not much
mistaken, it came from the pen of the late Clement
Scott.
" It was not mere training, parroting or imitation
they did not talk their lines as if they had been
drilled the meaning of the words went home to
every individual in the audience solely through the
intelligence of the performer. Let the truth be told
184 GILBERT AND SULLIVAN
when before has any one ever understood a Gilbertian
opera, without a book to guide them ? A rustle of
leaves has shown how slavishly the printed words have
been followed. But yesterday afternoon not one in a
couple of hundred had a book, or even wanted a book,
for the very good reason that the first principles of
elocution had been conveyed to the baby performers.
Delighted, indeed, must Sir Arthur Sullivan have been
to hear his charming music interpreted with such skill
which is one thing and such taste which is quite
another thing. The rarest thing in the world is it
to get a boy with one of those pure, piercing, and
heavenly boys voices ever to sing with expression and
feeling. We hear them in cathedral ' quires and places
where they sing.' We compare them to the angels
without a soul. The long cathedral aisles, the mystery
of the place, the devotional attitude of those about
them persuade us that there is a heart in a boy's
soprano voice. As a rule it is illusion Vox etpraeterea
nihil: 9
After the Christmas holidays the children " Pirates "
were sent on tour, and in all the leading provincial
towns were welcomed with unbounded enthusiasm.
Among Cellier's reminiscences of the Savoy none
was to him more pleasant than that of his association
with the infant crew of " H.M.S. Pinafore " and " The
Pirates of Penzance."
CHAPTER III
"THE mikado"
False prophets A foreign subject Japanese village at Knightsbridge
Queen Victoria's gift to Emperor of Japan English society
becomes Japanesey Gilbert discovers new material The author
originates his leading dramatis personae No character taken from
Japanese history No Samurais introduced and why A Japanese
dancer and a Geisha engaged to coach the Savoy Company
Savoyards transformed into Japs Amusing rehearsals " The
Three Little Maids " excel as students Costumes and accessories
-Cast of " The Mikado "The critics Punch's view of " The
Mikado " George Grossmith's " understandings " Success of
" The Mikado " in London and New York Sullivan entertains
Prince of Wales at dinner H.R.H. listens to performance of the
opera through telephone.
After a run of 150 performances, " The Sorcerer "
expired, or, rather let us say, retired to rest for a
while on March 12th, 1885. Two nights later " The
Mikado " came to light.
After the production of " Princess Ida," a rumour
had got about that Gilbert and Sullivan's next venture
would be an opera of a different type, less extravagant,
more psychologically subtle and serious, and, at the
same time, quite as humorous as any of the past
series. "It is to be/* said the prophet, " a real,
genuine, English comic opera, no topsy-turvy precious
nonsense this time/' Like every man who talks &
185
186 GILBERT AND SULLIVAN
trovers son chapeau, the foreteller was somewhat out
of his reckoning. One marvels at the fabulous number
of falsehoods bred daily by Busybody out of Imagina-
tion ! And to what end ? Simply, it may be supposed,
to provide "copy" for hungry journalists.
Gilbert and Sullivan, it might be assumed, knew
better than anybody else what style of work best
suited them conjointly or separately. If they had
discovered that their united strength lay in serious
opera, they would, doubtless, have turned their atten-
tion to such rather than risk continuing to harp on
the same strings that had hitherto pleased the public
ear, but which might in time become monotonous and
tedious. " The Mikado " marked some departure from
both the Gilbertian and Sullivanesque methods, in
so far as it was not another facetious skit on the follies
and foibles of the author's compatriots, and that the
music was not so redolent of Old England. But the
good wine needed no label to tell its vintage. Its
bouquet was sufficient.
Only Gilbert and Sullivan could have written and
composed " The Mikado/' Gilbert, having determined
to leave his own country alone for a while, sought else-
where for a subject suitable to his peculiar humour.
A trifling accident inspired him with an idea. One day
an old Japanese sword which, for years, had been hang-
ing on the wall of his study, fell from its place. This
incident directed his attention to Japan. Just at that
time a company of Japanese had arrived in England
and set up a little village of their own in Knightsbridge.
Beneath the shadow of the Cavalry Barracks the quaint
JAPAN IN KNIGHTSBRIDGE 187
little people squatted and stalked, proud and uncon-
conscious of the contrast between their own diminutive
forms and those of the Royal Horse Guards across the
road. By their strange arts and devices and manner
of life, these chosen representatives of a remote race
soon attracted all London. Society hastened to be
Japanned, just as a few years ago Society had been
aestheticized. The Lily, after a brief reign, had been
deposed ; it was now the turn of the Chrysanthemum
to usurp the rightful throne of the English Rose.
As all the world knows although nowadays it is
difficult to realize the fact the last decades of the
nineteenth century marked the full awakening of Japan.
In 1857 th e Queen of England had sent the Emperor
a present of a warship, following which the Emperor
had graciously yielded assent to his subjects visiting
England for the purpose of studying Western civiliza-
tion. But it was not until the native colony was
formed at Knightsbridge that the Japanese and the
English began to know each other. Hitherto compara-
tive strangers, the former had now come across the
seas to cement more firmly the friendship which
Queen Victoria's gift had done so much to promote.
Our visitors came to learn our manners and customs.
They little imagined how ready we should be to take
lessons from them. The most imitative people of the
universe soon found us imitating them. It was not
because we desired to bestow upon our guests " the
sincerest form of flattery 19 ; it was, rather, because
English Society delights in the New: especially if
the new be old, very old ; the older the better, so long
188 GILBERT AND SULLIVAN
as some one has made it famous somewhere at some
time. Because it was new to London, Society was
charmed to adopt even a celestial mode. Our Japanese
friends were surprised, and, naturally, gratified. They
were still more flattered when they learnt that they had
inspired England's most distinguished librettist with
the basis of an opera, an opera that was destined to
become the most popular of the Savoy series.
For the material of his play Gilbert had not to
journey to Yokohama or Tokyo. He found all he
wanted in Khightsbridge, within a mile of his own
home in South Kensington. But our author had to
face many difficulties in the development of his novel
notion of preparing a Japanese play for the English
stage.
To begin with, one of the most essential qualifica-
tions of Savoy actors and actresses was that of physical
grace ; the poise of each limb, the elegant sway and
easy motion of the figure, the noble dignity of action
which distinguishes the English stage. All this had
to be undone again, only more so than had been neces-
sary in the case of Bunthorne, Grosvenor, and their
followers in the play of " Patience." Every proud,
upright, and lithesome Savoyard would have to be
transformed into the semblance of a Jap who, to our
Western eyes, was not the ideal of perfect grace and
loveliness.
But Gilbert soon found a way out of that difficulty.
Here were living models, real Japanese ready to hand.
They should teach the ladies and gentlemen of the
Savoy how to walk and dance, how to sit down and
GILBERTIAN JAPS 189
how to express their every emotion by the evolutions of
the fan. Confident, then, in his ability to overcome all
obstacles, our author applied his mind to the subject
of Japan, read up the ancient history of the nation and,
finding therein much from which to extract humour,
soon conceived a plot and story.
It must not, however, be supposed that Gilbert dis-
covered the originals' of any of his dramatis ptrsonae
in the chronicles of the times of Jimmu Tenno, first
Emperor of Japan, or his descendants. " Pooh Bah "
that worthy who comprehended within his own
person a complete cabinet of ministers, together with
other important offices Pooh Bah, it will be remem-
bered, traced his ancestry back to a " protoplasmal
primordial atomic globule" ; consequently, no Japanese
gentleman of rank, however sensitive, could imagine
himself or his progenitors to have been made the sub-
ject of the English author's satire. Likewise neither
Koko, the Lord High Executioner, nor Nanki-Poo dis-
guised as a second trombone, could possibly be identified
with persons associated with Old Japan. Figuratively,
all these notabilities may have been portrayed on
lacquer-trays, screens, plates, or vases, but none of
them had ever lived in the flesh before they came to
life at the Savoy Theatre.
As regards Gilbert's portrait of a Mikado, having
carefully studied the outline history of Japanese
civilization, I have failed to discover any sovereign
potentate, from the Emperor Jimmu, founder of the
Empire, down to the present dynasty, or Meiji Period,
who could by the greatest stretch of imagination be
igo GILBERT AND SULLIVAN
taken as the prototype of that Mikado to whom we
were presented in the Town of Titipu, that sublime
personage and true philanthropist who assured us that
" a more humane Mikado never did in Japan exist/'
Nevertheless, it will not have been forgotten how, on the
occasion of the last revival of the opera at the Savoy,
the play was temporarily banned on the ground that
it was likely to give offence to our friends and allies.
One of the first observations made by Sullivan after
reading the libretto in the rough, was that he was
rather surprised to find that the author had not made
use of any of the distinctive class titles of Old Japan,
such as, for instance, " The Shoguns." Gilbert's reply
was : " My dear fellow, I agree with you. Some of those
names were very funny ; in fact, so ear- tickling as to
invite excruciating rhymes. But when I found that
the aristocracy of Old Japan were called " Samurais "
I paused. Supposing I wanted to introduce the
Samurais in verse, the obvious rhyme might have
seriously offended those good gentlemen who worship
their ancestors. Moreover, the rhyme would certainly
have shocked a Savoy audience, unless your music had
drowned the expression in the usual theatrical way
Tympani fortissimo, I think you call it."
" Ah ! " said Sullivan, " I see your point."
Through the courtesy of the directors of the Knights-
bridge Village, a Japanese male dancer and a Japanese
tea-girl were permitted to give their services to the
Savoy management. To their invaluable aid in coach*
ing the company it was mainly due that our acton
A CHARMING GEISHA 191
and actresses became, after a few rehearsals, so very
Japanny. The Japanese dancer was a fairly accom-
plished linguist. The little gentleman artist was far
too polite and refined to need any of the rude and
hasty vernacular common to the impatient British
stage-manager of the old school. For polished
adjectives or suitable pronouns he would turn to the
author, or, it might be, to Mr. John D' Auban, who was,
as usual, engaged to arrange the incidental dances.
The Geisha, or Tea-girl, was a charming and very
able instructress, although she knew only two words
of English" Sixpence, please," that being the price of
a cup of tea as served by her at Knightsbridge. To her
was committed the task of teaching our ladies Japanese
deportment, how to walk or run or dance in tiny steps
with toes turned in, as gracefully as possible ; how to
spread and snap the fan either in wrath, delight, or
homage, and how to giggle behind it. The Geisha also
taught them the art of " make-up," touching the
features, the eyes, and the hair. Thus to the minutest
detail the Savoyards were made to look like " the real
thing." Our Japanese friends often expressed the
wish that they could become as English in appearance
as their pupils had become Japanesey. Somebody
suggested they should try a course of training under
Richard Barker, who could work wonders. Had not
he succeeded in making little children assume the atti-
tude and bearing of adults ? If anybody could trans-
form a " celestial " into an " occidental," Dick Barker
was the man. But I don't think the experiment was
ever tried.
192 GILBERT AND SULLIVAN
It was extremely amusing and interesting to witness
the stage rehearsals, to note the gradual conversion of
the English to the Japanese. One was sometimes
inclined to wonder if the Savoyards would retain
sufficient native instinct adequately to study the
English music.
As usual, the ladies proved more apt pupils than the
men. Most apt of all, perhaps, were the " Three little
Maids from School," who fell into their stride (if such a
term can be applied to the mincing step of the East)
with remarkable readiness, footing their measures as
though to the manner born.
One of the most important features of " The Mi-
kado" production was the costumes. Most of the
ladies 1 dresses came from the ateliers of Messrs.
Liberty & Co., and were, of course, of pure Japanese
fabric. The gentlemen's dresses were designed by
Mr. C. Wilhelm from Japanese authorities. But some
of the dresses worn by the principals were genuine
and original Japanese ones of ancient date ; that in
which Miss Rosina Brandram appeared as " Katisha"
was about two hundred years old. The magnificent
gold- embroidered robe and petticoat of the Mikado
was a faithful replica of the ancient official costume
of the Japanese monarch ; the strange-looking curled
bag at the top of his head was intended to enclose the
pig- tail. His face, too, was fashioned after the manner
of the former Mikados, the natural eyebrows being
shaved off and huge false ones painted on his forehead.
The hideous masks worn by the Banner-bearers were
also precise copies of those which used to adorn the
PRODUCTION OF "THE MIKADO" 193
Mikado's Body-guard. They were intended to frighten
the foe. Some antique armour had been purchased and
brought from Japan, but it was found impossible to
use it, as it was too small for any man above four feet
five inches, yet, strange to say, it was so heavy that
the strongest and most muscular man amongst the
Savoyards would have found it difficult to pace across
the stage with it on.
Mystery was always D'Oyly Carte's managerial
policy. And a wise policy it was, as I shall endeavour
to explain later on.
Accordingly, to no one outside the managerial inner
circle were made known the constructive lines of the
vessel then on the stocks. Japan was scented, but not
until the moment of the launch was the name of " The
Mikado" whispered. It was as profound a cabinet
secret as that which surrounds the building of a new
class of cruiser in one of His Majesty's Dockyards.
And so it came to pass that on March 14th, 1885, in
the presence of the usual crowded and distinguished
company, which included T.R.H. The Duke and
Duchess of Edinburgh, " The Mikado, or The Town
of Titipu," was presented for the first time by the
following cast :
The Mikado of Japan . Mr. R. Temple
Nanlri-Poo .... Mr. Durward Lely
(His Son, disguised as a wander-
ing minstrel, and in love with
Yum-Yum)
Ko-Ko Mr, George Grossmith
(Lord High Executioner of Titipu)
13
1
194 GILBERT AND SULLIVAN
Pooh-Bah . Mr. Rutland Barrington
(Lord High Everything Else)
Go-to Mr. R. Cummings
Pish-Tush . Mr. Frederick Bovnx
(A Noble Lord)
Yum- Yum Miss Leonora Braham
Pitti-Sing .... Miss Jessie Bond
Peep-Bo Miss Sybil Grey
(Three Sisters ; Wards of Ko-Ko)
Katisha .... Miss Rosina Brandram
(An elderly Lady, in love with Nanhi-Poo)
Chorus of School-girls, Nobles, Guards, and Coolies
Act I. Court-yard of Ko-Ko's i
official residence J- Hawes Craven
Act II. Ko-Ko's Garden j
The leading critics were, generally, loud in their
praise of the new opera ; but, as usual, some of the
praise was qualified. One expert thought "The
Mikado " the best of the series of Savoy operas, another
declared it to be not up to the mark of " The Pinafore/*
or "The Pirates," or "Iolanthe" or well, any
other. It was a matter of opinion then, as it has re-
mained ever since. Our greatly revered friend Punch,
who was seldom anything if not humorous, did not
always seem to take kindly to the Gilbertian school.
Perhaps the clever, conservative " Chief of the London
Charivari" was too old-fashioned fully to appreciate
the " new humour." Punch seldom descended to
serious dramatic or musical criticism. It was not the
policy of his paper. Why should he bore his merry-
minded readers more than he could help doing ? Being
himself the oldest established merchant in Funniments
" PUNCH" ON "THE MIKADO" 195
and Witticisms known to the world, and, withal, the
very pattern of polished style and refined views of life,
Punch would never besmudge a column of his brilliant
periodical by damning anything or anybody, like any
ordinary press critic. But, as regards the Savoy
operas, even though he might not like them quite so
well as he did the old burlesques of the 'sixties, Punch
could not very well ignore what most of his worthy
contemporaries were belauding. The dear old hunch-
back was never exactly bitter, only a wee bit play-
fully caustic at times. He seemed to enjoy pouting
his lips at Gilbert and spluttering, " Poo, poo to
you ! " just as a jealous schoolboy who thinks him-
self clever behaves towards another schoolboy in
a higher class, who has proved himself to be more
clever.
We are reminded of this playful satire whilst re-
perusing a full-page notice of " The Mikado," which
appeared in The London Charivari after the first pro-
duction of the opera.
Punch, or his representative " Before the curtain,"
starts by devoting a column to theorizing on the
acknowledged fact that Gilbert and Sullivan at the
Savoy produced their pieces under conditions which
few other authors or composers have had the luck
to meet with ; that they (Gilbert and Sullivan) were
their own managers, that the theatre was practically
theirs, that they selected their own company of
artistes and, in short, that they did just whatever
they liked all of which theory suggests that, given
equally favourable conditions, any other authors or
196 GILBERT AND SULLIVAN
composers could have commanded as great success
as the lucky collaborators of the Savoy.
But, may not the same argument apply to every line
of life ? The man who is clever enough and possessed
of sufficient self-confidence and business acumen can,
provided he brings the right ware to market, make
his own conditions. Gilbert and Sullivan, aided by
D'Oyly Carte, made their own beds, and that they
proved beds of roses they had chiefly, if not only,
themselves to thank.
Then, Punch, after explaining to his own satisfaction,
or mortification, how the author and composer of " The
Mikado " had always had " greatness thrust upon
them," proceeds to note the chief point of humour which
he had found in the new opera. This was when George
Grossmith, who, throughout the first Act, had been
hiding his " understandings " beneath Ko-Ko's petti-
coats, suddenly, in Act II., gave a kick up and showed
a pair of white-stockinged legs under the Japanese
dress.
" It was an inspiration/' said the facetious Punch.
" Forthwith the house felt a strong sense of relief.
It had got what it wanted, it had found out accidentally
what it had really missed, and at the first glimpse of
George Grossmith' s legs there arose a shout of long-
pent-up laughter. George took the hint ; he too had
found out where the fault lay, and now he was so
pleased at the discovery that he couldn' t give them too
much of a good thing . . . from that time to the end
of the piece there wasn't a dull minute."
A very amusing and instructive dramatic criticism 1
"THE MIKADO'S " TRIUMPH 197
I dare say such a notice was the means of inducing many
Punchers, and footballers too, probably, to go to the
Savoy to see George Grossmith kick up his legs. At
the same time one can hardly dare say that it was
Ko-Ko's comic spindle-shanks that accounted for
" The Mikado' 1 running without a stop for 672 days.
But there ! we all know it was only a well-meaning,
friendly attempt on dear old Punch's part to out-wit
Gilbert, and it is only because of the brilliancy of the
humour that I have ventured thus lengthily to refer to
the famous chief of Fun-mongers.
Other leading critics, as I have already acknowledged,
were generally more kind if less amusing. In fact, the
London Press could not have given Gilbert and Sulli-
van's latest opera a warmer or more hearty send-off.
Not only throughout the provinces, but also in
America and in Germany, to both which countries
lyOyly Carte sent complete companies, "The Mi-
kado's " triumph was equal to that achieved in London
notwithstanding the absence of George Grossmith
and his legs. Is it not therefore safe to aver that the
success of " The Mikado " owed no more to Ko-Ko's
"shrunk shanks" than to Katisha's "left shoulder-
blade," that was " a miracle of loveliness which people
came miles to see ? "
During the run of "The Mikado" an interesting
incident of a private nature occurred in connection with
that opera. Sir Arthur Sullivan entertained the
Prince of Wales (afterwards Edward VIL), to dinner
one Sunday, when, to amuse His Royal Highness, a
private performance of the opera was given at the
198 GILBERT AND SULLIVAN
Savoy ; and this, by means of the telephone, was con-
veyed distinctly to Sir Arthur's private residence.
And when the Prince, in a speech, thanked the company
for their efforts, his words were heard on the stage
of the Savoy Theatre.
(
CHAPTER IV
Savoy secrecy Press reporters eager for news A Pall Mall Gazette
squib Heard in the stalls Interview with Gilbert Dr. Louis
Engel of The World His advance notice of Sullivan's music
to forthcoming opera More rumours concerning new opera
Great demand for seats for " Ruddygore " High society join in
pit and gallery queues In New York, tickets for first night sold
by auction.
The secrecy of the Savoy management, alluded to
incidentally in a preceding chapter, became ever more
and more the text for facetious comment on the
introduction of each succeeding opera. And so, when
" The Mikado's " reign drew to a close, inquisitiveness
ran rampant through the town. Every irresponsible
scribbler of theatrical topics strove to ferret out the
plot, the title, and everything else that might possibly
forestall the production of the new piece. Each scribe
worked with the zeal and stratagem of a war correspon-
dent eager to be the first to despatch the latest news
from the front.
The smallest scrap of intelligence that leaked out,
or was supposed to have been confided to some favoured
member of the fourth estate, was pounced upon by
the reporters as greedily as hungry sparrows flock down
upon a crust of bread, each striving to peck and
carry away a morsel to retail further afield.
199
200 GILBERT AND SULLIVAN
The preliminary press paragraphs which preluded
the launch of the opera, then on the stocks, afforded
vast amusement, to say nothing of enlightenment, to
all behind the mysterious curtain of the Savoy. And
what bold and cheap advertisement ! what need to
expend capital on "displayed advertisements 11 at a
guinea or more the inch per diem in all the leading
newspapers, when every interested person in the world
already knew all about the new Gilbert and Sullivan
opera to be produced on a date foretold by the " Zad-
kiels " and " Old Moores " in their theatrical calendars ?
And it was all such good fun too ; and it hurt nobody
a whit either before or behind the scenes. One or
two samples of the fusillade of satirical squibs that
appeared may be worth quoting. For instance, the
usually staid and sober Pall Mall Gazette devoted half
a column more or less to a clever illustrated skit
headed thus :
"SCENE AT THE SAVOY
" Time Midnight"
Here followed a cartoon representing Sullivan and
Gilbert disguised as conspirators striking melodramatic
attitudes on the Savoy stage, whilst, peeping timidly
from behind a piano, appeared the head of D*Oyly
Carte. Beneath this came the following dialogue :
Sir Arthur Sullivan : So that's settled the name
of our new opera shall be
Mr. Gilbert : Hush ! we are observed.
SAVOY CONSPIRATORS 201
Sir Arthur Sullivan: Allegro, crescendo! Tempo
di valse ! who's it ?
Mr. Gilbert : 'Tis the cat : She may have heard all
let us dissemble.
(They dissemble, and mysterious paragraphs
giving the wrong cognomen of their opera
appear in the papers.)
" The audience attendant upon ' The Mikado ' are at
last beginning to thin, and Messrs. Gilbert and Sullivan
are rehearsing their new piece with much assiduity.
The rehearsals commence at 12.30 and are seldom over,
we believe, before 5 a.m. The greatest secrecy prevails.
No outsider's presence is allowed in any part of the
theatre. If but a chink be open in the door in pit,
boxes, or gallery a warning shout is raised until that
door is closed; when the performers have occasion
to accost one another during rehearsal, they do so as
A. B. and C. So great is the fear of piracy that even
the actors themselves do not know the name of the
play, nor the names of the characters they are severally
engaged to represent." Theatrical Paragraph, "Pail
Mall Gazette."
What amount of truth was contained in the para-
graph may be gathered from the following letter
which Mr. Gilbert thought fit to send in reply :
" To the Editor of the ' Pall Mall Gazette '
"THE SAVOY CONSPIRATORS
" Sir,
" You are pleased to make merry with what
is supposed to be an exaggerated anxiety on the part
of Sir Arthur Sullivan and myself, lest the details of
the opera now in rehearsal at the Savoy should become
203 GILBERT AND SULLIVAN
prematurely known to the public. So little has this
consideration troubled us that we invited to the reading
of the piece which took place three weeks before the
first rehearsal no fewer than forty-four ladies and
gentlemen of the chorus, who are in no way concerned
with the dialogue, besides a dozen personal friends.
We have declined to accede to several requests which
have been made to us to allow the details of the plot
of the piece to be published in newspapers ; and in
acting thus we believe we have taken no unusual
course. It is not customary for dramatic authors in
this or any other country to publish their plots eight
weeks before the production of their piece. You say
that so great is the fear of piracy that even the actors
themselves do not know the name of the play, nor the
names of the characters they are severally engaged to
represent. The name of the play is at present un-
known to myself, and I shall be much obliged to any one
who will tell it to me. But the cast is as follows :
Robin Oakapple . . . Mr. G. Grossmith
Richard Mr. Durward Lkly
(His Foster Brother)
Sir Despard .... Mr. Barrington
Sir Roderic Mr. R. Temple
Old Adam .... Mr. Rudolph Lewis
Rose Maybud . . . Miss Leonora Braham
Mad Margaret . . . Miss Jessie Bond
Zorah Miss Findlay
Act I. A Seaport Village
Act II. A Baronial Hall
Date 1810
" I am, sir,
" Your obedient servant,
" W. S. Gilbert/*
THEATRICAL PIRATES 203
Another wag contributed to a satirical weekly thus :
HEARD IN THE STALLS
" Heard the name of the new piece by Sullivan and
Gilbert ? "
" Why, if s "
" H's-sh ! "
" I was only going to say it's "
" H-s'sh ! You mustn't."
" I was only going to say that if s not known to the
author "
" Oh !
>>
Which was nearer the truth than the report of the
Pall Mail Gazette.
Then Mr. Gilbert had to endure the torture of a pres9
interview. After severe cross-examination our author
was driven to plead justification for denying the public,
whose servants he and his colleagues were, the privilege
of knowing, in advance, full details of their new work
yet to be produced. Mr. Gilbert's evidence, as re-
ported, so fully explains the cause of the managerial
secrecy, that it may be instructive to quote from The
Interview published in the Evening News, a few days
before the production of the new opera.
THEATRICAL PIRATES
" No," said Mr. W. S. Gilbert, " no one knows the
name, the plot, the dialogue, nor anything else con-
nected with my new piece to be produced next Saturday,
and therefore all ' information ' given in connection
with it must be mere conjecture. 11
204 GILBERT AND SULLIVAN
" I suppose you have had plenty of inquiries about
it?"
" Any number, I assure you. There is scarcely
a paper either in London or out of it that has not
sought some kind of intelligence from me about the
nature of the production ; but, of course, I cannot give
it. Why should I ? Such a thing is unheard of."
"Not quite unheard of, Mr. Gilbert. Many thea-
trical managers and dramatic authors have been
very pleased to have the opportunity of getting their
pieces well commented upon before production. You
see, the public take an exceptional interest in your
pieces."
"lam sure I am very much obliged to the public,
and to you for saying so ; but you see it would be
most prejudicial to the interests of my colleagues,
Sir Arthur Sullivan and Mr. D'Oyly Carte, as well as
to myself, to let any information leak out/ 1
" How so ? I don't quite understand."
" Why, I am surrounded at this moment by a lot
of hungry American newspaper reporters who would
snap up any little item of news concerning our new
production, and at once cable it over to their journals,
and, were we not very discreet, the whole thing would
find itself over there in a short time and we should be
defrauded of our copyright "
" Has such a thing ever happened to you before ? "
" Most certainly it has. It occurred with ' The
Mikado/ An American pirate, bit by bit, obtained
an imitation of the piece, and when he discovered that
the costumes were to be Japanese he sent to Messrs.
" (mentioning a well-known firm), " and ordered
facsimiles or as near them as possible of all our
costumes."
" What did you do then ? "
" I had to go to Messrs. and tell them that, if
GILBERT INTERVIEWED 205
they supplied these costumes, I should withdraw all
the custom of the Savoy Theatre, and I had to buy up
all that were made. 1 '
" Did this put an end to the affair ? "
" As far as Messrs. were concerned only, but
the American pirate referred to then went over to
Paris and tried it on again there, and again I had
to buy up all the Japanese costumes that were to
be found. I cannot tell you the amount of trouble
and expense we have been put to by this kind of
thing/'
" I suppose you had often to invoke the aid of the
law?"
" Very frequently indeed I should think we must
have been concerned in about fifteen or twenty actions.
Is that not so, Carte ? " said Mr. Gilbert, addressing
the manager of the Savoy Theatre.
"A great deal more than that," replied Mr. Carte.
" If you say between forty and fifty you will be nearer
the mark."
" Then I suppose none of the actors and actresses
themselves are permitted to know anything more
than is absolutely necessary ? "
" Not a word ; and I can assure you that even the
costumes they will wear are not known to them until
the last moment."
"When will your new piece be produced in
America ? "
" In about three weeks' time after it is produced
here. The last time we sent a company out to
America it was with 'The Mikado/ and we were
compelled to exercise the utmost secrecy. The com-
pany were taken down in a special train from London
to Liverpool, from thence transported in a special
tender on board the steamer, and were sent down
into their cabins at once and strictly forbidden to hold
206 GILBERT AND SULLIVAN
converse with any one until the steamer was well on
its way."
" Was all this necessary ? "
" Absolutely. Even Mr. Carte was obliged to take
hfc berth in an assumed name, and, thanks to the strict
vigilance he kept over everybody and everything, not
a soul knew of the company's departure until days
afterwards/ '
" I suppose you got the best of some one by all this
stratagem ? "
" Oh, yes. There was, as usual, a pirate over the
water, preparing to bring out his version of 'The
Mikado,' and, indeed, he had advertised its production
for the Saturday following the Sunday or Monday
that our company arrived.
" Of course our unexpected appearance completely
upset his plans. His production being billed for the
Saturday, however, we advertised that we would
produce ours on the Friday previous. He then again
changed his to the Thursday, upon which ours was
announced for the Wednesday, and it was actually
produced on that night and met with a brilliant
success."
Such was the state of dramatic affairs five- an d-
twenty years ago. Can it be wondered at that IFOyly
Carte veiled his managerial concerns in mystery ?
The first individual outside the official circle of the
Savoy entrusted with any of the secrets of the new
opera was the late Dr. Louis Engel, the distinguished
musical critic of The World, in which journal the
following interesting preliminary notice appeared just
ten days before the production of the piece on
Thursday :
"THE WORLD'S" CRITIQUE 207
" With regard to Sullivan's music I may perhaps
be able to say a little more inasmuch as I asked
him to let me see the orchestral score. As he is
Just now working at it, and would not send it to me,
. acted like Mahomet, and went to the score. When
I arrived, there sat Arthur and Tommy hard at work.
Arthur remained setting and scoring, but Tommy
jumped up and nearly embraced me. What Tommy ?
Tommy is Arthur Sullivan's faithful friend and critic
one of those impartial friends who are not given to
praising blindly everything you do ; and so I must
say there is an air in the new opera which Tommy dis-
approves to such an extent that, when he hears it
sung, played, or even whistled, his disapproval is at
once uttered in a loud bark, or even a prolonged howl,
for Tommy is a creature as far superior to vile flatterers
or envious gossipers as a collie dog can be to men.
Having shaken hands with Tommy and his master, I
was installed in one of those oriental arm-chairs before
a large table, and, before I could say a word, a slight
pressure inundated the room with electric light in all
colours and I began reading.
"There is no overture. Perhaps there will be
though. That the piece is in reality a caricature on the
old-fashioned melodrama, with the virtuous peasant
F'rl, the wicked baronet, etc., you may take for granted,
am not allowed to say what the surprise will be, but
I will tell you that the wicked baronet has to be wicked,
in consequence of a curse which compels him to commit
a crime every day or to die. Now Grossmith, the
mild baronet, refuses the title under such conditions,
and hides himself, leaving Barrington to commit the
obligatory crimes. He is, however, compelled to take
his place, and there is a scene between him and the
gallery of his ancestors, which is one of the most
original effects on the stage. The predominant colour
208 GILBERT AND SULLIVAN
of the music is the old English ; for instance, the first
opening chorus of the bridesmaids in gavotte time
(E flat) and the sailor's song d la Dibdin. Then comes
a hornpipe and a madrigal, a sweetly pretty thing most
tastefully invented, with a chaste and graceful accom-
paniment. Mr. Grossmith's second song and the end
of the two finales belong to the same description. The
score contains, moreover, a graceful song in waltz time
for soprano (Leonora Braham), a dramatic legend for
contralto, most extraordinary and highly amusing
>atter-trio, a very clever double chorus (you know
Sullivan's favourite device of uniting two distinct
subjects), a very tender little duet, a real gem for
contralto and baritone, various airs and duets; to-
gether no fewer than twenty-four numbers.
" One of the principal numbers, the principal, in my
humble opinion, is the ghost scene above alluded to
serious, solid, the treatment of the orchestra and
chorus producing a most weird and solemn effect. I
wish to mention a song in three verses, orchestrated in
three different ways to give emphasis to the words in
a most vivid manner. What will ' fetch ' the public
is a duet in the second act between Miss Jessie Bond
and Mr. Barrington, which you must hear to appreciate
it, because to describe its quaintness is not easy.
But if there is much serious music and more counter-
point than you would look for in a comic opera, there
is much of a rollicking character, apparently written
in the exuberance of high spirits. Now you want to
know which is the air Tommy protests against. This
he has confided to me in strict privacy, and I have
shaken paws on keeping the secret ; so you must excuse
me."
L. E.
Remarkable were the less authenticated reports
A NEW OPERA 209
that found their way into print always " on the best
authority/ ' One had it that the new opera was to be
Egyptian, another that the scene was laid in India.
Every outlandish place on the globe, including Tim-
buctoo, had been chosen by the author as the locale of
the play. Somebody had discovered that Miss Jessie
Bond was cast for an Ophelia part, and that George
Grossmith was to appear as a ghost ; the conclusion
was that the piece was to be a Gilbertian travesty of
" Hamlet/' and so, altogether, no previous production
had been so loudly heralded and gratuitously boomed
as was " Ruddygore, or the Witch's Curse." Con-
sequently, the demand for seats on the opening night
was unprecedented, and much heartburn was felt
by hundreds of Savoy-lovers on discovering they
were not " on the list " of fortunate ticket-holders.
Enthusiasts who boasted they had never missed a
first night of any Gilbert and Sullivan opera, and
who vowed they never would be excluded, took up
positions outside the theatre in the early hours of
the eventful day. Men and women of social rank,
who on ordinary occasions were accustomed to dawdle
leisurely into their stalls, now took their places in
the queue with the professional first-nighters of pit
and gallery, caring not which door they entered, so
long as they could get inside the theatre and be
able to say they had been there. Hours before the
doors were opened every access to the Savoy, north-
wards from the Strand and southwards from the
Thames Embankment, was packed with a mass of
fevered humanity. Never before since the opening of
14
2io GILBERT AND SULLIVAN
the Savoy Theatre had such a scene been witnessed.
According to accounts cabled from New York some
three weeks later, notwithstanding the report that
" Ruddygore " was a failure in London, a similar scene
was enacted outside the Fifth Avenue Theatre on the
opening night of the opera. The demand for seats
in America had been so great that tickets for the
premhte were sold by auction and fetched fabulous
prices. Such was the pitch of fame to which Gilbert
and Sullivan had attained.
CHAPTER V
" RUDDYGORE "
Distinguished audience on first night Reason why " Ruddygore " has
not been revived Enormous outlay " Ruddygore " not univer-
sally approved " Boos " Were they intended for the opera or
for Lord Randolph Churchill, who was conspicuous in the stalls ?
" Ruddygore " a skit on Transpontine melodrama Gilbert's
humour misunderstood Offence given to both English and French
Navy men Gilbert challenged to duel " Ruddygore " becomes
"Ruddtgore" Sullivan's music greatly praised Gilbert's re-
marks about " Ruddigore " in speech made at dinner of O.P, Club.
"The Mikado" having been withdrawn from the
Savoy on January 19th, 1887, after an uninterrupted
run of 672 performances, three nights later, that is to
say, Saturday, January 22nd, 1887, witnessed the
production of the eighth conjoint opera of Gilbert and
Sullivan. Its title was the gruesome one of
" RUDDYGORE, OR THE WITCH'S CURSE "
AN ENTIRELY ORIGINAL SUPERNATURAL OPERA IN TWO ACTS
Dramatis Personae
Mortals
Robin Oakapple Mr. George Grossmith
(A Young Farmer)
Richard Dauntless . Mr. Durward Lely
(His Foster Brother Maiw> y -war y s-man)
211
212
GILBERT AND SULLIVAN
Sir Despard Murgatroyd (Of
"Ruddygore) Mr. Rutland Barrington
(A Wicked Baronet)
Old Adam Goodheart Mil Rudolph Lewis
(Robin's Faithful Servant)
Miss Leonora Braham
Miss Jessie Bond
Miss Rosini Brandram
Miss Josephine Findlay
Miss Lindsay
Rose Maybud .
(A Village Maiden)
Mad Margaret
Dame Hannah .
(Rose's Aunt)
Zorah ....
Ruth ....
(Professional Bridesmaids)
Ghosts
Sir Rupert Murgatroyd
(The First Baronet)
Sir Jasper Murgatroyd
(The Third Baronet)
Sir Lionel Murgatroyd
(The Sixth Baronet)
Sir Conrad Murgatroyd
(The Twelfth Baronet)
Sir Desmond Murgatroyd .
(The Sixteenth Baronet)
Sir Gilbert Murgatroyd
(The Eighteenth Baronet)
Sir Mervyn Murgatroyd
(The Twentieth Baronet)
and
Sir Roderic Murgatroyd
(The Twenty-first Baronet)
Chorus of Officers, Ancestors, and Professional Bridesmaids
Act I. The Fishing Village of Rederring, in Cornwall
Act II. Picture-gallery in Ruddygore Castle
The Scenery by Mr. Hawes Craven (by permission of
Mr, H. Irving), The Military Uniform by Mes&s. Cater
Mr. Price
Mr. Charles
Mr. Trevor
Mr. Burbank
. Mr. Tuer
Mr. Wilbraham
Mr. Cox
Mr. Richard Temple
A PREMIERE AUDIENCE 213
& Co., from designs supplied by the Fine Art Gallery, 61,
Pall Mall. The Ancestors by Mdme August e, from de-
signs by Wilhelm. The ladies' dresses by Mdme Auguste.
The incidental dances by Mr. John D'Auban.
Time. Early in the Present Century
The auditorium presented all the familiar features
of a Savoy premiere : all the world of literature,
science, art, politics, the law and Society, or as many
of its representatives as could be crowded in, filled the
stalls. Conspicuous in the centre were recognized
Lord and Lady Randolph Churchill. The renowned
statesman met with a mixed reception from the
"gods" in recognition of the recent revolution in
his political convictions. Close behind him sat Mr.
Labouchere, who, during the interval, accompanied the
Ex-Chancellor of the Exchequer to the smoking-room,
where, over a cigarette, they engaged in debate on some
subject even more serious than a Gilbert and Sullivan
opera.
Lord and Lady Onslow and Lord Dunraven were
present, with other peers as plentiful if not as ornate
as those who had assembled on the other side the foot-
lights in the days of "Iolanthe." Legal luminaries
included Sir Charles Russell, Mr. Montague Williams,
Mr. Inderwick, Mr. W. J. Maclean, and Mr. (afterwards
Sir George) Lewis. The Royal Academy was repre-
sented by Sir Frederick Leighton, Sir John Millais,
Mr. Marcus Stone, Mr. Frank Holl, Mr. Whistler, Mr.
Linley Sambourne, and a host of other artists who had
eome specially to review the Great Picture-gallery of
Ruddigore Castle with Hawes Craven's wondrous
216 GILBERT AND SULLIVAN
sized stages of the provincial theatres by the D'Oyly
Carte Touring Company. Whether or no ' ' Ruddigore ' '
will ever be reproduced in London remains on the
knees of the gods. It is, indeed, a thousand pities
that Sullivan's score, containing some of his most
charming music, should be buried away in the cellar,
when it might assuredly bring new joy to the present
generation of music-lovers who have never heard it.
But now we may be asked, "Was 'Ruddigore' a
success ? " Our reply, as far as regards the music, is,
"Yes emphatically yes. M Never before was the
Press more prodigal in its praise, or the public louder in
its acclamation of Sullivan's workmanship. Probably
the consensus of opinion was that, on the whole,
"Ruddigore" contained more brilliant gems of melody
set in delightful orchestration, with broader contrasts
of grace and humour, than any previous Savoy opera.
If we turn to the book it would be idle to deny
that the favour bestowed upon it was more qualified
than the author had become accustomed to. Candidly,
it is not altogether an agreeable reminiscence, but one
cannot forget certain discordant, unfamiliar sounds
that were only half-drowned in the flood of applause
following curtain-fall. For the first time within the
walls of the Savoy was heard the brutal " Boo I " of
the unmannerly malcontent. It was such a novel
experience that all the battalions of Savoyards won-
dered. By some kind sympathizers it was suggested
that the contemptuous cries were not intended for the
authors or the actors or the management, but rather for
Lord Randolph Churchill, who chanced to be quitting
TRANSPONTINE MELODRAMA 217
the stalls at the moment Gilbert, Sullivan, and Carte
were taking their " call " ; but such a notion was
nothing but the " precious nonsense " of too flattering
Savoy-lovers. Glad as we all might have been to
accept such consoling apology, it was only too obvious
that, from some cause or another, " Ruddigore " had
failed to convince as spontaneously as its predecessors
had done. And what was the cause of the disaffection ?
The first act was accompanied throughout by the wild
fire of applause and delight customary at the Savoy ;
everybody was called and recalled. But after that it
seemed as though Gilbert's muse had played truant
or grown dull and apathetic, or satiated with past suc-
cesses, or, in other words, that his train of thought had
been switched on to the wrong line and come to grief,
though certainly not to fatal disaster.
Sir William acknowledged " Ruddigore" to be a
caricature of what used to be known as Transpontine
melodrama a term signifying plays produced at
the Surrey, the Vic, and other theatres on the south
side of the Thames.
Those blood-curdling melodramas were of themselves
extravaganzas of real life, unintentional satires on the
virtues and vices of men and women. The question
then arises how far may the travesty of an extrava-
ganza be carried with impunity ? Humour, if stretched
too far, outwits itself. It becomes flat, stale, and un-
profitable. Seldom has humour been more elastic
than that bred by Gilbert's genius, and hardly ever was
the gifted author found extending his points beyond
the limits of reason and sound sense. But Gilbert's
218 GILBERT AND SULLIVAN
fault, if fault it can be called, lay rather in the subtlety
of his brain. His wit at times sprang up from wells
too deep for the ordinary mind to fathom. Here is a
very striking instance in support of this theory, and,
at the same time, of the density of some people's sense
of humour. Will it be credited that the jolly, breezy
sailor's song in " Ruddigore," the words of which shall
be quoted below when we tell the story of the play,
not only offended a few dull-pated British patriots who
construed it as a slight on our Navy, but, worse to relate,
threatened to disturb our friendly relations with France,
simply because a Frenchman, the correspondent of the
Paris Figaro, a journalist hitherto respected for his
broad-minded views of British affairs, lacked the sense
of humour. This person saw in Gilbert's harmless
jeu d* esprit an insult to the French nation ; though
the matter escaped becoming an international affair,
it was whispered that Gilbert had received a challenge
from several French officers to meet him ; but it ended
in coffee and cigars.
Thus poor Sir William, fondly dreaming that his
mirthful ditty, d la Dibdin, would be greeted with
nothing but smiles, found himself between cross-fires
from either side the English Channel. One may ques-
tion whether, if that same song were revived in these
more reasonable days, it would shock our Navy League
or disturb V entente cordials. Methinks it would, rather,
be accepted by all parties as a good joke.
Another negative notion that helped to prejudice
the success of the piece was its title, " Ruddygore."
Some prudish parents would not think of taking their
it
RUDD YGORE " BECOMES " RUDD/GORE " 219
daughters to see a play with a name like that : never
no never, even though it had been set to music
by dear Sir Arthur Sullivan, who composed "The
Golden Legend," "The Martyr of Antioch," " Onward,
Christian Soldiers/' and that lovely song " The Absent-
minded Beggar." " How ever could Sir Arthur have
dared to countenance such a name ? " " ' Ruddygore ' I
Didn't it suggest Portsmouth Hard or the East India
Docks ? "
Those dear, good, refined, squeamish people were
terribly shocked ! As for Sir William Gilbert offering
his other cheek to the smiters, he strove to pacify them
by changing the title so far as to substitute the letter
I for Y.
Further, Gilbert made certain slight alterations in
the second act, after which the cry went forth from
the Press, " All's well with ' Ruddigore.' "
Granted that the book of " Ruddigore " was not one
of Gilbert's masterpieces, yet, seeing the opera ran for
288 performances (excelling " The Sorcerer " by 113
and " Princess Ida" by 42), the opera could hardly be
pronounced a failure.
On this question Sir William Gilbert had something
to say in a speech made by him at the O.P. Club's
"Savoyard Celebration" Dinner organized by Mr.
Carl Hentschel, the founder of the club. The enter-
tainment took place at the Hotel Cecil on December
30th, 1906, when 450 play-goers assembled to do honour
to the distinguished author and the members past and
present of the Savoy company.
This is what Gilbert spoke :
220 GILBERT AND SULLIVAN
"We were credited or discredited with one con-
spicuous failure c Ruddigore, or the Witch's Curse/
Well, it ran eight months, and, with the sale of the
libretto, put 7,000 into my pocket. It was not
generally known that, bending before the storm of
press execration aroused by the awful title, we were
within an ace of changing it from ' Ruddigore ' to
* Kensington Gore, or Robin and Richard were two
Pretty Men.' "
CHAPTER VI
The story of " Ruddigore, or the Witch's Curse " Superb mounting
The acting Jessie Bond and Durward Lely.
Among readers of this volume there may be many
who, never having witnessed the performance of
" Ruddigore," would like to hear what it was all about.
For their enlightenment, therefore, let me endeavour to
tell, as briefly as I may, in outline, aided by extracts
from the author's witty dialogue and sparkling lyrics,
the remarkable legend of " The Witch's Curse."
Adjacent to the Cornish village of Rederring there
stood, at the beginning of the nineteenth century,
the Castle of Ruddigore, the ancestral home of the
wicked race of Murgatroyd. The legend attached to
the place is, early in the play, told in song by " Old
Hannah" to a crowd of village lassies, charming
maidens who, in hope of the wedding of Rose the belle
of Rederring,
" Every day as the years roll on
Bridesmaid's costumes gaily don."
To them Dame Hannah speaks thus :
Han. Many years ago I was betrothed to a god-like
youth who wooed me under an assumed name. But,
on the very day upon which our wedding was tP bave
222 GILBERT AND SULLIVAN
been celebrated, I discovered that he was no other
than Sir Roderic Murgatroyd, one of the bad Baronets
of Ruddygore, and the uncle of the man who now
bears that title. As a son of that accursed race he was
no husband for an honest girl, so, madly as I loved him,
I left him then and there. He died but ten years since,
but I never saw him again.
Zor. But why should you not marry a bad Baronet
of Ruddygore ?
Ruth. All baronets are bad ; but was he worse than
other baronets ?
Han. My child, he was accursed !
Zor. But who cursed him ? Not you, I trust !
Han. The curse is on all his line, and has been, ever
since the time of Sir Rupert, the first Baronet. Listen,
and you shall hear the legend.
Legend
" Sir Rupert Muigatroyd
His leisure and his riches
He ruthlessly employed
In persecuting witches.
With fear he'd make them quake,
He'd duck them in the lake
He'd break their bones
With sticks and stones,
And burn them at the stake 1
H
Once, on the village green,
A palsied hag he roasted,
And what took place, I ween.
Shook his composure boasted ;
For, as the torture grim
Seized on each withered limb,
The writhing dame
'Mid fire and flame
Yelled forth this curse on him :
"THE WITCH'S CURSE 223
" ' Each lord of Ruddygore,
Despite his best endeavour,
Shall do one crime, or more,
Once, every day, for ever !
This doom he can't defy
However he may try.
For should he stay
His hand, that day
In torture he shall die ! '
" The prophecy came true :
Each heir who held the title
Had, every day, to do
Some crime of import vital ;
Until, with guilt o'erplied,
' I'll sin no more 1 ' he cried,
And on the day
He said that say,
In agony he died I
Chorus
" And thus, with sinning cloyed,
Has died each Murgatroyd,
And so shall fall,
Both one and all,
Each coming Murgatroyd ! "
In dread of becoming the subject of the witch's curse,
young Ruthven Murgatroyd, heir to the Baronetcy,
flies from his ancestral home, and, assuming the
character of a country yokel, by the name of Robin
Oakapple, takes up his abode in Rederring. There he
falls in love with Rose, Dame Hannah's niece. But
he is too shy and fearful of consequences to confess
his devotion. Timely, to the village comes Richard
224 GILBERT AND SULLIVAN
Dauntless, Ruthven's foster brother. To the villagers
the gallant man-o'-war'sman relates in song the voyage
of The Tom Tit. This is the lyric which gave great
offence to certain over-sensitive people, specified in the
last chapter.
Ballad. Richard
I shipped, d'ye see, in a Revenue sloop,
And, ofi Cape Finistere,
A merchantman we see,
A Frenchman, going free.
So we made for the bold Mounseer,
D'ye see ?
We made for the bold Mounseer.
" But she proved to be a Frigate and she up with her ports,
And fires with a thirty-two !
It come uncommon near,
But we answered with a cheer,
Which paralysed the Parly- voo,
D'ye see ?
Which paralysed the Parly- voo I
tt
Then our Captain he up and he says, says he,
1 That chap we need not fear ;
We can take her, if we like,
She is sartin for to strike,
For she's only a darned Mounseer,
D'ye see ?
She's only a darned Mounseer !
" ' But to fight a French fal-lal it's like hit tin 1 of a gal,
Its a lubberly thing for to do ;
For we, with all our faults,
Why, weVe stjirdy ftitjsh *alts,
it
THE STORY OF RUDDIGORE 225
While she's only a Parley-voo
D'ye see ?
A miserable Parley-voo ! '
So we up with our helm, and we scads before the breeze
As we give a compassionating cheer ;
Froggee answers with a shout
As he sees us go about,
Which was grateful of the poor Mounseer,
D'ye see ?
Which was grateful of the poor Mounseer !
" And I'll wager in their joy they kissed each other's cheek
(Which is what them furriners do),
And they blessed their lucky stars
We were hardy British tars
Who had pity on a poor Parley-voo,
D'ye see ?
Who had pity on a poor Parley-voo !
Robin tells his foster-brother of his shy and hopeless
love, whereupon the sailor promises to assist him to
gain Rose for a wife.
" Robin/' says Richard, " do you call to mind how,
years ago, we swore that, come what be, we would
always act upon our heart's dictates well, now, what
does my heart say in this 'ere difficult situation ? Why,
it says, ' Dick/ it says (it calls me Dick acos it's known
me from a baby), 'Dick/ it says, 'you ain't shy
you ain't modest speak you up for him as is ' Robin,
my lad, just you lay me 'longside, and when she's
becalmed under my lee, I'll spin her a yarn that will
sarve to fish you two together."
15
226 GILBERT AND SULLIVAN
The song that Robin then sings contains lines which
have since become proverbial all the world over :
" If you wish in the world to advance,
Your merits you're bound to enhance
You must stir it and stump it
And blow your own trumpet,
Or, trust me, you haven't a chance."
Richard then meets Rose Maybud, and at once proves
false to Robin. Following his own heart's dictates,
he falls in love at first sight with the damsel. Surely
a more quaint, unconventional courting scene was
never witnessed on or off the stage. Rose, it must be
explained, carries about with her wherever she goes a
little book of Etiquette, composed, she believes, by
no less an authoress than the wife of the Lord Mayor.
" It has been," says Rose, " through life my guide
and monitor. By its solemn precepts I have learnt to
test the moral worth of all who approach me. The
man who bites his bread or eats his peas with a knife
I look upon as a lost creature, and he who has not
acquired the proper way of entering and leaving a room
is the object of my pitying horrors " and so on.
Thus, when the precise little Cornish maid is inter-
viewed by Richard she is prompted by the Book of
Etiquette, whilst the sailor steers his moral course by
the compass of his heart's dictates.
The love scene is so humorous I cannot refrain from
quoting it in extenso :
Rich. Here she comes! Steady 1 Steady it is I
(Enter Rose) he is much struck bv her). By the
RUDDIGORE 227
Port Admiral, but she's a tight little craft ! Come,
come, she's not for you, Dick, and yet she's fit to
marry Lord Nelson ! By the flag of old England, I
can't look at her unmoved.
Rose. Sir, you are agitated
Rich. Aye, aye, my lass, well said ! I am agitated,
true enough ! took flat aback, my girl, but 'tis naught
'twill pass. (Aside.) This here heart of mine's a
dictatin' to me like anythink. Question is, have I
a right to disregard its promptings ?
Rose. Can I do ought to relieve thine anguish, for
it seemeth to me that thou art in sore trouble ? This
apple (Offering a damaged apple).
Rich. (Looking at it and returning it). No, my lass,
'taint that ; I'm I'm took flat aback I never see
anything like you in all my born days. Parbuckle me,
if you ain't the loveliest gal I've ever set eyes on.
There I can't say fairer than that, can I ?
Rose. No. (Aside). The question is, is it meet that
an utter stranger should thus express himself ? (Refers
to book). Yes " Always speak the truth."
Rich. I'd no thoughts of sayin' this here to you on
my own account, for, truth to tell, I was chartered by
another ; but when I see you my heart it up and it
says, says it, " This is the very lass for you, Dick
speak up to her, Dick," it says-^-(# calls me Dick
acos we was at school together) " tell her all, Dick,"
it says, " never sail under false colours it's mean ! "
Thais what my heart tells me to say, and in my rough,
common-sailor fashion I've said it, and I'm a- waiting
for your reply. I'm a tremblin' , miss. Lookye here
(Holding out his hand.) That's narvousness !
Rose. (Aside.) Now, how should a maiden deal
with such an one ? (Consults book.) " Keep no one in
unnecessary suspense." (Aloud.) Behold, I will not
keep you m unnecessary suspense. (Refers to book.)
228 GILBERT AND SULLIVAN
" In accepting an offer of marriage, do so with ap-
parent hesitation/ 9 (Aloud.) I take you, but with
a certain show of reluctance. (Refers to book.) " Avoid
any appearance of eagerness. 1 ' (Aloud.) Though you
will bear in mind that I am far from anxious to do so.
(Refers to booh.) " A little show of emotion will not
be misplaced ! " (Aloud.) Pardon this tear t (Wipes
her eye.)
Rich. Rose, you've made me the happiest blue-
jacket in England ! I wouldn't change places with the
Admiral of the Fleet, no matter who he's a huggin'
of at this present moment ! But, axin' your pardon,
miss (wiping his lips with his hand), might I be per-
mitted to salute the flag I'm a-goin' to sail under ?
Rose. (Referring to book.) " An engaged young
lady should not permit too many familiarities."
(Aloud.) Once ! (Richard kisses her.)
The lovers are disturbed by the entrance of Robin,
who learns the truth from Dick, whilst, much dis-
appointed, he treats the matter with platonic uncon-
cern. Broken-hearted as he is, Robin considers his
friend has acted quite fairly in following his heart's
dictates.
Rose, Richard, and Robin then join in a very charm-
ing trio, the refrain of which is :
" In sailing o'er life's ocean wide.
No doubt the heart should be our guide ;
But it is awkward when you find
A heart that does not know its mind."
At the end of this Rose turns away from Richard and
embraces Robin. They disperse Richard weeping.
RUDDIGORE 229
, To the village there comes Mad Margaret a char-
acter modelled after the pattern of Ophelia. She has
been the victim of one of the crimes perpetrated by
Sir Despard, obedient to the curse. The poor dis-
traught maiden is seeking for her faithless lover. The
very sweet, pathetic ballad here sung by Mad Margaret
may be ranked amongst Gilbert and Sullivan's brightest
gems.
" To a garden full of posies
Cometh one to gather flowers,
And he wanders through its bowers
Toying with the wanton roses,
Who, uprising from their beds,
Hold on high their shameless heads
With their pretty lips a-pouting,
Never doubting never doubting
That for Cytherean posies
He would gather aught but roses I
" In a nest of weeds and nettles
Lay a violet, half-hidden,
Hoping that his glance unbidden
Yet might fall upon her petals.
Though she lived alone, apart,
Hope lay nestling at her heart ;
But, alas! the cruel awaking
Set her little heart a-breaking,
For he gathered for his posies
Only roses only roses ! "
(Bursts into (ears.)
Soon upon the scene enters Sir Despard, accom-
panied by a party of Bucks and Blades. They are all
dressed in the gorgeous uniforms of military officers
*30 GILBERT AND SULLIVAN
of the period correct to the last button. The girls
of the village express their horror of the bold, bad
baronet. As he approaches them they fly from him
terror-stricken, leaving him alone to moralize thus :
Sir D. Poor children, how they loathe me me whose
hands are certainly steeped in infamy, but whose heart
is as the heart of a little child ! But what is a poor
baronet to do, when a whole picture-gallery of ancestors
step down from their frames and threaten him with an
excruciating death if he hesitate to commit his daily
crime ? But ha ! ha ! I am even with them !
(Mysteriously.) I get my crime over the first thing
in the morning, and then, ha ! ha ! for the rest of the
day I do good I do good I do good ! (Melodramatic-
ally.) Two days since, I stole a child and built an
orphan asylum. Yesterday I robbed a bank and en-
dowed a bishopric. To-day I carry off Rose Maybud,
and atone with a cathedral ! This is what it is to be
the sport and toy of a Picture-gallery ! But I will
be bitterly revenged upon them ! I will give them all
to the Nation, and nobody shall ever look upon their
faces again !
Richard Dauntless then approaches and makes
known to Sir Despard that his elder brother Ruthven
lives.
Sir D. Ruthven alive, and going to marry Rose
Maybud ! Can this be possible ?
Rich. Now the question I was going to ask your
honour is ought I to tell your honour this ? This is
what my heart says. It says, " Dick/' it says (it calls
me Dick acos it's entitled to take that liberty.) " That
RUDDIGORE 231
there young gal would recoil from him if she knowed
what he really were. Ought you to stand off and on,
and let this young gal take this false step and never
fire a shot across her bows to bring her to ? No, it
says, "you did not ought." And I won't ought,
accordin'.
Sir D. Then you really feel yourself at liberty to
tell me that my elder brother lives that I may charge
him with his cruel deceit, and transfer to his shoulders
the hideous thraldom under which I have laboured for
so many years ! Free free at last ! Free to live a
blameless life, and to die beloved and regretted by all
who knew me !
Robin Oakapple and Rose Maybud, who are about
to marry, then arrive to find their promised bliss
suddenly blighted by Sir Despard.
Sir D. Hold, Bride and Bridegroom, ere you wed
each other
I claim young Robin as my elder brother.
Robin. (Aside.) Ah ! lost one !
SirD. His rightful title I have long enjoy" d,
I claim him as Sir Ruthven Murgatroyd.
Thus at last Sir Ruthven is saddled with the witch's
curse from which he had striven to escape.
In the picture-gallery of Ruddigore Castle, the walls
of which are covered with full-length portraits of the
baronets of Ruddigore from the times of James I.,
the unhappy Robin, now Sir Ruthven Murgatroyd,
discusses the terrible situation with old Adam, alias
Gideon Crawle, the faithful but wicked family
steward.
232 GILBERT AND SULLIVAN
Robin. This is a painful state of things, Gideon
Crawle 1
Adam. Painful, indeed 1 Ah, my poor master,
when I swore that, come what would, I would serve you
in all things for ever, I little thought to what a pass
it would bring me ! The confidential adviser to the
greatest villain unhung ! If s a dreadful position for a
good old man I
Robin. Very likely, but don't be gratuitously offen-
sive, Gideon Crawle.
Adam. Sir, I am the ready instrument of your
abominable misdeeds because I nave sworn to obey yotk
in all things, but I have not sworn to allow deliberate
and systematic villainy to pass unreproved. If you
insist upon it I will swear that, too, but I have not
sworn it yet. Now, sir, to business. What crime do
you propose to commit to-day ?
Rob. How should I know? As my confidential
adviser, it's your duty to suggest something.
Adam. Sir, I loathe the life you are leading, but a
good old man' s oath is paramount, and I obey. Richard
Dauntless is here with pretty Rose Maybud, to ask
your consent to their marriage. Poison their beer.
Rob. No not that I know I'm a bad Bart, but
I'm not as bad a Bart as all that.
Adam. Well, there you are, you see ! If s no use my
making suggestions if you don't adopt them.
Rob. (Melodramatically.) How would it be, do you
think, were I to lure him here with cunning wile bind
him with good stout rope to yonder post and then,
by making hideous faces at him, curdle the heart-blood
in his arteries, and freeze the very marrow in his
bones ? How say you, Gideon, is not the scheme well
planned ?
Adam. It would be simply rude nothing more.
But soft they come !
RUDDIGORE 233
Richard and Rose enter, and are promptly condemned
by Sir Ruthven to be immured in " an uncomfortable
dungeon/' This fell design is frustrated by Richard,
who came prepared for this. Unfurling a Union Jack,
he waves it triumphantly over Rose Maybud's head,
exclaiming, " The man does not live who would dare
to lay unlicensed hand upon her."
" Foiled," cried Sir Ruthven. " Foiled and by a
Union Jack I but a time will come, and then "
Rose then pleads. " Sir Ruthven, have pity. In
my book of Etiquette the case of a maiden about to
be wedded to one who unexpectedly turns out to be a
baronet with a curse on him is not considered. It is
a comprehensive work, but it is not as comprehensive
as that. Time was when you loved me madly. Prove
that this was no selfish love by according your consent
to my marriage with one who, if he be not you yourself,
is the next best thing your dearest friend
Robin, or rather Sir Ruthven, relents.
Left alone he soliloquizes thus :
Rob. For a week I have fulfilled my accursed doom I
I have duly committed a crime a day ! Not a great
crime, I trust ; but still, in the eyes of one as strictly
regulated as I used to be, a crime. But will my ghostly
ancestors be satisfied with what I have done, or will
they regard it as an unworthy subterfuge ? (Addressing
pictures.) Oh, my forefathers, wallowers in blood,
there came at last a day when, sick of crime, you, each
and every, vowed to sin no more, and so, in agony,
called welcome Death to free you from your cloying
guiltiness. Let the sweet psalm of that repentant
if
234 GILBERT AND SULLIVAN
hour soften your long-dead hearts, and tune your souls
to mercy on your poor posterity 1 (Kneeling.)
(The stage darkens for a moment. It becomes
light again, and the pictures are seen to
have become animated.)
The spectre of Sir Roderic (Sir Ruthven's uncle,
who, during life had been betrothed to Old Hannah,
Rose Maybud's aunt), rises in the midst of the other
baronets. In sepulchral tone Sir Roderic sings :
a
When the night-wind howls in the chimney-cowls and the bat in
the moonlight flies,
And inky clouds, like funeral shrouds, sail over the midnight
sides;
When the footpads quail at the night-bird's wail, and black dogs
bay the moon,
Then is the spectre's holiday then is the ghost's high noon 1
Chorus
" Ha ! ha !
The dead of the night's high noon I
" As the sob of the breeze sweeps over the trees and tne mists lie
low on the fen,
From grey tomb-stones are gathered the bones that once were
women and men.
And away they go, with a mop and a mow, to the revel that ends
too soon,
For cockcrow limits our holiday the dead of the night's high
noon !
Chorus
" Ha ! ha !
The dead of the night's high noon !
RUDDIGORE 235
" And then each ghost with his ladye-toast to their churchyard
beds takes flight.
With a kiss, perhaps, on her lantern chaps, and a grisly, grim
1 Good-night ' ;
Till the welcome knell of the midnight bell rings forth its jolliest
tune.
And ushers our next high holiday- the dead of the night's high
noon !
Chorus
"Hal ha!
The dead of the night's high noon ! "
Sir Ruthven, addressing his ancestors, says : " And
may I ask you why you left your frames ? "
Sir Rod. It is our duty to see that our successors
commit their daily crimes in a conscientious and
workmanlike fashion. It is our duty to remind you
that you are evading the conditions under which you
are permitted to exist.
Rob. Really, I don't know what you'd have, I've
only been a bad baronet a week, and I've committed
a crime punctually every day.
Sir Rod. Let us inquire into this. Monday ?
Rob. Monday was a Bank Holiday.
Sir Rod. True. Tuesday?
Rob. On Tuesday I made a false income-tax return.
All. Ha! ha!
ist Ghost. That's nothing.
2ND Ghost. Nothing at all.
3RD Ghost. Everybody does that.
4TH Ghost. It's expected of you.
Sir Rod. Wednesday ?
Rob. (Melodramatically.) On Wednesday I forged
a will.
Sir Rod. Whose will ?
236 GILBERT AND SULLIVAN
Rob. My own.
Sir Rod. My good sir, you can't forge your own
Rob. Can't I, though ! I like that! I did I Besides,
if a man can't forge his own will, whose will can lie
forge ?
ist Ghost. There's something in that.
2nd Ghost. Yes, it seems reasonable.
3RD Ghost. At first sight it does.
4TH Ghost. Fallacy somewhere, I fancy !
Rob. A man can do what he likes with his own.
Sir Rod. I suppose he can.
Rob. Well, then, he can forge his own will, stoopid I
On Thursday I shot a fox.
ist Ghost. Hear, hear !
Sir Rod. That's better (Addressing ghosts.) Pass
the fox, I think ? (They assent.) Yes, pass the fox.
Friday ?
Rob. On Friday I forged a cheque.
Sir Rod. Whose cheque ?
Rob. Gideon Crawle's.
Sir Rod. But Gideon Crawle hasn't a banker.
Rob. I didn't say I forged his banker I said I
forged his cheque.
ist Ghost. That's true.
2ND Ghost. Yes, it seems reasonable.
3RD Ghost. At first glance it does.
4TH Ghost. Fallacy somewhere !
kob. On Saturday I disinherited my only son.
Sir Rod. But you haven't got a son.
Rob. No, not yet I disinherited him in advance, to
save time you see, by this arrangement he'll be born
disinherited.
Sir Rod. I see. But I don't think you can do that.
Rob. My good sir, if I can't disinherit my own un-
born son, whose unborn son can I disinherit ?
RUDDIGORE tyj
But Sir Roderic and his companion spectres are not
convinced that their descendant has done his duty by
the curse satisfactorily, and command him to atone
for his shortcomings by carrying off a lady. If he
declines he will perish in inconceivable agonies. Sir
Ruthven replies that he could not do such a wicked
thing as that whereupon the ghosts torture him
until he consents and apologizes.
Sir Ruthven then orders old Adam to go to the village,
carry away and bring to the castle a lady.
Whilst the wicked steward is absent, Sir Despard
and Mad Margaret arrive. The erstwhile crime-
compelled baronet is now a sort of Methodist preacher,
and Margaret, restored to sanity, is a teacher in a
National school. After an amusing duet and dance
they depart. Old Adam returns bringing with him,
captive, Dame Hannah. The ghost of Sir Roderic
again comes to earth and recognizes in the Dame his
old love of long ago.
An eccentric love-scene between Sir Roderic and
Dame Hannah, ending in the following charming ballad :
a
There grew a little flower
'Neath a great oak-tree :
When the tempest 'gan to lower
Little heeded she :
No need had she to cower,
For she dreaded not its power
She was happy in the bower
Of her great oak-tree I
Sing hey,
Lackaday!
Let the tears fall free
For the pretty little flower and the great oak-tree 1
238 GILBERT AND SULLIVAN
Both
" Sing hey.
Lackaday, etc.
" When she found that he was fickle,
Was that great oak-tree.
She was in a pretty pickle,
As she well might be
But his gallantries were mickle.
For Death followed with his sickle.
And her tears began to trickle
For her great oak-tree !
Sing hey,
Lackaday ! etc.
" Said she, ' He loved me never.
Did that great oak-tree.
But I'm neither rich nor clever,
And so why should he ?
But though fate our fortunes sever,
To be constant Til endeavour,
Aye, for ever and for ever.
To my great oak-tree ! '
Sing hey,
Lackaday! etc"
(Falls weeping on Rodericks bosom.)
(Enter Robin excitedly, followed by Bridesmaids.)
Rob. Stop a bit both of you.
Rod. This intrusion is unmannerly.
Han. I'm surprised at you*
Rob. I can't stop to apologize an idea has just
occurred to me. A baronet of Kuddigore can only die
through refusing to commit his daily crime.
Rod. No doubt.
Rob. Therefore, to refuse to commit a daily crime
is tantamount to suicide.
RUDDIGORE 239
Rod. It would seem so.
Rob. But suicide is, in itself, a crime and so, by
your own showing, you ought none of you to have ever
died at all !
Rod. I see I understand ! We are all practically
alive!
Rob. Every man Jack of you !
Rod. My brother ancestors! Down from your
frames! (Ancestors descend.) You believe yourselves
to be dead. You may take it from me that you're not,
and an application to the Supreme Court is all that is
necessary to prove that you never ought to have died
at all 1
(The Ancestors embrace the Bridesmaids.
Everybody else follows their example, and
so the remarkable "supernatural opera"
ends.)
Such an extravagant story, told in cold print and a
necessarily brief and disjointed style, may appear less
convincing and more open to unfavourable comment
than when admirably performed by the Savoy com-
pany amidst the glamour of superb stage-mounting,
and, above all, the magic charm of Sullivan's music.
Yet, perhaps, this rough epitome may not have proved
tedious, but, rather, interesting to those who learn for
the first time the legend of " The Witch's Curse."
Anyway, it may raise the question, among present-
day lovers of the Gilbert and Sullivan operas, whether
they would have felt inclined to join in the applause
of the majority or in those subdued signs of disapproba-
tion that greeted " Ruddigore " on the first night of
its production.
240 GILBERT AND SULLIVAN
There were two particularly noteworthy features in
the performance of " Ruddigore." First to be men-
tioned was the acting of Miss Jessie Bond in the part
of "Mad Margaret/ 9 Among the host of her admirers
few had given the popular Savoy soubrette credit for
such great ability as a genuine comedy-actress, for
never before had the opportunity been afforded her
to display her latent talent Jessie Bond's triumph
came as a surprise to all, but especially to those who
were aware of the fact that her first appearance on
any stage was in the insignificant part of Hebe in
u H.M.S. Pinafore." So true to real life was the por-
trayal of Mad Margaret that Mr. Forbes Winslow, the
famous authority on mental disorders, wrote a con-
gratulatory letter to Miss Bond and inquired where she
had found the model from which she had studied, and
so faithfully copied the phases of insanity. No greater
compliment could have been paid the actress.
Another surprise was effected by Durward Lely in
the part of Richard Dauntless, the jovial man-o'-war's-
man. It was truly astonishing to discover a leading
tenor playing, and playing as though to the manner
born, a broad comedian's part and dancing a hornpipe
in such perfection as would crown him king of the
fo'c'sle of the smartest ship afloat. Mr. D'Oyly Carte
confessed that Lely had quite disconcerted the opinion
that he had always before held, that a tenor's voice is
gained solely at the expense of his brains.
CHAPTER VII
Recreations River trips Celebration dinners and suppers
The Savoyards were a happy family. Away from their
duties at the theatre they frequently assembled to
enjoy some sort of recreation. They had their sports,
notably cricket. A strong team was formed under the
captaincy of Rutland Barrington, and, if I remember
rightly, they generally held their own in the field.
Sullivan, Gilbert, and D'Oyly Carte, whilst ever
ready to support the game with their patronage, were
more strictly concerned with the runs achieved by their
operas than those scored by the Savoy eleven.
Very enjoyable was the annual river picnic to which
I was on more than one occasion honoured with an
invitation. It took place on a summer's Sunday.
The full company, under the supreme command of Mr.
Carte, embarked in two commodious steam launches,
one bearing the flag of the author, the other that of the
composer, both flags suggesting pinafores of different
design. During the voyage up-stream the boats ex-
changed repeated broadsides of chaff, and I am not
sure that Gilbert and his merry crew always got the
better of the playful duel.
On board the musician's ship, on one occasion, we
were killing time by trying to concoct rhymes. Failing
16 341
242 GILBERT AND SULLIVAN
in one of our poetic efforts, Arthur Sullivan shouted out
to his colleague, " I say, Gilbert, we are composing
Limericks, and want your help ; we have got as far as
this:
" That sailor who stands at the tiller
Is in love with a girl calTd Priscilla
But she never was taught
To know starboard from port "
and now we are stuck for a last line. Can you give us
one ? "
Prompt came the reply :
n
I think your best plan is to kill her."
" Not bad," said Arthur Sullivan, " but it wouldn't
look well in print. 1 '
One of the guests claiming to be a pretty good hand
at Limericks, was requested to give us a sample of his
own manufacture. And this was the stuff :
" An author named William Schwenk,
Could never say ' Thank ' you, but ' Thenk.'
His queer BABy rhymes
Were so naughty sometimes
That people inquired if he drenk."
Dead silence followed this recitation.
The Savoyards were nothing if they were not loyal
to their esteemed chiefs. They were ever ready to
resent any slur that might be cast on their characters.
Gifted with a certain amount of intellect, they could
not fail to guess who was the object of their friend's
SAVOYARDS' PICNIC 243
very irreverent ridicule. Accordingly the ladies of the
party with one accord turned their backs upon the
impertinent rhymester, presumably to express their vir-
tuous contempt, but more possibly to hide their smiles.
The male Savoyards, some of whom had, earlier in life,
practised the profession of pirates somewhere down in
Cornwall, and still retained bloodthirsty instincts,
surrounded the culprit, threatening to keel-haul the
landlubber.; then with lusty lungs poured this chorus
into his astonished ears :
" Don't say you're orphan, for we know that game."
The unabashed Limerick merchant calmly replied,
" But, my good friends, unfortunately I am an orphan ;
surely you would not hold me responsible for my
parents' decease."
As soon as the murmur of disgust had died away,
the irrepressible jester continued : "I am truly sorry
to find that my Savoy friends are so utterly lacking in
a sense of humour as to be oblivious to the innocence
of my joke. At the same time I am conscious that my
little poem may have appeared to some as ill-timed
and not, perhaps, in the best of taste. I therefore
' beg to offer an unqualified apology.' "
Pooh Bah, who was standing by, to his manifold
offices now added that of peacemaker. Stepping for-
ward, he muttered, in his own distinct way, " I desire
to associate myself with that expression of regret."
" I apologize, ladies and gentlemen," continued the
poetasting guest, " on two conditions "
" Name them," shouted the pirates in unison.
''Firstly, that you will not megaphone my Lime*
344 GILBERT AND SULLIVAN
rick to Mr. Gilbert's launch. Secondly, that yon
swear never to divulge the name of the author/ 9
" We swear/' cried the pirates.
Thus peace was restored. But one young lady of
weak nerves had been so upset by the tmeute that she
fell into Pooh Bah's broad arms, saying, "Oh, Mr.
Barrington, I do feel so unwell/ 9
At that some wag in the bows of the boat (it sounded
like George Grossmith's voice), propounded this riddle :
"What is the difference between Miss X and
my cheroot ? " Nobody gave it up ; the answer was
too patent to all. With one voice came the reply
" One is a woman ill, the other is a man Mer."
Now I come to think of it, it could not have been
Grossmith, seeing that G. G. never smoked Manillas.
Fortunately, the undisciplined interlude, which I have
endeavoured to describe as faithfully as possible, had
not been witnessed by Mr. D'Oyly Carte. Our worthy
commander-in-chief had been on the bridge assisting
the captain to lay the ship's course.
Anon from our author's launch came floating across
the water music not always so harmonious as it might
be. At the sound of it Sullivan yelled out, " Key,
Gilbert, key!" The response came: " Which quay
d'you mean ? Where do you want us to land ? "
Meanwhile Commodore Carte would sit sedately in
his deck-chair puffing away at his Corona-Corona,
probably reflecting what a pity it was that such spark-
ling wit should be wasted on the desert air of Thames
Valley when it might be turned to more profitable
account at the Savoy.
AL FRESCO CONCERT 245
Our place of rendezvous for luncheon was at Penton
Hook. Mooring our ships off the shore, we landed on a
riverside meadow, and there proceeded to lay the cloth.
Speeches were strictly prohibited, but, needless to
say, with the discussion of chicken and ham there was
much debate, accompanied by a considerable amount of
playful heckling.
After lunch those who were capable engaged in a
game of rounders, or kiss-in-the-ring. And then, whilst
Gilbert, Sullivan, and D'Oyly Carte went birds' -nesting,
or searching around in hope of finding ideas for a new
opera, the general company squatted on the bankside,
and, following the principle of the busman's holiday,
opened a concert performance of selections from the
vocal scores of the Savoy operas.
Frank Cellier having purposely, and with wisdom
aforethought, left his b&ton at the theatre, deputed
Grossmith or Barrington in turn to take his place as
musical director, a duty which they carried out, as
Cellier admitted, very creditably to themselves, if not
always to the clear understanding of the singers.
At the first sound of the Savoyards' chorus every
skiff and punt on the river within hail hastened full
speed to the spot. No S.O.S. message of the present
day was ever more promptly responded to. In a few
minutes we found ourselves blockaded by a vast fleet
of pleasure craft. The enthusiasm of the scene, the
cheers and applause, reminded us somewhat of a first
night at the Savoy, only that the charm of Sullivan's
music was now enhanced by the environment of
natural scenery and effects.
246 GILBERT AND SULLIVAN
If we had yielded to every encore we should not have
reached our homes till long past the witching hour of
midnight. At this present distance of time I find it
beyond my ability to review those historic scenes of
revelry with the accuracy and graphic power of a
special correspondent.
Such samples of Savoyard holiday humour as I have
endeavoured to offer may not appear quite convincing,
nor were they calculated to set the Thames afire ; yet,
be it hoped, the reader may be enabled by this snap-
shot to enter into the spirit of the scene, and to picture
the excursions and alarums of the Savoyards in the
glad days of their brotherhood.
Another custom adopted by the Savoy company as
a means of maintaining social esprit de corps was the
periodical holding of " family " dinner or supper parties.
These reunions were generally arranged for the specific
purpose of celebrating the successful run of an opera
or any other notable event connected with Savoy
history. The feasts were distinctly unofficial and in-
formal to a degree. In fact, the proud, precise Savoyards
unbent for the nonce, and transformed themselves into
Bohemians of the most frivolous and irresponsible type.
" Gagging' ' was not only legalized but encouraged
on these occasions; but the general conversational
dialogue smacked of the Gilbertian. Such was its
infection.
The dinner or supper was confined to members of the
Company, and a few favoured attaches and camp-
followers of the Savoy who were invited as guests.
Principals and chorus, ladies and gents, foregathered
FESTIVE GATHERINGS 247
on equal footing, and contributed songs and recita-
tions to the post-prandial entertainment. Oppor-
tunity was thus afforded the humblest and most
modest chorister to display his or her shining talent
which, on the stage, had been kept under a bushel,
latent and undreamed of.
But, naturally, the life and soul of these festive
gatherings were the chief Savoy jesters, Grossmith
and Barrington. These vied with each other in en-
livening our sing-song. They invariably imported
samples of ware from elsewhere than the shop in which
they served. Often such goods were of their own
manufacture. Sometimes it was a topical song ; some-
times a humorous recitation fitted to the occasion.
By way of sample of the home-made articles introduced
I venture to quote some lines, a printed copy of which
I recently unearthed when overhauling my collection
of Savoy Souvenirs. These lines, penned in " acrostic "
form, were spoken by Rutland Barrington on the
occasion of a supper held at the Covent Garden
Hotel on March 13th, 1887 (Queen Victoria's golden
jubilee year), when the opera "Ruddigore" was run-
ning its successful course at the Savoy.
The acrostic was as follows :
41 Q ood friends, since, by remorseless witch's curse,
I must this evening perpetrate some crime,
L ike base Sir Despard, only far, far worse,
B ehold me hear me, revelling in rhyme :
E 'en I, the semblance of that bold, bad Bart,
B evolt at pointing my poetic dart
T 'wards Gilbert, Sullivan, and D'Oyly Carte.
248 GILBERT AND SULLIVAN
" ould Gilbert write and Sullivan compose
A song of Jubilee for the Savoy,
B ight merrily we'd sing it tho' Heav'n knows
T here's far more Jubilee, just now, than joy
B 'en fifty golden years have some alloy.
" 8 uch song remains unwrit, so let's, instead,
U nited sing, ' Long life to Ruddigore ! '
L ong life to those whose wits are wisely wed ;
L ong life, Sir Arthur, Gilbert, Carte, Lenoir !
I *m glad to see our ladies here to-night ;
V ain without them, with them is true delight.
A nd now my crime is done forgive my verse,
N o fault of mine, but of the witch's curse."
C. B.
CHAPTER VIII
of revivals " H.M.S. Pinafore " Geraldine Ulmar J. G.
Robinson Rosina Brandram's Little Buttercup A Bermuda
bumboat woman Sydney Smith Dickens Dinah's Tea-party
" The Pirates of Penzance " " The Mikado "Rutland Barring-
ton's secession Barrington opens St. James's Theatre Success
of Savoy revivals.
On November 5th (an appropriate date, by the way,
remembering that it was the anniversary of an event
which terminated the career of another " wicked
ancestor/' whose name was not Murgatroyd, but Guy
Fawkes) "Ruddigore" came to an end. For nearly
a year following the Savoy stage was occupied by a
series of revivals.
On November 12th, 1887, "H.M.S. Pinafore" was
recommissioned with the following crew:
Sir Joseph Porter,
Captain Corcoran
Ralph Rackstraw
Dick Deadeye
BiU Bobstay
Bob Beckett
Josephine .
Hebe
Little Buttercup
K.C.B. . Mr. George Grossmith l
Mr. Rutland Barrington *
Mr. J. G. Robertson
Mr. Richard Temple *
Mr. R. Cummings
. Mr. Rudolph Lewis
Miss Geraldine Ulmar
Miss Jessie Bond *
Miss Rosina Brandram
1 Original characters.
249
250 GILBERT AND SULLIVAN
was the occasion of the first appearance at the
Savoy of Miss Geraldine Ulmar, a singer and actress
destined to become one of the favourite prima donnas
of the Gilbert and Sullivan operas.
Another recruit to the Savoyard ranks was Mr. J. G.
Robertson, who succeeded George Power as principal
tenor, and scored success as "Ralph Rackstraw."
Mr. Robertson was, if I remember rightly, a brother
of Mrs. Kendal. Touching Rosina Brandram's Little
Buttercup, if ever such a winsome and sweet- voiced
bumboat-woman boarded Her Majesty's ships at
Spithead in Victorian days, she must have taken
captive the whole crew and driven a roaring trade
" In tea and in coffee,
In treacle and toffee
And excellent peppermint-drops."
It required no Gilbertian stretch of imagination to
make a post-captain fall desperately in love with such
" a plump and pleasing person."
It may not sound complimentary to the memory
of the famous Savoy contralto if I confess that
Miss Brandram's delightful Little Buttercup often
reminded me of another fascinating bumboat-woman
I had previously met in real life. It was at Bermuda
in the early sixties, when I was a midshipman in the
Royal Navy. The lady (a coloured one, by the way),
who purveyed "tuck" on board H.M.S. Orlando,
was of such a sweet, amiable disposition, and, withal,
such an amusing raconteuse, that every gun-room
officer in the British fleet fell a victim to her wiles.
A BERMUDA BUMBOAT-WOMAN 251
But the middy upon whom Mrs. Dinah Browne be-
stowed particular favour was young Sydney Smith
Dickens, youngest son of the only Charles Dickens.
" Little expectations/' as we nick-named him (k propos
his father's story " Great Expectations/' which had
just about that time been published), gained the good
woman's affections chiefly by his prodigious purchases
of the luxuries she purveyed, such as guava jelly,
rahat-lakoum, bananas, boot-laces, etc. In return for
his patronage and custom, Dinah invited " Massa
Dicksie" to take tea with her on shore, and I, be-
ing the lad's particular chum, was included in the
invitation.
Accordingly, one afternoon to Madame Browne's
private residence we repaired.
Dinah's boudoir was a clean and cosy corner in a
somewhat primitive cabin home. It was neatly fur-
nished with articles which had been salved from wrecks
on the neighbouring coast a conspicuous object being
that which had once been a cottage pianoforte. The
walls were adorned with a large number of photos
(we called them cartes de visile in those days) of young
naval officers, all below the rank of lieutenant. After
tea our hostess entertained us with humorous anec-
dotes real genuine midshipman's tales and yielding
to our persuasion sang to us some charming coon-songs
in a rich, deep, but rudely cultured contralto voice.
Thence it may be understood how " Little Butter-
cup" of the Savoy often recalled to my mind the
amiable and " gifted " Bumboat-woman of Bermuda.
" H.M.S. Pinafore " enjoyed another prosperous run
2$2
GILBERT AND SULLIVAN
before a favouring breeze one hundred and twenty
performances, just about the number of her guns,
assuming she was a three-decker of the Victory type.
On March 17th, 1888, " The Pirates of Penzance "
made their reappearance, impersonated as follows:
Major- General Stanley
Pirate King
Samuel
Frederic
Sergeant of Police
Mabel
Edith
Kate
Isabel
Ruth
Mr. George Grossmtth *
Mr. Richard Temple l
Mr. R. Cummings
Mr. J. G. Robertson
Mr. Rutland Barrington *
Miss Geraldinb Ulmar
Miss Jessie Bond
Miss Kavanagh
Miss Lawrence
Miss Rosina Brandram
" The Pirates " ran eighty nights, and on June 7th,
1888, " The Mikado " was revived for the first time
with the following dramatis personae.
The Mikado
. Mr. Richard Temple
Nanlti Poo
. Mr. J. G. Robertson
Koko
Mr. George Grossmith *
Pooh Bah
Mr. Rutland Barrington *
Pishi Tush
Mr. R. Cummings
Yum Yum
Miss Geraldine Ulmar
Pitti Sing
Miss Jessie Bond
Peep Bo
Miss Sybil Grey
Katisha .
Miss Rosina Brandram
After a run of 116 performances, "The Mikado"
was again withdrawn on September 29th, 1888.
At the close of "The Mikado's" second campaign
Characters.
BARRINGTON LEAVES SAVOY 253
Rutland Barrington terminated his engagement at
the Savoy.
For just ten years the popular comedian had faith-
fully served under the D'Oyly Carte management.
Many were the parts he had created ; rich were the
honours he had scored. But the time had now arrived
when the actor sought new opportunities for satisfying
his professional aspirations.
Barrington had been persuaded to try his hand at
the attractive but risky reins of theatrical management.
Backed by a friendly financier, and encouraged by the
hearty good wishes of his Savoy colleagues and a host
of admirers, he took the St. James's Theatre and in-
augurated his management with the production of a new
comedy called ' ' The Dean' s Daughter.' ' This, proving a
failure, was followed by a play written expressly for him
by Mr. W. S. Gilbert. Through the author's recom-
mendation, Miss Julia Neilson was engaged for the
principal part in " Brantinghame Hall," as the piece
was called. This was the d6but in London of Miss
Neilson, who to-day, needless to relate, is numbered
amongst the most gifted and distinguished of English
actresses. Of the evil fortune which befel Rutland
Barrington' s venture, and the causes which led to his
failure, particulars may be gathered from the pages of
the actor's autobiography published a few years ago.
Barrington' s loss was the Savoy's gain, for it was
not very long before Pooh Bah, the popular, returned
to the scenes of his former triumphs. Among the
multitude of his friends and sympathizing acquaint-
ances, no one felt more sorry for Barrington' s bad luck
254 GILBERT AND SULLIVAN
at the St James's Theatre, no one was more pleased
to welcome him back to the Savoy, than the writer of
these present reminiscences, who for some years had
been his constant associate.
The policy of revivals was more than fully justified
by the results. " H.M.S. Pinafore/' " The Pirates of
Penzance," and " The Mikado " had each, in turn,
proved that it was not dead, but had simply been in-
dulged with well-earned rest. Moreover, the interval
occupied by the reproduction of these pieces allowed
Gilbert and Sullivan leisure to turn their attention to
the preparation of a new opera. It was an opportunity
of which the author and composer did not fail to avail
themselves to the full. And the issue was "The
Yeomen of the Guard."
CHAPTER IX
49 The Yeomen of the Guard " Gilbert curbs his Pegasus Gilbert and
Sullivan's masterpiece Sullivan's favourite opera The lyrics
Scene between Phoebe, Meryll, and Wilfred Shadbolt The two
Savoy Jessies Sullivan's puzzle in setting " I have a song to sing,
O " Triumph of musical construction Peppermint Bulls'-Eyes
at stage rehearsal Tales of two Jessies.
On Wednesday, October 3rd, 1888, London was pre-
sented with Number Nine of the series of Gilbert and
Sullivan's operas. The title was:
" THE YEOMEN OF THE GUARD, OR THE MERRYMAN
AND HIS MAID"
Dramatis Personae
Sir Richard Cholmondeley . Mr. Wallace Bbownlow
(Lieutenant of the Tower)
Colonel Fairfax . Mr. Courtice Pounds
(Under sentence of death)
Sergeant Meryll. . Mr. Richard Temple
(Of the Yeomen of the Guard)
Leonard Meryll . . Mr. W. R. Shirley
(His Son)
Jack Point . . Mr. George Grossmith
(A Strolling Jester)
Wilfred Shadbolt . Mr. W. H. Denny
(Head Jailer and Assistant Tormentor)
The Headsman Mr. Richards
First Yeoman Mr. Wilbraham
*55
256 GILBERT AND SULLIVAN
Second Yeoman .... Mil Medcalf
Third Yeoman Mr. Merton
Fourth Yeoman Mr. Rudolf Lewis
Firet Citizen Mr. Redmond
Second Citizen Mr. Boyd
Elsie Maynard . . Miss Geraldine Ulmar
(A Strolling Singer)
Phoebe Meryll .... Miss Jessie Bond
(Sergeant Meryll 1 $ Daughter)
Dame Camithers . Miss Rosina Brandram
(Housekeeper to the Tower)
Kate Miss Rose Hervey
(Her Niece)
Chorus of Yeomen of the Guard, Gentlemen, Citizens, etc.
The opera produced under the personal direction of
the Author and Composer.
Act I. Tower Green.
Act II. The Tower from the Wharf.
Date. iGth Century
Musical Director . . Mr. Francois Ceixier
Stage Manager .... Mr. W. H. Seymour
The Scenery painted by Mr. Hawes Craven (by permis-
sion of Sir Henry Irving). The Dresses designed by Mr.
Percy Anderson and executed by Miss Fisher, Madame
L6on, and Mr. B. J. Simmons. Wigs by Clarkson. The
Dances arranged by Mr. John D'Auban. Stage Machinist,
Mr. P. White. Electrician, Mr. Lyons.
Play-goers and music-lovers were once again on the
tenter-hooks of pleasurable anticipation. The three
recent revivals had put a keen edge on their appetites.
Expectation was quickened by the rumour that the
new piece was to be of a different pattern from any oi
"YEOMEN OF THE GUARD" 257
the preceding Savoy productions. And such it proved
to be. The collaborators had broken entirely fresh
ground. " The Yeomen " marked a very distinct
departure. It seemed to indicate that Gilbert had, at
last, determined upon breaking in his fiery, untamed
steed. The poet had bridled and brought Pegasus
down from the Helicon of unrealities to the plains of
earth. Henceforth at any rate for a while he would
canter gently on terra firma without appalling the senses
of ordinary mortals. But the spoilt pet of Gilbert's
muse chafed beneath the curb. Every now and then
he seemed disposed to show the cloven hoof. Pegasus
was unwilling to remain in this dull, unpoetic sphere
of ours.
But Gilbert had come to realize that his best friends
wanted to see and hear more of him and from a different
aspect. They had been fondly hoping that some day
the gifted Savoyard would hold the mirror up to
nature ; not one of those terrible concave or convex
quick-silver* d libellers that distort the forms of the
noblest of men and the features of the fairest of women,
but a perfect plate-glass, bevelled-edged mirror that
should reflect people and things as they really are.
Our author had learnt what was looked for, and ex-
pected of him ; and now the Savoyard chieftains had
set their united wits at work to give us an opera of
more rational, less fantastic quality than any they had
yet produced. It was an experiment ; happily, a most
successful experiment.
If a Referendum were taken, or if judgment may be
safely based on the aggregate number of consecutive
*7
258 GILBERT AND SULLIVAN
performances, then " The Mikado " would very likely
be returned as first favourite of all the Savoy operas.
In the popular " Ring " the Japanese play undoubtedly
remains favourite to the present day. Still, it can
hardly be questioned that, as a work of pure dramatic
and musical art, " The Yeomen of the Guard " is
Gilbert and Sullivan's chef d'ceuvre. By a select
number of the cognoscenti it has been pronounced the
best English light opera ever given to the stage. In
the early days of its production it was universally pre-
dicted that " The Yeomen " would be living long after
the more frivolous pieces of the Savoy repertoire were
forgotten. But there were few even among the most
devoted partisans of the Savoy who, five-and-twenty
years ago, would have dreamed that in the year 1914*
the Gilbert and Sullivan operas, with only one or two
exceptions, would be living and delighting the people
as greatly as they did in their pristine days.
" Ivanhoe," the romantic opera with which D'Oyly
Carte opened his palatial English Opera-house (now
the Palace Theatre), was of a loftier and more ambitious
type of lyric work. If it may not strictly be classified
as Grand Opera, it was generally spoken of and criti-
cized as such. But "The Yeomen of the Guard"
remained Sullivan's favourite of all his offsprings given
to the stage. Its composition yielded him more
genuine pleasure than he Had found in any opera of
the topsy-turvy type. In the story of " The Merry-
man and his Maid" the author strikes deeper into the
mine of human sympathy ; his plot is invested with
pure pathos ; his characters are not only witty, bat
"JACK POINT" 259
wise ; they are humorous without being obtrusively
paradoxical. Many of them might have walked out of
Macaula/s " History of England," or one of those stir-
ring romance* by Ainsworth or G. P. R. James which
thrilled us in our school-days. In Gilbert's story of
the "Tower of London" we seem to identify some
individuals we have met before. At any rate, we are
ready to believe they have all existed in the past.
So deftly has the librettist done his work that the
lyrics, apart from the accompanying dialogue, might
suffice to tell the story of the brave soldier condemned
to die by the headsman's axe. They describe the
prisoner's rescue from the block through the aid of a
warm-hearted woman, a simple maiden who contrives
to outwit the zealous warders of the Tower, and to
checkmate even the head jailer and assistant tormentor,
whose playthings are racks, pincers, and thumbscrews.
In plaintive verse Gilbert relates the sadder incident of
the luckless jester, poor Jack Point, whose antiquated
quips may we call them ambrosial chestnuts?
and merry patter-songs are mingled with " sighs for
the love of a ladye." The unhappy fool's heart is
breaking for a maiden who, by the unwitting act of
saving the life, and becoming the bride, of a noble
soldier, drives to despair and death the faithful com-
panion of her past adversity. It is only necessary to
glance through the book of the words to find the story
of " The Yeomen of the Guard " clearly and concisely
outlined in the songs and concerted numbers. This
is what a musical play should be, but seldom is. None
but a master playwright could have prepared such a
a6o GILBERT AND SULLIVAN
book, and assuredly " The Yeomen of the Guard " is
Sir William Gilbert's masterpiece of libretti.
What delightful lyrics! Not a rhyme without
reason ! Not a love-song without a touch of poetry in
it ! Not a chorus without strong dramatic significance !
What cause, then, to marvel at Sullivan's gratification
when he sat down to clothe with melody such charming
stanzas ? Seldom has a composer been favoured with
words so music-compelling. Take, for instance, the two
Tenor Ballads, " Is life a boon ? " in the first act, and
in the second act, " Free from his fetters grim." I
cannot resist the temptation to quote both these
admirable lyrics. Not only may they serve to illu-
minate these pages, but I feel sure every reader who
has ever heard them sung will welcome them here as
the means of reawakening memories of their exquisite
musical refrains.
It will be remembered how Colonel Fairfax, having
been condemned to death, is being conducted under
guard to his dungeon in the Tower. On the way he is
permitted to halt and greet his old friend and comrade
Sergeant Meryll, who is striving to comfort his weeping
daughter Phoebe. Let me recall the speech that pre-
cedes the song. Thus :
Phoebe. (Aside to Meryll.) Oh, father, father, I
cannot btar it 1
Mer. My poor lass !
Fair. Nay, pretty one, why weepest thou ? Come,
be comforted. Such a life as mine is not worth weeping
for. (Sees Meryll.) Sergeant Meryll, is it not ? (To
Lieut.). May I greet toy old friend ? (Shakes Meryix's
A LYRIC GEM 261
hand). Why, man, what's all this ? Thou and I have #
faced the grim old king a dozen times, and never has
his majesty come to me in such goodly fashion. Keep
a stout heart, good fellow we are soldiers and we know '
how to die, thou and I. Take my word for it, it is
easier to die well than to live well for, in sooth, I have
tried both.
Ballad. Fairfax
" Is life a boon ?
If so, it must befal
That Death, whene'er he call,
Must call too soon.
Though fourscore years he give,
Yet one would pray to live
Another moon !
What kind of plaint have I,
Who perish in July ?
I might have had to die.
Perchance, in June !
" Is life a thorn ?
Then count it not a whit !
Man is well done with it ;
Soon as he's born,
He should all means essay
To put the plague away ;
And I, war-worn,
Poor captured fugitive,
My life most gladly give
I might have had to live
Another morn ! "
The second song occurs when Colonel Fairfax finds
himself free from his dungeon, but bound by conjugal
ties to which, for the purpose of the plot, he has been
compelled to submit.
262 GILBERT AND SULLIVAN
Col. Fairfax. So I am free! Free, but for the cursed
haste with which I hurried headlong into the bonds
of matrimony with Heaven knows whom ! As far
as I remember, she should have been young ; but
even had not her face been concealed by her kerchief,
I doubt whether in my then plight I should have taken
much note of her. Free ? Bah ! The Tower bonds were
but a thread of silk compared with these conjugal
fetters which I, fool that I was, placed upon mine own
hands ! From the one I broke readily enough how
to break the other t
Song. Fairfax
" Free from his fetters grim
Free to depart ;
Free both in life and limb
In all but heart !
Bound to an unknown bride
For good and ill ;
Ah, is not one so tied
A prisoner still ?
" Free, yet in fetters held
Till his last hour.
Gyves that no smith can weld,
No rust devour J
Although a monarch's hand
Had set him free,
Of all the captive band
The saddest he ! "
From a casket full of such rich gems it is not easy to
select one more lustrous than another. But as a
sample of exquisite coquetry, as an illustration of the
wiles of a saucy maiden humouring, to his destruction,
the attentions of a repulsive wooer, let me commend
A COMEDY SCENE 263
that delightful comedy scene between Phoebe Meryll
and Wilfred Shadbolt, the baboonish jailer. Phoebe,
in order to secure the keys of the cell in which Colonel
Fairfax is imprisoned, proceeds to captivate her
loathsome lover with the make-believe of reciprocated
affection.
(Phoebe has slyly taken bunch of keys from
Wilfred's waistband and hands them to
Sergeant Meryll, who enters the Tower ,
unnoticed by Wilfred).
Wilfred. Ha ! ha t I am a mad wag.
Phoebe. (With a grimace.) Thou art a most light-
hearted and delightful companion, Master Wilfred.
Thine anecdotes of the torture-chamber are the prettiest
hearing.
Wilfred. I'm a pleasant fellow an' I choose. I
believe I am the merriest dog that barks. Ah, we
might be passing happy together.
Phoebe. Perhaps. I do not know.
Wilfred. For thou wouldst make a most tender
and loving wife.
Phoebe. Aye, to one whom I really loved. For
there is a wealth of love within this little heart saving
up for I wonder whom ? Now, of all the world of men,
I wonder whom ? To think that he whom I am to wed
is now alive and somewhere ! Perhaps far away, per-
haps close at hand ! And I know him not t It seemeth
that I am wasting time in not knowing him.
Wilfred. Now say that it is I nay I suppose it
for the nonce. Say that we are wed suppose it only
say that thou art my very bride, and I thy cheery,
joyous, bright, frolicsome husband and that, the
day's work being done, and the prisoners stored away
264 GILBERT AND SULLIVAN
for the night, thou and I are alone together with a
long, long evening before us !
Phoebe. (With a grimace.) It is a pretty picture
but I scarcely know. It cometh so unexpectedly-
and yet and yet were I thy bride
Wilfred. Aye I wert thou my bride ?
Phoebe. Oh, how I would love thee !
Ballad. Phoebe
" Were I thy bride.
Then the whole world beside
Were not too wide
To hold my wealth of love
Were I thy bride !
" Upon thy breast
My loving head would rest,
As on her nest
The tender turtle-dove
Were I thy bride !
" This heart of mine
Would be one heart with thine,
And in that shrine
Our happiness would dwell
Were^I thy bride !
" And all day long
Our lives should be a song :
No grief, no wrong
Should make my heart rebel
Were I thy bride !
" The silvery flute,
The melancholy lute,
Were night-owl's hoot
To my love-whispered
Were I thy bride !
it
WERE I THY BRIDE!" 265
" The skylark's trill
Were but discordance shrill
To the soft thrill
Of wooing as I'd woo
Were I thy bride !
f
(Mekyll re-enters ; gives keys to Phoebe, who
replaces them at Wilfred's girdle, un-
noticed by him.)
" The rose's sigh
Were as a carrion's cry
To lullaby
Such as I'd sing to thee,
Were I thy bride !
" A feather's press
Were leaden heaviness
To my caress ;
But then, of course, you see,
I'm not thy bride ! "
(Exit Phoebe.)
Wilfred. No, thou'rt not not yet! But, Lord,
how she woo'd ! I should be no mean judge of wooing,
seeing that I have been more hotly woo'd than most
men. I have been woo'd by maid, widow, and wife.
I have been woo'd boldly, timidly, tearfully, shyly
by direct assault, by suggestion, by implication, by
inference, and by innuendo. But this wooing is not
of the common order ; it is the wooing of one who
must needs woo me, if she die for it !
(Exit Wilfred.)
Who that witnessed this scene as originally played
by Mr. W. H. Denny and Miss Jessie Bond can ever
forget the effect it had upon the audience ? Once again
\
266 GILBERT AND SULLIVAN
the fascinating little Savoy soubrette displayed admir-
able skill as a comedy actress. Nothing could be more
coquettish, more artistically artful than the manner in
which the cunning Phoebe wheedled and deceived the
unsuspecting Cerberus. This is altogether one of the
most amusing scenes in the opera, and never fails to
meet with rapturous applause.
During the last revival of " The Yeomen of the
Guard" at the Savoy the part of Phoebe was sustained
by Miss Jessie Rose so charmingly that not only old
Savoyards but Sir William Gilbert himself declared the
second Jessie to be in every respect a worthy successor
to Jessie the First as Queen of Savoy Soubrettes.
Sir Arthur Sullivan used to confess that the most
puzzling musical problem that he was ever called upon
to solve was the setting of the duet between Jack
Point and Elsie Maynard. The lyric which holds the
keynote of the sad story of " The Merryman and his
Maid 91 Gilbert had constructed on the model of the
nursery rhyme, " The House that Jack Built." The
stanza, " I have a song to sing, O " comprises four
verses ; to each succeeding verse two lines are added.
Thus, while the first verse is of seven lines only, the last
verse is extended to thirteen lines. It will be admitted
that, as a rule, the composer of an ordinary drawing-
room ballad finds an insuperable difficulty in setting
it if the verses are not minutely alike in metre and
number of lines ; he requires that each verse shall
contain the same precise quantity of dactyls and
spondees in the same strict sequence, otherwise his
muse will not awake to the occasion. This being so.
SULLIVAN'S SONG-PUZZLE 267
will any one be surprised to learn that it took Sullivan
a full fortnight to set to music Gilbert's very out-of-the-
common lyric ? It kept poor Sir Arthur awake at night,
and, when a friend called and found him in a semi-
demented state, he would moan out in melancholy
tone, " My dear fellow, I have a song to set 0, and I
don't know how the dickens I'm going to do it ? "
However, as we all know, Sullivan accomplished it at
last, if not to his own entire satisfaction, to the wonder
and delight of everybody else. Musicians alone can
appreciate the intricacy of his task, and the masterly
way in which he fulfilled it, especially as regards the
elaborate and diversified orchestration with its pathetic
drone pervading it throughout.
" I have a song to sing, O," may not be considered by
every one the gem of the opera, but that it is a trjumph
of musical construction all will admit. Moreover, it
is the song that is first quoted whenever " The Yeomen
of the Guard" is mentioned.
Over the contemplation of this delightful opera
one would gladly linger beyond the allotted time and
space. But already it may be thought that I have
wandered beyond the domain of happy reminiscences
into the more prosaic field of dry, critical Review. And
so, lest we depart yet further from the purpose of the
present volume, let me bring this chapter to a close
with an anecdote which " The Yeomen of the Guard "
recalls to mind.
It was timorously whispered into my ears by Miss
Jessie Rose. The young lady hesitated before be*
ginning the story ; she feared that her gossip might
268 GILBERT AND SULLIVAN
be calculated to " give Sir Arthur Sullivan away/' but
I assured her that, if the tale was a good one against
himself, Sullivan was certain to have repeated it.
In like assurance I hazard its publication here.
One day, during the rehearsal of " The Yeomen of
the Guard " for its first revival at the Savoy, Francois
Cellier, who was coaching the chorus, noticed that some
of the ladies were not singing out with their usual
power and clear accent. On his reproving them for
what he conceived to be slackness and inattention, his
lecture was received with subdued laughter. Feeling
annoyed, the musical director approached Miss Jessie
Rose, whom he imagined to be the ring-leader, and
asked for an explanation of this revolt, saying he
could not put up with such breach of discipline. Miss
Rose, trying to assume a serious countenance, spluttered
forth, " Well, Mr. Cellier you must forgive us ; it is
quite impossible to sing with our mouths full/ 1 Sul-
livan, then coming to Cellier's side, said, " Don't scold
the ladies, Francois it's all my fault ! Miss Rose is
quite right ; nobody can sing with a mouth full/ 1
Then, taking from his overcoat pocket a box of May-
nard's famous peppermint bulls' -eyes, he extended
it to Cellier, saying, " You try ! accept one of these
Elsie Maynards" Francis, smiling, placed the sweet-
meat in his mouth and muttered, " I think the best
thing we can do is to take a few bars' rest for refresh-
ment."
During the pause Jessie Rose, who, added to her
other accomplishments, possessed poetic fancy, scribbled
on the fly-leaf of her score the following lines :
<
TALES OF TWO JESSIES 269
How doth the bulTs-eyed peppermint
Delight the singer's throat I
It gives a charming mezzo-tint
To sweet soprano note."
This poem falling into Sir Arthur's hands, he re-
marked that, if it were not for fear of making Sir
William jealous, he might set the words to music.
11 Oh please please, Sir Arthur don't do that/'
pleaded the poetess, all the time thinking to herself
" If only he would ! "
It must be added that such frivolous interludes were
very exceptional at the Savoy rehearsals, where, as we
have before mentioned, strict attention to business
was the general rule. This fact may be emphasized
by repeating something told me by that other popular
Savoy soubrette " Jessie the First," as we have called
her. Miss Jessie Bond has assured me that the only
time she can remember ever seeing Sir Arthur Sullivan
cross was when she sang a crotchet instead of a quaver.
Both the above items of tittle-tattle relating to the
loved and respected maestro help to illustrate alike
the generous nature and the amiability of Sir Arthur
Sullivan.
CHAPTER X
The value of contrast studied by the Three Savoyards Gilbert as true
portrait-painter and as caricaturist The author's pet hobby-
Gilbert resumes rdle of Jester Collaborators mentally transport
themselves from the Tower of London to the sunny south Gilbert
discovers characters for Venetian opera Introduces them to
Sullivan Gondolieri and Contadine The plot outlined Original
cast of " The Gondoliers " George Grossmith's name missing
from Savoy bills for the first time Return of Rutland Barrington
Enthusiastic reception of " The Gondoliers "Sullivan's difficult
task in composing " The Gondoliers " Press notices A captious
critic Evidence of " Gondoliers' " success Visits of Royalty to
the Savoy Queen Victoria's Command Performance at Windsor
Castle Chappell & Co.'s first issue of " Gondoliers " score, etc.
Sullivan tells how he unconsciously annoyed sensitive member of
audience.
A skilful chef will arrange his m6nu from day to day
with studious care to gratify his patrons' taste for
variety. In like manner did our Three Savoyards, in
the preparation of each succeeding programme, show
their regard for the value of contrast For example :
had " The Yeomen of the Guard " followed immediately
on the heels of " Ruddigore," so serious a play might
not have proved as acceptable as it did after a richauffi
of lighter pieces had whetted the public appetite for
more substantial fare.
But on no occasion that I can recall was contrast
more evident or more agreeable than when we were
given " The Gondoliers.' '
S70
PORTRAITS AND CARICATURES 271
In "The Yeomen" the author had touched the
deepest chords of human sympathy. The story of
" The Merryman and his Maid " was rich in genuine
pathos relieved by wit and humour of that pure kind
which is without the sting of satire, void of that caustic
ridicule from which it had been imagined no Gilbertian
libretto could ever be free. In his latest opera Gilbert
had shown how he could paint true portraits of people
as cleverly as he could sketch caricatures. The Savoy
author had proved how, from behind the grinning
mask of his own eccentric comedy, he could behold and
study men and women as they actually live and move
and have their being. He could see and read and
depict their characteristics as faithfully as any ordinary
dramatist or poet. But Gilbert 9 s pet hobby was shooting
with his own patent catapult at folly as it flies. Just
for a while he seemed to have wearied of losing himself
in the clouds. He had ceased to gaze down from
giddy heights, and no longer indulged in the practical
joke of showering grains of mustard and pepper upon
the pigmy people who swarmed like ants beneath him.
He had become content for a day to seek among
ordinary mortals for characters whom the least imagina-
tive play-goer could identify as true types of humanity.
Around than he would weave a plot and story per-
fectly consistent with the realities of life. And so, as
we have seen, he gave us his masterpiece of opera-
libretti " The Yeomen of the Guard/ 1
But now, after a year spent beneath the grey, grim
walls of the Tower of London, Gilbert, with his ever
willing colleagues Sullivan and Carte, determined to
272 GILBERT AND SULLIVAN
transport us away from scenes of gloom and grief to
realms of sunshine and mirth. Ah ! thought all
Savoyards, " What a delightful, exhilarating change
it will be ! "
Sullivan, well used to the varying moods and vagaries
of his gifted friend, waits ready with his lyre to accom-
pany him once more into the regions of Topsy-turvy-
dom. The composer has simply to change his key from
the minor, which had been in keeping with the sad
story of unhappy Jack Point, to the major key, which
shall better befit the songs of the Sunny South whither
the co-labourers are bound.
Away they hie together, Gilbert with his wallet
bulging with brilliant ideas, Sullivan with his brain-
cells bubbling over with streams of melody- Away
they journey southwards until " To Venetia's shores
they come."
They have left far behind them in the chill North
those stern-visaged, medieval-looking Yeomen of the
Guard, the solemn warders of the Tower ; and now
they find themselves surrounded by cheery Venetians ;
gay and gallant gondolieri with smiling, sweet- voiced
contadine. Above them a clear cerulean sky ; beneath
them sparkling waters. Everywhere around them
brilliant colour, music, song, dance, laughter. What
a change ! with such environment how can the Savoy
humorists be other than light-hearted, not to say
exuberantly frolicsome ? How can they fail with such
material ready at hand to produce a play that shall
charm their friends at home with, a glimpse of Italian
glories ; an opera that shall set dull London once more
A VENETIAN STORY 273
singing and dancing to their merry tunes for many a
month to come ?
And now, in silvery Venice, Gilbert listens to a tale
concerning a kingdom called Barataria, whose throne
is vacant. He then chances across various quaint
characters that will just suit his " book." First, he
discovers the eccentric, impecunious Duke of Plaza-
Toro, a grandee of Spain who is in process of forming
himself into a Limited Liability Company. (" What
a part for Grossmith ! " thinks our author. " But
Grossmith has deserted us.")
His grace has just arrived in Venice with the Grand
Duchess and their charming daughter Casilda and
suite. The suite in attendance on the courtly party
consists of one individual, a handsome youth named
Luiz, who, naturally enough, has fallen desperately in
love with the pretty Casilda. Now (in his mind's eye),
Gilbert sees approaching Don Alhambra del Bolero,
the Grand Inquisitor.
" The very man I was looking for ! Why, bless my
lucky star, if this worthy person is not the very image
of Denny ! Capital ! we'll soon get our plot and
characters together."
To Sir Arthur Sullivan Mr. Gilbert then presents
all these distinguished personages and their suite.
The author has already secured an option on all the
shares in " The Duke of Plaza-Toro Co., Ltd."
Our ever-ready composer forthwith proceeds to
measure them all for music just as a court tailor in
Bond Street fits a Duke or an Earl with robes of rank.
One thing is quite certain, the Duke and Duchess of
18
274 GILBERT AND SULLIVAN
Plaza-Toro will be perfectly suited with appropriate
serio-comic numbers, and Sullivan has made up his
mind that the lovely Casilda shall have a delicious love-
duet with the handsome Luiz as soon as the " musical
suite" is permitted to cast aside that "delicately modu-
lated instrument " (the drum) of which he is said to be
a "past-master." Gilbert has whispered to Sullivan:
" You see, I intend that Luiz shall eventually turn
out to be the rightful heir to the throne of Barataria."
" Ah, splendid idea that ! so original ! " remarks
Sullivan sotto voce. I suppose you will want a coro-
nation march. " Eh ? Well perhaps but no I
think we will crown him off. But I'll tell you what we
must have, and that is a grand dance."
" Yes quite so ! say a cachucha ! and for how many ?
Oh, the full strength of the company, I should say."
Sir Arthur makes a note : " Cachucha omnes "
" And now," continues Gilbert, "we must select half
a dozen clever, good-looking gondoliers. One of them
must be a fine, rotund, sturdy fellow, a character that
would suit Rutland Barrington, don't you know ? "
"Ah yes that's important Barrington will be
rejoining us ; we must certainly find a good model for
Rutland. He must be a gondolier with a fine voice,
and know how to use it but not too much music,
please ! You won't forget Barrington "
" Yes yes, I know what you were going to say.
I've got my eyes on two handsome brothers, Giuseppe
and Mareo Palmieri, the pick and flower of all the
gondoliers just the very part for Courtice Pounds
and Rutland Barrington. Then, next item, half a
A TALE NOT FREE FROM DOUBT 275
dozen specially selected contadine must be pretty,
graceful, able to sing and dance the cachucha, fandango,
bolero, etc. Having secured all these as patterns
for our players, we will place them all together in our
united brain-pans, and, hey presto/ there we are
our dramatis personae are chosen, our plot is laid. It
may not be a very strong plot."
" Not as strong as ' The Yeomen's/ I imagine ? "
queried Sullivan.
" Well no perhaps not; but still, let's hope strong
and coherent enough for our Savoy friends. Then,
think of the colour i with all these picturesque costumes
and scenic accessories, what pegs on which you will
hang some of your daintiest musical morceaux, old
friend." (Sir William was always a sure prophet !)
" Yes," replied Sullivan, " I quite appreciate the
situation. You know how I revel in this glorious
atmosphere. The man who fails to find inspiration in
Venice or the Riviera is no artist. He may enjoy being
punted about in a gondola by moonlight ; he may be
devoted to these charming contadine ; but, I repeat,
he is no artist if he does not become inspired as you
and I must be."
This brief description of the manner in which the
plot and story of " The Gondoliers " was conceived
and worked out may, very likely, not be accepted by
everybody
*<
A talc quite free from every doubt,
All probable, possible shadow of doubt,
All possible doubt whatever."
276 GILBERT AND SULLIVAN
Well, supposing it is not absolutely authentic, is it not,
at least, easy to imagine how Gilbert and Sullivan may
have proceeded on something like the lines we have
ventured to suggest ? At any rate, " The Gondoliers,"
with the King of Barataria, the Duke and Duchess of
Plaza-Toro, their daughter, and suite, came to reign
conjointly at the Savoy, where London play-goers
hastened to become their faithful and devoted subjects.
Nobody will want to be told further details of
Gilbert's strange romance of " The Gondoliers." Pro-
bably to every reader of this book the bright little
opera has long been familiar. If not, they and their
children and their children's children will have many
an opportunity of making the acquaintance of the
cheery Venetians, if not at the Savoy, at some other
theatre of the British Empire, for, if I am not too
optimistic, " The Gondoliers " and every other of the
Gilbert and Sullivan repertoire will be running through
generations yet to come.
Here is the original cast of
THE GONDOLIERS, OR THE KING OF BARATARIA
As presented at the Savoy Theatre, London, on
Saturday, December 7th, 1889.
Dramatis Personae
The Duke of Plaza-Toro . Mr. Frank Wyatt
(A Grandee of Spain)
Luiz .... Mr. Wallace Brownlow
(His Attendant)
Don Alhambra Del Bolero . Mr. W. H. Denny
(The Grand Inquisitor)
"THE GONDOLIERS" 277
Marco Palmieri . . Mr. Courtice Pounds
Giuseppe Palmieri . Mr. Rutland Barrington
Antonio Mr. Metcalf
Francesco Mr. Rose
Georgio Mr. De Pledge
Annibale Mr. Wilbraham
(Venetian Gondolieri)
The Duchess of Plaza-Toro Miss Rosina Bran dram
Casilda Miss Decima Moore
(Her Daughter)
Gianetta .... Miss Geraldine Ulmar *
Tessa Miss Jessie Bond
Fiametta Miss Lawrence
Vittoria Miss Cole
Giulia Miss Phyllis
(Contadine)
Inez Miss Bernard
(The King's Foster-mother)
Chorus of Gondoliers and Contadine, Men-at-Arms, Heralds,
and Pages
Act I. The Piaxzetta, Venice
Act II. Pavilion in the Palace of Barataria
The Dresses designed by Mr. Percy Anderson and
executed by Monsieur Alias, Madame Lon, and Messrs.
B. J. Simmons & Co. The Dances arranged by Mr. W.
Warde.
Conductor . . . Mr. Francois Cellier
Special interest was attached to the production of
"The Gondoliers " altogether apart from its own
qualities as an opera.
1 The part of Gianetta was later in the run taken by that charming
artiste. Miss Esther Palliser.
278 GILBERT AND SULLIVAN
For the first time since the series of Gilbert and
Sullivan operas began at the Opera Comique in
November 1877, the name of George Grossmith was
absent from the programme. After a period 0!
twelve years' uninterrupted service and repeated
triumphs, the popular comedian had grown weary
of the monotony of long runs. Moreover, he was
persuaded that, from a financial point of view, he
could do better for himself as a public entertainer.
For some time past he had contemplated seceding
from the I^Oyly Carte management, but had been
induced to remain at the Savoy for the run of " The
Yeomen of the Guard/ ' Grossmith can hardly have
regretted having done so, seeing that in the part of
"Jack Point" he found wider scope for the display
of his powers as a real jester of jesters and legitimate
actor than had ever previously been afforded him.
When one comes to reflect on the final scene in which
Grossmith played the chief part on the Savoy stage, the
refrain of his swan-song, " I have a song to sing, 0,"
mingles with the echo of that livelier ditty, "He
never would be missed," with which he amused us in
"The Mikado." If ever Koko had secretly placed
his own name on that historical list of undesirables,
the public was not found to endorse such condemna-
tion. " Gee-Gee " was in truth greatly missed from
his post of honour in the ranks of the Savoyards.
Happily, his place was taken by that versatile actor,
singer, and dancer, Frank Wyatt, who, as the Duke of
Plaza-Toro, scored an instantaneous success. But
perhaps the best solatium given for the loss of George
*
i
JQ?
mRLM
El !
'mt
"THE GONDOLIERS' " WELCOME 279
Grossmith was the return to the Savoy of Rutland
Barrington. The hearty welcome back accorded to the
favourite Savoyard must have been soothing balm to
the wounds occasioned by his luckless campaign at
St. James's Theatre.
Another new-comer and great acquisition to the
Savoy company was Miss Decima Moore, who, in the
part of Casilda, made her first important appearance
on the London stage, and at once captivated all hearts
by her sweet singing and winsome personality.
It is doubtful if the walls of the Savoy had ever
resounded with such ringing peals of laughter as those
which greeted the introduction of " The Gondoliers "
on the first night. A wild thunderstorm of applause
raged throughout the theatre from rise to fall of curtain.
At first it was a deep roar of delight, then for a few
seconds a subdued rumble of restrained mirth ever
crescendo until it burst again into a louder roar.
Gilbert had this time provided the Savoyards, both
before and behind the footlights, with just the very
feast they were hungry for. The actors, the actresses,
and the musicians seemed to revel in the humour of
the play. The audience forgot they were on the banks
of murky, muddy Thames. Gilbert, the magician, had
transported them in a body to sunny Venice.
Plot ! Who worried about a plot ? It was quite joy
enough to bask beneath Italian skies and watch the
frolics of those delightfully irresponsible people singing,
dancing, and indulging in the wittiest conversation
that even the Savoyards had ever listened to.
As for Sullivan's music, it could only be likened to a
1
280 GILBERT AND SULLIVAN
moorland stream rippling and leaping in its course
over the pebbly reaches, pausing anon at the still and
restful pools of deeper melody, only again to ripple with
sparkling laughter downwards to the sea.
"The Gondoliers/' from the gladsome opening
chorus of Contadine to the Finale, is throughout replete
with charming variety and striking contrasts. Take,
for instance, the quaint patter-song of Giuseppe, one
of the supposititious twin Kings of Barataria, wherein
he describes the responsibilities of his exalted rank ;
" Rising early in the morning.
We proceed to light our fire ;
Then, our Majesty adorning
In its work-a-day attire.
We embark without delay
On the duties of the day."
And so on for some sixty lines, each line accompanied
by some facetious comments from the orchestral
instruments, and a titter from the audience, who drank
in every syllable rendered by Rutland Barrington rn
his own clear, inimitable diction. Close upon this
follows that Sullivanesque gem of gems, " Take a
pair of sparkling eyes/ 1 sung by Courtice Pounds with
all the delicacy and finished art of which he is a past-
master.
Take, again, the famous Chorus and Cachucha Dance,
which so fascinates and enraptures an audience that
they demand and re-demand it again and again until
the dancers have no breath left to continue singing*
Then, after Don Alhambra, in a humorous song, has
COMIC OPERA COMPOSITION 281
pointed a moral to the conjoint Kings to the effect
that
u In short, whoever you may be,
To this conclusion you'll agree
When every one is somebodee
Then no one's anybody "
comes that remarkable illustration of masterly con-
trapuntal composition which only Sullivan could have
written :
" In contemplative fashion
And a tranquil frame of mind.
Free from every kind of passion.
Some solution let us find."
But when every song and concerted number in " The
Gondoliers " is a joy, the reviewer is too apt to lose his
way in a maze of delightful memories, and fails to find
his path out in time to resume the task that still re-
mains before him in other directions.
Sullivan, to all seeming, revelled in the composition
of this, the tenth opera of the famous series. Yet,
strange to relate, Sir Arthur often declared that " The
Gondoliers " gave him more trouble to compose than
any of his previous stage works, not even excepting
" H.M.S. Pinafore," which he wrote whilst suffering
all the time with agonies of physical pain. It may
surprise those who imagine that these light comic
operas were, to the musician, little more than " pot-
boilers" to learn that they caused Sullivan far more
anxious labour and anxiety than his " Martyr of
Antioch " or" The Golden Legend/ 1 for, as Sir Arthur
282 GILBERT AND SULLIVAN
explained, the score of an opera requires so much
alteration when brought to stage rehearsal. Not
only has the composer to satisfy the author, but the
music must fit the singers 9 capabilities, and be set to
suit every situation ; whereas, in the composition of an
oratorio, one may " gang his ain gait" guided only by
his sympathetic muse.
Such facts are seldom realized by an audience, who,
if they ever pause to consider the construction of an
opera, do so only to marvel how the author and com-
poser have contrived together to make the piece go
with such smooth, clockwork precision.
Glancing through a vast collection of press notices
of " The Gondoliers," I find amid the loud chorus
of praise one, and one only, discordant note. Again
it came from the dramatic critic (!) of a sporting
journal. Could it have been that same perverse
individual who, as previously related, so utterly
condemned " Iolanthe" as publicly to confess that he
would sooner witness a Punch and Judy show at a
street corner ? It is difficult to believe that any other
sane person, professing to be a judge of music and the
drama, could have conscientiously published such a
scathing " review" as that from which I cannot refrain
quoting. The critique, be it noted, appeared in print
some six or seven weeks after the production of " The.
Gondoliers." It is, in my humble opinion, most
amusing, if not edifying, reading.
" Whilst others rush wildly for a first glimpse of the
latest Gilbert and Sullivan piece, I/' quoth this very
CAPTIOUS CRITICISM 283
captious critic, " always put off going as long as I can ;
I want as much grace as possible Between whiles in
order to forget the previous production and the pro-
duction before that. ... I am tired, as an all-round
play-goer, of the perpetual sameness of the Savoy
methods ; they weary me to the point of absolute
dulness. They were well enough when they were
new, and may be well enough now to those who do not
go to the theatres very often. . . . I have seen no other
piece of late which made me feel so little lively, except
'The Dead Heart' at The Lyceum. I was more
amused by the public than by the opera. The house
was crowded, but it seemed to me less like an audience
than a congregation. They had heard of Gilbert and
Sullivan, and had come to worship at their shrine as
they would go on Sunday to sit under Stopf ord Brooke,
or Dr. Parker, or Mr. Spurgeon. They offered one
another half their books of the words, as good people
do when you are put into a strange pew at church.
What is more, they looked at their books rather than
at the stage, and followed the songs with awe and the
singularly wordy dialogues with reverence. Some-
times they smiled audibly, but not when the author
was at his best, and occasionally they even laughed
outright when the gallery set the example. It was,
as it were, the adoration by a sect of some prophet
adopted for the sake of a good character, but known
very little of personally/'
And so on, in the same strain for three or four columns.
Thus, you will observe, the critic launched his
caustic darts not only at the play, but also at his com-
panion play-goers, who numbered many hundreds.
Of course, every play-goer is entitled to his own
opinion of a play, whether he has paid for his seat or
284 GILBERT AND SULLIVAN
been admitted by an order; but I think I shall not
be singular in my judgment that, when a professed
critic goes out of his way to condemn works that have
in the past been so universally approved, and which
still live to delight the multitude, that critic is unworthy
of his responsible vocation. Happily, such presump-
tuous false reports have but slight influence on public
opinion : a few incontrovertible facts may be men-
tioned in proof of this, so far as concerns "The
Gondoliers/ 9
On the anniversary performance of "The Gon-
doliers," the theatre was crowded with an audience as
brilliant, as representative, and as enthusiastic as that
which had assembled on the first night. On this
occasion, by the way, the opera was conducted by the
composer, and every lady in the auditorium was pre-
sented by the management with a floral bouquet.
" The Gondoliers " remains to this day one of the
most popular of the operas played by the D'Oyly Carte
Opera Company on tour.
" The Gondoliers " met with the warmest recognition
of Royalty. The Prince and Princess of Wales, with
all the Royal Family, paid repeated visits to the Savoy
during the run of the piece, His Royal Highness ex-
pressing his opinion that this was the best of the
Gilbert and Sullivan operas.
On Friday, March 6th, 1891, a Command Perform-
ance of " The Gondoliers " was given at Windsor
Castle before Her Majesty Queen Victoria, this being
the first theatrical entertainment to take place at Court
since the death of the Prince Consort
THE COMPOSER REBUKED 285
When the score of " The Gondoliers " was published
by Chappell & Co., twelve men were kept packing from
morn till night, and on the first day 20,000 copies
(eleven wagon loads) of the vocal score alone were
despatched. But the printing-machines were still kept
going at high pressure, and the first order executed
by the publishers, including the pianoforte score, the
vocal score, the dance, and other arrangements reached
over 70,000 copies.
For five hundred and fifty-four consecutive perform-
ances " The Gondoliers " ran at the Savoy, and brought
to the managerial exchequer a sum exceeding that
earned by any preceding opera.
These few incidental notes I would specially com-
mend to the writer with whom I have, in the spirit of
enthusiasm, dared to cross pens. But now, in order
to remove the smart of any wounds that our duel
may have inflicted, let me end this chapter with an
anecdote concerning the composer of "The Gon-
doliers."
One evening, Sir Arthur Sullivan, whilst watching
the performance for a few minutes from the back of
the dress-circle, thoughtlessly, or " in contemplative
fashion/' commenced humming the melody of the song
then being given, whereat a sensitive old gentleman
a musical enthusiast turned angrily to the composer
and said, " Look here, sir, I paid my money to hear
Sullivan's music not yours." Sullivan used often
to repeat this tale against himself, candidly confessing
that he well deserved the rebuke.
CHAPTER XI
The historian's wiser diplomacy: The rift in the lute- A storm in a tea-
cup grows into a serious tempest The Three Savoyards quarrel
and go to law Casus belli : a carpet Dissolution of partnership
Gilbert collaborates with Alfred Cellier on " The Mountebanks "
Gilbert's speech at O. P. Club's dinner.
Napoleon I. used to say "the best diplomacy is
to speak the truth/ 1 Another great leader of men,
George Washington/to wit} made it a rule, as we were
all informed in our youfh, never to tell a lie. Both are
excellent precepts, no doubt; but perhaps an equally
wise diplomacy is, whenever it is possible, to keep
silence concerning any subject about which it may ap-
pear ungracious to utter a word. Unfortunately, of the
three suggested courses, the conscientious historian is
compelled by virtue of his office to observe the Napo-
leonic code. If his chronicles are to be credited with
truth, his every chapter may not be couleur de rose.
He must sometimes allude to unpleasing incidents,
which have long been the subject of public gossip.
Every one would have rejoiced, none more than the
present writer, if the countless happy reminiscences of
the Savoy might have continued unsullied by the
shadow of a regret.
For full fourteen years the brilliant Savoy Trium-
virate had worked together as harmoniously as success-
*86
A RIFT IN THE LUTE 287
fully. They had given the public ten delightful
operas, in return for which the public had given each of
the Trio a fortune far exceeding any that had previ-
ously been reaped by a theatrical manager, author, or
composer. It seemed as though death alone could ever
dissolve so strong and prosperous a partnership. But,
alas, it was otherwise decreed.
Whilst "The Gondoliers" was at the flood-tide of
success it was whispered abroad that the good ship
of the Savoy had sprung a leak. For a while nobody
would credit the report. But, if it was true, still it
was hoped that, sailing as it was in such calm and
prosperous seas, there was little danger of the vessel's
foundering.
Unfortunately, however, two of the chief officers
had squabbled ; the third could do nothing but stand
by and endeavour to cast oil upon the troubled waters.
But all in vain. The rift, instead of being patched up
and securely caulked, as it might easily have been, was
allowed to widen into a dangerous rent. Could it be
believed ? Gilbert and D'Oyly Carte had actually
quarrelled, whilst Sullivan, although he took no active
part in the dispute, was compelled to adhere to one
side or the other. Believing Gilbert to be the ag-
gressor, Sullivan decided to abide by Carte.
" And what/ 1 it will be asked, " what was it all
about ? "
The answer is, Next to nothing ! A storm had burst
in a tea-cup. A little more of the sugar of mutual
regard, a few added drops of the milk of human kind-
ness, and all bitterness would have been removed from
288 GILBERT AND SULLIVAN
the cup. But, unhappily, Mr. Gilbert was possessed
of a will that could never brook opposition and a temper
that he could not always control. And so the breeze
that had sprung up increased to a gale, and the gallant
pleasure-ship was eventually stranded.
All the world wondered ! Varied and vague were the
stories set afloat ; but, perhaps, none more absurd or
incredible than the true story which, seeing it was such
a momentous incident in the history of the Savoy,
may not here be passed over in silence. The casus
belli was a carpet !
It appears that Mr. D'Oyly Carte, as duly authorized
business manager of the firm, conceived it to be, not
only politic, but right and proper, to minister to the
comfort of clients through whose patronage and support
their business had thrived so remarkably. Accordingly
Mr. Carte purchased, among sundry other items of
furniture for the renewal and repair of the theatre, a
carpet. The carpet, et cetera, were in the usual course
charged to the joint account. Sir Arthur Sullivan,
on his part, raised no objection to the outlay, and, for
the sake of peace, did his utmost to persuade Mr.
Gilbert to take a similar view of the matter. But
Mr. Gilbert remained obdurate in his opposition to
such lavish expenditure. He was of opinion that a
new carpet, costing 140, would not draw an extra
sixpence into the exchequer, that the theatre was so
crowded nightly that no one could possibly tell or care
a jot how the floor was covered. Mr. Gilbert thought
it was sheer waste of money. He was then politely
reminded that, by the terms of their partnership agree-
GILBERT'S SPEECH AT 0. P. CLUB DINNER 289
ment, he had no voice in the matter. Whereupon our
author waxed exceeding wroth, went to law against
his old friends and comrades, and, parting company
with the Savoyards, formed a troupe of clever " Mounte-
banks," and became their chief conjointly with one of
the most delightful of Bohemians, most amiable of men
and most charming of composers whose name was
Alfred Cellier.
Thus the great Savoy partnership was dissolved in
the hey-day of its success. Great was the consterna-
tion, bitter the regret that spread throughout the
dramatic and musical world.
But now, with all gladness, let \is hasten to leap over
the dull period of a few years to find The Three reunited
at the Savoy, where, in October 1893, their twelfth
opera " Utopia Limited/' was produced, to the delight
of all Savoyards.
Before proceeding to deal with events and incidents
that occupied what may be described as the Gilbert
and Sullivan interregnum at the Savoy, it may be
pleasing to all if this chapter of unhappy memories
is brought to a close with a quotation from a speech
made by Sir William Gilbert at a dinner given on
December 30th, 1906, by the O. P. Club, under the
presidency of Mr. Carl Hentschel, founder of the club.
The feast was organized specially to celebrate the
revival of the operas at the Savoy.
Speaking in response to the toast in his honour,
Sir William said :
$t
The magnificent compliment paid him that evening
*9
CHAPTER XII
D'Oyly Carte's difficult position Sullivan collaborates with Sydney
Grundy Production of " Nautch Girl" Carte's generalship
" The Vicar of Bray " revived" Mountebanks " produced at the
Lyric Theatre Alfred Cellier's illness and death Letter from
Arthur Sullivan to Francis CeUier " Haddon Hall " Sullivan
welcomed back Sydney Grundy's lyrics The McCrankie Scotch
dialect in English Opera Prejudice of Savoyards Sydney Grundy
writes to the papers Successful run of " Haddon Hall."
With the dissolution of the Savoy partnership, Mr.
D'Oyly Carte found himself in a position as unenviable
as that of the Commander-in-Chief of an army corps
who has lost one of his most valued and reliable generals
of division Gilbert had resigned his post, and Sullivan,
although he still remained faithful to the Savoy, was
without a libretto, and at a loss to discover a librettist
After a while, however, Sydney Grundy, one of the ablest
and most scholarly of contemporary English drama-
tists, supplied the composer with an acceptable " book/ 1
Thereupon Sir Arthur commenced setting " Haddon
Hall/ 1
But, seeing that it must be a long time before the
Grundy-Sullivan opera would be ripe for production,
D'Oyly Carte, before the termination of " The Gon-
doliers run, made a gallant attempt to find a piece
that might cany on the traditions of his theatre;
ultimately he accepted a new opera called "The
293
it
THE NAUTCH GIRL" 293
-<
Nautch Girl/' written by George Dance, with lyrics
by Frank Desprez (author of several clever " curtain-
raisers " at the Savoy), and the music by Edward
Solomon, a composer of great popularity in his brief
day, a musician possessed of the gift of tunefulness
with more than an average measure of fanciful and in-
genious power of orchestration. Obviously it was a
* very thankless, invidious task for any author or com-
l poser to be called upon to follow Gilbert and Sullivan
at the Savoy. But here Mr. Carte's clever generalship
* was displayed. He recognized in Dance and Solomon
* apt disciples of Gilbert and Sullivan, and deemed it
wise to entrust his interests to such men rather than
I to those who might take a wide departure from the
Savoy line of humour.
The general opinion expressed regarding "The
\ Nautch Girl" on its production on June 30th, 1891,
was to the effect that the Dance-Solomon work, al-
though inferior to, was none the less a very acceptable
substitute for, an opera by the more celebrated colla-
borators upon whose style it was fashioned. The
strong family likeness noticeable between " The Nautch
Girl" and some of its predecessors at the Savoy was
intensified by the presence in the cast of some of the
famous Savoyards of the old brigade : notably Rut-
land Bar ring ton (admirably fitted with a part as the
Rajah of Chutneypore), Jessie Bond, Courtice Pounds,
Frank Thornton, and W. H. Denny: A notable new-
comer to the Savoy was Miss Leonora Snyder, a sweet-
voiced American soprano whom D'Oyly Carte had
chanced upon in New York.
i
<
%
i
i
t
394 GILBERT AND SULLIVAN
" The Nautch Girl " enjoyed a prosperous run of
199 performances, and on January 29th, 1892, Mr.
Carte revived Solomon's opera, " The Vicar of Bray," l
which not long previously had achieved success at
another theatre. In this piece we were introduced to
another clerical incumbent of the Savoy stage. If
not altogether as popular as Dr. Daly, D.D., of " The
Sorcerer," yet the character afforded Rutland Bar-
rington further opportunity of poking fun at a dignitary
of the rival profession in his own inimitable and pardon-
ably irreverent way. It might, with truth, be re-
marked that the clever Savoy comedian became, by the
versatility of his art, the prototype of that historical
Vicar of Bray who gained preferment through being
all things to all, men, no matter what king, Gilbert or a
lesser monarch, might reign at the Savoy.
Following the exit of " The Vicar,' ' on June 10th,
1892, the doors of the Savoy remained closed for a
period of three months, such a lengthy interval never
having occurred since the opening of the theatre in 1881.
To turn now, for a moment, to consider what Gilbert
had been doing since he quitted the Savoy ; as men-
tioned in the last preceding chapter, Sir Arthur Sulli-
van's former colleague had turned to Alfred Cellier
to compose the music of his new piece, " The Mounte-
banks," which opera was produced at the Lyric
Theatre under the management of Mr. Horace Sedger,
on Monday, January 4th, 1892. That event, it may
perhaps be remarked, comes hardly within the strict
bounds of Savoy reminiscences. Nevertheless, if we re-
1 Written by Sydney Grundy.
ALFRED CELLIER 295
member how "The Mountebanks" was the creation of
one of the three famous Savoyards in collaboration with
the clever composer who, in the earliest days of the
Gilbert and Sullivan operas, aided their cause by his
valued service as musical director it would be less
reasonable here to omit than to include reference to the
Lyric Theatre's production. The mention of Alfred
Cellier* s final composition will awaken in the minds of
many of his surviving friends memories sad and painful.
All will recollect how, when his heavy task approached
completion, Cellier was overtaken by a mortal sickness
against which he fought with heroic courage. Com-
pelled by physical suffering and weakness to lay aside
his pen at intervals, he persevered with indomitable
pluck until his undertaking was accomplished. Little
did the audience who listened with delight to the
sparkling melodies of " The Mountebanks " imagine
that they were the composition of a dying man. But
so it proved Alfred Cellier had given to the world his
" swan-song."
I recall the hour when poor Alfred Cellier one of
my dearest friends worn out with the toil and ex-
citement of a lengthy rehearsal, sought my companion-
ship at a little club where we used to foregather.
There, falling upon a couch at my side, he gave way
to a painful fit of hysteria sure sign of exhausted
strength. Alfred Cellier, alas! was not spared to
witness the success of his final work. Almost on the
eve of the production of " The Mountebanks " one
of the noblest-hearted and most unostentatious of
men was carried to his last earthly resting-place in
296 GILBERT AND SULLIVAN
Norwood Cemetery. Among letters cherished and
bequeathed by Alfred CeUiefs brother Francois, is
one which I have been privileged to read. It came from
Sir Arthur Sullivan, who, on hearing of Alfred's death,
wrote from Paris on December 29th, 1892, thus :
" Dear Frank,
" I can hardly see the paper for the tears which
are in my eyes at the dreadful news just received by
telegram. Poor dear old Alfred ! my old school-fellow
and friend ! the most lovable creature in the world "
Every one who knew Alfred Cellier will endorse those
sentiments, that came from the depths of Arthur
Sullivan's heart. Marvellous was the similarity in
natural disposition of our two greatly beloved English
composers.
But, after all, if the truth were known, the chief fault
found in "Haddon Hall" was that it was another
300 GILBERT AND SULLIVAN
G. and S. opera, but that the G. stood not, this time,
for Gilbert, but Grundy. Few play-goers have been
so blinded by prejudice as the Savoyards.
Gilbert and Sullivan were their idols; they could
worship none other. Touching this point, and the
attitude of the critics, Sydney Grundy, stout, honest,
British dramatic yeoman that he ever was, let fly a
" telling " shot in a very caustic letter to the papers.
Thus wrote the author of " Haddon Hall" :
" Sir,
"As a humble but sympathetic student of
dramatic and musical criticism may I venture to
suggest that a short bill be introduced into Parliament
making it a penal offence to supply the Savoy theatre
with a libretto ? Having regard to the magnitude of
the crime, the punishment, which, of course, should
be capital, might be made at the same time ignomini-
ous and painful. Should the libretto be so impertinent
as to be successful, I would respectfully suggest
' something lingering with boiling oil in it/ if so humble
a person as I may be permitted a quotation.
Yours, etc.,
" Sydney Grundy."
But, despite all " irreconcilable antagonism/' Grun-
dy's " Haddon Hall " proved sufficiently attractive to
fill the Savoy Theatre for no fewer than 204 perform-
ances. At any other theatre it might have achieved
still greater success. "Haddon Hall" remains a
popular favourite with amateur societies, and its revival
on the London stage might be interesting and re-
munerative. As regards the music ; Sullivan proved
that, although no longer coupled in harness with a
lyric steed of the same high mettle and spirit as the
one with whom he had been running for fifteen years,
his muse, instead of turning sulky, was as bright as
ever, and continued to carry the composer along in
the same ceaseless, unbroken canter, leaving behind
him as he went the echo of sweet melodies.
CHAPTER XIII
M Jane Annie " J. M. Barrie and A. Conan Doyle The historian's
thankless task Ernest Ford's music The master and the student
Cast of " Jane Annie "Caledonian golfers" Bunker " and
" bunkum " Gilbert and Sullivan, reunited, start work on a new
opera General rejoicings.
Next on the list of Savoy productions came a piece
called "Jane Annie, or the Good Conduct Prize."
Such a title might lead one to suppose that it was a
farcical comedy. It was nothing of the sort, it was
labelled, " A new and original English Comic Opera,"
bearing the names of J. M. Barrie and A. Conan Doyle
as the authors and Ernest Ford as composer. Re-
miniscences of "Jane Annie" are not, altogether,
of the most agreeable kind. To the present genera-
tion who, probably, have never heard of " Jane Annie "
of the Savoy, it will sound like heresy to speak in
derogatory terms of any work by such distinguished
knights of the pen as the present Sir James Matthew
Barrie and Sir Arthur Conan Doyle. But those
among us of riper years who have followed with
interest the respective careers of those two richly
gifted writers, and who, during the past quarter of a
century or more, have enjoyed the many delightful
fruits of their genius, can only pause to wonder if it
302
"JANE ANNIE" 303
can be true that the J. M. Barrie who gave the stage
" The Little Minister " in 1897 and " Peter Pan " in
1904, to be brought back to cheer us at every sue- I
ceeding Christmas-tide, was the very same J. M. j
Barrie who wrote " Jane Annie " in 1893 ; and can it
be possible that his collaborator in that weird, ama-
teurish effusion was, in very truth, the same A, Conan
Doyle who amazed our seven senses with " The Ad-
ventures of Sherlock Holmes" in 1891, who con-
tributed to the stage " A Story of Waterloo," that
charming, dramatic sketch that helped the fame of
Henry Irving in 1900 ?
Can, we ask ourselves again, can the part-author
of "Jane Annie" have been that delightful story-
teller who has enriched our libraries with scores of
volumes of romance, novels, poems, and songs that
will live ? If one trusted to memory alone, doubt on
the subject might yet prevail, but there, on the Savoy
playbills, in cold print we read, " Jane Annie, or the
Good Conduct Prize," written by J. M. Barrie and
A. Conan Doyle. I doubt not that both authors
would be thankful if every record of that abortive
Savoy opera might be committed to the flames. Per-
haps they would have thought it kinder and more
considerate on the part of the present writer to leave
their ill-fated heroine alone and undisturbed in her
unhallowed grave. Fain would he have done so, but
the obligation, sometimes an ungracious one, of the
historian is to chronicle, without fear or favour, all
incidents relating to the subject in hand. Hence poor,
hapless " Jane Annie " is dragged perforce into the
304 GILBERT AND SULLIVAN
varied chronicles of the Savoy. The best atonement
that can be offered for seeming disrespect shown to
the greatly respected authors will be to say nothing
further about a work which they themselves would be
ready to confess was unworthy of their pens.
Unfortunately, again, the praise to be bestowed
upon the music of " Jane Annie " must be qualified
Mr. Ernest Ford won considerable reputation as a
clever musician, and since he was, if I remember
rightly, a pupil of Sir Arthur Sullivan's, it is easy to
understand how he became so inoculated with his
master's manner and themes that he could not tear
himself away from them far enough to allow him to
give rein to his own imaginative powers as a com-
poser. True, Sullivan was a perfect model for a
student to copy, but a too close copy of the master was
less than acceptable, especially to Savoyards. Taken
altogether, "Jane Annie" was the most perplexing
phenomenon ever presented by D'Oyly Carte's man-
agement. For once the usually wide-awake impresario
must have been caught napping when he accepted
and produced such a poor, vapid, uninteresting work.
For the sake of reference we append a list of the
dramatis per son as of
JANE ANNIE, OR THE GOOD CONDUCT PRIZE
A Proctor . Mr. Rutland Barrington
Sim .... Mr. Lawrence Grindley
Greg Mr. Walter Passmore
(Bulldogs)
Tom Mr. Charles Kenningham
(A Prtss Student)
"JANE ANNIE " 305
Jack Mr. Scott Fishe
(A Warrior)
Caddie . . . . Master Harry Rignold
(A Page)
First Student . . . Mr. Bowden Haswell
Second Student . Mr. Herbert Crimp
Third Student Mr. Sidwell Jones
Miss Sims . Miss Rosina Brandram
(A Schoolmistress)
Jane Annie *. . . Miss Dorothy Vane
(A Good Girt)
Bab Miss Decima Moore
(A Bad Girl)
Milly Miss Florence Perry
Rose Miss Emmie Owen
Meg Miss Jose Shalders
Maud Miss May Bell
(Average Girls)
Schoolgirls, Press Students, and Lancers
Produced ufider the Stage Direction of Mr. Charles
Harris, and the Musical Direction of Mr. Francois Cellier.
The Scene is obviously laid round the corner from a
certain English University Town.
Act I. First Floor of a Seminary for the Little Things
that grow into Women. (Mr. W. Perkins.)
There will be an interval of about twenty minutes
between the Acts.
Act II. A Ladies' Golf Green near the Seminary. (Mr.
W. Telbin.)
Time. The Present
One night elapses between the Acts.
" Jane Annie " languished on for fifty days before
departing this life on July 1st, 1893, lamented by a
20
306 GILBERT AND SULLIVAN
select clan of true and faithful Caledonian golf en-
thusiasts, who had found "prodeegious" diversion in
cheering the several humorous allusions to " caddies' 1
and " niblicks/' " drivers" and " putters/' with which
the opera was enlivened. To those of the audiences
uninitiated in the noble game of golf the word " bunker"
sounded so much like " bunkum " as to tickle their
risible faculties. But, of course, that last remark is
intended as a " stage aside/'
After the demise of poor " Jane Annie " the Savoy
Theatre was again closed for three months. During
the interval desponding Savoyards were cheered by
the glad tidings that all estrangement between Gilbert
and Sullivan had disappeared. It became known that
Sir Arthur, having recovered from an alarming illness,
was now, in the seclusion of his home at Weybridge,
busy at work on the composition of a new Gilbertian
comic opera, and that his old friend and colleague,
who had been at Homburg to get rid of the gout, had
returned to Grim's Dyke, his lovely home at Harrow
Weald. Both giants were reported to be thoroughly
refreshed and in full vigour, armed and ready to enter
upon another campaign on the field of their many
past victories. Thus the hopes of their faithful fol-
lowers were to be realized. The ending of much
despair had come.
Although two years had passed since the unhappy
break-up of the Triumvirate, not a few of the most
devoted admirers of the renowned three had clung
stedfastly to the belief that Gilbert, Sullivan, and
REUNION OF "THE THREE " 307
D'Oyly Carte must eventually come together again.
It had been proved beyond doubt that the author
and composer were essential to each other; that,
united, they prospered, divided they fell ! D'Oyly
Carte too, despite his heroic efforts, had found that
only Gilbert and Sullivan could fill the Savoy.
It was no reflection on the skill and ability of those
other clever authors and composers whose works had
in turn been exploited by the enterprising manager
during the interregnum. Each, whilst acting in the
thankless post of locum tenens, had yielded of his best,
and, generally, the best had been very good, but not
precisely to the fastidious taste of the Savoyards.
Since the withdrawal of " The Gondoliers" in June
1891, there had been more frost than sunshine sur-
rounding Mr. Carte's pretty theatre; ghosts of de-
parted joys had intruded to mar the merriment of
Savoy audiences. But now the spring was returning,
the singing of birds would soon be heard by Thames
Embankment. As, day by day, there appeared pre-
liminary paragraphs in the papers confirming the first
report and adding particulars, reliable and otherwise,
of the rapprochement which had been brought about,
players declared it was " quite like old times." Soon
it became known that rehearsals had actually begun ;
that a remarkably gifted American soprano had been
engaged as prima donna, and that the names of
several old Savoy favourites were included in the cast
of the new opera. Truly, it was the most gladsome
news that had come to arouse the lethargic theatrical
world for many a long day. Intense was the excite-
308 GILBERT AND SULLIVAN
ment, unprecedented the rush of applicants for first-
night seats. That unholy carpet, with all the trouble
it had occasioned, was trodden upon and obliterated
from memory. Gilbert, Sullivan, and D'Oyly Carte
smiled again, and England rejoiced. No happier
event in the eventful annals of the Savoy could ever
be chronicled than the re-enthronement of the popular
monarchs in October 1893.
CHAPTER XIV
Reunion of the three Savoyard Chiefs -Their " welcome home " at
the Savoy Production of Utopia Another topsy-turvy piece-
" Old fashioned " Savoy opera proves acceptable Samples of
Gilbert's song-words Another tenor comedian A Gilbertian
love-scene.
A red-letter day in the calendar of the Savoy was
Saturday, October 7th, 1893. " There was a sound
of revelry by night" which shook the walls of the
re-lighted playhouse. It was the great re-gathering
of the clans, the glad reunion of Savoyards.
To inaugurate the event, the popular lever-de-
rideau concerts were revived by the pit and gallery
chorus. Society in the stalls and boxes was enter-
tained, as in the old days, with reminiscences of
" H.M.S. Pinafore/' " The Pirates," " Patience," and
" Iolanthe." Even the critics threw off their masks
of apathetic unconcern and abandoned that air of
boredom common to the cult. The most profound
and solemn academic was seen to smile and exchange
an affable nod with the distinguished somebodies that
crowded the theatre. Everybody said to every other
body, " Isn't it a treat ? " And all before the opera had
begun ! Although the leading press representatives
had been present at the dress rehearsal the day before,
they one and all seemed glad to have been invited to
sit the piece out a second time, if only to discover
309
310 GILBERT AND SULLIVAN
whether the public would endorse or controvert the
reviews they had already prepared for publication.
All the familiar scenes of a Savoy premUn were
re-enacted, but enthusiasm on this occasion seemed
to be accentuated. The audience resembled a ship's
company who, just come off a long voyage, half starved
on salt junk and weevilled biscuits, look forward with
greed to a good, square meal ashore.
But now the well-known form of Sir Arthur Sullivan
is seen creeping bashfully, it may be nervously, through
the dim, cellar-like opening from beneath the stage to
the front of the orchestra. The beloved maestro looks
pale and worn by recent illness and the fag of long
rehearsals, but once again, with characteristic modesty,
patience, and indomitable pluck, he faces the host of
his faithful worshippers. In response to their cheers
of welcome Sir Arthur bows, and bows, and bows
again until at length, in very pity for him, the cry of
" Hush ! " subdues the frantic shouts of delight
The overture begins ; after a few opening bars, my
neighbour on the right nudges me and whispers, " The
same good old Sullivan." " Yes," I whisper back, "it
is the master's voice/' whereat my neighbour on the
left, whispers " H'sh ! " One is afraid to breathe, a
cough would bring down frowns from every part of
the house . The stillness of enchantment reigns through-
out the playing of the overture. There is no mistaking
the maker's name on the fabric of the music. It bears
the hall-mark of excellence. The shuttle is flying
through warp and woof, weaving the texture of pure,
silver melody ; the overture ends. Another volley of
tt
UTOPIA " 311
cheers from the front ! we open the book of the words
of "Utopia Limited, or The Flowers of Progress/'
The amber satin curtains part, revealing a beautiful
palm-grove in the gardens of King Paramount' s Palace.
There we are introduced to a group of lovely maidens,
who bear a strong resemblance to those we remember
meeting in "Iolanthe" and " Patience.' ' They are
lying lazily about the stage and enjoying themselves
in lotus-eating fashion the while they sing a dreamy
opening chorus, a lyric essentially Gilbertian and
Sullivanesque.
" In lazy languor, motionless,
We lie and dream of nothingness :
For visions come
From Poppydom
Direct at our command :
Or, delicate alternative,
In open idleness we live.
With lyre and lute
And silver flute,
The life of lazyland !
Solo. Phylla
" The song of birds
In ivied towers ;
The rippling play
Of waterway ;
The lowing herds ;
The breath of flowers ;
The languid loves
Of turtle-doves
These simple joys are all at hand
Upon thy shores, O Lazyland."
(Loud applause and cries of " Encore")
312 GILBERT AND SULLIVAN
A few words of dialogue spoken by a minor character
indicate at once that our author has remained faithful
to his own familiar vein of facetious humour. We are
assured that Gilbert's quiver has been refilled with
keen, pointed shafts of good-humoured satire, and we
know he is going to launch them against his own
country, or, rather, against the super-pride, the mock-
heroic sentiments of his English compatriots we
recognize his aim at once :
Calynx. Good news ! Great news ! His Majesty's
eldest daughter, Princess Zara, who left our shores five
years since to go to England the greatest, the most
powerful, the wisest country in the world has taken
a high degree at Girt on, and is on her way home again,
having achieved a complete mastery over all the
elements that have tended to raise that glorious
country to her present pre-eminent position among
civilized nations !
Salata. Then in a few months Utopia may hope
to be completely Anglicized ?
Calynx. Absolutely and without a doubt.
Melene. (Lazily.) We are very well as we are. Life
without a care every want supplied by a kind and
fatherly monarch, who, despot though he be, has no
other thought than to make his people happy what
have we to gain by the great change that is in store
for us ?
Salata. What have we to gain ? English institu-
tions, English tastes, and oh, English fashions !
Calynx. England has made herself what she is
because, in that favoured land, every one has to think
for himself. Here we have no need to think, because
our monarch anticipates all our wants, and our
political opinions are formed for us by the journals
JINGOISM RIDICULED 313
to which we subscribe. Oh, think how much more
brilliant this dialogue would have been if we had been
accustomed to exercise our reflective powers I They
say that in England the conversation of the very
meanest is a coruscation of impromptu epigram !
It is enough. We perceive that Gilbert is looking
upon England and English institutions through the
green spectacles of a jealous foreigner. His intention
is to pour ridicule upon the Jingoism of the average
Briton, and we know that Gilbert will succeed where
any other author, daring the attempt, would come to
utter grief.
Some of us may feel inclined to cry, " Shame on
such unpatriotism ! " whilst all the time we laugh and
applaud and say to ourselves, " After all, it sounds
very much like the truth, and Gilbert has such a
clever knack of swamping nasty grey powders in nice
black-currant jam."
Gilbert, Sullivan, and D'Oyly Carte had, of course,
read in the papers, from time to time, such uncom-
plimentary, discouraging remarks as, for instance,
" Surely we have had enough of these topsy-turvy
operas when is the nauseating stuff to be put a stop
to ? " But the three Savoyards knew their public
better, and were satisfied that if, indeed, anybody
was nauseated, it was not by the fare provided at the
Savoy, but by the weakness of the digestive organs
of a few lack-a-daisical individuals, who failed to
appreciate the dainty dishes set before them. In other
words, they had no sense of humour. Mr. Carte was
assured that a vast majority of his patrons preferred
314 GILBERT AND SULLIVAN
what they now began to call the " old-fashioned Savoy
operas" to any of that other sort which he had lately
been exploiting, and so he was only too glad when
Gilbert and Sullivan provided him with yet another
topsy-turvy piece, perhaps the topsy-turvyest piece
they had ever produced.
The remarkable reception accorded to "Utopia"
confirmed the wisdom of the managerial policy. This,
the twelfth Gilbert and Sullivan opera, was generally
acknowledged to be one of the best of the series. The
subject gave Gilbert fine scope for skittish treatment.
Our author could hardly have conceived a funnier idea
than that of the King of some sea-girt isle, unmarked
in any chart or map, a fantastic monarch who, having
determined to adopt the manners and customs, the fads
and fashions, of " the greatest, the most powerful, the
wisest country in the world," sends his daughter to
Girton to study the elements that have tended to raise
England to her proud position.
In grotesque characterization, in mirthful situations,
in wit and humour of dialogue and graceful rhythmic
song words, Gilbert proved that he ha.d not yet ex-
hausted the resources of his peculiar genius. The
interval of rest away from the theatre had, it seemed,
refreshed his muse, and although, at the early re-
hearsals of the play, the author, still suffering from
gout, had to be wheeled about the stage in a bath-
chair, the perfect production of the new opera testified
that Gilbert remained without a rival in the skill of
stage-management.
Those of my readers to whom " Utopia " is an un-
" UTOPIA " 315
known quantity would very likely be glad to be told
something further about the eccentric King Para-
mount, who sought to remodel his Court on the cere-
monial lines of the Court of St. James's ; but the story
would appear insipid and uninteresting unless told in
Gilbert's own inimitable way.
The best that can be done here is to quote a few
samples of the dialogue and lyrics, from which some
idea may be gathered of the plot and incidents of the
piece, of the quality of the stanzas which inspired
Sullivan to draw from his inexhaustible well of melody
some of the sweetest conceptions.
Let us take, first, a duet between Nekaya and
Kalyba, the twin daughters of King Paramount, girls
about fifteen years old, who have been " finished " by
" a grave, and good, and gracious English lady, and
are now to be exhibited in public" that all may learn
what, from the English standpoint, is looked upon as
maidenly perfection.
In very modest and demure manner they stand with
their hands folded and their eyes cast down as they
introduce themselves thus :
Both. Although of native maids the cream,
We're brought up on the English scheme
The best of all,
For great and small.
Who modesty adore.
Nek. For English girls are good as gold,
Extremely modest (so we're told),
Demurely coy divinely cold
Kal. And we are that and more.
To please papa, who argues thus
3i6 GILBERT AND SULLIVAN
All girls should mould themselves on us,
Because we are.
By furlongs far.
The best of all the bunch.
We show ourselves to loud applause
From ten to four without a pause
Nek. Which is an awkward time because
It cuts into our lunch.
Both. Oh, maids of high and low degree,
Whose social code is rather free,
Please look at us and you will see
What good young ladies ought to be !
Nek. And as we stand, like clockwork toys,
A lecturer whom papa employs
Proceeds to praise
Our modest ways
And guileless character
Kal. Out well-known blush our downcast eyes
Our famous look of mild surprise
Nek. (Which competition still defies)
Kal. Our celebrated ' Sir ! ! ! '
Then all the crowd take down our looks
In pocket memorandum-books.
To diagnose
Our modest pose
The Kodaks do their best :
Nek. If evidence you would possess
Of what is maiden bashfulness,
You only need a button press
Kal. And we do all the rest.
Gilbert's faith in the histrionic capabilities of tenors,
as a body, was not great ; yet, strange to tell, he some-
times entrusted to the leading tenor some of the most
comical "business" of the piece, with song- words of
such subtle wit as to require a singer possessed of a
TENOR COMEDIANS 317
fall sense of humour to give adequate point to them.
This paradoxical feature of Gilbertian methods was
notably illustrated in " Ruddigore," where, as we have
seen, a broad comedian rdle was admirably played by
Durward Lely.
And now, again, in " Utopia " the usually conven-
tional sentimental love-scene between the principal
tenor and the prima donna was so humorous as to
call forth laughter as spontaneous as any heard
throughout the opera. The author's words may,
indeed, have been the chief factor of the fun, but they
needed a comedian to turn them to good account, and
Mr. Charles Kenningham, the Savoy tenor of that
period, proved himself an excellent comedian. But
then, it must be remembered how Gilbert possessed
the faculty of transforming any sort of vocalist aye,
even a "tenor-stick" into a competent actor. But
in order that what I am trying to convey may be the
better understood, the song and the scene in question
are here presented. It occurs at the opening of the
second act :
RBCiT.FiUbattU*xt
" Oh Zara, my beloved one, bear with me !
Ah, do not laugh at my attempted C !
Repent not, mocking maid, thy girlhood's choice
The fervour of my love affects my voice !
Song
" A tenor, all singers above
(This doesn't admit of a question),
Should keep himself quiet,
Attend to his diet,
And carefully nurse his digestion ;
3i8 GILBERT AND SULLIVAN
But when he is madly in love
It's certain to tell on his singing
You can't do chromatics
With proper emphatics,
When anguish your bosom is wringing !
When distracted with worries in plenty,
And his pulse is a hundred and twenty,
And his fluttering bosom the slave of mistrust is,
A tenor can't do himself justice.
Now observe (sings a high note),
You see, I can't do myself justice !
" I could sing, if my fervour were mock
It's easy enough if you're acting
But, when one's emotion
Is born of devotion,
You mustn't be over-exacting.
One ought to be firm as a rock
To venture a shake in vibrato,
When fervour's expected,
Keep cool and collected,
Or never attempt agitato.
But, of course, when his tongue is of leather,
And his lips appear pasted together,
And his sensitive palate as dry as a crust is,
A tenor can't do himself justice.
Now observe {sings a cadence),
It's no use I can't do myself justice ! "
Zara. Why, Arthur, what does it matter ? When
the higher qualities of the heart are all that can be
desired, the higher notes of the voice are matters of
comparative insignificance. Who thinks slightingly
of the cocoa-nut because it is husky ? Besides (de-
murely) you are not singing for an engagement (putting
her hand in his), you have that already 1
Fitz. How good and wise you are I How unerringly
GILBERTIAN LOVE-SCENE 319
your practised brain winnows the wheat from the
chaff, the material from the merely incidental !
Zara. My Girton training, Artnur. At Girton all
is wheat, and idle chaff is never heard within its walls.
A splendid specimen of a Gilbertian love-scene ; a
perfect parody of the silly ways of young lovers in
general, and tenor lovers in particular. Need it be
added how thoroughly Sullivan entered into the spirit
of the fun, intensifying the humour of every line by
the mirth-provoking devices of his musical instruments ?
Following upon this amusing lyric, in agreeable
contrast came the following graceful
Duet
Zara. " Words of love too loudly spoken
Ring their own untimely knell ;
Noisy vows are rudely broken,
Soft the song of Philomel
Whisper sweetly, whisper slowly,
Hour by hour and day by day ;
Sweet and low as accents holy
Are the notes of lover's lay.
Frrz. " Let the conqueror, flushed with gloiy.
Bid his noisy clarions bray ;
Lovers tell their artless story
In a whispered virelay.
False is he whose vows alluring
Make the listening echoes ring ;
Sweet and low when all-enduring
Are the songs that lovers sing/'
CHAPTER XV
" UTOPIA " CONTINUED
Cast of the opera A new Savoy prima donna D6trat of Miss Nancy
Mcintosh More samples of Gilbert's lyrics and dialogue
" Utopia " a popular success Utopian Court Drawing-room
Displeasure in high places.
322 GILBERT AND SULLIVAN
It was with a loud flourish of trumpets that Miss
Nancy Mcintosh, the pretty American soprano, made
her d6but on the operatic stage in the part of " The
Princess Zara."
A native of Cleveland, Ohio, Miss Mcintosh had
come to London to study singing under Mr. George
Henschel, and it was at concerts directed by that
famed professor that his pupil became favourably
known to the musical public.
Gilbert, having been charmed by the singing and
personality of the young artiste, introduced her to
Sullivan and D'Oyly Carte, the result being her engage-
ment as principal soprano in the new Savoy opera
Highly laudatory press notices, in advance, led the
public to anticipate a triumphant first appearance at
the Savoy. That their brightest expectations were
fully realized can hardly be admitted. As a singer
gifted with a beautiful voice, Miss Mcintosh was
readily acknowledged to be a great acquisition to the
Savoy ; but as an actress she was found to be; unripe.
She had much to learn before she could attain to that
mark which distinguishes the professional from the
amateur. It is, invariably, a mistake to exalt a novice
at one step to the front rank. Such faith, without
sure foundation, seldom results in anything but dis-
appointment to all concerned. Far wiser is it to allow
an artist to graduate and earn degree than to thrust
honours upon the shoulders of one unprepared to
carry them. So it might have been with Mr. Gilbert's
clever protSgie. The leading lady's part in " Utopia "
was an exacting one, even for an experienced actress,
miss nancy Mcintosh 323
so that it would have been little less than marvellous
if a budding debutante, beset with nervousness and
the excitement of the occasion, had achieved un-
qualified success.
Such critical observations must not be taken as
ungracious reflections on the artistic merits of the
young prima donna ; they are simply intended to
convey some impression of the reason why Miss
Nancy Mcintosh failed, in a measure, to achieve at
the outset the triumph all her friends had hoped to
witness.
And now to quote another delightful number from
the book of "Utopia/' Would that with Gilbert's
poetical words we might give Sullivan's lovely setting
of the unaccompanied chorus :
" Eagle high in cloud-land soaring,
Sparrow twittering on a reed,
Tiger in the jungle roaring,
Frightened fawn in grassy mead ;
Let the eagle, not the sparrow.
Be the object of your arrow,
Fix the tiger with your eye.
Pass the fawn in pity by.
Glory then will crown the day ;
Glory, glory, anyway ! '*
Was it not against the eagles and tigers of society
who prey upon poor humanity, those base beings and
the evils they beget, that Gilbert aimed the arrows of
his satire ? To the fawns, the gentler things of creation,
he was ever gentle. It was thus that glory crowned
his day.
324 GILBERT AND SULLIVAN
Another particularly happy song was one in praise
of English girls :
" A wonderful joy our eyes to bless,
In her magnificent comeliness,
Is an English girl of eleven-stone-two,
And five-foot-ten in her dancing-shoe !
She follows the hounds, and on she pounds
The ' field ' tails off and the muffs diminish
Over the hedges and brooks she bounds
Straight as a crow, from find to finish.
At cricket, her kin will lose or win
She and her maids, on grass and clover,
Eleven maids out eleven maids in
And perhaps an occasional ' maiden over ' !
Go search the world and search the sea,
Then come you home and sing with me.
There's no such gold and no such pearl
As a bright and beautiful English girl !
" With a ten-mile spin she stretches her limbs.
She golfs, she punts, she rows, she swims
She plays, she sings, she dances, too.
From ten or eleven till all is blue !
At ball or drum, till small hours come
(Chaperon's fan conceals her yawning),
Shell waltz away like a teetotum,
And never go home till daylight's dawning.
Lawn-tennis may share her favours fair
Her eyes a-dance and her cheeks a-glowing
Down comes her hair, but what does she care ?
It's all her own and it's worth the showing !
Go search the world, etc.
" Her soul is sweet as the ocean air,
For prudery knows no haven there ;
FINALE TO "UTOPIA" 325
To find mock-modesty, please apply
To the conscious blush and the downcast eye.
Rich in the things contentment brings,
In every pure enjoyment wealthy,
Blithe as a beautiful bird she sings,
For body and mind are hale and healthy.
Her eyes they thrill with right good-will
Her heart is light as a floating feather
As pure and bright as the mountain rill
That leaps and laughs in the Highland heather !
Go search the world, etc."
Then let us take the stanza that forms the Finale to
the opera. In this it seemed as though the author
wished to offer some atonement for the ridicule he had
been pouring upon his own country, and to show that
he could from his heart say with Byron, " England,
with all thy faults, I love thee still."
Finale
Zara. " There's a little group of isles beyond the wave
So tiny, you might almost wonder where it h
That nation is the bravest of the brave,
And cowards are the rarest of all rarities.
The proudest nations kneel at her command ;
She terrifies all foreign-born rapscallions ;
And holds the peace of Europe in her hand
With half a score invincible battalions i
Such, at least, is the tale
Which is borne on the gale.
From the island which dwells in the sea.
Let us hope, for her sake,
That she makes no mistake
That she's all she professes to be 1
326 GILBERT AND SULLIVAN
King. " Oh may we copy all her maxims wise.
And imitate her virtues and her charities ;
And may we, by degrees, acclimatise
Her parliamentary peculiarities !
By doing so we shall, in course of time,
Regenerate completely our entire land
Great Britain is that monarchy sublime,
To which some add (but others do not) Ireland.
Such, at least, is the tale, etc."
From the point of view both of the Press and of the
public, " Utopia " was a great success, and it proved
itself to be so by filling the Savoy Theatre for 245 days.
Why then, it may be asked, has the piece never been
revived, like nearly all the other G. and S. operas?
Possibly the only true answer lies in the fact that
King Paramount' s playful parody of the English
Court caused grave displeasure in high places, so that
to repeat the offence would be beyond the bounds of
loyalty, wise policy, or good taste, even though in
later days the subject might not be received in the
same serious, grey light that dimmed the glories of
" Utopia " twenty years ago. The evil was found
in a too faithful but highly coloured representation of
Princes and Princesses, noblemen and statesmen,
household officials and others, modelled, as it were,
from real life at St. James's. In the belief that such
scenes excited ridicule, Gilbert's fantasy was taken
as an affront, and so deeply resented that no member
of the English Court was known to pay a second visit
to " Utopia."
It may be interesting to the present generation I
" UTOPIA "-COURT SCENE 327
trust it may not be considered indiscreet if we extract
from the libretto the entire scene which, although it
did not bring upon Gilbert a charge of Use-majesU,
was held to be, at least, wanting in respect to Royalty
and High State.
King. (Addressing members of his Cabinet.) Gentle-
men, our daughter holds her first Drawing-room in
half an hour, and we shall have time to make our half-
yearly report in the interval. I am necessarily un-
familiar with the forms of an English Cabinet Council ;
perhaps the Lord Chamberlain will kindly put us in
the way of doing the thing properly, and with due
regard to the solemnity of the occasion.
Lord Dramaleigh. Certainly nothing simpler.
Kindly bring your chairs forward His Majesty will,
of course, preside.
They range their chairs across stage like Christy
Minstrels. King sits C, Lord Drama-
leigh on his L., Mr. Goldbury on his
R. 9 Capt. Corcoran L. of Lord Drama-
leigh, Capt. Fitzbattleaxe R. of Mr.
Goldbury, Mr. Blushington extreme
R., Sir Bailey Barre extreme L.
King. Like this?
Ld. Dram. Like this.
King. We take your word for it that all is right.
You are not making fun of us ? This is in accordance
with the practice at the Court of St. James's ?
Ld. Dram. Well, it is in accordance with the practice
at the Court of St. James's Hall.*
King. Oh 1 it seems odd, but never mind*
* The Hall in London, where the Moore and Burgess Christy Min-
strels performances were given.
328 GILBERT AND SULLIVAN
Song. King
Society has quite forsaken all her wicked courses.
Which empties our police-courts, and abolishes divorces.
Chorus. Divorce is nearly absolute in England.
King. No tolerance we show to undeserving rank and splendour ;
For the higher his position is, the greater the offender.
Chorus. That's a maxim that is prevalent in England.
King. No peeress at our Drawing- room before the Presence passes,
Who wouldn't be accepted by the lower middle classes.
Each shady dame, whatever be her rank, is bowed out neatly.
Chorus. In short, this happy country has been Anglicized com-
pletely i
It really is surprising
What a thorough Anglicizing
We have brought about Utopia's quite another land ;
In her enterprising movements
She is England with improvements,
Which we dutifully offer to our mother-land !
King. Out city we have beautified we've done it willy-nilly
And all that isn't Belgrave Square is Strand and Piccadilly.
Chorus. We haven't any slummeries in England !
King. We have solved the labour question with discrimination
polished.
So poverty is obsolete and hunger is abolished.
Chorus. We are going to abolish it in England.
King. The Chamberlain our native stage has purged, beyond a
question,
Of " risky " situation and indelicate suggestion ;
No piece is tolerated if it's costumed indiscreetly.
Chorus. In short, this happy country has been Anglicized com-
pletely !
It really is surprising, etc.
King. Our Peerage we've remodelled on an intellectual basis,
Which certainly is rough on our hereditary races.
Chorus. We are going to remodel it in England.
King. The Brewers andthe Cotton Lords no longer seek admission.
And Literary Merit meets with proper recognition.
k
k
it
UTOPIA "-COURT SCENE 329
Chorus. As Literary Merit does in England !
King. Who knows but we may count among our intellectual
chickens
Like you an Earl of Thackeray and p'raps a Duke of Dickens
Lord Fildes and Viscount Millais (when they come) we'll welcome
sweetly.
Chorus. In short, this happy country has been Anglicized com*
pletely !
It really is surprising, etc.
(At the end all rise and replace their chairs.)
King. Now, then, for our First Drawing-room.
Where are the Princesses ? What an extraordinary
thing it is that, since European looking-glasses have
been supplied to the royal bed-rooms, my daughters
are invariably late I
Ld. Dram. Sir, their Royal Highnesses await your
pleasure in the ante-room.
King. Oh. Then request them to do us the favour
to enter at once.
March. Enter all the Royal Household, in-
cluding (besides the Lord Chamberlain)
the Vice-Chamberlain, the Master of the
Horse, the Master of the Buck hounds, the
Lord High Treasurer, the Lord Steward,
the Comptroller of the Household, the Lord-
in-Waiting, the Groonhin-Waiting, the
Field Officer in Brigade Waiting, the Gold
and Silver Stick, ana the Gentlemen Ushers.
Then enter the three Princesses (their
trains carried by Pages of Honour), Lady
Sophy, and the Ladies-in-W aiting.
Thereupon followed an exact, a too faithful repre-
sentation of a Court Drawing-room; and this it was
330 GILBERT AND SULLIVAN
that caused all the trouble. It was a great pity, seeing
that " Utopia, or The Flowers of Progress/ 1 was one
of the brightest and wittiest of Gilbert's books, whilst
the score was rich in songs that all who heard them
would like to hear again. Some of them may be
numbered amongst Sullivan's purest gems of melody.
In connection with the rehearsals of "Utopia" an
anecdote is told of Charles Harris, the Stage Director.
Like his confrere, Richard Barker, Charlie Harris, whilst
brusque and rough in manner, was very kind-hearted.
Drilling the company in the Court Drawing-room scene,
he had great difficulty in prevailing on one of the
ladies to adopt the attitude of grace becoming the
occasion. At length he called her to his side and said :
" Look here, my dear, you mustn't walk as if you were
going to fetch your father's supper-beer. Bear in
mind, you are passing before the King and Queen."
The timid girl, abashed, was nigh weeping, but Harris,
in gentler tone, continued : " All you want is a little
confidence, my dear. I suppose you haven't much
money about you ? " The girl replied : " Not very
much, Mr. Harris." Then ''Charlie" handed her a
sovereign, saying, " Well, put that in your purse and
let's try again. Now walk as if you were a marchioness
with heaps of gold in your pocket." The inducement
having the desired effect, the poor girl blushingly
thanked Harris and offered back the sovereign. " No,
my dear, you keep that," said Charlie ; " go and dine
like a Duchess, and to-morrow, when you rehearse, you
will be fit to present at Court I "
Here is another characteristic story of Charles Harris,
A PLEASANT INCIDENT 331
i who, as is generally known, was brother to Sir Augustus
1 Harris. He had been witnessing a dress rehearsal
1 at Drury Lane. On his return to the Savoy D*Oyly
Carte asked him how things had gone. Harris replied,
1 " Awful ! everything is in a perfect state of Kudos'*
1 " Utopia," after a run of 245 performances, was with-
drawn on June 9th, 1894.
< The most pleasant incident of the memorable first
t night of "Utopia" was the enthusiastic reception of
[ Gilbert and Sullivan when they took their " Call," and,
; appearing before the curtain, shook hands in token of
the renewal of their friendship. It was a touch of
. sentiment that went straight home to the hearts of
all Savoyards, and evoked shouts of joy sincere and
unrestrained.
CHAPTER XVI
Fortune on the ebb " Mirette " " The Chieftain "Revival of
4 " The Mikado "Apathy of Savoyard* " The Grand-Duke "-
Madame Ilka von Palmay The last Gilbert and Sullivan opera
" Mikado " again revived i,oooth performance of " The Mikado "
Retirement of Jessie Bond " His Majesty "Sir Alexander
Mackenzie's music First revival of " The Yeomen of the Guard 11
" The Grand-Duchess " Offenbach and Sullivan First revival
of " The Gondoliers."
Following the withdrawal of " Utopia " on June 9th,
1894, the tide of fortune began to ebb. Failure fol-
lowed upon failure. All Mr. Carte's plucky efforts to
find a piece to the liking of his patrons were in vain.
First he tried an English adaptation of Andr6 Messaged
" Mirette/' an opera comique which had met with
great success in Paris, but here it proved unacceptable,
and was withdrawn after forty days, and the theatre
remained closed for two months. Yet so great was
D'Oyly Carte's faith in the attractiveness of Messaged
music that he ventured to produce a second version of
" Mirette/' but with no better success than had at-
tended the first edition. French opera was not what
was wanted at the Savoy.
Then followed the Burnand-Sullivan comic opera,
"The Chieftain/' a glorified version of the same
author's " Contrabandist a/' a one-act musical piece,
produced by German Reed at St. George's Hall in
33*
"MIKADO" REVIVED 333
1867. " The Chieftain " was allowed but short life,
and not a very merry run of ninety-six nights. No-
thing would satisfy the Savoyards but Gilbert and
Sullivan. All other authors and composers were as
heretics. And it must be the conjoint work of their
favourites, otherwise the piece would not be a genuine
Savoy Opera* Accordingly the ever-obliging Manager
recalled a second time " The Mikado/ 9 and that popular
potentate again proved the greatness of his sway.
People swarmed to renew the acquaintance of " Pooh-
Bah/' "Koko" & Co., those grotesque Japanese
serio-comics whose welcome would never wear out.
For 127 nights mirth and laughter reigned once more
at the Savoy. Meanwhile, a new opera by Gilbert
and Sullivan had been in rehearsal. Strange to relate,
the preliminary announcement of the piece did not
create the usual wave of excitement. The Savoyards
seemed to be growing apathetic in their attitude even
towards their great high-priests. Could it be that
recent failures had caused them to lose faith in the
Savoy management, and that now they were following
the instincts of rats that scuttle from a sinking ship ?
The suggestion was absurd. If only the new opera
should prove as good, or even half as good, as " The
Mikado/ 1 or " The Gondoliers/' apathy would promptly
change to the old enthusiasm. And so, yet hoping for
the best, they patiently awaited the production of
" The Grand-Duke, or the Statutory Duel."
The first performance took place on Saturday,
March 7th, 1896. Too soon it was found that hopes
were doomed to disappointment. The bright wedding-
334 GILBERT AND SULLIVAN
chorus which opened the opera was full of promise
and put everybody into a happy mood. Sullivan had
returned to cheer the town, as he alone could do, with
his exhilarating music. But whilst the audience
turned over the leaves of "The Book" they grew
more and more listless. Where was the sparkling,
effervescent Gilbertian wit that had tickled their
fancy without failing for the past twenty years?
Surely this was not the same Gilbert who had given
them just a dozen masterpieces, with which none but
the most captious critics had found reasonable fault.
Did the evil lie in the fact that " The Grand-Duke"
bore the fatal number thirteen, or, what did it all
mean ? The weakness was not with the dramatis
personae, for the cast included many old-established
favourites Rosina Brandram, Emmie Owen, Rutland
Barringtou, Walter Passmore, Scott Russell, and
Charles Kenningham. No stronger company could
Savoyards have wished for. To the list was added the
name of Madame Ilka von Palmay, a charming Hun-
garian soprano, whose pretty suspicion of a foreign
accent gave agreeable colour to a remarkably clear
English enunciation. The new prima donna's talents
could not be rightly gauged by the part she had to play
in such a vapid, uninteresting opera. Then further,
although no one could foretell it, the minor parts were
filled by artistes whose names, in later days, were
to be entered on the roll of popular Savoy favour-
ites. Among these were Ruth Vincent, Jessie Rose,
Florence Perry, and C. H. Workman. Individually
and collectively the company, coached and drilled to
It
THE GRAND-DUKE" 335
the usual Savoy pitch of perfection, worked right
loyally and well ; but they could not import life into
the dry bones of " The Grand-Duke/ * nor could Sulli-
van's most sparkling ripple of melody lift the piece
out of the stagnant slough of Gilbert's un-Gilbertian
humour. It was evident that our author's muse was
sick or sulky when he wrote " The Grand-Duke." No
one could believe that Gilbert's mine of fun fantastic
was worked out. Yet it was possible 1
It would be a thankless task and quite unnecessary
to dwell longer on an event that cannot be included
amongst happy reminiscences of the Savoy. Still less
pleasant is it to reflect that " The Grand-Duke " was
the last work of the famous collaborators. Far hap-
pier would our retrospect have been if, before those
amber, satin curtains of the Savoy, Gilbert and Sulli-
van might together, hand in hand, have made
their final bow amidst the loudest shouts of triumph
that had ever rewarded their labours. But it was
not to be.
Thus " The Grand-Duke " won the unenviable dis-
tinction of scoring the shortest run of all the Gilbert
and Sullivan operas. The total number of per-
formances was one hundred and twenty-three.
After the extinction of His Highness, back came the
marvellous " Mikado " to save the situation and restore
the fame of its author. This, the third revival of the
Japanese opera, continued to hold the stage for 226
consecutive performances. Since its original produc-
tion in 1885, " The Mikado " had now been played at
the Savoy alone no fewer than 1,141 times. The one-
336 GILBERT AND SULLIVAN
thousandth performance was celebrated, in gala fashion,
by an audience resembling that of a first night. The
theatre was beautifully decorated with scarlet and
gold chrysanthemums, and " All was right as right
could be/ 9 under the fourth dispensation of the " Most
humane Mikado that ever did in Japan exist." A
noteworthy incident attached to this revival was the
retirement from the stage of Miss Jessie Bond. During
a period of nearly twenty years, this clever little lady,
by her talents as an actress and singer and still more
so by the charm of her personality, had captivated
the hearts of all Savoyards, and now, on her entering
into "the felicity of unbounded domesticity," Miss
Bond's departure was accompanied by the hearty
good wishes of her colleagues and a multitude of
friends in front of the curtain.
And now, "The Mikado" having retired to rest
for a while, we were to witness the accession of yet
another monarch on the Savoy stage.
The production of " His Majesty, or the Court of
Vingolia," written by Mr. F. C. Burnand and composed
by Sir Alexander Mackenzie, was anticipated with keen
interest. For the first time the distinguished Mus. Doc
entered the domain of comic opera. Every music-
lover knew that Sir Alexander might be trusted to do
nothing that was not in the highest degree musicianly.
With such an expert librettist as the Editor of
Punch, the famous Principal of the Royal Academy
of Music would, it was confidently thought, have the
assistance of a most worthy colleague. Much, then,
was expected from such collaboration. But, alas ! all
HIS MAJESTY" 337
such hopes and expectations proved futile. For some
reasons, which it would be impertinent to try to ex-
plain, Burnand's style of humour failed to appeal to
a Savoy audience. In the right order of things it
should have been otherwise, since, by strange coin-
cidence, Mr. Francis Cowley (now Sir Francis C.)
Burnand, is descended from an old Savoyard family.
" His Majesty " was far from the brightest inspiration
of the witty author of " Happy Thoughts/' who in this,
his latest work, was assisted by Mr. R. C. Lehmann,
his clever colleague on the staff of Punch. Burnand's
" Court of Vingolia " lacked the brilliancy and vitality
of Gilbert's " Utopian Court," or that of the " King-
dom of Barataria," in which the "Men^Gondoliers"
frolicked and flourished for five hundreH'gladsome days.
In brief, " His Majesty " was not up to the mark as a
libretto. It was wanting in a quality most likely to
evoke humour from any serious composer, so that it
may justly be said that Sir Alexander Mackenzie was
too heavily handicapped by his librettist. His music
throughout "His Majesty 91 was full of life and spirit,
rich in grace, charm, and variety ; but it was not quite
bright and sparkling enough for the purpose of Savoy
Opera.
The composer's superb instrumentation and beautiful
choral effects were better suited to Grand Opera. No-
thing finer than the Finale to the first act was ever
heard at the Savoy. Sir Alexander truly gave us of
his best, but, to quote the words of a musical critic,
"The musician's best is not always the best in the
ears of an ordinary British theatrical audience. Such
22
338 GILBERT AND SULLIVAN
fine orchestration was above the understanding of the
Savoyards"
Many music-lovers, after hearing the music of " His
Majesty/' expressed regret that Mackenzie's opera
"Colomba" had not been produced by Mr. D*Oyly Carte
at the English Opera-house. It might well have been
included in the required repertoire, which, if it had been
established,. might have changed the destinies of the
palatial theatre built by Carte for such specific purpose.
The character of His Majesty, Ferdinand the Fifth,
was represented by George Grossmith, who made his
reappearance at the Savoy after an absence of nearly
eight years. But the popular comedian, finding the
part unsuitable to him, resigned it after a few per-
formances, and his place was taken by Mr. H. A.
Lytton, who scored his initial success at the Savoy,
where, in later revivals of the Gilbert and Sullivan
operas, he established his fame by his admirable
acting and singing in various parts.
After a reign of sixty-one days, " His Majesty " was
dethroned, and on May 5th, 1897, " The Yeomen
of the Guard" was revived for the first time. This
charming opera was as welcome as the spring flowers
that were just then blooming in the Thames Embank-
ment Gardens.
" The Yeomen " again drew crowded audiences to
the Savoy up to November 20th, 1897. After a short
recess, Mr. Carte put on " The Grand-Duchess " ; but,
notwithstanding the fascinations of Florence St. John
in the title-role, Hal6vy and Offenbach's " Grand*
Duchess 9 ' proved as unattractive as Gilbert and
"THE ENGLISH OFFENBACH" 339
Sullivan's " Grand-Duke/' The most interesting con-
sequence of this revival was the opportunity it afforded
of drawing comparison between the English and the
French masters of light opera. However much opinions
in the wider world may have differed regarding the
comparative merits of the two composers, it was quite
certain that, at the Savoy, Offenbach in all his brilli-
ancy did not succeed in dimming the glory of Sullivan*
If, at the time, any play-goer questioned that fact, the
enthusiasm which greeted the return of " The Gon-
doliers must have convinced them that Sir Arthur
Sullivan still reigned King Paramount in the hearts
of British music-lovers.
We have sometimes heard Sullivan described as
" The English Offenbach." According to a statement
contained in a letter from Sir Arthur to his friend
Mr. B. W. Findon, the very absurd, ill-considered epi-
thet was invented by Mr. G. A. Macfarren. That the
learned Professor did not intend it as a compliment
to his gifted British contemporary is obvious. By
most of us it is accepted in the reverse sense ; by many
such facetious comparisons are resented as an affront,
a slur on Sullivan's fame. There is an unmistakable
savour of jealous spleen and ill-natured irony in the
phrase " The English Offenbach." And it is much to
be regretted that Macfarren should have handed the
term down to posterity in the pages of the "Encyclo-
paedia Britannica." Musical savants in France have
never, so far as we know, returned the compliment by
calling Offenbach " The French Sullivan." They are
wiser and more polite across the Channel. Our French
340 GILBERT AND SULLIVAN
friends doubtless recognized the absurdity and ques-
tionable taste of linking together the names of two
composers so distinct in their musical style and
method. But then, it may be remarked, music-lovers
in France have been far less prodigal in their praise of
Sullivan than we English have been in our admiration
of Offenbach. The comparison is entirely uncalled fori
" The Grand-Duchess," when previously performed
in England, had given musical play-goers great pleasure,
but, although Offenbach's effervescent, bubbling music
was appreciated for a brief season at the Savoy, it
soon became stale, flat, and unprofitable. Accordingly,
after ninety-nine performances, the French piece was
withdrawn and on March 22nd, 1898, " The Gondo-
liers " came back to hold the Savoy stage for a few
weeks pending the production of " The Beauty Stone."
The cast of the operas mentioned in this chapter will be found in
the Appendix at the end of the book.
CHAPTER XVII
" THE BEAUTY STONE "
Collaboration of Pinero, Comyns Carr, and Sullivan Romantic Musical
Drama Good music v. bad music Old and new music Sir
Alexander Mackenzie's esteem for Sir Arthur Sullivan Letter
from Sir Alexander His Sullivan lectures The present author
airs his personal views " The Golden Legend " A letter from
Sullivan Pineiro's libretto Comyns Carr's lyrics " Beauty
Stone" unsuited to Savoy Ruth Vincent Pauline Joran
Walter Passmore plays "The Devil "Emmie Owen, "The
Dare-devil."
After a brief run of the revived " Gondoliers " a great
revolution took place at the Savoy. King Ridicule
was driven from his throne ; laughter holding both
his sides was silenced for a time, whilst " The Devil "
usurped authority and strove to bring back to the
stage the spirit of superstitious romance which so
enthralled and, it is assumed, delighted play-goers in
the Middle Ages.
For some time it had been rumoured that Mr. Pinero
had undertaken to supply Sir Arthur Sullivan with
a libretto ; great, then, was the interest awakened.
What, it was asked, might we not expect from the
conjoint work of England's most brilliant living dra-
matist and her favourite living composer ? A work of
art it was bound to be. Accordingly, when it became
341
342 GILBERT AND SULLIVAN
known that Pinero and Comyns Carr, with Sullivan,
had completed a Romantic Musical Drama, curiosity
knew no bounds. The scenes of enthusiasm that
always attended a Savoy premihre have more than
once been described in this volume, but the writer can
recall no occasion when greater excitement prevailed
than on this first night of " The Beauty Stone." Never
in the proud annals of the Savoy had a more brilliant
nor a more eager and impatient audience assembled,
and when, on opening their programmes, people saw
that Walter Passmore was going to play " The Devil,"
everybody expected lots of good fun. So frantic and
continuous were the cheers that greeted Sir Arthur
Sullivan's reappearance in the Conductor's Chair that
many moments elapsed before the popular maestro was
allowed to raise his baton. When at length he did
so, there came a mighty hush to proclaim the intense
interest with which the house settled down to listen
for the first time to the overture to "The Beauty
Stone." A few bars, and it needed not the presence
of the chief in the orchestra nor his name on the pro-
gramme to identify the composer with its ever-haunt-
ing melodies, which so many have tried to emulate, but
have only succeeded in caricaturing. And Sullivan's
muse appeared to have been refreshed and invigorated
by his sojourn in the Riviera, from whence our com-
poser had recently returned for the rehearsal of his
new opera.
I have been sometimes asked to define the difference
between good music and bad music. Being neither a
theoretical nor a practical musician, and, indeed, a
MUSIC: GOOD v. BAD 343
most consummate ignoramus concerning the canons
of the musical art, all that I have been able to reply
has been that to me all music that delights one's
natural senses, quickens the pulse and appeals to the
inner consciousness may we not call it the soul ? is
good ; whilst that which sounds incongruous and un-
expressive of words or thoughts is bad. Such old-
fashioned notions will doubtless bring down upon me
the scorn and derision of musical prophets !
But my most indulgent readers may remind me
that this is hardly the place to air my views on a
subject regarding which I confess myself a dunce. My
excuse for such temerity must be that I am a devout
lover of music music that charms my senses, as
Sullivan's has ever done. Thus, regardless of ridicule,
I grasp the opportunity here afforded me of expressing
my humble but honest opinion that the music has
been the main artery of the life of the Savoy operas.
Moreover, I am just now smarting from the tongue-
pricks of a distinguished American litterateur, a man,
perhaps, as ignorant as myself of the rudiments of
music. He confessed that he liked some of Sullivan's
music in fact, he thought many of his songs were
quite " O.K." ; but that, to compare Sullivan favour-
ably, as a composer, with Offenbach was absurd,
nothing but insular prejudice. Over a Martini cock-
tail we agreed to differ. On the other hand, it is some
consolation to find my untutored judgment supported
by the academical observations of some of our highest
and best respected musical critics. Take, for instance,
the opinion of that serious and learned musical savant,
344 GILBERT AND SULLIVAN
Mr. W. S. Rockstro, who writes thus: "The pre-
dominant quality in Sullivan's light opera music is
reverence for art, conscientious observance of its laws
in little things.' ' Further, in support of the cause
I am pleading, let me call as a witness one who at the
present period is an acknowledged Field-Marshal in
the army corps of British musicians Sir Alexander
Mackenzie, Principal of the Royal Academy of Music.
In ready response to my request, Sir Alexander, with
characteristic kindness and good nature, has favoured
me with a few lines bearing testimony to the admiration
and esteem in which he held his departed friend and
colleague, Sir Arthur Sullivan. I cannot do better
than give a facsimile reproduction of the distinguished
Professor's letter.
It was my great privilege and pleasure to attend
those "Sullivan Lectures" which Sir Alexander
Mackenzie delivered at the Royal Institution in May
1901, just six months after the death of Sir Arthur.
Although thirteen years have intervened, I still retain
the deep impression made upon my mind by the
scholarly and graceful words uttered by a living master
of music in praise and honour of the master departed.
It is to be regretted that such clever and delightful
essays on the life-work of Sullivan should remain on
the shelf, and I have therefore ventured to suggest
to Sir Alexander Mackenzie that he should publish
them for the benefit and pleasure of posterity.
Such reliable expert judgment as that I have been
quoting above strengthens my own amateurish faith,
and I think I shall be supported by every British lover
THE GOLDEN LEGEND " 345
of music when I say that it is not easy to discover in
Sullivan's operas any music that is not good. To me,
Sullivan's was always real music, pure and most con-
vincing music, music that must touch a sympathetic
chord in a sensitive soul, unless, peradventure, it be
of that unhappy mortal described by Shakespeare :
" The man that hath no music in himself.
Nor is not moved with concord of sweet sounds.
Is fit for treasons, stratagems, and spoils."
Sullivan's melodies, " the concord of sweet sounds "
that flow incessantly through his instrumentation,
have always had the same effect upon my emotions,
whether the music I have listened to has been the
In Memoriam" overture, "The Golden Legend/'
The Mikado/ 1 or any of his lighter works, with their
least of delightful, solemn, pathetic, or humorous
harmonies.
After attending the first performance in London of
" The Golden Legend " at the Albert Hall Novem-
ber 15th, 1886 I was so deeply impressed with the
beauty of the work that, before retiring to rest that
night, I could not resist an impatient desire to express
my admiration and offer my congratulations to Sir
Arthur. By the following day's post I received from
the composer a note so characteristic of Sullivan's
genial, responsive nature that I would further adorn
this chapter with a facsimile reproduction.
But now to return to " The Beauty Stone." Here,
once more, Sullivan displayed the remarkable ver-
satility of his genius, Pinero's quaint, old-world
4$
4
346 GILBERT AND SULLIVAN
story, culled by the author's fervid imagination from
an incident of the year 1408 related by Froissart,
brought inspiration to the composer, while Dr. Comyns
Can's lyrics, if they did not reach the highest flight
of poetry, more nearly approached it than is often
found to be the case with operatic libretti. Carts
verse was never unpoetical ; it was always smooth
and rhythmical. But Sullivan, after having so long
yoked his muse to Gilbert's very crisp, pithy, and ever-
varying lyrics, was sometimes puzzled by his new
librettist's lengthy stanzas and extremely elongated
lines. Yet Sullivan succeeded in clothing them in
some of his boldest and most masterly music.
Taken altogether, " The Beauty Stone " was a work
of genuine art, one that any author or composer might
be proud to put his name to. Yet it failed to attract,
and was withdrawn after fifty performances. This
ill-success was, doubtless, partly due to the indisposi-
tion of the disciples of Gilbert and Sullivan to accept
any entertainment that disturbed the traditions of
their popular temple. The Savoy was not the right
place for this Romantic, musical drama. " The
Beauty Stone" required a wider setting, a more
elaborate mounting, and a numerically stronger com-
pany than was possible on the Savoy stage. Had the
piece been written and composed seven years earlier
it might, after a certain amount of reconstruction,
have been found suitable to place on the repertoire
of the English Opera-house that repertoire which
D'Oyly Carte had projected, but, unfortunately,
to create. But in 1891 " The Beauty Stone/'
I.QUEENS MAN8I0N8.
VICTORIA STREET. 8 W
/p. L*r'/fifc
(hL~4L yl+JL
^
<%A C& -X* -^*\
FACSIMILE LETTER FROM SIR ARTHUR SULLIVAN TO CUNNINGHAM BRIDGEMAN.
346]
"THE BEAUTY STONE" 347
like the renowned Spanish fleet, " could not be seen
because it was not yet in sight/'
And so it came to pass that the Pinero-Carr-Sullivan
opera was numbered with many another admirable
work that has failed through misadventure. It is
truly lamentable to reflect how once again so much
arduous labour proved in vain. More especially is it
to be regretted that one of Sir Arthur Sullivan's most
charming scores should lie buried, its music unheard
by the multitude, but never to be forgotten by the
comparative few whose privilege it was to listen to its
beautiful numbers. There are probably some old
Savoyards who will find particular pleasure in re-
calling that exquisite song of the blind heroine, poor
Laine (admirably impersonated by Miss Ruth Vincent),
who, left alone in her misery, invokes the pity of the
Blessed Virgin thus :
" Mother of Jesu, at thy feet I cry ;
I do not crave for love
That so my heart may live.
Else what am I ?
Nay, and if God above
Hath naught of love to give,
I fain would die/'
The scene may be remembered. As though in
answer to the maiden's prayer, the Devil, disguised as
a holy friar, enters and presents the cripple with the
magic gem, on which, he sings,
" Once trod the Virgin's feet, and, Since that hour,
This silent particle of piecious stone
A rehc rescued from the wreck of ti
34
GILBERT AND SULLIVAN
Hath so much virtue, that on man or maid,
Whoe'er it be who owns it, there doth fall
The gift of perfect Beauty."
This brief quotation will suffice to indicate the
quality of the work, and to show how widely this opera
differed from all that had preceded it at the Savoy.
The following is the cast of
THE BEAUTY STONE
AS PRODUCED BY MR. R. D'OYLY CARTE AT THE SAVOY
Theatre on Saturday, May 251H, 1898.
Philip, Lord of Mirlemont
Guntran of Beaugrant
Simon Limal .
Nicholas Dircks
Peppin
A Seneschal
A Lad of Town
Baldwyn or Ath
Lords of Serault/j
Velaines, and J-
St. Sauveur J
The Devil .
Laine
Joan
Jacqueline
Loyse, from St. Denis
Isabeau, from Florennes
Barbe, from Bovigny
A Shrewish Girl
A Matron
Saida .
Mr. George Devoll
Mr. Edwin Isham
Mr. Henry A. Lytton
Mr. Jones Hewson
Mr. D'Arcy Kelway
Mr. Leonard Russell
Mr. Charles Childerstone
Mr. J. W. Foster
. Mr. Cory James
Mr. H. Gordon
Mr. J. Ruff
Mr. Walter Passmore
Miss Ruth Vincent
Miss Rosina Brandram
Miss Emmie Owen
Miss Madge Moyse
Miss Minnie Pryce
Miss Ethel Jackson
Miss Mildred Baker
Miss Ethel Wilson
Miss Pauline Joran
Unhappily for the well-doing of his venture, Mr.
PINERO'S "DEVIL" 349
Carte, yielding to the persuasion of an influential friend
and professed authority, had engaged two American
singing actors who had come to London armed with
highly flattering testimonials. These gentlemen proved
to be, both as actors and singers, incapable of doing
justice to the very important parts with which they
were entrusted. They certainly made their mark on
public opinion, but it was not the mark desired ; in
fact, it was such a smudge as seriously to jeopardize
the success of the piece. Apart from these, no stronger
company of artists could have been desired. Notable
amongst them were Miss Pauline J or an, unquestion-
ably the finest prima donna ever seen on the Savoy
stage, and Miss Ruth Vincent, who for the first time
was given the opportunity of displaying those excep-
tional talents which have since brought her, especially
as a vocalist, to the front rank of her profession. A
word must be said concerning Pineiro's " Devil " as
portrayed by Walter Passmore. Of course, every man
who ever troubles to think of him must form his own
conception of the spirit of evil ; but, to me, the impish
being who caused such mischief with "The Beauty
Stone" had, with all his mediaeval grotesqueness
which the author intended I he should possess, too
much of the low-comedy mortal in his composition.
His tricks were more supernatural than his person-
ality. The Pineroic Prince of the Power of Dark-
ness bore a distinct family likeness to Goethe's
Mephistopheles, but lacked his courtly suavity and
that will-power which made Faust his slave. The
Devil who appeared at the Savoy for a brief season
350 GILBERT AND SULLIVAN
was neither so princely, nor so gentlemanly, nor so
sorrowful as Miss Marie Corelli's Satan, whilst, seeing
that his omnipotence over vain mortals was dependent
upon a pebble, one could not easily exalt him above
the rank of a demon-king in pantomime. I dare say
I was very dense in my perception, but I could not
make up my mind whether Pinero had misconceived
the character or the clever comedian, Walter Pass-
more, was too conscientious a Christian to take the
Devil's part even in a stage-play. Be this as it may,
it must be admitted that Passmore, aided by the
fascinating, clever soubrette, Emmie Owen, whose
spirited acting proved her to be the perfect personifica-
tion of a dare-devil, succeeded in imparting agreeable
relief to a too sombre, although exceedingly interesting,
romantic musical drama.
CHAPTER XVIII
Revivals: " Gondoliers," "Sorcerer/' "Trial by Jury" "The
Lucky Star "Sullivan and Basil Hood collaborate" The Rose
of Persia "Wilfred BendaU Captain Basil Hood as a librettist
"A Happy Ending" Sullivan and "The Absent-minded
Beggar " The narrator's last meeting with Sullivan.
u The Beauty Stone " was withdrawn on July 16th,
1898, and until the end of that year the Savoy stage
was occupied by revivals of "The Gondoliers" and
" The Sorcerer/ ' with " Trial by Jury/' Then came
" The Lucky Star," a comic opera in three acts. The
author-in-chief s name was not divulged, but the lyrics
were written by Adrian Ross and Aubrey Hopwood,
the music by Ivan Caryll. The piece was supported
by a strong company including Walter Passmore,
Henry A. Lytton, Robert Evett, Isabel Jay, Emmie
Owen, and Jessie Rose; but "The Lucky Star"
scarcely succeeded in justifying its title as far as it
concerned the management. The opera met with
only moderate success, and was taken off after a run of
one hundred and forty-three performances. " H.M.S.
Pinafore " was then revived a second time and enjoyed
another prosperous run of one hundred and seventy-
four days, extending to November 25th, 1899.
It was at this period that Sir Arthur Sullivan found
a new collaborator in the person of Captain Basil
351
352 GILBERT AND SULLIVAN
Hood, whose name as a dramatic author and librettist
had already become favourably known to the public
by several successful productions, notably " Gentle-
man Joe/' " The French Maid," and " Dandy Dan,"
to all of which pieces the music had been composed by
Walter Slaughter. The present writer may claim to
have been partly instrumental in bringing Basil Hood
to the footlights of London.
In the year 1886, when Captain (then Lieutenant)
Hood was serving with his regiment (the Princess of
Wales's Own Yorkshire) in Ireland, a fellow officer of
his showed me a sample of his early attempts at play-
writing. It was a " Blue Beard" pantomime, written
for and played by officers and men of his regiment. I
can well remember that the book of the words was
elaborately printed in blue, with an emblematic design
of a huge golden key on the cover.
Professing in those days to be a dramatic critic, I,
not without trepidation, undertook to read the novice's
play. Often previously my sensitive nerves had been
sorely tried through accepting the thankless office of
friendly judge and adviser. But to my pleasure I soon
discovered that the latest author of f ' Blue Beard "
was capable of more ambitious work than writing
amateur pantomime, Basil Hood's rhymed dialogue
was polished, bright, and witty, his song-words were
full of refined humour, his verse somewhat reminiscent
of his namesake, Tom Hood
Having made Hood's acquaintance, I introduced
him, first, to my friend Wilfred Bendall, a
AT ST. PAUL'S 369
again of the courtesy of his brother-author who is so
generous as to lend the aid of his experience.
In these sympathetic words, Mr. Findon describes
the scenes and incidents in which, as a chief mourner, he
took part at the Chapel Royal and St. Paul's Cathedral :
"... As the casket was borne into the Chapel, it
was impossible to avoid thinking of those days when
Sullivan himself had worn the gold and scarlet coat
of a Chapel Royal Chorister, and his sweet young
voice had rung through the sacred edifice. Then the
world and its honours lay before him, but we doubt
if even in the most sanguine moments of impulsive
boyhood he imagined the greatness that one day
would be his, or that his bier would pass within those
honoured walls amid the silent demonstration of a
mourning people. The anthem, * Yea, though I walk
through the valley of the shadow of death/ from his
oratorio 'The Light of the World/ was beautifully
sung, and the pathos of the music bathed many a face
in tears, and touched a tender spot in more than one
loving heart. Another of the dead master's exquisite
thoughts, ' Wreaths for our graves the Lord has given/
brought the Service at the Chapel Royal to an end,
and the procession passed on its way to St. Paul's
Cathedral, which was crowded with sympathetic
spectators.
" Clerical etiquette and cathedral dignity compelled
the beginning of the Burial Service aW and when
the coffin had been lowered into the crypt there
came the most poignant moment of the long ceremonial.
" Close to the open vault sat the members of the
Savoy Opera Company, including his life-long friend,
Mr. Francis Celfier, who had been associated as
chef d'orchestre with all his comic operas, and, after
24
370 GILBERT AND SULLIVAN
the Benediction had been given, they sang in voices
charged with emotion the touching chorus, 'Brother,
thou art gone before us/ from ' The Martyr of Antioch.'
The effect was quite remarkable, inasmuch as it was
one of those incidents which come but rarely in a
life- time."
It was not in London alone that people mourned for
Arthur Sullivan on that November day. Throughout
Great Britain and Ireland, on the Continent of Europe,
in America and farther across the seas, thousands of
fond and grateful hearts ached with grief at the
thought that England's dear master of melody had
passed away into the silent land. From high-born
personages and from people of low estate came floral
emblems, wreaths, crosses, and lyres innumerable.
Conspicuous among them was a beautiful harp of
purple blossoms with strings one broken of white
violets. To this offering was attached a card bearing
the inscription:
$n Aemorlam
ARTHUR SEYMOUR SULLIVAN
Born 13 May, 1842. Died 22 Nov., 1900
FROM MR. D'OYLY CARTE* S "ROSE OF PERSIA" TOURING
COMPANY IN TOKEN OF THEIR AFFECTIONATE REGARD
Dear Master, since thy magic harp is broken,
Where shall we find new melodies to sing ?
The grief we feel may not in words be spoken ;
Our voices with thy songs now heavenward wing.
Whilst on thy tomb we lay this humble token
Of love which to thy memory shall cling.
Belfast,
24th November, 1900,
t
t
i
LAST TRIBUTE TO SULLIVAN 371
These simple lines but half expressed the love and
esteem in which Sir Arthur Sullivan was held by all
whose privilege it was to have been associated with
him, and to have served, however humbly, his proud
and brilliant life-cause.
A line borrowed from Moore's poem on the death of
Sheridan might well be applied to Sullivan
"... Who ran
Through each mode of the lyre and was master of them alL"
CHAPTER XX
How the narrator heard of Sullivan's death Irish sympathy and
regret Edward German completes Sullivan's unfinished work,
" The Emerald Isle "Illness and death of D'Oyly Carte Brief
memoir of the Savoy Manager A characteristic anecdote.
It may not be out of place in these personal remi-
niscences to narrate how the sad tidings of Sullivan's
death reached my ears. I had arrived in Dublin as
Mr, D'Oyly Carte's press representative in connection
with the tour of "The Rose of Persia/' and on the
morning of November 22nd, in pursuance of my
official duties, I called at the office of The Irish
Times and interviewed one of the sub-editors. Speak-
ing of Sullivan's precarious health, I had just stated
that, according to latest reports from headquarters,
the composer had recovered strength sufficiently to
enable him to resume work on his new opera, to be
called " The Emerald Isle," when our conversation
was interrupted by a telephone call. Then, like a bolt
from the blue, came the message, " Sir Arthur Sullivan
died at nine o'clock this morning ! "
This was one of the strangest coincidences, as it
was, truly, the saddest one in my experience.
In the Irish capital the sad news created great
lamentation, for the music-loving people of Ireland
37a
M
THE EMERALD ISLE" 373
always claimed Sullivan as one of their kindred, and,
further, the knowledge that the subject of the pew
opera upon which he was engaged was Irish intensified
sympathetic interest in the sorrowful event.
As in London, so in Dublin, the anxious question
arose, " What will now become of ' The Emerald
Isle ' ? "
It soon became known that a large portion of the
music was left unfinished by Sullivan. Three songs
in the first act and five in the second act had not been
set, and, with the exception of numbers 1 and 2 scored
by Sir Arthur, the whole of the opera remained to be
harmonized and orchestrated. General satisfaction
followed the announcement that, by request of the
author, Basil Hood, and Mr. Carte, the task of com-
pleting the score had been undertaken by Edward
German.
In due course "The Emerald Isle" was finished,
and, appropriately, on St. Patrick's Day the opera
was placed in rehearsal at the Savoy, under the
personal direction of the author, assisted by Richard
Barker.
Although Mr. Carte was in too weak a state of
health to take any active part in the work of prepara-
tion, everybody rejoiced to learn that the patient
showed signs of wonderful improvement ; accordingly
it was fondly hoped that the esteemed manager's
strength would be sufficiently restored to allow him
to witness the production of the piece. But it was
not to be; a few days later Mr. Carte had a serious
relapse, and his distinguished medical attendant, Sir
374 GILBERT AND SULLIVAN
Thomas Barlow, pronounced him to be in a critical
state.
On April 3rd, four months and a half after the
death of Sir Arthur Sullivan, Richard D'Oyly Carte,
the second of the famous Triumvirate, passed away
in his London residence, No. 4, Adelphi Terrace, in
the fifty-seventh year of his age.
To musical London and a large sphere beyond the
news of the death of the popular impresario came
with a great shock. All Savoyards and associates of
the Savoy felt they had lost a friend, one to whom
they were indebted for a multitude of past joys.
In the year 1844 D'Oyly Carte was born in Soho.
His grandfather fought at Waterloo with "The
Blues " ; his father was a member of Rudall and
Carte, a well-known firm of musical-instrument
makers. His mother, descended from a Suffolk branch
of the D'Oyly family, was the daughter of a clergyman
on the staff of the Chapels Royal. After passing
through University College School, Richard D'Oyly
Carte matriculated at London University, but in
deference to the wish of his parents he abandoned
the "higher education" and entered his father's
business.
It was at the beginning of the year 1873 that I
made the acquaintance of Mr. Carte. Our first
meeting came about in this way : whilst confined to
bed for nearly a year in the Royal Naval Hospital,
Plymouth, through an accident contracted in the
service, I was guilty of writing a three-act comedy,
entitled " Shipmates." Greatly to my astonishment
II!
'<
%'
RICHARD D'OYLY CARTE 375
the play was accepted by a theatrical manager for
production in the provinces; whereupon, with the
unblushing assurance of a budding dramatist, I went
straightway to Arthur Sullivan and asked him if he
would do me the favour to compose the music of a
song incidental to my comedy.
Sullivan, being busily engaged on his oratorio " The
Light of the World/ 1 was unable to oblige me, but
he gave me a letter of introduction to Mr. Frederic
Clay, one of the most kind-hearted and genial men
it was ever my pleasure to meet. Clay very promptly
set my song, and a day or two later, when I called to
see him at his office in the Treasury, he conducted
me from thence up Whitehall to Craig's Court, and
there introduced me to Mr. Carte, whose firm at once
published the song called, by the way, " Lover Mine."
This happy incident was the beginning of a lasting
friendship, and formed another link in the chain of
circumstances that eventually drew me into the
family circle of the Savoy.
For the public at large it is hardly possible to realize
to what extent the remarkable success of the Savoy
pieces was due to D'Oyly Carte. His post of duty
resembled that of Chief Engineer on a great ocean
liner. He was seldom seen " on deck." It was only
on first nights that he gave his patrons the oppor-
tunity of gazing upon him. But, all the while, it was
owing to his skill and ceaseless care in the control
of the motive power that the good pleasure-ship,
The Savoy, with its rich argosy of mirth and melody,
voyaged safely past the breakers and shallows that
376 GILBERT AND SULLIVAN
sometimes beset its usually calm and prosperous
voyage. Without D'Oyly Carte's business instinct,
his knowledge, sagacity, tact, and good taste, Gilbert
and Sullivan might never have succeeded in emanci-
pating the English stage from the vulgar inanities
of those badly adapted, coarse richauffis of French
opira bouffe which were served up ad nauseam to
play-goers of tl*e unenlightened 'sixties.
If only for his achievement in cleansing the Augean
Stables of our theatres, the name of D'Oyly Carte
must always remain honoured in the history of the
English stage. Carte's energy and enterprise knew
no bounds, but seldom did his ambition o'erleap
itself. Perhaps, indeed, the only occasion where his
judgment proved at fault was, not so much in the
building of his palatial English Opera-house, as in
believing that British operatic composers would be
forthcoming when a suitable theatre was ready for
them.
It was a mistake to launch " Ivanhoe," to embark his
fortunes on what was, admittedly, a bold experiment,
without first providing a means of rescue in the shape
of other operas to follow. But for this error in judg-
ment, Carte's splendid aim to establish English opera
might have been achieved who <:an tell ? Never-
theless, despite the failure of his scheme, the pro-
moter was deserving of the greatest credit for his
plucky venture, whilst Mr. Carte's financial ability in
extricating himself from the undertaking was very
remarkable.
To a casual observer D'Oyly Carte's true character
A CHARACTERISTIC STORY 377
and disposition was a problem not easy to solve. His
customary attitude was that of a shy or nervous
man. Whilst conversing with him, a stranger might
not unreasonably imagine that he was indifferent
to the subject under discussion ; he gave one the
impression that his thoughts were wandering far
away. His response often sounded vague and point-
less, as though to signify that the matter did not
interest but rather bored him to talk about. But
all the while he was carefully weighing every word,
twisting and turning its value over in his mind. His
methods of transacting business were quite out of
the common order, and not always easy to compre-
hend for any but his trusty adjutants and servants,
all of whom could testify to the wisdom and soundness
of his instinct.
Carte possessed a keen sense of humour, yet, whether
listening to or telling a funny story, his countenance
never betrayed appreciation of the joke. Not a muscle
of his face relaxed ; he seemed as emotionless as the
Sphinx. But behind the veil of apathy he laughed
to his own heart's content.
These reflections recall to mind an anecdote Carte
used to tell against himself. It may be a " chestnut, 11
but it is, I think, a digestible one.
One day he had arranged to lunch with his old
friend and colleague, Mr. Michael Gunn, at Romano's
in the Strand. Gunn, after waiting for him some
minutes, sent a young messenger across to the Savoy
to remind Carte of the appointment. The youth
found his way down to the stage, where an audition
378 GILBERT AND SULLIVAN
was taking place. He tried to approach the busy
manager, but was abruptly told he must wait his
turn. Whilst standing amongst the crowd, listening
to the voice-trials, the messenger suddenly became
stage-struck, and, believing he could sing as well as
most of them, he thought he might venture to enter
the competition. Accordingly, as soon as his turn
came, he advanced boldly to the pianoforte, and
was asked by the chorus-mistress what he would sing.
Without hesitation he replied, " I am an Englishman. 11
This well-known song from " H.M.S. Pinafore " he
rendered to the best of his ability, but, as Carte after-
wards related, the accent of Romano's employ 6 was
much too Italian to belong to an Englishman, and he
advised the young buffo profundo to apply at Covent
Garden Opera-house. But the climax of the story
came when the young man got back to Romano's.
Mr. Gunn inquired what had kept him so long
away, and if he had brought an answer from Mr.
Carte.
" No, sir," he replied, " I could not get near the
gentleman, but I've had my voice tried."
D'Oyly Carte was a man of the most refined artistic
taste, a virtue richly inherited by his sole surviving
son, Mr. Rupert Carte. His home in Adelphi Terrace
was furnished in a manner admirably in keeping
with the decorative designs of Adam, with Angelica
Kauffman medallions which enriched the walls and
ceilings. In this connection a story is told of a certain
art connoisseur who, calling upon Mr. Carte, was
so lost in admiration of the surroundings of one ot
D'OYLY CARTE'S HOME 379
the rooms as to be led to betray weakness in critical
judgment. After studying, with the air of an expert,
the chimney-piece, he remarked : " Ah ! we shall
never see such workmanship as that again ! " Carte
very considerately refrained from informing his guest
that the chimney-piece he so greatly admired had
been recently designed and fitted to match the modern
appointments of the room.
His library and billiard-room were decorated by
Whistler, an old friend of D'Oyly Carte and his wife.
Whistler personally mixed the paints for these rooms.
Literary, artistic, and theatrical friends of Mr. Carte
remember with pleasure the delightful " yellow "
room at Adelphi Terrace, with its French windows
overlooking the Thames.
Of all the beautiful articles of furniture in his
London house, that which Mr. Carte valued beyond
all others was a luxurious sofa, the gift of Sir Arthur
Sullivan. It was upon this he was lying when he
breathed his last.
Mr. D'Oyly Carte was twice married and left two
sons the eldest, Lucas, a barrister, who died in 1907,
the other, Rupert, present chairman of the Savoy
Hotel and owner of the performing rights of the
Gilbert and Sullivan operas and the D'Oyly Carte
Opera Company.
To his second wife, formerly Miss Cowper Black,
better known as Helen Lenoir, Mr. Carte was in a
large measure indebted for his remarkable success,
but to this subject further reference will, it is hoped,
be made before the close of this book.
380 GILBERT AND SULLIVAN
Richard D'Oyly Carte was buried, in accordance
with his request, at F&irlight, Hastings, the funeral
being conducted privately. A handsome Memorial
Window in the Savoy Chapel Royal testifies to the
esteem in which he was held by all who knew him.
CHAPTER XXI
THE D'OYLY CARTE TOURING COMPANY
Discipline and esprit de carps Unabated enthusiasm in the provinces
A Classic Acting-Manager No " fish " stories admitted Fred
Billington's views and experiences Gilbert and Sullivan operas in
America, Africa, and the Continent English theatre orchestras
compared with German State subsidy George Grossmith and
George Thome Johannesburg An absconding dresser Billington
and Workman robbed Francis Cellier's visits to Africa Henry
A. Lytton Gilbertian actor of many parts Touring Its bright
and its dark side Company snowed up Leicester Tunks's birth-
day supper-party The Gilbert and Sullivan operas in Oxford and
Cambridge.
Five years have passed since the last performance of
a Gilbert and Sullivan opera took place at the Savoy,
but during that period Londoners have had frequent
opportunities of renewing the acquaintance of their
old favourites through the medium of the D'Oyly
Carte Touring Company at suburban theatres. At
the present moment a widespread appeal is being
made for the revival of the operas at their old home
or in some other West End theatre where, it is sug-
gested, an annual season of Gilbert and Sullivan
would prove sufficiently attractive to ensure a pro-
fitable return. There are, doubtless, many difficulties
in the way of carrying out the scheme which do not
enter into the consideration of the public. Whether
381
382 GILBERT AND SULLIVAN
Mr. Rupert IVOyly Carte is disposed to entertain the
proposition, or to rest content with the periodical
visits of his country company to outer London,
remains a Cabinet secret.
It might not unreasonably be imagined that the
members of the touring company, principals and
chorus alike, would grow stale and slack by constant
repetition of the operas, week in, week out, during
eleven months of every year ; but seldom is there to
be noticed any falling away in the quality of the
performances. Under close managerial watchfulness
and unrelaxing discipline, the high traditions of the
Savoy are upheld. But above and beyond that,
there exists a strong esprit de corps. Like the units
of a crack regiment, the D'Oyly Carte actors and
actresses are proud of their flag and jealous to defend
its honour and their own reputation. If it were
otherwise they would long ago have worn out their
welcome in the provinces, seeing that in Manchester,
Liverpool, Leeds, Sheffield, Newcastle, Glasgow and
Edinburgh in fact, in all the big towns visited by
the company play-goers are no whit less critical and
exacting, perhaps more so, than those of the metro-
polis. But there is no sign of enthusiasm abating.
Everywhere the Red and Black preliminary posters
of the " D'Oyly Carte Repertory Company " awaken
glad anticipation, and the theatres are crowded
throughout the period of their stay. My own per-
sonal experience of " the Road " being comparatively
limited, I invited Mr. Henry E. Bellamy, who, for
twenty years or more, has held the position of Acting-
A CLASSIC ACTING-MANAGER 383
Manager, to contribute any interesting data relating
to his tours. I hoped, for instance, that he might
be able to give an estimate of the number of miles
he has traversed whilst journeying through Great
Britain, Ireland, and also South Africa, where he has
thrice captained the company. I went so far as to
tempt him to divulge a state secret by informing the
public as to the approximate amount of s. d. he
had taken since he entered the service. But all in
vain; my friend, who is not generally of a bashful
or reserved disposition, yet ever discreet, replied that
the mathematical problems I had set him were beyond
his ability to solve. I should have remembered that
classics are his forte, and that, if I desired to brighten
my book with a few choice Latin quotations, Henry
Bellamy was the man to supply them. He very kindly
offered to contribute any amount of prime fishing
stories if they would be of any use, but, thanking
him, I remarked that I should be sorry to discount
the pleasure of the multitude who delight in listening
to, even if they do not always credit, the tales of his
piscatorial adventures. Further, I assured him that
my object was to include in these pages nothing but
the truth, the whole truth, and no fish stories.
Mr. Fred Billington I found much more ready to
oblige, and, in response to my request for a few notes,
the genial comedian denied himself the pleasure of a
round on the golf-links in order to prepare an outline
sketch of his views and experiences in connection with
the D'Oyly Carte Company.
Fred Billington is one of the most popular " strolling
384 GILBERT AND SULLIVAN
players " of his day. His name is one to conjure with
in every part of the country, and any incidents relating
to his career as a Gilbert and Sullivan actor will be
interesting to a large number of play-goers.
Mr. Billington joined the D'Oyly Carte Company
in 1879, making his first appearance at the Standard
Theatre, Shoreditch, as Bill Bobstay, boatswain's
mate of " H.M.S. Pinafore/' and has ever since
then remained staunch to the Savoy Operas.
He has played Pooh Bah well over three thousand
three hundred times, this number including perform-
ances in England, America, and the continents oi
Europe and Africa. He has twice gone with the
Company to South Africa, and, the veteran adds : " I
have paid one official visit to Balmoral, where I bad
the honour of presenting Pooh Bah to Her Majesty
Queen Victoria."
No one who has witnessed Billington's clever
character-study of the Gaoler in "The Yeomen of
the Guard" will be surprised to learn that Shadbolt
is his favourite part. It is certainly his best part
one that might have been designed expressly for him,
so perfectly does it suit his dry and unctuous style
of humour.
Touching his personal impressions of provincial
audiences, Billington pronounces them to be, as a
rule, good everywhere, but he awards the palm to
the Northern towns.
" In Edinburgh, Aberdeen, Glasgow, and New-
castle," he says, "the strongest evidence of ap-
21^^.; 7
PROVINCIAL AUDIENCES 385
preciation is shown. In the Midlands also, the operas
meet with loyal support. Yorkshire, my native
county, I cannot speak so well of, except, perhaps,
Sheffield. Sheffield, by the way, was the very first
town to understand Gilbert's humour ! But I must
not forget our good Irish friends and patrons, who
always give us such warm welcome that we look
forward to our periodical visits to Dublin and
Belfast with infinite pleasure. Provincial audiences
are variable in every way. This makes touring
interesting. We never know what to expect. Fresh
audiences, fresh orchestras, towns, theatres, dressing-
rooms, lodgings and hotels, all offer such constant
variety that there is no likelihood of getting stale, as
one is prone to become after a long run in London,
where to be given a good part in a successful play is
often a misfortune to the actor. He finds himself
transformed into a star, and immediately fancies he
has reached heaven, where there is no necessity to
work hard for a living ; and so he often gets careless
and acquires a contempt for the provinces where
he has probably learnt his business.
" Appreciation of Gilbert and Sullivan is also variable.
The audiences in some towns are apathetic ; Gilbert's
wittiest sayings are received as solemnly as if they
were sermons from the Reverend Doctor Dryasdust,
but in those towns of the North which I have specified
and also in Ireland, the people are very loyal to
' Ours, 1 and, if I am not mistaken, they will continue
to be so long after you and I are forgotten.
" Africa I liked immensely. Life there is so entirely
different from what one is accustomed to at home or
in France, Germany, or America I mean not only
theatrical but social and general life. But the towns
lie so far apart that railway journeys are not only
trying to one's nerves and patience, but lay a heavy
25
386 GILBERT AND SULLIVAN
tax on the managerial exchequer. Johannesburg is
the best town in South Africa for business, but sorry
is the lot of the management that does not draw
crowded houses there. Failing to do so means a vary
heavy loss on a big company like our own. Fortu-
nately, we hit the bull's-eye of popular taste, and
Manager Bellamy left the town a wealthier man
than when he entered it.
" In Cape Town, Durban, Maritzburg, Pretoria and
Bloemfontein, the theatres, if packed at ordinary
prices, only just enable a big company to pay expenses.
" Touching American audiences," Bulington con-
tinues, " they are, as every British actor knows,
splendid people to play to. If you give them a good
show they shower honours upon you, but if you fail
to please them they tell you so in plain words, and
their language is sometimes worthy of Limehouse.
I'm thankful to say I got on very well with them.
Pooh Bah was quite to their liking.
" Whilst in the States we also tried ' Ruddigore'
This was a frost ; the Americans were not for taking
any witch's curses. As for 'The Gondoliers/ as
everybody knows, across the herring-pond the opera
was known as ' The Gone-dollars.'
" Business on the Continent was variable. We
Elayed ' Mikado/ ' Pinafore/ ' Patience/ and ' Trial
y Jury * in Germany, Holland, Austria, and Bavaria.
To Berlin we returned four times to appear either
at the Walner or the Krolls Theatre. One notable
feature of our German audiences was their enthusiastic
reception of Sullivan's music, especially his concerted
pieces; on the other hand, Gilbert's humour was
nowhere understood. Such a specimen of a man-o'-
war sailor as Dick Deadeye of ' H.M.S. Pinafore/ the
Press remarked, would never be admitted into the
German Imperial Navy, and if ' Trial by Jury * was
PROVINCIAL ORCHESTRAS 387
a sample of English law proceedings, they preferred
their own methods.
"On the Continent the orchestras, everywhere,
were magnificent, numbering never less than forty,
sometimes as many as eighty, and all excellent players.
"The inadequacy of our English provincial orches-
tras is terrible. Only the most hardened artist can
witness, unmoved, tne murder of Sullivan's scores,
when twenty instruments have to do the work of
sixty or seventy. Our native instrumentalists may be,
doubtless they are, individually as proficient as the
foreigners, but to compare the numerical strength
of an ordinary English provincial orchestra with
those found even in second or third-class German
theatres is as unfair as it is absurd, seeing that, in
Germany, theatre bands are subsidized by Govern-
ment. Sullivan did what he could to try and per-
suade the powers that be to adopt the foreign policy,
but English Home Rule, as regards music or any
other branch of art, was not to be discussed or inter-
fered with.
"During my thirty-six years' association with the
Gilbert and Sullivan operas I have acted with thirty-
six Josephines in ' Pinafore ' ; sung under thirteen
conductors, including Sullivan himself and Alfred
Cellier ; I have been cast with a dozen Jack Points,
one of whom was George Thome, who actually created
some of what are known as 'The Grossmith' parts.
In witness whereof f The Referee ' some years ago,
in answer to a correspondent, said : ' Yes, George
Grossmith was the original Jack Point, but George
Thorne created the part/ A paradox only to be dis-
entangled by those who knew George Thome/'
Such are Mr. Billington's interesting and instructive
notes. But our old friend omits to mention a serio-
388 GILBERT AND SULLIVAN
comic incident which occurred to him in South
Africa.
The story, as related to me by Mr. C. H. Workman,
concerns an affair which occurred in Johannesburg,
where, we have been informed, a pile of money was
taken by the management.
Billington and Workman shared a dressing-room at
the theatre, and were waited upon by the best and
smartest dresser that had ever fallen to their lot
He was an Englishman, so they naturally trusted
him. But their over-confidence proved costly to
them. One " Treasury " night before leaving Johan-
nesburg, when, at the end of the performance of " The
Mikado," Koko and Pooh Bah returned to their
room to disrobe, no dresser was to be found, nor
were their purses, watches, and other valuables.
Their estimable attendant had left without saying
"Good-bye."
Billington, I am told, gave vent to his wrath is
some of his choicest Yorkshire vernacular ; Workman
was equally vehement in a minor key. However, as
soon as they had resumed their ordinary twentieth-
century attire, Billington observed, "Thank the
Lord, Workie, we won't have to tip him this week."
Francois Cellier, who twice accompanied the IXOyly
Carte Company to South Africa, used to say that those
trips were among the most pleasant events of his
life.
Next in seniority to Fred Billington in the existing
D'Oyly Carte Touring Company comes Henry Lytton,
who made his first appearance in Gilbert and Sullivan's
MR. HENRY A. LYTTON 389
opera as a member of the Savoy Chorus in 1884. It
was not until three years later that he was promoted
from the ranks. His opportunity came when he
was called upon, at a few hours 9 notice, to play Robin
Oakapple in " Ruddigore " the part vacated by
George Grossmith a few nights after production.
His success determined Mr. Caxte to entrust him with
the leading comedian's roles on tour. Ten years
later he was suddenly recalled to the Savoy, again
to relieve Grossmith, who had resigned his part in Sir
Alexander Mackenzie's opera, " His Majesty." From
that time onward, with intervals, during which he
fulfilled other engagements away from the Carte
management, Lytton has appeared in all the Savoy
revivals, and, when these came to an end, returned
with the company to the provinces, where he has long
been an established favourite. As a versatile actor
his record is remarkable.
To mention only a few of Mr. Lytton' s achievements.
In " The Sorcerer " he has succeeded Barrington as
the Vicar; in "H.M.S. Pinafore" he has played
Captain Corcoran and Dick Deadeye ; in " The
Pirates of Penzance," the Major-General and the
Pirate King ; Grosvenor in " Patience " ; Strephon
in " Iolanthe " ; in " The Mikado " he has appeared
both in the title-r61e and as Ko-Ko ; in " The Gon-
doliers," Giuseppe Palmieri, and also the Duke of
Plaza Toro ; and in " The Yeomen of the Guard "
he has played, in turn, Wilfred Shadbolt and Jack
Point.
This list, incomplete as it is, will suffice to show
390 GILBERT AND SULLIVAN
Lyt ton's extraordinary aptitude to assume and success-
fully to portray characters of varying and very distinct
type. It has been the bad fortune of this clever and
hard-working comedian never to create a part in a
Savoy opera. All the more is it to his credit that
his name should have become eminent on the list of
famous Savoyards.
Theatrical touring is not all pleasure, play, and
picnic. Sometimes, indeed, it is as arduous and
irksome as army campaigning. During the summer
months when the company is visiting seaside places
and holiday resorts, the members' lot is far from an
unenviable one, but the reverse side of the picture is
seen when the dark, chill days of winter return.
Sunday after Sunday, no matter what the weather
or the conditions of health or inclination, the actors
and actresses are called upon to bustle off, bag and
baggage, to continue their route to the next town.
Often the journey across country is very long and
tedious, such, for example, as that from Plymouth to
Sheffield, or from Portsmouth to Edinburgh. But the
arrangements made conjointly by the Acting-Manager
and the railway companies for special train-service
are so admirably regulated and timed that there is
seldom any cause for complaint. There are, necefr-
sarily, occasions when the patience and endurance of
the hardest campaigner is severely tried.
Let me recall one very exceptional adventure.
About five years ago, the D'Oyly Carte Company
were snowed up for more than twelve hours whilst
journeying from Dundee to Aberdeen. A fierce
TUNKS' TUCK AND LUCK 391
was raging, and the poor girls of the com-
pany, who, on the evening before, had been basking
as Contadine on " Venetia's sunny shore/' had now
to endure the rigours of an Arctic climate. The
journey, under normal conditions, being comparatively
a short one, few members of the company had pro-
vided themselves with so much as a bun or a biscuit
for refreshment. Heaven only knows what would
have become of them had not Providence, in the
person of Mr. Leicester Tunks, one of the joint Kings
of Barataria, come to the rescue. Fortunately, it so
happened that it was Tunks 1 birthday, and to cele-
brate the anniversary he had invited several of his
colleagues to sup with him on arrival at Aberdeen.
Knowing that theatrical landladies are not always to
be relied upon in emergency, he had taken the pre-
caution to bring with him from Dundee a Gargantuan
steak- and- kidney pie, together with sundry confections
for which the constituency of our Admiralty's First
Lord is noted, and a bottle or two of the best Highland
Blend, Bottled Bass, et cetera. Accordingly, the
popular baritone's birthday party, which took place
in the train at midnight, if not quite in keeping with
the traditions of supper at the Savoy, was not to be
despised by the most fastidious. Nobody was heard
to grumble at the absence of knives and forks; one
and all forgot they were buried in a snowdrift, and
everybody declared that Leicester Tunks deserved
the Carnegie reward for noble service done in saving
his fellow-travellers from starvation.
In no town visited by the D'Oyly Carte Opera
392 GILBERT AND SULLIVAN
Company do they meet with a heartier welcome
than in Oxford and Cambridge. The 'Varsity men,
dark blues and light blues alike, rush in crowds to
the theatre with excitement only less intense than
that they show at their boat-race or cricket-match
at Lords. In fact, if truth be told, their enthusiasm
at those annual meetings is more veiled and circum-
spect than when they assemble to greet " The Mikado."
They are splendid audiences to play to : dons, proc-
tors or undergraduates, one and all alike listen intently
throughout, and, appreciating every point of the
opera, the elders mop their eye-glasses, dimmed with
the breath of their delight, whilst the students roar
their applause as only British youths can do. In
Oxford and Cambridge the Gilbert and Sullivan
operas not only are accepted as the highest type of
theatrical entertainment, but have long been acknow-
ledged as classics and honoured as such.
CHAPTER XXII
CONCERNING AMATEURS
Influence of the Gilbert and Sullivan operas upon amateur acting-
Establishment and growth of operatic and dramatic societies
Business control and discipline puts an end to the old style of
" go-as-you-please " A few tales about unprofessional players.
Among the many extraneous influences of the Gilbert
and Sullivan operas on all branches of society at
large, none is more remarkable than the impetus they
have given to amateur performances.
In days previous to the "Pinafore" period, the
amateur actor and actress were looked upon as quacks
and interlopers, and as such treated with sublime
contempt and ridicule by the profession. But all
is changed. Amateur societies have become a power-
ful adjunct and support to the culture of music and
the drama. They are now accepted as useful training-
schools for the legitimate stage, and from the volun-
teer ranks have sprung many present-day favourites.
Well-organized institutions exist in every part of the
country. Progressing from strength to strength, they
have grown so strong and independent that they
admit to their circle none but qualified aspirants to
stage honours. Advancing still further, some of the
393
394 GILBERT AND SULLIVAN
leading operatic and dramatic clubs engage the
services of London theatrical agencies to co-operate
with them in forming the strongest available cast of
principals for the drama or opera they select for
performance. That this state of things is attributable
in a very large measure to the popularity of, and the
infectious craze for performing, the Gilbert and
Sullivan operas can hardly be questioned. To estab-
lish this theory it is only necessary to study Douglas's
Directory, a useful publication issued by the National
Amateur and Dramatic Association, founded in Feb-
ruary 1899. This admirably compiled booklet con-
tains, among sundry other items of information, a
complete list of performances given in all towns
where bond fide Amateur Societies exist in affiliation
with the National Association. From this it will
be gathered how vastly the Savoy operas transcend
all others in the number of performances given.
To Mr. Howard J. Hadley, the Honorary General
Secretary of the Association, I am indebted for some
convincing statistics. I cannot do better than quote
from Mr. Hadley' s letter :
" With the aid of Douglas's Directory (1914) I find
there are about thirty-six Operatic Societies in London
and district, of which about twenty would be playing
Gilbert and Sullivan operas in any one year, giving an
average of five performances for each society. This
would amount to one hundred performances in the
year.
" As to the provinces, there are about three hundred
and twelve Operatic Societies, and of these about one
AMATEUR SOCIETIES 395
hundred and seventy-three produce Gilbert and Sulli-
van operas, and, given an average of five performances,
the total would be eight hundred and sixty-five
performances : altogether, nine hundred and sixty-five
m one year for the United Kingdom.
"With regard to our Association, of which I can
speak with more certain knowledge, out of a total of
one hundred and seventy-seven Operatic Societies,
about seventy-six of these produce Gilbert and Sullivan
operas and average five annual performances each,
the total amounting to three hundred and eighty
representations.
"The Birmingham Amateur Opera Society is, I
think, one of the oldest in the kingdom, and has,
between the years 1886 and 1914, given about one
hundred and twenty performances of Gilbert and
Sullivan operas, and the Worcester Amateur Operatic
Society comes a good second. Formed in 1892, it
has up to the present time (1914) given nearly eighty
performances of the operas under the stage direction
of one man, viz. Mr. Shelford Walsh (a Worcester
man). This, I think, is a record.
"The chief beauty and the greatest attraction
which these operas possess is that they are absolutely
* clean ' ; the quiet humour is abundant and inimit-
able, whilst the music has a lingering, lilting leaven
about it which is absolutely delightful, and always
makes one long for more. I think one's whole being
feels the better after an evening with Gilbert and
Sullivan opera. It is ever a most satisfying, exhilarat-
ing feast.
" A fact not unworthy to mention is that Societies
affiliated to our Association have contributed to
charities no less a sum than 54,000, and maintain
many beds in local infirmaries. This alone may be
said to justify their existence/ 9
396 GILBERT AND SULLIVAN
This rough statement, coming from unimpeachable
authority, will astonish all who before were ignorant
of the wonderful march made by the army of amateurs.
That their advance continues whilst their ranks increase
in strength, I have received further assurance from
Mr. W. Sims-Bull, stage-manager of the Savoy during
Mr. Workman's regime, who, by virtue of his experi-
ence and practical knowledge of the requirements of
the Gilbert and Sullivan operas, is much sought after
by Amateur Societies as Stage-coach and producer.
Mr. Bull relates how in the year 1882 his father
applied to Mr. D'Oyly Carte for permission to perform
" Iolanthe " in Cheltenham. Mr. Carte's reply was
in the negative. The Savoy manager did not, at
that time, feel justified in encouraging amateurs;
he believed that their expenses could not possibly be
covered by receipts, whilst, on his part, he was not
in a position to forego or reduce the author's fee.
Five years later, when the application was renewed
and permission granted, " Iolanthe " was performed
in the Winter Gardens, Cheltenham, and from the
profits a substantial sum was handed over to a
local charity.
Mr. Sims-Bull remarks how, everywhere, even in
the small towns, amateurs have come to realize that
strict discipline and business methods are indispensable
at rehearsal, and that every part must be suitably
cast. This marks a wide departure from the con-
ditions existing not so very long ago.
Some of Sims-Bull's experiences with amateurs are
very amusing. For instance, at a rehearsal of " Fina-
EXPERIENCES WITH AMATEURS 397
fore/ 1 the gentleman cast for Captain Corcoran
conceived the brilliant idea of chasing Dick Dead-eye
round the quarter-deck with a bladder at the end
of a stick, after the fashion of a clown in pantomime ;
the actor was quite sure it would get the laugh of
the evening, but the manager assured him that the
use of bladders on board " H.M.S. Pinafore " was
contrary to the Gilbertian articles of war. On another
occasion a feeble- voiced tenor, whose opinion of him*
self was far superior to his artistic ability, objected
to a stage-cloth because it destroyed the ring of
his notes.
A young lady without the slightest pretensions to
shine either as singer or actress was given the part of
Elsie Maynard in "The Yeomen of the Guard/' by
virtue of her father being Mayor of the Borough;
whilst the part of Phoebe in the same opera was
allotted to an elderly spinster who could afford to
pay for the position, and insisted upon her skirt being
made long enough to cover her ankles.
In " The Gondoliers/ 1 the lady impersonating Casilda
had, a few months previously, entered the bonds of
matrimony ; it was accordingly rather disconcerting
when in singing the lines
44 But, bless my heart, consider my position,
I am the wife of one, that's very clear"
the word "condition" was substituted for "posi-
tion/'
But slips of the tongue are not confined to amateurs.
Miss Jessie Bond, for example, confesses to one strange
398 GILBERT AND SULLIVAN
lapsus linguae. It occurred in "Patience/ 9 where
she had to speak the line
" Retribution like a poisdd hawk came swooping down upon the
Wrong-doer."
Instead of " poisdd hawk " Miss Bond said " hoisfcd
pawk." To some it may have suggested that Lady
Angela's thoughts were in the clouds, intent on solving
the problem " might pigs fly " !
Anecdotes relating to the eccentricities and conceits
of the old school of amateurs might fill a bulky volume,
but, finding how few pages remain before this present
book must close, we may not further enlarge on the
subject.
But, by the way, I must not omit to mention the
fact that the best amateur performance of a Gilbert
and Sullivan piece I ever witnessed was that of " The
Mikado," given by the Dunedin (New Zealand)
Operatic Society. The staging may not have been
in strict conformity with the Savoy Prompt-book,
still, there was nothing so irreverent as would have
vexed the mind of the author had he been present
The refined acting of the principals, their clear enuncia-
tion, and the grouping of the Chorus showed that the
Company had been carefully drilled by one who had
become acquainted with Gilbertian traditions. But
it was chiefly as singers that the New Zealand Ama-
teurs shone. A better Chorus I have never heard.
Listening to them for the first time, I was astounded
by the volume of rich tone and the admirable phrasing ;
still more remarkable was it to note how nearly
NEW ZEALAND AMATEURS 399
1 Sullivan's tempo was observed throughout the per-
formance. It may seem incredible that Gilbert and
Sullivan should be so thoroughly understood and
reverenced in that far-away Dominion; but New
Zealand has been made well acquainted with the
Savoy operas by the periodical visits of the travelling
i companies controlled by the late J. C. Williamson,
;; who leased the Australasian rights in the pieces.
i
js
i^
CHAPTER XXIII
4
" The Emerald Isle "Hood and German's collaboration Sullivan's
swan-song The fairy cleaner" The Emerald Isle " in Dublin-
Bin. D'Oyly Carte resumes management with revivals A gab
last night A pleasant surprise Mr. C. H. Workman manager
of the Savoy " Fallen Fairies" A story concerning "Jack
Point " at rehearsal Death of Sir William Gilbert.
But now to return to the Savoy. With the death of
Sir Arthur Sullivan, closely followed by that of Mr.
D'Oyly Carte, this volume might, not untimely, end
But there yet remain events and incidents connected
with the story of the Savoy under the D'Oyly Carte
management which may, without creating an anti-
climax, form the subject of our concluding chapters.
The last of the famous Triumvirate, Sir William
Gilbert, yet lived and, although he had, since the pro-
duction of "The Grand-duke," ceased to take an
active interest in Savoy affairs, he was still at hand
ready to assist in the supervision of the revivals of his
pieces from time to time.
But the sole management of the Savoy now devolved
upon Mrs. D'Oyly Carte, under whose responsibility
" The Emerald Isle, or the Caves of CarrigCieena, ,,
was produced on Saturday, April 27th, 1901, with the
following cast :
400
"THE EMERALD ISLE" 401
Characters
The Earl of Newtown, K.P. . . Mr. Jonbs Hbwson
(Lord Lieutenant of Ireland)
Dr. Fiddle, D.D Mr, R. Rous
(His Private Chaplain)
Terence O'Brian . Mr. Robert Evbtt
(A Young Rebel)
Professor Bunn Mr. Walter Passmorb
(Shakespearian Reciter, Character
Impersonator, etc.)
Pat Murphy .... Mr. Henry A. Lytton
(A Fiddler)
Black Dan Mr, W. H. Leon
Mickie O'Hara .... Mr. C. Earldon
(Irish Peasants)
Sergeant Pincher .... Mr. R. Crompton
Private Perry .... Mr. P. Pinder
(H.M. zith Regiment of Foot)
The Countess of Newtown . Miss Rosina Brandram
Lady Rosie Pippin . Miss Isabel Jay
(Her Daughter)
Molly O'Grady . . Miss Louie Pounds
(A Peasant Girl)
Susan Miss Blanche Gaston-Murray
(Lady Rosie's Maid)
Nora Miss Lulu Evans
Kathleen .... Miss Agnes Fraser
(Peasant Girls)
Irish Peasants and Soldiers of nth Regiment of Foot
Act 1. Outside the Lord-Lieutenants Country Residence
Act II. The Caves of Carrig-Cleena
(W. Harford)
Period. About a Hundred Years Ago
Produced under the Personal Direction of the Author, and under
the Stage-direction of Mr. R. Barker.
Musical Director . . Mr. Francois Cellier
26
402 GILBERT AND SULLIVAN
The libretto of "The Emerald Isle" was pro-
nounced to be altogether worthy of the author of
" The Rose of Persia/' Captain Basil Hood had con-
ceived an interesting story of Irish rural life, with its
picturesque scenes of peasant bhoys and pretty colleens
clad in the costumes of a century ago. In admirable
contrast to these merry-hearted rustics of "the
distressful counthree" were introduced an aristo-
cratic Lord-Lieutenant and his high-born wife, neither
of whom ever discoursed in anything but Shake-
spearean blank verse. These magniloquent Vice-
Royalties were escorted, wherever they went, by a
gallant Devon Regiment in their curious uniforms of
the Georgian period. A capital character-sketch of a
sturdy Devonian was that of Sergeant Pincher, played
to the life by Mr. Reginald Crompton, himself a native
of the land of loveliness and clotted cream. The
Sergeant's song and chorus, composed by Edward
German and rendered in broad Devonshire dialect,
was one of the hits of the piece. Basil Hood's lines
may not appeal to all readers, but, coming, as I do, from
the wild west-country parts, I feel impelled to quote
stanzas so thoroughly characteristic of the land.
Now this be the song of the Devonshire men
(With a bimble and a bumble and the best of 'em I)
And the maids they have left on the moor and the fen
There was Mary Hooper and Mary Cooper and Jane Tucker
and Emily Snngg and Susan Wickens and Hepzibah Lagg
and pretty Polly Potter and the rest of 'em !
The Sergeant he came a-recruiting one day
(With a bimble and a bumble for the best of 'em 1)
A DEVONSHIRE SONG 403
And the maids cried " Alack ! " when the men went away
There was Thomas Perry and Thomas Merry and Jan Hadley
and Timothy Mudd and Harry Budgen and Oliver Rudd and
Ebenezer Pincher and the rest of 'em !
So the men marched away in their bright scarlet coats.
Though they shouted " Hooray ! " they had lumps in their throats,
And the maids fell a-crying, as maids often do,
Saying, " Oh, will our lovers be faithful and true ? "
But some day they will march into Devon, and then
(With a bimble and a bumble and the best of 'em! )
All the maids will be taking the names of the men
There'll be Mary Perry and Mary Merry and Jane Hadley and
Emily Mudd and Susan Budgen and Hepzibah Rudd and
pretty Polly Pincher and the rest of 'em!
The Sergeant he may come recruiting once more
(With a bimble and a bumble for the best of 'em 1)
There will always be Devonshire men for the war
There'll be young Tom Perry and young Tom Merry and young
Hadley and little Tim Mudd and young Hal Budgen and a
juvenile Rudd and a little Ebenezer and the rest of 'em 1
From these brief notes it will easily be seen how far
the author showed his appreciation of the value of
contrasts in colour and characterization.
Whilst the sympathy of all Savoyards was, naturally,
with Basil Hood in the loss he had sustained through
the death of his gifted colleague so shortly after they
had begun successful collaboration, cause to con-
gratulate the author was forthcoming when it was
found with what masterly skill and taste Edward
German had completed the score left unfinished by
Sullivan. Distinct in their individual style as were
404 GILBERT AND SULLIVAN
lijC^^CCrl
the two composers, Sullivan and German
the strain of what we must call, for lack of a more
technically correct description, " motherland melody."
Thus, Hood's well-turned lyrics, both the graceful
and the humorous, were set to music by German in a
tone that blended as perfectly as could be expected
with the numbers composed before his death by Sir
Arthur Sullivan. Every lover of Sullivan will remem-
ber that " The Emerald Isle " contains the master's
swan-song :
' ' Come away ' sighs the Fairy voice,
' Come follow me to Carrig-Cleena I
4 For there I make all aching hearts rejoice,
Come come away.' "
Although thirteen years have passed since it was
heard at the Savoy, the refrain of that beautiful melody
must often haunt the ears and awaken a pathetic
memory in the mind of every one who listened to it
I am here reminded of an incident which occurred
during the rehearsal of " The Emerald Isle." One
morning, whilst Mrs. D'Oyly Carte was surveying the
stage proceedings from the heights of the upper circle,
one of the ladies of the company, observing the figure
through the dim light of the auditorium, directed the
attention of the stage-manager, Richard Barker, to
what she supposed to be an intruder. Barker, who was
a bit of a wag in his way, glanced upward, and, mis-
taking his worthy manageress for one of the theatre
charwomen engaged on her duties, replied : " Never
mind her, my dear, she won't hurt it's only the Fairy
"THE EMERALD ISLE" IN DUBLIN 405
Cleaner ! " A moment later Mrs. Carte, from the
front row of the circle, called down : " Mr. Barker,
might I suggest that " " Good heavens I " gasped
the stage-manager, "it's the Missus ! "
Shortly after the production of " The Emerald
Isle/' Mrs. D'Oyly Carte let the theatre to Mr. William
Greet, who continued the run of the Hood-Sullivan-
German opera with great success before sending the
piece on tour with the full Savoy Company.
I happened to be again in Dublin during the visit
of " The Emerald Isle " company. There was some
doubt as to the kind of reception the opera would
meet with at the hands of Irish play-goers. On the
opening night, led by curiosity, I took up a position
at the back of the pit of the Gaiety Theatre, and
anxiously awaited events. Strange to relate, all the
points which it was feared might touch the sensi-
bilities of the Dublin people met with nothing but
hearty applause. All went smoothly until the general
dance, which occurs in the second act. Then, because
it was supposed the jig-step was not quite correct, or
that the girls lifted their heels too high, a torrent of
booking burst upon the house. A sympathetic Patrick
standing immediately in front of me shouted out in
a lusty voice: "Arrah nhowl Can't ye be aisy if
on'y out of rishpect for the dead composer ? " To
which another voice responded: "Eh Sorr, an 9 an
Oirishman too he was, so he was ! " This appeal had
a magic effect on the rowdies, and the performance
continued without further disturbance.
Let the truth be told : there are no more devout
406 GILBERT AND SULLIVAN
lovers of the Gilbert and Sullivan operas than the
warm-hearted people of The Emerald Isle. And
sound critics they are, too !
Mr. William Greet, during his tenancy of the Savoy,
produced, in succession to " The Emerald Isle/' first,
Hood and German's charming opera, " Merrie Eng-
land/' and, after that, another musical {day of a lighter
type, "The Princess of Kensington," by the same
author and composer.
On resuming management in December 1906, Mrs.
D'Oyly Carte began a series of Gilbert and Sullivan
revivals under the personal stage-supervision of the
author. These revivals, which continued, with occa-
sional intervals, up to March 1909, beyond proving
the wonderful vitality of the operas, were uneventful ;
yet it may be interesting to record one or two memor-
able incidents that marked the period which was,
alas ! to bring to a close the active managerial regime
of Mrs. D'Oyly Carte. For instance, on Saturday,
August 24th, 1907, which date ended a successful eight
months* season, the management celebrated the
occasion by providing a mixed richauffS of tit-bits
from the Savoy Repertory. The entertainment, which
took the form of a Wagnerian " Ring " performance,
opened at 4 o'clock in the afternoon with Act I. of
" The Yeomen of the Guard," followed by the second
act of "The Gondoliers." After an interval of an
hour and a quarter, the amber curtains were withdrawn,
to reveal the second act of " Patience " ; and then
Mrs. Carte sprung an agreeable surprise upon the
audience.
A PLEASANT SURPRISE 407
The evening's programme announced two items
only selections from " Patience " and " Iolanthe " ;
great, then, was the shout of applause when the familiar
Overture to " The Mikado " was heard ; greater still
the rapture when a scene from the popular piece was
interpolated. The promised revival of the Japanese
opera had a short time previously been cancelled in
deference to considerations of State Diplomacy, but
now, the conditions being changed, the public were
privileged to enjoy a dainty bonnt-boucht from their
favourite dish. It was a very happy thought of Mrs.
D'Oyly Carte's, and was greatly appreciated by the
audience.
A complete chronological list of the last Savoy
Revivals, with the cast of each opera, will be found in
an Appendix at the end of this book. It may be
useful for reference. The success which attended
those presumably final performances encourages the
belief that an annual season of a Gilbert and Sullivan
R6pertoire in Central London would prove as re-
munerative to the management as it would be accept-
able, assuredly, to the thousands of metropolitan
play-goers who at the present time are crying out
in their hunger for another feast of their favourite
fare.
In March 1909, Mr. C. H. Workman, having acquired
from Mrs. D'Oyly Carte a short lease of the Savoy,
entered upon the management of that theatre. The
clever comedian had made a host of friends and
admirers by his triumphs in the " Grossmith " parts.
Of his Jack Point it is worthy to note that Sir William
408 GILBERT AND SULLIVAN
Gibert, in a public speech, expressed his opinion in
the following complimentary terms :
" In Mr. Workman we have a Jack Point of the finest
and most delicate finish, and I feel sure that no one
will more readily acknowledge the triumph he has
achieved in their old parts than his distinguished pro-
tagonist, Mr. George Grossmith, and his immediate
predecessor, Mr. Passmore."
Under such auspices, and with such credentials, there
seemed every reason to hope that success might
reward Workman's plucky venture. At the same
time, remembering Mr. D'Oyly Carte's experience at
the Savoy away from Gilbert and Sullivan, one
needed great faith to venture the prediction that Mr.
Workman, or even a more experienced manager, would
overcome the prejudice that existed against the pro-
duction at the Savoy of any operas other than those
of the famous Savoyards. Unhappily, such doubts
and fears proved to have been only too well founded
The most notable event connected with Workman's
period of management was the production of Sir
William Gilbert's last opera, called "Fallen Fairies."
Pitiful it is to record the fact that, although Gilbert's
libretto was rich in his own quaint humour and poetic
fancy, and Edward German's music as charming as it
always was and ever must be, the " Fallen Fairies "
failed to enchant play-goers, and thus brought Work-
man's reign to an untimely end
After reflecting on misfortune, it is always good to
try to scare away the ghost of vain regrets with the
DEATH OF SIR WILLIAM GILBERT 409
of a humorous story ; and " Workie," as his
familiars call him, possesses a goodly stock of funny
tales quite apart from those of " Fallen Fairies." Here
is one I am permitted to repeat. It was during a
rehearsal of "The Yeomen/' the situation occurring
when poor Jack Point, in a gay and frivolous mood
for the moment, is found with his arms around the
necks of Elsie and Phoebe and striving to kiss each
girl in turn. Gilbert suggested that the comedian
was rather overdoing the caressing business; where-
upon Workman respectfully remarked : " Ah ! yes, I
see, Sir William. You would not kiss them more than
once ? " " Oh I indeed I would/' was Gilbert's
prompt retort, "but perhaps, from the public point
of view, one kiss might be enough for you to give."
On May 29th, 1911, all London was shocked by
the appearance of news-placards announcing the
" Sudden death of Sir William Gilbert." Within an
hour the tragic tidings had spread to the most dis-
tant British Colonies. Sir William, it was said, on
reaching his home in Harrow Weald, fagged out by
an arduous day in town, sought in his wonted way to
refresh his limbs with an open-air bath in the lake
within the grounds of Grim's Dyke. Whilst swimming
he was stricken with heart-failure. Promptly rescued
from the water, he was carried to his room, but life
was extinct. The last of the renowned Triumvirate
had passed away, following his old colleague to the
Land beyond Life's border.
CHAPTER XXIV
SIR WILLIAM GILBERT
It may not be very generally known how Sir William
Gilbert became a hero at the early age of four. For
the story of the tiny boy's exciting adventure the
present writer is indebted to Miss Edith A. Browne's
clever character-study of Gilbert.
During a visit to Naples with his parents the child,
whilst out for a morning's ramble with his nurse, was
captured by brigands, who restored him in exchange
for a " pony/ 9 One may readily surmise that, had
our Savoy author fallen into the hands of banditti
some forty or fifty years later, the price of his ransom
would have been increased to a very large number of
" monkeys."
I have never heard it suggested that it was upon the
Naples romance that Gilbert based his story of " The
Pirates of Penzance,' 1 but it is not unlikely that, whilst
engaged in framing the character of Ruth, the piratical
maid of all work, the author's thoughts reverted to his
old nurse, who was so weak and simple-minded as to
believe the plausible tale of the two nice Neapolitan
gentlemen who told her that they had been requested
by the boy's father to fetch him.
Almost as soon as Gilbert had learnt to write he
began scribbling rhymes, but from his parents he r*
SIR WILLIAM GILBERT 411
ceived no encouragement. His father, at one time a
" middie" in the Indian Navy, was himself the author
of one or two works that failed to attract the public.
Probably on that account he had no faith in his son's
literary ability. At the same time it was his intention
to send the youth to Oxford, but the outbreak of the
Crimean War upset such plans, and led to Mr. W. S.
Gilbert being appointed to a clerkship in the Privy
Council Office. Gilbert did not take kindly to his
clerical work, and afterwards declared that his appoint-
ment was the worst bargain the Civil Service Com-
missioners ever made. On the strength of a legacy he
was enabled to enter the Bar, but his restless spirit
would not be curbed sufficiently to allow him to shine
in the dull grey firmament of the law. And so, finding
himself all but a briefless barrister such an one as he
describes in "Trial by Jury" he soon threw off his wig
and gown, and, instead of marrying " a rich attorney's
elderly ugly daughter/ 1 he took to journalism, and
wrote the " Bab Ballads," which later inspired him to
write opera libretti. Such is the brief epitome of Sir
William Gilbert's life, before the day when he met
Arthur Sullivan.
My first personal introduction to Gilbert dates back
to the year 1874. It took place whilst travelling home-
wards one night on the Underground Railway from
Charing Cross to Kensington. I had been spending the
evening at the old Prince of Wales's Theatre, enjoying
once again the exquisite performance of Marie Wilton
and Mr. S. B. Bancroft (as they were then named on
the playbills) in Gilbert's charming dramatic sketch
412 GILBERT AND SULLIVAN
"Sweethearts," Naturally we talked "shop" and
more particularly about " Sweethearts."
Although I cannot boast the close intimacy with
Gilbert that it was my privilege to enjoy with Sir
Arthur Sullivan, at this moment, after spending so
many pleasant days, as they seem to have been, in his
companionship whilst engaged on this little history, I
cannot bring my personal reminiscences to a dose
without alluding to the genial manner in which he
always greeted me, and the kind words of encourage-
ment he tendered after witnessing some of my small
dramatic essays. " Praise from Sir Hubert Stanley is
praise indeed," and a complimentary word from Sir
William Gilbert was to be proudly welcomed and fondly
cherished by the humblest of neophytes.
A notable instance of Gilbert's kindness is related
by the well-known actor-manager, Mr. Edward Comp-
ton, who confesses his indebtedness to Sir William for
his first London appearance in particularly auspicious
circumstances. The occasion was the benefit per-
formance given at Drury Lane Theatre in March 1877
in aid of a Testimonial Fund to the veteran comedian,
Mr. Compton. The part of Evelyn in " Money " was
to have been played by Henry Irving, but that dis-
tinguished actor being unable to appear, at Gilbert's
suggestion the committee entrusted the important
rdle to the beneficiaire's son, young Edward Compton,
who had but recently joined the profession. In the
cast were such notabilities as Marie Wilton, Madge
Robertson, Ellen Terry, Hare, Kendal, Bancroft,
Benjamin Webster, William Farren and David James.
.* .
>
;
^V G rims Dy ke ^
**\v>^ J-Jarrow \Yeald
( o h^r . \yn
k_ Cjlu,
FACSIMILE LETTER FROM SIR WILLIAM GILBERT TO FRANCOIS CELLIBR.
4X2j
SIR WILLIAM GILBERT 413
Such a send-off seldom falls to the lot of a budding
actor. It was accordingly a feather in his cap when
Edward Compton scored a great success, and he has
not forgotten to be grateful to Sir William Gilbert for
the opportunity thus afforded him of displaying the
talents inherited from his father.
It would require a book as bulky as this present
volume to contain the numberless humorous anecdotes
told of the Savoy author. Many of his bons mots,
apart from those which have appeared in print, have
become " as familiar as household words/ 9 but what
the world at large knows least about concerning Sir
William Gilbert is that beneath his autocratic, self-
willed, Caesarean attitude which sometimes gave offence,
there beat a kindly, sympathetic heart, ever responsive
to the cry of distress or an appeal from those in need.
If all his generous acts might be recorded yet another
volume would be needed to hold them ; but this Sir
William would have set his face against, for he " liked
to do kind deeds by stealth," and felt very angry if
they were ever found out.
All Savoyards were much gratified to learn the tidings
of Gilbert's knighthood, which honour was conferred
upon him by King Edward VII on July 15, 1907.
Sir William Gilbert's funeral was unaccompanied by
pomp and circumstance. By his own request his
body was cremated, and the casket containing his ashes
was borne to the grave in the picturesque churchyard
at Stanmore by his friends Mr. Rowland Brown and
Mr. Herbert Sullivan, nephew to Sir Arthur, amidst a
vast assembly of notabilities in the world of art.
CHAPTER XXV
TRIBUTE TO MRS. D'OYLY CARTE
On retiring from the active management of the Savoy
in 1909, it was far from Mrs. Carte's intention to seek
the rest and ease which she had so richly earned. To
her nature idleness was an impossibility. To stop
working would have been to stop living. The greatest
pleasure of her life was to be at her desk trying to solve
the innumerable problems which came before her from
hour to hour. And so, notwithstanding failing health,
maintained by the spirit of indomitable energy that
had never failed her, Mrs. Carte continued to give uht
relaxed attention to the minutest details of business
connected with her Touring Company and other mat-
ters in which she was personally concerned. Nothing
could daunt her courage. To the advice and appeals of
those nearest and dearest to her, who watched with
anxiety the gradual decline of her physical strength,
she would not listen : her hand found work to do, and
she must do it with all the might she yet retained
Mrs. Carte's mind was too large, too strong for the
frail body that possessed it. Thus, month after month,
year succeeding year, the brave woman struggled
patiently against the evil that was draining the life-
blood from her veins. Rallying from illness again and
414
%
Fhoia 4y Ellis & Wat
CHAPTER XXV
TRIBUTE TO MRS. D'OYLY CARTE
On retiring from the active management of the Savoy
in 1909, it was far from Mrs. Carte's intention to seek
the rest and ease which she had so richly earned. To
her nature idleness was an impossibility. To stop
working would have been to stop living. The greatest
pleasure of her life was to be at her desk trying to solve
the innumerable problems which came before her from
hour to hour. And so, notwithstanding failing health,
maintained by the spirit of indomitable energy that
had never failed her, Mrs. Carte continued to give un-
relaxed attention to the minutest details of business
connected with her Touring Company and other mat-
ters in which she was personally concerned. Nothing
could daunt her courage. To the advice and appeals of
those nearest and dearest to her, who watched with
anxiety the gradual decline of her physical strength,
she would not listen : her hand found work to do, and
she must do it with all the might she yet retained
Mrs. Carte's mind was too large, too strong for the
frail body that possessed it. Thus, month after month,
year succeeding year, the brave woman struggled
patiently against the evil that was draining the life-
blood from her veins. Rallying from illness again and
414
CHAPTER XXV
TRIBUTE TO MRS. D'OYLY CARTE
On retiring from the active management of the Savoy
in 1909, it was far from Mrs. Carte's intention to seek
the rest and ease which she had so richly earned. To
her nature idleness was an impossibility. To stop
working would have been to stop living. The greatest
pleasure of her life was to be at her desk trying to solve
the innumerable problems which came before her from
hour to hour. And so, notwithstanding failing health,
maintained by the spirit of indomitable energy that
had never failed her, Mrs. Carte continued to give uht
relaxed attention to the minutest details of business
connected with her Touring Company and other mat-
ters in which she was personally concerned. Nothing
could daunt her courage. To the advice and appeals of
those nearest and dearest to her, who watched with
anxiety the gradual decline of her physical strength,
she would not listen : her hand found work to do, and
she must do it with all the might she yet retained.
Mrs. Carte's mind was too large, too strong for the
frail body that possessed it. Thus, month after month,
year succeeding year, the brave woman struggled
patiently against the evil that was draining the life-
blood from her veins, Rallying from illness again and
414
Photo by Ellis & 11
CHAPTER XXV
TRIBUTE TO MRS. D'OYLY CARTE
On retiring from the active management of the Savoy
in 1909, it was far from Mrs. Carte's intention to seek
the rest and ease which she had so richly earned. To
her nature idleness was an impossibility. To stop
working would have been to stop living. The greatest
pleasure of her life was to be at her desk trying to solve
the innumerable problems which came before her from
hour to hour. And so, notwithstanding failing health,
maintained by the spirit of indomitable energy that
had never failed her, Mrs. Carte continued to give un-
relaxed attention to the minutest details of business
connected with her Touring Company and other mat-
ters in which she was personally concerned. Nothing
could daunt her courage. To the advice and appeals of
those nearest and dearest to her, who watched with
anxiety the gradual decline of her physical strength,
she would not listen : her hand found work to do, and
she must do it with all the might she yet retained.
Mrs. Carte's mind was too large, too strong for the
frail body that possessed it. Thus, month after month,
year succeeding year, the brave woman struggled
patiently against the evil that was draining the life-
blood from her veins. Rallying from illness again and
414
U3T.
I'Mo by Ellis & ll'al,
DEATH OF MRS. D'OYLY CARTE 415
again, she would creep back to her desk to deal with
some business minutes which having, necessarily ?
been neglected during an interval of pain, had been
worrying her sensitive mind. Of death she had no fear;
her one desire seemed to be to leave nothing undone
which she might yet do. If it might be she would die
in harness. But the unequal fight was soon to end.
After lingering for a long while on the borderland
between life and death, Mrs. Carte, or more correctly at
this point to call her by the name which became hers
by a second marriage in 1902, Mrs. Stanley Carr
Boulter, passed away on Monday, May 5th, 1913.
In the introductory chapter of this book Mrs. D'Oyly
Carte was rightly described as the Dea ex machina of
the Savoy, and more than once in the course of our
Reminiscences passing allusion has been made to the
silent part played in the Gilbert and Sullivan operas
by one of the most gifted of women. But only
those who enjoyed the personal acquaintance of Mrs.
Carte can estimate her true worth. To her mar-
vellous talent of organization was mainly due the
success that attended not only the Savoy Theatre
but several other ventures, notably the Savoy Hotel,
in the building and establishment of which she was
largely concerned. In the direction of all matters
Mrs. Carte's initiatory judgment always held preced-
ence, her advice and suggestions were invariably
adopted. Seldom, if indeed ever, was a woman found
to possess such a thorough knowledge of the principles
of sound finance, with absolute mastery of details
with respect to the intricate figures of a financi
416 GILBERT AND SULLIVAN
statement or the most subtle and involved clauses of a
legal document.
But Mrs. Carte was not only a woman of business :
she possessed artistic taste of the highest order, and
was a good judge of the capabilities of those who sought
professional engagements at the Savoy. Her bene-
volence was widely known, but its extent can never be
told. Her liberality was, at all times, governed by
good judgment, but from " the low prayer and plaint of
want " she never turned away her ear.
King Edward VII bestowed upon Mrs. D*Oyiy
Carte the Order of Mercy ; but, greatly prizing as she
did the royal honour, to her kind heart it must have
been a greater pride to feel how she had won the
esteem and love of a multitude of men and women who,
professionally engaged at the Savoy, had experienced
at her hands true acts of friendship, sympathy, and
encouragement to brighten their days of toil and
anxiety.
As a tribute to the memory of Mrs. EFOyly Carte, let
me be permitted to quote the words of her old friend
and colleague, Mr. George Edwardes, thus : " A more
wonderful woman it was never my lot to know. It was
my privilege to work with Miss Helen Lenoir under
Mr. Carte for a considerable time, and I never ceased to
marvel at her great energy and inexhaustible activity.
The whole fabric of the Savoy truly rested upon her."
Mrs. Carte was greatly distressed as one after another
of many faithful servants and coadjutors of long years'
standing was taken from her side by death. Of those
who survived her at the Savoy, the chief were FranfQfc
MRS. D'OYLY CARTE 417
Cellier and George A. Richardson. The first has since
passed away, the other still continues in his secretarial
post at the Savoy, where also a few humbler servants
of many years remain to speak in grateful words their
praise of the good mistress whose loss they so deeply
lament.
I have recently chanced to read an article which
appeared in the Sketch shortly after the death of Mrs.
D' Oyly Carte ; thinking that it may be of special
interest to American lovers of the Gilbert and Sullivan
operas, and that they may be pleased to be reminded
of the woman to whom they were in no small measure
indebted for the organization of the performances in
the United States, I venture to borrow the following
paragraph from its pages :
" Miss Helen Lenoir (now Mrs. D'Oyly Carte) was
the indefatigable head of the Carte Bureau in Broad-
way, hard by the Standard Theatre, where most of the
Gilbert-Sullivan operas were produced, Charlie Harris
being the clever stage-manager. When it is stated that
Mr. Carte not only sent out the entire company from
England, as well as all the dresses, the scenery alone
being painted from models in New York, it may readily
be imagined what immense labour was placed upon Miss
Lenoir. Of course she was in constant cable com-
munication with London, for singers are ' kittle cattle/
and often by sheer tact she saved the situation when
things looked hopeless. It cannot be said that the
Carte invasion was looked upon with favour by the
native managers, but they were quite cute enough to
27
418 GILBERT AND SULLIVAN
perceive that the public appreciated the carefully
produced works from England better than their own
slipshod affairs. And then they began to amend their
ways, and have now turned the tables on us. They
owe a deep debt of gratitude to Mr. and Mrs. D*Oyly
Carte for showing them the right path in which to tread
And they have trod it with great and increasing profit "
. .
But now, in conclusion, let me confess that this, the
final chapter of our book of reminiscences, has been the
most difficult one of all to write. I have wanted to say
so much, and, for lack of space, have been compelled
to say so little, and that all so unworthily of my greatly
esteemed friend Mrs. Carte. At the same time, as 1
have recently been reminded by Mr. Stanley Boulter
when I ventured to suggest how greatly his gifted
wife's biography would be prized by the public, Mis
Carte as we must still, for custom's sake, call her-
was of such an extremely modest and unostentatious
disposition that she was always averse to being
publicly spoken of or written about. Yet, it may
be asked, what volume touching the Savoy could be
considered complete that did not contain some personal
reference to one who was the "be all " and " end all"
of the institution ?
I would add that the same sense of self-dissatisfaction
as that expressed regarding this chapter vexes my mind
with regard to the present volume from beginning
to end. I am conscious of having left unsaid many
things that might, with advantage, have been said
on a subject so inexhaustible as the Savoy and the
MRS. D'OYLY CARTE 419
Savoyards. Better, perhaps, to have erred thus,
than to have written anything that might, with better
judgment and wisdom, have remained unwritten. I
have no vain excuse to offer for my shortcomings, but
in mitigation of sentence may I not plead for the
indulgent sympathy of my readers in the loss I was
called upon to sustain by the untimely death of my
old friend and collaborator, Francois Cellier ?
131*
CONCLUSION
SALVE ATQUE VALE
A few weeks ago, in the " Princess Ida " room of the
Savoy Hotel, it became my happy fortune to join a
reunion of a few survivors of the Old Brigade of the
D'Oyly Carte Army Corps. With three of the number
I made acquaintance at the Opera Comique in 1878
when "H.M.S. Pinafore" was launched. These were
Miss Jessie Bond, the original Hebe, Miss Julia Gwynnt,
one of the brightest of the bevy of sisters, cousins, and
aunts, and Mr. (now Sir George) Power who created
the part of Ralph Rackstraw. The fourth of the party
of Victorian Savoyards was Miss Leonora Braham,
who joined the company in 1881, to win fame in the
title-role of " Patience."
Over luncheon we cheerily chatted of those days of
long ago when we were all young people, and now I, a
veteran camp-follower, could not but observe that the
four merry-hearted survivors had, one and all, borne
the burthen of years as wondrously as had those Gilbert
and Sullivan operas at whose christening they bad
stood sponsors just a third of a century ago. During
our repast it was suggested that, as a final illustration
of this present book, nothing might be more appro-
priate than a picture of the survivors at the base of
420
SALVE ATQUE VALE 421
the statue to Sir Arthur Sullivan, upon which we gazed
down from the windows of the hotel. Accordingly, a
photographer having been requisitioned, the party
adjourned to the Victoria Embankment and were
straightway snapshotted. Here, by the way, to avoid
any possible misconception, it may be advisable to
point out that the central figure of the group that
immediately beneath the bust of Sullivan does not
represent one of the survivors ; it is, in fact, the
symbolic form of " Grief " modelled in bronze ; and
so, fair lady-readers, pray spare your blushes.
A courteous, full-bodied sergeant of police who kept
the space clear for the artist, was greatly interested
in the operations. " Lor, bless you, sir," said he,
"don't I remember all those plays^ partic'lar that
one where some of my profession had to tackle those
Pirates of Penzance, I think they called themselves ?
and they were real life-like constables, they were,
sir. Opera Comic ? No, sir, I hadn't joined the force
in those days ; 'twas later on, at the Savoy Theatre
over there, sir, that I saw them, when Mr. Passmore
took my part meaning the Sergeant's, sir and I
couldn't a' done it better myself, and, believe me, sir,
the truest words I ever heard spoke on the stage was,
' A p'liceman's lot is not a 'appy one.' I sometimes
sing that song to my missus when she ain't feeling very
well. Thank you, sir, I hope the picture' 11 come out
all right. Good afternoon, ladies 1 Good day, sir ! "
It was much to be regretted that neither Barrington
nor Passmore was present to acknowledge the ser-
geant's compliments.