2350:, Sullivan exploits minor keys for comic effect, for instance in "Kind Captain, I've important information". Further, he achieves a musical surprise when he uses the subdominant minor in "Sorry her lot". The musicologist Gervase Hughes was impressed with the introduction to the opening chorus which includes "a rousing nautical tune ... in a key of no nonsense, C major ... a modulation to the mediant minor, where to our surprise a plaintive oboe gives us the first verse of "Sorry her lot" in 2/4 . After this closes on the local dominant B major the violins (still in 2/4) introduce us to Little Buttercup ... meeting her under these conditions one would hardly expect her to blossom out later as a queen of the waltz." He continues, "the bassoon and basses ... assert vigorously who is the Captain of the Pinafore ... in the improbable key of A flat minor. ... Buttercup makes a last despairing attempt to make herself heard in D flat minor, but the others have never known that such an outlandish key existed. So in a flash they all go back to C major on a
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the
Captain that he must always say "if you please" after giving an order; for "A British sailor is any man's equal" – excepting Sir Joseph's. Sir Joseph has composed a song to illustrate that point, and he gives a copy of it to Ralph. Shortly afterwards, elated by Sir Joseph's views on equality, Ralph decides that he will declare his love to Josephine. This delights his shipmates, except Dick Deadeye, who contends that "when people have to obey other people's orders, equality's out of the question". Shocked by his words, the other sailors force Dick to listen to Sir Joseph's song before they exit, leaving Ralph alone on deck. Josephine now enters, and Ralph confesses his love in terms surprisingly eloquent for a "common sailor". Josephine is touched, but although she has found Sir Joseph's attentions nauseating, she knows that it is her duty to marry Sir Joseph instead of Ralph. Disguising her true feelings, she "haughtily rejects" Ralph's "proffered love".
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937:, before an enthusiastic audience, with Sullivan conducting. Soon, however, the piece suffered from weak ticket sales, generally ascribed to a heat wave that made the Opera Comique particularly uncomfortable. The historian Michael Ainger questions this explanation, at least in part, stating that the heat waves in the summer of 1878 were short and transient. By mid-August, Sullivan wrote to his mother that cooler weather had arrived, which was good for the show. In the meantime, the four partners of the Comedy Opera Company lost confidence in the opera's viability and posted closing notices. Carte publicised the piece by presenting a matinee concert performance on 6 July 1878 at the enormous
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daughter, throwing over the accepted "fabric of social order". At this point, Crowther suggests, the logic of
Gilbert's satiric argument should result in Ralph's arrest. But to satisfy convention, Gilbert creates an obvious absurdity: the captain and Ralph were switched as babies. By an "accident of birth", Ralph is suddenly an appropriate husband for Josephine, and both the social order and the desire for a romantic happy ending are satisfied at once. Crowther concludes, "We have an opera which uses all the conventions of melodrama and ridicules them; but in the end it is difficult to see which has won out, the conventions or the ridicule." Thus,
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evening of thorough enjoyment. The expectation was fulfilled completely. Those who believed in the power of Mr
Gilbert to tickle the fancy with quaint suggestions and unexpected forms of humour were more than satisfied, and those who appreciate Mr Arthur Sullivan's inexhaustible gift of melody were equally gratified; while that large class of playgoers who are pleased with brilliant dresses and charming stage effects declared themselves delighted. The result, therefore, was "a hit, a palpable hit" ... there were some slight drawbacks as the severe cold that affected Mr. Rutland Barrington , and almost prevented his singing.
2143:. She commented that Gilbert uses several ideas and themes from his Bab Ballads, including the idea of gentlemanly behaviour of a captain towards his crew from "Captain Reece" (1868) and the exchange of ranks due to exchange at birth from "General John" (1867). Dick Deadeye, based on a character in "Woman's Gratitude" (1869), represents another of Gilbert's favorite (and semi-autobiographical) satiric themes: the misshapen misanthrope whose forbidding "face and form" makes him unpopular although he represents the voice of reason and common sense. Gilbert also borrows from his 1870 opera,
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audience to go away humming". George Power, the tenor who created the role of Ralph
Rackstraw, opined in later life that the secret of the success of the Savoy operas is the way in which "Sullivan entered into the spirit of Gilbert's topsy-turvy humour, and was pompous when Gilbert was sprightly, or, when Gilbert's satire was keenest and most acid, consciously wallowed in sentiment." Another commentator has suggested that the opera's enduring success lies in its focus on "mirth and silliness". Even the title of the piece is silly, applying the name of a little girl's garment, a
2280:, Sir Joseph tells the crew of the Pinafore that they are "any man's equal" (excepting his), and he writes a song for them that glorifies the British sailor. Conversely, he brings the proud captain down a notch by making him "dance a hornpipe on the cabin table". Jones notes that the union between Ralph and Josephine "becomes acceptable only through the absurd second-act revelation of Buttercup's inadvertent switching of the infants" and concludes that Gilbert is a "conservative satirist ultimately advocated preserving the status quo ... set out to show love definitely
269:" poems (many of which also have nautical themes), including "Captain Reece" (1868) and "General John" (1867). Some of the characters also have prototypes in the ballads: Dick Deadeye is based on a character in "Woman's Gratitude" (1869); an early version of Ralph Rackstraw can be seen in "Joe Go-Lightly" (1867), with its sailor madly in love with the daughter of someone who far outranks him; and Little Buttercup is taken almost wholesale from "The Bumboat Woman's Story" (1870). On 27 December 1877, while Sullivan was on holiday on the
2216:, are similarly appointed to high office though lacking the necessary qualifications. Gilbert also pokes fun at party politics, implying that when Sir Joseph "always voted at party's call", he sacrificed his personal integrity. The "commercial middle class" (which was Gilbert's main audience) is treated as satirically as are social climbers and the great unwashed. In addition, the apparent age difference between Ralph and the Captain, even though they were babies nursed together, satirises the variable age of Thaddeus in
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1291:, who later wrote: "a bevy of sweet innocent-looking girls sing, with bright and happy looks, the chorus 'He said, Damn me! He said, Damn me!' I cannot find words to convey to the reader the pain I felt in seeing those dear children taught to utter such words to amuse ears grown callous to their ghastly meaning ... How Mr. Gilbert could have stooped to write, or Sir Arthur Sullivan could have prostituted his noble art to set to music, such vile trash, it passes my skill to understand".
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to send him to an elementary school to learn them, is an obvious waste of educational power. Nature has pointed you out as eminently qualified for First Lord of the
Admiralty, because you don't know anything about ships. You take office – you learn all about ships – and when you know all about ships, the opposition comes in, out you go, and somebody else who doesn't know anything about ships comes in and takes your place. That's how we educate our ministers."
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566:" – comes on board to sell her wares to the crew. She hints that she may be hiding a dark secret under her "gay and frivolous exterior". Ralph Rackstraw, "the smartest lad in all the fleet", enters, declaring his love for the Captain's daughter, Josephine. His fellow sailors (excepting Dick Deadeye, the grim and ugly realist of the crew) offer their sympathies, but they can give Ralph little hope that his love will ever be returned.
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652:, and Corcoran as a common sailor. Sir Joseph's marriage with Josephine is now "out of the question" in his eyes: "love levels all ranks ... to a considerable extent, but it does not level them as much as that." He hands her to Captain Rackstraw. The former Captain's now-humble social rank leaves him free to marry Buttercup. Sir Joseph settles for his cousin Hebe, and all ends in general rejoicing.
103:. She abides by her father's wishes at first, but Sir Joseph's advocacy of the equality of humankind encourages Ralph and Josephine to overturn conventional social order. They declare their love for each other and eventually plan to elope. The Captain discovers this plan, but, as in many of the Gilbert and Sullivan operas, a surprise disclosure changes things dramatically near the end of the story.
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he admits that his gentlemanliness "never ... well, hardly ever" gives way to swearing at his men, and although he has experience at sea, he "hardly ever" suffers from seasickness. Sullivan "unerringly found the right musical setting for the key phrase 'What never?' ... cunningly sharpened ... through the chromatic touch on the bassoon." Audrey
Williamson argued that the music of
1161:-themed dolls and household items, and references to the opera were common in advertising, news and other media. Gilbert, Sullivan and Carte brought lawsuits in the U.S. and tried for many years to control the American performance copyrights over their operas, or at least to claim some royalties, without success. They made a special effort to claim American rights for their next work after
2254:, the captain's daughter, Josephine, loves and is loved by a common sailor, but she dutifully tells him, "your proffered love I haughtily reject". He expresses his devotion to her in a poetic and moving speech that ends with "I am a British sailor, and I love you". It finally turns out that he is of a higher rank than she. This is a parody of the Victorian "equality" drama, such as
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1864: ... sounds fresher than ever. The musical world has become serious – very serious – and it is indeed refreshing to hear a merry, humorous piece, and music, unassuming in character ... it is delicately scored, and in many ways displays ability of a high order". On the other hand, it wrote that if Sullivan had pursued the path of composing more serious music, like his
2765:. It was first performed at the Celebration Theater in Los Angeles on 7 September 2001, directed by Savage, where it ran with great success for nine months. It then played in Chicago and New York in 2003. In this adaptation, only one character is female, and all but one of the male characters are gay. An original cast recording was issued in 2002 by Belva Records.
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roles, is musically well regarded. The 2000 D'Oyly Carte recording also contains complete dialogue and the first recording of the "lost" ballad for
Captain Corcoran, "Reflect, my child", as a bonus track. A 1957 Danish-language recording of the opera is one of the few foreign-language professional recordings of Gilbert and Sullivan.
2292:, which established many patterns for the later Savoy operas, Gilbert found a way to express his own conflict that "also had tremendous appeal to the general public". He creates "a highly intelligent parody of nautical melodrama ... controlled by the conventions it mocks". While nautical melodrama exalts the common sailor, in
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that this disagreement arises from
Gilbert's "techniques of inversion – with irony and topsyturvydom", which lead to "the surface meaning of his writings" being "the opposite of their underlying meaning". Crowther argues that Gilbert desires to "celebrate" society's norms while, at the same time, satirising these conventions. In
1059:, and others, were injured. The cast went on with the show until someone shouted "Fire!" George Grossmith, playing Sir Joseph, went before the curtain to calm the panicked audience. The police arrived to restore order, and the show continued. Gilbert sued to stop the Comedy Opera Company from staging their rival production of
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feeling guilty about her planned elopement with Ralph and fearful of giving up a life of luxury. When Sir Joseph makes the argument that "love levels all ranks", a delighted
Josephine says that she "will hesitate no longer". The Captain and Sir Joseph rejoice, but Josephine is now more determined than ever to marry Ralph.
2014:, and Dick Deadeye was later thrown overboard with a real splash. The critic praised the hearty singing but noted that some subtlety is lost when the dialogue needs to be "shouted". The production took some liberties, including interpolated music from other Sullivan works. The paper concluded, "the mild satire of
345:. Gilbert's focus on visual accuracy provided a "right-side-up for topsy-turvydom", that is, a realistic point of reference that serves to heighten the whimsicality and absurdity of the situations. Sullivan was "in the full swing" of work on the piece by the middle of April 1878. The bright and cheerful music of
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Josephine is reluctant to consider a marriage proposal from Sir Joseph Porter, the First Lord of the
Admiralty. Buttercup says that she knows how it feels to love in vain. As she leaves, the Captain remarks that she is "a plump and pleasing person". Josephine enters and reveals to her father that she loves a
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Stedman, pp. 106–110; "My dear, it's one of the beautiful principles of our system of government never to appoint anybody to any post to which he is at all fitted. Our government offices are as so many elementary schools for the instruction of ministers. To take a minister who knows his duties, and
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group; they toured the adaptation, and they recorded 12 of the songs. In the 1970s, Al Grand was inspired by this recording and urged the Gilbert and Sullivan Long Island Light Opera Company to perform these songs. He later translated the missing songs and dialogue, with Bob Tartell, and the show has
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noted that the production, though "abounding in fun", was dignified and precise, especially compared with a previous "boisterous" unauthorized production, and that many numbers were encored and the laughter and applause from the "immense audience ... was liberally bestowed". Williamson's company
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concluded that the production was a success and that the plot, though slight, served as a good vehicle for Gilbert's "caustic humour and quaint satire". It found that there was "much to call forth hearty laughter in the occasional satirical hits. ... Dr. Sullivan's music is as lively as the text
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theatres, Gilbert, Sullivan and Carte produced the show with their own financial support. They were therefore able to choose their own cast of performers, rather than being obliged to use the actors already engaged at the theatre. They chose talented actors, most of whom were not well-known stars and
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Crowther makes a point similar to Maunder's: "hough Gilbert intended as a devastating parody of patriotic songs, the fervour of Sullivan's music often leads people to believe it a sincerely-meant patriotic song; and as the words and music pull the song in opposite directions the listener is left in
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According to Jacobs, "Ralph, Captain Corcoran, Sir Joseph and Josephine all live in their interactive music (particularly 'Never mind the why and wherefore'), and almost as much musical resource is lavished on two characters parodied from opera or melodrama, Little Buttercup with 'gypsy blood in her
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According to musicologist Arthur Jacobs, Gilbert's plot "admirably sparked off Sullivan's genius". Sullivan embraces the nautical setting; in "We Sail the Ocean Blue", for example, he "presents his twist on a traditional sea shanty". In the Captain's opening song, "I am the Captain of the Pinafore",
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was quintessentially Gilbertian in that the absurdities of a "paternal" Captain and the "ethics ... of all romanticism" are accepted "unflinchingly" and taken to their logical conclusion: "It is the reference to actuality that is essential; without it, the absurdity will not stand starkly out".
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described the opera as "classical" in method and wrote that its "most exquisite satire" lay in its "imitation of the absurdities" of grand opera. The company went on to become one of the most successful touring companies in America. The first children's version in Boston became a sensation with both
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under Carte's aegis every year between 1878 and 1888, including its first London revival in 1887. The opera was then given a rest, returning to the touring repertory between 1894 and 1900 and again for most of the time between 1903 and 1940. Gilbert directed all the revivals during his lifetime, and
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During rehearsals for the original production, Gilbert added a ballad for Captain Corcoran in which he urged his daughter to forget the common sailor with whom she is in love, because "at every step, he would commit solecisms that society would never pardon." The ballad was meant to be sung between
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There is a divide among Gilbert and Sullivan scholars as to whether Gilbert is, as Jones argues, a supporter of the status quo whose focus is merely to entertain or, on the other hand, predominantly to satirise and protest "against the follies of his age". The Gilbert scholar Andrew Crowther posits
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complained that the ongoing collaboration between Gilbert and Sullivan was "detrimental to the art-progress of either" because, although it was popular with audiences, "something higher is demanded for what is understood as 'comic opera'". The paper commented that Sullivan had "the true elements of
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The D'Oyly Carte Opera Company did not allow any other professional company to present the Savoy operas in Britain and the Commonwealth until the copyrights expired at the end of 1961, although it licensed many amateur and school societies to do so, beginning in the 19th century. Other professional
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but had no scenery. On 31 July, they sent a group of thugs to seize the scenery and props during Act II of the evening performance at the Opera Comique. Gilbert was away, and Sullivan was recovering from an operation for kidney stones. Stagehands and cast members managed to ward off their backstage
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Carte, Gilbert and Sullivan now had the financial resources to produce shows themselves, without outside backers. Carte persuaded the author and composer that a business partnership among the three would be to their advantage, and they hatched a plan to separate themselves from the directors of the
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When Sir Joseph asks what had provoked the usually polite officer's outburst, Ralph replies that it was his declaration of love for Josephine. Furious in his turn at this revelation, and ignoring Josephine's plea to spare Ralph, Sir Joseph has the sailor "loaded with chains" and taken to the ship's
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Gilbert acted as stage director for his own plays and operas. He sought realism in acting, just as he strove for realistic visual elements. He deprecated self-conscious interaction with the audience and insisted on a style of portrayal in which the characters were never aware of their own absurdity
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to establish the Comedy Opera Company, which was devoted to the production and promotion of family-friendly English comic opera. With this theatre company, Carte finally had the financial resources, after many failed attempts, to produce a new full-length Gilbert and Sullivan opera. This next opera
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The 1930 recording is notable for preserving the performances of the D'Oyly Carte Opera Company stars of the era. The 1960 D'Oyly Carte recording, which contains all the dialogue, has been repeatedly praised by reviewers. The 1994 Mackerras recording, featuring grand opera singers in the principal
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In April 1999, Sullivan scholars Bruce I. Miller and Helga J. Perry announced that they had discovered a nearly complete orchestration – lacking only the second violin part – in a private collection of early band parts. These materials, with a conjectural reconstruction of the partially lost vocal
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for three men describing the ideal sailor), composed by Sir Joseph "to encourage independent thought and action in the lower branches of the service, and to teach the principle that a British sailor is any man's equal, excepting mine". Sullivan's voicing advances the satiric lyric, which mocks the
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Seldom indeed have we been in the company of a more joyous audience. ... have on previous occasions been productive of such legitimate amusement, such novel forms of drollery, such original wit, and unexpected whimsicality, that nothing was more natural than for the audience to anticipate an
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sprang up in the United States in 1878 and 1879, and none of these paid royalties to the authors. Gilbert and Sullivan called them "pirated", although the creators did not have any international copyright protection. The first of these productions, opening at the Boston Museum on 25 November 1878,
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Dick Deadeye intercepts the Captain and tells him of the lovers' plans to elope. The Captain confronts Ralph and Josephine as they try to leave the ship. The pair declare their love, justifying their actions because "He is an Englishman!" The furious Captain is unmoved and blurts out, "Why, damme,
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Sir Joseph comes on board, accompanied by his "admiring crowd of sisters, cousins, and aunts". He recounts how he rose from humble beginnings to be "ruler of the Queen's Navee" through persistence, although he has no naval qualifications. He then delivers a humiliating lesson in etiquette, telling
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The dialogue preceding the Act II finale, starting with "Here, take her sir, and mind you treat her kindly", was originally recitative. The music for this passage was printed in the first edition of the vocal score as No. 20a. Shortly after opening night, the recitative was dropped, and the lines
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Ralph summons his shipmates (Sir Joseph's female relatives also arrive) and tells them that he is bent on suicide. The crew expresses sympathy, except for Dick, who provides a stark counterpoint of dissent. Ralph puts a pistol to his head, but as he is about to pull the trigger, Josephine enters,
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created the model for a new kind of musical theatre, the "integrated" musical, where "book, lyrics, and music combined to form an integral whole". He adds that its "unprecedented ... popularity fostered an American audience for musical theatre, while the show itself became a model for form,
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continued to garner praise outside Britain. The 1950s Danish version in Copenhagen, for example, was revived repeatedly, playing for well over 100 performances to "packed houses". Translations into German, Yiddish and many other languages, and professional productions in places as remote as
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Sir Joseph enters and complains that Josephine has not yet agreed to marry him. The Captain speculates that she is probably dazzled by his "exalted rank" and that if Sir Joseph can persuade her that "love levels all ranks", she will accept his proposal. They withdraw, and Josephine enters, still
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Gilbert makes the proponent of equality, Sir Joseph, a pompous and misguided member of the ruling class who, hypocritically, cannot apply the idea of equality to himself. The hero, Ralph, is convinced of his equality by Sir Joseph's foolish pronouncements and declares his love for his Captain's
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is basically a satire on ... the British love of the class system. ... f course can marry daughter, because he's British, and therefore he's great'". Jacobs notes that Gilbert is lampooning the tradition of nautical melodrama in which the sailor's "patriotism guarantees his virtue".
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and created a model set for the carpenters to work from. This was far from standard procedure in Victorian drama, in which naturalism was still a relatively new concept, and in which most authors had very little influence on how their plays and libretti were staged. This attention to detail was
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In the licensing copy of the libretto, Sir Joseph's cousin Hebe had lines of dialogue in several scenes in Act II. In the scene that follows No. 14 ("Things are seldom what they seem"), she accompanied Sir Joseph onstage and echoed the First Lord's dissatisfaction with Josephine. After several
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for the duration of the initial run. The Opera Comique was obliged to close for drain and sewer repairs, and it was renovated by E. W. Bradwell, from Christmas 1878 to the end of January 1879. Gilbert, Sullivan and Carte believed that this break ended the initial run, and, therefore, ended the
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has "everything a musical theatregoer could ask for. An engaging and even relatively suspenseful story is populated with varied and well-drawn characters who speak and sing witty, literate, and often outrageously funny dialogue and lyrics has a score that ... has plenty of tunes for the
624:. Little Buttercup offers sympathy. He tells her that, if it were not for the difference in their social standing, he would have returned her affection. She prophesies that things are not all as they seem and that "a change" is in store for him, but he does not understand her cryptic warning.
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The gentlemanly and popular Captain Corcoran greets his "gallant crew" and compliments them on their politeness, saying that he returns the favour by never ("well, hardly ever") using bad language, such as "a big, big D". After the sailors leave, the Captain confesses to Little Buttercup that
2453:. Bond, who at this point in her career was known primarily as a concert singer and had little experience as an actress, did not feel capable of performing dialogue, and these passages were revised to cut Hebe's dialogue. Hebe's cut dialogue is occasionally restored in modern performances.
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recitatives and the elopement scene (evocative of so many nocturnal operatic conspiracies), but best of all is the travesty of the patriotic tune in 'For he is an Englishman!'" Buttercup's Act II song, in which she reveals the dark secret of the baby-switching is preceded by a quote from
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agreed that the satire is pointed at the selfishness of "being proud of yourself for being a citizen" of one's country, which requires no virtuous effort of will to resist the "temptations to belong to other nations" but is merely an excuse for pride. In 2005, Australian opera director
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in her 1879 story, "Jimmy's Cruise in the Pinafore". In New York, different productions of the piece played simultaneously in eight theatres within five blocks of each other and in six theatres in Philadelphia. A production by Gorman's Philadelphia Church Choir Company, orchestrated by
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an artist, which would be successfully developed were a carefully framed libretto presented to him for composition". It concluded, however, by saying how much it enjoyed the opera: "Having thus conscientiously discharged our duties as art-critics, let us at once proceed to say that
385:. Gilbert made an effort to write an amusing part for her despite Sullivan's reluctance to use her, but by mid-May 1878, both Gilbert and Sullivan wanted her out of the cast; unhappy with the role, she left. With only a week to go before opening night, Carte hired a concert singer,
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found broadbased success by appealing to the intellectual theatregoer seeking satire, the middle-class theatre-goer looking for a comfortable confirmation of the "existing social order" and the working-class audience who saw a satisfying melodramatic victory for the common man.
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wrote: "we secretly marvelled at the naturalness and ease with which were said and done. For until then no living soul had seen upon the stage such weird, eccentric, yet intensely human beings. ... conjured into existence a hitherto unknown comic world of sheer delight."
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2202:(1873), for example, Gilbert describes a world in which government offices are awarded to the person who has the least qualification to hold each position. In particular, the one who has never heard of a ship is appointed to the cabinet post of First Lord of the Admiralty. In
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but found it diverting and called the music "very charming. To hear so-called grand opera imitated through the medium of the most trifling lyrics, is funny". The paper praised Grossmith as Sir Joseph, noting with amusement that he was made up to look like portraits of
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Rollins and Witts (and supplements). An examination of Rollins and Witts and Gänzl (1986) shows that cast lists taken at ten-year intervals is sufficient to indicate the bulk of the notable performers who portrayed these roles in authorised productions during that
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The Midshipmite, Tom Tucker, is traditionally played by a child. "Fitzaltamont" was likely a pseudonym used to protect the child's identity, as the same name appears on programmes of several provincial touring companies. No names are listed for his role in later
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was composed during a time when Sullivan suffered from excruciating pain from a kidney stone. The cast began music rehearsals on 24 April, and at the beginning of May 1878, the two collaborators worked closely together at Sullivan's flat to finalise the piece.
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lines and second violin part, were later published and professionally recorded. This piece has now been performed a number of times by amateur and professional companies, although it has not become a standard addition to the traditional scores or recordings.
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was one of a series of Josephines. The production received good notices and initially sold well but was withdrawn in October after 91 performances. The matter was eventually settled in court, where a judge ruled in Carte's favour about two years later.
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observed that the opera had not been updated with new dialogue, jokes and songs, but concluded that this was for the best, as the public would have missed the "time-honoured jokes, such as 'Hardly Ever.' The Savoy has once more got a brilliant success."
1280:, who had taken over from his brother as Carte's music director in London, adapted the score for children's voices. Between its two Christmas seasons in London, the children's production went on a provincial tour from 2 August 1880 to 11 December 1880.
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concurred, stating that since the opera "has been heard in almost every part of this habitable globe and been enjoyed everywhere, there is not much occasion to descant". It called the revival a "most brilliant" success and predicted another long run.
2568:, features the company's staging of the period, but some reviewers find it dull. It is, however, one of only three video or film recordings of a Gilbert and Sullivan opera by the D'Oyly Carte Opera Company. In 1982, Brent Walker Productions produced
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a "royal entertainment comes up smiling". The opera had been turned into a "mammoth spectacle" with a chorus of hundreds and the famous Hippodrome tank providing a realistic harbour. Buttercup made her entrance by rowing over to the three-masted
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noted the juxtaposition of satire and nationalism in the opera, saying, "they all sing 'He is an Englishman', and you know damn well they're sending it up, but the music is so military ... that you can't help but be swept up in that whole
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style of performance than was commonly used at the time. They then tailored their work to the particular abilities of these performers. The skill with which Gilbert and Sullivan used their performers had an effect on the audience; as critic
1685:. It opined, further, that "He Is an Englishman" is "an excellent satire on the proposition that a man must necessarily be virtuous to be English". It found the piece, as a whole, well presented and predicted that it would have a long run.
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had exclusive performing rights to the Savoy operas until 1962. It continued to hew closely to Gilbert's directions throughout that period, as recorded in Gilbert's prompt books, and it also required its licensees to follow them closely.
1030:, Carte left in June for New York to make arrangements for an "authentic" production there to be rehearsed personally by the author and composer. He arranged to rent a theatre and auditioned chorus members for the American production of
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opened in New York on 1 December 1879 (with Gilbert onstage in the chorus) and ran for the rest of December. After a reasonably strong first week, audiences quickly fell off, since most New Yorkers had already seen local productions of
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has remained one of Gilbert and Sullivan's most popular comic operas. Productions continue in large numbers around the world. In 2003 alone, The D'Oyly Carte Opera Company rented 224 sets of orchestra parts, mostly for productions of
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Part 2 of the 4-part recording. Includes "My gallant crew, good morning", "I am the Captain of the Pinafore", "Sorry her lot" (second verse, beginning "Sad is the hour"), "Over the bright blue sea" and "I am the monarch of the
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recitative". But on the serious side, he enhances the moments of true emotional climax, as in Josephine's Act II aria, and added musical interest to concerted numbers by "subtly shifting the rhythms and bar groupings."
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made such a splash that the piece was quickly produced in major cities and on tour by dozens of companies throughout the country. Boston alone saw at least a dozen productions, including a juvenile version described by
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and other foreign-language versions, performances on boats or by church choirs, and productions starring casts of children. Few purported to play the opera as written. Sheet music arrangements were popular, there were
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troop ship in the Atlantic. The reduced-size acting cast also serve as the orchestra for the singing roles, and the music is infused with swing rhythms. Numerous productions in recent decades have been set to parody
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as Little Buttercup and the "splendid" choral tone. It concluded that the opera made a "rollicking climax to the season". Two years later, it gave an even more glowing report of that season's performances, calling
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also noted that the piece was an early attempt at the establishment of a "national musical stage" with a libretto free from risqué French "improprieties" and without the "aid" of Italian and German musical models.
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retained exclusive rights to perform their operas in Great Britain until 1962, touring throughout Britain for most of the year and, beginning in 1919, often performing in London for a season of about four months.
731:
1351:. The opera was revived in London in the summer of 1947. It was then included in the D'Oyly Carte repertory in every season from then on, until the company's closure in 1982. The D'Oyly Carte company performed
596:
admitting that she loves him after all. Ralph and Josephine plan to sneak ashore to elope that night. Dick Deadeye warns them to "forbear, nor carry out the scheme", but the joyous ship's company ignores him.
2339:"equality" plays while underlining the hypocrisy of Sir Joseph. Another popular number is Sir Joseph's song "When I was a Lad", recounting the meteoric rise of his career, which bears similarities to that of
2078:. This does not take into account other rental companies and the theatre companies that borrow scores or have their own, or that use only one or two pianos instead of an orchestra. Hundreds of productions of
691:
647:
Sir Joseph now realises that Ralph should have been the Captain, and the Captain should have been Ralph. He summons both, and they emerge wearing each other's uniforms: Ralph as Captain, in command of the
1037:
Sullivan, as had been arranged with Carte and Gilbert, gave notice to the partners of the Comedy Opera Company in early July 1879 that he, Gilbert and Carte would not be renewing the contract to produce
2532:
2503:
1299:
After the opera became successful in London, Richard D'Oyly Carte quickly sent touring companies into the British provinces. At least one D'Oyly Carte company, and sometimes as many as three, played
7355:
4268:
Brent Walker Productions filmed a series of television productions of the Gilbert and Sullivan operas in 1982 and 1983. This is the most complete professional set of Gilbert and Sullivan videos.
2264:(1838), where the heroine rejects a virtuous peasant who makes a similarly moving speech, ending with "I am a peasant!" It then turns out that he has become her social superior. Furthermore, in
2929:
2206:, Gilbert revisits this theme in the character of Sir Joseph, who rises to the same position by "never go to sea". In later Gilbert and Sullivan operas, the characters Major-General Stanley in
1783:
The many unauthorised American productions of 1878–79 were of widely varying quality, and many of them were adaptations of the opera. One of the more "authentic" ones was the production by the
2276:, the heroine again loves a worthy peasant who turns out to be of high rank, and she declares happily at the end that "love levels all". In a satire of the libertarian traditions of nautical
389:, to play Cousin Hebe. Since Bond had little experience as an actress, Gilbert and Sullivan cut the dialogue out of the role, except for a few lines in the last scene, which they turned into
277:
I have very little doubt whatever but that you will be pleased with it. ... there is a good deal of fun in it which I haven't set down on paper. Among other things a song (a kind of '
1391:
and many of the other British opera companies have mounted productions, as did the reconstituted D'Oyly Carte Opera Company between 1990 and its closure in 2003. In recent decades, the
2564:
was chosen by NBC as one of the earliest operas ever broadcast on American television, but no recording is known to have been saved. The 1973 D'Oyly Carte video recording, directed by
2045:
With the expiry of the copyrights, companies around the world have been free to produce Gilbert and Sullivan works and to adapt them as they please for almost 50 years. Productions of
2174:
is a typical instance, and the 'God's Englishman' sort of patriotism which consists in shouting a platitude, striking an attitude, and doing little or nothing to help one's country".
3283:, and several of the songs are performed. In 1955, NBC broadcast a variety special including a 20-minute compressed jazz version, "H.M.S. Pinafore in Jazz", produced and directed by
2530:
2501:
122:, party politics, the Royal Navy, and the rise of unqualified people to positions of authority. The title of the piece comically applies the name of a garment for girls and women, a
2315:
is quintessentially English and free of European influences throughout most of the score, from the "glee" for Ralph, the Boatswain and the Carpenter, to "For He Is an Englishman".
1287:
and the other London critics, as well as the audiences, including children. However, Captain Corcoran's curse "Damme!" was uncensored, shocking such prominent audience members as
5681:
3319:
The following tables show the most prominent cast members of significant D'Oyly Carte Opera Company productions and tours at various times through to the company's 1982 closure:
632:
it's too bad!" Sir Joseph and his relatives, who have overheard this oath, are shocked to hear swearing on board a ship, and Sir Joseph orders the Captain confined to his cabin.
2425:
4209:. This was not the first time that he had written a review expressing outraged indignation against Gilbert and Sullivan. He had objected to their treatment of the clergy in
1426:. Thereafter, his opera company played frequent seasons of the work (and the subsequent Savoy operas) until at least 1963. In the U.S., the piece never lost popularity. The
151:, dominated the musical stage on both sides of the Atlantic for more than a decade and continue to be performed today. The structure and style of these operas, particularly
4183:
James C. Duff claimed falsely that his "faithful" January 1879 production in New York used performing materials that he had personally secured from the author and composer.
2334:
tune introducing the character, which Sullivan repeats in the entr'acte and in the Act II finale to imprint the melody on the mind of the audience; and "A British tar" (a
2038:
commented, "Gilbert's themes of class inequality, overbearing nationalism and incompetent authorities remain relevant, however absurdly treated. But the lasting appeal of
2904:
and other musicals that parody the opera or that use or adapt its music. The first such parody was a short-lived burlesque presented at the Opera Comique in 1882, called
1042:
with them and that he would be withdrawing his music from the Comedy Opera Company on 31 July. In return, the Comedy Opera Company gave notice that they intended to play
281:') for the First Lord – tracing his career as office-boy ... clerk, traveller, junior partner and First Lord of Britain's Navy. ... Of course there will be no
1050:
more money to play in their production, and although some choristers accepted their offer, only one principal player, Aeneas Joseph Dymott, accepted. They engaged the
969:
company's rights. Carte put the matter beyond doubt by taking a six-month personal lease of the theatre beginning on 1 February 1879, the date of its re-opening, when
7857:
2531:
2502:
1872:
set us wondering what the composer would have accomplished with a libretto of somewhat similar kind, but one giving him larger scope for the exercise of his gifts".
1075:
After his return to London, Carte formed a new partnership with Gilbert and Sullivan to divide profits equally after the expenses of each of their shows. Meanwhile,
960:
was playing to full houses at the Opera Comique. The piano score sold 10,000 copies, and Carte soon sent two additional companies out to tour in the provinces.
307:
despite having neither military nor nautical experience. Sullivan was delighted with the sketch, and Gilbert read a first draft of the plot to Carte in mid-January.
2891:
and the other Savoy operas demonstrate that musical theatre "can address contemporary social and political issues without sacrificing entertainment value" and that
1245:, which premiered with much success on 31 December. Shortly thereafter, Carte sent three touring companies around the United States East Coast and Midwest, playing
2896:
content, and even intention of ... musicals ever since, especially socially relevant musicals." Its popularity also led to the musical theatre adaptations of
1422:. He soon made arrangements with D'Oyly Carte to present the opera's first authorised production in Australia, opening on 15 November 1879 at the Theatre Royal,
1957:'s Deadeye was "an admirably sustained piece of caricature" and that it was a "great pleasure" to hear the returning principals. A 1961 review of the company's
257:
paved the way for another collaboration by Gilbert and Sullivan. Carte agreed on terms for a new opera with the Comedy Opera Company, and Gilbert began work on
1018:
resumed operations at the Opera Comique. The opera also resumed touring in April, with two companies crisscrossing the British provinces by June, one starring
9033:
2747:. The group have continued to produce this adaptation for over two decades, in which "He is an Englishman" becomes "Er Iz a Guter Yid" ("He is a good Jew").
3215:", where "He Is an Englishman" is used throughout and quoted (or paraphrased) in the episode's title. Among other notable examples of the use of songs from
9023:
7918:
2739:
7352:
2887:
in 1879 established British comic opera alongside French opéra bouffe throughout the English-speaking world". The historian John Bush Jones opines that
7546:
973:
resumed. At the end of the six months, Carte planned to give notice to the Comedy Opera Company that its rights in the show and the theatre had ended.
1799:
reported that the audience was "wrought up by the entertainment to a point of absolute approval". The paper observed that it is a mistake to consider
135:
s extraordinary popularity in Britain, America and elsewhere was followed by the similar success of a series of Gilbert and Sullivan works, including
6968:
7705:
2049:, both amateur and professional, range from the traditional, in the D'Oyly Carte vein, to the broadly adapted, such as that of the very successful
417:
but were coherent internal wholes. Sullivan conducted the music rehearsals. As was to be his usual practice in his later operas, Sullivan left the
2440:
interruptions, Sir Joseph urged her to be quiet, eliciting the response "Crushed again!" Gilbert would later re-use this passage for Lady Jane in
9038:
7191:
8811:
5200:
1818:
wrote that "the large audience of children and their elders went fairly wild with delight ... shrieks of laughter were repeatedly heard".
2679:, giving considerable backstory details not found in the libretto. Many other children's books have since been written retelling the story of
2446:. Hebe was also assigned several lines of dialogue after No. 18 ("Carefully on tiptoe stealing") and again after No. 19 ("Farewell, my own").
1985:
in Australia, New Zealand and on tour into the 1960s with much success. Williamson said, "If you need money, then put on G&S". Meanwhile,
5614:
4910:, saying: "You once settled a precedent for me which may just at present be of great importance to me. I asked you for the band parts of the
4161:"Big D" meant "damn". See Bradley (1996), p. 128. In Act II, the Captain does use a big D, which shocks Sir Joseph and his female relatives.
2806:; extensive additional Gilbert-style dialogue by Herbert Appleman makes "raconteur" Deadeye the central character. Ian Talbot directed, and
2188:
that is the British Empire." In addition, he argued that the song ties this theme into the main satire of class distinctions in the opera: "
6736:
1408:
8704:
8996:
2577:
2408:
No. 5 and No. 6 of the current score, but it was cut before opening night. The words survive in the libretto that was deposited with the
1780:
and hoped that he would turn to projects "more worthy of his great ability". This criticism would follow Sullivan throughout his career.
9196:
9160:
8991:
2835:
2462:
thereafter were performed as spoken dialogue. In modern productions, the recitative is occasionally restored in place of the dialogue.
1276:
were so popular that Carte mounted his own children's version, played at matinees at the Opera Comique beginning on 16 December 1879.
9028:
5874:
3269:
sings a pastiche of "My Gallant Crew". Stewie also sings "I Am the Monarch of the Sea" (including the ladies' part, in falsetto) in "
2576:
video "is widely considered one of the worst" in the series. More recent professional productions have been recorded on video by the
1430:
links to a non-exhaustive list of 29 productions on Broadway alone. Among the professional repertory companies continuing to present
6201:
2242:
A theme that pervades the opera is the treatment of love across different social ranks. In the previous Gilbert and Sullivan opera,
200:, which opened in November 1877. It too was successful, running for 178 performances. Sheet music from the show sold well, and
9211:
6261:
5105:
Prestige, Colin. "D'Oyly Carte and the Pirates: The Original New York Productions of Gilbert and Sullivan", pp. 113–148 at p. 118,
1972:
in Australia and New Zealand. His first production earned public and critical acclaim. Williamson played Sir Joseph, and his wife,
4174:
conducted the piece in late July and August 1878, while Cellier was assisting Sullivan at the promenade concerts at Covent Garden.
964:
Comedy Opera Company. The contract between Gilbert and Sullivan and the Comedy Opera Company gave the latter the right to present
9206:
9013:
5074:
2704:, using Sullivan's music. This was revived several times, including in London in 1998. Another 1945 Broadway musical adaptation,
1924:
gave the company's 1920 London production an enthusiastic review, saying that the audience was "enraptured", and regretting that
1807:
and requires to be handled with great care lest its delicate proportions be marred and its subtle quality of humor be lost". The
2718:
and an all-black cast. In 1940, the American Negro Light Opera Association produced the first of several productions set in the
1706:
to which it is set, with here and there a touch of sentimental expression ... The piece is well performed throughout." The
1379:, seen on Broadway in 1960 and in London in 1962 and a New Sadler's Wells Opera Company production first seen on 4 June 1984 at
4296:
2648:
2255:
242:
2879:"became an international sensation, reshaping the commercial theater in both England and the United States." The music writer
1141:
as Sir Joseph, played on Broadway and toured in the U.S. throughout 1879; Sousa's orchestration was also used in Australasia.
7759:
6793:
3166:
2517:
in 1911. Includes "We sail the ocean blue" "Hail, men-o'-war's men", "I'm called Little Buttercup" and "A maiden fair to see"
2031:
1443:
1323:
Until 1908, revivals of the opera were given in contemporary dress, with ladies' costumes executed by couture houses such as
4984:, 1 September 1879, reprinted at the Stage Beauty website, accessed 6 May 2009. See also "The Fracas at the Opera Comique",
110:" poems, Gilbert imbued this plot with mirth and absurdity. The opera's humour focuses on love between members of different
9006:
7850:
4914: ... and said, 'They are yours, as our run is over. ...' Now will you please let me have them, and the parts of
2196:
One of Gilbert's favourite comic themes is the elevation of an unqualified person to a position of high responsibility. In
1557:
Company of juvenile performers, matinees only. (This company went on a provincial tour from 2 August to 11 December 1880.)
8060:
John Reed played Sir Joseph at some performances during the final London season at the Adelphi Theatre. See Stone, David.
5229:
3035:
launched the first media blitz in the United States" beginning in 1879, and recent ads include a television campaign for
2340:
1682:
1678:
616:
Later that night, under a full moon, Captain Corcoran reviews his concerns: his "kindly crew rebels", his "daughter to a
292:
238:
8730:
7593:
in several novels, see Bradley (2005), pp. 10–11. Other literary references include Gilbert's own 1908 children's book,
5702:
1764:
and several of the other papers agreed that, while the piece was entertaining, Sullivan was capable of higher art. Only
8804:
7747:
4485:
3212:
3008:
2042:
and its ilk is more a matter of his unmatched linguistic genius and Sullivan's generous supply of addictive melodies."
1730:
concurred, the last commenting favourably on the chorus acting, which, it said, "adds to the reality of the illusion".
644:". She confesses that she "mixed those children up. ... The wellborn babe was Ralph; your Captain was the other."
2412:
for licensing. Before 1999, all that was known to survive of Sullivan's setting was a copy of the leader violin part.
1046:
at another theatre and brought a legal action against Carte and company. They offered the London and touring casts of
8659:
8619:
8591:
8581:
8478:
8459:
8438:
8408:
8384:
8363:
8341:
8322:
8303:
8265:
8246:
8225:
8201:
8178:
8157:
8130:
8111:
8092:
7904:
7801:
7165:
6845:
6825:
6702:
6290:
5188:
5094:
4649:
3174:, and the father and daughter characters sing "I Am the Captain of the Pinafore" together. The 1976 animated film by
3093:
2803:
2762:
2246:, a love potion causes trouble by inducing the villagers and wedding guests to fall in love with people of different
1879:
wrote: "No other comic opera ever written – no other stage play, indeed, of any sort – was ever so popular. ...
1860:
managed to praise the piece while joining in the musical establishment's critique of Sullivan. On the one hand, "The
1063:. The court permitted the production to go on at the Imperial, beginning on 1 August 1879, and it transferred to the
7542:, Sherman sings a song called "Little Butterball" to the tune of "I'm Called Little Buttercup". See Sherman, Allan.
7207:
2389:. Jacobs notes that Sullivan also adds his own humorous touches to the music by setting commonplace expressions in "
9191:
3270:
8783:
7594:
7130:
314:, Gilbert strove to ensure that the costumes and sets were as realistic as possible. When preparing the sets for
7427:
2234:
7958:
7915:
3440:
2868:
1469:
The following table shows the history of the D'Oyly Carte productions (excluding tours) in Gilbert's lifetime:
1376:
1056:
588:
in his crew, but she assures him that she is a dutiful daughter and will never reveal her love to this sailor.
156:
7793:
The American Film Institute Catalog of Motion Pictures Produced in the United States: Feature Films, 1961–1970
2690:
Many musical theatre adaptations have been produced since the original opera. Notable examples include a 1945
9186:
9150:
8971:
8797:
5250:"The Twilight of the Opera Pirates: A Prehistory of the Right of Public Performance for Musical Compositions"
3500:
3412:
2872:
2602:
2572:
as part of its series of Gilbert and Sullivan television films. According to discographer Marc Shepherd, the
1916:
1305:
795:
8. "Now give three cheers ... I am the Monarch of the sea" (Captain, Sir Joseph, Cousin Hebe and Chorus)
641:
636:
brig. Little Buttercup now comes forward to reveal her long-held secret. Many years ago, when she "practised
398:
7543:
6635:, "Reflect my Child" reconstruction, The Gilbert and Sullivan Archive, 15 April 1999, accessed 21 April 2009
6218:
2026:
in the 1920s and 1930s "spectacular". Modern productions in America continue to be generally well received.
1630:
Second Savoy repertory season; played with five other operas. (Closing date shown is of the entire season.)
980:, unauthorised by its creators, began playing in America with great success, beginning with a production in
777:
4. "My gallant crew, good morning ... I am the Captain of the Pinafore" (Captain and Chorus of Sailors)
278:
4484:, began to refer to his appointee as "Pinafore Smith". See, e.g., Dark & Grey, p. 75; and Gary Dexter,
2781:. The adaptation, set in 1944, changes the characters into members of a band entertaining the sailors on a
2609:
1856:
1745:
1714:
1190:. In November, Carte returned to America with Gilbert, Sullivan and a company of strong singers, including
17:
9216:
7702:
7391:
6566:
Jacobs, p. 119. Gilbert had introduced this character in his 1870 Bab Ballad "The Bumboat Woman's Story".
4170:
After opening night, the company's musical director, Alfred Cellier, conducted most of the performances.
3036:
1701:
1178:
in America. Carte travelled to New York in the summer of 1879 and made arrangements with theatre manager
447:
304:
235:
100:
6965:
4290:
873:
18a. "Pretty daughter of mine" (Captain and Ensemble) and "He is an Englishman" (Boatswain and Ensemble)
9001:
7632:
7395:
5374:
5370:
5166:
4192:
Ford had been one of the few managers who had paid Gilbert and Sullivan any kind of fee for performing
4171:
3961:
3180:
2343:, the civilian news entrepreneur who had risen to the position of First Lord of the Admiralty in 1877.
1784:
1427:
7599:, London: George Bell and Sons, 1908, accessed 1 May 2009. In addition, Gilbert and Sullivan refer to
421:
for the last moment, sketching it out and entrusting it to the company's music director, in this case
7431:
4807:
4152:). Gilbert rhymes it with "waif" in the lyrics of Little Buttercup's Act II song, "A many years ago".
3747:
2711:
1380:
1364:
1328:
1096:
357:, Gilbert, Sullivan and Carte used several of the principal cast members whom they had assembled for
65:
in London on 25 May 1878, and ran for 571 performances, which was the second-longest run of any
5574:
3739:
3134:
2962:", "thanks the Lord" and thanks his father, "who is chairman of the board". Literary references to
2523:
2494:
1795:. The critics agreed that the company fulfilled its goals of presenting an "ideal" production. The
1772:
1051:
5970:
3087:(1994), the famed lawman meets his future wife when he sees her playing in an early production of
361:. As Gilbert had suggested to Sullivan in December 1877, "Mrs. Cripps will be a capital part for
8986:
8928:
8886:
8841:
8569:
The D'Oyly Carte Opera Company in Gilbert and Sullivan Operas: A Record of Productions, 1875–1961
8376:
Gänzl's Book of the Broadway Musical: 75 Favorite Shows, from H.M.S. Pinafore to Sunset Boulevard
7604:
7568:
5426:
3685:
3190:
3116:
3110:
1536:
1392:
1167:
168:
137:
8697:
8123:
Gilbert and Sullivan in America, The Story of the First D'Oyly Carte Opera Company American Tour
7821:
2449:
Late in rehearsals for the original production, Jessie Bond assumed the role of Hebe, replacing
8981:
8394:
5351:
2819:
2757:
in 1997 in Australia and New Zealand that has been much revived. Another musical adaptation is
2145:
1883: ... has been given, and with great success, wherever there are theaters – from Moscow to
1506:
Original run in London. (The theatre was closed between 25 December 1878 and 31 January 1879.)
1404:
7948:
7787:
7407:
7375:
6342:
6027:
4289:(which Bradley calls "splendid" and describes in detail in Bradley (2005), pp. 174–175),
4100:
Mrs Paul had left her husband around 1877, as he was having an affair with the actress-dancer
2380:
303:, identified Sir Joseph Porter with W. H. Smith, a politician who had recently been appointed
9063:
7534:
6741:
6032:
5975:
5030:
4653:
4465:
Gilbert's satire of politicians had led to censorship of Gilbert's plays before, for example
3160:
3077:
2946:
2845:
2778:
1435:
330:
85:
8749:
5771:
4675:
1770:
was actively hostile to the new piece. Upon the publication of the vocal score, a review by
9181:
8820:
8488:
7640:
6661:
5112:
3071:
3066:
2999:
2880:
2750:
2050:
2035:
1976:
played Josephine. Praising the production, Williamson, Moore and the other performers, the
1865:
1519:
1455:
1388:
1183:
988:
became a source of popular quotations on both sides of the Atlantic, such as the exchange:
213:
180:
74:
5437:, 26 December 1880, reprinted at The Gilbert and Sullivan Archive, accessed 6 October 2011
5005:
1760:
is an amusing piece of extravagance, and that the music floats it on merrily to the end".
265:, and the nautical theme of the opera appealed to him. He drew on several of his earlier "
8:
9095:
8147:
7555:
7539:
5601:
production in 1987, collected at The Gilbert and Sullivan Archive, accessed 10 March 2009
4849:
3262:
2972:
2630:
1994 Mackerras/Telarc – Orchestra and Chorus of the Welsh National Opera; Conductor: Sir
2367:
2006:
1791:. It engaged well-regarded concert singers and opened on 14 April 1879 at the 3,000-seat
1739:
1648:
1145:
8744:
8691:
8419:
8279:
8275:
6949:
5549:
5037:, 22 September 1879, reprinted at The Gilbert and Sullivan Archive, accessed 8 July 2010
1277:
1241:. In the meantime, Gilbert and Sullivan raced to complete and rehearse their new opera,
1223:
9119:
9071:
8739:
8537:
8512:
8495:
to Porter: United States – United Kingdom Interactions in Musical Theater, 1879–1929".
8293:
8168:
5755:
5623:
5108:
4043:
3800:
3787:
3386:
3376:
3300:
3069:, sing "He Is an Englishman". This song also features at the end of the 1983 BBC drama
3020:
2700:
2596:
2351:
1847:
1792:
1356:
938:
841:
585:
577:
469:
366:
96:
7331:
6096:
5239:, Standard Theatre, 25 January 1879, reprinted at Rochester.edu, accessed 16 July 2014
2940:
of its songs in comedy routines, literature and other media. Many comedians have used
2362:
that begins "Never mind the why and wherefore" "serves to emphasize the phrase like a
1343:. In the winter of 1940–41, the D'Oyly Carte Opera Company's scenery and costumes for
8655:
8649:
8615:
8587:
8474:
8455:
8449:
8434:
8404:
8380:
8359:
8337:
8318:
8299:
8261:
8242:
8236:
8221:
8215:
8197:
8190:
8174:
8153:
8126:
8107:
8088:
7954:
7900:
7797:
7316:
7161:
6841:
6821:
6789:
6777:
6698:
6478:, vol. 2, no. 11, pp. 325–331, Autumn 2000 (discussing the views of various scholars)
6286:
5184:
5090:
4907:
4645:
4481:
4104:, with whom he sired two children. However, she continued performing under this name.
3886:
3878:
3705:
3541:
3083:
2977:
2913:
2811:
2774:
2695:
2672:
2653:
2631:
2390:
2363:
2260:
2218:
1751:
1332:
1324:
1195:
1134:
1129:
1088:
1019:
953:
498:
443:
300:
8681:
7683:
3015:
Political references include a 1996 satiric pastiche of "When I Was a Lad" aimed at
2958:
school and then rises to prominence in business. At the end of the song, he "thanks
1997:
In the U.S., where Gilbert and Sullivan's performance copyright was never in force,
562:
woman" (dockside vendor) – who is the rosiest, roundest, and "reddest beauty in all
9127:
9111:
8893:
8504:
7834:
6723:
6662:"Gilbert & Sullivan: Of Ballads, Songs and Snatches, Lost or Seldom Recorded –
6323:
5610:
5406:
4205:
Carroll had unsuccessfully sought to collaborate with Sullivan on an adaptation of
4135:
4119:
4058:
4048:
4030:
3723:
3700:
3592:
3445:
3391:
3358:
3129:
3057:
2967:
2857:
2691:
2442:
2432:
2409:
2175:
2170:
2058:
1965:
1954:
1950:
1726:
1439:
1419:
1400:
1215:
1174:
Gilbert, Sullivan and Carte met by 24 April 1879 to make plans for a production of
1148:, productions with men playing women's roles and vice versa, spoofs, variety acts,
381:, was declining vocally. She was under contract to play the role of Cousin Hebe in
370:
362:
338:
230:
207:
Instead of writing a piece for production by a theatre proprietor, as was usual in
99:, Ralph Rackstraw, although her father intends her to marry Sir Joseph Porter, the
8777:
7315:– Original cast recording, Enchanted Cottage Studios; Los Angeles: Belva Records.
6678:
6301:
Crowther, Andrew. "Hunchbacks, Misanthropes and Outsiders: Gilbert's Self-Image",
5731:
5384:, online exhibition at University of Rochester Libraries, accessed 27 January 2017
2001:
continued to be produced continuously by both professional and amateur companies.
1776:
joined the chorus of regret that Sullivan had sunk so low as to compose music for
1688:
1450:
is still performed around the world by opera companies such as the Royal Theatre,
9201:
9087:
8942:
8858:
8836:
8630:
8398:
8374:
7922:
7861:
7751:
7709:
7613:
7550:
7359:
7104:
6972:
6899:
6886:
6645:
6184:
6050:
5598:
4916:
4053:
3766:
3670:
3602:
3546:
3482:
3422:
3371:
3143:
3121:
3062:
3031:
songs and images have been used extensively in advertising. According to Jones, "
2959:
2954:
parodies "When I Was a Lad" from the point of view of a young man who goes to an
2916:; the opera's characters are shipwrecked on a desert island. It was described by
2909:
2590:
2565:
2450:
2165:
2091:
1708:
1084:
1064:
1034:
and a new Gilbert and Sullivan opera to be premiered in New York, and for tours.
949:
882:
20a. "Here, take her, sir" (Sir Joseph, Josephine, Ralph, Cousin Hebe and Chorus)
374:
311:
172:
92:
66:
50:
8061:
7300:
7053:
6915:
6550:
6537:
5117:, Edited by James Helyar. Lawrence, Kansas: University of Kansas Libraries, 1971
1812:
children and adult audiences, extending its run through the summer of 1879. The
1446:, which tours the opera annually and often includes it in its New York seasons.
9018:
8949:
8935:
8710:
7773:
7303:, the Gilbert and Sullivan Discography, 1 September 2008, accessed 10 June 2016
7094:, the Gilbert and Sullivan Discography, 1 September 2008, accessed 10 June 2016
7087:
7070:
7036:
7026:, the Gilbert and Sullivan Discography, 24 December 2003, accessed 10 June 2016
7019:
7009:, the Gilbert and Sullivan Discography, 1 September 2008, accessed 10 June 2016
7002:
6992:, the Gilbert and Sullivan Discography, 1 September 2008, accessed 10 June 2016
6985:
6932:
6922:, the Gilbert and Sullivan Discography, 24 December 2003, accessed 10 June 2016
6902:, the Gilbert and Sullivan Discography, 31 December 1999, accessed 10 June 2016
6889:, the Gilbert and Sullivan Discography, 24 December 2003, accessed 10 June 2016
6876:, the Gilbert and Sullivan Discography, 12 November 2001, accessed 10 June 2016
6873:
6632:
6540:, the Gilbert and Sullivan Discography, 24 December 2003, accessed 10 June 2016
6350:
6141:
Bradley (2005), Chapter 4, describing numerous productions beginning with 1962.
5734:, the Gilbert and Sullivan Discography, 12 November 2001, accessed 10 June 2016
5463:, pp. 175–195, Stuart Dodgson Collingwood (ed.), London: T. Fisher Unwin (1899)
5164:
Kanthor, Harold. "H.M.S. Pinafore and the Theater Season in Boston 1878–1879",
4467:
4010:
3997:
3906:
3896:
3266:
3055:
have been used to give period flavor to such films as the 1981 historical film
3002:
and Michele Gray Rundgren, who performed "Never Mind the Why and Wherefore" on
2823:
2815:
2667:
has been adapted many times. W. S. Gilbert wrote a 1909 children's book called
2514:
2376:
2198:
2180:
2054:
1384:
1372:
1360:
1219:
1138:
599:
422:
270:
190:
7626:
7496:
7444:
7111:, the Gilbert and Sullivan Discography, 7 November 2001, accessed 10 June 2016
7077:, the Gilbert and Sullivan Discography, 2 December 2001, accessed 10 June 2016
7060:, the Gilbert and Sullivan Discography, 24 October 2001, accessed 10 June 2016
6773:
6557:, the Gilbert and Sullivan Discography, 7 November 2001, accessed 10 June 2016
6036:, 1911, reproduced at The Gilbert and Sullivan Archive, accessed 10 March 2009
2928:
2605:(with dialogue) – New Symphony Orchestra of London; Conductor: Isidore Godfrey
910:
Includes reprises of several songs, concluding with "For he is an Englishman".
765:
2. "Hail! men-o'-war's men" ... "I'm called Little Buttercup" (Buttercup)
640:", she had cared for two babies, one "of low condition", the other "a regular
529:
Chorus of First Lord's Sisters, His Cousins, His Aunts, Sailors, Marines, etc.
299:
Despite Gilbert's disclaimer, audiences, critics and even the Prime Minister,
9175:
9132:
9103:
8865:
8831:
8722:
8577:
8149:
Leaving Springfield: The Simpsons and the Possibility of Oppositional Culture
7786:
Krafsur, Richard P., Kenneth White Munden and American Film Institute (eds.)
7636:
4925:
4657:
4025:
3808:
3782:
3718:
3695:
3675:
3597:
3292:
3275:
3207:
3175:
2995:
2951:
2853:
2719:
2715:
2706:
2402:
2330:
The best-known songs from the opera include "I'm called Little Buttercup", a
2117:
2019:
1937:
1929:
1876:
1814:
1766:
1609:
1576:
1492:
1288:
1284:
1203:
1199:
1149:
934:
673:
621:
620:
is partial", his friends seem to desert him, and Sir Joseph has threatened a
604:
574:
512:
480:
430:
287:
262:
249:, Sir Joseph similarly sings: "When the breezes blow / I generally go below".
208:
201:
185:
176:
62:
58:
32:
8351:
7740:
6648:, at The Gilbert and Sullivan Archive, 17 April 1999, accessed 21 April 2009
6171:
a la Hippodrome; They Sail the Ocean Tank and Their Saucy Ship's a Beauty",
3610:
2156:
Souvenir programme cover from 1878 during the run of the original production
225:
8907:
8872:
8142:
7925:, Description of the film at planet-familyguy.com, accessed 19 October 2009
7580:
7249:
7043:, the Gilbert and Sullivan Discography, 6 April 2009, accessed 10 June 2016
6939:, the Gilbert and Sullivan Discography, 5 April 2003, accessed 10 June 2016
6786:
Rewind, Play, Fast Forward: The Past, Present and Future of the Music Video
6763:, the Gilbert and Sullivan Discography, 5 April 2003, accessed 10 June 2016
6760:
5869:
4977:
4710:
4020:
4005:
3940:
3919:
3829:
3821:
3680:
3657:
3649:
3551:
3505:
3468:
3456:
3427:
3399:
3308:
3296:
3234:
3230:
3225:
3155:
3043:-themed merchandise includes trading cards that were created in the 1880s.
2987:
2900:
described above, musicals in which the story line involves a production of
2849:
2782:
2770:
2738:(Yiddish for "apron") was written by Miriam Walowit in 1949 for a Brooklyn
2616:
2385:
2359:
2335:
2247:
2123:
2103:, to the fearsome symbol of a naval warship, which usually bore names like
1973:
1946:
1941:
1933:
1884:
1348:
1340:
1336:
1316:
1179:
1083:
completed its initial run of 571 performances. Only one other work of
1068:
1023:
876:
19. "Farewell, my own" (Ralph, Josephine, Sir Joseph, Buttercup and Chorus)
637:
218:
196:
111:
2621:
1981 Stratford Festival (video) – Conductor: Berthold Carrière; Director:
2318:
1830:
was first revived in London in 1887, it was already treated as a classic.
1283:
Carte's children's production earned enthusiastic reviews from the critic
864:
16. "Never mind the why and wherefore" (Josephine, Captain and Sir Joseph)
702:
Now give three cheers ... I am the Monarch of the Sea ... When I was a lad
77:'s fourth operatic collaboration and their first international sensation.
9055:
8976:
8966:
8289:
8211:
7589:, New York: Doubleday & Company, 1950. For examples of references to
7320:
6780:
in 1907 and included the captain's song and chorus. See Schmitt, Thomas.
6499:
5850:
The Entr'acte and Limelight: Theatrical and Musical Critic and Advertiser
3948:
3927:
3901:
3873:
3834:
3582:
3566:
3556:
3536:
3417:
3363:
3304:
3284:
2807:
2475:
2428:
2358:
veins' and the heavy-treading Dick Deadeye." Jacobs also opined that the
2111:
2105:
1211:
1207:
1191:
1026:
in the role. Hoping to join in on the profits to be made in America from
867:
17. "Kind Captain, I've important information" (Captain and Dick Deadeye)
837:
552:
394:
386:
342:
323:
266:
148:
107:
46:
7342:, reprinted at the Newbury theatre guide archive, accessed 10 March 2009
5012:, reproduced at The Gilbert and Sullivan Archive, accessed 10 March 2009
792:
7. "Sir Joseph's barge is seen" (Chorus of Sailors and Female Relatives)
8914:
8789:
8541:
8516:
7265:
6975:, International Gilbert & Sullivan Festival, accessed 20 April 2019
4113:
The dialogue that was cut was based on lines from Gilbert's 1877 farce
4101:
3577:
3288:
3257:
3243:
3220:
3147:
3024:
3016:
2955:
2822:
as Buttercup. Both the production and Strallen were nominated for 2006
2622:
2548:
2269:
2212:
1451:
743:
548:
390:
319:
189:. This proved a success, and in 1876 D'Oyly Carte assembled a group of
143:
119:
81:
2005:, in a 1914 review, called a large-scale production at the 6,000-seat
1928:
would be played for only two weeks. It praised the cast, singling out
8921:
5089:, Fourteenth edition, ed. Freda Gaye, p. 1532, Pitman, London (1967)
2944:
songs for comic and satiric effect. For example, in his comedy album
2794:
2788:
2636:
1997 Essgee Entertainment (video; adapted) – Conductor: Kevin Hocking
2277:
1991:
1904:
1888:
1720:
1463:
801:
9a. "For I hold that on the sea" (Sir Joseph, Cousin Hebe and Chorus)
523:
487:
8508:
8393:
8238:
Oh Joy! Oh Rapture!: The Enduring Phenomenon of Gilbert and Sullivan
6836:, Long Playing Record Library, 1967, pp. 100–101; March, Ivan (ed).
2018:
is entertaining because it is universal". The same newspaper deemed
1843:
1214:
as Cousin Hebe. To these, he added some American singers, including
1006:
273:, Gilbert sent him a plot sketch accompanied by the following note:
8900:
8772:
7839:
explores the sad reality of teen suicide with a rockin’ soundtrack"
7585:
6668:, the Gilbert and Sullivan Discography, 2003, accessed 10 June 2016
6328:
Gilbert & Sullivan: A Critical Appreciation of the Savoy Operas
5249:
3151:
3027:. Sporting references include a racehorse named "H.M.S. Pinafore".
2982:
2937:
2478:
counted seventeen recordings of the opera available on CD in 2005.
2323:
2185:
2100:
1892:
1724:(which particularly praised Grossmith, Barrington and Everard) and
1363:
on 16 June 1977, during the queen's Silver Jubilee year, the first
1092:
956:
that generated interest and stimulated ticket sales. By September,
922:
805:
617:
563:
491:
462:
451:
418:
123:
54:
7611:, and with the appearance of an older "Captain Corcoran, KCB", in
5599:
Photos, cast and crew information for the New Sadler's Wells Opera
5417:, 1 January 1880, new series 1: pp. 38–39, accessed 10 March 2009
2612:– G&S Festival Chorus & Orchestra; Conductor: Peter Murray
9079:
5256:, Vol. 24, 2007, pp. 1157–1218, 5 March 2007, accessed 6 May 2009
4771:, 6 July 1878, p. 1 announced that Eugène Goossens would conduct.
4700:, 21 July 1878, p. 8; 28 July 1878, p. 8; and 4 August 1878, p. 8
4678:, Oxford Dictionary of First Names, Oxford University Press, 2006
4236:
a curiously ambiguous position, moved and amused simultaneously."
2727:
1153:
1116:
Advertisement for a (probably unlicensed) American production of
559:
519:
505:
402:
291:
of the most pronounced type will do away with any suspicion that
8711:
Biographies of the people listed in the historical casting chart
7353:"I caught two light n' lively, very funny productions last week"
7135:, London: George Bell and Sons, 1908, a children's retelling of
6404:, pp. 91–92, Charlottesville: University Press of Virginia, 1991
2639:
2000 D'Oyly Carte (with dialogue) – Conductor: John Owen Edwards
2268:, Sir Joseph assures Josephine that "love levels all ranks". In
2152:
1534:
Official American premiere in New York, prior to the opening of
1339:
created Victorian costume designs. The 1887 set was designed by
7192:"Don Walker, 81, an Orchestrator of Broadway Musical Comedies,"
2371:
1912:
1908:
1900:
1896:
1868:, "he would have produced still higher results; in like manner
1459:
1423:
1112:
1055:
attackers and protect the scenery, although the stage manager,
981:
569:
212:
did not command high fees, and to whom they could teach a more
7382:, British Theatre Guide, July 2005, accessed 20 September 2023
4988:, 10 August 1879, p. 5 and "The Fracas at the Opera Comique",
4259:
is also such a "misguided superior". See also Stedman, p. 162.
4226:
in November 1878 on a boat in a lake in Boston's Oakland Park.
4132:
The traditional British pronunciation of this name is "rafe" (
2599:, Glyndebourne Festival Chorus; Conductor: Sir Malcolm Sargent
2370:
noted Sullivan's parody of operatic styles, "particularly the
858:
14. "Things are seldom what they seem" (Buttercup and Captain)
183:
together to write their second show, a one-act opera entitled
5356:
3237:
with a "final request" that Bob sing him the entire score of
2990:, where a robot sings part of "I'm Called Little Buttercup".
2966:
songs include Harris's attempt to sing "When I Was a Lad" in
2424:
2331:
1347:
and three other operas were destroyed by German bombs during
1261:
473:
406:
401:
in the romantic roles, who were improvements on the romantic
7950:
Television Specials: 5,336 Entertainment Programs, 1936–2012
7406:, 25 July 2005, accessed 20 September 2023; and Johns, Ian.
6697:", critical edition, 2003, 2 vols., Broude Brothers Limited
5183:, pp. 204–205, Fairleigh Dickinson University Press (1982),
2994:
and its songs have been performed by rock musicians such as
2936:
The opera's popularity has led to the widespread parody and
808:" (Ralph, Boatswain, Carpenter's Mate and Chorus of Sailors)
8274:
7689:
at The Gilbert and Sullivan Archive, accessed 10 March 2009
6737:"Lamplighters: Keeping a Spotlight on Gilbert and Sullivan"
6726:
at The Gilbert and Sullivan Archive, accessed 21 April 2009
5170:, Spring 1991, vol. 24, no. 4, Platinum Periodicals, p. 119
4604:
Cruickshank, Graeme. "The Life and Loves of Letty Lind" in
4141:
3125:
1411:, and other British companies continue to mount the piece.
1144:
These unauthorised performances took many forms, including
898:
768:
2a. "But tell me who's the youth" (Buttercup and Boatswain)
7796:, p. 514, Berkeley: University of California Press (1997)
6681:, The Gilbert and Sullivan Archive, accessed 21 April 2009
6225:, CultureVulture.net, 11 June 2005, accessed 10 March 2009
4924:, so that the directors shall not take them away from the
3219:
on television are several popular animated shows. In the "
3128:
sing part of "A British Tar" to distract a malfunctioning
2589:
1930 D'Oyly Carte – London Symphony Orchestra; Conductor:
1312:
789:
6. "Over the bright blue sea" (Chorus of Female Relatives)
8192:
American Operetta: From H. M. S. Pinafore to Sweeney Todd
8146:
and the Threat of High Culture". In Alberti, John (ed.).
6285:, Third Edition, p. 39, Houston: Queensbury Press (1999)
5836:, 2 June 1878, Country Edition, 40(2071): p. 5, cols. 1–2
5732:"The J. C. Williamson Gilbert and Sullivan Opera Company"
5455:
Carroll, Lewis. "The Stage and the Spirit of Reverence",
5209:
Notes: Quarterly Journal of the Music Library Association
4856:, Vol. xiv, No.84 (December 1897), accessed 10 March 2009
4196:
in America, and his reward for a small gesture was great.
2456:
786:
5a. Cut song: "Reflect, my child" (Captain and Josephine)
322:
in April 1878 to inspect ships. Gilbert made sketches of
285:
in this – the fact that the First Lord in the Opera is a
6474:
Crowther, Andrew. "The Land Where Contradictions Meet",
6402:
Modified Rapture: comedy in W. S. Gilbert's Savoy operas
6378:
Crowther, Andrew. "The Land Where Contradictions Meet",
774:
3a. "A maiden fair to see" (Ralph and Chorus of Sailors)
155:, were much copied and contributed significantly to the
8600:
8258:
Contradiction Contradicted – The Plays of W. S. Gilbert
7510:"The Opera Comique Theatre" – a valedictory summary in
7227:
Falkenstein, Michelle. "Yiddish Sails the Ocean Blue",
5556:, reprinted from theatre programme of 29 January 1968,
2627:
1987 New Sadler's Wells Opera – Conductor: Simon Phipps
2238:
Theatre poster for an American production, c. 1879
1803:
a burlesque, "for while irresistibly comical it is not
1371:
productions since the copyrights expired have included
1103:
8140:
Arnold, David L. G. (2003). "Use a pen, Sideshow Bob:
7841:, CliqueClack.com, 12 June 2014, accessed 12 June 2016
7449:
The Cyber Encyclopedia of Musical Theatre, TV and Film
4711:"The Life and Reminiscences of Jessie Bond", Chapter 4
1152:
versions, all-black and Catholic productions, German,
885:
21. Finale: "Oh joy, oh rapture unforeseen" (Ensemble)
682:
Hail! men-o'-war's men ... I'm called Little Buttercup
95:'s daughter, Josephine, is in love with a lower-class
8632:
Gilbert & Sullivan Opera, A History and a Comment
7864:, TV.com, CNET Networks, Inc., accessed 10 March 2009
5550:
l "The 1968 D'Oyly Carte Opera Company Production of
4523:
Stedman, pp. 157–158; Crowther, p. 90; Ainger, p. 154
4144:
3158:
sings "I Am the Monarch of the Sea" in the 1963 film
1850:
as Captain Corcoran in the first London revival, 1887
1749:, however, greeted the opera with only mixed praise.
1695:
cartoon mocking Sullivan for his focus on comic opera
1681:, "and his good introductory song seems levelled at"
8612:
W. S. Gilbert, A Classic Victorian & His Theatre
8566:
8548:
7617:, the only recurring character in the G&S canon.
7501:, Internet Broadway database, accessed 20 April 2019
5371:
Links to programme for Carte's "Children's Pinafore"
4339:
Ainger, pp. 110, 119–120 and 130–131; Jacobs, p. 109
4138:
2923:
2840:
1953:"fairly brought down the house" with his song, that
870:
18. "Carefully on tiptoe stealing" (Soli and Chorus)
555:, proudly "cleaning brasswork, splicing rope, etc."
261:
before the end of 1877. Gilbert's father had been a
5761:, Internet Broadway Database, accessed 9 March 2017
5211:, June 2022, pp. 501–517 doi: 10.1353/not.2022.0040
4850:"An illustrated interview with Sir Arthur Sullivan"
1407:presented it in 2021, it is regularly given by the
1123:Approximately 150 unauthorised productions of
8189:
7897:Family Guy: The Official Episode Guide Seasons 1–3
7855:episode summary – And It's Surely to Their Credit"
6506:, BBC h2g2, 24 August 2001, accessed 10 March 2009
3081:, the Darling family sings "When I Was a Lad". In
952:, during several successful promenade concerts at
811:11. "Refrain, audacious tar" (Josephine and Ralph)
771:3. "The nightingale" (Ralph and Chorus of Sailors)
114:and lampoons the British class system in general.
8397:; Kenyon, Nicholas; Walsh, Stephen, eds. (1993).
8356:The British Musical Theatre – Volume I: 1865–1914
6538:"G&S Compilations from the D'Oyly Carte Sets"
5951:, 13 July 1878, new series 14(323): p. 49, col. 3
3046:
2759:Pinafore! (A Saucy, Sexy, Ship-Shape New Musical)
1915:." After the deaths of Gilbert and Sullivan, the
1079:continued to play strongly. On 20 February 1880,
926:Poster illustration from original 1878 production
783:5. "Sorry her lot who loves too well" (Josephine)
42:H.M.S. Pinafore; or, The Lass That Loved a Sailor
9173:
8288:
7158:Hollywood Pinafore or the Lad Who Loved a Salary
6353:, Australia, 14 May 2005, accessed 10 March 2009
5707:, National Gilbert & Sullivan Opera Company"
5109:Papers Presented at the International Conference
5077:, StageBeauty.net (2007), accessed 10 March 2009
4117:; it would be revised again and used as part of
4082:
3150:'s character plays Little Buttercup, singing in
2403:Ballad for Captain Corcoran, "Reflect, my child"
1664:also lavishly praised Emma Howson as Josephine.
823:"Let's give three cheers for the sailor's bride"
7777:, 25 December 2006 & 1 January 2007, p. 152
7451:, accessed 10 March 2009. See also Gänzl (1995)
7445:"Gilbert & Sullivan 101: The G&S Canon"
6859:Penguin Guide to Recorded Classical Music, 2008
6838:Penguin Guide to Recorded Classical Music, 2008
6755:
6753:
6751:
6677:Shepherd and Walters, pp. 751–752 and 754; and
5540:Rollins and Witts, pp. 172–186, and supplements
4928:tomorrow, and I base my claim on the precedent
2867:had perhaps its most profound influence on the
2863:Among its other influences on popular culture,
2777:in England in 2004 in a production directed by
2164:"satirizes the type of nautical drama of which
1171:, by giving the official premiere in New York.
944:In late August 1878, Sullivan used some of the
8601:Shepherd, Marc; Michael Walters, eds. (2015).
7899:, pp. 128–131, New York: HarperCollins (2005)
7886:(FOX Kids), 15 September 1993, no. 3, season 1
6784:, in Henry Keazor and Thorsten Wübbena (eds.)
6452:
6450:
6448:
5742:
5740:
5075:"Longest Running Plays in London and New York"
3279:episode, "The Play", concerns a production of
2226:wrote, in reviewing the 1929 production, that
1186:, the first authorised American production of
780:4a. "Sir, you are sad" (Buttercup and Captain)
8805:
8066:Who Was Who in the D'Oyly Carte Opera Company
7726:
7724:
7722:
6514:
6512:
6365:
6363:
6361:
6359:
6338:
6336:
5860:
5858:
5844:
5842:
5819:
5817:
5807:
5805:
5795:
5793:
5337:
5335:
4826:
4824:
4725:
4723:
4721:
4719:
4627:
4625:
4623:
4438:
4436:
4434:
4432:
4430:
3241:. Similarly, the 1993 "HMS Yakko" episode of
2397:
2305:
2149:which includes the device of baby-switching.
2135:Gilbert's biographer Jane Stedman wrote that
1641:
1409:National Gilbert & Sullivan Opera Company
879:20. "A many years ago" (Buttercup and Chorus)
798:9. "When I was a lad" (Sir Joseph and Chorus)
518:Mrs. Cripps (Little Buttercup), A Portsmouth
7824:, Time Out Film Guide, accessed 9 March 2017
7697:
7695:
7272:Essgee Entertainment, accessed 10 March 2009
7218:(Marion County, Indiana), May 9, 1952, p. 14
6788:, transcript Verlag (2010), pp. 45 et seq.,
6748:
6689:
6687:
6495:
6493:
6121:"H.M.S. Pinafore Again Delights the Danes",
6083:"Novelty and Tradition in Savoy Operettas",
5922:
5920:
5918:
5916:
5635:
5633:
5382:Gilbert and Sullivan: From London to America
5298:
5296:
5294:
5284:
5282:
5280:
5254:Cardozo Arts & Entertainment Law Journal
4884:
4882:
4880:
4746:
4744:
4452:
4450:
4448:
3039:featuring a pastiche of "When I Was a Lad".
2160:Historian H. M. Walbrook wrote in 1921 that
1968:acquired the exclusive performing rights to
1668:commented that the opera was reminiscent of
1367:of a Gilbert and Sullivan opera since 1891.
603:Illustration of the characters in Act II by
9024:People associated with Gilbert and Sullivan
8997:International Gilbert and Sullivan Festival
8331:
8217:The Complete Annotated Gilbert and Sullivan
8068:, 21 August 2006, accessed on 27 April 2009
7762:, 12 October 1990, accessed on 18 July 2008
7603:in two of their subsequent operas: in the "
6910:
6908:
6812:
6810:
6656:
6654:
6504:The Lives and Works of Gilbert and Sullivan
6445:
6425:"Savoy Theatre: The Sullivan Opera Season,
6326:, introduction to Godwin, Augustine Henry.
5867:parodies the baby-switching plot device in
5737:
5392:
5390:
5199:Kuykendall, James Brooks and Elyse Ridder.
4946:
4944:
4942:
4940:
4938:
4347:
4345:
3201:Television series that include substantial
2920:as "chiefly remarkable for its impudence".
2578:International Gilbert and Sullivan Festival
2419:
2130:
2061:in Britain. Since its original production,
1222:came to assist Sullivan, while his brother
8992:Cultural influence of Gilbert and Sullivan
8812:
8798:
8647:
8573:Also, five supplements, privately printed.
7719:
7418:, 25 July 2005, accessed 20 September 2023
7301:"The Celebration Theater Pinafore! (2002)"
7197:, 13 September 1989, accessed 20 July 2009
6832:, February 1960, p. 70; March, Ivan (ed).
6509:
6356:
6333:
6235:
6233:
6231:
6070:. Sullivan Opera Season Nearing The End",
5885:, 24 December 2000, accessed 22 April 2009
5855:
5839:
5814:
5802:
5790:
5730:, 17 November 1879; and Morrison, Robert.
5543:
5332:
5214:
5000:
4998:
4920:also at once. I am detaining the parts of
4821:
4716:
4620:
4427:
4417:
4415:
4413:
4411:
3170:prominently features songs and music from
2836:Cultural influence of Gilbert and Sullivan
2800:H.M.S. Pinafore, or Dauntless Dick Deadeye
1646:The early reviews were mostly favourable.
861:15. "The hours creep on apace" (Josephine)
245:, saying: "I think I'll now go below." In
27:1878 comic opera by Gilbert & Sullivan
8560:Thespis – A Gilbert & Sullivan Enigma
8551:A Picture history of Gilbert and Sullivan
7895:Callaghan, Steve. "The Thin White Line",
7741:"Light-hearted, happy entertainment from
7716:, 19 February 1998, accessed 21 June 2016
7692:
7177:
7175:
7173:
6684:
6627:
6625:
6490:
6421:
6419:
6272:, 10 November 2005, accessed 9 March 2017
6137:
6135:
6133:
6131:
5992:, 19 November 1887, 91(2535): 580, col. 1
5913:
5901:
5630:
5627:, 15 January 1989, accessed 10 March 2009
5291:
5277:
5160:
5158:
5156:
5154:
5152:
5150:
5148:
5146:
5127:
5125:
5123:
4877:
4741:
4713:, John Lane, 1930, accessed 10 March 2009
4445:
4421:Allen (1975), Introduction to chapter on
4390:
4277:A 1938 Broadway show used six songs from
3184:is based on the character and songs from
1294:
1272:The unauthorised juvenile productions of
855:13. "Fair moon, to thee I sing" (Captain)
8819:
8628:
8605:. Vol. 1. New York: Oakapple Press.
8549:Mander, Raymond; Joe Richardson (1962).
8528:: W. S. Gilbert as Political Satirist".
8523:
8471:The D'Oyly Carte Opera Company 1875–1982
8255:
8106:(2nd ed.). Chappell & Co. Ltd.
8051:Rollins and Witts, 4th Supplement, p. 42
8042:Rollins and Witts, 3rd Supplement, p. 28
7643:and Michele Rundgren, on 29 October 1989
7256:, August 2000, accessed 14 November 2009
6905:
6868:
6866:
6851:
6807:
6679:Hebe's cut dialogue after Nos. 14 and 19
6651:
6470:
6468:
6466:
6464:
6462:
6202:"All Hands on Deck for Absurd Relevance"
5772:"All Hands on Deck for Absurd Relevance"
5387:
5099:
5004:Cellier and Bridgeman, chapter entitled
4935:
4342:
2927:
2844:
2647:
2423:
2317:
2233:
2151:
1842:
1687:
1502:
1311:
1260:
1256:
1111:
1005:
921:
836:
598:
568:
511:Cousin Hebe, Sir Joseph's First Cousin (
224:
31:
9014:List of compositions by Arthur Sullivan
8609:
8562:. London: Dillon's University Bookshop.
8312:
8234:
8210:
8187:
8085:Gilbert and Sullivan – A Dual Biography
8033:Rollins and Witts, 1st Supplement, p. 6
7378:HMS. Pinafore or Dauntless Dick Deadeye
7231:, April 2000, Vol. 81, No. 8, pp. 40–42
6228:
5663:
5661:
5375:link to poster for a Boston children's
5064:Ainger, p. 184; Rollins and Witts, p. 6
4995:
4670:
4668:
4408:
2615:1973 D'Oyly Carte (video) – Conductor:
2470:There have been numerous recordings of
2139:is "satirically far more complex" than
1821:
126:, to the fearsome symbol of a warship.
14:
9174:
8567:Rollins, Cyril; R. John Witts (1962).
8524:Lawrence, Elwood P. (December 1971). "
8468:
8431:Arthur Sullivan – A Victorian Musician
8428:
8417:
8173:(new ed.). London: Spring Books.
8139:
8082:
7170:
6874:"The New D'Oyly Carte Pinafore (2000)"
6622:
6416:
6128:
6005:, New Series, 1 December 1887, 10: 337
5756:IBDB links to Broadway productions of
5500:
5498:
5496:
5352:"Topsy-Turvy: Children in Adult Roles"
5143:
5120:
3164:. The soundtrack of the 1992 thriller
3138:(2006) depicts an all-male version of
2683:or adapting characters or events from
2457:Recitative preceding the Act II finale
1949:an "ideal hero" as Ralph, noting that
457:Captain Corcoran, Commander of H.M.S.
8793:
8685:at The Gilbert & Sullivan Archive
8576:
8447:
8372:
8350:
8281:Gilbert and Sullivan and Their Operas
8166:
8120:
8101:
7938:, 28 March 1986, Season 2, episode 22
7760:Massachusetts Institute of Technology
6863:
6745:, 20 July 2015, accessed 16 July 2016
6646:"Comments on the Lost Song Discovery"
6459:
6382:, vol. 2, no. 11, p. 330, Autumn 2000
5778:, 9 June 2008, accessed 10 March 2009
3314:
2322:Gilbert's Illustration of "A British
2032:New York Gilbert and Sullivan Players
1444:New York Gilbert and Sullivan Players
1414:The extraordinary initial success of
762:1. "We sail the ocean blue" (Sailors)
310:Following the example of his mentor,
157:development of modern musical theatre
8557:
8487:
8104:The First Night Gilbert and Sullivan
7953:, McFarland (2013), p. 381 (2d ed.)
5658:
5589:(UK magazine), March 1962, pp. 15–20
5459:magazine, 1 June 1888, reprinted in
4665:
4480:Jacobs, p. 115. The Prime Minister,
3247:consists of pastiches of songs from
2769:is a musical with music arranged by
2082:are presented every year worldwide.
1994:in Uzbekistan have been successful.
1787:, which was first formed to produce
341:and would be repeated in all of his
9156:
8740:American Pinafore Poster Collection
8603:The Variorum Gilbert & Sullivan
8295:W. S. Gilbert: His Life and Letters
7934:Ferro, Jeffrey, et al. "The Play",
7822:"Dick Deadeye, or Duty Done (1975)"
7571:, chapter 8, accessed 24 April 2009
7313:Pinafore!: a ship shape new musical
6303:Gilbert and Sullivan Boys and Girls
5504:Rollins and Witts, Appendix, p. VII
5493:
3211:, for example in the 2000 episode "
1607:Second London revival. Played with
1383:, which was seen also in New York.
504:Josephine, The Captain's Daughter (
377:, who had played Lady Sangazure in
373:a first-rate First Lord." However,
106:Drawing on several of his earlier "
24:
8745:Pinafore Sapolio advertising cards
7916:"Stewie Griffin: The Untold Story"
7628:"Never mind the why and Wherefore"
6954:A Gilbert and Sullivan Discography
6818:The Rough Guide to Classical Music
6500:"'HMS Pinafore' – the Comic Opera"
6283:The Gilbert & Sullivan Lexicon
5873:. See, e.g., Gurewitsch, Matthew.
5848:"London Theatres. Opera Comique",
5639:Bradley (2005), chapters 3 and 4,
5569:It played in London together with
4369:Jacobs, p. 111; Ainger, pp. 133–34
2829:
2743:been toured widely under the name
2547:Problems playing these files? See
2483:
2366:grace-note". The Sullivan scholar
2022:' popular Broadway productions of
1940:as Josephine, James Hay as Ralph,
1418:in America was seen first-hand by
1399:several times, including in 2009,
1087:in the world had ever run longer,
742:Problems playing these files? See
662:
655:
147:. Their works, later known as the
25:
9228:
9197:Fictional ships of the Royal Navy
8723:Bab illustrations of lyrics from
8670:
8583:The New Grove Dictionary of Opera
8332:Fitz-Gerald, S. J. Adair (1924).
8260:. Associated University Presses.
7338:, Collected newspaper reviews of
7160:, Dramatists Play Service (1998)
6900:"The 1939 NBC Pinafore Broadcast"
6887:"Den Gode Fregat Pinafore (1957)"
6713:Shepherd and Walters, pp. 596–599
4978:"The Fracas at the Opera Comique"
3094:The Story of Gilbert and Sullivan
2976:. Another is found in the story "
2924:Literary and political references
2871:. According to theatre historian
2841:Development of the modern musical
984:that opened on 25 November 1878.
948:music, arranged by his assistant
844:as A.B.S. Corcoran at the end of
817:"Can I survive this overbearing?"
80:The story takes place aboard the
9155:
9146:
9145:
9029:Works about Gilbert and Sullivan
8761:
8152:. Wayne State University Press.
8054:
8045:
8036:
8027:
8018:
8009:
8000:
7991:
7982:
7973:
7963:
7941:
7928:
7909:
7889:
7876:
7867:
7844:
7827:
7815:
7806:
7780:
7765:
7733:
7677:
7668:
7655:
7646:
7620:
7574:
7562:
7526:
7517:
7504:
7490:
7481:
7472:
7463:
7454:
7437:
7421:
7385:
7368:
7345:
7325:
7306:
7293:
7284:
7275:
7259:
7243:
7234:
7221:
7200:
7184:
7150:
7147:Dillard, pp. 103–105 lists five.
7141:
7123:
7114:
7097:
7080:
7063:
7046:
7029:
7012:
6995:
6978:
6959:
6942:
6925:
6892:
6879:
6798:
6766:
6729:
6716:
6707:
6671:
6638:
6609:
6596:
6587:
6578:
6569:
6560:
6543:
6530:
6521:
6481:
6436:
6407:
6394:
6385:
6372:
6317:
6308:
6295:
6275:
6255:
6242:
6211:
6194:
6178:
6161:
6144:
6115:
6106:
6090:
6077:
6060:
6039:
6020:
6008:
5995:
5982:
5963:
5954:
5942:
5929:
5888:
5826:
5781:
5764:
5749:
5716:
5695:
5674:
5645:
5604:
5592:
5563:
5558:The Gilbert and Sullivan Archive
5534:
5525:
5516:
5507:
5484:
4816:The Gilbert and Sullivan Archive
4814:, 9 February 1879, reprinted at
4271:
4262:
4249:
4239:
4229:
4216:
4134:
4068:
3271:Stewie Griffin: The Untold Story
3104:Characters also sing songs from
2528:
2509:Part 1 of a 4-part recording of
2499:
1327:. After that, designers such as
976:Meanwhile, numerous versions of
727:
722:Never mind the why and wherefore
707:
687:
558:Little Buttercup, a Portsmouth "
442:The Rt. Hon. Sir Joseph Porter,
9212:Operas set in the British Isles
8696:. Bacon & company. p.
8424:. New York: St. Martin's Press.
8336:. Stanley Paul & Co., Ltd.
8315:How Quaint the Ways of Paradox!
8278:; Cunningham Bridgeman (1914).
8125:. The Pierpont Morgan Library.
6761:"Recordings of H.M.S. Pinafore"
6266:focuses on mirth and silliness"
6223:– W.S. Gilbert/Arthur Sullivan"
6187:, "G. & S., Incorporated",
5651:"Dido; Aeneas/ Acis; Galatea",
5475:
5466:
5449:
5440:
5420:
5399:
5363:
5344:
5323:
5314:
5305:
5268:
5259:
5242:
5223:
5193:
5173:
5134:
5080:
5067:
5058:
5049:
5040:
5024:
5015:
4971:
4962:
4953:
4906:Rees, p. 89: Sullivan wrote to
4900:
4891:
4868:
4859:
4842:
4839:Ainger, pp. 165–167 and 194–195
4833:
4801:
4792:
4783:
4774:
4762:
4753:
4732:
4703:
4690:
4681:
4634:
4611:
4598:
4589:
4580:
4571:
4562:
4553:
4544:
4535:
4526:
4517:
4508:
4499:
4474:
4459:
4399:
4199:
4186:
4177:
4164:
4155:
4126:
4107:
4094:
3213:And It's Surely to Their Credit
3194:, a high school class performs
2753:produced an adapted version of
904:
891:
820:"Oh joy, oh rapture unforeseen"
369:will be a capital captain, and
318:, Gilbert and Sullivan visited
118:also pokes good-natured fun at
9207:Operas by Gilbert and Sullivan
7559:(1964), accessed 10 March 2009
6330:, E. P. Dutton & Co (1926)
6305:(GASBAG) no. 206 (Winter 1998)
5971:"The Pinafore Sails Down East"
5531:Rollins and Witts, pp. 165–172
5461:The Lewis Carroll Picture Book
4381:
4372:
4363:
4354:
4333:
4324:
4315:
4255:Crowther notes that Alexis in
3167:The Hand that Rocks the Cradle
3047:Film and television references
2869:development of musical theatre
2804:Regent's Park Open Air Theatre
2802:, was produced in 2005 at the
2643:
2383:" and also parodies the opera
1226:remained in London to conduct
917:
497:Bob Becket, Carpenter's Mate (
393:. Other new cast members were
13:
1:
8454:. Brandeis University Press.
8170:The Gilbert and Sullivan Book
7250:"Think British, Sing Yiddish"
6782:The Genealogy of Clip Culture
6476:W. S. Gilbert Society Journal
6380:W. S. Gilbert Society Journal
6017:, 10 June 1899, 3737: 730–731
5205:: Sousa's 1879 Orchestration"
4642:W. S. Gilbert: Stage Director
4308:
4083:Notes, references and sources
2675:, which retells the story of
2465:
1458:and others in Australia); in
1010:Opening night programme cover
933:opened on 25 May 1878 at the
814:12. Finale, Act I (Ensemble)
429:opened on 25 May 1878 at the
162:
8421:The Music of Arthur Sullivan
8334:The Story of the Savoy Opera
8317:. The Scarecrow Press, Inc.
8284:. Little, Brown and Company.
7434:, accessed 20 September 2023
6966:"National G&S Opera Co."
6776:in the UK were presented at
6724:Hebe's Dialogue Introduction
5898:, 1 June 1878, 72(2031): 515
5560:, Retrieved on 11 March 2009
5481:Rollins and Witts, pp. 7–164
4222:The company first performed
3061:, in which the protagonist,
2595:1958 Sargent/Glyndebourne –
1854:Reviewing the 1899 revival,
1636:
1626:
1603:
1586:
1570:
1553:
1530:
171:, who was then managing the
7:
8771:public domain audiobook at
8735:characters and scenes, NYPL
8648:Williamson, Audrey (1953).
8635:. F. V. White & Co. Ltd
8614:. Oxford University Press.
8586:. Oxford University Press.
8433:. Oxford University Press.
8358:. Oxford University Press.
8313:Dillard, Philip H. (1991).
8241:. Oxford University Press.
8220:. Oxford University Press.
8196:. Oxford University Press.
8087:. Oxford University Press.
7290:Bradley (2005), pp. 170–171
6828:), p. 367; Chislett, W. A.,
6343:Interview of Stuart Maunder
6097:"Amusements: Theatre Royal"
5990:The Illustrated London News
5939:, 1 June 1878, 19(424): 329
5896:The Illustrated London News
5619:Sails In on a Fresh Breeze"
5181:Gilbert and Sullivan at Law
4652:. See also Gilbert, W. S.,
4577:Bradley (1996), pp. 115–116
3233:stalls his would-be killer
3023:, heritage secretary under
2435:as Sir Joseph, 1887 revival
2085:
1832:The Illustrated London News
1702:The Illustrated London News
1666:The Entr'acte and Limelight
1265:1880 programme for Carte's
543:The British warship H.M.S.
533:
479:Dick Deadeye, Able Seaman (
448:First Lord of the Admiralty
305:First Lord of the Admiralty
236:First Lord of the Admiralty
101:First Lord of the Admiralty
49:in two acts, with music by
10:
9233:
9002:W. S. Gilbert bibliography
8972:D'Oyly Carte Opera Company
8693:H.M.S. Pinafore – Libretto
8651:Gilbert and Sullivan Opera
8075:
7003:"The Sargent/Glyndebourne
6633:"Lost Pinafore Song Found"
6502:, Edited Guide Entry from
6248:"The Original Rackstraw",
5167:Journal of Popular Culture
3181:Dick Deadeye, or Duty Done
2833:
2398:Revisions and cut material
2306:Songs and musical analysis
1917:D'Oyly Carte Opera Company
1785:Boston Ideal Opera Company
1642:Initial critical reception
1434:regularly in the U.S. are
1428:Internet Broadway Database
1403:has toured it repeatedly,
1306:D'Oyly Carte Opera Company
234:cartoon, 1877, portraying
9141:
9047:
8959:
8850:
8827:
8779:The Pinafore Picture Book
8654:. London: Marion Boyars.
8610:Stedman, Jane W. (1996).
8448:Jones, John Bush (2003).
8298:. Methuen & Co. Ltd.
8256:Crowther, Andrew (2000).
8024:Rollins and Witts, p. 183
8015:Rollins and Witts, p. 175
8006:Rollins and Witts, p. 160
7997:Rollins and Witts, p. 148
7988:Rollins and Witts, p. 132
7812:Bradley (2005), pp. 11–12
7750:28 September 2021 at the
7607:" from their next opera,
7596:The Pinafore Picture Book
7523:Bradley (2005), chapter 8
7432:Society of London Theatre
7281:Bradley (2005), Chapter 4
7254:The New York Theatre Wire
7212:Takes Self Too Seriously"
7132:The Pinafore Picture Book
6950:"The Brent Walker Videos"
6433:, 10 December 1929, p. 14
5852:, 1 June 1878, 466: p. 12
5787:Bradley (2005), chapter 4
5522:Rollins and Witts, p. 165
4281:. Other examples include
3108:in such popular films as
2906:The Wreck of the Pinafore
2810:starred as Deadeye, with
2669:The Pinafore Picture Book
2658:The Pinafore Picture Book
1556:
1505:
1491:
1365:royal command performance
1097:Les cloches de Corneville
1022:as Sir Joseph, the other
826:"A British tar" (reprise)
611:
551:. The sailors are on the
8629:Walbrook, H. M. (1922).
8418:Hughes, Gervase (1960).
8188:Bordman, Gerald (1981).
8121:Allen, Reginald (1979).
8102:Allen, Reginald (1975).
8083:Ainger, Michael (2002).
7979:Rollins and Witts, p. 32
7921:11 November 2006 at the
7860:27 December 2008 at the
7514:, 15 October 1898, p. 11
7071:"The New Sadler's Wells
7054:"The Stratford Festival
6956:, accessed 10 June 2016.
6816:Buckley, Jonathan (ed).
6619:in Sadie, vol. 2, p. 727
6125:, 16 October 1959, p. 16
6103:, 17 November 1879, p. 5
6087:, 12 December 1961, p. 5
6057:, 21 January 1920, p. 10
5875:"There Will Always Be a
5823:Rollins and Witts, p. 22
5799:Rollins and Witts, p. 11
5682:"The week in classical:
5667:"Fun on the high seas",
5087:Who's Who in the Theatre
4514:Stedman, pp. 129 and 155
4301:(2004) by Caius Marcius.
4087:
3037:Terry's Chocolate Orange
2420:Dialogue for Cousin Hebe
2131:Satiric and comic themes
1454:; Australian Opera (and
1375:'s 1960 production from
1359:and the royal family at
538:
436:
9192:English-language operas
8929:The Yeomen of the Guard
8887:The Pirates of Penzance
8690:Gilbert, W. S. (1879).
8429:Jacobs, Arthur (1986).
8292:; Rowland Grey (1923).
7428:"Olivier Winners: 2006"
6986:"The 1930 D'Oyly Carte
6916:"The 1973 D'Oyly Carte
6693:Young, Percy M. (ed.) "
6551:"G&S Compilations:
5811:Rollins and Witts, p.18
5686:; 12 Ensemble – review"
5583:The Pirates of Penzance
5409:The Children's Pinafore
5396:Rollins and Witts, p. 7
4950:Rollins and Witts, p. 6
4674:Hanks, Patricia et al.
4608:, Issue 22, Summer 2007
4283:The Pirates of Pinafore
3253:The Pirates of Penzance
3117:Star Trek: Insurrection
3111:Raiders of the Lost Ark
2932:Arthur Seymour Sullivan
2883:notes, "The success of
2798:. An adaptation titled
1907:; even in Paris, Rome,
1617:
1547:
1544:
1537:The Pirates of Penzance
1499:
1438:, based in California,
1393:Carl Rosa Opera Company
1243:The Pirates of Penzance
1210:as Ralph Rackstraw and
1168:The Pirates of Penzance
672:Excerpts from the 1907
138:The Pirates of Penzance
69:piece up to that time.
8558:Rees, Terence (1964).
8451:Our Musicals Ourselves
8400:The Viking Opera Guide
8167:Baily, Leslie (1966).
7674:Bradley (2005), p. 167
7661:Racing: York Meeting,
7652:Bradley (2005), p. 166
7549:7 October 2008 at the
7240:Bradley (2005), p. 172
7181:Bradley (2005), p. 170
7088:"The Mackerras/Telarc
6971:14 August 2021 at the
6191:, 25 April 1926, p. X1
6175:, 10 April 1914, p. 13
6074:, 3 January 1922, p. 8
5746:Bradley (1996), p. 117
5577:; Mander, p. 154 and "
5230:Theatre programme for
4992:, 13 August 1879, p. 8
4912:Merry Wives of Windsor
4818:, accessed 8 July 2010
4729:Bradley (1996), p. 116
4471:, Stedman, pp. 106–110
4396:Bradley (1996), p. 115
4292:Mutiny on the Pinafore
2933:
2910:William Horace Lingard
2860:
2773:. It premiered at the
2745:Der Yiddisher Pinafore
2661:
2524:"Pinafore airs", pt. 2
2495:"Pinafore airs", pt. 1
2488:
2436:
2327:
2239:
2157:
2146:The Gentleman in Black
1851:
1696:
1659:
1590:First London revival.
1405:English National Opera
1381:Sadler's Wells Theatre
1320:
1295:Subsequent productions
1269:
1120:
1011:
927:
848:
676:recording of the opera
667:
608:
580:
297:
250:
37:
9064:The Sapphire Necklace
8491:(Spring 1986). "From
8469:Joseph, Tony (2004).
8235:Bradley, Ian (2005).
8062:htm John Reed profile
7789:I Could Go On Singing
7730:Bradley (2005), p. 12
7569:"Three Men in a Boat"
7535:My Son, the Celebrity
7266:Essgee Entertainment
7037:"The G&S For All
6804:Bradley (2005), p. 16
6442:Lawrence, pp. 180–181
6391:Lawrence, pp. 166–167
6252:, 18 July 1908, p. 15
6158:, 9 March 1960, p. 13
6112:Bradley (2005), p. 73
6101:Sydney Morning Herald
6033:Baltimore Evening Sun
5976:New York Social Diary
5728:Sydney Morning Herald
5669:The Press and Journal
5575:Her Majesty's Theatre
5490:Bradley (2005), p. 27
5107:Gilbert and Sullivan
3161:I Could Go On Singing
2947:My Son, the Celebrity
2931:
2848:
2651:
2487:
2427:
2321:
2237:
2155:
1981:continued to produce
1978:Sydney Morning Herald
1846:
1691:
1654:
1315:
1304:after his death, the
1264:
1257:Children's production
1218:as Captain Corcoran.
1202:as Little Buttercup,
1115:
1009:
1002:"Well, hardly ever!"
925:
840:
666:
602:
572:
337:typical of Gilbert's
275:
228:
204:played the melodies.
35:
9187:English comic operas
8987:Bridget D'Oyly Carte
8842:Richard D'Oyly Carte
8821:Gilbert and Sullivan
8373:Gänzl, Kurt (1995).
7703:"Beyond the mundane"
7605:Major-General's Song
7487:Bradley (2005), p. 8
7358:26 June 2014 at the
7208:"Yiddish version of
7190:Shepard, Richard F.
6487:See also Jones, p. 8
5113:University of Kansas
4848:Lawrence, Arthur H.
4830:Stedman, pp. 170–171
4656:, and Bond, Jessie,
4494:The Sunday Telegraph
4287:The Pinafore Pirates
3188:. In the 1988 drama
3075:. In the 2003 movie
3072:An Englishman Abroad
3067:Cambridge University
2751:Essgee Entertainment
2051:Essgee Entertainment
2036:New York City Center
1822:Subsequent reception
1520:Fifth Avenue Theatre
1462:, Germany; and even
1456:Essgee Entertainment
1389:Welsh National Opera
1319:as Josephine in 1899
1184:Fifth Avenue Theatre
1108:to the United States
181:Gilbert and Sullivan
169:Richard D'Oyly Carte
75:Gilbert and Sullivan
36:Theatre poster, 1879
8982:Rupert D'Oyly Carte
8750:Pinafore programmes
8473:. Bunthorne Books.
7739:Perry, Michelle P.
7708:5 June 2011 at the
7665:, 21 May 1946, p. 2
7556:Allan in Wonderland
7392:Billington, Michael
7156:Kaufman, George S.
6185:Atkinson, J. Brooks
6150:"A New Approach to
6001:"Our Omnibus-Box",
5926:Walbrook, chapter V
5910:, 27 May 1878, p. 6
5513:Mander, pp. 102–105
5360:, November 15, 2022
5302:Ainger, pp. 182–183
4968:Jacobs, pp. 124–125
4854:The Strand Magazine
4687:Ainger, pp. 157–158
4617:Ainger, pp. 156–157
4532:Crowther, pp. 87–89
4456:Jacobs, pp. 114–115
4360:Jacobs, pp. 113–114
4321:Ainger, pp. 107–108
4207:Alice in Wonderland
3520:Master Fitzaltamont
3404:Rutland Barrington
3263:The Thin White Line
3205:references include
2973:Three Men in a Boat
2694:musical adapted by
2584:Selected recordings
2368:David Russell Hulme
2057:) in Australia and
2007:New York Hippodrome
1740:The Daily Telegraph
1267:Children's Pinafore
1182:to present, at the
901:of versions, below.
61:. It opened at the
9217:Works set on ships
9120:The Rose of Persia
9072:The Contrabandista
7947:Terrace, Vincent.
7195:The New York Times
6857:March, Ivan (ed).
6606:in Holden, p. 1060
6217:Sobelsohn, David.
6206:The New York Times
6189:The New York Times
6173:The New York Times
5988:"The Playhouses",
5979:, January 25, 2011
5883:The New York Times
5776:The New York Times
5624:The New York Times
5179:Goodman, Andrew.
5140:Allen (1979), p. 2
4640:Cox-Ife, William.
4595:Jacobs, p. 117–118
4405:Fitz-Gerald, p. 35
4044:Ann Drummond-Grant
3801:Nellie Briercliffe
3788:Ann Drummond-Grant
3396:Rutland Barrington
3387:Rutland Barrington
3377:Charles H. Workman
3315:Historical casting
3130:Lt. Commander Data
3126:Lt. Commander Worf
3097:, uses music from
3065:, and others from
3021:Virginia Bottomley
2934:
2861:
2818:as Sir Joseph and
2701:Hollywood Pinafore
2662:
2597:Pro Arte Orchestra
2489:
2437:
2364:Johann Strauss-ian
2328:
2284:level all ranks".
2240:
2158:
2090:Theatre historian
2028:The New York Times
2003:The New York Times
1961:is much the same.
1852:
1848:Rutland Barrington
1697:
1377:Stratford, Ontario
1357:Queen Elizabeth II
1321:
1270:
1121:
1014:In February 1879,
1012:
928:
849:
842:Rutland Barrington
668:
609:
581:
578:souvenir programme
251:
38:
9169:
9168:
9039:Performing groups
8571:. Michael Joseph.
8530:Victorian Studies
8276:Cellier, François
7701:Vineberg, Steve.
7687:advertising cards
7363:The Tolucan Times
7229:Hadassah Magazine
7020:"The 1960 D'Oyly
6834:The Great Records
6794:978-3-8376-1185-4
6778:Buckingham Palace
6735:Gilbert, Andrew.
6527:Williamson, p. 63
6324:Chesterton, G. K.
5937:The Musical Times
5935:"Opera-Comique",
5894:"Opera Comique",
5832:"Opera Comique",
5701:Bratby, Richard.
5692:, 6 November 2021
5680:Maddocks, Fiona.
5611:Traubner, Richard
4990:The Leeds Mercury
4908:John Hollingshead
4482:Benjamin Disraeli
4298:H.M.S. Dumbledore
4064:
4063:
3989:Michael Lessiter
3887:James Conroy-Ward
3840:
3839:
3752:Stanley Youngman
3731:Darrell Fancourt
3616:
3615:
3542:Blanche Roosevelt
3135:The Good Shepherd
3091:. A 1953 biopic,
2914:Luscombe Searelle
2858:Elliott & Fry
2856:in about 1880 by
2812:Scarlett Strallen
2775:Watermill Theatre
2724:Tropical Pinafore
2710:, was written by
2696:George S. Kaufman
2671:, illustrated by
2654:Alice B. Woodward
2632:Charles Mackerras
2603:1960 D'Oyly Carte
2533:
2504:
2261:The Lady of Lyons
2219:The Bohemian Girl
2034:' 2008 season at
1752:The Musical Times
1634:
1633:
1514:20 February 1880
1333:George Sheringham
1206:as Dick Deadeye,
1196:Blanche Roosevelt
1135:John Philip Sousa
1130:Louisa May Alcott
1089:Robert Planquette
1020:Richard Mansfield
732:
712:
692:
547:is at anchor off
468:Ralph Rackstraw,
301:Benjamin Disraeli
191:financial backers
16:(Redirected from
9224:
9159:
9158:
9149:
9148:
9128:The Emerald Isle
9112:The Beauty Stone
8814:
8807:
8800:
8791:
8790:
8765:
8764:
8701:
8665:
8644:
8642:
8640:
8625:
8606:
8597:
8572:
8563:
8554:
8545:
8520:
8484:
8465:
8444:
8425:
8414:
8390:
8369:
8347:
8328:
8309:
8285:
8271:
8252:
8231:
8207:
8195:
8184:
8163:
8136:
8117:
8098:
8069:
8058:
8052:
8049:
8043:
8040:
8034:
8031:
8025:
8022:
8016:
8013:
8007:
8004:
7998:
7995:
7989:
7986:
7980:
7977:
7971:
7967:
7961:
7945:
7939:
7932:
7926:
7913:
7907:
7893:
7887:
7882:"H.M.S. Yakko",
7880:
7874:
7871:
7865:
7848:
7842:
7837:Permanent Record
7831:
7825:
7819:
7813:
7810:
7804:
7784:
7778:
7769:
7763:
7737:
7731:
7728:
7717:
7699:
7690:
7681:
7675:
7672:
7666:
7659:
7653:
7650:
7644:
7629:
7624:
7618:
7578:
7572:
7566:
7560:
7532:Sherman, Allan.
7530:
7524:
7521:
7515:
7508:
7502:
7494:
7488:
7485:
7479:
7476:
7470:
7469:Jones, pp. 10–11
7467:
7461:
7458:
7452:
7441:
7435:
7425:
7419:
7389:
7383:
7372:
7366:
7349:
7343:
7329:
7323:
7310:
7304:
7299:Shepherd, Marc.
7297:
7291:
7288:
7282:
7279:
7273:
7263:
7257:
7247:
7241:
7238:
7232:
7225:
7219:
7204:
7198:
7188:
7182:
7179:
7168:
7154:
7148:
7145:
7139:
7127:
7121:
7118:
7112:
7103:Shepherd, Marc.
7101:
7095:
7086:Shepherd, Marc.
7084:
7078:
7069:Shepherd, Marc.
7067:
7061:
7052:Shepherd, Marc.
7050:
7044:
7035:Shepherd, Marc.
7033:
7027:
7018:Shepherd, Marc.
7016:
7010:
7001:Shepherd, Marc.
6999:
6993:
6984:Shepherd, Marc.
6982:
6976:
6963:
6957:
6948:Shepherd, Marc.
6946:
6940:
6931:Shepherd, Marc.
6929:
6923:
6914:Shepherd, Marc.
6912:
6903:
6898:Shepherd, Marc.
6896:
6890:
6885:Shepherd, Marc.
6883:
6877:
6872:Shepherd, Marc.
6870:
6861:
6855:
6849:
6814:
6805:
6802:
6796:
6770:
6764:
6759:Shepherd, Marc.
6757:
6746:
6742:The Mercury News
6733:
6727:
6722:Shepherd, Marc.
6720:
6714:
6711:
6705:
6691:
6682:
6675:
6669:
6658:
6649:
6642:
6636:
6631:Perry, Helga J.
6629:
6620:
6613:
6607:
6600:
6594:
6591:
6585:
6582:
6576:
6573:
6567:
6564:
6558:
6547:
6541:
6536:Shepherd, Marc.
6534:
6528:
6525:
6519:
6516:
6507:
6497:
6488:
6485:
6479:
6472:
6457:
6454:
6443:
6440:
6434:
6423:
6414:
6413:Lawrence, p. 181
6411:
6405:
6400:Fischler, Alan.
6398:
6392:
6389:
6383:
6376:
6370:
6367:
6354:
6340:
6331:
6321:
6315:
6312:
6306:
6299:
6293:
6281:Benford, Harry.
6279:
6273:
6259:
6253:
6246:
6240:
6237:
6226:
6215:
6209:
6198:
6192:
6182:
6176:
6165:
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6148:
6142:
6139:
6126:
6119:
6113:
6110:
6104:
6094:
6088:
6081:
6075:
6064:
6058:
6043:
6037:
6028:"Pinafore at 33"
6024:
6018:
6012:
6006:
5999:
5993:
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5967:
5961:
5958:
5952:
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5853:
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5837:
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5824:
5821:
5812:
5809:
5800:
5797:
5788:
5785:
5779:
5768:
5762:
5753:
5747:
5744:
5735:
5720:
5714:
5713:, 10 August 2015
5699:
5693:
5678:
5672:
5665:
5656:
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5637:
5628:
5608:
5602:
5596:
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5567:
5561:
5547:
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5529:
5523:
5520:
5514:
5511:
5505:
5502:
5491:
5488:
5482:
5479:
5473:
5470:
5464:
5453:
5447:
5444:
5438:
5427:"The Children's
5424:
5418:
5405:Scott, Clement.
5403:
5397:
5394:
5385:
5367:
5361:
5350:Wills, Matthew.
5348:
5342:
5339:
5330:
5327:
5321:
5318:
5312:
5309:
5303:
5300:
5289:
5286:
5275:
5274:Stedman, p. 169.
5272:
5266:
5263:
5257:
5246:
5240:
5227:
5221:
5218:
5212:
5197:
5191:
5177:
5171:
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5141:
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5132:
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5097:
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5071:
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5062:
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5044:
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5028:
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5019:
5013:
5002:
4993:
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4951:
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4886:
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4872:
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4863:
4857:
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4521:
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4506:
4503:
4497:
4496:, 1 October 2008
4478:
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4140:
4130:
4124:
4111:
4105:
4098:
4076:
4072:
4059:Patricia Leonard
4049:Christene Palmer
4035:Roberta Morrell
4031:Patricia Leonard
3893:Captain Corcoran
3842:
3841:
3813:Joan Gillingham
3771:L. Radley Flynn
3728:Darrell Fancourt
3724:Darrell Fancourt
3701:Charles Goulding
3667:Captain Corcoran
3618:
3617:
3593:Harriett Everard
3494:Aeneas J. Dymott
3476:Richard Cummings
3446:J. Furneaux Cook
3383:Captain Corcoran
3368:George Grossmith
3359:George Grossmith
3322:
3321:
3191:Permanent Record
3058:Chariots of Fire
2968:Jerome K. Jerome
2652:Frontispiece by
2535:
2534:
2506:
2505:
2486:
2410:Lord Chamberlain
2176:G. K. Chesterton
2171:Black-Eyed Susan
2059:Opera della Luna
1966:J. C. Williamson
1955:Darrell Fancourt
1951:Sydney Granville
1932:as the Captain,
1613:as a forepiece.
1601:25 November 1899
1581:12 November 1887
1565:22 December 1880
1548:16 December 1879
1528:27 December 1879
1500:24 December 1878
1472:
1471:
1440:Ohio Light Opera
1436:Opera a la Carte
1420:J. C. Williamson
1401:Opera della Luna
1278:François Cellier
1216:Signor Brocolini
1052:Imperial Theatre
911:
908:
902:
895:
734:
733:
714:
713:
694:
693:
665:
573:Scene from 1886
339:stage management
202:street musicians
134:
21:
9232:
9231:
9227:
9226:
9225:
9223:
9222:
9221:
9172:
9171:
9170:
9165:
9137:
9048:Sullivan operas
9043:
8955:
8943:Utopia, Limited
8880:H.M.S. Pinafore
8846:
8837:Arthur Sullivan
8823:
8818:
8768:H.M.S. Pinafore
8762:
8725:H.M.S. Pinafore
8689:
8683:H.M.S. Pinafore
8673:
8668:
8662:
8638:
8636:
8622:
8594:
8509:10.2307/3052183
8481:
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7942:
7933:
7929:
7923:Wayback Machine
7914:
7910:
7894:
7890:
7881:
7877:
7872:
7868:
7862:Wayback Machine
7849:
7845:
7832:
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7811:
7807:
7785:
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7766:
7752:Wayback Machine
7738:
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7729:
7720:
7710:Wayback Machine
7700:
7693:
7682:
7678:
7673:
7669:
7660:
7656:
7651:
7647:
7627:
7625:
7621:
7614:Utopia, Limited
7579:
7575:
7567:
7563:
7551:Wayback Machine
7538:(1963). On his
7531:
7527:
7522:
7518:
7509:
7505:
7498:Knights of Song
7495:
7491:
7486:
7482:
7477:
7473:
7468:
7464:
7459:
7455:
7443:Kenrick, John.
7442:
7438:
7426:
7422:
7390:
7386:
7374:Thaxter, John.
7373:
7369:
7360:Wayback Machine
7350:
7346:
7330:
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7298:
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7205:
7201:
7189:
7185:
7180:
7171:
7155:
7151:
7146:
7142:
7129:Gilbert, W. S.
7128:
7124:
7120:Stedman, p. 331
7119:
7115:
7102:
7098:
7085:
7081:
7068:
7064:
7051:
7047:
7034:
7030:
7017:
7013:
7000:
6996:
6983:
6979:
6973:Wayback Machine
6964:
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6930:
6926:
6913:
6906:
6897:
6893:
6884:
6880:
6871:
6864:
6856:
6852:
6820:(1994 edition,
6815:
6808:
6803:
6799:
6771:
6767:
6758:
6749:
6734:
6730:
6721:
6717:
6712:
6708:
6695:H.M.S. Pinafore
6692:
6685:
6676:
6672:
6664:H.M.S. Pinafore
6660:DeOrsey, Stan.
6659:
6652:
6644:Miller, Bruce.
6643:
6639:
6630:
6623:
6614:
6610:
6601:
6597:
6592:
6588:
6583:
6579:
6574:
6570:
6565:
6561:
6549:Shepherd Marc.
6548:
6544:
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6531:
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6522:
6517:
6510:
6498:
6491:
6486:
6482:
6473:
6460:
6456:Stedman, p. 162
6455:
6446:
6441:
6437:
6427:H.M.S. Pinafore
6424:
6417:
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6408:
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6221:H.M.S. Pinafore
6216:
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6169:H.M.S. Pinafore
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6068:H.M.S. Pinafore
6065:
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6051:Princes Theatre
6047:H.M.S. Pinafore
6044:
6040:
6026:Mencken, H. L.
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5969:Emerson, Brad.
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5724:H.M.S. Pinafore
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5684:H.M.S. Pinafore
5679:
5675:
5671:, 22 April 2010
5666:
5659:
5655:, 28 March 2009
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5579:H.M.S. Pinafore
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5421:
5407:"Our Play-Box.
5404:
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5349:
5345:
5341:Stedman, p. 175
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5320:Stedman, p. 174
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5232:H.M.S. Pinafore
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5008:H.M.S. Pinafore
5006:"The making of
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4808:"Opera Comique"
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4798:Stedman, p. 163
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4644:. Dobson, 1978
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4541:Crowther, p. 90
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4505:Stedman, p. 108
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3983:Anthony Raffell
3972:Michael Buchan
3916:Ralph Rackstraw
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3792:Muriel Harding
3767:L. Radley Flynn
3763:Patrick Colbert
3760:George Sinclair
3740:Frederick Hobbs
3692:Ralph Rackstraw
3671:Leicester Tunks
3640:
3635:
3630:
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3607:Rosina Brandram
3603:Rosina Brandram
3547:Geraldine Ulmar
3516:
3490:
3483:Leicester Tunks
3464:
3423:J. G. Robertson
3409:Ralph Rackstraw
3372:Walter Passmore
3349:
3344:
3339:
3334:
3329:
3317:
3281:H.M.S. Pinafore
3249:H.M.S. Pinafore
3144:Yale University
3063:Harold Abrahams
3049:
2926:
2885:H.M.S. Pinafore
2843:
2838:
2832:
2830:Cultural impact
2665:H.M.S. Pinafore
2646:
2610:G&S for All
2591:Malcolm Sargent
2566:Michael Heyland
2554:
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2511:H.M.S. Pinafore
2507:
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2451:Mrs Howard Paul
2422:
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2308:
2210:, and Ko-Ko in
2190:H.M.S. Pinafore
2166:Douglas Jerrold
2133:
2092:John Bush Jones
2088:
2063:H.M.S. Pinafore
1936:as Sir Joseph,
1824:
1758:H.M.S. Pinafore
1644:
1639:
1568:28 January 1881
1525:1 December 1879
1511:31 January 1879
1297:
1259:
1194:as Sir Joseph,
1118:H.M.S. Pinafore
1110:
1085:musical theatre
1065:Olympic Theatre
1061:H.M.S. Pinafore
1004:
1001:
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950:Hamilton Clarke
920:
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804:10. "A British
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656:Musical numbers
614:
541:
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439:
425:, to complete.
375:Mrs Howard Paul
316:H.M.S. Pinafore
312:T. W. Robertson
259:H.M.S. Pinafore
253:The success of
173:Royalty Theatre
165:
132:
71:H.M.S. Pinafore
67:musical theatre
51:Arthur Sullivan
28:
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9007:dramatic works
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8671:External links
8669:
8667:
8666:
8660:
8645:
8626:
8620:
8607:
8598:
8592:
8580:, ed. (1992).
8578:Sadie, Stanley
8574:
8564:
8555:
8553:. Vista Books.
8546:
8536:(2): 161–183.
8526:The Happy Land
8521:
8497:American Music
8485:
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8415:
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8395:Holden, Amanda
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7774:The New Yorker
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7714:Boston Phoenix
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7561:
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7489:
7480:
7478:Jones, pp. 4–5
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7344:
7340:Pinafore Swing
7334:Pinafore Swing
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7206:Gale, Joseph.
7199:
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6830:The Gramophone
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6593:Hughes, p. 133
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6518:Jacobs, p. 119
6508:
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6393:
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6369:Jacobs, p. 118
6355:
6351:Radio National
6347:The Music Show
6332:
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6241:
6227:
6210:
6200:Smith, Steve.
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5552:The Gondoliers
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5472:Jacobs, p. 123
5465:
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5446:Williams, p.84
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5369:Kanthor, Hal.
5362:
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5329:Jacobs, p. 132
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5311:Jacobs, p. 127
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5265:Ainger, p. 168
5258:
5248:Rosen, Zvi S.
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5046:Ainger, p. 175
5039:
5031:"The Theatres"
5023:
5021:Ainger, p. 171
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4959:Ainger, p. 170
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4738:Ainger, p. 160
4731:
4715:
4709:Bond, Jessie.
4702:
4689:
4680:
4664:
4661:, Introduction
4654:"A Stage Play"
4633:
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4588:
4579:
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4568:Ainger, p. 155
4561:
4559:Jacobs, p. 117
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4507:
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4468:The Happy Land
4458:
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4387:Ainger, p. 145
4380:
4378:Jacobs, p. 113
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3744:Henry Millidge
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3453:Richard Temple
3451:
3450:Richard Temple
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3441:Richard Temple
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3432:Henry Herbert
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3392:Sgr. Brocolini
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3313:
3122:Captain Picard
3120:(1998), where
3048:
3045:
2925:
2922:
2842:
2839:
2834:Main article:
2831:
2828:
2824:Olivier Awards
2816:Desmond Barrit
2814:as Josephine,
2767:Pinafore Swing
2730:adaptation of
2673:Alice Woodward
2645:
2642:
2641:
2640:
2637:
2634:
2628:
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2619:
2613:
2606:
2600:
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2585:
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2515:Edison Records
2508:
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2467:
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2455:
2421:
2418:
2404:
2401:
2399:
2396:
2377:Franz Schubert
2307:
2304:
2248:social classes
2199:The Happy Land
2181:Stuart Maunder
2132:
2129:
2087:
2084:
2055:Simon Gallaher
2030:review of the
1823:
1820:
1797:Boston Journal
1793:Boston Theatre
1679:Horatio Nelson
1643:
1640:
1638:
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1495:
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1485:
1482:
1479:
1476:
1466:, Uzbekistan.
1385:Scottish Opera
1373:Tyrone Guthrie
1361:Windsor Castle
1329:Percy Anderson
1296:
1293:
1258:
1255:
1220:Alfred Cellier
1198:as Josephine,
1139:Louis De Lange
1109:
1102:
1067:in September.
1057:Richard Barker
992:"What, never?"
990:
939:Crystal Palace
919:
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486:Bill Bobstay,
484:
477:
466:
455:
438:
435:
423:Alfred Cellier
271:French Riviera
164:
161:
112:social classes
26:
9:
6:
4:
3:
2:
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9198:
9195:
9193:
9190:
9188:
9185:
9183:
9180:
9179:
9177:
9162:
9154:
9152:
9144:
9143:
9140:
9134:
9130:
9129:
9125:
9122:
9121:
9117:
9114:
9113:
9109:
9106:
9105:
9104:The Chieftain
9101:
9098:
9097:
9093:
9090:
9089:
9085:
9082:
9081:
9077:
9074:
9073:
9069:
9066:
9065:
9061:
9058:
9057:
9053:
9052:
9050:
9046:
9040:
9037:
9035:
9032:
9030:
9027:
9025:
9022:
9020:
9017:
9015:
9012:
9008:
9005:
9004:
9003:
9000:
8998:
8995:
8993:
8990:
8988:
8985:
8983:
8980:
8978:
8975:
8973:
8970:
8968:
8965:
8964:
8962:
8958:
8952:
8951:
8947:
8945:
8944:
8940:
8938:
8937:
8933:
8931:
8930:
8926:
8924:
8923:
8919:
8917:
8916:
8912:
8910:
8909:
8905:
8903:
8902:
8898:
8896:
8895:
8891:
8889:
8888:
8884:
8882:
8881:
8877:
8875:
8874:
8870:
8868:
8867:
8866:Trial by Jury
8863:
8861:
8860:
8856:
8855:
8853:
8849:
8843:
8840:
8838:
8835:
8833:
8832:W. S. Gilbert
8830:
8829:
8826:
8822:
8815:
8810:
8808:
8803:
8801:
8796:
8795:
8792:
8785:
8781:
8780:
8776:
8774:
8770:
8769:
8760:
8759:
8758:
8757:
8751:
8748:
8746:
8743:
8741:
8738:
8736:
8734:
8729:
8727:
8726:
8721:
8720:
8719:
8718:
8712:
8709:
8706:
8703:
8699:
8695:
8694:
8688:
8686:
8684:
8680:
8679:
8678:
8677:
8663:
8661:0-7145-2766-1
8657:
8653:
8652:
8646:
8634:
8633:
8627:
8623:
8621:0-19-816174-3
8617:
8613:
8608:
8604:
8599:
8595:
8593:0-19-522186-9
8589:
8585:
8584:
8579:
8575:
8570:
8565:
8561:
8556:
8552:
8547:
8543:
8539:
8535:
8531:
8527:
8522:
8518:
8514:
8510:
8506:
8502:
8498:
8494:
8490:
8486:
8482:
8480:0-9507992-1-1
8476:
8472:
8467:
8463:
8461:1-58465-311-6
8457:
8453:
8452:
8446:
8442:
8440:0-19-282033-8
8436:
8432:
8427:
8423:
8422:
8416:
8412:
8410:0-670-81292-7
8406:
8402:
8401:
8396:
8392:
8388:
8386:0-02-870832-6
8382:
8378:
8377:
8371:
8367:
8365:0-19-520509-X
8361:
8357:
8353:
8349:
8345:
8343:0-306-79543-4
8339:
8335:
8330:
8326:
8324:0-8108-2445-0
8320:
8316:
8311:
8307:
8305:0-405-08430-7
8301:
8297:
8296:
8291:
8287:
8283:
8282:
8277:
8273:
8269:
8267:0-8386-3839-2
8263:
8259:
8254:
8250:
8248:0-19-516700-7
8244:
8240:
8239:
8233:
8229:
8227:0-19-816503-X
8223:
8219:
8218:
8213:
8209:
8205:
8203:0-7351-0280-5
8199:
8194:
8193:
8186:
8182:
8180:0-500-13046-9
8176:
8172:
8171:
8165:
8161:
8159:0-8143-2849-0
8155:
8151:
8150:
8145:
8144:
8138:
8134:
8132:0-686-70604-8
8128:
8124:
8119:
8115:
8113:0-903443-10-4
8109:
8105:
8100:
8096:
8094:0-19-514769-3
8090:
8086:
8081:
8080:
8067:
8063:
8057:
8048:
8039:
8030:
8021:
8012:
8003:
7994:
7985:
7976:
7966:
7960:
7956:
7952:
7951:
7944:
7937:
7936:Mr. Belvedere
7931:
7924:
7920:
7917:
7912:
7906:
7905:0-06-083305-X
7902:
7898:
7892:
7885:
7879:
7873:Arnold, p. 16
7870:
7863:
7859:
7856:
7854:
7853:The West Wing
7847:
7840:
7838:
7830:
7823:
7818:
7809:
7803:
7802:0-520-20970-2
7799:
7795:
7794:
7790:
7783:
7776:
7775:
7768:
7761:
7757:
7753:
7749:
7746:
7744:
7736:
7727:
7725:
7723:
7715:
7711:
7707:
7704:
7698:
7696:
7688:
7686:
7680:
7671:
7664:
7658:
7649:
7642:
7638:
7637:Todd Rundgren
7634:
7630:
7623:
7616:
7615:
7610:
7606:
7602:
7598:
7597:
7592:
7588:
7587:
7582:
7581:Asimov, Isaac
7577:
7570:
7565:
7558:
7557:
7552:
7548:
7545:
7544:Track listing
7541:
7537:
7536:
7529:
7520:
7513:
7507:
7500:
7499:
7493:
7484:
7475:
7466:
7457:
7450:
7446:
7440:
7433:
7429:
7424:
7417:
7413:
7411:
7405:
7401:
7399:
7393:
7388:
7381:
7379:
7371:
7365:, 19 May 2010
7364:
7361:
7357:
7354:
7351:Taylor, Pat.
7348:
7341:
7337:
7335:
7332:"Watermill –
7328:
7322:
7318:
7314:
7309:
7302:
7296:
7287:
7278:
7271:
7269:
7262:
7255:
7251:
7246:
7237:
7230:
7224:
7217:
7213:
7211:
7203:
7196:
7193:
7187:
7178:
7176:
7174:
7167:
7166:0-8222-1647-7
7163:
7159:
7153:
7144:
7138:
7134:
7133:
7126:
7117:
7110:
7108:
7100:
7093:
7091:
7083:
7076:
7074:
7066:
7059:
7057:
7049:
7042:
7040:
7032:
7025:
7023:
7015:
7008:
7006:
6998:
6991:
6989:
6981:
6974:
6970:
6967:
6962:
6955:
6951:
6945:
6938:
6936:
6933:Brent Walker
6928:
6921:
6919:
6911:
6909:
6901:
6895:
6888:
6882:
6875:
6869:
6867:
6860:
6854:
6847:
6846:0-14-103336-3
6843:
6839:
6835:
6831:
6827:
6826:1-85828-113-X
6823:
6819:
6813:
6811:
6801:
6795:
6791:
6787:
6783:
6779:
6775:
6769:
6762:
6756:
6754:
6752:
6744:
6743:
6738:
6732:
6725:
6719:
6710:
6704:
6703:0-8450-3003-5
6700:
6696:
6690:
6688:
6680:
6674:
6667:
6665:
6657:
6655:
6647:
6641:
6634:
6628:
6626:
6618:
6612:
6605:
6599:
6590:
6584:Hughes, p. 55
6581:
6575:Hughes, p. 53
6572:
6563:
6556:
6554:
6553:Miscellaneous
6546:
6539:
6533:
6524:
6515:
6513:
6505:
6501:
6496:
6494:
6484:
6477:
6471:
6469:
6467:
6465:
6463:
6453:
6451:
6449:
6439:
6432:
6428:
6422:
6420:
6410:
6403:
6397:
6388:
6381:
6375:
6366:
6364:
6362:
6360:
6352:
6348:
6344:
6339:
6337:
6329:
6325:
6320:
6314:Ainger, p. 83
6311:
6304:
6298:
6292:
6291:0-9667916-1-4
6288:
6284:
6278:
6271:
6267:
6265:
6258:
6251:
6245:
6236:
6234:
6232:
6224:
6222:
6214:
6208:, 9 June 2008
6207:
6203:
6197:
6190:
6186:
6181:
6174:
6170:
6164:
6157:
6153:
6147:
6138:
6136:
6134:
6132:
6124:
6118:
6109:
6102:
6098:
6093:
6086:
6080:
6073:
6069:
6063:
6056:
6052:
6049:. Revival at
6048:
6042:
6035:
6034:
6029:
6023:
6016:
6011:
6004:
5998:
5991:
5985:
5978:
5977:
5972:
5966:
5960:Baily, p. 250
5957:
5950:
5945:
5938:
5932:
5923:
5921:
5919:
5917:
5909:
5904:
5897:
5891:
5884:
5880:
5878:
5872:
5871:
5866:
5861:
5859:
5851:
5845:
5843:
5835:
5829:
5820:
5818:
5808:
5806:
5796:
5794:
5784:
5777:
5773:
5767:
5760:
5759:
5752:
5743:
5741:
5733:
5729:
5725:
5719:
5712:
5711:The Arts Desk
5708:
5706:
5698:
5691:
5687:
5685:
5677:
5670:
5664:
5662:
5654:
5648:
5642:
5636:
5634:
5626:
5625:
5620:
5618:
5612:
5607:
5600:
5595:
5588:
5587:Theatre World
5584:
5580:
5576:
5572:
5566:
5559:
5555:
5553:
5546:
5537:
5528:
5519:
5510:
5501:
5499:
5497:
5487:
5478:
5469:
5462:
5458:
5452:
5443:
5436:
5432:
5430:
5423:
5416:
5412:
5410:
5402:
5393:
5391:
5383:
5379:
5378:
5372:
5366:
5359:
5358:
5353:
5347:
5338:
5336:
5326:
5317:
5308:
5299:
5297:
5295:
5285:
5283:
5281:
5271:
5262:
5255:
5251:
5245:
5238:
5237:
5233:
5226:
5217:
5210:
5206:
5204:
5196:
5190:
5189:0-8386-3179-7
5186:
5182:
5176:
5169:
5168:
5161:
5159:
5157:
5155:
5153:
5151:
5149:
5147:
5137:
5128:
5126:
5124:
5116:
5114:
5110:
5102:
5096:
5095:0-273-43345-8
5092:
5088:
5083:
5076:
5073:Gillan, Don.
5070:
5061:
5052:
5043:
5036:
5032:
5027:
5018:
5011:
5009:
5001:
4999:
4991:
4987:
4983:
4979:
4974:
4965:
4956:
4947:
4945:
4943:
4941:
4939:
4931:
4927:
4923:
4919:
4918:
4913:
4909:
4903:
4894:
4885:
4883:
4881:
4871:
4862:
4855:
4852:Part 3, from
4851:
4845:
4836:
4827:
4825:
4817:
4813:
4809:
4804:
4795:
4786:
4777:
4770:
4765:
4759:Joseph, p. 17
4756:
4747:
4745:
4735:
4726:
4724:
4722:
4720:
4712:
4706:
4699:
4693:
4684:
4677:
4671:
4669:
4662:
4660:
4659:Reminiscences
4655:
4651:
4650:0-234-77206-9
4647:
4643:
4637:
4628:
4626:
4624:
4614:
4607:
4601:
4592:
4583:
4574:
4565:
4556:
4547:
4538:
4529:
4520:
4511:
4502:
4495:
4491:
4490:got its name"
4489:
4483:
4477:
4470:
4469:
4462:
4453:
4451:
4449:
4439:
4437:
4435:
4433:
4431:
4424:
4418:
4416:
4414:
4412:
4402:
4393:
4384:
4375:
4366:
4357:
4348:
4346:
4336:
4327:
4318:
4314:
4300:
4299:
4294:
4293:
4288:
4284:
4280:
4274:
4265:
4258:
4252:
4242:
4232:
4225:
4219:
4212:
4208:
4202:
4195:
4189:
4180:
4173:
4167:
4158:
4149:
4129:
4122:
4121:
4116:
4110:
4103:
4097:
4093:
4071:
4067:
4060:
4057:
4055:
4052:
4050:
4047:
4045:
4042:
4039:
4038:
4034:
4032:
4029:
4027:
4026:Pauline Wales
4024:
4022:
4019:
4016:
4015:
4012:
4009:
4007:
4004:
4001:
3999:
3996:
3993:
3992:
3988:
3985:
3982:
3979:
3976:
3975:
3971:
3968:
3965:
3963:
3960:
3957:
3956:
3952:
3950:
3947:
3944:
3942:
3939:
3936:
3935:
3931:
3929:
3926:
3923:
3921:
3918:
3915:
3914:
3910:
3908:
3905:
3903:
3900:
3898:
3895:
3892:
3891:
3888:
3885:
3882:
3880:
3877:
3875:
3872:
3869:
3868:
3862:
3857:
3852:
3847:
3844:
3843:
3836:
3833:
3831:
3828:
3825:
3823:
3820:
3817:
3816:
3812:
3810:
3809:Marjorie Eyre
3807:
3805:Aileen Davies
3804:
3802:
3799:
3796:
3795:
3791:
3789:
3786:
3784:
3783:Elsie Griffin
3781:
3779:Phyllis Smith
3778:
3775:
3774:
3770:
3768:
3765:
3762:
3759:
3756:
3755:
3751:
3749:
3746:
3743:
3741:
3738:
3735:
3734:
3730:
3727:
3725:
3722:
3720:
3719:Leo Sheffield
3717:
3714:
3713:
3709:
3707:
3704:
3702:
3699:
3697:
3696:Walter Glynne
3694:
3691:
3690:
3687:
3684:
3682:
3679:
3677:
3676:Leo Sheffield
3674:
3672:
3669:
3666:
3665:
3662:Martyn Green
3661:
3659:
3656:
3653:
3651:
3648:
3645:
3644:
3638:
3633:
3628:
3623:
3620:
3619:
3612:
3609:
3606:
3604:
3601:
3599:
3598:Alice Barnett
3596:
3594:
3591:
3588:
3587:
3584:
3581:
3579:
3576:
3573:
3570:
3568:
3565:
3562:
3561:
3558:
3555:
3553:
3550:
3548:
3545:
3543:
3540:
3538:
3535:
3532:
3531:
3528:
3526:
3524:
3522:
3519:
3514:
3513:
3509:
3507:
3504:
3502:
3501:Rudolph Lewis
3499:
3496:
3493:
3488:
3487:
3484:
3481:
3478:
3475:
3472:
3470:
3467:
3462:
3461:
3458:
3455:
3452:
3449:
3447:
3444:
3442:
3439:
3436:
3435:
3431:
3429:
3426:
3424:
3421:
3419:
3416:
3414:
3411:
3408:
3407:
3403:
3401:
3398:
3395:
3393:
3390:
3388:
3385:
3382:
3381:
3378:
3375:
3373:
3370:
3367:
3365:
3362:
3360:
3357:
3354:
3353:
3348:Savoy Theatre
3347:
3343:Savoy Theatre
3342:
3338:Savoy Theatre
3337:
3332:
3328:Opera Comique
3327:
3324:
3323:
3320:
3312:
3310:
3306:
3302:
3298:
3294:
3293:Buddy Hackett
3290:
3286:
3282:
3278:
3277:
3276:Mr. Belvedere
3272:
3268:
3264:
3260:
3259:
3254:
3250:
3246:
3245:
3240:
3236:
3232:
3228:
3227:
3223:" episode of
3222:
3218:
3214:
3210:
3209:
3208:The West Wing
3204:
3199:
3197:
3193:
3192:
3187:
3183:
3182:
3177:
3176:Ronald Searle
3173:
3169:
3168:
3163:
3162:
3157:
3153:
3149:
3145:
3141:
3137:
3136:
3131:
3127:
3123:
3119:
3118:
3113:
3112:
3107:
3102:
3100:
3096:
3095:
3090:
3086:
3085:
3080:
3079:
3074:
3073:
3068:
3064:
3060:
3059:
3054:
3044:
3042:
3038:
3034:
3030:
3026:
3022:
3018:
3013:
3011:
3010:
3005:
3001:
2997:
2996:Todd Rundgren
2993:
2989:
2985:
2984:
2979:
2975:
2974:
2969:
2965:
2961:
2957:
2953:
2952:Allan Sherman
2949:
2948:
2943:
2939:
2930:
2921:
2919:
2915:
2911:
2907:
2903:
2899:
2894:
2890:
2886:
2882:
2878:
2874:
2870:
2866:
2859:
2855:
2854:W. S. Gilbert
2851:
2847:
2837:
2827:
2825:
2821:
2820:Leslie Nichol
2817:
2813:
2809:
2805:
2801:
2797:
2796:
2791:
2790:
2784:
2780:
2776:
2772:
2768:
2764:
2761:, adapted by
2760:
2756:
2752:
2748:
2746:
2741:
2737:
2733:
2729:
2725:
2721:
2720:Caribbean Sea
2717:
2716:Bill Robinson
2713:
2709:
2708:
2707:Memphis Bound
2703:
2702:
2697:
2693:
2688:
2686:
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2678:
2674:
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2516:
2512:
2496:
2479:
2477:
2473:
2463:
2454:
2452:
2447:
2445:
2444:
2434:
2431:as Hebe with
2430:
2426:
2417:
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2411:
2395:
2392:
2388:
2387:
2382:
2378:
2373:
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2225:
2221:
2220:
2215:
2214:
2209:
2205:
2201:
2200:
2194:
2191:
2187:
2182:
2177:
2173:
2172:
2167:
2163:
2154:
2150:
2148:
2147:
2142:
2138:
2128:
2126:
2125:
2120:
2119:
2114:
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2102:
2097:
2093:
2083:
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2077:
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2060:
2056:
2052:
2048:
2043:
2041:
2037:
2033:
2029:
2025:
2021:
2020:Winthrop Ames
2017:
2013:
2008:
2004:
2000:
1995:
1993:
1988:
1984:
1979:
1975:
1971:
1967:
1962:
1960:
1956:
1952:
1948:
1943:
1939:
1938:Elsie Griffin
1935:
1931:
1930:Leo Sheffield
1927:
1923:
1918:
1914:
1910:
1906:
1902:
1898:
1894:
1890:
1886:
1882:
1878:
1877:H. L. Mencken
1873:
1871:
1867:
1863:
1859:
1858:
1857:The Athenaeum
1849:
1845:
1841:
1838:
1833:
1829:
1819:
1817:
1816:
1815:Boston Herald
1810:
1806:
1802:
1798:
1794:
1790:
1786:
1781:
1779:
1775:
1774:
1769:
1768:
1763:
1759:
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1748:
1747:
1742:
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1736:
1733:
1729:
1728:
1723:
1722:
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1716:
1711:
1710:
1704:
1703:
1694:
1690:
1686:
1684:
1680:
1675:
1671:
1670:Trial by Jury
1667:
1663:
1658:
1653:
1651:
1650:
1629:
1624:27 March 1909
1623:
1620:
1618:Savoy Theatre
1616:
1612:
1611:
1610:Trial by Jury
1606:
1600:
1597:
1595:Savoy Theatre
1594:
1593:
1589:
1584:10 March 1888
1583:
1580:
1578:
1577:Savoy Theatre
1575:
1574:
1567:
1564:
1562:Opera Comique
1561:
1560:
1551:20 March 1880
1550:
1545:Opera Comique
1543:
1539:
1538:
1533:
1527:
1524:
1521:
1518:
1517:
1513:
1510:
1509:
1496:
1494:
1493:Opera Comique
1490:
1486:
1483:
1480:
1477:
1474:
1473:
1470:
1467:
1465:
1461:
1457:
1453:
1449:
1445:
1441:
1437:
1433:
1429:
1425:
1421:
1417:
1412:
1410:
1406:
1402:
1398:
1395:has produced
1394:
1390:
1386:
1382:
1378:
1374:
1368:
1366:
1362:
1358:
1354:
1350:
1346:
1342:
1338:
1334:
1330:
1326:
1318:
1314:
1310:
1307:
1302:
1292:
1290:
1289:Lewis Carroll
1286:
1285:Clement Scott
1281:
1279:
1275:
1268:
1263:
1254:
1252:
1248:
1244:
1240:
1235:
1231:
1229:
1225:
1221:
1217:
1213:
1209:
1205:
1204:Furneaux Cook
1201:
1200:Alice Barnett
1197:
1193:
1189:
1185:
1181:
1177:
1172:
1170:
1169:
1164:
1160:
1155:
1151:
1150:Minstrel show
1147:
1142:
1140:
1137:and starring
1136:
1131:
1126:
1119:
1114:
1107:
1101:
1099:
1098:
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1086:
1082:
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1008:
1003:
999:
989:
987:
983:
979:
974:
972:
967:
961:
959:
955:
954:Covent Garden
951:
947:
942:
940:
936:
935:Opera Comique
932:
924:
907:
900:
894:
890:
884:
881:
878:
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872:
869:
866:
863:
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839:
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822:
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767:
764:
761:
760:
756:
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747:
745:
724:
723:
704:
703:
684:
683:
675:
653:
651:
645:
643:
639:
633:
629:
625:
623:
622:court-martial
619:
606:
605:D. H. Friston
601:
597:
593:
589:
587:
586:humble sailor
579:
576:
575:Savoy Theatre
571:
567:
565:
561:
556:
554:
550:
546:
528:
525:
521:
517:
514:
513:mezzo-soprano
510:
507:
503:
500:
496:
493:
489:
485:
482:
481:bass-baritone
478:
475:
471:
467:
464:
460:
456:
453:
449:
445:
441:
440:
434:
432:
431:Opera Comique
428:
424:
420:
414:
412:
408:
404:
400:
396:
392:
388:
384:
380:
376:
372:
368:
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351:
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328:
327:
321:
317:
313:
308:
306:
302:
296:
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290:
289:
284:
280:
274:
272:
268:
264:
263:naval surgeon
260:
256:
248:
244:
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237:
233:
232:
227:
223:
220:
215:
210:
205:
203:
199:
198:
192:
188:
187:
186:Trial by Jury
182:
178:
177:Selina Dolaro
174:
170:
160:
158:
154:
150:
146:
145:
140:
139:
131:
127:
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117:
113:
109:
104:
102:
98:
94:
90:
87:
83:
78:
76:
72:
68:
64:
63:Opera Comique
60:
59:W. S. Gilbert
56:
52:
48:
44:
43:
34:
30:
19:
9126:
9118:
9110:
9102:
9094:
9086:
9078:
9070:
9062:
9054:
8948:
8941:
8934:
8927:
8920:
8913:
8908:Princess Ida
8906:
8899:
8892:
8885:
8879:
8878:
8873:The Sorcerer
8871:
8864:
8857:
8778:
8767:
8756:Audio/visual
8755:
8754:
8732:
8724:
8716:
8715:
8692:
8682:
8675:
8674:
8650:
8637:. Retrieved
8631:
8611:
8602:
8582:
8568:
8559:
8550:
8533:
8529:
8525:
8503:(1): 34–49.
8500:
8496:
8492:
8489:Lamb, Andrew
8470:
8450:
8430:
8420:
8399:
8379:. Schirmer.
8375:
8355:
8333:
8314:
8294:
8290:Dark, Sidney
8280:
8257:
8237:
8216:
8212:Bradley, Ian
8191:
8169:
8148:
8143:The Simpsons
8141:
8122:
8103:
8084:
8065:
8056:
8047:
8038:
8029:
8020:
8011:
8002:
7993:
7984:
7975:
7965:
7949:
7943:
7935:
7930:
7911:
7896:
7891:
7883:
7878:
7869:
7852:
7846:
7836:
7833:Tibbs, Kim.
7829:
7817:
7808:
7792:
7788:
7782:
7772:
7767:
7755:
7743:HMS Pinafore
7742:
7735:
7713:
7684:
7679:
7670:
7662:
7657:
7648:
7622:
7612:
7608:
7600:
7595:
7590:
7584:
7576:
7564:
7554:
7533:
7528:
7519:
7511:
7506:
7497:
7492:
7483:
7474:
7465:
7456:
7448:
7439:
7423:
7415:
7410:HMS Pinafore
7409:
7404:The Guardian
7403:
7398:HMS Pinafore
7397:
7387:
7377:
7370:
7362:
7347:
7339:
7333:
7327:
7312:
7308:
7295:
7286:
7277:
7267:
7261:
7253:
7245:
7236:
7228:
7223:
7215:
7209:
7202:
7194:
7186:
7157:
7152:
7143:
7136:
7131:
7125:
7116:
7106:
7105:"The Essgee
7099:
7089:
7082:
7072:
7065:
7055:
7048:
7038:
7031:
7021:
7014:
7004:
6997:
6987:
6980:
6961:
6953:
6944:
6934:
6927:
6917:
6894:
6881:
6858:
6853:
6837:
6833:
6829:
6817:
6800:
6785:
6781:
6768:
6740:
6731:
6718:
6709:
6694:
6673:
6663:
6640:
6616:
6611:
6603:
6598:
6589:
6580:
6571:
6562:
6552:
6545:
6532:
6523:
6503:
6483:
6475:
6438:
6430:
6426:
6409:
6401:
6396:
6387:
6379:
6374:
6346:
6327:
6319:
6310:
6302:
6297:
6282:
6277:
6270:Deseret News
6269:
6263:
6257:
6249:
6244:
6220:
6213:
6205:
6196:
6188:
6180:
6172:
6168:
6163:
6155:
6151:
6146:
6122:
6117:
6108:
6100:
6092:
6084:
6079:
6071:
6067:
6062:
6054:
6046:
6041:
6031:
6022:
6015:The Athenæum
6014:
6010:
6002:
5997:
5989:
5984:
5974:
5965:
5956:
5948:
5944:
5936:
5931:
5907:
5903:
5895:
5890:
5882:
5876:
5870:Il trovatore
5868:
5864:
5849:
5833:
5828:
5783:
5775:
5766:
5757:
5751:
5727:
5723:
5718:
5710:
5705:HMS Pinafore
5704:
5697:
5690:The Guardian
5689:
5683:
5676:
5668:
5652:
5647:
5640:
5622:
5616:
5606:
5594:
5586:
5582:
5578:
5570:
5565:
5557:
5551:
5545:
5536:
5527:
5518:
5509:
5486:
5477:
5468:
5460:
5456:
5451:
5442:
5434:
5428:
5422:
5414:
5408:
5401:
5381:
5376:
5365:
5355:
5346:
5325:
5316:
5307:
5270:
5261:
5253:
5244:
5235:
5231:
5225:
5216:
5208:
5202:
5195:
5180:
5175:
5165:
5136:
5111:held at the
5106:
5101:
5086:
5082:
5069:
5060:
5051:
5042:
5034:
5026:
5017:
5007:
4989:
4985:
4981:
4973:
4964:
4955:
4929:
4921:
4915:
4911:
4902:
4893:
4870:
4861:
4853:
4844:
4835:
4815:
4811:
4803:
4794:
4785:
4776:
4768:
4764:
4755:
4734:
4705:
4697:
4696:"Theatres",
4692:
4683:
4658:
4641:
4636:
4613:
4605:
4600:
4591:
4582:
4573:
4564:
4555:
4546:
4537:
4528:
4519:
4510:
4501:
4493:
4488:HMS Pinafore
4487:
4476:
4466:
4461:
4422:
4401:
4392:
4383:
4374:
4365:
4356:
4335:
4326:
4317:
4297:
4291:
4286:
4282:
4278:
4273:
4264:
4257:The Sorcerer
4256:
4251:
4241:
4231:
4223:
4218:
4211:The Sorcerer
4210:
4206:
4201:
4193:
4188:
4179:
4166:
4157:
4128:
4118:
4114:
4109:
4096:
4075:productions.
4070:
4021:Joyce Wright
4006:Pamela Field
3980:Jack Habbick
3953:John Ayldon
3945:Donald Adams
3941:Donald Adams
3937:Dick Deadeye
3932:Meston Reid
3924:David Palmer
3920:Thomas Round
3911:Clive Harre
3863:D'Oyly Carte
3858:D'Oyly Carte
3853:D'Oyly Carte
3848:D'Oyly Carte
3830:Dorothy Gill
3826:Bertha Lewis
3822:Bertha Lewis
3715:Dick Deadeye
3681:Leslie Rands
3658:Martyn Green
3654:Henry Lytton
3650:Henry Lytton
3639:D'Oyly Carte
3634:D'Oyly Carte
3629:D'Oyly Carte
3624:D'Oyly Carte
3552:Ruth Vincent
3515:Midshipmite/
3510:Fred Hewett
3506:Powis Pinder
3497:Mr. Cuthbert
3473:Fred Clifton
3469:Fred Clifton
3465:Bill Bobstay
3457:Henry Lytton
3437:Dick Deadeye
3428:Robert Evett
3413:George Power
3400:Henry Lytton
3318:
3309:Herb Shriner
3297:Kitty Kallen
3280:
3274:
3256:
3252:
3248:
3242:
3238:
3235:Sideshow Bob
3226:The Simpsons
3224:
3216:
3206:
3202:
3200:
3195:
3189:
3185:
3179:
3171:
3165:
3159:
3156:Judy Garland
3139:
3133:
3115:
3109:
3105:
3103:
3098:
3092:
3088:
3082:
3076:
3070:
3056:
3052:
3050:
3040:
3032:
3028:
3014:
3009:Sunday Night
3007:
3003:
2991:
2988:Isaac Asimov
2981:
2971:
2963:
2945:
2941:
2935:
2917:
2905:
2901:
2897:
2892:
2888:
2884:
2876:
2873:John Kenrick
2864:
2862:
2850:Cabinet card
2799:
2793:
2787:
2783:World War II
2771:Sarah Travis
2766:
2758:
2754:
2749:
2744:
2735:
2731:
2723:
2714:and starred
2705:
2699:
2689:
2684:
2680:
2676:
2668:
2664:
2663:
2657:
2617:Royston Nash
2573:
2569:
2561:
2559:
2555:
2546:
2510:
2474:since 1907.
2471:
2469:
2460:
2448:
2441:
2438:
2414:
2406:
2386:Il trovatore
2384:
2360:leading tone
2356:
2352:good old 6/4
2347:
2345:
2329:
2312:
2309:
2298:
2293:
2289:
2286:
2281:
2273:
2265:
2259:
2251:
2244:The Sorcerer
2243:
2241:
2227:
2223:
2217:
2211:
2207:
2203:
2197:
2195:
2189:
2169:
2161:
2159:
2144:
2141:The Sorcerer
2140:
2136:
2134:
2122:
2116:
2110:
2104:
2095:
2089:
2079:
2075:
2071:
2067:
2062:
2046:
2044:
2039:
2027:
2023:
2015:
2011:
2002:
1998:
1996:
1986:
1982:
1977:
1974:Maggie Moore
1969:
1963:
1958:
1947:Derek Oldham
1942:Bertha Lewis
1934:Henry Lytton
1925:
1921:
1885:Buenos Aires
1880:
1874:
1869:
1861:
1855:
1853:
1836:
1831:
1827:
1825:
1813:
1808:
1804:
1800:
1796:
1788:
1782:
1777:
1771:
1765:
1761:
1757:
1750:
1744:
1738:
1737:
1731:
1727:The Standard
1725:
1719:
1713:
1707:
1700:
1698:
1692:
1673:
1669:
1665:
1661:
1660:
1655:
1647:
1645:
1621:14 July 1908
1608:
1535:
1481:Closing date
1478:Opening date
1468:
1447:
1431:
1415:
1413:
1396:
1369:
1352:
1349:World War II
1344:
1341:Hawes Craven
1337:Peter Goffin
1322:
1317:Ruth Vincent
1300:
1298:
1282:
1273:
1271:
1266:
1250:
1246:
1242:
1238:
1233:
1232:
1227:
1187:
1180:John T. Ford
1175:
1173:
1166:
1162:
1158:
1143:
1124:
1122:
1117:
1105:
1095:
1080:
1076:
1074:
1069:Pauline Rita
1060:
1047:
1043:
1039:
1036:
1031:
1027:
1024:W. S. Penley
1015:
1013:
997:
994:"No, never!"
991:
985:
977:
975:
970:
965:
962:
957:
945:
943:
930:
929:
906:
893:
851:(Entr'acte)
850:
845:
741:
721:
701:
681:
649:
646:
638:baby-farming
634:
630:
626:
615:
594:
590:
582:
557:
544:
542:
458:
426:
415:
411:The Sorcerer
410:
399:George Power
382:
379:The Sorcerer
378:
359:The Sorcerer
358:
354:
352:
346:
343:Savoy operas
332:
325:
315:
309:
298:
295:is intended.
286:
282:
279:Judge's Song
276:
258:
255:The Sorcerer
254:
252:
246:
229:
219:Herman Klein
214:naturalistic
206:
197:The Sorcerer
195:
184:
166:
152:
149:Savoy operas
142:
136:
129:
128:
115:
105:
88:
79:
70:
41:
40:
39:
29:
18:HMS Pinafore
9182:1878 operas
9161:WikiProject
9096:Haddon Hall
9056:Cox and Box
9034:Adaptations
9019:Grim's Dyke
8977:Helen Carte
8967:Savoy opera
8705:vocal score
8676:Information
8352:Gänzl, Kurt
7771:"Reviews",
7460:Lamb, p. 35
7216:Jewish Post
6774:phonoscènes
6239:Jones, p. 8
6003:The Theatre
5949:The Academy
5415:The Theatre
5357:JSTOR Daily
5131:Jones, p. 7
5115:in May 1970
4982:The Theatre
4789:Jones, p. 6
3969:Jon Ellison
3966:George Cook
3962:George Cook
3949:John Ayldon
3928:Meston Reid
3902:Alan Styler
3874:Peter Pratt
3835:Ella Halman
3583:Jessie Rose
3574:Jessie Bond
3571:Jessie Bond
3567:Jessie Bond
3557:Elsie Spain
3537:Emma Howson
3491:Bob Beckett
3418:Hugh Talbot
3364:J. H. Ryley
3305:Pat Carroll
3287:, starring
3285:Max Liebman
3114:(1981) and
3051:Songs from
3012:) in 1989.
3004:Night Music
2881:Andrew Lamb
2808:Gary Wilmot
2763:Mark Savage
2726:. An early
2644:Adaptations
2513:created by
2476:Ian Bradley
2391:Donizettian
2341:W. H. Smith
2256:Lord Lytton
2094:wrote that
2053:(formed by
1837:The Theatre
1773:The Academy
1699:Similarly,
1683:W. H. Smith
1598:6 June 1899
1497:25 May 1878
1212:Jessie Bond
1208:Hugh Talbot
1192:J. H. Ryley
918:Productions
553:quarterdeck
470:Able Seaman
395:Emma Howson
387:Jessie Bond
293:W. H. Smith
283:personality
243:land-lubber
239:W. H. Smith
47:comic opera
9176:Categories
9131:(1901) w/
8915:The Mikado
8784:Faded Page
8731:Photos of
8403:. Viking.
7959:0786474440
7884:Animaniacs
7635:, sung by
7540:next album
6772:The first
5722:Review of
5380:, both at
5201:"Pirating
4606:The Gaiety
4309:References
4102:Letty Lind
3986:John Broad
3870:Sir Joseph
3865:1982 tour
3860:1975 tour
3855:1965 tour
3850:1958 tour
3646:Sir Joseph
3641:1950 tour
3636:1935 tour
3631:1925 tour
3626:1915 tour
3611:Louie René
3578:Emmie Owen
3517:Tom Tucker
3489:Carpenter/
3479:W. H. Leon
3463:Boatswain/
3355:Sir Joseph
3301:Bill Hayes
3289:Perry Como
3273:". A 1986
3265:" (2001),
3261:episode, "
3258:Family Guy
3244:Animaniacs
3221:Cape Feare
3148:Matt Damon
3084:Wyatt Earp
3025:John Major
3017:Tony Blair
2956:Ivy League
2779:John Doyle
2736:Der Shirtz
2712:Don Walker
2623:Leon Major
2549:media help
2466:Recordings
2270:Tom Taylor
2213:The Mikado
1767:The Figaro
1709:Daily News
1522:, New York
1452:Copenhagen
1249:alongside
1146:burlesques
899:discussion
744:media help
549:Portsmouth
391:recitative
367:Barrington
365: ...
333:St Vincent
320:Portsmouth
267:Bab Ballad
179:, brought
163:Background
144:The Mikado
120:patriotism
108:Bab Ballad
82:Royal Navy
8922:Ruddigore
7663:The Times
7641:Taj Mahal
7416:The Times
6848:, p. 1136
6431:The Times
6156:The Times
6123:The Times
6085:The Times
6072:The Times
6055:The Times
5908:The Times
5877:Trovatore
5653:The Times
5035:The Times
4769:The Times
4040:Buttercup
3994:Josephine
3977:Carpenter
3958:Boatswain
3883:John Reed
3879:John Reed
3818:Buttercup
3776:Josephine
3757:Carpenter
3736:Boatswain
3706:John Dean
3589:Buttercup
3533:Josephine
3146:in 1939;
3078:Peter Pan
3000:Taj Mahal
2978:Runaround
2795:Star Wars
2789:Star Trek
2734:, called
2698:, called
2560:In 1939,
2433:Grossmith
2372:Handelian
2278:melodrama
2224:The Times
2118:Audacious
1992:Samarkand
1964:In 1879,
1922:The Times
1905:Melbourne
1889:Cape Town
1875:In 1911,
1762:The Times
1746:Athenaeum
1732:The Times
1721:The Times
1715:The Globe
1637:Reception
1464:Samarkand
642:patrician
524:contralto
490:'s Mate (
488:Boatswain
371:Grossmith
209:Victorian
167:In 1875,
9151:Category
8901:Iolanthe
8894:Patience
8786:(Canada)
8773:LibriVox
8733:Pinafore
8707:at IMSLP
8493:Pinafore
8354:(1986).
8214:(1996).
7919:Archived
7858:Archived
7756:The Tech
7748:Archived
7706:Archived
7685:Pinafore
7601:Pinafore
7591:Pinafore
7586:I, Robot
7547:Archived
7356:Archived
7321:52753483
7268:Pinafore
7210:Penzance
7137:Pinafore
7107:Pinafore
7090:Pinafore
7073:Pinafore
7056:Pinafore
7039:Pinafore
7022:Pinafore
7005:Pinafore
6988:Pinafore
6969:Archived
6935:Pinafore
6918:Pinafore
6602:Jacobs,
6264:Pinafore
5865:Pinafore
5758:Pinafore
5617:Pinafore
5429:Pinafore
5377:Pinafore
5203:Pinafore
4922:Pinafore
4423:Pinafore
4279:Pinafore
4224:Pinafore
4194:Pinafore
4123:in 1881.
4120:Patience
4002:Ann Hood
3333:New York
3239:Pinafore
3217:Pinafore
3203:Pinafore
3196:Pinafore
3186:Pinafore
3172:Pinafore
3152:falsetto
3140:Pinafore
3106:Pinafore
3099:Pinafore
3089:Pinafore
3053:Pinafore
3041:Pinafore
3033:Pinafore
3029:Pinafore
2992:Pinafore
2983:I, Robot
2964:Pinafore
2960:old Yale
2942:Pinafore
2938:pastiche
2902:Pinafore
2898:Pinafore
2893:Pinafore
2889:Pinafore
2877:Pinafore
2865:Pinafore
2755:Pinafore
2740:Hadassah
2732:Pinafore
2692:Broadway
2685:Pinafore
2681:Pinafore
2677:Pinafore
2574:Pinafore
2570:Pinafore
2562:Pinafore
2472:Pinafore
2443:Patience
2381:Erlkönig
2348:Pinafore
2326:" (1906)
2313:Pinafore
2299:Pinafore
2294:Pinafore
2290:Pinafore
2282:does not
2274:The Serf
2266:Pinafore
2252:Pinafore
2228:Pinafore
2204:Pinafore
2186:jingoism
2162:Pinafore
2137:Pinafore
2124:Minotaur
2101:pinafore
2096:Pinafore
2086:Analysis
2080:Pinafore
2068:Pinafore
2047:Pinafore
2040:Pinafore
2024:Pinafore
2016:Pinafore
2012:Pinafore
1999:Pinafore
1987:Pinafore
1983:Pinafore
1970:Pinafore
1959:Pinafore
1926:Pinafore
1893:Shanghai
1881:Pinafore
1870:Pinafore
1866:symphony
1862:Pinafore
1828:Pinafore
1801:Pinafore
1789:Pinafore
1778:Pinafore
1743:and the
1674:Sorcerer
1487:Details
1448:Pinafore
1442:and the
1432:Pinafore
1416:Pinafore
1397:Pinafore
1353:Pinafore
1345:Pinafore
1301:Pinafore
1274:Pinafore
1247:Pinafore
1239:Pinafore
1234:Pinafore
1228:Pinafore
1224:François
1188:Pinafore
1176:Pinafore
1163:Pinafore
1159:Pinafore
1125:Pinafore
1106:Pinafore
1093:operetta
1081:Pinafore
1077:Pinafore
1048:Pinafore
1044:Pinafore
1040:Pinafore
1032:Pinafore
1028:Pinafore
1016:Pinafore
986:Pinafore
978:Pinafore
971:Pinafore
966:Pinafore
958:Pinafore
946:Pinafore
931:Pinafore
846:Pinafore
752:Overture
650:Pinafore
564:Spithead
545:Pinafore
534:Synopsis
492:baritone
463:baritone
459:Pinafore
452:baritone
427:Pinafore
419:overture
383:Pinafore
355:Pinafore
347:Pinafore
247:Pinafore
153:Pinafore
130:Pinafore
124:pinafore
116:Pinafore
89:Pinafore
55:libretto
9088:Ivanhoe
9080:The Zoo
8960:Related
8859:Thespis
8639:24 June
8542:3825977
8517:3052183
8076:Sources
7970:period.
7633:YouTube
7609:Pirates
7512:The Era
7109:(1997)"
7092:(1994)"
7075:(1987)"
7058:(1981)"
7041:(1972)"
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6615:Hulme,
6250:The Era
5834:The Era
5726:in the
5571:Pirates
5457:Theatre
5435:The Era
4986:The Era
4926:Comique
4917:Thespis
4812:The Era
4698:The Era
4676:"Ralph"
4115:On Bail
3255:. In a
3178:called
2980:" from
2918:The Era
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2208:Pirates
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1809:Journal
1662:The Era
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520:Bumboat
506:soprano
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450:(comic
403:soprano
363:Everard
331:H.M.S.
326:Victory
324:H.M.S.
288:Radical
93:captain
9202:Operas
9133:German
9123:(1899)
9115:(1898)
9107:(1894)
9099:(1892)
9091:(1891)
9083:(1875)
9075:(1867)
9067:(1867)
9059:(1866)
8851:Operas
8717:Images
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3267:Stewie
2660:, 1908
2076:Mikado
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1909:Vienna
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1484:Perfs.
1460:Kassel
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998:never?
982:Boston
833:Act II
612:Act II
607:, 1878
97:sailor
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8538:JSTOR
8513:JSTOR
7553:from
7270:pages
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4486:"How
4088:Notes
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3621:Role
3350:1908
3345:1899
3340:1887
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3330:1878
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2608:1972
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539:Act I
474:tenor
437:Roles
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8656:ISBN
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8360:ISBN
8338:ISBN
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8300:ISBN
8262:ISBN
8243:ISBN
8222:ISBN
8198:ISBN
8175:ISBN
8154:ISBN
8127:ISBN
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8089:ISBN
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7901:ISBN
7798:ISBN
7317:OCLC
7162:ISBN
6842:ISBN
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5581:and
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