H.M.S. Pinafore - Knowledge

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 592:

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".

2649: 2235: 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 2297:

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,

1657:

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, 2846: 2099:

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 1689: 2485: 664: 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". 33: 226: 600: 4246:

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."

9147: 710: 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. 2319: 923: 838: 8763: 9157: 2153: 1113: 570: 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. 2311:

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 1262: 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. 730: 690: 1313: 2557:

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 2288:

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 628:

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 584:

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

700: 4245:

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

2742:

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

1980:

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

1705:

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

211:

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

4235:

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

2357:

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

2310:

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",

2230:

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".

1811:

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

1303:

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

2407:

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

2287:

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

1755:

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

1370:

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

1054:

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

963:

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

635:

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

416:

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

193:

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

2556:

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

2415:

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

2338:

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

1844: 1656:

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

1127:

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,

1007: 631:

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,

591:

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

2461:

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

595:

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,

2895:

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,

1989:

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

627:

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

2296:

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

2192:

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".

336:

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

2439:

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

968:

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

2098:

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. 583:

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. 2374:

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

2178:

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

1132:

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

709: 1756:

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, 2301:

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.

221:

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."

8766: 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 1676:

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

7969:

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

4074:

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

349:

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.

2416:

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.

1071:

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.

1834:

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. 1839:

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 711: 2009:

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

729: 689: 2183:

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

216:

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. 1308:

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 1236:

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

2065:

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

720: 2538:

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

680: 2393:

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."

1128:

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

1156:

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

2785:

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

1944:

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

1734:

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.

1919:

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: 6159: 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: 5986: 5980: 5967: 5961: 5958: 5952: 5946: 5940: 5933: 5927: 5924: 5911: 5905: 5899: 5892: 5886: 5862: 5853: 5846: 5837: 5830: 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: 5649: 5643: 5637: 5628: 5608: 5602: 5596: 5590: 5567: 5561: 5547: 5541: 5538: 5532: 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: 5162: 5141: 5138: 5132: 5129: 5118: 5103: 5097: 5084: 5078: 5071: 5065: 5062: 5056: 5053: 5047: 5044: 5038: 5028: 5022: 5019: 5013: 5002: 4993: 4975: 4969: 4966: 4960: 4957: 4951: 4948: 4933: 4904: 4898: 4895: 4889: 4886: 4875: 4872: 4866: 4863: 4857: 4846: 4840: 4837: 4831: 4828: 4819: 4805: 4799: 4796: 4790: 4787: 4781: 4778: 4772: 4766: 4760: 4757: 4751: 4748: 4739: 4736: 4730: 4727: 4714: 4707: 4701: 4694: 4688: 4685: 4679: 4672: 4663: 4638: 4632: 4629: 4618: 4615: 4609: 4602: 4596: 4593: 4587: 4584: 4578: 4575: 4569: 4566: 4560: 4557: 4551: 4548: 4542: 4539: 4533: 4530: 4524: 4521: 4515: 4512: 4506: 4503: 4497: 4496:, 1 October 2008 4478: 4472: 4463: 4457: 4454: 4443: 4440: 4425: 4419: 4406: 4403: 4397: 4394: 4388: 4385: 4379: 4376: 4370: 4367: 4361: 4358: 4352: 4349: 4340: 4337: 4331: 4328: 4322: 4319: 4302: 4275: 4269: 4266: 4260: 4253: 4247: 4243: 4237: 4233: 4227: 4220: 4214: 4203: 4197: 4190: 4184: 4181: 4175: 4168: 4162: 4159: 4153: 4151: 4150: 4147: 4146: 4143: 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: 8462: 8441: 8411: 8387: 8366: 8344: 8325: 8306: 8268: 8249: 8228: 8204: 8181: 8160: 8133: 8114: 8095: 8078: 8073: 8072: 8059: 8055: 8050: 8046: 8041: 8037: 8032: 8028: 8023: 8019: 8014: 8010: 8005: 8001: 7996: 7992: 7987: 7983: 7978: 7974: 7968: 7964: 7946: 7942: 7933: 7929: 7923:Wayback Machine 7914: 7910: 7894: 7890: 7881: 7877: 7872: 7868: 7862:Wayback Machine 7849: 7845: 7832: 7828: 7820: 7816: 7811: 7807: 7785: 7781: 7770: 7766: 7752:Wayback Machine 7738: 7734: 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: 7326: 7311: 7307: 7298: 7294: 7289: 7285: 7280: 7276: 7264: 7260: 7248: 7244: 7239: 7235: 7226: 7222: 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: 6960: 6947: 6943: 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: 6535: 6531: 6526: 6522: 6517: 6510: 6498: 6491: 6486: 6482: 6473: 6460: 6456:Stedman, p. 162 6455: 6446: 6441: 6437: 6427:H.M.S. Pinafore 6424: 6417: 6412: 6408: 6399: 6395: 6390: 6386: 6377: 6373: 6368: 6357: 6341: 6334: 6322: 6318: 6313: 6309: 6300: 6296: 6280: 6276: 6260: 6256: 6247: 6243: 6238: 6229: 6221:H.M.S. Pinafore 6216: 6212: 6199: 6195: 6183: 6179: 6169:H.M.S. Pinafore 6166: 6162: 6152:H.M.S. Pinafore 6149: 6145: 6140: 6129: 6120: 6116: 6111: 6107: 6095: 6091: 6082: 6078: 6068:H.M.S. Pinafore 6065: 6061: 6051:Princes Theatre 6047:H.M.S. Pinafore 6044: 6040: 6026:Mencken, H. L. 6025: 6021: 6013: 6009: 6000: 5996: 5987: 5983: 5969:Emerson, Brad. 5968: 5964: 5959: 5955: 5947: 5943: 5934: 5930: 5925: 5914: 5906: 5902: 5893: 5889: 5863: 5856: 5847: 5840: 5831: 5827: 5822: 5815: 5810: 5803: 5798: 5791: 5786: 5782: 5769: 5765: 5754: 5750: 5745: 5738: 5724:H.M.S. Pinafore 5721: 5717: 5700: 5696: 5684:H.M.S. Pinafore 5679: 5675: 5671:, 22 April 2010 5666: 5659: 5655:, 28 March 2009 5650: 5646: 5638: 5631: 5609: 5605: 5597: 5593: 5579:H.M.S. Pinafore 5568: 5564: 5548: 5544: 5539: 5535: 5530: 5526: 5521: 5517: 5512: 5508: 5503: 5494: 5489: 5485: 5480: 5476: 5471: 5467: 5454: 5450: 5445: 5441: 5425: 5421: 5407:"Our Play-Box. 5404: 5400: 5395: 5388: 5368: 5364: 5349: 5345: 5341:Stedman, p. 175 5340: 5333: 5328: 5324: 5320:Stedman, p. 174 5319: 5315: 5310: 5306: 5301: 5292: 5287: 5278: 5273: 5269: 5264: 5260: 5247: 5243: 5236:My Uncle's Will 5232:H.M.S. Pinafore 5228: 5224: 5220:Stedman, p. 169 5219: 5215: 5198: 5194: 5178: 5174: 5163: 5144: 5139: 5135: 5130: 5121: 5104: 5100: 5085: 5081: 5072: 5068: 5063: 5059: 5055:Stedman, p. 172 5054: 5050: 5045: 5041: 5029: 5025: 5020: 5016: 5008:H.M.S. Pinafore 5006:"The making of 5003: 4996: 4976: 4972: 4967: 4963: 4958: 4954: 4949: 4936: 4905: 4901: 4896: 4892: 4887: 4878: 4874:Stedman, p. 165 4873: 4869: 4864: 4860: 4847: 4843: 4838: 4834: 4829: 4822: 4808:"Opera Comique" 4806: 4802: 4798:Stedman, p. 163 4797: 4793: 4788: 4784: 4779: 4775: 4767: 4763: 4758: 4754: 4749: 4742: 4737: 4733: 4728: 4717: 4708: 4704: 4695: 4691: 4686: 4682: 4673: 4666: 4644:. Dobson, 1978 4639: 4635: 4631:Stedman, p. 160 4630: 4621: 4616: 4612: 4603: 4599: 4594: 4590: 4586:Stedman, p. 159 4585: 4581: 4576: 4572: 4567: 4563: 4558: 4554: 4550:Stedman, p. 155 4549: 4545: 4541:Crowther, p. 90 4540: 4536: 4531: 4527: 4522: 4518: 4513: 4509: 4505:Stedman, p. 108 4504: 4500: 4479: 4475: 4464: 4460: 4455: 4446: 4442:Stedman, p. 161 4441: 4428: 4420: 4409: 4404: 4400: 4395: 4391: 4386: 4382: 4377: 4373: 4368: 4364: 4359: 4355: 4350: 4343: 4338: 4334: 4329: 4325: 4320: 4316: 4311: 4306: 4305: 4276: 4272: 4267: 4263: 4254: 4250: 4244: 4240: 4234: 4230: 4221: 4217: 4204: 4200: 4191: 4187: 4182: 4178: 4172:Eugène Goossens 4169: 4165: 4160: 4156: 4137: 4133: 4131: 4127: 4112: 4108: 4099: 4095: 4090: 4085: 4080: 4079: 4073: 4069: 4054:Lyndsie Holland 3983:Anthony Raffell 3972:Michael Buchan 3916:Ralph Rackstraw 3864: 3859: 3854: 3849: 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: 3625: 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: 2553: 2545: 2543: 2542: 2541: 2540: 2536: 2529: 2526: 2520: 2519: 2518: 2511:H.M.S. Pinafore 2507: 2500: 2497: 2490: 2484: 2468: 2459: 2451:Mrs Howard Paul 2422: 2405: 2400: 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: 995: 993: 950:Hamilton Clarke 920: 915: 914: 909: 905: 896: 892: 804:10. "A British 749: 748: 740: 738: 737: 736: 735: 728: 725: 717: 716: 715: 708: 705: 697: 696: 695: 688: 685: 677: 669: 663: 658: 656:Musical numbers 614: 541: 536: 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: 23: 22: 15: 12: 11: 5: 9230: 9220: 9219: 9214: 9209: 9204: 9199: 9194: 9189: 9184: 9167: 9166: 9164: 9163: 9153: 9142: 9139: 9138: 9136: 9135: 9124: 9116: 9108: 9100: 9092: 9084: 9076: 9068: 9060: 9051: 9049: 9045: 9044: 9042: 9041: 9036: 9031: 9026: 9021: 9016: 9011: 9010: 9009: 9007:dramatic works 8999: 8994: 8989: 8984: 8979: 8974: 8969: 8963: 8961: 8957: 8956: 8954: 8953: 8950:The Grand Duke 8946: 8939: 8936:The Gondoliers 8932: 8925: 8918: 8911: 8904: 8897: 8890: 8883: 8876: 8869: 8862: 8854: 8852: 8848: 8847: 8845: 8844: 8839: 8834: 8828: 8825: 8824: 8817: 8816: 8809: 8802: 8794: 8788: 8787: 8775: 8753: 8752: 8747: 8742: 8737: 8728: 8714: 8713: 8708: 8702: 8687: 8672: 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: 8479: 8466: 8460: 8445: 8439: 8426: 8415: 8409: 8395:Holden, Amanda 8391: 8385: 8370: 8364: 8348: 8342: 8329: 8323: 8310: 8304: 8286: 8272: 8266: 8253: 8247: 8232: 8226: 8208: 8202: 8185: 8179: 8164: 8158: 8137: 8131: 8118: 8112: 8099: 8093: 8079: 8077: 8074: 8071: 8070: 8053: 8044: 8035: 8026: 8017: 8008: 7999: 7990: 7981: 7972: 7962: 7940: 7927: 7908: 7888: 7875: 7866: 7843: 7826: 7814: 7805: 7779: 7774:The New Yorker 7764: 7732: 7718: 7714:Boston Phoenix 7691: 7676: 7667: 7654: 7645: 7619: 7573: 7561: 7525: 7516: 7503: 7489: 7480: 7478:Jones, pp. 4–5 7471: 7462: 7453: 7436: 7420: 7384: 7367: 7344: 7340:Pinafore Swing 7334:Pinafore Swing 7324: 7305: 7292: 7283: 7274: 7258: 7242: 7233: 7220: 7206:Gale, Joseph. 7199: 7183: 7169: 7149: 7140: 7122: 7113: 7096: 7079: 7062: 7045: 7028: 7011: 6994: 6977: 6958: 6941: 6924: 6904: 6891: 6878: 6862: 6850: 6830:The Gramophone 6806: 6797: 6765: 6747: 6728: 6715: 6706: 6683: 6670: 6650: 6637: 6621: 6608: 6595: 6593:Hughes, p. 133 6586: 6577: 6568: 6559: 6542: 6529: 6520: 6518:Jacobs, p. 119 6508: 6489: 6480: 6458: 6444: 6435: 6415: 6406: 6393: 6384: 6371: 6369:Jacobs, p. 118 6355: 6351:Radio National 6347:The Music Show 6332: 6316: 6307: 6294: 6274: 6254: 6241: 6227: 6210: 6200:Smith, Steve. 6193: 6177: 6160: 6143: 6127: 6114: 6105: 6089: 6076: 6059: 6038: 6019: 6007: 5994: 5981: 5962: 5953: 5941: 5928: 5912: 5900: 5887: 5854: 5838: 5825: 5813: 5801: 5789: 5780: 5770:Smith, Steve. 5763: 5748: 5736: 5715: 5694: 5673: 5657: 5644: 5629: 5603: 5591: 5562: 5552:The Gondoliers 5542: 5533: 5524: 5515: 5506: 5492: 5483: 5474: 5472:Jacobs, p. 123 5465: 5448: 5446:Williams, p.84 5439: 5419: 5398: 5386: 5369:Kanthor, Hal. 5362: 5343: 5331: 5329:Jacobs, p. 132 5322: 5313: 5311:Jacobs, p. 127 5304: 5290: 5288:Jacobs, p. 129 5276: 5267: 5265:Ainger, p. 168 5258: 5248:Rosen, Zvi S. 5241: 5222: 5213: 5192: 5172: 5142: 5133: 5119: 5098: 5079: 5066: 5057: 5048: 5046:Ainger, p. 175 5039: 5031:"The Theatres" 5023: 5021:Ainger, p. 171 5014: 4994: 4970: 4961: 4959:Ainger, p. 170 4952: 4934: 4899: 4897:Jacobs, p. 126 4890: 4888:Ainger, p. 169 4876: 4867: 4865:Ainger, p. 166 4858: 4841: 4832: 4820: 4800: 4791: 4782: 4780:Ainger, p. 162 4773: 4761: 4752: 4750:Jacobs, p. 122 4740: 4738:Ainger, p. 160 4731: 4715: 4709:Bond, Jessie. 4702: 4689: 4680: 4664: 4661:, Introduction 4654:"A Stage Play" 4633: 4619: 4610: 4597: 4588: 4579: 4570: 4568:Ainger, p. 155 4561: 4559:Jacobs, p. 117 4552: 4543: 4534: 4525: 4516: 4507: 4498: 4473: 4468:The Happy Land 4458: 4444: 4426: 4407: 4398: 4389: 4387:Ainger, p. 145 4380: 4378:Jacobs, p. 113 4371: 4362: 4353: 4351:Ainger, p. 157 4341: 4332: 4330:Ainger, p. 130 4323: 4313: 4312: 4310: 4307: 4304: 4303: 4270: 4261: 4248: 4238: 4228: 4215: 4198: 4185: 4176: 4163: 4154: 4125: 4106: 4092: 4091: 4089: 4086: 4084: 4081: 4078: 4077: 4066: 4065: 4062: 4061: 4056: 4051: 4046: 4041: 4037: 4036: 4033: 4028: 4023: 4018: 4014: 4013: 4011:Vivian Tierney 4008: 4003: 4000: 3998:Jean Hindmarsh 3995: 3991: 3990: 3987: 3984: 3981: 3978: 3974: 3973: 3970: 3967: 3964: 3959: 3955: 3954: 3951: 3946: 3943: 3938: 3934: 3933: 3930: 3925: 3922: 3917: 3913: 3912: 3909: 3907:Michael Rayner 3904: 3899: 3897:Jeffrey Skitch 3894: 3890: 3889: 3884: 3881: 3876: 3871: 3867: 3866: 3861: 3856: 3851: 3846: 3838: 3837: 3832: 3827: 3824: 3819: 3815: 3814: 3811: 3806: 3803: 3798: 3794: 3793: 3790: 3785: 3780: 3777: 3773: 3772: 3769: 3764: 3761: 3758: 3754: 3753: 3750: 3748:Richard Walker 3745: 3744:Henry Millidge 3742: 3737: 3733: 3732: 3729: 3726: 3721: 3716: 3712: 3711: 3710:Herbert Newby 3708: 3703: 3698: 3693: 3689: 3688: 3686:Richard Watson 3683: 3678: 3673: 3668: 3664: 3663: 3660: 3655: 3652: 3647: 3643: 3642: 3637: 3632: 3627: 3622: 3614: 3613: 3608: 3605: 3600: 3595: 3590: 3586: 3585: 3580: 3575: 3572: 3569: 3564: 3560: 3559: 3554: 3549: 3544: 3539: 3534: 3530: 3529: 3527: 3525: 3523: 3521: 3518: 3512: 3511: 3508: 3503: 3498: 3495: 3492: 3486: 3485: 3480: 3477: 3474: 3471: 3466: 3460: 3459: 3454: 3453:Richard Temple 3451: 3450:Richard Temple 3448: 3443: 3441:Richard Temple 3438: 3434: 3433: 3432:Henry Herbert 3430: 3425: 3420: 3415: 3410: 3406: 3405: 3402: 3397: 3394: 3392:Sgr. Brocolini 3389: 3384: 3380: 3379: 3374: 3369: 3366: 3361: 3356: 3352: 3351: 3346: 3341: 3336: 3331: 3326: 3316: 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: 2625: 2619: 2613: 2606: 2600: 2593: 2586: 2585: 2544: 2537: 2527: 2522: 2521: 2515:Edison Records 2508: 2498: 2493: 2492: 2491: 2482: 2481: 2480: 2467: 2464: 2458: 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: 1635: 1632: 1631: 1628: 1625: 1622: 1619: 1615: 1614: 1605: 1602: 1599: 1596: 1592: 1591: 1588: 1585: 1582: 1579: 1573: 1572: 1569: 1566: 1563: 1559: 1558: 1555: 1552: 1549: 1546: 1542: 1541: 1532: 1529: 1526: 1523: 1516: 1515: 1512: 1508: 1507: 1504: 1501: 1498: 1495: 1489: 1488: 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: 916: 913: 912: 903: 889: 888: 887: 886: 883: 880: 877: 874: 871: 868: 865: 862: 859: 856: 835: 834: 830: 829: 828: 827: 824: 821: 818: 812: 809: 802: 799: 796: 793: 790: 787: 784: 781: 778: 775: 772: 769: 766: 763: 759: 758: 754: 753: 739: 726: 719: 718: 706: 699: 698: 686: 679: 678: 671: 670: 661: 660: 659: 657: 654: 613: 610: 540: 537: 535: 532: 531: 530: 527: 516: 509: 502: 495: 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: 9229: 9218: 9215: 9213: 9210: 9208: 9205: 9203: 9200: 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: 2682: 2678: 2674: 2670: 2666: 2659: 2655: 2650: 2638: 2635: 2633: 2629: 2626: 2624: 2620: 2618: 2614: 2611: 2607: 2604: 2601: 2598: 2594: 2592: 2588: 2587: 2583: 2582: 2581: 2579: 2575: 2571: 2567: 2563: 2558: 2552: 2550: 2525: 2516: 2512: 2496: 2479: 2477: 2473: 2463: 2454: 2452: 2447: 2445: 2444: 2434: 2431:as Hebe with 2430: 2426: 2417: 2413: 2411: 2395: 2392: 2388: 2387: 2382: 2378: 2373: 2369: 2365: 2361: 2355: 2353: 2349: 2344: 2342: 2337: 2333: 2325: 2320: 2316: 2314: 2303: 2300: 2295: 2291: 2285: 2283: 2279: 2275: 2271: 2267: 2263: 2262: 2257: 2253: 2249: 2245: 2236: 2232: 2229: 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: 2113: 2108: 2107: 2102: 2097: 2093: 2083: 2081: 2077: 2073: 2069: 2064: 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: 1754: 1753: 1748: 1747: 1742: 1741: 1736: 1733: 1729: 1728: 1723: 1722: 1717: 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: 1094: 1090: 1086: 1082: 1078: 1073: 1070: 1066: 1062: 1058: 1053: 1049: 1045: 1041: 1035: 1033: 1029: 1025: 1021: 1017: 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: 875: 872: 869: 866: 863: 860: 857: 854: 853: 852: 847: 843: 839: 832: 831: 825: 822: 819: 816: 815: 813: 810: 807: 803: 800: 797: 794: 791: 788: 785: 782: 779: 776: 773: 770: 767: 764: 761: 760: 756: 755: 751: 750: 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: 364: 360: 356: 351: 348: 344: 340: 335: 334: 328: 327: 321: 317: 313: 308: 306: 302: 296: 294: 290: 289: 284: 280: 274: 272: 268: 264: 263:naval surgeon 260: 256: 248: 244: 240: 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: 125: 121: 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)" 7007:(1958)" 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 2728:Yiddish 2208:Pirates 2112:Goliath 2106:Victory 2072:Pirates 1887:, from 1809:Journal 1662:The Era 1652:wrote: 1649:The Era 1475:Theatre 1355:before 1325:Redfern 1251:Pirates 1230:there. 1154:Yiddish 1104:Taking 996:"What, 560:bumboat 522:Woman ( 520:Bumboat 506:soprano 461:(lyric 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 8658: 8618: 8590: 8540: 8515: 8477: 8458: 8437: 8407: 8383: 8362: 8340: 8321: 8302: 8264: 8245: 8224: 8200: 8177: 8156: 8129: 8110: 8091: 7957: 7903: 7800: 7319: 7164: 6920:Video" 6844: 6824: 6792: 6701: 6617:quoted 6604:quoted 6349:, ABC 6289: 5641:passim 5187: 5093: 4648: 4295:, and 3267:Stewie 2660:, 1908 2076:Mikado 1913:Berlin 1909:Vienna 1901:Ottawa 1897:Madrid 1805:bouffe 1484:Perfs. 1460:Kassel 1424:Sydney 998:never? 982:Boston 833:Act II 612:Act II 607:, 1878 97:sailor 91:. The 53:and a 8538:JSTOR 8513:JSTOR 7553:from 7270:pages 6937:video 4932:set." 4486:"How 4088:Notes 3845:Role 3621:Role 3350:1908 3345:1899 3340:1887 3335:1879 3330:1878 3325:Role 2608:1972 2332:waltz 2250:. In 1895:; in 1826:When 1693:Punch 757:Act I 674:Odeon 539:Act I 474:tenor 437:Roles 407:tenor 241:as a 231:Punch 133:' 84:ship 45:is a 8656:ISBN 8641:2009 8616:ISBN 8588:ISBN 8475:ISBN 8456:ISBN 8435:ISBN 8405:ISBN 8381:ISBN 8360:ISBN 8338:ISBN 8319:ISBN 8300:ISBN 8262:ISBN 8243:ISBN 8222:ISBN 8198:ISBN 8175:ISBN 8154:ISBN 8127:ISBN 8108:ISBN 8089:ISBN 7955:ISBN 7901:ISBN 7798:ISBN 7317:OCLC 7162:ISBN 6842:ISBN 6822:ISBN 6790:ISBN 6699:ISBN 6287:ISBN 5581:and 5373:and 5234:and 5185:ISBN 5091:ISBN 4646:ISBN 4017:Hebe 3797:Hebe 3563:Hebe 3307:and 3251:and 3231:Bart 3124:and 2912:and 2539:sea" 2429:Bond 2379:'s " 2336:glee 2121:and 2074:and 1911:and 1903:and 1672:and 1335:and 897:See 499:bass 405:and 397:and 329:and 194:was 175:for 141:and 73:was 8782:at 8505:doi 8064:at 7791:in 7631:on 6429:", 6345:, 6154:", 6053:", 5615:"A 5585:", 5573:at 4930:you 3142:at 3019:by 2986:by 2970:'s 2908:by 2852:of 2792:or 2656:to 2354:". 2346:In 2324:tar 2272:'s 2258:'s 2168:'s 1891:to 1604:174 1587:120 1571:28 1503:571 1091:'s 806:tar 618:tar 444:KCB 409:in 353:In 86:HMS 57:by 9178:: 8534:15 8532:. 8511:. 8499:. 7758:, 7754:, 7721:^ 7712:, 7694:^ 7639:, 7583:. 7447:, 7430:, 7414:, 7402:, 7394:. 7252:, 7214:, 7172:^ 6952:, 6907:^ 6865:^ 6840:, 6809:^ 6750:^ 6739:, 6686:^ 6653:^ 6624:^ 6511:^ 6492:^ 6461:^ 6447:^ 6418:^ 6358:^ 6335:^ 6268:, 6230:^ 6204:, 6130:^ 6099:, 6030:, 5973:, 5915:^ 5881:, 5857:^ 5841:^ 5816:^ 5804:^ 5792:^ 5774:, 5739:^ 5709:, 5688:, 5660:^ 5632:^ 5621:, 5613:. 5495:^ 5433:, 5413:, 5389:^ 5354:, 5334:^ 5293:^ 5279:^ 5252:, 5207:, 5145:^ 5122:^ 5033:. 4997:^ 4980:, 4937:^ 4879:^ 4823:^ 4810:. 4743:^ 4718:^ 4667:^ 4622:^ 4492:, 4447:^ 4429:^ 4410:^ 4344:^ 4285:, 4142:eɪ 3311:. 3303:, 3299:, 3295:, 3291:, 3229:, 3198:. 3154:. 3132:. 3101:. 2998:, 2950:, 2875:, 2826:. 2722:, 2687:. 2580:. 2222:. 2127:. 2115:, 2109:, 2070:, 1899:, 1718:, 1712:, 1627:61 1554:78 1540:. 1531:28 1387:, 1331:, 1253:. 1165:, 1100:. 941:. 446:, 433:. 413:. 159:. 8813:e 8806:t 8799:v 8700:. 8698:1 8664:. 8643:. 8624:. 8596:. 8544:. 8519:. 8507:: 8501:4 8483:. 8464:. 8443:. 8413:. 8389:. 8368:. 8346:. 8327:. 8308:. 8270:. 8251:. 8230:. 8206:. 8183:. 8162:. 8135:. 8116:. 8097:. 7851:" 7835:" 7745:" 7412:" 7408:" 7400:" 7396:" 7380:" 7376:" 7336:" 7024:" 6990:" 6666:" 6555:" 6262:" 6219:" 6167:" 6066:" 6045:" 5879:" 5703:" 5554:" 5431:" 5411:" 5010:" 4213:. 4148:/ 4145:f 4139:r 4136:/ 3006:( 2551:. 1000:" 746:. 526:) 515:) 508:) 501:) 494:) 483:) 476:) 472:( 465:) 454:) 20:)

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

Index