Sir Arthur SULLIVAN
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Diana (Old Lady) Apollo (Old Man) Mars (Old Man)
Diana (old lady) Dia. (shuddering.) Ugh! How cold the nights are! I don't know how it is, but I seem to feel the night air a great deal more than I used to. But it is time for the sun to be rising. (Calls.) Apollo. Ap. (within.) Hollo! Dia. I've come off duty - it's time for you to be getting up. Enter APOLLO. He is an elderly 'buck' with an air of assumed juvenility, and is dressed in dressing gown and smoking cap. Ap. (yawning.) I shan't go out today. I was out yesterday and the day before and I want a little rest. I don't know how it is, but I seem to feel my work a great deal more than I used to. Dia. I'm sure these short days can't hurt you. Why, you don't rise till six and you're in bed again by five: you should have a turn at my work and just see how you like that - out all night! Apollo (Old man) Dia. (shuddering.) Ugh! How cold the nights are! I don't know how it is, but I seem to feel the night air a great deal more than I used to. But it is time for the sun to be rising. (Calls.) Apollo. Ap. (within.) Hollo! Dia. I've come off duty - it's time for you to be getting up. Enter APOLLO. He is an elderly 'buck' with an air of assumed juvenility, and is dressed in dressing gown and smoking cap. -
SIR ARTHUR SULLIVAN: Life-Story, Letters, and Reminiscences
This is a reproduction of a library book that was digitized by Google as part of an ongoing effort to preserve the information in books and make it universally accessible. https://books.google.com SirArthurSullivan ArthurLawrence,BenjaminWilliamFindon,WilfredBendall \ SIR ARTHUR SULLIVAN: Life-Story, Letters, and Reminiscences. From the Portrait Pruntfd w 1888 hv Sir John Millais. !\i;tn;;;i*(.vnce$. i-\ !i. W. i ind- i a. 1 V/:!f ;d B'-:.!.i;:. SIR ARTHUR SULLIVAN : Life-Story, Letters, and Reminiscences. By Arthur Lawrence. With Critique by B. W. Findon, and Bibliography by Wilfrid Bendall. London James Bowden 10 Henrietta Street, Covent Garden, W.C. 1899 /^HARVARD^ UNIVERSITY LIBRARY NOV 5 1956 PREFACE It is of importance to Sir Arthur Sullivan and myself that I should explain how this book came to be written. Averse as Sir Arthur is to the " interview " in journalism, I could not resist the temptation to ask him to let me do something of the sort when I first had the pleasure of meeting ^ him — not in regard to journalistic matters — some years ago. That permission was most genially , granted, and the little chat which I had with J him then, in regard to the opera which he was writing, appeared in The World. Subsequent conversations which I was privileged to have with Sir Arthur, and the fact that there was nothing procurable in book form concerning our greatest and most popular composer — save an interesting little monograph which formed part of a small volume published some years ago on English viii PREFACE Musicians by Mr. -
Vol. 17, No. 4 April 2012
Journal April 2012 Vol.17, No. 4 The Elgar Society Journal The Society 18 Holtsmere Close, Watford, Herts., WD25 9NG Email: [email protected] April 2012 Vol. 17, No. 4 President Editorial 3 Julian Lloyd Webber FRCM ‘... unconnected with the schools’ – Edward Elgar and Arthur Sullivan 4 Meinhard Saremba Vice-Presidents The Empire Bites Back: Reflections on Elgar’s Imperial Masque of 1912 24 Ian Parrott Andrew Neill Sir David Willcocks, CBE, MC Diana McVeagh ‘... you are on the Golden Stair’: Elgar and Elizabeth Lynn Linton 42 Michael Kennedy, CBE Martin Bird Michael Pope Book reviews 48 Sir Colin Davis, CH, CBE Lewis Foreman, Carl Newton, Richard Wiley Dame Janet Baker, CH, DBE Leonard Slatkin Music reviews 52 Sir Andrew Davis, CBE Julian Rushton Donald Hunt, OBE DVD reviews 54 Christopher Robinson, CVO, CBE Richard Wiley Andrew Neill Sir Mark Elder, CBE CD reviews 55 Barry Collett, Martin Bird, Richard Wiley Letters 62 Chairman Steven Halls 100 Years Ago 65 Vice-Chairman Stuart Freed Treasurer Peter Hesham Secretary The Editor does not necessarily agree with the views expressed by contributors, Helen Petchey nor does the Elgar Society accept responsibility for such views. Front Cover: Arthur Sullivan: specially engraved for Frederick Spark’s and Joseph Bennett’s ‘History of the Leeds Musical Festivals’, (Leeds: Fred. R. Spark & Son, 1892). Notes for Contributors. Please adhere to these as far as possible if you deliver writing (as is much preferred) in Microsoft Word or Rich Text Format. A longer version is available in case you are prepared to do the formatting, but for the present the editor is content to do this. -
The Mikado the Articles in This Study Guide Are Not Meant to Mirror Or Interpret Any Productions at the Utah Shakespeare Festival
Insights A Study Guide to the Utah Shakespeare Festival The Mikado The articles in this study guide are not meant to mirror or interpret any productions at the Utah Shakespeare Festival. They are meant, instead, to be an educational jumping-off point to understanding and enjoying the plays (in any production at any theatre) a bit more thoroughly. Therefore the stories of the plays and the interpretative articles (and even characters, at times) may differ dramatically from what is ultimately produced on the Festival’s stages. Insights is published by the Utah Shakespeare Festival, 351 West Center Street; Cedar City, UT 84720. Bruce C. Lee, communications director and editor; Phil Hermansen, art director. Copyright © 2011, Utah Shakespeare Festival. Please feel free to download and print Insights, as long as you do not remove any identifying mark of the Utah Shakespeare Festival. For more information about Festival education programs: Utah Shakespeare Festival 351 West Center Street Cedar City, Utah 84720 435-586-7880 www.bard.org. Cover photo: Erin Annarella (top), Carol Johnson, and Sarah Dammann in The Mikado, 1996 Contents Information on the Play Synopsis 4 CharactersThe Mikado 5 About the Playwright 6 Scholarly Articles on the Play Mere Pish-Posh 8 Utah Shakespeare Festival 3 351 West Center Street • Cedar City, Utah 84720 • 435-586-7880 Synopsis: The Mikado Nanki-Poo, the son of the royal mikado, arrives in Titipu disguised as a peasant and looking for Yum- Yum. Without telling the truth about who he is, Nanki-Poo explains that several months earlier he had fallen in love with Yum-Yum; however she was already betrothed to Ko-Ko, a cheap tailor, and he saw that his suit was hopeless. -
God-Given Talent
God-Given Talent By Alysia Kozbial PERFORMANCE RIGHTS It is an infringement of the federal copyright law to copy this script in any way or to perform this play without royalty payment. All rights are controlled by Eldridge Publishing Co. Inc. Contact the publisher for additional scripts and further licensing information. The author’s name must appear on all programs and advertising with the notice: “Produced by special arrangement with Eldridge Publishing Co.” PUBLISHED BY ELDRIDGE PUBLISHING COMPANY www.histage.com © 2004 by Alysia Kozbial Download your complete script from Eldridge Publishing http://www.histage.com/playdetails.asp?PID=1085 God-Given Talent - 2 - DEDICATION To my family and friends for their love and support, and Mr. Klever for being an awesome teacher! STORY OF THE PLAY Marcus lives in an exciting time for theatre: the very beginning in Ancient Greece. He wants to become a great actor and impress everyone at the Festival of Dionysus, especially the lovely maiden, Chara. Unfortunately, he can’t act, and the gods Dionysus and Apollo see this and decide to help him out. With his new, god-given talent of acting, Marcus is able to win the tragedy competition and the heart of Chara, but not without upsetting two goddesses on Mt. Olympus. Hera and Aphrodite are outraged and have plans to stir up the situation even more. This magical little story wraps romance, humor, and the message of liking people for who they are around a piece of ancient history for all to enjoy. God-Given Talent - 3 - CAST OF CHARACTERS (5 m, 3 w, extras.) MARCUS: Young aspiring actor. -
Krantz [email protected] Phi Mu Alpha Sinfonia + Delta Omicron = Sinfonicron G&S Works, with Date and Length of Original London Run • Thespis 1871 (63)
Sinfonicron Light Opera presents Ruddigore, or The Witch’s Curse January 23-26, 2020 Kimball Theatre Osher Lifelong Learning Institute November 15, 2019 Ken Krantz [email protected] Phi Mu Alpha Sinfonia + Delta Omicron = Sinfonicron G&S Works, with date and length of original London run • Thespis 1871 (63) • Trial by Jury 1875 (131) • The Sorcerer 1877 (178) • HMS Pinafore 1878 (571) • The Pirates of Penzance 1879 (363) • Patience 1881 (578) • Iolanthe 1882 (398) G&S Works, Continued • Princess Ida 1884 (246) • The Mikado 1885 (672) • Ruddigore 1887 (288) • The Yeomen of the Guard 1888 (423) • The Gondoliers 1889 (554) • Utopia, Limited 1893 (245) • The Grand Duke 1896 (123) Elements of Gilbert’s stagecraft • Topsy-Turvydom (a/k/a Gilbertian logic) • Firm directorial control • The typical issue: Who will marry the soprano? • The typical competition: tenor vs. patter baritone • The Lozenge Plot • Literal lozenge: Used in The Sorcerer and never again • Virtual Lozenge: Used almost constantly Ruddigore: A “problem” opera • The horror show plot • The original spelling of the title: “Ruddygore” • Whatever opera followed The Mikado was likely to suffer by comparison Ruddigore Time: Early 19th Century Place: Cornwall, England Act 1: The village of Rederring Act 2: The picture gallery of Ruddigore Castle, one week later Ruddigore Dramatis Personae Mortals: •Sir Ruthven Murgatroyd, Baronet, disguised as Robin Oakapple (Patter Baritone) •Richard Dauntless, his foster brother, a sailor (Tenor) •Sir Despard Murgatroyd, Sir Ruthven’s younger brother -
Or, the Witch's Curse!
Ruddygore or, The Witch's Curse! An Entirely Original Supernatural Opera in Two Acts Written by W. S. Gilbert Composed by Arthur Sullivan First produced at the Savoy Theatre, London, Saturday 22nd January 1887 under the management of Mr. Richard D'Oyly Carte This edition privately published by Ian C. Bond at 2 Kentisview, Kentisbeare, CULLOMPTON. EX15 2BS. © 1995 RUDDYGORE Of all the Gilbert and Sullivan joint works, RUDDYGORE has been the most unfairly treated. The initial, rather hostile reception, led the partners to make a number of cuts and changes which, under rather more favourable circumstances, would probably not have been so severe. This gradual dissection continued in the 1920’s at the hands of Geoffrey Toye, Harry Norris, Malcolm Sargent and J M Gordon until, by the post-war revival of 1949, RUDDIGORE was, to all intents and purposes, a new work. It is to be hoped that such a thing could not happen today as I would like to think that we have far too much respect for the works of these two men to allow anyone to take such drastic rewrites upon themselves. That the original version of the opera works is evidenced by the considerable number of amateur revivals over the past few years that have attempted to return as closely as possible (given the lack of performing material) to a ‘first night version’ - a trend fuelled by the New Sadler’s Wells revival of 1987. That Gilbert was guilty of one miscalculation is fairly obvious in his placing of “The battle’s roar is over” in Act One. -
The Pirates of Penzance NOTE: the Articles in These Study Guides Are Not Meant to Mirror Or Interpret Any Particular Productions at the Utah Shakespeare Festival
Insights A Study Guide to the Utah Shakespeare Festival The Pirates of Penzance NOTE: The articles in these study guides are not meant to mirror or interpret any particular productions at the Utah Shakespeare Festival. They are meant, instead, to be an educational jumping-off point to under- standing and enjoying the play (in any production at any theatre) a bit more thoroughly. Therefore the stories of the plays and the interpretative articles (and even characters at times) may differ from what is ultimately produced on stage. Also, some of these articles (especially the synopses) reveal the ending and other “surprises” in some plays. If you don’t want to know this information before seeing the plays, you may want to reconsider studying this information. Insights is published by the Utah Shakespeare Festival, 351 West Center Street; Cedar City, UT 84720. Bruce C. Lee, communications director and editor; Phil Hermansen, art director. Copyright © 2011, Utah Shakespeare Festival. Please feel free to download and print Insights, as long as you do not remove any identifying mark of the Utah Shakespeare Festival. For more information about Festival education programs: Utah Shakespeare Festival 351 West Center Street Cedar City, Utah 84720 435-586-7880 www.bard.org. Cover photo: Laurie Birmingham (left) and Glenn Seven Allen in The Pirates of Penzance, 2001. Contents Information on the Play Synopsis 4 TheCharacters Pirates of Penzance5 About the Playwright 6 Scholarly Articles on the Play Preserving the Truly Good Things in Drama 8 Delighting Audiences 8 Utah Shakespeare Festival 3 351 West Center Street • Cedar City, Utah 84720 • 435-586-7880 Synopsis: The Pirates of Penzance On the coast of Cornwall, a gang of pirates play and party as Frederic (a pirate apprentice) reminds the pirate king that his obligation to the gang is soon over. -
Class, Respectability and the D'oyly Carte Opera Company 1877-1909
THE UNIVERSITY OF WINCHESTER Faculty of Arts ‘Respectable Capers’ – Class, Respectability and the D’Oyly Carte Opera Company 1877-1909 Michael Stephen Goron Doctor of Philosophy June 2014 The Thesis has been completed as a requirement for a postgraduate research Degree of the University of Winchester The word count is: 98,856 (including abstract and declarations.) THE UNIVERSITY OF WINCHESTER ABSTRACT FOR THESIS ‘Respectable Capers’: Class, Respectability and the D’Oyly Carte Opera Company 1877-1909 Michael Stephen Goron This thesis will demonstrate ways in which late Victorian social and cultural attitudes influenced the development and work of the D’Oyly Carte Opera Company, and the early professional production and performance of the Gilbert and Sullivan operas. The underlying enquiry concerns the extent to which the D’Oyly Carte Opera organisation and its work relate to an ideology, or collective mentalité, maintained and advocated by the Victorian middle- classes. The thesis will argue that a need to reflect bourgeois notions of respectability, status and gender influenced the practices of a theatrical organisation whose success depended on making large-scale musical theatre palatable to ‘respectable’ Victorians. It will examine ways in which managerial regulation of employees was imposed to contribute to both a brand image and a commercial product which matched the ethical values and tastes of the target audience. The establishment of a company performance style will be shown to have evolved from behavioural practices derived from the absorption and representation of shared cultural outlooks. The working lives and professional preoccupations of authors, managers and performers will be investigated to demonstrate how the attitudes and working lives of Savoy personnel exemplified concerns typical to many West End theatre practitioners of the period, such as the drive towards social acceptability and the recognition of theatre work as a valid professional pursuit, particularly for women. -
December 8, 2009 (XIX:15) Mike Leigh TOPSY-TURVY (1999, 160 Min)
December 8, 2009 (XIX:15) Mike Leigh TOPSY-TURVY (1999, 160 min) Directed and written by Mike Leigh Produced by Simon Channing Williams Cinematography by Dick Pope Film Editing by Robin Sales Art Direction by Helen Scott Set Decoration by John Bush and Eve Stewart Costume Design by Lindy Hemming Allan Corduner...Sir Arthur Sullivan Dexter Fletcher...Louis Sukie Smith...Clothilde Roger Heathcott...Banton Wendy Nottingham...Helen Lenoir Stefan Bednarczyk...Frank Cellier Geoffrey Hutchings...Armourer Timothy Spall...Richard Temple (The Mikado) Francis Lee...Butt Kimi Shaw...Spinner William Neenan...Cook Toksan Takahashi...Calligrapher Adam Searle...Shrimp Akemi Otani...Dancer Martin Savage...George Grossmith (Ko-Ko) Kanako Morishita...Samisen Player Jim Broadbent...W. S. Gilbert Theresa Watson...Maude Gilbert Lesley Manville...Lucy Gilbert Lavinia Bertram...Florence Gilbert Kate Doherty...Mrs. Judd Togo Igawa...First Kabuki Actor Kenneth Hadley...Pidgeon Eiji Kusuhara...Second Kabuki Actor Keeley Gainey...Maidservant Ron Cook...Richard D'Oyly Carte Naoko Mori...Miss 'Sixpence Please' Eleanor David...Fanny Ronalds Eve Pearce...Gilbert's Mother Gary Yershon...Pianist in Brothel Neil Humphries...Boy Actor Katrin Cartlidge...Madame Vincent Franklin...Rutland Barrington (Pooh-Bah) Julia Rayner...Mademoiselle Fromage Michael Simkins...Frederick Bovill Jenny Pickering...Second Prostitute Alison Steadman...Madame Leon Kevin McKidd...Durward Lely (Nanki-Poo) Cathy Sara...Sybil Grey (Peep-Bo) Sam Kelly...Richard Barker Angela Curran...Miss Morton Charles Simon...Gilbert's Father Millie Gregory...Alice Philippe Constantin...Paris Waiter Jonathan Aris...Wilhelm David Neville...Dentist Andy Serkis...John D'Auban Matthew Mills...Walter Simmonds Mia Soteriou...Mrs. Russell Shirley Henderson...Leonora Braham (Yum-Yum) Louise Gold...Rosina Brandram (Katisha) Nicholas Woodeson...Mr. -
Download Booklet
HarmoniousThe EchoSONGS BY SIR ARTHUR SULLIVAN MARY BEVAN • KITTY WHATELY soprano mezzo-soprano BEN JOHNSON • ASHLEY RICHES tenor bass-baritone DAVID OWEN NORRIS piano Sir Arthur Sullivan, Ottawa, 1880 Ottawa, Sullivan, Arthur Sir Photograph by Topley, Ottawa, Canada /Courtesy of David B. Lovell Collection Sir Arthur Sullivan (1842 – 1900) Songs COMPACT DISC ONE 1 King Henry’s Song (1877)* 2:23 (‘Youth will needs have dalliance’) with Chorus ad libitum from incidental music to Henry VIII (1613) by William Shakespeare (1564 – 1616) and John Fletcher (1579 – 1625) Andante moderato Recording sponsored by Martin Yates 3 2 The Lady of the Lake (1864)† 3:25 from Kenilworth, ‘A Masque of the Days of Queen Elizabeth’, Op. 4 (or The Masque at Kenilworth) (1864) Libretto by Henry Fothergill Chorley (1808 – 1872) Allegro grazioso 3 I heard the nightingale (1863)‡ 2:59 Dedicated to his Friend Captain C.J. Ottley Allegretto moderato 4 Over the roof (1864)† 3:04 from the opera The Sapphire Necklace, or the False Heiress Libretto by Henry Fothergill Chorley Allegretto moderato Recording sponsored by Michael Symes 4 5 Will He Come? (1865)§ 4:05 Dedicated to The Lady Katherine Coke Composed expressly for Madame Sainton Dolby Moderato e tranquillo – Quasi Recitativo – Tranquillo un poco più lento Recording sponsored by Michael Tomlinson 6 Give (1867)† 4:56 Composed and affectionately dedicated to Mrs Helmore Allegretto – Un poco più lento – Lento Recording sponsored by John Thrower in memory of Simon and Brenda Walton 7 Thou art weary (1874)§ 5:00 Allegro vivace e agitato – Più lento – Allegro. Tempo I – Più lento – Allegro. -
2021 Brochure Draft 2 Dec 11
Subscribe & Save over 10% We're excited to introduce our 86th Anniversary Subscription Packages. They represent a saving to you of 10% of regular prices. GSOV relies entirely on your support, our audiences, so Subscriptions are an essential part in helping us to keep going. 4 SHOWS: FLOWERS/GONDOLIERS/YEOMEN/THESPIS ADULT CONCESSION STUDENT* CHILD U/16 PENSIONERS/ SENIORS* GILBERT & SULLIVAN $150 $135 $115 $80 OPERA VICTORIA 86th The Flowers that 3 SHOWS:The GONDOLIERS/YEOMEN/THESPIS Flowers that ADULT CONCESSION STUDENT* CHILD U/16 ANNIVERSARY SEASON PENSIONERS/ Bloom in the Spring BloomSENIORS* in the Spring 2021 $120 $105 $95 $60 delightful outdoor concert celebrating the genius of Gilbert and Also enjoy the following benefits: A Sullivan. In their operas they made many references to nature, • Best seats in the House with Priority Booking. flowers, trees, and the hope of merry sunshine. From "Comes the • Save with no Season Ticket booking fees. broken flower" (Trial by Jury) through "There grew a little • Benefits of ticket swaps via the Ticket Secretary flower" (Ruddigore) to extended highlights from Utopia, Limited or • Secured seating if numbers need to be limited The Flowers of Progress, this will be a delightful concert full of some of your favourite G&S. Come and enjoy a glass of bubbles or a cup of tea in the English garden, or inside the historic hills cottage, The * Concession & Student ID cards may need to be presented and Knowe (circa 1919) if Covid Regulations permit. Even bring your verified at the Theatre. own picnic and luncheon on the lawn or under the 100 year old oak tree.