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The Pirates of Penzance
The Standard libretto of The Pirates of Penzance Or, The Slave of Duty1 An New and Original Melo-Dramatic Opera2 in Two Acts Written by W.S. Gilbert Composed by Arthur Sullivan Privately published by Ian C Bond at 2 Priory Park, TAUNTON, TA1 1PX. - ©2005 1 This subtitle was used from the London Production of 1881 onwards. Previous productions used “Love and Duty”. 2 In Paignton this was billed as “An Entirely New and Original Comic Opera” in New York as a “New Melo-dramatic Opera”. About this libretto My intention in creating this series of libretti is not to publish an in-depth, scholarly appraisal of each of the works included, that can, and has been done far more effectively by others. My aim is to issue the libretti of the operas and choral works of Gilbert and Sullivan, both in partnership with each other, and with others, and of the works of other librettists and composers whose operas appeared at the Savoy Theatre in the 1890’s and early 1900’s, in as complete a form as possible. Hopefully, these libretti will appeal to: 1. Those who share an interest in the works of Gilbert and Sullivan and their contemporaries, but who have had little if any opportunity to read and evaluate these works, many of which have been out of print for decades, for themselves. 2. Enterprising amateur and professional companies who, due to the lack of printed material, have fought shy of presenting some of these works. In each of these publications I have endeavoured to include as much material as it has been possible to unearth, including dialogue and lyrics cut before or during the original productions and, where known, ad-libs, both sanctioned and unsanctioned. -
Mr. D'oyly Carte's "A" Company 1881 ("B" from 7Th March)
Mr. D'Oyly Carte's "A" Company 1881 ("B" from 7th March) 3rd – 8th January: Ayr QUEEN'S ROOMS.– The Pinafore company, under the management of Mr. J. B. Howard of Edinburgh, recently appeared here, and gave three performances to crowded houses. [The Era (London, England), Saturday, January 8, 1881; Issue 2207.] 10th – 15th January: ———— 17th – 19th January: Carlisle HER MAJESTY'S THEATRE. – Lessee, Mr. C. Bernard. – A visit from the Pinafore company is not proving so acceptable as on former occasions, owing to a most decided falling off in the production of the work. [The Era (London, England), Saturday, January 22, 1881; Issue 2209.] 20th – 22nd January: Dumfries THEATRE ROYAL. – Lessee, Mr. A. D. McNeill. – We have been favoured by a return visit of the Pinafore company, who appeared here for three nights, viz., 20th, 21st, 22nd inst., with all their former success. [The Era (London, England), Saturday, January 29, 1881; Issue 2210.] 24th – 29th January: Whitehaven THEATRE ROYAL. – Lessee, Mr. Ed. Fletcher. – Last week we had a return visit from the Pinafore company, and we are glad to record that large and enthusiastic audiences testified their appreciation of Mr. Fletcher's enterprise. [The Era (London, England), Saturday, February 5, 1881; Issue 2211.] 31st January – 2nd February: Kendal ST. GEORGE'S HALL. – Lessee, Mr. E. Fletcher. – Mr. D'Oyly Carte's opera company performed H.M.S. Pinafore here on Monday, 31st, to an average house. The performance throughout was well rendered, and reflected great credit on both actors and managers, Miss Ethel Pierson and Mr. Cadwaladr being especially brilliant in the parts of Josephine and Ralph Rackstraw respectively. -
Mr. D'oyly Carte's “B” Company 2 Jan. – 31 Dec. 1882
Mr. D’Oyly Carte’s “B” Company 2 Jan. – 31 Dec. 1882 Performing H.M.S. Pinafore and The Pirates of Penzance. [The Era (London, England), Saturday, December 31, 1881; Issue 2258.] 2 – 4 Jan. Ashton-under-Lyne STAR THEATRE . – Mr. Booth very wisely commenced the season at this house by the engagement of D’Oyly Carte’s H.M.S. Pinafore company. The house was crowded on Monday evening. The piece was staged with new scenery and effects, and each character was well sustained. [ The Era (London, England), Saturday, January 7, 1882; Issue 2259.] 5 – 7 Jan. Macclesfield DRILL HALL . – Mr. D’Oyly Carte’s opera company opened here on Thursday evening with The Pirates of Penzance, and on Saturday was represented H.M.S. Pinafore. [The Era (London, England), Saturday, January 14, 1882; Issue 2260.] [The Era (London, England), Saturday, January 7, 1882; Issue 2259.] 9 – 14 Jan. Wolverhampton THEATRE ROYAL . – Lessee, Mr. Lindo Courtenay; Manager, Mr. Charles Courtenay. – The liberality and good taste which have distinguished the policy of Mr. Courtenay in conducting the affairs of this house still continue, and on Monday evening he arranged for H.M.S. Pinafore to be again presented by one of Mr. D’Oyly Carte’s companies. There was a large attendance, and, upon the whole, the performance was a satisfactory and enjoyable one. In the Sulks preceded. For Wednesday and three following evenings The Pirates of Penzance was announced. [The Era (London, England), Saturday, January 14, 1882; Issue 2260.] [The Era (London, England), Saturday, January 14, 1882; Issue 2260.] 16 Jan. -
The D'oyly Carte Opera Company in Gilbert and Sullivan Operas ), the First Visit Consisted of a Tour of H.M.S
1 GILBERT AND SULLIVAN PAMPHLETS Number 3 D'OYLY CARTE IN NORTHERN IRELAND by Michael Walters December 1996 Reprinted May 1998. Reformatted and repaginated, but otherwise unaltered. For many years the D'Oyly Carte Opera Company regularly visited Belfast, but their visits to other parts of the province were confined to four short tours in the 1880s when they visited Londonderry (otherwise referred to as Derry). During some of these tours they also visited other towns in the area, and this paper is an investigation of those tours. According to Rollins and Witts ( The D'Oyly Carte Opera Company in Gilbert and Sullivan Operas ), the first visit consisted of a tour of H.M.S. Pinafore and The Pirates of Penzance for part of two weeks at the end of January and beginning of February 1882. During the week beginning 30 January, the Company visited Drogheda (two days), Dundalk (two days) and Omagh (one day). The following week (February 6) three performances were given in Derry. The second tour was brief, the Company gave two performances only of Patience on 1 & 2 January 1883 in Derry. In 1885 they returned to the province for several weeks, presenting Patience and Iolanthe , visiting Drogheda, Dundalk and Armagh in the week commencing February 2, Derry, Enniskillen and Omagh the following week (Feb 9) and Larne the week following that. That was almost the end of the tours; they returned only for four days to Derry in December 1889 (the week commencing 15th.) during which time The Yeomen of the Guard and The Mikado were performed. -
ON STAGE the Summer 2009 Newsletter of Vol.10 No.1
ON STAGE The Summer 2009 newsletter of Vol.10 No.1 In the National interest It’s all systems go: Arts Victoria has funded a major upgrade for the National Theatre, giving the St Kilda landmark a well-deserved boost. hanks to timely Arts Victoria funding the teaching and production of opera, the VCA in 1977). The auditorium is used for and support from Arts Minister dance and drama. community and commercial hirers as well as TLynne Kosky, the National Theatre The theatre was renamed—naturally the schools-—and it is income from hiring that in St Kilda is set for a major upgrade. enough—the National. The auditorium was subsidises the activities of the schools and Last year the National submitted an split horizontally so that teaching studios permits rental subsidies for community application to Arts Victoria for support in could be installed in the area formerly groups. funding a series of major upgrades to its occupied by the stalls and cinema stage, and Surprisingly, the National gets no recurrent aging facilities, a project totalling $750 000. a new stage and fly tower were built in front government support for its operations. The main fabric of the theatre is now 88 of the old dress circle, which then became ‘Everyone assumes we get help to run the years old. It opened as a cinema, the Victory, an 800-seat auditorium. It opened in 1974. schools because they include accredited on 18 April 1921. The revamped building has housed the vocational training regulated by the state Seven years later, in response to the National’s schools of drama and dance ever government, as well as international students,’ introduction of ‘talkies’ and competition since (the opera school was subsumed by says general manager Robert Taylor. -
German Influences on the British Stage, 1890-1918
THE MODERN CATALYST: GERMAN INFLUENCES ON THE BRITISH STAGE, 1890-1918 A Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Nicholas John Dekker, M.A. ***** The Ohio State University 2007 Doctoral Examination Committee: Approved by Dr. Thomas Postlewait, Adviser Dr. Lesley Ferris __________________________________ Adviser Dr. Joy Reilly Graduate Program in Theatre ABSTRACT This dissertation examines the role of German culture – theatre, music, opera, politics, and philosophy – as a catalyst to the modernist transformations of London theatre between 1890 and 1918. It explores the ways British theatre engaged German culture, whether by emulation, adaptation, or resistance, and focuses on four major figures in the Edwardian Theatre: J. T. Grein, William Archer, Bernard Shaw, and Harley Granville Barker. Impresario J. T. Grein (1862-1935) established German theatre companies in London to introduce British theatre to the works of great German writers, actors, and directors. Scottish critic William Archer (1856-1924) used Germany as a model for his campaign to translate and produce the plays of Henrik Ibsen in London. He also advocated the formation of England’s National Theatre, using German examples of state- funded repertory theatres. Bernard Shaw (1856-1950) introduced English audiences to Richard Wagner’s operas, ideas, and productions. Shaw’s plays also enjoyed a rich production history in Germany through his working relationship with his translator, Siegfried Trebitsch. Director Harley Granville Barker (1877-1946) closely followed the careers of German directors Max Behrend and Max Reinhardt. In 1912 and 1914, Barker produced three of Shakespeare’s plays, The Winter’s Tale, Twelfth Night, and A Midsummer Night’s Dream, in which audiences and critics quickly noticed German ii influences. -
The Pirates of Penzance
The Definitive libretto of The Pirates of Penzance Or, Love and Duty1 An Entirely New and Original Comic Opera2 in Two Acts Written by W.S. Gilbert Composed by Arthur Sullivan Privately published by Ian C Bond at 2 Kentisview, Kentisbeare, CULLOMPTON, EX15 2BS. - ©1997 1 This subtitle was used only at Paignton. Subsequent productions used “The Slave of Duty”. 2 In New York this was billed as a “New Melo-dramatic Opera”, whilst in London this became “A New and Original Melo-Dramatic Opera”. About this libretto My intention in creating this series of libretti is not to publish an in-depth, scholarly appraisal of each of the works included, that can, and has been done far more effectively by others. My aim is to issue the libretti of the operas and choral works of Gilbert and Sullivan, both in partnership with each other, and with others, and of the works of other librettists and composers whose operas appeared at the Savoy Theatre in the 1890’s and early 1900’s, in as complete a form as possible. Hopefully, these libretti will appeal to: 1. Those who share an interest in the works of Gilbert and Sullivan and their contemporaries, but who have had little if any opportunity to read and evaluate these works, many of which have been out of print for decades, for themselves. 2. Enterprising amateur and professional companies who, due to the lack of printed material, have fought shy of presenting some of these works. In each of these publications I have endeavoured to include as much material as it has been possible to unearth, including dialogue and lyrics cut before or during the original productions and, where known, ad-libs, both sanctioned and unsanctioned. -
Approaching Festival of the Royal Masonic Benevolent
APPROACHING FESTIVAL OF THE ROYAL THE CRITIC AT FAULT. MASONIC BENEVOLENT INSTITUTION. It is to be regretted that a well-informed journal like our Three weeks hence we shall be on the eve of the first of the worthy contemporary the Canadian Craftsman , which is an year's great Anniversary Festivals—that of- the Royal Masonic admirable exponent of Canadian Masonic op inion , and which in Benevolent Institution—which is appointed to be held at Free- all, or nearly all, matters affecting the current progress of the masons' Tavern on Wednesday, the 25th prox., and at which Craft in the Dominion , may be regarded as a trustworthy, if not Bro. Earl AMHERST, R.W. Provincial Grand Master of Kent, quite an infallible authority, should endanger its high reputation has kindly consented to preside. We do not propose going over by venturing on the somewhat hazardous experiment of criti- the ground we have so often traversed in previous articles. We cising subjects which it evidently does not understand, or about have again and again endeavoured to impress upon our readers which it is assuredly very imperfectly informed. We can the inestimable benefits conferred by this important Charity, appreciate, and even to a certain extent sympathise, with it in and the large amount of money which it is necessary to raise its expressions of regret in its issue for December last " that the annually in order to provide the ways and means for its expen- Grand Lodge of England has declined to recognise the newly- diture. We have many times remarked that £15,000, -
MUSIC THEATRE: Operas, Operettas, Plays with Music, and Other Forms of 'Serious' Musical Entertainment
AUSTRALIAN 'LEGITIMATE' MUSIC THEATRE: Operas, Operettas, Plays with Music, and Other Forms of 'Serious' Musical Entertainment 1840-1899 1843 MERRY FREAKS IN TROUBLOUS TIMES: [comic opera] Lib. Charles Nagel; Mus. Isaac Nathan # Isaac Nathan, 1843 ♫ Isaac Nathan (Sydney), 1851 ♫ Cramer, Addison and Beale (London), 1851 Despite a number of indications that the opera (completed in 1843) would be performed, first at the Royal City Theatre and later at the Royal Victoria Theatre, only extracts have been performed in public. In 1843, the editors of the New South Wales Magazine; Or, Journal of General Politics, Literature, Science, and the Arts twice stated that they had seen a copy of Merry Freaks. In the "Colonial Literature" section the editors record: "We have been favoured with a copy of an 'Historical Operatic Operatic Drama,' in two Acts, entitled Merry Freaks in Troublous Times, written by a gentleman named Nagel. The plot, founded upon the adventures of Charles II, when escaping the Puritans, is well written, some of the scenes being highly humorous. Mr Nathan has composed the music for the songs, and we understand that it will shortly be performed. The type, and appearance of the book, are by no means creditable to the printer" ("Colonial," 565). No copy of this publication has yet been located. Nathan published the vocal score in Sydney in 1851 (he even set up the moveable type) and it was then published in London that same year. The plot commences after the defeat of Charles II at the battle of Worcester, whence the King and Rochester escape under the assumed names of Jacob Tompkins and Peregrine Samson. -
La Mama Down but Not Out…Yet Is It Almost Curtains for Melbourne’S—And Australia’S—Iconic Theatre Incubator?
ON STAGE The Summer 2007 newsletter of Vol.8 No.1 La Mama down but not out…yet Is it almost curtains for Melbourne’s—and Australia’s—iconic theatre incubator? ronically, the recent revelation that La about $34 000 a year. VicHealth has also ‘Every theatre—from the MTC down—is Mama had lost its triennial Australia extended its audience access grant of worried about its budget, but the present ICouncil Theatre Board grant and been $60 000 annually to the end of 2008. tight times particularly affect smaller told its future funding was not guaranteed, The Age’s Arts writer Alison Croggan companies, which are the engines of came at the same time as an announcement pointed out that the Theatre Board is innovation in any culture.’ that the Victorian Government has increased searching for ways to stretch an increasingly Melbourne University senior theatre its annual grant to what it described as ‘this tight budget across an increasingly active lecturer Denise Varney described the * crucible of Australian theatre’ by 20 per cent theatre sector. ‘Arts —up $35 000 to $200 000. funding is not The bewildered La Mama artistic indexed, and this director Liz Jones told The Age: ‘They were means that the virtually the same submissions, but they led average grant for a to very different conclusions. Arts Victoria small-to-medium was as taken aback as I was at the Australia company has, in real Council’s decision.’ terms, fallen by 24 Jones said the Theatre Board had two per cent since 1998. complaints—that La Mama’s submission was ‘Melbourne is not ‘strategically relevant’ and that the experiencing a theatre company’s reserves were too low.