Full text of "The Savoy Opera and the Savoyards"

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HISTOR2C OF THEATRE AND DRAMA

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tj} f i*

:i:^'

THE SAVOY OPERA

WORKS ON THE STAGE

BY THE SAME AUTHOR.

THE LIFE OF GARRICK.
LIVES OF THE KEMBLES.

PRINCIPLES OF COMEDY AND DRAMATIC
EFFECT.

THE WORLD BEHIND THE SCENES.
THE ART OF THE STAGE.
THE ART OF ACTING.

WATTS PHILLIPS, ARTIST AND DRAMATIST

(with MISS IV. PHILLIPS).

LIFE AND ADVENTURES OF ALEXANDRE
DUMAS.

HENRY IRVING ; or, Twenty Years at the Lyceum.
THESPIAN CARTES (in the press}.

s^U-^

THE SAVOY OPERA

AND THE SAVOYARDS

PERCY FITZGERALD, M.A, F.S.A.

' His eye begets occasion for his wit,
And every object that the one doth catch
The other turns to a mirth-moving jest '

WITH SIXTY ILLUSTRATIONS

CHATTO & WINDUS, PICCADILLY

1894

^/7/V

INSCRIBED

GEORGE GROSSMITH

PREFACE

To the Savoy opera and its
merry men playgoers are in-
debted for many an agreeable
hour and innumerable laugh-
ter-moving quips. I have
thought, therefore, that some
record of this pleasant home
of song and humour would be
welcome, and have gathered
together everything about
the plays, authors, and performers that is likely to be
interesting. This will be found a propos, as the Savoy
opera might be considered almost a new form of enter-
tainment, which the public has accepted cordially. The
present moment is suitable for such a review, on account

viii THE SAVOY OPERA

of the late amoris rcdintegratio, when the old merry
combination has been started afresh.

I fancy the extracts given from the various operas
will be found acceptable as agreeable souvenirs of the
more entertaining episodes. The traffic of the stage
is now so busy and so hurried that these lively passages
are likely enough to have been forgotten.

I may add that I have received abundant assistance
and, indeed, every information I desired, from the best
sources Mr. W. S. GILBERT and Mr. and Mrs. D'OYLY
CARTE.

ATHENAEUM CLUB :
May 1894.

CONTENTS

Gilbert's versatility, p. 1. List of his pieces, 2, note. His ' stock pieces,'
3. Not so successful in Comedy, 4. As Harlequin in the Amateur
Pantomime, 4. The ' Fairy Comedy,' 4. The old fashion of Bur-
lesque, circa 1870, described, 6. Bill of the ' Royal Thames Theatre,'
7. False principles of Burlesque, 8. Illustration from the ' Rejected
Addresses,' 9. ' Mr. Jacks ' and his songs, 10. Gilbert a reformer, 11.
Fitted for his task by following various professions, 11. Protest
addressed to the author, 12, note. ' La Vivandiere ' in 1866, 12.
Specimen, 13, 'Gilbertian humour,' a term not accepted by Gil-
bert, 14, note. Similarity between his methods and those of Lewis
Carroll, 14. An ' inverted view ' of things set out in the ' Bab
Ballads,' 15. Arthur Sullivan a clever choir-boy, 17. Collabo-
rates with Burnand in ' Cox and Box,' 18. Another joint work, the
' Contrabandista,' 19. The German Reed Entertainment a pre-
cursor of the Savoy Opera, 20. Miss Kelly's Theatre in Dean
Street, 21. Miss Selina Dolaro, 21.

' TRIAL BY JURY,' 1875, p. 22. The performers, 22. The Bill, 23. The
' facetious Penley ' Foreman of the Jury, 23. Analysis of the work, 24.
Judge's autobiographical song, 26. Gilbert's novel system of treating
the chorus, 30. The English Comic Opera Company formed, 31.
Account of D'Oyly Carte, 32. Energy of Mrs. D'Oyly Carte, 33.
George Grossmith, 35. Account of his engagement, 36. A costly
lunch, 37, note. Rutland Barrington, 38. Jessie Bond, 39. The
'Entertainment' as a preparation for the Stage, 40. Various shapes
of the ' Entertainment,' 40. Foote as an ' Entertainer ' ; George A.
Steevens, 45. Lee Lewes, 40. Bannister, 47. Anecdotes of Bannister,

x THE SAVOY OPERA

47. Account of Mathews the elder, 49. John Parry and 'Wanted,
a Governess,' 53. Henry Russell, 53. ' Was the tree spared ? ' 54.
Albert Smith, 54. Arthur Cecil and Corney Grain, 55.

The ' SORCERER,' 1877, p. 56. Bill of the play, 57. Its cast at a later
revival, 57, note. Grossmith's debut, 58. His ' surprise-frwc,' 59.
' The clown of the orchestra,' 60. ' The rollicking bun and gay Sally
Lunn,' 61.

'H.M.S. PINAFORE,' 1878, p. 62. The Captain's 'What, never?' and
' big, big D,' 64. The ' Euler of the Queen's Navee,' 65. ' Sisters,
Cousins, and Aunts,' 66. Germ of the whole in ' Captain Beece,'
66, note. The fantastic dance a ' note ' of a Savoy opera, 67.
Gilbert's happy rhymings, 69. Imparts gravity to certain platitudes,
70. Eevivals generally failures, 71. Gilbert's work in high favour
with amateurs, 72. Cast of later revival, 71, note. Performance
at Dublin Castle, 72.

The ' PIRATES OF PENZANCE,' p. 73. Analysis of the story, 74. Patter
song of Major-General Stanley, 77. ' Have you ever known what it
is to be an orphan ? ' ' Often,' 78. The Police and their ' Tarantara '
chorus, 79. The Sergeant's song, 82. Grotesque echoes, such as
' 'culty smother,' 83.

' PATIENCE, OR BDNTHORNE'S BRIDE,' 1881, p. 84. Postlethwaite and Maudle
its precursors, 84. Ballad character of its airs, 85. ' When I first
put this uniform on,' excellent in words and music, 87. ' A
most intense young man,' 89. Suggestion of the story in the
' Rival Curates,' 92. An ' over-ripe ' lady, 94, note. Topsyturvey-
doms in real life, 94, note. The new Savoy Theatre planned, 94.
Difficulties of site, 95. The Manager's Address to the Public, 95,
note. Details of construction, 99, note. Opened October 10, 1881,
with 'Patience,' 99. Saving in decorations owing to the use of
electricity, 102. Details as to nightly expenses, 103, note. None
of the Gilbert- Sullivan operas a failure, 104, note. Register of
candidates kept, 105. The travelling companies, 105, note. Michael
Gunn, 106. ' English-foreign singers,' 106, note. Gilbert, Sullivan,
Carte, a happy combination, 107. Composers' methods, 108.
Writing their stories as well as the music, 108. Gilbert has ' no ear
for music,' 109. A tune ' like chloride of lime,' 109, note. Influ-
ence of the author on every department, 110. Acting the piece
by deputy, 110. Blocks to denote groups, 110. Leading motive

CONTENTS xi

of the ironical comedy, 111. Perfect sincerity in union with
absurdity, 111. Gilbert's methods of writing, 113. ' Where do the
plots come from?' 114. Difficulties of furnishing original characters,
115. Uncertainty of a character ' coming out ' as intended, 115.
Gilbert as scene designer and stage carpenter, 116. As stage manager,
117. A part rarely spoiled by the performer, 118. System of col-
laboration with Sir A. Sullivan, 118. Relations of composer and
librettist, 119, note. Gilbert at his desk, 121. His letter on ' actors'
old clothes ' and other memorials, 122, note. Characteristics of
Sullivan's music, 122. His principle of accurately fitting each word
with music, 123. Not so successful in oratorio, 124. Ill success of
'Ivanhoe,' 125. Only two scenes in a Savoy opera, 125. The secret
of its success, 126. Ironical humour in colourless phrases, 126. The
music to set off the words, not the words the music, 126. The
orchestra might be subdued, 127. The Savoy playbill, 128. Design
by Alice Havers, 129. Incidents at rehearsal, 129. Strictness of
Sir Arthur as to the rendering of his music, 130. Gilbert's models,
130. Stories of the choristers, 130. Gilbert and the 'counting-
liouse,' 132. The peers in ' lolanthe,' 134. Shaving enforced, 134.
Scenic portraits painted from life, 135. Substitutes and understudies,
136. Romance of Miss Fortescue, 138. Withdrawal of Durward
Lely, 140.

' IOLANTHE,' November 25, 1882, 141. Programme, 141. 'Blue blood ! '
144. A test from the Trial in Pickwick, 145. ' A fairy down to the
waist,' 146.

' PRINCESS IDA,' January 5, 1884, 150. Programme, 150. An adaptation
of Tennyson's 'Princess,' 151. Its three young men, 152. Song of the
three ' strong men,' 153. The propriety of two or three acts discussed,
155.

The ' MIKADO,' March 14, 1885, 156. The programme, 156. The most
popular of the series, 157. Its rich appointments, 158. ' Pooh-Bah '
and his offices, 159. ' I've got a little list,' 161. The Mikado's ' some-
thing with boiling oil in it, I fancy,' 162. Mr. Beatty-Kingston's
criticism of the music, 164.

,' January 22, 1887, 169. Programme, 169. 'Ruddigore' not
Ruddj/gore, 170. ' Kensington Gore, or Robin and Richard,' 170, note.
The picture gallery and the uniforms, 172. Recipe for being a ' bad
baronet,' 172. The Salvationist duet, 173. ' Hail the bridegroom

xii THE SAVOY OPERA

hail the bride ! ' 175. Droll rhyme, 177. Question of the ' book of
etiquette' discussed, 178. ' Basingstoke, I beg,' 179. Proposed
' challenge ' from French officers, 180, note. Withdrawal of Bar-
rington, 180. ' Brantinghame Hall,' 181. Miss Julia Neilson's dtbut,
182. ' Paralysed with nervousness,' 182, note.

The ' YEOMEN OF THE GUARD,' October 3, 1888, 183. Programme, 183.
Plan of the piece, 184. Jack Point, the ' private buffoon,' 187.
Somewhat ' archaic,' 187. Denny, the new recruit, 191.

The ' GONDOLIERS,' December 7, 1889, 192. McCrankie's song, 209. Odd
incident connected with 'Haddon Hall,' 209. Mr. Boulding's blank
verse drama, 210. The 'Wedding March' revived, 210. Music
by Grossmith, 211. ' Gee-Gee ' as composer and conductor, 211.
The 'Mountebanks,' 212. Heroism of Cellier, 213. Account of him
and his works, 213, note. Programme, 214. Specimen of the songs,
215.

The ' NAUTCH GIRL,' 221. Success of American singers in England, 222.
The ' VICAR OF BRAY ' revived, 222. Mr. Barrie's ' JANE ANNIE,'
222. The ' New Humour,' 223. Its apparent foundation, 223.
Phenomenal lack of real humour, 224. Programme of ' Jane
Annie,' May 13, 1893, 225. The page boy ' Caddie,' 226. Specimens
of his and the school-girls' talk, 227. ' The nail came out, and
the apartment fell into the fireplace,' 229. 'Hyp-hyp-hypnotise,'
229. Reconciliation between the authors, 230. A new opera in
preparation, 230. Miss Nancy Mclntosh prima donna, 230. In-
cidents of her engagement, 231. Characteristic scene at the final
rehearsal, 232. Self-possession of the heroine, 233. Analysis of the
story, 234. Some specimens of the w t, 235.

Programme of ' UTOPIA (LIMITED),' October 7, 1893, p. 236, First Life
Guards! 237. Effective rhymes, 240. ' You see, I can't dj myself
justice,' 241. The explosive cracker, 241. Humour at times
unequal, 242. Wit in the form of expression, 243. Strange ap-
preciation of the 'Country Girl,' 243, note. 'The practice at the
Court of St. James's Hall,' 245. Goldbury's song, 246. Appearance
of the two authors on the stage, 247. Conclusion.

LIST OF ILLUSTRATIONS

PAGE

MK. W. S. GILBERT Frontispiece

THE AUTHOR vii

SIR ARTHUR SULLIVAN 17

MR. D'OYLY CARTE 32

MR. GEORGE GROSSMITH 35

THE INCANTATION . 58

SIR MARMADUKE, LADY SANGAZURE, AND DR. DALY ... 59

MRS. PARTLET 60

CONSTANCE AND THE NOTARY 61

THE PIRATES OF PENZANCE 75

I SHALL HAVE TO BE CONTENTED WITH THEIR HEARTFELT SYM-
PATHY' 86

' NOBODY BE BUNTHORNE'S BRIDE ! ' 88

Two LOVE-SICK MAIDENS 89

' I'M A STEADY AND STOLID-Y, JOLLY BANK-HOLIDY, EVERY-DAY

YOUNG MAN ! ' 90

Miss L. BHAHAJI AS PATIENCE 91

' ^ESTHETIC ! HE is ESTHETIC ! YES, YES I AM .ESTHETIC AND

POETIC 1 ' . . 93

THE LORD CHANCELLOR 143

STREPHON, MR. TEMPLE 145

PHYLLIS, Miss BRAHAM 147

loLANTHE, MlSS BOND ; STREPHON, MR. TEMPLE . . . . 148

xiv THE SAVOY OPERA

PAGE

PEIVATE WILLIS, MK. MANNERS ; QDEEN OF THE FAIRIES, Miss

BAENETT 149

MK. EOBEKTSON AS NANKI-PoO 158

MB. G. GROSSMITH AS Ko-Ko 159

Miss BBANDKAM AS KATISHA 160

Miss L. BBAHAM AS YUM- YUM . . ' 161

MB. E. TEMPLE AS THE MIKADO 162

THE THKEE LITTLE MAIDS FROM SCHOOL (Miss SYBIL OBEY,

Miss L. BBAHAM, AND Miss JESSIE BOND) .... 163

DAME HANNAH, Miss BBANDBAM 171

KOSE, Miss BBAHAM 171

MR. LELY, Miss BBAHAM, AND MB. GHOSSMITH 173

Miss BOND, Miss BBANDBAM, AND MB. BARBINGTON . . . 175

THE FISHING VILLAGE OF EEDEBBING 178

MR. D. LELY AS EICHABD DAUNTLESS ....... 179

PHCEBE MEBYLL, Miss JESSIE BOND 184

SERGEANT MEEYLL, MR. EICHAKD TEMPLE 185

COLONEL FAIRFAX 186

ELSIE MAYNABD 187

WILFEED SHADBOLT 188

THE SOCIETY CLOWN . . . . 189

Miss JESSIE BOND AND MR. W. H. DENNY AS PHCEBE MEBYLL

AND WILFEED SHADBOLT 190

THE YEOMEN OF THE SAVOY 191

A LEADING LADY 195

Miss MOOBE, ME. POUNDS, MB. F. WYATT, Miss BBANDBAM . . 198

Miss MOOBE, Ms. POUNDS, MB. DENNY 201

THE DUKE . . . . . 203

Miss LUCILLE HILL AND ME. COURTICE POUNDS AS DOROTHY VEENON

AND LORD JOHN MANNERS 208

ULTRICE, Miss L. SAUNDERS ; TERESA, Miss GERALDINE ULMAB ;

ALFREDO, Mr.. EODEBTSON 216

LIST OF ILLUSTRATIONS xv

PAGE

ME. HARRY MONKHOUSE AS THE CLOWN IN THE 'MOUNTEBANKS' . 217
ARHOSTINO ANNEGATO, MR. FRANK WYATT ; MINESTKA, Miss EVA

MOORE ; EISOTTO, MR. C. BURT 218

THE DUKE AND DUCHESS 219

MR. HARRY MONKHOUSE AS HAMLET, Miss AIDA JENOURE AS

OPHELIA, AND MR. LIONEL BROCGH AS THE MOUNTEBANK . 220

MR. SCOTT FISHE AND MASTER EIGNOLD 226

MASTER EIGNOLD AND THE SCHOOLGIRLS 227

JANE ANNIE AND BAB 228

MR. BAHRINGTON AS THE PROCTOR 229

MR. EUTLAND BAHRINGTON AS THE KING IN ' UTOPIA (LIMITED) ' . 239
MR. W. S. GILBERT BEADING ' UTOPIA (LIMITED) ' TO THE ACTORS

AT THE SAVOY THEATRE To face 240

THE SAVOY OPERA

WHAT a fund of enjoyment the community owes to the
brilliant pair who for nearly twenty years have regularly
increased for all ' the public stock of harmless pleasure ' !
The pleasant humours of the Savoy have served to
recreate us not only during the performance, but have
even spread in mirthful ripples over the mosaic surface
of social life. The pair have diffused a genuine hilarity
and cheerfulness, and their conceits are so piquant and
original that even as we recall them now we find the
muscles relaxing. There are no obstreperous bursts of
laughter such as are provoked by the buffoonery of the
burlesque, but a vein of quiet, placid enjoyment akin to
that of comedy.

Gilbert has had more influence on the theatre and
on public taste than any writer of the time. No one
has enjoyed such complete and overpowering success.
No one has been the cause of such general mirth. He

2 THE SAVOY OPERA

has succeeded not in one department, but in many. He
was asked to furnish Mrs. Bancroft with a short piece of
domestic but strong interest, and ' Sweethearts ' at once
secured a position in the repertoire which it has never
lost ; it even inspired the beautiful waltz air which is
associated with it. This success in a trifle is evidence
of purpose and ability ; only a skilled hand knows
how to suit his means to an end. It was the same
with 'Clarice,' written for Miss Anderson, and later
transferred to Miss Neilson. Could there be a more
mirthful and satirical production than the ' Happy
Land,' written under the name of Tomline ? He has
written comedies, popularised what he called the ' Fairy
Comedy,' or fairy tale, supplied farces, burlesques,
operas, tragedies, and melodramas. He has written
stories of the kind that the ' literary man ' furnishes to
newspapers and magazines, with poems and humorous
ballads, and has passed judgment on the works of his
brethren as a dramatic critic. He is, moreover, a clever
and spirited artist witness his grotesque sketches in the
style of Thackeray. This is a wonderful record of talent
and versatility. 1

1 The following is a fairly complete list of Gilbert's productions in
all dramatic departments : The Bab Ballads, begun (in Fun) 1861 ;
Dulcamara, burlesque, St. James's Theatre, 1866; Robert the Devil,
1868 ; La Vivandiere, 1868 ; the Princess ; the Palace of Truth, Hay-
market, November 1870 ; Pygmalion and Galatea, 1871 ; Thespis,
or the Gods Grown Old, 1871 ; the Wicked World, January 1873 ; the

GILBERTS WORKS 3

Many of his works have become what are called
' stock pieces,' and are acted again and again all over
the kingdom, the colonies, and America. ' Sweethearts,'
' Pygmalion and Galatea,' ' Creatures of Impulse,'
' Dan'l Druce,' ' Trial by Jury,' ' Comedy and Tragedy,'
are in constant requisition. This is substantial praise,
for there are not a dozen ' stock pieces ' in the repertoire.
Further, he has extraordinary business instincts. No
literary man or, at least, dramatist since Dickens has
made such a fortune or has turned it to such profit. He
has built the Garrick Theatre, now leased to Mr. Hare,
and which from its admirable situation is certain to
prove a most valuable property. He is, moreover, a
man of ready wit and furnishes cheerful company. He
is, in short, one of the best specimens of a generally
successful man, and I have dwelt to this extent upon
his merits for the reason that we are often apt from
familiarity to overlook such claims to our respect and
emulation.

Gilbert has always been eager to shine in comedy,

Happy Land, 1873 ; Sweethearts, 1874 ; Broken Hearts, 1875 ; Ran-
dall's Thumb ; Tom Cobb, 1875 ; Thespis, 1875 : Creatures of Impulse ;
Dan'l Druce, 1876 ; Trial by Jury, 1876 ; the Sorcerer, 1877 ; H.M.S.
Pinafore, 1878 ; the Ne'er-do-weel, 1878 ; Gretchen, 1879 ; the Pirates
of Penzance, 1880 ; Engaged, 1881 ; On Bail, 1881 ; Patience, 1882 ;
lolanthe, 1883 ; the Brigands, 1884 ; Princess Ida, 1884 ; Foggerty's
Fairy ; Comedy and Tragedy, 1884 ; the Mikado, 1885 ; An Old Score ;
Charity, 1885 ; liuddigore, 1886 ; the Yeomen of the Guard, 1888 ;
the Gondoliers, 1889 ; the Mountebanks, 1892 ; Eosencrantz and
Guildcnstern, 1893 ; Utopia, Limited, 1893.

2 THE SAVOY OPERA

GILBERTS WORKS 3

Gilbert has always been eager to shine in comedy,

Happy Land, 1873 ; Sweethearts, 1874 ; Broken Hearts, 1875 ; Ran-
dall's Thumb ; Tom Cobb, 1875 ; Thespis, 1875 ; Creatures of Impulse ;
Dan'l Druce, 1876; Trial by Jtiry,lti76; the Sorcerer, 1877 ; H.M.S.
Pinafore, 187 '8; the Ne'er-do-weel, 1878; Gretchen, 1879; the Pirates
of Penzance, 1880 ; Engaged, 1881 ; On Bail, 1881 ; Patience, 1882 ;
lolanthe, 1883 ; the Brigands, 1884 ; Princess Ida, 1884 ; Foggerty's
Fairy ; Comedy and Tragedy, 1884 ; the Mikado, 1885 ; An Old Score ;
Charity, 1885; lluddigore, 1886; the Yeomen of the Guard, 1888;
the Gondoliers, 1889 ; the Mountebanks, 1892 ; Eosencrantz and
Gulldcnstern, 1893 ; Utopia, Limited, 1893.

11 2

4 THE SAVOY OPERA

but here his efforts have not been quite so successful.
He seems to lack the quiet restraint necessary, and knows
little between sober, earnest gravity and extravagant
farcical ebullition. The ' Ne'er-do-weel ' and ' Branting-
hame Hall ' did not attract. The ' Ne'er-do-weel ' was
one of the few pieces which have been withdrawn,
repaired, and tried again, but without altering the result.

Some years ago there was a pleasant, enjoyable
entertainment given at the Gaiety an amateur pan-
tomime in which several literary men took part. It
is to be wished there were more of these exhibitions.
The feature of the whole was the Harlequin, dis-
charged by Gilbert lui-meme. To this he brought his
usual conscientiousness ; he had learned all the trips
and twirls in the most thorough fashion.

The ' Fairy Comedy ' excited interest even in fashion-
able and blase folk. The design, as the author himself told
us, was to treat a supernatural element on everyday prin-
ciples, as though it were an accepted element in human
life. He thus made the situation superhuman, and the
characters human. Yet it would seem that under such
conditions the spectator is led into thinking that the
supernatural elements are almost de trop and excrescences,
and that with a little extra trouble an ordinary play
could have been fashioned out of the same materials.
We are invited to imagine mat people are wearing magic
cloaks invisible to the naked eye. The audience is pre-

THE ' FAIRY COMEDY* 5

sumed to believe that persons who are walking about
in the flesh are really invisible or visible, as the occasion
requires. This is really immaterial, considering the
many illusions of the stage, and is rather a strain on
dramatic credulity.

The public is always ready to welcome anything truly
poetical, or that will lift it above the common prosaic
level of life. The ' Fairy Comedy,' his own device,
and, perhaps, his own invention, at once attracted,
though the legend was familiar, and it was curious to
find the ordinary audience listening with pleasure and
even delight to unpretending blank verse conceits and
metaphors of an antique and classical pattern. This
success is greater testimony to Gilbert's ability than
even his later efforts, which were more artfully
adapted to the measure of public taste. There was a
fanciful grace in these formal productions which was
certainly attractive, and Buckstone, now grown old and
deaf and passe, contributed not a little as the ' art critic'
to the success of the whole. How ' winsome ' was Mrs.
Kendal in her part what a piquant stateliness did she
exhibit ! At this time she and her husband were in the
full bloom of youth and spirit. They were an attractive
pair. There was a series of these fairy tales, which
served their purpose ; when it was found that the public
had had enough, the adroit author turned his efforts
in another direction.

6 THE SAVOY OPERA

To thoroughly appreciate the work that Gilbert and
his coadjutor have done it is only necessary to look
back to the dreary type of ' entertainment ' ' Heaven
save the mark ! ' that was in favour when they first
began to write. There was then a regular recipe for
these things : given the name and subject, we could
almost forecast beforehand how it would be treated. The
story was a sort of frame or ' clothes-horse ' on which to
hang grotesque pantomime dresses, combined with antics
of all kinds, ' breakdown ' dances, an infinite amount of
clowning, and what were called topical songs. Whether
it was ' Joan of Arc/ the ' Field of the Cloth of Gold,'
or ' Aladdin,' the same treatment was always adopted.
The chief male characters were taken by females ; ' the
prince ' or hero was a young woman in trunks and hose ;
while the duenna or termagant matron was played by
the low comedian. Stories were often chosen that were
unfamiliar and unsnited. Thus in one a ' Prince of
Burgundy ' was brought on whom the pit and galleries
had never heard of, and who, to prove who he was, ex-
hibited on his cuirass a painted bottle and two glasses
filled with very red wine. But indeed a general un-
intelligibility reigned ; it was difficult to know ' what it
was all about.' Scenes and antics followed each other ;
song followed song in dreary monotony. True, we heard
laughter ; but laughter is not an unerring sign of enjoy-
ment. How many dreary, weary hours had we to lay

THE OLD BURLESQUE 7

to the account of what was called so complimentarily ' a
capital burlesque ' ; or, to quote the hoardings, ' Tir'em-
out's last uproarious burlesque ; 400th night.' In those
days we used to read in the newspapers announcements
like the following :

EOYAL THAMES THEATRE.

GLORIOUS AND UNEQUIVOCAL SUCCESS!
CHAELES THE FIKST ; or, THE EOYAL ^LOOK-HEAD.

THE GREAT TOPICAL SONG.
Encored six times every evening.

Miss POLLY BUXOM as KING CHABLKS.

MR. D. JACKS as OLD NOLL.

A HOUSE OF COMMONS DEBATE.

THE SPEAKER . . Miss NELLY GRACE.

TAKE THAT BAUBLE AWAY!'

Encored six times nightly.

Take that bauble away,

Sell it, change it, or spout it ;

But here it no longer shall stay
No more bones, if you please, about it

DOUBLE BREAKDOWN.

ROYAL THAMES THEATRE.

8 THE SAVOY OPERA

This was no exaggeration of the modern fashion of
putting a bill of fare before a childish public. We were
enticed in, entering with a certain alacrity, believing
that a delightful night was before us, yet not without
misgivings.

Every subject has its serious and its comic side ; or,
at least, may be so handled as to have its comic side.
The lowest manner of producing the last effect is by
dress or distortion of face. A man comes on in an absurd
costume, and the surprise to the eye produces a laugh.
A large nose in a pantomime makes the children scream
with enjoyment. But see the dress or large nose a
second time and the effect is gone ; nay, rather, there is
produced a sense of weariness and depression. There
was something comic in the Ethiopian serenaders when
they first appeared ; now no one smiles at their high
linen collars and blackened faces. What is wanting is
the intellectual element, an underlying earnestness which
shall introduce quite a new element. Thus, could we
suppose Mr. Huxley and we ask his pardon for such a
supposition to be so eager, in justification of the negroes
and of their state, as to come forward and identify him-
self with their cause by lecturing in the popular Ethiopian
dress triangular linen, blackened face, woolly hair, &c.
and were he to impress his views earnestly, argu-
mentatively, and passionately, the effect would be ir-
resistibly ludicrous, especially as he grew more earnest

THE OLD BURLESQUE 9

and more passionate. The fun would be inexhaustible
and ever fresh. This example reveals one of the secrets
of true burlesque an unconsciousness that it is bur-
lesque.

Everyone remembers that exquisite bit of fooling,
the ' Rejected Addresses ' ; and a criticism, made on the
imitation of Crabbe, really touched the true key-note of
burlesque. It was said that if this poet had been set to
write a poem on the fire at Drury Lane, he would have
written it much in the same style as the caricaturist had
done. Here is the real humour of the thing; the
hypothesis of the poet in this new attitude, and his belief
that he was as dignified as before. So at an electro-
biological seance to come lower down the sight of
some grave professor dancing away or singing is really
ludicrous.

The simple result of all this was repetition, monotony,
and fatigue. The screaming new burlesque at the Eoyal
Thames was the screaming old one of six years before,
with the cards shuffled. The rival ' Nellys ' and ' Pollys '
in the pink satin or blue satin ' tights ' go through their
little dances as before, and ' Mr. D. Jacks ' only wears a
higher false forehead and a more startling shape of
moustache, say five inches longer than his last pair.
The ' great topical song ' was usually some doggerel of
this kind :

io THE SAVOY OPERA

Once more has Eachel been refused

To be let out on bail ;
Enough to make the ladies all

Become so very pale.

Burden, to a facetious air.
What it means
What it screens
I'm sure I cannot tell.

The ' encoring ten times ' was contrived by the performer
retiring at the end of each verse, as if he had quite
finished, and reappearing, as if much to his own an-
noyance. This took in the simple stranger at first ; but
more amazing still was it to hear the frantic applause
with which rhyme and sentiment far inferior to the
above were welcomed. At one of our leading funny
theatres a perfect hurricane of applause used to greet
something worse than the following extract from ' the
great topical song ' :

And so the cabman's fare, at last,

Is settled, nearly quite ;
I'm sure there's no one here will grudge

Poor Cabby all that's right.

Burden. What it means
What it screens
I'm sure I cannot tell.

Though the old form of burlesque has passed away,
being utterly extinguished by the new, we have still with us

THE OLD BURLESQUE n

a sort of kindred entertainment, supported by the untiring
Arthur Eoberts and his fellows male and female. But this
does not profess to be burlesque, it is merely a ' variety '
show, an incoherent collection of songs, jokes, and dances,
strung together ' anyhow and everyhow.' This is simply
an exhibition, and there are numbers to whom it gives
pleasure. But it makes no claim to intellectual enter-
tainment, which is the foundation of all enjoyment. For"
what appeals merely to the eye and ear, or to the sense
of verbal pleasantries, is not merely the lowest form of
pleasure, but it is speedily exhausted and becomes mono-
tonous.

In this disastrous state of things there was the
fairest opening for anyone possessed of real talent, and
Mr. W. S. Gilbert came upon the scene. No one could
be better equipped for a public entertainer. For such
an office versatility and variety of gifts are almost essen-
tial. The fancy and imagination are perpetually at play,
new ideas and fresh treatment must be ready at call,
otherwise there is repetition and monotony. It is soon
found out that the old ideas are being recliauffeed. His
experiments in the choice of profession must have fur-
nished him with piquant experiences. Now in a Govern-
ment office, now a barrister, now a militia captain, he
must have seen and learnt a good deal of character and
social humours. In his most effective piece we are sure
to find some members of the Services, civil, naval or

12 THE SAVOY OPERA

military. Finally, the attraction of the stage became
irresistible, though it was not until he was past thirty that
he devoted himself formally to dramatic composition.

Full as he was of his ideas of reform, it was natural
that at first he should find himself compelled to follow
the existing models of burlesque, and almost his earliest
piece, ' Dulcamara,' produced at the St. James's Theatre
in 1866, was somewhat after the existing pattern, but
with a great deal of the more legitimate spirit of
burlesque. It was followed by ' Eobert the Devil,' which
was much after the fashion of Mr. Planche's elegant
though really dull burlesques, and which was full of neat
responses and pleasant quips. 1 But a production that
more closely anticipated his genre was ' La Vivandiere,'
produced in 1868, some seven years before the ' Trial by
Jury.' It was given at the defunct Queen's Theatre in
Long Acre, erst ' Hullah's Concert Hall.' Brough and
Toole and Miss Hod son performed in it, and some of
the passages might have found a place in the later Savoy
works. Here is a specimen of the fashion in which he

1 At the time I was dramatic critic to the Observer, and having a
strong prejudice against all existing forms of burlesque, I inveighed with
some severity against this treatment of the subject by Gilbert. I re-
member receiving from the author a very vehement expostulation and
defence, filling, I suppose, a score of folio pages, in which he defended
his work with much spirit, and, I think, success. He insisted that he
was trying to bring about reform, and was aiming at a higher ideal than
then existed. I long 'preserved this interesting paper, but at the moment
I cannot find it.

<LA VIVANDIERE' 13

worked the ' Gilbertian ' topic of the English traveller
' turning up his nose ' at everything he sees abroad.
Lord Margate is addressing some companions at the
Grands Mulcts on Mont Blanc :

You all remember, when we left the shore
Of Kule Britannia, we in concert swore
We'd do our best on reaching these localities
To show our undisputed nationalities,
To show contempt in everything that we did :
Tell me, my comrades, how have we succeeded ?

MAEQUIS OP CRANBOURNE ALLEY. I've sworn at all who've

hindered my researches.
LOBD PENTONVILLE. I've worn my hat in all the foreign

churches.
LORD PECKHAM. On all their buildings I've passed verbal

strictures,

And poked my walking-stick through all their pictures.
I only carry it about for that use.
MAKQUIS OF CRANBOURNE ALLEY. I've decorated all their

public statues.
LOKD PENTONVILLE. When Frenchmen have conversed with

me or you,

We've always turned the talk to Waterloo.
LORD MARGATE. I've half a dozen Frenchmen tried to teach
That I'm twelve times as brave and strong as each,
And showed that this corollary must follow, ,
One Englishman can thrash twelve Frenchmen hollow.
In fact, my friends, wherever we have placed ourselves,
I may say we have thoroughly disgraced ourselves.

Some of these merry conceits might have been found
in ' Utopia, Limited.'

i 4 THE SAVOY OPERA

Perhaps the nearest approach to the ' Gilbertian
humour,' ' which it certainly anticipated, is to be found
in Lewis Carroll's children's books, ' Alice in Wonder-
land ' and ' Through the Looking-glass.' For here was
the same system of treatment applied to fairy or nursery
tales, the same sincerity in dealing gravely with com-
binations only found in dreams and nightmares, the
same grotesque oddities, which we are yet inclined to
accept from the coherence with which they are treated.

The principle of common burlesque, as we have shown,
is to take some natural and accepted story and torture it
into wildly grotesque shapes. Gilbert and Lewis Carroll
adopted an opposite principle viz. to fashion an ec-
centric, super-earthly story into shape, and deal with
it coherently and logically, so as to compel our sym-
pathies. Of the two methods it is easy to see which has
the most art.

. Perhaps a suggestion of Gilbert's efforts is to be
found in the ' Bab Ballads,' humorous sketches which
he later developed into something more serious and
pretentious. This process is indeed significant of his
cleverness : all through he has shown this deliberation and

1 ' I have no notion,' our author writes to me, ' what Gilbertian
humour may be. It seems to me that all humour, properly so called, is
based upon a grave and quasi-respectful treatment of the ridiculous
and absurd.' Notwithstanding this protest, it will be admitted, I think,
that there is a sort of ' Gilbertian humour ' of which the author has
the patent.

absence of waste, this putting of his wares to the very best
profit. Most remarkable, too, is the persevering fashion
in which he has actually taught his public to appreciate
him an absolutely necessary process, for a priori it
would have been assumed that the conceits of the ' Bab
Ballads,' however expanded or dilated, could hardly have
been robust enough for the stage. He has even com-
pelled the public to accept and relish conceits of the
slightest kind.

The curious grotesque inversion of all things below,
which is the note of our author's later work, has
always been an essential part of his humour. In the
old 'Bab Ballad' days he set down, in 'My Dream,'
his quaint notions of what he has called ' Topsy-Turvey-
dom ' :

Where babies, much to their surprise,
Are born astonishingly wise ;
With every Science on their lips,
And Art at all their finger-tips.

For, as their nurses dandle them
They crow binomial theorem,
With views (it seems absurd to us)
On differential calculus.

But though a babe, as I have said,
Is born with learning in his head,
He must forget it, if he can,
Before he calls himself a man.

1 6 THE SAVOY OPERA

Policemen march all folks away
Who practise virtue every day
Of course, I mean to say, you know,
What we call virtue here below.

For only scoundrels dare to do
What we consider just and true,
And only good men do, in fact,
What we should think a dirty act.

But strangest of these social twirls,
The girls are boys the boys are girls \
The men are women, too but then,
Per contra, women all are men.

With them, as surely as can be,

A sailor should be sick at sea,

And not a passenger may sail

Who cannot smoke right through a gale.

A soldier (save by rarest luck)
Is always shot for showing pluck
(That is, if others can be found
With pluck enough to fire a round).

' How strange ! ' I said to one I saw
' You quite upset our every law.
However can you get along
So systematically wrong ? '

About this time there was in London, beginning
to attract notice, a young musician of great promise,
whose early work had been received with much en-
couragement. This was Arthur Sullivan, who had been

S7K ARTHUR SULLIVAN

a choir-boy in the Chapel Royal, and, after studying
under Sterndale Bennett, had been sent to Leipsic to
complete his musical education. His compositions,

SIR ARTHDE SULLIVAN

such as the ' Tempest ' music, were found to exhibit
a spontaneity and freedom which offered a contrast
to the generally conventional strains of the British

i8 THE SAVOY OPERA

musician of the day. Unfortunately for the develop-
ment of his talent he was attracted by the forms of
oratorio, usually written for some great festival, whose
rather stilted academical style often checks all airiness
and spontaneousness. An experiment, however, which
he made in 1876 showed what a vein of buoyant,
humorous melody he possessed. Burnand had fashioned
the old farce of ' Box and Cox ' into a sort of operetta
under the title of ' Cox and Box,' and this the young
composer set in very delightful fashion, in a sort
of joyous Cimarosa vein. Nothing could be more flow-
ing or exhilarating, and it may have suggested to the
composer and his future partner a new method of
entertaining the public. Burnand has related the almost
accident which led to this co-operation. A little piece
was wanted for an entertainment at a private house,
and, chancing to meet Sullivan, he suggested to him that
they should join their talents in turning this little piece
into an operetta. 1 believe the whole was dashed off
by both parties in little more than a week's time.
Indeed, it was all but ' on the cards,' as it is called, that
the composer might have joined his fortunes with this
writer, and thus the public might have been destined
to laugh over the quips and conceits of the author of
' Happy Thoughts.' This pleasant adaptation of the well-
known Buckstonian farce certainly contains some of the
most spirited, flowing music the composer ever wrote.

F. C. BURN AND 19

It is quite in the spontaneous vein of the later ' Trial by
Jury.' Some of the sentimental strains of this work, such
as the aria addressed to the mutton chop, the lullaby, &c.,
are in the best vein, and surprising in one so young. An-
other work due to this association was the ' Contraban-
dista,' said to have been equally brilliant. 1 .

Just before the English comedy opera was started
the composer was seeking a libretto of an ' eccentric '
kind, and applied to his friend, who could only furnish
a slight sketch, which was later fashioned into a sort
of drawing-room Christmas piece, and fitted with Sul-
livan's music. Later, the directors of the company
proposed that ' F. C. B.' and Cellier should supply an
opera, and the plot and some of the ' lines ' were pre-
pared ; but the scheme fell through. But other in-
fluences were now slowly working, and drawing Gilbert
and Sullivan into intimate association.

The little elegant dramas presented by the German
Reeds (formerly at the Gallery of Illustration), and
which have become now a standing London recreation,
have been smiled at as though of a ' goody-goody ' order,
and as providing a harmless, pleasing sort of show, to
which a worthy ' Dr. Daly ' from the country or
strictest matron can bring their children without fear
of damage. These pieces deserve higher praise than

1 Some time ago it was proposed to bring forward the Contrabandista
again (the second act to be re-written).

o 2

20 THE SAVOY OPERA

this, for they were neatly constructed, got up with
extraordinary care and finish, and acted with much spirit
and emphasis. It is always a happy gift, however, to
look for and find what is ''good in everything,' and not
to be led, or misled as so many are, by mere forms and
surroundings. The ever-ready disdainful 'Pooh-pooh'
is fatal to real enjoyment. ' I see nothing to laugh at,
said the philosopher ' Pooh-Bah.' ' It is very painful to
me to have to say, " How de do, how de do, little girls ? "
to young persons. I am not in the habit of saying,
" How de do, how de do, little girls ? " to anybody under
the rank of a stockbroker.

It's hard on us,

It's hard on us,
To our prerogative we cling ;

So pardon us,

So pardon us,
If we decline to laugh and sing.'

The German Reed drama anticipated a little the
Savoy opera. The music was subsidiary to the words,
and was meant to furnish colour and expression. Gilbert
once or twice catered for the place, and supplied that
very pleasing drama, 'Ages Ago,' with its gracefully
managed supernatural element, the living picture-
gallery, which he afterwards expanded in 'Euddigore.'
It gave pleasure to many, and a satisfactory proof of its
merit is that after so many years its incidents linger

THE CHAMBER DRAMA 21

in the memory. This sort of chamber drama is really
only going back to the original condition of the stage,
where intellectual expression is sought under the most
favourable conditions, and where play of feature, tone
of voice, emphasis, and, above all, intelligent utterance
are aimed at. Under the modem conditions of scenic
development, blaze of light and colour, these essential
elements have become secondary matters. It is some-
times refreshing to find oneself in a small theatre, where
the canon strictly obtains that the play, and the play
only, is ' the thing.'

There is in Dean Street, Soho, a little theatre, erst
'Miss Kelly's,' a quaint structure built in the garden
attached to an old Georgian dwelling. It was at that
time unaltered, and the visitors still ascend the old-
fashioned stone staircase and pass through the floridly
decorated drawing-rooms to get to their places. Miss
Selina Dolaro, a sympathetic singer, was then playing in
the ' Perichole,' with an odd ' show ' or entertainment,
described by a cabalistic word of inordinate length. This
attraction flagging, she prudently determined to supple-
ment the bill by what was described as ' a new and
original cantata called " Trial by Jury," ' which was
announced in an unassuming way for the night of March
25, 1875, close on nineteen years ago. Much ac-
cording to the familiar phrase has taken place since
then.

22 THE SAVOY OPERA

The rather unpretending venture was under the
direction of D'Oyly Carte, of whom little then was known
save that he was a capable and pushing manager. He
it was who saw the original merit of the new operetta.
I still recall the surprise and hearty approbation with
which the little piece was welcomed.

Nothing could be more sprightly or airy than the
fashion in which this truly whimsical work was conceived.
Each character seemed irresponsible ; the miniature
theatre and stage were eminently favourable to the effect
of the little piece, and every word was heard. The
judge was 'Fred' Sullivan, brother of the composer,
who had a pleasant humour of his own ; Walter Fisher,
a lively tenor, long forgotten, was the faithless Lothario ;
one Hollingsworth the counsel, and Pepper the usher
and ' a good usher too ' the more satisfactory because
so unobtrusive ; while the winsome Nelly Bromley was
the plaintiff, which she gave with unexpected spirit. 1
The reception of this brilliant and witty little satire was
of the most hearty kind ; there was surprise mingled
with the enjoyment, the subject was handled with so light
and airy a touch. As was justly remarked, the Law
Courts had been often satirised, but never in so whimsical

1 This lady has since left the stage, and is now Mrs. Stuart Wortley.
She was associated with a small piece of my own, to which she gave
her best energies, and I could not but be struck by her unflagging good-
humour and hearty zeal.

' TRIAL B Y JUR Y ' 23

and original a fashion. The music, too, was not merely
grotesque, but picturesque and dramatic. 1

First produced on Thursday, March 25, 1875, at the
Royalty Theatre

TEIAL BY JUEY

AN ORIGINAL DRAMATIC CANTATA
BY

ABTHUE SULLIVAN AND W. S. GILBEET

Dramatis persona:

THE LEARNED JUDGE MB. F. SULLIVAN

THE PLAINTIFF Miss NELLY BROMLEY

THE DEFENDANT ME. WALTER FISHER

COUNSEL FOR THE PLAINTIFF .... MR. HOLLINGSWOKTH

USHER MR. PEPPER

FOREMAN OF THE JURY

ASSOCIATE

FIRST BRIDESMAID

Chorus of Jurymen, &c.

The now popular and facetious Penley filled the
humble role of ' Foreman of the Jury.'

Of all our authors' joint works I should be inclined
to say that this, their first really successful experiment,
was the most brilliant, owing to the ease and spontaneous-
ness and unfettered natural humour that pervaded it.
It is a trifle, but an admirable trifle, thrown off by both

1 The best and most effective parody of a trial at law is surely
Dickens's account of the action against Mr. Pickwick for breach of pro-
mise. I have often thought that this might be an effective subject for
Sullivan's treatment.

24 THE SAVOY OPERA

in a moment of exuberant fun, and with little thought
of responsibility. The subject, it was felt, lent itself to
humorous treatment and to their particular style. It
was really delightful to hie to the little theatre and find
there an hour's genuine entertainment. It was set forth
without pretentious scenery and dresses, and entirely
depended on the humorous treatment of the situations.
The farcical exaggeration of the incidents of a trial for
breach of promise was kept within probable limits, and
the whole was enlivened by some original devices. No-
thing could be more pleasant than the contrasts between
the romantic character of the bride-plaintiff, her faith-
less swain, the grotesque humours of the judge, the jury,
and officers of the court. The composer, too, took care
to emphasise the same contrast, allotting charmingly
graceful music to plaintiff and defendant, and classically
humorous strains to the judge, jury, and officers of the
court. The counsel's speech with its persuasive motive
is charming, the judge's little autobiography wonder-
fully comic. I always thought that one of the best
passages of the whole, though the least pretentious, was
the usher's solemn proclamation :

Now, jurymen, hear niy advice
All kinds of vulgar prejudice

I pray you set aside :
With stern judicial frame of mind,
From bias free of every kind,

This trial must be tried !

' TRIAL BY JURY 25

CHORUS

From bias free of every kind,
This trial must be tried

USHER

Oh, listen to the plaintiff's case :
Observe the features of her face

The broken-hearted bride.
Condole with her distress of mind
From bias free of every kind, '

This trial must be tried !

CHORUS
From bias free, &c.

USHER

And when amid the plaintiff's shrieks,
The ruffianly defendant speaks

Upon the other side ;
What he may say you needn't mind
From bias free of every kind,
This trial must be tried !

CHORUS
From bias free, &c.

The music to which this was wedded had an assumed
dignity and state, with an almost Handelian tone. The
usher's plea for strictest impartiality, all the time dwell-
ing on the charms of the plaintiff, is legitimate humour
of the best kind.

Here was first introduced that Gilbert- Sullivan recipe
of making some dignified personage a judge or ' Lord
High ' something supply a humorous biography of him-

26 THE SAVOY OPERA

self, and in many verses ; a duty which later usually fell to
the facetious Grossmith. It may not be strictly legitimate
that a personage should thus explain au grand serieux all
his methods, as though he were actually conscious of his
own absurdity. The practice was steadily adhered to
for many years and in many pieces.

Dickens had his grotesque Mr. Justice Stareleigh in
' Pickwick ' ; but Gilbert's judge was a different character
altogether. His entry is heralded by the uprising of the
jury, who acclaim him, as it were, in a fine stately strain :

All hail, great judge !

To your bright rays
We never grudge

Ecstatic praise.

May each decree

As statute rank,
And never be

Eeversed in Bane.

The judge graciously answers in recitative :

For these kind words accept my thanks, I pray,
A breach of promise we've to try to-day.
But firstly, if the time you'll not begrudge,
I'll tell you how I came to be a judge.
ALL. He'll tell us how he came to be a judge !

The dramatic compression of these lines and the
pleasantly abrupt transition, ' But firstly,' &c., is the best
and most legitimate vein of humour.

< TRIAL BY JURY' 27

SONG JUDGE

When I, good friends, was called to the Bar,

I'd an appetite fresh and hearty,
But I was, as many young barristers are,

An impecunious party.
I'd a swallow-tail coat of a beautiful blue

A brief which I bought of a booby
A couple of shirts and a collar or two,

And a ring that looked like a ruby !

Chorus repeats, ' A couple of shirts,' &c. This sort
of grotesque repetition is one of our author's happiest
devices (see also the Police Chorus).

JUDGE

In Westminster Hall I danced a dance,

Like a semi-despondent fury ;
For I thought I should never hit on a chance

Of addressing a British jury
But I soon got tired of third-class journeys,

And dinners of bread and water ;
So I fell in love with a rich attorney's

Elderly, ugly daughter.

The rich attorney, he jumped with joy,

And replied to my fond professions :
'You shall reap the reward of your pluck, my boy,

At the Bailey and Middlesex Sessions.
You'll soon get used to her looks,' said he,

' And a very nice girl you'll find her !
She may very well pass for forty-three

In the dusk, with a light behind her ! '

2 8 THE SAVOY OPERA

At length I became as rich as the Gurneys

An incubus then I thought her,
So I threw over that rich attorney's

Elderly, ugly daughter.
The rich attorney my character high

Tried vainly to disparage
And now, if you please, I'm ready to try

This breach of promise of marriage !

CHORUS
And now, if you please, &c.

JUDGE. For now I'm a judge !
ALL. And a good judge too !
JUDGE. Yes, now I'm a judge !
ALL. And a good judge too !

JUDGE

Though all my law is fudge,
Yet I'll never, never budge,
But I'll live and die a judge !

As a composition this song is admirable, the ' points '
being shortly touched and made as effective as possible.
It was sung by every buffo of private life in hundreds of
drawing-rooms. Some of its phrases have become stock
quotations, such as ' In the dusk, with a' light behind
her ' ; ' elderly, ugly daughter,' &c.

The entry of the plaintiff with her bridesmaids in a
sort of dance is accompanied by the most attractive
music ; indeed, nothing is more captivating than the
different changes of style and tone which are suited to
each situation. The sympathies of judge and jury are

' TRIAL BY JURY' 29

at once enlisted, the latter giving vent to their feelings in
the plaintive strain, ' Comes the broken flower,' &c., the
judge exclaiming :

never since I joined the human race

Saw I so exquisite a face.
THE JUBY (shaking their finger at him). Ah ! sly dog !

Ah ! sly dog !

JUDGE. Now, say you, is she not designed for capture ?
JUBY. We've but one word, my Lud, and that is ' rapture.'
PLAINTIFF (curtseying). Your kindness quite overpowers.
JUBY. We love you fondly, and would make you ours.

This, too, is dramatically excellent. Then the coun-
sel begins his speech, in a persuasive air, somewhat in
the shape of the eternal ' Last Eose of Summer ' :

With a sense of deep emotion

I approach this painful case,
For I never had a notion

That a man could be so base,
Or deceive a girl confiding,

Vows, et cetera, deriding.

How real the agitation of the enticing plaintiff, who,
about to give her evidence, makes as though she would
faint ! ' That she is reeling,' the judge says, ' is plain
to me.' And the jury, to her, ' If faint you're feeling,
lean on me!' She falls sobbing on the foreman's
breast, and feebly murmurs :

I shall recover
If left alone.

30 THE SAVOY OPERA

JURY. 0, perjured monster,

A tone ! Atone !
FOKEMAN. Just like a father

I wish to be.

0, if you'd rather,

Lean on me.

This competition of attentions between judge and
jury is truly grotesque.

She finally reclines on the judge, and her counsel

says :

Fetch some water

From far Cologne.
ALL. For the sad slaughter,
Atone ! Atone !

Then they burst into tragic denunciation :

Monster, monster, dread our fury,
There's the judge, and we're the jury.

Altogether, a happy parody of the methods of grand
opera. The finale is not so good, and becomes a sort of
general romp. 1

It was in this piece that the author first made use of
a happy device which he afterwards largely developed.
His object was to avoid the conventional methods of
using the chorus, nearly always a professional crowd
who came in at intervals and raised their voices. A

1 The length of these and future extracts from these pleasant pieces
will, I think, not be objected to, as they will bring back to the reader
many pleasant moments enjoyed while making his Savoy education.

IMPROVED METHOD OF USING CHORUS 31

more probable and natural method occurred to him.
Assuming that the conspicuous personages must have
some following connected with or dependent on them, he
contrived to emphasise these attendants in a picturesque
way. They had the air not of a ' crowd,' but of a large
number of friends. Thus in ' Trial by Jury ' the brides-
maids and the jury raised their voices. In the ' Pina-
fore ' the famous ' sisters, cousins, and aunts of the
First Lord ' were the chorus. In other pieces he
would have a number of officers, or some policemen.
There were also the ' House of Lords ' ; and the ' ancestors '
in ' Kuddigore.' It is astDnishing what a variety of
groups of this kind our author managed to devise out of
his teeming imagination. The chorus thus became a
personage, not merely a collection of voices introduced to
swell the music. With the view of individualising it as
much as possible he generally made a few members
prominent, and thus is brought to our recollection many
out of those charming groups of girls who lent such an
attraction to his pieces.

About the year 1876 there was formed a society called
the English Comic Opera Company, which had secured
the Opera Comique for its performances. Their secretary
and adviser was the manager of the Eoyalty, D'Oyly
Carte, a man of much tact and sound business instincts
a born manager, in fact. This is proved by his showing
himself ' equal to either fortune.' He has known how to

32 THE SAVOY OPERA

secure success, and, what is more difficult, to retain it.
No one but a man of ability could have extricated him-

MR. D'OYLY CABTE
(From a Photograph by Walery, Regent Street)

self from the tremendous failure of the ambitious and
costly venture in Shaftesbury Avenue. 1

1 ' The Comedy-Opera Company was entirely Mr. Carte's idea, and
his own creation. He was manager at the Boyalty at the time of
the original production of Trial by Jury, and after that piece he always

MR. D'OYLY CARTE 33

D'Oyly Carte, the creator and present manager of
the Savoy Theatre, was the son of Eichard Carte, a name
known to all flute-players, and a partner in the firm of
Eudall & Carte. After leaving the London University
he followed musical agency as a profession, and among
other enterprises directed Mario's ' Farewell Tour.' But
about 1876 he began to work out his great scheme of
an English Comic Opera Company, and was adroit
enough to see what advantages he would gain by securing
the aid of that clever pair, Gilbert and Sullivan. It
might have been said to him, as one of the characters
does to the Pirate King in the ' Penzance ' operetta :
' You mean to develop comic opera into a system by the
aid of new talent, and look to having a special home for
it in a new, specially devised, and attractive theatre,
made brilliant by the introduction of electric lighting?'
And the answer may have been a dry, ' Yes, that is
the idea.' This was an almost gigantic plan, which at
that time must have appeared quite utopian ; but he
was encouraged by the aid of his efficient wife, one of
the best ' women of business ' of the day. This was
Miss Cowper-Black, or 'Lenoir,' a name she later as-
had the idea of getting Mr. Gilbert and Sir Arthur Sullivan to write a
larger work together ; but it was a long time before he could get this
arranged, and before they were both ready and able to undertake it, and
then a theatre had to be found, and the money got together to start it.
The Comedy-Opera Company came to an end after the production of
Pinafore.' -Letter from Mrs, D'Oyly Carte,

34 THE SAVOY OPERA

sumed. After a brilliant career at the London Uni-
versity she took up stage business and management,
for which she had a marked taste, and became translator
and secretary to the Opera Comique Company. In a
few months she had completely made herself mistress of
the system. She crossed the Atlantic about fifteen times,
and at one period was directing four travelling companies.
She combined with these arduous duties the agency for
lectures, and arranged and directed the tours of Archi-
bald Forbes, Matthew Arnold, Oscar Wilde, and the
now almost forgotten Sergeant Ballantine. It is not
' generally known ' that the great Savoy Hotel was
another venture of this enterprising pair, and Mrs.
D'Oyly Carte is said to have settled all the details of
the vast scheme.

When the enterprising partners or trio, rather
were entering on their new operatic venture, they were
met by the grave difficulty of finding suitable interpreters
for their work. There were plenty of the old well-trained
singers ; but these were formed to the old methods.
They cast about for young and promising talent which
they could mould to their own fashion. This system
has been found to work admirably at the Savoy, which
has since become a large and regular school where
young persons of promise and ability are certain to find
an opening for their abilities. Freshness and novelty
are thus secured. All that is required is a good voice

GEORGE GROS SMITH 35

and musical taste, with a certain natural enthusiasm ;
the instructions of the librettist and the genius loci
do the rest.

ME. GEOEGK GKOSSMITH

At this time there was a brilliant and promising
young man named George Grossmith, who was what is
called an ' entertainer,' and had the fairest prospects of
success in this way. He was highly popular for his

D 2

36 THE SAVOY OPERA

spirits and fun, and overflowing with humorous con-
ceits and devices, which found expression in songs
and recitations, little comedies and scenes, which he
presented in so vivid a fashion and with so many re-
sources of expression as to have the effect of a drama ;
from his finish and certainty he seems to have been the
most perfect of the many ' delineators ' who have
attempted this attractive fashion of entertaining. He
was an excellent musician, for whom his pianoforte was
almost an instinctive form of expression, like the human
voice. He had performed on the stage occasionally,
and had once or twice attempted such parts as Paul
Pry.

One night in November 1877 he was asked by
Mr. Arthur Sullivan to return with him to his rooms in
Victoria Street, where in the company of a number of
choice spirits a pleasant evening was passed. The
stranger or ' new man ' cheerfully contributed his little
talents ; everyone went away pleased with him. George
Grossmith is indeed good company : his anecdotes,
told unaffectedly and without effort or artifice, fall into
dramatic shape, and seem to be a portion of his enter-
tainment. They are set off by the most expressive of
faces. His tales, too, are not of the kind that actors tell,
half professional, and turning on some comic speech or
incident, but deal with grotesqueness of character, or
some oddity of social life. He is a most acute observer

GEORGE GROSSMITH 37

of such things, and sees humour and humorous situations
which would escape others less trained.

In a few days he received an unexpected proposal
from the composer, offering him a part in a new piece,
which it was thought he would play admirably. He was
delighted and yet undecided, for this involved abandon-
ing his own proper profession. If he failed or rather, if
he did not succeed it would be impossible for him to
return ; for his correct and serious clients who welcomed
him at their lecture-rooms would not accept him after
he had been on ' the wicked stage.' His father and some
of his friends were against the step. So, too, were the
directors of the Comedy- Opera Company (Limited),
who thought it imprudent to take an untried' ' hand.'
Even the adventurous D'Oyly Carte was cold or scarcely
encouraging. 1 The engagement, however, was at last
settled. When he was going over the part with Gilbert,
he hazarded the objection, ' For the part of a magician,
I thought you required a fine man with a large voice.' I
can still see Gilbert's humorous expression as he replied,
' No, that's just what we don't want ! ' a light touch

1 In the discussion on the amount of salary, Grossmith held out for
an increase of three guineas. The manager asked him to lunch, to
talk the matter over. Some admirable Steinberg Cabinet and other
delicacies were produced. After the lunch was despatched the salary
question was discussed ; but under the agreeable influence of the Stein-
berg Cabinet three guineas seemed a trivial thing, and Grossmith gave
way. ' I calculate,' he used to say, ' that that lunch cost me about
1,8002.'

38 THE SAVOY OPERA

that really involves the whole philosophy of the Gilbertian
opera, and shows how much the finesse of its humour
was opposed to the common standards. 1

Another promising recruit was Eutland Barrington,
who seems to have been fitted in the most a propos
way for the interpretation of the new methods of opera.
His peculiar tranquil or impassive style has always
exactly suited the characters allotted to him, and it
would now be difficult to imagine a Savoy opera with-
out him. He alone, I think, has been with it with one
slight interruption from the beginning to the present
moment. He is usually cast for some impossible
monarch, prime minister, or personage of ' Lord High '
degree, possessed of some fantastic theories which he
essays to carry out with supreme gravity ; and though
his methods and humours have been much the same all
through, there is sufficient variety in his intellectual
conceptions of each part. We recall with enjoyment his
unctuous clergyman, his sea captain in the 'Pinafore,' his
various Court functionaries, and his eccentric monarchs.
Earely or never does he pass the limits of a becoming
gravity, or become more extravagant than is necessary.
He can become delightfully helpless and inefficient, or

1 Grossmith has related his life and adventures in an agreeable little
volume, A Society Clown, full of good strokes of human character and
humour. It shows that he had severe and valuable training (not to say
a struggle) for many years a most profitable and blessed thing for a
performer.

JESSIE BOND 39

break out into exuberance when it is called for. His
full tall figure and round face help the effect.

Another of the more valuable members of the corps
was the piquant and vivacious Jessie Bond, whose very
presence and animated tones seemed to quicken the
action the moment she appeared. She enjoyed an extra-
ordinary favour and popularity : audiences seemed glad
to see her, to have her before their eyes. She has
figured, I believe, in every Savoy opera save the last,
and has always been a welcome aid. Another steady
pillar of the enterprise, who has been constant to it till
this moment, was Eosina Brandram, with her rich
contralto, and who is generally cast for some austere
duenna. She, like some of the others, owes her training
to the entertainment stage.

Grossmith and his career suggest here some reflec-
tions which are really connected with the art of stage
expression. Many entertainers have been tempted by
their successes in this walk to venture on the stage ; and
it may be an interesting speculation here to inquire
to what extent the training of the platform is service-
able for exhibition in the theatre. George Grossmith
and Arthur Cecil present two notable examples where
the change has been made with success, but it must be
said that on the whole the two systems or processes are
opposed. Theatrical effects are large, broad, and general,
whereas those of the entertainer are minute, and

40 THE SAVOY OPERA

' stippled in ' as it were. The two methods start from,
the same point, but seem to recede from each other. The
entertainer has to rely upon the words and on his face and
voice ; the actor on his internal conception, using the same
means to express what he feels. When the entertainer
brings his talents to a theatre it is likely enough that
his methods will prove ineffective, and the minute
details his stock-in-tradebecome overpowered. Real
talent, however, will triumph over such a disability, and
secure the artist the necessary ' breadth.' Still, it is
difficult to unlearn ; and in most cases the old system, in
which the performer feels he can make his best efforts,
will cling to him. Thus Alfred Bishop, Arthur Cecil,
and Grossmith to this hour show traces of their early
training on the platform rather than on the stage.
Bishop, when performing at the Lyceum as Old
Ashton, showed little of the breadth necessary for so
great an area ; and Cecil has abundance of delicate
touches, which, however, become ineffective in a large
theatre. Defects of this kind are scarcely noticeable in
the case of Grossmith, who has only appeared on a stage
where such touches are acceptable and really necessary;
for at the Savoy every word and gesture are calculated
beforehand, and become of importance.

Still, there can be no doubt that this ' entertainer '
element is more and more leavening legitimate stage

THE ENTERTAINER 41

performances ; and that the present fashion requires the
personal efforts of the actor to be more and more de-
veloped is shown by the constant intrusion of the
music-hall performer and his devices, for whom and
for which the public have shown an extraordinary
fancy. The effects of this change will no doubt have by-
and-by an extraordinary influence on the stage. Nor is
it fanciful to say that the development of the manager-
actor system is intimately connected with this change ;
for such is really the development of the personal element,
carried as far as it can well go. The system, however,
has its serious disadvantages, for when by some accident
the personal element is withdrawn, the ' show ' loses
attraction ; which is proved by the instance of Grossmith,
whose retirement was a serious loss to the Savoy.

The entertainment seems almost to have changed
its character, and has taken many shapes. At the
beginning a single versatile person was himself the
whole play, and supplied from his intellectual wallet
characters, dialogue, music everything. In our time
this grew into the pleasing drawing-room entertainment
given by the German Eeeds at the Gallery of Illustration
and St. George's Hall. This school became almost the
nursery of the Savoy opera, and most of its inter-
preters Grossmith, Miss Brandram, Mrs. Howard Paul,
Barrington, the Temple Brothers, Arthur Cecil, and

42 THE SAVOY OPERA

many more have graduated in this college, and have
there happily acquired the art of minute touching and
delicate strokes.

The entertainer's art, trivial as it may appear, is
really the quintessence of the drama; for in its most
orthodox shape'it is independent of dresses, scenery, and
what is called facial ' make-up.' These things the
performer has to supply from his own intellectual
' properties.' With the skilful entertainer before us,
holding us with his vivacious eye, making his mobile
features express, not imitate, the twists and oddities of
character, while he plays on his voice as on an instru-
ment, we are beguiled by his cunning, and fancj that
whole tapestries of life are being unrolled before us.
This sort of show, therefore, has always enjoyed favour ;
and the listeners, being in direct contact with their host,
naturally feel a partiality or goodwill for the amiable
being who, for some two long hours or so, devotes him-
self to their entertainment. When it is of the first
class, nothing gives more genuine pleasure a pleasure
compounded of an admiration of the performer's gifts
and of the diverting quips and humours which he
displays.

This pastime, as I said, has taken various shapes,
being moulded according to the ' form and pressure of
the time.' In the last century a leading portion of the
actor's equipment was mimicry, and too often mimicry

THE ENTERTAINER 43

of his brethren. Dog surely should not eat dog. Even
Garrick descended to this. Foote, a licensed free-lance,
who made a living by taking off public personages in his
comedies and entertainments, was perhaps the greatest
showman of the age, and, from his great powers of wit,
vivacity, recklessness and unscrupulousrtess, maintained
his hold upon his admirers until his death. Personality
is perhaps the greatest attraction known to the stage.
In our time, happily, it is not tolerated at all, though
many will recall what unbounded enjoyment and interest
were excited by Gilbert's piece which, years ago, drew all
London to the little Court Theatre the ' Happy Land,'
in which three members of the Government were intro-
duced. But the exhibition, which was not an ill-natured
one, was speedily moderated.

In 1747 Foote arranged an entertainment at the
little Haymarket Theatre called the ' Diversions of the
Morning,' which had extraordinary success ; nearly all
the characters were rude portraits of personages well
known on town. The public rushed to see, but, as he
also performed the regular drama in an unlicensed
theatre, the authorities interfered. He then thought of
a rather colourable device to elude the law : ' Mr. Foote
begs the favour of his friends to come and drink a dish
of chocolate with him ; and he hopes there will be a great
deal of comedy and some joyous spirits ; he will en-
deavour to make the morning as diverting as possible.

44 THE SAVOY OPERA

Tickets for this entertainment to be had at St. George's
Coffee House, Temple Bar, without which no person will
be admitted. N.B. Sir Dilberry Dibble and Lady
Froth have absolutely promised.' It was found impos-
sible to suppress this sort of performance, and Mr. Foote's
' show ' became the rage. His plan was to introduce a
number of young performers whom he affected to be
instructing for the stage, rehearsing with them, and
making sarcastic remarks on the leading writers, poli-
ticians, &c., of the day.

Foote, who in the way of ridicule spared nobody,
seems to have been himself most sensitive and thin-
skinned when any liberties were taken with him. It is
amusing to find that he was to suffer acutely from an
obscure parasite whom he himself had instructed in the
art Tate Wilkinson, a forward, clever lad, one of the
' supers ' at Drury Lane, who had been exhibited by him
on the stage as ' a pupil.' This youth had an extra-
ordinary talent for low mimicry, and was encouraged by
his employer to exhibit it. One night at the Dublin
Theatre, after giving his imitation of Mrs. Woffington,
he was greeted with so much applause that he was on
the instant tempted to an imprudent step. ' A sudden
thought,' he tells us, ' occurred. I felt all hardy, all
alert, all nerve, and immediately advanced six steps :
and before I spoke I received the full testimony of true
imitation. The master, as he was called, sat on the

THE ENTERTAINER 45

stage at the same time. I repeated twelve or fourteen lines
of the very prologue he had spoken that night, and, before.
Mr. Foote, presented his own self, his manner, his voice,
his oddities, and so exactly hit that the glee and 'pleasure
it gave may be easily conceived to see and hear the
mimic mimicked. The suddenness of the action tripped
up his audacity so much that he, with all his effrontery,
sat foolish, wishing to appear equally pleased with the
audience, but knew not how to play that difficult part.'
A graphic picture. The jackal became a thorn in the
greater mimic's side. He early appropriated the enter-
tainment, and travelled over the kingdom, ' giving Tea '
everywhere, and ' taking off,' in his vulgar way, his late
master and the leading actors.

After Foote, who had been absurdly called 'the
English Aristophanes,' a humorous song-writer named
George Alexander Steevens devised a very original species
of entertainment. When the curtain rose, or the scene
was ' drawn,' the audience saw before them a table with
a vast number of heads or busts. The entertainer then
came forward a,nd delivered what was called a ' Lecture
on Heads ' ; and, taking one of the specimens in his
hand, would illustrate it with a number of satirical ob-
servations on politicians, authors, &c. Thus he would
begin, ' Here we have the head of a divine,' &c. The
lecture ' on Heads ' obtained great celebrity, was printed
in a volume, passed through many editions, and was

46 THE SAVOY OPERA

thought exquisitely humorous ; though, on reading it
over now, it seems much laboured, rather jejune, and
tedious.

There was a roistering actor, Lee Lewes, who enjoys
a sort of fame from his having been selected by Gold-
smith to ' create ' the part of Young Mario w, a jovial
being and a teller of convivial stories, which, when
published later in four volumes, read ineptly enough.
The dramatic story seemed to be the form then in demand
for this kind of entertainment, in which various characters
were contrasted, and a dialogue kept up, the whole con-
cluding with some boisterous situation. No doubt the
applause of the supper-table suggested the sort of article
that would suit a larger audience. One of Lee Lewes's
most effective scenes was his account of a dialogue
between Garrick and Lord Orrery, on the subject of
Mossop the actor. Garrick 's vanity, it was known, was
so sensitive that it could be played on artfully, and Lord
Orrery, for his own and his lady's amusement, would
noisily extol the actor's voice to provoke Garrick's dis-
sent; after which the nobleman would abruptly and
cordially change his view, and abuse Mossop heartily.
Thus he would loudly extol Mossop's voice, and when
Garrick hesitated or doubted, the other would declare
that ' he roared like a bull.' 4 We always called him
Bull-Mossop.'

Charles Dibdin, Incledon, and other popular singers

THE ENTERTAINER 47

also gave ' entertainments.' Incledon, for a time, joined
his talents with those of Mathews, and the pair travelled
about the kingdom together. But the most successful
of these showmen was Bannister, one of Garrick's
' school,' as it was called, and an actor of much reputa-
tion. One morning in 1807 he rushed in- to George
Colman, carrying a huge bundle of songs, recitations,
humorous stories, &c., which he wished his lively friend
to fashion into an ' entertainment.' Colman had just
planned a week of delicious lethargy and idleness, but
he cheerfully accepted the task, and in a few days had
reduced the mass of inchoate drolleries into form. It
had become ' Bannister's Budget,' which the actor at
once took into the country with extraordinary success.
It appears to have been a medley of detached stories,
songs, recitations, and ' odds and ends ' of all kinds.
One item, for instance, was entitled ' Two Ways of
Telling a Story ' ; the survivor of a shipwreck was sup-
posed to relate all the horrors of the scene in the most
dramatic way, the storm, the roaring of the billows, the
imminent destruction, rescue, &c. ; a ' Jack Tar ' then
gave his account, but in a light, careless, unconcerned
fashion, as though the whole were a joke. There was a
gruesome, grotesque tale of some length called 'The
Superannuated Sexton,' with such characters as Doctors
Doublechops and Lank Jaws. He would also describe
to great applause his first introduction, as a youth

48 THE SAVOY OPERA

aspiring to the stage, to Mr. Garrick., He found tbe
great man shaving, his chin covered with soapsuds.
The actor bade him ' never mind,' but recite a speech
from ' Hamlet ' say ' Angels and ministers of grace,' &c.
During the recitation Garrick is described as stropping
or lathering, or ' tat ing himself by the nose,' with
grotesque effect. At the close ' he turned quick on me,
and thrusting his half- shaved face close to mine, ex-
claimed in a tone of ridicule, "Angels and ministers of
grace, yaw waw waw ! " then finished his operation,
and putting on his wig, good-naturedly said, "Come,
young gentleman, eh ? Let us see what we can do,"
then recited the whole speech in his best style.' Bannister
was summoned by the King to give his show at Windsor,
and a number of the nobility were invited. He was.
naturally a little nervous, when the good-humoured
Princess Sophia said, to reassure him, 'You are
frightened : I declare, if you don't do it well, I shall hiss
you, Mr. Bannister ! '

Our modern peripatetics, who have their shrewd
' agents in advance ' to prepare the ground and secure
' dates,' would smile at the careless, unbusinesslike ways
of these early pioneers. Bartley, a fellow-actor, used to
relate how, when attending one of Bannister's per-
formances at the Eooms in Edinburgh, he was requested,
on coming out, by his friend to take up the money from
the doorkeepers. He was disappointed to find that the

THE ENTERTAINER 49

whole sum only came to 901. ' Pooh ! ' said the easy-
going Bannister, ' if I am pleased, why not you ? ' They
met some men on the staircase who, it seems, were
stationed at the other entrances, and had 60Z. more to
give them. Bannister declared that but for his friend
he would have gone away without it. The results of
' the Budget ' were indeed so satisfactory, that though
Colman declined remuneration the actor insisted on
releasing him from a bond for 700Z. as a token of his
gratitude. It must be said, however, that neither party
would have gained or lost by the transaction, as the
impecunious Colman, who spent the chief portion of
his days within the Eules of the King's Bench, would
never have dreamed of repaying it, or any other
obligation.

Mathews the Elder was one of the most versatile and
accomplished men that have adorned the entertainment.
He had a boundless store of devices, his talents for
comedy and mimicry contributing much to the gaiety
of his generation. In fact, his stores of ' harmless
pleasure ' were of a marvellous kind. He was a most
delightful companion vivacious, 'incompressible,' like
Foote an affectionate father and husband, while his
letters are truly admirable for their liveliness, genuine-
ness, and graphic style. His power of ventriloquism,
and of disguising his features and figure not by

50 THE SAVOY OPERA

mechanical art, but by sheer mental effort were extra-
ordinary and unusual; witness that 'Mr. Pennyman'
who was perpetually found behind the scenes, plaguing
everybody, though the doorkeepers were on the watch
not to admit him. At table friends would find them-
selves annoyed by a quarrelsome stranger, who would
appear and disappear in a marvellous and all but super-
natural way. It was not surprising that he should have
utilised these gifts for the public diversion and his own
profit. After some slight experiments, in the year 1808
he determined to make the venture, employing James
Smith, one of the authors of the ' Eejected Addresses,'
to furnish him with an entertainment. This was the
first of a long series supplied by the same ' eminent
hand,' who was assisted by Poole, the author of ' Paul
Pry.' The form was usually the same a journey in a
mail coach or in a diligence literally a ' vehicle ' for
introducing the varied humours of the performer with
many grotesque or eccentric passages. The ' Mail
Coach ' was long popular, the whole of the incidents of
such a journey being humorously described.

An adroit manager one of that Arnold managerial
family which still holds the Lyceum had suggested to
him this mode of utilising his talents, and now induced
him to mortgage his services to him for a term of years.
The thoughtless player, dazzled by the prospect of a
fixed income, signed and sealed with a light heart, and

TffE ENTERTAINER 51

in due course made his appearance at a London theatre.
His success was extraordinary; nothing so novel, so
exhilarating, had been seen for many a day. The bill
set forth ' he will exhibit an entire new entertainment,
consisting of songs, recitations, imitations, ventriloquism,
entitled " The Mail Coach, or Rambles in Yorkshire."
Part I. Recitations, introductory address ; general im-
provement in the conveyance of live lumber as exemplified
in the progress of the Heavy Coach, light coach, and
mail ; whimsical description of an expedition to Brent-
ford. Song, " Mail Coach." Recitation : description
of the Passengers ; Lisping Lady ; Frenchman. Song,
" Twenty-four Lord Mayors' Shows." Mr. and Mrs.
Nicky Numskull ; cross-examination of a Pig. Song,
" The Assizes." '

It will be seen from this programme that the shape
of these entertainments has been somewhat conserved to
our day alternations of song and speech, more or less
formal. Mathews always stood behind a little table, on
which were two shaded candles, whilst an accompanyist
sat at a piano. He relied almost entirely on his facial
expression to produce changes, though he would some-
times hurriedly wrap a handkerchief round his head to
simulate an old lady. Later, however, he introduced
dresses, and became what is called 'a quick-change
artist ' a descent into a lower walk of business. What
astonished his audience was the elegance, airiness, and

E 2

5 2 THE SAVOY OPERA

buoyancy of the whole performance the variety of
talents displayed. They would hear a conversation
between five different persons a valet talking with a
child, a butler, the housekeeper, &c. The success was
immense, the crowds enormous. But presently the
much-followed performer discovered that he had sold
himself at a deplorably low price. The bond which he
had so recklessly signed was full of penalties and for-
feitures ; he had placed himself, with all his talents,
faculties, and powers, at the disposal of a master. This,
however, he had done ' with his eyes open ' ; it was a
speculative transaction, and, had there been failure, the
manager would have been bound. He was not, how-
ever, pitiless, and consented to a liberal revision of
the arrangement. There were a few rare veteran play-
goers notably the late amiable, genial Fladgate, the
father of the Garrick Club who could recall Mathews
and his pleasant exhibitions. It is curious to think
that we had amongst us only yesterday one who had
seen and talked with Kemble and Siddons, and also with
Irving.

After Mathews a change seems to have come over
the style of these entertainments. During the past
forty or fifty years they have reverted to the old form.
They exhibit more finesse and delicacy, more refine-
ment of character, and are, indeed, addressed to a
superior description of audience. This is no doubt

THE ENTERTAINER

owing to the disappearance of the old farce, which
seems to have altogether ' gone out.' Much more was
required from the impersonator, who found dramatic
aid in his piano, at which he sat and over which his
fingers strayed, and from which he only occasionally
rose. It became for him a second, even more eloquent,
voice.

Perhaps the first of these reformers was the
inimitable John Parry, who was a comic-song writer
rather than an entertainer, and he seems to have
adopted this mode of exhibition with a view of in-
troducing his songs to notice. These were sung in
private circles by amateur humourists and had a large
sale. A good specimen of his style was the well-known
' Wanted, a Governess ' :

Wanted, a governess, fitted to fill

The post of tuition with competent skill,

In a gentleman's family, highly genteel,

Where 'tis hoped that the lady will try to conceal

Any fanciful airs or fears she may feel

In this gentleman's family, highly genteel.

Each verse wound up with an accompanying ' crash ' on
the piano to the words ' Wanted, a governess ! ' This
was then thought exquisitely frolicsome !

Another of these exhibiting song-writers and singers
still lives the author of the ' Ship on Fire ' and
' Cheer, boys, cheer,' and who, some forty years ago,

54 THE SAVOY OPERA

was admired and talked of, and, in the provinces
particularly, drew large houses. This is Henry
Eussell. His songs, however, were the piece de resistance,
and people came to hear the songs and join in the
choruses. They were linked together by a mildly
humorous commentary, chiefly personal or anecdotal,
as when, after giving vent in his richly mellifluous and
deliberate tones to the once popular lines,

Woodman, spare that tree,

Touch not a single bough ;
In youth it sheltered me ;

And I'll protect it now !

he would proceed to relate ' a little anecdote ' how, at
some house, a gentleman, standing up among the
audience, earnestly asked him, ' Mr. Eussell ! Mr.
Eussell ! Was the tree spared ? '

Albert Smith's ' Ascent of Mont Blanc ' was for some
years a standing attraction at the Egyptian Hall, but
this was somewhat panoramic. The agreeable Albert
told the story in a lively fashion, and, according to his
mood, would vary it with extemporised humorous pas-
sages. Sometimes, recognising a friend in the au-
dience, he would allude to him by name, fathering on
him some jest or speech to the embarrassment of the
individual. During the succeeding period there was a
more debased form of the entertainment, the performers

THE ENTERTAINER 55

beginning to rely upon dresses, ' quick changes,' and
the like, conspicuous professors being Woodin and a
diverting, versatile being named Valentine Vox, and
Duval. It was natural that the form should take a
fresh development, and we presently find two performers
giving their attractions in a sort of dialogue. From
this to a slight play was but a natural advance, and for
a long period down, indeed, to the present moment
the German Eeeds have contributed to increase the
general gaiety of the nation. It was here, as we have
seen, that Arthur Cecil and Corney Grain learned the
measure of their powers in the old school of ' de-
lineation,' though the former speedily passed on to
the stage, thus reversing the practice of his pre-
decessors, who passed from the stage to the platform.
This modern school was to be further strengthened by
the accession of George Grossmith, who, after quitting
the platform, became one of the pillars of the Savoy,
which he has again recently forsaken to return to the
platform ; and it is said now that, in spite of large
profits, he meditates a return to the more exciting
glories of the stage. It would be difficult to say too
much of the extraordinary versatility of these performers.
Their sketches of society, of its follies and weaknesses,
offer a power of intellectual analysis and observation
that is remarkable. An anchorite's muscles would
relax. They also possess an amazing fertility in their

5 6 THE SAVOY OPERA

performance on the piano, which, in an informal
and unartificial way, is made to illustrate all they
say.

Such is the genesis and development of this pecu-
liar form of the drama, and which, there can be no
doubt, is deeply seated in the affections of British
audiences.

But I have strayed from our Savoy Opera home into
a somewhat antiquarian review. Still, the subject is an
interesting one, and has, besides, a close connection with
the Savoy methods.

The ' Sorcerer ' the first attempt of the Comedy-
Opera Company was of a rather serious and dignified
cast. It seemed as though both author and composer
were a little fettered by the sense of their office. They
were by-and-by to be in a situation of ' more freedom and
less responsibility,' and with the happiest effect. They
were now feeling their way, as it were. The super-
natural element of the piece was accountable for this
tone, the composer finding himself compelled, as it were,
to treat it with due solemnity and even gravity. The
press welcomed it with almost tumultuous praise. 1

1 Indeed, some journals were so indiscriminate in their approbation
as to heartily commend certain ' numbers ' which were not performed
at all !

THE 'SORCERER' 57

First produced at the Opera Comique, under the management

of the Comedy-Opera Company (Mr. B. D'Oyly Carte,

Manager), November 17, 1877

THE SORCERER

Dramatis {persona?

SIR MARMADUKE POINTDEXTRE (an Elderly

Baronet) MR. RICHARD TEMPLE

ALEXIS (of the Grenadier Guards his Son) MR. GEORGE BENTHAM

DR. DALY (Vicar of Ploverleigh) . . . MR. RUTLAND BARBINGTON

NOTARY MR. F. CLIFTON

JOHN WELLINGTON WELLS (of J. W. Wells &

Co., Family Sorcerers) . . . MR. GEORGE GKOSSMITH

LADY SANGAZURE (a Lady of Ancient Lineage) MRS. HOWARD PAUL

ALINE (her Daughter betrothed to Alexis) . Miss ALICE MAY

MRS. PARTLET (a PeT.v-opener) . . . Miss EVERARD

CONSTANCE (her Daughter) .... Miss GIULIA WARWICK

Chorus of Peasantry

ACT I. Grounds of Sir Marmaduke's Mansion

(Half -an hour is supposed to elapse between Acts I. and II.)
ACT II. The same Scene by Moonlight

TIME-THE PRESENT DAY 1

No one then dreamed that this was to be the opening

1 On its later revival, Mr. Durward Lely took Mr. George Power's
part ; Miss Brandram, Miss Leonora Braham, Miss A. Doree, and
Miss Jessie Bond the parts of Lady Sangazure, Aline, Mrs. Partlet,
and Constance. The opera was revised and partly rewritten for this
occasion. The costumes were by MM. Auguste, Caler & Co., J. B.
Johnstone, Ede & Son, Frank Smith & Co., Hobson & Co.

58 THE SAVOY OPERA

of a striking series of successes, and a series that
was to be sustained with an unflagging interest for
some seventeen years. The chief point of interest was

how would Grossmith, the new candidate, acquit himself
as John Wellington Wells, the traveller in drugs,
' penny curses,' and the rest ? The spare and wiry little

THE ' SORCERER'

figure, the small, intelligent face, full of finesse and
expression, was at once a success. No one could have
received more friendly encouragement. His 'patter
song,' as it is called a number of rhymes uttered with
extraordinary rapidity and clearness enleveed the house.
This was to become an established pattern in a Savoy
opera, following the precedent of the judge's little auto-

biography in ' Trial by Jury.' A genuine surprise was
in store for the audience when, at the close of an
early scene, the 'traveller in spells,' crouching down,
made an extraordinary exit, in imitation of a railway
train, holding a ' fizzing ' teapot. A tumultuous roar of
applause greeted the ingenious artist. 1

1 It is said that this was as much a surprise for his brethren as it
was for the audience, and that this effective piece of business was kept
dark until the night in question.

60 THE SAVOY OPERA

The public is often as indiscriminate in its partiali-
ties as it is in its dislikes, and during the course of
these early operas was thrown into convulsions of
delight by a rather simple device of the composer's.
This was the introduction of a grotesque passage, a
' remark,' as it were, of the bassoon's, uttered during
some 'patter song.' The bassoon has been called 'the
clown of the orchestra ' a happy description in the
case of comic opera.

The ' Sorcerer,' among its other welcome enjoyments,
contributed some effective and quotable things which
constantly do duty in the newspapers. Such was the
chorus at the end :

Now to the banquet we press
Now for the eggs and the ham

Now for the mustard and cress
Now for the strawberry jam !

CHORUS. Now to the banquet, &c.

THE ^ SORCERER' 61

DR. DALY, CONSTANCE, NOTARY, and MRS. PARTLET

Now for the tea of our host

Now for the rollicking bun
Now for the muffin and toast

Now for the gay Sally Lunn !

CHORUS. Now for the tea, &c.

This humour is specially ' Gilbertian.' There is
something grotesque in this exuberant praise of the

Sally Lunn and bun which would bring a rueful smile to
the face even of the most dyspeptic. The ' rollicking
bun ' has become ' a common form.'

The success of this experiment and it was little more
than an experiment encouraged the partners to give yet
fuller play to their special talent, and they were now busy
with a more elaborate effort the admirable ' Pinafore.'

62 THE SAVOY OPERA

First produced on the night of May 28, 1878

H.M.S. PINAFORE

Dramatis persons

THE ET. HON. SIR JOSEPH PORTER, K.C.B.

(First Lord of the Admiralty) . . MR. GEORGE GKOSSMITH
CAPT. CORCORAN (commanding H.M.S.

Pinafore) MR. RUTLAND BARRINGTON

RALPH RACKSTRAW (Able Seaman) . . MR. GEORGE POWER

DICK DEADEYE (Able Seaman) . . . MR.. RICHARD TEMPLE

BILL BOBSTAY (Boatswain's Mate) . . MR. CLIFTON

JOSEPHINE (the Captain's Daughter) . . Miss EMMA HOWSON

HEBE Miss JESSIE BOND

LITTLE BUTTERCUP (a Portsmouth Bumboat

Woman) ... . . . Miss EVERARD

FIRST LORD'S SISTERS, HIS COUSINS, HIS AUNTS, SAILORS,
MARINES, &c.

SCENE. Quarterdeck of H.M.S. Pinafore,
off Portsmouth

ACT I. Noon. ACT II. Night

There is a long list of young ladies who essayed the
part of Josephine to wit, Miss Emma Howson, Miss A.
Burville, Miss Blanche Koosevelt, Miss Mulholland,
Miss Pauline Rita, and Miss Kate Sullivan.

This opera was, perhaps, the most genuinely success-
ful of the whole series, for it was more seen, talked of,
chanted, hummed, and quoted than all of its fellows,
except, perhaps, the ' Mikado.' Everyone was delighted
with it. Its good things were irresistibly, though
quietly, droll. At the outset it rather hung fire. I

'H.M.S. PINAFORE' 63

must confess with some shame that at my first visit
it appeared to me a little forced and far-fetched. But
presently it became ' all the rage,' and the actors,
catching the enthusiasm, threw themselves with ardour
into their work. C'etait immense ! and the opera ran
for nearly a couple of years, to say nothing of its
regular promenade round the country.

The story is of the slightest, but more than suf-
ficient. In these things Gilbert's touch is of the mcst
airy kind ; he indicates rather than describes. He sets
out a sketch of sea life with sea characters, such as the
inimitable First Lord, the captain, the bos'un's mate,
the 'bumboat woman,' l and the gruesome Dick Deadeye.
The First Lord has a dim notion of wedding the
captain's fair daughter, who is attached to Kalph
Eackstraw, that ' common ' sailor, the epithet seeming
to her a bit of fine irony. The author is fond of
dwelling on a favourite utopian theory a reversal of the
different classes of society, showing the oddities that
result from a change of position. The bumboat woman
reveals that she had changed the ' common sailor ' with
the captain at nurse, who accordingly at the close take
up their proper positions. But as I said, the story is
nothing. It is the characters and humour that attract.

1 Whenever I went on board, he would beckon me down below.
' Come down, Little Buttercup, come ' (for he loved to call me so).

The Bumboat Woman's Story.

64 THE SAVOY OPERA

Here, too, like the author of ' Pickwick,' Gilbert has
furnished sayings which have become the currency of
social life. Nothing gave the public more enjoyment
and the saying is still in favour than the 'What,
never ? Well, hardly ever ! ' of the captain.

Though related to a peer,
I can haul, reef, and steer,

And ship a selvagee ;
I am never known to quail
At the fury of a gale,

And I'm never, never sick at sea !
ALL. What, never ?
CAPT. No, never I
ALL. What, never ?
CAPT. Hardly ever !
ALL. He's hardly ever sick at sea !

Then give three cheers, &c.
And again :

Bad language or abuse
I never, never use,

Whatever the emergency ;
Though ' Bother it ! ' I may
Occasionally say,

I never use a big, big I). 1

This ' big, big D ' also became a stock phrase. The
expressive music to the interrogation, ' What, never ? '
will be recalled.

1 When Jack Tars growl, I believe they growl

With a big, big D

But the strongest oath of the Hot Cross Bun

Was a mild, ' Dear me ! 'Bab Ballads.

1 H.M.S. PINAFORE* 65

The ' Euler of the Queen's Navee ' is known to every-
one, and has done service in newspapers, in talk, and
in Parliament. Seldom, indeed, has there been a
happier combination than in this character. There were
capital good things to say, capital music to sing, and a
capital comedian to sustain the part. The spare, wiry
figure of Grossmith, with his whitened hair and blue
uniform, his dignified bearing, quiet and distinct
voicing, was long enjoyed by the public. The satire,
exaggerated as it was, told ; the official methods were
good-naturedly ridiculed. This tranquil reserve is with
our author always preparatory to a mirth-moving con-
trast.

The First Lord thus introduces himself :

I am the monarch of the sea,
The ruler of the Queen's Navee,
Whose praise Great Britain loudly chants.

COUSIN HEBE
And we are his sisters, and his cousins, and his aunts !

EEL.

And we are his sisters, and his cousins, and his aunts !

SIR JOSEPH

But when the breezes blow,
I generally go below,
And seek the seclusion that a cabin grants !

COUSIN HEBE

And so do his sisters, and his cousins, and his aunts !

66 THE SAVOY OPERA

ALL
And so do his sisters, and his cousins, and his aunts.

His sisters and his cousins,

Whom he reckons up by dozens,
And his aunts !

The briny spirit of this capital song was caught to
perfection by the composer. The opening, with its stately
Handelian treatment, contrasted with the pleasantly
exuberant intrusion of the female voices, ' And we are
his sisters, and his cousins, and his aunts,' so pert and
rollicking. This, again, has become a popular quotation. 1
How lively, too, is Sir Joseph's lesson of politeness with
which he goes off :

For I hold that on the seas,

The expression, ' if you please,'

A particularly gentlemanly tone imparts.

1 Then up and answered William Lee
(The kindly captain's coxswain he,
A nervous, shy, low-spoken man),
He cleared his throat and thus began :
' You have a daughter, Captain Eeece,
Ten female cousins and a niece,
A ma, if what I'm told is true,
Six sisters, and an aunt or two.
' If you'd ameliorate our life,
Let each select from them a wife ;
And as for nervous me, old pal,
Give me your own enchanting gal ! '
Good Captain Eeece, that worthy man,
Debated on his coxswain's plan :
' I quite agree,' he said, ' Bill ;
It is my duty, and I will.'

' Captain Eeece,' in Bab Ballads.

'HM.S. PINAFORE' 67

There was an animation and humour in these trifling
words, and the strains even now ring pleasantly in our
ears.

Another often-quoted saying is the boast of being an
Englishman :

He is an Englishman !
For he himself has said it,
And it's greatly to his credit

That he is an Englishman !

That he is an Englishman !
For he might have been a Roosian,
A French, or Turk, or Proosian,

Or perhaps Itali-an !

Or perhaps Itali-an !
But in spite of all temptations
To belong to other nations,

He remains an Englishman !

The grotesqueness of this declaration is excellent satire
on frondeur vauntings. Almost as good is the fine
contrapuntal strain of the music, with its stately close.

One of the regular forms of the Gilbertian opera is
the fantastic dance into which the gravest, most decorous
characters burst tumultuously. These measures have
yet a quaint reserve, as though extorted from the
personages in question by the irresistible entrain of the
situation. Such was the trio between the captain,
the First Lord, and Josephine :

F 2

68 THE SAVOY OPERA

CAPTAIN

Never mind the why and wherefore,
Love can level ranks, and therefore,
Though his lordship's station's mighty,

Though stupendous be his brain,
Though your tastes are mean and flighty,

And your fortune poor and plain,

CAPTAIN AND SIR JOSEPH
Ring the merry bells on board-ship,
Eend the air with warbling wild,

For the union of 1S j lordship

With a humble captain's child !
CAPT. For a humble captain's daughter
Jos. (aside). For a gallant captain's daughter.
SIR JOSEPH. And a lord who rules the water
Jos. (aside). And a tar who ploughs the water.

ALL
Let the air with joy be laden,

Eend with songs the air above,
For the union of a maiden

With a man who owns her love.

The music here was delightful, particularly where the
characters answer each other in deprecating fashion :

For a humble captain's daughter
And a lord who rules the water
And a tar who ploughs the water.

Which led to the melodious chime
Eing the merry bells, &c.

'H.M.S. PINAFORE' 69

which in its turn brought on the fantastic and most
original dance. How many times that used to be called
for and repeated !

But the words without their expressive music lose
half their effect. As we read them the strains flutter on
the ear. Thus with Buttercup's song :

DUET LITTLE BUTTERCUP AND CAPTAIN

BUTTEECUP

Things are seldom what they seem,
Skim milk masquerades as cream ;
Highlows pass as patent leathers ;
Jackdaws strut in peacocks' feathers.

CAPT. (puzzled). Very true,
So they do.

BUTTEECUP

Black sheep dwell in every fold ;
All that glitters is not gold ;
Storks turn out to be but logs ;
Bulls are but inflated frogs.

CAPT. (guzzled). So they be,
Frequentlee.

Here the notes of ' Very true,' &c., are most appropriate.
Gilbert's rhymes, too, how free and easy !

Sailors sprightly,
Always rightly
Welcome ladies so politely,
and again

Gaily tripping,
Lightly skipping,

7o THE SAVOY OPERA

Flock the maidens to the shipping,
Flags and guns and pennants dipping
All the ladies love the shipping.

It is only when we think of the more conventional
libretto that we. see the novelty of the thing ; the words
asserting themselves equally with the music and requiring
to be taken seriously.

Gilbert, too, excels in imparting a gravity to some
platitude. As when Buttercup hesitatingly reveals her
love, the captain replies tranquilly, ' Ah, Little Buttercup,
still on board ; that is not quite right, little one. It
would have been more respectable to have gone on shore
before dusk ' ; and when Josephine reveals to her father
her love for the ' common sailor,' he soothes her : ' Come,
my child, let us talk this over. In a matter of the heart
I would not coerce my daughter. I attach but little
value to rank or wealth but the line must be drawn
somewhere.'

There have since been revivals of these old favourites,
such as the ' Sorcerer,' 'H.M.S. Pinafore,' the 'Mikado,'
' Trial by Jury,' and on each occasion great efforts
were made to excel in mounting and decoration all
previous displays. 1 It would seem, however, to be the
result of the ' form and pressure of the time ' that

In the ' Pinafore ' a regular deck-flooring was laid down, and a per-
fect reproduction of a man-of-war constructed, under the direction of
qualified persons from the dockyards.

REVIVALS 7 r

revivals rarely answer save under special conditions.
Where the work has been thoroughly appreciated, the
very familiarity and the enjoyment of its good things
work against it : the recollection is too fresh even after
the interval of almost a generation there is a sugges-
tion of old fashion. In light comic opera music, too,
its forms reflect the impression of the moment, and
have become familiar from constant imitation and
repetition, until at last the attraction is altogether ex-
hausted. This is particularly felt where phrases have
become part and parcel of the language, such as the
'hardly ever' allusions reproduced in 'Utopia.' We
are apt to exclaim ' Connu ! ' We have had some
recent revivals of comic operas, such as ' Madame
Angot,' ' Madame Favart,' and the like, and it was
difficult to listen to them without this sense of ' flat-
ness ' and staleness. 1

1 At a late revival the cast was :

H.M.S. PINAFORE

THE LASS THAT LOVED A SAILOB

Dramatis persons

THE RT. HON. SIB JOSEPH PORTEB, K.C.B.

(First Lord of the Admiralty) . . MB. GEORGE GBOSSMITH
CAPT. COBCOBAN (commanding H.M.S.

Pinafore) MB. RUTLAND BABBINGTON

RALPH RACKSTBAW (Able Seaman) . . MB. J. G. ROBERTSON

DICK DEADEYE (Able Seaman) . . . MB. RICHABD TEMPLE

BILL BOBSTAY (Boatsivain's Mate) . . MB. R. CUMMINGS

72 THE SAVOY OPERA

It is amusing at this distance of time to read the sort
of reserved criticism and measured encouragement with
which these works were received, and which contrast with
the present hearty approbation which welcomes every
effort of the authors. A truly absurd appreciation was that
of a well-known journal, which gravely announced that the
last portion of the title might have been omitted with ad-
vantage, and that it should have stood simply ' H.M.S.'

Most of these operas are peculiarly acceptable to
amateurs ; and it can scarcely be conceived to what an
extent they have been performed under these conditions.
Every leading comique of the private stage feels himself
drawn to reproduce Grossmith as the First Lord in
'Pinafore.' The management and proprietors of the
copyright, though jealous enough in enforcing their
strict rights, have always shown themselves liberal in
these cases, especially where a charity is in question.
One of the most successful of these productions was a
performance given at Dublin Castle some years ago,

BOB BECKET (Carpenter's Mate) . . . MB. E. LEWIS

JOSEPHINE (the Captain's Daughter) . . Miss GEEALDINE ULMAR

HEBE (Sir Joseph's First Cousin) . . . Miss JESSIE BOND
LITTLE BUTTERCUP (a Portsmouth Bumboat

Woman) Miss ROSINA BRANDRAM

FIRST LORD'S SISTERS, HIS COUSINS, HIS AUNTS, SAILORS,
MARINES, &c.

SCENE. Quarterdeck of H.M.S. Pinafore,
oif Portsmouth

ACT I. Noon. ACT. II. Night.

THE ^PIRATES OF PENZANCE' 73

in honour of the Duke of Edinburgh, who was on a visit
there, and in aid of the prevailing Irish distress. It was
excellently played, Sir Joseph Porter being admirably
given by Captain McCalmont, M.P., and the heroine by
Miss Geraldine FitzGerald. It was really a brilliant
spectacle, and was repeated several times with excellent
pecuniary results. 1

After two years' interval, during which time the
public had thoroughly learned to appreciate its enter-
tainers and their methods, a fresh opera was presented.

Produced at the Opera Comique Theatre, London, Saturday,
April 3, 1880, under the management of Mr. B. D'Oyly Carte

THE PIEATES OF PENZANCE

Dramatis persons

MAJOK-GENEKAL STANLEY .... MB. GEORGE GROSSMITH

THE PIRATE KING MR. EICHARD TEMPLE

SAMUEL (his Lieutenant) .... MR. GEORGE TEMPLE

FREDERIC (the Pirate Apprentice) . . MR. GEORGE POWER

SERGEANT OF POLICE ..... MR. EUTLAND BARRINGTON

MABEL s Miss MARION Hoop

EDITH . Miss BOND

'/- (General Stanleys Dauqliters) ...

KATE . Miss GWYNNE

ISABEL ' Miss LA HUE

RUTH (a Private Maid-of -all- Work). . . Miss EMILY CROSS

Chorus of Pirates, Police, and General Stanley's Daughters.

The ' Pirates of Penzance ' seems one of the most
piquant and picturesque events of the series. There is

1 At schools, too, these pieces are in great demand. Some time ago,
at one of our great colleges, where nearly the whole series has been per-
formed, a professor rewrote and refitted one of the operas, introducing

74 THE SAVOY OPERA

a colour about it, with a genuine and piquant story.
Like the ' Sorcerer,' it was suggested by an allusion
in one of the old ' Bab Ballads,' and was based on a
characteristic Gilbertian idea viz. that of a band of
pirates whose proceedings were regulated by a sort of
topsy-turvy logic. Thus they sing :

Pour, pour the pirate sherry ;

Fill, fill the pirate glass :
And to make us more the merry,

Let the pirate bumper pass.
For to-day our pirate 'prentice

Rises, from indenture freed :
Strong his arm and keen his scent is,

He's a pirate now indeed !
ALL. Here's good luck to Frederic's ventures,
Frederic's out of his indentures.

Frederic, a rather pedantic young pirate, and which
was performed by George Power in an interesting fashion
and with due sincerity, is described : ' a keener hand at
scuttling a Cunarder, or cutting out a White Star, never
shipped a handspike.' Euth is attached to him, whom
he describes as ' the remains of a fine woman.' A bevy
of young girls find their way to the pirates' den, who

lyrics of his own, and shaping the whole on entirely new lines. He
was so confiding as to forward a copy to the author, reckoning on
sympathy and commendation even. It need not be said he little
knew Mr. Gilbert, and still less recked of the sound ' wigging ' he
was to receive for this tampering. The poor professor was scared by
hearing of impending pains and penalties.

THE PIBATES OF PENZANCE

7 6 THE SAVOY OPERA

prove to be the daughters of ' Major-General Stanley '
who is a happy specimen of our author's method
of dealing with such characters. There is something
quaintly ' impossible ' about him, and yet he is plausible.
An ordinary writer dealing with him must have followed
the conventional lines of grotesque military command :
and we all know the typical bouffe military general, who
in an exaggerated costume will utter grotesque sayings
and exhibit pantomime dances and songs. But this
major-general is intellectually grotesque.

The pirates surround them, when this droll and
really dramatic situation follows :

PIRATES

Here's a first-rate opportunity
To get married with impunity,
And indulge in the felicity
Of unbounded domesticity.
You shall quickly be parsonified,
Conjugally matrimonified,
By a doctor of divinity
Who resides in this vicinity.

Then Mabel, one of his daughters, gives this caution :

Hold, monsters ! Ere your pirate caravanserai
Proceed, against our will, to wed us all,

Just bear in mind that we are wards in Chancery,
And father is a major-general !
SAMUEL (cowed)

We'd better pause, or danger may befall ;
Their father is a major-general.

THE 'PIRATES OF PENZANCE* 77

LADIES. Yes, yes ; he is a major-general ! (The MAJOB-
GENEEAL has entered unnoticed on rock.)
GEN. Yes, I am a major-general !
ALL. You are !

Hurrah for the major-general !
GEN. And it is it is a glorious thing
To be a major-general !

ALL. It is !

Hurrah for the major-general !

The major-general tells his story according to the
approved form :

I am the very pattern of a modern major-general,

I've information vegetable, animal, and mineral ;

I know the kings of England, and I quote the fights

historical,

From Marathon to Waterloo, in order categorical ;
I'm very well acquainted, too, with matters mathematical,
I understand equations, both the simple and quadratical,
About binomial theorem I'm teeming with a lot o' news
With many cheerful facts about the square of the hypote-
nuse.
ALL. With many cheerful facts, &c.

GENEEAL

I'm very good at integral and differential calculus,
I know the scientific names of beings animalculous,
In short, in matters vegetable, animal, and mineral,
I am the very model of a modern major-general.

ALL

In short, in matters vegetable, animal, and mineral,
He is the very model of a modern major-general.

And so on. This was an extraordinary specimen of the
' patter ' song, continued for many verses and delivered

7 8 THE SAVOY OPERA

with equal rapidity and accuracy by Grossmith. A
principle of the pirates in their business is to be merciful
to all ' orphans,' they being orphans themselves ; and it
was reasonably urged that this bit of humanitarianism
seriously interfered with profits, as everyone pleaded
orphanage, the major-general among the rest.

GEN. (aside). And do you mean to say that you would
deliberately rob me of these the sole remaining props of my
old age, and leave me to go through the remainder of my
. life unfriended, unprotected, and alone ?

KING. Well, yes, that's the idea.

GEN. I ask you, have you ever known what it is to be an
orphan ?

KING. Often !

GEN. Yes, orphan. Have you ever known what it is to
be one ?

KING. I say, often.

ALL (disgusted). Often, often, often (turning away).

GEN. I don't think we quite understand one another. I
ask you, have you ever known what it is to be an orphan, and
you say 'orphan.' As I understand you, you are merely
repeating the word ' orphan ' to show that you understand me.

KING. I didn't repeat the word often.

GEN. Pardon me, you did indeed.

KING. I only repeated it once.

GEN. True, but you repeated it.

KING. But not often.

GEN. Stop, I think I see where we are getting confused.
When you said 'orphan,' did you mean 'orphan,' a person
who has lost his parents, or often frequently ?

KING. Ah, I beg pardon, I see what you mean frequently.

GEN. Ah, you said often frequently.

THE ' PIRATES OF PENZANCE'

KING. No, only once.

GEN. (irritated}. Exactly, you said often, frequently,
only once.

This is perhaps too fragile for the stage, but still is
amusing. A body of pirates naturally suggests other
bodies who control them. Here was the author's oppor-
tunity for introducing the police, a topic handled with
much humour. There is really nothing better than all
the passages dealing with the ' Force,' and the naive
expression of their emotions not at all far-fetched is
delightful.

(Enter POLICE, marching in double file. They form in
line facing audience)

SEEGEANT
When the foeinan bares his steel,

Tarantara, tarantara !
We uncomfortable feel,

Tarantara !
And we find the wisest thing,

Tarantara, tarantara !
Is to slap our chests and sing

Tarantara !
For when threatened with cmeutes,

Tarantara, tarantara !
And your heart is in your boots,

Tarantara !
There is nothing brings it round,

Tarantara, tarantara !
Like the trumpet's martial sound,

Tarantara, tarantara !
Tarantara, ra-ra-ra-ra !
ALL. Tarantara, ra-ra-ra ra !

8o THE SAVOY OPERA

MABEL

Go, ye heroes, go to glory,
Though you die in combat gory
Ye shall live in song and story.

Go to immortality.
Go to death, and go to slaughter ;
Die, and every Cornish daughter
With her tears your grave shall water.

Go, ye heroes ; go and die.
ALL. Go, ye heroes ; go and die.

POLICE

Though to us it's evident,

Tarantara, tarantara !
These attentions are well meant,

Tarantara !
Such expressions don't appear,

Tarantara, tarantara
Calculated men to cheer,

Tarantara !

Who are going to meet their fate
In a highly nervous state,

Tarantara !
Still to us it's evident
These attentions are well meant.

Tarantara !

(EDITH crosses to SEBG. C.)

EDITH

Go, and do your best endeavour,
And before all links we sever,
We will say farewell for ever,

Go to glory and the grave !
ALL. Yes, your foes are fierce and ruthless.

THE ' PIRATES OF PENZANCE' 81

SERGEANT

We observe too great a stress
On the risks that on us press,
And of reference a lack
To our chance of coming back ;
Still, perhaps it would be wise
Not to carp or criticise,
For it's very evident
These attentions are well meant.

ALL

Yes, to them it's evident
Our attentions are well meant.

Tarantara, ra-ra-ra-ra.
Go, ye heroes, go to glory, &c.

GEN. Away, away !

POLICE (without moving). Yes, yes, we go.

GEN. These pirates slay.

POLICE. Yes, yes, we go.

GEN. Then do not stay.

POLICE. We go, we go.

GEN. Then why all this delay ?

POLICE

All right we go, we go.
Yes, forward on the foe,
Ho, ho ! Ho, ho !
We go, we go, we go !
Tarantara-ra-ra !
Then forward on the foe !
ALL. Yes, forward !
POLICE. Yes, forward !
GEN. Yes, but you don't go !
POLICE. We go, we go, we go !
ALL. At last they really go Tarantara-ra-ra.

82 THE SAVOY OPERA

This rises almost to the style of grand opera, and
the contrast between the stirring strains of encourage-
ment ' Go ! Go ! ' and the mild protest of ' the Force '
is in the best style of burlesque. The music, too, is
finely wrought and ' worked up ' into a telling stretto.
Later, the Force is constantly ' heard approaching,' and
their solemn ' tramping ' strains are most effective and
stirring.

(Enter POLICE, marching in single file)

SERGEANT
Though in body and in mind,

Tarantara, tarantara !
We are timidly inclined,

Tarantara !
And anything but blind,

Tarantara, tarantara !
To the danger that's behind,
Tarantara !
Yet, when the danger's near,

Tarantara, tarantara !
We manage to appear,

Tarantara !
As insensible to fear
As anybody here.

Tarantara, tarantara, ra-ra-ra-ra !

Who will forget, too, the sergeant's song :

When a felon's not engaged in his employment,
ALL. His employment.

SEEG. Or maturing his felonious little plans,
ALL. Little plans.

THE l PIRATES OF PENZANCE' 83

SEEGEANT

His capacity for innocent enjoyment
Is just as great as any honest man's.
Our feelings we with difficulty smother
When constabulary duty's to be done ;
Ah, take one consideration with another,
A policeman's lot is not a happy one.

When the enterprising burglar's not a-burgling,
When the cutthroat isn't occupied in crime,
He loves to hear the little brook a-gurgling,
And listen to the merry village chime.
When the coster's finished jumping on his mother,
He loves to lie a-basking in the sun ;
Ah, take one consideration with another,
The policeman's lot is not a happy one. 1

This capital song has become a general favourite.
The taking ' one consideration with another, the police-
man's lot is not a happy one,' the coster 'jumping on
his mother,' and the ' burgling ' are perpetual topics for
quotation. 2

At the time the next opera was being prepared viz.
in 1881 the community was afflicted by what was
called the aesthetic craze, which, as is well known, was
inspired by that clever personage Mr. Oscar Wilde, a

1 A grotesque element in this droll song was the repetition by
the constables of the last words syllables, rather of each line, often
with very original emphasis and effect, such as, ' 'culty smother,' ' a-
gurgling,' and ' 'cent enjoyment.'

2 I have been assured, too, that these passages are in equal favour
with the Force itself, and their lot not being ' a happy one ' is frequently
quoted.

8 4 THE SAVOY OPERA

man who has since proved himself the possessor of some
really solid gifts. There was a jargon then used by
followers of the cult of which the phrase ' quite too
utter' was a fair specimen. All this has now passed
away. Naturally it tempted the satirists, Burnand
and Du Maurier, whose Postlethwaite and Maudle and
the ' Cimabue Browns ' had already been diverting the
town. ' Patience ' was exceedingly popular, and the
absurd figure of Bunthorne with his sunflower and
attendant troupe of admiring ' damosels ' was highly
humorous. It certainly helped to ' kill off ' the mania.

Produced at the Opera Comique, London, on Saturday,
April 23, 1881, under the management of Mr. It. D'Oyly Carte

PATIENCE

BUNTHOENE'S BEIDE

Bramatts persona*

REGINALD BUNTHORNE (a Fleshly Poet) . ME. GEORGE GEOSSMITH
AECHIBALD GEOSVENOE (an Idyllic Poet) . MR. RUTLAND BAERINGTON
COLONEL CALVEBLEY^ /MR. WALTER BROWNE

MAJOR MURGATHOYD
LIEUT. THE DUKE OF

(Officers of Dragoon I MB. FRANK THORNTON
Guards) ] ME. DURWARD LELY

DUNSTABLE

Chorus of Officers of Dragoon Guards.
THE LADY ANGELA ^ /Miss JESSIE BOND

THE LADY SAPHIR
THE LADY ELLA
THE LADY JANE

Miss JULIA GWYNNE

[(Rapturous Maidens) "

' MlSS FOBTESCUE

(Miss ALICE BARNETT

PATIENCE (a Dairy Maid) .... Miss LEONORA BEAHAM
Chorus of Rapturous Maidens,

'PATIENCE* .85

ACT I. Exterior of Castle Bunthorne
ACT II. A Glade

Musical Conductor MK". FBANK CELLIEB

Stage Manager MK. W. H. SEYMOUR

The opera produced under the personal direction of the author and
composer. New scenery by H. EMDEN. The aesthetic dresses designed
by the author and executed by Miss FISHER. Other dresses by MESSRS.
MOSES & SON, MESSRS. G. HOBSON & Co., and MADAME AOGUSTE. The
dances arranged by MR. J. D'AUBAN.

At 8 a new and original Vaudeville, by FRANK DESPREZ, music by
EATON FANNING, called

MOCK TUETLES

MR. WRANGLEBUHY MR. ARTHUR LAW

MRS. WRANGLEBURY Miss MINNA Louis

MRS. BOWCHER . . . . . Miss BRANDRAM

JANE Miss SYBIL GREY

No fees of any kind.
Acting Manager MR. GEORGE EDWARDES

The music in ' Patience ' attracted a large class of
admirers, I believe, on account of its many taking
ballads and tunes. Numbers even the more unmusical
were attracted by such songs as the ' Silver Churn,'
which they sang or tried to sing. Even officers and
prosaic beings of all kinds contrived to ' hum ' or growl
this taking melody. I have often thought that here
was a hint of which note might have been profitably
taken, and that this element of popularity might have
been more steadily developed. But the fact is that in
later productions the composer seemed to depart further
and yet further from the original model. He appeared

THE SAVOY OPERA

to strive more after broad musical effects, developed
choruses and finales, after the pattern of grand
opera. If we look through all these works we shall
find that tunes of the ballad pattern have been what
attracted the public most.

I SHALL HjWEfO BE CO

We have seen that Gilbert's method of devising
choruses is original enough, because he individualises
them. There is something very piquant in the group of
officers belonging to the 35th Dragoons. We always
welcome the honest fellows as they enter. They have

< PATIENCE' 87

double the effect of a large professional chorus. How
pleasantly, and legitimately, too, the author plays with
the slight topic of uniform ! One would think that little
could be made of such a theme :

DUKE. We didn't design our uniforms, but we don't see
how they could be improved.

SONG COLONEL
When I first put this uniform on,
I said, as I looked in the glass,
1 It's one to a million
That any civilian
My figure and form will surpass.
Gold lace has a charm for the fair,
And I've plenty of that, and to spare,
While a lover's professions,
When uttered in hessians,
Are eloquent everywhere ! '
A fact that I counted upon
When I first put this uniform on I

CHOKUS OF DRAGOONS
By a simple coincidence few

Could ever have reckoned upon,
The same thing occurred to me, too,

When I first put this uniform on !

COLONEL

I said, when I first put it on,
' It is plain to the veriest dunce
That every beauty
Will feel it her duty
To yield to its glamour at once.

88 THE SAVOY OPERA

They will see that I'm freely gold-laced
In a uniform handsome and chaste '-
But the peripatetics
Of long-haired aesthetics
Are very much more to their taste
Which I never counted upon
When I first put this uniform on !

CHORUS
By a simple coincidence few

Could ever have counted upon,
I didn't anticipate that,

When I first put this uniform on.

PATIENCE'

The dignity of the notion ' When I first put this uni-
form on ' is pleasantly expressed by the spirited, martial
clang of the tune, which almost exactly conveys the
sentiment. In the description of the sesthetical youth
the authors revel :

""(wo

A most intense young man,
A soulful-eyed young man,
An ultra-poetical, super-sesthetical,
Out-of-the-way young man.

THE SAVOY OPERA

A Japanese young man,
A blue and white young man,
Francesca di Rimini, niminy, piminy,
Je-ne-sais-quoi young man.

A Chancery Lane young man,
A Somerset House young man,

A very delectable, highly respectable,
Threepenny -bus young man.

A pallid and thin young man,
A haggard and lank young man,
A greenery -yallery, Grosvenor Gallery,
Foot-in-the-grave young man.

MISS L. BEAHAM AS PATIENCE

92 THE SAVOY OPERA

A Sewell and Cross young man,
A Howell and James young man,
A pushing young particle what's the next article ?
Waterloo House young man.

ENSEMBLE
. BUNTHOENE
Conceive me, if you can,
A crotchety, cracked young man,
An ultra-poetical, super-sesthetical,
Out-of-the-way young man.

GBOSVENOB

Conceive me, if you can,
A matter-of-fact young man,
An alphabetical, arithmetical,
Every-day young man.

The exuberant fertility with which the idea is here
varied will be noted. The ' greenery-yallery, Grosvenor
Gallery,' for rhyme and point is first rate, and has justly
become proverbial.

At the close of the piece the hero becomes

An every-day young man,

A commonplace type

With a stick and a pipe,
And a half-bred black and tan.

A suggestion of the story is found in that lively
' Bab Ballad ' the ' Eival Curates,' wherein the Kev.
Hopley Parker figures. 1

Some of the humorous topics were insisted on, to the sacrifice of
the sense of refinement. The verses on ' Colocynth and Calomel ' we

1 PATIENCE'

/csTt|E>ic! HE is
yesjes f An

THE SAVOY OPERA

This tide of prosperity suggested a larger and more
ambitious scheme and an important change of methods.
The contracted Opera Comique, with its stinted accom-
modation, was quite unsuited to the run of popularity
which the associates might count upon. The shrewd
and adventurous D'Oyly Carte was now planning a
theatre that was to be specially suited to this new genre
of opera. Everything was carefully mapped out and
calculated the situation, size and arrangement and
the plans of a beautiful and costly building were being

could have wished away. An over-delicate critic, indeed, was shocked at
the word ' fleshly.' A tall and somewhat portly lady, with a good
voice, who made a semblance of accompanying herself on the violoncello,
was made to dwell rather too persistently on her physical gifts.
Such topics do not appeal to the humorous sense, and are something of
a humiliation for the performer. Her appeal to her admirer rather, to
the person she admired is, however, exceedingly humorous : ' But do
not dally too long, Keginald ; for I am ripe, Eeginald, and already I am
decaying. Better secure me ere I have gone too far.' It must be flatter-
ing to the author to find that the freaks of what has been called his
' topsyturveydom,' though presumed to be confined to the land of dreams
and nightmares, are constantly reproduced in the matter-of-fact course
of life. Thus the consequences of a union of offices in one person was
grotesquely illustrated in the Mikado ; and, in the discussion on the
Parish Councils Bill, it was pointed out that ' one body acting as a parish
council will have to report to itself, acting as a district council, that
allotments are wanted. It will then, acting as a district council, in-
quire into the accuracy of its own report as a parish council. A
situation,' added the speaker, ' worthy of Gilbert and Sullivan.' And
not long since, a well-known Liverpool magistrate was summoned
with others for an offence. ' Can I fine myself ? ' he asked. It was
suggested that he should inflict double the usual penalty. The new
Pooh-Bah accordingly fined himself, and then administered a severe
rebuke to himself and to the other culprits !

THE SAVOY THEATRE 9;

matured. It was difficult, however, to procure a site,
and a suitable one was at last found between the Strand
and the Embankment, and in the precincts of the
old Savoy. The patch of ground was not very large,
and rather awkwardly situated on a steep descent
with inconvenient approaches, wedged in, as it were,
among surrounding buildings. It had to be reached
through a sort of tunnel. Yet with all these incon-
veniences the ingenuity of the architect and owner
contrived that it should have approaches on three sides
at least. The chief portion of the interior, like that of
the Criterion, was excavated ; and the stage lay far below
the street level. Though many new theatres have since
been erected and Gilbert himself has indulged in the
luxury of building one none have surpassed the Savoy
in elegance, comfort, or even luxuriousness. 1

1 On the eve of the opening our manager issued an address to the
public, setting forth his views, adding also a minute account of the
details of construction. It will be noted that he claims that this was
the first theatre which was lighted throughout, both stage and auditorium,
by electricity.

To the Public

LADIES AND GENTLEMEN, I beg leave to lay before you some details
of a new theatre, which I have caused to be built with the intention of
devoting it to the representation of the operas of Messrs. W. S. Gilbert
and Arthur Sullivan, with whose joint productions I have, up to now,
had the advantage of being associated.

The Savoy Theatre is placed between the Strand and the Victoria
Embankment, on a plot of land of which I have purchased the freehold,
and is built on a spot possessing many associations of historic interest,

96 THE SAVOY OPERA

I recall the night after the theatre was finished
and ready to open, when a number of friends and

being close to the Savoy Chapel and in the ' precinct of the Savoy,'
where stood formerly the Savoy Palace, once inhabited by John of Gaunt
and the Dukes of Lancaster, and made memorable in the Wars of the
Eoses. On the Savoy Manor there was formerly a theatre. I have used
the ancient name as an appropriate title for the present one.

The new theatre has been erected from the designs and under the
superintendence of Mr. C. J. Phipps, F.S.A., who has probably more
experience in the building of such places than any architect of past or
present times, having put up, I believe, altogether thirty-three or thirty -
four theatres.

The facade of the theatre towards the Embankment, and that in
Beaufort Buildings, are of red brick and Portland stone. The theatre
is large and commodious, but little smaller than the Gaiety, and will
seat 1,292 persons.

I think I may claim to have carried out some improvements deserving
special notice. The most important of these are in the lighting and
decoration.

From the time, now some years since, that the first electric lights in-
lamps were exhibited outside the Paris Opera House, I have been con-
vinced that electric light in some form is the light of the future for use
in theatres, not to go further. The peculiar steely blue colour and the
flicker which are inevitable in all systems of ' arc ' lights, however,
make them unsuitable for use in any but very large buildings. The in-
vention of the ' incandescent lamp ' has now paved the way for the
application of electricity to lighting houses, and consequently theatres.

The ' arc ' light is simply a continuous electric spark, and is nearly
the colour of lightning. The incandescent light is produced by heating
a filament of carbon to a white heat, and is much the colour of gas a
little clearer. Thanks to an ingenious method of ' shunting ' it, the
current is easily controllable, and the lights can be raised or lowered at
will. There are several extremely good incandescent lamps, but I. finally
decided to adopt that of Mr. J. W. Swan, the well-known inventor, of
Newcastle-on-Tyne. The enterprise of Messrs. Siemens Bros. & Co.
has enabled me to try the experiment of exhibiting this light in my
theatre. About 1,200 lights are used, and the power to generate a suf-
ficient current for these is obtained from large steam-engines, giving

THE SAVOY THEATRE

critics, with others distinctly or indistinctly connected
with the stage, attended to observe and admire, and

about 120 horse-power, placed on some open land near the theatre. The
new light is not only used in the audience part of the theatre, but on
the stage, for footlights, side and top lights,' &c., and (not of the least
importance for the comfort of the performers) in the dressing-rooms in
fact, in every part of the house. This is the first time that it has been
attempted to light any public building entirely by electricity. What is
being done is an experiment, and may succeed, or fail. It is not possible,
until the application of the accumulator or secondary battery the re-
serve store of electric power - becomes practicable, to guarantee abso-
lutely against any breakdown of the electric light. To provide against
such a contingency gas is laid on throughout the building, and the
' pilot ' light of the central sun-burner will be always kept alight, so that
in case of accident the theatre can be flooded with gaslight in a few
seconds. The greatest drawbacks to the enjoyment of theatrical per-
formances are, undoubtedly, the foul air and heat which pervade all
theatres. As everyone knows, each gas-burner consumes as much oxygen
as many people, and causes great heat besides. The incandescent lamps
consume no oxygen, and cause no perceptible heat. If the experiment
of electric lighting succeeds, there can be no question of the enormous
advantages to be gained in purity of air and coolness advantages the
value of which it is hardly possible to over-estimate.

The decorations of this theatre are by Messrs. Collinson & Lock.

I venture to think that, with some few exceptions, the interiors of
most theatres hitherto built have been conceived with little, if any,
artistic purpose, and generally executed with little completeness, and
in a more or less garish manner. Without adopting either of the styles
. known as ' Queen Anne ' and ' Early English,' or entering upon the so-
called ' assthetic ' manner, a result has now been produced which I feel
sure will be appreciated by all persons of taste. Paintings of cherubim,
muses, angels, and mythological deities have been discarded, and the
ornament consists entirely of delicate plaster modelling, designed in the
manner of the Italian Renaissance. The main colour-tones are white,
pale yellow, and gold gold used only for backgrounds or in largo
masses, and not following what may be called, for want of a worse
name, the Gingerbread school of decorative art for gilding relief-work
.or mouldings. The back walls of the boxes and the corridors are in two

98 THE SAVOY OPERA

loud was the admiration expressed. On October 10,
1881, the theatre opened with ' Patience,' transferred

tones of Venetian red. No painted act-drop is used, but a curtain of
creamy satin, quilted, having a fringe at the bottom and a valance of
embroidery of the character of Spanish work, keeps up the consistency
of the colour scheme. This curtain is arranged to drape from the
centre. The stalls are covered with blue plush of an inky hue, and the
balcony seats are of stamped velvet of the same tint, while the curtains
of the boxes are of yellowish silk, brocaded with a pattern of decorative
flowers in broken colour.

To turn to a very different subject. I believe a fertile source of annoy-
ance to the public to be the demanding or expecting of fees and gratui-
ties by attendants. This system will, therefore, be discountenanced.
Programmes will be furnished and wraps and umbrellas taken charge of
gratuitously. The attendants will be paid fair wages, and any attendant
detected in accepting money from visitors will be instantly dismissed.
I trust that the public will co-operate with me to support this reform
(which already works so well at the Gaiety Theatre) by not tempting the
attendants by the offer of gratuities. The showing-in of visitors and
selling programmes will, therefore, not be sublet to a contractor, who
has to pay the manager a high rental, to recoup which he is obliged to
extract by his employes all he can get out of the public ; nor will the
refreshment saloons be sublet, but they will be under the supervision of
a salaried manager, and the most careful attention will be given to pro-
curing everything of the very best quality.

The theatre will be opened under my management on Monday next,
October 10, and I have the satisfaction to be able to announce that the
opening piece will be Messrs. W. S. Gilbert and Arthur Sullivan's opera,
Patience, which, produced at the Opera Comique on April 23, is still
running with a success beyond any precedent.

The piece is mounted afresh with new scenery, costumes, and in-
creased chorus. It is being again rehearsed under the personal direction
of the author and composer, and on the opening night the opera will be
conducted by the composer.

I am, ladies and gentlemen, your obedient servant,

E, D'OYLY CARTE,
BEAUFORT HOUSE, STRAND :
October 6, 1881,

THE SAVOY THEATRE 99

from the Opera Comique, which was destined to enjoy
a fresh lease of popularity.

DETAILS OF CONSTRUCTION

This new theatre has been erected for Mr. D'Oyly Carte from the
designs and under the superintendence of Mr. C. J. Phipps, F.S.A.,
architect of the Gaiety, the Haymarket, the Princess's, and other theatres.
It is situate on the west side of Beaufort Buildings, Strand, and occupies
a site absolutely isolated on all four sides, thus affording free and ex-
peditious entrance and exit for all classes of the public. The entrances
are thus distributed, and are arranged so as to utilise the peculiar levels
of the site : For the stalls and dress circle, and for all persons coming
in carriages, the entrances are from Somerset Street, just off the Thames
Embankment. The pit is also entered here, and there is an entrance to
the upper circle. The audience for both these latter parts can come
direct from the Strand by a short flight of steps adjoining Beaufort
House. In Beaufort Buildings also is an entrance to, and on a level
with, the upper circle. The entrances before referred to, from the
Embankment, are on a level with the dress circle, and a few steps lead
down to the stalls and pit. The gallery is entered from Carting Lane, a
street in a direct line from the Embankment to the Strand. The royal
entrance is at the angle of Somerset Street and Carting Lane. The
stage entrance is in Herbert's Passage, and the box office for booking
seats during the day is situated close to the Strand at the angle of the
Beaufort Buildings frontage. The theatre is entered from Somerset
Street through a semicircular vestibule paved with black and white
marble, in which are the offices for booking and obtaining seats in the
evening. Doorways immediately opposite the entrances lead to' the
dress-circle corridor, out of which wide staircases will be found on both
sides of the theatre leading to the stalls. From this vestibule are also
means of communicating, by an ascending staircase, with the upper
circle, and by pass-doors to the pit staircase. All the entrances, passages,
and staircases are of fire-resisting material ; the nights of stairs are
supported at each end by solid brick walls, and each staircase has a
hand-rail on either side. There is no part of the theatre that has not
two means of both ingress and egress, and the stage is separated from
the auditory by a solid brick wall taken up completely through the roof.
Water laid on from the high-pressure mains is in several parts of the

H 2

coo THE SAVOY OPERA

The coup d'ceil, indeed, of a Savoy scene is always
amazingly brilliant without being dazzling, as happens

theatre, and every possible means has been taken to ensure both comfort
and safety to the audience. On the floor below the vestibule is a large
refreshment saloon for the pit, and contiguous to it a smoking room
opening out of the stalls corridor, with a separate boudoir lounge for
ladies. There are also refreshment saloons on the upper floors of the
theatre for both the upper circle and gallery, with all necessary retiring
and cloak rooms. The auditory is thus arranged: On either side of
the stage opening (which is 30 feet wide and 32 feet high) are three
private boxes on each of the three levels. These are divided by partitions
and ornamental pillars, and are surmounted by an arch spanning the
whole width of the proscenium, springing from a cornice on the level of
the gallery front. These boxes are richly upholstered in hangings of
gold-coloured brocaded silk. The orchestra is in front of the stage, and
is of sufficient capacity for a full band of twenty-seven or more musicians.
There are nine rows of stalls immediately adjoining the orchestra, seated
to hold 150 persons in arm-chairs, with ample space allowed for passing
between the several rows, and wide unimpeded gangways on either side
of the entrance passages. Behind the stalls are six rows of pit seats,
calculated to seat 250 persons, with a spacious open corridor behind for
standing and promenading. Above the pit, but at sufficient height to
allow of persons at the very back seeing the full height of the scenery,
is the dress circle of six rows of seats, with arm-chairs for 160 persons.
There are no pillars of any kind in the dress circle, so a clear, unob-
structed view of the stage is obtained from every seat. Above the dress
circle, but receding soxne 9 feet back from it, is the upper circle, seated
to accommodate 160 persons in five rows. The amphitheatre and gallery
recede 5 feet behind the upper circle, and will seat 400 1o 500 persons
in eight rows. The whole seating accommodation will be for 1,292 per-
sons. In each tier the balcony front takes the form of a horseshoe, that
being the best adapted for perfect sight of the stage. The ornamenta-
tion of these several balcony fronts is Benaissance in character, and is
elaborately moulded and enriched with the figures and foliage peculiar
to the Italian phase of the style, and gilded. The ceiling over the
auditory takes the form of an extended fan from the arch spanning the
proscenium, and is divided into a series of geometric panels, richly
modelled in Renaissance ornament in relief, of the same character as

THE SAVOY THEATRE iot

so often -when the limelight is profusely used. As
we have seen, the Savoy was one of the first theatres

the balcony fronts. Colour is sparingly used in the ceiling, the back-
ground of the ornament only being painted a light gold colour. The
proscenium arch is divided by ribs and cross-styles into a series of panels,
and the ornament in these is gilded. Over the proscenium in the
tympanum of the arch is a basso relievo of figures and foliated orna-
ment. The walls of the auditory are hung with a rich embossed paper,
in two tones of deep Venetian red. The seats are covered in peacock
blue, plush being used for the stalls and stamped velvet for the dress
circle. A pale-gold coloured satin curtain, with an embroidered valance,
takes the place of the usual painted act-drop. The stage, which is laid
with all the latest improvements in mechanical contrivances, is 60 feet
wide, by a depth from the float-light to the back wall of 52 feet. There
is a clear height above the stage of 56 feet for the working of the
scenery, and a sink below of 15 feet. Behind the stage, and occupying
the whole wing of the building in Herbert's Passage, are the dressing-
rooms. The theatre is fitted with a complete system of gas-lighting,
but this is only for use in case of emergency, the whole of the illumi-
nating for all parts of the establishment being by means of electricity.
This has been undertaken by Messrs. Siemens & Co., and the lights
adopted are those introduced by Swan, of Newcastle, and known as the
Swan incandescent light, the power necessary to generate the electric
current for so many lights being supplied by powerful steam-engines
placed in a separate building on the vacant land adjoining the theatre.
These ' Swan ' lights are of a beautiful colour, and in no way impair the
atmosphere of the theatre, and emit no heat. They are not of the
piercing brightness of the electric arc lights as seen in our streets and
elsewhere, and therefore not unpleasant to the eyes, this is the first
instance of a public building being lighted permanently in all its depart-
ments by the electric light. The exterior facade of the theatre is in
Somerset Street, facing the Thames Embankment, and both this and
the Beaufort Buildings frontage are built of red brick, with Portland
stone for all moulded parts, and are of the Italian style of architecture.
The contractors who have been engaged upon the works are as follows :
Patman & Fotheringham for the whole of the builder's work, including
the stage. Collinson & Lock have arranged the scheme of colour for
the interior, and have executed the painting, papering, and gilding, and

102 THE SAVOY OPERA

if not the first at which the electric light was scien-
tifically and elaborately 'laid on,' not merely 'in front
of the house,' but behind the scenes. No one who
has not seen it can conceive how elaborate and compli-
cated is the mechanism for the control of the lighting.
It is admittedly an enormous gain, and possibly a
saving in expense, for during the many years of its
existence the rich colouring of the salle has had to be
renewed, I believe, only once in fact, at this moment
it has all the air of a new theatre. The interior
is fresh and elegant, the decoration being in white and
gold, and set off by crimson draperies. The brocade
curtains of a rich mellow tint, which drop from the
sides at the close of an act, ' cost a fortune,' as it is
called, but have added prodigiously to the general
effect. 1

have supplied the upholstery and carpets ; they have also executed the
plaster ornamentation of the auditory, in conjunction with Jackson &
Sons. Strode & Co. have done the whole of the gas arrangements.
Wadman has manufactured the arm-chairs for dress circle and stalls.
Burke & Co. have laid down the marble floor of the vestibule. C. Drake
& Co. have executed the concrete floors and staircases. Faraday & Son
have made all the internal fittings in connection with the electric light-
ing. Merryweather & Sons have supplied the fire hydrants and other
such appliances. Clarke & Co. have constructed the revolving iron
shutters and blinds at entrances. Mr. J. E. Walker has been the archi-
tect's clerk of works.

1 There have been many statements and rumours as to the enormous

profits made by the partners by these operas. One of the persons most

nearly concerned in the venture has given me his views on this subject:

I do not think any regular amount per annum could be reckoned, as,

of course, such amounts must vary enormously according to the successes

THE SAVOY THEATRE 103

Another of the manager's most important reforms
was the introduction of the queue, which English play-

of the opera being played. During the first three months of the run of
even the most successful opera the receipts are usually almost entirely
occupied in paying the current expenses, and the preliminary expenses
of production. It is only during the second quarter, and possibly
the third quarter, that money as a rule can be made ; and the fag end
of any piece must always mean a considerable loss, however success-
ful the piece. It may, however, certainly be said of the author and
composer in question that not a single one of their joint works in
London has been otherwise than successful, though the amount of success
has of course varied. None of them have been financial losses ; all have
been financial successes ; and this, of course, is a very rare thing with
operas.

' The current expenses of a Savoy Opera would be somewhere about
130L or 135Z. a night. The theatre, if perfectly full in every part,
would hold about double this. Of course, the expenses I mention
are without what I would call the preliminary expenses, which, with
such an opera as the present, amount to seven or eight thousand pounds ;
and, therefore, even reckoning on the theatre being full, it is a long time
before any money can be made with an opera. In fact, opera, I sup-
pose, in the long run is quite certain to ruin any manager or his backers ;
with the one exception, of course, of the series of Gilbert and Sullivan
operas, which, as I said before, have been an entire exception to the
usual rule. The failure of an opera in London, when it has been a very
expensive production, and when the period of rehearsals is reckoned,
and the period during which the theatre has to be kept open (or, at any
rate, rent and many expenses paid) at a loss, would mean a loss anyway
of from fifteen to twenty thousand pounds ; whereas, of course, a
manager would think himself very lucky if out of a successful opera
he made seven or eight thousand pounds. I roughly reckon always that
ONE ordinary opera FAILURE would swallow up the results of THKEE
ordinary SUCCESSES. It is of course, therefore, obvious that the whole
business must be an exceptionally risky one ; and, in fact, in the long
run almost a certain loss. It is only where, as with the Gilbert and
Sullivan series, you can have a certain success each time, even though
it may not always be an enormous financial success, that you can look
on opera as at all a safe experiment.

104 THE SAVOY OPERA

goers have always seemed too sturdily independent to
adopt. D'Oyly Carte, however, has actually succeeded in
inducing his patrons to submit to this custom, to enforce
it on themselves, and the pittite may be seen every
night falling decorously into line on the flight of steps
that descends from the Strand into the Savoy. He
was assured at first, with much shaking of heads,
that ' they would never stand it.' This sensible arrange-
ment has since been accepted in the case of most
theatres in crowded thoroughfares such as the Strand,
where the playgoers submit to be marshalled in line by
the police, to the great convenience of the passers-by,
no longer compelled to make a circuit into the road
round the compact crowd.

It may be imagined that the recruiting of the

' I do not think the great or unusual point about the series of Gilbert
and Sullivan operas is so much the question of any immense profits
made out of them, as that it is (in my opinion) a unique fact that there
should be a series of operas none of which are failures. So far as
enormous profits are concerned, I have no doubt that a little farcical
comedy could entirely beat the record of a Gilbert and Sullivan opera,
for the reason that the expenses are so entirely out of proportion. I do
not know, of course, what has been made by Charley's Aunt, for in-
stance, but I should imagine it might probably be equal to what might
be made out of eight or ten successful operas, because of the enormous
difference in the expenses of the production and the running ; but what
is unique about our operas is that each one has been a success of some
sort, and that is what has enabled them to be a permanent business
matter. I do not know of any other series of operas that have been.
Of course, Italian opera is only kept going regularly by a subscription.
Without that it would fall to the ground.'

THE SAVOY THEATRE 105

various travelling corps, 1 usually conducted at the
Savoy itself, involves a good deal of thought, time, and
trouble. There is a perpetual stream of candidates for
the chorus or leading parts, and everyone receives a
fair trial, exhibiting their gifts to Mr. Cellier, the con-
ductor. Often ' blanks are drawn,' and, as may be
imagined, not very often a prize. Many women a
distressed clergyman's daughter, a child of some family
'reduced' have found a refuge at the Savoy. Some
friend has promised to ' speak to D'Oyly Carte.' A
regular register of applicants has been kept from the
beginning, with the original notes, of a brief but signifi-
cant kind ; and there are some mystic letters opposite
each; such as 'N.G.,' ' M.,' and 'F.,' which we might
expound as 'No good,' ' Middling,' and 'Fair ' ; 'Ancient
German ' is not so intelligible. 2

1 This matter of travelling companies has become quite a distinct
business, and few can conceive the importance to which it has grown.
Sunday being a free day, is usually selected as the travelling day, and
some of the great Midland lines are quite in a bustle and ferment from
the abundance of the theatrical specials. Through the great central
stations long trains pass swiftly, Mr. So-and-So's Jim the Penman's, or
Uncle Tom's Cabin's performers on board, with all the actors and
actresses, scene-men, ' properties,' and dresses. The Savoy Opera has be-
come a very important commercial enterprise, involving the interests of
a vast number of persons engaged either at the parent theatre or pro-
menading the country. A single travelling company is usually found
sufficient to engross all the energies of a manager; but here the
interests of some seventy or eighty persons, who have to be moved about
the country, become a very serious question.

- These details are from an ' At Home ' in the World, December 4,
1889.

106 THE SAVOY OPERA

In these opening days of the new house the manager
was assisted by a clever man, who had much of the neces-
sary suaviter in modo combined with efficiency in re the
genial Michael Gunri. He had long been the soul of
theatrical enterprise in Dublin, and with the aid of his
wife, erst Miss Sudlow, had established the Gaiety
Theatre in that city, to which during a long course of
years he has brought every shape of peripatetic talent.
As a coadjutor to the manager he was invaluable, and at
this time directed the numerous travelling companies
which were carrying Gilbert and Sullivan ideas all over
the land, and ' spreading the light ' generally. Every-
body in the profession knows Michael Gunn. 1

It was fortunate for the public stock of harmless
pleasure that this co-partnership was established. Nothing
could have been happier than the fortuitous concurrence
of such elements. Each was exactly what was to be
desired for the combination. Gilbert brought his care-
ful diligence, his long training and knowledge of the

1 On one occasion, during a visit to America, he was trying the voices
of some candidates for the chorus ; one of them sang in a sort of
affected Italian-broken-English, which, as Grossmith says, he has 'found
quite common among English foreign singers.' The stage manager in-
terrupted. ' Look here,' he said, ' that accent won't do for sailors or
pirates. Give us a little less Mediterranean, and a little more White-
chapel.' Here Gunn turned and said, ' Of what nationality are you ?
You don't sound Italian.' The other suddenly dropped his Italian accent,
and in Irish brogue said, ' Shure, Mister Gunn, I'm from the same
country as yourself.'

THE THREE PARTNERS 107

stage, with an original method of his own, which was
likely to attract the public; Sullivan was the most
popular of English composers, with a fertile, unex-
pected vein of dramatic talent; while D'Oyly Carte,
the manager, supplied knowledge of the public taste,
joined with business habits. He had the proper
managerial spirit of adventure, sparing nothing to pro-
duce a good entertainment, with a shrewd delibera-
tion which guarded him from serious risk. The fruit
of this alliance was found in some fifteen or sixteen
years of almost uninterrupted success, and, given such
conditions, the same result may be always assured.

Though the partners were three, the spirit of the
undertaking was one, and their co-operation was one.
This made the result totally different from what attends
the commonly accepted form of procedure. There the
story-teller fashions his story and takes it to the com-
poser, who will ' set ' it as he will set anything else ;
just as Swift, it was said, could ' write beautifully on a
broomstick ' ; or it may be that the composer, in want
of a story, and wishing ' to write something,' secures a
libretto that he thinks will suit. The manager then
arrives, and will ' mount ' it, just as he will mount any-
thing that will suit his theatre, actors, and singers.
Each, therefore, may be considered as working inde-
pendently and in his own department. The great
composers, such as Beethoven, Wagner, or Meyerbeer,

io8 THE SAVOY OPERA

might, indeed, be said to have written their own
librettos ; for they composed their works almost before
the story was supplied that is to say, they had some
favourite story in their minds which filled and inspired
them, and which, as they dwelt on it, found expression
in 'motives,' or a general strain of music. This they
adapted to the words and verses. They saw the great
situations before them, and felt in anticipation how they
should be treated. They would tell their librettist what
they wanted in such a place. Such was Meyerbeer's
method, who almost wrote or rewrote his opera in the
theatre as it was being rehearsed. And so Gilbert, while
giving due point to his lyrics and dialogues, wrote with
a view to what his colleague would make of them, while
the latter bore in mind that he was to accompany, as it
were, and set off the pleasant conceits of his friend.
Both had in view the interests of their manager, the
groupings, scenes, &c. above all, that original form of
chorus which should exhibit something new on each
occasion. The strangest thing in this association is
that Gilbert has frankly confessed that ' he has no ear
for music. He is very fond of it, but he would hardly
be conscious of a discord. Time and rhythm he
knows.' '

1 This suggests an eminent mathematician and chemist whom I knew,
who was utterly impervious to the significance of musical sounds. It
was thus that the mystic, impressive words, ' MacmillarSs Magazine,'

THE SAVOY ORCHESTRA 109

The ensemble suggested by the term ' Savoy Opera '
is really of a unique and unusual kind. There is the
elegant theatre almost perfect in its arrangement and
sumptuous adornments the scenery and dresses, on
which literally nothing is spared; there is a general
magnificence and brilliancy, tempered, however, by good
taste and restraint. The choruses are formed of re-
fined and mostly pretty girls, drawn from the ' lower
middle classes,' and of a very different type from that
found in the common opera bouffe chorus. This lends
a grace and charm to all that they do. The orchestra
is full and rich, and homogeneous from playing to-
gether so many years under the same conductor. It
might be said, indeed, that it is a little too full and
strident for the size of the theatre. Pianissimos might
be tried occasionally with good effect. There is an ad-
mirable and most competent manager, who shrinks from
no outlay that he thinks necessary, and who has created
quite a gigantic system, spread over the whole king-
dom, for the purpose of developing and maturing a
school of singers and actors, who are trained and
practised, according to their degree, in the country,

conveyed ' no manner of an idea ' to Cardinal Newman's mind. Once
a tune played before the mathematician seemed to please, and he
said it somehow suggested chloride of lime. Yet he had mastered
the science of music, and could actually ' score ' a piece. Gilbert, J
fancy, with practice has learned the comparative value, and suitability
to his words, of the different airs.

i io THE SAVOY OPERA

to be gradually promoted to the London stage. His
labours appear unobtrusive, and are felt rather than
seen.

Thus, what really distinguishes the Savoy opera from
the other kinds of opera is the pervading influence of
the author and the composer, which is exerted and felt
in every department in the scenery, dresses, singing,
acting, and business. It is all ' Gilbert and Sullivan.'
Here the writer can carry out his intentions and mean-
ing so completely that he may be said to act the piece
by deputy. The actors and actresses become his second
self; every inflection, every movement is his. That
curious half -earnest tone in which some grotesque senti-
ment is gravely uttered, so that we are for a moment
in doubt whether the speech is intended seriously,
is his ; and the actors have caught the style perfectly.
At home he has his model theatre, made to scale, and
with little blocks to denote groups, &c. He devises
all his combinations and entries. This gives a unity
to the whole, and it is quite legitimate ; for in most
cases a writer sees before him the whole incident,
as it is in action, to which his words are introductory,
but cannot infuse his own ideas into the actors who
deliver his words. He, indeed, does not know how to
do so. But he feels that his meaning has not been
carried out.

GILBERT'S METHODS in

'It was in the " Princess," ' said a writer in the World
some thirteen years ago, ' that he first displayed on the
stage that ironically comic vein perceptible among the
broader fun of the "Bab Ballads." The leading motive
of the ironical comedy must be sought in the idea that
it is much more comical to bring an apparently serious
personage on the stage and to make him utter the most
bizarre and extravagant sentiments than to produce him
at once in the exaggerated " make-up " beloved of low
comedians. That a comically made-up judge, with a great
red nose and " pantomime " wig and robes, should appear
on the stage and do ridiculous things is only natural.
. . . But it is different when the judge has nothing
unnatural in his appearance, and yet utters the drollest
sentiments. To the fun of the situation and language
is added the important element of surprise. ., . . In the
beginning Mr. Gilbert's new theory of fun met with but
scant appreciation among those selected to interpret it.
The reason of this difficulty is obvious. It had become
almost a stage tradition that the actor was at once to
take the audience into his confidence. If a low comedian,
it was expected of him, it was supposed, by his peculiar
audience; and his individuality, as evinced by well-known
tricks and gestures, also went, as he thought, for a great
deal. At least, they secured his " laughs." Mr. Gilbert
found himself obliged to stem this tide of opinion as

U2 THE SAVOY OPERA

best he might. For the purpose of the ironical comedy
it was, above all things, necessary that the actor should
appear unconscious that what he was saying or doing
was funny. He was to play his part in good 'faith, and
let the amusement of the audience arise from the incon-
gruity between his manner and appearance and his acts,
words, and deeds. In " Pygmalion " Mrs. Kendal seized
the idea perfectly, as did the young lady who played the
Scotch lassie in " Engaged." and Miss Marion Terry when
she ate the tarts in the same amusing play. It is,
perhaps, not easy to utter the oddest lines without
betraying some consciousness of their strangeness ; but
the inventor of this method has succeeded in many cases
in getting his intention fairly carried out. There is,
and has been for some time past at least, no oppo-
sition to his view from the artists who represent his
pieces.'

Our author has candidly explained what are his
methods of workmanship. No man could be more con-
scientious or painstaking in providing what he intends
shall be worthy of attention ; and it is astonishing to
find what labour and even drudgery he bestows upon
works the superficial might fancy were thrown off in
the most airy and careless way. Thus we are told :
' No brilliancy of dialogue, no skilful elaboration of
character, will supply the want of a story, serious or
comic, as the case may be. Convinced of this, Gilbert

GILBERT'S METHODS 113

lets his story be moulded in the odd hours of the day or
night, until it becomes coherent. Then the prosy part
of the work commences. First of all he writes the plot
out as if it' were an anecdote. This covers a few quarto
slips of copy, and is written very neatly, almost without
correction, so perfectly are the main lines settled before
anything is set down. The next proceeding is the more
laborious one of expanding the anecdote to the length of
an ordinary magazine article by th6 addition of incident
and of summaries of conversations. This being carefully
overhauled, corrected, and cut down to a skeleton, the
work has taken its third form, and is ready to be broken
up into acts ; and the scenes, entrances, and exits are
arranged. Not till its fifth appearance in manuscript is
the play illustrated by dialogue. The important scenes
. are first written, and then these brightly-coloured patches
are gradually knitted together, as it were, by the shorter
scenes. At this stage the work is ready for Mr.
Sullivan's collaboration, and all begins over again. A
song, on which Mr. Gilbert has expended some labour,
may happen to be in a metre too nearly resembling one
which Mr. Sullivan has previously " set," and must there-
fore be rewritten. Again, the composer has his ideas
as to the order of chorus, song, and duet, and wishes
that at some juncture a sentimental air could be grafted
on the comic stock. Mr. Sullivan is so sound a musician
that he loves to introduce at least one serious air, such

M4 THE SAVOY OPERA

as the charming madrigal in the "Pirates of Penzance,"
which is here the great musical success of the piece,
while in America its presence was resented as " out of
place in a comic opera." '

Gilbert was once asked by an ' interviewer ' where
he got his plots, and answered vivaciously : ' Plots ?
good gracious ! where do they come from ? / don't
know. A chance remark in conversation, a little acci-
dental incident, a trifling object may suggest a train of
thought which develops into a startling plot. Taking
my own plots, for instance, the "Mikado" was sug-
gested by a Japanese sword which hangs in my study ;
the "Yeomen of the Guard" by even a more unlikely
incident. I had twenty minutes one day to wait at
Uxbridge Station for a train, and I saw the advertise-
ment of the " Tower Furnishing Company," representing
a number of beefeaters why, goodness only knows. It
gave me an idea, and I wrote the play originally as one
of modern life in the Tower of London.' Everyone with
experience of writing knows how true all this is. A trifle
suggests something ; instantly a whole train of ideas
develops, or shows possibilities of development ; forms,
colours, texture, present themselves. On the other hand,
when a fully- formed plot or sequence of incidents is
suggested or devised it often seems cold and lifeless,
and without form or colour.

The next point is to invent original characters. But

GILBERT'S METHODS 115

this is a very difficult matter, whether one be writing for
a stock company or writing irrespective of the cast. ' It
is not always easier to write for a non-existent com-
pany ; one has too free a hand. But with a stock com-
pany it is so hard to make the characters seem original.
Writing for the Savoy I had to keep the idiosyncrasies of
Eutland Barrington, Eosina Brandram, and the others
constantly before me. I used to invent a perfectly fresh
character each time for George Grossmith ; but he always
did it in his own way most excellent in itself, crisp and
smart, but " G. G." to the end. Consequently everyone
said : " Why, Grossmith always has the same character ";
whereas, if different individuals had acted them, each
would have been distinctive. It was no fault of Gros-
smith's, than whom a more amiable and zealous col-
laborateur does not exist. It arose from the fact that
his individuality was too strong to be concealed.'

Gilbert once remarked to me that, however well
conceived the character might be, he cculd not reckon
with any certainty on its ' coming out ' as he intended
it. No amount of teaching will ensure that an actor
shall take the author's view. On the other hand, the
actor will often come to the writer's aid, and make a
character out of a mere sketch or indication.

' I write out the play as a story, just as though and
as carefully as though it were to be published in that
form. I then try to divide it into acts. I think two

i 2

ii6 THE SAVOY OPERA

acts the right number for comic opera. At least, my
experience and that is thirty years old teaches me so.
Sometimes, of course, the original story does not fall
readily into two acts, and so requires modification. I
put it by for a fortnight or more, and then rewrite the
whole thing without referring to the first copy. I find
that I have omitted some good things that were in the
first edition, and have introduced some other good things
that were not in it. I compare the two, put them both
aside, and write it out again. Sometimes I do this a
dozen times ; indeed, the general public have no idea
of the trouble it takes to produce a play that seems to
run so smoothly and so naturally. One must work up
to " a good curtain." '

When the piece is thus written and composed, Gilbert
appears in quite another character, as a scene-painter
or stage-carpenter. He plots out whole scenes, and
models them so exactly that no scope is left for the
imagination or the blundering of the workman. Before
' H.M.S. Pinafore ' appeared the author went down to
Portsmouth, was rowed about the harbour, viewed various
ships, and finally pitched upon the quarter-deck of the
'Victory' for his scene. Having obtained permission,
he sketched and modelled every detail, even to the
stanchions. This matter of the scenery is a serious one.
It must be pretty and attractive ; but not so cumbrous
that, like delicate wine, it ' will not travel.' When a

GILBERT'S METHODS 117

comic opera is intended to be played by three com-
panies in England and four in the United States it
must be endowed with scenery which will bear carry-
ing from place to place, and will look well in any
theatre. Gilbert also designs most of the costumes
worn in his plays. This work was not necessary for
the ladies' dresses in the ' Pirates of Penzance,' as they
are strictly modern ; but when producing the piece in
America there was no little difficulty in getting the
dress of an English major-general.

Play, scenery, and costumes being arranged, and
actors and actresses regularly fitted with parts adapted
to their various capacities, next comes the difficulty of
stage management. Mr. Gilbert's views on this subject
are as autocratic as those of M. Victorien Sardou
or Mr. Dion Boucicault ; and by dint of insistence he
has acquired as much influence over any company en-
trusted with his play as even the last-named gentleman,
who, in his triple character of manager, author, and actor,
may not be said nay to by the most obdurate of low
comedians. Mr. Gilbert holds that he is most vitally
concerned ; for if the piece succeeds, the whole com-
pany and establishment succeed; but if it fails, it is
' Gilbert's piece ' that has failed, and not its representa-
tives. Hence he insists, except in the case of artists of
high rank in their profession, that the characters shall be
played according to his own idea. On the rank and file

iiS THE SAVOY OPERA

he imposes his commands, and drills them with marvel-
lous patience. Not only at the theatre at set rehearsals,
but at his own house, he devotes hour after hour to
' going through the part ' with dense but docile artists
' willing, yet slow, to learn.'

Eesuming his story, our author explains that
' sometimes, but very rarely, the play is spoilt by the
interpreters. They always do their best, but occasionally
they fail to realise my intention. The fact is that for
comic opera many artists, especially tenors and sopranos,
are necessarily engaged who are singers rather than
actors ; and it is not to be expected that carefully written
comedy dialogue will receive full justice at their hands.
It is as though one called on the Haymarket company
to perform an opera. Critics do not seem to realise this
difficulty, and frequently pronounce a scene to be dull
because it is ineffectively acted by a couple of mere
concert-singers.

' I next sketch out quite roughly the dialogue, and then
fill in the musical numbers as I feel inclined. I do not
attempt to write them in order, but just as the humour
takes me one here, one there ; a sad one when I feel
depressed, a bright one when I am in a happy mood.
When at last all those of the first act are done it is sent
to the composer to be set to music, with a copy of the
rough sketch of the dialogue to show him how the
different songs hang together. 1 generally like reading

GILBERTS METHODS u 9

it over to the composer, so as to give him my idea of the
rhythm, which, as a matter of course, he varies at his
pleasure. There must be perfect good-fellowship between
the writer and composer, as there is much give-and-take
to be managed. Metres have to be changed by the
writer, or tunes altered by the composer, to fit in with
some idea, some intention, of the other partner. For
instance, the writer may have put a theme in one metre
and the composer has a tune in his head which will
just suit the theme but will not fit the scansion, and so
the lyrics must be altered ; each must try t o make the
other's part as easy as possible. There must be no
jealousy, no bad feeling between the two. They must
be on the best of terms ; otherwise there will be no
success. And I put down the popularity of the
"Gondoliers," " lolanthe," "Mikado," and the other
operas which Sir Arthur Sullivan and I did together
chiefly to this fact. He was most kind in this respect. 1

1 Collaboration is an interesting topic, dramatic almost in its bearing,
and its true principles are perhaps little understood. In the case of libret-
tist and composer, the hackneyed or accepted method is for the first to
supply a ' book,' which the latter proceeds to set. A genuine composer,
however, virtually writes his own play that is to say, he 'fancies' a
subject like Faust ; as he thinks over the garden scene, the scenes in
the cathedral, peculiar tones of music visit him ; the whole cast of
the strains fill his mind ; he feels how he would treat the situations. As
he thinks of Margaret's desertion special tones and melodies fill his soul.
This was certainly Meyerbeer's, Gounod's, and Wagner's method. The
vulgar idea of co-operation in literary work say a novel is that one
writer shall ' do ' the plot, the other the dialogue ; or that one shall do one

120 THE SAVOY OPERA

Well, whilst the composing is going on I complete
the dialogue and work up the entire stage manage-
ment on a model stage. When the rehearsal comes I
have the business of each scene written down, and
this inspires confidence in those one is teaching ; they
know that I have a concrete scheme in my head,
and generally watch its development with interest
and curiosity.

' As to rehearsals, there are in all three weeks for
the artistes to study the music ; then a fortnight's re-
hearsals without the music ; finally, another three or
four weeks' rehearsals in position and with the music.
The principals are not wearied with rehearsals until
the chorus are perfect in their music.'

This is all interesting, and furnishes a very clear
explanation of the Savoy methods.

It has been said foolishly, it seems to me that
genius is nothing but an unlimited capacity for taking
pains ; it might run that without taking pains genius
will do little. Selection, rejection, arrangement, cumu-
lation, contrast these things are absolutely necessary
to set off genius ; but they entail serious labour and
take time. Everything can be made the most of and
set in the best light provided trouble be taken and

scene, the other another. But real co-operation signifies that every
portion is done by both that is, the situations are called over and
settled, or amended ; the dialogue written by one is taken in hand by
the other, altered and enriched, or rewritten.

GILBERT'S METHODS 121

labour given. Notwithstanding this long course of un-
interrupted success, we find our author never relaxing
not, as so many would be tempted to do, ' dashing it off '
carelessly and depending on the immunity accorded to
an old favourite. But this is not Gilbert's fashion. 1 I
found our author lately getting ready a new opera,
laying down the keel, timbers, &c., in the most
painstaking way. There was a new and stout book
which was to be the receptacle for ideas, suggestions,
experiments, sketches even. It was already full enough,
having rhymeless stanzas later to be fashioned and
polished. When the story had been ' blocked out ' in
the fashion described above, or settled with his coad-
jutor, they would next fix the likeliest places for the
musical incidents, the duos, solos, &c. When these were
accepted by the composer, the author would proceed at
once to write the stanzas, without having touched the
dialogue. These the composer would proceed to set,
while the librettist got ready the second act in the
same fashion. Thus the work went on and gradually
grew.

I should have thought that the fashioning the
dialogue first would have been a source of inspiration
for the lyrics ; but every literary workman has his own
methods, and uses those that he finds most serviceable.

1 Some years ago there was an exhibition at the Aquarium of
theatrical relics, memorials, 'props.,' &c. Among the classes in the cata-

122 THE SAVOY OPERA

Sullivan's music is sui generis. It has nothing in
common with the sweet prettiness of the average French
light opera ; it is more robust and downright, as it
were. The French motifs seem to depend a good deal
on their ingenious and somewhat luscious harmonies ;
the Sullivan airs are fresh and honest tunes that can he
carried in the memory. His style, however, has changed
a good deal with his successive operas, and to some
extent reflects the taste of the moment ; but it is always
manly and straightforward. Thus his early works had
something of Offenbach, whose exuberant vitality and
variety is quite a different thing from the rather sickly
sentiment of his successors. 'H.M.S. Pinafore ' has a
good deal of the breezy tone of ' Madame Angot.'

logue was a heading, ' Mr. W. S. Gilbert, his Sentiments.' It seems
that he was asked to contribute to the exhibition, which he declined,
but instead he sent a characteristic letter, full of good sense : ' I
have a strong feeling that, having regard to the nature of his calling,
the actor is sufficiently glorified while he lives, and that it is unnecessary
to transfer that glorification to his old clothes after his death. ... A
collection of the wigs of distinguished chief justices or the gaiters and
shovel-hats of famous archbishops would not draw five pounds.'
George Henry Lewes has given utterance to much the same opinion :
' Eeduce the actor to his intrinsic value, and then weigh him with the
rivals whom he surpasses in reputation and in fortune. Already he gets
more fame than he deserves, and we are called upon to weep that he
gets no more ! During his reign the applause which follows him exceeds
in intensity that of all other claimants for public approbation ; so long
as he lives he is an object of strong sympathy and interest ; and when
he dies he leaves behind him such influence upon his art as his genius
may have effected, and a monument to kindle the emulation of succes-
sors. Is not that enough ? '

SULLIVAN'S MUSIC

123

' Patience ' is of quite a different genre from ' Princess
Ida,' being more of a ballad opera. The fashion in
which this music is appreciated in the drawing-room is
a tribute to its sterling merits, for we do not find
detached songs sung by tenors and sopranos so much
as scenes and concerted pieces, which seem to bring
back recollections of the pleasant humours of the per-
formance. It is always enjoyable to go over the ' score '
in this way, when we appear to have Barrington and
Grossmith once more before us. And it must be said
that the music bears admirably this transference to the
piano.

But perhaps the great merit or greatest of all his
merits is the admirable way in which the composer
has set the words allotted to him. This is done in an
almost perfect fashion. The average composer will
think it enough if he reflect the sentiment or meaning
of the situation ; this secured, he will develop his own
ideas, using the words as a framework for his notes ;
much as a milliner will consider the human figure a
' block ' on which she can fit her dress. But Sullivan
looks on the ' lines ' as the air which he is to adorn and
' set off ' ; he makes everything subservient to this. He
puts himself in the place of the author. The two
natures are so thoroughly consonant, from practice and
habit, that they have come to have the same instincts
and feelings. Gilbert knows the sort of music he has

124 THE SAVOY OPERA

to expect, and as he writes keeps this in view ; while
Sullivan can equally anticipate the quaint points and
situations he will have to treat.

Our composer's music wears well. It does not seem
to grow old-fashioned ; this is because it is genuine or
rather, perhaps, because it is really ' good ' music. 1

Though broad and often exuberant, there is nothing
vulgar in Sullivan's work a note so often struck in
Offenbach's strains, which are occasionally canaille and
reeking of the cafe cliantant. In Sullivan's most ' free
and easy ' passages there is always a classical tone. It
will have struck many, too, how original he is in his forms.
In his songs there is nothing of the old insipid Balfian
measures, the phrases of which balance each other so
symmetrically. What, for instance, could be more
strikingly grotesque and novel than the odd, abrupt
phrases of the Salvationist duet in ' Euddigore,' which
seems to hint at the spasmodic twists and turns of the
sectary's nature ?

A contrast to these sprightly runnings are the more
solemn and pretentious efforts of the composer, such as
the ' Martyr of Antioch,' ' Ivanhoe,' and the popular

1 Eossini was asked what kind of music he liked best, and replied
that he only knew of one kind of music viz. good music. There is
much truth in this, as every musician will admit, for the merit of all
music is quite independent of its forms, be they trivial or otherwise.
That admirable mcEstro used also to add that he ' liked all music, from
Bach to Offen-bach.'

125

' Golden Legend.' These are excellent, scholarly works,
but they seem to lack inspiration, and are academical in
style and treatment. It may be laid down that every
trained musician can write his cantata or oratorio, just
as every litterateur can write his novel or biography. It
is the regular part of the metier. I have heard, indeed,
of an eminent mathematician who could not ' distinguish
an explosion from a symphony,' who actually learned
the science, and could write fugues secundum artem.
Without inspiration these things are mere exercises.
' Ivanhoe ' was certainly a ponderous work, more like a
vast symphony protracted through several acts than an
opera. It was based on a most artificial libretto, which
could not have inspired the composer. His strength, it
would seem, is not equal to works of longue haleine. I
believe, indeed, that if he found a two-act story of a
legitimate kind, written by a skilled hand specially for
the music, he would produce a comic opera that would
astonish the empire.

In a Savoy opera there are two scenes for each piece
one for the first act, the other for the second. Mr.
Craven is now usually ' loaned ' by the Lyceum to supply
some of the most beautiful of his designs. There being
little or no changes to be effected, they are usually built
up in a very permanent way, and the artist has free scope
for his ingenuity. Craven was enabled to devise some
beautiful atmospheric effects, for which he has a special

126 THE SAVOY OPERA

gift, by the agency not so much of colour as of what
are known as ' mediums ' that is to say, the employ-
ment of different lights.

What, then, has been the secret of this great and
sustained success ? I believe it to be owing to some
really unique and original methods devised by author
and composer, and carried out in the most thorough
and consistent fashion. It amounts, in fact, to what
is almost an invention. Gilbert devised a system of
investing ordinary colloquial phrases that seem almost
trifling with a kind of latent ironical humour which is
ordinarily thought too delicate and impalpable for the
stage. To these utterances he gave an importance and
contrast by curious grotesque surroundings; he added
the intended emphasis and brought out their proper
meaning by assiduous instruction of those to whom
they were entrusted, so that he seemed, as it were, to
say the things himself. On his part Sullivan contrived a
really wonderful method of musical expression, perfectly
appropriate to the sense, so as almost to follow the in-
flections of the voice in common conversation. I venture
to say that no one ever before so perfectly conveyed the
meaning of a sentence in common talk by the agency
of musical tones. As was before shown, the object was
not to find words to show off the music, but to supply
music that should illustrate the words.

It would seem that our composer, once in possession

THE SAVOY ORCHESTRA 127

of his story and the spirit of the situations, can write off
his music in a very short space of time, first ' scoring '
the pieces for piano and voices, later adding the
orchestral parts. He no doubt notes, as he goes along,
the fitting instrumental effects, the introduction of
particular instruments and passages, which he will later
develop secundum artem. In writing a ' grand opera ' a
composer, of course, writes directly for his instruments,
which are the essential mediums of expression ; but in a
Savoy opera the words are the chief element, and the
orchestration of less importance. Sometimes I have
thought that the tone of the Savoy orchestra is
rather loud and sustained. Greater effects could cer-
tainly be produced if the general tone were kept sub-
dued, and more delicacy of treatment were aimed at. At
times one would think, indeed, that the instruments were
too zealously carrying out the peers' invitation :

Loudly let the trumpet bray !

Tantantara !
Gaily bang the sounding brasses !

Tring !
Blow the trumpets, bang the brasses !

Tantantara ! ting ! boom !

No one can have an idea of what can be done in this
direction who has not seen what conducting was in the
old Paris Opera Comique days, when the exquisite
accompaniments of Auber, Harold, Boildieu, and other

128 THE SAVOY OPERA

masters were given with surpassing grace and delicacy,
and on a comparatively small orchestra. In this country
we have plenty of ' time-beaters,' as Von Bulow said,
but conducting is a different thing altogether.

The Savoy play- bill is a work of art, and worth
preserving by the collector of such curios, and it
is interesting to turn over the whole series from the
beginning ; they call up in a very potent way the figures
that have flitted across that pleasant scene, supplying
enjoyment in their passage. As Elia has shown, a play-
bill is a very mystic talisman in this way. It would
be interesting to trace the curio as genesis and develop-
ment of the play-bill in these modern days, from the old
antediluvian long and fluttering strip of tissue, with its
rich jet characters which came off on the kid glove and
reposed before you on the cushion of the dress circle, to
the little sheet of note-paper whose faint characters can
with difficulty be read. 1

The Savoy programmes of the last seven or eight years
were in the form of elegant little oblong booklets or
single cards. In the case of the earlier ones there were

1 I possess a long series covering a span of some five-and-twenty
years, and giving the cast and characters of all the important plays at
the leading theatres. Nothing is more striking than the decorative style
of these bills, which every year seemed to grow more elaborate in their
treatment. The forms, too, were singularly varied, and seemed to be
dictated by the fashion and pressure of the time, and to have some
significant connection with the social habits of the day.

THE SAVOY PROGRAMME 129

attempts at colour printing, and presenting selected
scenes and figures from the more successful of the operas.
But it was for the ' Yeomen of the Guard,' I think, that
Miss Alice Havers furnished a really elegant design
two quaint figures leaning on an altar, and delicately
tinted, which was reproduced by a German firm in
sympathetic fashion. This was found so acceptable that
it has been retained, with some slight variation, as the
standing form of bill. This, no doubt, is a trifling
matter, but it contributes something to the sense of
enjoyment : it gives pleasure to the eye, and is evidence
of the general artistic feeling in other directions.

Grossmith has related the regular course and incidents
at the rehearsals at the Savoy. The music is always
learned first the choruses, finales, &c., are composed
first in order, then the quartettes and trios, the songs
last. Sometimes, owing to changes and rewriting, these
are given out to the singers very late. The song in the
second act of ' Princess Ida ' was given to Grossmith only
a night or two before the performance, and he found his
chief difficulty not in learning the new tune, but in un-
learning the old one. ' The greatest interest is evinced
by us all as the new vocal numbers arrive. Sir A.
Sullivan will come suddenly, a batch of manuscript under
his arm, and announce that there is something new.
He plays over the new number the vocal parts only are
written. The conductor listens and watches, and after

130 THE SAVOY OPERA

hearing them played over a few times contrives to pick
up all the harmonies, casual accompaniments, &c.' Sir
Arthur is always strict in wishing that his music shall
be sung exactly as he has written it. One of the leading
performers was singing an air at a rehearsal, not exactly
dividing the notes as they were written, and giving the
general form, as it were. ' Bravo ! ' said Sir Arthur,
' that is really a very good air of yours. Now, if you
have no objection, I will ask you to sing mine.' This is
pleasant.

Gilbert always listens carefully during these recitals,
making mental notes for possible effects. At his home,
as I have said, he has his little model stage, where the
characters are represented by little bricks of various
colours, the chorus being distinguished from the lead-
ing singers. 1

In his reminiscences Grossmith supplies many ' good
stories ' about the chorus One, who assured his friends
that he was the coming Sims Eeeves, sent this telegram
to the manager : ' Suffering from hoarseness, cannot
appear to-night.' Another begged of Grossmith to let
him come and sing his ' patter song ' for him. After
the song Grossmith good-naturedly said, ' I suppose you
want me to recommend you to Mr. Carte for the chorus ? '
' Oh, no,' was the reply ; ' Mr. Carte has heard me and

1 No expense is spared to get the requisite accuracy, and I believe
the little model of a ship for the late revival of Pinafore cost some 60L

THE CHORUS 131

says I am not good enough. So I thought you might
recommend me to play your parts on tour.' This ' being
tried ' by Mr. D'Oyly Carte has become a popular
resource. Innumerable persons are ' being tried,' or
looking forward to being ' tried by D'Oyly Carte.'

As I have stated, many a pleasing girl with a nice
voice and of good parentage has found refuge at the
Savoy.

There is room for a large number, owing to the
many travelling Savoy companies wandering over the
kingdom. The manager is always on the watch for
anyone that at all ' stands out ' in the background,
and promotion follows to a small part, or perhaps to
London.

Most of the tenors notably Mr. Pounds have come
from the ranks in this fashion. Some of these are ' born
gentlemen,' as it is called, and at this moment the two
principal tenors belong to that category. That pleasing
and popular tenorino George Power was the son of Sir
John Power, and associated with the early glories of the
' Sorcerer ' and ' Pirates.' Manners, too, was of gentle
birth. But the impartial manager will

Spurn not the nobly born

With love affected,
Nor treat with virtuous scorn

The well-connected.
High rank involves no shame.

K 2

152 THE SAVOY OPERA

The musical rehearsals, Grossmith tells us, are
' child's play in comparison with the stage rehearsals.
Mr. Gilbert is a perfect autocrat, insisting that his
words shall be delivered, even to an inflection of the
voice, as he dictates. He will stand on the stage beside
the actor or actress, and repeat the words, with appro-
priate action, over and over again until they are delivered
as he desires. In some instances, of course, he allows a
little licence, but a very little.'

Grossmith then describes a typical scene. Say Mr.
Snooks has to utter some such sentence as this : ' The
king is in the counting-house.' This is his ivlwle part,
and he naturally wishes to make it go as far as possible.
He accordingly enters with a grotesque, slow walk
which he has carefully practised. He is instantly
checked by the author. ' Please don't enter like that, Mr.
Snooks. We don't want any comic-man business here.'
' I beg pardon, sir,' poor Snooks replies, ' I thought you
meant the part to be funny.' ' Yes, so I do, but I don't
want you to tell the audience you're the funny man.
They'll find it out, if you are, quickly enough.' Snooks
tries again, entering with smart rapidity. ' No, no, don't
hurry in that way. Enter like this.' And Gilbert
showing him the way, the thing is got right at last. He
then repeats his line, ' The king is in the counting-
house,' laying the accent on house. This has to be gone
over again and again, but without result. The luckless

REHEARSALS 133

player will make it house. At last the author gives it
up in despair, and announces that as it would be impos-
sible to cut out the line altogether, which he would gladly
do, he would be obliged reluctantly to allot the character
to someone else. ' Do think a moment/ he says,
' before you speak now.' The wretched man endeavours
to think, and then, quite desperate, almost shouts, ' The
king is in the counting-HOUSE.' ' We won't bother about
it any more,' says Gilbert, ' get on with the next Gros-
smith where's Grossmith ? ' However, at the end of
the rehearsal our author good-naturedly accosts the
despairing Snooks, and comforts him. 'Don't worry
yourself about that. Go home and think it over. It will
be all right to-morrow.' On the morrow, however, it
is much the same, but by dint of incessant repeating,
like Smike, ' Who calls so loud ? ' the proper emphasis
is at last secured.

So conscientious are our authors in preparing their
effects that on the rehearsals of the last piece a sort of
stage or scaffold was raised in the stalls to enable them
to have the correct ' audience view ' of all that was doing.
At the final full-dress rehearsal the night before the
performance, though the theatre was filled, the first
three rows of the stalls were railed off, so as to allow
composer and writer a free range to study the effects.

The gathering of peers in ' lolanthe ' was one of
the most striking exhibitions we have had on the stage,

134 THE SAVOY OPERA

owing to the rich gala robes and the quaint, old-fashioned
air of the figures. Here we have one of those unusual
and original ideas of Gilbert's which would not occur
to less practical minds. There is a curious chord
touched, something verging on the solemn even, in this
evoking of the past. When these old costumes are
brought before us, minutely accurate in every detail, a
procession of ghosts seems to pass before us. We have
much the same feeling as we turn over the pictures in
' Pickwick .' In his ' Ages Ago ' and in * Euddigore '
there is the same effective element.

On this occasion strict old-fashioned shaving was de
rigueur, and every peer was to be bald a-top, and display
little or no hair save the correct ' mutton-chop ' whisker.
It would have ' arrided ' Scarron himself to learn that
the general order for shaving excited strong resistance
in the chorus. It verged on a strike. The excuses
were amusing. One was a traveller in the day-time, and
though a peer by night, he would lose custom by appear-
ing so young. Another was a ' spirit leveller,' and it was
unusual in his calling to be without moustaches. A
third was paying his addresses to a 3 7 oung lady who
would be sure to object. All, however, yielded, save one,
who actually ' resigned.' In the ' Mikado ' there was also
a general Japanese shaving, likewise in ' Kuddigore.'

When this latter piece was being prepared, so
conscientious was the presentation that the pictures of

REHEARSALS I35

the ancestors were all drawn from individual members,
so that the likenesses should be recognised. I doubt,
however, if this were noticed, for it is almost a prin-
ciple of scenic representations that de mini-mis non curat
audientia. For scenic effect it is enough to indicate.
All, however, had to repair to the photographer's. 1

One of the many Josephines who figured in the
early performances of the ' Pinafore,' Grossmith relates,
* objected to standing anywhere but in the centre of the
stage,' assuring Mr. Gilbert that she was accustomed
to occupy that position and no other. Mr. Gilbert
said, most persuasively, ' Oh, but this is not Italian
opera; this is only a low burlesque of the worst pos-
sible kind.' ' He says this sort of thing in such a
quiet and serious way that one scarcely knows whether
he is joking or not.'

On another occasion, he called out from the middle
of the stalls his favourite position at rehearsal : ' There
is a gentleman in the left group not holding his fan

1 In this connection an amusing incident occurred. The manager,
meeting a member of the chorus, asked had he been photographed. ' I
go to-morrow,' was the reply ; ' you see, sir, I have shaved.' Meeting
him again, the manager noticed the moustache, and asked had he been
to the photographer's, and was told that he had been there yesterday.
A little mystified, he thought he had made a mistake. At the first dress
rehearsal the actor was there without moustache ; but meeting him the
next day, he had one ! The actor explained that he had to sing at
concerts, that without a moustache the effect would be lost, so he had
contrived a false one, which did very well.

136 THE SAVOY OPERA

correctly.' The stage manager appeared, and ex-
plained : ' There is one gentleman who is absent
through illness.' ' Ah ! ' said the author, as gravely as
if he were his own pirate captain, ' that is not the
gentleman I am referring to.'

And when Grossmith and Miss Jessie Bond were re-
hearsing the ' Mikado,' the lady was to give him a push,
and he was to roll completely over. ' Would you mind
omitting that ? ' Gilbert asked, with much politeness.
' Certainly, if you wish it,' said the other ; ' but I get
an enormous laugh by it.' 'So you would if you sat
down on a pork pie,' said the other. 1

One of the costly burdens laid upon managers, of
which the light-hearted audience takes little thought, is
the providing of substitutes for the leading performers,
in case sickness should hinder the appearance of
the principal personage. In the case of actors and
actresses the contingency is remote enough, and there is
usually sufficient time to find a remplaqant, for the
performer, though suffering, can struggle through his
part for a night or two. But in the case of a singer the
interruption is usually of a sudden kind. A cold may at
once deprive him of his voice. The ' understudy,' as
he is called, is usually one of the smaller characters,
whose place, not very important, can be supplied at a

.! Swift, a great authority, however, declares that the finest pieces of
wit will never produce such intense enjoyment or appreciation as the
simple results of slyly drawing away a chair when a person is about to
sit down.

THE UNDERSTUDY

137

short notice. He or she thus often gains a favourable
opportunity of distinction. There must be something
grotesquely humorous in the situation, both parties
jealously watching each other, the performer naturally
being determined, if he can help it, to furnish no oppor-
tunity for a possible rival; the understudy feverishly taking
stock of any symptom of failure in his principal. When
Grossmith was playing in the ' Sorcerer ' one of these
' deputies ' was specially retained to supply his place in
case of accidents. ' During the first week,' the actor
tells us, ' he used to come to me each night and ask how I
was. On my replying that I was all right, never better, it
appeared to me that he departed with a disappointed look.
His kind inquiries were repeated, as I thought, with
extra anxiety ; but still I kept well, and showed no signs
of fatigue. Then he began to insist that I was not
looking well, and I replied that, looks or no looks, I was
perfectly well. Finally, he came to me with a pill which
he was certain would " do " for me.' This is an amusing
situation, yet natural withal, akin to that of the
physician who is forced to bewail an unhealthy season.
In fact, the too healthy Grossmith was destined to play
his character two hundred nights without a break, and
nearly seven hundred of 'Pinafore.' But in the third
week of the ' Pirates ' Grossmith's father died, and the
longed-for opportunity came. The substitute, at almost
a moment's notice, had to assume the major-general's
part, and did it remarkably well under the circumstances.

I 3 8 THE SAVOY OPERA

Foremost among the attractive girls who have been
enlisted in the chorus, there was one whose refined fea-
tures and sympathetic grace began early to distinguish
her from her companions. This was ' Miss Fortescue,'
as she was called. The audience could note a curious
earnestness and eagerness to do her duty in the best
way ; there was never any perfunctory execution of her
duties ; she seemed to throw herself into the part, small
as it was. Miss Fortescue had many friends, though
but a simple chorus maiden. But even on the stage it
is always the performer that raises the office, not the
office the performer. No stage is so strictly regulated as
that of the Savoy. No danglers are tolerated behind
the scenes. It is like a family. There is literally ' no
admission except on business.'

An admirer presently appeared, a youth of high
degree the son of a well-known peer who was capti-
vated by the charms of the young chorus-singer. The
noble family, as may be imagined, were opposed to this
alliance, as they wished for something more suitable and
of corresponding rank. There was something, too, almost
grotesque in the shock given to their known religious
prejudices by this alliance with a stage-player the Earl
belonging to the ' unco guid.' It was much to his credit
that, after a short resistance to his son's somewhat
hasty partiality, he gave way, and cordially and honour-
ably received the young man's choice. Had the Earl,

MISS FORTESCUE 139

however, had the chance of seeing a little piece written
by Andrew Halliday (which was highly unlikely)
the story turned on a similar alliance he could not
have more completely availed himself of the shrewd
recipe given by the lord in that drama which was not
to oppose, but to encourage, the folly, and leave the rest
to the youth. In time the fickle young man grew tired of
his passion, became ' uncertain, coy, and hard to please,'
and after some painful episodes the affair was broken off. 1

Much indignation was felt for the wanton fashion in
which the poor girl had been treated. But her friends
stood by her gallantly. Mr. Gilbert notably championed
her cause ; and when an action at law was proposed, for
the purpose of punishing the swain, he took a zealous
share in all the discussions, and finally succeeded in ob-
taining a very substantial pecuniary amende from the
family 10,00(K. in short. This sum could hardly be held
to indemnify her for the loss of the glittering position
which had been promised to her ; but no one wished to
gratify the public taste for a cause celebre, or a public
representation of the ' Trial by Jury.'

Having always had aspirations for the regular
drama, she determined to seize the opportunity for de-
voting herself entirely to acting. She later formed a

1 I was at the theatre one night, seated in the box next to theirs, just
as the business had reached this distressing stage. It was easy to see
what was in his thoughts.

140 THE SAVOY OPERA

company of her own, in which she played the various
important heroines. I have seen her perform the some-
what antiquated part of Julia in the ' Hunchback ' with
much judicious effect. She has thrown her whole
energies into her calling. Such is this little romance
of the Savoy.

The original group, consisting of Grossmith, Bar-
rington, Jessie Bond, and Durward Lely, had grown to
be completely associated with the Savoy conceptions.
They were to the manner born. The public grew accus-
tomed to them, and came to know their ways by heart.
No tenor could have been better suited to the office or more
acceptable to the audience than Lely. He sang his songs
with a pleasing and melodious voice, yet without any
of the effusiveness of the operatic tenor. He was the
character first; he harmonised admirably with his
companions. In the ' Mikado ' he was particularly suited.
Later, however, he chose to sever his connection with the
theatre and seek a more brilliant fortune on the regular
stage. He has lost his regular, sympathetic audience,
and has joined the ranks of the innumerable singers
who can enjoy but fitful and precarious engage-
ments. Another singer took his place Courtice Pounds.
He came from one of the travelling companies of the
Savoy, and had a good voice, though he was somewhat
lacking in refinement. He, too, after some years departed
for newer and broader musical pastures.

IOLANTHE'

141

Having thus for a short span lifted a corner of the
curtain, we shall now return to the regular course of events.
A new opera had been got ready, of a slightly different
pattern. Gilbert has a penchant for the fairy business,
and returns to it when he can. He seems at home in
fairyland, though it may be doubted if such subjects and
such topics are now ' up to date,' as it is called. Audiences
are hardly so confiding as they were in the days of the
'Palace of Truth.' I fancy, however, that ' Creatures of
Impulse,' which has enjoyed long popularity, could be
fitted to operatic music with great success. The new
venture was

Produced at the Savoy Theatre, Saturday, November 25. 1882,
under the management of Mr. E. D'Oyly Carte.

IOLANTHE

THE .PEEE AND THE PERI

H)ramatis persons

THE LOED CHANCELLOR .... ME. GEORGE GROSSMITH
EARL OF MOUNTARARAT .... MR. RUTLAND BAHRINGTON
EARL TOLLOLLER . . . . . MR. DUEWAED LELY
PRIVATE WILLIS (of the Grenadier Guards) . ME. CHARLES MANNEES
STEEPHON (an Arcadian Shepherd) . . ME. R. TEMPLE
QUEEN OF THE FAIRIES .... Miss ALICE BAHNETT
IOLANTHE (a Fairy, Strephon's Mother) . Miss JESSIE BOND
CELIA > f Miss FOETESCUE

LEILA [ (Fairies) .... ' Miss JULIA GWYNNE

FLETA J ' Miss SYBIL GEEY

PHYLLIS (an Arcadian Shepherdess and

Ward in Chancery) . . . . Miss LEONOEA BIUHAM
Chorus of Dukes, Marquises, Earls, Viscounts, Barons, and Fairies

142 THE SAVOY OPERA

ACT I. An Arcadian Landscape

ACT II. Palace Yard, Westminster

DATE-BETWEEN 1700 AND 1882

Scenery by MR. H. EMDEN. Costumes by Miss FISHER, MESSBS. EDE
& SONS, MESSRS. FRANK SMITH & Co., MESSRS. E. MOSES & SON,
M. ALIAS, and MADAME AUGUSTE ET CIE. Dances arranged by MR. J.
D'AuBAN. Perruquier, MR. CLARKSON.

Of all the images left by this piece on the memory,
that of the wiry, grotesque, sprite-like figure of Gros-
smith as the Lord Chancellor, frisking about in his
gorgeous black and gold robe, is the most piquant and
effective. Who will forget his quaint dance and original
antics, in which there was nothing vulgar or too extrava-
gant ? This functionary wishes to marry Phyllis, a ward
of his court, and bewails the embarrassment of his
position, which is akin to that of Pooh-Bah in the
'Mikado.' Lord Tolloller says :

My lord, I desire, on the part of this House, to express its
sincere sympathy with your lordship's most painful position.

LOBD CHAN. I thank your lordships. The feelings of a
Lord Chancellor who is in love with a ward of court are not
to be envied. What is his position ? Can he give his own
consent to his own marriage with his own ward '? Can he
marry his own ward without his own consent ? And if he
marries his own ward without his own consent, can he com-
mit himself for contempt of his own court ? And if he
commit himself for contempt of his own court, can he appear
by counsel before himself, to move for arrest of his own judg-

IOLANTHE '

143

ment ? Ah, my lords, it is indeed painful to have to sit upon
a woolsack which is stuffed with such thorns as these !

This is a favourite topic of our author. One of the
wittiest songs in the whole Gilbertian repertoire is based
on the humorous notion that rank becomes a dis-

THE LORD CHANCELLOR

ability. As we think of ' Blue Blood ' and its Balfian
air a smile comes involuntarily to the lips. As verses
the strophes are admirable :

CHOBUS

Nay, do not shrink from us we will not hurt you
The peerage is not destitute of virtue.

144 THE SAVOY OPERA

BALLAD LOED TOLLOLLEE
Spurn not the nobly born

With love affected,
Nor treat with virtuous scorn

The well-connected.
High rank involves no shame
We boast an equal claim
With him of humble name

To be respected !
Blue blood ! Blue blood !

When virtuous love is sought

Thy power is naught,
Though dating from the flood,
Blue blood !

CHOEUS. Blue blood ! Blue blood ! &c.

Spare us the bitter pain

Of stern denials,
Nor with lowborn disdain

Augment our trials.
Hearts just as pure and fair
May beat in Belgrave Square
As in the lowly air

Of Seven Dials !
Blue blood ! Blue bood !

Of what avail art thou

To serve us now ?
Though dating from the flood,
Blue blood !

CHOEUS. Blue blood ! Blue blood ! &c.

In this piece Gilbert has laid hands on a prime jest
in the Pickwick trial and developed it :

145

STREPH. No evidence ! You have my word for it. I tell
you that she bade me take my love.

STEEPHON, ME. TEMPLE

146 THE SAVOY OPERA

LOKD CHAN. Ah ! but, my good sir, you mustn't tell us
what she told you it's not evidence. Now, an affidavit
from a thunderstorm, or a few words on oath from a heavy
shower, would meet with all the attention they deserve.

His lordship is thus humorously described when on
the bench :

His lordship is constitutionally as blithe as a bird he
trills upon the bench like a thing of song and gladness. His
series of judgments in F sharp, given andante in six-eight
time, are among the most remarkable effects ever produced in
a Court of Chancery. He is, perhaps, the only living instance
of a judge whose decrees have received the honour of a double
encore.

Mr. Gilbert occasionally elaborates a conceit in a
rather minute and ingenious way. Here we have Strephon,
who is ' half a fairy ' that is, ' a fairy down to the waist,
but his legs are mortal.' He is also ' inclined to be
stout,' but the queen says, ' I see no objection to stout-
ness, in moderation ' a true Gilbertian touch. The hint
of the half fairy is worked out with ingenuity :

LEILA. Your fairyhood doesn't seem to have done you much
good.

STKEPH. Much good ! It's the curse of my existence !
What's the use of being half a fairy ? My body can creep
through a keyhole, but what's the good of that when my legs
are left kicking behind ? I can make myself invisible down
to the waist, but that's of no use when my legs remain ex-
posed to view. My brain is a fairy brain, but from the waist
downwards I'm a gibbering idiot. My upper half is immortal,
but my lower half grows older every day, and some day or

-WLANTHE^

other must die of old age. What's to become of my upper
half when I've buried my lower half I really don't know.

PHYLLIS, MISS BEAHAM

QUEEN. I see your difficulty, but with a fairy brain you
should seek an intellectual sphere of action. Let me- see.

L 2

148

THE SAVOY OPERA

I've a borough or two at my disposal. Would you like to go
into Parliament ?

IOL. A fairy member ! That would be delightful !

STBEPH. I'm afraid I should do no good there. You see,
down to the waist I'm a Tory of the most determined descrip-

IOLANTHE, MISS BOND ; STEEPHON, ME. TEMPLE

tion, but my legs are a couple of confounded Radicals, and
on a division they'd be sure to take me into the wrong lobby.
You see, they're two to one, which is a strong working
majority.

QUEEN. Don't let that distress you ; you shall be returned
as a Liberal-Conservative, and your legs shall be our peculiar
care.

'IOLANTHE'

149

STREPH. (bowing). I see your Majesty does not do things
by halves.

QUEEN. No, we are fairies down to the feet.

PRIVATE WILLIS, ME. MANNERS } QUEEN OF THE FAIRIES, MISS BARNETT

This is somewhat artificial, but it is amusing. Further
on it recurs again :

t$o THE SAVOY OPERA

IOL. No matter ! The Lord Chancellor has no power
over you. Kemember you are half a fairy. You can defy
him down to the waist.

STBEPH. Yes, but from the waist downwards he can com-
mit me to prison for years ! Of what avail is it that my
body is free, if my legs are working out seven years' penal
servitude ?

Produced, at the Savoy Theatre, on Saturday, January 5,
1884, under the management of Mr. R. D'Oyly Carte.

PKINCESS IDA

CASTLE ADAMANT

2>ramatis persons

KlNG HlLDEBBAND MB. EUTLAND BAKBINGTON

HILABION (his Son) MB. BBACY

CYBIL i . | MB. DUBWABD LELY

I (Hilanon s Friends) . \
FLOBIAN J I MB. CHABLES RYLEY

KING GAMA MB. GEOBGE GBOSSMITH

ABAC | MB. R. TEMPLE

GUBON I (his Sons) . . . > MB. WABWICK GBEY

SCYNTHIUS J ' MB. LUGG

PBINCESS IDA (Gama's Daughter) . . Miss LEONOBA BBAHAM
LADY BLANCHE (Professor of Abstract

Science) .... . Miss BBANDBAM

LADY PSYCHE (Professor of Humanities) . Miss KATE CHABD

MELISSA (Lady Blanche's Daughter) . Miss JESSIE BOND
SACHABISSA -. t Miss SYBIL GBEY

CHLOE I (Girl Graduates) . . \ Miss HEATHCOTE
ADA '- Miss LILLIAN CABB

Soldiers, Courtiers, ' Girl Graduates,' ' Daughters of the Plough,' &c.
ACT I. Pavilion in King Hildebrand's Palace

ACT II. Gardens of Castle Adamant
ACT III. Courtyard of Castle Adamant

' PRINCESS IDA' 151

' Princess Ida ' was perhaps the least interesting of
the series. It seemed too poetical, and was, in fact, a
sort of adaptation of Tennyson's poem, the ' Princess.' 1
It also might be considered one of the ' Fairy Comedies '
set to music. Now, as I have said, the ' Palace of Truth '
and the other pieces of its class had a popularity
that was a little perplexing ; for it seemed phenomenal
almost that the delicate conceits of poetry, with decla-
mations in blank verse, should have been so acceptable
to mixed audiences who were both highly fashionable
and highly vulgar. The same puzzle was offered by the
extravagant craze for Mr. Eider Haggard's fictions, ' She '
and ' King Solomon's Mines.' The composer eagerly
seized the opportunity for music of the more regular
operatic pattern. Everyone listened with pleasure to
these elaborate strains, and to the themes which were
worked out and worked up in masterly fashion. It
was, however, a new departure, and this setting was
scarcely suited to the Gilbertian conceits, which it almost
overpowered. Here is a fair specimen of these three acts
of smooth verse :

Enter KING HILDEBEAND, with CYRIL

HILD. See you no sign of Gama ?

Frx)R. None, my liege !

1 Our author had, in fact, adapted it himself, the piece having already
been presented to the public many years before, at the Olympic, as a
poetical drama.

152 THE SAVOY OPERA

HlLDEBEAND

It's very odd indeed. If Gama fail

To put in an appearance at our Court

Before the sun has set in yonder west,

And fail to bring the Princess Ida here,

To whom our son Hilarion was betrothed

At the extremely early age of one,

There's war between King Gama and ourselves !

(Aside to CYRIL.) Oh, Cyril, how I dread this interview !

It's twenty years since he and I have met.

He was a twisted monster all awry

As though Dame Nature, angry with her work,

Had crumpled it in fitful petulance !

Grossmith was here not very well suited, and his King
Gama seemed somewhat after the pattern of monarchs
in burlesque. The piece was singularly fortunate in the
group of the three young nobles, performed by Durward
Lely, Bracy, and Eyley. At the present moment it would
be difficult to find for a single piece three young men of
graceful mien and good figure, with tuneful, cultivated
tenor voices, such as this trio possessed. As they scaled
the wall of the Girton of fairyland, they sang :

We've learnt that prickly cactus
Has the power to attract us

When we fall.
ALL. When we fall !

FLORIAN

That bull-dogs feed on throttles
That we don't like broken bottles
On a wall.
ALL. On a wall !

1 PRINCESS IDA' 153

HlLDEBKAND

That spring-guns breathe defiance,
And that burglary's a science

After all.
ALL. After all !

There is little inspiration in such a situation (it is
hard to escape the Gilbertian metre), and it shows how
quaintly our author can deal with such a subject. We
like the notion of ' Daughters of the Plough ' figuring
in the castle, who attend and serve the al fresco repast
to this cheerful strain :

Merrily ring the luncheon bell !
Here, in meadow of Asphodel,
Feast we body and mind as well ;
So merrily ring the luncheon bell !

On which their preceptress sings :

Hunger, I beg to state,
Is highly indelicate.

When the three ' strong men ' are getting ready for
battle they intone this strain :

SONG ABAC
We are warriors three,

Sons of Gama, Bex ;
Like most sons are we,

Masculine in sex.

ALL THREE

Yes, yes,
Masculine in sex.

154 THE SAVOY OPERA

ARAC

This helmet, I suppose,

Was meant to ward off blows ;

It's very hot,

And weighs a lot,
As many a guardsman knows,
So off that helmet goes.

THE THKEE KNIGHTS

Yes, yes,
So off that helmet goes !

[Giving their helmets to attendants.

ABAC
These things I treat the same

[Indicating leg-pieces.
(I quite forget their name).
They turn one's legs
To cribbage pegs
Their aid I thus disclaim,
Though I forget their name.

ALL THREE

Yes, yes,

Though we forget their name,
Their aid we thus disclaim !
They remove their leg-pieces and wear close-fitting shape suits.

It will be noted that ' Princess Ida ' is the only one of the
series that is cast in the form of three acts a shape
which was not altogether to its advantage. It is curious,
by the way, to note the gradual change that has been made
during the past fifteen or sixteen years or so in the form

CHANGE IN COMIC OPERA 155

and measure of the comic opera. In translations of
the comic opera of the French pattern, three acts
was de rigueur, and the piece was always laid out in that
form. Three dramatic situations or exhibitions seemed
necessary for the development. The first was intro-
ductory ; the second the crisis or complication ; the third
the extrication or winding-up. This seemed logical
enough ; but the form and pressure of the time, which
dispense with all superfluity, required that the writers
should ' come to the point at once' to the ' 'osses,' in
fact and reach the development by the close of the
first act, while the second should contain the solution.
Both systems have their merits, but it must be said that
the older form now seems a little tedious and protracted,
and that there is not enough ' stuff ' to cover the canvas.
This question of acts and scenes offers an interesting
subject of speculation, and, like the division of a novel
into chapters, is a point not of form but of substance.
A chapter should be a complete portion of the action,
and represent an episode. Our plays are now invariably
cast in the form of three acts or scenes, rather whereas
formerly nothing under five would be tolerated. I fancy
there is a loss of interest by the more rapid development*
as the gradual progress of the five acts fosters a sort of
acquaintance and familiarity with the characters. The
elaborate nature of the set scenes now in fashion
has virtually abolished the succession of scenes in an act,

1 56 THE SAVOY OPERA

as it has become impossible to change a scene as a cloth
or ' flats ' used to be changed.

Gilbert has been the chief agent in effecting this
alteration, and has really educated his audience into
contentment with two scenes and no more.

If there was found a slight failure of attraction in the
last two operas, the authors were DOW to rally their
energies with extraordinary success, and, reverting to
their proper methods, to eclipse in brilliancy all previous
efforts. This grand success was

Produced at the Savoy Theatre, on Saturday, March 14,
1885, under the management of Mr. B. D'Oyly Carte.

THE MIKADO

THE TOWN OF TITIPU

Dramatis persona?

THE MIKADO OF JAPAN MB. E. TEMPLE

NANKI-POO (his Son, disguised as a wandering

minstrel, and in love with Y^tm-Yum) . ME. J. G. KOBEBTSON
Ko-Ko (Lord High Executioner of Titipu) . MB. GEOEGE GEOSSMITH
POOH-BAH (Lord High Everything Else) . ME. EUTLAND BAEEINGTON

Go-To ME. E. CUMMINGS

PISH-TUSH (a noble Lord) .... MB. EUDOLPH LEWIS
YUM- YUM \ i Miss GEBALDINE ULMAB

PITTI-SING 1- (three Sisters Wards of Ko-Ko) 4 Miss A. COLE
PEEP-BO J vMiss SYBIL GBEY

KATISHA (an elderly Lady, in love with

Nanki-Poo) Miss EOSINA BBANDBAM

Chorus of School-girls, Nobles, Guards, and Coolies

THE < MIKADO' 1S7

ACT I. Courtyard of Ko-Ko's Official Residence

ACT II. Ko-Ko's G-arden

Both scenes painted by MR. HAWES CRAVEN

Stage Manager MR. W. H. SEYMOUR

Every evening at 7.30, the entirely new and original operetta en-
titled

MRS. JAEEAMIE'S GENIE

Words by FRANK DESPREZ. Music by ALFRED & FRA^OIS CELLIER
(Nos. 1 and 2 by FRANCOIS CELLIER. Nos. 3, 4, and 5 by ALFRED CELLIER)

MORTALS
MR. HARRINGTON JARRAMIE (a retired UpJiol-

sterer) MR. WALLACE BROWNLOW

EKNEST PEPPERTON MR. J. WILBRAHAM

SMITHERS (Butler) . . . ,". . . MR. CHARLES GILBERT

BILL ] , ( MR. LEBRETON

\ (Railway Carmen)
JIM J ' [ MR. METCALFE

MRS. HARRINGTON JARRAMIE . . . . Miss M. CHRISTO

DAPHNE (her Daughter) Miss E. HERVEY

NIXON (Parlour-maid) Miss M. EUSSELL

IMMORTAL
BEN-ZOH-LEEN (the Slave of the Lamp) . . MR. JOHN WILKINSON

SCENE. Morning-room, Mr. Jarramie's House,
Harley Street, London

The ' Mikado ' is certainly the most popular and best
known of all these entertainments. This piece and
' Pinafore ' are, perhaps, the only ones that have found
their way to foreign countries.

I myself have seen at an obscure Dutch town wall-
posters, printed in the vernacular, and announcing ' Het
Mikado, van Gilbert Sullivan.' One of Mr. D'Oyly

i 5 8

Carte's travelling companies took it to Berlin and to
brilliant Vienna, where dance tunes and Strauss have
their home, and where it caused unbounded enjoyment.
The Japanese ' business ' naturally offered excellent
opportunities for scenery and decoration, contrasting in

ME. ROBERTSON AS NANKI-POO

a striking way with what had hitherto been attempted.
The brilliancy and glitter of the colours, with the rich-
ness of the materials employed for the dresses, were really
exceptional. The gold brocade dresses of the Mikado
and his Lord High Executioner might have been worn by
Japanese dignitaries of corresponding rank, and cost an

THE ' MIKADO'

159

enormous sum. It was reported, indeed, that Japanese
functionaries had been called into council and had given
grave advice on the
scenic arrangements.
The central hu-
morous idea of the
piece turned upon
the situation of
'Pooh-Bah,' a part
discharged with in-
finite grotesqueness
by the ever-facetious
Barrington. The
Lord High Every-
thing Else explains
that when all the
great officers of state
had resigned in a
body because they
were too proud to
serve under an ' ex-
tailor,' he accepted
all their posts at

MR. G. GEOSSMITH AS KO-KO

once. This led to

some embarrassment, as when the Lord High Execu-
tioner consults him about his approaching marriage
and the sums of money he ought to lay out :

i6o

THE SAVOY OPERA

POOH. In which of my capacities ? As First Lord of the
Treasury, Lord Chamberlain, Attorney- General, Chancellor
of the Exchequer, Privy Purse, or Private Secretary ?

Ko. Suppose we say
as Private Secretary ?

POOH. Speaking as
your Private Secretary, I
should say that as the
city will have to pay for
it, don't stint yourself, do
it well.

Ko. Exactly as the
city will have to pay for
it. That is your advice ?

POOH. As Private Se-
cretary. Of course you
will understand that as
Chancellor of the Ex-
chequer I am bound to
see that due economy is
observed.

Ko. Oh, but you said
just now, ' Don't stint
yourself, do it well.'

POOH. As Private Se-
cretary.

Ko. And now you say
that due economy must
be observed.

POOH. As Chancellor

MISS BEANDEAM AS KATISHA

of the Exchequer.

This jest tickled the public hugely.

Ko-Ko, the Lord High Executioner, was performed

THE ' MIKADO'

161

by Grossmith, but though he had less to do than usual,
he made a great deal of the part. His song on the

MISS L. BRAHAM AS YUM-YUM

finding a victim for his office was an immense success,
and ingeniously adapted to current society topics :

As some day it may happen that a victim must be found

I've got a little list I've got a little list

Of social offenders who might well be underground,

162

THE SAVOY OPERA

And who never would be missed who never would be

missed.

There's the pestilential nuisances who write for autographs

All people who have flabby

hands and irritating

laughs
All children who are up

in dates, and floor you

with them flat
All persons who in shaking

hands shake hands with

you like that
And all third persons who

on spoiling tete-d-tetes

insist
They'd none of 'em be

missed they'd none of

'em be missed.

The Mikado, pleas-
antly given by Temple,
chatters with his officials
over their impending
execution and the man-
ner of it.

ME. B. TEMPLE AS THE MIKADO

MIK. Yes. Something

lingering, with boiling oil in it, I fancy. Something of
that sort. I think boiling oil occurs in it, but I'm not
sure. I know it's something humorous, but lingering, with
either boiling oil or melted lead. Come, come, don't fret
I'm not a bit angry.

M 2

164 THE SAVOY OPERA

Ko. (in abject terror). If your Majesty will accept our
assurance, we had no idea

MIK. Of course you hadn't. That's the pathetic part of
it. Unfortunately the fool of an Act says, ' compassing the
death of the heir apparent.' There's not a word about a
mistake, or not knowing, or having no notion. There should
be, of course, but there isn't. That's the slovenly way in
which these Acts are drawn. However, cheer up, it'll be all
right. I'll have it altered next session.

Ko. What's the good of that ?

MIK. Now let's see will after luncheon suit you ? Can
you wait till then ?

Ko., PITTI, and POOH. Oh yes we can wait till then !

MIK. Then we'll make it after luncheon. I'm really very
sorry for you all, but it's an unjust world, and virtue is
triumphant only in theatrical performances. 1

As the ' Mikado ' is perhaps the chef d'cewre of the
author, and is best known and appreciated both at home
and abroad, I may venture to quote the official judg-
ment of a very competent critic and skilled musician, my
friend Mr. Beatty-Kingston.

' The ' ' Mikado ' ' proved to be an extravaganza of the old
Savoy type a fabric in which familiar material has been

1 Once passing through a small Dutch town I saw on a dead \yall a
tattered, fluttering poster, on which I read that ' Het Mikado, van
Gilbert Sullivan' was to be performed. In December 1893 the Mikado
was revived at the Unter den Linden Theatre, Berlin, when to the com-
poser's annoyance it was announced that a female performer, Frau von
Palmay, would take the part of Nanki-Poo. The composer was much
distressed at this travesty of his work, and made vigorous protest ; but
without avail. The lady duly appeared. Utopia was also to be per-
formed in the same city, at the Friedrich-Wilhelm Stadtische Theatre.

THE 'MIKADO' !6 5

cleverly worked up into a dainty Japanese pattern.
Anachronisms, surprises, incongruities unsparing ex-
posure of human weaknesses and follies things grave
and even horrible invested with a ridiculous aspect all
the motives prompting our actions traced back to inex-
haustible sources of selfishness and cowardice a strange,
uncanny frivolity indicated in each individual delineation
of character, as though the author were bent upon
subtly hinting to the audience that every one of his
dramatis persona is more or less intellectually deranged ;
these are the leading characteristics exhibited by Mr.
Gilbert's latest operatic libretto in common with its
predecessors. Mr. Gilbert is a past-master in the
craft of getting his puppets into and out of scrapes
with an agreeable recklessness as to the ethics of
their modus operandi. The executioner, commanded to
do the duties of his office, which he has fraudulently
suffered to fall into abeyance, instantly looks about
him for some innocent victim, and bribes such an one
with his own betrothed bride to perish in his stead.
The cumulative official, a very nonpareil of infamy,
expresses his pride in his ancestry by the basest venality.
This view is really rendered imperative by the cir-
cumstance that their dearest personal interests are,
throughout the plot, made dependent upon the inflic-
tion of a violent death upon one or other of them.
Decapitation, disembowelment, immersion in boiling

1 66 THE SAVOY OPERA

oil or molten lead are the eventualities upon which
their attention (and that of the audience) is kept fixed
with gruesome persistence. Mr. Gilbert has done his
self-appointed work with surpassing ability and inimi-
table verve. The text of the " Mikado " sparkles with
countless gems of wit brilliants of the finest water
and its author's rhyming and rhythmic gifts have
never been more splendidly displayed than in some
of the verses assigned to Ko-Ko, Pooh-Bah, Yum- Yum,
and the Mikado himself. As for the dialogue, it is
positively so full of points and hits as to keep the
wits of 'the audience constantly on the strain, scarcely
ever affording to it an instant's repose or even respite from
a rapid succession of smart and pungent incitements to
mirth. In his case, supply has created demand ; and it
is he who has formed public taste in a particular direction,
as it is only given to geniuses to do. Whether or not
that direction be a salutary one is perhaps not very
much to the purpose. He has unquestionably succeeded
in imbuing society with his own quaint, scornful, in-
verted philosophy ; and has thereby established a solid
claim to rank amongst the foremost of those latter-day
Englishmen who have exercised a distinct psychical in-
fluence upon their contemporaries.

' Sullivan is every whit as genuine a humorist as
Gilbert, with this difference, that the amarialiquid never
crops up in his compositions. They are always genial,

THE ' MIKADO' 167

graceful, and, above all, beautiful ; never more so than in
the score of the " Mikado." They twinkle with kindly,
sly fun ; nothing in them ever grates harshly upon the
ear ; they are exquisitely congruous to the sentiments or
situations which they profess to musically depict or re-
flect. What a graphic and fertile melodist is Sullivan !
What an accomplished orchestrator ! How complete are
his knowledge and mastery of instrumental resources !
Of what other composer of our time can it with truth
be said that he is inexhaustible alike in invention
and contrivance ? This is the ninth of his operas,
written in conjunction with Gilbert ; and I, for my part,
should be greatly embarrassed to award the palm to any
one of them in particular, so excellent are they all. The
best proof, indeed, of the equality of their merits is the
fact that no two musicians are agreed as to which is
really the best of them. Beyond a doubt the " Mikado "
is as good as any of its forerunners. It contains half-a-
dozen numbers, each of which is sufficiently attractive to
ensure the opera's popularity ; musical jewels of great
price, all aglow with the lustre of a pure and luminous
genius. Amongst these is a madrigal of extraordinary
beauty, written in the fine old scholarly English fashion
that comes to Sullivan as easily nowadays as it came of
yore to Wilbye and Battishill. " Hearts do not break," a
contralto song, which elicited a storm of applause from
as critical an audience as could well be assembled within

1 68 THE SAVOY OPERA

the walls of a London theatre, is Handelian in its
breadth, and Schumannesque in its passionate force.
The duet between Yum-Yum and Nanki-Poo, " Were I
not to Ko-Ko plighted " (act i.), is simply charming.
There is no prettier number in the opera than this ;
but the great success of the evening as far as reite-
rate and rapturous recalls were concerned, at least was
the trio and chorus, " Three little maids from school "
(act i.), which the first-nighters insisted upon hearing
three times, and would gladly have listened to a fourth,
had not their request been steadfastly declined. Nothing
fresher, gayer, or more captivating has ever bid for
public favour than this delightful composition.'

This is a fair arid judicious estimate, more than
justified by the later popularity of the piece. It is ex-
traordinary that a work which has been cordially appre-
ciated in foreign countries should have never had a
trial in France an exclusion which, however, has ex-
tended to almost every English work of reputation. It
is hardly invidious to impute this to an unworthy feeling
of jealousy, or at least dislike. On some points our
' lively neighbours ' show themselves to be ' the spoiled
child ' of Europe.

RUDD1GORE'

169

An entirely original supernatural opera, in two acts, first pro-
duced at the Savoy Theatre, by Mr. E. D'Qyly Carte, on
Saturday, January 22, 1887.

KUDDIGORE

MOETALS

EOBIN OAKAPPLE (a Young Farmer) . . Mit. GEORGE GEOSSMITH
BICHAED DAUNTLESS (his Foster-brother a

Man-o'-war's-man) . . . . MR. DURWARD LELY
SIR DESPARD MURGATROYD (of Ruddigore a

Wicked Baronet) . . . . . MR. BUTLAND BARRINGTON
OLD ADAM GOODHEART (Robin's Faithful

Servant) MB. EUDOLPH LEWIS

EOSE MAYBUD (a Village Maiden) k . Miss LEONORA BHAHAM

MAD MARGARET ...... Miss JESSIE BOND

DAME HANNAH (Rose's Aunt) . . . Miss EOSINA BRANDRAM

ZOHAH 1 r Miss JOSEPHINE FINDLAY

\ (Professional Bridesmaids) .
EUTH J 1 Miss LINDSAY

GHOSTS

SIR BUPERT MURGATROYD (the First Baronet) . . MR. PRICE

SIR JASPER MUHGATROYD (the Third Baronet) . . MR. CHARLES

SIR LIONEL MUHGATROYD (the Sixth Baronet) . . MR. TREVOR

SIR CONRAD MURGATROYD (the Twelfth Baronet) . . MR. BURBANK

SIR DESMOND MURGATROYD (the Sixteenth Baronet) . MR. TUER

Sin GILBERT MURGATROYD (the Eighteenth Baronet) . MR. WILBRAHAM

SIR MERVYN MURGATROYD (the Twentieth Baronet) . MR. Cox

AND

SIR EODEHIC MUBGATROYD (the Twenty-first

Baronet) MR. EICHARD TEMPLE

Chorus of Officers, Ancestors, and Professional Bridesmaids

ACT I. The Fishing Village of Rederring, in Cornwall
ACT II. Picture Gallery in Buddigore Castle
TIME-EARLY IN THE PRESENT CENTURY

1 70 THE SAVOY OPERA

After a nearly two years' successful run, during which
time the ' Mikado ' was chanted everywhere and danced
to in every ballroom, it became time to provide it with a
successor. This was a difficulty, for, as it has often been
shown, the successful man is really his own, and his
chief dangerous competitor. The new opera was the
only one of the series that was destined to be ill-
appreciated by the public ; yet it seemed to me had
extraordinary merit both in story and music. This was
' Euddigore,' ' a very original and striking thing, affecting
us with somewhat of the same emotions as did ' Les
Cloches de Corneville.' A scene or two was suggested by
an old piece of the author's written for the German
Eeeds, and called ' Ages Ago.' There was a tone of
' Monk ' Lewis. The combination of the ghostly element
with ordinary life was happily contrived. But it is the
picturesque figures and quaint costumes that linger in
the memory. These w ? ere really unfamiliar and treated
in an original way. The story was in harmony, and in-
spired the composer with some impressive, solid music.
The figure of Sir Rupert Murgatroyd, with his cap and

1 With an odd crotchetiness, often exhibited by the public, much
unmeaning objection was taken to the title. This, owing to a printer's
mistake, had been announced as Ruddygore. A friend wrote gravely to
remonstrate against such a title as ' Bloodygore.' ' When the press
shuddered with convulsive horror (as it did) at the detestable title, I
endeavoured to induce my collaborateur to consent to the title being
changed to " Kensington Gore or Kobin and Eichard were two pretty
men," as being more idyllic but Sullivan wouldn't consent.' GILBERT.

^RUDDIGORE'

171

tassel and long braided frock, the flowing cloak of the
period, was all striking enough. The picture gallery at
Euddigore Castle, with the long perspective of family
full-length portraits stretching away, was most effective

DAME HANNAH, MISS BBANDKAM

ROSE, MISS BRAHAM

and poetical. These portraits were strictly and accu-
rately copied from the members of the chorus they
represented ; and it was an ingenious and striking effect
when the living figures, having taken the places of the
counterfeit presentments, descended solemnly from their

i;2 THE SAVOY OPERA

frames. The music of this scene was really appropriate,
and a picturesque effect was produced by the assemblage
of all the different uniforms of the English army, new
and old ; these strange, old-fashioned equipments,
defiling before us, left a curious ghostly feeling. The
following conceit, though a little ' wire-drawn,' is worked
out with much elaborate ingenuity :

EOB. Eeally I don't know what you'd have. I've only
been a bad baronet a week, and I've committed a crime
punctually every day. . . . (Melodramatically). On Wednes-
day I forged a will.

SIR KOD. Whose will ?

EOB. My own.

SIB EOD. My good sir, you can't forge you own will !

EOB. Can't I though ! I like that ! I did ! Besides, if a
man can't forge his own will, whose will can he forge ?

IST GHOST. There's something in that.

2ND GHOST. Yes, it seems reasonable.

SRD GHOST. At first sight it does.

4TH GHOST. Fallacy somewhere, I fancy !

EOB. A man can do what he likes with his own ?

SIR EOD. I suppose he can.

EOB. Well, then, lie can forge bis own will, stoopid ! On
Thursday I shot a fox.

IST GHOST. Hear, bear !

SIR EOD. Tbat's better (addressing ghosts). Pass the fox,
I think ? (They assent.) Yes, pass tbe fox. Friday ?

EOB. On Friday I forged a cheque.

SIR EOD. Whose cheque ?

EOB. Old Adam's.

SIR EOD. But Old Adam basn't a banker.

i RUDDIGORE J

'73

ROB. I didn't say I forged his banker I said I forged
his cheque. On Saturday I disinherited my only son.

SIR ROD. But you haven't got a son.

ROB. No not yet. I disinherited him in advance, to
save time. You see, by this arrangement he'll be born
ready disinherited.

I have always thought the Salvationist duet be-
tween Sir Despard and Mad Margaret one of the most

ME. LELY, MISS BEAHAM, AND ME. GKOSSMITH

diverting and really original of grotesque conceptions.
Writer, composer, and singers furnished each an incom-
parable fund of quaintness. The music was as strange
as the words, and the performers, again, were quite as
good as words and music.

DBS. I once was a very abandoned person
MAK. Making the most of evil chances.
DBS. Nobody could conceive a worse 'un

174 THE SAVOY OPERA

MAR. Even in all the old romances.
DBS. I blush for my wild extravagances,

But be so kind

To bear in mind,

MAE. We were the victims of circumstances ! (Dance.)
That is one of our blameless dances.

MAR. I was an exceedingly odd young lady
DBS. Suffering much from spleen and vapours.
MAR. Clergymen thought my conduct shady
DES. She didn't spend much upon linendrapers.
MAR. It certainly entertained the gapers.

My ways were strange

Beyond all range

DBS. And paragraphs got into all the papers. (Dance.)
We only cut respectable capers.

DBS. I've given up all my wild proceedings.
MAR. My taste for a wandering life is waning.
DBS. Now I'm a dab at penny readings.
MAR. They are not remarkably entertaining.
DBS. A moderate livelihood we're gaining.
MAR. In fact, we rule

A National School.
DBS. The duties are dull, but I'm not complaining.

(Dance.)
This sort of thing takes a deal of training !

Who will forget the extraordinary oddity and abrupt-
ness of the break for the dance, followed by the strange
exclamation, as if in reverie :

This sort of thing takes a deal of training ?
We could have heard that ditty after its second

RUDDIGORE

175

encore repeated again and again. We should wish to
hear it now, but there is little likelihood of its being
revived.

Sir Eoderic's talk with the picture-ghosts exhibits
our author's ingenious conceits and playings with words
at their best.

MISS BOX!)

HISS BRANDKAM MR. BARRINGTON MB. BAREINGTON

The absurdity or ' banality ' of the operatic chorus
offering their unmeaning greetings is thus happily
satirised :

BRIDESMAIDS

Hail the bridegroom hail the bride !
Let the nuptial knot be tied :

1/6 THE SAVOY OPERA

In fair phrases
Hymn their praises,
Hail the bridegroom hail the bride !

Welcome, gentry,

For your entry
Sets our tender hearts a-beating.

Men of station,

Admiration
Prompts this unaffected greeting.

Hearty greeting offer we !

The odd conceits of the following meditation often

recur :

Cheerily carols the lark

Over the cot.
Merrily whistles the clerk
Scratching a blot.
But the lark
And the clerk,
I remark,
Comfort me not !

Over the ripening peach

Buzzes the bee.
Splash on the billowy beach
Tumbles the sea.
But the peach
And the beach
They are each
Nothing to me !
Again:

Maidens, greet her,
Kindly treat her,
You may all be brides some day.

^RUDDIGORE' 177

And this warning to a droll rhyme :

innocents, listen in time,
Avoid an existence of crime
Or you'll be as ugly as I'm.

And:

Agricultural employment
Is to me a keen enjoyment.

And there are some other quaint strokes, ingenious,
too, in their rhyme and reason :

I abandon propriety,
Visit the haunts of Bohemian society,
Waxworks and other resorts of impiety,

Placed by the moralist under a ban. . . .

wretched the debtor who's signing a deed,

And wretched the letter that no one can read ;

But very much better, their lot it must be

Than that of the person I'm making this verse on,

Whose head there's a curse on alluding to me. . . .

Mad, I ?

Yes, very.
But why !

Mystery ! . . .

He's in easy circumstances ;
Young and lusty,
True and trusty.

There are other instances of the special humour to
which our author is so partial :

1 78 THE SAVOY OPERA

HAN. Nay, dear one, where true love is, there is little
need of prim formality.

EOSE. Hush, dear aunt, for thy words pain me sorely.
Hung in a plated dish -cover to the knocker of the workhouse
door, with nought that I could call mine own save a change
of baby-linen and a book of etiquette, little wonder if I have
always regarded that work as a voice from a parent's tomb.

THE FISHING VILLAGE OF KEDEKKING

This hallowed volume (producing a book of etiquette}, com-
posed, if I may believe the title-page, by no less an authority
than the wife of a Lord Mayor, has been, through life, my
guide and monitor. By its solemn precepts I have learnt to
test the moral worth of all who approach me. The man who
bites his bread, or eats peas with a knife, I look upon as a
lost creature, and he who has not acquired the proper way of

RUDDIGORE''

179

entering and leaving a room is the object of my pitying
horror. There are those in this village who bite their nails,
dear aunt, and nearly all are wont to use their pocket-combs
in public places. In truth, I could pursue this painful theme
much further, but behold, I have said enough.

Now this, as a form of burlesque, seems a little imper-
fect. The utterer of these quips was conscious of the
absurdity, yet appears to be superior to it. 1

So with that odd notion in
' Euddigore ' of using a word which
shall recall Mad Margaret to
sobriety ' some word that teems
with hidden meaning, like "Basing-
stoke," might recall me to my saner
self.' Despard says :

But soft, someone comes. Mar-
garet, pray recollect yourself. Basing-
stoke, I bag. Margaret, if you don't
Basingstoke at once, I shall be seriously
angry.

MARGARET (recovering herself).
Basingstoke it is.

DES. Then make it so.

This is whimsical enough in the treatment, but the
conceit itself is a trifling one.

1 Our author, however, urges that ' Eose's dealing with the book of
etiquette should not be self-conscious ; she is perfectly in earnest, and
should display no sense of any incongruity.' Still, the theme is so de-
veloped that this unconsciousness can only be secured by the assump-
tion of some mental deficiency.

K 2

MR. D. LELY
AS RICHAKD DAUNTLESS

i8o THE SAVOY OPERA

I must confess, too, that the point of the following
is not intelligible to me, at least :

EOB. Soho ! pretty one in my power at last, eh ? Know
ye not that I have those within my call who, at my lightest
bidding, would immure ye in an uncomfortable dungeon ?
(Calling.) What ho ! within there !

RICH. Hold we are prepared for this (producing a Union
Jack). Here is a flag that none dare defy (all kneel), and
while this glorious rag floats over Rose Maybud's head, the
man does not live who would dare to lay unlicensed hand
upon her !

ROB. Foiled and by a Union Jack ! But a time will
come, and then

It was in ' Buddigore,' too, that a burlesque allusion
produced a storm of indignation in our neighbours across
the Channel. This was really intended to ridicule the
Chauvinist boastings of the old days, but the French took
it literally, and insisted that it was an actual affront. 1

After ' Buddigore ' had run its rather short course it
became known that the Savoy troupe was to ' shed ' yet
another of its leading members. The loss of Grossmith
was impending ; but it was now learned that Harrington,
the inimitable Pooh-Bah, had seceded. Once the two props
of the house had gone, the same spirit was to affect the
principals themselves. Durward Lely, that finished tenor,
was soon to depart ; his successor, Courtice Pounds, was

1 Some thirty French officers actually engaged to call the author to
account.

SECESSIONS 181

to follow. Jessie Bond, after a long service, was to
go also. This seems to be of the essence of such
associations.

After some years of this agreeable service, and
crowded, applauding houses every night, the generic
tenor begins to think, almost as a matter of course, that
he was made for better things, or at least for a better
salary. This he usually demands, and on demur resigns
his pleasant, easy post. Friends assure him that with
his reputation he is ' worth double,' and will get double.
Too late he finds out that nothing can make up for the
steady permanence of his former situation : he discovers
to his surprise that most of his reputation is owing to
the very theatre itself, and to the works in which he
has figured. Too late he finds the precariousness and
uncertainty of all things outside that favoured temple,
where, in the words of the facetious song, ' He never will
be missed he never will be missed.' Eeturn is im-
possible, as his place is filled without difficulty.

There was one exception, however that of Barrington,
who at this time was seized with a hunger for manage-
ment. A friendly financier offered to back his enter-
prise, and with the genial goodwill of his late associates,
and universal good wishes, the pleasant Corcoran, Dr.
Daly, &c., embarked on management at the St. James's
Theatre. Gilbert furnished him with a comedy,
' Brantinghame Hall,' and also with a new actress, Julia

1 82 THE SAVOY OPERA

Neilson, of whom he had a high opinion, which on this
occasion I fancied she scarcely justified. It must be said
that his judgment in these matters is far-seeing and goes
deep, and the lady, as we know, has turned out a very
striking and sympathetic performer. ' Brantinghame
Hall,' however, was not acceptable, though the author had
great faith in the piece ; and it must be confessed that it
somewhat lacked coherence. 1 Barrington made some
other experiments, which were rather disastrous, and at
last was glad to resign the ill-fated venture and return
to his old house, where he was at home, and where he
was received with open arms by management and
audience. With these old friends he has wisely con-
tinued ever since.

1 ' Miss Neilson,' wrote the author to me on the day after the per-
formance, ' was absolutely paralysed with nervousness last night. In a
few days she will do herself justice. It was a tremendous ordeal for a
young girl who has only walked a stage eight times in her life, and who
never played an original part before.' Our author then explained his
purpose in the piece. ' The villain might easily and effectively have
been baffled by the arrival of the parson, as you suggest ; but I didn't
want the villain to be an " out-and-outer," but rather a man led to the
commission of unworthy deeds through overmastering passion rather a
good fellow than otherwise ; at all events, a man with good and generous
impulses, which occasionally assert themselves. This is Jointed at
when he arrives at Brantinghame prepared to deal loyally with Lord
Saxondham.'

THE < -YEOMEN OF THE GUARD' 183

Produced, at the Savoy Theatre, under the management of Mr. R.
D'Oyly Carte, on Wednesday, October 3, 1888.

THE YEOMEN OF THE GUAKD

THE MEEEYMAN AND HIS MAID

5>ramatts persona?

SIR EICHARD CHOLMONDELEY (Lieutenant of the

Tower) MR. W. BROWNLOW

COLONEL FAIRFAX (under sentence of death) . MR. COURTICE POUNDS
SERGEANT MERYLL (of the Yeomen of the Guard) MR. RICHARD TEMPLE
LEONARD MERYLL (his Son) .... MR. W. R. SHIRLEY
JACK POINT (a Strolling Jester) . . . MR. GEORGE GROSSMITH

WILFRED SHADBOLT (Head Gaoler and Assistant

Tormentor) . . . . . MR. W. H. DENNY

THE HEADSMAN MR. EICHARDS

FIRST YEOMAN MR. WILBRAHAM

SECOND MR. METCALF

THIRD MR. MERTON

FOURTH ,, ....... MR. EUDOLF LEWIS

FIRST CITIZEN . MR. EEDMOND

SECOND MR. BOYD

ELSIE MAYNARD (a Strolling Singer) . . Miss GERALDINE ULMAR
PHCEBE MERYLL (Sergeant Meryll's Daughter] . Miss JESSIE BOND
DAME CARRUTHERS (Housekeeper to the Tower) . Miss EOSINA BBANDRAM
KATE (her Niece) Miss ROSE HERVEY

Chorus of Yeomen of the Guard, Gentlemen, Citizens, d-c.

SCENE. Tower Green
DATE.-SIXTEENTH CENTURY

In this piece, the ' Yeomen of the Guard,' our
author adopted quite a new method ; there was a pleas-
ing, interesting episode, treated with sincerity and

184

THE SAVOY OPERA

seriously, though set off with a fringe, as it were, of
lively conceits. The picturesque locality of the Tower
all but inspired the story. There was a prisoner of

Msffi,

' <//4t

'I T in

state, one Colonel Fairfax, sentenced to be executed;
there was the gaoler and his daughter, the lieutenant,
a ' strolling jester,' and, of course, ready to hand a
picturesque chorus, the ' Beefeaters.' The tale IK

THE < 'YEOMEN OF THE GUARD

185

simple and unassuming, and something in the vein of
G. P. B. James or Ainsworth. The prisoner, taking the

<S*ijvn

place of the sergeant's son, is enrolled in the guard as a
recruit ; the gaoler is in love with Phoebe and is ' flouted '

1 86

THE SAVOY OPERA

by her ; there is a prison marriage, too, before the execu-
tion, and at the end all are made happy. The composer,
too, was fortunate in being furnished with such a story
to set. It supplied him with some stately, well-coloured
ideas; he evidently was inspired by the picturesque

I/ 1

locale ; his strains reflect the influence of the grim old
precinct :

Ye towers of Julius ! London's lasting shame !
By many a foul and midnight murder fed.

At the same time it was felt that here was a depar-
ture from the stricter traditions of the Savoy.

Grossmith was allotted a curious part, a sort of

THE < 'YEOMEN OF THE GUARD'

187

mediaeval jester called Jack Point. It was somewhat
artificial in its cast, but he made a very piquant
character of it. To him was allotted the beautiful air,
' I have a song to sing ! ' with drone accompaniment,
one of the most charming of
Sullivan's efforts. It made
a deep impression, and chimes
in our ears at this very mo-
ment.

It is thus that composers
so often really make the public
a present of something that
they can take home with them
and put by, and which can be
used and renewed again and
again to recreate themselves
with on occasion.

The fooling of this fool is
a little archaic, though no
doubt it was intended as a
satire on the salaried quips of these gentry. The lieu-
tenant asks him :

And how came you to leave your last employ ?

POINT. Why, sir, it was in this wise. My lord was the
Archbishop of Canterbury, and it was considered that one of
my jokes was unsuited to his Grace's family circle. In truth
I ventured to ask a poor riddle, sir Wherein lay the dif-
ference between his Grace and poor Jack Point? His

1 88 THE SAVOY OPERA

Grace was pleased to give it up, sir. And thereupon I told
him that whereas his Grace was paid 10,OOOZ. a year for
being good, poor Jack Point was good for nothing. 'Twas
but a harmless jest, but it offended his Grace, who whipped me
and set me in the stocks for a scurril rogue, and so we parted.
I had as lief not take post again with the dignified clergy.

LIEUT. Can you give me an example ? Say that I had sat
me down hurriedly on something sharp ?

POINT. Sir, I should say that you had sat down on the
spur of the moment.

LIEUT. Humph. I don't think much of that. Is that
the best you can do ?

POINT. It has always been much admired, sir, but we will
try again.

LIEUT. Well then, I am at dinner, and the joint of meat
is but half cooked.

POINT. Why then, sir, I should say that what is under-
done cannot be helped.

THE < 'YEOMEN OF THE GUARD'

189

LIEUT. I see. I think that manner of thing would be
somewhat irritating.

i go

THE SAVOY OPERA

POINT. At first, sir, perhaps ; but use is everything, and
you would come in time to like it.

LIEUT. We will suppose that I caught you kissing the
kitchen wench under my very nose.

POINT. Under her very nose, good sir not under yours !
That is where I would kiss her. Do you take me ? Oh, sir,
a pretty wit a pretty, pretty wit !

MISS JESSIE BOND AND MB. W. H. DENNY AS PHCEBE MEBYLL AND
WILFKED SHADBOLT

LIEUT. The maiden comes. Follow me, friend, and we
will discuss this matter at length in my library.

He afterwards sings with pleasant humour of the
hard lot of the ' private buffoon ' who is checked by the
dullards at every turn.

THE ' YEOMEN OF THE GUARD

191

Among the performers was found a new recruit, who
had long served under the Bancrofts at the old Totten-
ham Court Eoad Theatre, and who has the art of im-

parting to even minor characters a sort of individuality.
This was Denny. He has a dry, self-contained, reserved
humour, which was shown effectually in the part of the
Tower gaoler. He has since taken his place as one

192 THE SAVOY OPERA

of the props of the house. He is, however, some-
what borne in his gifts, and, though a sound and con-
scientious performer, has but a limited range.

Performed at the Savoy Theatre, under the management of Mr.
B. D'Oyly Carte, on Saturday, December 1, 1889, an entirely
original comic opera, in two acts.

THE GONDOLIEBS

THE KING OF BAEATAEIA

2>ramatis persons

THE DUKE OF PLAZA-TOKO (a Grandee, of

Spain] MR. FRANK WYATT

Luiz (his Attendant) . . . MR. BKOWNLOW

DON ALHAMBRA DEL BOLERO (the Grand In-
quisitor) MK. DENNY

MAKCO PALMIERI

GIUSEPPE PALMIERI

ANTONIO

FEANCESCO

GIORGIO

ANNIBALE

OTTAVIO

MR. COURTICE POUNDS

/MR.
MR.

EUTLAND BARRINGTON

MR. METCALF
(Venetian Gondoliers) { MR. BOSE

j MR. DE PLEDGE

Mil. WlLBRAHAM

\Mit. C. GILBERT

THE DUCHESS OF PLAZA-TORO . . . Miss EOSINA BRANDRAM
CASILDA (her Daughter) . ... . Miss DECIMA MOORE

GIANETTA

TESSA

FIAMETTA I- (Contadine)

Miss GERALDINE ULMAR
Miss JESSIE BOND
Miss LAWRENCE

VITTORIA Miss COLE

GIULIA } \Miss PHYLLIS

INEZ (the King's Foster-mother) . . Miss BERNARD

Chorus of Gondoliers and Contadine, Men-at-arms, Heralds,
and Pages

ACT I. The Piazetta, Venice
ACT II. Pavilion in the Palace of Barataria

THE l GONDOLIERS' 193

The < Gondoliers,' for sparkle, show, brilliant dresses,
and lively music, was one of the most attractive of the
' series. The tunes were taking the composer sought to
impart a kind of local colour the measures were half
Italian or Spanish, with the usual fandangoes, boleros, &c.
For a practised musician this is easy enough, and is,
indeed, a sort of common form. The story was ingeniously
compounded, though the idea is suggested that it was
put together a little capriciously. When the public
came to welcome the new opera it knew that one of its
oldest favourites would be no longer there to entertain
them. George Grossmith, the enjoyable ' Gee-Gee,' had
departed. This was a serious loss. A Savoy opera
without this grotesque, mercurial, central figure was
almost inconceivable. There was no substitute to be
found. He stood out quite brilliantly from the back-
ground. To this hour it may be doubted if the Savoy
opera is the same thing that it was in those days.

He was led to take this step by the reflection that
for some years he had been losing money by his en-
gagement, possibly to the amount of one or two hundred
a week. His salary of 401. or 501. was handsome, and
about as much as the manager of a costly theatre could
afford; 2,OOOZ. a year is no bad allowance. But he
had long felt that there was a great field open to his
talents in the entertainment direction. He had already
made his mark in this way, and after his performance

i 9 4 THE SAVOY OPERA

at the Savoy used to repair to fashionable entertain-
ments, where he gave his songs and recitations. G-olden
profits opened before him; and with such profit all
but a certainty, it would have been folly to resist, and
so he took this important step. The success, as he has
assured me, has exceeded his most sanguine expecta-
tions. 1

This shows how utopian in these days at least is
the notion of a good all-round company whose chief
members are of equal merit. Philosophers tell us that
such is the ideal system to be found at the Theatre
Fran9ais. But it is no sooner constituted than it must
dissolve, for the very reason that influenced Grossmith
viz. every member of conspicuous merit is playing at a
loss, and feels that he could make three or four times
as much. For this compelling reason the Fran9ais is
gradually snedding its leading members ; witness Sarah
Bernhardt, Coquelin, and others.

The Savoy corps has during fourteen or fifteen years
seen other changes. Save, perhaps, Barrington and Miss
Brandram, nearly all the original prominent members
have gone Grossmith, Durward Lely, George Power,

1 Still, as if to prove that neither pelf nor the comparative gain of the
platform will make up for the glittering attraction of the scene, there
have lately been rumours of his return to the domain of his old triumphs.
It has been stated in various journals that in case of a revival of the
Mikado or the Yeomen of the Guard indistinctly shadowed forth
our friend would resume his old character.

THE 'GONDOLIERS*

'95

Jessie Bond, the Temples, and many more. The present
members now carry on the traditions, but do not origi-
nate. Denny, it would
appear, is held out as a
sort of successor to Gros-
smith, but is unequal,
and has not the magic
touch.

The ' Gondoliers ' in-
troduced quite an array
of new talent, with a large
number of characters.
The management seemed
to have thought that
' fresh blood ' was want-
ing for the enterprise,
and the recent loss of
Grossmith warned them
that they could not rely
on the permanent stay
of old favourites. We
found on this occasion
several new performers
who had served in the
ranks of the Savoy
country corps. We had the versatile Frank Wyatt,
who could not only sing but ' danced like an angel ' ;

o 2

A LEADING LADY

i 9 6 THE SAVOY OPERA

rather, like Mr. Fezziwig in the story, he could ' cut so
deftly -that he seemed to wink with his legs.' There was
also another agreeable, well-taught singer, Brownlow
more baritone than tenor. Among the ladies there was
a new candidate for Savoy favour Miss Decima Moore,
a piquant actress with a sweet and flexible voice, who
was cordially welcomed. 1 Miss Geraldine Ulmar was the
titular prima donna.

In this piece the author has very happily touched off
the conventional operatic notion of gondoliers, and those
scraps of accepted Italian which the tourist brings back
with him :

Giu. and MAR. (their arms full of flowers.) ciel !

GIRLS. Buon' giorno, cavalieri !

Giu. and MAR. (deprecatingly). Siamo gondolieri.

(to FIA. and VIT). Signorina, io t' amo !
GIRLS, (deprecatingly). Contadine siamo.
Giu. and MAR. Signorine !
GIRLS (deprecatingly). Contadine !

(curtseying to Giu. and MAR.) Cavalieri.
Giu. and MAR. (deprecatingly). Gondolieri !

Poveri gondolieri !
CHORUS. Buon' giorno, signorine, &c.

DUET MARCO and GIUSEPPE
We're called gondolieri,
But that's a vagary,
It's quite honorary

The trade that we ply.

1 Miss Moore came from the Brixton Conservatoire, where she was a
promising singer, and, like Miss McPherson, made her first appearance on

THE ' GONDOLIERS^ 197

For gallantry noted

Since we were short-coated

To ladies devoted,

My brother and I.

The conventional dance, too, of the sprightly children
of the South is capitally symbolised in these lines, which
the composer set to music artfully compounded of the
usual hackneyed forms :

We will dance a cachucha, fandango, bolero,
Old Xeres we'll drink Manzanilla, Montero
For wine, when it runs in abundance, enhances
The reckless delight of that wildest of dances !
To the pretty pitter-pitter-patter,
And the clitter-clitter-clitter-clatter
Glitter clitter clatter,
Fitter pitter patter
We will dance a cachucha, fandango, bolero.

Sometimes our author falls into a mood of moralising,
and these lines have a pleasant philosophy, carried off
by a faint soupgon of banter :

Try we lifelong, we can never

Straighten out life's tangled skein,
Why should we, in vain endeavour,
Guess and guess and guess again ?
Life's a pudding full of plums,
Care's a canker that benumbs.

any stage on this occasion. She had been engaged to figure in Mr.Burnand's
adaptat'on, Miss Decima, which had been a bizarre combination.

198 THE SAVOY OPERA

Wherefore waste our elocution
On impossible solution ?
Life's a pleasant institution,

Let us take it as it comes !

This was set in the form of one of those taking, well-
harmonised concerted quintettes which are found scattered

MISS MOOKE

am. POUNDS

. F. WYATT MISS BKANDKA1I

through these operas, often unaccompanied. They were
always listened to with an almost breathless attention,
and at the close a burst of tumultuous applause en-
forced their repetition.

THE 'GONDOLIERS' 199

One of the utopian schemes of the grotesque duke
was the establishing of a general equality ; thus antici-
pating a little what was to be the subject of a regular

opera :

The earl, the marquis, and the dook,
The groom, the butler, and the cook,
The aristocrat who banks with Coutts,
The aristocrat who cleans the boots,
The noble lord who rules the State,
The noble lord who scrubs the grate,
The Lord High Bishop orthodox,
The Lord High Vagabond in the stocks

Sing high, sing low,

Wherever they go,
They all shall equal be !

And in a most amusing duet the duke and duchess play
upon the theme with wonderful variety :

DUCH. When Virtue would quash her,
I take and whitewash her,

And launch her in first-rate society
DUKE. First-rate society !

DUCH. I recommend acres

Of clumsy dressmakers

Their fit and their finishing touches
DUKE. Their finishing touches.

DUCH. A sum in addition

They pay for permission

To say that they make for the duchess
DUKE. They make for the duchess !

200 THE SAVOY OPERA

DUCH. At middle-class party
I play at ecarte

And I'm by no means a beginner
DUKE (significantly). She's not a beginner.
DUCH. To one of my station
The remuneration

Five guineas a night and my dinner
DUKE. And wine with her dinner.

DUCH. I write letters blatant
On medicines patent

And use any other you mustn't
DUKE. Believe me, you mustn't

DUCH. And vow my complexion
Derives its perfection

From somebody's soap which it doesn't
DUKE (significantly). It certainly doesn't !

Denny's song had one of those quaintly original
refrains of which Gilbert has the secret :

I stole the prince, and I brought him here,

And left him, gaily prattling,
With a highly respectable gondolier,
Who promised the royal babe to rear,
And teach him the trade of a timoneer
With his own beloved bratling.

Both of the babes were strong and stout,

And, considering all things, clever.
Of that there is no manner of doubt

No probable, possible shadow of doubt
No possible doubt whatever.

In the ' Gondoliers ' there is a trite familiar process,
treated m a humorous way. Giuseppe and Marco select

202 THE SA VO Y OPERA

their 'girls' by the aid of ' Blindman's Buff,' to this
variation of the nursery lines :

My papa he keeps three horses,

Black, and white, and dapple grey, sir ;

Turn three times, then take your courses,
Catch whichever girl you may, sir !

Then follow these quaint rhymes :

GIANETTA

Thank you, gallant gondolieri :

In a set and formal measure
It is scarcely necessary

To express our pride and pleasure.

Each of us to prove a treasure,
Conjugal and monetary,

Gladly will devote our leisure,
Gay and gallant gondolieri.

La, la, la, la, la ! &c.

TESSA
Gay and gallant gondolieri,

Take us both and hold us tightly,
You have luck extraordinary ;

We might both have been unsightly !

If we judge your conduct rightly,
'Twas a choice involuntary ;

Still, we thank you most politely,
Gay and gallant gondolieri !

La, la, la, la, la ! &c.

The two kings declare that 'it is a very pleasant
existence,' everybody being so kind and considerate.

THE ' GONDOLIERS*

203

' You don't find them wanting to do this, or wanting to
do that, or saying, " It's my turn now." ' The notion of
the duke making himself into a company, as the ' Duke
of Plaza-Toro, Limited,' is a pleasant fancy. His speech
to his sons-in-law is droll throughout :

DUKE. I am now about to .address myself to the gentle-
man whom my daughter married ; the other may allow his

attention to wander if he likes, for what I am about to say
does not concern him. Sir, you will find in this young lady
a combination of excellences which you would search for in
vain in any young lady who had not the good fortune to be
my daughter. There is some little doubt as to which of you
is the gentleman I am addressing, and which is the gentle-
man who is allowing his attention to wander ; but when that

204 THE SAVOY OPERA

doubt is solved, I shall say (still addressing the attentive
gentleman), ' Take her, and may she make you happier than
her mother has made me.'

With the ' Gondoliers ' returned to the Savoy fold
that prime, indeed all but necessary favourite, Rutland
Barrington. His peculiar style so free and unctuous,
yet judiciously reserved has done much for the Savoy
opera ; indeed it might probably be said that without
such interpreters as he and Grossrnith the great success
would probably not have been attained. His personality
is so marked that, though his methods are nearly always
the same, there is never left the impression of monotony
or sameness. We listen with all the pleasure of novelt} r
to his efforts, and rarely fail to be recreated. Here
is the ' note ' of an artist. His unfortunate venture at
the St. James's Theatre had not damped his spirit ; and
his friends and admirers were unfeignedly glad to see him '
back in his old haunts.

In this opera the last presented of the series it
was curious to note how largely the scale of treatment
had developed compared with the early and modest
pretensions of the ' Trial by Jury ' and the ' Sorcerer.'
Then the whole burden was really on the shoulders
of a quartette or quintette, supported by an occasional
chorus, who recited their pleasant ' lilting ' tunes and
ballads in an articulate fashion that brought out the
sense of every line. But now, after nearly a score of

DISSOLUTION OF THE PARTNERSHIP 205

years, what a change ! Here we had almost a grand
opera, with close on fifteen prominent, well-marked
characters, with an array of choristers, rich accompani-
ments, recitations and finales, all worked up according to
the approved canons. The composer's methods, too, have
enlarged with the canvas on which he worked. His
accompaniments are elaborate and flowing, and he has
clearly aimed at general musical treatment of the story
itself. It may he thought, indeed, that the Savoy opera
has now all but outgrown its habitation, and will hardly
admit of further expansion.

While the ' Gondoliers ' was pursuing its prosperous '
course and supplying enjoyment for thousands all over the
kingdom, its admirers were seriously disturbed at learning
that a little rift had appeared in the lute, and that
owing to a sudden estrangement the pleasant partner-
ship had come to an end. At this news there was some-
thing like consternation. It unfortunately proved to be
true. A difference had arisen between the manager and
one of the partners, into which the other was presently
drawn. The discussion became so acute that a complete
breach followed ; and it was understood that the agree-
able, mirth-giving alliance which for so many years had
increased the public stock of harmless pleasure was dis-
solved. For a time it was hoped that a reconciliation
would be effected, but the matter was too serious to be
compromised. As month after month went by without

206 THE SAVOY OPERA

signs of the breach being healed, audiences had to accept
as best they could so unfortunate a state of things. We
need not here discuss the causes of the quarrel, con-
cerning which many rumours were afloat ; but the fons
et origo must have been serious, as the sacrifice involved
was enormous, and to some extent irreparable. A
great venture of this sort may not be interrupted or
dislocated without permanent damage. It suggests the
case of some too hasty resignation of office, the effects
of which cannot be undone.

The partnership being -thus dissolved, each of the
partners sought out new assistants with whom to seek
afresh the favour of the public. The intimate and
even indissoluble character of the connection between
the writer and the composer was shown in a very
striking way during the period of the misunderstand-
ing which separated them for a time. Each chose
another coadjutor, and with the same result. Gilbert
wrote one of his most amusing pieces, the ' Mounte-
banks,' which was duly set to music by Cellier, while
Sullivan was supplied by Mr. Grundy with a play
called 'Haddon Hall.' Of course a certain amount
of success attended these productions, owing to the
traditional popularity of the authors and the hand-
some style in which they were brought forward, but
it was felt that the result was rather a specimen of
the regular conventional opera a libretto set to music

^H ADD ON HALTS 207

than the favourite Savoy partnership, in which the
share of each was equally prominent. ' Haddon Hall '
had rather an old-fashioned Harrison Ainsworth tone.
There were Cavaliers and Eoundheads, concealments
and pursuits, pert waiting-maids, and the rest. Denny
was an impossible Scot, who danced the dances of
his country, and furnished the composer with con-
trapuntal opportunities based on Caledonian modes,
which he worked with his usual skill. It was curious
that with each of these productions there were to be
associated some exceptional incidents one of a rather
pathetic kind.

Though there was an attempt to reproduce the old
Savoy patterns, there was a marked contrast between
the new lyrics and those Savoy audiences had grown
accustomed to ; witness

Now isn't that beautiful, isn't that nice ?

When I tell you the article's German,
You'll know it could only be sold at the price

Through a grand international firman.
A still greater bargain ! an article French :

When I say it's of French manufacture,
I mean that, if worn by a beautiful wench,

A heart it is certain to fracture.
But here is the price only tuppence pure gold :

When I mention the article's Yankee,
Well, nobody then will require to be told

That there can't be the least hanky-panky !

MISS LUCILLE HILL AND MB.
COUBTICE POUNDS AS DORO-
THY VEBNON AND LOBD JOHN
MANNEBS

^H ADDON HALL' 209

The composer must have felt strangely as he pro-
ceeded to set the last two lines. So with the Scotch
song :

My name it is McCrankie,
I am lean, an' lang, an' lanky,
I'm a Moody and a Sankey

Wound upo' a Scottish reel !
Pedantic an' puncteelious,
Severe an' superceelious,
Preceese and atrabeelious

But meanin' vera weel.

I don't object tae weesky,
But I say a' songs are risky,
An' I think a' dances frisky,

An' I've put the fuitlichts oot !
I am the maist dogmatical,
Three-cornered, autocratical,
Funereal, fanatical,

0' a' the cranks aboot !

One incident associated with 'Haddon Hall' was
somewhat in the nature of an oddity, or dramatic
'curio.' Mr. Boulding, an industrious dramatist, had,
it seems, written a piece on this subject, in good old
legitimate blank verse, and with a sincerity and earnest-
ness worthy of Sheridan Knowles himself. He com-
plained, I believe, that he had been anticipated in the
production. Mr. D'Oyly Carte very handsomely gave
ear to these remonstrances, and with much liberality
actually consented to place his theatre at the disposal

2io THE SAVOY OPERA

of the disappointed author for a morning performance.
It oddly happened that the order of the scenes, &c., in
the opera fitted very fairly with some of the scenes in
the play. There was the grand, dazzling interior of
the Hall, which was available, together with the hand-
some dresses. The whole passed off very well indeed,
and was curious to follow. It seemed a sort of antique
survival ; and yet not unwelcome was the old declaimed
blank verse, for so long unfamiliar. The audience
was good-natured, and we may presume the author
was content. The performance was certainly unique.

Another odd and rather surprising incident occurred
during this interval. Gilbert had bethought himself of his
old adaptation, ' A Wedding March,' which, it occurred
to him, offered opportunities for being arranged as a
comic opera. He set to work, fitted it out with verses
for solos and chorus, leaving the main portion pretty
much as it was. The extraordinary success in the old
days of this very ' rollicking ' piece suggested to him that
in this new shape it might be even more attractive. But
who would do the music ? There was but a slender list
of composers of this genre. Cellier, the author of
the popular ' Dorothy ' ; Edward Solomon, a musician
of much facility and variety, but who seems to have
generally missed winning the public ear, were available,
but were not thought of by our author. He had selected
his coadjutor, and^applied for aid the reader will scarcely

GROSSMITH AS A COMPOSER 211

guess to whom to Grossmith. No one, I believe, was
more surprised than the pleasant ' Gee-Gee ' himself at
the application ; but he was at the same time not a little
flattered, and if at all distrustful of his own powers for
such a task, he was reassured by the author, who had
every confidence that he was suited to the task and that
the work was safe in his hands. In truth Grossmith
has a pleasant gift of composition, attested by his in-
numerable songs, which are spirited and dramatic.
Indeed, that delightful little parody of a light opera, the
' Gay Markee,' which exhibits all the conventional absur-
dities of such things, is not only comic to a degree,
but has some capital music.

I recall the night when, before a crowded house,
gathered to see this new exhibition of the favourite's
powers, he gaily stepped into the orchestra to conduct
the performance. There was a roguish smile on his
expressive face as he gravely went through the profes-
sional methods, tapping the desk for attention, &c. It
was really a wonderful thing under the conditions of
course, with a strong flavour of imitation of his prede-
cessors. The orchestration was a little weak, if not
thin, but on the whole it was a surprising tour de force,
and ' passed ' very well. The worst was, the libretto
seemed a little superannuated, and, though once enjoying
brilliant success and drawing all the town, seemed now
to belong to a bygone era.

p 2

212 THE SAVOY OPERA

Gilbert was also busy preparing a new opera of the
favourite pattern the ' Mountebanks.' The music w r as
to be furnished by Cellier, one of the two brothers,
Alfred and Fra^ois, who conducted the orchestra at the
' Savoy.' By this time the bright sparkling methods of
the Savoy music had become familiar, and any deft,
skilful musician could find cunning enough to copy or
adapt the original tuneful devices. But apart from this
almost unavoidable imitation of the popular style, the
' Mountebanks ' proved to be a sound and musicianly
piece, which was heard with a great deal of pleasure. It
enjoyed much popularity and ran for a considerable
time. It introduced for the first time a clever young
singer, Aida Jenoure, who created a quaint character
founded on a Gilbertian conceit the adaptation of ' the
penny-in-the-slot ' mechanism to the human figure.

The versatile Cellier whose ' Dorothy ' had some
delightful ' numbers ' understood enough of Gilbert's
methods to execute his task in a fairly satisfactory
manner. But when he had nearly accomplished his
task a mortal sickness with which he had been strug-
gling became a serious interruption. Nothing could be
more forbearing than the indulgence extended. Great
interests were at stake ; heavy engagements, pecu-
niary and other, were involved ; but there was no
pressure exerted beyond an appeal to do what he
reasonably could. On his side the dying composer

DEATH OF ALFRED CELLIER 213

made heroic exertions to complete his task, compelled,
as he was, every now and again to lay it aside. But he
persevered, and had all but completed his work when
the pen fell from his hand. There was something
really fine in this story of self-sacrifice. Yet the music is
sparkling and tuneful, and though somewhat lacking
in inspiration, as might be expected, would never be
supposed to have been engendered on a deathbed. 1

' This unobtrusive man had done a great deal of work in his time,
and contributed much to the recreation of the public. ' Alfred
Cellier, although of French extraction, was born at Hackney on Decem-
ber 1, 1844, and, like Sir Arthur Sullivan, was originally a choir-boy at
the Chapel Eoyal under the Eev. Thomas Helmore. After his voice
failed he studied the organ, and as a lad of eighteen was appointed
organist at All Saints', Blackheath. He then went to Belfast, but in
1868 he returned, as organist of St. Alban's, Holborn, to London, where,
except as to four years as conductor at the Prince's Theatre, Manchester,
and certain voyages to Australia and elsewhere, taken for purposes
of health, he has since chiefly resided. For three years from 1877 he
conducted the Gilbert and Sullivan operas at the Opera Comique, and in
1878-9 he was joint conductor with Sir Arthur Sullivan of the Prome-
nade Concerts at Covent Garden. The earliest of his light operas, Charity
begins at Home, was produced at the old Gallery of Illustration as far
back as 1870, but four years later his Sultan of Mocha originally
produced at Manchester, and in 187C given at the St. James's Theatre,
London brought him prominently into public notice. The Tower of
London followed in 1875, and Nell Gwynne in 1876. The libretto of
the last-named opera was afterwards reset by a French composer, and a
good deal of the original music was, we believe, used up for Dorothy,
which, produced in 1886 at the Gaiety, was afterwards transferred to
the Prince of Wales's and the Lyric, and enjoyed a long and lucrative
run. Among his other operas or operettas may be mentioned the Spectre
Knight (written in collaboration with the late Mr. Albery for Mr. D'Oyly
Carte), Dora's Dream, After All, the Carp, and Doris. He has likewise

214 THE SAVOY OPERA

Produced at the Lyric Theatre, London, under the management
of Mr. Horace Sedger, on Monday, January 4, 1892.

THE MOUNTEBANKS

Bramatis persons

ARROSTINO ANNEGATO (Captain of the Tamorrasa Secret Society).

GIORGIO RAVIOLI ]

> (Members of his Band).
LUIGI SPAGHETTI I

ALFREDO (a Young Peasant, loved by ULTRICE, but in love ivitli TERESA).

PIETRO (Proprietor of a Troupe of Mountebanks).

BARTOLO (his Clown).

ELVINO DI PASTA (an Innkeeper).

EISOTTO (one of the Tamorras just married to MINESTRA).

BEPPO.

TERESA (a Village Beauty, loved by ALFREDO, and in love with herself).

ULTRICE (in love with, and detested by ALFREDO).

NITA (a Dancing Girl).

MINESTRA (RISOTTO'S Bride).

Tamorras, Monks, Village Girls, te.

ACT I. Exterior of Elvino's Inn, on a pictur-
esque Sicilian pass. Morning .... MR. RYAN

ACT II. Exterior of a Dominican Monastery.

Moonlight MR. RYAN

DATE.-EARLY IN THE NINETEENTH CENTURY
The opera produced under the musical direction of MR. IVAN CARYLL.

composed works of higher pretension, among them being a Symphonic
Suite for orchestra, and the cantata Gray's Elegy, written for and pro-
duced at the Leeds Festival in 1893. He was a born melodist, and
although some of his works may lack dramatic grip on the one hand,
and the vis comica on the other, yet his tuneful and refined style was
always welcome alike to musicians and to the general public.'

THE ' MOUNTEBANKS'

215

Nothing could be better than the opening, which is
brisk and sprightly, and introduces us to the business of
the scene in a very effective fashion :

CHORUS OP TAMOEEAS
We are members of a secret society,

Working by the moon's uncertain disc ;
Our motto is ' Revenge without Anxiety '-

That is, without unnecessary risk ;
We pass our nights on damp straw and squalid hay

When trade is not particularly brisk ;
But now and then we take a little holiday,

And spend our honest earnings in a frisk.

SOLO GIOEGIO
Five hundred years ago,

Our ancestor's next-door neighbour
Had a mother whose brother,
By some means or other,
Incurred three months' hard labour.

This wrongful sentence, though

On his head he contrived to do it,

As it tarnished our scutcheon,

Which ne'er had a touch on,

We swore mankind should rue it !

EL. Bless my heart, what are you all doing here ? How
comes it that you have ventured in so large a body so near to
the confines of civilisation ? And by daylight, too ! It seems
rash.

Gio. Elvino, we are here under circumstances of a ro-
mantic and sentimental description. We are all going to be
married !

216

THE SAVOY OPERA

EL. What, all of you ?

Lui. One each day during the next three weeks. What
do you say to that ?

EL. Why, that it strikes at the root of your existence as
a secret society, that's all. And who is to be the first ?

Gio. The first is Risotto, who went down to the village
this morning, disguised as a stockbroker, to be married to
Minestra. .

JUB. BABE? MONKHOUSE AS THE CLOWN IN THE ' MOUNTEBANKS :

218

THE SAVOY OPERA

ARR. Good. We have a vendetta against all travelling
Englishmen. The relation of our ancestor's neighbour was
arrested by a travelling Englishman. Well ?

Gio. No very bad. The cowardly ruffian was armed.

ARK. That's so like these Englishmen. This growing
habit of carrying revolvers is the curse of our profession.
Anything else ?

Lui. Only an old market-woman on a mule.

ARR. Well, we have a vendetta against all old market-
women on a mule. The principal evidence against the rela-

THE ^MOUNTEBANKS^

219

tion of our ancestor's neighbour was an old market-woman
on a mule. Did you arrest her ?

Lui. We were about to do so, but she passed us in silent
contempt.

ARE. Humph ! This growing habit of passing us in
silent contempt strikes at the very root of our little earnings.
Of course you could do nothing ?

THE DUKE AND DUCHESS

The change into clockwork figures furnishes the
author with many quips and conceits :

PIE. Why, the duke and duchess want to buy the figures,
and the figures are missing. What's to be done ? Why, it's

7 HE SAVOY OPERA

obvious. You and Bartolo dress and make up as the two
figures. When dressed, you drink a few drops of the potion,
diluted with wine (tasting the cork and shuddering}. It's
it's not at all nasty and you will not only look like the two
figures, but you'll actually be the two figures - clockwork and
all!-

MR. HABBY MONKHOUSE AS HAMLET, MISS AIDA JENOUKE AS OPHELIA, AND
MB. LIONEL BBOUGH AS THE MOUNTEBANK

Ni. Whew ! (whistles).

BAK. What ! I become a doll a dandled doll ? A mere
conglomerate of whizzing wheels, salad of springs and hotch-
potch of escapements ? Exchange all the beautiful things
I've got inside here for a handful of common clockwork ?

THE 'MOUNTEBANKS' 221

It's a large order. Perish the thought and he who uttered
it ! ... We are quite common clockwork, I believe ?

Ni. Mere Geneva. The cheapest thing in the trade.

BAB. So I was given to understand.

Ni. It might have been worse. We might have been
Waterbury, with interchangeable insides.

BAR. That's true. But when I remember the delicately-
beautiful apparatus with which 1 was filled from head to
foot, and which never, never ticked when I contemplate the
exquisite adjustment of means to end, which never, never
wanted oiling I am shocked to think that I am reduced to a
mere mechanical complication of arbors, pallets, wheels,
mainsprings, and escapements !

Ni. What's wrong now ?

BAR. I c'ck c'ck I am not conversant with clockwork ;
but do you feel, from time to time, a kind of jerkiness that
catches you just here ?

Ni. No; I work as smooth as butter. The continued
ticking is tiresome ; but it's only for an hour.

BAR. The ticking is simply maddening. C'ck! c'ck!
There it is again !

Mr. D'Oyly Carte, on his side, made a gallant attempt
to carry on the traditions of the ' Savoy.' In June 1891
there was presented a new opera, the words supplied
by Dance, the music by Solomon. This was the ' Nautch
Girl,' a rather brilliant spectacular effect, but of the
usual comic opera pattern, familiar enough at o'ther
theatres. It introduced a very agreeable cantatrice, Miss
Snyders, a singer of much grace and finish. There is
something remarkable in the fertility with which the

222 THE SAVOY OPERA

United States have furnished quite a number of these
pleasing and acceptable songsters, some of whom, like
Miss Griswold, have even become leading singers in
the Grand Opera at Paris a situation so very difficult
to attain when we consider how difficile and jealously
exclusive are our neighbours. In spite of the com-
parative rudeness and provinciality of the American
stage, these performers have an elegance and flexibility
that is often lacking in the English singer. The secret
may be that they nearly always have their training in
foreign schools. In spite, however, of a magnificent
setting, this opera was only destined to prove that
there is an essential difference between the con-
ventional ' opera of commerce ' and the legitimate Savoy
opera.

The manager also revived the 'Vicar of Bray,' the
music of which, by Solomon, was recast. Later, he
made a bolder venture with an opera written by a new
and scarcely known musician, Ernest Ford. But he
relied on his libretto, written for him by a professor
of the so-called ' new humour,' Mr. Barrie, who is
acclaimed by his countrymen as one of the prime wits of
the day. This piece was ' Jane Annie.'

It is always interesting to speculate on the founda-
tions of amusement, to ascertain what is really the
genuine article, and ' see that we get it.' And as this
little work is intended to be a sort of record of a particular

MR. BARRIE AS A PLAYWRIGHT 223

form of humour that has long recreated the public, we
will pause here for a moment to consider the claims of
yet another method which was put forward as a sub-
stitute.

This new humour, or ' fun,' it seems to me, is but
of a 'poorish' kind Carlyle's word and is, perhaps,
founded on the free-and-easy familiarities used in irre-
sponsible talk, or perhaps on an imitation of the jests
in American newspapers. Such as it is, it is certainly
not robust enough for the stage. Mr. Barrie is the
author of many admirable stories and sketches of Scottish
life and character, which have well deserved their great
success. They are most racy and vigorous. There he
was on his own ground, and might claim to be considered
the best Scottish writer of the day. But this sort of
native humour scarcely fits a writer for the delineation
of English social peculiarities. He had previously written
for Mr. Toole a piece for the stage, well-known as ' Walker,
London,' the extraordinary success of which seems to be
unaccountable. I can only say that though most catholic
and receptive in all that concerns ' fun,' on the stage and
elsewhere, I sat through this piece to the end, listening
in amazement and bewilderment to the jests statements,
rather of the characters. I have asked the opinion of
sagacious critics, and most of them agreed with me that
so far from seeing anything funny in it, -they could not
understand what was intended. It seemed to suggest

224 THE SAVOY OPERA

the simpering quips of some gentle curate surrounded
1'v a bevy of admiring ladies, and who might be heard
twittering, and saying of his schoolgirls, ' Mary Jane
is a nico, good little girl, but she wants brin<jin<i out " ;
or, ' Thank you, I will have another cup, if I am not
roiiiiiiitfinii ait excess.' 1

There are, of course, persons to whom the mere ap-
pearanee of Mr. Toolo on a houseboat is in itself an
exquisite jest, and a young university man in flannels
becomes a huge joke. There are many for whom the
production of a familiar object, such as a houseboat or a
hansom cab on the stage, gives intense delight.

Now, it may be repeated that there can be no question
as to Mr. Barrio's talents and oven genius. I am only
noting a bewildering puzzle. But in this department it
must bo said he has little notion of what true humour
is, and he here certainly supports the oft-repeated jest
as to the surgical operation, which has been so often
assoeiated with his countrymen.

1 Or perhaps, as another humorist sings in the Mount chinks :

Though I'm a buffoon, recollect

I command your ivspivt !
I cannot for money
Be vulgarly funm .
-Vv/\< to make you rcjlcct !

True humour's a matter in which

I'm r\i-ivdiii:;iy rioh.

It ought to ddiijht you,
Although, at first sight, you
May not rtoognist it as sich.

'JANE ANNIE*

22:

If Walker, London ' seemed flat and stale though
Mr. Toole did not find it ' unprofitable ' the piece ' Jane
Annie,' contributed to the Savoy during the interregnum,
was a more perplexing phenomenon still. Through the
whole piece it was hard to see *wh6re the joke came
in,' or what the writer intended, unless we accept the
theory of the pet curate before alluded to. That this is
no exaggeration will be seen presently.

Produced at the Savoy Theatre, London, under the management
of Mr. It. D'Oyly Carte, on Saturday, May 13, 1808.

JANE ANNIE

THE GOOD CONDUCT PBI2E

Written by J. M. BABBIE and A. Cos AX DOTLE

Mnsic by EBJTEOT POBD (with Explanatory Notes down the

margin by ' Caddie ')

PBOCTOB

(BuUdogs)

(aPre** Student)
JACK (a Warrior)
(a Page) .

SIMS (a Schoolmistress)
ASXIE (a Good Gtr/) .
(a Bod tftrf)

(Average Girlt)

MB. Benson* BABBISOTOS
JMB. LAWBIWCK GKIM.XV
1MB. WALTEB PAMHOKB
MB. CHABLEM KEXVIXOHAM
MB. SCOTT FIHHE
MAHTEB HABBT BrojrotD
Mow BOUDTA BEAXMUM
MUM DOBOTHT VAXE
HIM DECIXA MOOBK
MUM FLOKEXCZ PEBKT
HIM EMMIE Owes
MMB Jose SHAXSKM
HIM MAT BELL

One Night elaptes between the Acts

226

THE SAVOY OPERA

A page boy called ' Caddie ' introduced a name pre-
sumably highly comic, as it is borrowed from the game of
golf a notion that seems to convulse all good Scots.
This lad is made very precocious, assuming manly airs,
&c. Dickens, it will be recollected, had the same
character in Martin Chuzzlewit, who talks in exactly the
same way. By way of adding to the ' fun ' the com-
ments of this youth on the incidents of the piece are

supplied in the margin. The
young ladies talk in this fashion :

ALL. A man !

EOSE. At last !

MILLY. Bald.

EOSE. The wretch !

MILLY. He has two other men
with him.

MEG. Two ! Girls, let us go
and do our hair this instant.

And again :

MEQ. What is Bab doing all
this time ?

MILLY. She has her ear at the
keyhole.

MAUD. Dear girl !

MILLY. She shakes her fist at the keyhole.
ALL. Why?
MILLY. I don't know.

(BAB comes upstairs.)

EOSE. Bab, why did you shake your fist at the keyhole ?
BAB. Because it is stuffed with paper.

MK. SCOTT FISHE AND
MASTER BIGNOLD

'/ANE ANNIE'

227

The page boy here comments, ' If I had been Bab I
would have had the paper out in a jiffy.'

BAB. That little sneak Jane Annie is not here ?

MILLY. She has gone upstairs to bed.

BAB. You are sure ?

KOSE. I'll make sure. (Runs upstairs and looks through
keyhole.} It's all right, girls ! lean see her curling her eye-
lashes with a hairpin.

MASTER KIGNOLD AND THE SCHOOLGIRLS

This seems laboured enough, and trifling too. Later
someone is found ' fondling ' boots !

Then the boy : ' Tom has wrote another play since
then for the Independent Theatre. It is about a baby
that was tired of life and committed suicide.'

228

THE SAVOY OPERA

JACK. But I am also a novelist at least I've I've bought
a pound of sermon paper. Haw !

TOM. Well, I am also a dramatist. Why, I have a com-
pleted play in my pocket.

JACK. And a very good place for it too. Haw !

TOM. What is more, it has a strong literary flavour.

JACK. Don't be afraid of that. They'll knock it out in
rehearsal. Haw !

JANE ANNIE

TOM. Nonsense. It's most original also.
JACK. That'll damn it.

TOM. Originality damn a play ! Why ?

JACK. Because ours are a healthy-minded public, sir, and
they won't stand it. Haw !

TOM. It's an Ibsenite play.

JACK. Then why not produce it at the Independent
Theatre ?

1 JANE ANNIE'

229

TOM. I did.

JACK. Well?

TOM. And it promised to be a great success ; but, unfor-
tunately, just when the leading man had to say, ' What a
noble apartment is this,' the nail came
out, and the apartment fell into the
fireplace.

What can be the point of the
nail coming out and ' the apart-
ment fell into the fireplace ' '?
Withering satire on the luckless
Ibsen, no doubt. But what is this
to what follows ?

JANE A. (hypnotising him}. You
are my lover !

JACK. Darling ! Haw !
(He goes to boat.}

JANE A. I took that hole in two !
(JANE ANNIE joins the others in boat.
All wave handkerchiefs.}

PROC. Hyp-hyp-hyp-

CHORUS. -notise !

Miss S. Another !

CHORUS. Hyp-hyp-hyp-notise !

PROC. One more !

CHORUS. Hyp-hyp-hyp-notise !

MR. HARRINGTON AS THE
PROCTOR

As I said before, Mr. Barrie is a clever man, and in
his own department a genuine humorist ; but it still
remains an astonishing perplexing phenomenon how such
things as these could be conceived, acted, or printed.

230 THE SAVOY OPERA

Such was this attempt at carrying on the humorous
Savoy methods : with the result of showing what a start-
ling contrast there was between the original and the
attempted imitations. On the first night all true Cale-
donians were convulsed with enjoyment, and roars of
laughter were heard at certain golf terms ' niblick,'
' driver/ ' putter,' &c. the mere mention of each being
equivalent to a distinct witticism.

Towards the close of last year it became known that
there were signs of a rapprochement between the estranged
Savoy authors ; at this news there was general unfeigned
satisfaction. Once more audiences were to be recreated
with the old form of entertainment of which the tra-
dition only might have been left. As it was, two
years seemed a dangerously long interval; for in the
stress and hurry of our time a capricious public is apt
to forget its favourites and run after some new toy.
Happily, however, nothing had appeared to distract it
from what it had lost. It was presently known that a
reconciliation had been signed and sealed, and that the
authors were once more busy together, contriving an
entertainment of the old pattern. The preparations went
forward with the old animation and the old enterprise.

The prima donna on this occasion was a new
American singer one of the many who have figured at
the Savoy opera, a person of graceful and ' prepossessing
exterior,' as the papers have it Miss Nancy Mclntosh.

MISS NANCY MCINTOSH 231

This lady proved to have a sympathetic though not very
powerful voice. And she also has what has been happily
described as ' that dainty finish of appearance ' which
seems to belong to most American girls. 1

Mr. Gilbert has described to me the happy chance
that led to this engagement. One of the most trouble-
some incidents connected with Savoy opera is the finding
of the ' light soprano ' who will be exactly suited to the
scene. The well-trained, assured singer, practised in all
the hackneyed existing devices, will not do. There must
be a special freshness and grace, with even the refine-
ment of inexperience. Earnestness, docility, sympathy,
with sweetness and brilliancy of voice such are the
essential elements. The new singer was one of Mr.
Henschel's pupils, and had already appeared at the
Saturday Popular Concerts. At a dinner-party at this
Maestro's given, perhaps, not without a certain inten-
tion Gilbert was struck with her singing, and more per-
haps with her general style. After an interval she met

1 On the eve of the performance she spoke of herself to a visitor in
this chatty strain : ' Until something like a month ago I had never
stepped on to a stage in my life ; but I have taken very kindly to the
boards,' she added, smiling, ' and, so far from being a weariness, each
rehearsal was a pleasant experience. But that, I must confess, was
greatly owing to Mr. Gilbert, who is the most delightful and painstaking
stage-manager possible. I never knew so patient a man. After you
have done a thing wrong twenty times, he will put you right the twenty-
first as amiably as if he were telling you quite a new thing. I became
word-perfect in a day and a half, thirty-six hours of course, before I
had even seen the score.'

232 THE SAVOY OPERA

him again, when he suggested that she should make a
trial on the stage before his colleague. She confessed
later that this was a nervous probation enough, singing
on the empty stage, the first time she had ever trod one,
and with so much depending on it. The result was
satisfactory, and she was engaged.

Once more the ' precincts ' of the old Savoy were
in possession of writer and composer, now working
together to secure the best results for their efforts. The
curious fraternity of interviewers, or ' snappers-up ' of
gossip, were furnishing such information as they could
extract, and everybody followed with intense interest the
stages of preparation.

A characteristic and unusual scene was the public
rehearsal, which took place on the night before the per-
formance, in presence of an enormous audience. It was
a curious spectacle, the theatre being crowded by all
sorts and conditions of persons artists busy with their
pencils, critics, and the many friends and acquaintances
of the management. The two or three front rows of the
stalls were vacant, and jealously guarded ; and here the
author and composer appeared fitfully, wishing to note
the effect from this coign of vantage. The piece went
with extraordinary smoothness. Once or twice the author
or the composer interposed with a suggestion ; but in a
general way the performance was identical with the
performance that was to be exhibited. At the termination

THE PUBLIC REHEARSAL 233

Gilbert, addressing the company, expressed the great
pleasure with which he worked once more in association
with the Savoy compajny, declaring his conviction that
every part, even the smallest, would be played ' as well
as it deserved, if not better.' He added his keen ap-
preciation of the work done by Mr. Charles Harris, in
his capacity of stage-manager ; concerning which one
may remark that ' Praise from Sir Hubert Stanley is
praise indeed,' for Gilbert is himself one of the most exi-
(jeant of stage-managers. Three hearty cheers were given
by the company for Mr. Gilbert, and then Sir Arthur
Sullivan said ditto to Mr. Gilbert in a few graceful words,

This was an unusual scene, all the performers being
drawn up in line to listen to the author and to the
composer, who spoke from their stalls.

One of the most surprising and interesting features
of this rehearsal was the perfect self-possession of the
heroine, who went through all the complicated passages
of her role as though perfectly familiar with the boards.
After a long experience of the stage, I may say that I
have never seen anything that approached this tour de
force. Her voice was found to be flexible and pleasing,
though perhaps scarcely strong enough for so high and
difficult a part. In the grand finales and concerted
pieces which close the acts, there is need of a strong
and powerful organ to ' top ' the rest. The more effective
portion of her ' register,' as it is called, is lower down.

234 THE SAVOY OPERA

This might be considered one of the little romances
associated with the Savoy. As the young American
moved through her part in her graceful dress, she won
all sympathies, which she was destined to retain during
the long ' run.'

The piece is written in the best ' Gilbertian ' manner,
being a sort of fairy-tale brought up to date, full of
sparkling jests and allusions.

' There are the two wise men who have hitherto ruled
the King, both of them in love with Princess Zara, who
is secretly engaged to a young soldier. The monarch
sighs after Lady Sophy, the duenna, who would wed him
but for the awful tales told by him, under compulsion,
of himself in " The Palace Peeper." There is the artful
Mr. Goldbury, who has succeeded in forming the whole
country into a limited liability company, and thereby
" put out of joint " the noses of the two wise men and
their ally, the Public Exploder. We have also the
tremendous effect of the sudden imposition on a semi-
barbaric nation of English customs and laws. These
are factors enough, with the aid of Mr. Gilbert's topsy-
turvy logic, to lead to some wonderful and diverting
complications.

' Immense prosperity comes to the country ; therefore
a plot is made by the discontented wise men, of whose
love affairs nothing is heard after the first act, with the
Public Exploder to persuade the people " that what they

' UTOPIA (LIMITED^ 235

supposed to be happiness was really unspeakable misery "
by swearing an affidavit to that effect. However, it
was carried out, the people were convinced, rebelled
against the King, and ordered him to send away his new
advisers. Then came the denoument. The people were
discontented with their prosperity ; they wanted some-
thing else. Then the heroine said, "Why, I had for-
gotten the most important, the most vital, the most
essential element of all Government by party ! " '

One can readily pick out dozens of purely Gilbertian
turns : ' His Majesty, in his despotic acquiescence with
the emphatic wish of his people ' ; 'As there is not a
civilised king who is sufficiently single to realise my
ideal of abstract respectability ' is not ' sufficiently
single ' a happy touch ? ' Why, the fact is that in the
cartoons of a comic paper the size of your nose varies in-
versely as the square of your popularity.' ' " Oh, yes!"
is but another and a neater form of "no." There is the
quaint speech of Zara in reference to bad singing : ' Who
thinks slightingly of the cocoa-nut because it is husky ? '
Nor is it only in witty phrases and brilliant comic
songs that the author has been successful. His treat-
ment of the two younger sisters, who are trained as
models of propriety and exhibited, is very funny, and
every one of their scenes caused hearty laughter, to
which the demure acting of Miss Emmie Owen and
Miss Florence Perry greatly contributed. Moreover, the

236 THE SAVOY OPERA

Life Guards were very drolly handled, and most of the
scenes between Scaphio and Phantis were exceedingly
funny and very well played by Messrs. Denny and Le Hay.

First performed at the Savoy Theatre, London, under the manage-
ment of Mr. D'Oyly Carte, on Saturday, October 7, 1393.

Bramatte persona:

KING PARAMOUNT THE FIRST (King of

Utopia) MR. RUTLAND BARRINGTON

SCAPHIO ) (Judges of the Utopian Supreme f MR. W. H. DENNY
PHANTIS J Court) I MR. JOHN LE HAY

TABARA (the Public Exploder) . . . MR. WALTER PASSMORE
CALYNX (the Utopian Vice-Chamberlain) . MR. BOWDEN HASWELL

IMPORTED FLOWERS OF PROGRESS

LORD DRAMALEIGH (a British Lord Cham-
berlain) MR. SCOTT RUSSELL

CAPTAIN FITZBATTLEAXE (First Life Guards) MR. CHARLES KENNINGHAM

CAPTAIN SIR EDWARD CORCORAN, K.C.B. (of

the Royal Navy) MR. LAWRENCE GRIDLEY

MB. GOLDBUEY (a Company Promoter) . MB. SCOTT FISHE

(afterwards Comptroller of the Utopian Household)

SIE BAILEY BAERE, Q.C., M.P. . . . MR. ENES BLACKMORE

MR. BLUSHINGTON (of the County Council) . MR. HERBERT RALLAND

THE PRINCESS ZARA (Eldest Daughter of

King Paramount) .... Miss NANCY MC!NTOSH
THE PRINCESS NEKAYA ") (her Younger f Miss EMMIE OWEN
THE PRINCESS KALYBA J Sisters) \ Miss FLORENCE PEBBY

THE LADY SOPHY (their English Goiwer-

nante) ....... Miss ROSINA BRANDRAM

SALATA i f Miss EDITH JOHNSTON

MELENE (Utopian Maidens) . . , . ! Miss MAY BELL
PHYLLA J I Miss FLORENCE EASTON

' UTOPIA (LIMITED^ 237

ACT I. A Utopian Palm Grove > ME. HAWES CKAVEN
ACT II. Throne Room in King 1 (by permission of
Paramount's Palace J MB - HENEY IRVING)

Stage Director . . . MB. CHAELES HABRIS
Musical Director . . MB. FBA^OIS CELLIEB

Stage Manager, ME. W. H. SEYMOUE. The Dances arranged by ME.
JOHN D'AuBAN. The Utopian Dresses designed by ME. PEECY ANDER-
SON, and executed by Miss FISHEB, MDME. AUGUSTE, and MDME. LEON.
Uniforms by MESSES. FIBMIN & SONS, also by ME. B. J. SIMMONS and
MESSES. ANGEL & SONS. The Presentations by MDME. ISABEL BIZET-
MICHAU. The Court Dresses by MESSES. EUSSELL & ALLEN. The Judges'
Eobes by MESSES. EDE & SON. The Ladies' Jewels by THE PAEISIAN
DIAMOND COMPANY. The Wigs by MB. CLABKSON. The Properties by
MB. SKELLY. Stage Machinist, MB. P. WHITE.

The Opera produced under the sole direction of the Author
and Composer.

It was indeed surprising, when one considers the
sustained drain upon the author's invention, what a
variety of effective quips and situations were here.
The notion of a Utopian kingdom was in itself a
stimulant to the fancy. The Utopian king is buoyant
and eccentric enough ; the other characters, numerous
as they are, are all distinctly marked and quaintly
exuberant. Nothing is better than the rough bluntness
of the soldiers, with their intrusive ' First Life Guards ' :

I'm the eldest daughter of your king.

TBOOPEES

And we are her escort First Life Guards !
On the Royal yacht,
When the waves were white,

238 THE SAVOY OPERA

In a helmet hot

And tunic tight,
And our great big boots,
We defied the storm :
For we're not recruits,

And his uniform

A well-drilled trooper ne'er discards
And we are her escort First Life Guards !

ZARA
These gentleman I present to you,

The pride and boast of their barrack-yards ;
They've taken such care of me !

TROOPERS
For we are her escort First Life Guards !

FULL CHORUS

Knightsbridge nursemaids serving fairies
Stars of proud Belgravian airies ;
At stern duty's call you leave them,
Though you know how that must grieve them !

ZARA
Tantantarara-rara-rara !

CAPTAIN FITZBATTLEAXE
Trumpet-call of Princess Zara !

CHORUS

That's trump-call, and they're all trump cards
They are her escort First Life Guards !

Here the music exactly conveyed the soldierly blunt-
ness of the corps, which though labelled ' Chorus ' had
a distinct individuality, as though they were characters

MR. BUTLAND BABBINGTON AS THE KING IN ' UTOPIA (LIMITED)

240

THE SAVOY OPERA

in the drama. These rhymes are quaint and in-
genious :

make way for the Wise Men !
They are prizemen
Double-first in the world's university !
For though lovely this island,

(Which is my land,)

She has no one to match them in her city.
They're the pride of Utopia

Cornucopia

Is each in his mental fertility.
they never make blunder,
And no wonder,
For they're triumphs of infallibility !

One of the most diverting passages was the humorous
presentment of the tenor, found in every opera, who has
to carry on tender love-making to the heroine and at
the same time look carefully to his ' C in alt ' a matter
of arduous physical exertion. The singer no less happily
carried out the idea than did the author and composer :

EBCIT FlTZBATTLEAXE

Oh Zara, my beloved one, bear with me !

Ah do not laugh at my attempted C !

Jtepent not, mocking maid, thy girlhood's choice

The fervotir of my love affects my voice !

A tenor, all singers above,

(This doesn't admit of a question),
Should keep himself quiet,
Attend to his diet
' And carefully nurse his digestion

MR. W. H. DENNV J

MR. CELLIER SIR ARTHUR SULLIVAN MRS. D'OYLY CARTE MR. D'OYLY CARTE MISS F. PERF

MRS. GILBERT MR. W. S. GILBERT MISS E. OWEN 1

MR. W. S. GILBERT READING 'UTOPIA (LIMITED)' TO THE

MR. W. H. SEYMOUR MISS I

F. PERRY MR. RUTLAND BARRIN

MR. C. HARRIS

THE ACTORS AT THE SA 1

RANDRAM MR. GRIDLEY MR. PASSMORE

JTON MR. C. KENNINGHAM

MISS NANCY MCINTOSII MR. SCOTT FISHE

OY THEATRE

' UTOPIA (LIMITED} ' 241

But when he is madly in love

It's certain to tell on his singing
You can't do chromatics
With proper emphatics
When anguish your bosom is wringing !
When distracted with worries in plenty,
And his pulse is a hundred and twenty,
And his fluttering bosom the slave of mistrust is,
A tenor can't do himself justice.

Now observe (sings a high note),
You see, I can't do myself justice !

One of the characters, carrying out the precedent of
the ' Lord High Executioner ' in the ' Mikado/ is dubbed
* Lord High Exploder ' ; but the humour is somewhat
mechanical. Gilbert has a curious partiality for such
forms as this :

GAL. My Lord, I'm surprised at you. Are you not aware
that his Majesty, in his despotic acquiescence tvith the
emphatic wish of his people, has ordered that the Utopian
language shall be banished from his court, and that all com-
munications shall henceforward be made in the English
tongue ?

TABARA. Yes, I'm perfectly aware of it, although (sud-
denly presenting an explosive ' cracker '). Stop allow me.

CAL. (pulls it). Now, what's that for ?

TARARA. Why, I've recently been appointed Public Ex-
ploder to his Majesty, and as I'm constitutionally nervous, I
must accustom myself by degrees to the startling nature of
my duties. Thank you.

The .effect of such sallies on the audience they are
generally received with a puzzled expression would be

242 THE SAVOY OPERA

a test of their value. Sometimes, too, we find an in-
equality in the humour, as in this passage :

LADY SOPHY. Actuated by this humane motive, and
happening to possess respectability enough for six, I con-
sented to confer respectability enough for four upon your
two younger daughters but although, alas ! I have only
respectability enough for two left, there is still, as I gather
from the public press of this country, a considerable balance
in my favour.

Or again :

ZARA. But perhaps the most beneficent change of all
has been effected by Mr. Goldbury, who, discarding the ex-
ploded theory that some strange magic lies hidden in the number
seven, has applied the limited liability principle to individuals,
and every man, woman, and child is now a company limited,
with liability restricted to the amount of his declared capital !
There is not a christened baby in Utopia who has not already
issued his little prospectus !

This seems rather too involved, if not laboured, for
the stage, and at least must ' go over the heads ' of
audiences. The old Scaphio's description of his love is
excellent : ' When I love it will be with the accumulated
fervour of sixty-six years.' This is witty from the
suggestion that age and experience usually thought to
be disabilities in love affairs are put forward as
recommendations. His friend's ardour is amusing, too :
' Though but fifty-five, I am an old campaigner in the
battlefields of love.'

' UTOPIA (LIMITED} ' 243

Gilbert's wit is not the wit of things or characters ;
it might be called the wit of phrases and words. He is
almost the first to invent methods in which the very form
of a sentence becomes effective. There was something
new and ingenious in this notion. In the same spirit
he will use some familiar colloquialism with earnestness
as the natural reply to something exciting or tragic.
This is totally different from the ' mock heroic ' of
burlesque. I have shown that our author objects to the
compliment of there being anything ' Gilbertian ' in his
humour. He probably might say that there is but one
humour. But the distinction made, I think, meets his

case. 1

The old notion of the ' Duke of Plaza-Toro, Limited '
is here developed :

PHAN. (breathless). He's right we are helpless ! He's
no longer a human being he's a corporation, and so long as
he confines himself to his articles of association we can't
touch him ! What are we to do ?

SCA. Do ? Raise a revolution, repeal the Act of sixty-
two, reconvert him into an individual, and insist on his im-
mediate explosion !

1 Our humourist once declared Wycherley's Country Girl to be
' preposterous rubbish.' This judgment I give up as incomprehensible,
save, perhaps, on the ground that the humour has nothing verbal. Any
one who has seen the Country Girl acted with spirit, must have seen
a bit of real life and genuine character that will never leave his
memory. Though it is ten years since I saw it, I seem to have known
Moody and his ward in the flesh.

244 THE SAVOY OPERA

There are some piquant rhymes, witness :

I'll row and fish,

And gallop, soon

No longer be a prim one
And when I wish
To hum a tune,

It needn't be a hymn one ?

The author occasionally drops into a sort of political
satire, which was also a well-known weakness of Dickens ;
hut it is scarcely in harmony with the light hanter of
the rest, such as Zara's recipe :

ZAKA. Government by party ! Introduce that great and
glorious element at once the bulwark and foundation of
England's greatness and all will be well! No political
measures will endure, because one party will assuredly undo
all that the other party has done ; inexperienced civilians will
govern your army and your navy ; no social reforms will be
attempted, because out of vice, squalor, and drunkenness no
political capital is to be made ; and while grouse is to be shot,
and foxes worried to death, the legislative action of the country
will be at a standstill. Then there will be sickness in plenty
endless lawsuits, crowded jails, interminable confusion in the
army and navy, and, in short, general and unexampled pro-
sperity !

When the king asks if the drawing-room arrange-
ments are all correct ' We take your word for it that
this is all right. You are not making fun of us ? This
is in accordance with the practice at the Court of St.
James's ? ' the Lord Chamberlain happily replies, ' Well,

' UTOPIA (LIMITED} ' 245

it is in accordance with the practice at the Court of St.
James's Hall ' a hit that causes a general roar. ' Oh !
It seems odd,' says his Majesty, taking his seat ; ' but
never mind.' And then follows a capital topical song
legitimately suggested by the situation :

KING

Our Peerage we've remodelled on an intellectual basis,
Which certainly is rough on our hereditary races

CHOKUS
We are, going to remodel it in England.

KING

The brewers and the cotton lords no longer seek admission,
And literary merit meets with proper recognition

CHOEUS
As literary merit does in England.

KING

Who knows but we may count among our intellectual

chickens
Like you, an Earl of Thackeray and p'r'aps a Duke of

Dickens
Lord Fildes ! and Viscount Millais (when they come) we'll

welcome sweetly

CHOEUS
In short, this happy country has been Anglicised completely !

The opera was equipped with no less than three
tenors Keningham, Scott-Fishe, and Scott-Eussell.

1 Mi. Fildes, thus selected from his brethren, ought to be gratified at
his public compliment.

246 THE SAVOY OPERA

The former, somewhat * robustious ' in tone, discharged
his character with good effect. Scott-Fishe was more
of the baritone, and had two effective songs, one in
praise of the English girl, ' married,' as it should be, to
an effective and sportive air :

SONG MR. GOLDBUEY
A wonderful joy our eyes to bless,
In her magnificent comeliness,
Is an English girl of eleven stone two,
And five foot ten in her dancing shoe !

She follows the hounds, and on she pounds

The ' field ' tails off and the muffs diminish
Over the hedges and brooks she bounds
Straight as a crow, from find to finish.

At cricket, her kin will lose or win

She and her maids, on grass and clover,
Eleven maids out eleven maids in

And perhaps an occasional ' maiden over ' !
Go search the world and search the sea,
Then come you home and sing with me
There's no such gold and no such pearl
As a bright and beautiful English girl !

This is a pleasing sketch, and may be read with
interest. Not less effective was the humorous financial
song, declaimed with much spirit.

For brilliancy and all but dazzling show the piece
surpassed all that had been hitherto attempted at the
theatre. The dresses, lights, and general glitter were

' UTOPIA (LIMITED} ' 247

really extraordinary. The gorgeous ' drawing-room
scene,' with its vast parquet floor, the ' surprise ' of the
Christy Minstrel performance, the glittering processions
all these were set forth in the richest and most costly
style.

The most interesting incident of the opening night
was the appearance at the triumphant close of the two
authors, hand in hand : whose reconciliation was heartily
acclaimed. Since that night the piece has been followed
by vast audiences, and has had an even more prosperous
course than any of its predecessors.

Such is a review of this pleasant contribution to the
public stock of harmless pleasure. Our authors have
certainly increased the gaiety of the nation. Our Offen-
bach and Meilhac have furnished us with a standing
entertainment, all ' within the limits of becoming mirth.'

These merry men

Have joined their wits to make the general sport,
With nimble stroke shoot back the flying ball,
Nor let it touch the earth.

NOTE

It may be mentioned here that the ' Bab ' Ballads,
so often quoted and alluded to, owe their title to a sort
of child's pet name given to the author, possibly an

248 THE SAVOY OPERA

abbreviation of ' Baby.' Casting about for a suitable
nom de plume, this occurred to him, and he adopted it,
just as Dickens recalled the old childish name ' Moses,'
which became ' Bozes,' and finally ' Boz.'

THE END

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A Life Interest | Mona's Choice i By Woman's Wit
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Green as Grass.

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The Charlatan.

By J. MITCHELL CHAPPLE,

The Minor Chord.

By HALL CAINE.

The Shadow of a Crime. I The Deemster.
A Bon of Hagar.

By ANNE COATES.
Rie's Diary.

By WILKIE COLLINS.

Armadale. f AfterDark. ~

No Name. I Antonina
Basil. | Hide and Seek.
The Dead Secret.
Queen of Hearts.
My Miscellanies.
The Woman in White.
The Moonstone.
Man and Wife.
Poor Miss Finch.
Miu or Mrs. 1
The New Magdalen,
lue Frozen Deep.

The Two Destinies.
The Law and the Lady.
The Haunted Hotel.
The Fallen Leaves.
Jezebel's Daughter.
The Black Robe.
Heart and Science.
' I Say No. 1
Little Novels.
The Evil Genius.
The Legacy of Cain.
A Rogue's Life.
Blind Love.

By MORT. & FRANCES COLLINS.

Transmigration. I From Midnight to Mid-

Blacksmith & Scholar. night.
The Village Comedy. | You Play me False.

By MACLAREN COBBAN.
The Red Sultan. | The Burden of leabaL

By E. H. COOPER.

Geoffory Hamilton.

By V. CECIL COTES.

Two Girls on a Barge.

By C. EGBERT CRADDOCK.

His Vanished Star.

By H. N. CRELL1N.

Romances of the Old Seraglio.

By MATT CRIM.

The Adventures of a Fair Rebel.

By S. R. CROCKETT and others.

Tales of Our Coast.

By B. M. CROKER.

The Real Lady Hilda.

Married or Single ?

Two Masters.

In the Kingdom of Kerry

Interference.

A Third Person

Diana Barrlngton.
Proper Pride.
A Family Likeness.
Pretty Miss Neville.
A Bird of Passage.
'To Let.' | Mr. Jervis.
Village Tales & Jungle
Tragedies.

By WILLIAM CYPLES.

Hearts of Gold.

By ALPHONSE DAUDET.

The Evangelist ; or, Port Salvation.

By H. COLEMAN DAVIDSON.

Mr. Sadler's Daughters.

By ERASMUS DAWSON.

The Fountain of Youth.

By JAMES DE MILLS.

A Castle in Spain.

By. J. LEITH DERWENT.

Our Lady of Tears. | Circe's Lovers.
By DICK DONOVAN.
Tracked to Doom. I The Mystery of Jamaica

Man from Manchester. | Terrace.
The Chronicles of Michael Danevitch.

By RICHARD DOWLING.
Old Corcoran's Money.

By A. CONAN DOYLE.
The Finn of Girdlestone.

By S. JEANNETTE DUNCAN.
A Daughter of To-day. I Vernon's Aunt.
By G. MANVILLE FENN.

The New Mistress. I The Tiger Lily.

Witness to the Deed. I The White Virgin.
By PERCY FITZGERALD.
Fatal Zero.

By R. E. FRANCILLON.

One by One

A Dog and his Shadow.

Ropes of Sand.

Jack Doyle's Daughter.

A pr e efaced D by Sir BARTLE FRERE.
Pandurang Hari.

By PAUL GAULOT.
The Red Shirts.

By CHARLES GIBBON.
Robin Gray. I Of High Degree.

Loving a Dream. I The Golden Shaft.

By E. GLANVILLE.
The Lost Heiress. I The Golden Rock.

A Fair Colonist. Tales from the Veld.

The Fossicker.

By E. J. GOODMAN.
The Fate of Herbert Wayne.

By Rev. S. BARING GOULD
Red Spider. I Eve.

By CECIL GRIFFITH.
Corinthla Marazion.

CHATTO & WINDUB, lii St. Martin' _Ui

HALL.

Gate. (Springs

A Sappho of Green
Co' . S tarbottle^Client.
Susy. I

Dows

Inueti.

j,-e of Jack
Hamlin's.

Clarence.

Barker's Luck ,

Devil's Ford, [celsior.
The Crusade of the ' Ex-
Three Partners

t By *M^g>*&.

th - *,- David Poindexter'a Dis-

appearance.
The Spectre of the
Camera.

Ga.

Ellice Quentin.

Sebastian Strome.

Dust.

Io rtunesFool y

IvandeBiron. ^
Agatha Paec^

Bujub the Juggler.
Dorothy'. Doub*

The Comn

Lady Verner's Flight.
The Red-House Mystery
The Three Graces.
Professor s Experiment.

By Mrs. ALI

The Leaden Casket.
Th.t, other Person.

HENDERSON.
' V. HENTY.

I The Queen's Cup.

Nora Creina.
An Anxious Moment.
April's Lady.
Peter 3 Wifo.

HUNT.

Gideon Fleyce^
By E.

Patricia Kemball.
Under which Lord?
' My Love I ' I lone,
paston Carew. ^
Sowing t

The Dieter

A Life's Atonement.

Joseph's Coat.

Coals of Fhe.

Old Blazer's Hero.

Val Strange. | Hearts.

A Model Father.

By the Gate of the Sea.

A Bit of Human Nature.

Cvntc Fortune.
The Way ot the World.
BobMar'tinsLittltUirl,
Time's Revenges.
A Wasted Crime.
In Direst Peril.
Mount Despair.
A Capful o' Kai'.i.
Ta'.es and Poem

First Person Singular.

By MURRAY and HERMAN.

The Bishops; Bibles j faul Jo*"" ^ M -

Ve By HUME N1SBET.

1UP Bv W. E. NORRIS.

Saint Ann s. * I Billy Belle*.

By Q. OHNET.
A Weird Gift.

By Mrs. OLIPHANT.
The Sorceress. ^ ^^

Honour of Thieves.

By R.
ADrawnGame. oND LEpELLET | ER .

Madame By" HARRY LINDSAY.
W. LUCY.

LINTON.

The Atonement of Learn

Dundas.

The World Well Lost.
The One Too Many.
Dulcie Everton.

MCCARTHY.

^Srd SSfcSSSS.

KaWudV Th^ Cometof a Season.

(Umioia .rvhours Red Diamonds.

SKSSSS-

fortune"! The"~Voice of the

Charmer.
P MEADE and CLIFFORD

'HALIFAX, M.D.

MERRICK.

Held In Bondage.

Strathmore.

Chandos.

Under Two Flags.

Idalia. (Gage.

Cecil Castlemame s

Tricotrin. | Puck.

FoUe Farine.

A Dog of Flanders.

Pascarel. I Signa.

Princess Napraxine.

ladn By MARGARET^ A. PAUL.

Gentle and Simple.

By JAMES PAYN

Lost Sir Massmgberd.
Less Black than We're

Painted.

A Confidential Agent.
A Grape from a Thorn.
In Peril and Privation.
The Mystery of Mir-

Two Little Woodna

In a Winter City. .Shoe*

Friendship.

Moths. I Rnffino.

Pipistrello.

A Village Commune.

Bimbi. I Wanda.

Frescoes. I Othaiar.

In Maremma

Byrlm. I Guildaroy.

Banta Barbara.

Two Offenders.

[bridge.

High Spirits.
Under One Roof.
Glow worm Tales
The Talk of the Town.
Holiday Tasks.
For Cash Only.
The Burnt Million

AI1W DU1UI' *"*

The Word and the Will.

Sunny Stories.
A Trying Patient.

The Canon's Ward.
Walter s Word.

By WILL PAYNE.
Jerry the Dreamer.

By Mrs. CAMPBELL PRAED.
Outlavf and Lawmaker. I Mrs. Tregaskiss.
Christina Chard. I cicp

E. C. FKi^c;. pi-.]

;*.<. i Mr* Lancaster s luvw.

Peg Woffington; and
Christie Johnstone.

Hard Cash.

Cloister & the Hearth.

Never Too Late to Mend

The Course of True
Love Never Did Run

Me Little, Love

Me Long.
The Double Marriage.

Put Yourself in Hi.
A Terrible Temptation.

Smooth ; and Single
heart andDoubleface.

AU Thi b e i f gr J P ack~ oV aU

Tiades; A Hero and

a Martyr; and The

Wandering Heir.
Griffith Gaunt. .

By Mrs. J. H. R1DDELL.

WeirdSt ByAMELlE RIVES.

BarbaraDering. ^ ROB , NSON .

The Hands of Justice. I Woman in tte Dark.

A Simpleton.

A Woman Hater.

The Jilt, & otherStones
& Good Stories of Man
and other Animals.

A Perilous Secret.

Readiana; and 1
Characters.

CriATTO & WtNDUS, in St. Martin** Lane, London, W.C;

THE PICCADILLY (3/6) NOVELS continued.
By W. CLARK RUSSELL.

Round the Galley Fire.
In the Middle Watch.
0.1 the Fo k ale Head.
A Voyage to the Cape.
Book for the Hammock.
Myataryof 'Ocean Star'

My Shipmate Ionise.
Alone on Wide Wide Sea.
The Phantom Death.
Is He the Man '/
Good Ship 'Mohock.'
The Convict Ship.
Heart of Oak.
The Tale of the Ten.
The Last Entry.

The Knmance of Jenny

Harlowe
An Ocean Tragedy.

By DORA RUSSELL.

A Country Sweetheart. | The Drift of Fat*.

By BAYLE 5T. JOHN.

A Levantine Family.

By ADELINE SERGEANT.

Dr. Endicott s Experiment.

By HAWLEY SMART.

Without Love or Licence.
The Master of Eathkelly.

The Outsider.
Beatrice & Benedick.
A Racing Rubber.

Lang Odds.

By T. W. SPEIGHT.

A Secret of the Sea. I The Master of Trenance.

The Grey Monk. | A Minion of the Moon.

By ALAN ST. AUBYN.

A Fellow of Trinity. In Faca of the 1
The Junior Dean.

Mister of Sfc.Benedict's.

World.
Orchard Damere).

The TremleU Diamonds

To his Own Master.

By JOHN STAFFORD.
Doris and I.

By RICCARDO STEPHENS.

The Cruciform Mark.

By R. A. STERNDALE.

The Afghan Knife.

By R. LOUIS STEVENSON.

The Suicide Club.

By BERTHA THOAiAS.

Proud Maisie. | The Violin-Player.

By ANTHONY TROLLOPE.
The Way we Live Now. I Scarborough's Family.
Frau Frohmann. | The Land Leaguers

By FRANCES E. TROLLOPE.
Like Ships upon the I Anne Furness.
Sea. I Mabel's Progress.

By IVAN TURQENIEFF, &c.

Stories from Foreign Novelists.

Mark Twain's
Works

By MARK TWAIN.

Choic

Mark Twain's Library

of Humour.

The Innocents Abroad.
Roughing It ; and The

Innocents at Home.
A Tramp Abroad.
The American Claimant.
AdventnresTomSawyer
Tom Sawyer Abroad.

Tom Sawyer, Detective.
Pndd'nhead Wilson.
The Gilded Age.
Prince and the Pauper.
Lite oa the Mississippi.
The Adventures of

Huckleberry Finn.
A Yankee at ths Court

of King Arthur.
Stolen White Elephant.
1.000,000 Banknote.

By C. C. FRASER-TYTLER.

Mistress Judith.

By SARAH TYTLER.

Lady Bell. I The Macdonild Lass.

Buried Diamonds. The Witch- Wife.

Tha Blackball Ghosts. |

By ALLEN UPWARD.

The Queen against Owen I The Prince of Ealkiatan
By E. A. VIZETELLY.

The Scorpion : A Romance of Spain.

By CY WARM AN.

The Express Messenger,

By WILLIAM WESTALL.

Sons of Belial.

By ATHA WESTBURY.

The Shadow of Hilton Ferabrook.

By C. J. WILLS.

An Easy-going Fellow.

By JOHN STRANGE WINTER.

Cavalry Life and Regimental Legends.
A Soldier's Children.

By MARGARET WYNMAN.
My Flirtations.

By E. ZOLA.

The Downfall. I The Fat and the Thin.

The Dream. His Excellency.

Dr. Pascal. The Dram-Shop.

Money. | Lourdes. I Rome. I Paris.

By 'Z. Z.'

A Nineteenth Century Miracle.

CHEAP EDITIONS OF POPULAR NOVELS.

Post 8vo, illustrated boards, is. each.

By ARTEMUS WARD.

By SHELSLEY BEAUCHAMP.

Artemus Ward Complete.

By EDMOND ABOUT.

The Fellah.

Grant ley Grange.
By Sir W. BESA

Ready- Money Mortiboy
My Little Girl.

NT and J. RICE.

By Cella's Arbour.
Chaplain of the Fleet.

By HAMIL

Carr of Cairlyou.

By Mrs. AL

TON AIDE.

Confidences.

EXANDER.

With Harp and Crown.
This Son of Vulcan.
The Golden Butterfly.
The Monks of Thelema.

The Seamy Side.
The Case of Mr. Lucraft.
In Traf.ilear s Bay.
The Ten Years Tenant.

Maid. Wife or Widow T 1 Valerie's Fat*.

By Sir WALTER BESANT

Blind Fate.

All Sorts and Condi-

Ti Call Her Mine.

By GRAN

Philistla.
Strange Storiei.
Babylon.
For Maimie's Sake.
In all Shades.
The Beckoning Hand.
The Devil's Die.
The Tents of Sliem.

T ALLEN.

The Great Taboo.
Dnmaresq's Daughter.
Duchess of Powysland.
Blood Royal. [piece-
Ivan Greet's Master.
The Scallywag.
Thin Mortal Coil.
At Market Value.

tions of Men.
The Captains' Room.
All in a Garden Fair.
Dorothy Forster.
Uncle Jack.
The World Went Very
Well Then.
Children of Gibeon.
Herr Paulus.
For Faith and Freedom.

The Bell of St. Paul's.
The Holy Rose.
Arroorel of Lyonesse.
S.Kathorines by Tower
Verbena Camellia St-
phauotis.
The Ivory Gate.
The Rebel Queen.
Beyond the Dreams of
Avarice.

By E. LESTER ARNOLD.

By AMBROSE BIERCE.

Phra the Phoenician.

In the Midst of Life.

BY FRANK

Fettered for Life.
Little Lady Linton.
Between Life <fe Death.

BARRETT.

A Prodigal's Progress.
Found Guilty.
A Recoiling Vengeance.

By FREDERICK BOYLE.

Camp Notes. I Chronicles of No man's
Savage Life. | Land.
BY BRET HARTE.

The Sin of Olga Zasaou-

For Love and Honour.

Califoraian Stone*.

Flip. | Marnja.

lien.

John Ford; and His

Gabriel Conroy.

A Phyllis of the Sierras.

FollyMorrlson.

Helpmate.

The Luck of Roaring

A Waif of the Plains.

Lieut. Barnabas.

The Woman of the Iron

Camp.

A Ward of the Golden

Honest Davit.

Bracelets.

An Heiress of Eed Dog.

Gate.

30 CHATTO & WINDUS, in St. Martin's Lane, London, W.C.

TWO-SHILLING NOVELS continued.

By DICK DONOVAN.

By HAROLD BRYDGES.

The Kan-Hunter.
Tracked and Taken.

In the Grip of the Law.
From Information Re-

TTncla Sam at Home.

Caught at Last 1

ceived.

By ROBERT BUCHANAN.

Wanted 1

Tracked to Doom.

Shadow of the Sword.
A Child of Nature.
God and the Man.

The Martyrdom Of Ma-
deline.
The New Abelard.

Who Poisoned Hetty
Duncan?
Man from Manchester.

Link by Link
Suspicion Aroused.
Dark Deeds.

Love Me for Ever.

Matt.

A Detective's Triumphs

Riddles Read.

Foxglove Manor.

The Heir of Llnne..

The Mystery of Jamaica Terrace.

The Master of the Mine.
Annan Water.
Bv BUCHANAl^

The Charlatan.

Woman and the Man.
Rachel Dene.
I and MURRAY,

By Mrs; ANNIE EDWARDES.

A Point of Honour. | Archie Lovell.

By M. BETHAM-EDWARDS.

By HALL CAINE.

Felicia. | Kitty.

The Shadow of a Crime. 1 The Deemster.

By EDWARD EGGLESTON.

By Commander CAMERON.

The Cruise of the ' Black Prince.'

By HAYDEN CARRUTH.
The Adventures of Jones.

By AUSTIN CLARE.

For the Love of a Lass.

By Mrs ARCHER CLIVE.

Paul Fen-oil.

Why Paul FerroU Killed his Wife. "

By MACLAREN COBBAN.

The Cure of Souls. | The Red Sultan.
By C. ALLSTON COLLINS.
The Bar Sinister.
By MORT. & FRANCES COLLINS.

Sweet Anne Page.
Transmigration.
From Midnight to Mid

t with Fortune.

night
A Figh

Sweet and Twenty.
The Village Comedy.
You Flay me False.
Blacksmith and Scholar
Frances.

By WILKIE COLLINS.

ArmadsJe. | AfterDark.

No Name.

Antonina.

Basil.

Hide and Seek.

The Dead Secret.

Queen of Hearts.

Miss or Mrs.?

The New Magdalen.

The Frozen Deep.

The Law and the Lady

The Two Destinies.

The Haunted Hotel.

A Rogue's Life.

By M. J. COLQUHOUN.
Every Inch a Soldier.

By DUTTON COOK.
leo. I Paul Foster's Daughter.

By C. EGBERT CRADDOCK.
The Prophet of the Great Smoky Mountains.

By MATT CRIM.
The Adventures of a Fair Rebel.

By B. M. CROKER.

My Miscellanies.
The Woman in White.
The Moonstone.
Man and Wife.
Poor Miss Finch.
The Fallen Leaves.
Jezebel's Daughter.
The Black Robe.
Heart and Science.
1 1 Say No I 1
The Evil Genius.
Little Novels.
Legacy of Cain.
Blind Love.

A Family Likeness.
Village Tales and Jungle

Tragedies.
Two Masters.
Mr. Jervis.

Pretty Miss Neville.
Diana Barrington.
To Let. 1

A Bird of Passage.
Proper Pride.

By W. CYPLES.
Hearts of Gold.

By ALPHONSE DAUDET,

The Evangelist ; or, Port Salvation.

By ERASMUS DAWSON.
The Fountain of Youth.

By JAMES DE MILLE.
A Castle in Spain.

By J. LEITH DERWENT.
Our Lady of Tears. | Circe's Lovers.

By CHARLES DICKENS.
Iketchei by Boz,

' By G. MANVILLE FENN.

The New Mistress. I The Tiger Lllv.

Witness to the Deed. | The White Virgin.

By PERCY FITZGERALD.

Bella Donna.

Never Forgotten.

Polly.

Fatal Zero.

Second Mrs. Tillotson.
Seventy - five Brooke

Street.
The Lady of Brantom*

By P. FITZGERALD and others.

Strange Secrets.

By ALBANY DE FONBLANQUE.

Filthy Lucre.

By R. E. FRANCILLON.

(Hympia.
One by One.
A Real Queen.
Queen Cophetna.

King or Knave?
Romances of the Law.
Ropes of Sand.
A Dog and his Shadow.

By HAROLD FREDERIC

Seth's Brother's Wife. I The Lawton Girl.

Prefaced by Sir BARTLE FRERE.

Pandnrang Harl.

By EDWARD GARRETT.

The Capel Girls.

By GILBERT GAUL.

A Strange Manuscript.

By CHARLES GIBBON.

Robin Gray. In Honour Bound.

Fancy Free. Flower of the Forest.

For Lack of Gold. The Braes of Yarrow.

What will World Say 7
In Love and War.
For the King.
In Pastures Green.
Queen of the Meadow.
A Heart's Problem.
The Dead Heart.

The Golden Shaft.
Of High Degree.
By Mead and Stream.
Loving a Dream.
A Hard Knot.
Heart's Delight.
Blood-Money.

By WILLIAM GILBERT.

Dr. Austin's Guests. I The Wizard of th
James Duke. 1 Mountain.

By ERNEST GLANVILLE.

The Lost Heiress. I The Fossicker

A Fair Colonist. |

By Rev. S. BARING GOULD.

Red Spider. | Eve.

By HENRY GREVILLE.

A Noble Woman. | Nikanor.

By CECIL GRIFFITH.

Corinthla Marazion.

By SYDNEY GRUNDY.

The Days of his Vanity.

By JOHN HABBERTON.

Brneton's Bayou. | Country Luck.

By ANDREW HALLIDAY.

Every day Papers.

By THOMAS HARDY.

Under the Greenwood Tret,

CHATTO & WINDUS. ,1. St. Martini Lane, London, W.C.

TWO-SHILLING NOVELS continued.

By JULIAN HAWTHORNE.

Garth. - . ...

Ellice Quentin.

Fortune's Fool.

Miss Cadogna.

Sebastian Strome.

Dust. . __

By Sir ARTHUR HELPS.

Ivan de Biron.

By Q. A. HENTY.

Rujub the Juggler.

Beatrix Randolph.

Love or a Name.

David Poindexter's Dis-
appearance.

The Spectre of the
Camera.

_ By HEADON HILL.

Zambra the Detective.

By JOHN HILL.

Treason Felony.

By Mrs. CASHEL HOEY.

The Lover's Creed.

By Mrs. GEORGE HOOPER.

The House of Raby.

By TIGHE HOPKINS.

Twixt Love and Duty.

By Mrs. HUNGERFORD.

A Maiden all Forlorn.

In Durance Vile.

Marvel.

A Mental Struggle.

A Modern Circe.

Lady Verner's Flight
The Red House M3'steiy
The Three Graces
Unsatisfactory Lover
Lady Patty.
By Mrs. ALFRED HUNT.

Thornicroft s Model. I Self Condemned.

Tjiat Other Person. | The Leaden Casket

By JEAN INGELOW.

Fated to be Free.

By WM. JAMESON.

My Dead Self.

By HARRIETT JAY.

The Dark Colleen. | Queen of Connaught

By MARK KERSHAW.

Colonial Facts and Fictions.

By R. ASHE KING.

A Drawn Game.

' The Wearing of the

Beli Barry.

Green. 1

By EDMOND LEPELLETIER.

Madame Sans Gene.

By JOHN LEYS.

The Lindsays.

By E. LYNN LINTON.

Patricia Kemball. i The Atonement of Learn

The World Well Lost.
Under which Lord 7
Paston Carew.
' My Love I '

By HENRY W.TuCY?

Gideon Fleyce.

By JUSTIN MCCARTHY.

Dundas.

With a Silken Thread.
Rebel of the Family
Sowing the Wind.
The One Too Many.

Dear Lady Disdain.
Waterdale Neighbours.
My Enemy's Daughter.

Camiola.
Donna Quixote.
Maid of Athens.
The Comet of a Season
The Dictator.
Red Diamonds.

A Fair Saxon.
Linley Rochford.

Miss Misanthrope. . 1M

By HUGH MACCOLL.
Mr. Stranger's Sealed Packet.

By GEORGE MACDONALD.
Heather and Snow.

,_ By AGNES MACDONELL.

Quaker Cousins.
By KATHARINE S. MACQUOID

The Evil Eye. | Lost Rose.

By W. H. MALLOCK.

A Romance of the Nine- 1 The New Republic,
teenth Century.

By J. MASTERMAN.

Half-a-dozen Daughters.

A s By f BINDER MATTHEWS

A Secrst of the Sea.

By L. T. MEADE.
A Soldier of Fortune.

T hfl M h MERRICK.

The Man who was Good.

_ B y JEAN MIDDLEMASS.

Touch and Go. | Mr. Dorillion.

By Mrs. MOLESWORTH.

Hathercourt Rectory.

By J. E. MUDDOCK.

Stories Weird and Won
derful.

From the Bosom of tha
Deep.

The Dead Man's Secret. ,

By D. CHRISTIE MURRAV.

.del Father. By the Gate of th

A Mo

Joseph's Coat.

Coals of Fire.

Val Strange. | Hearts.

Old Blazer s Hero.

The Way of the World

Cynic Fortune.

A Life's Atonement.

Sea

A Bit of Human Nature
First Person Singular
Bob Martin's Little Girl
Time's Revengrs
A Wasted Crime.
In Direst Peril.
Mount Despair.

By MURRAY and HERMAN.

By HENRY MURRAY.

A Game of Bluff. | A Song of Sixpence

By HUME NISBET.

IDr.BernardSt.Vincsa
Saint Ann .* W. E. MORRIS.

By ALICE O'HANLON.

e Unforeseen. | Chance 7 or Fate 7

By GEORGES OHNET.

Dr Rameau. I A Weird Gift.

A Last Love.

By Mrs. OLIPHANT.

Path.

Held in Bondage.

Jtrathmcre.
Chandos.
Idalia.

Under Two Flags.
Cecil Castiemaine sGaee

By OUIDA.

Two Lit. Wooden Shoes

Moths.

Bimbi.

Pipistrello.

A Village Commune

Wanda.

Cthmar
Frescoes.
In Maremma.
Guilderoy.
Rufflno.
Syrlin.

Santa Barbara
Two Offenders.
Ouida's Wisdom Wit
and Pathos.

Tricotrin.

Puck.

Folle Farlne.

A Dog of Flanders.

Pascarel.

Signa.

Princess Napraxlne.

In a Winter City.

Ariadne.

Friendship.

By MARGARET AGNES PAUL.

Gentle and Simple.

By EDGAR A. POE.

The Mystery of Marie Roget.

By Mrs. CAMPBELL PRAED.

The Homance of a Station.
The Soul of Countess Adrian.
Out'aw and Lawmaker.
Christina Chard.

By E. C. PRICE.

CHATTO & W1NDUS, in St. Martin's Lane, London, W.C.

TWO-SHILLING NOVELS continued.
By JAMES PAYN.

The Talk of the Town.
Holiday Tasks.
A Perfect Treasure.
What He Cost Her.
A Confidential Agent.
Glow worm Tales.
Tee Burnt Million.
Sunny Stories.
Lost Sir Massmgberd.
A Woman's Vengeance.
The Family Scapegrace.
Gwendoline s Harvest.
Like Father. Like Son.
Married Beneath Him.
Not Wooed, but Won.
Less B'ack than We re

Painted.

Some Private Views.
A Grapa from a Thorn.
The Mystery of Mir-

bridge.

The Word and the Will.
A Prince of the Blood.
A Trying Patient.

Bentinck's Tutor.

Mnrphy s Master.

A County Family.

At Her Mercy.

Cecil's Tryst.

The Clyffards of Clyffe.

The Foster Brothers.

Found Dead.

The Best of Husbands.

Walter's Word

Halves.

Fallen Fortune*.

Humorous Stories.

200 Reward.

A Marine Residence.

Mirk Abbey

By Proxy.

Under One Roof.

Hi^h Spirits.

Carlyon's Year.

From Exile.

For Cash Only.

Kit.

The Canon s Ward.

By CHARLES READE.

It is Never Too Late to A Terrible Temptation.
Foul Play.

The Wandering Heir.
Hard Cash.
Singleheartand Double-

Mend.

Christie Johnstons.
The Double Marriage.
Put Yourself in His

Place
Love Me Little, Love

Me Long.
The Cloister and the

Hearth.
The Course of True

Love.
The Jilt.
The Autobiography of

a. Thief.

face
Good Stories of Man and

other Animals.
Peg Woffington.
Griffith Gaunt.
A Perilous Secret.
A Simpleton.
Readiana.
A Woman-Hater.

By Mrs. J. H. RIDDELL.

The Uninhabited House.
The Mastery in Palace

Gardens.

The Nun's Corse.
Idle Tales.

Weird Stories.
Fairy Water.
Her Mother's Darling.
The Prince of Wales s
Garden Party.

By AMEUE RIVES.

Barbara Dering.

By P. W. ROBINSON.

Women are Strange. | The Hands of Justice.

By JAMES RUNCIMAN.
Skippers and Shellbacks. | Schools and Scholars.
Grace Balmaign s Sweetheart.

By W. CLARK RUSSELL.
Round the Galley Fire. The Romance of Jenny

On the Fo'k'sle Head.

In the Middle Watch.

A Voyage to the Cape.

A Book for the Ham-
mock.

The Mystery of the
Ocean Star.'

Harlowe.

An Ocean Tragedy.

My Shipmate Louise.

Alone onWideWide Sea.

The Good Ship 'Mo-
hock.'

The Phantom Death.

By DORA RUSSELL.

A Country Sweetheart.
By GEORGE AUGUSTUS SALA

Gaslight and Daylight.

By GEORGE R. SIMS.

The Ring o' Bells.
Mary Jane's Memoirs.
Mary Jane Married.
Tales of To day.
Dramas of Life.
Tinkle top's Crime.

By ARTHUR SKETCHLEY

A Match in the Dark.

By HAWLEY SMART.

Without Love or Licence.

The Piunger.

Beatrice and Benedick.

I My Two Wives.
! Zeph.

Memoirs of a Landlady.

Scenes from the Shew.

The 10 Commandments.

Dagonet Abroad.

By T. \V. SPEIGHT.

The Mysteries of Heron Back to Life.

Dyke

The Golden Hoop.
Hoodwinked.
By Devious Ways.

By ALAN ST. AUBYN.

The LoudwatorTragedy.
Bargo s Romance.
Quittance in Full.
A Husband from the Sea

A Fellow ot Trinity.
The Junior Dean.
Master of St.Bauedict's

To His xn Muster.

Orchard Damsrel.

In the Face of theWorld.

By R. A. STERNDALE.

The Afghan Knife.

By R. LOUIS STEVENSON.

New Arabian Nights.

By BERTHA THOMAS.

Cresslda. I The Violin Player.

Proud Maisie.

By WALTER THORNBURY.

Tales for the Marines. | Old Stories Retold.

By T. ADOLPHUS TROLLOPE.
Diamond Cut Diamond.

By F. ELEANOR TROLLOPE.
Like Ships upon the I Anne Furness.
Sea. I Mabel's Progress.

By ANTHONY TROLLOPE.

Frau Frohmann.
Marion Fay.
Kept in the Dark.
John Caldigate.
The Way We Live Now.

Tho Land-Leaguers.
The American Senator.
Mr. Scarborough a

Family.
GoldenLion of Granpere

Farnell's Folly.

By IVAN TURGENIEFF, &C.

Stories from Foreign Novelists.

By MARK TWAIN.

A Pleasure Trip on the

Continent.
The Gilded Age.
Huckleberry Finn.
MarkTwaln s Sketches.
Tom Sawyer.
A Tramp Abroad.
Stolen White Elephant.

By C. C. FRASER-TYTLER.

Mistress Judith.

By SARAH TYTLER.

Life on the Mississippi.
The Prince and the

Pauper.
A Yankee at the Court

of King Arthur.
The 1,000,OOJ Bini-

Note.

The Huguenot Ftmi'y.
The Blackball Ghosts.
What SheCameThrouch
Beauty and the Beast,
C.toyenne Jaquellne.

The Bride a Pass.
Buried Diamonds.
St. Mungo s City.
J.ady Bell.
Noblesse Oblige.
Disappeared.

By ALLEN UPWARD.
The Queen against Owen. | Prince of Balkistan.
' God Save the Queen 1 '

By AARON WATSON and L1LLIAS

WASSERMANN.

The Marquis of C.irabas.

By WILLIAM WESTALL.

Trust- Money.

By Mrs. F. H. WILLIAMSON.

A Chiid Widow.

By J. S. WINTER.

Cavalry Life. | Regimental Legend*.

By H. F. WOOD.

The Passenger from Scotland Yard.
Tbe Englishman of the Rue Cain.
By CELIA PARKER WOOLLBY.

Rachel Armstrong ; or, Love and Theology.

By EDMUND YATES.

The Forlorn Hope. I Castaway.

Land at Last.

By I. ZANGWILL.

Ghetto Tragedies.

OGDKN, SMALE AND CO. LIMITED, PRINTERS) GREAT SAFFRON HILL, B.C.

F57

Fitzgerald, Percy Hetherington
The Savoy Opera

,
Library