They were a Victorian operatic duo
Librettist W.S. Gilbert wrote the words and composer Sir Arthur Sullivan wrote the score for their fourteen operas, in a collaboration that lasted 25 years.
Their quarter of a century long partnership began in 1871, when the pair were brought together by theatre manager Richard D’Oyly Carte. Gilbert and Sullivan are perhaps best known for their comic operas: The Mikado, H.M.S Pinafore, The Pirates of Penzance and Iolanthe.
London’s Savoy Theatre was built to stage their operas
As well as being a hotelier, composer and theatre manager, Richard D’Oyly Carte was also a talent agent and comic opera enthusiast. The ‘scheme of his life’, as he called it, was to make comic opera as popular in England as it was in France. It was this desire that led him to bring Gilbert and Sullivan together.
In 1881, after nearly ten years of collaboration, Carte decided that he would open his own theatre to showcase the works of Gilbert and Sullivan. When it was built, the Savoy Theatre was at the forefront of innovation. Carte and his manager, George Edwardes introduced numbered seating, free programmes, and a no tipping policy for the cloakroom. Most impressively, the Savoy Theatre was the first public building in the world to be lit entirely by electricity. Thanks to this innovation, Gilbert and Sullivan’s Iolanthe was one of the first ever productions to use electricity in the staging.
Their works are known as Operettas
One of the first ever operetta composers, Jacques Offenbach, inspired the works of Gilbert and Sullivan.
Sitting somewhere between an opera and a musical, operettas, or ‘light operas’ flourished in the UK thanks to Gilbert and Sullivan.
Operetta tends to be shorter than opera and mix song with spoken dialogue, and impressive dance numbers. To put it simply, operettas can generally be described as light operas with spoken dialogue. In comparison, most musicals can be described as plays with singing.
Some of Gilbert’s fanciful storylines are based on real experiences
As the story goes, when William Schwenck Gilbert was just 2 years old he was kidnapped by Italian bandits. His parents were on holiday in Naples when a couple of men approached the maid looking after baby Gilbert and demanded the child. For a small fortune of £25, his parents were able to win back their son.
Whether the dramatic story is true or not, it had a profound effect on Gilbert’s story-telling – he created Ruth, the foolish nursery-maid from The Pirates of Penzance, and wrote The Gondoliers, which tells the story of the heir to the throne, who was kidnapped as a baby.
London’s West End and America’s Broadway owe a lot to the dynamic duo
View east down 47th Street from Times Square. The Palace Theatre Building is the tall building at centre-right. At left, the Columbia Amusement Company Building, including the Columbia Theatre, a prominent burlesque house.
Modern music theatre takes many of its structural elements from Gilbert and Sullivan’s operettas, who took a lot of their inspiration from one of the first operetta composers, Jacques Offenbach.
The composer’s catchy melodies, accompanied by the librettists’ witty satire, formed a model that late 18th century musical theatre followed.
Sullivan was a successful composer in his own right
The title characters from Sullivan’s operetta, William Box and Benjamin Cox, by John Tenniel
He might not have been so well known, had he not collaborated with Gilbert, but Arthur Sullivan’s credentials are still pretty impressive.
Aged 14, he was the first ever recipient of the Mendelssohn Scholarship, which allowed him to study at the Royal Academy of Music. His graduation piece, The Tempest, was so successful, Sullivan gained near celebrity status overnight.
He went on to write a ballet, a symphony, and a cello concerto, not to mention his one-act comic opera Cox and Box.
Their partnership came to an end over a carpet…
Tensions between Gilbert and Savoy manager D’Oyly Carte had been brewing for some time, but it was Carte’s request that £500 for new carpets to be taken out of The Gondoliers profits was the final straw. Sullivan, not wanting to ruin his relationship with Carte, took a back seat in the financial dispute, and he could not understand why Gilbert would make such a fuss over ‘a few miserable pounds’.
Needless to say, Gilbert and Sullivan’s relationship never fully recovered.