Gilbert and Sullivan and the Savoy Operas

Introduces the Victorian operetta, looks at the lives and careers of the writer-composer team, and gives an overview of the creation, plot, and production of their operettas

Rather than creating a dual biography of two individuals--playwright and librettist William Gilbert (1836-1911) and composer Arthur Sullivan (1842-1900)--Ffinch ( Cardinal Newman ) here portrays a single entity: GilbertandSullivan. The focus is on the 14 satiric operettas that resulted from this sometimes rocky association set in a framework of biographical detail. Ffinch is at his best giving clear descriptions of the evolution, scripting, productions and plots of each operetta, from the ever-popular H.M.S. Pinafore , The Pirates of Penzance and The Mikado to the less familiar Utopia, Limited . True to an introductory remark in which he notes that he has "to accept Gilbert as our greatest writer of comic verse," Ffinch includes long passages of the writer's witty librettos--a welcome addition considering how often the words are muddled in amateur productions. This is a worthwhile, basic book on one of the great musical collaborations. Photos.
Copyright 1993 Reed Business Information, Inc.

Introductory guide to the life and works of the famous British duo, by poet/biographer Ffinch (G.K. Chesterton, 1987). Though of some service, it won't endanger the shelf life of standard works in the field, particularly Leslie Baily's classic The Gilbert and Sullivan Book. As you might expect from a poet, the emphasis here is on Gilbert over Sullivan. Ffinch traces the pair's career from their first collaboration through their final work, with some incidental discussion of Gilbert's other plays and libretti. A complete synopsis is given of each work, with liberal quotes from Gilbert's often amusing lyrics. Notes about the original productions and about critical and audience responses--as well as some glimpses of the backstage tensions between the collaborators and their producer, Richard D'Oyly Carte--are also offered, drawing on readily available sources. Perhaps most interesting are the descriptions of the original cast members, showing how Gilbert and Sullivan sensitively shaped their works to meet the needs of their repertoire company. Gilbert's pettiness in arguing over production costs with the wily D'Oyly Carte, and Sullivan's interest in cultivating the producer's friendship in order to ensure that D'Oyly Carte would produce the ``serious'' opera that Sullivan dreamed of composing, led to the duo's ultimate downfall. Although Ffinch emphasizes the importance of the collaborative effort, he offers scant discussion of Sullivan's music; and although well- known songs are mentioned, the author's obvious literary bent precludes any serious musical discussion. His sympathy for Gilbert, too, skews his book's ending, where it's apparent that Gilbert's own character faults led to the failure of the partnership. Not without its uses, but a more balanced account would help the beginning listener enjoy these works as comic operas, not just as comic texts. (Photographs) -- Copyright ©1993, Kirkus Associates, LP. All rights reserved.