Critical Moments

Last evening at the Majestic Theatre Gilbert and Sullivan were returned to New York for their annual engagement. Naturally enough the operetta selected to re-introduce the late duo was the perpetually delightful “The Mika-do.” Presented by S. M. Chartock, the production is well staged, competently sung, and contains a veteran troupe of players who have been doing G. and S. musicals for many years.

It is needless, and I must say silly, to criticize “The Mikodo,” or for that matter any Gilbert and Sullivan revival. They have become institutions and the ever-growing legion of G. and S. addicts cannot be kept away at any cost. I don’t want to create the impression that there is any reason for not visiting the current playing of “The Mikado.” It is, as I mentioned above, entirely enjoyable and very well done.

A BIT OF HISTORY

Since 1875 Gilbert and Sullivan operettas have been playing with astounding success. A few years before, Richard D’Oyly Carte, a London producers, had brought these two gentlemen together. Their first real hit was “Trial By Jury,” which ran for nine months in London. “The Sorcerer” was the next venture and this was the least popular of their joint efforts, but in 1878 they wrote “Pinafore,” and placed themselves in the Hall of musical immortals forever. This satirial jab at the stuffiness of official life ran for two years and companies played it all over Europe.

“Pirates of Penzance” followed in 1880, and that too was a huge success. The Savoy Theatre in London was taken over in 1881 and remained the permanent home of the G. and S. productions. The theatre, the first in England to be lighted by electricity, opened with “Patience,” and again the team hit the mark. Then followed “Iolan-the,” “Princess Ida,” The Mikado,”Ruddigore,” “Yeoman of the Guard,” and “The Gondliers.”

PROLIFIC BUT SCRAPPY

Prolific as they were, a rift appeared in the relationship between these men which culminated in a clean break over a rug, but the Gilbert and Sullivan literature places the blame on jealousy. Sullivan, who incidentally it is said bore Jewish blood, was the musician of the combination. He felt that he was a great composer and did not need the clever lyrics of Gilbert, in fact he was afraid that his work would never, because of them, be taken seriously. Finally the breach was closed and in 1893 they wrote “Utopia.” “His Excellency” was done in 1894, and in 1896 came “The Grand Duke,” the last of their combined works, after which they parted for all time. Sullivan died in 1900 and Gilbert followed him eleven years later.

LONG POPULAR IN AMERICA

The works of Gilbert and Sullivan have been popular in America ever since they enjoyed their first London triumphs, and there are many amusing stories concerning the rush to produce G. and S. opera here. At one time Gilbert himself came to America in order that one of these companies could be called “official.” The copyright laws were much laxer than they are today. It was a question of “first come first get.” It got so bad that companies would rehearse in secret so that other producers would be misled.

One of the first companies to bring Gilbert and Sullivan to American audiences was that of Milton Abron. He is dead now, but his followers have continued the work and the group which did “The Mikado” at the Majestic last night are steeped in the best G. and S. tradition.

In the cast are such voices as those of William Danforth, Vivian Hart, Hizi Koyke, Roy Cropper, Herbert Watrous, Vera Ross, Allen Watrous, John Cherry and Laura Forguson, so say nothing of the celebrated Gilbertian ensemble.