The Enduring Love of The Savoy

Love of Gilbert and Sullivan’s Victorian-era comic operas has endured globally for well over a century. The success of their early work did much to restore the popularity and respectability of the Theatre as a form of entertainment, after it had fallen into disrepute.

They became a great part of the established entertainment scene in London after 1877, through the efforts of Sir Richard D’Oyly Carte’s Opera Company. Their talents were given a base from which to operate in the form of the Savoy Theatre, built by D’Oyly Carte specifically to house their new works. For over a decade, their successful works continued to appear there every year or two, several of them being among the longest-running productions up to that point in the history of the musical stage. The style of comic operas performed at the Savoy became known as the “Savoy Opera” and over the years several Savoy Societies consisting of people who share a common interest in performing the operas, have brought the humour and charm of Gilbert and Sullivan to successive generations.

One such group is the Sunningdale Savoy Chorus, from Berkshire in Southern England. This year is the group’s 20th anniversary and they are marking this happy occasion with their Gala Year Celebrations. We conducted an interview with their Director and co-founder John Woodward-Roberts but first some background information to set the scene.

Gilbert and Sullivan – Revolutionary Partners.

Victorian England was the setting for one of the most productive and enduring musical collaborations ever known; that of Sir William Schwenck Gilbert (1836-1911) and Sir Arthur Sullivan (1842-1900). The combination of comical libretti written by Gilbert and the playful yet passionate melodies composed by Sullivan, were the fruits of a partnership that would last for twenty five years and see the production of fourteen operas. The comical perfection displayed in each of their works represented an innovative change to the Victorians and has delighted audiences world-wide ever since.

Born in London, William Gilbert inherited a passion for writing from his father, William, who was a working author. At the relatively young age of twenty five, Gilbert began to take his work more seriously and was soon earning a wage writing for local magazines including Cornhill Magazine, London Society and Temple Bar. Slowly he began to develop his own, if slightly unusual, sense of writing style.

In 1867 he fell in love with Lucy Turner, a woman who according to Gilbert's biographer Jane Steadman had a forceful personality and dominated in domentic matters.

It was to be several years later in 1869 that he was introduced to Arthur Sullivan. Also London born, Sullivan became a master of several instruments at a very young age, inspired by his musical father. Sullivan himself once said;

'The band my father conducted was small, but very good, for he was an excellent musician. I was intensely interested in all that the band did, and learned to play every wind instrument with which I formed not merely a passing acquaintance, but a real, life-long, intimate friendship'

He attended the Royal Academy of Music in 1856 and the next few years were spent composing and indulging in a new found interest, conducting. He continued to find solo success as a composer, beginning with a graduation piece written to compliment Shakespeare’s The Tempest. Its success was to secure Sullivan a position as one of Britain’s most talented new composers.

Various musical compositions followed such as The Masque at Kenilworth (1884), and The Prodigal Son (an oratorio in1869). Sullivan’s first attempt at comic opera was The Cox and the Box written with librettist F.C Burnand, which was reviewed favourably by Gilbert, who was then writing for Fun Magazine.Their second opera The Contrabandista was less successful.

The meeting of Gilbert and Sullivan in 1869 came at a time when efforts were being made to make theatre-going respectable among a Victorian public that saw the theatre as an unsavoury institution unsuitable for family entertainment. The partners wrote and composed Thespis which performed at the Gaiety Theatre in London’s West End. Its success encouraged them to develop their distinctive style, which would evolve in their future work.

After a brief period working on solo projects, Gilbert and Sullivan collaborated on Trial by Jury in 1879. A review in the Daily Times clearly summed up Gilbert’s style as ‘whimsical and eccentric humour’ and combined with the musicality of Sullivan, their talents were soon in demand across the country. The works that followed have become part of our cultural heritage.

One of their most adored works and their first global hit was HMS Pinafore, a scrumptious folly of love-sick maidens and sailors in the Royal Navy. It poked fun at the English obsession with social status and as with many of their works uses a surprise twist at the end. It is widely believed that the nautical connections through Gilbert’s family gave him the inspiration for this particular opera. The score was elaborate and challenging, yet Gilbert’s quest for perfection secured an amazing production run of over 571 performances.

They enjoyed a long and successful partnership and despite artistic differences, held a deep mutual respect for each other. The opening of the Savoy Theatre on 10th October 1881 gave them a permanent home, and the works that premiered here have become known as the “Savoy Operas”.

Interview with John Woodward-Roberts.

Theatre groups both professional and amateur perform the works of Gilbert and Sullivan to this day. To give us an insight into this thriving community we spoke to the director and co-founder of The Sunningdale Savoy Chorus, John Woodward-Roberts.

Classicalmusicmagazine: "John, the works of Gilbert and Sullivan are more celebrated now than ever before. The Sunningdale Savoy Chorus was founded by yourself and Mark Bennett in 1991 to celebrate the Savoy Operas of Gilbert and Sullivan. What made you start your own society and what was your vision for the Savoy? "

John WR: "I was once a member of the Derby Musical Society, now known as the Derby Gilbert and Sullivan Company and incredibly successful in the world of amateur theatre. I guess my love of G&S music and librettos stemmed from an early age. I met Mark, my co-founder, whilst working together at the Civil Service College in Sunningdale. We both shared a passion for G&S and travelled all over the UK to see various productions including a visit to watch a production at the Oxford University. There were several G&S societies in the area but nothing in our immediate catchment area so we decided to form the Savoy Chorus. The Savoy's first meeting was held at Cheapside Village hall, Ascot which is where we still rehearse today."

CMM: "Did you have many members?"

John WR: "It was a relatively small start yet has now grown. We are always very keen to take on new members as performers or backstage help. Our first performance was a concert at the Novello Theatre celebrating the works of G&S and during the second half we performed the relatively short Trial by Jury. In 1992 the Savoy performed an adapted version of Iolanthe and then in the past twenty years, a further eighteen productions highlighting other works of G&S!"

CMM: "The Savoy in London's Strand was originally built as a home for the productions of Gilbert and Sullivan. It is, of course, a perfect choice for a society name! As director of the Savoy’s performances, your creative input is extremely important if the works are to be innovative."

John WR: "Absolutely! Creative input from myself or members of the society is invaluable. Our next production, HMS Pinafore, will have traditional costumes yet there is often an element of surprise lurking somewhere!"

CMM: "Do you feel John, that the younger generation of today understand and can relate to the works of G&S?"

John WR: "I think that in order to keep the works of G&S alive for many more years there is a need to gently adapt the librettos. The story must of course remain intact yet further exploration of the characters and unexpected surprises do keep it fresh and more likely to win over many new and younger admirers. I hope that by producing innovative productions of G&S, we will appeal to a new generation and help keep the spirit of G&S very much alive."

Editor: An example of this is their current Gala Year production HMS Pinafore, which will be set in its time but will have modern dialogue inserted throughout; e.g.  “Hallo Sailor -  Ding Dong” à la Lesley Philips, when Sir Joseph Porter ^_KCB  meets Ralph Rackstraw! 

CMM: "Although the majority of their works enjoyed success, some have been more popular such as HMS Pinafore, The Mikado and Pirates of Penzance. The complexity of Sullivan’s compositions must be quite challenging. How, as a society, do you tackle this? Your Musical Director must have quite a job on his hands!"

John WR: "One of the joys of their music is that it is so memorable. Once learnt never forgotten! Note bashing and constant practice is the only way forward and no one recognises this more than our Musical Director Chris Goodwin. Chris has himself appeared in a G&S production so we both work together as did G&S to bring out the best in our productions. Of course, credit must also go to our committed team at the Savoy, including our pianist and everyone who has a role in making the Savoy as successful as it is today!"

CMM: "Gilbert loved writing librettos that challenged the usual boundaries of Victorian theatre. His comical settings of love-lorn lasses and noblemen enduring strange consequences ensured public popularity and kept both Gilbert and Sullivan’s work in demand. Do you have a favourite work of theirs?"

John WR: "Ruddigore or The Witches Curse as some may call it. I played the part of Dick Dauntless and the Savoy will be performing it in the near future. It has a slightly gothic elements mixed with classic Gilbert comedy!"

CMM: "This year the Savoy Chorus celebrates twenty amazing years! How often does the Savoy meet and what do you have in store for audiences in this very special Gala year?"

JohnWR: "It has been wonderful! We meet every week and perform one full costume production plus two other concerts each year. This year we will be performing HMS Pinafore at the Rose Theatre in Sunninghill, Berkshire. We also have many social events such as a picnic at the former home of W S Gilbert in Grims Dyke, Harrow. It will be a very exciting year for the Savoy."

CMM: "John, it’s been a pleasure talking with you and I hope you and the Savoy have a wonderful Gala year."