Thespis (opera)
Encyclopedia
Thespis, or The Gods Grown Old, is an opera
tic extravaganza
that was the first collaboration between dramatist W. S. Gilbert
and composer Arthur Sullivan
. No musical score of Thespis was ever published, and most of the music has been lost. Gilbert and Sullivan
went on to become the most famous and successful artistic partnership in Victorian
England, creating a string of comic opera
hits, including H.M.S. Pinafore
, The Pirates of Penzance
and The Mikado
, that continue to be popular.
Thespis premièred in London
at the Gaiety Theatre
on 26 December 1871. Like many productions at that theatre, it was written in a broad, burlesque style, considerably different from Gilbert and Sullivan's later works. It was a success, for a Christmas entertainment of the time, and closed on 8 March 1872, after a run of 63 performances. It was advertised as "An entirely original Grotesque Opera in Two Acts".
The story follows an acting troupe headed by Thespis
, the legendary Greek
father of the drama
, who temporarily trade places with the gods
on Mount Olympus
, who have grown elderly and ignored. The actors turn out to be comically inept rulers. Having seen the ensuing mayhem down below, the angry gods return, sending the actors back to Earth as "eminent tragedians, whom no one ever goes to see". Gilbert would return to this theme twenty-five years later in his last opera with Sullivan, The Grand Duke
, in which a theatre company temporarily replaces the ruler of a small country and decides to "revive the classic memories of Athens
at its best".
Seasonal works like Thespis were not normally expected to endure, and apart from a benefit performance
shortly after the original staging, Thespis was not performed again during its creators' lifetimes. A renewed interest in the piece began in the 1950s, and numerous productions have been performed since, either with music taken from Sullivan's other works, or with original music.
On Mount Olympus, the elderly deities complain of feeling old and lament their waning influence on Earth. Mercury
complains that the older gods are lazy and leave all their duties to him, while he gets no credit for all his drudgery. Jupiter
says that matters have reached a crisis, but he is unsure what can be done about it. Just then, the gods see a swarm of mortals ascending the mountain and withdraw to observe them from a distance.
Thespis's acting company enters for a picnic celebrating the marriage of two of its members, Sparkeion and Nicemis. The actors, being cheap, have failed to contribute substantial food items to the picnic. Sparkeion flirts with his former fiancée, Daphne, which annoys Nicemis. In retaliation, Nicemis flirts with her old suitor, Thespis, but he declines to flirt back. Thespis explains to his troupe that a successful manager must be aloof from those he manages, or he will lose his authority.
Jupiter, Mars
and Apollo
enter. All of the actors flee in terror, except for Thespis. Jupiter asks Thespis whether he is impressed with the father of the gods. Thespis replies that the gods are unimpressive and suggests that they go down to earth in disguise to "mingle" and judge for themselves what people think of them. They agree to invest the actors with their powers, as they take a merry holiday below on Earth. Thespis agrees that he and his company will keep things running on Mount Olympus during the gods' absence. Each actor takes the place of one of the gods, with Thespis himself replacing Jupiter. Mercury stays behind to offer any advice the actors may need.
Under Thespis's direction, Olympus has been restored to its former splendour, and the Thespians enjoy ambrosia
and nectar. Thespis's rule is very liberal, and he has advised his troupe not to "be hampered by routine and red tape and precedent". The celestial assignments, however, have caused some difficulties, as the romantic entanglements of the actors in real life conflict with those of the gods that they are playing. Venus
, played by Pretteia, is supposed to be married to Mars, but the actor playing Mars is her father. A possible solution is discovered in Venus having actually married Vulcan
, but Vulcan is her grandfather. Sparkeion, who took on the role of Apollo, accompanies his wife, Nicemis, who plays Diana
, on her nightly duties, so that the sun is up during the night.
Mercury informs Thespis that the substitute gods have received many complaints from mortals because some are not performing their functions, and others' ill-judged experiments have wreaked havoc in the world below. For instance, Timidon, the replacement for Mars, is a pacifist and a coward; the substitute for Hymen
refuses to marry anyone; and the ersatz Pluto
is too tenderhearted to let anyone die. Daphne, who plays the muse Calliope
, comes to Thespis and claims, based on a bowdlerised
edition of the Greek myths
, that Calliope was married to Apollo. She points out that Apollo, played by Sparkeion, is the brother of Diana (played by Sparkeion's wife, Nicemis). Thespis decides that Sparkeion is married to Daphne while they are gods, but his marriage to Nicemis will resume when they are mortals once again.
When the gods return, they are furious and tell Thespis that he has "deranged the whole scheme of society". Thespis says that they should calm down, as the list of mortals' complaints is about to be read. The gods watch incognito as Mercury presents the complaints: The actors have ruined the weather; caused strife among the nations; and there is no wine, since Bacchus is a teetotaller. After listening to these grievances, the gods angrily shed their disguises. The actors beg to stay on Olympus, but Jupiter punishes them for their folly by sending them back to earth cursed as "eminent tragedians, whom no one ever goes to see".
Thespians
Chorus of aged deities and thespians; Gaiety Corps de Ballet
The first performance was conducted by Arthur Sullivan. Subsequent performances were conducted by Meyer Lutz
, the theatre's musical director. In addition to playing Tipseion, the theatre's stage manager, Robert Soutar, stage managed the piece. The Ballet Master was W. H. Payne
and author John Hollingshead
, the lessee of London's Gaiety Theatre
since 1868, had produced a number of successful musical burlesques and operettas there. Indeed, Hollingshead "boasted that he kept alight 'the sacred lamp of burlesque.'" Gilbert and Sullivan were each well acquainted with the Gaiety and its house artistes. Gilbert's Robert the Devil
(a burlesque of the opera Robert le Diable
) had been on the programme on the theatre's opening night on 21 December 1868, with Nellie Farren
in the title role, and played successfully for over 100 nights. Constance Loseby and Annie Tremaine (both of whom had roles in Thespis) were also in the cast of Robert, and Arthur Sullivan was in the audience on that opening night as one of Hollingshead's guests. It was a great success, "received with a storm of approbation". Less successfully, Gilbert had also written a play for the theatre in 1869 called An Old Score
. Hollingshead would later say that the piece was "too true to nature". By late September or early October 1871, Gaiety programmes announced that "The Christmas Operatic Extravaganza will be written by W. S. Gilbert, with original music by Arthur Sullivan." There would be prominent roles for the popular comedian J. L. Toole, as well as Farren, the theatre's star "principal boy" in all of its burlesques.
How and when the pair came to collaborate on Thespis is uncertain. Gilbert was a logical choice for the assignment. With seven operas and plays premièring that year and over a dozen other burlesques, farces and extravaganzas under his belt, he was well known to London theatregoers as a comic dramatist. Sullivan, however, was at this point mainly known for his serious music. His completed music that year included the choral cantata
On Shore and Sea
, a suite of incidental music
for Shakespeare's The Merchant of Venice
, and numerous hymns, including "Onward, Christian Soldiers
". He did have two comic operas to his credit, Cox and Box
(1866) and The Contrabandista
(1867), but the latter was four years in the past and had been unsuccessful. In September 1871, Sullivan had been engaged to conduct
at The Royal National Opera, but it failed abruptly, leaving him unexpectedly without commitments. Hollingshead's offer of a role to his brother, Fred Sullivan
, may have encouraged him to write the music for Thespis.
The production "aroused a great deal of interest and speculation". Ironically, it had "probably the largest audience" of any Gilbert and Sullivan première, as the Gaiety was the largest of the five London theatres at which their joint works premièred.
, opening on 28 October 1871, while his most successful play to date, Pygmalion and Galatea, opened on 9 December, only a few days before rehearsals for Thespis were to begin. Sullivan, however, had more time on his hands after a Manchester
production of The Merchant of Venice
, for which he supplied incidental music, had its première on 9 September.
Both Gilbert and Sullivan recalled that Thespis was written in some haste. Sullivan recalled, simply, that "both music and libretto were very hurriedly written". In his 1883 autobiography, Gilbert wrote:
By 1902, Gilbert's recollection of the time frame had expanded to five weeks:
Gilbert's five-week estimate is "in conflict with other apparently incontrovertible facts". Sullivan's nephew, Herbert Sullivan
, wrote that the libretto was already in existence before his uncle became involved in the project: "Gilbert showed [Hollingshead] the libretto of an operatic Extravaganza Thespis, and Hollingshead forthwith sent it to Sullivan to set." But Gilbert generally did not write a libretto until he had a firm commitment to produce it, and the libretto appears to have been "published and circulated" during the pre-Christmas period, which is consistent with the date of 14 December, when Gilbert first read it to the cast.
At the very least, a "rough draft of the plot" must have existed by 30 October, in light of a letter on that date from Gilbert's agent to R. M. Field of the Boston
Museum Theatre, which reads:
Gilbert did, in fact, conclude an agreement with Field, and the first published libretto advised: "Caution to American Pirates.—The Copyright of the Dialogue and Music of this Piece, for the United States and Canada, has been assigned to Mr. Field, of the Boston Museum, by agreement, dated 7th December, 1871." If Field mounted the work, however, the production has not been traced. Gilbert's concern about American pirates foreshadowed the difficulties he and Sullivan would later encounter with unauthorized "pirated" productions of H.M.S. Pinafore
, The Mikado
and their other popular works.
at The Crystal Palace
on 21 December, which included many of the performers who would be in Thespis. Lastly, Thespis was to play as the afterpiece
to an H. J. Byron comedy, Dearer than Life, which shared many of its actors, including Toole and Fred Sullivan, and had to be rehearsed at the same time.
Despite the short time available for rehearsals, Sullivan recalled that Gilbert insisted that the chorus play a major role, as it would do in their later Savoy operas:
commented that "the acting, as well as the business, will want working up before it can be fairly criticized... the opera... was not ready". The Daily Telegraph suggested that "It is more satisfactory for many reasons to look upon the performance last evening as a full dress rehearsal.... When Thespis ends at the orthodox Gaiety closing hour, and the opera has been energetically rehearsed, few happier entertainments will be found."
Some critics could not see past the production's state of disarray. The Hornet captioned its review, "Thespis; or, the Gods Grown Old and WEARISOME!" The Morning Advertiser
found it "a dreary, tedious two-act rigmarole of a plot... grotesque without wit, and the music thin without liveliness... however, not entirely devoid of melody.... The curtain falls before a yawning and weary audience." But others found much to admire in the work, despite the poor opening performance. The Illustrated Times wrote:
Clement Scott
, writing in the Daily Telegraph, had a mostly favourable reaction:
The Observer commented, "...we have authors and musicians quite as talented as [the French].... The subject of Thespis is unquestionably funny.... Mr. Arthur Sullivan has entered with heart into the spirit of Mr. Gilbert's fun, he has brightened it up with the most fanciful and delightful music".
As they would do with all their operas, Gilbert and Sullivan made cuts and alterations after the first performance. Two days after the opening, Sullivan wrote to his mother, "I have rarely seen anything so beautiful put upon the stage. The first night I had a great reception, but the music went badly, and the singer sang half a tone sharp, so that the enthusiasm of the audience did not sustain itself towards me. Last night I cut out the song, the music went very well, and consequently I had a hearty call before the curtain at the end of Act II." The piece eventually settled into a respectable state, and later critics were much more enthusiastic than those on opening night.
By the third night, the London Figaro
could report: "I must say that not a single hitch in the performance is now to be perceived, and that the applause and evident delight of the audience from beginning to end, the piece occupying a space of time within two hours." On 6 January 1872, the Penny Illustrated Paper
commented that "Mr. Gilbert's Gaiety extravaganza grows in public favour and deservedly so". On 9 January, the Daily Telegraph reported a visit by His Royal Highness, the Duke of Edinburgh
. By 27 January, the Illustrated Times noted that "a chance playgoer will certainly not find a seat at the Gaiety.... Thespis can, after all, boast the success which was predicted". Land and Water reported on 3 February that "Thespis is now in capital working order."
Performances of Thespis were interrupted on 14 February 1872, Ash Wednesday
, since London theatres refrained from presenting costumed performances out of respect for the religious holiday. Instead, a "miscellaneous entertainment" was given at the Gaiety, consisting of ventriloquists, performing dogs and, coincidentally, a sketch parodying a penny reading by the young George Grossmith
, who, several years later, became Gilbert and Sullivan's principal comedian.
On 17 February, Henry Sutherland Edwards
wrote in the Musical World: "In almost all conjunctions of music and words, there is a sacrifice of one to the other; but in Thespis... Sufficient opportunities have been given for music; and the music serves only to adorn the piece." Similar reports continued to appear through early March, when Thespis closed. The final performance during the authors' lifetimes was given less than two months later, on 27 April, at a matinée for the benefit of Mlle. Clary, the original Sparkeion. On such an occasion, a performer would normally choose a piece likely to sell well, as the beneficiary was entitled to the income (after expenses), and tickets were generally offered at "inflated prices". The actress was a Gaiety favourite, "not only in respect of her voice but also her delicious French accent and, of course, her figure." Others recalled "the charm of Mlle. Clary, with her pretty face and piquant broken English". She had been particularly successful as Sparkeion, and her song in Act II, "Little Maid of Arcadee", was the only one chosen for publication.
as their manager, to produce Trial by Jury
in 1875. When that work was a surprise success, there were discussions of quickly reviving Thespis for the 1875 Christmas season. Gilbert wrote to Sullivan:
The proposed revival was mentioned in several more letters throughout the autumn of 1875, until on 23 November Gilbert wrote, "I have heard no more about Thespis. It is astonishing how quickly these capitalists dry up under the magic influence of the words 'cash down'." In 1895, with Richard D'Oyly Carte struggling to rediscover success at the Savoy, he once again proposed a revival of Thespis, but the idea was not pursued. No mention of the whereabouts of the music of Thespis exists since 1897, and scholars have searched for it among many of the extant collections. Except for two songs and some ballet music, it is presumed lost.
The reasons why Thespis went unrevived are not known. Some commentators speculate that Sullivan used the music in his other operas. If this were true, then "for this reason alone a revival would have become impossible". However, evidence that Sullivan did so has eluded discovery. Another possible explanation is that Gilbert and Sullivan came to regard Thespis, with its "brazen girls in tights and short skirts", and broad burlesque-style humour, as "the kind of work they wished to avoid". They later renounced travesti roles and revealing dresses on their actresses, and made publicly known their disapproval of them. In 1885, Hollingshead wrote to the Pall Mall Gazette
, "Mr. Gilbert is somewhat severe on a style of burlesque which he did much to popularise in the old days before he invented what I may call burlesque in long clothes. … Mr Gilbert never objected to the dresses in Robert the Devil
nor to the dresses in Thespis."
In 1879, Sullivan, Gilbert and Carte were in the midst of a legal battle with the former directors of the Comedy Opera Company
, which had produced H.M.S. Pinafore
. Sullivan wrote to Hollingshead, saying: "You once settled a precedent for me which may just at present be of great importance to me. I asked you for the band parts of the Merry Wives of Windsor... and [you] said, 'They are yours, as our run is over....' Now will you please let me have them, and the parts of Thespis also at once. I am detaining the parts of Pinafore, so that the directors shall not take them away from the Comique
tomorrow, and I base my claim on the precedent you set."
Theatre historian Terence Rees
developed a version of the libretto that attempts to correct the many errors noted in the surviving libretto. Rees also prepared a performance version, based on the libretto, which included a few interpolated lyrics from Gilbert's non-Sullivan operas in an attempt to replace the missing songs. A score was supplied by Garth Morton, based on music from lesser-known Sullivan operas, and this version has been recorded. A version with a score by Bruce Montgomery
has been performed several times, including in 2000 at the International Gilbert and Sullivan Festival
. In 1996, a version with new music by Quade Winter
was produced by the Ohio Light Opera
.
Thespis productions in 2008 included a Sullivan-based score (with some Offenbach
added) arranged by Timothy Henty, with Gilbert's libretto adapted by Anthony Baker, performed by a professional cast at the Normansfield Theatre in Teddington
, Middlesex
, England, and an original score by Thomas Z. Shepard
was performed in concert by the Blue Hill Troupe in New York City. The Teddington production was the first professional British production since 1872.
recalled much later:
Several critics suggested that the piece may have been too sophisticated for its audience—or at least, the audience that greeted its first performance on Boxing Night
. The Times wrote: "The dialogue throughout is superior in ability and point to that with which ordinary burlesque and extravaganza have familiarized us; so much so, in fact, that it was a daring experiment to produce such a piece on such a night. It met, however, with an excellent reception, and on any other occasion than Boxing Night the numerous merits of the piece cannot fail to secure for it in the public estimation a high place among the novelties of the season." Other reviews of the first night took up a similar theme: Sporting Life
suggested that "It may be that they looked for something less polished than Mr. Gilbert's verse, and went for something broader and coarser than that delightful author's humour. It may be, too, that Thespis was a little—I only say, just a little—'over their heads'." The Orchestra carried a similar sentiment: "In fact, both music and idea were somewhat over the heads of the audience."
and Halévy
wrote the libretto, the idea was Offenbach's – places Orpheus
, the great musician, in the centre; however, Gilbert's plot focuses on Thespis, the Father of the Drama. While this may be a coincidence, it could also be seen as a response to Offenbach, as his plot places music at the centre of his operetta, but Gilbert's elevates the dramatist.
The libretto has been praised by several biographers and historians. One said that "The dialogue contains many an authentic Gilbertian touch." Another found it "a gay, sparkling libretto". Sidney Dark and Rowland Gray wrote that "the book of Thespis is genuine Gilbert, the Gilbert whom nowadays all the world loves.... Thespis once more emphasizes the fact that Gilbert's artistry was hardly affected with the passing of the years. Many of its songs might well have appeared in the later operas." They point out Mercury's "I'm the celestial drudge", which anticipates Giuseppe's "Rising early in the morning" in The Gondoliers
, and find the "real brand of Gilbertian topsy-turvydom" in the song about the former head of a railway company, "I once knew a chap who discharged a function". Isaac Goldberg
thought that "Thespis looks forward far more often than it glances backward: "It forecasts the characteristic methods, and now and then a character, of the later series. Its dialogue is comical, and, if anything, somewhat above the heads of the Gaiety audiences of 1871."
Goldberg wrote in 1929 that the libretto "seems to have no specific ancestry.... neither in his burlesques nor in his ballads... had Gilbert played with the gods and goddesses of Greek mythology." However, Gilbert did write a series of humorous sketches parodying the Greek myths, mainly the heroes of the Iliad
, for the illustrated magazine Fun
in 1864, and Pygmalion and Galatea, which he produced just before Thespis, was a more serious treatment of Greek mythology. Jane W. Stedman points out that Thespis "looks backward to French opéra bouffe", but it is "fundamentally a Gilbertian invasion plot in which outsiders penetrate and affect a given society, often for the worse." She compares the theatrical company in Thespis to the politicians that remodel fairyland in Gilbert's 1873 play The Happy Land
and the Englishmen who reform the island nation of Utopia in Utopia, Limited
(1893). Elements of Thespis also appear in Gilbert and Sullivan's last opera together, The Grand Duke
(1896), where a theatre company replaces the ruler and decides to "revive the classic memories of Athens at its best".
Clement Scott in the Daily Telegraph found the opera "not marred by ambitious music". But he added, "Tuneful throughout, always pretty, frequently suggestive, the songs and dances are quite in character with the author's design.... Some of the numbers will certainly live, and the impression caused by the music as a whole is that it will have far more than a passing interest."
Many critics praised the originality of the title character's song in the first act about the head of a railway company, which may have been a joke about the Duke of Sutherland
, "who was fond of running railway engines". Scott called the song a "ludicrous ballad", but "quite in the spirit of the well-known compositions of 'Bab,' and, as it has been fitted with a lively tune and a rattling chorus, a hearty encore was inevitable. Though the ditty was long, the audience would have been well content to hear it all over again." The Pall Mall Gazette
found the orchestration "very novel, including, as it does, the employment of a railway bell, a railway whistle, and some new instrument of music imitating the agreeable sound of a train in motion." Similarly The Sunday Times
noted, "The entire company join in the chorus, the music of which admirably expresses the whirl and thunder of a railway train at express speed." The Era called it "a screaming, whistling and shouting chorus [that] fairly brings down the house".
The similarity to French models was much commented upon. Vanity Fair thought that "the music in the piece itself is charming throughout, and promises for the first time a rival to Offenbach.... Thespis is quite as good as Orphée aux Enfers
." Another wrote:
The Morning Advertiser thought that "There is an evident attempt to copy the creations of a foreign composer who is so popular at the present time, and who has written some charming music for the gods and goddesses en bouffes." Others accused Sullivan of blatant copying. The Athenaeum
wrote that the music "was arranged and composed by Mr A. S. Sullivan (the first verb was not in the bills as it ought to have been)". One critic thought that the duet for Sparkeion and Nicemis, "Here far away from all the world", was one of the "single best items of the piece". In 1873, the arranger Joseph Rummell (who had arranged Sullivan's Merchant of Venice score for the piano) wrote to Sullivan, asking about the song, with a view to publication. The composer replied, "Thespis is not published but if you like I will send you the Full Score of the Duet in question", but nothing came of it.
wrote a time travel story, "Fair Exchange?", which focused on a character travelling back to 1871 to rescue the score to Thespis before Sullivan could destroy it. But Sullivan is not known to have destroyed it, and the ballet, at least, was still available to be reused in 1897.
", was the only number from the opera to achieve contemporaneous publication. It was one of four numbers to be encored on the first night. The Daily Telegraph wrote: "With the public no doubt the musical gem will be a ballad called 'Cousin Robin'—pathetic and tender words, with a dreamy and somewhat Gounodish air. So sweetly was this sung by Mdlle. Clary that another encore was inevitable." The Observer agreed that the song "...will cause most delight on account of the quaint simplicity and tenderness of the words, the charming singing of Mdlle. Clary, and the really exquisite setting by Mr. Sullivan.... This is a musical gem".
The song enjoyed long-standing popularity. Wyndham writes, "Little maid of Arcadee" was "popular for a quarter of a century". Sullivan's first biographer suggested that "Thespis will be best remembered by the exquisite musical setting to the simple little Gilbertian ballad". Several later commentators write favourably of the song. Walbrook finds it "one of the neatest of Gilbert's ditties, packed with cynicism and slyness, expressed in terms of sentimental tenderness." Goldberg says that it is "dainty, simple and quite in the vein of Gilbert's words, to which, as in almost every later instance, Sullivan's setting provides an original rhythmic piquancy." Fitz-Gerald considers it "quite a forerunner of Gilbert at his easiest", while Dark and Gray call it "a typically dainty Gilbertian love-song worthy to be compared to the best that he ever wrote." Jacobs dissents: "As music it is as trivial as Sullivan ever wrote."
The separately published version had several significant wording differences from the theatrical version, owing to "the contrast between the Gaiety Theatre's suggestiveness and the prudery expected in the drawing room
". In the drawing room version, the song's little maid sat by Cousin Robin's knee, not on it. Rather than weary of his lover's play, he became fickle as the month of May. And rather than Cousin Richard came to woo, it was till another came to woo.
's most successful operas, The Pirates of Penzance
. In 1902, Gilbert told a correspondent that this had happened accidentally. He and Sullivan had arrived in New York to produce the new opera, but the composer discovered that he had left his sketches behind in England. Fortunately, the entrance chorus from Thespis fitted the situation almost exactly, so it was substituted instead.
Several scholars have doubted that explanation. In Sullivan's autograph score for the later work, the first part of "Climbing over rocky mountain" is actually taken from a Thespis copyist score, with the Thespis words cancelled and the new words written in, which raises the question of why Sullivan had a Thespis score to hand, if not for that purpose.
Some suggest that other music from Thespis could have been used in Pirates. Goldberg suggests that "It is reasonable to believe that Sullivan made generous use of his Thespis music in other operettas: perhaps owing to the circumstances under which The Pirates of Penzance was written, it contains more than one unacknowledged borrowing from the unlucky firstling of the lucky pair." Reginald Allen says that "it seems certain" from its "rhythmic structure" that part of the Act I finale of Thespis, "Here's a pretty tale for future Iliad
s and Odyssey
s" became the original Act II finale in Pirates, "At length we are provided with unusual felicity", which was later deleted. Tillett and Spencer propose that most of Act I of Pirates was taken from Thespis. However, there is only circumstantial evidence
for these suggestions. Except for "Climbing over rocky mountain", neither author admitted to borrowing from Thespis for later works.
In 1990, Roderick Spencer and Selwyn Tillett discovered the ballet from Act II of Thespis. Two of the five movements, in the same hand that had copied the score of "Climbing over rocky mountain", were found together with the surviving performance materials for Sullivan's 1864 ballet, L'Île Enchantée
. Another section was found in the material for his 1897 ballet, Victoria and Merrie England
. The page numbering of the surviving three sections gave approximate lengths for the missing pieces, and a contemporary engraving, seen at left, along with other circumstantial evidence, allowed plausible identifications of the two remaining movements: a dragon costume, used nowhere in the libretto, is presumably from the ballet, and the harp
visible in the orchestra pit was an unusual instrument for the Gaiety's orchestra. Movements of appropriate length that made sense of these oddities were found in Sullivan's other ballets, and the reconstructed ballet has been recorded twice on CD.
Sullivan tended to re-use his ballet music. Of the five movements that Tillett and Spencer identified, only one (the Waltz, No. 3) is not known to have been used in any other work. Three of the movements had previously been used in L'Île Enchantée. Two of those, and one other, were eventually re-used in Victoria and Merrie England. One was also used in his incidental music to Macbeth
. Sullivan was asked in 1889 to supply a ballet for a French-language production of The Mikado
in Brussels, which he duly did. Tillett suggests that the Thespis ballet was almost certainly the music that Sullivan provided, given that it was the only ballet that he wrote for use in an opera, and that three weeks after producing The Gondoliers
he is unlikely to have written something original.
, is mentioned in at least five reviews as stout, elderly, and heavily made-up, but does not appear in either the programme or the libretto. Stage directions in the original are slip-shod: characters reappear without an entrance being noted, or enter twice in quick succession, without having exited. In addition, Sullivan told his mother that at least one song was cut after opening night, and there must certainly have been other cuts, given the undue length of the first performance. But the text of the libretto, as published, remained "virtually unchanged" between December 1871 and March 1872.
In a letter to Percy Strzelecki on 23 April 1890, Gilbert apologized for the condition of the libretto. He wrote, "I was in the United States when it was published & I had no opportunity of correcting proofs. This will explain the presence of innumerable typographical & other errors." But several scholars conclude that Gilbert must have been remembering a trip the following year, as in the fall of 1871 it "would have been impossible for Gilbert to travel to America and back in time for rehearsals of Thespis." Even after the first printing, there does not seem to have been any effort to correct the errors: There were four separate issues of the libretto between December and March, but no corrections were made.
Gilbert's final disposition of the libretto came in 1911, when it was included in the fourth volume of his Original Plays. However, Gilbert died before he could correct proofs for that edition, and so it reprinted the 1871 text, correcting only a few spelling mistakes.
Act I
Act II
A recording of the Rees/Morton version of Thespis was issued on LP records, which included the original "Little maid of Arcadee" and "Climbing over rocky mountain": Spencer, Roderick, conductor (1972). Thespis, or The Gods Grown Old. Fulham Light Operatic Society. Rare Recorded Editions SRRE 132/3.
"Little maid of Arcadee" has been included in two Sullivan anthologies:
Opera
Opera is an art form in which singers and musicians perform a dramatic work combining text and musical score, usually in a theatrical setting. Opera incorporates many of the elements of spoken theatre, such as acting, scenery, and costumes and sometimes includes dance...
tic extravaganza
Extravaganza
An extravaganza is a literary or musical work characterized by freedom of style and structure and usually containing elements of burlesque, pantomime, music hall and parody. It sometimes also has elements of cabaret, circus, revue, variety, vaudeville and mime...
that was the first collaboration between dramatist W. S. Gilbert
W. S. Gilbert
Sir William Schwenck Gilbert was an English dramatist, librettist, poet and illustrator best known for his fourteen comic operas produced in collaboration with the composer Sir Arthur Sullivan, of which the most famous include H.M.S...
and composer Arthur Sullivan
Arthur Sullivan
Sir Arthur Seymour Sullivan MVO was an English composer of Irish and Italian ancestry. He is best known for his series of 14 operatic collaborations with the dramatist W. S. Gilbert, including such enduring works as H.M.S. Pinafore, The Pirates of Penzance and The Mikado...
. No musical score of Thespis was ever published, and most of the music has been lost. Gilbert and Sullivan
Gilbert and Sullivan
Gilbert and Sullivan refers to the Victorian-era theatrical partnership of the librettist W. S. Gilbert and the composer Arthur Sullivan . The two men collaborated on fourteen comic operas between 1871 and 1896, of which H.M.S...
went on to become the most famous and successful artistic partnership in Victorian
Victorian era
The Victorian era of British history was the period of Queen Victoria's reign from 20 June 1837 until her death on 22 January 1901. It was a long period of peace, prosperity, refined sensibilities and national self-confidence...
England, creating a string of comic opera
Comic opera
Comic opera denotes a sung dramatic work of a light or comic nature, usually with a happy ending.Forms of comic opera first developed in late 17th-century Italy. By the 1730s, a new operatic genre, opera buffa, emerged as an alternative to opera seria...
hits, including H.M.S. Pinafore
H.M.S. Pinafore
H.M.S. Pinafore; or, The Lass That Loved a Sailor is a comic opera in two acts, with music by Arthur Sullivan and a libretto by W. S. Gilbert. It opened at the Opera Comique in London, England, on 25 May 1878 and ran for 571 performances, which was the second-longest run of any musical...
, The Pirates of Penzance
The Pirates of Penzance
The Pirates of Penzance; or, The Slave of Duty is a comic opera in two acts, with music by Arthur Sullivan and libretto by W. S. Gilbert. The opera's official premiere was at the Fifth Avenue Theatre in New York City on 31 December 1879, where the show was well received by both audiences...
and The Mikado
The Mikado
The Mikado; or, The Town of Titipu is a comic opera in two acts, with music by Arthur Sullivan and libretto by W. S. Gilbert, their ninth of fourteen operatic collaborations...
, that continue to be popular.
Thespis premièred in London
London
London is the capital city of :England and the :United Kingdom, the largest metropolitan area in the United Kingdom, and the largest urban zone in the European Union by most measures. Located on the River Thames, London has been a major settlement for two millennia, its history going back to its...
at the Gaiety Theatre
Gaiety Theatre, London
The Gaiety Theatre, London was a West End theatre in London, located on Aldwych at the eastern end of the Strand. The theatre was established as the Strand Musick Hall , in 1864 on the former site of the Lyceum Theatre. It was rebuilt several times, but closed from the beginning of World War II...
on 26 December 1871. Like many productions at that theatre, it was written in a broad, burlesque style, considerably different from Gilbert and Sullivan's later works. It was a success, for a Christmas entertainment of the time, and closed on 8 March 1872, after a run of 63 performances. It was advertised as "An entirely original Grotesque Opera in Two Acts".
The story follows an acting troupe headed by Thespis
Thespis
Thespis of Icaria , according to certain Ancient Greek sources and especially Aristotle, was the first person ever to appear on stage as an actor playing a character in a play...
, the legendary Greek
Ancient Greece
Ancient Greece is a civilization belonging to a period of Greek history that lasted from the Archaic period of the 8th to 6th centuries BC to the end of antiquity. Immediately following this period was the beginning of the Early Middle Ages and the Byzantine era. Included in Ancient Greece is the...
father of the drama
Drama
Drama is the specific mode of fiction represented in performance. The term comes from a Greek word meaning "action" , which is derived from "to do","to act" . The enactment of drama in theatre, performed by actors on a stage before an audience, presupposes collaborative modes of production and a...
, who temporarily trade places with the gods
Greek mythology
Greek mythology is the body of myths and legends belonging to the ancient Greeks, concerning their gods and heroes, the nature of the world, and the origins and significance of their own cult and ritual practices. They were a part of religion in ancient Greece...
on Mount Olympus
Mount Olympus
Mount Olympus is the highest mountain in Greece, located on the border between Thessaly and Macedonia, about 100 kilometres away from Thessaloniki, Greece's second largest city. Mount Olympus has 52 peaks. The highest peak Mytikas, meaning "nose", rises to 2,917 metres...
, who have grown elderly and ignored. The actors turn out to be comically inept rulers. Having seen the ensuing mayhem down below, the angry gods return, sending the actors back to Earth as "eminent tragedians, whom no one ever goes to see". Gilbert would return to this theme twenty-five years later in his last opera with Sullivan, The Grand Duke
The Grand Duke
The Grand Duke; or, The Statutory Duel, is the final Savoy Opera written by librettist W. S. Gilbert and composer Arthur Sullivan, their fourteenth and last opera together. It premiered at the Savoy Theatre on March 7, 1896, and ran for 123 performances...
, in which a theatre company temporarily replaces the ruler of a small country and decides to "revive the classic memories of Athens
Classical Athens
The city of Athens during the classical period of Ancient Greece was a notable polis of Attica, Greece, leading the Delian League in the Peloponnesian War against Sparta and the Peloponnesian League. Athenian democracy was established in 508 BC under Cleisthenes following the tyranny of Hippias...
at its best".
Seasonal works like Thespis were not normally expected to endure, and apart from a benefit performance
Benefit performance
In a benefit performance the performers usually do not earn any money.Instead, the takings will go to raise money for some mutually agreed upon cause: e.g. the Actors Benevolent Fund; a hospital; a foundation...
shortly after the original staging, Thespis was not performed again during its creators' lifetimes. A renewed interest in the piece began in the 1950s, and numerous productions have been performed since, either with music taken from Sullivan's other works, or with original music.
Act I
Scene: A Ruined Temple on the Summit of Mount OlympusOn Mount Olympus, the elderly deities complain of feeling old and lament their waning influence on Earth. Mercury
Mercury (mythology)
Mercury was a messenger who wore winged sandals, and a god of trade, the son of Maia Maiestas and Jupiter in Roman mythology. His name is related to the Latin word merx , mercari , and merces...
complains that the older gods are lazy and leave all their duties to him, while he gets no credit for all his drudgery. Jupiter
Jupiter (mythology)
In ancient Roman religion and myth, Jupiter or Jove is the king of the gods, and the god of the sky and thunder. He is the equivalent of Zeus in the Greek pantheon....
says that matters have reached a crisis, but he is unsure what can be done about it. Just then, the gods see a swarm of mortals ascending the mountain and withdraw to observe them from a distance.
Thespis's acting company enters for a picnic celebrating the marriage of two of its members, Sparkeion and Nicemis. The actors, being cheap, have failed to contribute substantial food items to the picnic. Sparkeion flirts with his former fiancée, Daphne, which annoys Nicemis. In retaliation, Nicemis flirts with her old suitor, Thespis, but he declines to flirt back. Thespis explains to his troupe that a successful manager must be aloof from those he manages, or he will lose his authority.
Jupiter, Mars
Mars (mythology)
Mars was the Roman god of war and also an agricultural guardian, a combination characteristic of early Rome. He was second in importance only to Jupiter, and he was the most prominent of the military gods worshipped by the Roman legions...
and Apollo
Apollo
Apollo is one of the most important and complex of the Olympian deities in Greek and Roman mythology...
enter. All of the actors flee in terror, except for Thespis. Jupiter asks Thespis whether he is impressed with the father of the gods. Thespis replies that the gods are unimpressive and suggests that they go down to earth in disguise to "mingle" and judge for themselves what people think of them. They agree to invest the actors with their powers, as they take a merry holiday below on Earth. Thespis agrees that he and his company will keep things running on Mount Olympus during the gods' absence. Each actor takes the place of one of the gods, with Thespis himself replacing Jupiter. Mercury stays behind to offer any advice the actors may need.
Act II
The Same Scene, One Year Later, with the Ruins RestoredUnder Thespis's direction, Olympus has been restored to its former splendour, and the Thespians enjoy ambrosia
Ambrosia
In ancient Greek mythology, ambrosia is sometimes the food or drink of the Greek gods , often depicted as conferring ageless immortality upon whoever consumes it...
and nectar. Thespis's rule is very liberal, and he has advised his troupe not to "be hampered by routine and red tape and precedent". The celestial assignments, however, have caused some difficulties, as the romantic entanglements of the actors in real life conflict with those of the gods that they are playing. Venus
Venus (mythology)
Venus is a Roman goddess principally associated with love, beauty, sex,sexual seduction and fertility, who played a key role in many Roman religious festivals and myths...
, played by Pretteia, is supposed to be married to Mars, but the actor playing Mars is her father. A possible solution is discovered in Venus having actually married Vulcan
Vulcan (mythology)
Vulcan , aka Mulciber, is the god of beneficial and hindering fire, including the fire of volcanoes in ancient Roman religion and Roman Neopaganism. Vulcan is usually depicted with a thunderbolt. He is known as Sethlans in Etruscan mythology...
, but Vulcan is her grandfather. Sparkeion, who took on the role of Apollo, accompanies his wife, Nicemis, who plays Diana
Diana (mythology)
In Roman mythology, Diana was the goddess of the hunt and moon and birthing, being associated with wild animals and woodland, and having the power to talk to and control animals. She was equated with the Greek goddess Artemis, though she had an independent origin in Italy...
, on her nightly duties, so that the sun is up during the night.
Mercury informs Thespis that the substitute gods have received many complaints from mortals because some are not performing their functions, and others' ill-judged experiments have wreaked havoc in the world below. For instance, Timidon, the replacement for Mars, is a pacifist and a coward; the substitute for Hymen
Hymenaios
In Greek mythology, Hymen was a god of marriage ceremonies, inspiring feasts and song. Related to the god's name, a hymenaios is a genre of Greek lyric poetry sung during the procession of the bride to the groom's house in which the god is addressed, in contrast to the Epithalamium, which was sung...
refuses to marry anyone; and the ersatz Pluto
Pluto (mythology)
In ancient Greek religion and myth, Pluto was a name for the ruler of the underworld; the god was also known as Hades, a name for the underworld itself...
is too tenderhearted to let anyone die. Daphne, who plays the muse Calliope
Calliope
In Greek mythology, Calliope was the muse of epic poetry, daughter of Zeus and Mnemosyne, and is now best known as Homer's muse, the inspiration for the Odyssey and the Iliad....
, comes to Thespis and claims, based on a bowdlerised
Thomas Bowdler
Thomas Bowdler was an English physician who published an expurgated edition of William Shakespeare's work, edited by his sister Harriet, intended to be more appropriate for 19th century women and children than the original....
edition of the Greek myths
Greek mythology
Greek mythology is the body of myths and legends belonging to the ancient Greeks, concerning their gods and heroes, the nature of the world, and the origins and significance of their own cult and ritual practices. They were a part of religion in ancient Greece...
, that Calliope was married to Apollo. She points out that Apollo, played by Sparkeion, is the brother of Diana (played by Sparkeion's wife, Nicemis). Thespis decides that Sparkeion is married to Daphne while they are gods, but his marriage to Nicemis will resume when they are mortals once again.
When the gods return, they are furious and tell Thespis that he has "deranged the whole scheme of society". Thespis says that they should calm down, as the list of mortals' complaints is about to be read. The gods watch incognito as Mercury presents the complaints: The actors have ruined the weather; caused strife among the nations; and there is no wine, since Bacchus is a teetotaller. After listening to these grievances, the gods angrily shed their disguises. The actors beg to stay on Olympus, but Jupiter punishes them for their folly by sending them back to earth cursed as "eminent tragedians, whom no one ever goes to see".
Roles and original cast
Gods- JupiterJupiter (mythology)In ancient Roman religion and myth, Jupiter or Jove is the king of the gods, and the god of the sky and thunder. He is the equivalent of Zeus in the Greek pantheon....
, Aged Deity – Mr. John MacLean - ApolloApolloApollo is one of the most important and complex of the Olympian deities in Greek and Roman mythology...
, Aged Deity – Mr. Fred SullivanFred SullivanFrederic Sullivan was an English actor and singer. He is best remembered as the creator of the role of the Learned Judge in Gilbert and Sullivan's Trial by Jury, providing a model for the comic roles in the later Savoy Operas composed by his brother Arthur Sullivan.By 1870, Sullivan had abandoned... - MarsMars (mythology)Mars was the Roman god of war and also an agricultural guardian, a combination characteristic of early Rome. He was second in importance only to Jupiter, and he was the most prominent of the military gods worshipped by the Roman legions...
, Aged Deity – Mr. Frank Wood - DianaDiana (mythology)In Roman mythology, Diana was the goddess of the hunt and moon and birthing, being associated with wild animals and woodland, and having the power to talk to and control animals. She was equated with the Greek goddess Artemis, though she had an independent origin in Italy...
, Aged Deity – Mrs. Henry Leigh - VenusVenus (mythology)Venus is a Roman goddess principally associated with love, beauty, sex,sexual seduction and fertility, who played a key role in many Roman religious festivals and myths...
, Aged Deity [uncredited] – (Miss Jolly) - MercuryMercury (mythology)Mercury was a messenger who wore winged sandals, and a god of trade, the son of Maia Maiestas and Jupiter in Roman mythology. His name is related to the Latin word merx , mercari , and merces...
– Miss Ellen "Nellie" FarrenNellie FarrenNellie Farren was an English actress and singer best known for her roles as the "principal boy" in musical burlesques at the Gaiety Theatre.Born into a theatrical family, Farren began acting as a child...
Thespians
- ThespisThespisThespis of Icaria , according to certain Ancient Greek sources and especially Aristotle, was the first person ever to appear on stage as an actor playing a character in a play...
, Manager of a Travelling Theatrical Co. – Mr. J. L. Toole - Sillimon, his Stage Manager – Mr. J. G. Taylor
- Timidon – Mr. Marshall
- Tipseion – Mr. Robert Soutar (Nellie Farren's husband)
- Preposteros – Mr. Harry PaynePayne BrothersHarry Payne and Frederick Payne were members of a popular Victorian dynasty of British pantomime entertainers. They were billed as The Payne Brothers....
- Stupidas – Mr. Fred PaynePayne BrothersHarry Payne and Frederick Payne were members of a popular Victorian dynasty of British pantomime entertainers. They were billed as The Payne Brothers....
- Sparkeion – Mlle. Clary (Real name: Mlle. Poirel-Tardieu)
- Nicemis – Miss Constance Loseby
- Pretteia – Miss Rose Berend
- Daphne – Miss Annie Tremaine
- Cymon – Miss L. Wilson
- Principal dancers: Mlle. Esta, Misses Lizzie Wright and Smithers
Chorus of aged deities and thespians; Gaiety Corps de Ballet
The first performance was conducted by Arthur Sullivan. Subsequent performances were conducted by Meyer Lutz
Meyer Lutz
Wilhelm Meyer Lutz was a German-born English composer and conductor who is best known for light music, musical theatre and burlesques of well-known works....
, the theatre's musical director. In addition to playing Tipseion, the theatre's stage manager, Robert Soutar, stage managed the piece. The Ballet Master was W. H. Payne
Genesis
ImpresarioImpresario
An impresario is a person who organizes and often finances concerts, plays or operas; analogous to a film producer in filmmaking, television production and an angel investor in business...
and author John Hollingshead
John Hollingshead
John Hollingshead was an English theatrical impresario, journalist and writer during the latter half of the 19th century. He is best remembered as the first manager of the Gaiety Theatre, London...
, the lessee of London's Gaiety Theatre
Gaiety Theatre, London
The Gaiety Theatre, London was a West End theatre in London, located on Aldwych at the eastern end of the Strand. The theatre was established as the Strand Musick Hall , in 1864 on the former site of the Lyceum Theatre. It was rebuilt several times, but closed from the beginning of World War II...
since 1868, had produced a number of successful musical burlesques and operettas there. Indeed, Hollingshead "boasted that he kept alight 'the sacred lamp of burlesque.'" Gilbert and Sullivan were each well acquainted with the Gaiety and its house artistes. Gilbert's Robert the Devil
Robert the Devil (Gilbert)
Robert the Devil, or The Nun, the Dun, and the Son of a Gun is an operatic parody by W. S. Gilbert of Giacomo Meyerbeer's romantic opera Robert le diable, which was named after, but bears little resemblance to, the medieval French legend of the same name. Gilbert set new lyrics to tunes by...
(a burlesque of the opera Robert le Diable
Robert le diable (opera)
Robert le diable is an opera by Giacomo Meyerbeer, often regarded as the first grand opera. The libretto was written by Eugène Scribe and Casimir Delavigne and has little connection to the medieval legend of Robert the Devil. Originally planned as a three-act opéra comique, "Meyerbeer persuaded...
) had been on the programme on the theatre's opening night on 21 December 1868, with Nellie Farren
Nellie Farren
Nellie Farren was an English actress and singer best known for her roles as the "principal boy" in musical burlesques at the Gaiety Theatre.Born into a theatrical family, Farren began acting as a child...
in the title role, and played successfully for over 100 nights. Constance Loseby and Annie Tremaine (both of whom had roles in Thespis) were also in the cast of Robert, and Arthur Sullivan was in the audience on that opening night as one of Hollingshead's guests. It was a great success, "received with a storm of approbation". Less successfully, Gilbert had also written a play for the theatre in 1869 called An Old Score
An Old Score
An Old Score is an 1869 three-act comedy-drama written by English dramatist W. S. Gilbert based partly on his 1867 short story, Diamonds, and partly on episodes in the lives of William Dargan, an Irish engineer and railway contractor, and John Sadleir, a banker who committed suicide. It was...
. Hollingshead would later say that the piece was "too true to nature". By late September or early October 1871, Gaiety programmes announced that "The Christmas Operatic Extravaganza will be written by W. S. Gilbert, with original music by Arthur Sullivan." There would be prominent roles for the popular comedian J. L. Toole, as well as Farren, the theatre's star "principal boy" in all of its burlesques.
How and when the pair came to collaborate on Thespis is uncertain. Gilbert was a logical choice for the assignment. With seven operas and plays premièring that year and over a dozen other burlesques, farces and extravaganzas under his belt, he was well known to London theatregoers as a comic dramatist. Sullivan, however, was at this point mainly known for his serious music. His completed music that year included the choral cantata
Cantata
A cantata is a vocal composition with an instrumental accompaniment, typically in several movements, often involving a choir....
On Shore and Sea
On Shore and Sea
On Shore and Sea is a "dramatic cantata" composed by Arthur Sullivan, with words by Tom Taylor. Sullivan completed this work to open the Royal Albert Hall, and it was performed at the opening of the London International Exhibition of art and industry, May 1, 1871. The concert featured works...
, a suite of incidental music
Incidental music
Incidental music is music in a play, television program, radio program, video game, film or some other form not primarily musical. The term is less frequently applied to film music, with such music being referred to instead as the "film score" or "soundtrack"....
for Shakespeare's The Merchant of Venice
The Merchant of Venice
The Merchant of Venice is a tragic comedy by William Shakespeare, believed to have been written between 1596 and 1598. Though classified as a comedy in the First Folio and sharing certain aspects with Shakespeare's other romantic comedies, the play is perhaps most remembered for its dramatic...
, and numerous hymns, including "Onward, Christian Soldiers
Onward, Christian Soldiers
"Onward, Christian Soldiers" is a 19th century English hymn. The words were written by Sabine Baring-Gould in 1865, and the music was composed by Arthur Sullivan in 1871. Sullivan named the tune "St. Gertrude," after the wife of his friend Ernest Clay Ker Seymer, at whose country home he composed...
". He did have two comic operas to his credit, Cox and Box
Cox and Box
Cox and Box; or, The Long-Lost Brothers, is a one-act comic opera with a libretto by F. C. Burnand and music by Arthur Sullivan, based on the 1847 farce Box and Cox by John Maddison Morton. It was Sullivan's first successful comic opera. The story concerns a landlord who lets a room to two...
(1866) and The Contrabandista
The Contrabandista
The Contrabandista, or The Law of the Ladrones, is a two-act comic opera by Arthur Sullivan and F. C. Burnand. It premiered at St. George's Hall, in London, on 18 December 1867 under the management of Thomas German Reed, for a run of 72 performances. There were brief revivals in Manchester in 1874...
(1867), but the latter was four years in the past and had been unsuccessful. In September 1871, Sullivan had been engaged to conduct
Conducting
Conducting is the art of directing a musical performance by way of visible gestures. The primary duties of the conductor are to unify performers, set the tempo, execute clear preparations and beats, and to listen critically and shape the sound of the ensemble...
at The Royal National Opera, but it failed abruptly, leaving him unexpectedly without commitments. Hollingshead's offer of a role to his brother, Fred Sullivan
Fred Sullivan
Frederic Sullivan was an English actor and singer. He is best remembered as the creator of the role of the Learned Judge in Gilbert and Sullivan's Trial by Jury, providing a model for the comic roles in the later Savoy Operas composed by his brother Arthur Sullivan.By 1870, Sullivan had abandoned...
, may have encouraged him to write the music for Thespis.
The production "aroused a great deal of interest and speculation". Ironically, it had "probably the largest audience" of any Gilbert and Sullivan première, as the Gaiety was the largest of the five London theatres at which their joint works premièred.
Composition
Gilbert had a busy autumn. His play On Guard had an unsuccessful run at the Court TheatreRoyal Court Theatre
The Royal Court Theatre is a non-commercial theatre on Sloane Square, in the Royal Borough of Kensington and Chelsea. It is noted for its contributions to modern theatre...
, opening on 28 October 1871, while his most successful play to date, Pygmalion and Galatea, opened on 9 December, only a few days before rehearsals for Thespis were to begin. Sullivan, however, had more time on his hands after a Manchester
Manchester
Manchester is a city and metropolitan borough in Greater Manchester, England. According to the Office for National Statistics, the 2010 mid-year population estimate for Manchester was 498,800. Manchester lies within one of the UK's largest metropolitan areas, the metropolitan county of Greater...
production of The Merchant of Venice
The Merchant of Venice
The Merchant of Venice is a tragic comedy by William Shakespeare, believed to have been written between 1596 and 1598. Though classified as a comedy in the First Folio and sharing certain aspects with Shakespeare's other romantic comedies, the play is perhaps most remembered for its dramatic...
, for which he supplied incidental music, had its première on 9 September.
Both Gilbert and Sullivan recalled that Thespis was written in some haste. Sullivan recalled, simply, that "both music and libretto were very hurriedly written". In his 1883 autobiography, Gilbert wrote:
By 1902, Gilbert's recollection of the time frame had expanded to five weeks:
Gilbert's five-week estimate is "in conflict with other apparently incontrovertible facts". Sullivan's nephew, Herbert Sullivan
Herbert Sullivan
Herbert Thomas Sullivan was the nephew, heir and biographer of the British composer Arthur Sullivan. After his uncle's death, Sullivan became active in charitable work...
, wrote that the libretto was already in existence before his uncle became involved in the project: "Gilbert showed [Hollingshead] the libretto of an operatic Extravaganza Thespis, and Hollingshead forthwith sent it to Sullivan to set." But Gilbert generally did not write a libretto until he had a firm commitment to produce it, and the libretto appears to have been "published and circulated" during the pre-Christmas period, which is consistent with the date of 14 December, when Gilbert first read it to the cast.
At the very least, a "rough draft of the plot" must have existed by 30 October, in light of a letter on that date from Gilbert's agent to R. M. Field of the Boston
Boston
Boston is the capital of and largest city in Massachusetts, and is one of the oldest cities in the United States. The largest city in New England, Boston is regarded as the unofficial "Capital of New England" for its economic and cultural impact on the entire New England region. The city proper had...
Museum Theatre, which reads:
Gilbert did, in fact, conclude an agreement with Field, and the first published libretto advised: "Caution to American Pirates.—The Copyright of the Dialogue and Music of this Piece, for the United States and Canada, has been assigned to Mr. Field, of the Boston Museum, by agreement, dated 7th December, 1871." If Field mounted the work, however, the production has not been traced. Gilbert's concern about American pirates foreshadowed the difficulties he and Sullivan would later encounter with unauthorized "pirated" productions of H.M.S. Pinafore
H.M.S. Pinafore
H.M.S. Pinafore; or, The Lass That Loved a Sailor is a comic opera in two acts, with music by Arthur Sullivan and a libretto by W. S. Gilbert. It opened at the Opera Comique in London, England, on 25 May 1878 and ran for 571 performances, which was the second-longest run of any musical...
, The Mikado
The Mikado
The Mikado; or, The Town of Titipu is a comic opera in two acts, with music by Arthur Sullivan and libretto by W. S. Gilbert, their ninth of fourteen operatic collaborations...
and their other popular works.
Production
With the piece set to open on 26 December, Gilbert first read the libretto to the cast on 14 December, but Toole, who was playing the central role of Thespis, did not return from a tour of the British provinces until 18 December. He then appeared in nine performances at the Gaiety in the six days immediately after his return, and other actors had similar commitments. In addition, Hollingshead had committed the company to perform a pantomimePantomime
Pantomime — not to be confused with a mime artist, a theatrical performer of mime—is a musical-comedy theatrical production traditionally found in the United Kingdom, Australia, New Zealand, Canada, Jamaica, South Africa, India, Ireland, Gibraltar and Malta, and is mostly performed during the...
at The Crystal Palace
The Crystal Palace
The Crystal Palace was a cast-iron and glass building originally erected in Hyde Park, London, England, to house the Great Exhibition of 1851. More than 14,000 exhibitors from around the world gathered in the Palace's of exhibition space to display examples of the latest technology developed in...
on 21 December, which included many of the performers who would be in Thespis. Lastly, Thespis was to play as the afterpiece
Afterpiece
An afterpiece is a short, usually humorous one-act playlet or musical work following the main attraction, the full-length play, and concluding the theatrical evening. This short comedy, farce, opera or pantomime was a popular theatrical form in the 18th and 19th centuries...
to an H. J. Byron comedy, Dearer than Life, which shared many of its actors, including Toole and Fred Sullivan, and had to be rehearsed at the same time.
Despite the short time available for rehearsals, Sullivan recalled that Gilbert insisted that the chorus play a major role, as it would do in their later Savoy operas:
Opening night
The première was under rehearsed, as several critics noted, and the work was also evidently in need of cutting: Gaiety management had advised that carriages should be called for 11:00 p.m., but Thespis was still playing past midnight. The Orchestra reported that "scarcely one player... was more than 'rough perfect' in his part." The ObserverThe Observer
The Observer is a British newspaper, published on Sundays. In the same place on the political spectrum as its daily sister paper The Guardian, which acquired it in 1993, it takes a liberal or social democratic line on most issues. It is the world's oldest Sunday newspaper.-Origins:The first issue,...
commented that "the acting, as well as the business, will want working up before it can be fairly criticized... the opera... was not ready". The Daily Telegraph suggested that "It is more satisfactory for many reasons to look upon the performance last evening as a full dress rehearsal.... When Thespis ends at the orthodox Gaiety closing hour, and the opera has been energetically rehearsed, few happier entertainments will be found."
Some critics could not see past the production's state of disarray. The Hornet captioned its review, "Thespis; or, the Gods Grown Old and WEARISOME!" The Morning Advertiser
Morning Advertiser
Morning Advertiser is the only weekly pub trade publication in the UK. It currently has a circulation of more than 32,500 that reaches the key decision-makers in England and Wales. In March 2011, William Reed Business Media, bought The Publican from United Business Media and merged the two titles...
found it "a dreary, tedious two-act rigmarole of a plot... grotesque without wit, and the music thin without liveliness... however, not entirely devoid of melody.... The curtain falls before a yawning and weary audience." But others found much to admire in the work, despite the poor opening performance. The Illustrated Times wrote:
Clement Scott
Clement Scott
Clement Scott was an influential English theatre critic for the Daily Telegraph, and a playwright and travel writer, in the final decades of the 19th century...
, writing in the Daily Telegraph, had a mostly favourable reaction:
The Observer commented, "...we have authors and musicians quite as talented as [the French].... The subject of Thespis is unquestionably funny.... Mr. Arthur Sullivan has entered with heart into the spirit of Mr. Gilbert's fun, he has brightened it up with the most fanciful and delightful music".
Subsequent performances
Many writers in the early 20th century perpetuated a myth that Thespis ran only a month and was considered a failure. In fact, it remained open until 8 March. Of the nine London pantomimes that appeared during the 1871–72 holiday season, five closed before Thespis did. By its nature, the genre did not lend itself to long runs, and all nine had closed by the end of March. Moreover, the Gaiety normally only ran productions for two or three weeks; the run of Thespis was extraordinary for the theatre.As they would do with all their operas, Gilbert and Sullivan made cuts and alterations after the first performance. Two days after the opening, Sullivan wrote to his mother, "I have rarely seen anything so beautiful put upon the stage. The first night I had a great reception, but the music went badly, and the singer sang half a tone sharp, so that the enthusiasm of the audience did not sustain itself towards me. Last night I cut out the song, the music went very well, and consequently I had a hearty call before the curtain at the end of Act II." The piece eventually settled into a respectable state, and later critics were much more enthusiastic than those on opening night.
By the third night, the London Figaro
London Figaro
The London Figaro was a London periodical devoted to politics, literature, art, criticism and satire during the Victorian era. It was founded as a daily paper in 1870 with the backing of Napoleon III but after a year re-established itself as a general interest weekly magazine and is chiefly...
could report: "I must say that not a single hitch in the performance is now to be perceived, and that the applause and evident delight of the audience from beginning to end, the piece occupying a space of time within two hours." On 6 January 1872, the Penny Illustrated Paper
Penny Illustrated Paper
The Penny Illustrated Paper was a cheap illustrated weekly newspaper, which ran from 1861 to 1913.Illustrated weekly newspapers had been pioneered by the Illustrated London News : its imitators included the Pictorial Times , and - after the 1855 repeal of the Stamp Act - the Illustrated Times...
commented that "Mr. Gilbert's Gaiety extravaganza grows in public favour and deservedly so". On 9 January, the Daily Telegraph reported a visit by His Royal Highness, the Duke of Edinburgh
Alfred, Duke of Saxe-Coburg and Gotha
Alfred, Duke of Saxe-Coburg and Gotha was the third Duke of Saxe-Coburg and Gotha, and reigned from 1893 to 1900. He was also a member of the British Royal Family, the second son and fourth child of Queen Victoria and Prince Albert of Saxe-Coburg and Gotha...
. By 27 January, the Illustrated Times noted that "a chance playgoer will certainly not find a seat at the Gaiety.... Thespis can, after all, boast the success which was predicted". Land and Water reported on 3 February that "Thespis is now in capital working order."
Performances of Thespis were interrupted on 14 February 1872, Ash Wednesday
Ash Wednesday
Ash Wednesday, in the calendar of Western Christianity, is the first day of Lent and occurs 46 days before Easter. It is a moveable fast, falling on a different date each year because it is dependent on the date of Easter...
, since London theatres refrained from presenting costumed performances out of respect for the religious holiday. Instead, a "miscellaneous entertainment" was given at the Gaiety, consisting of ventriloquists, performing dogs and, coincidentally, a sketch parodying a penny reading by the young George Grossmith
George Grossmith
George Grossmith was an English comedian, writer, composer, actor, and singer. His performing career spanned more than four decades...
, who, several years later, became Gilbert and Sullivan's principal comedian.
On 17 February, Henry Sutherland Edwards
Henry Sutherland Edwards
Henry Sutherland Edwards was a British journalist.He was born in London, and educated in London and France. He was correspondent of The Times at the coronation of Alexander II of Russia, in the camp of the insurgents at Warsaw , and at German army headquarters during the Franco-Prussian War...
wrote in the Musical World: "In almost all conjunctions of music and words, there is a sacrifice of one to the other; but in Thespis... Sufficient opportunities have been given for music; and the music serves only to adorn the piece." Similar reports continued to appear through early March, when Thespis closed. The final performance during the authors' lifetimes was given less than two months later, on 27 April, at a matinée for the benefit of Mlle. Clary, the original Sparkeion. On such an occasion, a performer would normally choose a piece likely to sell well, as the beneficiary was entitled to the income (after expenses), and tickets were generally offered at "inflated prices". The actress was a Gaiety favourite, "not only in respect of her voice but also her delicious French accent and, of course, her figure." Others recalled "the charm of Mlle. Clary, with her pretty face and piquant broken English". She had been particularly successful as Sparkeion, and her song in Act II, "Little Maid of Arcadee", was the only one chosen for publication.
Aftermath
After the production of Thespis, Gilbert and Sullivan went their separate ways, reuniting three years later, with Richard D'Oyly CarteRichard D'Oyly Carte
Richard D'Oyly Carte was an English talent agent, theatrical impresario, composer and hotelier during the latter half of the Victorian era...
as their manager, to produce Trial by Jury
Trial by Jury
Trial by Jury is a comic opera in one act, with music by Arthur Sullivan and libretto by W. S. Gilbert. It was first produced on 25 March 1875, at London's Royalty Theatre, where it initially ran for 131 performances and was considered a hit, receiving critical praise and outrunning its...
in 1875. When that work was a surprise success, there were discussions of quickly reviving Thespis for the 1875 Christmas season. Gilbert wrote to Sullivan:
The proposed revival was mentioned in several more letters throughout the autumn of 1875, until on 23 November Gilbert wrote, "I have heard no more about Thespis. It is astonishing how quickly these capitalists dry up under the magic influence of the words 'cash down'." In 1895, with Richard D'Oyly Carte struggling to rediscover success at the Savoy, he once again proposed a revival of Thespis, but the idea was not pursued. No mention of the whereabouts of the music of Thespis exists since 1897, and scholars have searched for it among many of the extant collections. Except for two songs and some ballet music, it is presumed lost.
The reasons why Thespis went unrevived are not known. Some commentators speculate that Sullivan used the music in his other operas. If this were true, then "for this reason alone a revival would have become impossible". However, evidence that Sullivan did so has eluded discovery. Another possible explanation is that Gilbert and Sullivan came to regard Thespis, with its "brazen girls in tights and short skirts", and broad burlesque-style humour, as "the kind of work they wished to avoid". They later renounced travesti roles and revealing dresses on their actresses, and made publicly known their disapproval of them. In 1885, Hollingshead wrote to the Pall Mall Gazette
Pall Mall Gazette
The Pall Mall Gazette was an evening newspaper founded in London on 7 February 1865 by George Murray Smith; its first editor was Frederick Greenwood...
, "Mr. Gilbert is somewhat severe on a style of burlesque which he did much to popularise in the old days before he invented what I may call burlesque in long clothes. … Mr Gilbert never objected to the dresses in Robert the Devil
Robert the Devil
Robert the Devil is a legend of medieval origin. Robert is the devil's own child, for his mother, despairing of heaven's aid in order to obtain a son, has addressed herself to the devil...
nor to the dresses in Thespis."
In 1879, Sullivan, Gilbert and Carte were in the midst of a legal battle with the former directors of the Comedy Opera Company
D'Oyly Carte Opera Company
The D'Oyly Carte Opera Company was a professional light opera company that staged Gilbert and Sullivan's Savoy operas. The company performed nearly year-round in the UK and sometimes toured in Europe, North America and elsewhere, from the 1870s until it closed in 1982. It was revived in 1988 and...
, which had produced H.M.S. Pinafore
H.M.S. Pinafore
H.M.S. Pinafore; or, The Lass That Loved a Sailor is a comic opera in two acts, with music by Arthur Sullivan and a libretto by W. S. Gilbert. It opened at the Opera Comique in London, England, on 25 May 1878 and ran for 571 performances, which was the second-longest run of any musical...
. Sullivan wrote to Hollingshead, saying: "You once settled a precedent for me which may just at present be of great importance to me. I asked you for the band parts of the Merry Wives of Windsor... and [you] said, 'They are yours, as our run is over....' Now will you please let me have them, and the parts of Thespis also at once. I am detaining the parts of Pinafore, so that the directors shall not take them away from the Comique
Opera Comique
The Opera Comique was a 19th-century theatre constructed in Westminster, London, between Wych Street and Holywell Street with entrances on the East Strand. It opened in 1870 and was demolished in 1902, to make way for the construction of the Aldwych and Kingsway...
tomorrow, and I base my claim on the precedent you set."
Modern productions
After its last performance at the Gaiety in 1872, Thespis appears to have remained unperformed until 1953, although an attempted reconstruction from the 1940s has been discovered. Tillett and Spencer, who discovered the ballet music, identified twenty separate reconstructions of Thespis between 1953 and 2002. About half of these use music adapted from Sullivan's other works; the others use new music for all but the surviving songs, or, in a few cases, re-compose those as well. No version has become predominant in recent productions.Theatre historian Terence Rees
Terence Rees
Terence Albert Ladd Rees is a retired microbiologist but is best known as a collector of material relating to the theatre and music in Wales and Britain. He is also a published theatre historian and researcher, and, in particular, is an authority on the works of W. S...
developed a version of the libretto that attempts to correct the many errors noted in the surviving libretto. Rees also prepared a performance version, based on the libretto, which included a few interpolated lyrics from Gilbert's non-Sullivan operas in an attempt to replace the missing songs. A score was supplied by Garth Morton, based on music from lesser-known Sullivan operas, and this version has been recorded. A version with a score by Bruce Montgomery
Bruce Montgomery (entertainer)
Bruce Eglinton Montgomery was an American composer, author, musical theater performer and painter; and a conductor and director, particularly of the Gilbert and Sullivan comic operas....
has been performed several times, including in 2000 at the International Gilbert and Sullivan Festival
International Gilbert and Sullivan Festival
The International Gilbert and Sullivan Festival is held every summer at the Opera House in Buxton, Derbyshire, England. The three-week Festival of Gilbert and Sullivan performances and fringe events attracts thousands of visitors, including performers, supporters, and G&S enthusiasts from all...
. In 1996, a version with new music by Quade Winter
Quade Winter
Quade Winter is an American composer, musical restorer and translator, specializing in the light operas of Victor Herbert. Earlier in his career, he sang opera for over two decades.-Early years and singing career:...
was produced by the Ohio Light Opera
Ohio Light Opera
The Ohio Light Opera is a professional opera company based in Wooster, Ohio that performs the light opera repertory, including Gilbert and Sullivan, American, British and continental operettas, and other musical theatre works, especially of the late 19th and early 20th centuries...
.
Thespis productions in 2008 included a Sullivan-based score (with some Offenbach
Jacques Offenbach
Jacques Offenbach was a Prussian-born French composer, cellist and impresario. He is remembered for his nearly 100 operettas of the 1850s–1870s and his uncompleted opera The Tales of Hoffmann. He was a powerful influence on later composers of the operetta genre, particularly Johann Strauss, Jr....
added) arranged by Timothy Henty, with Gilbert's libretto adapted by Anthony Baker, performed by a professional cast at the Normansfield Theatre in Teddington
Teddington
Teddington is a suburban area in the London Borough of Richmond upon Thames in south west London, on the north bank of the River Thames, between Hampton Wick and Twickenham. It stretches inland from the River Thames to Bushy Park...
, Middlesex
Middlesex
Middlesex is one of the historic counties of England and the second smallest by area. The low-lying county contained the wealthy and politically independent City of London on its southern boundary and was dominated by it from a very early time...
, England, and an original score by Thomas Z. Shepard
Thomas Z. Shepard
Thomas Z. Shepard is a prolific record producer who is best known for his recordings of Broadway musicals, including the works of Stephen Sondheim...
was performed in concert by the Blue Hill Troupe in New York City. The Teddington production was the first professional British production since 1872.
More than the usual burlesque
Thespis was an advance on the types of burlesques to which Gaiety audiences were accustomed. François CellierFrançois Cellier
François Arsène Cellier , often called Frank, was an English conductor and composer. He is best known for his tenure as music director and conductor of the D'Oyly Carte Opera Company during the original runs and early revivals of the Savoy operas.-Life and career:Cellier was born in South Hackney,...
recalled much later:
Several critics suggested that the piece may have been too sophisticated for its audience—or at least, the audience that greeted its first performance on Boxing Night
Boxing Day
Boxing Day is a bank or public holiday that occurs on 26 December, or the first or second weekday after Christmas Day, depending on national or regional laws. It is observed in Australia, Canada, New Zealand, the United Kingdom and some other Commonwealth nations. In Ireland, it is recognized as...
. The Times wrote: "The dialogue throughout is superior in ability and point to that with which ordinary burlesque and extravaganza have familiarized us; so much so, in fact, that it was a daring experiment to produce such a piece on such a night. It met, however, with an excellent reception, and on any other occasion than Boxing Night the numerous merits of the piece cannot fail to secure for it in the public estimation a high place among the novelties of the season." Other reviews of the first night took up a similar theme: Sporting Life
Sporting Life (newspaper)
The Sporting Life was a British newspaper published between 1859 and 1998 that was best known for its coverage of horse racing. Latterly it has continued as a multi-sports website....
suggested that "It may be that they looked for something less polished than Mr. Gilbert's verse, and went for something broader and coarser than that delightful author's humour. It may be, too, that Thespis was a little—I only say, just a little—'over their heads'." The Orchestra carried a similar sentiment: "In fact, both music and idea were somewhat over the heads of the audience."
Libretto
The plot of Thespis, with its elderly gods tired of their life in Olympus, is similar to some of Offenbach's operas, notably Orphée aux Enfers (Orpheus in the Underworld). In Orphée aux Enfers, like Thespis, classical mythology, particularly the Olympian gods, are ruthlessly parodied. In Thespis, the gods swap places with the actors and descend to Earth; in Orphée aux Enfers, the gods head to hell for a pleasant holiday away from too much boring perfection. Offenbach's plot – for although CrémieuxHector-Jonathan Crémieux
Hector-Jonathan Crémieux was a French librettist and playwright. His best-known work is his collaboration with Ludovic Halévy for Jacques Offenbach's Orphée aux Enfers, known in English as Orpheus in the Underworld....
and Halévy
Ludovic Halévy
Ludovic Halévy was a French author and playwright. He was half Jewish : his Jewish father had converted to Christianity prior to his birth, to marry his mother, née Alexandrine Lebas.-Biography:Ludovic Halévy was born in Paris...
wrote the libretto, the idea was Offenbach's – places Orpheus
Orpheus
Orpheus was a legendary musician, poet, and prophet in ancient Greek religion and myth. The major stories about him are centered on his ability to charm all living things and even stones with his music; his attempt to retrieve his wife from the underworld; and his death at the hands of those who...
, the great musician, in the centre; however, Gilbert's plot focuses on Thespis, the Father of the Drama. While this may be a coincidence, it could also be seen as a response to Offenbach, as his plot places music at the centre of his operetta, but Gilbert's elevates the dramatist.
The libretto has been praised by several biographers and historians. One said that "The dialogue contains many an authentic Gilbertian touch." Another found it "a gay, sparkling libretto". Sidney Dark and Rowland Gray wrote that "the book of Thespis is genuine Gilbert, the Gilbert whom nowadays all the world loves.... Thespis once more emphasizes the fact that Gilbert's artistry was hardly affected with the passing of the years. Many of its songs might well have appeared in the later operas." They point out Mercury's "I'm the celestial drudge", which anticipates Giuseppe's "Rising early in the morning" in The Gondoliers
The Gondoliers
The Gondoliers; or, The King of Barataria is a Savoy Opera, with music by Arthur Sullivan and libretto by W. S. Gilbert. It premiered at the Savoy Theatre on 7 December 1889 and ran for a very successful 554 performances , closing on 30 June 1891...
, and find the "real brand of Gilbertian topsy-turvydom" in the song about the former head of a railway company, "I once knew a chap who discharged a function". Isaac Goldberg
Isaac Goldberg
Isaac Goldberg was an American journalist, author, critic, translator, editor, publisher, and lecturer. Born in Boston he studied at Harvard University and received a BA degree in 1910, a MA degree in 1911 and a PhD in 1912. He traveled to Europe as a journalist during World War I writing for the...
thought that "Thespis looks forward far more often than it glances backward: "It forecasts the characteristic methods, and now and then a character, of the later series. Its dialogue is comical, and, if anything, somewhat above the heads of the Gaiety audiences of 1871."
Goldberg wrote in 1929 that the libretto "seems to have no specific ancestry.... neither in his burlesques nor in his ballads... had Gilbert played with the gods and goddesses of Greek mythology." However, Gilbert did write a series of humorous sketches parodying the Greek myths, mainly the heroes of the Iliad
Iliad
The Iliad is an epic poem in dactylic hexameters, traditionally attributed to Homer. Set during the Trojan War, the ten-year siege of the city of Troy by a coalition of Greek states, it tells of the battles and events during the weeks of a quarrel between King Agamemnon and the warrior Achilles...
, for the illustrated magazine Fun
Fun (magazine)
Fun was a Victorian weekly magazine, first published on 21 September 1861. The magazine was founded by the actor and playwright H. J. Byron in competition with Punch magazine.-Description:...
in 1864, and Pygmalion and Galatea, which he produced just before Thespis, was a more serious treatment of Greek mythology. Jane W. Stedman points out that Thespis "looks backward to French opéra bouffe", but it is "fundamentally a Gilbertian invasion plot in which outsiders penetrate and affect a given society, often for the worse." She compares the theatrical company in Thespis to the politicians that remodel fairyland in Gilbert's 1873 play The Happy Land
The Happy Land
The Happy Land is a play with music written in 1873 by W. S. Gilbert and Gilbert Arthur à Beckett. The musical play burlesques Gilbert's earlier play, The Wicked World...
and the Englishmen who reform the island nation of Utopia in Utopia, Limited
Utopia, Limited
Utopia, Limited; or, The Flowers of Progress, is a Savoy Opera, with music by Arthur Sullivan and libretto by W. S. Gilbert. It was the second-to-last of Gilbert and Sullivan's fourteen collaborations, premiering on 7 October 1893 for a run of 245 performances...
(1893). Elements of Thespis also appear in Gilbert and Sullivan's last opera together, The Grand Duke
The Grand Duke
The Grand Duke; or, The Statutory Duel, is the final Savoy Opera written by librettist W. S. Gilbert and composer Arthur Sullivan, their fourteenth and last opera together. It premiered at the Savoy Theatre on March 7, 1896, and ran for 123 performances...
(1896), where a theatre company replaces the ruler and decides to "revive the classic memories of Athens at its best".
The music
Sullivan's score generally came in for praise, though critics carped—as they would throughout his life—that theatrical scores were beneath his ability. In the Standard, A. E. T. Watson wrote:Clement Scott in the Daily Telegraph found the opera "not marred by ambitious music". But he added, "Tuneful throughout, always pretty, frequently suggestive, the songs and dances are quite in character with the author's design.... Some of the numbers will certainly live, and the impression caused by the music as a whole is that it will have far more than a passing interest."
Many critics praised the originality of the title character's song in the first act about the head of a railway company, which may have been a joke about the Duke of Sutherland
George Sutherland-Leveson-Gower, 3rd Duke of Sutherland
George Granville William Sutherland Leveson-Gower, 3rd Duke of Sutherland , styled Viscount Trentham until 1833, Earl Gower in 1833 and Marquess of Stafford between 1833 and 1861, was a British politician.-Background:Sutherland was the son of George Sutherland-Leveson-Gower, 2nd Duke of Sutherland...
, "who was fond of running railway engines". Scott called the song a "ludicrous ballad", but "quite in the spirit of the well-known compositions of 'Bab,' and, as it has been fitted with a lively tune and a rattling chorus, a hearty encore was inevitable. Though the ditty was long, the audience would have been well content to hear it all over again." The Pall Mall Gazette
Pall Mall Gazette
The Pall Mall Gazette was an evening newspaper founded in London on 7 February 1865 by George Murray Smith; its first editor was Frederick Greenwood...
found the orchestration "very novel, including, as it does, the employment of a railway bell, a railway whistle, and some new instrument of music imitating the agreeable sound of a train in motion." Similarly The Sunday Times
The Sunday Times
The Sunday Times is a British Sunday newspaper.The Sunday Times may also refer to:*The Sunday Times *The Sunday Times *The Sunday Times *The Sunday Times...
noted, "The entire company join in the chorus, the music of which admirably expresses the whirl and thunder of a railway train at express speed." The Era called it "a screaming, whistling and shouting chorus [that] fairly brings down the house".
The similarity to French models was much commented upon. Vanity Fair thought that "the music in the piece itself is charming throughout, and promises for the first time a rival to Offenbach.... Thespis is quite as good as Orphée aux Enfers
Orpheus in the Underworld
Orphée aux enfers is an opéra bouffon , or opéra féerie in its revised version, by Jacques Offenbach. The French text was written by Ludovic Halévy and later revised by Hector-Jonathan Crémieux....
." Another wrote:
The Morning Advertiser thought that "There is an evident attempt to copy the creations of a foreign composer who is so popular at the present time, and who has written some charming music for the gods and goddesses en bouffes." Others accused Sullivan of blatant copying. The Athenaeum
Athenaeum (magazine)
The Athenaeum was a literary magazine published in London from 1828 to 1921. It had a reputation for publishing the very best writers of the age....
wrote that the music "was arranged and composed by Mr A. S. Sullivan (the first verb was not in the bills as it ought to have been)". One critic thought that the duet for Sparkeion and Nicemis, "Here far away from all the world", was one of the "single best items of the piece". In 1873, the arranger Joseph Rummell (who had arranged Sullivan's Merchant of Venice score for the piano) wrote to Sullivan, asking about the song, with a view to publication. The composer replied, "Thespis is not published but if you like I will send you the Full Score of the Duet in question", but nothing came of it.
Surviving music
Only three musical passages from Thespis are known to survive: the ballad "Little maid of Arcadee", the chorus "Climbing over rocky mountain", and the ballet music. The fate of Sullivan's score has long been a subject for speculation. In 1978, Isaac AsimovIsaac Asimov
Isaac Asimov was an American author and professor of biochemistry at Boston University, best known for his works of science fiction and for his popular science books. Asimov was one of the most prolific writers of all time, having written or edited more than 500 books and an estimated 90,000...
wrote a time travel story, "Fair Exchange?", which focused on a character travelling back to 1871 to rescue the score to Thespis before Sullivan could destroy it. But Sullivan is not known to have destroyed it, and the ballet, at least, was still available to be reused in 1897.
Little maid of Arcadee
Sparkeion's song in Act II, "Little maid of ArcadeeArcadia (utopia)
Arcadia refers to a vision of pastoralism and harmony with nature. The term is derived from the Greek province of the same name which dates to antiquity; the province's mountainous topography and sparse population of pastoralists later caused the word Arcadia to develop into a poetic byword for an...
", was the only number from the opera to achieve contemporaneous publication. It was one of four numbers to be encored on the first night. The Daily Telegraph wrote: "With the public no doubt the musical gem will be a ballad called 'Cousin Robin'—pathetic and tender words, with a dreamy and somewhat Gounodish air. So sweetly was this sung by Mdlle. Clary that another encore was inevitable." The Observer agreed that the song "...will cause most delight on account of the quaint simplicity and tenderness of the words, the charming singing of Mdlle. Clary, and the really exquisite setting by Mr. Sullivan.... This is a musical gem".
The song enjoyed long-standing popularity. Wyndham writes, "Little maid of Arcadee" was "popular for a quarter of a century". Sullivan's first biographer suggested that "Thespis will be best remembered by the exquisite musical setting to the simple little Gilbertian ballad". Several later commentators write favourably of the song. Walbrook finds it "one of the neatest of Gilbert's ditties, packed with cynicism and slyness, expressed in terms of sentimental tenderness." Goldberg says that it is "dainty, simple and quite in the vein of Gilbert's words, to which, as in almost every later instance, Sullivan's setting provides an original rhythmic piquancy." Fitz-Gerald considers it "quite a forerunner of Gilbert at his easiest", while Dark and Gray call it "a typically dainty Gilbertian love-song worthy to be compared to the best that he ever wrote." Jacobs dissents: "As music it is as trivial as Sullivan ever wrote."
The separately published version had several significant wording differences from the theatrical version, owing to "the contrast between the Gaiety Theatre's suggestiveness and the prudery expected in the drawing room
Drawing room
A drawing room is a room in a house where visitors may be entertained. The name is derived from the sixteenth-century terms "withdrawing room" and "withdrawing chamber", which remained in use through the seventeenth century, and made its first written appearance in 1642...
". In the drawing room version, the song's little maid sat by Cousin Robin's knee, not on it. Rather than weary of his lover's play, he became fickle as the month of May. And rather than Cousin Richard came to woo, it was till another came to woo.
Climbing over rocky mountain
"Climbing over rocky mountain" is the best known piece from Thespis, as it was transplanted in 1879 into one of Gilbert and SullivanGilbert and Sullivan
Gilbert and Sullivan refers to the Victorian-era theatrical partnership of the librettist W. S. Gilbert and the composer Arthur Sullivan . The two men collaborated on fourteen comic operas between 1871 and 1896, of which H.M.S...
's most successful operas, The Pirates of Penzance
The Pirates of Penzance
The Pirates of Penzance; or, The Slave of Duty is a comic opera in two acts, with music by Arthur Sullivan and libretto by W. S. Gilbert. The opera's official premiere was at the Fifth Avenue Theatre in New York City on 31 December 1879, where the show was well received by both audiences...
. In 1902, Gilbert told a correspondent that this had happened accidentally. He and Sullivan had arrived in New York to produce the new opera, but the composer discovered that he had left his sketches behind in England. Fortunately, the entrance chorus from Thespis fitted the situation almost exactly, so it was substituted instead.
Several scholars have doubted that explanation. In Sullivan's autograph score for the later work, the first part of "Climbing over rocky mountain" is actually taken from a Thespis copyist score, with the Thespis words cancelled and the new words written in, which raises the question of why Sullivan had a Thespis score to hand, if not for that purpose.
Some suggest that other music from Thespis could have been used in Pirates. Goldberg suggests that "It is reasonable to believe that Sullivan made generous use of his Thespis music in other operettas: perhaps owing to the circumstances under which The Pirates of Penzance was written, it contains more than one unacknowledged borrowing from the unlucky firstling of the lucky pair." Reginald Allen says that "it seems certain" from its "rhythmic structure" that part of the Act I finale of Thespis, "Here's a pretty tale for future Iliad
Iliad
The Iliad is an epic poem in dactylic hexameters, traditionally attributed to Homer. Set during the Trojan War, the ten-year siege of the city of Troy by a coalition of Greek states, it tells of the battles and events during the weeks of a quarrel between King Agamemnon and the warrior Achilles...
s and Odyssey
Odyssey
The Odyssey is one of two major ancient Greek epic poems attributed to Homer. It is, in part, a sequel to the Iliad, the other work ascribed to Homer. The poem is fundamental to the modern Western canon, and is the second—the Iliad being the first—extant work of Western literature...
s" became the original Act II finale in Pirates, "At length we are provided with unusual felicity", which was later deleted. Tillett and Spencer propose that most of Act I of Pirates was taken from Thespis. However, there is only circumstantial evidence
Circumstantial evidence
Circumstantial evidence is evidence in which an inference is required to connect it to a conclusion of fact, like a fingerprint at the scene of a crime...
for these suggestions. Except for "Climbing over rocky mountain", neither author admitted to borrowing from Thespis for later works.
Ballet
A five-movement ballet occurred somewhere in Act II, staged by W. H. Payne. A heading in the libretto, "Chorus and Ballet", attaches it to the last section of the finale but does not indicate how it figured in the plot. Most press accounts placed it at about this point, although some placed it slightly earlier in the act. At some performances, the ballet was performed in Act I, but it was certainly in Act II on opening night, and it seems finally to have settled there.In 1990, Roderick Spencer and Selwyn Tillett discovered the ballet from Act II of Thespis. Two of the five movements, in the same hand that had copied the score of "Climbing over rocky mountain", were found together with the surviving performance materials for Sullivan's 1864 ballet, L'Île Enchantée
L'Île Enchantée
L'Île Enchantée is an 1864 ballet by Arthur Sullivan written as a divertissement at the end of Vincenzo Bellini's La Sonnambula at Covent Garden. It was choreographed by H...
. Another section was found in the material for his 1897 ballet, Victoria and Merrie England
Victoria and Merrie England
Victoria and Merrie England is an 1897 ballet by Arthur Sullivan, written to commemorate Queen Victoria's Diamond Jubilee – a remarkable sixty years on the throne. The ballet became very popular and ran for nearly six months.-Background:...
. The page numbering of the surviving three sections gave approximate lengths for the missing pieces, and a contemporary engraving, seen at left, along with other circumstantial evidence, allowed plausible identifications of the two remaining movements: a dragon costume, used nowhere in the libretto, is presumably from the ballet, and the harp
Harp
The harp is a multi-stringed instrument which has the plane of its strings positioned perpendicularly to the soundboard. Organologically, it is in the general category of chordophones and has its own sub category . All harps have a neck, resonator and strings...
visible in the orchestra pit was an unusual instrument for the Gaiety's orchestra. Movements of appropriate length that made sense of these oddities were found in Sullivan's other ballets, and the reconstructed ballet has been recorded twice on CD.
Sullivan tended to re-use his ballet music. Of the five movements that Tillett and Spencer identified, only one (the Waltz, No. 3) is not known to have been used in any other work. Three of the movements had previously been used in L'Île Enchantée. Two of those, and one other, were eventually re-used in Victoria and Merrie England. One was also used in his incidental music to Macbeth
Macbeth
The Tragedy of Macbeth is a play by William Shakespeare about a regicide and its aftermath. It is Shakespeare's shortest tragedy and is believed to have been written sometime between 1603 and 1607...
. Sullivan was asked in 1889 to supply a ballet for a French-language production of The Mikado
The Mikado
The Mikado; or, The Town of Titipu is a comic opera in two acts, with music by Arthur Sullivan and libretto by W. S. Gilbert, their ninth of fourteen operatic collaborations...
in Brussels, which he duly did. Tillett suggests that the Thespis ballet was almost certainly the music that Sullivan provided, given that it was the only ballet that he wrote for use in an opera, and that three weeks after producing The Gondoliers
The Gondoliers
The Gondoliers; or, The King of Barataria is a Savoy Opera, with music by Arthur Sullivan and libretto by W. S. Gilbert. It premiered at the Savoy Theatre on 7 December 1889 and ran for a very successful 554 performances , closing on 30 June 1891...
he is unlikely to have written something original.
Text
The surviving libretto is not the version heard by audiences at the Gaiety Theatre. There are numerous discrepancies between the original libretto and what was described as happening on stage, and reviewers repeatedly quoted dialogue that has no equivalent in the published libretto. At least one song is missing, and an entire character, VenusVenus (mythology)
Venus is a Roman goddess principally associated with love, beauty, sex,sexual seduction and fertility, who played a key role in many Roman religious festivals and myths...
, is mentioned in at least five reviews as stout, elderly, and heavily made-up, but does not appear in either the programme or the libretto. Stage directions in the original are slip-shod: characters reappear without an entrance being noted, or enter twice in quick succession, without having exited. In addition, Sullivan told his mother that at least one song was cut after opening night, and there must certainly have been other cuts, given the undue length of the first performance. But the text of the libretto, as published, remained "virtually unchanged" between December 1871 and March 1872.
In a letter to Percy Strzelecki on 23 April 1890, Gilbert apologized for the condition of the libretto. He wrote, "I was in the United States when it was published & I had no opportunity of correcting proofs. This will explain the presence of innumerable typographical & other errors." But several scholars conclude that Gilbert must have been remembering a trip the following year, as in the fall of 1871 it "would have been impossible for Gilbert to travel to America and back in time for rehearsals of Thespis." Even after the first printing, there does not seem to have been any effort to correct the errors: There were four separate issues of the libretto between December and March, but no corrections were made.
Gilbert's final disposition of the libretto came in 1911, when it was included in the fourth volume of his Original Plays. However, Gilbert died before he could correct proofs for that edition, and so it reprinted the 1871 text, correcting only a few spelling mistakes.
Musical numbers
- This is the order in which the musical numbers appear in the libretto. The music is known to survive for numbers shown in bold; a ballet also survives, but its location is uncertain. Reviews of the opera hint at three additional numbers not in the libretto, but as their names and exact locations are unknown, they are not listed.
Act I
- "Throughout the night, the constellations" (Women's Chorus, with Solo)
- "Oh, I'm the celestial drudge" (Mercury)
- "Oh incident unprecedented" (Mercury, Mars, Apollo, Diana, and Jupiter)
- "Here far away from all the world" (Sparkeion and Nicemis)
- "Climbing over rocky mountain" (Chorus with Solos)
- Picnic Waltz
- "I once knew a chap who discharged a function" (Thespis)
- Act I Finale: "So that's arranged – you take my place, my boy" (Ensemble)
Act II
- "Of all symposia" (Sillimon and Chorus)
- "Little maid of Arcadee" (Sparkeion)
- "Olympus is now in a terrible muddle" (Mercury)
- "You're Diana. I'm Apollo" (Sparkeion, Daphne, Nicemis and Thespis)
- "Oh rage and fury, Oh shame and sorrow" (Jupiter, Apollo, and Mars)
- Act II Finale: "We can't stand this" (Ensemble)
Recordings
As most of the music to Thespis is lost, there is no complete recording of the original score. The ballet, as reconstructed by Spencer and Tillett, has been issued twice on CD:- Penny, AndrewAndrew PennyAndrew Penny is a conductor born in Hull. He graduated from the Royal Northern College of Music following clarinet studies with Sydney Fell. As a postgraduate he was the first holder of the Rothschild Scholarship in Conducting, studying with Sir Charles Groves and Timothy Reynish...
, conductor (1992). "Thespis". On Sir Arthur Sullivan – Ballet Music (CD). Marco Polo 8.223460. - Pryce-Jones, John, conductor (1991). "Thespis – Ballet in Act 2". On IolantheIolantheIolanthe; or, The Peer and the Peri is a comic opera with music by Arthur Sullivan and libretto by W. S. Gilbert. It is one of the Savoy operas and is the seventh collaboration of the fourteen between Gilbert and Sullivan....
(CD). That's Entertainment Records CDTER2 1188.
A recording of the Rees/Morton version of Thespis was issued on LP records, which included the original "Little maid of Arcadee" and "Climbing over rocky mountain": Spencer, Roderick, conductor (1972). Thespis, or The Gods Grown Old. Fulham Light Operatic Society. Rare Recorded Editions SRRE 132/3.
"Little maid of Arcadee" has been included in two Sullivan anthologies:
- Adams, Donald, singer (1971, LP). Donald AdamsDonald AdamsCharles Donald Adams was an English opera singer and actor, best known for his performances in bass-baritone roles of the Savoy Operas with the D'Oyly Carte Opera Company and his own company, Gilbert and Sullivan for All.Adams began his career with the BBC Repertory Company in 1944...
Sings Sullivan and Gilbert, Brookledge Classics SM-GS-1. - Benton, Jeffrey, singer (1992, cassette). If Doughty Deeds, Symposium 1124.
External links
- Thespis at The Gilbert & Sullivan Archive
- Thespis at The Gilbert & Sullivan Discography
- Programme from, and other information about, Thespis
- Another version of "Little Maid of Arcadee" sung by Richard Holmes, brother of Rupert HolmesRupert HolmesRupert Holmes is an American-British composer, singer-songwriter, musician and author of plays, novels and stories. He is best known for his number one pop hit "Escape " and the song "Him", which reached the number 6 position on the Hot 100 U.S. pop chart in 1980...