RICHARD D'OYLY CARTE
Born in London on May 3, 1884, the man behind the successful collaboration of W.S. Gilbert and A.S. Sullivan was Richard D'Oyly Carte. Of Welsh and Norman ancestry (D'Oyly is Norman French), he was bought up in a cultured home. His father was a flautist and all the family spoke French two days a week. D'Oyly started as a composer and had one operetta produced, but he found his niche in theatre management. His first wife died at the time of The Mikado and, three years later he married his long time assistant, Helen Lenoir.

One snowy day he happened to run into Gilbert, already a successful dramatist, and asked him to help him with a new piece in collaboration with Sullivan. The result was Trial by Jury. This was so successful that he was able to realize his dream of founding an English comic opera company. The Comedy Opera Company was the result. (Until then, operetta was represented in England by Offenbach and other European composers.) He leased the Opéra Comique theatre, formed a partnership with four others and planned to present the works of many composers. However, the works of Gilbert and Sullivan The Sorcerer and HMS Pinafore, were so successful that their operas were presented almost exclusively.

Carte, Gilbert and Sullivan created a new partnership, each putting up £1,000 and formed The D'Oyly Carte Opera Company. Success followed success, but a new theatre was desperately needed. The Opéra Comique was approached by a long tunnel, the subterranean theatre was small and stuffy, and it was not well equipped. In the summer it could be unbearable hot. A large unused open space was purchased, and the 1,292-seat Savoy Theatre, named after the royal palace which had once stood on the spot, was built. (Geoffrey Chaucer wrote The Canterbury Tales while working at the Savoy Palace as a clerk.) The company moved into the new theatre in 1881 during the run of Patience.

THE SAVOY THEATRE
The Savoy Theatre was the very first to use electric lights in the auditorium and on the stage. Carte wrote a Notice to the Public which included the following:

From the time, now some years since, that the first electric light in lamps were exhibited outside the Paris Opera-house, I have been convinced that electric light in some form is the light of the future for use in theatres. ... The peculiar steely blue colour and the flicker which are inevitable in all systems of 'arc' lights, however, make them unsuitable to use in any but very large buildings. The invention of the 'incandescent lamp' has now paved the way for the application of electricity to lighting houses, and consequently theatres.

About 1,200 lights are used, and the power to generate a sufficient current for these is obtained from large steam-engines, giving about 120 horsepower, placed on some open land* near the theatre. The new light is not only used in the audience part of the theatre, but on the stage, for footlights, side and top lights, etc., and (not of the least importance for the comfort of the performers) in the dressing-rooms. ... This is the first time that it has been attempted to light any public building entirely by electricity. What is being done is an experiment, and may succeed or fail. ... To provide against such a contingency, gas is laid on throughout the building, and the 'pilot' light of the central sunburner will always be kept alight, so that in case of accident the theatre can be flooded with gaslight in a few seconds. The greatest drawbacks to the enjoyment of the theatrical performances are, undoubtedly, the foul air and heat which pervade all theatres. As every one knows, each gas-burner** consumes as much oxygen as many people, and causes great heat beside. The incandescent lamps consume no oxygen, and cause no perceptible heat.

To turn to a very different subject, I believe a fertile source of annoyance to the public to be the demanding or expecting of fees and gratuities by attendants. This system will, therefore, be discontinued. Programmes will be furnished and wraps and umbrellas taken charge of gratuitously. The attendants will be paid fair wages, and any attendant detected in accepting money from visitors will be instantly dismissed.

On the first night when Patience moved there, the orchestra played God Save the Queen by gas light. This was then lowered and the electric lights came on. They were noiseless and odorless and the air was much healthier for the audience. The new stage was much larger than usual and could accommodate large choruses. Completely fresh scenery was built because the new lights completely changed the appearance of the old. With Iolanthe which followed Patience they could have much more elaborate scenery and special effects. Refreshments were provided by management rather than being contracted out and were of much higher quality than usual. Whereas formerly, those seeking unreserved seats made a mad rush for the best places, Carte and Gilbert introduced the queue in which people lined up and the early birds got first choice of seats.

All sorts of dire predictions were made about the innovations. There was a fear that the electricity for the lamps would be lethal to the public but, while the lights gave some trouble for a few days, they soon performed well and were seldom known to fail. About the queues the critics said: "The public will never stand being marshaled and driven like a flock of sheep into their pens". However, the public started to queue early and were very orderly. On first nights Mrs. D'Oyly Carte furnished tea and cake to the waiting crowd. Soon the revolutionary concept of the queue was in use by most theatres.

* The 'open land' is now the site of the Savoy Hotel also built by Carte.

** In 1765 candles and oil-floats had been used to light the Garrick Theatre and, in 1817, gaslight was introduced at Covent Garden Theatre.

THE SAVOY OPERAS
While Iolanthe was the first true Savoy Opera, being the first specifically composed for that theatre, this term is now generally used for all of the Gilbert and Sullivan operas and not for any other works produced there. While not truly operas, they are always called that. Neither are they operettas in the usually sense. They are a unique phenomenon and deserve their own special title.

THE SAVOYARDS

One of the strengths of the D'Oyly Carte Opera Company was the cohesive group of players some of whom stayed together for opera after opera for as long as twenty years. The following table shows the overlap of the opening night casts for Patience (1881) and Iolanthe (1882). It also shows the casts for the 1878 H.M.S. Pinafore, the 1880 The Pirates of Penzance, and the 1885 The Mikado. Opening night casts are in black. Red shows participation in later casts.

For example, seven of the principals in Iolanthe, were also principals in The Mikado. All pulled together and chorus and principals mixed readily. The group soon became known informally as the Savoyards after the theatre in which they performed. They also had many recreational excursions together, especially an annual river picnic during which they went up the River Thames in two launches. After lunch there would be an impromptu performance of excerpts from the operas which attracted a large number of people from other boats. There were also periodic 'family' dinner or supper parties. However, rehearsals under Gilbert were extremely serious business.

A brief introduction to some of the more prominent members, especially those who are featured in the film Topsy-Turvy, follows. More details and pictures may be found at
http://math.boisestate.edu/gas/whowaswho/

Alfred Cellier (1844-1891) was, like Sullivan a chorister at the Chapel Royal. He joined the D'Oyly Carte Company as its Musical Director in 1877. He also conducted many of its productions in America including the première of Iolanthe for which he had to compose his own overture when Sullivan composed his too late to get it to America. He was also a composer of many other works.

François Cellier (1849-1914) Alfred's younger brother, was the Musical Director of the D'Oyly Carte Opera company for over thirty-five years and conducted many Gilbert and Sullivan operas both at home and abroad. Called 'Honest Frank', he knew the plays to down to the tiniest details and, like Gilbert, wanted them carried out exactly as written. Living for his art, he never lost his zest for work and was always pleasant. He wrote a book about the company which remains one of the primary sources for students of the Savoy operas. He died before it was completed, and it was finished by Cunningham Bridgeman.

Helen Lenoir (1855-1913 - real name Miss Cowper-Black) was Carte's assistant for many years. She has been called the Dea ex machina of the Savoy. Very gifted, she took honors in four subjects at university, unusual for a woman at the time. She became the business manager of the company and was also responsible for the Savoy Hotel. After his first wife died, Helen married Carte, and she carried out his legacy after his death. Everyone loved her, and her tact helped smooth conflicts between the members of the company when they arose.

Rutland Barrington (George Rutland Barrington Fleet) the Pooh-Bah in the first Mikado and Lord Mountararat in Iolanthe was one of the first members of the company and performed in every Gilbert and Sullivan opera except Yeoman of the Guard. Lytton says he was "an artiste to his fingertips and a fine presence off and on the stage". He wrote two volumes of memoirs but died in poverty in a workhouse.

Jesse Bond (1853-1942) made her stage singing debut at the age of seventeen. She created the roles of Iolanthe and of Pitti-Sing in The Mikado. In her autobiography she tells many stories about her time as a Savoyard including how she sang at some poker parties Sullivan held for the Prince of Wales. For one which was held on a Sunday, she was enjoined to strict secrecy because Sunday card games were severely frowned upon by Queen Victoria. She relates that they all enjoyed acting in The Mikado and how, always anxious to be noticed on stage, especially when she had the smaller role of Pitti-Sing, she arranged that her obi be twice as large as those of the other two "little maids from school". For Bond's autobiography see: http://diamond.boisestate.edu/gas/books/bond

Leonora Braham (1853-1931), was born in London but later moved to Canada with her husband. On his death, in 1881, she returned to London where she creator the roles of Patience, Phyllis in Iolanthe and Yum-Yum in The Mikado. She married another member of the company and remained with it until 1887. She . At her death she was living in poverty.

Rosina Brandram (1877-1903) made a specialty of the older women in Gilbert and Sullivan operas including Little Buttercup in H.M.S. Pinafore and Katisha in The Mikado. At one time or another she played in everyone of their operas. Gilbert once said of her: "Rosina, whose dismal doom it was to represent undesirable old ladies of sixty-five but, who, with all the resources of the perruquier and the make-up box, could never succeed in looking more that an attractive eight-and-twenty (it was her only failure)".

George Grossmith (1847-1912) started as a court reporter, hoping for a legal career, but turned to musical theatre. He was chosen by Sullivan to create the role of John Wellington Wells in The Sorcerer and went on to perform in the premières of all of the operas through The Yeomen of the Guard, including the roles of The Lord Chancellor in Iolanthe and Ko-Ko in The Mikado. He finally got tired of long runs and left the Savoy to go on the road. He entertained throughout the British Isles, including a command performance for Queen Victoria at Balmoral Castle. With Rutland Barrington he was the life and soul of the Savoyard parties. He also wrote two volumes of memoirs.

Durwood Lely (1880-1887) studied singing in Milan, Italy but turned to light opera and joined the D'Oyly Carte Opera Company as Frederick in The Pirates of Penzance. He created the roles of Lord Tolloller in Iolanthe and of Nanki-Poo in The Mikado. He remained in the company for the entire long run of The Mikado, but later returned to grand opera and appeared with famous singers such as Adelina Patti. For a time he had his own opera company.

Henry Lytton (1867-1946) followed in Grossmith's roles after he left and stayed for forty-six years. During his career he sang three different roles in Iolanthe: Strephon and Lord Mountararat as well as The Lord Chancellor. To get hints for the Lord Chancellor he spent some time visiting the law courts. Knighted by King George V, he was honored at a luncheon in 1930 at which he sang, among other pieces, the Lord Chancellor's song. Lord Sankey, the real Lord Chancellor at the time could not attend but sent a telegram. "The Lord Chancellor greatly regrets that he is unexpectedly prevented at the last moment from attending the Savoy luncheon to do honour to the most celebrated Lord Chancellor of our time. An ordinary Lord Chancellor goes and comes, but Sir Henry Lytton goes on for ever." Lytton's memoirs can be found at:
http://diamond.boisestate.edu/gas/books/lytton_secrets/

Richard Temple (1847-1912) also started in opera, playing Rodolpho in Bellini's La sonnambula. He created roles in every Gilbert and Sullivan opera from The Sorcerer to The Yeomen of the Guard, including that of Strephon in Iolanthe and of the Mikado. Later he turned to recitals and teaching.

LATER
Toward the end of the Gilbert and Sullivan collaboration, Carte built the Royal English Opera House specifically for the presentation of Sullivan's first, and only, grand opera Ivanhoe. It eventually collapsed and he and Sullivan both returned to the Savoy for the presentation of their works.

Another Carte innovation was the practice of licensing amateur societies to present works for which he had the copyrights. He managed many operatic, concert and lecture presentations, not only in the United Kingdom but on the Continent and throughout the United States. Matthew Arnold and Oscar Wilde were among his clients. After his death in 1891, Helen continued to manage the company and maintain its traditions, and she was followed by Carte's descendants. When the Savoy operas came out of copyright in 1961, others were finally free to work their will on them.

Sir Henry Lytton said of D'Oyly Carte that he was very generous and, even if he had no part for him, never sent a broke actor away without pressing a small sum in his hand covered by a handshake. He always made sure to have a few gold sovereigns in his pocket for this purpose.

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Revised June 2009
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