This page is in the process of being compiled
| 1882 |
October 16th 1882 – Gaiety Theatre Dublin – D’Oyly Carte’s Opera Company in ‘”‘Patience’
On December 05, 1882, the Irish Examiner announced that “Mr D’Oyley Carte’s Opera Company are to visit Limerick shortly for a few nights when “Patience” will be put off the boards.”
| 1917 |
| 9th April 1917 (2 weeks) Dublin, Gaiety Theatre (Billed as “Enormous Attraction”) | |
| 09 Apr | The Gondoliers (Easter Monday) |
| “D’OYLY CARTE AGAIN – Excellent Performance of ‘The Gondoliers’ – Gilbert and Sullivan founded no school. Worse luck. The people Gilbert jibed at and Sullivan immortalised in music pictures are still with us, but in different gaises. The “fop” of Gilbert’s day is the “swank” of today, and goodness knows what new breed of flapper-gandus will arise when war sweeps by and people seek new outlets for their follies. We will then want a librettist like Gilbert and a musician like Sullivan to soase the new society pests in the germicide of stage ridicule. These thoughts are inspired by a visit to the Gaiety last night to witness the performance of ‘The Gondoliers,’ when we followed the process of a monarchy being “remodelled on republican principles.” Tim D’Oyly Carte Company is never quite the same as it was before – which is not the same thing as saying that it is not as good. Last night’s Company was excellent. It includes two leaders who should win much popularity with Dublin audiences during the two weeks visit. These are Mrs Phyllis Smith, who was last nikght’s Gianetta, and Mis Nellie Briercliffe (Tessa). Thery made an admirable pair of newly-weds. The former was nearly in difficulties at one time, but the fault, I fancy, was with the beat. It passed, and the lady sang and acted delightfully for the rest of the night. She was the “tall” and Tessa was the “small” of the story – so small that the wreath of her golden curls scarce reached to the watch pocket of her Gondolier hubby (Mr. Frederick Hobbs). This little lady is A RESTLESS COMEDIENNE who wins favour by her speaking rather than by her singing voice. It is quaint and agreeable, but disconcerting at times. Mr. Hobbs’s partner was Mr. Lyon Mackie, who was taking the place of Mr. Gibson. The ‘Gondoliers’ without Mr. H. A. Lytton as “Plaza Toro” would be a lonely performance. He got a reception all to his ample self. Mr Hugh Blackmore was the Suite, and he sang better than he drumsticked. Mr. Leo Sheffield is liberally equipped in vocal ability for the role of the Grand Inquisitor. He made no attempt last night to depart from the traditional comedy of the part. The Casilds music was carefully rendered by Miss Elsie McDermid, whose only fault was an inclination to intoner her spoken words. Miss Bertha Lewis and Miss Amy Royston were the other principals. The chorus was first-rate. All the old familiar airs went fresh as ever, the quintette in the first act being, perhaps, the most finished number in the opera. I am asked to state that the perform,ance of ‘The Sorcerer’ for tomorrow’s matinee is engaging special attention from the company. JACQUES” (Evening Herald, Tuesday, April 10, 1917; Page 2) | |
| 10 Apr | Iolanthe |
| 11 Apr | The Sorcerer (m) |
| “The revival of ‘The Sorcerer’ yesterday afternoon at the Gaiety was something in the nature of a special event, for it is twenty years or so since the D’Oyley Carte Company played it here. The chief honours of the occasion unquestionably fell to Mr. Henry Lytton, whose wonderful versatility was once again illustrated . His John Wellington Wells is really a marvellously good performance, and his singing of that wonderful model of patter som=ngs, with which he introduces himself, as the head of the firm of old established family sorcerers, was a marvel. He threw into his interpretation of the part unlimited vigour and a humour all his own. In all the repertoire there is no more interesting study that the Rev. Dr Daly, the vicar of Ploverleigh, and in it Mr. Leo Sheffield has had the opportunity of his life for he has made it entirely his own.. It is the part that in the very old days Mr. Barrington used to shine, but even he never did better. Mr.Sheffield is a true artist, and he makes the part interesting and humorous, sings admmirably, and acts with all the requisite unction and discretion. Miss Briercliffe lends a special charm to every part she fills and she was therefor very welcome as Constance. She sang “When he is here I sigh with plkeasure” and “Dear freinds, take pity on my lot” very sweetly. Miss Bertha Lewis was an ideal Lady Sangazure and Miss Cecile Smith did admirably with Aline, her daughter.” (Freemans Journal, Thursday, April 12, 1917; Page 3) “‘The Sorcerer‘ will always be popular with a certain class of Gilbert-Sullivan admirers, who recognise that the opera allowed the composer wider scope for the display of his individual bent. The story needed greater light and shade than Gilbert’s witty parodies of other subjects. For the first lime we are brought face to face with what may be roughly termed Sullivan’s adaptation of the hymn to comic purposes and his facility in imitating the style of the early English composers. You will find, too, in this work all the salient characteristics of the succeeding operas, and you will recognise the periect workmanship and appreciation of the value of words and situations. In all of Sullivan’s works will be found the suggestion of contrasted subjects progressing concurrently — the ‘Pirates of Penzance” duet, for instance, where the lovers are singing in waltz rhythm while the chorus chatter about the weather in two-four time; the Policemen’s Chorus, with the counter theme for sopranos, and the men’s trio in the first act of ‘The Mikado.’ This facility for setting different themes going at the same time stands out more prominently in ‘The Sorcerer’ than perhaps in any other of these operas. – THE PRINCIPALS – The performance yesterday was satisfying though not completely finished. There was a suggestion at times of “hurry up and get through with it.” Dublin audiences are quick to note that kind of thing. Mr. Henry Lytton was the John Wellington Wells of the story. He has done nothing better than the patter songs that the composer has set for the humorous quack of this opera. Another excellent male part, amusingly interpreted by Mr. Leo Sheffield, was that or Dr. Daly, the elderly vicar, who has unconsciously inspired love-sickness in the pew-opener’s daughter Constance (Miss Briercliffe). Miss Smith (Aline) and Miss Lewis were others to win favour. This interesting revival is one of the earliest works of the acknowledged master of comic opera has whetted our appetites for more. ‘Ruddigore’ contains work equal to anything that Sullivan wrote for the Savoy, and there are one or two numbers in which rise almost to the level of grand opera. Let us have it.” (Evening Herald, Thursday, April 12, 1917; Page 3) | |
| 11 Apr | The Gondoliers (e) |
| 12 Apr | The Mikado |
| 13 Apr | Trial by Jury AND The Pirates of Penzance |
| 14 Apr | HMS Pinafore (m) |
| 14 Apr | The Mikado (e) |
| 16 Apr | The Yeomen of the Guard |
| 17 Apr | Patience |
| 18 Apr | Iolanthe (m) |
| 18 Apr | Princess Ida (e) |
| 19 Apr | Trial by Jury AND The Sorcerer |
| 20 Apr | The Mikado |
| 21 Apr | The Yeomen of the Guard (m&e) |
April 23rd (1 week) Belfast, Grand Opera House | |
| 23 Apr | The Mikado |
| 24 Apr | Iolanthe |
| 25 Apr | The Gondoliers (m) |
| 25 Apr | Princess Ida (e) |
| 26 Apr | The Gondoliers |
| 27 Apr | Patience (m) |
| 27 Apr | The Yeomen of the Guard (e) |
| 28 Apr | The Mikado |
| 1958 |
| June 30th 1956 (four weeks) – Dublin, Gaiety Theatre: | |
| Jun 30 | The Mikado |
| Jul 01 | The Mikado |
| “FIRST RATE PERFORMANCE OF THE MIKADO – The D’Oyly Carte Opera Company started their four-week season of Gilbert and Sullivan operas at the Gaiety Theatre Dublin last night, with an inevitably first-rate performance of ‘The Mikado.’ One of the pleasures of seeing this company is, of course, to see the real thing after all the more gaore or less gallant imitations of different local amateurs. Another is to watch for the tiny variations in production in a work that is almost as firmly fixed as “Japanese etiquette” itself. A fairly major change this time is new sets by, Peter Goffin, which have a greater effect of spaciousness than the old, and, for all their own loveliness, are still an excellent background for Charles Ricketts’s costumes. What a joy to see Peter Pratt again, to watch him floating light as thistledown round the stage. I remain convinced that he must be a better Ko-Ko than any of his illustrious predecessors. Perhaps last night he was holding back a little bit in the first act: or perhaps this is merely a trick of memory; in any case, no one should miss seeing him now. It seemed to me that the quality of singing is higher than it was two years ago. Ann Drummond-Grant (Katisha) for the first time exorcised my memory of Bertha Lewis and was in very fine voice. So it seemed also were the other principals – Donald Adams as The Mikado (how does be make those noises?); Kenneth Sandford ineffa;ble as Pooh-Bah; Jeffrey Skitch as Pish-Tush; Jean Barrington lovely as Yum-Yum and Joyce Wright and Beryl Dixon delightful as the other two Little Maids; Neville Griffiths’ Nanki-Poo seemed better dramatcally than before and I like his voice but be should not take quite sUch liberties with the time of “a Wandering Minstrel.” But this is part of a slight tendency throughout to overdo the musical nuances – first night anxiety possibly, but one would hardly expect this company to have such a thing outside London and New York. These are, however, but ripples on a smooth river of magnificenct entertainment. C.A.” [The Irish Times; Jul 1, 1958;] | |
| Jul 02 | The Gondoliers (m&e) |
| “THE GONDOLIERS” IN GAIETY – The D’Oyly Carte Opera Company’s second opera is ‘The Gondoliers’ which opened last night in the Gaiety Theatre, DubJin. I must confess that ‘The Mikado’ does dim The Gondoliers. Gilbert’s dramatic constructon was so weak-one wonders if the first act will ever end; the pace of his wit is so slow – one can see all sorts of attempts at rewriting in 1962: there is so little scope for Peter Pratt’s genius in the Duke of Plaza-Toro. However, one is familiar with these troubles and within their framework the D”Oyly Carte Company do their sparkling best; and, if the total musical value is relatively slight, Sullivan’s purely melodic gift is here almost at its best. Peter Pratt does whatever he can with the Duke and, of course, his part of the Gavotte is superb. Ann Drummond-Grant, his wife, was again in lovely voice; and I admired Jean Barrington’s Casilda, both speaking and singing. Alan Styler and Neville Griffiths are not perfectly matched as the Dual Monarch where such matching is very important. Alan Styler is a really all-round musician and actor, but Neville Griffiths lacks his spontaneitv and quickness. His tendency to drag behind the beat must be a trial to Isidore Godfrey, the conductor, without whom the company is unthinkable. Mr. Godfrey’s control seems just the same as in my eariest boyhood. Things are more evenly divided among the girls. Joyce Wright (Tessa) is the livelier actress and Jean Hindmarsh (Gianetta) the better singer. Kenneth Sandford is a really resonant and dignified Inquisitor: what a pleasure it is to hear his two famous songs ring out properly. I was disappointed by Peter Goffin’s new sets. They have not enough magnificence or brightness; and why on earth one rather inadequate throne instead of the necessary two? But if I do not sound as enthusiastic as I might, the fault is Gilbert’s, and it is a bit late in the day to quarrel with him. C.A.” [The Irish Times; Jul 3, 1958] | |
| Jul 03 | Iolanthe |
| Jul 04 | Iolanthe |
 “‘IOLANTHE’ IN THE GAIETY – If ‘The Gondoliers’ is a poor vintage, ‘Iolanthe’ (which was presented in the Gaiety Theatre, Dublin, last night, by the D’Oyly Carte Opera Company) is one of the richest and best. Apart from the facts that Gilbert provided his partner with better material and that Sullivan put some of his very best music into this opera, I am always ready to bow in admiration to the chorus of Peers. In its own way, its entry is surely as impressive as the tniumph scene of ‘Aida.’ And I have been waiting till this occasion to give all the chorus their thoroughly deserved praise. It has been said that the basis of a good opera company is its chorus: here it is, both men and women – or, as in this case, both peers and fairies. Peter Pratt is wholly delicoious as the Chancellor: he has such a lightness of touch as well as of movement, and throughout there is such style and delicacy. The rest of the company were in fine form and Kenneth Sandford’s Sentry’s Song and Donald Adams’ “When Britain Really Ruled the Waves” were both resoundingly splendid. Alan Styler’s Strephon gave me just as much peasure as his Gondolier did on Wednesday night – he has a sense of timing as highly developed as Peter Pratt’s. Throughout the opera I was very much pleased by Ann Drummond-Grant’s big-hearted, fine-voiced Fairv Queen: by Jean Barrington’s charming Phyllis (though she was not vocally quite at her best perhaps); and Joyce Wright’s sympathetic performanoce of Iolanthe herself. In minor roles, and in ‘The Gondoliers,’ Mary Sansom’s voice greatly impressed me. Do we hear her in the lead in later operas of the season? Peter Goffin’s good new sets are an undoubted improvement on the old ones and, next time the company comes. perhaps it will put glitter on the fairies’ wings. I find it hard to believe in fairles without glitter. C. A.” [The Irish Times; Jul 4, 1958] | |
| Jul 05 | The Yeomen of the Guard (m&e) |
| “‘YEOMEN OF THE GUARD’ AT GAIETY – On Saturday .the D’Oyly Carte Opera Company presented ‘The Yeomen of the Guard’ at the Gaiety Theatre, Dublin, primarily as a straight opera. Peter Goffin’s efective new set uses neutral colours in a serious way, so that the lighting plot is very effective and dramatic, especially in conjunction with very careful and moving production, partic:ularly of the crowd scenes. Peter Pratt’s slight, pathetic little Jack Point naturally dominates the whole opera, bringing one near to tears in the tragic irony of the wooing scene, and as he finally dies for the love of the maiden. I remember feeling that Lytton’s death was an irrelevancv to his earlier performance. Pratt makes it a culmination as inevitable as the tragedy in ‘I Pagliacci.’ The rest of. the company were as excellent as they have been in the other operas. and the quartets in tbe second act were outstanding: but I dislike the quality of Leonard Osborn’s voice in the part of Fairfax. ‘The Yeomen of the Guard’ is an ambiguous opera. Played as it usually is, as a comic opera, the final tragedy is unnecessary, and at odds with the rest. Plaved very straight, as here, the Wardour Street humour has the same function as the gravedigger in ‘Hamlet’: but though plot, Pratt and producer can make a tragic opera, this makes Sullivan’s operetta tunes utterly unsuitable, and Gilbert’s facetious wit and grisly jokes a matter of wisted bad taste. Among completely hilarious surroundings Ko-Ko can hurt no one’s feelings with his axe. In the ambiguous context of ‘The Yeomen’, the spectre of Belsen looms behind Gilbert’s pen. Thus, personally, I very much dislike the opera. but those who like it will find it admirably performed. C.A” [The Irish Times; Jul 7, 1958] | |
| Jul 07 | The Gondoliers |
| “No Chis’lers? – mention of the ‘”R. & R.” automatically brings Gilbert and Sullivan to mind and inspires me to wonder whether it’s the cinema or television – or perhaps just the rather expensive admission charges that is keeping youngsters away from the present D’Oyley Carte matinees. I went into the matinee of ‘The Gondoliers’ last Wednesday, expecting to find a full house chock-a-block with chis’lers. The house was about one-third full and by far the bigger proportion of the audience was white-haired or bald, with only a handful of youngsters to be seen. – The Real Thing – Probably I’m a nasty old reactionary, but I feel sorry for the new generation of kids, however much they mav enjoy their synthet1c canned entertainment, if they are missing the finest presentation of the real thing. And make no mistake about it. even mv memories (If Henry Lytton, Leo Sheffield, Darrell Fancourt and Bertha Lewis pale beside the superb performances of Peter Pratt, Kenneth Sandford, Donald Adams and Ann Drummond-Grant in the new “Mikado.” while the settings are not only the best Gilbert and Sullivan settings that I have seen: they are the best That I have seen in any stage production, either at home, or abroad. Incidentally. l asked Bert Newby, the company’s stage director, if the set designer, Peter Goffin. was related to Cora Goffin, who warmed my juvenile delinquent’s heart in “No No Nannette” thousands of years ago. Mr Newby said that as far as he knows, Peter Goffin has no connections with any other firm of the same name. I also hear that there is great fury in Belfast that the D’Oyley Carte Company, who only plaved one week at the Opera House there, elected to give a whole month to the Gaiety in Dublin.” [“An Irishman’s Diary”, The Irish Times; Jul 7, 1958] | |
| Jul 08 | The Gondoliers |
| Jul 09 | The Mikado (m&e) |
| Jul 10 | Patience |
| “‘PATIENCE’ AT THE GAIETY – The D’Oyly Carte Opera Company presented the first of their two perfmmances of ‘Patience’ at the Gaiety Theatre, Dublin, last night. For all the hearty phillistinism of Gilbert’s aims in writing it, he and his partner created what is such a pleasant gentle comedy now that the objects of the attack are merely history. It is also an opera of affectionate tune and one where the chorus really comes into its own. Both the Heavy Dragoons and the Love-sick Maidens deserve the highest praise all through. There is not a very great deal for Peter Pratt to do with the part of Bunthorne, but last night he did seem to play it, as it were, slightly muted. Perhaps he was not fully recovered from the “sudden indisposition” that deprived Wednesday night’s audience of his Ko·Ko – when fortunately his understudy, John Reed, was delightful. Ann Drummond-Grant was again in fine fettle, as Lady Jane, (on Wednesday night she had to cope as Katisha with a cold) and her instrumcntal performance opening the second act was as entertaining as her remarkable instrument itself. I do so much like Kenneth Sandford’s singing and his speaking voice as Grosvenor, and, of course, Donald Adams’s “heavy” singing of Colonel Calverley. John Reed was a splendid sprightly rheumatic Murgatroyd. Jean Barrington pleased me as much in the part of Patience as in her other roles. Peter Goffin’s new set and costumes are admirable, though Grosvenor’s final natty suiting is surely too un-ordinary. It seems a pity that such a charming and entertaining production should only appear twice – to-night is the last opportunity to see it. C. A.” [The Irish Times; Jul 11, 1958] “SPECIAL TRAINS FOR OPERA SEASON – Two special “opera trains” will run to Dublin next week from the provinces for some of the D’Oyly Carte Company’s presentations at the Gaiety Theatre. The first will be from Waterford to-day for the opera ‘Patience,’ and will serve Kilkenny, Bagenalstown. Carrow and Athy. Next Saturday there will be a “special” from Limerick, serving Nenagh and Roscrea.” [The Irish Times; Jul 10, 1958] | |
| Jul 11 | Patience |
| Jul 12 | Trial by Jury and The Pirates of Penzance (m&e) |
| “DOUBLE BILL AT THE GAIETY – At the Gaiety Theatre. Dublin, on Saturday. the D’Oyly Carte Opera Company presented ‘Trial by Jury’ and ‘The Pirates of Penzance.’ ‘Trial by Jury’ surely contains some of the best music that Handel did not write and plenty more fun besides. John Reed’s Learned Judge seemed all that one could wish, and I very much liked the singing of Alan Styler, as Counsel, and Jennifer Toye, as Plaintiff. But, compared with the company’s last visit, the production did not seem quite so slick, and neither Jury nor Public so remarkably attired – is that just a slip of memory? ‘The Pirates of Penzance’ seemed to go with a greater swing than last time, and was rattling good fun. Peter Goffin’s new sets are excellent, as are George Sheringham’s costumes, though, for all their charming freshness, Genera! Stanley’s daughters’ frocks are a little too quiet in colour. Peter Pratt, as the General, is, of course, a joy. Perhaps he slightly underplays the second act, but this is all part of the delicacy of his manner – and what a master of make-up he is. Thomas Round’s Frederic is most engaging, and his easy tenor a pleasure to hear. Donald Adams as the Pirate King is superb. and so, of course, is Kenneth Sandford’s Sergeant. As Mabel, Jean Hindmarsh is not only charming, but her pure coloratura in “Poor Wand’ring One” is a joy. Altogether, this presentation seemed to me one’ of the best of the season, and it is a pity that there will only be one more performance of ‘The Pirates’ on July 24th. C. A.” [The Irish Times; Jul 14, 1958] | |
| Jul 14 | Ruddigore |
| “RUDDIGORE” BY D’OYLY CARTE – Charming Production At Gaiety Theatre – By MARY MAC GORIS “Irish Independent” Music Critic – ONE does not so often see ruddigore and watching the D’Oyly Carte presentation at the Gaiety Theatre one is inclined to think that this is a pity. While it is not perhaps quite so ingeniously constructed as some of the other Gilbert and Sullivan operas — the finale has a slightly closing-time air — it abounds like the others in delightfully outrageous conceits and charming imaginatively orchestrated music. Who but Gilbert, for instance, would have thought of an endowed chorus of professional bridesmaids who were required to be on duty every day from ten to four? And who but Sullivan has ever given such a group such suitable music to sing? Very charmingly too this particular chorus sang it while the male chorus of ghostiy ancestors exhibited positive choral virtuosity. Sweet Rose Maybud, with her sense of correctness and her touching regard for the printed word, was portraved by Jean Barrington in a manner which justified the esteem in which the maiden was held by all who knew her. Peter Pratt made subtle distinction between the shy and blameless Robin of Act I and the Robin who by Act II had had bart-hood thrust upon him, while Kenneth Sandford, as Sir Despard, reversed the procedure equally neatly. Joyce Wright’s Mad Margaret was a splendid performance, her best of the season, and Leonard Osborn, whose humorous characterisation was overshadowed only by his superb hornpipe, Donald Adams, Ann Drummond-Grant, the orchestra under Isidore Godfrey, and delightful costumes and sets made up the sum of excellence of this splendid production.” [Irish Independent, Tuesday, July 15, 1958; Page: 5] “D’OYLY CARTE OPERA COMPANY PRESENTS ‘RUDDIGORE’ – The D’Oyly Carte Opera company gave the first of its two performances of ‘Ruddigore’ in the Gaiety Theatre,Dublin, last night. ‘Ruddigore’ is usually regarded as one of the weaker operas of the series and, accordingly, often gets rather perfunctory treatment, especially from producers. Last night was so well-paced and thoroughly well done, that the opera proved in this performance to be one of the best. None has better tunes and so we had a musical and theatrical treat. Peter Pratt’s Sir Ruthven seems to have matured since his last visit, especially in the contrast between his Jekyll and his Hyde each side. of the interval – he started Act II as a thoroughly blood-chilling bad baronet. Kenneth Sandford’s personality as Despard, both sides o£ his change in the other direction; was, of course, a . delight – I enjoy his every syllable. Donald Adams seemed in slightly less good voice than hitherto as Sir Roderick though his action and presence were as remarkable as ever. Mad Margaret’s first entrance need.a sweeter, more ethereal quality of vo1ce than Joyce Wright can give it, but dramatically this passage was very finely done – she is always a pleasure to watch. This time, I was delighted. with Leonard Osborn’s Richard; he now has the measure of the part and does not attempt to sing seriously – he was clearly miscast as Fairfax in tbe ‘Yeomen.’ How very pleasant to be able to enjoy Ann Drummond-Grant’s performance in a sympathetic part, free for once from Gilbert’s pathological malice. Jean Barrington’s Rose and John Banks Adam were fully in keeping with the rest of the excellent performance. As. before, Peter Goffin’s new sets are admirable (fortunately they have retained the baronial carpet), but heralds will be puzzled that this line of Murgatroyd’s all had different armorial achievements. Though the season is now only half way through, ‘Ruddigore’ is the last new presentation. Therefore, I want to stress how much I have been enjoying the D’Oyly Carte Company’s visit. Principals, chorus, scene-designer and producer all seem to be adding new lustre to the company’s fame; and, of course, the indispensable Isidore Godfrey conducting everything deserves far more praise than I have yet given him. It is only fair to add that tonight will See the only remaining performance of this spirit-raising ‘Ruddigore.’ C.A.” [The Irish Times; Jul 15, 1958] | |
| Jul 15 | Ruddigore |
| Jul 16 | Iolanthe (m&e) |
| Jul 17 | The Gondoliers |
| Jul 18 | The Gondoliers |
| Jul 19 | The Mikado (m&e) |
| Jul 21 | Iolanthe |
| Jul 22 | Iolanthe |
| Jul 23 | The Yeomen of the Guard (m&e) |
| Jul 24 | Trial by Jury and The Pirates of Penzance |
| Jul 25 | The Mikado |
| Jul 26 | The Gondoliers (m&e) |
| 1960 |
| June 20th 1960 (four weeks) Dublin, Gaiety Theatre | |
| Jun 20 | The Gondoliers |
| “D’OYLY CARTE SEASON OPENS – Lively “Gondoliers” at Gaiety Theatre – By MARY MacGORIS, ” Irish Independent” Music Critic – OPENING their three weeks’ season, at the Gaiety Theatre with ‘The Gondoliers,’ the D’Oyly Carte Opera Company showed that the loss of two of their most outstanding members has not materially affected their lively and, on the whole, well-cast production of this lightest of the Gilbert and Sullivan works. They retain, of course, such bulwarks — if one may call them so — as Alan Styler and Thomas Round who made a most engaging pair of apprentices to royalty; Jeffrey Skitch, a robust Luiz; Kenneth Sandford who has become an excellent Grand inquisitor; Joyce Wright, who showed her usuai charming pertness as Tessa, and was well paired with Anne Sessions as Gianetta. Of the newcomer, Gillian Knight was a splendid Duchess of imposing appearance despite What seems like a natural grace, a restrained style which accented the humour in the right way and singing with full tone and perfect clarity. Jennifer Toye, last seen here as Kate in ‘Yeomen,’ made an adorable Casilda with a sweet and effortless voice; Jeanette Roach made a brief but impressive appearance as Inez. As the Duke, John Reed was a disappointment. His performance, considerably overdone, was completely lacking in style, especlally In Act II, where he seemed to consider it his function to behave like a caricature prima donna, introduced an unpleasing element of pantomimic farce which destroyed the wit of the piece. The chorus is as sturdy and articulate as ever, and if “list and learn” was weighted down with contraltos the balance was speedily redressed. The orchestra played well under Isidore Godfrey; new costumes in a subtle colour scheme and a lovely second-act set add visual appeal to an enjoyable production.” [Irish Independent, Tuesday, June 21, 1960; Page: 11] | |
| Jun 21 | The Yeomen of the Guard |
| Jun 22 | The Mikado (m&e) |
| “Outstanding ‘Mikado’ – Continulng their season at the Gaiety the D’Oyly Carte Opera Company presented one of the most popular of all Gilbert and Sullivan operas, ‘The Mikado.’ Thomas Round as Nanki-Poo, the royal wandering minstrel was ideally partnered by Mary Sansom as Yum-Yum. John Reed infused an elfin quality into the character of Ko-Ko, the Lord High Exeoutioner, and Kenneth Sandford as Pooh-Bah portrayed the pompous Lord High Everything Else in the true tradition. Towering above all, however, was the Mikado of Donald Adams, who gaye a dynamic performance in his portrayal of Eastern majesty, with a particularly sinister emphasis on “the punishment that should fit the crime.” This alone makes the production a must for every Savoyard. Gillian Knight was a polished Katisha. Other roles were taken by Jeífrey Skitch, John Banks, Joyce Wright and Beryl Dixon. The lovely settings and costumes by Peter Goffin have the delicacy and texture of Medieyal Japanese prints. The fine singing of the chorus and playing of the orchestra deserve special mention.” [Evening Herald, Thursday, June 23, 1960; Page: 8] “EXCELLENT MIKADO AT GAIETY – By MARY MacGORIS “Irish Independent” Music Critic – Every Savoy-fancier has his favourites among the operas — my. own include ‘Ida’ and ‘Pinafore,’ but there can be little doubt that, impartially speaking, ‘The Mikado’ is among the best of the G. and S. corpus. The D’Oyly Carte production at the Gaiety does it excellent justice, With charming sets, and costumes — Katisha’s is of more than oriental splendour — it. is delightful to look at and; with well-chosen, well-used voices it is a pleasure to hear. One must mention too the grouping and movement of the chorus: traditional but delectably picturesque and particularly gracefully done. They sing well. too. of course. Among an entirely admirable cast Gillian Knight was outstanding. Her Katisha is superb; Grotesquely dignified, comically imperious, impotently malevolent she is like, a brilliant caricature of Turandot. There is a beautiful intelligence in her phrasing, both in speech and song. The few telling gestures in “Oh Fool That Flee’st” may be the producer’s credit but how she managed a baleful glare for Pitti Sing from an immobile mask of a face is her own secret. – UNUSUAL – John Reed gave us an unusual Ko-Ko. Without the sprite-like quality that has marked other interpretations, he presented an almost serious-minded little man, nimble of foot and of mind but doomed to be down-trodden. In a less fantastic context, it could have been a sympathetic figure in the Chaplinesque way. As it was, we could have done in places with a more querulous tone and some cocky jubilation. Mary Sansom, with her bright, clear voice, was an attractive Yum-Yum who had fine sisterly support from Joyce Wright and Beryl Dixon. Thomas Round was an ideal Nanki-Poo and Donaid Adams ah impressive Mikado with a quite hideous laugh. Kenneth Sandford added Pooh-Bah to the series of splendid heavy comedy characterisations he has been giving us this season.” [Irish Independent, Thursday, June 23, 1960; Page: 13] | |
| Jun 23 | Trial by Jury and The Pirates of Penzance |
| “Pirates and Trial by Jury – A large and enthusiastic audience enjoyed a double bill of Gilbert and Sullivan at ” the Gaiety last evening when the D’Oyly Carte opera Company continued their season with excellent productlons of ‘Trial by Jury,’ and ‘The Pirates of Penzance.’ The slnging of the chorus and the principals in both works left little to be desired. In ‘The Pirates,’ Jennifer Toye sang delightfully as Mabel and gave a fine rendering of “Poor Wandering One.” She was well partnered by Thomas Round as Frederic; John Reed was the perfect Major-General, and Donald Adams (looking like Jimmy Edwards in fancy dress) was the soft-hearted Pirate King. Gillian Knight’s Ruth deserves special mention. Kenneth Sandford was the Sergeant of Police and other roles were taken by George Cook, Joyce Wright, Marian Martin and Pauline Wales. Victorian London came to life in the ‘costumes of the cast of ‘Trlal by Jury, which was never played better. Jeffrey Skitch was the learned judge, John Stoddart the defendant, and Joan Lawrernce the jilted girl. George Cook was a very amuslng Usher. The conducting of the orchestra throughout under William Cox-Ife was first-class.” [Evening Herald, Friday, June 24, 1960; Page: 3] | |
| Jun 24 | Patience |
| “PATIENCE AT THE GAIETY – The D’Oyly Carte Opera Company continues to overcome the heat wave handicap and last night’s large Gaiety audience enjoyed a íine perfornïance of ‘Patience.’ Lacking the verve and vigour of some other Gilbert and Sullivan operas, ‘Patience’ is a charming piece of tuneful nonsense which, however. demands expert handling for full effect. The two principal characterisations, the poets pursued by the “twenty lovesick maidens,” were splendidly carried by John Reed and Kenneth Sandford. Donald Adams, Alan Barrett and John Stoddart as the Dragoon Guards officers lent effective support, and Gillian Knight, as the “chief maiden,” Lady Jane, brought a clever blend of statuesque majesty and sly drollery to the part, while Mary Sansom was a fetching Patience with a fine singing voice. The 40-strong chorus, in their gay costumes, and the orchestra under Isidore Godfrey, made an impressive background.” [Evening Herald, Saturday, June 25, 1960; Page: 3] | |
| Jun 25 | The Gondoliers (m&e) |
| Jun 27 | The Mikado |
| “‘MIKADO'” HAD FULL HOUSE AT GAIETY – There was a full house at the Gaiety Theatre, Dublin, for the D’Oyly Carte Opera Company presentation of ’The Mikado,’ to begin a week’s season in conjunction with the International Festival of Music and the Arts. Committee members and patrons of the Festival were present, and the attendance included the American Ambassador and Mrs. McLeod.” [Irish Independent, Tuesday, June 28, 1960; Page: 7] | |
| Jun 28 | The Gondoliers |
| “At the Gaiety Theatre the D’Oyly Carte Opera Company, who have been playing to large audiences all week, again attracted large numbers when they produced the ever-popular ‘Gondoliers.'” [Irish Independent, Wednesday, June 29, 1960; Page: 12] | |
| Jun 29 | Iolanthe (m&e) |
| Jun 30 | The Mikado |
| Jul 01 | The Yeomen of the Guard |
| Jul 02 | Patience (m&e) |
| Jul 04 | Iolanthe |
| Jul 05 | The Mikado |
| “The second night of the week, was marked by the Gala performance.. of ‘The Mikado’ in the Gaiety Theatre by the D’Oyly Carte Opera Company, and in the theatre so closely associated with Savoyards, the long tradition and high standard of G & S productions was maintained throughout the week as capacity houses were enthralled with the ever fresh music of Arthur Sullivan.” [Sunday Independent, Sunday, July 03, 1960; Page: 21] | |
| Jul 06 | Trial by Jury and The Pirates of Penzance (m&e) |
| Jul 07 | The Yeomen of the Guard |
| Jul 08 | The Gondoliers |
| Jul 09 | The Mikado (m&e) |
| 1964 |
| June 15th 1964 (4 weeks); Gaiety Theatre, Dublin | |
| Jun 15 | The Mikado – Donald Adams, Philip Potter, John Reed, Kenneth Sandford, Jeffrey Skitch, George Cook, Jennifer Toye, Peggy Ann Jones, Gillian Humphreys, Gillian Knight, c. James Walker |
| Jun 16 | The Yeomen of the Guard – Alan Styler, Thomas Round, Donald Adams, David Palmer, John Reed, Kenneth Sandford, Gordon Mackenzie, Anthony Raffell, Jon Ellison, Adrian Lawson, Ann Hood, Peggy Ann Jones, Gillian Knight, Jennifer Toye, c. James Walker |
| Jun 17 | The Pirates of Penzance (m&e) – Donald Adams, Philip Potter, Anthony Raffell, George Cook, Ann Hood, Gillian Humphreys, Peggy Ann Jones, Pauline Wales, Gillian Knight, c. James Walker |
| “Pleasing pirates at Gaiety – THE D’Oyly Carte Opera Company at the Gaiety Theatre last night provided an enjoyable short evening with a fine performance of ’The Pirates of Penzance,’ an early work that still holds a firm place in the affections of all votaries of Gilbert and Sullivan. The book is delightfully whimsical, while the music after well over 80 years of innumerable performances, is as fresh as ever. Herbert Newby’s production and Peter Goffin’s fine sets remain the same as before. The chorus of pirates and of General Stanley’s daughters, prominent both Vocally and dramatically, had some lively moments and one was again glad to see the policemen played as policemen and not as clowns. James Walker made his small orchestra sound like a symphonic one and gave full rein to the music, even to the smallest detail. He really makes the music penetrate, and colours it to the action of thestage. Donald Adams again scored with his lovable and swaggering Pirate King and sang with his usual artistry. His make-up was certainly impressive, and there can be no doubt that this is one of his best roles. Other vocal highlights were Mabel’s Traviata-like waltz song, “Poor Wandering One”, brilliantly sung by Ann Hood: John Reed’s ‘model’ Major-General (his patter song was a model of clarity) and Philip Potter’s lyrical approach to Frederick’s exquisite music. As the Sergeant of Police, George Cook maintained the tradition and was not oppressive, with the humour and Gillian Knight was excellent as the sorely-tried Ruth. R.J.” [Irish Press, Thursday, June 18, 1964; Page: 12] “The Pirates of Penzance – FOR the third opera in their, season of Gilbert and Sullivan at the Gaiety the D’Oyly Carte Company presented an exquisitely polished production of ‘The Pirates of Penzance’ (why, one wonders, is there no ‘Trial by Jury’ with it as in former years?). The fiercely bewhiskered, heavily armed and padded Pirate King of Donald Adams is a performance to remember, and like good wine it seems more highly flavoured every time I see it. Every movement, word and action is impeccable. This is not to say that there is anything to fault in the excellent performances of the rest of the cast. As Major-General Stanley, John Reed is truly “a very model of a Major-General” and gets every ounce of comedy out of his actions and delivers his rapid opening song with ease. Gillian Knight, despite her youth, is a worthy successor to the late lamented Ann Drummoind-Grant in the part of Ruth, the pirates’ “Maid-of-all-work”; Philip Potter is a fine upstanding “slave to duty” as Frederic the Pirates’ apprentice and Anthony Raffell an impressive piratical second-in-command. Ann Hood as Mabel, has a very pleasing voice and her rendering of “Poor Wandering One” was warmly applauded. She is ably supported by Gillian Humphreys, Peggy Ann Jones and Pauline Wales heading the chorus of daughters. As the Sergreant of Police, George Cook leads the custodians of the law, telling us the “policeman’s lot is not an ‘appy one.” The chorus are in tip-top form and the orchestra, under James Walker, brings out the full beauties of Sullivan’s delightful music. A special word of praise for the sets by Peter Goffin. P.F.B.” [Evening Herald, Thursday, June 18, 1964] | |
| Jun 18 | The Mikado – Donald Adams, Philip Potter, John Reed, Kenneth Sandford, Jeffrey Skitch, George Cook, Jennifer Toye, Peggy Ann Jones, Gilian Humphreys, Beti Lloyd-Jones, c. James Walker |
| Jun 19 | Iolanthe – John Reed, Donald Adams, Thomas Round, Kenneth Sandford, Jeffrey Skitch, Gillian Knight, Gillian Humphreys, Margaret Eales, Pauline Wales, Jennifer Marks, Mary Sansom, c. James Walker |
| Jun 20 | The Gondoliers (m&e) – John Reed, David Palmer, Kenneth Sandford, Thomas Round, Alan Styler, Jon Ellison, Gordon Mackenzie, Anthony Raffell, Adrian Lawson, Gillian Knight, Jennifer Toye, Mary Sansom, Gillian Humphreys, Jennifer Marks, Pauline Wales, Joy Mornay, Beti Lloyd-Jones, c. Will Cowley (m) James Walker (e) |
| Jun 22 | Iolanthe– Adrian Lawson, Donald Adams, Thomas Round, Kenneth Sandford, Jeffrey Skitch, Gillian Knight, Gillian Humphreys, Margaret Eales, Pauline Wales, Jennifer Marks, Mary Sansom, c. James Walker |
| Jun 23 | Patience – Donald Adams, Adrian Lawson, Philip Potter, John Reed, Kenneth Sandford, Jon Ellison, Gilliam Humphreys, Peggy Ann Jones, Jennifer Toye, Gilliam Knight, Mary Sansom, c. James Walker |
| Jun 24 | The Gondoliers (m&e) – John Reed, Philip Potter, Kenneth Sandford, Thomas Round, Alan Styler, Jon Ellison, Gordon Mackenzie, Anthony Raffell, Adrian Lawson, Eileen Bruckshaw (m) Gillian Knight (e), Jennifer Toye, Mary Sansom, Gillian Humphreys, Jennifer Marks, Pauline Wales, Joy Mornay, Beti Lloyd-Jones, c. Will Cowley (m) James Walker (e) |
| Jun 25 | The Yeomen of the Guard – Alan Styler, Thomas Round, Donald Adams, David Palmer, John Reed, Kenneth Sandford, Gordon Mackenzie, Anthony Raffell, Jon Ellison, Adrian Lawson, Ann Hood, Peggy Ann Jones, Gillian Knight, Jennifer Toye, c. James Walker |
| Jun 26 | The Pirates of Penzance – |
| Jun 27 | The Mikado (m&e) – Donald Adams, Philip Potter, John Reed, Kenneth Sandford, Jeffrey Skitch, George Cook, Jennifer Toye, Peggy Ann Jones, Gilian Humphreys, Gillian Knight, c. Will Cowley (m) James Walker (e) |
| Jun 29 | The Pirates of Penzance – |
| Jun 30 | Iolanthe – John Reed, Donald Adams, David Palmer, George Cook, Jeffrey Skitch, Eileen Bruckshaw, Gillian Humphreys, Margaret Eales, Pauline Wales, Jennifer Marks, Mary Sansom, c. James Walker |
| Jul 01 | The Mikado (m&e) – Donald Adams, Philip Potter, Adrian Lawson, Kenneth Sandford, Jeffrey Skitch, George Cook, Jennifer Toye, Peggy Ann Jones, Gilian Humphreys, Gillian Knight, c. Will Cowley (m) James Walker (e) |
| Jul 02 | Patience – Donald Adams, Adrian Lawson, Philip Potter, John Reed, Kenneth Sandford, Jon Ellison, Gillian Humphreys, Peggy Ann Jones, Jennifer Toye, Gillian Knight, Mary Sansom, c. James Walker |
| Jul 03 | The Gondoliers – John Reed, Philip Potter, Kenneth Sandford, David Palmer, Alan Styler, Jon Ellison, Gordon Mackenzie, Anthony Raffell, Adrian Lawson, Gillian Knight, Jennifer Toye, Mary Sansom, Gillian Humphreys, Jennifer Marks, Pauline Wales, Joy Mornay, Beti Lloyd-Jones, c. James Walker |
| Jul 04 | The Yeomen of the Guard (m&e) – Alan Styler, Philip Potter, Donald Adams, David Palmer, John Reed, George Cook, Gordon Mackenzie, Anthony Raffell, Jon Ellison, Adrian Lawson, Ann Hood, Peggy Ann Jones, Gillian Knight, Jennifer Toye, c. James Walker |
| Jul 06 | Patience – Donald Adams, Adrian Lawson, Philip Potter, John Reed, Jeffrey Skitch, Jon Ellison, Gillian Humphreys, Peggy Ann Jones, Jennifer Toye, Gillian Knight, Mary Sansom, c. James Walker |
| Jul 07 | The Mikado – Donald Adams, Philip Potter, John Reed, George Cook, Jeffrey Skitch, Anthony Raffell, Jennifer Toye, Peggy Ann Jones, Gilian Humphreys, Gillian Knight, c. James Walker |
| Jul 08 | Iolanthe (m&e) – John Reed, Donald Adams, David Palmer, George Cook, Jeffrey Skitch, Gillian Knight, Gillian Humphreys, Margaret Eales, Pauline Wales, Jennifer Marks, Mary Sansom, c. James Walker |
| Jul 09 | The Gondoliers – John Reed, Philip Potter, George Cook, David Palmer, Alan Styler, Jon Ellison, Gordon Mackenzie, Anthony Raffell, Adrian Lawson, Gillian Knight, Jennifer Toye, Mary Sansom, Gilliam Humphreys, Jennifer Marks, Pauline Wales, Joy Mornay, Beti Lloyd-Jones, c. James Walker |
| Jul 10 | The Yeomen of the Guard – Alan Styler, Philip Potter, Donald Adams, David Palmer, John Reed, George Cook, Gordon Mackenzie, Anthony Raffell, Jon Ellison, Adrian Lawson, Ann Hood, Peggy Ann Jones, Gillian Knight, Jennifer Toye, c. James Walker |
| Jul 11 | The Pirates of Penzance (m&e) – |
Opera in Ireland 