The operas of William Gilbert and Arthur Sullivan are an institution. Hesketh Pearson’s biography is of the two men who had individual, quite different, personalities – and their equally famous quarrel. Pearson describes their lives rather than criticise their works.

What is probably the most famous pairing in musical history began without fanfare in 1871 when writer William S. Gilbert and composer Arthur Sullivan teamed up to produce a Christmas entertainment called Thespis. The two men parted ways soon afterward and it took a theatrical promoter named Richard D Oyly Carter to reunite them four years later. Their first big hit came in 1878 with their operetta H.M.S. Pinafore. It reached the United States the following year and created the same excitement that we associate with a major rock concert or blockbuster movie. Despite some disagreements, the two men produced 11 other operettas before going their separate ways. Today Gilbert and Sullivan societies exist all over the world. Audiences still enjoy their combination of clever, humorous lyrics and tuneful melodies.

'A Gilbert is of no use without a Sullivan.' With these words, W.S. Gilbert summed up his reasons for persisting in his collaboration with Arthur Sullivan despite the combative nature of their relationship. In fact, Michael Ainger suggests in Gilbert and Sullivan the success of the pair's work is a direct result of their personality clash, as each partner challenged the other to produce his best work. After exhaustive research into the D'Oyly Carte collection of documents, Ainger offers the most detailed account to date of Gilbert and Sullivan's starkly different backgrounds and long working partnership. Having survived an impoverished and insecure childhood, Gilbert flourished as a financially successful theater professional, married happily and established himself as a property owner. His sense of proprietorship extended beyond real estate, and he fought tenaciously to protect the integrity of his musical works. Sullivan, the product of a supportive family who nourished his talent, was much less satisfied with stability than his collaborator. His creative self-doubts and self-demands led to nervous and physical breakdowns, but it also propelled the team to break the successful mode of their earliest work to produce more ambitious pieces of theater, including The Mikado and The Yeoman of the Guards . Offering previously-unpublished draft libretti and personal letters, this thorough double-biography will be an essential addition to the library of any Gilbert and Sullivan fan.

Over the past two decades, the process of cultural development and, in particular, the role of reading has been of growing interest, but recent research has been episodic and idiosyncratic. In this biographical dictionary, research devoted specifically to the reading habits of 19th century individuals who shaped Western culture is brought together for the first time. While giving prominent coverage to literary and political figures, the volume's 270 entries also include musicians, painters, educators, and explorers. Each entry includes brief biographical information, a concise summary of literary influences on the subject, and clear direction for further research. The book provides a practical tool for scholars wishing to trace the reading experience of important Western cultural figures. Subjects were selected from the people most responsible for the cultural development of Europe, Britain and the British Empire, and the Americas between 1800 and 1914. Although selective, the sample of 270 figures is substantial enough to suggest broad, cross-cultural habits and effects, enabling scholars to better understand the relationship between reading and culture. In an introductory essay, Powell explores the patterns and relationships that can be discerned from the entries. The first of three anticipated volumes, the book is an important step forward in researching the role of reading in cultural development.

From Marilyn to Mussolini, people captivate people. A&E's Biography, best-selling autobiographies, and biographical novels testify to the popularity of the genre. But where does one begin? Collected here are descriptions and evaluations of over 10,000 biographical works, including books of fact and fiction, biographies for young readers, and documentaries and movies, all based on the lives of over 500 historical figures from scientists and writers, to political and military leaders, to artists and musicians. Each entry includes a brief profile, autobiographical and primary sources, and recommended works. Short reviews describe the pertinent biographical works and offer insight into the qualities and special features of each title, helping readers to find the best biographical material available on hundreds of fascinating individuals.

This edited collection of essays details a wide-ranging selection of some of the most sensationally successful theatre productions of the long Victorian era, the real "blockbusters" of the age. Ranging from the world of operetta and music hall to spectacular drama and sensational melodrama, the productions included provide the reader with definitive proof that the phenomenon of the "smash hit" show is not restricted to modern Broadway. This is a world that encompassed the ground-breaking stage technology of Ben Hur, the wide political impact of Uncle Tom's Cabin and the sheer creative originality of L'Enfant Prodigue. Supporting the "star" system, productions featured some of the greatest names of the period - Sir Henry Irving, Sir Johnston Forbes Robertson, James O'Neill and Dion Boucicault. This was the very dawning of a new media age, which saw many of the productions transfer to the new world of silent cinema for the very first time

This book considers and discusses aspects of the management of the D’Oyly Carte Opera Company in the twentieth century since the death of its founder Richard D’Oyly Carte, and concentrates on key events that contributed to its demise in 1982. In this book, Paul Seeley follows the analytical model that proposes no single factor triggered the collapse, but rather several, both external and internal. In the case of an opera company the external factors may include public taste and market forces, but more significant are the internal factors such as the management decisions taken in response to external factors and how these compare with the original artistic aims, aspirations and business models of the founder. This is a study by someone with close observation of the administration; at the 1982 demise, Seeley was assistant to the company manager, having earlier served on the music staff. The book is a must-read for music historians, theatre historians and arts-management professionals; as an uncompromisingly critical history of the D'Oyly Carte Opera Company it is designed to serve a wider public, not just the Gilbert and Sullivan opera specialist, but anyone keen to debate the desirability of private or public sponsorship of the performing arts.

Not one of some seventy plays written by the most popular playwright of the English stage in Victoria's time is known to anyone but archivists today. That same fate befell the works of England's most honored composer of the period. His oratorios, odes, symphonic music, an opera--are all but silent now, save two incidental pieces (you have heard of them: "The Lost Chord" and "Onward Christian Soldiers"). But rarely have the serious works of contemporary geniuses more roundly flunked the test of time. Fame is fleeting. Yet join these two forgotten names with an ampersand, and you get Gilbert & Sullivan. Now fame is forever - or for a century and more, at least, and surely that's forever on a comic-opera stage. Gilbert & Sullivan revolutionized the theatre world, and to this day that world is a happier place because of their innovations. It was 1875 when Trial by Jury first dazzled London and (in a pirated version) New York audiences with the color and with and bounce of a Gilbert & Sullivan show. So the start of Gilbert & Sullivan's second century provides a fine occasion to look again at the story behind these amazing comic operas. The lives of William Schwenck Gilbert (1836-1911) and Arthur Sullivan (1842-1900) were as dramatic, amusing, far-fetched, throat-catching--and scenic--as their stagecraft. Beneath the two men's enormously popular collaborations were two hearts that beat as two. They simply did not get along. The trigger-tempered Gilbert, with his razor tongue and steady work habits, couldn't understand Sullivan's amiable procrastinations and easy social successes. Sullivan was convinced that his real genius was expressed by his prestigious music. Yet success after success forced the team to stay together for fifteen glorious years under the aegis of the polished Richard D'Oyly Carte. Then the whole thing blew up in a tragicomic quarrel about a carpet. If that plot resembles a Victorian romana a clef, so be it. Fictional romances exhibit no more posh settings, beautiful women, and crackling argument. There's even a touch of royalty, and a few absurdities, as well as a tragic climax. --from dust jacket.