Gilbert and Sullivan
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A01=Regina B. Oost
audience
Author_Regina B. Oost
British cultural identity
Captious Critic
Carte's Theaters
Carte’s Theaters
Category=AVLF
Category=JBSA
Category=NHTB
Comedy Opera Company
D'Oyly Carte Opera Company
Disorderly Behavior
eq_art-fashion-photography
eq_bestseller
eq_history
eq_isMigrated=1
eq_isMigrated=2
eq_music
eq_nobargain
eq_non-fiction
eq_society-politics
Family Likeness
gaiety
Gaiety Theatre
george
Good Life
grossmith
Learned Judge
library
Lovesick Maidens
members
middle-class audiences
morgan
Morgan Library
Nautical Melodrama
nineteenth-century performance
Opera's End
operas
Opera’s End
Queue System
savoy
Savoy opera audience analysis
Savoy Operas
Savoy Theatre
Savoy Tradition
School For Scandal
Sir Marmaduke
Souvenir Programs
Sullivan's Operas
sullivans
Sullivan’s Operas
Theatre Museum
Theatre Playbill
theatrical patronage studies
Victorian theatre history
West End Managers
West End Theaters
Young Man
Product details
- ISBN 9780754664123
- Weight: 453g
- Dimensions: 156 x 234mm
- Publication Date: 28 Nov 2009
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Hardback
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Making use of archival resources in the United Kingdom and the United States, Regina B. Oost examines advertisements, promotional materials, and programs, as well as letters, diaries, and account books, to reconstruct the ways in which Richard D'Oyly Carte, W.S. Gilbert, and Arthur Sullivan attracted and shaped the expectations of theatergoers. Her findings place the Savoy operas in the context of other West End productions, considering similarities between Carte's promotional methods and those of managers Henry Irving, John Hollingshead, and Marie and Squire Bancroft. While all of these managers astutely understood patronage of a middle-class audience to be key to their success, the Savoy collaborators made strategic use of circumstances unique to their situation to distinguish Gilbert and Sullivan operas from contemporary theatrical fare. From Trial by Jury (1875) through The Grand Duke (1896), the Savoy operas celebrated the commodity culture beloved of the urban middle classes, validated a moral code that secured the social privileges audience members cherished, and ultimately provided a new model of British national identity that replaced the agrarian ideal espoused by earlier generations. Written in admirably accessible and jargon-free prose, Oost's book will appeal to scholars of theater history, literature, music, and popular culture, as well as general readers interested in Gilbert and Sullivan and the history of the D'Oyly Carte Opera Company.
Regina B. Oost is Chair of the Department of English and Professor of English at Wesleyan College, Georgia, USA.
