Items on this page have mostly (but not exclusively) already sold. Although the main aim of this site is not to be educational, the programmes we have sold in the past form an interesting record of the work of Gilbert, Sullivan and D'Oyly Carte. Items are listed in date order, according to printing date of the item (where known) and hopefully this page will be of interest to researchers and collectors. Titles of items relating to just Gilbert appear in PINK, Sullivan's works are in BLUE and joint works are GREEN. London opening night dates are given in purple. Early items which are currently for sale will be found here on the site.

UNCLE BABY

What is generally believed to have been Gilbert's first produced play, Uncle Baby, was a curtain raiser to John Brougham's drama Bel Demonio at the Royal Lyceum Theatre. It opened on 31st October 1863, and was not well received by the critics, which may explain why Gilbert conveniently forgot to mention it in later years. It had its final performance on December 19th, having run for only about 43 performances. This example of the programme dates from November 30th and is in the large double-page format typical of early British theatre bills.

ROBERT THE DEVIL

Gilbert's opera, Robert the Devil was the first production at the new Gaiety Theatre on 21st December 1868. This programme dates from January 30th 1869, when the piece was preceded by the curtain raisers On the Cards and The Two Harlequins. It includes a full page of extracts from London newspapers, reviewing both the venue and the entertainments.

ROBERT THE DEVIL

By March 29th 1869, Robert the Devil was preceded by T.W. Roertson's play Dreams and The Two Harlequins. There had been a few minor changes in the cast, but the title role was still played by Nellie Farren. The piece ran until at least April 19th, but had definately been withdrawn by May 17th, so ran for less than 150 performances.

ROBERT THE DEVIL

Robert the Devil was in fact a parody of Meyerbeer's opera Robert Le Diable and was the last in a series of three such burlesques. It was revived at the Gaiety Theatre many times. This programme dates from June 1871, when the piece followed a "new" arrangement of Balfe's, Letty, the Basket Maker.

THESPIS

The first Gilbert & Sullivan collaboration opened at the Gaiety Theatre on 26th December 1871. This early example of the programme was printed sometime before Jan 13th. The companion piece, Dearer Than Life, was replaced by Ganymede & Galatea and Off the Line on 20th January, and by Paul Pry on 26th February. Thespis closed on 8th March 1872 and was given just one revival, at Mdlle. Clary's benefit on 28th April 1872.

THESPIS INTERRUPTED

Thespis ran for 63 nights, not 64 as often stated, as there was a one-night break in the run. Most London theatre managements declined to present a fully costumed performance on Ash Wednesday, in order to show respect for the start of Lent. Hollingshead therefore replaced Thespis on 14th February 1872 with a Miscellaneous Entertainment. By a remarkable coincidence George Grossmith (presumably the younger) gave a parody of a Penny Reading as part of a bill which also featured ventriloquists and performing dogs !

PYGMALION & GALATEA

Gilbert's Pygmalion & Galatea opened at the Theatre Royal Haymarket on December 9th 1871. This programme is for the 40th performance, on January 25th 1872; Mr Kendal and Miss Robertson in the title roles. The play was preceded by a Buckstone farce, The Irish Lion, and followed by Charles Mathhews' farce, Uncle Foozle.

CREATURES OF IMPULSE

This Gilbert play first opened at the Royal Court Theatre on 2nd April 1871. Edward Righton recreated his role of the miser Boomblehardt, in this revival, from October 1872, although most of the cast is different from that seen at the premiere. Interestingly, it is still described as a "New Fairy Tale".

PYGMALION & GALATEA

The author sanctioned a tour of Pygmalion & Galatea by L. J. Sefton's London Comedy Company, the production reaching Worcester on 26th December 1872, where it played for nine nights. The programme includes many quotes from reviews, and gives details of the afterpiece, F. C. Burnand's King Kokatoo!.

W.H. LISTON BENEFIT

Gilbert's "fairy comedy", The Wicked World, had opened at the Haymarket Theatre on 4th January 1873, but one scene was performed at the Theatre Royal Drury Lane on March 22nd of the same year for the benefit of Mr and Mrs W. H. Liston. Gilbert sat on the steering committee for the event, as did Charles Dickens and many other great names of British theatre . Henry Irving appeared in a scene from Charles I.

THE HAPPY LAND

Written under a pseudonym, F. Tomline, with Punch writer Gilbert A'Beckett, W.S. Gilbert burlesqued his own play, The Wicked World, in his satrirical piece, The Happy Land, which opened at the Royal Court Theatre on March 3rd 1873. This programme dates from some time after March 6th, when the names of the "mortals" were changed, in order to disguise the portrayal of Gladstone and other leading politicians. In an interesting note in the programme, Gilbert has given permission to his alter ego to pastiche his own work !

CREATURES OF IMPULSE

Gilbert's Creatures of Impulse was revived at Queen's Theatre in 1873, this programme dated by hand for July 8th of that year. Part of a triple bill with Vesta's Temple and Jerrold's Black-Ey'd Susan, the Gilbert play still featured Edward Righton in his original role as Boomblehardt. The back page has an advert for the Royal Court, where Gilbert's The Happy Land was still playing.

SULLIVAN NIGHT

Even before Trial by Jury, Sir Arthur was an established enough composer to be afforded his own night at the Covent Garden proms. October 18th 1873 was "Sullivan Night", and the entire first half of the concert was composed of his work, conducted by the man himself. As well as songs (including "Little Maid of Arcadee" from Thespis, the audience heard the Tempest and Merchant of Venice material, the Cello Concerto and the "Overturo di Ballo".

THE REALM OF JOY

The Realm of Joy by Gilbert (but written under the pseudonym of F. Latour Tomline) opened at the Royalty Theatre on 28th October 1873. This programme is from November 4th, soon before the title of the piece was changed to The Realms of Joy.

THE WEDDING MARCH

Gilbert's play The Wedding March, also written under his pseudonym, F. Latour Tomline, opened at the Royal Court Theatre on November 15th 1873, and settled in for a good run. This programme is from about a month after the opening night, as it is dated 18th December, but the play ran until at least March 1874. It was definately withdrawn before 20th May 1874.

COX & BOX

Possibly a previously unrecorded performance of Cox & Box, this production appeared at the Gaiety Theatre during the week of Sept 7th 1874. The composer's brother, Frederic Sullivan, played Cox, with Arthur Cecil as Box and J.G. Taylor as Bouncer. The evening commenced with Offenbach's A Mere Blind and ended with the 2nd and 3rd acts of the same composer's The Princess of Trebizonde.

MERRY WIVES OF WINDSOR

Arthur Sullivan composed "new and original music" for the last act of a production of Shakespeare's The Merry Wives of Windsor which opened at the Gaiety Theatre on December 19th 1874. The words to an interpolated song for Anne Page were set by Algernon Swinburne. This programme, dated 29th January 1875, also credits Sullivan with having selected the chorus of children which sang in the piece.

TRIAL BY JURY announced

Trial By Jury is announced in this programme from the Royalty Theatre dated 2nd February 1875. The notice reads, "In preparation, a New Comic Opera, composed expressly for this Theatre, by Mr Arthur Sullivan, in which Madame Dolaro and Miss Nelly Bromley will appear". In the event of course, although Selina Dolaro would continue to play the title role in La Perichole there was to be no role for her in Trial by Jury. Richard D'Oyly Carte's name appears on the cover, as "manager" of the theatre.

TRIAL BY JURY

Trial By Jury opened at the Royalty Theatre on 25th March 1875, playing as an afterpiece to Offenbach's La Perichole. The true initial run was rather short, as the theatre closed on June 12th, the company taking the production on tour. Although probably issued on 10th April 1875, it is possible that this programme was printed even earlier, as it does not mention the Associate, a role which is generally believed to have been named after 1st April. All the original cast members were in place at this exceptionally early date.

TRIAL BY JURY

Following their tour, the Trial By Jury company re-opened at the Royalty Theatre on 11th October 1875, again playing with La Perichole. By the date of this programme, 16th November, there had been some substantial cast changes and the piece was now described as "successful". The operetta was withdrawn on 18th December, having totalled an initial, if fractured, run of 131 performances.

TRIAL BY JURY

On January 13th 1876 the production moved to the Opera Comique, where it was initially an afterpiece to Offenbach's Madame L'Archiduc. This Opera Comique programme, dated 14th February 1876, features the composer's brother Fred Sullivan in his original role as the Judge. Counsel, Usher and Foreman were all played by actors who had appeared at the Royalty. Gilbert and Sullivan appear on the cover and the programme is full of line drawings of characters in both pieces.

TRIAL BY JURY

During the 96 performance run of Trial by Jury at the Opera Comique it shared the bill with three different operettas. On this programme it was forepiece to Offenbach's Genevieve de Brabant, starring Emily Soldene, which dates it to between 18th March and April 1st 1876. Fred Sullivan was still The Judge and understudy "E. Cambell" (Charles ?) was The Defendant. Foreman was W.S. Penley, later famous in the title role of Charley's Aunt.

PYGMALION & GALATEA on tour

Gilbert's 1871 play Pygmalion & Galatea reached Brighton's Theatre Royal on 25th September 1876, performed by John Chute's Olympic Gaston company, and starring John Nelson and Carlotta Leclercq.

TRIAL BY JURY

Trial By Jury was first revived on March 3rd 1877 at the Strand Theatre, as afterpiece to Tom Taylor's Babes and Beetles and Charles Matthews' The Dowager. After the first two weeks George Leith took over the role of Judge from J.G. Taylor, but otherwise the cast remained the same for the whole of the 73 performance run. This programme is dated for 27th March 1877.

ANSON BENEFIT

On April 21st 1877, at 2pm, the Opera Comique hosted a benefit performance for the actor G.W. Anson. Of most interest to us here is the appearance of Lionel Brough singing a new musical sketch by George Grossmith (then "Junr.", but our Gee Gee), "The Muddle Puddle Junction Porter". Earlier in the afternoon Ellen Terry appeared as Helen in a scene from Knowles' The Hunchback.

COMPTON BENEFIT

Trial By Jury was the highlight of Mr. Compton's benefit at Drury Lane on March 1st 1877. George Honey was Judge, leading a distinguished cast which included George Grossmith as a juryman, making what was probably his first appearance in a Gilbert and Sullivan opera, almost nine months before the opening of The Sorcerer. Sullivan conducted the orchestra, but no actor is credited with the role of Associate, leaving open the possibility that this was Gilbert, which would make this one of the very rare occasions when G&S appeared together in public.

PRINCESS TOTO on tour

Princess Toto, a comic opera by W.G. Gilbert, with words by Frederic Clay had opened in Nottingham on June 26th 1876, making a short tour of the UK before opening at the Strand Theatre on 2nd October of that year. Produced by Kate Santley, who played the title role, Princess Toto ran for just 48 performances in London before setting out on tour again, reaching Liverpool for the second time on August 6th 1877. W.H. Seymour, who would be D'Oyly Carte's stage manager for twenty years from 1881, played Zapeter at the Alexandra Theatre and was joined in the cast by other key members of the Royalty Theatre company, including Amy Clifford who had appeared as First Bridesmaid in the first run of Trial by Jury.

SORCERER - FIRST PROGRAMME

The Sorcerer opened at the Opera Comique on 22nd November 1877, and it appears that no special programme was produced for opening night. However, this copy was issued during the first two weeks of the production, as it gives Act 2 as "Market Place in the Village", and has typographical errors consistent with the example reproduced by Reginald Allen, and which he considers likely to have been the first issued. This copy is dated for third night.

HMS PINAFORE- OPENING NIGHT

H.M.S. Pinafore opened at the Opera Comique on May 25th 1878. This programme was intended for use on both the first and second nights and it bears both dates. Only five hundred were printed, and of these just a handful are known to have survived.

HMS PINAFORE- 3rd NIGHT

This H.M.S. Pinafore programme is reliably dated in pencil for 28th May 1878, the third performance. This was the opening night of the first revival of the forepiece, Spectre Knight, and shows that Second Lady was played on this occasion by Miss Hervey, not Miss Muncey, as has been stated.

HMS PINAFORE

This H.M.S. Pinafore programme is reliably dated in pencil for 7th August 1878, and is remarkable in that Ralph Rackstraw was played by a Mr Ferran, who is not listed in Rollins and Witts or any other source that we've seen, although this may be a mis-print for D'Arcy Ferris who played the role on occasion. Buttercup was Emily Cross, here appearing in the role much earlier than has been previously documented.

HMS PINAFORE

During the run of H.M.S. Pinaforethere were occasional cast changes. This example probably dates from either August 1878 or February 1879, as Josephine is played by Alice Burville.

OLIVIA

W.G. Wills' play, Olivia, opened at the Court Theatre in London on 30th March 1878, and included a Sullivan part-song, "Morn, happy morn". This programme, crediting Sullivan with the "trio" in Act Two, is from Liverpool, where the play appeared for twelve nights from 21st October 1878.

HMS PINAFORE

Highly decorated programme featuring the original cast of Pinafore. The use of gold and full-colour litho would suggest that this was intended for use in only the very best seats, or at a special performance, although it is frustratingly undated. It must date from before the split between D'Oyly Carte and the Comedy Opera Company on 1st August 1879.

LA POULE AUX OEUFS D'OR

A Sullivan curiosity ! This English version of a French "feerie" at the Alhambra boasted music by a number of composers including Rossini, Offenbach and one "A. Sullivan". It must be presumed that some of his themes were borrowed, presumably with his permission. The programme, dated 15th March 1879, includes illustration of scenes, and much detail of the settings and dances. Emily Soldene played Princess Fanfreluche.

GRETCHEN

One of the biggest flops of Gilbert's career, Gretchen, his play "suggested by the leading incidents in Goethe's Faust", opened at the Royal Olympic Theatre on March 24th 1879. It had closed by April 3rd, less than two weeks later. The cover of the programme carries a virtual essay by Gilbert anxious to explain to the audience that he was not attempting to put Faust on stage in its entirety, but simply to "re-model ... the story of Gretchen's downfall".

HMS PINAFORE (PIRATE PRODUCTION)

On August 1st 1879 a rival production of Pinafore opened in London, produced by the Comedy-Opera Company. This programme dates between September 8th and October 25th, when the show was playing at the Royal Olympic Theatre. On the cover, the production company claim that the piece was written "expressly for them by Messrs. Sullivan and Gilbert" !

PINAFORE AT THE PROMS

It is well known that during the first run of HMS Pinafore, Sullivan strategically programmed a selection from the piece in occasional Covent Garden promenade concerts, in what was an apparently successful attempt to boost sales of tickets at the Opera Comique.. On this occasion, Saturday August 23rd 1879, Sullivan was to have conducted, but it is noted that during his "temporary and unavoidable absence" Alfred Cellier would undertake his duties. The Pinafore selection was arranged by Hamilton Clarke.

HMS PINAFORE (PIRATE PRODUCTION)

The pirated Pinafore went through a staggering succession of cast members during its 91 performance run in two theatres. By 27th September 1879 the piece, at the Olympic Theatre, featured a pair of sopranos, Pauline Rita and Kate Sullivan, sharing the role of Josephine, playing alternate performances. Frederic Wood, as Ralph, is not listed in Rollins & Witts; and the programme also names Mr Dymott as Bob Beckett, the only actor from the original to take his chance with the producers of the rival production.

SWEETHEARTS

Lydia Thompson's company appeared in Liverpool on 17th November 1879, where they played a triple bill for six nights, including Gilbert's Sweethearts starring Miss Thompson as Jenny, with Charles Vandenhoff as Harry.

HMS PINAFORE

Attractive H.M.S. Pinafore programme, with cover advert for The Children's Pinafore and dated in pencil for 13th December 1879. Many of the roles are played by cast members who would not be expected to appear at this date. Frank Thornton is Deadeye; Elinor Loveday is Josphine; Mr Montelli is Bobstay; Mr Ramsay is Beckett; and Haidee Crofton, Hebe.

HMS PINAFORE

The cover of this similar programme states that it was produced for the "last performances" of Pinafore. It is dated by hand for Feb 9th 1880. After 571 performances the piece closed on Feb 20th. Again, there are a few unexpected cast members, most notably Fanny Holland as Josephine. The programme is decorated inside and out with scenes from the opera, and includes many plugs for the Children's Pinafore and an announcement that Pirates is due to open "at Easter".

PIRATES OF PENZANCE

The Pirates of Penzance was first seen in London at the Opera Comique on April 3rd 1880, where it ran for 363 performances, closing on April 2nd of the following year. This unusual programme printed on pale lilac paper, dates from before July 1880, as it features all the original London cast.

PIRATES OF PENZANCE

An unusual programme for The Pirates of Penzance at the Opera Comique. Although it clearly dates from before July 1880, Ellen Shirley plays Mabel. A note explains that this actress would "sustain the part during Miss Hood's indisposition". This would therefore appear to represent Ellen's debut in a solo G&S role, at least 6 months earlier than previously recorded. Otherwise, the cast is that which had been seen on the London opening night.

PIRATES OF PENZANCE

This strange programme was probably printed in September 1880, and certainly after July, when some of the cast returned from New York, having created their roles in the States. It is unusual in that Frederic is played by one "F. Seymour". Was this W.S. Seymour, the Opera Comique stage manager who deputised for George Power on odd occasions during the run ? Billie Barlow, as Isabel, is credited as "M. Barlow". It is possible that her real initial has been used here in error, as she had only recently adopted the name Billie.

CHILDREN'S PINAFORE on tour

The Children's Pinafore had opened at the Opera Comique on Dec 16th 1879, playing 78 matinees over the Christmas season. On August 2nd 1880 this company set out on tour, reaching Liverpool in November, where the final eight performances at the Alexandra Theatre were given following November 15th. Unlike in London, the children performed in the evening as well as at Wed and Sat matinees. The cast was as had been seen in London, except that Hebe was Alice Roe and Bob Beckett was played by Master R. Presano.

PIRATES OF PENZANCE

The cover of this attractive programme includes an announcement for the revival of the Children's Pinafore to be played during the Christmas holidays, so it most likely dates from just prior to that production's December 22nd 1880 return to the Opera Comique.

PIRATES OF PENZANCE / IN THE SULKS on tour

D'Oyly Cartes "B" company arrived in Liverpool on 28th February, where they presented The Pirates of Penzance for two weeks. Half way through this engagement at the Alexandra Theatre the cast became known as "C" company. This was also a period of change-over among the lesser female roles, and during the first week (at least) Edith was Agnes Mitchell, Kate was Lucy Millais and Isabel was Ethel Maribel. In the curtain raiser, In The Sulks, Louis Herbert played Liverby, Lucy Millais his wife and Joseph was W. T. Hemsley.

CHILDREN'S PINAFORE on tour

The Children's Pinafore set out on tour again after the second Christmas season of matinees at the Opera Comique ended on January 28th (or Feb 11th ?) 1881. Despite this being a short tour, ending on July 2nd, the company returned to Liverpool for a twelve-night engagement from 30th May 1881. There were more cast changes from the original Opera Comique production, with George Coburn as Ralph and Edith Stanfield as Hebe. By this time Bob Becket was now Anthony Presano while (his brother ?) R. Presano had moved across to play Bill Bobstay. It is interesting that in both Liverpool programmes Sir Joseph is played by "James E. Pickering", while in London he had been listed as Edward.

PATIENCE / UNCLE SAMUEL

Patience opened at the Opera Comique on April 23rd 1881, where it played for 170 performances before closing on October 8th, ready to reopen immediately at the new Savoy. This programme, dated 6th May 1881, is for the complete original cast, before Richard Temple was replaced in September, and includes the following notice: "The music will be published in a few days. Orders taken by the attendants will be executed post free on the day of publication". The forepiece, Uncle Samuel, had premiered on 3rd May 1881.

PINAFORE / SORCERER on tour

The D'Oyly Carte "B" Company arrived at the Theatre Royal Opera House in Southampton on 20th June 1881, presenting H.M.S. Pinafore on Monday, Friday and Saturday evenings, and The Sorcerer on Tuesday, Wednesday, Thursday and Saturday afternoon. Each performance was preceded by In the Sulks. The programme also carries an announcement that the Children's Pinafore would be appearing at the theatre for a week from June 27th 1881.

PATIENCE

This programme, dated September 24th 1881 shows no forepiece as it was for a matinee performance. The cast is as opening night, but with one important exception: Ellen Shirley in the title role. Although the programme states that this was her first appearance at this theatre, she had actually filled in for Marion Hood as Mabel on occasion in the previous January.

PATIENCE / MOCK TURTLES

Patience transferred to the new Savoy Theatre on 10th October 1881. Programmes are hard to date accurately, as we have to rely on dates written in by the original theatregoers. To add to the confusion, the programmes were printed in at least two designs and in many colour variations. This paper one, issued to those sitting in the cheaper seats, was originally bright orange paper but has since faded to beige.

PATIENCE / MOCK TURTLES

The curtain raiser, Mock Turtles, was probably added to the bill around 15th November 1881, with Courtice Pounds creating the role of Mr. Wranglebury. This pale green cardboard programme, printed in iridescent green ink, is dated in pen "Nov 10th 1881" but this is probably a mistake - 1882 is much more likely as Arthur Law plays Wranglebury. Walter Browne appears as the Colonel; otherwise the Patience cast is as opening night.

PATIENCE / MOCK TURTLES

This programme is similar, though decorated with scenes from the opera in iridescent red ink. Printed on card, it would have been given to those in more expensive seats. Patience ran for a further 408 performances at the Savoy, closing on November 22nd 1882 after a total run of 578 performances.

PATIENCE / MOCK TURTLES

One of the best designed decorative souvenir programmes we have seen, presumably produced to mark a special occasion, or possibly just for those sitting in boxes. Walter Browne played the Colonel. Printed in blue and gold, the cover depicts the military men in aesthetic guise in the centre of a blue and white china plate, while the inside has four vignettes from the opera and the portrait heads of Gilbert & Sullivan. The rear cover has an advert for the vocal arrangements.

CHARLES MORTON BENEFIT

On Friday November 4th 1881 Her Majesty's Theatre was host to a benefit for Charles Morton by a "grand combination of theatrical managers and artistes". Cellier conducted Leonora Braham and Rutland Barrington in a scene and duet from Patience. The rest of the bill was a mix of serious and light-hearted pieces and musical hall turns.

FOGGERTY'S FAIRY

W.S. Gilbert's, Foggerty's Fairy, was a play ahead of its time, and though well received by some critics at its December 15th 1881 opening at the Criterion Theatre, it closed on Jan 6th 1882 after about 25 performances. Gilbert took a curtain call on the opening night, when this programme was issued.

WRECK OF THE PINAFORE

New Zealander Horace Lingard's sequel, The Wreck of the Pinafore, had been seen in the Antipodes and America before the composer, Luscombe Searelle (real name, Isaac Israel) had the gall to sail it into the Opera Comique (where the original had premiered) on May 27th 1882. The characters of Pinafore are wrecked on a desert island: Josephine and Ralph don't make a perfect match, and she switches to Sir Joseph, after Buttercup admits to lying about the switch in babyhood. Greeted with loud derision on opening night, The Wreck was soon wrecked, lasting only four performances.

PATIENCE on tour

The number 2 Patience company started touring the UK on Jan 2nd 1882, while the piece was still on stage at the Savoy. By March 27th the tour had reached the Royal Albert Hall in Reading, where it played for one week. Frederick Federici played the Colonel, but his name is mis-spelled in the programme.

PATIENCE on tour

Early tour programme from the Theatre Royal and Opera House in Bolton, where the number 2 Patience company played for six nights from June 19th 1882. Superb example of Victorian typography produced by the local printer. This week of performances is unrecorded in Rollins & Witts.

PIRATES / A SILENT WOMAN on tour

Pirates continued to tour in the provinces years after the London production had closed. On 25th September 1882 the "No. 1 Pirates Company" was nearing the end of its existence when it played six nights at the Royal Court Theatre in Liverpool. W.T Hemsley played Samuel as well as Arthur Merton in T. H. Lacy's farce "A Silent Woman" which opened the bill. Jospephine Findlay also played two roles, Isabel and Marianne Sandford, while C.J. Stanley appeared in just the curtain raiser, as Mr. Sandford.

IOLANTHE - OPENING NIGHT

Iolanthe was the first piece to have its premiere at the Savoy Theatre, opening on 25th November 1882. This opening night programme states the date inside, and also notes that "on this occasion the opera will be Conducted by the Composer". This cheap-seats version is printed on an odd ribbed paper of pale green.

IOLANTHE / MOCK TURTLES

This programme, issued to those in better seats, is something of a classic, famously incorprating the Savoy's electric light bulbs into the decorative scheme. It dates from between December 1882 and February 1883, as Leila is played by Julia Gwynne, and Celia by May Fortescue. Rosina Brandram appears in the curtain raiser with Eric Lewis.

IOLANTHE

This programme, of the type issued to those in cheaper seats, dates from between February and August 1883, during which period Leila was played by Maud Cathcart.

IOLANTHE matinee

An undated programme, with full first cast, there is no clue when this may have been produced. The lack of curtain raiser suggests that it was for use at a matinee. Iolanthe ran with Mock Turtles until 30th March 1883, and then A Private Wire until the end of its run.

IOLANTHE on tour

lolanthe arrived at the Royal Opera House in Leicester on May 28th 1883. Frank Thornton starred as Chancellor with Laura Clement as Phyllis. The curtain raiser was Cups and Saucers.

SAVAGE CLUB ENTERTAINMENT

On Wednesday 11th July 1883 George Grossmith, John Maclean (Thespis), Lionel Brough and many others entertained members of the Savage Club during the annual Ball at the Albert Hall. The Prince and Princess of Wales were in attendance, and the programme included music by Sullivan, the recitation of a Bab Ballad, and much else of interest.

IOLANTHE on tour

Early tour programme for Iolanthe and Cups and Saucers at the New Theatre Royal in Bristol, where it played for six nights from November 12th 1883. Frank Thornton must have been rather busy, playing Lord Chancellor and being Stage Manager ! The first provincial production had opened a little over a month after the London premiere.

IOLANTHE /A PRIVATE WIRE

The cast changes in Iolanthe during its long run affected mainly the minor characters. This version of the regular programme, with rather different artwork, dates from after November 1883, when Warwick Gray was playing Private Willis. Iolanthe closed on Jan 1st 1884, after a run of 398 performances.

PRINCESS IDA

Princess Ida opened on 5th January 1884, and closed on October 9th, after a disappointing run (for a G&S opera) of just 246 performances. This exceptional programme was produced for those in the better seats, and has no advertisements of any kind. Dated 22nd Jan 1884, it describes the opera as being "in a prologue and two acts". Despite the early date, Ada was already being played by Lilian Carr. It is decorated inside with characters from the piece and is printed in maroon and gold.

PRINCESS IDA

Superficially similar to the souvenir shown above, but note that the cover has been made into an advert, so that it now reads, "Princess Ida uses Edenia, the perfume supreme" ! It also has further adverts inside, and describes the opera as having three acts. It is printed in brown and gold.

This opening night programme for the first provincial performance of Princes Ida, at the Royalty Theatre in Glasgow, 4th Feb 1884, adds a "The" to the title of the piece, both inside and on the cover. By this time Richard D'Oyly Carte was clearly geared up to a speedy launch in the provinces, this production opening within a month of the Savoy premiere.

PRINCESS IDA

The regular Princess Ida souvenir programme has superb artwork by Alice Havers, with four colour, and four sepia, illustrations from the opera. The back pages use the characters as frames for advertisements. This example names Lilian Carr as Ada, but otherwise has the opening cast.

PRINCESS IDA tour herald

This four page herald uses Havers' artwork, the cover being almost the same as the Savoy programme shown above although it is much smaller, just 4.5" x 3.5". It mostly consists of adverts, but page two, shown at left, was used to promote forthcoming performances by the Princess Ida company on tour.

PRINCESS IDA

Dated for 7th March 1884, this Princess Ida programme shows all the opening night cast in place except Lilian Carr, who replaced Miss Twyman as Ada during the first month. A contemporary pencil notation suggests that Kate Chard, who usually played Psyche, took the lead role on this occasion.

PRINCESS IDA

An undated programme, this example has the same cast, but is printed on pale green paper.

PRINCESS IDA LAMPOON

Princess Ida, despite not being a huge success, was clearly considered sufficiently well known by March 15th 1884, for "Funny Folks" the satirical newspaper, to feature a pastiche of the opera on the cover. In this instance Ida's brothers are played by "Parney, Randy & Staffy" (Charles Stuart Parnell, Randolph Churchill and Stafford Henry Northcote). They threaten to obstruct a shadowy Gladstone with the words: "Politics we bar / Obstruction our bent / On the whole we are / Not intelligent".

PRINCESS IDA on tour

Early tour programme for Princess Ida at the New Theatre Royal in Bristol, where it played for six nights from June 9th 1884. Although not named in the programme, this tour marked Henry Lytton's first D'Oyly Carte appearance, in the chorus; his wife, Louie Henri played Ada. Fred Billington, who had, by default, created the role of Sergeant of Police in Paignton in 1879, plays Hildebrand, and Hilarion is played by Courtice Pounds, who would go on to create the roles of Fairfax and Marco at the Savoy.

PRINCESS IDA TICKET

Rare ticket for Balcony seat at the Savoy Theatre for the Wednesday June 18th performance of Princess Ida in 1884. The reverse has a mini seating plan of the balcony, with all seats numbered, showing that seat 147 was in the back row.

Selected as the finale of the annual Actors Benevolent Fund Matinee, at Drury Lane on June 19th 1884, was a selection from Princess Ida, featuring Durward Lely, Charles Ryley and Henry Bracy. Also on the bill that afternoon were, among many others, Henry Irving, Ellen Terry, and Kate Vaughan. Madame Patey and Mr Santley also sang, and it is maybe not entirely coincidental that Richard D'Oyly Carte is named on the cover as Vice-President of the charity !

COMEDY & TRAGEDY / PYGMALION & GALATEA

Gilbert's 1871 play Pygmalion & Galatea was revived at the Royal Lyceum Theatre on December 8th 1883, with Mary Anderson making her British debut as Galatea. On January 26th 1884 a new Gilbert afterpiece, Comedy & Tragedy, was added to the bill. Following a successful Anderson toured the British Isles, before returning again to the Lyceum. She appears on the cover of this lavish souvenir programme, dressed as the statue Galatea. It is dated September 6th 1884, probably the first night of the second part of the Lyceum run.

SORCERER / TRIAL REVIVAL OPENING NIGHT

D'Oyly Carte had no original opera to put into the Savoy following the relative failure of Princess Ida. The Sorcerer was therefore given a new act 2 opening, and paired with "Trial" for the opening night of the first DOC revival on October 11th 1884. As stated in this programme, Sullivan conducted the first performance.

SORCERER / TRIAL REVIVAL

D'Oyly Carte continued to use old artwork on his full-colour programmes for some time after each new opera opened. This Princess Ida cover was used for the first revivals even a month after they opened.

SORCERER / TRIAL

Programme for the first revival of The Sorcerer and Trial By Jury, which ran together for 150 performances, until March 12th 1885. Durward Lely left the cast of Trial in mid-November, so this example must have been printed earlier.

THE WEDDING MARCH

Gilbert's play, The Wedding March had premiered in 1873, so was perhaps a strange choice for Eugene C. Stafford's Annual Matinee at the Gaiety Theatre on 4th December 1884, with a cast headed by Lionel Brough and Lydia Thompson. The programme is exceptional, with a portrait of Stafford on the cover, surrounded by a view of the Gaiety proscenium arch, while inside is a view from the stage, with seats and boxes numbered. It seems likely that the chap was employed at the venue, possibly in the box office.

COX & BOX

Presented at the Royal Court Theatre, with Richard Temple, Arthur Cecil and Furneaux Cook, as part of a series of Wednesday afternoon matinees. This programme was produced for the 10th Dec 1884 performance, when the Sullivan piece was joined on the bill by My Milliner's Bill and Twenty Minutes Under an Umbrella.

CHILDREN'S PIRATES OF PENZANCE

From Dec 26th 1884 until Feb 14th 1885, a company of children performed a series of matinees of The Pirates of Penzance at the Savoy. This four-sided foldout souvenir programme depicting the child actors on one side and full details of cast etc on the back was among the most elaborate and expensive ever produced by D'Oyly Carte.

COX & BOX

Although undated, this programme was produced for the 7th Jan 1885 performance of Cox and Box with Temple, Cecil and Cook. It includes details of the 14th Jan entertainments which included Weedon Grossmith removing brother George's tooth !

Programme, with decorative cover, for a "special dramatic performance" on Jan 22nd 1885, by the Vaudeville Club, of Daisy Farm followed by Cox & Box. St George's Hall, Langham Place, was the venue, and Bouncer was played by S. Ambrose. The title roles were taken by W.J. Strip and J. Stephens.

SORCERER / TRIAL REVIVAL

There was only one cast change during the short (150 performance) run of Sorcerer/Trial, and this programme dates from February or March 1885, when Jessie Bond was replaced as Constance by Alice Davies. An indulgence slip, pasted into the programme, shows that Lyn Cadwaladr played Alexis, due to the indisposition of Durward Lely. The run ended on March 12th 1885.

THE MIKADO

The Mikado opened at the Savoy on March 14th 1885 and didn't close until Jan 19th 1887. This programme has all the original cast members in place, and must date from the first few weeks of the run, as it doesn't include the character Go-To, added in April 1885.

PATIENCE BENEFIT

Although The Mikado was still running, the D'Oyly Carte stars Grossmith, Barrington, Braham & Brandram chose to present a scene from Patience at the Lyceum Theatre at 3pm on July 21st 1885 as part of a benefit performance for the Actors' Benevolent Fund. The conductor of the segment was F. Cellier. Mr. J.L. Toole (of Thespis) also appeared, as did Sarah Bernhardt, Henry Irving and Ellen Terry.

THE MIKADO

From rather later in the run, this programme does include Go-To, played by Rudolph Lewis. I've always had a soft spot for the role, as it was my first, in a school production. Eight words and nine whole syllables - what a star ! This example is in better condition than most.

Dated by hand for 13th March 1886, this programme is perhaps most interesting for the indulgence slip was has been pasted inside, showing that Jessie Bond was indisposed, and that her part was taken by Annie Cole. Although Cole is known to have played Pitti-Sing from Sept to Nov 1886 this may have been the first occasion she stepped out from the chorus to play a major part.

GOLDEN LEGEND SIGNED PROOF SCORE

Signed by Arthur Sullivan, and containing amendments to the stage directions in the hand of the lyricist Joseph Bennett, this bound set of proof pages dates from 1886. Although sold in February 2004, full details remain on the site, for the use of scholars and researchers.

MEYER LUTZ BENEFIT

On Monday 3rd May 1886 the Gaiety Theatre was host to a selection of scenes played for the benefit of composer Meyer Lutz. These included scenes from the Grand Opera Mephistopheles, the musical Little Jack Shepherd and the operetta Karl as well as recitations and solo pieces. Many names associated with Gilbert and Sullivan were among the performers, including Ellen Farren (Thespis), and Marion Hood (first London Mabel). The men included Durward Lely and Richard Temple.

MIKADO POSTER

The Mikado D-company tour reaching Bradford on Aug 30th 1886 where this large poster was overprinted with details of the week-long stay at the Theatre Royal. Strangely, the design appears to be based on an image of the first American little maids, featuring, from left to right, Geraldine St Maur, Geraldine Ulmar and Kate Forster.

DER MIKADO

In September 1886 a German-language version, Der Mikado oder Ein Tag in Titipu, opened in Vienna. This libretto has cover art featuring the title character and was probably produded not long after the Austrian premiere. It is the South German version of the text, and an interesting note at the top of the cover translates to something like, "Printed as a manuscript for the stage/theatres ", possibly indicating that it was originally owned by a cast member and used in rehearsal.

DER MIKADO

Mikado characters adorn this German sheet music which almost certainly dates from c.1886 and uses the same image of the title character, and surrounding decoration, as the cover of the early German libretto above.

RUDDYGORE - OPENING NIGHT

Ruddygore opened at the Savoy on January 22nd 1887. This opening night programme states the date inside, and also notes that "on this occasion the opera will be conducted by the composer". The souvenir has scenes from Iolanthe and Patience on the covers, and Pirates and The Sorcerer inside.

RUDDIGORE / THE CARP

On, or around, 2nd February 1887, the spelling of the opera's title was changed, for reasons of decency. By the time this souvenir programme was printed, on 6th April, Josephine Findlay was playing Rose Maybud for a short period. All the other original major cast members were in place.

RUDDIGORE POSTER

Ruddigore first appeared in the provinces at Newcastle on March 7th 1887, the C-Company tour reaching Bradford on June 13th where this large poster was overprinted with details of the week-long stay at the Theatre Royal. Rather naively executed, it shows Robin and Rose in front of the first act set.

TRIAL BY JURY

Another Lyceum benefit, this one for Amy Roselle on 16th June 1887. George Grossmith performed a "sketch", and Irving and Terry appeared in a scene from The Merchant of Venice. The afternoon concluded with Trial by Jury; lead roles taken by Rutland Barrington, Richard Temple, Rudolph Lewis, Geraldine Ulmar and Henry Bracy. Leading theatrical personalities of the day appeared in Court.

RUDDIGORE / THE CARP

This "cheap-seats" programme names Geraldine Ulmar as Rose Maybud. She had replaced Leonora Braham in May 1886. There are clearly some errors in Rollins & Witts concerning Ruddigore casts, as this programme also has Brandram as Dame Hannah, Aida Jenoure as Zorah, and Mr. Shirley as Sir Desmond. Interestingly, these cheap programmes include the names of the actors playing the Act Two ghosts, which do not appear in the more lavish souvenirs.

RUDDIGORE / THE CARP

Quite late in the Ruddigore run the souvenir programme was changed to include scenes from the actual opera being performed. This programme, dated 1st Nov, has Geraldine Ulmar playing Rose and Aida Jenoure as Zorah. It would also appear that Rosina Brandram returned to her role of Dame Hannah before the opera closed, four days later, on November 5th 1887, after 288 performances. A rather less impressive run than The Mikado !

THE MIKADO on tour

The Mikado toured the provinces with Patience in the latter part of 1887. This copy of the the programme of the first engagement of D-Company following a tour of Europe was originally owned by Ivy Bonheur (Yum-Yum), and she has written at the top "my first appearance professionally in Comic Opera". Bonheur's real name was Eveline Medora Gunning, and she was half sister of Frank Wyatt, who would go on to create the role of the Duke of Plaza Toro. The Mikado was performed at the Prince's Theatre in Manchester for three nights in the week of 12th September.

THE MIKADO & PATIENCE on tour

Barely three months after seeing Ruddigore (see poster above) Bradford audiences received D-Company, performing The Mikado and Patience. Each opera was given three times at the Theatre Royal in the week of September 19th 1887, and the programme did duty for both pieces. George Thorne was Ko-Ko with Fred Billington as Poo-Bah (sic). The only surprise in the casting was Mr Jones as Bunthorne's Solicitor, not Mr Cottrell as suggested by Rollins & Witts. As was often the case in the provinces the title of Patience was given an illegal apostrophe !

PINAFORE - FIRST REVIVAL

On November 12th 1887, following the early close of Ruddigore, Richard D'Oyly Carte was forced, once again, to mount a revival at the Savoy. Pinafore was given a run of 120 performances, closing on 10th March 1888. This example of the souvenir programme is dated 13th December 1887.

PINAFORE - FIRST REVIVAL

Cheap-seats version of the programme for the first revival of Pinafore. During the run there were cast changes affecting the roles of Josephine and Hebe, but here Geraldine Ulmar and Jessie Bond, who had appeared on the opening night in 1887, are still in place. After the performance George Grossmith gave his drawing room sketch, "Homburg; or Haunted By the Mikado", as an afterpiece.

PIRATES - FIRST REVIVAL

The Pirates of Penzance was given its first revival on March 17th 1888. It closed on 6th June, after just 80 performances - one of the shortest runs in the nineteenth century for a G&S opera. This example of the souvenir programme is dated 26th March 1888. The forepiece was Mrs. Jarramie's Genie.

PRINCESS IDA in SYDNEY

Leonora Braham, who had created the title role in Princess Ida at the Savoy, was also the first to play the part in Sydney, in April 1888. Her husband, J. Duncan Young, played "Hilarlon" according to the programme, and the cast also included Alice Barnett, the first Queen of the Fairies, as Lady Blanche.

PYGMALION & GALATEA - Liverpool benefit

On Saturday 14th April 1888 the Royal Alexandra Theatre in Liverpool hosted a pair of farewell benefits for the wife of the lessee, Mrs Edward Saker. In the evening Gilbert's Pygmalion & Galatea was produced, "under the direction and personal superintendence of the author". Assuming that Gilbert was in Liverpool for the actual event he was almost certainly cajoled into being one of the "literary, dramatic and local celebrities" who formed the jury for the Bardell v Pickwick trial scene which formed part of the matinee performance.

CARTE WEDDING: gift from E-Company

On 1st May 1888 E-Company was appearing in Bath and a local printer was comissioned to print this souvenir card for the cast members to keep. It records the text of an address presented, with a pair of silver candlesticks, to the Richard D'Oyly Carte and Helen Lenoir, who had wed on April 12th. It is a fascinating record of the names of the company and its associates, including many choristers whose names have previously been unrecorded.

THE MIKADO - FIRST REVIVAL

During the 116 performance run of the first Mikado revival there were a number of cast changes. This programme has Richard Temple in the title role, Geraldine Ulmar as Yum-Yum, Annie Cole as Pitti-Sing and Brandram, Grossmith and Barrington recreating their original parts. The curtain raiser was Mrs Jarramie's Genie. The revival opened at the Savoy on June 7th 1888 and ran until September 29th.

COX & BOX etc.

Richard Temple, Bernard Lane and Furneaux Cook played Cox, Box and Bouncer in a performance of Cox and Box on July 12th 1888; part of "The Silver Fete", a four-day charity event held at the Royal Exhibition Grounds in South Kensington in aid of the Victoria Hospital for Children in Chelsea. Other D'Oyly Carte regulars named in this thick brochure include Grossmith, Pounds and Brandram. (Interestingly, Gilbert is given author credit for Cox & Box !)

MIKADO & PIRATES on tour

Despite an extraordinarily decorative cover, this programme has no printed details of venue or date. The original owner's scribble on the front, "St George's Hall, Burton on Trent, Oct 1888" is backed up by Rollins & Witts, as the cast is almost what might have been expected on October 3rd and 4th, when "C" Company appeared in the town for just two nights. Although "The Carp" was to have been presented with Pirates the title has been crossed through, both on the cover and inside.

1880's WALLPAPER

A short section of Gilbert & Sullivan wallpaper, featuring characters from Sorcerer to Ruddigore only, and therefore confidently dated to 1887 or 1888. The operas are titled in a typeface typical of this period, and some of the motifs have been lifted from early theatre programmes. The first revivals of Pinafore, Pirates and The Mikado in 1887/8 possibly meant that for the first time the G&S operas were now considered as a body of work, with a cast of many and varied characters. This process fed into the production of souvenirs showing characters from a mixture of pieces - this paper being an especially early example.

THE YEOMEN OF THE GUARD

The Yeomen of the Guard opened at the Savoy on December 7th 1888. This first cast programme is in poor condition, but does name Tom Redmond as 1st Citizen, a role he apparently only played during 1888. The forepiece was Mrs. Jarramie's Genie.