Gilbert and Sullivan

A couple of weeks ago, I went with a friend to see Austin Gilbert and Sullivan Society’s production of The Pirates of Penzance. I wasn’t going to write a review because I really have little to say about the production. I liked all the costumes, but one, Mabel’s. I thought one of the leads was a weaker singer than the other leads, but did fine otherwise. I liked the set, didn’t notice the lighting, and liked the performers. Overall, a little uneven, but a good show.

However, it amazes me how funny Gilbert still is nearly a century after he died. His was a talent that appears, not once in a lifetime, less than once in a century.

The convention of musical theater is to list the composer first, then the librettist. Rogers, composer, Hammerstein, librettist, Rogers and Hammerstein; Rogers, composer, Hart, Librettist, Rogers and Hart; Lerner, composer, Lowe, librettist, Lerner and Lowe; etc. Sometimes, especially in opera, the librettist doesn’t even get that much credit.

Then we have Gilbert and Sullivan: Gilbert, librettist, Sullivan, composer. What’s that? Gilbert, librettist, Sullivan, composer. The only exception to the rule. I know of no other.

Sullivan composed some fine music, but nothing as successful as his collaborations with Gilbert. Gilbert wrote other librettos, but none has lasted the way his collaborations with Sullivan. Together they made magic. For a little while, at least.