The morning call. [volume] (San Francisco [Calif.]) 1878-1895, 1893-11-12

bly, escape musician, would Jar most gratIngly
on my ear. My fOndnesS for music chiefly lies
IN hearing pieces which are connected in my
mind with associations. l would rather hear
an unknown soprano singing a song / knew
than Patti singing one did not know. 10 fact,
/ am so poor judge of music that the song APP
peals to me with infinitely greater force than
the singer"
"W here do your plots come from. MIR. Gil
bert?"
pilots good graciousi where 90 they come
from? 1 don't know. a chance remark in con-
VefsatioD, a little accidental incident, trltiing
object may suggest train Of thought which
develops into a startling plot. OF course am
talking Of original plots. don't call adapting
a play or translating play writing one. TAX
ing my own plots, for instance, the 'MlkadO'
was suggested by a Japanese sword which
hangs in my study; the YOemen OF the Guard
by even more unlikely incident. had twenty
minutes one day 10 wait at UXbridge Station
for a train, and / saw the advertisement OF the
Tower Furnishing Company representing a
mum Der of beefeaterS-why, goodness only
knows. 1t gave me an Idea, and wrote the
play originally as one OF modern life 10 the
Tower OF London. Then it suddenly occurred
10 ME re throw the time Of II back TO that of
Queen Elizabeth Having got ones plot, the
next step Is to lit in The characte s. And The
chief point in doing so is to invent original
characters. But this is a very difficult no tier,
whether one is writing for stock company or
writing irrespective OF the cast.
mo. It is not always easier TO write for
non-exlstent company; one has too free hand.
the characters seem original. Writing for the
Savoy had 10 keep tie idiOsyncrasies of Rut-
land Darlington, Rosina Brandram and the
others constantly before me. used TO Invent
a perfectly fresh character each time for
George Grossmith; but he always did it in his
own way-most excellent in itself, crisp and
smart, but II. G. TO the end. Consequently
every one said. why, Grossmith always has
the same character; whereas, If different in
dividuals had acted them, each would have
been distinctive. 1t was no fault of Grossmith's
b9n WI q m
borateur does not exist. 1t arose from the fact
that his individuality was too strong 10 be con-
cealed."
What is your next step, Mr.. Gilbert, after
deciding on the characters 2"
Il write out the play as story, just as
though and as carefully as though IL were TO be
published in that form. / Then try 10 divide il
into acts. / think TWO acts the right number
for comic opera. at least, my eXperience-and
that is thirty years old-teacheS me so. Some
times, of course, The original story does not
fall readily into TWO acts, and SO requires modl-
fcatiOn. Well, / put it by for fortnight or
more, and then TewTite the whole thing With.
out referring 10 the first copy. / 6nd that l
have omitted some good things that were In the
first edition, and have introduced some other
good things that were not IN IL. i compare the
TWO, put them both aside, and write 1t out
again. Sometimes | DO this dozen times
indeed the general public have no idea OF the
trouble il takes TO produce play that seems 10
run smoothly and SO naturally. One must
attempt TO write them IN order, but just as the
humor takes me-one here, one there; sad
one when feel depressed, bright one when
] am in a happy mood. When al last all those
Of the first act are done IL Is sent TO the COM
poser TO be set to music, with a copy OF the
rough sketch of the dialogue 10 show him how
The different songs hang together. eneTai y
like reading it 10 tile composer, so as TO give
him my idea of the rhythm, which, matter
of course, he varies 1t his pleasure. There
must be perfect od-felloWshlp between the
writer and the composer, as there IS much give
and-take TO be managed. Meters have TO be
Changed by the writer's, OF tunes altered by the
composer. to Fit in with some idea, some lnten-
tion, of the other partner. For instance the
writer may have put a theme in one meter
and The composer has a tune in his head which
Will Just suit tie theme but will not
hit the scansion, and so the lyrics must
be altered. Each must try to make the others
part as easy as possible. There must be no
jealousy, no bad feeling between the two. They
must be OH The best OF terms, Otherwise there
Will be no success. And put down the popu-
larity of the 'GOndOlers,' 'lOIanthe,' 'Mikado.'
and the other operas which Sir Arthur Sullivan
and L did together chiefly TO this fact. He W s
most kind in this respect. Well. while the
composing is going on l complete the dialogue
and work up tue entire stag management on a
model stage. When The rehearsal comes l have
tile business OF each scene written down,
and, this inspires confidence IN those one Is
teaching i hey know that l have concrete
schem, in my head and generally watch its de-
yelopment with interest and curiosity.
oh by the way, L should have told you that
as soon as a story is finally decided on a scenic
artist is set to work. HIS plans are carefully
modified from time to time until desirablesre-
sult is obtained. The last work up TO a good
curtain / believe very strongly in this, al.
though never take uD any controversies, bus
simply go my own Way on my OVID lines The
last impression is always the strongest. and an
audIenc. Will often pardon feeble, wearisoIne
act for one dramatic climax at It's conclusion.
i can generally judge now what Will have a
GOOD effect; sometimes. but very rarely, 1t is
spoiIed by interpreters. They always do their
best. but occasionally they fail to realize my in.
tentiop. The fact is That for comic opera
MANY artists, especially tenors and sopranos,
are necessarily engaged who are singers
rather than actors, aud IL Is not 10
he expected that carefully written comedy
dialogue will receive full justice al their hands.
In is as though one called on the Haymafket
company TO perform an opera. Crlllcs 90 not
seem 10 realize this difficulty, ana frequently
pronounce a scene 10 be dull because IL IS lnel-
fectively acted by couple OF mere concert
singers. ,.. =. tho rlay
7 next sketch out guile roughly the dialogue
and then fill In the musical numbers as ieei
inclined. The fast step OF all Is the dresS DE-
. signing. / always tax or myself 10 give sug-
eestions in this mat er-not 10 tie Inc are S.
Designer down, but to help him. In fact, l
freonentIy make rough sketches for all tne
orharaciers. Sometimes the designer Will make
Ise of these; sometimes not.
nAa IN rehearsals. there are III all LlIee