The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1893-10-15
WRITING OF OPERAS
The Author Of ''PinafOre" De-
scribes His Literary Method.
A Successful Playwright Must Add Dra-
matte Power and Scenic Percep-
tiOn to NOvelist's Gift.
st. James's Budget.

Mr.. w. S. Gilbert is tall, well-built,
handsome man., with greyish white hair
and mustache and lively bright eyes. He
received me Writes representative in
the magnificent marble lobby OF the Junior
carlton Club, and his fine bearing would
have led Il stranger to suppose him to be a
military officer rather than a barrister,
until he talks. Then recognizes at
once the crisp, smart manner of converse
ton which a study of law seems to incul-
cate in a man.
/ asked him what he considered the chief
traits necessary to enable one TO become a
successful playwright.
well, he replied thoughtfully. that
opens up very large subject. They differ
vastly. In my own line 1 should sum them
up as follows: In the first place the power
OF catching the public taste; then a
thorough knowledge of stagecraft and
gift for stage management; the capacity to
invent plot: the power to create charac-
tiers; an eye for dramatic situation and
scenic effect; and, finally, the faculty to
write readily dialogue, lyrics and musical
numbers
Il believe Mr.. Gilbert" said that you
nave little or no ear for music Don't YOU
hIu this interferes with your rhythmical
numbers?'
IL Is quite true that / have no ear for
music, but have a very sensitive ear for
rhythm; 1T is precisely the difference be-
tween time and tune. / am very fond of
music, but don't know a discord when /
hear ore; on the other hand the slightest
error in time which would probably escape
musician, would jar most gratingly on
my ear. My fondness for music chiefly
leS IN nearing pieces which are connected
In my mind with associations. L would
Tatner near an unknown soprano singing a
song L knew than Patti singing one / did
not Know. In fact / am so poor Judge
Oh music that the song appeals to me with
lnllnllely greater force than the singer
w mere do your plots come from, Mr.
Gilbert?''
NO TROUBLE ABOUT PLOTS.
Plots? Good gracious! where do they
come from? 1 don't know A chance re-
mark in conversation, q little accidental
incident trifling object may suggest a
train of thought which develops into n
startling plot OF course, 1 am talking of
original plots. / don't call adapting a play
or trarslating play writing one. Taking
my own plots for instance, the 'Mikado7
was suggested by a japanese sword which
hangs in my study; the Woman of the
Guard by even a more unlikely incident |
had twenty minutes one day to wait at
UXbridge station for train. and saw the
advertisement of the Tower Furnishing
Company representing Il number of bees-
eaters-why goodness only knows. 1T gave
me an idea, and 1 wrote the play originally
as one of modern life in the Tower of Lon
don. Then it suddenly occurred TO me to
throw the time of it back to that of Queen
Elizabeth Having got ones plot, the next
step is to fit in the characters. And the
chief point in doing 80 is 10 invent original
matter. whether one is writing for stock
company or writing irrespective of the
cast"
hot tc
after deciding on the characters?"
Il write out the play a story, just as
though and as carefully as though It were
to be published In that form. I then try to
divide it into acts. 1 think two acts the
right number for comic opera. At least
my experience-and that is thirty years
the original story does not fall readily into
two acts, and so requires a modification.
Well, l put 1t by for fortnight or more,
referring to the first copy. ! find that |
nave omitted some good things that were
IN the frst edition, and have introduced
some other good things that were not in it.
compare the two, put them both aside
ana write 1T out again Sometimes 1 do
this n,, a dozen times; indeed, the general
to produce play that seems to run so
smoothly and so naturally. One must work
up TO good curtain. believe very strong
ly In this, although 1 never take up any
controversies, but simply go my own way
on my own lines. The last impression is
will often pardon a feeble wearisome act
Tor one dramatic climax at it's conclusion
can generally judge now what will have
a a. GOOD emiect; sometimes. but very rarely.
IL Is spoilt by the Interpreters. They al
ways do their best, but occasionally they
ran 10 realize my intention. The fact is
u! Inat Ior comic opera many artists, especial
~ tenors and sopranos. are necessarily
engaged who are singers rather than
actors; and IT is not to be expected that
carefully written comedy dialogue will re-
ceive full justice at their hands III il 40
though one called on the Haymarket com
Eany 10 perform an opera. Critics do not
~ pronounce a scene to be dull because II
IS lnenectively acted by a couple of mere
concert singers.
DETAILS AND MUSIC.
wen, to go on with the writing of the
play, next sketched out quite roughly the
dialogue, and then fill in the musical num-
oers as feel inclined. / do not ATTEMPT to
write them in order, but just as the humor
takes income here, one there; sad one
when feel depressed, bright one when 1
| am in happy mood When at last all
those OF the first act are done it is sent to
| the composer to be set to music with a
copy of the rough sketch of the dialogue to
| show him how the different songs hang to-
| gether. L generally like reading it over to
the composer, so as to give him my idea of
the rhythm, which, as a matter of course
| he varies at his pleasure. There must be
| perfect good-felloWShip between the writer
and composer as there is much give-and-
| take to be managed. Metres have to be
changed by the writer's, tunes altered by
| the composer, to fit in with some idea some
| intention of the other partner. For in
| stance. the writer may have put theme in
| one metre and the composer has a tune i'm
| his head which will just suit the theme, but
| VIII not mt 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 be-
| tween the two. They must be the best
| cess. And put >twn the popularity of the
| other operas which Sir Arthur Sullivan and
| | did together chiefly to this fact He was
| most kind in this respect. Well. whilst the
| composing is going on l complete the dia-
| logue and work UP the entire stage man
| agement a model scale. When the re-
| hearsal comes L have the business OF each
| scene written down, and this inspires con-
| fidence in those one is teaching; they know
| that / have concrete scheme in my head
| and generally watch its development with
| interest and curiosity.
| ''Oh, by The way, 1 should have told you
| that as soon as story is finally decided or
| a scenic artist is set to work. His plans are
| carefully modified from time to time until
| a desirable result is obtained The las,
| step of al! is the dress designing. / always
| take on myself to give suggestions in this
| rnattsr-not TO tie the dress designer down.
| but TO help him. In fact / frequently make
| rough sketches for all the characters. Some
times the designer will make use of these
| sometimes not.