New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-09-19
"THE SAV0YARDS"
A Brilliant Chapter of British
Theatrical History.

GILBERT AND SULLIVAN AND IHElh
OPERAS. with Recollections And Anec-
Gotes of D'Oyly carte and other FAMOUS
Savoyards. by Francois Cellier ana
Cunningham Brdgeman. with % por-
traits and other illustrations and 81. rae
simijc letters $40. PIP. KILL $40 session.
Little Brown co.
II is a popular story told in these
pages. and unique one in the history
of the theatre. Never before and never
since have librettist, composer and
manager met in such happy conJunc-
ton, for in this narrative D'oyly Carte
is made full third figure ir a part.
ncrsh;p which one Of the authors OF
this book. the late FRANCOIS Cellier,
compares with that of the Three MUS
keteers. Together they won success
and fame and wealth; apart, after that
famous quarrel over 80 trivial cause
they failed Gilbert with his com
posers. Sullivan with his librettlsts'
and D'Oyly Carte with his productions
A truce was patched up, partly no
doubt, through self-interest, but the
charm had departed, chief of all, Mr..
Bridgeman holds, Gilbert's share OF ~:
ruled, failure entered and held pos
session. Then came the end with the
death. one after the other, Of these
Three Musketeers of the musical com
edy stage. Gilbert was the last to 60
Francois Collier, who planned TINS
hook but did not live to finish II, was
the musical director Of the Savoy ihea-
ire through the long years of its
triumphs. He died early this year,
when his chronicle had only reached
the wear 1854, the year OF the success
full revival of "The Sorcerer" after its
initial failure in 1877. THE Mikado"
vss still 20 come, and il is with this.
the most popular. il not the pest, OF
all the Gilbert and Sullivan pieces, that
Mr. Bridgeman practically Deg'hs MS
share of the work. -,
Students OF theatrical history will
find in these pages all the data they
can desire. but the general reader viii
be more interested in their reflection
of the CxHrl de corps which inspired
ell the Savoyards, from the great trio
10 the chorus. Nay. more. the Su-
dienccs. too, we're part OF this theat-
rical bappy family the tirst-nighterG
of the Savoy. whose like has never been
seen again. Mr. Collier tells us tnat
Our faithful patrons and camp
followers formed a corps, more or
less independent Of the general
army of playgoers. They might
be described as Territorals. They
liked to call themselves Savoyards.
They never came prepared TO scof
they were too we'll assured that
they would remain to praise. .
There was no rag, tag and bobtall
attached to Savoy crowd. The
people packed in close order IN the
gallery resembed huge. we'll
dressed concert choir. not only IN
the formation Of their ranks, tier
above tier, but in the manner OF
their behavior. As soon as they
had settled in their places. our ac-
complished gods" delighted the
house with a gratuitous recital OF
every fayorite chorus or part-song
from the Gilbert and Sullivan
operas. These improvised prefa-
tory concerts, contributed TO in
turn by the pit choir, became such
an important item of a Savoy first
night that they had the effect of
attracting the early attendance Of
the elite in the stalls and circles.
So interesting and attractive was
The performance taking pace in
front that librettist and composer.
with some OF the principals, lis
tened from behind the curtain and
Joined in the applause.
Mr.. Bridgeman succeeds in giving US
closer view Of Sullivan than Mr.. Gel
lier achieves of Gilbert. The anec-
dotes quoted to illustrate the great
Ebrettist's wit almost invariably carry
with them a suggestion Of disregard
for the feelings of those against whom
it was directed. Gilbert asserted that
he had 10 ear for music, that he could
rot even distinguish between God
Save the Queen" and "Rule Britannia"
but this, Mr.. Collier assures us, was
an eXaggeration, for he himself re-
peatedly heard him hum at rehearsals
the melodies set by Sullivan to his
lyrics OF Sullivan, too, there are many
anecdotes, one of which is worth quot
ing. When accused of having plagiar-
lied Molloy's Loves Sweet Song" in
his "When n Maiden Marries" in THE
Gondoliers," Sullivan answered: IL
cont happen ever to have heard the
song you mention. but if | had you
must please remember that Molloy and
had only seven notes TO work on be-
tween us" On the other hand, when
the composer did plagiarize, he admit
ted it with the utmost candor.
As for that famous quarrel, it broke
cut, not between Gilbert and Sullivan,
as has been generally believed, but be-
tween the librettist and D'Oyly Carte,
and over trivial cause. The manager
had purchased a new carpet for the
Savoy without consulting his partners,
L IL 10. La -, Lnn. lie Ar,.r,,-