H.M.S.

Pinafore; or, The Lass That Loved a Sailor is a comic opera in two acts,
with music by Arthur Sullivan and a libretto by W. S. Gilbert. It opened at the
Opera Comique in London, on 25 May 1878 and ran for 571 performances, which was the
second-longest run of any musical theatre piece up to that time. H.M.S. Pinafore
was Gilbert and Sullivan's fourth operatic collaboration and their first
international sensation.

The story takes place aboard the Royal Navy ship HMS Pinafore. The captain's
daughter, Josephine, is in love with a lower-class sailor, Ralph Rackstraw,
although her father intends her to marry Sir Joseph Porter, the First Lord of the
Admiralty. She abides by her father's wishes at first, but Sir Joseph's advocacy of
the equality of humankind encourages Ralph and Josephine to overturn conventional
social order. They declare their love for each other and eventually plan to elope.
The captain discovers this plan, but, as in many of the Gilbert and Sullivan
operas, a surprise disclosure changes things dramatically near the end of the
story.

Drawing on several of his earlier "Bab Ballad" poems, Gilbert imbued this plot with
mirth and silliness. The opera's humour focuses on love between members of
different social classes and lampoons the British class system in general. Pinafore
also pokes good-natured fun at patriotism, party politics, the Royal Navy, and the
rise of unqualified people to positions of authority. The title of the piece
comically applies the name of a garment for girls and women, a pinafore, to the
fearsome symbol of a warship.

Pinafore's extraordinary popularity in Britain, America and elsewhere was followed

by the similar success of a series of Gilbert and Sullivan works, including The
Pirates of Penzance and The Mikado. Their works, later known as the Savoy operas,
dominated the musical stage on both sides of the Atlantic for more than a decade
and continue to be performed today. The structure and style of these operas,
particularly Pinafore, were much copied and contributed significantly to the
development of modern musical theatre.

Contents
1 Background
2 Roles
3 Synopsis
3.1 Act I
3.2 Act II
4 Musical numbers
5 Productions
5.1 Taking Pinafore to the United States
5.2 Children's production
5.3 Subsequent productions
6 Reception
6.1 Initial critical reception
6.2 Subsequent reception
7 Analysis
7.1 Satiric and comic themes
7.2 Songs and musical analysis
8 Revisions and cut material
8.1 Ballad for Captain Corcoran, "Reflect, my child"
8.2 Dialogue for Cousin Hebe
8.3 Recitative preceding the Act II finale
9 Recordings
10 Adaptations
11 Cultural impact
11.1 Development of the modern musical
11.2 Literary and political references
11.3 Film and television references
12 Historical casting
13 Notes, references and sources
13.1 Notes
13.2 References
13.3 Sources
14 External links
Background
In 1875, Richard D'Oyly Carte, who was then managing the Royalty Theatre for Selina
Dolaro, brought Gilbert and Sullivan together to write their second show, a one-act
opera entitled Trial by Jury.[1] This proved a success, and in 1876 D'Oyly Carte
assembled a group of financial backers to establish the Comedy Opera Company, which
was devoted to the production and promotion of family-friendly English comic opera.
[2] With this theatre company, Carte finally had the financial resources, after
many failed attempts, to produce a new full-length Gilbert and Sullivan opera.[3]
This next opera was The Sorcerer, which opened in November 1877. It too was
successful, running for 178 performances.[4] Sheet music from the show sold well,
and street musicians played the melodies.[5]

Instead of writing a piece for production by a theatre proprietor, as was usual in

Victorian theatres, Gilbert, Sullivan and Carte produced the show with their own
financial support. They were therefore able to choose their own cast of performers,
rather than being obliged to use the actors already engaged at the theatre. They
chose talented actors, most of whom were not well-known stars and did not command
high fees, and to whom they could teach a more naturalistic style of performance
than was commonly used at the time. They then tailored their work to the particular
abilities of these performers.[6] The skill with which Gilbert and Sullivan used
their performers had an effect on the audience; as critic Herman Klein wrote: "we
secretly marvelled at the naturalness and ease with which [the Gilbertian quips and
absurdities] were said and done. For until then no living soul had seen upon the
stage such weird, eccentric, yet intensely human beings. ... [They] conjured into
existence a hitherto unknown comic world of sheer delight."[7]

Punch cartoon, 1877, portraying First Lord of the Admiralty W. H. Smith as a land-
lubber, saying: "I think I'll now go below." In Pinafore, Sir Joseph similarly
sings: "When the breezes blow / I generally go below".
The success of The Sorcerer paved the way for another collaboration by Gilbert and
Sullivan. Carte agreed on terms for a new opera with the Comedy Opera Company, and
Gilbert began work on H.M.S. Pinafore before the end of 1877.[8] Gilbert's father
had been a naval surgeon, and the nautical theme of the opera appealed to him.[9]
He drew on several of his earlier "Bab Ballad" poems (many of which also have
nautical themes), including "Captain Reece" (1868) and "General John" (1867).[10]
Some of the characters also have prototypes in the ballads: Dick Deadeye is based
on a character in "Woman's Gratitude" (1869); an early version of Ralph Rackstraw
can be seen in "Joe Go-Lightly" (1867), with its sailor madly in love with the
daughter of someone who far outranks him; and Little Buttercup is taken almost
wholesale from "The Bumboat Woman's Story" (1870).[11][12] On 27 December 1877,
while Sullivan was on holiday on the French Riviera, Gilbert sent him a plot sketch
accompanied by the following note:[13]

I have very little doubt whatever but that you will be pleased with it. ... there
is a good deal of fun in it which I haven't set down on paper. Among other things a
song (a kind of 'Judge's Song') for the First Lord – tracing his career as office-
boy ... clerk, traveller, junior partner and First Lord of Britain's Navy. ... Of
course there will be no personality in this – the fact that the First Lord in the
Opera is a Radical of the most pronounced type will do away with any suspicion that
W. H. Smith is intended.[13][14]
Despite Gilbert's disclaimer, audiences, critics and even the Prime Minister,
Benjamin Disraeli, identified Sir Joseph Porter with W. H. Smith, a politician who
had recently been appointed First Lord of the Admiralty despite having neither
military nor nautical experience.[15] Sullivan was delighted with the sketch, and
Gilbert read a first draft of the plot to Carte in mid-January.[16]

Following the example of his mentor, T. W. Robertson, Gilbert strove to ensure that
the costumes and sets were as realistic as possible.[17] When preparing the sets
for H.M.S. Pinafore, Gilbert and Sullivan visited Portsmouth in April 1878 to
inspect ships. Gilbert made sketches of H.M.S. Victory and H.M.S. St Vincent and
created a model set for the carpenters to work from.[18] This was far from standard
procedure in Victorian drama, in which naturalism was still a relatively new
concept, and in which most authors had very little influence on how their plays and
libretti were staged.[19] This attention to detail was typical of Gilbert's stage
management and would be repeated in all of his Savoy Operas.[20] Gilbert's focus on
visual accuracy provided a "right-side-up for topsy-turvydom", that is, a realistic
point of reference that serves to heighten the whimsicality and absurdity of the
situations.[21] Sullivan was "in the full swing" of work on the piece by the middle
of April 1878.[22] The bright and cheerful music of Pinafore was composed during a
time when Sullivan suffered from excruciating pain from a kidney stone.[23][24] The
cast began music rehearsals on 24 April, and at the beginning of May 1878, the two
collaborators worked closely together at Sullivan's flat to finalise the piece.[25]
[26]

In Pinafore, Gilbert, Sullivan and Carte used several of the principal cast members
whom they had assembled for The Sorcerer. As Gilbert had suggested to Sullivan in
December 1877, "Mrs. Cripps [Little Buttercup] will be a capital part for
Everard ... Barrington will be a capital captain, and Grossmith a first-rate First
Lord."[13] However, Mrs Howard Paul,[n 1] who had played Lady Sangazure in The
Sorcerer, was declining vocally. She was under contract to play the role of Cousin
Hebe in Pinafore. Gilbert made an effort to write an amusing part for her despite
Sullivan's reluctance to use her, but by mid-May 1878, both Gilbert and Sullivan
wanted her out of the cast; unhappy with the role, she left. With only a week to go
before opening night, Carte hired a concert singer, Jessie Bond, to play Cousin
Hebe.[28][29] Since Bond had little experience as an actress, Gilbert and Sullivan
cut the dialogue out of the role, except for a few lines in the last scene, which
they turned into recitative.[n 2] Other new cast members were Emma Howson and
George Power in the romantic roles, who were improvements on the romantic soprano
and tenor in The Sorcerer.[12]

Gilbert acted as stage director for his own plays and operas. He sought realism in
acting, just as he strove for realistic visual elements. He deprecated self-
conscious interaction with the audience and insisted on a style of portrayal in
which the characters were never aware of their own absurdity but were coherent
internal wholes.[30] Sullivan conducted the music rehearsals. As was to be his
usual practice in his later operas, Sullivan left the overture for the last moment,
sketching it out and entrusting it to the company's music director, in this case
Alfred Cellier, to complete.[4] Pinafore opened on 25 May 1878 at the Opera
Comique.

Roles
MENU0:00
Josephine's Act II scena (Jean Hindmarsh, 1960)
The Rt. Hon. Sir Joseph Porter, KCB, First Lord of the Admiralty (comic baritone)
Captain Corcoran, Commander of H.M.S. Pinafore (lyric baritone)
Ralph[n 3] Rackstraw, Able Seaman (tenor)
Dick Deadeye, Able Seaman (bass-baritone)
Bill Bobstay, Boatswain's Mate (baritone)
Bob Becket, Carpenter's Mate (bass)
Josephine, The Captain's Daughter (soprano)
Cousin Hebe, Sir Joseph's First Cousin (mezzo-soprano)
Mrs. Cripps (Little Buttercup), A Portsmouth Bumboat Woman (contralto)
Chorus of First Lord's Sisters, His Cousins, His Aunts, Sailors, Marines, etc.
Synopsis
Act I
The British warship H.M.S. Pinafore is at anchor off Portsmouth. The sailors are on
the quarterdeck, proudly "cleaning brasswork, splicing rope, etc."

Little Buttercup, a Portsmouth "bumboat woman" (dockside vendor) – who is the

"rosiest, roundest, and reddest beauty in all Spithead" – comes on board to sell
her wares to the crew. She hints that she may be hiding a dark secret under her
"gay and frivolous exterior". Ralph Rackstraw,[31] "the smartest lad in all the
fleet", enters, declaring his love for the Captain's daughter, Josephine. His
fellow sailors (excepting Dick Deadeye, the grim and ugly realist of the crew)
offer their sympathies, but they can give Ralph little hope that his love will ever
be returned.

Scene from 1886 Savoy Theatre souvenir programme

The gentlemanly and popular Captain Corcoran greets his "gallant crew" and
compliments them on their politeness, saying that he returns the favour by never
("well, hardly ever") using bad language, such as "a big, big D".[n 4] After the
sailors leave, the Captain confesses to Little Buttercup that Josephine is
reluctant to consider a marriage proposal from Sir Joseph Porter, the First Lord of
the Admiralty. Buttercup says that she knows how it feels to love in vain. As she
leaves, the Captain remarks that she is "a plump and pleasing person". Josephine
enters and reveals to her father that she loves a humble sailor in his crew, but
she assures him that she is a dutiful daughter and will never reveal her love to
this sailor.

Sir Joseph comes on board, accompanied by his "admiring crowd of sisters, cousins
and aunts". He recounts how he rose from humble beginnings to be "ruler of the
Queen's Navee" through persistence, although he has no naval qualifications. He
then delivers a humiliating lesson in etiquette, telling the Captain that he must
always say "if you please" after giving an order; for "A British sailor is any
man's equal" – excepting Sir Joseph's. Sir Joseph has composed a song to illustrate
that point, and he gives a copy of it to Ralph. Shortly afterwards, elated by Sir
Joseph's views on equality, Ralph decides that he will declare his love to
Josephine. This delights his shipmates, except Dick Deadeye, who contends that
"when people have to obey other people's orders, equality's out of the question".
Shocked by his words, the other sailors force Dick to listen to Sir Joseph's song
before they exit, leaving Ralph alone on deck. Josephine now enters, and Ralph
confesses his love in terms surprisingly eloquent for a "common sailor". Josephine
is touched, but although she has found Sir Joseph's attentions nauseating, she
knows that it is her duty to marry Sir Joseph instead of Ralph. Disguising her true
feelings, she "haughtily rejects" Ralph's "proffered love".

Ralph summons his shipmates (Sir Joseph's female relatives also arrive) and tells
them that he is bent on suicide. The crew expresses sympathy, except for Dick, who
provides a stark counterpoint of dissent. Ralph puts a pistol to his head, but as
he is about to pull the trigger, Josephine enters, admitting that she loves him
after all. Ralph and Josephine plan to sneak ashore to elope that night. Dick
Deadeye warns them to "forbear, nor carry out the scheme", but the joyous ship's
company ignores him.

Illustration of the characters in Act II by D. H. Friston, 1878

Act II
Later that night, under a full moon, Captain Corcoran reviews his concerns: his
"kindly crew rebels", his "daughter to a tar is partial", his friends seem to
desert him, and Sir Joseph has threatened a court-martial. Little Buttercup offers
sympathy. He tells her that, if it were not for the difference in their social
standing, he would have returned her affection. She prophesies that things are not
all as they seem and that "a change" is in store for him, but he does not
understand her cryptic warning.

Sir Joseph enters and complains that Josephine has not yet agreed to marry him. The
Captain speculates that she is probably dazzled by his "exalted rank" and that if
Sir Joseph can persuade her that "love levels all ranks", she will accept his
proposal. They withdraw, and Josephine enters, still feeling guilty about her
planned elopement with Ralph and fearful of giving up a life of luxury. When Sir
Joseph makes the argument that "love levels all ranks", a delighted Josephine says
that she "will hesitate no longer". The Captain and Sir Joseph rejoice, but
Josephine is now more determined than ever to marry Ralph.

Dick Deadeye intercepts the Captain and tells him of the lovers' plans to elope.
The Captain confronts Ralph and Josephine as they try to leave the ship. The pair
declare their love, justifying their actions because "He is an Englishman!" The
furious Captain is unmoved and blurts out, "Why, damme, it's too bad!" Sir Joseph
and his relatives, who have overheard this oath, are shocked to hear swearing on
board a ship, and Sir Joseph orders the Captain confined to his cabin.

When Sir Joseph asks what had provoked the usually polite officer's outburst, Ralph
replies that it was his declaration of love for Josephine. Furious in his turn at
this revelation, and ignoring Josephine's plea to spare Ralph, Sir Joseph has the
sailor "loaded with chains" and taken to the ship's brig. Little Buttercup now
comes forward to reveal her long-held secret. Many years ago, when she "practised
baby-farming", she had cared for two babies, one "of low condition", the other "a
regular patrician". She confesses that she "mixed those children up. ... The
wellborn babe was Ralph; your Captain was the other."

Sir Joseph now realises that Ralph should have been the Captain, and the Captain
should have been Ralph. He summons both, and they emerge wearing each other's
uniforms: Ralph as Captain, in command of the Pinafore, and Corcoran as a common
sailor. Sir Joseph's marriage with Josephine is now "out of the question" in his
eyes: "love levels all ranks ... to a considerable extent, but it does not level
them as much as that." He hands her to Captain Rackstraw. The former Captain's now-
humble social rank leaves him free to marry Buttercup. Sir Joseph settles for his
cousin Hebe, and all ends in general rejoicing.

Musical numbers
Overture
Act I
MENU0:00
"I'm called Little Buttercup" (Gillian Knight, D'Oyly Carte, 1960)
1. "We sail the ocean blue" (Sailors)
2. "Hail! men-o'-war's men" ... "I'm called Little Buttercup" (Buttercup)
2a. "But tell me who's the youth" (Buttercup and Boatswain)
3. "The nightingale" (Ralph and Chorus of Sailors)
3a. "A maiden fair to see" (Ralph and Chorus of Sailors)
4. "My gallant crew, good morning ... I am the Captain of the Pinafore" (Captain
and Chorus of Sailors)
4a. "Sir, you are sad" (Buttercup and Captain)
5. "Sorry her lot who loves too well" (Josephine)
5a. Cut song: "Reflect, my child" (Captain and Josephine)
6. "Over the bright blue sea" (Chorus of Female Relatives)
7. "Sir Joseph's barge is seen" (Chorus of Sailors and Female Relatives)
MENU0:00
"When I was a lad" (John Reed, D'Oyly Carte, 1960)
8. "Now give three cheers ... I am the Monarch of the sea" (Captain, Sir Joseph,
Cousin Hebe and Chorus)
9. "When I was a lad" (Sir Joseph and Chorus)
9a. "For I hold that on the sea" (Sir Joseph, Cousin Hebe and Chorus)
10. "A British tar" (Ralph, Boatswain, Carpenter's Mate and Chorus of Sailors)
11. "Refrain, audacious tar" (Josephine and Ralph)
12. Finale, Act I (Ensemble)
"Can I survive this overbearing?"
"Oh joy, oh rapture unforeseen"
"Let's give three cheers for the sailor's bride"
"A British tar" (reprise)
Act II

Rutland Barrington as A.B.S. Corcoran at the end of Pinafore

(Entr'acte)

13. "Fair moon, to thee I sing" (Captain)

14. "Things are seldom what they seem" (Buttercup and Captain)
15. "The hours creep on apace" (Josephine)
16. "Never mind the why and wherefore" (Josephine, Captain and Sir Joseph)
17. "Kind Captain, I've important information" (Captain and Dick Deadeye)
18. "Carefully on tiptoe stealing" (Soli and Chorus)
18a. "Pretty daughter of mine" (Captain and Ensemble) and "He is an Englishman"
(Boatswain and Ensemble)
19. "Farewell, my own" (Ralph, Josephine, Sir Joseph, Buttercup and Chorus)
20. "A many years ago" (Buttercup and Chorus)
20a. "Here, take her, sir" (Sir Joseph, Josephine, Ralph, Cousin Hebe and Chorus)1
21. Finale: "Oh joy, oh rapture unforeseen" (Ensemble) 2
1See discussion of versions, below.

2Includes reprises of several songs, concluding with "For he is an Englishman".

Productions

Poster illustration from original 1878 production

Pinafore opened on 25 May 1878 at the Opera Comique, before an enthusiastic
audience, with Sullivan conducting.[32][n 5] Soon, however, the piece suffered from
weak ticket sales, generally ascribed to a heat wave that made the Opera Comique
particularly uncomfortable.[34][35] The historian Michael Ainger questions this
explanation, at least in part, stating that the heat waves in the summer of 1878
were short and transient.[36] By mid-August, Sullivan wrote to his mother that
cooler weather had arrived, which was good for the show.[37] In the meantime, the
four partners of the Comedy Opera Company lost confidence in the opera's viability
and posted closing notices.[37][38] Carte publicised the piece by presenting a
matinee concert performance on 6 July 1878 at the enormous Crystal Palace.[39]

In late August 1878, Sullivan used some of the Pinafore music, arranged by his
assistant Hamilton Clarke, during several successful promenade concerts at Covent
Garden that generated interest and stimulated ticket sales.[40] By September,
Pinafore was playing to full houses at the Opera Comique. The piano score sold
10,000 copies,[41] and Carte soon sent two additional companies out to tour in the
provinces.[42]

Carte, Gilbert and Sullivan now had the financial resources to produce shows
themselves, without outside backers. Carte persuaded the author and composer that a
business partnership among the three would be to their advantage, and they hatched
a plan to separate themselves from the directors of the Comedy Opera Company. The
contract between Gilbert and Sullivan and the Comedy Opera Company gave the latter
the right to present Pinafore for the duration of the initial run. The Opera
Comique was obliged to close for drain and sewer repairs, and it was renovated by
E. W. Bradwell, from Christmas 1878 to the end of January 1879.[43] Gilbert,
Sullivan and Carte believed that this break ended the initial run, and, therefore,
ended the company's rights. Carte put the matter beyond doubt by taking a six-month
personal lease of the theatre beginning on 1 February 1879, the date of its re-
opening, when Pinafore resumed. At the end of the six months, Carte planned to give
notice to the Comedy Opera Company that its rights in the show and the theatre had
ended.[44][45]

Meanwhile, numerous versions of Pinafore, unauthorised by its creators, began

playing in America with great success, beginning with a production in Boston that
opened on 25 November 1878.[35] Pinafore became a source of popular quotations on
both sides of the Atlantic, such as the exchange:

MENU0:00
Jeffrey Skitch, as Captain Corcoran, sings "I am the captain of the Pinafore"
(D'Oyly Carte, 1960).
"What, never?"
"No, never!"
"What, never?"
"Well, hardly ever!"[46][47]

Opening night programme cover

In February 1879, Pinafore resumed operations at the Opera Comique.[48] The opera
also resumed touring in April, with two companies crisscrossing the British
provinces by June, one starring Richard Mansfield as Sir Joseph, the other W. S.
Penley in the role. Hoping to join in on the profits to be made in America from
Pinafore, Carte left in June for New York to make arrangements for an "authentic"
production there to be rehearsed personally by the author and composer. He arranged
to rent a theatre and auditioned chorus members for the American production of
Pinafore and a new Gilbert and Sullivan opera to be premiered in New York, and for
tours.[49]

Sullivan, as had been arranged with Carte and Gilbert, gave notice to the partners
of the Comedy Opera Company in early July 1879 that he, Gilbert and Carte would not
be renewing the contract to produce Pinafore with them and that he would be
withdrawing his music from the Comedy Opera Company on 31 July.[49][50][51] In
return, the Comedy Opera Company gave notice that they intended to play Pinafore at
another theatre and brought a legal action against Carte and company. They offered
the London and touring casts of Pinafore more money to play in their production,
and although some choristers accepted their offer, only one principal player,
Aeneas Joseph Dymott, accepted.[52] They engaged the Imperial Theatre but had no
scenery. On 31 July, they sent a group of thugs to seize the scenery and props
during Act II of the evening performance at the Opera Comique.[53] Gilbert was
away, and Sullivan was recovering from an operation for kidney stones.[54]
Stagehands and cast members managed to ward off their backstage attackers and
protect the scenery, although the stage manager, Richard Barker, and others, were
injured. The cast went on with the show until someone shouted "Fire!" George
Grossmith, playing Sir Joseph, went before the curtain to calm the panicked
audience. The police arrived to restore order, and the show continued.[55][56][57]
Gilbert sued to stop the Comedy Opera Company from staging their rival production
of H.M.S. Pinafore.[58] The court permitted the production to go on at the
Imperial, beginning on 1 August 1879, and it transferred to the Olympic Theatre in
September. Pauline Rita was one of a series of Josephines.[59] The production
received good notices and initially sold well but was withdrawn in October after 91
performances.[52] The matter was eventually settled in court, where a judge ruled
in Carte's favour about two years later.[60]

After his return to London, Carte formed a new partnership with Gilbert and
Sullivan to divide profits equally after the expenses of each of their shows.[61]
Meanwhile, Pinafore continued to play strongly. On 20 February 1880, Pinafore
completed its initial run of 571 performances.[62] Only one other work of musical
theatre in the world had ever run longer, Robert Planquette's operetta Les cloches
de Corneville.[63][64]

Taking Pinafore to the United States

Approximately 150 unauthorised productions of Pinafore sprang up in the United
States in 1878 and 1879, and none of these paid royalties to the authors. Gilbert
and Sullivan called them "pirated", although the creators did not have any
international copyright protection.[65][66][67] The first of these productions,
opening at the Boston Museum on 25 November 1878, made such a splash that the piece
was quickly produced in major cities and on tour by dozens of companies throughout
the country. Boston alone saw at least a dozen productions, including a juvenile
version described by Louisa May Alcott in her 1879 story, "Jimmy's Cruise in the
Pinafore".[68] In New York, different productions of the piece played
simultaneously in eight theatres within five blocks of each other and in six
theatres in Philadelphia.[69]

Advertisement for a (probably unlicensed) American production of H.M.S. Pinafore

These unauthorised performances took many forms, including burlesques, productions
with men playing women's roles and vice versa, spoofs, variety acts, Minstrel show
versions,[68] all-black and Catholic productions, German, Yiddish and other
foreign-language versions,[66] performances on boats or by church choirs,[70] and
productions starring casts of children.[35][68] Few purported to play the opera as
written.[n 6] Sheet music arrangements were popular, there were Pinafore-themed
dolls and household items, and references to the opera were common in advertising,
news and other media.[66] Gilbert, Sullivan and Carte brought lawsuits in the U.S.
and tried for many years to control the American performance copyrights over their
operas, or at least to claim some royalties, without success. They made a special
effort to claim American rights for their next work after Pinafore, The Pirates of
Penzance, by giving the official premiere in New York.[72]

Gilbert, Sullivan and Carte met by 24 April 1879 to make plans for a production of
Pinafore in America.[73] Carte travelled to New York in the summer of 1879 and made
arrangements with theatre manager John T. Ford[n 7] to present, at the Fifth Avenue
Theatre, the first authorised American production of Pinafore.[49] In November,
Carte returned to America with Gilbert, Sullivan and a company of strong singers,
including J. H. Ryley as Sir Joseph, Blanche Roosevelt as Josephine, Alice Barnett
as Little Buttercup, Furneaux Cook as Dick Deadeye, Hugh Talbot as Ralph Rackstraw
and Jessie Bond as Cousin Hebe.[75] To these, he added some American singers,
including Signor Brocolini as Captain Corcoran.[76] Alfred Cellier came to assist
Sullivan, while his brother François remained in London to conduct Pinafore there.
[77]

Pinafore opened in New York on 1 December 1879 (with Gilbert onstage in the chorus)
and ran for the rest of December. After a reasonably strong first week, audiences
quickly fell off, since most New Yorkers had already seen local productions of
Pinafore.[78] This was unexpected and forced Gilbert and Sullivan to race to
complete and rehearse their new opera, The Pirates of Penzance, which premiered
with much success on 31 December.[75] Shortly thereafter, Carte sent three touring
companies around the United States East Coast and Midwest, playing Pinafore
alongside Pirates.[76][79]
Children's production

1880 programme for Carte's Children's Pinafore

The unauthorised juvenile productions of Pinafore were so popular that Carte
mounted his own children's version, played at matinees at the Opera Comique
beginning on 16 December 1879.[80] François Cellier, who had taken over from his
brother as Carte's music director in London, adapted the score for children's
voices.[57] Between its two Christmas seasons in London, the children's production
went on a provincial tour from 2 August 1880 to 11 December 1880.[81]

Carte's children's production earned enthusiastic reviews from the critic Clement
Scott[82] and the other London critics, as well as the audiences, including
children.[79][83] However, Captain Corcoran's curse "Damme!" was uncensored,
shocking such prominent audience members as Lewis Carroll,[n 8] who later wrote: "a
bevy of sweet innocent-looking girls sing, with bright and happy looks, the chorus
'He said, Damn me! He said, Damn me!' I cannot find words to convey to the reader
the pain I felt in seeing those dear children taught to utter such words to amuse
ears grown callous to their ghastly meaning ... How Mr. Gilbert could have stooped
to write, or Sir Arthur Sullivan could have prostituted his noble art to set to
music, such vile trash, it passes my skill to understand".[85][86]

Subsequent productions
After the opera became successful in London, Richard D'Oyly Carte quickly sent
touring companies into the British provinces. At least one D'Oyly Carte company,
and sometimes as many as three, played Pinafore under Carte's aegis every year
between 1878 and 1888, including its first London revival in 1887. The opera was
then given a rest, returning to the touring repertory between 1894 and 1900 and
again for most of the time between 1903 and 1940.[87] Gilbert directed all the
revivals during his lifetime, and after his death, the D'Oyly Carte Opera Company
had exclusive performing rights to the Savoy operas until 1962. It continued to hew
closely to Gilbert's directions throughout that period, as recorded in Gilbert's
prompt books, and it also required its licensees to follow them closely.[88]

Ruth Vincent as Josephine in 1899

Until 1908, revivals of the opera were given in contemporary dress, with ladies'
costumes executed by couture houses such as Redfern.[89] After that, designers such
as Percy Anderson, George Sheringham and Peter Goffin created Victorian costume
designs.[89][90] The 1887 set was designed by Hawes Craven.[89] In the winter of
1940–41, the D'Oyly Carte Opera Company's scenery and costumes for Pinafore and
three other operas were destroyed by German bombs during World War II.[91] The
opera was revived in London in the summer of 1947.[92] It was then included in the
D'Oyly Carte repertory in every season from then on, until the company's closure in
1982.[93] The D'Oyly Carte company performed Pinafore before Queen Elizabeth II and
the royal family at Windsor Castle on 16 June 1977, during the queen's Silver
Jubilee year, the first royal command performance of a Gilbert and Sullivan opera
since 1891.[35]

The D'Oyly Carte Opera Company did not allow any other professional company to
present the Savoy operas in Britain until the copyrights expired at the end of
1961, although it licensed many amateur and school societies to do so, beginning in
the 19th century.[94] After 1961, other professional companies mounted productions
of the opera in Britain. These have included Tyrone Guthrie's 1960 production from
Stratford, Ontario, seen on Broadway in 1960 and in London in 1962[95] and a New
Sadler's Wells Opera Company production first seen on 4 June 1984 at Sadler's Wells
Theatre,[96] which was seen also in New York.[97] Scottish Opera, Welsh National
Opera and many of the other British opera companies have mounted productions, as
did the reconstituted D'Oyly Carte Opera Company between 1990 and its closure in
2003.[98] In recent years, the Carl Rosa Opera Company has produced Pinafore
several times, including in 2009,[99] and Opera della Luna and other British
companies continue to mount the piece.[98][100]

The extraordinary initial success of Pinafore in America was seen first-hand by J.

C. Williamson.[68] He soon made arrangements with D'Oyly Carte to present the
opera's first authorised production in Australia, opening on 15 November 1879 at
the Theatre Royal, Sydney. Thereafter, his opera company played frequent seasons of
the work (and the subsequent Savoy operas) until at least 1963.[101] In the U.S.,
the piece never lost popularity.[68][102] The Internet Broadway Database links to a
non-exhaustive list of 29 productions on Broadway alone.[103] Among the
professional repertory companies continuing to present Pinafore regularly in the
U.S. are Opera a la Carte, based in California, Ohio Light Opera and the New York
Gilbert and Sullivan Players, which tours the opera annually and often includes it
in its New York seasons.[104] Pinafore is still performed around the world by opera
companies such as the Royal Theatre, Copenhagen; Australian Opera (and Essgee
Entertainment and others in Australia); in Kassel, Germany; and even Samarkand,
Uzbekistan.[105]

The following table shows the history of the D'Oyly Carte productions (excluding
tours) in Gilbert's lifetime:

Theatre Opening Date Closing Date Perfs. Details

Opera Comique 25 May 1878 24 December 1878 571 Original run in London. (The
theatre was closed between 25 December 1878 and 31 January 1879.)[52]
31 January 1879 20 February 1880
Fifth Avenue Theatre, New York 1 December 1879 27 December 1879 28
Official American premiere in New York, prior to the opening of The Pirates
of Penzance.[76]
Opera Comique 16 December 1879 20 March 1880 78 Company of juvenile
performers, matinees only. (This company went on a provincial tour from 2 August to
11 December 1880.)[81]
Opera Comique 22 December 1880 28 January 1881 28
Savoy Theatre 12 November 1887 10 March 1888 120 First London revival.
[106]
Savoy Theatre 6 June 1899 25 November 1899 174 Second London revival. Played
with Trial by Jury as a forepiece.[107]
Savoy Theatre 14 July 1908 27 March 1909 61 Second Savoy repertory
season; played with five other operas. (Closing date shown is of the entire
season.)[108]
Reception
Initial critical reception
The early reviews were mostly favourable.[11][12] The Era wrote:

Seldom indeed have we been in the company of a more joyous audience. ... [Gilbert
and Sullivan] have on previous occasions been productive of such legitimate
amusement, such novel forms of drollery, such original wit, and unexpected
whimsicality, that nothing was more natural than for the audience to anticipate an
evening of thorough enjoyment. The expectation was fulfilled completely. Those who
believed in the power of Mr Gilbert to tickle the fancy with quaint suggestions and
unexpected forms of humour were more than satisfied, and those who appreciate Mr
Arthur Sullivan's inexhaustible gift of melody were equally gratified; while that
large class of playgoers who are pleased with brilliant dresses and charming stage
effects declared themselves delighted. The result, therefore, was "a hit, a
palpable hit" ... there were some slight drawbacks [such] as the severe cold that
affected Mr. Rutland Barrington [the captain], and almost prevented his singing.

The Era also lavishly praised Emma Howson as Josephine.[109] The Entr'acte and
Limelight commented that the opera was reminiscent of Trial by Jury and Sorcerer
but found it diverting and called the music "very charming. To hear so-called grand
opera imitated through the medium of the most trifling lyrics, is funny".[110][111]
The paper praised Grossmith as Sir Joseph, noting with amusement that he was made
up to look like portraits of Horatio Nelson, "and his good introductory song seems
levelled at" W. H. Smith. It opined, further, that "He Is an Englishman" is "an
excellent satire on the proposition that a man must necessarily be virtuous to be
English". It found the piece, as a whole, well presented and predicted that it
would have a long run.[110]

Punch cartoon mocking Sullivan for his focus on comic opera

Similarly, The Illustrated London News concluded that the production was a success
and that the plot, though slight, served as a good vehicle for Gilbert's "caustic
humour and quaint satire". It found that there was "much to call forth hearty
laughter in the occasional satirical hits. ... Dr. Sullivan's music is as lively as
the text to which it is set, with here and there a touch of sentimental
expression ... The piece is well performed throughout."[112] The Daily News, The
Globe, The Times (which particularly praised Grossmith, Barrington and Everard) and
The Standard concurred, the last commenting favourably on the chorus acting, which,
it said, "adds to the reality of the illusion".[11] The Times also noted that the
piece was an early attempt at the establishment of a "national musical stage" with
a libretto free from risqué French "improprieties" and without the "aid" of Italian
and German musical models.[113]

The Daily Telegraph and the Athenaeum, however, greeted the opera with only mixed
praise.[12][114] The Musical Times complained that the ongoing collaboration
between Gilbert and Sullivan was "detrimental to the art-progress of either"
because, although it was popular with audiences, "something higher is demanded for
what is understood as 'comic opera'". The paper commented that Sullivan had "the
true elements of an artist, which would be successfully developed were a carefully
framed libretto presented to him for composition". It concluded, however, by saying
how much it enjoyed the opera: "Having thus conscientiously discharged our duties
as art-critics, let us at once proceed to say that H.M.S. Pinafore is an amusing
piece of extravagance, and that the music floats it on merrily to the end".[115]
The Times and several of the other papers agreed that, while the piece was
entertaining, Sullivan was capable of higher art. Only The Figaro was actively
hostile to the new piece.[11] Upon the publication of the vocal score, a review by
The Academy joined the chorus of regret that Sullivan had sunk so low as to compose
music for Pinafore and hoped that he would turn to projects "more worthy of his
great ability".[116] This criticism would follow Sullivan throughout his career.
[117]

The many unauthorised American productions of 1878–79 were of widely varying

quality, and many of them were adaptations of the opera. One of the more
"authentic" ones was the production by the Boston Ideal Opera Company, which was
first formed to produce Pinafore. It engaged well-regarded concert singers and
opened on 14 April 1879 at the 3,000-seat Boston Theatre. The critics agreed that
the company fulfilled its goals of presenting an "ideal" production. The Boston
Journal reported that the audience was "wrought up by the entertainment to a point
of absolute approval". The paper observed that it is a mistake to consider Pinafore
a burlesque, "for while irresistibly comical it is not bouffe and requires to be
handled with great care lest its delicate proportions be marred and its subtle
quality of humor be lost".[68] The Journal described the opera as "classical" in
method and wrote that its "most exquisite satire" lay in its "imitation of the
absurdities" of grand opera. The company went on to become one of the most
successful touring companies in America.[68] The first children's version in Boston
became a sensation with both children and adult audiences, extending its run
through the summer of 1879. The Boston Herald wrote that "the large audience of
children and their elders went fairly wild with delight ... shrieks of laughter
were repeatedly heard".[68]
Subsequent reception
When Pinafore was first revived in London in 1887, it was already treated as a
classic. The Illustrated London News observed that the opera had not been updated
with new dialogue, jokes and songs, but concluded that this was for the best, as
the public would have missed the "time-honoured jokes, such as 'Hardly Ever.' The
Savoy has once more got a brilliant success."[118] The Theatre concurred, stating
that since the opera "has been heard in almost every part of this habitable globe
and been enjoyed everywhere, there is not much occasion to descant". It called the
revival a "most brilliant" success and predicted another long run.[119]

Rutland Barrington as Captain Corcoran in the first London revival, 1887

Reviewing the 1899 revival, The Athenaeum managed to praise the piece while joining
in the musical establishment's critique of Sullivan. On the one hand, "The Pinafore
... sounds fresher than ever. The musical world has become serious – very serious –
and it is indeed refreshing to hear a merry, humorous piece, and music, unassuming
in character ... it is delicately scored, and in many ways displays ability of a
high order". On the other hand, it wrote that if Sullivan had pursued the path of
composing more serious music, like his symphony, "he would have produced still
higher results; in like manner Pinafore set us wondering what the composer would
have accomplished with a libretto of somewhat similar kind, but one giving him
larger scope for the exercise of his gifts".[120]

In 1911, H. L. Mencken wrote: "No other comic opera ever written – no other stage
play, indeed, of any sort – was ever so popular. ... Pinafore ... has been given,
and with great success, wherever there are theaters – from Moscow to Buenos Aires,
from Cape Town to Shanghai; in Madrid, Ottawa and Melbourne; even in Paris, Rome,
Vienna and Berlin."[121] After the deaths of Gilbert and Sullivan, the D'Oyly Carte
Opera Company retained exclusive rights to perform their operas in Great Britain
until 1962, touring throughout Britain for most of the year and, beginning in 1919,
often performing in London for a season of about four months. The Times gave the
company's 1920 London production an enthusiastic review, saying that the audience
was "enraptured", and regretting that Pinafore would be played for only two weeks.
It praised the cast, singling out Leo Sheffield as the Captain, Henry Lytton as Sir
Joseph, Elsie Griffin as Josephine, James Hay as Ralph, Bertha Lewis as Little
Buttercup and the "splendid" choral tone. It concluded that the opera made a
"rollicking climax to the season".[122] Two years later, it gave an even more
glowing report of that season's performances, calling Derek Oldham an "ideal hero"
as Ralph, noting that Sydney Granville "fairly brought down the house" with his
song, that Darrell Fancourt's Deadeye was "an admirably sustained piece of
caricature" and that it was a "great pleasure" to hear the returning principals.
[123] A 1961 review of the company's Pinafore is much the same.[124]

In 1879, J. C. Williamson acquired the exclusive performing rights to Pinafore in

Australia and New Zealand. His first production earned public and critical acclaim.
Williamson played Sir Joseph, and his wife, Maggie Moore played Josephine. Praising
the production and all the performers, the Sydney Morning Herald noted that the
production though "abounding in fun" was dignified and precise, that many numbers
were encored and that laughter and applause from the "immense audience ... was
liberally bestowed".[125] Williamson's company continued to produce Pinafore in
Australia, New Zealand and on tour into the 1960s with much success. As Williamson
said, "If you need money, then put on G&S".[126] Meanwhile, Pinafore continued to
garner praise outside Britain. The 1950s Danish version in Copenhagen, for example,
was revived repeatedly, playing for well over 100 performances to "packed houses".
[127] Translations into German, Yiddish and many other languages, and professional
productions in places as remote as Samarkand in Uzbekistan have been successful.
[128]
In the U.S., where Gilbert and Sullivan's performance copyright was never in force,
[129] Pinafore continued to be produced continuously by both professional and
amateur companies. The New York Times, in a 1914 review, called a large-scale
production at the 6,000-seat New York Hippodrome a "royal entertainment [that]
comes up smiling". The opera had been turned into a "mammoth spectacle" with a
chorus of hundreds and the famous Hippodrome tank providing a realistic harbour.
Buttercup made her entrance by rowing over to the three-masted Pinafore, and Dick
Deadeye was later thrown overboard with a real splash. The Times praised the hearty
singing but noted that some subtlety is lost when the dialogue needs to be
"shouted". The production took some liberties, including interpolated music from
other Sullivan works. The paper concluded, "the mild satire of Pinafore is
entertaining because it is universal".[130] The same newspaper deemed Winthrop
Ames' popular Broadway productions of Pinafore in the 1920s and 1930s
"spectacular".[131] Modern productions in America continue to be generally well
received. The New York Times review of The New York Gilbert and Sullivan Players'
2008 season at New York City Center commented, "Gilbert's themes of class
inequality, overbearing nationalism and incompetent authorities remain relevant,
however absurdly treated. But the lasting appeal of Pinafore and its ilk is more a
matter of his unmatched linguistic genius and Sullivan's generous supply of
addictive melodies."[132]

With the expiry of the copyrights, companies around the world have been free to
produce Gilbert and Sullivan works and to adapt them as they please for almost 50
years. Productions of Pinafore, both amateur and professional, range from the
traditional, in the D'Oyly Carte vein, to the broadly adapted, such as that of the
very successful Essgee Entertainment (formed by Simon Gallaher) in Australia and
Opera della Luna in Britain.[128] Since its original production, H.M.S. Pinafore
has remained one of Gilbert and Sullivan's most popular comic operas.[102][133]
Productions continue in large numbers around the world.[100][128] In 2003 alone,
The D'Oyly Carte Opera Company rented 224 sets of orchestra parts, mostly for
productions of Pinafore, Pirates and Mikado. This does not take into account other
rental companies and the theatre companies that borrow scores or have their own, or
that use only one or two pianos instead of an orchestra. Hundreds of productions of
Pinafore are presented every year worldwide.[128]

Analysis
Theatre historian John Bush Jones wrote that Pinafore has "everything a musical
theatregoer could ask for. An engaging and even relatively suspenseful story is
populated with varied and well-drawn characters who speak and sing witty, literate,
and often outrageously funny dialogue and lyrics [and] has a score that ... has
plenty of tunes for the audience to go away humming".[134] Sir George Power, the
tenor who created the role of Ralph Rackstraw, opined in later life that the secret
of the success of the Savoy operas is the way in which "Sullivan entered into the
spirit of Gilbert's topsy-turvy humour, and was pompous when Gilbert was sprightly,
or, when Gilbert's satire was keenest and most acid, consciously wallowed in
sentiment."[135] Another commentator has suggested that the opera's enduring
success lies in its focus on "mirth and silliness".[136] Even the title of the
piece is silly, applying the name of a little girl's garment, a pinafore, to the
fearsome symbol of a naval warship, which usually bore names like Victory, Goliath,
Audacious and Minotaur.[137]

Satiric and comic themes

Gilbert's biographer Jane Stedman wrote that Pinafore is "satirically far more
complex" than The Sorcerer. She commented that Gilbert uses several ideas and
themes from his Bab Ballads, including the idea of gentlemanly behaviour of a
captain towards his crew from "Captain Reece" (1868) and the exchange of ranks due
to exchange at birth from "General John" (1867). Dick Deadeye, based on a character
in "Woman's Gratitude" (1869), represents another of Gilbert's favorite (and semi-
autobiographical) satiric themes: the misshapen misanthrope whose forbidding "face
and form" makes him unpopular although he represents the voice of reason and common
sense.[12][138] Gilbert also borrows from his 1870 opera, The Gentleman in Black
which includes the device of baby-switching.[139]

Souvenir programme cover from 1878 during the run of the original production
Historian H. M. Walbrook wrote in 1921 that Pinafore "satirizes the type of
nautical drama of which Douglas Jerrold's Black-Eyed Susan is a typical instance,
and the 'God's Englishman' sort of patriotism which consists in shouting a
platitude, striking an attitude, and doing little or nothing to help one's
country".[114] G. K. Chesterton agreed that the satire is pointed at the
selfishness of "being proud of yourself for being a citizen" of one's country,
which requires no virtuous effort of will to resist the "temptations to belong to
other nations" but is merely an excuse for pride.[140] In 2005, Australian opera
director Stuart Maunder noted the juxtaposition of satire and nationalism in the
opera, saying, "they all sing 'He is an Englishman', and you know damn well they're
sending it up, but the music is so military ... that you can't help but be swept up
in that whole jingoism that is the British Empire."[141] In addition, he argued
that the song ties this theme into the main satire of class distinctions in the
opera: "H.M.S. Pinafore is basically a satire on ... the British love of the class
system. ... [O]f course [Ralph] can marry [the Captain's] daughter, because he's
British, and therefore he's great'".[141] Jacobs notes that Gilbert is lampooning
the tradition of nautical melodrama in which the sailor's "patriotism guarantees
his virtue".[142][n 9]

One of Gilbert's favourite comic themes is the elevation of an unqualified person

to a position of high responsibility. In The Happy Land (1873), for example,
Gilbert describes a world in which government offices are awarded to the person who
has the least qualification to hold each position. In particular, the one who has
never heard of a ship is appointed to the cabinet post of First Lord of the
Admiralty.[n 10][144] In Pinafore, Gilbert revisits this theme in the character of
Sir Joseph, who rises to the same position by "never go[ing] to sea".[114][145] In
later Gilbert and Sullivan operas, the characters Major-General Stanley in Pirates,
and Ko-Ko in The Mikado, are similarly appointed to high office though lacking the
necessary qualifications. Gilbert also pokes fun at party politics, implying that
when Sir Joseph "always voted at [his] party's call", he sacrificed his personal
integrity.[146] The "commercial middle class" (which was Gilbert's main audience)
is treated as satirically as are social climbers and the great unwashed.[147] In
addition, the apparent age difference between Ralph and the Captain, even though
they were babies nursed together, satirises the variable age of Thaddeus in The
Bohemian Girl.[29] The Times wrote, in reviewing the 1929 production, that Pinafore
was quintessentially Gilbertian in that the absurdities of a "paternal" Captain and
the "ethics ... of all romanticism" are accepted "unflinchingly" and taken to their
logical conclusion: "It is the reference to actuality that is essential; without
it, the absurdity will not stand starkly out".[147]

Theatre poster for an American production, c. 1879

A theme that pervades the opera is the treatment of love across different social
ranks. In the previous Gilbert and Sullivan opera, The Sorcerer, a love potion
causes trouble by inducing the villagers and wedding guests to fall in love with
people of different social classes.[148] In Pinafore, the captain's daughter,
Josephine, loves and is loved by a common sailor, but she dutifully tells him,
"your proffered love I haughtily reject". He expresses his devotion to her in a
poetic and moving speech that ends with "I am a British sailor, and I love you". It
finally turns out that he is of a higher rank than she. This is a parody of the
Victorian "equality" drama, such as Lord Lytton's The Lady of Lyons (1838), where
the heroine rejects a virtuous peasant who makes a similarly moving speech, ending
with "I am a peasant!"[149] It then turns out that he has become her social
superior. Furthermore, in Pinafore, Sir Joseph assures Josephine that "love levels
all ranks". In Tom Taylor's The Serf, the heroine again loves a worthy peasant who
turns out to be of high rank, and she declares happily at the end that "love levels
all".[149] In a satire of the libertarian traditions of nautical melodrama, Sir
Joseph tells the crew of the Pinafore that they are "any man's equal" (excepting
his), and he writes a song for them that glorifies the British sailor. Conversely,
he brings the proud captain down a notch by making him "dance a hornpipe on the
cabin table".[149] Jones notes that the union between Ralph and Josephine "becomes
acceptable only through the absurd second-act revelation of Buttercup's inadvertent
switching of the infants" and concludes that Gilbert is a "conservative satirist
[who] ultimately advocated preserving the status quo ... [and] set out to show
[that] love definitely does not level all ranks".[134]

There is a divide among Gilbert and Sullivan scholars as to whether Gilbert is, as
Jones argues, a supporter of the status quo whose focus is merely to entertain or,
on the other hand, predominantly to satirise and protest "against the follies of
his age".[150] The Gilbert scholar Andrew Crowther posits that this disagreement
arises from Gilbert's "techniques of inversion – with irony and topsyturvydom",
which lead to "the surface meaning of his writings" being "the opposite of their
underlying meaning". Crowther argues that Gilbert desires to "celebrate" society's
norms while, at the same time, satirising these conventions. In Pinafore, which
established many patterns for the later Savoy operas, Gilbert found a way to
express his own conflict that "also had tremendous appeal to the general public".
[150] He creates "a highly intelligent parody of nautical melodrama ... [though]
controlled by the conventions it mocks".[150] While nautical melodrama exalts the
common sailor, in Pinafore Gilbert makes the proponent of equality, Sir Joseph, a
pompous and misguided member of the ruling class who, hypocritically, cannot apply
the idea of equality to himself.[n 11] The hero, Ralph, is convinced of his
equality by Sir Joseph's foolish pronouncements and declares his love for his
Captain's daughter, throwing over the accepted "fabric of social order". At this
point, Crowther suggests, the logic of Gilbert's satiric argument should result in
Ralph's arrest. But to satisfy convention, Gilbert creates an obvious absurdity:
the captain and Ralph were switched as babies. By an "accident of birth", Ralph is
suddenly an appropriate husband for Josephine, and both the social order and the
desire for a romantic happy ending are satisfied at once.[151] Crowther concludes,
"We have an opera which uses all the conventions of melodrama and ridicules them;
but in the end it is difficult to see which has won out, the conventions or the
ridicule." Thus, Pinafore found broadbased success by appealing to the intellectual
theatregoer seeking satire, the middle-class theatre-goer looking for a comfortable
confirmation of the "existing social order" and the working-class audience who saw
a satisfying melodramatic victory for the common man.[150]

Songs and musical analysis

According to musicologist Arthur Jacobs, Gilbert's plot "admirably sparked off
Sullivan's genius".[142] Sullivan embraces the nautical setting; in "We Sail the
Ocean Blue", for example, he "presents his twist on a traditional sea shanty".[152]
In the Captain's opening song, "I am the Captain of the Pinafore", he admits that
his gentlemanliness "never ... well, hardly ever" gives way to swearing at his men,
and although he has experience at sea, he "hardly ever" suffers from seasickness.
[152] Sullivan "unerringly found the right musical setting for the key phrase 'What
never?' ... cunningly sharpened ... through the chromatic touch on the
bassoon."[153] Audrey Williamson argued that the music of Pinafore is
quintessentially English and free of European influences throughout most of the
score, from the "glee" for Ralph, the Boatswain and the Carpenter, to "For He Is an
Englishman".[154]

Gilbert's Illustration of "A British tar" (1906)

The best-known songs from the opera[155][156] include "I'm called Little
Buttercup", a waltz tune introducing the character, which Sullivan repeats in the
entr'acte and in the Act II finale to imprint the melody on the mind of the
audience;[157] and "A British tar" (a glee for three men describing the ideal
sailor), composed by Sir Joseph "to encourage independent thought and action in the
lower branches of the service, and to teach the principle that a British sailor is
any man's equal, excepting mine".[142] Sullivan's voicing advances the satiric
lyric, which mocks the "equality" plays while underlining the hypocrisy of Sir
Joseph.[150] Another popular number is Sir Joseph's song "When I was a Lad",
recounting the meteoric rise of his career, which bears similarities to that of W.
H. Smith, the civilian news entrepreneur who had risen to the position of First
Lord of the Admiralty in 1877.[114]

In Pinafore, Sullivan exploits minor keys for comic effect, for instance in "Kind
Captain, I've important information".[158] Further, he achieves a musical surprise
when he uses the subdominant minor in "Sorry her lot".[159] The musicologist
Gervase Hughes was impressed with the introduction to the opening chorus which
includes "a rousing nautical tune ... in a key of no nonsense, C major ... a
modulation to the mediant minor, where to our surprise a plaintive oboe gives us
the first verse of "Sorry her lot" in 2/4 [time]. After this closes on the local
dominant B major the violins (still in 2/4) introduce us to Little Buttercup ...
meeting her under these conditions one would hardly expect her to blossom out later
as a queen of the waltz." He continues, "the bassoon and basses ... assert
vigorously who is the Captain of the Pinafore ... in the improbable key of A flat
minor. ... Buttercup makes a last despairing attempt to make herself heard in D
flat minor, but the others have never known that such an outlandish key existed. So
in a flash they all go back to C major on a good old 6/4".[160]

According to Jacobs, "Ralph, Captain Corcoran, Sir Joseph and Josephine all live in
their interactive music (particularly 'Never mind the why and wherefore'), and
almost as much musical resource is lavished on two characters parodied from opera
or melodrama, Little Buttercup with 'gypsy blood in her veins' and the heavy-
treading Dick Deadeye."[161] Jacobs also opined that the leading tone that begins
"Never mind the why and wherefore" "serves to emphasize the phrase like a Johann
Strauss-ian grace-note".[142] The Sullivan scholar David Russell Hulme noted
Sullivan's parody of operatic styles, "particularly the Handelian recitatives and
the elopement scene (evocative of so many nocturnal operatic conspiracies), but
best of all is the travesty of the patriotic tune in 'For he is an
Englishman!'"[162] Buttercup's Act II song, in which she reveals the dark secret of
the baby-switching is preceded by a quote from Franz Schubert's "Erlkönig" and also
parodies the opera Il Trovatore.[111] Jacobs notes that Sullivan also adds his own
humorous touches to the music by setting commonplace expressions in "Donizettian
recitative". But on the serious side, he enhances the moments of true emotional
climax, as in Josephine's Act II aria, and added musical interest to concerted
numbers by "subtly shifting the rhythms and bar groupings."[153]

Revisions and cut material

Ballad for Captain Corcoran, "Reflect, my child"
During rehearsals for the original production, Gilbert added a ballad for Captain
Corcoran in which he urged his daughter to forget the common sailor with whom she
is in love, because "at every step, he would commit solecisms that society would
never pardon." The ballad was meant to be sung between No. 5 and No. 6 of the
current score, but it was cut before opening night. The words survive in the
libretto that was deposited with the Lord Chamberlain for licensing. Before 1999,
all that was known to survive of Sullivan's setting was a copy of the leader violin
part.[163]

In April 1999, Sullivan scholars Bruce I. Miller and Helga J. Perry announced that
they had discovered a nearly complete orchestration – lacking only the second
violin part – in a private collection of early band parts. These materials, with a
conjectural reconstruction of the partially lost vocal lines and second violin
part, were later published and professionally recorded.[163][164] This piece has
now been performed a number of times by amateur and professional companies,
although it has not become a standard addition to the traditional scores or
recordings.[165]

Bond as Hebe with Grossmith as Sir Joseph, 1887 revival

Dialogue for Cousin Hebe
In the licensing copy of the libretto, Sir Joseph's cousin Hebe had lines of
dialogue in several scenes in Act II. In the scene that follows No. 14 ("Things are
seldom what they seem"), she accompanied Sir Joseph onstage and echoed the First
Lord's dissatisfaction with Josephine. After several interruptions, Sir Joseph
urged her to be quiet, eliciting the response "Crushed again!" Gilbert would later
re-use this passage for Lady Jane in Patience. Hebe was also assigned several lines
of dialogue after No. 18 ("Carefully on tiptoe stealing") and again after No. 19
("Farewell, my own").[166][167]

Late in rehearsals for the original production, Jessie Bond assumed the role of
Hebe, replacing Mrs Howard Paul. Bond, who at this point in her career was known
primarily as a concert singer and had little experience as an actress, did not feel
capable of performing dialogue, and these passages were revised to cut Hebe's
dialogue.[168] Hebe's cut dialogue is occasionally restored in modern performances.
[169][170]

Recitative preceding the Act II finale

The dialogue preceding the Act II finale, starting with "Here, take her sir, and
mind you treat her kindly", was originally recitative. The music for this passage
was printed in the first edition of the vocal score as No. 20a. Shortly after
opening night, the recitative was dropped, and the lines thereafter were performed
as spoken dialogue. In modern productions, the recitative is occasionally restored
in place of the dialogue.[165][167]

Recordings
There have been numerous recordings of Pinafore since 1907.[171][172] Ian Bradley
counted seventeen recordings of the opera available on CD in 2005.[173]

"Pinafore airs", pt. 1

MENU0:00
Part 1 of a 4-part recording of H.M.S. Pinafore created by Edison Records in 1911.
Includes "We sail the ocean blue" "Hail, men-o'-war's men", "I'm called Little
Buttercup" and "A maiden fair to see"
Problems playing this file? See media help.

"Pinafore airs", pt. 2

MENU0:00
Part 2 of the 4-part recording. Includes "My gallant crew, good morning", "I am the
Captain of the Pinafore", "Sorry her lot" (second verse, beginning "Sad is the
hour"), "Over the bright blue sea" and "I am the monarch of the sea"
Problems playing this file? See media help.
The 1930 recording is notable for preserving the performances of the D'Oyly Carte
Opera Company stars of the era. The 1960 D'Oyly Carte recording, which contains all
the dialogue, has been repeatedly praised by reviewers.[174] The 1994 Mackerras
recording, featuring grand opera singers in the principal roles, is musically well
regarded.[171][175] The 2000 D'Oyly Carte recording also contains complete dialogue
and the first recording of the "lost" ballad for Captain Corcoran, "Reflect, my
child", as a bonus track.[176] A 1957 Danish-language recording of the opera is one
of the few foreign-language professional recordings of Gilbert and Sullivan.[177]
In 1939, Pinafore was chosen by NBC as one of the earliest operas ever broadcast on
American television, but no recording is known to have been saved.[178] The 1973
D'Oyly Carte video recording, directed by Michael Heyland, features the company's
staging of the period, but some reviewers find it dull.[171] It is, however, one of
only three video or film recordings of a Gilbert and Sullivan opera by the D'Oyly
Carte Opera Company.[179] In 1982, Brent Walker Productions produced Pinafore as
part of its series of Gilbert and Sullivan television films. According to
discographer Marc Shepherd, the Pinafore video "is widely considered one of the
worst" in the series.[180][n 12] More recent professional productions have been
recorded on video by the International Gilbert and Sullivan Festival.[182]

Selected recordings
1930 D'Oyly Carte – London Symphony Orchestra; Conductor: Malcolm Sargent[183]
1958 Sargent/Glyndebourne – Pro Arte Orchestra, Glyndebourne Festival Chorus;
Conductor: Sir Malcolm Sargent[184]
1960 D'Oyly Carte (with dialogue) – New Symphony Orchestra of London; Conductor:
Isidore Godfrey[174][185]
1972 G&S for All – G&S Festival Chorus & Orchestra; Conductor: Peter Murray[186]
1973 D'Oyly Carte (video) – Conductor: Royston Nash[179]
1981 Stratford Festival (video) – Conductor: Berthold Carrière; Director: Leon
Major[187]
1987 New Sadler's Wells Opera – Conductor: Simon Phipps[188]
1994 Mackerras/Telarc – Orchestra and Chorus of the Welsh National Opera;
Conductor: Sir Charles Mackerras[189]
1997 Essgee Entertainment (video; adapted) – Conductor: Kevin Hocking[190]
2000 D'Oyly Carte (with dialogue) – Conductor: John Owen Edwards[176]
Adaptations

Frontispiece by Alice B. Woodward to The Pinafore Picture Book, 1908

H.M.S. Pinafore has been adapted many times. W. S. Gilbert wrote a 1909 children's
book called The Pinafore Picture Book, illustrated by Alice Woodward, which retells
the story of Pinafore, in some cases giving considerable backstory that is not
found in the libretto.[191][192] Many other children's books have since been
written retelling the story of Pinafore or adapting characters or events from
Pinafore.[193]

Many musical theatre adaptations have been produced since the original opera.
Notable examples include a 1945 Broadway musical adapted by George S. Kaufman,
called Hollywood Pinafore, using Sullivan's music.[194] This was revived several
times, including in London in 1998.[195] Another 1945 Broadway musical adaptation,
Memphis Bound, was written by Don Walker and starred Bill Robinson and an all-black
cast.[196] In 1940, the American Negro Light Opera Association produced the first
of several productions set in the Caribbean Sea, Tropical Pinafore.[195] An early
Yiddish adaptation of Pinafore, called Der Shirtz (Yiddish for "apron") was written
by Miriam Walowit in 1949 for a Brooklyn, New York Hadassah group; they toured the
adaptation,[197] and they recorded 12 of the songs.[198] In the 1970s, Al Grand was
inspired by this recording and urged the Gilbert and Sullivan Long Island Light
Opera Company to perform these songs. He later translated the missing songs and
dialogue, with Bob Tartell, and the show has been toured widely under the name Der
Yiddisher Pinafore. The group have continued to produce this adaptation for over
two decades, in which "He is an Englishman" becomes "Er Iz a Guter Yid" ("He is a
good Jew").[199][200]

Essgee Entertainment produced an adapted version of Pinafore in 1997 in Australia

and New Zealand[201] that has been much revived.[202] Another musical adaptation is
Pinafore! (A Saucy, Sexy, Ship-Shape New Musical), adapted by Mark Savage. It was
first performed at the Celebration Theater in Los Angeles, California on 7
September 2001, directed by Savage, where it ran with great success for nine
months. It then played in Chicago and New York in 2003.[203] In this adaptation,
only one character is female, and all but one of the male characters are gay. An
original cast recording was issued in 2002 by Belva Records.[204][205] Pinafore
Swing is a musical with music arranged by Sarah Travis. It premiered at the
Watermill Theatre in England in 2004 in a production directed by John Doyle. The
adaptation, set in 1944, changes the characters into members of a band entertaining
the sailors on a World War II troop ship in the Atlantic. The reduced-size acting
cast also serve as the orchestra for the singing roles, and the music is infused
with swing rhythms.[206] Numerous productions in recent decades have been set to
parody Star Trek or Star Wars.[195][207]

Cultural impact
Main article: Cultural influence of Gilbert and Sullivan
Development of the modern musical

W.S. Gilbert in about 1878

Among its other influences on popular culture, Pinafore had perhaps its most
profound influence on the development of musical theatre. According to theatre
historian John Kenrick, Pinafore "became an international sensation, reshaping the
commercial theater in both England and the United States."[208] The music writer
Andrew Lamb notes, "The success of H.M.S. Pinafore in 1879 established British
comic opera alongside French opéra bouffe throughout the English-speaking world".
[209] The historian John Bush Jones opines that Pinafore and the other Savoy operas
demonstrate that musical theatre "can address contemporary social and political
issues without sacrificing entertainment value" and that Pinafore created the model
for a new kind of musical theatre, the "integrated" musical, where "book, lyrics,
and music combined to form an integral whole".[210] He adds that its "unprecedented
... popularity fostered an American audience for musical theatre, while the show
itself became a model for form, content, and even intention of ... musicals ever
since, especially socially relevant musicals."[211] Its popularity also led to the
musical theatre adaptations of Pinafore described above, musicals in which the
story line involves a production of Pinafore[212] and other musicals that parody
the opera or that use or adapt its music.[n 13] The first such parody was a short-
lived burlesque presented at the Opera Comique in 1882, called The Wreck of the
Pinafore by William Horace Lingard and Luscombe Searelle; the opera's characters
are shipwrecked on a desert island. It was described by The Era as "chiefly
remarkable for its impudence".[214]

Literary and political references

Arthur Seymour Sullivan

The opera's popularity has led to the widespread parody and pastiche of its songs
in comedy routines, literature and other media.[215] Many comedians have used
Pinafore songs for comic and satiric effect. For example, in his comedy album My
Son, the Celebrity, Allan Sherman parodies "When I Was a Lad" from the point of
view of a young man who goes to an Ivy League school and then rises to prominence
in business. At the end of the song, he "thanks old Yale", "thanks the Lord" and
thanks his father, "who is chairman of the board".[216] Literary references to
Pinafore songs include Harris's attempt to sing "When I Was a Lad" in Jerome K.
Jerome's Three Men in a Boat.[217] Another is found in the story "Runaround" from
I, Robot by Isaac Asimov, where a robot sings part of "I'm Called Little
Buttercup".[218] Pinafore and its songs have been performed by rock musicians such
as Todd Rundgren, Taj Mahal and Michele Gray Rundgren, who performed "Never Mind
the Why and Wherefore" on Night Music (Sunday Night) in 1989.[219]

Political references include a 1996 satiric pastiche of "When I Was a Lad" aimed at
Tony Blair by Virginia Bottomley, heritage secretary under John Major.[220]
Sporting references include a racehorse named "H.M.S. Pinafore".[221] Pinafore
songs and images have been used extensively in advertising. According to Jones,
"Pinafore launched the first media blitz in the United States" beginning in 1879,
[134] and recent ads include a television campaign for Terry's Chocolate Orange
featuring a pastiche of "When I Was a Lad".[222] Pinafore-themed merchandise
includes trading cards that were created in the 1880s.[223]

Film and television references

Songs from Pinafore have been used to give period flavor to such films as the 1981
historical film Chariots of Fire, in which the protagonist, Harold Abrahams, and
others from Cambridge University, sing "He Is an Englishman".[224] This song also
features at the end of the 1983 BBC drama An Englishman Abroad.[224] In the 2003
movie Peter Pan, the Darling family sings "When I Was a Lad".[225] In Wyatt Earp
(1994), the famed lawman meets his future wife when he sees her playing in an early
production of Pinafore.[225] A 1953 biopic, The Story of Gilbert and Sullivan, uses
music from Pinafore.

Characters also sing songs from Pinafore in such popular films as Raiders of the
Lost Ark (1981)[226] and Star Trek: Insurrection (1998), where Captain Picard and
Lt. Commander Worf sing part of "A British Tar" to distract a malfunctioning Lt.
Commander Data.[225] The Good Shepherd (2006) depicts an all-male version of
Pinafore at Yale University in 1939; Matt Damon's character plays Little Buttercup,
singing in falsetto.[227] Judy Garland sings "I Am the Monarch of the Sea" in the
1963 film, I Could Go On Singing.[228] The soundtrack of the 1992 thriller The Hand
that Rocks the Cradle prominently features songs and music from Pinafore, and the
father and daughter characters sing "I Am the Captain of the Pinafore" together.
[229] An example of a film based on ideas from Pinafore is the 1976 animated film
by Ronald Searle called Dick Deadeye, or Duty Done is based on the character and
songs from Pinafore.[230] In the 1988 drama Permanent Record, a high school class
performs Pinafore.[231]

Television series that include substantial Pinafore references include The West
Wing, for example in the 2000 episode "And It's Surely to Their Credit", where "He
Is an Englishman" is used throughout and quoted (or paraphrased) in the episode's
title.[232] Among other notable examples of the use of songs from Pinafore on
television are several popular animated shows. In the "Cape Feare" episode of The
Simpsons, Bart stalls his would-be killer Sideshow Bob with a "final request" that
Bob sing him the entire score of Pinafore.[233] Similarly, the 1993 "HMS Yakko"
episode of Animaniacs consists of pastiches of songs from H.M.S. Pinafore and The
Pirates of Penzance.[234] In a Family Guy episode, "The Thin White Line" (2001),
Stewie sings a pastiche of "My Gallant Crew".[235] Stewie also sings "I Am the
Monarch of the Sea" (including the ladies' part, in falsetto) in "Stewie Griffin:
The Untold Story".[236] A 1986 Mr. Belvedere episode, "The Play", concerns a
production of H.M.S. Pinafore, and several of the songs are performed.[237] In
1955, NBC broadcast a variety special including a 20-minute compressed jazz
version, "H.M.S. Pinafore in Jazz", produced and directed by Max Liebman, starring
Perry Como, Buddy Hackett, Kitty Kallen, Bill Hayes, Pat Carroll and Herb Shriner.
[238]

Historical casting
The following tables show the most prominent cast members of significant D'Oyly
Carte Opera Company productions and tours at various times through to the company's
1982 closure:[239]

Role Opera Comique

1878[52] New York
1879[240] Savoy Theatre
1887[106] Savoy Theatre
1899[107] Savoy Theatre
1908[108]
Sir Joseph George Grossmith J. H. Ryley George Grossmith Walter Passmore
 Charles H. Workman
Captain Corcoran Rutland Barrington Sgr. Brocolini Rutland Barrington
Henry Lytton Rutland Barrington
Ralph Rackstraw George Power Hugh Talbot J. G. Robertson Robert Evett
Henry Herbert
Dick Deadeye Richard Temple J. Furneaux Cook Richard Temple Richard
Temple Henry Lytton
Boatswain/
Bill Bobstay Fred Clifton Fred Clifton Richard Cummings W. H. Leon
Leicester Tunks
Carpenter/
Bob Beckett Aeneas J. Dymott Mr. Cuthbert Rudolph Lewis Powis Pinder
Fred Hewett
Midshipmite/
Tom Tucker Master Fitzaltamont1
Josephine Emma Howson Blanche Roosevelt Geraldine Ulmar Ruth Vincent Elsie
Spain
Hebe Jessie Bond Jessie Bond Jessie Bond Emmie Owen Jessie Rose
Buttercup Harriett Everard Alice Barnett Rosina Brandram Rosina Brandram
Louie René
Role D'Oyly Carte
1915 tour[241] D'Oyly Carte
1925 tour[242] D'Oyly Carte
1935 tour[243] D'Oyly Carte
1950 tour[244]
Sir Joseph Henry Lytton Henry Lytton Martyn Green Martyn Green
Captain Corcoran Leicester Tunks Leo Sheffield Leslie Rands Richard
Watson
Ralph Rackstraw Walter Glynne Charles Goulding John Dean Herbert Newby
Dick Deadeye Leo Sheffield Darrell Fancourt Darrell Fancourt Darrell
Fancourt
Boatswain Frederick Hobbs Henry Millidge Richard Walker Stanley Youngman
Carpenter George Sinclair Patrick Colbert L. Radley Flynn L. Radley Flynn
Josephine Phyllis Smith Elsie Griffin Ann Drummond-Grant Muriel
Harding
Hebe Nellie Briercliffe Aileen Davies Marjorie Eyre Joan Gillingham
Buttercup Bertha Lewis Bertha Lewis Dorothy Gill Ella Halman
Role D'Oyly Carte
1958 tour[245] D'Oyly Carte
1965 tour[246] D'Oyly Carte
1975 tour[247] D'Oyly Carte
1982 tour[248]
Sir Joseph Peter Pratt John Reed John Reed James Conroy-Ward[249]
Captain Corcoran Jeffrey Skitch Alan Styler Michael Rayner Clive Harre
Ralph Rackstraw Thomas Round David Palmer Meston Reid Meston Reid
Dick Deadeye Donald Adams Donald Adams John Ayldon John Ayldon
Boatswain George Cook George Cook Jon Ellison Michael Buchan
Carpenter Jack Habbick Anthony Raffell John Broad Michael Lessiter
Josephine Jean Hindmarsh Ann Hood Pamela Field Vivian Tierney
Hebe Joyce Wright Pauline Wales Patricia Leonard Roberta Morrell
Buttercup Ann Drummond-Grant Christene Palmer Lyndsie Holland Patricia
Leonard
1 The Midshipmite, Tom Tucker, is traditionally played by a child. "Fitzaltamont"
was likely a pseudonym used to protect the child's identity, as the same name
appears on programmes of several provincial touring companies.[52] No names are
listed for his role in later productions.

Notes, references and sources

Notes
 Mrs Paul had left her husband around 1877, as he was having an affair with the
actress-dancer Letty Lind, with whom he sired two children. However, she continued
performing under this name.[27]
The dialogue that was cut was based on lines from Gilbert's 1877 farce On Bail; it
would be revised again and used as part of Patience in 1881.[29]
The traditional British pronunciation of this name is "rafe" (/reɪf/).[31] Gilbert
rhymes it with "waif" in the lyrics of Little Buttercup's Act II song, "A many
years ago".
"Big D" meant "damn". See Bradley (1996), p. 128. In Act II, the Captain does use
a big D, which shocks Sir Joseph and his female relatives.
After opening night, the company's musical director, Alfred Cellier, conducted
most of the performances. Eugène Goossens conducted the piece in late July and
August 1878, while Cellier was assisting Sullivan at the promenade concerts at
Covent Garden.[33]
James C. Duff claimed falsely that his "faithful" January 1879 production in New
York used performing materials that he had personally secured from the author and
composer.[71]
Ford had been one of the few managers who had paid Gilbert and Sullivan any kind
of fee for performing Pinafore in America, and his reward for a small gesture was
great.[74]
Carroll had unsuccessfully sought to collaborate with Sullivan on an adaptation of
Alice in Wonderland. This was not the first time that he had written a review
expressing outraged indignation against Gilbert and Sullivan. He had objected to
their treatment of the clergy in The Sorcerer.[84]
Crowther makes a point similar to Maunder's: "[T]hough Gilbert intended [the song]
as a devastating parody of patriotic songs, the fervour of Sullivan's music often
leads people to believe it a sincerely-meant patriotic song; and as the words and
music pull the song in opposite directions the listener is left in a curiously
ambiguous position, moved and amused simultaneously."[143]
Stedman, pp. 106–10; "My dear, it's one of the beautiful principles of our system
of government never to appoint anybody to any post to which he is at all fitted.
Our government offices are as so many elementary schools for the instruction of
ministers. To take a minister who knows his duties, and to send him to an
elementary school to learn them, is an obvious waste of educational power. Nature
has pointed you out as eminently qualified for First Lord of the Admiralty, because
you don't know anything about ships. You take office – you learn all about ships –
and when you know all about ships, the opposition comes in, out you go, and
somebody else who doesn't know anything about ships comes in and takes your place.
That's how we educate our ministers."
Crowther notes that Alexis in The Sorcerer is also such a "misguided superior".
See also Stedman, p. 162.
Brent Walker Productions filmed a series of television productions of the Gilbert
and Sullivan operas in 1982 and 1983. This is the most complete professional set of
Gilbert and Sullivan videos.[181]
A 1938 Broadway show used six songs from Pinafore.[213] Other examples include The
Pirates of Pinafore, The Pinafore Pirates (which Bradley calls "splendid" and
describes in detail in Bradley (2005), pp. 174–75), Mutiny on the Pinafore, and
H.M.S. Dumbledore (2004) by Caius Marcius.
References
Ainger, pp. 107–08
Ainger, p. 130
Ainger, pp. 110, 119–20 and 130–31; Jacobs, p. 109
Ainger, p. 157
Jacobs, pp. 113–14
Jacobs, p. 111; Ainger, pp. 133–34
Jacobs, p. 113
Ainger, p. 145
Bradley (1996), p. 115
Fitz-Gerald, p. 35
 Allen (1975), Introduction to chapter on Pinafore
Stedman, p. 161
Jacobs, pp. 114–15
Gilbert's satire of politicians had led to censorship of Gilbert's plays before,
for example The Happy Land, Stedman, pp. 106–10
Jacobs, p. 115. The Prime Minister, Benjamin Disraeli, began to refer to his
appointee as "Pinafore Smith". See, e.g., Dark & Grey, p. 75; and Gary Dexter, "How
HMS Pinafore got its name", The Sunday Telegraph, 1 October 2008
Stedman, p. 108
Stedman, pp. 129 and 155
Stedman, pp. 157–58; Crowther, p. 90; Ainger, p. 154
Crowther, pp. 87–89
Crowther, p. 90
Stedman, p. 155
Jacobs, p. 117
Ainger, p. 155
Bradley (1996), pp. 115–16
Stedman, p. 159
Jacobs, p. 117–18
Cruickshank, Graeme. "The Life and Loves of Letty Lind" in The Gaiety, Issue 22,
Summer 2007
Ainger, pp. 156–57
Stedman, p. 160
Cox-Ife, William. W. S. Gilbert: Stage Director. Dobson, 1978 ISBN 0-234-77206-9.
See also Gilbert, W. S., "A Stage Play", and Bond, Jessie, Reminiscences,
Introduction
Hanks, Patricia et al. "Ralph", Oxford Dictionary of First Names, Oxford
University Press, 2006
Ainger, pp. 157–58
"Theatres", The Era, 21 July 1878, p. 8; 28 July 1878, p. 8; and 4 August 1878, p.
8
Bond, Jessie. "The Life and Reminiscences of Jessie Bond", Chapter 4, John Lane,
1930, accessed 10 March 2009
Bradley (1996), p. 116
Ainger, p. 160
Jacobs, p. 122
Joseph, p. 17
The Times, 6 July 1878, p. 1 announced that Eugène Goossens would conduct.
Ainger, p. 162
Jones, p. 6
Stedman, p. 163
"Opera Comique". The Era, 9 February 1879, reprinted at The Gilbert and Sullivan
Archive, accessed 8 July 2010
Stedman, p. 170–71
Ainger, pp. 165–67 and 194–95
Lawrence, Arthur H. "An illustrated interview with Sir Arthur Sullivan" Part 3,
from The Strand Magazine, Vol. xiv, No.84 (December 1897), accessed 10 March 2009
Ainger, p. 166
Stedman, p. 165
Ainger, p. 169
Jacobs, p. 126
Rees, p. 89: Sullivan wrote to John Hollingshead, saying: "You once settled a
precedent for me which may just at present be of great importance to me. I asked
you for the band parts of the Merry Wives of Windsor ... and [you] said, 'They are
yours, as our run is over. ...' Now will you please let me have them, and the parts
of Thespis also at once. I am detaining the parts of Pinafore, so that the
directors shall not take them away from the Comique tomorrow, and I base my claim
on the precedent you set."
Rollins and Witts, p. 6
 Ainger, p. 170
Jacobs, pp. 124–25
Stedman, pp. 170–71
"The Fracas at the Opera Comique", The Theatre, 1 September 1879, reprinted at the
Stage Beauty website, accessed 6 May 2009. See also "The Fracas at the Opera
Comique", The Era, 10 August 1879, p. 5 and "The Fracas at the Opera Comique", The
Leeds Mercury, 13 August 1879, p. 8
Cellier and Bridgeman, chapter entitled "The making of H.M.S. Pinafore",
reproduced at The Gilbert and Sullivan Archive, accessed 10 March 2009
Ainger, p. 171
"The Theatres". The Times, 22 September 1879, reprinted at The Gilbert and
Sullivan Archive, accessed 8 July 2010
Ainger, p. 175
Stedman, p. 172
Ainger, p. 184; Rollins and Witts, p. 6
Gillan, Don. "Longest Running Plays in London and New York", StageBeauty.net
(2007), accessed 10 March 2009
Who's Who in the Theatre, Fourteenth edition, ed. Freda Gaye, p. 1532, Pitman,
London (1967) ISBN 0-273-43345-8
Prestige, Colin. "D'Oyly Carte and the Pirates: The Original New York Productions
of Gilbert and Sullivan", pp. 113–48 at p. 118, Gilbert and Sullivan Papers
Presented at the International Conference held at the University of Kansas in May
1970, Edited by James Helyar. Lawrence, Kansas: University of Kansas Libraries,
1971
Jones, p. 7
Allen (1979), p. 2
Kanthor, Harold. "H.M.S. Pinafore and the Theater Season in Boston 1878–1879",
Journal of Popular Culture, Spring 1991, vol. 24, no. 4, Platinum Periodicals, p.
119
Goodman, Andrew. Gilbert and Sullivan at Law, pp. 204–05, Fairleigh Dickinson Univ
Press (1982), ISBN 0-8386-3179-7
Stedman, p. 169
Theatre programme for H.M.S. Pinafore and My Uncle's Will, Standard Theatre, 25
January 1879, reprinted at Rochester.edu, accessed 16 July 2014
Rosen, Zvi S. "The Twilight of the Opera Pirates: A Prehistory of the Right of
Public Performance for Musical Compositions", Cardozo Arts & Entertainment Law
Journal, Vol. 24, 2007, pp. 1157–1218, 5 March 2007, accessed 6 May 2009
Ainger, p. 168
Stedman, p. 169.
Jacobs, p. 129
Ainger, pp. 182–83
Jacobs, p. 127
Stedman, p. 174
Stedman, p. 175
Kanthor, Hal. Links to programme for Carte's "Children's Pinafore" and link to
poster for a Boston children's Pinafore, both at Gilbert and Sullivan: From London
to America, online exhibition at University of Rochester Libraries, accessed 27
January 2017
Rollins and Witts, p. 7
Scott, Clement. "Our Play-Box. The Children's Pinafore", The Theatre, 1 January
1880, new [3rd.] series 1: pp. 38–39, accessed 10 March 2009
"The Children's Pinafore", , The Era, 26 December 1880, reprinted at The Gilbert
and Sullivan Archive, accessed 6 October 2011
Williams, p.84
Carroll, Lewis. "The Stage and the Spirit of Reverence", Theatre magazine, 1 June
1888, reprinted in The Lewis Carroll Picture Book, pp. 175–95, Stuart Dodgson
Collingwood (ed.), London: T. Fisher Unwin (1899)
Jacobs, p. 123
Rollins and Witts, pp. 7–164
 Bradley (2005), p. 27
Rollins and Witts, Appendix, p. VII
Mander, pp. 102–105
Rollins and Witts, p. 165
Rollins and Witts, pp. 165–72
Rollins and Witts, pp. 172–86, and supplements
l "The 1968 D'Oyly Carte Opera Company Production of The Gondoliers", reprinted
from theatre programme of 29 January 1968, The Gilbert and Sullivan Archive,
Retrieved on 11 March 2009
It played in London together with Pirates at Her Majesty's Theatre; Mander, p. 154
and "H.M.S. Pinafore and The Pirates of Penzance", Theatre World (UK magazine),
March 1962, pp. 15–20
Photos, cast and crew information for the New Sadler's Wells Opera production in
1987, collected at The Gilbert and Sullivan Archive, accessed 10 March 2009
Traubner, Richard. "A Pinafore Sails In on a Fresh Breeze", The New York Times, 15
January 1989, accessed 10 March 2009
Bradley (2005), chapters 3 and 4, passim
"Dido; Aeneas/ Acis; Galatea", The Times, 28 March 2009
"Fun on the high seas", The Press and Journal, 22 April 2010
Review of the H.M.S. Pinafore in the Sydney Morning Herald, 17 November 1879; and
Morrison, Robert. "The J. C. Williamson Gilbert and Sullivan Opera Company", the
Gilbert and Sullivan Discography, 12 November 2001, accessed 10 June 2016
Bradley (1996), p. 117
IBDB links to Broadway productions of Pinafore, Internet Broadway Database,
accessed 9 March 2017
Smith, Steve. "All Hands on Deck for Absurd Relevance", The New York Times, 9 June
2008, accessed 10 March 2009
Bradley (2005), chapter 4
Rollins and Witts, p. 11
Rollins and Witts, p.18
Rollins and Witts, p. 22
"Opera Comique", The Era, 2 June 1878, Country Edition, 40(2071): p. 5, cols. 1–2
"London Theatres. Opera Comique", The Entr'acte and Limelight: Theatrical and
Musical Critic and Advertiser, 1 June 1878, 466: p. 12
Pinafore parodies the baby-switching plot device in Il Trovatore. See, e.g.,
Gurewitsch, Matthew. "There Will Always Be a Trovatore", The New York Times, 24
December 2000, accessed 22 April 2009
"Opera Comique", The Illustrated London News, 1 June 1878, 72(2031): 515
The Times, 27 May 1878, p. 6
Walbrook, chapter V
"Opera-Comique", The Musical Times, 1 June 1878, 19(424): 329
The Academy, 13 July 1878, new series 14(323): p. 49, col. 3
Baily, p. 250
"The Playhouses", The Illustrated London News, 19 November 1887, 91(2535): 580,
col. 1
"Our Omnibus-Box", The Theatre, New Series, 1 December 1887, 10: 337
The Athenæum, 10 June 1899, 3737: 730–731
Mencken, H. L. "Pinafore at 33", Baltimore Evening Sun, 1911, reproduced at The
Gilbert and Sullivan Archive, accessed 10 March 2009
"H.M.S. Pinafore. Revival at Princes Theatre", The Times, 21 January 1920, p. 10
"H.M.S. Pinafore. Sullivan Opera Season Nearing The End", The Times, 3 January
1922, p. 8
"Novelty and Tradition in Savoy Operettas", The Times, 12 December 1961, p. 5
Sydney Morning Herald, 17 November 1879
Bradley (2005), p. 73
"H.M.S. Pinafore Again Delights the Danes", The Times, 16 October 1959, p. 16
Bradley (2005), Chapter 4, describing numerous productions beginning with 1962.
"A New Approach to H.M.S. Pinafore", The Times, 9 March 1960, p. 13
"H.M.S. Pinafore a la Hippodrome; They Sail the Ocean Tank and Their Saucy Ship's
a Beauty", The New York Times, 10 April 1914, p. 13
Atkinson, J. Brooks, "G. & S., Incorporated", The New York Times, 25 April 1926,
p. X1
Smith, Steve. "All Hands on Deck for Absurd Relevance", The New York Times, 9 June
2008
Sobelsohn, David. "H.M.S. Pinafore – W.S. Gilbert/Arthur Sullivan",
CultureVulture.net, 11 June 2005, accessed 10 March 2009
Jones, p. 8
"The Original Rackstraw", The Era, 18 July 1908, p. 15
"Pinafore focuses on mirth and silliness", Deseret News, 10 November 2005,
accessed 9 March 2017
Benford, Harry. The Gilbert & Sullivan Lexicon, Third Edition, p. 39, Houston:
Queensbury Press (1999) ISBN 0-9667916-1-4
Crowther, Andrew. "Hunchbacks, Misanthropes and Outsiders: Gilbert's Self-Image",
Gilbert and Sullivan Boys and Girls (GASBAG) no. 206 (Winter 1998)
Ainger, p. 83
Chesterton, G. K., introduction to Godwin, Augustine Henry. Gilbert & Sullivan: A
Critical Appreciation of the Savoy Operas, E.P. Dutton & Co (1926)
Interview of Stuart Maunder, The Music Show, ABC Radio National, Australia, 14 May
2005, accessed 10 March 2009
Jacobs, p. 118
Crowther, Andrew. "The Land Where Contradictions Meet", W. S. Gilbert Society
Journal, vol. 2, no. 11, p. 330, Autumn 2000
Lawrence, pp. 166–67
Fischler, Alan. Modified Rapture: comedy in W. S. Gilbert's Savoy operas, pp. 91–
92, Charlottesville: University Press of Virginia, 1991
Lawrence, p. 181
"Savoy Theatre: The Sullivan Opera Season, H.M.S. Pinafore", The Times, 10
December 1929, p. 14
Lawrence, pp. 180–81
Stedman, p. 162
Crowther, Andrew. "The Land Where Contradictions Meet", W. S. Gilbert Society
Journal, vol. 2, no. 11, pp. 325–31, Autumn 2000 (discussing the views of various
scholars)
See also Jones, p. 8
"'HMS Pinafore' – the Comic Opera", Edited Guide Entry from The Lives and Works of
Gilbert and Sullivan, BBC h2g2, 24 August 2001, accessed 10 March 2009
Jacobs, p. 119
Williamson, p. 63
Shepherd, Marc. "G&S Compilations from the D'Oyly Carte Sets", the Gilbert and
Sullivan Discography, 24 December 2003, accessed 10 June 2016
Shepherd Marc. "G&S Compilations: Miscellaneous", the Gilbert and Sullivan
Discography, 7 November 2001, accessed 10 June 2016
Jacobs, p. 119. Gilbert had introduced this character in his 1870 Bab Ballad "The
Bumboat Woman's Story".
Hughes, p. 53
Hughes, p. 55
Hughes, p. 133
Jacobs, quoted in Holden, p. 1060
Hulme, quoted in Sadie, vol. 2, p. 727
Perry, Helga J. "Lost Pinafore Song Found", "Reflect my Child" reconstruction, The
Gilbert and Sullivan Archive, 15 April 1999, accessed 21 April 2009
Miller, Bruce. "Comments on the Lost Song Discovery", at The Gilbert and Sullivan
Archive, 17 April 1999, accessed 21 April 2009
DeOrsey, Stan. "Gilbert & Sullivan: Of Ballads, Songs and Snatches, Lost or Seldom
Recorded – H.M.S. Pinafore", the Gilbert and Sullivan Discography, 2003, accessed
10 June 2016
Shepherd and Walters, pp. 751–52 and p. 754; and Hebe's cut dialogue after Nos. 14
and 19, The Gilbert and Sullivan Archive, accessed 21 April 2009
 Young, Percy M. (ed.) "H.M.S. Pinafore", critical edition, 2003, 2 vols., Broude
Brothers Limited ISBN 0-8450-3003-5
Shepherd and Walters, pp. 596–99
Shepherd, Marc. Hebe's Dialogue Introduction at The Gilbert and Sullivan Archive,
accessed 21 April 2009
Gilbert, Andrew. "Lamplighters: Keeping a Spotlight on Gilbert and Sullivan", The
Mercury News, 20 July 2015, accessed 16 July 2016
Shepherd, Marc. "Recordings of H.M.S. Pinafore", the Gilbert and Sullivan
Discography, 5 April 2003, accessed 10 June 2016
The first phonoscènes in the UK were presented at Buckingham Palace in 1907 and
included the captain's song and chorus. See Schmitt, Thomas. The Genealogy of Clip
Culture, in Henry Keazor and Thorsten Wübbena (eds.) Rewind, Play, Fast Forward:
The Past, Present and Future of the Music Video, transcript Verlag (2010), pp. 45
et seq., ISBN 978-3-8376-1185-4
Bradley (2005), p. 16
Buckley, Jonathan (ed). The Rough Guide to Classical Music (1994 edition, ISBN 1-
85828-113-X), p. 367; Chislett, W. A.,The Gramophone, February 1960, p. 70; March,
Ivan (ed). The Great Records, Long Playing Record Library, 1967, pp. 100–01; March,
Ivan (ed). Penguin Guide to Recorded Classical Music, 2008, ISBN 0-14-103336-3, p.
1136
March, Ivan (ed). Penguin Guide to Recorded Classical Music, 2008
Shepherd, Marc. "The New D'Oyly Carte Pinafore (2000)", the Gilbert and Sullivan
Discography, 12 November 2001, accessed 10 June 2016
Shepherd, Marc. "Den Gode Fregat Pinafore (1957)", the Gilbert and Sullivan
Discography, 24 December 2003, accessed 10 June 2016
Shepherd, Marc. "The 1939 NBC Pinafore Broadcast", the Gilbert and Sullivan
Discography, 31 December 1999, accessed 10 June 2016
Shepherd, Marc. "The 1973 D'Oyly Carte Pinafore Video", the Gilbert and Sullivan
Discography, 24 December 2003, accessed 10 June 2016
Shepherd, Marc. Brent Walker Pinafore video, the Gilbert and Sullivan Discography,
5 April 2003, accessed 10 June 2016
Shepherd, Marc. "The Brent Walker Videos", A Gilbert and Sullivan Discography,
accessed 10 June 2016.
"National G&S Opera Co.", International Gilbert & Sullivan Festival, accessed 20
April 2019
Shepherd, Marc. "The 1930 D'Oyly Carte Pinafore", the Gilbert and Sullivan
Discography, 1 September 2008, accessed 10 June 2016
Shepherd, Marc. "The Sargent/Glyndebourne Pinafore (1958)", the Gilbert and
Sullivan Discography, 1 September 2008, accessed 10 June 2016
Shepherd, Marc. "The 1960 D'Oyly Pinafore", the Gilbert and Sullivan Discography,
24 December 2003, accessed 10 June 2016
Shepherd, Marc. "The G&S For All Pinafore (1972)", the Gilbert and Sullivan
Discography, 6 April 2009, accessed 10 June 2016
Shepherd, Marc. "The Stratford Festival Pinafore (1981)", the Gilbert and Sullivan
Discography, 24 October 2001, accessed 10 June 2016
Shepherd, Marc. "The New Sadler's Wells Pinafore (1987)", the Gilbert and Sullivan
Discography, 2 December 2001, accessed 10 June 2016
Shepherd, Marc. "The Mackerras/Telarc Pinafore (1994)", the Gilbert and Sullivan
Discography, 1 September 2008, accessed 10 June 2016
Shepherd, Marc. "The Essgee Pinafore (1997)", the Gilbert and Sullivan
Discography, 7 November 2001, accessed 10 June 2016
Stedman, p. 331
Gilbert, W. S. The Pinafore Picture Book, London: George Bell and Sons, 1908, a
children's retelling of Pinafore
Dillard, pp. 103–05 lists five.
Kaufman, George S. Hollywood Pinafore or the Lad Who Loved a Salary, Dramatists
Play Service (1998) ISBN 0-8222-1647-7
Bradley (2005), p. 170
Shepard, Richard F. "Don Walker, 81, an Orchestrator of Broadway Musical
Comedies," The New York Times, 13 September 1989, accessed 20 July 2009
Gale, Joseph. "Yiddish version of Penzance Takes Self Too Seriously", Jewish Post
(Marion County, Indiana), May 9, 1952, p. 14
Falkenstein, Michelle. "Yiddish Sails the Ocean Blue", Hadassah Magazine, April
2000, Vol. 81, No. 8, pp. 40–42
Bradley (2005), p. 172
"Think British, Sing Yiddish", The New York Theatre Wire, August 2000, accessed 14
November 2009
Essgee Entertainment Pinafore pages Essgee Entertainment, accessed 10 March 2009
Bradley (2005), Chapter 4
Bradley (2005), pp. 170–71
Shepherd, Marc. "The Celebration Theater Pinafore! (2002)", the Gilbert and
Sullivan Discography, 1 September 2008, accessed 10 June 2016
Pinafore!: a ship shape new musical – Original cast recording, Enchanted Cottage
Studios; Los Angeles, CA: Belva Records. OCLC 52753483
"Watermill – Pinafore Swing", Collected newspaper reviews of Pinafore Swing,
reprinted at the Newbury theatre guide archive, accessed 10 March 2009
Taylor, Pat. "I caught two light n' lively, very funny productions last week"
Archived 26 June 2014 at the Wayback Machine The Tolucan Times, 19 May 2010
Kenrick, John. "Gilbert & Sullivan 101: The G&S Canon", The Cyber Encyclopedia of
Musical Theatre, TV and Film, accessed 10 March 2009. See also Gänzl (1995)
Lamb, p. 35
Jones, pp. 10–11
Jones, pp. 4–5
Bradley (2005), p. 8
Knights of Song, Internet Broadway database, accessed 20 April 2019
"The Opera Comique Theatre" – a valedictory summary in The Era, 15 October 1898,
p. 11
Bradley (2005), chapter 8
Sherman, Allan. My Son, the Celebrity (1963). On his next album, Sherman sings a
song called "Little Butterball" to the tune of "I'm Called Little Buttercup". See
Sherman, Allan. Track listing Archived 7 October 2008 at the Wayback Machine from
Allan in Wonderland (1964), accessed 10 March 2009
"Three Men in a Boat", chapter 8, accessed 24 April 2009
Asimov, Isaac. I, Robot, New York: Doubleday & Company, 1950. For examples of
references to Pinafore in several novels, see Bradley (2005), pp. 10–11. Other
literary references include Gilbert's own 1908 children's book, The Pinafore
Picture Book, London: George Bell and Sons, 1908, accessed 1 May 2009. In addition,
Gilbert and Sullivan refer to Pinafore in two of their subsequent operas: in the
"Major-General's Song" from their next opera, Pirates, and with the appearance of
an older "Captain Corcoran, KCB", in Utopia, Limited, the only recurring character
in the G&S canon.
https://www.youtube.com/watch?v=5m33BXNHIHM YouTube recording of "Never mind the
why and Wherefore", sung by Todd Rundgren, Taj Mahal and Michele Rundgren, on 29
October 1989
Bradley (2005), p. 166
Racing: York Meeting, The Times, 21 May 1946, p. 2
Bradley (2005), p. 167
Pinafore advertising cards at The Gilbert and Sullivan Archive, accessed 10 March
2009
Vineberg, Steve. "Beyond the mundane" Archived 5 June 2011 at the Wayback Machine,
Boston Phoenix, 19 February 1998, accessed 21 June 2016
Bradley (2005), p. 12
Perry, Michelle P. "Light-hearted, happy entertainment from HMS Pinafore", The
Tech, Massachusetts Institute of Technology, 12 October 1990, accessed on 18 July
2008
"Reviews", The New Yorker, 25 December 2006 & 1 January 2007, p. 152
Krafsur, Richard P., Kenneth White Munden and American Film Institute (eds.) I
Could Go On Singing in The American Film Institute Catalog of Motion Pictures
Produced in the United States: Feature Films, 1961–1970, p. 514, Berkeley:
University of California Press (1997) ISBN 0-520-20970-2
Bradley (2005), pp. 11–12
"Dick Deadeye, or Duty Done (1975)", Time Out Film Guide, accessed 9 March 2017
Tibbs, Kim. "Permanent Record explores the sad reality of teen suicide with a
rockin’ soundtrack", CliqueClack.com, 12 June 2014, accessed 12 June 2016
"The West Wing episode summary – And It's Surely to Their Credit", TV.com, CNET
Networks, Inc., accessed 10 March 2009
Arnold, p. 16
"H.M.S. Yakko", Animaniacs (FOX Kids), 15 September 1993, no. 3, season 1
Callaghan, Steve. "The Thin White Line", Family Guy: The Official Episode Guide
Seasons 1–3, pp. 128–31, New York: HarperCollins (2005) ISBN 0-06-083305-X
"Stewie Griffin: The Untold Story" Archived 11 November 2006 at the Wayback
Machine, Description of the film at planet-familyguy.com, accessed 19 October 2009
Ferro, Jeffrey, et al. "The Play", Mr. Belvedere, 28 March 1986, Season 2, episode
22
Terrace, Vincent. Television Specials: 5,336 Entertainment Programs, 1936–2012,
McFarland (2013), p. 381 (2d ed.) ISBN 0786474440
Rollins and Witts (and supplements). An examination of Rollins and Witts and Gänzl
(1986) shows that cast lists taken at ten-year intervals is sufficient to indicate
the bulk of the notable performers who portrayed these roles in authorised
productions during that period.
Rollins and Witts, p. 32
Rollins and Witts, p. 132
Rollins and Witts, p. 148
Rollins and Witts, p. 160
Rollins and Witts, p. 175
Rollins and Witts, p. 183
Rollins and Witts, 1st Supplement, p. 6
Rollins and Witts, 3rd Supplement, p. 28
Rollins and Witts, 4th Supplement, p. 42
John Reed played Sir Joseph at some performances during the final London season at
the Adelphi Theatre. See Stone, David. htm John Reed profile at Who Was Who in the
D'Oyly Carte Opera Company, 21 August 2006, accessed on 27 April 2009
Sources
Ainger, Michael (2002). Gilbert and Sullivan – A Dual Biography. Oxford University
Press. ISBN 0-19-514769-3.
Allen, Reginald (1975). The First Night Gilbert and Sullivan (2nd ed.). Chappell &
Co. Ltd. ISBN 0-903443-10-4.
Allen, Reginald (1979). Gilbert and Sullivan in America, The Story of the First
D'Oyly Carte Opera Company American Tour. The Pierpont Morgan Library. ISBN 0-686-
70604-8.
Arnold, David L. G. (2003). "Use a pen, Sideshow Bob: The Simpsons and the Threat
of High Culture". In Alberti, John (ed.). Leaving Springfield: The Simpsons and the
Possibility of Oppositional Culture. Wayne State University Press. ISBN 0-8143-
2849-0.
Baily, Leslie (1966). The Gilbert and Sullivan Book (new ed.). London: Spring
Books. ISBN 0-500-13046-9.
Bordman, Gerald (1981). American Operetta: From H. M. S. Pinafore to Sweeney Todd.
Oxford University Press. ISBN 0-7351-0280-5.
Bradley, Ian (1996). The Complete Annotated Gilbert and Sullivan. Oxford University
Press. ISBN 0-19-816503-X.
Bradley, Ian (2005). Oh Joy! Oh Rapture!: The Enduring Phenomenon of Gilbert and
Sullivan. Oxford University Press. ISBN 0-19-516700-7.
Crowther, Andrew (2000). Contradiction Contradicted – The Plays of W. S. Gilbert.
Associated University Presses. ISBN 0-8386-3839-2.
Cellier, François; Cunningham Bridgeman (1914). Gilbert and Sullivan and Their
Operas. Little, Brown and Company.
Dark, Sidney; Rowland Grey (1923). W. S. Gilbert: His Life and Letters. Methuen &
Co. Ltd. ISBN 0-405-08430-7.
Dillard, Philip H. (1991). How Quaint the Ways of Paradox!. The Scarecrow Press,
Inc. ISBN 0-8108-2445-0.
Fitz-Gerald, S. J. Adair (1924). The Story of the Savoy Opera. Stanley Paul & Co.,
Ltd. ISBN 0-306-79543-4.
Gänzl, Kurt (1986). The British Musical Theatre – Volume I: 1865–1914. Oxford
University Press. ISBN 0-19-520509-X.
Gänzl, Kurt (1995). Gänzl's Book of the Broadway Musical: 75 Favorite Shows, from
H.M.S. Pinafore to Sunset Boulevard. Schirmer. ISBN 0-02-870832-6.
Holden, Amanda; Kenyon, Nicholas; Walsh, Stephen, eds. (1993). The Viking Opera
Guide. Viking. ISBN 0-670-81292-7.
Hughes, Gervase (1960). The Music of Arthur Sullivan. New York: St. Martin's Press.
Jacobs, Arthur (1986). Arthur Sullivan – A Victorian Musician. Oxford University
Press. ISBN 0-19-282033-8.
Jones, John Bush (2003). Our Musicals Ourselves. Brandeis University Press. ISBN 1-
58465-311-6.
Joseph, Tony (2004). The D'Oyly Carte Opera Company 1875–1982. Bunthorne Books.
ISBN 0-9507992-1-1.
Lamb, Andrew (Spring 1986). "From Pinafore to Porter: United States – United
Kingdom Interactions in Musical Theater, 1879–1929". American Music. 4 (1): 34–49.
doi:10.2307/3052183. JSTOR 3052183.
Lawrence, Elwood P. (December 1971). "The Happy Land: W. S. Gilbert as Political
Satirist". Victorian Studies. 15 (2): 161–83. JSTOR 3825977.
Mander, Raymond; Joe Richardson (1962). A Picture history of Gilbert and Sullivan.
Vista Books.
Rees, Terence (1964). Thespis – A Gilbert & Sullivan Enigma. London: Dillon's
University Bookshop.
Rollins, Cyril; R. John Witts (1962). The D'Oyly Carte Opera Company in Gilbert and
Sullivan Operas: A Record of Productions, 1875–1961. Michael Joseph. Also, five
supplements, privately printed.
Sadie, Stanley (ed) (1992). The New Grove Dictionary of Opera. Oxford University
Press. ISBN 0-19-522186-9.
Shepherd, Marc; Michael Walters, eds. (2015). The Variorum Gilbert & Sullivan. 1.
New York: Oakapple Press.
Stedman, Jane W. (1996). W. S. Gilbert, A Classic Victorian & His Theatre. Oxford
University Press. ISBN 0-19-816174-3.
Walbrook, H. M. (1922). Gilbert & Sullivan Opera, A History and a Comment. F. V.
White & Co. Ltd. Retrieved 24 June 2009.
Williamson, Audrey (1953). Gilbert and Sullivan Opera. London: Marion Boyars. ISBN
0-7145-2766-1.
External links
Wikisource has original text related to this article:
H.M.S. Pinafore
Wikimedia Commons has media related to H.M.S. Pinafore.
Information

H.M.S. Pinafore at The Gilbert & Sullivan Archive

Gilbert, W.S. (1879). H.M.S. Pinafore – Libretto. Bacon & company. p. 1.
Biographies of the people listed in the historical casting chart
Pinafore song parodies
Images

Bab illustrations of lyrics from H.M.S. Pinafore

Photos of Pinafore characters and scenes, NYPL
American Pinafore Poster Collection
Pinafore Sapolio advertising cards