The Standard Light Operas, Their Plots and Their Music

by George P. Upton

“Cox and Box” is of interest because it is the germ from which sprang the long list of Sullivan’s charming comic operas. Burnand, the author of the libretto, has told the story of how they came to write this little operetta. They had been to a private performance of Offenbach’s “Les deux Aveugles,” and, Burnand wishing to present something of the same kind to a party of his own friends, the notion suddenly occurred to him of turning Morton’s well-known farce of “Box and Cox” into an opera. Sullivan took to the plan enthusiastically. Burnand reversed the title to “Cox and Box,” and turned Mrs. Bouncer into Sergeant Bouncer, so as to admit of a martial air. They had but three weeks before them, but at the end of that time the work was finished, Sullivan setting the music with almost incredible rapidity. It made such a great hit that it was decided to give it publicly, and at the last moment the composer wrote an overture for it.

The story is the familiar old one which as “Box and Cox” was for so many years and still is such a favorite on the stage. It turns upon the funny experiences of Cox, the hatter, and Box, the printer, who are occupying the same room, the one by night and the other by day, unbeknown to each other, and for which Sergeant Bouncer gets double rent. At last they meet in the room which each one claims as his own. After a ludicrous dispute they gradually become reconciled to each other, but another dispute ensues when Cox finds that the widow Penelope Ann, whom he is about to marry, has been deserted by Box, the latter pretending to have committed suicide to get rid of her. Cox insists upon restoring Box to the arms of his intended, but Box declines his generous offer. Then they agree to decide by lot which shall have her, but each tries to cheat the other. The situation resolves itself satisfactorily when a letter comes to Cox from Penelope Ann, announcing that she has decided to marry Knox. They give three cheers for Knox, and Bouncer closes the scene with a joyous rataplan in which all three join.

The situations are extremely humorous throughout, and the action moves briskly. Though Sullivan wrote the music in great haste, it is in perfect keeping with the fun of the farce and keeps up its interest to the end. The principal numbers are Bouncer’s rataplan song, “Yes, in those Merry Days,” and his duet with Cox, “Stay, Bouncer, stay”; Cox’s joyous song, “My Master is punctual always in Business,” with its dance at the end of each stanza; the characteristic serenade, “The Buttercup dwells in the Lowly Mead” (Cox) and “The Floweret shines on the Minaret Fair” (Box); Box’s solemn description of his pretended suicide, “Listen! I solemnly walked to the Cliff”; and the finale by the jolly triumvirate with the “rataplan.”

Trial by Jury.

[Operetta, in one act; text by Gilbert. First produced at the Royalty Theatre, London, March 25, 1875.]

PERSONAGES.

Learned Judge. Plaintiff. Defendant. Counsel for the Plaintiff. Usher. Foreman of the Jury. Associate. First Bridesmaid.

[Barristers, attorneys, journeymen, and bridesmaids.]

The scene is laid in a London Court of Justice; time, the nineteenth century.

The little operetta, “Trial by Jury,” was the first result of the successful collaboration of Gilbert and Sullivan, though it gave little hint of the extraordinary excellence as well as popularity of the long list which followed it. “The words and music were written and all the rehearsals completed within three weeks, and all London went to see it,” says Sullivan’s biographer. It was produced March 25, 1875, and had quite a run, Frederick Sullivan, Sir Arthur’s brother, appearing in the rôle of the judge and contributing much to its success.

The story is a satire upon the English courts, the incident being a breach of promise case. Edwin is sued by Angelina. The usher impresses upon the jury its duty to divest itself of prejudice in one breath, and in the next seeks to prejudice it against the defendant by most violent denunciations of him. When Edwin enters he is at once requested by the jury to “dread our damages.” He tells them how he became “the lovesick boy” first of one and then of another. The jurymen in chorus, while admitting that they were fickle when young, declare that they are now respectable and have no sympathy with him. The judge enters, and after informing the audience how he came to the bench, announces he is ready to try the breach of promise case. The jury is sworn. Angelina enters, accompanied by her bridesmaids. The judge takes a great fancy to the first bridesmaid, and sends her a note, which she kisses rapturously and places in her bosom. Immediately thereafter the judge transfers his admiration to the plaintiff, and directs the usher to take the note from the bridesmaid and give it to Angelina, which he does, while the jurymen taunt the judge with being a sly dog, and then express their love for her also. The plaintiff’s counsel makes the opening speech, and Angelina takes the witness-stand, but, feeling faint, falls sobbing on the foreman’s breast, who kisses her as a father. She revives, and then falls sobbing upon the judge’s breast, while the jurymen shake their fists at the defendant, who comes forward and offers to marry Angelina “to-day and marry the other to-morrow.” The judge thinks it a reasonable proposition, but the plaintiff’s counsel submits that “to marry two at once is Burglaree.” In this dilemma Angelina embraces Edwin rapturously, but he repels her furiously and throws her into the arms of her counsel. The jury thereupon becomes distracted, and asks for guidance, whereupon the judge decides he will marry Angelina himself, to which she gives enthusiastic consent.

The best numbers in the operetta are the defendant’s song, “When first my Old, Old Love I knew”; the juryman’s song, “Oh! I was like that when I was a Lad”; the judge’s song, “When I, Good Friends, was called to the Bar”; the pretty chorus of the bridesmaids, “Cover the Broken Flower”; the plaintiff’s song, “O’er the Season Vernal”; and the defendant’s song, “Oh! Gentlemen, listen, I pray.” The London “Times,” after the first performance, said: “There is a genuine humor in the music, as for instance in the unison chorus of the jurymen, and the clever parody on one of the most renowned finales of modern Italian opera; and there is also melody, both catching and fluent, here and there, moreover, set off by little touches in the orchestral accompaniments which reveal the experienced hand.”

The Sorcerer.

[Comic opera, in two acts; text by Gilbert. First produced at the Opéra Comique, London, November 18, 1877.]

PERSONAGES.

Sir Marmaduke Pointdextre, an elderly baronet. Alexis, his son, of the Grenadier Guards. Dr. Daly, vicar of Ploverleigh. Notary. John Wellington Wells, of Wells & Co., family sorcerers. Lady Sangazure, a lady of ancient lineage. Aline, her daughter, betrothed to Alexis. Mrs. Partlet, a pew-opener. Constance, her daughter.

[Chorus of peasantry.]

The scene is laid upon an English estate; time, the present.