Eyes and No Eyes

Last updated

1896 score published by Joseph Williams Eyes and No Eyes, W. S. Gilbert and Joseph Williams, 1896, full score.pdf
1896 score published by Joseph Williams

Eyes and No Eyes, or The Art of Seeing is a one-act musical entertainment with a libretto by W. S. Gilbert and music originally by Thomas German Reed. The story concerns two sisters who love flirtatious twin brothers (though it is not certain which loves which). The sisters lose their uncle's wedding cloak. To avoid his anger, they persuade him that the cloak is magically visible only to true lovers and invisible to flirts.

Contents

The entertainment premiered in 1875 at St. George's Hall in London. The original music was lost, and twenty years later new music was composed by "Florian Pascal" (a pseudonym for Joseph Williams Jr. (1847–1923), a music publisher who acquired the copyright to the show). It was then published, but not immediately performed. [1]

Background

This work is the last in a series of six one-act musical plays written by Gilbert for Thomas German Reed and his wife Priscilla between 1869 and 1875. The German Reeds presented respectable, family-friendly musical entertainments beginning in 1855, at a time when the theatre in Britain had gained a poor reputation as an unsavoury institution and was not attended by much of the middle class. Shakespeare was played, but most of the entertainments consisted of poorly translated French operettas, risqué Victorian burlesques and incomprehensible broad farces. [2]

Alfred Reed, son of Thomas German Reed Alfred German Reed.jpg
Alfred Reed, son of Thomas German Reed

Gilbert took his title from a children's story, "Eyes and No Eyes; or, The Art of Seeing", in a 1799 collection of early children's literature, Evenings at Home . The didactic children's story compares one child's recollection of a boring walk with another's description of the many interesting things he saw on the same walk by slowing down to pay attention to his surroundings. [3] Gilbert's libretto is loosely based on Hans Andersen's 1837 story, "The Emperor's New Clothes". Gilbert wrote in a programme note: "Hans Andersen has a tale in which two persons, for reasons of their own, pretend that an imaginary and non-existent garment is visible only to true and faithful men. As a natural consequence every one pretends that he can see it. On this hint the piece is founded." [4] Both stories would have been familiar to Gilbert's audience. As the theatrical newspaper The Era commented, "Everyone must remember the nursery story of 'Eyes and No Eyes', but how few there are who appear to profit by the lesson it teaches!" [5]

Although written before Gilbert and Sullivan's 1875 opera Trial by Jury , this work was not staged until after Trial had become a hit. During this period, both Gilbert and Arthur Sullivan were still producing a considerable amount of work separately. Sullivan's The Zoo also premiered in 1875. Eyes and No Eyes was originally played in a triple bill with Corney Grain's musical sketch, R.S.V.P., and the play Very Catching by F. C. Burnand. [4] After the first run, Eyes and No Eyes was revived by Reed in October 1875. [6]

Eyes and No Eyes is the most tightly written of Gilbert's libretti for the German Reed Entertainments. [7] The story uses characters from the Harlequinade. The opening scene of the piece reveals Clochette alone, singing as she sits at the spinning wheel. Gilbert and Sullivan would reuse this idea in the opening scene of their 1888 opera, The Yeomen of the Guard . [8] Like Gilbert's 1871 entertainment, A Sensation Novel , the work was rescored by Pascal two decades later in a style reminiscent of early Debussy, but unlike his score for A Sensation Novel, it seems to fit this work well. [7]

Productions

Eyes and No Eyes premiered on 5 July 1875 at St. George's Hall in London and ran for only a month. [1] The piece is still occasionally played by amateur societies, and 21st century stagings include those at the International Gilbert and Sullivan Festival in 2006, by Light Opera of New York in 2008 in New York City [9] and by All-in-One Productions at the 2018 Edinburgh Festival Fringe as part of the Free Fringe. [10]

Roles

Note, some of the character names are those of the stock characters of the Harlequinade. Others suggest French romances.

Synopsis

Clochette and Columbine are sisters living in the house of their uncle, Cassandre, who is engaged to be married to Nicolette. The sisters are beloved by twin brothers, Arlequin and Pierrot, but the two men say they love them equally and cannot decide which one each adores more.

Clochette is sitting at her spinning wheel, working on her wedding linen ("As I at my wheel sit spinning") before being interrupted by the arrival of Nicolette, who claims that she fascinates and destroys all who set their eyes on her ("Yes, yes, I am that miserable beauty"). She says that she has fascinated away the sisters' lovers, Pierrot and Arlequin, much to Clochette's annoyance. The brothers arrive after Nicolette leaves and discuss being twins ("Of our parents each child is a son"). Clochette confronts them about their flirting, but they see no problem because they flirt with all women. This does not entirely placate her, but she is waiting for Columbine to arrive, bringing a cloak for her uncle's wedding dress.

Columbine arrives, and the twins switch their affections over to her, but she is distracted. She has lost the cloak, and in a conversation repeatedly interrupted by the twins' professions of love ("Well, here's a very pretty state of things"), worries that her uncle will be angry when he finds his money gone and the cloak lost. The twins leave briefly, and the sisters devise a plan to protect themselves. Observing that their uncle and the others are all very flirtatious, they decide to pretend that the non-existent cloak is magically "visible only to true lovers, and absolutely invisible to flirts of every degree". When Pierrot and Arlequin return, they test out the ruse on them, pretending to admire it on each other, challenging the twins to describe it and letting them come up with justifications each time they get it wrong. Although convinced that it is real, the brothers admit to each other in private that they couldn't see it, but blame themselves for their flirting.

After everyone leaves, Uncle Cassandre enters and contemplates his engagement to Nicolette, an "acquired taste". He has spent thirty years learning to love all her odious attributes. Nicolette arrives, and they flirt. He remarks that while he is fifty-eight, she "is eight and twenty still" ("When you were eight-and twenty"). Columbine enters and persuades them that the magic cloak is visible only to true lovers. (Cut song: "When I was going along the road") Too nervous to "show" them the cloak, however, she states that Clochette has it. After the older couple leaves, Clochette enters, having found the lost cloak. Columbine is afraid that their uncle will beat her when he hears of the deception. Clochette has a bright thought: "Tell him you made a mistake, and that it’s visible to flirts and coquettes but invisible to true lovers." This they do ("Now, Columbine, the magic cloak produce"), and sure enough, Cassandre and Nicolette pretend not to be able to see the cloak. The brothers return, having "reformed", and are overjoyed to be able to see the cloak, sending Cassandre into a rage over what he thinks is evidence of their unfaithfulness. Now the twins and the older pair both demand to know what is the true nature of the magic. Thinking fast, the girls reply, "Well, uncle, in a kind of way you’re both right. It’s visible to true lovers under thirty, and invisible to true lovers over thirty." Everyone is satisfied by this (after Nicolette admits she was over thirty as of "the day before yesterday") and the uncle offers the girls to the boys. He flips a coin to decide which boy gets which girl. Once assigned, the boys complain that each loves the other girl, and the girls feel the same ("Agony and foul despair!"). The girls surreptitiously switch, and all ends happily.

Musical numbers

Reception

Reviews of the piece were mixed. The Era said, "The entertainment is certainly not equal to many other efforts of the same accomplished author, but it furnished considerable amusement to the audience." [4] The Graphic devoted only 74 words to its review, but it praised the piece as "eminently amusing" and commented that the music was "as usual extremely lively." [12] The Observer wrote, "It is ... disappointing to find the development of the little story marked by barrenness of incident and monotony of humour. The musical illustrations ... are not in Mr. German Reed's happiest or most original vein." [13]

Notes

  1. 1 2 See Florian Pascal, the Gilbert and Sullivan Archive; "A Thirty-ninth Garland of British Light Music Composers" at MusicWeb International; and Songs by Florian Pascal
  2. Bond, Jessie and Ethel Macgeorge. Introduction to The Life and Reminiscences of Jessie Bond, John Lane (1930). Reprinted at The Gilbert and Sullivan Archive
  3. Aikin, John and Anna Laetitia Barbauld. "Nineteenth Evening", Evenings at home; or, the juvenile budget opened: Consisting of a variety of miscellaneous pieces, Part 4, London: J. Johnson (1799), republished by Univ. of Michigan Library (2009), accessed 6 November 2017; and "Eyes and No Eyes; or, The Art of Seeing", The Internet Archive, accessed 24 November 2009
  4. 1 2 3 The Era, 11 July 1875, p. 10
  5. The Era, 7 July 1839, p. 488
  6. The Observer, 26 September 1875, p. 3
  7. 1 2 "Eyes and No Eyes at A Gilbert and Sullivan Discography". Archived from the original on 25 October 2006. Retrieved 17 October 2006.
  8. Ainger, p. 110
  9. "Eyes and No Eyes" 2008 [ permanent dead link ], LOONY, accessed 10 June 2009
  10. "W. S. Gilbert's Eyes and No Eyes", Free Fringe Ltd., accessed 17 September 2018. Web Archive link
  11. Gänzl, Kurt. The British Musical Theatre, Vol. 1 1865–1914, p. 98, Basingstoke, The Macmillan Press, 1986
  12. The Graphic, 10 July 1875, p. 31
  13. The Observer, 11 July 1875, p. 3

Related Research Articles

<span class="mw-page-title-main">Gilbert and Sullivan</span> Victorian-era theatrical partnership

Gilbert and Sullivan refers to the Victorian-era theatrical partnership of the dramatist W. S. Gilbert (1836–1911) and the composer Arthur Sullivan (1842–1900) and to the works they jointly created. The two men collaborated on fourteen comic operas between 1871 and 1896, of which H.M.S. Pinafore, The Pirates of Penzance and The Mikado are among the best known.

<i>H.M.S. Pinafore</i> 1878 comic opera by Gilbert & Sullivan

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.

<span class="mw-page-title-main">Harlequinade</span> British comic theatrical genre

Harlequinade is an English comic theatrical genre, defined by the Oxford English Dictionary as "that part of a pantomime in which the harlequin and clown play the principal parts". It developed in England between the 17th and mid-19th centuries. It was originally a slapstick adaptation or variant of the commedia dell'arte, which originated in Italy and reached its apogee there in the 16th and 17th centuries. The story of the Harlequinade revolves around a comic incident in the lives of its five main characters: Harlequin, who loves Columbine; Columbine's greedy and foolish father Pantaloon, who tries to separate the lovers in league with the mischievous Clown; and the servant, Pierrot, usually involving chaotic chase scenes with a bumbling policeman.

<span class="mw-page-title-main">German Reed Entertainments</span> English theatre company

The German Reed Entertainments were founded in 1855 and operated by Thomas German Reed (1817–1888) together with his wife, Priscilla German Reed (1818–1895). At a time when the theatre in London was seen as a disreputable place, the German Reed family provided family-friendly entertainments for forty years, showing that respectable theatre could be popular.

<i>His Excellency</i> (opera)

His Excellency is a two-act comic opera with a libretto by W. S. Gilbert and music by F. Osmond Carr. The piece concerns a practical-joking governor whose pranks threaten to make everyone miserable, until the Prince Regent kindly foils the governor's plans. Towards the end of the Gilbert and Sullivan partnership, Arthur Sullivan declined to write the music for this piece after Gilbert insisted on casting his protege, Nancy McIntosh, in the lead role; Sullivan and producer Richard D'Oyly Carte, proprietor of the Savoy Theatre, did not feel that McIntosh was adequate.

<span class="mw-page-title-main">Jessie Bond</span> English singer and actor

Jessie Charlotte Bond was an English singer and actress best known for creating the mezzo-soprano soubrette roles in the Gilbert and Sullivan comic operas. She spent twenty years on the stage, the bulk of them with the D'Oyly Carte Opera Company.

<span class="mw-page-title-main">Leonora Braham</span> English singer and actress (1853–1931)

Leonora Braham was an English opera singer and actress primarily known as the creator of principal soprano roles in the Gilbert and Sullivan comic operas.

<i>A Sensation Novel</i> Comic musical play by W. S. Gilbert

A Sensation Novel is a comic musical play in three acts written by the dramatist W. S. Gilbert, with music composed by Thomas German Reed. It was first performed on 31 January 1871 at the Royal Gallery of Illustration. Only four of German Reed's songs survive. Nearly 25 years later, the music was rewritten and published by Florian Pascal. The story concerns an author suffering from writer's block who finds that the characters in his novel are dissatisfied.

<span class="mw-page-title-main">Thomas German Reed</span> English theatrical manager, composer, musical director, actor and singer

Thomas German Reed, known after 1844 as simply German Reed was an English composer, musical director, actor, singer and theatrical manager of the Victorian era. He was best known for creating the German Reed Entertainments, together with his actress wife, a genre of musical plays that made theatre-going respectable at a time when the stage was considered disreputable.

<i>Ages Ago</i>

Ages Ago, sometimes stylised as Ages Ago! or Ages Ago!!, is a musical entertainment with a libretto by W. S. Gilbert and music by Frederic Clay that premiered on 22 November 1869 at the Royal Gallery of Illustration. It marked the beginning of a seven-year collaboration between Gilbert and Clay. The piece was a critical and popular success and was revived many times, including at St. George's Hall, London in 1870 and 1874, and in New York in 1880.

<i>No Cards</i> Farcical one-act opera by Thomas German Reed and W. S. Gilbert

No Cards is a "musical piece in one act" for four characters, written by W. S. Gilbert, with music composed and arranged by Thomas German Reed. It was first produced at the Royal Gallery of Illustration, Lower Regent Street, London, under the management of German Reed, opening on 29 March 1869 and closing on 21 November 1869. The work is a domestic farce of mistaken identities and inept disguises, as two men desperately compete to marry a wealthy young lady. One is young and poor, and the other is a rich miser. Each disguises himself as her guardian.

<span class="mw-page-title-main">Fanny Holland</span> English singer and comic actress

Fanny Holland was an English singer and comic actress primarily known as the creator of principal soprano roles in numerous German Reed Entertainments.

This is a selected list of W. S. Gilbert's works, including all that have their own Wikipedia articles. For a complete list of Gilbert's dramatic works, see List of W. S. Gilbert dramatic works.

<i>Happy Arcadia</i>

Happy Arcadia is a musical entertainment with a libretto by W. S. Gilbert and music originally by Frederic Clay that premiered on 28 October 1872 at the Royal Gallery of Illustration. It was one of four collaborations between Gilbert and Clay between 1869 and 1876. The music is lost. The piece is a satire on the genre of pastoral plays in which the characters, who each wish that they could be someone else, have their wish granted, with unhappy results.

<span class="mw-page-title-main">W. S. Gilbert</span> English dramatist, poet and illustrator (1836–1911)

Sir William Schwenck Gilbert was an English dramatist, librettist, poet and illustrator best known for his collaboration with composer Arthur Sullivan, which produced fourteen comic operas. The most famous of these include H.M.S. Pinafore, The Pirates of Penzance and one of the most frequently performed works in the history of musical theatre, The Mikado. The popularity of these works was supported for over a century by year-round performances of them, in Britain and abroad, by the repertory company that Gilbert, Sullivan and their producer Richard D'Oyly Carte founded, the D'Oyly Carte Opera Company. These Savoy operas are still frequently performed in the English-speaking world and beyond.

<i>A Place for Lovers</i> 1968 film by Vittorio De Sica

A Place for Lovers is a 1968 French-Italian romantic drama film directed by Vittorio De Sica and written by Brunello Rondi, Julian Zimet, Peter Baldwin, Ennio De Concini, Tonino Guerra and Cesare Zavattini. The film is based on the play Gli Amanti by Brunello Rondi and Renaldo Cabieri and was distributed by Metro-Goldwyn-Mayer.

<i>The Neer-do-Weel</i>

The Ne'er-do-Weel is a three-act drama written by the English dramatist W. S. Gilbert. It is the second of three plays that he wrote at the request of the actor Edward Sothern. The story concerns Jeffery Rollestone, a gentleman who becomes a vagabond after Maud, the girl he loves, leaves him. He meets Gerard, an old school chum who arranges for him to have a good post. Jeffery returns the favour by sacrificing to try to help Gerard marry Maud, even though Jeffery and Maud still love each other.

<i>Randalls Thumb</i>

Randall's Thumb is a play by W. S. Gilbert that premièred in 1871 at the opening of Marie Litton's Royal Court Theatre in London. Its plot, based on a short story that Gilbert had published the year before, relates how the forger Randall blackmails the innocent Buckthorpe for a crime he did not commit, hence putting him "under Randall's thumb". In the play, several characters pretend to be different from their real selves, a theme to be repeated in later works by Gilbert. The play received mixed reviews but lasted for a successful 123 performances in its original London run.

<i>Trial by Jury</i> 1875 comic opera by Gilbert & Sullivan

Trial by Jury is a comic opera in one act, with music by Arthur Sullivan and libretto by W. S. Gilbert. It was first produced on 25 March 1875, at London's Royalty Theatre, where it initially ran for 131 performances and was considered a hit, receiving critical praise and outrunning its popular companion piece, Jacques Offenbach's La Périchole. The story concerns a "breach of promise of marriage" lawsuit in which the judge and legal system are the objects of lighthearted satire. Gilbert based the libretto of Trial by Jury on an operetta parody that he had written in 1868.

<i>Harlequin Cock Robin and Jenny Wren</i>

Harlequin Cock Robin and Jenny Wren; or, Fortunatus and the Water of Life, the Three Bears, the Three Gifts, the Three Wishes, and the Little Man who Woo'd the Little Maid was a pantomime written by W. S. Gilbert. As with many pantomimes of the Victorian era, the piece consisted of a story involving evil spirits, young lovers and "transformation" scenes, followed by a harlequinade.

References