The International Gilbert and Sullivan Festival was founded in 1994 by Ian Smith and his son Neil and is held every summer in England. The two- or three-week Festival of Gilbert and Sullivan opera performances and fringe events attracts thousands of visitors, including performers, supporters, and G&S enthusiasts from around the world. The Festival was held in Buxton, Derbyshire, from 1994 to 2013, and from 2014 to 2022, it was held in Harrogate, North Yorkshire, usually with a week in Buxton preceding the main part of the Festival. The entire Festival returned to Buxton in 2023, where it continues.
At the Festival, there are both professional and amateur Gilbert and Sullivan performances. Among the professional offerings are performances each year by the Festival's homegrown National Gilbert & Sullivan Opera Company. Amateur Gilbert and Sullivan performing societies from around the world perform on the Festival's main stage each year. A smaller nearby theatre and other venues host the Festival fringe, which consists of dozens of performances, including a Unifest competition among university groups, and lectures, a memorabilia fair, and other events.
History
The Festival was founded in 1994 by English businessman Ian Smith (1939–2019)[1] and continues to be produced by his wife Janet, son Neil and their family to preserve and enhance the knowledge, understanding and appreciation of the works of Gilbert and Sullivan.[2] It also has a goal of reinstating G&S and the performing arts in schools in Britain. The founders believe that the Gilbert and Sullivan works are an important national heritage and legacy, especially as performed in the tradition of the venerable D'Oyly Carte Opera Company, which performed Gilbert and Sullivan's Savoy Operas continuously, year-round, for over a century until 1982.[3][4] When the D'Oyly Carte Opera Company closed in 1982, greatly diminishing the amount of Gilbert and Sullivan produced in Britain, Ian Smith "had a burning anger" that the English Arts Council had not subsidised the company, and this led him to found the Festival.[5]
The Festival was held in Buxton, England, every year from 1994 to 2013, but it experimented with producing additional Festival weeks in other towns or cities, including Eastbourne, England once; Philadelphia, Pennsylvania, twice; Berkeley, California, once;[6][7] and Gettysburg, Pennsylvania, twice.[8] The main part of the Festival relocated to Harrogate, England, in 2014,[9][10] where it continued to be held each summer,[11] but it also gave a week of mostly professional shows in Buxton shortly before its main opening in Harrogate.[12][13]
The Festival was not held in 2020, when Harrogate was hosting an NHS Nightingale Hospital during the Covid-19 pandemic.[14][15] During the shutdown, the Festival launched an online streaming service that presents recorded performances from past Festivals and some live content.[16] The Festival was awarded a grant of £120,000 from the government Culture Recovery Fund that helped it to survive the shutdown[17] and, in 2021, resume annually.[18] Until 2022 it continued to run for a week in Buxton and nearly two weeks in Harrogate.[19] In 2023 the entire Festival returned to Buxton,[20] where it continues.[21]
Description
Each summer, beginning with the last weekend in July or first weekend in August, the Festival includes two or three weeks of nightly G&S operas (and weekend matinees) and dozens of daytime fringe activities,[22][23] The Festival has sold more than 25,000 tickets in some years[24] and has attracted up to 2,000 performers.[25]
Sky Arts described the Festival as "one of the most colourful, melodic and joyous festivals of musical theatre you will come across. Celebrating the timeless, waspishly satirical lyrics of W. S. Gilbert and the brilliant musical inventiveness of Arthur Sullivan, the festival is quite simply the world’s biggest event dedicated to the Savoy operas. ... It is forward-looking and fun presenting contemporary as well as traditional productions of G&S."[26] The Festival's professional orchestra accompanies the main stage performances.[27][28]
The competition
Scene from SavoyNet's Yeomen, the Festival winner in 2013
The Festival began as mostly a competition among amateur G&S performing troupes from Britain and around the world, with up to a dozen or so amateur performances.[9][29] On the weeknights during each Festival, "the best non-professional groups from the UK and overseas compete for the International Champions title."[26] Some groups perform year after year at the Festival, but some companies, especially those travelling from North America, South Africa, Australia and other distant places, may visit only occasionally or once. Others meet and rehearse entirely at the Festival. The day of performance for each amateur group is hectic, with move-in to the theatre at 9 a.m., lighting call at 11 a.m., the one and only tech-dress rehearsal (with the Festival orchestra) in the afternoon, the performance in the evening, and move-out immediately afterwards.[9]
A professional adjudicator critiqued each amateur performance immediately after the curtain fell. The adjudicator then scored each performance, and both group and individual awards were announced at the end of the Festival.[7][30] At the first Festival in 1994, first prize was awarded to the production of Utopia, Limited, presented by the Gilbert & Sullivan Society of Maine, in the US (then known as the G&S Society of Hancock County). The Derby Gilbert & Sullivan Company won the first prize more often than any other company (six times); and the South Anglia Savoy Players won five times and placed second four times. Festival Productions, Ireland, won in three consecutive years, 2007 to 2009. Individual awards were also presented for performers, directors and musical directors.[31] The internet group SavoyNet, which has competed each year since 1997, were Festival Champions in 2013 and 2018 and are the first and only company to present all 14 G&S operas at the Festival.[32][33] By the end of the second decade of the Festival, the number of amateur productions each year had decreased, and after the pandemic, the live adjudications were discontinued, but cash prizes are given for Festival and UNIFest champions and runners up.[34]
A "Unifest" competition among university groups is presented each year as part of the Festival fringe, usually in the afternoon matinee slot.[11][35][36] The Festival organizers have also rehearsed and presented, most years, an adult "Festival production" as part of the competition, and a non-competition "Youth Production" (for performers aged 9 to 19).[6][9] Since 2015, they have presented a "Bus Pass Opera" production (for performers over 60) in the competition, instead of the Festival production.[37][38]
"With a reputation for strong casts [and] energetic delivery, traditionally fresh interpretations are brought to roles familiar to a large proportion of the [Festival] audiences. With good stars like Jill Pert and Richard Suart in key roles, we were assured of an excellent evening’s entertainment. ... Care is always taken with the staging and lighting of these ... productions and, as with Princess Ida last year, they can match a West End show. ... Throughout, the chorus was outstanding. ... the strength of singing from the twenty-strong chorus in forte passages was spectacular".[42]
Uniquely among professional companies in Britain, other than D'Oyly Carte, the National G&S Opera Company has presented all 13 of the extant Savoy Operas.[43]The Daily Telegraph "thoroughly enjoyed [the company's] spirited production" of Utopia, Limited in 2011, an opera that has rarely been given a professional staging in Britain over the past century.[44] In 2012 the Festival mounted the first full-scale professional production with orchestra of The Grand Duke in Britain since the 19th century.[45] In 2010, the National G&S Opera Company presented its first production outside of the Festival, The Yeomen of the Guard, at Oxford Castle.[46][47] The company soon began touring its productions in repertory from June to August each summer,[48] giving performances in up to six towns and cities,[49] including Buxton.[13] A review of the opening night of the 2014 tour praised the direction, choreography and conducting of The Pirates of Penzance and said of the company:
They are a real find with strong production values, a great orchestra and first class singing. Musically, this is a very strong show. It all looks marvellous with picture book settings and eye catching costumes plus a full and energetic cast. ... It all works superbly with a company obviously enjoying themselves. The chorus work is top notch, and they all come across as individuals.[50]
The National G&S Opera Company has generally staged four productions at the Festival each summer since 2015,[37][51] giving up to 16 performances there, while the other professional companies usually give a few performances each.[37][40] In 2018, in connection with the 25th anniversary of the Festival, the company presented six productions,[23] including the first professional production of Haddon Hall since the 19th century.[52]
Venues and fringe events
The Royal Hall, Harrogate, hosted most of the main stage performances from 2014 to 2022.
All of the competition and the weekend professional performances have been given on the Festival's main stage. From 1994 to 2013, that was the Frank Matcham-designed 900-seat Buxton Opera House.[53] From 2014 to 2022, the main stage was the 1,100-seat Royal Hall in Harrogate, another Matcham-designed theatre. In 2023 all of the Festival's main stage performances returned to the Buxton Opera House.[20] These performances are nearly always accompanied by the "National Festival Orchestra".[9][28] A review of a 2010 performance noted, "The music was up to [the Festival's] usual high standard, with the orchestra (leader, Sally Robinson) ... giving a superb and sprightly reading of the Overture and score throughout."[42] A 2024 review thought the orchestra "plays with real finesse and lyricism, with Murray Hipkin’s direction bringing out many an eloquent detail of Sullivan’s scoring".[54] The Festival also hosts dozens of performances and fringe activities in smaller venues. In Buxton, these include the 360-seat Pavilion Arts Centre.[53][55] In Harrogate, some fringe performances were held in the 500-seat Harrogate Theatre and others at various venues in and around the town.[9][37]
The "fringe" activities have included performances, master classes and lectures by members of the original D'Oyly Carte Opera Company (such as Valerie Masterson, Thomas Round, Gillian Knight, Kenneth Sandford, John Ayldon and John Reed) and other professionals, and a late night Festival Club, where cabaret performances are given each evening after the opera, and sometimes a G&S singalong is conducted.[7] Some years have included scholarly symposia,[56] and rarely revived works by Gilbert or separately by Sullivan are also seen.[57] There is also a G&S memorabilia fair, providing a chance for collectors and gift hunters to buy and sell G&S recordings, DVDs, books, scores, figurines and other items of interest.[6][58] Fringe events also include recitals, concerts, lectures, singalongs, Sunday church services that include Sullivan's liturgical music, and productions of lesser-known works by Gilbert without Sullivan, Sullivan without Gilbert, works that played as companion pieces with the Gilbert and Sullivan operas during their original productions and other Victorian and Edwardian works.[59]
Effect and allure of the Festival
The Festival serves as a "lightning-rod" of G&S activity worldwide. G&S performers and audiences from one part of the world can see performances by groups from other parts of the world. Performances in the traditional style mix with avant garde ones, and G&S scholars can communicate with a wide audience of enthusiasts.[60]
Buxton, an intimate, yet bustling spa town located in the Peak District about an hour southeast of Manchester, has proved to be an excellent setting for summer opera festivals, with good choices for lodging, dining and local sightseeing. There are nearby castles (for example, Peveril Castle), stately homes (e.g. Chatsworth House, Haddon Hall, Hardwick Hall and Calke Abbey); and numerous limestone caverns, including Poole's Cavern, right at the edge of Buxton. The small size of the town allows visitors and performers to meet and mingle freely during the course of the Festival. Jean Dufty, in Gilbert & Sullivan News wrote: "The amateur performances were of a very high standard.... There is a lovely atmosphere in Buxton of Gilbert and Sullivan thriving, being enjoyed, and drawing everyone together as a family."[61][62] The Festival has developed "a reputation for being one of the friendliest musical festivals anywhere, with people returning year after year to soak up its special atmosphere."[62]
A feature in Gilbert & Sullivan News commented: "The amateur performances were of a very high standard. ... There is a lovely atmosphere ... of Gilbert and Sullivan thriving, being enjoyed, and drawing everyone together as a family."[63][62] In addition, the Festival aims to raise awareness and funds for its organizers' efforts to re-introduce G&S into British schools.[35][36] The Festival has been featured in several British television shows and in the documentary films Oh Mad Delight[64] and A Source of Innocent Merriment.[65] Sky Arts broadcast its features about the Festival and Gilbert and Sullivan several times in 2010.[26]
Recordings
Recordings on DVD of most of the amateur and professional productions that have been seen at the Festival, as well as for some of the fringe events, are produced by the Festival organizers.[66] Some of the Festival's professional shows are also available on CD.[67]
↑ Bradley, pp. 49–50; Joseph, p. 358. Between 1988 and 2003, a seasonal company used the name D'Oyly Carte. See Bradley, pp. 54–68
↑ Skow, John. 1982 "Music: Final Curtain for D'Oyly Carte". Time magazine, 8 March 1982, accessed 7 July 2010. Until the Gilbert and Sullivan copyrights expired in 1961, no other professional theatre or opera companies were allowed to present the Savoy Operas in Britain, although professional companies performed the operas elsewhere, and numerous amateur Gilbert and Sullivan companies performed around the world. After 1961 other professional companies began to perform the operas in Britain, but none were full-time. See Bradley, chapters four and six; and Hewett, Ivan. "The Magic of Gilbert and Sullivan". The Telegraph, 2 August 2009, accessed 14 April 2010.
↑ Sandham, David. "Champions", Festivals archive showing the winners each year up to 2010, accessed 19 September 2012
↑ International Gilbert and Sullivan Festival souvenir programme, 2018, p. 39; "Savoynet Performing Group", National Operatic & Dramatic Association, accessed 19 July 2018
↑ Dufty, Jean. "Buxton Gilbert and Sullivan Festival, 1998" in Gilbert & Sullivan News vol. II, no. 13, p. 8 (Autumn, Winter 1998, The Gilbert and Sullivan Society)
↑ Dufty, Jean. "Buxton Gilbert and Sullivan Festival, 1998" in Gilbert & Sullivan News vol. II, no. 13, p. 8 (Autumn, Winter 1998), The Gilbert and Sullivan Society, London
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.
Richard D'Oyly Carte was an English talent agent, theatrical impresario, composer, and hotelier during the latter half of the Victorian era. He built two of London's theatres and a hotel empire, while also establishing an opera company that ran continuously for over a hundred years and a management agency representing some of the most important artists of the day.
The Pirates of Penzance; or, The Slave of Duty is a comic opera in two acts, with music by Arthur Sullivan and libretto by W. S. Gilbert. Its official premiere was at the Fifth Avenue Theatre in New York City on 31 December 1879, where it was well received by both audiences and critics. Its London debut was on 3 April 1880, at the Opera Comique, where it ran for 363 performances.
The Mikado; or, The Town of Titipu is a comic opera in two acts, with music by Arthur Sullivan and libretto by W. S. Gilbert, their ninth of fourteen operatic collaborations. It opened on 14 March 1885, in London, where it ran at the Savoy Theatre for 672 performances, the second-longest run for any work of musical theatre and one of the longest runs of any theatre piece up to that time. By the end of 1885, it was estimated that, in Europe and America, at least 150 companies were producing the opera.
Utopia, Limited; or, The Flowers of Progress, is a Savoy opera, with music by Arthur Sullivan and libretto by W. S. Gilbert. It was the second-to-last of Gilbert and Sullivan's fourteen collaborations, premiering on 7 October 1893 for a run of 245 performances. It did not achieve the success of most of their earlier productions.
The Grand Duke; or, The Statutory Duel, is the final Savoy Opera written by librettist W. S. Gilbert and composer Arthur Sullivan, their fourteenth and last opera together. It premiered at the Savoy Theatre on 7 March 1896, and ran for 123 performances. Despite a successful opening night, the production had a relatively short run and was the partnership's only financial failure, and the two men never worked together again. In recent decades, the opera has been revived professionally, first in the US and then in the UK.
John Lamb ReedOBE was an English actor, dancer and singer, known for his nimble performances in the principal comic roles of the Savoy Operas, particularly with the D'Oyly Carte Opera Company. Reed has been called "the last great exponent" of the Gilbert and Sullivan comedy roles.
The D'Oyly Carte Opera Company is a professional British light opera company that, from the 1870s until 1982, staged Gilbert and Sullivan's Savoy operas nearly year-round in the UK and sometimes toured in Europe, North America and elsewhere. The company was revived for short seasons and tours from 1988 to 2003, and since 2013 it has co-produced four of the operas with Scottish Opera.
The Chieftain is a two-act comic opera by Arthur Sullivan and F. C. Burnand based on their 1867 opera, The Contrabandista. It consists of substantially the same first act as the 1867 work with a completely new second act. It premiered at the Savoy Theatre on 12 December 1894, under the management of Richard D'Oyly Carte, for a run of 97 performances.
Kenneth Sandford was an English singer and actor, best known for his performances in baritone roles of the Savoy Operas of Gilbert and Sullivan.
Gillian Knight is an English opera singer and actress, known for her performances in the contralto roles of the Savoy operas. After six years from 1959 to 1965 starring in these roles with the D'Oyly Carte Opera Company, Knight began a grand opera career.
Thomas Round was an English opera singer and actor, best known for his performances in the leading tenor roles of the Savoy Operas and grand opera.
Dame Bridget D'Oyly Carte DBE was head of the D'Oyly Carte Opera Company from 1948 until 1982. She was the granddaughter of the impresario Richard D'Oyly Carte and the only daughter of Rupert D'Oyly Carte.
Patricia Leonard was an English opera singer, best known for her performances in mezzo-soprano and contralto roles of the Savoy Operas with the D'Oyly Carte Opera Company.
Geoffrey Richard Shovelton was an English singer, actor and illustrator best known for his performances in leading tenor roles with the D'Oyly Carte Opera Company in the 1970s.
Gilbert and Sullivan for All was a touring concert and opera company, formed in 1963 by D'Oyly Carte Opera Company performers Thomas Round and Donald Adams and former director Norman Meadmore, and which exclusively performed the works of Gilbert and Sullivan, usually in concert, but sometimes giving full productions. They also recorded most of the Savoy operas both on video and audio. They continued to tour into the 1980s, occasionally reuniting for performances thereafter.
Jean Hindmarsh is a retired English singer and actress. She is best known as a principal soprano with the D'Oyly Carte Opera Company in the 1950s and 1960s.
Peggy Ann Jones is an English opera singer and actress, best known for her performances in the mezzo-soprano roles of the Savoy operas with the D'Oyly Carte Opera Company. During a fifteen-year career with that company, beginning at age 19, she was particularly known for her interpretations of the title role in Iolanthe, Pitti-Sing in The Mikado, Phoebe Meryll in The Yeomen of the Guard, and Mad Margaret in Ruddigore. She later performed on television, in films and in musicals in London's West End. Jones's best-known recordings include the role of Pitti-Sing on both the 1973 D'Oyly Carte Mikado and the company's 1966 film version of The Mikado.
The National Gilbert & Sullivan Opera Company is an English professional repertory company that performs Gilbert and Sullivan's Savoy operas. Founded in 1995 to perform at the International Gilbert and Sullivan Festival, the company generally stages three or four productions each summer, giving up to 16 performances in Harrogate, North Yorkshire, and also touring.
Michael Rayner was an English opera singer, best known for his performances in baritone roles of the Savoy Operas with the D'Oyly Carte Opera Company.
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