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...production's success begins, as one would expect, with Catherine Ingman's stage direction. A constant, careful and oftentimes outrageous choreography of cast members supplements the humor of the script. Sir William Schwenck Gilbert's wit is very much couched in wordplay and innuendo, and Ingman creates--in effeminate prancing, mock-stealthy stalking and slapstick combat--a physical counterpart to the clever turns of phrases. While such physical comedy can compromise itself with too much zeal or too little precision, this seldom happens. The actors seem to understand the appropriate bounds for their movements and the script is never upstaged...

Author: NO WRITER ATTRIBUTED | Title: G&S 'Pirates' Combines Physical, Verbal Derring-Do | 12/12/1996 | See Source »

...company's productions in recent years have seemed static, preserved in amber, cluttered with the gestures and mannerisms of venerated ghosts. There has been too much reverent looking backward to the epochal moment in 1875 when Richard D'Oyly Carte induced the highly successful playwright William Schwenck Gilbert to write the libretto that became...

Author: /time Magazine | Title: Music: Final Curtain for D'Oyly Carte | 3/8/1982 | See Source »

...GONDOLIERS. No one ever asked Sir William Schwenck Gilbert whether he was a communist. Sullivan's music is terrific, however, and the production is excellent. 8:30 at the Agassiz...

Author: NO WRITER ATTRIBUTED | Title: the stage | 5/3/1973 | See Source »

Though either man would have perished rather than commit a symbol, it remains a suggestive fact that William Schwenck Gilbert and Arthur Sullivan were introduced while standing in an empty English theater...

Author: /time Magazine | Title: Books: The Savoyards | 3/3/1952 | See Source »

...Mikado (book & lyrics by Sir William Schwenck Gilbert; music by Sir Arthur Sullivan; produced by the D'Oyly Carte Opera Company) ushers in yet another D'Oyly Carte visit to Broadway. In a sense, it is always the same visit, as full of tradition and ritual as though the visiting players were visiting royalty. It even seems to fetch the same audiences of devotees. The extravaganzas that once turned Victorian sanity upside down today seem one of the few things still on their feet. Titipu still flourishes, Barataria still stands...

Author: /time Magazine | Title: Theater: Old Musical in Manhattan | 2/12/1951 | See Source »

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