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 absurdity. 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.
Pinafores 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.
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.Ainger, pp. 107–108 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.Ainger, p. 130 With this theatre company, Carte finally had the financial resources, after many failed attempts, to produce a new full-length Gilbert and Sullivan opera.Ainger, pp. 110, 119–120 and 130–131; Jacobs, p. 109 This next opera was The Sorcerer, which opened in November 1877. It too was successful, running for 178 performances.Ainger, p. 157 Sheet music from the show sold well, and street musicians played the melodies.Jacobs, pp. 113–114
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.Jacobs, p. 111; Ainger, pp. 133–34 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."Jacobs, p. 113
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.Ainger, p. 145 Gilbert's father had been a naval surgeon, and the nautical theme of the opera appealed to him.Bradley (1996), p. 115 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).Fitz-Gerald, p. 35 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).Allen (1975), Introduction to chapter on Pinafore On 27 December 1877, while Sullivan was on holiday on the French Riviera, Gilbert sent him a plot sketch accompanied by the following note:Jacobs, pp. 114–115
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.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 Sullivan was delighted with the sketch, and Gilbert read a first draft of the plot to Carte in mid-January.Stedman, p. 108
Following the example of his mentor, T. W. Robertson, Gilbert strove to ensure that the costumes and sets were as realistic as possible.Stedman, pp. 129 and 155 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.Stedman, pp. 157–158; Crowther, p. 90; Ainger, p. 154 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.Crowther, pp. 87–89 This attention to detail was typical of Gilbert's stage management and would be repeated in all of his Savoy operas.Crowther, p. 90 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.Stedman, p. 155 Sullivan was "in the full swing" of work on the piece by the middle of April 1878.Jacobs, p. 117 The bright and cheerful music of Pinafore was composed during a time when Sullivan suffered from excruciating pain from a kidney stone.Ainger, p. 155Bradley (1996), pp. 115–116 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.Stedman, p. 159Jacobs, p. 117–118
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." However, Mrs Howard Paul, 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.Ainger, pp. 156–157Stedman, p. 160 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. 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.Stedman, p. 161
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.Cox-Ife, William. W. S. Gilbert: Stage Director. Dobson, 1978 . See also Gilbert, W. S., "A Stage Play", and Bond, Jessie, Reminiscences, Introduction 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. Pinafore opened on 25 May 1878 at the Opera Comique.
Roles 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 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, "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.
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". 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.