Podcasts about Gilbert and Sullivan

New Year, who dis? Only return guest, the iconic John Xintavelonis! (Yayyy!) As well as introducing, how brilliant new co-host, poached directly from 'Music Rewind Podcast', Stephen Epley!This week, John and AW drag Stephen through a Trial by Jury - but will it be a Death by Fire?Plus, we chat Theatre Ghosts, Guys and Dolls on Sydney Harbour, Bringing Big Musical Tours to Tassie, Aussie Rules Football, and heaps more in this hilarrrious episode! --SOCIALS--John X: Twitter: www.twitter.com/johnxactor -- IG: instagram.com/johnxactor Guys and Dolls Tickets: https://opera.org.au/productions/guys-dolls-on-sydney-harbour/Stephen: Twitter: https://x.com/MusicRewindPod -- IG: https://www.instagram.com/musicrewindpodcast/Music Rewind Podcast: https://open.spotify.com/show/3iBCPPLvFMP1nXsrPm8O2N?si=ea8a05cea62d4949*****Juxtaposing Metal with Musicals - joined by iconic guests from the worlds of Music, Broadway, Hollywood, and more! https://www.thetonastontales.com/listen -- https://www.patreon.com/bloomingtheatricals - https://twitter.com/thrashntreasurehttps://linktr.ee/thrashntreasure*****Help support Thrash 'n Treasure and keep us on-air, PLUS go on a fantastical adventure at the same time!Grab your copy of The Tonaston Tales by AW, and use the code TNT20 when you check out for 20% off eBooks and Paperbacks!https://www.thetonastontales.com/bookstore - TNT20 *****   ★ Support this podcast on Patreon ★

If you enjoy Gilbert and Sullivan, today's episode of Artful Living is for you! Join host Jane Cormier as we play highlights of the G&S operetta, HMS Pinafore.

Author Marcia Menter discusses her new book, That Voice: In Search of Ann Drummond-Grant, the Singer Who Shaped My Life. Part biography and part memoir, the book details the life of Scottish contralto, Ann Drummond-Grant (known as Drummie) who died during the prime of her career in 1959. Drummie sang lead roles for the D'Oyly Carte Opera Company, a famous Gilbert and Sullivan troupe that toured Great Britain for over a hundred years. Years after Drummie's death, Marcia was a young teen in upstate New York when she discovered Drummie's legendary singing voice. That discovery impacted Marcia so profoundly that she spent years learning (or as she puts it, failing to learn) how to sing. 

Michelle Wegler of Duluth recommends seeing the exhibit of fellow plein air painter Cheryl LeClaire-Sommer. Her current show, “Scents to Scenes: A Project Space Exhibition” consists of oil paintings of landscapes inspired by scent. LeClaire-Sommer used essential oils to inspire her choice of location for each painting. Balsam or cedar scents, for example, might lead her to paint a cedar grove. The oil paintings, created from locations across Minnesota specifically for this show, range from 8x10 to larger pieces, which she finished in-studio. Both the studies and larger pieces are on view, along with the essential oils that inspired each project. Wegler says that you stop and look at a painting in a new way after sniffing the accompanying oil. (Saturday, March 2 is a scent-free day from noon to 4.) Her work is on view at the Kohlman & Reeb Gallery in northeast Minneapolis through March 23, with an artist talk on March 7 at 7 p.m.  LeClaire-Sommer also has an exhibit at the Plein Air Collective at the Bell Museum in Roseville through May 26. Singer/songwriter/troubadour Larry Long of Minneapolis recommends “DO NOT FORGET US: Poets, Writers, Musicians Against the War (s) on the Earth.” The event was organized by poet James Lenfestey and is described as “a remembrance in words and music of the victims of wars on the creatures of Mother Earth, and of the activist legacy of Robert and Ruth Bly.”Participants will include James Armstrong, an award-winning poet and naturalist from Winona; Sarina Partridge, a community song circle leader; and soul singer Robert Robinson, among many others. There will also be a special presentation of poems by Robert Bly.The event will take place Thursday at the American Swedish Institute in Minneapolis at 7 p.m. Jeanne Farrar of Minneapolis has seen several shows by The Gilbert & Sullivan Very Light Opera Company in Minneapolis, and she's looking forward to seeing “Utopia, Limited; or, The Flowers of Progress” this month. One of Gilbert and Sullivan's lesser-known works, the operetta is a political satire. A British ship has arrived at the remote island “Utopia,” and its king has earnestly undertaken to emulate all things British. His Cambridge-educated daughter has just returned and is trying to help her father reform the nation's government. Meanwhile, the king's unscrupulous wise men are out to enrich themselves. As the characters and situation grow increasingly absurd, the show serves up its satirical bite with a dose of sweetness with its loveable — or at least laughable — characters. Farrar notes that Gilbert and Sullivan “are really good at making fun of pretentious manners and mores, incompetence in powerful positions and the slavish adherence to a rule or philosophy to the point of absurd.” The company has revised “Utopia, Limited” for a modern audience; read more about those efforts here.  Performances will be at the Conn Theater at Plymouth Congregational Church in Minneapolis March 1 – 24. 

In this episode Mike can't decide if this movie pumps or blows, Troy is bewitched by a bejeweled bulge, and guest reviewer Autumn fangirls over the cinematic lunacy as  their brains are forced to walk the plank while reviewing The Pirate Movie.You can forward your blame to Autumn at:►Follow Fandom Social- Facebook Group:   / fandomsocialites - Facebook Page:   / fandomsocial - Instagram:   / fandomsocial - Twitter/X:    / fandomsocial - TikTok: ►Connect with 'Bald Guys & Bad Movies':-Facebook: / baldguysbadmovies -Instagram - / baldguysbadmovies -Twitter/X - / baldmovies ►Experience their unique takes on films of all stripes:- Apple Podcasts - ...

SynopsisThese days, “musical piracy” can mean anything from illegal downloads to bootleg compact discs pressed in China.But back in 1878, the smash success of the Gilbert and Sullivan operetta HMS Pinafore resulted in a flurry of unauthorized “pirate” productions in the United States. The two resourceful Englishmen decided the best way to put a stop to it was to premiere their next collaboration in New York, thereby establishing its copyright under American law.And so, on today's date in 1879, it was Arthur Sullivan who conducted the pit orchestra of the Fifth Avenue Theater in Manhattan for the first full performance of their latest creation, titled, perhaps not coincidentally, The Pirates of Penzance.The New York Times review was glowing in its praise but did point out that the new work was strikingly similar to Pinafore.“There is genuine musical merit in several of the numbers,” it said. “… A chorus of policemen was the most musically humorous number of the evening and provoked more amusement than anything else. ... In response to repeated calls, the author and composer appeared before the curtain and bowed their acknowledgments.”Music Played in Today's ProgramGilbert and Sullivan - The Pirates of Penzance; D'Oyly Carte Opera; Royal Philharmonic; Isidore Godfrey, cond. London 425 196

Soft-hearted Pirates! Fast-talking Major-Generals! Love, insomnia, battles, and love for the Queen! We're heading to the shores of Cornwall, England with our pirate costumes as we explore the Gilbert and Sullivan favorite, "The Pirates of Penzance!"

Star Trek: Age of Discovery is a fan podcast for the Star Trek Universe, including Classic Trek as well as the Paramount + shows STAR TREK: DISCOVERY, STAR TREK: PICARD, STAR TREK: SHORT TREKS, STAR TREK: LOWER DECKS, STAR TREK: PRODIGY and STAR TREK: STRANGE NEW WORLDS.Subscribe to Star Trek: Age of Discovery via Apple Podcast, Amazon Music, Google Podcast, Spotify, Stitcher, TuneIn, or iHeartRADIO.Email the show at startrekaod@gmail.com. Follow us on Twitter and Instagram @StarTrekAoD and Facebook at https://www.facebook.com/StarTrekAoD/. Visit our website at http://startrekaod.net, where we offer additional articles on Star Trek canon, interesting sidebar issues, and aspects of the show.www.facebook.com/StarTrekAoD/. Visit our website at http://startrekaod.net, where we offer additional articles on Star Trek canon, interesting sidebar issues, and aspects of the show.2023 © Star Trek: Age of Discovery

The Annotated Hobbit by J.R.R. Tolkien and Douglas A. Anderson Ch. 3 - 6  In this episode of Death Readers Robb and Doug share their ‘walking' progress to mount doom! Doug has had enough with the songs despite the significance of music in Tolkien's creation myth, and Robb gushes about Golumn. Death Readers Theme by Matt Faubion Perdona by Stereohada

On Thursday's show: A vote has been delayed twice now at Houston City Council over a Heights daycare center's call for the creation of an alcohol-free zone within 300 feet of its facility in order to prevent future bars or liquor stores from opening nearby. We learn more about the story and why the vote continues to be delayed from News 88.7's Ashley Brown. Also this hour: It's been a year since the new 988 crisis hotline number was introduced. How effective has it been? Then, we talk with Houston-based artist JooYoung Choi, whose work is on display this summer at Rice University's Moody Center for the Arts. And the Gilbert & Sullivan Society of Houston performs the famous comic opera The Pirates of Penzance this weekend and next.

In Gilbert and Sullivan's fairy opera “Iolanthe” empowered magical women crash into toxic privileged masculinity in 19th century London. Marc Eliot Stein interviews New York City singer and actress Casey Keeler about her role as the powerful Fairy Queen in a recent Village Light Opera Group "Iolanthe". We also talk about “Utopia, Limited”, community theater, and how New York City's post-COVID opera subculture is staying together through hard times.

Give three cheers and one cheer more! David Garrison joins us for an episode celebrating G&S and the American musicals they inspired; performers include Garrison himself plus Linda Ronstadt, Groucho Marx, Sutton Foster, and more.

词汇提示1.operetta 轻歌剧2.verse 诗歌3.puns 双关4.wit 机智5.businesslike 高效的6.composer 作曲家7.satire 讽刺诗8.triumph 胜利9.scripts 脚本10.rehearsed 排练11.orchestra 管弦乐队12.separately 分别地13.humming 哼鸣原文Gilbert and SullivanGilbert and Sullivan are the authors of many lively and humorous operetta.These works are the most popular of their kind, and are regularly performed today.But the two authors are known almost as well for their arguments and disagreements.The famous partners were very different people with very different interests.William S Gilbert wrote the words that Sullivan set to music.Gilbert had a special talent for humorous verse.He loved puns and had a very quick wit.Personally, though, he was very businesslike.He had wanted to enter the military and always had the look of a soldier about him.He was fond of giving orders and disliked criticism of anything he did.Arthur S Sullivan, on the other hand, was a sensitive, emotional person whose main interest was music.Sullivan came from a poor family, but his musical talents and good looks had helped him to succeed.Sullivan wanted to write serious, classical music, but as a poor man, he needed a source of income.Sullivan also needed someone to direct him on his own.He had trouble deciding what to do.Gilbert and Sullivan never became really good friends, and at the end of their lives, they had little contact with each other.But the writer and musician needed each other.Gilbert needed a composer who could enliven his writings for the stage.Sullivan needed someone to write a text for his music.Sullivan, who tended to be lazy, needed someone to push him.A theatrical manager named Richard D'Oyly Carte arranged their first collaboration.Gilbert visited Sullivan and read him his satire on the legal system “Trial By Jury”.Sullivan loved the piece and quickly wrote the music.“Trial By Jury” was produced in 1875 and became the first triumph for the partners.D'Oyly Carte decided to form an acting company, which would stage future works by Gilbert and Sullivan.A string of successes follows: "The Sorcerer"in 1877; "H. M. S. Pinafore" in May 1878; "The Pirates of Penzance" in December 1878; "Patience" in 1881;"lolanthe" in 1882; "The Mikado" in 1885;"The Yeomen of the Guard" in 1888;and "The Gondoliers" in 1889.In spite of these successes, the two partners were not happy.Sullivan did not like the way Gilbert dominated their relationship.Sullivan had to write music for Gilbert's scripts.Why couldn't Gilbert write words for Sullivan's music?Gilbert, on the other hand, thought that Sullivan got the most of the credit for the success of their operates, and that he was overlooked.Gilbert was a driving force in the relationship.He was always writing new scripts and taking them to Sullivan.It was Gilbert who rehearsed the actors and supervised the productions.Sullivan had little to do with the actual performance.He usually did conduct the orchestra on opening night.The amazing thing is how these two different people produced such wonderful work.Each separately had difficulty writing something that the public wanted.Together, they were unbeatable.Gilbert's sharp and often cutting remarks were made acceptable by Sullivan's beautiful music.Gilbert satire might have made people angry, but Sullivan's music calmed them down.Even when the English people were the targets of Gilbert's criticisms, the audience went out of the theater humming these criticisms to Sullivan's music.翻译吉尔伯特和沙利文吉尔伯特和苏利文创作了许多生动幽默的轻歌剧。这些作品是同类作品中最受欢迎的，至今仍经常上演。但这两位作者的争论和分歧几乎同样为人所知。这些著名的合伙人是不同的人，有着不同的兴趣。威廉·S·吉尔伯特(William S Gilbert)写了沙利文谱成音乐的歌词。吉尔伯特有写幽默诗的特殊才能。他喜欢双关语，而且非常机智。不过，就个人而言，他非常务实。他曾想从军，而且总是一副士兵的样子。他喜欢发号施令，不喜欢批评他所做的任何事情。另一方面，亚瑟·S·苏利文是一个敏感、情绪化的人，他的主要兴趣是音乐。沙利文来自一个贫穷的家庭，但他的音乐天赋和英俊的外表帮助他取得了成功。沙利文想创作严肃的古典音乐，但作为一个穷人，他需要一个收入来源。沙利文也需要有人亲自指导他。他难以决定该做什么。吉尔伯特和沙利文从未成为真正的好朋友，在他们生命的最后阶段，他们彼此几乎没有联系。但是作家和音乐家彼此需要。吉尔伯特需要一个能使他的作品在舞台上生动起来的作曲家。沙利文需要有人为他的音乐写一段文字。沙利文很懒，需要有人来督促他。一位名叫理查德·德奥利·卡特的戏剧经理安排了他们的第一次合作。吉尔伯特拜访了沙利文，给他读了他对法律制度的讽刺作品《陪审团审判》。沙利文很喜欢这首曲子，很快就完成了配乐。《陪审团审判》制作于1875年，成为合伙人的第一个胜利。多伊利·卡特决定成立一家表演公司，为吉尔伯特和沙利文日后的作品演出。一系列的成功接踵而至:1877年的《魔法师》;1878年5月的《H. M. S. Pinafore》;1878年12月的《彭赞斯海盗》;1881年的《耐心》;1882年的《洛兰瑟》;1885年的《天皇》;1888年的《近卫自耕农》以及1889年的《船夫》。尽管取得了这些成功，但这两个合伙人并不快乐。沙利文不喜欢吉尔伯特主导他们的关系。沙利文必须为吉尔伯特的剧本作曲。为什么吉尔伯特不能为沙利文的音乐写歌词?另一方面，吉尔伯特认为苏利文获得了他们行动成功的大部分功劳，而他被忽视了。吉尔伯特是这段关系的推动力。他总是写新剧本，然后拿给沙利文看。是吉尔伯特为演员排练并监督制作。苏利文几乎没有参与演出。他通常会在首演之夜指挥管弦乐队。令人惊讶的是，这两个不同的人是如何创作出如此美妙的作品的。他们各自都很难写出公众想要的东西。他们在一起是不可战胜的。吉尔伯特尖锐而又尖刻的评论被沙利文优美的音乐所接受。吉尔伯特的讽刺可能会让人们愤怒，但沙利文的音乐让他们平静下来。即使英国人民是吉尔伯特批评的对象，观众走出剧院时也会哼着这些批评的歌，配上沙利文的音乐。

This episode is also available as a blog post: https://thecitylife.org/2023/03/20/mastervoices-presents-gilbert-and-sullivans-iolanthe-at-carnegie-hall/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/citylifeorg/message Support this podcast: https://podcasters.spotify.com/pod/show/citylifeorg/support

Yannis Pappas, host of Toronto's Obnoxious Nomads gastronomic travel show and author of "Suovetaurilia: A Gilbert and Sullivan Journal", talks about his love of big game hunting in Africa and why he views it as a form of conservation.

B-b-b bird, bird, bird, b-bird's the word! We're dorking out about birds! Seriously! Shittiest, tastiest, dumbest, best, and most dangerous. We also dork out about ortolan buntings, Gilbert & Sullivan, The Sound of Music and more! This episode is for the birds!FURTHER DORKSCUSSION:Radiolab explains an inexplicable comedy actWhy Jess' pick for best bird is the flamingo!Dodos were not that dumbBONUS CONTENT:B-b-b-bB-b-b-bBird is the word is the birdSOCIALS:Here's where you can find us!Lexi' Hunt's website and twitter and instagramBen Rankel's website and instagram and where to buy his book: Amazon.ca / Comixology / Ind!go / Renegade ArtsJess Schmidt's website, twitter and instagramDork Matter's website(WIP) and twitter and instagram and redditHelp us out by giving Dork Matters a rating and review on Apple Podcasts, or wherever you get your pods!“Role-playing games are just an organic improvised space for storytelling." -Matthew Mercer

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.Purchase the music (without talk) at:Gilbert and Sullivan: HMS Pinafore (classicalmusicdiscoveries.store)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com 

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. The opera's official premiere was at the Fifth Avenue Theatre in New York City on 31 December 1879, where the show 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.Purchase the music (without talk) at:Gilbert and Sullivan: The Pirates of Penzance (classicalmusicdiscoveries.store)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com

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.Purchase the music (without talk) at:Gilbert and Sullivan: The Mikado (classicalmusicdiscoveries.store)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store)

The Yeomen of the Guard; or, The Merryman and His Maid, is a Savoy Opera, with music by Arthur Sullivan and a libretto by W. S. Gilbert. It premiered at the Savoy Theatre on 3 October 1888 and ran for 423 performances. This was the eleventh collaboration of fourteen between Gilbert and Sullivan.Purchase the music (without talk) at:Gilbert and Sullivan: Yeoman of the Guard (classicalmusicdiscoveries.store)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com

The opera is a satire on the aesthetic movement of the 1870s and '80s in England, part of the 19th-century European movement that emphasized aesthetic values over moral or social themes in literature, fine art, the decorative arts, and interior design. Called "Art for Art's Sake", the movement valued its ideals of beauty above any pragmatic concerns.  Although the output of poets, painters, and designers was prolific, some argued that the movement's art, poetry, and fashion were empty and self-indulgent.  That the movement was so popular and also so easy to ridicule as a meaningless fad helped make Patience a big hit. The same factors made a hit out of The Colonel, a play by F. C. Burnand based partly on the satiric cartoons of George du Maurier in Punch magazine. The Colonel beat Patience to the stage by several weeks, but Patience outran Burnand's play. According to Burnand's 1904 memoir, Sullivan's friend the composer Frederic Clay leaked to Burnand the information that Gilbert and Sullivan were working on an "æsthetic subject", and so Burnand raced to produce The Colonel before Patience opened.  Modern productions of Patience have sometimes updated the setting of the opera to an analogous era such as the hippie 1960s, making a flower-child poet the rival of a beat poet.Purchase the music (without talk) at:Gilbert and Sullivan: Patience (classicalmusicdiscoveries.store)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com

Musical allergies and the Jazzical genreWhat are your musical allergies and pet peeves? Jon and Haz share theirs before quibbling over Gilbert and Sullivan. A brief introduction to the light classical genre follows, with examples of jazzical fusion. Will it be your cup of tea? Or, as the Germans say, your 'collar size'?Support the Show.www.artsactive.org.ukEmail a2@artsactive.org.ukTwitter @artsactiveInstagram artsactivecardiff Facebook artsactive#classicalmusic #stdavidshall #neuadddewisant #drjonathanjames #bravingthestave #musicconversations #funfacts #guestspeakers #cardiff

This week, Jude doesn't want to ask how Justen is doing, we debate whether a propensity to fuck aliens is a feature of human souls, and if alien fucking is the path to ascension. And also show tunes. In "Atonement", Delenn contends with Minbari traditionalism and wraps up a number of Minbari plot lines, and we get the start of a storyline that's going to turn Justen into a goblin in "Racing Mars" where Marcus and Franklin head to Mars under the cover of being a married couple.Connect with the show at @babylonpodjectHelp us keep the lights on via our Patreon!Justen can be found at @justenwritesAna can be found at @The_Mianaai, and also made our show art.Both Ana and Justen can also be found on The Compleat Discography, a Discworld re-read podcast.Jude Vais can be found at @eremiticjude. His other work can be found at Athrabeth - a Tolkien Podcast and at Garbage of the Five Rings."The Voice" of the Babylon Podject is provided by Alyson Grauer, who can be found at @dreamstobecomeClips from the original show remain copyrighted by Warner Bros, Inc. and are used under the Fair Use doctrine.Music attribution:The Descent by Kevin MacLeodLink: https://incompetech.filmmusic.io/song/4490-the-descentLicense: http://creativecommons.org/licenses/by/4.0/This show is edited and produced by Aaron Olson, who can be found at @urizenxvii

After 20 months, the show is back! And what better way to restart than with the wonderful opera (musical bits only) The Gondoliers? I really missed recording, so I hope you enjoy it!

Peter Cousens' name is synonymous with the musical theatre in Australia. His contributions are many - as a leading man, producer and passionate advocate of the form.He is a graduate of the National Institute of Dramatic Art and has carved a career as an actor, singer, producer, director, teacher and film director. He played the Phantom in The Phantom of the Opera on London's West End for eleven months in 1997/98. He has starred alongside Russel Crowe in Blood Brothers, the late Richard Harris in Camelot and has had an extensive career playing major roles in musicals throughout Australia, New Zealand and England.As an actor he has worked extensively with Australia's major performing arts companies including Sydney Theatre Company Macbeth, Measure for Measure, Nicholas Nickleby, Chicago, Chinchilla and Convict's Opera; Griffin The Falls; Philip Street Theatre Whose Life is it Anyway; The Queensland Theatre Company Camille, Breaker Morant, You Never Can Tell, The Sentimental Bloke; Marian Street, London Assurance & Fanny; Melbourne Theatre Company Company; Sydney Dance Company in Tivoli; Out of Joint (UK) The Convicts Opera; Darlinghurst Theatre The Paris Letter. On Television Cliffy, Phryne Fisher, Return to Eden, The Sullivans, Carson's Law, The Young Doctors, Son and Daughters, The Timeless Land and Under Capricorn.Peter tours extensively around Australia with his own one man show and works regularly in concert performing in Australia's major performing arts venues and with Symphony Orchestras.He is the Artistic Director of the Talent Development Project and conducts workshops and master classes with elite talent from Government Schools across NSW. Peter also conducts classes and workshops with the NSW Education Departments Arts Unit specifically around the development of performance skills for secondary students. He teaches in the Musical Theatre Diploma Course at NIDA and regularly directs theatre, conducts workshops and classes at Central Queensland University.He is a consummate artist who has invested his talent across many platforms, stages and roles. His experiences and garnered wisdom are vast. STAGES welcomes the opportunity to celebrate Peter Cousens.The STAGES podcast is available from Apple podcasts, Spotify, Whooshkaa and where you find your favourite podcasts. www.stagespodcast.com.au

Zum zweijährigen Jubiläum von „I went to films“ hauen wir eine Sonderepisode heraus und gleichzeitig setzen wir unsere Retrospektive von filmischen Adaptionen des „Cape Fear“-Stoffs weiter: Wir sehen uns die Simpsons-Episode „Am Kap der Angst“ aus dem Jahr 1993 an. Diese parodiert nicht nur über weite Strecken den Film von Scorsese, sondern ist zusätzlich noch mit zahlreichen anderen Gags und Anspielungen vollgepackt, sodass wir beim Jubiläum-Feiern einfach entspannt mitgucken können. Viel Spaß!

Tom Service immerses himself in the topsy-turvy world of Gilbert and Sullivan, and finds things are seldom what they seem... With Derek Clark of Scottish Opera and pianist and composer Richard Sisson.

Simon Gallaher is not only one of Australia's leading musical theatre performers, he is loved by Australian audiences as a television star, concert performer, singer, musician, pianist, songwriter and successful theatrical producer.At the age of 15 Simon hosted a children's television show, Simon's Scene, for the Seven Network. He studied for a Bachelor of Music at the Queensland Conservatorium of Music and staged and starred in his first professional concert before he was 19. He became a regular guest on Australian television's immensely popular The Mike Walsh Show and his career took off as audiences flocked to his concerts and quickly sent five albums gold. Simon won a TV Logie Award for his work on The Mike Walsh Show, and became the youngest entertainer ever to be given his own night-time television variety show which ran for two successful seasons on ABC-TV.In 1984 Simon made the transition to the stage in the Australian production of the Broadway smash hit The Pirates of Penzance, playing over 1,000 performances. He has also performed starring roles in Hello Dolly, The Student Prince, My Fair Lady, The Mikado, HMS Pinafore and The Merry Widow.By 1992 Simon's company, Essgee Entertainment, was a major concert presenter and in 1994 he created a new stage production of The Pirates of Penzance. The musical was an overwhelming success, playing to over 500,000 people and a television broadcast was viewed by an audience of over two million people. It was a triple-platinum video and won an Aria Award for Best Musical Soundtrack. New productions of The Mikado and HMS Pinafore followed, winning more critical acclaim and a loyal audience. The musicals toured internationally and Essgee's television productions screened internationally.Essgee produced a new and lavish production of The Merry Widow which toured nationally in 1998-9 starring Simon and Marina Prior. The acclaimed Tony Award-winning play Master Class starring Amanda Muggleton followed and was an outstanding triumph, and a new production of Stephen Sondheim's A Funny Thing Happened On The Way To The Forum toured throughout Australia and New Zealand.Simon marked 25 years in show business by returning to the concert platform in 2000. The following year saw Pirates return for a national tour which lasted two years. In 2004, Simon produced the new Australian musical Eureka which opened in Melbourne to critical acclaim. A new album with Julie Anthony, Together At Last, was released in 2006 and Essgee launched Showstoppers an immensely successful initiative for young up-coming performers offering a series of music-theatre workshops featuring the cream of Australian show business talent as tutors and mentors.2012 marked a return to both the concert stage with a series of tours across each state, and also a return to the musical theatre stage when he starred as Edna Turnblad in the musical Hairspray for Harvest Rain. 2014 saw another national concert tour, and a role in the musical comedy Spamalot.Since 2007 Simon has been a trustee of the Queensland Performing Arts Trust (QPAC) and sits on its board of directors. In 2012 he was also appointed to board of the Queensland Theatre Company and the Chair of Brisbane's Harvest Rain Theatre Company. He is patron to many arts organisations and sits on the Musicals Nominating Panel for the Helpmann Awards.The STAGES podcast is available from Apple podcasts, Whooshkaa and Spotify. Also from where you find your favourite podcasts. www.stagespodcast.com.au

Did you know Gilbert and Sullivan wrote a King Arthur play? Well, okay, that Sir Arthur Sullivan provided music for a King Arthur play in new verse, which was such a hit that it toured the UK and the US? And did you know that it was only one of three plays either performed or published in 1895? We did! Today, we take a look at King Arthur: A Drama in a Prologue and Four Acts, with verse by J. Comyns Carr and music by Sir Arthur Sullivan, as well as Mordred: A Tragedy by Henry Newbolt. As an extra special bonus, we'll be dropping the Zoom video for the Melodrama episode for our patrons on Patreon. To join, visit http://www.patreon.com/hamlettohamilton.com Season Two we're looking at Arthur Through the Ages, looking at how English verse playwrights took on the King Arthur myth, from 1587-2019. Show Notes and Texts: https://www.hamlettohamilton.com/s2e8.html

How do you get from The Opera to The Musical?  Any answer to that question would have to include the powerhouse Victorian English duo of Gilbert and Sullivan and their ground-breaking form of “light opera.”  Hilarious, cheerful, and energetic, they innovated both in opera and satirical comedy.  Not only were they beloved by theater-goers of the late nineteenth century, they remain popular to this day, influencing the creators of drama, film, and musical theater. This episode of Opera For Everyone focuses on two of Gilbert and Sullivan's earliest successes, Trial by Jury and H.M.S. Pinafore.  Join us for a close look at these two delightful shows. Hosted by Pat and Rosie.

Billy and Frank Chat with Patrick CassidyPatrick Cassidy: Actor, Broadway star, a member of Hollywood's royal family, The Cassidy Brothers.A star quarterback in high school, PATRICK CASSIDY, had dreams of playing in the NFL. However, a collarbone injury saw him join drama class, and the rest is history. As an actor, he has appeared in numerous plays from his debut in 1982's Gilbert and Sullivan's The Pirates of Penzance, to 2001's Aida, in which he won the National Broadway Theatre Award for Best Actor in a Touring Musical. On the screen, he's best known for his roles in Lois & Clark: The New Adventures of Superman (1993), Smallville (2001) and I'll Do Anything (1994). As the son of Academy Award winning actress Shirley Jones, he shares the family limelight with the famous Cassidy Brothers; Shaun, David and Ryan.

These days, “musical piracy” can mean anything from illegal downloads to bootleg compact discs pressed in China. But back in 1878, the smash success of the Gilbert and Sullivan operetta “HMS Pinafore” resulted in a flurry of unauthorized “pirate” productions in the United States. The two resourceful Englishmen decided the best way to put a stop to it was to premiere their next collaboration in New York, thereby establishing its copyright under American law. And so, on today’s date in 1879, it was Arthur Sullivan himself who conducted the pit orchestra of the Fifth Avenue Theater in Manhattan for the first full performance of their latest creation, entitled, perhaps not coincidentally, “The Pirates of Penzance.” The New York Times review was glowing in its praise, but did point out that the new work was strikingly similar to “Pinafore,” but opined, “There is genuine musical merit in several of the numbers,” and, “A chorus of policemen was the most musically humorous number of the evening, and provoked more amusement than anything else... In response to repeated calls, the author and composer appeared before the curtain and bowed their acknowledgments.”

These days, “musical piracy” can mean anything from illegal downloads to bootleg compact discs pressed in China. But back in 1878, the smash success of the Gilbert and Sullivan operetta “HMS Pinafore” resulted in a flurry of unauthorized “pirate” productions in the United States. The two resourceful Englishmen decided the best way to put a stop to it was to premiere their next collaboration in New York, thereby establishing its copyright under American law. And so, on today’s date in 1879, it was Arthur Sullivan himself who conducted the pit orchestra of the Fifth Avenue Theater in Manhattan for the first full performance of their latest creation, entitled, perhaps not coincidentally, “The Pirates of Penzance.” The New York Times review was glowing in its praise, but did point out that the new work was strikingly similar to “Pinafore,” but opined, “There is genuine musical merit in several of the numbers,” and, “A chorus of policemen was the most musically humorous number of the evening, and provoked more amusement than anything else... In response to repeated calls, the author and composer appeared before the curtain and bowed their acknowledgments.”

Did you know that London's Savoy Hotel may never have existed without the incredible popularity of Gilbert and Sullivan's operettas?

Tony presents a programme about probably the most well known duo in music history

David Spicer’s enthusiasm for the arts in all its forms is palpable. His participation exists in several identities; producer, publisher, performer and patron. He is a regular at the theatre and relishes nurturing new work. It’s a broad portfolio.Spicer is a journalist and worked for the A.B.C. in metropolitan radio and television, delivering news and current affairs. He was acknowledged with the Walkley Award two years running, for Best Radio Current Affairs Story.Equally at home on the stage, he has performed most of the lead tenor repertoire in the Gilbert and Sullivan cannon; in concerts and production.In 2008, he acquired management of Stage Whispers Performing Arts Magazine; an essential guide for the theatre goer and participant, delivering news, reviews and listings.Since 1995, Spicer has been the Communications Officer for The Association of Community Theatre. In this capacity he helped found the ACT’s What’s On brochure and a bi-annual community theatre conference.He began his foray into representing stage plays and musicals in 1998, when David Spicer Productions licensed 2 musicals. The company now licences more than 200 productions in countries all over the world.David joined Stages to examine his many roles and the vital need for an Arts experience in society - especially in the present, challenging times.

Warning: this episode discusses sexual assault and racist depictions. In the 1870s, the comic opera made the jump into English and started the tradition that made Broadway and West End the theater capitols of the world. This episode takes a close look at the first step of that development: the work of W.S. Gilbert and Arthur Sullivan.

Reg Livermore is one of our greatest showmen. A trailblazer whose career has encompassed roles as Playwright, Performer, Presenter and one of the country’s finest actors. His artistry is iconic and his pioneer performances in a succession of one-man masterpieces birthed brilliant characters such as Betty Blokk Buster, Vaseline Amilnitrate, Irene, Beryl and Leonard. Such personas perfectly entwined risqué and social sensibilities; and cheekily unsettled, and aroused, an awakening Australian audience.Reg Livermore is a theatrical beast, a mischief, a maverick and a larrikin clown - he is a chameleon who has rightly earned the accolade of Legend. He is a composite super-talent informed by burlesque, vaudeville, music hall, weimar cabaret, the ballet, the opera, the classics and Gilbert & Sullivan - all forms have contributed to a most unique and vital talent.Reviewing the seductive and thrilling content of his 1979 production of Sacred Cow, playwright Dorothy Hewett described Livermore as “everyone’s nightmare and everyone’s dream”. Reviews don’t come more thrilling than that.He grew up in conservative 1950s Sydney when boys who danced or acted were ‘not like other boys’. His individuality would stand him apart on many stages and celebrate him as one of our best.Livermore revolutionised the Australian theatre industry in a pair of high-heels in the original Rocky Horror Show production; he developed a small cameo in Jesus Christ Superstar, into a 9-minute showstopping star-turn and found profound empathy in the seminal musical Hair. In recent turns on the Musical stage he has given us his P. T. Barnum, The Wizard of Oz, Max Biallystock, Dr Pangloss, Henry Higgins and Alfred P. Doolittle.Livermore has lived a full and fascinating life, bigger than any stage. He’s had a restaurant. He’s graced our television screens and he’s studied at the Ensemble Studios with Hayes Gordon and at the Independent Theatre with Doris Fitton. It’s a career of peaks and troughs, thrills and spills. The performer has not only seized opportunities but created them.Our rich theatre heritage is just that, because of his countless contributions on stage and off. He has offered us a chance to laugh at ourselves, embrace the mischievous and be changed by reverberant and authentic performances.Available in iTunes, Spotify and Whooshkaa.

Joe Illick discusses the lives and work of Gilbert and Sullivan, playing excerpts on the piano.

The Old Guys Bitch about the Senate Judiciary Committee Meltdown

Kate Gaul has been a considerable force in playmaking in Australia over the past 25 years. Directing premiere productions and new Australian works, her directing folio has covered a broad repertoire of stories – The Laramie Project, The Trouble with Harry, Svetlana in Slingbacks, The Ham Funeral and Richard the Third to touch on a few. She has worked with our leading theatre companies and taught at training institutions, including NIDA and WAAPA.A champion of the work of Irish playwright Enda Walsh, she has directed productions of his plays Penelope, The New Electric Ballroom and Misterman – this last play receiving extensive glowing accolades and huge success at the 2017 Edinburgh Festival.Kate is a vital artist and one whose productions never fail to impress, to engage and to prompt discussion.

In Claire Christian's new play Lysa and the Freeborn Dames, gay first-year uni student Lysa King wages war on her home town's entrenched misogyny, Lars Von Trier's brutal film Melancholia is adapted for the stage, directed by Matthew Lutton, regional singers join the stars of Opera Queensland in Gilbert & Sullivan's Ruddigore, or The Witch's Curse, and passions smoulder and fists fly in the stage musical adaptation of John Waters' Cry-Baby.

Jen from Have You Seen This? joins the pod for our foray into Spallout Culture, where while discussing Mike Leigh's 1999 film Topsy-Turvy, we put many things on blast, including: Chipotle, Yankee Doodle Dandy, theater kids, Gilbert And Sullivan, The West Wing, Filk, Jonathan Coulton, and MC Frontalot, Mic Dicta, America's best named legal podcast, Criterion, and me for spending so much money on Criterion, Don Pardo, Skype, James Franco, Pony by Ginuwine, J.G. Wentworth, the weather, Ace Ventura, Operettas, Moulin Rouge, Whoever looks like a younger Bob Balaban and works for GSN, Baggage, and Filmstruck.Recs:N: The Cardigans - Emmerdale / For Your ConsiderationE: Game Shows / Wolf In White VanJ: Dark / BMovieTV

1. Over July 4th holiday far leftists put down the U.S. and patriotism. 2. Guest: Jeff Jablonski, the Empire Lyric Players - Gilbert and Sullivan's, "HMS Pinafore." 3. Do you remember your first kiss? 4. How is the left's rude behavior impacting unaffiliated voters.

Andy and Dave show their range by discussing the opera to open the show.

Last month a long-awaited anthology of Ellery Queen pastiches and parodies entitled The Misadventures of Ellery Queen was released by Wildside Press. Most of the stories it contains were first published in EQMM. To celebrate the book’s publication we decided to have one of the stories recorded for this podcast series. Here is Darcy Bearman, Dell Magazines’ manager for social-media marketing, reading “The Gilbert and Sullivan Clue” by Jon L. Breen, first published in EQMM September/October 1999.

1. Mandy discusses the terrorist attack on London Bridge. 2. Guest: Leonard Sax, author of "The Collapse of Parenting." 3. Guests: Empire Lyric Players cast of Iolanthe by Gilbert and Sullivan.

It was on this day in 1882 that Gilbert and Sullivan's comic opera Iolanthe debuted in London and New York. Was it merely a tale of fairy love or was it a political satire? Find out on today's "A Classical Day in the Life."

It was on this day in 1882 that Gilbert and Sullivan's comic opera Iolanthe debuted in London and New York. Was it merely a tale of fairy love or was it a political satire? Find out on today's "A Classical Day in the Life."

"This is worse than that time we did that Gilbert and Sullivan parody.” That was a Tina Fey line from 30 Rock, and it was a devastating punch at a similar show, Aaron Sorkin's "Studio 60," in which a fictional late night comedy show attempted to wow its audience with a song about itself set to the music of "A Modern Major General." Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.

The Gilbert and Sullivan Society of SA are proud to bring a show to the Adelaide Fringe in 2012. Iolanthe is directed by popular director and regular at the Society, David Lampard, who joined us for a chat about his magical production.

Can you guess this piece? Here's a hint: Tropical delights.

Can you guess this piece? Here’s a hint: Tropical delights.

What is it about Gilbert and Sullivan that has made their works so enormously popular for so many generations? It is, among other things, their perfect marriage between words and music that gives endless pleasure to singers and audiences alike. Gilbert's wonderful wit and Sullivan's irresistible tunefulness magically combine to provide entertainment on the highest level, of the sort which has so magnificently stood the test of time and will surely continue to do so. Professor Wilson's lecture could well provide an opportunity for audience participation!

The Virginia Chorale Society opens its new season with a rollicking program of highlights from some of the most famous Gilbert & Sullivan operettas. Dwight Davis spoke to conductor James Powers about the concert.

Join Thos and Michael Rice (from OperaNow) as they conclude the fascinating story of Gilbert and Sullivan as they trace their heyday and the latter part of their careers from Patience to The Grand Duke, and hear a rare rendition of the earliest surviving Gilbert and Sullivan number, Little Maid of Arcadee.

Join Thos and Michael Rice (from OperaNow) as they discuss the early careers of those godfathers of musical theatre, WS Gilbert and Sir Arthur Sullivan, from Thespis to The Pirates of Penzance.

Dominic Chianese, who plays Lou Wolf in Woody Allen's play "A Second Hand Memory", discusses Allen's style of directing, his character's anger and family conflicts, and compares Lou Wolf to Uncle Junior on "The Sopranos". He recalls lessons from his most valuable acting teachers, his first audition for a Gilbert & Sullivan, production, and auditioning for television's "The Sopranos". Original air date – December 31, 2004.

Dominic Chianese, who plays Lou Wolf in Woody Allen's play "A Second Hand Memory", discusses Allen's style of directing, his character's anger and family conflicts, and compares Lou Wolf to Uncle Junior on "The Sopranos". He recalls lessons from his most valuable acting teachers, his first audition for a Gilbert & Sullivan, production, and auditioning for television's "The Sopranos". Original air date – December 31, 2004.

John Segers heads the Orlando Gilbert and Sullivan Players (OGASP!) and has directed several productions of Gilbert & Sullivan. Their goals are to bring the traditional D'Oyly Carte style to concert performances and full productions of the operettas in the Orlando area, to introduce new audiences to the joys of G&S and to rekindle happy memories for Savoyards throughout Central Florida. Tongue-twisting patter songs, ballads, comic solos and romantic duets form the backbone of the entertainment. Included are selections from such favorites as H.M.S. Pinafore, The Mikado, and The Pirates of Penzance, as well as highlights from The Yeomen Of The Guard, Patience and others. (7:55)