Product Description
'A Gilbert is of no use without a Sullivan.' With these words, W.S. Gilbert summed up his reasons for persisting in his collaboration with Arthur Sullivan despite the combative nature of their relationship. In fact, Michael Ainger suggests in Gilbert and Sullivan the success of the pair's work is a direct result of their personality clash, as each partner challenged the other to produce his best work. After exhaustive research into the D'Oyly Carte collection of documents, Ainger offers the most detailed account to date of Gilbert and Sullivan's starkly different backgrounds and long working partnership. Having survived an impoverished and insecure childhood, Gilbert flourished as a financially successful theater professional, married happily and established himself as a property owner. His sense of proprietorship extended beyond real estate, and he fought tenaciously to protect the integrity of his musical works. Sullivan, the product of a supportive family who nourished his talent, was much less satisfied with stability than his collaborator. His creative self-doubts and self-demands led to nervous and physical breakdowns, but it also propelled the team to break the successful mode of their earliest work to produce more ambitious pieces of theater, including The Mikado and The Yeoman of the Guards . Offering previously-unpublished draft libretti and personal letters, this thorough double-biography will be an essential addition to the library of any Gilbert and Sullivan fan. ... Read more

Customer Reviews (4)

What a good biography!
Since my early childhood in the 1940s, I have known the basic stories of how Sullivan and Gilbert died; and this is the first time I have cried upon rereading the facts. Not that Ainger's writing can be called "sentimental." It is clear, calm, and objective -- exactly the style I like best in nonfiction. (If more biographies for young people had been written like this, I might today be reading biographies for pleasure instead of research.) Following an earlier reviewer's suggestion, I read Ainger's biography side by side with Leslie Bailey's and, while Bailey's does have some interesting tidbits absent from Ainger's account, it is a coffee-table book to this newer one. Nor does Ainger squander wordage with critical analysis of the works themselves, as too many literary and musical biographers do, to the probable annoyance of any reader whose critical opinion differs. I think that the key to what makes Ainger's easily the best biography I have yet read about either Gilbert, Sullivan, or both -- Steadman's on Gilbert is the only one that comes close -- is that Ainger treats them as people rather than icons. He doesn't gloss over the things that went wrong, but where possible he looks for human reasons why these things happened. If you want a really well-told reconstruction of the lives of influential Victorians, this is the shop for it.

One World: Two Emperors
As a student of the operatic stage, and currently in my Masters trainging, I have come to further appreciate reading for enjoyment and extended learning. Now in my mid-twenties, I have appeared in four (with a fifth waiting in the wings) Gilbert and Sullivan productions. Until I bought this book I had only a limited, but interesting knowledge of the calamity these men created.

I appreciated the thought and careful attention to detail that was put in this book. Two biographies in one kept it interesting and full of suspense until the very end, while not tiring or exhausting the reader with useless detail. Not only did I come to know more about my favorite of the opera repertoire, but I got a chance to spend half a decade in Victorian England (leaving me to wonder why we do not still write letters as a means of correspondence). The critical account that Mr. Ainger produces, not only provides us with the history behind the operas, but even the detailed happenings of the actors, authors, and composers individual lives. As an actor, I was able to transfer myself, almost placing myself, ex-oficio in the triumvirate of Gilbert, Sullivan, and D'Oyly Carte. I would have never imagined Sir Arthur Sullivan hob-knobbing with not only Englands elite, but the likes of Gioacchino Rossini, Clara Schumann and Charles Dickens. My only reservation with this book was that it tended to be slightly wordy in areas of very small importance, but hardly deterring from the kinship of the rest of the novel.

With much more knowledge to be obtained, and plenty of studying and years of school left, I am much more appreciative of the chances I have had to follow in the creator of the Major-General's foot steps, and would wholly recommend this book, riveting to the end, to any lover of Gilbert and Sullivan.

Side-by-Side with G & S
This unusual approach to a biography works well. It gives new insights into G & S both as individuals and as a 'duo', and is obviously very well-researched. Two areas I found especially interesting were the information about their family backgrounds, and the large number of quotes from correspondance, not only between G & S as individuals, but between them and so many other people of their time. All in all, a very enjoyable read.

However, I do have a problem with one particular area which I can only assume is the result of ignorance on the part of the author and/or his proof-readers. Would anyone ever think of using a lower case 'q' for Queen Victoria? All titles should be capitalized. When referring to Her Majesty's eldest son, Edward, he is called the prince of Wales when it should be the Prince of Wales: this error is repeated in the case of his brother, the Duke of Edinburgh and other people with titles. How about some characters from the G & S operas - sir Joseph Porter? captain Corcoran? the mikado of Japan? major-general Stanley?..... I'm sure the author would be upset if he saw his name printed as mr. Ainger: I certainly would be in his place! I may be nit-picking in the opinion of some people, but, as an American, I have to say: "Let's get these things right!" My hope is that they will be corrected when the book is reprinted.

"Of convincing detail full . . ."
In the preface of this dual biography of Gilbert and Sullivan, Michael Ainger draws attention to the previous book dealing with the same topic, Leslie Baily's "The Gilbert and Sullivan Book."Ainger points out that in the half century that has passed since the publication of Baily's book, great collections of Gilbert-and-Sullivaniana have become available in Britain and America, and that he has been able to incorporate their contents into this book.

In the past few days I have read both books for comparison (which makes this my third time through with Baily, not much when spread over fifty years.)There can be no doubt that Mr. Ainger crams more facts into his closely set and rather gray-looking 504 pages than Baily put in his typographically more generous and colorful 475.

Here is an example: Baily reproduces a newspaper engraving in which Gilbert and Sullivan are present in a courtroom as they attempt to defend their ownership of "H.M.S. Pinafore" against the claims of some disgruntled former financial backers.Standing in the dock and testifying is the great actor-manager, Sir Henry Irving--employer of novelist Bram Stoker and model for his Count Dracula.Baily does not explain what the greatest Hamlet of the Nineteenth Century had to do with "H.M.S. Pinafore."Ainger has no room for the old drawing but he does explain what Irving was saying.(It had to do with the technical meaning of the word, "run," when applied to theatrical productions.Now you know.)

Or consider this: Baily often refers to the lovely, wealthy, cultivated, married American lady--irrevocably separated from her husband--with whom Sullivan had a long and intimate liaison.Ainger peers into the diaries that Sullivan kept under lock and key to speculate on whether the symbols used referred to his sexual activities with her.

After reading both books together, I find myself with the impression that Ainger set out to fill in all the gaps in Baily's narrative.To a great extent, he has succeeded in doing just that.But I am not convinced that the result was worth all of his effort.From Baily's book as well as from practically everybody in the past century who has written about him, it is clear that W. S. Gilbert was often thin-skinned, irascible and pugnacious.That fact may be taken as given.I, for one, have little interest in the details of his petty quarrels, and especially not in those that never impinged on the creation or production of the Savoy operas.

Ainger has written a serious and dense book for dedicated fans of Gilbert and Sullivan.He does not write of the operas, themselves, but of their texts and development--quite different things.Ainger is scholarly and he expects much from his readers.Unless you are pretty close to the stage at which you are able to quote long passages of G&S without written aid, you are going to find Ainger's accounts of dialogue changes fairly heavy going.

Baily was a better writer than Ainger.He had a clear grasp of his audience (after all, he published four popular editions in just four years.)It consisted of people who enjoyed the works of G&S and had some familiarity with them: fans, not experts.Above all, he knew that he was writing the epic tale of the rise and fall of a great partnership.

For a reader who feels some interest in G&S and who desires only a single good book about them, Baily's book is, hands down, the best choice.The readerwith deeper interest should acquire both, Baily for narrative and overall architecture of the tale, Ainger for nitty-gritty detail.For the hopelessly addicted fanatic who inflicts stunned guests with detailed comparisons of the electronic recordings of the 1920s, the mono recordings of the 1950s and the stereo recordings of the 1960s, who wonders why the pre-1920 acoustic recordings haven't yet appeared on CD, get both and add to them Wren's "A Most Ingenious Paradox." While both Ainger and Baily are basically sound, Wren's book abounds in wrong-headed analyses and fatuous conclusions, but his factual underpinning is reliable enough.Demolishing Wren's arguments is an excellent way for exercising your wits and the pleasure he affords when you exasperatedly throw his book across the room is both great and easily renewable. ... Read more

Product Description
This resource book will delight fans, researchers, and students and is the definitive reference work to the composer who matched his scintillating, melodious music to Gilbert's clever words. Illustrated by the author, "Sir Arthur Sullivan" provides a biography of Sullivan, brief sketches of his associates and contemporaries, and venues where his plays were performed. It includes a chart that lists fifty-four performers who appeared in his operas as well as lists of songs written by Sullivan and descriptions of Sullivan's operas with information on the librettist, premiere dates, cast lists, and notes on the performance history. An exhaustive listing of resources that describe music scores, audio and video recordings in all formats, motion pictures, archives and collections, and relevant Internet sites is included as are a bibliography on Sullivan and his music and a full complement of indexes. ... Read more

Product Description

Product Description
In one concise volume, the complete texts of these perennially popular light operas. From Trial by Jury to The Pirates of Penzance: the complete librettos of all fourteen Gilbert and Sullivan operas. Gilbert's verses for Sullivan's music are the most fastidiously turned and inventively rhymed in all lyric comedy. As the Savoy Operas enter their second century on a swell of renewed popularity, Gilbert's reputation as the supreme wordsmith of light opera remains secure. Complete and authentic, these are the librettos on which modern performances and recordings are based. Scattered among the songs are over seventy of the amusing, quirky pictures Gilbert drew to illustrate them. A chronology prepared for this edition sketches the authors' lives and careers. This is a book that no lover of Gilbert and Sullivan, musical comedy, or indeed the English theater will want to be without.Amazon.com Review
From Thespis to The Grand Duke, here are all thewords to all the operettas on which William Schenk Gilbert and ArthurSeymour Sullivan collaborated. A fixture in Anglo-American musictheater and humor for well over a century, their wit retains its edgeafter all these years. Norton offers the libretti available in handy,totable book form and generously illustrates them with Gilbert'saccomplished pen-and-ink drawings. ... Read more

Customer Reviews (3)

Imperfect but a good investment
I invested in this book intending to listen to and memorize all fourteen of the Savoy operas...I now know ten of them practically from heart, which scares my friends terribly.The funny thing is that, although I intended to buy it solely so that I could sing the words to Sullivan's wonderful hummable tunes, I found myself reading the plays just for the pleasure of Gilbert's clever rymes and horribly improbable plotlines.His "Bab" illustrations are also included beside the text, which opens up another side of Gilbert's genius.But be forewarned:There are several mistakes in the text - mostly words such as "is" being replaced with "it," but also some words that are different.Perhaps the words have changed over time from the origonal texts, but once in a while you'll find a word sung differently than what's written.I treat the book like I'd treat an edition of Shakespeare - dramatic work is always bent and changed slightly.In spite of the minor textual mistakes, it is a very useful book and it's nice to have the libretto laid out without any commentary or annotations.

I Still remember My Mother's Old 78's
Back in prehistoric times when records were brittle things and only came in one speed, 78 RPM's, one of my mother's favorite albums was "H.M.S. Pinafore."She played it frequently.Too young to understand thesatire, I was attracted by the catchy music.I loved to hear the captainsing "I am the Captain of the Pinafore," immediately followed bythe response of the chorus.This plus "Poor Little Buttercup"and "The Ruler of the Queen's Navee" made a fan of me forlife.

Several years later, and after having attended performances ofseveral of these comic operas, I began to read Gilbert's lyrics.I mustconfess that I got much greater enjoyment out of reading lyrics that werefrom Gilbert and Sullivan performances that I had attended.I think thatmust be because neither the words nor the music are nearly as enjoyable inthe absence of the other.

I have read that Gilbert and Sullivan had avery stormy relationship.I'm glad that they managed to work together asoften as they did because they really complemented one another.What theyaccomplished as a team speaks for itself in the continued performance of somany of their works over a hundred years after they were firstperformed.

I have an older hardback of THE COMPLETE PLAYS and I foundsome humor in the following which may have been corrected in later copies. The book starts off with Chronological Biographies of each man.InGilbert's it states< "first meeting with Arthur Sullivan autumn of1870."In Sullivan's we find the following."Met W. S. Gilbert1871."Something metaphysical afoot perhaps.

In summary, in myopinion, the works in this book, while certainly enjoyable reading, werereally meant to be performed in order to give maximum enjoyment.Othersmay very well disagree with this opinion and I see nothing wrong with that.

A most excellant book
This book is full of musical plays and the scripts are worded well for possible performance. The only problem is that the sheet music is missing and from experience it is a headache to find but other than that it is agood book that stimulates the imagination. ... Read more

Product Description
With over 200 line drawings by the author. This ultimate book for the millions of Gilbert & Sullivan fans across the country offers the complete text and lyrics of all the operettas of this most original, creative and much-loved musical team.

Customer Reviews (37)

Glad to have this on DVD
The Mikado is one of Gilbert and Sullivan's finest works.This production has always been a favorite.The Stratford Festival in Canada has done an outstanding job bringing the humor and music to life.We had taped this off of PBS back in the day and are glad to finally have a good copy of it.Would highly recommend it to any Gilbert and Sullivan fan.

Best version of Mikado
I grew up watching this Mikado on betamax from a showtime presentation and have always loved it.The simple set designs play well into the overall feel.There is some lip syncing but it doesn't detract from the performance in my opinion.The actors commitment to the show is evident with great comedic effect being executed whole-heartedly.
When I saw it available on DVD I first called the seller to verify it was the right one.They were very helpful, even going so far as to locate the DVD and read me the info from the box.

If you like theatrical productions I cannot recommend this highly enough.

Don't hesitate to buy this one!
This is a superb performance of The Mikado.The acting and the music are first-rate.Don't hesitate for one second to get it.Shortly after purchasing and viewing this video, I saw The Mikado performed live by the New York Gilbert and Sullivan Players, a top-notch troupe whom I have seen in action many times and always loved.I must say that the Stratford performance held its own against even these masters, and I think I actually prefered the Stratford in many ways.Objections raised in the other reviews include: 1)The scenery is too simple.I, however, found that the simplicity of the scenery actually enhanced the performance.It allowed me to concentrate more fully on that which is really important, and really good: the actors and the music.2)There are allusions to people and events in Canadian culture that not everybody will understand.But that is true of any performance.In songs such as "I've got a little list" and "My object all sublime", nobody will sing the original Gilbert lyrics today, which would have very little comic effect; everybody has to substitute something contemporary.In five years from now, the substitutions I heard here in New York, very funny for me, will no longer be comprehensible to most people.So don't worry about that tiny detail.The overall effect of this performance is powerful.Enjoy it!!

A fine libretto
This little book is a window into the endless wit of Gilbert's amazingly clever lyrics.A very enlightening glimpse into a classic of the genre.

utterly beguiling
I found this a charming performance of the "Mikado," Gilbert and Sullivan's greatest work.It is utterly beguiling.Even my children - who range from elementary school to high school - loved it.

The scenery is surprisingly minimalist, to be sure, but the experiment works.The personalities of the performers carry the show without elaborate props.Caricatures they may be, but they are surprisingly likeable nonetheless.

Virtually all productions of the "Mikado" update Ko Ko the executioner's song about his "little list" of people who surely would not be missed.For one thing, the original Victorian lyrics are downright offensive to modern ears.For another, the fact that Gilbert and Sullivan sought to poke timely fun at personalities of their day suggests that modern productions might, in the original authors' spirit, appropriately substitute jabs at personalities of our own day.Because this is a Canadian production, the substitutions are Canadian politicians prominent in the 1980s.I think this adds to the performance's charm, and would hope that most Americans could be broad minded enough to appreciate Canadian substitutions.I guess a few are not.

I am, at all events, extremely pleased to own a copy of this "Mikado," and I look forward to enjoying it many times over the years to come.

Eric Alan Isaacson ... Read more

Product Description
The seventh edition of "Urban Economics" continues to be the market leading textbook due to its thorough content and concise writing style. The new edition continues to cover urban economics as the discipline that lies at the intersection of geography and economics. "Urban Economics" incorporates the remarkable progress in the field of urban economics from the last fifteen years. It also explores the location decisions of utility-maximizing households and profit-maximizing firms, and it shows how these decisions cause the formation of cities of different size and shape. The framework of this edition continues to be divided into six sections. Part I explains why cities exist and what causes hem to grow or shrink. Part II examines the market forces that shape cities and the role of government in determining land-use patterns. Part III looks at the urban transportation system. Part IV uses a model of the rational criminal to explore the causes of urban crime and its spatial consequences. Part V explains the unique features of the housing market and examines the effects of government housing policies.Part VI explains the rationale for our fragmented system of local government and explores the responses of local governments to intergovernmental grants and the responses of taxpayers to local taxes. ... Read more

Customer Reviews (5)

Great textbook
The class was very interesting, but more importantly, the book offered an updated view on local government, education, crime and other topics. Everything was pretty well put into perspective. It doesn't have a lot of drawingsl It does have a lot of graphs, but is what you expect from an economics book.

So cheap So exact same book as newer edition.
I must have majored in economics, since I found a way to minimize my input cost without diminishing returns. I will add that the newer editions have different (more) end of chapter questions. I managed an A with this book, but make sure your assignments aren't directly out of this sucker. Live long mono-centric city models, bid-rent curves, and good info about the ills of modern mass transit systems. I read from this book often to win arguments about city structuring. 60% of the time, it works every time.

Surprised.
I enrolled in an Urban Economics course as part of my minor. I really don't find the basics of economics too terribly thrilling, but I've really enjoyed the content. My professor follows the book closely and the text is surprisingly easy to read. :)

Brand new book w/ prompt delivery
STILL IN PACKAGE, book was in great shape, brand new, prompt delivery.

A very comprehensive overview
I had "Urban Economics" for one of my urban planning courses at graduate school.It was a pleasure to study the principles and processes of city building, growth and dynamics, through this book.Every chapter inthe book can be a title for a separate volume.So this is a verycomprehensive overall general view of economics as a determinant of urbandevelopment and form.

I particularly liked the chapters on UrbanPoverty and Housing.The chapter on poverty explains issues like incometransfers, food stamps and their effect on consumer behavior, problems ofinner cities and development policies needed to change that.

Housing hasa great chapter devoted to the peculiarities of housing as a commodity andthe effect of race and discrimination on housing patterns.The mostinteresting part concerns the "filtering" of housing from theupper income to lower income populations.

Also explained is the autooriented transportation vs mass transit and their specific roles in shapingcities.

Highly recommended.Easy to read and understand. ... Read more

Product Description
20 great songs from 6 great shows by this beloved duo renowned for their comedic classics. Includes: Behold the Lord High Executioner * The Flowers That Bloom in the Spring * He Is an Englishman * I Am the Captain of the Pinafore * (I'm Called) Little Buttercup * Miya Sama * Three Little Maids * Tit-Willow * We Sail the Ocean Blue * When a Merry Maiden Marries * When Britain Really Ruled the Waves * When Frederic Was a Lad * and more. ... Read more

Product Description

This modern, Micro first book has a strong foundation in demand and supply. Its thoughtful coverage of change in demand vs. change in quantity demanded (also in supply coverage) enables readers to better visualize and truly understand the difference between these 2 fundamental concepts.

Its hallmark feature includes a focus on the 5 Key Principles of Economics: 1) Opportunity Cost, 2) The Marginal Principle (comparing marginal benefits and marginal costs), 3) Diminishing Returns, 4) The Spillover Principle (for externalities in production and consumption), and, 5) The Reality Principle (distinguishing real from nominal magnitudes).

For economists, financial analysts and other finance professionals.

Customer Reviews (7)

Good Book
Very good book, but transaction took longer than I expected it too. All in all decent transaction though.

Economics principles, applications and tools
I have bought a new bok but, I have recieved a used one. the seller promessed refound, but never refound me.
I am really upset with his behavior, and I don't know to home I claim my money.

Best Quality Ever!
This was one of the best books I have gotten from Amazon. Also, it was in excellent condition when it came in. Not only that, it saved me alot of money ordering from amazon because I only had to buy one book from my school bookstore. I recommend this book to anyone about to take economics, and buy it new; it will be worth the money because it is cheaper to get it here at amazon.

Economics: Principles, Applications, and Tools (5th Edition) Review
Book was in amazing condition and I paid nearly 1/3 of the price compared to local bookstore. The speedy delivery was also awesome.I have waited for two weeks on a book before, which unfortunately hurt a test grade, but this seller had it to me within a few days.Thank You!

econ book review
The book was in great condition, the only thing, was that it came with an access code kit, which I did need for my class, but it was the wrong one. The listing did not state which kit that was included, therefore I bought the wrong one but it was partly my fault because I did not verify. ... Read more

Customer Reviews (2)

Groooovy baby!
Isaac Asimov has such a delightful wit that even his explanations of archaic terms are fun to read. When combined with W.S. Gilbert's hilariouslibrettos, it makes one entertaining read. Actually, it makes more than oneentertaining read. i have read it several times and still enjoy it.

A delight for Gilbert & Sullivan fans
Writer Martin Gardner once told Isaac Asimov that if he really wanted to have fun, he should find a book he liked very much and annotate it. "Asimov's Annotated Gilbert & Sullivan" is one of the resultsof that suggestion. This enormous volume contains the words to all theG&S operas, plus extensive notes explaining allusions and words thatmight be unfamiliar to today's listener. Asimov assumes minimal knowledgeon the part of the reader, so this book is useful and entertaining not onlyfor the veteran G&S aficionado but also for the neophyte. ... Read more

Product Description

The book provides a clear, concise, and accessible presentation of key points.

Its hallmark feature includes a focus on the 5 Key Principles of Economics—1) Opportunity Cost, 2) The Marginal Principle (comparing marginal benefits and marginal costs), 3) Diminishing Returns, 4) The Spillover Principle (for externalities in production and consumption), 5) The Reality Principle (distinguishing real from nominal magnitudes).

For financial professionals and analysts.

Product Description
This edition is complete, clear, and practical as well as being scholarly and authoritative. It returns to the primary sources to present the music and libretto as performed during the original Savoy Theatre run. Vocal scores and full scores include the complete libretto. Clearly printed orchestral parts, matching exactly the text given in the full and vocal scores, are available on hire. Vocal scores and full scores include all the important completed but discarded material, and a series of appendices includes hitherto unpublished material from the Ghost Scene and elsewhere. This is conveniently cued from the music pages for easy inclusion. The full score, handsomely engraved and bound, contains extensive introductory notes. ... Read more

Customer Reviews (1)

An Australian soldier in North Russia, 1918-19
"Forgotten Valour: is the story of Arthur Sullivan VC and other Australian soldiers who enlisted in the Great War but went on to fight in the Russian Civil War. "North Russia. 11 August 1919. Although it was after two o'clock in the morning, the sky was not completely dark, and the midnight sun cast its eerie half-light on the group of Australian soldiers who rested on the bank of a swamp ...Machine-gun bullets and rifle shots whistled through the air and thumped into tree trunks or fizzed as their heat hit the water. Death was all around: quick - to the head or the heart - or slow - a wound, an amputation or an infection."

The Great War, "the war to end all wars" as someone optimistically called it, ended on 11 November 1918, yet here these men were, nine months later, with the fresh blood of battle sprayed up their arms and strained on their shirts. A 22 year old soldier from South Australia, Corporal Arthur Percy Sullivan, was among the column of men pinned down in the muddy water. What happened next would change the rest of his life. This gripping story about Australians at war and the effect of war in Australia has not been fully told until now..... Published in 2006, this is another well written and interesting account of an Australian soldier and, as well, contains a lot of information on the British intervention in North Russia in 1918-1919. If this is a subject that interests you, it's well worth the read.

Contents:
Introduction
Maps

Part 1: 1840-1918
1. A Town in the Country
2. War
3. 'A Sound of Gentle Sobbing'
4. The Main Game
5. A Patriotic Appeal

Part 2: 1918-1919
6. A Name on a List
7. All Types Taken
8. The Rainbow in the Eye of the Storm

Part 3: 1919
9. Archangel and Oak-Panelled Punditry
10. 'Some Rather Startling Oil'
11. Mates, Marching, Mosquitoes, Mutiny and Murder
12. A Little Bit of Fighting
13. The Souring Mood
14. These Colours Don't Run
15. Homeward Bound

Part 4: 1919-1936
16. Home
17. The Crimson Few
18. Malaria, Medals and Memories of War
19. Stone Memorials and Living Heroes
20. Princes and Knaves
21. Casino

Part 5: 1936-1937
23. Gallipoli-Types Sought
24. Kangaroo Feathers
25. An Inquest, a Memorial Service and a Funeral
26. A Gap in the Ranks

Part 6: Aftermath
27. Memory of Loss

Postscript
Notes and References
Sources and Materials
Index

Arthur Percy Sullivan was born on 27 November 1896, at Crystal Brook, South Australia, the son of Arthur Monks Sullivan, a storekeeper, and his wife Eliza, (née Dobbs). He was educated at Crystal Brook Public School and Gladstone High School. After completing his education in 1913, he was offered an apprenticeship in the same year at the National Bank of Australasia in Gladstone. Shortly after he was transferred to Broken Hill, New South Wales, before returing to Maitland in his home state of South Australia. Sullivan enlisted as a volunteer private in the 10th Battalion of the First Australian Imperial Force on 27 April 1918, and embarked for Europe in July 1918 as general reinforcements. Upon arriving in Europe, Sullivan transferred to the Royal Regiment of Australian Artillery on 5 October 1918, but the war in Europe ended on 11 November 1918, and Sullivan saw no action.

He was promoted to corporal on 23 May 1919, and joined the North Russia Relief Force on 28 May 1919, being officially discharged from the AIF at the same time. For the Russian campaign he was enlisted into LW de V. Sadlier-Jackson's 45th Battalion, The Royal Fusiliers, of the British Army. The relief force landed at Archangel on 5 June 1919, and began to deploy immediately, in the process relieving the original expeditionary force which had been in Russia since 1918. By July 1919, 45th Battalion had moved 240 kilometres (150 miles) towards the front line. On 10 August 1919, they had arrived at the Dvina front in northern Russia, where Sullivan's brigade were to launch an attack to aid the evacuation of the last remaining members of the 1918 expeditionary force, boost the morale of the White Russians, and harass and disrupt the Bolshevik positions. The attack was a great success with very few British casualties. Despite the overall success of the attack, Sullivan's platoon was cut off from the rest of the brigade as they fought a rearguard covering action. In the course of fighting their way back to their own lines, Sullivan's platoon came under heavy fire whilst trying to traverse the Sheika River, which they had to cross by means of a narrow plank, and during the passage an officer and three men fell into a deep swamp. Without hesitation, Corporal Sullivan, under heavy fire, jumped into the river and rescued all four, bringing them out singly.

The Bolsheviks turned their fire intensely upon Sullivan, but he was able to complete the rescue. But for this daring action, the men would undoubtedly have drowned, as all ranks were exhausted and the enemy was less than 100 yards (91 m) away. For this act of gallantry in the face of the enemy, Arthur Sullivan was nominated for the award of the Victoria Cross. The evacuation of all forces was completed by late September, 1919, and the North Russia Relief Force was demobilised upon their return to England. Sullivan wished to return to Australia immediately without waiting for his investiture from King George V. It has been suggested that he was embarrassed at the prospect of meeting the King. He left England on 1 November 1919. He was presented with his Victoria Cross in Adelaide on 12 July 1920 by Edward, the Prince of Wales during his royal tour of Australia, who smiled at Sullivan, and quipped "Aren't you the man who ran away from father?"
... Read more

Product Description
"Utopia Limited", or "The Flowers of Progress", is the second-to-last of Gilbert and Sullivan's fourteen collaborations, premiering on October 7, 1893. Gilbert's libretto satirises limited liability companies, and particularly the idea that a bankrupt company could leave creditors unpaid without any liability to its owners. It also lampoons the 'Stock Company Act' by imagining the absurd convergence of natural persons and legal entities. "Utopia" is performed much less frequently than most other Gilbert and Sullivan operas, mainly because the subject-matter and plot are too obscure for modern audiences. ... Read more

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OneKey means all your resources are in one place for maximum convenience, simplicity, and success. What's Key: Instructors*Have access online, in the course management system of their choosing, to all available course supplements. *Can create and assign tests, quizzes, or graded homework assignments. *Saves instructors time by grading all questions and tracking results in the online course grade book. What's Key: Students*Have access to interactive exercises, quizzes, useful links, and much more. *Active Graphs Level One*Active Graphs Level Two*Egraph and Graphing Questions*EconUpdates *PowerPoint Lecture Notes. ... Read more

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Long before the satirical comedy ofThe Daily Show andThe Colbert Report, the comic operas of W. S. Gilbert and Arthur Sullivan were the hottest send-ups of the day's political and cultural obsessions. Gilbert and Sullivan's productions always rose to the level of social commentary, despite being impertinent, absurd, or inane. Some viewers may take them straight, but what looks like sexism or stereotype was actually a clever strategy of critique. Parody was a powerful weapon in the culture wars of late-nineteenth-century England, and with defiantly in-your-face sophistication, Gilbert and Sullivan proved that popular culture can be intellectually as well as politically challenging.

Carolyn Williams underscores Gilbert and Sullivan's creative and acute understanding of cultural formations. Her unique perspective shows how anxiety drives the troubled mind in the Lord Chancellor's "Nightmare Song" inIolanthe and is vividly realized in the sexual and economic phrasing of the song's patter lyrics. The modern body appears automated and performative in the "Junction Song" inThespis, anticipating Charlie Chaplin's factory worker inModern Times. Williams also illuminates the use of magic inThe Sorcerer, the parody of nautical melodrama inH.M.S. Pinafore, the ridicule of Victorian aesthetic and idyllic poetry inPatience, the autoethnography ofThe Mikado, the role of gender inTrial by Jury, and the theme of illegitimacy inThe Pirates of Penzance. With her provocative reinterpretation of these artists and their work, Williams recasts our understanding of creativity in the late nineteenth century.

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The names of Gilbert and Sullivan are as irrevocably linked as Laurel and Hardy. The influence of these two extraordinary men on the language and style of the 19th century theatre was unique. In England they changed a whole generation's idea of the theatre, and in America they sparked off a craze for musical comedy which has endured to the 1990s. In this biography, Michael Finch traces the lives of writer and composer, both individually and as a partnership - a partnership which owes much to the creative enterprise and single-mindedness of Richard D'Oyly Carte. He writes of their temporary estrangement, their reconciliation, and, most importantly, discusses each of the operas from conception to performance. Michael Ffinch is a biographer, poet and broadcaster. His book, "G.K. Chesterton" was shortlisted for the Whitbread Prize for the Best Biography of 1986. ... Read more

Customer Reviews (1)

Gilbert and Sullivan A duo inseparable
The book was pleasing from the moment I saw the front cover. Colourful yet no nonsense, it was clear that Ffinch intended to present the duo as a single mind. Not "Gilbert and Sullivan" but "GilbertSullivan" He alludes to them a number of times as the perfect match, each the best in his field and obviously blessed with the same sense of humour.
Very easy reading, fun to follow along his thinking process.Abandon all thought of Sullivan's music and Gilbert's libretto not ringing in your ears down to your soul. Veteran G&S fans, be prepared to sing along as he quotes long passages from those remarkable collaborations. This makes the reading all the more fun and so very enjoyable.
It is the first comprehensive work on Gilbert and Sullivan in more than 40 years says the jacket and it refreshing to read a 1993 acount of the lives of these two geniuses even though the collaboration may not always have been smooth sailing to say the least; but oh, such sweet music and funny, brilliant book and libretto.
Ffinch's easy style is absolutely winsome for both the novice G&S fan or the veteran.
By the time I had finished the book I felt as if I had them both for tea, learned about them intimately and, as I closed the book on completion, I wondered if they would ever return for a second cuppa. ... Read more

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Making use of archival resources in the United Kingdom and the United States, Regina B. Oost examines advertisements, promotional materials, and programs, as well as letters, diaries, and account books, to reconstruct the ways in which Richard D'Oyly Carte, W.S. Gilbert, and Arthur Sullivan attracted and shaped the expectations of theatergoers. Her findings place the Savoy operas in the context of other West End productions, considering similarities between Carte's promotional methods and those of managers Henry Irving, John Hollingshead, and Marie and Squire Bancroft. While all of these managers astutely understood patronage of a middle-class audience to be key to their success, the Savoy collaborators made strategic use of circumstances unique to their situation to distinguish Gilbert and Sullivan operas from contemporary theatrical fare.From "Trial by Jury" (1875) through "The Grand Duke" (1896), the Savoy operas celebrated the commodity culture beloved of the urban middle classes, validated a moral code that secured the social privileges audience members cherished, and ultimately provided a new model of British national identity that replaced the agrarian ideal espoused by earlier generations. Written in admirably accessible and jargon-free prose, Oost's book will appeal to scholars of theater history, literature, music, and popular culture, as well as general readers interested in Gilbert and Sullivan and the history of the D'Oyly Carte Opera Company. ... Read more