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For the past 135 years or so, Gilbert and Sullivan have pervasively influenced popular culture in the English-speaking world.[1] Lines and quotations from the Gilbert and Sullivan operas have become part of the English language, such as "short, sharp shock", "What never? Well, hardly ever!", "let the punishment fit the crime", and "A policeman's lot is not a happy one".[2][3]
The Savoy operas heavily influenced th course of the development of modern musical theatre. They have also influenced political style and discourse, literature, film and television and advertising, and have been widely parodied by humorists. Because they are well-known, and convey a distinct sense of Britishness (or even Victorian Britishness), and because they are in the public domain,[4] songs from the operas appear "in the background" in many movies and television shows.
The operas have so pervaded Western culture that events from the "lives" of their characters from the operas are memorialized by major news outlets. For instance, a New York Times article on 29 February 1940, noted that Frederic, from The Pirates of Penzance, was finally out of his indentures (having reached his 21st birthday, as described in that opera).[5]The American and British musical owes a tremendous debt to Gilbert and Sullivan, who introduced innovations in content and form that directly influenced the development of musical theatre through the 20th century.[6][7] According to theatre historian John Bush Jones, Gilbert and Sullivan were "the primary progenitors of the twentieth century American musical" in which book, music and lyrics combine to form an integrated whole, and they demonstrated "that musicals can address contemporary social and political issues without sacrificing entertainment value".[8]
Gilbert's complex rhyme schemes and satirical lyrics served as a model for Edwardian musical comedy writers such as Adrian Ross and Owen Hall, and for such 20th century Broadway lyricists as P. G. Wodehouse,[9] Cole Porter,[10] Ira Gershwin,[11] Yip Harburg,[12] Lorenz Hart,[13] Oscar Hammerstein II[6] and Sheldon Harnick.[14] Even some of the plot elements from G&S operas entered subsequent musicals; for example, 1937's Me and My Girl features a portrait gallery of ancestors that, like the portraits in Ruddigore, come alive to remind their descendant of his duty.[15] Johnny Mercer said, "We all come from Gilbert." Alan Jay Lerner wrote that Gilbert "raised lyric writing from a serviceable craft to a legitimate popular art form," and, despite professing not to be a Gilbert fan, Stephen Sondheim wrote "Please Hello" for Pacific Overtures (1976), a song that has been called "an homage" to Gilbert.[13] Yip Harburg said, "Perhaps my first great literary idol was W. S. Gilbert. ... Gilbert's satirical quality entranced us [Harburg and Ira Gershwin] – his use of rhyme and meter, his light touch, the marvelous way his words blended with Sullivan's music. A revelation!"[12]
Sullivan was also admired and copied by early composers such as Ivan Caryll, Lionel Monckton, Victor Herbert, George Gershwin,[16] Jerome Kern, Ivor Novello, and Andrew Lloyd Webber.[1][17]According to theatre historian John Kenrick, H.M.S. Pinafore, in particular, "became an international sensation, reshaping the commercial theater in both England and the United States."[19] Adaptations of The Mikado, Pinafore and The Gondoliers have played on Broadway or the West End, including The Hot Mikado (1939; Hot Mikado played in the West End in 1995), George S. Kaufman's 1945 Hollywood Pinafore, the 1975 animated film Dick Deadeye, or Duty Done and, more recently,Gondoliers (2001; a Mafia-themed adaptation) and Pinafore Swing (2004), each of which was first produced at the Watermill Theatre, in which the actors also served as the orchestra, playing the musical instruments.[20][21] Shows that use G&S songs to tell the story of the Gilbert and Sullivan partnership include a 1938 Broadway show, Knights of Song,[22] and a 1975 West End show called Tarantara! Tarantara![23][24] Many other musicals parody or pastiche Pinafore in particular.[25]
However, the influence of Gilbert and Sullivan on goes beyond musical theatre to comedy in general. Professor Carolyn Williams notes: "The influence of Gilbert and Sullivan – their wit and sense of irony, the send ups of politics and contemporary culture – goes beyond musical theater to comedy in general. Allusions to their work have made their way into our own popular culture".[26] According to Gilbert and Sullivan expert and enthusiast Ian Bradley:
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Source(Google.com.pk)
For the past 135 years or so, Gilbert and Sullivan have pervasively influenced popular culture in the English-speaking world.[1] Lines and quotations from the Gilbert and Sullivan operas have become part of the English language, such as "short, sharp shock", "What never? Well, hardly ever!", "let the punishment fit the crime", and "A policeman's lot is not a happy one".[2][3]
The Savoy operas heavily influenced th course of the development of modern musical theatre. They have also influenced political style and discourse, literature, film and television and advertising, and have been widely parodied by humorists. Because they are well-known, and convey a distinct sense of Britishness (or even Victorian Britishness), and because they are in the public domain,[4] songs from the operas appear "in the background" in many movies and television shows.
The operas have so pervaded Western culture that events from the "lives" of their characters from the operas are memorialized by major news outlets. For instance, a New York Times article on 29 February 1940, noted that Frederic, from The Pirates of Penzance, was finally out of his indentures (having reached his 21st birthday, as described in that opera).[5]The American and British musical owes a tremendous debt to Gilbert and Sullivan, who introduced innovations in content and form that directly influenced the development of musical theatre through the 20th century.[6][7] According to theatre historian John Bush Jones, Gilbert and Sullivan were "the primary progenitors of the twentieth century American musical" in which book, music and lyrics combine to form an integrated whole, and they demonstrated "that musicals can address contemporary social and political issues without sacrificing entertainment value".[8]
Gilbert's complex rhyme schemes and satirical lyrics served as a model for Edwardian musical comedy writers such as Adrian Ross and Owen Hall, and for such 20th century Broadway lyricists as P. G. Wodehouse,[9] Cole Porter,[10] Ira Gershwin,[11] Yip Harburg,[12] Lorenz Hart,[13] Oscar Hammerstein II[6] and Sheldon Harnick.[14] Even some of the plot elements from G&S operas entered subsequent musicals; for example, 1937's Me and My Girl features a portrait gallery of ancestors that, like the portraits in Ruddigore, come alive to remind their descendant of his duty.[15] Johnny Mercer said, "We all come from Gilbert." Alan Jay Lerner wrote that Gilbert "raised lyric writing from a serviceable craft to a legitimate popular art form," and, despite professing not to be a Gilbert fan, Stephen Sondheim wrote "Please Hello" for Pacific Overtures (1976), a song that has been called "an homage" to Gilbert.[13] Yip Harburg said, "Perhaps my first great literary idol was W. S. Gilbert. ... Gilbert's satirical quality entranced us [Harburg and Ira Gershwin] – his use of rhyme and meter, his light touch, the marvelous way his words blended with Sullivan's music. A revelation!"[12]
Sullivan was also admired and copied by early composers such as Ivan Caryll, Lionel Monckton, Victor Herbert, George Gershwin,[16] Jerome Kern, Ivor Novello, and Andrew Lloyd Webber.[1][17]According to theatre historian John Kenrick, H.M.S. Pinafore, in particular, "became an international sensation, reshaping the commercial theater in both England and the United States."[19] Adaptations of The Mikado, Pinafore and The Gondoliers have played on Broadway or the West End, including The Hot Mikado (1939; Hot Mikado played in the West End in 1995), George S. Kaufman's 1945 Hollywood Pinafore, the 1975 animated film Dick Deadeye, or Duty Done and, more recently,Gondoliers (2001; a Mafia-themed adaptation) and Pinafore Swing (2004), each of which was first produced at the Watermill Theatre, in which the actors also served as the orchestra, playing the musical instruments.[20][21] Shows that use G&S songs to tell the story of the Gilbert and Sullivan partnership include a 1938 Broadway show, Knights of Song,[22] and a 1975 West End show called Tarantara! Tarantara![23][24] Many other musicals parody or pastiche Pinafore in particular.[25]
However, the influence of Gilbert and Sullivan on goes beyond musical theatre to comedy in general. Professor Carolyn Williams notes: "The influence of Gilbert and Sullivan – their wit and sense of irony, the send ups of politics and contemporary culture – goes beyond musical theater to comedy in general. Allusions to their work have made their way into our own popular culture".[26] According to Gilbert and Sullivan expert and enthusiast Ian Bradley:
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