The Dramatic Workshop

Auckland Star, Volume XXVI, Issue 265, 14 November 1885, Page 5

The Dramatic Workshop

Mb W. S. (iauKUT has been telling the Amorioan public, through the medium of ono of its newspapers, how " The Mikado " came to be thought of, and, generally, how lie puts together hi* comic operas. It sooms that the subject of the latest of the aeries was suggested by a Japanese executioner's sword which hung on the wall of Mr Gilbert's library. Then arose the question, Could genuine Japanese dresses bo secured? How would the ladies of chorus look in black wigs? and could they be_ taught to wear the costumes effectively?" These inquiries being satisfactorily an swercd, there came the task of fitting the Savoy company with part?, and, hder atia, the " three little maids from school sprang from the accidental fact that the Misses Braham, Bond, and Grey, are short in sta turo and all of a height. Next the two scene? wore decided on, and not till then wa.= the story of tho piece reduced to a narrative form, twelve versions being written beforeone was finally adopted. A sketch of the dialogue was then made; next camo the composition of the words of the sonjr?; and, last of all, the dialogue was elaborated to its present shape. It will appear from all this that Mr Gilbert does not disguise the fact that in the production of these operas considerations of costume and of scenery come first, and that, instead of finding actors for the parts he writes, he does vice verm. This certainly reduces tho art of dramatic construction to a rather low level; but who can quarrel with a plan which has such agreeable results? Mr Gilbert declares that dramatic composition "does not call for a very high order of merit," but ' requires a good deal of practical skill, nevertheless." Such modesty is becoming, but ought not to mislead. It is all very well to trace the origin of " The Mikado" to a Japaneso sword, but how about the quick, ingenious" fancy which could evolve the details of the opera out of a simple suggestion ? -