On at least one other thing besides the British Empire the sun never sets: the operas of Gilbert & Sullivan. In Great Britain, Ireland, Australia, Canada, the U. S., they are many a tot's first taste of theatre, many an oldster's last object of devotion. They draw dramaphobes out of retirement, lure suburbanites to the city. They foster cultists as rabid as Wagnerianscultists who, unlike Wagnerians, squeal, snort, gurgle, hum and nudge their neighbors.
The greatest money-makers in the history of the theatre, the Gilbert & Sullivan operas today are finding new ways of striking gold. In Chicago an all-Negro Federal Theatre...
To continue reading:
or
Log-In
