Titlebook: Gilbert and Sullivan‘s ‘Respectable Capers‘; Class, Respectabilit Michael Goron Book 2016 The Editor(s) (if applicable) and The Author(s) 2

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Traude Bernert,Berta Karlik,Karl Lintner a shared ideology, or whether social ‘fissures’ within a socially divided auditorium undermine societal cohesion. Analysis of the social make-up of typical first-night audience behaviour, and issues such as the expansion of the lower middle classes and the theatre-going habits of young men and wome

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M. Lederer,H. Michl,K. Schlögl,A. Siegelained by the management. He investigates the premise that, by regulating the lives of female performers, Victorian entrepreneur Richard D’Oyly Carte created a company image which concurred with, and reinforced, the moral preoccupations of the ‘respectable’ middle classes. The chapter explores the no

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https://doi.org/10.1007/978-3-642-49868-8was tainted in the public imagination with immorality, and suffered, in terms of public perception of its propriety, from the rather indefinable social status of its inhabitants. The attempts of some theatre practitioners to acquire and demonstrate the trappings of respectability (or to display what

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https://doi.org/10.1007/978-3-642-50720-5how notions of class and ideology can be used to analyse the workings of a theatrical organisation, the D’Oyly Carte Opera Company, as well as its key cultural product, the Gilbert and Sullivan operas.

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,The Gilbert and Sullivan Operas and ‘Middle-Class’ Ideals,espectable, middle-class Victorian society. Examples from the opera libretti, from the lives of Gilbert, Sullivan, their manager, Richard D’Oyly Carte, and from the stars of the Savoy Theatre are used throughout the chapter to illustrate and comment on the middle-class ideology which underpinned their work.

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,Savoy Audiences 1881–1909,ypical first-night audience behaviour, and issues such as the expansion of the lower middle classes and the theatre-going habits of young men and women, are used to create as full a picture as possible of a ‘typical’ Gilbert and Sullivan audience in late-Victorian London.