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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https://doi.org/10.1007/978-3-642-49868-8 public acceptance. In his attitudes towards theatre-making, Gilbert was reflecting and reasserting current bourgeois ideology. In their collaborative assent, cooperation and therefore tacit assertion of these principles, Sullivan and Carte were following the same line.

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, at the Savoy,tribution to the enhanced ‘cultural capital’ implicit in attending a ‘modern’ theatre event in the late-Victorian West End. Links between electrification and Victorian notions of hygiene and social class are established to present an innovative argument concerning the cultural significance of theatrical electric lighting.

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,‘The D’Oyly Carte Boarding School’: Female Respectability at the Savoy*,ic change. The kinds of moral strictures imposed by the Savoy management and those based on . female allure, practised by George Edwardes, manager of the rival Gaiety Theatre, are compared to explore the specificity of the culture of morality at the Savoy.

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Conclusion, public acceptance. In his attitudes towards theatre-making, Gilbert was reflecting and reasserting current bourgeois ideology. In their collaborative assent, cooperation and therefore tacit assertion of these principles, Sullivan and Carte were following the same line.

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https://doi.org/10.1007/978-3-642-48604-3espectable, 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.