IN: Gilbert and Sullivan refers to the Victorian-era theatrical partnership of the dramatist W. S. Gilbert (1836-1911) and the composer Arthur Sullivan (1842-1900) and to the works they jointly created. The two men collaborated on fourteen comic operas between 1871 and 1896, of which H.M.S. Pinafore, The Pirates of Penzance and The Mikado are among the best known. Gilbert, who wrote the libretti for these operas, created fanciful "topsy-turvy" worlds where each absurdity is taken to its logical conclusion--fairies rub elbows with British lords, flirting is a capital offence, gondoliers ascend to the monarchy, and pirates emerge as noblemen who have gone astray. Sullivan, six years Gilbert's junior, composed the music, contributing memorable melodies that could convey both humour and pathos.

Sullivan was born in London on 13 May 1842. His father was a military bandmaster, and by the time Arthur had reached the age of eight, he was proficient with all the instruments in the band. In school he began to compose anthems and songs. In 1856, he received the first Mendelssohn Scholarship and studied at the Royal Academy of Music and then at Leipzig, where he also took up conducting. His graduation piece, completed in 1861, was a suite of incidental music to Shakespeare's The Tempest. Revised and expanded, it was performed at the Crystal Palace in 1862 and was an immediate sensation. He began building a reputation as England's most promising young composer, composing a symphony, a concerto, and several overtures, among them the Overture di Ballo, in 1870.  His early major works for the voice included The Masque at Kenilworth (1864); an oratorio, The Prodigal Son (1869); and a dramatic cantata, On Shore and Sea (1871). He composed a ballet, L'Ile Enchantee (1864) and incidental music for a number of Shakespeare plays. Other early pieces that were praised were his Symphony in E, Concerto for Cello and Orchestra, and Overture in C (In Memoriam) (all three of which premiered in 1866). These commissions, however, were not sufficient to keep Sullivan afloat. He worked as a church organist and composed numerous hymns, popular songs, and parlour ballads.  Sullivan's first foray into comic opera was Cox and Box (1866), written with librettist F. C. Burnand for an informal gathering of friends. Public performance followed, with W. S. Gilbert (then writing dramatic criticism for the magazine Fun) saying that Sullivan's score "is, in many places, of too high a class for the grotesquely absurd plot to which it is wedded." Nonetheless, it proved highly successful, and is still regularly performed today. Sullivan and Burnand's second opera, The Contrabandista (1867) was not as successful.

Why is Sullivan before Gilbert?

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IN: Merman was born in her maternal grandmother's house located at 359 4th Avenue in Astoria, Queens in New York City in 1908, though she would later emphatically insist that it was actually 1912. Her father, Edward Zimmermann (1879-1977), was an accountant with James H. Dunham & Company, a Manhattan wholesale dry-goods company, and her mother, Agnes (Gardner) Zimmermann (1883-1974), was a teacher. Edward Zimmermann had been raised in the Dutch Reformed Church and his wife was Presbyterian.

Merman began to become forgetful with advancing age, and on occasion, had difficulty with her speech. At times her behavior was erratic, causing concern among her friends. On April 7, 1983, she was preparing to travel to Los Angeles to appear on the 55th Academy Awards telecast, when she collapsed in her apartment. Merman was taken to Roosevelt Hospital, where doctors initially thought she had suffered a stroke. However, after undergoing exploratory surgery on April 11, Merman was diagnosed with stage 4 glioblastoma. The New York Times reported that she underwent brain surgery to have the tumor removed, but it was inoperable and her condition was deemed terminal (doctors had given Merman eight and half months to live). The tumor caused Merman to become aphasic, and, as her illness progressed, she lost her hair and her face swelled. According to Merman biographer Brian Kellow, Merman's family and manager did not want the true nature of her condition revealed to the public. Merman's son Robert, Jr., who took charge of her care, later said he chose not to publicly disclose his mother's true condition because Merman strove to keep her personal life private. He stated, "Mom truly appreciated [her fans'] presence and their applause. But you shouldn't attempt to be personal--she drew lines, and she could cut you off."  Merman's health eventually stabilized enough for her to be brought back to her apartment in Manhattan. On February 15, 1984, 10 months after she was diagnosed with brain cancer, Merman died at her home in Manhattan at the age of 76. On the evening of Merman's death, all 36 theatres on Broadway dimmed their lights at 9 pm in her honor. A private funeral service for Merman was held in a chapel at St. Bartholomew's Episcopal Church on February 27, after which Merman was cremated at the Frank E. Campbell Funeral Chapel. In accordance with her wishes, Merman's remains were given to her son Robert, Jr. Merman was interred in the Shrine of Remembrance Mausoleum in Colorado Springs, Colorado, next to her daughter Ethel.  On October 10, 1984, an auction of her personal effects, including furniture, artwork, and theatre memorabilia, earned in excess of $120,000 at Christie's East. The 56th Academy Awards, held on April 2, 1984, ended with a performance of "There's No Business Like Show Business" in tribute to Merman.

Was their a big memorial for her?

OUT:
On the evening of Merman's death, all 36 theatres on Broadway dimmed their lights at 9 pm in her honor.