ML 
 50 
 S94 
 
 SULLIVAN 
 
 The mikado 
 
CORNELL UNIVERSITY LIBRARY 
 
 3 1924 064 274 974 
 
SOUVENIR AND LIBRETTO $^; 
 OPERA COMPANY 
 
 (JjAxfae^ O/Hci ^vuuLlvxMt 
 
 OPERAS 
 
 THE MIKADO 
 
The original of this book is in 
 the Cornell University Library. 
 
 There are no known copyright restrictions in 
 the United States on the use of the text. 
 
 http://www.archive.org/details/cu31924064274974 
 

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 The Unique Triumvirate Which Originated the 
 GILBERT & SULLIVAN OPERAS 
 
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 S^^iUe^ 
 
 
 
^ 
 
 ^ 
 
 The Yeoman of the Guard 
 
 The Pirates of Penzance 
 
 The Yeoman of the Guard 
 
 Patience 
 
 Iolanthe 
 
THE MIKADO 
 
 OR, THE TOWN OF TITIPU. 
 
 Written by W. S. Gilbert. Composed by Arthur S. Sullivan. 
 
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 SYNOPSIS 
 
 To escape the undesired attentions of Katisha, an 
 elderly lady of his father's court, the son of the Mikado 
 assumes the name of "Nanki-Poo", and flees to the City 
 of Titipu, where he joins the town band as "second 
 trombone". Here he meets Yum' Yum, a ward of KcKo; 
 and they fall in love; but Yum- Yum is betrothed to her 
 guardian; and Nanki'Poo returns to the Imperial Court 
 without revealing his identity. 
 
 A year elapses, and hearing that Ko'Ko has been 
 condemned to death for flirting, Nanki'Poo disguised as 
 a wandering minstrel, revisits Titipu in search of Yum' 
 Yum, to find that Ko'Ko has been reprieved and appoin' 
 ted Lord High Executioner. Pish-Tush and Pooh'Bah, 
 exalted nobles, convey this news to Nanki'Poo, who 
 contemplates suicide. Ko'Ko, who has been commanded 
 to perform an execution in Titipu within a month, or 
 lose his office, persuades Nanki'Poo to marry Yum- Yum, 
 on the condition that Nanki'Poo be executed at the end 
 of four weeks of married bliss. 
 
 The populace is congratulating the young couple, 
 when Katisha appears and claims her "perjured lover". 
 The crowd refuses to hear her; and Act I ends with the 
 betrothal of the two sweethearts. 
 
 Act II opens with Peep'Bo and Pitti'Sing preparing 
 Yum' Yum for her nuptials with Nanki'Poo. Ko'Ko breaks 
 in upon the lovers with the news that Pooh'Bah, as his 
 
 solicitor informs him that by the Mikado's law, when 
 a married man is beheaded, his wife must be buried 
 alive! Here is a dilemma! Then it is announced that the 
 Mikado and his retinue are approaching Titipu. KcKo 
 fears that the Mikado will expect an execution to have 
 taken place before his arrival. Ko'Ko plots with Nanki' 
 Poo and Yum' Yum to hurry up their marriage and to 
 quit the City; and he, together with Pooh'Bah and Pitti' 
 Sing arrange to inform the Mikado that an execution 
 has taken place. The Mikado and Katisha arrive and 
 hear a lurid tale of the execution. Next Katisha finds 
 the name of the supposedly executed man to be "Nanki' 
 Poo"; and the unhappy trio discover that they have 
 executed the heir to the throne and thereby have incurred 
 horrible death penalties. Respite is granted until after 
 luncheon, whereupon Ko'Ko rushes off to find Nanki' 
 Poo and Yum' Yum are married and off on their honey 
 moon. They are told of the arrival of the Mikado and 
 Katisha. Fearing to face an unwed Katisha, TManki'Poo 
 persuades Ko'Ko to marry Katisha, which the unfor' 
 tunate man does. Supposing Nanki'Poo dead, Katisha 
 marries Ko'Ko, and when the offenders are summoned 
 to appear before the Mikado to hear their fate, the whole 
 deception is explained to the Mikado, Katisha announces 
 her marriage with Ko'Ko; and Nanki'Poo presents his 
 bride "Yum' Yum" to his delighted father, who exdaims 
 "Nothing could be more satisfactory!" 
 
 ACT I. 
 Scene. — Court-yard of Ko-Ko's Palace 
 in Titipu. Japanese nobles discovered stand' 
 ing arid sitting in attitxxdes suggested by 
 native drawings. 
 
 Chorus of Nobles 
 If you want to know who we are, 
 
 We are gentlemen of Japan: 
 On many a vase and jar — 
 On many a screen and fan, 
 We figure in lively paint : 
 Our attitudes queer and quaint — 
 You're wrong if you think it ain't 
 oh! 
 If you think we are worked by strings, 
 
 Like a Japanese marionette, 
 You don't understand these things: 
 It is simply Court etiquette. 
 
 Perhaps you suppose this throng 
 Can't keep it up all day long? 
 If that's your idea, you're wrong, 
 oh! 
 Enter J^anki-Poo in great excitement. He 
 carries a native guitar on his bac\ and a 
 bundle of ballads in his hand. 
 REcrr. — "Hanl^i'Poo. 
 Gentlemen, I pray you tell me 
 Where a gentle maiden dwel- 
 leth. 
 
 Dramatis Personae 
 
 The Mikado ok Japan 
 
 Nanki-Poo (his Son, disguised as. a wan- 
 dering minstrel, and in love 
 with Yl'M-Yum) 
 
 Ko-Ko {Lord High Executioner of Titipu) 
 
 Pooh-Bah (Lord High Everything £lse) 
 
 PiSH-TusH (a Noble Lord) 
 
 YUM-YUM )^ ^^^ s^,„,_ 
 
 Peep-Bo ' ' 
 
 Katisha (an elderly Lady, in love with 
 
 Nanki-Poo) 
 Chorus of School-Girls, Nobles, 
 
 Guards, and Coolies. 
 
 Act I. — Court-yard of Ko-Ko's Official 
 
 Residence. 
 Act II. — Ko-Ko's Garden. 
 
 Named Yum-Yum, the ward of 
 
 Ko-Ko? 
 In pity speak — oh, speak, I 
 pray you I 
 A TSfoble. Why, who are you who ask this 
 
 question ? 
 Nank. Come gather round me, and I'll you. 
 Song and Chorus 
 A wandering minstrel I— 
 
 A thing of shreds and patches. 
 Of ballads, songs and snatches. 
 And dreamy lullaby I 
 My catalogue is long. 
 
 Through every passion raging. 
 And to your humours changing 
 I tune my supple song ! 
 
 Are you in sentimental mood ? 
 I'll sigh with you. 
 Oh, sorrow, sorrow ! 
 On maiden's coldness do you brood ? 
 I'll do so, too — 
 
 Oh, sorrow, sorrow ! 
 I'll charm your willing ears 
 With songs of lovers' fears, 
 While sympathetic tears 
 My cheeks bedew — - 
 Oh, sorrow, sorrow ! 
 But if patriotic sentiment is wanted, 
 
 I've patriotic ballads cut and dried; 
 For where'er our country's banner may 
 be planted. 
 All other local banners are defied ! 
 Our warriors, in serried ranks assembled. 
 Never quail — or they conceal it if they 
 da- 
 And I shouldn't be surprised if nations 
 trembled 
 Before the mighty troops of Titipu ! 
 
Chorus. We shouldn't be surprised, tfc. 
 'H'^'fiK- ^^d if you call for a song of the 
 sea. 
 
 We'll heave the capstan round. 
 With a yeo heave ho, for the 
 wind is free. 
 Her anchor's a-trip and her helm's 
 a-lee, 
 Hurrah for the homeward 
 bound ! 
 Chorus. Yeo-ho — heave ho — 
 
 Hurrah for the homeward 
 bound ! 
 To lay aloft in a howling breeze 
 May tickle a landsman's taste, 
 But the happiest hour a sailor sees 
 Is when he's down 
 At an inland town. 
 With his Nancy on his knees, yeo ho ! 
 And his arm around her waist ! 
 Chorus. Then man the capstan — off we go. 
 As the fiddler swings us round. 
 With a yeo heave ho, 
 And a rum below. 
 
 Hurrah for the homeward 
 bound ! 
 A wandering minstrel I, E^c. 
 Enter Pish-Tush. 
 Pish. And what may be your business 
 with Yum- Yum ? 
 
 7^an\. I'll tell you. A year ago I was a 
 member of the Titipu town band. It was 
 my duty to take the cap round for contri- 
 butions. While discharging this delicate 
 office I saw Yum-Yum. We loved each 
 other at once, but she was betrothed to her 
 guardian Ko-Ko, a chea,p tailor, and I saw 
 that my suit was hopeless. Overwhelmed 
 with despair I quitted the town. Judge of 
 my delight when I heard, a month ago, that 
 Ko-Ko had been condemned to death for 
 flirting ! I hurried back at once, in the hope 
 of finding Yum-Yum at liberty to listen to 
 my protestations. 
 
 Pish. It is true that Ko-Ko was con- 
 demned to death for flirting, but he was 
 reprieved at the last moment, and raised to 
 the exalted rank of Lord High Executioner 
 under the following reliable circumstances: 
 Song. — Pish-Tush and Chorus. 
 Our great Mikado, virtuous man. 
 When he to rule our land began. 
 Resolved to try 
 A plan whereby 
 Young men might best be steadied. 
 So he decreed, in words succinct. 
 That all who flirted, leered or winked, 
 (Unless connubially linked,) 
 Should forthwith be beheaded. 
 
 And I expect you'll all agree 
 That he was right to so decree. 
 And I am right. 
 And you are right. 
 And all is right as right can be! 
 Chorus. And you are right. 
 
 And we are right, &c. 
 This stern decree, you'll understand. 
 Caused great dismay throughout the land! 
 For young and old 
 And shy and bold 
 Were equally affected. 
 The youth who winked a roving eye. 
 Or breathed a non-connubial sigh. 
 Was thereupon condemned to die — 
 He usually objected. 
 
 And you'll allow, as I expect. 
 That he was right to so object. 
 And I am right. 
 And you are right. 
 And everything is quite correct! 
 Chorus. And you are right. 
 
 And we are right, tfc. 
 And so we straight let out on bail 
 A convict from the county jail. 
 Whose head was next 
 On some pretext 
 Condemned to be mown off. 
 And made him Headsman, for we said, 
 
 Who's next to be decapited 
 Cannot cut off another's head 
 
 Until he's cut his own off." 
 
 And we are right, I think you'll 
 
 say. 
 To argue in this kind of way 
 And I am right. 
 And you are right. 
 And all is right — too-looral-lay! 
 Chorus. And you are right. 
 
 And we are right, Wc. 
 
 [Exeunt Chorus. 
 Enter Pooh-Bah. 
 ^•ian\. Ko-Ko, the cheap tailor. Lord 
 High Executioner of Titipu! Why, that's 
 the highest rank a citizen can attain! 
 
 Pooh. It is. Our logical Mikado, seeing 
 no moral difference between the dignified 
 judge,who condemns a criminal to die, and 
 the industrious mechanic who carries out 
 the sentence, has rolled the two offices into 
 one, and every judge is now his own execu- 
 tioner. 
 
 'Han\. But how good of you (for I see 
 that you are a nobleman of the highest 
 rank) to condescend to tell all this to me. 
 a mere strolling minstrel! 
 
 Pooh, Don't mention it. I am, in point of 
 fact, a particularly haughty and exclusive 
 person, of pre-Adamite ancestral descent. 
 You will understand this when I tell you 
 that I can trace my ancestry back to a 
 protoplasmal primordial atomic globule. 
 Consequently, my family pride is some- 
 thing inconceivable. I can't help it. I was 
 born sneering. But I struggle hard to over- 
 come this defect. I mortify my pride con- 
 tinually. When all the great officers of 
 State resigned in a body, because they were 
 too proud to serve under an ex-tailor, did 
 I not unhesitatingly accept all their posts at 
 once? 
 
 Pish. And the salaries attached to them? 
 You did. 
 
 Pooh. It is consequently my degrading 
 duty to serve this unstart as First Lord of 
 the Treasury, Lord Chief Justice, Com- 
 mander-in-Chief, Lord High Admiral. 
 Master of the Buckhounds, Groom of the 
 Back Stairs, Archbishop of Titipu, and 
 Lord Mayor, both acting and elect, all 
 rolled into one. And at a salary! A Pooh- 
 Bah paid for his services! I a salaried 
 minion! But I do it! It revolts me, but I do 
 it! 
 
 7^anl{. And it does you credit. 
 Pooh. But I don't stop at that. I go and 
 dine with middle-class people on reasonable 
 terms. I dance at cheap suburban parties 
 for a moderate fee. I accept refreshment at 
 any hands, however lowly. I also retail 
 State secrets at a very low figure. For" in- 
 
 stance, any further infoimation about Yum' 
 Yum would ccxne under the head of a State 
 secret. (HanXi'Poo tal^es the hint, and gives 
 him money.) (Aside.) Another insult, and 
 I think a light one! 
 
 Song. — Pooh-Bah with TianXi-Poo and 
 Pish. 
 
 Young man, despair. 
 
 Likewise go to, 
 Yum-Yum the fair 
 You must not woo. 
 It will not do: 
 I'm sorry for you. 
 You very imperfect ablutioner! 
 This very day 
 
 From school Yum-Yum 
 Will wend her way. 
 
 And homeward come. 
 With beat of drum 
 And a rum-tum-tum. 
 To wed the Lord High Executioner! 
 And the brass will crafih. 
 And the trumpets bray. 
 And they'll cut a dash 
 On their wedding day. 
 She'll toddle away, as all aver. 
 With the Lord High Executioner! 
 TsianJf. and Pooh. And the brass will crash. 
 
 Its a hopeless case. 
 As you may see. 
 And in your place 
 Away I'd flee; 
 But don't blame me — 
 I'm sorry to be 
 Of your pleasure a diminutioner. 
 They'll vow their pact 
 
 Extremely soon. 
 In poiht of fact 
 This afternoon 
 Her honeymoon 
 With that buffoon 
 At seven commences, so you shun 
 her! 
 All. And the brass will crash, tfc 
 
 [Exit Pish-Tush. 
 Regit. — 7<lan\i'Poo and Pooh-Bar. 
 7^anl{. 
 
 And have I journeyed for a month, or 
 
 nearly. 
 To learn that Yum-Yum, whom I love so 
 
 dearly, 
 This day to Ko-Ko is to be united! 
 Pooh. 
 
 The fact appears to be as you've recited: 
 But here he comes, equipped as suits his 
 
 station; 
 He'll give you any further information. 
 [Exeunt Pooh-Bah and 7^an\i'Poo. 
 Enter Chorus of Trebles. 
 Behold the Lord High Executioner! 
 A personage of noble rank and 
 title — 
 A dignified and potent officer. 
 Whose functions are particularly 
 vital! 
 
 Defer, defer. 
 To the Lord High Executioner! 
 Enter Ko-Ko attended. 
 Solo. — Ko-Ko. 
 Taken from the county jail 
 
 By a set of curious chances; 
 Liberated then on bail. 
 
 On my own recognizances; 
 Wafted by a favouring gale 
 
As one sometimes is in trances, 
 To a height that few can scale. 
 Save by long and weary dances; 
 Surely, never had a male 
 
 Under such like circumstances 
 So adventurous a talc. 
 
 Which may rank with most ro- 
 mances. 
 Chorus. Defer, defer. 
 
 To the Lord High Executioner, ^c. 
 Ko. Gentlemen, I'm much touched by this 
 reception. I can only trust that by strict at- 
 tention to duty I shall ensure a continuance 
 of those favours which it will ever be my 
 study to deserve. If I should ever be called 
 upon to act professionally, I am happy to 
 think that there will be no difficulty in 
 finding plenty of people whose loss will 
 be a distinct gain to society at large. 
 
 Song. — Ko>Ko with Chorus of Men. 
 As some day it may happen that a victim 
 must be found, 
 Ive got a little list— Fve got a little list 
 Of society offenders who might well be 
 underground. 
 And who never would be missed — who 
 never would be missed! 
 There's the pestilential nuisances who write 
 
 for autographs — 
 All people who have flabby hands and ir- 
 ritating laughs — 
 All children who are up in dates, and 
 
 floor you with 'em flat — 
 All persons who in shaking hands, shake 
 hands with -^u like that — 
 And all third persons who on spoiling 
 
 tete-d'tets insist— 
 They'd none of 'em be missed — they'd 
 none of 'em be missed! 
 Chorus. He's got 'em on the list — he's got 
 'em on the list; 
 And they'll none of 'em be 
 missed — they'll none of 'em be 
 missed. 
 There's the nigger serenader, and the 
 others of his race. 
 And the piano organist — I've got him 
 on the list! 
 And the people who eat peppermint and 
 puff it in your face, 
 They never would be missed — they 
 never would be missed! 
 Then the idiot who praises, with enthusi- 
 astic tone 
 All centuries but this, and every country 
 
 but his own; 
 And the lady from the provinces, who 
 
 dresses like a guy. 
 And "who doesn't think she dances, but 
 
 would rather Hke to try"; 
 And that singular anomaly, the lady novel- 
 ist — ■ 
 I don't think she'd be missed — I'm sure 
 she'd not be missed! 
 Chorus. He's got her on the list — he's got 
 her on the list; 
 And I don't think she'll be 
 missed — 
 I'm sure she'll not be missed! 
 And that Hisi Prius nuisance, who just 
 now is rather rife, 
 The Judicial humorist — I've got him on 
 the list! 
 All funny fellows, comic men, and clowns 
 of private life — 
 
 They'd none of 'em be missed- they'd 
 none of "em be missed 
 And apologetic statesmen of a compromis- 
 ing kind. 
 Such as- -what d'ye call him — Thing'em- 
 
 bob, and likewise — Never mind. 
 And 'St — 'st— 'st — and What's-his-name. 
 
 and also You-know-who — 
 The task of filling up the blanks I'd rather 
 
 leave to you. 
 But it really doesn't matter whom you put 
 upon the list. 
 
 For they'd none of 'em be missed — they'd 
 none of 'em be missed! 
 Chorus. You may put 'em on the list — you 
 may put 'em on the list; 
 And they'll none of 'em be 
 missed — they'll none of 'em 
 be missed! 
 
 [^Exeunt Chorus. 
 Enter Pooh-Bah. 
 
 Ko. Pooh-Bah, it seems that the festivities 
 m connection with my approching marriage 
 must last a week. I should like to do it 
 handsomely, and I want to consult you as 
 to the amount I ought to spend upon them. 
 
 Pooh. Certainly. In which of my capaci- 
 ties? As First Lxjrd of the Treasury, Lord 
 Chamberlain, Attorney-General, Chancellor 
 of the Exchequer, Privy Purse, or Private 
 Secretary? 
 
 Ko. Suppose we say as Private Secretary. 
 
 Pooh. Speaking as your Private Secretary, 
 I should say that as the city will have to 
 pay for it, don't stint yourself, do it well. 
 
 Ko. Exactly — as the city will have to pay 
 for it. That is your advice. 
 
 Pooh. As Private Secretary. Of course 
 you will understand that, as Chancellor of 
 the Exchequer, I, am bound to see that due 
 economy is observed. 
 
 Ko. Oh! but you said just now "don't 
 stint yourself, do it well." 
 
 Pooh. As Private Secretary. 
 
 Ko. And now you say that due economy 
 must be observed. 
 
 Pooh. As Chancellor of the Exchequer. 
 
 Ko. 1 see. Come over here, where the 
 Chancellor can't hear us. (They cross the 
 stage.) Now, as my Solicitor, how do you 
 advise me to deal with this difficulty? 
 
 Pooh. Oh, as your Solicitor, I should 
 have no hesitation in saying "chance it — " 
 
 Ko. ^Thank you. (Sha\ing his hand.) I 
 will. 
 
 Pooh. If it were not that, as Lord Chief 
 Justice, I am bound to see that the law isn't 
 violated. 
 
 Ko. I see. Come over here where the 
 Chief Justice can't hear us. (They cross 
 the stage.) Now, then, as First Lord of the 
 Treasury? 
 
 Pooh. Of course, as First Lord of the 
 Treasury, I could propose a special vote 
 that would cover all expenses, if it were not 
 thnt, as Leader of the Opposition, it would 
 be my duty to resist it, tooth and nail. Or, 
 a-s r'aymaster-General, I could .so cook the 
 .iccounts that as Lord High Auditor, I 
 sliould never discover the fraud. But then. 
 as Archbishop of Titipu, it would be my 
 duty to denounce my dishonesty and give 
 myself into my own custody as First Com- 
 missioner of Police. 
 
 Ko. That's extremely awkward. 
 
 Pooh. I don't say that all these disting- 
 uished people couldn't be squared; but it 
 IS right to tell you that they wouldn't be 
 sufficiently degraded in their own estima- 
 tion unless they are insulted with a very 
 considerable bribe. 
 
 Ko. The matter shall have my careful 
 consideration. But my bride and her sisters 
 approach, and any little compliment on 
 your part, such as an abject grovel in a 
 characteristic Japanese attitude, would be 
 esteemed a favour. {Exeunt together. 
 
 Enter procession of Tum-Tum's school- 
 fellows, heralding Tum-Tum, Peep-Bo, and 
 Pitti-Sing. 
 
 Chorus of Girls 
 Comes a train of little ladies 
 
 From scholastic trammels free. 
 Each a little bit afraid is. 
 
 Wondering what the world can be! 
 Is it but a world of trouble — 
 
 Sadness set to song? 
 Is its beauty but a bubble 
 
 Bound to break ere long? 
 Are its palaces and pleasures 
 
 Fantasies that fade? 
 And the glory of its treasures 
 
 Shadow of a shade? 
 Schoolgirls we, eighteen and under. 
 
 From scholastic trammels free. 
 And we wonder — how we wonder! — 
 What on earth the world can be! 
 Trio. — Turn- Yum. Peep-Bo, and Pitti- 
 Sing, with Chorus of Girls. 
 The Three. 
 
 Three little maids from school are we. 
 Pert as a school-girl well can be. 
 Filled to the brim with girlish glee. 
 Three little maids from school! 
 Turn-Turn. 
 
 Everything is a source of fun. 
 (ChucJ^Ie.) 
 Peep-Bo. 
 
 Nobody's safe, for we care for none! 
 (ChucJ^le.) 
 Pitti-Sing. 
 
 Life is a joke that's just begun! 
 (Chucl^le.) 
 The Three. Three little maids from school! 
 All (dancing). 
 
 Three little maids who, all unwary. 
 Come from a ladies' seminary. 
 Freed from its genius tutelary — 
 The Three (.■suddenly demure) . Three Uttle 
 
 maids from school! 
 Tum-Tum. 
 
 One little maid is a bride, Yum,Yum — 
 Peep-Bo. 
 
 Two little maids in attendance come — 
 Pitti-Sing. 
 
 Three Httle maids is the total sum. 
 The Three. Three little maids from school 
 Tum-Tum. 
 
 From three little maids take one away. 
 Pee-Bo. Two will maids remain, and they — 
 Pitti-Sing. 
 
 Won't have to wait very long, they 
 say — 
 The Three. Three little maids from school! 
 All (dancing). 
 
 Three little maids who, all unwary. 
 Come from a ladies' seminary. 
 Freed from its genius tutclar>' — 
 The Three (suddenly demure). Three little 
 maids from school! 
 
[Exeunt Chorus. 
 (Enter Ko'Ko and Pooh'B<ih.) 
 Ko. At last, my bride that is to be! 
 (About to embrace her.) 
 
 Yum. You're not going to kiss me before 
 these pet^le? 
 Ko. Well, that was the idea. 
 Turn, (aside to Peep'fio). It seems odd, 
 doesn't it? 
 
 Peep. It's rather peculiar. 
 Pttti. CMi, I expect it's all right. Must 
 have a beginning, you know. 
 
 Turn. Well, of course I know nothing 
 about these things; but I've no objection 
 if it's usual. 
 
 Ko. Oh, it's quite usual, I think. Eh, 
 Lord Chamberlain? (Appealing to Pooh' 
 Bah.) 
 
 Pooh. I have known it done. (Ko-Ko 
 embraces her.) 
 
 Turn. Thanl^ goodness that's over! {Sees 
 
 7<ian}{i-Poo and rushes to him.) Why, diat's 
 
 never you? (The Three Girls rush to him 
 
 and sha\e his hands, all speal^tng at once.) 
 
 Turn. Oh, I'm so glad! I haven't seen 
 
 you for ever so long, and rm,^right at the 
 
 top of the school, and I've got three prizes 
 
 and I've come home for good, and I'm not 
 
 going back any more! 
 
 Peep. And have you got an engagement? 
 Yum-Yum's got one, but she doesn't like 
 it, and she'd ever so much rather it was 
 you! I've come home for good, and I'm 
 not going back any more! 
 
 Pitti. Now tell us all the news, because 
 you go about everywhere, and we've been 
 at school, but, thank goodness, that's all 
 over now, and we've, come home for good, 
 and we're not going back any more! 
 (These three speeches are spoken to- 
 gether in one breath.) 
 
 Ko. I beg your pardon. Will you present 
 me? 
 
 Turn. rOh, this is the musician who used — 
 Peep. ■ Oh, this is the gentleman who used — 
 Pitti. [Oh it is only Nanki-Poo who used — 
 Ko. One at a time, if you please. 
 Turn. Oh, if you please he's the gentle- 
 man who used to play so beautifully on 
 the — on the — 
 
 Pitti. On the Marine Parade. 
 Turn. Yes, I think that was the name of 
 the instrument. 
 
 y^anX. Sir, I have the misfortuntune to 
 love your ward, Yum-Yum — oh, I know I 
 deserve your anger! 
 
 Ko. Anger! not a bit, my boy. Why, I 
 love her myself. Charming little girl, isn't 
 she? Pretty eyes, nice hair. Taking little 
 thing, altogether. Very glad to hear my 
 opinion backed by a competent authority. 
 Thank you very much. Good-bye. (To 
 Pish-Tush.) Take him away. (Pish Tush 
 removes him.) 
 
 Pitti (who has been examining Pooh' 
 Bah.) I beg your pardon, but what is this? 
 Customer come to try on? 
 
 Ko. That is a Tremendous Swell. 
 Pitti. Oh, it's alive. (She starts bac\ in 
 alarm.) 
 
 Pooh. Go away, little girls. Can't talk to 
 
 little girls like you. Go away, there's dears. 
 
 Ko. Allow me to present you, Pooh-Bah. 
 
 These are my threp wards. The one in 
 the middle is my bride elect. 
 
 Pooh. What do you want me to do to 
 them? Mind, I will not \iss them. 
 
 Ko. No, no, you shan't kiss them; a little 
 bow — a mere nothing — you needn't mean 
 it, you know. 
 
 Pooh. It goes against the grain. They are 
 not young ladies, they are young persons. 
 
 Ko. Come, come, make an e£Fort, there's 
 a good nobleman. 
 
 Pooh (aside to Ko-Ko). Well, I shan't 
 mean it. (With a great snort.) f.aw de do, 
 little girls, how de do? (Aside.) Oh, my 
 protoplasmal ancestor ! 
 
 Ko. That's very good. (Girls indulge in 
 suppressed laughter.) 
 
 Pooh. I see nothing to laugh at. It is 
 very painful to me to have to say "How de 
 do, httle girls, how de do?" to young per- 
 sons. I'm not in the habit of saying "How 
 de do, little girk, how de do?" to anybody 
 under the rank of a Stockbroker. 
 
 Ko. (aside to girls). Don't laugh at him, 
 he can't help it — he's under treatment for 
 it. (Aside to Pooh-Bah.) Never mind them, 
 they don't understand the delicacy of your 
 position. 
 
 Pooh. We know how delicate it is, don't 
 we? 
 
 Ko. I should think we did ! How a noble- 
 man of your importance can do it at all is a 
 thing I never can, never shall understand. 
 
 (Ko'Ko retires up and goes off.) 
 Quartet and Chorus of Girls. — Tum- 
 Tum, Peep-Bo, Pitti-Sing, and Pooh-Bah. 
 Turn., Peep, and Pitti. 
 
 So please you. Sir, we much regret 
 
 If we have failed in etiquette 
 
 Towards a man of rank so high — 
 
 We shall know better by and by. 
 Turn. 
 
 But youth, of course, must have its fling. 
 So pardon us, 
 So pardon us, 
 Pitti. 
 
 And don't, in girlhood's happy spring. 
 Be hard on us. 
 Be hard on us, 
 
 If we're inclined to dance and sing. 
 Tra la la, ^c. (Dancing.) 
 Chorus of Girls. But youth, of course, He. 
 Pooh. 
 
 I think you ought to recollect 
 
 You cannot show too much respect 
 
 Towards the highly titled few; 
 
 But nobody does, and why should you ! 
 
 That youth at us should have its fling. 
 Is hard on us. 
 Is hard on us; 
 
 To our prerogative we cling — 
 So pardon us, 
 So pardon us, 
 
 If we decline to dance and sing. 
 Tra la la, fe?c. (Dancing.) 
 Chorus of Girls. But youth, of course, must 
 have its fling, ^c. 
 (Exeunt all hut Tum-Tum.) 
 £nter 7^an\i-Poo. 
 
 H<in\. Yum-Yum, at last we are alone! 1 
 have sought you night and day for three 
 weeks, in the belief that your guardian was 
 beheaded, and I find that you are about to 
 be married to him this afternoon! 
 
 Turn. Alas, yes! 
 
 H'lnk- But you do not love him ? 
 
 Turn. Alas, no! 
 
 l-ian\. Modified rapture! But why do 
 you not refuse him? 
 
 Turn. What good would that do? He's 
 my guardian, and he wouldn't let me marry 
 you! 
 
 Hi'nk. But I would wait until you were 
 of age! 
 
 Tum. You forget that in Japan girls do 
 not arrive at years of discretion until they 
 are fifty. 
 
 J^anl{. True; from seventeen to forty- 
 nine are considered years of indiscretion. 
 
 Tum. Besides — a wandering minstrel, 
 who plays a wind instrument outside tea- 
 houses, is hardly a fitting husband for the 
 ward of a Lord High Executioner. 
 
 Han\. But— (Aside.) Shall I tell her? 
 Yes! she will not betray me! (Aloud.) 
 What if it should prove that, after all, I 
 am no musician! 
 
 Tum. There! I was certain of it, directly 
 I heard you play! 
 
 7^an\. What if it should prove that I am 
 no other than the son of his Majesty the 
 Mikado? 
 
 Tum. The son of the Mikado! But why 
 is your Highness disguised? And what has 
 your Highness done? And will your High- 
 ness promise never to do it again? 
 
 7^an\. Some years ago I had the misfor- 
 tune to captivate Kati^, and elderly lady 
 of my father's Court. She misconstrued my 
 customary affability intS expressions of affec- 
 tion, and claimed me in marriage, under 
 my father's law. My father, the Lucius 
 Junius Brutus of his race, ordered me to 
 marry her within a week, or perish ignomi- 
 nously on the scaffold. That night I fled 
 his Court, and, assuming the disguise of a 
 Second Trombone, I joined the band in 
 which you found me when I had the happi- 
 ness of seeing you! (Approaching her.) 
 
 Tum (retreating). If you please, I think 
 your Highness had better not come too 
 near. The laws against flirting are excessive- 
 ly severe. 
 
 '3^an\. But we are quite alone, and no- 
 body can see us. 
 
 Tum. Still, that doesn't make it right. To 
 flirt is capital. 
 
 ^an\. It is capital ! 
 
 Tum. And we must obey the law. 
 
 7^an\. Deuce take the law ! 
 
 Tum. I wish it would, but it won't ! 
 
 7^an\. If it were not for that, how happy 
 we might be ! 
 
 Tum. Happy indeed ! 
 
 'Han\. If it were not for the law, we 
 should now be sitting side by side, like that. 
 (Sits by her.) 
 
 Tum. Instead of being obliged to sit half 
 a mile off, like that. (Crosses and sits at 
 other side of stage.) 
 
 7^an\. We should be gazing into each 
 other's eyes, like that. (Gazing at her senti- 
 mentally.) 
 
 Tum. Breathing sighs of unutterable love 
 ^ike that. (Sighing and gazing lovingly at 
 him.) 
 
 7ifln\. With our arms round each other's 
 waists, like that. (Embracing her.) 
 
Yum. Yes, if it wasn't for the law. 
 ?^an^. If it wasn't for the law. 
 Turn. As it is, of course we couldn't do 
 anything of the kind. 
 ?^IanJ^. Not for worlds ! 
 Turn. Being engaged to Ko-Ko, you 
 know ! 
 >lanli. Being engaged to Ko-Ko ! 
 Duet. — Yum'Tum and 7^a,n\i'Poo. 
 "Hanl^. 
 
 Were you not to Ko-Ko plighted, 
 
 I would say in tender tone, 
 "Loved one, let us be united — 
 Let us be each other's own!" 
 I would merge all rank and Station, 
 Wordly sneers are nought to us. 
 And, to mark my admiration, 
 
 I would kiss you fondly thus — (Kisses 
 her.) 
 Both. 
 
 |j^ rwould kiss J jjjgf fondly thus — (Kiss.) 
 
 Yum. 
 
 But as I'm engaged to Ko-Ko, 
 To embrace you thus, con fuoco. 
 Would distinctly be no gioco. 
 And for yam I should get toco — 
 Both. Toco, toco, toco, toco ! 
 "HflnX^. 
 
 So, in spite of all temptation. 
 
 Such a theme I'll not discuss. 
 And on no consideration 
 
 Will I kiss you fondly thus — (Kissing 
 her.) 
 Let me make it dear to you. 
 This is what I'll never do ! 
 
 This, oh, this, oh this, oh this — (Kis- 
 sing her.) 
 Together. This, oh this, ^c 
 
 [Exeunt in opposite directioni 
 Enter Ko-Ko. 
 Ko. {loo\ing after Yum- Yum). There 
 she goes! To think how entirely my future 
 happiness is wrapped up in that little par- 
 cel ! Really, it hardly seems worth while! 
 Oh, matrimony! — (Enter Pooh'Bah and 
 Pish-Tush.) Now then, what is it? Can't 
 you see I'm soliloquizing? You have inter- 
 rupted an apostrophe, sir! 
 
 Pish. I am the bearer of a letter from his 
 Majesty, the Mikado. 
 
 Ko. {taXing it from him reverentially). 
 A letter from the Mikado! What in the 
 world can he have to say to me? (Reads 
 letter.) Ah, here it is at last ! I thought it 
 would come sooner or later! The Mikado 
 is struck by the fact that no executions have 
 taken place in Titipu for a year, and de- 
 crees that unless somebody is beheaded 
 within one month the post of Lord High 
 Executioner shall be abolished, and the city 
 reduced to the rank of a village ! 
 
 Pish. But that will evolve us all in irre- 
 trievable ruin! 
 
 Ko. Yes. There is no help for it, I shall 
 have to execute somebody at once. The only 
 question is, who shall it be? 
 
 Pooh. Well, it seems unkind to say so, 
 but as you're already under sentence of 
 death for flirting, everything seems to point 
 to you. 
 
 Ko. To me? What are you talking about? 
 I can't execute myself. 
 Pooh. Why not? 
 
 Ko. Why not? Because, in the first place, 
 self-decapitation is an extremely difficult, 
 hot to say dangerous, thing to attempt; and 
 in the second, it's suicide, and suicide is a 
 capital offence. 
 
 Pooh. That is so, no doubt. 
 Pish. We might reserve that point. 
 Pooh. True, it could be argued six months 
 hence, before the full Court. 
 
 Ko. Besides, I don't see how a man can 
 cut off his own head. 
 Pooh. A man might try. 
 Pish. Even if you only succeeded in cut- 
 ting it half off, that would be something. 
 
 Pooh. It would be taken as an earnest of 
 your desire to comply with the Imperial 
 will. 
 
 Ko. No. Pardon me, but there I am 
 adamant. As official Headsman, my repu- 
 tation is at stake, and I can't consent to 
 embark on a professional operation unless 
 I see my way to a successful result. 
 
 Pooh. This professional conscientiousness 
 is highly creditable to you, but it places us 
 in a very awkward position. 
 
 Ko. My good sir, the awkwardness of 
 your position is grace itself compared with 
 that of a man engaged in the act of cutting 
 off his own head. 
 
 Pish. I am afraid that, unless you can ob- 
 tain a substitute — 
 
 Ko. A substitute? Oh, certainly — nothing 
 easier. (To Pooh'Bah.) Pooh-Bah, I appoint 
 you Lord High Substitute. 
 
 Pooh. I should be delighted. Such an ap- 
 pointment would realize my fondest dreams. 
 But no, at any sacrifice, I mvist set bounds 
 to my insatiable ambition ! 
 
 Trio. 
 Ko-Ko. My brain it teems 
 
 With endless schemes 
 Both good and new 
 For Titipu; 
 But if I flit. 
 The benefit 
 That I'd diffuse 
 The town would lose ! • 
 Now every man 
 To aid his clan 
 Should plot and plan 
 As best he can. 
 And so, 
 Although 
 I'm ready to go, 
 Yet recollect 
 'Twere disrespect 
 Did I neglect 
 To thus effect 
 This aim direct. 
 So I object — 
 So I object — 
 So I object — 
 Pooh-Bah. I am so proud. 
 If I am allowed 
 My family pride 
 To be my guide, 
 I'd volimteer 
 To quit this sphere 
 Instead of you. 
 In a minute or two. 
 But family pride 
 Must be denied. 
 And set aside. 
 And mortified. 
 
 And so, 
 Although 
 I wish to go. 
 And greatly pine 
 To brightly shine. 
 And take, the line 
 Of a hero fine. 
 With grief condign 
 I must decline — 
 I must decline — 
 I must decline — 
 Pish'Tush. 1 heard one day 
 
 A gentleman say ' 
 That criminals who 
 Are cut in two 
 Can hardly feel 
 The fatal steel. 
 And so are slain 
 Without much pain. 
 If this is trye. 
 It's jdly for you; 
 Your courage screw 
 To bid us adieu. 
 And go 
 And ^ow 
 Both friend and foe 
 How much you dare. 
 I'm quite aware 
 It's your affair. 
 Yet I declare 
 I'd take your share, 
 Bvit I don't much care — 
 I don't much care — 
 I don't much care — 
 All. 
 
 To sit in solemn silence in a dull, dark 
 
 dock. 
 In a pestilential prison, with a life-long 
 
 lock. 
 Awaiting the sensation of a short, sharp 
 
 shodc. 
 From a cheap and chippy chopper on a 
 big black block. 
 
 [Exeunt Pooh, and Pish. 
 Ko. This is simply appalling I I, who al- 
 lowed myself to be respited at the last 
 moment, simply in order to benefit my 
 native town, am now required to die within 
 a month, and that by a man whom I have 
 loaded with honours ! Is this public grati- 
 tude? Is this — (Enter J<lanXi'Poo, with a 
 rope in his hands.) Go away, sir! How 
 dare you? Am I never to be permitted to 
 soliloquize ? 
 
 7<lan\. Oh, go on — don't mind me. 
 Ko. What are you going to do with that 
 rope? 
 
 iNJan^. I'm about to terminate an unen- 
 durable existence. 
 
 Ko. Terminate your existence? Oh, non- 
 sense ! What for ? 
 
 Naw^. Because you are going to marry 
 the girl I adore. 
 
 Ko. Nonsense, sir. I won't permit it. I 
 am a humane man, and if you attempt any- 
 thing of the kind I shall order your instant 
 arrest. Come, sir, desist at once, or I sum- 
 mon my guard. 
 
 'Han\. That's absurd. If you attempt to 
 raise an alarm, I instantly perform the 
 Happy Despatdi with this dagger. 
 
 Ko. No, no, don't do that. This is hor- 
 rible I (Suddenly.) Why you cold-blooded 
 scoundrel, are you aware that, in taking 
 
your life, you are committing a crime which 
 — which — which is — Oh ! (StrucJ^ by an 
 idea.) Substitute ! 
 
 >i(inJ^. What's the matter ? 
 
 Ko. Is it absolutely certain that you are 
 resolved to die? 
 
 7v(anJ^. Absolutely ! 
 
 Ko. Will nothing shake your resolution ? 
 
 >ianJ(. Nothing. 
 
 Ko. Threats, entreaties, prayers — all use- 
 less? 
 
 7^an\. All ! My mind is made up. 
 
 Ko. Then, if you really mean what you 
 say, and if you are absolutely resolved to 
 die, and if nothing whatever will shake 
 your determination — don't spoil yourself by 
 committing suicide, but be beheaded hand' 
 somely at the hands of the Public Execu- 
 tioner ! 
 
 ?S(an^. I don't see how that would benefit 
 me. 
 
 Ko. You don't ? Observe : you'll have a 
 month to live, and you'll live like a fighting 
 cock at my expense. When the day comes 
 there'll be a grand public ceremonial — 
 you'll be the central figure — no one will 
 attempt to deprive you of that distinction. 
 There'll be a procession — bands — dead 
 march — bells tolling — all the girls in tears 
 — Yum-Yum distracted — then, when it's all 
 over, general rejoicings, and a display of 
 fireworks in the evening. Tou won't see 
 them, but they'll be there all the same. 
 
 TVjan/^. Do you think Yum-Yum would 
 really be distracted at my death ? 
 
 Ko. I am convinced of it. Bless you, she's 
 the most tenderhearted little creature alive. 
 
 7^an\. I should be sorry to cause her 
 pain. Perhaps, after all, if I were to with- 
 draw from Japan, and travel in Europe for 
 a couple of years, I might contrive to forget 
 her. 
 
 Ko. Oh, I don't think you could forget 
 Yum-Yum so easily; and, after all, what is 
 more miserable than a love-blighted life? 
 
 7^an1{. True. 
 
 Ko. Life without Yum-Yum — why, it 
 seems absurd ! 
 
 7^an}{. And yet there are a good many 
 people in the world who have to endure it. 
 
 Ko. Poor devils, yes ! You are quite right 
 not to be of their number. 
 
 l^an\. (suddenly). I aion't be of their 
 number! 
 
 Ko. Noble fellow ! 
 
 J^an\. I'll tell you how we'll manage it. 
 Let me marry Yum-Yum to-morrow, and in 
 a month you may behead me. 
 
 Ko. No, no. I draw the line at Yum- 
 Yum. 
 
 7^an\. Very good. If you can draw the 
 line, so can I. (Preparing rope.) 
 
 Ko. Stop, stop — listen one moment — he 
 reasonable. How can I consent to your mar- 
 rying Yum-Yum if I'm going to marry her 
 myself ? 
 
 >{dn^. My good friend, she'll be a widow 
 in a month, and you can marry her then. 
 
 Ko. That's true, of course. I quite see 
 that. But, dear me ! my position during the 
 next month will be most unpleasant — most 
 unpleasant. 
 
 j'^anJj. Not half so unpleasant as my 
 position at the end of it. 
 
 Ko. But- dear me !— well— I agree— af- 
 ter all, it's only putting off my wedding for 
 a month. But you won't prejudice her 
 against me, will you? You see, I've edu- 
 cated her to be my wife; she's been taught 
 to regard me as a wise and good man. Now 
 I shouldn't like her views on that point 
 disturbed. 
 
 'Hanl^. Trust me, she shall never learn 
 .the truth from me. 
 
 Finale. 
 Enter Chorus, Pooh-Bah, and Pish-Tush. 
 Chorus. 
 With aspect stern 
 
 And gloomy stride. 
 We come to learn 
 How you decide. 
 Don't hesitate 
 
 Your choice to name, 
 A dreadful fate 
 
 You'll suffer all the same. 
 Pooh. To ask you what you mean to do 
 we punctually appear. 
 
 Ko. Congratulate me, gentlemen, I've 
 found a Volunteer ! 
 
 All. The Japanese equivalent for Hear. 
 Hear, Hear ! 
 
 Ko. (presenting him) . 'Tis Nanki-Poo ! 
 All. Hail, Nanki-Poo! 
 
 Ko. I think he'll do ? 
 
 All. Yes, yes, he'll do ! 
 
 Ko. 
 
 He yields his life if I'll Yum-Yum sur- 
 render. 
 Now I adore that girl with passion 
 
 tender. 
 And could not yield her with a ready 
 will. 
 
 Or her allot. 
 If I did not 
 Adore myself with passion tenderer stHl I 
 Enter Turn- Yum, Peep-Boo, and Pitti-Stng. 
 All. Ah, yes ! 
 
 He loves himself with passion tenderer 
 still ! 
 Ko. (to J^an\i-Poo). Take her — she's 
 yours ! 
 
 [Exit Ko-Ko. 
 Ensemble. 
 7^an\i-Poo. 
 
 The threatened cloud has passed away, 
 Tum-Tum. 
 
 And brightly shines the dawning day; 
 Tsjanl^t-Poo. 
 
 What though the night may come too 
 soon, 
 Tinn-Tum. 
 
 There's yet a month of afternoon ! 
 J<ian\i-Poo. Pooh-Bah, Pish-Tish, Tum- 
 Tum, Pitti-Sing and Peep-Bo. 
 Then let the throng 
 Our joy advance. 
 With laughing song 
 And merry dance. 
 Chorus. With joyous shout and ringing 
 cheer, 
 Inaugurate our brief career ! fePc. 
 Pittj-Smg. A day, a week, a month, a 
 
 year — 
 Turn. Or far or near, or far or near. 
 
 Pooh. Life's eventime comes much too 
 
 soon, 
 Pitti-Sing. You'll live at least honeymoon! 
 
 All. Then let the throng, ^c. 
 
 Chorus. With joyous shout, fi^c. 
 Solo.— Pooh-Bah. 
 As in a month you've got to die, 
 If Ko-Ko tells us true, 
 'Twere empty compliment to cry 
 "Long life to Nanki-Poo!" 
 But as one month you have to live 
 
 As fellow-citizen, 
 This toast with three times three we'll 
 give— 
 'Long life to you — till then!" 
 
 [Exit Pooh-Bah. 
 Chorus. May all good fortune prosper 
 you. 
 May you have health and riches, 
 
 too, 
 May you succeed in all you do ! 
 Long life to you — till then ! 
 (Dance.) 
 Enter Katisha melodramatically. 
 Kat. Your revels cease ! Assist me, all of 
 
 you ! 
 Chorus. Why, who is this whose evil eyes 
 
 Rain blight on our festivities? 
 Kat. I claim my perjured lover, Nanki- 
 Poo ! 
 Oh fool! to shun delights that never 
 cloy! 
 Chorus. Go, leave thy deadly work undone! 
 Kat. Come back, oh shallow fool ! come 
 
 back to joy ! 
 Chorus. Away, away ! ill-favoured one ! 
 J^an\. (aside to Tum-Tum.) Ah ! 
 'Tis Kaitisha ! 
 
 The maid of whom I told you. (About 
 to go.) 
 Kat. (detaining him.) 
 You shall not go. 
 These arms shall thus enfold you ! 
 Song. — Katisha. 
 Kat. (addressing 'Slan\i-Poo) . 
 Oh fool, that fleest 
 
 My hallowed joys ! 
 Oh blind, that seest 
 
 No equipoise ! 
 Oh rash, that judgest 
 
 From half, the whole ! 
 Oh base, that grudgest 
 Love's lightest dole ! 
 Thy heart unbind. 
 Oh fool, oh blind ! 
 Give me my place. 
 Oh rash, or base ! 
 Chor\ts. If she's thy bride, restore her 
 place, 
 Oh fool, oh blind, oh rash, oh 
 base I 
 Kat. (addressing Tum-Tum). 
 Pink cheek, that rulest 
 
 Where wisdom serves ! 
 Bright eye, that foolest 
 
 Heroic nerves ! 
 Rose lip, that scornest 
 
 Lore-laden years ! 
 Smooth tongue, that warnest 
 Who rightly hears ! 
 Thy doom is night. 
 Pink cheek, bright eye I 
 Thy knell is rung. 
 Rose lip, smooth tongue! 
 Chorus If true her tale, thy knell is rung, 
 Pink cheek, bright eye, rose lip, 
 smooth tongue ! 
 
Pitti'Sing. 
 Away, nor prosecute your quest — 
 From our intention, well expressed. 
 
 You cannot turn us ! 
 The state of your connubial views 
 Towards the person you accuse 
 
 Does not concern us ! 
 For he's going to marry Yum-Yum — 
 A"- Yum-Yum ! 
 
 Pitti. Your anger pray bury, 
 For all will be merry,* 
 I think you had better succumb— 
 AH. Cumb — cumb ! 
 
 Pittt. And join our expressions of glee. 
 On this subject I pray you be dumb — 
 AH. Dumb — dumb. 
 
 Pitti. You'll find there are many 
 I Who'll wed for a penny — 
 
 P The word for your guidance is "Mum" — 
 AH. Mum — mum ! 
 
 Pitti. There's lots of good fish in the sea ! 
 AH. On this subject we pray you be 
 dumb, yc. 
 
 Solo. — Katisha. 
 The hour of gladness 
 
 Is dead and gone; 
 In silent sadness 
 
 I live alone ! 
 The hope I cherished 
 
 All lifeless lies. 
 And all has perished 
 
 Save love, which never dies ! 
 
 Oh, faithless one, this insult you shall 
 
 rue! 
 In vain for mercy on your knees you'll 
 sue. 
 I'll tear the mask from your disguising! 
 7^anl{. (aside). Now comes the blow! 
 Kat. Prepare yourself for news surprising! 
 'Han\. (aside). How foil my foe? 
 Kat. No minstrel he, despite bravado! 
 
 Turn, (aside, struc\ h\ an idea). 
 Ha! Ha! I know! 
 
 Kat. He is the son of your — 
 
 (7<lan\'Poo, Tuwi'Tum, and Chorus, in' 
 terrupting, sing Japanese words, to drown 
 her voice.) 
 
 ni! bikkuri shakkuri to! 
 
 Kat. In vain you interrup wit this tornado! 
 
 He is the only son of your — 
 All. On ni! bikkuri shakkuri to! 
 
 Kat. I'll spoil — 
 All. O ni! bikkuri shakkuri to! 
 
 Kat. Your gay gambado! 
 
 He is the son — 
 
 All. O ni! bikkuri shakkuri to! 
 
 Kat. Of your — 
 
 AH. O ni! bikkuri shakkuri to! 
 
 Kat. The son of your — 
 
 All. O ni! hi\\uri shakXuri to! oya! 
 
 oya! 
 
 End of Act I. 
 
 Ensemble 
 Katisha. 
 
 Ye torrents roar! 
 
 Ye tempests howl! 
 Your wrath outpour 
 With angry growl! 
 Do ye your worst, my vengeance call 
 Shall rise triumphant over all! 
 Prepare for woe. 
 
 Ye haughty lords, 
 At once I go 
 Milkado' wards. 
 My wrongs with vengeance shall be 
 
 crowned! 
 My wrongs with vengeance shall be 
 crowned! 
 The Others. 
 
 We'll hear no more, 
 Ill-omened owl, 
 To joy we soar. 
 Despite your scowl! 
 The echoes of our festival 
 Shall rise triumphant over all! 
 Away you go, 
 
 Collect your hordes; 
 Proclaim your woe 
 In dismal chords; 
 We do not heed their dismal sound, 
 For joy reigns everywhere around. 
 (Katisha rushes furiously up stage clear- 
 ing the crowd away right and left, finishing 
 on steps at the bac\ of stage.) 
 
 Scene. — Ko-Ko's Garden. 
 
 Tum-Tum discovered seated at her bridal 
 
 toilet, surrounded by maidens, who are 
 
 dressing her hair and painting her face and 
 
 lips, as she judges of the effect in a mirror. 
 
 Soio. — Pitti-Sing and Chorus of Girls. 
 Chorus. Braid the raven hair — 
 
 Weave the supple tress — - 
 Deck the maiden fair 
 In her loveliness — 
 Paint the pretty face — 
 
 Dye the coral lip — 
 Emphasize the grace 
 
 Of her ladyship! 
 Art and nature, thus allied, 
 Go to make a pretty bride. 
 
 Solo. — Pitti-Sing. 
 Sit with downcast eye — 
 
 Let it brim with dew — 
 Try if you can cry — 
 
 We will do so, too. 
 When you're summoned, start 
 
 Like a frightened roe — 
 Flutter, little heart. 
 
 Colour,' come and go! 
 Modesty at marriage tide 
 Well becomes a pretty bride! 
 
 Chorus. « 
 
 Braid the raven hair, fe?c. 
 {Exeunt Pitti-Sing, Peep'Bo and Chorus. 
 Yum. Yes, I am indeed beautiful! Some- 
 times I sit and wonder, in my artless Jap- 
 anese way, why it is that I am so much 
 more attractive than anybody else in the 
 
 ACT IL 
 
 whole world. Can this be vanity? No! 
 Nature is lovely and rejoices in her loveli- 
 ness. I am a child of Nature, and take after 
 my mother. 
 
 Song. — Yum-Yum. 
 
 The sun, whose rays 
 Are all ablaze 
 
 With ever-living glory. 
 Does not deny 
 His majesty — 
 
 He scorns to tell a story! 
 
 He don't exclaim 
 "I blush for shame. 
 So kindly be indulgent." 
 
 But, fierce and bold, 
 
 In fiery gold. 
 
 He glories all effulgent! 
 
 I mean to rule the earth. 
 
 As he the sky — 
 We really know our worth, 
 
 The sun and I! 
 
 Observe his flame. 
 That placid dame, 
 
 The moon's Celestial Highness; 
 There's not a trace 
 Upon her face 
 
 Of diffidence or shyness: 
 She borrows light 
 That, through the night, 
 
 Mankind may all acclaim her! 
 And truth to tell. 
 She lights up well. 
 
 So I, for one, don't blame her! 
 
 Ah, pray make no mistake. 
 
 We are not shy; 
 We're very wide awake. 
 The. moon and I! 
 Enter Pitti-Sing and Peep-Bo. 
 Yum. Yes, everything seems to smile 
 upon me. I am to be married to-day to the 
 man I love best, and I believe I am the very 
 happiest girl in Japan! 
 
 Peep. The happiest girl indeed, for she 
 is indeed to be envied who has attained 
 happiness in all but perfection. 
 Turn. In "all but" perfection? 
 Peep. Well, dear, it can't be denied that 
 the fact that your husband is to be be- 
 headed in a month is, in its way, a draw- 
 back. It does seem to take the top off it, 
 you know. 
 
 Pitti. I don't know about that. It all de- 
 pends! 
 
 Peep. At all events, he will find it a 
 drawback. 
 
 Pittt Not necessarily. Bless you, it all 
 depends! 
 
 Turn, (in tears). I think it very indeli- 
 cate of you to refer to such a subject on 
 such a day. If my married happines is to 
 be — to be — 
 
 Peep. Cut short. 
 
 Turn. Well, cut short— in a month, can't 
 you let me forget it? (Weeping.) 
 Enter Han\i'Poo, and Pish-Tush. 
 
 Han\. Yum-Yum in tears— and on her 
 wedding mom! • 
 
Turn... (sobbing). They've been remind' 
 ing me that in a month you're to be be- 
 headed! 
 (Bursts into tears.) 
 
 Pitti. Yes, we've been reminding her 
 that you're to be beheaded. (Bursts into 
 tears.) 
 
 Peep. It's quite true, you know, you 
 are to be beheaded! (Bursts into tears.) 
 
 T^an\. (aside) . Humph! How some bride- 
 grooms would be depressed by this sort of 
 thing! (Aloud.) A month? Well, what' a 
 month? Bah! These divisions of time are 
 purely arbitrary. Who says twenty-four 
 hours make a day? 
 
 Pitti. There's a popular impression to 
 that effect. 
 
 7ian\. Then we'll efface it. We'll call 
 each second a minute — each minute an hour 
 — each hour a day — and each day a year. 
 At that rate we've about thirty years of 
 married happiness before us! 
 
 Peep. And, at that rate, this interview 
 has already lasted four hours and three- 
 quarters! (Exit Peep-Bo.) 
 
 Turn. {Still sobbing). Yes. How time 
 flies when one is thoroughly enjoying one- 
 self! 
 
 7ian\. That's the way to look at it! 
 Don't let's be downhearted! There's a 
 silver lining to every cloud. 
 
 Turn. Certainly. Let's — let's be perfect- 
 ly happy! (Almost in tears.) 
 
 Pish. By all means. Lets — let's thorough- 
 ly enjoy ourselves. 
 
 Pitti. It's — it's absurd to cry! (Trying 
 to force a laugh.) 
 
 Tuni. Quite ridiculous! (Trying to 
 laugh.) 
 
 (All breal^ into a forced and melancholy 
 laugh.) 
 
 Madrigal. — Tum-Yum, Pitti-Sing, 
 7Nlanl(i-Poo, and Ptsh-Tush. 
 
 Brightly dawns our wedding day; 
 
 Joyous hour, we give thee greeting! 
 
 Whither, whither art thou fleeting? 
 Fickle moment, prithee stay! 
 
 What though mortal joys be hollow? 
 
 Pleasures come, if sorrows follow: 
 Though the tocsin sound, ere long 
 
 Ding dong! Ding dong! 
 Yet until the shadows fall 
 Over one and over all, 
 Sing a merry madrigal — 
 
 A medrigal! 
 FaMa — fal-la! iic. (Ending in tears.) 
 
 Let us dry the ready tear. 
 
 Though the hours are surely creeping. 
 Little need for woeful weeping, 
 
 Till the sad sundown is near. 
 
 All must sip the cup of sorrow — 
 I to-day and thou to-morrow; 
 
 This the close of every song — 
 Ding dong! Ding dong! 
 
 What; though solemn shadows fall. 
 
 Sooner, later, over all? 
 
 Sing a merry madrigal — 
 
 A madrigal! 
 
 Fal-la — fal-la! 6?c. (Ending in tears.) 
 
 [Exeunt Pitti-Sing and Pish-Tush. | 
 
 (NanJ^i-Poo embraces Yum-Tum. Enter 
 Ko'Ko. T^anXi'Poo releases Yum- Yum.) 
 
 Ko. Go on^ — don't mind me. 
 
 7<lanl{. I'm afraid we're distressing you. 
 
 Ko. Never mind, I must get used to it. 
 Only please do it by degrees. Begin by 
 putting your armn roud her waist. (>ian!{»- 
 Poo does so.) There; let me get used to 
 that first. 
 
 Yum. Oh, wouldn't you like to retire? 
 It must pain you to see us so affectionate 
 together! 
 
 Ko. No, I must learn to bear it! Now 
 oblige me by allowing her head to rest on 
 your shoulder. 
 
 J<lan\. Like that? (He does so. Ko-Ko 
 much affected.) 
 
 Ko. I am much obliged to you. Now — 
 kiss her! (He does so. Ko'Ko writhes with 
 anguish.) Thank you — it's simple torture! 
 
 Yum. Come, come, bear up. After all, 
 it's only for a month. 
 
 Ko. No. it's no use deluding oneself with 
 false hopes. 
 
 J^anh. ) ,T Ti 1 ■> 
 
 Yum \ "'hat do you mean? 
 
 Ko. (to Yum- Yum). My child — my 
 poor child! (Aside.) How shall I break it 
 to her? (Aloud.) My little bride that was 
 to have been — 
 
 Yum. (delighted). Was to have been? 
 
 Ko. Yes, you never can be mine! 
 
 n<in\. I ,. . (What! 
 
 Yum. ] ('« ««^y)- ll'm so glad! 
 
 Ko. I've just ascertained that, by the 
 Mikado's law, when a married man is be- 
 headed his wife is buried alive. 
 
 7'ian\. 
 
 Yum. 
 
 Ko. Buried alive. It's a most unpleasant 
 death. 
 
 7^an\. But whom did you get that from? 
 
 Ko. Oh, from Pooh-Bah. He's my solici- 
 tor. 
 
 Yum. But he may be mistaken! 
 
 Ko. So I thought; so I consulted the At- 
 torney-General, the Lord Chief Justice, the 
 Master of the Rolls, the Judge Ordinary, 
 and the Lord Chancellor. They're all of 
 the same opinion. Never knew such un- 
 animity on a point of law in my life! 
 
 l<lan\. But stop a bit! This law has never 
 been put in force. 
 
 Ko. Not yet. You see, flirting is the only 
 crime punishable with decapitation, and 
 married men never flirt. 
 
 7ian\. Of course, they don't. I quite for- 
 got that! Well, I suppose I may take it 
 that my dream of happiness is at an end! 
 
 Yum. Darling — I don't want to appear 
 selfish, and I love you with all my heart — 
 I don't suppose I shall ever love anybody 
 else half as much — but when I agreed to 
 marry you — my own — I had no idea — pet — 
 that I should have to be buried alive in a 
 month! 
 
 Hank. Nor I! It's the very first I've heard 
 of it! 
 
 Yum. It — it makes a difference, doesn't it? 
 J<lan\. It does make a difference, of 
 course. 
 
 Buried alive! 
 
 Yum. You sec — buna! alive — it's such a 
 stuffy death. 
 7>lan\. I call it a beast of a death. 
 Yum. You see my difficulty, don't you? 
 Han\. Yes, and I see my own. If I in- 
 sist on your carrying out your promise, I 
 doom you to a hideous death; if I release 
 you, you marry Ko'Ko at once! 
 Trio. — Yutn-Yum, 7i,an\i'Poo, and Kc 
 Ko. 
 Yum. Here's a howdcdo! 
 If I marry you. 
 When your time has come to perish. 
 Then the maiden whom you cherish 
 Must be slaughtered, too! 
 Here's a howdcdo! 
 Han\. Here's a pretty mess! 
 In a month, or less, 
 I must die without a wedding! 
 Let the bitter tears I'm shedding 
 Witness my distress, 
 Here's a pretty mess! 
 Ko. Here's a state of things! 
 
 To her life she. dings! 
 Matrimonial devotion 
 Doesn't seem to suit her notion — 
 Burial it brings! 
 Here's a state of things! 
 Ensemble. 
 Yum- Yum and 7v[an?^i-Poo. 
 
 With a passion that's intense 
 
 I worship and adore. 
 But the laws of common sense 
 
 We oughtn't to ignore. 
 If what he says is true, 
 
 'Tis death to marry you! 
 Here's a pretty state of things! 
 Here's a pretty how-de'do! 
 Ko'Ko. With a passion that's intense 
 You worship and adore, 
 But the laws of common sense 
 
 You oughtn't to ignore. 
 If what I say is true, 
 
 'Tis death to marry you! 
 Here's a pretty state of things! 
 Here's a pretty how-de'do! 
 
 [Exit Yum' Yum. 
 Ko. (going up to T^ani^i-Poo) . My poor 
 boy, I'm really very sorry for you. 
 
 Hanl^. Thanks, old fellow. I'm sure you 
 are. 
 
 Ko. You see I'm quite helpless. 
 T^an^. I quite see that. 
 Ko. I can't conceive anything more dis' 
 tressing than to have one's marriage broken 
 off at the last moment. But you shan't be 
 disappointed of a wedding — you shall come 
 to mine. 
 
 ?slanl(. It's awfully kind of you, but 
 that's impossible. 
 Ko. Why so? 
 Han\. To-day I die. 
 N^n^. I can't live without Yum-Yum. 
 Ko. What do you mean? 
 This afternoon I perform the Happy Des- 
 patch. 
 
 Ko. No, ncv — pardon me — I can't allow 
 that. 
 
 Han\. Why not? 
 
 Ko. Why, hang it all, you're under con- 
 tract to die by the hand of the Public Ex- 
 ecutioner in a month's time! If you kill 
 yourself, what's to become of me? Why, I 
 shall have to be executed in your place! 
 
7i,an\. It would certainly seem so! 
 Enter Pooh'Bah. 
 
 Ko. Now then. Lord Mayor, what is it? 
 
 Pooh. The Mikado and his sioite are ap' 
 proaching the dty, and will be here in ten 
 minutes. 
 
 Ko. The Mikado! He's coming to see 
 whether his orders have been carried out! 
 (To Han\i'Poo.) Now look here, you 
 know — this is getting serious — a bargain's 
 a bargain, and you really mustn't frustrate 
 the ends of justice by committing suicide. 
 As a man of honour and a gentleman, you 
 are boupd to die ignominiously by the 
 hands of the Public Executioner. 
 
 Hin\. Very well, then — behead me. 
 
 Ko. What, now? 
 
 'Han^. Certainly; at once. 
 
 Pooh. Chop it off! Chop it off! 
 
 Ko. My good sir, I don't go about pre- 
 pared to execute gentlemen at a moment's 
 notice. Why, I never even killed a blue- 
 bottle! 
 
 Pooh. Still, as Lord High Executioner — 
 
 Ko. My good sir, as Ix)rd High Execu- 
 tioner I've got to behead him in a month. 
 I'm not ready yet. I don't know how it's 
 done. I'm going to take lessons. I mean to 
 begin with a guinea pig, and work my 
 way through the animal kSigdom till I come 
 to a Second Trombone. Why, you don't 
 suppose that, as a humane man, I'd have 
 accepted the post of Lord High Executioner 
 if I hadn't thought the duties purely nom- 
 inal? I can't kill you — I will kill any- 
 thing! I can't kill anybody! (Weeps.) 
 
 7^an\. Come, my poor fellow, we all 
 have unpleasant duties to discharge at 
 times; after all, what is it? If I don't mind, 
 why should you? Remember, sooner or later 
 it must be done. 
 
 Ko. (springing up suddenly.) Must it? 
 I'm not so sure about that! 
 
 7^anJ{. What do you mean? 
 
 Ko. Why should I kill you when mak- 
 ing an afiEdavit that you've been executed 
 will do just as well? Here are plenty of 
 witnesses — ^the Lord Chief Justice, Lord 
 High Admiral, Commander-in-Chief, Sec- 
 retary of State for the Home Departmint, 
 First Lord of the Treasury, and Chief 
 Commissioner of Police. 
 
 7ian\. But where are they? 
 
 Ko. There they are. They'll all swear 
 to it — won't you? (To Pooh'Bah.) 
 
 Pooh. Am I to understand that all of us 
 high Officers of State are required to per- 
 jure ourselves to ensure your safety! 
 
 Ko. Why not? You'll be grossly in- 
 sulted, as usual. 
 
 Pooh. Will the insult be cash down, or 
 at a date? 
 
 Ko. It will be a ready-money transac- 
 tion. 
 
 Pooh. (Aside.) Well, it will be a use- 
 ful discipline. (Aloud.) 'Very good. Choose 
 your fiction, and I'll endorse it! (Aside.) 
 Ha! ha! Family Pride, how do you like 
 that, my buck? 
 
 7^anl{. But I tell you that life without 
 Yum-Yum — 
 
 Ko. Oh, Yum-Yum, Yum-Yum! Bother 
 Yum-Yum! Here Commissionaire (to Pooh' 
 Bah), go and fetch Yum-Yum. (Exit Pooh' 
 
 Bah.) Take Yum-Yum and marry Yum' 
 Yum, only go away and never come back 
 again. (&iter Pooh-Bah with Tum-Tum.) 
 Here she is. Yum-Yum, are you particularly 
 busy? 
 Turn. Not particularly. 
 Ko. You've five minutes to spare? 
 Turn. Yes. 
 
 Ko. Then go along with his Grace the 
 Archbishop of Titipu; he'll marry you at 
 once. 
 Turn. But if I'm to be buried alive? 
 Ko. Now, don't ask any questions, but 
 do as I tell you, and Nanki-Poo will ex- 
 plain all. 
 
 yi,an\. But one moment — 
 Ko. Not for worlds. Here comes the 
 Mikado, no doubt to ascertain whether I've 
 obeyed his decree, and if he finds you alive 
 I shall have the greatest difficulty in per- 
 suading him that I've beheaded you. 
 (Exeunt J^anl^t-Poo and Tum-Tfutn, fol- 
 lowed by Pooh-Bah.) 
 Close thing that, for here he comes! 
 
 [Exit Ko-Ko. 
 March. — Enter procession, heralding Mik- 
 ado, with Katisha. 
 Entrance of MiJ^odo and Katisha. 
 ("March of the lAi\ado's troops.") 
 Chorus Miya sama, miya sama. 
 On n'm-ma no maye ni 
 Pira-Pira sum no wa 
 Nan gia na 
 
 Toko tonyare tonyare na? 
 Duet. — Mikado and Katisha. 
 Mi\. From every kind of man 
 Obedience I expect; 
 I'm the Emperor of Japan — 
 Kdt. And I'm his daughter-in-law (.lect! 
 He'll marry his son 
 (He's only got one) 
 To his daughter-in-law elect. 
 Mii^. My morals have been declared 
 
 Particularly correct; 
 Kat. But they're nothing at all compared 
 With those of his daughter-in-law 
 
 elect! 
 Bow — Bow — 
 To his daughter-in-law elect! 
 All. Bow — Bow — 
 
 To his 'daughter-in-law elect. 
 Mi^. In a fatherly kind of way 
 
 I govern each tribe and sect. 
 All cheerfully own my sway — 
 Kat. Excepf his daughter-in-law elect! 
 As tough as a bone. 
 With a will of her own. 
 Is his daughter-in-law elect! 
 Mi^. My nature is love and light^- 
 
 My freedom from all defect — 
 Kat. Is significant quite, 
 
 Compared with his diughter-in- 
 law elect! 
 Bow — Bow — 
 To his daughter-in-law elect! 
 All. Bow — Bow 
 
 To his daughter-in-law elect! 
 Song. — ^Mi^ado and Chorus. 
 A more humane Mikado never 
 Did in Japan exist, 
 To nobody second, 
 I'm certainly reckoned 
 A true philanthropist. 
 It is my very humane endeavour 
 
 To make, to seme extent. 
 Each evil liver 
 A running river 
 Of harmless merriment. 
 My object all sublime 
 I shall achieve in time — 
 To let the punishment fit the crime — 
 The punishment fit the crime; 
 And make each prisoner pent 
 Unwillingly represent 
 A source of innocent merriment! 
 Of innocent merriment! 
 All prosy dull society sinners, 
 "Who chatter and bleat and bore. 
 Are sent to hear sermons 
 From mystical Germans 
 Who preach from ten till four. 
 The amateur tenor, whose vocal villanies 
 All desire to shirk. 
 Shall, during off-hours. 
 Exhibit his powers 
 To Madame Tussaud's waxwork. 
 The lady who dies a chemical yellow. 
 Or stains her grey hair puce. 
 Or pinches her figger, 
 Is blacked like a nigger 
 With permanent walnut juice. 
 The idiot who, in railway carriages. 
 Scribbles on window-panes. 
 We only suffer 
 To ride on a buffer 
 In Parliamentary trains. 
 
 My object all sublime, ^c. 
 Chorus. His object all sublime, (/c. 
 The advertising quack who wearies 
 With tales of countless cures. 
 His teeth, I've enacted. 
 Shall all be extracted 
 By terrified amateurs. 
 The music-hall singer attends a series 
 Of masses and fugues and "ops" 
 By Bach, interwoven 
 With Spohr and Beethoven, 
 At classical Monday Pops. 
 The billiard sharp whom any one catches. 
 His doom's extremely hard — 
 He's made to dwell — 
 In a dungeon cell 
 On a spot that's always barred. 
 And there he plays extravagant matches 
 In fitless finger-stalls 
 On a cloth untrue. 
 With twisted cue 
 And elliptical billiard balls! 
 
 My object all sublime, fe?c. 
 Chorus. His object all sublime, fe'c. 
 1 Enter Pooh-Bah, Ko-Ko and Pitti-Sin?. 
 AH \neel. (Pooh-Bah hands a paper to Ko- 
 Ko.) ■ 
 
 Ko. I am honoured in being permitted 
 to welcome your Majesty. I guess the ob- 
 ject of your Majesty's visit — your wishes 
 have been attended to. The execution has 
 taken place. 
 
 Mi\. Oh, you've had an execution, have 
 you? 
 
 Ko. Yes. The Coroner has just handed me 
 his certificate. 
 
 Pooh. I am the Coroner. (Ko-Ko hands 
 certificate to Mi\ado.) 
 
 Mi\. And this is the certificate of his 
 death. 
 
 (Reads.) "At Titipu, in the presence of the 
 Lord Chancellor, Lord Chief Justice, Attor- 
 
iicy General, Secretary of State for the 
 Home Department, Lord Mayor, and 
 OrcxMii of the Second Floor Front — " 
 
 Mil{. Very good house. 1 wish I'd been 
 in time for the performance. 
 
 Ko. A tough fellow he was, too — a man 
 of gigantic strength. His struggles were ter- 
 rific. It was really a remarkable scene. 
 
 M\\. Describe it. 
 Trio and Chorus. — Pitti-Sing, Ko-Ko, 
 
 Pooh-Bah, and Chorus. 
 Ko. The criminal cried, as he dropped 
 
 him down, 
 In a state of wild alarm - 
 With a frightful, frantic, fearful 
 frown. 
 I bared my big right arm. 
 I seized him by his little pig-tail. 
 And on his knees fell he, 
 
 As he squirmed and struggled. 
 And gurgled and guggled, 
 I drew my snickersnee! 
 Oh, never shall 1 
 Forget the cry, 
 Or the shriek that shrieked he. 
 As I gnashed my teeth. 
 When from its sheath 
 I drew my snickersnee! 
 Chorus. 
 We know him well, 
 He cannot tell 
 Untrue or groundless tales — 
 He always tries 
 To utter lies. 
 And every time he fails. 
 Pitti. He shivered and shook as he gave 
 
 the sign 
 
 For the stroke he didn't deserve; 
 
 When alJ of a sudden his eyes met 
 
 mine. 
 
 And it seemed to brace his nerve-. 
 
 For he nodded his head and kissed 
 
 his hand, 
 And he whistled an air, did he. 
 As the sabre true 
 Cut cleanly through 
 His cervical vertebrae! 
 When a man's afraid, 
 A beautiful maid 
 Is a cheering sight to see; 
 And it's oh, I'm glad 
 That moment sad 
 Was soothed by sight of me! 
 Chorus. 
 Her terrible tale 
 You can't assail. 
 With truth it quite agrees! 
 Her taste exact 
 For faultless fact 
 Amounts to a disease. 
 Pooh. Now though you'd have said that 
 
 head was dead 
 (For its owner dead was he). 
 It stood on its neck, with a smile 
 well bred. 
 And bowed three times to me! 
 It was none of your impudent off 
 hand nods. 
 But as humble as could be; 
 For it clearly knew 
 The deference due 
 To a man of pedigree! 
 And it's oh, I vow. 
 This deathly bow 
 
 Was touching sight to see; 
 Though trungless, yet 
 It couldn't forget, 
 The deference due to me! 
 Chorus. 
 This haughty youth. 
 He speaks the truth 
 Whenever he finds it pays: 
 And in this case 
 It all took place 
 Exactly as he says! 
 
 [Exeunt Chorus. 
 
 Mi\. All this is very interesting, and 1 
 should like to have seen it. But we came 
 about a totally different matter. A year ago 
 my son, the heir to the throne of Japan, 
 bolted from our Imperial Court. 
 
 Ko. Indeed! Had he any reason to be 
 dissatisfied with his position? 
 
 Kat. None whatever. On the contrary, 
 I was going to marry him — yet he fled! 
 
 Pooh. I am surprised that he should 
 have fled from one so lovely! 
 
 Kat. That's not true. 
 
 Pooh. No! 
 
 Kat. You hold that 1 am not beautiful 
 because my face is . plain. But you knov^r 
 nothing; you are still unenlightened. Learn, 
 then, that it is not in the face alone that 
 beauty is to be sought. My face is unattrac' 
 tive! 
 
 Pooh. It is. 
 
 Kat. But I have a left shoulder-blade 
 that is a miracle of loveliness. People come 
 miles to see it. My right elbow has a fasci- 
 nation that few can resist. 
 
 Pooh. Allow me! 
 
 Kat. It is on view Tuesdays and Fri- 
 days, on presentation of visiting card. As 
 for my circulation, it is the largest in the 
 world. 
 
 Ko. And yet he fled! 
 
 Mi\. And is now masquerading in this 
 town, disguised as a Second Trombone. 
 Ko. "I 
 
 Pooh. > A Second Trombone! 
 Pitti. J 
 
 Mi^. Yes; would it be troubling you 
 too much if I asked you to produce him? 
 He goes by the name of — 
 
 Kat. Nanki-Poo. 
 
 Mi^. Nanki-Poo. 
 
 Ko. It's quite easy. That is, it's rather 
 difficult. In point of fact, he's gone abroad! 
 
 Mi\. Gone abroad? His address. 
 
 Ko. Knightsbridge! 
 
 Kat. (who is reading certificate of death). 
 Ha! 
 
 MjJj. What's the matter? 
 
 Kat. See here — his name — Nanki-Poo 
 beheaded this morning. Oh, where shall I 
 find another? Where shall I find another? 
 
 (Ko-Ko, Pooh'Bah, and Pitti-Sing fall on 
 their \nees.) 
 
 Mi\. (looking at paper.) Dear, dear, 
 dear! this is very tiresome. (To Ko-Ko.) 
 My poor fellow, in your anxiety to carry 
 out my wishes you have beheaded the heir 
 to the throne of Japan! 
 
 Ko. 1 beg to offer an unqualified apolo- 
 gy- 
 
 Pooh. I desire to associate myself with 
 that expression of regret. 
 
 PjttJ. We really hadn't the least 
 notion — 
 
 Mi\. Of course you hadn't. How could 
 you? Come, come, my good fellow, don't 
 distress yourself — it was no fault of yours. 
 If a man of exalted rank chooses to disguise 
 himself as a Second Trombone, he must 
 take the consequences. It really distresses 
 me to see you take on so. I've no doubt he 
 thoroughly deserved all he got. (They rise.) 
 
 Ko. We are infinitely obliged to your 
 Majesty — 
 
 Pitti Much obliged, your Majesty. 
 
 Pooh. Very much obliged, your Majes- 
 ty. 
 
 Mi\. Obliged? not a bit. Don't mention 
 it. How could you tell? 
 
 Pooh. No, of course we couldn't tell 
 who the gentleman really was. 
 
 Pitti. It wasn t written on his forehead, 
 you know. 
 
 Ko. It might have been on his. pocket- 
 handkerchief, but Japanese don't use 
 pocket-handkerchiefs! Ha! ha! ha! 
 
 Mi^. Ha! ha! ha! (To Katisha.) I for- 
 get the punishment for compassing the 
 death of the Heir Apparent. 
 
 p ■ I Punishment. (They drop down 
 p°°. ■ I on their \nees again.) 
 
 Mi}{. Yes. Something lingering, with 
 boiling oil in it, I fancy. Something of that 
 sort. I think boiHng oil occurs in it, but I'm 
 not sure. I know it's something humerous, 
 but lingering, with either boiling oil or mel- 
 ted lead. Come, come don't fret — I'm not 
 a bit angry. 
 
 Ko. (in abject terror.) It your Majesty 
 will accept our assurance, we had no idea — 
 
 Mi^ Of course — 
 
 Pittt. I knew nothing about it. 
 
 Pooh. I wasn't there. 
 
 Mi\. That's the pathetic part of it. Un- 
 fortunately, the fool of an Act says "com- 
 passing the death of the Heir Apparent." 
 There's not a word about a mistake — 
 
 Ko., Pitti. and Pooh. No! 
 
 Mi\. Or not knowing — 
 
 Ko. No! 
 
 Mi\. Or having no notion — 
 
 Pitti. No! 
 
 Mi\. Or not being there — 
 
 Pooh. No! 
 
 Mi}{. There should be, of course — 
 
 Ko., Pitti. and Pooh. Yes! 
 
 Mi^. But there isn't. 
 
 Ko., Pitti. and Pooh. Oh! 
 
 Mi\. That's the slovenly way in which 
 these Acts are always drawn. However, 
 cheer up, it'll be all right. I'll have it al- 
 tered next session. Now, let's see about 
 your execution — will after luncheon suit 
 you? Can you wait till then? 
 
 Ko., Pitti. and Pooh. Oh, yes — we can 
 wait till then! 
 
 Mi\. Then we'll make it after lunch- 
 eon. 
 
 Pooh. I don't want any lunch. 
 
 Mi^. I'm really very sorry for you all, 
 but it's an unjust world, and virtue is 
 triumphant only in theatrical performances. 
 Glee. — Pitti-Sing, Katisha, Ko-Ko, Pooh- 
 Bah, and MiJ^ado. 
 Mi^. See how the Fates their gifts allot. 
 
Ensemble.' 
 
 M.^. 
 
 For A is happy — B is not. 
 Yet B is wcHthy, I dare say. 
 Of more pn»pehty than A! 
 Ko., Pooh..aTul Pitti. Is B more worthy? 
 Kat. I should say 
 
 He's worth a great deal more than 
 A. 
 
 Yet A is happy! 
 
 Oh, so happy! 
 Laughing, Ha! ha! 
 Chaffing, Ha! ha! 
 Nectar quaffing. Ha! ha! ha! 
 Ever joyous, ever gay, 
 Happy, undeserving A! 
 Ko.t Poo., and Pitti. 
 
 If I were Fortune — ^which I'm not — 
 B should enjoy A's happy lot. 
 And A should die in miserie — 
 That is, assuming I am B. 
 and Kat. But should A perish? 
 Ko.. Pooh., and Pitti. That should he 
 
 (Of course, assuming I am B). 
 B should be happy! 
 Oh, so happy! 
 Laughing, Ha! ha! 
 Chaffing, Ha! Ha! 
 Nectar quaffing. Ha! ha! ha! 
 But condemned to die is he. 
 Wretched meritorious B! 
 [Exeunt Mi\ado and Katisha. 
 Ko. Well, a nice mess you've got us 
 into, with your nodding head and the def' 
 erence due to a man of pedigree! 
 
 Pooh. Merely corroborative detail, in- 
 tended to give artistic verisimilitude to an 
 otherwise bald and unconvincing narrative. 
 Pitti. Corroborative detail indeed! Cor- 
 roborative fiddlestick! 
 
 Ko. And you're just as bad as he is 
 with your cock-and-a-bull stories about 
 catching his eye and whistling an air. But 
 that's so like you! You must put in your 
 oar! 
 
 Pooh. But how about your big right 
 right arm? 
 
 Pitti. Yes, and your snickersnee! 
 Ko. Well, well, never mind that now. 
 There's only one thing to be done. Nanki- 
 Poo hasn't started yet — he must come to 
 life again at once. (Enter T^anki'Poo and 
 Tum-Yum prepared for journey.) Here he 
 comes. Here, Nanki-Poo, I've good news 
 for you — you're reprieved. 
 
 Hank. Oh, but it's too late. I'm a dead 
 man, and I'm off for my honeymoon. 
 
 Ko. Nonsense! A terrible thing has just 
 happened. It seems you're the son of the 
 Mikado. 
 Hank. 
 time ago. 
 
 Ko. Is this a time for airy persiflage? 
 Your father is here, and with Katisha! 
 Hank- My father! And with Katisha: 
 Ko. Yes, he wants you particularly. 
 Pooh. So does she. 
 Turn. Oh, but he's married now. 
 Ko. But, bless my heart! what has that 
 to do with it? 
 
 Hflnk. Katisha claims me in marriage, 
 but I can't marry her because I'm married 
 already — consequently she will insist on my 
 execution, and if I'm executed, my wife 
 will have to be buried alive. 
 Yum. You see our difficulty. 
 
 Yes, but that happened some 
 
 Ko. Yes. I don't know what's to be 
 done. 
 
 Honk. There's one chance for you. If 
 you could persuade Katisha to marry you, 
 she would have no further claim on me, 
 and in that case I could come to Hfe with' 
 out any fear of being put to death. 
 Ko. I marry Katisha! 
 Turn. I really think it's the only course. 
 Ko. But, my good girl, have you seen 
 her? She's something appalling! 
 
 Pitti. Ah! that's only her face. She has 
 a left elbow which people come miles to 
 see! 
 
 Pooh. I am told that her right heel is 
 much admired by connoisseurs. 
 
 Ko. My good sir, I decline to pin my 
 heart upon any lady's right heel. 
 
 7^ian^. It comes to this: While Katisha 
 is single, I prefer to be a disembodied spirit. 
 When Katisha is married, existence will be 
 as welcome as the flowers in spring. 
 Duet. — Hanki'Poo and Ko'Ko. 
 (With Tum-Tum, Pitti-Sing, and Pooh- 
 Bah.) 
 Hi^nk. 
 
 The flowers that bloom in the spring, 
 Tra la. 
 Breathe promise of merry sunshine — 
 As merrily dance and we sing, 
 
 Tra la. 
 We welcome the hope that they bring, 
 Tra la. 
 Of a summer of roses and wine. 
 
 And that's what we mean when we 
 
 say that a thing 
 Is welcome as flowers that bloom in 
 the spring. 
 Tra la la la la la, E^c. 
 All. Tra la la la, 6?c. 
 Ko. 
 The flowers that bloom in the spring, 
 Tra la, 
 Have nothing to do with the case. 
 I've got to take under my wing, 
 
 Tra la, 
 A most unattractive old thing, 
 Tra la, 
 With a caricature of a face. 
 
 And that's what I mean when I say, 
 
 or I sing, 
 "Oh, bother the flowers that bloom 
 in the spring." 
 Tra la la la la la, dc. 
 All. Tra la la la, Tra la la la. &c. 
 
 (Dance and exeunt Hanki'Poo, Tuni'Tum, 
 Pooh-Bah, Pitti-Sing, and Ko-Ko.) 
 
 Enter Katisha. 
 Recitative and Song. — Katisha. 
 Alone, and yet alive! Oh, sepulchre! 
 My soul is still my body's prisoner! 
 Remote the peace that Death alone can 
 
 give— 
 My doom, to wait! my punishment, to 
 live! 
 
 Song. 
 Hearts do not break! 
 They sting and ache 
 For old love's sake. 
 
 But do not die. 
 Though with each breath 
 They long for death 
 As witnesseth 
 The living I! 
 
 Oh, living I! 
 Come, tell me why. 
 When hope is gone 
 Dost thou stay on? 
 Why linger here. 
 Where all is drear? 
 Oh, living I! 
 Come, tell me why, 
 When hope is gone. 
 Dost thou stay on? 
 May not a cheated maiden die? 
 Ko. (entering and approaching her timid' 
 l3>). Katisha! 
 
 Kat. The miscreant who robbed me of 
 my love! But vengeance pursues — they are 
 heating the cauldron! 
 
 Ko. Katisha — behold a suppliant at 
 your feet! Katisha — mercy! 
 
 Kat. Mercy? Had you mercy on him? 
 See here, you! You have slain my love. He 
 did not love me, but he would have loved 
 me in time. I am an acquired taste — only 
 the educated palate can appreciate me. I 
 was educating his palate when he left me. 
 Well, he is dead, and where shall I find an' 
 other? It takes years to train a man to love 
 me. Am I to go through the weary round 
 again, and, at the same time, implore mercy 
 for you who robbed me of my prey — ^I 
 mean my pupil — ^just as his education was 
 on the point of completion? Oh, where shall 
 I find another? 
 
 Ko. (suddenly, and with great vehe- 
 mence). Here! — Here! 
 Kat. What ! ! ! 
 
 Ko. (with intense passion). Katisha, for 
 years I have loved you with a white'hot 
 passion that is slowly but surely consuming 
 my very vitals! Ah, shrink not from me! If 
 there is aught of woman's mercy in your 
 heart, turn not away from a love'sick sup' 
 pliant whose every fibre thrills at your tini' 
 est touch! True it is that, under a poor 
 mask of disgust, I have endeavoxired to con' 
 ceal a passion whose inner fires are broiling 
 the soul within me! But the first will not 
 be smothered— it defies all attempts at ex' 
 tinction, and, breaking forth, all the more 
 eagerly for its long restraint, it declares it- 
 self in words that will not be weighed — 
 that cannot be schooled — that shoiHd not 
 be too severely criticised. Katisha. I dare 
 not hope for your love — but I will not live 
 without it! Darling! 
 
 Kat. You, whose hands still reek with 
 the blood of my betrothed, dare to address 
 words of passion to the woman you have so 
 foully wronged! 
 
 Ko. I do — accept my love, or I perish 
 on the spot! 
 
 Kat. Go to! Who knows so well as I 
 that no one ever yet died of a broken heart! 
 Ko. You know not what you say. 
 Listen! 
 
 Song. — Ko-Ko. 
 On a tree by a river a little torn-tit 
 
 Sang "Willow, titwillow, titwillow!" 
 
 And I said to him, "Dicky-bird, why do 
 
 you sit 
 
 Singing 'Willow, titwillow, titwillow'? 
 
 "Is it weakness of intellect, birdie?" I 
 
 cried, 
 "Or a rather tough worm in your little 
 inside?" 
 
With a shake of his poor little head, he 
 replied, 
 "Oh, willow, titwillow, titwillow!" 
 He slapped at his chest, as he sat on that 
 bough. 
 Singing "Willow titwillow, titwillow!" 
 And a cold perspiration bespangled his 
 brow, 
 Oh, willow, titwillow, titwillow! 
 He sobbed and he sighed, and a gurgle 
 
 he gave. 
 Then he plunged himself into the billowy 
 
 wave. 
 And an echo arose from the suicide's 
 grave — 
 "Oh, willow, titwillow, titwillow!" 
 Now I feel just as sure as I'n^ sure that 
 
 my name 
 Isn't Willow, titwillow, titwillow. 
 That 'twas blighted affection that made 
 him exclaim, 
 "Oh, willow, titwillow, titwillow!" 
 And if you remain callous and obdurate, 
 
 I 
 Shall perish as he did, and you will know 
 
 why. 
 Though I probably shall not exclaim as 
 I die, 
 "Oh, willow, titwillow, titwillow!" 
 (During this song Katisha has been great- 
 ly affected, and at the end is almost in 
 tears.) 
 
 Kat. ( whimpering). Did he really Jie of 
 love? 
 
 Ko. He really did. 
 
 Kat. All on account of a cruel little 
 hen? 
 
 Ko. Yes. 
 
 Kat. Poor little chap! 
 Ko. It's an affecting tale, and quite 
 true. I knew the bird intimately. 
 
 Kat. Did you? He must have been very 
 fond of her? 
 
 Ko. His devotion was something extra- 
 ordinary. 
 
 Kat. (still lyhimpering) . Poor little chap! 
 And — and if I refuse you, will go and do 
 the same? 
 
 K(j. At once. 
 
 Kat. No, no — you mustn't! Anything 
 but that! (Falls on his breast.) Oh, I'm a 
 silly little goose! 
 
 Ko. (making a wry face). You are! 
 Kat. And you won't hate me because 
 I'm just a little teeny weeny wee bit blood- 
 thirsty, will you? 
 
 Ko. Hate you? Oh, Katisha! is there 
 not even beauty even in bloodthirstincss? 
 Kat. My idea exactly. 
 
 Duet. — Katisha and Ko-Ko. 
 Kat. 
 There is beauty in the bellow of the 
 blast. 
 There is grandeur in the growling of 
 the gale. 
 There is eloquent outpouring 
 When the lion is a-roaring. 
 And the tiger is a -lashing of his tail! 
 Ko. Yes, I like to see a tiger 
 
 From the Ck>ngo or the Niger, 
 And especially when lashing of his 
 tail! 
 
 Kat. 
 
 Volcanoes have a splendour that is grim. 
 And earthquakes only terrify the dolts. 
 But to him who's scientific 
 There's nothing that's terrific 
 In the falling of a flight of thunder- 
 bolts! 
 Ko. Yes, in spite of all my meekness. 
 If I have a little weakness. 
 It's a passion for a flight of thunder- 
 bolts! 
 Both. If that is so. 
 
 Sing derry down derry! 
 It's evident, very. 
 
 Our tastes are one. 
 Away we'll go. 
 
 And merrily marry. 
 Nor tardily tarry 
 
 Till day is done! 
 Ko. 
 
 There is beauty in extreme old age — 
 Do you fancy you are elderly enough? 
 Information I'm requesting 
 On a subject interesting: 
 Is a maiden all the better when she's 
 tough? 
 Kat. Throughout this wide dominion 
 
 It's the general opinion 
 That she'll last a good deal longer 
 when she's tough. 
 Ko. 
 
 Are you old enough to marry, do you 
 think? 
 Won't you wait till you are eighty in 
 the shade? 
 There's a fascination frantic 
 In a ruin that's romantic; 
 Do you thing you are sufficiently 
 decayed? 
 Kat. To the matter that you mention 
 
 I have given some attention. 
 And I think I am sufficiently decayed. 
 Both. If that is so. 
 
 Sing derry down derry! 
 It's evident, very. 
 Our tastes are one! 
 Away we'll go. 
 
 And merrily marry. 
 Nor tardily tarry 
 Till day is done! 
 
 [Exeunt together. 
 Flourish. Enter the Mikado, attended by 
 Pi.ih'Tush and Court. 
 
 Mi\. Now then, we've had a capital , 
 lunch, and we're quite ready. Have all 
 the painful preparations been made? 
 Pish. Your Majesty, all is prepared. 
 Mi\. Then produce the unfortunate gen- 
 tleman and his two well-meaning but mis- 
 guided accomplices. 
 
 Enter Katisha, Ko-Ko, Pitti-Stng and 
 Pooh-Bah. They throw themselves at the 
 Mtl^ado's feet. 
 
 Kat. Mercy! Mercy for Ko-Ko! Mercy 
 for Pitti-Sing!, Mercy even for Pooh-Bah! 
 Mi\. I beg your pardon, I don't think I 
 quite caught that remark. 
 
 Pooh. Mercy even for Pooh-Bah. 
 Kat. Mercy! My husband that was to 
 have been is dead, and I have just married 
 this miserable object. 
 
 Mi^. Oh! You've not been long about it! 
 Ko. We were married before the Regis- 
 trar. 
 
 Pooh. I am the Registrar. 
 Mi\. I see. But my difficulty is that, as 
 you have slain the Heir Apparent — 
 
 Enter 7s[ani^»-Poo and Tum-Tum. They 
 \neel. 
 
 7>lanl{i. The Heir Apparent is not slain. 
 Mi\. Bless my heart, my son! 
 Turn. And your daughter-in-law elected! 
 Kat. (seizing Ko-Ko). Traitor, you have 
 deceived me! 
 
 Mi\. Yes, you are entitled to a little ex- 
 planation, but I think he will give it better 
 whole than in pieces. 
 
 Ko. Your Majesty, it's like this: It is 
 true that I stated that I had killed Nanki- 
 Poo— 
 Mtl{. Yes, with most affecting particulars. 
 Pooh. Merely corroborative detail intend- 
 ed to give artistic verisimilitude to a bald 
 and — - 
 
 Ko. 'Will you refrain from putting in 
 your oar? (To Mikado.) It's like this: 
 when your Majesty says, "Let a thing be 
 done," it's as good as done — practically, it 
 is done — because your Majesty's will is law. 
 Your Majesty says, "Kill a gentleman," and 
 a gentleman is told off to be killed. Con- 
 sequently, that gentleman is as good as 
 dead — practically, he is dead — and if he is 
 dead, why not say so? 
 
 Mi\. I see. Nothing could possibly be 
 more satisfactory! 
 
 Finale. 
 Pitti. For he's gone and married Yum- 
 Yum— 
 
 All. YumYum! 
 
 Pitti. Your anger pray bury. 
 For all will be merry, 
 I think you had better succumb — 
 All. Cumb — cumb! 
 
 Pitti. And join our expressions of glee! 
 Ko. On this subject I pray you be dumb- 
 All. Dumb — dumb! 
 Ko. Your notions, though many. 
 Are not worth a penny. 
 The word for your guidance is 
 "Mum" — 
 
 All. Mum-mum! 
 
 Ko. You've a very good bargain in me. 
 All. On this subject we pray you be 
 dumb — Dumb — dumb! 
 We think you had better succumb — 
 Cumb-cumb! 
 You'll find there are many 
 Who'll wed for a penny, 
 There are lots of good fish in the sea. 
 Turn, and J^an\. 
 
 The threatened cloud has passed away, 
 And fairly shines the dawning day; 
 What though the night may come too 
 
 soon. 
 We've years and years of afternoon! 
 All. Then let the throng 
 Our joy advance. 
 With laughing song ' 
 
 And merry dance, 
 With joyous shout and ringing cheer. 
 Inaugurate their new career! 
 Then let the throng, i^c. 
 
 Curtain. 
 
The Pirates 
 OF Penzance 
 
 H. M. S. 
 Pinafore 
 
 Patience 
 
,\ 
 
 Martyn Green 
 
 Ella Halman 
 
 MARTYN GREEN comes of a musical family. His father was William 
 Green, world-famous tenor. It was his father who taught him to 
 .sing at a very early age. Later he studied at the Royal College of 
 Music in London. He toured in "The Maid of the Mountains," "The 
 Southern Maid," and "Sybil" with Jose Collins. He also played 
 the part of Peter m "Hansel and Gretel." He joined the D'Oyly 
 Carte Opera Company in 1922, as a chorister and understudy,^ and 
 two weeks later played the part of Luir. in "The Gondoliers." For 
 some years he played small parts and understudied the "comedian 
 roles, which he eventually played to delighted American audiences 
 during the 1934 sea.son. Since that time he has continued to play, 
 sing and dance in these exacting roles with a hilarity, melody and 
 artistry that i-. characteristic of the man and the parts entrusted 
 to him. 
 
 ELLA HALMAN is a natuc of Sussex. She first took up singing 
 seriously at the age of 18, when she won the Sussex County Scholar- 
 ship and .studied for several years at the Brighton School of Music. 
 She commenced her Operatic career with the Carl Rosa Opera Com- 
 pany and toured with them for three years, after which she resumed 
 her studies, this time in London and took her L.R.A.M. there. 
 After some experience in concert work and teaching, Miss Halman's 
 ambitions led her back to the stage and she joined the D'Oyly Carte 
 Opera Company m 1937, .singing in the chorus for three years. 
 Then came the opportunity of playing the role of "The Duchess of 
 Plaza-Toro" at very short notice, and it was immediately obvious 
 that she was ideally suited to the contralto roles which she took over 
 at the end of 1939 and has played with marked success ever since. 
 
 MARGARET MITCHELL, one of the young principal sopranos in 
 the D'Oyly Carte Opera Company, is of Scottish birth, having been 
 born in Dollar, a few miles outside Glasgow in 1927. She was edu- 
 cated at Dollar Academy and took up singing at an early age: whilst 
 training during the War she entertained at Hospitals and Camps. 
 Her first audition with the D'Oyly Carte Opera Company was at the 
 age of l^Yz years, but she was told that she was too young. Later 
 she was sent for to attend another audition and joined the Company; 
 within a few weeks she played the part of "Yum-Yum" in "The 
 Mikado." Margaret Mitchell is the posses.sor of a sweet soprano voice 
 and has a distinct stage personality. 
 
 CHARLES DORNING, one of the youthful members of the D'Oyly 
 Carte Opera Company who has recently been engaged to play light 
 baritone roles in the Gilbert and Sullivan Operas, will be making 
 his first stage appearance m America during the Company's season 
 at the Century Theatre. Charles Doming is a South African, hav- 
 ing been born m Salisbury, Rhodesia, and was educated there. At 
 the age of 17 he came to London to seek a stage career, beginning 
 in the Richmond (Surrey) Repertory Company and very soon was 
 playing leading juvenile parts. Later he played important parts m 
 Shakespeare plays with the Elizabethan Stage Society under William 
 Poel, and, during this time, he studied singing making rapid pro- 
 gress, very soon becoming a member of the Carl Rosa Opera Com- 
 pany during their season at the Lyceum Theatre in London. After 
 this he was engaged to play a leading part in "A Waltz Dream" 
 and "No No Nanette." Then came his first big London success as 
 "folidon" m "The Merry Widow" at His Majesty's Theatre. At short 
 
 Margaret Mitchell 
 
 Charles Dorning 
 
 notice he took over the leading part in "Sweet Yesterday" the 
 musical play at the Adelphi Theatre, then toured in "The Lisbon 
 Story" and returned again to the Adelphi Theatre in "Can Can." 
 
 RICHARD WATSON, the bass baritone who has rejoined the 
 D'Oyly Carte Opera Company after a few years in Australia playing 
 Gilbert and Sullivan roles with marked success. Richard Watson was 
 a student at University Conservatorium, Adelaide, and later became 
 Assistant Master at King's College, Adelaide. He gained the Elder 
 Overseas Scholarship at the Royal College of Music, London, 1927- 
 1930 and became principal bass with the Covent Garden English 
 Opera Company and sang leading roles during the International 
 seasons 1930-1932. Following this he joined the D'Oyly Carte Opera 
 Company playing various roles until he went to Australia in 193 5, 
 returning to Covent Garden m 1937 and then back to Australia in 
 1940. The present visit will be Richard Watson's first visit to America 
 with the D'Oyly Carte Opera Company. 
 
 DENISE FINDLAY. There is a delightful suburb to the West of 
 Paris named Marly-le Roi and it was in that little town of Seine-et- 
 Oise some four and twenty years ago that Denise Findlay was born, 
 an issue of one of the many romances of the war of 1914-18. The 
 Scottish soldier met the French girl and both fell in love. They 
 married when the former soldier returned to France after the war 
 to seek his sweetheart and to make his home in that fair country. 
 Denise sang from the earliest age with much purity and sweetness. 
 When she was four her range of operatic arias was startling. An 
 earnest, merry, singing little girl, she was eight when the family left 
 France, going to Glasgow in Scotland and shortly afterwards to 
 Manchester where for some years they resided before returning to 
 Glasgow. Little Denise's talent for singing did not develop for a 
 time for she had become shy with strangers. Her parents had almost 
 despaired of her using her voice publicly until the time came when 
 she was persuaded to sing at a Church Concert. Appreciation of her 
 voice was immediate. Immediate also was the decision to have that 
 voice trained. From that time nearly eight years ago Denise decided 
 that she would be an operatic singer. When she felt her technique 
 was good enough to justify her taking the step, she secured an 
 introduction to Mr. Rupert D'Oyly Carte who granted her an audi- 
 tion in the early spring of that year. The remainder of Denise's story 
 is quickly told. Having joined the D'Oyly Carte Opera Company as a 
 chorister she is now playing soubrette parts in the Company. 
 
 DARRELL FANCOURT, one of the great names known to Gilbert 
 and Sullivan lovers since 1920, when he joined the D'Oyly Carte 
 Opera Company. Darrell Fancourt plays the bass baritone parts in 
 the Operas, and in his early days studied singing in Germany for 
 eight years under such notable instructors as Lilli Lehmann, Alberto 
 Randegger, Armando Leconte and Dr. Lierhammer. He sang at Sym- 
 phony Concerts in Paris, Berlin, Geneva and Lausanne, and later 
 he sang regularly at Promenade Concerts under Sir Henry Wood 
 and at the Chappell Ballad Concerts. In 1919 he sang the part of 
 "Prince Galitzky" in "Prince Igor" in the Grand Opera Season at 
 the Royal Opera House, Covent Garden. He has been prominently 
 identified with the D'Oyly Carte Opera Company ever since he 
 first joined. 
 
 Richard Wat.son 
 
 Denlse Findlay 
 
 Darrell Fancourt 
 
f.r ■ 
 
 Thomas Round 
 
 Helen Roberts 
 
 Joan Gillingham 
 
 Leonard Osborn 
 
 THOMAS ROUND, who is now sharing the tenor roles with 
 Leonard Osborn in the Gilbert and Sullivan Operas with the D'Oyly 
 Carte Opera Company, is a native of Lancashire, having been born 
 in 1915 at Barrow-in-Furness. He joined the Company at the com- 
 mencement of the present tour and is now playing "Nanki-Poo" in 
 "The Mikado," "Luiz" in "The Gondoliers," "Frederic" in "The 
 Pirates of Penzance" and "Tolloller" in "lolanthe." 
 
 HELEN ROBERTS, who hails trom London, studied music under 
 Spencer Clay, after which she went to Italy to perfect her studies 
 and became associated with the Milan Opera Company, singing the 
 part of "Novina" in Donizetti's Opera "Don Pasquale." Returning 
 to England, she appeared as the "Doll" and Antonia" in "The Tales 
 of Hoffman." In 1932 she won the Gold Medal for the best ren- 
 dering of one of Sir Arthur Sullivan's arias, which aroused an inter- 
 est in the Gilbert and Sullivan Operas, and, after a season with the 
 Glyndebourne Opera Company, she was engaged by the D'Oyly 
 Carte Opera Company as one of the principal sopranos. Helen Rob- 
 erts scored a distinct personal success in the Operas on her previous 
 visit to the States with the Company. 
 
 training and instructing. Alter serving for six years he was demobbed 
 with the rank of Flight-Lieutenant. During three years in Iceland 
 he gave a number of concerts and later, when stationed in Canter- 
 bury, sang in the Cathedral Choir at weekends and gave recitals at 
 the Cathedral. Leonard Osborn is a native of Surrey and first 
 studied for school teaching, but later went into industry as an analy- 
 tical chemist. On his release from the R.A.F. in 1946 he returned 
 to the D'Oyly Carte Opera Company, sharing the tenor roles with 
 Thomas Round, playing "Marco" in "The Gondoliers," "Fairfax" 
 in "The Yeomen of the Guard" and the "Duke" in "Patience. " 
 
 RICHARD WALKER jouied the D'Oyly Carte Opera Company in 
 1924 as a chorister and understudy. He very soon proved himself 
 a true Gilbert and Sulli\'an artist and has for some years now been 
 entrusted with baritone leads. Richard Walker studied singing at 
 the Midland Conservatoire and became an Associate and Licentiate 
 of the London College of Music. Like Darrell Fancourt, Helen 
 Roberts and others of the present Company, he scored a distinct 
 success (.m his previous \'isits to the States. 
 
 JOAN GILLINGHAM, who is another of the youthful members 
 of the D'Oyly Carte Opera Company, is a Londoner by birth and, 
 with her twin sister, was educated at the TifRn Girls' School at 
 Kingston, Surrey, until she was eighteen. On leaving school she 
 obtained a secretarial post in London. Being keen on music she took 
 up voice training under Madam Retta Ariani. In 1942 Joan Gilling- 
 ham volunteered for the W.A.A.F. and became a Radar Operator. 
 Later, a special W.A.A.F. show was formed at the Air Ministry. 
 and, with her twin sister, she was chosen with eight others out of 
 an audition given to 500. The show toured England and the Con- 
 tinent twice, performing at R.A.F. Camps and Garrison Theatres 
 in Paris, Bordeaux, Marseilles, Lyons, Brussels, Lubeck, Keil and 
 Hamburg, etc. On being demobilized Joan Gillingham returned to 
 her secretarial post for a few months, but she found the urge for 
 the Theatre was uppermost, and having been keenly interested in 
 the D'Oyly Carte Opera Company's productions of Gilbert and 
 Sullivan Operas, she applied for an audition which she gave at the 
 Savoy Theatre and joined the Company on tour the following month. 
 A few weeks later she played her first part, that of "Leila" in 
 "lolanthe," and was then given the opportunity of playing several 
 small parts, in which she has proved herself very successful. 
 
 LEONARD OSBORN, who first joined the D'Oyly Carte Opera 
 Company in 1937 as understudy and playing small parts, is another 
 of the Company who served in the R.A.F., his duties mainly being 
 
 GWYNETH CULLIMORE, one of the youthful members of the 
 D'Oyly Carte Opera Company, being in the early twenties, was 
 born in a small Welsh village and lived a village life until moving to 
 Newport about six years ago. A well-known Welsh professor of 
 music recognized her ability and with him she studied voice pro- 
 duction. Her ambition was to join an Opera Company, preferably 
 the D'Oyly Carte. During the War Miss Cullimore worked as a 
 shorthand typist in the Civil Service and in her spare time she was 
 entertaining troups and wounded soldiers, in addition to singing at 
 concerts for charities. She was eventually granted an audition by 
 the D'Oyly Carte Company, and when she obtained her release from 
 the Ministry of Supply joined the Company as a chori.ster. She very 
 soon became an understudy and was shortly afterwards entrusted 
 with the part of "The Plaintiff" in "Trial by Jury." 
 
 ISIDORE GODFRE'i', the musical director of the Company, is a 
 Londoner. He received his musical training at the Guildhall School 
 of Music, London, under the late Sir Landon Ronald, the famous 
 composer and conducter. He holds the diploma of Associateship, 
 with gold medal, for the highest marks of his year. Mr. Godfrey 
 is also a very gifted pianist and before joining the Company gave 
 many recitals in this capacity. He joined the D'Oyly Carte Opera 
 Company in 1925 and has toured with them all over England, 
 Scotland and Ireland. This is Mr. Godfrey's fourth visit to America 
 with the Company. 
 
 Richard "Walker 
 
 Gwyneth Cullimore 
 
 Isidore Godfrey 
 
Act I. — Patience 
 
 A Magnificent Tribute 
 
 From an eminent Scholar and Gentleman. 
 
 Gilbert and Sullivan 
 
 It IS my conviction that one of the best things that has 
 happened in many years is the visit to the United States 
 of the D'Oyly Carte Gilbert and Sullivan Opera Company. 
 These distinguished artists have done more to increase and 
 to cement good fellowship between America and Great 
 Britain than almost any other agency. They did not know 
 when they planned this excursion whether it would be 
 successful or not; they knew that our country was the 
 home of jaz; and musical comedy; they were not at all 
 certain that light operas more than "iO years old, given 
 without any changes or any concessions to what is supposed 
 to be contemporary taste would be received with enthusiasm. 
 
 The fact is that the productions by this company have 
 been and are the most successful entertainments in New 
 York; the house is sold out for every performance, the stay 
 m our metropolis has already been prolonged a month 
 longer than was advertised originally; and it looks as if 
 they might go on for two or three years if they wished. 
 
 The result is that all these British singers love Americans 
 as they never loved them before; and on the other hand. 
 
 Americans are so delighted with the presentation of these 
 operatic masterpieces and with the exquisite art displayed 
 by the troupe from across the sea, that we have an affection 
 for these singers and musicians that cannot he cooled or 
 diminished by time. 
 
 The wit and humor of Gilbert, the lovely melodies of 
 Sullivan, have been a fresh revelation; it is not too much 
 to say they have helped to educate us m appreciation of 
 the higher form of entertainment. Light opera, as exhibited 
 by this company, is funnier than musical comedy and far 
 more fascinating than ja?2. 
 
 It would be a serious error to suppose that m the history 
 of music these delightful comic operas take a secondary 
 place. Sir Arthur Sullivan is the greatest musical composer 
 in the history of Great Britain. His works are masterpieces. 
 
 We shall continue to talk about these performances long 
 after the company have returned to their native land; and 
 It IS certain that in their native land they will have only 
 the most enthusiastic and most affectionate expressions in 
 talking about Americans. 
 
 William Lyon Phelps 
 
 Act I. 
 
 lOL.^NTHE 
 
 PRINTED IN U.S.A.