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The Mountebanks
''The Mountebanks'' is a comic opera in two acts with music by Alfred Cellier and a libretto by W. S. Gilbert. It was first produced at the Lyric Theatre, London, on 4 January 1892, for a run of 229 performances. It also toured extensively, had a short Broadway run, in 1893, American tours and Australian productions. The original cast included Geraldine Ulmar, Frank Wyatt, Lionel Brough, Eva Moore and Furneaux Cook. The American cast included Hayden Coffin and Lillian Russell. Despite its initial success, the work has been rarely revived professionally since the First World War, although the Lyric Theatre Company of Washington D.C. recorded it in 1964.〔Bond, Ian. ("Rarely Produced Shows: ''The Mountebanks''" ), St. David's Players, accessed 22 July 2010〕
==Background==
The story of the opera revolves around a magic potion that transforms those who drink it into whoever, or whatever, they pretend to be. The idea was clearly important to Gilbert, as he repeatedly urged his famous collaborator, Arthur Sullivan, to set this story, or a similar one, to music. For example, he had written a treatment of the opera in 1884, which Sullivan rejected, both because of the story's mechanical contrivance, and because they had already produced an opera concerning a magic potion, ''The Sorcerer''.〔Stedman, pp. 283–85〕〔("Cellier. ''The Mountebanks'' ). ''The Gramophone'', September 1965, p. 85, accessed 14 July 2010〕〔Gilbert had also written an earlier burlesque of Donizetti's ''L'elisir d'amore'' called ''Dulcamara, or the Little Duck and the Great Quack'' in 1866 and a short story called ''An Elixir of Love'' in 1876, as well as a play involving a magic potion and magic pills, ''Foggerty's Fairy'' (1881).〕 The idea of a magic potion that changes human behavior has long been a common theme of literature and opera. The device allowed Gilbert to explore "how people behave when they are forced to live with the consequences of their own actions."〔Smith, J. Donald. Introduction to Cellier, Alfred and W. S. Gilbert, ''The Mountebanks'', Gordon-Powell, Robin (ed. music) and Smith, J. Donald (ed. libretto), The Amber Ring, Vol. 1, 2014 (available at robin@amber-ring.co.uk)〕
The Gilbert and Sullivan partnership and their Savoy operas dominated the London musical stage from the late 1870s to 1890.〔 When that partnership temporarily disbanded, due to a quarrel over finances after the production of ''The Gondoliers'', Gilbert sought another composer who would collaborate on the idea that Sullivan had repeatedly rejected. He eventually found a willing partner in Alfred Cellier, a logical choice for Gilbert. The two had collaborated once before (''Topsyturveydom'', 1874), and Cellier had been the music director for Gilbert and Sullivan's early operas.〔 Cellier had also achieved much success apart from Gilbert and Sullivan, particularly with his comic opera ''Dorothy'' (1886), a smash hit. It played for over 900 performances, considerably more than ''The Mikado'', Gilbert and Sullivan's most successful piece. ''Dorothy'' set and held the record for longest-running piece of musical theatre in history until the turn of the century.〔Gillan, Don. (Longest Running Plays in London and New York, 1875 to 1920 ) at the Stage Beauty website (2007)〕
Cellier suffered from tuberculosis for most of his adult life,〔Stedman, p. 279〕 but during the composition of ''The Mountebanks'', he deteriorated rapidly and died, at the age of 47, while the opera was still in rehearsals.〔 All of the melodies and vocal lines in the opera were composed by Cellier, but he did not complete the orchestration before his death. The score was completed by the Lyric Theatre's musical director, Ivan Caryll, a successful composer in his own right. Caryll composed the entr'acte, using the melody from Number 16, and he wrote or modified the orchestration for more than half a dozen of the songs. He chose the 4th movement of Cellier's 1878 orchestral piece, the ''Suite Symphonique'', to use as the opera's overture.〔〔A vocal score, with dialogue, is available at Lulu.com〕 One song whose lyrics were printed in the libretto available on the first night were never set to music, and another was cut before the opening night.〔Smith, J. Donald. "The Missing Songs of ''The Mountebanks''", ''W. S. Gilbert Society Journal'', Vol. 4, part 4, issue 30, pp. 15–31 (2012)〕 After Cellier's illness prevented him from finishing the score, Gilbert modified the libretto around the gaps, and the order of some of the music was changed.〔
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