Gilbert and Sullivan
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ENO’s surefooted return for Leigh’s 2015 Gilbert and Sullivan production has a cast richly decked with boastful pirates and a proto-Wagnerian police chief
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Brief letters: WS Gilbert | I, Daniel Blake | Grouse shooting | Indie origins | New pound coin | Hair Force One
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Colourful new production takes a few pokes at tax evaders and Volkswagen, though it misses the subversive point
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Brief letters: Fibonacci sequences | Statistics | Ian Mikardo | Readers in Romford
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Letters: The Shadows’ Wonderful Land would be ideal – no words to offend and the opportunity for thousands of people at public events to play synchronised air guitar
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Collection of more than a century of material owned by the D’Oyly Carte Opera Company will give public insight into comic opera
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Mike Leigh’s conventional production of The Pirates of Penzance highlights its enduring wit
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If Mr Burns, a provocative vision of post-apocalyptic America, has been slammed, it's because theatre critics know more about Homer than Homer Simpson. More fool them, writes Mark Lawson
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Versatile stage and screen character actor loved for his roles in popular TV comedies
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Filmmaker to direct English National Opera production of Gilbert and Sullivan classic at Coliseum next year
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Arthur Sullivan's little known romantic musical drama is strongly cast, but it lacks the crucial light touch, says Andrew Clements
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Brecht's belief that drama should present moral ideas through action is unfashionable, but as theatre becomes ever more narcissistic, audiences are seeking him out again, writes Michael Billington
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English National Opera stalwart with a vast repertoire who performed in Jonathan Miller's Mikado more than 150 times
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Sullivan's gleeful musical pastiches and Gilbert's outlandish rhymes and satire should induce real belly laughs, but here only got giggles, writes Kate Molleson
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I'm interested in what can be done with words, but I like to jazz things up a bit
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Other lives: Dental surgeon who practised in Great Yarmouth, Norfolk, and always maintained his love of amateur radio
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A cast of experienced singers demonstrated how genuinely expressive Sullivan's writing is when delivered to this level of accomplishment, writes George Hall
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A musicologist at Oxford University explains why music feels so important to all our lives – and discusses the six songs that matter most to him
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Two fine new productions supplant decorative Chekhovian melancholy with anger. And Gilbert and Sullivan's biggest flop is as facetious as when last seen in 1896, writes Susannah Clapp
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Gilbert and Sullivan's rarely seen final opera shows all the signs of a famous partnership at the end of its tether, writes Michael Billington
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The strength of the production lies in its realisation that Sullivan's tunes cry out to be danced, writes Michael Billington
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Resist all you like, but Opera North's Ruddigore is a winner. Alas, Bonnie Greer's Question Time opera Yes isn't, writes Fiona Maddocks
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This small-scale production of Gilbert and Sullivan's The Mikado is pitched somewhere between theatre of the absurd and vaudeville, and comes over with almost reckless gusto, writes George Hall
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Guest blogger Martin Hickes reviews The Yeomen of the Guard by Gilbert and Sullivan; performed by the Leeds Gilbert and Sullivan Society
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Emma Brockes: Stephen Sondheim's blasts at the likes of Gilbert and Sullivan are refreshing, but elsewhere he wilfully misses the point
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Derbyshire spa town revels in its role as setting for festival of Victorian light opera
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Andrew Clements: At home in everything from Handel to Gilbert & Sullivan, Mackerras was a man of exceptionally wide-ranging musical sympathies. Here are my favourite discs – what are yours?
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Stephen Joseph, Scarborough
Swapping the Japanese town of Tipitu for a cricket green brings out the home truths in Gilbert and Sullivan, writes Alfred Hickling
Patience, Pirates and premieres review – lovesick maidens and International Women's Day