Edit filter log

[ 0 => '{{short description|Comic one-act opera by Gilbert and Sullivan.}}', 1 => '{{about|the comic opera|the legal institution|jury trial|other uses|Trial by Jury (disambiguation)}}', 2 => '{{Italic title}}', 3 => '{{Use dmy dates|date=January 2013}}', 4 => '{{Use British English|date=January 2013}}', 5 => '[[File:Trial by Jury - Chaos in the Courtroom.png|right|350px|thumb|alt=Contemporary steel engraving illustrating the operetta. In the court, the defendant, with his guitar, clings to his new love. The jilted bride throws herself into the arms of the counsel while the judge gestures his displeasure and the usher tries in vain to control the ensuing disorder among the jury and spectators.|A scene from ''Trial by Jury'' as illustrated in the magazine ''[[Illustrated Sporting and Dramatic News]]'' of 1 May 1875]] ', 6 => ''''''Trial by Jury''''' is a [[comic opera]] in one act, with music by [[Arthur Sullivan]] and [[libretto]] by [[W. S. Gilbert]]. It was first produced on 25 March 1875, at London's [[Royalty Theatre]], where it initially ran for 131&nbsp;performances and was considered a hit, receiving critical praise and outrunning its popular companion piece, [[Jacques Offenbach]]'s ''[[La Périchole]]''. The story concerns a "[[breach of promise]] of marriage" lawsuit in which the [[judge]] and legal system are the objects of lighthearted [[satire]]. Gilbert based the libretto of ''Trial by Jury'' on an operetta parody that he had written in 1868.', 7 => '', 8 => 'The opera premiered more than three years after [[Gilbert and Sullivan]]'s only previous collaboration, ''[[Thespis (opera)|Thespis]]'', an 1871–72 Christmas season entertainment. In the intervening years, both the author and composer were busy with separate projects. Beginning in 1873, Gilbert tried several times to get the opera produced before the [[impresario]] [[Richard D'Oyly Carte]] suggested that he collaborate on it with Sullivan. Sullivan was pleased with the piece and promptly wrote the music.', 9 => '', 10 => 'As with most Gilbert and Sullivan operas, the plot of ''Trial by Jury'' is ludicrous, but the characters behave as if the events were perfectly reasonable. This narrative technique blunts some of the pointed barbs aimed at hypocrisy, especially of those in authority, and the sometimes base motives of supposedly respectable people and institutions. These themes became favourites of Gilbert through the rest of his collaborations with Sullivan. Critics and audiences praised how well Sullivan's witty and good-humoured music complemented Gilbert's satire.<ref name="Stedman12930"/> The success of ''Trial by Jury'' launched the famous series of 13&nbsp;collaborative works between Gilbert and Sullivan that came to be known as the [[Savoy opera|Savoy Operas]].', 11 => '', 12 => 'After its original production in 1875, ''Trial by Jury'' toured widely in Britain and elsewhere and was frequently revived and recorded. It also became popular as a part of charity benefits. The work continues to be frequently played, especially as a companion piece to other short Gilbert and Sullivan operas or other works. According to the theatre scholar [[Kurt Gänzl]], it is "probably the most successful British one-act operetta of all time".<ref name=Ganzl90 />', 13 => '', 14 => '==Background==', 15 => 'Before ''Trial by Jury'', [[W. S. Gilbert]] and [[Arthur Sullivan]] had collaborated on one previous opera, ''[[Thespis (opera)|Thespis; or, The Gods Grown Old]]'', in 1871. Although reasonably successful, it was a Christmas entertainment, and such works were not expected to endure.<ref name=Rees78>Rees, p. 78</ref> Between ''Thespis'' and ''Trial by Jury'', [[Gilbert and Sullivan]] did not collaborate on any further operas, and each man separately produced works that further built his reputation in his own field. Gilbert wrote several short stories, edited the second volume of his comic ''[[Bab Ballads]]'', and created a dozen theatrical works, including ''[[Happy Arcadia]]'' in 1872; ''[[The Wicked World]]'', ''[[The Happy Land]]'' and ''[[The Realm of Joy]]'' in 1873; ''[[Charity (play)|Charity]]'', ''[[Topsyturveydom]]'' and ''[[Sweethearts (play)|Sweethearts]]'' in 1874.<ref>Stedman, pp. 99&ndash;127</ref> At the same time, Sullivan wrote various pieces of religious music, including the ''[[Festival Te Deum]]'' (1872) and an [[oratorio]], ''[[The Light of the World (Sullivan)|The Light of the World]]'' (1873), and edited ''Church Hymns, with Tunes'' (1874), which included 45 of his own hymns and arrangements.<ref name=Ainger106/> Two of his most famous hymn tunes from this period are settings of "[[Onward, Christian Soldiers]]" and "[[Nearer, my God, to Thee]]" (both in 1872). He also wrote a suite of [[incidental music]] to ''[[The Merry Wives of Windsor]]'' (1874) and many [[parlour ballads]] and other songs, including three in 1874&ndash;75 with words by Gilbert: "The Distant Shore", "Sweethearts" (inspired by [[Sweethearts (play)|Gilbert's play]]) and "The Love that Loves Me Not".<ref name=Ainger106>Ainger, p. 106</ref>', 16 => '', 17 => '===Genesis of the opera===', 18 => '[[File:Trial by Jury - curve bend.jpg|thumb|right|alt= A page from a magazine with a short libretto in two columns, illustrated by quaint cartoons, which include a frieze of dancing lawyers and bailiffs.|[[W. S. Gilbert|Gilbert's]] original sketch of ''Trial by Jury'', published in ''[[Fun (magazine)|Fun]]'' in 1868]]', 19 => 'The genesis of ''Trial by Jury'' began in 1868, when Gilbert wrote a single-page illustrated comic piece for the magazine ''[[Fun (magazine)|Fun]]'' entitled ''Trial by Jury: An Operetta''. Drawing on Gilbert's training and brief practice as a [[barrister]], it detailed a "[[breach of promise]]" trial going awry, in the process spoofing the law, lawyers and the legal system. (In the [[Victorian era]], a man could be required to pay compensation should he fail to marry a woman to whom he was engaged.<ref>[http://www.lawreform.ie/_fileupload/consultation%20papers/wpBreachofPromise.htm "The Law Relating to Breach of Promise of Marriage"], Working Papers, p. 4, Dublin: [[Law Reform Commission (Ireland)|Law Reform Commission]] (1978)</ref>) The outline of this story was followed in the later opera, and two of its numbers appeared in nearly their final form in ''Fun''. The skit, however, ended abruptly: the moment the attractive [[plaintiff]] stepped into the witness box, the judge leapt into her arms and vowed to marry her, whereas in the opera, the case is allowed to proceed further before this conclusion is reached.<ref>[http://www.gsarchive.net/bab_ballads/html/trial.html ''Trial by Jury: An Operetta''], from ''[[Fun (magazine)|Fun]]'', 11 April 1868, Gilbert and Sullivan Archive edition, accessed 11 October 2007)</ref><ref>Bradley, pp. 6, 24, 36</ref>', 20 => '', 21 => 'In 1873, the opera manager and composer [[Carl Rosa]] asked Gilbert for a piece to use as part of a season of English opera that Rosa planned to present at the [[Theatre Royal, Drury Lane|Drury Lane Theatre]]; Rosa was to write or commission the music. Gilbert expanded ''Trial'' into a one-act [[libretto]]. Rosa's wife, [[Euphrosyne Parepa-Rosa]], a childhood friend of Gilbert's, died after an illness in 1874, and Rosa dropped the project.<ref>Stedman, pp. 120&ndash;21</ref><ref>Ainger, pp. 99–100 and 105</ref> Later in the same year, Gilbert offered the libretto to the impresario [[Richard D'Oyly Carte]], but Carte knew of no composer available to set it to music.<ref>Stedman, p. 125</ref>', 22 => '', 23 => 'Meanwhile, Sullivan may have been considering a return to [[light opera]]: ''[[Cox and Box]]'', his first comic opera, had received a London revival (co-starring his brother, [[Fred Sullivan]]) in September 1874. In November, Sullivan travelled to Paris and contacted [[Albert Millaud]], one of the librettists for [[Jacques Offenbach]]'s operettas. However, he returned to London empty-handed and worked on [[incidental music]] for the [[Gaiety Theatre, London|Gaiety Theatre]]'s production of ''[[The Merry Wives of Windsor]]''.<ref>Ainger, pp. 107&ndash;08</ref> By early 1875, Carte was managing [[Selina Dolaro]]'s [[Royalty Theatre]], and he needed a short opera to be played as an afterpiece to Offenbach's ''[[La Périchole]]'', which was to open on 30 January (with Fred Sullivan in the cast), in which Dolaro starred. Carte had asked Sullivan to compose something for the theatre and advertised in ''[[The Times]]'' in late January: "In Preparation, a New Comic Opera composed expressly for this theatre by Mr. Arthur Sullivan in which Madame Dolaro and [[Nellie Bromley]] will appear."<ref name=Ainger108>Ainger, p. 108</ref>{{efn|Apparently, this refers to another opera that Sullivan was working on for the Royalty: an advertisement in ''The Era'' on 14 March 1875 stated that "In consequence of the continued success of ''La Périchole'', the production of Mr. Sullivan's two-act opera is postponed".<ref>McElroy, p.&nbsp;40</ref> A gossip column in the ''Athenæum'', dated 13 March 1875, stated that Sullivan was working on new music for a piece at the [[St. James's Theatre]]. From this, McElroy speculates that Sullivan had already begun writing musical numbers for ''[[The Zoo]]'' before he shifted his energies to ''Trial by Jury'' and decided "to salvage them by telling [his librettist] to boil the libretto down to one act and [transfer] the project to another theatre."<ref>McElroy, pp. 51&ndash;52</ref>}} But around the same time, Carte also remembered Gilbert's ''Trial by Jury'' and knew that Gilbert had worked with Sullivan to create ''Thespis''. He suggested to Gilbert that Sullivan was the man to write the music for ''Trial''.<ref name=Ainger108/>', 24 => '', 25 => 'Gilbert finally called on Sullivan and read the libretto to him on 20 February 1875. Sullivan was enthusiastic, later recalling, "[Gilbert] read it through ...&nbsp;in the manner of a man considerably disappointed with what he had written. As soon as he had come to the last word, he closed up the manuscript violently, apparently unconscious of the fact that he had achieved his purpose so far as I was concerned, inasmuch as I was screaming with laughter the whole time."<ref name=Ainger109>Ainger, p. 109</ref> ''Trial by Jury'', described as "A Novel and Original Dramatic Cantata" in the original promotional material,{{efn|See First edition libretto cover on exhibition at the University of Rochester Libraries.<ref>[http://rbscp.lib.rochester.edu/gilbert-and-sullivan/details?Print=21 First edition libretto cover]</ref> In 1871 Sullivan had composed his only other "dramatic cantata", ''[[On Shore and Sea]]''.<ref>Young, p. 62</ref>}} was composed and rehearsed in a matter of weeks.<ref name=Ainger109/><ref>Stedman, pp. 128&ndash;29</ref>', 26 => '', 27 => '===Production and aftermath===', 28 => 'The result of Gilbert and Sullivan's collaboration was a witty, tuneful and very "English" piece, in contrast to the [[wikt:bawdy|bawdy]] [[Victorian burlesque|burlesques]] and adaptations of French [[operetta]]s that dominated the London musical stage at that time.<ref name=Stedman12930/>', 29 => '', 30 => '[[File:Trial by Jury cover.jpg|left|thumb|alt=A programme cover for the Royalty Theatre printed in black and blue with engraved illustrations and decorations. There is a large illustration of the main attraction, ''La Périchole'', but caricatures of Gilbert and Sullivan as cherubs frame a portrait of Selina Dolaro.|April 1875 programme for ''[[La Périchole]]'' and ''Trial by Jury''. Sullivan and Gilbert are the [[cherub]]s.]]', 31 => 'Initially, ''Trial by Jury'', which runs only 30&nbsp;minutes or so, was played last on a triple bill, on which the main attraction, ''[[La Périchole]]'' (starring Dolaro as the title character, Fred Sullivan as Don Andres and [[Walter H. Fisher]] as Piquillo), was preceded by the one-act [[farce]] ''[[Cryptoconchoidsyphonostomata]]''.<ref name=Ainger109/> The latter was immediately replaced by a series of other [[Curtain raiser (drama)|curtain raisers]].<ref name=Ainger110>Ainger, p. 110</ref>{{efn|The fashion in the late [[Victorian era]] was to present long evenings in the theatre, and so Carte preceded his [[Savoy opera]]s with [[curtain raiser (drama)|curtain raiser]]s.<ref>Lee Bernard, [http://www.sheffieldtelegraph.co.uk/classical/Swashbuckling-Savoy-curtainraiser-.4348391.jp "Swash-buckling Savoy curtain-raiser"], {{Webarchive|url=https://web.archive.org/web/20081015154331/http://www.sheffieldtelegraph.co.uk/classical/Swashbuckling-Savoy-curtainraiser-.4348391.jp |date=15 October 2008 }} ''Sheffield Telegraph'', 1 August 2008; and MacQueen-Pope, p. 23</ref>}} The composer conducted the first night's performance, and the theatre's music director, B. Simmons, conducted thereafter.<ref name="Ganzl95"/> The composer's brother, Fred Sullivan, starred as the Learned Judge, with [[Nellie Bromley]] as the Plaintiff. One of the choristers in ''Trial by Jury'', [[W. S. Penley]], was promoted in November 1875<ref name=Ainger114>Ainger, p. 114</ref> to the small part of the [[Jury#Composition of juries|Foreman]] of the Jury and made a strong impact on audiences with his amusing facial expressions and gestures.<ref name=Walbrook3840>Walbrook, pp. 38&ndash;40</ref> In March 1876, he temporarily replaced Fred Sullivan as the Judge, when Fred's health declined from tuberculosis.<ref>Ainger, pp. 113, 120</ref> With this start, Penley went on to a successful career as comic actor, culminating with the lead role in the record-breaking original production of ''[[Charley's Aunt]]''.<ref name=Walbrook3840/> Fred Sullivan died in January 1877.<ref>Ainger, p. 128</ref>', 32 => '', 33 => '[[Jacques Offenbach]]'s works were then at the height of their popularity in Britain, but ''Trial by Jury'' proved even more popular than ''La Périchole'',<ref name=Juxtaposition>''[[The Times]]'', 29 March 1875, quoted and discussed in Ainger, p. 109</ref> becoming an unexpected hit.<ref name=Stedman12930>Stedman, pp. 129&ndash;30</ref> ''Trial by Jury'' drew crowds and continued to run after ''La Périchole'' closed.<ref>Ainger, p. 117</ref> While the Royalty Theatre closed for the summer in 1875, Dolaro immediately took ''Trial'' on tour in England and Ireland.<ref>Ainger, p. 111</ref> The piece resumed at the Royalty later in 1875 and was revived for additional London seasons in 1876 at the [[Opera Comique]] and in 1877 at the [[Royal Strand Theatre|Strand Theatre]].<ref>Ainger, pp. 118 and 130</ref>', 34 => '', 35 => '''Trial by Jury'' soon became the most desirable supporting piece for any London production, and, outside London, the major British theatrical touring companies had added it to their repertoire by about 1877.<ref name=Ganzl8990 /> The original production was given a world tour by the [[Opera Comique]]'s assistant manager [[Emily Soldene]], which travelled as far as Australia.<ref name=Ganzl8990>Gänzl, pp. 89&ndash;90</ref> Unauthorised "pirate" productions quickly sprang up in America, taking advantage of the fact that American courts did not enforce foreign copyrights.<ref name=Ganzl95>Gänzl, p. 95</ref><ref name=Ainger114/> It also became popular as part of the Victorian tradition of "benefit concerts", where the theatrical community came together to raise money for actors and actresses down on their luck or retiring. The [[D'Oyly Carte Opera Company]] continued to play the work for a century, licensing the piece to amateur and foreign professional companies, such as the [[J. C. Williamson Gilbert and Sullivan Opera Company]].<ref>[http://www.nla.gov.au/collect/prompt/jcwill.html "J.C. Williamson Opera Programs"], (1906 programme), ''National Library of Australia'', Retrieved on 23 June 2008</ref> Since the copyrights to Gilbert and Sullivan works ran out in 1961,<ref name=copyright>[http://gsarchive.net/gondoliers/doc_67/67docprod.html l "The 1968 D'Oyly Carte Opera Company Production of ''The Gondoliers''"], reprinted from theatre programme of 29 January 1968, ''The Gilbert and Sullivan Archive'', Retrieved on 11 March 2009</ref> the piece has been available to theatre companies around the world free of royalties. The work's enduring popularity since 1875 makes it, according to theatrical scholar [[Kurt Gänzl]], "probably the most successful British one-act operetta of all time".<ref name=Ganzl90 />', 36 => '', 37 => 'The success of ''Trial by Jury'' spurred several attempts to reunite Gilbert and Sullivan, but difficulties arose. Plans for a collaboration for Carl Rosa in 1875 fell through because Gilbert was too busy with other projects,<ref name=Stedman132>Stedman, p. 132</ref><ref>Ainger, p. 112</ref> and an attempted Christmas 1875 revival of ''Thespis'' by Richard D'Oyly Carte failed when the financiers backed out.<ref name=Stedman132 /><ref>Ainger, pp. 113&ndash;14</ref> Gilbert and Sullivan continued their separate careers, though both continued writing light opera, among other projects: Sullivan's next light opera, ''[[The Zoo]]'', opened while ''Trial by Jury'' was still playing, in June 1875; and Gilbert's ''[[Eyes and No Eyes]]'' premiered a month later,<ref>Gänzl (1986), p. 90</ref> followed by ''[[Princess Toto]]'' in 1876.<ref>Crowther, p. 211</ref> Gilbert and Sullivan were not reunited until ''[[The Sorcerer]]'' in 1877.<ref name=Ainger110/>', 38 => '', 39 => '==Roles==', 40 => '*The Learned Judge (comic [[baritone]])', 41 => '*The Plaintiff ([[soprano]])', 42 => '*The Defendant ([[tenor]])', 43 => '*[[Counsel]] for the Plaintiff (lyric [[baritone]])', 44 => '*Usher ([[bass-baritone]])', 45 => '*Foreman of the Jury ([[bass (vocal range)|bass]])', 46 => '*Associate (''silent'')', 47 => '*First Bridesmaid', 48 => '*Chorus of Bridesmaids, Gentlemen of the Jury, Barristers, Attorneys and Public.', 49 => '', 50 => '==Synopsis==', 51 => '{| class="toccolours" style="float: right; margin-left: 1em; font-size: 85%; margin-right: 1em; background:#c6dbf7; color:black; width:22em;" cellspacing="5"', 52 => '|-', 53 => '|style="text-align: center;" |'''Excerpt from "The Judge's Song"'''<ref>[http://victorianweb.org/mt/gilbert/judge.html Full text of "The Judge's Song"], ''The Victorian Web''. Retrieved on 23 June 2008.</ref>', 54 => '|-', 55 => '|style="text-align: left;" |', 56 => '<poem>', 57 => 'JUDGE.', 58 => 'When I, good friends, was [[Call to the Bar|called to the bar]],', 59 => ' I'd an appetite fresh and hearty.', 60 => 'But I was, as many young [[barrister]]s are,', 61 => ' An impecunious party.', 62 => 'I'd a swallow-tail coat of a beautiful blue –', 63 => ' A brief which I bought of a booby –', 64 => 'A couple of shirts, and a collar or two,', 65 => ' And a ring that looked like a ruby!', 66 => '', 67 => 'CHORUS.', 68 => 'He'd a couple of shirts, and a collar or two,', 69 => 'And a ring that looked like a ruby.', 70 => '', 71 => 'JUDGE.', 72 => 'In [[Westminster Hall]] I danced a dance,', 73 => ' Like a semi-despondent fury;', 74 => 'For I thought I never should hit on a chance', 75 => ' Of addressing a British Jury –', 76 => 'But I soon got tired of third-class journeys,', 77 => ' And dinners of bread and water;', 78 => 'So I fell in love with a rich attorney's', 79 => ' Elderly, ugly daughter.', 80 => '', 81 => 'CHORUS.', 82 => 'So he fell in love, etc.', 83 => '</poem>', 84 => '|-', 85 => '|style="text-align: center;" |[[File:Trial by Jury - So I fell in love with a rich attorney's elderly ugly daughter.png|200px|Drawing by [[W. S. Gilbert]]|center]]', 86 => '''Drawing by W. S. Gilbert''', 87 => '|}', 88 => 'The curtain rises on the [[Court of the Exchequer]],<ref>The "Court of the Exchequer extended its jurisdiction, a breach of promise [could be] tried there by the legal fiction that the wrong done to the plaintiff by the conduct of the [[defendant]] made her unable to pay her taxes". See Burgess, p. 38</ref> where a jury and the public assemble to hear a case of [[breach of promise]] of marriage.', 89 => '', 90 => '[[File:Trial by Jury Usher.jpg|left|thumb|alt= Engraving of a quaint drawing showing the little round faces of jurymen protruding from a box with the word "Jury" on it in large letters. They gaze up at the usher with cowed expressions while he wags his finger at them.|The Usher advises the jury. Drawing by [[W. S. Gilbert]]]]', 91 => 'The Usher introduces the proceedings by exhorting the jury to listen to the broken-hearted Plaintiff's case but telling them that they "needn't mind" what the "ruffianly defendant" has to say. He adds, however, that "From bias free of every kind, this trial must be tried!" The Defendant (Edwin){{efn|Edwin and Angelina were "a traditional pairing of names of faithful lovers" as far back in English literature as [[Oliver Goldsmith]]'s ''The Hermit'' and ''[[The Vicar of Wakefield]]''.<ref>Bradley, p. 6, note to line 9</ref>|name=names}} arrives, and the jurymen greet him with hostility, even though, as he points out, they have as yet no idea of the merits of his case. He candidly tells them that he jilted the Plaintiff because she became a "bore intense" to him, and he then quickly took up with another woman. The jurymen recall their own wayward youth, but they are now respectable gentlemen and no longer have any sympathy for the Defendant.', 92 => '', 93 => 'The Judge enters with great pomp and describes how he rose to his position&nbsp;&ndash;&nbsp;by courting a rich attorney's "elderly, ugly daughter". The rich attorney then aided his prospective son-in-law's legal career until "at length I became as rich as the [[Gurney's bank|Gurneys]]" and "threw over" the daughter. The jury and public are delighted with the judge, although he has just admitted to the same wrong of which the Defendant is accused.{{efn|Burgess comments, "The irony of the situation will not go unperceived by the reader."<ref>Burgess, p. 43</ref>}}', 94 => '', 95 => 'The jury is then sworn in, and the Plaintiff (Angelina){{efn|name=names}} is summoned. She is preceded into the courtroom by her bridesmaids, one of whom catches the eye of the judge. However, when Angelina herself arrives in full wedding dress, she instantly captures the heart of both Judge and jury. The Counsel for the Plaintiff makes a moving speech detailing Edwin's betrayal. Angelina feigns distress and staggers, first into the arms of the Foreman of the Jury, and then of the Judge. Edwin counters, explaining that his change of heart is only natural: ', 96 => '<blockquote><poem>', 97 => 'Oh, gentlemen, listen, I pray,', 98 => ' Though I own that my heart has been ranging,', 99 => 'Of nature the laws I obey, ', 100 => ' For nature is constantly changing. ', 101 => 'The moon in her phases is found, ', 102 => ' The time and the wind and the weather, ', 103 => 'The months in succession come round, ', 104 => ' And you don't find two Mondays together.', 105 => '</poem></blockquote>', 106 => 'He offers to marry both the Plaintiff ''and'' his new love, if that would satisfy everyone. The Judge at first finds this "a reasonable proposition", but the Counsel argues that from the days of [[James II of England|James II]], it has been "a rather serious crime / To marry two wives at a time"; he labels the crime not "[[bigamy]]", but rather "[[burglary]]". Perplexed, everyone in court ponders the "nice dilemma" in a parody of Italian opera ensembles.<ref name=Bradley4>Bradley, p. 4</ref>', 107 => '', 108 => 'Angelina desperately embraces Edwin, demonstrating the depth of her love, and bemoans her loss – all in evidence of the large amount of damages that the jury should force Edwin to pay. Edwin, in turn, says he is a smoker, a drunkard, and a bully (when tipsy), and that the Plaintiff could not have endured him even for a day; thus the damages should be small. The Judge suggests making Edwin tipsy to see if he would really "thrash and kick" Angelina, but everyone else (except Edwin) objects to this experiment. Impatient at the lack of progress, the Judge resolves the case by offering to marry Angelina himself. This is found quite satisfactory, and the opera is concluded with "joy unbounded".{{efn|This synopsis is based on the libretto as printed in Bradley, pp. 7&ndash;39}}', 109 => '', 110 => '==Musical numbers==', 111 => '[[File:Trial Programme Page 3.jpg|right|thumb|alt=A page of the theatre programme showing, in a box at the centre, the cast and credits of ''Trial by Jury''. It is bordered with illustrations of the action, with, at the top, Angelina embracing the Judge with a manipulative expression, while he appears to be in a quandary.|Third page of the 1875 programme]]', 112 => '*1. "Hark, the hour of ten is sounding" (Chorus) and "Now, Jurymen, hear my advice" (Usher)', 113 => '*1a. "Is this the Court of the Exchequer?" (Defendant)', 114 => '*2. "When first my old, old love I knew" (Defendant and Chorus) and "Silence in Court!" (Usher)', 115 => '*3. "All hail great Judge!" (Chorus and Judge)', 116 => '*4. "When I, good friends, was call'd to the Bar" (Judge and Chorus)', 117 => '*5. "Swear thou the Jury" (Counsel, Usher) and "Oh will you swear by yonder skies" (Usher and Chorus)', 118 => '*6. "Where is the Plaintiff?" (Counsel, Usher) and "Comes the broken flower" (Chorus of Bridesmaids and Plaintiff){{efn|"Where is the Plaintiff?" has a joke involving echoes of the Usher's "Oh, Angelina", echoing in the courtroom. In D'Oyly Carte productions, the echoes were performed by the defendant with his back to the audience.}}', 119 => '*7. "Oh, never, never, never, since I joined the human race" (Judge, Foreman, Chorus)', 120 => '*8. "May it please you, my lud!" (Counsel for Plaintiff and Chorus)', 121 => '*9. "That she is reeling is plain to see!" (Judge, Foreman, Plaintiff, Counsel, and Chorus)', 122 => '*10. "Oh, gentlemen, listen, I pray" (Defendant and Chorus of Bridesmaids)', 123 => '*11. "That seems a reasonable proposition" (Judge, Counsel, and Chorus)', 124 => '*12. "A nice dilemma we have here" (Ensemble)', 125 => '*13. "I love him, I love him, with fervour unceasing" (Plaintiff, Defendant and Chorus) and "The question, gentlemen, is one of liquor" (Judge and Ensemble)', 126 => '*14. "Oh, joy unbounded, with wealth surrounded" (Ensemble)', 127 => '', 128 => 'For clarity, only characters with a major role in each particular song have been listed.<ref>Gilbert and Sullivan, ''passim''.</ref>', 129 => '', 130 => '==Reception==', 131 => 'Reviews of the first performance of ''Trial by Jury'' were uniformly glowing. ''[[Fun (magazine)|Fun]]'' magazine declared the opera "extremely funny and admirably composed",<ref>Allen (1958), p. 29</ref> while the rival ''[[Punch (magazine)|Punch]]'' magazine wrote that it "is the funniest bit of nonsense your representative has seen for a considerable time", only regretting that it was too short.<ref name=Allen30>Allen (1958), p. 30</ref> The ''[[News Chronicle|Daily News]]'' praised the author: "In whimsical invention and eccentric humour Mr. W. S. Gilbert has no living rival among our dramatic writers, and never has his peculiar vein of drollery and satire been more conspicuous than in a little piece entitled ''Trial by Jury''".<ref name=Allen30/> ''[[The Daily Telegraph]]'' concluded that the piece illustrated the composer's "great capacity for dramatic writing of the lighter class".<ref name=Allen30/> Many critics emphasised the happy combination of Gilbert's words and Sullivan's music. One noted that "so completely is each imbued with the same spirit, that it would be as difficult to conceive the existence of Mr. Gilbert's verses without Mr. Sullivan's music, as of Mr. Sullivan's music without Mr. Gilbert's verses. Each gives each a double charm."<ref>''The Daily News'', 27 March 1875, p. 3</ref> Another agreed that "it seems, as in the great [[Wagner]]ian operas, as though poem and music had proceeded simultaneously from one and the same brain."<ref name=World226>[https://books.google.com/books?id=GZIPAAAAYAAJ&pg=PA254 "''Trial by Jury''"], ''The Musical World'', 3 April 1875, p. 226. Retrieved on 17 June 2008</ref>', 132 => '', 133 => '{| class="toccolours" style="float: right; margin-left: 1em; font-size: 85%; margin-right: 1em; background:#c6dbf7; color:black; width:27em; max-width: 50%;" cellspacing="5"', 134 => '|-', 135 => '|style="text-align: left;" |In 1880, ''[[Punch (magazine)|Punch]]'' magazine prematurely anticipated Sullivan's knighthood, publishing a cartoon accompanied by a [[parody]] version of '''"When I, good friends"''', from ''Trial by Jury'', that summarised Sullivan's career to that date:''', 136 => '|-', 137 => '|style="text-align: center;" |''Excerpt from [[:Image:Punch - Sullivan's knighthood.png|A Humorous Knight]]''', 138 => '|-', 139 => '|style="text-align: left;" |["It is reported that after the Leeds Festival Dr. Sullivan will be knighted." Having read this in a column of gossip, a be-nighted Contributor, who has "the Judge's Song" on the brain, suggests the following verse....]', 140 => '|-', 141 => '|style="text-align: left;" |', 142 => '<poem>', 143 => 'As a boy I had such a musical bump,', 144 => ' And its size so struck Mr. H<small>ELMORE</small>,', 145 => 'That he said, "Though you sing those songs like a trump,', 146 => ' You shall write some yourself that will sell more."', 147 => 'So I packed off to Leipsic, without ''looking back,''', 148 => ' And returned in such classical fury,', 149 => 'That I sat down with H<small>ANDEL</small> and H<small>AYDN</small> and B<small>ACH</small>,—', 150 => ' And turned out "''Trial by Jury.''"', 151 => '', 152 => 'But [[W. S. Gilbert|W.S.G.]] he jumped for joy', 153 => ' As he said, "Though the job dismay you,', 154 => 'Send [[Exeter Hall]] to the deuce, my boy;', 155 => ' It's the ''haul'' with me that'll pay you."', 156 => 'And we hauled so well, mid jeers and taunts,', 157 => ' That we've settled, spite all temptations,', 158 => 'To stick to our Sisters and our Cousins and our Aunts,—', 159 => ' And continue our pleasant relations.', 160 => '</poem>', 161 => '|}', 162 => '', 163 => 'The opening night audience was also delighted by the piece, preferring it even to the Offenbach work: "To judge by the unceasing and almost boisterous hilarity which formed a sort of running commentary on the part of the audience, ''Trial by Jury'' suffered nothing whatever from so dangerous a juxtaposition [with a piece by the popular Offenbach]. On the contrary, it may fairly be said to have borne away the palm."<ref name=World226/> A reviewer noted that "Laughter more frequent or more hearty was never heard in any theatre than that which more than once brought the action ...&nbsp;to a temporary standstill."<ref>Allen (1958), p. 32</ref> Another paper summed up its popular appeal: "''Trial by Jury'' is but a trifle&nbsp;–&nbsp;it pretends to be nothing more&nbsp;–&nbsp;but it is one of those merry bits of extravagance which a great many will go to see and hear, which they will laugh at, and which they will advise their friends to go and see, and therefore its success cannot be doubtful."<ref>''Quoted'' in Gänzl, p. 88</ref>', 164 => '', 165 => 'Among the actors, special critical praise was reserved for the composer's brother, Fred Sullivan, in the role of the Learned Judge: "The greatest 'hit' was made by Mr. F. Sullivan, whose blending of official dignity, condescension, and, at the right moment, extravagant humour, made the character of the Judge stand out with all requisite prominence, and added much to the interest of the piece."<ref>Allen (1958), p. 31, ''quoting'' the ''Daily Telegraph''</ref> ''[[The Times]]'' concurred that his portrayal deserved "a special word of praise for its quiet and natural humour."<ref>Allen (1958), p. 31, ''quoting'' ''[[The Times]]''</ref> Nelly Bromley (the Plaintiff), [[Walter H. Fisher]] (the Defendant), John Hollingsworth (the Counsel) and others were also praised for their acting.<ref>Allen (1958), pp. 31&ndash;32</ref>', 166 => '', 167 => 'Later assessments of the work have been no less positive. In 1907, Gilbert's first biographer, Edith A. Browne, concluded:<ref>Browne, p. 57</ref> "In ''Trial by Jury'' we find author and composer looking at the humorous side of life from exactly the same point of view, and we at once realise how Gilbert and Sullivan have been able to do for Comic Opera what [[Wagner]] has done for Grand Opera by combining words and music so as to make them one." H. M. Walbrook similarly wrote in 1922:', 168 => '{{quote|''Trial by Jury'' ... satirizes the procedure in an average breach of promise, and also the insincerity which may sometimes underlie the pose of "respectability." Everything done or sung is ludicrous, and yet beneath it all lies a recognisable substratum of truth. The piece is a riot of laughter. The Judge's ditty, "When first, my friends, I was called to the Bar,"{{sic}} is the best-known comic song in the English language. In none of the operas is the genius of Gilbert as an inventor of "comic business" more daringly and irresistibly exhibited. One can see the piece again and again and discover fresh strokes of comicality. Its place in the Gilbert and Sullivan repertory is as secure as ever; and whatever reforms may be hereafter effected in this particular department of the [[King's Bench Division]], ''Trial by Jury'' will probably long continue to be one of the English-speaking world's refreshments.<ref name=Walbrook40>Walbrook, p. 40</ref>}}', 169 => '', 170 => 'The Gilbert and Sullivan biographer Michael Ainger, writing in 2002, 127&nbsp;years after the premiere of the opera, explained its enduring appeal: "Nothing could be more serious than a court of law ...&nbsp;and now the world had been turned upside down. The court of law had become the scene of humor and frivolity; the learned judge had shown himself to be as fickle as the defendant, and the justice system turned out to be flawed by human frailty. And Sullivan had grasped the joke.... From the first chords ...&nbsp;Sullivan's music sets the scene of mock-seriousness and proceeds to dance its way through the whole piece."<ref>Ainger, pp. 109&ndash;10</ref>{{Clear}}', 171 => '', 172 => '==Impact and analysis==', 173 => '[[File:Trial by Jury sketch.jpg|thumb|right|alt= A hand-written musical score of with ten lines of treble and bass|Sullivan's original thematic sketch of ''Trial by Jury'']]', 174 => '', 175 => '===Impact===', 176 => 'As the first [[Savoy opera]], ''Trial by Jury'' marked an important moment in the history of the Gilbert and Sullivan collaboration, as well as in the careers of each of the two men and in Victorian drama in general. The historian Reginald Allen sums up the historical import of the opera:', 177 => '{{quote|Most scholars of the Victorian theatre date the birth of Gilbert & Sullivan opera with the first performance of ''Trial by Jury''.... Some will maintain that there is no single date of comparable importance in the history of the modern lyric theatre than this occasion which first brought together the triumvirate of W. S. Gilbert, Arthur Sullivan, and their catalyst business genius, Richard D'Oyly Carte. The next twenty-five years witnessed the spectacular, worldwide success of this collaboration: the Gilbert & Sullivan operas, initiated by ''Trial by Jury''. Without this spark, who can say that any of the instantaneous hits of G[ilbert] & S[ullivan] that followed would ever have been written?<ref>Allen (1975b), p. iii</ref>}}', 178 => '', 179 => '[[Sidney Dark]] and Rowland Grey also give a high value to the importance of ''Trial by Jury'' and the operas that followed: "There is not a little historical interest in the genesis of the Gilbert and Sullivan operas, the one English contribution of any value to dramatic literature for many generations."<ref>Dark and Grey, p. 68</ref> In addition, references to the opera continue today in the popular media<ref>For example, in the British television show ''[[Kavanagh QC]]'', starring [[John Thaw]], in the episode "Briefs Trooping Gaily", Kavanagh's colleague Jeremy Aldermarten ([[Nicholas Jones (actor)|Nicholas Jones]]) plays the Judge in an amateur production of ''Trial by Jury''.</ref> and even in law cases.<ref>For example, in the American law suit ''Askew v. Askew'', 22 Cal.App.4th 942 (4th Dist. 1994), the decision includes an extensive reference to ''Trial by Jury'' as an introduction to its discussion of suits for breach of promise and "the potential for abuse inherent in such lawsuits".</ref>', 180 => '', 181 => '===Pattern for later Savoy operas===', 182 => '''Trial by Jury'' is the only Gilbert and Sullivan opera played in one act and the only theatrical work by W. S. Gilbert without spoken dialogue.<ref name="Crowther77"/> However, later Gilbert and Sullivan operas retained a number of patterns seen in ''Trial''. For example, all except ''[[The Yeomen of the Guard]]'' begin with a chorus number.<ref>Bradley, p. 758</ref> Also, like ''Trial by Jury'', the later operas generally end with a relatively short finale consisting of a chorus number interspersed with short solos by the principal characters. "Comes the broken flower" (part of No.&nbsp;3) was the first in a string of meditative "[[Horace|Horatian]]" lyrics, "mingling happiness and sadness, an acceptance and a smiling resignation".<ref>Stedman, p. 244</ref> These would, from this point forward, allow the characters, in each of the Savoy operas, an introspective scene where they stop and consider life, in contrast to the foolishness of the surrounding scenes.<ref>Stedman, pp. 129&ndash;30, 244; Crowther, pp. 133&ndash;35</ref> Like both of the tenor's arias in ''Trial by Jury'', tenor arias in later Savoy operas were set in [[Time signature|{{music|time|6|8}} time]] so frequently that [[Anna Russell]], in her 1953 parody, "How to Write Your Own Gilbert and Sullivan Opera",<ref>Recording and re-issue history available at: Shepherd, Marc (2002), [http://gasdisc.oakapplepress.com/mdanna.htm "How to Write Your Own Gilbert and Sullivan Opera (1953)"], ''A Gilbert and Sullivan Discography'', Retrieved on 30 July 2016.</ref> exclaimed, "the tenor&nbsp;...&nbsp;according to tradition, ''must'' sing an aria in {{music|time|6|8}} time, usually accompanying himself on a stringed instrument".<ref>''Anna Russell Sings! Again?'' 1953 Columbia Masterworks Mono LP ML4594/ML4733</ref> In ''Trial by Jury'' hypocrisy is revealed as the characters' motivations are held up to satire, and Gilbert mocks the underlying absurdity of the judicial procedures. As Gilbert scholar Andrew Crowther explains, Gilbert combines his criticisms with comic entertainment, which renders them more palatable, while at the same time underlining their truth: "By laughing at a joke you show that you accept its premise."<ref>Crowther, p. 78</ref> This too would become characteristic of Gilbert's work.<ref>Crowther, pp. 78&ndash;79</ref>', 183 => '', 184 => '[[File:FredSullivan.jpg|thumb|left|alt= An old photo of an actor in the costume of a judge, with robe and peri-wig, who leans on the bench with a whimsical expression.|[[Fred Sullivan]] as The Learned Judge]]', 185 => 'The judge's song, "When I, good friends, was called to the Bar" was followed by a string of similar [[patter song]]s that would come to epitomise [[Gilbert and Sullivan]]'s collaboration.<ref name=Bradley14>Bradley, p. 14</ref> In these, often, a "dignified personage [would, just like the Judge,] supply a humorous biography of himself."<ref>Fitzgerald, pp. 25–26</ref> Just as in Gilbert's earlier play, ''[[The Palace of Truth]]'', in these songs, the characters "naïvely reveal their innermost thoughts, unconscious of their egotism, vanity, baseness, or cruelty".<ref><!-- NOTE! Crowther is applying Archer's ideas to ''Trial by Jury'' in this passage, so both references are needed. -->Crowther, p. 77, quoting Archer, p. 161</ref> Crowther points out that such revelations work particularly well in ''Trial by Jury'', because people commonly expect "characters singing in opera/operetta will communicate at a deeper level of truth than they would in mere speech."<ref name=Crowther77/> In "When I, good friends", the judge outlines the path of corruption that led to his becoming a judge, and this, too, would set the pattern for many of the patter songs in Gilbert and Sullivan operas to follow.<ref name=Crowther77 />', 186 => '', 187 => 'One of Gilbert's most notable innovations, first found in ''Thespis'' and repeated in ''Trial by Jury'' and all of the later Savoy operas, is the use of the chorus as an essential part of the action. In most earlier operas, [[Victorian burlesque|burlesques]], and comedies, the chorus had very little impact on the plot and served mainly as "noise or ornament".<ref name=DarkGrey6768 /> In the Gilbert and Sullivan operas, however, the chorus is essential, taking part in the action and often acting as an important character in its own right.<ref name=DarkGrey6768>Dark and Grey, pp. 67&ndash;68</ref> Sullivan recalled, "Until Gilbert took the matter in hand choruses were dummy concerns, and were practically nothing more than a part of the stage setting. It was in 'Thespis' that Gilbert began to carry out his expressed determination to get the chorus to play its proper part in the performance. At this moment it seems difficult to realise that the idea of the chorus being anything more than a sort of stage audience was, at that time, a tremendous novelty."<ref>Lawrence, pp. 85–86</ref> Another Gilbert innovation, following the example of his mentor, [[T. W. Robertson]], was that the costumes and sets were made as realistic as possible:<ref name=Stedman129>Stedman, p. 129</ref> Gilbert based the scenery for the production on the [[Clerkenwell]] Sessions House, where he had practised law in the 1860s.<ref>Dark and Grey, p. 65</ref> The costumes were contemporary, and Angelina and her bridesmaids were dressed in real wedding attire.<ref name=Stedman129 /> This attention to detail and careful creation of realistic sets and scenes were typical of Gilbert's stage management and would be repeated in all of Gilbert's work.<ref>Crowther, p. 90</ref> For instance, when preparing the sets for ''[[H.M.S. Pinafore]]'' (1878), Gilbert and Sullivan visited [[Portsmouth]] to inspect ships. Gilbert made sketches of [[HMS Victory|H.M.S. ''Victory'']] and [[HMS St Vincent (1815)|H.M.S. ''St Vincent'']] and created a model set for the carpenters to work from.<ref>Stedman, pp. 157–58; Crowther, p. 90</ref> This was far from standard procedure in Victorian drama, where naturalism was still a relatively new concept, and where most authors had very little influence on how their plays and libretti were staged.<ref>Crowther, pp. 87–89</ref>', 188 => '', 189 => '===Analysis===', 190 => 'Andrew Crowther places ''Trial by Jury'' at the centre of Gilbert's development as a librettist. He notes that in some of Gilbert's early libretti, such as ''[[Topsyturveydom]]'' (1874), the songs simply emphasise the dialogue. In others, such as ''[[Thespis (opera)|Thespis]]'' (1871), some songs are relatively disconnected from both the story and characterisation, such as "I once knew a chap" or "Little maid of Arcadee", which simply convey a moral lesson.<ref>Crowther, pp. 76&ndash;77</ref> In ''Trial by Jury'', however, each song carries the plot forward and adds depth to the characters. In addition, unlike some of Gilbert's more fantastical early plots, "Aside from the ending, nothing essentially improbable happens."<ref name=Crowther77>Crowther, p. 77</ref> Gänzl agrees, writing that "Gilbert's libretto was superior to any of his previous efforts. It was concise, modern and satirical without being impossibly whimsical. Having no spoken dialogue it was perforce tightly constructed and allowed of no interpolation or alteration."<ref>Gänzl, p. 88</ref> Sullivan's development as a comic opera writer, too, would mature with ''Trial by Jury''. Except for incidental music for productions of Shakespeare, he had not written any music for the stage since ''Thespis''. Gänzl wrote that ''Trial by Jury'' "brought Sullivan firmly and finally into the world of the musical" stage<ref name=Ganzl89 /> and confirmed, after his previous success with ''[[Cox and Box]]'' and ''Thespis'', that "Sullivan was a composer of light lyric and comic music who could rival Offenbach, [[Alexandre Charles Lecocq|Lecocq]] and any English musician alive."<ref name=Ganzl89>Gänzl, p. 89</ref>', 191 => '', 192 => '[[File:Trial by Jury - A Nice Dilemma.jpg|right|thumb|Part of the vocal score of "A nice [[dilemma]]"]]', 193 => 'Sullivan used the opportunities suggested by Gilbert's satire of the pomp and ceremony of the law to provide a variety of musical jokes.<ref name=Bradley4/> "From the first chords ... Sullivan's music sets the scene of mock-seriousness.... His ... humorous use of the orchestra runs throughout".<ref>Ainger, pp. 109–10</ref> For example, [[counterpoint]]ing the plaintiff's calculated swooning in "That she is reeling is plain to see!" (No.&nbsp;9) with a reeling, [[minor key|minor-key]] theme in the string accompaniment, heading up and down the [[octave]]s.<ref name=Ainger110/> The instruments are also used to comically set the scene; for instance, he underlines the Counsel's misstatement in the line "To marry two at once is burglaree" with a comic [[bassoon]] "sting" in octaves<ref name=Ainger110/> and has the Defendant tune his guitar on stage (simulated by a violin in the orchestra) in the opening to his song.<ref name=Bradley10>Bradley, p. 10</ref>', 194 => '', 195 => 'The score also contains two parodies or pastiches of other composers: No.&nbsp;3, "All hail great Judge" is an elaborate parody of [[Handel]]'s [[fugue]]s,<ref>Bradley, pp. 4 and 12; Burgess, pp. 38&ndash;39</ref> and No.&nbsp;12, "A nice dilemma", parodies "dilemma" ensembles of Italian opera in the [[Bel canto]] era; in particular "D'un pensiero" from Act&nbsp;I of [[Vincenzo Bellini|Bellini]]'s ''[[La sonnambula]]''.<ref>Bradley, p. 4; Burgess, p. 47</ref> "A nice dilemma" uses the dominant rhythm and key of "D'un pensiero" and divides up some of the choral lines between the [[basso|basses]] and higher voices to create an ''oom-pa-pa'' effect common in Italian opera choruses.<ref>Jacobs, p. 91</ref>', 196 => '', 197 => '==Productions==', 198 => 'After the premiere of ''Trial by Jury'' in 1875, [[operetta]] companies in London, the British provinces and elsewhere picked it up rapidly, usually playing it as a forepiece or an afterpiece to a French operetta.<ref name=Ganzl90>Gänzl, p. 90</ref> The first American productions were an unauthorized production by [[Alice Oates]] at the [[Arch Street Theatre]] in [[Philadelphia]] on 22 October 1875<ref>[[Kurt Gänzl|Gänzl, Kurt]]. ''The Encyclopedia of the Musical Theatre'', Schirmer Books; 2nd edition (May 2001)</ref> and a D'Oyly Carte production at the Eagle Theatre in [[New York City]] on 15 November 1875.<ref name=Ganzl95/><ref>Prestige, Colin. [https://kuscholarworks.ku.edu/bitstream/handle/1808/5875/libseries.num37.pdf "D'Oyly Carte and the Pirates"], in Papers Presented at the International Conference Held at the University of Kansas in May 1970", James Helyar (ed.), 1971, [[University of Kansas]], Lawrence, Kansas, p. 143</ref> The world tour of the original British production took it to America, Australia, and elsewhere.<ref>[http://rbscp.lib.rochester.edu/gilbert-and-sullivan/details?Print=22 Theatre programme] for Soldene English Opera Company's ''Trial by Jury'' at Boston's [[Globe Theatre, Boston (1871)|Globe Theatre]], 28 November 1876, from online exhibition at University of Rochester Libraries. Retrieved on 3 June 2008. Soldene was co-proprietor of the Opera Comique, and this was the grand tour of the original British production. See Gänzl, pp. 89&ndash;90</ref> It was even translated into German, and premièred as ''Im Schwurgericht'', at the [[Carltheater]] on 14 September 1886, and as ''Das Brautpaar vor Gericht'' at Danzer's Orpheum on 5 October 1901.<ref name=Ganzl967>Gänzl, pp. 96&ndash;97</ref>', 199 => '', 200 => 'Richard D'Oyly Carte's opera companies (of which there were often several playing simultaneously) usually programmed ''Trial by Jury'' as a companion piece to ''[[The Sorcerer]]'' or ''[[H.M.S. Pinafore]]''.{{efn|In addition to the London productions mentioned below and early tours mentioned above, Carte toured ''Trial'' with ''The Sorcerer'' in 1878.<ref>Howarth, Paul (ed.) [http://gsarchive.net/carte/touring/1878_TJ_SO.pdf "Comedy Opera Company Ltd., (Under the management of Mr. Richard D'Oyly Carte) Touring ''Trial by Jury'' and ''The Sorcerer''"], The Gilbert and Sullivan Archive, accessed 15 December 2013</ref>}} In the 1884–85 London production, a [[transformation scene]] was added at the end, in which the Judge and Plaintiff became the [[Harlequinade]] characters Harlequin and Columbine and the set was consumed by red fire and flames.<ref>Wilson and Lloyd, p. 35</ref> From 1894, the year when the [[D'Oyly Carte Opera Company]] established a year-round touring company that had most of the Gilbert and Sullivan works in its repertory, ''Trial by Jury'' was always included, except for 1901&ndash;03, and then again from 1943&ndash;46, when the company played a reduced repertory during [[World War II]]. From 1919, costumes were by [[Percy Anderson]], and a new touring set was designed by [[Peter Goffin]] in 1957.<ref>Rollins and Witts, Appendix, p. VII</ref>', 201 => '', 202 => 'During the company's 1975 centennial performances of all thirteen Gilbert and Sullivan Operas at the Savoy Theatre, ''Trial'' was given four times, as a curtain raiser to ''The Sorcerer'', ''Pinafore'' and ''Pirates'' and as an afterpiece following ''The Grand Duke''. Before the first of the four performances of ''Trial'', a specially written curtain raiser by [[William Douglas-Home]], called ''Dramatic Licence'', was played by [[Peter Pratt]] as Carte, [[Kenneth Sandford]] as Gilbert and [[John Ayldon]] as Sullivan, in which Gilbert, Sullivan and Carte plan the birth of ''Trial'' in 1875.<ref>Forbes, Elizabeth. [https://www.independent.co.uk/news/obituaries/kenneth-sandford-550525.html Kenneth Sandford obituary], ''The Independent'', 23 September 2004, accessed 6 April 2009</ref> ''Trial by Jury'' was eliminated from the D'Oyly Carte repertory in 1976 as a cost-saving measure.<ref>Bradley, p. 5</ref>', 203 => '', 204 => '===Production history===', 205 => 'The following table summarises the main London productions of ''Trial by Jury'' up to the time of Sullivan's death in 1900:', 206 => '<!-- REFERENCES NEXT TO THE THEATRE NAMES ALSO APPLY TO THE DATES, UNLESS OTHERWISE NOTED. REFERENCES NEXT TO THE DETAILS ALSO APPLY TO THE DATES AND THEATRES, UNLESS OTHERWISE NOTED. -->', 207 => '{|Class="wikitable" style="width:77em; font-size:90%; line-height:1.2"', 208 => '!style="width:15%;"|Theatre!!Opening Date!!Closing Date!!Perfs.!!Details', 209 => '|-', 210 => '|nowrap rowspan=2|Royalty Theatre<ref name=Rollins1 />||25 March 1875||11 June 1875||rowspan=2 align=center|131||rowspan=2|This company also played matinées at the [[Gaiety Theatre, London|Gaiety Theatre]] on 10 April, 17 April, and 24 April 1875.<ref name=Ganzl95/> The theatre closed from 13 June through 10 October<ref name=Rollins4/> while the company took ''Trial by Jury'' and other operas on a provincial tour.<ref name=Ganzl89/> ''Trial'' then continued as an afterpiece to French operettas at the Royalty, with [[Charles Morton (impresario)|Charles Morton]] as manager and [[Hamilton Clarke]] as musical director.<ref name=Rollins1>Rollins and Witts, p. 1</ref><ref name=Rollins4/>', 211 => '|-', 212 => '|nowrap|11 October 1875||nowrap|18 December 1875', 213 => '|-', 214 => '|nowrap|Opera Comique<ref name=Rollins1 /> ||14 January 1876||5 May 1876||align=center|96||[[Emily Soldene]] and [[Kate Santley]] brought Morton's production to the Opera Comique. ''Trial'' was not performed from 13&ndash;18 March while Fred Sullivan was ill, and the theatre was closed for Easter from 9&ndash;14 April. Soldene then toured with ''Trial'' and other operettas until 28 October.<ref name=Ganzl90/><ref name=Rollins4/> Dolaro and Carte (as manager and musical director), also produced ''Trial'' in [[Dublin]] and [[Manchester]] from 24 July to 5 August 1876.<ref>Rollins and Witts, 3rd supplement, p. 24</ref>', 215 => '|-', 216 => '|Strand Theatre||3 March 1877||26 May 1877||align=center|73||Produced "under the immediate direction of the authors". Originally performed as an afterpiece to [[Tom Taylor]]'s comedy ''Eloped; or, Babes and Beetles''.<ref name=Rollins4/> A tour of this production followed from 27 May to 28 July, produced by Santley. At the same time, from May to September 1877, Santley toured ''Trial'' as an afterpiece to an Offenbach operetta.<ref>Rollins and Witts, 3rd supplement, p. 32</ref>', 217 => '|-', 218 => '|Opera Comique||23 March 1878||24 May 1878||align=center|56||Played as an afterpiece to ''The Sorcerer''<ref name=Rollins5 />', 219 => '|-', 220 => '|Savoy Theatre||11 October 1884||12 March 1885||align=center|150||Played as a forepiece to ''The Sorcerer''<ref name=Rollins9>Rollins and Witts, p. 9</ref>', 221 => '|-', 222 => '|Savoy Theatre||nowrap|22 September 1898||31 December 1898||align=center|102||Played as a forepiece to ''The Sorcerer''<ref name=Rollins17 />', 223 => '|-', 224 => '|Savoy Theatre||6 June 1899||25 November 1899||align=center|174||Played as a forepiece to ''H.M.S. Pinafore''<ref name=Rollins18>Rollins and Witts, p. 18</ref><ref name=Cast1899>1899 cast: As 1898, except: Counsel – Leonard Russell; Defendant – Charles Childerstone; Foreman – Iago Lewys; Associate – Albert Gater; 1st Bridesmaid – Madge Moyse. (From Rollins and Witts, p. 18)</ref>', 225 => '|}', 226 => '', 227 => 'The exclusive performing rights to ''Trial by Jury'' and the other Gilbert and Sullivan operas were held by the [[D'Oyly Carte Opera Company]] until their expiration in 1961, 50 years after Gilbert's death, and no other professional company was authorised to present the Savoy operas in Britain from 1877 until that date.<ref name=copyright/> The following tables show the casts of the principal original D'Oyly Carte productions and touring companies at approximately 10-year intervals through to the 1975 centenary season.<ref>Rollins and Witts (and supplements).</ref>{{efn|An examination of Rollins and Witts and Gänzl shows that a ten-year interval is sufficient to indicate the bulk of the notable performers who portrayed these roles in authorized productions during that period. Biographies of the persons named below can be found at Stone, David. [https://gsarchive.net/whowaswho/index.htm ''Who Was Who in the D'Oyly Carte Opera Company''], The Gilbert and Sullivan Archive, accessed 8 June 2014.}}', 228 => '', 229 => '{|Class="wikitable" style="width:65em; font-size:90%; line-height:1.2"', 230 => '!style="width:15%;"|Role!!Royalty Theatre<br>1875<ref name=Rollins4>Rollins and Witts, p. 4</ref>!!Strand Theatre<br />1877<ref name=Rollins4/> !!Opera Comique<br>1878<ref name=Rollins5>Rollins and Witts, p. 5</ref>!!Savoy Theatre<br>1884<ref name=Rollins9/>!!Savoy Theatre<br>1898<ref name=Rollins17>Rollins and Witts, p. 17</ref><ref name=Cast1899/>', 231 => '|-', 232 => '|Learned Judge||[[Fred Sullivan|Frederic Sullivan]] ||J.G. Taylor||[[George Grossmith]]||[[Rutland Barrington]]||[[Henry Lytton]]', 233 => '|-', 234 => '|Counsel||John Hollingsworth<ref>Stone, David (2002): [https://www.gsarchive.net/whowaswho/H/HollingsworthJohn.htm "John Hollingsworth"], ''Who Was Who in the D'Oyly Carte Opera Company (1875-1982)''. Retrieved on 17 June 2008</ref>||Charles Parry||[[Rutland Barrington]]||[[Eric Lewis (actor)|Eric Lewis]]||[[Jones Hewson]]', 235 => '|-', 236 => '|Defendant||[[Walter H. Fisher]]||Claude Marius ||[[Sir George Power, 7th Baronet|George Power]]||[[Durward Lely]]||Cory James', 237 => '|-', 238 => '|Foreman||Charles Kelleher<ref name=CastChange>Early in April 1875, as shown by the programme pictured above, Mr. C Campbell became the Foreman, Mr. Charles Kelleher became the Usher, and Mr. Pepper became the Associate</ref><ref>Kelleher appeared in other D'Oyly Carte productions in the 1870s. See Stone, David (2002): [https://www.gsarchive.net/whowaswho/K/KelleherCharles.htm "Charles Kelleher"], ''Who Was Who in the D'Oyly Carte Opera Company (1875-1982)''. Retrieved on 17 June 2008</ref>||[[W. S. Penley]]||F. Talbot||Arthur Kennett||Leonard Russell', 239 => '|-', 240 => '|Usher||[[Belville Robert Pepper|Belville R. Pepper]]<ref name=CastChange/>||Harry Cox ||[[Fred Clifton]]||[[William Lugg]]||[[Walter Passmore]]', 241 => '|-', 242 => '|Associate||<ref name=CastChange/>|| || ||J. Wilbraham||Charles Childerstone', 243 => '|-', 244 => '|Plaintiff||[[Nelly Bromley]]||[[Lottie Venne]] ||Lisa Walton||Florence Dysart||[[Isabel Jay]]', 245 => '|-', 246 => '|1st Bridesmaid||Linda Verner<ref>Verner took over the role of Plaintiff in July 1875. See Stone, David (2002): [https://www.gsarchive.net/whowaswho/U-V/VernerLinda.htm "Linda Verner"], ''Who Was Who in the D'Oyly Carte Opera Company (1875-1982)''. Retrieved on 17 June 2008</ref>|| Gwynne Williams|| ||[[Sybil Grey]]||Mildred Baker', 247 => '|}', 248 => '', 249 => '{|Class="wikitable" style="width:65em; font-size:90%; line-height:1.2"', 250 => '!style="width:15%;"|Role!!D'Oyly Carte<br>1905 Tour<ref>Rollins and Witts, p. 121</ref>!!D'Oyly Carte<br>1915 Tour<ref>Rollins and Witts, p. 132</ref>!!D'Oyly Carte<br>1925 Tour<ref>Rollins and Witts, p. 148</ref>!!D'Oyly Carte<br>1935 Tour<ref>Rollins and Witts, p. 160</ref>', 251 => '|-', 252 => '|Learned Judge||[[Charles H. Workman]]||[[Leo Sheffield]]||[[Leo Sheffield]]||[[Sydney Granville]]', 253 => '|-', 254 => '|Counsel||Albert Kavanagh||[[Frederick Hobbs (singer)|Frederick Hobbs]]||Henry Millidge||[[Leslie Rands]]', 255 => '|-', 256 => '|Defendant||[[Strafford Moss]]||Dewey Gibson||Sidney Pointer||[[Robert Wilson (tenor)|Robert Wilson]]', 257 => '|-', 258 => '|Foreman||J. Lewis Campion||Frank Steward||T. Penry Hughes||T. Penry Hughes', 259 => '|-', 260 => '|Usher||Reginald White||George Sinclair||Joseph Griffin||[[Richard Walker (singer)|Richard Walker]]', 261 => '|-', 262 => '|Associate|| ||Allen Morris||[[Martyn Green]]||C. William Morgan', 263 => '|-', 264 => '|Plaintiff||Bessie Mackenzie||[[Marjorie Gordon]]||[[Eleanor Evans]]||[[Ann Drummond-Grant]]', 265 => '|-', 266 => '|1st Bridesmaid||[[Mabel Burnege]]||Ethel Armit||Beatrice Elburn||Nancy Ray', 267 => '|}', 268 => '', 269 => '{|Class="wikitable" style="width:65em; font-size:90%; line-height:1.2"', 270 => '!style="width:15%;"|Role!!D'Oyly Carte<br>1949 Tour<ref>Rollins and Witts, p. 174</ref>!!D'Oyly Carte<br>1955 Tour<ref>Rollins and Witts, p. 180</ref>!!D'Oyly Carte<br>1965 Tour<ref>Rollins and Witts, 1st Supplement, p. 7</ref>!!D'Oyly Carte<br>1975 Tour<ref>Rollins and Witts, 3rd Supplement, p. 28</ref>', 271 => '|-', 272 => '|Learned Judge||[[Richard Watson (singer)|Richard Watson]]||[[John Reed (actor)|John Reed]]||[[Jeffrey Skitch]]||Jon Ellison<ref>John Reed played the Judge for the two-week Savoy season.</ref>', 273 => '|-', 274 => '|Counsel||[[Alan Styler]]||[[Alan Styler]]||[[Alan Styler]]||[[Michael Rayner]]', 275 => '|-', 276 => '|Defendant||[[Leonard Osborn]]||[[John Fryatt]]||[[Philip Potter]]||Jeffrey Cresswell<ref>Colin Wright played the Defendant for the two-week Savoy season.</ref>', 277 => '|-', 278 => '|Foreman||Donald Harris||John Banks||Anthony Raffell||[[James Conroy-Ward]]', 279 => '|-', 280 => '|Usher||[[L. Radley Flynn]]||[[George Cook (opera singer)|George Cook]]||[[George Cook (opera singer)|George Cook]]||John Broad', 281 => '|-', 282 => '|Associate||C. William Morgan||Keith Bonnington||Keith Bonnington||William Palmerley', 283 => '|-', 284 => '|Plaintiff||Enid Walsh||Kathleen West||Jennifer Toye||Marjorie Williams<ref>[[Julia Goss]] played the Plaintiff for the two-week Savoy season.</ref>', 285 => '|-', 286 => '|1st Bridesmaid||[[Joyce Wright]]||Margaret Dobson||[[Pauline Wales]]||Rosalind Griffiths', 287 => '|}', 288 => '', 289 => '==Benefit performances==', 290 => '[[File:BarringtonJudge.jpg|right|upright|thumb|alt=A sepia photo of the face of an actor, portraying the judge with an exaggerated expression of distaste|[[Rutland Barrington]] as the Learned Judge]]', 291 => '[[File:Sorc-Pin-Trial.jpg|right|upright|thumb|Poster advertising operettas by Gilbert & Sullivan; includes Trial by Jury]] ', 292 => 'Starting in 1877, ''Trial by Jury'' was often given at benefit performances, usually for an actor or actress who had fallen on hard times, but occasionally for other causes. These were glittering affairs, with various celebrities appearing in principal roles or as part of the chorus.<ref>Burgess, pp. 52&ndash;54</ref> Gilbert himself played the silent role of the Associate on at least four occasions.<ref>Burgess, pp. 52&ndash;53; Gänzl, pp. 96&ndash;98</ref>', 293 => '', 294 => 'Arthur Sullivan conducted the 1877 benefit for the actor [[Henry Compton (actor)|Henry Compton]].<ref name=Ganzl96 /> At the Compton benefit, Penley and [[George Grossmith]] were members of the Jury, and a number of other famous actors and actresses were in the chorus.<ref>Ainger, p. 130</ref> Sullivan also conducted the 1889 benefit for Barrington.<ref>''The Era'', 1 June 1889, p. 9</ref>', 295 => '', 296 => 'At the [[Nellie Farren]] benefit, many of the performers listed below sat in the jury or the gallery, and ''Trial by Jury'' was followed by a six-hour-long concert. Performances were given by [[Henry Irving]], [[Ellaline Terriss]], [[Marie Tempest]], [[Hayden Coffin]], [[Arthur Roberts (comedian)|Arthur Roberts]], [[Letty Lind]], [[Edmund Payne]] and many others.<ref><!-- This is a format hack, but I think the year is necessary to indicate that it's in the bibliography -->Davis (1995), Chapter X, letter of 20 March 1898.</ref>', 297 => '', 298 => 'The [[Ellen Terry]] benefit in 1906 was also a particularly well-attended affair, with [[Sir Arthur Conan Doyle]] numbered among the jury and [[Enrico Caruso]] singing, among many star performances.<ref>Burgess, pp. 56&ndash;61 reproduces the programmes for several of these benefits in facsimile. Others are listed in Gänzl, pp. 95–98.</ref>', 299 => '', 300 => '{|Class="wikitable" style="width:45em; font-size:90%; line-height:1.2"', 301 => '!style="width:15%;"|Role!![[Henry Compton (actor)|Henry Compton]]<br>Drury Lane<br>1 March 1877<ref name=Ganzl96>Gänzl, p. 96.</ref>{{efn|The chorus included leading stars such as [[W. S. Penley]], [[George Grossmith]], [[Kate Bishop (actress)|Kate Bishop]] and [[Marion Terry]].<ref>''[[The Era (newspaper)|The Era]]'', 4 March 1877, p. 6</ref>}}!![[Amy Roselle]]<br>Lyceum<br>16 June 1887<ref name=Ganzl96 />!!Rutland Barrington<br>Savoy<br>28 May 1889<ref name=Ganzl96 />!![[Nellie Farren]]<br>Drury Lane<br>17 March 1898<ref name=Ganzl96 />', 302 => '|-', 303 => '|Judge||[[George Honey]]||[[Rutland Barrington]]||[[Rutland Barrington]]||[[Rutland Barrington]]', 304 => '|-', 305 => '|Counsel||George Fox||[[Richard Temple (opera singer)|Richard Temple]]||Alec Marsh||[[Eric Lewis (actor)|Eric Lewis]]', 306 => '|-', 307 => '|Defendant||[[W. H. Cummings]]||[[Henry Bracy]]||[[Courtice Pounds]]||[[Courtice Pounds]]', 308 => '|-', 309 => '|Foreman|| || ||Mr. Burbank||[[Henry Lytton]]', 310 => '|-', 311 => '|Usher||[[Arthur Cecil]]||R. Lewis||[[W. H. Denny]]<ref>''The Era'', 1 June 1889 (reporting that Denny, not Lugg was Usher and that the piece was played together with ''Locked In'' by Walter Frith (libretto) and James Caldicott (music), starring [[Jessie Bond]], [[Eric Lewis (actor)|Eric Lewis]] and Rose Hervey, directed by Barrington)</ref>||[[Walter Passmore]]', 312 => '|-', 313 => '|Associate||[[W. S. Gilbert]]||[[Arthur Roberts (comedian)|Arthur Roberts]]<ref>''The Era'', 18 June 1887, p. 8</ref>|| ||[[W. S. Gilbert]]', 314 => '|-', 315 => '|Plaintiff||[[Pauline Rita]]||[[Geraldine Ulmar]]||[[Lottie Venne]]||[[Florence Perry]]', 316 => '|}', 317 => '', 318 => '{|Class="wikitable" style="width:50em; font-size:90%; line-height:1.2"', 319 => '!style="width:15%;"|Role!!Princess Christian's Homes of<br />Rest for Disabled Soldiers<br>Drury Lane, 15 May 1900<ref>Burgess, p. 57</ref>!![[William Rignold]]<br>Lyric Theatre<br>5 December 1902<ref name=Ganzl97>Gänzl, p 97.</ref>!![[Ellen Terry]]<br>Drury Lane<br>12 June 1906<ref>Gänzl, pp. 97&ndash;98</ref>', 320 => '|-', 321 => '|Judge||[[Rutland Barrington]]|||[[Rutland Barrington]]||[[Rutland Barrington]]', 322 => '|-', 323 => '|Counsel||[[Eric Lewis (actor)|Eric Lewis]]||[[C. Hayden Coffin]]||[[Henry Lytton]]', 324 => '|-', 325 => '|Defendant||[[Courtice Pounds]]||[[Courtice Pounds]]||[[Courtice Pounds]]', 326 => '|-', 327 => '|Foreman||[[W. H. Denny]]||Fred Kaye||Robert Marshall', 328 => '|-', 329 => '|Usher||[[Walter Passmore]]||[[George Grossmith, Jr.]]||[[Walter Passmore]]', 330 => '|-', 331 => '|Associate||[[W. S. Gilbert]]||[[Lionel Monckton]]||[[W. S. Gilbert]]', 332 => '|-', 333 => '|nowrap|Associate's Wife¹||[[Effie Bancroft]]||—||[[Fanny Brough]]', 334 => '|-', 335 => '|Plaintiff||[[Florence St. John]]||[[Evie Greene]]||[[Ruth Vincent]]', 336 => '|}', 337 => '', 338 => '¹The role of the Associate's Wife was especially created for the disabled soldiers' benefit performance and does not appear in any standard performances.<ref>Ainger, pp. 380&ndash;81</ref>', 339 => '', 340 => '==Recordings==', 341 => '''Trial by Jury'' has been recorded many times. Of the recordings by the D'Oyly Carte Opera Company, those recorded in 1927 and 1964 are ranked the best, according to the "Gilbert and Sullivan Discography", edited by Marc Shepherd. The 1961 Sargent and especially the 1995 Mackerras recordings are also rated highly by the Discography.<ref>Shepherd, Marc. [http://gasdisc.oakapplepress.com/tbj.htm "Recordings of Trial By Jury (1995)"], The Gilbert and Sullivan Discography, 9 August 2009, accessed 30 July 2016</ref> The reviewer Michael Walters gives his highest praise to the 1924 recording, but he also likes the 1961 recording.<ref>Walters, Michael. "Recordings of ''Trial by Jury'' (part 2)", ''W. S. Gilbert Society Journal'', Vol. 4, part 3, Issue 29. Summer 2011.</ref>', 342 => '', 343 => 'The Discography recommends the 1982 Brent Walker video, which is paired with ''[[Cox and Box]]''.<ref name=Brent>Shepherd, Marc. [http://gasdisc.oakapplepress.com/tbjwalk.htm "The Brent Walker ''Trial By Jury'' (1982)"], The Gilbert and Sullivan Discography, 5 April 2009, accessed 30 July 2016</ref> More recent professional productions have been recorded on video by the [[International Gilbert and Sullivan Festival]].<ref>[http://www.gsfestivals.org/shop/professional-shows "Professional Shows from the Festival"] {{webarchive|url=https://web.archive.org/web/20120626161615/http://gsfestivals.org/shop/professional-shows |date=26 June 2012 }}, Musical Collectibles catalogue website, accessed 15 October 2012</ref>', 344 => '', 345 => ';Selected recordings', 346 => '*1927 D'Oyly Carte – Conductor: [[Harry Norris (conductor)|Harry Norris]]<ref>Shepherd, Marc. [http://gasdisc.oakapplepress.com/tbj1927.htm "The 1927 D'Oyly Carte ''Trial By Jury''"], The Gilbert and Sullivan Discography, 11 May 2003, accessed 30 July 2016</ref> ', 347 => '*1961 Sargent/Glyndebourne – [[Pro Arte Orchestra]], Glyndebourne Festival Chorus, Conductor: [[Malcolm Sargent|Sir Malcolm Sargent]]<ref>Shepherd, Marc. [http://gasdisc.oakapplepress.com/tbjsarg.htm "The Sargent/Glyndebourne ''Trial By Jury'' (1961)"], The Gilbert and Sullivan Discography, 29 April 2009, accessed 30 July 2016</ref>', 348 => '*1964 D'Oyly Carte – Conductor: [[Isidore Godfrey]]<ref>Shepherd, Marc. [http://gasdisc.oakapplepress.com/tbj1964.htm "The 1964 D'Oyly Carte ''Trial By Jury''"], The Gilbert and Sullivan Discography, 24 August 2008, accessed 30 July 2016</ref> ', 349 => '*1975 D'Oyly Carte – Conductor: [[Royston Nash]]<ref>Shepherd, Marc. [http://gasdisc.oakapplepress.com/tbj1975.htm "The 1975 ''Trial By Jury''"], The Gilbert and Sullivan Discography, 23 July 2005 accessed 30 July 2016</ref>', 350 => '*1982 Brent Walker Productions video – Ambrosian Opera Chorus, [[London Symphony Orchestra]], Conductor: [[Alexander Faris]]<ref name=Brent/>', 351 => '*1995 Mackerras/Telarc – Orchestra and Chorus of the Welsh National Opera, Conductor: [[Charles Mackerras|Sir Charles Mackerras]]<ref>Shepherd, Marc. [http://gasdisc.oakapplepress.com/tbjmack.htm "The Mackerras/Telarc ''Trial By Jury'' (1995)"], The Gilbert and Sullivan Discography, 23 October 2001, accessed 30 July 2016</ref>', 352 => '*2005 [[Opera Australia]] video (modern dress) – Stage Director: Stuart Maunder; conductor: Andrew Greene<ref>Shepherd, Marc and Donald Shirer. [http://gasdisc.oakapplepress.com/tbjausto.htm "The Opera Australia ''Trial By Jury'' (2005)"] The Gilbert and Sullivan Discography, 9 July 2009, accessed 30 July 2016</ref>', 353 => '', 354 => '==Textual changes==', 355 => '[[File:Big reeling.jpg|right|thumb|300px|alt=A sepia photo showing four characters, the Usher, the Defendant and the Plaintiff swooning in the arms of the Judge.|The Plaintiff, in "distress", captures the sympathy of the judge and jury. Production with [[Sydney Granville]], 1919]]', 356 => 'Before the first performance of ''Trial by Jury'', some material was cut, including two songs and a [[recitative]]: a song for the foreman of the jury, "Oh, do not blush to shed a tear", which was to be sung just after "Oh, will you swear by yonder skies"; and a recitative for the Judge and song for the Usher, "We do not deal with artificial crime" and "His lordship's always quits", which came just before "A nice dilemma".<ref>Bradley, pp. 20, 32</ref> The melody for "His Lordship's always quits" is known, and it was reused in "I loved her fondly" in ''The Zoo'' and later modified into the main tune from "A wand'ring minstrel, I" in ''[[The Mikado]]''.<ref>{{cite web|author=Tillett, Selwyn|author2=Roderick Spencer|year=2002|title=Forty Years of ''Thespis'' Scholarship|url=http://www.chimesmusicaltheatre.co.uk/Thespis.pdf|format=PDF|accessdate=2006-05-25|url-status=dead|archiveurl=https://web.archive.org/web/20070619222651/http://www.chimesmusicaltheatre.co.uk/Thespis.pdf|archivedate=19 June 2007|df=dmy-all}} p. 11</ref> A few changes were made to the end of "I love him, I love him!" after the first night.<ref>Bradley, p. 34</ref> A third verse for "Oh, gentlemen, listen I pray" was sung, at least on the first night, and part was quoted in a review in the ''Pictorial World''.<ref>Allen (1975a), p. 42</ref>', 357 => '', 358 => '''Trial by Jury'' underwent relatively minor textual changes after its first run, mainly consisting of insignificant amendments to wording.<ref>Bradley, pp. 6&ndash;38</ref> The most significant changes involve the ending. The original stage directions set up a simple [[pantomime]]-style tableau:', 359 => '{{quote|{{smallcaps|Judge}} and {{smallcaps|Plaintiff}} dance back, hornpipe step, and get onto the Bench – the {{smallcaps|Bridesmaids}} take the eight garlands of roses from behind the Judge's desk and draw them across floor of court, so that they radiate from the desk. Two plaster Cupids in bar wigs descend from flies. Red fire.<ref name=Bradley38>Bradley, pp. 36, 38</ref>}}', 360 => '', 361 => 'This became much more elaborate in the 1884 revival, with the entire set being transformed, and the plaintiff climbing onto the Judge's back "à la fairy". In the 1920s, the plaster cupids were evidently damaged on a tour, and the transformation scene was abandoned completely.<ref name=Bradley38 />', 362 => '', 363 => '==Notes, references and sources==', 364 => '', 365 => '===Notes===', 366 => '{{Notelist | colwidth=25em}}', 367 => '', 368 => '===References===', 369 => '{{Reflist | colwidth=25em}}', 370 => '', 371 => '===Sources===', 372 => '* {{cite book | last=Ainger | first=Michael | year=2002 | title=Gilbert and Sullivan &ndash; A Dual Biography | location=Oxford | publisher=[[Oxford University Press]] | isbn=978-0-19-514769-8}}', 373 => '* {{cite book | last=Allen | first=Reginald | year=1958 | title=The First Night Gilbert and Sullivan | location=London | publisher=Chappell|oclc= 3156011 }}', 374 => '* {{cite book | last=Allen | first=Reginald | year=1975a | title=The First Night Gilbert and Sullivan [Centennial Edition] | location=London | publisher=Chappell|oclc= 550681465 }}', 375 => '* {{cite book | last=Allen | first=Reginald | year=1975b | title=Sir Arthur Sullivan: Composer and Personage | location=New York | publisher=The Pierpont Morgan Library | isbn=978-0-87598-049-2 | url=https://archive.org/details/sirarthursulliva0000alle }}', 376 => '* {{cite book | last=Archer | first=William | year=1882 | chapter=Mr. W. S. Gilbert | title=English Dramatists of To-Day | url=https://archive.org/details/englishdramatis01archgoog | location=London | publisher= Low, Marston, Searle and Rivington |oclc= 963632829 }}', 377 => '* {{cite book | last=Bradley | first=Ian | authorlink=Ian Bradley | year=1996 | title=The Complete Annotated Gilbert and Sullivan | location=Oxford | publisher=Oxford University Press | isbn=978-0-19-816503-3 | url=https://archive.org/details/completeannotate00sull }}', 378 => '* {{cite book | last=Browne | first=Edith A. | year=1907 | title=Stars of the Stage: W. S. Gilbert | location=London | publisher=John Lane, The Bodley Head|oclc= 5866733 }}', 379 => '* {{cite book | last=Burgess | first=A. J. | year=1997 | title=The Notary and other Lawyers in Gilbert & Sullivan | location=Hadleigh, Suffolk | publisher=Jardine Press | isbn=978-0-9525594-1-2}}', 380 => '* {{cite book | last=Crowther | first=Andrew | year=2000 | title=Contradiction Contradicted &ndash; The Plays of W. S. Gilbert | publisher=Associated University Presses | location=London | isbn=978-0-8386-3839-2}}', 381 => '* {{cite book | last=Davis | first=Richard Harding (ed. Charles Belmont Davis) | year=1995 | title=Adventures and Letters of Richard Harding Davis |url=http://onlinebooks.library.upenn.edu/webbin/gutbook/lookup?num=405 | accessdate=2008-06-01 | publisher=[[Project Gutenberg]] | isbn= 978-0-8386-3839-2}}', 382 => '* {{cite book | last=Dark | first=Sidney and Rowland Grey | year=1923 | title=W. S. Gilbert: His Life and Letters | url=https://books.google.com/?id=BpCMTsYMjy0C&pg=PA66&lpg=PA66 | publisher=Ayer Publishing | isbn=978-0-405-08430-0}}', 383 => '* {{cite book | last=Fitzgerald | first=Percy Hetherington | year=1899 | title=The Savoy Opera and the Savoyards | url=https://archive.org/details/bub_gb_TzoQAAAAYAAJ | quote=Trial by Jury Fisher Sullivan Bromley Pepper. | location=London | publisher=Chatto & Windus|oclc=4635323}}', 384 => '* {{cite book | last=Gänzl | first=Kurt | year=1986 | title=The British Musical Theatre&mdash;Volume I, 1865&ndash;1914 | location=Oxford | publisher=Oxford University Press|isbn=978-0-333-39839-5}}', 385 => '* {{cite book | author1=Gilbert, W. S. | author2=Sullivan, Arthur | lastauthoramp=yes | year=1912 | title=Trial by Jury (Vocal Score) | location=London | publisher=Chappell|oclc=48594935}}', 386 => '* {{cite book | last=Goldberg | first=Isaac | year=1929 | title=The Story of Gilbert and Sullivan, ''or'' The 'Compleat' Savoyard | location=London | publisher=John Murray|oclc=758343552}}', 387 => '* {{cite book | last=Jacobs | first=Arthur | year=1986 | title=Arthur Sullivan: A Victorian Musician | location=Oxford | publisher=Oxford University Press | isbn=978-0-19-282033-4}}', 388 => '*{{cite book | last=Lawrence | first=Arthur | year=1899 | title=Sir Arthur Sullivan: Life-Story, Letters, and Reminiscences | location=London | publisher=James Bowden|oclc= 253726207}}', 389 => '* {{cite journal | last=McElroy | first=George C. | title=Whose ''Zoo''; or, When Did The ''Trial'' Begin? | journal=Nineteenth Century Theatre Research | volume=12 | year=1984 | pages=39–54}}', 390 => '* {{cite book | last= MacQueen-Pope | first=W. J. | title= Carriages at Eleven | year= 1947| location= London | publisher= Hutchinson | oclc= 155797891 }} ', 391 => '* {{cite book|last=Rollins|first=Cyril|year=1962|author2=R. John Witts|title=The D'Oyly Carte Opera Company in Gilbert and Sullivan Operas: A Record of Productions, 1875&ndash;1961| location=London|publisher=Michael Joseph|oclc=504581419}} Also, four supplements, privately printed. ', 392 => '* {{cite book | last=Stedman | first=Jane W. | year=1996 | title=W. S. Gilbert, A Classic Victorian & His Theatre | publisher=Oxford University Press | isbn=0-19-816174-3}}', 393 => '*{{cite book | last=Walbrook | first=H. M. | title=Gilbert & Sullivan Opera: A History and A Comment | location=London | publisher=F. V. White| year=1922 | oclc= 3303311|url=http://gsarchive.net/books/walbrook/index.html }}', 394 => '* {{cite book | last=Wilson | first=Robin | author2=Frederic Lloyd | title=Gilbert & Sullivan &ndash; The Official D'Oyly Carte Picture History | publisher=Alfred A. Knopf | location=New York | year=1984 | isbn=978-0-394-54113-6 | url=https://archive.org/details/gilbertsullivano00wils }}', 395 => '* {{cite book | last=Young | first=Percy M. | year=1971 | title=Sir Arthur Sullivan | location=London | publisher=J. M. Dent | isbn=0-460-03934-2 | url-access=registration | url=https://archive.org/details/sirarthursulliva0000unse }}', 396 => '', 397 => '==External links==', 398 => '{{wikisource|Trial by Jury}}', 399 => '{{Wikiquote|W._S._Gilbert#Trial_by_Jury_.281875.29|Trial by Jury}}', 400 => '{{Commons category}}', 401 => '* [https://www.gsarchive.net/trial/html/index.html ''Trial by Jury'' at The Gilbert & Sullivan Archive]', 402 => '* [http://gasdisc.oakapplepress.com/tbj.htm ''Trial by Jury'' at The Gilbert & Sullivan Discography]', 403 => '* [http://gsarchive.net/trial/reviews/times75.html Opening night review in ''The Times'', published 29 March 1875]', 404 => '* [https://www.youtube.com/watch?v=k-8oH57yPd4 Video adaptation of ''Trial by Jury''] – ''Omnibus'' (1953)', 405 => '', 406 => '{{Gilbert and Sullivan}}', 407 => '', 408 => '{{featured article}}', 409 => '', 410 => '{{Authority control}}', 411 => '', 412 => '{{DEFAULTSORT:Trial By Jury}}', 413 => '[[Category:Operas by Gilbert and Sullivan]]', 414 => '[[Category:1875 operas]]', 415 => '[[Category:English comic operas]]', 416 => '[[Category:English-language operas]]', 417 => '[[Category:Juries in fiction]]', 418 => '[[Category:One-act operas]]', 419 => '[[Category:Operas set in England]]', 420 => '[[Category:Operas]]' ]