العربية
中国
Français
Deutsch
Ελληνική
हिन्दी
Italiano
日本語
Português
Русский
EspañolTRIAL BY JURY
: ''This article is about the comic opera. For the legal institution, see jury trial. For the TV drama series, see .''
'''Trial by Jury''' is a comic opera (entitled "A Dramatic Cantata")[1] in one act, with music by Arthur Sullivan and libretto by W. S. Gilbert. It premiered on March 25 1875 in London at the Royalty Theatre, where it initially ran for 131 performances and was considered a hit. It then toured and was frequently revived, as detailed below. Initially it was played last on a triple bill; the other two works on opening night were Jacques Offenbach's ''La Périchole'' and Charles Collette's one-act farce ''Cryptoconchoidsyphonostomata'', which was immediately thereafter replaced with another work.
The opera came four years after Gilbert and Sullivan's only previous collaboration (''Thespis'', an 1871–72 Christmas season entertainment). In the intervening years, the author and composer each became even more eminent in his field. ''Trial'' was a hit, and numerous revivals followed. Its success launched the series of Gilbert and Sullivan operas (twelve more after ''Trial'') that came to be known as the Savoy Operas, named for the theatre that Carte later built for them.
''Trial'' is the only Gilbert and Sullivan opera played in one act, and the only one with no spoken dialogue. As it is only about 30 minutes long, it is usually coupled with another work — often one of the shorter two-act Savoy Operas, such as ''The Sorcerer'' or ''H.M.S. Pinafore'', or presented as a triple bill with ''Cox and Box'' and ''The Zoo''. As with all the G&S operas, the plot of ''Trial'' is ludicrous, but by behaving as if everything were perfectly reasonable, the characters in this satire of the legal system (a favourite target of Gilbert's, who had a brief legal career) reveal truths about common foibles and follies of men, women and society at large.
In 1868, Gilbert had published one of his Bab Ballads, entitled ''Trial by Jury: An Operetta''. This was a single-page comic skit, in verse. It described a trial for "breach of promise" (a man’s failure to marry the woman to whom he is engaged). This piece was one of Gilbert’s humorous spoofs of the law and the legal profession, based on his brief experience as a barrister. The skit ends with the impatient Judge resolving the lawsuit by marrying the comely plaintiff himself.
In 1873, Gilbert arranged with the theatrical manager and composer, Carl Rosa, to expand the piece into a one-act libretto. Rosa was to write the music, and his wife was to sing the role of the plaintiff, as part of a season of English opera that Rosa planned to present at the Drury Lane Theatre. Rosa's wife died in childbirth in 1874, and the project was dropped.
Later in 1874, Gilbert offered the libretto to impresario Richard D'Oyly Carte, but Carte as yet had no venue where the piece would be suitable. By early 1875, Carte was managing Madame Selina Dolaro's Royalty Theatre, and he needed a short opera to be played as an afterpiece to Offenbach's ''La Périchole''. He remembered ''Trial by Jury'', and, having seen ''Thespis'', Carte suggested that Sullivan was the man to set the new piece. Sullivan was enthusiastic, and ''Trial by Jury'' was composed in a matter of weeks. The result was a witty, tuneful and very "English" piece that became an immediate hit in London and on tour throughout the provinces. There was even an authorised American production.
Gilbert insisted that his actors know their words perfectly and obey his stage directions, something quite new to many actors of the day.
★ The Learned Judge (comic baritone)
★ The Plaintiff (soprano)
★ The Defendant (tenor)
★ Counsel for the Plaintiff (high baritone)
★ Usher (bass-baritone)
★ Foreman of the Jury (bass)
★ Associate (''silent'')
★ First Bridesmaid
★ Chorus of Bridesmaids, Gentlemen of the Jury, Barristers, Attorneys and Public.
The curtain rises on the Court of the Exchequer, where a jury and the public assemble to hear a case of breach of promise of marriage ("Hark, the Hour of Ten is Sounding"). After a biased introduction to the proceedings by the Usher ("Now, Jurymen, Hear My Advice"), it soon becomes clear that the jurymen's sympathies are with the plaintiff, Angelina. They greet the defendant, Edwin, with hostility. He tries to persuade them that his position is reasonable ("When First my Old, Old Love I Knew"), but as they are respectable gentlemen, they refuse to make any allowances for the fickleness of youth ("Oh, I Was Like That When a Lad").
The Judge enters with great pomp ("All Hail, Great Judge"), and starts the proceedings by describing how he rose to his position ("When I, Good Friends, Was Called to the Bar"). Preliminaries dispensed with, the jury is sworn in and the plaintiff summoned into court: she arrives in full wedding dress, accompanied by all her bridesmaids ("Comes the Broken Flower"), and instantly captures the heart of both the jury and the Judge. Counsel for the plaintiff makes a moving speech detailing Edwin's betrayal ("With a Sense of Deep Emotion"). Angelina sobs, first in the arms of the foreman of the jury, and then of the Judge.
Edwin suggests that he will marry both women ("Oh Gentlemen, Listen, I Pray"), but the counsel points out that this would be "burglaree". Perplexed, everyone in court ponders the difficulty of the situation ("A Nice Dilemma We Have Here"). Angelina says that she still loves Edwin, and deplores the loss of his love ("I love him, I love him"), and so substantial damages should be awarded to her. But Edwin says that he is a smoker, a drunkard, and a bully, and that she would surely have been unhappy with him, and so the damages should be small. The Judge suggests making Edwin tipsy to see if he would really "thrash and kick" the plaintiff, but everyone else objects (except Edwin, who seems quite willing). Impatient at the lack of progress, the Judge resolves the case by proposing to marry Angelina himself. This is quite satisfactory, and the opera is concluded "With Joy Unbounded".
★ 1. "Hark, the hour of ten is sounding" (Usher and Chorus)
★ 1a. "Now, Jurymen, hear my advice" (Usher)
★ 1b. "Is this the Court of the Exchequer?" (Defendant)
★ 2. "When first my old, old love I knew" (Defendant and Chorus)
★ 3. "All hail great Judge!" (Chorus and Judge)
★ 4. "When I, good friends, was call'd to the Bar" (Judge)
★ 5. "Swear thou the Jury" (Counsel)
★ 6. "Where is the Plaintiff?" (Chorus of Bridesmaids)
★ 7. "Oh, never, never, never, since I join' the human race" (Judge, Chorus)
★ 8. "May it please you, my lud!" (Counsel for Plaintiff)
★ 9. "That she is reeling is plain to see!" (Counsel, Angelina, Judge, Chorus)
★ 10. "Oh, gentlemen, listen, I pray" (Defendant)
★ 11. "That seems a reasonable proposition"
★ 12. "A nice dilemma we have here" (Plaintiff, Defendant, Counsel, Judge, Usher, Foreman and Chorus)
★ 13. "I love him, I love him, with fervour unceasing" (Plaintiff, Defendant and Chorus)
★ 14. "Oh, joy unbounded, with wealth surrounded" (Ensemble)
After the premiere of ''Trial by Jury'' in 1875, operetta companies in London and in the provinces picked it up rapidly, usually playing it as a forepiece or an afterpiece to French operettas. The first American productions were at the Arch Street Theatre in Philadelphia on October 22 1875, and the Eagle Theatre in New York on November 15 1875.
After Gilbert and Sullivan became established with Richard D'Oyly Carte, ''Trial'' was usually played as a companion piece to ''The Sorcerer'' or ''H.M.S. Pinafore''. From 1894, the year when the D'Oyly Carte Opera Company established a year-long touring company that had most of the Gilbert and Sullivan works in its repertory, ''Trial'' was always included, except for 1901–1904, and then again from 1943–46, when the company played a reduced repertory during World War II. It was eliminated in 1976, as a cost-saving measure.
The following table summarises the main London productions of ''Trial by Jury'' during Gilbert's and Sullivan's lifetimes:
The following tables show the casts of the principal original productions and D'Oyly Carte Opera Company touring repertory at various times through to the 1975 centenary season:
W. S. Penley, who later became a famous comedian, played the Foreman during much of the original run and tours and was well-remembered in the role.[1] Chief Justice William Rehnquist, a great Gilbert and Sullivan fan, played the silent role of the Associate (Judge) with the Washington Savoyards in the 1980s.
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. W. S. Gilbert himself played the silent role of the Associate on at least four occasions. Arthur Sullivan conducted the 1877 benefit for actor Henry Compton. At the Nellie Farren benefit, many of the below-listed performers sat in the jury or the gallery, and ''Trial'' was followed by a six-hour long concert. Performances were given by Henry Irving, Ellaline Terriss, Marie Tempest, Hayden Coffin, Arthur Roberts, Letty Lind , Edmund Payne and many others.[2]. The Ellen Terry benefit in 1906 was also a particularly well attended affair, with Sir Arthur Conan Doyle numbered among the jury. Burgess (1997, pp. 56–61) reproduces the programmes for several of these benefits in facsimile. Others are listed in Gänzl (1986, pp. 95–98).
1. Four years earlier, Sullivan had composed another "dramatic cantata", ''On Shore and Sea''.
2. From Letters of Richard Harding Davis
★ The Notary and other Lawyers in Gilbert & Sullivan, , A. J., Burgess, Jardine Press, 1997,
★ The British Musical Theatre—Volume I, 1865–1914, , Kurt, Gänzl, Oxford University Press, 1986,
★ The D'Oyly Carte Opera Company in Gilbert and Sullivan Operas: A Record of Productions, 1875–1961, , Cyril, Rollins, Michael Joseph, 1962, Also, five supplements, privately printed.
★ ''Trial by Jury'' at The Gilbert & Sullivan Archive
★ ''Trial by Jury'' at The Gilbert & Sullivan Discography
★ Site containing biographies of the people listed in the historical cast and benefit cast tables
Chaos in the courtroom
The opera came four years after Gilbert and Sullivan's only previous collaboration (''Thespis'', an 1871–72 Christmas season entertainment). In the intervening years, the author and composer each became even more eminent in his field. ''Trial'' was a hit, and numerous revivals followed. Its success launched the series of Gilbert and Sullivan operas (twelve more after ''Trial'') that came to be known as the Savoy Operas, named for the theatre that Carte later built for them.
''Trial'' is the only Gilbert and Sullivan opera played in one act, and the only one with no spoken dialogue. As it is only about 30 minutes long, it is usually coupled with another work — often one of the shorter two-act Savoy Operas, such as ''The Sorcerer'' or ''H.M.S. Pinafore'', or presented as a triple bill with ''Cox and Box'' and ''The Zoo''. As with all the G&S operas, the plot of ''Trial'' is ludicrous, but by behaving as if everything were perfectly reasonable, the characters in this satire of the legal system (a favourite target of Gilbert's, who had a brief legal career) reveal truths about common foibles and follies of men, women and society at large.
| Contents |
| Background |
| Roles |
| Synopsis |
| Musical numbers |
| Productions |
| Historical casting |
| Benefit performances |
| Notes |
| References |
| External links |
Background
In 1868, Gilbert had published one of his Bab Ballads, entitled ''Trial by Jury: An Operetta''. This was a single-page comic skit, in verse. It described a trial for "breach of promise" (a man’s failure to marry the woman to whom he is engaged). This piece was one of Gilbert’s humorous spoofs of the law and the legal profession, based on his brief experience as a barrister. The skit ends with the impatient Judge resolving the lawsuit by marrying the comely plaintiff himself.
In 1873, Gilbert arranged with the theatrical manager and composer, Carl Rosa, to expand the piece into a one-act libretto. Rosa was to write the music, and his wife was to sing the role of the plaintiff, as part of a season of English opera that Rosa planned to present at the Drury Lane Theatre. Rosa's wife died in childbirth in 1874, and the project was dropped.
Later in 1874, Gilbert offered the libretto to impresario Richard D'Oyly Carte, but Carte as yet had no venue where the piece would be suitable. By early 1875, Carte was managing Madame Selina Dolaro's Royalty Theatre, and he needed a short opera to be played as an afterpiece to Offenbach's ''La Périchole''. He remembered ''Trial by Jury'', and, having seen ''Thespis'', Carte suggested that Sullivan was the man to set the new piece. Sullivan was enthusiastic, and ''Trial by Jury'' was composed in a matter of weeks. The result was a witty, tuneful and very "English" piece that became an immediate hit in London and on tour throughout the provinces. There was even an authorised American production.
Gilbert insisted that his actors know their words perfectly and obey his stage directions, something quite new to many actors of the day.
Roles
Sydney Granville (usher) and friends - 1919
''Bab'' drawing – The Usher advises the jury.
★ The Learned Judge (comic baritone)
★ The Plaintiff (soprano)
★ The Defendant (tenor)
★ Counsel for the Plaintiff (high baritone)
★ Usher (bass-baritone)
★ Foreman of the Jury (bass)
★ Associate (''silent'')
★ First Bridesmaid
★ Chorus of Bridesmaids, Gentlemen of the Jury, Barristers, Attorneys and Public.
Synopsis
The curtain rises on the Court of the Exchequer, where a jury and the public assemble to hear a case of breach of promise of marriage ("Hark, the Hour of Ten is Sounding"). After a biased introduction to the proceedings by the Usher ("Now, Jurymen, Hear My Advice"), it soon becomes clear that the jurymen's sympathies are with the plaintiff, Angelina. They greet the defendant, Edwin, with hostility. He tries to persuade them that his position is reasonable ("When First my Old, Old Love I Knew"), but as they are respectable gentlemen, they refuse to make any allowances for the fickleness of youth ("Oh, I Was Like That When a Lad").
The Judge enters with great pomp ("All Hail, Great Judge"), and starts the proceedings by describing how he rose to his position ("When I, Good Friends, Was Called to the Bar"). Preliminaries dispensed with, the jury is sworn in and the plaintiff summoned into court: she arrives in full wedding dress, accompanied by all her bridesmaids ("Comes the Broken Flower"), and instantly captures the heart of both the jury and the Judge. Counsel for the plaintiff makes a moving speech detailing Edwin's betrayal ("With a Sense of Deep Emotion"). Angelina sobs, first in the arms of the foreman of the jury, and then of the Judge.
Edwin suggests that he will marry both women ("Oh Gentlemen, Listen, I Pray"), but the counsel points out that this would be "burglaree". Perplexed, everyone in court ponders the difficulty of the situation ("A Nice Dilemma We Have Here"). Angelina says that she still loves Edwin, and deplores the loss of his love ("I love him, I love him"), and so substantial damages should be awarded to her. But Edwin says that he is a smoker, a drunkard, and a bully, and that she would surely have been unhappy with him, and so the damages should be small. The Judge suggests making Edwin tipsy to see if he would really "thrash and kick" the plaintiff, but everyone else objects (except Edwin, who seems quite willing). Impatient at the lack of progress, the Judge resolves the case by proposing to marry Angelina himself. This is quite satisfactory, and the opera is concluded "With Joy Unbounded".
Musical numbers
The Plaintiff implores the Defendant
★ 1. "Hark, the hour of ten is sounding" (Usher and Chorus)
★ 1a. "Now, Jurymen, hear my advice" (Usher)
★ 1b. "Is this the Court of the Exchequer?" (Defendant)
★ 2. "When first my old, old love I knew" (Defendant and Chorus)
★ 3. "All hail great Judge!" (Chorus and Judge)
★ 4. "When I, good friends, was call'd to the Bar" (Judge)
★ 5. "Swear thou the Jury" (Counsel)
★ 6. "Where is the Plaintiff?" (Chorus of Bridesmaids)
★ 7. "Oh, never, never, never, since I join' the human race" (Judge, Chorus)
★ 8. "May it please you, my lud!" (Counsel for Plaintiff)
★ 9. "That she is reeling is plain to see!" (Counsel, Angelina, Judge, Chorus)
★ 10. "Oh, gentlemen, listen, I pray" (Defendant)
★ 11. "That seems a reasonable proposition"
★ 12. "A nice dilemma we have here" (Plaintiff, Defendant, Counsel, Judge, Usher, Foreman and Chorus)
★ 13. "I love him, I love him, with fervour unceasing" (Plaintiff, Defendant and Chorus)
★ 14. "Oh, joy unbounded, with wealth surrounded" (Ensemble)
Productions
After the premiere of ''Trial by Jury'' in 1875, operetta companies in London and in the provinces picked it up rapidly, usually playing it as a forepiece or an afterpiece to French operettas. The first American productions were at the Arch Street Theatre in Philadelphia on October 22 1875, and the Eagle Theatre in New York on November 15 1875.
After Gilbert and Sullivan became established with Richard D'Oyly Carte, ''Trial'' was usually played as a companion piece to ''The Sorcerer'' or ''H.M.S. Pinafore''. From 1894, the year when the D'Oyly Carte Opera Company established a year-long touring company that had most of the Gilbert and Sullivan works in its repertory, ''Trial'' was always included, except for 1901–1904, and then again from 1943–46, when the company played a reduced repertory during World War II. It was eliminated in 1976, as a cost-saving measure.
The following table summarises the main London productions of ''Trial by Jury'' during Gilbert's and Sullivan's lifetimes:
| Theatre | Opening Date | Closing Date | Perfs. | Details |
|---|---|---|---|---|
| Royalty Theatre | March 25 1875 | June 11 1875 | 131 | This company also played matinées at the Gaiety Theatre on 10, 17, and 24 April 1875. From June 12 – October 10, the company took ''Trial'' and other operas on a provincial tour. |
| October 11 1875 | December 18 1875 | |||
| Opera Comique | January 14 1876 | May 5 1876 | 96 | ''Trial'' was not performed from March 13–18 due to the illness of Fred Sullivan. After May 5, the company went on tour through October 28, with Fred Sullivan remaining in the show as the Judge most of the time. |
| Strand Theatre | March 3 1877 | May 26 1877 | 73 | Played with various operettas under the management of Mrs. Swanborough. This company then toured the provinces through July 28. |
| Opera Comique | March 23 1878 | May 24 1878 | 56 | Played as an afterpiece to ''The Sorcerer'' |
| Savoy Theatre | October 11 1884 | March 12 1885 | 150 | Played as a forepiece to ''The Sorcerer'' |
| Savoy Theatre | September 22 1898 | December 31 1898 | 102 | Played as a forepiece to ''The Sorcerer'' |
| Savoy Theatre | June 6 1899 | November 25 1899 | 174 | Played as a forepiece to ''H.M.S. Pinafore'' |
Historical casting
The following tables show the casts of the principal original productions and D'Oyly Carte Opera Company touring repertory at various times through to the 1975 centenary season:
| Role | Royalty Theatre 1875 | Opera Comique 1878 | Savoy Theatre 1884 | Savoy Theatre 1898 |
|---|---|---|---|---|
| Judge | Frederic Sullivan | George Grossmith | Rutland Barrington | Henry Lytton |
| Counsel | J. Hollinsworth | Rutland Barrington | Eric Lewis | Jones Hewson |
| Defendant | Walter H. Fisher | George Power | Durward Lely | Cory James |
| Foreman | Charles Kelleher | F. Talbot | Arthur Kennett | Leonard Russell |
| Usher | B. R. Pepper | Fred Clifton | William Lugg | Walter Passmore |
| Associate | J. Wilbraham | Charles Childerstone | ||
| Plaintiff | Nelly Bromley | Lisa Walton | Florence Dysart | Isabel Jay |
| 1st Bridesmaid | Linda Verner | Sybil Grey | Mildred Baker |
| Role | D'Oyly Carte 1905 Tour | D'Oyly Carte 1915 Tour | D'Oyly Carte 1925 Tour | D'Oyly Carte 1935 Tour |
|---|---|---|---|---|
| Judge | Charles H. Workman | Leo Sheffield | Leo Sheffield | Sydney Granville |
| Counsel | Albert Kavanagh | Frederick Hobbs | Henry Millidge | Leslie Rands |
| Defendant | Strafford Moss | Dewey Gibson | Sidney Pointer | Robert Wilson |
| Foreman | Reginald White | Frank Steward | T. Penry Hughes | T. Penry Hughes |
| Usher | J. Lewis Campion | George Sinclair | Joseph Griffin | Richard Walker |
| Associate | Allen Morris | Martyn Green | C. William Morgan | |
| Plaintiff | Bessie Mackenzie | Marjorie Gordon | Eleanor Evans | Ann Drummond-Grant |
| 1st Bridesmaid | Mabel Burnege | Ethel Armit | Beatrice Elburn | Nancy Ray |
| Role | D'Oyly Carte 1949 Tour | D'Oyly Carte 1955 Tour | D'Oyly Carte 1965 Tour | D'Oyly Carte 1975 Tour |
|---|---|---|---|---|
| Judge | Richard Watson | John Reed | Jeffrey Skitch | Jon Ellison |
| Counsel | Alan Styler | Alan Styler | Alan Styler | Gareth Jones |
| Defendant | Leonard Osborn | John Fryatt | Philip Potter | Barry Clark |
| Foreman | Donald Harris | Jack Habbick | Anthony Raffell | James Conroy-Ward |
| Usher | L. Radley Flynn | George Cook | George Cook | Paul Waite |
| Associate | C. William Morgan | Keith Bonnington | Howard Williamson | William Palmerley |
| Plaintiff | Enid Walsh | Kathleen West | Jennifer Toye | Glynis Prendergast |
| 1st Bridesmaid | Joyce Wright | Margaret Dobson | Pauline Wales | Patricia Anne Bennett |
W. S. Penley, who later became a famous comedian, played the Foreman during much of the original run and tours and was well-remembered in the role.[1] Chief Justice William Rehnquist, a great Gilbert and Sullivan fan, played the silent role of the Associate (Judge) with the Washington Savoyards in the 1980s.
Benefit performances
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. W. S. Gilbert himself played the silent role of the Associate on at least four occasions. Arthur Sullivan conducted the 1877 benefit for actor Henry Compton. At the Nellie Farren benefit, many of the below-listed performers sat in the jury or the gallery, and ''Trial'' was followed by a six-hour long concert. Performances were given by Henry Irving, Ellaline Terriss, Marie Tempest, Hayden Coffin, Arthur Roberts, Letty Lind , Edmund Payne and many others.[2]. The Ellen Terry benefit in 1906 was also a particularly well attended affair, with Sir Arthur Conan Doyle numbered among the jury. Burgess (1997, pp. 56–61) reproduces the programmes for several of these benefits in facsimile. Others are listed in Gänzl (1986, pp. 95–98).
| Role | Henry Compton Drury Lane March 1 1877 | Amy Roselle Lyceum June 16 1887 | Rutland Barrington Savoy May 28 1889 | Nellie Farren Drury Lane March 17 1898 |
|---|---|---|---|---|
| Judge | George Honey | Rutland Barrington | Rutland Barrington | Rutland Barrington |
| Counsel | George Fox | Richard Temple | Alec Marsh | Eric Lewis |
| Defendant | W. H. Cummings | Henry Bracy | Courtice Pounds | Courtice Pounds |
| Foreman | Mr. Burbank | Henry Lytton | ||
| Usher | Arthur Cecil | R. Lewis | William Lugg | Walter Passmore |
| Associate | W. S. Gilbert | W. S. Gilbert | ||
| Plaintiff | Pauline Rita | Geraldine Ulmar | Lottie Venne | Florence Perry |
| Role | Disabled Soldiers Drury Lane May 15 1900 | Mr. Ringold Lyric Theatre December 5 1902 | Ellen Terry Drury Lane June 12 1906 |
|---|---|---|---|
| Judge | Rutland Barrington | Rutland Barrington | Rutland Barrington |
| Counsel | Eric Lewis | C. Hayden Coffin | Henry Lytton |
| Defendant | Courtice Pounds | Courtice Pounds | Courtice Pounds |
| Foreman | W. H. Denny | Fred Kaye | Robert Marshall |
| Usher | Walter Passmore | George Grossmith, Jr. | Walter Passmore |
| Associate | W. S. Gilbert | Lionel Monckton | W. S. Gilbert |
| Plaintiff | Florence St. John | Evie Greene | Ruth Vincent |
Notes
1. Four years earlier, Sullivan had composed another "dramatic cantata", ''On Shore and Sea''.
2. From Letters of Richard Harding Davis
References
★ The Notary and other Lawyers in Gilbert & Sullivan, , A. J., Burgess, Jardine Press, 1997,
★ The British Musical Theatre—Volume I, 1865–1914, , Kurt, Gänzl, Oxford University Press, 1986,
★ The D'Oyly Carte Opera Company in Gilbert and Sullivan Operas: A Record of Productions, 1875–1961, , Cyril, Rollins, Michael Joseph, 1962, Also, five supplements, privately printed.
External links
★ ''Trial by Jury'' at The Gilbert & Sullivan Archive
★ ''Trial by Jury'' at The Gilbert & Sullivan Discography
★ Site containing biographies of the people listed in the historical cast and benefit cast tables
This article provided by Wikipedia. To edit the contents of this article, click here for original source.
psst.. try this: add to faves
