"Trial by Jury" is the only Gilbert and Sullivan opera written in one act, running approximately 40 minutes, and is their only opera that contains no spoken dialogue. It is considered by some to be the most perfectly constructed of the G&S operas, and is a little gem of wit, cleverness, and charm. It was first produced in 1875 at London's Royalty Theatre, where it was a runaway hit with audiences.

"Trial by Jury" will be a fully-staged chamber production of the entire opera, with a full cast and chorus of outstanding performers, elegant costumes, and magnificent grand-piano accompaniment. Artistic Director Ralph MacPhail, Jr.and Musical Director  Jeffrey Jones-Ragona lead the production of this melodic and comedic delight. Bill Hatcher is Production Manager.

The story takes place in a courtroom where a breach of promise of marriage case is being tried, with the judge and legal system the objects of lighthearted satire. Can you imagine a more delightfully propitious setting for a lighthearted satire of the British legal system (and of gentlemen who behave like cads)? One wonders how Gilbert’s own short experience as a barrister provided fodder for this little treasure!

The defendant argues that damages should be slight, since "he is such a very bad lot," while the plaintiff argues that she loves the defendant fervently and seeks "substantial damages." After much argument, the judge resolves the case by marrying the lovely plaintiff himself! The judge's song, "When I, good friends, was called to the Bar," is the prototype for a string of similar introductory patter songs that epitomize the Gilbert and Sullivan collaboration.

The score contains two parodies or pastiches of other composers: "All hail, great Judge" is an elaborate parody of Handel's fugues, and "A nice dilemma" parodies "dilemma" ensembles of Italian opera in the bel canto era, in particular "D'un pensiero" from Act I of Bellini's La sonnambula. "A nice dilemma" uses the dominant rhythm and key of "D'un pensiero" and divides up some of the choral lines between the basses and higher voices to create an oom-pa-pa effect common in Italian opera choruses.

Worley Barton Theater at Brentwood Christian School
11908 N. Lamar | Map |Seating Chart