Rupert D ' Oyly Carte considered producing a revival in 1925, but the cost of the production was found to be too great, and the proposed revival was abandoned.

" In 1895, with Richard D ' Oyly Carte struggling to rediscover success at the Savoy, he once again proposed a revival of Thespis, but the idea was not pursued.

Early in 1939, before the outbreak of World War II, the Savoy Group, now under Rupert D ' Oyly Carte, proposed to open a sister restaurant of Simpson's, near Leicester Square, but this took many years to come to fruition.

International Institute of Human Rights within the program “ Carte Blanche ” of the Egyptian Young Cinema proposed by Mohamed Khan ( Film Director )

In the meantime, when Ida closed, Carte produced a revival of The Sorcerer.

Encouraged by the success of Trial by Jury, Carte made attempts in 1875 – 76 to raise money for either a revival of Thespis or a new piece.

When it received its first professional revival in December 1920 in Glasgow – and then in London, in October 1921 – the D ' Oyly Carte Opera Company made a number of further cuts and changes that were incorporated in scores and used in subsequent D ' Oyly Carte productions and recordings.

David Russell Hulme, editor of the Oxford University Press 2000 scholarly edition of the score, has attributed the cuts and other changes to the music principally to Harry Norris, musical director of the D ' Oyly Carte at the time of the Glasgow revival, and the modifications to the opera's orchestration, as well as the new overture, to Geoffrey Toye.

* Geoffrey Toye, the D ' Oyly Carte musical director for the first London revival in 1921, supplied a new overture to replace the original overture arranged by Hamilton Clarke.

The revival was a success, and from that point on, Ruddigore was a permanent fixture in the D ' Oyly Carte repertory.

At least one D ' Oyly Carte company, and sometimes as many as three, played Pinafore under Carte's aegis every year between 1878 and 1888, including its first London revival in 1887.

In 2002, a season of Return to the Forbidden Planet was followed by the D ' Oyly Carte productions of Iolanthe, The Yeomen of the Guard and The Mikado, and then a revival of Yasmina Reza's Life x 3.

Plans for a collaboration for Carl Rosa in 1875 fell through because Gilbert was too busy with other projects, and an attempted Christmas 1875 revival of Thespis by Richard D ' Oyly Carte failed when the financiers backed out.

After the 1954 revival, Princess Ida was an irregular presence in the D ' Oyly Carte repertory.

During this period, Carte also presented various companion pieces with the Gilbert and Sullivan operas, including the 1877 revival of Dora's Dream by Arthur Cecil and Alfred Cellier ; The Spectre Knight ( 1878 ); revivals of Trial by Jury ; several pieces by George Grossmith beginning in 1878: Beauties on the Beach, A Silver Wedding, Five Hamlets, and Cups and Saucers ; revivals of Gilbert's After All!

On leaving the Academy, in 1897, she joined the D ' Oyly Carte Opera Company with a week-long trial at the Savoy Theatre, singing the part of Elsie Maynard in the first London revival of The Yeomen of the Guard.

Its first London revival was in 1900, making it the last of the revivals for which all three partners ( Gilbert, Sullivan, and D ' Oyly Carte ) were alive.

For the 1894 revival by the D ' Oyly Carte Opera Company, Sullivan cut the " Sixes " duet ( No. 9 ) in which Box and Cox each try to lose ( the stake being the unwanted Penelope Ann ).

Remembering Thespis, Carte reunited Gilbert and Sullivan, and the result was the one-act comic opera Trial by Jury.

Carte knew that Gilbert had worked with Sullivan to create Thespis in 1871, and he now suggested that Sullivan could write the music for Trial by Jury.

The first collaboration of Gilbert and Sullivan — the 1871 opera Thespis — was not a Savoy Opera under any of the definitions mentioned to this point, as Richard D ' Oyly Carte did not produce it, nor was it ever performed at the Savoy Theatre.

Given its lack of a D ' Oyly Carte or Savoy connection, Thespis has a tenuous claim to be a " Savoy Opera.

On 27 February 1982 the Adelphi hosted the final night of the D ' Oyly Carte Opera Company for a concert performance of songs from all thirteen Savoy Operas as well as Cox and Box and Thespis.

After the production of Thespis, Gilbert and Sullivan went their separate ways, reuniting three years later, with Richard D ' Oyly Carte as their manager, to produce Trial by Jury in 1875.

Lesser taboo terms include " pony and trap " for " crap " ( as in defecate, but often used to denote nonsense or low quality ); to blow a raspberry ( rude sound of derision ) from raspberry tart for " fart "; " D ' Oyly Carte " for " fart "; " Jimmy Riddle " for " piddle " ( as in urinate ), " J. Arthur Rank " ( a film mogul ), or " ham shank " for " wank ", " Bristol Cities " ( contracted to ' Bristols ') for " titties ", etc.

He built the Savoy Theatre in 1881 to present their joint works ( which came to be known as the Savoy Operas ) and founded the D ' Oyly Carte Opera Company, which performed and promoted Gilbert and Sullivan's works for over a century.

Gilbert already had available the libretto he had written for Rosa, and Carte suggested that Sullivan write the score.

This event cleared the way for Carte, Gilbert and Sullivan to form the D ' Oyly Carte Opera Company, which then produced all of their succeeding operas.

Gilbert, Sullivan and Carte tried for many years to control the American performance copyrights over their operas, without success.

Richard D ' Oyly Carte was the booking manager for Oscar Wilde, a then lesser-known proponent of aestheticism, and dispatched Wilde on an American lecture tour in conjunction with the opera's U. S. run, so that American audiences might better understand what the satire was all about.

Sullivan had been satisfied with the libretto, but two months after Ida opened, Sullivan told Carte that " it is impossible for me to do another piece of the character of those already written by Gilbert and myself.

" As Princess Ida showed signs of flagging, Carte realised that, for the first time in the partnership's history, no new opera would be ready when the old one closed.

Rising from humble beginnings, Carte built two of London's theatres and a hotel empire, while also establishing an opera company that ran continuously for over a hundred years and a management agency representing some of the most important artists of the day.

Between 1868 and 1877, Carte wrote and published the music for a number of his own songs and instrumental works, as well as several comic operas: Doctor Ambrosias – His Secret, at St. George's Hall ( 1868 ); Marie, with librettist E. Spencer Mott, at London's Opera Comique in 1871 ; and Happy Hampstead, with librettist Frank Desprez, which debuted on an 1876 provincial tour and then played at the Royalty Theatre in 1877.

Carte announced his ambitions on the front of the programme for the latter: " It is my desire to establish in London a permanent abode for light Opera.

Meanwhile, Sullivan's popular 1867 opera, Cox and Box, had been revived at the Gaiety Theatre in 1874, and Carte had already asked him to write a piece for the Royalty.

This allowed Carte to lease the Opera Comique and to give Gilbert and Sullivan firm terms for a new opera.

Legal action over the ownership of the rights ended in victory for Carte, Gilbert and Sullivan.

In 1875, however, producer Richard D ' Oyly Carte reunited Gilbert and Sullivan to create a one-act piece, Trial by Jury, which became a surprise hit.

In 1875, the manager of the Royalty Theatre, Richard D ' Oyly Carte, needed a short piece to fill out a bill with Offenbach's La Périchole.

In 1875, Carte became the business manager of the Royalty Theatre, under the direction of his client, the popular singing actress Madame Selina Dolaro.

Carte managed the first tour of Trial by Jury, which stopped at the Theatre Royal in Dublin, Ireland, in September 1875.

A revised version of their 1877 work, The Sorcerer, coupled with their one-act Trial by Jury ( 1875 ), played at the Savoy while Carte and their audiences awaited their next work.

In 1875, Richard D ' Oyly Carte, who was then managing the Royalty Theatre for Selina Dolaro, brought Gilbert and Sullivan together to write their second show, a one-act opera entitled Trial by Jury.

Three years later, in 1875, talent agent and producer Richard D ' Oyly Carte was managing the Royalty Theatre, and he needed a short opera to be played as an afterpiece to Jacques Offenbach's La Périchole.

In 1875, Richard D ' Oyly Carte, one of the impresarios aiming to establish an English school of family-friendly light opera by composers such as Frederic Clay and Edward Solomon as a countermeasure to the continental operettas, commissioned Clay's collaborator, W. S. Gilbert, and the promising young composer, Arthur Sullivan, to write a short one-act opera that would serve as an afterpiece to Offenbach's La Périchole.

As part of the 1975 centennial season, before the first of the four performances of Trial by Jury, a specially-written curtain raiser by William Douglas-Home, called Dramatic Licence, was played by Pratt as Richard D ' Oyly Carte, Kenneth Sandford as Gilbert and John Ayldon as Sullivan, in which Gilbert, Sullivan and Carte plan the birth of Trial in 1875.

Parepa died in January 1874, however, and the project was dropped ( until, in 1875, a competing manager, Richard D ' Oyly Carte, produced Trial by Jury with music by Arthur Sullivan ).