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D'Oyly Carte

I removed extra "D'Oyly's". After the name is first given, Richard D'Oyly Carte the man is always referred to as "Carte," not "D'Oyly Carte." There are many examples of this, including Gilbert's letters to him, which were always "Dear Carte." Similarly, his granddaughter, Dame Bridget D'Oyly Carte, was always "Miss Carte." In contrast, the opera company is always the "D'Oyly Carte Opera Company," or "D'Oyly Carte."

Yes, it can be confusing at first, but one quickly gets used to it. Marc Shepherd 15:20, 6 April 2006 (UTC)

In that case, I suggest you do the same with Mr Carte's own entry, which last time I looked had references to him as "D'Oyly Carte". Birdhurst 21:14, 6 April 2006 (UTC)

I tried to catch all of them, but if I find any others I'll correct them. Marc Shepherd 22:16, 6 April 2006 (UTC)
It's happened again...someone added extra "D'Oyly's". Except when stating the full name, he was normally referred to as "Carte," not "D'Oyly Carte." Marc Shepherd 02:37, 9 May 2006 (UTC)

Expert Needed

This article is incomplete. It skips many years of Carte's history, credits him for keeping the G&S partnership together, but does not mention his role in its dissolution. Marc Shepherd 02:37, 9 May 2006 (UTC)

The article has been expanded now. More refining is needed, however, and the article should be check to see if it harmonises well with the articles on Savoy Theatre, Helen Lenoir, and Rupert D'Oyly Carte. Best regards, -- Ssilvers 02:03, 27 July 2007 (UTC)

The Doctor in Spite of Himself'

I have removed two references to The Doctor in Spite of Himself (1871) because I believe, after checking contemporary press cuttings, that this work was a straight play, albeit presented on the same bill as Carte's operetta, Marie.(e.g. The Era, 27 August 1871; Issue 1718: "...the new management decided upon producing Moliere's comedy Le Medecin Malgre Lui in English, with the title of The Doctor in Spite of Himself, and, by way of variety, commencing with a comic operetta and concluding with a ballet.") By way of corroborative detail I note that the ODNB lists only Dr Ambrosias: his Secret (1868), Marie (1871), and Happy Hampstead (1877) as Carte's operettas. Tim riley (talk) 09:36, 11 April 2009 (UTC)

This has crept back and I have removed it again, for the above reasons. - Tim riley (talk) 15:21, 18 October 2009 (UTC)

Ainger, p. 92 says that Carte wrote The Doctor in Spite of Himself, but I agree that your research into contemporary accounts trumps this. Thanks! -- Ssilvers (talk) 18:39, 18 October 2009 (UTC)

I am distinctly underwhelmed by Ainger. There are too many errors that leap out at one (and for all I know many more that I haven't spotted). I have already pointed out that Ainger is wrong in imagining that Carte wrote an operetta based on Le Medecin Malgre Lui, and in supposing that the Ministry of Works existed in the nineteenth century. I have lately run across a review by David Mackie in Music and Letters, August 2004, pp. 466-469, which lists a deplorable number of errors – though I note that many have been corrected in the 2009 paperback reissue that I have. Even so, one's feeling is Modified Rapture. - Tim riley (talk) 13:34, 7 November 2009 (UTC)

Early life

"Soho's Greek Street in the West End of London" strikes me as information overload. I'd prefer "Greek Street in Soho, London" or "Greek Street in the West End of London". --GuillaumeTell 21:48, 20 October 2009 (UTC)

Tim, would you please pick one of these and revise? I yield to the gentlemen from across the pond on matters such as this!  :-) -- Ssilvers (talk) 21:52, 20 October 2009 (UTC)
Done. I've gone for the more general term. Greek Street is indeed in Soho, but I think perhaps in the present context the West End is more to the point. Tim riley (talk) 07:41, 21 October 2009 (UTC)

Legacy

I've finished looking through the article and making a few amendments here and there. I'm not particularly knowledgeable about Carte, so I was mainly looking for typos, duff punctuation, infelicities, etc. One question relating to the above section: "She continued to produce the touring companies" sounds to me like "she continued to produce rabbits out of hats". "She continued to produce performances by the touring companies" or something similar might be better. --GuillaumeTell 16:54, 22 October 2009 (UTC)

Point taken, but I'm afraid that your formulation implies that she produced some, but not all of the performances. In fact, she was the exclusive producer of all professional G&S in Britain and Canada and all other D'Oyly Carte productions, whether in London or on tour. The touring companies often toured year round, and she also was producer of all of DOC's American and other foreign tours. We should make it clear that she was the sole producer of everything that they did. Tim, can you suggest a solution that will preserve as much brevity as possible? I'm afraid that try to say this more than once. -- Ssilvers (talk) 18:03, 22 October 2009 (UTC)
Done. Please check you're happy with my redraft. (I chuckled much at GuillaumeTell's vision of the rabbits.) - Tim riley (talk) 19:07, 22 October 2009 (UTC)
Perfect. I added the word "London" to clarify that the London company continued to perform after Carte's death. -- Ssilvers (talk) 19:43, 22 October 2009 (UTC)

See the new Helen Carte here. -- Ssilvers (talk) 00:01, 23 October 2009 (UTC)

Remind me where the rollback button is! Tim riley (talk) 14:47, 23 October 2009 (UTC)

Comments by Wehwalt

Here are a few comments aimed at improving the article. I will be doing this in bits.

Thanks! Some changes made and responses below. If Tim has anything to add on any of this, I'd be please to know it. -- Ssilvers (talk) 04:16, 27 October 2009 (UTC)

Lede:

  • A one sentence lede paragraph seems to me to be a bit small. Even if you are not planning to go for FA, I'd enlarge it a bit. Just throw in one or two of the best known facts on RDC.
  • Was the reason RDC built the Savoy to host the G&S operas? Obviously they did, but was that the actual reason for the building? Or did he have bigger things in mind? After all, he could not know how long the partnership would last, and given the difficult relationships among the three of them, that's a slender reed to build a theatre on.
  • For several years, Carte had dreamed of building a theatre to present English light opera. By the time he actually started building it, however, it was definitely with the intention of presenting more G&S. He was young and cocky and never doubted that he could keep the partnership together - indeed, soon after this, he persuaded them to sign a five-year contract. Gilbert and Sullivan got along pretty swimmingly between 1879 and 1881. There were no difficulties in the relationship at that time. It wasn't really until after Princess Ida opened that they had a serious disagreement. I think all this is pretty well supported by the text and references further down. Bottom line, I think it is fair to say in the Lede that it was built to host G&S. -- Ssilvers (talk) 04:16, 27 October 2009 (UTC)

Early life:

  • Rose. I would suggest putting in a death date of unknown or a question mark there, otherwise the implication is she's still alive and kicking at 156.
  • Are you sure? I think it is standard, when you don't know the death date to do it the way we have it. If the person is alive, you leave in a dash like this: (1960– ). Unless the GA reviewer doesn't like it, I'm inclined to keep it as is. -- Ssilvers (talk) 04:16, 27 October 2009 (UTC)
  • (D'Oyly is Norman French) Ambiguous, suggest saying that D'Oyly derives from Norman French or is a Norman French name.
  • Maybe put the sentence about his parents as the second sentence in the paragraph, otherwise it feels like you are telling the story backwards.
  • The sentence about him leaving with his brother Henry is a bit awkward. I'd try moving the clause about Henry to the end.

Career:

  • "Carte's musical training ..." I take it we are talking about the experience he gained during this time? I would just say so.
  • "At the same time" as we are talking about a nine year period, it is a bit of a problem here. I would suggest something like "During this time," or similar. And if it is at all possible, perhaps tell a bit more about what he was doing? Nine years in a man's life is considerable. Was he working at his father's firm, or accompanying companies on tour (sort of implied). I know we are all anxious to get to the good stuff, the G&S stuff, but a little more detail might be good.
  • OK, I changed it. We already said about the 1860s, "He studied music during this time and composed some pieces". Then we discussed his compositions from 1868. Then we pick up in more detail with 1874. We say pretty clearly that he was still working at his father's firm until he moved the talent agency to its new quarters. Sources are not crystal clear on what the date of that was, but it must have been around 1870 or so. I don't know if we have any other details, except that we know he managed certain artists. Can you add anything, Tim? -- Ssilvers (talk) 04:16, 27 October 2009 (UTC)
From the classified ads in The Era: 20 November 1870, p. 7: ad for "Rudall, Rose, Carte and Co Opera, Concert and Choir Agency, under the management of Mr R D'Oyly Carte", states that the Agency was "established by Messrs Rudall, Rose, Carte and Co as a branch of their ordinary business in the Autumn of 1868." The Agency's address is given as 20 Charing-cross, London, SW. In a similar ad on 26 November 1871, the Agency's title is now pruned to "Rudall, Carte and Co's Opera and Concert Agency". R D'Oyly Carte is still manager, and the address is unchanged. An ad in February 1872 shows the same details. By 16 February 1873 (p. 13) the address is unchanged, but the Agency's name does not mention Rudall etc, but is given as "R. D'Oyly Carte's Agency". By 1 November 1874 (p. 16) the agency is "D'Oyly Carte and Co", still at 20 Charing-cross. By 27 December 1874, (p.1) D'Oyly Carte and Co is at "9a Craig's-court, Charing-cross, or 6 Hereford-road, W." Make of that what you will. Tim riley (talk) 09:36, 7 November 2009 (UTC)

More later, or possibly in a couple of days, depending on my crazy schedule.--Wehwalt (talk) 00:44, 27 October 2009 (UTC)

Thanks. Looking forward to it. -- Ssilvers (talk) 04:16, 27 October 2009 (UTC)
  • "She became fascinated by his vision for ..." Perhaps shorten to "Fascinated by his vision ... , she became ...".
  • "Lenoir was well-educated and had a grasp of detail and diplomacy and an organisational ability and business acumen that surpassed even Carte's; she became intensely involved in all of his business affairs" Awful lot of ands in there.
    Oooh, good one! Fixed. -- Ssilvers (talk) 23:38, 29 October 2009 (UTC)
  • "Carte himself was the musical director ... " Is the word himself really needed?
  • ". They chose talented actors, most of whom were not well-known stars, and Carte's agency provided many of the artists to perform in the new work." Surely this can be shortened, as we know the artists are to perform in the new work?
    True enough. Done. -- Ssilvers (talk) 23:38, 29 October 2009 (UTC)

More later. I am sorry for the slowness of the review, I'm traveling and it is hard to buckle down to concentrating on a review.--Wehwalt (talk) 23:09, 29 October 2009 (UTC)

No worries. Doing it bit by bit makes it easy for me too. I hope your trip is going well! -- Ssilvers (talk) 23:38, 29 October 2009 (UTC)
Reasonably well, thanks. Going back a bit:
  • "The Sorcerer in 1877, about a tradesmanlike London sorcerer." Perhaps a different word than sorcerer? And is The Sorcerer really about him? The Mikado is not about that humane monarch, after all. I won't bore you with the argument, you know the operas better than I do and can supply my argument for me!
  • promenade concert: Suggest link to Promenade concert, which is about the historic musical walkabout, not the Albert Hall events.

Early opera successes:

  • "tours of each of the Gilbert and Sullivan operas." Suggest that the word "new" or similar be inserted in there. Thespis, after all, did not tour.
  • Wilde: Had the misconceptions that Bunthorne is based on Wilde arisen at that time? If so, and if the three took advantage of it to send out Wilde, might be worth a mention.
  • No, it's a modern misconception. Wilde was an up-and-coming poet, and one can see aspects of him, or his "type", in each of Bunthorne and Grosvenor, or vice versa. I don't want to promote the misconception by trying to explain it. It is explained in good detail at the Patience article. Here, we say that Carte, who was his agent anyway, sent him to America to explain aesthetic art, and that's exactly what happened. -- Ssilvers (talk) 06:01, 30 October 2009 (UTC)
  • "front-of-house". Unless there is a particular British usage in phrasing it with hyphens, suggest front of house.
  • "queue system". Not sure what this means. (I know what a queue is, I just mean the phrase).
  • People used to wait at the entrance to the theatre and rush in to get first-come, first-served seats. Carte started numbering the tickets so that there would be an orderly line for seating. I fixed some redundancy there. -- Ssilvers (talk) 06:01, 30 October 2009 (UTC)
Sounds like a rock concert with general admission!--Wehwalt (talk) 03:05, 3 November 2009 (UTC)
I'm not sure I quite concur with the above: I don't think the cheap seats were numbered. I think they continued to be unreserved, and it was still first-in-best-placed (as e.g. it still is at the Proms for Promenaders) but Carte, with the help of the police, stopped the traditional scrummage and enforced orderly queueing, so that early arrival rather than musclepower secured the best seats. Tim riley (talk) 09:46, 7 November 2009 (UTC)
Later: on re-examining the article, I think it's correct and I misinterpreted it. Pray disregard the above. - Tim riley (talk) 18:01, 7 November 2009 (UTC)

More later.--Wehwalt (talk) 03:27, 30 October 2009 (UTC)

Sorry for the delay, in my limited time on WP, I was distracted by other things.

  • "As an example of their level of activity ..." The "example" refers to "many other projects". I suggest combining the sentences so the example becomes the laundry list of activities Carte was engaged in.
  • It used to be one sentence, but Maria suggested splitting it up; I think she's right.
  • "increasing their popularity". Certainly, from context, "they" refers to the works, not to the societies. All the same, I'd make this clear so as not to slow down the reader.
  • OK, done.
  • "Carte was able to coax eight comic operas" You might also want to specify how many of these took place under the five year contract.
  • I don't think the contract ought to get any more air time. Carte and Helen had to pet Sullivan constantly to keep him on board.
  • "He was a full participant in the producing partnership with Gilbert and Sullivan. " You might want to tell the reader just what he did in production. Lytton's comment really doesn't answer it.
  • Tim, do we have more information about his exact day-to-day producing duties? I know he was involved in casting. I can guess at other duties, but I don't think I've ever seen any specifics.
As well as his responsibilities as producer (in the modern sense) - publicity, employing the performers and theatre staff, Carte was responsible for stage rehearsals of all the touring companies (see Joseph, p. 90) not to mention for casting them. And though in London, Gilbert was stage director of the G&S operas, and Carte closely followed Gilbert's stagings in his touring productions, staging the non-Gilbert works was entirely down to Carte: he usually got his assistants Charles Harris or Richard Barker to act as director (see Rollins and Witts pp. 15-18) but it was down to Carte to hire designers for the scenery and costumes. Even in the G&S operas, where Gilbert designed some costumes and instructed the designer about others, it was Carte who hired Faustin, Percy Anderson, Henry Emden, Wilhelm et al. - Tim riley (talk) 10:15, 7 November 2009 (UTC)
  • Queen: Might be helpful to the reader if you mentioned (in most versions of this story that I've read) that the Queen was following the libretto closely. Doubt she had the opera committed to memory! Although, you never know, I've read she was a tremendous music fan as a girl, with a keen interest in the stars of the day.
  • Done.
  • "amount of the charge was not great" Five hundred pounds in 1893 is equivalent to at least forty thousand pounds today. I generally use http://www.measuringworth.com
  • The cost of producing a new West End show is tens of millions today. The amount of the carpet was, as I say, "not great" in relation to the total cost of The Gondoliers or its incredible profits. The main thing was that Gilbert was convinced that Carte was skimming profits, and it didn't matter to him that The Gondoliers was a gold mine.
  • "Gilbert won the dispute, but the partnership disbanded." Unclear why a "but" is used. Winning a lawsuit against your partners is not conducive to keeping them as partners. Neither is losing one, I guess either.
  • OK, I tried to clarify.
  • "his touring companies continued to play throughout Britain and in America. In 1894, for example, Carte had four companies touring Britain and one playing in America." The reader is going to wonder if they played G&S or not.
  • I think some were G&S, and some were not. The mix depended on what had been playing at the Savoy. In 1894, right after Utopia, most of the tours would have been of Utopia and companion pieces, the rest would have been mixed rep, including some G&S and some of the Savoy Operas of the 1890s. Tim has R&W which would say exactly. Am I right, Tim? If so, it seems like too much information. After 1903, the non-G&S tapered off, until the rep was just G&S and maybe some companion pieces.
According to Rollins and Witts, pp. 23–116, [in addition to many tours of the G&S works --Ssilvers], Carte's companies toured the UK with the following non–G&S works: Rip Van Winkle (1882), Claude Duval (1882), The Nautch Girl (1891–92), The Vicar of Bray (1892–96 and 1899), Haddon Hall (1892–94 and 1899), Billee Taylor (1893), The Chieftain (1895), Mirette (1894–95), His Majesty (1897), The Grand Duchess of Gerolstein (1898–99), The Lucky Star (1899), The Rose of Persia (1900–01), and after Carte's death The Emerald Isle (1901–02). Rollins and Witts don't give full details of Carte's overseas tours, and I cannot therefore say which of the above were toured in the US and the Empire. This might make a footnote, but needn't, me judice, be added to the main text. By the way, I have just noticed that from the breach with the Comedy Opera Company to 1888 the companies are billed in Rollins and Witts as "Mr. D'Oyly Carte's Opera Company"; from 1889 they are billed as the "D'Oyly Carte Opera Company". - Tim riley (talk) 08:26, 7 November 2009 (UTC)

Further to my comments, above, in response to Wehwalt and Ssilvers, I note from Rollins and Witts the following bits of info about Carte's touring companies.

  • In 1884 he had seven companies touring the UK (with, variously: Pinafore and Pirates (1 company); Patience (2 companies); Iolanthe (2); and Ida (2)). (R&W, p. 24)
  • R&W also mention tours to the US (1882, 1885, 6, and 7, 1890), Germany (1886 and twice in 1887, with dates in Austria and Holland also), and South Africa, 1896-7.
  • Six companies (by which I assume R&W mean Carte's companies, not pirate ones) were presenting The Mikado in Canada and the USA during 1886. (R&W p. 59).
  • In 1887 the "E" company played three nights in Calais and a week in Boulogne. (R&W p. 65). - Tim riley (talk) 08:51, 7 November 2009 (UTC)
  • "Gilbert's aggressive" POV?

That's really all I have. Well done!--Wehwalt (talk) 03:05, 3 November 2009 (UTC)

Thanks. Of course, the above responses are just my opinion. If Tim disagrees, or if you disagree strongly, we can make more changes. -- Ssilvers (talk) 04:33, 3 November 2009 (UTC)

GA Review

This review is transcluded from Talk:Richard D'Oyly Carte/GA1. The edit link for this section can be used to add comments to the review.

Reviewer: María (habla conmigo) 19:28, 27 October 2009 (UTC)

Hello, I've been asked to review this article for GAC. Comments will be listed below over the next several days. María (habla conmigo) 19:28, 27 October 2009 (UTC)

This is another great G&S-related article! I enjoyed reading it, and only see minor issues with the prose and ref formatting. These concerns admittedly do not stand in the way of the article being promoted to GA, but seeing as how I think this is FAC-bound, I'll be quite picky. (Probably why I was asked to review in the first place? :) Here is how it stands against the criteria:

  1. Well-written: For the most part; see issues below.
  2. Factually accurate and verifiable: Yes.
  3. Broad in its coverage: Yes.
  4. Neutral: Yes.
  5. Stable: Yes.
  6. Illustrated, if possible, by images: Yes. All images check out.
Early life
  • Beginning with nothing, Carte built two theatres, built and acquired several hotels and founded an opera company that ran continuously for over a hundred years. -- There's the repetition of "built" here, which continues later in the lead. I'm also not sure what is meant by "beginning with nothing"; is this referring to his childhood? If that's the case, a less euphemistic description may help with the clarity.
  • I rewrote it. See what you think. It had been suggested by another editor recently that I beef up the first paragraph, so I wrote that sentence, but you are right that my first try was crap. I hope this one is better! -- Ssilvers (talk) 23:55, 30 October 2009 (UTC)
  • Carte was born in Greek Street in the West End of London... -- is being born "in" a street a British thing? To me it should read "was born on", but correct me if I'm wrong. Also, it may help to reiterate the date of his birth, as it's not mentioned outside of the lead.
"In" a street is the English usage, though the Americanism "on" a street is becoming increasingly common among young English persons. I correct them as best I can. Tim riley (talk) 00:22, 31 October 2009 (UTC)
Hear hear! Poke them with a sharp stick if they remonstrate! -- Ssilvers (talk) 00:27, 31 October 2009 (UTC)
Well, seeing as how we Yanks park on a driveway and drive on a parkway, we're not exactly ones to emulate. :) María (habla conmigo) 14:44, 2 November 2009 (UTC)
  • Of Welsh and Norman ancestry (D'Oyly is a Norman French name),[2] To supplement his income as a performer... -- The punctuation and grammar are wonky here.
  • Oops! Embarrassing error! I had rewritten something and left this unfortunate sentence fragment. Well, I am in good company, as at least three other seasoned editors reviewing the piece have missed it. Fixed now. -- Ssilvers (talk) 23:55, 30 October 2009 (UTC)
  • He studied music during this time and composed some pieces, which he dedicated to the actress Kate Terry. -- This is mainly out of curiosity, but did he know her personally, or merely admire her work?
  • I don't know. They were the same age, both turning 17 years old in 1861 as she was beginning her London stage career (having already achieved some fame as a child and teenage actress). Unfortunately, none of the sources have much information about Richard's life in the 1860s, as he worked for his father's firm. He certainly knew many musicians and theatre people. Kate's juvenile stage career had included a lot of singing, so perhaps she had asked him to compose songs for her. Maybe they flirted breathlessly at the music shoppe or at a dinner attended by musicians and theatre people. Maybe he waited at the stage door after her performances. She had a meteoric career, beginning in 1861, and was lavishly praised by the critics. She abruptly left the stage in 1867, at the age of 23, to marry a wealthy man. One of the greatest losses in theatre history no doubt. Her sister Ellen Terry took over where she left off and became the most famous Shakespearean actress of the era, but one gets the feeling that everyone thought Kate was even more talented (see Kate's grandson John Gielgud's autobiography for more). Coincidentally, their younger sister Marion Terry later became one of W. S. Gilbert's protegées. A rather incestuous Victorian theatre community! -- Ssilvers (talk) 23:55, 30 October 2009 (UTC)
I've combed the bookshelves and can't add anything substantive to Ssilver's exegesis, supra. - Tim riley (talk) 13:50, 1 November 2009 (UTC)
I'm almost sorry I asked! :) At the time I was reading, the brief mention of Terry seemed peripheral. Since she's obviously a notable figure from the time, I don't think she should be removed from Carte's bio, but seeing as how there's not much more to be added... eh. I'm torn. Just something to think about, I suppose. María (habla conmigo) 14:44, 2 November 2009 (UTC)
Career
  • During the late 1860s and early 1870s, from within his father's firm and then from a nearby address in Craig's Court, Charing Cross, Carte was beginning to build an operatic and concert management agency... -- "began", rather than "was beginning"?
  • On tour in 1871 Carte conducted Sullivan's Cox and Box... -- Sullivan needs to be reintroduced here, as he's only mentioned in the lead previously.
  • He later wrote to Gilbert... -- Same as above.
  • Furthermore, in 1874 Carte did not yet have the resources to make his idea into reality; he did not renew his lease at the Opera Comique.[24] In the same year, he assisted in joining his client, Offenbach, with H. B. Farnie to write a new operetta on the theme of Dick Whittington and His Cat, which played in the Christmas season at the Alhambra Theatre. -- This passage needs to be tightened as it lacks clarity. Is it meant that Carte introduced Offenbach, his client, to Farnie, and together they wrote the new operetta? I'm also not sure how the first sentence, split by the semi-colon, is clear enough. Did he lack the resources because he did not renew his lease, or the other way around?
  • Er, again the source is not crystal clear: Either he didn't renew his lease at the Opera Comique because he blew his capital on the 1874 season and didn't have the resources to mount another season at all; or, he wanted to wait until he had the resources to mount a season of original English works, which would have required more horsepower than what he did in the 1874 season. The 1874 was his first season as a producer, and I'll bet that it is common to take a break after your first big venture and reassess. You'll notice that the next year he took a job as theatre manager, a step down from producer. Of course, I can only write what the sources support directly. The point is that, during the 1874 season, he released his Manifesto, and it wouldn't be long before Destiny and Ambition combined to make him a Big Deal. I tried to rewrite to make it read better; I also fixed the Offenbach thing.
  • Gilbert and Sullivan are introduced and linked in the paragraph that begins In 1875, Carte became the business manager of the Royalty Theatre..., so make sure to remove links if they are done as suggested above.
  • At the Theatre Royal, in Dublin, Ireland in September 1875, while there managing the first tour of Trial by Jury, Carte met a young Scottish actress, Susan Couper Black, who used the stage name Helen Lenoir. -- The numerous commas here make reading this slightly difficult. "While managing the first tour of Trial by Jury at the Theatre Royal in Dublin, Ireland in September 1875, Carte met..."?
  • Carte's assistant, Helen Lenoir, who became his wife in 1888, made fifteen visits to America in the 1880s and 1890s to promote Carte's interests... -- Should the fact that Lenoir became Carte's wife be mentioned when she is first introduced? I thought that may be the case while reading the above excerpt, but since 13 years elapse in just a few paragraphs, it may help to mention it sooner. I'm not completely sure, however.
  • Hm, I do rather like it mentioned up front, I admit. Although instead of "In 1888, three years after the death of his first wife, Carte married Lenoir", should it be "Carte and Lenoir were married"? The former seems somewhat redundant given the previous sentence. María (habla conmigo) 14:44, 2 November 2009 (UTC)
  • They hoped to forestall further "piracy" by establishing the authorised production and tours in America before others could copy it and by delaying publication of the score and libretto. -- Of course I caught the oh so subtle "piracy"/Pirates of Penzance pun going on here, but perhaps copyright infringement should be linked. :)
  • I added the link. Note, however, that it wasn't really copyright infringement, because there was no law being violated. Gilbert and Sullivan (and Carte) WISHED that they could have copyright protection in America, but there was no treaty or American law giving foreign authors a copyright. G&S and Carte sued American producers at least twice, but the US courts gave our boys the finger. As the sources describe in rather dry and academic detail, their efforts were actually important in the rise of international copyright protection, but they themselves never reaped the benefits. Anyhow, I refrain from going into gory detail on this. G&S *considered* it copyright piracy, and this idea partly inspired the theme of their next opera, and I think we've given enough, but not too much, info. Do you agree? -- Ssilvers (talk) 23:55, 30 October 2009 (UTC)
  • It was financed by profits from The Mikado.[80] It was the first hotel lit by... -- Combine these two, perhaps as "Financed by profits from The Mikado, it was the first hotel..."
  • During the years when the Gilbert and Sullivan operas were being written, Richard D'Oyly Carte also produced operas by other composer–librettist teams, either as curtain-raisers to the Gilbert and Sullivan pieces or as touring productions, as well as other works to fill the Savoy Theatre in between Savoy operas, and he also toured the Gilbert and Sullivan operas extensively. For example, a souvenir programme commemorating the 250th performance of Patience in London and its 100th performance in New York shows that, in addition to these two productions of Patience, Carte was simultaneously producing two companies touring with Patience, two companies touring with other Gilbert and Sullivan operas, a company touring with Olivette (co-produced with Charles Wyndham) a company touring Claude Duval in America, a production of Youth running at a New York theatre, a lecture tour by Archibald Forbes (a war correspondent) and productions of Patience, Pirates, Claude Duval and Billee Taylor in association with J. C. Williamson in Australia, among other things. -- These two sentences are huge; any way to break them up so they flow easier?
  • The Mikado became the partnership's longest-running hit, enjoying 672 performances at the Savoy Theatre, the second longest run for any work of musical theatre up to that time... -- Pinafore is also referred to as the "second-longest run in musical theatre history up to that time." Could this be rephrased to say that Mikado usurped Pinafore's former record?
Legacy
  • This section does seem skimpy in comparison to the rest of the article. Consider this a comment outside of the GA review, but I would suggest perhaps plumping this area up with testimonies by those who worked with, comments about his talent and overall effect on theatre at the time, etc. Several of these types of quotes appear throughout the "Career" section, but there must be others?
Will delve in the archives and see what I can find. We may need to distinguish between Carte's corporeal legacy (Savoy etc) and his aesthetic one. Will rummage and report back Tim riley (talk) 00:22, 31 October 2009 (UTC)
I've dug out a quote from GBS and another from The Times obit: see what you think. Tim riley (talk) 14:34, 31 October 2009 (UTC)
I've found some further useful - I hope - additions along the lines suggested by Maria. Pray ponder. - Tim riley (talk) 13:50, 1 November 2009 (UTC)
Looks great! Much improved. María (habla conmigo) 14:44, 2 November 2009 (UTC)
References
  • Is there a reason why {{reflist|2}} is not used?
  • Whether or not you choose to use the template, the works listed under "References" need to be consistently formatted. Bettany and Goodman, for example, do not match Ainger and Young in style. The majority use Chicago.

That's all of the technical comments I have to make. Again speaking outside of the GA review for a moment, I think this is a rather good article, and it may have a chance at FA in the near future. With that in mind, however, I would be careful not to stray too much into G&S and too far away from Carte. Several times I lost sight of whose biography I was in fact reading. :) Although G&S were obviously a huge part of his life and success, I found myself wanting to know more about the man, rather than his works, or the works that he facilitated. I got the sense that he was a man who lived for his work, but surely there were other aspects to his character? As for the review, although there are no serious concerns, I'll still place the article on hold so the above can be addressed. Let me know when you're ready for me to take another look! María (habla conmigo) 16:24, 29 October 2009 (UTC)

Thanks so much for these really excellent comments, Maria. For now, I think this is pretty much all we know about Carte the man, unless Tim can come up with more. I don't have any plans to go to FA right away. I'm content for now, to have a solid GA article on Carte, and I think I'm going to turn back to the G&S operas themselves, and try to move several of them towards GA. I was feeling really beat up in the Pinafore FA process, and I had no help dealing with the comments. So, I'm not inclined to do FA again on a G&S article any time soon, unless Tim is really hot to do one. Going solo at FA isn't much fun. I'll look over the article, though, and see if I can work on the G&S focus and see if I can make sure it is focused on Carte rather than G&S throughout. -- Ssilvers (talk) 23:55, 30 October 2009 (UTC)
I've added a few bits about the hotel side of the Carte empire, and a couple of tiny things about his personal life - but Carte remains curiously elusive as a person. - Tim riley (talk) 13:50, 1 November 2009 (UTC)
I also went through again and streamlined the G&S info a bit, trying also to make sure that all the discussion of G&S is aimed at explaining Carte's role. -- Ssilvers (talk) 15:58, 1 November 2009 (UTC)
Final comments

I'm impressed with the corrections and additions, and only made a couple small fixes myself to the article just now. The "Legacy" section in particular is much improved, especially with the addition of quotes regarding Carte's impact on his field of work. I see no further issues, so I'll be promoting this article to GA-status. Congrats, guys! On a sidenote, I completely understand the disenchantment with FAC, but it's always worth it in the end, isn't it? Let me know if/when you need anything else, María (habla conmigo) 14:44, 2 November 2009 (UTC)

Carte's father, Richard

Great new image, Tim! -- Ssilvers (talk) 17:21, 28 August 2010 (UTC)

Carte senior looks so very English compared with his son's Napoleonic looks. D'Oyly must have got them from his mother's side. Tim riley (talk) 18:04, 28 August 2010 (UTC)

Yes, particularly the moustache! -- Ssilvers (talk) 14:40, 29 August 2010 (UTC)

Note 84

Why aren't Dark and Grey included in the reference section?

Ooh! Good catch! Done now. -- Ssilvers (talk) 01:52, 11 January 2011 (UTC)
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