The Zoo - an introduction by Nick Lawrence

Carboy, a struggling pharmacist, has decided to hang himself because he is forbidden to marry his adored Ltitia by her social climbing father. Rumour has it that a prescription he sent has been mixed and Ltitia has taken a blister meant for her hard-hearted Papa. Carboy takes himself off to the Zoo where he intends to "finish it all" between the Bear pit and the refreshment stall. Attempts by the Great British Public to console him are fruitless, but his suicide is delayed, as noone will remove the chair. Eliza Smith, the delightful owner of the refreshment stall, is being courted by one Thomas Brown. He is attracted by Eliza's simple virtue and honesty. At the stall he continually orders more food in order to stay near her. Ltitia arrives in search of Carboy who discovers she is "alive". Thomas, overcome by the last bun, faints and Eliza hurries off to take a prescription. While she is away Carboy discovers that Thomas is not all that he seems. He is a peer and a Knight of the Garter. Recognised for what he really is, Thomas becomes inarticulate, but the crowd understand him and encourage him to offer Eliza his hand in marriage.

Ltitia's angry father, Mr. Grinder, the retired grocer, now appears in search of his daughter. Eliza returns to find Thomas missing, but he appears in his full regalia just in time to pay off Grinder and save the day. Just three months after the success of "Trial by Jury" Sullivan set about writing another one act operetta, this time in collaboration with B. C. Stephenson, who had adopted the pseudonym Bolton Rowe. Stephenson is probably best known as the librettist of the comic opera "Dorothy" which proved more popular than "The Mikado," back in 1885-87. "Dorothy" has since disappeared from the list of shows that amateur societies regularly perform. (Exeter A.O.S. have performed it twice: in 1914 and 1939.) Perhaps one day it will reappear, as did "The Zoo".

This production is very similar in style to "Trial by Jury". There is no spoken dialogue and it follows a simple plot, which can be told within 45 minutes. Designed to be a burlesque of grand opera the story involves disguises, unrequited love and attempted suicide. Unlike grand opera it all ends happily. The show proved such a success in its first run at the St. James' Theatre that it was moved to the larger Haymarket Theatre, and was given two revivals within the next four years. Sullivan must have liked this

little work for at one stage, when a revival was being considered in 1877, he asked a friend if he would be interested in rewriting the libretto. This obviously was never done.
After the 1879 revival, the manuscript disappeared from view for almost 90 years. Unfortunately the growing popularity of Sullivan's work with Gilbert led to "The Zoo" being forgotten. Many 'authorities', without a shred of evidence, insisted that Sullivan had reused the music of this delightful piece in his later works. Dr. Terence Rees dispelled the myth when, in 1965, he purchased the manuscript, which had surfaced in an auction room. He found that the piece was intact and had remained unused in later works. Thanks to Dr. Rees and a number of enthusiasts "The Zoo" was presented again in what was reported as an hilarious production by Fulham Light Opera in 1971. A rash of amateur performances followed. After the old D'Oyly Carte Co. recorded it in 1978, "The Zoo" became a regular curtain raiser with societies alongside "Cox and Box" and "Trial by Jury". Coincidentally, that recording has since been transferred to CD as a partner to the Company's 1967 recording of ..... "The Sorcerer".

© Nick Lawrence 2002