67 Sentences With "pooh bah" | Random Sentence Generator

As the article correctly noted, it is Poo-Bah Records, not Pooh-Bah Records.

On occasion, they were joined by that pooh-bah of personal finance charges, the overdraft fee, at a hefty $35.

Not long before Sun Valley they swanned up to the Hamptons for a party at the home of the Washington Post pooh-bah Lally Weymouth.

The overclass guests included Len Blavatnik, a bare-knuckled mogul valued by Forbes at $16.5 billion; Leon Black, a private equity pooh-bah; Jo Carole Lauder, wife of Ronald Lauder; and Charles Rockefeller.

As Kirsten Powers wrote for the Daily Beast in 2012, there's a lot more where that came from: [T]he grand pooh-bah of media misogyny is without a doubt Bill Maher — who also happens to be a favorite of liberals — who has given $1 million to President Obama's super PAC.

We've got the W.W. II VET coming out on top of the NETIZEN, and some very fresh and crunchy entries like ANTIGONE, HOUSE PET, ROOT BEER, SPLIT UP, FOLK ART, ROB A BANK, I SEE NOW, GETS DOWN, WOOL CAP, ANTIHERO, DWEEZIL, TIE SCORE, CAN'T FAIL, ONE HORSE, NUFF SAID and POOH BAH.

Another such example is R. A. Butler's biography, in which there is a chapter called "The Pooh-Bah Years," when Butler held multiple cabinet portfolios. In December 2009 BBC presenter James Naughtie, on Radio 4's Today programme, compared UK cabinet member Peter Mandelson to Pooh-Bah because Mandelson held many offices of state, including Secretary of State for Business, First Secretary of State, Lord President of the Council, President of the Board of Trade, and Church Commissioner, and he sat on 35 cabinet committees and subcommittees. Mandelson replied, "Who is Pooh-Bah?" Mandelson was also described as "the grand Pooh-Bah of British politics" earlier the same week by the theatre critic Charles Spencer of The Daily Telegraph.

Rutland Barrington, the original Pooh-Bah Grand Poobah is a term derived from the name of the haughty character Pooh-Bah in Gilbert and Sullivan's The Mikado (1885).This character was based, in part, on James Planché's Baron Factotum, the "Great-Grand-Lord-High-Everything" from The Sleeping Beauty in the Wood (1840). Williams (2010), p. 267 In this comic opera, Pooh-Bah holds numerous exalted offices, including "First Lord of the Treasury, Lord Chief Justice, Commander-in-Chief, Lord High Admiral ... Archbishop ... Lord Mayor" and "Lord High Everything Else".

Granville was Pooh-Bah in the 1939 Technicolor film version of The Mikado. With D'Oyly Carte, he participated in the following HMV recordings of the operas: H.M.S. Pinafore (1922 – as Captain Corcoran and Boatswain), Princess Ida (1924 – Florian), Iolanthe (1929 – Private Willis), Pinafore (1930 – Boatswain), abridged Gondoliers (1931 – Don Alhambra), abridged Pirates (1931 – Sergeant), Ruddigore (1931 – Despard), abridged Yeomen (1931 – Shadbolt), and Mikado (1936 – Pooh-Bah).

"Whence Poo-Bah", GASBAG, vol. 24, no. 3, issue 186, January/February 1993, p. 28. Pooh-Bah is mentioned in P. G. Wodehouse's novel Something Fresh and in other, often political, contexts.

He next toured as Pooh-Bah in The Mikado from November 1885 through May 1886. In late 1886, at the Fifth Avenue Theatre, he reprised the roles of Pooh Bah and King Hildebrand. In early 1887, he toured in New England, with producer John Stetson, playing the roles of Colonel Calverley in Patience, King Hildebrand in Princess Ida, and Sir Despard Murgatroyd in Ruddigore. He also formed his own company to produce Pirates in Boston in the summer of 1887.

See Wikipedia List of Magnum, P.I. episodes and TV.com Magnum, P.I. Episode Guide The phrase and the Mikado's song also are featured in the Dad's Army episode "A Soldier's Farewell." In The Parent Trap (1961), the camp director quotes the phrase before sentencing the twins to the isolation cabin together. The name of the character Pooh-Bah has entered the English language to mean a person who holds many titles, often a pompous or self-important person."Pooh Bah", Oxford English Dictionary, accessed 7 December 2009 (subscription required)Safire, William.

Theatre writer John Bush Jones says that the white Pooh-Bah was portrayed "as a lone scheming westerner, 'condescending' to serve an emerging black nationalist country for his own grafting purposes."Jones, John Bush. "Utopia, Limited", Educational Theatre Journal, Vol.

Billington as Don Alhambra From the end of 1890 until his death in 1917, with few breaks, Billington performed with D'Oyly Carte's main touring company, in which his regular roles were the Judge (until 1904), Dr. Daly, Deadeye (until 1912), the Sergeant of Police, Archibald Grosvenor in Patience (a new role for him, which he played until 1905), Willis (until 1913), King Hildebrand, Pooh-Bah, Shadbolt, and Don Alhambra.Rollins and Witts, pp. 77–134 He also played Punka in The Nautch Girl (1892), King Paramount in Utopia Limited (1898–1900), and Sultan Mahmoud in The Rose of Persia (1900–01), when those operas were included in the repertory. In 1891 he played Pooh-Bah in a command performance of The Mikado at Balmoral Castle for Queen Victoria and other members of the royal family."The Mikado at Balmoral", The Era, 12 September 1891, p. 10 In 1896, Billington was at the Savoy in place of Barrington as Pooh-Bah,"Theatrical Gossip", The Era, 18 July 1896, p.

44, accessed 20 December 2010 Richard Watson took over Walker's former roles of Pooh-Bah and Don Alhambra, and the two now shared the roles of Bouncer and Private Willis.Rollins and Witts, p. 172 On 31 July 1948, Walker and Roberts left the company.

For the Lyric Opera of Chicago he has played Falstaff, Rossini's Bartolo, Frank in Die Fledermaus, Dikój, and Pooh-Bah in The Mikado. Shore has sung the role of Alberich in Der Ring des Nibelungen at Bayreuth, the Liceu, Barcelona, the Teatro Colón, Buenos Aires and other houses.

Rollins and Witts, p. 48 In 1884, he played King Hildebrand in the tour of Princess Ida.Rollins and Witts, p. 50 In 1885, Billington added to his list of roles the Learned Judge in Trial by Jury and Pooh-Bah in The Mikado.Rollins and Witts, p. 57 In August of that year, he travelled to New York for the American production of The Mikado, in a cast that included George Thorne (Ko-Ko), Geraldine Ulmar (Yum-Yum) and Courtice Pounds (Nanki-Poo). Returning from America in May 1886, he performed the roles of Corcoran and Pooh-Bah in the provinces and then Germany and Austria.Rollins and Witts, p. 59; and "Theatrical Gossip", The Era, 17 April 1886, p. 8.

Burial alive is described as "a stuffy death". Finally, execution by boiling oil or by melted lead is described by the Mikado as a "humorous but lingering" punishment. Death is treated as a businesslike event in Gilbert's topsy-turvy world. Pooh-Bah calls Ko-Ko, the Lord High Executioner, an "industrious mechanic".

10 Pooh-Bah in The Mikado,"Gilbert and Sullivan Operas", The Courier-Mail, 3 June 1936, p. 20 Sir Despard Murgatroyd in Ruddigore,"Ruddigore," The Sydney Morning Herald, 7 December 1936, p. 5 Shadbolt in The Yeomen of the Guard,"The Yeomen of the Guard", The Courier-Mail, 8 June 1936, p. 19 and Don Alhambra in The Gondoliers.

"Playhouses in the Provinces", Illustrated London News, 5 September 1891, p. 322 Billington as Pooh-Bah (1888) In 1880, in D'Oyly Carte touring companies, Billington added the roles of the Notary and later Doctor Daly in The Sorcerer,Rollins and Witts, pp. 33 and 36 and Sisyphus Twister in the curtain-raiser Six and Six.Walters, Michael and George Low.

In Act I of the 1885 Gilbert and Sullivan opera The Mikado, the Emperor of Japan, having learned that the town of Titipu is behind on its quota of executions, has decreed that at least one beheading must occur immediately. In the dialogue preceding the song, three government officials, Pooh-Bah, Ko-Ko and Pish-Tush, discuss which of them should be beheaded in order to save the town from "irretrievable ruin". Pooh-Bah says that although his enormous "family pride" would normally prompt him to volunteer for such an important civic duty, he has decided to "mortify" his pride, and so he declines this heroic undertaking. He points out that since Ko-Ko is already under sentence of death for the capital crime of flirting, Ko-Ko is the obvious choice to be beheaded.

45 et seq., In 1939, Universal Pictures released a ninety-minute film adaptation of The Mikado. Made in Technicolor, the film stars Martyn Green as Ko-Ko, Sydney Granville as Pooh-Bah, the American singer Kenny Baker as Nanki-Poo and Jean Colin as Yum- Yum. Many of the other leads and choristers were or had been members of the D'Oyly Carte company.

Altman, Rick. Silent Film Sound, Columbia University Press (2005), p. 159, In 1926, the D'Oyly Carte Opera Company made a brief promotional film of excerpts from The Mikado. Some of the most famous Savoyards are seen in this film, including Darrell Fancourt as The Mikado, Henry Lytton as Ko-Ko, Leo Sheffield as Pooh-Bah, Elsie Griffin as Yum-Yum, and Bertha Lewis as Katisha.

This production also included Geraldine Ulmar as Yum-Yum, Courtice Pounds as Nanki-Poo, and Fred Billington as Pooh-Bah. While in New York, Arthur Sullivan wrote a special comic orchestration for Thorne (stressing the bassoon part) as an encore to "The Flowers that Bloom in the Spring" (preserved in Sullivan's autograph score), performed in pantomime. Later, other D'Oyly Carte artists performed a pantomime encore.

In 1940 he switched from Bouncer to Cox in Cox and Box, and from Usher to Counsel for the Plaintiff in Trial by Jury. He also took on the small roles of Major Murgatroyd in Patience and Second Citizen, and the next year, Second Yeomen in The Yeomen of the Guard. Roles in which he occasionally deputised for Fancourt or Sydney Granville were King Hildebrand in Princess Ida, the Pirate King in The Pirates of Penzance, Earl Mountararat and Private Willis in Iolanthe, Colonel Calverley in Patience, Sir Roderic Murgatroyd in Ruddigore, the title role and Pooh-Bah in The Mikado, Wilfred Shadbolt in The Yeomen of the Guard, and Don Alhambra in The Gondoliers.Rollins and Witts, pp. 156–66 In 1942, Walker succeeded Granville as principal "heavy" baritone, playing the Sergeant of Police in The Pirates of Penzance, Shadbolt, Don Alhambra, and Pooh-Bah.

Stafford Dean (born 20 June 1937) is a British bass opera singer. Stafford Dean was born in Kingswood, Surrey, England. He studied under Howell Glynne and others.International Who’s Who in Classical Music 2003 Of particular note was his performance as Pooh-Bah in the BBC production of Mikado, and his outstanding rendition of the role of Alfonso d'Este in the 1980 Covent Garden production of Donizetti's opera Lucrezia Borgia.

In 1888 and 1889, Billington toured as Deadeye, Sergeant of Police, Colonel Calverley, Pooh-Bah, Sergeant Meryll and later Wilfred Shadbolt in The Yeomen of the Guard.Rollins and Witts, pp. 67–70 He then briefly left the D'Oyly Carte company to play Bragadoccio in Edward Jakobowski and Harry Paulton's comic opera Paola in Edinburgh, in a cast also including Leonora Braham."The Theatres", Glasgow Herald, 17 December 1889, p.

John Reed (right) as Ko-Ko; Kenneth Sandford (left) as Pooh Bah John Lamb Reed, OBE (13 February 1916 – 13 February 2010) was an English actor, dancer and singer, known for his nimble performances in the principal comic roles of the Savoy Operas, particularly with the D'Oyly Carte Opera Company. Reed has been called "the last great exponent" of the Gilbert and Sullivan comedy roles.Smillie, Thomson. "Opera Explained – Gilbert and Sullivan".

Holloway and Richards, p. 12 His performances earned him a Tony Award nomination for Best Featured Actor in a Musical and an Academy Award nomination for Best Actor in a Supporting Role. Following his success on Broadway, Holloway played Pooh-Bah in a 1960 US television Bell Telephone Hour production of The Mikado, produced by the veteran Gilbert and Sullivan performer Martyn Green. Holloway appeared with Groucho Marx and Helen Traubel of the Metropolitan Opera.

His roles were Bouncer, Private Willis (both shared with Richard Walker), the Learned Judge, Captain Corcoran in Pinafore, Pooh-Bah, the Lieutenant, and Don Alhambra. He substituted for Fancourt in the 1947–48 season as the Pirate King. Walker, finding so many of his roles given to Watson, soon left the company, and Watson then took over Walker's remaining roles of Sergeant of Police in Pirates and Shadbolt in Yeomen.Rollins and Witts, pp.

The Gramophone, December 1959, front cover He recorded excerpts from H.M.S. Pinafore, The Pirates of Penzance, The Mikado and The Gondoliers for an LP issued as "A Gilbert and Sullivan Spectacular", in 1974. He made two further recordings of the role of Pooh-Bah, for BBC Radio in 1966 and BBC television in 1973, but these recordings have never been released commercially.Ian Wallace recordings With Donald Swann he recorded Swann's settings of John Betjeman poems in 1964.

In 1884–86, he was back with D'Oyly Carte, touring as Dick Deadeye in Pinafore, the Sergeant in Pirates, Archibald Grosvenor in Patience (in 1884 only), the Earl of Mountararat in Iolanthe (in 1885 only) and Pooh-Bah in The Mikado (in 1885–86). In 1884, he also played Cox in a series of matinees of Cox and Box at the Royal Court Theatre with Richard Temple and Arthur Cecil. He then retired from the D'Oyly Carte company.

Statue in Winnipeg of Harry Colebourn and Winnie In the first chapter of Winnie-the-Pooh, Milne offers this explanation of why Winnie-the-Pooh is often called simply "Pooh": American writer William Safire surmised that the Milnes' invention of the name "Winnie the Pooh" may have also been influenced by the haughty character Pooh-Bah in Gilbert and Sullivan's The Mikado (1885).Safire, William. 1993. "Whence Poo-Bah." GASBAG 24(3) issue 186:28–28.

The Mikado is a 1939 British musical comedy film based on Gilbert and Sullivan's 1885 comic opera The Mikado. Shot in Technicolor, the film stars Martyn Green as Ko-Ko, Sydney Granville as Pooh-Bah, the American singer Kenny Baker as Nanki-Poo and Jean Colin as Yum-Yum. Many of the other leads and choristers were or had been members of the D'Oyly Carte Opera Company.Lejeune, C. A. "Films of the Week: Gentlemen of Japan", The Observer, 3 July 1938, p. 14.

Since Lano and Woodley's farewell tour, Lane has appeared in Don's Party for the Melbourne Theatre Company, followed by a season with the Sydney Theatre Company. In 2008, he was cast as Pooh-Bah in Essgee Productions' The Mikado. Lane wrote and performed a solo cabaret show, I'm Not Sure About the Music, about a man who loses the music and finds it again. He performed it in the Melbourne International Comedy Festival in 2009 and again for a limited return season in 2010.

Frankye Brown (Yum-Yum) and Maurice Cooper (Nanki-Poo), Chicago (1938) The Swing Mikado was a production of the Chicago division of the WPA's Federal Theatre Project. The production was conceived, staged, and directed by Harry Minturn, with swing re-orchestrations of Arthur Sullivan's music by Warden. The starring roles were performed by Maurice Cooper (Nanki-Poo), Frankye Brown (Yum-Yum) and William Franklin (Pooh-Bah). After a five-month run in Chicago, the production moved to Broadway where it had a run of 86 performances.

1857 – 16 February 1923), who had returned to Wilcannia in 1899 to take charge of the Lion Brewery, and was dubbed the "Pooh Bah of Wilcannia" for the way he entered into all facets of the town's life. Editorship passed to longtime employee of the Western Grazier, Robert Varcoe "Bob" Patterson (ca.1863 – 2 October 1939) 1n 1909, but continued as proprietor until 1911, when ownership passed to Lewis Downs (ca.1860 – 8 February 1943), a businessman (partner in Knox & Downs) and accountant in Wilcannia.

50 Don Magnifico in Rossini's La Cenerentola,The Gramophone, July 1954, p. 51 and the Governor in Rossini's Le comte Ory, both conducted by Gui.The Gramophone, March 1967, p. 80 His other operatic recordings included Altomaro in Handel's Sosarme,The Gramophone, August 1955, p. 53 and Lockit in The Beggar's Opera, conducted by Sir Malcolm Sargent.The Gramophone, December 1963, p. 59 Wallace made several recordings of Gilbert and Sullivan roles. For Sargent's EMI series he recorded Pooh-Bah in The Mikado (1957)The Gramophone, December 1957, p. 24 and Mountararat in Iolanthe (1959).

1926 Mikado at A Gilbert and Sullivan Discography In 1939, Universal Pictures released a ninety-minute technicolor film adaptation of The Mikado. The film stars Martyn Green as Ko-Ko and Sydney Granville as Pooh-Bah. The music was conducted by Geoffrey Toye, who was credited with the adaptation. William V. Skall received an Academy Award nomination for Best Cinematography. Similarly, in 1966, the D'Oyly Carte produced a film version of The Mikado, which showed much of their traditional staging at the time, although there are some minor cuts.

A young Malden took part in many of these plays, which included a version of Jack and the Beanstalk but mostly centered on the community's Serbian heritage. In high school, he was a popular student and the star of the basketball team (according to his autobiography, Malden broke his nose twice while playing, taking elbows to the face and resulting in his trademark bulbous nose). He participated in the drama department and was narrowly elected senior class president. Among other roles, he played Pooh-Bah in The Mikado.

28, No. 1, March 1976, accessed 6 September 2013 The rest of the cast were dressed in what were basically African and Caribbean costumes, "some of which were made to look pseudo-Japanese", and the sets were Japanese.Walters, Michael. "The Black Mikado", The Gilbert and Sullivan Archive, reprint from Gilbertian Gossip, No. 3, January 1976 Pooh-Bah is an uptight English colonial official who is contrasted with the sexy, exuberant Caribbean islanders. The Three Little Maids from School arrive dressed in uniforms from their proper English school, including, elbow-length gloves and straw boaters.

The Musical Times, March 1940, p. 129; and July 1940, p. 313 Jeffrey Skitch (l) with Morgan and Peter Pratt (r) in The Mikado In April 1951, Morgan was engaged by the D'Oyly Carte Opera Company, immediately taking on the roles of Sergeant Bouncer in Cox and Box, and the Lieutenant of the Tower in The Yeomen of the Guard, and understudying, and occasionally performing, the roles of Private Willis in Iolanthe, Pooh-Bah in The Mikado, Wilfred Shadbolt in The Yeomen of the Guard, and Don Alhambra in The Gondoliers.

Levin titles himself Grand Poobah, or highest holy official, of the church. He claimed that he had the idea to found the church while watching the popular television series The Flintstones. "Grand Poobah" is a term derived from the name of the haughty character Pooh-Bah in Gilbert and Sullivan's The Mikado (1885), and used recurringly in The Flintstones as the name of a high-ranking elected position in a secret society, the Loyal Order of Water Buffaloes. The group planned to test RFRA on July 1, 2015, with a service in Indiana including the use of cannabis.

John Reed (right) as Ko-Ko with Sandford (left) as Pooh Bah Kenneth Sandford (28 June 1924 - 19 September 2004) was an English singer and actor, best known for his performances in baritone roles of the Savoy Operas of Gilbert and Sullivan. After service the Royal Air Force during World War II, Sandford turned away from a career in art and studied singing. He performed in musical theatre in the West End and on tour between 1950 and 1956, including 800 performances starring in a revue called Jokers Wild with The Crazy Gang. He also began a concert career.

Finally, in 1963, he added the role of Old Adam in Ruddigore. He regularly played these roles until he left the D'Oyly Carte organisation in 1969. In addition, as understudy to Kenneth Sandford, he often played Private Willis in Iolanthe, King Hildebrand in Princess Ida, Pooh-Bah in The Mikado, Sir Despard Murgatroyd in Ruddigore, Wilfred Shadbolt in The Yeomen of the Guard, and Don Alhambra in The Gondoliers. Cook was also known for crafting the Japanese-style fans used by D'Oyly Carte and numerous amateur G&S; societies for productions of The Mikado throughout the UK and abroad.

He joined D'Oyly Carte at age 27 and remained with the company for 25 years. At first playing mostly smaller roles and understudying larger ones, by 1942 Walker had been promoted as a principal baritone of the company, playing roles like Pooh Bah in The Mikado. His total of thirty-five Savoy Opera roles is the D'Oyly Carte Opera Company's all-time record. After leaving the company, Walker and Roberts were engaged in Australia by J. C. Williamson to Australia and New Zealand throughout the 1950s and early 1960s in Gilbert and Sullivan as well as other works in their repertory.

His role of a faded one hit wonder rock star displayed his acting and comedy skills during 101 episodes. English returned to stage musicals to play roles in Simon Gallaher's production company Essgee Entertainment's trilogy of updated Gilbert and Sullivan works: Pirate King in The Pirates of Penzance (1994), Pooh-Bah in The Mikado (1995) and Dick Deadeye in H.M.S. Pinafore (1997). A performance of each production was broadcast on Australian TV, then released on VHS video and later on DVD. In 1995, Jon English, a portrait by artist Danelle Bergstrom, won the 'Packing Room Prize' in the Archibald Prize.

The plot of The Black Mikado does not stray far from the Gilbert and Sullivan original, except that in the musical the action is set on a Caribbean island rather than in Japan. Sullivan's original score is rearranged into a mixture of rock, reggae, blues and calypso. The West End production was directed by Braham Murray with a nearly all black cast, the exception being veteran actor Michael Denison's Pooh-Bah,Fox, Mark. History of the Cambridge Theatre on reallyuseful.com, accessed 23 November 2009 who was white and dressed in a white tropical suit and pith helmet.

In 1957, he was engaged by the D'Oyly Carte Opera Company and immediately began to perform eight principal roles in repertory, including Pooh-Bah in The Mikado. He remained with the company for 25 years until it closed, also making about twenty recordings with the company, and several recordings for Readers' Digest and others. In later years, Sandford continued to tour in and direct Gilbert and Sullivan productions, often with his former D'Oyly Carte colleague Roberta Morrell. After The International Gilbert and Sullivan Festival was established in 1994, he often performed and lectured for the festival's audiences and held master classes for its performers.

Beckford, Martin. "Lord Mandelson likened to Pooh-Bah, Lord High Everything Else in The Mikado", The Daily Telegraph, 3 December 2009 In the U.S., particularly, the term has come to describe, mockingly, people who hold impressive titles but whose authority is limited. William Safire speculated that invention of Winnie-the-Pooh by the author A. A. Milne might have been influenced by the character. The term "Grand Poobah" has been used on television shows, including The Flintstones and Happy Days, and in other media, as the title of a high-ranking official in a men's club, spoofing clubs like the Freemasons, the Shriners, and the Elks Club.

The musical was first produced at the Broadhurst Theatre on West 44th Street from March 23, 1939, to June 3, 1939, running for 85 performances. The original cast included Bill "Bojangles" Robinson as The Mikado; Frances Brock as Pitti-Sing; Rosa Brown as Katisha; Maurice Ellis as Pooh-Bah; Eddie Green as Ko-Ko; Rosetta LeNoire as Peep-Bo; James A. Lilliard as Pish-Tush; Bob Parrish as Nanki-Poo; Gwendolyn Reyde as Yum-Yum; Freddie Robinson as Messenger Boy; and Vincent Shields as Red Cap. The orchestrations were arranged by Charles L. Cooke, and the production was directed by Hassard Short. Choreography was by Truly McGee.

He attended Alfred Crescent State School until he was twelve, after which he held various jobs as a shop-assistant, before working as a bookkeeper on a Riverina station in 1910-12. In 1921 Macartney went to Darwin as an assistant to the administrator of the Northern Territory, Frederic Charles Urquhart, and to the government secretary. Appointed public trustee in 1922, by 1924 he was the 'legal Pooh- Bah' of the Territory: sheriff, clerk of courts and judge's associate, registrar of companies, bankruptcy, and births, deaths and marriages, and returning officer. In 1929, Macartney wrote A Sweep of Lute-strings, Being the Title Excusing a Very Few Love-rhymes.

Sandford recorded all of his major roles with the D'Oyly Carte Opera Company, except Dr. Daly, for Decca Records.The Times, 24 September 2004, p. 37 He also recorded several parts with the company that he never performed with them on stage (although in subsequent years he performed some of them): Counsel for the Plaintiff in Trial by Jury (1964); Usher in Trial (1975); Phantis and Lord Dramaleigh in a recording of Utopia excerpts (1964), and Thomas Brown in The Zoo (1978), making about twenty recordings in all for the company. Sandford took part in the 1965 BBC television broadcast of Patience as Grosvenor, he played Pooh-Bah in the 1966 film version of The Mikado,Shepherd, Marc.

Kirkby sang in some of the earliest recordings made of Gilbert and Sullivan operas, commencing in December 1906, by singing Pish-Tush and part or all of the roles of Ko-Ko and Pooh-Bah in the first recording of The Mikado for G&T.; This was initially released on single-sided gramophone records and then re-released on double-sided discs in 1912. In 1907 he sang Jack Point in The Yeomen of the Guard also for G&T.; Also in 1907 he made a number of recordings as part of a chorus called "The Sullivan Operatic Party" for both The Yeomen of the Guard and The Gondoliers, again for G&T.

Taddeo in The Italian Girl in Algiers followed, as did Dandini in Cenerentola . The latter performance was among his finest, matched perhaps by a suave Malatesta in Don Pasquale and the monocled peer, Earl Mountararat, in Gilbert and Sullivan's Iolanthe. In an obituary in The Independent, Elizabeth Forbes wrote: :Dowling clocked up a vast number of performances of more than 100 different roles. A skilful comedian, with a flexible lyric baritone voice, he excelled in Mozart and Rossini, but he was equally convincing as the sadistic Prison Camp Commandant in Janáček's From the House of the Dead or the Secret Police Agent in Menotti's The Consul and as Baron Mirko Zeta in The Merry Widow or Pooh Bah in The Mikado.

From the 1950s he appeared at Covent Garden, London, and other venues in a wide variety of operas including Boris Godunov, Fidelio, The Bohemian Girl, Der Rosenkavalier, Le coq d'or, Aida, The Midsummer Marriage, Die Fledermaus and La Cenerentola. In 1962 he sang Pooh-Bah in a radio broadcast of The Mikado.Gilbertian Gossip, Summer 1994 He created the roles of Ford in the first professional performance of Ralph Vaughan Williams’ Sir John in Love (April 1946), Joseph Lavatte in Sir Arthur Bliss's opera The Olympians (1949), and in Canada, the Hon William McDougall in Harry Somers’ opera Louis Riel (1967). He appeared as the Ghost in the first performance in English of Humphrey Searle's opera Hamlet, in Toronto in February 1969.

Giacomo Puccini later incorporated the same song into Madama Butterfly as the introduction to Yamadori, ancor le pene. The characters' names in the play are not Japanese names, but rather (in many cases) English baby-talk or simply dismissive exclamations. For instance, a pretty young thing is named Pitti- Sing; the beautiful heroine is named Yum-Yum; the pompous officials are Pooh- BahThis character is derived from James Planché's Baron Factotum, the "Great- Grand-Lord-High-Everything" in The Sleeping Beauty in the Wood (1840). Williams (2010), p. 267 and Pish-Tush;A character in the Bab Ballad "King Borriah Bungalee Boo" (1866) is the haughty "Pish-Tush-Pooh-Bah", which is split into two in The Mikado – the terms pish, tush, pooh, and bah are all expressions of contempt.

He made his debut in a West End musical in The Phantom of the Opera, understudying Firmin, and subsequently other roles in that musical, and followed this by playing the Pope in Which Witch. In 1988, he sang the role of Major Murgatroyd in a concert performance of Act II of Patience at The Proms. He was a guest artist with the revived D'Oyly Carte Opera Company on its tour to California, playing Pooh-Bah in The Mikado, and also with "The Magic of D'Oyly Carte". Ayldon toured North America frequently with Kenneth Sandford, Geoffrey Shovelton, Lorraine Daniels, and others in the 1990s with a concert programme of G&S; favourites called "The Best of Gilbert & Sullivan" or "G&S; à la Carte", often conducted by John Owen Edwards.

12; and 6 September 1927, p. 10 including The Red Pen, "a sort of opera" by A. P. Herbert and Geoffrey Toye.The Times, 7 February 1927, p. 4 He toured in Robert Stolz's musical The Blue Train,The Times, 19 September 1927, p. 10 and then played Lockit in The Beggar's Opera, at the Lyric Theatre, Hammersmith, in 1928. Granville rejoined the D'Oyly Carte company in 1928, replacing the retiring Leo Sheffield in the bass-baritone roles. Except during Sheffield's return for the 22-week London Season in 1929–30, Granville performed these "heavy" baritone roles until his retirement in December 1942. He played the Learned Judge in Trial, the Sergeant of Police in Pirates, Private Willis in Iolanthe, Pooh-Bah in The Mikado, Sir Despard Murgatroyd in Ruddigore, and Don Alhambra in The Gondoliers.

Besides the Home Office, Butler held other senior government jobs in these years; he likened himself to the Gilbert and Sullivan character "Pooh Bah".Campbell 2009, p. 292. In October 1959, after the 1959 general election, he was appointed Conservative Party chairman, a job which required him to attack Labour in the country while as Leader of the House he had to co-operate with Labour in the Commons. His new job prompted an analogy (described as "ludicrous" by Anthony Howard) in The Economist with Nikita Khrushchev's rise to power through control of the Soviet Communist Party.Howard 1987, p. 269. In 1960 Macmillan moved Selwyn Lloyd from the Foreign Office to the Exchequer (telling him that it would put him in a good position to challenge Butler for the succession).

Scott wrote several histories related to the Auckland region, such as In Old Mount Albert: Being a History of the District (1961), Fire on the Clay: The Pakeha Comes to West Auckland (1979) and Seven Lives on Salt River (1979), which won the New Zealand Book Award for Non-Fiction and the J M Sherrard prize for regional history. He also wrote more general New Zealand works, including Inheritors of a Dream: A Pictorial History of New Zealand (1962) and Winemakers of New Zealand (1964), and Pacific histories such as Years of the Pooh-Bah: A Cook Islands History (1991) and Would a Good Man Die? Niue Island, New Zealand, and the late Mr Larsen (1993). In 2004, Scott published his autobiography, Dick Scott: A Radical Writer's Life, which recounted his early years in the Communist Party, as well as his writing approach and career.

Sandford joined the D'Oyly Carte Opera Company in 1957, for the pay of £37 and 10 shillings a week (about £700 at 2007 values)Morrell, p. 25Measuringworth.com He immediately assumed eight principal baritone roles: the Sergeant of Police in The Pirates of Penzance, Archibald Grosvenor in Patience, Private Willis in Iolanthe, King Hildebrand in Princess Ida, Pooh- Bah in The Mikado, Sir Despard Murgatroyd in Ruddigore, Wilfred Shadbolt in The Yeomen of the Guard, and Don Alhambra del Bolero in The Gondoliers. He dropped the role of Sergeant of Police in 1962 (which he found uncomfortably low for his "creamy and slightly breathy" lyric baritone voice) and added Dr. Daly to his repertoire when The Sorcerer was revived in 1971. In 1962, he played Shadbolt in a grand production of Yeomen staged by Anthony Besch at the Tower of London as part of the first City of London Festival.

In 1879, she made her professional debut in the role of Josephine in Gilbert and Sullivan's H.M.S. Pinafore, aboard a ship in a lake in Boston's Oakland Garden. She soon joined the Boston Ideal Opera Company and remained with the company as leading soprano for the next six years, singing roles in The Marriage of Figaro, The Bohemian Girl, Fra Diavolo, Giralda ou La nouvelle psyché by Adolphe Adam, The Chimes of Normandy, Fatinitza, Giroflé-Girofla, Czar and Carpenter, and in Gilbert and Sullivan operas."Our Omnibus-Box: Geraldine Ulmar", The Theatre, 1 August 1887 as Rose in Ruddigore Ulmar next was hired to play Yum-Yum in the D'Oyly Carte Opera Company's first American production of The Mikado, at the Fifth Avenue Theatre in New York, from 1885 to 1886, in a cast that included George Thorne (Ko-Ko), Courtice Pounds (Nanki-Poo), and Fred Billington (Pooh-Bah).Gänzl, p.

It stars John Reed (Ko-Ko), Kenneth Sandford (Pooh-Bah), Valerie Masterson (Yum-Yum), Donald Adams (the Mikado), Peggy Ann Jones (Pitti-Sing), and Philip Potter (Nanki-Poo).Sullivan, Dan. "The Mikado (1967)". The New York Times, 15 March 1967, accessed 22 March 2010 Several film scores draw heavily on the G&S; repertoire, including The Matchmaker (1958; featuring Pinafore and Mikado music), I Could Go On Singing (1963; featuring Pinafore music), The Bad News Bears Go to Japan (1978; the score features many excerpts from The Mikado), The Adventures of Milo and Otis (1989; using several G&S; themes), The Browning Version (1994; features music from The Mikado), The Hand that Rocks the Cradle (1992; featuring songs from Pinafore and Pirates) and The Pirate Movie (1982; featuring spoofs of songs from Pirates; in fact, the whole movie itself is a spoof of Pirates!).

Watson as King Hildebrand in Princess Ida, c. 1932, one of Watson's first roles with the D'Oyly Carte Opera Company Richard Charles Watson (1903 – 2 August 1968) was an Australian bass opera and concert singer and actor. He is probably best remembered as a principal with the D'Oyly Carte Opera Company who sang the comic bass-baritone roles of the Savoy Operas, but he appeared in a wide range of operas at the Royal Opera House and with the Carl Rosa Opera Company with singers including Lotte Lehmann and Lauritz Melchior, under conductors including Sir Thomas Beecham and Bruno Walter. He recorded some operatic music, and over a half dozen of his recordings with D'Oyly Carte remain in print, including his 1932 recording of King Hildebrand in Princess Ida and his recordings of the Learned Judge, Sergeant of Police, Pooh-Bah, Sir Despard Murgatroyd, Wilfred Shadbolt and Don Alhambra, released in 1949 and 1950.

Baker made the following G&S; recordings with HMV: 1917 The Mikado (Ko-Ko, Pish-Tush (part), and Pooh-Bah (part)), 1919 The Gondoliers (Antonio, Don Alhambra (part), Duke of Plaza-Toro and Giuseppe); 1920 The Yeomen of the Guard (Jack Point and Sergeant Meryll (part)); 1920 The Pirates of Penzance (Major-General Stanley); 1921 Patience (Bunthorne and Major); and 1922 Iolanthe (Lord Chancellor). From 1924 to 1933, he made the following recordings with D'Oyly Carte: 1924 Ruddigore (Robin Oakapple); 1927 Gondoliers (Giuseppe); 1926 Mikado (Pish-Tush); 1927 Trial (Usher); 1929 Pirates (Major-General) 1928 Yeomen (Jack Point); 1929 Iolanthe (Lord Chancellor); 1930 Patience (Bunthorne); 1930 H.M.S. Pinafore (Captain Corcoran); 1931 Gondoliers (Duke of Plaza-Toro); 1931 Pirates (Major-General); 1931 Ruddigore (Robin Oakapple) 1931 Yeomen (Jack Point); 1932 Princess Ida (Florian); and 1933 The Sorcerer (John Wellington Wells). With Columbia, in 1931, Baker recorded Gondoliers (Don Alhambra and Giuseppe (part)); Yeomen (Sergeant Meryll and Wilfred Shadbolt); and Iolanthe (Lord Chancellor). On the Sir Malcolm Sargent/Glyndebourne series, he recorded: 1958 Pinafore (Sir Joseph Porter); 1959 Iolanthe (Lord Chancellor); 1961 Pirates (Major-General); 1961 Trial (The Learned Judge); 1963 Patience (Bunthorne); and 1963 Ruddigore (Robin Oakapple).

In 1957 Beattie made his debut at the New York City Opera (NYCO) as Baron Douphol in Verdi's La traviata with Beverly Sills as Violetta. He appeared frequently with the NYCO for the next 25 years, portraying such roles as Marquis de Cascada in The Merry Widow (1957), Zuniga in Carmen (1957), Osmin in Die Entführung aus dem Serail (1957, 1966, 1969), Pooh-Bah in The Mikado (1958, 1961), Frank in Die Fledermaus (1959), the Sergeant of Police in The Pirates of Penzance (1960, 1964), Bartolo in The Marriage of Figaro (1962), Shadbolt in The Yeomen of the Guard (1964), Lindorf, Coppelius and Dr. Miracle in The Tales of Hoffmann (1965), Leandro in The Love for Three Oranges (1966), Secret Police Agent in The Consul (1966), the title role in Don Pasquale (1967), Raimondo Bidebent in Lucia di Lammermoor (1969), Falstaff in The Merry Wives of Windsor (1980), and the Priest in The Cunning Little Vixen (1981) among other appearances. He also appeared in several United States premieres with the NYCO, including portraying Sir Morosus in the American premiere of Richard Strauss's Die schweigsame Frau (1958) and the Mayor in the American premiere of Werner Egk's Der Revisor. In 1965 he created the role of Andrew Borden in the world premiere of Jack Beeson's Lizzie Borden at the NYCO.