Isaac Asimov has such a delightful wit that even his explanations of archaic terms are fun to read. When combined with W.S. Gilbert's hilarious librettos, it makes one entertaining read. Actually, it makes more than one entertaining read. i have read it several times and still enjoy it.

Writer Martin Gardner once told Isaac Asimov that if he really wanted to have fun, he should find a book he liked very much and annotate it. "Asimov's Annotated Gilbert & Sullivan" is one of the results of that suggestion. This enormous volume contains the words to all the G&S operas, plus extensive notes explaining allusions and words that might be unfamiliar to today's listener. Asimov assumes minimal knowledge on the part of the reader, so this book is useful and entertaining not only for the veteran G&S aficionado but also for the neophyte.

There is no critical showboating in "A Most Ingenious Paradox", just dead on, revelatory insights presented in a modest, straightforward voice. He really appears to have lived with each of the G & S operas, and got it in his bones. Very little overlap here with other G & S books, so even the most jaded Savoyard will find something fresh in this book.

In the past, when asked to name the minimal list of books essential to a full understanding and thereby appreciation of the Gilbert & Sullivan operas, I would have cut it down to three. For a study of the social conditions behind Gilbert's satire, there is the long out of print "The World of Gilbert and Sullivan" by W.A. Darlington. For a fairly well balanced discussion of both the scripts and the music, there is "Gilbert & Sullivan Opera: a New Assessment" by Audrey Williamson, which passed into a second edition when I saw it last. Then there is the indispensable single volume edition of "The Complete Annotated Gilbert & Sullivan" by Ian Bradley under the aegis of Oxford University Press.

Now from that same august publisher comes a volume I might seriously consider as a fourth: "A Most Ingenious Paradox" by Gayden Wren. Having worked most of his life in the theatre and specializing in Gilbert & Sullivan, Wren has come up with the thesis that "Beneath the surface charm of the Savoy operas...lies a powerful thematic core that makes their works effective to this day" (p. 4). Well, so it is with Shakespeare, Shaw, and even Rodgers & Hart. It is the examples offered up by Wren that affords so much surprise and delight.

The book is organized into fairly self-contained chapters.The first deals with "Gilbert before Sullivan," the second with "Sullivan before Gilbert." Then we have a chapter for each of the 14 works, followed by a chapter about their careers after "The Grand Duke" and a final one about their "Legacy." There follows an appendix with plot outlines, details about the original "Ruddygore" script and score, notes, an excellent critical bibliography, and index.

I think that directors will appreciate the emphasis Wren puts upon the seriousness that underlies some of the works, and not only "Yeomen of the Guard." For example, consider the scene just before the finale between Iolanthe and the Lord Chancellor in which things do become "life or death" and which could easily lead to an unhappy ending with no violence to what has gone before. Of course, the public expected a happy ending with G&S, but that was no reason they had to get one.

His remarks about "The Mikado," although confined to only 15 pages did make me suddenly aware of how Gilbert keeps tipping his hand all through by having the characters call attention to their being in a play: "Japanese don't use pocket-handkerchiefs," "the Japanese equivalent for Hear, hear, hear," "Virtue is triumphant only in theatrical performances," and so on. I part company on him with him on some remarks about "Princess Ida," but his comparison between the opera and the Tennyson original is quite revealing. In general, I kept nodding and thinking about most of his conclusions with "Of course, I should have realized that years ago."

The style is friendly, the author taking it for granted, of course, that you know the plots of the operas fairly well to begin with. Yes, I think I might recommend this as the fourth essential book. But please give it a try and let me know what you think.

A little postscript would be in order here. Naxos is reissuing at budget prices the old "Martyn Green" G&S sets that used to be available on London and then Richmond mono LPs. Thus far they have added to their catalogue "The Mikado," "HMS Pinafore," "Pirates of Penzance/Trial by Jury," and just this month "The Gondoliers." Anyone intererested in the Wren book would certainly want to own these vintage recordings.

I have enjoyed Gilbert & Sullivan's plays since I was a little girl. I watched performances of their comic operas that my family taped off of public television, but I never knew much about the men who wrote these wonderfully entertaining operas. Just recently I had an opportunity to give a presentation on Gilbert and Sullivan's operas for a college course. This book was the first one I picked up and it turned out to be the only one I needed. This well-written book gives an entertaining account of the lives of these great men. The book also paints a vivid picture of what life and, more importantly, the theater were like when Gilbert & Sullivan began their collaboration. I highly recommend this book to anyone who would like to learn more about Gilbert & Sullivan, Victorian life, or English theater.

When I compare this edition of the libretto to the Ian Bradley edition of the collected librettos (Oxford), I find that this has more weak points compared to the Bradley book. Of course, both books suffer from inaccuracies in the libretto, but here is a more serious case. Also, the print of the book is a little bit hard to read, because of its age from many years ago. The Bradley book seems to be easier. Yet even despite these shortcomings I am happy to know that you can still sing along to ANY G&S song in here, or find your favourite passage, be it from MIKADO, PIRATES or PINAFORE, or any other opera. But this book still has two advantages to it - containg the librettist's drawings, and its cheaper price compared to the Bradley book. As well as the libretto for the never-before-heard THESPIS opera. Overall, while I am prepared to recommend this to the true Savoyard, I am not really prepared to recommend this to a beginner, except those who cannot afford to spend more money on the Bradley book. Still, this edition is an easy one with which you can live.

If you are a Savoyard, or even if you know what that means, this jumbo collection is one you will treasure. With a preface by esteemed music critic, Deems Taylor, and illustrations by W. S. Gilbert himself, the complete librettos from all fourteen Gilbert & Sullivan operettas is the perfect companion at a great low price. You'll find yourself humming the Arthur Sullivan melodies as you read "I polished up the handles so carefully," "Let the punishment fit the crime," and "I'm called little Buttercup, Sweet little Buttercup." In one attractive volume are the complete and unabridged texts of "The Mikado," "The Pirates of Penzance, "H.M.S Pinafore," and the eleven other operettas that set a world standard for intelligent musical theatre.

The Mikado with a Canadian, satiric twist. A wonderful production that pokes fun at itself yet at the same time features outstanding singing, with a great bonus that on the big numbers the actors do a one or two line encore immediately following the song, to the delight of the audience. The staging is sparse but effective, and with the possible exception of the Mikado who is a bit over the top, the main characters -- Yum Yum, Nanki Poo, Pooh Bah and of course KoKo (who steals this show with his wit, sarcasm and humanity) -- are brilliantly played. Some of the special Canadian lyrics (especially on the list song) are hysterical (list does indeed rhyme with separatist), and all in all this is a highly enjoyable, if somewhat different and sui generis, performance of the Gilbert and Sullivan masterpiece.

The video/DVD is of a staged Canadian production, filmed from the proscenium-audience point of view with some close-ups, in full costume and makeup appropriate to the G&S script and score. The score is very well sung although the songs are dubbed, you have to pay special attention to notice this. The lip-sync is very, very good and since they don't have to worry about singing perfectly "live" with the camera, they can do more acting while mouthing their parts, and it all works very well. Some wonderfully stylized performances make it fun, expecially from Pooh Bah who is the tallest actor I've ever seen in a G&S opera! Folks who are addicted to perfect-score singing will notice some deviations (not bad ones, just different) but overall its well-done and includes encores that are usually performed of the most popular numbers at high speed for an appreciative audience. I recommend this version to Mikado-lovers.

A different but very entertaining version of the Mikado, in which the cast takes a satiric view of the "state of things" at times but performs the numbers with great singing and performing talent and relish. The staging of the work is very sparse, but the performances of Nanki Poo, Pooh Bah (who towers over the rest of the cast), Yum Yum and most of all Koko (who essentially plays the clown but steals the show with his wonderful expressiveness and humanity) are rich. The Mikado is, even for the role, a bit over the top, but it does not detract. One interesting twist is some of the Canadian jokes and lyrics interspersed, especially in the List Song (yes, separatist does rhyme with list!). An added bonus is that on the big numbers the cast does a one or two verse encore immediately following the conclusion of the number, to the delight of the audience. A bit different but highly recommended and thoroughly entertaining start to finish.