Galatea, or Pygmalion Reversed
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Introduction to "Galatea, or Pygmalion Reversed"
"Galatea, or Pygmalion Reversed" is a musical burlesque that premiered at the Gaiety Theatre in London’s West End on December 26, 1883. This Victorian-era production flips the traditional Pygmalion myth where a sculptor falls in love with his statue into a comedic parody. Unlike W.S. Gilbert’s serious 1871 play "Pygmalion and Galatea," this version embraces the playful and irreverent spirit of burlesque, a popular genre in Britain during the late 19th century. With a libretto by Henry Pottinger Stephens and W. Webster, and music by Wilhelm Meyer Lutz, the show starred notable performers like Nellie Farren and Edward Terry, delighting audiences with its humor and theatrical flair.
The Creative Team Behind the Show
The production was a collaborative effort led by Henry Pottinger Stephens and W. Webster, who crafted the witty libretto. Stephens was a seasoned writer known for his work in Victorian theatre, while Webster contributed to the burlesque’s lighthearted tone. The score came from Wilhelm Meyer Lutz, the Gaiety Theatre’s music director, who was celebrated for arranging and composing music for numerous burlesques. Under the management of John Hollingshead, who ran the Gaiety from 1868 to 1886, the theatre thrived as a hub for variety and musical entertainment, making it the perfect venue for this satirical take on a classic tale.
A Reversed Pygmalion Plot
In "Galatea, or Pygmalion Reversed," the story inverts the original myth. Here, Galatea is the sculptor, and Pygmalion is the statue she brings to life. Upon awakening, Pygmalion is a vain, angular figure obsessed with his own beauty, proclaiming, “How beautiful I am!” His charm captivates not only Galatea but also other characters, like Myrine and Daphne, sparking jealousy among their husbands, Cyniscos, Leucippe, and Chrysos. The plot escalates as the husbands plot to “chip” Pygmalion, prompting him to return to his statue form. This resolution restores peace, delivering a humorous twist on the themes of creation and vanity.
Performance and Reception
The show opened during the festive season of 1883, capitalizing on the Gaiety’s reputation for lively entertainment. Nellie Farren, a beloved “principal boy,” and Edward Terry, praised as “convulsively funny” by The Standard, led the cast. Reviews were mixed: The Morning Post called it an “amusing burlesque,” while The Era dismissed it as “a very tame affair,” critiquing its execution despite its clever premise. Lloyd’s Weekly Newspaper noted an abundance of jokes but found them unremarkable. Still, the production reflected the era’s appetite for theatrical travesty, offering a lighthearted escape for West End audiences.
Legacy and Context in Victorian Theatre
"Galatea, or Pygmalion Reversed" is a snapshot of Victorian burlesque’s heyday, a genre that thrived on parodying serious works. It followed other Gaiety successes like "The Bohemian G-yurl" (1877) and preceded hits like "Faust up to Date" (1888). As tastes shifted in the 1890s, manager George Edwardes steered the Gaiety toward Edwardian musical comedy, marking the decline of burlesque. Though not as enduring as Gilbert and Sullivan’s operas, this show remains a fascinating artifact of its time, showcasing the West End’s vibrant history of satire and spectacle.