Gilbert and Sullivan's HMS Pinafore: Rehearsal Notes

Gilbert and Sullivan’s HMS Pinafore
Rehearsal Notes
UALR Community Chorus, Concert Choir, and Opera Theatre
Performance Overview—as of Oct. 14 & 21
(1) We sail the ocean blue
Who’s singing: Men only
Choreography: None
Notes: Tenors and basses stand at the beginning of the

measure where you enter at the bottom of p. 8.
Tenors, please join the basses on their exposed line at

the beginning of the number.
(2) I’m called Little Buttercup
Who’s singing: Buttercup only
Choreography: Men cheering (see notes below)
Notes: After Buttercup finishes singing To welcome Little

Buttercup on board on p. 12, men cheer
enthusiastically for two measures (six quarter notes of
piano accompaniment, then cut off). Tenors and
basses then sit for the rest of this number.
------------------------------------------------ Dialogue (page 15)

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Who’s speaking: Men only on the lines assigned to ALL
Respond with a brisk “Aye, aye!” to the Boatswain.

Respond with a growly, disgusted “We do!” to
Deadeye Dick.
(2a) Recitative
Gilbert & Sullivan’s HMS Pinafore (Oct. 14 & 21)http://ualr.edu/music/voice p.2
Who’s singing: Buttercup and Boatswain only
(3) The nightingale

(3a) A maiden fair to see
Who’s singing: Ralph Rackstraw

Tenors and basses (standing)
Altos sing the tenor 1 line (seated)
Choreography: Men only (see notes below)
Notes: Tenors and basses stand when Ralph sings “Ah

well-a-day!” at the top of p. 17.
(3a)
p. 19, 4th system: Pronunciation note: menial’s = meen – yuhlz
On the word … Action

do Place your right hand on your heart; gradually extend
your left hand as you sing her menial’s duty; drop
hands at the end of the phrase
p. 20, 3rd system:

world Place your left hand on your heart
wealth Place your right hand on your heart over your left
sighing Rotate from the waist up in a single counterclockwise

circle, hands still on your chest. Keep the circle small;
everyone should be still again and drop your hands on
the eighth rest before Ralph’s next entrance
p. 21, 2nd & 3rd system:

he (measure 2) Extend your right hand forward, palm up, for three
counts; pulse it down slightly when you reach the word
and
he (measure 3) Extend your right hand forward, palm up, for three
counts; pulse it down slightly when you reach the word
and
University of Arkansas at Little Rock Vocal Arts Program Fall 2010

lowly Pulse both hands down to emphasize Ralph’s lowliness
suitor On the first syllable of suitor, slowly bring your left

hand to your heart so that it touches your chest on the
third beat of the measure.
On the second syllable of suitor, slowly bring your right

hand to your chest, placing it over your left, touching
your left on the third beat of the second measure.
In the third measure, gradually drop your hands to

your side so they reach your side on the third beat.
You may also drop your head at this point, or you may
be asked to look sadly at Ralph.
------------------------------------------------ Dialogue (page 22)

-----------------------------------------------
React slowly on the “No! No!” in response to the Boatswain; you are
distracted by the lollipops that Buttercup has just
passed out to the crew.
Use a chastising tone on “Shame! Shame!” in

response to Dick Deadeye (be sure to emphasize the
“m” consonant each time).
Respond to Ralph with a brisk “Aye! Aye!”
When Ralph says such a revolutionary sentiment is

enough to make an honest sailor shudder, all men
should shudder audibly with dramatic disgust. Watch
Ralph for the cue: he will point to Dick, and then
all men shudder.
(4) My gallant crew
Who’s singing: Captain Corcoran

Men only
Choreography: Men only (see notes below)
p. 26, 1st & 2nd system:
On the words … Action

What never? (verse 1) Sway right (use a wide foot stance for this swaying
motion; do not lean into the person next to you as you
sway)
No, never! (verse 1) Sway left
What never? (verse 1) Sway right
Hardly ever! (verse 1) Sway left
He’s hardly (verse 1) On hardly, snap back to center (but do not bounce)
--------------------------------------------------------------------------------------------------------------
-----------------
What never? (verse 2) Snap your head toward the captain; look at him in
disbelief
What never? (verse 2) Lean in towards the captain as if you are straining to
hear better; you can hardly believe your ears! Do not
lift either of your feet from the ground as you lean in.
Hardly ever swears (verse 2) On ever, snap back to center (but do not
bounce)
p. 27, 1st system: Please note the change of wording for the two different
verses in the first measure of this system. For verse 1,
he’s the hardy captain of the Pinafore; for verse 2,
he’s the well-bred captain of the Pinafore.
p. 27, 2nd system: Our score says that you should pause at the fermata
near the end of the first measure only the second time
– but instead, watch Dr. Keating for your cue. You may
pause here for both verses.
At the end of this number, Captain Corcoran shouts, “Dismiss!”

Men sit.
(4a) Recitative
Who’s singing: Buttercup and Captain Corcoran only
(5) Sorry her lot
Who’s singing: Josephine only
------------------------------------------------ Dialogue (page 33)

-----------------------------------------------

Who’s speaking: Josephine and Captain Corcoran only
** Sopranos and altos stand at the end of this dialogue

(after the audience laughs at Josephine’s reaction to Sir Joseph’s picture)

(6) Over the bright blue sea
Who’s singing: Women only
Choreography: None
(7) Sir Joseph’s barge is seen
Who’s singing: Entire chorus
Choreography: Featured chorus only (none for regular chorus)
Notes: Tenors and basses stand at the beginning of this

number.
Tenors and basses, bring your sound up one dynamic

throughout page 35. Sing with gusto!
(8) Now give three cheers
Who’s singing: Captain Corcoran, Sir Joseph, Hebe

Entire chorus
Choreography: Entire chorus (see notes below)
Notes: On p. 42, be prepared for a long vamp between the

end of the cheers and Sir Joseph’s entrance.
At the top of p. 43, where the chorus enters: both

men and women perform a curtsy-like dip on the word
we. Dip down slightly and rise again all on one beat.
At the top of p. 44: On the word so in the second

measure, extend your right arm and snap your fingers
in an arrogant, dismissive gesture (imitating Hebe,
who will make the same gesture just before you)
(9) When I was a lad
Who’s singing: Sir Joseph

Entire chorus
Choreography: Entire chorus (see notes on next page)

For most of the verses, we will alternate between bouncing to the rhythm of
Sir Joseph’s story about how he became Lord Admiral and imitating his
gestures on the refrain.
For verses 1-5, whenever Sir Joseph is singing alone:

Women drop down into a knee bend (using the same outward bend as for the
curtsy in the previous movement, but without the foot rotation) on the first
beat of each measure (usually the first eighth or sixteenth note).
On the second beat of the measure, the women stand and the men drop down
into the knee bend, so that each measure follows an alternating pattern
(women bend knees, men stand up; then men bend knees, women stand up).
Begin this pattern on p. 46, the measure before Sir Joseph starts
singing.
Whenever the chorus enters echoing Sir Joseph’s previous line, we

stop bouncing and instead copy his gestures:
Verse 1
p. 47 He polished up the handle of the big front door
Make a round polishing motion in the air in front of you, rotating your
hand in a clockwise motion. All hands drop down again on the word
door; resume bouncing motion.
p. 48 On the choir’s entrance, stop bouncing and start the polishing motion
again, carrying it through to the end of Queen’s Navee. All hands
drop on the last syllable of Navee; resume bouncing.
--------------------------------------------------------------------------------------------------------------
-------------------
Verse 2
p. 47 He copied all the letters in a big round hand
Stop bouncing. As you sing, extend your right arm and hold your
right hand as if it contained a pen. Extend your right pinky finger.
Move your wrist in clockwise circles until you reach the word hand;
then dip your hand forward slightly as if you were replacing the pen
into an inkwell in front of you. Resume bouncing.
p. 48 Same as p. 47. Put the pen back into the inkwell on the word Navee;
resume bouncing.
--------------------------------------------------------------------------------------------------------------
--------------------
Verse 3
p. 49 For the pass examination at the Institute
Stop bouncing. As you sing, adjust an imaginary tie at your throat, moving
your right hand in small counterclockwise circles. Your facial
expression should suggest that you are very pleased (maybe too
much so) with your newly exalted station in life. Push the imaginary
tie back into place against your neck on the final syllable of Institute.
Resume bouncing.
p. 50 Same as p. 49, but turn to your left and right to look at your neighbor,
as if to confirm that you are indeed superior to those around you.
Push the tie back against your neck on the word Navee; resume
bouncing.
--------------------------------------------------------------------------------------------------------------
--------------------
Verse 4
p. 49 Was the only ship he ever had seen
Stop bouncing. As you sing, extend your right pointer finger. On the word
only, dip your hand and arm downwards in front of you. On the word
ship, push your entire right arm out from your body, forward and up,
finger still pointing. By the end of the line, return your arm to your
side Resume bouncing.
p. 50 Same as p. 49. Dip your arm on the word that; push it out and
forward on the word ship. Return your arm to your side by the time
you read the word Navee; resume bouncing.
--------------------------------------------------------------------------------------------------------------
--------------------
Verse 5
pp. 51-52 He never thought of thinking for himself at all
Stop bouncing. As you sing, tap the pointer finger of your right hand
against your right temple to the beat of the music. Return your hand
to your side when you read the word all. Resume bouncing.
pp. 52-53 Same as pp. 51-52. Return your hand to your side on the word
Navee; resume bouncing.
--------------------------------------------------------------------------------------------------------------
--------------------
Verse 6
Sir Joseph orders, “Stop bouncing!”
All the music will stop immediately. Everyone snaps to attention, looking
anxious. After a tense moment, Sir Joseph will indicate to the conductor that
the accompaniment may resume.

As Sir Joseph resumes singing, move just your head and shoulders up and
down on your usual beat in an extremely tiny motion—so tiny that Sir
Joseph cannot possibly notice.
pp. 51-52 Be careful to be guided by this golden rule

As you sing, extend your right arm and right pointer finger, shaking them at
the audience in a chastising gesture. Return your arm to your side at
the word rule.
Sir Joseph will speak his next line rather than sing it. Stop bouncing while
Sir Joseph is speaking.
When we enter for our final line, everyone resumes bouncing enthusiastically,
getting gradually faster and faster. After we sing Navee, the entire chorus
erupts into random bouncing and celebratory dancing; Sir Joseph surrenders
and joins in.
------------------------------------------------ Dialogue (page 54)

-----------------------------------------------

In the dialogue on this page, after the captain assures
Sir Joseph that he never uses any strong language, the
men clear their throats in amusement at this obvious
fib.
The men respond with a crisp, “Aye! Aye!” to Ralph’s

declaration that A better Captain doesn’t walk the
deck, your honour.
(9a) For I hold that on the seas
Who’s singing: Sir Joseph, Hebe

Entire chorus
** Women sit after this number.
------------------------------------------------ Dialogue (page 56)

-----------------------------------------------

Well spoke! Well spoke! (said approvingly, in the tone
of hear, hear!)
Horrible! Horrible! (said with disgust) Do not

pronounce the “h” consonant at the beginning. Instead,
pronounce the word as “Aw –ri-ble.” Draw out the
second “Aw” a little longer than the first.
Aye! Aye! (twice) and We do! (all short and crisp)
(10) A British tar
Who’s singing: Ralph, Boatswain, Carpenter

Men only
Choreography: Men only (see notes on next page)

nose (verse 1) Punch right arm forward
lip (verse 1) Drop right arm
cheek (verse 1) Punch left arm forward
brow (verse 1) Drop left arm
bosom (verse 1) Punch right arm forward
heart (verse 1) Drop right arm
fist (verse 1) Punch left arm forward
knock-down (verse 1) Drop left arm
--------------------------------------------------------------------------------------------------------------
---------
foot (verse 2) Punch right arm forward
throat (verse 2) Drop right arm
hair (verse 2) Punch left arm forward
face (verse 2) Drop left arm
eyes (verse 2) Punch right arm forward
breast (verse 2) Drop right arm
this (verse 2) Punch left arm forward
attitude (verse 2) Drop left arm
At the end of the second verse, as you go into the second ending, there will be
no choreography.

** Men sit at the end of this number.
------------------------------------------------ Dialogue (page 61)

-----------------------------------------------
Who’s speaking: Josephine and Ralph only
(11) Refrain, audacious tar
Who’s singing: Josephine and Ralph only
(12) Can I survive this overbearing? (Act I finale)
Who’s singing: Entire chorus
Notes: p. 66: All heads turn to Ralph as he sings the first

“Come here!”
** On the second “Come here!” everyone stands.
Looking at Ralph, we sing the line Aye, aye, my boy,

What cheer, what cheer? We turn back to face the
audience at Now tell us pray.
p. 67: Place a hand over your heart at the word cruel

the first time you sing Oh, cruel one! When you repeat
the phrase, extend the hand behind you, as if you were
pushing something away, palm toward the back of the
stage. If you are standing on the conductor’s
right, use your right hand for this gesture; if you
are on the conductor’s left, use your left hand.
Everyone looks at Dick Deadeye as he sings his line on

the top of 68, then faces the audience again where we
enter in the second system.
Everyone looks at Ralph as he sings his line on the top

of 71, then faces the audience again where we enter in
the third system.
Everyone turns again to Ralph at the top of 72. When

Ralph sings the name Josephine, all chorus members
place fingers in their ears to mute the sound of the
expected gunshot, elbows held outward from the sides
of your head.
When we sing Ah, stay your hand—she loves you!

remove your right hand from your ear and copy
Josephine’s “stop” gesture. Leave the left hand in your
ear, just in case!
When we sing Yes! Yes! Ah yes! drop both hands to your

side in relief.
No choreography between page 72 and page 88.
p. 88: Sopranos and altos, as you start “A British Tar,”

extend your left and right hand outward in front of you,
gesturing at the sailors standing before us.
p. 89: All men sing on the part labeled Ralph,

Boatswain, Carpenter with unison tenors and
basses. Although your text on these pages is the
same as what you sang for part of “A British Tar,”
different movements have been assigned for the
finale:

nose Touch the pad of your right
thumb to the right side of your
nose
cheeks Form your hands into claws on

either side of your cheeks
bosom Clasp both hands over your

heart
fist Extend both arms in front of

you, bending upward at the
elbows, both hands shaped
into fists
p. 90: Where the full chorus enters in the third

system, men return to the punching
choreography from (10). Women, no choreography
here.

p. 96: All cheer in rhythmic “Hoorays” to the end of
the number, holding the final “Hooray” until the lights
are blacked out signalling the end of the act.
(13) Fair moon, to thee I sing
Who’s singing: Captain Corcoran only
------------------------------------------------ Dialogue (page 101)

-----------------------------------------------
Who’s speaking: Buttercup and Captain Corcoran only
(14) Things are seldom what they seem
Who’s singing: Buttercup and Captain Corcoran only
------------------------------------------------ Dialogue (page 108)

-----------------------------------------------
Who’s speaking: Captain Corcoran and Sir Joseph only
(15) The hours creep on apace
Who’s singing: Josephine only
------------------------------------------------ Dialogue (page 114)

-----------------------------------------------
Who’s speaking: Josephine and Sir Joseph only
(16) Never mind the why and wherefore
Who’s singing: Captain Corcoran, Sir Joseph, and Josephine only
------------------------------------------------ Dialogue (page 120)

-----------------------------------------------
Who’s speaking: Captain Corcoran, Sir Joseph, and Dick Deadeye only

(17) Kind Captain, I’ve important information
Who’s singing: Captain Corcoran and Dick Deadeye only
------------------------------------------------ Dialogue (page 120)

-----------------------------------------------
Who’s speaking: Captain Corcoran and Dick Deadeye only
(18) Carefully on tiptoe stealing
Who’s singing: Entire cast

Entire chorus Women do not stand or sing until p.
138
Notes: ** Men stand at the beginning of this number.
Tenors and basses, remember to keep your eighth

notes very staccato and detached wherever they are
followed by rests.
Take care with your pitches on Every step (p. 127) and
A clergyman (p. 128). Notice where the pitch remains
on the G for two consecutive notes!
p. 136: Men, stand very proud and straight as you

sing about the pleasure you take in being English.
Also note that at the bottom of the page, we are
singing Canadian rather than Italian.
** Women stand suddenly at the bottom of p.

138, shocked when Captain Corcoran sings, Why
damme!
p. 139: Women, turn to look at Captain Corcoran with

horror on your first “Oh!”, then place a hand to your
head as if you feel faint on your second “Oh!” Drop
your hands after the last time he sings Yes, damme,
it’s too bad!
p. 144: All voices: We will have British flags

concealed somewhere nearby. When we sing For he is
… reach for your flag. When we get to the final
syllable on Englishman, hold your flag up and out
toward the audience. Do not move.
p. 145: We will alternately wave the flag right and

then left on the first beat of each measure, starting
with the word he at the top of the page.
At the middle of the page, we wave right and left once

each measure: e.g., is (right) an (left) Eng- (right) –lish
(left), etc.
On the second-to-last measure of the page, we wave

the flags enthusiastically and continue until the end of
the applause after the number. Everyone will put
down the flags simultaneously before the dialogue
begins.
------------------------------------------------ Dialogue (page 146)

-----------------------------------------------
Who’s speaking: Entire chorus on parts assigned to ALL

** This is the only page where the women take part in the dialogue
Chuckle skeptically in reaction to Sir Joseph when he

describes the top man’s position as “a very exalted
one.”
Respond enthusiastically to Ralph’s speech about

Josephine for “Very pretty, very pretty!”
p. 146, cont. Respond sadly and reluctantly to Sir
Joseph when we tell him that “We have” a dungeon on
board.
(19) Farewell, my own!

Entire chorus
Notes: p. 151: When Sir Joseph sings Again you may

discover from my eyes, he will turn around and glare
at the chorus. We should watch him through this line
and react with fear when he stares at us. Our own
response (How terrible the aspect of his eyes) should
be overdramatically spooky.
When Buttercup declares at the bottom of the page

that she has a confession to make, all chorus members
turn their heads to look at her, lean in slightly towards
her, then hold still to listen.
(20) A many years ago
Who’s singing: Buttercup

Entire chorus
Notes: p. 152: We remain looking at Buttercup through her

opening lines in this number. When we enter on the
bottom of the page, we snap back to center and sing
to the audience, looking alarmed by her admission.
p. 153: Turn back to Buttercup when she begins

singing again, then outward to the audience on our
entry.
p. 154: Take care to observe the piano dynamic on A

many years ago in the second system. After singing
this line, relax your body and follow Buttercup with
your eyes as she moves across the stage.
p. 156: Again, observe the piano marking on the final

A many years ago.

------------------------------------------------ Dialogue (page 157)
-----------------------------------------------
Who’s speaking: Main cast only (no chorus)
(21) Oh joy, oh rapture unforeseen

Entire chorus
Notes: p. 161: Everyone sings the parts marked Chorus

starting on this page, including the women in their own
octave (even though the part is marked in the bass
clef). Note to BK: Is that right? Or do you want
the women in the men’s octave here and on 162-
163?
p. 162: Where we enter in the third system on What,

never?, turn to look at the former captain. On the
second What, never?, lean in towards the captain,
disbelieving. On Hardly ever be untrue, snap to face
center again.
p. 166: From For he is an Englishman! on, we will

repeat the flag waving routine from pp. 144-145 in
(18).
If you have questions or need clarification, please contact

Dr. Bevan Keating, conductor btkeating@ualr.edu
(501) 569-3499
UALR Director of Choral Activities
Professor Edward Crafts, director ejcrafts@ualr.edu

(501) 569-3033
UALR Opera Theatre
Dr. Karen Kuralt, rehearsal notes editor kmkuralt@ualr.edu

(501) 569-8334
UALR Dept. of Rhetoric and Writing
A note about the pronunciation guides:

The UALR Community Chorus is a non-auditioned choir that welcomes
members regardless of their previous musical experience or training. Because
many of our community members have not completed formal music
coursework, we have chosen not to use IPA transcription in order to make
these notes more accessible to all participants.

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Gilbert and Sullivan’s HMS Pinafore

(1) We sail the ocean blue

Who’s singing: Men only

Notes: Tenors and basses stand at the beginning of the

Tenors, please join the basses on their exposed line at

(2) I’m called Little Buttercup

Who’s singing: Buttercup only

Choreography: Men cheering (see notes below)

Notes: After Buttercup finishes singing To welcome Little

------------------------------------------------ Dialogue (page 15)

Who’s speaking: Men only on the lines assigned to ALL

Respond with a brisk “Aye, aye!” to the Boatswain.

(3) The nightingale

Who’s singing: Ralph Rackstraw

Notes: Tenors and basses stand when Ralph sings “Ah

On the word … Action

p. 20, 3rd system:

On the word … Action

sighing Rotate from the waist up in a single counterclockwise

p. 21, 2nd & 3rd system:

On the word … Action

University of Arkansas at Little Rock Vocal Arts Program Fall 2010

suitor On the first syllable of suitor, slowly bring your left

On the second syllable of suitor, slowly bring your right

In the third measure, gradually drop your hands to

------------------------------------------------ Dialogue (page 22)

Who’s speaking: Men only on the lines assigned to ALL

Use a chastising tone on “Shame! Shame!” in

Respond to Ralph with a brisk “Aye! Aye!”

When Ralph says such a revolutionary sentiment is

(4) My gallant crew

Who’s singing: Captain Corcoran

Choreography: Men only (see notes below)

p. 26, 1st & 2nd system:

On the words … Action

University of Arkansas at Little Rock Vocal Arts Program Fall 2010

No, never! (verse 1) Sway left

What never? (verse 1) Sway right

Hardly ever! (verse 1) Sway left

At the end of this number, Captain Corcoran shouts, “Dismiss!”

Who’s singing: Buttercup and Captain Corcoran only

(5) Sorry her lot

Who’s singing: Josephine only

------------------------------------------------ Dialogue (page 33)

University of Arkansas at Little Rock Vocal Arts Program Fall 2010

** Sopranos and altos stand at the end of this dialogue

University of Arkansas at Little Rock Vocal Arts Program Fall 2010

Who’s singing: Women only

(7) Sir Joseph’s barge is seen

Who’s singing: Entire chorus

Choreography: Featured chorus only (none for regular chorus)

Notes: Tenors and basses stand at the beginning of this

Tenors and basses, bring your sound up one dynamic

(8) Now give three cheers

Who’s singing: Captain Corcoran, Sir Joseph, Hebe

Choreography: Entire chorus (see notes below)

Notes: On p. 42, be prepared for a long vamp between the

At the top of p. 43, where the chorus enters: both

At the top of p. 44: On the word so in the second

(9) When I was a lad

Who’s singing: Sir Joseph

Choreography: Entire chorus (see notes on next page)