Abstract
the grip of Pinafore mania. In London the success of the latest Gilbert and Sullivan comic opera led not only to a dispute over the legal rights to the work and to two simultaneous rival productions but also to a third production put on by children. In the United States productions sprang up in Boston, San Francisco, Philadelphia, New York, and elsewhere, so that at one time there were reputedly more than forty companies presenting the work.' Such was the American public taste for the brand of musical theater represented by H.M.S. Pinafore, and such the lack of protection provided by United States copyright law, that Richard D'Oyly Carte not only brought over his company's definitive production of that work but also mounted its Gilbert and Sullivan successorThe Pirates of Penzance-in New York some three months before London saw it.
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