Guest article by Mike Reynolds with photos from Amy Henderson
Jun 15, 2026
The Bar Harbor Story is generously sponsored by First National Wealth Management.
This article was contributed by Mike Reynolds.
MOUNT DESERT ISLAND REGION—“Gilbert and Sullivan!” — No, seriously.
If you mention these names in front of any crowd of around thirty 20 to 35-year-olds anywhere in the area, you will get mixed results. Some will stare at you blankly for a seconds, then turn their attention back to their phone. Some might think for a few seconds, then say they vaguely recall their parents liking a maudlin 1970‘s pop singer with a name kind of like that, then turn their attention back to their phone. Still others, (many more, in fact), will recall the rapid fire, tongue twisting patter songs, gently stinging satire, and soaring melodies the pair is noted for whether they first encountered them in a college production they were in or a parody they saw on TikTok or YouTube at a friend’s behest. They might chuckle a bit, maybe hum a bar or two, and rather than turn their attention back to their phone, they will want to know more. But they will all know one thing … in the Acadia region, at any rate, and in Maine in general, Gilbert and Sullivan is “cool” again.
While other performing arts institutions in the state, according to the Maine State Arts Commission, are suffering to rebuild their audiences and endowments and still trying to stay afloat in the post-COVID arts environment by mounting smaller and smaller cast productions and musicals with AI-generated or pre-recorded accompaniment tracks, The Gilbert and Sullivan Society of Maine remains dedicated to doing things the Maine way: crafting full scale productions of classic comic operas with a full cast, full chorus, and a full live orchestra, just as it has been doing for 50 years, mostly at The Grand in Ellsworth. As a result, the company regularly draws volunteers from all over the state to join in the creative work – onstage and backstage. Why is this so?
Musical Brilliance
“I think Gilbert and Sullivan marks a very important transition point between modern musical theater and dramatic opera of the 19th century,” offered Deiran Manning, GSSME artistic and music director.
Manning, who is also executive director of the Winter Harbor Music Festival, has been leading GSSME’s productions since 2023.
“Sullivan‘s music draws on the breadths of artistic tradition of earlier eras and creates a complicated enduring soundscape while Gilbert’s lyrics present the entire work with a sense of humor akin to Monty Python. I feel a calling to present works of this style because, what’s the point of living if you don’t present art or create something that you feel needs to be shared? Preserving and popularizing these works not only serves as a way of maintaining their humor and brilliance for the audience, but could also serve as a steppingstone to enable audiences to appreciate earlier operatic styles that they might otherwise have been closed off to,” Manning said.
Flautists Dierdre McArdle of Ellsworth and Judy Fraser of Gouldsboro, (also a trustee), have been playing in the orchestra for GSSME productions for over 10 seasons.
“We have a lot of musicians,” McArdle said, “who have played Gilbert and Sullivan forever — musicians from the Downeast Chamber Orchestra, musicians who travel from Lincoln, Bangor, Winter Harbor, Thomaston, Belfast.”
“I mean, this is Maine,” Fraser added. “You’re going to drive the distance.”
Timeless Satire
Gilbert & Sullivan enjoyed phenomenal success on both sides of the Atlantic in the late nineteenth century. Their operettas were wildly popular, selling out theaters and captivating audiences across the globe. They became a cultural phenomenon, and their music and stories permeated society. The operettas were a breath of fresh air in the stuffy Victorian era. They poked fun at social conventions and lampooned the upper class and celebrated the wit and charm of the common man while reserving their sharpest barbs for the priggish, the pompous and the powerful. Their characters, often eccentric and larger-than-life, provided ample opportunities for comedic situations and biting social commentary.
But that was 150 years ago. Why are their works still popular enough to merit this level of investment of time and resources?
“I’m currently teaching a class on Gilbert and Sullivan at the Acadia Senior College,” said GSSME trustee, Joe Marshall.
“I give the students a background on the operas, tell them the stories, play the music…and people are still enthusiastic about the plays 150 years after they were performed. The only other English canon like that is Shakespeare. The themes are universal—darkness and light, comedy and tragedy, life and death,” Marshall said.
Timely Appeal
GSSME trustee Daniel Clement, seen here as King Gama in the company’s recent production of Princess Ida is a long-time fan.
“I like the light-hearted silliness of the shows layered with very serious social commentary and satire. It’s a fun combination of serious subjects done in a light way. I so enjoy it,” Clement said.
Gilbert’s humor is timeless. His wit is sharp and clever, often poking fun at human nature in ways that remain relevant across the generations. Sullivan’s melodies are catchy and unforgettable, with a whimsical charm that’s impossible to resist, and their fast-paced, tongue-twisting patter songs are a delight to perform! The characters in Gilbert & Sullivan’s operettas are often quirky and lovable, with personalities that are both relatable and entertaining. Their comic operas embrace the absurdity of life, creating a world where anything is possible. They offer a delightful escape from the everyday, a chance to laugh at ourselves and the world around us, and a reminder that even in the face of social conventions, there’s always room for a good dose of silliness and charm.
All are Invited.
GSSME is famously welcoming and inclusive, with large ensembles, orchestra, and a full chorus, both male and female. The productions are fully staged, with often magnificent sets and costumes. The society offers a respectful, collaborative environment where people can bond intensely over rehearsals, set building and after parties, which means that almost anyone who wants to participate can find a place either onstage or behind the scenes. It is, in essence a ready-made, deeply connected community united around a single large scale creative endeavor.
GSSME Trustee Jeannie Kell has been working backstage with the company for a good many seasons.
“I do a lot of the behind-the-scenes stuff for G&S year-round. Right now, I’m helping to plan our trip to England. And … I love it. I come from a very musical family, my sister’s a professional musician in Europe and for me, this is my little piece of that. I’m a piece of something bigger,” Kell said.
“I do a lot of communicating between the cast and our director,” Bangor resident and GSSME stage manager Bryce MacGregor said.
“I get the schedule out, make sure everyone knows when to be here, work the scene changes. When the actors weren’t here, I’d stand on stage to help with blocking. The last time I actually was on stage was for a production in high school, so being back on stage … it feels really nice,” MacGregor said.
GSSME productions demonstrate the enduring power of their music and stories. From traditional stagings to more modern interpretations, the appeal of Gilbert & Sullivan continues to captivate audiences across generations.
“My teacher at school recommended we come, me and my mom, ” Conners Emerson seventh grader Pace Quebbeman offered.
Pace’s mother, Renee joined in: “I used to be a theatre major in school, and I wanted my daughters to build confidence and connect with the community. I love it, so I jump in with them.”
“I feel more involved,” added Pace, “and it’s a part of my life now.”
International Recognition
The Gilbert and Sullivan Society of Maine has announced that its 2027 offering will be the pair’s final and most absurdly funny collaboration, The Grand Duke, which has been entered to compete in the International Gilbert and Sullivan Festival in Buxton, England. The company first entered the festival in 1994 with their production of Utopia, Limited, and won! Then entered the following year with their production of Iolanthe. The Grand Duke is a story where a theatrical troupe takes over a small country, and the fate of a nation depends on the cut of a deck of cards.
It promises to be a rollicking evening packed with sharp social satire, unforgettable music, romance, revolutionaries, mistaken identities, and even sausage rolls. The company sees it ‘as a fitting ‘centerpiece’ for their milestone 50th anniversary year.
Auditions, (to be announced), will take place in the fall, and as always with GSSME, all are welcome.
All photos: Amy Henderson.
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