The very model of a Gilbert & Sullivan star

Sir Henry Lytton dominated comic opera stage but couldn’t read music

Actor Henry Lytton from his 1922 book Secrets of a Savoyard. Out of copyright

In 1935 when the great Gilbert and Sullivan star Sir Henry Lytton decided to retire he was assured a full house for his farewell performance at London’s Savoy. Yet he could have filled the 2000-seat theatre twice over with the crowd of 4000 that gathered outside, unable to get tickets. Other had to be content to listen in to the BBC broadcast live from the theatre.

Lytton, born 150 years ago today, was one of the biggest celebrities of his time but is now little known. With his distinctive nasal voice, impeccable comic timing, great stage presence and an ability to deftly handle fiendishly difficult, rapid-fire patter songs, he was a stalwart of the D’Oyly Carte theatre company, home of librettist William Gilbert and composer Arthur Sullivan.

Lytton spearheaded the great revival of the “Savoy opera” in the 1920s. For his career spanning half a century he was the only person ever knighted for services to Gilbert and Sullivan.

Lytton was born Henry Alfred Jones on January 3, 1865, the son of a jeweller. At school he acted in amateur plays, developing a passion for theatre that his father tried to discourage. When Lytton ran away from school at the age of 14 to try to join a theatre company his father signed him up for an apprenticeship to study art.

In his spare time he appeared in whatever amateur productions he could. At 17 he made his London stage debut in The Obstinate Bretons, alongside Louisa Webber who went by the stage name Louie Henri. Henri was older than Lytton by a year, had more stage experience and, after they married in 1884, played a crucial role in Lytton’s career.

She got him an introduction to the D’Oyly Carte Opera Company, home of the G&S operettas, coached him in acting and in singing, accompanying him on the piano. Unable to read music, he relied on her musical knowledge throughout his career.

Despite only amateur experience he was hired by the company, making his professional debut in minor roles and as understudy. Henri also joined the company, but the pair pretended to be brother and sister because theatre companies often baulked at hiring husband and wife teams.

The ruse was later discovered when a stage manager took a shine to Henri. Lytton had to fess up that they were married, forced to produce the marriage certificate to prove it.

In the early years work was not constant and he fell back on some of his art training to make ends meet. His break came in 1887 when comic star George Grossmith fell ill and Lytton was bumped up to the role of Oakapple in Ruddigore, which he then played on tour. Gilbert suggested he change his name to Lytton, in honour of actress and producer Marie Litton and also playwright Edward Bulwer-Lytton.

He became their principal comic for the touring companies, giving him the opportunity to refine his skills in patter and comic lead roles such as Ko-Ko (the Lord High Executioner) in The Mikado and Jack Point in Yeoman Of The Guard. The latter was his defining role as he brought out the tragic side of the jester. By contrast Grossmith had played the role for laughs.

Grossmith’s departure in the 1890s to appear in solo shows allowed Lytton to take over as principal comedian in G&S revivals. Gilbert also cast him in lead roles in shows he created without Sullivan.

An attempt to branch out as a producer in 1899 faltered and in 1903 he left D’Oyly Carte, making a living in West End musicals. He returned to the company in 1906 but shared the best roles with Charles Workman. When Workman left the company after a disagreement with Gilbert, Lytton became principal comedian. Rupert D’Oyly Carte tried to lure Workman back in 1919, but by then Workman was happy being a huge star in Australia.

The Savoy Operas went through a revival after World War I (Lytton lost a son in the war) and continued to be popular for some time. In 1930 Lytton earned his knighthood, but by then his voice was deteriorating and he received a further blow in 1931 when he was injured in a car accident that killed his stage partner Bertha Lewis.

He returned to the stage but his best years were past, after celebrating 50 years on the stage in 1934 he retired in 1935. He died in 1936.

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