J. M. Gordon
In his early career Gordon appeared in the chorus and minor roles in D'Oyly Carte productions, and after a period as a freelance actor, manager and director, he returned to the company permanently in 1910, as stage manager, and later stage director, establishing a reputation as a firm disciplinarian and upholder of the performing practices originated by Gilbert.
[6] After some concert-singing experience, Gordon soon joined the touring Grand National Opera Company, playing baritone roles in such works as La Sonnambula and Fra Diavolo.
[11] In 1884 Richard D'Oyly Carte saw him perform and offered him the chance to join the main London company at the Savoy Theatre as a chorus member and understudy.
[13] He was in the chorus in the original runs of Princess Ida (1884), The Mikado (1885), Ruddigore, The Yeomen of the Guard and The Gondoliers (1889), and the 1885 revival of Trial by Jury and The Sorcerer at the Savoy.
[13] During the winters in the 1890s and through the first decade of the new century, he worked as a freelance conductor and stage director for British amateur operatic societies.
[16] Throughout his freelance period Gordon maintained his links with D'Oyly Carte, coaching young singers for the touring companies and the Savoy in his spare time.
[19][20] In 1910 Gordon accepted Helen Carte's offer of a permanent position as stage manager to the company, and he gave up his freelance activities.
[23] Like his stepmother, Rupert D'Oyly Carte needed a stage manager who would maintain the company's production standards and preserve Gilbert's traditions and style.
Gordon, whose close contacts with Gilbert had included work on the prompt books for the Savoy operas, was entrusted with preparing an authoritative set of libretti.
He coached new artists on the blocking, dances, and line readings for each part, and maintained strict quality control over the productions.
[20] In consultation with Rupert D'Oyly Carte, he was responsible for making major textual revisions to Ruddigore when it was revived, for the first time, in December 1921.
Around the same time, he worked with the company's musical director, Harry Norris, to create the radically shortened "Savoy Edition" of Cox and Box, and he approved any changes to stage business, such as Darrell Fancourt's introduction of the Mikado's famous laugh.
He became a martinet in tiny little things of "business" and tradition, and would not allow the individuality of the actor to colour a part, as he used to in my time ... making for a dull uniformity.
[31]Viola Wilson, who was a soprano with the company near the end of Gordon's career, wrote this description in her memoir: He worshipped Gilbert and this was reflected in his own productions.
Short and slight, James Gordon kept a small step ladder [to see over the heads of the chorus] near the prompt corner so he could stand on it, peer through his pince-nez spectacles at us and not miss a single movement.
