Rupert D'Oyly Carte (; 3 November 1876 – 12 September 1948) was an English hotelier, theatre owner and impresario, best known as proprietor of the D'Oyly Carte Opera Company and Savoy Hotel from 1913 to 1948.
Son of the impresario and hotelier Richard D'Oyly Carte, Rupert inherited the family businesses from his stepmother Helen. After serving in the First World War, he took steps to revitalise the opera company, which had not appeared in central London since 1909, hiring new designers and conductors to present fresh productions of the Gilbert and Sullivan operas in seasons in the West End. The new productions generally retained the original text and music of the operas. Carte launched international and provincial tours, as well as the London seasons, and he released the first complete recordings of the operas. He also rebuilt the half-century-old Savoy Theatre in 1929, opening the house with a season of Gilbert and Sullivan.
As an hotelier, Carte built on his father's legacy, expanding the Savoy Hotel, refreshing the other hotels and restaurants in the Savoy group, including Claridge's and the Berkeley Hotel, and introducing cabaret and dance bands that became internationally famous. He also increased marketing activities, including foreign marketing, of the hotels.
P. G. Wodehouse based a character in his novels, Psmith, on a Wykehamist schoolboy whom he identified as Rupert D'Oyly Carte. At his death, Carte passed the opera company and hotels to his only surviving child, Bridget D'Oyly Carte. The Gilbert and Sullivan operas, nurtured by Carte and his family for over a century, continue to be produced frequently today throughout the English-speaking world and beyond.
Life and career
Early life Rupert D'Oyly Carte was born in Hampstead, London, the younger son of the impresario Richard D'Oyly Carte and his first wife Blanche (née Prowse), who died in 1885. Like his elder brother, Lucas (1872–1907), he was given his father's middle name. He was educated at Winchester College, noted as among the most intellectually rigorous of English public schools.Bishop and Wilkinson, p. 18; and N. Jones, p. 7 He then worked for a firm of accountants before joining his father as an assistant in 1894. In a newspaper interview given in the year of his death, Rupert recalled that as a young man he was entrusted, during his father's illness, with helping W. S. Gilbert with the first revival of The Yeomen of the Guard at the Savoy Theatre.Interview, The New York Post, 7 January 1948
He was elected a director of the Savoy Hotel Limited in 1898, joining his father and Sir Arthur Sullivan, who had served on the board since the Savoy Hotel was built.Ainger, p. 283; and "Savoy Hotel", The Times, 11 May 1949, p. 8 By 1899 he was assistant managing director."Savoy Hotel Limited", The Times, 7 June 1899, p. 6 Richard D'Oyly Carte died in 1901, and Rupert's stepmother, the former Helen Lenoir, who had married Richard in 1888, assumed full control of most of the family businesses, which she had increasingly controlled during her husband's decline. Rupert's brother, Lucas, a barrister, was not involved in the family businesses and died of tuberculosis, aged 34.
Taking over the family businesses In 1903, at the age of 27, Rupert took over his late father's role as chairman of the Savoy group, which included the Savoy Hotel, Claridge's, the Berkeley Hotel, Simpson's-in-the-Strand and the Grand Hotel in Rome. At this time, the whole group was officially valued at £2,221,708."Savoy Hotel (Limited)", The Times, 21 February 1903, p. 15 He immediately issued £300,000 of debentures to raise capital for a large extension to the Savoy (the "East Block"). Like his father, Carte was willing to go to great lengths to secure the best employees for his hotels. When Claridge's needed a new chef in 1904, he secured the services of François Bonnaure, formerly chef at the Élysée Palace in Paris. The press speculated on how much Carte must have paid to persuade Bonnaure to join him, and compared the younger Carte's audacity with his father's coup in securing Paris's most famous maître d'hôtel, M. Joseph, a few years earlier."Profile", The Daily Mirror, 10 June 1904, p. 16
Between 1906 and 1909 Helen Carte, Rupert's stepmother, staged two repertory seasons at the Savoy Theatre. Directed by Gilbert and received with much success, they revitalised the D'Oyly Carte Opera Company, which had been in decline after Richard D'Oyly Carte's death.Carte, pp. 6–7 In 1912, when theatre censorship was under discussion in Britain, Carte was strongly in favour of retaining censorship, because it gave managements complete certainty about what they could or could not stage without fear of interference by the police or others. He joined with other London theatre managers, including Herbert Beerbohm Tree, George Edwardes and Arthur Bourchier in signing a petition for the retention of censorship."Theatre Managers and the Censorship: Petition to the King", The Times, 1 April 1912, p. 12 In the same year, together with Herbert Sullivan and theatre managers including Beerbohm Tree and Squire Bancroft, Carte was an instigator of a memorial to W. S. Gilbert at Charing Cross."Memorial to Sir W. S. Gilbert", The Times, 13 July 1912, p. 11 In 1913, Rupert's stepmother Helen died. She left all her holdings in the Savoy Hotel group, the Savoy Theatre and the D'Oyly Carte Opera Company to her stepson."Mrs D'Oyly Carte's Will". The Times, 26 May 1913, p. 8
Revitalising the D'Oyly Carte Opera Company After London seasons in 1906–07 and 1908–09, the opera company did not perform in the West End again until 1919, although it continued to tour in Great Britain. According to the theatre writer H. M. Walbrook, "Through the years of the Great War they continued to be on tour through the country, drawing large and grateful audiences everywhere. They helped to sustain the spirits of the people during that stern period, and by so doing they helped to win the victory."Walbrook, p. 125 Nevertheless, Carte later recalled, "I went and watched the Company playing at a rather dreary theatre down in the suburbs of London. I thought the dresses looked dowdy . . . I formed the view that new productions should be prepared, with scenery and dresses to the design of first class artists who understood the operas but who would produce a décor attractive to the new generation."Baily, p. 430. Reprinted in "Rupert D'Oyly Carte's Season ... 1919–20", at The Gilbert and Sullivan Archive, retrieved 11 January 2019 In a 1922 memoir, Henry Lytton, having admired Richard D'Oyly Carte's keen eye for stagecraft, added, "That 'eye' for stagecraft ... has been inherited in a quite remarkable degree by his son, Mr. Rupert D'Oyly Carte. He, too, has the gift of taking in the details of a scene at a glance, and knowing instinctively just what must be corrected".Lytton, p. 66 In 1910 the company engaged J. M. Gordon as stage manager, and Carte promoted him to stage director in 1922. Under Carte's supervision Gordon preserved the company's traditions in exacting detail for 28 years.Stone, David. J. M. Gordon at Who Was Who in the D'Oyly Carte Opera Company, 27 August 2001, retrieved 11 January 2019
During the First World War Carte served in the Royal Navy, and his plans for reviving the operas in London proceeded slowly. By the end of the war he had reorganised the whole structure of the opera company, assembled new artists and staff and had planned the redressing and restaging of many of the operas. After the war he put his plans into effect. In an interview in The Observer in August 1919 he set out his policy for staging the operas: "They will be played precisely in their original form, without any alteration to the words, or any attempt to bring them up to date.""Gilbert & Sullivan Revival: Interview with Mr. R. D'Oyly Carte", The Observer, 24 August 1919, p. 10 This uncompromising declaration was modified in a later interview in which he said, "the plays are all being restaged ... Gilbert's words will be unaltered, though there will be some freshness in the method of rendering them. Artists must have scope for their individuality, and new singers cannot be tied down to imitate slavishly those who made successes in the old days."Bettany, 75th unnumbered page
Carte's first London season, at the Prince's Theatre, 1919–20, featured ten of the thirteen extant Gilbert and Sullivan operas. It did not include Ruddigore, Utopia, Limited or The Grand Duke.Rollins and Witts, p. 136 Princess Ida had its first London performances since the original 1883 production."Rupert D'Oyly Carte's Season … 1919–20", at The Gilbert and Sullivan Archive, retrieved 11 January 2019 The new productions retained the text and music of the original 1870s and 1880s productions, and Gordon preserved much of Gilbert's original direction. As his father and stepmother had done, Carte licensed the operas to the J. C. Williamson company and to amateur groups, but he required all licensees to present them in approved productions that closely followed the libretto, score and D'Oyly Carte production stagings.Bradley (2005), pp. 27 and 73 In an interview with The Times in 1922, Carte said that the Savoy "tradition" was an expression that was frequently misunderstood: "It did not by any means imply any hidebound stage 'business' or an attempt to standardize the performances of artists so as to check their individual method of expression. All that it implied, in his view, was the highest possible standard of production – with especial attention to clear enunciation . . . Many people seemed to think that Gilbert believed in absolutely set methods but this was not by any means the case. He did not hesitate to alter productions when they were revived.""Gilbert and Sullivan: Brilliant End to London Season", The Times, 10 April 1922, p. 12
Although he had told the press that the original words and music would not be altered, Carte was willing to make changes in certain cases. In 1919–20, he authorised cuts and alterations in both Princess Ida and Ruddigore. In 1921 Cox and Box was produced in an extensively cut-down version, to allow it to be played as a companion piece with the shortest of the two-act Savoy operas. He also authorised changes to Gilbert's text: he wrote to The Times in 1948: "We found recently in America that much objection was taken by coloured persons to a word used twice in The Mikado." The word in question was Gilbert's reference to "nigger" (blackface) minstrels, and Carte asked A. P. Herbert to suggest an acceptable revision. "He made several alternative suggestions, one of which we adopted in America, and it seems well to go on doing so in the British Empire."Carte, Rupert D'Oyly. Letter, The Times 28 May 1948, p. 5. A similar reference in Princess Ida was also altered.Bradley (2016), p. 562
Carte commissioned new costumes and scenery throughout his proprietorship of the company. He engaged Charles Ricketts to redesign The Gondoliers and The Mikado, the costumes for the latter, created in 1926, being retained by all the company's subsequent designers. Other redesigns were by Percy Anderson, Atillio Comelli, George Sheringham, Hugo Rumbold and Peter Goffin, a protégé of Carte's daughter, Bridget.Rollins and Witts, pp. vii–viii