Original Plays, Second Series

audiobook

Original Plays, Second Series

by W. S. (William Schwenck) Gilbert

EN·~12 hours·23 chapters

Chapters

23 total
1

E-text prepared by Emmanuel Ackerman and the Online Distributed Proofreading Team (http://www.pgdp.net) from page images generously made available by Internet Archive (https://archive.org)

0:39
2

TRANSCRIBER’S NOTE.

0:53
3

ORIGINAL PLAYS

0:40
4

BROKEN HEARTS.

0:37
5

BROKEN HEARTS. - ACT I.

1:00:58
6

ENGAGED.

1:04
7

ENGAGED. - ACT I.

1:40:16
8

SWEETHEARTS.

0:26
9

SWEETHEARTS. - ACT I.

43:02
10

DAN’L DRUCE, BLACKSMITH.

0:52

Description

W. S. Gilbert’s second collection of plays offers a lively tour through Victorian fantasy, satire and gentle absurdity. From the mischievous courtroom of “Trial by Jury” to the nautical wit of “H.M.S. Pinafore,” each piece blends sparkling dialogue with sharp social observation, making the works ideal for listeners who enjoy crisp, theatrical storytelling. The volume’s breadth includes heartfelt comedies like “Engaged” and “Sweethearts,” as well as full‑length operatic marvels such as “The Sorcerer” and “The Pirates of Penzance.”

Opening the set is the fairy‑play “Broken Hearts,” set on a mysterious island where a deformed dwarf named Mousta discovers a strange, spell‑bound book. As the sun sets over a tropical landscape, his curious reading promises transformations, hidden powers and a cascade of enchanted mishaps that will draw the other island inhabitants into a whirlwind of intrigue and romance. The first act establishes a whimsical yet eerie tone, inviting listeners to imagine a world where magic and folly intertwine, all delivered in Gilbert’s unmistakably witty verse.

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Details

Language

en

Duration

~12 hours (745K characters)

Publisher of text edition

Project Gutenberg

Release date

2019-06-06

Rights

Public domain in the USA.

About the author

W. S. (William Schwenck) Gilbert

W. S. (William Schwenck) Gilbert

1836–1911

Best remembered as the sharp, playful wit behind the Gilbert and Sullivan comic operas, he helped shape Victorian musical theatre with topsy-turvy plots, clever rhymes, and a taste for satire. His work still feels lively thanks to its mix of absurdity, precision, and very human foolishness.

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