emboldened to level some sharp satire at the British Empire, jingoism, the monarchy, party politics and other institutions that might have touched a more sensitive nerve if the opera had a British setting. In this work, Gilbert returns to the idea of an anti-Utopia, which he had explored, in various ways, in his early one-act operas, Happy Arcadia, Our Island Home, Topsyturveydom, and some of his other early works, especially The Happy Land. The previous Gilbert and Sullivan opera, The Gondoliers, also concerns an imaginary island kingdom where the rules of court are considerably different from those in Britain. In Utopia, the island begins as a virtual paradise, is thrown into chaos by the importation of "English" influences, and is eventually saved by an English political expedience. Gilbert's biographer Jane Stedman calls this a "Gilbertian invasion plot". The opera's satiric treatment of limited liability entities that are not required to honour their obligations and scandal in the monarchy was effective in 1893 and still resonates today. In addition, the show satirises "practically everything English – English prudery, English conversation, English company promoting, the English party system, the English War Office and Admiralty, the County Council, and the English Cabinet." Apart from satirical elements, Gilbert indulges in some small topical touches throughout the libretto. For instance, he was up-to-date in his technological references (as he had been in H.M.S. Pinafore with the mention of the telephone), referencing George Eastman's new product, the Kodak camera, and its slogan, "You Press the Button, We Do the Rest". Gilbert also throws some barbs at the Lord Chamberlain's office, as he loved to do. In addition, The Court of St. James's is mockingly confused with St James's Hall and its minstrel shows. Sullivan joins in the parody, underlining the mock praise of all things English with a repeated motif throughout the score based on the melody of "Rule Britannia!". Reception and aftermath The Savoy audiences were glad to see Gilbert and Sullivan back together, and the first-night reception was rapturous. Sullivan wrote in his diary, "Went into the orchestra at 8.15 sharp. My ovation lasted 65 seconds! Piece went wonderfully well – not a hitch of any kind, and afterwards G. and I had a double call." The critics were divided on the merits of the piece. Punch, habitually hostile to Gilbert, commented, "'Limited' it is, in more senses than one." The Standard, by contrast,