absence from the company's repertory, Gordon directed the production. 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. His relations with Malcolm Sargent, whom Carte brought in to conduct London seasons in 1926 and 1929–30, were less harmonious. Sargent's brisk tempos upset Gordon, who protested unavailingly that they interfered with the pacing of the stage action. Some senior company members agreed with Gordon, but Carte backed Sargent. Gordon retired in July 1939, but briefly came out of retirement in late 1939 and early 1940 to coach Grahame Clifford, who had taken over at short notice from Martyn Green as principal comedian. He died at his home in Brighton at the age of 87 after a fall in the wartime blackout. His only surviving daughter, Lily, preserved many of his papers with information about the company's productions. His memoirs, written after his retirement, were edited by his great-niece Elizabeth Benney and published by Pitcairn-Knowles in 2014. Reputation Many members of D'Oyly Carte wrote anecdotes about Gordon's dedication and the value of his instruction. Derek Oldham described him as: a tiger for knowing and getting what he wanted! He was only really happy when he was rehearsing. He loved rehearsing. ... He was the everlasting secret joke of the Company ... and there were some funny tales. ... But he had that company on its toes. It is sometimes said that the vintage years of [the company] were from 1919 and the six years following. Well, they were all due to old man Gordon. … Later, as he became older and tired, it showed itself in the fact that he was not so flexible. 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. But what a producer when at his best. ... Gordon gave me diction, much solid stage technique, and nursed the passion and sincerity for my job. Viola Wilson, who was