The Lamplighters, A Song to Sing, O!, written by Barbara Heroux
I can't send you to this one, because this was the last performance. Wish I could, though.
Once before, maybe 30 or 40 years ago, the Lamplighters did a show with this premise, telling the story of G&S through their music. That one was an original stage musical with the real people as characters, with the songs taken from G&S but with new lyrics written.
This one isn't like that at all. It's essentially a concert performance of highlights from the G&S repertoire, delivered mostly in chronological order and performed by a cast of ten, not consistently representing any particular original performer, in evening dress with a minimum of costuming (usually just the headgear appropriate to a pirate or policeman or poet or peer). This is embedded within a part-dialogue, part-narrated script, delivered mostly by two non-singing actors as Gilbert and Sullivan, mostly from inside shells at the sides of the stage decorated as their personal studies. Much of the script is taken directly from letters and other original sources, and it includes just enough plot summary to make sense of the songs' context.
Most of the songs (some of them abridged) are greatest hits, though there were a few surprises (Katisha's solo, which is often cut), and the requirement to cover every show has put in such gems as the "matter matter" trio from Ruddigore and the Christy Minstrels number from Utopia Limited. At the end, after the description of G&S's deaths, comes the sorrowful "The world is but a broken toy" from Princess Ida, which makes a lot more sense here than in its original place.
Occasionally a song will interact with the narration, as when Bunthorne begins his solo with his recitative "Am I alone and unobserved?" and then stopped and glared at Gilbert in his study until he retired, before going on with "I am." And the narrative description of the Carpet Quarrel is illustrated by the agitated "In a contemplative fashion" quartet from The Gondoliers, the show that had immediately preceded the quarrel.
The stagings, though simple, were always clever and imaginative (other cast members walked across the back of the stage illustrating each of the Mikado's crimes and their punishments), and the performers were the cream of the Lamplighters' estimable crop. There were two unsurpassable comic baritones, Lawrence Ewing and Chris Uzelac; two lyric tenors, Samuel Faustine and Patrick Hagen; two darker baritones, the veteran William Neely and the outstandingly strong Robby Stafford; two lyric sopranos, Jennifer Ashworth and Erin O'Meally; a Katisha/Buttercup in Sonia Gariaeff; and an alto in Cary Ann Rosko to play Psyche, Pitti-Sing, Phoebe, and Tessa (the Jessie Bond parts). It was just excellent all the way through, it was stuffed with 33 superb numbers, and it took three hours.