AustLit

Opera Bouffe.

This adaptation of Les Cent Vierges, staged under the title To the Green Isles Direct was advertised as having been arranged and re-worked from Charles Lecoq's Les Cent Veirges (libretto by H. C. Chivot, A. Duru and L. Clairville). Akhurst, who had returned to England in 1869, began working on the adaptation shortly after its debut in Paris at the Fantaisies-Parisiennes on 16 March 1872. His version, staged in London in May 1874, was seen by W.S. Lyster and Henry Bracy, who bought the rights and presented it in Australia the following year. How much the production was re-worked or re-written is unclear.

The story concerns two English ladies who mistakenly board a ship carrying wives to the womanless colony of the Green Isles. Their distraught husbands follow. The ladies are placed in the wedding lottery, having failed to convince the Governor and his Aide of their plight and the fact that they are already married. The two husbands dress as women and join the lottery, winning the Governor and the Aide. They then raise a mutiny among the bachelors. The ship with its lost consignment of women is eventually found and the two husbands are finally reunited with their wives.

A localised and updated adaptation of W. M. Akhurst's 1869 pantomime The House that Jack Built, or, Harlequin Progress and the Loves, Laughs, Laments and Labors of Jack Melbourne and Little Victoria (Theatre Royal, Melbourne), with incidental music (including the overture) by Walter Rice.

The pantomime contains numerous hits at local identities, issues, and events. Of this aspect of the production, Richard Fotheringham writes:

'Since before 1820 the 'House that Jack Built' story had been used for political commentary. Akhurst follows this tradition in making his hero Jack Melbourne and Little Victoria represent the hopes and fears for the future of that colony and his villain Orognome some of its current vices, particularly unscrupulous and fraudulent manipulation of mining stocks and share trading 'Under the Verandah'. The Sydney localiser found no reason to alter this element, apart from substituting a few more recent financial scandals or ones closer to home' (Australian Plays for the Colonial Stage, pp.220-21).

There does appear, however, to be a less explicit celebration of local achievements in this production.

The story concerns Jack Sydney, who has been raised and educated by the Fairy Queen Diamantina in an attempt to foil the evil plans of Orognome (the Gold Sovereign). Some years previously, Orognome kidnapped Little Australia,to prevent her from bringing to fruition a prophecy made at her birth, which foretells that she would 'rule half the earth'. Diamantina's plan is that Jack will improve the land upon which 'his lot has been cast', thereby countering Orognome's intentions. However, being both mortal and a young man just on eighteen, Jack begins exhibiting desires to move beyond the fairy cave he has lived in almost all his life. He digs a hole that eventually leads him to Orognome's home, where he meets and falls in love with Little Australia. The Gold Sovereign drugs Jack and leaves 'him in a critical position on the line over which the gold trucks pass'. He is saved from being crushed (in a burlesque of Dion Boucicault's After Dark) by Joey, 'a marsupial attendant upon Little Australia and who possesses 'largely cultivated instincts.' With the aid of Diamantina, Jack and Little Australia make their way to the surface, where Jack is required to build a house and make history in order to defeat Orognome. Although he succeeds in erecting his house (it turns out to be the House of Parliament) and presenting a panorama of Sydney's history from 1835 to the present day, Jack does not prosper from his handiwork. He is later found outside the house, where Orognome, disguised as a stockbroker (an 'under the Verandah Man'), swindles him through bogus land and mining speculation. Jack is once again saved by Diamantina, however, before being conveyed, along with Little Australia and Joey, to the 'Golden Conservatory and Temple of Gems', where the transformation scene takes place.

(Plot synopsis cited in Age 28 December 1869, p.3; Australasian 1 January 1870, p.18; and Sydney Mail 30 December 1871, p.1395).

The scenes presented were:

Act 1.

Scene 1. The Haunted Dell of Diamonds with Fairy Castle in the Air.

Scene 2. The Superficial Deposits and Stratified Rocks Leading to the Great Suburb of Horrifferousquartzton.

Scene 3. Palatial Caverns of Orognome.

Scene 4. The Dell of Diamonds (Revisited).

Scene 5. The House that Jack Built.

Scene 6. Exterior of the New Post Office.

Grand Transformation Scene and Harlequinade:

Act 2.

Scene 1. Post Office, Sydney.

Scene 2. Turner's Market Cloth Hall, 484 George Street, and Lemaire's Toy Shop.

Scene 3. A Well Known Spot in Hyde Park, Sydney.

Scene 4. G. H. Smith, Hatter, George Street.

Scene 5. The Loviathon Plum Pudding.

Scene 6. Silver Trelliced Dell in the Australian Fernery.

Songs incorporated into this production included the opening from the opera Pipele (by Serafino De Ferrari), 'Dada' (solo and chorus), 'Popsy Wopsy' (duet), 'Wind Up Galop' (duet and chorus), 'The Style to Which It's Done' (topical song), 'Rollicking Rams' (chorus), 'Chickaleary Bloke', 'Ring the Bell, Watchman', 'See at Your Feet' (trio), 'Fair Land of Poland' (solo), 'Through the World' (trio), 'Meet me in the Lane', 'Cruel Jane Jemima', 'J'aime les Militairs', 'Cork Leg', 'Mary Holder', 'Burlington Arcade' (duet), and 'Hot Coddlins'.

A pantomime with many topical references to well-known personalities, recent events, and Victorian politics (notably allegations of land fraud involving several members of parliament), towards which the author directs much light-hearted satire. Of these topical reference, theatre historian Richard Fotheringham writes:

'Since before 1820 the "House that Jack Built" story had been used for political commentary. Akhurst follows this tradition in making his hero Jack Melbourne and Little Victoria represent the hopes and fears for the future of that colony and his villain Orognome some of its current vices, particularly unscrupulous and fraudulent manipulation of mining stocks and share trading 'Under the Verandah' (Australian Plays for the Colonial Stage, pp.220-21).

The story concerns Jack Melbourne, who has been raised and educated by the Fairy Queen Diamantina in an attempt to foil the evil plans of Orognome (the Gold Sovereign). Some years previously, Orognome kidnapped Little Victoria in order to prevent her from bringing to fruition a prophecy made at her birth, which foretells that she would 'rule half the earth'. Diamantina's plan is that Jack will improve the land upon which 'his lot has been cast', thereby countering Orognome's intentions. However, being both mortal and a young man just on eighteen, Jack begins exhibiting desires to move beyond the fairy cave he has lived in almost all his life. He digs a hole that eventually leads him to Orognome's home, where he meets and falls in love with Little Victoria. The Gold Sovereign drugs Jack and leaves 'him in a critical position on the line over which the gold trucks pass'. He is saved from being crushed (in a burlesque of Dion Boucicault's After Dark) by Joey, 'a marsupial attendant upon Little Victoria and who possesses largely cultivated instincts.' With the aid of Diamantina, Jack and Little Victoria make their way to the surface, where Jack is required to build a house and make history in order to defeat Orognome. Although he succeeds in erecting his house (which turns out to be the House of Parliament) and presenting a panorama of Melbourne's history from 1835 to the present day, Jack does not prosper from his handiwork. He is later found outside the house, where Orognome, disguised as a stockbroker (an 'under the Verandah Man'), swindles him through bogus land and mining speculation. Jack is once again saved by Diamantina, however, before being conveyed, along with Little Victoria and Joey, to the 'Golden Conservatory and Temple of Gems', where the transformation scene takes place.

The scenes presented were:

Scene 1. The Haunted Dell of Diamonds with Fairy Castle in the Air.

Scene 2. The Superficial Deposits and Stratified Rocks Leading to the Great Suburb of Horrifferousquartzton.

Scene 3. Palatial Caverns of Orognome.

Scene 4. The Dell of Diamonds (Revisited) and The House that Jack Built.

Scene 5. An Aboriginal Wood in Australia Felix with Salt Lagoon / Panorama: The 'Enterprise' Schooner Landing the First Melbourne Settlers; Collins Street, 1838 ; A Sheep Station, 1848; Departure of Burke and Wills; and Melbourne, 1869.

Scene 6. Exterior of the Houses of Parliament.

The musical element, selected and arranged by Frederick Coppin, contains both operatic and popular styles. The Age theatre critic notes, however, that while many of the songs contained melodies that had become popular in England, most were still unknown to Melbourne audiences (27 December 1869, p.3). Songs incorporated into this production included 'Where is my Nancy', 'Dada' (solo and chorus), 'Popsy Wopsy' (duet), 'Wind Up Galop' (duet and chorus), 'God save the Queen', 'The Style to Which It's Done' (topical song), 'Rollicking Rams' (chorus), 'Chickaleary Bloke', 'Ring the Bell, Watchman', 'See at Your Feet' (trio), 'Fair Land of Poland' (solo), 'Through the World' (trio), 'Meet me in the Lane', 'Cruel Jane Jemima', 'J'aime les Militairs', 'Cork Leg', 'Mary Holder', 'Burlington Arcade' (duet), and 'Hot Coddlins'.

[Plot synopsis cited in the Age 28 December 1869, p.3; Australasian 1 January 1870, p.18; and Sydney Mail 30 December 1871, p.1395]

Billed as 'an entirely new and original Xmas pantomime', despite being adapted from Harrison Ainsworth's novel Jack Sheppard (1839) and possibly the John Thurmond pantomime Harlequin Sheppard (1724).

The narrative is also loosely based on the real life story of John (Jack) Sheppard, the notorious burglar, thief, and highwayman, who was arrested five times by London police but escaped four times, becoming a national hero in the process. Born into poverty, Jack and his brother Thomas were apprenticed to a carpenter (Mr Wood in the pantomime), before being induced to become burglars by prostitute Elizabeth Lyon. The knowledge gleaned by Sheppard from his time as a carpenter played a key role in each of his escapes, along with the fact that he was very slight in frame.

Breaking away from the real events, Akhurst has pair portrayed as innocents, framed by the villainous Sir Roland Trenchard. The prominent detective Jonathon Wild, who is not above trying to do a deal with criminals in return for the proceeds of their crimes, eventually arrests Jack after disguising himself as a barmaid. Although they are later released after the murder of Mrs Wood, their ex-employer's wife, Wild again arrests them (staging a parody of The Corsican Brothers). Jack escapes from Newgate, and Wild's house is burnt down in revenge. When Wild reappears on stage from the orchestra pit, the Fairy introduces the transformation scene in order to prevent further arrests.

Several critics expressed their view that the subject matter was problematic for a pantomime and that the result was not of the usual standard expected of an Akhurst production. The Argus noted, for example:

'Mr Akhurst has written so many good burlesques and pantomimes that it seems strange to have to find fault with one of his productions, but it is nevertheless the truth that Jack Sheppard does its talented author no credit. The subject is bad in the first place, and the words written for the pantomime do not help to make it attractive' (28 December 1869, p.6).

The Australasian critic was of a similar mind, expressing the view that Akhurst's concept was perplexing:

'You cannot make up your mind whether you are witnessing melodrama or travesty ... I foresaw this difficulty when I heard of the subject selected by Mr Akhurst. I could not then divine how it was possible so far as to caricature what in itself was caricature, as to impart to it more absurdity than already it possessed... Even the mixing up of the fairy and goblin element with the less spiritual materials did not communicate the quality of unreality, more especially as the principal fairy was eminently material, and would never have passed for one of those ethereal creatures which everybody wishes could have had a real existence off the stage and out of story-books ... I have a shrewd suspicion that both the author and management knew how impossible it was to transform Jack Sheppard into a fairy piece, and so they instructed the scene-painter not to make the scenery other than material and earthy' (1 January 1870, p.18).

The musical aspects of the pantomime, arranged by Charles Eigenschank, included arias from Lucia di Lammermoor, a waltz from Il Bacio, and the song 'Ring the Bell, Prompter'.

A historical burlesque on the theme of the Norman invasion of England, The Battle of Hastings largely takes place in Kent, England, on May Day 1052. The Argus theatre critic notes, however, that the piece was 'full of apposite allusions to recent political events'. Concerning the story, the same critic writes, 'There is less coherency... than is customary to find in modern burlesques, but as this class of dramatic composition is supposed to appeal more to the visual than any other sense, this is possibly no defect' (30 March 1869, p.6).

The scenes presented were:

Scene 1. A Kentish Meadow (with a distant view of an ancient Roman Villa, restored in the Anglo-Saxon style).

Scene 2. Picturesque Ruins of a Roman Temple.

Scene 3. Banqueting Hall in Duke William's Palace at Rouen.

Scene 4. Exterior of the Abbey Church of St Peter, Thorney Isle.

Scene 5. The English Channel and Coast of Sussex, Anglo Saxon Exultation at the Victory over Tastig the Witch, The Invasion of England, and Duke William's Fleet.

Scene 6. Outposts of the Norman Camp by Moonlight.

Scene 7. The Field of Battle.

The music styles incorporated into the production were both operatic and popular. 'New and sparkling music [was] selected' from Crequefer, Quadrille, Geneviève de Brabant, Lucrezia Borgia, La Trompette, Operetta de Chanson, L'Hirondelle, Elixir of Love, Le Prophete, La Valse des Adiex, The Lover and the Bird, and The Lancashire Lass. The song parodies included 'Smother the Men', 'Ten Little Niggers,' 'Rollicking Rams', 'Naughty Mary Anne', 'Buy a Baby Bunting', 'Good Bye John', 'Fast Old Gals', 'My Father was a Viking', 'Bonnie Blue Flag', 'My Mary Land', and 'The Immortal Tommy Dodd'.

Operetta.

Adapted by William Akhurst from Offenbach's 1859 operetta Un Mari Á La Porte (libretto by A. Delacour and L. Morand), the action is played out in one scene. A review in the Argus proposes that the drama amounts almost to an absurdity and that the term 'melodrama' would be a more suitable term (9 November 1868, p6).

Described as a 'classical burlesque extravaganza on the theme of the Trojan War', the story begins with Cupid and Hymen arranging the fate of Helen amidst the splendour of the Spartan King's palace. Helen then appears with Paris and they decide to elope, making their way to a Phrygian galley moored off the Eurotas, with the 'traviata-singing Cassandra's prophecies of doom [going] unheeded'. The voyage scene that follows, staged in representation of 'the Duke of Edinburgh's outward voyage' (including comments by several characters), allowed John Hennings, the original scenic artist, the opportunity to create a number of exquisite panoramic views. Notable were the Rock of Gibraltar, the peak of Teneriffe, Rio De Janeiro, Tristan da Achuna, and the Cape of Good Hope, the last of which gave way to a scenic representation of Helen and Paris being welcomed into Troy by Priam and the Trojans. A later scene played out the well-known story of the Trojan horse, from which the Greek soldiers emerge to open the gates of the city. This was followed by the triumphant entry of the army and the capture of Ilium, followed by the finale, a grand tableau set amidst the ruins of the burning city (details from Argus 13 April 1868, p.5).

The music was of both of an operatic and popular nature, and included accompaniment for the ballet scenes. The overture was composed by Julius Siede. Nellie Stewart, in her autobiography My Life's Story, records that 'Akhurst was responsible for the introduction of all the latest comic opera successes from Paris and London in The Siege of Troy long before the operas were staged in Australia' (p.22).

A burlesque on the Arthurian theme, Akhurst's version is partly based on both Tennyson's Idylls of the King and Sir Thomas Mallory's collection of ancient metrical romances. The production typically featured local allusions and topical issues throughout, including Collins Street, the Jones vs Randell case (which saw the Commissioner of Railways triumph over Constitutional Association, led by Mr Jones), and personalities such as the Fenians and Otto von Bismarck. The Age theatre critic writes of Akhurst's treatment that 'The dialogue is smartly written, and abounds (as all burlesques must necessarily do) in puns, good, bad and indifferent... It is not on his puns alone, however, that Mr Akhurst depends for the success of his pieces. He is exceedingly happy in his selection of music and King Arthur is replete with melodic gems of great beauty' (2 November 1868, p.3). The critic also notes that the production contained a number of amusing comic songs, several of which were written (or re-written) to satirise well-known personalities. Notable here were 'The Late Lamented Jones' (sung by Henry R. Harwood), 'Beautiful Nell' (duet between Marian Dunn and Docy Stewart), and 'The Cantering Cad of Collins Street (sung by Richard Stewart).

The musical element included ballets and songs of both operatic style and popular styles. 'Popular London airs of the day' were 'Pull, Pull Together Boys', 'Riding on the Donkey', 'Bold Burgendy Ben', 'The Five O'clock Bus', 'Smart Isobella', 'Pretty Polly, Do Say Yes', 'Tootal, Tootal on the Cornet', and 'The Galloping Snob'. Other songs included 'La Polka Des Sabots' (Varney), 'Couplets of the King (from La Belle Helene), 'Valse Song, Joyous Life', 'Voici le Sabre' (from the Grand Duchess of Gerolstein), 'Volta la Terres (from Un Ballo in Maschere), 'Valse Song' (from Gounod's Romeo and Juliet), 'Come Home, Father', and a Grand Plantation Walk-around (Age 6 November 1868, p.4). Advertising in the South Australian Register in March 1870 indicates that a new 'local' song, 'That's What They Say About It,' had been introduced into the production (8 Mar. 1870, p.1).

Nellie Stewart, in her autobiography My Life's Story, writes that 'the music of The Grand Duchess was used almost in its entirety in [the] burlesque of King Arthur' (p.22).

A pantomime in five scenes, the story begins in the submarine world ruled by Ichthyologia, who causes a storm that wrecks Robinson Crusoe on an island. After falling asleep on a bank, Crusoe is discovered by Coralline, a water nymph, who falls in love with him. She subsequently has him carried off to a romantic dell in the island. This displeases Ichthyologia, and he threatens to turn Coralline into water if she persists in loving Crusoe. Complications set in, however, when Crusoe meets the octoroon Zoe, who inhabits the island with Friday and a company of Christy-style negro minstrels. He falls in love with her, not knowing that she is married to Friday. This relationship is a burlesque on Dion Boucicault's The Octoroon, while the Crusoe/Coralline relationship comments on the Pageant of British Worthies, including Shakespeare, Drake, Dickens, and Punch.

Containing a number of local references, the pantomime also includes songs of operatic style and other forms. The Argus critic notes that the production is treated in a thoroughly burlesque style, particularly the negro minstrel scenes. 'To make the the thing still more incongruous', writes the critic:

'Friday ... before his capture makes a stump speech in which allusions to Victorian politics and all sorts of events, occurs. The end of it all is that Crusoe is changed into Harlequin, Zoe into Columbine, Ichthyologia into Pantaloon and Friday into Clown, after which comes the transformation scene' (25 December 1868, p.5).

A burlesque extravaganza and pantomime in six scenes with songs and dances to both operatic and popular tunes, the 1867 production featured Shakespearian parodies and topical references to the Prince of Wales' recent tour, Victorian politics, and the local theatre industry.

The story begins with the magician Allsortsofvice, chatelaine of the castle Toorakanruin, being defeated by the Fairy Queen and condemned to be a gardener to her daughter, Mary Mary. He falls for the daughter (in a Richard III burlesque), but she is, of course, in love with Tom Tom. The hero is imprisoned, however, for stealing a pig to feed his destitute parents. Mary Mary inspires Tom Tom to study while incarcerated, and he later imbibes history in a Grand Procession of the Sovereigns of England.

According to reviews of the Melbourne production, this was the most extravagant scene (with scenic artist John Hennings presenting the 'Hall of History'), an exhibition of the 'Good Child's History of England'. 'The scene was that of a large magnificent apartment at the further end of which stood a large open book of the History of England', writes the Argus critic. 'It is from this book that Mary Mary undertakes to teach Tom Tom the history of his country. This is done by allowing the kings and queens of England, personated by little children suitably attired in the characteristic costume of the monarchs represented, to issue one by one from the book, the leaves of which are turned for that purpose'. The list commenced with William the Conqueror and finished with Queen Victoria (27 December 1866, p.6).

The remainder of the plot concerns Allsortsofvice and his ally Belformosa attempting to bring Tom Tom down, but to no avail. The story concludes with Tom Tom becoming mayor, and the pantomime then closes with the traditional transformation scene and harlequinade.

Maritana is a grand opera in three acts, composed by William Vincent Wallace (1812-1865) with a libretto by Edward Fitzball (1792-1873). It was adapted expressly for Christy's Minstrels by W. M. Akhurst and was described in the Argus as 'the nigger opera of Mary Tanner' (27 August 1866, p.5).

Written expressly for the touring Christy's Minstrels troupe, this operatic burlesque is based on A. E. Scribe and G. Meyerbeer's opera L'Africaine (The African Girl) depicting fictional events in the life of the explorer Vasco da Gama. The opera itself had been staged in Sydney for the first time in May that year (Prince of Wales Theatre), and had been given a Melbourne season prior to the Christy's burlesque production in that city.

In critiquing Akhurst's role in adapting the work, the Age theatre critic writes, 'The local hits were racy and pungent.... [and] the music of the opera has, in some instances, been adhered to' (13 August 1866, p.5). The Bell's Life in Victoria critic agreed, noting, 'The new burlesque is almost too faithful a copy of the original and it is little short of sacrilege to smuggle the music of Meyerbeer into such a laughable travesty. The adapter has shown great talent in being able to present such a grand work in such comical guise... The dialogue sparkles with local witticisms' (18 August 1866, p.2).

The character of Sélika is portrayed in the burlesque as an Aboriginal woman.

Adapted from F. C. Burnand's 1863 extravaganza of the same name, with a large number of localisms (including several aimed at a recent festive event), Ixion is based on the Greek legend of Ixion (son of Phlegyan), who fathered the race of Centaurs.

The Age theatre critic draws attention to the 'usual quantum of songs and dances' as a feature (24 September 1866, p.5), although the Bell's Life in Victoria critic questioned the advantage of substituting one number, the old song of 'St Agnus Well', for one written especially for the character Bacchus (29 September 1866, p.2).

Adapted from Jonathon Swift's novel Gulliver's Travels, the plot begins with Argentilla, the Fairy Queen of the Silver Acacias, awaiting the arrival of Old Father Christmas. Unbeknownst to the queen, her law officer Topsyturvey has conspired with Prime Minister Cantankeros to usurp her position. In the meanwhile, Father Christmas arrives, bringing all manner of presents that the conspirators render valueless in the eyes of the queen (the latest fashions are represented by the last new bonnet while a 'parcel' of politicians is turned into a pack of stuff). The last of the boxes to be opened contains an edition of the renowned Gulliver, who has already appeared favourably in the dreams of the queen. She immediately declares herself his protector, causing Cantankeros and Topsyturvey to plot his downfall and so demonstrate that they have greater powers than her. The narrative then shifts to London, where Gulliver has become bored with his surgery and is feeling set upon by his wife and howling infants. In order to escape, he takes up an offer from Captain Bumptous Blowhard to become his ship's doctor. Gulliver's adventure begins when his ship is wrecked in a storm and he is thrown into the sea. Argentilla, who has only just learned of the schemes of her treacherous ministers, sends a dolphin to save Gulliver and carry him to the shore of an island. It is here that Gulliver is captured by the Lilliputians and the plot briefly follows the original storyline until Cantankeros and Topsyturvey arrive, disguised as seamen, in order to complete their plan to destroy Gulliver.

The pantomime unfolds over six scenes. The original production featured several long mime sequences and contained numerous topical references. Margaret Williams notes that as with many the pantomimes being produced in Australia from the 1860s onwards, much of the satirical material in Gulliver on His Travels was firmly located in the Antipodes. Indeed, references to bushrangers, politicians, current political and social issues, historical figures (James Cook, for example), and local landmarks occur frequently within the pantomime's combination of fantasy and local reality (Australia on the Popular Stage).

The music included a good deal of operatic burlesque, especially extracts from Meyerbeer's L'Africaine.

Although possibly adapted from Nelson Lee Jnr's pantomime Harlequin Baron Munchausen (first staged in 1858 at Astley's Theatre, London), the Melbourne Argus (quoting the Haymarket Theatre's manager) indicates that the original source had been produced at the Theatre Royal, Covent Garden (27 December 1865, p.6).

The pantomime begins with a scene set in a romantic fairy dell, wherein reside Fairy Pariboo and Queen Aurora. The storyline then shifts to a castellated ruin where the audience is introduced to Lady Ethelinda (daughter of Baron Puffendorf), who is in the power of Aufullicoldandbyteyyurnoso, the Wizard of the Green Isle. She is eventually saved by the swashbuckling Baron Munchausen, but not before he undergoes many adventures and impossible situations, including securing his horse to the church steeple, pulling a wolf inside out, being projected out of a mortar from Tower Hill to Bermondsey, and visiting the moon.

The critic writing for Bell's Life in Victoria notes in relation to the music that Akhurst had 'introduced some parodies and reminiscences of songs and dances brought into favour by "Arrah-na-Pogue" and the Christy Minstrels' (6 January 1866, p.2).

Adapted from Auber's opera Massaniello; Ou, La Muette de Portici (The Mute Girl of Portici) and written expressly for the Christy Minstrels troupe, the second 1865 Melbourne season was advertised in the Argus as a 'new local burlesque' done in blackface (23 October 1865, p.5). An earlier review in the same paper also records, 'The affair as was to be anticipated, overflows with absurdities. It is chiefly remarkable for local allusions, most of which are political, and are received with applause or disapproval, just as they are acceptable or unwelcome to the audience. The visit of the pilchards to Hobson's Bay is made a prominent feature, and the sudden disappearance of the fish is ascribed to the Ministry' (9 October 1865, p.5).

In relation to the music, the Argus notes, 'Some of the finest airs from the opera are introduced, including the ballad, 'Sister Dear', which [was] well sing by Mr Herberte' (9 October 1865, p.5).

The opera (and burlesque version) is loosely based on the historical uprising of Neapolitan fisherman, Massaniello, who led the 1647 revolt against the Spanish rule over Naples.

Adapted from Charles Gounod's opera Faust (1859), itself loosely based on Johann Wolfgang von Goethe's Faust (1808), Faust M. D. was advertised in the Argus as a 'new local burlesque opera' (21 October 1865, p.8). A review in the same paper records, 'The trifle is quite equal to the same author's Massaniello, which has only just been withdrawn, and the local jokes are perhaps better' (23 October 1865, p.5).

Adapted from James Robinson Planché's burlesque extravaganza The Bee and the Orange Tree, or, The Four Wishes (1845), the story concerns Prince Amiable (a son of King Blook), Baron Spout (the king's brother), and Princess Amy (the only daughter of King Cole). Lost at sea as an infant, Princess Amy was taken in by the ogre Ravagio (the sole owner of the last pair of seven league boots and a violent opponent of the march of intellect), who subsequently raised her to be the family's hard-working maid. The story unfolds with Prince Amiable eventually rescuing Princess Amy and vanquishing Ravagio. Other characters include Tourmentine (Ravagio's wife), their only son Croquemitain, and Princess Einda, described as 'an independent locomotive sovereign' (Brisbane Courier 4 April 1865, p.p.2).

The scenes presented were:

Scene 1. The Hall of Trades in the Regions of Darkness.

Scene 2. The Sea Shore.

Scene 3. Ravine near Ravagio's Dwelling.

Scene 4. The Haunt of the Ogres / 'Leap for Life' (Leon Samwells).

Scene 5. Ravagio's Kitchen.

Scene 6. The Verdant Valley.

Scene 7. The Gardens of Delight.

Transformation Scene The Fairy Forum of Festal Flowers and the Perpetual Palace of Perennial Pleasure.

Harlequinade.

The pantomime was written expressly for Lady Don. The Brisbane Courier's 'Drama' column reports on her performance as Prince Amiable at her farewell benefit in Brisbane in 1865 that 'As a whiskerless and fast sprig in unapproachable knickerbockers (which Thackery so much admired), she was perfectly irresistible' (p.2).

Frank Howson and Frederick Coppin composed the incidental music and arranged the songs, comprising both traditional and popular tunes of the day.