AustLit

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.

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).