Fuller News was an in-house weekly magazine produced by Benjamin and John Fuller Jnr (Fullers' Theatres Ltd) and sold at their venues between circa 1921 and the early 1930s as a means of publicising the artists and shows appearing on their circuit. The magazine actually began in 1920 as a regular one page advertorial inserted into the weekly entertainment and general interest magazine Everyone's. Called "Fuller News" and with the subtitle "Full of News," the first page was published in the 7 July issue, and continued to appear almost every week through until 1 December.

The included previews and "reviews" of current productions or programmes as well as a selection of regular or frequent columns and pages, including 'In the Limelight at the Fuller Theatres,' 'Facts About Stage Stars,' 'Personalities at the Fullers Theatres,' 'Personalities of the Moment,' 'Stories to Tell' and 'Around the Fuller Circuit.'

The Sydney Morning Herald critic writes:

'No limit is placed on the imagination in the preparation of pantomime. The recipe is very simple. The author simply takes his theme, carries it out on conventional lines, and the producer builds upon it such superstructure as a whimsical fancy may suggest. Thus the story, whatever it may be becomes a peg on which can be hung with delightful irrelevance a repertoire of engaging incidents. Through these the story emerges from time to time, only to be quickly submerged in the spectacular and the unexpected. Everything therefore depends upon the adroitness with which the producer employs his license. Mr Frank Neil has a reputation in this direction and it is well maintained in the production of Cinderella... The ballet is excellent. It has a lot to do during the evening and does everything well. Among the special acts introduced were those of the Flying Omars, Patillo and Pesco, and Abdy's Performing Pets. These turns were very popular. Abdy seems by extraordinary patience in training to have achieved the impossible. His cats and birds live together in complete friendship... The concluding scene of this pantomime strikes an entirely new note, the whole company apostrophizing in song the harbour bridge, which forms the final phase of a transformation scene. The idea was very well carried out and provoked enthusiastic applause' (28 December 1931, p.2).

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Upon his return to Australia in early 1929 following nine months overseas, Jim Gerald re-formed his revue company and put together a repertoire of both old and new productions. Although Everyone's records that the new material moved away from the revusical format, 'the stuff that landed him in the front row of local comedy merchants', and thus did not afford Gerald the same scope, the season's opening production, Happy Ideas, nevertheless still made a strong impression. In reporting that it introduced 'much in the way of novelty and effective presentation.' The magazine's critic further notes:

'It is mounted with a suggestion of lavishness, which is emphasized by the stage lighting. Evidently one of the wrinkles picked up by Gerald in America, varied coloured and ever changing lights [were] thrown from the wings on to a gold drop centre paneled by rich figured material' (1 May 1929, p.49).

Gerald returned to staging his traditional entertainment (a vaudeville first half and a second-half revusical) the following year, but retained Happy Ideas as a generic title for the vaudeville part of the programme. For example, a review of the second week's edition of Happy Ideas as staged during the 1930 Melbourne Tivoli season records:

'[It] was well named. In the eight ideas presented the company was in a happy vein, and kept the patrons in a state of laughter from start to finish. Jim Gerald himself displayed remarkable versatility, particularly in the haunted house scene, in company with Reg Hawthorne. The humour was original, and was deservedly appreciated' (Age 14 April 1930, p.12).

Each opening week of a season up until at least the mid-1930s also invariably saw the troupe present a week of straight vaudeville-style revue under the same title.

Beauty and the Beast begins in the traditional pantomime style, with the Demon and Fairy Queen voicing their claims over the destiny of the sleeping Beauty. The second scene, however, sees Fairy Prosperita's powers on the wane. Beauty has returned to the village of Puddlebridge, escorted by Prince Rupert of Kingswood, but things turn nasty shortly afterwards. Demon Malvino enters the palace of the Prince in a cloud of fire and brimstone and turns the noble Prince back into a monstrous beast. Beauty, Baron and Maggie Dooley, Johnny Smart, Trixie and former bailiffs turned servants of the Baron, Flip and Flop, must now battle the evil forces of Malvino in order to save the Prince from his former self.

Songs known to have been incorporated into the production were: 'My Mommy and Moonbeams' (sung by Nellie Kolle) and 'When the Sun Goes Down' (Rene Dixon).

[Source: Australian Variety Theatre Archive]

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Yankee Doodle is described in 1931 as a 'breezy revuette and a clever satire on army discipline [which] gave Ike Delavale another opportunity as a mirth-provoker when he figured as a member of the most awkward of awkward squads' (Brisbane Courier 14 December 1931, p.12).

Revue.

'An hilarious burlesque on the suffragettes provides an outstanding feature on a programme of high excellence presented by Ike Delavale and his Revue Company,' writes the Brisbane Courier's theatre critic in 1931. The review goes on to note that 'Miss Marie Le Varre, as can well be imagined, is responsible for the creation of many astonishing situations in the position of president of a band of ladies seeking equal rights, and she is ably supported by the secretary and treasurer.... The plot is one of comedy throughout' (7 December 1931, p.8).

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Charles Delavale as 'Ike' is a janitor 'no bank manager could reject' in this 'musical revuette' concerning the matrimonial differences between a jealous husband and his wife (Age 16 July 1928, p.11). Other characters include a woman (Susie) and the bank manager.

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George Wallace played the role of a wizard in this revusical about a gang of criminals, the Baldheads, who make a practice of visiting private entertainments and holding up the guests. Much of the action is said to have taken 'place on the roof of the rose garden of the Free and Easy Club, where revolver shooting, dancing, singing and comic situations kept the large audience in a constant simmer of laughter' (Age 24 March 1930, p.12).

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Money to Burn is described in an Age review as a 'musical comedy revuette' (17 December 1928, p.12). Phillips again plays his alter ego 'Stiffy.' According to the Nat Phillips Collection manuscript, the characters in this revusical include Stiffy, 'Erb, Pacy, Pom, Mrs Rock, and Girls.

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