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Source: Australasian Sketcher with Pen and Pencil 20 January 1877, 165.
Issue Details: First known date: 1876... 1876 Hey-Diddle-Diddle, the Cat and the Fiddle, the Cow Jumped Over the Moon ; Or, Harlequin Sing a Song of Sixpence, a Pocket-full of Rye, and the Four-and-Twenty Blackbirds Baked in a Pie
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AbstractHistoryArchive Description

Comprising operatic airs, popular songs of the day, ballets, and sumptuous costumes, the pantomime is also said to have been an outlet for Garnet Walch to exhibit 'his wonted faculty for word twisting', an aspect of the production that the Argus reports had been 'carried to an excess.' The paper's critic also draws attention to the author's ingenuity in inserting local allusions, topical hits, and satirical references, many of which targeted high-profile Melbourne personalities and current issues, including, for example, the Melbourne Cup, free trade, protection, and the denouncing of blackbirding (27 December 1876, p.6).

The story begins in a fishing village on the coast of Nowhere. Here, Bruno ('a fast youth, who cuts his eye teeth and his family at an early age') and Blondo ('his brother, a much better boy') live with their parents Gaffer and Gammo. When Mary, the Maid of the Inn, gives Blondo a lucky sixpence and Bruno a bag of rye, the latter brother is not happy with his gift and endeavours to sell the rye. When Bruno decides to take out his anger on his pet blackbird by torturing it (the excuse being that the bird wouldn't sing for him), Blondo steps in and offers to exchange his talisman for the bird and the rye. Blondo sets the bird free but it is immediately pursued by an eagle. After managing to escape, the bird is transformed into Pluma, a beautiful genie who becomes Blondo's protector. The eagle in turn becomes Aura, the sinister genie who attaches herself to Bruno. Because of his kindness and sacrifice, Pluma informs Blondo that she will help him achieve fame, fortune, and the hand of the beautiful Princess Caressa, whom she shows him in a vision.

With his future lying in the kingdom of Hey Diddle-Diddle, she sends Bruno on his quest, but not before turning the bag of rye into travelling companions: a cat that plays a fiddle, a cow that can jump over the moon, a little dog that laughs to see such sport, and a dish and a spoon. Unbeknownst to Blondo and Pluma, Aura has shown Bruno the same vision. Determined to beat her adversary, she urges Bruno to stall his brother and win the princess himself. The following scene (titled 'Around the World in Three-and-a-half Minutes') depicts the two brothers, along with their parents and Mary, setting forth by train to the palace of King Hey Diddle-Diddle. Along the journey, they meet a mysterious stranger named Vagabond (actually a reporter in disguise), who is charmed by Blondo's appreciation of certain clever newspaper articles and subsequently declares himself to be on the lad's side.

At the court of King Hey Diddle Diddle, which is preparing for a royal fete, the audience learns that the king has been deprived of his melodious voice after swallowing his penny whistle. Worse than this, however, is the conspiracy that is beginning to unfold within his court. Count Opodeldoc, the royal physician, has already begun to hatch a plan with the court pastry cook, Von Krisiman, which will see them to serve poison lollies to the court during the fete. With the king's household and loyal supporters dispatched, the count will then take control of the kingdom and install himself as the new monarch. Their diabolical scheme is overheard by Vagabond, now in a new disguise, and he declares that he will find a way to stop them, no matter what it takes. In the scene that follows, the two brothers are presented to the court. Bruno, who has been transformed into an immensely rich prince, courtesy of Aura, is presented to the king and his queen first. They are so impressed by his wealth that they accept him as a suitor for the hand of their daughter. Blondo is then granted an audience with the royal couple. He manages to usurp his brother not by having access to immense riches but rather by dazzling the princess with his clever traveling companions. The king is also impressed by the young man's display and tells him that can choose any young lady from the court as his wife should his cow manage to the magical feat claimed for it. With his goal in sight, Blondo commands Betsy to make her giant leap but just as she is ready to do so, Bruno rubs his magic sixpence and the cow fails even to leave the ground.

Although greatly humiliated, Blondo regains his composure upon the arrival of a giant blackbird pie. Reminding himself that he is Pluma's protégé and thus the champion of those birds, he denounces the crime of blackbirding, cuts open the pie, and restores the birds to life before releasing them. Instead of flying off, however, they immediately turn on the pie's maker and devour him, thereby taking away Count Opodeldoc's only ally. Forced to act quickly, the count passes out the lollies himself and within seconds the court is in a state of horror and confusion as people fall to the ground stricken by the poison. When the count informs everyone that they have less than five minutes to live, Vagabond (now disguised as an old astrologer) emerges with an antidote and distributes it to all. The count manages to escape, but not before hearing the astrologer's prophecy that all will be well in the kingdom when a cow jumps over the moon. He sets forth to knobble Daisy, but is again foiled by Vagabond. Blondo also manages to foil his brother's plans by getting back his lucky sixpence after Bruno (who has suffered an unmerciful snubbing by the princess) loses it in an unguarded moment. Seizing his opportunity, Blondo takes the princess to a moonlight rendezvous in the Haunted Glenn, and it is here (with the aid of the talisman) that Daisy jumps over the moon, and so brings about much happiness, reconciliations, and, of course, the marriage between Blondo and Princess Caressa (Age 25 December 1876, p.3).

Notes

  • A more detailed synopsis of the incidents in both the prologue and pantomime can be found in the 25 December 1876 issue of the Age (p.3).
  • The Argus review indicates that the pantomime's principal character, 'if not the hero', was Vagabond, played by Henry R. Harwood. The critic says of the role:

    'He becomes the watchful guardian of the youthful and virtuous hero [Blondo], frustrates the knavish tricks of his adversary [Bruno] and at length enables his protégé to induce the cow, familiar to us in infantile lore, to accomplish the wonderful leap which secures for the owner the wife of his choice. Mr Harwood gave a very humorous representation of this mysterious individual and appeared in the most wonderful disguises at the most opportune moments. At one time he habitated [sic] as a vagrant on the wallaby track, at another as a stocker ready and willing to drive an express train; next as the servant of the court physician and conspirator in chief, he was prepared notebook in hand, to jot down the unguarded utterances of the machinators [sic] and contrive means to defeat their schemes. [His] topical song, with its telling local allusions was well received, and is likely to become popular' (27 December 1876, p.6).

    Interestingly, Walch created the character as a deliberate reference to a journalist who wrote under the name 'The Vagabond' (he was later identified as John Stanley James). In reporting on the Melbourne production the South Australian Register critic wrote that '"vagabond" may now reckon he has achieved the height of fame [being] made the hero of the burlesque.... The happy idea being hit on of setting the gods and fairies on a wild chase to discover who on earth the mysterious Vagabond really is' (1 January 1877, p.7). The Australasian Sketcher with Pen and Pencil was less magnanimous, however, suggesting that "the author of the well-known and popular contributions to The Argus [was] made to continue on the stage the career of uselessness he had commenced elsewhere" (20 January 1877, p.170).

Production Details

  • 1876: Theatre Royal, Melbourne, 26 December 1876 - 9 February 1877

    • Director Henry R Harwood; Lessee Harwood, Stewart, Hennings, and Coppin; Music Arranger S. Hore (vocal music) and Frederick Coppin (incidental music); Scenic Art John Hennings, John Little, Charles Brew, and Mr Pincott; Chorus Mons. Massartic and Mlle Rosini; Costumes Mde Jager; Stage Manager Stuart O'Brien; Troupe Royal Burlesque Company.
    • Cast* incl. Henry R. Harwood (Vagabond), J. R. Greville (Count Opodeldoc), Mr Taylor (Mary), Richard Stewart (King Hey Diddle Diddle), Nellie Stewart (Princess Caressa, King Hey Diddle Diddle's only daughter), Docy Stewart (Pluma, a good-natured geni), Maggie Stewart (Aura, another geni, of a different genus), Lillie Alliston (Bruno), Ellen Travers (Blondo), Alice and Constance Deorwyn, Mrs E. Bryer, Mlle Rosine (dancer), Mons. Masssartic (dancer), Tom Wieland, Masters Tom and Sydney Wieland, Harry Sefton, Mr Deorwyn, J. Caesar, Master Cottier, Mr Levy.
    • 40 performances.

Publication Details of Only Known VersionEarliest 2 Known Versions of

First known date: 1876

Works about this Work

y separately published work icon Visual Ephemera : Theatrical Art in Nineteenth-Century Australia Anita Callaway , Kensington : University of NSW Press , 2000 Z1885851 2000 single work criticism
y separately published work icon Australia on the Popular Stage 1829-1929 Margaret Williams , Melbourne : Oxford University Press , 1983 Z922827 1983 selected work
Theatre Royal 1876 single work review
— Appears in: The Age , 25 December 1876; (p. 3)

— Review of Hey-Diddle-Diddle, the Cat and the Fiddle, the Cow Jumped Over the Moon ; Or, Harlequin Sing a Song of Sixpence, a Pocket-full of Rye, and the Four-and-Twenty Blackbirds Baked in a Pie Garnet Walch , 1876 single work musical theatre
Theatre Royal 1876 single work review
— Appears in: The Argus , 27 December 1876; (p. 6)

— Review of Hey-Diddle-Diddle, the Cat and the Fiddle, the Cow Jumped Over the Moon ; Or, Harlequin Sing a Song of Sixpence, a Pocket-full of Rye, and the Four-and-Twenty Blackbirds Baked in a Pie Garnet Walch , 1876 single work musical theatre
Theatre Royal 1876 single work review
— Appears in: The Argus , 27 December 1876; (p. 6)

— Review of Hey-Diddle-Diddle, the Cat and the Fiddle, the Cow Jumped Over the Moon ; Or, Harlequin Sing a Song of Sixpence, a Pocket-full of Rye, and the Four-and-Twenty Blackbirds Baked in a Pie Garnet Walch , 1876 single work musical theatre
Theatre Royal 1876 single work review
— Appears in: The Age , 25 December 1876; (p. 3)

— Review of Hey-Diddle-Diddle, the Cat and the Fiddle, the Cow Jumped Over the Moon ; Or, Harlequin Sing a Song of Sixpence, a Pocket-full of Rye, and the Four-and-Twenty Blackbirds Baked in a Pie Garnet Walch , 1876 single work musical theatre
y separately published work icon Visual Ephemera : Theatrical Art in Nineteenth-Century Australia Anita Callaway , Kensington : University of NSW Press , 2000 Z1885851 2000 single work criticism
y separately published work icon Australia on the Popular Stage 1829-1929 Margaret Williams , Melbourne : Oxford University Press , 1983 Z922827 1983 selected work

PeriodicalNewspaper Details

Note:

This entry has been sourced from research undertaken by Dr Clay Djubal into Australian-written popular music theatre (ca. 1850-1930). See also the Australian Variety Theatre Archive

Details have also been derived in part from the Annotated Calendar of Plays Premiered in Australia: 1870-1890.

Last amended 21 Mar 2014 08:38:13
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