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Described as a 'Japanese opera' The Grey Kimona was first staged by juveniles under the direction of Meynell and Gunn as the first part entertainment at Adelaide's Theatre Royal (the second part being a selection of short moving pictures). The storyline involves the Damio of Kissi-Kissie who decrees that until his daughter, Kissie-mie) is married no one in his kingdom shall be allowed to kiss – the punishment being execution. The machinations of the plot then revolve around a group of American tourists 'who have come to exploit the music halls of the country' (Advertiser 30 September 1907, p.9).
The introduction of the American variety entertainers provided ample opportunity with the storyline for the introduction of songs, dances and comedy routines. Songs from the operetta include: 'I Know a Little Push Around the Corner,' 'Japloo Baby',' 'When the Fish Don't Bite,' and 'A Little Boy and an Apple Green.'
Notes
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NB: Advertisements for the 1907 Adelaide season indicate that The Grey Kimona was being produced on the Australian stage for the first time. The William Brooks publications (held in both the National Library of Australia and State Library of NSW) are both cited as being published in 1902, however.
Production Details
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1907: Theatre Royal, Adelaide; 28 September- 4 October
- Producer Clyde Meyell and John Gunn; Music Director F. Wynne-Jones; Choreography Minnie Everett.
- Cast incl. Florence Dickinson (Damio), Rosie Fitzgerald (Kisi-mei), Arby Sinclair (Allan Love), Harry Le Breton (executioner), Paddy Nugent (executioner's assistant), Margo Dickinson ('the boss'), Queenie Williams.
Publication Details of Only Known VersionEarliest 2 Known Versions of
Related Works
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y
Japloo Baby
F. Wynne Jones
(composer),
1907
Sydney
:
J. Albert
,
1907
7823606
1907
single work
lyric/song
Works about this Work
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Child Stars of the Stage
2017
single work
criticism
— Appears in: Unbound : The National Library of Australia Magazine , September 2017;'Australian child actors fascinated and amazed audiences at home and abroad at the turn of the twentieth century. Before robust education and labour laws insisted children should be at school or at home, many children, predominantly girls, found their way into Australia’s vibrant commercial entertainment industry, appearing in variety/vaudeville entertainments, pantomime, comic opera, musical comedy, drama and circus. Doris Joyce, Rosie Fitzgerald and Queenie Williams were three young actors employed by the production team of Clyde Meynell and John Gunn. Examining their careers during the years 1906–1908 reveals the genuinely surprising tenacity, agency and sophisticated talents of child actors of the period.' (Introduction)
-
Afterword
1988
single work
biography
— Appears in: The Ticket in Tatts 1988; (p. 246-252) -
The Australian Drama
1909
single work
column
— Appears in: The Lone Hand , February vol. 4 no. 22 1909; (p. 447-449) -
The Theatre Royal
1907
single work
review
— Appears in: The Advertiser , 30 September 1907; (p. 9)
— Review of The Grey Kimona : An Operetta 1902 single work musical theatre
-
The Theatre Royal
1907
single work
review
— Appears in: The Advertiser , 30 September 1907; (p. 9)
— Review of The Grey Kimona : An Operetta 1902 single work musical theatre -
Afterword
1988
single work
biography
— Appears in: The Ticket in Tatts 1988; (p. 246-252) -
The Australian Drama
1909
single work
column
— Appears in: The Lone Hand , February vol. 4 no. 22 1909; (p. 447-449) -
Child Stars of the Stage
2017
single work
criticism
— Appears in: Unbound : The National Library of Australia Magazine , September 2017;'Australian child actors fascinated and amazed audiences at home and abroad at the turn of the twentieth century. Before robust education and labour laws insisted children should be at school or at home, many children, predominantly girls, found their way into Australia’s vibrant commercial entertainment industry, appearing in variety/vaudeville entertainments, pantomime, comic opera, musical comedy, drama and circus. Doris Joyce, Rosie Fitzgerald and Queenie Williams were three young actors employed by the production team of Clyde Meynell and John Gunn. Examining their careers during the years 1906–1908 reveals the genuinely surprising tenacity, agency and sophisticated talents of child actors of the period.' (Introduction)
