AustLit

Sensation melodrama.

The Prairie King is believed to have been one of Garnet Walch's last known works to be staged in Australia. Advertising for the 1897 MacMahon brothers revival indicates that it contained 'with startling vividness and romantic flavour, the life and customs of WILD AMERICA, with its Red Indians, Scouts, Cowboys, Mexicans, Chiefs, Half-breeds, Guides [and] Frontiersmen' (Sydney Morning Herald 6 Nov. 1897, p2).

One of the scenes involved an attack on a settler's hut by a band of indians and the abduction of a young woman, Lucy Hamber. She is later rescued by Harold Hume (the Prairie King), a scene which leads to one of the play's more sensational moments (see note below).

The third Christmas pantomime put on by George Coppin, following the success of his previous productions Dick Whittington and The Babes in the Wood. As with Walch's 1880 Sinbad pantomime (Sinbad the Sailor; Or, The Pet and the Peri, the Old Man of the Sea, and the Dwarf of the Diamond Valley), this version was also likely based on John Strachan's 1869 London production. This 1893 version differs from Walch's earlier work in a number of respects, however. Most notable is the 'new business and topicalities,' along with a score for which Walch provided a number of songs. It is also clear that Walch reworked the original story, presenting 'a lengthy list of characters [comprising] names on various rungs of the histrionic ladder,' including Little Jack Horner and his mother, the Emperor of Jumbuckfoo, and Princess Dazzlina, Sinbad's lady love (Table Talk 22 December 1893, p.5).

The songs incorporated into the narrative include drawing-room ballads, coaster songs, airs and burlesques. In this respect, too, the Age reviewer notes that the 'songs constitute the main portion of the pantomime [and] as most of them are tuneful and popular they will no doubt prove welcome' (27 December 1893, p.5). Indeed, Maggie Moore's numbers proved to be among the most popular with audiences - notably 'Two Little Maids in Blue,' which she presented in both editions. Mr Leumane, who sang two numbers within the show provided a song of his own, 'That's What I Want to Know' for the first edition.

The Harlequinade, 'invented and produced by Tom Queen' was designed so as to show his ability as an acrobat and contortionist, in addition to presenting the skillful Perman Trio. Also included as part of the evening's entertainment was a 'Moving Panorama of the Royal Marriage,' painted by Harry Grist.

[Source: Australian Variety Theatre Archive]

The Age theatre critic wrote of Garnet Walch's revised version of his 1878 pantomime:

'At one time it is said that pantomimes used to have plots, but then it is alleged about almost everything that some time or another it had something which it has not got now. For our part, we are heartily glad that any semblance of a connected story in pantomime has long been voted unnecessary, and we join with those who like to see Mr Stanley, the railway management, sewerage schemes and prodigious sly hits at social evils blended in delightful harmony with the story of Jack the giant killer' (26 December 1891, p.10).

As the review goes on to record, Walch's treatment of the famous fairytale included numerous hits at local and topical subjects. One particularly popular segment was apparently a burlesque of Mr Stanley's recent lecture at the Opera House, which the critic described as 'an admirable piece of foolery conceived of in an Artemus Wardean strain [that] so tickled the house that it was some minutes before the performance could go on'. Local scenes included in the Grand Harlequinade were 'A Street in Melbourne' and 'A Well-Known Spot.'

The instrumental and vocal music was either composed or arranged by H. Percy Kehoe, with the non-original compositions including some of the more popular airs of the day. The Age review notes, too, that one of the many good songs performed by Aggie Kelton was 'Sparkling Wine' (sung with the chorus). A topical duet, 'I Vote for That', and the 'Ballet De La Rage' were also viewed as being among the show's highlights. The latter is said to have been 'planned on an elaborate scale [with] some truly gorgeous dance movements' (p.10).