AustLit

Presenting an array of characters including Demon Ill-Will, Fairy Heartease, a miraculous goose, a comical horse, and various representatives of the human race, this pantomime was described in the Age as containing not much that was new, but nevertheless had a 'great deal which has proved successful in the past' (27 December 1934, p.8).

The story sees Demon Ill-Will vow to make Mother Goose (a perfect example of a contented human being) discontented and unhappy. When he causes an overgrown goose with the capacity to lay ponderous golden eggs to stray into the widow's back yard, all sorts of humorous situations arise, including a hilarious trial of strength between the Demon and Fairy Heartease. This scene was also responsible for periodic outbreaks of dance and several comic songs. Another highlight was the juvenile ballet, which consisted of children impersonating such characters as Mickey Mouse, the Three Little Pigs, the Big Bad Wolf, golliwogs, and wooden soldiers.

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).

'The exigencies of modern revue have so transformed the immortal characters of the nursery that they are almost unrecognisable. The story of Little Red Riding Hood has undergone this treatment. Therefore, at the Empire Theatre it is produced not so much in the spirit of pantomime as in that of revue. Red Riding Hood, witnessing this version of her adventures would have been bewildered. The little girl with the scarlet cloak and hood would never have recognised herself. After leaving the enchanted wood, according to Mr Frank Neil's players, Red Riding Hood, for no ostensible reason, was wisked off to sea. After being shipwrecked, an experience which gave the dame still another opportunity to change her gown, the dainty little heroine next appeared on a treasure island, where Hawaiian maids and ukuleles abounded, in search of a golden key. And then strangest of all, Mr Neil married her to Boy Blue' (Sydney Morning Herald 27 December 1928, p.3).

This adaptation of the classic fairytale is very likely to have been based on Frank Neil's 1922 pantomime, with the addition of new songs, comic business, and situations. The Argus theatre critic, who describes the production as being rich in its spectacle, writes, 'There was a great variety of scenes of which just a few were the attractive village, the King's palace, a giant meccano set [sic], the Ogre's den of mystery and the candy cave... The transformation scene - a feature which has not been given in recent pantomimes - was reintroduced. From an old-world garden it took the spectator to the lands of bluebell, of daffodils, and of roses, and then to the hall of roses, ending with a shower of gold' (28 December 1926, p.16). Another effective scene according to the Age critic was the transformation at the conclusion of the pantomime of the Ogre (played by Howard Hall) into a mouse (28 December 1926, p.7).

Of Jim Gerald as Puss in Boots, the Argus critic writes:

'Mr Gerald can be comic, very comic, even when he is a cat, but his humour has freer play when he is human, and those who had enjoyed his fun-making in revue found quite as much reason to enjoy it in pantomime. There was certainly a considerable share of audacity in the character of the cat who caused his master to become Marquis of Carabas... Did he not instruct the Marquis not only in the way to make a fortune, but also in the art of winning the affections of Princess Rose? He melodiously instructed the audience, too, on life in a garden suburb and on many other matters quaint and amusing. None of the ogres with whom one has been acquainted could have failed to yield to Billy's more or less gentle persuasions, which ensured a marquisate and vast estates for Colin, the miller's youngest son' (28 December 1926, p.16).

One particular novelty was the stunt whereby Gerald wandered around the auditorium during the interval, creating much amusement with his agility as he made his way from 'the stalls to the circles to the gods' (Age 28 December 1926, p.7).

Staged over 16 scenes, the pantomime follows the basic fairytale storyline, with the action set up at the start through an argument between Silverlight, Queen of the Fairies, and Demon Nightshade. Interestingly, Neil departed from pantomime tradition by introducing the harlequinade at the beginning of the production (he did, however, bring the characters back at end of the evening to help close the show).

Two songs known to have been incorporated in the pantomime were 'Girl of my Dreams' (sung by Amy Rochelle) and 'Are You?, Yes I Am' (sung by Willie Lancet).

[Source: Australian Variety Theatre Archive]

One of three separate Babes in the Wood pantomimes produced by the Fullers within four years, this production received the least amount of attention in terms of advertisements and reviews, and hence little is known about the storyline or cast members.

One of two pantomimes produced in Sydney by the Fullers over the summer of 1919/1920 (the other being Cinderella), Red Riding Hood was written and directed by Frank Neil.

The scenic settings were:

Scene 1. The Witches Cave;

Scene 2. The Village of Spring;

Scene 3. The Sunset Girls;

Scene 4. Jack and Zenda;

Scene 5. Port of Penzance;

Scene 6. Shell Grotto;

Scene 7. Ship on Fire

Scene 8. The Nine Demons;

Scene 9. The Majestic Motor Car;

Scene 10. The Electric Fountain;

Scene 11. The Palace of Stars;

Scene 12. Lovely Rose Land.

Bluebeard begins in Toyland, where the arrival of Father Christmas heralds the traditional quest for a pantomime story. In the second scene, set in the Square of Aleppo, the forces of evil (led by Demon Discord) and the forces of good (led by Queen Felicity) draw their battles lines prior to the arrival of Bluebeard. The story proper then begins, as Selim's sweetheart Fatima is abducted by Bluebeard and taken to his harem. Meanwhile, Selim declares, 'I am a lover brave and true, and all the world knows what a lover can do.' He then sets forth on the H.M.A.S. Melbourne to rescue his would-be lover.

Act II begins in Bluebeard's Fairy Garden, in the centre of which lies a Wonderful Water Fountain. Fatima, now firmly in the grip of Bluebeard's power, has been condemned to die just like his seven wives. At midnight, upon the conclusion of 'Weird Ghost Ballet', Selim arrives to rescue Fatima, and dispatches Bluebeard in the process. The pantomime ends in Selim's Wonderful Palace of Fans, a setting that leads to the transformation scene, titled 'The March of the Fans.' 'The Wedding of Selim and Fatima' is then followed by the glittering finale 'Wedding Bells' (Fuller News 18 February 1922, p.9).

W. Hamilton Webber's original incidental music and several songs (co-written with Frank Neil) were utilised in each of the productions below. Additional material comprised popular songs of the day and several songs by cast members. For example, Vince Courtney contributed 'That Little Home among the Hills' and 'Sarah.'

The libretto for the 1921/1922 Melbourne season, although based largely on the 1918 version, is believed to have contained some new songs and up-to-date comic business. The original songs included in that production included the opening chorus and Act 1 finale chorus 'Floating Away' (Neil/Webber); 'Come to the Great Bazaar Today' (Webber); 'Cuddle in your Mammy's Arms' (Neil), sung by Fifi de Tisne; 'The Passing of the Hours' (a ballet by Neil/Webber); and 'Swan Boat' (Neil/Webber), sung by Essie Jennings and chorus. Other songs incorporated into the pantomime were 'Just Had a Drop of Gin with Martha', 'Let's All Have a Jolly Good Cry', and 'A Nosy Noise Annoys an Oyster' (sung by Jim Gerald); 'Let's all be Good Pals Together' and 'Lucky' (Nellie Kolle); 'Welcome to the Day', 'Cleopatra's Got a Jazz Band Now', and 'Jazz Boat' (Fifi de Tinse); and 'Wedding Bells' (Company). Nat Phillips also contributed a song to the 1921/22 production: 'The Pickanniny's Land of Dreams.'

Dance numbers included 'The Spirit of the Dawn' and 'The Enchanted Mummy Dance' (performed by Polly McLaren), 'The Golden Fairy Ballet' (Dot Tointon), and 'The Skeleton Ballet.'