AustLit

While details regarding the storyline remain somewhat sketchy, the 1916 Brisbane season was staged over two acts, these being: Act 1. Scene 1. Gamadelta's Lower Regions; Scene 2. The House of Mother Hubbard; Act 2. Scene 1. The Palace of Dumdoodledumdoo; Scene 2. Dandooloo Farm; Scene 3. The Palace. Later productions were most likely reworked and updated from the original, containing new songs and comic routines. Much of the (often ad-libbed) comic business would have also likely differed between the two touring versions, as well.

The Barrier Miner (Broken Hill, NSW) records in 1915 that although smartly written and containing many clever and witty lines ('especially those falling to the role of The Dame'), there was little in terms of plot:

To find a bone for the immortal dog, Mrs Hubbard is willing to sell her daughter to the 'Mighty Ruler.' Mr Hubbard should be under the Prohibition Act and counts for little. But Blue Bell loves Robin, and scout the idea of the Sultan, who even disposes of his Sultanate and himself by a sort of 'Tatt's' consultation (5 April 1915, p.3).

Auckland's Observer columnist 'Prompter' ('The Lorgnette') also wrote in 1915 about the show during the company's New Zealand tour:

Built on a lavish scale, the colour, glitter and effect of the show are alone worth the price of admission so to speak, and planned to keep the audience saying 'Oh!' most of the time. As far as can be gathered Mother Hubbard deals less with the cupboard than with the Sultan. The said Monarch, aching for Miss Hubbard, declares he will have her. Miss Hubbard doesn't want to be a Sultana, because she's got a chap already. The naughty Sultan, in between the lights and glitter and vaudeville turns and so on, arranges a raffle (cries of horror from the A.M.A.), the winner to wed him. Miss Hubbard, of course, is to get the ticket, but her poor old ma really becomes possessor of the pasteboard, and complications ensue that go on to make a pantomime. All that matters is that Bluebell and Robin get wedded, and that the friendly joy causes a lot of dancing and spectacle and jokes (9 October 1915, p.6).

Another New Zealand newspaper, the Northern Advocate (Whangarei) provides some additional insight in 1922:

Old Mother Hubbard is quite a play by reason of its romantic story and its well-defined characterization. It tells it is true, a great deal more of the history of the old lady whose cupboard was bare than is to be gleaned from the nursery rhyme; in fact, Old Mother Hubbard's domestic affairs are very much in the limelight, and even the dog is a conspicuous figure. A pretty little love story is woven around the old dame's fascinating daughter, Blue Bell, the course of whose true love is somewhat ruthlessly disturbed by Gammadelta, the King of Dum Doodle Dum Doo, who is inclined to 'Call spirits from the vasty deep' when he desires to work out his little schemes. Unburdened by anything that could be called superfluous detail, the plot works itself out to a natural and happy conclusion (27 June 1922, p.4).

Among the songs incorporated into the production in 1915 were 'All Among the Girls' (Phyllis Faye), 'I'm a Saucy Little Girl' (Florrie Horan), 'Under the Bamboo Tree' (Phyllis Faye and Ivy Marsden), 'Lies' (Bruce Drysdale, Lar Fredo, Florrie Horan and Harry McDonna), 'The King of Dumdoodledumboo' (Lar Fredo). Among the novelties introduced were 'Hello Hello' 'Somewhere a Voice is Calling' and 'Whisper and I Shall Hear' (Harmonious Fontenoys), along with items from the Fredo Brothers and the Three Greshams.