Written and arranged expressly for the Theatre Royal by Frank Ayrton and localized by Nat Gould, Babes in the Wood was essentially an Australianised adaptation of the much travestied story. Produced by George Rignold this Christmas pantomime is said to have been staged in the traditional fashion, although a significant change was made to the narrative development by presenting the babes as cousins in order to provide a 'proper amount of "sweethearting'" ('Musical and Dramatic Notes,' Sydney Morning Herald 19 Dec. 1891, p.5).
The pantomime was viewed by one critic as having been produced according to the necessities of the cast, however, and as a consequence 'the youthful innocence [of the babes] was not essayed, and the treatment [could] at best be described as serio-comic.' In this regard the critic found that the credibility of the work suffered in no small way because of the age of the 'too old boy,' and the 'too saucy girl' suggested that the play was 'over-burdoned with dialogue and characterless music' ('Amusements,' p.5).
Opening in the familiar 'Home of Pantomime,' a glittering stalactite cave, the Gnome King, the Spirit of Pantomime and Father Christmas are proffered subjects for the story until finally they settle on The Babes in the Wood. The scene then changes to the exterior of Sherwood Castle where the audience is introduced to the main characters: the babes, their wicked uncle Sir Rupert de Guile, the two burlesque ruffians Roger Ruthless and Timothy Trembline, and Robin Hood and Maid Marion. The dramatic action loosely follows the usual story, with the babes being lost in the woods and various situations, both comic and pathetic ensuing.
The second act presented a series of 'Dances Of All Nations,' a 'Toy Review' and a cascading fountain of water which flowed beneath coloured lights, while third act highlights were played out in the rich interior of a baronial hall, and included a 'powder and puff' gavotte and a grotesque musical interlude performed by the Leslie Brothers. The transformation scene saw the stage become a blaze of colour with the dazzling framework of flowers and fruits leading to the traditional harlequinade.
