Cirrus@Austlit

Adapted from John Strachan's Humpty Dumpty (1873, Prince of Wales Theatre, Birmingham, England), with songs to operatic and other music, the Age proposed that this localised version by Messrs Carrington and J. Eville 'received an Australian complexion that adds to its native cleverness. Thanks to the labours of these gentlemen', wrote the paper's theatre critic, 'several leading incidents of the past year have been turned to merry account, and folly and fraud are held up to ridicule and contempt' (28 December 1874, p.3).

The story concerns Flameau the Fire King, who attempts to increase his power by forcing Princess Roseleaf to marry his close ally, the evil and ugly Humpty Dumpty. With the aid of Fairy Fern, queen of the fairies, Prince Prettyboy overcomes their dire intentions and wins the hand of the princess. A review of the premiere production notes that, as the pantomime progressed, the growth of Humpty Dumpty's head was 'cultivated at the expense of the other portions of his body, and he [came] on stage looking like a goblin that [had] just stepped out of an illustrated children's fairy book' (28 December 1874, p.3).

Numerous references to the Melbourne scene, politics, theatre (including J. C. Williamson's Struck Oil and Trollope's Bogus Clarke productions) were incorporated into the storyline. One of the topical hits saw J. R. Greville dressed as an overgrown boy dressed in knickerbockers and socks singing 'the song of the lively larrikin, in which an altogether groundless aspersion [was] cast upon a recent decision given in the Melbourne General Sessions' (28 December 1874, p.3).

Anonymously adapted from John Strachan's Humpty Dumpty pantomime (1873, Prince of Wales Theatre, Birmingham, England), the version published by Henry Solomon and staged by Samuel Lazar in Sydney in 1877 contains numerous references to local issues, personalities, events, and places. The opening scene, for example, indicates that the story is set in Australia, when Flambeau the Fire King says, 'He's not yet ready for cremation urns / This is Australia, not the land of Burns'. Flambeau shortly afterwards narrows the setting to the New South Wales capital when he responds to Humpty Dumpty thus: 'Aha! I'm always down upon each mortal muff; At muss and mischief, I'm quite up to snuff. In Sydney, East and West, at last Election, I put out Parkes, and beat "Jack Free-Selection"' (p.9). Other references included the Sydney scene, politics, theatre, and J. C. Williamson's production of Struck Oil.

The story concerns Flambeau, who, with his ally Humpty Dumpty, attempts to coerce Princess Roseleaf into marriage. His plans are foiled, however, by Prince Prettyboy, with the help of the Fern Fairy (who hails from Willoughby). Together, they overcome all obstacles put in his way, and he eventually defeats Flambeau and wins the love of Roseleaf.

The Sydney Morning Herald critic, although suggesting that the production was too long, nevertheless wrote:

'No one can complain of the want of fun and amusement in it ... Of course there is a mere thread of a story to hold the introductory part together, but there is an abundance of local allusions and the usual supply of excruciating puns to keep the amusement alive' (27 Dec. 1877, p.5).

The production contained songs adapted from operatic and other music, which were arranged by W. J. Rice. The songs introduced in the program libretto include 'Have You Seen the Shah?' (opening chorus); 'Where the Native Roses Blow', 'Tournez, Tournez', 'Sing Gentle Bird', and 'Pull Yourselves Together' (Fern Fairy); 'When the Stars Begin to Peep' (Queen); 'Betray Me Not' and 'Still I Love Thee' (Minister of Mines); 'Silver Threads Among the Gold' (Prince Boubee); 'Violets Dipped in Dew' (Prince Tol De Rol); 'Ridin' in a Railroad Keer' and 'What Do You Take Me For?' (Prince Prettyboy); 'Chanson Politique' (Madame Angot); 'Effie Twilight' (Will O' the Wisp); the 'Conspirator's Chorus'; and 'Legende de Mere Angot' (grand finale).