John Stofel, a Dutch shoemaker has settled in America with his daughter, Lizzie. During the US Civil War, he goes off to fight in the place of a cowardly deacon who gives him the title deed of a farm. Not long after Stofel returns from the war wounded and insane, oil is discovered on the farm and the deacon tries to take the land back. Stofel eventually regains his memory, however, and finds the hidden title deed forcing the deacon to give up his land.
A musical spoof on the famous Struck Oil drama (then being revived by J. C. Williamson at the Theatre Royal), it was written expressly for Hiscocks' Federal Minstrels. The settings were: Act 1. The Boot-Breaker's Shop; Act 2. The Unlicensed Hotel; Act 3. The Bear Cage in Darlinghurst; Act 4. The Castor Oil Town; Act 5. The Friendly Dishcover.
Struck Oil
( dir. Franklyn Barrett
)
1919
Sydney
:
Australian Art Productions
,
1919
7148777
1919
single work
film/TV
John Stofel, a Dutch shoemaker, and his daughter Lizzie are living in America at the time of the Civil War. Convinced by the offer of a title deed to a farm, he takes the place in the army of a cowardly deacon, but returns wounded and insane. When oil is discovered on the farm, the deacon tries to reclaim the land. Stofel eventually regains his memory, however, and finds the hidden title deed, forcing the deacon to give up his claim.
Struck Oil is almost exclusively aligned with James Cassius Williamson and his wife, actress Maggie Moore, who played the parts of John and Lizzie Stofel. The play, which began a huge success in Australia, was also very much a cornerstone of Williamson's success as Australian-based theatrical entrepreneur, providing him with both the reputation and money to take that path. Williamson bought the work for $100 from an Irish miner and amateur playwright called Sam Smith while appearing in San Francisco in 1872. Although the story, titled The Dead, or Five Years Away, had much potential, Williamson asked his friend Clay Greene to re-write it. It was first produced in Salt Lake City as Struck Oil shortly after the rewrite was completed. In his memoirs, written shortly before his death in 1913, Williamson recalls that although the play went over well, he was unhappy with the final act and set about rewriting it himself.
Struck Oil was burlesqued by Hiscocks Federal Minstrels in 1886 (as Struck 'Castor' Oil). It was also referenced in the 1877 pantomime Humpty Dumpty (1877).
The town Struck Oil outside Mount Morgan in Queensland was named after the play by prospectors who arrived in Mount Morgan to register a goldmine, saw the play, and were introduced to Maggie Moore. The experience made them decide to name their newly discovered district after the play.
Source:
Beatty, Bill. 'There's Drama & Tragedy in Place Names', Sydney Morning Herald, 2 August 1947, p.8.
Further Reference:
The author recalls his first experience of Sydney forty years ago.
A letter to the Sydney Morning Herald by Mr M. Fitzgerald concerning an article published in the paper sometime earlier by G. A. King. The latter replies to Fitzgerald's questioning of the authorship of Struck Oil.
Humpty-Dumpty (Who Sat on a Wall) ; Or, Harlequin King Arthur, His Three Sons, the Princess Roseleaf, the Knights of the Round Table, and the Fairies of the Fairy Ferns
Sydney
:
Samuel Lazar
,
1877
Z1203581
1877
single work
musical theatre
pantomime
fantasy
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).
A letter to the Sydney Morning Herald by Mr M. Fitzgerald concerning an article published in the paper sometime earlier by G. A. King. The latter replies to Fitzgerald's questioning of the authorship of Struck Oil.
Humpty-Dumpty (Who Sat on a Wall) ; Or, Harlequin King Arthur, His Three Sons, the Princess Roseleaf, the Knights of the Round Table, and the Fairies of the Fairy Ferns
Sydney
:
Samuel Lazar
,
1877
Z1203581
1877
single work
musical theatre
pantomime
fantasy
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).
The author recalls his first experience of Sydney forty years ago.
