Bluebeard (International) assertion single work   short story  
La Barbe bleue
Alternative title: The Story of Bluebeard
Issue Details: First known date: 1697... 1697 Bluebeard
The material on this page is available to AustLit subscribers. If you are a subscriber or are from a subscribing organisation, please log in to gain full access. To explore options for subscribing to this unique teaching, research, and publishing resource for Australian culture and storytelling, please contact us or find out more.

AbstractHistoryArchive Description

Bluebeard is a French literary folktale, the most famous surviving version of which was written by Charles Perrault and first published in Histoires ou Contes du Temps Passé (1867). His story concerns a wealthy nobleman who desires marriage with one of his neighbour's two daughters, neither of whom is is interested in marrying the nobleman, despite his wealth. The main disincentive, apart from his ugly blue beard, is that all his previous wives have disappeared. Eventually one of the sisters is convinced to marry Bluebeard, but things go dangerously wrong when she defies his command to not open a secret closet. After discovering the headless bodies of his previous wives, she attempts to cover up her actions, but realises too late that the key to the closet is enchanted and cannot be cleaned of the blood that now stains it. When Bluebeard finds out that his new wife has disobeyed him, he becomes violently angry and swears that she shall now join his previous wives. However, just as he is about to cut off her head, the door bursts open and she is saved by her two brothers, who put Bluebeard to the sword instead. Perrault's story may have been derived from one or several legends about nobleman serial killers, dating back as far as the sixth century.

Adaptations

y separately published work icon True-Blue Beard ; Or, An Old Friend in a New Dress : A Christmas Grotesque Garnet Walch , Melbourne : McCarron, Bird , 1872 Z859022 1872 single work musical theatre pantomime fantasy

Described as a 'Christmas Grotesque' with songs to operatic and other music, the story begins in Shades Tavern and Unlicensed Spirit Vaults, where Larrikinos, the Demon of Discord, is attempting to brew a new batch of trouble in his cauldron. In order to make a proper broth, some of the contents of the Melbourne gutters, the Times and Mines newspaper, and mining prospectuses are thrown into the pot. A band of fairies enter disguised as witches. Their Queen, Alphabetta, changes the cauldron into a bowl of punch before driving the demons off. She then foretells that Larrikinos's schemes will be defeated.

The audience is introduced to Bluebeard as he is about to have a bath in preparation for his marriage to the beautiful Fatima (who will be his twelfth wife). Finding the water too hot for his liking, he demonstrates his tyrannical personality by boiling a score of attendants for his own amusement. The next scene, set in the abode of virtue, sees Fatima (who is really in love with the handsome Selim) being led against her will to her wedding. Following the nuptials, Bluebeard carries her off triumphantly to his castle. Meanwhile, Selim is filled with despair at his loss. Not long after being taken to Bluebeard's castle, Fatima, left alone while her husband away, opens the mysterious Blue Chamber against his express command. When Bluebeard returns and finds out that his new wife has disobeyed him, he is furious and orders her execution. As Bluebeard sharpens his sword in preparation for his bride's beheading, Selim and his two brothers enter the castle and rescue Fatima, after first defeating the tyrant in a 'terrific' scene of combat. This leads to a grand transformation scene.

The settings and effects were as follows:

Scene 1. The placid lakes of pure delight.

Scene 2. The grotto of crystaline columns.

Scene 3. The boudoir of lace.

Scene 4. The corridor of illuminated statues.

Scene 5. The pavilion of flora and Arcadian avenues (including feast of ferns, fruits and flowers).

Scene 6. The temple of jewels enshrining the rainbow cataract and cascade of liquid light.

The harlequinade was followed by a scene titled Christmas in Old England, which was followed in turn by scenes in the realms of darkness and the grand finale of the halls of dazzling delight and realms of bliss.

The pantomime contained many topical and local references, including the Melbourne scene, personalities, and issues such as the Education Bill, water conservation, Victorian railways, and the corruption of liquor licensing. The harlequinade was also played out in various local settings, notably the Prince of Wales Hotel and a well-known pawnbroker's.

y separately published work icon Fatima the Fair; Or, The Beauty, the Belle and the Bearded Bashaw : An Operatic Burlesque Charles Allan Sherard , Ballarat : Charles Allan Sherard , 1876 (Manuscript version)15836145 Z859921 1876 single work musical theatre burlesque fantasy humour Operatic burlesque.

A burlesque utilsing opera-bouffe and other music. The story is based on the original plot in which Bluebeard desires Fatima as his wife. Hymen is able to thwart the influence of Mormonetta and thus helps Fatima marry Selim.
Bluebeard Montague Grover , 1878 single work musical theatre burlesque fantasy humour

Referred to as an operetta ('written by a local author') in an Argus news item (2 August 1878, p.5), Blue Beard was later described by Grover as a burlesque (Argus 28 October 1878, p.5). The same paper also also indicates that the November revival included a prologue specially written by Grover (ibid, 5).

Harlequin Black Bluebeard ; Or, The Merry Musselman's Mother-in-Law W. Horace Bent , Hiscocks' Federal Minstrels , F. E. Hiscocks , 1884 single work musical theatre pantomime fantasy

Pantomime.

A spoof on Charles Perrault's Bluebeard fairytale and advertised as a 'black pantomime' (i.e., performed in blackface), Harlequin Black Bluebeard was written expressly for the Federal Minstrels and contained numerous local and references and allusions. Some of the highlights of the production are said to have been the song 'Barbe-bleu Brigade', a Turkish Zonave Picture Clog dance, the transformation scene, and a comic scene entitled 'On the Beach at Manly.'

Modern Bluebeard Bluebeard; Bluebeard's Harem Harry Taylor , Jasper's Pantomime Company , Stanley McKay , Taylor and Coleman , 1910 single work musical theatre pantomime fantasy

A small-scale pantomime, the storyline rests largely on Widow Bunce, who becomes the tenth wife of Bluebeard after a mix-up over a love potion. The potion had been intended for her daughter, Fatima. Widow Bounce gathers the other hard-done-by wives together and they give Bluebeard a very bad time.

Songs incorporated into the 1917 production included 'Bright Eyes' and 'Over the Garden' (sung by Mattie Jansen) and 'Memories' and 'Sweetheart (sung by Emili Dani).

Bluebeard Frank Neil , W. Hamilton Webber (composer), Fullers' Theatres , 1918 single work musical theatre pantomime fantasy

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.'

Publication Details of Only Known VersionEarliest 2 Known Versions of

Last amended 10 Oct 2014 13:09:02
Newspapers:
    Powered by Trove
    X