Cirrus@Austlit

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.

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).

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.'

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 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.'