Cirrus@Austlit

Buggins comments on a fight between patrons at the Prince of Wales Opera House during the previous week; those involved were members of the crew of the Charybdis and 'wearing her Majesty's uniform'.

Buggins reflects on the sometimes dubious practice of adapting works for the stage and then discusses the previous week's performances at the Prince of Wales Opera House: 'Sarah the Creole is not an interesting play' and both it and Raymond and Agnes are 'played too slowly'. 'Azael, or the Prodigal Son is in preparation' and 'new and very elaborate scenery has been painted for it'.

Buggins also mentions that he has 'paid a visit to the Scandinavian' and 'is bound to acknowledge that the performance was remarkably good, and the audience highly respectable'.

An advertisement for the Prince of Wales Opera House production of Morris Barnett's Sarah the Creole; or, The Snake in the Grass and of Isaac Innes Pocock's The Robber's Wife (aka The Robber's Bride) on 22 and 24 September 1868.

The Empire hopes that the public will 'come forward liberally and supplement the funds' available to the Royal Alfred Australian Volunteer Company by their attendance at the Prince of Wales Theatre on 14 September 1868. The evening's entertainment is a production of Morris Barnett's Sarah the Creole; or, Snakes in the Grass.

An advertisement for the Prince of Wales Opera House (aka Prince of Wales Theatre) production of Morris Barnett's Sarah the Creole; or, Snakes in the Grass on 14 September 1868. The evening's performance, under the patronage of New South Wales Governor, Earl Belmore, is a benefit for the Royal Alfred Australian Volunteer Fire Company.

The version of the advertisement published on 14 September 1868 includes the additional information that the evening's entertainment will conclude with Whitebait at Greenwich.