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Notes
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W. J. Lucas's The Man with the Iron Mask is included in AustLit because it was produced in Australian theatres during the colonial era.
Production Details
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First produced in England, 30 January 1832.
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Performed at the Prince of Wales Opera House, Sydney, November 1868.
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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Notes by Buggins
1868
single work
prose
— Appears in: The Freeman's Journal , 14 November vol. 19 no. 1336 1868; (p. 2)Buggins comments on the tableaux depicting St John's Apocalypse, on display at the Sydney Mechanics' School of Arts, and mentions J. Sheridan Moore's lecture on the display's subject matter. Buggins offers the view that there was 'an awkwardness' in Moore's delivery and that he 'gave the impression of being afraid of giving offence to the audience'.
Buggins then discusses the preceding week's productions at the Prince of Wales Opera House: W. J. Lucas's The Man with the Iron Mask, Tom Taylor's Still Waters Run Deep and Charles Mathews' Little Toddlekins.
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Prince of Wales Opera House : The Man with the Iron Mask, &c.
1868
single work
advertisement
— Appears in: The Empire , 7 November no. 5293 1868; (p. 1) The Empire , 9 November no. 5294 1868; (p. 3)An advertisement for the Prince of Wales Opera House production of W. J. Lucas's The Man with the Iron Mask and Edward Fitzball's Azael; or, The Prodigal of Memphis on 7 and 9 November 1868.
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Prince of Wales Opera House : The Man with the Iron Mask, &c.
1868
single work
advertisement
— Appears in: The Empire , 7 November no. 5293 1868; (p. 1) The Empire , 9 November no. 5294 1868; (p. 3)An advertisement for the Prince of Wales Opera House production of W. J. Lucas's The Man with the Iron Mask and Edward Fitzball's Azael; or, The Prodigal of Memphis on 7 and 9 November 1868.
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Notes by Buggins
1868
single work
prose
— Appears in: The Freeman's Journal , 14 November vol. 19 no. 1336 1868; (p. 2)Buggins comments on the tableaux depicting St John's Apocalypse, on display at the Sydney Mechanics' School of Arts, and mentions J. Sheridan Moore's lecture on the display's subject matter. Buggins offers the view that there was 'an awkwardness' in Moore's delivery and that he 'gave the impression of being afraid of giving offence to the audience'.
Buggins then discusses the preceding week's productions at the Prince of Wales Opera House: W. J. Lucas's The Man with the Iron Mask, Tom Taylor's Still Waters Run Deep and Charles Mathews' Little Toddlekins.
