Cirrus@Austlit

Adapted from F. C. Burnand's 1863 extravaganza of the same name, with a large number of localisms (including several aimed at a recent festive event), Ixion is based on the Greek legend of Ixion (son of Phlegyan), who fathered the race of Centaurs.

The Age theatre critic draws attention to the 'usual quantum of songs and dances' as a feature (24 September 1866, p.5), although the Bell's Life in Victoria critic questioned the advantage of substituting one number, the old song of 'St Agnus Well', for one written especially for the character Bacchus (29 September 1866, p.2).

Adapted from F. C. Burnand's 1863 extravaganza of the same name, with local references, this burlesque also possibly referenced W. M. Akhurst's 1866 version.

Charles Surface, the Bell's Life in Victoria and Sporting Chronicle critic, was not overly impressed with this latest version, however, seeing it as inferior to the Akhurst production. He writes, 'The life of a burlesque, be it ever so good, is a short and a merry one, and when it has run its appointed or disappointing career, and has passed away to the limbo of nonsense, it is questionable policy to recall it, and give it a second ephemeral existence. Ixion had its day at the Princess's, where it was exceptionally well played... [but] at the Haymarket, where, although well mounted and well dressed, it is not so well played... It has been localized by Mr G. S. Hough; but the interpolations are not worthy of his ability' (12 October 1867, p.2).

The Argus theatre critic was of a similar mind, writing, 'Mr G. S. Hough [is] a gentleman who has had a connexion with the literary world of Victoria long enough to be considered competent to undertake this kind of work; but judging from the present specimen of his ability, his dramatic powers are not of a remarkable kind. His political hits are indirect invitations to senseless glorification of the present ministry; his theatrical references are clumsily personal; and his hits at the newspapers are ill-natured without being either humorous or, in a proper sense of the term, sarcastic. Moreover, they are all lugged in apropos of nothing... [falling] somewhat flat upon the audience, who did not appear quite to comprehend their intention' (7 October 1867, p.5).

The Age critic viewed the production from a different perspective, however, describing it as 'exceedingly refreshing' and 'one of the most enjoyable which has ever been presented to a Melbourne public'. One particular highlight according to this review was the 'very elegant ballet d'action... introduced by Miss Earle and Mr John Edouin' (7 October 1867, p.5).