Cirrus@Austlit

Farce.

Advertised as a 'refined musical extravaganza,' this localised version of the F. C. Burnand burlesque on Douglas Jerrold's original 1929 drama had an extensive musical component, containing (according to one source) some forty musical numbers. The story was set in seven scenes, with these being:

• Act 1; Scene 1. Susan' Cottage

• Scene 2. Rocky Pass

• Scene 3. The Jolly Mugs

• Scene 4. Dame Halley's Cottage

• Act 2; Scene 1. The Jolly Mugs

• Scene 2. The Gaol

• Scene 3. Deck of H.M.S. Calliope

The additional material supplied by Bert Royle no doubt required of him some intensive research into local identities and recent events when the production was taken on tour. For example, its staging in Brisbane (1890) saw part of the story is set in the Brisbane Gaol, which suggests that the text would have contained satirical hits aimed at the local audience. The Brisbane Courier writes in regard to this aspect of the 1890 production, 'Mr Sheridan, as Henry Irving Smith, a smuggler, and afterwards Captain Crossgrain, was irresistibly funny, and had been supplied with any number of local hits' (28 April 1890, p.4). When the company returned for a two night season a week later (having opened for two nights at Ipswich during the week), the paper's critic further noted that 'the dialogue was interspersed with many local allusions to persons and occurrences [which] were appreciated, and created a great deal of amusement' (3 May 1890, p.5).

The musical programme inserted into the production included 'a magnificent song, '"Traveller's All" [sung] by Mr Montague, [of which] it is said… had not been heard in Australia for over a quarter of a century,' 'The Villagers Chorus,' 'Merry Little Bridesmaids' (female trio), 'The Smugglers, Silence and Fun' (male trio), 'The Coquette' (solo), 'How He Carries On' (solo), 'On Board the Lugger' (company), 'Two Lovely Black-Eyes' and 'Villains of the Deepest Dye' (quintet), 'Heave Away' (solo/ chorus), 'It's English, You Know' (with dialect verses in English, Irish, Scotch, French, Yankee and Dutch sung by J. F. Sheridan), 'Farewell My Own,' and 'Pretty See-U-Pass' (company), 'Moonlight Killarney' (duo), 'The Kranky Boys' (quartette), 'Turn on Old Time' (trio), 'Tooral-I-Oo-Ral-I' (company), 'Beautiful Moon' (duet) and the solo/chorus 'The Blatherun' (Brisbane Courier 28 April, p4). The Sydney season (1891) was commended, too, for the quality of the several ballets, the highlights being 'The Snow Ballet,' which was described as 'a scenic and terpsichorian display [that ranked] as the most wonderful and picturesque ever presented to an Australian audience' and 'The Grand Sailor Ballet' (Sydney Morning Herald 25 Apr. 1891, 2). John F. Sheridan also performed two new numbers, 'You Can't Think of Everything' and 'Is He Guilty?' (a parody on 'Bright Little Glass').

Farce.

A musical spoof on the famous Struck Oil drama (then being revived by J. C. Williamson at the Theatre Royal), it was written expressly for Hiscocks' Federal Minstrels. The settings were: Act 1. The Boot-Breaker's Shop; Act 2. The Unlicensed Hotel; Act 3. The Bear Cage in Darlinghurst; Act 4. The Castor Oil Town; Act 5. The Friendly Dishcover.

Farce.

Farce.

Written expressly for the Federal Minstrels, with 'new locals, dresses, mechanical effects, music, comic scenes, [and] dances' (Sydney Morning Herald 26 December 1885, p.2), this burlesque minstrel pantomime is a loose adaptation, in blackface, of F. C. Burnand's 1866 burlesque of Douglas Jerrold's play Black-Eyed Susan (1829). Unusually, the transformation scene and harlequinade were staged at the start of the production rather than at the end. The extended harlequinade concerned 'the advent on Australia's shores of Captain James Cook.'

The action takes place aboard the H.M.S. Polypheme, and contains a chorus of mermen, mermaids, marines, and sailors. The various sections in the pantomime are:

Scene 1. The Harlequinade;

Scene 2. Grand Transformation;

Scene 3. Second Comic Scene;

Scene 4. Trip: Harlequin and Columbine;

Scene 5. The Soudan Donkey;

Scene 6. 1,000 Leagues under the Sea;

Scene 7. The Funniest Last Scene You Have Ever Seen.

Although advertised as a burlesque Italian Opera extravaganza ('out-Wagnering Wagner'), there are only minor references to Wagner's Lohengrin (1848) in the cast list. The major characters introduced by Bent are a prima donna, a composer, a stage 'Mis-Manager,' a 'piratical baron,' a village tenor, the 'Count of Clifton Hill,' and a stage assassin (Age 5 December 1885, p.12).

A burlesque on Gilbert and Sullivan's popular operetta H. M. S. Pinafore; Or, The Lass that Loved a Sailor (1878). The Evening News (Sydney) records in its review of the 25 April performance:

The curtain rose on the deck scene from 'Pinafore,' but what a strange contrast with the original. The tars were represented by the typical plantation negro attired in most peculiar naval attire, while Captain 'Cork all o'er 'em' was the bean ideal of a quarter-deck officer, with the exception of his complexion. Considerable licence was taken in localising the opera, but the music incidental to its legitimate rendering was adhered to. The reception of Little Buttertub (Sam Keenan), and the advent of Sir Joseph Hop Bitters, C;M.G., and his sisters and his cousins and his aunts were provocative of much mirth. In the scene where Little Buttertub reveals her secret to the Captain, much amusement was caused by the tragic manner in which she im parted the dread intelligence 'that M'Elbone had purchased the Evening News, and was going to run it himself.' The Admiral was great fun in his love-making with Josephine (H. Carroll). The captain rendered 'Fair Moon to Thee I Sing' in a very pleasing manner; but attention was directed from the singer to the strange and erratic behavior of the moon and the efforts of Little Buttertub to capture it. Altogether the performance was most enjoyable, and from beginning to end was thoroughly appreciated by the audience (27 Aprril 1885, p.3).

Farce.

Arguably one of Horace Bent's most popular sketches, The French Conductor is believed to have been a three-hander originated by Bent, Beaumont Read, and Sam Keenan (q.v.).

Farce.

Farce.

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.'

Advertised as a 'local diabolical musical absurdity' (Sydney Morning Herald 13 September 1884, p.2), the story concerns Silas Thorndike and Hannibal Smithers: bosom friends and neighbours, who want to join the Buffs.

Also referred to as Fun on the Brighton; Or, A Trip to Manly during its 1884 Sydney season, Bent's 'local absurdity' capitalised on John F. Sheridan's Fun on the Bristol, which was then playing at the Gaiety Theatre.

The musical element included several songs and dances incorporated into the picnic scenes.

Advertised in the Argus as 'W. Horace Bent's pantomimic farce' (18 August 1883, p.16), the 1883 Melbourne production included at least one song, performed by Mrs T. Empson in the role of Lucy.

Advertised in the Argus as 'W. Horace Bent's original sketch' (4 August 1883, p.16).

First-part minstrel finale.