Cirrus@Austlit

Described in advertising as having been 'faithfully translated from the original Arabic manuscript by E. L. Blanchard, Esq., with annotations local, vocal and jokal and Moke-al by Mr Frank Edwards, author of Der Schwartz Eggsbexperiences' (Argus 24 December 1877, p.8), the original pantomime (simply titled The Forty Thieves) had been staged in London the previous year. The Argus theatre critic was largely unimpressed by the Melbourne production overall, writing that there was not much to say about the acting and that the transformation scene had 'only a qualified claim to approval:'

The panorama of the Russo Turkish War [included in the first act], however, is in Mr Hennings' best manner, and is quite worthy of his reputation. It consists of 11 views... [which] are illustrative of the present war, and although they are apparently all taken from engravings with which we have been made familiar, they fully merit the distinction of originality on the score of colour effect. They are all excellent, but that which will probably impress itself most strongly upon the attention is 'The Mouth of the Blue Danube at Sunrise.' It is full of poetry.

With regard to the storyline, the same critic suggests that although 'dramatically represented in every conceivable fashion... it serves little else than to furnish an excuse for scenery and groupings. In respect of the dialogue it has not much to boast of, even in its original form, and the local matter which has been interpolated has but a small claim to be considered wit. It consists chiefly of allusions to the majority in the Legislative Assembly and the Berry Government, both of which people are by this time tolerably well tired of' (Argus 25 December 1877, p.7).

The synopsis of scenery, as published in the Argus is:

Act 1, Scene 1. Market Place in Bagdad;

Scene 2. The Date Grove;

Scene 3. Enchanted Cavern in the Depths of the Forrest;

Scene 4. The Divan of the Genii;

Act 2, Scene 1. Ali Baba's House in the City of Bagdad;

Scene 2. The Courtyard, by Moonlight with distant view of the City;

Scene 3. On the banks of the Tigris;

Scene 4. Grand Reception-room in Ali Baba's house;

Grand Transformation Scene 'The Four Seasons;'

Harlequinade and 'Gorgeous Last Scene.'

The first act also included 'Henning's Royal Map of the Turco-Russian WAR' [sic], comprising First View- The Black Sea, Dirty Weather, Turkish Fleet on the Alert; Second View - Mouth of the Blue Danube (Sunrise); Third View - First Turkish Disaster, Total Destruction of the Lufti D'Jill, Turkish Monitor; Fourth View - Famous Passage of the Danube by the Russians, 27th June 1877; Fifth View - A Russian Boat Struck by a Turkish Shell; Sixth View - Left on the Road, Food for the Vulture's Maw; Seventh View - Night Camp in the Balkans; Eight View - The Schipka Pass; Ninth View - Battle of Pievna; Tenth View - After the Battle; Last View - Bombardment of Nicopolis.

The story concerns a stupid but good-hearted princess, Amouretta, who prefers the deformed Riquet to the swell Prince Paragon. However, in choosing Riquet, she gains increased intellectual capacities. The 1872 production included an historical parade of characters and political allusions.

This adaptation of William Brough's burlesque Papillonetta; Or, The Prince, the Butterfly and the Beetle (1865), 'with mutilations, versifications, and localizations by F. E,' was subtitled 'an exceedingly eccentric Easter, and (probably) castera [sic] extravaganza.' A review of the premiere published in the Argus proposes that the Brough's original work was one of his more average pantomimes and that Edwards had 'not succeeded in imparting to it any essential element of longevity'. The critic goes on to note that although some telling points were raised, overall the adapter's 'range of subjects... is distressingly limited. There is too much harping upon one string, and the allusions to an unhappy politician whom it is high time should be forgotten are so frequent as to become extremely tiresome' (11 April 1871, p.7).

The story begins in the dominions of Coccalorum, where the King of Coseyland and his state councillors are engaged in arranging, 'on the Art Union principle', the marriage of Prince Prettypet (described in the Argus as 'a frisky young scion of royalty, for whose reformation the matrimonial scheme has been set on foot'). Meanwhile, some revolutionary machinations are being planned by the prime minister, Rebellino, and his two sons, Counts Pollydore and Jollycore. When the prince is drawn towards a huge butterfly, he follows it far into the country and disappears. The king offers rewards for all butterflies brought to the palace, which eventually leads to the capture of Gauzewing, 'the attractive insect who has enticed the prince away'. When she calls out for assistance, Prince Prettypet returns to give her aid and is subsequently presented to the Butterfly Queen. The Queen promises to give him her daughter, Papillonetta, in marriage, if he can rescue her from the Scarabacus, King of the Beetles. He eventually liberates the princess from his rival for her hand, and the pair marry. The union is initially made unhappy through the revengeful intrigues of Scarabacus, but a magic potion is found that restores the princess to her normal self and at the same time utterly discomforts the beetle king. The evil plans of Rebellino and his sons are likewise defeated by the prince, and all ends happily in the comfortable regions of Coseyland (Argus 11 April 1871, p.7).

The scenery and incidents, according to the synopsis published in the Argus, are Council Chamber of King Coccalorium (including The drawing of the Art Union Lottery with special permission of the Attorney General); The Valley of Butterflies; Ebony Cabinet of the Beetle King; Brilliant Butterfly Ball; A Cottage Near a Wood; Apartment in the Palace of the King; A View 'by the Sad Sea Waves'; and the Throne of the Butterfly Queen.

The musical aspects of the pantomime comprised a mixture of popular songs and airs from such operas as The Grand Duchess. One of the songs known to have been included was a parody of 'Say to Him', sung by Maggie Stewart.