Cirrus@Austlit

The book for this version of the popular pantomime story is said to have followed the 'long-accepted lines of the conventional Cinderella revival.' The Sydney Morning Herald review suggests, too, that the production's success was primarily due to Taylor having emphasised 'the salient incidents of the fairy legend... the beacons on the ocean of topical verbiage' (24 December 1894, p.6).

Songs incorporated into the 1894 production, a large number of which were recent successes from London and America, included: 'Alas I do not Know' and 'O That We Two Were Maying' (sung by Ray Jones); 'I Seek For Thee in Every Flower' and 'Sweet Marie' (James Norrie); 'Swim Out, Gormano,' and 'At Trinity Church I Met My Doom' (Horace Wheatley); 'Sligo,' 'Sweet Marie,' and 'Songs My Mother Sang' (James Norrie); 'Musical Madness' (duet by Hagan and Fraser); 'Ours is a Happy Home' (Martin Hagan); 'Out

on The Spree' (Lucy Fraser); and 'Hush-A-Bye, My Little Pickaninny.' Additional musical performances included a 'Clog Hornpipe' (dance by Horace Wheatley), 'The Fairy Apple Blossoms Ballet' and 'The Unique, Red, White and Blue Ballet.'

The 1895 Brisbane season included such songs as 'Little Alabama Coon' (Marie Luella) and the instrumental/dance numbers, 'The Toilet Minuet,' 'The Tricolour Barn Dance' and 'All Nations Ballet.' Other highlights of the production included: 'The Tableaux Vivants Nursery Tales,' 'The Sports Procession "Pan-Britannic Festival"' (which included the 'Champion Lady Cyclists' and 'Popular Jockey's Hornpipe'), 'The Processions of Fairy Toilet Articles,' 'The Brilliant Electric Carriage,' 'The Dazzling Illuminated Palace,' and 'The Death and Burial o' Poor Cock Robin.'

This version of the classic fairytale utilises several indigenous themes and topicalities within its narrative. One notable feature, for example, is the unusual presentation of the forces of evil as spiders and mosquitos, who battle the forces of good, represented by butterflies and bats. The narrative also incorporated a performing boxing kangaroo and an electric snake dance. Other special features of the production were, a beautiful tableaux showing the outside of the Chicago Exhibition, and George Gordon's spectacular transformation scene which disclosed 'Beauty's Bower.'

Beauty and the Beast was advertised as being 'constructed on lines calculated to please an audience... of all ages, and although doubtless psychological problems and theories may or may not be expounded in the course of the entertainment likely to satisfy the cravings of those who yearn for higher things, every effort will be made, and no expense spared, to achieve success and to satisfy the public in the fullest degree' (Sydney Morning Herald 23 December 1893, p.2). The libretto was seen by one reviewer as affording 'some dramatic moments... [although it] was too often obscured by the comic scenes, and attention was demanded more for the dazzling mise-en-scene than for anything else' (Sydney Morning Herald 27 December 1893, p.12).

[Source: Australian Variety Theatre Archive]

The story opens in Egypt, with the scene containing the Sphinx, mummies, Ptolomy and Cheops, sees Ptolomy foretell that the wonderful lamp will be found in Pekin. Abanazer, who very much desires to possess the lamp wants Aladdin to help him in his quest, but this means he must first make amends with the boy's mother, the Widow Twankey. When she finally agrees the pair head off to China. When they arrive there Aladdin becomes smitten with the Princess Badroubladour and proposes marriage, which she at first refuses but later, after Aladdin gives her a bouquet, agrees to. The Vizier is not amused with this situation, however, and forces the boy to flee from the city, where he comes across a cave guarded by the huge Afreet and numerous reptiles. After being given a magic ring, he is instructed to rub it in order to bring forth its genii, who will direct him to the magic lamp. Inside are a mass of jewels, enough to allow him the opportunity to win him the Emperor's consent to marry the Princess. The lamp is protected by all manner of evil looking creatures, but Aladdin manages to seize the lamp and escapes.

Act two sees the story unfold back at Widow Twankey's place. The widow has been concerned at her son's long absence, but is filled with delight when he returns bringing with him all the riches she could imagine. Meanwhile, the Emperor's wealth has been depleted and after hearing about Aladdin's wealth comes calling in the hope that his daughter will provide a means of regaining his former splendour.

The final act of the pantomime (not including the transformation scene and harlequinade), sees Aladdin return to China, where all manner of festivities, acrobatics, singing and dancing are performed. Just when things look like ending happily ever after, however, Abanazer contrives to steal the lamp and this gives him the power to elope with the princess. Aladdin chases him to Africa where he gets both his revenge and the princess. The pantomime culminates with the Emperor receiving a telegram from the Australian premiers announcing Federation.

The transformation scene consisted of four oil paintings illustrating Nibelungenleid, and which show beautiful 'undraped nymphs disporting themselves in the depths of the sea.' Regarding these scenes, the Age critic proposed that 'the most classical chastity of thought is here required from the audience to make the appearance of these ladies excusable... still it is beautiful, and only those who do not go to the theatres will perhaps object' (Age 13 January 1889, p.8)

[Source: Australian Variety Theatre Archive]