Adelaide journalist Harry Evans and organist and choirmaster of St. Peter's Cathedral, John Dunn, completed The Mandarin in June 1896. Originally conceived as an operetta of around 40 minutes duration, the pair gradually the work until reached the dimensions of two-act comic opera ('Musical Notes.' Evening Journal 20 June 1896, p.5). While all of the characters are Chinese, one is played as a replica of an 'English Johnie.' According to the Evening Journal:
The plot rests on that document frequently requisitioned by story-writers great and small—a will, though in this case it is not lost or mislaid, but simply unreadable. Owing to his father having left such a document as this, a young man rejoicing in the euphonious name of Tin Khan is forced to earn his living by the humble occupation of a gardener, and is; employed in this capacity by the Mandarin. As is usual in comic opera, this unhappy menial loves the Mandarin's charming daughter Swee Tee, and, according to the usual custom, is loved by her. Her father's' choice, however, falls upon a gentleman with a limited vocabulary and exceedingly limp gait, Li Ah, but it being Leap Year the maiden determines to ask whom she pleases... ("Theatre Royal." 20 Nov. 1896, p.3.)
When the will is eventually interpreted it reveals that Tin Khan is the owner of laundries in Sydney, Melbounre, and Adelaide, and also has a tenth share of a Northern Territory gold mine, thus making him a millionaire. Of course all ends happily, except for the ridiculous Li Ah.
The critics were generally positive in their comments, and especially in relation to the music:
Mr. Dunn's music is largely coloured with the ecclesiastical tint, it is throughout pretty and melodious, this particularly with regard to the solos, which are also creditably free from reminiscences. In the choruses Mr. Dunn's choir experience has unquestionably proved valuable; the parts are well written and effective. The orchestra is also well looked after, the parts being scored in a light, bright fashion, well suited to each particular instrument, without making undue demands on the performers" ("Theatre Royal," South Australian Register 20 Nov. 1896, 6).
Criticism of the libretto was largely directed at the shortcomings of comic opera storylines in general rather than Harry Evan's work in particular. The Advertiser notes, for example: "The plot of a modern comic opera is not its strong point, nor is it meant to be. It is the framework on which to hang a light and sparkling fabric, and solidity is the last thing required" ('Theatre Royal,' p.6). Typcial of the critical responses is the Express and Telegraph's review. 'The libretto, from the pen of Mr. H. Congreve Evans, affords plenty of scope for the comedians of the company, and is full of humour and gaiety' ("Amusements: The Mandarin." 21 Nov. 1896, 4). The South Australian Register further noted:
Mr. Evans' libretto kept the audience in a continual simmer of laughter, which frequently broke out into enthusiastic applause. It is always funny, frequently satirical, and brimming over with quaint and humorous allusions to our various customs, sports, dress, and even our respected Agent-General. In fact Mr. Evans jokes and makes fun of everything he can lay hands upon, not excepting the engagement notices which so often appear in Quiz.
