George Scott Hough George Scott Hough i(A51045 works by)
Gender: Male
The material on this page is available to AustLit subscribers. If you are a subscriber or are from a subscribing organisation, please log in to gain full access. To explore options for subscribing to this unique teaching, research, and publishing resource for Australian culture and storytelling, please contact us or find out more.

Works By

Preview all
1 1 y separately published work icon Brown the Great, or Press and Stage : A Colloquy i "The famous city of the golden south,", George Scott Hough , Melbourne : George Scott Hough , 1868 Z1038756 1868 single work poetry
1 2 Harlequin Rumpelstiltskin George Scott Hough , 1867 single work musical theatre pantomime fantasy

Adapted from the F. C. Burnand extravaganza, Harlequin Rumplestiltskin is said to have included 'a great deal of original matter and a plentiful variety of local hits' (Age 28 December 1867, p.7). The new material included the burlesque opening, transformation scene, and harlequinade.

The story involves the family of King Tagarag, who decrees that his scapegrace son Prince Poppet will marry Princess Supurba. Unfortunately, she loves the king's second son, Prince Lollius, while Poppet has already declared his love to a charming little miller's daughter, Rosekin. When he steals away to meet Rosekin, Poppet is followed by the court detective, Wriggeletto, who promptly tells the king. Enraged by his son's actions, the king throws him in prison. The distraught Rosekin is meanwhile accosted by Rumplestiltskin, a malignant demon dwarf, who tricks her into marriage with him by having her sign a parchment that she believes will set Poppet free. She stands up to Rumplestiltskin and refuses to fulfill her bargain. 'As the power of the demon continues only while his name remains unknown, the Genius of Australia - who takes a friendly interest in the party - appears and puts him to confusion. Thereupon the grand transformation scene takes place' (Argus 28 December 1867, p.5).

The programme of scenery was:

Scene 1. The Haunt of the Genius of Australia (incl. Grand Ballet).

Scene 2. Ante Chamber and Cloak Room in the Palace of King Tagarag.

Scene 3. Exterior of Jolinosio's Mill.

Scene 4. My Convict Cell.

Scene 5. Grandest Hall in the Palace of the King.

Scene 6. A Room in the Palace.

Grand Transformation Scene.

Harlequinade (played out in 'three well-known shops in a somewhat prominent street in [Melbourne]' and the telegraph office).

(Cited Argus 27 December 1867, p.8).

Two of the dozen or more songs incorporated into the production were 'Mrs Bond' (sung by Rumplestiltskin) and 'Slap Bang' (the finale).

1 3 Ixion ; Or, The Man at the Wheel George Scott Hough , 1867 single work musical theatre burlesque fantasy humour

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).

1 3 Jack the Giant Killer George Scott Hough , 1860 single work musical theatre pantomime fantasy

Adapted from H. J. Byron's extravaganza Jack the Giant Killer, or, Harlequin King Arthur and Ye Knights of Ye Round Table (1859), this production contained numerous local allusions.

The narrative, which has been dovetailed with the legend of King Arthur, sees Jack knighted by the king and given a mission to slaughter giants. Jack's zeal for the mission is given added incentive when his betrothed, Sybil, is carried off by the giant Gorgibuster. When Jack arrives at the giant's home, he is received hospitably. The giant intends, however, to dispatch his guest during the night. Jack tricks the giant by placing a jack boot in his bed and hiding elsewhere. When the giant strikes the bed with his club, he believes he has killed young Jack. Meanwhile, the hero rouses the servants and rescues Sybil, and together they attack Gorgibuster, bringing him to an ignominious end at the point of pitchforks and umbrellas. The final incident, prior to the traditional transformation scene, has the escapees enter a cave filled with burnished gold, fountains, and nymphs. The pantomime also finished with the traditional harlequinade (this time with a double cast of characters).

1 2 The Discreet Princess ; Or, Harlequin Mother Goose and the Three Glass Distaffs George Scott Hough , 1859 single work musical theatre pantomime fantasy

Adapted and localised by George Scott Hough from J. R. Planché's original 1855 pantomime/extravaganza of the same name, the local hits targeted such issues as education and current Melbourne personalities.

The Argus theatre critic writes, in this respect:

'The localisms throughout the piece were very good, the allusions to the premier's determination not to resign office unless compelled by an unmistakable vote of want of confidence, the breach of contract of the German masons, Dr Evans's complaints of Press misrepresentations, the brilliancy of Government officials, the late robbery of gold at the Victoria bank, wherein the speaker says, "I am a banker, and have clerks in plenty, though my game isn't dolce far niente. The clerks I get to watch and guard my gains, get 40 pounds per annum for their pains" - a statement that was received with rounds of applause. The hit, however, that touched the audience more than anything was the appearance of Prince Richcraft in a highly Hunterian costume [referring to Dr Hunter], and his dying speech was a furious rodomontade a la Princess's Theatre, in which John Thomas Smith and "Stubby" become victims of his immortal ire' (27 December 1859, p.5).

The story concerns King Gander, the father of three daughters, who ('after the example of a mighty monarch of the present day') is about to make war in Palestine, although he is unable to state what injury his antagonist has done him. One of the king's pressing concerns before his departure is that the young girls will be kept safe while he is away. When he consults his ministers, asking for their advice on the best course of action, they tell him only that he should follow his instincts. With no solution readily at hand, he seeks out the wise Mother Goose, who advises him to lock the girls up in a tower, giving each with a magic distaff. Their powers are such that should any of the daughters misconduct herself during their father's absence, her distaff will break.

Prince Richcraft, the son of his enemy, appears almost immediately after the king departs. Disguised as an old beggar woman, he tricks one of the girls into letting him enter the tower and, upon arriving at the summit, he sings a love song for one of them (to the tune of 'The Ratcatcher's Daughter'). Babillada and Idelfouza are enraptured, but the youngest daughter, Finnetta, has more regard for her father's wishes and orders him to leave. When the prince disappears, the two older sisters find their distaffs broken.

The king later returns, but not before being rescued from an attack and certain death by a young hero. His first concern is to inspect his daughters' distaffs. Meeting each daughter separately, he finds each distaff intact, but is nevertheless suspicious. When he commands all three to attend him together, they cannot use the sole unbroken one and the two older girls are discovered. In his fury at having been disobeyed, King Gander orders that Babillada and Idelfouza are to be banished from his kingdom, and only the intervention of Finnetta saves them. Meanwhile, Finnetta has fallen in love with Prince Belavoir (who also happens to be her father's rescuer). Their love is complicated by the arrival of Prince Richcraft. Upon finding that Finnetta (the object of his desire) has been courted by his brother, Richcraft flies into a paroxysm of rage but subsequently dies of convulsions. This scene then leads to the harlequinade.

The local scenes illustrated within the production included Melbourne's Eastern markets, the new Baths, the Sandridge Sugar Works, and the Bank of Victoria.

1 3 Cameralzaman and Badoura George Scott Hough , 1858 single work musical theatre burlesque fantasy humour

A localised Christmas fairy extravaganza adapted from William Brough's Cameralzaman and Badoura, Or,The Peri who Loved the Prince (1848).

X