Cirrus@Austlit

Described as a 'classical burlesque extravaganza on the theme of the Trojan War', the story begins with Cupid and Hymen arranging the fate of Helen amidst the splendour of the Spartan King's palace. Helen then appears with Paris and they decide to elope, making their way to a Phrygian galley moored off the Eurotas, with the 'traviata-singing Cassandra's prophecies of doom [going] unheeded'. The voyage scene that follows, staged in representation of 'the Duke of Edinburgh's outward voyage' (including comments by several characters), allowed John Hennings, the original scenic artist, the opportunity to create a number of exquisite panoramic views. Notable were the Rock of Gibraltar, the peak of Teneriffe, Rio De Janeiro, Tristan da Achuna, and the Cape of Good Hope, the last of which gave way to a scenic representation of Helen and Paris being welcomed into Troy by Priam and the Trojans. A later scene played out the well-known story of the Trojan horse, from which the Greek soldiers emerge to open the gates of the city. This was followed by the triumphant entry of the army and the capture of Ilium, followed by the finale, a grand tableau set amidst the ruins of the burning city (details from Argus 13 April 1868, p.5).

The music was of both of an operatic and popular nature, and included accompaniment for the ballet scenes. The overture was composed by Julius Siede. Nellie Stewart, in her autobiography My Life's Story, records that 'Akhurst was responsible for the introduction of all the latest comic opera successes from Paris and London in The Siege of Troy long before the operas were staged in Australia' (p.22).

A pantomime in five scenes, the story begins in the submarine world ruled by Ichthyologia, who causes a storm that wrecks Robinson Crusoe on an island. After falling asleep on a bank, Crusoe is discovered by Coralline, a water nymph, who falls in love with him. She subsequently has him carried off to a romantic dell in the island. This displeases Ichthyologia, and he threatens to turn Coralline into water if she persists in loving Crusoe. Complications set in, however, when Crusoe meets the octoroon Zoe, who inhabits the island with Friday and a company of Christy-style negro minstrels. He falls in love with her, not knowing that she is married to Friday. This relationship is a burlesque on Dion Boucicault's The Octoroon, while the Crusoe/Coralline relationship comments on the Pageant of British Worthies, including Shakespeare, Drake, Dickens, and Punch.

Containing a number of local references, the pantomime also includes songs of operatic style and other forms. The Argus critic notes that the production is treated in a thoroughly burlesque style, particularly the negro minstrel scenes. 'To make the the thing still more incongruous', writes the critic:

'Friday ... before his capture makes a stump speech in which allusions to Victorian politics and all sorts of events, occurs. The end of it all is that Crusoe is changed into Harlequin, Zoe into Columbine, Ichthyologia into Pantaloon and Friday into Clown, after which comes the transformation scene' (25 December 1868, p.5).

A historical burlesque on the theme of the Norman invasion of England, The Battle of Hastings largely takes place in Kent, England, on May Day 1052. The Argus theatre critic notes, however, that the piece was 'full of apposite allusions to recent political events'. Concerning the story, the same critic writes, 'There is less coherency... than is customary to find in modern burlesques, but as this class of dramatic composition is supposed to appeal more to the visual than any other sense, this is possibly no defect' (30 March 1869, p.6).

The scenes presented were:

Scene 1. A Kentish Meadow (with a distant view of an ancient Roman Villa, restored in the Anglo-Saxon style).

Scene 2. Picturesque Ruins of a Roman Temple.

Scene 3. Banqueting Hall in Duke William's Palace at Rouen.

Scene 4. Exterior of the Abbey Church of St Peter, Thorney Isle.

Scene 5. The English Channel and Coast of Sussex, Anglo Saxon Exultation at the Victory over Tastig the Witch, The Invasion of England, and Duke William's Fleet.

Scene 6. Outposts of the Norman Camp by Moonlight.

Scene 7. The Field of Battle.

The music styles incorporated into the production were both operatic and popular. 'New and sparkling music [was] selected' from Crequefer, Quadrille, Geneviève de Brabant, Lucrezia Borgia, La Trompette, Operetta de Chanson, L'Hirondelle, Elixir of Love, Le Prophete, La Valse des Adiex, The Lover and the Bird, and The Lancashire Lass. The song parodies included 'Smother the Men', 'Ten Little Niggers,' 'Rollicking Rams', 'Naughty Mary Anne', 'Buy a Baby Bunting', 'Good Bye John', 'Fast Old Gals', 'My Father was a Viking', 'Bonnie Blue Flag', 'My Mary Land', and 'The Immortal Tommy Dodd'.

A burlesque on the Arthurian theme, Akhurst's version is partly based on both Tennyson's Idylls of the King and Sir Thomas Mallory's collection of ancient metrical romances. The production typically featured local allusions and topical issues throughout, including Collins Street, the Jones vs Randell case (which saw the Commissioner of Railways triumph over Constitutional Association, led by Mr Jones), and personalities such as the Fenians and Otto von Bismarck. The Age theatre critic writes of Akhurst's treatment that 'The dialogue is smartly written, and abounds (as all burlesques must necessarily do) in puns, good, bad and indifferent... It is not on his puns alone, however, that Mr Akhurst depends for the success of his pieces. He is exceedingly happy in his selection of music and King Arthur is replete with melodic gems of great beauty' (2 November 1868, p.3). The critic also notes that the production contained a number of amusing comic songs, several of which were written (or re-written) to satirise well-known personalities. Notable here were 'The Late Lamented Jones' (sung by Henry R. Harwood), 'Beautiful Nell' (duet between Marian Dunn and Docy Stewart), and 'The Cantering Cad of Collins Street (sung by Richard Stewart).

The musical element included ballets and songs of both operatic style and popular styles. 'Popular London airs of the day' were 'Pull, Pull Together Boys', 'Riding on the Donkey', 'Bold Burgendy Ben', 'The Five O'clock Bus', 'Smart Isobella', 'Pretty Polly, Do Say Yes', 'Tootal, Tootal on the Cornet', and 'The Galloping Snob'. Other songs included 'La Polka Des Sabots' (Varney), 'Couplets of the King (from La Belle Helene), 'Valse Song, Joyous Life', 'Voici le Sabre' (from the Grand Duchess of Gerolstein), 'Volta la Terres (from Un Ballo in Maschere), 'Valse Song' (from Gounod's Romeo and Juliet), 'Come Home, Father', and a Grand Plantation Walk-around (Age 6 November 1868, p.4). Advertising in the South Australian Register in March 1870 indicates that a new 'local' song, 'That's What They Say About It,' had been introduced into the production (8 Mar. 1870, p.1).

Nellie Stewart, in her autobiography My Life's Story, writes that 'the music of The Grand Duchess was used almost in its entirety in [the] burlesque of King Arthur' (p.22).

A burlesque extravaganza and pantomime in six scenes with songs and dances to both operatic and popular tunes, the 1867 production featured Shakespearian parodies and topical references to the Prince of Wales' recent tour, Victorian politics, and the local theatre industry.

The story begins with the magician Allsortsofvice, chatelaine of the castle Toorakanruin, being defeated by the Fairy Queen and condemned to be a gardener to her daughter, Mary Mary. He falls for the daughter (in a Richard III burlesque), but she is, of course, in love with Tom Tom. The hero is imprisoned, however, for stealing a pig to feed his destitute parents. Mary Mary inspires Tom Tom to study while incarcerated, and he later imbibes history in a Grand Procession of the Sovereigns of England.

According to reviews of the Melbourne production, this was the most extravagant scene (with scenic artist John Hennings presenting the 'Hall of History'), an exhibition of the 'Good Child's History of England'. 'The scene was that of a large magnificent apartment at the further end of which stood a large open book of the History of England', writes the Argus critic. 'It is from this book that Mary Mary undertakes to teach Tom Tom the history of his country. This is done by allowing the kings and queens of England, personated by little children suitably attired in the characteristic costume of the monarchs represented, to issue one by one from the book, the leaves of which are turned for that purpose'. The list commenced with William the Conqueror and finished with Queen Victoria (27 December 1866, p.6).

The remainder of the plot concerns Allsortsofvice and his ally Belformosa attempting to bring Tom Tom down, but to no avail. The story concludes with Tom Tom becoming mayor, and the pantomime then closes with the traditional transformation scene and harlequinade.