Cirrus@Austlit

The third Christmas pantomime put on by George Coppin, following the success of his previous productions Dick Whittington and The Babes in the Wood. As with Walch's 1880 Sinbad pantomime (Sinbad the Sailor; Or, The Pet and the Peri, the Old Man of the Sea, and the Dwarf of the Diamond Valley), this version was also likely based on John Strachan's 1869 London production. This 1893 version differs from Walch's earlier work in a number of respects, however. Most notable is the 'new business and topicalities,' along with a score for which Walch provided a number of songs. It is also clear that Walch reworked the original story, presenting 'a lengthy list of characters [comprising] names on various rungs of the histrionic ladder,' including Little Jack Horner and his mother, the Emperor of Jumbuckfoo, and Princess Dazzlina, Sinbad's lady love (Table Talk 22 December 1893, p.5).

The songs incorporated into the narrative include drawing-room ballads, coaster songs, airs and burlesques. In this respect, too, the Age reviewer notes that the 'songs constitute the main portion of the pantomime [and] as most of them are tuneful and popular they will no doubt prove welcome' (27 December 1893, p.5). Indeed, Maggie Moore's numbers proved to be among the most popular with audiences - notably 'Two Little Maids in Blue,' which she presented in both editions. Mr Leumane, who sang two numbers within the show provided a song of his own, 'That's What I Want to Know' for the first edition.

The Harlequinade, 'invented and produced by Tom Queen' was designed so as to show his ability as an acrobat and contortionist, in addition to presenting the skillful Perman Trio. Also included as part of the evening's entertainment was a 'Moving Panorama of the Royal Marriage,' painted by Harry Grist.

[Source: Australian Variety Theatre Archive]

Written expressly for the Academy of Music, Melbourne, and produced under the direction of the author, Wybert Reeve, this 1879 production contained topical references to Melbourne scenes and events, and Victorian politics prior to the 1880 Reform Bill election. The Age theatre critic's report of the production indicates that although going smoothly on its opening night the many localisms and hints at current political issues did not elicit much applause. The musical programme is also said to have been less than striking, with the songs being 'indifferently received by the audience' - with the exception of a topical songs by Cinderella, which was encored (25 December 1879, p.6).The production also differed markedly form tradition in that Cinderella (the stepdaughter to a squatter baron) was played by a male actor.

The story begins in the home of the fairy queen, where the queen and her sister fairies confer over the fate of Prince Beauteous who was cursed at birth by a demon to die if not married by the coming of his age. The goblin spider enters and threatens to prevent the marriage being planned by the fairies. The story then proceeds with the prince and Cinderella meeting on a farm during a strike for higher wages. The prince falls in love with the young girl despite her ragged clothes but is not at this stage interested in marriage and after some trouble she manages to escape him. Meanwhile her step-father, baron Blunderbubble is arranging with the goblin spider the marriage of his two daughters. A deal is struck but only on the proviso that Cinderella remains unmarried. From here the narrative more or less follows the traditional tale, with Cinderella attending the prince's ball courtesy of the fairy queen, and leaving minus one of her glass slippers. Despite the attempts of her step-family and the goblin spider Cinderella eventually wins the Prince's hand.

The narrative is set over 10 scenes, as well as a Transformation Scene and Harlequibade:

Scene 1. Golden Home of the Fairy Queen;

Scene 2. Fields of Golden Corn (incl. Old English Morris dance);

Scene 3. Haunt of the Goblin Spider;

Scene 4. Kitchen in Baron Blunderbubble's Home;

Scene 5. Dressing Room of the Misses Blunderbubbles;

Scene 6. Fairy Glade of Gold and Silver Ferns;

Scene 7. Grand Lace Banqueting Hall and Assembly of All Nations;

Scene 8. Home of Queen Bee;

Scene 9. A Room in the Baron's House;

Scene 10. The Spider's Haunt.

Transformation Scene: 1. The Fern Valley; 2. Golden Bee and Butterfly's Home; and 3. Realms of Honeysuckle and Forget-Me-Nots.

Harlequinade

Followeing the Harlequinade a view was given of the Melbourne Exhibition and grounds both by sunlight and moonlight.

[Source: Australian Variety Theatre Archive]