Cirrus@Austlit

Possibly adapted and localised from H. J. Byron's burlesque William Tell with a Vengeance, or, the Pet, the Patriot and the Pippin (1867), this version of the famous William Tell story contains allegories about the displacement of ignorance, prejudice, and superstition through the influence of education; the press; intelligence; and discovery. Aside from William Tell, the principal characters include Gessler (the tyrannical Governor of Altorf), Sarnem (a bilious gaoler with a secret), Emma (an elderly lady with a slight encumbrance), Albert (the slight encumbrance), Rosetta (daughter of Sarnem who thinks a good deal of herself but more of Albert), and Furst, Melchthal, and Verner (patriots pure and more than usually simple).

The pantomime scenes were played out in two acts:

Act 1: Scene 1. Caverns of Ignorance;

Scene 2. Fairy Castles in the Air;

Scene 3. In the Clouds;

Scene 4. Alpine Glen;

Scene 5. Sarnem's Hut;

Scene 6. On the Road;

Scene 7. Forest Glen and Cascade;

Act 2 : Scene 1. Alphabet Castle;

Scene 2. Sarnem's House;

Scene 3. Market Place; and

Scene 4. On the Road and Father Christmas Tableau.

Grand Transformation Scene: 1. An English Homestead in Winter (dissolving scene); 2. Palace of Enchantment in the Regions of Fairyland; 3. Submarine Grotto; 4. The Golden Gate of the Nymph's Bower; 5. The Valley of Golden Ferns; and 6. The Abode of Aurora.

Harlequinade: 1. Up and Down Street, 2. A Rural House near Pleasantville, and 3.The Village and Post Office.

The musical score, arranged by Walter Rice, was made up of popular songs of the time and airs from a variety of operas, notably Le Voyage la Luna, Madame L'Archiduc, La Jolie Parfumeuse, Maritana, and William Tell.

Described as a terpsichoric, romantic, operatic fairy extravaganza and adapted from F. C. Burnand's original extravaganza, John Bennett's production of Snow White at Sydney's Royal Victoria Theatre, is said to have been 'localised by a gentleman whose name does not appear in the bills and who has studded it with local puns and jokes from one end to the other.' The Sydney Morning Herald critic writes further:

The plot is of that mysterious indefinite nature peculiar to burlesque and extravaganza. There is of course, a king and a queen. Equally of course the king is a tyrant abroad and henpecked at home, and the queen is a vixen of the first water. Kings and queens are always thus - in extravaganza. Then there are two princes - one is good - the other is not. This is equally a matter of course. Then there is a damsel, who having been brought up by wood nymphs, grows up to the age of twenty without ever having been aware of the existence of the sterner sex, and so ignorant of her charms that she has never beheld her 'counterfeit presentment' in a mirror. There are also the usual courtiers, conspirators, a 'man of mystery,' Ozoherit - a scandalous fellow - and fairies in abundance (28 December 1875, p.5).

The production's advertised scenes (painted by William Burbury) were: 1. The Illuminated Garden of King Kokahoop's Palace; 2. The Fairy Glen; 3. The Floral Retreat of the Wood Nymphs and Home of Snow-white; 4. Exterior of King Kokahoop's Palace; 5. The Hall of Mirrors; and 6. Interior of King Kokahoop's Castle.

These were followed by a Grand Transformation Scene made up of a series of tableaus pained by J. R. Setright: 1. Ugolini's Cavern; 2. Galatea's Abode; 3. Australian Flora; 4. Fairy Pagoda; 5. Silver Conservatory; and 6. the Glittering Gorgeous Galaxy of Oriental Splendour (Sydney Morning Herald 27 December 1875, p.8).

Snow White's musical elements, arranged by Walter Rice, comprised selections from various operas and operettas, along with some re-worded versions of well-known ballads (including "The Skidamore Guards). The works named in advertising are: Les Brigands (1870), Chilperic (1868), Princess of Trebizonde (1890), Girofle, Girofla (1832), Grand Duchess (1867), Satanella (1758), Maritana (1845), Les Pres St Gervais (1862) and La Perichole (1829).

[Source: Australian Variety Theatre Archive]