Cirrus@Austlit

Adapted, updated, localised, and abridged by Percy St John from his earlier burlesque Black-Eyed Susan; Or, The Little Bill Up-too-Late (1892), also based on F. C. Burnand's 1866 burlesque (itself an adaptation of Douglas Jerrold's original 1829 drama Black-eyed Susan; Or, All in the Downs). In Jerrold's original melodrama, Susan is forced to endure the attentions of her rapacious uncle and an over-amorous sea captain while her sailor husband is away. He is eventually court martialled and sentenced to death for defending her honour.

An adaptation of J. R Planché's 1854 fairy extravaganza, this production 'served to introduce some pretty costumes and catchy musical items, [with] the finale of the burlesque enhanced by the limelight tableau of 'heroes of the War' - Generals French, Roberts and Baden-Powell - the curtain finally descended on a faithful portrait of Her Majesty the Queen, all of which were heartily cheered' (Brisbane Courier 16 July 1900, p.6).

An abridged, farcical version of St John's 1898 Sinbad burlesque, which was itself an adaptation of his 1894 pantomime.

Farce.

Described in a preview for the 1899 Brisbane premiere as 'a capital burlesque, full of comedy business and catchy music [that] should go with a swing' (Brisbane Courier 5 June 1899, p.6).

A topical burlesque pantomime that, according to the Brisbane Courier theatre critic, introduced clever political skits and a number of pretty and catchy songs (22 May 1899, p.6).

The 1898 Alhambra Theatre production, advertised as being staged for the first time in Australia, included a patriotic tableau and the nationalistic song 'Sons of the Sea.' Another feature was the 'Sunshine Ballet,' described in the Sydney Morning Herald as a 'novel and charming specialty' (5 November 1898, p.2).

Songs known to have been incorporated into the narrative for the Brisbane season were 'Hulloa, Hulloa, Hulloa' (sung by May Marlow), 'Baby Eyes' (Daphne Rowe), 'Always on the Dream', 'The Old Brass Pocket', 'All O' Us', and 'Dear Mother England.'

A burlesque version of Percy St John's earlier pantomime Sinbad the Sailor (1893), the story was likely a loose adaptation of the classic Arabian tale, as re-told in Richard F. Burton's The Book of One Thousand and One Nights.

Although various changes to the Sinbad burlesque were made by St John between its 1898 Sydney production and the 1899 Queensland tour, these were likely made largely in relation to the music and comedy business. The Brisbane Courier records in 1899, for example, that St John's Sinbad had been first staged in Brisbane some six years previously (the original pantomime version), but that since then it 'had been revised and brought up to date both in dialogue and music' (11 February 1899, p.7). According to advertising in the Sydney Morning Herald the 1898 version was played out over seven scenes: scene one, the Port of Bustarorah; scene two, the Vestibule of the Palace; scene three, the Port of Bustarorah (including Grand Lantern March); scene four, the Vestibule of the Palace; scene five, the Tropical Island (including Serpentine Dance and Primrose Ballet); scene six, the Palace; and scene seven, the Gardens of the Palace. The production ended with a vocal finale and tableaux of Australia.

The 1899 Brisbane revival is reported to have been staged with 'many very pretty costumes, pretty dancing, good local hits and fresh song' (Brisbane Courier 13 February 1899, p.3). One of the songs incorporated into that production was 'Sons of Britannia' (sung by Arthur Crane).

Most likely an updated and revised version of St John's 1890 similarly titled pantomime, the extent to which these two productions are related is presently unclear. It is also unclear what, if any, relationship the burlesque has with the similarly named A.C. Torr (aka Fred Leslie) and W. T. Vincent production from 1891. That work, first staged at Melbourne's Princess Theatre in 1891 (22 August) and reproduced in Sydney beginning 5 October, pre-dates the St John burlesque but not his pantomime.

The most probable difference between St John's Cinderella pantomime and his Cinder-Ellen burlesque was an increased focus on both satire and the lampooning of the Cinderella story. In relation to the satirical content, the Brisbane Courier records in its review of the opening night of the 1894 Gaiety Theatre season (possibly the first production of the burlesque version) that 'various local celebrities came in for hard knocks more or less severe,' and that as a result 'the laughter was hearty and frequent.' The review further records that one of the newly-written topical songs, 'In Nineteen Hundred and One' (a trio performed by Messrs. Callaghan, Jones and York), was 'much superior to the usual stage topical song' being 'brimful of clever local hits' (p.6).

While Cinder-Ellen's storyline is unknown, it likely that revisions were made to subsequent revivals (e.g. 1898 and 1900), and that these comprised at the very least new topical hits and songs and dances. It is reasonable to suspect, however, that the main elements of its dramatic organisation were retained for these latter productions. That is not to say that the storyline would have been fully developed as a drama - an aspect which the Courier noted in its 1894 review:

The piece has a plot of a very mild character which in no way intrudes itself upon the marvelous mixture of burlesque and brilliancy forming the principal features of Cinder-Ellen. There is sufficient plot, however, to enable the audience to follow the old story of Cinderella through the varying fortunes of the heroine, from the time when she is the slighted and despised slave of her sisters, till through the good offices of the fairy she becomes the adored of a prince and triumphs over her enemies (p.6).

Among the other musical highlights of the 1894 production were the duet, 'Under the Southern Cross' (sung by Ettie Williams and Ada Lempriere), 'My Little Slate' and 'What Do I Care' (Ettie Williams), 'The Rowdy Dowdy Crew,' (a 'catchy chorus' sung by Priscilla Verne and several others), 'A Half a Pound of Tea' (T. C. Callaghan), 'Bubble's (Priscilla Verne) and 'Silver Star' (Amy Rowe). Another feature, the 'Grand Doll Ballet,' saw five of the female performers singing nursery rhymes and dancing to 'sympathetic music' (6). The first act medley finale, 'Australia,' reportedly included a striking tableaux (Northern Miner 16 February 1894, p.4).

[Source: Australian Variety Theatre Archive]

The story opens in the seaport of Busterorah, where the hand of Princess Suchasweetcreetur, the Caliph's only daughter, is demanded in marriage by an envoy of the Wicked Ogre. The Caliph, who is in financial straits, is about to comply with the Ogre's desires when Sinbad and his sailors arrive, thereby providing the Caliph with possible way out. Sinbad agrees to sail to the Diamond Valley in search of enough precious stones to pay off the Ogre and in turn marry the Princess himself. Before he leave, however, Ogre abducts the Princess and her handmaiden, Zobeide, and has a spell cast on the legs of Sinbad and his men which sees then rooted to the floor. Sinbad removes the spell with the aid of a talisman and in the second act sails for the Diamond Valley where he encounters the Tailor and becomes involved in all sorts of adventures.

The third act takes place in the Sultan of Tomatoes, in whose charge the Princess has been placed by the Ogre. When Sinbad arrives there he is arrested by the Sultan, thus allowing the Ogre to retake Princess awaya without a fight. The Sultan, however, has been smitten by her charms and realising her fate decides to release Sinbad so that he can rescue her. Sinbad tracks the Ogre down and with the aid of the fairies defeats him. The Princess is then restored into the arms of her faithful Sinbad.

[Source: Australian Variety Theatre Archive]

The plot turns on the love of the good Prince Amiable (son and heir to the throne of King Buonocore) for Princess Violet, whom he has never been permitted to behold. The good fairy Rosetinta provides him with six magic roses that possess the power of causing those who smell them to become either invisible (the white ones) or visible (the red ones) at will. The prince sets out on a journey with his companions, the Counts Muffio and Spoonio, in search of his lady love, with each in possession of a white and red rose. Eventually, they arrive at the court of King Turco the Terrible, the father of Princess Violet, and are arrested and sentenced to death. Their only avenue of escape from the hangman's noose is to marry Princess Violet's decidedly old and ugly sisters, Tartarella and Dragonetta. The narrative's complications involve numerous 'absurd situations', such as the Prince and his companions having to use the roses in order to escape King Turco's evil plan to kill them after the marriage and King Turco using the last of the white roses to turn himself invisible in order to spy on his prime minister (but without the power to rectify his mistake).

Songs known to have been incorporated into the story are 'Justice in Australia' (sung by Alice St John, Amy Johns, and Emma Markham), 'Ta-Ra-Ra-Boom-De-Ay' (James Wilkinson), 'He Always Likes to Have a Finger in the Pie' (Edmund Leonard and Frank Hawthorne), 'Gentlemen of the Jury' (Percy St John), 'Australia by the Sea' (Amy Johns), 'The Militiaman' (Emma Markham), and 'Take a Day Off, Mary-Ann.' Several marches were also warmly received, particularly the 'Prize Princess Show', which served to introduce princesses of all parts of the earth in national costume, even the Princess of Woolloongabba.

Faust Up-to-Date was presented as the second part entertainment by Dan Tracey at the School of Arts, and adapted from the G. R. Sims and Henry Pettit burlesque (the original score was written by Meyer Lutz). As with two earlier School of Arts burlesques (Black-Eyed Susan and Cinderella), it was likely to have been adapted by Percy St John, possibly with contributions from other senior members of the company.

One of the highlights of the production was said to have been the Sherwood Sisters 'sensational skirt dance' (Sydney Morning Herald 28 December 1891, p6).

The premiere production for Dan Tracey's end of the year 'Grand Burlesque season' (which continued well into 1892), this burlesque operetta was adapted, localised, and arranged by Percy St John, most likely in collaboration with other members of the troupe. As with many other locally produced burlesques from around this period, it likely re-used the main plot developments from the original source, with the addition of new material, such as songs and comic routines.

In Douglas William Jerrold's original 1829 melodrama, Blackeyed Susan;Or, All in the Downs,Susan is forced to endure the attentions of her rapacious uncle and an over-amorous sea captain while her sailor husband is away. He is eventually court-martialled and sentenced to death for defending her honour.

Localised and adapted by Percy St John, possibly from H. J. Byron's 1868 Cinderella extravaganza, this production was staged over three acts with traditional transformation scene and harlequinade. The amount of local references and topicalities infused into the production is not clear, but the popularity of such practice would likely have seen them included in both the lyrics of the comic songs and the comedy routines.

The storyline can to a certain extent be understood through the scene and song titles:

Act 1: Scene 1. 'The Fairy Chorus'; The Demon appears and is routed by the fairy forces; Cinderella meets the Prince; Dandini offers odds and is accommodated; 'Hunting Chorus'; Dandini puts on side, but is reminded that 'Gently Does the Trick'. Scene 2. At The Baron's, where the audience is once more introduced to beauty, in the shape of two charming sisters; The Baron gets no breakfast; A loud attack on the front door; Cinderella returns ('We Don't Do that in Sandgate Society'). Scene 3. The Baron's Reception Hall; Buttoni is knighted; The Prince is introduced to the Baron's two sweet lambs; Cinderella appears; Oh rapture; Grand Medley ('Australia').

Act 2: Scene 1. The Baron's Kitchen; Cinderella bemoans her fate; An invitation to the ball; Family jars; The Baron and his daughters depart for the ball; Appearance of the Fairy Godmother; Cinderella goes to the ball, drawn in her carriage by the smallest team of ponies in the world. Scene 2. The Demon's Home; Quartz plots revenge on Cinderella; Demon acrobatic fights. Scene 3. The Ballroom; 'Grand Amazon March'; The Prince's Fete; The Prince arrives; Consternation of the Baron and his daughters; Arrival of Cinderella; Extraordinary specialty acts; Sensational juggling act on the rolling globe; Johnny Sharman and his Clever Performing Dogs; 'Grand Minuet'; The clock strikes twelve; Flight of Cinderella; The slipper; Great struggle to compress two feet into six inches; Cinderella claims the slipper. Scene 4. Ante Chamber at The Palace; Betrothal of the Prince and Cinderella; Grand Finale ('True Hearts Across the Sea').Scene 5. Grand Transformation Scene; Harlequinade (Brisbane Courier 25 December 1890, p.2).