Cirrus@Austlit

Although set mostly in Egypt (with scenes of the pyramids, Cairo, and Ancient Memphis), this original fairytale nevertheless concludes with a scene set in Australia: Melbourne or Sydney, depending on where it was being produced.

The story concerns a beautiful young princess's rescue (by her beloved prince) from a sacrifice at the hands of Matsa, the evil Queen of Fire (who demands the life of a maiden every hundred years). The Fates point to Zelica as the victim and dispatch Pentaur (a revived mummy) to modern Cairo to seize her. Pentaur's attempt is foiled by Colonel Boomley (an American speculator) and Prince Simbal (Captain of the Khedive's Guard), but he manages to trick them into eating the magic apples of Isis the Great, which somehow send them back to Memphis of 3000 years ago, a time when Rameses III ruled Egypt. Zelica is eventually saved, but not before several grand adventures occur, including the group's capture by pygmies. Secondary characters incorporated into the narrative include an ugly Irish spinster and an American heiress, along with warriors, priests, and others. The Sydney Morning Herald critic notes that although 'the comic element in Matsa is not strong... there are some clever lyrics in the libretto... Much [of the production's success, however] is due to the grace and gaiety of the music' (29 February 1897, p.7).

The production included the usual Williamson spectacles: grand marches, sumptuous ballets, and elaborate and striking costumes. Some notable features of the production were 'The Mist of Past Ages', 'Ancient Memphis Restored', 'The Tomb of the Kings', 'The Triumphant Return of Rameses III', 'The Great Martial Procession' (comprising some 250 people), 'The Land of the Pygmies', 'Matsa's Cyclopian Guards', 'March of the Elephants, Lions and Tigers and Other Animals', 'The Home of the Queen of Fire', 'Sensational Fire Ballet', 'On a P and O Steamer in the Suez', 'The Court of the Queen of Air', and the 'Astounding Ariel Ballet.'

The visual highlight of the production, according to one review, were George Gordon's scenes 'The Rising of the Nile' and the 'Startling Inundation Scene', which show the destruction of Matsa's temple by an inundation of the Nile. 'The priestesses,' records one critic, 'are seen dancing in the fire, until overwhelmed by the water. The massive temple sinks bit by bit, the Nile rises higher and higher, and at last the stage 'looks like a vast extent of water shimmering under a full moon' (Sydney Morning Herald 2 January 1897, p.4).

Described by its creators as a 'Fairy Tale of Old Japan', and with echoes of The Mikado throughout, the story concerns Djin Djin, an evil demon who holds the talisman that can save the life of Princess Iris. She will die unless someone defeats Djin Djin and liberates the talisman. To do this, they must risk entering the ruined temple where the demon and his horde of followers are based.

The pantomime was advertised as a 'grand spectacular extravaganza,' and indeed it had no fewer than thirty-eight named performers, with a host of other actors and dancers playing roles such as Mousinées, Flower Fairies, Snow Elves, Japanese Ladies, Samurai, Councillors, Officials, Courtiers, Coolies, Guards, Jinrikishamen, Spirits, Demons and Monkeys etc. The principal characters were Prince Omi (a Japanese feudal prince), Prince Eucalyptus (a suitor from the sunny south whose yacht is wrecked on the shores of Japan), Hojo-no-Kami (Diamio, a feudal prince), Princess Iris (a daughter of the Diamio), Cheekee (the Diamio's other daughter), Okiama (the Diamio's maiden sister of uncertain age), Djin Djin (the Bogie-man), Oda Nobunga (the Great Shogun), Prince Omi (the Shogun's son turned into a baboon by Djin Djin), Chrysantheme (the Fairy Queen), Dede, Maid to Princess Iris), Gay-Jay (the Grand Vizier), Fli-qui-Sami (Japan's astrologer), and Tom Wallaby (Prince Eucalyptus' faithful valet and friend).

The scene breakdown for the 1895 Melbourne premiere production was:

Act 1: Scene 1. The Shrine of the Soothsayer;

Scene 2. A Street in Nagasaki;

Scene 3. Palace Gardens of Hojo No Kami. Grand Procession and Fan ballet, Brilliant Illumination of Nagasaki.

Act 2: Scene1 Courtyard of Damio's Palace;

Scene 2. Enchanted Bamboo Grove;

Scene 3. The Frozen Forest. A Novel and Beautiful Transformation. Dance of Snow Elves and Chrysanthemum Ballet;

Scene 4. Exterior of the Haunted Temple;

Scene 5. Interior of the Temple. Grand Demon Trap Scene. The Earthquake. The Eruption of Fuji San.

Act 3: Scene 1. The Shogun's Court; Grand Specialty Entertainment by John Coleman, the Banvards, the Ridgeways, Ivy Scott and Carrie Moore. Off to Fairy Land;

Scene 2. The Golden City; Grand Ballet - Dazzling Scene of Electric Splendour. Grand Harlequinade and old English Comic Scenes by the Ridgeway Family.

[Source: Australian Variety Theatre Archive]