Cirrus@Austlit

This version of the classic fairytale utilises several indigenous themes and topicalities within its narrative. One notable feature, for example, is the unusual presentation of the forces of evil as spiders and mosquitos, who battle the forces of good, represented by butterflies and bats. The narrative also incorporated a performing boxing kangaroo and an electric snake dance. Other special features of the production were, a beautiful tableaux showing the outside of the Chicago Exhibition, and George Gordon's spectacular transformation scene which disclosed 'Beauty's Bower.'

Beauty and the Beast was advertised as being 'constructed on lines calculated to please an audience... of all ages, and although doubtless psychological problems and theories may or may not be expounded in the course of the entertainment likely to satisfy the cravings of those who yearn for higher things, every effort will be made, and no expense spared, to achieve success and to satisfy the public in the fullest degree' (Sydney Morning Herald 23 December 1893, p.2). The libretto was seen by one reviewer as affording 'some dramatic moments... [although it] was too often obscured by the comic scenes, and attention was demanded more for the dazzling mise-en-scene than for anything else' (Sydney Morning Herald 27 December 1893, p.12).

[Source: Australian Variety Theatre Archive]

The story begins in the 'Wolf's Lair' at Spider Web Valley, where the Wolf and his accomplice, Fox the Lawyer hatch their evil plan. The action then moves to the 'Happy Village of Maypole' where characters such as the Dame (Principal of the school) and Little Red Riding Hood are introduced. After wandering in the woods Red falls asleep only to be captured by the Wolf. Little Boy Blue later mounts a rescue which leads to a duel to the death. The final scene, described as a "genuine pantomime feature" saw the inclusion of a Dolls Quadrille, 'in which dolls of every height and shape, from giants to the veriest dwarfs, solemnly descended a grand staircase at the back of the stage, and amidst shrieks of laughter joined in the dance.'

The narrative (at least in the 1893 Melbourne production) is said to have contained numerous references to topical issues, in addition to a burlesque of I Pagliacci. The Melbourne version, which was advertised using the alternative title) also included a procession of sporting representatives (lady jockeys, footballers, cricketers, sailors, fishermen, billiardists, golfers, bicyclists etc), which does not appear to have been presented for Sydney audiences.

[Source: Australian Variety Theatre Archive]

Advertised as a 'New, Grand, Great, Gorgeous, Glittering, Glorious Xmas Annual, illustrating ... the most popular of Eastern Legends, with unprecedented regard for strict accuracy of Oriental manners and customs' (Sydney Morning Herald 26 December 1891, p.2), the exact authorship of the pantomime remains somewhat unclear, although director Frank Emery no doubt had a hand in the final version. The production, which also introduced Fred Mason and Rose Dearing to Australian audiences, contained a cast of special overseas artists, including the Wonderful Craggs (acrobats), the Almonte Troupe (who performed the Harlequinade), The Fairy Four, and Amanda Noel.

The story is told in three acts and proceeds through the following scenes:

Act 1: Scene 1 The Mushroom Glade;

Scene 2 Mount Olympus;

Scene 3 Ali Baba's 'Umble 'Ome;

Scene 4 The Grand Bazaar of Bagdad.

Act 2: Scene 1 Through the Wood, Across the Lake, Up the Hill;

Scene 2 Secret Entrance to the Banyon Forest;

Scene 3 The Robber's Cave.

Act 3: Scene 1 Cassim Baba's House;

Scene 2 Grand Terrace and Entrance to Palace, Bridal Procession, and Joyous Revels;

Scene 3 A Corridor in the Palace; Grand Finale

(Transformation Scene; The Elements: Earth, Air, Fire, Water; Triumph of Spring; and Harlequinade).

The score is described in advertising as having been 'largely derived from ancient oriental sources, with modern music hall melodies... [with original music] composed and arranged by Messrs. Alfred Plumpton and H. T. Harrison' (Sydney Morning Herald 26 December 1891, p.2).

Songs incorporated into the narrative include 'A Hard Day's Work' (sung by Harry Shine), 'He was Whistling this Tune all Day and all Night' (sung by Rose Dearing), 'Knocked 'Em in the Old Kent Road' (a coster song sung by Fred Mason), 'The Fat Boy's Song' (sung by chorus), 'The Rather Girl' (Pattie Browne), 'A Villain I Live and Die' (John Gourlay), 'I Don't Think it's Ever Been Done' (a topical duet sung by Fred Mason and Harry Shine), and the vivacious finale 'Stand by your Guns' (company).

The story opens in Egypt, with the scene containing the Sphinx, mummies, Ptolomy and Cheops, sees Ptolomy foretell that the wonderful lamp will be found in Pekin. Abanazer, who very much desires to possess the lamp wants Aladdin to help him in his quest, but this means he must first make amends with the boy's mother, the Widow Twankey. When she finally agrees the pair head off to China. When they arrive there Aladdin becomes smitten with the Princess Badroubladour and proposes marriage, which she at first refuses but later, after Aladdin gives her a bouquet, agrees to. The Vizier is not amused with this situation, however, and forces the boy to flee from the city, where he comes across a cave guarded by the huge Afreet and numerous reptiles. After being given a magic ring, he is instructed to rub it in order to bring forth its genii, who will direct him to the magic lamp. Inside are a mass of jewels, enough to allow him the opportunity to win him the Emperor's consent to marry the Princess. The lamp is protected by all manner of evil looking creatures, but Aladdin manages to seize the lamp and escapes.

Act two sees the story unfold back at Widow Twankey's place. The widow has been concerned at her son's long absence, but is filled with delight when he returns bringing with him all the riches she could imagine. Meanwhile, the Emperor's wealth has been depleted and after hearing about Aladdin's wealth comes calling in the hope that his daughter will provide a means of regaining his former splendour.

The final act of the pantomime (not including the transformation scene and harlequinade), sees Aladdin return to China, where all manner of festivities, acrobatics, singing and dancing are performed. Just when things look like ending happily ever after, however, Abanazer contrives to steal the lamp and this gives him the power to elope with the princess. Aladdin chases him to Africa where he gets both his revenge and the princess. The pantomime culminates with the Emperor receiving a telegram from the Australian premiers announcing Federation.

The transformation scene consisted of four oil paintings illustrating Nibelungenleid, and which show beautiful 'undraped nymphs disporting themselves in the depths of the sea.' Regarding these scenes, the Age critic proposed that 'the most classical chastity of thought is here required from the audience to make the appearance of these ladies excusable... still it is beautiful, and only those who do not go to the theatres will perhaps object' (Age 13 January 1889, p.8)

[Source: Australian Variety Theatre Archive]