H. Percy Kehoe H. Percy Kehoe i(A95392 works by) (a.k.a. Herbert Percy)
Gender: Male
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1 2 y separately published work icon Jack the Giant Killer ; Or, Harlequin Fe-Fi-Fo-Fum, The Demon Spider and the Fairies of the Silver Lake Garnet Walch , H. Percy Kehoe (composer), 1891 Melbourne : Alfred Dampier , 1891 Z859368 1891 single work musical theatre pantomime fantasy

The Age theatre critic wrote of Garnet Walch's revised version of his 1878 pantomime:

'At one time it is said that pantomimes used to have plots, but then it is alleged about almost everything that some time or another it had something which it has not got now. For our part, we are heartily glad that any semblance of a connected story in pantomime has long been voted unnecessary, and we join with those who like to see Mr Stanley, the railway management, sewerage schemes and prodigious sly hits at social evils blended in delightful harmony with the story of Jack the giant killer' (26 December 1891, p.10).

As the review goes on to record, Walch's treatment of the famous fairytale included numerous hits at local and topical subjects. One particularly popular segment was apparently a burlesque of Mr Stanley's recent lecture at the Opera House, which the critic described as 'an admirable piece of foolery conceived of in an Artemus Wardean strain [that] so tickled the house that it was some minutes before the performance could go on'. Local scenes included in the Grand Harlequinade were 'A Street in Melbourne' and 'A Well-Known Spot.'

The instrumental and vocal music was either composed or arranged by H. Percy Kehoe, with the non-original compositions including some of the more popular airs of the day. The Age review notes, too, that one of the many good songs performed by Aggie Kelton was 'Sparkling Wine' (sung with the chorus). A topical duet, 'I Vote for That', and the 'Ballet De La Rage' were also viewed as being among the show's highlights. The latter is said to have been 'planned on an elaborate scale [with] some truly gorgeous dance movements' (p.10).

1 y separately published work icon Uncle Tom's Cabin Alfred Dampier , John F. Sheridan , Professor Miller , H. Percy Kehoe (composer), J. A. Robertson (composer), 1886 1887 (Manuscript version)x400211 Z850691 1886 single work musical theatre

According to the Brisbane Courier theatre critic in 1890, this version of Harriet Beecher Stowe's 'moral and religious drama,' was 'widely different from the orthodox rendering.' Indeed, the advertising, which calls attention to 'the songs, the dances, the lovely melodies, the sparkling humour, the light and brightness, the happy tout ensemble of this entire production,' suggests that it was more in line with minstrel entertainment than with the sentiments traditionally associated with story's dramatic retelling. In this respect the Courier notes that 'in Mr Sheridan's version the sentimental defects of the original drama have to a great extent been rectified, and [that] the possibilities of the plot for scenic display have been more largely availed of:'

Instead of aiming to make his audience weep Mr Sheridan has sought to amuse them, and though he may have taken liberties with the accepted idea of Uncle Tom's Cabin, the end has certainly justified the means. The drama has lost some of its painful original characteristics, and has taken on itself lighter, brighter and more healthy qualities. Advantage has been taken of the plantation scenes to introduce songs and dances which, while giving a realistic effect, open up quite a fund of amusement. The music was rendered by a choir which sang the negro melodies with expression. The dances, such as would be seen at a minstrel entertainment, harmonised well with the surroundings of the plantation ('The Opera House,' 8 April 1890, p.6).

Reports from newspapers in 1886 and 1890 also indicate that the productions staged in 1890 took the variety theatre aspects to a much higher level. In addition to members of the Bristol Musical Comedy Company, which supplemented the 'dramatic' endeavours of Williamson Garner and Musgrove's Royal Dramatic Company, were a number of high profile minstrels - namely Charlie Pope, Walsh and Kennedy, specialist banjo musician Hosia Easton (Melbourne) and Harry Crawford and the Bovis Brothers (Brisbane).

The 1890 production incorporated the following scenes:

  • Act 1 Scene 1. The Old Kentucky House
  • Scene 2: The Interior of Shelby's House
  • Scene 3: Uncle Tom's Cabin
  • Scene 4: "The Birthday Festival" - introducing "Children Come Along" (chorus), "Down Where the Sugar Cane Grows (song and dance by Messrs Bovis, Crawford and Bovis), "Billy's Dream" (Charles Pope), Duet and sand dance (Walsh and Kennedy), "Roll Jordan Roll" (Easton and Company), "Tell Us What De're Gwine to Do"(Messrs Fredericks, Easton and company), "My Lord Deliver Daniel" (Easton and company)
  • Act 2 Scene 1: Tavern on the Ohio River Banks
  • Scene 2: Wood
  • Scene 3: The Frozen River, The Great Ice Scene, Escape of Eliza
  • Act 3: Deck of Mississippi Steamer
  • Act 4 Scene 1: St Clare's Cotton Plantation - Happy Southern Life scenes and "Eva's Birthday" - incl. "Who's Dat a Callin'" (Gracie Whiteford), banjo solo and orchestral accompaniment by Hosea Easton; clog dances by Bovis Bros, Maher Bros and Watts and Swift; banjo quintette and dance by Messrs Easton, Marion and Misses Bell, Whiteford and Arline; musical sketches by Minnie Bell and Dace Marion; "De Trumpet in de Cornfield" by Charles Pope; double quartette song and dance by Messrs Crawford, Bovis Bros, Maher Bros, Marion, and Watts and Swift
  • Scene 2: Room in St Clare's House
  • Scene 3: Exterior of St Clare's House and 'Death of Eva'
  • Act 5 Scene 1: Slave Sale
  • Scene 2: Rocky Pass
  • Scene 3: Legree's Slave Quarters; Death of Uncle Tom, Bowie Knife Fight between Legree and George Harris.

[Source: Australian Variety Theatre Archive - "1886"]

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