Cirrus@Austlit

A reworking of the traditional pantomime favourite, with original music by Frederick Weierter, the narrative revolves around the wicked designs of Old King Cole to secure both Little Red Riding Hood and the Goose that lays the golden egg. He is frustrated in his attempts, however, by the Fairy and Boy Blue (Northern Miner 31 August. 1915, p.2). During the first year Jim Gerald and Will Raynor reportedly incorporated a clever burlesque on East Lynne into one of the scenes.

Songs incorporated into the 1914 productions included: 'King of the Devils' (Keeley), 'Death of Nelson' (Raynor), 'In the Cornfields' and 'All That I Ask is Love' (Jennings), 'Maryland' (Rose Coleman), 'Meet Me in Starlight' (Jennings and R. Coleman). One of the songs known to have been presented in 1915 was 'My Hero' (the waltz song from The Chocolate Soldier) which was sung by the Fontenoy Girls (Northern Miner 31 Aug. 1915, p.2).

Changing specialty acts were regularly inserted into the pantomime. The 1916 Brisbane production featured, for example, Levarto the magician and Shipp and Little (patterologists/dancers). The show also included a 'stirring patriotic tableau entitled 'Britannia'" (Truth 12 March. 1916, p.7).

One of a number of such magazines of the early 1900s, Footlights claimed for itself the title 'official organ of the theatrical profession'. It championed 'fair play for all', and congratulated Australian theatres generally on 'the standard of excellence and cleanliness' they maintained. It deemed censorship unnecessary, opposed the introduction of the Theatres and Halls Act (Aug. 1909), and recognised the new Defamation Act (Dec.1909) as a necessary measure. Its staple content was anecdotes and whimsicalities, local and overseas theatrical news, listings and commentary on shows (including variety, drama, musical comedy, opera, pantomime, circus, sideshows, and moving pictures), interviews and profiles, short pars of theatrical gossip and the movement of touring performers and companies, answers to correspondents (without the questions), and an occasional short story. It published reports of social organisations, such as the 'sporting' Chasers and the vaudevillian Terriers, as well as professional associations, such as the Australian Vaudeville Association. Vol.4, no.27 (21 Dec. 1910) contained a supplement of sixty-six 'counterfeit presentments' – small photographs and brief biographies – of most of the 'managers, actor-managers, and entrepreneurs of the stage throughout Australia at the present time'. Martin C. Brennan began writing a regular column on vaudeville from September 1910 (Vol.4, no.15). The magazine ran its own theatrical agency and an Artists' Post Office. After a decline in size and style from mid 1913, in May 1914 (Vol.7, no.48) it 'put upon itself richer raiment', publishing more photographs and new columns, declaring itself 'The People's Popular Penny Playpaper'. But war was declared three months later; the paper stock dwindled, as did the size of the magazine, which relied increasingly on repeats of earlier editorials and articles. Its editorial tone became querulously patriotic, wondering about amusement-seeking in time of war – 'there is such a thing as overdoing forms of enjoyment' – and in August 1915 (Vol.9, no.10), it began a campaign against commercial boxing and its followers, the 'Men who stay at home'. Its decline was fatal, despite a new and overly self-confident proprietor, John Lavender, who took over for what were to be the last four issues in November 1915.

'Mr Sheridan … and his collaborators have succeeded in introducing an old friend to the public in a new and very pleasing guise… Departing entirely from any traditional form of the story, there are introduced scenes which suggest Meyerbeer's Robert Le Diable, Planquette's Rip Van Winkle and from that downwards to A Trip to Chinatown. Every now and then the action of the plot - if there is a plot - is interrupted by the introduction of some little pleasantry' (Sydney Morning Herald 27 December 1902, p.6).

Coming as it did so close to the advent of Federation, there is little surprise to find the Sydney Morning Herald critic writing of the pantomime that 'the warlike spirit of the hour has been met and in sounding the blast of patriotism the adapters have contrived a stirring appeal to Australian hearers. It is at this point that the pantomime is at its best, and here Mr Bernard Espinasse who is responsible for the book and lyrics, has somewhat adroitly bent the legend to what may be described as topical purposes' (p.8). Espinasse's libretto also dispenses with the usual demon scene introduction, opening instead with a glow-worm dell people by pixies and old-fashioned fairies. The demon element was presented later, in the phantom first scene, where the wicked wolf's stronghold is captured by an army representing the naval brigade, the Grenadier Guards, the Enniskillen Dragoons, the Gordon Highlanders and the NSW Lancers. The pantomime closed with a tableau titled 'The Land of Arcadia.'

The original vocal numbers and incidental music were composed by Frederick Weierter, with Leon Caron contributing the overture, ballets, marches and Grand Finale. Songs incorporated into the narrative included Weierter's grand patriotic number, 'Children of the Empire, Hear Britannia Call' and 'The Absent-Minded Beggar' based on the poem by Rudyard Kipling and with music by Arthur Sullivan (arguably the biggest hit of the year, both in Australia and internationally, it was sung in this production by Dorothy Vane). Other songs known to have been performed were Vane's 'Hush Little Girl Don't Cry' (it had first been introduced to Australians by Antoinette Sterling) and "If You Show Me the Way" (duet by Vane and Moore). One of the brightest musical highlights, according the Sydney Morning Herald review, a minuet by Caron: He 'has composed a beautiful measure in the antique style for this ballet,' writes the critic, and it 'is one of the gems of the entertainment' (p.6).

The scenes staged were:

Act 1. Scene 1. Glow-worm Dell;

Scene 2. Exterior of Mother Hubbard's Kindergarten;

Scene 3. The Village of Happy-go-lucky - Grand Wolf Hunt;

Act 2: Scene 1. The Schoolroom (including dancing classes);

Scene 2. On The Way To The Forest;

Scene 3. The Phantom Forrest;

Scene 4. The Wolf's Stronghold;

Act 3: Scene 1. Mother Hubbard's Humble Home;

Scene 2. Prince Valiant's Palace;

Scene 3. The Golden Pavilion;

Scene 4. The Land of Arcadia.

The 1900 Melbourne season was presented as the premiere production for the newly refurbished Princess's Theatre. The Age theatre critic records that the Wolf's Stronghold scene afforded the pantomime the opportunity to present a stirring military pageant on the Boer war using several hundred auxiliary actors:

'In the background [was] a representation of a South African kopje, and the scene that [followed]... a reproduction of the storming of Elands Laagte. Headed by bands of music, troops of supernumeraries in the uniforms of famous British regiments [marched] on the stage. The Naval Brigade was made up of a number of mites in blue jackets, with cutlasses and full marching kit; then came the Grenadier Guards, the Royal Irish Fusiliers, the Gordon Highlanders, the Australian Artillery and finally the New South Wales Lancers... After a number of evolutions the enemy makes an appearance, and the troops attack the kopje, which [was] carried by a brilliant assault, amid bustle and movement... [with] the final tableaux showing the Gordon Highlanders scaling the heights and carrying the Boer position' (26 February 1900, p.9).

From 17 March during the 1900 Melbourne season, Williamson presented his Anglo-American Bio-Tableaux series of Boer War pictures as part of the production. The pictures included representations of 'some of the most famous regiments of the Empire.' Williamson also advertised that he had arranged for a 'continued supply of fresh war pictures by every mail' (Age 17 March 1900, p.2).