y separately published work icon King Arthur ; Or, Launcelot the Loose, Gin-Ever the Square, the Knights of the Round Table, and Other Furniture single work   musical theatre   burlesque   fantasy   humour   - Six scenes
Issue Details: First known date: 1868... 1868 King Arthur ; Or, Launcelot the Loose, Gin-Ever the Square, the Knights of the Round Table, and Other Furniture
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AbstractHistoryArchive Description

A burlesque on the Arthurian theme, Akhurst's version is partly based on both Tennyson's Idylls of the King and Sir Thomas Mallory's collection of ancient metrical romances. The production typically featured local allusions and topical issues throughout, including Collins Street, the Jones vs Randell case (which saw the Commissioner of Railways triumph over Constitutional Association, led by Mr Jones), and personalities such as the Fenians and Otto von Bismarck. The Age theatre critic writes of Akhurst's treatment that 'The dialogue is smartly written, and abounds (as all burlesques must necessarily do) in puns, good, bad and indifferent... It is not on his puns alone, however, that Mr Akhurst depends for the success of his pieces. He is exceedingly happy in his selection of music and King Arthur is replete with melodic gems of great beauty' (2 November 1868, p.3). The critic also notes that the production contained a number of amusing comic songs, several of which were written (or re-written) to satirise well-known personalities. Notable here were 'The Late Lamented Jones' (sung by Henry R. Harwood), 'Beautiful Nell' (duet between Marian Dunn and Docy Stewart), and 'The Cantering Cad of Collins Street (sung by Richard Stewart).

The musical element included ballets and songs of both operatic style and popular styles. 'Popular London airs of the day' were 'Pull, Pull Together Boys', 'Riding on the Donkey', 'Bold Burgendy Ben', 'The Five O'clock Bus', 'Smart Isobella', 'Pretty Polly, Do Say Yes', 'Tootal, Tootal on the Cornet', and 'The Galloping Snob'. Other songs included 'La Polka Des Sabots' (Varney), 'Couplets of the King (from La Belle Helene), 'Valse Song, Joyous Life', 'Voici le Sabre' (from the Grand Duchess of Gerolstein), 'Volta la Terres (from Un Ballo in Maschere), 'Valse Song' (from Gounod's Romeo and Juliet), 'Come Home, Father', and a Grand Plantation Walk-around (Age 6 November 1868, p.4). Advertising in the South Australian Register in March 1870 indicates that a new 'local' song, 'That's What They Say About It,' had been introduced into the production (8 Mar. 1870, p.1).

Nellie Stewart, in her autobiography My Life's Story, writes that 'the music of The Grand Duchess was used almost in its entirety in [the] burlesque of King Arthur' (p.22).

Notes

  • The Age review (2 November 1868, p.3) includes several excerpts from the text, including puns and lyrics from 'The Late Lamented Jones'.

Production Details

  • 1868: Theatre Royal, Melbourne, 31 October - 19 December.

    • Producer/Lessee Hennings, Stewart, Harwood and Coppin; Music Arranger Frederick Coppin; Scenic Art John Hennings, Alfred Clint, Mr Robins, and Richard Little; Costumes Mde Jager; Troupe Royal Star Company.
    • Cast incl. Marian Dunn (Arthur), Docy Stewart (Sir Lancelot), Con Warde (Merlin), Richard Stewart (Sir Kay), Margie Chester (Vivian), Henry R. Harwood (Sir Modred), Maggie Stewart (Sir Antour), John Dunn (Guenever, otherwise Gin-ever), Anna Forde (Elaine), George Darrell (King Lot of Lothian), Mr Lewis (King Ganters of Merlot), Mr Dias (King Uriun of Reged), Mr Compton (King Carodas of Strangore), Mr Batesen (King Ider of the Marches), Mr Wyatt (King Anguisant of Scotland), Alice Bray (Sir Burb), Blanche Bray (Sir Cuss), Miss L. Coppin (Sir Cumlocution), Annie Collins (Sir Geon), Lizzie Collins (Sir Gery), Miss Grainger (Sir Pose), Miss Newman (Sir Mount), Miss Benson (Sir Vant), Miss O'Donnell (Sir Prise), Miss Crawford (Sir Tainly Not), Miss Caulson (Sir Cuiteous), Miss Lester (Sir Pent), Miss Hogan (Sir Cingle), Mdle. Therese (dancer), Mons. Schmidt, Bros. Wieland (dancers).
    • 30 performances.

    1870: Theatre Royal, Adelaide; 5-17 March.

    • Producer/Lessee. Hennings, Stewart, Harwood and Coppin; Scenic Art. John Hennings, Charles Fry and Assistants.
    • Troupe: Royal Burlesque Company.
    • Cast incl. Maggie Stewart (King Arthur), George Collier (Merlin), Docy Stewart (Sir Launcelot), Ellen Douglas (Vivien), Richard Stewart (Sir Kay), H. R. Harwood (Sir Mordred), Lizzie Busche (Sir Antour), Charles Coutts (Guenever), Frances Bentley (Elaine), Blanche Bray, Alice Bray, Louisa Coppin. Teresa Collins, Lizzie Collins, Miss Grainger, Jessie Newman, Kate Douglas, Agnes Benison, Miss O'Donnell, Miss Crawford, Miss Coulson, Miss Hogan, Miss Lester.

    1870: Princess's Theatre, Melbourne, 18-23 April.

    • Production mostly for previous Adelaide season.
    • Scenic Art John Hennings and Mr Freburger.
    • Troupe Royal Burlesque Company.
    • Cast incl. Docy Stewart, H. R. Harwood, Richard Stewart, G. H. Rogers, Maggie Stewart, Rosalie and Heloise Duvalli, Francis Bentley.

    .

Publication Details of Only Known VersionEarliest 2 Known Versions of

    • London,
      c
      England,
      c
      c
      United Kingdom (UK),
      c
      Western Europe, Europe,
      :
      T. H. Lacy ,
      1871 .
      Alternative title: Arthur the King, Or, The Knights of the Round Table and Other Funny-ture: a burlesque extravaganza
    • Rochester, New York (State),
      c
      United States of America (USA),
      c
      Americas,
      :
      University of Rochester ,
      2006 .
      Alternative title: Arthur the King, or, The Knights of the Round Table and Other Funny-ture: A Burlesque Extravaganza
      Link: U20154Full text document Sighted 15/11/2011
      Note/s:
      • Part of The Camelot Project at The University of Rochester (http://www.lib.rochester.edu/camelot/).
      • Edited from the 1871 Thomas Hales Lacey edition.

Works about this Work

Marvellous Melbourne's Middle Ages : The Burlesque Extravaganzas of W. M. Akhurst Andrew Lynch , 2011 single work criticism
— Appears in: Australian Literary Studies , October - November vol. 26 no. 3-4 2011; (p. 36-53)
'Lynch's exploration of nineteenth-century Australian burlesque argues that while colonial Australia participated in a larger irreverent, comic culture of popular medievalism, its apparent irreverence toward the Middle Ages sometimes in fact belied a nagging sense that modern Australian public life could only be a base parody of an illustrious European past ('Medievalism, Nationalism, Colonialism', p.4)
The Princess's Theatre 1870 single work review
— Appears in: The Argus , 19 April 1870; (p. 6)

— Review of King Arthur ; Or, Launcelot the Loose, Gin-Ever the Square, the Knights of the Round Table, and Other Furniture W. M. Akhurst , 1868 single work musical theatre
Theatre Royal : Mr Akhurst's New Burlesque 1868 single work review
— Appears in: The Age , 2 November 1868; (p. 3)

— Review of King Arthur ; Or, Launcelot the Loose, Gin-Ever the Square, the Knights of the Round Table, and Other Furniture W. M. Akhurst , 1868 single work musical theatre
The Princess's Theatre 1870 single work review
— Appears in: The Argus , 19 April 1870; (p. 6)

— Review of King Arthur ; Or, Launcelot the Loose, Gin-Ever the Square, the Knights of the Round Table, and Other Furniture W. M. Akhurst , 1868 single work musical theatre
Theatre Royal : Mr Akhurst's New Burlesque 1868 single work review
— Appears in: The Age , 2 November 1868; (p. 3)

— Review of King Arthur ; Or, Launcelot the Loose, Gin-Ever the Square, the Knights of the Round Table, and Other Furniture W. M. Akhurst , 1868 single work musical theatre
Marvellous Melbourne's Middle Ages : The Burlesque Extravaganzas of W. M. Akhurst Andrew Lynch , 2011 single work criticism
— Appears in: Australian Literary Studies , October - November vol. 26 no. 3-4 2011; (p. 36-53)
'Lynch's exploration of nineteenth-century Australian burlesque argues that while colonial Australia participated in a larger irreverent, comic culture of popular medievalism, its apparent irreverence toward the Middle Ages sometimes in fact belied a nagging sense that modern Australian public life could only be a base parody of an illustrious European past ('Medievalism, Nationalism, Colonialism', p.4)

PeriodicalNewspaper Details

Note:

This entry has been sourced from research undertaken by Dr Clay Djubal into Australian-written popular music theatre (ca. 1850-1930). See also the Australian Variety Theatre Archive

Details have also been derived in part from the Annotated Calendar of Plays Premiered in Australia: 1850-1869.

Last amended 10 Oct 2014 06:30:49
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