Cirrus@Austlit

'Written, compiled and abstracted from various sources by Arthur H. Adams', this production was advertised as the seventeenth annual Christmas pantomime put on by J. C. Williamson and George Musgrove. The Sydney Morning Herald's review of the premiere records that it 'differed from others that have preceded it in being essentially a performance of spectacle and of ensemble.' While noting that that 'one good point in the book is that it follows the story children love so dearly with more fidelity than is usual,' the critic suggests that, as seems to be the case with the majority of pantomimes produced in the country (both prior to, and following this production), the major problem was an overly-long book. The review records, for example, that one particularly beautiful and climatic scene ('The Land of Peace and Plenty') was 'reached too slowly,' and that there were far too many 'talky patches' in the first two acts (27 December 1898, p.6).

In reviewing the Melbourne (Princess's Theatre, May 1899) production, the Age theatre critic records that while The Forty Thieves 'may be regarded from the point of view of scenery and accessories as superior [to Williamson and Musgrove's previous pantomime success, Babes in the Woods] it is deficient in the lighter graces of sparkling humour and piquancy of flavour that made the former piece so successful' (22 May 1899, p.12).

The first act consisted of four scenes: Scene 1 The Spider's Web, Scene 2 The Market in Baghdad, Scene 3 Ali's Humble Home, and Scene 4 The Exterior of the Cave. The second act is said to have been remarkable for the beautiful corn-and-poppy ballet in 'The Land of Peace and Plenty' scene. A 'magnificent series of patriotic tableaux' was presented within the production's third act: 'The Spanish Armada', 'The Death of Nelson', 'The Capture of Manila', 'The Battle of Santiago', 'The Battle of Omurman', and 'Kitchener, The Conqueror' (Brisbane Courier 18 February 1899, p.2).

Although the musical score was primarily song-and-dance compositions from other sources, Alfred Hill, Leon Caron, and George Pack contributed their own music for portions of the production, particularly in the area of incidental music. In this respect, advertising in the Sydney Morning Herald notes that Alfred Hill 'selected and arranged' the music for the 'Grand Series of Patriotic Tableaux... illustrating the power and progress of The Anglo-Saxon Race.' The remainder of the pantomime's score, 'rendered by a full opera chorus and orchestra, [was] arranged by M. Leon Caron and Mr Geo. Pack' (24 December 1898, p.2). Some of the most popular songs incorporated into the narrative for the Sydney season were 'I'm Too Sweet to Live' and 'Fancy Meeting You' (sung by John Coleman), 'Tricky Little Topsy' (Patti Browne), 'The Little Gay Parisienne', and a melodious coon-song 'Lily of Laguna' (Carrie Moore). Two of Leon Caron's contributions, the song 'Love is Gold' (sung by Cesca Vollugi) and a pastoral ballet, also apparently found favour with audiences and critics alike.

One of the hits songs from the Princess's Theatre production was 'In the Pale Moonlight' (sung by Carrie Moore).