Comic opera.
'The plot commences after the defeat of Charles II at the battle of Worcester, whence the King and Rochester escape under the assumed names of Jacob Tompkins and Peregrine Samson. The first act exhibited their "Merry Freaks" at the seat of Sir Henry Milford in which they are assisted by that indispensable hero of Comic Opera, a mischievous page who becomes instrumental in the King's safe escape to the continent. The second act takes the narrative several years hence, opening with Charles' small court of exiled Royalists in Holland. An under-current of that "course of true love which never does run smooth," flows in sinuous windings through the piece which, in its denouement, terminates at Milord Hall, whither the King and his faithful adherents return previous to the Restoration' (Australian Journal 29 May 1843, p2).
The opera is also said to have humorously portrayed and contrasted the characteristics of the Cavaliers and Puritans of that age.
Although Nagel and Nathan completed Merry Freaks in Troublous Times in 1843 and indicated on a number of occasions that they planned to produce it at the Royal City Theatre (and later at the Royal Victoria Theatre), only extracts were ever performed in public.
In 1843, the editors of the New South Wales Magazine, or, Journal of General Politics, Literature, Science, and the Arts twice stated that they had seen a copy of Merry Freaks. In the Colonial Literature section the editors record: 'We have been favoured with a copy of an 'Historical Operatic Drama,' in two Acts, entitled Merry Freaks in Troublous Times, written by a gentleman named Nagel. The plot, founded upon the adventures of Charles II., when escaping the Puritans, is well written, some of the scenes being highly humorous. Mr Nathan has composed the music for the songs, and we understand that it will shortly be performed. The type, and appearance of the book, are by no means creditable to the printer' (p.565). No copy of this puiblication has yet been located.
Isaac Nathan later published the vocal score, set up by himself in moveable type, in Sydney. It was also published that same year, 1851, in London by Cramer, Addison and Beale.