Cirrus@Austlit

Billed as a 'grand scenical, historical, fictional, parodical, balygalical, musical match-if-you-can-ical, comical Christmas Pantomime' (Sydney Morning Herald 26 December 1854, p.1), Harlequin King Blear is also described as 'a rich burlesque on Shakespeare's King Lear, whereby the king seeks to relieve himself of the cares of state in favour of what he seems to think the more agreeable delights of drinking potations deep' (Age 27 Dec. 1855, p.5). Although the 1854 and 1855 productions involved mostly different companies (with the exception of Frank Belfield as Bloatero), the similar synopses and characters (published in the Sydney Morning Herald and Argus) indicate that they are related (at least in the dramatic action). New comic business and songs are believed to have been added to the latter production.

According to the Age's plot synopsis, King Blear decides to abdicate, and announces that he will divide his kingdom and possessions between his three daughters (Scragina, Fatima, and Lightstep) if they will each promise to provide him with comfort in his declining years. Meanwhile, Blear is also persuaded by his right-hand man Demon Goggle to promise his youngest and finest daughter (Lightstep) in wedlock to a Falstaffian lothario, Bloatero, much to the dismay of the damsel and her true knight, Edward. The lovers are, however, given support by Queen Graceful, who promises not only her protection but also her best assistance to thwart the schemes of Goggle. The Sydney production included Sydney's George Street Market, the exterior of Woolloomooloo Gaol, Castlereagh Street, the Newtown races, Homebush Nursery Grounds, and the Prince of Wales Restaurant in Pitt Street. The Melbourne production had these scenes changed to local settings.

The songs incorporated into the Sydney production included 'Gin a Fairy Meet a Fairy, Comin' Through the Sky' (fairy chorus), and 'Bonny Done' (Queen Graceful and ladies). The musical aspects of the revival were described in the Age as 'creditable.' They included 'new and beautiful songs', two of these being 'Hot Coddlins' and 'Tippetywitchet.' The production also involved several dance sequences.

'Bringing together the country's finest creative talents including Tom E. Lewis (The Chant of Jimmy Blacksmith) and Jimi Bani (Mabo) this majestic and physical reworking of Shakespeare's King Lear employs the timeless tragedy to speak to the history and current circumstances of Indigenous Australia. Working across cultures and generations, The Shadow King is unmissable theatre of a scale and significance to match the land upon which it is made.'

Source: www.malthousetheatre.com.au (Sighted 12/09/2012).

'Two parts theatrical extravaganza, one part dance floor, Qween Lear explores the demise of Sydney’s party era through the tale of an ageing drag matriarch abdicating their nocturnal throne. Forget what you know about cabaret and music theatre – this is an electrifying theatre experience and a party in one hit.'

Source: Sydney Festival.