Cirrus@Austlit

The history of this musical drama is littered with controversy, legal action and bitterness. Although on one hand it remains difficult to assess which one of the three resulting works is the definitive, or superior, version, the story behind the creation of each of The Two Worlds does make for fascinating reading. According to A.H. Kornweibel in Apollo and the Pioneers (q.v.), the situation arose through conflict between the two original creators, Joseph Summers Ph.D (q.v.), and a literary-minded Roman Catholic priest, Father James Duff. Kornweibel notes, too, that the incidents hold a place in early Western Australian history not only for its oddity, but also for the unique nature of the litigation that arose from them. Dr Summers had moved to Western Australia from Melbourne, where he had previously established a high profile reputation as a pianist, composer, conductor and music director. Not long after settling in Perth Summers met Father Duff, who had by then already begun working on a dramatic adaptation of Milton's novels Paradise Lost and Paradise Gained. Duff subsequently commissioned Summers to write music for the drama with a view to staging it for public performance in November 1900. Summers, in his memoirs, claims that he wrote thirty-four pieces of music for the work, although there was talk that only twenty-seven were to be used. Rehearsals were undertaken, and according to Summers there was also a private performance held at the Bishop's Palace before a "distinguished audience."

Kornweibel records that the collaboration was far from harmonious, with "complaints, accusations, claims and arguments [flying] back and forth" between the two men (p93). Before the production could go ahead Father Duff sacked Summers and engaged Reginald D'Arcy-Irvine, a well-known Perth-based musician and music director to compose the needed music. Duff then began advertising that his "original dramatic oratorio in five acts," with special new scenery and music by D'Arcy-Irvine, was to be produced at the Theatre Royal (Perth) on 10 November 1900. The production was to be conducted under the baton of the composer. In a counter-strike, Dr Summers began advertising that the premiere of his own production of The Two Worlds would be held on 7 November, three days prior to his adversary's production. A legal injunction was sought by Duff, leading to a court case the following March in which issues concerning the ownership of the music, copyright and the misleading of the public became the major points of contention. Summers won the case, although conditions relating to full disclosure were made by the presiding judge. He then took the offensive, claiming damages against Duff, and seeking to ensure that the priest did not use his music for a planned Eastern states production. This case was brought to trial in August 1901, but neither party established a clear-cut win.

Early in 1902 Father Duff's drama was produced in Ballarat, Bendigo and Adelaide, this time with the full score by Reginald D'Arcy-Irvine. It is yet unclear how the work was received by the critics, but Kornweibel notes that the tour sustained a financial loss (p94).