Cirrus@Austlit

Adapted from H. J. Byron's extravaganza Lady Belle-Belle, or, Fortunio and his Seven Magic Men (1863), this version is said to have been more in the vein of burlesque. The Argus theatre critic also writes that it

'is not decidedly new except in so far as it has been improved (?) by the introduction of local allusions - for the most part rubbish. The management has, however, gone to considerable expense in the production of the piece and shown good taste in the outlay ... the scenery of course calls for first notice on such an occasion, and it may be remarked that the transformation scene [which depicted Paddy's Market and major emporiums] and the concluding tableau, "The Crystal Lake in the Valley of Ferns" have scarcely ever been exceeded in effect upon the colonial stage' (27 Dec. 1866, p.5).

The story of Lady Belle-Belle begins with Count Collywobbol, a nobleman in very embarrassed circumstances, who has been called upon by King Courtly to supply a contingent of soldiers to serve in a war he is currently waging. The Count's three daughters, Flimsietta, Fritterina, and Belle-Belle, volunteer to assume masculine attire and serve in the war under the king. However, the unamiable conduct of Flimsietta and Fritterina causes offence to a very powerful fairy disguised as an old lady, while their sister creates a good impression. The fairy rewards Belle-Belle by allowing her to take the form of Fortunio, a captivating young hero who wins the approval of the king. Meanwhile, the king's half sister, a princess of the virago type, makes advances upon Fortunio but is repelled with disdain. This creates resentment in her mother, the Dowager Queen, who manages to have Fortunio sent on a dangerous mission to kill a dragon. Fortunio manages to trick the dragon with a magic potion, however. After slaying it, he goes on to encounter other adventures before resuming his original feminine aspect and attire. The pantomime ends with Belle-Belle winning the affection of the king. He subsequently asks for her hand in marriage, which leads to the glorious transformation scene.

The local references included the introduction of a number of quasi Ethiopian cricketers, in compliment to the Aboriginal cricketers who were there. The harlequinade also featured a cricket match with 'Lilliputian darkies' (Bell's Life in Victoria 22 Dec. 1866, p.2). One of the songs incorporated into the production was popular 'Hot Codlins' (sung by J. L. Hall).