Cirrus@Austlit

Although largely following the traditional Cinderella storyline, this version sees the young girl growing up believing she is the daughter of wicked Baron Derick and not realising that she is instead the missing daughter of a king. The hardships she is to endure (until the intervention of her fairy godmother) are introduced in the prologue, which is set in Spider's Ghetto, where King Rat and King Spider hatch their evil plans to wreck Cinderella's life as a means of getting revenge on their enemy, Fairy Snowdrop.

The pantomime had a number of vaudeville acts incorporated into the narrative, notably in the scenes featuring Stiffy and Mo. Interestingly, Phillips and Rene continued portraying their alter egos in the scenes they appeared in, even when cast as characters such as hunters, politicians, or bailiffs. Although not the story's major characters, the pair nevertheless seemed to capture a good deal of attention from the critics. A 1919 review in the Sydney Morning Herald records, for example, that 'Stiffy and Mo... with their dog, Buster (Le Brun) always inconveniently arrived where they were not wanted. Their songs and patter contained many topical references that were highly appreciated by the audience' (22 December 1919, p.5).

The following year's Melbourne production saw an Age critic write" 'A large proportion of the humour is supplied by Messrs Nat Phillips and Roy Rene in their habitual parts of Stiffy and Mo. On this occasion, Stiffy and Mo are bailiffs who attempt to get the rent out of Cinderella's father, Baron Derick, but they appear also as huntsmen and courtiers and in other roles' (28 December 1920, p.6). Less impressed with their antics, however, was the Bulletin. 'Stiffy and Mo make extensive incursions into the plot', writes the magazine's 'Sundry Shows' critic. 'Stiffy is the loud Nat Phillips, who being producer never spares himself in trying to deafen the audience. Roy Rene (Mo) is smoother and more effective as a Yid of conventional type, but has just as much to say as his voluble partner, and never lags superfluous in the wings' (30 December 1920, p.34).

The opening and closing choruses, ballet, and incidental music for all productions (1919-1921) were composed by W. Hamilton Webber, with additional songs being sourced for the Prince's Grand Ball (Act 1, Sc. 2 finale) and the wedding finale ('Wedding Bells'). Other songs incorporated into the 1919/20 Grand Opera House production included two Vince Courtney numbers, 'The Silver in My Mothers Hair', and 'Mexico'; 'You've Set Me Dreaming' (Amy Rochelle and Linda Dale); and Amy Rochelle's waltz-style composition 'Cinderella' (also used in the 1920 Melbourne production).

The twenty-three songs used in the 1921 revival included 'Red Rat' (sung by King Rat); 'Love Shall Reign' (King Rat, Spider King, and Queen Snowdrop); 'Where is Cinders?' (opening chorus); 'Lonely' and 'I Wonder Who' (Cinderella); 'Hunting for a Girl', 'One Horse Town', 'See What I've Found', and 'Mrs Macquarie's Chair' (Prince Charming, with chorus); 'Trouble' (Prince Charming, Cinderella, and King Rat); 'Old Garden Gate' (Prince Charming and Cinderella); and several songs by the chorus: 'Ding Dong', 'Western Days' and 'Wedding Bells' (with full ensemble).

The wedding scene is said to have involved a cake weighing just over one ton, which was brought on stage filled with fairies, mannequins, and other spirits of fairyland. Table Talk indicates that the cake had to be positioned within four minutes and that the whole operartion was controlled by a single string (30 December 1920, p.21).