Cirrus@Austlit

Bluebeard begins in Toyland, where the arrival of Father Christmas heralds the traditional quest for a pantomime story. In the second scene, set in the Square of Aleppo, the forces of evil (led by Demon Discord) and the forces of good (led by Queen Felicity) draw their battles lines prior to the arrival of Bluebeard. The story proper then begins, as Selim's sweetheart Fatima is abducted by Bluebeard and taken to his harem. Meanwhile, Selim declares, 'I am a lover brave and true, and all the world knows what a lover can do.' He then sets forth on the H.M.A.S. Melbourne to rescue his would-be lover.

Act II begins in Bluebeard's Fairy Garden, in the centre of which lies a Wonderful Water Fountain. Fatima, now firmly in the grip of Bluebeard's power, has been condemned to die just like his seven wives. At midnight, upon the conclusion of 'Weird Ghost Ballet', Selim arrives to rescue Fatima, and dispatches Bluebeard in the process. The pantomime ends in Selim's Wonderful Palace of Fans, a setting that leads to the transformation scene, titled 'The March of the Fans.' 'The Wedding of Selim and Fatima' is then followed by the glittering finale 'Wedding Bells' (Fuller News 18 February 1922, p.9).

W. Hamilton Webber's original incidental music and several songs (co-written with Frank Neil) were utilised in each of the productions below. Additional material comprised popular songs of the day and several songs by cast members. For example, Vince Courtney contributed 'That Little Home among the Hills' and 'Sarah.'

The libretto for the 1921/1922 Melbourne season, although based largely on the 1918 version, is believed to have contained some new songs and up-to-date comic business. The original songs included in that production included the opening chorus and Act 1 finale chorus 'Floating Away' (Neil/Webber); 'Come to the Great Bazaar Today' (Webber); 'Cuddle in your Mammy's Arms' (Neil), sung by Fifi de Tisne; 'The Passing of the Hours' (a ballet by Neil/Webber); and 'Swan Boat' (Neil/Webber), sung by Essie Jennings and chorus. Other songs incorporated into the pantomime were 'Just Had a Drop of Gin with Martha', 'Let's All Have a Jolly Good Cry', and 'A Nosy Noise Annoys an Oyster' (sung by Jim Gerald); 'Let's all be Good Pals Together' and 'Lucky' (Nellie Kolle); 'Welcome to the Day', 'Cleopatra's Got a Jazz Band Now', and 'Jazz Boat' (Fifi de Tinse); and 'Wedding Bells' (Company). Nat Phillips also contributed a song to the 1921/22 production: 'The Pickanniny's Land of Dreams.'

Dance numbers included 'The Spirit of the Dawn' and 'The Enchanted Mummy Dance' (performed by Polly McLaren), 'The Golden Fairy Ballet' (Dot Tointon), and 'The Skeleton Ballet.'

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).