To find a bone for the immortal dog, Mrs Hubbard is willing to sell her daughter to the 'Mighty Ruler.' Mr Hubbard should be under the Prohibition Act and counts for little. But Blue Bell loves Robin, and scout the idea of the Sultan, who even disposes of his Sultanate and himself by a sort of 'Tatt's' consultation (5 April 1915, p.3).Auckland's Observer columnist 'Prompter' ('The Lorgnette') also wrote in 1915 about the show during the company's New Zealand tour:
Built on a lavish scale, the colour, glitter and effect of the show are alone worth the price of admission so to speak, and planned to keep the audience saying 'Oh!' most of the time. As far as can be gathered Mother Hubbard deals less with the cupboard than with the Sultan. The said Monarch, aching for Miss Hubbard, declares he will have her. Miss Hubbard doesn't want to be a Sultana, because she's got a chap already. The naughty Sultan, in between the lights and glitter and vaudeville turns and so on, arranges a raffle (cries of horror from the A.M.A.), the winner to wed him. Miss Hubbard, of course, is to get the ticket, but her poor old ma really becomes possessor of the pasteboard, and complications ensue that go on to make a pantomime. All that matters is that Bluebell and Robin get wedded, and that the friendly joy causes a lot of dancing and spectacle and jokes (9 October 1915, p.6).Another New Zealand newspaper, the Northern Advocate (Whangarei) provides some additional insight in 1922:
Old Mother Hubbard is quite a play by reason of its romantic story and its well-defined characterization. It tells it is true, a great deal more of the history of the old lady whose cupboard was bare than is to be gleaned from the nursery rhyme; in fact, Old Mother Hubbard's domestic affairs are very much in the limelight, and even the dog is a conspicuous figure. A pretty little love story is woven around the old dame's fascinating daughter, Blue Bell, the course of whose true love is somewhat ruthlessly disturbed by Gammadelta, the King of Dum Doodle Dum Doo, who is inclined to 'Call spirits from the vasty deep' when he desires to work out his little schemes. Unburdened by anything that could be called superfluous detail, the plot works itself out to a natural and happy conclusion (27 June 1922, p.4).Among the songs incorporated into the production in 1915 were 'All Among the Girls' (Phyllis Faye), 'I'm a Saucy Little Girl' (Florrie Horan), 'Under the Bamboo Tree' (Phyllis Faye and Ivy Marsden), 'Lies' (Bruce Drysdale, Lar Fredo, Florrie Horan and Harry McDonna), 'The King of Dumdoodledumboo' (Lar Fredo). Among the novelties introduced were 'Hello Hello' 'Somewhere a Voice is Calling' and 'Whisper and I Shall Hear' (Harmonious Fontenoys), along with items from the Fredo Brothers and the Three Greshams.
The first known staging of Old Mother Hubbard by Stanley McKay's Pantomime Moving Theatre was in Grafton on 6 May 1912. It may have been produced prior to this date, however (and possibly as early as 1911). The pantomime was presented throughout Australia and New Zealand on a regular basis by one or more of McKay's pantomime companies through until at least 1916.
While exact production dates for Old Mother Hubbard are often difficult to identify, it was certainly a feature production toured by McKay's Pantomime Moving Theatre Company between 1912 and early 1914, along with Bo-Peep. When the troupe was revived by McKay in 1915 Mother Hubbard was again included in the reprtoire - along with Mother Goose and several other pantomimes. McKay's other troupe, the No 1 Pantomime Company (featuring Jim Gerald), also began staging it from 1915 onwards.
For a more extensive and inclusive inventory of engagements see the entry for Stanley McKay's Pantomime Moving Theatre Company. See also the Australian Variety Theatre Archive - 'Works: 1912' and 'Stanley McKay's No 1 Pantomime Company' (sighted 22/04/2014).