Cirrus@Austlit

The Australian public's interest in these Oriental musical scenas is evident in the large number of them produced around the country between the mid-1910s and early 1920s. For example, in Brisbane, Edward Branscombe's Dandies (q.v.) staged In China Town at the Cremorne Garden Theatre in 1917 (ca. 14 April), while John N. McCallum's Courtiers company presented a similar version of the same 'fascinating Chinese Scene' at the Cremorne in early September of the same year. A month later, In Yokohama was staged by the Smart Set Entertainers (q.v., 12 October) at the Palace Gardens. Other Oriental-influenced scenas staged in Brisbane during 1918 include My Little Chinee Girl in China (Huxham's Serenaders, 28 November), several unnamed productions in early February and early March; In Fair Japan (Huxham's Serenaders, 20 September); and Asia Minor (Huxham's Serenaders, 11 October). Productions from 1919 included Huxham's Serenaders' The Fan Tan Man (10 January).

It has been suggested that a number of these Oriental scenas might have been adapted or reinterpreted from other productions. Delyse Ryan ('Brisbane Theatre During World War I'), for example, proposes that using set pieces from previous productions may have been a cost-saving policy at Brisbane's Cremorne Garden Theatre (p.143). However, as variety audiences expected a constant stream of new and stimulating entertainments, entrepreneurs such as John N. McCallum would have restricted the reuse of sets to the revivals of popular productions, rather than rehashing old shows under new titles. It is also more likely that old scenic art was painted over to reduce production costs.

It is also believed that redundant scenic art was sometimes sold to other organisations, theatrical or otherwise. In August 1916, for example, Brisbane's Glideway Skating Rink advertised the 'tremendous scenic production' In Sunny Japan (ctd. Brisbane Courier 5 August 1916, p.2).