AustLit

Localised and adapted by Percy St John, possibly from H. J. Byron's 1868 Cinderella extravaganza, this production was staged over three acts with traditional transformation scene and harlequinade. The amount of local references and topicalities infused into the production is not clear, but the popularity of such practice would likely have seen them included in both the lyrics of the comic songs and the comedy routines.

The storyline can to a certain extent be understood through the scene and song titles:

Act 1: Scene 1. 'The Fairy Chorus'; The Demon appears and is routed by the fairy forces; Cinderella meets the Prince; Dandini offers odds and is accommodated; 'Hunting Chorus'; Dandini puts on side, but is reminded that 'Gently Does the Trick'. Scene 2. At The Baron's, where the audience is once more introduced to beauty, in the shape of two charming sisters; The Baron gets no breakfast; A loud attack on the front door; Cinderella returns ('We Don't Do that in Sandgate Society'). Scene 3. The Baron's Reception Hall; Buttoni is knighted; The Prince is introduced to the Baron's two sweet lambs; Cinderella appears; Oh rapture; Grand Medley ('Australia').

Act 2: Scene 1. The Baron's Kitchen; Cinderella bemoans her fate; An invitation to the ball; Family jars; The Baron and his daughters depart for the ball; Appearance of the Fairy Godmother; Cinderella goes to the ball, drawn in her carriage by the smallest team of ponies in the world. Scene 2. The Demon's Home; Quartz plots revenge on Cinderella; Demon acrobatic fights. Scene 3. The Ballroom; 'Grand Amazon March'; The Prince's Fete; The Prince arrives; Consternation of the Baron and his daughters; Arrival of Cinderella; Extraordinary specialty acts; Sensational juggling act on the rolling globe; Johnny Sharman and his Clever Performing Dogs; 'Grand Minuet'; The clock strikes twelve; Flight of Cinderella; The slipper; Great struggle to compress two feet into six inches; Cinderella claims the slipper. Scene 4. Ante Chamber at The Palace; Betrothal of the Prince and Cinderella; Grand Finale ('True Hearts Across the Sea').Scene 5. Grand Transformation Scene; Harlequinade (Brisbane Courier 25 December 1890, p.2).

Most likely an updated and revised version of St John's 1890 similarly titled pantomime, the extent to which these two productions are related is presently unclear. It is also unclear what, if any, relationship the burlesque has with the similarly named A.C. Torr (aka Fred Leslie) and W. T. Vincent production from 1891. That work, first staged at Melbourne's Princess Theatre in 1891 (22 August) and reproduced in Sydney beginning 5 October, pre-dates the St John burlesque but not his pantomime.

The most probable difference between St John's Cinderella pantomime and his Cinder-Ellen burlesque was an increased focus on both satire and the lampooning of the Cinderella story. In relation to the satirical content, the Brisbane Courier records in its review of the opening night of the 1894 Gaiety Theatre season (possibly the first production of the burlesque version) that 'various local celebrities came in for hard knocks more or less severe,' and that as a result 'the laughter was hearty and frequent.' The review further records that one of the newly-written topical songs, 'In Nineteen Hundred and One' (a trio performed by Messrs. Callaghan, Jones and York), was 'much superior to the usual stage topical song' being 'brimful of clever local hits' (p.6).

While Cinder-Ellen's storyline is unknown, it likely that revisions were made to subsequent revivals (e.g. 1898 and 1900), and that these comprised at the very least new topical hits and songs and dances. It is reasonable to suspect, however, that the main elements of its dramatic organisation were retained for these latter productions. That is not to say that the storyline would have been fully developed as a drama - an aspect which the Courier noted in its 1894 review:

The piece has a plot of a very mild character which in no way intrudes itself upon the marvelous mixture of burlesque and brilliancy forming the principal features of Cinder-Ellen. There is sufficient plot, however, to enable the audience to follow the old story of Cinderella through the varying fortunes of the heroine, from the time when she is the slighted and despised slave of her sisters, till through the good offices of the fairy she becomes the adored of a prince and triumphs over her enemies (p.6).

Among the other musical highlights of the 1894 production were the duet, 'Under the Southern Cross' (sung by Ettie Williams and Ada Lempriere), 'My Little Slate' and 'What Do I Care' (Ettie Williams), 'The Rowdy Dowdy Crew,' (a 'catchy chorus' sung by Priscilla Verne and several others), 'A Half a Pound of Tea' (T. C. Callaghan), 'Bubble's (Priscilla Verne) and 'Silver Star' (Amy Rowe). Another feature, the 'Grand Doll Ballet,' saw five of the female performers singing nursery rhymes and dancing to 'sympathetic music' (6). The first act medley finale, 'Australia,' reportedly included a striking tableaux (Northern Miner 16 February 1894, p.4).

[Source: Australian Variety Theatre Archive]