AustLit

Described in the Argus as the best pantomime seen at the Academy of Music in years, a script from the successful London-produced burlesque extravaganza had reportedly been sent to Mrs G.B.W. Lewis by Lydia Thompson. Said to have abounded in 'lively dialogue, taking airs and amusing situations... one of the most pleasing incidents in the piece [being] a ballet by a dozen children dressed charmingly a la Watteau' (27 December 1876, p.6), the Melbourne production included 'some local allusions of an obvious and apposite character.' While the identity of the localiser(s) remains unidentified, it is possible that Lance Lenton (one of the company members) was responsible or most, if not all, of the additions.

Played out over two acts the scenic settings comprised:

Act 1. Scene 1. The Village of Latakia (Grand Procession on the Arrival of Bluebeard);

Scene 2. Moonlight Path to Castle Bluebeard;

Scene 3. The Dazzling Hall of Many Nuptials (including the Ballet a la Watteau and the sudden appearance of the Heather Chinee);

Act 2. Scene 1. The Blue Chamber;

Scene 2. Look-out Portals and Ramparts of Castle Bluebeard;

Transformation Scene: The Plumed Throne of Fairyland.

The scenic art came in for much praise from the Argus critic. The 'Dazzling Hall of Many Nuptuals,' for example, is said to have depicted marble and malachite arches, and an illuminated lake and distant garden. The transformation scene was also spectacular, starting off with a castle situated on heights above a picturesque lake with views of the sea, complete with rocks and caves obscured by golden haze. 'When this disappears,' writes the critic, 'a gorgeous combination of fountains and gigantic baskets of fruit and flowers framed in feathers is revealed, and lastly the background is filled up by a sparkling waterfall, to which from every available point flock fairies, in cars drawn by birds of paradise, the whole forming a brilliant and beautiful picture' (ibid, 6).

[Source: Australian Variety Theatre Archive]