1915

Harry Clay staged his revusicals in 1915 as a first part entertainment - essentially replacing the minstrel portion of his previous shows. The second part of the program offered vaudeville artists - some of which were staged by specialty artists and some by members of the revusical troupe. Most of the other theatre operations presenting revusicals at this time presented these productions as a second part entertainment - with the vaudeville bill opening proceedings. Edward Warwick's Burlesquers toured Australia during the year, presenting vaudeville and burlesque-style musical comedy productions. The troupe included performers such as Maud Fane, George Tichener and Armitage and Hine. The origins of their music theatre works are unclear. ______

THIS IS THE LIFE: [burlesque] Txt. Paul Stanhope; Mus. [n/e] Described as a musical burlesque with seven part characters and a chorus of twelve who sing, dance and/or perform specialty acts. Possibly written by Stanhope with contributions from other Les Bates and other members of the company, the action appears to have unfolded within various parts of a hotel, including a restaurant. Reference is made to the war in a section played out by Arthur Renshaw and a chorus of girls "personifying the Allies" (X-Ray, 35). Stanhope's Spike Murphy character was reportedly a piano mover in this production. Other characters include Charlie Wise (landlord), Google-Eyed Hogan (Spike's friend), Adolf (a waiter), Lord No Coin (up against it), Jannette Dupree (a jolly widow), and Dolly Dollars (her friend). Songs included in the 1915 production included the opening chorus (The Grafters), "I'll Get You," Here Comes the Whip, Poor Will (coon quartet), "Sail On, Silvery Moon," and "It's a Long Way to Tickle Mary." 1915: Bijou Theatre, Melbourne; 2-8 Jan. - Dir. Paul Stanhope; Prod. Fullers' Theatres Ltd. - Troupe: Paul Stanhope Merry Musical Burlesque Company. - Cast incl. Paul Stanhope (Spike Murphy), Les Bates (Charlie Wise), Ruby Kennedy, (Jeanette Dupree), Reg Herbert (Google-Eyed Hogan), Frank Norton (Adolf), Frank Ross (Lord No Coin), Miss Fritzee de Guy (Dolly); plus "The Grafters Quartet" (Harry Ross, Teddy Long, Arthur Renshaw, George McCall). 1915: His Majesty's Theatre, Ballarat (Vic); 6 Feb. - Cast and production mostly as for previous Melbourne season (Lse. Harry Sadler). 1915: National Amphitheatre, Sydney; 13-19 Feb. - Cast and production mostly as for previous Melbourne season. - This was the opening production for Stanhope's seven week season at the National (ending 30 Mar.), and was followed by two other revusicals On the

Farm and Helloa Coogee. The company left for New Zealand on 31 March. 1915: Empire Theatre, Brisbane; 13-19 Nov. Paul Stanhope - Dir. Paul Stanhope; Prod. Holland and St John (in assoc. with Fullers' Theatres Theatre Apr. (1915), 1. Ltd); Lse. Holland and St John. - Troupe: Paul Stanhope's Merry Musical Burlesque Company.

"Her Majesty's Theatre." Ballerat Courier 6 Feb. (1915), 11. X-Ray. "Paul Stanhope Musical Burlesque Co." Theatre Magazine Mar. (1915), 35.

DICK WHITTINGTON AND HIS CAT: [pantomime] Lib. Dan Thomas; Mus. [n/e] This version of the popular pantomime was adapted for the Australian stage by Dan Thomas from his earlier London production (believed to have been first produced ca.1910). Although no details of the Philip Lytton regional tour under canvas (along with another Thomas pantomime, Aladdin) have been located yet, the Theatre reports in February 1915 that both productions were in rehearsal as of January and that the tour was scheduled to begin in early February. The tour's principal girl, Marceline Boulais had previously starred in Come Over Here (1913), believed to have been the first revue ever staged in Australia. She took over the role played in Sydney by Olive Godwin for Melbourne and Adelaide. Interestingly, the Adelphi Theatre (Syd) production marked the first time that American director Lester Brown had worked for George Marlow, despite having been brought to Australia by the producer some two and a half years previously. Originally engaged in America by Marlow to direct a series of dramas at the Adelphi Theatre in Sydney, by the time Brown had arrived in Australia the theatre had changed hands, and his contract was thus automatically taken up by the new proprietor, George Willoughby. Brown's association with Willoughby saw him quickly become one of the leading directors of musical comedy in the country, and although he staged all manner of theatre (including motion pictures) during his long career, it was would be his musical comedies and pantomimes that found the greatest success. For the Adelphi season much of the comedy fell to Dan Thomas as the dame, Mary Ann, with Carrie Moore taking on the principal boy role of Dick Whittington. Some of the topicalities incorporated into the narrative included the up-coming census, with Dan Thomas raising plenty of laughs with his line "Is this where I get my senses taken?" Several references to the war were also made, with an allusion to Germans interned in Australia being applauded vigorously when the actors suggested more should be put into the camps" (Brisbane Courier 17 Feb. 1916, 4). One of the chief attractions, too, was the scenic art by Rege Robins and

his assistants. The settings included: "The Panama Exposition," "The Tower of Jewels," "The Fountain of Energy," "The Great Shipwreck," "The Gardens of Morocco," and "The Big Cheapside Scene. Two of the Dick Whittington's biggest hit songs were "Rufe Johnston's Harmony Band" sung by Dan Thomas; and a duet by Thomas and Billy Watson titled "If You Can't Get a Girl in the Summertime (You'll Never Get a Girl at All)." The rest of the music, described by the Brisbane Courier theatre critic as "not strikingly melodious, but [containing] catchy numbers" (4) included: "What's the Good of the Moonlight" and "Little House on the Hill" (Moore); the duet "I Just Can't Keep Away from You" (Moore and de Vere); and "Idle Jack" (de Vere). The dances staged included: "The Dance of the Nile Maidens," The Beautiful Harem Ballet" and "The McLean's Whirlwind Dance." 1915: Phillip Lytton's Australian regional tour; beginning Feb. - Dir/Pord. Philip Lytton. - Cast incl. Kathleen Mack (aka Mrs Frank Musgrove as principal boy), Marceline Boulais (principal girl), Reg Harrison (dame). 1915: Adelphi Theatre, Sydney; 21 Dec. 1915 - Jan. 1916 - Dir. Lester Brown; Prod. George Marlow; M Dir. T. H. Knibb; S Art. Rege Robins. - Cast incl. Carrie Moore (Dick), Dan Thomas (Mary Ann), Frank Skeats (Demon King), Violet Noveni (Fairy Queen), Kathleen Mack (Capt. David), Audrey Worth (Princess of Morocco), Harry Burgess (Marlin Spike), Billy Watson (Idle Jack), Ted Stanley (Bowsprite), Ray de Vere (Alice Fitzwarren), Eddie Mclean (The Cat), Decima McLean (dancer), Montambo and Wells. 1916: His Majesty's Theatre, Brisbane; 16-28 Feb. - Cast and production mostly as for previous Sydney season.

"Dick Whittington." Brisbane Courier 17 Feb. (1916), 4. [see also advert. - 16 Feb. 1916: 2; and rev. - 18 Feb. 1916, 5] "Dick Whittington Pantomime." Brisbane Courier 18 Feb. (1916), 5. "Philip Lytton's Pantomime Co." Theatre Magazine Feb. (1915), 36.

ALADDIN: [pantomime] Lib. Dan Thomas; Mus. [n/e] Although no details of the Phillip Lytton regional tour under canvas (along with another Thomas pantomime, Dick Whittington) have been located yet, the Theatre Magazine reports in February 1915 that both productions were in rehearsal as of January and that the tour was scheduled to begin in early February. The tour's principal girl, Marceline Boulais had previously starred in Come Over Here (1913), believed to have been the first revue ever staged in Australia. She took over the role played in Sydney by Olive Godwin for Melbourne and Adelaide. 1915: Phillip Lytton's Australian regional tour; beginning Feb. - Dir/Prod. Philip Lytton. - Cast incl. Kathleen Mack (aka Mrs Frank Musgrove as principal boy), Marceline Boulais (principal girl), Reg Harrison (dame).

"Philip Lytton's Pantomime Co." Theatre Magazine Feb. (1915), 36.

FUN ON A FARM: [aka ON A FARM] [revusical] Txt. Paul Stanhope; Mus. [n/e] It is unclear as to what relationship this revusical has with several other similarly titled revusicals staged in Australia over the course of the next decade or so. These include: Arthur Morley's On the Land (1916); Art Slavin's On the Ranch (1916) Fooling the Farmer (also sometimes referred to as Fun on a Farm) produced on the Clay circuit in 1917; and Fun on the Farm (Billy Cass, 1926). [NB: It is also not clear whether a relationship exists between any of these revusicals and a minstrel farce staged in 1897 under the title Fun on a Farm (produced by Harry Rickards at the Melbourne Opera House from 17 July)]

Theatre Apr. (12915), 1.

1915: National Amphitheatre, Sydney; ca. Mar. - Dir. Paul Stanhope; Prod. Fullers' Theatres Ltd. - Troupe: Paul Stanhope Merry Musical Burlesque Company. - Cast incl. Paul Stanhope, Les Bates, Ruby Kennedy, Frank Norton, plus "The Grafters Quartet" (Harry Ross, Teddy Long, Arthur Renshaw, George McCall). - The second of three productions staged by the Stanhope company during a seven week season (Feb/Mar.) at the National. The other productions being This is the Life and Helloa Coogee. 1915: Empire Theatre, Brisbane; 20-26 Nov. - Dir. Paul Stanhope; Prod. Holland and St John (in assoc. with Fullers' Theatres Ltd); Lse. Holland and St John. - Troupe: Paul Stanhope Merry Musical Burlesque Company.

HELLOA COOGEE: [aka HELLOA BRISBANE] [revusical] Txt. Paul Stanhope; Mus. [n/e] It is believed that the title of this production changed according to the place it was being staged, hence Helloa Coogee when presented in Sydney, and Hello Brisbane during the Queensland capital's season. 1915: National Amphitheatre, Sydney; ca. Mar. - Dir. Paul Stanhope; Prod. Fullers' Theatres Ltd. - Troupe: Paul Stanhope Merry Musical Burlesque Company. - Cast incl. Paul Stanhope, Les Bates, Ruby Kennedy, Frank Norton, plus "The Grafters Quartet" (Harry Ross, Teddy Long, Arthur Renshaw, George McCall). - The third of three productions staged by the Stanhope company during a seven week season (Feb/Mar) at the National. The other productions being: This is the Life and Fun on the Farm. 1915: Empire Theatre, Brisbane; 20-26 Nov. [as Helloa Brisbane] - Dir. Paul Stanhope; Prod. Holland and St John (in assoc. with Fullers' Theatres Ltd); Lse. Holland and St John. - Troupe: Paul Stanhope Merry Musical Burlesque Company.

IN VACATION TIME: [revusical] Txt/Mus. [n/e] Albert Bletsoe played Dusty Roads an Irish American tourist in this one act musical comedy. Maude Bletsoe was cast as Violet Asterbilt, a seaside belle, and Roy Rene as Garibaldi Isaacs, a Hebrew buyer and seller. Rene's specialty in the production was a performance of the Yiddisher Wedding. 1915: Victoria Theatre, Newcastle (NSW); ca. 10-16 Apr. - Dir. Albert Bletsoe; Prod. Dix-Baker (in assoc. with Fullers' Theatres Ltd). - Troupe: Albert Bletsoe's Musical Comedy Revue Company. - Cast incl. Albert Bletsoe (Dusty), Maud Bletsoe (Violet). - Season begins 23 Mar. and ends 30 Apr. (see also Fun in a Sanatorium) 1915: Bijou Theatre, Melbourne; ca. May/June - Dir. Albert Bletsoe; Prod. Fullers' Theatres Ltd. - Troupe: Albert Bletsoe's Musical Comedy Revue Company. - Cast incl. Albert Bletsoe (Dusty), Maud Bletsoe (Violet). 1915: National Theatre, Sydney; ca. Nov. - Dir. Albert Bletsoe; Prod. Fullers' Theatres Ltd. - Troupe: Albert Bletsoe's Musical Comedy Revue Company. - Cast incl. Albert Bletsoe (Dusty), Maud Bletsoe (Violet), Roy Rene (Gaibaldi Isaccs), George Melrose, Jolly Marie, Biddie Hawthorne, Eileen Barnsley, Freda Hellston, May Sharpe, Rosie Bowie, May Foy, Belle Blackwell, Charles Callow, Charlie Melvin, Harry Kenny, Jack Nicholson. 1916: Empire Theatre, Brisbane; 20-26 May [return season: 10-16 June] - Dir. Albert Bletsoe; Prod. Holland and St John (in assoc. with Fullers' Theatres Ltd); Prop. Holland and St John. - Troupe: Albert Bletsoe's Musical Comedy Revue Company. - Cast incl. Albert Bletsoe, Maude Bletsoe, Roy Rene, Rosie Bowie. Newcastle Morning Herald and Miners' Advocate

7 Apr. (1915), 8. Theatre Magazine June (1915), n. pag. West, John. Theatre in Australia. (1978), 124.

FUN IN A SANATORIUM: [revusical] Txt. Albert Bletsoe; Mus. [n/e] Although the origins of this revusical have not yet been established, the cast was largely Australian, and as was typical of such productions relied very much on contributions from various members to fill in the narrative. One particular scene, described in the Theatre Magazine as "the banker interlude" was presented by a young Roy Rene and George Melrose. One song known to have been incorporated into the work was a duet between Albert and Maud Bletsoe, titled "Ab-dab Honeymoon." Australian sketch artists Maud and Albert Bletsoe, who were well-known as costume-comedy artists throughout the Antipodes during the first decade of the 20th century, had returned to Australia in March of 1915 after having spent some thirteen months touring America on the Y.M.C.A. circuit (one of their more popular creations on that tour was a dance they titled "The Kangaroo Tango"). It is very likely that the basis for the story and production were "American in influence." [NB: It is not known whether any relationship exists between this work and a later revusical The Sanatorium, credited to Nat Phillips and staged by his Stiffy and Mo company in 1919. Of interest here is the fact that Roy Rene, a cast member for the 1915 work was also, naturally, a cast member of the 1919 revusical] 1915: Victoria Theatre, Newcastle (NSW); 17-23 Apr. - Dir. Albert Bletsoe; Prod. Dix-Baker (in assoc. with Fullers' Theatres Ltd); Lse. Dix-Baker. - Troupe: Albert Bletsoe's Musical Comedy Revue Company. - Cast incl. Albert Bletsoe, Maud Bletsoe. - Season begins 23 Mar. and ends 30 Apr. (see also In Vacation Time) 1915: Bijou Theatre, Melbourne; ca. May/June - Dir. Albert Bletsoe; Prod. Fullers' Theatres Ltd.

- Troupe: Albert Bletsoe's Musical Comedy Revue Company. - Cast incl. Albert Bletsoe (Dusty), Maud Bletsoe (Violet). 1915: National Theatre, Sydney; 20-26 Nov. - Dir. Albert Bletsoe; Prod. Fullers' Theatres Ltd. - Troupe: Albert Bletsoe's Musical Comedy Revue Company. - Cast incl. Albert Bletsoe, Maud Bletsoe, Roy Rene, George Melrose, Jolly Marie, Biddie Hawthorne, Eileen Barnsley, Freda Hellston, May Sharpe, Rosie Bowie, May Foy, Belle Blackwell, Charles Callow, Charlie Melvin, Harry Kenny, Jack Nicholson. 1916: Empire Theatre, Brisbane; 13-19 May - Dir. Albert Bletsoe; Prod. Holland and St John (in assoc. with Fullers' Theatres Ltd); Lse. Holland and St John. - Troupe: Albert Bletsoe's Musical Comedy Revue Company. - Cast incl. Albert Bletsoe, Maud Bletsoe, Roy Rene, Rosie Bowie

Theatre Magazine June (1915), n. pag. Theatre Magazine Dec. (1915), 41.

THE GOOSE THAT LAYED THE GOLDEN EGG: [musical comedy] Lib/Mus. [n/e] This production, advertised as a "brilliant witty musical comedy" (Northern Miner 10 Apr. 1915, 1) rather as a pantomime, was staged by Frank's Reis's musical comedy company, along with other productions like On the Brain. 1915: Theatre Royal, Charters Towers (Qld); 12 Apr. - Dir/Mngr. Frank Reis; Prod. Birch, Carroll and Coyle. - Troupe: The World's Entertainers.

FUZZY WUZZY: [revusical] Txt. Bert Le Blanc; Mus. [n/e] Arguably one of Bert Le Blanc's most popular creations, Fuzzy Wuzzy was staged in Australia regularly for at least six to seven years. The action is set in a bank, with Ike Cohen and Morris Levi putting in and taking out "mornings and evenings." The Truth newspaper indicates that the narrative allowed "good choruses, splendid solos, clever dancing and amusing patter [to be] worked in" (12 Mar. 1916, 7). As such it was variously described as a "revue," a "musical extravaganza" (Truth 1 Apr. 1916, 7); "the quintessence of musical comedy… crammed full with tuneful musical numbers" (Brisbane Courier 17 Dec. 1917, 11); and "a musical travesty" (Brisbane Courier 9 Dec. 1918, 5). The principal characters are Ike Cohen and Morris Levi (on business and pleasure), General Steele and his four daughters, Percy Cheatem (a bad-un), Harvard Yale (educated) and two society women - Lady Grafter and Lady Fleecem. Although there would likely have been quite a number of changes over the years, it is likely that the latter versions share a similar foundation to the 1915 production. Specific comedy routines and songs, however, would have been reworked in order to provide topicality and social relevance. One of the musical hits of the 1917 production was "Lonesome baby" sung by Nellie Fallon. Songs incorporated into the 1918 production included: "Dance that Dengozo with Me" and "In a Jake Mack (L) and Bert Le Blanc (R) Bungalow Where the Red Roses Grow" (sung by Lillian Colenzo); Australian Variety 7 June (1916), 1. "Lonesome Baby" (Olga Ray); "The Strains of a Wedding March," "Where the River Shannon Flows" and "Summer Moon" (Mike Connors); and "The Deathless Army" (Will Raynor). [NB: It has not yet been established whether Le Blanc's Fuzzy Wuzzy production and a similarly titled revusical staged by Charles Delavale on Harry Clay's Sydney circuit in 1927 are related. Delavale's Fuzzy Wuzzy, produced by Maurice Chenoweth for Clay's Bridge Theatre Pty Ltd and co-starring Violet Elliott, was staged at the Gaiety Theatre during the week 19-25 Feb.] 1915: Bijou Theatre, Melbourne; 26 June - 9 July - Dir. Bert Le Blanc; Prod. Fullers' Theatres Ltd. - Troupe: Bert Le Blanc's Travesty Stars. - Cast incl. Bert Le Blanc (Ike Cohen), Jake Mack (Morris Levi), Carrie Moore (Lady Grafter), Carlton Chase, Maud Miles, Durham Marcel, Nellie Fallon, New York Comedy Four (Jack Quinlan, Glenmore Jones, Clym Edgares and Holly Leslie); and the Pony Ballet. - The opening production for Le Blanc's Melbourne season, it ran for two weeks. 1915: Melrose Theatre (Perth); 2-8 Oct. - Dir. Bert Le Blanc; Prod. Fullers' Theatres Ltd. - Troupe: Bert Le Blanc Revue Company. - Cast incl. Bert Le Blanc, Jake Mack, Carlton Chase, Maud Miles, Durham Marcel, Nellie Fallon, New York Comedy Four (Jack Quinlan, Glenmore Jones, Clym Edgares and Holly Leslie); and the Pony Ballet. 1915: Princess Theatre, Fremantle (WA); 6-12 Nov. - Cast and production as for previous Perth season. 1915: Kings Theatre, Adelaide; 11-17 Dec.

- Dir. Bert Le Blanc; Prod. Fullers' Theatres Ltd. - Troupe: Bert Le Blanc Revue Company. - Cast incl. Bert Le Blanc, Jake Mack, Carlton Chase, Maud Miles, Durham Marcel, Nellie Fallon, New York Comedy Four (Jack Quinlan, Glenmore Jones, Clym Edgares and Holly Leslie); and the Pony Ballet. - NB: Maud Miles replaced Carrie Moore from the Adelaide onwards. 1916: Empire Theatre, Brisbane; 11-17 Mar., 15-19 Apr. - Dir. Bert Le Blanc; Prod. Holland and St John (in assoc. with Fullers' Theatres Ltd); Lse. Holland and St John. - Troupe: Bert Le Blanc's Musical Travesty Stars. - Cast incl. Bert Le Blanc, Jake Mack, Carlton Chase, Maud Miles, Nellie Fallon, Durham Marcel, New York Comedy Four (Jack Quinlan and Glenmore Jones, Hollie Leslie, Clym Edgares); and the Pony Ballet (Gladys Nyhoym, Marie Lannan, Dot Bellion, Letty Patten, Violet De Lacy, Lily Clark). 1916: National Theatre, Sydney; ca. 29 Apr. - 5 May - Dir. Bert Le Blanc; Prod. Fullers' Theatres Ltd. - Troupe: Bert Le Blanc's Musical Travesty Stars. - Cast incl. Bert Le Blanc, Jake Mack, Carlton Chase, Maud Miles, Nellie Fallon, Durham Marcel, New York Comedy Four (Jack Quinlan and Glenmore Jones, Hollie Leslie, Clym Edgares); and the Pony Ballet (Gladys Nyhoym, Marie Lannan, Dot Bellion, Letty Patten, Violet De Lacy, Lily Clark). - * Possibly staged during the week 22-26 Apr. 1917: Majestic Theatre, Adelaide; 7-13 Apr. - Dir. Bert Le Blanc; Prod. Fullers' Theatres Ltd. - Cast incl. Bert Le Blanc (Ike Cohen), Jake Mack (Morris Levi), Carlton Chase, Maud Miles, Nellie Fallon, Durham Marcel, Clym Edgares, Holly Leslie, Glanmore Jones, Barry Hitchings; and the Pony Ballet. 1917: Crystal Theatre, Broken Hill (NSW); 26 May - Cast and production mostly as for previous Brisbane season. 1917: Majestic Theatre, Newtown (Sydney); 23-29 June - Dir. Bert Le Blanc; Prod. Fullers' Theatres Ltd. - Troupe: Bert Le Blanc's Musical Travesty Stars. - Cast incl. Bert Le Blanc, Jake Mack, Nellie Fallon, Queenie Paul, Mike Connors, Fred Witt, Carlton Chase, Durham Marcel; and the Pony Ballet (Kitty McGuire, Trixie Wilson, Marie Lannan, Dot Bellion, Lily Clarke, Annie Henry). 1917: Empire Theatre, Brisbane; 15-21 Dec. - Dir. Bert Le Blanc; Prod. Fullers' Theatres Ltd; Lse. Holland & St John. - Troupe: Bert Le Blanc's Travesty Stars - Cast incl. Bert Le Blanc, Jake Mack, Queenie Paul, Ivy Moore, Clym Edgares, Carlton Chase, Mike Connors, Fred Witt, Winnie Knight [aka Mrs Bert Le Blanc]; and the Pony Ballet. 1918: Empire Theatre, Brisbane; 7-13 Dec. - Dir. Bert Le Blanc; Prod. Fullers' Theatres Ltd. - Troupe: Bert Le Blanc's Musical Travesty Stars. - Cast incl. Bert Le Blanc, Jake Mack, Mike Connors, Queenie Paul, Lillian Colenzo, Winnie Knight [aka Mrs Bert Le Blanc], Lance Vane, Will Raynor; and the Pony Ballet (Violet Penson, Rita Penson, Vera Tandy, Rose Brennan, Hilda Lynn, Annie Henry). 1920: Queensland regional tour; ca. June/July - Dir. Bert Le Blanc; Prod. George Marlow and Birch and Carroll. - Troupe: Bert Le Blanc's Travesty Stars - Cast incl. Bert Le Blanc, Jake Mack, Arthur Elliott. - Tour itinerary incl: 9-10 June, Maryborough. 1921: Lyric Theatre, St Kilda (Melbourne); 15-21 Oct. - Dir. Bert Le Blanc; Prod. William Anderson; Lse. Fullers' Theatres Ltd; M Dir. George Powell. - Troupe: The Who's Who Costume Revue Entertainers (aka Travesty Stars) - Cast incl. Bert Le Blanc, Jake Mack, Sydney Hollister (Percy Cheatem), Dan Weldon (General Steele), Frank Graham (Will Doem), Clarice Norman (Lady Grafter), Jean Maynard (Spirita Steele), Alice Walton (Nicotina Steele), Winnie Knight (Lady Fleecem), Fred Deal (Harvard Yale), Harry Vernon (Butt Trimem), Mary Anderson, Nora Marrs (Glucosia Steele), Sylvie Millers, May Down (Petrollir Steele). - An advertisement in the Argus (15 Oct. 1921, 6) has Le Blanc's character billed as "Abe." - Most of the cast members also appeared in the first part entertainment.

"Empire, The." Truth (Brisbane) 12 Mar. (1916), 7. "Empire, The." Brisbane Courier 17 Dec. (1917), 11. "Empire, The." Brisbane Courier 9 Dec. (1918), 5. "Lyric Theatre - 'Who's Who." Argus 17 Oct. (1921), 9. "Melbourne Notes - by SID: Bijou Theatre." Australian Variety 7 July (1915), n. pag. "Melrose Theatre: The Fuzzy Wuzzy Revue." Daily News (Perth) 5 Oct. (1915), 2.

IN OLD SEVILLE: [aka CENTRAL 3251]: [revusical] Txt. Bert Le Blanc; Mus. [n/e] Staged in 1915 under the cryptic title of Central 3251, this one act "musical travesty" set in Spain continues the adventures of Ike Cohen and Morris Levi amidst "a succession of laughable turns, merry dances and tuneful songs." An Age theatre critic further

notes: 'Messrs Bert Le Blanc and Jake Mack as Ike Cohen and Morris Levi [bear] the brunt of the travesty upon their shoulders… Farcical interludes followed one another in rapid succession, [with] particular amusement being aroused by their fishing scene" (12 July 1915, 14). Staged from 1916 onwards as the "spicy, sparkling Spanish spree," In Old Seville (Brisbane Courier 5 Jan. 1918, 2), a Brisbane theatre critic indicates that Le Blanc (Ike) and his off-sider, Jack Mack (Morris) play a pair of bullfighters. The review also refers to the production as a "musical burlesque" (7 Jan. 1918, 9). The 1915 production saw Carrie Moore score much acclaim for her "latest song success, 'My Bird of Paradise'" and the rousing patriotic ditty "I Love You Australia" (performed as squadron after squadron of Light Horse marched across a cinematograph screen at the back of the stage). Along with three well-received songs and dances by Nellie Fallon, and Carlton Chase's hit, "In the Heart of the City," the production's other musical sequences involved performances by the New York Comedy Four and the Pony Ballet's humorous "Charlie Chaplin Ballet" (Age 12 July 1915, 14). Four other ballets were staged by this troupe of dances - these being "The Quaint Pajama Ballet," "The Pretty Pierrot Ballet," "The Novel Railroad Ballet" and "The Clever Spanish Ballet" (Age 10 July 1915, 16). Songs known to have been presented as part of the 1918 version are: "My Bird of Paradise" and "I Love You Australia" (sung by Queenie Paul). The Pony Ballet also staged a Charlie Chaplin turn during that years Brisbane season. 1915: Bijou Theatre, Melbourne; 10-23 July [as Central 3251] - Dir. Bert Le Blanc; Prod. Fullers' Theatres Ltd. - Troupe: Bert Le Blanc's Travesty Stars. - Cast incl. Bert Le Blanc (Ike Cohen), Jake Mack (Morris Levi), Nellie Fallon (Senorita Richmond), Carlton Chase (Willie Collingwood), Carrie Moore (Lady Fitzroy), Maud Miles, Durham Marcel, New York Comedy Four (Jack Quinlan, Glenmore Jones, Clym Edgares and Holly Leslie); and the Pony Ballet. - This production was advertised as being staged for the first time in Melbourne. 1915: Melrose Theatre, Perth; 9-15 Oct. - Dir. Bert Le Blanc; Prod. Fullers' Theatres Ltd. - Troupe: Bert Le Blanc's Travesty Stars. - Cast incl. Bert Le Blanc, Jake Mack, Nellie Fallon (Senorita Richmond), Carlton Chase (Willie Collingwood), Maud Miles, Durham Marcel, New York Comedy Four (Jack Quinlan, Glenmore Jones, Clym Edgares and Holly Leslie); and the Pony Ballet. 1915: Princess Theatre, Fremantle (WA); 13-19 Nov. - Cast and production as for previous Perth season. 1915: Kings Theatre, Adelaide; 18-24 Dec. - Dir. Bert Le Blanc; Prod. Fullers' Theatres Ltd. - Troupe: Bert Le Blanc's Travesty Stars. - Cast incl. Bert Le Blanc, Jake Mack, Nellie Fallon, Carlton Chase, Carrie Moore, Maud Miles, Durham Marcel, New York Comedy Four (Jack Quinlan, Glenmore Jones, Clym Edgares and Holly Leslie); and the Pony Ballet. 1916: Empire Theatre, Brisbane; 18-24 Mar. [return season: 19-21 Apr.] - Dir. Bert Le Blanc; Prod. Holland and St John (in assoc. with Fullers' Theatres Ltd); Lse. Holland and St John. - Troupe: Bert Le Blanc's Musical Travesty Stars. - Cast incl. Bert Le Blanc, Jake Mack, Carlton Chase, Maud Miles, Nellie Fallon, Durham Marcel, New York Comedy Four (Jack Quinlan, Glenmore Jones, Clym Edgares and Holly Leslie); and the Pony Ballet (Gladys Nyhoym, Marie Lannan, Dot Bellion, Letty Patten, Violet De Lacy, Lily Clark). 1917: Majestic Theatre, Adelaide; 5-1 May. - Dir. Bert Le Blanc; Prod. Fullers' Theatres Ltd. - Cast incl. Bert Le Blanc (Ike Cohen), Jake Mack (Morris Levi), Carlton Chase, Maud Miles, Nellie Fallon, Durham Marcel, Clym Edgares, Holly Leslie, Glanmore Jones, Barry Hitchings; and the Pony Ballet. 1917: Crystal Theatre, Broken Hill (NSW); 25 May - Cast and production mostly as for previous Brisbane season. 1918: Empire Theatre, Brisbane; 5-11 Jan. - Dir. Bert Le Blanc; Prod. Fullers' Theatres Ltd. - Troupe: Bert Le Blanc's Musical Travesty Stars. - Cast incl. Bert Le Blanc, Jake Mack, Carlton Chase, Lillian Colenzo, Olga Ray, Mike Connors, Queenie Paul (Senora Clayfield), Will Raynor, Nellie Fallon, Durham Marcel, Maud Miles; and the Pony Ballet. 1918: Bijou Theatre, Melbourne; 23 Feb. - 1 Mar. - Dir. Bert Le Blanc; Prod. Fullers' Theatres Ltd. - Troupe: Bert Le Blanc's Musical Travesty Stars. - Cast incl. Bert Le Blanc, Jake Mack, Carlton Chase, Lillian Colenzo, Olga Ray, Mike Connors, Queenie Paul (Senora Clayfield), Will Raynor, Nellie Fallon, Durham Marcel, Maud Miles; and the Pony Ballet. 1918: Empire Theatre, Brisbane; 21-27 Dec. - Dir. Bert Le Blanc; Prod. Fullers' Theatres Ltd. - Troupe: Bert Le Blanc's Musical Travesty Stars. - Cast incl. Bert Le Blanc, Jake Mack, Mike Connors, Queenie Paul, Lillian Colenzo, Winnie Knight [aka Mrs Bert Le Blanc], Lance Vane, Will Raynor; the Pony Ballet (Violet Penson, Rita Penson, Vera Tandy, Rose Brennan, Hilda Lynn, Annie Henry). 1921: Harry Clay's Sydney and Wollongong circuits; ca. June/July - Dir. Bert Le Blanc; Prod. Clay's Bridge Theatre Ltd. - Troupe: Bert Le Blanc's Revue Company.

- Cast incl. Bert Le Blanc, Ted Stanley. 1921: Lyric Theatre, St Kilda (Melbourne); 12-18 Nov. - Dir. Bert Le Blanc; Prod. William Anderson; Lse. Fullers' Theatres Ltd; M Dir. George Powell. - Troupe: The Who's Who Costume Revue Entertainers (aka Travesty Stars) - Cast incl. Bert Le Blanc, Jake Mack, Sydney Hollister, Dan Weldon, Frank Graham, Clarice Norman, Jean Maynard, Alice Walton, Winnie Knight, Fred Deal, Harry Vernon, Mary Anderson, Nora Marrs, Sylvie Millers, May Down. 1924: Harry Clay's Sydney circuit; ca. Mar/Apr. - Prod. Clay's Bridge Theatre Ltd. - Cast incl. Bert Le Blanc, Charles "Ike" Delavale, Elvie Stagpoole.

"Amusements: Bijou Theatre." Age 12 July (1915), 14. [see also advert. - 10 July 1915, 16] "Empire, The." Truth (Brisbane) 19 Mar. (1916), 7. "Empire, The." Brisbane Courier 7 Jan. (1918), 9. "King's Theatre." Mail (Adelaide) 18 Dec. (1915), 4. "Majestic Theatre." Advertiser (Adelaide) 7 May (1917), 7. "Majestic Theatre." Daily Herald (Adelaide) 7 May (1917), 2. "Melrose Theatre." Daily News (Perth) 11 Oct. (1915), 6.

AT THE EXPOSITION: [aka AT THE SAN FRANCISCO EXPOSITION] [revusical] Txt. Bert Le Blanc; Mus. [n/e] Advertising for this "bright musical travesty" (Age 24 July 1915, 16), records in 1917: "A confusion of girls, gowns and giggles… [who] all travel to the Exposition in search of money and excitement. See Ike and Morris get the money. See the others get the excitement" (Brisbane Courier 22 Dec. 1917, 2). A review of the 1918 Brisbane production further indicates that action takes place at the Panama Exposition in San Francisco" (Brisbane Courier 30 Dec. 1918, 5). Among the musical highlights of the 1915 production were two songs performed by Carrie Moore - "Boys of the Expedition" and "I've got a Motor Bike." The first number was performed by Moore in front of a moving picture depicting a march past by the first Expeditionary force. She sang the second song while driving across the stage on a motor bike attended by a group of chorus girls. The Age review of the Bijou production notes, too, that "a number of catchy songs rendered by other members of the company were duly applauded [and that] there were fresh dancing specialties and pretty ballets" (26 July 1915, 14). The 1917 production included the duet "There's a Spark of Love Still Burning" (Carlton Chase and Maud Miles) and the evergreen "Perfect Day" (a trio by Messrs. Holly, Leslie and Hitching). NB: The Register (Adelaide) records in 1917 that Bert Le Blanc "was especially successful in his characterization of Mr Ragtime Rubenstein" (30 Apr. 1917, 9.) 1915: Bijou Theatre, Melbourne; 24 July - 6 Aug. [as At the San Francisco Exposition] - Dir. Bert Le Blanc; Prod. Fullers' Theatres Ltd. - Troupe: Bert Le Blanc's Travesty Stars. - Cast incl. Bert Le Blanc (Ike Cohen), Jake Mack (Morris Levi), Carlton Chase (Charley Horseleigh), Nellie Fallon (Gertie Swagger), Carrie Moore (Mrs Meadowbrook), Durham Marcel, New York Comedy Four (Jack Quinlan, Glenmore Jones, Clym Edgares and Holly Leslie); and the Pony Ballet. - NB: This was the third installment of the adventures of Ike and Morris. 1915: Melrose Theatre, Perth; 16-22 Oct. - Dir. Bert Le Blanc; Prod. Fullers' Theatres Ltd. - Troupe: Bert Le Blanc's Travesty Stars. - Cast incl. Bert Le Blanc, Jake Mack, Carlton Chase, Carrie Moore, Nellie Fallon, Durham Marcel, Maud Miles, New York Comedy Four (Jack Quinlan, Glenmore Jones, Clym Edgares and Holly Leslie); and the Pony Ballet. 1916: Kings Theatre, Adelaide; 8-14 Jan. - Dir. Bert Le Blanc; Prod. Fullers' Theatres Ltd. - Troupe: Bert Le Blanc's Travesty Stars. - Cast incl. Bert Le Blanc, Jake Mack, Carlton Chase, Nellie Fallon, Durham Marcel, Maud Miles, New York Comedy Four (Jack Quinlan, Glenmore Jones, Clym Edgares and Holly Leslie); and the Pony Ballet. 1916: Empire Theatre, Brisbane; 1-7 Apr. - Dir. Bert Le Blanc; Prod. Holland and St John/Fullers' Theatres Ltd; Prop. Holland and St John. - Troupe: Bert Le Blanc's Musical Travesty Stars. - Cast incl. Bert Le Blanc, Jake Mack, Carlton Chase, Maud Miles, Nellie Fallon, Durham Marcel, New York Comedy Four (Jack Quinlan, Glenmore Jones, Clym Edgares and Holly Leslie); and the Pony Ballet (Gladys Nyhoym, Marie Lannan, Dot Bellion, Letty Patten, Violet De Lacy, Lily Clark). 1916: National Theatre, Sydney; ca. June - Dir. Bert Le Blanc; Prod. Fullers' Theatres Ltd. - Troupe: Bert Le Blanc's Musical Travesty Stars. - Cast incl. Bert Le Blanc, Jake Mack, Carlton Chase, Maud Miles, Nellie Fallon, Durham Marcel, New York Comedy Four (Jack Quinlan and Glenmore Jones, Hollie Leslie, Clym Edgares); and the Pony Ballet (Gladys Nyhoym, Marie Lannan, Dot Bellion, Letty Patten, Violet De Lacy, Lily Clark). 1917: Majestic Theatre, Adelaide; 28 Apr. - 4 May - Dir. Bert Le Blanc; Prod. Fullers' Theatres Ltd. - Cast incl. Bert Le Blanc (Ike Cohen), Jake Mack (Morris Levi), Carlton Chase, Maud Miles, Nellie Fallon, Durham Marcel, Clym Edgares, Holly Leslie, Glanmore Jones, Barry Hitchings; and the Pony Ballet.

1917: Crystal Theatre, Broken Hill (NSW); 22 May - Cast and production mostly as for previous Brisbane season. 1917: Empire Theatre, Brisbane; 22-28 Dec. - Dir. Bert Le Blanc; Prod. Fullers' Theatres Ltd; Prop. Holland and St John. - Troupe: Bert Le Blanc's Travesty Stars. - Cast incl. Bert Le Blanc, Jake Mack, Queenie Paul, Ivy Moore, Clym Edgares, Carlton Chase, Mike Connors, Fred Witt, Winnie Knight [aka Mrs Bert Le Blanc], and the Pony Ballet. 1918: Bijou Theatre, Melbourne; 9-15 Mar. - Dir. Bert Le Blanc; Prod. Fullers' Theatres Ltd. - Troupe: Bert Le Blanc's Musical Travesty Stars. - Cast incl. Bert Le Blanc, Jake Mack, Carlton Chase, Mike Connors, Queenie Paul, Lillian Colenzo, Winnie Knight [aka Mrs Bert Le Blanc], Olga Ray, Will Raynor, Maud Miles, Durham Marcel, Sid Garti, Harry McDonna, Nellie Fallon, Leslie Jephcott; and the Pony Ballet. 1918: Empire Theatre, Brisbane; 28 Dec. 1918 - 3 Jan. 1919. - Dir. Bert Le Blanc; Prod. Fullers' Theatres Ltd. - Troupe: Bert Le Blanc's Musical Travesty Stars. - Cast incl. Bert Le Blanc, Jake Mack, Mike Connors, Queenie Paul, Lillian Colenzo, Winnie Knight [aka Mrs Bert Le Blanc], Lance Vane, Will Raynor; and the Pony Ballet (Violet Penson, Rita Penson, Vera Tandy, Rose Brennan, Hilda Lynn, Annie Henry). 1922: Grand Opera House, Sydney; 25-30 Nov. - Dir. Bert Le Blanc; Prod. George Marlowe. - Troupe: Bert Le Blanc's Big Revue Company. - Cast incl. Bert Le Blanc, Jake Mack, Charles Delavale, Elvie Stagpoole, Mark Erickson, Hartley Court, Winnie Knight [aka Mrs Bert Le Blanc], Dolly McIntosh, Molly Warren, Ernest Barraclough, Fred Garland, Nell Fleming, Dulcie Melva, Tilly Dalbro, Florrie Dalbro, Dot Neville, Germaine Casier, Rene Esler, Florrie Parkes. - This was the final production of the 1922 Grand Opera House season.

"Bijou Theatre." Age 26 July (1915), 14. [see also advert. - 24 July 1915, 16] Brisbane Courier 22 Dec. (1917), 2. Advert. "Empire, The." Brisbane Courier 30 Dec. (1918), 5. "Majestic Theatre." Register (Adelaide): 30 Apr. (1917), 9. "Melrose Theatre." Daily News (Perth) 18 Oct. (1915), 7.

STOP YOUR NONSENSE: [musical comedy] Lib. A. Riddik (with Beaumont Smith); Mus. [n/e] Although described variously as a "two act mystery play" (Theatre Magazine Sept. 1915, 11) and a "musical burlesque" (Bulletin 19 Aug. 1915, 9), Stop Your Nonsense appears to incorporated all the elements of vaudeville into a musical comedy-style entertainment. Indeed, the Argus theatre critic writes: "It is neither farce, revue, nor vaudeville, but a mixture of the three, with strong leanings to the last. Act II is, in fact, a very good vaudeville show, of the kind with which the Tivoli Follies has familiarized Melbourne audiences" (20 Dec. 1915, 13). Despite attracting mostly positive reviews, the production was criticized for the preponderance of vaudeville turns - which were seen as having either slowed down or sidetracked the storyline. "A thread of a plot runs through an irresponsible succession of vaudeville turns," writes the Age critic, "some of them new and good enough [however] to ensure a successful run for the piece" (20 Dec. 1915, 9). The Argus reports that "the slender thread of the story intrudes very faintly at times [but] not enough to interfere with the main business of vaudeville" (ibid, 13). The Bulletin's critic similarly notes: "There is a plot swimming through the thing, and it comes to the surface at intervals to breathe; but it always dives obligingly for a song or an acrobatic act or a ballet" (ibid, 9). The Theatre Magazine went so far as to suggest that while the show didn't need a genius to write it, "so slender is the material… it certainly required a genius to devise a name for it" (Sept. 1915, 41). The title in fact comes from a duet sung by the characters Tommy Chester and Dolly Gibbs. One aspect of the production that caught the attention of the critics was its complete disregard of the usual spectacular musical comedy production values. The action takes place in a theatre, both behind and in front of the curtain, with most of the characters being theatre people - actors, dancers, production crew etc. The interlopers comprise "nobility and millionaires and interested in foreign missions (Age 20 Dec. 1915, 9). "The setting is plain and original, the stage merely showing itself as it is when the curtain isn't up," records the Bulletin. "Thus the public is invited behind the scenes at the Highty Flighty Theatre, where it stays for the evening. This is economical from the management's point of view and quite satisfactory to the public which has been hand-fed with gorgeous sets till it is jaded. The show in front of the scenery is the thing, and the Stop Your Nonsense co., which is mostly the "Glad Eye" co, transposed, provides a really bright one" (ibid, 9). It is likely that some material was adapted to suit the various locations the show was being staged in. The Theatre review records that the Sydney production, for example, contained references specific to that city (i.e. jokes built around Manly, Long Bay, Callan Park and Neutral Bay). The principal storyline concerns Dolly Gibbs, a spoilt rich girl who has run away and joined a theatre company so as to escape from Tommy Chester, a rich young ass who has been pestering her to marry him. Tommy tracks her down and they meet at the theatre, but only shortly before their respective parents arrive in hot pursuit. A secondary plot concerns the theatre company itself, and is said to spoof the American show business industry which manufactures mindless shows "to meet the needs of its tired business men" (Age 20 Dec. 1915, 9). Stop Your Nonsense begins with the manager of the Highty Flighty Theatre (David Burlesko) telling the author of the play that is about to premiere that he has changed his mind and is now going in for vaudeville. "What about my beautiful play?" says the indignant playwright, Pinero Jones. "If it hadn't been for you I could have had it done by J. C. Williamson - or Harry Clay" (Theatre Magazine Sept. 1915, 12). The Bulletin's theatre critic proposes that what follows is not unlike the treatment a musical burlesque receives. It "is generally understood to be the mere bleeding remnants of what its author originally produced. The nice new script is torn to pieces in rehearsal by stage staff and players; the mince is then mined and bombed after hours by author, producer and stage manager in collaboration; and finally the torn and teased and sundered thing is stuffed into a new sausage skin by all hands, including the musical director and the call boy" (ibid, 9).

Punch (Melb) 16 Dec. (1915), 31.

While the authorship of the libretto has not yet been positively identified, the Sydney Morning Herald attributes it to A. Riddik (12 Aug. 1915, 10), while the Bulletin records: "In so far as any one individual can be held responsible for Stop Your Nonsense… Beaumont Smith is rumoured to be the guilty party." The magazine's critic goes on to note, however: "He will neither affirm or deny [sic]; but if he is the sinner, he has struck the right mixture first try and fully deserves his own royalties (ibid, 9). It is likely that as director and producer, Smith contributed some material to the production. Most of the actors in the show had been together since early 1915 when they presented such productions as The Glad Eye and The Chaperone in Sydney. The company's principal actress Ethel Dane, who had originated the lead role in Glad Eye for its London season a year or so earlier, had reportedly played her role more than 700 times by the end of 1915. The Chaperone was adapted into a musical comedy by the producers and staged as Mum's the Word following the Sydney season of Stop Your Nonsense (see below for details). The songs written for, or interpolated into the storyline (as advertised for the King's Theatre production) were: "The Ipswich Switch" (sung by Henry J. Ford), "The Little Girl in Brown" (Irma Caron), "I Had a Little Garden" (Tom Shelford), "Irish Eyes" (Edmund Sherras), "I Love You" (Vera and Jack Kearns), "Stop Your Nonsense" (Tom Shelford and Irma Caron), "Nobody Knows Where the Old Man Goes" (Frank Bradley and Clarice Harwick), "Clarice from Paris" (Vera Kearns), "Chinatown" (Irma Caron and ballet), "Silly Ass" (Tom Shelford), "The Greatest (?) Singer on Earth" (Ed Landor), "They all go to the Movies" (Dorothy Hastings), "The Haunting Melody" (Tom Shelford and the Golden Pierrots), "Toasts" (Jack Kearns), "They're all after Burlesko" (Henry J. Ford and company). A Theatre review of the Sydney season indicates that Jack Kearns, "in true vaudeville style" sang at least two songs that were not in the Melbourne show - these being "I Think I'll Shift This Scene" and "That's Nice." Edmund Sherras is also said to have sing a song titled "Love of Mine" which was not advertised in the Melbourne musical programme (ibid, 12). The advertised specialty acts were: The Leteens and their Sporting Dog, Skating Extraordinary (The Oswells), The Chaplin Dancers, and an acrobatic dance routine performed by Sydney-born couple, Eddie and Decima McLean (only recently returned from England where they had been working for several years). Among the more humorous vaudeville incidents, too, was the pantomime (dumb show) "I Shall Undress at Nine" (pantomime), a scene set outside a fashionable seaside dressing compartment. A young lady is seated by the entrance reading, unaware that the sign on one half of the Table Talk 9 Dec. (1916), 27. door is attracting quite a deal of attention from the men passing by. It reads: I SHALL UNDRESS AT 9 The large crowd, which eventually includes Bill Guff (Jack Kearns), policeman, a couple of wowsers and Tommy Chester disperses dejectedly, however, when the young lady rises from her seat and shuts the other half of the door, which then reads: MISS I MARSHALL LAUNDRESS NOW AT NO. 9

1915: Theatre Royal, Sydney; 14 Aug. - 3 Sept. - Dir. Beaumont Smith; Prod. Beaumont Smith and Leslie Hoskins - Troupe: Smith and Hoskins' Glad Eye Company. - Cast: Tom Shelford (Tommy Chester), Ethel Dane (Dolly Gibbs), Henry J. Ford (David Burlesko), Frank Bradley (Lord Arrandale), Harry Sweeney (C. N. Shifter), Edward Landor (I. Makem), Frederick Hughes (E. C. Terms), Edmund Sherras (Pinero Jones), Fred Twitchin (Julius Lee Gitt), Bert Barton (Wildred Denver Jinks), Jack Kearns (Bill Gruff), Claude Vernon (Abraham Bloggs/Stage Manager), E. J. Vickery (Theophilus Budge), Percy Walsh (Parmenas Foss), Sinna St Clair (Mrs Obadiah Gibbs), Dorothy Hastings (Pearl Peerless), June Addell (A Flapper), Olga Agnew (Call Girl), Vera Kearns. - Smith and Hoskins followed this season of Stop Your Nonsense with another musical comedy, Mum's the Word (see below). 1915: King's Theatre, Melbourne; 18 Dec. 1915 - 7 Jan. 1916 - Dir. Beaumont Smith; Prod. Beaumont Smith and Leslie Hoskins; Lse. Bert Bailey and Julius Grant. - Troupe: Smith and Hoskins' Glad Eye Company. - Cast: Tom Shelford (Tommy Chester), Irma Caron (Dolly Gibbs),Henry J. Ford, (David Burlesko), Frank Bradley (Lord Arrandale), Jack Kearns (Bill Gruff), Florence Fanning (Mrs Gibbs), Edmund Sherras (Pinero Jones), Edward Landor (I. Makem), Vera Kearns, Clarice Hardwick

(Pearl Pearless), Millie Baker, Hilda McMutie, the Leteens. Henry J. Ford and Vera Kearns Punch (Melb) 9 Dec. (1915), 19. "King's Theatre: Stop Your Nonsense." Age 20 Dec. (1915), 9. "King's Theatre: Stop Your Nonsense." Argus 20 Dec. (1915), 13. "Stop Your Nonsense." Theatre Magazine Sept. (1915), 11-12. "Sundry Shows." Bulletin 19 Aug. (1915), 9.

WAY IN THE BACK BLOCKS: [revusical] Txt/Mus. [n/e] A musical burlesque on Steele Rudd's On Our Selection. 1915: Cremorne Theatre (Bris); ca. 21-27 Aug. - Dir. Walter George; Prod. John N. McCallum; Prop. Edward Branscombe. - Troupe: Dandies Company. - Cast incl. Walter George, Georgie Martin. 1917: Palace Gardens (Bris); 2-8 Nov. - Dir. Walter George. - Troupe: Smart Set. - Cast incl. Walter George, Georgie Martin, Les Coney, Harry de Robeck, Gwen Gaylor.

CINDERELLA; OR, THE GIRL WHO PUT HER FOOT IN IT: [aka HELLO, CINDERELLA] [pantomime] Lib/Mus. Harry Taylor The first known production of this pantomimic adaptation of Defoe's classic novel was during Stanley McKay's season in Charters Towers in late August 1915. It was likely staged earlier than that, however. Describing it as an "all-round capital show" the Townsville Daily Bulletin's theatre critic further notes: "Cinderella or 'the girl who put her foot in it' is a tuneful medley of songs and dances, diversified with extremely clever acrobatic and comedy work of a high description. The 1915 production's musical programme opened with two lilting choruses "A Hunting We Will Go" and "Back, Back to Tipperary" (featuring Phyllis Faye). Other known songs were "I'll Meet You by the Mississippi River," "Dreaming of You" (both performed by Phyllis Faye), "Neath the Shadow of the Pyramids" (Ivy Marsden), "When They Get Old" (Bruce Drysdale), "Three Little Maids are We" (Marie Wilmot, Florrie Horan and Bruce Drysdale), "When the Pigs Begin to Fly (Bruce Drysdale and Harry McDonna) and "The Skies Will Be Blue If You Say You'll Be Mine," and "Do You Remember." It is likely that Cinderella was written by Harry Taylor, who had already provided McKay with at two other productions by then - Bo-Peep and Old Mother Hubbard (and possibly Robinson Crusoe). In support of this assertion is the fact that Taylor joined forces with Alf Coleman after the war to tour the Taylor-Coleman Pantomime Company. One of its earliest works was Helloo, Cinderella - presumably the same pantomime (albeit with a slightly new name and new and updated material added). As McKay was still on post-war duty in Europe with the Australian Imperial Forces for most of 1919 (he also later spent several months studying stage management in England and France), there would have been no conflict of interest in Taylor reviving his own pantomime for touring purposes. 1915: Queensland regional tour; ca. Aug - Sept. - Prod. Stanley McKay in association with Birch Carroll (and Coyle); M Dir. Clarence Elkin. - Troupe: Stanley McKay No 2 Pantomime Company. - Cast incl. Phyllis Faye (Prince Perfect), Ivy Marsden (Cinderella), Harry McDonna (Baron Offless), Bruce Drysdale (Baroness Offleass), Dahne Leigh (Dandini, the Prince's Factotum) Florrie Horan (Ugly Sister), Marie Wilmott (Ugly Sister), The Fontenoy Girls (singers), The Three Greshams, Fredo Brothers, Frank and Free. - Tour incl. Townsville (Theatre Royal; 23 Aug. - * > Cinderella 24 Aug.) • Charters Towers (Theatre Royal; 26 Aug. - 4 Sept.) • Barcaldine (Shire Hall; 18, 22 Sept.) • Aramac (20-21 Sept) • Blackall (22-23 Sept.) • Longreach (Gaiety Theatre; 24-28 Sept.) 1915: New South Wales regional tour; ca. Sept. - Oct. - Prod. Stanley McKay in assoc. with Fullers' Theatres Ltd. - Troupe: Stanley McKay No 2 Pantomime Company. - Tour incl. Newcastle (Victoria Theatre; ca. Sept.) 1919: Alhambra Music Hall, Sydney; 28 June - 4 July - Dir. Harry Taylor; Prod/Mngr. Harry Taylor and Alf Coleman; M Dir. Wally Smith. - Cast incl. Bert Desmond, Joe Charles, Maud Shipp, Harry Taylor, Mattie Jansen, Emili Dani, Florence Walker, Dot Holroyd, Elsa Thornton. - Third production in Taylor and Coleman's school holiday pantomime season at the Alhambra. The other pantomimes were Bluebeard's Harem and Little Jack Horner.

"Stanley McKay's Pantomime Co: Cinderella." Townsville Daily Bulletin 29 Aug. (1915), 5.

PHOTOGRAPHY: [aka THE PHOTOGRAPHER'S MISTAKE or THE PHOTOGRAPHER] [revusical] Txt/Mus. [n/e] Containing "bright catchy musical numbers, sparkling dances [and] witty sayings," this side-splitting musical revue-style burlesque was described in advertising as "funny enough to make a cat laugh" (Brisbane Courier 30 Mar 1918, 2). [NB: It is not yet clear if this revusical has any with several similarly titled minstrels farces staged in Australia over the previous twenty-five years - notably Dan Tracey's 1892 production The Photographer (Gaiety Theatre, Melb); The Photographer's Troubles put on by Delohery, Craydon and Holland (Gaiety Theatre, Bris. 1897); and Charles Fanning's The Photographer (Opera House, Syd., 1899).

1915: Cremorne Theatre, Brisbane; 28 Aug. - 3 Sept. [as Photography - aka The Photographer] - Dir. Walter George; Prod. John N. McCallum; Prop. Edward Branscombe. - Troupe: Dandies Costume Comedy Company. - Cast incl. Walter George, Georgie Martin. 1918: Palace Gardens, Brisbane; 18-24 Jan. [as The Photographer's Mistake] - Dir. Walter George. - Troupe: Smart Set. - Cast incl. Walter George, Georgie Martin, Les Coney, Harry de Robeck, Gwen Gaylor.

CATCH ON: [revusical] Txt. Elton Black and Kate Howarde; Mus. [n/e] Set on the deck of a boat in Sydney Harbour, with most of the male characters dressed in naval uniforms. The narrative includes a courtroom scene, in which a prisoner is being tried by a magistrate. Elton Black is also said to have incorporated an impersonation of Scottish comedian Harry Lauder into his role. A strong patriotic sensibility was incorporated into the story line particularly in songs such as "Our Boys" and "Australia will lend a Hand." With regard to the story-line, a review in the Theatre Magazine records that "the performers come on - and disappear - in such a way as to suggest the development of a story. But it is … only the slenderest attempt that is made in the way of connecting things up" (Sept. 1915, 45). 1915: National Theatre, Balmain (Sydney); ca. Aug. - Dir. Elton Black; Prod/Lse. Kate Howarde. - Troupe: Elton Black and Kate Howarde Revue Company. - Cast incl. Elton Black, Kate Howarde, Peter Brooks, Billy Maloney, Clifford O'Keefe, Gerald Cashman, Grace Doran, Pearl Livingstone; and a female chorus.

"Elton Black-Kate Howarde Revue "Catch On, The." Theatre Magazine Sept. (1915), 45.

MUM'S THE WORD: [musical comedy] Lib/Mus. [n/e] Mum's the Word is a musical adaptation Jocelyn Brandon and Frederick Arthur's The Chaperone, a comedy/farce that premiered in London in early 1913, running for a respectable eight months. The star of that production, Ethel Dane (wife of Cyril Keightley) was engaged by Beaumont Smith and Leslie Hoskins to lead their Glad Eye company during its 1914-15 Australian tour. She went on to play the lead female parts in both the The Chaperone and Mum's the Word. The Sydney Morning Herald theatre critic writes of this musical version: It is "in a somewhat altered garb and a new title, which is scarcely an improvement upon the original…. Judging by the result on Saturday evening the innovation is likely to prove acceptable, for there was a good house and the audience was generous in its appreciation. There is no doubt as to the immense amount of fun which the complex happenings in Mum's the Word render inevitable, and the house rippled throughout with amusement at the frantic efforts of the giddy Christopher Pottinger, M.P., to escape the consequences of a brief intrigue with Rosamond Gaythorne, the fascinating actress who meets him by appointment at a cabaret in London known as The Royal" (6 Sept. 1915, 4). A review of The Chaperone provides additional insight into the plot, which centres on Pottinger, described as a "pompous politician and married man" who falls victim to the charms of the actress and arranges to entertain her. Unbeknownst to Pottinger, however, Rosamond organises a chaperone through Paul Kominski, the proprietor of the Royal, so that she might avoid both unsolicited advances and a scandal. Kominski's boast is that his specialty is providing a discreet, tactful and gentlemanly service (the chaperone and young lady pose as husband and wife) but the appointed chaperone cannot make the rendezvous due to his heavy workload (he has already consumes eight or more meals that day). In desperation Kominski employs Harry Chester, once an attaché of the British Embassy, unaware that he has a reputation as a lady's man. Chester naturally enters into the situation with keen zest and a spirit of adventure. When Pottinger arrives he is unprepared for both the actress's "husband" and the open flirtation being carried out between them. To make matters worse, his wife arrives at cabaret in the company of Admiral Maxwell and his wife, Harriet, "a severe person with suffragist leanings." His on the spot explanation to his unsuspicious wife that he is entertaining Mr and Mrs Wellington Jones for political motives backfires when she invites the couple to their country house. They accept the invitation and a number of absurdly ludicrous incidents arise as a result (Sydney Morning Herald 16 Jan. 1915, 8 and 18 Jan. 1915, 7). The first act of Mum's the Word opened with a specialty by the company that included a mixture of tango and ragtime music, and a dance performed by Claude Vernon and Clarice Hardwick. The Herald critic notes, however, that the vocal numbers stood out, and were most "likely to render popular the departure from the original design of the authors of The Chaperone" (Sydney Morning Herald 6 Sep. 1915, 4). NB 1: The Chaperone was staged by Smith and Hoskins in Adelaide (ca. Dec. 1914) and Sydney (Palace Theatre, 16 Jan. 1915). NB 2: An advertised production in Brisbane (for 24-25 Sept.) was postponed "for a later season" due to the popularity of Who's the Lady. No such eason has yet been identified. NB 3: It is unclear if there is any relationship between this work and a 1919 revusical staged at the Palace Gardens (31 Nov.). 1915: Theatre Royal, Sydney; 4-11 Sept. - Dir. Claude Vernon; Prod. Beaumont Smith and Leslie Hoskins; M Dir. Bert Rache - Troupe: Smith and Hoskins' Glad Eye Company. - Cast: Tom Shelford (Hilary Chester), Ethel Dane (Rosamond Gaythorne), Frank Bradley (Christopher Pottinger, M.P.), Alice Hamilton (Louisa Pottinger), Sinna St Clair (Harriet Maxwell), Edward Landor (Admiral Maxwell), Dorothy Hastings (Doris Mayne), Henry J. Ford (Algernon Brockenhurst), Edmund Sherras (Col. Redwood), Darcy

Sweeney (Paul Kominski), Thomas E. Tilton (head waiter), Gilbert Emery (butler), Charles Hardwicke (Doris Mayne's maid), Claude Vernon and Clarice Hardwick (dancers). - Harry Sweeney is referred to as Darcy Sweeney in the Sydney Morning Herald review. "Harry" is the name billed for both The Chaperone and Mum's the Word, however.

"Chaperone, The." Sydney Morning Herald 18 Jan. (1915), 7. "Mum's the Word." Sydney Morning Herald 6 Sept. (1915), 4. "Mum's the Word: Musical Farce at the Royal." Sunday Times (Sydney) 5 Sept. (1915), "Mum's the Word: Musical Version of a Farce." Referee (Sydney) 8 Sept. (1915), 15. "Music and Drama" Sydney Morning Herald 16 Jan. (1915), 8. [re: The Chaperone]

ON THE SANDS: [revusical] Txt. Arthur Morley; Mus. [n/e] Australian Variety writes of On the Sand's Bridge Theatre debut: "The Royal Musical Comedy Co opened and as responsible for the 'House Full' signs being out long before the curtain was raised… The whole show was bright and catchy and did not leave one dull moment… The musical items are fresh and attractive and it has none of the hackneyed quality of many of the recent revues seen at other theatres lately." The same review goes on to note, "judging by the reception the revue received, it should have a record run, which it fully deserves, as it is well worth seeing and well worth the trip out for the 'city-ites' after some of the revues that have been produced lately" (27 Oct. 1915, n. pag.). The synopsis of events is "Flo and Her Friends Arrive;" "On the Sands;" "Private, Strictly Private;" "Clarence the Sport;" "Somebody's Taken My Togs, I Wonder Who Were There Before?;" "Police;" "The Rich Uncle From Fiji;" and "Everybody Happy." The songs used in this production, believed to have been of both original Australian and international in origin, were also changed on a regular basis. Australian Variety reveals for example, that all of the songs presented during the opening week were replaced for the second. One of the songs which featured in the revusical was Morley's "Be a Man, Enlist To-Day!" (published by Dinsdale's ca.1916). An exact date and place for the revusical's first staging of this revusical is unclear. Although it is known that Morley's first production for Harry Clay was in October 1915, there is a possibility that he either staged it prior to joining Clay's company (ca. June) or that he took in on an out-of-town tryout with the Royal Musical Comedy Company (possibly through Victoria) shortly before premiering on Clay's circuit. Morley's troupe was later absorbed into Clay's organisation (ca. Aug. 1916), at which time it became known as Harry Clay's No 1 Company. The 1931 revival staged by George Sorlie and his newly formed Vaudeville and Revue Company was reportedly set at Kirra Beach, with the actor/manager in the role of a waiter. 1915: Bridge Theatre, Newtown (Sydney); 23 Oct. - 5 Nov. - Dir. Arthur Morley; Prod. Clay's Bridge Theatre Ltd; S Art. Alec. Stagpoole; S Mngr. Ted Gabriel. - Troupe: Royal Musical Comedy Company. - Cast incl. Ted Stanley (the Waiter), Will Rollow (the Knut), Beth Pascoe, Muriel Willis, Doris Baker, Amy Rochelle, Arthur Morley, Elsie Bates, George Stephenson, Ted Tutty. 1916: Weston and Hill's NSW South Coast Circuit; ca. Jan - Feb. - Troupe: Arthur Morley's Royal Musical Comedy Company. 1916: Victorian regional tour; ca. Aug/Sept. - Troupe: Arthur Morley's Royal Musical Comedy Company. - Itinerary incl. Ballarat, Geelong and Mildura. 1916: Harry Clay's Sydney suburban and south-west NSW circuit; ca. Sept/Oct. - Dir. Arthur Morley; Prod. Clay's Bridge Theatre Ltd; S Mngr. Ted Gabriel (Bridge Theatre). - Troupe: Harry Clay's No 1 Musical Comedy Co. - Cast incl. Will Rollow, Ted Stanley, Maurice Chenoweth, Lulu Eugene, Eileen and Bessie Phillips, Arthur Morley, Vince and Eva Courtney. - Suburban circuit: see Coliseum Theatre, Nth Syd; (23 Sept.); South-West circuit incl. Goulburn (ca. 4 Oct.) 1917: Princess Theatre, Sydney; 8-14 Dec. - Dir. Arthur Morley; Prod/Lse. Harry Sadler; Prop. Fullers' Theatres Ltd. - Cast incl. Arthur Morley. 1922: Betts and Portus Sydney circuit; ca. Feb. (Melba Theatre 4 Feb.) - Dir. Arthur Morley; Prod. Betts and Portus. - Cast incl. Arthur Morley. - NB: Melba Theatre, formerly the Alhambra Theatre. 1931: His Majesty's Theatre, Brisbane; 7-13 Nov. - Dir/Prod. George Sorlie. Australian Variety 20 Oct. 1915 n. pag. - Troupe: George Sorlie's Vaudeville and Revue Company. - Cast incl. George Sorlie, Arthur Morley, Yvonne Banyard, Gerald Connolly, Richard Parry, Addie Lake, Grace Bromley, Bud de Silva, Alma Jorgenson, The Two Hildas (Hilda Waring and Hilda Statler), Sam Stern, Neville Clark, James Blair; and the Eight Rhythm Rascals.

- Musicians: Tiny Douglas and His Varsity Boys.

"His Majesty's Theatre." Brisbane Courier 9 Nov. (1931), 13. Kitching, Harry. Australian Variety 27 Oct. (1915), n. pag. --- Australian Variety 3 Nov. (1915), 13. --- Australian Variety 27 Sept. (1916), n. pag. "Thornton's Rosebery Theatre." Australian Variety 26 Jan. (1916), n. pag. Photo.

IN WATTS; OR, A BOMBSHELL OF JOY: [revusical] Txt. Bert Le Blanc; Mus. [n/e] Described in Brisbane advertising as a "bright, sparkling, fresh and surprisingly original musical travesty, presented by sixteen superbly versatile artists" (Truth 9 Apr. 1916, 7) and as a "breezy new revue bombarding audiences with happiness" (Brisbane Courier 12 Apr. 1918, 2), In Watts is based on The Grafters, a burlesque originally staged in Australia by the American Burlesque Company when it toured the country in 1913 and 1914. One of the trio of principal comedians in that troupe was Bert Le Blanc. This connection was noted in Australian Variety as early as 23 February 1916, although the critic indicates that both productions were called In Watts. An Age critic writing two years later notes, however: "In Watts, the [company's] current piece, bore a striking family resemblance to The Grafters - one of several American burlesques which have certainly done steady service on the Australian stage. The audience enjoyed the production all the more because it renewed comic memories" (23 Sept. 1918, 5). As with The Grafters the action of In Watts revolves around three tramps, Ike (Le Blanc), Morris (Mack) and Pete (aka Sacramento Pete). The title of the revusical refers to the town of Watts, situated somewhere near Los Angeles, California, which was founded by a gentleman of that name who let his dwellings for a dollar down and a dollar a month fifteen years before the story commences. "The plot deals with the efforts of several different varieties of rogue, male and female, Jew and Gentile, to impersonate Watts, who has disappeared, and collect the fifteen years' rental" (Age 23 Sept. 1918, 5). Much of the action takes place in the town's hotel, and involved other characters like Hazey Fogg, a local farm girl with aspirations to enter society; Mrs Watts; and Eazey, a farm hand. Although generally well received by the critics, the September 1918 Age review proposes that the production was slightly marred by a somewhat unconvincing ending (5). For the 1915 Western Australia performances the three main characters were referred to as Kalgoorlie Ike, Fremantle Morris, and Coolgardie Pete. As the leading lady Carrie Moore contributed two solo numbers - "Dixie Moon" and "You Can't Get Away From It." The 1918 Melbourne season, in which Le Blanc, Mack and Harry McDonna were billed as "Melbourne Ike," "Sydney Morris" and "Brisbane Pete," included such musical items as: "I Want You Dearie" (Queenie Paul and Wee McGregor) and "Mate O' Mine" (Leslie Jephcott). One of the songs incorporated into the 1919 Brisbane season was "Wouldn't that be a Dream?" 1915: Melrose Theatre, Perth; 16-22 Oct. - Dir. Bert Le Blanc; Prod. Fullers' Theatres Ltd. - Troupe: Bert Le Blanc's Travesty Stars. - Cast incl. Bert Le Blanc (Kalgoorlie Ike), Jake Mack (Fremantle Morris), Carlton Chase (Coolgardie Pete), Carrie Moore (Mrs Meadowbrook), Nellie Fallon, Durham Marcel, Maud Miles, New York Comedy Four (Jack Quinlan, Glenmore Jones, Clym Edgares and Holly Leslie); and the Pony Ballet. 1915: Princess Theatre, Fremantle (WA); 20-26 Nov. - Cast and production as for previous Perth season. 1916: Kings Theatre, Adelaide; 1-7 Jan. - Dir. Bert Le Blanc; Prod. Fullers' Theatres Ltd. - Troupe: Bert Le Blanc's Travesty Stars. - Cast incl. Bert Le Blanc, Jake Mack, Carlton Chase, Nellie Fallon, Durham Marcel, Maud Miles, New York Comedy Four (Jack Quinlan, Glenmore Jones, Clym Edgares and Holly Leslie); and the Pony Ballet. 1916: Victoria Theatre, Newcastle (NSW); 19-25 Feb. - Dir. Bert Le Blanc; Prod. Fullers' Theatres Ltd. - Troupe: Bert Le Blanc's Musical Travesty Stars. - Cast incl. Bert Le Blanc (Ike Cohen), Jake Mack (Morris Levi), Carlton Chase, Maud Miles, Nellie Fallon, Durham Marcel, New York Comedy Four (Jack Quinlan, Glenmore Jones, Clym Edgares and Holly Leslie); and Pony Ballet. 1916: Empire Theatre, Brisbane; 8-14 Apr. - Dir. Bert Le Blanc; Prod. Fullers' Theatres Ltd; Prop. Holland and St John. - Troupe: Bert Le Blanc's Musical Travesty Stars. - Cast incl. Bert Le Blanc, Jake Mack, Carlton Chase, Maud Miles, Nellie Fallon, Durham Marcel, New York Comedy Four (Jack Quinlan, Glenmore Jones, Clym Edgares and Holly Leslie); and the Pony Ballet. 1917: Majestic Theatre, Adelaide; 21-27 Apr. - Cast incl. Bert Le Blanc (Ike Cohen), Jake Mack (Morris Levi), Carlton Chase, Maud Miles, Nellie Fallon, Durham Marcel, Clym Edgares, Holly Leslie, Glanmore Jones, Barry Hitchings; and the Pony Ballet. 1917: Crystal Theatre, Broken Hill (NSW); 23, 28 May Newcastle Morning Herald and Miners' - Cast and production mostly as for previous Brisbane season. Advocate 18 Feb. (1916), 8.

1917: Majestic Theatre, Sydney; 30 June - 6 July. - Dir. Bert Le Blanc; Prod. Fullers' Theatres Ltd - Troupe: Bert Le Blanc Revue Company.

- Cast incl. Bert Le Blanc, Jake Mack, Carlton Chase, Winnie Knight, Mike Connors, Queenie Paul, Ivy Moore, Clym Edgares; and the Pony Ballet (Kitty McGuire, Trixie Wilson, Marie Lannan, Dot Bellion, Lily Clarke, Annie Henry). 1918: Empire Theatre, Brisbane; 12-18 Jan. - Dir. Bert Le Blanc; Prod. Fullers' Theatres Ltd. - Troupe: Bert Le Blanc's Musical Travesty Stars - Cast incl. Bert Le Blanc, Jake Mack, Carlton Chase, Lillian Colenzo, Olga Ray, Mike Connors, Queenie Paul, Will Raynor, Nellie Fallon, Durham Marcel, Maud Miles; and the Pony Ballet. 1918: Bijou Theatre, Melbourne; 21 Sept. - 4 Oct. [2 week season] - Dir. Bert Le Blanc; Prod. Fullers Theatres Ltd. - Cast incl. Bert Le Blanc (Melbourne Ike), Jake Mack (Sydney Morris), Harry McDonna (Brisbane Pete), Mike Connors (the sheriff), Queenie Paul (Mrs Watts), Lillian Colenzo (Hazy Fogg), Winnie Knight [aka Mrs Bert Le Blanc], Sid Garti, Leslie Jephcott; and the Pony Ballet. - Two cast members mentioned in the Age review do not appear in any other reviews of the Le Blanc company from this period. They are Wee McGregor (who sang a duet with Queenie Paul) and actress Podzey McGuire. - The season, which was an unusually short 4 weeks (21 Sept. - 18 Oct.), may have been a fill-in engagement between the previous Adelaide season and the company's forthcoming engagement in Brisbane (beginning 2 Nov.). 1919: Empire Theatre, Brisbane; 11-17 Jan. - Dir. Bert Le Blanc; Prod. Fullers' Theatres Ltd. - Troupe: Bert Le Blanc Revue Company. - Cast incl. Bert Le Blanc, Jake Mack, Mike Connors, Queenie Paul, Lillian Colenzo, Winnie Knight [aka Mrs Bert Le Blanc], Lance Vane, Will Raynor, Bert Ray; and the Pony Ballet (Violet Penson, Rita Penson, Vera Tandy, Rose Brennan, Hilda Lynn, Annie Henry).

"Bijou Theatre: In Watts." Age 23 Sept. (1918), 9. "Bijou - Vaudeville and Burlesque." Argus 23 Sept. (1918), 5. "Empire Theatre." Brisbane Courier 13 Jan. (1919), 3. "King's Theatre." Register (Adelaide) 3 Jan. (1916), 6. "Majestic Theatre." Register (Adelaide) 4 Apr. (1917), 9. "Majestic Theatre, The." Advertiser (Adelaide) 4 Apr. (1917), 9. "Majestic Theatre." Daily Herald (Adelaide) 4 Apr. (1917), 2. "Melrose Theatre." West Australian 1 Nov. (1915), 8.

NOT A WORD TO THE WIFE: [revusical] Txt. Arthur Morley; Mus. [n/e] Nellie Calthorpe, wanting to go to a masked ball, tries to find an excuse to give to her husband. Nellie's friends are decidedly frivolous and sophisticated young ladies who suggest all manner of excuses so that she might attend the ball. Australian Variety's Harry Kitching writes of the Bridge Theatre premiere: "The plot is good, and followed consistently to the end… the production is attractively staged, has some good effects [and] is well acted and dressed." Kitching further notes: "The feature of the whole production is the really brilliant, artistic and dashing manner in which all artistes work together, not trying to "grab" applause for themselves alone, but aiming for one thing - 'Success' - which they have won through hard work, perseverance and ability" (10 Nov. 1915, n. pag.). The revusical's initial success on the Harry Clay circuit in late 1915 saw it revived in 1917. Australian Variety records it was again doing "phenomenal business." According to the magazine its popularity on Clay's South-West NSW circuit was such that police had to stop the sale of tickets on three consecutive nights "owing to the halls being over-crowded" (7 Feb. 1917, n. pag.). Kitching's impression of the show, too, had changed little since his first review in 1915. "The plot," he writes, "is nicely arranged and allows scope for much good comedy, whilst the musical numbers are bright and catchy" (24 Jan. 1917, n. pag.). The songs incorporated into this revusical were likely of both Australian and international origin. Reviews indicate that all the songs were changed for later the second week of the Bridge Theatre season, and not doubt for later productions. 1915: Bridge Theatre, Newtown (Sydney); 6 Nov. - - Dir. Arthur Morley; Prod. Clay's Bridge Theatre Ltd; S Art. Alec. Stagpoole; S Mngr. Ted Gabriel. - Troupe: Royal Musical Comedy Company. - Cast incl. Elsie Bates (Nellie), Ted Stanley (Buttons), Muriel Willis (Alice), Beth Pascoe, Arthur Morley, Will Rollow, the Harmonious Four. 1917: Harry Clay's Sydney suburban and south-west NSW circuit; ca. Jan/Feb. - Dir. Arthur Morley; Prod. Clay's Bridge Theatre Ltd; S Art. Alec Stagpoole; S Mngr. Ted Gabriel (BTN). - Troupe: Harry Clay's No 1 Musical Comedy Company. - Cast incl. Arthur Morley, Elsie Bates, Lulu Eugene, Amy Rochelle (The Wife). - South-West NSW circuit: touring ca. 3-9 Feb. 1931: His Majesty's Theatre, Brisbane; 14-20 ov. - Dir/Prod. George Sorlie. - Troupe: George Sorlie's Vaudeville and Revue Company. - Cast incl. George Sorlie, Arthur Morley, Yvonne Banyard, Gerald Connolly, Richard Parry, Addie Lake, Grace Bromley, Bud de Silva, Alma Jorgenson, The Two Hildas (Hilda Waring and Hilda Statler), Sam Stern, Neville Clark, James Blair; and the Eight Rhythm Rascals. - Musicians: Tiny Douglas and His Varsity Boys.

"Clay's Chronicles." Australian Variety 7 Feb. (1917), n. pag. Kitching, Harry. Australian Variety 10 Nov. (1915), n. pag. --- Australian Variety 17 Nov. (1915), n. pag. --- Australian Variety 24 Jan. (1917), n. pag.

THE GAY MRS COHEN: [revusical] Txt. Bert Le Blanc; Mus. [n/e] Billed as 'the musical comedy revue of the season [with] delightful novelties, tuneful melodies, new spectacular scenery, exquisite costumes, hilarious situations [and] beautiful concerted numbers' (Truth 26 Mar. 1916, 7), this revusical sees Bert Le Blanc as Ike Cohen (a man of money) and Jake Mack as Morris Levi (after the money). Complications and much hilarity arises, however, as Mrs Cohen sees to it that she spends the money. The Truth theatre critic wrote of the 1916 Brisbane production: "Full of real humour, [The Gay Mrs Cohen] introduces many novelties and abounding as it is in tuneful melodies and sparkling songs, gives ample scope for the leading lights to show their abilities" (26 Mar. 1916, 7). Broken Hill's Barrier Miner provides additional insight into the revusical in a review published the following year:

Mrs Cohen is a spendthrift and a flirt, and Mr Ike Cohen's sphere of usefulness is chiefly in paying his wife's and daughter's bills, while Morris Levi, proprietor of Levi's store, is the man to whom most of the accounts have to be paid. There is a lover for Lily Cohen, the daughter, and a certain Walter Browne who spends a good deal of his time with Mrs Cohen. Both these gentlrment buy costly gifts for the ladies they admire, and the cost is always put down to Mr Cohen. Throughout the piece there are frequent appearances of the pony ballet in catchy choruses, dainty dances and bgorgeous costumes (25 May 1917, 2).

For the 1915 Perth season Glenville Jones and Jack Quinlan, of the New York Comedy Four, impersonated well-known theatrical personalities, Martin Brennan (Australian Variety editor) and Sid Russell. Australian Variety records that one of the absolute screams of the 1916 Adelaide production was the Le Blanc/Mack sketch "The Dying Gladiator" (5 Jan. 1916, n. pag.). The 1917 production is known to have included sauch musical numbers as: "In the Town Where I was Born," "The Shores of the Aegean Sea" and "My Bonnie Highland Lassie" (sung by Carlton Chase), "Men, Men, Men," "Hidden Treasure" and "My Little Hong Kong Baby" (Maud Miles), "Watching the Boats Come In" and "Just Bring Tulips Along" (Durham Marcel and Nellie Fallon), "When I'm Alone I'm Lonesome" (Bert Le Blanc, Carlton Chase and and Jake Mack, Nellie Fallon, Gladys Nyhoym and Violet De Lacey), and "Who'll Take Care of the Harum (Le Blanc and Mack). 1915: Melrose Theatre, Perth; 23-29 Oct. [return season: 6-12 Nov.] - Dir. Bert Le Blanc; Prod. Fullers' Theatres Ltd. - Troupe: Bert Le Blanc Revue Company. - Cast incl. Bert Le Blanc (Ike), Jake Mack (Morris), Carlton Chase, Maud Miles, Durham Marcel, Nellie Fallon, New York Comedy Four (Jack Quinlan, Glenmore Jones, Clym Edgares and Holly Leslie);and the Pony Ballet. 1915: Princess Theatre, Fremantle (WA); 27 Nov. - 3 Dec. - Cast and production as for previous Perth season. 1916: Kings Theatre, Adelaide; 26-31 Dec. - Dir. Bert Le Blanc; Prod. Fullers' Theatres Ltd. - Troupe: Bert Le Blanc Revue Company. - Cast incl. Bert Le Blanc, Jake Mack, Carlton Chase, Maud Miles, Durham Marcel, Nellie Fallon, New York Comedy Four (Jack Quinlan, Glenmore Jones, Clym Edgares and Holly Leslie); and the Pony Ballet. 1916: Empire Theatre, Brisbane; 25-31 Mar. - Dir. Bert Le Blanc; Prod. Holland and St John (in assoc. with Fullers' Theatres Ltd); Lse. Holland and St John. - Troupe: Bert Le Blanc's Musical Travesty Stars. - Cast incl. Bert Le Blanc, Jake Mack, Carlton Chase, Maud Miles, Nellie Fallon, Durham Marcel, New York Comedy Four (Jack Quinlan, Glenmore Jones, Clym Edgares and Holly Leslie); and the Pony Ballet (Gladys Nyhoym, Marie Lannan, Dot Bellion, Letty Patten, Violet De Lacy, Lily Clark). 1917: Majestic Theatre, Adelaide; 14-20 Apr. - Dir. Bert Le Blanc; Prod. Fullers' Theatres Ltd. - Cast incl. Bert Le Blanc (Ike Cohen), Jake Mack (Morris Levi), Carlton Chase (Walter Browne), Maud Miles (Mrs Cohen), Nellie Fallon (Lily Cohen), Durham Marcel (Charlie Summers), Clym Edgares, Holly Leslie, Glanmore Jones, Barry Hitchings; and the Pony Ballet. 1917: Crystal Theatre, Broken Hill (NSW); 24 May - Cast and production mostly as for previous Brisbane season. 1917: Majestic Theatre, Sydney; 16-22 June - Dir. Bert Le Blanc; Prod. Fullers' Theatres Ltd. - Troupe: Bert Le Blanc's Musical Travesty Stars. - Cast incl. Bert Le Blanc, Jake Mack, Carlton Chase, Winnie Knight [aka Mrs Bert Le Blanc], Mike Connors, Queenie Paul, Ivy Moore, Clym Edgares; and the Pony Ballet (Kitty McGuire, Trixie Wilson, Marie Lannan, Dot Bellion, Lily Clarke, Annie Henry). 1917: Empire Theatre, Brisbane; 29 Dec. 1917 - 4 Jan. 1918 - Dir. Bert Le Blanc; Prod. Holland and St John (in assoc. with Fullers' Theatres Ltd); Lse. Holland and St John. - Troupe: Bert Le Blanc's Travesty Stars. - Cast incl. Bert Le Blanc, Jake Mack, Queenie Paul (Mrs Cohen), Ivy Moore, Clym Edgares, Carlton Chase, Mike Connors, Fred Witt, Winnie Knight [aka Mrs Bert Le Blanc]; and the Pony Ballet. 1918: NB: The Gay Mrs Cohen would have very likely been staged between January and September during the company's tour through Adelaide, North-Western NSW, and Western Australia. Dates for these engagements are yet to be located.

1918: Bijou Theatre, Melbourne; 12-18 Oct. - Dir. Bert Le Blanc; Prod. Fullers' Theatres Ltd. - Troupe: Bert Le Blanc's Musical Travesty Stars. - Cast incl. Bert Le Blanc, Jake Mack, Mike Connors, Queenie Paul, Lillian Colenzo, Winnie Knight [aka Mrs Bert Le Blanc], Sid Garti, Harry McDonna, Leslie Jephcott; and the Pony Ballet (Violet Penson, Rita Penson, Vera Tandy, Rose Brennan, Hilda Lynn, Annie Henry). - The unusually short 4 weeks season may have been a fill-in engagement between the previous Adelaide season and the company's forthcoming engagement in Brisbane (beginning 2 Nov.) 1918: Empire Theatre, Brisbane; 2-8 Nov. - Dir. Bert Le Blanc; Prod. Fullers' Theatres Ltd. - Troupe: Bert Le Blanc's Musical Travesty Stars. - Cast incl. Bert Le Blanc, Jake Mack, Mike Connors, Queenie Paul, Lillian Colenzo, Winnie Knight [aka Mrs Bert Le Blanc], Lance Vane, Will Raynor; and the Pony Ballet (Violet Penson, Rita Penson, Vera Tandy, Rose Brennan, Hilda Lynn, Annie Henry). - This was the opening production of the Le Blanc season. 1921: Lyric Theatre, St Kilda (Melbourne); 5-11 Nov. - Dir. Bert Le Blanc; Prod. William Anderson; Lse. Fullers' Theatres Ltd; M Dir. George Powell. - Troupe: The Who's Who Costume Revue Entertainers (aka Travesty Stars) - Cast incl. Bert Le Blanc, Jake Mack, Sydney Hollister, Dan Weldon, Frank Graham, Clarice Norman, Jean Maynard, Alice Walton, Winnie Knight, Fred Deal, Harry Vernon, Mary Anderson, Nora Marrs, Sylvie Millers, May Down.

"Bert Le Blanc's Travesty Stars." Barrier Miner (Broken Hill) 25 May (1917), 2. "Empire Theatre, The." Truth (Brisbane) 26 Mar. (1916), 7. "Majestic Theatre." Daily Herald (Adelaide) 16 Apr. (1917), 2.

THE CARNIVAL: [revusical] Txt/Mus. [n/e] The third revusical staged under the Harry Clay banner, and possibly written by Arthur Morley, The Carnival was seen by the Australian Variety critic, Harry Kitching, as less appealing than the first two. "Ted Stanley," writes Kitching, "was the usual hit of the show but was not given the chance to his usual advantage. Given a free hand he is indeed a riot. The show on the whole, was slow, inclined to drag too much… It can be livened up a lot more by giving the right artists more scope to display their ability. The male members [in particular] are a very strong combination and should be able to get in a lot more good business. Outside Elsie Bates in the ladies, they are decidedly weak" (24 Nov. 1915, 5). 1915: Bridge Theatre, Newtown (Sydney); 20-26 Nov. - - Dir. Arthur Morley; Prod. Clay's Bridge Theatre Ltd; S Art. Alec. Stagpoole; S Mngr. Ted Gabriel. - Troupe: Royal Musical Comedy Company. - Cast incl. Elsie Bates, Ted Stanley, Harry Clay, Muriel Willis, Beth Pascoe, Arthur Morley, Will Rollow, Ted Tutty, the Harmonious Four.

Kitching, Harry. Australian Variety 24 Nov. (1915), 5.

THE CABARET: [revusical] Txt/Mus. [n/e] As with its immediate predecessor, The Carnival, this fourth revusical staged by Harry Clay, and possibly written by Arthur Morley, was seen by the Australian Variety critic, Harry Kitching, as less appealing than the first two. Kitching's view was that it was a "trifle weak" and that two of the leading female performers, Mercy Morrison and Grace Quine, were not only too quiet but needed to pay more attention to their stage appearance. "Arthur Morley… still a big favourite," notes Kitch, "is going big" (1 Dec. 1915, n. pag.). 1915: Bridge Theatre, Newtown (Sydney); 27 Nov. - 2 Dec. - Dir. Arthur Morley; Prod. Clay's Bridge Theatre Ltd; S Art. Alec. Stagpoole; S Mngr. Ted Gabriel. - Troupe: Royal Musical Comedy Company. - Cast incl. Elsie Bates, Ted Stanley, Arthur Morley, Will Rollow, Percy Shettle, Grace Quine, Mercy Morrison.

Kitching, Harry. Australian Variety 1 Dec. (1915), n. pag.

THE SCULPTOR'S DREAM: [revusical] Txt. Ernest George; Mus. [n/e] The fifth, and possibly the final revusical staged by Harry Clay in 1915, was like its two predecessors found wanting by Harry Kitching, Australian Variety's senior critic. For Kitching "the main effect comes at the end rather [too] suddenly for the audience to grasp the meaning… [and as such] wants a lot more working up before it can be considered good" (8 Dec. 1915, 11). 1915: Bridge Theatre, Newtown ( Sydney); 3-9 Dec. - Dir. Arthur Morley; Prod. Clay's Bridge Theatre Ltd; S Art. Alec. Stagpoole; S Mngr. Ted Gabriel. - Troupe: Royal Musical Comedy Company. - Cast incl. Elsie Bates, Ted Stanley, Arthur Morley, Will Rollow, Grace Quine, Mercy Morrison, Blanche Corelli, Bert Corrie

Kitching, Harry. Australian Variety 8 Dec. (1915), 11.

WHAT IS IT? [musical comedy] Lib. Stanley A. Kilminster; Orig Mus. Hubert Russell Although sometimes referred to in newspaper coverage as a revue, What Is It? was actually a musical comedy. The Sydney Morning Herald indicates in this respect that the production was staged over two acts and dealt "chiefly with a mesmerist, a snobbish duke, a gay young peer, a musical comedy actress and an American salesman "doing' London" ("What is It," 19). The first act is set in the house of Sarazo the mesmerist and the second act in the reception room of the Hotel Cecil, London. Among the songs incorporated into the show were: "We're Proud of You Boys" (sung by Valerie Hewett and chorus), "the Ragtime Dream," "The Beautiful Sea" and "The Sleepy Pyjama Girl." The dances included an Egyptian ballet and the picturesque 'Desert Dance." NB: In early 1916 Kilminster and some friends spent time touring Tasmania, and at once stage temporarily resided in the Franklin district. On 29 February the Huonville Musical Society announced in the Huon Times (29 February 1916) that Kilminster was organising a production of What Is It? for Easter Monday that year. The proposed director was identified as George Amer. No record of any production has yet been located, however. 1915: Repertory Theatre, Sydney; 4-5 December - Dir. Stanley A. Kilminster; M Arr/Cond. Hubert Russell; Prod. Eastern Suburbs Musical Society. - Cast incl. Gilbert Walton (Sarazo, the mesmerist), Placid Courtney (Duke of Tumblesnob), Hal Stuart-Beeston (Lord Fitzdare), Ethel Jack (Peggy Lashmore, the actress), Stanley Holthouse, W. G. Forshaw (Hon John Clifford), Valerie Hewett (Lady Sybil), Leila Smith (Thought), Phyllis Diddams; and ballet (Iris Ward, Lily Buckman, Ettie Burnett, Muriel Enderby, Eileen marks, Linda Mark). - The orchestra comprised 14 musicians. The chorus reportedly numbered 35 performers.

"Last Night's Music: Revue at Repertory." Sun (Sydney) 5 Dec. (1915), 10. "Repertory Theatre." Sydney Morning Herald 6 Dec. (1915), 6. "What is It?" Sydney Morning Herald 4 Dec. (1915), 19.

PARDON ME: [revusical] Txt/Mus. [n/e] 1915: Empire Theatre, Brisbane; 11-17 Dec. - Dir. Paul Stanhope; Prod. Holland and St John/Fullers' Theatres Ltd; Prop. Holland and St John. - Troupe: Paul Stanhope Merry Musical Burlesque Company.

MOTHER GOOSE: [pantomime] Lib. J. Hickory Wood; Add Lib. Reginald Franklin; Orig Mus. Victor Champion; "This is not the Mother Goose of the 1907 success," records the Age in a preview of J. C. Williamson's 1915 pantomime. "This is a new Mother Goose, to whom Australian audiences have not yet been introduced. Mr J. Hickory Wood's book is new; Victor Champion's music and Miss Minnie Everett's ballets are [also] new" (18 Dec. 1915, 14). Despite being referred to as "new" the libretto is believed to have been originally devised as a non-Australian creation. However, in order to give the production greater resonance for the domestic audience Williamson engaged Reginald Franklin to incorporate Australian themes, topicalities and localisations into the narrative. Victor Champion's original incidental and ballet music and Minnie Everett's choreography were also greatly inspired by Australian themes. In this respect, too, a number of locally-written songs were included in the production, one of the notable highlights being "Hello Melbourne," a telephone duet sung by Maude Fane and Lilian de Venny. In relation to the production's claim of pantomime status, however, the Age review of the opening production repeated the often raised assertion that pantomime had for some time ceased to exist in its traditional generic sense. Rather than being a pantomime, notes the paper's theatre critic, Mother Goose "is an extravaganza in the sense that Henry J. Byron conceived it, on a small scale. Mother Goose is not the Mother Goose in Fairyland. Mother Goose is a market woman in a model village - not a model village in the town planning sense, but according to Toyland interpretation" (20 Dec. 1915, 9). As an extravaganza the production's logistical opulence is indeed clearly evident from newspaper reportage. It "equals, if it does not surpass, its predecessors in the richness of its staging, the novelty of its devices and the grace of its ballets," writes the same critic (9). A preview published on the day of its premiere in Melbourne notes, too:

The production of the pantomime engages 350 players, scenic artists and mechanicians [sic] - of whom 300 players appear on the stage. The number of costumes, designed by Comelli's, London, and made in Australia, is 760. The electric lamps… are counted as 10,000; the canvas of the scenes measures two miles in length. The brilliant effects, the new mechanism, and the strange devices and attractions have been secured by Mr Hugh

J. Ward and Mr Clyde Meynell in England and America. The display of wealth in the Lilian de Venny Hall Of Gold - with every sovereign lit by an electric lamp, with golden, silver, copper Observer (Adelaide) 4 Mar. (1916), 26. and Australian note ballets - is beyond the wildest loan operations of a State Treasurer in the London market in peace times (Age 18 Dec. 1915, 14).

Many of the localisations and topicalities staged within the pantomime were clearly aimed at both promoting nationalism and solidarity, as well as helping create a sense of normalcy during a period of war time social depression. An Australian bush scene, for example, was accompanied by a ballet of the national flowers of the British Empire- from rose to Scotch thistles to shamrock to waratah - it is here, too, that the Wishing Well lay (instead of in its traditional Fairyland scene). Other featured spectacles included a boy scouts and toy nursemaids ballet along with the triumphant "March of the Allies. The telephone duet "Hello Melbourne" was itself staged in front of a huge map of Australia, with each capital city marked by its coat of arms.

Punch (Melb) 30 Dec. (1915), 25.

The narrative, based as it is on the traditional children's tale, sees Mother Goose again failing to pay her rent to the Mayor of Bordertown. The Fairy Queen Heartease, decides to help by giving her the original goose that lays golden eggs. The result is that Mother Goose becomes the target of fortune hunters - notably the Mayor of Moortown and the Laird. Mother Goose resists their overtures, telling one and all that she is a bride fit only for a king… or an American insurance agent. Becoming increasingly fixated on her desire for beauty, Mother Goose falls under the malign influence of the Demon King, Rather than consult a beauty specialist, "or hunting up Mrs Brown Potter's treatise," she dips herself in the Wishing Well, thus causing the goose to fly away back to Gooseland and the eggs to become broken. The remainder of the pantomime sees Mother Goose with the aid of the Fairy Queen and other characters go off in search of the missing bird. The final scene reveals the court of the golden eggs and the people of Gooseland "from the finely-feathered King and Queen down to the toughest survivors from Michaelmas and the goslings fresh from the shell" (9). The production's musical numbers were: Opening Chorus, "Birds of the Night" and "Awake, Awake, Now Dawns the Day" (Charles Howard and Gladys Moncrieff), "It's a Long Long Trail" (Lillian De Venny), "Buckle My Shoe" (Victor Kelly), "Make Way for the Laird" (Arthur Reynolds and chorus), "Go Out and Do a Swank" (Lilian De Venny and Harry Farrow - The Dame chorus), "My Little Dream Girl" (Lilian De Venny assisted by Little Florrie Allan, who swings Table Talk 23 Dec. (1915), 16. amongst the audience with the theatre in darkness), "Folks in High Society" (chorus), "Swinging High" (Maud Fane and Lilian De Venny), "Balbon" (Maud Fane), "Beautiful Roses" (Gladys Monerieff), "We Are All of Us Hunters Bold" (chorus), "If You Can't Sing the Words You Must Whistle the Tune" (Arthur Reynolds), "Private Cassidy, V.C." (Maud Fane and children), "Has Anyone Been Asking for Me" (Harry Farrow), "Soldier Boy" (Lilian De Venny), "Down Lovers' Lane" (chorus), "Do Come and Play With Me" (Maggie Dickenson), "Hello! Melbourne" (Lilian De Venny and Maud Fane) ("Pantomime," Mail 4 Mar. 1916. 6). 1915: Her Majesty's Theatre, Melbourne; 18 Dec. 1915 - 1 Mar. - Dir. Charles A. Wenham; Prod. J. C. Williamson's Ltd; M Dir. Victor Champion; S Art. W. R. Coleman; Chor. Minnie Everett; Cost. Comelli's (London); S Mngr. J. C. Whitfield. - Cast incl. Lilian de Venny (Colin), Maud Fane (Jill), Harry Farrow (Mother Goose), Albert Felino (Golden Goose), Gladys Moncrieff (Heartese), Victor Kelly (Jack), Charles Howard (Mephistophelis, Demon King), Arthur Reynolds (Laird), Rupert Darrell (Mayor), Queenie Paul (Eric, Earl of Fena), Dorothy Firmin (Lady Ida), Maggie Dickinson (Gretchen/ dancer), Maude Amery (dancer), Billy Le Brun (Donkey), George Smith (Hind Legs of Horse), Ross and Falls (acrobats). 1916: Theatre Royal, Adelaide; 4-16 Mar. - Cast and production mostly as for previous Melbourne season. Changes incl. R. J. Keers (music director). 1916: Regional Victoria tour; 20 Mar. - - Itinerary incl. Ballarat (Her Majesty's Theatre; 20-21 Mar.) • Geelong (Geelong Theatre; 22 Mar.) 1916: Her Majesty's Theatre, Brisbane; 1-11 Apr. - Cast and production mostly as for previous Adelaide season. 1916: Her Majesty's Theatre, Sydney; 15 Apr. - 9 June - Cast and production mostly as for previous Adelaide season. 1916: Victoria Theatre, Newcastle (NSW); 10-14 June "The Children's Idols - The Dame and the Goose" - Cast and production mostly as for previous Adelaide season. Mail (Adelaide) 4 Mar. (1916), 6. - Lse. Dix-Baker. 1916: New Zealand Dominion tour; 20 June - - Dir. Charles A. Wenham; Prod. J. C. Williamson's Ltd; M Dir. Robert Keers; S Art. W. R. Coleman; Chor. Minnie Everett; Cost. Comelli's (London); S Mngr. J. C. Whitfield. - Cast incl. Lilian de Venny (Colin), Maud Fane (Jill), Arthur Stignant (Mother Goose), Albert Felino (Golden Goose), Gladys Moncrieff (Heartese), Victor Kelly (Jack), Charles Howard (Mephistophelis, Demon King), Arthur Reynolds (Laird), Rupert Darrell (Mayor), Queenie Paul (Eric, Earl of Fena), Dorothy Firmin (Lady Ida), Maggie Dickinson (Gretchen/dancer), Maude Amery (dancer), Billy Le Brun (Donkey), eorge Smith (Hind Legs of Horse), Ross and Falls (acrobats). - Itinerary incl. Wellington (Grand Opera House; 20 June - 1 July) • Hawera (Opera House; 3 July) • Taranaki (Theatre Royal; 4 July) • Hastings (Municipal Hall; 10 July) • Gisborne (His Majesty's Theatre; 12 July) • Napier (15 July) • Auckland (His Majesty's; 17 July-) • Wanganui (Opera House; 27 July) • Christchurch (29 July-5 Aug.) • Dunedin (Theatre Royal; 7-11 Aug.) • Timaru (Theatre Royal; 15 Aug.).

Table Talk 30 Dec. (1915), 15.

Behind the Scenes at Mother Goose Pantomime Table Talk 30 Dec. (1915), 3.

"Amusements: Mother Goose." Auckland Star (NZ) 11 July (1916), 3. "Bailiff's Man and a Run for Life: Harry Farrow's Amusing Experiences, A." Mail (Adelaide) 4 Mar. (1916), 6. "Brilliant Spectacle: Mother Goose Pantomime - Williamson Production at its Best." Sunday Times (Sydney) 16 Apr. (1916), 2. "Her Majesty's Theatre." Punch (Melbourne) 30 Dec. (1915), 36. "Her Majesty's: Mother Goose Pantomime." Argus 20 Dec. (1915), 13. "Her Majesty's Theatre: Mother Goose - A Splendid Show." Table Talk 23 Dec. (1915), 27. "J. C. Williamson Mother Goose Pantomime." Daily Standard (Brisbane) 25 Mar. (1916), 3. "Mother Goose." Evening News (Sydney) 22 June (1916), 2. "Mother Goose: A Fascinating Pantomime." Ballerat Star 21 Mar. (1916), 2. "Mother Goose Again." Auckland Star (NZ) 18 July (1916), 7. "Mother Goose at Her Majesty's, Melbourne: Brilliant Pantomime with Managerial Promises Fully Realised." Referee (Sydney) 22 Dec. (1915), 15. "Mother Goose: Australian Beauty to the Fore." Truth (Melbourne) 25 Dec. (1915), 6. "Mother Goose: His Majesty's Theatre." Telegraph (Brisbane) 3 Apr. (1916), 3. "Mother Goose: Huge Audience Witness Splendid Panto." Daily Herald (Adelaide) 6 Mar. (1916), 3. "Mother Goose: J. C. Williamson's Giant Pantomime." Ballerat Star 18 Mar. (1916), 2. "Mother Goose: J. C. Williamson's Marvellous Pantomime - Magnificent Opening Night." Mail (Adelaide) 4 Mar. (1916), 7. "Mother Goose - Making a Pantomime - First Performance Tonight." Age 18 Dec. (1915), 14. "Mother Goose Panto: Best for Years." Daily Standard (Brisbane) 3 Apr. (1916), 2. "Mother Goose: Pantomime at Geelong Theatre." Geelong Advertiser 23 Mar. (1916), 4. "Mother Goose: Splendidly-Produced Pantomime at Her Majesty's." Referee 19 Apr. (1916), 15. "Pantomime at Her Majesty's." Age 20 Dec. (1915), 9. "Pantomime Beauties." Mail (Adelaide) 4 Mar. (1916), 8. "Pantomime: Mother Goose." Leader (Melbourne) 25 Dec. (1915), 34. "Pantomime: Mother Goose at the Royal." Register (Adelaide) 6 Mar. (1916), 7. Queen Bee. "Pretty Pantomime." Australasian (Melbourne) 25 Dec. (1915), 44.

Dominion (NZ) 20 June (1916), 7.

I'M SORRY: [revusical] Txt. Paul Stanhope; Mus. [n/e] Described in an Age advertisement as "a mirthful musical revusical… brightly written and elaborately produced. Brimful of Latest Song successes, Hilarious Comedy Scenes, Artistic Ballets and Tuneful Choruses. A ripple of happiness from the opening chorus to the grand finale." The 1915 production also included Paul Stanhope's specialty act "Three Thousand Feet High" (25 Dec. 1915, 12). Although the exact authorship of the text is unclear, Stanhope's role in its creation very likely involved input from his company's other leading actor/comedians Les Bates and Les Warton. 1915: Bijou Theatre, Melbourne; 25 Dec. - - Dir. Paul Stanhope; Prod. Fullers' Theatres Ltd. - Troupe: Paul Stanhope's Burlesque Company. - Cast incl. Paul Stanhope, Les Bates, Les Warton, Frank Norton.

Age 25 Dec. (1915), 12. Advert.

Last updated: 26/11/2016 Expanded and updated from Clay Djubal, "What Oh Tonight" (Appendix C), Ph D Diss (2005) U of Qld. NB: The URL for this PDF will change each time it is updated. If you wish to cite or link to this record please use the following: Australian Variety Theatre Archive • http://ozvta.com/1910s/