1916

CHASE ME, GIRLS: [revusical] Txt. George Sharratt; Mus. [n/e] George Sharratt's "musical burlesque," staged on the Harry Clay Sydney circuit, was to be initially called Hello Newtown. Notices in the 5 and 12 January 1915 issues of Australian Variety indicate that Sharratt (of the duo, Sharratt and Lang) was then rehearsing the production, and that it would open on the 15th. The 19 January issue, however, in reviewing the previous Saturday program at Clay's Bridge Theatre refers to the Sharratt production, Chase Me Girls. It is not clear at this stage why the name change was required, although it does bare similarity with Hello Coogee (and its various revivals, Hello Brisbane etc), a revusical produced by the Paul Stanhope Merry Musical Burlesque Company in 1915. Australian Variety, which had criticised three of Clay's 1915 revusicals notes that Chase Me Girls' Bridge Theatre premiere made quite an impression on the big audience. "Noticeable are the many quick changes the girls have, and about the best and most prominent one was 'Australia Will be There,'" wrote the magazine's critic, Harry Kitching (n. pag.). 1916: Bridge Theatre, Newtown (Sydney); 15 Jan. - Dir. George Sharratt; Prod. Clay's Bridge Theatre Ltd; S Mngr. Ted Gabriel. - Cast incl. Sharratt and Lang.

Kitching, Harry. "Harry Clay's." Australian Variety 19 Jan. 1916, n. pag.

LITTLE JACK HORNER: [pantomime] Lib/Mus. Harry Taylor An adaptation by Taylor of the popular pantomime story. 1916: New South Wales Hunter Valley tour; ca. Jan. - Feb. - Prod. Edward Jasper; Tour Mngr. J. R. Howard. - Troupe: Jasper's Pantomime Company. - Repertoire also included Humpty Dumpty. - The company performed in both established venues and in a moving tent. - Itinerary incl. Cessnock (20-21 Jan.) • Kurri (King's Hall; 22, 24 Jan.) • Maitland (Town Hall; 25-26 Jasn.) • Singleton (vacant block near Imperial Hotel; 27-29 Jan.) 1919: Alhambra Music Hall, Sydney; 21-27 June - Dir. Harry Taylor; Prod. Harry Taylor and Alf Coleman; M Dir. Wally Smith. Newcastle Morning Herald and - Cast incl. Bert Desmond, Joe Charles, Maud Shipp, Harry Taylor, Mattie Miners' Advocate 19 Jan. (1916), 10. Jansen, Emili Dani, Florence Walker, Dot Holroyd, Elsa Thornton. - The second production in Taylor and Coleman's school holiday pantomime season at the Alhambra. The other pantomimes were Bluebeard's Harem and Hello Cinderella. 1919: Queensland regional tour; ca. Aug. - Dec. [21 weeks] - Dir. Harry Taylor; Prod. Harry Taylor and Alf Coleman; M Dir. E. J. Golding; T Mngr. Jack Campbell. - Cast incl. Bert Desmond, Joe Charles, Harry Taylor, Emili Dani (Citronella), Mattie Jansen and Maudie Shipp (The Babes), Ilma Burns, Janet Waldren, Julia Reeves, Ivy Marshall, Florence Walker (principal boy), Cora Trevor, Vicky Gresham, Alice White, Francis Smith, Ida Berkley. - The tour, which played some 51 towns, also included the pantomimes: Robinson Crusoe and Babes in the Wood.

THE BROOK: [revusical] Txt. Jack Kearns and Harry Sadler; Mus. [n/e] The Theatre describes the February 1916 Princess Theatre (Sydney) production thus: "In the background sat comedian Billy Maloney high up on a bank, with a rod and line in his hand; and as the other members of the company cavorted in the foreground Mr Maloney varied the proceedings by 'landing' such articles as boots and corsets and vegetables" ("On Your Nut," 46-47). Although Maloney and Kearns received a positive review from X-Ray, the Theatre's variety editor, the production was considered to be "dead" in most other areas. NB: It is possible that this Kearns/Sadler production may have been a reworked adaptation of a two act musical burlesque of the same name staged by Charles W. and Harry P. Cogill as early as October 1888 (St George's Hall, Melb). When the Cogills revived it in 1891 as part of their Christmas week entertainment at Melbourne's Garrick Theatre (the cast also included W. Horace Bent), Jack Kearns was playing a small role in a production of Jack the Giant Killer at the Alexandra Theatre. Kearns, therefore, would have not only known about the burlesque, but could quite possibly have seen the Cogills' version. 1916: Princess Theatre, Sydney; 5-11 Feb. - Dir/Prod/Lse. Harry Sadler and Jack Kearns; Prop. Fullers' Theatres Ltd. - Troupe: Jack Kearns Revue Co. - Cast incl. Jack Kearns, Harry Sadler, Billy Maloney, George Dean, Violet Elliott, Nellie Searle.

Age 13 Oct. (1888), 20. Advert. (re: Cogills' burlesque) X-Ray. "On Your Nut." Theatre Magazine Mar. (1916), 46-7.

Sun (Sydney) 5 Feb. (1916), 2.

ON YOUR NUT: [revusical] Txt. Jack Kearns and Harry Sadler; Mus. [n/e] Set in a Sydney boarding house, the cast of characters includes a young army recruit, the boarding house keeper (Mrs O'Flanagan), and various lodgers and local residents. "The curtain rises on a festive boarding house scene," records the Theatre in its review of the 1916 Princess Theatre production. "The guest [is] a young fellow in khaki [who] is going to the front… Then the front-cloth descends. After it comes down Mr Kearns appears in the guise of an Irish M. P. from Goondiwindi (Queensland), looking for an 'ould friend of mine phwat keeps a Sydney boarding-house - Mrs O'Flanagan.'" In this search he meets a number of other characters representing different types of Sydney residents, "and in that way the audience are provided with a lot of humorously skittish stuff. In turn songs are given by Peter Brooks, Harry Sadler, Cliff O'Keefe, Billy Maloney, Beattie McDonald, Vera Kearns, Violet Elliot and Mr Kearns himself… Finally the front-cloth is raised once more disclosing the boarding house - this time with the lodgers at the table more or less busy on a meal, and the landlady flying about here and there. The Mr Kearns enters. The keeper of the place, Mrs Flanagan, is the 'ould friend' he is looking for! Then the fun - in which all the boarders participate - follows fast and furious" ("On Your Nut," 46-47). 1916: Princess Theatre, Sydney; 12-18 Feb. - Dir/Prod/Lse. Harry Sadler and Jack Kearns; Prop. Fullers' Theatres Ltd. - Troupe: Jack Kearns Revue Co. - Cast incl. Jack Kearns (The Irish M.P.), Harry Sadler, Billy Maloney, Vera Kearns (Mrs O'Flanagan), Peter Brooks, Arthur Elliott, Violet Elliott, Beattie McDonald, Cliff O'Keefe, George Dean. 1919: Gaiety Theatre, Sydney; ca. July - Prod. Andy Kerr.

"On Your Nut." Theatre Magazine 1 Mar. (1916), 46-7.

MONTE CARLO: [revusical] Txt. Jack Kearns and Harry Sadler; Mus. [n/e] 1916: Princess Theatre, Sydney; 26 Feb. - 3 Mar. - Dir/Prod/Lse. Harry Sadler and Jack Kearns; Prop. Fullers' Theatres Ltd.

- Troupe: Jack Kearns Revue Co. - Cast incl. Jack Kearns, Harry Sadler, Billy Maloney, Vera Kearns, Cliff Harry Sadler and Jack Kearns O'Keefe, Billy Maloney, Peter Brooks, Ruby Wallace, Louie Duggan, George Dean. 1917: Harry Clay's Sydney suburban and south-west New South Wales circuit; ca. May/June - Prod. Clay's Bridge Theatre Ltd; S Art. Alec Stagpoole; S Mngr. Ted Gabriel (BTN).

FULL STEAM AHEAD: [revusical] Txt. Victor Prince; Mus. [n/e] Described by X-Ray in the Theatre as arguably the best of the Prince/Zoli productions ("Month," 49), the plot of Full Steam Ahead revolved around the characters Jimmy Pannikin (an intoxicated bosu), John Stormalong (an Italian sea captain), and Giuseppe Prospecto (an Italian financier). Other characters identified in 1916 were Cora Cannon, a naval officer and a Cockney curio. Jimmy Pannikin was also later renamed Dicky Front. Later characters were reportedly a landlord and landlady of the Village Inn. 1916: National Amphitheatre, Sydney; 5-11 Feb. - Dir. Victor Prince; Prod. Fullers' Theatres Ltd. - Troupe: Victor Prince Revusical Comedy Company. - Cast incl. Victor Prince (Jimmy Pannikin), Charles Zoli (the sea captain), Ruby Esdaile (Cora Cannon), Leslie Carey (Naval Officer), Charles Davies, Reg. Moore, Kenneth Scott, Bert Morrison, Lilian Colenzo (The Cockney); with chorus - Maudie Perman, Irene Maguire, Dorrie Tointon, Nellie Maguire, Kathleen Dombrain, Flo Lyle. 1917: Bijou Theatre, Melbourne; 2-8 June - Dir. Victor Prince; Prod. Fullers' Theatres Ltd. - Troupe: Prince's Players. - Cast incl. Victor Prince (Dicky Front), Charles Zoli (the sea captain), Lillian Colenzo (Landlady), Dorothy Hastings, George Sharratt (Landlord), Yorke Gray, Annette Lang, Florence Lyle. 1917: Majestic Theatre, Sydney; ca. Oct. - Dir. Victor Prince; Prod. Fullers' Theatres Ltd. - Troupe: Victor Prince Revusical Comedy Company. - Cast incl. Victor Prince, Charles Zoli, Roy Herbert, Yorke Gray. 1917: National Amphitheatre, Sydney; 10 Nov. - - Cast and production mostly as for previous Majestic Theatre season "Bijou Theatre." A: 4 June (1917), 7. "At the National: New Victor Prince Burlesque." Sunday Times (Sydney) 6 Feb. (1916), 6. X-Ray. "Victor Prince Revusical Comedy Co, The." Theatre Magazine Mar. (1916), 44. --- "Month in Vaudeville, The." Theatre Magazine Dec. (1917), 49.

Evening News (Sydney) 5 Feb. (1916), 3.

SUNNY SPAIN: [revusical] Txt. Jack Kearns and Harry Sadler; Mus. [n/e] 1916: Princess Theatre, Sydney; 4-10 Mar. - Dir/Prod/Lse. Harry Sadler and Jack Kearns; Prop. Fullers' Theatres Ltd. - Troupe: Jack Kearns Revue Co. - Cast incl. Jack Kearns Vera Kearns, Louie Duggan, Harry Sadler, Billy Maloney, George Dean, Beattie MacDonald, Frank and Lank and Alice [Frank Uren, W. Thompson and Alice Johnston, aka Mrs Frank Uren].

MULDOON'S PICNIC: [revusical] Txt Adapt. James Craydon; Mus. [n/e] James Craydon (ex Delohery, Craydon and Holland), who had been stage managing Sydney's Princess Theatre for the Fullers for some five years to the beginning of 1916, and producing numerous revusicals in the process, also staged one or two at the theatre during the year while it was under the management of lessees Jack Kearns and Harry Sadler. One of these revusicals was Muldoon's Picnic, a revival of the once popular minstrel farce, which Frank M. Clark ("the original Muldoon") claims to have first staged in Australia (Age 16 Oct. 1886, 12).1 The earliest Australian production found to date was in Melbourne in 1882, staged by Clark and Ryman at St George's Hall beginning 26 December. How different Craydon's musical adaptation was to the Clark version is unknown. As with the revusical genre in general most revivals, even when undertaken in later years by the original creator(s), were rearranged for the strengths of the performers then engaged to perform the work. This invariably meant that new songs, new dances, new specialties and new comic "business" were created for it them, loosely based around the original story line. There are several pieces of evidence supporting the above claim in reference to Muldoon's Picnic. One is provided in the September 1914 issue of the Theatre Magazine through an interview with Craydon titled "Isn't this a Record." Craydon indicates that he had in his possession "a twenty-five year collection of farces, the vast majority of these having been written down by him while he engaged to perform in them. He argues, however, that the changes he had made to these farces in their revived form, with occasional assistance from various artists, meant that they might now be considered "original creations" (29). A second piece of supporting evidence can be found in a review of the minstrel farce version staged by the Elite Vaudeville Company (with which Delohery, Craydon and Holland were engaged) from 12 March 1898 at Perth's Theatre Royal. The critic notes that "[Muldoon's Picnic] is especially adapted to performance by such a company as the Elite, for it admits of a certain amount of localisation and gives all the performers opportunities to display their particular specialties" (West Australian 14 Mar. 1898, 2). NB 1: Frank H. York and George A. Jones' Empire Minstrels staged a two act version of Muldoon's Picnic ca. 1894/95, with incidental specialties that included songs, dancing and skating. Among the cast members of the Empire Minstrels was Annetta Bodin, a one-time stage partner of Ida Tauchert, wife of Jack Kearns. See the 1894 page, including introductory section, for further details. NB 2: George Stephenson's Farce-Comedy Company also produced a version of Muldoon's Picnic (along with Fun on the Bristol and Skipped by the Light of the Moon) during the company's New Zealand tour, beginning Sept. 1915. This is not believed to have been a music theatre production, though. The company included Courtney Ford and Ivy Davis, Delavale and Gilbert and Frank Hawthorne. 1916: Princess Theatre, Sydney; 18-24 Mar. - Dir. James Craydon; Prod/Lse. Harry Sadler and Jack Kearns; Prop. Fullers' Theatres Ltd - Troupe: Jack Kearns Revue Co. - Cast incl. Ruby Wallace, Pearl Livingstone, Arthur Elliott (the Minister), George Dean, Harry Sadler, Jack Kearns, Billy Maloney, Vera Kearns, Louie Duggan.

ON THE RIVER: [revusical] Txt. Jack Kearns and Harry Sadler; Mus. [n/e] Set on Sydney Harbour - at Pinchgut, On the River was described in the Theatre Magazine as a "one act frivolous frivolity… [which consists of] nothing more than one member of the company after the other coming on after the other in a song, a dance or some patter, varied now and again by the performer getting the support of the chorus or the appearance of Harry Sadler as the comedian with a toy bucket and shovel pretending to shovel sand into the bucket from the bare stage. It is this, together with the view of Pinchgut in the harbour that inspired the title On the River" (X-Ray, 35). One song known to have been incorporated into the narrative, "At the Movies," was performed by Vera Kearns and a chorus of four Charlie Chaplin girls. 1916: Princess Theatre, Sydney; 11-17 Apr. - Dir/Prod/Lse. Harry Sadler and Jack Kearns; Prop. Fullers' Theatres Ltd. - Troupe: Jack Kearns Revue Co. - Cast incl. Harry Sadler, Jack Kearns, Billy Maloney, Vera Kearns, Arthur Elliott, Violet Elliott, Beattie McDonald, Ruby Wallace, Louie Duggan, Peter Brooks, George Dean, Cliff O'Keefe.

X-Ray. "On the River." Theatre Magazine Apr. (1916), 35.

A DRESS REHEARSAL: [revusical] Txt. Jack Kearns and Harry Sadler Mus. [n/e] 1916: Princess Theatre, Sydney; 22-28 Apr. - Dir/Prod/Lse. Harry Sadler and Jack Kearns; Prop. Fullers' Theatres Ltd. - Troupe: Jack Kearns Revue Co. - Cast incl. Jack Kearns, Harry Sadler, Billy Maloney, Les Warton, Vera Kearns, Lettie Craydon, Winnie Trevail, Ruby Wallace, The Three Starrs.

1 See 1882 entry for Muldoon's Picnic for further details relating to this works origins.

YOU'RE THE ONE: [revusical] Txt/Mus. [n/e] The first known staging of this revusical was during George Marlow's Brisbane season - which included among its productions the pantomime Dick Whittington and several dramatic works. 1916: Theatre Royal, Brisbane; 22 Apr. - 5 May - Dir/Prod. George Marlow. - Troupe: George Marlow's Revue Company (aka George Marlow's Dramatic Company). - Cast incl. George Marlow, Morris and Meeker, Tom Armstrong, Mabs Howarth.

BE BEAUTIFUL: [revusical] Txt/Mus. [n/e] 1916: Empire Theatre, Brisbane; 27 May - 2 June - Dir. Albert Bletsoe; Prod. 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.

SYDNEY HARBOUR: [revusical] Txt/Mus. [n/e] It is not clear at this stage whether Sydney Harbour was the actual title of this revusical. Australian Variety notes only that "Harry Clay's Bridge Theatre, Newtown, presented a new first part. 'Sydney Harbour,' from the brush of Alex Stagpoole, which from the front looked about the best seen at this theatre for some time" (31 May 1916, n. pag.). 1916: Bridge Theatre, Newtown (Sydney); 27 May - 2 June. - Dir. George Sharratt; Prod. Clay's Bridge Theatre Ltd; S Mngr. Ted Gabriel. - Cast incl. Sharratt and Lang.

PALMISTRY UP TO DATE: [revusical] Txt/Mus. [n/e] 1916: Empire Theatre, Brisbane; 3-9 June - Dir. Albert Bletsoe; Prod. 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.

THE BEAUTY PARLOUR [aka WHAT OH, TONIGHT / MANICURE, SIR?]: [revusical] Txt. Nat Phillips; Mus. [n/e] # FHC [manuscript - Nat Phillips Collection, UQFL9, Box 3]

Although best known as The Beauty Parlour (and sometimes as Manicure, Sir?), this one act musical comedy - the first ever Stiffy and Mo production - was first titled What Oh, Tonight.2 Nat Phillips had been presenting his "Stiffy" character on stage for some years prior to forming the company, but this particular revusical marked the first occasion that he and Roy Rene appeared together as a comic duo. It is interesting to note, however, that while the on-stage partnership came to be known as Stiffy and Mo, the part of Mo Lazarus was originally written into the revusical as Sol McPherson, an Irish/Hebrew character (see Nat Phillips Collection manuscript, University of Queensland). Reviews for the 8 July premiere of What Oh Tonight indicate that Rene had changed the character's name from Sol to Mo by then. Evidence for claiming that What Oh Tonight and The Beauty Parlour/Manicure Sir? are the same comes from the same beauty parlour settings and characters used in both works. The narrative sees Stiffy and Mo in the roles of buyers visiting a beauty parlour owned by Helen Summer and her husband, Harry. Other characters include: Helen's uncle, Major Pinetree, George (a customer), Mrs De Vere (a widow), Dr Burgess, Mary (a maid), Florence (a friend of Helen's) and a group of friends and visitors. Interestingly the Major Pinetree character also appears in another Stiffy and Mo revusical, Plumbers (aka Yes We Don't).

Source: Nat Phillips Collection, Fryer Library, University of Queensland

The critics were overwhelmingly positive in their assessment of the Stiffy and Mo company's debut season. Australian Variety noted, for example, that Phillips, in particular, "has identified himself with an original type in 'Stiffy,' the hero of the revues at the Princess. The character is typically Australian and Nat has it true to life" (23 Aug. 1916, n. pag). The Melbourne press was similarly enamoured. According to the Argus' review of the 1917 Bijou Theatre (Melb) debut, "the extraordinary diversions

2 What Oh Tonight was sometimes referred to as What-Ho Tonight and/or What O Tonight in advertising and revues. The title used in the AVTA is based on the spelling Phillips gave to the manuscript held Fryer Library. of a suburban rabbit-hawker and a Hebrew investor in a "beauty parlour" were at times cleverly conceived, and on several occasions contained all the elements of a really humorous situation. The success of this piece was due to the energy and originality of to experienced comedians, who carried the burden of a somewhat top-heavy construction of ballet, chorus and incidental humour. Much of the low-grade comedy which offends every canon of good taste, and at times goes well beyond the limit of tolerance, emanates from 'Mo' though unfortunately he is only too well seconded by his ally" ("Bijou Theatre," 9). The songs known to have been incorporated into the original revusical were: "The Opening Chorus," "Lady's Band," "Antonio," "Skylark Love," "Men, Men, Men," Here's to Love" (also reprised as the finale). The 1922 productions included the songs "Beauty" (sung by the girls and customers), "Tennessee" (Connors and Paul), "Maggie Dooley" (Phillips, Rene and Shaw), "Got to Get Busy" (Connelly and girls), "Cute Way of Their Own" (Merton and girls), "Uncle Joe" (Connors and company), "Excelsior" (Connelly and Shaw), "Wonder" (Paul and girls), "Make Believe" (Connors), "Marie" (Phillips and Davis), "Wonderful Girl" (O'Brien and girls) and the finale "Sold" (company). NB: It is not clear if there is any relationship between this Nat Phillips production and a sketch titled The Beauty Parlour (author unknown) first known to have been staged in Australia at the Tivoli Theatre in November 1917. That production which starred Maria King Scott (as the customer) and Vera Pearce (in charge of the parlour), saw Mabelle Morgan score big laughs as the half-dressed woman who in view of the audience is left to roast in one of the grilling-chambers. Interestingly, the Theatre Magazine's critic publicly asks Tivoli boss, High D, McIntosh, why the author of this "classic" piece of fun was not mentioned in the programme. See Dec. 1917, 47 for further details.

Sun (Sydney) 7 July (1916), 2.

1916: Princess Theatre, Sydney; 8-14 July [as What Oh Tonight; return season 19-25 Aug.] - Dir. Nat Phillips; Prod/Lse. Harry Sadler and Jack Kearns; Prop. Fullers' Theatres Ltd. - Troupe: Nat Phillips' Tabloid Musical Comedy Revue Co. - Cast incl. Nat Phillips (Stiffy), Roy Rene (Mo), Daisy Merritt, Peter Brooks, Horace Mann, Caddy Franks, Walter Jackson [aka Walter Whyte], Maisie Pollard, Harry Sadler (return season only). - This is the only known production under the title What Oh Tonight. 1917: Grand Opera House, Sydney; 24-30 Mar. [as Manicure, Sir?; produced as a double bill with Oh Doctor] - Dir. Nat Phillips; Prod/Prop. Fullers' Theatres Ltd. - Troupe: Nat Phillips' Tabloid Musical Comedy Revue Co (aka Stiffy and Mo Ltd) - Cast incl. Nat Phillips (Stiffy), Roy Rene (Mo), Daisy Merritt, Peter Brooks, Horace Mann, Walter Jackson [aka Walter Whyte]. 1917: Bijou Theatre, Melbourne; 6-12 Oct. [as In a Beauty Parlour] - Dir. Nat Phillips; Prod. Fullers' Theatres Ltd. - Troupe: Nat Phillips' Stiffy and Mo Company. - Cast incl. Nat Phillips (Stiffy), Roy Rene (Mo), Daisy Merritt, Caddy Franks, Horace Mann, Dan M. Dunbar, Peter Brooks, Belle Pollard, Walter Jackson [aka Walter Whyte], Cliff O'Keefe, Vince Courtney; with the Panama Six (incl. Rosie Bowie, Phyllis Whisken, Dot O'Dea and Gwen Brandon). 1918: Empire Theatre, Brisbane; 23-29 Mar. - Dir. Nat Phillips; Prod. Fullers' Theatres Ltd. - Troupe: Nat Phillips' Stiffy and Mo Company. - Cast incl. Nat Phillips, Roy Rene, Daisy Merritt, Caddy Franks, Horace Mann, Dan M. Dunbar, Peter Brooks, Belle Pollard, Walter Jackson [aka Walter Whyte], Vince Courtney, Cliff O'Keefe. 1919: Fullers' Theatre, Sydney; 19-25 July [as The Beauty Parlour] - Dir. Nat Phillips; Prod. Fullers' Theatres Ltd; M Dir. W. Hamilton Webber; S Mngr. Dan M. Dunbar. - Troupe: Nat Phillips' Stiffy and Mo Company. - Cast incl. Nat Phillips, Roy Rene, Daisy Merritt, Caddy Franks, Horace Mann, Amy Rochelle, Walter Jackson [aka Walter Whyte], Chester Harris, Dan M. Dunbar, Peter Brooks, Maisie Posner, Jack Dennis.

1920: Bijou Theatre. Melbourne; 15-21 May [as The Beauty Parlour] - Dir. Nat Phillips; Prod. Fullers' Theatres Ltd. - Cast incl. Nat Phillips, Roy Rene, Amy Rochelle, Daisy Merritt, Caddy Franks, Horace Mann, Dan Dunbar, Will Liddle, Lou Harris. 1921: Empire Theatre, Brisbane; 3-9 Sept. [as In a Manicure Parlour] - Dir. Nat Phillips; Prod. Fullers' Theatres Ltd. - Troupe: Nat Phillips' Stiffy and Mo Company. - Cast incl. Nat Phillips, Roy Rene, Daisy Merritt, Dan M. Dunbar, Lola Hunt, Belle Pollard, Gerald Cashman, Walter Jackson [aka Walter Whyte], Dot O'Dea. 1922: Fullers' Theatre, Sydney; 29 Apr. - 5 May - Dir. Nat Phillips; Prod. Fullers' Theatres Ltd; M Dir. Charles Ryder; Chor. Rosie Bowie; B Mngr. George C. Audley; Cost. Ethel Moar; S Mngr. Dan M. Dunbar. - Troupe: Nat Phillips' Stiffy and Mo Company. - Cast incl. Nat Phillips, Roy Rene, Mike Connors (Harry Summer), Queenie Paul (Helen Summer), Dan M. Dunbar (Major Pinetree), Gladys Shaw (Mary), Keith Connelly (Dr Burgess), Dot Davis [aka Mrs Roy Rene] (Florence), Ida Merton (Mrs De Vere), Doc O'Brien (George), with Gwen Brandon, Rosie Bowie, Thelma Duff, Flo Wilson, Marie McLaughlin, Phyllis Whisken (friends and visitors). 1926: Luxor Theatre, Perth;12-18 June - Dir. Nat Phillips; Prod. Fullers' Theatres Ltd; Lse. Walker and Doyle. - Troupe: Nat Phillips' Whirligigs [aka Stiffy and 'Erb] - Cast incl. Nat Phillips (Stiffy), Jack Kellaway ('Erb), Mike Connors, Queenie Paul, Daisy Merritt, Dan M. Dunbar; Johnny More, Jenny Ray, Harry Huley, Bessie Bent, Connie Scott, Hal Graham; and the Radio Six - Jack Kellaway joined the company (as 'Erb") at the start of this production. 1928: Majestic Theatre, Adelaide; 21-27 July [as The Beauty Parlour] - Dir. Nat Phillips; Prod. Fullers' Theatres Ltd; M Dir. Frank Wilson. - Troupe: Stiffy and Mo Revue Co - Cast incl. Nat Phillips (Stiffy), Roy Rene (Mo), Alec Kellaway ('Erb), Sadie Gale, Dan Weldon, Amy Rochelle, Daisy Merritt, Dan Dunbar, Sylvia Gardner, Ray Fisher, Heather Bain. Bob Graham, Hilda Waring; and the Radio Six. - Musicians: Charleston Super Six Symphonists - incl. Frank Wilson (trombone/accordion/saxophone/whistle/ concertina), Les Clements (piano), Syd Clarke (violin). 1929: Empire Theatre, Brisbane; 1-7 June [as The Beauty Parlour] - Dir. Nat Phillips; Prod. Fullers' Theatres Ltd; M Dir. Tiny Douglas. - Troupe: Nat Phillips' Whirligigs. - Cast incl. Nat Phillips (Stiffy), Jack Kellaway ('Erb), Daisy Merritt, Al Mack, Cecil Scott, Tom Collins, Kitty Stewart, May Webster, Sylvia Gardner, Paul Daley, Belle Pollard, Eve Fenelly, Marjorie Vause; and the Radio Six. - Musicians: Tiny's Varsity Boys; incl. Tiny Douglas (violin), Art Dwar (banjo/guitar), Don Bennett (piano). 1930: Luxor Theatre, Perth; 12-18 July [as Manicure, Sir?] - Dir. Nat Phillips; M Dir. Tiny Douglas. - Troupe: Nat Phillips' Whirligigs. - Cast incl. Nat Phillips (Stiffy), Stan Foley (Stud), Daisy Merritt, Keith Connolly, Iris Ackworth, Kathleen Howard, Stella Lamond, Harry Ross, Angela Parselles, Cecil Scott; and the Radio Six. - Musicians: Tiny's Varsity Boys; incl. Tiny Douglas (violin), Art Dwar (banjo/guitar), Don Bennett (piano).

► What Oh Tonight : Digital copy of original manuscript held in the Fryer Library (University of Qld eSpace) ► What Oh Tonight : Edited version by Clay Djubal

"Bijou Theatre." Argus 8 Oct. (1917), 9. Fuller News 29 Apr. (1922), 12. Advert.

A SPORTING CHANCE [aka SPORTSMEN / SPORTS / A SPORTING CAREER]: [revusical] Txt. Nat Phillips; Mus. [n/e] # FHC, n. yr. [manuscript - Nat Phillips Collection, UQFL9, Box 2] Although the Fryer Library manuscript has the narrative set on the property of a hotel situated near a racecourse, there is evidence to suggest that this was changed over time. A review of the 1924 version, for example, indicates the setting was by then a farm, owned by a farmer with a handful or more of pretty daughters. One of the on-going jokes concerned "The Truth Tree" - a tree that grows all sorts of fruit. Anyone telling a lie beneath it gets a piece of fruit dropped on his or her head. The bigger the lie the bigger the fruit! For the 1916 Princess Theatre production, popular sketch artists Courtney Ford and Ivy Davis were brought in to supplement the core troupe membership. The Theatre Magazine notes that Ford was at "his best in the make-up of an old farmer, with half-a- dozen pretty daughters on his hands. Regarding his wife, the same review indicates that her rendition of "Just Because It's You" was the hit of the revue. A graceful girl is Miss Davis, with a live radiant face. She has what can be truthfully described as a glowing personality. Performers with her vocal and physical gifts are few and far between in vaudeville revue-work" ("Sporting," 52-3). Of the other performers the magazine picks out Nat Phillips as the undoubted scream. "His character is that of a hard-up, red-nosed, coatless Irish Australian with a particularly old-well-greased pair of pants, held up by a belt. Phillips is never so good as in roles of a low-comedy or burlesque character. He gets roars where another wouldn't get a smile. The explanation is that he has by nature the gift of being funny" (ibid, 53). Roy Rene's singing was apparently not appreciated by the critic as much as the posturing he presented in his singing and acrobatics. The 1924 Sydney production (Fullers Theatre) was described in Everyone's as "another tabloid of inconsequences, as regards the plot, but chock full of action and comedy just the same" (26 Nov. 1924, 34). It is possible that this revusical was also known as Sports (see Brisbane season 1918). The Nat Phillips Collection, held at the Fryer Library, University of Queensland, contains a full text of this revusical. The characters written for the original production include: Stiffy, Mo, Polly, Hotel Keeper, Jurasher, Lord Helpus, Violet, Count Hadem, Beatrice, Estelle, Lottie, Daisy and Maie. NB: It is also not clear whether a relationship exists between this revusical 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). 1916: Princess Theatre, Sydney; 15-21 July - Dir. Nat Phillips; Prod/Lse. Harry Sadler and Jack Kearns; Prop. Fullers' Theatres Ltd. - Troupe: Nat Phillips' Tabloid Musical Comedy Revue Co. - Cast incl. Nat Phillips (Stiffy), Roy Rene (Mo), Courtney Ford (the Farmer), Daisy Merritt, Ivy Davis, Peter Brooks, Horace Mann, Maisie Pollard, Walter Jackson [aka Walter Whyte]; plus the Panama Six (Rosie Bowie, Bess Blackwell, Iris Foye, Dot O'Dea, Beaty Glow, Linda Burns). 1917: Grand Opera House, Sydney; 24-30 Mar. [billed variously as Sportsmen and A Sporting Career] - Dir. Nat Phillips; Prod/Prop. Fullers' Theatres Ltd. - Troupe: Nat Phillips' Tabloid Musical Comedy Revue Co (aka Stiffy and Mo Ltd) - Cast incl. Nat Phillips (Stiffy), Roy Rene (Mo), Daisy Merritt, Peter Brooks, Horace Mann, Walter Jackson [aka Walter Whyte]. 1918: Empire Theatre, Brisbane; 8-14 June [as Sports] - Dir. Nat Phillips; Prod. Fullers' Theatres Ltd. - Troupe: Nat Phillips' Stiffy and Mo Company. - Cast incl. Nat Phillips, Roy Rene, Daisy Merritt, Peter Brooks, Horace Mann, Caddie Franks, Dan M. Dunbar, Belle Pollard, Walter Jackson [aka Walter Whyte], Vince Courtney, Cliff O'Keefe. 1919: Fullers' Theatre, Sydney; 6-12 Sept. - Dir. Nat Phillips; Prod. Fullers' Theatres Ltd; Chor. Freda Hellsten. - Troupe: Nat Phillips' Stiffy and Mo Company. - Cast incl. Nat Phillips, Roy Rene, Daisy Merritt, Caddy Franks, Horace Mann, Amy Rochelle, Walter Jackson [aka Walter Whyte], Chester Harris, Dan M. Dunbar, Peter Brooks, Maisie Posner, Jack Dennis. 1921: Empire Theatre, Brisbane; 20-26 Aug. - Dir. Nat Phillips; Prod. Fullers' Theatres Ltd. - Troupe: Nat Phillips' Stiffy and Mo Company. - Cast incl. Nat Phillips, Roy Rene, Daisy Merritt, Dan M. Dunbar, Lola Hunt, Belle Pollard, Gerald Cashman, Walter Jackson [aka Walter Whyte], Dot O'Dea. 1922: Fullers' Theatre, Sydney; 3-9 June - Dir. Nat Phillips; Prod. Fullers' Theatres Ltd; Chor. Rosie Bowie. - Troupe: Nat Phillips' Stiffy and Mo Revue Company. - Cast incl. Nat Phillips (Stiffy), Roy Rene (Mo), Dan M. Dunbar, Ida Merton, Dot Davis [aka Mrs Roy Rene], Queenie Paul, Mike Connors, Keith Connelly, Gladys Shaw, W. O'Brien, and six ballet girls (incl Rosie Bowie). 1924: Fullers' Theatre, Sydney; 22-28 Nov. - Dir. Nat Phillips; Prod. Fullers' Theatres Ltd. - Troupe: Nat Phillips' Stiffy and Mo Revue Co. - Cast incl. Nat Phillips, Roy Rene, Mike Connors, Queenie Paul, Peter Brooks, Keith Connolly, Dot Davis [aka Mrs Roy Rene], Dan M. Dunbar, Gladys Shaw.

► A Sporting Chance : Digital copy of original manuscript held in the Fryer Library (University of Qld eSpace) ► A Sporting Chance : Edited version by Clay Djubal

"Sporting Chance, A." Theatre Magazine 1 Aug. (1916), 52-3.

THE FOLLIES OF PLEASURE: [revusical] Txt/Mus. [n/e] The first known staging of The Follies of Pleasure was at the New Adelphi Theatre by Ben J. Fullers' New Musical Burlesque Co. The title later became the name of a troupe led by Les Bates. This company staged a season at the Princess's Theatre (Melbourne) in October the same year, with the company comprising of most of the New Adelphi troupe, but not Walter Johnston (see Joyland entry). 1916: New Adelphi Theatre, Melbourne; 15 July - - Dir. Murray Simons; Prod. Fullers. - Cast incl. Walter Johnston, Murray Simons, Lylyan Mason, Helen Le Cain, Madge Moore, Billy Jones, Billy Ensor, Howard Boas, John Flock, Eileen Barnsley, Lew Dunbar. 1917: Princess Theatre, Sydney; ca. June/July - Dir. Les Warton and Con Moreni; Prod. Fullers' Theatres Ltd. - Troupe: Les Warton-Con Moreni Revue Co. - Cast incl. Les Warton, Con Moreni, Les Bates, Lallie Brooke, Madge Moore, Arthur Elliott.

WATCH THE STEP: [revusical] Txt. Nat Phillips; Mus. [n/e] Australian Variety wrote of the newly formed Stiffy and Mo combination, "Roy Rene and Nat Phillips shine out well with good comedy, and can always hold the audience; in fact the latter never seems to get enough of them" (26 July 1916, n. pag.). 1916: Princess Theatre, Sydney; 22-28 July - Dir. Nat Phillips; Prod/Lse. Harry Sadler and Jack Kearns; Prop. Fullers' Theatres Ltd. - Troupe: Nat Phillips' Tabloid Musical Comedy Revue Co. - Cast incl. Nat Phillips (Stiffy), Roy Rene (Mo), Daisy Merritt, Peter Brooks, Horace Mann, Caddy Franks, Walter Jackson [aka Walter Whyte], Maisie Pollard; and the Panama Six (Rosie Bowie, Bess Blackwell, Iris Foye, Dot O'Dea, Beaty Glow, Linea Burns).

Australian Variety 26 July 1916, n. pag.

GEE WIZZ: [revusical] Txt. Nat Phillips; Mus. [n/e] "The dressing of the show each week is excellent, and taken on the whole Nat Phillips has presented the best "musical revues" seen on this circuit" (Australian Variety 9 Aug. 1916, n. pag). 1916: Princess Theatre, Sydney; 5-11 Aug. - Dir. Nat Phillips; Prod/Lse. Harry Sadler and Jack Kearns; Prop. Fullers' Theatres Ltd. - Troupe: Nat Phillips' Tabloid Musical Comedy Revue Co. - Cast incl. Nat Phillips (Stiffy), Roy Rene (Mo), Daisy Merritt, Peter Brooks, Horace Mann, Caddy Franks, Walter Jackson (aka Walter Whyte), Maisie Pollard; and the Panama Six (Rosie Bowie, Bess Blackwell, Iris Foye, Dot O'Dea, Beaty Glow, Linea Burns). 1917: Bijou Theatre, Melbourne; 3-9 Nov. - Dir. Nat Phillips; Prod. Fullers' Theatres Ltd. - Troupe: Stiffy and Mo Revue Company. - Cast incl. Nat Phillips, Roy Rene, Daisy Merritt, Belle Pollard, Peter Brooks, Horace Mann, Dan M. Dunbar, Caddie Franks, Nellie Kolle, Walter Jackson [aka Walter Whyte].

INVITATIONS OUT: [revusical] Txt/Mus. [n/e] Although described in advertising as a burlesque, this Orange Dandies production is more likely to have been staged in the revusical style. The production of this particular piece in August 1916 marks the beginning of John N. McCallum's management of the company, up until then owned and operated exclusively by Edward Branscombe. Branscombe had announced the previous month (Brisbane Courier 29 July 1916, 12) that he had negotiated with McCallum to take over the operations in Brisbane. The arrangement meant that he continued to send a Dandies company to perform in Brisbane under McCallum's management, and also continued to maintain some degree of artistic influence over the troupe. 1916: Cremorne Theatre, Brisbane; 12-16 Aug. [return season: 9-15 Nov.] - Dir. Walter George; Prod/Prop. John N. McCallum (Dandies Qld Ltd); M Dir. Edgar Hulland. - Troupe: Orange Dandies Costume Comedy Company. - Cast incl. Walter George, Georgie Martin, Arthur Riscoe, Harry de Robeck, Miss Pop Batterby, Miss L. Knight, Kitty Morton, Robert Roper, Ernest Parkes, John Stewart. - Musicians incl. Edgar Hulland (piano).

SHAKESPEARE MAD: [burlesque revusical] Txt/Mus. [n/e] Although described in advertising as a burlesque, this Orange Dandies production is more likely to have been staged in the revusical style. 1916: Cremorne Theatre, Brisbane; 18-24 Aug. - Dir. Walter George; Prod/Prop. John N. McCallum (Dandies Qld Ltd); M Dir. Edgar Hulland. - Troupe: Orange Dandies Costume Comedy Company. - Cast incl. Walter George, Georgie Martin, Arthur Riscoe, Harry de Robeck, Miss Pop Batterby, Miss L. Knight, Kitty Morton, Robert Roper, Ernest Parkes, John Stewart. - Musician: Edgar Hulland (piano).

THE MUMMY: [revusical] Txt/Mus. [n/e] Although described in advertising as a burlesque, this Orange Dandies production is more likely to have been staged in the revusical style. 1916: Cremorne Theatre, Brisbane; 25-31 Aug. - Dir. Walter George; Prod/Prop. John N. McCallum (Dandies Qld Ltd); M Dir. Edgar Hulland. - Troupe: Orange Dandies Costume Comedy Company.

Brisbane Courier 25 Aug. (1916), 2. - Cast incl. Walter George, Georgie Martin, Arthur Riscoe, Harry de Robeck, Miss Pop Batterby, Miss L. Knight, Kitty Morton, Robert Roper, Ernest Parkes, John Stewart. - Musician incl. Edgar Hulland (piano).

CHU CHIN CHOW: [Eastern extravaganza] Txt. Oscar Asche; Mus. Frederick Norton # Samuel French (London), 1931 # Allan and Co, ca. 1920. [libretto as published for the 1920-21 Australian Tivoli tour] ♪ Allan and Co, n. yr. ["The Robbers' March" and "My Desert Flower" - vocal scores] ♪ Keith Prowse and Co (London) [score and lyrics] ♫ His Master Voice, n. yr. (Michael Collins Orchestra) ♫ World Record International, 1961. (Sinfonia of London) ♫ EMI, 1994.

Generally described as an "oriental extravaganza" Chu Chin Chow remains arguably the greatest overseas theatrical success written by an Australian. Although never achieving the same level of critical acclaim for its narrative and dramatic sensibilities as Asche's previous success, Kismet, the production was viewed on both sides of the Atlantic (and in Australia) as having set a new mark as spectacle and as entertainment. Chu Chin Chow had a five year run in London, consisting of 2,238 performances - a record which lasted almost forty years - and in 1917 the producers staged the musical on Broadway, where it ran for some six months. Combined with a tour of Australia, the royalties alone made Asche a millionaire. Two of the clauses in the contract between Asche and English producer Sir Herbert Beerbolm-Tree (who ended up owning 25% of the show) stipulated that Chu Chin Chow could remain at His

Majesty's indefinitely provided the receipts did not fall below £2500 for two consecutive weeks and that Asche continue to play the lead role. Even despite air raids in London during the war Oscar Asche as Chu Chin Chow the production never fell below the minimum, while Asche presented the character of Abu Wikipedia Hasan on stage for all but a couple of weeks of the London run. During his absence, which was brought about by his physician's orders, the role was taken up by E. Lyall Swete, who subsequently went on to direct the American production. The Australian production, as with the 1917-18 New York season, was essentially a replica of the London production. The scenery and costumes were made by the original producers and transported by ship sometime around September 1920. The New York Dramatic Mirror wrote of Chu Chin Chow: "while not possessing the melodramatic intensity of Kismet, [it] has more the character of a pageant - a pageant which now suggests grand opera, now a rich fantasy, now a musical comedy… but a pageant with such a bewildering succession of scenes and variety of characters as only a hurried trip through the Orient could bring" (ctd. Green Room Jan 1918, 15). Described in the Pall Mall Gazette's 26 August 1916 issue as "a romantic drama founded… on the story of the Forty Thieves as it appears in Sir Richard Burton's authentic translation of the Arabian Nights," ("Theatre World," 6) the magazine notes, with humorous relief the following week, that gossip suggesting that Asche was planning either an art-pantomime…"a great symbolic play with an important character embodying the principal of universal evil," or that he had gone back to Burton's original, was clearly inaccurate. "There is not the remotest likeness between [Chu Chin Chow]", notes the Gazette, "and anything farther off than the familiar stage-Chinoiserie of good old English musical comedy and comic opera. Chu Chin Chow as… played by Mr Asche is just the commander of the Forty Thieves disguised as a kind of Rutland-Barrington mandarin" (1 Sept. 1916, 6). The story of Chu Chin Chow concerns Abu Hasan, an intrepid Merchant- pirate who masquerades in various extravagant disguises - from a "Hebrew Damascene" to a "Grecian Prince" in order to plunder and humiliate, with the aid of his forty Brigands, the wealthy despots of the East, and to enrich his already overflowing and legendary cave. For this particular adventure he becomes the great "Chu Chin Chow" of China, in order to gain access to the palace of Kasim Baba. A secondary theme concerns the two lovely slave girls (Zahrat and Marjanah, the latter in love with Nur-Al-Hudra) who are determined to win their freedom. After Abu Hasan kills Kasim, his identity is revealed by Zahat, while Marjanah stumbles on the secret password for his Source: Monash University Library hideout - "Open Sesame" She is able to set in motion the opportunity they need. The women counter Chu Chin Chow's cunning with their feminine, though no less potent, guile and create the opportunity they need by bargaining with the Brigand chieftain. Abu Hasan attempts to overcome their plan by attending the wedding of Marjanah and Nur disguised as a wealthy oil merchant (his 40 jars of oil actually hold 40 of his brigands). Zahat discovers his identity and evil plans and kills his men by pouring boiling oil over them. She then finishes the job by stabbing Abu Hasan to death. A contributor to the Saturday Review wrote of Chu Chin Chow's closing in 1921: "He came, like another Eastern, King David, to a good old age, full of riches and honour. But none can ever reign in his stead. There is left a gap in the life of London, and indeed of the country, which nothing can adequately fill, for Chu Chin Chow had become in truth part of the national life.

Country cousins set out upon the desperate adventure of their first visit to the metropolis with the firm determination to see [the extravaganza] come else what may. It had supplanted in their hearts the place usually reserved for the Abbey or the Tower. It had become a tradition which nothing can adequately fill" (qtd in "Music and Drama" 13). The musical score is described by Asche in the Pall Mall Gazette as "the most important feature of the production. It is not incidental music at all. In fullness and elaboration it is indeed, an opera score" ("Chu Chin Chow," 18 Aug. 1916, 9). Songs known to have performed in the London production are: "I am Chu Chin Chow," "I Love Thee So," "I'll Sing and Dance," "I Long for the Sun," "Behold," "Anytime's Kissing Time," "The Cobbler's Song," "Serenade," "Song of the Scimitar," and "I Built a Fairy Palace in the Sky." The recording of Chu Chin Chow released on the HMV label (1961), features the vocals of Inia Te Wiata (Chu Chin Chow), Julie Bryan (Marjanah), Barbara Leigh, Charles Young, and the Williams Singers. The music is performed by Michael Collins and his Orchestra, to orchestrations by Brian Fahey. The "vocal gems" presented are, "I am Chu Chin Chow," "Here be Oysters," "Cleopatra's Nile," "When a Pullet is Plump," "Corraline," "I Love Thee So," "I'll Sing and Dance," "The Robber's March," "I Long for the Sun," "Behold," "Anytime's Kissing Time," "The Cobbler's Song," "We Bring Ye Fruits," and "Finale." Another recording, released on the World Record International label (a light music club), was produced by Cyril Ornadel. The Sinfonia of London was conducted by John Hollingsworth, and features the voices of Allan Hervey, Marion Grimaldi, John Wakefield, Edward Darling, Ursula Connors, Ian Humphries. EMI released a digital recording in 1994 featuring Inia Te Wiata. Additional performers include those from the 1961 World Record Club release (Edward Darling, Ursula Connors, Marion Grimaldi and Ian Humphries), along with Malcolm McEachern, and some performances from the 1934 film. Two cinematic versions of Chu Chin Chow have been made. The first, a 13 reel (12250ft) film was produced in 1923 under the direction of Herbert Wilcox. A UK/German co-production (Graham Wilcox/ Universum Film Aktiengesellschaft), it was shot in Berlin, Germany, and shown in selected venues with an early experimental sound system (the Tri-Ergon synchronised system). Metro-Goldwyn-Mayer released the film in the USA in 1925. The cast incl. Herbert Langley (Abu Hasan/Chu Chin Chow), Betty Blythe (Zahrat), Randle Ayrton (Kasim Baba), Judd Green) (Ali Baba) Jeff Barlow (Mustafa), Eva Moore, Olaf Hytten, Jameson Thomas, Dora Levis. NB: The same year a spoof of Chu Chin Chow along with several recent German silhouette films, was released under the title, Two-Chinned Chow. It was directed by German filmmaker Adrian Brunnel. The second film adaptation, directed by Walter Forde, was released by the Gaumont-Brit company in 1934. It stars Fritz Kortner (Abu Hassan / Chu Chin Chow), George Robey (Ali) and Anna May Wong. Edward Knoblock helped co-write the screenplay with Sidney Gilliat. Production credits incl. Prod. Michale Balcom; Dir of Ph. Mutz Greenbaum; Chor. Anton Dolin; M Dir. Louis Levy. Other cast members incl. Lawrence Hanray (Kasim Baba), Francis L. Sullivan (Caliph), John Garrick (Nur-al- din), Pearl Argyle (Marjanah), Sydney Fairbrother (Mahbubah), Frank Cochrane (Mustafa), Dennis Hoey, Gibb McLaughlan, Kiyoshi Takase. The National Library of Australia holds a collection of materials relating to the 1923 Australian tour under J. C. Williamson's Theatres management. The collection includes published items, unpublished manuscripts, vocal scores, and script parts (JCW059/1). Source: www.silentmovies.info

1916: His Majesty's Theatre, London (Englane); 31 Aug. 1916 - 22 July 1921 [2,238 pfms] - Dir. Oscar Asche; Prod. Sir Henry Beerbohm-Tree; S Art/Des. Joseph and Phil Harker; Cost. Percy Anderson; Chor. Espinosa. - Cast incl. Oscar Asche (Abu Hasan/Chu Chin Chow), Lily Brayton (Zahrat-al-Kulub), Frank Cochrane (Kasim Baba), Courtice Pounds (Ali Baba), J.V. Bryant (Nur-Al-Huda), Violet Essex (Marjanah), Norman Williams, William Holles, James Herbert, Aileen d' Orme (Kasim Baba's head wife), Sydney Fairbrother (Mrs Ali), Annie Moore. 1917: Manhattan Opera House, New York (USA); 22 Oct. 1917 - 27 Apr. 1918 - Dir. S. Lyall Swete; Prod. William Elliott, F. Ray Comstock and Morris Gest; M Dir. Gustave Ferrari; M Arr. Percy Fletcher; S Art/Des. Joseph and Phil Harker Chor. Alexis Kosloff; Lig. David Belasco and Louis Hartman; S Mngr. Frank McCormack; Cost. Percy Anderson. - Cast incl. Tyrone Power (Abu Hasan/Chu Chin Chow), Florence Read, (Zahrat-al-Kulub), Albert Howson (Kasim Baba), Henry Dixy (Ali Baba), Kate Condon (Alcolom), Tessa Kosta (Marjanah), Lucy Beaumont (Marjanah), George Rasely (Nur-Al-Huda), Albert Moore, Robert Lee Hill, Francis J. Boyle, Matty Thomas, Frank McCormack, Ida Mulle, Katherine Galanta, Harda Daube, Gordon Staples, Olive Prosser, George Bell, Josephine Emory, Lester Sweyd, Felice de Gregorio, Richie Ling. - According to an article in the New York Times, it cost producer Morris Gest more than $US150,000 to bring the production to New York ("Importing Chu Chin Chow" 8.6). - To the embarrassment of the producers of the New York production, the premiere was cancelled twice, the first being on 15 Oct. and the second occurring on 17 Oct. The postponements wwere due to the initial late delivery of scenery and props from London, and subsequent problems involved with setting up the massive spectacle in such a short period, including the lighting design, which wasn't arranged until 16 Oct., the day after the originally scheduled premiere (for further information on the period leading up to the American season, see ("Importing Chu Chin Chow" 8.6).

1920: Tivoli Theatre, Melbourne; 11 Dec. 1920 - 1 Mar. 1921 - Dir. Frank Cochrane; Prod. Hugh D. McIntosh (Harry Rickards' Tivoli Theatres Ltd); M Dir/Cond. Will Quintrell; S Art. Joseph and Phil Harker; Cost. Percy Anderson; S Mngr. Les Donaghey and Fred Mackay. - Cast incl. Arthur Styan (Abu Hasan/Chu Chin Chow), Vera Pearce (Zahrat-al-Kulub), Gerald Kay Souper (Kasim Baba), Charles H. Workman (Ali Baba), Maggie Moore, Frank Cochrane, Louie Pounds, Gregory Stroud, Winifred O'Connor, Frederick Mackay. 1921: Grand Opera House, Sydney; 26 Mar. - 1 June - Cast and production mostly as for Melbourne season. 1921: His Majesty's Theatre, Brisbane; 4-18 June - M Dir/Cond. F. J. Roberts; Prod. J. C. Williamson's Ltd. - Cast incl. Arthur Styan (Abu Hasan/Chu Chin Chow), Helen Temple (Zahrat-al-Kulub), Charles H. Workman (Ali Baba), Ida Griffin (Marjanah), Gerald Kay Souper (Kasim Baba), George Wignail (the cobbler), Maggie Moore, Pearl Ladd (Alcolom), H. Tucker (Omar), Fred Mackay (Nu-al-Huda), Mary Jordan, Winifred O'Connor, Suzanne Bennett, Gloria Spurling, Ethel Keys, Myrtle Greenhill, Louie Pounds. 1921: New Zealand Dominion tour; ca. June/July - Cast and production mostly as for previous Brisbane season.

Tatler 12 Sept. (1917), n. pag.

1923: Theatre Royal, Sydney; 26 May - 27 June - Dir. Oscar Asche; Prod. J. C. Williamson's Ltd. - Cast incl. Oscar Asche (Abu Hasan/Chu Chin Chow), Doris Champion (Zahrat-al-Kulub), Wensley Russell (Ali Baba), Kitty Reidy (Marjanah), Cecil Humphreys (Kasim Baba), Herbert Browne (Nur-al-Huba), George Ide (Abdullah), Peal Ladd (Alcolm), Mason Wood (The Cobbler), Ian McLean (Omar), Eardley Turner (Omar's father), Frank Charlton, Jessie Page. 1928: Regent Theatre, London (England); 26 Dec. 1928 - ca. 18 Jan. 1929 - Prod. Martin Sabine (in assoc. with Walter Payne). - Company: London Repertory Theatre Co. - Cast incl. Oscar Asche (Abu Hasan/Chu Chin Chow), Doris Champion (Zahrat-al-Kulub), Wensley Russell (Ali Baba), Helen Debroy Somers (Marjanah), William Dewhurst (Kasim Baba), Lawrence Shirl (Khuzaymah), Dorothy Dewhurst, Stuart Kern, Ellis J. Preston, Savana, Betty Williamson, James Johnson, Johnson, Dacia, Horace Custins. 1940: Prince of Wales Theatre, Birmingham (England); 7-20 May. - Prod. Henry Isaacs and Joseph Fenston (for C.C.C. Play Productions); Dir. Robert Atkins. - Cast incl. Lyn Harding (Abu Hasan/Chu Chin Chow), Rosalinde Fuller (Zahrat-al-Kulub), Jerry Verno (Ali). 1940: Palace Theatre, London (England); 3 July - [80 pfms] - NB: The season was interrupted by the London bombing. 1941: Palace Theatre, London (England); 22 July - 22 Nov. [158 pfms] - Dir. Robert Atkins. - Cast incl. Lyn Harding (Abu Hasan/Chu Chin Chow), Rosalinde Fuller (Zahrat-al-Kulub), Mr Jetsam (Abdullah), Kay Bourne. 1950: Cremorne Theatre, Brisbane; 16 Sept. - 7 Oct. - M Dir. Ruby Dent; Prod. Musical and Theatre Guild of Queensland; Cost. Marie McIntyre. - Cast incl. John Miller, Len Wells, Michael Azar, Bill Neilson, Roy Bonney, Don Tappendon, Neila Hansen, Gloria Birdwood-Smith, Margaret Geater, Jim Mulgrew, Bob Connell, Ken Lord, Avis Nicholls, Stella Broadhurst, Dorothea Simpson. 1953: Empire Pool, Wembley (England); 13 July - 19 Sept. [As Chu Chin Chow on Ice] - Adapted by Stanley Lloyd and Gerald Palmer. - Prod. Tom Arnold; Chor. Beatrice Livesey. - Cast incl. Victor Macdonald (Abu Hasan/Chu Chin Chow), Jane Hilary (Zahrat-al-Kulub). - See also: Brighton Sports Stadium; ca. Nov. 1953 / Opera House, Manchester; ca. 11 May 1954. Cast and production mostly as for previous Empire Pool production. 1954: Streatham Hill Theatre, London (England); 16 Nov. - - Dir. Stanley Willis-Croft; Prod. Maurice Winnick. - Cast incl. Inia Te Wiata (Abu Hasan/Chu Chin Chow), Patricia Kerry (Zahrat-al-Kulub). - See also Golders Green Hippodrome, London; 23 November. Cast and production mostly as for previous Streatham Hill Theatre production

"Chu Chin Chow." Brisbane Courier 6 June (1921), 9. [see also prev. - 4 June 1921, 13] "Chu Chin Chow." Green Room Jan. (1920), 15. "Chu Chin Chow." Sydney Morning Herald 28 May (1923), 5. "Chu Chin Chow: A Full-Dress Rehearsal." Age 11 Dec. (1920), 13. "Chu Chin Chow a Musical Extravaganza of the Orient." Green Room Apr. (1921), 15. "Chu Chin Chow: An Eastern Revue at His Majesty's." Times (London) 1 Sept (1916), 9. "Chu Chin Chow: An Oriental Play at His Majesty's." Pall Mall Gazette 18 Aug. (1916), 9. "Chu Chin Chow at the Grand Opera House." Green Room May (1921), 17. Photograph. "Chu Chin Chow: Big Spectacle for Grand Opera House." Green Room Mar. (1921), 3. "Chu Chin Chow for Australia." Green Room Mar. (1920), 16. "Chu Chin Chow in Melbourne." Green Room Jan. (1921), 16. "Chu Chin Chow: Mr Asche's Arabian Night at His Majesty's." Pall Mall Gazette 1 Sept. (1916), 6. "Chu Chin Chow Sets a New Mark." New York Times 23 Oct. (1917), 14. Corbin, John. "Combing Spectacle with Story." New York Times 28 Oct. (1917), 8.6. "Dressing Chu Chin Chow." Green Room Mar. (1920), 6. Green, Stanley. Encyclopedia of the Musical Theatre. (1984), 74-5. "Importing of Chu Chin Chow, The." New York Times 28 Oct. (1917), 8.6. Kelly, Veronica. "Orientalism in Early Australian Theatre." New Literatures Review 26 (1993): 32-45. "Music and Drama." Brisbane Courier 11 June (1921), 16. [see also "Music and Drama." 18 June 1921, 17] "Music and Drama." Brisbane Courier 24 Sept. (1921), 13. "Orientalism in Early Australian Theatre." New Literatures Review 26 (1993), 32-45. "Palace Theatre: Chu Chin Chow. Times (London) 4 July (1940), 6. "Palace Theatre: Chu Chin Chow. Times (London) 24 July (1941), 6. "Poverty Point." Bulletin 23 Oct. (1919), 36. Queensland Performing Arts Museum (QPAM) - various collections. [Holdings include an original costume worn by Oscar Asche, clippings, scores, programs, photographs, cast recordings etc.] "Record of Chu Chin Chow, The." Everyone's 22 Dec. (1920), 7. "Regent Theatre: 'Chu Chin Chow Revived." Times (London) 27 Dec. (1928), 14. "Romance of Chu Chin Chow, The." Green Room Apr. (1921), 19. Tait, Viola W. "Chu Chin Chow: The Drawings of Percy Anderson." Architecture Australia Aug/Sept. (1979), 41-2. Te Pana. "Surprise at Musical Show." Courier Mail (Brisbane) 18 Sept. (1950), 5. "Theatre World, The." Pall Mall Gazette 26 Aug. 1916, 6. "Tivoli: Chu Chin Chow. Age 13 Dec. (1920), 8. "Tivoli Theatre - Chu Chin Chow." Table Talk 16 Dec. (1920), 27. "What's What at the Sydney Theatres." Green Room May (1921), 6.

THE NOBLE ORDER OF BAD LADS: [revusical] Txt/Mus. [n/e] Although described in advertising as a burlesque, this Orange Dandies production is more likely to have been staged in the revusical style. 1916: Cremorne Theatre, Brisbane; 1-7 Sept. - Dir. Walter George; Prod/Prop. John N. McCallum (Dandies Qld Ltd); M Dir. Edgar Hulland. - Troupe: Orange Dandies Costume Comedy Company. - Cast incl. Walter George, Georgie Martin, Arthur Riscoe, Harry de Robeck, Miss Pop Batterby, Miss L. Knight, Kitty Morton, Robert Roper, Ernest Parkes, John Stewart. - Musician: Edgar Hulland (piano).

ON DECK: [revusical] Txt. Arthur Morley; Mus. [n/e] It is believed that Harry Clay's long association with the Coliseum Theatre at North Sydney began on 2 September 1916 with the production of Arthur Morley's On Deck. It was performed by one of his four newly formed suburban and south-west NSW regional circuit companies - this being the No 1 Musical Comedy Company. Australian Variety records in its review of the 1918 Coliseum production, "the house full sign was registered long before the curtain went up…. It is really a bright little offering, and with the cast well allotted went briskly during its tenure of the stage… The whole show is scintillating with animation, colour and humour, and offerings of its kind should do much towards keeping the standard of Clay bravely in the fore-front of North Sydney patrons. With such productions brought to their door, suburbanites are going to have no trouble in seeing a metropolitan show for the present class of entertainment is well up to the equal of a majority of the city shows" (n. pag.). NB: It is not clear if there is any connection between Morley's revusical and several similarly-titled minstrel first parts previously staged in Australia. The earliest of these, described as a 'beautiful nautical first part,' was staged in 1900 by Kate Howarde's Vaudeville Company [see Theatre Royal, Brisbane, 19 May] under the title On Deck; Or, Our Captain's Birthday. Among Howarde's company were Les Warton, Sam Gale and Harry Craig. Interestingly, it is known that Arthur Morley was performing at Brisbane's Theatre Royal (operated then by Percy St John) a month after. he may also have been in Brisbane at the same time. A decade later James Brennan staged a first part called On Deck at the National Amphitheatre in Sydney (8 January 1910). Among the troupe of performers engaged by Brennan in early 1910 were Slade Murray, Con Moreni, Jack Kearns and Ida Rosslyn, their daughter Vera Kearns, and Ted Stanley (who was also among the cast for Harry Clay's 1916 production of On Deck). 1916: Coliseum Theatre, North Sydney; 2-8 Sept. - Dir. Arthur Morley; Prod. Clay's Bridge Theatre Ltd. - Troupe: Harry Clay's No 1 Musical Comedy Company.

- Cast incl. Ern Delavale, Will Gilbert, Arthur Morley, Elise Bates, Ted Stanley, Maurice Chenoweth, Eileen and Bessie Phillips, Lettie Craydon, Black and White Duo, Ellen Graham. 1916: Harry Clay's Sydney suburban and South-West New South Wales circuit; ca. Sept. - Cast and production mostly as for previous Coliseum production - Sydney suburban circuit incl. Mosman Town Hall (14 Sept); Bridge Theatre, Newtown (16 Sept.) 1918: Coliseum Theatre, North Sydney; 31 Aug. - 6 Sept. - Dir. Arthur Morley; Prod. Clay's Bridge Theatre Ltd. - Cast incl. Ted Stanley (Mrs Watchit), Will Gilbert, Arthur Morley, Ern Delavale, Maurice Chenoweth, Phillips Sisters, Lettie Craydon, Black and White Duo.

"Clay's Budget." Australian Variety 20 Sept. (1916), n. pag Kitching, Harry. "Coliseum Theatre." Australian Variety 6 Sept. (1918), n. pag.

BACK TO BLIGHTY: [burlesque revue] Txt. Sydney Blow and Douglas Hoare; Mus. George H. Clutsam, Philip Braham, Herbert E. Haines Described variously as a revue and a "jolly musical burlesque," Back to Blighty features music from Australian-born composer George Clutsam, and Englishmen Philip Brahm and Herbert Haines. Most likely falling into the "revusical" genre, it was described in the Pall Mall Gazette as containing "pretty faces, gorgeous dresses, capital songs, plenty of fun and really excellent music." Further to this, the Gazette reviewer suggested that the show was "the first revue which the Oxford can claim as its own, so that the production is all the more satisfactory." In describing Back to Blighty he or she also adds: "there is a story, but it doesn't really matter…. [and] there are one or two musical numbers that would mean success for any revue" (9). One song to raise the interest of the reviewer was "The Sleep Walk." 1916: Oxford Theatre, London (England); 7 Sept. - 16 Dec. - Cast incl. Pamela Page, Sybil Clare, Margaret Paton, Arthur Cullin, Arthur Hambling, George Bellamy, Clara Beck, Alec Chentrena.

"Back to Blighty: Successful Revue at the Oxford." Pall Mall Gazette 8 Sept. (1916), 9. [See also prev. - 2 Sept. 1916, 6.]

IN OLD KENTUCKY: [revusical] Txt. Arthur Morley; Mus. [n/e] It is not clear if there is any relationship between this revusical and a similarly titled music drama by Arthur Shirley/F. C. Dazey believed first produced in Australia in 1895 under the management of Williamson and Musgrove (Lyceum Theatre, 26 Oct.). Harry Kitching records that the Bridge Theatre premiere was "staged… very successfully, the whole show running without a hitch… [and] was full of bright numbers with catchy ditties introducing good original comedy." Kitching also draws attention to the Four Girls on the Farm, who were "good workers, having some very quick changes, all of which are very effective, and their dances and actions are neatly performed, and called for hearty applause" (n. pag.). 1916: Bridge Theatre, Newtown (Sydney); 9-15 Sept. - Dir. Arthur Morley; Prod. Clay's Bridge Theatre Ltd; S Mngr. Ted Gabriel. - Cast incl. Wal Rockley (Uncle Tom), Lila Spears, Max Martin. 1916: Harry Clay's Sydney suburban and south-west New South Wales circuit; ca.Sept/Oct. - Dir. Arthur Morley; Prod. Clay's Bridge Theatre Ltd. - Cast incl. Wal Rockley (Uncle Tom), Lila Spears, Max Martin, Courtney Ford and Ivy Davis, the Alroy Girls, Winnie Trevail, Stella Stagpoole, Tilton and West. - Suburban circuit incl. North Sydney Coliseum (3 nights, ca.30 Sept), Thornton's Mascot Theatre (1 night).

"Clay's Budget." Australian Variety 13 Sept. (1916), n. pag. Kitching, Harry. "Harry Clay's Bridge Theatre." Australian Variety 13 Sept. (1916), n. pag.

AN OPERATIC NIGHTMARE: [revusical] Txt/Mus. [n/e] Although described in advertising as a burlesque, this Orange Dandies production is more likely to have been staged in the revusical style. 1916: Cremorne Theatre, Brisbane; 15-21 Sept. - Dir. Walter George; Prod/Prop. John N. McCallum (Dandies Qld Ltd); M Dir. Edgar Hulland. - Troupe: Orange Dandies Costume Comedy Company. - Cast incl. Walter George, Georgie Martin, Arthur Riscoe, Harry de Robeck, Miss Pop Batterby, Miss L. Knight, Kitty Morton, Robert Roper, Ernest Parkes, John Stewart. - Musician: Edgar Hulland (piano). Walter George Theatre Magazine Jan (1915), 47. ALL ABOARD: [revusical] Txt. Nat Phillips; Mus. [n/e] Set aboard the S.S. Maysail, this Stiffy and Mo musical comedy revue concerns newly weds Tom and Eva, her brother John and his wife, a stewardess, Sarah (originally Nora), and a friend, Fred. Among the songs presented in the original 1916 production was "In Dixie Land," sung by Freda Hilston. The 1922 production's "musical cargo" included: "Embarking Passengers ('the crew'), "Soldier Boy" (Connolly), "Rubber Band" (Paul and men), "Would Goes ? ? ? ?" [sic] (Conners), "Bright Eyes"

(Conners and Paul), "Isle of Golden Dreams" (Davis and girls), "Moonlight" (Paul and girls), an unidentified quintet (Connors, Paul, O'Brien, Rene and Phillips), "Molly on the Trolly" (O'Brien and girls) and "All Aboard" (company). The 1932 revival saw Joe Lawman take over the role previously played by Roy Rene (Mo) and Jack Kellaway ('Erb). 1916: Princess Theatre, Sydney; 16-22 Sept. - Dir. Nat Phillips; Prod/Lse. Harry Sadler and Jack Kearns; Prop. Fullers' Theatres Ltd. - Troupe: Nat Phillips' Tabloid Musical Comedy Revue Company. - Cast incl. Nat Phillips (Stiffy), Roy Rene (Mo), Daisy Merritt (Norah Snobs), Maisie Pollard, Peter Brooks (Tom Filmore), Horace Mann, Walter Whyte (John Montbell), Carrie Franks (drill instructor), Freda Helston. - Walter Whyte appeared under the name Walter Jackson in the programme. 1917: Majestic Theatre, Sydney; 28 July - 3 Aug. - Dir. Nat Phillips; Prod. Fullers' Theatres Ltd. - Troupe: Nat Phillips' Stiffy and Mo Revue Company. - Cast incl. Nat Phillips, Roy Rene, Daisy Merritt, Belle Pollard, Peter Brooks, Horace Mann, Dan M. Dunbar, Caddie Franks, Walter Jackson [aka Walter Whyte]. 1922: Fullers' Theatre, Sydney; 24-30 June - Dir. Nat Phillips; Prod. Fullers' Theatres Ltd; M Dir. Charles Ryder; Chor. Rosie Bowie; Cost. Miss Moar; S Mngr. Dan M. Dunbar. - Troupe: Nat Phillips' Stiffy and Mo Revue Company. - Cast: Nat Phillips, Roy Rene, Dan M. Dunbar (Capt. Tack), Mike Connors (Tom Filmore), Queenie Paul (Eva Filmore), Doc O'Brien (John Montbell), Doris 'Dot' Davis [aka Mrs Roy Rene] (Mrs Montbell), Gladys Shaw (Sarah Snobbs), Keith Connolly (Fred Fisher), with Thelma Duff, Rosie Bowie, Flo Wilson, Phyllis Whisken Marie McLauchin, Gwen Brandon (passengers and crew). 1932: Grand Opera House, Sydney; 6-12 Feb. - Dir. Nat Phillips; Prod. George Marlowe; M Dir. Will Osborne. - Troupe: Nat Phillips Revue Co. - Cast incl. Nat Phillips, Joe Lawman, Dan Weldon, Keith Connelly, Stella Lamond, Les Warton, Angela Parselles, Elsie Hoskins, Nita Carr, Marie Marlow, Betty Weldon, Master Dick Ryan, Betty Lambert, The Lewola Brothers, The La Fredas (3 female acrobats). - Musicians: Will Osborne Orchestra. - NB: English variety performer/actress Betty Weldon, and the La Fredas, joined the troupe with this production. It is not clear how long their engagement lasted, however.

"All Aboard." Theatre Magazine Oct. (1916), 49. Fuller News 24 June (1922), 8.

A NIGHT IN PARIS: [revusical] Txt. Arthur Morley; Mus. [n/e] One song known to have been performed during the September 1916 season, "'Here's to My Love' [was] "responsible for much applause" (Kitching, n pag.). 1916: Bridge Theatre, Newtown (Sydney); 16-22 Sept. [return season: 11-17 Nov.] - Dir. Arthur Morley; Prod. Clay's Bridge Theatre Ltd; S Mngr. Ted Gabriel. - Troupe: Harry Clay's No 1 Musical Comedy Company. - Cast incl. Ted Stanley, Amy Rochelle, Will Rollow, Arthur Morley, Eileen and Bessie Phillips, Lulu Eugene, Jollie Marie, Eileen Fleury, Vince and Eva Courtney, Maurice Chenoweth, Ted Stanley, Letty Long. 1916: Harry Clay's Sydney suburban and south-west New South Wales circuit ca. Nov/Dec. - Cast and production mostly as for previous Bridge Theatre season.

Kitching, Harry R. "Harry Clay's Bridge Theatre." Australian Variety 20 Sept. (1916), n. pag.

PLAY THE GAME: [revusical] Txt/Mus. [n/e] Although described in advertising as a burlesque, this Orange Dandies production is more likely to have been staged in the revusical style. 1916: Cremorne Theatre, Brisbane; 22-28 Sept. - Dir. Walter George; Prod/Prop. John N. McCallum (Dandies Qld Ltd); M Dir. Edgar Hulland. - Troupe: Orange Dandies Costume Comedy Company. - Cast incl. Walter George, Georgie Martin, Arthur Riscoe, Harry de Robeck, Miss Pop Batterby, Miss L. Knight, Kitty Morton, Robert Roper, Ernest Parkes, John Stewart. - Musicians incl. Edgar Hulland (piano).

A PIRATE'S RETURN: [revusical] Txt/Mus. [n/e] Although described in advertising as a burlesque, this Orange Dandies production is more likely to have been staged in the revusical style. 1916: Cremorne Theatre, Brisbane; 29 Sept. - 5 Oct. - Dir. Walter George; Prod/Prop. John N. McCallum (Dandies Qld Ltd); M Dir. Edgar Hulland.

- Troupe: Orange Dandies Costume Comedy Company. - Cast incl. Walter George, Georgie Martin, Arthur Riscoe, Harry de Robeck, Miss Pop Batterby, Miss L. Knight, Kitty Morton, Robert Roper, Ernest Parkes, John Stewart. - Musicians incl. Edgar Hulland (piano).

AFTER THE PLAY: [musical sketch] Txt/Mus. [n/e] Possibly written by Courtney Ford and Ivy Davis, this mini musical comedy performance continues the society sketch tradition made popular in Australia from the early 1890s onwards by male/female duos like Hagen and Fraser, Boyd and Octavia, D'Arcy and Eva Stanfield, Stevens and Lewis, Warne and Davenport, Rochester and Rivers and Warne and Octavia. 1916: Bridge Theatre, Newtown (Sydney); 30 Sept. - 6 Oct. - Prod. Harry Clay's Bridge Theatre Ltd; S Art. Alec Stagpoole; S Mngr. Ted Gabriel. - Cast: Courtney Ford, Ivy Davis.

THE REVELLERS: [revusical] Txt/Mus. [n/e] Described by the Theatre (Nov.) as a first part, this entertainment is believed to have been a form of revusical, although the reviewer does break the company down into singers and comics, which is unusual (51). 1916: Bridge Theatre, Newtown (Sydney); 30 Sept. - 6 Oct. - Prod. Harry Clay; S Mngr. Ted Gabriel. - Cast incl. Dot de Vere, Vera Murray, Florence Hartley, William Everard, Colin Campbell, Harry Clay, Billy Maloney, Arthur Tauchert, Ted Tutty.

ON THE LAND: [revusical] Txt. Arthur Morley; Mus. [n/e] One of several revusicals staged in Australia between 1915 and the late 1920s with a country farm/outback station setting. Others include: On the Farm (Paul Stanhope, 1915); Art Slavin's On the Ranch (1916); Fooling the Farmer (Clay circuit, 1917); and Billy Cass's Fun on the Farm (1926). NB 1: It is possible that the title of this revusical is a misprint - and in fact should have read - On the Sands - see "Hustling Harry" Theatre Magazine Oct. 1916, 45. No other reference to On the Land has been found to date of this, which adds further weight to this possibility. NB 2: It is not clear whether any of these revusicals are related to 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). 1916: Harry Clay's Sydney suburban and south-west New South Wales 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 Company. - Cast incl. Ern Delavale, Bert Gilbert, Arthur Morley, Ted Stanley, Maurice Chenoweth, Eileen and Bessie Phillips, Lettie Craydon, Black and White Duo.

IN MEXICO: [revusical] Txt. Les Bates; Mus. [n/e] The 1916 Melbourne season saw this revusical staged as a double bill with Fun with the Coachmen. The Brisbane Truth review of the April 1917 production records: "Full of fun and sparkling music, [In Mexico] is a light, catchy revue which gives Con Moreni, Les Bates, Les Warton, Madge Moore and the other talented artists rare opportunities to prove their worth. The hilarious applause which greeted every number… was eloquent testimony to the audience's enjoyment" ("Empire," 6). NB: It is not clear whether there is any relationship between this revusical and several other similarly titled productions, notably Nat Phillips’ Mexicans, also known variously as In Mexico, Bullfighters and In Spain (1918), and those staged by Billy Cass (1927) and George H. Ward (1927). 1916: Princess's Theatre, Melbourne; 7-10 Oct. - Dir. Les Bates; Prod. Fullers' Theatres Ltd. - Troupe: Follies of Pleasure Company. - Cast incl. Les Bates, Mabel Baker, Violet Trevanyon, Queenie Paul, Madge Moore, Murray J. Simons, Lew Dunbar, Howard Boas, Billy Ensor, Billy Jones, John Flock. - The chorus comprised of "20 lively lassies." 1917: Empire Theatre, Brisname; 14-20 Apr. - Dir. Les Bates; Prod. Fullers' Theatres Ltd; Prop. Holland and St John. - Troupe: Les Bates' Follies of Pleasure Company. - Cast incl. Les Bates.

"Empire, The." Truth (Brisbane) 15 Apr. (1917), 6.

FUN WITH THE COACHMEN: [revusical] Txt. Les Bates; Mus. [n/e] The 1916 Princess's Theatre (Melb) season saw this revusical staged as a double bill with In Mexico. 1916: Princess's Theatre, Melbourne; 7-10 Oct. - Dir. Les Bates; Prod. Fullers Theatres Ltd. - Troupe: Follies of Pleasure Company.

- Cast incl. Les Bates, Mabel Baker, Violet Trevanyon, Queenie Paul, Madge Moore, Murray J. Simons, Lew Dunbar, Howard Boas, Billy Ensor, Billy Jones, John Flock. - The chorus comprised of "20 lively lassies."

JOYLAND: [aka IN JOYLAND] [revusical] Txt. Les Bates; Mus. [n/e] Most likely to have been written by Les Bates, with possible assistance from Con Moreni. Moreni was complimented by several critics for his work in this revusical. The West Australian, for example, noted that "his work in [Joyland and The Matinee Girl] was the outstanding feature… As Mike Sweeney in the first piece, a hearty gullible Irishman, and in the second, a gay old sport, the comedian utilised his dry style of humour with considerable success" ("Follies," 6). A review in Australian Variety, which praised Moreni's inclusion of the chorus girls as featured singers in one of his own numbers, suggests that he had some degree of involvement in the creative production of the 1917 revival (20 June 1917, n. pag.). 1916: Princess's Theatre, Melbourne; 14-28 Oct. - Dir. Les Bates; Prod. Fullers' Theatres Ltd. - Troupe: Follies of Pleasure Company. - Cast incl. Les Bates, Mabel Baker, Violet Trevanyon, Queenie Paul, Madge Moore, Murray J. Simons, Lew Dunbar, Howard Boas, Billy Ensor, Billy Jones, John Flock. - The chorus comprised of "20 lively lassies." 1916: Melrose Theatre, Perth; 23 Dec. - - Dir. Les Bates; Prod. Fullers' Theatres Ltd. - Troupe: Follies of Pleasure Company. - Cast incl. Les Bates, Con Moreni, Ted Tutty, Muriel Esbank (aka Mrs Ted Tutty). 1917: Empire Theatre, Brisbane; 28 Apr. - 4 May - Dir. Les Bates; Prod. Fullers' Theatres Ltd; Prop. Holland and St John. - Troupe: Les Bates' Follies of Pleasure Company.

- Cast incl. Les Bates, Con Moreni. Argus 14 Oct. (1916), 22. 1917: Princess Theatre, Sydney; 16-22 June - Prod. Fullers' Theatres Ltd. - Cast incl. Les Warton, Con Moreni, Arthur Elliott, Les Bates, Madge Moore, Lalla Brooke.

"Follies of Pleasure, The." West Australian 25 Dec. (1916), 6. [see also advert. - 23 Dec. 1916, 2]

PLUMBERS [aka YES WE DON'T]: [revusical] Txt. Nat Phillips; Mus. [n/e] # FHC, n. yr. [manuscript extract - Nat Phillips Collection, UQFL9, Box 3] # FHC, n. yr. [2 character parts - Nat Phillips Collection, UQFL9, Box 2] Although staged under the title Yes We Don't during the debut Stiffy and Mo season, this revusical was billed from 1917 onwards under its more well known name, The Plumbers (or invariably "Stiffy and Mo as Plumbers"). Of historical interest is the fact that the show premiered on 13 October 1916 during the final weeks of the extended season (initially advertised as being six weeks in length the company's unprecedented popularity forced the theatre's lessees Harry Sadler and Jack Kearns to keep them on until the end of October). This situation in turn forced Phillips to write several new productions in order to provide audiences with new material during the second six-week period. Evidence of this comes from the Nat Phillips Collection manuscript (under Yes We Don't) which indicates on the cover that it was completed on 13 August 1916, some four weeks after the premiere production, What Oh Tonight. This suggests that Yes We Don't/The Plumbers may be the first Stiffy and Mo revusical to have been written by Phillips with Mo's character developed in response to Roy Rene's portrayal (each of the first six shows were most likely written prior to the company coming together). Interestingly, Mo still receives much less dialogue in the text than Stiffy. There appears, however, to be greater opportunity given to him within the improvised scenes. The storyline sees Stiffy and Mo (the plumbers) called in to make repairs at a wedding breakfast being held in the reception room of Captain Senate's house. After being mistaken for burglars the pair find themselves tangled up in schemes by various characters to fool other members of the family. This includes Stiffy being asked to cure Mrs Senate's jealous husband by "making love" to her, while Mo finds himself in the same situation with Mrs Pinetree. Stiffy is later induced to impersonate the Senate's mad and violent son, who just happens to be coming to the house that evening, but somehow manages to scam £250 out of Mr Senate before he and Mo are forced to flee at the point of a gun. The chief characters, as listed in the manuscript version are: Colonel Pinetree (a jealous husband), Mrs Pinetree (his mean old wife), Captain Senate (also jealous), Mrs Senate (with a way of her own), Frank Denvers (just married), Mrs Denvers (nee Senate), Stiffy and Mo, and the bridesmaids - Dot, Clarice, Lilian, Lorrimar, Daphne and Gorgia [sic]. Despite not having Roy Rene in it the 1925 Adelaide season (he and Phillips had broken up the previous week), the Register (Adelaide) still described production as one of the most successful presented by the company during the present season. The critic also provides some additional insight into the narrative:

[The Plumbers] deals with a man (Stiffy) who is sent by a gas company to a house to cut off the gas meter. He is inveigled into masquerading first as the lover of an unhappy wife who wished to teach her jealous husband a lesson, and then as the

mad brither of a mean wife, so that the pseudo madman and his "sister's" husband may obtain money form the latter's better half. The company was without the services of Mo (Roy Rene) who is indisposed, but Stiffy (Nat Phillips) successfully furnished the major portion of the comedy single handed. he was ably assisted by June Mills as the mean wife. Dan Dunbar was good as the unhappy man who married for money, but had since been unsuccessful in "raising a penny piece from her." The other members of the company were up to their usual standard ("Majestic," 3).

In the 1922 production the songs incorporated into the storyline were: "The Party" (bridesmaids and friends), "A Toast to the Bride" (company), "Grieving for You" (Paul and girls), "Scotch Highball" (Paul, Rene and Phillips), "You Never Can Tell" (Davis and girls), "Blue Diamonds" (Connors), "Lucky" (Davis), "The Older We Get" (Connolly), "Tuck Me to Sleep in My 'Tucky Home" (Connors and Paul), "Good-Bye Girls" (Connolly and girls) and the finale "The Plumbers" (company). An advertisement for the Plumbers, published in the 8 September 1917 edition of the Argus, includes the following:

Stiffy and Mo are distinctly benighted, They never know when they are slighted, When out at a party, They eat just as hearty, As if they'd been really invited (24).

The 1925 Majestic Theatre (Adelaide) season marked the first production staged by Phillips without Roy Rene. With too little time to organise a replacement partner he played the lead comedy role on his own. NB 1: The full text, under the title Yes We Don't is held in the Nat Phillips Collection. It indicates the following characters: Stiffy, Mo, Colonel Pinetree, Mrs Pinetree, Captain Senate, Mrs Senate, Miss Senate, Frank Denvers, Dot, Clarice, Lillian, Lorimar, Daphne, Georgia. The manuscript differs somewhat to the October 1916 production, as reviewed by the Theatre critic, in that one of the characters Mr Quimbell (originally played by Horace Mann) is not mentioned in the text. It is possible that Quimbell and Frank Denvers are the same character, just with different names. NB 2: The character parts held in the Nat Phillips Collection (Fryer Library) under the title The Plumbers are those of Keith and The Husband. While there is no mention in any text or review of a character called Keith, it is the name of one of the troupe members from ca. 1925 - Keith Connolly (many of the character parts in the collection include the name of the actor playing role, sometimes at the exclusion of the character's name). It is also feasible that one of the characters had his name changed over the years. 1916: Princess Theatre, Sydney; 13-19 Oct. [as Yes We Don't] - Dir. Nat Phillips; Prod/Lse. Harry Sadler and Jack Kearns; Prop. Fullers' Theatres Ltd. - Troupe: Nat Phillips' Tabloid Musical Comedy Revue Company. - Cast incl. Nat Phillips (Stiffy), Roy Rene (Mo), Daisy Merritt (an old shrew), Maisie Pollard, Peter Brooks, Horace Mann (Mr Quimbell, a juvenile lover), Walter Jackson [aka Walter Whyte]. 1917: Grand Opera House, Sydney; 10-16 Mar. [as Plumbers - staged as a double bill with In the Army] - Dir. Nat Phillips; Prod/Prop. Fullers' Theatres Ltd. - Troupe: Nat Phillips' Tabloid Musical Comedy Revue Co (aka Stiffy and Mo Ltd) - Cast incl. Nat Phillips (Stiffy), Roy Rene (Mo), Daisy Merritt, Peter Brooks, Horace Mann, Walter Jackson [aka Walter Whyte]. 1917: Bijou Theatre, Melbourne; 8-14 Sept. [return season: 24-30 Nov.] - Dir. Nat Phillips; Prod. Fullers' Theatres Ltd. - Troupe: Nat Phillips' Stiffy and Mo Company. - Cast incl. Nat Phillips, Roy Rene, Daisy Merritt, Caddy Franks, Horace Mann, Dan M. Dunbar, Peter Brooks, Belle Pollard, Walter Jackson [aka Walter Whyte], Cliff O'Keefe, Vince Courtney; and the Panama Six (incl. Rosie Bowie, Dot O'Dea, Phyllis Whisken and Gwen Brandon). - NB: Nellie Kolle made a guest appearance during the return season. 1918: Empire Theatre, Brisbane; 23 Feb. - 1 Mar. [return season: 1-7 June] - Dir. Nat Phillips; Prod. Fullers' Theatres Ltd. - Troupe: Nat Phillips' Stiffy and Mo Company. - Cast incl. Nat Phillips, Roy Rene, Daisy Merritt, Caddy Franks, Horace Mann, Dan M. Dunbar, Peter Brooks, Belle Pollard, Walter Jackson [aka Walter White], Vince Courtney, Cliff O'Keefe. 1919: Fullers Theatre, Sydney; 24-30 May [return season: 6-12 Sept] - Dir. Nat Phillips; S Mngr. Dan M. Dunbar; M Dir. W. Hamilton Webber; Prod. Fullers' Theatres Ltd. - Troupe: Nat Phillips' Stiffy and Mo Company. - Cast incl. Nat Phillips, Roy Rene, Daisy Merritt, Caddy Franks, Horace Mann, Amy Rochelle, Walter Jackson [aka Walter Whyte], Chester Harris, Dan M. Dunbar, Peter Brooks, Maisie Posner, Jack Dennis. 1920: Bijou Theatre, Melbourne; 20-26 Apr. [return season: 26 June - 2 July] - Dir. Nat Phillips; Prod. Fullers' Theatres Ltd. - Cast incl. Nat Phillips, Roy Rene, Amy Rochelle, Daisy Merritt, Caddy Franks, Horace Mann, Dan Dunbar, Will Liddle, Lou Harris. 1921: Empire Theatre, Brisbane; 30 July - 5 Aug. - Dir. Nat Phillips; Prod. Fullers' Theatres Ltd. - Troupe: Nat Phillips' Stiffy and Mo Company. - Cast incl. Nat Phillips, Roy Rene, Daisy Merritt, Dan M. Dunbar, Lola Hunt, Belle Pollard, Gerald Cashman, Walter Jackson [aka Walter Whyte], Dot O'Dea. 1922: Fullers' Theatre, Sydney; 10-16 June - Dir. Nat Phillips; Prod. Fullers' Theatres Ltd; M Dir. Charles Ryder; Chor. Rosie Bowie; B Mngr. George C. Audley; Cost. Ethel Moar; S Mngr. Dan M. Dunbar.

- Troupe: Nat Phillips' Stiffy and Mo Company. - Cast incl. Nat Phillips, Roy Rene, Dan M. Dunbar (Mr Pinetree), Gladys Shaw (Mrs Pinetree), Mike Connors (Mr Senate), Queenie Paul (Mrs Senate), Keith Connelly (Mr Scudder), Dot Davis [aka Mrs Roy Rene] (Mrs Scudder), with Gwen Brandon, Rosie Bowie,Thelma Duff, Flo Wilson, Marie McLaughlin, Phyllis Whisken (bridesmaids/friends). 1924: Fullers' Theatre, Sydney; 11-17 Oct. - Dir. Nat Phillips; Prod. Fullers' Theatres Ltd. - Cast incl. Nat Phillips, Roy Rene, Mike Connors, Queenie Paul, Peter Brooks, Dan M. Dunbar, Dot Davis [aka Mrs Roy Rene], Gladys Shaw; and the Six Radio Girls. 1925: Bijou Theatre, Melbourne; 25 Apr. - 1 May - Dir. Nat Phillips; Prod. Fullers' Theatres Ltd; Chor. Rosie Bowie. - Troupe: Nat Phillips' Stiffy and Mo Company. - Cast incl. Nat Phillips, Roy Rene, Dan M. Dunbar, Queenie Paul, Mike Connors, Dot Davis [aka Mrs Roy Rene], Gladys Shaw, Keith Connolly, Rene Albert, David Lyle; and the Dandy Six. - The Argus reports that both "the audience and the company joined in laughter at one of Mo's gags and the revue was interrupted for three minutes until the principals had regained their composure" (27 Apr. 1925, 18). 1925: Majestic Theatre, Adelaide; 16-24 July - Dir. Nat Phillips; Prod. Fullers' Theatres Ltd. - Troupe: Nat Phillips' Newly Organised Company (later known as Nat Phillips' Whirligigs). - Cast incl. Nat Phillips, Dan M. Dunbar, Queenie Paul, Mike Connors, Dot Davis [aka Mrs Roy Rene], Joe Mullaney, Leonard Rich, June Mills, William Innes, Shannon Raye; and the Six Crack-a-Jacks. - This was the first production staged by Phillips following his break-up with Roy Rene. There was no off-sider for this particular production, with Phillips taking on the role of Stiffy in a solo comedian performance. - Interestingly this production started on the Thursday night (two nights earlier than usual). 1929: Empire Theatre, Brisbane; 18-24 May - Dir. Nat Phillips; Prod. Fullers' Theatres Ltd; M Dir. Tiny Douglas. - Troupe: Nat Phillips' Whirligigs. - Cast incl. Nat Phillips (Stiffy), Jack Kellaway ('Erb), Daisy Merritt, Al Mack, Cecil Scott, Tom Collins, Kitty Stewart, May Webster, Sylvia Gardner, Paul Daley, Belle Pollard, Eve Fenelly, Marjorie Vause; and the Radio Six. - Musicians: Tiny's Varsity Boys - incl. Tiny Douglas (violin), Art Dwar (banjo/guitar), Don Bennett (piano). 1930: Luxor Theatre, Perth; 2-8 Aug. - Dir. Nat Phillips; M Dir. Tiny Douglas. - Troupe: Nat Phillips' Whirligigs. - Cast incl. Nat Phillips (Stiffy), Stan Foley (Stud), Daisy Merritt, Keith Connolly, Iris Ackworth, Kathleen Howard, Stella Lamond, Harry Ross, Angela Parselles, Cecil Scott; and the Radio Six. - Musicians: Tiny's Varsity Boys - incl. Tiny Douglas (violin), Art Dwar (banjo/guitar), Don Bennett (piano).

Fuller News 10 June (1922), 11. "Majestic Theatre: Popular Programme." Register (Adelaide) 20 July (1925), 3. "Yes We Don't." Theatre Magazine 1 Nov. (1916), 50.

THE REGISTRAR: [burlesque] Txt/Mus. [n/e] Although described in advertising as a burlesque, this Orange Dandies production is more likely to have been staged in the revusical style. 1916: Cremorne Theatre, Brisbane; 27 Oct. - 2 Nov. - Dir. Walter George; Prod/Prop. John N. McCallum (Dandies Qld Ltd); M Dir. Edgar Hulland. - Troupe: Orange Dandies Costume Comedy Company. - Cast incl. Walter George, Georgie Martin, Arthur Riscoe, Harry de Robeck, Miss Pop Batterby, Miss L. Knight, Kitty Morton, Robert Roper, Ernest Parkes, John Stewart. - Musician incl. Edgar Hulland (piano).

A SURE THING: [revusical] Txt. Elton Black; Mus. [n/e] 1916: Harry Clay's Sydney suburban and south-west NSW circuit; ca. Oct. - Dir. Elton Black; Prod. Clay's Bridge Theatre Ltd; S Mngr. Ted Gabriel (Bridge Theatre). - Troupe: Elton Black Revue Company. - Cast incl. Elton Black, Florence Hartley, Tilton and West, Billy Maloney.

"Newtown Bridge Theatre." Theatre Magazine 1 Nov. (1916); 50-51.

Elton Black Theatre Magazine Nov. (1913), 9.

SEASIDE INCIDENTALS [aka SEASIDE FROLICS]: [revusical] Txt/Mus. [n/e] This production, one of many staged by the Orange Dandies Company during the second half of 1916 is the only one actually referred to as a "revue," with the others having the term "burlesque" applied to them. Described in 1917 as a musical comedietta, it is not yet clear whether this production has any relationship with another, similarly titled Walter George Smart Set piece By the Silvery Sea (1918). 1916: Cremorne Theatre, Brisbane; 3-9 Nov. - Dir. Walter George; Prod/Prop. John N. McCallum (Dandies Qld Ltd); M Dir. Edgar Hulland. - Troupe: Orange Dandies Costume Comedy Company. - Cast incl. Walter George, Georgie Martin, Arthur Riscoe, Harry de Robeck, Miss Pop Batterby, Miss L. Knight, Kitty Morton, Robert Roper, Ernest Parkes, John Stewart. - Musicians incl. Edgar Hulland (piano). 1917: Palace Gardens, Brisbane; 5-11 Oct. [as Seaside Frolics] - Dir. Walter George; Mngr. Thomas J. Rayment. - Troupe: Smart Set Entertainers. - Cast incl. Walter George, Georgie Martin, Les Coney, Harry de Robeck, Gwen Gaylor.

THE FLIRTING WIDOW [aka THE WIDOW GAY]: [revusical] Txt. Walter Johnston; Mus. [n/e] Possibly adapted by Walter Johnston from an American-musical comedy, but infused with local references and topicalities, songs etc, the first known production of A Flirting Widow in Australia was as the opening headline act for the Fuller's newly renovated Palace Theatre (Melbourne) - previously the National Amphitheatre. Described by the Age critic as being "descriptive of festivities in connection with college life," the revusical introduced a number of male and female students, with the latter attired in "gorgeous costumes." The same review notes, however, that the story extends beyond the ordinary bounds of school life. "Opening with a scene in a college dormitory, there are others descriptive of a railway station at San Francisco, on an "overland limited" to New York, and also onboard the Jollytania ("New Theatre," 10). An advertisement in the Sydney Morning Herald describes the production as "a hundred miles a minute farcical play" (6 Dec. 1919, 2). Harry Burgess's company in 1919 included several original members of the Walter Johnson troupe, notably, Burgess himself, Lola Hunt and Ernest Lashbrooke. It is not yet clear why Harry Burgess's 1919 Brisbane season gave this production a revival (as The Widow Gay, 11 Oct.) so soon after it premiered as The Flirting Widow (13 Sept.), and for that matter why the name was changed. The company still had another three productions still to be staged, which normally would have seen any revivals put on after their repertoire was exhausted. 1916: Palace Theatre, Melbourne; 4-24 Nov. - Dir. Walter Johnston; Prod. Fullers' Theatres Ltd. - Troupe: Walter Johnston's Musical Revue Company - Cast incl. Walter Johnston (Freddy), Lola Hunt (the flirting widow), Belle Millette (the mysterious woman), Vera Kearns (a typical college girl), Lydia Carne (the caretaker's daughter), Ernest Lashbrooke (a college boy), Harry Burgess (Buddy Brown, a college boy), Jack Kearns (Mike, the caretaker), Gus Franks (Rosenbloom, a retired pawnbroker), Jack Jones (a chip off the old block). - The Flirting Widow was one of three revusical being toured by Walter Johnston in 1916, the others being The Flyaway Girl and The Kissing Maid. 1917: Empire Theatre, Brisbane; 3-9 Feb. [return season: 11-16 Mar.] - Dir. Walter Johnson; Prod. Fullers' Theatres Ltd (in assoc. with Holland and St John); Prop. Holland and St John. - Troupe: Walter Johnson's Musical Revue Company. 1919: Empire Theatre, Brisbane; 13-19 Sept. [return season as The Widow Gay, 11-17 Oct.] - Dir. Harry Burgess; Prod. Fullers' Theatres Ltd. - Troupe: Harry Burgess Revusical Company. - Cast incl. Harry Burgess (Dennis McFadden), Lola Hunt (the flirting widow), Ernest Lashbrooke, Gus Franks (Jacob Rosenbloom), Les Warton, Fred Keely, Ivy Aldous, Thelma Duff, Florrie Horan, Annie Douglas, Ralph Holland. - Other productions staged by the company ca.1919 included The Gramophone Girls, College Girls, What Next?, Something Doing, The Kissing Maid and Izzy from Honolulu. - NB: Prior to opening in Brisbane the company had played an engagement for the Fullers in Melbourne (Brisbane Courier 26 July 1919, 12). 1919: Fullers' Theatre, Sydney; 6-12 Dec. [return season: 14-20 Feb. 1920] - Dir. Harry Burgess; Prod. Fullers' Theatres Ltd. - Troupe: Harry Burgess Revusical Company. - Cast incl. Harry Burgess, Ernest Lashbrooke, Ernest Crawford, Gus Franks, Les Warton, Lola Hunt, Hilda Cripps, Lydia Carne. - This production was the Harry Burgess Company's first appearance at the venue.

"Empire Theatre." Brisbane Courier 15 Sept. (1919), 9. "Empire Theatre." Brisbane Courier 13 Oct. (1919), 9. "New Theatre, A." Age 4 Nov. (1916), 17. "Palace Theatre: The Flirting Widow." Age 6 Nov. (1916), 10.

Harry Burgess Theatre Magazine June (1915), 21.

A DREAM OF COVENT GARDEN: [burlesque] Txt/Mus. [n/e] Although described in advertising as a burlesque, this Orange Dandies production is more likely to have been staged in the revusical style. 1916: Cremorne Theatre, Brisbane; 24-30 Nov. - Dir. Walter George; Prod/Prop. John N. McCallum (Dandies Qld Ltd); M Dir. Edgar Hulland. - Troupe: Orange Dandies Costume Comedy Company. - Cast incl. Walter George, Georgie Martin, Arthur Riscoe, Harry de Robeck, Miss Pop Batterby, Miss L. Knight, Kitty Morton, Robert Roper, Ernest Parkes, John Stewart. - Musicians incl. Edgar Hulland (piano).

THE KISSING MAID: [revusical] Txt/Mus. [n/e] Described by the Age as a revue, "The Kissing Maid tells the story of a maid who married a Hebrew more for his money than for love, but although married - or so the legend ran - she would not let him kiss her. She had, however, numerous other admirers, notably an American moving picture man. The husband's suspicions are aroused, and the scheme he adopts to inquire into affairs generally brings about a number of complicated situations between the various characters in the play, which are highly entertaining. Songs incorporated into the 1916 production include "The Moving Picture Man" (sung by Walter Johnston), and "Orange Blossom Time in Loveland" (Lola Hunt). The revusical ended with a satirical sketch titled "In the Keystone Movies." The 1919 revival by Harry Burgess included several original members of the Walter Johnson troupe, notably, Burgess, Lola Hunt and Ernest Lashbrooke. Prior to opening in Brisbane the company had played an engagement for the Fullers in Melbourne (Brisbane Courier 26 July 1919, 12). 1916: Palace Theatre, Melbourne; 25 Nov. 1 Dec. - Dir. Walter Johnston; Prod. Fullers' Theatres Ltd. - Troupe: Walter Johnston's Musical Revue Company - Cast incl. Gus Franks (Ikey Umsky), Walter Johnston (Swift, the moving picture man), Lola Hunt (Ikey's wife, the "kissing maid"), Belle Millette, Vera Kearns, Lydia Carne, Ernest Lashbrooke, Harry Burgess, Jack Kearns, Jack Jones. - The Kissing Maid was one of three revusical being toured by Walter Johnston in 1916, the others being The Flirting Widow and The Flyaway Girl. 1917: Empire Theatre, Brisbane; 17-23 Feb. - Dir. Walter Johnson; Prod. Fullers' Theatres Ltd; Prop. Holland and St John. - Troupe: Walter Johnson's Musical Revue Company. 1919: Empire Theatre, Brisbane; 29-26 Sept. - Dir. Harry Burgess; Prod. Fullers' Theatres Ltd. - Troupe: Harry Burgess Revusical Company. - Cast incl. Harry Burgess (Pomme de Terre), Lola Hunt (Mabel Boulevarde), Ernest Lashbrooke, Gus Franks, Les Warton, Fred Keely, Ivy Aldous, Thelma Duff, Florrie Horan, Annie Douglas, Ralph Holland. - Other productions staged by the company ca.1919 included The Gramophone Girls, College Girls, What Next?, Something Doing, The Flirting Widow and Izzy from Honolulu. 1920: Fullers' Theatre, Sydney; 31 Jan. - 6 Feb. - Dir. Harry Burgess; Prod. Fullers' Theatres Ltd. - Troupe: Harry Burgess Revusical Company. - Cast incl. Harry Burgess, Ernest Crawford, Ernest Lashbrooke, Gus Franks, Les Warton, Lola Hunt, Hilda Cripps, Lydia Carne.

"Palace Theatre - The Kissing Maid." Age 20 Nov. (1916), 9.

IN TOKYO: [revusical] Txt. Elton Black; Mus. [n/e] In Tokyo is one of the earliest Oriental revusicals known to have been staged in Australia. The public's interest in these Eastern-flavoured scenas during the years 1916-1918 is evidenced by the fact that a large number were created and staged in Australia during those years. In Brisbane during 1917, for example, the Dandies company, staged "In China Town," at the Cremorne Theatre (ca. 14 Apr.); while John N. McCallum's Courtiers Costume Company had also presented "a fascinating Chines Scene" at the Cremorne in early September of the same year. A month later In Yokohama was staged at the Palace Gardens by the Walter George's Smart Set Company (12 Oct. 1917), who presented another Oriental scena on 11 January 1918 titled In Sunny Japan. The following year, 1918, saw further productions, including several unnamed productions in February (1-7) and March (8-14); along with In Fair Japan (20-26 Sept.); Asia Minor (11-17 Oct.) and My Little Chinee Girl In China (28 Nov. - 5 Dec.). NB: It is not clear whether there is any relationship between In Tokyo and another Elton Black Oriental revusical Oh Yokohama (1916); nor is it known whether any of the revusicals referred to above are related to either of these. Delyse Ryan (2000) has suggested that with set pieces available from previous productions, it is likely that a deliberating factor in staging similar scenas at Brisbane's Cremorne Theatre, for example, was the reduction in costs through the re-use of these materials. Whether the narratives were the same is uncertain. 1916: Harry Clay's Sydney suburban and south-west New South Wales circuit; ca. Nov. - Dir. Elton Black; Prod. Clay's Bridge Theatre Co; S Mngr. Ted Gabriel (Bridge Theatre). - Troupe: Elton Black Revue Company. - Cast incl. Elton Black, Bert Corrie, Doris Tindall, Joe Verne, Wal Rockley, Billy Maloney, The Three Starrs.

OH YOKOHAMA: [revusical] Txt. Elton Black; Mus. [n/e] Along with In Tokyo, Oh Yokohama is one of the earliest Oriental revusicals known to have been staged in Australia. The public's interest in these Eastern-flavoured scenas during the years 1916-1918 is evidenced by the fact that a large number were created and staged in Australia during those years. In Brisbane during 1917, for example, the Dandies company, staged "In China Town," at the Cremorne Theatre (ca. 14 Apr.); while John N. McCallum's Courtiers Costume Company had also presented "a fascinating Chines Scene" at the Cremorne in early September of the same year. A month later In Yokohama was staged at the Palace Gardens by the Walter George's Smart Set Company (12 Oct. 1917), who presented another Oriental scena on 11 January 1918 titled In Sunny Japan. The following year, 1918, saw further productions, including several unnamed productions in February (1-7) and March (8-14);along with In Fair Japan (20-26 Sept.); Asia Minor (11-17 Oct.) and My Little Chinee Girl In China (28 Nov. - 5 Dec.). NB: It is not clear whether there is any relationship between Oh Yokohama and another Elton Black Oriental revusical In Tokyo (1916); nor is it known whether any of the revusicals referred to above are related to either of these. Delyse Ryan (2000) has suggested that with set pieces available from previous productions, it is likely that a deliberating factor in staging similar scenas at Brisbane's Cremorne Theatre, for example, was the reduction in costs through the re-use of these materials. Whether the narratives were the same is uncertain. 1916: Harry Clay's Sydney suburban and south-west NSW circuit; ca. Nov/Dec. - Dir. Elton Black; Prod. Clay's Bridge Theatre Ltd; S Mngr. Ted Gabriel (Bridge Theatre). - Troupe: Elton Black Revue Company. - Cast incl. Elton Black, Bert Corrie, Doris Tindall, Joe Verne, Wal Rockley, Billy Maloney, The Three Starrs.

THE FLYAWAY GIRL: [revusical] Txt/Mus. [n/e] Also advertised as The Flyaway Girls (1917), this revusical was described by the Age as a "light musical comedy… full of novel situations." One of the features of the 1916 production was the introduction of musical absurdity called "The Railway Tangle" ("Palace Theatre," 9). The narrative concerns an old major who objects to his son marrying the daughter of a very lively widow and is therefore very anxious that the match should end. The services of an actress adventuress are engaged by the father in an attempt to fascinate the son. A black railway porter is also enlisted in the scheme. Complications follow which bring about unexpected results. Acrobatic comedians Key and Lee were utilised by Johnston to play railway porters in the 1916 Palace Theatre production. Other highlights of the 1916 production were a Svengali burlesque and the ragtime dance crazes. Harry Burgess's company in 1919 included several original members of Walter Johnson's 1916 troupe - notably, Burgess, Lola Hunt and Ernest Lashbrooke. The company toured several of Johnson's productions from 1916, these being The Flirting Widow, The Flyaway Girls and The Kissing Maid. The Railway Tangle, and The Gramophone Girls, two of Johnson's 1917 productions, were also presented. Prior to opening in Brisbane the company had played an engagement for the Fullers in Melbourne (Brisbane Courier 26 July 1919, 12). NB: It appears that the "Railway Tangle" absurdity was later made the setting of a revusical under that name. The two stories are quite similar but contain some possibly different characters and different situations. They have been therefore treated as separate productions. 1916: Palace Theatre, Melbourne; 2 - ca. 15 Dec. - Dir. Walter Johnston; Prod. Fullers' Theatres Ltd. - Troupe: Walter Johnston's Musical Revue Company - Cast incl. Gus Franks, Walter Johnston, Lola Hunt, Belle Millette, Vera Kearns, Lydia Carne, Ernest Lashbrooke, Harry Burgess, Jack Kearns, Jack Jones. - Other revusicals being toured by Walter Johnston in 1916 included The Flirting Widow and The Kissing Maid. 1917: Empire Theatre, Brisbane; 27 Jan. - 2 Feb. [return season: 17-23 Mar.] - Dir. Walter Johnson; Prod. Fullers' Theatres Ltd; Prop. Holland and St John. - Troupe: Walter Johnson's Musical Revue Company. 1919: Empire Theatre, Brisbane; 22-28 Nov. - Dir. Harry Burgess; Prod. Fullers' Theatres Ltd. - Troupe: Harry Burgess Revusical Company. - Cast incl. Harry Burgess, Lola Hunt, Ernest Lashbrooke, Gus Franks, Les Warton, Fred Keely, Ivy Aldous, Thelma Duff, Florrie Horan, Billy Mavis, Annie Douglas, Ralph Holland. - This was the closing production for the Brisbane season. Other productions staged included College Girls, What Next? and Something Doing. 1919: Fullers' Theatre, Sydney; 13-19 Dec. - Dir. Harry Burgess; Prod. Fullers' Theatres Ltd. - Troupe: Harry Burgess Revusical Company. - Cast incl. Harry Burgess, Ernest Crawford, Ernest Lashbrooke, Gus

Franks, Les Warton, Lola Hunt, Hilda Cripps, Age 2 Dec. (1916), 16 Lydia Carne.

"Palace Theatre - The Flyaway Girl." Age 4 Dec. (1916), 9.

THE OPERATIC RESTAURANT: [aka THE BURLESQUE RESTAURANT / THE MUSICAL RESTAURANT] [revusical] Txt/Mus. [n/e] Although described in advertising as a burlesque, this Orange Dandies production is more likely to have been staged in the revusical style. 1916: Cremorne Theatre, Brisbane; 8-14 Dec. - Dir. Walter George; Prod/Prop. John N. McCallum (Dandies Qld Ltd); M Dir. Edgar Hulland. - Troupe: Orange Dandies Costume Comedy Company. - Cast incl. Walter George, Georgie Martin, Arthur Riscoe, Harry de Robeck, Miss Pop Batterby, Miss L. Knight, Kitty Morton, Robert Roper, Ernest Parkes, John Stewart. - Musicians incl. Edgar Hulland (piano). 1917: Cremorne Theatre, Brisbane; 8-16 Mar. [as The Musical Restaurant] - Cast and production mostly as for previous Cremorne Theatre season. - This production is believed to have been a return season revival under the alternative title. - The troupe was then being called The Dandies Costume Comedy Company, however.

TICKETS PLEASE: [revusical] Txt. Joe Valli; Mus. [n/e] Joe Valli brought his UK hit comedy to Australia in 1916, touring it first for Harry Clay and later with the Royal Follies. The story opens at Pinchem Railway Station, with Valli playing one of two comic porters. 1916: Harry Clay's Sydney suburban and south-west New South Wales circuit; ca. Dec. - Dir. Arthur Morley; Prod. Clay's Bridge Theatre Ltd; S Mngr. Ted Gabriel (Bridge Theatre). - Troupe: Harry Clay's Company (aka Joe Valli Revue Company). - Cast incl. Joe Valli, Wal Rockley, Sydney Everett, Bert Ray, Ivy Marsden, Bates and Wade. - Tour itinerary incl. Goulburn (Majestic Theatre; 8 Dec.), Grenfell (Royal Hall, 14 Dec.). 1917: Royal Follies Victorian tour; ca. July-Nov. - Troupe: Royal Follies Company. - Cast incl. Joe Valli, Fred Williams, Thelma Beattie, Hayden Lamont, Bellroy's Duo.

THE TEA SHOP GIRL: [revusical] Txt/Mus. [n/e] A one-off revusical staged by the Green Dandies Costume Comedy Company at the Olympia Theatre, Perth, during their December 1916 season. Although described as a musical comedy, The Tea Shop Girl was staged along with another half of vaudeville entertainment during the Green Dandies Costume Comedy Company season at the Olympia in Perth. Its origins are unknown, but as with most other revusicals staged around this period much of the comic routines and improvisation were created by one or more members of the troupe. 1916: Olympia Theatre, Perth; 16 Dec. - Prod. Edward Branscombe. - Troupe: Green Dandies Costume Comedy Company.

West Australian 16 Dec. (1916), 2.

Edward Branscombe Theatre Magazine Aug. Dec. (1915), 26.

THE BUNYIP; OR, THE ENCHANTMENT OF FAIRY PRINCESS WATTLEBLOSSOM: [pantomime] Lib. Ella Airlie, with Nat Phillips; Mus. Ella Airlie and Dr Herbert de Pinna; Lyr incl. Nat Phillips, Ella Airlie; Add Mus/Lyr incl. Vince Courtney, Fred Monument, Marsh Little # Australian National Archives (2 manuscripts from original text - CRS A1336/1, Item 2057) # Fryer Library - Nat Phillips Collection (UQFL9) Side script for Nat Phillips' Stiffy character. # QPAM, n. yr. [manuscript - 9 page segment of Nat Phillips part] ♪ National Library of Australia [holds scores to 21 songs included in The Bunyip at some stage] The Bunyip originally began as a sketch for five people written in 1908 by Ella Airlie, a young Ballarat-born actress/ composer who also performed on the variety stage as a pianist and singer. Following a season at Perth's Melrose Theatre around March 1916, Airlie invited the Fullers to consider the work to as a revusical, but without a strong romantic angle it was deemed unsuitable. Benjamin Fuller was nevertheless attracted to it's strong Australian flavour and later that year gave the go head for it to be re-worked by Airlie and director, Nat Phillips, as the company's first-ever pantomime extravaganza. While no complete libretto for the 1916 Nat Phillips'-produced version of The Bunyip exists today, two earlier versions of the story by Ella Airlie are held in the Australian National Archives (CRS A1336/1, Item 2057).

Comprising a cast over some 250 people, the story concerns the evil King of the Bush Gnomes cast a spell on Princess Wattleblossum, changing her into a fearsome bunyip. The spell is made with the provision that if anyone speaks a kind word to the now awful creature she will be restored to her original form for twenty-four hours. She eventually regains her true identity after various incidents, including an aboriginal corroboree. The evil King is killed in a raging bush fire just as the Princess is about to return to her hideous shape, and so she is able to remain in fairy form. Approached shortly before rehearsals began, English surgeon Herbert de Pinna was commissioned by Ben J. Fuller to write a number of songs, incidental music, and a ballet march. His contributions included: "Bunyip" (sung by Maisie Pollard), "Bill's Enlisted" and "'I Love You" (both performed by Queenie Paul), "Sonny Mine" (Maisie Pollard), and the arrangement of several melodies from other contributors into incidental and dance numbers. Other songs incorporated into the 1916- 1917 productions included : "Kewpie Doll" (originally sung by Ella Airlie and later by Rosie Bowie); two Vince Courtney numbers - "My Chinee Girl" (sung by Courtney) and "The Corroboree Rag" (Peter Brooks); five songs by Marsh Little - "Nulla Nulla" (Nat Phillips), "Joan" (Caddie Franks), "For You" (Peter Brooks), "Mother Waratah" (Queenie Paul) and "Down in Australia" (Nellie Kolle and later Grace Quine); Fred Monument's "Wattle Blossom Time in Australia" (Nellie Kolle); "Grey Hair, Grey Eyes" (written by Nat Phillips and Bert Reid, and sung by Vince Courtney); and two songs by Ella Airlie - "Back to Kosciusko" (sung by (Nellie Kolle) and "Mean Old Moon" (by Caddie Franks). The non-Australian songs included: "All I Want is a Cottage, Some Roses Source: National Library of Australia and You" (by Charles K. Harris), sung by Queenie Paul; and "Pierrot and Pirerette" (Lenox, Sterling and Edwards), sung by Pearl Ladd. The war-time sentiment in some of the original songs were left out of the 1924 revival as were nearly three-quarters of the songs originally incorporated into the 1916 production. The new numbers included the debut of an American ballad "It Had To Be You" (by Gus Kahn and Isham Jones) and two Henry T. Hayes numbers "Swinging Along to Henty" (performed by Peter Brooks) and "Safety First." The sixteen scenic depictions by the Fullers' head scenic artist, Rege Robins, included "The Great Bush Fire," "The Big Corroboree," "The Palace of the Kangaroo," and "The Beautiful Jenolan Caves." In an interview with Dunedin's Evening Star newspaper in 1917, Ben Fuller indicated that his company intended to take The Bunyip to London in 1918 ("Chat with Ben," 5). Of interest, too, is a report in the March 1918 issue of The Green Room (n. pag.), claiming that theatrical entrepreneur Kate Howarde had recently secured the NSW rights to the work. The pantomime even gained a level of notoriety in Brisbane after the Fullers placed an advertisement in the local paper for ballet girls to audition for forthcoming season, and requesting they send photographs of themselves in bathing suits. In deploring the advertisement Brisbane's Archbishop Duhig made it clear that he would refuse church sacraments to any girl who answered it. The Bunyip is historically significant in that the Fullers and Nat Phillips decided to abandon with tradition by casting the role of the dame (Mrs Wiggins) with a woman. Although Merritt, who played the role, gained much praise for her portrayal, some critics saw the experiment as "doubtful." The casting of Lottie Sargent in the 1924 revival led one Sydney Morning Herald critic to complain, too, that it "consigned the attractive actress to a [what is essentially a] dowdy [though comic] character" ("Bunyip," 22 Dec. 1924, 5). Other critics have even put forward the argument that the pantomime in fact has no dame role, and that Mrs Wiggins is simply a three-time widow searching for a new husband. Descriptions of the production printed in newspaper reviews indicate that as an extravaganza, The Bunyip was vividly arresting. The Age records, for example: "The picturesque vista of white-stemmed gum trees and tree ferns with their delicate foliage and tattered bark is suddenly shrouded in a mist of smoke. The scent of burning gum leaves fills the theatre. Then red sheets of flames spring from the undergrowth and lap the glowing trunks, licking wickedly at the forest giants; and as the trees crash amid a shower of sparks to the ground, and then the red glow of the fire lights up the sky, the demon flees disconsolate, and Fairy Blossom regains her lost wand, and triumphs" ("Princess," 7). Richard Stone notes, too, that such was the impact of this "theatrical conflagration" that the Fullers were forced to warn patrons that there was no danger to them while this scene was played out (n. pag.).3 The bush fire scene is known to have been staged throughout the eight year life of The Bunyip, although it is reasonable to suspect that some changes may have been forced upon it when it went on tour with the Stiffy and Mo company from around 1917/18. Some additional changes were brought to bear on the 1924/25 production, too. An English scene was introduced at the beginning - with most of the lead characters setting sail for Australia, while other scenes were re-ordered. 1916: Grand Opera House, Sydney; 22 Dec. 1916 - 2 Mar. 1917 [94 pfms] - Dir. Nat Phillips; Prod. Fullers' Theatres Ltd; M Dir. Reginald de Talworth; S Art. Rege Robins; Chor. Rosie Bowie and Dot O'Dea.

3 Stone erroneously writes that "some characters underwent sex changes" – inreference to the original Swaggie character being a "trousers" part played by Nellie Kolle and later played by a male, Peter Brooks (1918). As one of the leading male impersonators of the era Kolle would have almost certainly played the part as a 'man.' Interestingly the swaggie character was also played by female actor, Rene Barlee, in the 1924 revival.

- Cast incl. Queenie Paul (Arthur), Pearl Ladd (Princess Wattle-Blossom), Daisy Merritt, (Mrs Wiggins), Villiers Arnold (Chief Gnome), Vince Courtney (Ah Fat, the Chinese cook), Nellie Kolle (Swaggie), Nat Phillips (Stiffy), Roy Rene (Mo Lazarus), Walter Jackson (Overseer), Belle Pollard (Overseers's Wife), Caddie Franks (Jack), Horace Mann (Squatter), Bellora (Iron Bark), Peter Brooks (Monty Moroncy), Olive Pollard, Violet Trevenyon, Dan M. Dunbar, Ella Airlie, Maisie Pollard, Marvellous Manchurian Acrobats. 1917: Princess' Theatre, Melbourne; 7 Apr. - 26 May [8 week season] - Cast and production mostly as for Sydney season. 1917: Majestic Theatre, Adelaide; 2-16 June - Cast and production mostly as for previous Sydney season. Cast members involved in Adelaide production not named in Sydney production incl. Maisie Pollard, Rosie Bowie, Frank, Lank and Alice [Frank Uren, W. Thompson and Alice Johnston, aka Mrs Frank Uren]. 1917: Fuller's New Zealand Dominion circuit; ca. Nov - Dec. - Cast and production mostly as for previous Adelaide season. 1917: Bijou Theatre, Melbourne; 22 Dec. 1917 - 28 Jan. 1918 [return season] - Cast and production mostly as for previous seasons (Grace Quine replaced Nellie Kolle as "Swaggie"). New specialty acts incl. Charlene and Charlene. 1918: Empire Theatre, Brisbane; 30 Mar. - 12 Apr. [return season 12-18 Aug.] - Dir. Nat Phillips; Prod. Fullers' Theatres Ltd. - Cast incl. Belle Pollard (Princess Fairy Wattle Blossom), Dorothy Cope (Arthur), Dan Dunbar (Chief Gnome), Daisy Merritt (Mrs Wiggins), Horace Mann (Squatter), Roy Rene (Mo), Nat Phillips (Stiffy), Vince Courtney (Ah Fat), Caddy Franks, Rosie Bowie, Olive Thompson, Walter Jackson, Peter Brooks (Monty Moroncy), Bellora, Frank, Lank and Alice [Frank Uren, W. Thompson and Alice Johnston, aka Mrs Frank Uren]. Ellera Neri (Bunyp chorus girl) - Presented during the extended Stiffy and Mo season of revusicals at "A fine art study" the Empire. Theatre Nov. 1916, 53. 1918: Victoria Theatre, Newcastle (NSW); 7 Sept. - - Cast and production mostly as for previous Brisbane season. Incl. Cusko's Monkeys. 1919: Grand Opera House, Sydney; 5 Apr. - - Dir. Nat Phillips; Prod. Fullers' Theatres Ltd - Cast incl. Amy Rochelle (Arthur), Roy Rene, Nat Phillips. 1924: Hippodrome, Sydney; 20 Dec. 1924 - 26 Jan. 1925 - Dir. Nat Phillips; Prod. Fullers' Theatres Ltd/Hugh J. Ward. - Cast incl. Queenie Paul (Arthur), Rene Barlee (Swaggie), Lottie Sargent (Mrs Wiggins), Zoe Wenke (Fairy Princess), Vince Courtney (Ah Fat), Dave Loffmann (Chief Gnome), Nat Phillips (Stiffy), Roy Rene (Mo), Mike Connors, Peter Brooks, Dan M. Dunbar, Jack Phillips (Towser, the dame's dog), Rene Albert, Ivy Towe (dancer), Jackie Clarke, Keith Connolly, Horrie Howard.

Bunyip (sides) images courtesy of the Nat Phillips Collection, Fryer Library, The University of Queensland.

"Australian Pantomime - The Bunyip." Theatre Magazine Oct. (1916), 17. "Bunyip at the Bijou, The." Argus 24 Dec. (1917), 6. "Bijou Theatre - Bunyip Pantomime." Age 24 Dec. (1917), 6. "Bijou Theatre - The Bunyip." Table Talk 27 Dec. (1917), 27.4 "Bunyip, The." Sydney Morning Herald 23 Dec. (1916), 12. "Bunyip, The." Theatre Magazine Jan. (1917), 22. "Bunyip, The." Sydney Morning Herald 22 Dec. (1924), 5. "Bunyip, The." Green Room 1 Feb. (1925), 37. "Bunyip, The." Companion to Theatre in Australia (1997), 114. "Bunyip at the Bijou, The." Argus 24 Dec. (1917), 6. "Bunyip Pantomime, The." Brisbane Courier 1 Apr. (1918), 8. "Bunyip: Pantomime at the Majestic - Successful Opening Performance, The." Daily Herald (Adelaide) 4 June (1917), 2. "Chat with Ben J. Fuller: Firm's Plans Big and Diverse." Evening Star (Dunedin, NZ) 17 July (1917), 5. "Entertainments: Bunyip, The." Brisbane Courier 12 Aug. (1918), 4. "Fullers' Pantomime: The Bunyip." Register (Adelaide) 2 June (1917), 9. "Fullers' Pantomime: The Bunyip Successful." Advertiser (Adelaide) 4 June (1917), 7. "George." "Adelaide Atoms." Australian Variety 13 June (1917), n. pag. Lipman, Martina. "Unearthing the Bunyip: Clues to the representation of Australian Identity, 1916-1925." Australasian Drama Studies 60 (Apr. 2012), 102-119. "Majestic Theatre: Fullers' Pantomime - The Bunyip." Journal (Adelaide) 2 June (1917), 11. "Majestic Theatre: The Bunyip." Register (Adelaide) 4 June (1917), 9. "New Opera House - Bunyip Panto." Australian Variety 3 Jan. (1917), n. pag. Norman, Charles. When Vaudeville was King. Melbourne: Spectrum, 1984, 288-90. "Princess Theatre - "The Bunyip." Age 9 Apr. (1917), 7. "Princess Theatre - "The Bunyip." Argus 9 Apr. (1917), 6. "Rosie Bowie and Dot O'Dea: Ballet Mistresses of The Bunyip Panto." Australian Variety 17 Jan. (1917), 36. Stone, Richard. "'Like a Hippo and Something Else': An All-Australian Bunyip Pantomime." National Library of Australia News Aug. (2002): Article 4.

Graphic of Australia 20 Dec. (1917), 3.

Journal (Adelaide) 2 June (1917), 11.

THE HOUSE THAT JACK BUILT: [pantomime] Lib. Frank Dix and George Slater; Add Lib. Harry Taylor; Orig Mus. Victor Champion The House That Jack Built was the fourth Frank Dix pantomime to be staged in Australia following his arrival in 1912 to produce Puss in Boots for J. C. Williamson's - the others being The Forty Thieves (1914) and Cinderella (1915). As with the earlier productions Dix collaborated with local or locally-based practitioners, in this instance with music director/composer Victor Champion and writer Harry Taylor. The libretto was also produced with the help of English actor George M. Slater.

4 The pages for the 27 December edition have been been digistised out of order in National Library of Australia's digitised newspaper resource,Trove. The AVTA's link (above) takes you to page 27. Accessing the same page via Trove, takes you to page 28 (sighted 19/06/2016).

Although the critics were mostly impressed with the three hour extravaganza, staged with some 140 juveniles, most of the praise was lavished on the, scenic art, choreography and performances - especially the six actors who were making their Australian debuts. In its review of the opening night the Argus critic wrote:

The nursery rhyme of Jack's simple architectural essay and those who took advantage of it is told directly the curtain rises by pencillings on a huge slate and school children's chorus which follows each item as it is figured. Thereafter all is brilliant extravaganza burlesque ballets, and turns ("Music and Drama," 3).

On the same day the Age review records:

The pantomime season, with all its revelry of color and jest, and its care-free atmosphere of fairyland, is once more with us, and was triumphantly and gorgeously ushered in at Her Majesty's Theatre on Saturday night, when a very large audience gave the heartiest of welcomes to the story of The House that Jack Built. To tell the truth, as is the case with most pantomimes, the story of Jack and of his house was rather obscure. It was almost lost in a maze of rainbow color and a flood of light-hearted music. But that mattered nothing, for the fun was fast and furious and the pantomime went with a swing from start to finish without any trace of first-night stiffness out it, and with its succession of glowing pageants, its bewildering variety of dresses, its novel ballets and stage effects it is probably one of the most successful from a spectacular point of view that has yet been staged for Melbourne audiences ("Christmas," 7).

The critic appears to have been largely unimpressed with Victor Champion's score, however, noting that although tuneful, it was "not all that good."

Hilda Guiver as Jack

Table Talk 28 Dec. 91916), 15.

Not surprisingly The House That Jack Built introduced a good deal of patriotic material - notably in songs such as "Anzac" (presented amidst a khaki attired chorus bearing in their haversacks cleverly devised lighted letters forming the title of the song) and "Our Boys," set to a scena revealing the Sphinx, behind which was the deck of a battleship with guns and searchlights in action. "Our Own Dear Flag" was staged with a chorus of allied flags with the Union Jack and Commonwealth flags unfurled over the footlights, while "The Dance of Emotions," portrayed purity, death and the triumph of love. 1916: His Majesty's Theatre, Melbourne; 23 Dec. 1916 - 7 Mar. 1917 - Dir. Charles A. Wenman; Prod. J. C. Williamson's Ltd; M Dir. Adrian Amadio; Des. W. R. Coleman; Chor. Minnie Everett; S Mngr. Lester Brown. - Cast incl. Hilda Guiver (Jack), Gretchen Yates (Princess Susetta), Harry Roxbury (Sammy the farm hand), Ernest Langford (Farmer Barleycorn), Arthur Stignant (Dame Barleycorn), Maggie Dickenson (Fairy Sunbeam), Connie Caley (Prince Regent), Dorothy Firmiu (Madge), Frederick Hearne (Lord of Misrule), Amy Murphy (Fairy Industria), William Fullbrook (policeman), Charles Albert (Demon Despair), Ritchie Reckless Rough Riders.

Australasian 30 Dec. (1916), 52.

Principle People in the Big J. C. Williamson Pantomime The House That Jack Built. Top Row: Miss Hilda Guiver, principal boy (Jack Guilder), Miss Gretchen Yates, principal girl (Princess Susette), Miss Constance Cayley (Prince Regent), Miss Dorothy Firman (Madge). Second Row: Mr. Frederick Hearne (Lord of Misrule), Miss Maggie Dickenson (Fairy Sunbeam), Mr. Arthur Stigant (Dame Barleycorn), Mr. Charles Albert (Demon of Despair). Third Row: Mr. Ernest Langford (Farmer Barleycorn), Mr. William Fullbrook (The Old Actor), Mr. Harry Roxburv (Sammy). Photos by Talma & Co.. Swanston St, Melbourne. Punch (Melbourne) 28 Dec. (1916), 19.

1917: Theatre Royal, Adelaide; 10-24 Mar. - Cast and production mostly as for previous Melbourne season. 1917: Victorian regional tour; ca. 27 Mar- Apr. - Cast and production mostly as for previous Adelaide season. - Itinerary incl. Ballarat (Her Majesty's Theatre; 27-28 Mar.) • Geelong (Geelong Theatre; 29 Mar.) 1917: Her Majesty's Theatre, Sydney; 7 Apr. - 8 June 1917: New Zealand tour; 18 June - - Itinerary incl. Auckland (18 June -) 1917: Theatre Royal, Sydney; 22 Dec. 1917 - 19 Jan. 1918 - Dir. Charles A. Wenman; Prod. J. C. Williamson's Ltd; M Dir. Adrian Amadio; Des. W. R. Coleman; Chor. Minnie Everett. - Cast incl. Phyllis Amery (The Dame), Eileen Dunn (Princess Susetta), Florrie Allen (Jack), Rita Nugent (Fairy Sunshine), Hazel Meldrum (Demon Despair), Phyllis Porter (Prince Regent), Thelma Burgess (Madge), Elsie Campbell (Sammy), Rene Hill (a Policeman), Una Wauchsmuth, Gladys Bremer, Rene Briggs, Tiny Tot Marjory, Little Eileen.

"Chrsitmas Pantomime: A Triumph in Dressing." Age 23 Dec. (1916), 10. "Christmas Pantomime: Her Majesty's Theatre - The House That Jack Built." Age 26 Dec. (1916), 7. "Cristmas Pantomime: The House That Jack Built, The." Leader (Melbourne) 30 Dec. (1916), 31. "Easter Pantomime: The House That Jack Built." Sydney Morning Herald 9 Apr. (1917), 4. "House that Jack Built, The." Sydney Morning Herald 24 Dec. (1917), 5. "Music and Drama: Christmas Pantomime - The House That Jack Built." Argus 26 Dec. (1916), 3. "Pantomime Artists." World's News 2 Dec. (1916), 5. "Pantomime Dresses: All Australian Made - Wardrobe Room Worries." Argus 30 Dec. (1916), 8. "Popular Pantomime: Theatre Royal Extravaganza - The House That Jack Built." Mail (Adelaide) 10 Mar. (1917), 5. Quince, Peter. "Playgoer: Her Majesty's Theatre." Punch (Melbourne) 28 Dec. (1916), 36.

One of the Authors: Frank Dix Table Talk 20 Feb. (1913), 18.

IN THE COURT OF FATHER XMAS: [pantomime] Lib. Arthur Morley; Mus. [n/e] Reviews of the production make special mention the opening, which saw the curtain rise, exposing a giant Christmas cake in the middle of the stage. After being cut by the Queen (Amy Rochelle), Baby Alice Morley came out as Kewpie, heralding the start of the story. The finale of the production was titled the "Allie's Parade." The musical element is believed to have comprised of songs (including dances) from original Australian sources, in addition to songs of international origin. 1916: Bridge Theatre, Newtown (Sydney); 23-31 Dec. - Dir. Arthur Morley; Prod. Clay's Bridge Theatre Ltd; S Art. Alex Stagpoole; S Mngr. Ted Gabriel. - Cast incl. Arthur Morley, Alf "Redhead" Wilson, Eileen Fleury, Ted Stanley, Amy Rochelle, Will Rollow, Eileen and Bessie Phillips, Lulu Eugene, Harry Clay, Bert and Evelyn Dudley, Unity Four, James Caldwell. 1917: Harry Clay's Sydney South-West New South Wales and suburban circuit; ca. Jan. - Cast and production mostly as for previous Bridge Theatre season. - The company is reported to have been on the South-West circuit as of 3 Jan.

Australian Variety 3 Jan. (1917), n. pag. Kitching, Harry. "Harry Clay's Bridge Theatre." Australian Variety 29 Dec. (1916), n. pag.

THE MATINEE GIRL: [revusical] Txt. Les Bates; Mus. [n/e] Possibly co-authored by Les Bates with Les Warton and Con Moreni and other members of the troupe. 1916: Melrose Theatre, Perth; 23 Dec. - - Dir. Les Bates; Prod. Fullers' Theatres Ltd. - Troupe: Follies of Pleasure Company. - Cast incl. Les Bates, Con Moreni, Ted Tutty, Muriel Esbank. 1917: Princess Theatre, Sydney; 9-15 June - Dir. Les Warton and Con Moreni; Prod. Fullers' Theatres Ltd. - Troupe: Les Warton-Con Moreni Revue Co (previously The Follies of Pleasure). - Cast incl. Les Warton, Con Moreni, Les Bates, Lallie Brooke, Madge Moore, Arthur Elliott.

ON A BUS: [aka A LONDON BUS] [revusical] Txt/Mus. [n/e] Although advertised as a burlesque, this production is more likely to have been staged in the revusical style. 1916: Cremorne Theatre, Brisbane; 28 Dec. 1916 - 3 Jan. 1917. - Dir. Walter George; Prod/Prop. John N. McCallum (Dandies Qld Ltd); M Dir. Edgar Hulland. - Troupe: Orange Dandies Costume Comedy Company. - Cast incl. Walter George, Georgie Martin, Arthur Riscoe, Harry de Robeck, Miss Pop Batterby, Miss L. Knight, Kitty Morton, Robert Roper, Ernest Parkes, John Stewart. - Musician: Edgar Hulland (piano). 1917: Cremorne Theatre, Brisbane; 30 Mar. - 5 Apr. [as A London Bus] - Cast and production mostly as for previous Cremorne Theatre season. - The troupe was by 1917 being called The Dandies Costume Comedy Company.

PICKING 'EM OUT: [revusical] Txt. Arthur Morley; Mus. [n/e] "Pickin' 'Em Out was presented [at Harry Clay's Bridge Theatre] and suffice to say that it was from the pen of Arthur Morley, and an undoubted success with its good comedy, bright numbers and novel ideas" (Kitching, n. pag.). 1916: Harry Clay's Sydney suburban and south-west New South Wales circuit; ca. Dec. - Dir. Arthur Morley; Prod. Clay's Bridge Theatre Ltd; S Mngr. Ted Gabriel (Bridge Theatre). - Cast incl. Will Raynor, Hanley and Dale, Merlyn and Arch, Arthur Elliott, Little Verlie, Wee Darrell, Courtney Ford, Ivy Davis.

Kitching, Harry. "Harry Clay's Bridge Theatre." Australian Variety 13 Dec. (1916), n. pag.

FUN ON A RANCH: [revusical] Txt. Art Slavin; Mus. [n/e] Also known as On the Farm, this was one of a number revusicals staged in Australia over the next decade or so to be presented in a country farm/outback station setting. Others include: On the Farm (Paul Stanhope, 1915); Arthur Morley's On the Land (1916), Fooling the Farmer (Clay circuit, 1917), and Billy Cass's Fun on the Farm (1926). NB: It is also not clear whether a relationship exists between any of the above 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) 1916: Harry Clay's Sydney suburban and south-west New South Wales circuit; ca. Dec. - Dir. Art Slavin; Prod. Clay's Bridge Theatre Ltd; S Mngr. Ted Gabriel (Bridge Theatre). - Cast incl. Art Slavin, Lily Thompson, Iris Taylor, Will Cass, Ivy Bowmont [aka Ivy Cass].

* A KISS IN THE DARK: [revusical] Txt. Arthur Morley; Mus. [n/e] The first known performance of this revusical, which was very likely staged on the Clay circuit in 1916, has not yet been established. A par in the 4 October 1916 edition of Australian Variety ("Clay's Budget") sees Arthur Morley warning pirates that the following revues and burlesques were his property: A Kiss in the Dark, On the Sands, Not a Word to the Wife, Who's the Liar, On Deck, In Old Kentucky and Saints and Sinners. NB: It is not known what relationship (if any) this revusical has with a minstrel farce of the same name, first known to have been staged on 2 April 1898 at the Ye Olde Englysh Fayre (Fremantle WA) 1916: Harry Clay's Sydney suburban and possibly South-West New South Wales circuits; [no details] 1918: Princess Theatre (Syd); 2-8 Feb. - Dir. Arthur Morley; Prod. Harry Sadler (for Fullers Theatres Ltd). - Cast incl. Arthur Morley, Phyllis Faye, Ruby Esdaile, Harry Little, The Baby Dolls, Jack Kearns, Elsie Bates.

* WHO'S THE LIAR: [revusical] Txt. Arthur Morley; Mus. [n/e] The first known performance of this revusical, which was very likely staged on the Clay circuit in 1916, has not yet been established. A par in the 4 October 1916 edition of Australian Variety ("Clay's Budget") sees Arthur Morley warning pirates that the following revues and burlesques were his property: A Kiss in the Dark, On the Sands, Not a Word to the Wife, Who's the Liar, On Deck, In Old Kentucky and Saints and Sinners. It is not known what relationship (if any) this revusical has with a similarly titled Arthur Morley revusical, Who's the Boss (first known to have been staged on the Clay circuit in February 1917). 1916: Harry Clay's Sydney suburban and possibly South-West New South Wales circuits; [no details]

* SAINTS AND SINNERS: [revusical] Txt. Arthur Morley; Mus. [n/e] The first known performance of this revusical, which was very likely staged on the Clay circuit in 1916, has not yet been established. A par in the 4 October 1916 edition of Australian Variety ("Clay's Budget") sees Arthur Morley warning pirates that the following revues and burlesques were his property: A Kiss in the Dark, On the Sands, Not a Word to the Wife, Who's the Liar, On Deck, In Old Kentucky and Saints and Sinners. 1916: Harry Clay's Sydney suburban and possibly South-West New South Wales circuits; [no details]

Last updated: 25/06/2016 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/