Go-Bang
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Introduction to "Go-Bang"
"Go-Bang" is a musical burlesque that opened at the Trafalgar Theatre later renamed the Trafalgar Square Theatre in London’s West End on March 10, 1894. Written by Adrian Ross with music by Frederick J. Harris, the show ran for 129 performances, closing on July 7, 1894. A lighthearted satire rooted in the Victorian burlesque tradition, it starred comic actor Arthur Roberts as the fictional Prince of Go-Bang, blending topical humor with catchy tunes. Though short-lived, it reflects the era’s appetite for playful theatrical escapism, offering a glimpse into the West End’s vibrant 1890s scene.
The Creative Team Behind the Show
Adrian Ross, the librettist, was a prolific lyricist known for his work on later Edwardian musicals like "The Merry Widow," bringing his knack for witty wordplay to "Go-Bang." Frederick J. Harris composed the score, drawing on his experience in light opera and variety music to craft its melodies. The production leaned heavily on Arthur Roberts, a celebrated comedian of the day, who not only starred but also shaped the show’s improvisational flair. Under George Musgrove’s management at the Trafalgar, the team delivered a quintessential burlesque tailored for Victorian audiences.
A Whimsical Plot of Royal Misadventure
The story centers on Jenkins, a cockney cabman played by Arthur Roberts, who drunkenly dreams he’s the Prince of Go-Bang, ruler of the fictional Bangonia. In this imagined realm, Jenkins navigates absurd court intrigues and romantic entanglements, including a love interest, Damara, played by Phyllis Broughton. His real-world fiancée, Emma (Kate Cutler), and a host of quirky characters like the plotting Boojam (Harry Monkhouse) add to the chaos. The plot lampoons imperial pomp and class distinctions, resolving with Jenkins waking to his humbler reality, a classic burlesque twist on fantasy versus everyday life.
Performance and Reception
"Go-Bang" debuted to a warm reception, with The Stage praising Roberts’ “irresistible humor” and the show’s “bright and tuneful” score. Critics noted its reliance on Roberts’ ad-libs, with The Era calling it “a vehicle for his comic genius.” The production featured lavish costumes and a lively chorus, typical of burlesque’s spectacle, but its 129-performance run suggests modest success rather than a smash hit. Audience enjoyment hinged on its silliness and Roberts’ charisma, though some reviews found the plot thin, a common critique of the genre.
Legacy in West End Theatre
"Go-Bang" occupies a niche in the West End’s late Victorian era, a time when burlesque was giving way to more structured musical comedies. It followed hits like "In Town" (1892) at the same theatre and preceded Ross’s greater successes. While not a landmark production, its blend of satire and star power echoes the period’s theatrical trends. Today, it’s a footnote in London’s stage history, remembered more for Roberts’ legacy than its own staying power, offering a window into the West End’s playful past.