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Routines, Characters, Dances and Instruments
Barlow was primarily a solo performer and could perform a whole night's program alone. He began his career this way, and he ended it this way. Sometimes in Australia, and once for a tour in New Zealand, he did organise his own troupes where he was the leader. On one bill, in a typical minstrel line-up, it is noted that he played the part of Mr Bones. He could have performed any role. Barlow played all of the instruments used in a Minstrel Show. He was a charismatic singer, talker, stump orator, and dancer.
When he toured, Barlow often employed local pianists to accompany him, freeing him from the restraints of playing the instrument. He was, however, an accomplished pianist. In one typical performance, where he appeared by himself, he was said to have at first come on stage in a formal dress-suit. He sat at the piano and sang and played. After a short break he came back on stage in one of his costumes. During the rest of the show he played twenty or more instruments, sang and danced, told anecdotes, and acted one-man sketches playing many different characters. He made quick costume and make-up changes.
Barlow's usual solo evening performances ran from 8.00 pm to 10.30 pm. Except for an interval and sometimes a short piano piece as an overture, he was on stage for the whole time. He often continued beyond the official time, for anyone who cared to stay. At the age of eighty-six he still performed this way. There is one report about his telling anecdotes during interval.
When Barlow performed in concerts and in the circuses of Joseph Rowe, Henry Burton, and others, he had his own segment within the larger program. He also did this when he performed with minstrel troupes, even when with his own.
For a short time, in Central Victoria, Barlow teamed up with John Cragin Rainer. They were billed as a duo, and the performances seemed to be equally shared. Barlow sometimes employed other individual singers, for example: Joseph Small in Beechworth and Central Victoria. Paul Maxey in Ballarat.
BARLOW'S FIRST PERFORMANCE
This was in 1837 in Ireland at an unknown venue. He was seventeen years old.
BARLOW'S LAST PERFORMANCE
This was on the 10th of June 1905. It was at the home of Barlow's grand-daughter. The Barlows celebrated their wedding anniversary at a party. Barlow told funny stories, played the piano, and sang for two hours. He was eighty-five years old.
ENTERTAINMENTS, DANCES, and FARCES.
(See also Barlow's Songs, link at top of page)
THE BLUE-TAILED FLY
This was Barlow's signature song. See also the study of this song. Barlow performed this song as part of a routine. He sang it to his banjo accompaniment. Between verses he ran all over the stage in pursuit of an imaginary fly, while making a buzzing sound with his lips. He was able to convince an audience that the fly was buzzing all over the theatre. Eventually he mimed catching and killing the fly by screwing off its head.
THE TROUBLES OF A BRITISHER IN HONG KONG
This routine was performed with the Spiller brothers in Tasmania in 1867. It was about Barlow "waiting for remittance from home while being dunned by two Chinese washermen for dollars he hasn't got".
THE DEMON IN THE WOODS
This was a farce performed by Barlow with Charles Holly and Thomas Buckley in Tasmania in 1872.
DINAH CROW
Song and dance with banjo accompaniment. Barlow did an original arrangement.
LIFE IN LONDON
Barlow may have based this on a popular novel, by Pierce Egan, published in 1821. It was adapted as a play. The main characters were Tom and Jerry, two young gentlemen of London who meet many colourful and eccentric people as they go around the city. Late in Barlow's career this show is described as being about different London characters.
TOM AND JERRY. "Negro Farce"
This sounds like a parody based, at least in name, on the Tom and Jerry of Life in London.
ROUND THE WORLD or TRIP ROUND THE WORLD or ROUND GOES THE WORLD
There is an account of Barlow making quick changes as part of his acts. From one of his performances we have this: "... various songs, dances and impersonations of characters of all nations..."
SERIOUS FAMILY
PAGANINI'S GHOST
Violin piece with Barlow playing his fiddle upside down, behind his head, on his head, behind his back, with the bow between his knees.
THE PLOUGHMAN'S WEDDING
A Character Entertainment where Barlow played all of the characters.
These were:
Farmer May Blossom: an early bird
Smiling Tom: a happy-looking ploughboy
Biddy: Tom's beloved
Dorothy Daisy: a discarded lover
Old Sarah Walker: Farmer Blossom's wife
A Love-Sick Chinaman.
It was noted that, although Barlow's characters were well made up, he was able to maintain his personality throughout.
THE SIEGE OF SEBASTOPOL. Burletta
It was first performed by Barlow at The Salle de Valentino, Melbourne, in 1855. The songs were written, for Barlow, by James Mulholland.
THE WERRIBEE ENCAMPMENT
MUSIC MAD IN CHINA or CELESTIAL TROUBADOURS
PROFESSOR PEPPER'S GHOST
The illusion called Pepper's Ghost was first performed by John Henry Pepper in 1863. It was invented by his friend Henry Dircks. It uses light and mirrors. Barlow sang a song as part of an original Entertainment based on this illusion. His song was called, Have You Seen the Ghost. I believe that Barlow may have used the actual illusion. In Sydney in 1874 this act was said to have caused a sensation.
AN ESCAPE FROM PARIS IN A BALLOON
Performed with George Bromley and Charles Holly.
THREE PHASES IN THE LIFE OF A NEW CHUM
DOING BANTING
This was a song or a routine (or both) written by Charles Sloman for Barlow. It was based on William Banting and his weight-reducing diet. Barlow performed it in 1867. Sloman was a performer in London at the same time as Barlow. There is a one-act farce using this title dated 1864 which has a different author.
TIMES AND CUSTOMS BY OLD SARAH WALKER
Topical and local for each performance.
LONDON FOP, CLEMENTINA CORNETS
This sounds as though it might be two characters: One male and one female. But I'm guessing.
THE BALL IS A-GOING ON
Performed with Paul Maxey. Barlow played Miss Lucinda Snow. Maxey played his familiar character Slim Jim.
THE MISCHIEVOUS MONKEY OR TROUBLESOME LODGINGS
This was a farce performed by Barlow several times. In 1872 in Tasmania it was performed with Barlow as the Landlord, Charles Holly as House-pet the Monkey, and Thomas Buckley as Snooks a Countryman. I believe Barlow may have performed all three parts at other times.
JERSEY PRIDE. Song and Dance. Called "new" in 1868
UNKNOWN INSTRUMENTAL PIECE. Duet with Flute and Banjo played simultaneously
RAILWAY OVERTURE. Popular early Banjo piece, Played on a Minstrel Banjo
FARMYARD IMITATIONS. Using voice and other instruments
BAGPIPE IMITATIONS
THE MUSICAL BARBER
Solo song, and dance, with violin accompaniment and farmyard imitations.
THE MUSICAL BARBER. BLACK BARBER. DARKEY BARBER
Performed at Rowe's Circus in 1852. With Barlow as the Barber. Riley, Edward (Ned) Yeamans, and Mrs. Rowe as other characters.
THE CHINA SIDE OF JORDAN
This was Barlow's account of his adventures in China which included, he said, a shipwreck and a pirate attack. He sang a song with the same title. Barlow also told the story of this shipwreck without using this title.
SOLDIER AND THE SAILOR. Also called ARMY AND NAVY
A song and dance performed in a trick costume. This act was mentioned as done by minstrel William La Conta in 1848. Said to be the first time the act was performed in America. This may suggest that it came from the theatres of London.
Barlow's version is described, in a letter published in the Melbourne Age, on February the 1st 1941. The writer was an eye-witness. He tells us that Barlow's soldier, in a bright red uniform, was seen from the front. The sailor, in blue, from the back view. Barlow danced a hornpipe backwards to great effect.
"...He kept the audience amused by himself the whole evening by clog dancing and various songs &c. I remember especially the song The Blue-tailed Fly and the song of the Soldier and Sailor. He was dressed as a soldier in the front, and sang; then jumped up about four feet, turned round, and was a sailor, and sang and danced the hornpipe. The audience could hardly tell which was the right side of him. He was a fair age then. - Yours and &c. GVM. Auburn."
THE MISTRESS AND THE MAID -- SECRETS OF THE KITCHEN
TROUBLE WITH THE SERVANTS
JOKES OF ALL NATIONS
THE IRISH JANIASES
RECRUITING FOR THE WAR or THE PLEASURES OF A SOLDIER'S LIFE Performed as a solo or as a two-hand farce. In 1852 at Rowe's Circus Barlow played Sergeant Cut-and-Slash. Riley, one of Rowe's clowns, played The Recruit.
COMIC BURLETTA OF THE RIVAL CLOWNS
Performed in 1854 at Rowe's Circus. With Edward Yeamans.
UNLOCK THE LANDS. With a topical song about settlers
Performed at Salle de Valentino in 1853. Barlow produced a big "Golden Key to unlock the lands". The key was taller than he was. Then he gave everyone "little farms". The politics behind this idea were explained in 1913 in the South Australian Advertiser in an article titled: The Gold Diggings. Reminiscences of Older Days. By W. Round. Here the author explained the Land Act as it was applied in South Australia in the early days of settlement. Here settlers with large farms leased parcels of land, with an option to buy, to "cockatoo farmers". In Victoria this was not allowed. There was a poem written, on the same subject, at this time using the title Unlock the Lands.
CHRISTMAS BELLS
ON THE ESPLANADE
THE AWKWARD SQUAD
THE FAIR GIRL DRESSED IN CHECK.
A routine, as a female character, based on the song of the same name.
LUCY LONG.
A routine, as a female character, with singing and dancing. Based on the song of the same name.
NEGRO ENTERTAINMENTS or variant similar titles
MARRATAN THE SLAVE
CHING CHONG
A Chinese character who sang and played a Chinese Fiddle.
THE HUMORS OF AN IRISH ELECTION. Anecdotes
CHANG THE GIANT or CHANG HIGH AND THE DWARF, LITTLE HONG KONG. Burlesque
These names are puns on names of two Chinese cities, the well-known Shanghai and Little Hong Kong. This was an act with Barlow inside a basket held by a Giant. He performed this illusion alone, using dummy head and shoulders, with his own legs as the Giant's. His head and arms, inside a basket, protruded through the middle of the Giant. Dummy legs hung over the edges of the basket. Barlow handed out presents to the audience. Eye-witnesses claimed the effect was so realistic that many people thought Chang the Giant had come back.
GRANNY SNOW. MISS SNOW
One of Barlow's characters who made comments on topical and local issues.
JOSHUA'S ABSURDITIES
The name Joshua was often used for rural American comic characters. Alternatively, he could have been one of Barlow's Black American characters.
PLANTATION FESTIVAL OF LITTLE OLD 'LIZA JANE
SMILING FACES or ALL NATIONS AT HOME
ALL NATIONS or BARLOW AT HOME
JUBA JUBA DANCE
A dance named for Juba of Gilbert Pell's Ethiopian Serenaders.
THE MINSTRELS OF THE MOON
This was an entertainment performed by Barlow with Paul Maxey and Walter Howson. They played Chinese instruments.
SAILOR'S HORNPIPE
Danced in the usual way or backwards as part of Barlow's dual character act. The Sailor's Hornpipe was first performed at the Adelphi Theatre in London.
CLOGGING. HORNPIPES. Also many other STEP DANCES
DANCE A LA MONTEZ
It seems Barlow and George Coppin independently did a Lola Montez act. Coppin performed a dance called Billy Barlow's Spider Dance. This was performed using his character Billy Barlow. It was a parody of Lola Montez's famous Spider Dance. The description suggests that this dance had parallels in Barlow's Blue-tailed Fly routine.
DANCE A LA JERRY BRYANT
Jerry Bryant was a fellow Minstrel known for his dancing. He toured in Australia in 1855.
DANCE A LA MOLL FLAGON
Moll Flagon is a character in Burgoyne's comic opera, Lord of the Manor. The part is played by a male actor.
DANCE A LA ELLSLER
Fanny Ellsler was a well-known ballet dancer.
FEATS OF STRENGTH. At Rowe's Circus in Melbourne in the 1850s. Also TUMBLING and VAULTING
It is worth repeating this quote from New Zealand,
"After the performance Mr Barlow gave a wonderful exhibition to a few friends. It would hardly be believed that a man of 72 years of age could lift two men, one weighing 17 stone and the other over 16 stone, at the one time, but he did it several times."
Barlow was a little man and at this time he was seventy-two. I can't imagine how he did this.
SPHYNX OR TALKING HEAD
A well-known magician's illusion done with mirrors. A head appears in a box on a table. Barlow was a severed head, singing a comic song, during a tour with the Wizard Hennicki.
TALKING AUTOMATON
Barlow performed with his automaton in Melbourne in the 1850s and in Gympie in the 1860s.
SELECTIONS ON THE ROCK HARMONIUM Often with music written by Barlow
DUET WITH BANJO AND FLUTE Played simultaneously by Barlow. The FLUTE must surely have been a flageolet.
RAILWAY OVERTURE. Played on the banjo. A popular instrumental piece
FARMYARD IMITATIONS. Using voice and instruments
OTHER BIRD, ANIMAL, & INSECT IMITATIONS. Notably bees and flies
DIGNITY BALL. Violin accompaniments. This was a popular piece at the time.
THE MUSICAL BARBER SOLO ACT. Using violin Accompaniment and with Farmyard Imitations and a Dance
ANVIL CHORUS with Barlow's Minstrels of the Moon, using Chinese instruments. The rest of Barlow's Campbell's Minstrels joined in. (Oh my!).
STUMP ORATORY
WALK AROUNDS
BARLOW'S CHARACTERS
Barlow had various male and female characters who were German -- called Dutch at the time --, American, Irish, Scottish, Chinese, and English. His English characters were of many different types.
DOROTHY DAISY
MIGIL SCHNEIDER. A "Dutchman" (German). His song was The Fat Little Dutchman.
BON BON. A Frenchman
SMILING TOM, by GUM. Also called: Smiling Tom the Lancashire Clog-Dancer
THE IRISH SOLDIER
THE YOUNG SQUIRE
THE MISCHIEVOUS MONKEY out of the skit of the same name
THE LANDLORD in the skit The Mischievous Monkey
MR BONES in a Minstrel Show. Barlow must have played other characters in minstrel line-ups. He was capable of playing any of the parts.
THE NEGRO CLOWN in a Pantomime of Cinderella. In 1863 in Melbourne
AUNT SUE in the farce A Visit from Uncle Jeff and Aunt Sue
INSTRUMENTS PLAYED BY BARLOW
It was claimed, by Barlow, that he could get music out of anything except a scolding wife or a silk handkerchief.
"American style" banjo, that is, a minstrel banjo
Concertina
Chinese fiddle
Stylocarfe, a type of wooden xylophone. Barlow said he found it in "The Celestial Empire", that is, China.
After he was shipwrecked Barlow claimed to have replaced this instrument with one made from flotsam.
Fiddle
"Philadelphi Canoe Fiddle", which may be a canoe-shaped fiddle from the Middle East.
Piano
Flute, probably a flageolet
Rock harmonicon
Flautophone, a type of glass xylophone, also called a glass harmonica. Gloves are sometimes worn while playing it.
Melophone, called also mellophone or organ mellophone. This instrument is a type of keyed violin. A hurdy-gurdy.
Harmonium
Cottage Organ
Accordion
Flutina, a type of Accordion
Guitar
Piccolo
Gridiron, a type of xylophone popular with minstrels. Barlow claimed he was using the kitchen utensil of the same name.
Frying Pan and other kitchen articles
Kitchen Bellows, said to have been "an alliance of a pair of bellows with his mouth."
Bones
Lantum, also called a Lantum piano.
Castanets
Imaginary instruments
Talking automaton: not an instrument as such, but where else to put it?
When he toured, Barlow often employed local pianists to accompany him, freeing him from the restraints of playing the instrument. He was, however, an accomplished pianist. In one typical performance, where he appeared by himself, he was said to have at first come on stage in a formal dress-suit. He sat at the piano and sang and played. After a short break he came back on stage in one of his costumes. During the rest of the show he played twenty or more instruments, sang and danced, told anecdotes, and acted one-man sketches playing many different characters. He made quick costume and make-up changes.
Barlow's usual solo evening performances ran from 8.00 pm to 10.30 pm. Except for an interval and sometimes a short piano piece as an overture, he was on stage for the whole time. He often continued beyond the official time, for anyone who cared to stay. At the age of eighty-six he still performed this way. There is one report about his telling anecdotes during interval.
When Barlow performed in concerts and in the circuses of Joseph Rowe, Henry Burton, and others, he had his own segment within the larger program. He also did this when he performed with minstrel troupes, even when with his own.
For a short time, in Central Victoria, Barlow teamed up with John Cragin Rainer. They were billed as a duo, and the performances seemed to be equally shared. Barlow sometimes employed other individual singers, for example: Joseph Small in Beechworth and Central Victoria. Paul Maxey in Ballarat.
BARLOW'S FIRST PERFORMANCE
This was in 1837 in Ireland at an unknown venue. He was seventeen years old.
BARLOW'S LAST PERFORMANCE
This was on the 10th of June 1905. It was at the home of Barlow's grand-daughter. The Barlows celebrated their wedding anniversary at a party. Barlow told funny stories, played the piano, and sang for two hours. He was eighty-five years old.
ENTERTAINMENTS, DANCES, and FARCES.
(See also Barlow's Songs, link at top of page)
THE BLUE-TAILED FLY
This was Barlow's signature song. See also the study of this song. Barlow performed this song as part of a routine. He sang it to his banjo accompaniment. Between verses he ran all over the stage in pursuit of an imaginary fly, while making a buzzing sound with his lips. He was able to convince an audience that the fly was buzzing all over the theatre. Eventually he mimed catching and killing the fly by screwing off its head.
THE TROUBLES OF A BRITISHER IN HONG KONG
This routine was performed with the Spiller brothers in Tasmania in 1867. It was about Barlow "waiting for remittance from home while being dunned by two Chinese washermen for dollars he hasn't got".
THE DEMON IN THE WOODS
This was a farce performed by Barlow with Charles Holly and Thomas Buckley in Tasmania in 1872.
DINAH CROW
Song and dance with banjo accompaniment. Barlow did an original arrangement.
LIFE IN LONDON
Barlow may have based this on a popular novel, by Pierce Egan, published in 1821. It was adapted as a play. The main characters were Tom and Jerry, two young gentlemen of London who meet many colourful and eccentric people as they go around the city. Late in Barlow's career this show is described as being about different London characters.
TOM AND JERRY. "Negro Farce"
This sounds like a parody based, at least in name, on the Tom and Jerry of Life in London.
ROUND THE WORLD or TRIP ROUND THE WORLD or ROUND GOES THE WORLD
There is an account of Barlow making quick changes as part of his acts. From one of his performances we have this: "... various songs, dances and impersonations of characters of all nations..."
SERIOUS FAMILY
PAGANINI'S GHOST
Violin piece with Barlow playing his fiddle upside down, behind his head, on his head, behind his back, with the bow between his knees.
THE PLOUGHMAN'S WEDDING
A Character Entertainment where Barlow played all of the characters.
These were:
Farmer May Blossom: an early bird
Smiling Tom: a happy-looking ploughboy
Biddy: Tom's beloved
Dorothy Daisy: a discarded lover
Old Sarah Walker: Farmer Blossom's wife
A Love-Sick Chinaman.
It was noted that, although Barlow's characters were well made up, he was able to maintain his personality throughout.
THE SIEGE OF SEBASTOPOL. Burletta
It was first performed by Barlow at The Salle de Valentino, Melbourne, in 1855. The songs were written, for Barlow, by James Mulholland.
THE WERRIBEE ENCAMPMENT
MUSIC MAD IN CHINA or CELESTIAL TROUBADOURS
PROFESSOR PEPPER'S GHOST
The illusion called Pepper's Ghost was first performed by John Henry Pepper in 1863. It was invented by his friend Henry Dircks. It uses light and mirrors. Barlow sang a song as part of an original Entertainment based on this illusion. His song was called, Have You Seen the Ghost. I believe that Barlow may have used the actual illusion. In Sydney in 1874 this act was said to have caused a sensation.
AN ESCAPE FROM PARIS IN A BALLOON
Performed with George Bromley and Charles Holly.
THREE PHASES IN THE LIFE OF A NEW CHUM
DOING BANTING
This was a song or a routine (or both) written by Charles Sloman for Barlow. It was based on William Banting and his weight-reducing diet. Barlow performed it in 1867. Sloman was a performer in London at the same time as Barlow. There is a one-act farce using this title dated 1864 which has a different author.
TIMES AND CUSTOMS BY OLD SARAH WALKER
Topical and local for each performance.
LONDON FOP, CLEMENTINA CORNETS
This sounds as though it might be two characters: One male and one female. But I'm guessing.
THE BALL IS A-GOING ON
Performed with Paul Maxey. Barlow played Miss Lucinda Snow. Maxey played his familiar character Slim Jim.
THE MISCHIEVOUS MONKEY OR TROUBLESOME LODGINGS
This was a farce performed by Barlow several times. In 1872 in Tasmania it was performed with Barlow as the Landlord, Charles Holly as House-pet the Monkey, and Thomas Buckley as Snooks a Countryman. I believe Barlow may have performed all three parts at other times.
JERSEY PRIDE. Song and Dance. Called "new" in 1868
UNKNOWN INSTRUMENTAL PIECE. Duet with Flute and Banjo played simultaneously
RAILWAY OVERTURE. Popular early Banjo piece, Played on a Minstrel Banjo
FARMYARD IMITATIONS. Using voice and other instruments
BAGPIPE IMITATIONS
THE MUSICAL BARBER
Solo song, and dance, with violin accompaniment and farmyard imitations.
THE MUSICAL BARBER. BLACK BARBER. DARKEY BARBER
Performed at Rowe's Circus in 1852. With Barlow as the Barber. Riley, Edward (Ned) Yeamans, and Mrs. Rowe as other characters.
THE CHINA SIDE OF JORDAN
This was Barlow's account of his adventures in China which included, he said, a shipwreck and a pirate attack. He sang a song with the same title. Barlow also told the story of this shipwreck without using this title.
SOLDIER AND THE SAILOR. Also called ARMY AND NAVY
A song and dance performed in a trick costume. This act was mentioned as done by minstrel William La Conta in 1848. Said to be the first time the act was performed in America. This may suggest that it came from the theatres of London.
Barlow's version is described, in a letter published in the Melbourne Age, on February the 1st 1941. The writer was an eye-witness. He tells us that Barlow's soldier, in a bright red uniform, was seen from the front. The sailor, in blue, from the back view. Barlow danced a hornpipe backwards to great effect.
"...He kept the audience amused by himself the whole evening by clog dancing and various songs &c. I remember especially the song The Blue-tailed Fly and the song of the Soldier and Sailor. He was dressed as a soldier in the front, and sang; then jumped up about four feet, turned round, and was a sailor, and sang and danced the hornpipe. The audience could hardly tell which was the right side of him. He was a fair age then. - Yours and &c. GVM. Auburn."
THE MISTRESS AND THE MAID -- SECRETS OF THE KITCHEN
TROUBLE WITH THE SERVANTS
JOKES OF ALL NATIONS
THE IRISH JANIASES
RECRUITING FOR THE WAR or THE PLEASURES OF A SOLDIER'S LIFE Performed as a solo or as a two-hand farce. In 1852 at Rowe's Circus Barlow played Sergeant Cut-and-Slash. Riley, one of Rowe's clowns, played The Recruit.
COMIC BURLETTA OF THE RIVAL CLOWNS
Performed in 1854 at Rowe's Circus. With Edward Yeamans.
UNLOCK THE LANDS. With a topical song about settlers
Performed at Salle de Valentino in 1853. Barlow produced a big "Golden Key to unlock the lands". The key was taller than he was. Then he gave everyone "little farms". The politics behind this idea were explained in 1913 in the South Australian Advertiser in an article titled: The Gold Diggings. Reminiscences of Older Days. By W. Round. Here the author explained the Land Act as it was applied in South Australia in the early days of settlement. Here settlers with large farms leased parcels of land, with an option to buy, to "cockatoo farmers". In Victoria this was not allowed. There was a poem written, on the same subject, at this time using the title Unlock the Lands.
CHRISTMAS BELLS
ON THE ESPLANADE
THE AWKWARD SQUAD
THE FAIR GIRL DRESSED IN CHECK.
A routine, as a female character, based on the song of the same name.
LUCY LONG.
A routine, as a female character, with singing and dancing. Based on the song of the same name.
NEGRO ENTERTAINMENTS or variant similar titles
MARRATAN THE SLAVE
CHING CHONG
A Chinese character who sang and played a Chinese Fiddle.
THE HUMORS OF AN IRISH ELECTION. Anecdotes
CHANG THE GIANT or CHANG HIGH AND THE DWARF, LITTLE HONG KONG. Burlesque
These names are puns on names of two Chinese cities, the well-known Shanghai and Little Hong Kong. This was an act with Barlow inside a basket held by a Giant. He performed this illusion alone, using dummy head and shoulders, with his own legs as the Giant's. His head and arms, inside a basket, protruded through the middle of the Giant. Dummy legs hung over the edges of the basket. Barlow handed out presents to the audience. Eye-witnesses claimed the effect was so realistic that many people thought Chang the Giant had come back.
GRANNY SNOW. MISS SNOW
One of Barlow's characters who made comments on topical and local issues.
JOSHUA'S ABSURDITIES
The name Joshua was often used for rural American comic characters. Alternatively, he could have been one of Barlow's Black American characters.
PLANTATION FESTIVAL OF LITTLE OLD 'LIZA JANE
SMILING FACES or ALL NATIONS AT HOME
ALL NATIONS or BARLOW AT HOME
JUBA JUBA DANCE
A dance named for Juba of Gilbert Pell's Ethiopian Serenaders.
THE MINSTRELS OF THE MOON
This was an entertainment performed by Barlow with Paul Maxey and Walter Howson. They played Chinese instruments.
SAILOR'S HORNPIPE
Danced in the usual way or backwards as part of Barlow's dual character act. The Sailor's Hornpipe was first performed at the Adelphi Theatre in London.
CLOGGING. HORNPIPES. Also many other STEP DANCES
DANCE A LA MONTEZ
It seems Barlow and George Coppin independently did a Lola Montez act. Coppin performed a dance called Billy Barlow's Spider Dance. This was performed using his character Billy Barlow. It was a parody of Lola Montez's famous Spider Dance. The description suggests that this dance had parallels in Barlow's Blue-tailed Fly routine.
DANCE A LA JERRY BRYANT
Jerry Bryant was a fellow Minstrel known for his dancing. He toured in Australia in 1855.
DANCE A LA MOLL FLAGON
Moll Flagon is a character in Burgoyne's comic opera, Lord of the Manor. The part is played by a male actor.
DANCE A LA ELLSLER
Fanny Ellsler was a well-known ballet dancer.
FEATS OF STRENGTH. At Rowe's Circus in Melbourne in the 1850s. Also TUMBLING and VAULTING
It is worth repeating this quote from New Zealand,
"After the performance Mr Barlow gave a wonderful exhibition to a few friends. It would hardly be believed that a man of 72 years of age could lift two men, one weighing 17 stone and the other over 16 stone, at the one time, but he did it several times."
Barlow was a little man and at this time he was seventy-two. I can't imagine how he did this.
SPHYNX OR TALKING HEAD
A well-known magician's illusion done with mirrors. A head appears in a box on a table. Barlow was a severed head, singing a comic song, during a tour with the Wizard Hennicki.
TALKING AUTOMATON
Barlow performed with his automaton in Melbourne in the 1850s and in Gympie in the 1860s.
SELECTIONS ON THE ROCK HARMONIUM Often with music written by Barlow
DUET WITH BANJO AND FLUTE Played simultaneously by Barlow. The FLUTE must surely have been a flageolet.
RAILWAY OVERTURE. Played on the banjo. A popular instrumental piece
FARMYARD IMITATIONS. Using voice and instruments
OTHER BIRD, ANIMAL, & INSECT IMITATIONS. Notably bees and flies
DIGNITY BALL. Violin accompaniments. This was a popular piece at the time.
THE MUSICAL BARBER SOLO ACT. Using violin Accompaniment and with Farmyard Imitations and a Dance
ANVIL CHORUS with Barlow's Minstrels of the Moon, using Chinese instruments. The rest of Barlow's Campbell's Minstrels joined in. (Oh my!).
STUMP ORATORY
WALK AROUNDS
BARLOW'S CHARACTERS
Barlow had various male and female characters who were German -- called Dutch at the time --, American, Irish, Scottish, Chinese, and English. His English characters were of many different types.
DOROTHY DAISY
MIGIL SCHNEIDER. A "Dutchman" (German). His song was The Fat Little Dutchman.
BON BON. A Frenchman
SMILING TOM, by GUM. Also called: Smiling Tom the Lancashire Clog-Dancer
THE IRISH SOLDIER
THE YOUNG SQUIRE
THE MISCHIEVOUS MONKEY out of the skit of the same name
THE LANDLORD in the skit The Mischievous Monkey
MR BONES in a Minstrel Show. Barlow must have played other characters in minstrel line-ups. He was capable of playing any of the parts.
THE NEGRO CLOWN in a Pantomime of Cinderella. In 1863 in Melbourne
AUNT SUE in the farce A Visit from Uncle Jeff and Aunt Sue
INSTRUMENTS PLAYED BY BARLOW
It was claimed, by Barlow, that he could get music out of anything except a scolding wife or a silk handkerchief.
"American style" banjo, that is, a minstrel banjo
Concertina
Chinese fiddle
Stylocarfe, a type of wooden xylophone. Barlow said he found it in "The Celestial Empire", that is, China.
After he was shipwrecked Barlow claimed to have replaced this instrument with one made from flotsam.
Fiddle
"Philadelphi Canoe Fiddle", which may be a canoe-shaped fiddle from the Middle East.
Piano
Flute, probably a flageolet
Rock harmonicon
Flautophone, a type of glass xylophone, also called a glass harmonica. Gloves are sometimes worn while playing it.
Melophone, called also mellophone or organ mellophone. This instrument is a type of keyed violin. A hurdy-gurdy.
Harmonium
Cottage Organ
Accordion
Flutina, a type of Accordion
Guitar
Piccolo
Gridiron, a type of xylophone popular with minstrels. Barlow claimed he was using the kitchen utensil of the same name.
Frying Pan and other kitchen articles
Kitchen Bellows, said to have been "an alliance of a pair of bellows with his mouth."
Bones
Lantum, also called a Lantum piano.
Castanets
Imaginary instruments
Talking automaton: not an instrument as such, but where else to put it?