The Fairy's Dilemma

The Fairy's Dilemma, "an original domestic pantomime in two acts",[1] was W. S. Gilbert's first play produced since The Fortune Hunter in 1897.

In 1900, he wrote a story called "The Fairy's Dilemma", published in the Christmas number of The Graphic magazine that year.

[3] Incidental music for the piece was arranged by Edmond Rickett,[1] consisting of popular songs of the 1860s and 1870s, such as "Champagne Charlie".

[5] Arthur Bourchier had leased the Garrick in 1900, and he and his wife Violet Vanbrugh starred in numerous plays there over the next six years often producing new works, including The Fairy's Dilemma.

It restores Mr. Gilbert to the stage in his most irresistibly whimsical vein, and deserves to rank among the brightest and most exhilarating of his productions.

Rosebud is depressed because the Fairy Queen has told her that her incompetence can no longer be tolerated; unless she becomes more attentive to her duties of protecting mortals from demons, she will be sent to the back row of the ballet chorus.

Jane has attracted the attention of Sir Trevor Mauleverer, a colonel in the Life Guards, who Rosebud believes to be a wicked baronet.

Nevertheless, Lady Angela has run away from home to avoid being forced by her father into an arranged marriage with Sir Trevor.

The demon is also confused by the change of clothing; he abducts Clarissa (thinking her to be Jane) and takes her to Sir Trevor's lodgings.

Matters go from bad to worse, and Rosebud finally relents, agreeing to marry the demon and asking Aloysius to perform the ceremony.

[3] When Gilbert was growing up, the harlequinade was an extremely popular part of the Christmas pantomimes that were produced at most of the major theatres in London.

[12] Gilbert admired the elegant dancing part of the Harlequin and in 1879 played this character in a pantomime that he co-authored, The Forty Thieves.

[13] Many of Gilbert's Bab Ballads, stories and other works, especially in the 1860s, reflect his interest in the harlequinade and his ideas about the moral issues that it presented, particularly in connection with the cruel character of Clown.

"[15] Crowther notes that in the play, the "supernatural" fairy and demon speak in a more natural manner than the mortals, who Gilbert calls "unnaturals".