In 1893 Arthur Branscombe put together the book for a new musical, a ‘musical farcical comedy’, which he was later to claim marked the invention of a new form of musical theatre. Called Morocco Bound, the show registered as a thoroughly English commodity, not least because of its trademark Orientalism – the second act took place in a Grand Vizier’s palace, complete with harem. Set initially, ... [Show full abstract] however, on the grounds of a country estate, the show opens with a song that charts the decline of the English aristocracy, arguably the most recognisable signifier of English cultural insecurities at this time and a pervasive theme in all forms of English culture, ‘high’ and ‘low’. According to the opening song, rendered in part by a butler, the ‘haughty English nobles’ have sold their estates ‘for enormous sums of gold’ to trade families and ‘in a flash have blown the cash / At merry Monaco’. In place of traditional aristocracy, a new ruling elite holds sway, one no longer based on inherited wealth and land but on ‘cash’. It is represented here by an ex-coster, the new Squire, who demonstrates, ‘’ow it’s easy enough when you’ve got the oof [money] for even a coster to become the pet of ’igh Society’. Thus the show simultaneously celebrates and laughs at social mobility and political transformation, where, The Costers will be peers in the happy coming years Of democratic liberty and piety – And our present legislators will be selling fruits and taters As the costers of a Radical society. The rest of the show revolves around the export of a commodity also often thought to be quintessentially English, the music hall, to a place where it could never have reached in reality, or so one might have thought – the Middle East or North Africa.