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- Harlequin Rumpelstiltskin or, the Demon Dwarf of the Goblin Gold Mines, Haymarket Theatre, Melbourne, VIC, 27 December 1867
- Harlequin Rumplestiltskin, Haymarket Theatre, Melbourne, VIC, 27 December 1867
- Maximilian or, The Empress and the Traitor, Haymarket Theatre, Melbourne, VIC, 28 October 1867
- Ixion or, The Man at the Wheel, Haymarket Theatre, Melbourne, VIC, 5 October 1867
- Gulliver on his travels or, Harlequin and Father Christmas and the fairy queen of the silver acacias, Theatre Royal, Melbourne, VIC, 26 December 1866
- The Child of the Regiment [and] Peggy Green, Haymarket Theatre, Melbourne, VIC, 6 November 1865
- St Valentine's Day or, Courting with a Camera, Haymarket Theatre, Melbourne, VIC, 14 September 1865
- The Will and The Way or The Vision Of Death, Haymarket Theatre, Melbourne, VIC, 15 July 1865
- The Last of the Ogres, or Harlequin Prince Amiable and the Four Wishes, Haymarket Theatre, Melbourne, VIC, 26 December 1864
- Ali Baba or, the Forty Thieves, Haymarket Theatre, Melbourne, VIC, 5 September 1864
- Sun and Shadow: or, Mark Stornway's Nephews, Royal Victoria Theatre (1838-1880), Sydney, NSW, 5 March 1870
- Love's Sacrifice / ballet / Barney the Baron, Prince of Wales Theatre (1863-1872), Sydney, NSW, 28 January 1870
- Love's Sacrifice / concert / Barney the Baron, Prince of Wales Theatre (1863-1872), Sydney, NSW, 27 January 1870
- The New Crime or, 'Andsome 'Enery's Mare's Nest, Royal Victoria Theatre (1838-1880), Sydney, NSW, 7 August 1868
- Colonial Experience, Royal Victoria Theatre (1838-1880), Sydney, NSW, 4 July 1868
- Anniversary Day or, Helen's Betrothal, Royal Victoria Theatre (1838-1880), Sydney, NSW, 11 June 1868
- Maximilian or, The Empress and the Traitor, Haymarket Theatre, Melbourne, VIC, 28 October 1867
- Harlequin Baron Munchausen or, The Green Wizard and The Fairy of the Silver Lake, Haymarket Theatre, Melbourne, VIC, 26 December 1865
- The Will and The Way or The Vision Of Death, Haymarket Theatre, Melbourne, VIC, 15 July 1865
- Harlequin Rumpelstiltskin or, the Demon Dwarf of the Goblin Gold Mines, Haymarket Theatre, Melbourne, VIC, 27 December 1867
- Harlequin Rumplestiltskin, Haymarket Theatre, Melbourne, VIC, 27 December 1867
- The Duke's Arrival, Haymarket Theatre, Melbourne, VIC, 11 November 1867
- Maximilian or, The Empress and the Traitor, Haymarket Theatre, Melbourne, VIC, 28 October 1867
- Ixion or, The Man at the Wheel, Haymarket Theatre, Melbourne, VIC, 5 October 1867
- Crohoore Na Bilhoge or, The Pride of Clarah, Princess's Theatre and Opera House (1857-1886), Melbourne, VIC, 30 March 1867
- Coppin in California, Haymarket Theatre, Melbourne, VIC, 3 February 1866
- The Child of the Regiment [and] Peggy Green, Haymarket Theatre, Melbourne, VIC, 6 November 1865
- Barnaby Rudge, Princess's Theatre and Opera House (1857-1886), Melbourne, VIC, 7 October 1861
- Harlequin Rumpelstiltskin or, the Demon Dwarf of the Goblin Gold Mines, Haymarket Theatre, Melbourne, VIC, 27 December 1867
- Harlequin Rumplestiltskin, Haymarket Theatre, Melbourne, VIC, 27 December 1867
- Maximilian or, The Empress and the Traitor, Haymarket Theatre, Melbourne, VIC, 28 October 1867
- Ixion or, The Man at the Wheel, Haymarket Theatre, Melbourne, VIC, 5 October 1867
- Gulliver on his travels or, Harlequin and Father Christmas and the fairy queen of the silver acacias, Theatre Royal, Melbourne, VIC, 26 December 1866
- Harlequin Baron Munchausen or, The Green Wizard and The Fairy of the Silver Lake, Haymarket Theatre, Melbourne, VIC, 26 December 1865
- The Will and The Way or The Vision Of Death, Haymarket Theatre, Melbourne, VIC, 15 July 1865
- The Last of the Ogres, or Harlequin Prince Amiable and the Four Wishes, Haymarket Theatre, Melbourne, VIC, 26 December 1864
- Ali Baba or, the Forty Thieves, Haymarket Theatre, Melbourne, VIC, 5 September 1864
- Harlequin Rumpelstiltskin or, the Demon Dwarf of the Goblin Gold Mines, Haymarket Theatre, Melbourne, VIC, 27 December 1867
- Harlequin Rumplestiltskin, Haymarket Theatre, Melbourne, VIC, 27 December 1867
- Maximilian or, The Empress and the Traitor, Haymarket Theatre, Melbourne, VIC, 28 October 1867
- Ixion or, The Man at the Wheel, Haymarket Theatre, Melbourne, VIC, 5 October 1867
- Harlequin Baron Munchausen or, The Green Wizard and The Fairy of the Silver Lake, Haymarket Theatre, Melbourne, VIC, 26 December 1865
- The Will and The Way or The Vision Of Death, Haymarket Theatre, Melbourne, VIC, 15 July 1865
- The Last of the Ogres, or Harlequin Prince Amiable and the Four Wishes, Haymarket Theatre, Melbourne, VIC, 26 December 1864
- Ali Baba or, the Forty Thieves, Haymarket Theatre, Melbourne, VIC, 5 September 1864
- Harlequin Little Jack Horner or, The Christmas Pie, Prince of Wales Theatre (1863-1872), Sydney, NSW, 24 December 1868
- Colonial Experience, Prince of Wales Theatre (1863-1872), Sydney, NSW, 15 December 1868
- The New Crime or, 'Andsome 'Enery's Mare's Nest, Royal Victoria Theatre (1838-1880), Sydney, NSW, 7 August 1868
- Colonial Experience, Royal Victoria Theatre (1838-1880), Sydney, NSW, 4 July 1868
- The Pilgrim of Love or, the Parrot and the Princess, Royal Victoria Theatre (1838-1880), Sydney, NSW, 27 June 1868
- Anniversary Day or, Helen's Betrothal, Royal Victoria Theatre (1838-1880), Sydney, NSW, 11 June 1868
- Maximilian or, The Empress and the Traitor, Haymarket Theatre, Melbourne, VIC, 28 October 1867
- Harlequin Rumpelstiltskin or, the Demon Dwarf of the Goblin Gold Mines, Haymarket Theatre, Melbourne, VIC, 27 December 1867
- Harlequin Rumplestiltskin, Haymarket Theatre, Melbourne, VIC, 27 December 1867
- Ixion or, The Man at the Wheel, Haymarket Theatre, Melbourne, VIC, 5 October 1867
- Massaniello or, The She-mute, The Emeute, Haymarket Theatre, Melbourne, VIC, 13 October 1865
- Massaniello or, The She-mute, The Emeute, Haymarket Theatre, Melbourne, VIC, 7 October 1865
- The Will and The Way or The Vision Of Death, Haymarket Theatre, Melbourne, VIC, 15 July 1865
- The Last of the Ogres, or Harlequin Prince Amiable and the Four Wishes, Haymarket Theatre, Melbourne, VIC, 26 December 1864
- Jo, Theatre Royal (1875-1972), Sydney, NSW, 16 June 1883
- Gulliver on his travels or, Harlequin and Father Christmas and the fairy queen of the silver acacias, Theatre Royal, Melbourne, VIC, 26 December 1866
- A Day at the Intercolonial Exhibition or A Shilling Day at the Intercolonial Exhabition, Theatre Royal, Melbourne, VIC, 24 November 1866
- Coppin in California, Haymarket Theatre, Melbourne, VIC, 3 February 1866
- Harlequin Baron Munchausen or, The Green Wizard and The Fairy of the Silver Lake, Haymarket Theatre, Melbourne, VIC, 26 December 1865
- The Child of the Regiment [and] Peggy Green, Haymarket Theatre, Melbourne, VIC, 6 November 1865
- St Valentine's Day or, Courting with a Camera, Haymarket Theatre, Melbourne, VIC, 14 September 1865
- Love's Sacrifice / ballet / Barney the Baron, Prince of Wales Theatre (1863-1872), Sydney, NSW, 28 January 1870
- Love's Sacrifice / concert / Barney the Baron, Prince of Wales Theatre (1863-1872), Sydney, NSW, 27 January 1870
- Tom Tom the Piper's Son and Mary Mary Quite Contrary, Prince of Wales Theatre (1863-1872), Sydney, NSW, 26 December 1869
- Harlequin Little Jack Horner or, The Christmas Pie, Prince of Wales Theatre (1863-1872), Sydney, NSW, 24 December 1868
- Harlequin Rumpelstiltskin or, the Demon Dwarf of the Goblin Gold Mines, Haymarket Theatre, Melbourne, VIC, 27 December 1867
- Harlequin Rumplestiltskin, Haymarket Theatre, Melbourne, VIC, 27 December 1867
- Maximilian or, The Empress and the Traitor, Haymarket Theatre, Melbourne, VIC, 28 October 1867
- Tom Tom the Piper's Son and Mary Mary Quite Contrary, Prince of Wales Theatre (1863-1872), Sydney, NSW, 26 December 1869
- Gulliver on his travels or, Harlequin and Father Christmas and the fairy queen of the silver acacias, Theatre Royal, Melbourne, VIC, 26 December 1866
- Massaniello or, The She-mute, The Emeute, Haymarket Theatre, Melbourne, VIC, 13 October 1865
- Massaniello or, The She-mute, The Emeute, Haymarket Theatre, Melbourne, VIC, 7 October 1865
- The Last of the Ogres, or Harlequin Prince Amiable and the Four Wishes, Haymarket Theatre, Melbourne, VIC, 26 December 1864
- Harlequin Valentine and Orson or, The Task of Romance and The TRicks of the Spirit of Fun, Theatre Royal, Melbourne, VIC, 26 December 1861
- Love's Sacrifice / ballet / Barney the Baron, Prince of Wales Theatre (1863-1872), Sydney, NSW, 28 January 1870
- Love's Sacrifice / concert / Barney the Baron, Prince of Wales Theatre (1863-1872), Sydney, NSW, 27 January 1870
- Tom Tom the Piper's Son and Mary Mary Quite Contrary, Prince of Wales Theatre (1863-1872), Sydney, NSW, 26 December 1869
- Colonial Experience, Prince of Wales Theatre (1863-1872), Sydney, NSW, 15 December 1868
- The New Crime or, 'Andsome 'Enery's Mare's Nest, Royal Victoria Theatre (1838-1880), Sydney, NSW, 7 August 1868
- Colonial Experience, Royal Victoria Theatre (1838-1880), Sydney, NSW, 4 July 1868
- Sun and Shadow: or, Mark Stornway's Nephews, Royal Victoria Theatre (1838-1880), Sydney, NSW, 5 March 1870
- Love's Sacrifice / ballet / Barney the Baron, Prince of Wales Theatre (1863-1872), Sydney, NSW, 28 January 1870
- Love's Sacrifice / concert / Barney the Baron, Prince of Wales Theatre (1863-1872), Sydney, NSW, 27 January 1870
- Tom Tom the Piper's Son and Mary Mary Quite Contrary, Prince of Wales Theatre (1863-1872), Sydney, NSW, 26 December 1869
- Harlequin Little Jack Horner or, The Christmas Pie, Prince of Wales Theatre (1863-1872), Sydney, NSW, 24 December 1868
- The Last of the Ogres, or Harlequin Prince Amiable and the Four Wishes, Haymarket Theatre, Melbourne, VIC, 26 December 1864
H Flexmore - Actor, Director, Director, Associate
- Coppin in California, Haymarket Theatre, Melbourne, VIC, 3 February 1866
- Harlequin Baron Munchausen or, The Green Wizard and The Fairy of the Silver Lake, Haymarket Theatre, Melbourne, VIC, 26 December 1865
- The Child of the Regiment [and] Peggy Green, Haymarket Theatre, Melbourne, VIC, 6 November 1865
- The Last of the Ogres, or Harlequin Prince Amiable and the Four Wishes, Haymarket Theatre, Melbourne, VIC, 26 December 1864
- Ali Baba or, the Forty Thieves, Haymarket Theatre, Melbourne, VIC, 5 September 1864
- Harlequin Valentine and Orson or, The Task of Romance and The TRicks of the Spirit of Fun, Theatre Royal, Melbourne, VIC, 26 December 1861
- Sun and Shadow: or, Mark Stornway's Nephews, Royal Victoria Theatre (1838-1880), Sydney, NSW, 5 March 1870
- Love's Sacrifice / ballet / Barney the Baron, Prince of Wales Theatre (1863-1872), Sydney, NSW, 28 January 1870
- Love's Sacrifice / concert / Barney the Baron, Prince of Wales Theatre (1863-1872), Sydney, NSW, 27 January 1870
- Tom Tom the Piper's Son and Mary Mary Quite Contrary, Prince of Wales Theatre (1863-1872), Sydney, NSW, 26 December 1869
- Harlequin Little Jack Horner or, The Christmas Pie, Prince of Wales Theatre (1863-1872), Sydney, NSW, 24 December 1868
- Gulliver on his travels or, Harlequin and Father Christmas and the fairy queen of the silver acacias, Theatre Royal, Melbourne, VIC, 26 December 1866
Tom Leopold - Actor, Composer, Director
- Sun and Shadow: or, Mark Stornway's Nephews, Royal Victoria Theatre (1838-1880), Sydney, NSW, 5 March 1870
- Love's Sacrifice / ballet / Barney the Baron, Prince of Wales Theatre (1863-1872), Sydney, NSW, 28 January 1870
- Love's Sacrifice / concert / Barney the Baron, Prince of Wales Theatre (1863-1872), Sydney, NSW, 27 January 1870
- Tom Tom the Piper's Son and Mary Mary Quite Contrary, Prince of Wales Theatre (1863-1872), Sydney, NSW, 26 December 1869
- Harlequin Little Jack Horner or, The Christmas Pie, Prince of Wales Theatre (1863-1872), Sydney, NSW, 24 December 1868
- Gulliver on his travels or, Harlequin and Father Christmas and the fairy queen of the silver acacias, Theatre Royal, Melbourne, VIC, 26 December 1866
- Sun and Shadow: or, Mark Stornway's Nephews, Royal Victoria Theatre (1838-1880), Sydney, NSW, 5 March 1870
- A Day at the Intercolonial Exhibition or A Shilling Day at the Intercolonial Exhabition, Theatre Royal, Melbourne, VIC, 24 November 1866
- Coppin in California, Haymarket Theatre, Melbourne, VIC, 3 February 1866
- Harlequin Baron Munchausen or, The Green Wizard and The Fairy of the Silver Lake, Haymarket Theatre, Melbourne, VIC, 26 December 1865
- The Child of the Regiment [and] Peggy Green, Haymarket Theatre, Melbourne, VIC, 6 November 1865
- Plots and Prophets, or A Trip to Melbourne, Haymarket Theatre, Melbourne, VIC, 24 August 1865
- Harlequin Rumpelstiltskin or, the Demon Dwarf of the Goblin Gold Mines, Haymarket Theatre, Melbourne, VIC, 27 December 1867
- Harlequin Rumplestiltskin, Haymarket Theatre, Melbourne, VIC, 27 December 1867
- Maximilian or, The Empress and the Traitor, Haymarket Theatre, Melbourne, VIC, 28 October 1867
- Ixion or, The Man at the Wheel, Haymarket Theatre, Melbourne, VIC, 5 October 1867
- Crohoore Na Bilhoge or, The Pride of Clarah, Princess's Theatre and Opera House (1857-1886), Melbourne, VIC, 30 March 1867
- Harlequin Baron Munchausen or, The Green Wizard and The Fairy of the Silver Lake, Haymarket Theatre, Melbourne, VIC, 26 December 1865
- Sun and Shadow: or, Mark Stornway's Nephews, Royal Victoria Theatre (1838-1880), Sydney, NSW, 5 March 1870
- Love's Sacrifice / ballet / Barney the Baron, Prince of Wales Theatre (1863-1872), Sydney, NSW, 28 January 1870
- Love's Sacrifice / concert / Barney the Baron, Prince of Wales Theatre (1863-1872), Sydney, NSW, 27 January 1870
- Colonial Experience, Prince of Wales Theatre (1863-1872), Sydney, NSW, 15 December 1868
- Colonial Experience, Royal Victoria Theatre (1838-1880), Sydney, NSW, 4 July 1868
W B Gill - Actor, Unknown
- Harlequin Rumpelstiltskin or, the Demon Dwarf of the Goblin Gold Mines, Haymarket Theatre, Melbourne, VIC, 27 December 1867
- Harlequin Rumplestiltskin, Haymarket Theatre, Melbourne, VIC, 27 December 1867
- The Duke's Arrival, Haymarket Theatre, Melbourne, VIC, 11 November 1867
- Maximilian or, The Empress and the Traitor, Haymarket Theatre, Melbourne, VIC, 28 October 1867
- Ixion or, The Man at the Wheel, Haymarket Theatre, Melbourne, VIC, 5 October 1867
- Harlequin Rumpelstiltskin or, the Demon Dwarf of the Goblin Gold Mines, Haymarket Theatre, Melbourne, VIC, 27 December 1867
- Harlequin Rumplestiltskin, Haymarket Theatre, Melbourne, VIC, 27 December 1867
- Maximilian or, The Empress and the Traitor, Haymarket Theatre, Melbourne, VIC, 28 October 1867
- The Last of the Ogres, or Harlequin Prince Amiable and the Four Wishes, Haymarket Theatre, Melbourne, VIC, 26 December 1864
- Ali Baba or, the Forty Thieves, Haymarket Theatre, Melbourne, VIC, 5 September 1864
- The Grasshopper; or, The Chances of the Cards, Theatre Royal (1875-1972), Sydney, NSW, 21 July 1883
- Jo, Theatre Royal (1875-1972), Sydney, NSW, 16 June 1883
- Gulliver on his travels or, Harlequin and Father Christmas and the fairy queen of the silver acacias, Theatre Royal, Melbourne, VIC, 26 December 1866
- A Day at the Intercolonial Exhibition or A Shilling Day at the Intercolonial Exhabition, Theatre Royal, Melbourne, VIC, 24 November 1866
- Harlequin Valentine and Orson or, The Task of Romance and The TRicks of the Spirit of Fun, Theatre Royal, Melbourne, VIC, 26 December 1861
- Harlequin Rumpelstiltskin or, the Demon Dwarf of the Goblin Gold Mines, Haymarket Theatre, Melbourne, VIC, 27 December 1867
- Harlequin Rumplestiltskin, Haymarket Theatre, Melbourne, VIC, 27 December 1867
- Maximilian or, The Empress and the Traitor, Haymarket Theatre, Melbourne, VIC, 28 October 1867
- Ixion or, The Man at the Wheel, Haymarket Theatre, Melbourne, VIC, 5 October 1867
- Gulliver on his travels or, Harlequin and Father Christmas and the fairy queen of the silver acacias, Theatre Royal, Melbourne, VIC, 26 December 1866
- The Pilgrim of Love or, the Parrot and the Princess, Royal Victoria Theatre (1838-1880), Sydney, NSW, 27 June 1868
- Anniversary Day or, Helen's Betrothal, Royal Victoria Theatre (1838-1880), Sydney, NSW, 11 June 1868
- Maximilian or, The Empress and the Traitor, Haymarket Theatre, Melbourne, VIC, 28 October 1867
- Ixion or, The Man at the Wheel, Haymarket Theatre, Melbourne, VIC, 5 October 1867
- Harlequin Rumpelstiltskin or, the Demon Dwarf of the Goblin Gold Mines, Haymarket Theatre, Melbourne, VIC, 27 December 1867
- Harlequin Rumplestiltskin, Haymarket Theatre, Melbourne, VIC, 27 December 1867
- Maximilian or, The Empress and the Traitor, Haymarket Theatre, Melbourne, VIC, 28 October 1867
- Gulliver on his travels or, Harlequin and Father Christmas and the fairy queen of the silver acacias, Theatre Royal, Melbourne, VIC, 26 December 1866
- Colonial Experience, Prince of Wales Theatre (1863-1872), Sydney, NSW, 15 December 1868
- Colonial Experience, Royal Victoria Theatre (1838-1880), Sydney, NSW, 4 July 1868
- The Pilgrim of Love or, the Parrot and the Princess, Royal Victoria Theatre (1838-1880), Sydney, NSW, 27 June 1868
- Anniversary Day or, Helen's Betrothal, Royal Victoria Theatre (1838-1880), Sydney, NSW, 11 June 1868
- Sun and Shadow: or, Mark Stornway's Nephews, Royal Victoria Theatre (1838-1880), Sydney, NSW, 5 March 1870
- Colonial Experience, Prince of Wales Theatre (1863-1872), Sydney, NSW, 15 December 1868
- The New Crime or, 'Andsome 'Enery's Mare's Nest, Royal Victoria Theatre (1838-1880), Sydney, NSW, 7 August 1868
- Colonial Experience, Royal Victoria Theatre (1838-1880), Sydney, NSW, 4 July 1868
- The Child of the Regiment [and] Peggy Green, Haymarket Theatre, Melbourne, VIC, 6 November 1865
- The Last of the Ogres, or Harlequin Prince Amiable and the Four Wishes, Haymarket Theatre, Melbourne, VIC, 26 December 1864
- Ali Baba or, the Forty Thieves, Haymarket Theatre, Melbourne, VIC, 5 September 1864
- Harlequin Valentine and Orson or, The Task of Romance and The TRicks of the Spirit of Fun, Theatre Royal, Melbourne, VIC, 26 December 1861
- Harlequin Rumplestiltskin, Haymarket Theatre, Melbourne, VIC, 27 December 1867
- Maximilian or, The Empress and the Traitor, Haymarket Theatre, Melbourne, VIC, 28 October 1867
- Ixion or, The Man at the Wheel, Haymarket Theatre, Melbourne, VIC, 5 October 1867
- Barnaby Rudge, Princess's Theatre and Opera House (1857-1886), Melbourne, VIC, 7 October 1861
- Coppin in California, Haymarket Theatre, Melbourne, VIC, 3 February 1866
- Harlequin Baron Munchausen or, The Green Wizard and The Fairy of the Silver Lake, Haymarket Theatre, Melbourne, VIC, 26 December 1865
- The Child of the Regiment [and] Peggy Green, Haymarket Theatre, Melbourne, VIC, 6 November 1865
- St Valentine's Day or, Courting with a Camera, Haymarket Theatre, Melbourne, VIC, 14 September 1865
- The Grasshopper; or, The Chances of the Cards, Theatre Royal (1875-1972), Sydney, NSW, 21 July 1883
- Gulliver on his travels or, Harlequin and Father Christmas and the fairy queen of the silver acacias, Theatre Royal, Melbourne, VIC, 26 December 1866
- A Day at the Intercolonial Exhibition or A Shilling Day at the Intercolonial Exhabition, Theatre Royal, Melbourne, VIC, 24 November 1866
- Harlequin Valentine and Orson or, The Task of Romance and The TRicks of the Spirit of Fun, Theatre Royal, Melbourne, VIC, 26 December 1861
- Maximilian or, The Empress and the Traitor, Haymarket Theatre, Melbourne, VIC, 28 October 1867
- Coppin in California, Haymarket Theatre, Melbourne, VIC, 3 February 1866
- The Child of the Regiment [and] Peggy Green, Haymarket Theatre, Melbourne, VIC, 6 November 1865
- The Will and The Way or The Vision Of Death, Haymarket Theatre, Melbourne, VIC, 15 July 1865
- Colonial Experience, Prince of Wales Theatre (1863-1872), Sydney, NSW, 15 December 1868
- Colonial Experience, Royal Victoria Theatre (1838-1880), Sydney, NSW, 4 July 1868
- The Pilgrim of Love or, the Parrot and the Princess, Royal Victoria Theatre (1838-1880), Sydney, NSW, 27 June 1868
- Anniversary Day or, Helen's Betrothal, Royal Victoria Theatre (1838-1880), Sydney, NSW, 11 June 1868
- Gulliver on his travels or, Harlequin and Father Christmas and the fairy queen of the silver acacias, Theatre Royal, Melbourne, VIC, 26 December 1866
- A Day at the Intercolonial Exhibition or A Shilling Day at the Intercolonial Exhabition, Theatre Royal, Melbourne, VIC, 24 November 1866
- Coppin in California, Haymarket Theatre, Melbourne, VIC, 3 February 1866
- The Child of the Regiment [and] Peggy Green, Haymarket Theatre, Melbourne, VIC, 6 November 1865
Mr Watts - Properties Master, Scenic Artist
- Gulliver on his travels or, Harlequin and Father Christmas and the fairy queen of the silver acacias, Theatre Royal, Melbourne, VIC, 26 December 1866
- The Will and The Way or The Vision Of Death, Haymarket Theatre, Melbourne, VIC, 15 July 1865
- The Last of the Ogres, or Harlequin Prince Amiable and the Four Wishes, Haymarket Theatre, Melbourne, VIC, 26 December 1864
- Ali Baba or, the Forty Thieves, Haymarket Theatre, Melbourne, VIC, 5 September 1864
- Harlequin Rumpelstiltskin or, the Demon Dwarf of the Goblin Gold Mines, Haymarket Theatre, Melbourne, VIC, 27 December 1867
- Harlequin Rumplestiltskin, Haymarket Theatre, Melbourne, VIC, 27 December 1867
- Ixion or, The Man at the Wheel, Haymarket Theatre, Melbourne, VIC, 5 October 1867
- Harlequin Valentine and Orson or, The Task of Romance and The TRicks of the Spirit of Fun, Theatre Royal, Melbourne, VIC, 26 December 1861
- Sun and Shadow: or, Mark Stornway's Nephews, Royal Victoria Theatre (1838-1880), Sydney, NSW, 5 March 1870
- Love's Sacrifice / ballet / Barney the Baron, Prince of Wales Theatre (1863-1872), Sydney, NSW, 28 January 1870
- Love's Sacrifice / concert / Barney the Baron, Prince of Wales Theatre (1863-1872), Sydney, NSW, 27 January 1870
- Colonial Experience, Royal Victoria Theatre (1838-1880), Sydney, NSW, 4 July 1868
- The Pilgrim of Love or, the Parrot and the Princess, Royal Victoria Theatre (1838-1880), Sydney, NSW, 27 June 1868
- Anniversary Day or, Helen's Betrothal, Royal Victoria Theatre (1838-1880), Sydney, NSW, 11 June 1868
Frederick Coppin - Actor-manager, Composer, Musical Arranger
- Maximilian or, The Empress and the Traitor, Haymarket Theatre, Melbourne, VIC, 28 October 1867
- Coppin in California, Haymarket Theatre, Melbourne, VIC, 3 February 1866
- The Last of the Ogres, or Harlequin Prince Amiable and the Four Wishes, Haymarket Theatre, Melbourne, VIC, 26 December 1864
W Edinger - Properties Master
- Harlequin Baron Munchausen or, The Green Wizard and The Fairy of the Silver Lake, Haymarket Theatre, Melbourne, VIC, 26 December 1865
- The Last of the Ogres, or Harlequin Prince Amiable and the Four Wishes, Haymarket Theatre, Melbourne, VIC, 26 December 1864
- Ali Baba or, the Forty Thieves, Haymarket Theatre, Melbourne, VIC, 5 September 1864
John Edouin - Actor, Director, Assistant
- Harlequin Rumpelstiltskin or, the Demon Dwarf of the Goblin Gold Mines, Haymarket Theatre, Melbourne, VIC, 27 December 1867
- Harlequin Rumplestiltskin, Haymarket Theatre, Melbourne, VIC, 27 December 1867
- Ixion or, The Man at the Wheel, Haymarket Theatre, Melbourne, VIC, 5 October 1867
- Maximilian or, The Empress and the Traitor, Haymarket Theatre, Melbourne, VIC, 28 October 1867
- Crohoore Na Bilhoge or, The Pride of Clarah, Princess's Theatre and Opera House (1857-1886), Melbourne, VIC, 30 March 1867
- Gulliver on his travels or, Harlequin and Father Christmas and the fairy queen of the silver acacias, Theatre Royal, Melbourne, VIC, 26 December 1866
- Harlequin Rumpelstiltskin or, the Demon Dwarf of the Goblin Gold Mines, Haymarket Theatre, Melbourne, VIC, 27 December 1867
- Gulliver on his travels or, Harlequin and Father Christmas and the fairy queen of the silver acacias, Theatre Royal, Melbourne, VIC, 26 December 1866
- A Day at the Intercolonial Exhibition or A Shilling Day at the Intercolonial Exhabition, Theatre Royal, Melbourne, VIC, 24 November 1866
- Sun and Shadow: or, Mark Stornway's Nephews, Royal Victoria Theatre (1838-1880), Sydney, NSW, 5 March 1870
- Tom Tom the Piper's Son and Mary Mary Quite Contrary, Prince of Wales Theatre (1863-1872), Sydney, NSW, 26 December 1869
- Harlequin Little Jack Horner or, The Christmas Pie, Prince of Wales Theatre (1863-1872), Sydney, NSW, 24 December 1868
- Harlequin Rumpelstiltskin or, the Demon Dwarf of the Goblin Gold Mines, Haymarket Theatre, Melbourne, VIC, 27 December 1867
- Harlequin Rumplestiltskin, Haymarket Theatre, Melbourne, VIC, 27 December 1867
- Ixion or, The Man at the Wheel, Haymarket Theatre, Melbourne, VIC, 5 October 1867
- Harlequin Baron Munchausen or, The Green Wizard and The Fairy of the Silver Lake, Haymarket Theatre, Melbourne, VIC, 26 December 1865
- Massaniello or, The She-mute, The Emeute, Haymarket Theatre, Melbourne, VIC, 13 October 1865
- Massaniello or, The She-mute, The Emeute, Haymarket Theatre, Melbourne, VIC, 7 October 1865
- Harlequin Baron Munchausen or, The Green Wizard and The Fairy of the Silver Lake, Haymarket Theatre, Melbourne, VIC, 26 December 1865
- The Last of the Ogres, or Harlequin Prince Amiable and the Four Wishes, Haymarket Theatre, Melbourne, VIC, 26 December 1864
- Ali Baba or, the Forty Thieves, Haymarket Theatre, Melbourne, VIC, 5 September 1864
- Harlequin Baron Munchausen or, The Green Wizard and The Fairy of the Silver Lake, Haymarket Theatre, Melbourne, VIC, 26 December 1865
- The Last of the Ogres, or Harlequin Prince Amiable and the Four Wishes, Haymarket Theatre, Melbourne, VIC, 26 December 1864
- Ali Baba or, the Forty Thieves, Haymarket Theatre, Melbourne, VIC, 5 September 1864
- Love's Sacrifice / ballet / Barney the Baron, Prince of Wales Theatre (1863-1872), Sydney, NSW, 28 January 1870
- Love's Sacrifice / concert / Barney the Baron, Prince of Wales Theatre (1863-1872), Sydney, NSW, 27 January 1870
- Anniversary Day or, Helen's Betrothal, Royal Victoria Theatre (1838-1880), Sydney, NSW, 11 June 1868
- Tom Tom the Piper's Son and Mary Mary Quite Contrary, Prince of Wales Theatre (1863-1872), Sydney, NSW, 26 December 1869
- Harlequin Little Jack Horner or, The Christmas Pie, Prince of Wales Theatre (1863-1872), Sydney, NSW, 24 December 1868
- Gulliver on his travels or, Harlequin and Father Christmas and the fairy queen of the silver acacias, Theatre Royal, Melbourne, VIC, 26 December 1866
- Sun and Shadow: or, Mark Stornway's Nephews, Royal Victoria Theatre (1838-1880), Sydney, NSW, 5 March 1870
- Harlequin Little Jack Horner or, The Christmas Pie, Prince of Wales Theatre (1863-1872), Sydney, NSW, 24 December 1868
- Gulliver on his travels or, Harlequin and Father Christmas and the fairy queen of the silver acacias, Theatre Royal, Melbourne, VIC, 26 December 1866
- Harlequin Rumpelstiltskin or, the Demon Dwarf of the Goblin Gold Mines, Haymarket Theatre, Melbourne, VIC, 27 December 1867
- Harlequin Rumplestiltskin, Haymarket Theatre, Melbourne, VIC, 27 December 1867
- Ixion or, The Man at the Wheel, Haymarket Theatre, Melbourne, VIC, 5 October 1867
- Gulliver on his travels or, Harlequin and Father Christmas and the fairy queen of the silver acacias, Theatre Royal, Melbourne, VIC, 26 December 1866
- A Day at the Intercolonial Exhibition or A Shilling Day at the Intercolonial Exhabition, Theatre Royal, Melbourne, VIC, 24 November 1866
- Harlequin Valentine and Orson or, The Task of Romance and The TRicks of the Spirit of Fun, Theatre Royal, Melbourne, VIC, 26 December 1861
- Sun and Shadow: or, Mark Stornway's Nephews, Royal Victoria Theatre (1838-1880), Sydney, NSW, 5 March 1870
- Tom Tom the Piper's Son and Mary Mary Quite Contrary, Prince of Wales Theatre (1863-1872), Sydney, NSW, 26 December 1869
- Harlequin Little Jack Horner or, The Christmas Pie, Prince of Wales Theatre (1863-1872), Sydney, NSW, 24 December 1868
- Tom Tom the Piper's Son and Mary Mary Quite Contrary, Prince of Wales Theatre (1863-1872), Sydney, NSW, 26 December 1869
- Maximilian or, The Empress and the Traitor, Haymarket Theatre, Melbourne, VIC, 28 October 1867
- Ixion or, The Man at the Wheel, Haymarket Theatre, Melbourne, VIC, 5 October 1867
J W Smith - Actor-manager, Director
- Massaniello or, The She-mute, The Emeute, Haymarket Theatre, Melbourne, VIC, 13 October 1865
- Massaniello or, The She-mute, The Emeute, Haymarket Theatre, Melbourne, VIC, 7 October 1865
- The Bushrangers, Haymarket Theatre, Melbourne, VIC, 15 April 1865
- The Will and The Way or The Vision Of Death, Haymarket Theatre, Melbourne, VIC, 15 July 1865
- The Last of the Ogres, or Harlequin Prince Amiable and the Four Wishes, Haymarket Theatre, Melbourne, VIC, 26 December 1864
- Ali Baba or, the Forty Thieves, Haymarket Theatre, Melbourne, VIC, 5 September 1864
- Tom Tom the Piper's Son and Mary Mary Quite Contrary, Prince of Wales Theatre (1863-1872), Sydney, NSW, 26 December 1869
- Harlequin Little Jack Horner or, The Christmas Pie, Prince of Wales Theatre (1863-1872), Sydney, NSW, 24 December 1868
- The Pilgrim of Love or, the Parrot and the Princess, Royal Victoria Theatre (1838-1880), Sydney, NSW, 27 June 1868
- Colonial Experience, Royal Victoria Theatre (1838-1880), Sydney, NSW, 4 July 1868
- The Pilgrim of Love or, the Parrot and the Princess, Royal Victoria Theatre (1838-1880), Sydney, NSW, 27 June 1868
- Anniversary Day or, Helen's Betrothal, Royal Victoria Theatre (1838-1880), Sydney, NSW, 11 June 1868
- Gulliver on his travels or, Harlequin and Father Christmas and the fairy queen of the silver acacias, Theatre Royal, Melbourne, VIC, 26 December 1866
- Coppin in California, Haymarket Theatre, Melbourne, VIC, 3 February 1866
- Harlequin Baron Munchausen or, The Green Wizard and The Fairy of the Silver Lake, Haymarket Theatre, Melbourne, VIC, 26 December 1865
- Ixion or, The Man at the Wheel, Haymarket Theatre, Melbourne, VIC, 5 October 1867
- Coppin in California, Haymarket Theatre, Melbourne, VIC, 3 February 1866
- The Child of the Regiment [and] Peggy Green, Haymarket Theatre, Melbourne, VIC, 6 November 1865
- Gulliver on his travels or, Harlequin and Father Christmas and the fairy queen of the silver acacias, Theatre Royal, Melbourne, VIC, 26 December 1866
- Harlequin Baron Munchausen or, The Green Wizard and The Fairy of the Silver Lake, Haymarket Theatre, Melbourne, VIC, 26 December 1865
- The Child of the Regiment [and] Peggy Green, Haymarket Theatre, Melbourne, VIC, 6 November 1865
- Sun and Shadow: or, Mark Stornway's Nephews, Royal Victoria Theatre (1838-1880), Sydney, NSW, 5 March 1870
- Tom Tom the Piper's Son and Mary Mary Quite Contrary, Prince of Wales Theatre (1863-1872), Sydney, NSW, 26 December 1869
- Harlequin Little Jack Horner or, The Christmas Pie, Prince of Wales Theatre (1863-1872), Sydney, NSW, 24 December 1868
- Massaniello or, The She-mute, The Emeute, Haymarket Theatre, Melbourne, VIC, 13 October 1865
- Massaniello or, The She-mute, The Emeute, Haymarket Theatre, Melbourne, VIC, 7 October 1865
John Bryan - Actor, Actor-manager
- Harlequin Little Jack Horner or, The Christmas Pie, Prince of Wales Theatre (1863-1872), Sydney, NSW, 24 December 1868
- Ixion or, The Man at the Wheel, Haymarket Theatre, Melbourne, VIC, 5 October 1867
- Massaniello or, The She-mute, The Emeute, Haymarket Theatre, Melbourne, VIC, 13 October 1865
- Massaniello or, The She-mute, The Emeute, Haymarket Theatre, Melbourne, VIC, 7 October 1865
Herr Cushla - Lighting Operator / Technician, Mask Maker
- Crohoore Na Bilhoge or, The Pride of Clarah, Princess's Theatre and Opera House (1857-1886), Melbourne, VIC, 30 March 1867
- Gulliver on his travels or, Harlequin and Father Christmas and the fairy queen of the silver acacias, Theatre Royal, Melbourne, VIC, 26 December 1866
- Sun and Shadow: or, Mark Stornway's Nephews, Royal Victoria Theatre (1838-1880), Sydney, NSW, 5 March 1870
- Harlequin Little Jack Horner or, The Christmas Pie, Prince of Wales Theatre (1863-1872), Sydney, NSW, 24 December 1868
- Ixion or, The Man at the Wheel, Haymarket Theatre, Melbourne, VIC, 5 October 1867
- Gulliver on his travels or, Harlequin and Father Christmas and the fairy queen of the silver acacias, Theatre Royal, Melbourne, VIC, 26 December 1866
- Ixion or, The Man at the Wheel, Haymarket Theatre, Melbourne, VIC, 5 October 1867
- Harlequin Baron Munchausen or, The Green Wizard and The Fairy of the Silver Lake, Haymarket Theatre, Melbourne, VIC, 26 December 1865
- Massaniello or, The She-mute, The Emeute, Haymarket Theatre, Melbourne, VIC, 13 October 1865
- Massaniello or, The She-mute, The Emeute, Haymarket Theatre, Melbourne, VIC, 7 October 1865
- Massaniello or, The She-mute, The Emeute, Haymarket Theatre, Melbourne, VIC, 13 October 1865
- Massaniello or, The She-mute, The Emeute, Haymarket Theatre, Melbourne, VIC, 7 October 1865
- Harlequin Baron Munchausen or, The Green Wizard and The Fairy of the Silver Lake, Haymarket Theatre, Melbourne, VIC, 26 December 1865
- The Last of the Ogres, or Harlequin Prince Amiable and the Four Wishes, Haymarket Theatre, Melbourne, VIC, 26 December 1864
- Ixion or, The Man at the Wheel, Haymarket Theatre, Melbourne, VIC, 5 October 1867
- Gulliver on his travels or, Harlequin and Father Christmas and the fairy queen of the silver acacias, Theatre Royal, Melbourne, VIC, 26 December 1866
- Massaniello or, The She-mute, The Emeute, Haymarket Theatre, Melbourne, VIC, 13 October 1865
- Massaniello or, The She-mute, The Emeute, Haymarket Theatre, Melbourne, VIC, 7 October 1865
Jennie Lee - Actor, Actor and Singer
Mr Lehman - Actor, Scenic Artist
- Crohoore Na Bilhoge or, The Pride of Clarah, Princess's Theatre and Opera House (1857-1886), Melbourne, VIC, 30 March 1867
- The Last of the Ogres, or Harlequin Prince Amiable and the Four Wishes, Haymarket Theatre, Melbourne, VIC, 26 December 1864
Madame Marzetti - Actor, Choreographer, Dancer
- Maximilian or, The Empress and the Traitor, Haymarket Theatre, Melbourne, VIC, 28 October 1867
- Ixion or, The Man at the Wheel, Haymarket Theatre, Melbourne, VIC, 5 October 1867
- Sun and Shadow: or, Mark Stornway's Nephews, Royal Victoria Theatre (1838-1880), Sydney, NSW, 5 March 1870
- Harlequin Little Jack Horner or, The Christmas Pie, Prince of Wales Theatre (1863-1872), Sydney, NSW, 24 December 1868
- Sun and Shadow: or, Mark Stornway's Nephews, Royal Victoria Theatre (1838-1880), Sydney, NSW, 5 March 1870
- Harlequin Little Jack Horner or, The Christmas Pie, Prince of Wales Theatre (1863-1872), Sydney, NSW, 24 December 1868
- Harlequin Baron Munchausen or, The Green Wizard and The Fairy of the Silver Lake, Haymarket Theatre, Melbourne, VIC, 26 December 1865
- The Last of the Ogres, or Harlequin Prince Amiable and the Four Wishes, Haymarket Theatre, Melbourne, VIC, 26 December 1864
- Ixion or, The Man at the Wheel, Haymarket Theatre, Melbourne, VIC, 5 October 1867
- Harlequin Baron Munchausen or, The Green Wizard and The Fairy of the Silver Lake, Haymarket Theatre, Melbourne, VIC, 26 December 1865
- Massaniello or, The She-mute, The Emeute, Haymarket Theatre, Melbourne, VIC, 13 October 1865
- Massaniello or, The She-mute, The Emeute, Haymarket Theatre, Melbourne, VIC, 7 October 1865
- Harlequin Baron Munchausen or, The Green Wizard and The Fairy of the Silver Lake, Haymarket Theatre, Melbourne, VIC, 26 December 1865
- The Last of the Ogres, or Harlequin Prince Amiable and the Four Wishes, Haymarket Theatre, Melbourne, VIC, 26 December 1864
- Harlequin Baron Munchausen or, The Green Wizard and The Fairy of the Silver Lake, Haymarket Theatre, Melbourne, VIC, 26 December 1865
- The Last of the Ogres, or Harlequin Prince Amiable and the Four Wishes, Haymarket Theatre, Melbourne, VIC, 26 December 1864
- Harlequin Baron Munchausen or, The Green Wizard and The Fairy of the Silver Lake, Haymarket Theatre, Melbourne, VIC, 26 December 1865
- The Last of the Ogres, or Harlequin Prince Amiable and the Four Wishes, Haymarket Theatre, Melbourne, VIC, 26 December 1864
- Harlequin Baron Munchausen or, The Green Wizard and The Fairy of the Silver Lake, Haymarket Theatre, Melbourne, VIC, 26 December 1865
- The Last of the Ogres, or Harlequin Prince Amiable and the Four Wishes, Haymarket Theatre, Melbourne, VIC, 26 December 1864
- Harlequin Baron Munchausen or, The Green Wizard and The Fairy of the Silver Lake, Haymarket Theatre, Melbourne, VIC, 26 December 1865
- The Last of the Ogres, or Harlequin Prince Amiable and the Four Wishes, Haymarket Theatre, Melbourne, VIC, 26 December 1864
- Massaniello or, The She-mute, The Emeute, Haymarket Theatre, Melbourne, VIC, 13 October 1865
- Massaniello or, The She-mute, The Emeute, Haymarket Theatre, Melbourne, VIC, 7 October 1865
J H Allen - Actor, Actor-manager, Director, Lessee
Mr Beaumont - Lighting Operator / Technician
- Jo, Theatre Royal (1875-1972), Sydney, NSW, 16 June 1883
- Barnaby Rudge, Princess's Theatre and Opera House (1857-1886), Melbourne, VIC, 7 October 1861
- Barnaby Rudge, Princess's Theatre and Opera House (1857-1886), Melbourne, VIC, 7 October 1861
- Jo, Theatre Royal (1875-1972), Sydney, NSW, 16 June 1883
- Barnaby Rudge, Princess's Theatre and Opera House (1857-1886), Melbourne, VIC, 7 October 1861
- Barnaby Rudge, Princess's Theatre and Opera House (1857-1886), Melbourne, VIC, 7 October 1861
- Barnaby Rudge, Princess's Theatre and Opera House (1857-1886), Melbourne, VIC, 7 October 1861
- Barnaby Rudge, Princess's Theatre and Opera House (1857-1886), Melbourne, VIC, 7 October 1861
- Jo, Theatre Royal (1875-1972), Sydney, NSW, 16 June 1883
- Jo, Theatre Royal (1875-1972), Sydney, NSW, 16 June 1883
- Barnaby Rudge, Princess's Theatre and Opera House (1857-1886), Melbourne, VIC, 7 October 1861
Mr Hooper - Properties Master
Mr Hunt - Properties Master
A Lehman - Actor, Unknown
B Levy - Musical Arranger
Mr Lewis - Properties Master
- Barnaby Rudge, Princess's Theatre and Opera House (1857-1886), Melbourne, VIC, 7 October 1861
- Barnaby Rudge, Princess's Theatre and Opera House (1857-1886), Melbourne, VIC, 7 October 1861
- Jo, Theatre Royal (1875-1972), Sydney, NSW, 16 June 1883
- Jo, Theatre Royal (1875-1972), Sydney, NSW, 16 June 1883
- Jo, Theatre Royal (1875-1972), Sydney, NSW, 16 June 1883
- Jo, Theatre Royal (1875-1972), Sydney, NSW, 16 June 1883
- Barnaby Rudge, Princess's Theatre and Opera House (1857-1886), Melbourne, VIC, 7 October 1861
- Jo, Theatre Royal (1875-1972), Sydney, NSW, 16 June 1883
Mr Siede - Composer, Musical Arranger
- Barnaby Rudge, Princess's Theatre and Opera House (1857-1886), Melbourne, VIC, 7 October 1861
- Barnaby Rudge, Princess's Theatre and Opera House (1857-1886), Melbourne, VIC, 7 October 1861
- Jo, Theatre Royal (1875-1972), Sydney, NSW, 16 June 1883
C Ward - Properties Master
- Jo, Theatre Royal (1875-1972), Sydney, NSW, 16 June 1883
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In my last article I made mention of Miss Julia Harland, her father, Mr. Wallack, and her husband, Mr. William Hoskins— a splendid dramatic and musical trio. The former died on August 19,1872, while her husband was touring New Zealand with Miss Florence Colville, whom he subsequently married. Miss Julia Harland was descended from a family highly honored and respected in the dramatic world. Her father, Mr. John Henry Wallack, visited Australia, on pleasure bent, in 1862, and appeared on the occasion of Lady Don's benefit at the Theatre Royal, Melbourne, as Sir Anthony Absolute, but increasing years and defective memory prevented his reappearance. He was a very gentlemanly actor of the old school. His elder son was, in his time, the best Don Caesar de Bazan; and the younger son, J . W. Wallack, had made a name for himself on the American stage.
Miss Julia Harland made her mark in English opera many years before she came to the colonies, when she succeeded Madame Anna Hilton at the Princess' Theatre, London, as prima donna of the English Opera Company, then under J. M. Maddox, a somewhat eccentric manager, whom London 'Punch' is said to have dubbed 'King Maddox.' In that company, with Donald King, Leffler, H. Horncastle, and Allen, she became the operatic star of London. Some time after this she accepted an engagement with Thomas Rouse, known in pit and gallery as 'Bravo Rouse,' succeeding Miss Annetta Mears at the Grecian Saloon, City-road, London. During her stay at this house, under the conductorship of Mr. B. Isaacson, her splendid talents, as one critic tells us, brought the little theatre into notoriety and nightly filled the coffers, much to the gratification of the manager. One of the best operatic companies then obtainable was engaged to support Miss Harland. There was a Mr. Fraser, described as a very able tenor, who died in America; Mr. Charles Horn, a son of an eminent composer, a baritone from the English Opera House named Baldwin, Mr. Eaton O'Donnell, Mr. H. Horncastle, Mr. Patrick Corri, son of Hadyn Corri, of Dublin, and brother of Mrs. Frederick Younge, the eminent comedienne, so well known in Australia in the fifties and sixties. Then there were the sisters M. A. and Emma Crisp, a Miss Johnstone, Mr. R. Phillips, and Mr. Campbell, father-in-law of John Dunn, a comedian who flourished in Melbourne in the fifties, sixties end seventies. His correct name Was John Benjamin Donohoe, and two of his daughters, Miss Rosa Dunn, now Mrs. L. L. Lewis, and Miss Marion Dunn, now Mrs. Marcus Clark, widow of the journalist and novelist, are well known to Australian readers. Of the Dunn family I shall have something to say at another time. With the company supporting Miss Harland was the eminent comedian Fred Robson, better known as Little Robson, A goodly company truly. After severing her connection with the Grecian Theatre. Miss Harland appeared at several of the principal theatres in opera. In 1856, in company with her husband, William Hoskins, Walter Sherwin, Linley Norman, and the basso Farquharson, she left London for Australia, arriving in Melbourne in August of the same year, and announcing themselves as the English Opera Company. Miss Julia Harland made her first appearance in Melbourne on September 1, as Lucia, in "The Bride of Lammermoor," Mr. Hoskins appearing the same evening in the farce a "Fast Train — High Pressure Express," as Jack Delaware. The company was successful throughout the colonies, Miss Harland's talents, being every where appreciated. In 1859 she joined the Opera Company at the Princess' Theatre, and in conjunction with Madame Carandini, Messrs. Laglaise, Emile Coulon, Schultz, John Gregg, and others, appeared in "II Trovatore," its first production in the Australian colonies— Miss Harland in the character of the gipsy Azucena, which was universally acknowledged to be a triumphant and thoroughly artistic performance. On the retirement of Mr. Hoskins from management in Melbourne, and during his absence from the city, Mrs. Hoskins had lived in complete retirement, and for some weeks before her death suffered severely from dropsy. In private life Mrs. Hoskins was highly esteemed. Her brother-in-law, H. H. Hoskins, a solicitor, and that genial actress, Mrs. Alfred Phillips, were with her in her last moments.
Mr. William Hoskins was the son of Abraham Hoskins, gentleman, of Newton Park, Burton-upon-Trent, Staffordshire, England, and was born February 17, 1816. He was first educated at the Grammar School, Burton-upon-Trent, where his uncle. Rev. Hugh Jones was headmaster. From this school he went to Trinity College, Cambridge, being intended for one of the liberal professions, but, refusing to study for the church, was articled to a solicitor at Birmingham. His stage fever began at the early age of 10 years, after witnessing a performance of the Stanton Company, whose performances were given in a large malt house attached to Mr. Newman's Blue Stoop Hotel, Burton. The idea of being an actor never left him, and one day he threw up his articles and bolted for London, where, at the Pantheon Theatre, he paid 10s for the privilege of playing Antonio in "The Merchant of Venice." He had resolved, however, to be a leader or nothing, and paid three guineas to play Hamlet, and Slasher in "P.P., or the Man and the Tiger." He made his first professional appearance as Icilius in "Virginius" with Messrs. Macsfield and Kelly in Southampton. During this engagement his father forgave what he considered his son's folly and supplied him with money to become a lessee; but, the speculation failing, he took on engagement with Manager Smith, of the Norwich Circuit, playing alternate nights with G . V . Brooke. Hoskins was the original Cardinal Richelieu in Bulwer's play of that name, a part played by him in 1840 for 101 nights. In 1843 he opened at Covent Garden, succeeding Jas. Anderson as Charles Courtley , in "London Assurance." (Imagine the ponderous Anderson as Charles Courtley!) It was during this engagement that Mr. Hoskins discovered that his forte was comedy, not tragedy. Many other actors had ideas of tragedy when they were genuine comedians, Leston and little Robson being cases in point. Next he went to Manchester, under Mr. John Knowles, and from there was en gaged by Mr. Greenwood, partner of Mr. Samuel Phelps, of Sadlers Wells, opening at that theatre in 1846 in the two act comedy, "Naval Engagements," in which 'old Lambert' made such a hit years after in Melbourne. His first great London hit was as Lucio in ''Measure for Measure." From Sadlers Wells, in 1851-52, he joined Mr. E. T. Smith (father, of Dr. L. L. Smith, of Melbourne) as manager and principal comedian, at Drury Lane, thence to the Olympic, with Mr. William Farren in a similar capacity, He then returned to Mr. Phelps, and from Sadlers Wells he came to Australia. He held an indisputably first place in these colonies; in every principal theatre in Sydney, Melbourne, and New Zealand he has been leading comedian and manager.
In December 1884, at the age of 68 years, Mr Hoskins took his farewell of the stage at the Theatre Royal, Melbourne. The piece chosen was the old comedy, "The Heir at Law," in which the veteran actor had won laurels in the past. Mr. Hoskins was, of course, the Dr. Pangloss, LL.D., A.S.S. The play is now obsolete, but full of good materials, and every character in it requires an actor. Mr. Redwood was the Lord Duberly, a character connected in my memory with Rogers and Lambert, and it will take a very great actor to efface their memories. Titheradge was Dick Dowlas; Richard Stewart, as Zekiel; J. R. Creville, Kenrick; Herbert Fleming, as Steadfast; Mrs. Chippendale, as Lady Duberly; Jenny Watt Tanner, as Caroline Dormer; and our not-yet-forgotten favorite Myra Kemble, as Cicily. A grand cast! The old Royal was crowded, and at the conclusion of the play Mr. Hoskins, in evening costume, delivered his farewell address. It was an instructive history of the stage, and few actors were more capable of handling such a subject as was William Hoskins. At the conclusion of his address the scene opened and disclosed the stage full of people, actors, musicians, Bohemians, personal and professional friends, headed by Mr. George Coppin, who was spokesman for the crowd. Mr. Coppin, who could (and can) be serious when he pleased, was humorous and sentimental by turns. He recalled the days when he and Hoskins were boys together, "when the stage and all associated with it were so different from what it is now, and maybe so much better." At the end of Mr. Coppin's pleasant speech, he handed Mr. Hoskins a purse of 50 sovereigns, for which useful gift the recipient expressed his warm thanks. In this connection it may be mentioned that to Mr. Hoskins Sir Henry Irving is indebted for much good tuition when the now stage leader was a novice, and Irving did not forget his old tutor on the occasion of his fare well benefit. He sent a drat for £100 to swell the fund. And thus Mr. Hoskins pleasantly and regretfully bade fare well to stage life, though I think he had taken some pupils to coach up in the profession.
The career of Mr. Hoskins under the Southern Cross was a varied one, and in a monetary sense not a success. Though a great actor, there was a want of stability about the man which prevented the accumulation of money. Though a lessee and manager on several occasions in various cities, none of the gold ever clung to his finger's. He was as much a failure, as a business man, as was G. V. Brooke; few actor-managers are successful that way. While Hoskins was lessee of the Melbourne Royal, he entered into a verbal agreement with Walter Montgomery to play a season in Melbourne. Montgomery was then in Sydney, and was to sign the agreement on arrival at Melbourne. In those days Mathew Henry Taylor shared with Tom Pavey the legal business of the theatrical profession. Tom was solicitor for Hoskins, and Taylor for Montgomery. Mr. Taylor had been in partnership with John Baxter Bennett, who never did anything shady, but the partnership had been dissolved, and Taylor was on his own. On arrival at Melbourne, Montgomery wished to give a series of readings at St George's Hall, for his own benefit. To this Hoskins objected, naturally thinking that the readings would injure the subsequent theatrical season; and St. George's Hall being next door to the Theatre Royal, the Montgomery readings would attract the public and injure the ordinary business at the theatre. Hoskins declined to sanction the readings, and Montgomery consulted Taylor as to how far he was tied to Hoskins under the verbal agreement. It is a standing joke that no man should sign a verbal agreement; but to get rid of Mr. Montgomery's verbal agreement, much correspondence ensued. Montgomery (per Taylor) wrote that unless readings were to be given and take precedence of the season at the Royal, Montgomery would not complete the agreement. "And this," wrote Taylor, "is Mr. Montgomery's ultimatum." As Hoskins said, he might just as well have sent his pomatum. Hoskins would not agree to the readings, and Montgomery broke his word as to the engagement. It was, of course, a serious loss to Hoskins, as Montgomery always drew crowded houses. That, however, is only one instance of want of business tact: there were many others.
In Sydney, Mr. Hoskins came across Miss Florence Colville, then under the alleged protection of a certain sporting butcher, who is still with us. Mr. Hoskins saw the germs of dramatic talent in the lady, and induced her to adopt the stage as a profession, a better one than "that other." The gay Lothario was, like Barkis, willing, and the lady toured with Hoskins during the lifetime of Julia Harland, and he eventually married her. On her death he married a Miss Bowman, a daughter, I think, of G. V. Brooke's old friend and supporter, Dr. Bowman, of Russell-street, Melbourne. Summed up, this may be said to have been Hoskins' Australian career. He landed in 1856, and made his first appearance at the old Queen's, in Melbourne. He became manager of the Ballarat Theatre in 1858, and of the Theatre Royal, Melbourne, in 1863. He subsequently managed the Haymarket Theatre, Melbourne, and rebuilt the Theatre Royal at Christchurch. From 1884— his big benefit— until his death on September 28, 1886, he was a teacher of elocution in Melbourne.
John Benjamin Dunn (family name Donohoe, mentioned above) was an old London actor of vast experience, who had served articles, as it were, under W. C. Macready and other eminent actors. He first came into note in London, when the singer and dancer Rice, known as 'Jim Crow' Rice, came from America and took the Big Smoke by storm with his American eccentricities. "Wheel about and turn about and do just so; Wheel about and turn about, and jump Jim Crow," accompanying the song with a dance and a jump. To counteract the attraction John Dunn was put forward as the English Jim Crow, and succeeded. He came from California to Melbourne in 1855 with his family, one daughter (Rose) being on the stage. Miss Dunn became an especial favorite, and in a long season at the Princess' in the early sixties established herself in the good opinion of the Melbourne public. When George Fawcett Rowe was dramatizing Dickens, Miss Dunn's impersonations were a feature in the plays, notably Barnaby in 'Barnaby Rudge.' Miss Dunn, however, was not an enthusiast in stage matters, and when Mr. L. L. Lewis, an eminent amateur musician, and in a good commercial position, 'came along' Miss Dunn embraced the opportunity and became Mrs. Lewis, in which capacity she has enjoyed a happy life, and at one time used to come from her retirement at St. Kilda and assist at swell readings in the aristocratic suburb. The other daughter, Marion, made her first appearance in Melbourne at a time when Docy, Maggie and Nellie Stewart were budding. Miss Marion Dunn married Marcus Clark; he dying early, left the little lady with a large little family, for whom she has bravely battled and won. John Dunn, the father, may be said to have died upon the stage. After a performance, in August 1875, he fell dead on his own doorstep in Fitzroy. John, notwithstanding a certain - amount of Bohemianism, was careful of the pence, and left his widow the solid consolation of a couple of thousands of pounds sterling. There was a son, a good-looking lad, who tried the stage and failed. The talent went with the daughters. The mother was not an actress, but she was a splendid housekeeper and managed her four-in-hand team splendidly.
(To be continued.)
Article:  Joseph Michael Forde, ANNALS OF THE TURF AND OTHER PASTIMES. In New South Wales and Elsewhere. No. LXII , Sydney Sportsman, 20 July 1904
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At Spiers and Pond's 'Hall by the Sea’, at Margate, when the 'Special Bohemian' of the 'Orchestra' arrived at his destination ('Sportsman,' September 28, 1904), he found 'A crowd, a Tricon playing, surrounded with gas jets, looking as if Spiers and Pond were practising hard to set the Thames on fire, more gas devices and jets over the facade (for which word I am indebted to the 'Standard'), and a large poster, which informed me that Claribel's Ballads were to be sung every night.
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'On being restored to consciousness'—he does not say how he became unconscious, I have my suspicions — 'I found the concert had commenced. M. Jullian was the conductor; and the programme included the names of Madame Parepa, Mdlle. Liebhart, Miss Eyles, Miss Rose Herssee, Mr. Farquharson, Mr. Weiss, and Mr. Perron (vocalists), Miss Kathleen Ryan, Miss Kate Gordon, and Herr Strauss. Herr Meyer Lutz was the accompanist, The hall was crammed, and the concert went off like one of Spiers and Pond's champagne corks. The orchestra is first-rate, and Jullian conducts with all the chic of his father before him. I never heard popular music more popularly played than the lighter selections on Saturday. As for the singing, we had the pompous Parepa, who was not half so much to my Bohemian taste as the graceful and unpretending Rose Hersee, who sang 'Where the Bee Sucks' in a way that electrified Margate right through the hall and out and across the road, right down to the bathing machines. Then there was Fraulein Liebhardt, who was vociferously recalled for her 'Lover and the Bird' (especially the 'Bird'), and the chivalrous-looking Weiss, who kept his 'Watch at the Fore’, although it was long past that hour, and, of course, his watch must have been awfully slow, although the song wasn't; and there was the terrific basso from the colonies called Farquharson, who accompanied capitally on the piano and sang the 'Wolf' with the most hilarious hilarity. (At this point I had an interview with Spiers and Pond in the refreshment room.) George Perren was then on with Mr. Weiss, and, as by this time the place had been formally opened, the duet was appropriately 'Hall's Well,' after which Miss Kathleen Ryan played a lot of Weber on the piano, and a flutter went through many a manly Margate heart to behold that clever and fascinating young lady, with the large dark eyes, and the power of the wrist, not to mention— (Spiers and Pond have just sent for me). To resume, Miss Kate Gordon also gave us a touch of her very excellent quality on a somewhat obdurate Broadwood, and Miss Eyles having contributed 'The Lady of the Lea,' which the programme informed us was composed by 'Claribel' (Ha! ha! I now see how her songs are to be done every night!), and Spiers and Pond having executed a most successful duet together in the shape of a bow from the orchestra, exhausted nature could do no more, and I rushed off to sup with a noble and intimate friend at No. 4 Royal Crescent. When I emerged from the hall a very beautiful experiment in lights was going on under the direction of my talented and affable friend, Mr. George Dolby. It appeared that whenever the transparencies at the hall were lit up, all the Margate lights, including the pier lights, went down. It had an indescribably beautiful effect, and, as such, reflects great credit on Spiers and Pond. Our old friend Dolby did not seem to see it in the same light, and made severe remarks upon the Gas Company. Mr. Thorne (local assistant of Mr. Hingston, the manager), having been despatched to sit on the gasometer, peace and harmony were restored, and your old Bohemian speedily found his weary form reposing elegantly on a sofa, at No. 4, above distantly referred to. There was hock, much hock, a beautiful balcony, and cigars; also fair women, and a murmurous sea in front. I like the lot, my noble friend , ———.
'Come! (said your own Bohemian to the company generally) unto these yellow Margate sands, with yellow Margate boots on at 4s 6d, and there take hands. Where the wild waves tumble o'er— and in which I shall bathe to-morrow, probably in the afternoon, drinking in the meantime a cup of kindness yet (with a slice of lemon in it) to Spier's and Pond, than whom I——'
(Here our correspondent's letter becomes luckily illegible. We are, however, enabled from other and more trustworthy sources to state that the Margate Hall-by-the-Sea is likely to prove a well-merited success.— Ed.)
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The old Melbourne Royal and the historic cafe are doomed. After a life of half a century, with a fire midway, the old building, I believe, goes. The history of the Melbourne Theatre Royal will include the history of the best days of the Victorian stage, when the acting was acknowledged to be at his best, and without the adjunct of pretty scenery and elaborate properties. The theatre was built by John Black, a name unknown in theatricals until then, but well known on the road between Melbourne and Sandhurst as a carrier in the early fifties, at a time when carriage meant £100 per ton. Out of his pile Mr. Black built the Royal, and lost his pile. It was opened in 1855 with the 'School for Scandal.' The old Queen's was then open, and doing well, G. V. Brooke being the attraction. The Queen-street house was good enough for the prehistoric days of Melbourne, but with the discovery of gold and the advent of thousands of gold-seekers, and the success of thousands of these in gold finding, the 'playhouse' erected by John Thomas Smith in the forties was found to be inadequate to the public wants.
When George Coppin (whom God preserve) went to England in search of talent, and found G. V. Brooke, he also bethought him that, being such an expensive star-— £300 a week— and he dependent upon one small theatre, was not, in colonial parlance, good enough. Accordingly he made his way to Birmingham, and entered into a contract with Messrs Bellhouse and Co. to build him in sections an iron theatre, capable of holding £300. Mr. Coppin's first agreement with G. V. Brooke was, I believe, for 200 nights at £50, or a total of £10,000. The theatre was named the Olympic, out of compliment to the theatre so named in which, in 1847, G. V. Brooke made his first London appearance. The Melbournites, however, dubbed it the 'Iron Pot,' though it was as pretty and cozy a theatre as anyone could wish. Brooke, however, did not open it; that honor was bestowed on the Wizard Jacobs, as Brooke was playing elsewhere. In 1856 George Coppin became possessed of the Royal. In that year Brooke and Coppin entered into partnership, before, I think, the original engagement was concluded. They separated in 1858, Brooke retaining the Royal, Coppin taking as his share of the assets the 'Iron Pot' and Cremorne Gardens, at which latter place he did a roaring business. It was then, I think, that Brooke commenced to lose money. As I have pointed out before he was not a business man and relied upon others to look after his interests. At first Richard Younge managed for him, then Robert Heir. Henry Edwards, from Sydney, was engaged in the stock company, and George Fawcett was running the old Princess'. On the failure of Heir as manager, Edwards and Fawcett were appointed. Their management ended in disaster. Ambrose Kyte was owner of the building, and had been called upon on many occasions for accommodation cheques to keep the ghost walking. The failure of Edwards and Fawcett, as managers, was the means of healing a breach that had occurred between Coppin and Brooke, and the former returned to the Royal as manager. Its position at this time was not satisfactory. After giving Burton's circus a show, Wilton had it for a while, and under his auspices, in 1862, Barry Sullivan appeared. In 1863 Sullivan showed what he could do in management, and in 1865 William Hoskins and Clarence Holt joined hands, holding together until 1867, when the theatre came under the joint management of six very worthy stage men — J. Chambert, Charles Vincent, H. R. Harwood, Richard Stewart, T. S. Bellard, and John Hennings, the scenic artist. The six held together, and did well for some time. Each man had his allotted duty in management, and did it. The first break in the six was the death of Charles Vincent, occasioned by an accident, deemed of small moment at the time. He had purchased a horse, and was about mounting to go for a ride when the animal became restive and threw the rider; in the fall one of his hands was injured, lockjaw set in, and the popular husband of Miss Cleveland went the way of all flesh. Mr. Lambert went England and ended his days in the village in which he first saw the light. Tom Bellair went into hotel management. He kept the Rainbow at Ballarat for some years, and died in the principal hotel at Wagga Wagga. Harwood retired, and went on a tour to to India and China, I think. The partnership then became Coppin, Greville and Hennings, and Harwood again joined later on. The old Royal Theatre was burned in March, 1872. The piece being performed on the fatal night was the 'Streets of New York,' the hero of which was played by a very capable actor of those days, James Carden, Miss Eloise Juno also being in the company. Mr. G. R. Ireland and all the members of the company suffered losses in wardrobes, etc. The historic cafe was then in the occupation of the renowned scenic artist, William Pitt, father of the architect of today. Mr. Pitt had for many years kept the Garrick's Head Hotel, opposite the Eastern Market, where his right-hand Hebe was the now Mrs. Roberts, of the Criterion Theatre Hotel, Sydney, but then well known to us youngsters as Miss Polly Smith. The first to discover the fire was Jack Conway, the well-known cricketer, who was smoking a midnight cigar at the window of Sayers' Prince of Wales Hotel, Bourke-street. Six months previously the Haymarket Theatre was burned down, and but a few weeks before the Prince of Wales Opera House, in Castlereagh-street, went under to the same agency. In the seventeen years life of the old Royal there were memories both pleasant and painful. In the seventeen years there were, it might be said, three periods, the Brooke, the Sullivan, and the Montgomery. Mark the distinction between the two pieces, that at the opening 'The School for Scandal,' and that at the close, 'The Streets of New York!' A decadence truly.
As the actors were homeless through the fire, and out of work, and many out of cash, something had to be done for their relief. Among the most attractive efforts to gather in coin was a cricket match on the principal Melbourne ground, the cricketers in costume, and to some extent supporting the characters they sustained. George Coppin appeared as Paul Pry, J. R. Greville as 'A party by the name of Johnstone,' Mr. Hennings as Claude Melnotte, Mr. Carden as Enoch Arden, Richard Stewart as Lord Dundreary, Ireland as Cassio, John Dunn as 'That Rascal Jack,' Appleton as Ronaldo, Roberts as Asa Trenchard, old Jimmy Milne as Mike Feeney, and minor men in various guises. At the time of the fire the Princess' was empty, and the lessee, William Saurin Lyster, offered it to Mr. Coppin and his friends for a short season. Mr. Coppin made a speech — he was always great on speeches — in which he detailed his sorrows. Six years previously he had started life afresh without a sixpence; he had succeeded, but the fire had swept away most of the provision which he had made for old age and a large family. Yet Mr. Coppin re-built the Royal and opened the new venture on Cup night (Cup winner, John Tait's The Quack), 1872, with an address written by Dr. Neild and spoken by Mrs. Collins, then (later on Mrs. H. R. Harwood) nee Docy Stewart. Then followed 'To Oblige Benson' and 'Milky White,' in both of which Mr. Coppin appeared. The company proper was at Adelaide, but Coppin did not wish to miss a bumper house such as always eventuates on Cup night. Since then the fortunes of the theatre have been varied. Many new theatrical ventures have sprung into existence, the most formidable being the gorgeous Princess'.
At the time of the opening of the Theatre Royal (No. 2), the Princess' was in full swing with a strong company under Stuart O'Brien and Miss Jones, heavy tragedy being the order of the night. During the same Cup week a dramatic benefit was given Mr. John Whiteman, who had filled as many parts in life as did the late George Adams. Mr. Whiteman was a blacksmith by trade, and a poet by instinct, his little volume, 'Sparks from the Anvil,' being readable. He had been a publican, and in that, as in other trades, had his ups and downs. On the benefit night Coppin and Stewart appeared; Marcus Clarke wrote an address, which was spoken by John Edwards the younger. Looking over those old bills, one comes across many names now absolutely forgotten, of the seniors George Coppin being about the only one of a long list now remaining; and about this time— 1872 — there arose a controversy regarding 'deadheads,' in which Mr. George Coppin, Morton Tavares, and others took part. The germ of the controversy was as to whether Vice-Regal patrons should not pay for seats occupied in the theatre even on 'command nights.' The Vice Regal delinquent at whom George Coppin was hitting, and hitting mighty hard, was Viscount Canterbury, who in his earlier days was known as John Henry Thomas Manners-Sutton. The correspondence was carried on with some vigor, the theatrical critics, strange to say, siding with the deadheads, from a fellow-feeling perhaps. There was a dramatic association in existence in Melbourne at the time, and the matter was thoroughly threshed out at its meetings. Viscount Canterbury, who appears, from the correspondence, to have been a persistent deadhead, asked Mr. Coppin to send in an account of the 'items,' but this Mr. Coppin declined to do, on the ground that his profession never gave credit. Of this interesting dispute more anon.
(To be continued.)
Article:  Joseph Michael Forde, ANNALS OF THE TURF AND OTHER PASTIMES. In New South Wales and Elsewhere. No. LXXIII., Sydney Sportsman, 5 October 1904, 3
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Some controversy has been carried on in the Sydney papers respecting the tercentenary celebration at Melbourne of Shakespeare's birth, and, strange to say, the 'authorities' differ. As a matter of fact, some years before the date of the centenary, April 23, 1864, the Melbourne Garrick Club had made arrangements to celebrate the occasion with a performance of "The Merchant of Venice," introduced by the Introduction to the 'Taming of the Shrew,' and, sandwiched, a tableau of Shakespearian characters. The Garrick Club was founded in 1855 by some enthusiastic amateur actors, who were anxious to fret their little hour upon the stage for charitable purposes.
Amongst the founders of the club were James Smith (of the 'Argus'), James E. Neild, M.D., and W. J. Wilson, a scenic artist of much dramatic ability, all three, l am gratified to say, still living. Then, as president, there was R. H. Horne, better, perhaps, known as 'Orion' Horne, from the fact that he wrote a poem under that title, which was published in London at the extraordinary price of a farthing. There was Tom Pavey, the solicitor, who acted for all thespians when they had any legal matters on hand, John Edwards, the younger, who was articled to John Barter Bennett, the solicitor, Alfred Bliss, of Bliss and Joy (what a combination!), auctioneers. - There was J. B. Castieau, who had been in the service of the Government as ruler at the Melbourne Gaol, and a score of others, more or less Bohemian. The first performance was given at the Theatre Royal, under the patronage of Governor Sir Charles Hotham, who had with him in his private box the Colonial Auditor-General, Mr. Grimes, a pompous individual, who was given the appointment through his aristocratic connections, notwithstanding his plebeian name. The piece chosen was "The Heir at Law,” John Edwards performing Dr. Pangloss. It will be remembered that Pangloss has a catch phrase, naming the author whom he quotes. At that time the Victorian finances were in somewhat of a muddle, and when Edwards, as Pangloss, should have said, "Two and two are four, 'Cocker,'" Edwards said "Take 3 from 6 and 5 remains, Grimes," which so offended the Auditor-General that he left the theatre, though asked by Sir Charles Hotham to remain.
Poor Jack Edwards was a thorough Bohemian, a native of Tasmania, to which I believe his father, also a solicitor, was sent for something connected with Chartism. Articled to John Barter Bennett, the latter always patronised the Garrick Club performances, but a time came when he was called upon to put the question very straight to young Edwards, as to which profession he would adopt, that of law or the stage, “For you know, Edwards that you cannot follow both.” Jack chose the law, though he did not abandon the amateur stage.
This erratic individual was born in 1836, at Launceston, and educated by two clergymen, one of whom, Mr. Trollope, had been head master of Christ's Hospital, and started the first collegiate school in Victoria. Edwards was brought to Port Philip when a child and, after schooling, was articled first to Mr. Trenchard, whose son was a suitor for the hand of enchanting Julia Mathews at the same time that R. O'Hara Burke, the explorer was urging his suit. Julia however wedded neither, though I have her own word for it that she would have married Burke had he returned. O'Hara Burke was dead then, and his name was a good advertisement for the gentle, guileless Julia. She wore his picture in miniature and contrived to lose it one Sunday afternoon in the Botanical Gardens.
Edwards was transferred to Mr. Bennett, and had charge of the Common Law department; but, as mentioned, he was more frequently to be found, behind the scenes of the Theatre Royal than at the County Court; which was supposed to be his happy hunting ground. He was admitted a solicitor in 1858 and entered Parliament in 1859, being known as the 'Collingwood Chicken' and the 'Native Companion.' He had as colleagues the late Charles Jardine Don, a stonemason, and the first Labor member ever returned to Parliament, and George Milner Stephen; brother of Sir Alfred Stephen, and the gentleman who afterwards posed as a faith healer. Mr. Edwards was high up in Masonry, very, open-handed and good-hearted, too much so for his own good.
The writer was associated him once in a dramatic performance in aid of the fund being raised for a memorial to G. V. Brooke. The play was the “Poor Gentleman,” Edwards being the Dr. Ollapod, and this scribe Sir Robert Bramble. On the morning of the performance Mr. Edwards sent for me. He had been to Sandhurst a couple of days before, performing for the same object, and had caught a cold, and a bad one. He was in bed, with old Dr. Serrell alongside, and a blister as big as a blanket on his chest. To play that night was out of the question. I was commissioned to interview Mr. William Hoskins, erstwhile of Sadler’s Wells Theatre, and who was the lessee of the old Princess', in Spring-street, where we were to play. Hoskins had the Royal at the same time; it was at the latter house that I saw him, in the 'treasury,' as the ramshackle office was called. I have seen men out of temper in my time, but I have not as yet come across one who equalled William Hoskins on that morning. You see, we 'shared the house' after a certain sum— £60, I think— was deducted for rent. Mr. Hoskins was afraid that the public would get wind of Mr. Edwards' illness, and the receipts would suffer. Hoskins was the best player of such characters as Ollapod and Dr. Pangloss that I have ever seen. Of course he had to fill the gap, and right well he did it. Dr. J. E. Neild was entrusted with the apology for Edwards. The little doctor was never subject to stage fright, but in making the apology he led the audience to believe that John was suffering a recovery, or something of the sort. But when Dr. Neild announced that Mr. Hoskins was to be the Ollapod of the night the cheers nearly raised the roof. Like Marcus Clarke, Mick Maloney, and a few of that kidney, John Edwards' Bohemianism shortened his days.
The Shakespeare memorial, which has been the subject of some controversy recently, was started by Barry Sullivan, with the object, of purchasing a statue which the sculptor Summers was preparing. Sullivan was the moving spirit in the statue enterprise, while G. W. Rusden, the Clerk of the Parliaments, favoured a scholarship at the University. The statue was cast in plaster, and was to cost £1000. The plaster cast was unveiled by Barry Sullivan on the steps of the Public Library, where now stands the statue of Sir Redmond Barry. The statue was never cast, the funds not coming in fast enough, the subscriptions being returned by the treasurer, Frederick Wilkinson, Master in Equity.
The scholarship fared better. Mr. Rusden got up a dramatic performance of the “Merchant of Venice,” the parts being taken by members of Parliament, Mr. George Coppin, M.L.C., the father now of the Australian stage, being the Launcelot Gobbo. Another old actor, though long retired, Mark Last King - on the stage Moreton King—was the Shylock. Few Sydney people today remember Moreton King, though he played in the old Victoria Theatre, in Pitt Street and was considered a great star. A prologue was written by Mr. G. W. Rusden and spoken by Mr. J. D. Wood, the barrister, who has recently returned to his native land (Tasmania) to end his days. Vincent Pyke, at one time Minister for Customs under Sir James M'Culloch, wrote and spoke a very smart epilogue. Mr. Pyke afterwards, betook himself to Maoriland, where he loomed big in politics and Bohemianism. The Garrick Club played “The Merchant of Venice” on the evening before the date, April 23, of the tercentenary, Samuel Hawker Banks, a Sydney native and well-known literary man, being the Shylock. On that night, for the first time in Australia, and I think the only time, the introduction to the “Taming of the Shrew” was performed. Herbert Palmer, afterwards on the literary staff of the 'Age,' being the Christopher Sly. The tableau of Shakespearian characters was centred by the late William Pitt, the well-known scenic artist, who was always pressed into the service when a bust of Shakespeare was needed. In addition to his scenic art, Mr. Pitt kept the Garrick's Head Hotel, in Bourke-street, opposite the Eastern Markets, and where, by the way, I first made the acquaintance of the now Mrs. H. L. Roberts, of the Criterion, but then the favourite of Melbourne, and known as Miss Polly Smith. In Mr. Pitt's cellar, not the one where he kept the casks, but another, quite distinct, were nursed some of the finest sporting dogs I have ever seen, dogs that would charm my valued correspondent, the Hon. Thomas Reibey of Entally. The well-known theatre architect and M.L.C. (Victoria) is the son of this Mr. William Pitt, of the Garrick's Head. The Shakespearian performance which has given rise to the commentary was that given by Mr. Harry Edwards (whom some old Sydneyites will yet remember; he was with us not long before his death, when he bought 'Little Lord Fauntleroy') at Ballarat, which was then the home of the drama, though I am afraid it is not now. But all the dramatic efforts to make a Shakespearian jubilee failed, with the single exception of the Rusden Scholarship, and it is very questionable now if the memorial to the 'divine William' is remembered.
Article:  Joseph Michael Forde, ANNALS OF THE TURF AND OTHER SPORTS. No. LIII, Sydney Sportsman, 18 May 1904, 8
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Article:  Victoria., The Brisbane Courier, National Library of Australia, 7 October 1886, 3
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