Miss Eliza Winstanley

CONCERT.

On Wednesday night last we did ourselves the pleasure to attend the musical entertainment given by Messrs. Wallace and Deane. To those who are already acquainted with me respective excellence which these gentlemen have attained in their profession, it will not now be necessary to say more in their praise. To those (and we hope they are few,) who. know it but by report, we can only say that we regret they were not present on this occasion, to witness how truly that report has spoken. The Concert opened with the overture to Der Friestchulz, which was executed by the Band of the Fourth, with their usual success. Miss Wallace sang the difficult air of Una Voce, and the ballad of Black-eyed Susan, with all the effect that can result from the union of power of voice, scientific method, and diligent study. Portrait Charmant was beautifully sung by the gentleman amateur, who has lately made his debut at our Sydney concerts. The Concerto on the flute of Mr. Josephson was played well, although in our opinion, some of his performances at previous Concerts were far superior. The Solo on the Violoncello, by Master Deane, was a juvenile performance, surprising, and clearly shewed that the natural talent of this young gentleman must be very great, and his study unremitting. He also distinguished himself in two Ducts with Miss E. Winstanley. This young lady, as far as her tender age will allow an opinion to be formed, possesses great capabilities as a singer, and we have no doubt that under the able tuition of Mr. Deane (of whom she is at present a pupil), they will be brought into such celebration as to render her in time a most excellent singer. O'Pescator dell 'Onda was sung as a duet by Miss E. Wallace and the Amateur, in a manner both tasteful and harmonious. We must not forget Miss Deane's performance on the piano forte, which obtained for her high and well merited applause. Of Mr. Wallace's performance on the violin, it is really unnecessary for us to write, his execution on that instrument being so well known ; but we cannot refrain from a passing tribute to his Concerto of Mayseder, and to express our deep regret at the public announcement of his intended departure from this Colony. The members of the Band sung; two glees in the course of the evening, and were much applauded. The room was nearly full, and every person left highly delighted with the various performances of the evening. 

THE THEATRE—A drama called Ellen Wareham was produced at the Theatre on Monday evening. It is quite of an Old Bailey character. Ellen marries Creswell, never having loved him. He, not aware of this most important matrimonial fact, is under the necessity of going abroad, and being apprehended as a spy, is imprisoned for years in an Austrian dungeon, from which he at length escapes by a stratagem, the consequence of which is to lead his wife and her friends to believe him dead. Nearly two years after Creswell was supposed to have been quietly inurned, Ellen marries one (Hamilton) to whom her whole heart and soul are devoted. Not many months after, the first husband returns -hears she is again married—has an interview with her, in the course of which she explains the circumstances which led lo her second marriage, but admits that she never loved him. Doating fondness on his part gives way to desperate passion and thirst of revenge, and he causes her to be indicted for bigamy, of which she is found guilty. [The jury must have been a strange set, seeing that the first husband had studiously circulated a report of his own death, and there was no proof that his wife participated in the secret!] The sympathy of the Judge, however, is excited, and Ellen is merely "fined and discharged." Creswell having thus rendered himself the mark of universal odium, at length repents; but weary of life, swallows poison —sends for his wife and children, blesses them in his dying moments; and having obtained the forgiveness of Ellen, bestows her, with his own hand, upon Hamilton-the second husband, and real object of her affections, and expires. Now these incidents are strained and unnatural-yet they give rise to several affecting scenes. The weight of the piece rested on Mrs. Taylor and Mr. Lazar. Mr. L. manifested a very accurate conception of the part allotted to him, though we could point out many objections to his reading and pronunciation ; but as not one of the company-male or female-is unamenable to similar censure, why should we particularise him? Mrs Taylor appeared to please the audience, and therefore, the odds are against our opinion that she cannot pourtray deep feeling. The scenes of which she endeavours to make the most excite a sense of the ridiculous-the convulsive catching of the breath, and extravagant contortions of the head and frame (as if pulled about by a wire), are complete antidotes to sympathy. Mrs. Taylor's line is, in our opinion, quiet comedy of the higher class, or the parts of pert, intriguing, singing chambermaids. Spencer, though he is entitled to the praise of general correctness, was either out of place or out of spirits on this occasion. The incidents in which he is supposed to be a participator, would, we should think, have roused the passions of an anchorite-yet Spencer was cold as monumental marble. The rest of the characters require no particular notice, with the exception of that sustained by Miss Winstanley, who, upon this and several other occasions lately, has shewn a capability to become the very best actress on the Sydney stage, in that line of character which she generally assumes. At the conclusion of the first piece Miss Lazar danced, as usual, very prettily. Then there was some tightrope foolery ; and lastly, the farce called The Young Reeler, of which Miss Lazar, though a very clever child, is too young to play the hero not even a shadow of illusion is preserved owing to this circumstance.

There is no doubt that the chief thing to make a good actor, is genius. It must be remembered, that a performer is not merely an orator ; he must do something more than declaim ; he must represent a certain character, and that justly. Genius is the perfection of the human understanding, au union of the collected powers of the mind, imagination, sensibility, penetration, and judgment, directed to the same point of excellence, with a happy facility of attaining truth. The genius of acting consists in a fine and ready imagination, an acuteness of observation, and a correct judgment, working on the sure principle of an ardent love for the drama, joined to the love of fame. Happy natural talents are necessary to make an actor ; labour and study may do a great deal, but it will after all be a tedious journey to find dramatic excellence. The player who is not rich in talents may indeed labour to amass wealth of the understanding ; but he will be but a mere labourer after all, and will rarely ever find stock in trade enough for a master, in the art. The art of acting, requires such happy resemblances of nature, that the copies may not be known from the original. Thus the performer who has true genius assimilates himself without difficulty, to the character, he has to represent. The more nature assists him the better; and it is only when she refuses, that he must borrow from Art her best likeness, and yet how few possess the fascinating gaite de cœur, of genteel comedy, the grandeur of mind and manners necessary to tragedy, or the happy humour that constitutes farce. On Thursday evening The Wonder was played for the third time at the Sydney Theatre. Mrs. Cameron made her second appearance on the Sydney Boards as Donna Violante. This lady's style of acting in genteel comedy is peculiarly her own; ease and grace in every motion, combined with a certain embodying of herself with the character, which is the very essence of genuine performers. We say without hesitation that Mrs. C. has stamped herself as the leading actress of the Sydney stage. Mrs. Taylor is the only performer we have, who can feel offended at these remarks, but when she remembers that to Mrs. Cameron is she alone indebted for her theatrical success, that it was under the tuition of this lady, at Hobart Town, she made her first appearance on any stage, playing a second character, to Mrs. C.'s Mrs. Haller in the Stranger, it is not to be expected she could with but little instruction, reach to the theatrical celebrity of an acknowledged clever actress. She must therefore however unwilling see the justice of our remarks. Don Felix by Mr. Cameron, was very respectably performed; if that gentleman could divest himself of a certain solemnity of style, and play genteel comedy, in a smarter manner, it would be more pleasing; he must get rid, too, of a particular fashion he has of pointing his hands together: this is too stiff for comedy. Mr. Buckingham's Don Pedro was natural ; Mr. Lane's Don Lopez, was both lame and tame ; Mr. Peat got through Don Frederick, but he should have an eye to his unruly legs, which appear to have much pleasure in crossing each other, every stride he takes; Mr. Lees, Gibby, was very passable, considering he is totally unacquainted with the Highland tongue ; Lissardo, by Mr. Simes, was a good representation of a fop; of a serving man Miss Winstanly's, Isabella, was a fascinating and true impersonation, this young lady becomes a more general favourite in comedy every time she appears. Mrs. Jone's Flora was a lively character, to which she did full justice. By the by, we had nearly omitted to mention Mr. Gordon's Col. Britton. This gentleman is too unwieldly built for genteel comedy, he resembles a young elephant, in his motions, and at the fifth act, he broke down forgetting every syllable of the dialogue which materially inconvenienced the leading performers; Mr. Knowles ought to fine him at the least one week's salary, if he does not, it will be an injustice to the public, as the promptor could be heard all over the house. Master S. Jones recited between the pieces, the famous speech from Henry V.' Who wants more men from England, My cousin Westmoreland ! no my fair cousin." And got through it well, accompanied by appropriate action and gesture. Mr. Fitzgerald followed with an hornpipe, we thought of Mackay but comparisons are odious; the afterpiece was the laughable farce of the Two Gregories, to which full justice, was done by the performers.

On Tuesday night, was produced, the drama of " Angelo round Verona." The piece has been so often in representation, that the actors are quite at home in their respective parts, so that it's a pleasure to witness the performance, instead of having to sit for hours to hear them stutter and stammer; which is not only painful to the hearer, but to obtain even a meaning of the dialogue is totally out of the question. To this succeeded a comic dance, by Mr. Fitzgerald, and it so pleased the gods, that they loudly vociferated for an encore, which being complied with, they insisted upon a hornpipe, and their wish was again accorded to. The amusements of the evening concluded with what is styled, " The Grand Burlesque, Operatic, Farcical, Bombastic, Extravaganza," called " Othello Travestie." The immortal bard's splendid tragedy, frittered down into two acts of the vilest doggerel imaginable. It is a complete stretch of the absurd which cannot go further. The piece we should pronounce to be a miserable failure as a performance, although individually, each of the company, did their best to support it. Not one of the actors, with the exception Miss Winstanley, could deliver the lines with any thing like propriety - certainly she had but little to do, but that little showed that she had studied on which part of the dialogue the emphasis should be placed, of this the rest were totally deficient! It is a performance that would answer very well for a benefit night, but can never become either a favorite with the public, or a stock piece. There is a variety of singing, which went off execrably, and set our teeth on edge. Mr. Collins was the Duke of Venice; he was tolerably successful. Brabantio, an old codger, and senator of Venice, was sustained by Mr. Dyball very fairly. Othello, Moor of Venice, formerly an independent from the Island of Hayte, by Mr. Wintors was a failure; he out-Heroded Herod. lago, Othello's officer, once a native of the Gaultee Mountain, county of Tipperary, province of Munster, and Kingdom of Ireland, was played by Mr. Buckingham, who appeared not to be perfect in his part, judging from one or two blunders, one of which kept the audience waiting at least a couple of minutes. Roderigo, a very silly youth, and very partial to Mrs. Othello, by Simes, was the most comic character in the piece; it was evident that he had studied it. Cassio, a man of note, but still an injured man, rather in liquor, or the liquor there, was sustained by Mr. Lee, the worst specimen of burlesque comedy we have ever seen that gentleman attempt. Lodovico, a very respectable gentleman, whose chief duties consisted in carrying an umbrella over the Duke's head, and sporting a broad brim hat, tied under his chin, by a red cotton handkerchief, was enacted by Mr. Peat. Mr. Fitzgerald as Montano, caught in a row with Cassio, but not disposed to fight, was successful. Mr. Shribbs was a very knowing first police- man, armed with a hot poker. Mrs. Larra was a bouncing Desdemona, a very good natured lady, wife of Othello, and not a bit too well treated by him; poor Mrs. O in every embrace, appeared on the point of being suffocated. Miss Winstanley looked very engaging and interesting as Emely. Mr. Knowles did the ghost of Desdemona, and looked sufficiently frightful for the occasion. There was miserable scene shifting, and the whole piece appeared to have seagoing in the most careless manner. On Thursday night was produced the tragedy of " Richard the Third," it having been performed the preceding Monday for the benefit of Mr. Spencer, which gentleman upon this occasion again enacted the character of the "crooked backed tyrant," on the whole, most ably; it is unquestionably his chef draws, and has not been surpassed by anything that has been played upon the Sydney boards. His dress, looks, action, and manner, were all in keeping, and fully shewed that Mr. S. bad well conceived the character. In the tent scene he was particularly effective, and every passage drew down a round of applause, which was well deserved. There is another point, and one of no small consideration, in Mr. Spencer's acting-he strives to please, and therefore never fails in giving satisfaction in his Shakespearian characters, to which he must confine himself in this line he has no equal here -we do not except Knowles himself- but out of Shakespeare his manner is too stiff and formal, Mr. Knowles doubled the characters of Buckingham and Richmond without the slightest occasion, and with bad effect; the illusion was destroyed. Mr. Peat should unquestionably have played the former. Be that at it may, Mr. K. was about as imperfect at usual that is, without knowing many complete sentences in either character. Mrs. Jones, as Prince of Wales, played very passably; her dress became her much. Master S. Jones was interesting as the Duke of York. Mr. Lane made a hit as King fleury, and was applauded; it is a pity he does not always play with the same feeling and effect. We did not approve of Mr. Collin's Stanley; he had a very disagreeable motion of the logs, and appeared to be calculating " what next?" Mr. Peat was very fair as the Lord Mayor; it is a part in which no one can shine. Ratcliffe and Tyrrel were both sustained by Mr. Lee effectively. Mr. Buckingham was respectable as Norfolk. Mr. Dyball, as Lieutenant of the Tower, played very fairly. Miss Douglass was successful as Queen Elizabeth; the workings of her paternal feelings were well developed. Miss Winstanley was rather interesting as Lady Ann, but she delivered the greater part of her sentences in too high a key. Mrs. Larra was effective as the Duchess of York, The piece as a whole went off well. The house upon the rising of the curtain was thinly attended, but filled at half-price. During the first part of the evening it was difficult to distinguish either stage or actors, from the house being filled with smoke arising from the lamps. The orchestra appeared horribly out of tune, and did anything but draw forth dulcet tones. Monday next being Easter Monday, will be brought out "The Dog of Montargis" and "Don Giovanni," in the latter piece Mr. Buckingham will play the character of Leporello, in the place of Mr. Knowles, who upon this occasion has been shelved. The dog Brain will perform. Mrs. Taylor enacts the Don.

On Monday last, being Easter Monday,

was performed " The Forest of Bondi, or

the Dog of Montargis," which went off

well, and elicited continued applause

from a numerous audience. "Giovani

in London" concluded the evening's

entertainments, in which Mrs. Taylor

sustained the character of the Don very

ably. Mr. Buckingham for the first

time enacted the part of Leperello, and

made a dead hit. The house was very

numerously attended, and every one left

apparently well satisfied.

On Tuesday night was produced, for

the second time at the Sydney Theatre,

the domestic drama of " Lyinesheo

Lovel, or tho Gipsey of Ashburnham

Dell." The piece went off creditably and

received a due proportion of applause

Mr. Spencer dressed the character of Sir

Edward Mowbray properly upon the

occasion, as a private gentleman instead

of mounting the doublet and hose. Miss

Winstanley appeared to be suffering

under severe indisposition, and must

have played the character of Emily

Hathenden with much pain to herself.

To the drama succeeded the matrimonial

duet between Master and Miss Jones,

which they played in a manner that

reflects much credit on those who instruct

them. The evening's amusements con-

cluded with ''The Dog of Montargis,

or the Forest of Bondi," it was very

well got through. Some mischievous

fellow in tho pit attempted to withdraw

the attention of the dog by whistling,

but, fortunately, failed. The house was

well attended for a Tuesday night.

On Saturday night was performed the drama of the " Dog of Montargis; or, the Forest of Bondi." It having been frequently performed, the plot is so well known as to require no repetition at our hands. The piece went off much as usual, that is to say, successfully; but we observed a deficiency in study of both Messrs. Lee and Spencer, which was to us a matter of surprise, considering on how many occasions they have enacted the same characters. ln the concluding sentence before the fall of the curtain, at the end of the first act, Mr. Spencer had to give the cue to Mr. Lee three times, thereby spoiling the effect. To the drama succeeded a Naval Hornpipe by Mr. Fitzgerald, which was well performed. The extravaganza of " Giovanni in London; or, the Libertino Reclaimed " concluded the evening's amusements; on this occasion, Mrs. Taylor sustained the character of the Don for the twenty-third time at that theatre, and with continued success ; she had the good sense to keep her visible muscles within due bounds upon this occasion, not with standing the attempts of the whiskered monkeys in the lower boxes to annoy her, Mr. Buckingham again improved in the character of Leporello, and was remarkably successful in the songs, one of which was encored. We were glad to observe that Miss Winstanley had taken our hint respecting the child, she played the character of Mrs. Leporello very well. The house was very thin upon the rise of the curtain, but filled up well at half price.

In the mid-thirties, James Simmonds, at the old Royal in George-street, Sydney, produced 'The Gambler's Fate,' which subsequently some humourist, burlesqued under the title of 'The Elbow Shakers.' After that came some heavy specimens of old-time, drama, ''Venice Preserved' being one in which Simmonds played Pierre, and Meredith Renault, the wife of the latter being the Belvidera. Mr. Simmonds appears to have kept pace with the times, and gave the Royal patrons quick changes of programme, and a good variety at that. In 'The Honeymoon' the cast was : — Duke Aranga, Mr. Knowles; Rolando, Mr. Simmonds; Count Montalbon, Clement Peat; Balshazar, Palmer; Jacques, Meredith; Juliana, Mrs. Mackay; Volante, Miss Winstanley; Zamora, Mrs. Harriet Jones.

The lady mentioned here as Miss Winstanley was properly Mrs. Eliza Winstanley. She was an admirable actress, and had a wide reputation both in England and Australia. As a writer in after years said of her, she was one of the very best 'old women' in more senses than one. She was also an authoress of some repute, contributing profusely to English periodicals. She was the authoress of a very readable work, 'Shifting Scenes in Theatrical Life,' and an Australian novel (founded on facts) entitled 'Twenty Straws,' a very readable and interesting publication. Mrs. Winstanley was living in Geelong in 1880. I think she married a Mr. O' Flaherty, and for a time, in the early forties, played under this name. She, however, reverted to her earlier name, that by which she was best known both in England and Australia.

Mrs. Harriett Jones subsequently became the wife of Mr. Knowles, a leading actor of the time.

Mr. Clement Peat was the father of Mr. H. J. Peat, for many years connected with the commercial department of the 'Town and Country Journal' in the lifetime of Mr. Samuel Bennett, and was the originator and founder of the Friendly Societies dispensaries which exist today. In recognition of his good work in this direction the societies erected a very handsome memorial over his grave at Rookwood. Clement Peat, the actor, on retiring from the stage, went into trade as a publican, I think, in a house known as 'Jack Straw's Castle,' at Pyrmont. In the sixties and seventies he was established as a pawnbroker in Botany-street, better known as Flinders-street, Darlinghurst, where he died.

A writer, who some years ago was writing of this early dramatic period, noted that in the mid-thirties 'first times' were very frequent at the then Theatre Royal. In January 1835, 'Pizzaro' was produced, with Meredith as Pizzaro, Knowles as Alonzo, Simmons as Alilaba, Miss Bland (Mrs. Meredith) as Elvira, and Mrs. Mackay as Cora. Strange to say, no mention is made of the hero, Rolla, a part played in after months by James Simmons, and somewhat out of his line I should say.

In this year (1835) Mr. Thos. Stubbs assisted Mr. Levey by giving a solo on the Kent bugle. Mr. Simmons and other members of the company had left, hence the necessity for seeking a little outside assistance. The Mr. Thomas Stubbs mentioned here became a person of some importance in the City of Melbourne, and has left some descendants of note.

Mr. Thomas Stubbs was in early life in Sydney an auctioneer's clerk, the auctioneer being Mr. Simmons, whose place of business was, I think, in Hunter-street. Mr. Stubbs was afterwards in business for himself in King-street, on the southern side, between George and Pitt streets. In the late forties he went to Melbourne, where he started business, and was one of the chief knights of the hammer in that city. He became a foremost citizen, a churchwarden of St. James', and died universally regretted. He was generally known as the Colonial Robbins, his advertisements being quite poetical in character. On his death, in 1878, the 'Australasian' honoured his memory with a couple of columns of biography. Another journal thus spoke of him: — 'The death of Mr. Thomas Stubbs takes away another of the social landmarks of the colony. He was a man whom everybody liked, and who deserved that everybody should like him. He was believed, and with good reason, to be a natural Son of George IV, and certainly, if facial resemblance be any guide to paternity, there could be little doubt of the connection. He was, moreover, a good specimen of the gentleman of the Georgian period, being compact, portly, and well balanced. He was genial, social, and full of anecdote, and, as on auctioneer of the ornate order, he had no rival.' The above is an accurate description of Tom Stubbs, as I knew him. A son Robert, who was in business as an auctioneer in George street, Sydney, adopted the ''hyphen," and was known as Mr. Robert Fitz-Stubbs. This gentleman married a lady of means, who was a witness when a girl to an awful murder, which has remained a mystery now for 60 years. Miss Maud Fitz-Stubbs, the eminent pianiste, is a daughter of Mr. Robert Fitz-Stubbs, and grand-daughter of the eloquent knight of the hammer of Sydney in the thirties and forties, and later in gold roaring fifties of Melbourne.

Mr. Simmonds was an active stage manager, and as things were, he thought he saw an opening for another play house. There were several concert rooms in Sydney, but no regularly licensed theatre except the Royal. A notable event in music about this time was a concert given at the Pulteney Hotel concert room by Mrs. Taylor, 'after her recovery from a serious illness.' She was assisted by Messrs. Knowles, Simmons, Gordonovitch (a Polish refugee), Tom Stubbs, and Bonnar (who played the guitar), and Mr. Cavendish, a noted pianist, who had a somewhat mysterious history, and who lost his life by drowning in Sydney Harbor. Of him, more hereafter. The tickets for the concert were 7s 6d, and the chronicler says that the attendance was not by any means as numerous as was anticipated.

Mr. Simmons, before seceding from the Royal, took a monster farewell benefit and was a veritable Pooh Bah on the occasion. He appeared as Leporello in the operatic burlesque of ‘Don Giovanni’ Mrs. Taylor playing the Spanish roué. Mr. Simmons 'doubled' as Jerry and the Doctor, and afterwards as Anthony in the 'Rival Valets,' with Mrs. Taylor as Susan Fielding. Between the pieces there was an Indian dance. When Mr. Simmons left Mr. Levey he was followed by Messrs. Knowles and Buckingham and Mrs. Jones, they having also a disagreement with the management. The manager, however, had some pluck and bore up under his trials. He produced a burlesque on 'Don Giovanni,', named 'Giovanni in London,' with Miss Douglas as the Young Scamp, introducing into the part no less than forty-one songs.

A little controversy subsequently arose in connection with the 'star,' Mrs. Taylor. The lady had been announced to appear at the theatre, but had declined on the ground that she was not under engagement. Mr. Levey then published a note subscribed to by Messrs. Sippe and Stubbs to the effect that he had engaged Mrs. Taylor in the presence of these gentlemen, at £1 per night! To this Mrs. Taylor replied that she had not definitely accepted the terms, but had agreed to give an answer in a day or two, and that Mr. Levey had announced her without waiting for her reply. The 'Gazette' considered Mr. Levey's conduct in announcing the lady as 'highly reprehensible.'

Six gentlemen formed a syndicate or commonwealth to direct the theatre for a fortnight. Most of the old corps dramatique joined the new management, 'The Strangers' being the first piece produced. 'Jane Shore' was another production. Some new performers were obtained and, as an improvement, it was announced that in future 'No bonnets would be allowed in the dress circle.' The cart-wheel hat was on unknown quantity then. The new company consisted of Simmons as stage manager, Knowles, Mackay (described as a steady actor for lead or second parts), Buckingham, Peat, Dyball, Winters and Master Jones, Mesdames Taylor, Jones, Mackay and Larra, with the Misses Winstanley and Douglass. Mr. Cavendish was the musical director. The 'Commonwealth' adhered to the four nights a week. 'The Pilot,' 'She Stoops to Conquer,' and others of a similar character were produced. Governor Bourke gave a 'bespeak' when the 'Mountaineers ' was produced, with a variety of other entertainments.

In September, Simmons took a benefit, the advertisement for which occupied two columns of the 'Gazette.'

About this time there arrived from Drury Lane Mrs. Chester, who made her first appearance in October, 1835, as Clari in 'The Maid of Milan.' I have before me a playbill of the farewell benefit and last appearance on the stage of this lady. It was at the Theatre Royal, Melbourne, in 1862. The initial piece was 'The Lady of Lyons,' the Claude Melnotte being Mr. John Hayward, an old actor who had retired from the stage and, taken to civic life. He, in time, returned to the stage as Mr. Deorwyn, and brought with him his two daughters, now Mrs. Richard Stewart, jun., and Mrs. Charles Holloway. The Colonel Dumas was Mr. H. R. Harwood, and Samuel Hawker Banks was the Caspar. Mrs. Chester was the Widow Melnotte, Mrs. Alfred Phillips (an actress and an authoress of no mean repute) being Madame Deschapelles. A petite concert followed, in which Octavia Hamilton (Mrs. Moon) and Mrs. Frederick Younge (a daughter of Haydyn Corri) appeared. The farce was 'Teddy the Tiler,' Mrs. Chester playing Lady Dunderford, and Mr. J. Simmons Teddy the Tiler. Thus, after a lapse of nearly 30 years, these two ancient players came together again.

Towards the end of the year 1835, Mr. Simmons announced that he had leased the theatre and intended to introduce some London novelties. One of these was a new system for box visitors; anyone engaging would receive a key admitting him at pleasure. Season tickets were issued at £5. The front of the house was placed under the direction of Mr. William Knight. On off-nights Mrs. Taylor gave entertainments similar to those subsequently given by Mr. and Mrs. George Case, and Mr. Simmons followed suit with entertainments after the manner of the elder Mathews.

The year 1836 saw the arrival of a new actor, all the way from Van Diemen's Land, a Mr. Spencer who made a big hit as Richard the Third. Colly Cibbers' version, presumably.

The Mr. Knight, who had the management of the front of the house, was the same gentleman who afterwards kept the Shakespeare Tavern in Pitt-street; and first opened the northeast of George and King streets, in 1849, as an inn, under the name of the Golden Fleece. Mr. Knight and Mr. William Dind were afterwards in partnership in matters theatrical, both being highly esteemed citizens, who have left many descendants.

It was in 1836 that Vincent Wallace, who arrived in Sydney three years before, gave a grand concert in the saloon of the Royal Hotel in the presence, of the Governor. He was assisted by the band of the 17th Regiment, the members of a Glee Club which then existed, and some Sydney amateurs. The tickets were 7s 6d, and the concert was an immense success. The press said that Mr. Wallace's performance marked the commencement of a 'new era in the chronology of music in the Colony.'

William Vincent Wallace was born at Waterford in 1815, his father being band master of the 29th Regiment. When only 14 years of age Vincent was placed in the orchestra of the Theatre Royal, Hawkins-street, Dublin. He took the direction of the orchestra in 1831 — 16 years of age! — but his health failed, under the labour, and his father found him an easier billet in the R.C. Church at Thurles. In 1833 he was recommended to try a sea voyage, and came to New South Wales, where he commenced as a teacher of music. In Sydney he was joined by his sister Eliza, a vocalist of fine repute. The brother and sister gave many excellent concerts, and may be esteemed the pioneer of high-class music in Sydney. The sister subsequently married Mr. John Bushelle, a singer of excellent standing, known in Sydney society as 'The Knave of Diamonds,' from his alleged resemblance to that card, but more likely from a certain connection with 'brilliants' which brought him to Sydney.

Wallace and his sister gave a concert in aid of St. Mary's Cathedral, which realised £1000. While in Sydney Wallace commenced the composition of his opera 'Maritana.' He was then living at the corner of Castlereagh-street and Brougham-place — now Rowe-street— the Australia Hotel being on the spot. In 1845 Wallace left Sydney, via America, for London, where he completed 'Maritana.' His fame, however, does not rest solely on this opera, as he composed many others. He died in Paris in 1865. The sister, Madame Wallace Bushelle, died at her residence, 149 William-street, Woolloomooloo, in August 1878.

In June 1879, this Mr. James Simmons gave an evening's entertainment at the Masonic Hall, in York-street, something after the style of the elder Mathews. In reintroducing himself to the Sydney public, Mr. Simmons described the city as it was half a century before, when the Theatre Royal was just finished in George-street, and Governor Ralph Darling refused it a license because Barnet Levey, the proprietor, built a flour mill on the upper story. Performances then, according to Mr. Simmons, took place in the prisoners' barracks (gaol?). Mr. Simmons fairly convulsed the audience with his mimicry of actors, judges, barristers, police magistrates, and other known citizens. Many of the old colonists present recognised the portraits. The old gentleman, grown young again, sang comic songs which were popular in the days when Darling and Bourke ruled 'the system.'

When Mr. James Simmons retired from the management of the George-street Royal, Mr. Joseph Wyatt took the reins. Mr. Wyatt was a well-known business man, of very small stature, but of wonderful energy. He was in business for many years in Pitt-street as a leather merchant and ironmonger, his premises being next to the School of Arts. Mr. Wyatt was great at property investments, and speculated wisely and well. When 'Moore's corner' was cut up, in 1834, Mr. Wyatt bought 25ft frontage to George-street by a depth of 86ft to King-street (N.E.), at £55 10s per foot, the record price then. Mr. Wyatt appointed Mr. Knowles as his stage manager, and Mr. Wyatt's usual good luck followed him. While lessee of the George-street Royal Mr. Wyatt said that there was a good opening for another theatre in Sydney. Population had largely increased, and the price given for real property, as indicated by his own purchases, and the really good buildings going up in Sydney in the mid-thirties, indicated that Sydney had outgrown its bushy character, and was becoming a place of importance. Mr. Wyatt therefore thought that the time had come when a playhouse on a grand scale was needed, and that the speculation would pay. On September 7, 1836, the foundation-stone of the Victoria Theatre in Pitt-street was laid with full Masonic honours by Mr. R. Broad, the gentlemen of the 'mystic tie' assembling in full force to do justice to the occasion. The architect was Mr. Henry Robertson, and the theatre was opened on March 7, 1838 with 'Othello.'

(To be continued.)

On September 7, 1836, was laid the foundation stone of the Victoria Theatre, Pitt-street, with full Masonic honours. It took over 18 months to make the building ready for the public, and to make the opening night a success, Mr. Wyatt, the proprietor, engaged a company specially for the occasion. In those far off days quick passages to England were unheard of, and the 'cable' was not. Mr.Wyatt did the next best thing in the circumstances, he went to Hobart Town, Van Diemen's Land, so known then, and engaged as good performers as could be obtained and the theatre there could spare.

'The Sydney Herald' in 1838 appeared but twice a week, Mondays and Thursdays. The proprietor, Mr. Ward Stephens, of Gloucester-street and Lower George-street, Sydney, paid but little heed to the theatrical events of the town, though Mr. Wyatt advertised freely with him. In the issue of Monday, 26th, March 1838, appeared this advertisement :-

Royal Victoria Theatre.

The Public is now respectfully informed that, the above theatre will reopen for the reception of the public this Evening, 26th March 1838, when will be produced for the first time Shakespeare's Tragedy in five acts,

OTHELLO.

The Duke of Venice. Mr. Collins; Ludovico, Mr. Morton; Brabantio, Mr. Lane; Roderigo, Mr. Simes; Cassio, Mr. Groves Montana. Mr. Falchon; Othello, Mr. Arabin (from the Hobart Town Theatre); Iago, Mr. Spencer; Gratiano, Mr. Allwood; Antonio, Mr. Hollis. Julia, Mr. bnuth ; Daulo, Mr. Gazes ; Marco, Mr.Powell; Giovanni, Mr. Balton; Desdemona, Miss Winstanley ; Emilia, Mrs. Arabin.

As an interlude, Mr. Falchon, 'from the Hobart Town Theatre,' sang the popular song, 'Paddy's Wedding.' '

The evening entertainment concluded with the laughable farce.

'The Middy Ashore,' or 'A Spree Upon Land.'

The doors were open at half-past 6, and the performance commenced at 7 punctually. The prices of admission were dress boxes (or circle) 5s, upper boxes 4s, pit 2s, gallery 1s. The old world custom of half-price at 9 o'clock, never heard of now, existed then, the pit being the only exception. Boxes could be secured for the night or for the season, to be taken at the box-office from 9 to 11 each day. To prevent disappointment, no box would be kept unless the admission fee was paid at the time of selection. The plan of the dress circle was always on view at the box-office. Children in arms were not admitted, not even at the old country fee of one guinea each. Mr. Joseph Wyatt signed the advertisements as proprietor, and wound up loyally with VIVAT REGINA.

It must be admitted that Mr. Wyatt's company was a generally useful one, Mr. Arabin 'starred' in bills and advertisements, and Miss Winstanley ditto, ditto, not objecting to appear in such a farce as 'The Middy Ashore.' Mr. Wyatt took care to expand the list of characters in 'Othello' in a way that the Divine William never dreamt of. I am under the impression that, in the present day, if 'Othello' were produced in anything like good form, that an Irish comic song would not be tolerated immediately after it. 'Paddy's Wedding,' however, brings back reminiscences of John Drew and Billy O'Neill, who first, I think, introduced the rollicking song to the Melbourne public. The Mr. Morton who played Ludovico was a near relative— brother, I believe— of Mr. Maddison Morton, the dramatic author. On Mr. Morton's decease his widow kept for a time a tobacconist's shop in Market street, combining the business with newsagency and bookselling. The shop was No. 72, within two doors of Pitt-street, and now built over by Farmer and Co. The lady was there in 1878.

Commenting on the performance of Shakespeare's grand tragedy, the first time, I think, of its production in Australia (Arabin may have played the part in Van Diemen's Land), the 'Herald' critic gave the star credit for a 'chaste conception of the character,' his great fault being that he delivered all soliloquies to the audience, a fault not confined to Mr. Arabin, as most of the old time tragedians always took the audience 'into their confidence,' Mr. Spencer "played that pretty rascal lago well but confided all his villainy to the audience," the critic no doubt thinking that Spencer should have kept his villainy well bottled up until the closing scene. I have seen many Iagos, but never yet saw one who could conceal his villainy. Though excellent in comedy, Miss Winstanley and Mrs. Arabin were counted rank failures in tragedy. The critic considered that Mr. Groves misconceived the character of Cassio, and as to the farce, Mrs. Murray, "a petite little lady with a shrill voice, was animated and likely to become a favourite." Strange to say, the critic admitted that he had forgotten the name of the man who sang the comic song, 'but it served to amuse.' The 'Herald's' critic did for the opening night of the Victoria Theatre what John Baldwin Buckstone once said that a critic did for one of his dramas, "Damned it with faint praise."

Mr. Wyatt, anxious to please his patrons, added to his company. He had a monopoly now. After Mr. Barnet Levey's death, the widow continued to direct the Theatre Royal, but the strain appears to have broken her health, as in the issue of the 'Herald' which announces the opening of the Victoria Theatre, she advertises her thanks to those who sympathised with her in her trouble, and attributes her illness to the cares and worries of theatrical management. She was not the first nor the last who suffered worries from theatrical management. Added to Mr. Wyatt's company at the. time were Mr. and Miss Lazar, Mr. and Mrs. Cameron, and Mrs.Clarke.

At one time the name Lazar was a household word In Australian theatricals. Some years ago a son of this old-time actor had the lease of the Theatre Royal, Castlereagh-street. Mr. John Henry Want, now K.C., then a pushing junior barrister and a patron of all legitimate sport, in which may be included the drama, had business relations with Mr. Samuel Lazar. On occasions the 'treasury' required assistance to enable the 'ghost' to walk with comfort, and on such occasions Mr. Want generously came to Mr. Lazar's aid— I think at one time Lazar's indebtedness to Mr. Want amounted to £600, good coin of the realm advanced to keep the theatre going. As some sort of security, Mr. Lazar gave Mr. Want control of the O.P. box for his private use and that of his friends. While Mr. Lazar was in active management Mr. Want and his friends enjoyed the occupation of the O.P. box without let or hindrance. But evil days fell upon Mr. Lazar; he lost his reason, and was confined until his death in one of the asylums. His interest was still maintained in the theatre; his daughter, Miss Victoria Lazar, afterwards Mrs. Moss succeeded to her father's interest in the lease. But the lady questioned Mr Want’s rights and felt disposed to dispute his possession of the O. P. box. Unfortunately for Mr Want, all the documents and memoranda in connection with his transactions with Mr. Sam Lazar were destroyed in a fire which took place on his premises. Mrs. Moss, however, temporised (I am writing entirely from memory), and agreed that Mr. Want should have the box alternate nights, Mrs. Moss and her friends occupying it for the other three. For peace sake, I presume, Mr. Want agreed to this, and for a time things went on amicably enough. But Mrs. Moss tired of the arrangement, and blocked Mr. Want's entry altogether. Then Mr. J. H. Want went to law. He invoked the aid of the Chief Judge in Equity. The matter, like most Chancery matters, dragged its slow length along for many months, if not years. Then Mr. Justice Owen gave his verdict against Mr. Want. The latter was not satisfied; he appealed to the Full Court and again was beaten. But he was not faint-hearted. He had helped Sam Lazar with good coin, and if he could not recover that he would at least have the 'compensation' that Lazar in his time had allowed him the use of the O.P. box. Mr Want appealed to the Privy Council, and, fate of fates, while the appeal was under way, another 'authority' stepped in and ended the proceedings. In 1892 the 'fire fiend' seized the Theatre Royal, and ended not only Jack Want's long-drawn-out suit, but also Miss Victoria Lazar's (Mrs. Moss) interest in the lease. As fire had destroyed the theatre, there was no theatre to lease! The costs, which all fell on Mr. Want, must have been simply enormous. In the last moments of the Theatre Royal Mr. George Musgrove was manager, with Mr. C. L. Goodman as treasurer, Sam Lazar's representative being the lessee.

The management of the Victoria Theatre, as was absolutely necessary, varied its programme to suit its patron’s tragedy, melodrama, comedy, and farce, with good, bad, and indifferent actors, until the beginning of the year 1841, when a new actor of some old country note struck Sydney. This was none other than FRANCIS NESBITT M'CRON, a name yet remembered by some ancient Playgoers. Not many, however, remember him, but those who do remember Nesbitt— his stage name— place him next to G. V. Brooke. My dead friend, Sam Banks, a personal friend and devoted admirer of Mr. Nesbitt's, placed me in possession of much relating to the private history of the actor. M'Cron was a native of Manchester (England), born in 1809. His mother was named Armstrong, his father a captain in the army. Nesbitt M'Cron was educated for the medical profession, but his taste for amateur theatricals led him to the stage. He stood 5ft 10in in height, very erect in gait, and walked as if on parade. His voice was powerful and melodious. My thirty-years' friend, John Bennett, whose life-long experience of actors ought to make him a judge, says that Nesbitt's voice was the most musical that he ever heard.

M'Cron 's resolution to adopt the stage as a profession was distasteful to his family, but he had made his choice and was determined on following it. Under his second name, Nesbitt, he became a member of a travelling company in Ireland, in the course of which he met G.V. Brooke and Barry Sullivan. Of both these great actors Nesbitt spoke in the warmest terms of friendship and affection. After touring England, Nesbitt struck Scotland, where he met Gordon Griffiths, who subsequently came to Sydney. From Glasgow, in 1840, Nesbitt returned to Ireland, at the request of his relatives, who still thought to wean him from the stage. During a visit to Cork he met Miss Annie Mills, the daughter of respectable parents, and wooed her, but the parents objected, not to the man, but to his profession. Failing their consent, Nesbitt eloped with the lady and married her. In 1840 the couple took passages in the ship Marchioness of Bute, and arrived in Sydney on January 7, 1841. Nesbitt brought letters of introduction to several big people. Governor Gipps being among the number. That to the Governor was never delivered; the others secured him a billet as tidewaiter in the Customs, Henry Parkes occupying a similar billet about the same time. A quarrel with a superior officer induced him to throw up the appointment. In checking cargo Nesbitt wished to sit, the superior officer ordered him to stand, and Mr. Nesbitt 'cut and run.' Failing to get other employment, Nesbitt joined the police force, and for a part of one night walked 'a beat' in Sydney streets. He resigned in the morning.

At that time Mr. Joseph Simmons was manager of the Victoria Theatre, and to him went Mr. Nesbitt. As the latter had been brought up in the south of Ireland he had just “the last taste of the brogue” on his tongue, but could, when he pleased, lay, aside the 'accent.' While conversing with Mr. Simmons, Nesbitt unconsciously used the brogue, which set Mr. Simmons, a Hebrew with a "lisp," in roaring laughter. The idea of playing Hamlet with an Irish brogue tickled the fancy of the Hebrew manager. Mr. Nesbitt, however, gave 'Rolla's address to the Peruvians' in a style and in an accent never before heard by Mr. Simmons. There was no trace of brogue, and the Hebrew, who could tell a good thing when he saw it, immediately closed with the new actor, who had dropped unheralded amongst them. The play of 'Pizzaro' was in rehearsal, Mr. Simmons being the Rolla, but he generously gave up the part to Nesbitt. There was but a peer attendance, but by the time half price had arrived the people in the street heard that a genius was playing at the Vic., and the house became crowded. Nesbitt next appeared as Richard III, crowding the house for fourteen nights, an unprecedented run for Shakespeare at such a time, and a distinct tribute to the great merits of the actor. His list of characters during this engagement consisted of William Tell, Rolla, Othello, Macbeth, Richard III, Sir Giles Overreach, Octavian, Sir Edward Mortimer, and Virginius. As indicating Mr. Nesbitt's real character, it may be mentioned that when he accepted the engagement with Simmons, Mr. Conrad Knowles, who had left the pulpit for the staged held such parts as Hotspur, Mercutio, Hamlet, The Stranger, Falconbridge, and such. These Nesbitt would not play, not from any fear of comparison, but from a sense of Justice towards the other actor.

In 1841 Mr. Wyatt went to England in search of talent, and made some engagements. I think he was absent when Nesbitt was engaged, but early in 1842 the first contingent arrived. This consisted of John Gordon Griffiths, Mr. and Mrs. Harry Deering (the parents of Olly Deering and Mrs. W. B. Gill), and Mr. and Mrs. Mereton (the first-named selected as Mr. Simmons' successor in the management). After a time came Madame Carendini, Mrs. Stirling (afterwards Mrs.Guerin, and now the widow of Richard Stewart, and mother of Richard, Docy, Nellie, and Maggie Stewart, who have all reached success upon the colonial stage), and Frank and John Howson. These came from Hobart Town. Then followed Madame Torning, Mr, James and Madame Louise, Mr. and Mrs. George Coppin and others making the Victoria company a particularly strong one. Of all these, but George Coppin, at 85, remains. Long may he remain!

Nesbitt remained with the company, and 'Coriolanus' was put into rehearsal; but Nesbitt's 'weakness' overtook him, and John Gordon Griffiths performed the part. Nesbitt then crossed the Tasman Sea to Van Diemen's Land; and played at the old Albion Theatre, Launceston, and at the Victoria, Hobart Town, for several seasons. He then crossed to Melbourne, where he secured an engagement at the old Queen's Theatre, in Queen-street, built by John Thomas Smith, the Melbourne Whittington, differing only from Dick in as much as Dicky was but thrice Lord Mayor of London, whereas John Thomas Smith was seven times Mayor of Melbourne. Mr. Nesbitt's liking for strong drinks was a source of constant worry to his managers.

(To be continued.)

SYDNEY THEATRICAL INTELLIGENCE

[FROM A CORRESPONDENT]

On Saturday evening last, Capt. Piper and many of his friends visited the Theatre. The "haut ton" mustered pretty strong in the Dress Circle. The performance commenced with the "Lear of Private Life." Mr. Simmons's personification of the fond, doting and ultimately maniac Father, was excellent, as well as Mrs. Taylor's exquisite performance of the tender dutiful confiding artless daughter, who relying on the promises of " Alvanley" consequently brings herself to ruin and goads her parent on to madness. in her departure from " Alvanley" and the scene which arises in the forest where she recognizes her father, her acting was truly effective; as was that of Mr. S. - Ample applause was the reward of their exertions. From the intense feeling she exhibits in this line of the drama, which may be termed the Tragedy of Domestic life, we should recommend to the manager's notice, Annetta, Victorine, The Sergeant's wife. Mrs. Jones was the Merriel and was a poor substitute for Miss Winstanley who originally played it here. It is a matter of regret to find that young lady absent from the establishment; for with all its dramatic strength, it requires more females- from the improvement she had lately shown and from her capital performance of Mrs. Tucker, Norna, and some other little characters she was rising in public favour. Grove's "Alvanley" may be rated as his best character, the other characters are all so trifling that the actors could not well acquit themselves better or worse than they did. A" Day after Wedding" closed the performance. There arose many ludicrous points about this little piece, that it cannot but excite laughter, and it did so abundantly, but did it give general satisfaction? We will pass over it in silence - it was wrong cast. Mrs Chester introduced three songs and was very happy in "Should he upbraid." It is impossible to observe the spirit which prevails on the Sydney Stage to produce horrible and terrific melo-dramas, instead of those fine, true, mirth inspiring and moral pictures which Mr. Centlives, Faraquhar, Morton, Reynolds, Colman, Sheridan have spread before us to make us ashamed of our follies but not of our species, We are now almost continually presented with odious and appalling dramas, which tho' calculated powerfully to disturb the wellspring of our emotions, have any thing but a pleasing or beneficial effect on the heart. Being profoundly impressed with a veneration for the drama and still more so for the moral lesson it ought to convey, we cannot behold with indifference our stage transformed into an exhibition of crimes which are beyond human imagination. The production of "Father and Son" last night causes these remarks, it being a tissue of improbabilities at the same time the heart shudders to behold a parent committing crimes, with the knowledge of his children, merely to cover his former sins and aggrandize his face. Instead of time being spent in such productions, something better might be substituted, which would tend to cultivate a correct and judicious taste for the drama. We do not advise the old plays indiscriminatingly, but a careful observer could select such as would suit the present stage. We understand Miss Winstanley's absence is caused by some disarrangement with the manager respecting her salary. This of course the public have nothing to do with. It is to be hoped however that her absence will not be long.

THE DRAMA.

"Eloped!- she- she eloped! Then are the angels false"

Lear-Act 1st. sc. 5.

This touching piece, "The Lear of

Private Life," was played on Thursday

night last to a well and respectably filled

house. For pathos, incident, and moral,

this is unquestionably the best dramatic

production of Moncrieff's, voluminous a

stage writer as he is, and ingeniously as

he has dramatized "Eugene Aram,"

"Monsieur Tonsou," and several more.

It represents a father slung to  madness

by the seduction of his only child- her

consequent suffering and his own-her

final return to virtue, and his his to rea-

son. The piece abounds in touching

scenes, which, above once, draw the tears

from many of the audience. Mr. Sim-

mons personated Fitzurdine capitally;

Mrs. Taylor rather failed in the placid

plaintive character of Agnes, but did the

character much justice notwithstanding;

in the harp scene her voice was particu-

larly sweet and thrilling. The other parts

were well sustained. The after-piece,

'The Warlock of the Glen," was ex-

ceedingly well performed. Mr. Mackie

played Andrew; Mr. Knowles the War-

lock; Miss Winstanley played Adela

better than any character we have seen

her in yet. The house opens again to-

night.

THE THEATRE. -

On Saturday, the melodrama of "Timour the Tartar" was introduced for the first time in this colony, and the manner in which the scenery and dresses were got up was highly creditable to the managers. The house was crowded to excess, and many persons were forced to leave on account of the oppressive heat. Groves as Timour was rather too tame for the hot blooded Tartar, but in some of the scenes his expression was good, and if he would throw a little more fire into the character without the ranting that is too generally mistaken for spirit, his delineation of the character would be good. Simmons's Kerim and Mackay's' Samballat were well sustained, and the combat to decide the possession of the captive Selima was ably contested. Had we a voice we should cast Simmons for Timour, if another could be selected to fill the character of Kerim, possessing the skill in fencing that Simmons does. Knowles made a decided hit in Oglan, and evinced considerable comic humour. Abdalla (Lee) is a sort of a supernumerary character, excepting in the last scene where he severally engages with and slays Kerim and Samballat, in which he evinced great tact and activity in the broad sword exercise. Mrs. Taylor's Zorilda was stately and in the scene where she is discovered by Timour. when effecting the escape of her child, the thrilling anxiety for his escape, the almost unsupportable agony of his being discovered and arrested in his flight, and the undisguised capture when his safety is communicated by Oglan, were finely portrayed. Miss Winstanley was properly cast for Selima, and appeared extremely interesting in the young captive, which she sustained well. Mrs. Jones did all that could be done. in the character of Liska, which is not a character of any peculiar feeling or point. On the whole, the effect was good and the trouble and expense which it must have cost in getting up, evinces a desire on the part of the managers to please the public, which we hope will be duly appreciated and acknowledged. Fitzgerald danced a comic dance, and was recompensed by having to dance a hornpipe. Simmons gave Beggars and Ballad Singers, with his drollery, and was encored. Lillie Jones and Miss Ann Winstanley sung Polly Hopkins, and were also encored. The afterpiece was the farce of "Mr. and Mrs. Pringle," which occasioned much laughter, and the night's performance, as a Christmas introduction, when the juvenile portion of the audience require relaxation and amusement in the vacation, was creditable to the colony. The house will be open every night during the Christmas vacation.

THE THEATRE.

The managers appear to have engaged the

services of Mr. and Mrs. Cameron, as they

have both played occasionally during the

past week or twelve days; but whether they

have been permanently engaged we are not

informed. Mr. Cameron played Iago tole-

rably well on Tuesday night. In the first

part of the tragedy he seemed ill at ease, and

to play without spirit ; but as the piece drew

to a conclusion and he became warmed with

the applause, he brightened up, and managed

the remainder of his part much more effective-

ly. On Saturday evening, Mrs. Cameron

played Clari. This character, as well as the

one in which she made her debut (Mrs. Hal-

ler,) have been played with no inconsiderable

success by other ladies now on the Sydney

stage; and Mrs. Cameron therefore makes

her appearance under those circumstances

under some disadvantage. Her style is how

ever so different, that without instituting

"odious" comparisons we may commend and

admire both herself and them at the same

time. In Clari she impresses the idea that

she really feels all that her impassioned lan-

guage describes; which of course gives ad-

ditional value to her acting. Mr. Knowles

played Rolamo the broken hearted father with

great talent and emotion ; and Mrs. Taylor

the character of Vesirina with all tlie vivacity

for which she is distinguished. If the corps

was a hundred strong/those two parts could

scarcely be assigned to two performers more

admirably calculated for them. The Bravo

of Venice was the after piece, and was rather

bungled in some of the scenes, in consequence .

of a few not being "well up''- to their parts.

The Bravo (Rugantino) from the changes of

character in it as described by us last week,

is ii difficult part and one well qualified to

shew on Mr. Knowles' versatility of talent.

His bearing in Rugantino is bold and daunt-

less, and his manner in Flodoardo is refined 

and graceful. Miss Winstanley in Rosabella 

is somewhat incommoded with a long train,

which fashion probably dictated for ladies of

rank with the mischievous purpose of dis-

covering how their native grace would ex-

tricate their persons from the embarass-

ment of such an ill-contrived garment. She

manages the part cleverly, and in the. last

scene is very energetic. Mrs. Larra is very

amusing in Camilla. Mr. Lane looks a res-

pectable old Duke enough and would play it

decently if he would leave off exasperating

that inoffensive letter which 'is whispered

in Heaven and muttered in Hell' Dr. John

son and Sheridan, should old Charon ever

skull them across the Styx, in order to their

witnessing Theatricals at the Antipodes of

this other world, would be horrified, and

look in vain for precedents in their Dictionaries

when they heard the dread language now and

then perpetrated. Memmo's fears call forth

many a laugh ; it is a part which Mr. Buck-

ingham always plays with humour. The

other characters have no distinguishing points

to comment on. 

On Saturday evening the Stranger was

again requested, with the afterpiece of

Is he Jealous? in which Mr. and Mrs.

Cameron personated the parts of Mr. Bel-

mour and Harriett. The admirable perform-

ance of Mrs. C. kept the house in continual

laughter. We were glad to see the house

was well attended.

THE THEATRE.

The Drama of Tekeli has been re-produced since our last publication. Mr. Mackay has bought it advisable to seek his fortunes in mother land. He was a very valuable member of the corps, from the versatility of his talents, as well as from the advantage of a clear voice and general good appearance. As he is now absent we will not speak of his faults. His place will be advantageously (as it is said) supplied by a Mr. who has been engaged by the manager; and who is to make his debut in Richard III. In the acknowledged difficult part of Richard. Our paper goes to press too early on a Thursday evening to report the Theatricals on that night, or we should have afforded our readers a description of Blue Beard, which was announced for last night in terms which lead us to augur much for its attractions, In Tuesday's Australian it will, however, appear. The two Farces, Lovers' Quarrels and Mrs. Wiggins are in themselves particularly amusing, but they are carried off with considerable esprit. In the former, Mrs. Jones as Jacintha, enacts the malapert, intriguing lady's maid to the life, and by her sprightly sallies keeps the audience in a 'perpetual grin.' These characters, and all coquettish parts, are admirably suited to her style. [text missing…] Buckingham as Sancho, in his philosophical disquisition upon women, delivered himself with a volubility really surprising. The ' gods' were dying to encore the edifying essay. Lopes by Mr. Dyball was dressed in highly quizzical fashion. In Mrs. Wiggins, Mr. Knowles as Old Wiggins is the soul of the farce; his appearance is ludicrous to the last degree; and he supports the character so naturally throughout, that the illusion in the mind of the spectator is never dispelled. Mr. Peat would really improve himself much by casting off that affectation of manner and voice, with which he deems it necessary to clothe young men's characters. Young Wiggins is undoubtedly a profligate and a spendthrift, but there appears no urgent necessity for constituting him a puppy likewise. Mr. Simes as Trim was very entertaining; he makes a transcendent valet. After witnessing the affray between Mrs.Chloe Wiggins by Mrs. Downes, and Mrs. Tom Wiggins by Miss Winstanley, it would be a crying sin to excite their feelings of jealousy, so fearfully displayed, by commenting particularly upon their respective performance; we will therefore speak of them and Mrs. Larra as Old Mrs. Wiggins, en masse. Their consciences may be satisfied that the farce suffered naught in effect and spirit from their exertions. Among other pieces the Overture to Figaro was played in excellent time and style by the Orchestra; and wo arc convinced that frequenters of the Theatre will always be more gratified with similar overtures than with such exhibitions as we felt it desirable on a late occasion to condemn.

BLUE BEARD

THOSE who have seen certain pieces performed in London, and afterwards see them here, witness the colonial representation at a disadvantage. Thirty-two years ago, we saw 'Blue Beard' in the old Theatre of Drury Lane; Palmer in 'Blue Beard,' Suett in 'Ibrahim,' Bannister in ' Shacabac.' Mrs. Bland in ' Beda,' Kelly in ' Selim.' The impression this gorgeous spectacle made, is well fixed in our memory. And after saying this, we must admit, that 'Blue Beard' has been got up by Knowles admirably. Had we seen other shewy pieces at the same are, we might have been equally impressed. Yet there, are reasons why ' Blue Beard' was pre-eminent above ' Cinderella' and other splendid Pantomimes founded on the nursery tales of the famous ' Mother Goose.' ' Blue Beard was the first of the many attempts to dramatise the old lady. The music of 'Blue Beard' has rarely been exceled for true harmony; that which touches the heart without breaking in on the feelings by a vulgar mechanical execution "of difficult passages." And the circumstance of 'Blue Beard' being announced by our Sydney Thespians, as it has been, with a sort of pomp, and as a piece of unusual merit, shows, that there is in this Turkish Romance something unusually imposing. The first scene, in which the incomparable march called "Blue Beard's March" is introduced, with a grand Turkish procession, was well managed; the new scene itself excellent. The charming duet between Fatima and Selim had to be omitted for though Miss Winstanley can sing, Peat cannot. The famous duet of "Tink a Tink," which was ground on the hand organs for years afterwards in the streets of London, and then relinquished with regret to give way to novelties, was capitally executed by Mrs. Jones, and got through tolerably by Buckingham, who, like Peat, is no singer, yet sang. Mrs. Bland's style of singing ballads was unique, and has, like Incledin's, never been equalled since. But if she sang "Tink a Tink" better than Mrs. Jones, she did not dance so well, for she was a little dumpling of a cherry-checked milk-maid in appearance. Miss Winstanley "would" have sung "When pensive" well, but for two things-first, she was frightened out of her wits, being a novice in singing in public; and next, she pronounced the words with too homely an accent. But for these faults, both easily remedied, she would have sung this beautiful air well. The dance between Mrs. Jones and Mr. Fitzgerald was well executed. Mrs. Jones's movements were singularly graceful, without anything to offend; which cannot be said of the Opera at home. Mrs. Downes sang "Love is a mischievous Boy" with great spirit and correctness. With practice, and aided by Mrs. Chester, these three actresses would get through a comic opera with éclat. They have the latent capacity. The dresses of Mrs. Downes, Mrs. Jones, and Miss Winstanley, were superb.

THEATRE - A Mr. Spencer, recently arrived from Hobart Town, made his debut on Monday evening in the character of Gloster, in Richard III., probably, with one exception, the most difficult character that was ever conceived by a performer, and one with which most playgoers are familiar. Mr. Spencer was well received on his first appearance, but had hardly got through his soliloquy before evident marks of disapprobation were shown; indeed, from the hurry to hiss, which was evident, it appeared as if a few persons were determined that Mr. S. should not have a fair trial, but they gained "nothing by the motion," for this evident desire to depress Mr. S. had the effect of making the other portion of the audience rather warm in his defence, so that at least it may be said that "the Ayes had it." Mr. Spencer, by his dress and general manners on the stage, showed that he will be an acquisition to the Sydney Theatre; but what could induce him to make choice of such an arduous character as Gloster, for his first appearance it is hard to conceive, as he must have been aware that he could hardly make a hit, when had he come out in any minor character he would have been sure to please the public. From the manner in which he played in the fifth Act, we should imagine that melo-drama rather than tragedy could be Mr. S's. forte, for his action was certainly not very tragic. Mr. Spencer gave the public what they seldom enjoy the benefit of in Sydney, the words of the author from first to last. Although Mr. S. will probably be permanently engaged by the Managers, it is not likely that he will again appear in Richard, and in any character of a common description he will be almost sure of succeeding. The other characters were mostly […] played; Knowles’s Buckingham, Simmons’ Richmond and Master Jones’ Duke of York being well supported. Mrs. Downes, as the Duchess of York, looked like anything but a Lady of fourscore. Mrs. Taylor played Lady Anne with no spirit; indeed, tragedy is out of her line. On Mrs. Jones' Queen Elizabeth it would not be fair to pass any remarks, as she had but a very short notice to play the character, which was intended for Miss Winstanley, who in consequence of a quarrel with the manager, has left the stage. The visitors of the Theatre will be sorry to hear this; for although Miss W. had little versatility of talent, yet her pleasing, unaffected demeanour, while on the stage, had rendered her a great favourite. Mrs Jones was to have played the Prince of Whales, a character which was assumed by a little girl (a sister, we believe to Master Jones) who went through the part with the same tone of voice, and with much the same gestures that children repeat poetry at school. The house was very full, every portion being crowded, a proof that however ill it is played, the public are and will be admirers of what is properly called legitimate drama.

THEATRE.—The celebrated spectacle of  "Blue Beard" was brought out on Thursday evening, in a style that, taking into consideration the smallness of the house and other disadvantages, may be justly called surprising. The dresses were splendid and appropriate; and the scenery and decorations generally, were of a description far superior to anything before produced in the Colony. The piece opens with a view of Ibrahim's cottage, with a mountainous country in the back ground, over which the grand procession of Blue Beard, who is on his way to the cottage for the purpose of taking Fatima to the castle, is seen advancing. This scene was well managed, and the view of the procession on the hill, with the distant music, had a very good effect. The procession looked splendid; and the supernumeraries had evidently been well drilled. The chambers in Blue Beard's castle (especially the blue chamber) were very well painted,—indeed he new scene painter appears to under- stand his business. The view of the exterior of Blue Beard's palace, with the gardens, was also very good ; and, on the whole, the piece was got up in a manner that we hope will draw such houses as will remunerate the proprietor. The marches and other music were appropriate and well played. Abmelique (Blue Beard) was well played by Knowles, who looked the character admirably; Simes, as Ibrahim, displaced some humour, although rather out of his line when playing an old man ; Buckingham's Shacabac was very middling, we have seen him play a comic character better ; in his part in the duet of "Tink a Tink," he sang but very poorly, but he made a much better attempt at his comic song. Miss Winstanley was an interesting Fatima, and made a very good attempt at singing "While pensive I thought of my Love," although her excessive timidity (a fault not often chargeable to Miss W.) prevented her giving herself fair play ; Mrs. Downes, as Irene, displayed considerable vivacity and tact, and introduced the song of " Love was a mischievous Boy," which she sang with much taste; Beda was remarkably well played by Mrs. Jones, who (with Mr. Fitzgerald) went through a very graceful dance in the garden scene. It would be doing injustice to Messdames Winstanley, Downes, and Jones, not to mention the elegant and characteristic manner in which they were dressed. From the manner in which the piece was received on Thursday, there is no doubt of its being a favourite. This evening, a gentleman, who has played at several of the London theatres, will make his debut on the Sydney stage as Richard III.