Mr Robert Farquharson

Contemporary with the arrival of Joseph Jefferson and Harry Sullivan came the opera troupe, controlled by as true a gentleman as ever set foot upon our shores,

WILLIAM SAURIN LYSTER

who arrived from San Francisco in 1861. In the troupe were Madame Lucy Escott, Miss Rosalie Durand, Miss Georgia Hodgson (Mrs. W. S. Lyster), Mr. Fred Lyster, and Mr. Henry Squires.

Before entering upon a history of the troupe's Australian career, I may be permitted to give a sketch of the enterprising gentleman who brought the singers to our shores, and who ended his days amongst us.

Mr. Lyster was born on March 21, 1828, at 116 Lower Baggot-street, Dublin, where his father, Chaworth Lyster, then resided. The father held a commission in the British Army, and had seen service during the Irish Rebellion in 1798. After his marriage he retired from the army, and became the agent of some extensive estates in Ireland, one of which belonged to William Saurin, then Attorney-General, after whom the future operatic manager was named. At the age of 13 years, William Lyster, recovering from a very serious illness, was sent on a voyage round the world in a sailing ship, and in that ship be visited Sydney and Melbourne in 1842. In 1847 he went out to the Cape of Good Hope, and served as a volunteer in the Kaffir war under Sir Harry Smith. A year afterwards he crossed over to the United States, and took to the stage. He had some qualifications for the profession, but it is said that his success, on the whole, was not encouraging, and in 1855, purely from a love of adventure, he joined a filibustering expedition against the peace of Nicaragua, organised by General Walker. Mr. Lyster, with the rank of captain, fought in three or four battles, and was then commissioned to the States to enlist recruits. During his absence Walker and his companions came to an untimely end, and the expedition collapsed.

In the year 1857 Mr. Lyster appears to have directed his energies into a more agreeable channel. He got together his first operatic company, consisting of the artists named above. The company did well in the Western States, and Mr. Lyster found himself able to spread himself towards Australia. On arrival in Melbourne he enriched his troupe by the engagement of the well-known and popular baritone, Mr. Farquharson, and Mr. J. E. Kitts. The company met with complete success, and Melbourne established itself as the headquarters of opera in Australia. The troupe kept together for six years, visiting the colonies in turn.

In New Zealand they had continuous employment for eight months.

From 1861 until 1880 Mr. Lyster was so intimately connected with opera that an account of his career will consist of little else than a chronicle of the several companies that apppeared under his auspices. No venture, however, exceeded the first in its results. From 1861 to 1868 novelty succeeded novelty until the public were made acquainted with the best operas extant. As an instance of his industry it maybe mentioned that 'Don Giovanni' was produced for the first time in Australia on September 23, 1861, and 'The Huguenots' (Farquharson as Marcel) on October 14, 1862. The latter opera ran for 22 nights. In 1860 the company was strengthened by the addition of Madame Simonsen, whose first great success came about in 'L'Africaine,' in conjunction with Armes Beaumont. The latter had joined the Lyster troupe some time previously in Sydney, but it was not — so the critics say — until he was entrusted with the part of Vasco-di-Gamma that he stepped into the front rank as a tenor singer.

After a long and successful stay in the Australian colonies, the company left for California in 1868, under Mr. W. S. Lyster's direction, sailing for San Francisco in the Alexander Duthie. In those days there was no Pacific mail service. The States projected tour proved a failure at the outset, and Mr. Lyster promptly returned to Australia, by way of New Zealand, in the barque Novelty. After the departure of Madame Escott and Mr. Squires, regular opera was absent from Melbourne for some time. Then a company which had arrived from South America appeared for a brief season, under the management of Mr. Lyster at the Haymarket Theatre, the principal singers being Vitali, Devoti, Bertolini and D'Antoni. Mr. Lyster then entered onto a sort of temporary partnership with Mr. John Smith, and went to England to engage another company. Under the joint management of Messrs. Lyster and Smith, Signora Baratti, Lucy Chambers, Signor Neri, and Signor Dondi appeared in Melbourne in 1870 the engagement lasting 12 months. Then came opera-bouffe in February 1871 a successful experiment, as comic opera had its share of public interest. Mr. Lyster's next venture was in conjunction with Cagli and Pompei in May, 1871, when a very strong body of singers was introduced: the Coys. Signora Zenoni, Signora Cortesi, and Signori Rosnati, Coliva and Dondi. The conductor was Mazzovati, and the troupe ran through a series of works of Italian composers at the Princess' Theatre. They then went to the Opera House, then known as the Prince of Wales Theatre. Then came Agatha States and her company, with Giorza as conductor, they performing for a limited period under Mr. Lyster at the Haymarket. For over ten years opera had been heard at each theatre at Melbourne, but it never could claim a settled home. The first performances in 1861 were given at the old Royal in Bourke-street ; some successful ones were given at the old Princess'. When the 'Varieties' was burned down, the Prince of Wales Opera House was built in Bourke-street East in 1873 by a company, of which Mr. W. S. Lyster was the managing director: and on the return of the Lyster-Cagli troupe from a tour in the neighboring colonies opera was given for the first time in the new theatre. A big triumph was achieved in the production of 'Moses in Egypt,' with Susini in the leading part. After this, English, French and Italian opera were played in turn, with Alice May Emilie Melville, and Clara Thompson shining in Offenbach and Le Cocq. The Palmeri Troupe appeared in 1874, but nothing remarkable was done in serious opera until 1877, when 'Lohengrin' was produced, with Madame Antoinetta Link and Signor Paladini in the leading parts. It had a long, though not remunerative, run. Ill health, in 1878, induced Mr. Lyster to visit England, and with him went his wife and Mr. Armes Beaumont.

While in England Mr. Lyster entered into an agreement with the London Comedy Company, and returned to Melbourne in 1879, not much better, however, for his trip. On his return there

had been short seasons with Madame Hersee, Mr. Verdi, and Madame Boema, interspersed with dramatic performances.

Many years before his death Mr. Lyster established himself on a farm at Dandenong, occupying his leisure time in breeding cattle and sending away produce to market. At this pleasant homestead Mr. Lyster frequency surrounded himself with genial friends, but in the last year or so of his life his health compelled him to reside near the city. He died, at the house of his friend, Mr. William Dean, at Hawthorne, on November 27, 1880, aged 52 years. His widow— nee Georgia Hodson— surviving him over 20 years.

When the Lyster Opera Troupe returned to San Francisco, in 1868, they did not go as they came; they left behind one of their number.

ROSALIE DURAND, wife of Mr. Fred Lyster. This lady was a native of the United States, of French descent, and made her first appearance at Baltimore in 1854. On the morning of December 8, 1868, Mr. Lyster, according to the newspapers of the day, left his lodgings in Macquarie-street North to attend a rehearsal at the Prince of Wales Opera House, Castlereagh-street, leaving his wife at home, apparently in the best of health and spirits. When Mr. Lyster returned to his lodgings, he found his wife lying dead upon the bed. Medical evidence proved that she had died of heart disease. The theatre was closed that night, and on the following day Sunday— her remains were interred in the R.C. Cemetery, Devonshire-street, and at the head of the grave was placed a very modest headstone, on which was a very

meagre description :-

I.H.S.

Sacred to the Memory of

ROSALIE DURAND LYSTER,

Who departed this life

8th December, 1868.

Aged 33 years.

While in Australia, Mr. Henry Squires had an experience of the fickleness of an Australian audience. After their first performance in Melbourne the troupe journeyed to Adelaide, where they had a full measure of success. Meanwhile some excitement was created in Melbourne. Mr. Squires was an excellent tenor, every Melbourne judge of music and voice conceded that. He was popular with those who did not understand music, but who were charmed with the beauty of his voice and his general bearing. The devoted Escott, too, had won her way into the affections of the playgoers. But Melbourne people had an idea that however excellent a vocalist, Mr. Squires was an injudicious letter writer, and his friend, the recipient of the letter, more injudicious than the writer, in publishing it. In the San Francisco 'Bulletin,' 11th June, 1861, appeared extracts from two letters written by Mr. Squires to a friend at the Golden Gate. These letters were dated March 11 and April 9, 1861. The first went thus: — "My Dear Friend, — We saluted the Antipodes on the 1st instant, after the delightful voyage of 52 days. We reached the trade winds eight days after sailing, when we had weeks of charming weather. For days and days the glorious Pacific was as quiet as a duck pond. I shall not attempt to give you scenes du voyage, as your knowledge of the world will enable you to picture for yourself the various characteristics eccentricities, etc., of a caged troupe of opera singers. Captain Hart and his agreeable half contributed largely to the pleasure of the voyage. The table was A.1. — fresh meats, vegetables, and fruits in abundance. The heat was severe in the tropics, but we managed to keep be low boiling heat under the h-awning.

"I like this shore. Melbourne is a fine city, but everything and everybody is 'blwasted English.' The streets are broad and clean, some of them as wide as Pennsylvania Avenue. The public buildings, churches and residences generally are built of beautiful stone, and present an elegant appearance. I could almost imagine myself dropped down in some provincial town in England; there are the same Saturday night markets in the streets, the same gin shops, bar

maids, hawkers, etc., and the same promiscuous use of the eighth letter of the alphabet.

“There are three theatres in operation here, besides the Cremorne Gardens, singing saloons, etc. Lyster has made arrangements for the troupe to open on Easter Monday, the 25th instant. 'Lucia di Lammermoor' has been selected for the opening, when your most obedient will make his bow as the unfortunate and broken-hearted Edgardo.

"We have a chorus of 17 men and 11 women, and a capital orchestra. The theatre is larger than the American in San Francisco. It is handsomely decorated, has a full depth of stage; is harmonic, but badly lighted.

“I can foresee that my absence from San Francisco will seem interminable. I could gladly return to-day, and the sentiments you expressed on board the Golden Age, upon your return to California, I can fully appreciate."

In the second letter Mr. Squires announced the debut of the troupe. "It was a great hit. Madame Escott and myself received a cordial welcome and call after the first act, second act, grand sestette encored, and call at the close. Abundance of applause in last act, and a jolly call at the close of the opera, which was 'Lucia,' as stated in my last."

They played 'Lucia' three nights. 'Maritana' followed and was a great triumph. ''There were seven encores during the performance. So you see the Melbourneites mean to have the worth of their money. It is a good public, and the applause, if vociferous, is discriminating." Lurline followed. Miss Hodgson made her first appearance in 'Maritana,' and Rosalie Durand made her debut in 'Fra Diavolo,' which had been deferred from the first week in consequence of her illness. She had a fine reception.

Respecting an Australian favorite, Mr. Squires wrote: — "I must not omit to mention Mr. Farquharson, our new basso and baritone. He has a magnificent voice, and is withal a gentleman. Unfortunately he goes to London in July to join the troupe at Her Majesty's Theatre. We have some hopes that he may join us, on our return, in California."

These letters were published in the Melbourne newspapers while the Lysters were in South Australia. Melbourne people were boiled with indignation at being dubbed "blawsted English," and Mr. Squires was promised a warm reception on his return. 'Martha' was the opera chosen, for the re-appearance of the troupe. I was present, and I do not remember the old bouse ever being so closely packed, even on G. V. Brooke's last night, which was, up to the 'Martha' night, the record. It was said that many came around with certain missiles in the shape of vegetables, etc.; but, to the credit of that great audience, they were not used. The opening scenes were listened to with impatience, and when Squires came on as Lionel, the house rose at him. Pit, stalls, upper circle and gallery hissed, hooted and groaned, while the dress circle took the singer's side; ladies waved their handkerchiefs, and gentlemen frantically clapped their kid-gloved hands. The uproar lasted for several minutes. In moments of cessation Mr. Squires would essay to speak, the attempt only causing the uproar to break out afresh. Squires stood his ground manfully, backed up by Farquharson, who stood by his side with his right hand on the left shoulder of the other during the turmoil. When the vocal exercise had tired the audience a little, Squires was heard to say that what he had written was really intended as a compliment. This appeared to be adding insult to injury, and the uproar broke out again. Mr. Farquharson was seen to whisper something to Squires, and instead of attempting another speech, the tenor, having given the "office" to the orchestra, commenced the 'Last Rose of Summer,' Squires, in splendid voice, sang in superb style. When he had finished the packed house rose to the occasion, and rewarded the now smiling singer with round after round of applause. He had made his peace, and had gone bravely through his "baptism of fire." Henry Squires was not again troubled about his "blawsted English."

Madame Escott and Mr. Squires were married, and settled down in some charming spot in Italy on ample means, gathered during a careful career, and were able to thoroughly enjoy the evening of life. Mrs. Squires died late in 1895. I believe Mr. Squires still lives, at least I have not heard of his death Mr. Fred Lyster is still in the land of the living, in California I think; while Armes Beaument is still heard of, occasionally, in Melbourne. Of these and others of the troupe more anon.

(To be continued.)

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.

***

'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.)

***

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.)