Charles Lamb, in an essay on some old actors, remarks that the casual sight of on old playbill which he had picked up brought back such a flood of memories that he was constrained to 'write them up.' Lamb says : 'These old remembrances makes us feel how we once used to read a play-bill, not as now, peradventure, singling out a favorite performer, and casting, a negligent eye over the rest, but spelling out every name, to the very mutes and servants of the scene.' This was written over 80 years ago, and the words are applicable to-day. There is no greater delight to an old playgoer than in turning over a sheaf of old play-bills and living in the past, and with these dead and gone actors recalling happy days that are no more.
Next, perhaps, to the delight of recalling the actors and actresses of our boyhood days is the present delight of running through old books and papers, musty with age; when in search perhaps of one object you light upon another and are equally a gainer of pleasure. One day recently, to get rid of some cobwebs which had gathered about the brain, I strolled among some of my old familiar friends, the second-hand booksellers of Sydney, and in the shop of Mr. J. Murphy, 22 Castlereagh-street, I came across what was to me an almost priceless treasure, a copy of the play-bill of the opening night of the old Queen's Theatre, Melbourne, now nearly 60 years ago. Mr. Murphy very kindly presented me with the relic, and as it brings back to earth, in memory, some of our ancient favorites, I may be excused for quoting it in extenso.
QUEEN'S THEATRE ROYAL,
QUEEN-STREET, MELBOURNE.
OPENING NIGHT.
THURSDAY EVENING, MAY 1, 1845.
The proprietor having completed his arrangements for the opening of the New Theatre Royal, Queen-street, on the above-named evening, has the honor of announcing to the patrons of the drama —the public of Melbourne and its vicinity—that he had secured all the available talent in the province, and is in communication with neighbouring colonies for the purpose of adding strength to his company.
Previous to the rising of the curtain an opening address will be delivered by Mr. Nesbitt.
ON THURSDAY EVENING, MAY 1, the performances will commence with Tobin's celebrated Comedy (in five acts),
THE HONEYMOON.
Duke Aranga ……………… Mr. Nesbitt
Balthazar ………………….. Mr. Capper
Count Montalban …………. Mr. Boyd
Rolando ………………….... Mr. Cameron
Jacques …………………….. Mr. Lee
Lampedo ………………...… Mr. Cochrane
Campillo …………………... Mr. C. Boyd
Lopez ……………………… Mr. Miller
Servant …………………….. Mr. Jacobs
Juliana ……………………... Mrs. Cameron
Zamora …………………….. Mrs. Knowles
Volanto …………………….. Mrs. Boyd
Hostess …………………….. Mrs. Avins
Villagers …………………… Messrs. Jones and Smith
In Act 4 a rustic dance incidental to the Comedy.
End of the Comedy, an Admired Song by Mrs. Knowles; a Comic Song by Mr. Miller.
To conclude with the laughable Farce of the
UNFINISHED GENTLEMEN ;
or
BELLES, BEAUX, CANTABS AND TIGERS.
Lord Totterley (an
Adonis of 60) ………………. Mr. Capper
Hon. Frisk Flammer ………... Mr. Boyd
Jem Miller (an Incipient tiger
or gentleman's gentleman)….. Mr. Miller
Charles Danvers ……………. Mr. C. Boyd
Bill Downey (an unfinished
gentleman, a polished philoso-
pher) ………………………… Mr. Lee
Bailiffs ………………………. Messrs. Cochrane and Jones
Louisa (with songs) ………..... Mrs. Knowles
Chintz ……………………..… Mrs. Cameron
Doors open at half-past 6. Performance to commence at 7 precisely.
Dress circle 5s, half-price 3s ; upper Circle 4s, half-price 2s ; pit 2s 6d, half price 1s 6d ; gallery 1s 6d, no half price.
Proprietor, Mr. Smith ; stage manager, Mr. Nesbitt; mechanist, Mr. Capper.
Vivat Regina.
* * *
Mrs. Avins was the last of the thespians who opened the "old Queen's" to "Pass over." She died in the Actors' Homes, built by Mr. George Coppin some years ago. Mrs. Avis had been a subscriber to the Dramatic and Musical Fund founded by Mr. Coppin, which gave her a claim on the Homes, of which she availed herself.
Mr. Capper died between the ages of 80 and 90 years. I had the pleasure of meeting the ancient on more than one occasion, long after he had retired from the stage. He was particularly fond of reminiscing both in the newspapers and on the platform and was as full of old lore as the hungriest antiquarian could desire. Mr. Capper wrote a book, about which more at another time.
Six weeks later, the success of Mr. John Thomas Smith's theatre having precipitated matters, Mr. George Coppin, with a company, crossed over from Launceston, under the following agreement ; —
''Theatre, Launceston,
“May 30, 1845.
“We, the undersigned, hereby agree to proceed to Melbourne by the brig Swan, and to perform there under the management of George Coppin, Esq., for a season, and to return to Launceston when required, he paying passages both ways; and we also bind ourselves under a penalty of £25— to be paid to the said George Coppin— that we will not perform at the Melbourne Theatre, or any other place of amusement, unless it is under the management of the said George Coppin, or by his free will and consent.
'”Signed) Mr. and Mrs. Rogers, Mr. and Mrs. Charles Young, Mrs. and Miss Thompson, Messrs. F. B. Watson, E. A. Opie, J. Hambleton, J. Wilks, B. Rae, J. Megson, W. Howson, A. Howson, and A. M'Donald.”
Mr . Opie, or one of the same name, was a scene painter, and Mr. J. Megson was leader of the orchestra.
On arrival Mr, Coppin found that he could not come to terms with Mr. J. T. Smith, who, by the way, was also the proprietor of the St. John's Tavern, next door, and sooner then be "stuck," or allow the monopolist to dictate his own terms, Mr. Coppin engaged the large room at the Royal Hotel, in Collins-street, where afterwards stood the well-known and much-frequented, and where now stands the Union Bank of Australia, with a firm determination to oppose the theatre. John Thomas Smith appears to have taken fright at the energy of the man from Launceston, and came to terms. What these terms were, Mr. Smith announced in his playbill:-
QUEEN'S THEATRE ROYAL,
Queen-street, Melbourne.
The proprietor is happy to announce to his friends and the public generally that he has entered into an agreement with Mr. Coppin and the entire of his Corps Dramatique, to perform alternate nights with the present company for one month only. Trusting the greatest combination of talent ever witnessed in any of the colonies will receive the patronage and support it will ever be his study to deserve.
On Saturday evening, June 21, 1845, the entertainments will commence with Sir E. Lytton Bulwer's celebrated play (In five acts), entitled the
LADY OF LYONS.
Claude Melnotte ………… Mr, Charles Young
Colonel Damas ………….. Mr. Rogers
Beauseant ……………….. Mr. Thompson
Glavis …………………… Mr. Coppin
Mons. Deschappelles Mr. Watson
Pauline ………………….. Mrs. Coppin
Madame Deschappelles … Mrs. Watson
Previous to the play, and during the
evening, the band will play : — Overture, 'Italiana in Algero' (Rossini); overture, 'Fra DiaVolo' (Auber); .quadrille, 'Royal Irish' (Julien).
Wreath dance ……………. Mrs. Chas. Young
Song—
'Should He Upbraid 'Me …. Mrs. Rogers
Comic song ……………… Mrs Hambleton
Mr. and Mrs. Charles Young will dance the 'Tarantella,' in the costume of the country.
To be followed by an entirely new interlude (never acted here), called
THE FOUR SISTERS.
An entirely new comic double, Irish Jig by Mr. and Mrs. Charles Young.
The whole to conclude with the very laughable farce of the
TURNPIKE GATE.
Crack the Cobbler …………. Mr. Coppin
Joe Standfast ………………. Mr. Rogers
Nights of performances during the present month Tuesdays, Thursdays, and Saturdays.
On Monday night will be produced Howard Payne's celebrated tragedy of
BRUTUS,
By the members of the Melbourne Company.
On Tuesday evening will be produced the celebrated comedy of
THE SOLDIER'S DAUGHTER,
And a variety of entertainments by the Launceston Company.
The prices of admission and the time of opening were as on the first night of the theatre.
*************
Sixty years ago the playgoers of Melbourne got enough for their money. Those who recollect Charlie Young as a comedian will try to imagine him as Claude Melnotte, and then the Tarantella and double Irish jig! and the afterwards classic Mrs. Charles Young-Herman Vezin dancing a double Irish jig. I won der what London Haymarket audiences would have thought of it. However, it would appear as if, in the long ago, all thespians engaged for general utility and general usefulness. You won't require the fingers of one hand to count those of these double bills who new remain on earth.
After a time the amalgamation of the companies took place under the sole management of Mr. Coppin, Mr. J. T. Smith (the proprietor) taking a share of the profits for his rent. I have obtained an insight into the methods and cost of working an early-day theatre. Leading actors in 1845 received from 30s to 40s a week, and were satisfied. Ten years afterwards the same class of actor got from £7 to £12 per week. The entire working of the Queen's Theatre in 1845, with the combined companies, in expenses, was under £60 a week. What profits the manager and lessee must have divided !
What accounts we read of the same old Queen's in the golden roaring 'fifties, when red-shirted, sun-browned diggers, 'lucky diggers' lounged in the dress circle, smoked their pipes, called out to their acquaintances in other parts of the house, pelted their favorites on the stage with golden nuggets, and drank champagne at fabulous prices, ate and drank, sang and danced, as if the good times were never to end. And while the theatres crowded nightly with prices quadrupled, the St. John's Tavern adjoining did a roaring trade. John Thomas Smith, a Magistrate and a member of the City Council, raked the shekels into the till in bucketfuls. The daily and nightly saturnalia beggared description. The time and place are apropos for an incident, which occurred in the early days of the Queen's Theatre and St. John's Tavern.
In July 1846, the neighborhood of the theatre was the scene of an alarming riot, which kept Melbourne in some excitement for more than a week, and threatened at one period to end in a
general fight between Orangemen and Roman Catholics. The Orangemen decided to celebrate the anniversary of the Battle of the Boyne by a banquet in the Pastoral Hotel, which stood on the north-east corner of Queen and Little Bourke streets. The building was
decorated for the occasion, and Orange flags were displayed on polls from the windows facing Queen-street. This display aroused the passions of the R.C's., who assembled in hundreds round the Pastoral Hotel, many on both sides being armed. The Mayor, James Frederick Palmer, hurried to the spot. He ordered the door of the hotel to be opened, and entered, for the purpose of putting a stop to the riot ; but the R.C's., now finding the door opened, rushed through the hallway to the staircase, where they
were met by the Orangeman, and a regular battle ensued.
J. F. Palmer was a medical man, who, on arrival in Melbourne, found that the manufacture of gingerbeer and cordials would pay better than would the vending of Epsom salts and jalap. Palmer in after life became Speaker of the mixed Legislative Council, and President of the Legislative Council under Responsible Government. The doctor was squat, fat man, with a pair of calves that would have been the envy of Dr. Dill Macky to-day.
The crowd in front fired into the hotel, and 'Yellow-bellies' quickly responded. At this moment Father Geoghegan arrived and attempted to restrain his parishioners. As the good old padre (he was the first priest in Melbourne, and became Bishop of Adelaide); was in some danger of getting an ounce of lead, John O'Shannassy and a Mr. Hurley went over to his rescue, when Hurley got a bullet in the shoulder. Another man, drinking a glass of ale in the bar of the St. John's Tavern was badly wounded in the cheek, the shot having crashed through the bar window. The riot now was at its height; the doors, windows, and the furniture of the Pastoral Hotel were demolished ; the one party attacking the building and endeavoring to force an entrance, the other , defending every inch of ground. Fortunately some soldiers appeared upon the scene, and temporary peace was secured.
The R.C/s were induced to disperse by the promise of Dr. Palmer, and his brother magistrates that the Orange dinner should not total place. Three or four persons were badly wounded in the riots. Several of the Orange party were taken into custody and bound over to keep the peace. Mr. William Hinds, a grocer of Queen-street, was charged with firing the shot which wounded Mr. Hurley, and was committed for trial. The town was alarmed the whole of the night by skirmishes between detachments of both factions. On the following day the rival
greens and yellows assembled in different parts of the town. The whole of the hotels were closed by order of the authorities. Many of the shops were shut, and a dense fog, perhaps opportunely settled down upon the town. The police and military were called out, and having formed in Market-street, proceeded to an hotel in Flinders-street, where fifty Orangemen were assembled, but who quickly dispersed when the military and police appeared. They next proceeded to the top of Flinders-street, where afterwards stood the Stork Hotel, where some eighty Roman Catholics were assembled. After some hesitation these were persuaded to go to their several homes. The town was put under martial law for the night, and the soldiers bivouacked in Collins-street, opposite the Royal Exchange Hotel, which stood where the Bank of New South Wales stood thirty years ago. This riot gave birth to the Party Processions Act, prohibiting any party flag from being explayed under any circumstances in the colony of New South Wales, an Act more honored in the breech than in the observance.
The old Princess' Theatre, in Spring street, was built in 1854 by Mr. G. B. W. Lewis, who married Rose Edouin. It was of corrugated iron, and called Astley's Amphitheatre; and therein, with a good stud of trained horses, gave the uproarious diggers the delight of a circus. In 1857 John Black, who built the Theatre Royal in Bourke-street, bought the place, and, by adding a stage, etc., converted it into the Princess' Theatre, wherein Joseph Jefferson made
his first appearance. Of the great American actor-manager more hereafter. While George Coppin was building the Olympic — or 'iron pot'— John Black was building the Theatre Royal. That was in 1855. Mr. Black, in three years, made a huge fortune— or 'pile,' as the diggers named it— as a carrier between Melbourne and the diggings. His long line of drags and wagons were the means of supplying thousands of diggers with the necessaries of life, as much as £100 a ton being paid as freight to Bendigo, 100 miles from Melbourne. Mr. Black's great ambition was to own a theatre, and a fine building he erected. It was the first building lighted with gas in the city. The streets were then lighted with oil lamps, though a company had been formed, and was building its works on the Yarra. Mr. Black, however, built his own retorts, and made his own gas. Black thought that he could manage a theatre as well as he did his horse and bullock teams, but he found to his cost that the two enterprises took a totally different stamp of man to control. After a year of small successes and some heavy failures he leased the theatre to George Coppin, who immediately transferred G. V. Brooke and his company from the 'iron pot' to the Bourke-street establishment. The Theatre Royal was opened with 'The School for Scandal,' Mr. G. H. Rogers being the Sir Peter Teazle. The old Royal had many ups and downs from the first day that John Black opened it, and numerous owners, mortgagees, lessees and managers tried their luck in it. Few, outside the actual covenanting parties, knew who really did own the Royal. Fred. Bayne, the solicitor, had some big interest in it in the late fifties, as he claimed and got the free use of a stage box. The dress circle entrance was on a different leasehold, and at one time complications were threatened. In the late fifties Brooke and Coppin were lessees. The pair dissolving partnership, Brooke retained the Royal, Coppin taking the old Olympic and the Cremorne Gardens. Brooke at this time should have been worth £50,000. Henry Edwards and George Faucett Rowe became managers after Bob Heir had resigned. Brooke went travelling, and things got messed up generally. Then Ambrose Kyte, with a rent roll of about £10,000 a year, came in, lending the management money and getting the lease as security. He put Barry Sullivan in, and for some years the Royal was the best-conducted theatre in the Southern Hemisphere.
(To be continued.)
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