THE OPENING OF THE NEW THEATRE ROYAL. (1872, November 7).

The new theatre royal – concerning which small talk has long been busy – was opened last night under the management of Messers Harwood, Stewart, Hennings and Coppin. The pit, stalls and dress circle were crowded to suffocation. The galleries were not so well filled.

We have already given particulars of the construction and decoration of the theatre, and it only remains to describe the effect which the decorations and furniture produced when viewed by gaslight. The dress circle is furnished (by Messers Cohen Brothers, of Lonsdale street, who are the contractors for the upholstery) in red damask, the effect of which is to our thinking somewhat sombre. The stalls are supplied with cane seats, with arm divisions of kauri pine for each person; and in both parts of the house attention has been paid to the comfort of the audience. The panelling and painting is rich and tasteful. The liberality of lighting and the multiplication of chandeliers gave to the auditorium a most brilliant appearance and when the first notes of “God save the Queen” drew the immense house to its feet, the scene was a remarkable and exciting one. The same fault which was so marked in the old Royal – the extent to which the upper boxes overhung the dress circle – has, however, not been omitted to be reproduced. The acoustic properties of the house are good, its appearance elegant and airy, while the marked improvements in stage accommodation and increased facilities for exit and entrance render it a theatre second in convenience to none of its size in Europe.

The singing of the national anthem completed, Mr Hennings new drop-scene was exhibited. The subject chosen is a view of a lake and mountains. It is impossible for Mr Hennings to paint anything which is not artistic, but in this instance we can but agree with Goldsmith’s admirer of Pietro Perugino and say that “the picture would have been much better had the artist taken more pains.” It is barely finished, and bears marks of great haste. The painting is not worthy of the first theatre in the colonies. This complaint of hastiness may be made indeed with reference not only to the other parts of the building but to the performance which initiated the season. The bars, café, and lounge are in a condition of bricks mortar and mud which his utterly abominable, and the bill of fare set before the audience was of the most meagre kind. Mr Coppin has given his reasons for the non appearance of a company in his speech, and doubtless to him they are all sufficient, but there was no necessity to open the theatre at all until it was completely finished, and furnished with actors. Mr Coppin has a good stock comedy company in Adelaide; if he could not get them back in time to open his theatre, he might have accepted the results of his arrived. “To Oblige Benson” and “Milky White” are good pieces enough, and were very defective arrangements, and waited until they well played, but we maintain that there are not the sort of plays to produce upon the opening night of the leading theatre in Australia, and we regret that the tradesman-like consideration of the pocketing of a few hundred pounds during the race week should have induced the management to thrust second rate pieces upon the boards of an unfinished theatre.

The opening address was written by Dr Neild and spoken by Mrs Collins, late Miss Docy Stewart, who has returned to the stage where she made so many friends. It is as follows:-

It seems indeed but as the other day,

That here a heap of smoking ashes lay, 

O’erhung by blackened walls that high appeared

Their ruined length, like ramparts lightning-seared

It was, in truth, a very tristeful scene

Nought left but memories of what had been;

Mind-thronging memories of things long sped,

Of those in other lands, and of those dead!

A lengthened pageant passed before the eye

Through that black void, all open to the sky

And it was hard indeed to vanquish tears

To think that of the glories of gone years

The ruthless fire no monument had left,

But into devastation all had swept.

The boards that Brooke so oft had trod were gone

Those on which Rogers in his best days shone

On which, too, we were wont, erewhile to see

The ideal Hamlet in Montgomery

Where Jefferson his perfect skill displayed

And fine old Alberts last farewell was made

Where, later, Mathews with consummate art

Seemed all he played, yet seemed to play no part;

Where hosts of others, not unknown to fame

Had left a more or less enduring name –

Gone was the place – scene of their glories all –

Spent like a fleeting day dream, past recall

But yet, though dismal ruin sat and frowned

On smouldering beams, still sacred was the ground;

Although the temple to the earth was cast

Its history stood still grandly in the past

So long the drama’s home had flourished here

‘Twere profanation other pile to rear

Destructions hand had crushed to dust the lane

What then remained? Why – build it up again

Hence active brain, with busy hand combined

(Alliance potent, muscle wed with mind)

Resolved this drama’s temple to restore

A fairer building that it was before

And in short spaces as if by wizards will

The structure ’gan the dreary void to fill

Soon there was seen a goodly house well planned

Worthy of the foremost southern land

And of the drama worthy too, we trust

Albeit they say the drama ‘s in the dust.

But that’s a slander, and we hope to show

Not yet it hath received its mortal blow

But this in passing. Nathless be it said

If now the drama be in truth quite dead

Faded and withered never more to bloom

That we have built for it a fitting tomb

But will I not believe that so’t must be

Not ended yet the drama’s history

So long as passion stirs the human breast

And the soul hath its tumult and its rest;

So long as men in life’s hard battle fight

And wrong for victory contends with right

So long a loves great lever moves mankind

So long the drama, worshippers shall find

And when the last man utters his last sigh

Then but not till then will the drama die

Tis nothing that it changes oft its mood

That all the muses in their turn t’as wooed.

That mad burlesque hat sometimes favoured been

And art been hidden by sensation scene –

These are but shadow phases and the light

Will come again, as it of erst was bright

Bit howsoe’er, or whosoever it be

Burlesque, sensation, or pure comedy

Tragedy, farce, or aught of all the rest

We here will strive to please you with our best

I speak for all my friends, I who awhile

Here basked in the sunshine of your smile

Grateful I come for many favours past

And the first part of which you find me cast

Is this, the pleasantest of many a part

To bid you welcome from my inmost heart

Take then my greeting, warm as words can make

And I your pleasant greeting back will take

For tis a night of greetings, as’t might be

In a long separated family

Our house is built again, let us rejoice

With one united and outspeaking voice

And as the roof tree rattles with our cheers

Lets wish’t may last at least a thousand years.

The applause was frequent, and Miss Stewart – as she still chooses to be termed – may feel proud of the hearty and appreciative cheering which greeted her appearance. After the first-piece, in which Mr Coppin, as Trotter Southdown was as amusing as of yore, occurred the event of the evening – the managerial speech. We print it verbatim:-

“Ladies and Gentlemen – it is usual at the commencement of a dramatic season to announce coming events. I will not do so upon the present occasion, because I am much in the dark in reference to the future managerial policy of the theatre as any sleeping partner in the depths of somnolence can possibly be. The next mail steamer brings Mr Harwood, who will, I have no doubt, give a very satisfactory account of his search for novelties and talent in the old country. As I cannot enlighten you as to the is to be’s I will make a few remarks about the has beens and the is-s-s-s. You are no doubt aware that I was burnt out of the Theatre Royal. You may have heard that my positive losses exceeded £5,000. In fact, if the stock of old scenery and machinery destroyed were valued in proportion to the cost of the new, my losses would exceed £7,000. You can all understand that the disastrous event was neither agreeable nor convenient. The ashes of the old Royal were undisturbed for months. The property was advertised for sale, or to let. Appeals were made in the newspapers to the enterprise and public spirit of our wealthy colonists to restore the legitimate home for the drama, but without a response. As no one else would face the breach, I came to the fore again, and leased the ground for 99 years, through the negotiations of Mr. Auctioneer Knipe. I selected my architect, had plans prepared, and accepted tenders for the building. I negotiated for insurance in England, and let the theatre for five years to Harrow and Co. Now, many persons would say – why didn’t Coppin float the Theatre Royal Proprietary Association before making himself liable for £20,000 because we all know that he hadn’t the money to carry it out? He couldn’t say – Alone I did it. I’ll tell you:- I am a member of one or two excellent associations that are perfectly dormant at the present time, in consequence of the inaction and want of sympathy on the part of some of the directors and the secretary. There are many persons in this world that either cannot or will not do anything themselves, but constantly oppose the exertions of others that are willing and competent to undertake the responsibility of guaranteeing success. With this mortifying experience I arrived at the conclusion that when you wish to carry out any undertaking, the safest way is to keep the power within yourself until the arrangements are so far advanced that they cannot be altered. After entering into all my engagements, I then issued a prospectus for the formation of a company to carry them out. The shares were disposed of by Mr J P Macdonald. My plans have been most literally endorsed by the directors, who – whilst protecting the interests of the shareholders, have not neglected the comfort of the public – and the result of this little bit of management is the magnificent building you now occupy, which I think ought to satisfy the demands even of those gentlemen which were liberal enough to dictate the expenditure of other people’s money by building theatres in the air through the newspapers. I cannot too highly praise the talent and energy displayed by my architect, Mr George Brown. His heart was evidently in his work and the result must elevate him greatly in public estimation. The services of Mr Powell have been most valuable as clerk of works, from the experience he gained in his connexion with building, the old Royal and Haymarket Theatres. The contractors, messers Hood and Brown, have carried out their works in a substantial and tradesman like manner. I cannot now enumerate every person that is entitled to honourable mention – from Mr Hennings down to the most humble labourer employed there has been a general desire to make the theatre a success – to each and all I tender now my thanks. I need not tell you that we are in an unfinished state. It would be a pity to spoil the Brussels carpets by placing them upon the floors whilst the plasterers are at work. I should therefore advise you to come every night to notice the gradual improvements until we arrive at completion. I have no doubt that some amount of disappointment exists (in which I heartily join) at the non-appearance of the ladies and gentlemen intended to open the theatre. The fact is that a great portion of the company is under written engagement ‘to open the Theatre Royal on or about the 7th of November. You see I calculated my opening night very closely some months ago. Without thought, engagements were afterwards made for a three months season in Adelaide, and when noticed to appear this evening, they found themselves in the awkward position of having to break one of their engagements. Managerial pressure, through the violation of a distinct understanding, compelled them to remain in Adelaide until the 19th of November, and we had to form another company not a very easy task with two other theatres open in Melbourne. The fortunate arrival of Miss Rose Evans placed novelty and talent at our disposal, and tomorrow evening I thoroughly anticipate one of those great successes for which the old Royal was so celebrated. And now, ladies and gentlemen, permit me to thank you most sincerely for your attendance here this evening. Although I shall not take any active part in the management of the theatre, I shall occasionally pop in, and hope I don’t intrude. On behalf of Harwood and Co, I can assure you that every exertion will be made to insure the liberal patronage and support that they had the good fortune to enjoy during their former years of management.”

Mr Coppin was much applauded at the conclusion of this effort, and Mr Brown, the architect, was also summoned by the audience to receive their compliments.

The comedy-drama, “Milky White” concluded the entertainments. It was received with great marks of favour, and it merited them. Mr Coppin never played the misanthropical cow keeper better. Mrs Crosbie made an excellent Mrs Sadrip, and Miss Maggie Stewart may be congratulated on the acquisition of some little sprightliness during her recent absence from the boards. Mr Munro and Mr Collier would seem to claim some notice, but beyond stating that they, Mr Stewart, Miss Douglass, and little Miss Nellie Stewart appeared in the course of the evening, the insignificance of the parts enacted by them renders criticism needless. For the same reason we refrain from commenting upon the acting of Miss Docy Stewart. She sustained the small part of Mrs Trotter Southdown with the ease of experience. Miss Stewart is a capable and painstaking actress, and we are glad to see her again upon the boards.

This evening Miss Rose Evans will appear in a drama called “quite alone,” dramatized, we understand, by herself, from “Jane Eyre”.