Royal Pantheon Cremorne Gardens

Outdoor pleasure gardens, or amusement parks, became popular in Europe in the mid-18th century. London had the Vauxhall Gardens, the Surrey Zoological Gardens and the Cremorne Gardens. In 1852 a former manager of the Cremorne Gardens, James Ellis, opened pleasure gardens of the same name beside the Yarra River at Richmond, near prosperous goldrush Melbourne. Like the London establishment they copied, they were mainly a summer venue. They offered the Pantheon, a small theatre where Julia Matthews starred; a bandstand and rotunda for outdoor dancing; and a three-dimensional panorama. This was modelled in plaster, canvas and timber to a scale of 1 :48, and painted to represent scenes such as the sieges of Sevastopol or Canton, the eruption of Vesuvius. There was a fireworks show with the panorama, which showed a different historical scene each summer. In 1860 Giuseppe Garibaldi's triumph at Palermo was a topical subject.

Most visitors arrived at the Cremorne Gardens by river on a small paddle-steamer, the Gondola. The gardens proved very popular, though some regarded them, like their London counterparts, as a place of immoral assignation and prostitution. The theatrical entrepreneur George Coppin took over the management in 1856. By 1863, however, over-commitment in other entertainment ventures forced him to close the gardens. They were converted into a private mental asylum.

Similar pleasure gardens, also called the Cremorne Gardens, opened at Mosman's Bay, on the north shore of Sydney Harbour, at Easter 1856. They were never quite as successful as Melbourne's Cremorne Gardens but people flocked there by harbour ferry until 1865. They were espe­cially popular for their bals masqués. Lack of 'respectability' contributed to their closure, long after which the area became known as Cremorne.

The name of Cremorne Gardens also persisted in outdoor entertainment. In Perth in 1895 Mrs Annie Oliver opened the Cremorne Gardens adjacent to the Cremorne Hotel, between Hay and Murray Streets. Well furnished with plants and surrounded by a high wall painted with murals of alpine scenery, 'the Cremorne was a place where in hot weather people [took] their amusements in the open air, while smoking and otherwise refreshing themselves', according to a press report. Around a rotunda were kiosks, each named after a Western Australian goldmining locality, where the public sat to watch 'continental' variety performances by local and visiting artists, including the Harry Rickards Tivoli Company, Pollard's Liliputian Opera Company, the Banvards, Celia Ghiloni, Neva Carr Glynn, Ettie Williams and Millie Finkelstein. About 1899 the rotunda was moved to the Perth foreshore and replaced by a covered outdoor stage with a proscenium arch, drop curtains, an orchestra pit and dressing rooms. Troops were entertained at the Cremorne Gardens during the First World War. The gardens closed in 1920, when Mrs Oliver transferred the equity of the theatre and the hotel to the Young Men's Christian Association.

At the height of Western Australia's goldrush prosperity Kalgoorlie had a Cremorne Gardens. Photographs from 1907 show an open-air auditorium with rows of seats, a proscenium-arch stage with fly tower and backdrop, and an orchestra pit. The building, since roofed, still stands.

By 1911 outdoor theatres called Cremorne Gardens were presenting seaside Pierrot entertainment in the Melbourne suburb of St Kilda, and in Adelaide and Brisbane. By the 1920s there was an Australia-wide circuit, featuring Edward Branscombe's Dandies, Pat Hanna's Diggers Company and similar companies. Many of the Cremorne venues soon became open-air cinemas, while the one in Brisbane was roofed and became the Cremorne Theatre, owned and managed by John N. McCallum, father of the actor John McCallum. The theatre, noted for variety but sometimes used as a cinema, burned down in February 1954.

G. V. Brooke presented his Othello for the first time in Australia at the old Queen's Theatre in Queen-street, Melbourne, to, as a matter of course, an overflowing house. The prices were high, the lowest, if I remember rightly, being half-a-crown. There were Othellos before and after Brooke. I have seen most of them, and must still pin my faith to the ill-starred actor who went down in the London on that fateful day in January, 1866. Of course, I did not see Arabin, who opened the old—then new — Victoria Theatre in Pitt-street in 1838 in the character of the Moor; nor yet did I see Nesbitt M'Cron, whom the late Samuel Hawkes Banks considered equal to, if not excelling, Brooke. I saw the spluttering M'Kean Buchanan, the testy Bandmann, the old-school actor Creswick, and that other old-school actor James Anderson, Dampier, Carden, Clarence Holt, George Rignold, and an old Drury Lane actor who came out before Brooke went to England, but whose name has slipped my memory. I have seen minor actors play the part in stock companies, but neither major nor minor linger, so lovingly in the memory of old playgoers as Brooke. I remember one performance of 'Othello' at the old Royal, Melbourne, on a Saturday night, when the piece was so well played and staged in every detail that the hour of midnight struck as the curtain descended, and the afterpiece had to be abandoned. At one of Brooke's performances of Othello in the Melbourne Royal the Receipts reached £531 15s. I first saw Brooke in Australia as Evelyn in Bulwer Lytton's 'Money.' He had been fulfilling an engagement in Sydney, and had hurried to Melbourne on business, when advantage was taken to have one night's performance. That was in 1858. The house was crowded, and the actor apologised for having to play in his every-day costume, as his wardrobe was in Sydney. His first appearance was on the 10th of May, 1855, the play 'Othello' (in which he always opened). The Iago was Richard Younge ; the Cassio, Robert Heir ; Fanay Cathcart, Desdemona; Emilia, Mrs Guerin; the Brabantes, 'old Lambert.' But , Othello was not Brooke's only character, though it was the best of his Shakespearian. As Sir Giles Overreach, in 'A New Way to Pay Old Debts,' he was simply superb, his final scene being simply appalling. Mr. Barton told me that it equalled Edmund Kean's best effort, and Sir Giles was Kean's masterpiece outside Shakespearian drama. As Martin Walter in 'The Hunchback,' Matlow Elmore, ('Love's Sacrifice'), Virginius, and, characters of that stamp, no man has yet appeared in Australia to equal Brooke. He was the first to bring out here 'Louis XI.,' a part played by him in strong contrast to Charles Kean's rendering of the same character. It will be remembered that when Louis is plotting murder, the Angelus bell sounds, and the hoary old sinner takes off his cap ,to pray to the relics affixed to the headgear. Kean's rendering of that part caused the audience to laugh. Brooke was so solemn that the audience was hushed at the hypocrisy of the wretched monarch. But it was not alone in the heavy drama that Brooke flourished. His Irish comedy has never been excelled. The memory of his Felix O'Callaghan in 'On His Last Legs' can never fade. As Captain Murphy Maguire he kept the audience in a simmer of merriment from start to finish. The same with Pierce O'Hara in 'The Irish Attorney.' In low Irish comedy, of the John Drew and William O'Neill type, Brooke was a failure. He could act the gentleman, but not the bog-trotter.
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A good authority, Frank Brewer, in a little work published some years ago, entitled 'The Drama and Music in Australia,' says 'Brooke's reputation preceded him to Australia. His mental talents for the profession were of the highest order and his physical organisation was admirable. To a classical face of the Roman type and a well-formed majestic figure, was united a voice of exceptional volume and roundness, which he inflected with consummate skill. He was well educated, and had the manners of a polished gentleman. These natural and acquired elements to Brooke, to which a fine conceptive faculty was allied, eminently fitted him for the highest position in the realms of dramatic art. From 1848 to the time of his departure from England, he was probably one of the most popular actors in the United Kingdom yet; strange to say, the London critics and venerable playgoers were lukewarm towards him. Brooke certainly extracted from them unalloyed praise, his Master Walter was beyond the reach of cavil; but the admirers of Phelps and Charles Kean were so far prejudicial (no other word will express the exact state of feeling towards Brooke), that he was denied in London that full measure of approbation which was undoubtedly his due, without in any way detracting from the genius of Phelps, or the abilities, improved so much by study, of Kean. True; at times, Brooke was unequal to his performances. So was Edmund Kean, but in has great characters, when he rose to the top of his genius in Othello, Sir Giles, Master Walter, Matthew Elmore, Virginius, and others of his fine impersonations, he had in his best days no superior. High as was the opinion formed of Brooke in Sydney, he surpassed their expectations. The verdict was that he was the finest actor that had up to that time visited Australia. Had he devoted himself to comedy, particularly Irish comedy, he might have equalled Collins. In two characters he has not been surpassed in the colonies— Captain Murphy Maguire In “The Lerwin Family,” and O'Callaghan in “On His Last Legs.” The latter he made especially his own, and convulsed the audience with his amusing presentation of the volatile Irish gentleman reduced to the condition of living on his wits.
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In 1861, William Bede Dalley went to England as Immigration Lecturer, and in the same ship — the Great Britain— went G. V. Brooke. Dalley could appreciate talent in any man, and when the news of Brooke's death reached the colony, Dalley gave his opinion of the great actor to the world :— 'With one exception, that of Mr. Phelps, Mr. Brooke was unquestionably the first interpreter of Shakespeare upon the British stage. His physical advantages, voice, face, dignity of presence, instinctive gracefulness, were much greater than even those of Macready's great successor. But in subtle renderings, profound study and thought, Mr. Phelps was as no one more heartily acknowledged, than Mr. Brooke himself, the grander actor. I institute no comparison between him and a gentleman who recently visited this country, the bearer of a great dramatic name —Mr. Kean— and whose reputation is identified with spectacular representation in England, and my reason is simply this: that it would be a reflection upon the memory of Mr. Brooke to do so. Those who have never left this country, and whose acquaintance with the drama is exclusively derived from Mr. Brooke's acting, may be assured that in many respects nothing grander could be seen anywhere. The most fastidious critic was conquered into loving admiration by the mingled tenderness and terror of his Othello; while none could resist the melting softness of his accents in the last awful scene of fantastic sadness in which the noble Lear mingles 'matter and impertinency, reason and madness.' And then the life-like pictures of our own dear Irish humour and pathos, bringing, back to us by the magic of tone and gesture, scenes and times, and pleasures and sufferings. Where shall we ever see these again? In the Irish impersonations of Mr. Brooke one thing was very noticeable — no matter how low the character, there was always some hint of the gentleman in the performance. We have had many stage Irishmen in the colonies, notably Hudson, William O'Neill, John Drew, and John Collins, besides our local William Andrews, but none of them were ever on the same level as Brooke in portraying the Irish gentleman.
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When its good work could be of no service to the actor, then full fathom five in the Bay of Biscay, the -'London Times' pronounced a eulogy:— 'In January, 1848, Brooke appeared at the old Olympic Theatre, then under the management of Mr. Davidson. Virtually this was his first appearance in London, and not often has the approaching debut of an actor produced so large an amount of curiosity as in the case of G. V. Brooke. He had many offers from the metropolitan managers, but had refused them all, and these frequent negotiations, accompanied with news of brilliant successes in the provinces, kept his name before the Londoners, who 18 years ago were much more excitable on the subject of tragedy than they are at present. His performance of Othello, the part chosen for his first appearance, at once secured him a wide popularity. He repeated the part to creditable audiences for 30 successive nights, and for some weeks in 1848 he stood high amongst the theatrical lions of London, lively discussions as to his merits taking place in every assemblage where plays and players formed a topic of conversation. His physical advantages were very great. He had handsome and expressive features ; his figure was tall and commanding; and, above all, his voice not only rich and sonorous, but singularly capable of extremes of light and shade. It was in giving expression to violent emotions that be turned these natural gifts to the best account, and the storms of passion which distinguished his Othello and his Sir Giles Overreach were certain, in his best days, of commanding the tumultuous applause of thousands. He owed his proficiency not to crabbed art, but to fresh, healthy nature, and the 'inspired genius' is always a popular figure. A similar belief was entertained earlier in the century with respect to Edmund Kean, and among the theatrical gossips of 1848 those were not wanting who saw in G. V. Brooke the tragedian upon whom the mantle of Kean had fallen. In 1854 he took leave of the London public, and proceeded to Australia, where, as in America, his success was prodigious. He returned to London, after seven years' absence, in 1862, and again appeared as Othello at Drury Lane. When he perished in the s.s. London he was on his way to Melbourne to fulfil an engagement.'
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Just here I may be permitted to mention that Mr. and Mrs. J. B. Steele (Miss Adelaide Bowering) were engaged in London to support Brooke in his second tour in Australia. Mr. and Mrs. Steele came out in the sailing ship Western Ocean. I do not know whether the London passenger list was full, or Mr. George Coppin had on him a fit of economy, but it was fortunate for Mr. and Mrs. Steele that they came in the sailing ship. Mr. Steele informed me that the first they heard of the dreadful disaster to the London was from the pilot at Port Phillip Heads. I had the melancholy pleasure of spending an afternoon with Mr. Steele during the week. At 72 years of age he is still in good bodily health, but, alas! a cancer has attacked his tongue, and the once sweet voice of the well-graced actor is now merely a gutteral sound. Yet he bears his great misfortune with calm dignity, and is resignedly awaiting, as he says, 'the roll call.' Mrs. Steele died a few years ago in London.
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It was in the old theatre at Cork that Brooke made some of his earlier successes. In Dublin he was simply idolised. The houses he drew were packed. In Australia his countrymen rallied round him, and but for his weakness in the matter of strong drink his seven years' residence in Australia would have been a huge money success. I think, soon after the completion of his first engagement with Mr. Coppin, Mr . Brooke entered into partnership with that gentleman. They had a magnificent property to work upon. The Theatre Royal, the Olympic Theatre, and last, but not least, the splendid Cremorne Gardens, which had within its boundaries a bijou theatre, known as the Pantheon. Brooke appeared at the two first named, the Pantheon being given over to domestic drama of the drawing-room order. Cremorne Gardens were started by Mr. Coppin in 1856, little steamers plying on the Yarra conveying the patrons. They were grand times those old Cremorne days. A time came when Brooke and Coppin separated, the tragedian selecting the Theatre Royal as his share of the property, Mr. Coppin retaining the Gardens and the Olympic — the best end of the stick I have always thought. He (Brooke) engaged Robert Heir as his stage and general manager, Mrs. Heir being leading lady. Brooke was not content to sit at home at his ease, as the old song has it, but accepted engagements in all the cities and towns of the now Commonwealth. Bob Heir was not a success as a manager. I am afraid he was given to the production of plays which were calculated to 'show off' himself and his wife. Mrs. Heir was getting somewhat stale; in fact, the 'Argus' rudely told her that it was time she dropped Desdemona and took up Emelia; but what leading actress was ever known to adopt the advice of the press ? Mrs. Heir did not, though I think on one occasion she did play Emelia 'just to oblige' someone — Barry Sullivan, I think. To Bob Heir succeeded, as manager, a sterling old Sydney actor, Henry Edwards, who had joined with him in the management George Fawcett Rowe, but known only to us as George Fawcett. There were three brothers — George, Sandford, and Tom. Sandford generally looked after the front of the house, though on one occasion he played the part of Lord George Gordon in Fawcett Rowe's adaptation of Dickens' "Barnaby Rudge." The rule of Edwards and Fawcett continued some time, Brooke occasionally appearing in his best character, but unfortunately for himself, taking no interest in the working of the theatre. It was under the Edwards-Fawcett management that Brooke appeared in two original characters—in a one-act play, by Marston, I think, entitled 'Dreams of Delusion,' in which he performed the character of a mad doctor to perfection. The other original character was in a drama by R. H. Horne. 'The Death of Marlowe.' I am, however, not quite clear upon the point whether Brooke or Edwards played the leading part. The two little pieces held the stage for a week or so and then dropped out.
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While managing the Theatre Royal for G. V. Brooke, Edwards and Fawcett were also running the old Princess' in Spring-street, one of the very few theatres which escaped the ususal fate of theatres— fire— and where Marie Duret, Le Roy, Joseph Jefferson, and some other good men and women first appeared. Why and how Edwards, Fawcett, and Brooke "fell out," and George Coppin again fell in— don't misunderstand the phrase— with Gustavus Vaughan Brooke will be told another time.