Princess's Theatre and Opera House (1857-1886)

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.

While Mr. G. V. Brooke was earning golden opinions from all sorts of people, away from his business headquarters, Melbourne, his affairs were in anything but apple-pie order. I have no doubt his managers, Robert Heir (first) and Henry Edwards and George Fawcett, did their best. But theatrical managers are born, not made, and however brilliant an actor may be, he may, as a businessman, be the veriest duffer that ever donned a stage wig. Other matters may have helped in a degree to bring Mr. Brooke's finances down. While he and Mr. Coppin were in partnership the opposition in city theatres was the old weather-beaten matchbox known as The Princess', which had a very different company, and the ancient Hippodrome in Lonsdale-street, which had a precarious existence in several names, The Lyceum, The Prince of Wales, etc. While the Royal was being run by Coppin and Brooke, the old Olympic— the 'Ironpot'—was kept carefully closed as a theatre, though it was a rent-producing establishment, with the Olympic Hotel on the corner, run by William Pitt, the scenic artist. The Olympic pit was boarded over, and each night (and morning) the light fantastic toe was tripped on the most 'Continental lines.' Cremorne, of course, was only open in the summer months, when the free end easy of Melbourne could enjoy George Coppin's gondola trips with quiet chats in cozy corners, with the girl of your heart, or with the girl who cared little for your heart if you had a soft head and a long purse.

I mentioned previously that when George Coppin separated from Brooke he took with him most members of the old company. With that company and additions, George Coppin rehabilitated the old 'Ironpot,' and commenced a dramatic season. I was there on the opening night, the first I had ever been in the 'Pot.' The play was Falconer's comedy of "Extremes," or "Men of the Day." The cast, a strong one. It is an every-day costume comedy, rich, plebeian
and poverty-stricken aristocrats, the latter with a design upon the vast wealth of the former. A wealthy coal mine owner left his fortune of over a million to two persons, on condition that they married within six months. At the reading of the will the Lancashire cousins were looked down upon by their aristocratic-beggared friends, but the aspect of affairs changed when it was found that the old Lancashire woman, Mrs. Wildbriar, was worth half a million in her own right, while her daughter Jenny had a few thousands of her own, and the clodhopping son, in the red vest, owned to a big pile irrespective of what he expected from his mother. The poverty stricken swell, Sir Lionel Norman, believing that Lucy Vavasour would inherit the dead man's wealth, paid assiduous attention to her, but he discovered the condition of the will, that she should marry Frank Hawthorne, and if each refused the other, the wealth would be devoted to building homes for the orphan children of miners. There was also a condition that if one said 'yes,' and the other said 'no,' the money was to go to the one saying 'yes.' Believing that Frank must accept Lucy Vavasour, Sir Lionel Norman devotes his attention to Miss Jenny Wildbriar, who however, has a beau in the person of Everard Digby, a barrister, to whom she had been introduced under the title of the Marquis of Banterdown, a little device she had seen through. One of the crowd of penniless swells 'makes up' to Mrs. Wildbriar, and a penniless lady with a long pedigree fastens on to Robin Wildbriar. When the six months expire, and the executors of the will assemble the interested parties, after some cogitation, Lucy accepts the condition, while Frank Hawthorne rejects it. A very fine scene follows. Lucy explains that she guessed that Frank meant to refuse, and had she refused the money would be lost. Frank, being a bit of a poet, had composed some verses which, by chance, had fallen into Lucy's hands, and she declares that she will wear the willow all her life if he a second time refused her. In the cast were Richard Younge, Fred. Younge, T. S. Bellair, G. H. Rogers, Russell, Wilson (the scenic artist, who played Robin Wildbriar), Rose Dunn, Fanny Young (sister of Charles), the sisters Allen, a Miss St. Clair, and last, but not by any meant least, Mrs. Bellair, The opening night was that of the day on which Flying Buck won the first Champion Race at Flemington, January 1, 1859. It is fixed in my memory by reason of a doggerel epilogue spoken by Fred. Younge, wherein, he spoke of—
" . . . . . the ruck.
Viewing the heels of Flying Buck."
Soon after, Mr. Coppin produced "World and Stage," in which he appeared himself. Then the usual season followed, with always good results to George Coppin.
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It would be somewhat difficult for one not within the ring to get at the actual facts of Brooke's quarrel with Edwards and Fawcett. Ambrose Kyte was up to his neck in it. E. and F. had been borrowing money from, the then supposed millionaire, and Ambrose lent them so much money that they gave him the lease of the theatre as his security. All the soiled linen was publicly washed. The 'Age' newspaper, which accepted the correspondence, fairly revelled in the disclosures. To add to the trouble, the lady we knew as Mrs. Brooke became Mrs. Edwards, and Brooke, much to the scandal of the public, had his name linked with a leading actress whom he afterwards married at Liverpool. Friends interested themselves in Brooke's affairs, mediated with Mr. Coppin, and the pair became friends. Some people said that they were never separated, that it was only one of 'Coppin's dodges ;' but I don't think there was any 'dodge.' George Coppin was too careful a man to create a 'dodge' which should lose him money. The reconciliation was made, however. Mr. Coppin undertook the management of Mr. Brooke's theatre and affairs, and promised to make them straight.
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The opening piece under the resumed management of Mr. Coppin was Tobin's comedy of "The Honeymoon," followed by "The Serious Family," a big bill which crowded the house in every part, though the night was stormy and the rain pouring down in torrents. No rain could extinguish the interest felt in the reappearance in the same pieces of the old favorites, Coppin and Brooke, I made a unit in that great audience, and I shall never forget the reception Brooke met with on his entry as Duke Aranga. The demonstration was only equalled when George Coppin appeared as the Mock Duke. Avonia Jones played the parts of Juliana in "The Honeymoon," and Mrs. Ormsby Dalmaine in "The Serious Family." There appeared also, that night, after a long absence, Mrs. Vickery, a sterling actress in such parts as Mrs. Candour and Lady Sowerby Creamly, likewise was she great in the "Roman Mother," and no matter who else was in the company, Mrs Vickery was the Lady Macbeth. The feeling of the audience throughout the evening was displayed more than once when Brooke and Coppin were alone upon the stage.
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After "The Honeymoon," Brooke appeared in front of the curtain, and addressing the audience, said that he most heartily thanked them for the recognition manifested by them of the old as sociations of the house, and of his services in their behalf. The old friend who had performed with him that night was, he believed, the only friend he had in the colony; but while congratulating Mr. Coppin and himself on what had taken place, he would allow that gentleman to speak for himself. Brooke broke down more than once during the speech, and was picked up again by the vigorous applause of the audience. Mr. Coppin then came forward, and it was some moments before he could proceed. As soon as the applause subsided he said that it was most deeply gratifying to his feelings to find himself welcomed back as he had been to the boards of that theatre. It really looked like a vote of confidence, a sentiment which was cheered to the echo. When Mr. Brooke took the theatre he had promised to do all in his power to maintain the legitimate drama, and Mr. Brooke had done so. He (Mr. Coppin) Had now, at Mr. Brooke's request, assumed the management of the theatre for six months, during which he hoped, by assiduity and industry, and with the kind assistance of the public, to retrieve his broken fortune (Brooke had made £40,000 in his six years' Australian residence; a tidy sum to make up in six months, George) and to give him a substantial recognition of his talents on his departure for Europe. He could only say that nothing should be wanting on his part to bring about so desirable a result. Before retiring, Mr. Coppin begged to congratulate the public on having a second gas company (strange to say Ambrose Kyte was the promoter of the second gas company, which had the effect of bringing down the price of gas to a reasonable figure). The public would scarcely believe that after the thousands of pounds which the Gas Company had received from the theatre, the company had that night threatened to cut off the supply, unless the amount due — a paltry £43 — were paid instanter. Mr. Coppin humorously said that as he did not usually carry that amount about with him, the gas collector had kindly accepted his personal cheque, and if that had not been forthcoming the theatre would have been in utter darkness. Mr. Coppin then announced that on Saturday night a complimentary benefit would be given to that very promising young actress, Miss Rosa Dunn. On Boxing Night a panto mime would be produced which he hoped would give them every satisfaction: and, finally, he might state that an engagement had been made with Sir William and Lady Don, who would appear in due course. He hoped that, with such elements of novelty and talent, a succession of entertainments would be provided which might justly claim the support of the public, and lead to the successful results he had ventured to anticipate.
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In the course of his speech that night Mr. Coppin further said that the reception he had met with that night seemed a vote of confidence on his former management of the Theatre Royal. He had a character for 'dodging,' but he could honestly say and unhesitatingly declare that he had never abused that confidence in his promises as a manager. He had kept faith with the public. He regretted deeply that the satisfaction he felt on these grounds should be counterbalanced by the unfortunate circumstances in which he found the theatre placed at that moment. When he brought Mr. Brooke out from England he volunteered to him a promise that he would not leave him until he had secured for him an independency for the rest of his life, and he had kept his word. Last year (said Mr. Coppin) Mr. Brooke had made choice as his share of their joint business of the Theatre Royal, which was then in a thriving condition, and bringing a rental of £400 a year, or, instead, made him an offer of £20,000, clear of the liability to the amount of £8000 which then existed upon it. Now, by misrepresentation and deceit, to use no harsher terms, for none but such could be used, he thought, if the theatre were being disposed of for a sum so radically below its real value, for, terms which a usurer would blush to look upon, the theatre was passing out of Mr. Brooke's hands, not only so, but he found that Mr Brooke's testimonial, with which he had been presented by the public, his plate, and a portion of his wardrobe were deposited in the pawnshop, and a most usurious rate of interest charged for them, which, not having been paid, the property was forfeited. Mr. Brooke was moreover, indebted to the amount of £4000. Some people, said Mr. Coppin, might ask what was all this to them; but of one thing he felt convinced, and that was that the very large portion of the public would feel deep sympathy for the position in which Mr. Brooke was placed.
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In this connection the following, copied into the Sydney 'Empire' of 50 years ago, will be read with interest :— 'An Extensive Theatrical Engagement : Mr. G. V. Brooke and Mr. Coppin.— The American Manager . — Mr. G. V. Brooke has made an engagement with Mr. Coppin, through Mr. J. H. Wilton, to proceed to the colonies and act 200 nights, Mr. Coppin securing to him £10,000, in addition to the expenses of himself and four. Miss Fanny Cathcart accompanies the tragedian. The 200 nights are to be performed in nine months. A contract has also been entered into with Messrs. Fox and Henderson for the construction of an iron theatre, 120ft by 45ft, which will go with Mr. Brooke, costing complete about £5000. Mr. Brooke will sail in the new steamer Pacific.'
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Mr. J. B. Steele, who was engaged to support Mr. Brooke on his second visit to Australia, died on Friday, in the Cancer Hospital at Liverpool (N.S.W.). He was buried with Masonic honors on Saturday. Mr. Steele was 72 years of age. In next issue will appear a sketch of the career of the deceased gentlemen.

I have made frequent mention in recent issues of the 'Sportsman' of Messrs. Spiers and Pond, those old-time lessees of the Cafe de Paris attached to the Theatre Royal, Melbourne, and other ventures of a like character. I enjoyed the personal friendship of Mr. Christopher Pond for some years, and have sweet memories of his 'kindly disposition and good-heartedness. he was the active man in the business, Mr. Spiers being the calculating head. The partners commenced in the 'roaring fifties' in a very small way, exceedingly small when compared with the gigantic proportions their business in England assumed in later years. In the early and mid-fifties in Melbourne there was a number of political agitators, who professed everything political, from placing the entire population upon the land, by means of driving all the squatters across the Murray, to creating fortunes for everybody by means only known to themselves, and to be disclosed only when they got into Parliament.

Amongst the most enthusiastic of those agitators was one named Mooney, who kept the National Hotel at the top of Bourke-street, on the northern side, near Spring-street. There was a music hall attached, which was much frequented by diggers— lucky and unlucky— down for a spree. Mr. Mooney had been to California in 1849, and came to Melbourne in the 'roaring days.' Though keeping a public-house, he was a great advocate for farm life and settling the people upon the land. 'A farm, a vote, and a rifle' was Mr. Mooney's motto, and when the 'roaring' began to cease in the late fifties, Mr. Mooney returned to California, which country he was always careful to say was better suited for agriculture than was Australia. This Mooney (of the National) must not be confounded by old colonists with 'Long Mooney,' a wild Irishman whom long residence in Port Phillip had not tamed.

'Long Mooney' owned and the City Arms at the corner of Lonsdale and Elizabeth streets, and held some adjoining properties, acquired before the fifties began to roar. Mr. Mooney, of the City Arms, was an ancient colonist as years then went, having arrived at the Yarra Yarra before Melbourne was out of long clothes. He got, however, into the clutches of the Colonial Bank, and that Institution held all Mooney's property at his death.

Underneath the National Hotel, when kept by Mooney of 'the farm, the vote, and the rifle,' was a large dining-room which was run by Spiers and Pond. If I remember rightly, it was named the ''Shakespeare Grill,' and had a portrait of the great dramatist as a sign. The bill of fare at the Shakespeare was simple in the extreme; oysters ad lib (if you paid for them) chop or steak with a boiled spud and a half a pint of British beer, the latter brought from Mooney's tap upstairs, and all for the (then) surprisingly low charge of one shilling. Spiers and Pond succeeded well in the cellar, and looked about to extend their usefulness. The cafe attached to the Theatre Royal was then in a most deplorable condition. I think Jimmy Ellis, of the Cremorne Gardens, had something to do with it, but the management was anything but good. Spiers and Pond got a lease of the premises, and transferred their 'grill' there. They did a good business, but it was not until E. P. Hingston ('Sportsman,' Sept. 7) suggested the 'Vestibule' and certain arrangements connected there with that the Cafe de Paris and 'parts adjacent' commenced to disclose improvements. The firm then turned their attention to creature comforts at the old Princess' in Spring-street. A more disreputable-looking structure it would be hard to find. The lessee, George Fawcett, was struggling, with an indifferent company, to make ends meet; the bars, which jutted on the pavement, were as unkempt as the lowest pub on Collingwood Flat, and few of the twitter class of people frequented them. Spiers and Pond got a lease of the bars, and with paint and putty soon put a new face on the place, naming it 'The Piazza.' As at the Vestibule, the Hebes were all attired in black, the attraction at the Piazza being three sisters named Kiley, pretty girls, well educated, of good family and highly respectable and respected. With such attendants the Piazza became an attraction, and with that attraction the fortunes of the theatre became assured. The first big rise the firm made was in 1862. In the previous year they determined to import a team of English cricketers, and for the purpose of making a selection they despatched their book-keeper, Mr. Mallam, with carte-blanche to do the needful. The Spiers and Pond envoy succeeded in getting together twelve good men under the leadership of H. H. Stephenson, the other members of the team, being Bennett, Caffyn, Griffith, Hearne, Mudie, Iddison, Charlie Lawrence, Mortlock, Sewell, E. Stephenson, and George Wells. Caffyn came again in 1864 and remained for some years, commencing a hairdressing business in Hunter-street, subsequently removing to George-street, where, in 187I, he sold out to Mr. John Campbell (Mr. Amory Sullivan's 'young assistant 'barber'). Mr. Charles Lawrence is still in Australia, enjoying a pension from the New South Wales Government Railways, and keeping his hand in by coaching School cricket in Victoria.

The Spiers and Pond XI. played their first match against Eighteen of Victoria on New Year's Day, 1862, on the Melbourne Cricket Ground. The attendance was enormous, and the speculation paid from the jump. I was given to understand that Spiers and Pond cleared something like £16,000 out of their venture. Messrs. Spiers and Pond 'went for' another speculation, but it did not come off, unfortunately for the Australian people. The firm offered Charles Dickens the sum of £10,000 clear, over and above all his travelling expenses and maintenance, for a twelve months' reading tour through the Australian colonies. The gentleman through whom the offer was made pressed upon Dickens the advantages which would accrue to his overwrought system from a perfect rest of six or eight weeks' voyage; and pointed out what a rich and unworked field for the observation and study of character Australia would present to him ; but Dickens could not be induced to accept the engagement ; and while thanking Spiers end Pond for their offer, dwelt up on the large sums he was making by his readings in England, incidentally mentioning that, by announcing one night's reading at St. George's Hall, Liverpool, he was sure of netting at least £300. Mr. Spiers, at a later date, waited upon Dickens In London and renewed the offer, but without success.

Having made 'a pile' in Melbourne, the partners, still devoted to each other, resolved to try their luck in England. Accordingly they sold-out their Melbourne interests to their late bookkeeper, Mr. W. P. Mallam, and Mr. Achilles King, who, however, cannot be said to have emulated Spiers and Pond in money making. At any rate they had not the luck or their predecessors. Spiers and Pond returned to England, where in a few years they revolutionised the system of supplying the London public with refreshments. At the Criterion Theatre and Restaurant, in Piccadilly; built by Spiers and Pond in 1878, at a cost of £80,000; at the Holborn Restaurant, near Southhampton Row; at the refreshment rooms of several railway stations, and at the International Exhibition at Paris, the names of Spiers and Pond became household. The immense strain of the business told upon the health of both partners, principally, however, upon Mr. Pond. This gentleman, whom I knew better than I did Mr. Spiers, had no special advantages of education, and no special training for the business which he had embarked in. He and his partner catered for the great encampment on the Werribee, in 1862, and from their success on that occasion, there could be little doubt but that they could successfully cater for any army. A writer —who knew him well— said of him, on his death in August, 1881, that he was 'sanguine, impulsive and imaginative, his busy mind was continually revolving enterprises on a large scale, some of which he subsequently carried out, in London, while his partner, with a cooler judgment, a more phlegmatic temperament and considerable financial , ability, supplied the necessary restraint to his ardour, and took a severely practical view of Mr. Pond's projects.' Personally, Mr. Pond was popular with all who knew him, and I can recall his tall figure as he stood at the money desk in the cafe, with a pleasant word and smile, and an impressive 'thank you,' for each guest as he departed. 1 can also recall his first and last, and only, appearance upon the stage as an actor when he appeared at the Theatre Royal in the little afterpiece written for the occasion by James Smith, and entitled, 'A Broil at the Cafe.' It was upon the night when a benefit, more as a compliment than for the coin it produced, was tendered the partners upon the eve of their departure for England. Few men, not being themselves given to literature or the fine arts, had a higher appreciation of, or a greater respect for, the manifestation of literary and artistic culture in others than Mr. Pond. 'To gather around him a group of actors and actresses, operatic performers, and men of letters, and to call forth their conversational powers, around a table which bore ample evidence of his lavish hospitality, was one of the delights of his life during the last years of his residence in Melbourne.' Some there are still left who remember some such gatherings at the old Cafe de Paris and in the snug room at the Piazza. Mr. Pond was about 62 years of age at his death.

I have before me a picture of the old Royal in Bourke-street, which is of much interest just now in connection with Spiers and Pond. On the one side— the western— is the Royal Hotel, in the centre 'the vestibule,' and on the right hand, or eastern side, the Cafe de Paris; and adjoining the latter is visible a portion of the establishment of Mr. Bennett, the wig maker, whose manager Mr. John Campbell was. The whole of the frontage of the theatre was leased to Messrs. Spiers and Pond. In the picture, against the columns of the vestibule, are the poster boards with the announcements 'G. V. Brooke and Avonia Jones' distinctly visible. Another poster board bears the announcement of a benefit to the then stage manager, Mr. Richard Younge, the piece chosen being the 'Hunchback.' On the pavement is a group of actors and actresses, and not a few idlers, attracted, no doubt, by the fact that Mr. Davis, the neighboring photographer, had his camera in position, and was about to 'take' the lot. In this group is G. V. Brooke, having on his left hand the lady who had come from England with him as his chief support, Fanny Cathcart, afterwards Mrs. Robert Heir, and subsequently Mrs. George Darrell. On his right stands Mrs. Lambert, wife of one of the best 'old men' Australia has ever seen. In the group also are Lambert, Heir, Dick, Stewart, and many others. Seated in a basket phaeton, is Christopher Pond, then, I remember, slowly recovering from the effects of a broken leg.

One of the English ventures— and a successful one— was 'The Hall by the Sea,' at Margate, under the management of E. P. Hingston, and where for some months — or was it years ? — the attraction was our old Australian friend, Farquharson. One of the best advertisements 'The Hall by the Sea' had was contributed by 'A Special Bohemian', to 'The Orchestra,' in July, 1866. It was dated from 'Margate,' at 'midnight':—

'I am here, Mr. Editor, at Margate.' I came hither on the saloon steamer the Albert Victor, as a guest of the renowned Australians, Spiers and Pond, whose delectable drinks no doubt are familiar to you. I think it was last Saturday I came, but I am not sure. But I am perfectly sure about the Albert Victor, and Spiers and Pond, and the drinks. Pond is the taller of the two, in order to distinguish him from Spiers, for as they are always to be seen together, any less obvious distinction, such as baptism, would be perfectly aimless and ridiculous. They are very jolly to look at, and are the most charming conversationalists in the world. Like the fairies in the nursery story, they only open their mouths to let fall rubies, and pearls, and diamonds for you to gather up. In fact, their speech is always ravishing, like this (murmured gently going down the after-saloon stairs), 'What'll you take to drink?' Or again, 'I think you will like this hock.' Or again, 'What do you say to a little pineapple,' and gems of that nature. On the whole, the voyage to Margate on board the Albert Victor was of the most pleasant description. I did not see much of the scenery on the way down, common politeness keeping me near Spiers and Pond in the lower saloon for the better part of the day; but I am told the look-out was particularly beautiful to those who like that sort of thing. My description, therefore, must be necessarily brief. After we left London Bridge we sailed majestically past Billingsgate. Chelsea, the Tower Hamlets; Kew, and the Eddystone Light (a fine structure, sir, hut I did not see it, being just then particularly engaged with Spiers and Pond in the lower saloon). Scarborough, Hungerford, and Rosherville Gardens; had a chat with the Man-at-the-Nore. and eventually arrived at Margate late in the afternoon.

''We in the lower saloon had known for some time that we were approaching the jetty, from the strong bouquet of Hebrews, wafted on the evening air, and it was with feelings of reluctance that we ascended the wooden stairway and made our way through the lanes of Israel towards shore. Margate, as you know, my dear editor, is a royal burgh, situated opposite Gravesend, and not far from Yarmouth, on the Isle of Thanet. It is one big lodging-house, the people live on shrimps, and wear yellow boots without heels, and machines are 9d, including towels. This is Margate, which, having seen, and having secured a humble apartment, I found it nearly time to rejoin my fast friends, Spiers and Pond at their new 'Hall-by-the-Sea' at the inaugural ceremony incidental to the opening of which we had been invited to assist. The 'Hall-by-the-Sea,' you see is meant to be— well, eh ! a hall by the sea. That is, you can eat and drink as you can only eat and drink chez Spiers and Pond; and in the evening there is a concert, and afterwards a ball and the charge is one shilling. That's a hall by the sea. The hall itself is very pretty, and large and comfortable, though tolerably bad for vocalists. I don't know much about architecture myself, else I would give a long and elaborate description of the hall, but luckily the 'Standard' reporter does, and as he is a friend of mine I make free to borrow his account. 'The hall (he writes) is a longish square, with triangular roof and level walls, divided into compartments.' There you have the whole place lucidly before you, and I need only add that the orchestra is erected about the middle, much in Covent Garden style, with passages at the sides ; that the 'salle' is hung with stuff, festooned with flowers ; that tolerably decent statues are arranged along the walls at intervals, and that the chairs are cleared away after the concert for dancing, to give you the 'tout ensemble' in a sentence. It is bounded on the north by the sea, on the east by the Marine Parade, on the south-west by the railway station, and on the south by nothing in particular.'

(To be continued.)

The rejoicings over the success of the New South Wales horses in the intercolonial matches in October, 1857 at Flemington took a form agreeable to at least two of the parties concerned. Old Sydneyites who had taken up their abode in Victoria were determined that the horseman who had upheld the honor of the mother colony on a 'foreign field,' as it were, should not go unrewarded. Accordingly, some active spirits set about getting up a testimonial to Mr. John Higgerson, who had successfully steered Veno to Victory on the memorable October 3. Subscriptions were had for the asking, the result being that a very handsome gold-mounted whip was purchased for presentation to the successful jockey. The presentation was made on the stage of the Theatre Royal, at a performance given under the patronage of the Victoria Jockey Club 'and the Sydney sporting visitors.' The piece staged was an old-time melodrama, 'Fraud and its Victims,' a play we never hear of nowadays. The chief performer on the male side was an actor then new to Melbourne, Mr. W. H. Stephens, who earned for himself the nickname of 'Jockey' Stephens, through his capital performance of a jockey in some racing drama. In thosegood old racing days a 'laughable farce,' as the playbills had it, wound up the evening's performance. Between the play and the farce, Mr. Hamilton, of 'Bell's Life,' appeared on the stage, accompanied by Mr. Johnny Higgerson. Mr. Hamilton, in a neat and appropriate speech, made the presentation. The whip mountings were exquisite, and the gold band bore the inscription : —

'Presented to Mr. Johnny Higgerson,

Trainer and Rider

of G T. Rowe, Esquire's c g

Veno,

as a Memento of the Challenge Match.

October 3rd, 1857.'

Though it was Mr. Higgerson's first appearance on the boards of a theatre, his 'stage' being usually a four-wheeler, Mr. Higgerson was not amiss in his speech of thanks. The newspapers of the day did not report the speech, but I know that Mr. Higgerson said that Wellington did not feel prouder at Waterloo than he (Johnny Higgerson) did on Veno in the champion match. The owner of Veno, Mr. G. T. Rowe, who was in the dress circle, had to bow his acknowledgments of the applause which greeted him when recognised. The Sydney sportsmen and the Sydney press admitted that the Victorians took their defeat in a manly fashion, asserting that they would have better luck next time. The gold-mounted whip, the subscribers explained, was not presented as an acknowledgment of Veno's victory, but as a mark of esteem to Mr. Higgerson as a man of whom they were all proud, who did his best in the interests of his employer. Mr. W. H. Stephens, the 'other star' of the night, after a couple of years tearing the colonies, went to London, and became a most successful actor and manager, and was, I think, the first of a long list who having made a name in Australia, made fame and fortune in England.

As Tomboy, ridden by Sam Holmes, had conquered Veno, ridden by Higgerson, in one race at the meeting held immediately after the intercolonial matches, it was thought only right and proper that 'old Sam,' as he was known in after years when he kept the Horse and Jockey Inn, at Enfield on the Liverpool-road, N.S.W., should also have a presentation. This took the shape of a gold watch and chain and a purse of sovereigns. Anthony Greene was the spokesman, and Sam Holmes made a very neat speech. Tomboy was also to have 'shown' on the stage, but Mr. Greene had to apologise for the equine hero, stage fright, or something akin to it, having prevented Tomboy making his bow to the crowded audience at the Princess', for it was at that theatre that Mr. Holmes had his presentation. 'Fraud and its Victims' at the Royal had given way to 'Sardanapulus,' with Mr. G. V, Brooke in the leading part. It was announced as one of a series of performances prior to G. V. B.'s return to England. These announcements were frequently made, and an announcement of a final appearance by Mr G. V. Brooke, became a by-word as one of 'Coppins dodges.' On the night when the presentation was made to Mr Sam Holmes, the sisters Gougenheim—Joey and Adelaide— were playing in 'Court and Stage' supported by George Fawcett, who subsequently went to London and achieved success as an actor and playwright, under the name of George Fawcett Rowe, the latter being his real name.

If not actually on the night of the presentation to Mr. Holmes, it was on the night previous, that Joey, who was the more energetic of the sisters, made a bitter complaint that they, as 'stars,' had great difficulty in getting an opening in Melbourne, unless they accepted undignified terms. As Mr. George Coppin was absent from Melbourne, Mr. G. V. Brooke wrote the newspapers explaining the position. The agent of the sisters had written Mr. Coppin from Hobart Town offering their services at the Royal on certain terms, which we may suppose, from the tone of Mr. Coppin's reply, to have been, perhaps, exorbitant. Brooke gave a copy of Coppin's letter. There it was stated that the expenses were £600 a week! but that he would give the sisters £100 a week and two half-benefits, the engagement to be for a fortnight or a month. These terms, the sisters indignantly rejected, and gave themselves to the old wooden structure known as The Princess', in Spring-street. This old wooden 'Matchbox,' as it was named, had pit, stalls, and bores, and might hold £100 a night on a pinch. What terms they made with George Fawcett we know not, possibly share and share, after deducting a sum for expenses. Strange to say, the 'Old' Queen's' in Melbourne, the Princess' just mentioned, and an old theatre still standing in Durham-street, Bathurst, a relic of the roaring days of the Turon Diggings, and in which G. V. Brooke played, are the only ones, I am creditably informed, which have escaped destruction by fire.

Mr. Holmes, in acknowledging the gift of a watch and chain and a purse of sovereigns, was not to be outdone by Mr. Higgerson in similes; Mr. Holmes said that he was prouder of his position that night than Nelson at Trafalgar! Some little unpleasantness was hinted at over the race won by Tomboy. It was a sweep of 25 sovereigns with 100 sovs added. There were several starters, the principals being Van Tromp, Veno, and Mr. Purcell's Tomboy. Higgerson was on Veno, Waldock on Van Tromp, and Holmes on Tomboy, three as upright jockeys as ever threw leg over saddle. It was said that Holmes rode light, having got rid of some of his weight; and what pained the Victorians more than anything else was the fact that Messrs. Rowe and Atkinson believed it; and Sam Holmes was a Sydney man, too. Those who knew Sam Holmes will, I know, say that such a charge was simply ridiculous. The jockey weighed out and weighed in the same weight, and there was no opportunity, even if he wished it, to play hanky-panky with the weights between times. It may be mentioned that in this race Van Tromp was nowhere but in the race run half an hour afterwards he got second place.

Within the week in which the great Intercolonial Matches were run, the Victoria Jockey Club held, I think, its first meeting. This was the club of which Mr. J. M. Tarlton (U. S. Consul), Henry Phillips, George ???????, Edward Row were stewards, with Mr. W. P. Symons as secretary, and Mr. Richard Goldsbrough as honorary clerk of the course.

Just think of 'John Bull' Goldsbrough, 20 stone if an ounce, in starlet, and breeches, as clerk of the course! It was late in the season, and the horses were not in the best of condition, and the meeting was remarkable for the defeat of all the favorites.

The Intercolonial Matches seem to have given a zest to racing in Melbourne, the V.J.C. meeting on October 7, 8 and 9 being very largely patronised. Tattersall's newly founded rooms attracted a crowd, the regulations framed and the admission fee proving a barrier to a large number of noisy 'bummers,' who did no business and whose chatter, clatter and bounce had been intolerable. This 'push' had to content itself with the kerbstone when Tatt's was established. In the rooms the Sydney people were well represented, foremost amongst them being Mr. G. F. Pickering, editor and part proprietor of 'Bell's Life in Sydney.' It was noticeable that the Sydney contingent wagered only on Sydneyside horses.

The first race of the meeting was a Maiden Plate. Nine came to the post, amongst them a horse called Yankee, entered as a five-year-old, made first favorite, and backed heavily all through. This horse Yankee had done all his galloping as one of a team in Cobb and Co.'s coaches! The coaching crowd believed that they had found a wonder, but the result proved that Yankee was great at a mile, but no further. Though Joe Smith, a well-known rider of the time had the mount, he found his horse beaten at the mile. A horse with the Hibernian name Bathershins proved the winner, while Lady of the Lake, a sister of Alice Hawthorne, ran into third place.

Under the auspices of this club the Victorian Derby of 1857 was run. The entries were Mr. William Greene's Tricolor, Dr. Bathe's Vain Hope, Mr. Dawes' Union Jack, Mr. H. Phillips' Cavalier, Mr. E. Row's Melbourne, Mr. Payne's Skylark, and Mr. Davis' Marco. The added money was £150, the race being won by Tricolor, bred at Woodlands, the old home of Pomeroy Greene and his sons Rawdon and Molesworth. The winner had only been in Anthony Greene's hands for six weeks prior to the race. The Jockey Club Cup, £150 added money, brought a number of well known horses to the post, and was the cause of a special match being made between two of the runners. There were five entries: Mr. Warby's Cardinal Wiseman, Mr. A. Chirnside's Alice Hawthorne, Mr. John Sevoir's Sir Robert, Mr. B. D. Clarke's Camel, and Mr. Payne's Sinbad; welter weights, members of the Jockey Club up. Alice Hawthorne was the favorite against the field. The race was a two-miler, the winner turning up in Cardinal Wiseman, ridden by Mr. Rutland; Alice, with Mr. John Orr up, being second. That night at Tattersall's it was stated that Cardinal Wiseman's victory was only a fluke, and a match between 'The Churchman' and Alice was spoken of. On the following evening the match was made, the owners of Alice laying £1000 to £500, 2½ miles, welter weights, 12st 41b the horse, 12st 1lb the mare, to be run on the afternoon of the next day. Next afternoon the betting was 6 to 4 on Alice Hawthorne, which became firmer when it was known that Johnny Higgerson had the mount on the mare, and the 'gentleman jock,' Mr. Rutland, was to steer 'The Cardinal.' The start was a dead level one. Almost immediately the mare forged ahead, the Cardinal made an effort and passed the mare, the latter, however, got in front again, but Higgerson hauled off at the boggy ground under the hill, where the grandstand is now. Turning into the straight the pair were stride for stride, fighting for every foot; the mare was beaten by three lengths, in 3min 22sec. The horse Cardinal Wiseman surprised everyone. Mr. Warby had purchased him a few weeks before for 200 guineas, for stud purposes, but proving what horse masters call 'too playful,' he was given to one Bentley to train and make what he could out of him. It was now decided that Alice Hawthorne had seen 'her day.' In the first ten days of October, 1857, she had been tried four times, having as riders Steve Mahon, Mitchell, Johnny Higgerson and Mr. John Orr, and she failed to score a win with either up. All four riders gave the verdict 'out of form.'

The Victoria Jockey Club had a 'Great Metropolitan' as part of the programme. It was run on the second day, the added money being a modest 200 sovs. with a sweep of 15 sovs. The starters were: Veno (Higgerson up), Mr. Jenkins' Voltaire, Alice Hawthorne (with Mitchell up), Van Tromp, and five others, Veno and Alice went stride for stride from the start, when Veno went to the front, leaving Alice to fight for second place with Voltaire, who beat the mare by a head. The third day was wet, the entries being second and third rate, and the interest deadened by the absence of the 'big game.' At Tattersall's, at the settling up, everything passed off in first-class fashion. There were no complaints, because there were no defaulters. The bookmakers proper had not as yet become an institution, the betting being done between friends and by well-known sportsmen. Cash betting had not been thought of. Joe Thompson was but 20 years of age, and still in obscurity. The late Sammy Isaacs had not started 'pencilling' at Kirk's Bazaar. I think little Sammy, who 'pattered' for the fighting men at their booth at Flemington on race meetings, was the first recognised layer of the odds per book and pencil.

At the 'settling,' when the champagne had gone round, and everyone was satisfied with himself, his neighbor, and owner of Van Tromp, issued a challenge the world generally, Mr. William Frazer, to Victorian sportsmen, two challenges, in fact. The first was that he (Mr. Frazer) would find a horse in the Geelong district, which he would match against any other Victorian horse for 250 sovereigns, in six weeks' time, two miles, over the Geelong course. The second challenge was somewhat similar, the distance being 1½ mile, Mr. Frazer explained that both horses were strangers to the Flemington and Geelong racecourses. Nothing came of the challenges at the time. But while challenges were flying about Melbourne, new ground had been broken in Sydney. In 'Bell's Life in Sydney' appeared an advertisement worded after this fashion :— A gentleman from Ipswich, Moreton Bay (there was no Queensland then), will back his horse, Newbolt, against the champion of Australia or any horse in the colony (New South Wales, which included everything north of Gabo lighthouse), for nothing less than 500 to 1000 sovereigns, £250 allowed either party removing his horse to either turf. Stakes ready at the Willow Tree Inn, Pitt-street. No deposit but cash down. Match to be made in four weeks, the race run in three months from this date. October 17, 1857. An answer expected by Saturday, as the gentleman is about to leave the colony. No race within 22 days of the horse landing at either post. I don't think the Sydney sportsmen paid much heed to the gentleman from Ipswich, who had such a high opinion of his horse Newbolt.

A coincidence, surely! While I was writing about the Edouin family ('Sportsman,' 27/4/'04) and Cremorne one of the family, Mrs. G. B. W. Lewis nee Rose Edouin, was on her way to pay a professional visit to Sydney, and the lady is now in our midst.

The Mr. Warby mentioned above belonged to an old— very old— Campbelltown (New South Wales) family, which had a big interest in certain valuable Sydney properties. The old Yorkshire Stingo Hotel, at the corner of Castlereagh and Goulburn streets, was an heirloom of the family. Likewise the old Liverpool Arms, at the corner of King and Pitt streets, a house dating back to the old 'lag days' of the colony, but which, when rebuilt, had its name changed to 'Warby's.' I believe it has now passed out of the Warby family.

Theatre in Spring Street, opened as Astley's Amphitheatre 11 September 1854. Redecorated and renamed Royal Amphitheatre February 1856. Renovated and reopened as Princess's Theatre and Opera House 22 April 1857. Further modified 1861. Closed 1863. Reopened after major alterations 2 December 1865. Demolished 1886. Replaced by Princess Theatre, opened 18 December 1886. Architect: William Pitt jnr. Auditorium rebuilt and theatre reopened 26 December 1922. Architect: Henry E. White. Theatre reopened 1990 after stage rebuilt and building restored and refurbished.

This century-old theatre, restored as a lyric theatre for commercial productions of major musicals, stands on a site that has been occupied by a theatre since Thomas Mooney opened Astley's Amphitheatre there in 1854, under the direction of George Lewis. Astley's Amphitheatre, named after a famous circus in London, was designed for both stage and equestrian events. In September 1855 a newspaper complained of the transformation of Richard III into 'a monopolylogue' on horseback. By the next month the competition from two new theatres, the Olympic Theatre and the Theatre Royal, caused loss of patronage in the 2000-seat Astley's, and it was auctioned off. 

George Coppin leased Astley's in February 1856, lit it with gas, remodelled it slightly and renamed it the Royal Amphitheatre, but after eight weeks it closed for lack of support. John Black took over the building to reconstruct the interior for presentation of lyric drama and reopened it after minor alterations as the Princess's Theatre in April 1857 with Anna Bishop in the title-role of Bellini's opera Norma. After two further leases the Princess's Theatre again fell on bad times. James Simmonds took it over from Achilles King, who then supervised reconstruction for the new lessee, transforming the inelegant and disproportionate auditorium into a 'perfect gem of a house'.

The Illustrated Melbourne Post of 25 November 1865 shows substantial timber posts continuing up to a deep cornice supporting a slightly domed ceiling, painted with nymphs floating in a cloudy sky. The proscenium was 2.4 metres deep and contained doors giving onto an apron of the same depth. The proscenium opening was 9.9 metres wide, the stage being 17.4 metres deep by 23.7 metres wide. The gross dimensions of the auditorium were 23.7 metres wide, 23.1 metres deep by 9.6 metres high. It was lit by gas and decorated in white, blue and gold. The fronting building, which housed a hotel, the theatre entrances and shops, was substantially built in masonry, but the auditorium appears to have been externally clad in weatherboards.

By 1886 the theatre was neglected, and Williamson, Garner and Musgrove commissioned William Pitt Jnr to design a new one for the site. The substantial Princess Theatre was built in less than eight months. It was favourably compared to major European theatres. The three-level auditorium was lit by electricity and there was ventilation through a central sliding section of the ceiling dome, which opened to a 7.2 metre diameter tube (still in existence) rising to a sliding segment of the roof. The exterior is still almost as it was built, in an Italian Renaissance style with French overtones, although the open terraces were enclosed in 1901 to form a coloured glass wintergarden.

After buying the theatre in 1915 Benjamin Fuller and his brother John entered into partnership with Hugh J. Ward in 1922 to rebuild the auditorium to eliminate the forest of cast-iron columns supporting the two tiers above. Henry E. White designed a new auditorium in Adam style which is not out of place with the remainder of the building. It opened on Boxing Day with an American musical comedy, The O'Brien Girl. Ward left the partnership but Fullers' maintained the theatre until 1929, when they leased it to Union Theatres for talkies. The lease then passed to F. W. Thring, who presented musical comedies and Efftee films.

After the Second World War the Princess returned to live theatre under Carroll-Fuller Theatres Pty Ltd. Garnet H. Carroll took over full control of the freehold and entrepreneurial activity in 1951. He leased the theatre for short terms until he died in 1964, when his son John took control through Carroll Freeholds Pty Ltd.

From 1969 to 1985 the Australian Elizabethan Theatre Trust leased the theatre. David and Elaine Marriner bought Carroll Freeholds in 1986 and renamed the company Princess Theatre Holdings Pty Ltd on 3 May 1990. After a conservation study, the company had the stage rebuilt to suit the requirements of the entrepreneur Cameron Mackintosh and the remainder of the theatre restored and refurbished. Leased to the Mackintosh organisation, it reopened with the musical Les Miserables in 1990.