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John Hennings - Actor-manager, Lessee, Scenic Artist
- Dick Whittington, Her Majesty's Theatre (1887-1933), Sydney, NSW, 30 March 1918
- Aladdin and the Wonderful Lamp, Theatre Royal, Melbourne, VIC, 26 December 1894
- Romeo and Juliet, Theatre Royal, Melbourne, VIC, 10 August 1876
- The Shaughraun, Theatre Royal, Melbourne, VIC, 29 May 1875
- Humpty Dumpty, Who Sat on a Wall or Harlequin King Arthur, Theatre Royal, Melbourne, VIC, 28 December 1874
- Twinkle, Twinkle, Little Star or Harlequin Jack Frost and the Old Woman who Lived in a Shoe, Theatre Royal, Melbourne, VIC, 2 January 1874
- Riquet with the Tuft; or, Harequin Old Mother Shipton, The Silver Champions and Darwin's Genealogical Tree, Theatre Royal, Melbourne, VIC, 26 December 1872
- Quite Alone, Theatre Royal, Melbourne, VIC, 7 November 1872
- Papillionetta or, The Prince's Little Feat and the Big Beatle Crusher, Theatre Royal, Melbourne, VIC, 10 April 1871
- Goody Two Shoes and Little Boy Blue, Theatre Royal, Melbourne, VIC, 26 December 1870
- Sun and Shadow or, Mark Stornway's Nephew, Theatre Royal, Melbourne, VIC, 1 October 1870
- King Arthur or, Launcelot the Loose, Gin-ever the Square, and the knights , Princess's Theatre and Opera House (1857-1886), Melbourne, VIC, 18 April 1870
- Milky White / Ode on Odd Fellowship / The House that Jack Built / New Tricks, Theatre Royal, Melbourne, VIC, 25 January 1870
- Love's Silver Dream or, The King, The Goddess and the Fays of Fairyland, Theatre Royal, Adelphi (1869-1873), Sydney, NSW, 21 January 1870
- The house that Jack Built or, Harlequin Progress and the Loves, Laughs, laments and Labours of Jack Melbourne and Little Victoria, Theatre Royal, Melbourne, VIC, 27 December 1869
- Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, Theatre Royal, Melbourne, VIC, 25 March 1869
- Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, Theatre Royal, Melbourne, VIC, 24 December 1868
- Christine Johnstone, the Snowdrop of the North, Theatre Royal, Melbourne, VIC, 21 November 1868
- Leah the Forsaken / The Bonnie Fishwife, Theatre Royal, Melbourne, VIC, 3 August 1868
- Gulliver on his travels or, Harlequin and Father Christmas and the fairy queen of the silver acacias, Theatre Royal, Melbourne, VIC, 26 December 1866
- The Enchanted Island or Harlequin the Mysyterious Prince and the Magician Father, Theatre Royal, Melbourne, VIC, 24 December 1864
- The Tower of London, Princess's Theatre and Opera House (1857-1886), Melbourne, VIC, 6 October 1863
- High, Low, Jack and the Game or Harlequin Prince Diamond and the Fairy Pearl, Haymarket Theatre, Melbourne, VIC, 26 December 1862
- Romeo and Juliet, Theatre Royal, Melbourne, VIC, 10 August 1876
- The Shaughraun, Theatre Royal, Melbourne, VIC, 29 May 1875
- Humpty Dumpty, Who Sat on a Wall or Harlequin King Arthur, Theatre Royal, Melbourne, VIC, 28 December 1874
- Twinkle, Twinkle, Little Star or Harlequin Jack Frost and the Old Woman who Lived in a Shoe, Theatre Royal, Melbourne, VIC, 2 January 1874
- Quite Alone, Theatre Royal, Melbourne, VIC, 7 November 1872
- Papillionetta or, The Prince's Little Feat and the Big Beatle Crusher, Theatre Royal, Melbourne, VIC, 10 April 1871
- Goody Two Shoes and Little Boy Blue, Theatre Royal, Melbourne, VIC, 26 December 1870
- Sun and Shadow or, Mark Stornway's Nephew, Theatre Royal, Melbourne, VIC, 1 October 1870
- King Arthur or, Launcelot the Loose, Gin-ever the Square, and the knights , Princess's Theatre and Opera House (1857-1886), Melbourne, VIC, 18 April 1870
- Milky White / Ode on Odd Fellowship / The House that Jack Built / New Tricks, Theatre Royal, Melbourne, VIC, 25 January 1870
- Love's Silver Dream or, The King, The Goddess and the Fays of Fairyland, Theatre Royal, Adelphi (1869-1873), Sydney, NSW, 21 January 1870
- The house that Jack Built or, Harlequin Progress and the Loves, Laughs, laments and Labours of Jack Melbourne and Little Victoria, Theatre Royal, Melbourne, VIC, 27 December 1869
- Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, Theatre Royal, Melbourne, VIC, 25 March 1869
- Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, Theatre Royal, Melbourne, VIC, 24 December 1868
- Leah the Forsaken / The Bonnie Fishwife, Theatre Royal, Melbourne, VIC, 3 August 1868
- Catching a Conspirator, Theatre Royal, Melbourne, VIC, 30 September 1867
- Catching a Conspirator, Theatre Royal, Melbourne, VIC, 16 September 1867
- Catching a Conspirator, Theatre Royal, Melbourne, VIC, 19 June 1867
- Gulliver on his travels or, Harlequin and Father Christmas and the fairy queen of the silver acacias, Theatre Royal, Melbourne, VIC, 26 December 1866
- The Enchanted Island or Harlequin the Mysyterious Prince and the Magician Father, Theatre Royal, Melbourne, VIC, 24 December 1864
- Aladdin or Harlequin, the Wonderful Ring, the Magical Lamp and the Pretty Young Maiden who Loved a Great Scamp ..., Theatre Royal (1875-1972), Sydney, NSW, 26 December 1882
- The Shaughraun, Theatre Royal, Melbourne, VIC, 29 May 1875
- Humpty Dumpty, Who Sat on a Wall or Harlequin King Arthur, Theatre Royal, Melbourne, VIC, 28 December 1874
- The Irish Tiger / The New Magdalen, Theatre Royal, Melbourne, VIC, 7 March 1874
- Twinkle, Twinkle, Little Star or Harlequin Jack Frost and the Old Woman who Lived in a Shoe, Theatre Royal, Melbourne, VIC, 2 January 1874
- Riquet with the Tuft; or, Harequin Old Mother Shipton, The Silver Champions and Darwin's Genealogical Tree, Theatre Royal, Melbourne, VIC, 26 December 1872
- Quite Alone, Theatre Royal, Melbourne, VIC, 7 November 1872
- King Arthur or, Launcelot the Loose, Gin-ever the Square, and the knights , Princess's Theatre and Opera House (1857-1886), Melbourne, VIC, 18 April 1870
- Milky White / Ode on Odd Fellowship / The House that Jack Built / New Tricks, Theatre Royal, Melbourne, VIC, 25 January 1870
- Love's Silver Dream or, The King, The Goddess and the Fays of Fairyland, Theatre Royal, Adelphi (1869-1873), Sydney, NSW, 21 January 1870
- The house that Jack Built or, Harlequin Progress and the Loves, Laughs, laments and Labours of Jack Melbourne and Little Victoria, Theatre Royal, Melbourne, VIC, 27 December 1869
- Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, Theatre Royal, Melbourne, VIC, 25 March 1869
- Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, Theatre Royal, Melbourne, VIC, 24 December 1868
- Leah the Forsaken / The Bonnie Fishwife, Theatre Royal, Melbourne, VIC, 3 August 1868
- Catching a Conspirator, Theatre Royal, Melbourne, VIC, 30 September 1867
- Catching a Conspirator, Theatre Royal, Melbourne, VIC, 16 September 1867
- Catching a Conspirator, Theatre Royal, Melbourne, VIC, 19 June 1867
- Gulliver on his travels or, Harlequin and Father Christmas and the fairy queen of the silver acacias, Theatre Royal, Melbourne, VIC, 26 December 1866
- Sam Weller or, The Pickwickians, Haymarket Theatre, Melbourne, VIC, 26 September 1863
- Romeo and Juliet, Theatre Royal, Melbourne, VIC, 10 August 1876
- Humpty Dumpty, Who Sat on a Wall or Harlequin King Arthur, Theatre Royal, Melbourne, VIC, 28 December 1874
- The Irish Tiger / The New Magdalen, Theatre Royal, Melbourne, VIC, 7 March 1874
- Twinkle, Twinkle, Little Star or Harlequin Jack Frost and the Old Woman who Lived in a Shoe, Theatre Royal, Melbourne, VIC, 2 January 1874
- Riquet with the Tuft; or, Harequin Old Mother Shipton, The Silver Champions and Darwin's Genealogical Tree, Theatre Royal, Melbourne, VIC, 26 December 1872
- Quite Alone, Theatre Royal, Melbourne, VIC, 7 November 1872
- Papillionetta or, The Prince's Little Feat and the Big Beatle Crusher, Theatre Royal, Melbourne, VIC, 10 April 1871
- Goody Two Shoes and Little Boy Blue, Theatre Royal, Melbourne, VIC, 26 December 1870
- King Arthur or, Launcelot the Loose, Gin-ever the Square, and the knights , Princess's Theatre and Opera House (1857-1886), Melbourne, VIC, 18 April 1870
- Love's Silver Dream or, The King, The Goddess and the Fays of Fairyland, Theatre Royal, Adelphi (1869-1873), Sydney, NSW, 21 January 1870
- The house that Jack Built or, Harlequin Progress and the Loves, Laughs, laments and Labours of Jack Melbourne and Little Victoria, Theatre Royal, Melbourne, VIC, 27 December 1869
- Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, Theatre Royal, Melbourne, VIC, 25 March 1869
- Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, Theatre Royal, Melbourne, VIC, 24 December 1868
- Christine Johnstone, the Snowdrop of the North, Theatre Royal, Melbourne, VIC, 21 November 1868
- Gulliver on his travels or, Harlequin and Father Christmas and the fairy queen of the silver acacias, Theatre Royal, Melbourne, VIC, 26 December 1866
Mr George Coppin - Actor, Actor-manager, Adaptor, Entrepreneur, Lessee
- Aladdin and the Wonderful Lamp, Theatre Royal, Melbourne, VIC, 26 December 1894
- Romeo and Juliet, Theatre Royal, Melbourne, VIC, 10 August 1876
- The Shaughraun, Theatre Royal, Melbourne, VIC, 29 May 1875
- Riquet with the Tuft; or, Harequin Old Mother Shipton, The Silver Champions and Darwin's Genealogical Tree, Theatre Royal, Melbourne, VIC, 26 December 1872
- Quite Alone, Theatre Royal, Melbourne, VIC, 7 November 1872
- Papillionetta or, The Prince's Little Feat and the Big Beatle Crusher, Theatre Royal, Melbourne, VIC, 10 April 1871
- Goody Two Shoes and Little Boy Blue, Theatre Royal, Melbourne, VIC, 26 December 1870
- Sun and Shadow or, Mark Stornway's Nephew, Theatre Royal, Melbourne, VIC, 1 October 1870
- Milky White / Ode on Odd Fellowship / The House that Jack Built / New Tricks, Theatre Royal, Melbourne, VIC, 25 January 1870
- Love's Silver Dream or, The King, The Goddess and the Fays of Fairyland, Theatre Royal, Adelphi (1869-1873), Sydney, NSW, 21 January 1870
- The house that Jack Built or, Harlequin Progress and the Loves, Laughs, laments and Labours of Jack Melbourne and Little Victoria, Theatre Royal, Melbourne, VIC, 27 December 1869
- Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, Theatre Royal, Melbourne, VIC, 25 March 1869
- Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, Theatre Royal, Melbourne, VIC, 24 December 1868
- Sam Weller or, The Pickwickians, Haymarket Theatre, Melbourne, VIC, 26 September 1863
Clyde Meynell - Administrator, Company Director
- Kissing Time, Her Majesty's Theatre (1887-1933), Sydney, NSW, 14 August 1920
- The Passing Show of 1920, Her Majesty's Theatre (1887-1933), Sydney, NSW, 3 March 1920
- Il Trovatore / Madame Butterfly / Lucia di Lammermoor / Faust / La Boheme, Her Majesty's Theatre (1887-1933), Sydney, NSW, 6 September 1919
- Rigoletto / Madame Butterfly / Lucia di Lammermoor / Faust / I Pagliacci / Cavalleria Rusticana, Her Majesty's Theatre (1887-1933), Sydney, NSW, 30 August 1919
- Cavalleria Rusticana / I Pagliacci, Her Majesty's Theatre (1887-1933), Sydney, NSW, 9 August 1919
- The Silent Witness, Her Majesty's Theatre (1887-1933), Sydney, NSW, 5 July 1919
- Dick Whittington, Her Majesty's Theatre (1887-1933), Sydney, NSW, 30 March 1918
- The Arcadians, Grand Opera House, Wellington, New Zealand, January 1914
- The Count of Luxembourg, Theatre Royal, Christchurch, Christchurch, New Zealand, 1914
- Autumn Manoeuvres, His Majesty's Theatre, Auckland, New Zealand, 26 December 1913
George Tallis - Administrator, Company Director
- Kissing Time, Her Majesty's Theatre (1887-1933), Sydney, NSW, 14 August 1920
- The Passing Show of 1920, Her Majesty's Theatre (1887-1933), Sydney, NSW, 3 March 1920
- Il Trovatore / Madame Butterfly / Lucia di Lammermoor / Faust / La Boheme, Her Majesty's Theatre (1887-1933), Sydney, NSW, 6 September 1919
- Rigoletto / Madame Butterfly / Lucia di Lammermoor / Faust / I Pagliacci / Cavalleria Rusticana, Her Majesty's Theatre (1887-1933), Sydney, NSW, 30 August 1919
- Cavalleria Rusticana / I Pagliacci, Her Majesty's Theatre (1887-1933), Sydney, NSW, 9 August 1919
- The Silent Witness, Her Majesty's Theatre (1887-1933), Sydney, NSW, 5 July 1919
- Dick Whittington, Her Majesty's Theatre (1887-1933), Sydney, NSW, 30 March 1918
- The Arcadians, Grand Opera House, Wellington, New Zealand, January 1914
- The Count of Luxembourg, Theatre Royal, Christchurch, Christchurch, New Zealand, 1914
- Autumn Manoeuvres, His Majesty's Theatre, Auckland, New Zealand, 26 December 1913
Hugh J Ward - Administrator, Company Director
- Kissing Time, Her Majesty's Theatre (1887-1933), Sydney, NSW, 14 August 1920
- The Passing Show of 1920, Her Majesty's Theatre (1887-1933), Sydney, NSW, 3 March 1920
- Il Trovatore / Madame Butterfly / Lucia di Lammermoor / Faust / La Boheme, Her Majesty's Theatre (1887-1933), Sydney, NSW, 6 September 1919
- Rigoletto / Madame Butterfly / Lucia di Lammermoor / Faust / I Pagliacci / Cavalleria Rusticana, Her Majesty's Theatre (1887-1933), Sydney, NSW, 30 August 1919
- Cavalleria Rusticana / I Pagliacci, Her Majesty's Theatre (1887-1933), Sydney, NSW, 9 August 1919
- The Silent Witness, Her Majesty's Theatre (1887-1933), Sydney, NSW, 5 July 1919
- Dick Whittington, Her Majesty's Theatre (1887-1933), Sydney, NSW, 30 March 1918
- The Arcadians, Grand Opera House, Wellington, New Zealand, January 1914
- The Count of Luxembourg, Theatre Royal, Christchurch, Christchurch, New Zealand, 1914
- Autumn Manoeuvres, His Majesty's Theatre, Auckland, New Zealand, 26 December 1913
- Romeo and Juliet, Theatre Royal, Melbourne, VIC, 10 August 1876
- Riquet with the Tuft; or, Harequin Old Mother Shipton, The Silver Champions and Darwin's Genealogical Tree, Theatre Royal, Melbourne, VIC, 26 December 1872
- Papillionetta or, The Prince's Little Feat and the Big Beatle Crusher, Theatre Royal, Melbourne, VIC, 10 April 1871
- Goody Two Shoes and Little Boy Blue, Theatre Royal, Melbourne, VIC, 26 December 1870
- Sun and Shadow or, Mark Stornway's Nephew, Theatre Royal, Melbourne, VIC, 1 October 1870
- Milky White / Ode on Odd Fellowship / The House that Jack Built / New Tricks, Theatre Royal, Melbourne, VIC, 25 January 1870
- Love's Silver Dream or, The King, The Goddess and the Fays of Fairyland, Theatre Royal, Adelphi (1869-1873), Sydney, NSW, 21 January 1870
- The house that Jack Built or, Harlequin Progress and the Loves, Laughs, laments and Labours of Jack Melbourne and Little Victoria, Theatre Royal, Melbourne, VIC, 27 December 1869
- Leah the Forsaken / The Bonnie Fishwife, Theatre Royal, Melbourne, VIC, 3 August 1868
- Kissing Time, Her Majesty's Theatre (1887-1933), Sydney, NSW, 14 August 1920
- Il Trovatore / Madame Butterfly / Lucia di Lammermoor / Faust / La Boheme, Her Majesty's Theatre (1887-1933), Sydney, NSW, 6 September 1919
- Rigoletto / Madame Butterfly / Lucia di Lammermoor / Faust / I Pagliacci / Cavalleria Rusticana, Her Majesty's Theatre (1887-1933), Sydney, NSW, 30 August 1919
- Cavalleria Rusticana / I Pagliacci, Her Majesty's Theatre (1887-1933), Sydney, NSW, 9 August 1919
- Dick Whittington, Her Majesty's Theatre (1887-1933), Sydney, NSW, 30 March 1918
- The Dancing Mistress , His Majesty's Theatre, Brisbane, QLD, 30 April 1917
- The Count of Luxembourg, Theatre Royal, Christchurch, Christchurch, New Zealand, 1914
- Autumn Manoeuvres, His Majesty's Theatre, Auckland, New Zealand, 26 December 1913
- The Shaughraun, Theatre Royal, Melbourne, VIC, 29 May 1875
- Humpty Dumpty, Who Sat on a Wall or Harlequin King Arthur, Theatre Royal, Melbourne, VIC, 28 December 1874
- Twinkle, Twinkle, Little Star or Harlequin Jack Frost and the Old Woman who Lived in a Shoe, Theatre Royal, Melbourne, VIC, 2 January 1874
- Riquet with the Tuft; or, Harequin Old Mother Shipton, The Silver Champions and Darwin's Genealogical Tree, Theatre Royal, Melbourne, VIC, 26 December 1872
- Papillionetta or, The Prince's Little Feat and the Big Beatle Crusher, Theatre Royal, Melbourne, VIC, 10 April 1871
- Goody Two Shoes and Little Boy Blue, Theatre Royal, Melbourne, VIC, 26 December 1870
- Sun and Shadow or, Mark Stornway's Nephew, Theatre Royal, Melbourne, VIC, 1 October 1870
- Milky White / Ode on Odd Fellowship / The House that Jack Built / New Tricks, Theatre Royal, Melbourne, VIC, 25 January 1870
- Aladdin or Harlequin, the Wonderful Ring, the Magical Lamp and the Pretty Young Maiden who Loved a Great Scamp ..., Theatre Royal (1875-1972), Sydney, NSW, 26 December 1882
- Mother-In-Law / The Corsican Brothers, Gaiety Theatre, Sydney, NSW, 8 October 1881
- The Shaughraun, Theatre Royal, Melbourne, VIC, 29 May 1875
- Humpty Dumpty, Who Sat on a Wall or Harlequin King Arthur, Theatre Royal, Melbourne, VIC, 28 December 1874
- The Irish Tiger / The New Magdalen, Theatre Royal, Melbourne, VIC, 7 March 1874
- Twinkle, Twinkle, Little Star or Harlequin Jack Frost and the Old Woman who Lived in a Shoe, Theatre Royal, Melbourne, VIC, 2 January 1874
- Riquet with the Tuft; or, Harequin Old Mother Shipton, The Silver Champions and Darwin's Genealogical Tree, Theatre Royal, Melbourne, VIC, 26 December 1872
- Milky White / Ode on Odd Fellowship / The House that Jack Built / New Tricks, Theatre Royal, Melbourne, VIC, 25 January 1870
- Riquet with the Tuft; or, Harequin Old Mother Shipton, The Silver Champions and Darwin's Genealogical Tree, Theatre Royal, Melbourne, VIC, 26 December 1872
- Quite Alone, Theatre Royal, Melbourne, VIC, 7 November 1872
- Love's Silver Dream or, The King, The Goddess and the Fays of Fairyland, Theatre Royal, Adelphi (1869-1873), Sydney, NSW, 21 January 1870
- The house that Jack Built or, Harlequin Progress and the Loves, Laughs, laments and Labours of Jack Melbourne and Little Victoria, Theatre Royal, Melbourne, VIC, 27 December 1869
- Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, Theatre Royal, Melbourne, VIC, 25 March 1869
- Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, Theatre Royal, Melbourne, VIC, 24 December 1868
- Gulliver on his travels or, Harlequin and Father Christmas and the fairy queen of the silver acacias, Theatre Royal, Melbourne, VIC, 26 December 1866
- The Enchanted Island or Harlequin the Mysyterious Prince and the Magician Father, Theatre Royal, Melbourne, VIC, 24 December 1864
- Il Trovatore / Madame Butterfly / Lucia di Lammermoor / Faust / La Boheme, Her Majesty's Theatre (1887-1933), Sydney, NSW, 6 September 1919
- Rigoletto / Madame Butterfly / Lucia di Lammermoor / Faust / I Pagliacci / Cavalleria Rusticana, Her Majesty's Theatre (1887-1933), Sydney, NSW, 30 August 1919
- Cavalleria Rusticana / I Pagliacci, Her Majesty's Theatre (1887-1933), Sydney, NSW, 9 August 1919
- The Dancing Mistress , His Majesty's Theatre, Brisbane, QLD, 30 April 1917
- The Cinema Star , His Majesty's Theatre, Brisbane, QLD, 23 April 1917
- The Arcadians, Grand Opera House, Wellington, New Zealand, January 1914
- The Count of Luxembourg, Theatre Royal, Christchurch, Christchurch, New Zealand, 1914
- Autumn Manoeuvres, His Majesty's Theatre, Auckland, New Zealand, 26 December 1913
Herr Cushla - Mask Maker, Properties Master, Properties Master / Mistress
- Humpty Dumpty, Who Sat on a Wall or Harlequin King Arthur, Theatre Royal, Melbourne, VIC, 28 December 1874
- Riquet with the Tuft; or, Harequin Old Mother Shipton, The Silver Champions and Darwin's Genealogical Tree, Theatre Royal, Melbourne, VIC, 26 December 1872
- Love's Silver Dream or, The King, The Goddess and the Fays of Fairyland, Theatre Royal, Adelphi (1869-1873), Sydney, NSW, 21 January 1870
- The house that Jack Built or, Harlequin Progress and the Loves, Laughs, laments and Labours of Jack Melbourne and Little Victoria, Theatre Royal, Melbourne, VIC, 27 December 1869
- Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, Theatre Royal, Melbourne, VIC, 25 March 1869
- Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, Theatre Royal, Melbourne, VIC, 24 December 1868
- Gulliver on his travels or, Harlequin and Father Christmas and the fairy queen of the silver acacias, Theatre Royal, Melbourne, VIC, 26 December 1866
- Humpty Dumpty, Who Sat on a Wall or Harlequin King Arthur, Theatre Royal, Melbourne, VIC, 28 December 1874
- Twinkle, Twinkle, Little Star or Harlequin Jack Frost and the Old Woman who Lived in a Shoe, Theatre Royal, Melbourne, VIC, 2 January 1874
- Goody Two Shoes and Little Boy Blue, Theatre Royal, Melbourne, VIC, 26 December 1870
- King Arthur or, Launcelot the Loose, Gin-ever the Square, and the knights , Princess's Theatre and Opera House (1857-1886), Melbourne, VIC, 18 April 1870
- Milky White / Ode on Odd Fellowship / The House that Jack Built / New Tricks, Theatre Royal, Melbourne, VIC, 25 January 1870
- Love's Silver Dream or, The King, The Goddess and the Fays of Fairyland, Theatre Royal, Adelphi (1869-1873), Sydney, NSW, 21 January 1870
- The house that Jack Built or, Harlequin Progress and the Loves, Laughs, laments and Labours of Jack Melbourne and Little Victoria, Theatre Royal, Melbourne, VIC, 27 December 1869
- Humpty Dumpty, Who Sat on a Wall or Harlequin King Arthur, Theatre Royal, Melbourne, VIC, 28 December 1874
- Twinkle, Twinkle, Little Star or Harlequin Jack Frost and the Old Woman who Lived in a Shoe, Theatre Royal, Melbourne, VIC, 2 January 1874
- Goody Two Shoes and Little Boy Blue, Theatre Royal, Melbourne, VIC, 26 December 1870
- King Arthur or, Launcelot the Loose, Gin-ever the Square, and the knights , Princess's Theatre and Opera House (1857-1886), Melbourne, VIC, 18 April 1870
- Milky White / Ode on Odd Fellowship / The House that Jack Built / New Tricks, Theatre Royal, Melbourne, VIC, 25 January 1870
- Love's Silver Dream or, The King, The Goddess and the Fays of Fairyland, Theatre Royal, Adelphi (1869-1873), Sydney, NSW, 21 January 1870
- The house that Jack Built or, Harlequin Progress and the Loves, Laughs, laments and Labours of Jack Melbourne and Little Victoria, Theatre Royal, Melbourne, VIC, 27 December 1869
- Kissing Time, Her Majesty's Theatre (1887-1933), Sydney, NSW, 14 August 1920
- The Passing Show of 1920, Her Majesty's Theatre (1887-1933), Sydney, NSW, 3 March 1920
- The Silent Witness, Her Majesty's Theatre (1887-1933), Sydney, NSW, 5 July 1919
- Dick Whittington, Her Majesty's Theatre (1887-1933), Sydney, NSW, 30 March 1918
- The Dancing Mistress , His Majesty's Theatre, Brisbane, QLD, 30 April 1917
- The Cinema Star , His Majesty's Theatre, Brisbane, QLD, 23 April 1917
- The Count of Luxembourg, Theatre Royal, Christchurch, Christchurch, New Zealand, 1914
- King Arthur or, Launcelot the Loose, Gin-ever the Square, and the knights , Princess's Theatre and Opera House (1857-1886), Melbourne, VIC, 18 April 1870
- Love's Silver Dream or, The King, The Goddess and the Fays of Fairyland, Theatre Royal, Adelphi (1869-1873), Sydney, NSW, 21 January 1870
- The house that Jack Built or, Harlequin Progress and the Loves, Laughs, laments and Labours of Jack Melbourne and Little Victoria, Theatre Royal, Melbourne, VIC, 27 December 1869
- Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, Theatre Royal, Melbourne, VIC, 25 March 1869
- Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, Theatre Royal, Melbourne, VIC, 24 December 1868
- Gulliver on his travels or, Harlequin and Father Christmas and the fairy queen of the silver acacias, Theatre Royal, Melbourne, VIC, 26 December 1866
Frederick Coppin - Composer, Mechanist, Musical Arranger, Musical Director
- The Shaughraun, Theatre Royal, Melbourne, VIC, 29 May 1875
- Humpty Dumpty, Who Sat on a Wall or Harlequin King Arthur, Theatre Royal, Melbourne, VIC, 28 December 1874
- Riquet with the Tuft; or, Harequin Old Mother Shipton, The Silver Champions and Darwin's Genealogical Tree, Theatre Royal, Melbourne, VIC, 26 December 1872
- Quite Alone, Theatre Royal, Melbourne, VIC, 7 November 1872
- Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, Theatre Royal, Melbourne, VIC, 25 March 1869
- Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, Theatre Royal, Melbourne, VIC, 24 December 1868
- Humpty Dumpty, Who Sat on a Wall or Harlequin King Arthur, Theatre Royal, Melbourne, VIC, 28 December 1874
- Riquet with the Tuft; or, Harequin Old Mother Shipton, The Silver Champions and Darwin's Genealogical Tree, Theatre Royal, Melbourne, VIC, 26 December 1872
- Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, Theatre Royal, Melbourne, VIC, 25 March 1869
- Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, Theatre Royal, Melbourne, VIC, 24 December 1868
- Leah the Forsaken / The Bonnie Fishwife, Theatre Royal, Melbourne, VIC, 3 August 1868
- The Tower of London, Princess's Theatre and Opera House (1857-1886), Melbourne, VIC, 6 October 1863
- Humpty Dumpty, Who Sat on a Wall or Harlequin King Arthur, Theatre Royal, Melbourne, VIC, 28 December 1874
- Riquet with the Tuft; or, Harequin Old Mother Shipton, The Silver Champions and Darwin's Genealogical Tree, Theatre Royal, Melbourne, VIC, 26 December 1872
- Love's Silver Dream or, The King, The Goddess and the Fays of Fairyland, Theatre Royal, Adelphi (1869-1873), Sydney, NSW, 21 January 1870
- Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, Theatre Royal, Melbourne, VIC, 25 March 1869
- Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, Theatre Royal, Melbourne, VIC, 24 December 1868
- Leah the Forsaken / The Bonnie Fishwife, Theatre Royal, Melbourne, VIC, 3 August 1868
- Riquet with the Tuft; or, Harequin Old Mother Shipton, The Silver Champions and Darwin's Genealogical Tree, Theatre Royal, Melbourne, VIC, 26 December 1872
- Quite Alone, Theatre Royal, Melbourne, VIC, 7 November 1872
- Sun and Shadow or, Mark Stornway's Nephew, Theatre Royal, Melbourne, VIC, 1 October 1870
- Gulliver on his travels or, Harlequin and Father Christmas and the fairy queen of the silver acacias, Theatre Royal, Melbourne, VIC, 26 December 1866
- The Enchanted Island or Harlequin the Mysyterious Prince and the Magician Father, Theatre Royal, Melbourne, VIC, 24 December 1864
- High, Low, Jack and the Game or Harlequin Prince Diamond and the Fairy Pearl, Haymarket Theatre, Melbourne, VIC, 26 December 1862
- Humpty Dumpty, Who Sat on a Wall or Harlequin King Arthur, Theatre Royal, Melbourne, VIC, 28 December 1874
- Papillionetta or, The Prince's Little Feat and the Big Beatle Crusher, Theatre Royal, Melbourne, VIC, 10 April 1871
- Goody Two Shoes and Little Boy Blue, Theatre Royal, Melbourne, VIC, 26 December 1870
- Sun and Shadow or, Mark Stornway's Nephew, Theatre Royal, Melbourne, VIC, 1 October 1870
- Love's Silver Dream or, The King, The Goddess and the Fays of Fairyland, Theatre Royal, Adelphi (1869-1873), Sydney, NSW, 21 January 1870
- The house that Jack Built or, Harlequin Progress and the Loves, Laughs, laments and Labours of Jack Melbourne and Little Victoria, Theatre Royal, Melbourne, VIC, 27 December 1869
Phil Smith - Actor, Actor and Singer, Performer
- The Passing Show of 1920, Her Majesty's Theatre (1887-1933), Sydney, NSW, 3 March 1920
- The Dancing Mistress , His Majesty's Theatre, Brisbane, QLD, 30 April 1917
- The Cinema Star , His Majesty's Theatre, Brisbane, QLD, 23 April 1917
- The Arcadians, Grand Opera House, Wellington, New Zealand, January 1914
- The Count of Luxembourg, Theatre Royal, Christchurch, Christchurch, New Zealand, 1914
- Autumn Manoeuvres, His Majesty's Theatre, Auckland, New Zealand, 26 December 1913
- Romeo and Juliet, Theatre Royal, Melbourne, VIC, 10 August 1876
- The Shaughraun, Theatre Royal, Melbourne, VIC, 29 May 1875
- Humpty Dumpty, Who Sat on a Wall or Harlequin King Arthur, Theatre Royal, Melbourne, VIC, 28 December 1874
- The Irish Tiger / The New Magdalen, Theatre Royal, Melbourne, VIC, 7 March 1874
- Twinkle, Twinkle, Little Star or Harlequin Jack Frost and the Old Woman who Lived in a Shoe, Theatre Royal, Melbourne, VIC, 2 January 1874
- Riquet with the Tuft; or, Harequin Old Mother Shipton, The Silver Champions and Darwin's Genealogical Tree, Theatre Royal, Melbourne, VIC, 26 December 1872
Charles A Wenman - Director, Associate, Producer, Stage Manager
- Kissing Time, Her Majesty's Theatre (1887-1933), Sydney, NSW, 14 August 1920
- Dick Whittington, Her Majesty's Theatre (1887-1933), Sydney, NSW, 30 March 1918
- The Dancing Mistress , His Majesty's Theatre, Brisbane, QLD, 30 April 1917
- The Cinema Star , His Majesty's Theatre, Brisbane, QLD, 23 April 1917
- The Arcadians, Grand Opera House, Wellington, New Zealand, January 1914
- The Count of Luxembourg, Theatre Royal, Christchurch, Christchurch, New Zealand, 1914
- Kissing Time, Her Majesty's Theatre (1887-1933), Sydney, NSW, 14 August 1920
- The Passing Show of 1920, Her Majesty's Theatre (1887-1933), Sydney, NSW, 3 March 1920
- Il Trovatore / Madame Butterfly / Lucia di Lammermoor / Faust / La Boheme, Her Majesty's Theatre (1887-1933), Sydney, NSW, 6 September 1919
- Rigoletto / Madame Butterfly / Lucia di Lammermoor / Faust / I Pagliacci / Cavalleria Rusticana, Her Majesty's Theatre (1887-1933), Sydney, NSW, 30 August 1919
- Cavalleria Rusticana / I Pagliacci, Her Majesty's Theatre (1887-1933), Sydney, NSW, 9 August 1919
- The Silent Witness, Her Majesty's Theatre (1887-1933), Sydney, NSW, 5 July 1919
- The Dancing Mistress , His Majesty's Theatre, Brisbane, QLD, 30 April 1917
- The Cinema Star , His Majesty's Theatre, Brisbane, QLD, 23 April 1917
- The Arcadians, Grand Opera House, Wellington, New Zealand, January 1914
- The Count of Luxembourg, Theatre Royal, Christchurch, Christchurch, New Zealand, 1914
- Autumn Manoeuvres, His Majesty's Theatre, Auckland, New Zealand, 26 December 1913
- Under the Red Robe, Her Majesty's Theatre (1887-1933), Sydney, NSW, 29 October 1898
- The Dancing Mistress , His Majesty's Theatre, Brisbane, QLD, 30 April 1917
- The Cinema Star , His Majesty's Theatre, Brisbane, QLD, 23 April 1917
- The Arcadians, Grand Opera House, Wellington, New Zealand, January 1914
- The Count of Luxembourg, Theatre Royal, Christchurch, Christchurch, New Zealand, 1914
- Autumn Manoeuvres, His Majesty's Theatre, Auckland, New Zealand, 26 December 1913
- The Dancing Mistress , His Majesty's Theatre, Brisbane, QLD, 30 April 1917
- The Cinema Star , His Majesty's Theatre, Brisbane, QLD, 23 April 1917
- The Arcadians, Grand Opera House, Wellington, New Zealand, January 1914
- The Count of Luxembourg, Theatre Royal, Christchurch, Christchurch, New Zealand, 1914
- Autumn Manoeuvres, His Majesty's Theatre, Auckland, New Zealand, 26 December 1913
- The Shaughraun, Theatre Royal, Melbourne, VIC, 29 May 1875
- Humpty Dumpty, Who Sat on a Wall or Harlequin King Arthur, Theatre Royal, Melbourne, VIC, 28 December 1874
- Twinkle, Twinkle, Little Star or Harlequin Jack Frost and the Old Woman who Lived in a Shoe, Theatre Royal, Melbourne, VIC, 2 January 1874
- Riquet with the Tuft; or, Harequin Old Mother Shipton, The Silver Champions and Darwin's Genealogical Tree, Theatre Royal, Melbourne, VIC, 26 December 1872
- Papillionetta or, The Prince's Little Feat and the Big Beatle Crusher, Theatre Royal, Melbourne, VIC, 10 April 1871
- Kissing Time, Her Majesty's Theatre (1887-1933), Sydney, NSW, 14 August 1920
- Dick Whittington, Her Majesty's Theatre (1887-1933), Sydney, NSW, 30 March 1918
- The Dancing Mistress , His Majesty's Theatre, Brisbane, QLD, 30 April 1917
- The Cinema Star , His Majesty's Theatre, Brisbane, QLD, 23 April 1917
- The Count of Luxembourg, Theatre Royal, Christchurch, Christchurch, New Zealand, 1914
- King Arthur or, Launcelot the Loose, Gin-ever the Square, and the knights , Princess's Theatre and Opera House (1857-1886), Melbourne, VIC, 18 April 1870
- Love's Silver Dream or, The King, The Goddess and the Fays of Fairyland, Theatre Royal, Adelphi (1869-1873), Sydney, NSW, 21 January 1870
- The house that Jack Built or, Harlequin Progress and the Loves, Laughs, laments and Labours of Jack Melbourne and Little Victoria, Theatre Royal, Melbourne, VIC, 27 December 1869
- Gulliver on his travels or, Harlequin and Father Christmas and the fairy queen of the silver acacias, Theatre Royal, Melbourne, VIC, 26 December 1866
- The Enchanted Island or Harlequin the Mysyterious Prince and the Magician Father, Theatre Royal, Melbourne, VIC, 24 December 1864
- The Will and The Way or The Vision Of Death, Haymarket Theatre, Melbourne, VIC, 15 July 1865
- The Tower of London, Princess's Theatre and Opera House (1857-1886), Melbourne, VIC, 6 October 1863
- Sam Weller or, The Pickwickians, Haymarket Theatre, Melbourne, VIC, 26 September 1863
- Pizarro, Royal Victoria Theatre (1838-1880), Sydney, NSW, 21 May 1859
- The Will and The Way or, The Vision of Death, Royal Victoria Theatre (1838-1880), Sydney, NSW, 24 March 1859
- Humpty Dumpty, Who Sat on a Wall or Harlequin King Arthur, Theatre Royal, Melbourne, VIC, 28 December 1874
- Riquet with the Tuft; or, Harequin Old Mother Shipton, The Silver Champions and Darwin's Genealogical Tree, Theatre Royal, Melbourne, VIC, 26 December 1872
- Papillionetta or, The Prince's Little Feat and the Big Beatle Crusher, Theatre Royal, Melbourne, VIC, 10 April 1871
- Goody Two Shoes and Little Boy Blue, Theatre Royal, Melbourne, VIC, 26 December 1870
- Sun and Shadow or, Mark Stornway's Nephew, Theatre Royal, Melbourne, VIC, 1 October 1870
Reginald Roberts - Actor, Actor and Singer, Performer
- The Passing Show of 1920, Her Majesty's Theatre (1887-1933), Sydney, NSW, 3 March 1920
- The Dancing Mistress , His Majesty's Theatre, Brisbane, QLD, 30 April 1917
- The Cinema Star , His Majesty's Theatre, Brisbane, QLD, 23 April 1917
- The Arcadians, Grand Opera House, Wellington, New Zealand, January 1914
- Autumn Manoeuvres, His Majesty's Theatre, Auckland, New Zealand, 26 December 1913
- Il Trovatore / Madame Butterfly / Lucia di Lammermoor / Faust / La Boheme, Her Majesty's Theatre (1887-1933), Sydney, NSW, 6 September 1919
- Rigoletto / Madame Butterfly / Lucia di Lammermoor / Faust / I Pagliacci / Cavalleria Rusticana, Her Majesty's Theatre (1887-1933), Sydney, NSW, 30 August 1919
- Cavalleria Rusticana / I Pagliacci, Her Majesty's Theatre (1887-1933), Sydney, NSW, 9 August 1919
- The Count of Luxembourg, Theatre Royal, Christchurch, Christchurch, New Zealand, 1914
- Autumn Manoeuvres, His Majesty's Theatre, Auckland, New Zealand, 26 December 1913
- Leah the Forsaken / The Bonnie Fishwife, Theatre Royal, Melbourne, VIC, 3 August 1868
- The Will and The Way or The Vision Of Death, Haymarket Theatre, Melbourne, VIC, 15 July 1865
- The Tower of London, Princess's Theatre and Opera House (1857-1886), Melbourne, VIC, 6 October 1863
- Sam Weller or, The Pickwickians, Haymarket Theatre, Melbourne, VIC, 26 September 1863
- High, Low, Jack and the Game or Harlequin Prince Diamond and the Fairy Pearl, Haymarket Theatre, Melbourne, VIC, 26 December 1862
- The Shaughraun, Theatre Royal, Melbourne, VIC, 29 May 1875
- Humpty Dumpty, Who Sat on a Wall or Harlequin King Arthur, Theatre Royal, Melbourne, VIC, 28 December 1874
- Twinkle, Twinkle, Little Star or Harlequin Jack Frost and the Old Woman who Lived in a Shoe, Theatre Royal, Melbourne, VIC, 2 January 1874
- Riquet with the Tuft; or, Harequin Old Mother Shipton, The Silver Champions and Darwin's Genealogical Tree, Theatre Royal, Melbourne, VIC, 26 December 1872
- Quite Alone, Theatre Royal, Melbourne, VIC, 7 November 1872
- Riquet with the Tuft; or, Harequin Old Mother Shipton, The Silver Champions and Darwin's Genealogical Tree, Theatre Royal, Melbourne, VIC, 26 December 1872
- Papillionetta or, The Prince's Little Feat and the Big Beatle Crusher, Theatre Royal, Melbourne, VIC, 10 April 1871
- Christine Johnstone, the Snowdrop of the North, Theatre Royal, Melbourne, VIC, 21 November 1868
- Leah the Forsaken / The Bonnie Fishwife, Theatre Royal, Melbourne, VIC, 3 August 1868
- Sam Weller or, The Pickwickians, Haymarket Theatre, Melbourne, VIC, 26 September 1863
- The Passing Show of 1920, Her Majesty's Theatre (1887-1933), Sydney, NSW, 3 March 1920
- The Law of the Land, His Majesty's Theatre, Brisbane, QLD, 10 March 1917
- The House of Glass, His Majesty's Theatre, Brisbane, QLD, 3 March 1917
- Autumn Manoeuvres, His Majesty's Theatre, Auckland, New Zealand, 26 December 1913
- The Harbor Lights, Her Majesty's Theatre (1887-1933), Sydney, NSW, 26 November 1898
- The Lady of Lyons, Her Majesty's Theatre (1887-1933), Sydney, NSW, 19 November 1898
- Romeo and Juliet, Theatre Royal, Melbourne, VIC, 10 August 1876
- The Shaughraun, Theatre Royal, Melbourne, VIC, 29 May 1875
Alfred Dampier - Actor, Lessee, Stage Manager
- Mother-In-Law / The Corsican Brothers, Gaiety Theatre, Sydney, NSW, 8 October 1881
- Romeo and Juliet, Theatre Royal, Melbourne, VIC, 10 August 1876
- The Shaughraun, Theatre Royal, Melbourne, VIC, 29 May 1875
- Humpty Dumpty, Who Sat on a Wall or Harlequin King Arthur, Theatre Royal, Melbourne, VIC, 28 December 1874
Taylor Darbyshire - Director, Associate, General Manager
- Dick Whittington, Her Majesty's Theatre (1887-1933), Sydney, NSW, 30 March 1918
- The Arcadians, Grand Opera House, Wellington, New Zealand, January 1914
- The Count of Luxembourg, Theatre Royal, Christchurch, Christchurch, New Zealand, 1914
- Autumn Manoeuvres, His Majesty's Theatre, Auckland, New Zealand, 26 December 1913
- The Harbor Lights, Her Majesty's Theatre (1887-1933), Sydney, NSW, 26 November 1898
- Under the Red Robe, Her Majesty's Theatre (1887-1933), Sydney, NSW, 29 October 1898
- Aladdin or Harlequin, the Wonderful Ring, the Magical Lamp and the Pretty Young Maiden who Loved a Great Scamp ..., Theatre Royal (1875-1972), Sydney, NSW, 26 December 1882
- Sinbad the Sailor or, the Caliph's Daughter, the Old Man and the Sea, and the dwarf of the Diamond Valley, Theatre Royal (1875-1972), Sydney, NSW, 27 December 1881
- The Shaughraun, Theatre Royal, Melbourne, VIC, 29 May 1875
- Humpty Dumpty, Who Sat on a Wall or Harlequin King Arthur, Theatre Royal, Melbourne, VIC, 28 December 1874
- Riquet with the Tuft; or, Harequin Old Mother Shipton, The Silver Champions and Darwin's Genealogical Tree, Theatre Royal, Melbourne, VIC, 26 December 1872
- Quite Alone, Theatre Royal, Melbourne, VIC, 7 November 1872
- Catching a Conspirator, Theatre Royal, Melbourne, VIC, 30 September 1867
- Catching a Conspirator, Theatre Royal, Melbourne, VIC, 16 September 1867
- Catching a Conspirator, Theatre Royal, Melbourne, VIC, 19 June 1867
- The Enchanted Island or Harlequin the Mysyterious Prince and the Magician Father, Theatre Royal, Melbourne, VIC, 24 December 1864
Mr Little - Actor, Scenic Artist
- Riquet with the Tuft; or, Harequin Old Mother Shipton, The Silver Champions and Darwin's Genealogical Tree, Theatre Royal, Melbourne, VIC, 26 December 1872
- Quite Alone, Theatre Royal, Melbourne, VIC, 7 November 1872
- Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, Theatre Royal, Melbourne, VIC, 25 March 1869
- Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, Theatre Royal, Melbourne, VIC, 24 December 1868
- Goody Two Shoes and Little Boy Blue, Theatre Royal, Melbourne, VIC, 26 December 1870
- Sun and Shadow or, Mark Stornway's Nephew, Theatre Royal, Melbourne, VIC, 1 October 1870
- King Arthur or, Launcelot the Loose, Gin-ever the Square, and the knights , Princess's Theatre and Opera House (1857-1886), Melbourne, VIC, 18 April 1870
- Leah the Forsaken / The Bonnie Fishwife, Theatre Royal, Melbourne, VIC, 3 August 1868
E J Tait - Administrator, Adminstrator, Business Manager
- Kissing Time, Her Majesty's Theatre (1887-1933), Sydney, NSW, 14 August 1920
- The Arcadians, Grand Opera House, Wellington, New Zealand, January 1914
- The Count of Luxembourg, Theatre Royal, Christchurch, Christchurch, New Zealand, 1914
- Autumn Manoeuvres, His Majesty's Theatre, Auckland, New Zealand, 26 December 1913
- Papillionetta or, The Prince's Little Feat and the Big Beatle Crusher, Theatre Royal, Melbourne, VIC, 10 April 1871
- Goody Two Shoes and Little Boy Blue, Theatre Royal, Melbourne, VIC, 26 December 1870
- Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, Theatre Royal, Melbourne, VIC, 25 March 1869
- Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, Theatre Royal, Melbourne, VIC, 24 December 1868
- The Dancing Mistress , His Majesty's Theatre, Brisbane, QLD, 30 April 1917
- The Cinema Star , His Majesty's Theatre, Brisbane, QLD, 23 April 1917
- The Count of Luxembourg, Theatre Royal, Christchurch, Christchurch, New Zealand, 1914
- Autumn Manoeuvres, His Majesty's Theatre, Auckland, New Zealand, 26 December 1913
Alfred Andrew - Actor and Singer, Stage Manager
- Kissing Time, Her Majesty's Theatre (1887-1933), Sydney, NSW, 14 August 1920
- The Dancing Mistress , His Majesty's Theatre, Brisbane, QLD, 30 April 1917
- The Cinema Star , His Majesty's Theatre, Brisbane, QLD, 23 April 1917
A Balboni - Singer, Singer, Tenor
- Il Trovatore / Madame Butterfly / Lucia di Lammermoor / Faust / La Boheme, Her Majesty's Theatre (1887-1933), Sydney, NSW, 6 September 1919
- Rigoletto / Madame Butterfly / Lucia di Lammermoor / Faust / I Pagliacci / Cavalleria Rusticana, Her Majesty's Theatre (1887-1933), Sydney, NSW, 30 August 1919
- Cavalleria Rusticana / I Pagliacci, Her Majesty's Theatre (1887-1933), Sydney, NSW, 9 August 1919
Claude Bantock - Actor and Singer, Comedian
- Dick Whittington, Her Majesty's Theatre (1887-1933), Sydney, NSW, 30 March 1918
- The Dancing Mistress , His Majesty's Theatre, Brisbane, QLD, 30 April 1917
- The Cinema Star , His Majesty's Theatre, Brisbane, QLD, 23 April 1917
Vera Bedford - Singer, Singer, Contralto
- Il Trovatore / Madame Butterfly / Lucia di Lammermoor / Faust / La Boheme, Her Majesty's Theatre (1887-1933), Sydney, NSW, 6 September 1919
- Rigoletto / Madame Butterfly / Lucia di Lammermoor / Faust / I Pagliacci / Cavalleria Rusticana, Her Majesty's Theatre (1887-1933), Sydney, NSW, 30 August 1919
- Cavalleria Rusticana / I Pagliacci, Her Majesty's Theatre (1887-1933), Sydney, NSW, 9 August 1919
- The Arcadians, Grand Opera House, Wellington, New Zealand, January 1914
- The Count of Luxembourg, Theatre Royal, Christchurch, Christchurch, New Zealand, 1914
- Autumn Manoeuvres, His Majesty's Theatre, Auckland, New Zealand, 26 December 1913
- Il Trovatore / Madame Butterfly / Lucia di Lammermoor / Faust / La Boheme, Her Majesty's Theatre (1887-1933), Sydney, NSW, 6 September 1919
- Rigoletto / Madame Butterfly / Lucia di Lammermoor / Faust / I Pagliacci / Cavalleria Rusticana, Her Majesty's Theatre (1887-1933), Sydney, NSW, 30 August 1919
- Cavalleria Rusticana / I Pagliacci, Her Majesty's Theatre (1887-1933), Sydney, NSW, 9 August 1919
- The Arcadians, Grand Opera House, Wellington, New Zealand, January 1914
- The Count of Luxembourg, Theatre Royal, Christchurch, Christchurch, New Zealand, 1914
- Autumn Manoeuvres, His Majesty's Theatre, Auckland, New Zealand, 26 December 1913
Rosa Carrodus - Singer, Singer, Contralto
- Il Trovatore / Madame Butterfly / Lucia di Lammermoor / Faust / La Boheme, Her Majesty's Theatre (1887-1933), Sydney, NSW, 6 September 1919
- Rigoletto / Madame Butterfly / Lucia di Lammermoor / Faust / I Pagliacci / Cavalleria Rusticana, Her Majesty's Theatre (1887-1933), Sydney, NSW, 30 August 1919
- Cavalleria Rusticana / I Pagliacci, Her Majesty's Theatre (1887-1933), Sydney, NSW, 9 August 1919
Thelma Carter - Singer, Singer, Contralto
- Il Trovatore / Madame Butterfly / Lucia di Lammermoor / Faust / La Boheme, Her Majesty's Theatre (1887-1933), Sydney, NSW, 6 September 1919
- Rigoletto / Madame Butterfly / Lucia di Lammermoor / Faust / I Pagliacci / Cavalleria Rusticana, Her Majesty's Theatre (1887-1933), Sydney, NSW, 30 August 1919
- Cavalleria Rusticana / I Pagliacci, Her Majesty's Theatre (1887-1933), Sydney, NSW, 9 August 1919
Amy Castles - Singer, Singer, Soprano
- Il Trovatore / Madame Butterfly / Lucia di Lammermoor / Faust / La Boheme, Her Majesty's Theatre (1887-1933), Sydney, NSW, 6 September 1919
- Rigoletto / Madame Butterfly / Lucia di Lammermoor / Faust / I Pagliacci / Cavalleria Rusticana, Her Majesty's Theatre (1887-1933), Sydney, NSW, 30 August 1919
- Cavalleria Rusticana / I Pagliacci, Her Majesty's Theatre (1887-1933), Sydney, NSW, 9 August 1919
- Il Trovatore / Madame Butterfly / Lucia di Lammermoor / Faust / La Boheme, Her Majesty's Theatre (1887-1933), Sydney, NSW, 6 September 1919
- Rigoletto / Madame Butterfly / Lucia di Lammermoor / Faust / I Pagliacci / Cavalleria Rusticana, Her Majesty's Theatre (1887-1933), Sydney, NSW, 30 August 1919
- Cavalleria Rusticana / I Pagliacci, Her Majesty's Theatre (1887-1933), Sydney, NSW, 9 August 1919
- Papillionetta or, The Prince's Little Feat and the Big Beatle Crusher, Theatre Royal, Melbourne, VIC, 10 April 1871
- Goody Two Shoes and Little Boy Blue, Theatre Royal, Melbourne, VIC, 26 December 1870
- Leah the Forsaken / The Bonnie Fishwife, Theatre Royal, Melbourne, VIC, 3 August 1868
- Il Trovatore / Madame Butterfly / Lucia di Lammermoor / Faust / La Boheme, Her Majesty's Theatre (1887-1933), Sydney, NSW, 6 September 1919
- Rigoletto / Madame Butterfly / Lucia di Lammermoor / Faust / I Pagliacci / Cavalleria Rusticana, Her Majesty's Theatre (1887-1933), Sydney, NSW, 30 August 1919
- Cavalleria Rusticana / I Pagliacci, Her Majesty's Theatre (1887-1933), Sydney, NSW, 9 August 1919
- The Arcadians, Grand Opera House, Wellington, New Zealand, January 1914
- The Count of Luxembourg, Theatre Royal, Christchurch, Christchurch, New Zealand, 1914
- Autumn Manoeuvres, His Majesty's Theatre, Auckland, New Zealand, 26 December 1913
- Sinbad the Sailor / Harlequinade, Theatre Royal, Adelaide, SA, 26 December 1893
- Goody Two Shoes and Little Boy Blue, Theatre Royal, Melbourne, VIC, 26 December 1870
- Sun and Shadow or, Mark Stornway's Nephew, Theatre Royal, Melbourne, VIC, 1 October 1870
Mr Douglas - Actor, Scenic Artist
- Riquet with the Tuft; or, Harequin Old Mother Shipton, The Silver Champions and Darwin's Genealogical Tree, Theatre Royal, Melbourne, VIC, 26 December 1872
- Love's Silver Dream or, The King, The Goddess and the Fays of Fairyland, Theatre Royal, Adelphi (1869-1873), Sydney, NSW, 21 January 1870
- The house that Jack Built or, Harlequin Progress and the Loves, Laughs, laments and Labours of Jack Melbourne and Little Victoria, Theatre Royal, Melbourne, VIC, 27 December 1869
- The Arcadians, Grand Opera House, Wellington, New Zealand, January 1914
- The Count of Luxembourg, Theatre Royal, Christchurch, Christchurch, New Zealand, 1914
- Autumn Manoeuvres, His Majesty's Theatre, Auckland, New Zealand, 26 December 1913
- Riquet with the Tuft; or, Harequin Old Mother Shipton, The Silver Champions and Darwin's Genealogical Tree, Theatre Royal, Melbourne, VIC, 26 December 1872
- Gulliver on his travels or, Harlequin and Father Christmas and the fairy queen of the silver acacias, Theatre Royal, Melbourne, VIC, 26 December 1866
- The Enchanted Island or Harlequin the Mysyterious Prince and the Magician Father, Theatre Royal, Melbourne, VIC, 24 December 1864
- The Arcadians, Grand Opera House, Wellington, New Zealand, January 1914
- The Count of Luxembourg, Theatre Royal, Christchurch, Christchurch, New Zealand, 1914
- Autumn Manoeuvres, His Majesty's Theatre, Auckland, New Zealand, 26 December 1913
- The Harbor Lights, Her Majesty's Theatre (1887-1933), Sydney, NSW, 26 November 1898
- The Lady of Lyons, Her Majesty's Theatre (1887-1933), Sydney, NSW, 19 November 1898
- Under the Red Robe, Her Majesty's Theatre (1887-1933), Sydney, NSW, 29 October 1898
- Il Trovatore / Madame Butterfly / Lucia di Lammermoor / Faust / La Boheme, Her Majesty's Theatre (1887-1933), Sydney, NSW, 6 September 1919
- Rigoletto / Madame Butterfly / Lucia di Lammermoor / Faust / I Pagliacci / Cavalleria Rusticana, Her Majesty's Theatre (1887-1933), Sydney, NSW, 30 August 1919
- Cavalleria Rusticana / I Pagliacci, Her Majesty's Theatre (1887-1933), Sydney, NSW, 9 August 1919
H Flexmore - Actor, Choreographer
- Goody Two Shoes and Little Boy Blue, Theatre Royal, Melbourne, VIC, 26 December 1870
- Love's Silver Dream or, The King, The Goddess and the Fays of Fairyland, Theatre Royal, Adelphi (1869-1873), Sydney, NSW, 21 January 1870
- The house that Jack Built or, Harlequin Progress and the Loves, Laughs, laments and Labours of Jack Melbourne and Little Victoria, Theatre Royal, Melbourne, VIC, 27 December 1869
- Riquet with the Tuft; or, Harequin Old Mother Shipton, The Silver Champions and Darwin's Genealogical Tree, Theatre Royal, Melbourne, VIC, 26 December 1872
- Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, Theatre Royal, Melbourne, VIC, 25 March 1869
- Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, Theatre Royal, Melbourne, VIC, 24 December 1868
Carl Formes - Singer, Singer, Baritone
- Il Trovatore / Madame Butterfly / Lucia di Lammermoor / Faust / La Boheme, Her Majesty's Theatre (1887-1933), Sydney, NSW, 6 September 1919
- Rigoletto / Madame Butterfly / Lucia di Lammermoor / Faust / I Pagliacci / Cavalleria Rusticana, Her Majesty's Theatre (1887-1933), Sydney, NSW, 30 August 1919
- Cavalleria Rusticana / I Pagliacci, Her Majesty's Theatre (1887-1933), Sydney, NSW, 9 August 1919
- The Arcadians, Grand Opera House, Wellington, New Zealand, January 1914
- The Count of Luxembourg, Theatre Royal, Christchurch, Christchurch, New Zealand, 1914
- Autumn Manoeuvres, His Majesty's Theatre, Auckland, New Zealand, 26 December 1913
- Christine Johnstone, the Snowdrop of the North, Theatre Royal, Melbourne, VIC, 21 November 1868
- Leah the Forsaken / The Bonnie Fishwife, Theatre Royal, Melbourne, VIC, 3 August 1868
- High, Low, Jack and the Game or Harlequin Prince Diamond and the Fairy Pearl, Haymarket Theatre, Melbourne, VIC, 26 December 1862
- The Arcadians, Grand Opera House, Wellington, New Zealand, January 1914
- The Count of Luxembourg, Theatre Royal, Christchurch, Christchurch, New Zealand, 1914
- Autumn Manoeuvres, His Majesty's Theatre, Auckland, New Zealand, 26 December 1913
- The Harbor Lights, Her Majesty's Theatre (1887-1933), Sydney, NSW, 26 November 1898
- The Lady of Lyons, Her Majesty's Theatre (1887-1933), Sydney, NSW, 19 November 1898
- Under the Red Robe, Her Majesty's Theatre (1887-1933), Sydney, NSW, 29 October 1898
- Aladdin or Harlequin, the Wonderful Ring, the Magical Lamp and the Pretty Young Maiden who Loved a Great Scamp ..., Theatre Royal (1875-1972), Sydney, NSW, 26 December 1882
- Pizarro, Royal Victoria Theatre (1838-1880), Sydney, NSW, 21 May 1859
- The Will and The Way or, The Vision of Death, Royal Victoria Theatre (1838-1880), Sydney, NSW, 24 March 1859
- The Passing Show of 1920, Her Majesty's Theatre (1887-1933), Sydney, NSW, 3 March 1920
- The Law of the Land, His Majesty's Theatre, Brisbane, QLD, 10 March 1917
- The House of Glass, His Majesty's Theatre, Brisbane, QLD, 3 March 1917
- The Silent Witness, Her Majesty's Theatre (1887-1933), Sydney, NSW, 5 July 1919
- The Law of the Land, His Majesty's Theatre, Brisbane, QLD, 10 March 1917
- The House of Glass, His Majesty's Theatre, Brisbane, QLD, 3 March 1917
- The Harbor Lights, Her Majesty's Theatre (1887-1933), Sydney, NSW, 26 November 1898
- The Lady of Lyons, Her Majesty's Theatre (1887-1933), Sydney, NSW, 19 November 1898
- Under the Red Robe, Her Majesty's Theatre (1887-1933), Sydney, NSW, 29 October 1898
- The Harbor Lights, Her Majesty's Theatre (1887-1933), Sydney, NSW, 26 November 1898
- The Lady of Lyons, Her Majesty's Theatre (1887-1933), Sydney, NSW, 19 November 1898
- Under the Red Robe, Her Majesty's Theatre (1887-1933), Sydney, NSW, 29 October 1898
- Kissing Time, Her Majesty's Theatre (1887-1933), Sydney, NSW, 14 August 1920
- The Dancing Mistress , His Majesty's Theatre, Brisbane, QLD, 30 April 1917
- The Cinema Star , His Majesty's Theatre, Brisbane, QLD, 23 April 1917
- The Will and The Way or The Vision Of Death, Haymarket Theatre, Melbourne, VIC, 15 July 1865
- The Tower of London, Princess's Theatre and Opera House (1857-1886), Melbourne, VIC, 6 October 1863
- Sam Weller or, The Pickwickians, Haymarket Theatre, Melbourne, VIC, 26 September 1863
- The Passing Show of 1920, Her Majesty's Theatre (1887-1933), Sydney, NSW, 3 March 1920
- The Dancing Mistress , His Majesty's Theatre, Brisbane, QLD, 30 April 1917
- The Cinema Star , His Majesty's Theatre, Brisbane, QLD, 23 April 1917
- Gulliver on his travels or, Harlequin and Father Christmas and the fairy queen of the silver acacias, Theatre Royal, Melbourne, VIC, 26 December 1866
- Sam Weller or, The Pickwickians, Haymarket Theatre, Melbourne, VIC, 26 September 1863
- High, Low, Jack and the Game or Harlequin Prince Diamond and the Fairy Pearl, Haymarket Theatre, Melbourne, VIC, 26 December 1862
- Sun and Shadow or, Mark Stornway's Nephew, Theatre Royal, Melbourne, VIC, 1 October 1870
- Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, Theatre Royal, Melbourne, VIC, 25 March 1869
- Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, Theatre Royal, Melbourne, VIC, 24 December 1868
- Il Trovatore / Madame Butterfly / Lucia di Lammermoor / Faust / La Boheme, Her Majesty's Theatre (1887-1933), Sydney, NSW, 6 September 1919
- Rigoletto / Madame Butterfly / Lucia di Lammermoor / Faust / I Pagliacci / Cavalleria Rusticana, Her Majesty's Theatre (1887-1933), Sydney, NSW, 30 August 1919
- Cavalleria Rusticana / I Pagliacci, Her Majesty's Theatre (1887-1933), Sydney, NSW, 9 August 1919
- Sun and Shadow or, Mark Stornway's Nephew, Theatre Royal, Melbourne, VIC, 1 October 1870
- Christine Johnstone, the Snowdrop of the North, Theatre Royal, Melbourne, VIC, 21 November 1868
- Leah the Forsaken / The Bonnie Fishwife, Theatre Royal, Melbourne, VIC, 3 August 1868
- The Harbor Lights, Her Majesty's Theatre (1887-1933), Sydney, NSW, 26 November 1898
- The Lady of Lyons, Her Majesty's Theatre (1887-1933), Sydney, NSW, 19 November 1898
- Under the Red Robe, Her Majesty's Theatre (1887-1933), Sydney, NSW, 29 October 1898
Nellie Leach - Singer, Singer, Soprano
- Il Trovatore / Madame Butterfly / Lucia di Lammermoor / Faust / La Boheme, Her Majesty's Theatre (1887-1933), Sydney, NSW, 6 September 1919
- Rigoletto / Madame Butterfly / Lucia di Lammermoor / Faust / I Pagliacci / Cavalleria Rusticana, Her Majesty's Theatre (1887-1933), Sydney, NSW, 30 August 1919
- Cavalleria Rusticana / I Pagliacci, Her Majesty's Theatre (1887-1933), Sydney, NSW, 9 August 1919
- Il Trovatore / Madame Butterfly / Lucia di Lammermoor / Faust / La Boheme, Her Majesty's Theatre (1887-1933), Sydney, NSW, 6 September 1919
- Rigoletto / Madame Butterfly / Lucia di Lammermoor / Faust / I Pagliacci / Cavalleria Rusticana, Her Majesty's Theatre (1887-1933), Sydney, NSW, 30 August 1919
- Cavalleria Rusticana / I Pagliacci, Her Majesty's Theatre (1887-1933), Sydney, NSW, 9 August 1919
Henry Leopold - Actor, Choreographer, Director
- Riquet with the Tuft; or, Harequin Old Mother Shipton, The Silver Champions and Darwin's Genealogical Tree, Theatre Royal, Melbourne, VIC, 26 December 1872
- The Enchanted Island or Harlequin the Mysyterious Prince and the Magician Father, Theatre Royal, Melbourne, VIC, 24 December 1864
- High, Low, Jack and the Game or Harlequin Prince Diamond and the Fairy Pearl, Haymarket Theatre, Melbourne, VIC, 26 December 1862
- Gulliver on his travels or, Harlequin and Father Christmas and the fairy queen of the silver acacias, Theatre Royal, Melbourne, VIC, 26 December 1866
- The Enchanted Island or Harlequin the Mysyterious Prince and the Magician Father, Theatre Royal, Melbourne, VIC, 24 December 1864
- High, Low, Jack and the Game or Harlequin Prince Diamond and the Fairy Pearl, Haymarket Theatre, Melbourne, VIC, 26 December 1862
- Il Trovatore / Madame Butterfly / Lucia di Lammermoor / Faust / La Boheme, Her Majesty's Theatre (1887-1933), Sydney, NSW, 6 September 1919
- Rigoletto / Madame Butterfly / Lucia di Lammermoor / Faust / I Pagliacci / Cavalleria Rusticana, Her Majesty's Theatre (1887-1933), Sydney, NSW, 30 August 1919
- Cavalleria Rusticana / I Pagliacci, Her Majesty's Theatre (1887-1933), Sydney, NSW, 9 August 1919
Andrew MacCunn - Composer, Musical Director
- The Passing Show of 1920, Her Majesty's Theatre (1887-1933), Sydney, NSW, 3 March 1920
- The Silent Witness, Her Majesty's Theatre (1887-1933), Sydney, NSW, 5 July 1919
- The Arcadians, Grand Opera House, Wellington, New Zealand, January 1914
- Il Trovatore / Madame Butterfly / Lucia di Lammermoor / Faust / La Boheme, Her Majesty's Theatre (1887-1933), Sydney, NSW, 6 September 1919
- Rigoletto / Madame Butterfly / Lucia di Lammermoor / Faust / I Pagliacci / Cavalleria Rusticana, Her Majesty's Theatre (1887-1933), Sydney, NSW, 30 August 1919
- Cavalleria Rusticana / I Pagliacci, Her Majesty's Theatre (1887-1933), Sydney, NSW, 9 August 1919
- High, Low, Jack and the Game or Harlequin Prince Diamond and the Fairy Pearl, Haymarket Theatre, Melbourne, VIC, 26 December 1862
- Pizarro, Royal Victoria Theatre (1838-1880), Sydney, NSW, 21 May 1859
- The Will and The Way or, The Vision of Death, Royal Victoria Theatre (1838-1880), Sydney, NSW, 24 March 1859
- Romeo and Juliet, Theatre Royal, Melbourne, VIC, 10 August 1876
- The Shaughraun, Theatre Royal, Melbourne, VIC, 29 May 1875
- Sam Weller or, The Pickwickians, Haymarket Theatre, Melbourne, VIC, 26 September 1863
- The Harbor Lights, Her Majesty's Theatre (1887-1933), Sydney, NSW, 26 November 1898
- The Lady of Lyons, Her Majesty's Theatre (1887-1933), Sydney, NSW, 19 November 1898
- Under the Red Robe, Her Majesty's Theatre (1887-1933), Sydney, NSW, 29 October 1898
- Leah the Forsaken / The Bonnie Fishwife, Theatre Royal, Melbourne, VIC, 3 August 1868
- The Tower of London, Princess's Theatre and Opera House (1857-1886), Melbourne, VIC, 6 October 1863
- Sam Weller or, The Pickwickians, Haymarket Theatre, Melbourne, VIC, 26 September 1863
Tom Minogue - Singer, Singer, Baritone
- Il Trovatore / Madame Butterfly / Lucia di Lammermoor / Faust / La Boheme, Her Majesty's Theatre (1887-1933), Sydney, NSW, 6 September 1919
- Rigoletto / Madame Butterfly / Lucia di Lammermoor / Faust / I Pagliacci / Cavalleria Rusticana, Her Majesty's Theatre (1887-1933), Sydney, NSW, 30 August 1919
- Cavalleria Rusticana / I Pagliacci, Her Majesty's Theatre (1887-1933), Sydney, NSW, 9 August 1919
- Kissing Time, Her Majesty's Theatre (1887-1933), Sydney, NSW, 14 August 1920
- The Dancing Mistress , His Majesty's Theatre, Brisbane, QLD, 30 April 1917
- The Cinema Star , His Majesty's Theatre, Brisbane, QLD, 23 April 1917
- Il Trovatore / Madame Butterfly / Lucia di Lammermoor / Faust / La Boheme, Her Majesty's Theatre (1887-1933), Sydney, NSW, 6 September 1919
- Rigoletto / Madame Butterfly / Lucia di Lammermoor / Faust / I Pagliacci / Cavalleria Rusticana, Her Majesty's Theatre (1887-1933), Sydney, NSW, 30 August 1919
- Cavalleria Rusticana / I Pagliacci, Her Majesty's Theatre (1887-1933), Sydney, NSW, 9 August 1919
- Il Trovatore / Madame Butterfly / Lucia di Lammermoor / Faust / La Boheme, Her Majesty's Theatre (1887-1933), Sydney, NSW, 6 September 1919
- Rigoletto / Madame Butterfly / Lucia di Lammermoor / Faust / I Pagliacci / Cavalleria Rusticana, Her Majesty's Theatre (1887-1933), Sydney, NSW, 30 August 1919
- Cavalleria Rusticana / I Pagliacci, Her Majesty's Theatre (1887-1933), Sydney, NSW, 9 August 1919
Leah Myers - Singer, Singer, Soprano
- Il Trovatore / Madame Butterfly / Lucia di Lammermoor / Faust / La Boheme, Her Majesty's Theatre (1887-1933), Sydney, NSW, 6 September 1919
- Rigoletto / Madame Butterfly / Lucia di Lammermoor / Faust / I Pagliacci / Cavalleria Rusticana, Her Majesty's Theatre (1887-1933), Sydney, NSW, 30 August 1919
- Cavalleria Rusticana / I Pagliacci, Her Majesty's Theatre (1887-1933), Sydney, NSW, 9 August 1919
- Romeo and Juliet, Theatre Royal, Melbourne, VIC, 10 August 1876
- The Shaughraun, Theatre Royal, Melbourne, VIC, 29 May 1875
- The Irish Tiger / The New Magdalen, Theatre Royal, Melbourne, VIC, 7 March 1874
- The Arcadians, Grand Opera House, Wellington, New Zealand, January 1914
- The Count of Luxembourg, Theatre Royal, Christchurch, Christchurch, New Zealand, 1914
- Autumn Manoeuvres, His Majesty's Theatre, Auckland, New Zealand, 26 December 1913
- Kissing Time, Her Majesty's Theatre (1887-1933), Sydney, NSW, 14 August 1920
- The Dancing Mistress , His Majesty's Theatre, Brisbane, QLD, 30 April 1917
- The Cinema Star , His Majesty's Theatre, Brisbane, QLD, 23 April 1917
- Gulliver on his travels or, Harlequin and Father Christmas and the fairy queen of the silver acacias, Theatre Royal, Melbourne, VIC, 26 December 1866
- The Will and The Way or The Vision Of Death, Haymarket Theatre, Melbourne, VIC, 15 July 1865
- High, Low, Jack and the Game or Harlequin Prince Diamond and the Fairy Pearl, Haymarket Theatre, Melbourne, VIC, 26 December 1862
- The Arcadians, Grand Opera House, Wellington, New Zealand, January 1914
- The Count of Luxembourg, Theatre Royal, Christchurch, Christchurch, New Zealand, 1914
- Autumn Manoeuvres, His Majesty's Theatre, Auckland, New Zealand, 26 December 1913
- Aladdin or Harlequin, the Wonderful Ring, the Magical Lamp and the Pretty Young Maiden who Loved a Great Scamp ..., Theatre Royal (1875-1972), Sydney, NSW, 26 December 1882
- Sinbad the Sailor or, the Caliph's Daughter, the Old Man and the Sea, and the dwarf of the Diamond Valley, Theatre Royal (1875-1972), Sydney, NSW, 27 December 1881
- High, Low, Jack and the Game or Harlequin Prince Diamond and the Fairy Pearl, Haymarket Theatre, Melbourne, VIC, 26 December 1862
- Il Trovatore / Madame Butterfly / Lucia di Lammermoor / Faust / La Boheme, Her Majesty's Theatre (1887-1933), Sydney, NSW, 6 September 1919
- Rigoletto / Madame Butterfly / Lucia di Lammermoor / Faust / I Pagliacci / Cavalleria Rusticana, Her Majesty's Theatre (1887-1933), Sydney, NSW, 30 August 1919
- Cavalleria Rusticana / I Pagliacci, Her Majesty's Theatre (1887-1933), Sydney, NSW, 9 August 1919
- The Arcadians, Grand Opera House, Wellington, New Zealand, January 1914
- The Count of Luxembourg, Theatre Royal, Christchurch, Christchurch, New Zealand, 1914
- Autumn Manoeuvres, His Majesty's Theatre, Auckland, New Zealand, 26 December 1913
- The Cinema Star , His Majesty's Theatre, Brisbane, QLD, 23 April 1917
- The Arcadians, Grand Opera House, Wellington, New Zealand, January 1914
- Autumn Manoeuvres, His Majesty's Theatre, Auckland, New Zealand, 26 December 1913
- Sam Weller or, The Pickwickians, Haymarket Theatre, Melbourne, VIC, 26 September 1863
- High, Low, Jack and the Game or Harlequin Prince Diamond and the Fairy Pearl, Haymarket Theatre, Melbourne, VIC, 26 December 1862
- The Will and The Way or, The Vision of Death, Royal Victoria Theatre (1838-1880), Sydney, NSW, 24 March 1859
- The Silent Witness, Her Majesty's Theatre (1887-1933), Sydney, NSW, 5 July 1919
- The Law of the Land, His Majesty's Theatre, Brisbane, QLD, 10 March 1917
- The House of Glass, His Majesty's Theatre, Brisbane, QLD, 3 March 1917
- Il Trovatore / Madame Butterfly / Lucia di Lammermoor / Faust / La Boheme, Her Majesty's Theatre (1887-1933), Sydney, NSW, 6 September 1919
- Rigoletto / Madame Butterfly / Lucia di Lammermoor / Faust / I Pagliacci / Cavalleria Rusticana, Her Majesty's Theatre (1887-1933), Sydney, NSW, 30 August 1919
- Cavalleria Rusticana / I Pagliacci, Her Majesty's Theatre (1887-1933), Sydney, NSW, 9 August 1919
- Il Trovatore / Madame Butterfly / Lucia di Lammermoor / Faust / La Boheme, Her Majesty's Theatre (1887-1933), Sydney, NSW, 6 September 1919
- Rigoletto / Madame Butterfly / Lucia di Lammermoor / Faust / I Pagliacci / Cavalleria Rusticana, Her Majesty's Theatre (1887-1933), Sydney, NSW, 30 August 1919
- Cavalleria Rusticana / I Pagliacci, Her Majesty's Theatre (1887-1933), Sydney, NSW, 9 August 1919
- The Passing Show of 1920, Her Majesty's Theatre (1887-1933), Sydney, NSW, 3 March 1920
- The Law of the Land, His Majesty's Theatre, Brisbane, QLD, 10 March 1917
- The House of Glass, His Majesty's Theatre, Brisbane, QLD, 3 March 1917
- Catching a Conspirator, Theatre Royal, Melbourne, VIC, 30 September 1867
- Catching a Conspirator, Theatre Royal, Melbourne, VIC, 16 September 1867
- Catching a Conspirator, Theatre Royal, Melbourne, VIC, 19 June 1867
- The Harbor Lights, Her Majesty's Theatre (1887-1933), Sydney, NSW, 26 November 1898
- The Lady of Lyons, Her Majesty's Theatre (1887-1933), Sydney, NSW, 19 November 1898
- Under the Red Robe, Her Majesty's Theatre (1887-1933), Sydney, NSW, 29 October 1898
- Papillionetta or, The Prince's Little Feat and the Big Beatle Crusher, Theatre Royal, Melbourne, VIC, 10 April 1871
- Leah the Forsaken / The Bonnie Fishwife, Theatre Royal, Melbourne, VIC, 3 August 1868
- Gulliver on his travels or, Harlequin and Father Christmas and the fairy queen of the silver acacias, Theatre Royal, Melbourne, VIC, 26 December 1866
- Catching a Conspirator, Theatre Royal, Melbourne, VIC, 30 September 1867
- Catching a Conspirator, Theatre Royal, Melbourne, VIC, 16 September 1867
- Catching a Conspirator, Theatre Royal, Melbourne, VIC, 19 June 1867
- Il Trovatore / Madame Butterfly / Lucia di Lammermoor / Faust / La Boheme, Her Majesty's Theatre (1887-1933), Sydney, NSW, 6 September 1919
- Rigoletto / Madame Butterfly / Lucia di Lammermoor / Faust / I Pagliacci / Cavalleria Rusticana, Her Majesty's Theatre (1887-1933), Sydney, NSW, 30 August 1919
- Cavalleria Rusticana / I Pagliacci, Her Majesty's Theatre (1887-1933), Sydney, NSW, 9 August 1919
- Catching a Conspirator, Theatre Royal, Melbourne, VIC, 30 September 1867
- Catching a Conspirator, Theatre Royal, Melbourne, VIC, 16 September 1867
- Catching a Conspirator, Theatre Royal, Melbourne, VIC, 19 June 1867
- The Arcadians, Grand Opera House, Wellington, New Zealand, January 1914
- The Count of Luxembourg, Theatre Royal, Christchurch, Christchurch, New Zealand, 1914
- Autumn Manoeuvres, His Majesty's Theatre, Auckland, New Zealand, 26 December 1913
- The Arcadians, Grand Opera House, Wellington, New Zealand, January 1914
- The Count of Luxembourg, Theatre Royal, Christchurch, Christchurch, New Zealand, 1914
- Autumn Manoeuvres, His Majesty's Theatre, Auckland, New Zealand, 26 December 1913
- Il Trovatore / Madame Butterfly / Lucia di Lammermoor / Faust / La Boheme, Her Majesty's Theatre (1887-1933), Sydney, NSW, 6 September 1919
- Rigoletto / Madame Butterfly / Lucia di Lammermoor / Faust / I Pagliacci / Cavalleria Rusticana, Her Majesty's Theatre (1887-1933), Sydney, NSW, 30 August 1919
- Cavalleria Rusticana / I Pagliacci, Her Majesty's Theatre (1887-1933), Sydney, NSW, 9 August 1919
- The Arcadians, Grand Opera House, Wellington, New Zealand, January 1914
- The Count of Luxembourg, Theatre Royal, Christchurch, Christchurch, New Zealand, 1914
- Autumn Manoeuvres, His Majesty's Theatre, Auckland, New Zealand, 26 December 1913
- The Shaughraun, Theatre Royal, Melbourne, VIC, 29 May 1875
- Twinkle, Twinkle, Little Star or Harlequin Jack Frost and the Old Woman who Lived in a Shoe, Theatre Royal, Melbourne, VIC, 2 January 1874
- The Arcadians, Grand Opera House, Wellington, New Zealand, January 1914
- Autumn Manoeuvres, His Majesty's Theatre, Auckland, New Zealand, 26 December 1913
- Kissing Time, Her Majesty's Theatre (1887-1933), Sydney, NSW, 14 August 1920
- Dick Whittington, Her Majesty's Theatre (1887-1933), Sydney, NSW, 30 March 1918
- Twinkle, Twinkle, Little Star or Harlequin Jack Frost and the Old Woman who Lived in a Shoe, Theatre Royal, Melbourne, VIC, 2 January 1874
- Goody Two Shoes and Little Boy Blue, Theatre Royal, Melbourne, VIC, 26 December 1870
- Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, Theatre Royal, Melbourne, VIC, 25 March 1869
- Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, Theatre Royal, Melbourne, VIC, 24 December 1868
- The Tower of London, Princess's Theatre and Opera House (1857-1886), Melbourne, VIC, 6 October 1863
- High, Low, Jack and the Game or Harlequin Prince Diamond and the Fairy Pearl, Haymarket Theatre, Melbourne, VIC, 26 December 1862
- Riquet with the Tuft; or, Harequin Old Mother Shipton, The Silver Champions and Darwin's Genealogical Tree, Theatre Royal, Melbourne, VIC, 26 December 1872
- Papillionetta or, The Prince's Little Feat and the Big Beatle Crusher, Theatre Royal, Melbourne, VIC, 10 April 1871
- Kissing Time, Her Majesty's Theatre (1887-1933), Sydney, NSW, 14 August 1920
- The Cinema Star , His Majesty's Theatre, Brisbane, QLD, 23 April 1917
- Aladdin or Harlequin, the Wonderful Ring, the Magical Lamp and the Pretty Young Maiden who Loved a Great Scamp ..., Theatre Royal (1875-1972), Sydney, NSW, 26 December 1882
- Sinbad the Sailor or, the Caliph's Daughter, the Old Man and the Sea, and the dwarf of the Diamond Valley, Theatre Royal (1875-1972), Sydney, NSW, 27 December 1881
- Riquet with the Tuft; or, Harequin Old Mother Shipton, The Silver Champions and Darwin's Genealogical Tree, Theatre Royal, Melbourne, VIC, 26 December 1872
- The Enchanted Island or Harlequin the Mysyterious Prince and the Magician Father, Theatre Royal, Melbourne, VIC, 24 December 1864
W Gardiner - Properties Master / Mistress
- Riquet with the Tuft; or, Harequin Old Mother Shipton, The Silver Champions and Darwin's Genealogical Tree, Theatre Royal, Melbourne, VIC, 26 December 1872
- Quite Alone, Theatre Royal, Melbourne, VIC, 7 November 1872
- Humpty Dumpty, Who Sat on a Wall or Harlequin King Arthur, Theatre Royal, Melbourne, VIC, 28 December 1874
- Papillionetta or, The Prince's Little Feat and the Big Beatle Crusher, Theatre Royal, Melbourne, VIC, 10 April 1871
George Goodman - Administrator, Adminstrator, Business Manager
William Hoskins - Actor, Actor-manager, Lessee
- The House of Glass, His Majesty's Theatre, Brisbane, QLD, 3 March 1917
- Aladdin or Harlequin, the Wonderful Ring, the Magical Lamp and the Pretty Young Maiden who Loved a Great Scamp ..., Theatre Royal (1875-1972), Sydney, NSW, 26 December 1882
- Dora / The Barrister , Theatre Royal (1875-1972), Sydney, NSW, 26 January 1889
- Sinbad the Sailor or, the Caliph's Daughter, the Old Man and the Sea, and the dwarf of the Diamond Valley, Theatre Royal (1875-1972), Sydney, NSW, 27 December 1881
- Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, Theatre Royal, Melbourne, VIC, 25 March 1869
- Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, Theatre Royal, Melbourne, VIC, 24 December 1868
- Love's Silver Dream or, The King, The Goddess and the Fays of Fairyland, Theatre Royal, Adelphi (1869-1873), Sydney, NSW, 21 January 1870
- The house that Jack Built or, Harlequin Progress and the Loves, Laughs, laments and Labours of Jack Melbourne and Little Victoria, Theatre Royal, Melbourne, VIC, 27 December 1869
M Massartic - Actor, Choreographer
- Aladdin or Harlequin, the Wonderful Ring, the Magical Lamp and the Pretty Young Maiden who Loved a Great Scamp ..., Theatre Royal (1875-1972), Sydney, NSW, 26 December 1882
- Humpty Dumpty, Who Sat on a Wall or Harlequin King Arthur, Theatre Royal, Melbourne, VIC, 28 December 1874
- The Arcadians, Grand Opera House, Wellington, New Zealand, January 1914
- Autumn Manoeuvres, His Majesty's Theatre, Auckland, New Zealand, 26 December 1913
- Aladdin and the Wonderful Lamp, Theatre Royal, Melbourne, VIC, 26 December 1894
- Sinbad the Sailor or, the Caliph's Daughter, the Old Man and the Sea, and the dwarf of the Diamond Valley, Theatre Royal (1875-1972), Sydney, NSW, 27 December 1881
- The Passing Show of 1920, Her Majesty's Theatre (1887-1933), Sydney, NSW, 3 March 1920
- Aladdin or Harlequin, the Wonderful Ring, the Magical Lamp and the Pretty Young Maiden who Loved a Great Scamp ..., Theatre Royal (1875-1972), Sydney, NSW, 26 December 1882
- Aladdin or Harlequin, the Wonderful Ring, the Magical Lamp and the Pretty Young Maiden who Loved a Great Scamp ..., Theatre Royal (1875-1972), Sydney, NSW, 26 December 1882
- Sinbad the Sailor or, the Caliph's Daughter, the Old Man and the Sea, and the dwarf of the Diamond Valley, Theatre Royal (1875-1972), Sydney, NSW, 27 December 1881
- Kissing Time, Her Majesty's Theatre (1887-1933), Sydney, NSW, 14 August 1920
- The Arcadians, Grand Opera House, Wellington, New Zealand, January 1914
Walter Rice - Music Adaptor, Musical Arranger
- Aladdin or Harlequin, the Wonderful Ring, the Magical Lamp and the Pretty Young Maiden who Loved a Great Scamp ..., Theatre Royal (1875-1972), Sydney, NSW, 26 December 1882
- Sinbad the Sailor or, the Caliph's Daughter, the Old Man and the Sea, and the dwarf of the Diamond Valley, Theatre Royal (1875-1972), Sydney, NSW, 27 December 1881
- Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, Theatre Royal, Melbourne, VIC, 25 March 1869
- Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, Theatre Royal, Melbourne, VIC, 24 December 1868
- Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, Theatre Royal, Melbourne, VIC, 25 March 1869
- Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, Theatre Royal, Melbourne, VIC, 24 December 1868
- Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, Theatre Royal, Melbourne, VIC, 25 March 1869
- Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, Theatre Royal, Melbourne, VIC, 24 December 1868
Arthur Stigant - Actor and Singer, Performer
- Kissing Time, Her Majesty's Theatre (1887-1933), Sydney, NSW, 14 August 1920
- Dick Whittington, Her Majesty's Theatre (1887-1933), Sydney, NSW, 30 March 1918
- Sam Weller or, The Pickwickians, Haymarket Theatre, Melbourne, VIC, 26 September 1863
- High, Low, Jack and the Game or Harlequin Prince Diamond and the Fairy Pearl, Haymarket Theatre, Melbourne, VIC, 26 December 1862
- The Tower of London, Princess's Theatre and Opera House (1857-1886), Melbourne, VIC, 6 October 1863
- High, Low, Jack and the Game or Harlequin Prince Diamond and the Fairy Pearl, Haymarket Theatre, Melbourne, VIC, 26 December 1862
- Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, Theatre Royal, Melbourne, VIC, 25 March 1869
- Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, Theatre Royal, Melbourne, VIC, 24 December 1868
- Dora / The Barrister , Theatre Royal (1875-1972), Sydney, NSW, 26 January 1889
- Aladdin or Harlequin, the Wonderful Ring, the Magical Lamp and the Pretty Young Maiden who Loved a Great Scamp ..., Theatre Royal (1875-1972), Sydney, NSW, 26 December 1882
E Vinson - Properties Master
- Aladdin or Harlequin, the Wonderful Ring, the Magical Lamp and the Pretty Young Maiden who Loved a Great Scamp ..., Theatre Royal (1875-1972), Sydney, NSW, 26 December 1882
- Sinbad the Sailor or, the Caliph's Daughter, the Old Man and the Sea, and the dwarf of the Diamond Valley, Theatre Royal (1875-1972), Sydney, NSW, 27 December 1881
- Humpty Dumpty, Who Sat on a Wall or Harlequin King Arthur, Theatre Royal, Melbourne, VIC, 28 December 1874
- Riquet with the Tuft; or, Harequin Old Mother Shipton, The Silver Champions and Darwin's Genealogical Tree, Theatre Royal, Melbourne, VIC, 26 December 1872
- The Shaughraun, Theatre Royal, Melbourne, VIC, 29 May 1875
- Twinkle, Twinkle, Little Star or Harlequin Jack Frost and the Old Woman who Lived in a Shoe, Theatre Royal, Melbourne, VIC, 2 January 1874
- Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, Theatre Royal, Melbourne, VIC, 25 March 1869
- Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, Theatre Royal, Melbourne, VIC, 24 December 1868
- Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, Theatre Royal, Melbourne, VIC, 25 March 1869
- Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, Theatre Royal, Melbourne, VIC, 24 December 1868
- Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, Theatre Royal, Melbourne, VIC, 25 March 1869
- Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, Theatre Royal, Melbourne, VIC, 24 December 1868
- Blue Beard or, Harlequin Hymen, the Great Bashaw , Theatre Royal, Adelphi (1869-1873), Sydney, NSW, 24 December 1872
- The Enchanted Island or Harlequin the Mysyterious Prince and the Magician Father, Theatre Royal, Melbourne, VIC, 24 December 1864
Richard Younge - Actor, Director, Stage Manager
- Sam Weller or, The Pickwickians, Haymarket Theatre, Melbourne, VIC, 26 September 1863
- High, Low, Jack and the Game or Harlequin Prince Diamond and the Fairy Pearl, Haymarket Theatre, Melbourne, VIC, 26 December 1862
- The Arcadians, Grand Opera House, Wellington, New Zealand, January 1914
- Kissing Time, Her Majesty's Theatre (1887-1933), Sydney, NSW, 14 August 1920
- The Tower of London, Princess's Theatre and Opera House (1857-1886), Melbourne, VIC, 6 October 1863
- The Arcadians, Grand Opera House, Wellington, New Zealand, January 1914
Madame Bima - Costume Co-ordinator
- The Arcadians, Grand Opera House, Wellington, New Zealand, January 1914
- Kissing Time, Her Majesty's Theatre (1887-1933), Sydney, NSW, 14 August 1920
- Pizarro, Royal Victoria Theatre (1838-1880), Sydney, NSW, 21 May 1859
- Kissing Time, Her Majesty's Theatre (1887-1933), Sydney, NSW, 14 August 1920
- The Arcadians, Grand Opera House, Wellington, New Zealand, January 1914
- The Tower of London, Princess's Theatre and Opera House (1857-1886), Melbourne, VIC, 6 October 1863
- Quite Alone, Theatre Royal, Melbourne, VIC, 7 November 1872
- Kissing Time, Her Majesty's Theatre (1887-1933), Sydney, NSW, 14 August 1920
- The Tower of London, Princess's Theatre and Opera House (1857-1886), Melbourne, VIC, 6 October 1863
- Kissing Time, Her Majesty's Theatre (1887-1933), Sydney, NSW, 14 August 1920
- Quite Alone, Theatre Royal, Melbourne, VIC, 7 November 1872
- Kissing Time, Her Majesty's Theatre (1887-1933), Sydney, NSW, 14 August 1920
- Quite Alone, Theatre Royal, Melbourne, VIC, 7 November 1872
- Pizarro, Royal Victoria Theatre (1838-1880), Sydney, NSW, 21 May 1859
- Quite Alone, Theatre Royal, Melbourne, VIC, 7 November 1872
- The Arcadians, Grand Opera House, Wellington, New Zealand, January 1914
- Quite Alone, Theatre Royal, Melbourne, VIC, 7 November 1872
- The Tower of London, Princess's Theatre and Opera House (1857-1886), Melbourne, VIC, 6 October 1863
- The Tower of London, Princess's Theatre and Opera House (1857-1886), Melbourne, VIC, 6 October 1863
- Kissing Time, Her Majesty's Theatre (1887-1933), Sydney, NSW, 14 August 1920
- The Tower of London, Princess's Theatre and Opera House (1857-1886), Melbourne, VIC, 6 October 1863
- The Tower of London, Princess's Theatre and Opera House (1857-1886), Melbourne, VIC, 6 October 1863
- The Tower of London, Princess's Theatre and Opera House (1857-1886), Melbourne, VIC, 6 October 1863
- The Tower of London, Princess's Theatre and Opera House (1857-1886), Melbourne, VIC, 6 October 1863
- The Tower of London, Princess's Theatre and Opera House (1857-1886), Melbourne, VIC, 6 October 1863
- Quite Alone, Theatre Royal, Melbourne, VIC, 7 November 1872
Maud Fane - Actor and Singer
- Kissing Time, Her Majesty's Theatre (1887-1933), Sydney, NSW, 14 August 1920
- The Tower of London, Princess's Theatre and Opera House (1857-1886), Melbourne, VIC, 6 October 1863
- Quite Alone, Theatre Royal, Melbourne, VIC, 7 November 1872
- The Tower of London, Princess's Theatre and Opera House (1857-1886), Melbourne, VIC, 6 October 1863
- The Tower of London, Princess's Theatre and Opera House (1857-1886), Melbourne, VIC, 6 October 1863
- The Arcadians, Grand Opera House, Wellington, New Zealand, January 1914
- Kissing Time, Her Majesty's Theatre (1887-1933), Sydney, NSW, 14 August 1920
- Kissing Time, Her Majesty's Theatre (1887-1933), Sydney, NSW, 14 August 1920
- Pizarro, Royal Victoria Theatre (1838-1880), Sydney, NSW, 21 May 1859
- The Tower of London, Princess's Theatre and Opera House (1857-1886), Melbourne, VIC, 6 October 1863
W Hogg - Scenic Artist
- Pizarro, Royal Victoria Theatre (1838-1880), Sydney, NSW, 21 May 1859
- Kissing Time, Her Majesty's Theatre (1887-1933), Sydney, NSW, 14 August 1920
- Kissing Time, Her Majesty's Theatre (1887-1933), Sydney, NSW, 14 August 1920
- Kissing Time, Her Majesty's Theatre (1887-1933), Sydney, NSW, 14 August 1920
B Levy - Musical Arranger
- Pizarro, Royal Victoria Theatre (1838-1880), Sydney, NSW, 21 May 1859
- Quite Alone, Theatre Royal, Melbourne, VIC, 7 November 1872
- Quite Alone, Theatre Royal, Melbourne, VIC, 7 November 1872
- Quite Alone, Theatre Royal, Melbourne, VIC, 7 November 1872
- Kissing Time, Her Majesty's Theatre (1887-1933), Sydney, NSW, 14 August 1920
- The Tower of London, Princess's Theatre and Opera House (1857-1886), Melbourne, VIC, 6 October 1863
- Kissing Time, Her Majesty's Theatre (1887-1933), Sydney, NSW, 14 August 1920
- Pizarro, Royal Victoria Theatre (1838-1880), Sydney, NSW, 21 May 1859
Harry Musgrove - Adminstrator, Business Manager
- Kissing Time, Her Majesty's Theatre (1887-1933), Sydney, NSW, 14 August 1920
- The Tower of London, Princess's Theatre and Opera House (1857-1886), Melbourne, VIC, 6 October 1863
- Pizarro, Royal Victoria Theatre (1838-1880), Sydney, NSW, 21 May 1859
- Quite Alone, Theatre Royal, Melbourne, VIC, 7 November 1872
J A Patterson - Stage Manager, Assistant
- Kissing Time, Her Majesty's Theatre (1887-1933), Sydney, NSW, 14 August 1920
- The Arcadians, Grand Opera House, Wellington, New Zealand, January 1914
- Kissing Time, Her Majesty's Theatre (1887-1933), Sydney, NSW, 14 August 1920
Mr Siede - Composer, Musical Arranger
- Kissing Time, Her Majesty's Theatre (1887-1933), Sydney, NSW, 14 August 1920
- Kissing Time, Her Majesty's Theatre (1887-1933), Sydney, NSW, 14 August 1920
- Kissing Time, Her Majesty's Theatre (1887-1933), Sydney, NSW, 14 August 1920
- The Arcadians, Grand Opera House, Wellington, New Zealand, January 1914
- Quite Alone, Theatre Royal, Melbourne, VIC, 7 November 1872
- Kissing Time, Her Majesty's Theatre (1887-1933), Sydney, NSW, 14 August 1920
- The Arcadians, Grand Opera House, Wellington, New Zealand, January 1914
George Tregget - Properties Master / Mistress
Henry Warman - Lighting Operator / Technician
Frank White - Stage Manager, Assistant
Edward Wild - Properties Master / Mistress
- Kissing Time, Her Majesty's Theatre (1887-1933), Sydney, NSW, 14 August 1920
- Pizarro, Royal Victoria Theatre (1838-1880), Sydney, NSW, 21 May 1859
- Kissing Time, Her Majesty's Theatre (1887-1933), Sydney, NSW, 14 August 1920
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Article:  A VETERAN AUSTRALIAN ACTOR. DEATH OF MR. RICHARD STEWART, The Register, 27 August 1902, 3
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In the 'Sportsman' (25/5/'04) I made casual mention of the charming singer and burlesque actress, Julia Mathews, who made her first Australian appearance in Sydney in the old Victoria Theatre, in December, 1854, when she was but ten years of age, the character being Little Pickle, in the 'Spoiled Child." Julia, however, had commenced her theatrical career at the MarionetteTheatre in Leicester-square, London. From there she went to the Strand Theatre in the opening of a pantomime produced there in 1853, while Mr. Aldcroft was manager. At the Strand she appeared in several juvenile characters with marked success, gaining the approval or the London press. At the Victoria, Sydney, Miss Mathews remained 12 months, when Mr. George Coppin induced her parents, who were always her "agent" to accept an engagement at the Olympic, Lonsdale-street, better known in those days as "The Iron Pot" from the nature of its structure. Here Miss Julia increased her popularity until she became the idol of the people. In parentheses, it may be said that in juvenile parts Julia Mathews had a rival in little Anna Marie Quinn, about whom more at another time. At the termination of her engagement with Mr. Coppin, Julia went on tour through the goldfields of Victoria, then studded with theatres, and yielding showers of gold, Dannae-like. Next we hear of her with G. V. Brooke at Melbourne Royal, in such parts as Moth in "Love's Labors Lost," the fool in "King Lear," and other juvenile Shakespearean parts. Later on, we are told, though I don't remember it, and know her career for many years, she appeared as Ophelia, Margaret Overreach ("New Way to Pay Old Debts"), and other characters of that class with Brooke. If she did it must have been as understudy to Fanny Cathcart (Mrs. Robert Heir-Darrell), or when Miss Cathcart had fallen out with the Coppin-Brooke Combination, a severance which lasted a couple of months. Miss Mathews' first appearance in burlesque was in the "Nymph of Lurleyberg." Subsequently she joined George Fawcett (Rowe, but he was never known as Rowe in Australia) at the old Princess' Theatre in Spring-street, one of the very few old houses that fell into the hands of "the knacker," instead of becoming a prey to fire, the usual fate of the theatre. At the Princess' Miss Mathews appeared in all the burlesque and singing parts, which helped to make her famous on the stage. Here also she played many light comedy parts in "The Irish Heiress," "London Assurance," etc., etc., in Irish parts such as Anne Chute in the "Colleen Bawn," in which latter, with Dick Stewart, she made a decided hit. From Melbourne Julia went to New Zealand, where she married Mr. W. H. Mumford, much to the disgust of her parents, who thus lost their "gold mine.'" After some months absence from the stage, she reappeared at the Princess', Dunedin, and at Christchurch and Hokitika. Upon her return to Melbourne, she appeared at the Haymarket under George Coppin's guidance. Here she drew great audiences, her singing and histrionic powers having matured wonderfully. From this engagement she went straight to London, where Mr. Russell, director of Covent Garden Theatre, secured her for the role of the Grand Duchess, in which, and other operatic parts, she gained much distinction. I am afraid that her visit to London was not of such a character as would enhance Julia's reputation before the world. We heard that she had attached herself to a high up member of the British aristocracy; that she kept her brougham and liveried servants, and had done with the stage. The 'cad' of the British aristocracy of the sixties was not built on the lines marital, as poor Julia soon discovered. When she severed this connection, Miss Mathews toured the Continent and America, meeting with success wherever she went. I forget who it was that piloted her, but I know that it was not Mr. Mumford. At the now famous City of St. Louis, Julia was struck down with rheumatic fever, and on May 18, 1876, succumbed to the attack at the early age of 32 years.
I do not think poor Julia's life was a very happy one. From her infancy on the boards she was the breadwinner for her parents ; her teens being simply the drudgery of the stage. Her mother's eye A never off her on the stage, and her father, who was a check-taker at the pit entrance, had his eye on her from the front. Julia was never seen without one or other in attendance. I had it from Julia's own lips at a rehearsal of "The Irish Heiress," on the stage of the old Princess', that she could have married R. O'Hara Burke, explorer, then an inspector of police at Castlemaine, and that it was her rejection of his suit that induced him to accept the leadership of the expedition, which ended so disastrously to himself and others. Yet she wore his miniature on her breast, and mourned his death. Perhaps it was a good advertisement. Having reminisced about 'old Rogers' ("Sportsman," 6/7/'04), let us have a turn at 'old Lambert.' He differed from Mr. Rogers inasmuch as he had a very long English training in good theatres before he came to Australia. I heard him on a 'farewell' benefit night (which was not a farewell), say that when he first met G. V. Brooke at the Theatre Royal, Hawkins-street, Dublin, he (J. C. Lambert) was playing juvenile parts. The actor who passed successfully the ordeal of a Dublin theatre of 60 or 70 years ago was somebody. Dublin was the top rung on the ladder of fame, which landed the actor in London. Mr. Lambert commenced his theatrical career in his native county of Norfolk, and his commencement was that of a strolling player, and he has left in a MS. autobiography some amusing recollections of his barnstorming and stroller's life. His first appearance in Australia was at the old Queen's, in Queen-street, Melbourne, another of the old houses that did not go down by fire. Strange to say, be failed to immediately impress the Melbourne public, but the time did come when the play-goers by the Yarra Yarra, next to Brooke, swore by Lambert. My first sight of Mr. Lambert was as Mr. Aspen in the "Nervous Man," G. V. Brooke being the M'Shane. Heavens! what a scream it was from start to finish! The name indicates the character. About the year 1865 there was published a handsome quarto volume entitled 'The Lambert Album.' It contained 16 character portraits of the actor, and there were but three copies of the volume published! The portraits were by the old firm of Batchelder and O'Neil. There were two portraits of Mr. Lambert as Sir Peter Teazle, as Sir Anthony Absolute, as Lord Ogleby, as Justice Shallow, as Sir John Falstaff, as Sir John Vesey, and as Daddy Hardacre. I have seen Lambert in all these characters and many more, excepting Lord Ogleby. In everything he did Mr. Lambert was as perfect as stage effect could make him. In the smallest, as in the largest, characters he was simply perfect in his make-up. As the Apothecary in, "Romeo and Juliet," a character of half-a-dozen lines, he took as much pains to make perfect as he did in Sir Peter Teazle or Anthony Absolute. Many good critics say that Lambert, as Sir Peter Teazle, has never been equalled upon the Australian stage. I have seen Wallack (Julia Harland's father), Lambert, Rogers, Coppin, Cathcart, Hoskins (Julia Harland's husband), and some others in the part, and I must admit my preference for Lambert. Mr Rogers was, as I have said, more the bucolic Sir Peter, but a fine performance nevertheless.
In the mid sixties, when Barry Sullivan, having raised the Theatre Royal and its plays to the highest pitch of excellence, returned to England, Mr. Lambert and five others, having private means, leased the theatre and made money. The five were H. R. Harwood, Richard Stewart, T. S. Bellair, Vincent, and Hennings, the scenic artist. On Mr. Vincent's death I think his widow, Miss Clevland, stepped into his shoes. It was under this management that Mr. J. C. Williamson and the genial Maggie Moore first "Struck Oil." And in this connection a good story is told. Mr. Harwood (real name Biggs, a carpenter by trade, who made his debut as an actor at the old Victoria in Pitt-street in 1855; conducted the negotiations. The Williamsons wanted a certain figure. Harwood demurred, as 'Dutch comedy' had been done to death by Emmet, and the negotiations were about to fail, when, with keen business instinct and a knowledge of what they could do with "Struck Oil," Miss Moore asked if Harwood would share the house after a certain sum for expenses, Harwood jumped at the offer, and closed with the "Muricans." How did Mr. Harwood bite his nails for weeks after, when he stood on the pavement in Bourke-street and watched the people flocking to the Royal. He and his partners gained, of course, but Harwood said that he missed "all the tat" through not giving the Williamsons the salary they asked.
At the Royal, Mr Lambert and his partners made money, and the former retired into private life at a time when his powers had reached maturity. Having only his wife, who also played occasionally, Mr Lambert's income need not be heavy to enjoy the later years of life. As a citizen he was above reproach. He was not a society man; he habitually attended divine service at St. Peter's and carried the plate, "and was so quiet, demure and respectable that he might be taken for a bank manager, or for the respectable bank clerk in a large commercial house."
Mr Lambert retired to the town where he was born to spend the evening of his life, the now cathedral city of Wells. From "Buttlands," Wells, in September 1868, he wrote to a Melbourne friend a chatty letter, in which he showed that he was perfectly satisfied with his life and its cheerful coming close: — "I am living in my native town, which possesses about three thousand inhabitants, among whom are many old school fellows and ancient friends. My life is passing very happily in reading, writing, shooting, sleep, billiards and bowls. The place is attractive enough to induce professional people to visit it. Emma Stanley was here for one night, and we had a long-chat together. We have now a company of actors, gentlemen in appearance, not devoid of talent, and playing to good houses.
On Monday next a circus opens; so you will see my dear friend, that I am not quite mentally, as I hope not for some years to be physically, buried. The happiest portion of my professional life , was spent in Melbourne, but the greatest felicity I have enjoyed from my birth I now experience.'" And when the time came to "ring down," Death found J. C. Lambert quite ready.
"Died at Hobert Town on the 19th of March, 1862, Sir William Don, aged 36 years." Such was the unexpected announcement that met the Melbourne public three days later. Ten years before that I saw the dead walls of the city of Dublin placarded with the announcement that "Sir William Don, Baronet, the Eccentric Comedian," was about to appear at the Theatre Royal. His advent to Australia had a special interest for myself and all who came from the city by the Liffey; for had not Sir William Don taken unto himself for wife one of the prime favorites of the old Queen's, in Dublin, Miss Emily Saunders? There were three of the name at the Queen's Charlotte Saunders and a brother, a co median, bow-legged, whom we gallery boys nicknamed “Bandy Saunders." But Dublin had known Sir William Don be fore he took to the stage as a profession. He had been A.D.C. to one of the Lords-Lieutenant of Ireland, and well up in Dublin society, and had well advertised himself in private theatricals before, on loss of fortune, he took to the boards as a professional. The first appearance of the Dons in Melbourne was made in 1860. Lady Don in "The Daughter of the Regiment," and Sir William in the farce of "Toodles." Just imagine a 6ft 6in man in such a character as Mr. Toodles. The Marsh troupe of child comedians had previously introduced the farce to Melbourne, when Master George played the part; the contrast between the 4ft-nothing boy and the 6ft 6in baronet was ludicrous. To add to the fun, Don had all the stage furniture made in miniature, so that he walked as easily over chairs and tables as he did over footstools. His greatest hit, however, was as Queen Elizabeth in Kenilworth burlesque, with Lady Don as the Earl of Leicester. Six feet six inches, and splendidly made up, as the red-haired virgin Queen! But Sir William Don did not confine himself to English comedy; he excelled an Bailie Nicol Jarvie, Jock Howison, Dandie Dinmont, and suchlike; but perhaps one of the most extraordinary performances he ever took part in, and certainly one of the most extraordinary that I ever witnessed, was when "The Rivals" was produced with an "Ollapodrida" company — all stars and all good men in their several lines. Amongst them was Sir William Don, as Fag! John Drew, the Irish comedian, was Bob Acres; so you may guess what a 'screamer' it was. Of Lady Don's ability no eulogy can be too high. As a vocalist and an actress she was attractive in everything she appeared in, and even without her husband she held her own on the stage until the baronet's family thought it was but right that his widow should "retire on her rank." There was no estate, but I believe the Wauchopes of Edmonstone, near Edinburgh , and Newton House, Mussellburgh, N.B., to whom the barren title went on Sir William's death, saw to the widow's comfort. Sir William Don had gone through two large fortunes before he had taken to the stage, and when he threw up his commission in the Guards and took to the boards, it was in the hope of being able to buy back his old Scottish home. In a stage speech at Melbourne, in which he advised everybody to avoid debt, he said that he had been in the hands of usurers since he was "so high," indicating about 8ft from the boards. "To owe £20," said he, "and have £19 19s 11d to pay it with, was simply misery, but with £20 1s heaven!" To a friend in Melbourne he wrote from Hobart Town, a fortnight before his death, in a very cheerful strain :— "I have been dreadfully weak and pulled down since I have been here, and in bad spirits; but within the last two or three days I have Sir Walter Raleighed wonderfully. This is the most magnificent climate in the world. Come over at once. We shall be here for a fortnight longer and then Launceston two weeks, then back to Melbourne for Adelaide. Our success has been very great, Behold the proof: Receipts at Launceston, one week £416 Receipts at Hobart Town, one week £360 Total ................................................ £776 Our share ..........................................£388
The journey from here to -Launceston is really wonderfully beautiful. You will be delighted with It. Come at once." Even then the grave was opening for him, and he knew it not. Lady Don survived him 13 years, dying in England September 20, 1873, leaving an only daughter. To Sir William Don is attributed a freak which has been set down also to the credit or debit of W. E. Gladstone. Sir William had a habit of travelling third-class on the railway out of Edinburgh. To break him off the habit, the officials one day caused a number of chimney sweepers, with their bags and brushes, to be put into the same compartment. Don took in the situation. 'Come along with me, my lands," and after "shouting" for them in the refreshment room, he purchased first-class tickets for the lot, and planted himself and the sweeps in a first-class carriage. When they reached the end of their journey the drab cloth linings of the Carriage were sooty indeed.
(To be continued.)
Article:  Joseph Michael Forde, ANNALS OF THE TURF AND OTHER PASTIMES. In New South Wales and Elsewhere. No. LXI, Sydney Sportsman, 13 July 1904, 3
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There died in Melbourne, last week, one who may be termed the mother of the Australian stage, if 90 years of life can give the lady a claim to the title. Mrs. Theodosia Stewart was the widow of Richard Stewart, comedian, who died but last year, and has been a figure in Australian theatres for over two generations. My first recollection of Mrs. Stewart was in the year 1861, if my memory is not playing me a trick, when she came from Sydney to Melbourne with her husband, Richard Stewart, and a small family of three girls and one son. But Mrs. Guerin was even then a veteran on the stage. She had appeared years before at the old Victoria Theatre in Pitt-street, and had a splendid record. Her first husband, I am informed, was a Mr. Stirling—what his occupation was I have at present no knowledge. On his death she married a Mr. Guerin, who, I think, had a seat in the orchestra. I have before me a playbill of the: ROYAL VICTORIA THEATRE of August 2, 1851, 'When will be produced a drama of intense interest, entitled 'Therese, or the Orphan of Geneva.' Carwin, Mr. Willis; Fountain, Mr. Griffiths ; Picard, Mr. G. H. Rogers ; Lavigne, Mr. F. Howson ; Therese, Mrs. Guerin ; Bridget, Mrs. Gibbs ; Nannette, Miss A. Hart. Flute solo with variations, Mr. Robert ...hen; ballad, ''A Lovely Youth," Madame Carandini; drum polka, Miss F. Griffiths ; ballad, 'The Keepsake,' Madame Sara Flower ; song, 'Those Odious Diggings.' Mr. John Howson. The whole to conclude with the extravaganza of "The Loves of Lord Bateman and the Fair Sophia.'' That is just 53 years, the lady then being 37. Here is another bill which may be quoted, as the entertainment took place two nights after, and Mrs. Guerin was in the cast : ROYAL VICTORIA THEATRE. Under the patronage of the Captain and Officers of the Oriental and Peninsular Steam Navigation Company's steamship Chusan, For the Benefit of Madame Sara Flower, On Monday Evening, August 23. The performance will commence with the Grand Operatic Drama, entitled, "The Female Mascaroni; or, The Fair Brigands." Dance, Miss F. Griffiths. Grand instrumental trio arranged from Meyerbeer’s opera of "Il Clociato" for piano, violin, and violincello. Madame Sara Flower, Mr. A. Moore, and Mr. Frank Howson. Duet : 'As it Fell Upon a Day.' Madame Sara Flower and Mrs. Guerin. To be followed by the interlude, 'Sent to the Tower.' Comic Song : 'Seven Ages,' Mr. G. H. Rogers. Favorite Song, Madame Carandini. The whole to conclude with the farce, "Out on the Loose". Boxes may be secured on application at the Royal Victoria Theatre. Tickets may be obtained of Messrs. Woolcott and Clarke, Lower George-street; and at Madame Sara Flower's residence, Riley-street, South Head-road.
There is much food for reflection in these two playbills. How often have I listened enraptured to the notes of poor Sara Flower, sweetest of singers: or hung on the notes of Carandini. No mention here of the four daughters who afterwards grew in beauty, and became as famous as their mother; and G. H. Rogers, of whom I wrote quite recently in a comic song, 'The Seven Ages.' I heard him in it once. Sara Flower rested in the old Devonshire-strict Cemetery, near Rosalie Durand, and both have been removed to La Perouse; Carindini died not long ago in England, The Howsons went to California; and now the last of a long list, Mrs. Guerin-Stewart, has gone over, at the age of 90 years.
In Melbourne, Mrs. Guerin appeared but at intervals, and then purely in drama, I never heard her sing, excepting in the chorus of witches in 'Macbeth,' while her husband was the Hecate. Lock's music was always given then with Shakespeare's tragedy. Mr. Stewart was always employed, and at a good salary, before he became one of the six who had leased the Royal ('Sportsman,' l3/7/'04). In addition, the family was growing up, and required tuition, which the mother was fully qualified to give. Docy (Theodosia) was the first to face the footlights ; Maggie next, quickly followed by Nellie and Dick, jun., the latter two being Stewarts, the two former Guerins. When Mr. Richard Stewart retired from the stage he was possessed of sufficient means to keep himself and wife comfortable in their old age, but, like Mr. H. R. Harwood, he lost all in the boom days ! At an advanced age Mr. Stewart returned to work ; his occupation being that of treasurer to one of the big theatrical firms. This position he filled until his death, a couple of years ago.
Henry R. Harwood was married thrice, his first wife was a great Melbourne favorite, Miss Mortimer. She made Harwood the actor he was. His second wife was not, I think, upon the stage. On her death he married Mrs. Collins, a widow, but better known to us as Docy Stewart, who survives him. Richard Stewart, junior, married one of the Deorwyns. Though broken in fortune in her great age, Mrs. Guerin-Stewart was lovingly looked after by Dick and the girls. In 1857, in a Sydney directory, 'Mrs. Guerin, actress,' resided at 97 Woolloomooloo-street, right opposite George Commins' Cottage of Content Hotel. *****
The programme of Madame Sara Flower's benefit is interesting in many particulars The Chusan was the first P. and O. mail boat to enter Sydney Harbor, the first of a long line of splendid steamers. To celebrate the arrival of the steamer a grand ball was given, at which such reverend seigniors as Stuart Alexander Donaldson, James Martin, Charles Nicholson, W. C. Wentworth, and other notabilities acted as stewards. Four hundred applications for tickets had been made and were 'considered' by the stewards. How many were refused we know not, but no doubt the exclusives were exclusive, and made many hearts ache by refusals
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Apropos Charles Dillon ('Sportsman,' 25/5/'04), a correspondent writes that the Dillons in Sydney in 1863 were a decided success, and that they elevated the drama in this city. They appeared at the old Victoria on April 4, the house then being under the management of Raphael Tolano, the initial piece being 'Louis XI,' a drama first played in Australia by G. V. Brooke, and subsequently made famous by Charles Kean, it being one of that actor's best characters. I think Kean was the original Louis XI. Supporting Dillon at the Vic. was Henry Neil Warner, a grand actor, who never did himself justice. He always reminded me of a great actor in the English provinces, who made periodical appearances in Dublin, his native city, T. C. King. Just here let me interpolate an anecdote. When G. V. Brooke was last in Dublin, he, with J. L. Toole, went to visit T. C. King in Queen's-square. "Everybody thought that King was dying, and he certainly looked as if he had not long to live. "We went into his bedroom"— I am quoting Tco'e— "and I was very much impressed with the sorrowful manner in which they erected each other, their deep, rich voices adding to the solemnity of the occasion. Poor Brooke was much moved at the close. 'Well, my dear Tom,' he said, 'Please Good, you'll soon get better.' 'God bless you, Gus, you're very kind, but we'll never meet again.' Brooke leaned over the bed, and kissed King very tenderly on the forehead, and said, 'Good-bye ' We had a cab at the door. When we got into it Brooke said, 'Poor Tom! I fear he is right. We shall never see the dear fellow again.' Brooke sailed a few days after for Australia, and was drowned at sea." T. C. King lived for many years after. He was alive in 1888, according to J. L. Toole.
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Getting back to Dillon and his sup ports in 1863. Fred Younge, Charles Burford, F. C. Appleton, J. Hall, Sam Howard, Danie's (? which), J. P. West, Jas. Hasker, H. Clifford, and C. W. Barry, the latter a sterling actor of the old school of tragedians. The ladies were — Mrs. Dillon. Mrs. Charles Poole, Mrs. Fred Younge, Mrs. Charles Jones, and some others more or less noted. Charles Dillon had, I admit, a long list of characters in which he shone — 'The Gamester' (to my mind this was Charles Kean's greatest part), 'Wild Oats,' 'Ruy Blas,' 'The Willow Copse,' 'The Wife's Secret,' etc. No doubt in his prime, or when I saw him in Dublin in the early fifties, he was great in these char actors, but he had become stale when I saw him, in 1863, in Australia. An anecdote of John Dunn ('Sportsman,' 20/7/04). The Zavistowski Sisters were playing at Bendigo. The Zavs were a mother and two daughters. In the company at Bendigo was John Dunn, 'Cast-iron Jack,' as he was call ed. A local scribe expressed his dissatisfaction with the Zav trio. and especially with the mother, whom, I think, he accused of having swindled a washerwoman out of her weekly wash bill, or was it Madame who accused the newspaper man of having bilked the laundress? Anyhow, Madame provided herself with a greenhide whip, and, waylaying the ink slinger, laid it lustily about his shoulders. A police court case resulted, Madame being summoned for assault. The court was crowded, of course, and much amusement resulted from the trial. The bench of magistrates considered that an assault had been committed, but under great provocation, and fined the defendant Zav one shilling. Then 'Cast-iron Jack' strutted to the table, and, dumping down a handful of silver, handed melodramatically to the clerk, the required coin.
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In the course of this series I have had occasion to make mention of Avonia Jones, who became the wife of the lamented G. V. Brooke, in Liverpool, in 1863 ('Sportsman,' 25/5/04.). In the year 1860 the dead walls and hoardings of Melbourne were plentifully adorned with huge posters, printed by Charlwood and Son, and Shaw, Harnett and Co., announcing that Mrs. Melinda Jones and Avonia Jones, mother and daughter, had arrived, and would appear at an early date. In those times Thespians were not heralded as they are to-day— three or four months before arrival. They just dropped in, as it were, from the, clouds, and did their 'fixings' on arrival. The Jones's had arrived at a period when there was a decided lull in matters theatrical. Prior to the Ladies from the States, we had numerous tragic stars, Mr. and Mrs. James Stark, Mary Provost, G. V. Brooke, Nesbitt M'Cron, Clarence Holt, M'Kean Buchanan, a spluttering actor, , who had one good character, Sir Har- court Courtley ('London Assurance'), ; and Henry Neil Warner. While G. V. Brooke held the Australian stage as the 'greatest tragedian of the age,' no great actor in the higher walks of the drama visited these shores. When Brooke left the colonial stage clear, Barry Sullivan arrived, having as his agent Mr. J. H. Wilton, who came in a similar capacity with G. V. Brooke. Then Mr. and Mrs. Charles Kean appeared upon the scene, Engineered by Mr. George Coppin. Then we had Montgomery Howe, James Anderson, Creswick, etc., so that in 1860, when Mrs. and Miss Jones arrived, they at once filled the public eye— Mrs. Jones physically, Avonia mentally. The mother, a weighty woman, made but one appearance, when she played Romeo to her daughter's Juliet. I cannot say that she conveyed to me an agreeable idea of the love-sick young gentleman of Verona. The latter was corpulent, and displayed wealth of limb which was certainly not practical. Mrs. Jones had filled a leading position on the American stage, and the daughter, who was born in 1836, clung to her for domestic reasons, with a tenacity which was described as 'filial even to piety.' The father of Avonia Jones, the Count Joannes, was a vain eccentric, yet clever author, and actor. Why the wife separated from him and took the daughter with her need not be dealt with now ; suffice it that, in the opinion of her friends, she acted wisely. Miss Jones, it is said, inherited nothing from her father but his good looks and great ability. Her personal gifts were 'tall. well-made, with a lithe form and expressive features and voice. She seemed born to become a tragedy queen. A classic head, wreathed with hair as dark as a raven's wing, and a complexion that was clear, though colorless, surmounted a figure that regularly responded in every phase of emotion she was called upon to Portray. Such was the enthusiastic eulogy passed upon the lady by a critic of the day, a critic who still lives and occasionally criticises; I cannot enthuse as did this writer, as I have a distinct recollection of certain Americanisms and a touch of nasal twang. Had she lived and studied, Miss Jones would have made a great actress. Her Medea was perhaps her best piece of acting; but later on when playing with Brooke, she made a great Lady Macbeth. Another great hit was in 'As You Like It.' and as Beatrice in 'Much Ado About Nothing,' although on one occasion poor Brooke, as Benedict, was so "overcome" that the performance was sadly marred. Space does not permit of going through her list of characters, but no actress of her age — she was but 32 when she died— had played such a round of characters and played them so well.
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In 1861 she went to England with her mother and G. V. Brooke, and appeared at Drury Lane theatre, where she created a marked sensation. In Birmingham Brooke was arrested for debt and had to go through the Bankruptcy Court. On his release he and Miss Jones played at Manchester. At this time they had not been married, and the Manchester "Examiner" thus noticed this performance: "The great and ever interesting tragedy of Macbeth was last night given for the benefit of Miss Jones, who had evidently gained friends among our playgoers during a brief engagement. On this occasion she had procured the services of Mr. Gustavus Brooke, and as this gentleman has not appeared in Manchester for some ten or twelve years there could be no surprise at seeing the house crammed to excess in every part, stalls, boxes, pit, gallery, all equally crowded. Mr. Brooke on his appearance with Banquo on the heath, was received in the most enthusiastic manner, and shared his 'calls' with Miss Jones."
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As a truthful chronicler, some not very pleasant facts must be given. Mr. Brooke had a domestic quarrel with the lady whom we all recognised for years in Melbourne as his wife, and the lady left, placing herself under the protection of Mr. Henry Edwards, an old time Sydney actor, well and favorably remembered in the fifties. Mr. Edwards had succeeded Robert Heir as Brooke's manager, and by some means could not make ends meet, hence the quarrel between the two men, in which, possibly, the lady may have had a share of the blame thrust upon her. Mr. Edwards now dead, was in Sydney a few years ago with "Little Lord Fontelroy," He and Mrs. Edwards (Mrs. Brooke that was) kept for many years an hotel at Callao. When Mr. and Mrs, Brooke separated, Avonia Jones brought a good deal of scandal on herself by constantly appearing in the street and elsewhere with the tragedies. It was determined to return to England At that time there was an exodus of actresses and actors from Australia. Miss Jones took a farewell benefit, at which Brooke did not appear. She delivered an address, in which she slated her critics for entrenching upon her private life. One newspaper ungenerously stated the address was written for her by a professional address writer, and that this "beloved parent" was prompting her through the hole in the baize curtain." Mr. Brooke had announced his departure in the ship Suffolk, and as a guarantee that he was at last going, the receipt for the passage money was published in the newspapers. Mrs. and Miss Jones took their passages in the ship The Great Britain, and Brooke went in the same vessel. An army of bailiffs were waiting on Sandridge Pier, to make an arrest. Richard Younge was arrested at the suit of Robert Heir, but promptly settled the claim. (By the way, a very well-informed friend, who knew both gentlemen well, tells me that Richard and Fred Younge were not brothers, a delusion under which I have labored for 55 years.) Miss Jones was arrested at the suit of Mr. R. H. Horne ( "Orion") for £30, the price of a tragedy ordered, but which she refused to accept. Two gentlemen guaranteed to pay any claim Mr. Horne could sustain, and Miss Jones was released. Anxious inquiries were made for Mr. Brooke, but it was not until The Great Britain had sailed that it was assured that the tragedian had got away from our shores. When in Europe and America, Miss Jones kept up a constant correspondence with some Australian friends. In one letter she gave details of the career of Wilkes Booth, the assassin of Abraham Lincoln. Miss Jones knew Booth intimately. He had been her playmate in childhood, and her letter at the time of the tragedy is extremely interesting.
(To be continued.)
Article:  Joseph Michael Forde, ANNALS OF THE TURF AND OTHER PASTIMES. In New South Wales and Elsewhere. No. LXIII, Sydney Sportsman, 27 July 1904
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At Spiers and Pond's 'Hall by the Sea’, at Margate, when the 'Special Bohemian' of the 'Orchestra' arrived at his destination ('Sportsman,' September 28, 1904), he found 'A crowd, a Tricon playing, surrounded with gas jets, looking as if Spiers and Pond were practising hard to set the Thames on fire, more gas devices and jets over the facade (for which word I am indebted to the 'Standard'), and a large poster, which informed me that Claribel's Ballads were to be sung every night.
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'On being restored to consciousness'—he does not say how he became unconscious, I have my suspicions — 'I found the concert had commenced. M. Jullian was the conductor; and the programme included the names of Madame Parepa, Mdlle. Liebhart, Miss Eyles, Miss Rose Herssee, Mr. Farquharson, Mr. Weiss, and Mr. Perron (vocalists), Miss Kathleen Ryan, Miss Kate Gordon, and Herr Strauss. Herr Meyer Lutz was the accompanist, The hall was crammed, and the concert went off like one of Spiers and Pond's champagne corks. The orchestra is first-rate, and Jullian conducts with all the chic of his father before him. I never heard popular music more popularly played than the lighter selections on Saturday. As for the singing, we had the pompous Parepa, who was not half so much to my Bohemian taste as the graceful and unpretending Rose Hersee, who sang 'Where the Bee Sucks' in a way that electrified Margate right through the hall and out and across the road, right down to the bathing machines. Then there was Fraulein Liebhardt, who was vociferously recalled for her 'Lover and the Bird' (especially the 'Bird'), and the chivalrous-looking Weiss, who kept his 'Watch at the Fore’, although it was long past that hour, and, of course, his watch must have been awfully slow, although the song wasn't; and there was the terrific basso from the colonies called Farquharson, who accompanied capitally on the piano and sang the 'Wolf' with the most hilarious hilarity. (At this point I had an interview with Spiers and Pond in the refreshment room.) George Perren was then on with Mr. Weiss, and, as by this time the place had been formally opened, the duet was appropriately 'Hall's Well,' after which Miss Kathleen Ryan played a lot of Weber on the piano, and a flutter went through many a manly Margate heart to behold that clever and fascinating young lady, with the large dark eyes, and the power of the wrist, not to mention— (Spiers and Pond have just sent for me). To resume, Miss Kate Gordon also gave us a touch of her very excellent quality on a somewhat obdurate Broadwood, and Miss Eyles having contributed 'The Lady of the Lea,' which the programme informed us was composed by 'Claribel' (Ha! ha! I now see how her songs are to be done every night!), and Spiers and Pond having executed a most successful duet together in the shape of a bow from the orchestra, exhausted nature could do no more, and I rushed off to sup with a noble and intimate friend at No. 4 Royal Crescent. When I emerged from the hall a very beautiful experiment in lights was going on under the direction of my talented and affable friend, Mr. George Dolby. It appeared that whenever the transparencies at the hall were lit up, all the Margate lights, including the pier lights, went down. It had an indescribably beautiful effect, and, as such, reflects great credit on Spiers and Pond. Our old friend Dolby did not seem to see it in the same light, and made severe remarks upon the Gas Company. Mr. Thorne (local assistant of Mr. Hingston, the manager), having been despatched to sit on the gasometer, peace and harmony were restored, and your old Bohemian speedily found his weary form reposing elegantly on a sofa, at No. 4, above distantly referred to. There was hock, much hock, a beautiful balcony, and cigars; also fair women, and a murmurous sea in front. I like the lot, my noble friend , ———.
'Come! (said your own Bohemian to the company generally) unto these yellow Margate sands, with yellow Margate boots on at 4s 6d, and there take hands. Where the wild waves tumble o'er— and in which I shall bathe to-morrow, probably in the afternoon, drinking in the meantime a cup of kindness yet (with a slice of lemon in it) to Spier's and Pond, than whom I——'
(Here our correspondent's letter becomes luckily illegible. We are, however, enabled from other and more trustworthy sources to state that the Margate Hall-by-the-Sea is likely to prove a well-merited success.— Ed.)
***
The old Melbourne Royal and the historic cafe are doomed. After a life of half a century, with a fire midway, the old building, I believe, goes. The history of the Melbourne Theatre Royal will include the history of the best days of the Victorian stage, when the acting was acknowledged to be at his best, and without the adjunct of pretty scenery and elaborate properties. The theatre was built by John Black, a name unknown in theatricals until then, but well known on the road between Melbourne and Sandhurst as a carrier in the early fifties, at a time when carriage meant £100 per ton. Out of his pile Mr. Black built the Royal, and lost his pile. It was opened in 1855 with the 'School for Scandal.' The old Queen's was then open, and doing well, G. V. Brooke being the attraction. The Queen-street house was good enough for the prehistoric days of Melbourne, but with the discovery of gold and the advent of thousands of gold-seekers, and the success of thousands of these in gold finding, the 'playhouse' erected by John Thomas Smith in the forties was found to be inadequate to the public wants.
When George Coppin (whom God preserve) went to England in search of talent, and found G. V. Brooke, he also bethought him that, being such an expensive star-— £300 a week— and he dependent upon one small theatre, was not, in colonial parlance, good enough. Accordingly he made his way to Birmingham, and entered into a contract with Messrs Bellhouse and Co. to build him in sections an iron theatre, capable of holding £300. Mr. Coppin's first agreement with G. V. Brooke was, I believe, for 200 nights at £50, or a total of £10,000. The theatre was named the Olympic, out of compliment to the theatre so named in which, in 1847, G. V. Brooke made his first London appearance. The Melbournites, however, dubbed it the 'Iron Pot,' though it was as pretty and cozy a theatre as anyone could wish. Brooke, however, did not open it; that honor was bestowed on the Wizard Jacobs, as Brooke was playing elsewhere. In 1856 George Coppin became possessed of the Royal. In that year Brooke and Coppin entered into partnership, before, I think, the original engagement was concluded. They separated in 1858, Brooke retaining the Royal, Coppin taking as his share of the assets the 'Iron Pot' and Cremorne Gardens, at which latter place he did a roaring business. It was then, I think, that Brooke commenced to lose money. As I have pointed out before he was not a business man and relied upon others to look after his interests. At first Richard Younge managed for him, then Robert Heir. Henry Edwards, from Sydney, was engaged in the stock company, and George Fawcett was running the old Princess'. On the failure of Heir as manager, Edwards and Fawcett were appointed. Their management ended in disaster. Ambrose Kyte was owner of the building, and had been called upon on many occasions for accommodation cheques to keep the ghost walking. The failure of Edwards and Fawcett, as managers, was the means of healing a breach that had occurred between Coppin and Brooke, and the former returned to the Royal as manager. Its position at this time was not satisfactory. After giving Burton's circus a show, Wilton had it for a while, and under his auspices, in 1862, Barry Sullivan appeared. In 1863 Sullivan showed what he could do in management, and in 1865 William Hoskins and Clarence Holt joined hands, holding together until 1867, when the theatre came under the joint management of six very worthy stage men — J. Chambert, Charles Vincent, H. R. Harwood, Richard Stewart, T. S. Bellard, and John Hennings, the scenic artist. The six held together, and did well for some time. Each man had his allotted duty in management, and did it. The first break in the six was the death of Charles Vincent, occasioned by an accident, deemed of small moment at the time. He had purchased a horse, and was about mounting to go for a ride when the animal became restive and threw the rider; in the fall one of his hands was injured, lockjaw set in, and the popular husband of Miss Cleveland went the way of all flesh. Mr. Lambert went England and ended his days in the village in which he first saw the light. Tom Bellair went into hotel management. He kept the Rainbow at Ballarat for some years, and died in the principal hotel at Wagga Wagga. Harwood retired, and went on a tour to to India and China, I think. The partnership then became Coppin, Greville and Hennings, and Harwood again joined later on. The old Royal Theatre was burned in March, 1872. The piece being performed on the fatal night was the 'Streets of New York,' the hero of which was played by a very capable actor of those days, James Carden, Miss Eloise Juno also being in the company. Mr. G. R. Ireland and all the members of the company suffered losses in wardrobes, etc. The historic cafe was then in the occupation of the renowned scenic artist, William Pitt, father of the architect of today. Mr. Pitt had for many years kept the Garrick's Head Hotel, opposite the Eastern Market, where his right-hand Hebe was the now Mrs. Roberts, of the Criterion Theatre Hotel, Sydney, but then well known to us youngsters as Miss Polly Smith. The first to discover the fire was Jack Conway, the well-known cricketer, who was smoking a midnight cigar at the window of Sayers' Prince of Wales Hotel, Bourke-street. Six months previously the Haymarket Theatre was burned down, and but a few weeks before the Prince of Wales Opera House, in Castlereagh-street, went under to the same agency. In the seventeen years life of the old Royal there were memories both pleasant and painful. In the seventeen years there were, it might be said, three periods, the Brooke, the Sullivan, and the Montgomery. Mark the distinction between the two pieces, that at the opening 'The School for Scandal,' and that at the close, 'The Streets of New York!' A decadence truly.
As the actors were homeless through the fire, and out of work, and many out of cash, something had to be done for their relief. Among the most attractive efforts to gather in coin was a cricket match on the principal Melbourne ground, the cricketers in costume, and to some extent supporting the characters they sustained. George Coppin appeared as Paul Pry, J. R. Greville as 'A party by the name of Johnstone,' Mr. Hennings as Claude Melnotte, Mr. Carden as Enoch Arden, Richard Stewart as Lord Dundreary, Ireland as Cassio, John Dunn as 'That Rascal Jack,' Appleton as Ronaldo, Roberts as Asa Trenchard, old Jimmy Milne as Mike Feeney, and minor men in various guises. At the time of the fire the Princess' was empty, and the lessee, William Saurin Lyster, offered it to Mr. Coppin and his friends for a short season. Mr. Coppin made a speech — he was always great on speeches — in which he detailed his sorrows. Six years previously he had started life afresh without a sixpence; he had succeeded, but the fire had swept away most of the provision which he had made for old age and a large family. Yet Mr. Coppin re-built the Royal and opened the new venture on Cup night (Cup winner, John Tait's The Quack), 1872, with an address written by Dr. Neild and spoken by Mrs. Collins, then (later on Mrs. H. R. Harwood) nee Docy Stewart. Then followed 'To Oblige Benson' and 'Milky White,' in both of which Mr. Coppin appeared. The company proper was at Adelaide, but Coppin did not wish to miss a bumper house such as always eventuates on Cup night. Since then the fortunes of the theatre have been varied. Many new theatrical ventures have sprung into existence, the most formidable being the gorgeous Princess'.
At the time of the opening of the Theatre Royal (No. 2), the Princess' was in full swing with a strong company under Stuart O'Brien and Miss Jones, heavy tragedy being the order of the night. During the same Cup week a dramatic benefit was given Mr. John Whiteman, who had filled as many parts in life as did the late George Adams. Mr. Whiteman was a blacksmith by trade, and a poet by instinct, his little volume, 'Sparks from the Anvil,' being readable. He had been a publican, and in that, as in other trades, had his ups and downs. On the benefit night Coppin and Stewart appeared; Marcus Clarke wrote an address, which was spoken by John Edwards the younger. Looking over those old bills, one comes across many names now absolutely forgotten, of the seniors George Coppin being about the only one of a long list now remaining; and about this time— 1872 — there arose a controversy regarding 'deadheads,' in which Mr. George Coppin, Morton Tavares, and others took part. The germ of the controversy was as to whether Vice-Regal patrons should not pay for seats occupied in the theatre even on 'command nights.' The Vice Regal delinquent at whom George Coppin was hitting, and hitting mighty hard, was Viscount Canterbury, who in his earlier days was known as John Henry Thomas Manners-Sutton. The correspondence was carried on with some vigor, the theatrical critics, strange to say, siding with the deadheads, from a fellow-feeling perhaps. There was a dramatic association in existence in Melbourne at the time, and the matter was thoroughly threshed out at its meetings. Viscount Canterbury, who appears, from the correspondence, to have been a persistent deadhead, asked Mr. Coppin to send in an account of the 'items,' but this Mr. Coppin declined to do, on the ground that his profession never gave credit. Of this interesting dispute more anon.
(To be continued.)
Article:  Joseph Michael Forde, ANNALS OF THE TURF AND OTHER PASTIMES. In New South Wales and Elsewhere. No. LXXIII., Sydney Sportsman, 5 October 1904, 3
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Mr. George Coppin's controversy with John Henry Thomas Manners-Sutton, Viscount Canterbury and Governor of Victoria 1866-1873, clearly proved that some Vice-Regal people were afflicted with very bad memories, or something worse. In the very early seventies Mr. Coppin founded an institution known as THE DRAMATIC ASSOCIATION which had a council to direct its affairs, and kept a minute-book with commendable regularity. The first hint the newspapers got of there being trouble about Vice-Regal dead heads was through the 'Age' of December 21, 1871, in which the proceedings of the council of the Australasian Dramatic, Operatic, Musical and Equestrian Association — comprehensible enough in all conscience — were reported. Amongst the business transacted there was a resolution, carried unanimously: 'That as his Excellency Lord Viscount Canterbury and suite patronise public entertainments upon the free list, an application should be sent to all managers from this association to discontinue a practice so unprofitable to the profession, and so undignified for the representative of her Most Gracious Majesty the Queen.'
The 'Age' newspaper was evidently read at the gubernatorial breakfast table, as under date December 21, Lieutenant J. S. Rothwell, private secretary, writes: 'George Coppin, Esq., Chairman of the Council Australasian Dramatic, etc., Association,' thus:
'Sir— His Excellency, Viscount Canterbury has observed, in the report (in the 'Age' of this morning's issue) of the proceedings yesterday of the Australasian Dramatic, Operatic, Musical and Equestrian Association presided over by you, the announcement that the council has adopted a resolution, of which the following passage is the commencement: 'That his Excellency the Governor of Victoria, Lord Viscount Canterbury and suite, patronise public entertainments upon the free list, etc.'
'With reference to the assertion contained in this passage, Viscount Canterbury instructs me to state that if it should be intended to convey the inference that his Excellency is, or has been, in the habit of being present at dramatic, operatic, musical or equestrian entertainments without payment, that inference would be directly contrary to the facts of the case.
'It is, indeed, a fact that his Excellency's attendance at entertainments of this character has generally been at the request of managers, and it is also true that he has frequently attended them at considerable inconvenience to himself, but he is not aware of a single instance in which he has not paid for the seats which he has occupied; and if you should have any claim which, through inadvertence on my part, remains unsatisfied, against his Excellency for seats occupied by him at your theatres: or if there should be any manager among those with the council of which you are the president who has entered, or is about to enter, into communication, in accordance with the resolution to which I have referred, who has not been paid for the seats occupied by his Excellency at the dramatic, operatic, musical or equestrian establishment under his control, I shall esteem it a favor if the account should be sent to me, in order that it may be examined, and, if found correct, paid.'
To this very formal communication Mr. Coppin replied, in an equally formal manner :-
'Sir, —I have the honor to acknowledge the receipt of your letter of December 23 (sic) at 10.30 on Saturday night.
'In reply I most respectfully decline to furnish an account in order that it paid. The old established rule of my profession will not permit me to acknowledge debtors for admission to the theatre.'
Lieutenant Rothwell came again : —
'Sir,— I have laid before his Excellency Viscount Canterbury your letter of the 26th instant, which only reached me this morning (December 28), in which you have refused, for a reason alleged therein, to state the instances, if any, in which seats occupied at any time by his Excellency at any theatre under your management have not been paid for.
'His Excellency has instructed me to refrain from making any comment on this refusal, and I am to inform you that any correspondence with you on this subject is now closed.'
There were other letters, but those quoted contain the germ. The Melbourne press naturally sided with Government House as against the player, and that without hearing any reason from Mr. Coppin. The 'Australasian' was particularly severe, and extremely unjust, in its criticism of the action of the Dramatic Association. It heaped upon the devoted head of Coppin all the obloquy it could. The papers, the 'Argus' especially, believed Lieutenant Rothwell's assertion, and in fact, told George Coppin that he was a liar — if not in as many words, at least by strong inference. Thus the 'Australasian' :— 'That Association has been blamed for adapting an insolent and insulting resolution; and what says Mr. Coppin? His Excellency ought to pay for admission to the theatres. Very well. We are assured on excellent authority that Viscount Canterbury does so. When the Governor attends the Theatre Royal a cheque for the admissions is sent to the management next morning by the aide-de-camp. What becomes, then, of all this offensive talk about the free list? Mr. Coppin and his friends have made a great mistake, and have committed a glaring breach of good taste and propriety; but instead of contritely acknowledging their error and making a frank apology, they attempt to explain and justify their misconduct, and they fail signally. They should remember that the Melbourne public of 1871 is not the Melbourne public of 1855. Any sort of managerial flummery would go down at the earlier epoch. 'We have changed all that.' Mr. Coppin has done good service to the drama in days gone by, and we cheerfully acknowledge it ; but he is incapable of reading the signs of the times. 'Dodges' are out of date, and playgoers are beginning to understand that charitable benefits— especially when given on the worst night in the week, or the year— are mere devices to enable the manager to pull in sufficient people to pay the usual expense of the house, which, under ordinary circumstances, would not have been covered; while as regards the deduction made on that account before any surplus is handed over to the charity to be benefited, it is very well known that the expenses are down at 50 percent, higher than they actually are, the plausible excuse being that a charitable performance has the effect of lessening the average attendance on the night before and the night after it takes place. When David Garrick, being then manager of Drury Lane Theatre, gave a benefit for the theatrical fund instituted in connection with that establishment, he handed over the gross receipts of the house to that fund without deductions of any kind. He did the same when Mrs. Gibbes took a benefit on the 10th of March, 1754 and also on November 11, 1753, when the performances were, 'on behalf of a gentleman with a very large family.' This was true charity, but, so far as our recollections of Garrick's voluminous published correspondence serves us, he never boasted of it; and never traded upon it.
But then Garrick was a gentleman.'
OI course the sting of the article is in its tail, but the 'Australasian' scribe was a bit previous. George Coppin was the last man in the world to allow his 'bone to go with the dog,' and the Dramatic Association loyally backed him up. The 'Daily Telegraph' (Melbourne), in its issue of December 29, said: 'It is a very remarkable correspondence, and it has this outcome: If Viscount Canterbury is not the biggest of falsehood mongers, Mr. Coppin is the meanest. There is no escape from that very unpleasant dilemma. We shall all be agreed on the point that one or the other — the Governor or the manager ought to be hissed out of the theatre the next time he appears there.'
The Dramatic Association appointed a sub-committee to investigate the whole matter, and from the tenor of its report one can imagine that the snuff-taking, port-wine-loving Viscount Canterbury would wish that he had taken no public notice of the resolution passed by the A.D.O.M. and E. A., but had let sleeping dogs lie. On Wednesday, January 3, 1872, the council met at St. George's Hall, when there were present— George Coppin (in the chair), James Simmonds (sec.), R. Stewart, William Pitt, J. H. Wilton, Richard Capper, Fred. Coppin, G. Seide, J. R. Greville, John Hennings, R. Scott, W. Holmes, G. Chapman, and John Dunn. Amongst other business done was the election of Martin Simonsen and Enderby Jackson as governors. Miss Lizzie Watson was also elected to a similar position ; and Mr. J. H.Wilton was transferred from membership to governorship. Mr. Edward Gladstone and Mr. James Alison were elected members. Amongst the subscriptions acknowledged were 10 guineas from Spiers and Pond, London ; a guinea from Dan Melhado, Sydney; and a guinea from Tommy Trotter, of whom more at another time.
Lieutenant Rothwell's letter was read, and Mr. Coppin entered into an explanation of the correspondence which had passed between him and the Lieutenant. Mr. Coppin explained that he refused to furnish an account on several grounds. Theatrical management was a ready money business. No one whatever could pass a check-taker without first purchasing his ticket of admission, with the exception of those who received the compliment of being placed upon the free list, ‘a compliment, by the way, which was not practised by any other trade or profession but theirs. Etiquette opened the doors of a of place of public amusement, without demanding a ticket, to the representative of her Majesty, and in return, custom dictated the presentation of a cheque to the management with as little delay as possible, the amount of that cheque being generally regulated by the liberality of the Governor and the amount he received from the public purse by way of salary. Lord Canterbury had neglected to carry out that principle, and he (Mr. Coppin) could but think that the omission on the part of the Governor was not at all in accordance with the dignity we had a right to expect from a well-paid representative of Royalty.’
The meeting passed a resolution confirming Mr. Coppin's action, and appointed a committee of three— Messrs. Wilton, Capper and Simmonds — to report upon the matter in dispute. At the following meeting the committee brought up its report. The document placed Lord Canterbury and his private secretary in a somewhat unenviable position. The committee presented a few cases which were indisputably shown to be glaringly inconsistent with Rothwell's assertion. 'Visits of his Excellency the Governor to the Theatre Royal, Melbourne, upon which occasions no payments have been made : 1867 — August 21, command, no payment. 1868 — January 13, patronage, no payment; November 23, command, no payment; 1869— January 4, command, no payment; May 1, command, no payment; May 27, patronage, no payment (Note A); October 28, command, no payment. 1870 — May 14, command, no payment. About this time it appeared that the acting manager instructed the box-bookkeeper to make out an account against the Governor. He also informed his partners that he had spoken to Lieutenant Rothwell for the purpose of obtaining payments. No notice, as yet, has been taken of the communication. June 30, command; December 13, patronage. The sum of £3 15s has been paid for the last two visits, at the rate of 5s per ticket for the centre box, the established price being 7s 6d per ticket. Authenticated by the account books of the theatre and the statements of the treasurer.
'Theatre Royal, Haymarket : 1867—January 11, command, no payment; August 10, command, no payment. The absence of the manager leaves a blank of three years. 1870 — November 4, command, no payment; November 9, patronage, no payment (Note B). Authenticated by the accounts of the theatre and the treasurer.
'St. George's Hall (Weston and Hussey): 1869 — June 23, command, no payment; July 23, command, no payment. Authenticated by the books and the statements of the managers.
'Town Hall, Melbourne : 1871— May 13, benefit concert, patronage, no payment (Note C).
'Note A. — Your committee consider that this night had special claims upon the Governor's purse. The entertainments were given by the Foresters' Society, for the benefit of the Melbourne Hospital and the Benevolent Asylum. The printed accounts show 'no payment' for the Gubernatorial party.
'Note B. — Your committee report these two occasions as 'no payment' because the manager did not participate in the amount that his Excellency presented to the official assignee of an insolvent estate nearly three years old. If the Governor had paid for his boxes within a reasonable time, the manager would have received the share he paid to the 'star,' and the proportion to which he was justly entitled for providing the entertainment.'
In other words, the Governor, Viscount Canterbury, only paid for the boxes when, three years afterwards, the official assignee in the estate of the insolvent manager was collecting the debts due, and furnished his Excellency with an account of the amount of his indebtedness.
'Note C. — This is a special case for notice, as the benefit was given to relieve a talented artist from pressing difficulties and to provide funds for his passage to England. The accounts and statements of members of the managing committee prove 'no payment.' The above facts are sufficient to prove the general correctness of the resolution, and the consequent inaccuracy of the statement contained in the letter of the private secretary. Your committee are not in a position to show that his Excellency attended operatic entertainments without paying for admission, as the leading operatic managers are absent from the colony, but inasmuch as they are aware that those managers frequently, and most publicly, complained of this being the case, they can hardly suppose that they would do so without adequate cause. Your committee may further refer to the correspondence of a late manager of the Haymarket Theatre, which has been published in a Melbourne newspaper, in support of the allegation, contained in the resolution. The manager, in question had literally to 'dun' the private secretary before he could obtain any answers to his letters or an acknowledgment of his claim, and at last reaped scarcely any personal advantage from his persistency. The nights upon which his Excellency, the Governor visited the places of amusement free, in company, with his Royal Highness the Duke of Edinburgh have been struck out of the list's that have been produced, as your committee acknowledge with gratitude the patronage and assistance given by his Royal Highness to the Galatea amateur performances contributed £120 11s. 6d. to the building fund of the Asylum of Decayed Actors, established by the Hon. George Coppin. Your committee, in conclusion, report that the terms of the resolution are fully borne out by the facts.— Richard Capper, chairman of the committee.
(To be continued.)
Article:  Joseph Michael Forde, ANNALS OF THE TURF AND OTHER PASTIMES. In New South Wales and Elsewhere. NO. LXXIV., Sydney Sportsman, 12 October 1904, 3
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