Mrs Marian Maria Chester

In the mid-thirties, James Simmonds, at the old Royal in George-street, Sydney, produced 'The Gambler's Fate,' which subsequently some humourist, burlesqued under the title of 'The Elbow Shakers.' After that came some heavy specimens of old-time, drama, ''Venice Preserved' being one in which Simmonds played Pierre, and Meredith Renault, the wife of the latter being the Belvidera. Mr. Simmonds appears to have kept pace with the times, and gave the Royal patrons quick changes of programme, and a good variety at that. In 'The Honeymoon' the cast was : — Duke Aranga, Mr. Knowles; Rolando, Mr. Simmonds; Count Montalbon, Clement Peat; Balshazar, Palmer; Jacques, Meredith; Juliana, Mrs. Mackay; Volante, Miss Winstanley; Zamora, Mrs. Harriet Jones.

The lady mentioned here as Miss Winstanley was properly Mrs. Eliza Winstanley. She was an admirable actress, and had a wide reputation both in England and Australia. As a writer in after years said of her, she was one of the very best 'old women' in more senses than one. She was also an authoress of some repute, contributing profusely to English periodicals. She was the authoress of a very readable work, 'Shifting Scenes in Theatrical Life,' and an Australian novel (founded on facts) entitled 'Twenty Straws,' a very readable and interesting publication. Mrs. Winstanley was living in Geelong in 1880. I think she married a Mr. O' Flaherty, and for a time, in the early forties, played under this name. She, however, reverted to her earlier name, that by which she was best known both in England and Australia.

Mrs. Harriett Jones subsequently became the wife of Mr. Knowles, a leading actor of the time.

Mr. Clement Peat was the father of Mr. H. J. Peat, for many years connected with the commercial department of the 'Town and Country Journal' in the lifetime of Mr. Samuel Bennett, and was the originator and founder of the Friendly Societies dispensaries which exist today. In recognition of his good work in this direction the societies erected a very handsome memorial over his grave at Rookwood. Clement Peat, the actor, on retiring from the stage, went into trade as a publican, I think, in a house known as 'Jack Straw's Castle,' at Pyrmont. In the sixties and seventies he was established as a pawnbroker in Botany-street, better known as Flinders-street, Darlinghurst, where he died.

A writer, who some years ago was writing of this early dramatic period, noted that in the mid-thirties 'first times' were very frequent at the then Theatre Royal. In January 1835, 'Pizzaro' was produced, with Meredith as Pizzaro, Knowles as Alonzo, Simmons as Alilaba, Miss Bland (Mrs. Meredith) as Elvira, and Mrs. Mackay as Cora. Strange to say, no mention is made of the hero, Rolla, a part played in after months by James Simmons, and somewhat out of his line I should say.

In this year (1835) Mr. Thos. Stubbs assisted Mr. Levey by giving a solo on the Kent bugle. Mr. Simmons and other members of the company had left, hence the necessity for seeking a little outside assistance. The Mr. Thomas Stubbs mentioned here became a person of some importance in the City of Melbourne, and has left some descendants of note.

Mr. Thomas Stubbs was in early life in Sydney an auctioneer's clerk, the auctioneer being Mr. Simmons, whose place of business was, I think, in Hunter-street. Mr. Stubbs was afterwards in business for himself in King-street, on the southern side, between George and Pitt streets. In the late forties he went to Melbourne, where he started business, and was one of the chief knights of the hammer in that city. He became a foremost citizen, a churchwarden of St. James', and died universally regretted. He was generally known as the Colonial Robbins, his advertisements being quite poetical in character. On his death, in 1878, the 'Australasian' honoured his memory with a couple of columns of biography. Another journal thus spoke of him: — 'The death of Mr. Thomas Stubbs takes away another of the social landmarks of the colony. He was a man whom everybody liked, and who deserved that everybody should like him. He was believed, and with good reason, to be a natural Son of George IV, and certainly, if facial resemblance be any guide to paternity, there could be little doubt of the connection. He was, moreover, a good specimen of the gentleman of the Georgian period, being compact, portly, and well balanced. He was genial, social, and full of anecdote, and, as on auctioneer of the ornate order, he had no rival.' The above is an accurate description of Tom Stubbs, as I knew him. A son Robert, who was in business as an auctioneer in George street, Sydney, adopted the ''hyphen," and was known as Mr. Robert Fitz-Stubbs. This gentleman married a lady of means, who was a witness when a girl to an awful murder, which has remained a mystery now for 60 years. Miss Maud Fitz-Stubbs, the eminent pianiste, is a daughter of Mr. Robert Fitz-Stubbs, and grand-daughter of the eloquent knight of the hammer of Sydney in the thirties and forties, and later in gold roaring fifties of Melbourne.

Mr. Simmonds was an active stage manager, and as things were, he thought he saw an opening for another play house. There were several concert rooms in Sydney, but no regularly licensed theatre except the Royal. A notable event in music about this time was a concert given at the Pulteney Hotel concert room by Mrs. Taylor, 'after her recovery from a serious illness.' She was assisted by Messrs. Knowles, Simmons, Gordonovitch (a Polish refugee), Tom Stubbs, and Bonnar (who played the guitar), and Mr. Cavendish, a noted pianist, who had a somewhat mysterious history, and who lost his life by drowning in Sydney Harbor. Of him, more hereafter. The tickets for the concert were 7s 6d, and the chronicler says that the attendance was not by any means as numerous as was anticipated.

Mr. Simmons, before seceding from the Royal, took a monster farewell benefit and was a veritable Pooh Bah on the occasion. He appeared as Leporello in the operatic burlesque of ‘Don Giovanni’ Mrs. Taylor playing the Spanish roué. Mr. Simmons 'doubled' as Jerry and the Doctor, and afterwards as Anthony in the 'Rival Valets,' with Mrs. Taylor as Susan Fielding. Between the pieces there was an Indian dance. When Mr. Simmons left Mr. Levey he was followed by Messrs. Knowles and Buckingham and Mrs. Jones, they having also a disagreement with the management. The manager, however, had some pluck and bore up under his trials. He produced a burlesque on 'Don Giovanni,', named 'Giovanni in London,' with Miss Douglas as the Young Scamp, introducing into the part no less than forty-one songs.

A little controversy subsequently arose in connection with the 'star,' Mrs. Taylor. The lady had been announced to appear at the theatre, but had declined on the ground that she was not under engagement. Mr. Levey then published a note subscribed to by Messrs. Sippe and Stubbs to the effect that he had engaged Mrs. Taylor in the presence of these gentlemen, at £1 per night! To this Mrs. Taylor replied that she had not definitely accepted the terms, but had agreed to give an answer in a day or two, and that Mr. Levey had announced her without waiting for her reply. The 'Gazette' considered Mr. Levey's conduct in announcing the lady as 'highly reprehensible.'

Six gentlemen formed a syndicate or commonwealth to direct the theatre for a fortnight. Most of the old corps dramatique joined the new management, 'The Strangers' being the first piece produced. 'Jane Shore' was another production. Some new performers were obtained and, as an improvement, it was announced that in future 'No bonnets would be allowed in the dress circle.' The cart-wheel hat was on unknown quantity then. The new company consisted of Simmons as stage manager, Knowles, Mackay (described as a steady actor for lead or second parts), Buckingham, Peat, Dyball, Winters and Master Jones, Mesdames Taylor, Jones, Mackay and Larra, with the Misses Winstanley and Douglass. Mr. Cavendish was the musical director. The 'Commonwealth' adhered to the four nights a week. 'The Pilot,' 'She Stoops to Conquer,' and others of a similar character were produced. Governor Bourke gave a 'bespeak' when the 'Mountaineers ' was produced, with a variety of other entertainments.

In September, Simmons took a benefit, the advertisement for which occupied two columns of the 'Gazette.'

About this time there arrived from Drury Lane Mrs. Chester, who made her first appearance in October, 1835, as Clari in 'The Maid of Milan.' I have before me a playbill of the farewell benefit and last appearance on the stage of this lady. It was at the Theatre Royal, Melbourne, in 1862. The initial piece was 'The Lady of Lyons,' the Claude Melnotte being Mr. John Hayward, an old actor who had retired from the stage and, taken to civic life. He, in time, returned to the stage as Mr. Deorwyn, and brought with him his two daughters, now Mrs. Richard Stewart, jun., and Mrs. Charles Holloway. The Colonel Dumas was Mr. H. R. Harwood, and Samuel Hawker Banks was the Caspar. Mrs. Chester was the Widow Melnotte, Mrs. Alfred Phillips (an actress and an authoress of no mean repute) being Madame Deschapelles. A petite concert followed, in which Octavia Hamilton (Mrs. Moon) and Mrs. Frederick Younge (a daughter of Haydyn Corri) appeared. The farce was 'Teddy the Tiler,' Mrs. Chester playing Lady Dunderford, and Mr. J. Simmons Teddy the Tiler. Thus, after a lapse of nearly 30 years, these two ancient players came together again.

Towards the end of the year 1835, Mr. Simmons announced that he had leased the theatre and intended to introduce some London novelties. One of these was a new system for box visitors; anyone engaging would receive a key admitting him at pleasure. Season tickets were issued at £5. The front of the house was placed under the direction of Mr. William Knight. On off-nights Mrs. Taylor gave entertainments similar to those subsequently given by Mr. and Mrs. George Case, and Mr. Simmons followed suit with entertainments after the manner of the elder Mathews.

The year 1836 saw the arrival of a new actor, all the way from Van Diemen's Land, a Mr. Spencer who made a big hit as Richard the Third. Colly Cibbers' version, presumably.

The Mr. Knight, who had the management of the front of the house, was the same gentleman who afterwards kept the Shakespeare Tavern in Pitt-street; and first opened the northeast of George and King streets, in 1849, as an inn, under the name of the Golden Fleece. Mr. Knight and Mr. William Dind were afterwards in partnership in matters theatrical, both being highly esteemed citizens, who have left many descendants.

It was in 1836 that Vincent Wallace, who arrived in Sydney three years before, gave a grand concert in the saloon of the Royal Hotel in the presence, of the Governor. He was assisted by the band of the 17th Regiment, the members of a Glee Club which then existed, and some Sydney amateurs. The tickets were 7s 6d, and the concert was an immense success. The press said that Mr. Wallace's performance marked the commencement of a 'new era in the chronology of music in the Colony.'

William Vincent Wallace was born at Waterford in 1815, his father being band master of the 29th Regiment. When only 14 years of age Vincent was placed in the orchestra of the Theatre Royal, Hawkins-street, Dublin. He took the direction of the orchestra in 1831 — 16 years of age! — but his health failed, under the labour, and his father found him an easier billet in the R.C. Church at Thurles. In 1833 he was recommended to try a sea voyage, and came to New South Wales, where he commenced as a teacher of music. In Sydney he was joined by his sister Eliza, a vocalist of fine repute. The brother and sister gave many excellent concerts, and may be esteemed the pioneer of high-class music in Sydney. The sister subsequently married Mr. John Bushelle, a singer of excellent standing, known in Sydney society as 'The Knave of Diamonds,' from his alleged resemblance to that card, but more likely from a certain connection with 'brilliants' which brought him to Sydney.

Wallace and his sister gave a concert in aid of St. Mary's Cathedral, which realised £1000. While in Sydney Wallace commenced the composition of his opera 'Maritana.' He was then living at the corner of Castlereagh-street and Brougham-place — now Rowe-street— the Australia Hotel being on the spot. In 1845 Wallace left Sydney, via America, for London, where he completed 'Maritana.' His fame, however, does not rest solely on this opera, as he composed many others. He died in Paris in 1865. The sister, Madame Wallace Bushelle, died at her residence, 149 William-street, Woolloomooloo, in August 1878.

In June 1879, this Mr. James Simmons gave an evening's entertainment at the Masonic Hall, in York-street, something after the style of the elder Mathews. In reintroducing himself to the Sydney public, Mr. Simmons described the city as it was half a century before, when the Theatre Royal was just finished in George-street, and Governor Ralph Darling refused it a license because Barnet Levey, the proprietor, built a flour mill on the upper story. Performances then, according to Mr. Simmons, took place in the prisoners' barracks (gaol?). Mr. Simmons fairly convulsed the audience with his mimicry of actors, judges, barristers, police magistrates, and other known citizens. Many of the old colonists present recognised the portraits. The old gentleman, grown young again, sang comic songs which were popular in the days when Darling and Bourke ruled 'the system.'

When Mr. James Simmons retired from the management of the George-street Royal, Mr. Joseph Wyatt took the reins. Mr. Wyatt was a well-known business man, of very small stature, but of wonderful energy. He was in business for many years in Pitt-street as a leather merchant and ironmonger, his premises being next to the School of Arts. Mr. Wyatt was great at property investments, and speculated wisely and well. When 'Moore's corner' was cut up, in 1834, Mr. Wyatt bought 25ft frontage to George-street by a depth of 86ft to King-street (N.E.), at £55 10s per foot, the record price then. Mr. Wyatt appointed Mr. Knowles as his stage manager, and Mr. Wyatt's usual good luck followed him. While lessee of the George-street Royal Mr. Wyatt said that there was a good opening for another theatre in Sydney. Population had largely increased, and the price given for real property, as indicated by his own purchases, and the really good buildings going up in Sydney in the mid-thirties, indicated that Sydney had outgrown its bushy character, and was becoming a place of importance. Mr. Wyatt therefore thought that the time had come when a playhouse on a grand scale was needed, and that the speculation would pay. On September 7, 1836, the foundation-stone of the Victoria Theatre in Pitt-street was laid with full Masonic honours by Mr. R. Broad, the gentlemen of the 'mystic tie' assembling in full force to do justice to the occasion. The architect was Mr. Henry Robertson, and the theatre was opened on March 7, 1838 with 'Othello.'

(To be continued.)