Richard Henghist Horne

A still-existing link between the drama of the fifties and the stage of to-day is Dr. James Edward Neild, who under a variety of pen names, has been writing in the interests of the theatre and the public for half a century. Born 80 years ago in the horsey town of Doncaster in Yorkshire, but descended from an Irish family who emigrated into England in 1642, James Edward Neild received his early education in Leeds, and in 1843 went to Sheffield to an uncle, a surgeon in large practice, and was apprenticed to him for five years. Subsequently he completed his medical studies in London at University College. He passed his examination in 1848, and thereby was privileged to add the letters L.S.A. after his name. For two years he practised his profession at Oulton, near Leeds, and was for three years house surgeon of the Rochdale General Dispensary.

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In 1853 he came to Melbourne on a visit, but was so taken up with that city, then in its 'roaring days,' that he decided to remain. He for a time abandoned the practice of his profession, and entered into business as a chemist and druggist with Mr. D. R. Long, the establishment being at the corner of Bourke and Stephen streets, the latter better known now as Exhibition-street. In 1857 he married the daughter of his partner, and for many years the firm of Long and Neild flourished in the pills and poultices line. But Dr. Neild had always a desire to be numbered amongst the fraternity popularly known as 'ink-slingers,' and in 1855 became one of the staff of the 'Age,' just then founded by a commonwealth of compositors. As a reporter Dr. Neild did the usual routine work of a morning journal, and when he ceased to be a reporter he became a contributor of theatrical notices to the paper. In 1856 a very readable publication appeared, printed by Shaw, Harnett and Co., owned and edited by Mr. T. L. Bright, and khown as 'My Notebook.' For this highly intellectual publication Dr. Neild was engaged to write dramatic notices. Some brilliant articles appeared, but 'My Notebook' ran its course in about a year ; a purely literary venture having 'no show' in those days. In 1856 there was a daily and a weekly 'Argus,' the latter being merely a resume of the week's news. In 1857 Mr. Edward Wilson issued the 'Examiner' from the 'Argus' office, Mr. T. L.

Bright being its first editor, and for two years Dr. Neild contributed to its columns a weekly article on the theatres, under the nom-de-plume 'Christopher Sly,' heading the articles with the transformed tinker's very happy expression :

'Let the world slip, we shall ne'er be younge.'

Mr. Wilson also issued another journal, in the interests of the squatting and farming classes, 'The Yeoman.' Eventually, in 1864, 'The Examiner,' 'The Yeoman,' and 'The Weekly Argus' were blended, and produced 'The Australasian.' For this latter journal, under the pen name 'Jacques,' and subsequently as 'Tahiti' and '***', Dr Neild praised and slated theatrical performances for years. He became a contributor to Melbourne 'Punch,' amongst other journals, notwithstanding his multifarious, duties as a critic, a lecturer in medicine at the University, editor ot the 'Australian Medical Journal,' and a general medical practitioner, Dr. Neild found time to write two comediettas, which were successfully staged.

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In 1855 Dr. Neild, with R. H. Horne ( 'Orion'), James Smith, John Edwards, Tom Pavey, the two Henninghams, and a few other choice spirits assembled in the 'eating house' in Elizabeth-street, Melbourne, known as Williams' dining rooms and founded the Melbourne Garrick Club. Subsequent meetings were held at Kelly's 'Argus' Hotel, next 'The Argus' office. Dr. J . E. Neild was chosen the first secretary, and held the office for some years. He also took part in some of the earlier performances of the club, chiefly in characters bordering on low comedy.

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It is, however, as a dramatic critic that we have to deal with the genial little doctor. In this character he had the reputation of being a hard hitter, and at times he hit so hard that he earned reprisals. One noteworthy one is in my memory at this moment. In 1858 Professor Anderson, 'The Wizard of the North,' appeared in Melbourne. None of the present generation remember this gentleman— a big, bony, braw Scot, who was born at Kincardine in 1814. Anderson's life was a series of ups and downs. In his time he played many parts. The love of the life of a strolling player early led him to the boards. During his early travels it is said that he was brought into contact with Signor Bletz, the cleverest magician of his time. New ideas entered the mind of young Anderson ; he saw, watched, and set himself to unravel the mystery of the Signor's tricks. In a short time he gave a 'magic' entertainment in Aberdeen, and met with success far beyond his expectations. Every performance of a new trick urged him on, and presently he assumed the 'nom de stage' 'The Wizard of the North,' and commenced to make for himself a name. He made a tour of Scotland, and made the acquaintance of M. Phillipe, who was as celebrated in France as Anderson was in Scotland. By great study and hard work Anderson became a great magician , constructing, even at the expense of his daily meals, the best apparatus his means would allow him, and devoting his inventive genius to new tricks. We are told that vicissitudes, struggles, hardships, and continuous, labor made up this portion of the Wizard's career. After a second tour through Scotland, Anderson worked his way into the northern and midland counties of England. After a long season in Yorkshire he proceeded to Hamburg, Sweden, Norway and Denmark. After successful visits to the several towns on the Baltic, he reached St. Petersburg, and obtained the personal patronage of the Emperor Nicholas. He remained some months in the Russian capital, earning considerable sums of money. After a tour through Russia he returned to England, via Berlin and Vienna. Shortly after his return home he appeared by command at Balmoral. In 1851 he went to America, and made a tour of the entire Union from Maine to California, and from St. Lawrence to the head of the Mississippi. His profits were great, clearly indicating his success as a magician. He then returned to England, and appeared at several of the West End theatres. His big success, however, was at the Lyceum, in the Strand. Finding this house too small to accommodate the audiences that assembled, he took Covent Garden Theatre, and there appeared in a series of dramatic parts, including , 'Rob Roy,' William' in 'Black Eyed Susan,' Rolla and other characters. On March 15, 1856, the season at Covent Garden was about to close with a performance commenced an hour after noon and continued during the afternoon until midnight, when the entire entertainment was to finish up with a masquerade. While the latter was proceeding, on the morning of the 16th, the house took fire, and in a few hours was reduced to a heap of ruins. By this calamity Anderson not only lost money, but he lost his entire apparatus, the accumulation of many years. Soon after this the Royal British Bank, in which he had invested his savings, smashed. Anderson was not, however, disheartened. He looked abroad to right himself. A most liberal offer, was made him by Mr. George Coppin, which , was accepted, resulting in his visit to Australia, engineered by Mr. E. P. Hingston. He made his first appearance at the Theatre Royal, Melbourne, in June, 1858. The management erected a platform from the opposite side of the stage, in front of the dress-circle, to the prompt side, which enabled the wizard to exhibit his

tricks and magic to the occupants of the circle when occasion required. His success in Melbourne was great. Not only did he draw full houses as a magician, but his dramatic representations drew large audiences. I saw him play Rob Roy, Bailie Nicol Jarvie, Jock Houison, Dandle Dinmont, and many other Scotch characters, which, notwithstanding a lumbering gait, he played well. In characters requiring pure English he was a failure, and he knew it. After his Australian tour, Anderson visited California, India, China, Japan, Ceylon, the Sandwich Islands, West Indies, and South America. He then returned to England through America, losing a lot of his earnings through the Civil War. On his arrival in England he found himself again nearly stranded ; but, not disheartened, he again put his shoulder to the wheel, and gradually began to gather the fruits of his industry. He was now in very indifferent health, and had suffered greatly. His death took place at Darlington, in February, 1874, at the age of 60 years. His last public appearance was made in the town where he died, on January 29, where he played his last trick— that of firing a banknote from a pistol and lodging it in a candle. There was a peculiar coincidence in connection with this trick. The father of the local correspondent of a London journal furnished the material for Anderson's first trick, when a pupil, the correspondent, himself furnishing the note for the professor's last trick.

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Dr. Neild did not take kindly to Professor Anderson,' 'Christopher Sly' dubbed the Wizard of the North, a clumsy charlatan, and applied many other unfriendly epithets. The criticism, however, did not effect the attendance at the Royal, but a night came when Anderson had his revenge. 'Christopher Sly' was in the dress circle one night, when the professor ascended the staging, and standing right in front of the critic gave him a terrible 'tongue thrashing.' Neild sat it out, and when fairly tired Anderson returned to the stage and continued the performance.

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Mr. E. P. Hingston became famous as the agent of Artemus Ward, and as the manager of Messrs. Spiers and Pond's ‘Hall by the Sea,' at Ramsgate. His brother, James Hingston, recently deceased, was well known in Melbourne as a Bohemian of the wealthy order. Later on he travelled, and published his experience under the title of the 'Australian Abroad.' I met James Hingston a few months before his death, in Pitt-street, when he told me that he had learned the secret of being able to travel without baggage. James went home a couple of years ago for medical advice, but he was past medical remedies, and died of cancer. By his will he left something like £20,000 to the Melbourne Benevolent Asylum to erect a one-storied building for aged men, as, when a member of the Asylum committee he was always pained to see aged, gouty, and rheumatic men struggling up four stories of the dormitories. Pity Mr. Hingston did not give the ancients in the asylum the benefit of his money during his lifetime, as I understand there is some hitch in the will which so far has prevented the erection of the building.

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It was while Mr. Hingston was in Melbourne as agent for 'The Wizard,' Anderson, that a great transformation took place in the appearance of the front of the old Theatre Royal. The approaches to the upper circle, stalls, and pit were open to the general public, and became a lounge for all the deadbeats and town loafers, who congregated nightly in the hall. Mr. Hingston suggested that the hall should be a means of revenue to the proprietors of the theatre, and a source of comfort to theatre-goers. Accordingly, the place was renovated and decorated in superior style. A gallery of pictures, all Australian subjects, by 'S.T.G.' and other well-known artists of the day was secured, and the walls decorated therewith. Where are those pictures now ? They are invaluable, in whosoever's hands they may be. Natty little tables were dotted about the place, active waiters in snow white jackets introduced coffee for teetotalers, and liquors of all types for others. The place was named 'The Vestibule,' and a six penny refreshment ticket admitted the in dividual beyond the portals. The theatre ticket, of course, admitted the playgoer. The hitherto frowsy bars on both sides of the vestibule also underwent a complete change; the Hebes, dressed in black silks, and the pick of the profession at that, attended to the wants of the Johnnies of the day. It was the Hingstonian change, and the success attending Spiers and Pond's introduction of the first English eleven that laid the foundations of the fortunes of the firm, a success which culminated in the present gigantic English firm of Spiers and Pond, Limited. The Melbourne firm presented Mr. Hingston with a very handsome and valuable finger ring as a souvenir of his happy suggestion.

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Dr. Neild's pen helped him into a scrape with the robustious Thomas Padmore Hill, the elocutionist. This time, however, the pen was used in a private matter, though the assault arising out of it occurred in the vicinity of the dress circle of the Theatre Royal. The occurrence took place on December 21, 1876. For ; twelve months previous Dr. Neild had been attending Mr. Hill's family professionally at Mr. Hill's own request, and had never charged any fee. The doctor was extremely generous in this way to all members of the profession, the humblest member of which could always rely upon medical aid in case of necessity. Parenthetically, it may be said that Dr. L. L. Smith, son of a former lessee of Drury Lane Theatre, was equally generous in a similar direction. To Dr. Neild Mr. Hill had repeatedly expressed his gratitude for the valuable services rendered. Hill asserted that Neild had insulted his wife, but the accusation had not the slightest foundation. On the night in question Dr. Neild , was at the theatre with a party of ladies. When coming out after the performance Hill went up to him and said, 'I want to speak to you ; I am going to bring you before the public.' Neild replied, 'I cannot speak to you now ; I have some ladies with me.' Hill became very much excited, and offensive in his language, when the doctor told him to go to the devil. (Hill had had frequent interviews that evening with 'James Hennessy') Hill then struck the doctor in the face and cut his lip. A ticket collector interfered, and Neild got the ladies into the dressing room. Hill then went into the centre of the lobby, and roared out, 'That is Dr. Neild! He's a damned scoundrel ! He insulted my wife. I'll show you up, sir! I have got your letters!' The lobby was full of people coming out of the dress circle. Neild said, 'The man is drunk : it's a pity there are no means of giving him in charge.' Neild then went downstairs with the ladies, and on entering a wagonette Hill again went up and said, 'I have slapped your face, sir, and I'll do more.'

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The outcome of the assault was an appearance at the police court, when Dr. Neild swore that he had never insulted Mrs. Hill; he had been her medical attendant. A correspondence afterwards took place between Mr. and Mrs. Hill and Dr. Neild. The latter informed Hill as to the nature of his wife's correspondence. Mrs. Hill had separated from her husband, and lived in lodgings at Jolimont. There Dr. Neild was called in to see Mrs. Hill. Hill was not present, but the doctor sent for him, as Mrs. Hill was laboring under very great nervous excitement. Hill came at noon, much annoyed at being sent for, as he said he could do nothing for his wife. The doctor offered to prescribe for her, but she refused medicine. Hill's presence seemed to further excite the wife, and she left the premises. Hill and Neild followed her down the road towards the Yarra, but lost sight of her. She was subsequently found by the police on the road leading to Richmond, and was brought back to her lodgings. Mrs. Hill had previously been in communication with Dr. Neild, as to her literary abilities, and the doctor had spoken to Mr. Hill about it. Mrs. Hill, living apart from her husband at Emerald Hill, had received letters from Dr. Neild, but they appear to have been of a purely friendly character, though they did commence 'Chere' Amie,' and ended 'Yours always.' In the course of the hearing at the police court, Dr. Neild admitted that five years previously he had applied to have Mr. Le Roy bound over to keep the peace. Le Roy had threatened the doctor with personal chastisement on account, of something disparaging written about Le Roy's Wife, known as Madame Duret on the stage—the same who, I think, first introduced the 'Octoroon', to the Australian public. The Neild v. Hill police court case ended in the police magistrate, Mr. Call, inducing Hill to apologise and pay three guineas costs, the latter going into the pocket of 'Jack' Edwards, Dr. Neild's old Garrick Club crony, who appeared to conduct the case against Hill.

(To be continued:)

Some controversy has been carried on in the Sydney papers respecting the tercentenary celebration at Melbourne of Shakespeare's birth, and, strange to say, the 'authorities' differ. As a matter of fact, some years before the date of the centenary, April 23, 1864, the Melbourne Garrick Club had made arrangements to celebrate the occasion with a performance of "The Merchant of Venice," introduced by the Introduction to the 'Taming of the Shrew,' and, sandwiched, a tableau of Shakespearian characters. The Garrick Club was founded in 1855 by some enthusiastic amateur actors, who were anxious to fret their little hour upon the stage for charitable purposes.

Amongst the founders of the club were James Smith (of the 'Argus'), James E. Neild, M.D., and W. J. Wilson, a scenic artist of much dramatic ability, all three, l am gratified to say, still living. Then, as president, there was R. H. Horne, better, perhaps, known as 'Orion' Horne, from the fact that he wrote a poem under that title, which was published in London at the extraordinary price of a farthing. There was Tom Pavey, the solicitor, who acted for all thespians when they had any legal matters on hand, John Edwards, the younger, who was articled to John Barter Bennett, the solicitor, Alfred Bliss, of Bliss and Joy (what a combination!), auctioneers. - There was J. B. Castieau, who had been in the service of the Government as ruler at the Melbourne Gaol, and a score of others, more or less Bohemian. The first performance was given at the Theatre Royal, under the patronage of Governor Sir Charles Hotham, who had with him in his private box the Colonial Auditor-General, Mr. Grimes, a pompous individual, who was given the appointment through his aristocratic connections, notwithstanding his plebeian name. The piece chosen was "The Heir at Law,” John Edwards performing Dr. Pangloss. It will be remembered that Pangloss has a catch phrase, naming the author whom he quotes. At that time the Victorian finances were in somewhat of a muddle, and when Edwards, as Pangloss, should have said, "Two and two are four, 'Cocker,'" Edwards said "Take 3 from 6 and 5 remains, Grimes," which so offended the Auditor-General that he left the theatre, though asked by Sir Charles Hotham to remain.

Poor Jack Edwards was a thorough Bohemian, a native of Tasmania, to which I believe his father, also a solicitor, was sent for something connected with Chartism. Articled to John Barter Bennett, the latter always patronised the Garrick Club performances, but a time came when he was called upon to put the question very straight to young Edwards, as to which profession he would adopt, that of law or the stage, “For you know, Edwards that you cannot follow both.” Jack chose the law, though he did not abandon the amateur stage.

This erratic individual was born in 1836, at Launceston, and educated by two clergymen, one of whom, Mr. Trollope, had been head master of Christ's Hospital, and started the first collegiate school in Victoria. Edwards was brought to Port Philip when a child and, after schooling, was articled first to Mr. Trenchard, whose son was a suitor for the hand of enchanting Julia Mathews at the same time that R. O'Hara Burke, the explorer was urging his suit. Julia however wedded neither, though I have her own word for it that she would have married Burke had he returned. O'Hara Burke was dead then, and his name was a good advertisement for the gentle, guileless Julia. She wore his picture in miniature and contrived to lose it one Sunday afternoon in the Botanical Gardens.

Edwards was transferred to Mr. Bennett, and had charge of the Common Law department; but, as mentioned, he was more frequently to be found, behind the scenes of the Theatre Royal than at the County Court; which was supposed to be his happy hunting ground. He was admitted a solicitor in 1858 and entered Parliament in 1859, being known as the 'Collingwood Chicken' and the 'Native Companion.' He had as colleagues the late Charles Jardine Don, a stonemason, and the first Labor member ever returned to Parliament, and George Milner Stephen; brother of Sir Alfred Stephen, and the gentleman who afterwards posed as a faith healer. Mr. Edwards was high up in Masonry, very, open-handed and good-hearted, too much so for his own good.

The writer was associated him once in a dramatic performance in aid of the fund being raised for a memorial to G. V. Brooke. The play was the “Poor Gentleman,” Edwards being the Dr. Ollapod, and this scribe Sir Robert Bramble. On the morning of the performance Mr. Edwards sent for me. He had been to Sandhurst a couple of days before, performing for the same object, and had caught a cold, and a bad one. He was in bed, with old Dr. Serrell alongside, and a blister as big as a blanket on his chest. To play that night was out of the question. I was commissioned to interview Mr. William Hoskins, erstwhile of Sadler’s Wells Theatre, and who was the lessee of the old Princess', in Spring-street, where we were to play. Hoskins had the Royal at the same time; it was at the latter house that I saw him, in the 'treasury,' as the ramshackle office was called. I have seen men out of temper in my time, but I have not as yet come across one who equalled William Hoskins on that morning. You see, we 'shared the house' after a certain sum— £60, I think— was deducted for rent. Mr. Hoskins was afraid that the public would get wind of Mr. Edwards' illness, and the receipts would suffer. Hoskins was the best player of such characters as Ollapod and Dr. Pangloss that I have ever seen. Of course he had to fill the gap, and right well he did it. Dr. J. E. Neild was entrusted with the apology for Edwards. The little doctor was never subject to stage fright, but in making the apology he led the audience to believe that John was suffering a recovery, or something of the sort. 

But when Dr. Neild announced that Mr. Hoskins was to be the Ollapod of the night the cheers nearly raised the roof. Like Marcus Clarke, Mick Maloney, and a few of that kidney, John Edwards' Bohemianism shortened his days.

The Shakespeare memorial, which has been the subject of some controversy recently, was started by Barry Sullivan, with the object, of purchasing a statue which the sculptor Summers was preparing. Sullivan was the moving spirit in the statue enterprise, while G. W. Rusden, the Clerk of the Parliaments, favoured a scholarship at the University. The statue was cast in plaster, and was to cost £1000. The plaster cast was unveiled by Barry Sullivan on the steps of the Public Library, where now stands the statue of Sir Redmond Barry. The statue was never cast, the funds not coming in fast enough, the subscriptions being returned by the treasurer, Frederick Wilkinson, Master in Equity.

The scholarship fared better. Mr. Rusden got up a dramatic performance of the “Merchant of Venice,” the parts being taken by members of Parliament, Mr. George Coppin, M.L.C., the father now of the Australian stage, being the Launcelot Gobbo. Another old actor, though long retired, Mark Last King - on the stage Moreton King—was the Shylock. Few Sydney people today remember Moreton King, though he played in the old Victoria Theatre, in Pitt Street and was considered a great star. A prologue was written by Mr. G. W. Rusden and spoken by Mr. J. D. Wood, the barrister, who has recently returned to his native land (Tasmania) to end his days. Vincent Pyke, at one time Minister for Customs under Sir James M'Culloch, wrote and spoke a very smart epilogue. Mr. Pyke afterwards, betook himself to Maoriland, where he loomed big in politics and Bohemianism. The Garrick Club played “The Merchant of Venice” on the evening before the date, April 23, of the tercentenary, Samuel Hawker Banks, a Sydney native and well-known literary man, being the Shylock. On that night, for the first time in Australia, and I think the only time, the introduction to the “Taming of the Shrew” was performed. Herbert Palmer, afterwards on the literary staff of the 'Age,' being the Christopher Sly. The tableau of Shakespearian characters was centred by the late William Pitt, the well-known scenic artist, who was always pressed into the service when a bust of Shakespeare was needed. In addition to his scenic art, Mr. Pitt kept the Garrick's Head Hotel, in Bourke-street, opposite the Eastern Markets, and where, by the way, I first made the acquaintance of the now Mrs. H. L. Roberts, of the Criterion, but then the favourite of Melbourne, and known as Miss Polly Smith. In Mr. Pitt's cellar, not the one where he kept the casks, but another, quite distinct, were nursed some of the finest sporting dogs I have ever seen, dogs that would charm my valued correspondent, the Hon. Thomas Reibey of Entally. The well-known theatre architect and M.L.C. (Victoria) is the son of this Mr. William Pitt, of the Garrick's Head. 

The Shakespearian performance which has given rise to the commentary was that given by Mr. Harry Edwards (whom some old Sydneyites will yet remember; he was with us not long before his death, when he bought 'Little Lord Fauntleroy') at Ballarat, which was then the home of the drama, though I am afraid it is not now. But all the dramatic efforts to make a Shakespearian jubilee failed, with the single exception of the Rusden Scholarship, and it is very questionable now if the memorial to the 'divine William' is remembered.