Mr Joseph Wyatt

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.)

On September 7, 1836, was laid the foundation stone of the Victoria Theatre, Pitt-street, with full Masonic honours. It took over 18 months to make the building ready for the public, and to make the opening night a success, Mr. Wyatt, the proprietor, engaged a company specially for the occasion. In those far off days quick passages to England were unheard of, and the 'cable' was not. Mr.Wyatt did the next best thing in the circumstances, he went to Hobart Town, Van Diemen's Land, so known then, and engaged as good performers as could be obtained and the theatre there could spare.

'The Sydney Herald' in 1838 appeared but twice a week, Mondays and Thursdays. The proprietor, Mr. Ward Stephens, of Gloucester-street and Lower George-street, Sydney, paid but little heed to the theatrical events of the town, though Mr. Wyatt advertised freely with him. In the issue of Monday, 26th, March 1838, appeared this advertisement :-

Royal Victoria Theatre.

The Public is now respectfully informed that, the above theatre will reopen for the reception of the public this Evening, 26th March 1838, when will be produced for the first time Shakespeare's Tragedy in five acts,

OTHELLO.

The Duke of Venice. Mr. Collins; Ludovico, Mr. Morton; Brabantio, Mr. Lane; Roderigo, Mr. Simes; Cassio, Mr. Groves Montana. Mr. Falchon; Othello, Mr. Arabin (from the Hobart Town Theatre); Iago, Mr. Spencer; Gratiano, Mr. Allwood; Antonio, Mr. Hollis. Julia, Mr. bnuth ; Daulo, Mr. Gazes ; Marco, Mr.Powell; Giovanni, Mr. Balton; Desdemona, Miss Winstanley ; Emilia, Mrs. Arabin.

As an interlude, Mr. Falchon, 'from the Hobart Town Theatre,' sang the popular song, 'Paddy's Wedding.' '

The evening entertainment concluded with the laughable farce.

'The Middy Ashore,' or 'A Spree Upon Land.'

The doors were open at half-past 6, and the performance commenced at 7 punctually. The prices of admission were dress boxes (or circle) 5s, upper boxes 4s, pit 2s, gallery 1s. The old world custom of half-price at 9 o'clock, never heard of now, existed then, the pit being the only exception. Boxes could be secured for the night or for the season, to be taken at the box-office from 9 to 11 each day. To prevent disappointment, no box would be kept unless the admission fee was paid at the time of selection. The plan of the dress circle was always on view at the box-office. Children in arms were not admitted, not even at the old country fee of one guinea each. Mr. Joseph Wyatt signed the advertisements as proprietor, and wound up loyally with VIVAT REGINA.

It must be admitted that Mr. Wyatt's company was a generally useful one, Mr. Arabin 'starred' in bills and advertisements, and Miss Winstanley ditto, ditto, not objecting to appear in such a farce as 'The Middy Ashore.' Mr. Wyatt took care to expand the list of characters in 'Othello' in a way that the Divine William never dreamt of. I am under the impression that, in the present day, if 'Othello' were produced in anything like good form, that an Irish comic song would not be tolerated immediately after it. 'Paddy's Wedding,' however, brings back reminiscences of John Drew and Billy O'Neill, who first, I think, introduced the rollicking song to the Melbourne public. The Mr. Morton who played Ludovico was a near relative— brother, I believe— of Mr. Maddison Morton, the dramatic author. On Mr. Morton's decease his widow kept for a time a tobacconist's shop in Market street, combining the business with newsagency and bookselling. The shop was No. 72, within two doors of Pitt-street, and now built over by Farmer and Co. The lady was there in 1878.

Commenting on the performance of Shakespeare's grand tragedy, the first time, I think, of its production in Australia (Arabin may have played the part in Van Diemen's Land), the 'Herald' critic gave the star credit for a 'chaste conception of the character,' his great fault being that he delivered all soliloquies to the audience, a fault not confined to Mr. Arabin, as most of the old time tragedians always took the audience 'into their confidence,' Mr. Spencer "played that pretty rascal lago well but confided all his villainy to the audience," the critic no doubt thinking that Spencer should have kept his villainy well bottled up until the closing scene. I have seen many Iagos, but never yet saw one who could conceal his villainy. Though excellent in comedy, Miss Winstanley and Mrs. Arabin were counted rank failures in tragedy. The critic considered that Mr. Groves misconceived the character of Cassio, and as to the farce, Mrs. Murray, "a petite little lady with a shrill voice, was animated and likely to become a favourite." Strange to say, the critic admitted that he had forgotten the name of the man who sang the comic song, 'but it served to amuse.' The 'Herald's' critic did for the opening night of the Victoria Theatre what John Baldwin Buckstone once said that a critic did for one of his dramas, "Damned it with faint praise."

Mr. Wyatt, anxious to please his patrons, added to his company. He had a monopoly now. After Mr. Barnet Levey's death, the widow continued to direct the Theatre Royal, but the strain appears to have broken her health, as in the issue of the 'Herald' which announces the opening of the Victoria Theatre, she advertises her thanks to those who sympathised with her in her trouble, and attributes her illness to the cares and worries of theatrical management. She was not the first nor the last who suffered worries from theatrical management. Added to Mr. Wyatt's company at the. time were Mr. and Miss Lazar, Mr. and Mrs. Cameron, and Mrs.Clarke.

At one time the name Lazar was a household word In Australian theatricals. Some years ago a son of this old-time actor had the lease of the Theatre Royal, Castlereagh-street. Mr. John Henry Want, now K.C., then a pushing junior barrister and a patron of all legitimate sport, in which may be included the drama, had business relations with Mr. Samuel Lazar. On occasions the 'treasury' required assistance to enable the 'ghost' to walk with comfort, and on such occasions Mr. Want generously came to Mr. Lazar's aid— I think at one time Lazar's indebtedness to Mr. Want amounted to £600, good coin of the realm advanced to keep the theatre going. As some sort of security, Mr. Lazar gave Mr. Want control of the O.P. box for his private use and that of his friends. While Mr. Lazar was in active management Mr. Want and his friends enjoyed the occupation of the O.P. box without let or hindrance. But evil days fell upon Mr. Lazar; he lost his reason, and was confined until his death in one of the asylums. His interest was still maintained in the theatre; his daughter, Miss Victoria Lazar, afterwards Mrs. Moss succeeded to her father's interest in the lease. But the lady questioned Mr Want’s rights and felt disposed to dispute his possession of the O. P. box. Unfortunately for Mr Want, all the documents and memoranda in connection with his transactions with Mr. Sam Lazar were destroyed in a fire which took place on his premises. Mrs. Moss, however, temporised (I am writing entirely from memory), and agreed that Mr. Want should have the box alternate nights, Mrs. Moss and her friends occupying it for the other three. For peace sake, I presume, Mr. Want agreed to this, and for a time things went on amicably enough. But Mrs. Moss tired of the arrangement, and blocked Mr. Want's entry altogether. Then Mr. J. H. Want went to law. He invoked the aid of the Chief Judge in Equity. The matter, like most Chancery matters, dragged its slow length along for many months, if not years. Then Mr. Justice Owen gave his verdict against Mr. Want. The latter was not satisfied; he appealed to the Full Court and again was beaten. But he was not faint-hearted. He had helped Sam Lazar with good coin, and if he could not recover that he would at least have the 'compensation' that Lazar in his time had allowed him the use of the O.P. box. Mr Want appealed to the Privy Council, and, fate of fates, while the appeal was under way, another 'authority' stepped in and ended the proceedings. In 1892 the 'fire fiend' seized the Theatre Royal, and ended not only Jack Want's long-drawn-out suit, but also Miss Victoria Lazar's (Mrs. Moss) interest in the lease. As fire had destroyed the theatre, there was no theatre to lease! The costs, which all fell on Mr. Want, must have been simply enormous. In the last moments of the Theatre Royal Mr. George Musgrove was manager, with Mr. C. L. Goodman as treasurer, Sam Lazar's representative being the lessee.

The management of the Victoria Theatre, as was absolutely necessary, varied its programme to suit its patron’s tragedy, melodrama, comedy, and farce, with good, bad, and indifferent actors, until the beginning of the year 1841, when a new actor of some old country note struck Sydney. This was none other than FRANCIS NESBITT M'CRON, a name yet remembered by some ancient Playgoers. Not many, however, remember him, but those who do remember Nesbitt— his stage name— place him next to G. V. Brooke. My dead friend, Sam Banks, a personal friend and devoted admirer of Mr. Nesbitt's, placed me in possession of much relating to the private history of the actor. M'Cron was a native of Manchester (England), born in 1809. His mother was named Armstrong, his father a captain in the army. Nesbitt M'Cron was educated for the medical profession, but his taste for amateur theatricals led him to the stage. He stood 5ft 10in in height, very erect in gait, and walked as if on parade. His voice was powerful and melodious. My thirty-years' friend, John Bennett, whose life-long experience of actors ought to make him a judge, says that Nesbitt's voice was the most musical that he ever heard.

M'Cron 's resolution to adopt the stage as a profession was distasteful to his family, but he had made his choice and was determined on following it. Under his second name, Nesbitt, he became a member of a travelling company in Ireland, in the course of which he met G.V. Brooke and Barry Sullivan. Of both these great actors Nesbitt spoke in the warmest terms of friendship and affection. After touring England, Nesbitt struck Scotland, where he met Gordon Griffiths, who subsequently came to Sydney. From Glasgow, in 1840, Nesbitt returned to Ireland, at the request of his relatives, who still thought to wean him from the stage. During a visit to Cork he met Miss Annie Mills, the daughter of respectable parents, and wooed her, but the parents objected, not to the man, but to his profession. Failing their consent, Nesbitt eloped with the lady and married her. In 1840 the couple took passages in the ship Marchioness of Bute, and arrived in Sydney on January 7, 1841. Nesbitt brought letters of introduction to several big people. Governor Gipps being among the number. That to the Governor was never delivered; the others secured him a billet as tidewaiter in the Customs, Henry Parkes occupying a similar billet about the same time. A quarrel with a superior officer induced him to throw up the appointment. In checking cargo Nesbitt wished to sit, the superior officer ordered him to stand, and Mr. Nesbitt 'cut and run.' Failing to get other employment, Nesbitt joined the police force, and for a part of one night walked 'a beat' in Sydney streets. He resigned in the morning.

At that time Mr. Joseph Simmons was manager of the Victoria Theatre, and to him went Mr. Nesbitt. As the latter had been brought up in the south of Ireland he had just “the last taste of the brogue” on his tongue, but could, when he pleased, lay, aside the 'accent.' While conversing with Mr. Simmons, Nesbitt unconsciously used the brogue, which set Mr. Simmons, a Hebrew with a "lisp," in roaring laughter. The idea of playing Hamlet with an Irish brogue tickled the fancy of the Hebrew manager. Mr. Nesbitt, however, gave 'Rolla's address to the Peruvians' in a style and in an accent never before heard by Mr. Simmons. There was no trace of brogue, and the Hebrew, who could tell a good thing when he saw it, immediately closed with the new actor, who had dropped unheralded amongst them. The play of 'Pizzaro' was in rehearsal, Mr. Simmons being the Rolla, but he generously gave up the part to Nesbitt. There was but a peer attendance, but by the time half price had arrived the people in the street heard that a genius was playing at the Vic., and the house became crowded. Nesbitt next appeared as Richard III, crowding the house for fourteen nights, an unprecedented run for Shakespeare at such a time, and a distinct tribute to the great merits of the actor. His list of characters during this engagement consisted of William Tell, Rolla, Othello, Macbeth, Richard III, Sir Giles Overreach, Octavian, Sir Edward Mortimer, and Virginius. As indicating Mr. Nesbitt's real character, it may be mentioned that when he accepted the engagement with Simmons, Mr. Conrad Knowles, who had left the pulpit for the staged held such parts as Hotspur, Mercutio, Hamlet, The Stranger, Falconbridge, and such. These Nesbitt would not play, not from any fear of comparison, but from a sense of Justice towards the other actor.

In 1841 Mr. Wyatt went to England in search of talent, and made some engagements. I think he was absent when Nesbitt was engaged, but early in 1842 the first contingent arrived. This consisted of John Gordon Griffiths, Mr. and Mrs. Harry Deering (the parents of Olly Deering and Mrs. W. B. Gill), and Mr. and Mrs. Mereton (the first-named selected as Mr. Simmons' successor in the management). After a time came Madame Carendini, Mrs. Stirling (afterwards Mrs.Guerin, and now the widow of Richard Stewart, and mother of Richard, Docy, Nellie, and Maggie Stewart, who have all reached success upon the colonial stage), and Frank and John Howson. These came from Hobart Town. Then followed Madame Torning, Mr, James and Madame Louise, Mr. and Mrs. George Coppin and others making the Victoria company a particularly strong one. Of all these, but George Coppin, at 85, remains. Long may he remain!

Nesbitt remained with the company, and 'Coriolanus' was put into rehearsal; but Nesbitt's 'weakness' overtook him, and John Gordon Griffiths performed the part. Nesbitt then crossed the Tasman Sea to Van Diemen's Land; and played at the old Albion Theatre, Launceston, and at the Victoria, Hobart Town, for several seasons. He then crossed to Melbourne, where he secured an engagement at the old Queen's Theatre, in Queen-street, built by John Thomas Smith, the Melbourne Whittington, differing only from Dick in as much as Dicky was but thrice Lord Mayor of London, whereas John Thomas Smith was seven times Mayor of Melbourne. Mr. Nesbitt's liking for strong drinks was a source of constant worry to his managers.

(To be continued.)